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00:00THURSDAY
00:17I've just received a great professional offer
00:19at a very bad personal moment.
00:22Look, Celia, I'm not to blame for not responding to your feelings
00:25and instead I'm going to decide who's going to pay the bill.
00:26I know that, but I didn't decide to fall in love with you.
00:29Yes, but you decided to leave.
00:31I need to leave because I need to forget about you.
00:38Can I know what's going on here?
00:54Celia, I thought you were my sister.
00:59Come in.
01:13If you came to pick up Inés, she's not here.
01:16She went out for a walk to get some fresh air.
01:19No, I came to see you.
01:21I wanted to ask you a favor.
01:23When I was about to close, I got a phone call.
01:26It was the new supplier we agreed to meet tomorrow.
01:31I have it on my agenda.
01:32If you came to remind me, I haven't forgotten.
01:35I didn't come to remind you.
01:37I came to let you know.
01:39He called to tell me that he had a problem
01:41and that he had to postpone the meeting.
01:43I said yes, but then I remembered
01:45that at the same time he had already met with Iñigo.
01:49With Iñigo for what?
01:50To finalize the details of Marcial Lalanda's visit
01:53and his friends to Madrid Cavalli.
01:56Could you take care of it?
01:59Yes, of course.
02:01What can I do? Someone will have to go.
02:06Laura, if I'm finally leaving,
02:10I don't want to leave you to manage that business.
02:13If you're finally leaving?
02:15I thought it was something definitive.
02:17In fact, I was going to tell you that we have to talk to my uncle as soon as possible.
02:20With your uncle for what?
02:22What do you mean for what?
02:23First of all, because he has to know.
02:25And second, because maybe I don't want to take care of the business alone.
02:28In any case, I'm going to tell your uncle.
02:30So don't worry.
02:32No, no, that's not what worries me.
02:34What worries me is that you're playing with me
02:36because one day you want to leave, the next you don't know.
02:39But it's not easy to make this decision.
02:41And you think it's easy not to know what will happen to my future?
02:43Do I have to organize my future or not?
02:45Your future? What about mine?
02:47But how can you be so selfish, Laura?
02:49Look, I don't want to argue.
02:51You're not doing it.
02:56Do you want an answer?
02:58I'm definitely leaving.
03:00There's no point in staying by your side.
03:02Thanks for helping me decide.
03:04Wait.
03:06Celia!
03:07Of everything we've lived, of everything we have,
03:09there's only one thing I can't give you.
03:11And you decide to leave the boat.
03:13Tell me, who's the selfish one?
03:15Don't forget about the meeting.
03:21Bye.
03:39Pietro, you know you can trust me for anything.
03:44I know, Marta, that I can trust you,
03:46but I don't want to worry you.
03:49Well, maybe it's a little late, because I'm already worried.
03:53And I think it's better to know what's going through your head
03:56than to imagine it.
03:57One always gets the worst.
03:59And this time you're right.
04:02Lucia doesn't want to go back to Italy.
04:04What do you mean she doesn't want to go back to Italy?
04:06And what did you tell her?
04:08I didn't say anything.
04:09Because she caught me with my foot changed
04:11and I couldn't react.
04:13But where is she going to live?
04:15She won't be with you?
04:16Of course not.
04:18And what did Antonia tell you?
04:20Nothing, nothing.
04:21She didn't tell me anything because I haven't told her yet.
04:23She doesn't know anything and I don't know how to do it.
04:27You see, Marta?
04:29If something can go wrong, it will go wrong.
04:32I'm going to work.
04:33I'll see you later.
04:36Good morning.
04:38Good morning.
04:40What are you doing here?
04:42The days you come to clean, I can't sleep from the excitement.
04:46Do you really think it's going to help you to be so clumsy?
04:49I don't know, but...
04:51The one who wakes up early is the help, right?
04:54Well, have you already spoken to your father?
04:56Or do you still think that all I want is to take you to the body?
04:59He hasn't brought up the subject, but that doesn't mean anything either.
05:02My father is a man of fixed ideas.
05:04And what kind of man are you?
05:06Of those who let themselves be intimidated or of those who face them?
05:09I am of fixed ideas.
05:10I don't have many, but the ones I have are mine and I plan to fight for them.
05:14And I'm going to show my father how much I appreciate you.
05:17And you too.
05:18Well, look, I don't need anyone to defend me from something I haven't planned to do.
05:22Like, for example, in Gattusarte.
05:24You insist on pretending that you don't like it, and that's because you like it.
05:28Like in El desdén con el desdén.
05:30A play that Miguel recommended to me and that, by the way, you should read.
05:34And the protagonists end up together.
05:37Of course, like you and me.
05:40Hey, are you going to Miguel and Trini's party tonight?
05:43Because if you don't go, I'm not going.
05:45Well, look, I'm going to tell you one thing.
05:48If you see me, it's because I've gone.
05:50And if you don't see me, it's because I haven't gone.
05:55Wait, wait, how is that?
05:57No!
06:06As you can see, in the column on the right are all the things we've already got for the party.
06:10And in the column on the left, the things that are missing.
06:13Almost nothing.
06:14Well, sometimes the smallest things are the ones that take up more time.
06:18Besides, Marcial Alanda doesn't want the decoration to be bullfighting.
06:22He says he's had enough.
06:23No, I think it's reasonable, yes.
06:25I assure you that he's a pretty unpredictable man.
06:28And I don't mean it in a bad way.
06:32Hey, Matilde.
06:33Hi, both of you.
06:34What are you doing here?
06:36If you want to talk to Ñigo alone, I can come back later.
06:40It's not a problem.
06:41No, don't worry, Celia. Stay.
06:44What I have to talk to Ñigo also concerns you.
06:47I've been thinking and I'd like to propose something to you.
06:51Of course, sit down.
07:01Well, we're all ears.
07:03Well, I thought I'd like to be part of the party organization.
07:08If you admit me to your team, of course.
07:10Well, of course.
07:12What things do you have, Matilde? Of course.
07:15But you didn't have a job in that, did you?
07:17I've talked to Don Fermín, so don't worry.
07:19And since I don't have much to do these days, he's given me permission.
07:22Don Fermín's good man. He's always so understanding.
07:25Then it's perfect.
07:27Well, then, I've been doing a conscious research on Marcial Lalanda.
