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00:00A few hours later...
00:15Antonia, you scared me. What are you doing here?
00:20Why were you looking for me? Has Pietro woken up?
00:23No, no, he's still sleeping like a log.
00:26The same thing you should be doing.
00:29Well, maybe I'm used to waking up with the rooster.
00:33Yeah, that's why you should have slept first.
00:36You haven't slept all night.
00:38What's wrong with you?
00:40Antonia, I heard you snoring in the living room.
00:44And don't tell me you told me not to meddle in anyone's business.
00:50It's about time you told me, right?
00:54I didn't want to tell you yesterday because Pietro was here, but...
01:01I don't even know what to tell you.
01:04He hasn't been alive since the doctor called him.
01:07He doesn't sleep and look at him, he has red eyes from crying.
01:11You don't have to be very sharp to realize something's going on.
01:25We're late, Marta.
01:27Late? What do you mean by late?
01:33When...
01:35When they operated on him...
01:39they saw that...
01:42the disease was more widespread than they thought.
01:49The disease was more widespread than they thought.
01:54It's worse than they thought, Marta.
01:57What do you mean worse?
02:04They think he only has a few months left to live.
02:19Even roosters don't get up before you do, Pepita.
02:23Maybe because roosters don't have to be cared for.
02:27Maybe you don't have a lot of things to do in the morning.
02:31When did you get up? You didn't even leave your bed.
02:34You never listen to me.
02:36I try not to make any noise, not to say that you always sleep deeply.
02:41What you're telling me sounds like a reproach.
02:45No, it's not a reproach. It's an observation.
02:48I've seen that you always sleep like a baby.
02:51There's no concern that takes away your sleep.
02:54But I haven't slept in days.
02:57I'm very worried about Paula Rodrigo.
03:00I don't know how this could happen in front of us.
03:03We have to do something to end this relationship.
03:06Of course.
03:08I'm not the first to want to end this.
03:11But they...
03:13They know what's going on.
03:15I've made it very clear to them that they have to end this relationship.
03:19And they'd better listen to me. For the good of both of us.
03:23I'm convinced that Rodrigo will know what to do.
03:26But maybe a little push would be good for him.
03:29What little push?
03:31Pepita, what little push?
03:33Rodrigo just has to accept his situation.
03:36Without any incentive.
03:38Yes, yes, don't get me wrong.
03:40What I mean is that maybe the time has come
03:43to start that medicine scholarship for Rodrigo, as you promised me.
03:47Again with that canteen?
03:49But you promised me.
03:51Think about it for a moment, please.
03:53Those studies could take Rodrigo to study abroad,
03:56very far from the city.
03:58Even if he stayed here,
04:00he wouldn't have time to be in a relationship with anyone.
04:04You have to do those things, please, Emiliano.
04:07That scholarship is your best chance.
04:09I'll know what I have to do, Pepita.
04:11Rodrigo first has to obey my orders.
04:13And then we'll see.
04:15I'm not going to help him if he doesn't cooperate.
04:17So yes, it will be done as you say.
04:20Well, that's settled then.
04:25Please help me with this,
04:27because I get nervous when I talk about Rodrigo and Paula.
04:33Hey, remind the rest of the service
04:35that I invite Fermin to dinner.
04:37I want everything ready at the right time.
04:39Your wife has already sent me the menu,
04:41but if you want me to tell the cook to prepare something special...
04:44No, not today.
04:46That tomorrow.
04:47Tomorrow is the anniversary dinner of the hacienda.
04:49I want a banquet there at the height of the circumstances.
04:54And don't tell me it's too much work.
04:57Because looking at the time you get up,
04:59the days have to be very long.
05:01No, it's not that.
05:03It's just that I miss the hacienda.
05:06You miss the hacienda?
05:10But hey, you have a good life here, don't you?
05:16Well, you personally take care of the dinner.
05:19Let everyone be in their place.
05:22You know that Fermin is a very special guest for me.
05:34I heard a couple of coffees.
05:36Are you going to want anything to eat?
05:38With that we are fine, thank you.
05:40And the coffees, well charged,
05:42that we are going to need them.
05:44That's what happens when you spend the night from bar to bar,
05:47that then you need energy to face the day.
05:50Blessed youth.
05:52Well, take advantage of it, it doesn't last forever.
05:55Those coffees will be right away.
05:59I don't see the time to take the bed.
06:01And I thought we were having a good time.
06:04And that you wanted to extend the party a bit.
06:08More?
06:09If we've been out there all night.
06:12What I was saying, that you're having a bad time.
06:15One thing doesn't take away the other.
06:18I would repeat tonight a thousand times.
06:21Although not right away.
06:23I would repeat tonight a thousand times.
06:26I would repeat tonight a thousand times.
06:29Although not right away.
06:31And maybe we could forget about the serenade.
06:35But it was the best thing of the night.
06:37How bitter.
06:39How it got for a couple of little songs that he gave us to sing.
06:42He gave it to you.
06:44And you sang with your lungs full.
06:46Well into the night.
06:48Any serenade would have caught your attention.
06:51Well, at least he stayed in a verbal amnesty.
06:54So we can continue with the party.
06:56So you say.
06:58If I miss the performance of the flamenco tablao because of your voices, I won't forgive you.
07:06It's going to be true what they say.
07:08That people get to know each other well when they're partying.
07:11Or at least when they're not working.
07:14Thanks.
07:16So much change when I'm out of the madrigal.
07:18You're like another one.
07:20You laugh, you dance.
07:21You even kiss me.
07:23It's like being with Sosa, who serves me drinks every night.
07:27Although...
07:29Both girls are just as pretty.
07:39See?
07:40There it is.
