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.
01:17I don't know.
01:19What?
01:20That Pietro is also leaving the modern?
01:22Trini, close the door.
01:25About this, please, shut your mouth.
01:27Yes, I'll shut my mouth, and with a key.
01:29I will hide the secret but please, don't leave me like that.
01:33But what about that that Pietro is leaving the modern?
01:35You are the man he lives with.
01:36How am I going to ask you that?
01:37No, no, no.
01:38How difficult is it to find a place nowadays.
01:40No, that's why I'm telling you.
01:42No, that…
01:43Pietro doesn't want us to get married, so we don't see each other.
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.
11:15No, no, don't worry.
11:17Don't bother, you have these menesteres.
11:20I didn't bother any woman.
11:23If you are so right in the world,
11:25I don't know why I'm so loaded with everything,
11:27I have nowhere to leave it.
11:29And now on top of that, the mess of having it here.
11:31Collecting for me.
11:33No mess.
11:35And you know it can be installed
11:37in any of the rooms on the top floor.
11:39Choose the one you like best
11:41and locate your office there.
11:43I'm sorry, but on the top floor
11:45I can't do my job well in the living room.
11:47You know I like to have everything under control.
11:49Not to mention, of course,
11:51that I prefer to be closer to you.
11:53Maybe you need me, I don't know,
11:55to dispatch anything urgent.
11:57Yes, yes, you're right about that,
11:59but I insist that you find a place
12:01where you can develop your work
12:03in a more comfortable way,
12:05not with this suit and ...
12:07Well, if you insist,
12:09maybe, I don't know, I could settle here.
12:11Here?
12:13Yes, of course.
12:15Well, I understand that your niece Laurita
12:17is not going to use it anymore.
12:19Maybe I could occupy your table.
12:21If you think it's okay.
12:23Well,
12:25Laurita is going to continue
12:27with the publicity of the living room,
12:29but the truth is that
12:31I no longer occupy the office.
12:34Look, from now on,
12:36this will be your desk.
12:38So welcome to my office.
12:41Thank you very much.
12:43Well, I'll leave you,
12:45I see you were going out.
12:47Yes, yes, I was going to Mrs. Carla's funeral.
12:49Accompanying her to her mother's
12:51is the least I can do
12:53in this tragic moment.
12:55It's a great gesture on your part.
12:57By the way,
12:59I've thought it over better
13:01and I'm going to the inauguration
13:03of the Plaza de las Ventas.
13:05Really?
13:07Yes, yes, yes.
13:09What good news.
13:11Who knows, maybe we'll see each other
13:13at the inauguration in everything
13:15that my nieces told me,
13:17encouraging me.
13:19It seems that you know very well
13:21human nature.
13:23I would like that.
13:25Well.
13:33By the way.
13:35Yes?
13:37Don,
13:39why don't we go to the square together?
13:41Unless I have another companion.
13:43No, I don't have one.
13:45I would be delighted if it were you.
13:47Well, I'll pick you up
13:49in a while,
13:51when I come from the funeral.
13:53Can I leave the model in your hands until then?
13:55No need to ask.
13:57You know I do.
13:59I'm the manager.
14:01Thank you.
14:13I'll see you later.
14:31You're a traitor.
14:33I don't know why I bother to educate you.
14:36Commandment 9.
14:38Cleaning the plates and steel covers
14:40is not your thing, but the waiter's.
14:41So?
14:43Esperanza, I don't like it at all.
14:45To the enemy, no water.
14:47Get away from those covers.
14:49Manolo, I'll put the coffees on the table.
14:53And you,
14:55you should be ashamed
14:57of stealing staff from other departments.
14:59What are you talking about, ma'am?
15:01You're the one who's stealing here.
15:03You're taking away my place to put the coffees.
15:05You think you can abuse the newbies,
15:07but you can't abuse me.
15:09Esperanza, no one is abusing me.
15:11They say you do them a favor,
15:13others do it to you.
15:15Have you ever seen Cañete with a broom in his hand?
15:17I really want to have one right now
15:19to see if you've thrown it away.
15:21Can't you leave me some space for the coffees?
15:23Wait a minute.
15:25Esperanza, Cañete didn't ask me to do anything.
15:27It was my thing.
15:29But look at the waiters,
15:31they're exhausted.
15:33Well, the good thing is to do it in the parish.
15:35That way he'll thank me for all the lessons I've taught you.
