Salón de té La Moderna - Ep 187
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00:00I'm so glad to rest my feet once in a while.
00:03Feet and ears.
00:05I don't see the obsession that has entered you now, Elias, with the cards.
00:08There is no time that I did not take the opportunity to mend them.
00:12By the way, are you going to the demonstration?
00:15No. No, no, no.
00:17No, because the little time I have free, I have to organize everything about the wedding.
00:21No matter how much I do, it never ends.
00:23Between the invitation, the flowers, the invitations...
00:26Well, I have the afternoon off. If you need help...
00:29No, darling, thank you.
00:31Enough already that you've been fixing my dress.
00:33By the way, I got up this morning and it was already fixed, as you have done.
00:37I stay until late fixing it.
00:39You know that as I start sewing, I don't stop.
00:42Thank you very much. It was perfect.
00:46Let's see what Pietro thinks when he sees it.
00:48Antonia.
00:49What?
00:50Don't tell me that you haven't told Pietro yet that he is going to marry the same dress of his first wedding.
00:54Well, no. I couldn't. I was going to do it, I promise.
00:56But the issue of the bakery came up. And what do you want me to tell you?
00:59That does take away my sleep.
01:01I'm not surprised that he doesn't sleep.
01:03He is going to leave both of them his place in the modern to open his own business.
01:08I don't know.
01:09I don't know.
01:10I don't know.
01:11I don't know.
01:12I don't know.
01:13I don't know.
01:14I don't know.
01:15I don't know.
01:16I don't know.
01:17Your creative business.
01:19What?
01:20That Pietro leaves the modern out too?
01:22Tani, close the door.
01:25And on this subject please shut up.
01:27Yes, shut up.
01:28And with keys.
01:29I will keep the secret.
01:30But please, don't leave me like this.
01:33And what about that that Pietro also leaves the modern out.
01:35That is the man you live with.
01:36How am I going to ask his permission?
01:37No, no, no.
01:38How difficult is it for us.
01:39To find a place to live today in this hour.
01:41No, that is why I tell you.
01:42It's not the case, what.
01:43Pietro does not want us to marry.
01:44In order not to see us.
01:45No. He wants to find a job where we can be together.
01:49How romantic.
01:51And has he talked to Mr. Fermin?
01:52Because I don't think it would be funny for him to lose the star baker of La Moderna.
01:58No, not yet. That's what worries me so much.
02:01I feel like I'm lying to him.
02:03But daughter, the way things are, he hasn't found the right moment.
02:06These things can't be said like that, all of a sudden.
02:09He doesn't know how I understand him.
02:10What I don't understand is how that rule is still in place.
02:12Yes, until he worked at the stairs, he had co-workers who were married.
02:17Yes, when I got to work here, I also wanted to complain about this rule, remember?
02:22But the other co-workers, who were more veteran,
02:25well, they almost thought it was a good rule.
02:27That it has always been like this, that what is bad for one is bad for all,
02:31that you don't have to change it now.
02:32Ah, the force of habit.
02:34A rule is made to go through the years and then no one wonders if it makes sense or not.
02:37It was what she said, it doesn't make any sense.
02:39No, none.
02:40Let's see, it's not that I want to get married now, but...
02:44Trini, for example, if she wanted to get married, why couldn't she?
02:49If only she were going to get married.
02:51These days everything changes, the laws, the governments,
02:55but it seems that the issues that affect women go slower.
02:59And if it changes, I don't know, girl, but...
03:02maybe we won't see it, huh?
03:09I don't have any proof.
03:11It's just my intuition, but...
03:13I think César is hiding something from me.
03:17But are you sure about that?
03:19Yes, until now I didn't have any complaints, I was delighted with him, with his work.
03:22Yes, yes, I don't have any problem with his management of Madrid Cabaret.
03:26What happens is that the other day, when I was talking to him, I noticed something unsettling.
03:31And that's not normal, because I shouldn't have done it.
03:34Well, maybe it was because of the singer's incident.
03:38I understand that you have a sentimental relationship, don't you?
03:41Yes.
03:43We were talking about the opposite, that Inés suffered.
03:46And I noticed it uncomfortable.
03:49As if he was hiding something.
03:53But you're telling me that you think that César...
03:56No, no, no, I'm not saying that César is responsible.
04:00What happens is that he is usually very frank and direct.
04:03And in that conversation we had, he wasn't.
04:08I see.
04:10Well, the truth is that I still don't know what favor I can do to him with all this.
04:15Because I barely know César.
04:18Well, that's why I need you.
04:20I want you to go to Madrid Cabaret and observe everything.
04:23And write down everything that sparks his suspicion.
04:28Are you asking me to spy on him?
04:30I'm asking you to be my eyes.
04:31Because maybe nothing happens and what you're missing is my intuition.
04:36Okay, yes, I'll stop by Madrid Cabaret from time to time.
04:39I'll have a drink, I'll enjoy the music, the atmosphere.
04:43I think I've had worse jobs.
04:46Please, open your eyes.
04:49The last thing I need now is for something strange to happen in my business.
04:53The police have me in their sights and that would complicate my life.
05:02Oh, I don't want to see a rag in my life again.
05:05We've been cleaning the store all morning.
05:08Yes, who was going to tell us that a gramophone was going to accumulate so much dust?
05:12Well, how do you notice that Mario was dedicated to other things?
05:15Because he had the store sleeve by shoulder.
05:17Well, but the important thing is that now we have the genre as we like it.
05:21And that we have our own store.
05:24Hey, wouldn't Inés have to be here?
05:28Yes, she's in the hospital getting the treatments prescribed to her.
05:34Laura, I didn't tell you anything, but yesterday during the signature to the notary,
05:39Mr. Fermin didn't look very serious. Is he okay?
05:43Yes, my uncle is like me.
05:46He's happy because he's a doctor.
05:48But he can't stop thinking about what happened to Inés.
05:51They told us that we have to wait for the inflammation to go down to do more tests, but...
05:56But are you afraid of the worst?