07:32And I've discovered very interesting things.
07:36Things like what?
07:38For example, did you know he starred in a movie?
07:43No, I didn't know.
07:45And what's the title of that movie?
07:47Viva Madrid, which is my town.
07:50It sounds familiar.
07:51Yes, yes, yes, I was about to go see it.
07:53But in the end, because of work, I couldn't and they took it from the box office.
07:57It's a shame, because Carmen Biance acted and I love that actress.
08:00I also like her a lot.
08:02And what I've come up with has to do with her.
08:06What do you propose?
08:07I thought we could invite Carmen Biance and the director of the movie, Fernando Delgado.
08:12And, well, I think he'd love to meet him, especially if he doesn't expect it.
08:17As a kind of surprise?
08:19It would be very exciting.
08:21What do you think?
08:24Well, I can only think of one thing.
08:27Get up, please.
08:32You've just turned another party into a memorable event.
08:36Congratulations, Matilde.
08:37Thank you, Celia.
08:38Well, I'll leave you to it.
08:40I have a lot of things to do.
08:42Thank you very much for everything, Celia.
08:44You're welcome.
08:45Goodbye.
08:49Goodbye.
08:54Call me Optimist, but I'd say what just happened here is a sample of...
08:59Of what?
09:01Don't get me wrong, Ñigo.
09:02All I want is to help Celia and you, the man I love.
09:11And now, Mr. Optimist, you should give me a kiss, because I've earned it.
09:19Kiss.
09:30The dinner with my former classmates at the faculty is cancelled, Celia.
09:34Are you sure?
09:35But that day is sacred, it's the only date that can't be changed.
09:38Inés, I've told you I don't want to see anyone all week.
09:42Very well, then we only have the meeting with the gallery's businessmen.
09:46The order of the day is the renewal of the contract of the maintenance company,
09:49and I have it marked as a priority matter.
09:51Well, it isn't anymore.
09:53Inés, taking my schedule means that you relocate my appointments, not that you question them.
09:57That's all.
10:00Do you really think I don't realize how sad she is?
10:04Besides taking her schedule, I'm her niece.
10:07She can trust me and tell me what she needs.
10:09I know, I know, darling, but it's not important.
10:13Sit down.
10:16Yesterday she told us that Mrs. Názara is not as you thought, and that she had to digest it.
10:21And it's clear that she's not doing it very well.
10:24Uncle, you're always there when I need you.
10:27You've helped me to face my problem with my voice,
10:30and thanks to you I've managed to overcome it and move on.
10:34Inés...
10:35We have to support each other, the people who love us,
10:39and I'm one of them, uncle.
10:43Let's go.
10:49Hello.
10:50Excuse me, Mr. Fermín.
10:52Yes, sir.
10:53I brought you these herbs from the herbalist.
10:56Thyme, ginger, mint and regaliz.
10:59I suppose they're good for the throat, they enrich the steam baths.
11:03Anyway, I won't interrupt you anymore.
11:07I'll stop by your house later to continue with the voice exercises.
11:10At the same time as yesterday?
11:11Yes, yes, at the same time.
11:12Perfect.
11:13Yes, yes, yes.
11:15I hope so, because I want to thank you for,
11:17in these complicated times,
11:20taking the reins of the situation.
11:22But you don't have to thank me for anything.
11:24I really enjoy it.
11:27In any case, why do you say that these are complicated times?
11:30Well, at work, sometimes...
11:33things get complicated.
11:36My uncle won't attend the meeting with the businessmen.
11:39I don't know.
11:42Mr. Fermín, I suppose you have plenty of reasons,
11:46but I'd like to remind you of its importance.
11:49Let's try...
11:50Yes, the renewal of the maintenance contract
11:52with the company in charge of the gallery.
11:55Yes, that's it.
11:56I don't know.
11:57And as you know, it's not a trivial matter.
11:59Besides, your opinion is fundamental.
12:01Agustín, I don't feel well.
12:03It's nothing serious, but...
12:05I think I'm going to take the week a little more calmly than usual.
12:09And regarding the meeting, I give you my vote.
12:12I fully agree with your criteria.
12:16Okay, I hope you recover soon.
12:18In any case,
12:19I hope you can attend your niece's performance next Thursday.
12:22Thursday.
12:23Next Thursday.
12:24Thursday.
12:28Keep a chair next to you.
12:30I'm not going to miss it.
12:33Thank you again.
12:34And if you haven't had breakfast,
12:36I invite you to my house.
12:40Thank you, Agustín.
12:41But I think you should spend the afternoon with my sister
12:44instead of me.
12:46Why do you say that?
12:47Well, because Laurita is your girlfriend
12:49and you will have your obligations with her.
12:51And I can do the exercises alone.
12:53No, no, no.
12:54The specialist was strict with that.
12:56You need help to continue with your treatment.
12:58Besides,
13:00one of the obligations I have with my girlfriend
13:03is to worry about her sister.
13:06And Laurita understands this perfectly
13:08and she knows that her health is the priority right now.
13:13Very good.
13:14But still...
13:15Still,
13:16see you later.
13:29The first industrial racket front
13:34with simultaneous entry and bet
13:38and corresponding payment of taxes,
13:42opened in Madrid in 1917
13:46with a squad of 16 professional women
13:50that increased to the 45 that there are today.
13:56How is your body?
13:57Regular.
13:59The new Frontón Madrid
14:01that...
14:02Where are we going, girl?
14:04It has restaurants,
14:06hairdressers,
14:07salons and terraces,
14:09a real social club.
14:11You will not see yourself in one like that again.
14:14Do not hesitate to visit it.
14:18You don't say anything?
14:20Would you like something?
14:21Oh, my God.
14:22Oh, my God.
14:23It will be the best bachelor's party ever organized.
14:26The voice will be heard
14:28and everyone will want to know who was the organizer.
14:31Aren't you just happy to be the godmother?
14:34By the way,
14:36changing the subject,
14:37don't you think it's very strange
14:39that the vampire didn't come yesterday or today?
14:42It's not her own,
14:43unless she's sick.
14:44And you were the last one to see her leave,
14:46so...
14:47Did she have a bad face?
14:49She didn't have a good one.
14:50She had red eyes,
14:51as if she had cried.
14:53The vampire crying?
14:54Why didn't you tell me?
