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00:00I'm sorry, Marta, I'll call you right back.
00:04It's okay.
00:07Come in, come in.
00:09Well, I'm going to change.
00:11Hey, before you get to work,
00:14did you go to the Madrid-Cabaret party last night?
00:17No way.
00:18If I, with all the early birdies I get and the amount of work I have,
00:20I don't have time for that.
00:21I'm sorry, Marta.
00:22I'll call you right back.
00:24It's okay.
00:26Come in, come in.
00:28Well, I'll change.
00:30I don't have time to have fun out there.
00:32Sure, if you're so busy.
00:34Sorry, I asked you to ask.
00:36No, I'd like to be in Havana more often.
00:39In addition, the call for the night school has come out.
00:42That means I have to go to school now.
00:44Oh, that's good.
00:46Not that you have to go to school,
00:47that you're tired enough already.
00:50I mean, that you introduce yourself.
00:52With how applied you are, you'll get in for sure.
00:54I don't know, I hope so.
00:56With the amount of homework I have,
00:58there are times when I fall asleep on top of the books.
01:01I hope to get to the exams in good condition.
01:04Hey, I loved dancing with you at Trini Miguel's party.
01:09Yes, well, I'm a little shy,
01:12but when we danced, I had a great time too.
01:15You know what they say,
01:16you have to dance as if no one was looking at you.
01:18And I think we complement each other very well.
01:21Yes, it wasn't bad, really.
01:25If you want, we can stay another day to dance.
01:27And that way, we can perfect our technique.
01:30Let's see, I wouldn't mind, but I don't know,
01:32didn't you say your father didn't want you to go out with girls like me?
01:35That they could distract you?
01:37He said that once.
01:38I already told you that I'm going to talk to him about that.
01:41Well, I don't see you looking forward to it.
01:43Yes, woman.
01:44Look, I was just going to tell him today,
01:45that he's going to come to the bookstore,
01:47and besides, I can introduce him to you.
01:51Do you really want to introduce me to your father?
01:53Of course, he's going to love it,
01:54and I'm sure he'll change his mind.
01:57Well, I don't know if I'm going to love him as much as you say, but...
02:02Even more.
02:03He's going to realize how important you are to me.
02:09Well, I'm going to work, I'll be late.
02:12Yes, yes, of course.
02:23Where were you yesterday?
02:25I know you went out, and that you came back late,
02:27because I went down to the basement to leave you dinner, and you weren't there.
02:42Mother, I'm already old enough to be giving him explanations
02:45about where I'm going or where I'm not going.
02:48Your answer is proof that you're not as mature as you think.
02:52Well, it's okay to take the piss, daughter.
02:54We're in a very delicate situation.
02:57I guess I don't have to remind you that Fabio gave us an ultimatum yesterday.
03:01Fabio doesn't have what it takes to fulfill his threat of going to the police.
03:05He knows perfectly well that if he does something against me, you would never forgive him.
03:10And that man without you is nobody.
03:12Wow.
03:13Wow.
03:15I imagined you wouldn't have much esteem for me, but...
03:19I didn't think you had such a wrong idea about me.
03:24Fabio, if you don't want to get into trouble,
03:27it's best if you don't listen to other people's conversations.
03:30Do you really think I'm a puppet in your mother's hands?
03:36You're so used to slandering and manipulating
03:38that you think that everyone around you doesn't know anything about us.
03:44But I'm sorry to disappoint you, yes.
03:46Yes, we know exactly what you're up to.
03:52I didn't ask for his opinion.
03:53And I'm sorry that this could worry your mother or you.
03:58But I told the truth when I made sure that if you didn't leave the country,
04:02I would go to the police and tell them everything you've done.
04:07As I've already told my mother, let me doubt it.
04:11What you've done to Íñigo and Matilde is of an absolute moral low.
04:16Not only have you tried to make it look like Matilde had lost her mind.
04:20No, you've also accused Íñigo of being a murderer.
04:25In fact, I would venture to say that you were behind the accident
04:31in which the two of them almost died, and Matilde's younger sister.
04:34Fabio, please.
04:36I never imagined that you could be so imaginative.
04:40Go, go to the police and tell them all your conjectures.
04:44Let's see what they answer.
04:47Go, go. And stop threatening them.
04:50Don't challenge me.
04:52Don't challenge me because I can do it at any time.
04:55No, I don't think so.
04:58Both you and I know that if you go to the police to report us,
05:01the one who will end up in jail will be my mother.
05:03And you are not capable of doing that.
05:07It's not easy to see how the woman you love ends up in prison, right?
05:13To see her languish, little by little, in horrible conditions.
05:19Bárbara, I've tried to protect you.
05:23But your daughter, your daughter is going to be your ruin.
05:33I told her, mother. She won't keep her word.
05:36She's easily intimidated.
05:39I admire your confidence.
05:41But I'm not so sure that you won't tell us what we've done.
05:45Besides, your arrogance hasn't helped us much.
05:47On the contrary.
05:54Hello.
05:56Hi.
05:59How are you?
06:01Fine. A little tired from yesterday.
06:03And these photos?
06:05I made them for Marcial Lalanda.
06:08I just revealed them.
06:09They're very good.
06:11You've captured his personality and soul well.
06:16Yes, the truth is that he has a lot of presence.
06:18In full and serenity.
06:20I didn't have to tell him many things.
06:22It comes out as it is.
06:24Good morning, dear.
06:27Celia, how glad I am to see you.
06:31Why do you say that, Mr. Fermin?
06:33Because I'm going to miss you a lot
06:35if you finally decide to leave for Germany.
06:39My God, I think I've lost my mind.
06:42Laurita told me that you were leaving
06:44for professional reasons.