05:59Yes, it seems that the irritation of the throat has caused an edema or something like that,
06:04the doctor said.
06:06We don't know very well what the consequences may be.
06:09My goodness, poor Inés.
06:11Just now that everything was starting to work out for her.
06:14My goodness, poor Inés.
06:16Just now that everything was starting to work out for her.
06:19She was about to sign the contract at the opera house.
06:22I wish it was all that.
06:24But what's the matter? Is there more?
06:26Last night Inés and César broke up.
06:30And since then Inés has been very discouraged.
06:33But Laura, what are you saying?
06:36Forgive the boldness, but do you know why they broke up?
06:39No, Inés doesn't want to talk about it and I don't see myself being able to insist, she has enough.
06:44But I don't know, they looked very happy, right? Like to break up overnight.
06:48And on top of that, in the situation Inés is in, she doesn't...
06:51Look, I think the same.
06:54I've been turning her around all night and...
06:56Don't say anything.
06:58But Inés sometimes said that things were happening at the Madrid-Cabaret that she didn't quite understand.
07:05Things? What things?
07:06I don't know, I didn't want to go into details, but...
07:10Strange people or situations that could be related to César.
07:16Are you insinuating that maybe César had something to do with Inés' accident?
07:21No, no, no, I don't know.
07:24Saying it out loud sounds crazy.
07:26Laura, listen to me.
07:28I don't see César capable of hurting Inés.
07:31He looked very in love, didn't he?
07:32Yes. Forget what I've told you, and forget about César.
07:36Now the important thing is to focus on Inés.
07:50Oh, now I feel it.
07:52My back is like new.
07:54Come here.
07:56Rosa, you're determined to get back to work, but I see you're still hurt.
08:02Hurt?
08:04Young women heal instantly.
08:07Well, I say it because of the head.
08:10Because she's cleaning the alley and she used to deny it.
08:13I mean, the pull on the back, but I think the mind too.
08:17The mind should be pulled by someone I know.
08:20Have you seen Cañete?
08:22No, why do you want to see him?
08:24Because I had to invite him to a demonstration, but I'll tell you later.
08:28A demonstration of what?
08:30Of fajas.
08:32Of fajas?
08:34But Cañete and you...
08:36Yes, you'll be interested too.
08:38Because they're fajas and corsets, the most comfortable and the best in the market.
08:43Or so Miguel says.
08:45Miguel too?
08:47Yes, Miguel too.
08:48Well, in fact, we're going to do a demonstration this afternoon at the bookstore at lunchtime.
08:53Miguel and I, you're invited.
08:55And why would I be interested in a faja?
08:57And corsets, fajas and corsets.
08:59Well, go to the bookstore and check it out.
09:02Well, maybe I'll pass.
09:04Because maybe a corset like that, well tightened on the back,
09:07it takes away the pain of a magician to work.
09:10Yes, of course, you too.
09:12That's exactly why you're going to be interested.
09:14Well, I'm going to look for Cañete.
09:16He has to be with Trini.
09:18I saw him holding her in his arms.
09:20In his arms?
09:22And I saw them kissing each other.
09:25If you mean what happened yesterday, Esperanza,
09:28I don't see anything wrong in helping a partner.
09:31Trini tripped and I picked her up in my arms.
09:33Period.
09:35Yes, yes, because you told her that a client left without paying.
09:38Yes, yes, you already told me that bullshit yesterday.
09:41If you want, I'll repeat it today too.
09:43The truths do not expire.
09:45Oh, there's no need.
09:47But boss, has Trini hit you again?
09:50Really?
09:52Start again?
09:54Nothing happens with Trini, Leñe.
09:56Let's see, but what problem do you have in opening your heart to me?
09:59Even if it's to tell me that you've fallen in love with Trini again,
10:02again, until the trunks.
10:04Come on, it's not a matter of love.
10:06Do you want to know what happens with Trini?
10:08Yes, of course.
10:10If I tell you what happens, do you stop being silly at once?
10:12Well, I can't promise you either, boss,
10:13but yes, tell me, tell me.
10:15No, what happens?
10:18It's just that he has a lot of imagination, Elias.
10:21And now he comes back inside that we have the whole living room.
10:24Let's see, let's see.
10:26He's in love until the trunks.
10:29All day with Trini in his mouth from now on.
10:32What a torture, really.
10:34I can't believe it, again.
10:44Oh.
10:56Oh, excuse me, Mr. Fermin.
10:58I'm sorry I didn't let you in.
11:00Yes, well, with all those folders and luggage you're carrying, it's ...
11:03Sorry.
11:05Oh my God, oh my God, what a shame.
11:07Excuse me, Mr. Fermin.
11:09No.
11:11Let's see.
11:13No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
11:15No, don't worry.
11:17Oh my God, don't bother.
11:19You have these menesteres.
11:21I didn't bother any woman.
11:23If you are so right in the world.
11:26I don't know why I'm so loaded with everything.
11:28I just don't have anywhere to leave it.
11:30And now on top of the mess of having it here, picking up the files.
11:33No mess.
11:35And you know it can be installed in any of the rooms on the upper floor.
11:38Choose the one you like the most and place your office there.
11:41It's on paper.
11:43I'm sorry, but I can't do my job well in the living room on the upper floor.
11:47You know I like to have everything under control.
11:49Not to mention, of course, that I prefer to be closer to you.
11:52Maybe you need me, I don't know, to dispatch anything urgent.
11:56Yes, yes, you're right about that.
11:58But I insist that you find a place of work where you can develop your work in a more comfortable way.
12:04Not with this suit and ...
12:06Well, if you insist, maybe, I don't know, you could install me here.
12:10Here.
12:11Here in my office, you mean?
12:13Yes, of course.
12:15Well, I understand that your niece Laurita is no longer going to use it.
12:18Maybe I could occupy your table.
12:20If you think it's okay.
12:22Well ...
12:24Laurita will continue with the publicity of the living room.
12:29But the truth is that I no longer occupy the office.
12:34Look, from now on, this will be your desk.