14:56Are you sure?
14:57Very sure.
14:58The problem was with Hordavo.
15:00Well,
15:01and catch the males.
15:03There were also
15:04Teresa and Cañete.
15:06Teresa and Cañete?
15:07But don't worry,
15:08because I haven't been left with my arms crossed.
15:10I asked Elías
15:11to get information from Cañete
15:13about what happened there.
15:15And what did he say?
15:16Not yet.
15:17Not yet.
15:20What?
15:21About Palique?
15:22Yes.
15:23No.
15:35I was telling Esperanza
15:37that it's very strange
15:38that Lady Alhazara didn't come yesterday or today.
15:40Of course.
15:41And if anyone knows the reason,
15:43it has to be you,
15:44because you're in charge.
15:45Yes, I'm in charge,
15:46but I don't know anything.
15:47She's my superior,
15:48so you don't have to give me explanations.
15:51But you were also
15:52in Mr. Fermín's office.
15:54Do you know if anything happened between them?
15:56I just happened to see her go out.
15:58With tears in her eyes,
15:59can this be confirmed?
16:00What if I can confirm it?
16:02The only thing I can confirm
16:03is that you're a couple of snitches,
16:05and that it's time to get back to work.
16:07Besides,
16:08what Lady Alhazara does or does not do
16:09doesn't matter to us.
16:10It doesn't matter to us.
16:11No,
16:12if it doesn't worry us,
16:13but...
16:15You seem to be enjoying this topic.
16:17Me?
16:18Esperanza,
16:19it's not the way to say things,
16:20although you're right.
16:22Because,
16:23given the circumstances,
16:24and to...
16:25to calm our spirits a little,
16:27could you tell us
16:29what happened in that office?
16:31I would have said the same,
16:32but with my left hand.
16:33Well, it's not going to be.
16:38But hey,
16:39are you already flirting with Pepinillos again?
16:42He's going to beat you up, woman.
16:44But since when do you have that hobby?
16:45Well, I've always inherited it from my father, come on.
16:48Well, for a while.
16:50And come on,
16:51both of you to work.
16:59What is he doing?
17:00Pepinillos?
17:02Well, so you can understand, boss,
17:04the Lucha Leonesa
17:05is a competition between two opponents
17:07holding hands on the belt
17:09using strategies called
17:11mañas, eh?
17:12To knock down the opponent
17:14and throw him to the ground.
17:15Well,
17:16that's where the idea of having more mañas than strength comes from.
17:18Great, Elias.
17:20And you, who are you going to bet on?
17:22Eh?
17:23Miranda Debro's big man
17:24or Miguel the bookseller, eh?
17:26I'm not going to bet on anyone.
17:28And I think it's very bad that you have appointed Miguel
17:30to that fight without his consent.
17:32But how long will that giant take
17:34to rip his head off?
17:35Let's see,
17:36to begin with,
17:37he's not a violent athlete,
17:38and as I just told you,
17:40it's about mañas,
17:41not brute force, boss.
17:44But let's see,
17:45no matter how many mañas Miguel has,
17:46he has no experience in the matter.
17:48As soon as that giant takes off his belt,
17:50he's going to put him in orbit.
17:52Besides,
17:53I don't see him
17:54very excited about the subject.
17:56Well,
17:57I think it's a perfect plan, boss.
17:58Besides, it came out of my pesquis.
18:00Look,
18:01if you promise me you won't say a word,
18:03I'll tell you.
18:11I know a way
18:12to be able to talk to my mother.
18:14Yes,
18:15it's...
18:16it's a way that...
18:18that they can hear us from heaven
18:20and they can answer us.
18:23Today
18:24we can't do it
18:25because we don't have what I need,
18:26but...
18:27but tomorrow,
18:28if you want,
18:29you'll be able to see it with your own eyes
18:32and you'll be able to talk to your mother.
18:34Do you promise?
18:36I promise.
18:40I promise.
18:47Mother,
18:49how was your morning?
18:50Did you see anyone interesting in the gallery?
18:53Interesting?
18:54I guess you mean Matilde.
18:57Well,
18:58it turns out that yesterday I met her.
19:01I didn't want to tell you,
19:03but I have a pinch in my stomach
19:04that I don't like at all.
19:06She was too kind.
19:08Kind?
19:09Well, forget it.
19:11I've come to bring it to you on the way.
19:14The train to Lisbon,
19:15where you'll spend the night,
19:16and the next morning
19:17you'll take a boat to Cuba.
19:19Of course,
19:21in a luxury room.
19:24I thank you very much, Mother,
19:27but I won't need them.
19:30What are you saying, Carla?
19:32That I'm not going.
19:35I have something in my hands.
19:37Something you can't even imagine.
19:39As you understand,
19:40I can't leave it halfway.
19:41I hope you understand.
19:42No.
19:43What I understand
19:44is that you're exhausting my patience.
19:46And what's worse,
19:47Fabio's too.
19:49Tomorrow you'll take that train
19:51and there's nothing else to talk about.
19:52And how are you going to force me?
19:54Are you going to call the police
19:55to have me escorted to the station?
19:58Besides, as for Fabio...
19:59As for Fabio,
20:01I think you're taking it too lightly.
20:04Maybe he's the one
20:05who ends up calling the police
20:07and ends up reporting us.
20:08Oh, please.
20:10Don't make me laugh, Mother.
20:13Fabio won't do anything at all.
20:15And you know why?
20:16Because he's as involved
20:18as you and me.
20:21If the police were to report me,
20:23who do you think would tell them?
20:25That he knows I've been alive for days,
20:28but he was giving me
20:29a little chance to escape?
20:31Or worse,
20:32that he suddenly lost his patience?
20:35Or even worse,
20:36that he was organizing everything with you,
20:38but he suddenly realized
20:40that that's not right
20:41and he's very sorry.
20:43Tell me, Mother.
20:45Which of those options
20:46is the least stupid?
20:49Don't you realize
20:50you're playing with fire?
20:52That your only chance
20:53is to listen to me
20:54and leave tomorrow.
20:55And don't you realize
20:56that I'm not afraid
20:58and that I'm not going
20:59until I finish
21:00what I've started?
21:02Which, by the way,
21:03I assure you
21:04will be something extraordinary.
21:06Supernatural, I'd say.
21:09And what about me?
