- 1 year ago
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00:00A FEW HOURS EARLIER
00:09Inés, if you don't see it, I'm not doing it.
00:11I wasn't going to accept it at first.
00:13And when I saw you weren't excited, I was less excited.
00:14But...
00:16The producer has become very annoying.
00:17But I didn't have a choice.
00:18I promise you, Inés.
00:20Really, I was even going to fire Ballesteros.
00:22But I can't do this.
00:23I can't delay the shooting any longer.
00:25We have to reschedule it as soon as possible
00:28to stop the losses.
00:29Yes, the truth is that the production
00:31is going through a terrible moment
00:33and we have to do whatever it takes to save it.
00:35And I promise you that if Ballesteros were any other way...
00:37Yes, I know him.
00:39And if he has insisted that Laurita be the actress,
00:40there is no way to get rid of him.
00:43So, you think it's a good idea?
00:45Of course I think it's a good idea.
00:47Laurita, I just wanted to protect you.
00:50Because Ballesteros is not the kindest director in the world
00:52and a shoot is very hard.
00:54Yes, I'm very clear about that.
00:56And even so, do you want to accept the role?
00:59Yes.
01:02It's a very nice gesture on your part.
01:04I really appreciate your understanding, Inés.
01:07I was afraid you would have another kind of reaction.
01:09Look, I just want the film to go ahead.
01:13And having you by my side surely makes the experience
01:15much more pleasant.
01:16I just hope not to hinder the work of the rest of the team.
01:20No, you won't.
01:22I will always be by your side, I will help you
01:24and I will make sure you feel comfortable.
01:27I appreciate it.
01:28And I hope I'm not wrong in making this decision.
01:31No, don't say that.
01:33When do you sign the contract?
01:35Well, it's waiting for me to give the order,
01:38they will write it down and give it to you.
01:40Very good.
01:41Well, before signing it, I want you to make sure
01:43that you are allowed to leave if you are not comfortable.
01:46Can I do that?
01:48Of course you can do it, you are the actress.
01:50Come on, let's see.
01:51We are going to put ourselves now in the option
01:53that someone can leave us stranded in the middle of the shoot.
01:56In any case, I will try to make that option clear
01:59within the contract.
02:00Well, let's trust that there will be no problem.
02:03Well, I already have a problem.
02:08Where do I get an assistant as good as you?
02:11Don't say nonsense, if I have a very small role,
02:14I'm sure I can combine both things.
02:17Well, then, is everything okay?
02:21Everything is fine.
02:24I really want to start working with you, little sister.
02:41So, have you seen him normal?
02:43They say that the procession goes inside,
02:45but undergoing such an operation must affect one a lot.
02:49Manolo.
02:51Really, poor Pietro.
02:53This is a disgrace.
02:54And Antonia, the woman who does not win for disgust.
02:57And that you say it.
02:58And how strong is that woman.
03:00She must be having as bad as Pietro,
03:02but she is working like the most.
03:05Wow.
03:06I am very happy to see you here, both hand in hand.
03:10I want you to do a task.
03:12To go over all the taps we have in the living room.
03:15But cleaning is a matter of hope.
03:17No, I mean to make sure that none of the taps drip
03:22or give any failure or anything like that.
03:24I don't want the same thing to happen to us as Miss Pedraza.
03:27Well, if you stay calmer, I'll do it.
03:31The only thing is that I don't know much about plumbing.
03:33I know something. Take care of them.
03:35At least enough to know if there is a problem in the pipes.
03:38Better let him be.
03:40Call a maintenance worker.
03:43God forbid that the living room is flooded.
03:45Ale, to work.
03:53But have you noticed the junk he carries?
03:55What junk?
03:56The rings, the earrings, the jewels.
03:59Come on, don't tell me you haven't seen them
04:01because they catch your eye.
04:02No, no, no.
04:03He has made a lot of effort to draw attention to them.
04:06Although if that is cheap jewellery,
04:08I am very afraid that I will never be able to give you a posthumous jewel.
04:11No, man, no.
04:12I was saying it in an ironic way.
04:14Yes, precisely the opposite.
04:15Those jewels must have cost a lot of money.
04:18I thought so.
04:19Well, yesterday I heard her talking to Don Fermín
04:22and she told him that she was going to go through the jewellery.
04:24And well, she has gone through.
04:26What scares me about this, Cañete,
04:29is that he now starts to squander Don Fermín's fortune
04:33and that he doesn't realize it
04:34and the day he least expects,
04:35he doesn't have money to even open the living room.
04:37Ma'am, please.
04:38Stop making exaggerated conclusions.
04:40One thing is that you have the woman in your throat
04:42and another very different thing is that you screw her up.
04:45What happens?
04:46Don't you think I have reasons to think this way?
04:48Well, no.
04:49Ma'am, the only thing he has done
04:50has been to allow himself a whim, now that he can.
04:53Something that you and I would do if we were in his place.
04:56I see.
04:57Well, maybe I'm taking things too far.
05:01What I would like is for that head of yours to stop going around
05:03and thinking so much about what I do
05:05that I stop being the manager.
05:09I see, I see.
05:10Well, from now on, I'll do my own thing.
05:13Just my own thing, because I have a lot of things to think about.
05:16Really? Something important?
05:17Yes, very important.
05:19Tonight I want to go for a walk with a gentleman
05:22and I have to think about how I can propose to him.
05:25I'm sure he'll accept.
05:27If you ask him, it's as you ask him.
05:28Yes.
05:34THE MISSING THINGS
05:44If you arrive a little earlier, it's your turn.
05:46Opening the gallery?
05:48I think it would be good for you to have a coffee.
05:50And I know a place where the product and the attention are exquisite.
05:53And I have no doubt, Fermin, but...
05:57Unfortunately, I'm going to have to decline your offer.