15:37And on top of Barde.
15:39He won't want me to pay him
15:41as if he doesn't believe you.
15:43How did you get him to hire you
15:45without even finishing the test month?
15:47Thanks to my teaching
15:49and thanks to Menda.
15:51And I thank you very much, Esperanza.
15:53I'm very grateful.
15:55But I say that I must have had something to do with it, right?
15:57That here, the one who's been giving you a hard time
15:59while you were at home,
16:01has been Menda.
16:03You little rascal.
16:05Have you seen how much I've learned
16:07with everything I've taught you?
16:09And now you don't want to give me any credit.
16:11Of course I do.
16:13Because no one, like you, can understand me.
16:15You also lead your own team.
16:17Let's see, who wins the battle?
16:19The soldier who goes to the trench?
16:21Or the sergeant
16:23who goes and says what to do,
16:25how to do it,
16:27and when to do it?
16:29Ah, since we're on the subject.
16:31When a student takes a test,
16:33who does he merit?
16:35The student he studied with
16:37or the teacher who taught him the lesson?
16:39Why are you asking me?
16:41I don't know.
16:43Well, the sergeant is yours, Esperanza,
16:45and the student is yours, Marta.
16:47But then you're not giving us reason
16:49to both, like crazy people.
16:51And if you're not giving us reason to both,
16:53you're not giving us any.
16:55Of course.
16:57You know what I'm telling you?
16:59You put the coffees.
17:01And I'll tell you one thing.
17:03Let it be the last time I see you
17:05in front of another boss.
17:07Because if not, you're going to spend all afternoon
17:09cleaning the floor of the lab
17:11because you're a nerd.
17:13I'm dying and I'm not teaching you.
17:23Come on in, darling.
17:25Antonia, I don't know if I'm doing well being here.
17:27Teresa doesn't like customers
17:29visiting the common areas of the room.
17:31Teresa, Teresa, not even if you were a regular customer.
17:33Come on in and sit down.
17:35Okay.
17:38This is so empty, isn't it?
17:39I thought I'd find all of you here.
17:41You'll see them later.
17:43They've all gone to the bookshop.
17:45Miguel is doing a demonstration
17:47of stripes and corsets.
17:49Stripes and corsets?
17:51At the bookshop?
17:53That's right. And it has to be very interesting
17:55because he's gone all the way to Cañete.
17:57I can't believe it, I swear.
17:59But you know what?
18:01I have you for myself.
18:03You're going to come with me.
18:05Very well.
18:09Do you want some empanadas?
18:11No, thank you, Antonia.
18:13I've already eaten.
18:15Well, tell me.
18:17Why have you come?
18:19If I tell you the truth,
18:21because you've missed me a lot,
18:23that's the real reason.
18:25If it hadn't been for this stupid rule
18:27of married women,
18:29I wouldn't have quit my job.
18:31You don't know how I understand you.
18:33Perfectly.
18:35But well, let's hope this changes soon.
18:37I hope so.
18:39Well,
18:41how is Marta doing as a cleaner?
18:43You must be very happy to have her here.
18:45Yes, I really am.
18:47Well, she's doing very well, really.
18:49And she can handle Esperanza very well.
18:51That's another job.
18:53I'm very happy for her.
18:55She deserves it.
18:57Yes.
18:59That girl makes herself loved.
19:01Even Clarita missed her when she took her to school.
19:03Marta also missed her a lot.
19:05By the way, she's about to finish her shift.
19:06And she's going to pick up Clarita.
19:08They're both very excited.
19:10That's a very good idea.
19:12Yes, I'll look for her later.
19:14But eat, please.
19:16The truth is, Antonia,
19:18I've missed these moments a lot.
19:20Hearing the gossip.
19:22One and the other.
19:24Any news I should know?
19:27Yes.
19:29Laurita and her friend Celia, the photographer,
19:31are going to take care of the gramophone shop from now on.
19:33Ah.
19:34Well, I already knew that Laurita was a very entrepreneurial woman.
19:37Yes.
19:39Although, poor thing.
19:41She won't understand what happened to Inés.
19:43Poor thing.
19:45I was going to visit her, but...
19:47I don't know if it's the right time.
19:49Maybe it's too soon. I don't want to bother her.
19:51I see.
19:53By the way, Mr. Fermin told me
19:55that today is Mrs. Carla's funeral.