21:11Because I am afraid.
21:13Because your irresponsibility
21:14is putting me in danger.
21:17And for God's sake, Carla,
21:18I don't want to go to jail.
21:20I'm begging you, please.
21:21Please reconsider,
21:22for everyone's sake.
21:24For everyone's sake
21:25I have to finish what I've started.
21:28You're a fool.
21:30I'm starting to think
21:31that you've lost your mind.
21:33That the lunatic wasn't Matilde,
21:34but you.
21:36Close the door when you leave,
21:38please.
21:49Well, what do you think?
21:51Brilliant or not?
21:53Montero.
21:55Well, I think
21:56there's something unusual about you, Elias.
21:58Well, you see.
22:00Now, you have to keep the secret,
22:02because only Elvita knows that,
22:03and now you.
22:04Don't worry, I'll keep it for you.
22:05But I'll tell you again
22:06that I don't see Miguel
22:07very excited about that.
22:09Well, I don't think he's the only one.
22:10You tell me about Don Fermín.
22:12He's the one who's not excited.
22:13I've seen him today,
22:14heavy-handed,
22:15with his head down,
22:16dragging his feet,
22:17and that's weird.
22:19That's something strange about him,
22:20because that's something that characterizes him,
22:22his grace and elegance
22:23when he walks.
22:27Hmm, hmm, hmm.
22:29And now,
22:30besides,
22:31he's been locked up in the office for many hours,
22:33and I'm starting to worry.
22:34So I'd appreciate it if you could
22:35give me a little bit of information
22:36on your end.
22:38Boss,
22:39if he's going to die,
22:40I have a right to know.
22:41What are you saying, animal?
22:42He's not going to die.
22:43Then what's wrong with him?
22:45Huh?
22:46Because Esperanza heard the rumor
22:47about Mrs. Lázaro in the office,
22:48and it was a coincidence
22:49that you were in that office,
22:51so do me a favor,
22:52let her go.
22:54Well, look,
22:55it's just a coincidence
22:56that I have nothing to tell you.
22:58Not when you asked me before,
22:59not when you ask me now,
23:00not when you ask me later.
23:03You're making a snowball
23:04out of a rain drop.
23:06Mr. Fermin is fine.
23:08He's wearing a suit.
23:09That's it.
23:10Cañete,
23:11I'm going home.
23:12Do me the favor
23:13of transmitting this to Teresa
23:14as soon as I see her.
23:15Very well.
23:18Elias,
23:19take a look at the terrace,
23:20please.
23:21Of course,
23:22I'm on my way.
23:27I have the uncomfortable feeling
23:28that everyone looks at me
23:29as if they were asking for an explanation,
23:32especially Elias.
23:35I'm unable to continue in the office.
23:37I can't stop thinking about
23:38what happened with Mrs. Lázaro.
23:40I understand.
23:42Anyway,
23:43I trust your discretion.
23:45As always, Mr. Fermin.
24:01Mr. Fermin!
24:03Mr. Fermin,
24:04please listen to me.
24:05Mrs. Lázaro,
24:06this is very embarrassing,
24:07don't you think?
24:08I'm very sorry,
24:09but I can't give up on losing him.
24:11I can't give up on losing
24:12everything we've built together
24:14during all this time.
24:15Because don't deny me, Mr. Fermin,
24:18that everything we've lived
24:19has been real
24:20and that the affection
24:21we've felt for each other
24:22is sincere.
24:23So please,
24:24let me explain.
24:26She had her chance
24:27when I called her to my office.
24:29Why didn't she do it then?
24:31How?
24:32In front of two employees?
24:34Teresa?
24:35Cañete?
24:36No,
24:37excuse me, Mr. Fermin,
24:38but that wasn't an opportunity,
24:39that was a trap.
24:41I think I have every right in the world
24:43to ask her to listen to me.
24:52So,
24:53in the lion's fight,
24:55you have to grab the belt
24:57and throw it to the ground.
24:59Exactly.
25:00Well,
25:01that's much better
25:02than the pair of shoes
25:03you'd have to wear
25:04in boxing.
25:05Let's see, Tini,
25:06if Miranda Debro's man
25:07grabs me by the belt,
25:09the most likely thing
25:10is that she throws me
25:11against the wall.
25:12I see.
25:13Well,
25:14what if she feels sorry for you?
25:15What if you tell her
25:16that you've always been
25:17a clumsy and sick kid?
25:20Ah,
25:21of course,
25:22you're right.
25:23I'm going to tell everyone
25:24that I'm sick
25:25and that I can't go
25:26to my own farewell.
25:27Very good idea.
25:28No, no, no, no, no, no, no, no.
25:29Because if you're sick
25:30so you don't go to the farewell,
25:32you'll also be sick
25:33so you don't get married
25:34and we'll have to delay the wedding
25:35and this won't end,
25:36never, ever.
25:37I see,
25:38but if I break my skull,
25:39I can't go to my wedding either.
25:40Do you think
25:41I like the farewell
25:42that Esperanza has prepared for me?
25:44I don't like sports.
25:46What's the point
25:47of giving a ball
25:48to a racket?
25:50And what's the point
25:51of going to see it?
25:52It's just that...
25:53Well, if you want,
25:54I'll change it for you.
25:55Well...
25:56At least no one's going to
25:57grab you by the belt
25:58and make you fly
25:59against a wall.
26:00Well...
26:01By the way,
26:02is there any news
26:03about Don Salvador?
26:04Or are there still
26:05no signs of life?
26:06Nothing.
26:07And I don't know
26:08if that's good or bad
26:09and if I'm going to say goodbye.
26:10The thing is,
26:11I don't have the body
26:12for parties.
26:13David and Goliath,
26:14the other one.
26:15What are you saying?
26:16I was thinking
26:17about how you can
26:18defeat Miranda Debro's
26:19great shoulder
26:20and it reminded me
26:21of the story
26:22of David and Goliath.
26:23Do you want me to throw
26:24a stone at him
26:25with a wave?
26:26All I want
26:27is that he's not
26:28the first boyfriend
26:29who doesn't survive
26:30his farewell.
26:31Well,
26:32the first fake boyfriend
26:33who doesn't survive
26:34his fake farewell.
26:37Salvita,
26:38your father still
26:39hasn't called me
26:40to congratulate me
26:41or sent me
26:42any gift.