06:00I'm working hard.
06:01Well. Problems with the business?
06:04No, no. Problems, no. Problems, no. Everything is in order.
06:07What happens is that I have accumulated the invoices and you receive them to review.
06:11I'm glad that's the reason for your seriousness and not my indiscretion of yesterday.
06:17What are you saying? No, man, no.
06:19You don't have to have so many looks at me.
06:22I have no problem talking to you about my marriage.
06:25You take a weight off my shoulders.
06:27You put that on yourself.
06:29But if I've already told you that you're one of the only...
06:31Well, no. The only friend I would dare to talk about certain things with.
06:35Like, for example, the particularities of my marriage.
06:38I say the same, Emiliano.
06:39You know that our friendship is the most important thing for me.
06:42I don't want it to be affected by any misunderstanding between us.
06:46You can rest assured about that.
06:48Well, then.
06:49Case closed.
06:53Good morning, Ivan.
06:55Good morning.
06:56When do you spend an afternoon having a snack at La Moderna?
06:58I haven't seen you since you came back.
07:00Yes, I'll look for a while.
07:02Of course.
07:08What a surprise, you up at this hour.
07:11You didn't go out last night?
07:13A little.
07:14But that didn't stop me from getting up early.
07:17I've been thinking about the conversation we had the other day.
07:20About working at the factory.
07:22And I don't think it's the best thing to do.
07:25So I'm willing to prove to you that I'm also capable of running my own business.
07:30Your own business, wow.
07:32Well, sit down.
07:37What are you thinking about?
07:40Something innovative and groundbreaking.
07:43Something like synthetic fiber, something new.
07:46In which sector?
07:48Well, the truth is that I haven't decided yet.
07:51There are several that catch my attention.
07:53But at the moment I can assure you that I will do my best to make it work.
07:57Okay.
07:58Well, we'll talk about it as you have something more concrete to tell me.
08:03What do you think?
08:07I've seen that Paula's store is closed.
08:09I imagine that the flood must have been a big setback for her.
08:14No, quite the opposite.
08:16Precisely yesterday she sold all her stock.
08:19She had no choice but to travel to Alcazar de San Juan to buy more merchandise.
08:25I see.
08:26First the store is flooded and now she's left without gender.
08:29It seems like it's not an easy start.
08:32Starts, Ivan, are never easy.
08:35But Paula has proven to have tenacity.
08:38Tenacity and ability to overcome the obstacles that have come her way.
08:42You see?
08:44That's what running a business is all about.
08:47I see that you have a lot to teach me about how to run a business.
08:51Hey, what do you think if we spend the morning talking about the different ideas I have for the business?
08:57Ivan.
08:59When you have a concrete idea.
09:02Now I don't have time for digressions.
09:05And now, if you'll excuse me, I have an urgent call.
09:12Okay, I won't bother you anymore.
09:17Bye.
09:31Hello.
09:32Man, Miguel, I wasn't expecting you so soon.
09:34A coffee, a chamomile, a tila?
09:37What I want is for Leonora to leave.
09:40At what point, Cañete?
09:42It hasn't been so bad since you've been living with us.
09:45Thank you for the favor.
09:47No, no, no, I say it as a compliment.
09:49It's much better to live with you than to live with my mother-in-law.
09:51You had your way, we won't deny it, but at least you weren't a sergeant.
09:55Maybe at first I was careless. I'm very sorry.
09:58Yes, and then you went to the other extreme with the chores at home.
10:01But that was bearable.
10:03It's just that Leonora gets me out of bed.
10:05I can't even have my slippers at the door, as I've always done.
10:08Man, Miguel, that woman has to have something good.
10:11She's helping you with the kid, you can't deny it.
10:14At least you have someone to talk to at night, not like me.
10:17Talk? If Leonora questions everything I say, and shamelessly.
10:21Don't you know how scared I am of opening my mouth at home?
10:24You'll be less scared.
10:25No, no, Francisco, no.
10:26I say A, she says B.
10:28I say C, and I say B, and she says C, D, E, F, G, H, I, J, K.
10:32With how much I wanted to be a father and how little I've been enjoying Leon
10:36since the earthquake my mother-in-law caused at home.
10:39Well, that can't be, my friend.
10:41You have the right to enjoy your family.
10:43Yes, of course, but Leonora prowling around the house, that's a chimera.
10:49Was someone talking about my mother?
10:52Well, we were just talking about how good of a couple she makes with Elias.
10:55How happy she was the other day after the walk.
10:58Can you imagine them ending up together?
10:59No, no, no, no, please, no kidding.
11:02I don't want a boyfriend for my mother, much less for Elias.
11:04But it's true that you should start thinking about how to deal with my mother.
11:09Who, me?
11:10Yes, of course, you.
11:11I don't know, I get the feeling that you don't want to try to, I don't know,
11:15make things up with my mother.
11:16It's not a feeling, my love.
11:18Love, if you want things to start changing and getting better at home,
11:22I don't know, you have to come up with something.
11:24Like, I don't know, you can take her out for an ice cream, I don't know, something.
11:28Or you can take her to the Retirement Parks.
11:29Look, this is a good idea.
11:31Of course it is.
11:32If the important thing is that you spend time together,
11:35so that you realize that she is a wonderful woman,
11:38exceptional, fantastic.
11:42Do you see how I'm the last monkey in this family?
11:44Now I also have to come up with something to entertain my mother-in-law.
11:48Cheer up, Miguel, you're going to need it.
11:51And the coffee?
11:52Sorry.
12:12Son, what a joy to see you.
12:15Where have you been so early?
12:18To waste time with my father.
12:20What happened?
12:22The usual.
12:23I went to his office to talk to him about a business I want to start,
12:27and he fired me.
12:28As usual.
12:31You know how your father is.
