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Información de la película aquí: https://www.filmaffinity.com/es/film145264.html
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00:00:24Thank you!
00:00:58Thank you!
00:01:25Thank you!
00:01:40Every day, at all hours, things happen in this wide world.
00:01:45Sad or happy things, serious or insignificant things, beautiful or ugly things,
00:01:50but in which, always, after the seemingly capricious play of luck,
00:01:55The risks of making a mistake and the advantages of not harming anyone can be foreseen.
00:02:02Oh, it's cold!
00:02:03Nothing, you're going to be in luck, Carlos.
00:02:05We'll see.
00:02:07The truth is that it's not certain yet, but...
00:02:08Come on, come on, when you say that...
00:02:10So you're going to get married, right?
00:02:12You will marry Pituca soon.
00:02:13Don't rush things, but if you really want to, don't come with Bobar now.
00:02:16Yes, Pituca deserves it.
00:02:18Pituca is a slab and you should get her out of that job as soon as possible.
00:02:20Okay, I'm leaving because I'll be waiting for you.
00:02:22See you later, okay? I'll call you on the phone.
00:02:24Goodbye, Incaia, Carlos!
00:02:25Bye bye!
00:02:30Goodbye, Incaia!
00:02:35Goodbye, Incaia!
00:02:37Goodbye, Incaia!
00:02:41Goodbye, Incaia!
00:03:09Goodbye, Incaia!
00:03:29Well, you won't miss it tonight, will you?
00:03:31You owe me a rematch.
00:03:32Well, you see, I don't know, I have something to do.
00:03:33What should you do?
00:03:34Come on, Duke, don't give us any of that nonsense.
00:03:36Is she blonde or brunette?
00:03:37Maybe I'll take Lina out for a bit.
00:03:39But it still lasts.
00:03:40She's a little girl who's worth it.
00:03:42I don't know, now I remember that the fashion designers are having a party at the Palace
00:03:44And maybe Lina will have to go.
00:03:46Okay, okay, I'll call you.
00:03:47Remember that you've won 80,000 from me, Gonzalo.
00:03:49The other night I lost over 100,000 at the gambling den, you see.
00:03:52Well, don't undo the game for us.
00:03:53We'll see, I'm going to look for Lina and then I'll call you.
00:03:55See you later.
00:03:56Goodbye, Gonzalo.
00:03:57Bye bye.
00:04:24Madrid can sometimes be very cheerful.
00:04:26It isn't true?
00:04:28Here, right now, in that wide doorway we have in front of us.
00:04:33It's going to liven up the Madrid sidewalk
00:04:34when they opened the cage to all the lovely girls
00:04:37who work in Amaro López's haute couture.
00:04:40A very good and very expensive fashion designer.
00:04:49The duke also wants to share in this joy,
00:04:53even if the wait costs him a few cigarettes
00:04:55and perhaps his liver will become agitated with impatience.
00:05:03But it's already half past one and all these women are starting to come out.
00:05:07Some are models, and of course, they dress wonderfully,
00:05:10although their clothes sometimes come off a little because of the wind
00:05:13Even if a monkey dresses in silk,
00:05:15But anyway, they do the trick and we can't ask for more.
00:05:17Wow! Here comes Kiki!
00:05:19none other than Kiki, the most famous model in Madrid.
00:05:23And this is Ole, who not long ago was a graceful gypsy.
00:05:27These aren't that important,
00:05:28They are the ones who sell, the ones who cut, the ones who embroider or sew,
00:05:31But perhaps, although they are not as well dressed as the models,
00:05:35walk more safely through life.
00:05:37And now Lina, the duke's daughter, will come out.
00:05:40Pituca and Alfonso, who is also from the house.
00:05:43There you have it, beautiful, it never fails.
00:05:45Why would it fail me?
00:05:47He always insists on coming to find me.
00:05:49Be careful, don't take my weapon away.
00:05:51There's bad blood around here.
00:05:52I'll try.
00:05:53See you later.
00:05:54Goodbye, and don't forget that the collection starts at six.
00:05:57How come I can't get in?
00:05:57It doesn't matter, it doesn't matter, some might fail.
00:05:59And Don Amaro wants you to be there.
00:06:00Well, I'll be there, see you later.
00:06:02Good.
00:06:02Are you coming over for lunch?
00:06:03The duke is waiting for me.
00:06:04Can't you see the car?
00:06:05But he still hasn't given you your passport, kid.
00:06:07I don't trust the old man.
00:06:08Don't worry, daughter, I don't trust anyone, you know?
00:06:10Nobody's.
00:06:10You're doing the right thing, beautiful, see you later.
00:06:12Really?
00:06:13Really?
00:06:13Great news?
00:06:14Tell me, tell me.
00:06:15No, let's get out of here, I don't like those gossips at all.
00:06:17Well, they're really pretty, Carlos.
00:06:19I'll tell you.
00:06:20Besides, I only like you.
00:06:27Go up.
00:06:41It's not coming down, Tona.
00:06:43He stayed upstairs complaining on the phone.
00:06:44With Marta, of course.
00:06:46Tona is acting strange, isn't she?
00:06:48The wedding, woman.
00:06:49The wedding.
00:06:50Oh, there are nothing but weddings here anymore.
00:06:51Tona on one hand, the corny rich girl on the other.
00:06:54The house is getting disgusting.
00:06:56That?
00:06:56Shall we go?
00:06:57Let's go.
00:06:59Oh my god, they're going to send me the food!
00:07:01Who?
00:07:01Well, who else could it be?
00:07:02The ambassador and the others, my friends?
00:07:04Well, look, daughter, these aren't times to be wasting money foolishly.
00:07:07We're going to have a snack and then we'll come back and eat all that.
00:07:10What do you say?
00:07:10Well, that's going to be the best thing.
00:07:12And so we get a little break from men.
00:07:14Then?
00:07:15No, you come with us, this has nothing to do with you.
00:07:18No, thank you, beautiful.
00:07:19I also want a break from women.
00:07:25Oh, what a nuisance.
00:07:27Hail a taxi and wait for me a little further down.
00:07:29If you prefer, we'll get dirty.
00:07:31Now, because it seems that the chicken is coming on strong.
00:07:33No, no, keep me there.
00:07:37Excuse me, but I wanted to talk to you.
00:07:39I think it's ridiculous that you insist.
00:07:40I love you, Kiki, I can't forget you, I can't.
00:07:42It's not possible that we'll end up like this.
00:07:44Yes, it's possible, Javier.
00:07:46You have your life, your young life.
00:07:48And mine is much less young.
00:07:51And much uglier.
00:07:52What does all that matter?
00:07:53I will never leave you, never.
00:07:56We all always abandon each other.
00:07:58You'll learn it as you go.
00:08:00Come on, don't be a child, they're waiting for me.
00:08:02You might regret this.
00:08:07Maybe, darling.
00:08:10Love can be sad, like Kiki's.
00:08:13or cheerful like Pituca's.
00:08:15But deep down it's always the same.
00:08:18Although it may seem new to those who pass through it.
00:08:20Perhaps that's why, for those of us on the outside, it all seems a bit cloying.
00:08:25It isn't true?
00:08:27But who could give it to us again?
00:08:32I really want to have you all to myself all day long!
00:08:35Do you love me a lot, Carlos?
00:08:38I adore you.
00:08:39Me too, darling.
00:08:41God willing, you'll have good luck.
00:08:43Honestly, honey, I think after how the chief engineer greeted me this morning,
00:08:47It's a done deal.
00:08:48But we need to clarify the salary issue, you know?
00:08:49How much do you think it will be?
00:08:51Uh, at least four thousand.
00:08:53That's not too bad considering I finished my degree last year.
00:08:56You are worth a lot, Carlos.
00:08:57And then there's having to go to the Villaverde factory twice a day...
00:09:00They'll give me a ride, silly girl.
00:09:02You'll call me this afternoon, right?
00:09:03Yes, as soon as the interview is over.
00:09:05You know I don't pass on any models from the collection.
00:09:08I would have loved to wear the wedding dress.
00:09:11But of course, the others are cuter.
00:09:17Maybe I'll buy it for you so you can wear it at our wedding.
00:09:20Do you really want us to get married right away?
00:09:22Escape, baby!
00:09:23Don't let any of that rub off on you.
00:09:25Perhaps they're not as bad as they seem.
00:09:27Sometimes I feel sorry for them.
00:09:29Especially, silly.
00:09:30Wasn't she going to marry that millionaire?
00:09:32Yes, but I don't know.
00:09:34Well, handsome, we're running late.
00:09:37Let's go.
00:09:38And don't worry about the suit, okay?
00:09:40Me, what a silly thing to say.
00:09:44Young love, hopeful love, is always like that.