26:44Don't you find it strange
26:45that he hasn't told us anything
26:46knowing that Trin and I
26:47are getting married tomorrow?
26:49I know it's normal.
26:51And it is.
26:52Come on,
26:53Salvita,
26:54you have to be honest, son.
26:55His job is in danger.
26:57Your father
26:58is going to fire him.
26:59Couldn't you talk to him
27:00and have him tell you
27:01something at least
27:02so we can get married
27:03in peace?
27:04I'll try,
27:05but I can't promise you anything.
27:06He hasn't talked to me
27:07about anything.
27:08Well, what about you?
27:09Where are you going to hide
27:10when you're getting married
27:11in the village?
27:12We're not going to hide at home
27:14and pretend we're not there.
27:15In a few days,
27:17the nightmare will be over.
27:19It's not a very elaborate plan,
27:20but it makes sense.
27:22Well,
27:23I'm going to make a message.
27:25I'll see you tonight.
27:27Think of David and Goliath.
27:30I'm sure
27:31Miranda Devereaux's great-grandson
27:32has a weak spot
27:33like everyone else.
27:34Well,
27:35actually, I think
27:36David and Goliath's story
27:37was a bit myopic,
27:38and that's why
27:39I didn't see David very well.
27:42What you have to do
27:43is move quickly
27:44so he can't see you.
27:45Like this.
27:46What are you doing?
27:47Try it.
27:48Like this.
27:49Change your feet.
27:50To one side.
27:51To the other.
27:52Come on, Trini, go.
27:53Try it.
27:54That's it.
27:55Go.
27:56So he can't see you.
27:57One side.
27:58The other side.
27:59That's it.
28:00Go forward.
28:01Go back.
28:07Good afternoon, Antonia.
28:09Good afternoon.
28:10How was your day?
28:12Good.
28:13Good.
28:15What I like most
28:16about this corral
28:17is that the neighbors
28:18can say hello and see us.
28:20Yes.
28:21Yes, really.
28:23I'm glad
28:24you felt comfortable
28:25among us.
28:26A lot.
28:27But don't talk about the past,
28:28please.
28:31Has Pietro told you?
28:34Yes.
28:36We'll still be neighbors.
28:38And I hope one day
28:39even friends.
28:43What are you talking about?
28:46Pietro hasn't told me anything?
28:48Antonia,
28:49I've been thinking about it
28:50for a long time
28:51and I have no doubt.
28:54I've made the firm decision
28:55to stay and live in Madrid
28:57and not separate from my husband.
29:00After all,
29:01we're still officially married
29:03and it doesn't seem possible
29:04to break it.
29:06And honestly, Antonia,
29:08I have no intention
29:09of doing it.
29:10Quite the opposite.
29:12What are you talking about?
29:14As long as there's a chance,
29:15no matter how small,
29:17that Pietro and I
29:18can recover what we lost,
29:20I'll fight for it
29:21with all my strength.
29:23And you know why, Antonia?
29:25Because it's fair.
29:28And you,
29:29as a woman like me,
29:30know it perfectly well.
29:32I just forget
29:33a very important detail.
29:36Pietro loves me.
29:39And you forget another one.
29:41My husband
29:42has only used you
29:43to ease his pain.
29:46And I'm infinitely grateful.
29:49But it's a matter of time
29:50before he realizes.
29:52Realizes what?
29:54That I'm the love of his life.
29:56The real one.
29:57The original one.
29:59And that he'll never be able
30:00to fight against
30:01such a strong feeling, Antonia.
30:04Lucia,
30:05you don't know
30:06what Pietro and I have shared.
30:08What we've built together.
30:11It's true, I don't know.
30:12But what I do know
30:14is that Pietro
30:15didn't dare to tell you
30:16that I'm staying in Madrid.
30:18Doesn't that seem a bit strange to you?
30:21Good afternoon.
30:30Good afternoon.
30:44You haven't noticed?
30:46That Elias has no remedy?
30:47Yes,
30:48I noticed a long time ago.
30:49No,
30:50he's been breathing
30:51a much fresher air
30:52and much cleaner
30:53since he left the room.
30:57What's Elias doing
30:58talking to the watchman?
31:01He's determined
31:02to find out
31:03what happened to the vampire.
31:05And we already know Elias.
31:06He won't stop
31:07until he finds out.
31:08Well, Trinidad and Esperanza
31:09have also been
31:10asking me questions,
31:11but I've cut them short.
31:13The same thing you had to do
31:14with him.
31:16Don't make that face.
31:17You should be
31:18happy and content.
31:20I don't have that face for Elias.
31:22I'm just not sure
31:23we did the right thing.
31:25The right thing with whom?
31:26With that woman.
31:28No matter how bad
31:29the vampire is,
31:30what we've done to her
31:31is still a trap.
31:33Well, Cañete,
31:34and everything she's done,
31:35have you forgotten?
31:37I thought we were together
31:38on this.
31:39I also agreed
31:40that we had to stop her.
31:42Don't you feel bad?
31:43Not even a little?
31:45No, I don't feel bad.
31:46What I feel is relief
31:47because this woman
31:48is no longer here.
31:49And also satisfaction
31:50because we've acted
31:51for everyone's sake.
31:53Especially Mr. Fermin's.
31:56Come on,
31:57they had to give us
31:58a chance.
31:59Don't make that face.
32:01Bosses,
32:02I have fresh news.
32:04The watchman told me
32:05he saw Mr. Fermin
32:06leaving La Moderna
32:07and that he was waiting
32:08for Mrs. Lázara outside.
32:10What? Mrs. Lázara what?
32:12They had a brief conversation
32:14and they left together.
32:16Mrs. Lázara was at the door
32:17of the tea room?
32:18Something like that.
32:20The watchman also told me
32:21she was dressed up
32:22as usual.
32:23Let's see,
32:24this woman wasn't sick.
32:25Let's see if this has been discussed
32:26like two little turtles
32:27that were going to leave
32:28much stronger.
32:30Let's go.
32:31Well, boss,
32:32don't make that face.
32:33And Mrs. Teresa,
32:34you too.
32:35I know you're worried
32:36about them.
32:37But
32:38long live love.
32:41Long live.
32:49Okay.
32:51Please put your hand
32:53on your chest
32:55and the other
32:56on your abdomen.