12:33I know it so well.
12:34I don't care how much he tries, he never takes me seriously.
12:37He's not even capable of dedicating a minute of his precious time to me.
12:40That's not it either, Ivan.
12:41Your father is the first one who wants to see you sit your head down
12:44and in front of a business.
12:46Well, he hides it very well.
12:49Let's see.
12:51Tell me.
12:54Are you clear on what business you want to embark on?
12:59Well, I have several ideas.
13:03But I need to mature them.
13:05And above all, I would like to know that I have my father's trust
13:08so that I can tell him and get his opinion about it.
13:12What if you start by telling your mother?
13:16Well, I knew you had business knowledge.
13:20After so many years in front of my foundation,
13:23I've learned something.
13:27What are you saying?
13:28Thanks for underestimating me, son.
13:31Let's see.
13:33I don't want to advise you on your business,
13:35but I've learned enough
13:37to distinguish between a good business idea
13:40and another doomed to failure.
13:44Ivan.
13:46I trust you.
13:49And your father does it too.
13:51In his own way, I know.
13:53But he does it.
13:55I would like to believe you, Mom.
13:57But it's very hard for me.
13:59I know you have me because I'm the black sheep of the family
14:01and that no one has hopes for me.
14:03No, that's not true, Ivan.
14:04Of course it is!
14:05You've shown it to me many times.
14:07You always put me behind Paula,
14:09or me being the eldest.
14:11Even the maid's son is more important to you than me.
14:14You give importance to Rodrigo that he doesn't have.
14:17He will never be more important to us than you.
14:19Maybe not to you,
14:20but Dad pays much more attention to him than me.
14:23But because he...
14:24Mom, you don't have to lie to me.
14:26We both know that if we were both drowning,
14:29my dear father would save Rodrigo first.
14:31For God's sake, Ivan!
14:32Don't say those things.
14:36You are his son.
14:38His blood.
14:40And against that, nothing or no one can compete.
14:45Well, what's the use of being his son
14:47if I can't get any support?
14:51When the time comes, you will.
14:54And in the meantime,
14:57I will help you as much as I can
14:59so that you can carry your ideas to a good port.
15:01If you want to, of course.
15:06Mmm...
15:09Mother's word.
15:13Thank you, Mom.
15:15I know you're the only one who trusts me.
15:18I won't let you down.
15:22Wait, don't go.
15:26Maruja Pedraza speaking.
15:28Who is this?
15:29Good morning, Mrs. Pedraza.
15:31This is Cesar Morel.
15:34Good morning.
15:35Although I confess that it was the last call I expected today.
15:39What a contrariety.
15:41I hope that doesn't mean you're going to back out
15:43about organizing the Venice Gala at my place.
15:46I'm sorry, no.
15:47I had forgotten.
15:49It's nothing more than forgiveness.
15:51Be careful.
15:52I imagine you'll have a lot to think about.
15:55Well, you don't know how much work it takes
15:58to organize an event like this.
16:00I already told you that I agree with the budget.
16:03And as for the date...
16:05I haven't decided yet.
16:07I didn't call you to rush you on this matter.
16:11Ah.
16:12Well, I can't think of any other issues we'd have to discuss.
16:16Mom.
16:18Well, I know who I'm talking to.
16:20We have a conversation in the middle
16:22and I was hoping we could continue with it where we left it.
16:25I'm sorry.
16:30Mrs. Pedraza, are you still there?
16:31Yes, yes, sorry.
16:33So, what do you say?
16:35I'm a little angry, but I have an egg for dinner.
16:40I can't, Mr. Morel.
16:42It wouldn't be appropriate
16:44to let myself be seen alone with a man in a restaurant.
16:48Besides, I'm a married woman and you know that.
16:52At least you didn't say no.
16:55Trust me, I beg you.
16:57There won't be any problem.
16:58It's a business dinner to close the details of the charity gala.
17:01Being the owner of the place where I'm going to organize it,
17:04understand that I want to have everything well tied up.
17:07When?
17:09Tonight.
17:10If you agree, we'll meet at the Madrid Cabaret at eight.
17:14At the Madrid Cabaret?
17:16It's a place that my son usually goes to, as you know.
17:19I don't know if...
17:20If he prefers another place?
17:25It's fine.
17:27I'll be there.
17:30And I'll be waiting for you here.
17:32I won't take up any more of your time.
17:34See you tonight.
17:35See you tonight.
17:49Good morning, Pietro.
17:50They told me you wanted to see me.
17:52Cañeta and Elías are also attending the tables.
17:55They'll be here as soon as they can.
17:57Okay.
18:00Hey, are you okay? You don't look well.
18:03I don't want to lie to you.
18:05I feel fine.
18:08Let me smell it.
18:11This is the sugar and cinnamon order.
18:13The only thing missing here are the quantities.
18:16But don't worry.
18:17The manager is in charge of that.
18:21What a disaster.
18:24I think I'm much worse than the doctors think.
18:27And so am I.
18:29But don't be sad, man.
18:31These suspicions he has are normal with his diagnosis.
18:34When they operate on him, he'll see that they disappear.
18:37Maybe forever.
18:39We have to consider the possibility that he won't get out of this operation.
18:42Don't say that, man.
18:45Pietro, everything will be fine.
18:49I hope so too.
18:51But I'd be irresponsible if I didn't take measures...
18:54...in the face of the possibility of not surviving.
18:58What measures do you mean?
19:00That's what I want to talk about with you and Elias Cañet.
19:06Here we are, sir.
19:07For what I need, when I don't need it.
19:10Look, Elias.
19:11I want to ask the three of you a favor.
19:13Whatever you want, Pietro.
19:14It's up to us.
19:17Mrs. Teresa, if...
19:19Please.
19:20If you could be so kind.
19:23Here.
