• 5 ay önce
Salón de té La Moderna - Ep 193
Döküm
00:00And I'm going to be a good boy.
00:12I've hurt you too much.
00:14I didn't want to come without telling you I love you.
00:16Tell you? No, no, no.
00:18I'm already here. I'm with you.
00:26Inés, what are you thinking about?
00:28Nothing.
00:30I was thinking that I shouldn't talk much
00:32so that my recovery is faster.
00:34I see.
00:36What did the doctor tell you about that?
00:38That I shouldn't.
00:40Anything else?
00:42What he told me isn't very positive.
00:46He told me that my vocal cords were damaged.
00:48I see, but he didn't tell you anything else?
00:50Well, he didn't make it very clear to me
00:52if I was going to fully recover or not.
00:54Well, you know how doctors are.
00:56They prefer to keep quiet
00:58to cover their backs.
01:00Yes.
01:02You should have seen his face.
01:04It was as if he didn't want to tell me
01:06that it looked fatal.
01:08Well, maybe he didn't want to sign anything
01:10without doing all the tests.
01:12That's what he told you.
01:14Without them, he can't make a clear diagnosis.
01:16He's not omitting information. Maybe he doesn't know.
01:18Well, look, I can't guess
01:20what that doctor is thinking.
01:22Well, but you have to give him a chance, Inés.
01:24That doctor is an eminence.
01:26He's cured many singers, hasn't he?
01:55How are you, daughter?
01:57Mother, don't worry so much
01:59and don't underestimate me.
02:01I plan to endure whatever it takes
02:03until I can execute my revenge.
02:06Daughter, I understand your feelings and your anger,
02:09but you're really going to ruin your life
02:11just because you have...
02:13Just to do justice?
02:15I think it's more than enough.
02:17Carla, dear,
02:19why don't you try to forget?
02:22Why don't you try to forget?
02:24Forget everything.
02:26You've suffered a lot.
02:29You could start a new life, leave.
02:31Leave all this behind.
02:33I have everything, everything prepared.
02:35You just choose the day and you've done the rest.
02:37Mother, I know you're trying to protect me
02:39and you think that's the best for me,
02:41but I've already told you.
02:44I'm not going to run away.
02:46Don't be so capricious, daughter.
02:49Are you really going to ruin your existence
02:51because of a bastard who broke your heart?
02:53He's going to remember me for the rest of his life.
03:00You've suffered enough already, daughter.
03:04I've already decided
03:06and I'd like to be able to count on his help.
03:10I'm just asking you to think about it a little more
03:13before getting involved.
03:14It's more than I thought.
03:16So don't try to convince me because it's useless.
03:23I know you're not sure,
03:25but I'm very sure you're going to go back on stage
03:28and you'll leave all your audience stunned.
03:32I prefer not to get my hopes up, Laurita.
03:34Because if I don't recover in the end,
03:36the disappointment would be huge.
03:38Well, I understand what you're saying,
03:40but don't get the worst of it.
03:42What we have to do is make plans
03:44so that you can distract yourself.
03:46We could go help Celia paint the back of the shop.
03:51What a dream.
03:53Well, we'll paint a little, see how it goes
03:55and then we can go see the show.
03:57I don't know.
03:59I don't know, Laurita.
04:00I'd rather stay at home.
04:02I don't want to infect my mood
04:04with either of you.
04:06Are you sure?
04:07Yes.
04:08If I change my mind, I'll call you at the shop.
04:11Okay.
04:12I'm leaving, but I'll keep an eye on you.
04:41Yes?
04:42Inés, how are you?
04:44Bésar.
04:46I've been thinking about you all day.
04:48Do you remember that we met this afternoon?
04:50Yes, yes, yes, of course I remember.
04:53I haven't slept thinking about seeing you.
05:00Well,
05:02did you look at the documents I left you?
05:06Read to Fabio what you wrote down
05:08in the contract I gave him.
05:10Tell him to raise 5% of the rent
05:12for the furniture in Seville.
05:145%?
05:16I asked him for 10%.
05:19I don't know how Fabio is going to live his life now.
05:22He doesn't care.
05:24He asks me to help him,
05:25but then he doesn't do what I tell him.
05:27I don't understand him.
05:29Tell him it was a deal.
05:30Tell him to change it.
05:33Listen to me, daughter.
05:35Without a company, without benefits,
05:37and without liquidity,
05:39there is no money.
05:40And if there is no money,
05:41there is no possible revenge.
05:42Do you understand me?
05:44I know.
05:47I know you know.
05:49But from time to time it is good to shorten it.
05:53I'll see what I can do with Fabio
05:55and the issue of percentages.
06:10I don't know.
06:16Antonia, don't take too long
06:17and give me the guest list.
06:19How am I not going to the press
06:21to take care of the invitations?
06:23Well, I have a lot of things in my head, Esperanza.
06:25So many that I don't even know where to start.
06:28Well, make a list and give me the first one.
06:30Yes, yes.
06:31I'm sorry, but I still don't know
06:33exactly who I'm going to invite.
06:34Antonia, Antonia.
06:35Well, you know you can count on us.
06:37And if you need any kind of help, just let us know.
06:39Well, well, order, order.
06:41Come on, if you have to ask something,
06:43come and tell me.
06:44For that I am the godmother of the wedding
06:46and the one who organizes everything.
06:47Do you understand?
06:48Yes, yes.
06:49Well, Esperanza,
06:50you don't have to take care of everything.
06:51I can also do things.
06:52And here Elías also wants to help.
06:54Antonia, as long as you focus
06:56on looking pretty and being happy.
06:57Well, and make me the guest list.
06:59Elías, are you invited?
07:01Well, woman, of course.
07:02But if I know how to add all the sauces, Esperanza.
07:06By the way, Antonia, there will be a dance, right?
07:09What did I tell you?
07:10Ask me the questions.
07:11Well, I'll do it to you.