19:57Oh, Antonia, that's very complicated to tell.
20:00I see.
20:02Honey, I don't want to be indiscreet,
20:04but I heard from two clients
20:06that the newspapers say
20:08that they 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.
20:33When rumors are repeated,
20:35they end up being true to the eyes of others.
20:39I'm afraid they'll start treating Iñigo like a murderer
20:42when he's not.
20:44Of course not.
20:46The truth will come to light.
20:50I hope so.
20:52I'm glad you came.
20:54Yes.
21:03Mr. Jacob,
21:05it looks like 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
21:16ended up meeting 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.
21:29A bit.
21:31But I have to wait a bit for that.
21:33You're right.
21:35I got ahead of myself.
21:37In any case, if you need to talk to someone...
21:40No, no, no.
21:42I think I know how to defend myself.
21:45Actually, that's not the reason I'm here.
21:49Tell me.
21:51I'm here as a spy.
21:55Are you spying on me?
21:57Yes and no.
22:00Let's say it's an industrial espionage.
22:04I'm here
22:06gathering ideas for my new place in Seville.
22:09You know, what are the hours,
22:11how does the staff work,
22:13even how you behave with the clientele.
22:16Who was going to tell me?
22:18I've taken Mr. Jacob as an example.
22:21Well,
22:23I'll let you keep spying on me.
22:24If you need anything, let me know.
22:26Thank you very much.
22:36We have to start this now, Elias.
22:38Mr. Salvador shows up,
22:40grabs me by the hand and we're done.
22:42Well, by the hand, in the pocket, dear bookseller.
22:45In the pocket.
22:47No more chances.
22:49By the way, congratulations on the call, Elias.
22:51This could happen from time to time,
22:52to buy books.
22:54Well, where there's a good price,
22:56let's get rid of that scoundrel.
22:58Let's go.
23:00One moment of attention, please.
23:09First of all, thank you very much
23:11for coming to our presentation
23:13of La Fajete products.
23:15It's an honor to have you all here in the bookshop.
23:18In case you didn't know,
23:20all these books you see
23:22are from the bookshop.
23:24Stop chatting, we're running out of time,
23:26and we won't see each other for a while.
23:28I'm coming, I'm coming.
23:30I have the products in the other bookshop,
23:32I'll bring them to you.
23:34And since you've come to a demonstration,
23:36I've prepared a little surprise for you.
23:41Trini,
23:43why don't you go try on a corset like that?
23:45Because in your state,
23:47it wouldn't look good on you.
23:49How can I wear a corset?
23:51Esperanza, I didn't expect to see you here.
23:53Let's wait and see.
23:55And you, since the wedding is close,
23:57you want to look good, right?
23:59Of course.
24:01One moment, please.
24:03While we wait for Miguel,
24:05as the head of sales,
24:07I'll tell you about the excellence of fajas.
24:09Fajas for men and women.
24:11Fajas La Fajete,
24:13in which anyone can fit in
24:15to make you thinner and more majestic.
24:17My God,
24:18I've never heard such an advertising phrase before.
24:20Esperanza, I have squirrel ears.
24:22I've heard it perfectly.
24:24I said it so you could hear me.
24:26What are you doing here?
24:28I've been looking for my employees,
24:30and they're here,
24:32for a literary meeting.
24:34Excuse me, Mrs. Teresa,
24:36but we're on break, aren't we?
24:38No, because five minutes have already passed.
24:40Hey, your watch has stopped.
24:42What a strange phenomenon.
24:44And what are you doing?
24:46You're not preparing a boutique, are you?
24:48I won't let you.
24:50Everyone, get to work.
24:52One by one.
24:54Line up.
24:56One by one.
24:58Come on.
25:00And since there's no better way
25:02to check the quality of La Fajete products
25:04than by looking at the shelves...
25:06Tacha, I thought you were a serious man.
25:19Has something happened to Inés?
25:21No, Inés is fine.
25:24You don't know how scared I was to see you.
25:26I know.
25:28Inés is not more serious,
25:30but I've come to talk about it.
25:32I know you've broken up.
25:34Well, broken up.
25:36Let's say we're giving ourselves some time.
25:38With everything that's happening to Inés right now,
25:40it's not the right time.
25:42I see I did the right thing by coming to talk to you,
25:44because for Inés, the relationship is broken.
25:46What Inés needs now
25:48is peace of mind.