07:42You should laugh more at the madrigal.
07:46One thing is devotion and the other is obligation.
07:50I take my job very seriously.
07:52You can't always be partying.
07:55So that's what awaits me when I set up my own bar.
07:59A lot of work, little fun, and being more serious than an army chief.
08:05A business involves a lot of responsibility.
08:08And it will require certain sacrifices.
08:12Because...
08:14Do you still want to set up a bar like my brother's?
08:18And with your help, I'm sure it would be a success.
08:22Is that a job offer?
08:24Yes.
08:26And...
08:27Who knows if it could be more.
08:30If you wanted...
08:32You could be...
08:34The bar manager.
08:38Thank you very much, Ivan.
08:40But we both know this won't go anywhere.
08:44Don't underestimate me, Mercedes.
08:46You don't know how stubborn I can be.
08:48When something gets between my eyebrows, I don't stop until I get it.
08:52Something...
08:54Or someone.
08:57We'll see about that.
09:00Today, I'm going to talk to my father.
09:02To give him an idea.
09:04You'll see how, in less than what a rooster sings, I have the business set up.
09:08Maybe...
09:09The first thing you should do is take a shower and change your clothes.
09:15What's wrong? Am I not handsome?
09:17I don't think you're fit to talk about business with your father.
09:25But that can't be.
09:27Marta, listen to me.
09:30Listen to me. We have to be strong now.
09:33We have to be there for him until...
09:38He didn't tell you?
09:40No.
09:42I asked the doctor not to tell him anything, because I wanted to tell him, but...
09:48I don't know how to do it.
09:50I don't have the courage, I don't have the strength to do it.
09:54The way I look him in the eyes, Marta, and tell him he's going to die.
09:58I don't know how to do it.
10:01You have to tell him.
10:03Yes, I know.
10:05I know, but...
10:07I see him so happy.
10:09I see him...
10:11Thinking that everything went well, that my strength is failing me.
10:15But Pietro has the right to know what's going on.
10:18I know.
10:22But you know, sometimes I think it would be better if he didn't know.
10:27That he lived happily his last days, and not crying in the corners.
10:33He has to know the truth.
10:38I know, Marta, I know.
10:41But it's not easy.
10:45Don't tell anyone, please.
10:47I don't want him to find out for another reason.
10:52I'm sorry.
10:56I won't say anything.
11:01Do Giancarlo and Lucia know?
11:03No.
11:05I won't write a telegram as soon as I tell Pietro.
11:09He has to be the first to know, but...
11:12I have to find the strength to do it.
11:21He found them.
11:23As he always has.
11:27And I'm here to help him.
11:33What a shame. I could define her as one of the best in my life.
11:36I can see you becoming a fan of Galgos' races.
11:39Well, he doesn't have a fourth, but maybe he has.
11:42But if I heard someone's name as Perro Rayito,
11:45and you didn't see what he did,
11:47you wouldn't see how he won.
11:49But I'm like Chuchos.
11:51Besides not having a partner, I was chasing my own hare.
11:54Tell me you didn't make this simile in front of Leonora.
11:57I doubt she likes you comparing her to a rabbit.
11:59Don't believe you, because she has a good sense of humor.
12:01Did you tell her?
12:03I was about to, but I didn't think she was elegant or gallant.
12:06But don't worry, I'll show her my best tricks.
12:09And by elegant and gallant, what do you mean exactly?
12:13Well, what everyone does.
12:15What you advised me to do.
12:17I opened the door of the racecourse,
12:19I let her sit down first,
12:21I spoke as strictly as necessary,
12:23and I got some binoculars to see the race better.
12:26I'm not surprised that you won't have a fourth for the bets,
12:29because binoculars are not exactly cheap.
12:32I got them at Peño Miguel's house.
12:34Sorry I'm late, I'm begging you again.
12:37You should have seen us, we looked like aristocrats.
12:40Very good, my friend.
12:42You're progressing properly in your conquest process.
12:44What do you think, Miguel?
12:47What's wrong with you?
12:49Son, did you have a bad night or what?
12:51A heart attack? We'll see about that.
12:53You've grown up a lot.
12:55Elias, please, we've already talked about that.
12:58I'm not going to call you father, nor are you going to call me son.
13:01And yes, I've had a night of dogs.
13:03As soon as you left the house, Leon started barking.
13:06My Leon! I missed him so much.
13:09But don't worry, I'm going to your house this afternoon,
13:12and I won't leave until Leon has fallen asleep.
13:15Even though he had a date with Leonora,
13:17and we weren't going to see each other today.
13:19You just said you had a date yesterday, too.
13:21Why doesn't he want to see you today?
13:23I have no idea, but there's nothing to worry about.
13:25My success is being total.
13:27I'm succeeding, I'm going to be a big shot.
13:29And that's thanks to you,
13:31and to your advice.
13:33So, if you don't mind,
13:35I invite you to a wine party this afternoon.
13:37To celebrate it.
13:50He can't have disappeared from the face of the earth.
13:54No, don't feel it, no.
13:56You're going to feel like I don't have any data
13:58that allows me to locate Mr. Cuadrado.
14:02I'll call you back tomorrow.
14:05Yes.
14:11Nothing?
14:13Nothing. I can't find Mr. Cuadrado.
14:15But when I find him, I'm sure he'll have to give me a lot of explanations.
14:18Well, I'm sorry that...
14:20Ivan, leave him.
14:22Leave him. It's a long story.
14:24I don't want to talk about it anymore.
14:26Let's see, what did you want?
14:28Please, make it quick.
14:30Look at my desk.
14:32Being Rodrigo in Valencia, my accounts and contracts accumulate.
14:34I have to check them.
14:36If you want, I could help you with all this.