06:46But know that if something happens to her
06:48that I can offer you to keep her here,
06:50I'm all ears.
06:52Thank you, Mr. Fermin.
06:54You are always so kind.
06:56The truth is that I'm thinking about it.
06:57I'm still not very sure.
06:58If I decide to leave,
07:00you will be the first to know.
07:02I would do it with total confidence.
07:04Of course.
07:05Because if that's the case,
07:06Laurita and I have to decide
07:08if it's worth keeping the store open or not.
07:11Sure, I understand that perfectly.
07:13I know, Celia, that I support you
07:15just as I support my nieces in everything.
07:18Decide what you decide.
07:20That means a lot to me.
07:22Thank you, Mr. Fermin.
07:24I've always thought that everyone should choose
07:26their own path in freedom.
07:28Well, I have urgent things to take care of.
07:32Goodbye.
07:38Celia, it was Agustín who left without saying anything
07:42and I had to tell him,
07:43but I want you to know that I had no bad intentions.
07:45Yeah, but I would have liked to tell him myself.
07:50But you haven't told him anything else, have you?
07:52Of course not, Celia.
07:53But who do you think I am?
07:54I'm not going around telling him your secrets.
07:56Don't worry, it's a matter that bothers me a lot.
07:58Don't take it that way.
07:59And how do you want me to take it?
08:08Neither Trini nor Miguel could be
08:10because they're getting married in El Bierzo.
08:12Well, I swear I saw a woman yesterday
08:14just like Trini on the street.
08:16That wouldn't be Trini.
08:18Well, if it wasn't her, it was nailed.
08:20As if she had a twin sister.
08:22And where do you say you saw her?
08:24I was in a store picking up a lamp
08:26when I suddenly saw her on the street.
08:28Look, that's how I left the store to say hello.
08:30And when I saw her, I wondered if they had changed their minds.
08:33And they were going to get married.
08:35Don't tell me.
08:36Yes, and you don't know how worried I was.
08:38Of course.
08:39Because you're very bad with suspense and you don't know things.
08:42Man, of course.
08:43And especially if it's the wedding of two of my best friends.
08:46Well, I went straight to his house.
08:48Man, Elias, I don't think it was necessary.
08:50Man.
08:51Elias.
08:53Go check the tables in the living room.
08:55There's one I took and I don't know what it is.
08:57On my way, boss.
09:03Are you okay?
09:05Yes, very good. And you?
09:10You know that doesn't work with me anymore.
09:12What happened to you?
09:16Well, look.
09:18I didn't like at all that you told Mr. Fermin
09:20that Mrs. Lázara deserves the benefit of the doubt.
09:24Let's see, Teresa.
09:26He may be wrong.
09:28But I like to be honest and say things as I see them.
09:31But not only with Mrs. Lázara, with everyone.
09:33Yes, but it is assumed that you were with me in this.
09:36And you've left me sold.
09:38I didn't think you would stop supporting me.
09:41But if I support you.
09:43And I know what you've been through.
09:44What I don't want is that you take the confrontation so far
09:46that you get into a problem.
09:47But we've already talked about this.
09:48And I told you because I told you I was going to get to the end.
09:51Or not?
09:52But do you realize the power that woman has?
09:54What can she do to fire you?
09:56Have you thought what would happen to you if they fired you from this position?
09:59Because the world is not there to look for work right now.
10:02And less being a woman.
10:04That many times it is harder for businessmen to trust you.
10:07Well, look, it could be.
10:09But a person as conflictive and dangerous as she is,
10:11what has to be is out of the living room.
10:13Because in the end things fall by their own weight, Teresa.
10:16If Mrs. Alazara is responsible for something so serious,
10:18she will end up knowing.
10:20What I want is that for once, for once,
10:23you think about yourself.
10:24That I don't need you to protect me,
10:25what I need is that you support me.
10:28But look, that's it, leave it.
10:29Leave it because the same thing always happens to me.
10:31I think I can trust people and in the end I'm always alone.
10:35But I'll tell you one thing, better alone
10:37than badly accompanied, that's it.
10:39Wait a minute, Teresa.
10:40What?
10:41That we haven't finished.
10:42No.
10:43I think I've shown you enough times
10:46that I've supported you.
10:48And that I'm by your side.
10:49And I want to be there.
10:50At any time of day and night.
10:52For anything you need.
10:54And it may not be perfect, but ...
10:58I care a lot.
10:59Yes, yes, yes, already.
11:01Look, I had thought many times about telling you that.
11:06But in my head it sounded not as clumsy
11:08as it may be sounding now.
11:12But Teresa, I ...
11:15Well, what about you?
11:18I love you.
11:23I like everything about you.
11:25Well, you have a lot of genius,
11:26but I like it much more that you have character.
11:30I like your hands, your eyes, your hair.
11:35I like how you face problems
11:36with all the courage in the world.
11:38Well,
11:41I'm even happy to hear your voice.
11:45That's why I'm so worried about Mrs. Lázara.
11:47Because if things end up twisting and they fire you,
11:51I don't know what I'm going to do without having you close.
12:01Sorry.
12:04I messed up again.
12:06Again.
12:08Again.
12:18And have you seen her come in?
12:20Yes, yes, yes, yes.
12:22It was Fabián, I'm sure.
12:23I saw him enter the palace.
12:25He would surely be meeting with Mrs. Bárbara.
12:27But I'm not sure either,
12:28because the curtains were down.
12:30I understand.
12:31Is there anything else that has caught your attention?
12:34Well, yes.
12:35There has been something that has caught my attention.
12:38The police, the keymaker,
12:40the cleaning lady, including the driver,
12:42have left this morning and have not returned yet.