25:50I don't want anyone to upset her,
25:52so please respect her will
25:54and don't try to get back together with her
25:56because it won't happen.
25:58Has Inés asked you to come here to tell me this?
26:00No.
26:02Inés doesn't know I'm here.
26:04I've come on my own.
26:06Well, then allow me to tell you right now
26:08that it's none of your business.
26:10Cesar, what have you done
26:12for my sister to break up with you
26:14overnight?
26:16I'm not going to insist on Inés,
26:18I'm going to insist on your sister and me.
26:20Is it because of something you've done
26:22or your friend from Marseille?
26:25Laurita, please don't turn around.
26:27I know you're worried.
26:29Cesar, does that have anything to do with the cup of choice?
26:31It has nothing to do with it.
26:33But don't worry,
26:35your sister will get her life back and she'll be happy.
26:37Her happiness depends on you.
26:39Look, I'm leaving,
26:41but I hope you leave her alone.
26:48Bye.
26:56Yes.
26:58The bookkeeper was wearing a corset, Trinidad.
27:00My God.
27:02But it looked good on her.
27:04How could it look good on a woman?
27:06Well, I don't know, it was a demonstration.
27:08No, it was a demonstration of being ridiculous.
27:10That's what it was.
27:12Do you know why Mrs. Lazara has brought us here?
27:14No, I have no idea.
27:15I guess it's not right to tell me your business.
27:19Don Fermín should have chosen you as manager, not her.
27:23Well, don't make a big deal out of it.
27:25I'm not going to forget so easily
27:27that you've been away from work for a few minutes
27:29to go and look at the cards.
27:31Sorry.
27:33Ah, they're here.
27:36Yes, 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.
27:53Well, you will be the first.
27:55My God, I'm scared.
27:57Is it something serious?
27:59No, no, no, no, no.
28:01What we are going to deal with
28:03is something very beneficial for the salon
28:05and therefore for us.
28:07I've been doing a profitability study
28:09and I've discovered something amazing.
28:10With very little that we put on our part,
28:12we can double the weekly profits.
28:14Double the profits?
28:16But, I mean,
28:18we're raising prices like crazy.
28:20Well, almost, almost, Trinidad.
28:22What I want is for you
28:24to double your weekly sales.
28:26Monday?
28:41How good it feels
28:43to have the work done
28:45and all afternoon to go for a walk.
28:47Thank you for inviting me, Matilde.
28:49Going to look for Clarita at school today
28:51was the best thing I could do.
28:53The boats you took in the square,
28:55that was the best.
28:57The delicious walk,
28:59the boats too,
29:01but now that we're at home, Miss,
29:03I would like to talk
29:05very seriously with you.
29:07Yes, of course.
29:08I would like to talk
29:10very seriously with you.
29:12About how well I was doing this afternoon.
29:14What did your teacher tell me
29:16when I went to pick you up?
29:18Well, if you don't know it,
29:20who told you?
29:22Hey, Clarita,
29:24watch how you talk to me, OK?
29:26Your teacher complains
29:28about the behavior
29:30you're having these days
29:32and she even told me
29:34about your bad grades,
29:36that you had it well hidden, by the way.
29:38And there are several suspensions,
29:40many, in fact.
29:42The lessons were a mess.
29:44Clarita,
29:46I need you to change your attitude.
29:48Clarita,
29:50with how good a student you've always been,
29:52so smart, so obedient and so responsible.
29:54And what good is it to me?
29:56What good is it to me
29:58to be obedient and responsible?
30:00Of nothing.
30:02Nobody listens to me,
30:04nobody listens to me.
30:06Hey, that's not true.
30:08Whenever you want.
30:10With you.
30:12Look, Matilde, don't be a liar.
30:14If you don't listen to me...
30:16Clarita, don't go to your sister like that.
30:18I go to her however I want.
30:20Hey, 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
30:35and you'll find this.
30:36Don't worry.
30:38They're little girl's toys.
30:40I don't think so.
30:42I thought that everything about the move,
30:44about coming to live with Íñigo,
30:46had happened to her
30:48and it's gotten worse.
30:50You don't know how embarrassed I've been with the teacher.
30:52The grades were so bad.
30:54Not because of that,
30:56but because of the behavior she's having now.
30:59Patience, Matilde.
31:01Patience and decision.
31:03Because nothing else opens for us,
31:04except for Íñigo, yes.