12:38So welcome to my office.
12:41Thank you very much.
12:43Well, I'll leave you, I see you were going out.
12:46Yes, yes, I was going to Mrs. Carla's funeral.
12:48Accompanying her mother is the least I can do in this tragic moment.
12:51It is a great gesture on your part.
12:53By the way ...
12:56I've thought about it better.
12:58And I'm going to the inauguration of the Plaza de las Ventas.
13:02Really? Yes, yes, yes.
13:04What good news.
13:06Who knows, maybe we'll see each other there, in an hour.
13:08Well, let's hope so.
13:10So I wanted to thank you for your words yesterday
13:13that coincided with everything my nieces told me, encouraging me.
13:17It seems that you know very well human nature.
13:22I would like to.
13:32By the way ...
13:33Yes?
13:34Well ...
13:37Why don't we go to the square together?
13:40Unless I have another companion, of course.
13:43No, no, no, no, I don't have one.
13:45I would be delighted if it were you.
13:47Well, I'll pick you up in a while, when I come from the funeral.
13:52Can I leave the model in your hands until then?
13:55No need to ask.
13:57You know I do, I'm the manager.
13:59Thank you.
14:04Bye.
14:30Yes, you will be a traitor.
14:31What time is it?
14:33I don't know why I bother educating you.
14:35Commandment 9.
14:37Cleaning the plates and steel covers is none of your business, but the waiter's.
14:41So?
14:43Esperanza, I don't like it at all.
14:45Let's see, no water for the enemy.
14:47Get away from those covers.
14:49Manolo, I'll put the coffees on table 3.
14:53And you, you should be ashamed.
14:56Stealing staff from other departments.
14:58What are you talking about, ma'am?
15:00You're the one who's stealing here.
15:02You're taking away my place to put the coffees.
15:04You think you can abuse the newbies?
15:06But me, I'm well fed up.
15:08Esperanza, no one is abusing me.
15:10That's what they make you believe.
15:12They tell you that one day you do them a favor, another day they do it to you.
15:15But have you ever seen Cañete with the broom in his hand?
15:17I really want to have one right now to see if you've thrown it away.
15:20Can't you see you don't leave me space for the coffees?
15:22Wait a minute.
15:24Esperanza, Cañete hasn't asked me to do anything, it's been my thing.
15:25But look how the waiters are today.
15:28The poor people are exhausted.
15:30Well, the good work is to do it in the parish.
15:32That's how he thanks me for all the lessons I've given you.
15:35And on top of Barde.
15:37You don't want me to pay him to learn his commandments?
15:40Well, I should.
15:42What if he doesn't believe you?
15:44You managed to get hired without even finishing the test month.
15:48Thanks to my teachings and thanks to the amendment.
15:51And I thank you very much, Esperanza.
15:52I'm very grateful to you.
15:54But I'm telling you, I must have had something to do with it, right?
15:56That here, the one who's been making a fuss while you were at home,
16:00has been the one who's been making a fuss.
16:02You little rascal.
16:04Have you seen what I've learned?
16:06With everything I've taught you.
16:08And now you don't want to give me any credit.
16:10Don't get me involved in your business, Esperanza.
16:12Can I go?
16:14Of course I'll get you involved.
16:16Because no one, like you, can understand me.
16:18You also lead your own team.
16:20Let's see, who wins the battles?
16:22The sergeant, who goes and says what has to be done,
16:25how it has to be done, and when it has to be done.
16:28Ah, since we're at it.
16:30When a student takes a test, whose is it on merit?
16:33The student you studied with, or the teacher who taught you the lesson?
16:36Why are you asking me? I came to make two coffees.
16:39Answer me already.
16:41What do I know?
16:43Well, the sergeant is yours, Esperanza.
16:45And the student is yours, Marta.
16:47But then you're giving us both the reason, like crazy people.
16:49And if you give us both the reason, you're not giving it to any of us.
16:52Do you know what I'm telling you?
16:54That you make the coffees.
16:59And I'm telling you one thing.
17:01This is the last time you show me your colors in front of another boss.
17:04Because if you don't, you're going to spend the whole afternoon
17:07cleaning the floor of the lab with baking soda and brushes.
17:09Well, Esperanza, that will be another day, because I'm bored.
17:13I'm dying and I'm not educating you.
17:23Come in, honey.
17:25Antonia, I don't know if I'm doing well being here.
17:27Teresa doesn't like customers visiting the common areas of the laboratory.
17:31Teresa, Teresa, you're not just any customer.
17:33Come in, sit down.
17:38This is so empty, right? I thought I'd find all of you here.
17:41Oh, well, you'll see them later.
17:43They've all gone to the bookshop.
17:45Miguel is doing a demonstration of stripes and corsets.
17:49Stripes and corsets?
17:50Yes, yes, yes.
17:52At the bookshop?
17:54That's right. And it has to be very interesting, because he's gone all the way to Cañete.
17:56I can't believe it, I swear.
17:58But look, you know what? I do have you for myself.
18:01Oh, you're going to come with me.
18:03Very well.
18:10I have empanadas, do you want some?
18:12No, thank you, Antonia. I've already eaten.
18:15Well, then.
18:17Tell me, why have you come?
18:18Why have I come?
18:20If I tell you the truth, it's because you've missed her a lot.
18:23That's the real reason.
18:25If it hadn't been for this stupid rule of married women, I wouldn't have quit my job.
18:30You don't know how I understand you.
18:32Perfectly, besides.
18:34But, well, let's hope this changes soon.
18:37I hope so.
18:39Well, how's Marta doing as a cleaner? You must be very happy to have her here.
18:44Yes, I really am.
18:45Well, she's doing very well, to be honest.
18:48And she can handle Esperanza very well, that's another job.
18:52I'm very happy for her, she deserves it.
18:55Yes.
18:56That girl makes herself loved.
18:58Even Clarita missed her when she took her to school.
19:01Marta also missed her a lot.
19:03By the way, she's about to finish her shift.
19:06Why don't you wait for her and go get Clarita together?