07:12There will be a dance, right?
07:13I imagine there will be a dance in your wedding.
07:14Because dancing is the most important thing.
07:15Apart from the boyfriends.
07:16Please, you don't have to take it to your chest, Esperanza.
07:19Come on, hurry up.
07:20That Spain does not get up alone to work.
07:22Well, write it down about the dance.
07:23Yes, I'll write it down.
07:24Come on, man.
07:26Don't worry, Antonia, I have it all under control.
07:29I couldn't have chosen a better godmother than me.
07:32Well, I'm leaving, because apart from solving the wedding,
07:35I also have to do my job.
07:37Of course.
07:38Oh, look at him.
07:39Since he's been engaged, he doesn't look as ugly as before.
07:54Salvita.
07:57If you like,
07:58could you help me with the order that just arrived?
08:01So you can spend the morning faster.
08:03No, Miguel.
08:04Don't worry about me.
08:06I'm not very boring.
08:08I find a way to have a good time.
08:13Well, since you're not boring,
08:15I'm sure you'll also find it very funny
08:18to help me with what I ask of you, right?
08:21By the way, Miguel.
08:24My father is coming to talk to you later.
08:26So don't tell me later that I didn't tell you.
08:30And what does Don Salvador want to talk about?
08:33He asked me not to tell you.
08:35He made me promise him that, according to him,
08:38I like to talk a lot and then I go away.
08:41Well, I'm not asking you to tell me exactly what he told you,
08:45but a little clue.
08:47Is it good or bad?
08:48Well, it's not necessary, because he's coming.
08:51So...
08:52I was about to tell you, but...
08:55Hey, a piece of advice.
08:57Don't deny what is obvious.
08:58That makes my father angry, you can't imagine.
09:00What?
09:02Good morning, Don Salvador.
09:03How can I help you?
09:06Well, look.
09:09I'm very curious about the fajete.
09:13Well, me too, because I don't know what it is.
09:18Are you sure, Miguel?
09:22Well, yes.
09:23I have some idea.
09:24If that's the case, I'm willing to listen to everything you have to tell me.
09:32Let's see, Don Salvador.
09:33Because of circumstances that don't come to mind,
09:36I saw myself in the need to complement the salary of the bookshop
09:40with an additional income.
09:43That's why I had to look for a job.
09:47Selling pages in my bookshop.
09:51Please don't fire me.
09:53I beg you, Don Salvador.
09:54I won't sell pages again.
09:56I promise.
09:57And I'll focus on the books and the bookshop, as I've always done.
10:00What you've done is very wrong, Miguel.
10:03You've betrayed my trust.
10:05And you've used my bookshop to sell a...
10:09disgusting product.
10:10You're absolutely right.
10:11And I'm very ashamed.
10:13That's all I can say.
10:14You're right, and I'm sorry.
10:17Salvita.
10:18Please leave us alone for a moment.
10:22Well, I'll go to the bookshop to get some tea.
10:26But don't be long.
10:27I still have a lot of inventory to do.
10:34Don't think you've got rid of the threat of dismissal.
10:36Okay?
10:37I told you I was wrong, and it won't happen again.
10:40Behave yourself.
10:41Your job is not in danger.
10:43I won't do anything like that again.
10:45Nowhere.
10:46Not here, not anywhere.
10:48Goodbye, pages.
10:49In short, they squeeze and what's the point?
10:51There's something I could do to forgive him
10:54and to forget this unpleasant incident.
10:58Trust me, Miguel.
11:00I need you to domesticate my son.
11:03Domesticate?
11:04Come on, Miguel.
11:05Don't tell me you haven't realized he's a retarded vagabond.
11:09Make him a man of law and order.
11:11Even try to instill in him a habit
11:14that goes beyond playing the tambourine
11:16and running errands.
11:18What if I don't make it?
11:21And if you don't make it,
11:23I'll remember all of a sudden
11:25that you've been selling cards in my bookshop.
11:30Deal?
11:33It's over.
11:34Good afternoon.
11:48But when are you going to tell Esperanza
11:50that it won't be the subject of our wedding?
11:52I swear, I haven't been able to.
11:54She's very excited. It's like she's going to her house.
11:57But don't worry, I'll do it.
12:00Come on.
12:01As soon as possible, please.
12:03The more excitement there is, the harder the deception will be.
12:06Just think that this woman takes me from arm to arm,
12:09I get cold sweats.
12:11I think you're exaggerating a little, right?
12:14But don't worry, I'll do it.
12:17Have you found a way to tell your son, by the way?
12:20Yes.
12:21Yes?
12:22Yes, they've given me the number of a tavern
12:23in the village where Ula lives.
12:25I'll call him when I can.
12:26I hope I can come.
12:28It will make you just as excited to marry me.
12:31Yes, it would make me very excited.
12:34I was thinking about something.
12:35Yesterday you told me that you'd miss
12:38not living in La Corrala, right?
12:40Well, yes.
12:41But don't worry about that either.
12:44Everything can be done now.
12:46We could rent the flat where Matilde's family lives.
12:50It's free.
12:51Is it true?
12:53We could talk to Don Braulio's children.
12:56Yes.
12:57I'll try to find them
12:59and we'll see what they ask for the rent.
13:02Perfect, yes.
13:04I would be very excited to be able to stay after our wedding.
13:08Thank you.
13:15Thank you.
13:28Six, seven...
13:31Of course, painting is not your thing.
13:33Why do you say that?
13:34Because you have more paint on your face
13:36than you've put on the walls.
13:37No, no, those are details.
13:38Ah, yes, details.
13:40And why don't I finish painting
13:42and you finish making the inventory?
13:43That way we'll know what we need and what we don't.
13:45We open in a week and we don't have time.
13:47No, not at all.
13:48I'm going to keep painting.
13:50By the way,
13:51I want to go for a walk with my sister
13:54before going to the Madrid-Cabaret party.