14:38No, no. I don't want to.
14:40I don't want to, Ivan.
14:42Not until I forget the last experience I had with you.
14:44And not until I erase from my mind
14:46the damn Mr. Cuadrado
14:48and the problem with the patent.
14:51Come on.
14:53Tell me what mess you're in this time
14:55and let's finish this as soon as possible.
14:57Do you know what you've been through?
14:59No, and I haven't gotten into any trouble.
15:02I came to talk to you about work.
15:04You're not going to work with me, Ivan.
15:07I thought I made it clear to you.
15:09Let me explain.
15:11Please.
15:14I haven't come looking for a job in your company.
15:17What I'm looking for is a partner to launch my own business.
15:20Before you deny it,
15:22I want you to know that I've studied it.
15:24It's a business with a future projection, I assure you.
15:27Don't sell me smoke. I know how this world works.
15:30How much projection in the future are we talking about
15:33and in what terms?
15:35Many benefits. And fast.
15:37In a few months, I could give you back
15:39the last peseta you invested in.
15:41I'm going to listen to you,
15:43even if it's only because you've bothered
15:45to come more presentable than other times.
15:48So you can see that I know the importance of the image
15:50when it comes to talking to other businessmen.
15:52Yeah, yeah.
15:54What business is it?
15:58I want to set up a drinking place.
16:00Like the Madrid Cabaret.
16:02Like the Madrid Cabaret?
16:04Of course, you know what the competition is.
16:06It's tough. A business with a name.
16:08Settled in the city.
16:10Not to mention the rest of the places
16:12that you probably know better than anyone.
16:15Well, what makes you think
16:17I'm going to invest my money in that madness?
16:19I know that for this type of investment
16:21you need a...
16:23let's call it added motivation.
16:25And this business has it.
16:29I don't just want to make money with this place.
16:32I want to sink the Madrid Cabaret.
16:35That Don Nadie de César must pay for what he did.
16:37And what better way to do justice
16:39than taking it to ruin?
16:43That's another thing.
16:47Yes, sir. I'll have started there.
16:49It's true that the manager of the Madrid Cabaret
16:51is an arrogant and impotent man.
16:53It wouldn't be a bad thing if someone
16:55brought him down.
16:57You and I can be that someone, Dad.
16:59I've done my homework.
17:01I know that his assets are limited
17:03exclusively to that place.
17:05If we make a hole in him,
17:07the ship will sink.
17:09I don't like your initiative.
17:11I like that vocation
17:13of being better than your rivals.
17:15This is business, son.
17:17Either you eat or they eat you.
17:19It looks like you've learned that lesson.
17:23Let's go get César Morel.
17:29Girl, let her go.
17:31You're going to leave her breathless.
17:33And she needs it to tell us how her husband is doing.
17:35I can't give her a slap
17:37without hearing her grunt.
17:39If it weren't for that, I'd slap her for something else.
17:41Whatever she does,
17:43this woman never gets anything right.
17:45Well, there's peace.
17:47I guess she's here because
17:49Pietro has recovered enough
17:51to stay home alone.
17:53He's not alone. He's with Marta.
17:55You know he got the first car
17:57as soon as he found out about the operation.
17:59I'm not surprised.
18:01He loves them as if they were his parents.
18:03How's it going around here?
18:05Are there a lot of clients?
18:07A lot of fights?
18:09You're the only one who's not here.
18:11You don't have to worry about work.
18:13I'm used to it.
18:15But I don't want to talk about my husband's illness
18:17for a while.
18:19We can tell her.
18:21If she's in charge.
18:25Just five minutes.
18:27We're very busy with the displays
18:29and we need three.
18:31So, how's it going without me?
18:33Well, we miss you a lot.
18:35And I'm not saying this to please you.
18:37But all the girls here
18:39have done their part
18:41in the business.
18:43Even Laurita, who doesn't work here anymore.
18:45She's spent a few hours
18:47taking care of the displays.
18:49And our wonderful manager
18:51who hasn't hesitated for a moment
18:53to prepare all the orders.
18:55Well, there are things you don't forget.
18:57I started like you.
18:59You don't have to swear.
19:01I've seen her prepare the boxes
19:03and make some great ice creams.
19:05I really appreciate
19:07the effort you're making to cover me.
19:09I'll get back to work.
19:11Focus on Pietro.
19:13Well, maybe you should
19:15go back to work.
19:17He's in a better mood now.
19:19Maybe you should get some fresh air.
19:21Well, maybe that's not a bad idea.
19:23Maybe I can do
19:25a half shift.
19:27Well, you think about it.
19:29And if you're interested, we'll talk to Mr. Fermin.
19:31I will. Thank you.
19:33Thank goodness the operation went well.
19:35Thanks to the attack I set up.
19:37I had to relocate him.
19:39I've told you hundreds of times
19:41that the lab is not a place
19:43for San Peregrino.
19:45Because you say so.
19:47Let's see, the saint worked the miracle
19:49by chance, because he had to be
19:51where the patient spends the most time,
19:53which is in the lab.
19:55Well, it won't be that miraculous
19:57that the saint worked the miracle
19:59in the lab and in Conchinchina.
20:01Well, the saint has turned out to be
20:03very stingy.
20:05He has fulfilled his mission.
20:07Well, come on.
20:09Back to work.
20:11Enough fighting.
20:13You first.
20:15No, you.
20:17You.
20:19Are you sure that all the trains
20:21arrived without incidents?
20:23Yes, yes.
20:25And by chance, I didn't see a woman
20:27coming down from the train two days ago,
20:29rather thin, dark-skinned.
20:31She was traveling alone and I think
20:33yes, yes, yes, I understand
20:35that you can't look at all the travelers
20:37who arrive at the station.