00:09:52Passion is more intense, more dramatic than love.
00:09:55It looks much more interesting and enjoyable from the outside.
00:09:58But it's best to avoid it because it always leaves a sore and bitter aftertaste.
00:10:05Taxi! Taxi!
00:10:06It seems like there's a rush, huh?
00:10:08And while some love each other perhaps a little sentimentally,
00:10:11Others are destroyed with fierce violence.
00:10:14Sometimes, in just a few hours, the fate of some lives is decided.
00:10:17that chance has capriciously linked amidst the daily rush of the city.
00:10:21Some of those lives rise towards simple and good happiness
00:10:24God willing, it will last for many years.
00:10:26Taxi! Taxi!
00:11:05Taxi!
00:11:21Faster, please
00:11:22The contraption won't run anymore, miss.
00:11:24But don't rush
00:11:26She'll be waiting for her
00:11:27Whoever
00:11:49Whoever
00:12:07I always see it in your mouth
00:12:11The Happy Kiss
00:12:13What does your love have?
00:12:18I always see it in your eyes
00:12:21The fatal flame
00:12:23And from our passion
00:12:26Don't let me get away from you
00:12:32We must remember
00:12:35That everything comes to an end
00:13:07Love in death
00:13:09Yes, yes, ma'am
00:13:10But the number doesn't answer.
00:13:12Open another line
00:13:25Don't let me get away from you
00:13:27Don't let me get away from you
00:13:27Don't let me get away from you
00:13:43Paco
00:13:52Paco
00:13:53Paco
00:14:13Don't let me get away from you
00:14:16Yes, mother
00:14:46Thank you!
00:15:16Thank you!
00:15:46Thank you!
00:16:07Thank you!
00:16:45Thank you!
00:16:49No, sir. Number 3 is not responding.
00:16:51The fact is that I haven't seen Mr. Paco come out this afternoon.
00:16:55Yes, yes, he's been very insistent, sir. Didn't you hear him?
00:16:57Maybe he's in the bathroom.
00:17:01Please call back in a little while.
00:17:03Don't worry. If he goes out, I'll tell him.
00:17:05Goodbye, sir.
00:17:13Hello? Hello? Is this London?
00:17:15Yes, this is Madrid speaking. Just a moment.
00:17:20Listen, I'll put London on for you, Mr. Hicks.
00:17:46Thank you! Thank you!
00:17:48Thank you!
00:17:57Thank you!
00:18:06Thank you!
00:18:14Thank you!
00:18:16Thank you!
00:18:16Rosario has already gone up on foot.
00:18:18You need some exercise!
00:18:20You don't mean to say I'm fat now, do you?
00:18:21I'm stuck on the scene with your nonsense.
00:18:24Isn't it true that one is better made than those brooms with skirts that are walking around?
00:18:27Look at that one going up the stairs. She's nothing but bones.
00:18:32There are bones made of bone, Rosario. Bones with substance.
00:18:36Weren't you going to say that...?
00:18:37Oh no! I'm not saying anything. I never say anything. God forbid.
00:18:52Thank you!
00:18:54Thank you!
00:18:54Oh!
00:19:07Escorial number 7.
00:19:09Number 7.
00:19:11Number 7.
00:19:13Come on, Tona, it's time.
00:19:15Because these things aren't done on a day like today.
00:19:17It seems unbelievable.
00:19:19I thought he wasn't going to make it. Ramón's car has a flat tire.
00:19:24Are you sure it was Ramón's car?
00:19:27Are you sure, Tona?
00:19:31Will you leave her alone, Kiki?
00:19:33Well, well
00:19:34When I say...
00:19:35When you say that...
00:19:37Ignore him, just
00:19:38You know how it is.
00:19:39A woman shouldn't have to put up with certain things.
00:19:42Especially when one could spew so much garbage through one's tongue
00:19:46If I wanted to download everything I know
00:19:47Go on, get out now, it's your turn.
00:19:51Girls, what a success!
00:19:52I've already got the millionaire crazy
00:19:53That mulatto who looks like a soy monkey
00:19:56Look, for today, focus on the house's successes
00:19:57But I do think he's going to buy my models
00:19:59You can give me a little present now, Don Amaro.
00:20:01Because if my duke is also encouraged
00:20:10Yes, woman, as a truth
00:20:16A comb
00:20:18What happened to you?
00:20:19Did things get sorted out?
00:20:20No, Marta, nothing was fixed
00:20:21Does he persist with his threats?
00:20:23Yes, he insists
00:20:28Take it with you
00:20:31He's a disgusting pimp.
00:20:33I always told you, Tona
00:20:35So many things are said
00:20:37That storyteller's true colors are immediately apparent.
00:20:39I can't understand how you could have listened to him.
00:20:42You see?
00:20:45Then you haven't managed to convince him.
00:20:47He'll be able to ruin everything with that job.
00:20:50It seems unbelievable.
00:20:53No, for God's sake!
00:20:54Don't cry
00:20:56You know we can't cry here.
00:20:58If you broke up
00:21:00Has Ramón found out?
00:21:02Ramón
00:21:03You don't even remember Ramón anymore.
00:21:05I wasn't thinking about that right now.
00:21:07You scare me, Tona
00:21:08You're not going to do anything stupid with that look on your face, are you?
00:21:11Please don't insult him anymore.
00:21:12I think you've forgotten your brain again.
00:21:15No, I assure you that's not the case.
00:21:17Well
00:21:18You'll tell me all about it.
00:21:19I'm going to the living room
00:21:20We'll talk when I get back
00:21:21And try not to let your discomfort show.
00:21:24Because the boss isn't in the mood for jokes, sweetheart.
00:21:26Americans don't bite, you know?
00:21:32Come on
00:21:33Are you still here?
00:21:34What's wrong with you all today? Why are you so calm?
00:21:40Cadiz
00:21:40Number 10
00:21:42Number 10
00:21:43Number 15
00:21:57Number 15
00:21:59Number 15
00:22:01Number 15
00:22:03Number 15
00:22:04Number 15
00:22:05Number 15
00:22:05Number 15
00:22:05Number 15
00:22:06Number 15
00:22:06Number 15
00:22:06Number 15
00:22:17They applauded me, ladies. You can all burst with envy now.
00:22:20Who is it?
00:22:21Who are they going to be?
00:22:22Well, everyone, every single one, everyone.
00:22:24Don't pay any attention to him.
00:22:25It was her little scheme, and every time you see it, she's drooling with delight.
00:22:28And that's all the poor thing is going to leave him.
00:22:30Drool, nothing but drool!
00:22:33Are you there yet?
00:22:34Let me see you for a moment.
00:22:38It's very nice.
00:22:39It's one of Don Amaro's favorite models.
00:22:42Creating girls.
00:22:43I'm creating it.
00:22:45However you look, boss, you're going to lose your hair.
00:22:47Go on and try to show off the dress without thinking so much about your problems, girl.
00:22:58Have you seen the look on his face today?
00:23:00Haven't you heard that he stabbed his Ramón?
00:23:02Maybe he had to help him inflate the tire.
00:23:05Because men are disgusting.
00:23:07And as soon as one of them lets their guard down, what then?
00:23:10Well, they're taking advantage, daughter.
00:23:11What are they abusing?
00:23:12That Ramoncillo guy seems a little clueless to me.
00:23:15And if he's not careful, they're going to leave him high and dry.
00:23:17But do you think she's getting married?
00:23:19I mean, I've already told you about Don Amaro's wedding.
00:23:21And what about Paco?
00:23:21That ended a long time ago, my sister.
00:23:23You think?
00:23:24Well, the other day someone called her on the phone who had the same voice as her.
00:23:27I put the device on and...
00:23:29Apparently Ramón has taken her to his house, so that his mother can meet her.
00:23:32You say so?
00:23:32Come on?
00:23:33How lucky, a rich, serious uncle who's also quite good-looking.
00:23:37Luck?
00:23:38Too rich, too serious, and above all, too much of a mom.
00:23:41I wouldn't want it even if it were free.
00:23:43Well, you certainly tried to make it seem like a bed.
00:23:45But you turned out to be a runner, kid.
00:23:47I?
00:23:48Come on, you're crazy.
00:23:49He's not my type.
00:23:50Don't you like your black marketeer better?
00:23:52Yes, sir.
00:23:53I like my black marketeer, my ambassador, my count, and even my pimp if I feel like having him.
00:23:59And you'd better rob that jerk Ramón.
00:24:01Sometimes, baby, it shows that I've spent many years raising cows back in Ascuria.
00:24:05And you see those who have lived in a gypsy cave, scratching their lice.
00:24:10Here we go again!
00:24:11Okay, that's enough, you can discuss it later in the street.
