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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.
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.
00:39Besides, 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, 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,
01:46that he's going to come to the bookstore and 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 and 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.
02:04He'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 give him explanations about 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 are 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 that you would not have me in very high esteem, but ...
03:19I didn't think you had such a wrong idea about me.
03:24Fabio, if you don't want to take these discomforts,
03:27the best thing is that you don't listen to hidden conversations of others.
03:30Do you really think I'm a puppet in your mother's hands?
03:36Are you so used to slandering and manipulating
03:38that you think that all of us around you don't know anything?
03:43But I'm sorry to disappoint you, yes.
03:46We are perfectly aware of your maneuvers.
03:51I haven't asked him for his opinion.
03:53And I'm sorry that this may cause concern to your mother or to 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.
04:06As I have already told my mother, let me doubt it.
04:10What you have done to Íñigo and Matilde is of absolute moral lowliness.
04:16You have not only tried to make it seem that Matilde had lost her mind.
04:20No.
04:21You have also accused Íñigo of being a murderer.
04:25What's more,
04:27I would venture to say that you were behind the accident
04:31in which both and Matilde's younger sister almost died.
04:34Fabio, please.
04:36I never imagined that you could be so imaginative.
04:41Go, go to the police and tell them all your conjectures.
04:45See what they answer you.
04:47Come on, go and stop threatening.
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.
05:04And 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.
05:20Mardora,
05:22I have tried to protect you,
05:24but your daughter, your daughter will be your ruin.
05:33I told her, mother.
05:35She will not keep her word.
05:37She is intimidated easily.
05:40I admire your confidence,
05:41but I am not so sure that you are not going to tell us what we have done.
05:46Besides, your arrogance has not helped us much.
05:48On the contrary.
05:54Hello.
05:56Hello.
06:00How are you?
06:01Fine. A little tired from yesterday.
06:04These photographs?
06:06They are the ones I made for Marcial Lalanda.
06:08I just revealed them.
06:10They are very good.
06:11You have captured his personality and soul well.
06:16Yes, the truth is that he has a lot of presence,
06:18to the point and serenity.
06:21I didn't have to tell him many things.
06:23It comes out as it is.
06:24Good morning, dear.
06:28Celia, 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.
06:39Oh my God.
06:40Oh my God, I think I've lost my mind.
06:42You see, Laurita told me that you were leaving
06:44for professional reasons.
06:46But know that if something happens to her
06:48that I can offer her to keep her here,
06:50I am all ears.
06:52Thank you, Mr. Fermin.
06:54You are always so kind.
06:55The truth is that I am thinking about it.
06:57I'm still not very sure.
06:58If I decide to leave,
07:00you will be the first to find out.
07:01I hope you tell me with total confidence.
07:03Of course.
07:04Because if that's the case,
07:05Laurita and I have to decide
07:07if it's worth keeping the store open or not.
07:10Sure, I understand that perfectly.
07:12I know, Celia, that I support you
07:14just as I support my nieces in everything.
07:17Decide what you decide.
07:19That means a lot to me.
07:21Thank you, Mr. Fermin.
07:23I've always thought that everyone should choose
07:25their 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 have told 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 something that bothers me a lot.
07:58Don't take it that way.
07:59Yeah, and 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.
08:16It wouldn't be Trini.
08:18Well, if it wasn't her, it would be Clavadita.
08:20Come on, as 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 are very bad with suspense and not knowing 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.
08:51Man.
08:52Elias.
08:53Go check the tables in the living room.
08:55There's one that's not working.
08:57On my way, boss.
09:04Are you okay?
09:06Yes, very well. And you?
09:10You know that doesn't work with me anymore.
09:13What happened to you?
09:16Well, look.
09:18I didn't like at all that you told Don Fermín
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 let me down.
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 for you to take the confrontation so far
09:46that you get into a problem.
09:47But we've already talked about this.
09:49I told you because I told you that 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
09:58if they fired you from this position?
10:00Because there is no one to look for work right now.
10:02And less being a woman.
10:04That many times it is more difficult for businessmen
10:06to trust you.
10:07Well, look, it may be.
10:09But a person as conflictive and dangerous as she is
10:11has to be out of the room.
