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00:00A few days later
00:09Good morning.
00:10Good morning.
00:11For you.
00:12For me?
00:13Please.
00:14It's a secret.
00:15Thank you.
00:16A few days later
00:27Look.
00:30This is my day-to-day.
00:32But for you it should be strange to see the gallery so empty, right?
00:37That would be if I saw something, Pietro.
00:39Because my mouth opens by itself, but it's still hard for me to open my eyes.
00:44That's what being up early has.
00:45You have to get used to it.
00:47Yeah, well, with all the beautiful customs in the world,
00:49do I have to get used to being up early?
00:52But how do you complain, girl?
00:55Are you sure about what you're doing?
00:58Because it's not just getting up early to clean the bookshop.
01:03It's doing the work in the tea room all day.
01:06I'm very sure, Pietro.
01:08What scares me is being up early and not working.
01:11Besides, you only get three days a week.
01:17Hey, and how do you manage not to have such a hard time?
01:20I've been doing it all my life.
01:22I was up early in Italy, now I'm up early in Spain, I'm up early all over the world.
01:27I try to enjoy the advantages of being up early.
01:32Like, for example, I enjoy the wonderful sunrises I see every day.
01:38You have to see how you are, Pietro.
01:40Always taking the good things out of the bad.
01:48But wasn't Salvita going to come to see you at the bookshop?
01:51Yes, but I don't know, it seems like she's been a little late.
01:56It's just that I don't like to leave you here alone.
01:59I'm more worried about you being late at work.
02:02Go back to the lab, Pietro.
02:04I'll stay here waiting on my own.
02:06If Salvita is coming.
02:09I hope so.
02:11Okay, I'm leaving.
02:16Give me a kiss.
02:18Take care.
02:24My love, it's just about visiting the doctor.
02:27That's it.
02:28But I don't want to know anything about that man, I don't like him.
02:31Give me a chance, please.
02:32He's a prestigious psychiatrist.
02:34Besides, we're not talking about an income.
02:36We're just talking about going to talk to him and that's it.
02:39But we'll only do it if you want.
02:44But please, tell me you'll do it.
02:51If it's important to you, I'll do it.
02:56Thank you, my love.
02:58I'll tell the doctor that this afternoon you'll go to see him.
03:01I'll go to his consultation.
03:04Well, Tamara, I have to go to the gallery.
03:07I want to talk to Celia.
03:09I'd like you to help Jacobo in the inauguration of his place in Seville,
03:13like you helped me in Madrid Cabaret.
03:18Do you want to come with me?
03:19No.
03:20I think I'll stay home until the consultation.
03:23Do you think you'll be okay here alone?
03:29Yes, I'll be fine.
03:31I'll be fine.
03:32Making a normal life is the first step for my recovery.
03:36And that's what I want now.
03:39A normal life.
03:42Me too.
03:44A normal life.
03:57I'm sorry, I fell asleep.
04:01Well, since you're late, you could at least make up an excuse, right?
04:04So I don't feel so stupid for being here waiting for you while you were sleeping.
04:09No, it's not that.
04:11Yesterday I had to return some notes from the faculty to a friend of mine from Tuna.
04:16From Tuna, let's finish.
04:17The thing is that we had a drink and I lost my temper.
04:23Of course, because you're not used to going out, are you?
04:27Well, we didn't arrive later than usual either.
04:30The idea was to sleep a couple of hours, but it got complicated. I'm sorry.
04:35From what I see, you haven't heard of something called an alarm clock, have you?
04:38The one who named it was very right, because it's used for that, to wake up.
04:43And so you don't arrive late to places.
04:45No, if it's an alarm clock, it won't be that I put three.
04:47But that's how they sound, I turn them off and I don't find out.
04:50Well, they're very useful, yes.
04:53Well, let's get started.
04:55Because my shift at La Moderna starts in five minutes.
04:58And as you'll understand, I'm not going to start cleaning the library now.
05:01So you'll tell me what to do.
05:04Well, what are you going to do? Leave?
05:07Leave on the first day without working.
05:10It's obvious that you have no idea how to keep a job.
05:13Oh, well, of course, since you don't need it.
05:16You'll keep your job here and no one will find out.
05:19I'll cover you and clean the library before Miguel arrives.
05:21Look, Salvita, I'm going to tell you something.
05:23No, you don't even have to ask.
05:25I'll take care of the dirty work and they'll pay you the same.
05:29Don't get me wrong.
05:31I like to be paid.
05:32But I want to be paid for working, not for not working.
05:35So at my shift at La Moderna, I'll come and do what I haven't done.
05:38No, no, I'm telling you that...
05:40Salvita, I'll need the money.
05:42But I have plenty of dignity.
05:55At least César would have left me a phone number so I could talk to him.
05:59Well, think...
06:01What if I did you a favor?
06:04A favor?
06:05Yes, because international calls are very expensive
06:08and you would have ruined both of us.
06:13Who could it be?
06:16Uncle, good morning.
06:18Come in.
06:20Good morning.
06:21I know it's early for visits, but Inés,
06:24I need to know how your first session with the Leopolda went.
06:27Well, the truth is that I was impressed with her.
06:30Impressed?
06:31I hope for the best.
06:32Yes, I thought she was a very good professor.
06:34She's a very good professor.
06:36She's a very good professor.
06:38She's a very good professor.
06:40She's a very good professor.
06:42She's a very good professor.
06:44She seemed like a very good professional.
06:46And yesterday the visit was just to get to know each other,
06:48but she immediately knew how to detect my problem.
06:51So, her prestige is deserved.
06:53Yes.
06:54As soon as the fashion arrives, I want to thank Mrs. Lázara
06:57for getting me a slot in Mrs. Juanes' tight schedule.
07:00Well, we just have to wait for her to get you slots in her schedule for the next sessions.
07:06No, it won't be necessary because there won't be any more sessions.
07:11What do you mean, there won't be any more sessions?
07:13You just told us that you were impressed with that speech therapist.
07:17Well, the truth is that she was very honest with me
07:19and she told me that she couldn't be 100% sure that I could sing again.
07:23Well, but that doesn't mean that there are no options.
07:25Your sister is right.
07:26If there is a possibility, no matter how small it is,
07:29why don't you try it, Inés?