20:39Yes, sorry, it was a stupid question.
20:41Thank you for the information.
20:43Goodbye.
20:45Goodbye.
20:47Yes?
20:51Good morning, Mr. Fermin.
20:53Do you have permission?
20:55Come in, come in, Agustín.
20:59I arrive at a bad time, you seem worried.
21:01I am, I am.
21:03My wife left two days ago from a trip to Huesca
21:05to visit an aunt of hers.
21:07She should have arrived by now,
21:09but she hasn't given any signs of life.
21:11Well, you know that communications
21:13with certain parts of Spain are complicated.
21:15Yes, that's why I was hoping
21:17that she would have given me a conference
21:19as soon as she arrived at the station,
21:21but it seems that she hasn't been seen there.
21:23Anyway, I hope nothing has happened.
21:25Sit down, sit down, please.
21:27In any case,
21:29I'm sorry for the worst.
21:31You know that the news
21:33flies and the bad ones much more.
21:35If something had happened to her,
21:37I assure you that she would have found out.
21:39You're right about that, yes.
21:41Well,
21:43tell me, what has my office brought you?
21:45Well,
21:47I come to inform you that some
21:49malfunctions have occurred in the gallery
21:51during the shooting.
21:53Nothing serious, the worst thing has been taken by a lamp
21:55that is in the corridor parallel to this one.
21:57Well, I'll have to inform Emiliano
21:59as the owner of the gallery that he is.
22:01That's why I wanted to talk to you
22:03so that you could act as an intermediary.
22:05My company will take care
22:07of the arrangements
22:09and the substitution,
22:11but I need time.
22:13Are you in economic trouble?
22:15The director has fled
22:17with the film's rolls
22:19due to inconsistencies with the editor.
22:21That, coupled with delays in the shooting, problems...
22:23So you're not
22:25in your best moment, let's say.
22:27That would be to stay short.
22:29I couldn't say I'm at the edge of the abyss
22:31because I'm already in it.
22:33I don't know when I hired Ballesteros.
22:35Don't lose hope, man.
22:37According to my nieces,
22:39that guy is an egolatry
22:41that makes me die.
22:43No matter how hard it is,
22:45I don't think he dares to destroy
22:47the material they have shot.
22:49I hope so.
22:51And do you trust that the success of the film
22:53can get you out of that
22:55abyss you're in?
22:57I'm content
22:59with recovering what I see.
23:01You speak like a banker.
23:03One day a friend told me
23:05that if cinema were a business,
23:07it would be the bankers
23:09who would own the industry
23:11and not the artists.
23:13You're absolutely right about that.
23:15Would you be interested
23:17in investing in my next project?
23:20I think we have enough
23:22with the relationship that unites us.
23:35Good morning, Mrs. Maruja.
23:37Would you like me to bring you a table?
23:39No, I'm not here to drink anything.
23:41I'm here to make an order.
23:43Who am I supposed to talk to?
23:45Usually, you're in charge of these matters,
23:47but in your absence, I'm in charge
23:49of taking note of everything.
23:51I hope you come back soon,
23:53because I really like your company.
23:55Hey, did you tell him
23:57if he was going to be away for a long time?
23:59As you can understand,
24:01I'm not commenting on what I say
24:03to my friends.
24:05It's not nice, don't you think?
24:07Yes, yes, I'm sorry.
24:09You're absolutely right.
24:11I've gone too far.
24:13Well, you tell me.
24:15I wanted to order a basket
24:17with the most exquisite sweets in the saloon.
24:19I want to reward some ladies
24:21who were very generous in the charity auction,
24:23and I'm not going to skimp on expenses.
24:25Well, be careful, there's only quality here,
24:27so you'll have the best of the best.
24:29Of course, if you allow me,
24:31the sweets are preserved and transported
24:33better if they go in boxes,
24:35instead of baskets.
24:37But I wanted it to be something very special.
24:39Well, we can put a fancy bow on it,
24:41because I can't guarantee
24:43that it will arrive in perfect condition
24:45if it doesn't fit me.
24:47Well, let it be boxes.
24:49I'll need about eight.
24:51When do you think you'll have them ready?
24:53Well, throughout the morning,
24:55they can be ready.
24:57Very good.
24:59Well, here are the names and addresses
25:01to which they must be delivered.
25:03And note the amount in my husband's account
25:05and it will be paid at the end of the month, as always.
25:07Perfect.
25:09Do you want anything else?
25:11I'd like to order a box
25:13with the sweets that Mr. Fermin likes the most.
25:15Bring it to my house in the afternoon.
25:17Very good.
25:19I'll personally make sure
25:21that I know Mr. Fermin's tastes perfectly.
25:23Well, that's all.
25:25I won't keep you any longer.
25:27I'm sure you have a lot of work to do.
25:37I'm very glad to see you.
25:39Why?
25:41Why don't we sit down
25:43and have a drink together?
25:45I don't think it's appropriate
25:47for us to sit here together.
25:49What if we go somewhere else?
25:51I can't, Cesar.
25:55It's not the time or the place.
25:59You're not making it easy for me, Maruja.
26:01I'm a married woman
26:03and I don't have the freedom
26:05of movement that others do.
26:07I can't even make use of my time
26:09the way I want to,
26:11unfortunately.
26:15You're absolutely right about that.
26:19For me, the time is always now
26:21and the place is wherever you want.
26:23We must maintain
26:25the way we are in a public place.
26:27Then let's go to a private place.
26:29I can't wait
26:31another minute to kiss you again.
26:34We have to wait.
26:40I'll give you everything you need.
26:44Just seeing you today
26:46makes the day more bearable.