10:13But in the end, things fall by their own weight, Teresa.
10:16If Mrs. Lázara is responsible for something so serious,
10:18she will end up knowing.
10:20What I want is that for once, for once,
10:22you think about yourself.
10:24That I don't need you to protect me.
10:26What I need is that you support me.
10:28But look, that's it. Leave it.
10:30Leave it because the same thing always happens to me.
10:32I think I can trust people and in the end I'm always alone.
10:34But I'll tell you one thing,
10:36better alone than badly accompanied.
10:38That's it.
10:39Wait a minute, Teresa.
10:40What?
10:41We're not done.
10:42Oh, no?
10:43No.
10:44I think I've shown you enough times
10:46that I've supported you.
10:48And that I'm by your side and I want to be there
10:50at any time of the 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.
11:02Look, I had thought many times about telling you that.
11:06But in my head it sounded not as clumsy as it may be
11:09sounding now.
11:12But Teresa, I...
11:15Well, what about you?
11:17I love you.
11:22I like everything about you.
11:24Well, you have a lot of genius, but
11:27I like much more that you have character.
11:30I like your hands, your eyes,
11:32your hair.
11:34I like how you face problems
11:36with all the courage in the world.
11:38I don't know.
11:41I even get happy when I hear your voice.
11:45That's why I'm so worried about Mrs. Lázara.
11:48Because if things end up going wrong and you're fired,
11:52I don't know what I'm going to do without you around.
12:01I'm sorry.
12:04I've messed up again.
12:06Again.
12:18Have you seen her come in?
12:20Yes, yes, yes, yes.
12:22It was Fabio, I'm sure. I saw him enter the palace.
12:24He would probably be meeting with Mrs. Bárbara.
12:27But I'm not sure either, because the curtains were down.
12:30I understand.
12:31Is there anything else that has caught your attention?
12:33Well, yes.
12:34There has been something that has caught my attention.
12:37All the service, the keymaker,
12:39the cleaning lady, including the driver,
12:42have left this morning and have not returned yet.
12:45So the curtains are still down?
12:49At the moment, yes.
12:50And there has been no further movement.
12:52So the curtains are still down and the service is out.
12:56I'm sure one thing is related to the other.
12:59Man, I think it's a very reasonable hypothesis.
13:02The good thing is that I have obtained plans for 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 of the party at the Madrid Cabaret.
13:16Please, if you see something that catches your attention again, let me know.
13:21Count on it. Goodbye.
13:23Goodbye.
13:32Bye.
13:43Fabio.
13:45I was not 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.
14:05No, don't worry. I was with the business paperwork.
14:11But please, have a seat.
14:24I'm listening.
14:26The last time we saw each other, he told me he thought I had more information than I did.
14:32And he was right.
14:36It has not been easy coming to your house.
14:39Not with my personal relationships.
14:42Presenting myself like this here ...
14:45I take care of everything that has had to happen, Matilde and you.
14:49From what I see, you want to tell me something.
14:53Please, do it with total tranquility.
14:56We could have many different conversations, I assure you.
15:01Yes, I could also listen to them all, I'm not in a hurry.
15:04But I think he's coming to unload his conscience.
15:08Isn't that right?
15:12Well, what I want to tell you is that the sale of the premises is still to be confirmed.
15:18No, no, but we already know that.
15:21Mrs. Bárbara does not want to sell the premises of the gallery to businessmen who 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.
15:40It could be a little more specific, right, 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.
15:54Mrs. Bárbara has money.
15:56But it's a very sharp decision.
16:02I wonder what she could do.
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 the last will of your daughter?
16:21Isn't that right?
16:25Call it whatever you want.
16:31Thank 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?
16:53It's just that since Mrs. Lázara is not here, I couldn't ask her.
16:57No, everything is perfect.
16:59Thank 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.
17:09And I'll continue with my chores.
17:11Goodbye.
17:17What did Esperanza want?
17:19Didn't she clean her office in the first hour?
17:21I'm afraid she's intrigued by Mrs. Lázara's fate, like the rest of the squad.
17:26I imagine.
17:29And...
17:31And to what extent is her relationship with her?