07:31You can't keep the feeling that you haven't tried everything.
07:34I don't know, I don't know.
07:36Well, well, well, let's not rush it.
07:38You don't have to decide it now.
07:40Think about it calmly.
07:41Okay?
07:42By the way, I'm going to La Moderna by car today.
07:44If you want, I can give you a lift.
07:46Sure, you're a good guy, but you'd better drive.
07:48Yes, yes, yes, yes, but don't rush it.
07:50I'll wait for you downstairs.
07:51Uh-huh.
07:56Inés, change your mind.
07:58You have to think better about what the guy says.
08:00You're right, the therapist can help you a lot.
08:02Look, Laurita, I don't want to get my hopes up.
08:04I had a dream that was to sing,
08:06but it won't be the first dream that I have to give up.
08:09Come on, let's go, the guy is waiting for us.
08:12Let's go.
08:33Piedro, we need more bandages.
08:36They have to take them off their hands today.
08:38Yes, I'll prepare the tray right now.
08:40Very well.
08:43I saw Inigo in the gallery.
08:45He finally decided not to join Matilde.
08:47Well, I'm glad for both of them.
08:49Me too.
08:53Well, I'll let you finish and I'll come back later.
08:56No, wait, wait.
08:57I wanted to tell you something.
09:00Maybe it's better if we don't talk about our things here,
09:03that the colleagues are already commenting a lot, Pietro.
09:05Antonia, let them talk whatever they want.
09:08I don't care.
09:10It's okay, tell me.
09:12Then I'll go to the Italian consulate with Lucia
09:15to clarify my legal situation.
09:18Now that we know that she is alive.
09:21Have you already spoken to the consulate?
09:23Yes.
09:24Yes, it's going to be complicated, Antonia.
09:27Because for the Italian authorities I am widowed.
09:30And Lucia is in legal limbo,
09:33having been given for dead.
09:35My mother, Pietro.
09:38What a mess we are in.
09:40Yes.
09:41We must be patient, Antonia.
09:43The consulate has told me that they will do everything possible
09:45to fix the situation.
09:49Today they will tell me something else and start the procedures.
09:53The procedures?
09:54How long are we talking about?
09:56Antonia, I know.
09:57I hope it's not long.
09:58Because as soon as all this is fixed
10:00and Lucia can go to Italy,
10:02we can continue with our plans, right?
10:05You and me.
10:08So in the end it's just a matter of waiting, right?
10:12In that, you and I are experts.
10:18Well, there is something else.
10:21I already imagined it.
10:23The consulate has told me that
10:26while all this is clear,
10:28I am responsible for Lucia.
10:33What does responsible mean?
10:36That I am the legal tutor.
10:40So you're telling Cristiano that
10:43you have to take care of her.
10:46Yes.
10:49I'm sorry, Antonia.
10:50I know it's not easy for you,
10:52but it's not easy for me either.
10:54I'll take care of it, Pietro.
10:58I know it's not easy for you either.
11:02I'll take the exams.
11:06I'll take the exams.
11:16That's why I chose you, Celia.
11:18I would like my friend Jacob to open his place in Seville
11:20and you lend him your help.
11:22Just like he did with me here at Madrid Cabaret.
11:25But Seville is very far away.
11:27It will be complicated, but ...
11:29But there is nothing impossible for Celia Silva.
11:33If you want, I could contact your friend
11:36with a friend of mine who lives in Seville and is a photographer.
11:39Great!
11:40Yes?
11:41The truth is that he is very integrated in social life
11:43and has an extensive agenda of contacts.
11:45Artists, writers ...
11:46Well, that's just what he needs.
11:48I knew I could count on you.
11:50Now that I think about it,
11:51I could talk to acquaintances of the local press
11:53to give you coverage.
11:55I don't promise it will have the same impact
11:57as the reopening of Madrid Cabaret, but ...
11:59Few parties can be compared to that.
12:01Things have to be said.
12:03By the way, how is this new stage in the business going?
12:06Well, the truth is that I can't complain.
12:08The room is going very well, the business too,
12:10so full every night.
12:12Imagine.
12:13I'm very happy to hear that.
12:15Oh, by the way, I haven't said anything.
12:17You have the beautiful store.
12:19How is the business going?
12:21Well, good.
12:22We just started, but good, little by little.
12:24I'm very happy to hear that.
12:26Well, I won't entertain you anymore,
12:28because I'm sure you'll have to do a lot of things.
12:30I leave you ...
12:31May I have a pencil?
12:32Yes, of course.
12:33Here I write down the phone number of my friend Jacobo.
12:36I'll see you when I can.
12:38Thank you very much, Celia.
12:40Good morning.
12:41Good morning.
12:52Really, Fabio, are you going to condemn me
12:54for a moment that I lost the papers?
12:56We were motivated for the sentence.
12:59Well, I think the best thing will be
13:01that we end this conversation,
13:03that you leave and that the two of us wait
13:05for the police and justice to do their job.
13:07And are you telling me that as a friend
13:11or as a diplomat?
13:16The word friendship, at this time,
13:19believe me, it comes to us big.
13:28I'm sorry.
13:43If you'll excuse me.
13:47But how formal, boss,
13:49bringing the uniform to work in a suitcase and everything.
13:52Well, more formal would be for you to arrive at your time,
13:54which has been covering you all this time, poor man.
13:56You don't know anything, Elias.
13:58I'm not here to work, I'm here to say goodbye.
14:00I'm going to the town, to Cuenca,
14:02to celebrate my grandfather's birthday.
14:04But you're still with that?
14:05I already told you yesterday, Teresa,
14:07that vampires deny permission.
14:10Look, I don't care what Mrs. Alazara says about me.
14:13Yes, well, you won't care when they kick you in the street.
14:16Cañete, friend, what are you playing with your job?
14:19It is a risk that I have decided to assume.
14:21Besides, yesterday my grandfather called me on the phone.
14:26At 100 he hung up and calling you on the phone.
14:29What a man, what a race.
14:31That's an attitude.
14:32You have to go yes or yes.
14:33Now I know who you got the money from.
14:35The fact is that he called me to tell me
14:37that he couldn't miss the celebration,
14:39that it was surely his last birthday.