13:57She has a lot of memories of that place
13:59and she doesn't want to come back.
14:02Good morning.
14:04I see you're preparing the opening.
14:06Yes, the truth is that we're a little late.
14:09And how are you?
14:10Nervous?
14:11Nervous?
14:12Well, the truth is that a little, yes.
14:14I play a lot at this party.
14:16And if it doesn't go well,
14:17that will mean that people have turned their backs on Madrid-Cabaret
14:20and with what that means.
14:21But, well, I try not to think about it
14:24and focus on everything going as well as possible
14:26because then the rest is not in my hands.
14:30But that's not going to happen
14:32because I've talked to four newspapers
14:34that have confirmed your attendance.
14:37Let's see if I'm going to have to change the name of the place
14:39and call it Celia Cabaret.
14:41Well, well, first we're going to fill it up
14:43and when it's very successful,
14:45then maybe you can choose a poster with my name on it.
14:54Hi.
14:55Hi.
14:59Hey, I wanted to apologize for yesterday's incident.
15:03I wasn't nice.
15:04I hope you didn't think I wanted to laugh at you.
15:07I don't even remember.
15:09It's just that as soon as I see the occasion,
15:11I think I'm going to do it.
15:13That's how I am.
15:15Yeah, well, they pay me to clean,
15:17not to give a stick to two clients.
15:19Well, girl, I'm more of a colleague.
15:21Don't you see I work in the bookstore?
15:23Work, work, and I see you here, chatting.
15:26Well, that. Much better here, with you.
15:30Oops, what a bad leg!
15:33You just threw the bet.
15:35I'm not going to clean it.
15:36No, it was unintentional.
15:37No, it wasn't.
15:39Hello, sir.
15:40Would you like something?
15:41Some candy? Some pasta?
15:42Anything else?
15:44Well, the horchata is left.
15:45Clean it, please.
15:46Before the gentleman can stain it.
15:47No, no, no need.
15:48I'll clean it.
15:49No, I'll clean it.
15:50It's my job.
15:52Well, bring me the most exquisite thing on your menu.
15:55Regardless of what it's worth.
15:57Surprise me.
15:58My father pays.
15:59Remember, the most delicious thing you have.
16:01Interesting choice.
16:03I assure you I won't let you down.
16:05Excuse me.
16:08Thank you.
16:10Have you spoken to Celia Gamez yet?
16:12No.
16:13The truth is, I can't get her on the phone.
16:15Yes, it's true that I have the contact of her representative.
16:18The thing is, that man is a bit...
16:20clumsy.
16:21Come on, we don't get along very well.
16:23Well, I promise you it's going to be worth it.
16:25His presence will be a bomb.
16:27And I'm convinced that there won't be any newspaper
16:30that doesn't want to attend to take a picture of him.
16:32Yes, yes, I also think the same as you, but...
16:34It's just that I see it more and more complicated.
16:36I see.
16:39Well, I don't know, maybe I can take a guest...
16:43a bit special.
16:45And can I know who you're talking about with so much mystery?
16:48Let's see, it has nothing to do with the BBC.
16:50But it has its audience.
16:52But until I'm sure, I...
16:56You're very intrigued.
16:58But well, in the meantime, I'll keep trying to contact that representative.
17:01But this time I won't call her.
17:03I'll introduce myself in person and I'll talk to him.
17:05Well, by the way, I haven't told you before,
17:07but if you want, I can put you in touch with a squad of workers
17:10to help you with the works.
17:13I have very good contacts in construction
17:15and if you tell her that you're on my side,
17:17I'm sure you'll get half the price.
17:19Well, the truth is that we would appreciate it very much.
17:21So if you can make that call, it would be great.
17:24Consider it done.
17:26Celia.
17:28Thank you very much, really, for everything you're doing for me.
17:31And you too, Laurita.
17:33I hope you have a good day.
17:34Bye.
17:38No, no, no, no, you stop painting, huh?
17:41Yes.
17:42No, no, I just started.
17:43But then how can it be that you got so stained?
17:46Again?
17:47Let me.
18:00Hey, it was just a joke.
18:02Do you forgive me?
18:04I like to play the fool, but I'm telling you I don't have a bad background.
18:07I agree.
18:08The first thing you said.
18:09The second thing, I don't know and I don't care.
18:12I would like to have a conversation with you in peace.
18:15Yes, well, I don't know how it's going to be possible,
18:17because I don't feel like it.
18:19At least you could tell me your name.
18:22Leave me alone.
18:23Oh, what a beautiful name.
18:26I'll try again.
18:28What?
18:29That mine is I'll try again.
18:32I'll try again.
18:37Wow, what a sight.
18:40I wanted to ask you a question.
18:42How did we meet?
18:43Did Miguel tell you everything?
18:45My trick with the leaves?
18:46No, of course not, man.
18:47I gave him my word.
18:49The girl's name is Marta.
18:51Let's go.
18:59Coming here brings me very good memories.
19:02And seeing you makes my heart happy.
19:04You know it.
19:05You saw Don Fermín yesterday, right?
19:07Yes, I told him I wanted to work here again.
19:12Not as a waitress, but to organize events and events in the upper part of the hall.
19:17Let's see what he says.
19:18I hope he says yes.
19:20I'd love to see you here again. I miss you a lot.
19:22And I'm not the only one.
19:24Neither do I miss you.
19:25Especially you.
19:29Are you okay, honey?
19:32Yes.
19:33Antonio, these weeks have been very difficult.
19:36I'll take care of it.
19:38I'll take care of it, honey.
19:40When they accused your brother, it was terrible.
19:42Yes, and now we have to face that again.
19:46Life is taking its course with us.
19:48Yes, honey.
19:50But the bad streak, just like it comes, goes away.
19:54You have to look to the future.
19:57Yes.
19:58Yes, I hope this bad streak ends as soon as possible.