32:58The idea
33:00is that
33:01you control
33:02your breathing
33:03little by little.
33:04So breathe in
33:06and as you breathe
33:07pronounce the sound
33:08Z
33:10intense.
33:12That's it.
33:14Intense.
33:17A little slower.
33:19Sorry.
33:22Very good.
33:27May I?
33:28Yes.
33:30Chin in.
33:31That's it.
33:32Crown your head.
33:33Shoulders back.
33:34Perfect.
33:36Go ahead.
33:39Perfect.
33:40I'll have to tell
33:41Miss Juanes
33:42that you're
33:43a spectacular patient.
33:46Well,
33:47because you're more patient
33:48than a saint.
33:49Okay.
33:50Now
33:52we're going to do
33:53the exercise
33:54backwards.
33:55So
33:56breathe in
33:57and as you breathe in
33:58pronounce the sound
33:59Z
34:00soft.
34:01Soft.
34:04And little by little
34:05that sound
34:06gets more intense.
34:07Intense.
34:08Intense.
34:09Intense.
34:14Pick it.
34:18What happened?
34:19Did a butterfly come in?
34:21No.
34:25Through the window.
34:26No, it was me.
34:27No, no, no.
34:28Please.
34:29No, no, no.
34:30It's very good.
34:31I think
34:32it's a very interesting contribution.
34:34It reminded me
34:35of the butterfly
34:36that in spring
34:37goes
34:39to pollinate a flower.
34:44You're making it up, Agustín.
34:46No, no.
34:47I'm an insectologist.
34:48Ah, insectologist.
34:49Ornithologist.
34:50Ornithologist.
34:51Amateur.
34:53Really, Agustín.
34:54You're taking too much
34:55trouble for me.
34:56No.
34:58Trouble is when
34:59you do something
35:00you don't want to do
35:01but I want to come here
35:02to torture her
35:03while I pretend
35:04to be a language specialist.
35:07Laurita is very lucky
35:08because
35:09if she takes such good care of me
35:10then
35:11I can't imagine
35:12what she'll do to her.
35:15Sorry.
35:16Sorry, really.
35:17That sounded
35:18out of place.
35:19I'll talk to her.
35:20No, no, no.
35:21It's fine, it's fine.
35:22No, no, but this...
35:23This has to be clarified.
35:24Uh-huh.
35:25Uh-huh.
35:27This is not a personal matter.
35:29And then?
35:30Professional.
35:31Ah, professional.
35:32I'm defending
35:33my investment
35:34in the future
35:35function of the court of Pharaoh.
35:36I would do this
35:37for any member of the cast
35:38or for a horse
35:39if it comes on stage.
35:42Or for a stork
35:43if it comes on stage.
35:45I'm sure.
35:46I'm sure.
35:48Oh, really.
35:50Hello.
35:51I've brought a snack.
35:52I don't know if you've won it.
35:54Why are you laughing?
35:55Well, it's just that
35:56Agustín
35:57has compared me
35:58to a horse
35:59and a stork.
36:00With a stork.
36:01I don't know.
36:03Can I
36:07explain it?
36:08But are you working
36:09or are you doing a book?
36:10Well, I think
36:11both, right?
36:12With a little laugh
36:13everything goes better, right?
36:17How are you?
36:18Fine.
36:19In a bit of a hurry
36:20because today
36:21I have a bachelor party
36:22of a co-worker.
36:23We're going to see
36:24some racketeers.
36:25Some what?
36:27I'll explain it to you
36:28while we eat.
36:29Well, aren't you going
36:30to give me a kiss?
36:43What a joy
36:44that you wanted
36:45to come and see me.
36:46You're keeping
36:47our secret, aren't you?
36:48Yes.
36:49You know
36:50no one can find out.
36:52I was dying
36:53to see you.
36:55I can't stop thinking
36:56about what you told me
36:57about what you could do
36:58to make us talk
36:59to our mothers.
37:02That's why we're here.
37:04Because I want to show you.
37:06But
37:07first I have to know
37:08if you're ready.
37:09If you're old enough.
37:11I am.
37:13Very well.
37:14I trust you.
37:17Look.
37:20Do you see these posters?
37:23The yes, the no
37:25and the Virgin's stamp.
37:26Yes.
37:27What do we have to do?
37:29It's very simple.
37:32When you want to ask
37:33something to your mother
37:34close your eyes
37:35and the Virgin will answer you.
37:41She's very old.
37:44Because she's been helping
37:45girls like you
37:46for many years
37:47who want to talk to their mothers.
37:53And
37:54can I ask her
37:55anything?
37:57Yes.
37:58But they have to be
37:59simple questions
38:00that can be answered
38:01with a yes or a no.
38:03Like for example
38:05Mother, is it true
38:06that I'm talking to you?
38:08Do you understand?
38:10And
38:11if you show yourself
38:12fearful
38:13the Virgin will notice
38:14and won't want to
38:15transmit that fear
38:16to your mother.
38:18So you have to be
38:19very prepared.
38:20I'm not afraid.
38:23Very well.
38:26Close your eyes
38:28and ask the Virgin.
38:31Concentrate.
38:37Mother
38:39the first thing I want to know
38:41is
38:43if it's okay up there.
38:46Can't I change the question?
38:49I think so.
38:56Mother
39:00I'd like to know
39:04if I've met Father.
39:10You can open your eyes now.
39:13Your mother
39:14answered very quickly.
39:19But really
39:20am I talking to my mother?
39:22That's how the Virgin
39:23has wanted it.
39:25Can I ask her
39:26more questions?
39:29Clarita
39:31all of them
39:32that you want.
39:37Mother
39:38all of them
39:39that you want.
40:01Well
40:02can you tell me
40:03where you've been?
40:04I told you before I left
40:05but you don't listen to me.
40:06I went out
40:07to pick up Matilda
40:08in a taxi.
40:09Do you think it's a good idea
40:10to gather the two
40:11bachelor parties
40:12that we were going to spend
40:13on our own
40:14and now we have to
40:15put up with Esperanza.
40:16Watch out for Esperanza.
40:17Don't complain
40:18or she'll come
40:19looking for you.
40:20Don't tell me
40:21about Mrs. Lázara.
40:22I tried to find out
40:23the truth
40:24and it was for everyone's sake.