00:24:13But if only...
00:24:14Look, who sent us Jaldi's food today?
00:24:17Who sent us the champagne?
00:24:18And who's getting the chocolates?
00:24:20Well, my black marketeer, my count, and even my ambassador who doesn't give anything away to anyone.
00:24:24Your men don't even give the time of day.
00:24:27The duke is going to put ten thousand pesetas in my bank account.
00:24:29We'll talk when I put them on you.
00:24:31I'll bring you the receipt one of these days.
00:24:49Go on, daughter.
00:24:51Come on.
00:24:53You look very cute.
00:25:00Yeah?
00:25:01Yeah?
00:25:03Ah, it's you.
00:25:05You look brave.
00:25:07We're going through the collection and I can't get distracted.
00:25:10What are you saying, darling?
00:25:11Speak up.
00:25:13Oh, sorry, I'd forgotten.
00:25:16Thanks, my darling.
00:25:17Yes, yes, everything was very good.
00:25:20Well, I don't know if I'll be able to, you know?
00:25:21I think I'm going to the Palace, to that party the Americans throw.
00:25:25And of course, you wouldn't want them to see you there with me.
00:25:29A huge success, man.
00:25:31They even applauded me.
00:25:33No, I haven't forgotten you, darling.
00:25:35But I can't stop going, don't you understand?
00:25:38Although I have no desire to.
00:25:39But neither wins.
00:25:43Thanks, my darling.
00:25:44Will you call me tomorrow?
00:25:46Well, goodbye, Chati.
00:25:47I have to go to the living room.
00:25:48Be good, okay?
00:25:52He was the ambassador.
00:25:54Let's see when you learn how to charm men, girls.
00:26:02It's possible, right, girls?
00:26:06You won't complain, will you?
00:26:07It has been the success of the afternoon so far.
00:26:09Three commissions from the model.
00:26:10Of course, that's what my excellent propaganda is for, don't you think?
00:26:13Stop talking nonsense, Chati.
00:26:14You know girls don't like it when you see them like that.
00:26:16As if I hadn't already seen them anyway.
00:26:18Also, Pituca, who is the prudish one, is not there.
00:26:20Well, have you seen Pepito around here?
00:26:22No.
00:26:24Me neither.
00:26:25Where could that chalab have gone?
00:26:27And you, Tona, haven't you found it this afternoon either?
00:26:30That?
00:26:31How are you today, daughter?
00:26:32Hey Pepito, have you seen this? Come down to earth a bit.
00:26:35No, I really haven't seen it.
00:26:37Then I start to worry because something must have happened to him for him to have left you.
00:26:40so long peaceful.
00:26:42You have no right to have it the way you have it, beautiful.
00:26:44You're going to kill him with that wedding thing.
00:26:46Kill?
00:26:46I have never killed anyone.
00:26:50Girl.
00:26:51Sorry.
00:26:56Go on.
00:26:57Do you want to leave now, Alfonso?
00:26:59Well, this is definitely an afternoon for jokes.
00:27:22Number 14, Number 14, Number 14.
00:27:34I tell you, Don Amaro, that it is a real gem, a real cutie.
00:27:38It's a shame that the little girl who goes through it is just a bunch of bones.
00:27:40I don't know where you guys get these girls, why you put them on diets.
00:27:44Don't start talking nonsense, Teo, my love.
00:27:46Leave him alone, Carmela, leave him alone, this gentleman is in his own home.
00:27:49If you only knew how expensive this little apartment is turning out to be...
00:27:52Come on, man, come on.
00:27:53What do you want the money for?
00:27:54Carmela is going to look pretty with the model.
00:27:56Too beautiful, my lord.
00:27:58And then, naturally, what happens, happens.
00:28:00What has to happen.
00:28:02So beautiful.
00:28:02We get to the point where, as soon as one lets their guard down, well, that's it, Mr. López.
00:28:08And come on, I'm telling you, one hasn't sweated for this money.
00:28:11Don't pay any attention to him, Don Amaro, Teo, that's how it is.
00:28:14Write down the model and have it ready for the test.
00:28:17Okay, my friend?
00:28:19Okay, no, but write it down.
00:28:21Write it down.
00:28:22Do you think women are attracted to me just because of my face?
00:28:25What a man, always the same.
00:28:27Don't worry, Carmelita, it'll be ready by next week.
00:28:30Excuse me.
00:28:32Fog, number 14.
00:28:34Well, look, nobody has seen it.
00:28:36What? It's not showing up?
00:28:37That's what I was saying, not for now.
00:28:39Nobody knows anything.
00:28:40On a day like today, man, I can't help but trust no one.
00:28:43And what are you looking at?
00:28:44Nothing.
00:28:45Come on, come on.
00:28:47Come on, hurry up.
00:28:48Imagine skipping this seam now.
00:28:49It's because he's lying down so far.
00:28:51And they never notice in the workshop, daughter.
00:28:52It's not for lack of trying.
00:28:54Do you know who's in the great hall?
00:28:56Who?
00:28:57Carlo Parini.
00:28:58He comes with his wife and with Manolo Villegas, who brought them from Italy for his film.
00:29:02She's worthless.
00:29:03And one of them explains to us what these directors who have us in front of them are thinking, daughter.
00:29:09Marta, don't rush now or go to the living room, okay?
00:29:12Because the model needs to be fixed to the right degree.
00:29:13Whatever you want.
00:29:15The boss is fuming because Pepito hasn't shown up.
00:29:17It turns out that an Argentinian actress wants to meet him.
00:29:20And Pituca wasn't coming either.
00:29:21Don't remind me of that corny girl.
00:29:25Is it true that you haven't seen Pepito this afternoon?
00:29:28No, I assure you that's not the case.
00:29:30When I left for Paco's house, he stayed here.
00:29:33He left shortly afterwards.
00:29:35He's crazy about you, girl.
00:29:36And what's it to me?
00:29:37What fault is it of mine in all this?
00:29:39The girls tease him too much about you, and it's a very strange, very awkward situation.
00:29:43He always advises me to marry Ramón.
00:29:45Because he cares about you and understands that it's what's best for you.
00:29:48Do you believe that too?
00:29:50Yeah.
00:29:51Although I don't...
00:29:52Hush, tona, hush.
00:29:53That will come later.
00:29:54What if Marta never comes?
00:29:57What if days and years go by and he never comes?
00:30:00He will come.
00:30:01Because Ramón is a real man and you'll end up falling in love with him.
00:30:04Sometimes it scares me, you know?
00:30:07He is so honest, so serious, that it seems impossible to me that he could understand, that he could love a woman like me.
00:30:15You could certainly aim higher.
00:30:17But you know, these things...
00:30:18Besides, you're not like those others.
00:30:22That thing about his family worries me.
00:30:24Everyone is always so meticulous, so obsessive, so rigorous.
00:30:30I understand that they don't like me, Marta.
00:30:32I understand, you see.
00:30:34You can make him happy.
00:30:35Unless that disgusting Paco ruins it all.
00:30:38Please.
00:30:38But have you actually convinced him not to bother you anymore?
00:30:42Don't know.
00:30:43So?
00:30:44Enough is enough!
00:30:45That looks good.
00:30:47Come on, Tona, hurry up.
00:30:48But be careful, okay?
00:30:49Don't force it again.
00:30:51And you, Marta, you can leave now.
00:30:52I'm coming now.
00:31:01Hello?
00:31:02Yeah?
00:31:03One moment.
00:31:05Tona?
00:31:05Tona!
00:31:06It's for you.
00:31:08For me?
00:31:14Oh, it must be Ramón.
00:31:20Yeah.
00:31:23Yeah.
00:31:27Who is it?
00:31:29Oh, how are you, Lalo?
00:31:31He is a friend of Paco's.
00:31:33What a bunch of annoying people.
00:31:34Tell them to get lost.
00:31:35We're just passing through the collection, you know?
00:31:37And there's a frightening commotion here.
00:31:39I can't hear you well.
00:31:41That?
00:31:42What are you saying?
00:31:45No no.
00:31:46I haven't been there.
00:31:48It's been a while since I've been there.
00:31:51Something serious?
00:31:53Don't scare me, please.
00:31:56I would be away from home.
00:31:57You know that sometimes he doesn't come back to the residence for several days.
00:32:00Call him again.
00:32:02That?
00:32:03What are you saying?
00:32:06Oh, how awful.
00:32:09It's not possible, Lalo.
00:32:11It's not possible.
00:32:13But what you're saying is certainly no less serious.
00:32:20How awful.
00:32:21You leave me devastated.
00:32:24Hey, if I can help you with anything.
00:32:28No no.
00:32:29I assure you that it's not.
00:32:30I hadn't seen him for a long time.
00:32:32You already know.