14:41And my grandfather is very tough.
14:42If he gets something in his head,
14:44no one can take the idea away from him.
14:45Well, you have to go yes or yes, boss.
14:50So, whatever the vampire says, to me, plin.
14:53Yeah, and don't you feel a little ashamed
14:55to miss Trini and Miguel's wedding?
14:57With everything you've done for that couple, boss.
14:59Well, yes, a lot.
15:01I could have been the godfather, imagine.
15:03Be the godfather.
15:04The pride that has to give that.
15:08Well, I'll bring you some sausages from the village
15:10as a wedding gift and problem solved.
15:12Well, don't worry, it's not bad that he doesn't come for good.
15:15Everything is in place, boss,
15:16because with your down, he would surely be the godfather.
15:18And I'm going to leave the pavilion very high
15:20and I'm going to tell you about the wedding with hair and signs.
15:22I won't leave details.
15:24That's what I'm afraid of, Elias,
15:25that they'll wait for me a few days later.
15:27Well, I hope you have the suitcase full of garlic,
15:29because the vampire is coming that way.
15:35Can you tell me why you're dressed like that?
15:37What kind of joke is this?
15:39No joke.
15:40The centenary of my grandfather is a very serious matter.
15:44Well, I hope it is and that it pays off.
15:46Because if you go out that door,
15:48I will do everything possible
15:50to keep it closed when I return.
15:53Well, you have a strong door.
15:55Sometimes it locks.
15:57Excuse me?
16:00I will not tolerate such a detachment from my authority.
16:03Teresa.
16:05All this is your fault.
16:09With all the coffee I'm serving you these days,
16:12I end up asking for a job at La Moderna.
16:16I'm sure Don Fermín would hire you.
16:18You do it very well.
16:20It's a shame I don't think the uniform would suit you so well.
16:23Take your coffee, ma'am.
16:25And let's not get distracted.
16:27I'm going to the pavilion.
16:29I'm going to the pavilion.
16:30I'm going to the pavilion.
16:31I'm going to the pavilion.
16:32I'm going to the pavilion.
16:33I'm going to the pavilion.
16:34I'm going to the pavilion.
16:35I'm going to the pavilion.
16:36And let's not get distracted.
16:38I have the delivery service all morning,
16:40but they can appear at any time.
16:43The service must be delighted with you.
16:46With so much free time, so much walking that allows you to do.
16:49You have to be especially careful,
16:51especially with the people who come to the house.
16:54Oh, mother, please stop repeating it to me at all times.
16:58It is that if someone discovers you now,
16:59with all the sacrifice we have made so far,
17:01it would be useless.
17:04The sacrifice we have made?
17:06You mean the sacrifice I have made,
17:08that I am the one who is locked up in that hole,
17:10to follow your advice?
17:12It is the only way to get you out of jail.
17:16And since you specify all the details,
17:18do it well and punctuate everything.
17:23Well, now that we are talking about this matter,
17:26there is one thing that we have to deal with.
17:30The time has come to consume
17:32the second part of the plan, daughter.
17:34You must leave here and start your life away from this country.
17:38Mother, I'm not going anywhere.
17:40What do you mean?
17:41I'm not going anywhere.
17:44Not until Matilde ends up locked up in a asylum.
17:47Carla, let's think about it.
17:49Has Matilde already entered Dr. Mendoza's clinic?
17:52I'm afraid not.
17:53Are you afraid or do you know it?
17:55Don't hide things from me, mother.
17:57Don't treat me like a little girl.
17:59I'm not hiding anything from you, daughter.
18:02From what I've been able to find out,
18:04there has not been a new entry in the clinic.
18:06But that doesn't mean that it won't happen soon.
18:08And what are you waiting for?
18:10I don't know.
18:11But no visits and showing up in front of her.
18:15It's the only way I have to drive that idiot crazy.
18:19Tell me, what else can I do?
18:22What else can I do to get that damn dead fly
18:25put on a strength shirt?
18:27Calm down.
18:28And what I've told you.
18:30Nothing about going back to Ino's house.
18:32I'm not going to stay here with my arms crossed.
18:35I'm going to do everything it takes.
18:37Everything.
18:38To drive that dead fly away at once.
18:41And if I have to push her to drive her crazy, I will.
18:44No.
18:45You won't do it.
18:47Challenge me.
18:48You have everything to lose.
18:50I've told you no, and it's no.
18:52Could you trust me for once?
18:55Shut up and listen to me.
19:01You're happy, boss.
19:03But well, have a good trip.
19:06And give Grandpa some good memories.
19:09And one more thing, I'm not getting married,
19:11but I like chorizos too.
19:13So bring me some, boss.
19:15I'll keep that in mind.
19:16Well, have a good trip.
19:21I should be mad at you for what you've done.
19:25But all I can do is congratulate you
19:27and make Mrs. Lázara proud and not let you down.
19:30Well, I just hope she doesn't take it out on you now.
19:33Well, I don't care about that woman.
19:35Well, I don't care.
19:37But I'm not going to stop investigating.
19:40The only thing I'm going to do now is be more discreet.
19:42Come on, you're a tough nut to crack.
19:44Look, I've thought about going to the Madrid-Paris warehouses
19:47and being able to talk to an agent who works with her.
19:50Maybe that way I can get information.
19:53Be careful, Teresa.
19:55You see, she's no longer joking.
19:57You see, Trini told me
20:01that a few days ago a woman came
20:03and recognized Mrs. Lázara.
20:05And when Lázara noticed, she got very nervous.
20:07She took her to the warehouse, they were talking,
20:09and when she left, Trini thought they had argued.
20:12I don't know, maybe she's an old co-worker.
20:16That's why I have to go.
20:18To investigate.
20:21Maybe you should wait for them to come back.
20:23Don't worry, I can take care of myself.
20:26Hey, go now, you're going to miss the bus.
20:30Well, have a good time.
20:32And give your boyfriend my regards.
20:36Yes.
20:38I will.
20:40I'll be back.
20:41Bye.
20:52Excuse me, Marta.
20:54It's not that I'm going to tell you how to do your job,
20:57but I think it's more comfortable for everyone
21:00to do things as usual, the cleaning before opening.
