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