27:03Hello.
27:05Hello.
27:17Inés,
27:20what I told you yesterday...
27:22Yesterday?
27:25I don't remember.
27:28I don't remember.
27:30I don't remember.
27:38But I do remember.
27:40Because of what I told you.
27:43Yesterday too?
27:45Because...
27:47I don't remember either.
27:50Skip the page.
27:56What are you doing with the Bible?
27:59Don't tell me you want to become a nun,
28:01as your mother would have liked.
28:03No, no.
28:05I was looking for inspiration for my next project.
28:07Alternatives, Agustina de Aragón.
28:09I want to play a strong woman
28:11to be able to shine
28:13and earn my reputation again.
28:15I don't know if you're going to find her
28:17in the Holy Scriptures,
28:19because there aren't too many women.
28:21Maria Magdalena, Eva...
28:23I don't know.
28:25I'm going to play the first woman
28:27who populated the world.
28:29Yes, especially because they were very explicit
28:31about the fact that she spent a large part of her life
28:33in leather.
28:35You're blasphemous.
28:37Let's see.
28:39And what do you think of Catalina de Uraso?
28:41The nun Alferet.
28:43Look at her.
28:45Military? Murderer?
28:47She even pretended to be a man.
28:49No, I'm more interested in playing
28:51Julieta, Ophelia...
28:53I don't know, any character that doesn't
28:55provoke a syncope in our uncle.
28:59I don't know, maybe your next role
29:01is also in these books.
29:05Inés,
29:07I don't think the world of acting
29:09is made for me.
29:11It's been a very nice experience
29:13and I'm taking it.
29:15But I have to find my way.
29:17Yes, I understand you perfectly.
29:19Cinema is...
29:21a complicated business.
29:23Because one day you're on top
29:25and the next day
29:27no one remembers you.
29:29With an actress in the family, it's enough.
29:31I just want us to be fine.
29:33And me too.
29:37Hey, have you heard from Agustín?
29:39No.
29:41He hasn't even called me.
29:43Well, sometimes not having news
29:45can be good news.
29:47Although I have to confess that I'm also worried
29:49I don't know, maybe he has met with Ballesteros
29:51and they have locked themselves up to finish the editing.
29:53Inés,
29:55no matter how good an actress you are,
29:57no one believes that.
29:59What a shame if we run out of film.
30:01You know what I'm telling you?
30:03We're going to go look for him.
30:05Let's go.
30:15And how have you seen Esperanza
30:17and my substitute?
30:19Well, she's happy.
30:21If Esperanza treats Herminia the same way she treats Sagrario.
30:23Exactly the same.
30:25Esperanza had set up an altar in El Obrador.
30:27She had to go through the dressing room.
30:29Well, she set it up
30:31to pray for your recovery.
30:33I never thought
30:35I'd miss her nipples,
30:37but I do.
30:41I can't wait to get back to work.
30:47What's wrong, Antonia?
30:49Nothing, I'm tired.
30:51It's been a day of
30:53a lot of emotions,
30:55and I'm tired.
30:57Honey, but
30:59all this is over.
31:01Everything will be the same again.
31:03Oh, no.
31:05No.
31:07You know what?
31:09I think I'm smarter
31:11and more handsome too.
31:13That's true.
31:23Don Fermin, what a surprise.
31:25Come in, please.
31:27Don Fermin.
31:29You're just in time
31:31to have a chicory and a madeleine.
31:33Thank you, Antonia, but I have a date
31:35and I'd like to be there hungry.
31:37That means you're on it,
31:39Don Fermin.
31:41Yes, yes, yes, I can see that, my friend Pietro.
31:43I thought you were coming to see
31:45and there he is,
31:47even if he pretends to be brave.
31:49Every day less, but
31:51a few days ago he couldn't walk,
31:53now he can.
31:55And I'm teaching Marta to play chess.
31:57Very good, but the first thing
31:59is to fully recover.
32:01Sit down, please.
32:03Thank you, thank you.
32:05And then let me tell you that
32:07apparently he's going to rejoin work
32:09much earlier than we all expected.
32:11Speaking of which.
32:14No, no, don't worry, no.
32:16Maybe he could
32:18join Antonia.
32:20No?
32:22I feel better and Marta
32:24can lend me a hand.
32:26Now the important thing is yours.
32:28I'll join when I see it necessary.
32:30You see, Don Fermin?
32:32If we had money,
32:34I would have been a caretaker.
32:36Pietro, listen to your wife.
32:38Take it easy
32:40and above all
32:42let her take care of herself.
32:44Okay, okay.
32:47The truth is that
32:49I don't feel like I used to.
32:51Not yet.
32:53Sometimes I feel a little dizzy.
32:55Considering the severity of the intervention
32:57you have undergone,
32:59I think it's absolutely normal.
33:01Yes, yes, I think so too.
33:03It will pass over time, right?
33:05Sure.
33:07Well, I have to go.
33:09I don't want to bother you anymore.
33:11Pietro,
33:13keep it up and please
33:15don't upset your wife.
33:17Thank you, Fermin, thank you.
33:19I'll go with you.
33:21No, don't worry, Antonia.
33:29Well,
33:31let's see if you listen to Don Fermin.
33:33I really like chess.
33:35I'm sure it helps you.
33:37Yes, yes, it helps me too.
33:39I don't want to have more despair
33:41like the ones I had.
33:43And you know what?
33:45It reminds me of when I taught it to Giancarlo
33:47when I was little.
33:51Amore,
33:53look at me.
33:55I want to start my life again.
33:57I want to make you
33:59the happiest woman in the world.
34:01Don't you think it's time
34:03that this wonderful smile
34:05you have returns?
34:07No?