19:09You'll both be very happy.
19:11Oh, well, that's a very good idea.
19:12Yes, I'll look for her later.
19:14But eat, eat, please.
19:16The truth is, Antonia, that...
19:18I've missed these moments a lot.
19:20Hearing the gossip, one and the other.
19:24Any news I should know?
19:27Yes.
19:28Laurita and her friend Celia, the photographer.
19:31Well, they're going to take care of the gramophone shop from now on.
19:34Well, I already knew that Laurita was a very entrepreneurial woman.
19:37Yes.
19:38Although, poor thing.
19:40She won't understand what happened to Inés.
19:43Poor thing.
19:45I was going to visit her, but...
19:48I don't know if it's the right time.
19:49Maybe it's too soon, I don't want to bother her.
19:50I see.
19:52By the way, Mr. Fermin told me that today is Mrs. Carla's funeral.
19:57Antonia, that's very complicated to tell.
19:59I see.
20:01Honey, I don't want to be indiscreet,
20:03but I've heard from two clients
20:05that the newspapers have arrested a suspect in the crime.
20:12And you thought Iñigo was that suspect, didn't you?
20:17Don't worry, Antonia.
20:19Yes, it's him.
20:21He was the man they arrested.
20:24But they've also released him, because he's innocent.
20:27But the newspapers don't say that.
20:29Of course, because the rumors sell much more.
20:31I see, but that's the problem.
20:32Rumors, when they are repeated,
20:35end up being true in the eyes of others.
20:39I'm afraid they'll start treating Iñigo like a murderer when he's not.
20:43Of course not.
20:45The truth will come to light.
20:46It will.
20:49I hope so.
20:51I'm glad you came.
20:52Yes.
21:03Don Jacobo,
21:05it seems you've been alone for a while.
21:08Maybe the company you were expecting has left you stranded.
21:11Who says I'm expecting someone?
21:14Maybe that company has just met you here.
21:18But I have to wait a bit for that.
21:20A bit?
21:22Yes, a bit.
21:24A bit.
21:26A bit.
21:28A bit.
21:30A bit.
21:32You're right.
21:34I've got ahead of myself.
21:36In any case, if you need to talk to someone...
21:39No, no, no.
21:41I think I know how to defend myself.
21:45Actually, that's not the reason I'm here.
21:48Tell me.
21:51I'm here as a spy.
21:54Are you spying on me?
21:57Yes and no.
21:58And no...
22:00Let's just say it's an industrial espionage.
22:04I'm here...
22:06gathering ideas for my new place in Seville.
22:08You know.
22:09What are the most popular hours?
22:10How does the staff work?
22:12Even how you behave with the clientele.
22:16Who was going to tell me?
22:18I've taken Don Jacobo as an example.
22:21Well, I'll let you keep spying on me.
22:24If you need anything, here you go.
22:26Thank you very much.
22:28You're welcome.
22:37We have to start this now, Elías.
22:39Don Salvador will show up, he'll catch me red-handed.
22:41We've already messed it up.
22:43Well, red-handed, my dear bookseller.
22:45Red-handed!
22:46Don't give me chances.
22:47Of course.
22:48Congratulations on the call, Elías.
22:50This could happen from time to time, but...
22:52to buy books.
22:53Well, wherever there's a good Corsair,
22:55let's get rid of him.
22:56Let's go.
22:59One moment of attention, please.
23:08First of all, thank you very much
23:10for coming to our presentation of La Fajete products.
23:13It's an honor to have you all here in the bookstore.
23:17In case you didn't know,
23:18all these books you see here
23:20are also on sale.
23:21Miguel, stop chatting, we're running out of time
23:24and we won't see each other for a while.
23:27I'm coming, I'm coming.
23:28I have the products in the other store,
23:30I'll bring them to you now.
23:32And since you've come to a demonstration,
23:34I've prepared a little surprise for you.
23:40Trini, why don't you try one of those Corsairs?
23:42Because in your state, it wouldn't suit you.
23:45How could I wear a Corsair?
23:47I came to support Miguel, you know why.
23:51Esperanza, I didn't expect to see you here.
23:54Let's see how it goes.
23:55And you, since the wedding is close,
23:57you want to look good, right?
23:59Of course.
24:00One moment, please.
24:01While we wait for Miguel,
24:02I, as the head of sales,
24:04will tell you about the excellence of Fajas.
24:08Fajas for men and women.
24:09Fajas La Fajete,
24:10in which anyone can fit in,
24:12to make you thinner and more majestic.
24:15Oh my God.
24:16A clear competitor to Laurita came out
24:18with this advertising phrase.
24:20Ms. Esperanza, I have a squirrel's ear.
24:22I've heard it perfectly.
24:23I said it so you could hear me.
24:25Well, what are you doing here?
24:27I've been looking for my employees,
24:29and it turns out they're here,
24:30for a literary meeting.
24:31Excuse me, Ms. Teresa,
24:32but we're on break, aren't we?
24:34No, because it's been five minutes already.
24:36Hey, your watch has stopped.
24:39Can't you see?
24:40What a strange phenomenon.
24:42And besides, what are you doing?
24:43Aren't you preparing a rally?
24:45Excuse me, Ms. Teresa,
24:46if you allow me, I...
24:47No, I don't allow you.
24:49Come on, everyone get to work.
24:50Let them see each other.
24:52Line up.
24:54One by one.
24:56Come on.
24:58And since there's no better way
24:59to check the quality of La Fajete products
25:01than by looking at the shelves...
25:02Shut up.
25:04And I thought you were a serious man.
25:19Come on.
25:25Did something happen to Inés?
25:26No, Inés is fine.
25:29You don't know how scared I was to see you.
25:31I know.
25:32Inés is not more serious,
25:33but I've come to talk about it.
25:35I know you've broken up.
25:37Well, broken up.
25:39Let's say we're giving each other time.
25:40With everything that's happening to Inés right now,
25:42it's not the right time.
25:43I see you've done the right thing
25:44by coming to talk to you,
25:45because for Inés, the relationship is broken.