00:32:33Since then.
00:32:34But what, for God's sake, is happening?
00:32:36Okay, Lalo.
00:32:37Call me.
00:32:39Give me some news, okay?
00:32:42Bye bye.
00:32:43Tell me what's going on, Tona.
00:32:44What happened this afternoon?
00:32:46Tell me already.
00:32:47But you're still there, Marta.
00:32:50Go to the living room right now.
00:32:51What a disgusting life.
00:32:53We're not machines, son.
00:32:57Marten.
00:32:57Marten.
00:33:00Wait for me a moment in the lobby when you're done going through.
00:33:02No no.
00:33:04No no.
00:33:14I want you to see, please.
00:33:15No no.
00:33:19No no.
00:33:19No no.
00:33:43It's time for my pills, who would remember if not with all this commotion?
00:33:47Bring me the gulitas.
00:33:53You're not doing anything right this afternoon, sweetheart.
00:33:55Nobody can convince me that something has happened to you with Pepito.
00:33:58How are you becoming so vampish?
00:34:14A little more color, perhaps?
00:34:16No no.
00:34:18That paleness suits the model very well.
00:34:25You can go to the health center now.
00:34:41Fist, number 40.
00:34:44Please, daughter, since you've arrived so late, please be very careful now.
00:34:50This model is one of my best creations and I have made a special distinction for you by giving it to you.
00:34:54Stay calm, stay very calm, and let the gestures disappear.
00:34:56It's as if something serious, very serious, happened to you.
00:34:58You know the model is called drama.
00:35:06Drama, number 42.
00:35:09Number 42.
00:35:11Number 42.
00:35:30Number 42.
00:35:32Number 42.
00:35:34Number 42.
00:35:35Number 42.
00:35:39Number 42.
00:35:42Number 42.
00:35:45Number 42.
00:35:46Number 42.
00:35:47Number 42.
00:35:47Number 42.
00:35:49Number 42.
00:35:50Number 42.
00:35:51Number 42.
00:35:52Number 42.
00:35:52Number 42.
00:35:53Number 42.
00:35:53Number 42.
00:35:54Number 42.
00:35:56Number 42.
00:35:56Number 42.
00:35:56Number 42.
00:35:58Number 42.
00:36:00Number 42.
00:36:04Number 43.
00:36:13Plot, number 42, number 42.
00:36:24Plot.
00:36:26Plot.
00:36:28Plot.
00:36:38Is something wrong with me?
00:36:40Nothing. It's nothing. Thank you.
00:36:51Did you enjoy the drama?
00:36:53Yes. We're going to use it in the movie too.
00:36:56But the lady would like to simplify those veils a little, wouldn't she?
00:36:59No, no. I really like his work. It's my style. Isn't that right, Carlos?
00:37:06Certainly my face.
00:37:07And what is your style, Mr. Parini?
00:37:09I don't have a style, sir. Good actors don't have a style of their own.
00:37:15But the styles of his character. Of each of his characters.
00:37:18Very interesting. So, when does filming begin?
00:37:22In 20 days. You'll have time, right?
00:37:24I don't know, I don't know. We're going to be really tight on cash because I'm crazy about Americans.
00:37:27But in a case like this, what's the name of the movie, man? I always forget.
00:37:31Smiles are useless.
00:37:34Huh? What did you say?
00:37:35Smiles are useless. It's such a modern thing, isn't it?
00:37:39We originally thought of titling the film something else: The Lady of the Costa Brava.
00:37:43But we've finally convinced the producer with our title. It's much fresher, don't you think?
00:37:47Oh, yes. Very new, indeed. Well, excuse me. Goodbye.
00:37:52That's this man's flaw.
00:37:54Because it has become popular among variety artists and cheerful women,
00:37:57He cannot completely rid himself of the bad taste of his former clientele.
00:38:01But he does very good things, very good things.
00:38:06That's great, babe. You've been great, completely as if something had happened to you.
00:38:09The model has been very well received, I already knew that.
00:38:11People like drama, strong dishes.
00:38:13Drama, drama, what a triumph.
00:38:15Nobody leave until I say so.
00:38:30Tona, Tona, are you feeling unwell?
00:38:32I don't know.
00:38:34I don't know.
00:38:36But what happened this afternoon, Tona?
00:38:38Tell me, please.
00:38:41When I arrived, when I arrived, Paco was dead.
00:38:47It's not possible.
00:38:49Is something wrong? Are you feeling unwell?
00:38:50No, it's nothing, Adela.
00:38:52Nerves.
00:38:53Nothing but nerves.
00:38:59Wait, wait a moment until they tell you.
00:39:01Order of Don Amaro.
00:39:02And they're rushing us so much for this?
00:39:04Well.
00:39:07I don't feel too serious about myself, to be honest.
00:39:09Besides, I already have enough drama from my husband, you know?
00:39:14Well, I like that model.
00:39:15But it needs something more, as it is a bit bland.
00:39:18A taste of overtaste is described.
00:39:19Now you'll see some more cheerful, more youthful things, just for you.
00:39:25That outfit wouldn't look bad on me, would it?
00:39:27It would need some decoration, some ribbon, something else.
00:39:30But black is always flattering, especially for those of us who are getting on in years.
00:39:33Fat?
00:39:34Come on.
00:39:35Don't talk nonsense.
00:39:36I don't know where you came from, woman.
00:39:38You haven't seen the curves of Italian movie stars, they're the ones that really stand out.
00:39:42There's Parini.
00:39:43You can't say she's not well-developed.
00:39:45It depends, woman, it depends, because she has legs that look like toothpicks.
00:39:49Oh, yes.
00:39:49Parini looks so handsome, doesn't he?
00:39:51Rodolfo Valentino was much more handsome than him and didn't show off so much.
00:39:55Oh, men are changing so much, Rita.
00:39:58Don't you realize?
00:39:59They barely notice you anymore and don't say anything to you.
00:40:03Ah, those years before the war.
00:40:05We're getting old, honey.
00:40:07Old women?
00:40:08Come on.
00:40:08I'm telling you, you're way behind on the news.
00:40:11Youth is no longer in style.
00:40:12And now it's us, the autumn ones, who call the shots.
00:40:16One of these days I'm going to take you to the tennis courts so you can see everything we still have to do.
00:40:20in front of.
00:40:20I'm not up for that kind of thing anymore.
00:40:22Although maybe with that little outfit, what did you say the name of that little outfit was?
00:40:25Comedy or something like that.
00:40:26It was undoubtedly done by a good actress.
00:40:27It's going to be for López Heredia.
00:40:29You'll see.
00:40:30How wonderful, Mar.
00:40:31Oh, how wonderful.
00:40:32Would you like to take that pretty dress with me there?
00:40:34Don't forget it, old man.
00:40:35Thank you, Salome, thank you.
00:40:37And did you like my suits?
00:40:38A lot, a lot.
00:40:39You see some great things around here.
00:40:40You don't know how happy you make me.
00:40:42So many concessions have to be made to the general public.
00:40:44Anyway, you know about that.
00:40:46And by the way, my friend, congratulations on that novel.
00:40:48It's the hit of the season.
00:40:49Have you read it?
00:40:50No, not yet.
00:40:51There's no time for anything.
00:40:52But as soon as I get out of this...
00:40:53Oh, what a charming dress.
00:40:55This too is creation, my friends.
00:40:57I am presenting the purest Spanish line,
00:40:59Taking inspiration from our regional costumes,
00:41:00which are an inexhaustible treasure.
00:41:02It's the secret of my collection, and I can entrust it to you.
00:41:05You have acquired a very beautiful set.
00:41:07When are you going to introduce me, old man, to that wonderful cartoonist of yours?
00:41:10Well, I'm very interested in meeting you.
00:41:11I don't know where he's gone, but he'll be back as soon as he's here.
00:41:14Who is the girl who just walked by in that stunning evening gown?
00:41:17It's Tona, my latest find in Manequén.
00:41:20But she's getting married soon.
00:41:21A good wedding.
00:41:22He is Ramón Tineo.
00:41:23You know, from the Tineo family, the Asturian miners.
00:41:26Ah, yes, I know him.
00:41:27I don't think he's the right man for this woman.
00:41:29But tell me, is something wrong with Tona this afternoon?
00:41:31Oh, these authors.
00:41:32Always on the hunt for arguments.
00:41:34What happens, my friend,
00:41:35I prepare my Mannequins very well.
00:41:37And all I had to do to remind Tona was that the model is called Drama.
00:41:40Nice name.
00:41:41You guys are giving us competition, huh?
00:41:44Well, to be honest, it's a shame she's getting married.
00:41:46I currently have a script in my hands.
00:41:47And maybe the girl would be good for movies.