40:25Don't you like
40:26seeing Don Fermín
40:27as a troublemaker?
40:28But now we know
40:29they've reconciled.
40:30No, no.
40:31We don't know.
40:32No, no, no, no, no, no, no.
40:33No, no, no, no, no, no, no.
40:34No, no, no, no, no, no, no.
40:35No, no, no, no, no, no, no.
40:36Hey, hey, hey.
40:37Are you two looking for each other?
40:39I don't know how to thank you
40:40for the wonderful bachelor party
40:41you've prepared for me.
40:43It's the least you can do
40:44for a great friend
40:45you've spent
40:46so many years with.
40:47Well, well
40:48one more than the other.
40:49Yes.
40:50Don't forget
40:51that in life
40:52when they say your name
40:53through the megaphone
40:54you have to compete
40:55with the great man.
40:56Let's celebrate!
40:59There's nothing missing.
41:00We have to celebrate this.
41:01To Miranda de Bro!
41:02To Miranda de Bro!
41:04Hey, hey, hey.
41:06And who wants to make
41:07another toast?
41:08To Miguel.
41:09I was impressed.
41:10I was impressed
41:11by your gesture of terror
41:12and your strategy.
41:13It was...
41:14To Miguel!
41:15To Miguel!
41:21I'm serious, Miguel.
41:22That look of terror
41:23you gave me
41:24really seemed
41:25like it was real.
41:26A good strategy
41:27but it didn't work
41:28at all
41:29and it seemed
41:30like you were going to faint.
41:31The great man
41:32came up to you
41:33and said
41:34congratulations on the wedding.
41:36You knew the joke too?
41:37Of course.
41:38Salvita, Cayet
41:39and I
41:40knew it.
41:41The chosen ones.
41:42The chosen ones.
41:50Oh, my God.
41:51Poor Elias.
41:52He's going to get
41:53worse than he is.
41:55Hey, are you sure
41:56you haven't been scared
41:57by the great man?
41:58Me?
41:59Well, only at the beginning
42:00a little bit.
42:01I got a little dizzy
42:02and I thought I was going to die.
42:04What are you whispering?
42:05I can't hear you
42:06because of the music.
42:07Nothing.
42:08I was telling him
42:09that we had a great time
42:10at the front door
42:11and that everything was great.
42:12Yes.
42:13Now what you have to do
42:14is recommend me
42:15as a farewell expert.
42:16Of course, Esperanza,
42:17but tell us
42:18how it was
42:19with the racketeers.
42:20Well,
42:21we had a misfortune
42:22because the man
42:23didn't want us.
42:24Well, he gave me
42:25a ball
42:26and a blow to the head.
42:27I almost never get it.
42:29Well, you don't know
42:30how strong
42:31these women are.
42:32They would be
42:33great companions
42:34in La Moderna
42:35because at least
42:36that way
42:37we would save
42:38some money.
42:39What?
42:40I don't understand you.
42:41Of course,
42:42serving the ensaimadas
42:43to the racketeers.
42:45Come on,
42:46come on,
42:47I'll introduce you to him.
42:48Is he single?
42:49I think so.
42:50Then I'm going.
42:55Marta,
42:56can you tell me a dance?
42:58But only if it's with friends.
43:00What's the difference?
43:01Because if you do it,
43:02I'll shake you.
43:03I didn't remember
43:04we were together.
43:05Oh, how nice it is.
43:25My friend.
43:26My son.
43:29By the strength of your hug
43:30I would say
43:31you missed me, right?
43:32You don't know how much.
43:33Come in, man, come in.
43:40I see you look
43:41very good.
43:43Sevilla is treating you very well.
43:44Tell me,
43:45how's everything over there?
43:47And Nigo,
43:48I think it's time
43:49to say goodbye,
43:50don't you think?
43:51I think it's great,
43:52but tell me,
43:53how's it over there?
43:54Well, the truth is
43:55I can't complain.
43:56The business is going very well,
43:57the weather is great,
43:58the people are great,
43:59the food is great.
44:02But it's true
44:03that my two friends
44:05and my only family
44:06are here.
44:08Nothing is perfect.
44:10And where is Matilde?
44:12Well, Matilde is
44:13on a bachelor's party
44:14with her friends
44:15from La Moderna,
44:16but they'll be back soon.
44:17And Clarita, how is she?
44:18Is she around here?
44:19Yes, she's in the bedroom
44:20sleeping.
44:21Jacobo,
44:22I thank you very much
44:23for coming so quickly.
44:25Well, due to the urgency
44:26with which you called me,
44:27I couldn't do anything
44:28but take the first train.
44:30The truth is
44:31I haven't stopped thinking
44:32during the trip
44:33what could be
44:34more serious.
44:35Sit down, please.
44:40What happened?
44:43You see,
44:45it's about Carla.
44:48Matilde and I
44:49are convinced
44:50that the calcined corpse
44:51she found
44:54wasn't her.
44:58No, but that can't be true.
45:02It's impossible.
45:04Jacobo,
45:06Carla is alive
45:09and we want to know
45:10where she is hiding.
45:11In her house.
45:22I thought you'd be
45:23at Soltar Aditrini's farewell.
45:25Yeah,
45:26and I thought
45:27you'd be at Miguel's.
45:29No, I wasn't in the mood
45:30to attend
45:31a fight
45:32in Lucha Leonesa.
45:33I didn't think
45:34it was something like that.
45:35Yeah,
45:36neither did I
45:37to go to a racket match.
45:39Anyway,
45:40I'm glad you came.
45:42I wanted to take advantage
45:43of Marta's absence
45:45so we could talk
45:46in peace.
45:48Well,
45:49that's if
45:50Lucia doesn't interrupt us,
45:51of course.
45:52She won't.
45:53Of course.
45:54I don't know what to believe
45:55or who.
45:57What do you mean?
46:00Antonia,
46:01you told me to come
46:02so we could talk again.
46:05I have to see
46:06how things are going
46:07with Lucia
46:08and you too.
46:09Sorry,
46:10I didn't know you were
46:11the only victim
46:12in this situation.
46:16What did you want to talk to me about?
46:20I know
46:21we've been
46:22at La Moderna all day
46:24and we've only exchanged
46:25a couple of words, right?
46:26Yeah,
46:27to ask me
46:28for a couple of trays.