25:47What Inés needs right now is peace of mind.
25:49I don't want anyone to upset her,
25:50so I beg you to respect her will
25:52and don't try to go back to her
25:53because it's not going to happen.
25:56Did Inés ask you to come here to tell me this?
25:58No.
25:59Inés doesn't know I'm here.
26:00I've come on my own will.
26:03Well, then let me tell you right now
26:06that it's something that doesn't concern you.
26:08César, what have you done
26:09for my sister to break up with you
26:10overnight?
26:12Because I'm not going to insist on Inés,
26:13but I think I deserve an explanation from you.
26:16This is something that only concerns
26:18your sister and me.
26:19Is it because of something you did
26:21or your friend from Marseille?
26:25Laurita, please don't turn around.
26:26I understand that you're worried.
26:27César, do you have anything to do with the cup of choice?
26:30It has nothing to do with it.
26:32But don't worry.
26:33Your sister will get her life back
26:34and she'll be happy.
26:36Her happiness depended on you.
26:38Look, I'm leaving,
26:40but I hope you leave her alone.
26:46I hope you leave her alone.
26:56Yes.
26:57Oh no,
26:58the bookseller was wearing a corset, Trinidad.
27:01My goodness.
27:02But did it suit her?
27:04How could it suit her, woman?
27:06Well, I don't know,
27:07it was a demonstration.
27:08No, it was a demonstration
27:09of being ridiculous.
27:10That's what it was.
27:12Hey, do you know why
27:13Mrs. Lazara has brought us here?
27:15I have no idea.
27:16I guess it's not right to tell me your business.
27:20Don Fermín should have chosen you as manager,
27:22not her.
27:24Well, don't make a big deal out of it.
27:26I'm not going to forget so easily
27:27that you were away from work for a few minutes
27:29to go and look at the cards.
27:32Sorry.
27:33Ah, they're here.
27:37Yes, Mrs. Lazara, here we are.
27:38The dependents you told me about
27:40at the time you told me.
27:42Thank you very much, Teresa.
27:43What I'm going to tell you next
27:45is something I prefer to do like this,
27:47with small groups,
27:49to be able to answer all your questions
27:51and your doubts.
27:52Well, you will be the first.
27:55My goodness, how scary.
27:56Is it for something serious?
27:58No, no, no, no, no.
27:59What we are going to deal with
28:00is something very beneficial for the salon
28:03and therefore for us.
28:05I've been doing a profitability study
28:09and I've discovered something amazing.
28:12With very little that we put on our part,
28:15we will be able to double the weekly profits.
28:18Double the profits?
28:20But, I mean,
28:22we're raising prices like crazy.
28:25Well, almost, almost, Trinidad.
28:27What I want
28:28is for you to double your weekly sales.
28:32Monday?
28:42Monday.
28:48How good it feels to have the job done
28:50and all afternoon to go for a walk.
28:52Thank you for inviting me, Matilde.
28:55Going to look for Clarita at school today
28:56was the best thing I could do.
28:58The boats you took in the square,
29:00that was the best.
29:02The walk was delicious,
29:03the boats too,
29:05but now that we're at home, miss,
29:07I would like to talk very seriously with you.
29:11About how well I was doing this afternoon.
29:14What did your teacher tell me
29:15when she went to pick you up?
29:17Well, if you don't know,
29:18she told you.
29:22Hey, Clarita, watch how you talk to me, okay?
29:26Your teacher complains about
29:28the behavior you've been having these days
29:30and she even told me about your bad grades,
29:32how well you kept quiet, by the way.
29:34Don't believe everything she says.
29:36She's got me.
29:37Clarita, she showed me the exams
29:39and there are several suspended,
29:40many, in fact.
29:42The lessons were a mess.
29:45Clarita, I need you to change your attitude.
29:49Clarita, with how good a student you've always been,
29:52so smart, so obedient and so responsible.
29:55And what good is it to me?
29:57What good is it to me to be obedient and responsible?
30:01Of nothing.
30:02Nobody listens to me.
30:03Nobody listens to me.
30:05Hey, that's not true.
30:07You can talk to me whenever you want.
30:09With you.
30:10Look, Matilde, don't be a liar.
30:12If you don't listen to me...
30:14Clarita, don't talk to your sister like that.
30:16I talk to her however I want.
30:19Hey, Clarita.
30:25Do you want me to go talk to her?
30:27No, it doesn't matter.
30:29It doesn't matter, she'll get over it.
30:31I'm sorry, Marta.
30:33I'll take you for a walk and you'll find this.
30:36Don't worry.
30:37They're little girl rabbits.
30:39That's it.
30:40I don't think so.
30:41I thought that everything about the move,
30:43about coming to live with Íñigo, had happened to her.
30:45And it's gotten worse.
30:47You don't know how embarrassed I've been with the teacher.
30:50The grades were so bad.
30:52Not because of that, but because of the behavior she's having now.
30:58Patience, Matilde.
31:00Patience and decision.
31:02Because I don't know about anything else, but about kids, yes.
31:05They all passed through my hands.
31:09And kids need to be aware of them,
31:11but they also need to set limits.
31:15Of course.
31:17What Clarita needs now are limits.
31:20If you need help, I'm here.
31:26It's very easy to understand.
31:28I want them to do more sales,
31:30and make more money per sale.
31:33But how do you expect them to do that?
31:37It's simple.
31:38While they're preparing the client's order,
31:41you tell them about the excellence of other products,
31:44and encourage them to buy them.
31:47I'm sorry, Mrs. Lázara,
31:49but this proposal goes against a rule we have here in the salon.
31:53We can't talk to the clients about the account,
31:56only the essential things.
31:58That's right.
31:59That's right.
32:00In La Moderna, we talk about what's fair to the clients.
32:03The clientele doesn't come here to argue with us.
32:06The rules are useless.
32:08Unnecessary.
32:09I totally agree with you on that.
32:12But if we adjust one enough
32:15to help us with profitability,
32:18well, the change benefits us all.