17:36Well, we'll meet outside of here.
17:40I thought it would be the most sensible thing, and Mrs. Lázara also thinks so.
17:44Yesterday I stayed for dinner with her to hear her version of the facts.
17:51And did she make you change your mind?
17:54She made me doubt, of course.
17:57As they told me, it seemed like a murder,
18:00and now it seems like the inevitable consequence of precarious working conditions.
18:08Very precarious.
18:11I hope I was unfair to her.
18:15Well, it's normal that you want to know more about what happened.
18:18Especially now that you had a closer relationship.
18:21Yes, yes, now I know more, but I feel unable to decide, I don't know what to do.
18:27What do you think about 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 she can decide.
18:39It's the most logical thing.
18:41I don't like this situation at all, I feel like I'm between a rock and a hard place.
18:48Well, whatever your decision is, I'm convinced that it will be the right one.
18:57Well, and you? Are you nervous about tonight's performance?
19:01Yes, yes, I'm very nervous.
19:03Yes? Well, I see why.
19:05Everything will be wonderful.
19:07You just have to trust your talent and be calm.
19:11The rest will come on its own.
19:14Does it matter if I go home and prepare the performance calmly?
19:18Of course, darling, of course.
19:19See you tonight at the Madrid Cabaret.
19:21Because I plan to applaud until my hands hurt.
19:26I don't know if I can trust you when you say that everything is in order.
19:29Of course, father.
19:30I've come at the first hour to open the door to Marta and I'll go last with the closure,
19:34how could it be otherwise?
19:36Wow, what a fulfillment.
19:38And I'm not going to go home to eat,
19:40I've brought myself a sandwich to eat in the back room.
19:42And even the sandwich was made by me.
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.
20:12Salvita, now that there are no customers and we are alone,
20:17I would like to have a little chat with you man to man.
20:22Of course, father, as you wish.
20:25I wanted to tell you some of the plans I have for you.
20:29And 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 assure you a promising future.
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 great to get you with Vanessa Bennett.
20:53She is the daughter of one of the industrialists of Genet wine.
20:56It is a very good English family.
20:59But father ...
21:00In fact, you already saw her.
21:02She is a fantastic woman.
21:04Yes, yes.
21:05I want to remember that you commented on how beautiful she seemed to you.
21:10Son, if our two families come together,
21:14a good fate awaits you in the business of the Bennett.
21:17You will be able to live as we always imagined.
21:20You can always come to the bookstore and see your friends when you think it is 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 am not going to commit to anyone.
21:39And you can know the reason and don't come to me with nonsense.
21:45I am 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 and 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.
22:03That'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.
22:16She is worth a lot and you should meet her.
22:19I'll let you have some more fun.
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 you learn, 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 you ask me to do.
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?
22:55It will be better if you obey my orders.
22:57If you don't do it, I'll fire Marta.
23:00What's more, if you're still in your thirties,
23:03I'll ask Don Fermín to kick her out of La Moderna.
23:06But father, for God's sake, you can't do that.
23:08I ask you, please, don't do it.
23:10If you want that girl to keep her job, you'll have to forget about her.
23:14And meet Miss Benet tomorrow.
23:17Okay?
23:27I'm sorry.
23:34Oops!
23:35In the end, I'm going to get fed up of eating so many chips.
23:38What you're going to get fed up of is eating so many chips.
23:44Elias, again!
23:47Don't worry, I'm Cañete.
23:53Hello. Come in, come in.
23:56Be careful, Miguel, the jacket is new.
23:58Lower your voice, man. I hope no one has followed you.
24:00No, no one has seen me. Don't worry.
24:02But even so, I don't have much time.
24:04That's how all the mystery novels start.
24:06Let's see, what happened?
24:07Well, you will say.
24:08Because Elias is saying that yesterday afternoon he saw a woman just like Trini.
24:12Oh, no!
24:13And what did you tell him?
24:14Well, what am I going to tell him?
24:15That it was impossible because at that time you were on your way to the wedding.
24:17Come on, Cañete, you're one of the friends who don't want it anymore.
24:19A lot of friends and whatever they want, Miguel.
24:21But do me a favor and don't leave the house.