00:41:49Get married, my friend, get married.
00:41:51That's the bad part.
00:41:52For us, of course.
00:41:54See you later.
00:41:58Mercedes.
00:42:01The Americans.
00:42:02Give Alfonso a hand and prepare the ground, I'm coming now.
00:42:05What a joy to see you here, Duke.
00:42:07Did you like the outfits in that haze?
00:42:08A lot, a lot.
00:42:09Thank you for taking care of her, Amaro.
00:42:11Poor Irina thinks you've neglected her a little.
00:42:13But she's a great model.
00:42:15And besides, she gets more beautiful every day.
00:42:16You have certainly given her a good education, Duke.
00:42:18Because he who leans against a good tree...
00:42:20The one who looks stunning this afternoon is that other girl.
00:42:23The one who brought out the black suit.
00:42:25I can never remember her name.
00:42:26Tona, Tona.
00:42:27But be careful, Duke, there's a wedding involved
00:42:30And we all know you're a Don Juan.
00:42:34What? What do you think?
00:42:36Oh, very well. Very well.
00:42:38Do you think the Vogue cover thing is possible, Miss Sander?
00:42:41Perhaps with drama we could make something beautiful.
00:42:44We'll talk a lot after all this.
00:42:48And you, Miss Johnson, do you think Bazaar would be interested?
00:42:50I like everything a lot.
00:42:53Essentially, the ultimate little black dress.
00:42:56We are very happy to have come, Mr. López.
00:43:00The trip is worth it.
00:43:02Nothing but pity, Mr. Beers.
00:43:04If you only knew what this collection cost me, I made it almost, almost for you.
00:43:07Very kind of you. Many things.
00:43:10There are many interesting things.
00:43:12We'll have it together, of course, if you don't have another commitment.
00:43:16Thank you very much. Tomorrow will be better.
00:43:19We have to beat New York tonight and we'll finish late.
00:43:24Whatever you want.
00:43:26So, with your permission, we're going to continue going through the collection.
00:43:34There's no getting these people out of their Parisian routine.
00:43:37I'm afraid they won't buy what you were expecting.
00:43:39They will gradually become more enthusiastic.
00:43:41You'll see, Don Amaro.
00:43:42Spanish prices are tempting; they have no competition.
00:43:44Yes, yes, but it's very difficult to convince them that we can do things here the same way as in Paris.
00:43:48Anyway, Mercedes, keep the collection going and let's see, girl, if you can manage to sell them, because I'm a
00:43:52a little scared.
00:43:52I will do everything I can, Don Amaro.
00:43:54But we're not in the last few years, when everything was being sold, absolutely everything.
00:43:58It was black market money, which is the best money for selling.
00:44:13Mimosa, number 54, number 54, number 54.
00:44:24Mimosa, number 54, number 54.
00:44:31Palma, number 22, number 22.
00:44:35No, no, thank you, I'm not going to take it off.
00:44:43The invitation, please.
00:44:44I don't have an invitation.
00:44:45It's essential, sir, to see the fashion show.
00:44:47I didn't come here for that, miss.
00:44:49I would like to speak with the boss.
00:44:50The boss is very busy and I don't think I can...
00:44:52Look, you're going to have no choice but to be able to.
00:44:54Let's see, what's going on?
00:44:55I am the boss, as you say.
00:44:57We're going through the collection and...
00:44:58I would like to ask you a few questions.
00:45:02What's that?
00:45:03Police officer, sir.
00:45:03Police, this must be some kind of misunderstanding here at my house.
00:45:06I assure you that it is not.
00:45:07Furthermore, you will understand that this is not the most opportune moment to, well, I believe I have told you before that we are
00:45:10passing through the collection, the spring collection.
00:45:12I'm sorry, Mr. Lopez, but there's a dead man involved.
00:45:14A murder, do you understand?
00:45:16That?
00:45:17That?
00:45:18So that the voice, I beg you, let's go.
00:45:19Let's go to my office and you'll see how everything becomes clear, if there's any mistake.
00:45:22No, don't bother, it's better if we stay here.
00:45:24Okay, but first I'd like to get a better understanding of the situation.
00:45:26No, don't bother, it's better if we stay here.
00:45:55Do you know a guy named Paco? Paco Almuñecar.
00:45:58Excuse my delay, Don Amaro, but since I'm not going to pass any model, I got distracted with a hide-and-seek.
00:46:01Okay, Isa, okay, but leave me alone now, can't you see I'm busy?
00:46:04Please forgive me again.
00:46:04Go on, go to the models' room in case you're needed.
00:46:12What's that girl's name?
00:46:14Pituca.
00:46:15And what does that mean?
00:46:16What? I don't understand.
00:46:18Ah, yes, Pilar Ruiz, isn't that it?
00:46:20That's right, yes sir.
00:46:21He's not worth much, he's hardly a role model for me, but I did business with his father and sometimes with you
00:46:25one has to...
00:46:25Do you remember that Paco, Paco Almuñecar?
00:46:27Well, that's how you treat so many people for the time being.
00:46:31You say Paco Almuñecar, the thing is, it sounds familiar.
00:46:34He must have come around here a few times; he was dating one of his models.
00:46:38Oh, so I can't give you any information, these girls change boyfriends more often than lipstick.
00:46:43He was dating... María Antonia Castro, a young woman...
00:46:48Yes, I remember now.
00:46:50I think that before getting involved with Ramón Tineo she was obsessed with a guy named Paco, a handsome fellow who
00:46:54He was making her go through hell.
00:46:55Well, you won't upset anyone anymore, Mr. López.
00:46:57He was murdered this afternoon, a few hours ago at his home.
00:47:00That's outrageous!
00:47:03And what time did that girl arrive here this afternoon?
00:47:06Well... I don't know, more or less...
00:47:09Wait, wait.
00:47:10We were already going through the collection.
00:47:11I think she went out with her boyfriend and they had a flat tire on the road, that's why she was a little late.
00:47:15Already.
00:47:15But don't get the wrong idea, Tone is one of the best we have here.
00:47:18We never think anything, Mr. López.
00:47:21We're looking for the killer, nothing more.
00:47:22Tone is incapable!
00:47:24Although, of course, nowadays you can't vouch for anyone.
00:47:28He's not going to stop her now, halfway through the collection, how awful! It would be a terrible scandal!
00:47:32Sorry.
00:47:34The duke wishes to speak with you for a moment.
00:47:36What's happening?
00:47:37It seems he's willing to buy Lina two or three outfits, but he also wants the girl to...
00:47:41Some new sandé, for sure.
00:47:42Let Lina pass by with the wedding dress.
00:47:43That was the last straw, no way.
00:47:44I'm the boss in my house and I don't allow these things.
00:47:46So?
00:47:47I'll go talk to him later, don't you realize I'm busy right now?
00:47:49Okay, I'll tell him.
00:47:52They just won't leave him alone for a moment.
00:47:54And you say that girl already has another boyfriend.
00:47:56Who is it?
00:47:56Well, a boyfriend, a boyfriend, understands, because he's going to marry her.
00:47:59Really?
00:48:00As you hear, he is a very serious gentleman, from a wonderful family and with plenty of money, too.
00:48:03Come on, she's a rare find for a girl like that.
00:48:05And what did you say your name was?
00:48:06Ramón Tineo, from the Tineos of Asturias, very well-known people, you know?
00:48:09In a little while he will come to pick her up, like every afternoon, since they are going to get married.
00:48:12And you, of course, will ignore Sitona and that Paco Almuñécar continues to pump himself up, right?
00:48:17If the girl ever went to his home, to the Fortuny residence, to visit him...
00:48:20I don't concern myself with the private lives of my mannequins, sir.
00:48:23I'm not interested in their things.
00:48:24Understand.
00:48:25Look, there's Tona right there.
00:48:29Caprice, number 56, number 56.
00:48:36Please, I beg you to wait.
00:48:38Yes, I'll wait.
00:48:39Would you like to sit somewhere? Or come into my office?
00:48:41No, thank you. I prefer to stay here.
00:48:42Will you allow me to continue...?
00:48:43Naturally, we'll see each other later when all this is over.
00:48:46But please don't say a word to anyone, okay?
00:48:49Don't worry, I know what you're doing.
00:48:52Caprice, number 56.
00:48:54Number 56.
00:48:56Number 536.
00:49:01Ebro, number 30.
00:49:04Number 30.
00:49:06Number 30.
00:49:10Mercedes, one moment, please.
00:49:15Tell me, ma'am.
00:49:16What's the name of that model?
00:49:18Whim.
00:49:19It's number 56 if you want to write it down.
00:49:22Tona.
00:49:23What do you think, Aurelio?
00:49:25Will I do well?
00:49:26I don't know, I don't know.