32:21Yes, but profitability isn't everything.
32:24If La Moderna stands out for something,
32:26it's for the good treatment of its employees.
32:28And for their elegance, too.
32:29Yes, it's about elegance and knowing how to be there.
32:32I'm not asking you to stop doing it.
32:34What I'm asking you to do is, while you're working,
32:37recommend other products to the clients,
32:40and, if possible, the most expensive ones.
32:47Why is there so much silence?
32:50Don't you think the products in this salon are of the highest quality?
32:55Yes or no?
32:56Yes or no?
32:57Yes, yes.
32:59Well, then, be aware,
33:01because you're not fooling anyone.
33:03You're just helping them to consume more.
33:08I'm sorry, Mrs. Lazara, but I think that...
33:10I suppose that what you think is based on old criteria.
33:16And since I'm here, I'll tell you all
33:19that, in case you need me,
33:21you can look for me in Mr. Fermin's office.
33:24I'll occupy the table next to you.
33:29That's all. You can leave.
33:31And remember that I want to see how the sales increase.
33:35One moment, Teresa.
33:46You tell me.
33:48I need you to be in charge of La Moderna this afternoon.
33:51Mr. Fermin and I will go together to the inauguration of the Plaza de Todos.
33:56He seems capable to stay alone.
34:08Dear Inés,
34:10I'm writing these letters to inform you about what I'm going to do next.
34:14Something I'm doing for me, but, above all, for you.
34:17For us.
34:18For us.
34:20Through the embassy, I've contacted the French Gendarmerie
34:23and I'm going to give them all the evidence I have against Marcel
34:26and the clan he works for.
34:28The Marseillaise clan.
34:31To do this, I only ask that they free me from prison
34:34and so, finally, I'll be able to go to America.
34:37Our dream.
34:39Remember?
34:41I don't want to pressure you, but I hope you still want to come with me.
34:45This is the only way I've found to guarantee that they won't hurt you again.
34:51But if you don't want to know anything else about me, I'll understand.
34:54And I won't bother you again,
34:56even if you're what I love most in this world.
34:59This will be my farewell gift.
35:04I just hope that one day you can forgive me for all the harm I've caused you.
35:09With all my love,
35:11César.
35:15I love you.
35:26So, I go out with the corset on,
35:29thinking that you would be there, that you knew where you were coming from.
35:31And I go, tachán,
35:32like, well, like showing the eighth wonder of the world.
35:35Well, for Teresa, it would be the eighth, ninth or tenth wonder.
35:39It would have to do with her.
35:40With her arms like this and the corset on her body.
35:42Teresa must have thought that she had gotten into a coupletist.
35:44Yes, yes.
35:45Laugh, laugh, but I didn't have a good time, really.
35:47My goodness, so much trouble to organize the demonstration,
35:49and not a single strip I sold.
35:50Besides, I think I gave up the corset,
35:52that I won't be able to sell it.
35:53Will I have to pay for it?
35:55Well, there you have your first sale, Miguel.
35:58Well, love,
35:59let's see, you're always in time to do another demonstration,
36:02that's what commercials do, right?
36:03Of course, in the bookstore, not to mention,
36:05because I risk that Don Salvador discovers me
36:07and then I don't sell a corset, or a book, or anything.
36:10Good thing you have me to cheer you up, friend.
36:13And you too, Trini.
36:15I brought you a gift.
36:17The gift is that you are going to leave us alone
36:19to enjoy the night alone.
36:23I have the gift out there,
36:24because I couldn't put it in without you seeing it ahead of time.
36:27I'm going for it.
36:29Won't it be your grandmother's portrait?
36:31Of course.
36:37No.
36:40Oh!
36:41A mimbre moises!
36:43But ...
36:45And a sonajero!
36:46Oh, yes!
36:49The first two gifts the baby has,
36:51because you haven't received others, have you?
36:53What else is he going to get as a gift,
36:54if you're the only one who knows?
36:56Well, then it's clear.
36:59You'll name him godfather.
37:00Well, and if the baby is a boy, I'll give him my name.
37:03Francisco Ruiz Fernández.
37:06I think it sounds good.
37:07Or Paquito.
37:09Or Curro.
37:11Or Kiko.
37:12Or Frasco.
37:13Or Frasquito.
37:16Miguel, don't get like that either.
37:17If you want, put Miguel II and period.
37:19Well, I imagined it and ...
37:21Well, I got excited, I don't know.
37:23Sorry.
37:24I didn't know you two were so sensitive to this topic.
37:26You're a great friend.
37:28Well, I'm going to get a little liqueur
37:29and so we encourage the father.
37:31Sorry.
37:38Don't you think it's time for Trini to stop working?
37:41Because every time she eats more,
37:42she's going to start to notice the pregnancy.
37:44And that living room is full of women
37:45who are fed up with everything.
37:46And yet, you're the only one who knows.
37:48For a short time, Miguel.
37:49You have to convince her.
37:51I tried yesterday,
37:52but she didn't listen to me.
37:53Well, it's just that our genes fail us.
37:55Cañete, you know that my mother worked
37:57until the day she gave birth to me.
37:58And also, literally,
37:59because she was in front of the fireplace,
38:01I almost burn myself when I see this scar.
38:03But stop being silly, Miguel, this is serious.
38:06Trini, being pregnant,
38:08shouldn't be working.
38:11I imagine her there,
38:13the poor thing, and...
38:15But...
38:23I know it's not time,
38:24but there was no other time
38:25to meet with my accountant.
38:27You see, that's how demanding the life of a businessman is.
38:30Well, you accompany the bulls
38:32and I'll accompany you back to the office.
38:34You have to be grateful.
38:36I hope I haven't disappointed you.
38:38No, no, no.
38:39On the contrary.
38:40I've learned a lot from you.
38:43Thank you very much,
38:44but I was referring to the square.
38:47Oops, sorry.
38:48No, there were things to sort out.
38:50I have the feeling
38:51that you rushed the inauguration.
38:54Well, I don't know.