21:03Yes, I know.
21:05The only thing is that I didn't have time and...
21:07Yes, and not to say that I think it's the best for you.
21:09You don't have to waste your rest minutes at La Moderna
21:12to come to the races to pass the marker here.
21:14No, yes, yes, it's my fault.
21:16Well, since it's the first day, I didn't know how to calculate,
21:19there's time and...
21:21Look, take Salvita as an example,
21:23he does know how to calculate.
21:25Because he has time to work, but also to go out.
21:28And no, no, no, no, no, no, no,
21:30don't tell me you didn't go out yesterday
21:32because he learned to read your face perfectly
21:34and what a face you have today.
21:36Look at him.
21:37He looks tired.
21:40Not to say that he's exhausted.
21:42And he hasn't slept.
21:44Come on, he didn't sleep well
21:46the night before he came to open the bookshop for you.
21:49Isn't that right, Marta?
21:53The only thing I know is that...
21:55that Salvita came at the right time
21:57and he was very awake when he opened it.
22:01If you say so,
22:02then it was the closeness to books
22:04that makes him look sleepy.
22:06In Herrero's house,
22:07I hope that from now on
22:09you'll start sleeping better
22:10because on my wedding day
22:12you'll be alone in the bookshop.
22:13You'd better be awake.
22:15All day?
22:16Yes, yes.
22:17That's how business usually works.
22:19They open during the day.
22:21But no, don't worry
22:22because I won't be absent much,
22:23just the time it takes to get Trini and me married.
22:26And now do me a favor
22:28and go take these books to Mr. Verdes' house.
22:32And I know where he lives.
22:33It won't take you more than ten minutes.
22:35Ten minutes on the clock.
22:42I say it'll take half an hour.
22:44What do you say?
22:49Done.
22:52No matter how many times I think about it,
22:53I can't understand it.
22:54How is it possible that Cañete,
22:55such an efficient worker,
22:57has decided to absent himself from work
22:59without permission?
23:01Well, as you already know,
23:02Cañete needed a few days of permission
23:04but that's not an excuse
23:05for him to take them on his own
23:07and not attend to the needs of the salon.
23:09But there are many.
23:10Because in three days,
23:11just in three days,
23:12we have the convention of pharmacists.
23:14They are not dates for the salon
23:15to be without its head of waiters.
23:17I've tried to make him understand that,
23:19but nothing.
23:20It seems that he cares more about his grandfather's birthday
23:22than the salon.
23:23It's clear that it's his grandfather's centenary.
23:24I can understand that, but...
23:25Well, you will also understand
23:27that it has been a displeasure to the authority
23:29and that it cannot be allowed.
23:30Something has to be done.
23:31Yes, yes, something has to be done.
23:32But...
23:33And you don't know how I dislike it
23:35because Cañete is an exceptional worker.
23:38A worker of those
23:39that no businessman can afford
23:41the luxury of losing.
23:43It was my fault.
23:45I shouldn't have extended this situation
23:47to the extreme.
23:48Of course I did.
23:50Sorry.
23:52Of course what?
23:53Mrs. Lázaro, I don't like
23:54that you stay in the middle.
23:56Why are you suddenly quiet now?
23:58Of course nothing would have happened
23:59if Teresa hadn't given him those days off
24:01without talking to me first.
24:04I'm very sorry.
24:05The lack of communication in the chain of command
24:07will not happen again.
24:08I hope so.
24:09Because I don't like these misunderstandings at all.
24:11They affect the operation of the salon
24:14and create conflicts
24:15between perfectly avoidable workers.
24:19Yes?
24:21Oh, am I interrupting?
24:23No, darling, come in, come in.
24:24Mrs. Lázaro and I had already finished.
24:26Isn't that right?
24:28By the way, Mrs. Lázaro,
24:29I wanted to thank you
24:30for putting me in touch
24:31with the speech therapist I recommend.
24:33You're welcome.
24:37Excuse me.
24:45How are you, darling?
24:46Very well.
24:47I'll listen to you, uncle.
24:49I'll listen to you?
24:51I'll listen to you
24:52is one of the most beautiful phrases
24:54that the Spanish language has.
24:56And more if it comes from your lips.
24:58In what do I have the honor
24:59that you want to listen to me, Inés?
25:01I'm going to continue the sessions with the speech therapist.
25:07You don't know how happy I am.
25:09You have done the best.
25:10Congratulations.
25:11The problem is that the next session
25:13would have to be this afternoon and ...
25:16And you come to ask me for permission.
25:18Others could already learn.
25:21Well, I give you that permission.
25:23So take advantage of the time with that woman
25:25who is going to achieve wonders with your voice.
25:28Thank you, uncle.
25:29I'll see you later.
25:30Of course.
25:38Finished for today.
25:39The next day I will have everything in the morning.
25:42Of course.
25:43And so you dedicate your rest time to that.
25:45To rest.
25:46Good morning.
25:47Good morning.
25:51Lini.
25:52Come in.
25:53I imagine that working so closely
25:55you will take advantage of any moment
25:56to see each other and finish things at the wedding.
25:58Nervous?
25:59There are only three days left.
26:01Yes, three days.
26:02There are three days left.
26:03Well, and since we don't see each other,
26:05I take advantage of every minute I have
26:07to come here and organize the wedding.
26:09We don't see each other.
26:10Nothing.
26:11But nothing.
26:12Well, don't worry.
26:13In three days you are already married.
26:15You make a very good couple.
26:17Have you ever been told?
26:18Thank you.
26:20Very good couple.
26:21I'm sure you will be very happy together.
26:29Honey, I have a news,
26:31but a news from Las Cordas.
26:33Uy, I'm starting to tremble
26:34because when you become a reporter ...
26:36Cañete has had the courage to face the vampire
26:39and then he has gone to his grandfather,
26:41so camping,
26:42and you don't know how the vampire is.
26:44Knowing her, she will be fine.
26:45Well, well.
26:46I think she has the sharpest fangs
26:48that shine on her and everything.
26:49But I'm worried about Cañete,
26:51because I hope this doesn't cost him the job,
26:54because things are not like to lose a newspaper like that.
26:57Like to lose a godfather.
26:59That's what we've lost, a godfather.