31:06They all went through my hands,
31:08my people.
31:10And the kids need you to take care of them,
31:12but they also need you to put limits on them.
31:15Of course.
31:17What Clarita needs now are limits.
31:20If you need help, I'm here.
31:24Goodbye, Marta.
31:26It's very easy to understand.
31:28I want them to sell more
31:30and make more money by selling.
31:34But how do you expect the clients to do that?
31:38It's simple.
31:40While they're preparing the client's order,
31:42you tell them about the excellence of other products
31:45and encourage them to buy them.
31:49I'm sorry, Mrs. Lázara,
31:51but this proposal goes against a rule
31:53that we have here in the salon.
31:55We can't talk to the clients more than necessary.
31:59That's right.
32:01In the modern world, we talk about what's fair to the clients.
32:03The clientele doesn't come here to leave with us.
32:06Rules are useless.
32:08Unnecessary.
32:10I totally agree with you on that.
32:12But if we adjust one enough
32:14to help us with profitability,
32:16the change will benefit us all.
32:21Yes, but profitability isn't everything.
32:24If the modern world stands out for something,
32:26it's for the good treatment of its employees
32:28and for their elegance as well.
32:30Yes, it's about elegance
32:32and I'm not asking you to stop doing it.
32:34What I'm asking you to do
32:36is to recommend other products to the clients
32:38while they're working
32:40and, if possible, the most expensive ones.
32:47Can you tell me why there's so much silence?
32:50Don't you think that the products in this salon
32:52are of the highest quality?
32:55Yes or no?
32:57Yes, yes.
32:59Well, then be aware
33:00because you're not deceiving anyone.
33:02You're just helping them
33:04to consume more.
33:07I'm sorry, Mrs. Lazara,
33:09but I think that...
33:11I suppose that what you think
33:13is based on old-fashioned criteria.
33:15And since I'm here,
33:17I'll tell you all
33:19that if you need me,
33:21you can look for me
33:23in Mr. Fermin's office.
33:25I'll occupy the table next to you.
33:28That's all.
33:30You can leave.
33:32And remember that I want to see
33:34how the sales increase.
33:36One moment, Teresa.
33:47You tell me.
33:49I need you to be in charge
33:51of La Moderna this afternoon.
33:53Mr. Fermin and I
33:55will go together to the inauguration
33:57of the Plaza de Todos.
33:58You can't go alone.
34:09Dear Inés,
34:11I'm writing these letters
34:13to tell you what I'm going to do next.
34:15Something I'm doing for me,
34:17but especially for you.
34:19For us.
34:21Through the embassy,
34:23I've contacted the French Gendarmerie
34:25and I'm going to give them all the evidence
34:26against Marcel
34:28and the clan he works for,
34:30the Marseillaise clan.
34:32To do this,
34:34I only ask that I be released from prison
34:36so I can finally go to America.
34:38Our dream.
34:40Remember?
34:42I don't want to pressure you,
34:44but I hope you still want to come with me.
34:46This is the only way I've found
34:48to make sure you don't get hurt again.
34:51But if you don't want to know
34:53anything 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
35:06you can forgive me for all the harm I've caused you.
35:09With all my love,
35:11César.
35:25Then I'll go out with the corset on
35:27and think that you'd be there
35:29and you'd know what you were coming for.
35:31Like, ta-da!
35:33Like showing the eighth wonder of the world.
35:35Well, for Teresa, it would be the eighth,
35:37the ninth or the tenth wonder.
35:39It would have to do with her.
35:41With her arms like this and the corset on her body.
35:43Teresa must have thought she was in a couplet.
35:45Laugh all you want,
35:47but I didn't have a good time, really.
35:49So much trouble to organize the demonstration
35:51and I didn't sell a single strip.
35:52I'm not going to be able to sell the corset.
35:54I'll have to pay for it.
35:56Well, there's your first sale, Miguel.
35:58Well, honey,
36:00you're always in time to do another demonstration.
36:02That's what commercials do, right?
36:04Of course, not in the bookstore,
36:06because I risk that Don Salvador finds out
36:08and then I won't sell a corset or a book or anything.
36:10Thank goodness you have me
36:12to cheer you up, friend.
36:14And you too, Trini.
36:16I've brought you a gift.
36:18The gift is that you're going to leave us alone
36:20to enjoy the night alone?
36:22Yes.