20:01Because the truth is that I don't know how much strength I have to endure this mess.
20:04You were a very strong woman.
20:06Very strong and very determined.
20:12Is there anything else, honey, you want to tell me?
20:15I don't know.
20:16I don't know how Mr. Salvador found out that I'm the distributor of La Fajete.
20:20Well, I don't know, but he found out.
20:22And you got rid of a fat woman.
20:23Yes, yes, I got rid of a fat woman, but they gave me another one.
20:27What are you talking about?
20:28Well, because he wants me to straighten his son.
20:30And with the event that is done.
20:32So you can't sell fajas, but you can be an institute.
20:35Come on, this man doesn't know how to get his son in trouble.
20:38And he says, well, let someone else do it.
20:40Well, what a choice, huh?
20:42Because you, with how soft you are.
20:44Man, Tini, soft, soft.
20:45I don't know if it's the word, but ...
20:47Come on, I don't see myself getting anyone in trouble.
20:50And much less Salvita, who is a professional vagrant.
20:53It must be recognized that in his thing, he is the best.
20:55Well, what will happen if you don't get it?
20:58Well, my job is in danger, nothing less.
21:00Well, you have to do everything possible.
21:02Now we have to focus on the Cupid plan.
21:05That's the most important thing.
21:06But I wanted to be free.
21:08That's the most important thing.
21:09But I wanted to be a bookseller.
21:10And in the end, I'm everything but that.
21:12Fajas seller.
21:13Institute.
21:14Actor.
21:15I'm going from bad to worse.
21:16Honey, since we don't give a damn about the Cupid plan,
21:19I'm telling you that this boy is going to come out
21:21and we're going to have to say
21:22that all this is the fruit of the Holy Spirit.
21:24You're right, you're right.
21:25The first thing is the first thing.
21:26Let's see, how do we start with the Cupid plan?
21:28Well, at first, falling in love.
21:31Well, pretending that we fell in love.
21:33And above all, it has to be something credible.
21:36Very credible.
21:38I'm already in love.
21:39No problem.
21:40I just have to let go of my passion.
21:43And credible, love.
21:44Credible, credible, credible.
21:45We'll have to, I don't know,
21:47we'll have to look at each other,
21:51make some kind of touch,
21:53as if it were a sudden love,
21:56like an arrow,
21:57like a sudden romance.
22:02I think we'll need a witness.
22:04Esperanza.
22:05Esperanza will be a good witness.
22:07Well, I don't care what you say,
22:09but you and I, Esperanza,
22:10a plan without cracks, come on.
22:12No, no, don't worry,
22:13because we'll have the perfect match.
22:17What?
22:20Darling.
22:23You can tell me whatever you want, you know.
22:26It's just that...
22:28Well, it's just that in this process
22:30I've felt a little lonely.
22:31Iñigo and I have supported each other a lot, of course,
22:33but there have also been times
22:34when I've been left alone with my thoughts,
22:36without knowing what the other person was thinking,
22:39or what they were regretting.
22:41Don't you trust him?
22:42Of course I do.
22:44He's a wonderful man, and he's been through a lot, but...
22:49I wonder if we get to know someone completely.
22:52Yeah.
22:54Well, we all have other things, right?
22:58No one is perfect.
23:00Maybe you're in a sadder, more tired moment,
23:03and you can't show that happier side
23:06that you're used to,
23:08but that's also marriage, isn't it?
23:12Yes.
23:13Showing the less happy, sadder side of yourself.
23:17Yes, I respect their silences.
23:19I also have mine,
23:21and I'm not perfect, much less.
23:24It's just that you've been through a lot, darling.
23:27A lot in a very short time.
23:30But you'll see how it all works out.
23:33Hmm?
23:37Trini, darling, don't you think we've gone too far?
23:40We've fried the poor man.
23:42Well, don't worry,
23:43because you're going to ask him for a favor,
23:45and he's going to say yes.
23:47I don't dare to say anything right now.
23:49I really have to take care of Salvita.
23:52By the way, she's been alone for a long time.
23:54She's also put all the tuna in the bookshop.
23:56Well, okay.
23:58See you after lunch.
23:59Don't forget that we're going to start with the plan.
24:02Plan Pito.
24:03Yes.
24:09Cañete, look, I was just looking for you.
24:12Tell me, Trini, what do you need?
24:14Well, you know that Mr. Fermin has taken away the rule
24:17that married women can't work in La Moderna, right?
24:20Well, we've decided that Miguel and I
24:22are not going to tell him that we're married.
24:25Yes, we're going to pretend that we're in love,
24:28that we're falling in love right now.
24:31And, well, we need you to help us.
24:33And I think you're the right person...
24:35No, no, no, I'm sorry, Trini,
24:36but I'm not in the mood for these games right now.
24:38Especially since what happened to Mrs. Lázara yesterday.
24:41What happened to Mrs. Lázara?
24:46Well, according to Teresa,
24:48Mrs. Lázara is after Mr. Fermin.
24:50But I don't know what to think.
24:52What's more, every time I think about it,
24:54I get sick.
24:56Well, if Teresa says so, it must be true.
24:58Besides, we always have like a sixth sense
25:00with all these things.
25:02Well, she must have ruined it with me.
25:04That's why she doesn't want to realize
25:06that I love her with all my soul.
25:08Damn, I've told you many times
25:10that you have to give her time.
25:13And while you give her time, you could help us.
25:18Come on.
25:19I haven't been lying.
25:25Yes, yes, I'm here waiting for confirmation.
25:29Do you like how I've done my makeup?
25:31Yes, yes, you look very pretty.
25:33Well, you've also practiced a lot, haven't you?
25:35Well, it's a very important night for Iñigo
25:37and I want to be up to it.
25:38Sure, and more with the artist he will have summoned.
25:40Yes, although there is bad news.
25:43What?
25:44Celia Gámez's representative has called
25:46to say that she can't come.