34:09Please.
34:11I know.
34:13I know very well that you've had a bad time.
34:15But we have to go back
34:17to normality, Antonia.
34:19You have to go back to work.
34:21I'm with you.
34:23No, no, Antonia.
34:25We have all the time in the world.
34:27Please.
34:29Hug me.
34:31Hug me.
34:37I love you.
34:39Me too.
34:41I love you, I love you, I love you, I love you, I love you.
34:47Have you been able to find Ballesteros?
34:49No, no, no.
34:51I was hoping to find him in the office
34:53but when I went there he wasn't there.
34:55I guess you haven't seen him either, right?
34:57No.
34:59Damn ingrate. Who would have wanted to kidnap my film?
35:01When I find it,
35:03poor thing, when I find it.
35:05Agustín, calm down,
35:07because you don't gain anything by getting like this.
35:09Staying with Augusto and years of life,
35:11that's what I'm going to gain when I put my hand on him.
35:13He's a narcissist.
35:15Do you want a coffee?
35:17No, no.
35:21Casa de las Hermanos Valbuena, tell me.
35:25It's Ballesteros.
35:27Ballesteros?
35:29Pass it to me, pass it to me.
35:31How are you?
35:33How's the editing going?
35:37Very good, yes, yes, I understand.
35:39I'll tell him, but he won't like it.
35:43Yeah.
35:45I'll make sure he doesn't do anything to you.
35:47Don't worry.
35:49Very good, very good.
35:51Goodbye.
35:55I'm not going to promise you anything
35:57until I know what Diantres has done with my film.
35:59Well, the good news
36:01is that I brought it safe and that he's going to finish it.
36:03And the bad news?
36:05He has a condition.
36:07He wants to change the editor.
36:09That's all that's missing.
36:11But not even talk? With all the whims I've given him, not even talk?
36:13But, Agustín, it's not that serious.
36:15He doesn't ask to shoot more scenes.
36:17No, Inés, you don't understand.
36:19You don't know how much money I've lost because of him.
36:21Ballesteros is going to finish the film with what he has
36:23if he doesn't want me to drown him with my own hands.
36:25Let's calm down.
36:27But we need it to be finished as soon as possible.
36:29And you need it for the editing of the film
36:31and also for the financing of the next one.
36:33Of course.
36:35Okay, that's it.
36:37Let him hire whoever he wants.
36:39That way the editing ends as soon as possible
36:41and we can premiere before that.
36:43That's the only way we'll know if there's light at the end of the tunnel.
36:55What are you up to? Are you preparing the picnic?
36:59The picnic?
37:01This? A meal outdoors.
37:03You're going to have to rethink your future.
37:07I don't think I can dedicate myself professionally
37:09to organizing picnics.
37:11Oh, no?
37:13Well, look, I see you as a waiter.
37:15Or even a maitre.
37:17If you're so kind, miss,
37:19I'd ask you to join me at the table,
37:21but we don't have one.
37:23I hope you don't mind having dinner on the floor.
37:25Of course not, sir.
37:29No.
37:33You don't know how much I missed
37:35being in contact with nature.
37:37And me.
37:39Although in Madrid we're not bad.
37:41No, of course.
37:43But you won't deny that life in the hacienda
37:45was different.
37:47We didn't have to take the car to escape to the countryside.
37:49It was enough to take a walk.
37:51Sometimes
37:53I worry about not remembering
37:55the scent of the forests that surrounded the hacienda.
37:57I feel it as part of my roots.
37:59That's why you'll never forget it.
38:01We don't forget the place we come from.
38:03Just as we always remember
38:05those we leave behind.
38:07You're absolutely right about that.
38:09Yes.
38:11Do you miss life there so much?
38:15More than I thought.
38:17I grew up playing in those forests.
38:19And more than once
38:21I escaped to read under the shade of those trees.
38:23And that,
38:25in Madrid, is something I can't do.
38:27I still remember the look on Ivan's face
38:29when you told us those stories about
38:31this mythological being that protects the forest.
38:33He'll never admit it.
38:35But we both know
38:37he was afraid of the forest.
38:39And he shouldn't have.
38:41According to the legend, he was a kind spirit.
38:43What was his name?
38:45Sacho Joy.
38:47That's it.
38:49The old canopy with long hair
38:51and long white beard
38:53that he walked barefoot,
38:55without his spine hurting him
38:57and without leaving any trace.
38:59His consistency was like smoke
39:01and he never presented himself as a man
39:03before humans, but as a whirlwind.
39:05And he only appears when his domains are crushed.
39:07And in those cases,
39:09he stops being kind
39:11and doesn't stop until he consumes his revenge.
39:19What's wrong?
39:21I heard something.
39:23I'm sure it's Sacho Joy,
39:25who's coming to take revenge on us for not inviting her to dinner.
39:27Rodrigo, I'm serious. Don't laugh.
39:29I heard something over there, behind those trees.
39:31Paula, could it be an animal or a current of wind?
39:33There's nothing to worry about.
39:35But it would be better if...
39:37See? This also happened in the hacienda.
39:39You were trapped by my stories
39:41and then any noise brought you back to reality.
39:43It wasn't the stories that trapped me,
39:45but the narrator.
39:51Come here.
39:55Come here, my love.
39:57Come here.
40:01Sweetie, what are you doing?
40:03Nothing.
40:05Here's your grandson.
40:07You can see he's sick of the crib.
40:09Now he can only sleep in the car,
40:11as good as I would be on the couch,
40:13doing nothing.
40:15But for a child, you make the sacrifices you need.
40:17And if that means there's no other way,
40:19well...
40:27Well, Galgos' career was good.
40:29Even though Elias said everything,
40:31it seemed like a joke to me.