46:29That's it.
46:30So I don't understand
46:31why I had to find out
46:32about her and not you.
46:35Yeah,
46:36because when I got there
46:37I wanted to hear
46:38the big news.
46:39What big news?
46:41Her firm decision
46:42to stay in Spain.
46:44I was hoping
46:45you would tell me
46:46but...
46:48but no,
46:49I had to find out about her.
46:50Why, Pietro?
46:52I'm sorry, Antonia,
46:53but it's not the first time
46:54she tells me
46:55she wants to stay here
46:56and we've already talked about it.
46:57No,
46:58but this time it's different
46:59because now
47:00it's the opposite.
47:03I thought I could
47:04solve it.
47:06What did she tell you exactly?
47:08That it's only a matter of time
47:10for you two to get back
47:11what you had
47:12and that she's not in a hurry
47:14because she's convinced
47:15that you feel the same
47:16about her.
47:17And it's not true, Antonia.
47:18It's not true.
47:19And you know it.
47:20No, I don't know, Pietro.
47:21I don't know
47:22because I don't know
47:23what to believe anymore.
47:24Because you say one thing
47:25and then you do another.
47:26You live with that woman,
47:27you hear all her sorrows,
47:28you justify her all the time.
47:29Exactly.
47:30Pietro,
47:31what's next?
47:33You're being very unfair
47:34to me.
47:35I'm being unfair to you?
47:36Yes, because you know
47:37that the consulate
47:38could report me.
47:39No, sorry.
47:40The consulate doesn't force you
47:41to live with her.
47:42That's your decision.
47:43So take it.
47:45Take it!
47:48Maybe it's the best decision.
47:49It's true
47:50because she's your wife,
47:51right?
47:52She's your wife
47:53and I'm nothing.
47:54That's why...
47:55Antonia, please.
47:57Leave my house.
48:00Leave, please.
48:04Leave, Pietro, please.
48:05Yes, yes, yes.
48:06I'm leaving, I'm leaving.
48:07I'm leaving.
48:08I'm sorry.
48:25Hi, honey.
48:29Jacobo.
48:31How are you?
48:33Good.
48:35Hi.
48:36How was the bachelor party?
48:38Good, it was curious.
48:40I'm glad you had a good time.
48:42I'm sorry I'm not so effusive,
48:44but I'm still
48:46digesting the news
48:47Inigo gave me.
48:49I was commenting on Jacobo
48:50in the arguments,
48:51so we think
48:52Carla is still alive.
48:54As incredible as it seems,
48:55we are convinced.
48:57The only problem
48:58is that we need to prove it
48:59before justice.
49:00That's right.
49:01And that would make sense
49:02what happened to Matilde.
49:04Well,
49:05if Carla is hidden
49:06in her parasite,
49:08she will be enough hidden
49:09to make it impossible
49:10to access her.
49:13We believe that.
49:14It has to be
49:15an unknown and inaccessible
49:16room for the service,
49:18and of which only
49:19Mrs. Bárbara is aware.
49:21And since her false death
49:22she's been there.
49:23Except when she's gone
49:24to cause my hallucinations.
49:29And what's the plan?
49:31Because I suppose
49:32you already have one.
49:35Let's sit down.
49:43That's why we called you.
49:45Because only you
49:46can help us.
49:48The idea is that you watch
49:49the palace discreetly,
49:51while we show ourselves
49:52close to Mrs. Bárbara.
49:54Something that,
49:55to her surprise,
49:56she has already begun to do.
49:57Yes, we will make her believe
49:58that we have crossed the page
49:59so that she relaxes
50:00and with a little luck
50:02lowers the guard.
50:06I think it's good.
50:08I'm looking forward
50:09to going back to action.
50:11The countdown has begun.
50:22I'm very proud of you.
50:25Do you think that
50:26Madre will be too?
50:27Of course.
50:28She will always be with us.
50:30I know.
50:31And now that I can
50:32talk to her,
50:33I'm much happier.
50:35Wait, what is that
50:36that you can talk to her?
50:38Because of Lucia,
50:39I'm going to lose Antonio.
50:40I think that woman
50:41doesn't let go
50:42even if he comes to get him
50:43the shower that Italy sends.
50:44I think something is happening here
50:45and that it is something ...
50:47Well, it's not good.
50:48Well, woman,
50:49don't get into the worst.
50:50Mrs. Lázara has made trouble again.
50:51Look, it's true
50:52that there was an accident.
50:54It is true
50:55that the employee who suffered it
50:56was under my orders.
50:57And it is also true
50:58that we were all overcome
51:00by the excess
51:01of work we had.
51:02I don't know.
51:03I don't know.
51:04Let's see, Mrs. Lázara.
51:05I should have told you
51:06all this much earlier.
51:07I was talking to Jacobo.
51:09He has given me great news.
51:10And what is it about?
51:12Well, he has been able
51:13to rent a room
51:14in a house
51:15that is in front
51:16of Carla's parasite.
51:17In other words,
51:18he can control
51:19who comes in
51:20and who leaves.
51:21Totally.
51:22He can't go up.
51:23Fabio told me
51:24he was going to stop by the house.
51:25It was a good idea that I saw you.
51:26Besides, at this point
51:27he will think
51:28that you are on your way to America
51:29and not here
51:30playing a loner.
51:31I wanted to check
51:32what I already suspected.
51:33What did you think?
51:34You made fun of me.
51:35At this point,
51:36all I want
51:37is for the whole truth to be known.
51:38That woman
51:39shows up in our lives,
51:40annoys us at the wedding,
51:41gets into Pietro's house
51:42and now she says
51:43they won't even throw her
51:44hot water.
51:45Do you believe that?
51:46If Pietro doesn't decide,
51:47I'll knock on the door
51:48and I'll go on with my life.
51:49I've already told you that.
51:50The thing is that, well,
51:51it's a very acute situation.
51:53Come to Chile
51:56No, no, no.
51:58My boat
52:02Santa Lucia
52:07Did you think
52:08we wouldn't notice or what?
52:09One thing is to be discreet
52:10and another is to want to deceive us.
52:13Well, Clarita,
52:14what do you want to ask your mother today?
52:16Mother,
52:17are you okay up there?
52:25Can you ask her
52:26what you have to do
52:27to go with her?