12:46So,
12:48the curtains are still down.
12:50For now, yes.
12:51And there has been no further movement.
12:53So, the curtains are still down and Serviz is out.
12:57I'm sure one thing is related to the other.
13:00Man, I think it's a very reasonable hypothesis.
13:03The good thing is that I've got shots of the palace.
13:08I'm sorry, Jacobo, but I have to hang up.
13:10They have knocked on the door.
13:12It will surely be Celia who wants to bring me some photos
13:14of the party at the Madrid Cabaret.
13:17Please, if you see something that catches your attention again,
13:20let me know.
13:22I'm counting on it.
13:23Goodbye.
13:24Goodbye.
13:38Let's go.
13:43Fabio.
13:45I wasn't expecting you.
13:47May I come in?
13:48I just need a minute to talk to you.
13:54Come in.
14:02I don't want to interrupt.
14:06No, don't worry.
14:07I was busy with the business paperwork.
14:11But please, have a seat.
14:25I'm listening.
14:27The last time we saw each other,
14:28he told me he thought I had more information than he did.
14:33And he was right.
14:35It hasn't been easy coming to your house.
14:38Not with my personal relationships.
14:42Presenting myself here like this...
14:45I take care of everything that has happened, Matilde and you.
14:49From what I see, you want to tell me something.
14:53Please, do it.
14:54With total tranquility.
14:56We could have many different conversations, I assure you.
15:00Yes, I could also listen to them all.
15:02I'm not in a hurry.
15:04But I think you're here to unload your conscience.
15:08Isn't that right?
15:11Well, what I want to tell you is that the sale of the premises is yet to be finalized.
15:18Yes, but we already know that.
15:21Mrs. Bárbara doesn't want to sell the premises of the gallery to the businessmen
15:25who are renting them.
15:27Yes, but I have the impression that this may be so for life.
15:32Circumstances, as you can imagine, have changed.
15:40Could it be a little more specific, Mr. Fabio?
15:43Yes.
15:45Mrs. Bárbara no longer needs more liquidity.
15:48She doesn't need to sell any more assets.
15:51I think that's clear.
15:53Mrs. Bárbara has money.
15:56But it's a very sharp decision.
16:02I wonder what she could obey.
16:08Well, I don't want to go into details,
16:10but I will tell you that Mrs. Bárbara is willing to respect her daughter's will.
16:15You mean your daughter's last will.
16:21Isn't that right?
16:25Call it whatever you want.
16:30Thank you very much for your time.
16:44Can I come in, Mr. Fermin?
16:45Of course, of course. Come in.
16:48I just wanted to make sure that everything is fine around here.
16:51Have you emptied the stationery?
16:53Since Mrs. Lázara is not here, I couldn't ask her.
16:56No, everything is perfect.
16:58Thank you, Esperanza, for your interest, but I don't need anything.
17:02So Mrs. Lázara is not coming back?
17:06Well, I'll leave you alone.
17:08And I'll continue with my chores.
17:10Goodbye.
17:17What did Esperanza want?
17:19Didn't she clean her office in the first hour?
17:21I'm afraid she is intrigued by Mrs. Lázara's fate,
17:24like the rest of the squad.
17:26I imagine.
17:30And...
17:32And to what extent is her relationship with her?
17:37Well,
17:39we'll meet outside of here.
17:41I thought it would be the most sensible thing.
17:43And Mrs. Lázara also thinks so.
17:46Yesterday I went to eat with her to hear her version of the facts.
17:52And did she make you change your mind?
17:54She made me doubt, of course.
17:57As they had told me, it seemed little less than a murder,
18:00and now, on the other hand, it seems the inevitable consequence
18:05of precarious working conditions.
18:08Very precarious.
18:11I hope I have been unfair to her.
18:14Well, it is normal that you want to know more about what happened,
18:17especially now that you had a closer relationship.
18:20Yes, yes, now I know more, but I feel incapable of deciding.
18:23I don't know what to do.
18:29What do you think of all this?
18:32Well, I think I should listen to Mrs. Lázara
18:35so that she can give her the explanations she needs and then decide.
18:39It is the most logical thing.
18:42I don't like this situation at all.
18:44I feel between a rock and a hard place.
18:49Well, whatever your decision is,
18:51I am convinced that it will be the right one.
18:57Well, and you?
18:59Are you nervous about tonight's performance?
19:01Yes, yes, I am very nervous.
19:04Yes? Well, I can see why.
19:06Everything is going to be wonderful.
19:08You have to trust your talent and be calm.
19:11The rest will come on their own.
19:15It doesn't matter if I go home and prepare the performance calmly?
19:18Of course, darling, of course.
19:20See you tonight at the Madrid Cabaret.
19:22Because I plan to applaud until my hands hurt.
19:27I don't know if I can trust you when you say that everything is in order.
19:30Of course, father.
19:31I have come at the first hour to open the door to Marta
19:34and I will go last with the closure, as it could not be otherwise.
19:37What a fulfillment!
19:39And I'm not going to go home to eat.
19:41I brought myself a sandwich to eat in the back room.
19:43And I even made the sandwich.
19:45Impressive.
19:47I'm glad to know that you are becoming a formal and responsible man.
19:52Finally.
19:53Well, I have to admit that Miguel is helping me a lot.
19:56I'm learning a lot from him.
19:58Miguel is a great worker and a beautiful person.
20:02By the way, yesterday I forgot to call him to congratulate him on his wedding.
20:06Don't worry, father, I give him good wishes.
20:09Thank you very much, son.
20:13Salvita, now that there are no customers and that we are alone,
20:18I would like to have a little chat with you from man to man.
20:23Of course, father, you will say.
20:25I wanted to tell you some of the plans I have for you.