36:24I have the gift outside
36:26because I couldn't put it in without you seeing it in advance.
36:28I'm going this way.
36:30It won't be your grandmother's portrait, will it?
36:32Of course not.
36:38No.
36:40Oh!
36:42A wicker moises!
36:44But...
36:46Not even a single gel!
36:48Yes!
36:50The first two gifts the baby has
36:52you've already received others, haven't you?
36:54What else is he going to get if you're the only one who knows?
36:56Well, then it's clear.
36:58You'll name him Godfather.
37:00Well, if the baby is a boy,
37:02I'll give him my name.
37:04Francisco Ruiz Fernandez.
37:06I think it sounds good.
37:08Or Paquito.
37:10Or Curro.
37:12Or Kiko.
37:14Or Frasco.
37:16Or Frasquito.
37:18Don't get like that, Miguel.
37:20If you want, you can call him Miguel II and that's it.
37:22Well, I'm excited.
37:24I'm sorry.
37:26I didn't know you two were so sensitive about this.
37:28You're a great friend.
37:30Well, I'm going to get some liqueur
37:32so we can cheer up the father.
37:34I'm sorry.
37:36Miguel.
37:38Don't you think it's time
37:40for Trini to stop working?
37:42Because she eats more and more
37:44and she's going to start noticing the pregnancy.
37:46And that living room is full of women
37:48who do everything.
37:50And yet you're the only one who knows.
37:52But you don't listen to me.
37:54Well, it's just that our genes fail us.
37:56Cañete, you know that my mother worked
37:58until the day she gave birth to me.
38:00And also, literally,
38:02because she was in front of the fireplace
38:04and I almost burned myself when I saw this scar.
38:06But stop being silly, Miguel, this is serious.
38:08Trini, being pregnant,
38:10shouldn't be working.
38:12It's just that I imagine her there,
38:14the poor thing, and...
38:16But...
38:23I know it's late,
38:25but there was no other time
38:27to meet with my accountant.
38:29You see, that's how demanding
38:31the life of a businessman is.
38:33Well, you go with the bulls
38:35and I go with you back to the office.
38:37You have to be grateful.
38:39I hope I haven't disappointed you.
38:41No, no, on the contrary.
38:43I've learned a lot from you.
38:45Thank you very much,
38:47but I was referring to the square.
38:49Oh, sorry.
38:50I didn't mean to finish.
38:52I have the feeling
38:54that you rushed the inauguration.
38:56Well, I don't know.
38:58The truth is that I'm not as...
39:00as understood as you are.
39:02I thought the square was a dream,
39:04so big and with those beautiful arches.
39:06It may be so.
39:08Do you know
39:10how much that bullfight cost?
39:12No more, no less
39:14than 12 million pesetas.
39:16Shut up, shut up, for God's sake.
39:17I was just thinking about those amounts.
39:19What impressed me
39:21was Diego Fortuna's work.
39:23He had the responsibility
39:25to deal with the first bull
39:27in the history of sales
39:29and his pulse has never shaken.
39:31And that was a bull
39:33from the cattle ranch of the Domecques.
39:35Wow.
39:37I'm still surprised
39:39by your knowledge, Mrs. Lázara.
39:41I would never have thought of you.
39:43Well, it's true that I like tauromaquia,
39:44but from your arm
39:46I'm learning a lot.
39:48You know so many details
39:50and so much about bullfighting.
39:52Thank you very much for insisting
39:54that it was at the inauguration.
39:56I would never have forgiven myself
39:58for not being present
40:00in this historical event.
40:03I am the one who is grateful.
40:05It is a pleasure to spend time with you.
40:08It is to be here
40:10in this office working,
40:12but today in the square
40:15it has been a perfect afternoon, Mr. Fermin.
40:23Clarita has just eaten
40:25and you have seen the answers she has given me.
40:27Why didn't you listen to them before?
40:31Don't you think you're worrying too much?
40:34Look, Clarita is in an age of change
40:36and if you add to that
40:38everything that has happened to her,
40:40that she becomes an orphan,
40:42her brothers live far away,
40:44she doesn't know what to do anymore.
40:46Yes, but even the teacher
40:48has not paid attention to me.
40:50Well, I don't know,
40:52I hope you're right.
40:57Let's trust.
41:00Oh, by the way,
41:02before I forget,
41:04what do you know about Inés?