38:55The truth is that I'm not as...
38:58as understood as you are.
39:00It seemed to me that the square was a dream,
39:02so big and with those beautiful arches.
39:06It may be so.
39:07Do you know how much that bull has cost?
39:11No more, no less than 12 million pesetas.
39:15Shut up, shut up.
39:16For God's sake, don't get dizzy
39:17just thinking about those amounts.
39:19What impressed me
39:20was Diego Fortuna's work.
39:22He had the responsibility
39:23to deal with the first bull
39:25in the history of sales,
39:27and his pulse has never shaken.
39:30And that he was a bull
39:31from the cattle of the Domecas.
39:34Wow.
39:36You never cease to surprise me
39:37with your knowledge, Mrs. Lázara.
39:39I would never have thought of you.
39:41Well, it's true
39:42that I like tauromaquia,
39:44but from your arm
39:46I'm learning a lot.
39:47You know so many details
39:49and so many facts about bullfighting.
39:52Thank you very much for insisting
39:54that I go to the inauguration.
39:56I would never have forgiven myself
39:58for not being present
39:59in this historical event.
40:03I'm the one who's grateful.
40:05It's a pleasure to spend time with you.
40:08It's like being here
40:09in this office working,
40:11but today in the square...
40:15It's been a perfect afternoon, Mr. Fermin.
40:22Clarita has just eaten
40:25and you've seen the answers she gave me.
40:27Why didn't you listen to the ones before?
40:31Don't you think you're worrying too much?
40:34Look, Clarita is in a changing age.
40:37And if you add to that
40:38everything that has happened to her,
40:39that she becomes an orphan,
40:40her brothers live far away,
40:41the accident...
40:43It's a lot of things.
40:45Yeah, but even the teacher
40:46has drawn my attention.
40:49I don't know.
40:50I hope you're right.
40:53Let's trust.
40:56Oh, by the way,
40:57before I forget,
40:58what do we know about Inés?
41:01Well, at the moment
41:02we don't know the extent of her injury,
41:05but in the meantime
41:06I've asked Jacob to help me
41:09investigate what's going on
41:10in Madrid-Cabaret.
41:12And that?
41:14Do you think
41:15something's going on behind your back?
41:17I'm afraid César is hiding something.
41:19I'm not sure, but
41:21maybe it's all that's going on
41:23that's making me paranoid.
41:25No.
41:26It's not being paranoid,
41:27it's being attentive.
41:28You're doing well.
41:31You don't know how lucky I am
41:32to be talking to you.
41:35You always understand me
41:38and we're in the same boat.
41:43I see you don't regret
41:44marrying me.
41:46No.
41:47Don't you regret
41:48marrying me?
41:51It's the best thing
41:52I've ever done in my life.
41:54You make me very happy.
41:56And you to me.
42:01My son had to see you.
42:02Open the door.
42:03We know you're at home.
42:14Inspector.
42:15Come in, please.
42:18Here's the warrant
42:19and the judge's request.
42:21Start the search.
42:22You know what to look for.
42:35I don't want to bother you anymore.
42:37The accountant is about to arrive
42:39and you're late.
42:41And excuse me,
42:42I'd like to walk you home, but
42:44I have to...
42:45No, please.
42:46No, don't worry.
42:48I'll let you work.
42:49Yes.
42:51Well, I'm a little ashamed
42:52to talk about this,
42:54but I don't know if you know
42:55that when I was working
42:56at the Madrid-Paris warehouses,
42:58I was in charge
43:00of recommending the jewels
43:01to the wife of Maestro Belmonte,
43:03Mrs. Julia.
43:05Wow, you're
43:07a box of surprises.
43:11I've really enjoyed
43:12spending a few hours with you
43:13outside.
43:15Of this room.
43:16I agree.
43:17We spent many hours here
43:18working side by side, but
43:21I don't know,
43:22I think this afternoon
43:23I've been able to get to know you better.
43:25Well, I hope
43:26what you've discovered
43:28doesn't disappoint you.
43:30Don Fermin,
43:31you could never
43:32disappoint any woman.
43:33Never.
43:37Excuse me,
43:38I've talked too much.
43:40No, no.
43:42Don't worry.
43:43The good thing
43:44is that you're not alone.
43:45Good night, Don Fermin.
43:46Good night.
43:48I'm going to hug you.
44:04I know it's the costume
44:05of my first wedding,
44:06of Ramón's wedding,
44:07but
44:09I think the important thing
44:10is what one feels,
44:12not what one wears.
44:14And, well,
44:15I also think
44:17we'll save a lot of money,
44:18which is not bad at all.
44:22Antonia, can I come in?
44:23Yes, come in, it's open.
44:27Hi, honey.
44:28Hi.
44:30Marta, I'll call for dinner,
44:31but
44:33I'll leave your dinner here.
44:35Sit down, please.
44:36Thank you.
44:38I wanted to talk to you
44:39about the preparations
44:40we have left for the wedding.
44:42Well, we still have to
44:43agree
44:45where we're going
44:46to do the invitation,
44:47but what really worries me
44:48are our costumes.
44:50I guess you'll wear
44:51the Sunday costume,
44:53which looks great on you,
44:54you're going to look very handsome.
44:56And it would be good
44:57if Marta saw it,
44:58just in case
44:59we have to make some adjustments.
45:01And as for my costume,
45:04what's wrong?
45:08It's just that
45:09nobody would say
45:10about the wedding.
45:13It's complicated for us.
45:15What do you mean?
45:16What do you mean?
45:18Yes, because there's another
45:19who wants the transfer.
45:22And it will have to be solved
45:23with a push.
45:25A push?
45:26Yes, the one who makes
45:27the best offer gets it.
45:30We have to increase
45:31our offer, Antonia.
45:34Increase how much?
45:35How much are we talking about?
45:37Everything we can.
45:39Everything.
45:40Because, of course,
45:41if he puts more,
45:43he gets it.
45:45All our money?