20:30And what kind of plans are those?
20:32Son, you are about to become a man made and right.
20:38It is a fantastic moment to ensure a promising future for you.
20:42None of that sounds bad, but I am now in the bookstore and I could stay here longer.
20:48I thought it would be fantastic to get you with Vanessa Bennett.
20:53She is the daughter of one of the industrialists of the wine of Genet.
20:56It is a very good English family.
20:58But father ...
21:00In fact, you already saw her.
21:03She is a fantastic woman.
21:05Yes, yes, I want to remember that you commented on how beautiful she seemed to you.
21:11Son, if our two families come together,
21:14a good fate awaits you in the business of the Bennett.
21:17You can live as we always imagined.
21:20Well, you can always come to the bookstore and see your friends when you think it's appropriate.
21:25Father, I can't do that.
21:27You have to take advantage of the opportunities when they come.
21:30This train does not pass twice.
21:32Look, I understand that you find it very interesting,
21:35but I'm not going to commit to anyone.
21:39And you can know the reason and don't come to me with nonsense.
21:46I'm in love with Marta.
21:51I knew you would tell me something like that.
21:53Well, it's normal.
21:55You barely know the world.
21:57And you know much less how it works.
21:59I know how to recognize an extraordinary woman when I have her in front of me.
22:02Me too.
22:04That's why I want you to marry Vanessa Bennett.
22:08I can be generous with you.
22:10I can accept that Marta is entertainment for a while, nothing more.
22:14I would never consider her entertainment.
22:17She is worth a lot and you should meet her.
22:19I'll let you have fun for a while longer.
22:22I'm not going to ask you to break up with her immediately.
22:25Although you will have to do it sooner or later.
22:29Son, you can't unite your future with that of a whore.
22:32But Marta is studying.
22:34Better for her.
22:35But no matter how much she learns, it will always be little.
22:39You can and should aspire to something much better.
22:43Look, father, I'm not going to do what she asks me to.
22:47I'm not asking for your permission.
22:50I can promise you without you saying anything.
22:52Something will have to tell me that I don't want to marry that girl, right?
22:54It will be better if you obey my orders.
22:56I'm not going to do it.
22:57If you don't do it, I'll fire Marta.
23:00What's more, if you're still in your thirties,
23:03I would ask Don Fermín to kick her out of La Moderna.
23:06But father, for God's sake, I can't do that.
23:08I ask you, please, don't do it.
23:10If you want that girl to keep her jobs, you'll have to forget about her.
23:14And meet Miss Bennett tomorrow.
23:17Okay?
23:20Okay.
23:34Oops!
23:35I'm going to get sick of eating so many chips.
23:38You're going to get sick of eating so many chips.
23:44Elias, again!
23:47Don't worry, I'm Cañete.
23:51Hello.
23:52Come in, come in, come in.
23:55Be careful, Miguel, the jacket is new.
23:57Lower your voice, man.
23:58I hope no one has followed you.
24:00No, no one has seen me.
24:01Don't worry.
24:02But even so, I don't have much time.
24:03That's how all the mystery novels start.
24:05Let's see, what happened?
24:06Well, you will say.
24:07Because Elias is saying that yesterday afternoon he saw a woman just like Trini.
24:11Oh no!
24:12And what did you tell him?
24:13Well, what am I going to tell him?
24:14That it was impossible because at that time you were on your way to the wedding.
24:17Oh, Cañete, you're one of the friends who don't stay anymore.
24:19A lot of friends and whatever you want, Miguel.
24:20But do me a favor and don't leave the house.
24:22With the one we have organized to discover the cake.
24:25No, it's just that...
24:26And that Elias never rests.
24:28It's just that...
24:29Don't leave the house, please.
24:30Yes, I'm very sorry.
24:31I'm sorry, I'm sorry, I'm sorry.
24:32It's my fault.
24:33Lately, I've been eating cucumbers.
24:34I don't know what's wrong with me.
24:35I can't contain myself, okay?
24:37But from now on, I'm going to contain myself.
24:39Don't worry.
24:40Don't look at me like that.
24:41This also goes with you.
24:42Make sure that in the end, you're going to have a baby with a cucumber head, Miguel.
24:46Yes, because he didn't give it to me for the torresnos.
24:48I'm not telling you that I don't feel like it.
24:50Well, you don't have to exaggerate either.
24:51Exaggerate?
24:52My brother Clemente has a moon in the same shape as an egg.
24:55Can you guess why?
24:57The eggs are delicious.
24:59Do you know if it's in season?
25:00Well, I think so.
25:01Cañete, why don't we stop talking about food and not read it anymore?
25:04How about the modern one?
25:05Is there a lot of talk about the wedding?
25:08Man, there is some talk.
25:10But...
25:12Don't worry, because if people find out about the one I organized with Teresa,
25:15I'm going to take away all the prominence.
25:17What happened with Teresa?
25:19Do you want the short version or the long version?
25:21Both.
25:23Let's see.
25:24I'll tell you the subject a little above.
25:27I threw myself and I ended up telling her that she was the woman of my life.
25:30What?
25:33Well, I'm sorry, Cañete.
25:35With what you had worked on as a friend lately.
25:37Look, I don't want to be ash,
25:39but don't be surprised if from now on I start avoiding you,
25:42knowing her.
25:43Do you think so?
25:44Man, Teresa is very radical with these things, isn't she?
25:48It's how it has to be.
25:50I already knew that she didn't want to hear anything about a relationship.
25:52But I don't know what happened to me, I couldn't stand it.
25:56And now I'm not going to be able to settle for the comfort of friendship.
26:00Who would send me to talk?
26:04A game?
26:05So we start again.
26:06So we start again.