41:06Well, at the moment
41:08we don't know the extent of her injury,
41:10but in the meantime I have asked Jacob
41:12to help me investigate
41:14what is happening on the wall.
41:16And that?
41:18Do you think something is happening
41:20behind your back?
41:22I'm afraid César is hiding something from me.
41:24I'm not sure, but
41:26maybe it's all that's going on
41:28that's making me paranoid.
41:30No, it's not being paranoid,
41:32it's being attentive.
41:34You're doing well.
41:36You don't know how lucky I am
41:38to be talking to you.
41:40You always understand me
41:42and we are
41:45very close.
41:47I see you don't regret
41:49marrying me.
41:51It's the best thing
41:53I've ever done in my life.
41:55You make me very happy.
41:57And you to me.
42:02My son had to see you.
42:04Open the door.
42:06We know you're at home.
42:14Inspector.
42:16Come in, please.
42:18Here is the record order
42:20and the judge's request.
42:22Start the record.
42:24You know what to look for.
42:35I don't want to bother you anymore.
42:38The accountant is about to arrive
42:40and you are late.
42:42And excuse me, please,
42:44I have to ...
42:46No, please, don't worry.
42:48I'll let you work.
42:50Yes.
42:52Well, I'm a little ashamed
42:54to talk about this,
42:56but I don't know if you know
42:58that when I was working
43:00in the Madrid-Paris warehouses,
43:02I was the one in charge
43:04of recommending the jewels
43:06to the wife of Master Belmonte,
43:08Mrs. Julia.
43:10Wow, you're a surprise box.
43:12I really enjoyed
43:14being out of this room.
43:16The same, Diego.
43:18We spent many hours here
43:20working side by side,
43:22but I don't know,
43:24I think this afternoon
43:26I've been able to get to know you better.
43:28Well, I hope what you've discovered
43:30doesn't disappoint you.
43:32Don Fermín,
43:34you could never disappoint
43:36any woman, never.
43:38Excuse me,
43:40I've talked too much.
43:42No, don't worry.
43:44Have a good night, Don Fermín.
43:46Good night.
43:48I'm going to hug you.
44:03I know it's the dress
44:05of my first wedding,
44:07of Ramón's wedding,
44:09but I think the important thing
44:11is what one feels,
44:12not what one wears.
44:14And, well,
44:16I also think
44:18we'll save a lot of money,
44:20which is not bad at all.
44:22Antonia, can I come in?
44:24Yes, come in, it's open.
44:27Hi, honey.
44:29Hi.
44:31Marta and I have already had dinner,
44:33but I've left your dinner here.
44:35Sit down, please.
44:37Thank you.
44:39I wanted to tell you
44:40what we have left for the wedding.
44:42Well, we still have to agree
44:44where we're going to do the invitation,
44:46but what really worries me
44:48are our suits.
44:50I guess you'll wear
44:52the Sunday suit,
44:54which looks great on you,
44:56you're going to be very handsome.
44:58And it would be good if Marta saw it
45:00in case we have to make some arrangements.
45:02And as for my suit,
45:04what's wrong?
45:05What's wrong with you?
45:08It's just...
45:10about the bakery.
45:13It's getting complicated.
45:15What do you mean?
45:17What do you mean?
45:19Yes, because there's another one
45:21who wants the transfer.
45:23And he'll have to solve it with a push.
45:25A push?
45:27Yes, the one who makes the best offer
45:29gets it.
45:31We have to raise our offer, Antonia.
45:33Raise how much?
45:35How much are we talking about?
45:37As much as we can.
45:39Everything.
45:41Because, of course,
45:43if he offers more, he'll take it.
45:45All our money?
45:47But, Pedro,
45:49maybe we have to think about it
45:51because it's on that street,
45:53at the bakery,
45:55but maybe it's not a good deal, right?
45:57I have no doubt about that, Antonia,
45:59but with a push like that,
46:00it's all or nothing.
46:03Well, it's a little nerve-racking,
46:05to be honest.
46:07I'm sorry,
46:09but I had to tell you.
46:11Yes, of course.
46:13I didn't want to give you a bad night.
46:15We'll talk about it tomorrow, okay?
46:17Yes.
46:19What were you telling me about the suits?
46:21No, nothing, nothing.
46:23Nothing.
46:25Eat quietly.
46:30Thank you.
46:34Are they going to take Inigo back to the dungeon?
46:37No.
46:39Of course not.