45:47But, Pietro,
45:49maybe we have to think about it,
45:51because it's on that street,
45:52in the bakery,
45:54maybe it's not a good deal, right?
45:56I have no doubt about this, Antonia,
45:57but with a push,
45:59it's like that, right?
46:00It's an all or nothing.
46:03Well, it gives a little vertigo,
46:04the truth.
46:07I'm sorry,
46:08but I had to tell you.
46:09Yes, of course.
46:10I didn't want to give you
46:11a bad night.
46:14We'll talk about it tomorrow,
46:15okay?
46:16Yes.
46:18What were you telling me
46:19about the suits?
46:20No, nothing, nothing.
46:22Nothing.
46:24Eat quietly.
46:30Thank you.
46:34Are they going to take
46:35Ñigo back to the dungeon?
46:37No.
46:38Of course not.
46:40Hey, Clarita,
46:41why don't you go to bed
46:42and I'll tell you?
46:43Okay?
46:44Come on.
46:47Come on.
46:59Can you tell me
47:00what this mess is about?
47:02They have awakened
47:03my little sister again.
47:04I'm sorry, ma'am,
47:05but it's the usual procedure.
47:07At this time,
47:08they come to my house?
47:09Everything is explained
47:10in the order.
47:11If it's okay to read it...
47:12Inspector,
47:13I owe you an explanation.
47:14Very well.
47:15Maybe you didn't expect it,
47:16Mr. Peñalver,
47:18but the investigation
47:19has taken an unexpected turn.
47:22Looking at the area
47:23where the corpse
47:24of the widow of Morcuende
47:25was found,
47:26a button was found.
47:28The button of a jacket, exactly.
47:30Does it ring a bell?
47:42Are they really looking for that
47:43in my house?
47:44A jacket
47:45that lacks a button,
47:46indeed.
47:47And they still consider me
47:48suspicious
47:49of Carla's murder, right?
47:51Don't worry.
47:52If you're innocent,
47:53we won't find anything
47:54in this record.
47:56But I'm afraid
47:57that...
47:59Is this jacket yours?
48:02Well, of course it's mine.
48:04Well, here's a button missing.
48:06Do you see it?
48:12I'm sorry to tell you
48:13that the button found
48:14in the river
48:15is exactly the same
48:16as the others in the jacket.
48:18I think you're going to have to
48:19give me a lot of explanations.
48:21But a lot of explanations.
48:33Yes, yes.
48:34Tell me, Inspector.
48:36Do you know
48:37where the button
48:38was found?
48:39Yes, tell me, Inspector.
48:43What?
48:45How is this possible?
48:46We must be prepared.
48:48The police can show up
48:49at any moment
48:50and arrest me.
48:51No.
48:52That's not going to happen.
48:55You should talk to him.
48:57No, Pietro.
48:58I can't do that.
48:59If I talk to him,
49:00I'd be betraying Antonia.
49:01That's even worse.
49:02Back home, Pietro.
49:04Wait until you have
49:05the bakery transfer
49:07well secured.
49:08In the meantime,
49:09how do I look him in the eye?
49:11I'm out of breath, my love.
49:13Here, take the pasta
49:14or I'll eat it.
49:16Come on.
49:17But if I don't say it for me,
49:18I'll say it for you.
49:19Can't you hold my hand?
49:20No.
49:21Why don't you quit your job?
49:22I'm also leaving
49:23the modern world, Fermin.
49:25What did you say?
49:26Yes, I'm sorry,
49:27but Antonia and I
49:28are going to open a bakery.
49:29We have to try
49:30to keep Pietro from leaving.
49:31We have to convince him,
49:32no matter what.
49:33And I'm not telling you
49:34to do it.
49:35Let me do it.
49:36Let me try.
49:37We have nothing to lose.
49:38How's your first week
49:39as a cashier?
49:41Well,
49:42getting to work,
49:43little by little, yes.
49:44Well, I'm Agustín.
49:46Laura.
49:47Although everyone
49:48calls me Laurita.
49:49We have to schedule
49:50the exact time
49:51for each client.
49:52Like all changes
49:53and innovations,
49:54this will generate
49:55some resistance,
49:56but nothing happens.
49:58It's normal, natural
49:59and, to a certain extent,
50:00desirable.
50:02Well, this woman,
50:03I don't know what she's thinking.
50:04This is an elegant place
50:05and you can't get in
50:06the clients' way like this.
50:08Listen,
50:09we're not going to listen
50:10to her.
50:11Is the newspaper director
50:12a friend of yours?
50:14Call him.
50:15Call him for what?
50:16What do you mean, for what, Fabio?
50:18For me to publish about Íñigo?
50:20Hey, are you okay?
50:21I am.
50:23I don't think so.
50:25I already know you.
50:26What's wrong with you?
50:28You can tell me, woman.
50:29What confidence.
50:31I don't like the tone
50:32you're giving me.
50:33I've already told you
50:34that I'm here
50:35for a business interest,
50:36nothing more.
50:38But so much suspicion
50:39makes me a little suspicious.
50:41You're going to laugh,
50:42but the matter of Antonia and Pietro
50:44has moved me a little.
50:46I don't know.
50:47I thought it was very nice
50:48that gesture he made
50:49when he sacrificed everything
50:50for his future wife.
50:51Yeah, I know.
50:54I was talking to the waiters.
50:57Really?
50:58Yes,
50:59and they told me
51:00that one of them
51:01left overnight
51:02without notifying me.
51:03A little strange, isn't it?
51:05Well, the police
51:06should be informed a little more.
51:08Or maybe they don't know
51:09that most men's jackets
51:10have the same button.
51:12Really?
51:13And how do you know?
51:15Come on, I didn't sew buttons
51:16when I was working
51:17with your aunt
51:18with Chitán in the workshop.
51:19I've come to ask you
51:22not to get close
51:23to my niece again.
51:25I love her with all my heart.
51:26I would never have wanted
51:27to hurt her.
51:28Whether you want it or not,
51:29it doesn't matter.
51:31You bring her problems.
51:34So,
51:35stay away from her.