26:08It will be in case.
26:09I'm in a hurry, but come on, deep down.
26:13The light of the moon breaks in the sacred Nile.
26:19I fell asleep in heaven.
26:32Agustín.
26:34What a surprise.
26:35I'm sorry if I come at a bad time.
26:36I just came to bring you this.
26:41But the flowers are not given at the end of an act.
26:43Well, I'm so sure that your performance will be a success.
26:48Why wait?
26:50Come on, come in.
26:58Thank you for the flowers,
27:00but I want you to tell me your secret.
27:05My secret?
27:07Yes, I would love to enjoy that security you have.
27:11I don't know, I'm very envious.
27:13You also have that security.
27:15Although I don't know yet.
27:17It's all a matter of perspective.
27:19Life has many possibilities.
27:22It's like when you go on a field trip
27:25and then you find all kinds of flowers.
27:29The point is to know how to choose the flowers you want
27:34to be able to make an ideal bouquet.
27:39And do you always know which flower to choose?
27:45Well, if I tell you the truth,
27:49not always.
27:51And it's a shame.
27:57I'm going to put the flowers in the water.
28:04How are you feeling for tonight? Are you nervous?
28:09Yes, a little.
28:10But nothing compared to the first time I sang.
28:15Maybe because I didn't have your support.
28:19Well, the first times always cause some anxiety in anyone.
28:24I have nothing to do with it.
28:26Yes, but more anxiety is caused by the second chances.
28:29And I assure you that without you,
28:31I wouldn't have been able to sing again.
28:34So I thank you from the bottom of my heart.
28:38I always loved you very much.
28:40The question is why not do it
28:42if this little star Castro told you that she would sing again.
28:45Everyone who knows her has a lot of faith in her.
28:49Now you just need to have it too.
28:52And then we will go very far.
28:59Anyway, it would be better if you leave me
29:02and I let you rest for tonight.
29:07Goodbye, Agustín.
29:09Agustín.
29:25Hi, Lara.
29:26Hi, Clarita.
29:30Shall we start?
29:32Tonight I've been thinking more questions to ask my mother.
29:36Today we're going to do something else.
29:38Something that will suit you very well.
29:41Wouldn't you like to stop being afraid?
29:45Yes, but is that possible?
29:48Yes, and it's very useful.
29:51Because doesn't it happen to you that when you're afraid,
29:54you become paralyzed?
29:56Yes, and I get cold.
29:58That's because you haven't learned to overcome it yet.
30:01But I'm going to teach you.
30:03Because there will come a day when you'll have to be very brave
30:07and you'll have to make the big decision, you know?
30:10What big decision?
30:12We each have a different one.
30:14Mine, for example, is that I have to go very far from here.
30:18How far?
30:20Like Aunt Conchita?
30:22Even further.
30:24To a place where I can be happy.
30:28And you're not happy here with me.
30:30I thought we were friends.
30:32And we are.
30:33The best friends.
30:35I don't want you to go.
30:37I'm not going so soon.
30:39First I'm going to help you face your fear.
30:42Do you trust me?
30:44Of course.
30:46Very well.
30:55Do you see this needle?
30:57You're going to have to grab it very hard.
31:00And then you're going to nail it.
31:03Don't think about it.
31:05If you think about things, then you don't do them.
31:11But Lara...
31:13Is that going to hurt me?
31:15Only if you think about it.
31:17In the end, this is like fear.
31:19If you think something scares you,
31:21In the end, it ends up scaring you.
31:23That's why it's best not to think.
31:26Try it.
31:28Grab the needle and nail it.
31:30But don't think about it.
31:32Just do it.
31:42Wait.
31:44Son of a bitch.
31:46I didn't know you were such a coward.
31:49Son of a bitch.
31:51I didn't know you were such a coward.
31:53I'm not going to marry you.
31:55I'm a coward?
31:57Yes.
31:59I don't know if you're starting to lose yourself,
32:01but you're tense.
32:03A little bit of both.
32:05And all because of the bookshop.
32:07Just thinking that my position is hanging by a thread...
32:09Well, it's actually Alvita.
32:11But don't worry, because that boy...
32:13That boy, deep down, adores you.
32:15So don't give him a hard time.
32:17I'm stuck between those two.
32:19And since I'm stuck here all day,
32:21I can't know what they're up to, and I feel bad.
32:23Honey.
32:24What?
32:25I'm really sorry.
32:26Are you going to kill me?
32:27But I think I'm getting a craving.
32:29Cucumbers!
32:30No, no, no.
32:31Cucumbers, no.
32:32Don't tell me that.
32:33Please.
32:34Don't even mention them.
32:35I just think they're disgusting.
32:36But what are you saying?
32:37That.
32:38Yes, throw them away.
32:39Throw them away whenever you can.
32:41I'm not getting a craving for food.
32:43It's more of a craving for reading.
32:45Do you have a craving for that?
32:46Of course not.
32:47Obviously not.
32:48But you spend all day talking about books,
32:50and reading.
32:51And I'm here, locked up,
32:52and I'm feeling nervous and suffocated.
32:53Okay, okay.
32:54Don't panic.
32:55You're at a bookseller's house.
32:56If there's something there, it's a book.
32:57Yeah, but I don't care about any book.
32:59Oh, no?
33:00Any special one?
33:01Yes.
33:02Dante's Divine Comedy.
33:04Precisely.
33:05Yes.
33:06I don't know if I have it here.
33:08Don't you care about Quixote?
33:09In my opinion, it's much better
33:10wherever Cervantes is.
33:11But at this point,
33:12you haven't found out what a craving is.
33:14I need that one.
33:16I'll give it to you.
33:17But right now,
33:18I can't give it to you
33:19because I left it at the bookshop.