24:23With the one we have organized to discover the cake now.
24:25No, but I...
24:26And that Elias never rests.
24:28But I...
24:29Don't leave the house, please.
24:30Yes, I'm very sorry, I'm sorry, I'm sorry, I'm sorry.
24:32It's my fault. Lately 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, this is the same for you.
24:42Make sure that in the end you're going to have a baby with a cucumber head, Miguel.
24:47Yes, because I haven't given up.
24:48I'm not saying I don't want to.
24:50Well, you don't have to exaggerate either.
24:51Exaggerate?
24:52My brother Clemente has an egg-shaped moon in the form of an egg.
24:55Can you guess why?
24:57The eggs are delicious.
24:59Do you know if they are in season?
25:01Well, I think so.
25:02Cañete, why don't we stop talking about food and not read it anymore?
25:05How about the modern one?
25:06Is 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?
25:21Do you have two?
25:23Let's see.
25:24I'll tell you the story a little above.
25:26I threw myself and I ended up telling her that she was the woman of my life.
25:30What?
25:32Well, I'm sorry, Cañete.
25:34With what you had worked as a friend lately.
25:37Look, I don't want to be ash, but don't be surprised if I start avoiding you from now on.
25:42Knowing her.
25:43Do you think so?
25:45Man, Teresa is very radical with these things.
25:48Isn't she?
25:49It's how it has to be.
25:50I already knew that she didn't want to hear anything about a relationship.
25:53But 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 consolation of friendship.
26:00Who would send me to talk?
26:04A game?
26:06So we start again.
26:07Oh, just in case.
26:09I'm in a hurry, but come on, deep down.
26:11Yes, yes.
26:13The light of the moon breaks in the sacred Nile.
26:19The sky is sleeping.
26:32Agustín.
26:34What a surprise.
26:35I'm sorry if I come at a bad time.
26:37I just came to bring you this.
26:41But flowers don't grow at the end of an act.
26:44And I'm so sure that your performance will be a success.
26:48Why wait?
26:51Come on, come in.
26:58Thank you for the flowers, but 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 jealous.
27:13You also have that security, although you don't know it 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 and then you find all kinds of flowers.
27:29The point is to know how to choose the flowers you want to be able to make an ideal bouquet.
27:39And you always know which flower to choose?
27:45Well, if I tell you the truth, not always.
27:51And it's a shame.
27:57I'm going to put the flowers in the water.
28:02And how is she for tonight? Is she nervous?
28:06Well, yes, a little. But nothing compared to the first time I sang.
28:12Maybe because I didn't have her support.
28:16Well, the first times always cause some anxiety in anyone.
28:20I have nothing to do with it.
28:22Yes, but more anxiety is caused by the second chances.
28:26Yes, but more anxiety is caused by the second chances.
28:30And I assure you that without you, I would not have been able to sing again.
28:35So I thank you from the bottom of my heart.
28:38I always loved you very much.
28:41The question is why not do it if this little star Castro told you that I would sing again.
28:46Everyone who knows you has a lot of faith in you.
28:49Now you just need to have it too.
28:52And then we will go very far.
28:59Anyway, it will be better if you leave me and I let you rest face to face tonight.
29:06Thank you. Goodbye, Agustín.
29:09Agustín.
29:23Hi, Lara.
29:24Hi, Clarita.
29:29Shall we start now?
29:31Tonight I've been thinking more questions to ask my mother.
29:34Today we are going to do something else.
29:36Something that will suit you very well.
29:39Wouldn't you like to stop being afraid?
29:43Yes, but is that possible?
29:46Yes, and it is very useful.
29:49And it is very useful.
29:51Because doesn't it happen to you that when you are afraid you are paralyzed?
29:56Yes, and I get cold.
29:58That's because you haven't learned to overcome it yet.
30:00But I'm going to teach you.
30:02Because there will come a day when you will have to be very brave.
30:07And you will 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 fear.
30:42Do you trust me?
30:44Of course.
30:46Good.
30:58Do you see this needle?
31:00You're going to have to grab it very hard.
31:03And then you're going to nail it.
31:06Don't think about it.
31:08If you think about things, then you don't do them.
31:12But Lara...