19:25And write what I'm going to dictate.
19:29Of course.
19:34Now.
19:36Let's see.
19:37I, Pietro Faziello...
19:44...in full use...
19:47...of my mental faculties...
19:51Mental faculties?
19:53Yes.
19:54...with Teresa Soler as a writer...
20:01...and Francisco Cañete...
20:05...and Elias Tejada...
20:09...as witnesses...
20:10Let's see.
20:11As...
20:14...witnesses?
20:15...I present...
20:17...my last wills.
20:21What are you saying, man?
20:23Please.
20:25I need you.
20:26It's very important to me.
20:28Please.
20:29I need your help.
20:31I beg you, please.
20:32Really.
20:34I need you as witnesses.
20:36Pietro, are you sure about this?
20:38Absolutely, yes.
20:40It's just that Antonia doesn't want to talk about it.
20:44I beg you, Mrs. Teresa.
20:51Look, Pietro.
20:52If you want me to write it, I'll do it.
20:55But believe me, you won't have to.
20:57You're going to get out of the hospital.
20:59And on your own terms, you'll see.
21:01In a few months, this won't be more than an anecdote.
21:04God be with you, Cañete.
21:06I promise I'll make it up to you...
21:08...for the bad time.
21:11Well...
21:13...so be it.
21:15We'll listen to you, Pietro.
21:21First of all...
21:24...I leave...
21:26...in your fruit...
21:29...my house...
21:31...to my wife...
21:33...Antonia Iñonjosa.
21:37First, you can choose between a vegetable pot or gazpacho.
21:41Second, we'll serve chicken with mushrooms and leek.
21:46Is that all you're going to tell me?
21:49If you prefer something else, I can talk to the cook.
21:52But I don't think she'd like to improvise with the menu.
21:55Come on, Pepita.
21:56I can't stand you talking to me from that distance.
21:59It's what the maid is supposed to do.
22:01I only do what I'm told.
22:03And it would be great if our relationship were that of a man and his maid.
22:07But it's not the case.
22:08So come on.
22:09You're telling me what the hell is going on.
22:12You know too much.
22:13If you want to look the other way...
22:15We'll finish.
22:16This is for Rodrigo's scholarship.
22:18That's it.
22:19You're still with that maid.
22:21Partly, yes, but not just because of that.
22:23Oh, my God.
22:24I don't know what I would have done to get you.
22:27Don't take it the wrong way.
22:29She's even thinking of quitting her job.
22:32Another one would have left if they treated her like you did to me yesterday.
22:36You're not serious.
22:41No, you can't do that.
22:43I apologize.
22:44Don't take it the wrong way, woman.
22:46You know how I am.
22:48You can't leave.
22:49Of course I can, Emiliana.
22:51I'm not a slave.
22:52No, no.
22:53I'm not telling you to be.
22:55Of course not.
22:57You know, lately I've been thinking a lot about us.
23:01About everything that brought us together in those days.
23:04When we were young.
23:06In the hacienda.
23:08Do you remember?
23:11Do you remember?
23:13Of course I remember.
23:15But you don't live in the past.
23:17I'm only interested in the future.
23:24Would it help if I told you that I'm going to give a push to Rodrigo's scholarship?
23:30Is that a promise?
23:32Only if you assure me that you're going to forget about that nonsense of leaving the house or leaving the job.
23:39Get them to give you that help and you'll never talk to me about leaving again.
23:45I agree.
23:46I agree.
23:48That's it.
23:49No more talk.
23:51Rodrigo will have his scholarship.
23:53But let it be known that I'm doing it for you.
23:57I also appreciate the boy, yes.
23:59He's very good.
24:01He's loyal.
24:02He's intelligent.
24:03Willing.
24:04I already know that I'm his mother.
24:07Yes, but...
24:08Please, I want you to appreciate the sacrifice I'm making.
24:11Right now, I don't care about Rodrigo.
24:13It's like cutting my hand off.
24:16Everything is for his happiness.
24:19And for yours.
24:22I don't want you to leave for anything in the world.
24:26I'll have a soup, like the lady.
24:29I'll serve you right away.
24:30If you don't have anything else, ladies.
24:33Nothing else, Pepita.
24:34You can leave.
24:43Your work at the foundation has absorbed you.
24:46I've rarely seen you so absent.
24:51That's right.
24:55I can't get it out of my head.
25:04Thank you very much.
25:08I'm very sorry for the bad time.
25:12But it was very important to me.
25:18Let's hope this is something totally unnecessary.
25:25Unnecessary, no.
25:26Sure.
25:27Because, although this time I can survive,
25:31one day I have to die, right?
25:33Early work.
25:36Well, we have to get back to work.
25:41I hope so.
25:57Pietro, what's going on with Teresa and the waiters?
25:59They are extremely serious.
26:01Even Elias is serious.
26:03They will go crazy with the work.
26:05Well, well.
26:06I came to see how things were going around here.
26:09Do you have all the help you need?
26:10Yes, thank you.
26:11The waiters are doing great.
26:13Perfect.
26:14Mr. Fermin, please.
26:17I want you to give this.
26:27Pietro, this is...
26:29Yes, Mr. Fermin.
26:30These are my last wishes.
26:32I was going to go to the office to give it to him, but...
26:36But it's here.
26:39This is Teresa's letter.
26:41That's why they were so serious, right?
26:44Yes.
26:45I ask you to keep it, Mr. Fermin.
26:48And keep it until...
26:51Pietro, look.
26:52I know this is appropriate when one is going to face an intervention of this caliber, but...
26:58I'm sure everything will be fine.
27:02But it may not be.
27:08Mr. Fermin, I want you to be my albacea.
27:12Please.
27:19It's all very simple.
27:21I leave everything to my son and my wife.
27:25Pietro.