33:32No.
33:33No, no, Trini.
33:35Let's focus.
33:37You heard her, Cañete.
33:38We can't leave the house.
33:40I know.
33:41The thing is,
33:42I'm here,
33:43overwhelmed,
33:44at home,
33:45locked up.
33:46She made me read it.
33:47No, no.
33:48Yes, yes.
33:49I think it's great,
33:50but right now,
33:51I can't get you that book.
33:52Going to work is too dangerous
33:53and I can't walk around
33:54all the bookshops
33:55looking for Divine Comedy.
33:56Well,
33:58fine.
33:59It's fine.
34:00You're absolutely right.
34:02Well,
34:03we'll see how the nerves
34:04affect the baby.
34:14Where are you going?
34:16To get changed.
34:17Or do you also want
34:18me to go out in my pajamas?
34:21Ouch!
34:22What's wrong?
34:23My knee.
34:24It's just that
34:25I've had a sprain.
34:26I told you
34:27I felt it a little.
34:39Marta,
34:40what time does Someta arrive?
34:41You're always early.
34:42Shut up, shut up.
34:43If I was going to go at my time,
34:44I came in a little late.
34:46Did you bring a lot of people
34:47to the bookshop?
34:48You don't look well.
34:49What's wrong?
34:50No, it's just that
34:51I've been studying
34:52in the changing room
34:53when I finished work.
34:54What happens is that
34:55Salvita told me
34:56she was going to introduce me
34:57to her father.
34:58Really?
34:59And how is he?
35:00I haven't had much
35:01contact with him.
35:02Look,
35:03he knows more than me.
35:04Because the man
35:05hasn't introduced himself.
35:06I don't know,
35:07something must have come out.
35:08That's strange.
35:09I saw him at the bookshop today.
35:11At the bookshop today?
35:12Yes,
35:13talking to Salvita.
35:14And why hasn't Salvita
35:15told me anything?
35:17I don't know, honey.
35:18You'll have to ask him.
35:20Of course,
35:21you have to mess with this guy.
35:23First he tells me
35:24he's going to introduce me
35:25to his father
35:26and then he leaves me stranded.
35:27My nose is starting to swell.
35:29What did I tell you yesterday?
35:31That men are very much his own.
35:32No.
35:33If you're not willing
35:34to fight for one,
35:35it's better to have them far away, Marta.
35:37Maybe what you should do
35:38is ask that guy
35:39why he has changed his mind.
35:41Well, we'll see.
35:42Because for now
35:43I don't have time
35:44or desire to see him again.
35:45Well, look,
35:46let's do one thing.
35:47Why don't you go get the bread
35:48and get some fresh air?
35:49You have the money there.
35:51Okay.
36:00Hi, Marta.
36:01Is Antonia here?
36:03I want to talk to her.
36:05She's there.
36:06Another thing is that
36:07I want to talk to you.
36:09Okay.
36:17Excuse me.
36:19Hello.
36:23I don't know if it's a good time,
36:24but I wanted to talk to you.
36:27Pietro, I really don't feel like
36:28arguing right now.
36:30I'm not here to argue.
36:32I'm here to tell you that
36:34I'm going to ask Lucia
36:35to leave my house.
36:39Very well.
36:40You know what you're doing.
36:42Do you really have nothing
36:43else to say?
36:45I just don't know
36:46what else you want me to say,
36:47Pietro.
36:48I don't know.
36:49When that woman
36:50leaves your house,
36:52then we'll talk.
36:54Okay.
36:55Okay.
36:56It's all been said.
36:59Good afternoon.
37:10Look, I've known him
37:11forever,
37:12but I'm not used to
37:13seeing him so nervous.
37:14Because I'm a great actor,
37:15Laurita,
37:16and you're very observant.
37:18Don't worry.
37:19You'll see that
37:20my sister will deal with him.
37:21Nerves are inevitable.
37:23Everything you two
37:24care about
37:25matters to me.
37:26On top of that,
37:27they're contagious,
37:28and this morning
37:29your sister told me
37:30that she was
37:31in a flan.
37:32Well, it's normal,
37:33but you'll see
37:34that as soon as she gets up,
37:35it happens to her.
37:36She has a lot of time.
37:37Besides,
37:38she's worked a lot
37:39with Agustín.
37:40She doesn't lack tenacity.
37:41Of course.
37:42Let's hope
37:43that everything goes well
37:44tonight,
37:45because
37:46that way she'll gain confidence
37:47and her career
37:48can take off,
37:49because if not...
37:53Mr. Fermín,
37:54do you mind
37:55if I take some pictures
37:56from here?
37:57Please.
37:58I have a better angle.
37:59Please, sit down.
38:09Good evening,
38:10ladies and gentlemen.
38:11First of all,
38:12I'd like to thank
38:13Domingo Peñalver
38:14for allowing me
38:15to introduce
38:16the next guest
38:17of such a special night.
38:18Today,
38:19Madrid Cabaret
38:20welcomes back
38:21a spectacular artist
38:22who curiously
38:23started his career
38:24here,
38:25and after a brief
38:26parenthesis,
38:27he returns
38:28to delight us
38:29with his talent.
38:30We welcome him
38:31with a very strong
38:32welcome,
38:33a very strong
38:34welcome,
38:35a very strong
38:36welcome,
38:37a very strong
38:38welcome,
38:39the wonderful
38:40Inés
38:41Valbuena.
38:48I can't, Agustín,
38:49I can't.
38:50Listen to me,
38:51you can.
38:52You were born for this.
38:53Please, trust me.