00:49:28Perhaps it's a bit daring.
00:49:31What a strange obsession this man has!
00:49:32As if I were an old, overweight woman.
00:49:35Besides, son, your hat looks like it's been copied from mine.
00:49:43The model is actually good.
00:49:49But that's great.
00:49:53Then I'll write it down.
00:49:54No, what are you doing?
00:50:00Caprice, number 56.
00:50:03Number 56.
00:50:05Number 36.
00:50:07PEE.
00:50:15Ebro, number 30.
00:50:18Number 70.
00:50:19Ebro, PAN.
00:50:25I'm here now, waiting.
00:50:27Yes, there is no other way.
00:50:28I'll explain it to you.
00:50:29Very good.
00:50:31Understood.
00:50:32Nothing else?
00:50:34In about half an hour.
00:50:35But don't worry.
00:50:36There's no need to worry.
00:50:38Alright.
00:50:39OK.
00:50:39See you later.
00:50:56Night.
00:50:57Number 44.
00:50:59Number 44.
00:51:01Number 44.
00:51:05I'm telling you, Arduque is trying to flatter me like an old turkey.
00:51:08But I'm not impressed by crowns, because I've seen plenty.
00:51:12Come on, come on, finish up already, it's your turn.
00:51:24You're not very tired today, are you, my dear?
00:51:26And what do you want me to do?
00:51:28Well, at least move, girl, move.
00:51:35Oh my god, that creature drives me crazy.
00:51:36It seems like she's always missing you with her decency, daughter.
00:51:39Don't talk nonsense.
00:51:41Is there really nothing I can do?
00:51:43No, beautiful, no.
00:51:44Don't worry.
00:51:45Don Amaro wants you here in case you're needed as a substitute, you know?
00:51:47Could you send me a sample?
00:51:49No, not at the moment.
00:51:50Everything is already organized.
00:51:51I'm expecting some very important news this afternoon.
00:51:56From Carlos, my boyfriend.
00:51:58And it makes me a little nervous to be like this doing nothing.
00:52:00Are you getting married too?
00:52:01Oh no, not yet.
00:52:03Perhaps after tone.
00:52:07Very good.
00:52:09Congratulations.
00:52:13Julita.
00:52:15And you, Marichu.
00:52:16Come.
00:52:25Are you feeling better?
00:52:28There's a really weird guy in the lobby.
00:52:30Could it be a...?
00:52:31Don't think weird thoughts, okay?
00:52:33If nobody saw you there, silly girl.
00:52:35I don't think so.
00:52:36Nobody saw me.
00:52:38But you can come and ask me something.
00:52:40Something from Paco.
00:52:41Well, he answers without equal.
00:52:43But it will be any of those who come around here on collection days.
00:52:47You'll see.
00:52:47Don't know.
00:52:49I'm scared.
00:52:50Would that be better?
00:52:52That?
00:52:53Call the police and tell them the truth.
00:52:55The truth?
00:52:56And what about some men?
00:52:58Never, Tona.
00:52:59Never.
00:53:00Women cannot tell the truth.
00:53:03Never to men.
00:53:05Because lying is our only defense against their selfishness.
00:53:09In the face of his tyranny.
00:53:10Maybe he's right.
00:53:11And, giving notice, I raise the door.
00:53:14Naturally.
00:53:15Let them come to you, you fool.
00:53:17Because you haven't done anything.
00:53:18I'll wait a bit to see what happens.
00:53:20All these things have left me devastated.
00:53:22I assure you.
00:53:24Be careful that he doesn't notice anything, Ramón.
00:53:26Which should be arriving soon.
00:53:27On top of that.
00:53:28I feel like telling everyone to go to hell.
00:53:31It would be terrible for Ramón.
00:53:33Is it really so different from all of this?
00:53:36I would never understand, would I?
00:53:39If I explained to him that Paco was threatening to send him those stupid photos he took of me last summer in
00:53:44the mountain range after getting drunk.
00:53:47If I were to explain to her that I went to her house this afternoon to get them by any means necessary.
00:53:54If I told him the truth, the truth about my personality, about my things, do you think he would...
00:54:02Would you understand, Marta?
00:54:04No, I wouldn't understand you.
00:54:07We have to lie to them.
00:54:08We have to appear as they want us to be.
00:54:11Not as we really are.
00:54:13We must simply reflect back to them the image they have of us.
00:54:17You have to lie, you have to deceive, you have to deny.
00:54:19Otherwise, you're completely lost.
00:54:23Do you still remember Manuel?
00:54:25I never remember anyone anymore.
00:54:28Perhaps it's for the best.
00:54:30Come on, let's not get like that.
00:54:32Give me a cigarette, will you?
00:54:34I don't know where I put them.
00:54:36I have my cigarette case in my bag.
00:54:38Bring me one, please.
00:54:45I don't see her.
00:54:47The cigarette case isn't here.
00:54:48What are you saying?
00:54:49Yes, woman, yes.
00:54:50How could he not be there?
00:54:51I'm telling you, it's not there.
00:54:52Come on, give it to me.
00:54:55He's not here.
00:54:56Did one of these people pick her up?
00:54:58Marten.
00:54:59That?
00:55:00I think I've lost it.
00:55:02What did I lose there?
00:55:04It's not possible.
00:55:05I dropped my purse.
00:55:06You always have to expect the worst, girl.
00:55:08Ah, for the last one.
00:55:09What a bore.
00:55:11Hey Lina, do you know if anyone has gotten their cigarette case in tune?
00:55:14Hey, girl, did you really think we were creptogams?
00:55:17You let it be known that my ambassador has sent me two boxes of andulas and nobody here has smoked anything else.
00:55:23Do you see it?
00:55:24This is all I needed.
00:55:26I assure you that I can't take it anymore.
00:55:28Calm down, calm down.
00:55:29Wait until we finish going through the collection, so there's still...
00:55:32And you bring it here very carefully.
00:55:35Come on, Marta, what are you doing?
00:55:37And you too, Tona.
00:55:39I don't know what's wrong with you two today.
00:55:40The moment he lets his guard down...
00:55:42Let's see.
00:55:44Madame.
00:55:47The hair.
00:55:49But don't make it look too obvious, okay?
00:55:51The model looks better like this, loose.
00:55:54So.
00:55:54That's it, that's it.
00:55:56Now continue with Kiki.
00:55:58Leave it there carefully.
00:56:03I have very good news for you.
00:56:05Yeah.
00:56:05Don't tell anyone, okay?
00:56:06But it seems to me that after your success with Rama,
00:56:08Don Amaro thinks you should go to the salons to see the wedding dress.
00:56:11Oh, really?
00:56:12I think the news really shocked you, baby.
00:56:14Don't you know that all the girls are after the model, and that's where you draw the line?
00:56:17Of course, how could I not know?
00:56:18Well then...
00:56:20I'm so tired I don't know if it's better...
00:56:22Go on, go on.
00:56:23Don't be silly, beautiful.
00:56:24You'll see how much fun you have.
00:56:25And as soon as he sees you, Ramón, he's going to rush you to the church.
00:56:29It will be ready to arrive.
00:56:30Well, don't let it get away.
00:56:31Because I know someone who...
00:56:32It doesn't bother me.
00:56:33It's a good match, Ramón.
00:56:35You know I don't like to cause trouble.
00:56:36But I'm not naive, you know?
00:56:38No, not that.
00:56:41Okay, we'll talk later.
00:56:42Now you go to the living room too, she'll come back on her own.
00:57:07Tulip.
00:57:08Number fifty-two.
00:57:10Number fifty-two.
00:57:12Number fifty-two.
00:57:25Do you have an aspirin, Adela?
00:57:26No, I don't have any left.
00:57:28I gave her the three I had on my own, and you know how she takes them.
00:57:30But maybe the buttons...
00:57:32No, it's not worth it.
00:57:33No, it's not worth it.
00:57:33We're almost finished.
00:57:34Hey, Adela.
00:57:35Who is that guy who's been standing there all afternoon by the phone and hasn't let us go?
00:57:40I don't know anything, daughter.
00:57:41But he must be someone very important despite his appearance.
00:57:43Because he's got Don Amaro in his pocket.
00:57:44Yeah.
00:57:45How do you hear that?
00:57:53What's up?
00:57:54Come on, Pepito, it's time.
00:57:55Mother, it's impossible.
00:57:56No one can find such a thing at this hour.
00:57:58You can make something up for the boss now.
00:57:59Because he's furious about your disappearance.
00:58:01I don't think I have anything to do here today.
00:58:03Drawing the models is enough for me.
00:58:05It seems there's an Argentinian lady who wants...
00:58:07I'm not in the mood for nonsense, you know?
00:58:12Is something wrong, Pepe?