27:01And you don't know who hasn't taken a minute
27:04to offer himself as a substitute.
27:06Elías, as if I were watching him.
27:08Obviously.
27:09What do we do?
27:10What do we do?
27:11Because he doesn't stop with the beating.
27:12And I swear, I'm going to go crazy.
27:14What do we do?
27:15We tell him no, obviously,
27:16that it's about Elías.
27:17But he's actually a little bit right,
27:19because we need a godfather.
27:20And now, if you hurry me,
27:21well, also a godmother.
27:23The further away we have Elías from Gompilla,
27:25the better.
27:26Because between these two,
27:27nothing good can come out of there.
27:29Too late.
27:31What do you mean?
27:32Well, Elías,
27:33lately he's been very weird
27:34and he has that face that he gets
27:36when he's plotting something.
27:37My God, when that little head starts thinking,
27:39I'm afraid of what can come out of there.
27:48Hello.
27:49Pietro, you're home.
27:52And this one?
27:54And Fiori.
27:55This morning, when I went shopping,
27:57I passed by a garden and...
27:59I couldn't resist.
28:01But Lucia, you can't pluck flowers from gardens.
28:04I know, but what can you do?
28:06Pietro,
28:07you can't do this.
28:08You can't do this.
28:09You can't do this.
28:10You can't do this.
28:11You can't do this.
28:12You can't do this.
28:13You can't do this.
28:14You can't do this.
28:15You can't do this.
28:16Pietro,
28:17there's nothing like flowers
28:18to warm a home.
28:21You like them, don't you?
28:22Yes, yes, they're pretty, yes.
28:26Well, I imagine
28:27you're going upstairs to eat with Antonia, right?
28:29No.
28:31Today it's just me and the book at this time.
28:34Antonia and Marta are still in the tea room.
28:37They'll take a while to come back.
28:40Have you eaten?
28:42I've just had a bite.
28:43Oh,
28:44then
28:45maybe you're still a little hungry
28:47and so we can eat together.
28:51I don't like to eat alone.
28:54Remember?
28:56Besides, what a coincidence
28:57this is a dish that you like a lot.
28:59Calle Pepe.
29:03I had forgotten this smell.
29:05How long have you not eaten a Calle Pepe?
29:07Since...
29:10Since we were married.
29:12Well,
29:13better.
29:14So even if I didn't do very well,
29:16you'll know how wonderful it is.
29:18Yes.
29:19Shall we sit down?
29:20Please.
29:35Smells like home.
29:45They're delicious.
29:47Thank you.
29:52I confess that
29:53you don't know whether to continue with the sessions or not.
29:56Yes, I have that feeling,
29:58although I don't know very well why.
30:01Well, because I don't want to get my hopes up
30:03and then get into a mess.
30:05You yourself made me understand that you weren't sure
30:07that I could fully recover my vocal cords.
30:11Well,
30:12Inés, I'm going to be honest with you.
30:17I don't do miracles,
30:18but I do get results.
30:22But in my case...
30:23You're not the most complicated case
30:25I've come across.
30:26I managed to regain confidence
30:28in an important soprano.
30:29I'll never tell you her name.
30:31She stayed in Fónica
30:32one day before releasing
30:34an opera in Milan.
30:36The Scala in Milan?
30:37Also,
30:38I managed to convince her
30:40The Scala in Milan?
30:41I also helped a Minister Tartamudo
30:43to prepare a speech
30:44that had to be given
30:45in the Congress of Deputies,
30:47and we got it in just three days.
30:50But then,
30:51she gave the speech without Tartamudo-ing?
30:52Of course.
30:54Another client was
30:55a famous theater actress,
30:56I won't tell you her name either,
30:58to whom she panicked
31:00a week before her premiere,
31:02to such an extent that she lost her voice.
31:04In five sessions with me,
31:06she regained her voice
31:07and was able to represent her work.
31:11Do you know what these three patients
31:13I've just told you about
31:14had in common?
31:16They had lost their confidence.
31:19My job was to help them
31:21regain it.
31:23So,
31:24coming back to you,
31:27do you trust yourself?
31:34I'll tell you when
31:36we wanted to open
31:37a restaurant for the two of us.
31:40Do you remember?
31:41Of course I remember.
31:43It was our dream,
31:45to set up a small trattoria.
31:47I'd cook the pasta
31:48and you'd take care of the desserts.
31:52A dream that stayed with us.
31:56Like so many others.
31:59It's been a long time.
32:01It seems like a different life.
32:03No,
32:04it's not true.
32:05For me, it's like it was yesterday.
32:06Well, no.
32:08It's been many years
32:10and we've been through a lot.
32:11I don't care.
32:13For me, it's like
32:14everything I experienced in the U.S.
32:16had vanished.
32:17Like it never happened.
32:19And being with you now,
32:21eating,
32:22I don't know,
32:24it feels so familiar
32:26as if we'd never stopped being together.
32:30I can't say the same.
32:33I can't, Lucia.
32:35A lot of things have happened to me,
32:37very important things.
32:40And people.
32:49I think that in my case,
32:50it's not a matter of trust,
32:52but that my vocal cords are still damaged.
32:57It's true that
32:58in speech problems like yours,
33:00there's a physiological part.
33:02But other times,
33:03there's also a strong emotional load.
33:06The voice is the mirror of the soul.
33:08And if the soul is sad,
33:09the voice also goes out.
33:13I'm aware that
33:15you've suffered a serious damage
33:18to your vocal cords.
33:19But,
33:20and if you'll allow me to trust you,
33:25I don't think your problem is just physical,
33:27but emotional.
33:29I feel that you've lost confidence in yourself,
33:32but above all,
33:33the illusion.
33:35Am I wrong?
33:38No.
33:40I can help you
33:41to recover both.
33:43But it will be a vain effort on my part
33:45if, instead,
33:46you're not willing to fight
33:48to sing again.
33:51Yes, you're right.
33:53I've lost
33:54confidence in myself
33:55and the illusion.
33:59It's like,
34:00as if I could read my mind.
34:03Well,
34:04as I read your mind,
34:06I can also read
34:07that you still want to fight
34:09for your dream.
34:12Yes.