27:28I accept the task with the conviction that I will not have to carry it out.
27:33And listen to me well.
27:36If what nobody wants to happen happens, and it will not happen,
27:41know that Antonia will never be alone, much less helpless.
27:45As long as I have La Moderna or any other business, she will have a job.
27:49I assure you.
27:50Thank you, Mr. Fermin.
27:52It leaves me calmer.
27:58It's just that I'm afraid, Fermin.
28:02I'm very afraid.
28:07I'm afraid that this operating room will be the last thing I see.
28:10No, Pietro, no.
28:12You are going to return to Antonio's side.
28:14You are going to return to this worker.
28:16Or do you think I'm going to allow myself to be left without the best baker in the world?
28:21What a job, I tell you.
28:23Of championship.
28:26Pietro, if we can trust someone,
28:29it will be Dr. Quiroga.
28:31He will cure you.
28:34Mr. Fermin, thank you.
28:37Thank you for everything you have done.
28:39Come on, let's go.
28:51I think I need to sleep three days in a row.
28:54What a beating we have hit, huh?
28:56Do you regret it?
28:57No, of course not.
28:59Seeing all the news in my store compensates all the hours of sleep I have pending.
29:05We have been able to turn the tortilla around.
29:07And that seemed to burn us this time.
29:10And let you say it.
29:11In all light we have saved the situation.
29:13Although I would appreciate that for a while you could attend the store without so much overlap.
29:17Hopefully.
29:19It seems that you are going to have an afternoon of the most entertaining.
29:22That for sure.
29:23In fact, we could open now.
29:25I will show them the garments while I take them out of the boxes.
29:30Can you imagine that I create a new fashion?
29:33Stop fantasizing, Aranda.
29:35What interest can it have to see a person unpacking boxes and showing what is inside?
29:45Good afternoon. Come in.
29:49Good afternoon, ladies.
29:51Allow me to tell you that you are going to see first
29:54the new genre that we have brought from Alcazar de San Juan.
29:57See if it is new, that we have not even taken it out of the boxes yet.
30:01Take your time to contemplate everything that is on the covers
30:05and then we go with the interior of the boxes.
30:13What a face you make.
30:17Good afternoon, Paula.
30:18Good afternoon.
30:19Hello, Rodrigo.
30:20I have to tell you that you are being the food of the whole city
30:23with that of the new trends in your store.
30:26Excuse me, I leave you alone.
30:27I have to meet with Don Emiliano and he is not a man who tolerates delays.
30:32If you need anything, I will attend you right away
30:35because I imagine you will have to go to Madrid Cabaret.
30:38Oh, no, no.
30:39Today I have the day off.
30:40There is a private event and, well, César is the one in charge of that kind of mess.
30:44Well, in that case, look, everything you want.
30:47And if you need anything, let me know.
30:49Because I imagine you have come to see clothes
30:52and not to warn me that Iván continues to get involved as always, right?
30:55Things are better with Iván than ever.
30:57Yesterday he was in our place enjoying a first-row performance.
31:00There was no problem with anyone.
31:02Not even with César?
31:04Not even with César.
31:06Apparently, this thing of having older brothers is not as good as it looks.
31:11And let him say it.
31:12They take one on the path of bitterness.
31:15Hey, what about the private events?
31:18Is it done a lot in Madrid Cabaret?
31:20Sometimes.
31:22I can't tell you much either,
31:24but I suppose some celebrity or someone like that will have rented it.
31:28I can already see you hanging out with the most prominent person in Mercedes society.
31:32If that happens, I hope you will continue to wear the clothes from my store.
31:35Count on it.
31:37About wearing the clothes from your store.
31:39About hanging out with celebrities ...
31:41I don't have it that clear, huh?
31:43By the way, let me show you a blouse that I think will suit you great.
31:47It's just that with those eyes ...
31:51Let's see.
31:53Hey!
31:54How is it?
31:55Well, the color is beautiful, right?
31:57Do you want to try it on?
31:58Yes.
32:01You should have seen him writing his last wills.
32:04Don't do that to me, Miguel.
32:06When you want to dictate your last wills, you look for another.
32:09I'd rather not think about it.
32:11I'd rather not think about it.
32:13In fact, I'd rather stop talking about last wills, to be honest.
32:16Me too.
32:17Hey, have you thought about where you're going to take your mother-in-law?
32:20Well, no.
32:21Anyway, I know she's going to refuse to hang out with me.
32:24Maybe if you get Elías involved, she'll think about it.
32:27Not for you, for him.
32:28What?
32:29Going by carabiner counts as hanging out with Leonora?
32:34Take care of Miguel.
32:35I think I have the solution to your problems.
32:38What if I take Elías out with your mother-in-law this afternoon?
32:41But not just this afternoon, but every day.
32:43I don't know where you want to go.
32:46I want to get to the point where Leonora and Elías spend time together.
32:50That way you'd get her out of your head because your mother-in-law would be out there,
32:53peeling the peach.
32:54Let's see, Francisco.
32:56Maybe the idea of finding Leonora a boyfriend...
32:59Okay, but the candidate?
33:01What's wrong with Elías?
33:02What's wrong with everything?
33:04Tell me just once that, being in the middle, things have gone well for us.
33:07Besides, my mother-in-law made it clear that she didn't want to spend any more years with him.
33:11But that can be reversed, Miguel.
33:13You know my theory.
33:14Insist, insist, and insist again.
33:16Look, don't talk to me about your theory.
33:18But there are examples, Miguel.
33:20Do you want me to give you one?
33:21Myself.
33:24But if you want to keep looking for another candidate, go ahead.
33:28But the one you have set up at home,
33:30and the specialist your mother-in-law is,
33:32you won't have it easy or fast.
33:34You're right about that.
33:35I'm not in the mood to play house.