25:48Perfect. Thank you very much.
25:50See you later.
25:52Well, well, well.
25:54You don't know who is going to come to the party tonight.
25:57At least Rodolfo Valentino, right?
25:59No, no, no, no.
26:00Nothing more and nothing less than Ernest Hemingway.
26:03Ernest what?
26:04And what is he?
26:05Because he has the name of a painter or photographer.
26:07No, no, no, no.
26:08He is a North American writer.
26:10He was a correspondent in Paris
26:11and you don't know how well he writes.
26:13The press is going to be stunned.
26:16That's great, thank you.
26:17Yes, yes, yes.
26:21How handsome!
26:23How do you see it?
26:24I didn't know if I should wear this or the green one.
26:26You have so many dresses.
26:27Let's see, the truth is that all of these look good on you.
26:29But I like this one the most.
26:31Besides, I have a lot of affection for it.
26:32Well, I gave it to you.
26:34You are very handsome, but you are missing something, Marta.
26:37Something?
26:38Oh, Inés, don't tell me that.
26:39What it took me to put on this dress.
26:41No, no, no, I know where Inés is going.
26:43Marta, let yourself go.
26:45Of course, Carpe Diem.
26:46Look, you are missing some earrings.
26:49Look.
26:50Which one do I choose?
26:51Well, look, I think these can look very good on you.
26:55Come on, you see?
26:56Yes, let's see.
27:01Inés, I'm sure you don't want me to stay here with you.
27:04I can leave any other day.
27:05No, no, no, no.
27:06And lose the great writer.
27:07No, no, not even talk.
27:08Don't be silly, I'm serious.
27:09I prefer to be with you.
27:10No, no, no, no.
27:11No, no, no, no.
27:12No, no, no, no.
27:13No, no, no, no.
27:14No, no, no, no.
27:15No, no, no, no.
27:16No, no, no, no.
27:17I'm serious.
27:18I prefer to be with you.
27:19Laurita, I'll be fine, really.
27:20You promise me that you are going to enjoy yourself and that you will drink something to my health.
27:23I promise.
27:25And what are you going to do?
27:26Well, I'm going to go to bed because I'm exhausted.
27:30Okay.
27:31Well, nothing, girls, then if you are, we are leaving now.
27:33If we don't arrive late.
27:34Ready.
27:35Come on.
27:36Let's go.
27:40Rest.
27:41No.
27:42Goodbye.
27:43Goodbye, Inés.
27:44Have a good time.
27:45Goodbye.
27:47Goodbye.
28:09You'll see.
28:10This is going to be phenomenal.
28:13Okay?
28:14I'm going to try, Tini, I'm going to try.
28:16I'm not an actor.
28:18Tini, anything else you want, but an actor.
28:22Well, you, you breathe deep, okay?
28:24Calm down and repeat with me.
28:27The cupid plan is going to be perfect.
28:29Yes.
28:30No, you have to repeat it.
28:31The cupid plan, the cupid plan...
28:34But, wait a minute, Danza.
28:35You don't know the mess I have in the library.
28:37Am I on time?
28:38Yes, of course you are, but please, take that sweat off there, so no one falls in love.
28:42Are we all ready?
28:43Okay?
28:44Let's go, team.
28:45Everyone to their places.
28:46And above all, first of all, naturalness.
28:49Okay?
28:50Yes, let's go, Tini.
28:51Come on, come on, come on.
28:52Let's go.
29:05Hey, Esperanza.
29:07How's the morning going?
29:08A lot of fuss in the living room?
29:10Well, the same as always.
29:12Why?
29:13Did the vampire tell you something?
29:15No, no, woman.
29:16What's up?
29:17But I did seem to see traces of candy there on those tables.
29:23I don't know what kind of candy you might have seen.
29:25The floor is so nice to see.
29:28Yes, woman.
29:29I've seen it where the bookshelf is sitting.
29:31No, man.
29:32It's all clean.
29:33Look, I was going to tell you.
29:34I need someone to sit people in the church for Antonia's wedding.
29:38Are you busy?
29:39What are you doing?
29:40Are you listening to me?
29:41Yes, of course I'm listening to you, Antonia.
29:43I mean, Esperanza.
29:45And I thank you for asking me.
29:47But I have an idea.
29:49Why don't you propose it to the bookseller?
29:53He's very kind, he has a good job.
29:55Look at him.
29:56Look at him.
29:57I don't trust him.
29:59He's a lot of trouble.
30:00What does that have to do with making the task?
30:03Man, why does he get angry?
30:05I don't know.
30:06Why does he get angry?
30:07He gathers people.
30:08He makes a queue.
30:09And then we don't fix anything.
30:11No, woman.
30:12You look at him well.
30:13Look at him.
30:14Look at him.
30:15Look at him.
30:16But hey.
30:17What a bitch has given you to look at him?
30:19Look at him yourself.
30:20Let's see.
30:21You take care of sitting people.
30:23For that you are more dynamic.
30:25Besides, the godmother tells you.
30:27Don't yell at me, please.
30:29Look, you're a waiter.
30:31I was going to ask you.
30:32Maybe I start to give a few words at the banquet.
30:35When do I do it better?
30:37In the desserts?
30:38Before?
30:39After?
30:40When you want, woman.
30:41The question is that the guests listen to you.
30:43Look, let's practice.
30:45And imagine that those tables over there are the guests.
30:48What table? The one in the gallery?
30:50The high ones.
30:51Where the bookseller is sitting.
30:53Yes.
30:58Oh, damn.
30:59What I just saw.
31:01What did you see, Esperanza?
31:02What did you see?
31:03Oh, what I just saw.
31:04Your friend.
31:05Putting his hand on the glass.
31:07He will find out.
31:11What are you doing?
31:12What are you doing?
31:13Putting your hand on the glass.
31:14Man, not that it was a boy.
31:15The little sister of the bat.
31:17Are you taking something?