34:14I owe it
34:15to a very important person for me.
34:19A gentleman, right?
34:22A man I'm
34:23deeply in love with
34:26and I've lost forever.
34:30You've just taken the first step
34:32to recover your voice.
34:34Recognize
34:35and accept your pain.
34:38But enough chitchat.
34:39It's time to get to work.
34:42I'm going to show you...
34:43Get up, get up.
34:45I'm going to show you
34:46some neck relaxation exercises.
34:49Are you ready
34:50to start the session?
34:51Yes.
34:52Very ready.
35:04Shhh.
35:07Shhh.
35:10Shhh.
35:14Shhh.
35:19Shhh.
35:21Shhh.
35:32Shhh.
35:34Shhh.
35:44Good afternoon.
35:46I'm sorry.
35:47I didn't realize
35:48there was someone else.
35:50When I get into this,
35:51I lose track of time.
35:53The world disappears around me.
35:57Do you like it?
35:59It's very pretty, yes.
36:01Would you dare to tell me
36:02what it represents?
36:05Um...
36:06It's a bird.
36:07But I don't know
36:08what kind of bird it is.
36:09A crane.
36:11In distant Japan,
36:12this technique is called origami.
36:14And the origami
36:16in the shape of a crane
36:17is given to wish for health
36:19and a quick recovery.
36:21Take it.
36:22It's a gift.
36:28Thank you very much.
36:31But this will have to be
36:32a secret
36:33between you and me.
36:36Dr. Mendoza.
36:37It's better not to tell him
36:38according to what things.
36:40Tell Dr. Mendoza
36:41what you think
36:42he wants to hear.
36:44With time,
36:45one realizes that
36:46that's for the best.
36:47Because if I told the doctor
36:48the things I see,
36:50I would be taken for a fool.
36:53Although it's not easy
36:54to deceive Dr. Mendoza.
37:01My name is Brigida, by the way.
37:04This one?
37:05Matilde.
37:09I'm going to seem very bold to you.
37:14Could I ask you
37:15why you're in this consultation?
37:20Excuse me.
37:21Sorry.
37:22It's just that sometimes
37:23I don't realize how clumsy
37:24I am in asking questions.
37:26No.
37:27It's just that
37:28I didn't expect it.
37:29Yes, I know what's going on.
37:31And you don't have to answer me.
37:33Whatever the reason
37:34why you're here,
37:36you'll overcome it.
37:39Just like I overcame mine
37:40in your day.
37:42I hope so.
37:54Could I be your friend?
37:58Sure.
37:59I don't see why not.
38:01It's just that I don't have many, you know?
38:04Well, actually, I don't have any.
38:06But I'm learning
38:07to relate better to people.
38:09To not scare them with my craziness.
38:19It's my turn.
38:21Dr. Mendoza is waiting for me.
38:31Why do you have to think
38:32that your father
38:33and your mother
38:34still have to celebrate
38:35a fake wedding?
38:36Okay?
38:37So stay like this.
38:38Stay still.
38:39Don't get any bigger.
38:44You think you're fooling me.
38:46But Esperanza del Carmen
38:47Pérez Aragón
38:48isn't fooling you.
38:51It's just that I've found...
38:52Well, I think
38:53I've seen a spot.
38:54You?
38:55I don't see a spot,
38:56but I'm sure
38:57you've seen a spot.
38:58Do you see a spot?
38:59I don't see a spot around here.
39:00No, no.
39:01What I see
39:02is that you were alone
39:03talking in front of the mirror.
39:09You're pregnant.
39:10So what?
39:11Esperanza, please.
39:12I've said it many times.
39:13I've said it three times already.
39:15It must be for a reason.
39:16Well, I'll tell you three more times
39:17that I'm not pregnant.
39:18I'm not pregnant.
39:19I'm not pregnant.
39:20Well, you're not like San Pedro,
39:22who denied three times
39:23that he knew Jesus
39:24and it turns out they were intimate.
39:25Well, if you have nothing else
39:26to accuse me of,
39:27I'm going straight to the display.
39:29Don't just stand there.
39:30You're in such a hurry for work.
39:32You're in such a hurry to get married
39:33all of a sudden with the bookseller.
39:35You've just met,
39:36as the saying goes.
39:38Well, when you know
39:39the love of your life,
39:41you can't waste time.
39:43These sudden marriages
39:45always hide something.
39:49Of course.
39:50That's why I caught you more than once
39:52eating some cake
39:54from the display
39:55and hiding it from you.
39:57Well, I'll pay you later.
39:58Are you calling me a thief?
39:59Not a thief, but a liar.
40:00Yes, I am.
40:02Because you get a lot of sweet cravings here.
40:05Oh, the pregnancy.
40:06It's your fault, girl,
40:07with the fly behind your ear, really.
40:09Not a fly.
40:10A fly.
40:11And fat like your gut.
40:26Wait, wait, wait.
40:27Let me help you.
40:28Between the two of you,
40:29I think it'll be easier.
40:30There.
40:32From attraction,
40:34from fair,
40:36to art.
40:37Agustín Comas conference.
40:41A little clumsy, isn't it?
40:43Do you think so?
40:45I thought you liked it.
40:46You gave me a good look.
40:49Yes, but now that I see it,
40:51I don't know.
40:52You're the expert.
40:54But I see it more like
40:56a conference
40:58of the nice and erudite
41:01Agustín Comas.
41:03It's clear that you don't need a fly
41:05to be sold.
41:06You have a lot of self-esteem.
41:08Don't believe it.
41:09I'm actually very insecure.
41:10Especially when I have a pretty woman in front of me.
41:13Yes, you're really good at it.
41:16Because I would never have had it as someone insecure.
41:18It's all facade.
41:20The real Agustín Comas
41:22doesn't let himself be seen so easily.
41:25And I thought I had it covered.
41:27So,
41:28there's more in you than what you see?
41:32Yes, I'm a whole box of surprises
41:34and you are
41:36only what you see
41:38or do you hide a secret?
41:39Many.
41:40The thing is that I can't tell you.
41:43Because otherwise they would stop being secrets.
41:45Well, much better.
41:46Because I prefer to discover the secrets for myself.
41:52Well, Esperanza,
41:53stop with the absurd conjectures
41:55and let's focus on the practical.