33:37That's the first thing.
33:38Besides, the spark between Elías and Leonora has already blown.
33:41We just need to give them a push so that the flame lights up again.
33:45Yes, but reviving that flame involves risks.
33:47We're talking about Elías.
33:48With his overwhelming personality, so to speak,
33:50it's easier for him to scare Leonora into falling in love with him.
33:53You'd better tell me.
33:54Because if he falls in love with her,
33:56he'll kick your mother-in-law out of the house to court her.
33:58And if he scares her,
33:59your mother-in-law will take the door and leave,
34:01to lose sight of her.
34:04In both cases, there's only one beneficiary.
34:06You.
34:08Elías is a winning horse.
34:09You look at him as you look at him.
34:12Let's suppose we give your idea a green light.
34:15What do we do with Trini?
34:16You've heard her.
34:17She doesn't want to see her mother with anyone,
34:19especially not with Elías.
34:20That's because Trini is delighted that her mother is at home.
34:23But if her mother falls in love or decides to go back to Fuencarral,
34:26she has to accept it.
34:28What do you say?
34:29You're a genius.
34:30You're a genius.
34:31Your plan has no flaws.
34:32It's perfect.
34:33No matter what happens,
34:34Leonora will leave my life.
34:35We'll have to act behind Trini's back,
34:37but it's worth it.
34:44Boss, I'm leaving now,
34:45as we had agreed with the commission.
34:49What's wrong with you?
34:50You look at me like a child to a candy.
34:52Nothing.
34:53What?
34:54You look like a figurine.
34:55No, thank you very much.
34:57What?
34:58No, thank you very much.
34:59I've said it.
35:00I'm leaving.
35:08Yes, yes.
35:09Of course, they're of the best quality.
35:11Do you think they'll like it?
35:12Of course they will.
35:13Paul has known how to recommend us perfectly
35:15according to the personalities of the girls.
35:17I think we've hit the jackpot.
35:19Thank goodness I have you for these things.
35:22And what do we do with the complements?
35:24Well, I think we should take it too.
35:26Paula knows perfectly well how you saw Laurita
35:29and how you saw Inés.
35:31Perfect.
35:32Look, you see?
35:33Each handkerchief is different.
35:35Sorry for the delay.
35:36You know we brought the genre today
35:38and everything is still a bit messy.
35:40No, there's nothing to forgive, darling.
35:42You've opened the store a lot today
35:44with all the setbacks you've had.
35:45Yes, yes.
35:46Anyone would say that it flooded two days ago.
35:48You can't see it, you can't see it.
35:49Not a single imperfection.
35:50There are.
35:51There are, Mr. Fermin.
35:52But they occurred especially in the back store.
35:54A stroke of luck.
35:55Given the circumstances.
35:56Your wife was very kind
35:58recommending me to the team that works for you.
36:00It's the least I could do.
36:02But going back to the dresses,
36:03I've brought these handkerchiefs
36:05that I think complement both sets perfectly.
36:07They're a first.
36:08The truth is that they seem to have been made for dresses.
36:12Well, we'll take them all.
36:14Yes? Great.
36:16Of course, Fermin.
36:17You're the client that any store would like to have.
36:20No, no, no, no.
36:21Don't even think about it, Mr. Fermin.
36:22You're like a brother to my father.
36:24I'll give you these dresses.
36:26No way.
36:27In these first moments
36:28is when a business needs all the possible income.
36:31And I refuse to pay you everything,
36:33everything I get.
36:34Look, I don't give a damn about my father, huh?
36:36I don't give a damn either.
36:37And see how your father feels
36:38that his daughter wants to lose money on her own will
36:41when she just opened a business.
36:43You know how to play your cards well.
36:45I don't give a damn.
36:46I don't give a damn.
36:47You know how to play your cards well.
36:49Yes, I'll charge you.
36:51But I'm going to give you a discount.
36:53And I don't deny that.
36:54I accept because I see that the store is going like a bullet
36:56because since we've been here,
36:57customers have stopped coming in.
36:59With 25 pesetas, there will be quite a lot.
37:01Well, and it's plenty.
37:04Well, it's been a pleasure, Paula.
37:06I think we'll let ourselves fall a lot around here.
37:09Thank you very much.
37:11Ready, Cielo?
37:12Yes, yes, yes, yes.
37:13Goodbye, darling.
37:14Have a nice day.
37:17Can I help you with anything?
37:47No.
37:52So you have an answer.
37:55I will join the French secret service.
37:57That's what they wanted, right?
37:59That's why they told me that Eduardo died fighting the Germans.
38:04Is that okay?
38:06Yes, very good.
38:07I don't know how you do it to keep all this text in your head.
38:11Well, one thing is to keep it and another is to say it with truth.
38:14Well, you do both.
38:16You pronounce things perfectly, Inés.
38:18Besides, you give the text a lot of intention and a lot of meaning.
38:22I think you've chosen the right character.
38:25No, what I have is a tremendous luck
38:27to have you as an assistant and as a partner.
38:30Stop it, those are big words.
38:32I have a very small, secondary role.
38:35I wouldn't have accepted anything more important either.
38:37Well, never say never.
38:39I'm sure Ballesteros has insisted to the point of satiety.
38:43I don't really know what that man has seen in me.
38:48Don't laugh, Inés.
38:49I have a lot of pressure on me.
38:51No, it's just that I want to meet his expectations
38:53and I don't know what he likes about me.
38:55But that's not what makes me laugh.
38:57Then?
38:59Do you remember the toy theater we had when we were little?
39:02Of course, how could I not remember?
39:04We spent hours and hours playing with those dolls on stage.
39:10Marina and María.
39:12The truth is that we weren't very original
39:14putting names on the dolls.
39:16No, and we made them interpret each and every one of the stories we knew.