00:58:14There's a very strange atmosphere here this afternoon.
00:58:16Here?
00:58:17What's happening?
00:58:18I don't know.
00:58:19Perhaps you know it better than I do.
00:58:21Why me?
00:58:22You see.
00:58:23I think so.
00:58:25You're being very mysterious, girl.
00:58:27Tona also arrived after the collection had already started, you know?
00:58:32Want?
00:58:33No, thanks.
00:58:34It seems she went out for a walk after having lunch with Ramón.
00:58:38And that they had a flat tire on the road.
00:58:39Bad luck.
00:58:41So, what about you?
00:58:44What about me?
00:58:45Nothing.
00:58:46Okay, I'm going to change my suit.
00:58:48See you later.
00:58:49Goodbye, Marta.
00:59:06Good heavens, the lost child.
00:59:10Mediterranean.
00:59:11Number 17.
00:59:12Tona.
00:59:14That?
00:59:15Have you appeared yet?
00:59:16Yes, Tona.
00:59:17I'm here now.
00:59:18I think you're in high demand this afternoon.
00:59:21But why are you looking at me like that?
00:59:23After.
00:59:23When all this is over, we need to talk for a moment, you and I.
00:59:27I don't know.
00:59:28I don't know if I can.
00:59:29Is Ramón coming?
00:59:29Even if Ramón comes.
00:59:31I have to make it impossible.
00:59:32Understand it.
00:59:33Before you leave, Tona.
00:59:35Please.
00:59:35I'll try.
00:59:37But...
00:59:38Is it about something?
00:59:40Is it related to this?
00:59:43With the collection?
00:59:45No no.
00:59:46With the other thing.
00:59:48I don't understand you.
00:59:49I assure you that I don't understand you.
00:59:51With what's there.
00:59:51The thing about the residence.
00:59:52Come on, son.
00:59:53What happened to you?
00:59:54It's unbelievable that you're doing this to me, Pepito.
00:59:56And you, baby, go on with your own thing, we're not finished yet.
00:59:58Gee.
00:59:59I'm sorry, Don Amaro.
01:00:00I didn't think it was necessary this afternoon.
01:00:01It's unbelievable that you don't like to share in the success of our work with me.
01:00:05Drama is saving the collection, son.
01:00:07I already figured as much.
01:00:07Do you remember when I told you?
01:00:08Yes, yes, I remember.
01:00:09We have to rely on our own strength, because the Americans...
01:00:12He's not interested.
01:00:13For now.
01:00:14Hey, before I forget.
01:00:15Be very nice to Salomé, that Argentine actress who, they say, is rolling in millions.
01:00:20Look at the diamonds he's wearing, son.
01:00:21How wonderful!
01:00:23Apparently, she managed to marry a millionaire American jeweler one day when she was
01:00:26drunk and these are the fruits of divorce.
01:00:29Hey Don Amaro, is there any news here?
01:00:31Novelty?
01:00:31Of course there are new things, but come on, there isn't a big new thing.
01:00:34Because you said so?
01:00:35You see.
01:00:36Oh, yes, hey, I'd forgotten.
01:00:37Something strange is happening.
01:00:38But hey, how do you know that?
01:00:39The fact that?
01:00:40That's it.
01:00:41Don't understand him.
01:00:42So you're not referring to...
01:00:43I'm not referring to anything in particular, Don Amaro.
01:00:45Look, son, I'm going to tell you.
01:00:46Despite your craziness, you're the best of all and I'd rather you knew that.
01:00:50You see that guy who's standing there, just on the phone.
01:00:53But don't look, man, don't look like that.
01:00:55If I don't look, I don't know how I'm going to see it.
01:00:56Look discreetly, man, discreetly.
01:01:02He's a policeman, a policeman in my house.
01:01:04Do you realize how awful that is?
01:01:05And what is that policeman doing here?
01:01:07Foolishness.
01:01:08A misunderstanding, probably.
01:01:09So, what are you waiting for?
01:01:10He wants to talk to one of the girls, apparently to ask her something.
01:01:13Whom?
01:01:13Look, I don't know.
01:01:15We'll talk about it later.
01:01:16Now let's take care of the collection.
01:01:17Who do you want to talk to?
01:01:18Tell me right now.
01:01:19Oh, what are you like, son?
01:01:20He always wants to get his way.
01:01:21I'll tell you everything later, but now let's go to the living room.
01:01:23No.
01:01:24Don't you understand that it could be something serious?
01:01:26He wants to talk to Tony, you know that.
01:01:29You warned her.
01:01:29Aresarla, you're crazy.
01:01:30Why are you ruining my afternoon, right?
01:01:31Well, we have to tell him immediately.
01:01:32No way, I forbid it.
01:01:34I've decided to show the wedding dress that closes the collection right away.
01:01:37She.
01:01:39Precisely her.
01:01:40Yes, her.
01:01:41He has had great success with drama.
01:01:43Oh, yes, I forgot.
01:01:45The black glaze suit.
01:01:47This would be great this afternoon.
01:01:49There's no need to alarm her until the collection is finished.
01:01:51I've already agreed to this with the police officer, do you understand?
01:01:53So don't go and put your foot in it now.
01:01:54I already have enough worries.
01:01:56Alright.
01:01:58We will all wait.
01:02:00Aurora, number 24.
01:02:03Number 24.
01:02:04Number 24.
01:02:09Careful, girl, more style, people are still watching you.
01:02:15It seems unbelievable.
01:02:16I can't believe it's Tona who's passing around the wedding dress.
01:02:18That little brat.
01:02:19What do you want, daughter?
01:02:20It's having a lot of success this afternoon.
01:02:25You've done a good job, Don Amar.
01:02:27That?
01:02:27What happens now?
01:02:28All the girls are furious about the wedding dress.
01:02:30Ah, that's it.
01:02:30They'll get over it.
01:02:31And if not, there's the door.
01:02:32I'm getting tired of their nonsense.
01:02:33As nobody expected, because Tona is the newest in the house.
01:02:36But this afternoon there's a good atmosphere here, Mercedes.
01:02:37And the atmosphere is the most important thing for a model to be liked.
01:02:40Wow, these girls want a step up too.
01:02:42Is Tona already dressed?
01:02:43Almost, almost.
01:02:44Go on, take a look at it and let us know when it's fixed.
01:02:46Before we leave, I want Pepito to see it.
01:02:48Aurora, number 24.
01:02:51These injustices are unacceptable.
01:02:52I'm leaving the house tomorrow.
01:02:54Come on, be quiet, be quiet, you've already said it many times.
01:03:00That?
01:03:11How are you?
01:03:12It suits him perfectly.
01:03:13There was a reason he tried it on Don Amaro the other afternoon.
01:03:15All that was needed was to fix his body a little.
01:03:21How's it going?
01:03:22Very good.
01:03:23It's almost done.
01:03:41Has Ramón arrived yet?
01:03:42I don't think so, I haven't seen it.
01:03:43It's only seven thirty.
01:03:45He'll come now.
01:03:48Careful.
01:03:50It's a little crooked.
01:03:52So.
01:03:53Don Amaro wants to see you before you leave, you know?
01:03:55He's coming with Pepito.
01:03:56With Pepito?
01:03:57Yes, woman.
01:03:58What's the matter?
01:04:00Nothing, nothing.
01:04:01Do you like it, Maramo?
01:04:02Yes, yes, very good.
01:04:03I did a light-toned makeup look for her that goes better with the outfit.
01:04:06Does that sound good to you?
01:04:07Yes, but add a little more color to the cheeks.
01:04:09She's going to look too pale.
01:04:26Marta, come on, leave, Sole has already finished.
01:04:32Good luck.
01:04:33Thank you.
01:04:38Don't get nervous now, okay?
01:04:41Pass the model on slowly and tell the boss he can come now.
01:04:45Okay, where's the bouquet?
01:04:47Here, here I have it.
01:05:05Walk a little so I can see you.
01:05:22As a beautiful woman, it must be said that she is beautiful.
01:05:25Of course, with that suit.
01:05:26She looks gorgeous.
01:05:28Lovely.
01:05:28Alizón.
01:05:30Wonderful.
01:05:34Divine.
01:05:35Do you realize how the dress looks?
01:05:44Perfect.
01:05:49You know, daughter, no quick movements like with the other models.
01:05:53Gravity, slowness, and eyes always downcast, as if you were really going to get married.
01:05:58You look beautiful and I have high hopes for you right now.
01:06:01I'll do my best, Don Amaro.
01:06:04As if I were really going to get married.
01:06:06Let's go now.
01:06:33Hello?
01:06:34Ah, it's you.
01:06:35How did it take you so long?
01:06:37How stupid you are.