31:18No.
31:19Come on, get out.
31:20Excuse me.
31:21Come on, man.
31:24Oh, my God.
31:25Oh, my God.
31:31Oh, my God.
31:57Careful, careful, careful.
31:58Oh, I'm sorry, I'm sorry.
31:59Are you okay?
32:00I thought you would never come.
32:01You've always been very bad at making people wait for you.
32:06You don't know how eager I was to get to this moment.
32:09I thought I would never see you again.
32:11I can't believe I'm here with you.
32:13I'm sure this isn't a dream.
32:14This isn't a dream.
32:15And if it is, please, no one wake us up.
32:18And if they're going to wake us up, it'll be in a few minutes.
32:20What's going on?
32:21What's going on?
32:22I heard some voices and I got scared.
32:25Hey, it's not bad.
32:27We're in a park.
32:28There are people talking, there are people walking.
32:30Cesar, please, if the police find you, I don't know what to do.
32:33Listen, no one's going to find me.
32:36They're not so smart to do it,
32:38nor am I so stupid to get caught.
32:40You're beautiful.
32:44Cesar.
32:45How beautiful, please.
32:46Please, listen to me.
32:47What's going on?
32:51The other day, a lieutenant came to see me
32:53because he wanted to know if you had contacted me.
32:56A lieutenant?
32:57Yes.
32:58Who?
32:59I don't know, a guy named Lorenzo, I think.
33:01He was asking me questions and he told me
33:03that you'd end up in prison or in the cemetery.
33:08Look at me.
33:09You know I'm a man of my word.
33:12Look at me.
33:14I'm not going to end up anywhere.
33:17What are you going to do?
33:18You can't go on like this.
33:19That's what I wanted to talk to you about.
33:23I'm going to leave for New York.
33:25I have everything planned out.
33:27I'll be boarding from Lugo in two days.
33:30I'd like you to come with me.
33:33But, my love, what are you saying?
33:35I'd like to invite you to the best banquets,
33:38to try the best wines,
33:39to see the most wonderful shows in the world.
33:43But I can only offer you to run away with a fugitive.
33:46No.
33:47You're not a fugitive.
33:50You're the love of my life.
33:51I want us to start from scratch.
33:54I want us to fulfill the dream we always had,
33:56to have a jazz club in New York,
33:58or in California,
33:59or wherever, I don't care.
34:01I'd do anything to make you the happiest woman in the world.
34:08I don't need any of that, Cesar.
34:11I only need you.
34:13But...
34:15I know it's complicated.
34:16You have a comfortable life in Madrid
34:18and you can't be away from your uncle and your sister.
34:21I'm sorry I can't be with you for a few more days.
34:23I only have two.
34:25That lieutenant is looking for me.
34:32I promise I'll think about it.
34:34I promise.
34:54Don't bother yourself so much.
34:57Aren't you going to pick up the phone all day?
35:00Who isn't going to pick up the phone?
35:03Cecilia Gamed.
35:05A star in the magazine.
35:07I can't get in touch with her.
35:11Maybe she's busy with some other thing.
35:14I don't know.
35:16I'll call her.
35:18I'll call her.
35:20I'll call her.
35:21Maybe she's busy with a show.
35:24Have you talked to her representative?
35:26No, I'm not going to talk to that impressive guy.
35:28He's a scoundrel.
35:29Besides, I'm sure he hasn't told her anything about the party.
35:32In the end...
35:34Madrid's reputation will be ruined.
35:36I want to, but I can't.
35:38It's not all lost.
35:40I'm sure a lot of people will go.
35:42And if it's not like that, well...
35:44At least you've tried.
35:46It's too much for everything you're going through.
35:52Inigo...
35:54You know how the people of this city are.
35:57We'll have to keep in mind that we're going to be on the agenda all the time.
36:01Or at least for a few days.
36:07What would have been worse if it hadn't been for you?
36:11If you don't get to talk to Inspector Jiménez...
36:14And you tell him about the buttons, people would still...
36:17suspect me.
36:22Is something wrong?
36:24I know that this isn't a big deal,
36:27but these days you seem a little worried.
36:34It's not people's opinion that worries me.
36:37Then what is it that worries you?
36:53Is there something I haven't told you?
36:56No.
36:58I'm sorry.
37:00I'm sorry.
37:02I'm sorry.
37:04I'm sorry.
37:07I'm sorry.
37:10And I knew that your jacket was missing a button...
37:14long before the police showed up.
37:20What are you trying to tell me with all this?
37:25That when Inspector Jiménez found a button next to Carla's body,
37:29she already had what she wanted.
37:32That it was a test against you.
37:34Is that your jacket?
37:35Of course it's mine.
37:37Well, there's a button missing here.
37:38Can you see it?
37:41I'm sorry to tell you that the button found in the river
37:43is exactly the same as the others in the jacket.
37:46I think you're going to have to give me a lot of explanations.
37:49Yes, well, but...
37:51you yourself told the inspector
37:53that those buttons are very common
37:55and that half of the men in Madrid have them.
37:57That's why they wanted the test.
38:00That the button you found in the river
38:03is the most common button model in all of Spain.
38:06Practically half of the men in Madrid's jackets
38:09use that button.
38:11Among them, the ones of many police officers, by the way.
38:21It sounds familiar, doesn't it?
38:23You can buy it in hundreds in any merchant shop in Madrid.
38:27Inspector, that button could belong to anyone.
38:32But it's not true.
38:35I lied.
38:39What do you mean, you lied?
38:41You're scaring me, darling.
38:44I mean, none of those buttons were the same as those in your jacket.
38:47You showed it to him yourself.
38:50But those buttons aren't yours.
38:52What do you mean they're not mine, darling?
38:54They're not yours.
38:56I myself went to a merchant shop to buy some buttons
38:58so that they were identical to those in your jacket.
39:27So...
39:29You lied to the police
39:32to cover for me?