39:21And sometimes you made them up.
39:23Well, none of them had the slightest sense.
39:25Do you remember what my favorite was called?
39:30The dwarf Altarín, right?
39:32Yes.
39:33Well, and I'm sure the dolls also remember.
39:36Sometimes you made them sing the little song from the story.
39:41You still have that naturalness and that candidness that you had as a child.
39:46And I guess Ballesteros has noticed.
39:51Well, whatever it is, my sister has a lot of text to review.
39:55Yes.
39:58So, does Héctor know?
40:01His men told me all the details.
40:04And I remind him that we were engaged.
40:06He had the right to know what happened to him.
40:10Yes, yes, the text, yes, but you sounded a little strange.
40:15As if you didn't finish believing it.
40:17Try to say it with more conviction.
40:19Let's see, like this.
40:21His men told me all the details.
40:24And I remind him that we were engaged.
40:26He had the right to know what happened to him.
40:30Yes, yes, yes, like that.
40:32Much better, you do it like this time, okay?
40:35I have the best assistant in the whole world.
40:38You deserve that role in the movie.
40:45Thank you very much.
40:54And thank you very much for inviting me, Miguel.
40:56You're welcome, man.
40:57But let's go to what interests us, let's not get distracted.
41:01But there is more.
41:02Much more.
41:03You don't know how my mother-in-law is.
41:04If you mess this up, if you mess up the other thing.
41:06It's amazing how your personality has caught Leonora's attention.
41:10Well, I'm amazed.
41:12Because this is the last thing I could expect.
41:14Let's see, Leonora told me the last time.
41:17Clearly, she made things very clear to me.
41:19There couldn't be anything between us.
41:21You said it the last time, a long time ago.
41:23You know that people change, and where they say Diego, they say Diego.
41:27Or Elias, in this case.
41:29Arreo, Miguel.
41:31What, am I using Leonora?
41:33I can't believe it.
41:34Well, believe it.
41:35There's just a little problem, no big deal.
41:38Tin, who is very protective of her mother and, let's say, reluctant to see her in a relationship again.
41:43A little problem?
41:45It's an infringement.
41:47No, no, man, no.
41:48Infringement, no.
41:49What I see that there may be between my mother-in-law and you is so beautiful.
41:53But so beautiful that no one can get in the way of that magic you have.
41:58Really, Miguel?
41:59Do you really think so?
42:02Cupid has shot his arrows.
42:05And Trini can't put sticks on the wheels of the love that has already begun to spin.
42:09Leonora and you are destined to be together.
42:12Arreo, Miguel, these are big words.
42:15But I didn't know I had made Leonora so strong with me.
42:18And much more.
42:19How beautiful is the love that comes when you least expect it.
42:24Yes, I already told you.
42:25I didn't expect this.
42:27Well, let's see, if I look back, I shouldn't be surprised either, but ...
42:30So, when are you going to ask her to start a relationship?
42:33Behind Trini's back, yes.
42:35We'll tell you more about it later.
42:36Let's see, Miguel, calm down, calm down.
42:39And good food.
42:40These things can't be taken lightly, man.
42:42Elias.
42:43What?
42:44Valor and bull.
42:45Life is two days.
42:46We are not going to lose more wings.
42:48You will see the joy we are going to give her.
42:50No, wait.
42:51Mother-in-law!
42:52Come out, you have a visitor.
42:58But you can know what that voice is coming from.
43:00You're going to scare my grandson.
43:02Oh, what a joy to see you, Elias.
43:05Oh, what a joy.
43:06Likewise, Leonora.
43:07Well, I mean, Nefertiti.
43:09Let's see what a coincidence.
43:11Yes, right?
43:12Well, not so much coincidence.
43:15Why?
43:16Because you are in the tavern of my Corrala.
43:18My Corrala.
43:19The tavern of my Corrala.
43:21Well, next time let me know and I'll make you a snack or something.
43:24Now I'm going to spoil my dinner.
43:26Hey, what did I tell you?
43:27What a joy to see you.
43:28Yes, likewise.
43:29In that uniform.
43:30It's ugly.
43:31You look good in the jacket.
43:32Yes?
43:33Well, nothing.
43:34Well, nothing.
43:35Goodbye.
43:39Oh, Miguel.
43:40It's going to be true.
43:41May the winds drink for me.
43:45If all I say is that it was very risky.
43:48That there were many things that could go wrong.
43:51But a good businessman taught me that whoever does not risk does not win.
43:55And you see that I was right.
43:57And that you say it.
43:58The maneuver has gone out of mouth.
44:01I'm exhausted, but it was worth it.
44:04It's a valuable lesson, Paula.
44:06You see, every sacrifice ends up having its reward.
44:10Keep that.
44:12It will be very useful for you to survive in the business world.
44:15Right now what I need to survive is to sleep long and tight.
44:19I'll have something to eat quickly and I'll go to bed.
44:22You've earned it.
44:24So you're not going to reproach me for anything?
44:28Of course not.
44:31I am very proud of you.
44:33Seriously.
44:37You just have to come to work with me.
44:39Father, we've already talked about that.
44:42You know that that doesn't go into my plans.
44:44Neither short-term nor long-term.
44:45Yes, yes, no, no.
44:46If it was very clear to me.
44:47But what do you want?
44:48I am a man who does not easily lose hope.
44:50Then you reproach me that I am very stubborn.
44:52But I have someone to go out to.
44:54No, no, no, Graciosilla.
44:55It's not the same.
44:56Mine is tenacity.
44:57It's different.
44:58Take my insistence as a compliment.
45:00Because I only want the best on my side.
45:02And I am.
45:03You?
45:05You are a fighter.
45:07A tireless fighter.
45:09You suffered a setback and you knew how to turn it around to turn it into an advantage.
45:14I love that.