41:57My wedding.
41:58On the practical and on the fast,
42:00because that...
42:01I still don't have a godmother for the wedding.
42:05Because in theory it had to be Miguel's mother,
42:07but maybe she won't be able to come.
42:08And, I don't know,
42:09we had thought about you.
42:12But of course, I don't know
42:13if you're really going to want a godmother.
42:16Of course I do.
42:17You won't find a better godmother than me.
42:19If not, ask Antonia.
42:22Well, I'd better not ask her.
42:24Well, then would you like it
42:26in case Miguel's mother can't?
42:28Of course.
42:29But when will you know that?
42:31Because if I'm going to be a godmother
42:32I have to apply for a haircut.
42:34Don't you want me to go with the bun?
42:35Well, I'll talk to Miguel.
42:37Yes, but quickly.
42:38Because you're getting married in three days
42:40and my hairdresser is very popular.
42:42Well, I'll talk to Miguel today.
42:45I'm so excited!
42:52Look at her.
42:53She takes the subject out of the godmother
42:55and shuts me up.
42:58I think the most interesting thing about the design
43:00is the name, right?
43:01Agustin...
43:02Agustin, I'm very happy
43:03that you're the speaker for tomorrow.
43:06Thank you very much.
43:07I hope to see you there.
43:09Are you going to be ready?
43:10I don't promise anything,
43:11but I'll try.
43:14By the way,
43:15wouldn't it be better
43:17to use the magic of the cinematographer?
43:20I'm sorry, I'm sorry.
43:21I don't want to get into where they don't call me.
43:23I'm sorry, I'm sorry.
43:24Because the expert here is my niece.
43:26Good luck tomorrow, Agustin.
43:28Thank you very much, Mr. Fermin.
43:31I see it even...
43:34Your uncle says so.
43:36It's a bit suspicious.
43:38You know what?
43:39I don't know if you will be able
43:41to transmit the magic of the cinematographer.
43:43Because I think what interests you
43:45is not magic, but money.
43:47Or am I wrong?
43:49Nobody gets into the theater business
43:52for money,
43:53and less in this country.
43:54Although I'm sure
43:56that in the future,
43:58the art of entertainment
44:00will move a lot of money.
44:02That's how I am,
44:03an advance in my time,
44:05a precursor,
44:08a visionary,
44:10a pioneer.
44:11What you are
44:12is a great seller of yourself.
44:16But what do you do
44:17with what I send you to put it?
44:19Add to the poster
44:20the magic you have.
44:31Good afternoon, Antonia.
44:33Wait, I'll move away a bit
44:36and make you a place.
44:39Thank you.
44:43Oh, how silly,
44:44that he leaves me the tweezers.
44:45I'm going home, I'll be back.
44:47No need, take it.
44:49No, no, no.
44:51I'm going to take mine.
44:53But we can share things, right?
44:55Nothing happens.
44:58I just prefer
45:00that each one with his own.
45:07Okay.
45:08Thank you.
45:16Antonia,
45:18I know I'm to blame
45:20for this situation
45:21in which Pietro and I find ourselves.
45:23And you too.
45:27The three of us are uncomfortable like this
45:30and I just hope that
45:32this is fixed as soon as possible.
45:34I also hope so.
45:41I understand that your situation is not easy,
45:43that you are in a legal limbo.
45:48Officially, right now,
45:51you don't exist.
45:52No, nothing easy.
45:55It's as if my life was still
45:58until some papers arrive
45:59to certify that I'm alive.
46:02And what are you going to do when they arrive?
46:05Are you going back to Italy?
46:09I don't know yet.
46:11I just had in mind
46:14to reunite with my family, that's all.
46:18Well, for now,
46:19I've been able to meet with my husband
46:21and with Pietro.
46:23And finally,
46:25I've been able to talk on the phone with Giancarlo.
46:28How was it?
46:31How was it?
46:33Giancarlo...
46:35Well, Giancarlo still needs time
46:36to assimilate that I'm alive.
46:39It was a surprise for him.
46:41For everyone.
46:44Yes, for everyone.
46:46I never thought
46:48I would meet again with Pietro
46:51just about to get married to you.
46:55That's something I've never understood.
46:58I really thought that after so long,
47:01Pietro would still be waiting for you.
47:05Well,
47:07it may sound ridiculous, yes.
47:11But I've always dreamed of going back to Pietro.
47:14To go back to our life
47:16and that our love would remain intact.
47:22Is everything okay?
47:23Yes,
47:24here in Chachara between neighbors.
47:27That's how you say it in Spanish, right?
47:29In Chachara.
47:31Yes, that's how you say it.
47:33Thank you.
47:34Keep them if you need them.
47:36No,
47:37I don't like to keep what's not mine.
47:42Bye.
47:49I'm from the consulate.
47:51I have news.
47:52What did they say?
47:53They're going to start all the procedures
47:55to fix your situation.
47:56That's great news, Pietro.
47:59Let's go home
48:00and tell me everything calmly.
48:01Yes.
48:27Thank you.
48:29Look, I admire my boss very much,
48:31but what he has done
48:32seems very risky to me.
48:34Things are not like they used to be.
48:35I think Mrs. Teresa is very brave.
48:38I've never heard you talk like that about Cañete.
48:40Because I'm worried about him.
48:41And putting your job at risk,
48:43just like that...
48:44Let's see,
48:45it's true that the days off
48:47have to be approved by a superior.
48:48But Mrs. Lázara didn't give them to him
48:50because she didn't want to.
48:51She did it to annoy him.
48:52Yes, but the point this time
48:54is that Mrs. Lázara has the last word.
48:56And that last word may be farewell.
48:58I'm a good dog.
49:00Stranger than the good ones, Mrs. Teresa.
49:02I smell this, I smell that...
49:06Elias.
49:07Yes.
49:08That order is already taking time.
49:09Yes, of course,
49:10I'm leaving, Mrs. Lázara,
49:11if you'll excuse me.
49:16I saw in the obligation
49:17to inform Mr. Fermín
49:19the decision of Cañete
49:20to take a few days off
49:22without permission.
49:24Very well, I think it's correct.