39:08EPISODE 3
39:09FULL OF TRUTH
39:10A SPOONFUL OF CRAZY
39:11A SPOONFUL OF CRAZY
39:12A SPOONFUL OF CRAZY
39:13A SPOONFUL OF CRAZY
39:14A SPOONFUL OF CRAZY
39:15A SPOONFUL OF CRAZY
39:16A SPOONFUL OF CRAZY
39:17A SPOONFUL OF CRAZY
39:18A SPOONFUL OF CRAZY
39:19A SPOONFUL OF CRAZY
39:20It's been a long day.
39:23Do you want to go get something to drink
39:25before the offering?
39:26I need to clear myself up.
39:29Lately,
39:30I don't know what's right
39:31or what's wrong.
39:32Well,
39:34you're always so happy,
39:35but let's see what happens.
39:37Teresa, yes, today I had the great idea again to tell her about my feelings.
39:45Anyway, she's been avoiding me all day.
39:48I know, man, but with the number of fish that have fallen into the sea,
39:52again in love, Cañete, we've already messed it up.
39:55Besides, when you push yourself...
39:56And give Perico the turn, Elias, no, I don't push myself at all.
40:00What do I do? I can't forget her.
40:04I see her everywhere.
40:06She's a virgin, but this is contagious.
40:09Here she comes.
40:15Teresa, I understand that what you least want right now is to talk to me,
40:20but I think I owe you an apology for this morning.
40:23Cañete, this morning has been...
40:25Embarrassing, I know, I know.
40:27I don't know who I have believed to be carrying you with my feelings,
40:30as if they were yours.
40:31Listen, this morning has been beautiful.
40:36What?
40:38Well, it's been the most beautiful thing they've told me in my life.
40:42Are you serious?
40:44Because lately I haven't been right with you.
40:47Look, I know that sometimes we don't agree,
40:50but it's true that you're always there for me.
40:53I can count on you for everything.
40:55For everything and more.
40:57I'm there for whatever you need.
41:00Look, I always thought that love was something romantic,
41:05exciting too,
41:07but I think I was wrong.
41:10That good love, the real good love,
41:14what makes you feel is peace,
41:18tranquility too.
41:21Feeling that the other person is there, no matter what happens.
41:26Support, respect, those things.
41:30And talking to you this morning, I've realized that
41:34I've had all those things for a long time.
41:39What happens is that I haven't been able to see it.
41:43So, well,
41:45look, I don't want to waste time,
41:47because I think we've already lost a lot.
41:50So, there you go.
41:55Cañete, do you want to be my life partner?
42:05Of course.
42:07Yes?
42:08Of course.
42:14Well, give me a kiss or something.
42:17Of course.
42:25I'm going to be your life partner.
42:28I'm going to be your life partner.
42:31I'm going to be your life partner.
42:34I'm going to be your life partner.
42:37I'm going to be your life partner.
42:40I'm going to be your life partner.
42:43I'm going to be your life partner.
42:46I'm going to be your life partner.
42:49I'm going to be your life partner.
42:52I'm going to be your life partner.
42:55I'm going to be your life partner.
42:58I'm going to be your life partner.
43:01I'm going to be your life partner.
43:04I'm going to be your life partner.
43:07I'm going to be your life partner.
43:10I'm going to be your life partner.
43:13I'm going to be your life partner.
43:16I'm going to be your life partner.
43:19I'm going to be your life partner.
43:22I'm going to be…
43:35Thank you,Thank you! You are a great audience.
43:38Don't go miss Balbuena,
43:41I think the audience
43:44has been at the height of the artist's talent,
43:47And if you want more, I have a secret.
43:52Very soon you will be able to enjoy the enormous talent of Miss Balbuena in the opera of the season.
43:59The Court of Pharaoh.
44:01Good night and see you in the theater.
44:14Have you been well?
44:16I haven't been well, Estela. I have no words.
44:19An incredible future awaits you.
44:21Well, as you say, what awaits me is a crybaby in every performance.
44:25I still have goosebumps.
44:27With your permission, I would like to take a bottle to toast to the artist of the moment.
44:33Well, and also to the producer.
44:35Well, for now I'm going to get a bottle and we'll talk about that later.
44:41Why don't you tell Celia to be one of us? The more we are, the better.
44:45Of course.
44:51Celia.
44:55Congratulations to Inés. It's been amazing.
44:59Why don't you tell her yourself? I'm sure she'll be excited.
45:03Besides, my uncle would like you to toast with us.
45:08Celia, are you okay?
45:16Laura, I'm sorry I reproached you this morning,
45:21that you had told Don Fermín that I wanted to leave. I'm really sorry.
45:25No, no, don't worry.
45:27What has bothered me is that you think I said ...
45:31Well, that I've been talking about your feelings.
45:35Yes, I would never do that. For me you are someone very important.
45:41I know.
45:43But not as important as I would like.
45:46I'm sorry. I don't know what I can do for us to be friends again like before.
45:51It's not your fault.
45:53I have to make a decision once and for all.
45:56I have everyone pending. If I stay, I leave.
45:59Celia, why don't you leave that decision for tomorrow and now you come to toast?
46:04Better not.
46:06Do me a favor and tell the rest.
46:09Celia, we'll have a good time. Cheer up.
46:12Right now I would drown the party of the whole world.
46:15And tonight is very important for your sister.
46:20Have a good time.
46:30I forgot to tell you.
46:32The workers have told me that the carcoma is solved.
46:36Finally, next week I move.
46:41It took a long time, but I'm glad.
46:48Pietro, I didn't want to bring up the subject, but I'm very sorry about yesterday.
46:54I feel very bad seeing you like this.
46:57Don't worry, it's already forgotten.
47:01It's just that I don't stop turning it around and I don't know, I got nostalgic.
47:06For a moment it was like being together again in Italy, in our house.