01:06:38But tell me, don't leave me like this.
01:06:41So?
01:06:42What a joy, Carlos, my love.
01:06:44But hey, hey, it'll be completely safe, right?
01:06:48Five thousand?
01:06:49Really?
01:06:50You're not lying to me, are you?
01:06:51Oh, darling, how exciting!
01:06:53Come on, Carlos, come and pick me up soon, please.
01:06:55And he comes upstairs to find me.
01:06:57I want everyone to know you.
01:06:59Yes, yes, we're almost finished.
01:07:00Tona is currently wearing the wedding dress.
01:07:02She looks gorgeous, you know?
01:07:04Don't talk nonsense, my love.
01:07:06It's a very expensive model.
01:07:08Of course, Don Amaro would give me a big discount, but that's all.
01:07:12No way, Carlos, no way.
01:07:13I don't want you to spend your savings on that crazy thing.
01:07:15I'll be happy that day in any suit, my love.
01:07:20You've really gotten stubborn, haven't you?
01:07:21Oh no, I'm not saying anything to Don Amaro.
01:07:23He doesn't even know we're getting married.
01:07:26Come on, Carlos.
01:07:28Come soon, I really, really want to see you.
01:07:32Don't be crazy, my love.
01:07:33And come.
01:07:35Of course.
01:07:36More than ever, darling.
01:07:38Bye bye.
01:07:40Bye bye.
01:07:42Look, look at the little dead fly.
01:07:44Looks like you're making a lot of conquests, huh, Rica?
01:07:47No, it was Carlos.
01:07:48We're going to get married.
01:07:49Hey?
01:07:49You too?
01:07:50We'll have to see what spring brings.
01:07:53Look, beautiful.
01:07:54Let's go to the living room because I confess.
01:07:56I'm dying to see how that plug-in woman goes from tona to suit.
01:07:59If they had let me through, I would have seen it.
01:08:02From a stroll, I noticed all the guys in the room.
01:08:46You seem a little strange here.
01:08:48What's the matter?
01:08:49Nothing.
01:08:50That sometimes one can also be full of illusions.
01:08:53And it costs.
01:08:55It's hard to put on heels.
01:08:59Costs.
01:09:33VALACE
01:09:33Españazo a عليirlerla, ¿sie?
01:09:35VALACE
01:09:37THE RARE
01:09:37Thank you.
01:10:26Hello, Ramón.
01:10:28Congratulations, dona.
01:10:29You look gorgeous.
01:10:31Thank you.
01:10:43Please, if anyone asks you,
01:10:46Say that I was delayed this afternoon because we had a breakdown on the road.
01:10:49Do you understand?
01:10:50On the road, yes.
01:10:51Yes, yes.
01:10:53I'll explain everything to you later.
01:10:55Everything, Ramón.
01:10:57Alright.
01:10:58Whatever you want.
01:11:00But you know I don't like these kids.
01:11:02Donate, little girl, come closer.
01:11:03I want these friends of mine, who are delighted with how my models look, to get to know you.
01:11:07Of course, I know very well what each of my girls should wear.
01:11:10You are sweet and lovely, just like a man.
01:11:12Say.
01:11:15Good night.
01:11:16Anytime, Mr. Moore.
01:11:17I am proud of you.
01:11:19Bye bye.
01:11:25Bye bye.
01:11:29Bye bye.
01:11:36Bye bye.
01:11:36Wait for me a moment, won't you?
01:11:38What's the matter?
01:11:39She's acting strange.
01:11:40Are you not feeling well?
01:11:41Well yes.
01:11:42No, it's not that I'm sick.
01:11:44We need to talk.
01:11:46Know?
01:11:48Something wrong?
01:11:50Anything special?
01:11:51Yes, Ramón.
01:11:53Very special.
01:11:55I'm going to change.
01:11:57Wait for me here, please.
01:12:11Just a moment, miss.
01:12:12What did you want?
01:12:13How dare he?
01:12:14I don't dare do anything, sir.
01:12:16Police inspector, do you understand?
01:12:21I would like to ask the young lady a question.
01:12:23You are under no obligation to answer him here, donate.
01:12:25Can we notify my lawyer first?
01:12:27No, Ramón.
01:12:29No.
01:12:30I prefer to answer the gentleman right now.
01:12:32This doesn't seem like the most appropriate place to talk about...
01:12:34It's true.
01:12:35But I've waited long enough.
01:12:37And I don't think it will harm anyone now, right?
01:12:39No, no, no, no.
01:12:40Everyone has already left.
01:12:41She has been very kind, waiting.
01:12:43You're right.
01:12:44I just want to ask one question.
01:12:45Just one question for the young lady.
01:12:47To Miss Maria Antonia Castro.
01:12:51Tell me.
01:12:52Have you seen your ex-boyfriend this afternoon?
01:12:54To Don Francisco Almuñécar in his apartment at the Fortuny residence?
01:13:04Yeah.
01:13:05Tona!
01:13:10Yeah.
01:13:12Then I regret to inform you, miss, that you must accompany me.
01:13:20I think you are mistaken, my friend.
01:13:23Do you think so?
01:13:24Who are you?
01:13:25Let's see.
01:13:26I'm the house artist.
01:13:27But that's beside the point.
01:13:29I can clarify something very important that you seem to ignore,
01:13:32Because I was there this afternoon, at the residence, before her.
01:13:39You tell me.
01:13:40I went to visit Paco in Almuñécar, you know?
01:13:43Let's see if I can resolve a question...
01:13:45ugly.
01:13:47I walked past the switchboard without asking anyone.
01:13:50As I approached the door of her apartment,
01:13:52I was about to ring the doorbell...
01:13:55when...
01:14:13as he wished to speak with Paco alone,
01:14:15I waited outside in the taxi, in front of the residence.
01:14:19Her window remained lit,
01:14:21And it all happened very quickly.
01:14:53Subscribe to the channel!
01:14:56...
01:15:09Is there nobody there?
01:15:11What is a place like that only operates at night?
01:15:13You can call back later.
01:15:14Yes, ma'am.
01:15:15Have you notified us?
01:15:16Yes, ma'am, don't worry.
01:15:18It's very interesting.
01:15:21Come on!
01:15:42What do you want?
01:15:45This...
01:15:45Has Mr. Almuñeca left yet?
01:15:47I haven't seen it.
01:15:49Sorry.
01:15:54Yeah?
01:15:56Yeah.
01:15:56Just a moment, I'll put it on.
01:15:58Now we'll know, because they're calling Mr. Almuñeca.
01:16:08How strange, he's not answering.
01:16:10Well, I would swear.
01:16:12It doesn't matter.
01:16:13I'll keep waiting out there, in the taxi.
01:16:15Thank you.
01:16:15You're welcome, sir.
01:16:16Listen.
01:16:18Yes, sir, yes.
01:16:19I'm calling, but there's no answer.
01:16:23Ah!
01:16:26Ah!
01:16:37Ah!
01:16:38Ah!
01:16:40Ah!
01:16:50Ah!
01:17:03Tona didn't kill him.
01:17:04I swear to you, inspector.
01:17:06Were you able to see the one who jumped out of the window?
01:17:08Yeah.
01:17:10But I'm not good at certain things.
01:17:12You need to say it.
01:17:13Do you know him?
01:17:14Clear.
01:17:16Who was he?
01:17:18Was...
01:17:19It was you.
01:17:21Good, sir.
01:17:22Still!
01:17:22It isn't true.
01:17:23He wants to save her because he's crazy about her like a lovesick dog.
01:17:28Are you willing to sign this declaration?
01:17:30Naturally.
01:17:35It's not necessary.
01:17:37I am the one who should accompany you.
01:17:39What are you saying, Ramón?
01:17:42I knew you sometimes went to see that man.
01:17:45And I wanted to talk to him.
01:17:47He said such things about you that I had to hit him and then...
01:17:57Then I had to lose you.
01:17:59Nothing else.
01:18:01Ramón.
01:18:02You would have preferred that she be accused of Paco's death, wouldn't you?
01:18:06Yeah.
01:18:07For the time being, I preferred it that way.
01:18:09That way I had her safer.
01:18:12You are too young to know about these things.
01:18:16Of these bad things of passion.
01:18:19Come on.
01:18:21The sooner the better.
01:18:29How awful!
01:18:35One moment.
01:18:37I forgot.
01:18:44I think you've lost this.
01:18:46Around there.
01:18:57Forgive me.
01:19:00Forgive me.
01:19:01For the love of God.
01:19:02Sorry.
01:19:03No, no, no, no.
01:19:32What's wrong? What's happening?
01:19:34I don't like the tona suit anymore, Carlos, not anymore.
01:19:38I want to get married in a cheap dress, very cheap, my love.