49:26Mr. Fermín has to be aware
49:27of everything that happens in the living room.
49:29As I have also seen in the obligation
49:31to inform him
49:32that this situation
49:33has been caused by his negligence.
49:36By my negligence, he says.
49:38I warned him.
49:40I told him
49:41to inform me at the right time
49:43the days Cañete was going to take.
49:45We are not talking about any employee.
49:48We are talking about the head of the waiters,
49:49for the love of God.
49:51Don't you dare interrupt me.
49:55Here you have a list of tasks
49:57that I want you to do.
50:01As you will see,
50:02some would correspond to Cañete,
50:04but since you have had the good fortune
50:06to give him a few days off,
50:08it will also seem good to you
50:10to help him with his work.
50:12But if there are no hours in the day
50:14to do all this,
50:15then find them.
50:17And I don't want complaints.
50:19As you can see,
50:20there is a blank space.
50:22There is a blank space
50:24to write more tasks
50:25as I can think of.
50:29You wanted to play with me, didn't you?
50:31Very well.
50:33Well, I'm going to take you to the limit.
50:35And you won't have time to breathe.
50:39If you think that's how you're going to get rid of me,
50:41you're less clever than I thought.
50:44And now, if you'll excuse me,
50:46I have a lot of things to do.
50:47And let him say it.
50:53Table 7 is waiting.
51:05Thank you for coming to pick me up.
51:08How was I going to miss a walk
51:09back home with my wife?
51:13I didn't want to ask you during the walk,
51:15but...
51:16How was the session with the doctor?
51:19I don't know.
51:20I really told him the same thing
51:22I told him the first day,
51:23but...
51:24I have the feeling that
51:26he didn't believe anything I told him today.
51:28Well, that can be your interpretation.
51:31I don't know.
51:33I don't like that man very much.
51:36Let's give him a chance.
51:38He is a professional in solvency
51:40and a recognized doctor.
51:42Maybe that's his method,
51:44but I can assure you
51:45that it gives very good results.
51:47Maybe.
51:48Maybe.
51:49I'll be more collaborative next time.
51:51Today I felt a little crazy.
51:54Well,
51:55I'm going to propose a plan.
51:57What do you say if you rest
51:59and I prepare dinner?
52:02And then we sit here on this sofa
52:04and listen to music.
52:07And we hug.
52:09We hug a lot.
52:12And whatever God wants.
52:13Give me.
52:16I'm going to get more comfortable.
52:17Yes.
52:19Give me.
52:30Honey, what's going on?
52:34It was her.
52:36What do you mean?
52:38You know who I mean.
52:41My love,
52:42the bird could have flown in
52:43and hit herself.
52:44But don't you see it?
52:45And I say
52:46that it was on top of my robe,
52:47that it's here,
52:48that someone has put it,
52:49that someone has put it.
52:50No, we're not here alone.
52:51No one has come in here.
52:52No.
52:53Please,
52:54tell me someone is playing with me.
52:56Please tell me I'm not crazy.
52:57Please.
52:58Calm down.
52:59Calm down.
53:05What have you done, Carla?
53:07Don't tell me you've gone out again.
53:09Wait, are you telling me
53:10that my wife left with a dead bird?
53:13She put it in my bed
53:14to make me believe
53:15that she found it there.
53:17That's right.
53:18I'd like to value her
53:20after what she told me.
53:21I live with Lucia
53:22because she doesn't know where to go.
53:25She has no place
53:26and I can't leave her.
53:27Of course.
53:28Otherwise, she wouldn't be a good Christian.
53:29She's not a good Christian either.
53:30She has two wives.
53:31I didn't know you had an appointment.
53:33No, I didn't have an appointment.
53:34In fact,
53:35my husband fixed it for me
53:36at the last minute.
53:38What do you want?
53:39To thank you
53:40for throwing me a cable yesterday.
53:41That,
53:42if you don't mind.
53:43What I would appreciate
53:44is that you don't have me
53:45waiting like a dog ever again.
53:47My family is watching me all the time.
53:49They look at everything I do with a magnifying glass.
53:51They turn their attention
53:52to everything I say.
53:53All the time,
53:54looking for symptoms
53:55that I'm crazy.
53:56Well, Mrs. Lazara
53:57was giving me
53:58a care package.
53:59But I hope
54:00to have it
54:01against the ropes
54:02sooner or later.
54:03What's that?
54:04What happened?
54:05Well, you see,
54:06I went to the Almacenes Madrid-Paris
54:08and I talked to one of the dependents
54:09who worked with her.
54:10What's going on with Elias now?
54:11Well, he's going to make us lose
54:12the whole thing, Miguel.
54:14But, let's see,
54:15can we know what happened?
54:17What does he want to publish
54:18in the newspaper?
54:19All I want to know
54:20is if I'm going to be a godmother.
54:21Well,
54:22that
54:23and why are you in such a hurry?
54:25Why are we going?
54:26You have to see
54:27how fast.
54:28You already know
54:29how much I play with this
54:30and that I,
54:31for a friend,
54:32whatever.
54:33But it's just that
54:34from the first moment
54:35we said
54:36we were going to do this
54:37discreetly.
54:38I'm sorry,
54:39but this ends here.
54:40You weren't very interested
54:41in the conference, were you?
54:43No,
54:44I found it very interesting
54:45and very pleasant.
54:46For someone who doesn't know
54:47much about cinematography,
54:48I think it was
54:49a very good experience.
54:51It's hard to impress her, isn't it?
54:52Don Inigo.
54:54Esperanza.
54:56You have to call
54:57a certain Dr. Mendoza.
55:00Excuse me?
55:01He just called
55:02Moderna
55:03asking about Matilde.
55:04From what I can see,
55:05he had an appointment with her
55:06and he hasn't shown up.
55:07I'll call her,
55:08let's see what you think, Antonia.
55:09I don't think anything, Pedro.
55:11I say what I see.
55:13When we get Lucia
55:14back to Italy,
55:16if you want,
55:17everything can be
55:18as it was before.
55:20With Dr. Mendoza's
55:21consultation, please.
55:23Yes, yes, yes, that's right.
55:25Thank you, I'll wait.
55:27Barbara?
55:31Barbara?
55:39© transcript Emily Beynon