45:16Although it is for the good of my business and not yours.
45:20Daughter, that you are not working with me in my company does not mean that you do not make me happy with your successes.
45:25I want you to do well.
45:27You are an example of the commitment that must be made to start a company.
45:31Is that an indirect one?
45:33No, it's a direct one, Ivan.
45:35In every way.
45:36Because if you really want to start your own business, you're going to have to listen to a lot of advice.
45:41All possible advice.
45:44And look at how your sister is trying.
45:47She was almost better when you ignored my presence.
45:50Is that true, Ivan?
45:52Do you want to start your own business?
45:55I see you don't trust me.
45:58Don't worry.
45:59You're not the only one.
46:00No, it's not that.
46:01It's just that I was caught by surprise.
46:03You've never mentioned anything about wanting to start your own business.
46:06What's wrong?
46:07Can't I have concerns?
46:09No, of course.
46:10In fact, I'm glad you want to start your own project, whatever it is.
46:14If you need my help, you can count on me.
46:17Please, don't come to me with those little sisters.
46:20We know that the only one who trusts me in this house is Mom.
46:23Watch what you say, Ivan.
46:25I also trust you.
46:27Please, Dad.
46:29Your mouth sounds much more false than Paula's.
46:32I'm going to take a walk.
46:34I'll leave you to the businessmen to talk about your things.
46:36If you go to Madrid Cabaret, you can save the trip.
46:39Mercedes has told me before that today they have closed for a private event.
46:44It will be for venues in Madrid.
47:07I'm glad to see you, Mrs. Pelletaza.
47:09I say the same thing.
47:12Have you closed this for me?
47:15For us.
47:17I already told you that it would be a discreet place.
47:20Although that has meant that I have had to personally take care of the dinner.
47:24Let's see.
47:26Let me tell you that that table looks very good.
47:31Let me tell you that you also look very good.
47:35And he says you have prepared the dinner?
47:37No.
47:38He has commissioned one of the best restaurants in the city.
47:41I see.
47:43Then it will be better to take care of her before she gets cold.
47:46Don't you think so?
47:48I think so.
47:50But first, if you don't mind,
47:52I get used to having a glass of champagne before starting to have dinner.
47:58You have taken great care of the details.
48:01You have taken great care of the details.
48:04I didn't expect this reception,
48:07or that we would have dinner here.
48:10I thought you would have booked a private room in a restaurant.
48:14Don't you like Madrid Cabaret?
48:16No, no, of course I like it.
48:18The truth is that I like this idea more.
48:21I'm glad.
48:22Putting you in a commitment is the last thing I want.
48:25I appreciate it.
48:27These are few moments of peace and quiet that I have.
48:33And this is one of them?
48:37Yes, that's how I feel.
48:40You see?
48:42Locked up between these four walls.
48:46I feel freer than when I'm on the street.
48:49You can be calm here.
48:51We can chat quietly without anyone interrupting us.
48:56What should I interrupt?
49:00Your smile.
49:05I would like you to be smiling all night long.
49:26Cesar.
49:31I have not kissed any other man other than my husband.
49:46And this phone number?
49:48It's Elena Cavalieri.
49:50I'm officially hunting with some clients.
49:52You only have it.
49:54I'll give it to you so you can call me if something serious comes up.
49:59I don't like this nonsense.
50:02I found out that yesterday, in the afternoon, you and Leonora...
50:07Don't tell me you won and he's so modest you don't want to show off.
50:12I think you forgot you have a list of pending tasks to do
50:16since you moved to this house.
50:18A list of tasks? I don't know what you mean.
50:21You can start with my bedroom.
50:23What do you think if we get Sagrario back?
50:27What do you think?
50:31Pietro was talking to Mr. Fermin this morning about looking for a replacement.
50:35They already have someone.
50:37He won't look like Sagrario, will he?
50:42Not at all, Mrs. Laura.
50:44He's going to make me blush.
50:46They're going to film me with a camera and put it on the big screen.
50:50People are going to see it.
50:52I'm nervous.
50:53Have you seen Mrs. Lazara's jewelry?
50:55Why wouldn't I?
50:56Those boxes are from the jewelry store on the corner.
50:58I told you yesterday that I think this woman
51:00is spending money on a jewelry store.
51:03We don't know what's in those boxes either.
51:08And action!
51:10I was waiting for you.
51:12Here I am. Is it important?
51:14You're already working for Mr. Fritz.
51:16Are you finally going to organize a charity event in Madrid-Cabaret?
51:20I'm not sure yet.
51:22Have you gone crazy?
51:23Did you lose a screw or what?
51:25I could only speak for myself, but the truth is that I'm a little crazy and that I've gone crazy.
51:28Do you think it's worth risking yourself like this?
51:30I have the feeling that someone is following me.
51:32Any thought that it's a joke or something like that?
51:34No, no, no, no, it has nothing to do with that.
51:36It's, I don't know, a feeling.
51:39Bring us a bottle of champagne.
51:41And if anyone wants anything else, ask for it.
51:43I don't know how you can stand him.
51:45Ivan?
51:46Yes, Ivan Pedraza.
51:50There are things that are not chosen.
51:52I can't believe you like that kid.
51:56You don't need to listen to her to know what's going on.
51:59I've never seen her like that, really.
52:01That candidness, that innocence, that truth.
52:04There is no trace of the interpretation.
52:06It's all natural.
52:12I fully trust you, Rodrigo.
52:14And I envy you.
52:15I envy you for that perfect harmony that you seem to have with Paula.
52:18I know that being in your company, I have nothing to worry about.
52:21This morning you thanked me for what I do for you.
52:24And you made me feel bad.
52:27Feel bad? Why?
52:30Because I felt like a fraud.
52:33An impostor.
52:35Let's see if now you're going to want to tell him about us.