40:33But he seemed to be telling the truth.
40:35Yes.
40:37Elias is so basic,
40:39as simple as a pencil.
40:41He's not that, Trini.
40:45Although he bought some monocles
40:47that were even more ridiculous.
40:49And I'm sure he wasn't even ashamed of wearing them.
40:51As if he saw them.
40:53I'm sure he even felt proud
40:55of the looks he was wearing.
40:57Mom, I've told you many times.
40:59I don't see this. I've never seen it.
41:01You don't get it.
41:03The joke about
41:05helping us put the child to sleep is true,
41:07but...
41:09No, that's true.
41:11The child calms down as soon as he sees it.
41:13Mom, but this joke has gone too far.
41:15We have to keep taking advantage of him.
41:17Be careful with what you say, Trini.
41:19I'm your mother, remember that.
41:21And I'm not taking advantage of anyone.
41:23Oh, you're not?
41:25You're letting him take you out for a walk
41:27and get his hopes up.
41:29You don't have any interest in him.
41:31And who told you I don't have interest?
41:33Do you have interest?
41:35Well, yes. Yes, yes, Trini, yes.
41:37Interest, curiosity, call it whatever you want.
41:39I think Elias is very attentive,
41:41nice with his things.
41:43Exactly, like everyone else.
41:45I think that the day they shared the defects,
41:47they all fell for him at the same time.
41:49Hello!
41:51Speaking of defective men.
41:53Bring me the child,
41:55you're going to make him dizzy with all the fuss.
41:59Hello.
42:01Hello.
42:03Where are you coming from?
42:05I'd better not ask,
42:07I'm going to get hot.
42:09I've come to have some wine chats.
42:11Elias has invited us
42:13to celebrate the success of the date with Leonora.
42:15Come here.
42:21We have a problem.
42:23The relationship between my mother and Elias
42:25has gone too far and this could end in something chronic.
42:27Chronic are some diseases, my love.
42:29I know,
42:31and this could end up as the worst flu.
42:33My mother says
42:35that you really
42:37have interest in Elias.
42:39Yes,
42:41I said that my teachings
42:43were going to make him a great man.
42:45I should have accepted his company.
42:47You can stop smiling,
42:49because this is not funny at all.
42:51If we don't do anything,
42:53he's going to get into our house, don't you see?
42:55But if Elias already has a place to sleep,
42:57why would he get into our house?
42:59To see his girlfriend,
43:01his little wife, my mother,
43:03your mother-in-law, that's what you want.
43:05For him to be your father-in-law.
43:07That's what's going to happen if we don't do anything.
43:09You're going to have a father-in-law
43:11and I'm going to have a stepfather,
43:13which is much worse.
43:15And what are we going to do?
43:17What are you going to do?
43:19Because you got us into this,
43:21so you're going to get us out.
43:23With what it has cost me,
43:25Elias can go to your mother.
43:27Isn't there an intermediate solution?
43:29No, you have to end that relationship now.
43:31Okay?
43:33If you do it, I promise you
43:35I'll take you back to your house in Fuencarral.
43:37Are you sure?
43:39Deal?
43:41Deal.
43:43And never say no.
43:53I told you I had heard something.
43:55You were right, I heard it too.
43:57And this time closer.
43:59What are you going to do?
44:01Kiss her and if there's something, scare her.
44:03No, no, you'd better stay here.
44:05You don't have to worry about anything.
44:09I'll be right back.
44:15If it hadn't been for your mediation
44:17with the issue of the patent,
44:19I would be in a considerable mess.
44:23You know, I'm not proud of my performance, right?
44:27I know, I know.
44:29And I apologize.
44:31I promise I won't put you in a similar situation again.
44:33Deal then.
44:35By the way,
44:37is there any progress in the production of synthetic fiber?
44:39There is.
44:41I've been talking to my engineers today.
44:43The process is very advanced.
44:45Let's see if tomorrow I can show you
44:47a sample of the fabric.
44:49You know,
44:51I think cotton plantations
44:53have their days counted.
44:55Our fiber is going to be much more profitable.
44:57Fermín, you arrived early.
44:59I asked the service
45:01to prepare some appetizers before dinner
45:03and it won't take long for them to be ready.
45:05So don't be long before you leave.
45:07No, stay, stay. Stay, Maruja.
45:09If you annoy the service, I'll leave the table
45:11on your shoulder.
45:13I don't want to interrupt you if you're talking about business.
45:15Don't worry, Maruja, we're not talking about numbers,
45:17or accounts, or anything like that.
45:21Sit down, dear, sit down.
45:23You know, we were talking about
45:25the revolution that our synthetic fiber
45:27was leading to.
45:29What was I thinking?
45:31Can you imagine
45:33the problems that we would have avoided
45:35in the hacienda?
45:37I didn't know that you would have gone
45:39through any financial mess.
45:41Your problems were of another nature.
45:43My problems
45:45are those damn peasants
45:47who seem to live to make my life
45:49impossible. You know,
45:51lately
45:53they're getting all kinds of ideas
45:55Can you imagine the riots
45:57that I've had to suffer?
45:59What kind of ideas?
46:01Sandeces.
46:03Sandeces, like the land is theirs
46:05because they are the ones who work it.
46:07But can you believe it?
46:11But how are those
46:13greedy owners of something going to be?
46:15They wouldn't even know what to do with it.
46:17The land belongs to the one who is
46:19able to make some profit with it.
46:21Well, Emiliano, I don't think Fermín
46:23wants us to talk to him about our
46:25misfortunes. Tell us,
46:27do you know anything about Lázaro?
46:29No, no, nothing.
46:31I'm starting to worry.