47:12Lucia, I don't want to hurt you.
47:15Nor to be abrupt, but ...
47:17I don't know what you lived in America, but here I have redone my life.
47:23And I want to live it with Antonia.
47:26I wish my life in America would have been half as good as yours.
47:32I had to do horrible things there.
47:35Things I don't even want my enemies.
47:39It would be complicated to move and live in a foreign country, learn a language.
47:44It wasn't easy for me either.
47:46Oh Pietro, the time has come to tell you the truth.
47:51In America I not only had to forget about you.
47:55I forgot about me too.
47:58I've been trying to tell you for a long time, but ...
48:02I'm afraid of what you might think of me.
48:07I don't want you to tell me what hurts you.
48:10I imagine it was hard and complicated, but thanks to Marc you found a job, right?
48:16And this is the important thing.
48:18Marc.
48:20What I told you about Marc is not true.
48:23It's true that he helped me survive.
48:26But in return, I had to work for him.
48:30And you don't know how hard that is.
48:33What do you mean, Lucia?
48:37What you imagine.
48:39For him, I was nothing more than a commodity.
48:43It took me a long time to realize that,
48:46but by then I was already in a world from which it was impossible to leave.
48:54I was no longer a wife, nor a mother, nor anything.
49:00I was a nobody.
49:02My God.
49:05I'm very sorry.
49:09I'm very sorry.
49:11There are a lot of bad people in this world, right?
49:15But you did what you had to do to survive.
49:19No, Pietro.
49:20I felt like one of them for what I did.
49:23How could I meet my family again after everything?
49:30It was many years.
49:33Many endless nights.
49:37I was no longer the same as before, Pietro.
49:40I became another person.
49:42No.
49:43It's not like that. They turned you.
49:45I even felt disgusted with myself.
49:52Do you know what was the only thing that reminded me of who I was?
49:58The last picture we took together.
50:02Sometimes I looked at it and it gave me strength.
50:07And other times I wasn't even able to look at it.
50:11I'm very sorry.
50:14When Marc died, I took all the money I had saved
50:18and I was finally able to escape from that nightmare.
50:21If it weren't for you, I would never have been able to escape from that life.
50:27I dreamed of the day when we would meet again.
50:31I didn't know how I was going to be able to explain all this to you,
50:34but I knew that one day I would.
50:39And I would feel again like before.
50:43To be the same Lucia as always.
50:46Through your eyes.
50:49Now that you know everything, I understand that you don't want to see me again.
50:53No.
50:54That's not going to happen.
50:57I still admire you.
51:00Even more, Lucia. Even more.
51:04You are a very brave and strong woman.
51:12Give me your hand.
51:22I hear you, Ben.
51:25But I don't want you to have illusions.
51:31My heart belongs to Antonio, Lucia.
51:35You were my first love.
51:38You are the mother of Giancarlo,
51:41but we can't live as if we were still living in the past.
51:47I understand.
51:50Each one on their own.
51:53Each one on their own.
51:58And I will always be here to help you, like now.
52:02Always.
52:05But our paths are different.
52:13Okay?
52:15Okay.
52:17This afternoon I saw Mrs. Bárbara go out to the garden of the palace with a tray of food
52:22and she has gotten into the basement.
52:24Is it clear?
52:25She is alive and she is in that basement.
52:28Imagine that every night I go to sleep under the same roof with another man.
52:32A man who has the right to be with me even if I don't want to.
52:35I have taken advantage of your confidence and I would like to fix it.
52:38Let me be a little skeptical about your good intentions.
52:42But the fact is that Clarita was spending the afternoons with her friend, right?
52:45This partner of hers.
52:47Yes, with Susana.
52:48But Susana doesn't live in our neighborhood.
52:52A little weird.
52:53Sometimes I report you and you end up in jail.
52:56But you can't leave by knocking on the door.
52:58I have to know if I have a partner or not to make a decision.
53:01Maybe it's not worth it for me to get out of the car alone.
53:04I know, Laura, but I need a little more time.
53:06Do you realize that this makes me lose a lot of plans?
53:08Laura, and do you realize that if I can't tell you yes or no, it's because I don't even know it myself?
53:13I ask you, please, a little more patience.
53:15A little more patience?
53:17Touch your nose.
53:23Maybe we should talk about what's going on, right?
53:26My father wants to marry me to the daughter of the Bennet family.
53:28A rich family with wineries in Jerez.
53:30But what is this woman doing here?
53:32I don't know, but I don't understand anything.
53:35But she's going to get into Mr. Fermin's office.
53:38Vanessa Bennet, Sakurai Sinclair.
53:42I'm not interested in books.
53:45You'll have to learn to grow wine.
53:47I'll tell my father that you agree with our demands.
53:50Well, I don't.
53:53I'm very tired of this subject.
53:55Are you going to sign the annuity papers?
53:57That's all I care about.
53:58No, I'm not going to sign those papers.
54:00Let everything be the way it was before.
54:04Everything... we'll see.
54:08Inspector Jiménez is going to register Carla's house this afternoon.
54:15But that's very good news.
54:17He even told me that we can accompany them in the registration.
54:20But that's irregular.
54:22It is, but it doesn't matter.
54:24That something as beautiful as what we were building between the two of us
54:27was torn off as if it were a bad weed.
54:30And all because of the evil of a person.
54:32I'm going to talk to my uncle and we're going to clear things up between you.
54:35Because of your uncle, I feel something that...
54:38I never thought I would feel at this age.
54:41There's no one else in the house, then?
54:44As far as I know, no.
54:45No one.
54:46Not even Carla?
54:48Mrs. de Morcuende, are you there?
54:52Mrs. de Morcuende!