39:38Well, then, why did you call me?
39:40Look, I remind you that I have a lot of things to do.
39:42I'll repeat it to you, Mrs. Lázara.
39:44The security guards at the gallery are on their way.
39:46They'll be here in a minute.
39:47I'll be right back.
39:48I'll be right back.
39:49I'll be right back.
39:50I'll be right back.
39:51I'll be right back.
39:52I'll be right back.
39:53I'll be right back.
39:54I'll be right back.
39:55The security guards at the gallery will be on strike tomorrow and the day after.
39:58Well, I already know that.
39:59I'm the manager of this salon and I know everything that happens.
40:02What I expected from you was a solution.
40:05Well, the only solution is that we call another company
40:08that I have here on the phone
40:09so that they send two other security guards.
40:12Well, leave it to me.
40:13I just came up with something.
40:16Look, Mrs. Lázara, whatever you tell me,
40:17but I was about to call.
40:19A salon like the Modern one can't be without security.
40:22I'll call.
40:23After all, it's my obligation.
40:25Yes, I was already with the management.
40:27Mrs. Lázara, let me call and you take care of the security.
40:29I said I'll call.
40:30Don't be stubborn.
40:31We have enough with the strikes that are ravaging the country.
40:34Look, you don't have anything else to do.
40:37You can go home.
40:38It's time.
40:41Don't look at the time.
40:42That's indifferent.
40:43Lately, I've spent too much time in the salon.
40:46Well, what's wrong with that?
40:48I'm very committed to my job, you know that.
40:50And that's fine.
40:51But you should be more committed to your personal life.
40:55Excuse me?
40:56Don't take it the wrong way, Teresa.
40:59But it seems that you spend more time between these four walls than outside.
41:04And it worries me.
41:06Well, don't worry so much.
41:09Because I have a lot of personal life.
41:12And very busy, besides.
41:14Oh, very good.
41:16I'm glad.
41:18And besides, you know that the job of a manager is to be the first to arrive and the last to leave.
41:22That was before.
41:23When the figure of the manager did not exist.
41:26Luckily, now I am the highest responsible for Don Fermín.
41:30So go there quietly.
41:34That way you can attend to that busy life.
41:54This can't be happening.
41:57This is a nightmare.
42:00And the worst of all is that you didn't tell me before.
42:04But what was I going to do?
42:05Ñigo, what was I going to do?
42:07There was no explanation for there to be a button.
42:10Say it.
42:12Say what you're thinking.
42:16What do you think?
42:18That I'm not innocent?
42:20What do you think?
42:22That I'm not innocent?
42:23Don't you realize that for me it is also very painful?
42:30I don't believe anything, Matilde. Nothing.
42:32What I least expected you to doubt me.
42:34Ñigo, that has helped you.
42:36It has helped you. They could have accused me of conspiracy or of covering up a crime.
42:40Or an accomplice.
42:42Do you really believe it?
42:46I know you're not.
42:47But there are things that don't make sense to me.
42:49Tell me.
42:50Do you really think I'm a murderer?
42:53I didn't say that.
42:56Well, you didn't deny it at any time.
43:00I can't even trust you.
43:07And you don't need to come to Madrid tonight, Cabaret.
43:09I've had enough disappointments for today.
43:17I'm sorry.
43:41Ñigo, how are you?
43:43Why don't you have a drink and relax? The party has just begun.
43:47Well, I wish you were right, Laurita.
43:49But as you can see, the place is not even half full.
43:52Well, because it's a party and people don't come to parties on time.
43:56Otherwise it would be a meeting, right?
43:58By the way, I haven't seen Matilde yet.
44:01She's not coming?
44:02No, I don't think so.
44:04And that's because she's not feeling well.
44:06Exactly. She's not feeling well and has decided to stay at home.
44:11Well, I'm going to say hello to some customers.
44:14Thank you.
44:17Thank you.
44:23And Matilde? Is she with Ñigo?
44:25No, she's not coming.
44:27That's it.
44:28So she's taking care of everything else.
44:30Yes, but she's not feeling well.
44:32Meeting Matilde is very bad.
44:34Because Ñigo plays a lot.
44:36Darlings.
44:38I'm sorry to interrupt, but let me introduce you to Ernest Hemingway.
44:42The writer I told you about.
44:44Oh my God.
44:45Erisa.
44:47My pleasure.
45:07Rises.
45:08Rises.
45:17In English?
45:18In English.
45:19Well, it's already hard for me to understand it in Spanish.
45:22In English, imagine.
45:23Well, but between the two of us, I'm sure we'll get along and understand something.
45:26Marta, you're going to love it.
45:28The description he makes of the sick people's parties is remarkable.
45:33I don't know anyone who has reflected it so well.
45:36Thank you very much for your words, miss.
45:48Miss Garment.
45:50It's an honor to have you here at Madrid Cabaret.
45:54I was talking to your representative and he told me that he had the complete agenda, that he couldn't come.
45:58And he said well.
45:59But how was he going to fail you on your night?
46:03Shall we take a picture?
46:04Yes.
46:05Let's go.
46:18I'm going.
46:28Hello.
46:29Hello.
46:35What's going on?
46:38Giancarlo won't be able to attend the wedding.
46:41What? Why?
46:42What's his problem?
46:44The problem is with the authorities.
46:47They won't let him leave the country.
46:50Because of his criminal history.
46:52But he has four little things, poor guy.
46:54Yes, I know.
46:56But there's no way, Antonia.
46:58In Italy, it's like this.
46:59If it's no, it's no.
47:02Pietro, I'm very sorry.
47:06I'm sorry.
47:07Do you know how important it was for you to have your son?
47:10A lot.
47:11But I'd rather not think about it.
47:13He said we should try to enjoy it.
47:17Well, listen to your son.
47:19We're going to enjoy it.
47:20I'm sure it's going to be a beautiful day.
47:22I'm sure it is.