46:41Hey, Clarita, why don't you go to bed and go to bed?
46:43And now I'll tell you, okay?
46:45Come on.
46:47Come on.
46:59Can you tell me what this mess is about?
47:02They've woken up my little sister again.
47:04I'm sorry, ma'am, but it's the usual procedure.
47:07At this hour?
47:09It's all explained in the order.
47:11If it's okay to read it...
47:13Inspector, I owe you an explanation.
47:14Very well.
47:16Maybe I didn't expect it, Mr. Peñalver,
47:19but the investigation has taken an unexpected turn.
47:22Looking at the area where the corpse of the widow of Morcuende was found,
47:26a button was found.
47:28The button of a jacket, exactly.
47:30Does it ring a bell?
47:41Are they really looking for that in my house?
47:44A jacket that lacks a button, indeed.
47:47And they still consider me a suspect in Carla's murder, right?
47:51Don't worry.
47:53If you're innocent, we won't find anything in this record.
47:56But I'm very afraid that...
47:59Is this jacket yours?
48:02Well, of course it's mine.
48:04Well, there's a button missing here.
48:06Do you see it?
48:15I'm sorry to tell you that the button found in the river
48:19is exactly the same as the others in the jacket.
48:22I think you're going to have to give me a lot of explanations.
48:25But a lot of explanations.
48:37Yes, yes, tell me, Inspector.
48:42What?
48:44How is it possible?
48:46We must be prepared.
48:48The police can show up at any moment and arrest me.
48:51No, that's not going to happen.
48:55You should talk to him.
48:57No, Pietro, I can't do that.
48:59If I talk to him, I would be betraying Antonia, which is even worse.
49:03Go home, Pietro.
49:05Wait until you have the transfer of the bakery well secured.
49:09And in the meantime, how do I look him in the eyes?
49:12I'm out of breath, my love.
49:14And the money, or I'll eat it.
49:16Come on.
49:18But if I don't say it for me, I say it for you.
49:20Can't you hold my hand?
49:22Why don't you quit your job now?
49:24I'm also leaving La Moderna, Mr. Fermin.
49:26What are you saying?
49:28Yes, I'm sorry, but Antonia and I are going to open a bakery.
49:30We have to try not to let Pietro go.
49:32We have to convince him, whatever it takes.
49:34And I'm not telling you to do it.
49:36Let me do it.
49:38Let me try, we have nothing to lose.
49:40How's your first week as a cashier?
49:41Well, getting to work little by little, yes.
49:45Well, I'm Agustín.
49:47Laura, although everyone calls me Laurita.
49:50I mean, we have to time the exact time that each client is.
49:53Like all changes and innovations, this is going to generate some resistance.
49:57But nothing happens.
49:59It's normal, natural, and to a certain extent, desirable.
50:02Well, this woman, I don't know what she's been thinking.
50:05This is an elegant place.
50:07And you can't put customers in a hurry like that.
50:08Yes.
50:10Listen, we're not going to listen to him.
50:12Is the newspaper director a friend of yours?
50:14Call him.
50:16Call him for what?
50:18What do you mean, for what, Fabio?
50:20For him to publish about Íñigo?
50:22Hey, are you okay?
50:24I am.
50:26I don't think so.
50:28I already know you.
50:30What's wrong with you?
50:32You can tell me, woman, what confidence.
50:34I don't like the tone you're talking to me in.
50:35I'm talking to you because of a business interest.
50:37Nothing else.
50:39But so much suspicion, I'm starting to get a little suspicious.
50:42You're going to laugh, but the matter of Antonia and Pietro has moved me a little.
50:46I don't know.
50:48I thought it was very nice, that gesture he made when he sacrificed everything for his future wife.
50:52I know.
50:54I was talking to the waiters.
50:57Really?
50:59Yes.
51:01And they told me that one of them left overnight without notifying me.
51:03A little strange, isn't it?
51:05Well, the police should be informed a little more.
51:08Or maybe they don't know that most men's jackets have the same button.
51:12Oh yeah?
51:14And how do you know?
51:16Come on, I didn't sew buttons when I was working with your aunt with Chitán in the workshop.
51:20I've come to ask you not to get close to my niece again.
51:25I love her with all my heart.
51:27I would never have wanted to hurt her.
51:29Whether you want to or not, it doesn't matter.
51:31You bring her problems.
51:34So stay away from her.