46:33He should have arrived by now.
46:35What would it have cost him
46:37to call me to let me know?
46:39But where did you tell me
46:41your wife had gone?
46:43To visit a relative who lives in Huesca
46:45in a village lost in the Pyrenees.
46:47Well, let's hope he manages to get
46:49that relative out of the financial mess.
46:51What do you mean by a financial mess?
46:53What do you mean, Maruja?
46:57Well, she needed immediate
46:59liquidation for a matter
47:01that, well, her husband
47:03couldn't say anything to her.
47:07The best thing in these cases
47:09is to falsify the husband's signature.
47:17Oh, Maruja, I don't see her
47:19saying anything to her husband.
47:21And look at her, with the water on her neck.
47:23I see her quite desperate, to be honest,
47:25and I'm very worried.
47:27Well, she told me she was treating
47:29a friend, and I thought
47:31she could be treating a relative.
47:33No, no, no, no.
47:35The reason for that visit
47:37was of another nature.
47:39It was a health problem.
47:41How strange.
47:43She never told me of any friend
47:45who went through a financial mess.
47:47She'll let you know when she gets back.
47:49Well, let's go get that interview.
47:53Yes, yes, let's go.
48:17♪
48:19♪
48:21♪
48:23♪
48:25♪
48:27♪
48:29♪
48:31♪
48:33♪
48:35♪
48:37♪
48:39♪
48:41♪
48:43♪
48:45♪
48:47♪
48:49♪
48:51♪
48:55♪
48:57♪
49:09♪
49:15♪
49:21Paula is not like Emiliano, nor will she ever be.
49:24She is out of our plans.
49:26I hope so.
49:29I don't want this girl to get in our way.
49:31I won't allow it.
49:33You already forgot what happened that day.
49:44Emiliano Pedraza has to pay for what he did to me.
49:47For what he did to our people.
49:52I won't forget it, Amaya.
49:55I have always been very aware that it was Emiliano
49:58who was responsible for our village being a grassland of flames.
50:01And of the shots.
50:03Because Pedraza proposed to finish with each and every one of us.
50:06And he was about to get it.
50:08And you made a promise.
50:10In front of the grave of Yayo, Diego and my brother.
50:22I swear I will finish with Emiliano Pedraza.
50:25For your memory.
50:29If I came from Buenos Aires, it's because the time has come.
50:38I will keep my promise, Amaya.
50:42The time has come for Emiliano Pedraza to pay for what he did to us.
50:52Yes, that's it. I'm trying to contact Muro de Bellos.
50:55Isn't there a bar there or someone who has a phone?
50:58Hasn't he contacted you yet?
51:00No, no, not yet. And I'm starting to worry.
51:02Because I've tried to contact that village and there's no way.
51:05It's just that no one has a phone.
51:07Don't worry, I'm sure he'll know about her soon.
51:10How crazy, Mr. Fermin. He doesn't usually leave so soon.
51:13Looking for the poor man who doesn't get the shirt to the body
51:16of the concern he has for Mrs. Gázara.
51:18You haven't told him anything about the gun?
51:20I'm here with you. The two of us.
51:22Without anyone bothering us and without having to ask for permission to love us.
51:26I'm afraid of what may happen to you.
51:28I'm thinking about not coming back.
51:31About running away.
51:42Do you think Trini is going to keep that deal?
51:44A deal is a deal.
51:46If Elias stops getting close to Leonora, Trini is in charge.
51:49Don't you think so?
51:51I'm a little sorry. Elias is very excited about her.
51:54You can't take anything from Ivan seriously.
51:56But it's funny.
51:58Even if you think it's so harmless, I think you should keep your distance.
52:03I don't like Ivan's mother either.
52:05And I have to put up with you being more and more interested in her.
52:09You can't compare one thing with the other.
52:11Why?
52:12Is that synthetic fiber?
52:14Yes, sir.
52:16This
52:18is the material that will replace the cotton.
52:20Well, there is no definitive diagnosis yet.
52:23So it takes a doctor or a judge.
52:25Yes, it takes, yes, yes.
52:27Although I, well, if the diagnosis were bad, I don't know if I would tell him, right?
52:33Because in the end, why give him that disgust?
52:37I don't know, Antonia.
52:39Instead, I would like to know.
52:41Although the prognosis was very bad.
52:43And what will happen to the families that live from those crops?
52:45I don't know.
52:47They will have to dedicate themselves to something else.
52:49Or emigrate to another city.
52:51It's none of our business.
52:52Do you want me to behave the same with her as I would with anyone else?
52:55Of course.
52:56But let's see.
52:57Do you think I can make this change now?
52:59It's not that you can.
53:00It's that you must.
53:01Now the most important thing is that you show yourself as you are, Elias.
53:03You have already won Leonora's attention.
53:05Now you just have to get her unconditional love.
53:07I hope you are not very angry about my little disappearance.
53:10I owe you an apology.
53:11I'm sick of you, Ballesteros.
53:13How dare you get involved in my movie?
53:15I apologize.
53:16I had never done anything like that.
53:17What you have done to me is a scoundrel.
53:19Let me explain, Agustín.
53:21Your father has decided that tonight we will only be the family.
53:24There will be no guests like in other years.
53:27No guest.
53:28Are you saying this because of Rodrigo?
53:30That's right.
53:31He is not part of the family and never will be.
53:33And can you know where he is?
53:35I have no idea, Emiliano.
53:37I guess he will be about to arrive.
53:39He doesn't know how important this dinner is for the family.
53:42He knows it perfectly.
53:44I reminded him this afternoon.
53:47I hope you also reminded him that Rodrigo is not invited.
53:51Yes.
53:52I told him that the dinner was only for the family.