47:24Although there's still a lot to do, it's going to be a fantastic day.
47:32I'm going.
47:35Antonia.
47:36Yes.
47:37I wanted to ask you something.
47:40I've thought about wearing the same dress I wore when I married Lucia.
47:44May she rest in peace.
47:47A new one seems like a lot of money, doesn't it?
47:50If you don't mind.
47:51No, no, no.
47:52On the contrary.
47:56I didn't know how to tell you this.
47:59But I had also thought about marrying the dress I wore when I married Ramón.
48:05If you don't mind, I'm making some adjustments, some adjustments, but...
48:09Of course I don't mind.
48:11It's going to be beautiful.
48:14Thank you.
48:15And Marta?
48:16She's gone to Madrid Cabaret with Laurita and Celia.
48:19You don't know how happy I was.
48:22And have you spoken to Esperanza?
48:24No, I haven't been able to.
48:26There was a lot of fuss at La Moderna, but...
48:29I'll talk to her tomorrow.
48:32Tomorrow?
48:33Yes, tomorrow.
48:34Are you sure?
48:35Yes.
48:38Very well.
48:41Good night.
48:42Good night.
48:55Laura writes very well.
48:58It's not true.
48:59I have an idea, but then it's hard for me to express it and put it on paper.
49:02No, no, but that's practice.
49:04The important thing is to have a good idea.
49:07And what you have said is a very good idea.
49:09I say it to relax.
49:11No.
49:12Heart.
49:13How do you say...
49:14Heart.
49:15I say it from the heart.
49:16See?
49:17That's why it's so hard for you to get a compliment.
49:19Ladies, for the good ideas.
49:23Cheers.
49:24Cheers.
49:26Miss, do me.
49:28When Antonia sees the signature and the wedding dedication,
49:31how happy she will be.
49:34It will happen to her when she gets married.
49:55Matilde.
49:57Are you...
50:01Sorry.
50:03I'm very sorry.
50:10I'm sorry I let myself go.
50:12I shouldn't have doubted you.
50:14I'm sorry.
50:15I'm sorry you had to go through all that.
50:18I'm sorry.
50:20I'm sorry.
50:22I'm sorry.
50:23I'm sorry you had to go through all that.
50:27Come here.
50:31It's not my fault.
50:32You have helped me, but...
50:35We have to be able to talk about anything.
50:37Honey, the problem has been that I have locked myself in myself.
50:40And I haven't shared your worries or mine.
50:43No, my love.
50:44I'm very sorry.
50:45No, you don't have to apologize for anything.
50:47If it weren't for you, I wouldn't be free.
50:49And really, I'm very sorry for everything you've been through.
50:53But...
50:54My love, I would like us to look ahead.
50:58The two of us, as always.
51:01As always.
51:08You don't know how happy it makes me that you're here.
51:11I thought you weren't coming.
51:12How could I leave you alone on such an important day for you?
51:20Thank you.
51:27For our love.
51:29For what we are.
51:31For what we will be.
51:33And because life smiles at us.
51:50I love you.
52:03What were you going to do?
52:05I remind you that this is the manager's competence.
52:08I am the one who has to ask the operator for an increase in production.
52:12Oh my God.
52:14The report made by the Iberian correspondent.
52:16Two whole pages covering the reopening of the Madrid-Cabaret.
52:19Well, and the rest of the newspapers didn't fall behind.
52:21All of them.
52:22They all echoed the event.
52:24I don't know what he's up to.
52:25You don't know what he's up to?
52:26Well, I'll tell you.
52:28What he's up to is for you to sit on the left so that he gives up his position.
52:32Can you tell me what you're doing here?
52:34That's what I could ask you.
52:36I live here.
52:37I don't understand how Don Fermín is letting you seduce for this lady.
52:42Let's pretend I didn't say anything, please.
52:44Well, you did say it, Trini.
52:46Hey, I'm really telling you to shut up and don't say anything to anyone.
52:48And go, and I'll tell you right away.
52:50Agustín, what a surprise.
52:53What do you mean Agustín?
52:55Laurita, he's Agustín Comas.
52:56The theatrical producer who asked me to appear in the court of the pharaoh.
52:59I trust you.
53:00Don't disappoint me.
53:02I never disappoint you, daughter.
53:04I hope so.
53:05As you told me, business has to go well for me to be able to work.
53:09As you told me, business has to go well for me to be able to work.
53:12You must have seen that the construction of the hotels in Bilbao and Barcelona is fundamental for the accounts.
53:18Yes, yes.
53:19It would be an important push.
53:23But that is not feasible at the moment because there is a law on the ground that prevents it, dear.
53:28I'm willing to wait for whatever it takes.
53:30But I don't want you to waste your time waiting for me.
53:33I should look for your new protagonist.
53:35You are my leading actress.
53:38I don't want to find anyone else.
53:40I think we should solve the godfather thing.
53:42The godmother, I think, right?
53:44You know what I think.
53:46Couldn't you reconsider it?
53:48No, Antonia, I'm sorry.
53:49I can't change my mind.
53:51I don't have much time.
53:53One thing is to take risks and another thing is to put a life on my back.
53:56I need you to tell me if you have made a decision.
53:59You know, leaving Spain like this, so hastily, well ...
54:07I don't know.
54:20It's just that with my salary I can't afford to move in with Antonia.
54:23I see, I see.
54:25Mrs. Lázara told me about an increase and ...
54:27And you want me to make cash, of course.
54:30Please.
54:31This door, I don't know why it doesn't open.
54:35I can't believe it.
54:37I just closed the sliding door from the outside.
54:40I think it's time for you to go back to school.
54:42Don't you think?
54:44And I'll be in the newspapers and ...
54:47No one is going to mess with you.
54:49What you want is to get rid of me.
54:51That's why you want me to go to school.
54:53I think the best thing is for us to get comfortable because it's going to be a very long night.
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