31:15Is that going to hurt me?
31:17Only if you think about it.
31:19In the end, this is like fear.
31:22If you think something scares you, in the end it ends up scaring you.
31:25That's why it's best not to think.
31:29Try it.
31:31Grab the needle and nail it.
31:34But don't think about it.
31:36Just do it.
31:41A YEAR LATER
31:46Wait.
31:48Oh, my son.
31:50If I find out you're so uncomfortable, I'm not going to marry you.
31:53I'm uncomfortable?
31:55Yes.
31:57I don't know if you're losing yourself, but you're tense.
32:00A little bit of both.
32:02And all because of the bookshop.
32:04Just thinking that my position is hanging by a thread...
32:07Well, it's actually Alvita.
32:09But don't worry.
32:11That boy loves you.
32:13So don't think about it.
32:15His father doesn't love me.
32:17I don't know what's going on between those two.
32:19And since I'm locked up all day, I don't know what they're up to.
32:22I feel bad.
32:24I'm sorry. Are you going to kill me?
32:26But I think I'm starting to feel like it.
32:28Cucumbers!
32:30No, no, no. Don't tell me that.
32:32Don't even mention it.
32:34It makes me sick just thinking about it.
32:36What are you saying?
32:38I'll tell you when I can.
32:40I don't feel like eating.
32:42I feel like reading.
32:44Do you really feel like that?
32:46Of course not.
32:48But you spend all day talking about books and reading.
32:51I'm locked up here and I'm feeling nervous.
32:53Okay, okay. Don't panic.
32:55You're at a bookshop. If there's something there, it's a book.
32:57Yeah, but I don't care about any book.
32:59Oh, no? Anything special?
33:01Yes. Dante's Divine Comedy. Thank you.
33:03Precisely.
33:05I don't know if I have it here.
33:07Don't you want the Quixote?
33:09In my opinion, it's much better.
33:11But at this point, you don't know what I want.
33:14I need that one.
33:16Well, I'll give it to you.
33:18But right now, I can't give it to you because I left it at the bookshop.
33:32No.
33:34No, no, Trini.
33:36Let's focus.
33:38You see, Cañete? We can't leave the house.
33:40Yes, I know.
33:42The thing is, I'm here,
33:44suffocated, at home, locked up.
33:46I feel like reading.
33:48No, no. Yes, yes. I think it's fine.
33:50But right now, I can't get you that book.
33:52Going to work is too dangerous.
33:54And I can't walk around the bookshops looking for Divine Comedy.
33:57Well, fine.
33:59It's fine. You're absolutely right.
34:02Well, we'll see how the nerves affect the baby.
34:15Where are you going?
34:17To change. Or do you also want me to go out on the street in my pajamas?
34:22What's wrong?
34:23My knee.
34:25It's just that I've had a sprain.
34:27I told you I could feel it a little.
34:31Ouch!
34:40Marta, what time are you supposed to be here?
34:42You're always early.
34:44Shut up, shut up. I was going to go at my time,
34:46but I have some things to do.
34:48Did you bring a lot of people to the bookshop? You don't look well. What's wrong?
34:51No, it's just that I've been studying in the changing room
34:53when I finished work.
34:55The thing is, Salvita told me she was going to introduce me to her father.
34:58Really? And how is he?
35:00I haven't had much contact with him.
35:02Well, he knows more than I do.
35:04Because the man hasn't introduced himself.
35:06I don't know. Did something happen to him?
35:08That's weird. I saw him at the bookshop today.
35:11At the bookshop today?
35:13Yes, talking to Salvita.
35:15And why hasn't Salvita told me anything?
35:17I don't know, honey. You'll have to ask him.
35:21Of course you have to mess with this guy.
35:23First he tells me he's going to introduce me to his father,
35:25and then he leaves me stranded.
35:27You're starting to get on my nerves.
35:29What did I tell you yesterday?
35:31That men are very selfish.
35:33No. If they're not willing to fight for one,
35:35it's better to keep them away, Marta.
35:37Maybe what you should do is ask that guy
35:39why he's changed his mind.
35:41Well, we'll see.
35:43Because for now I don't have time or desire to see him again.
35:45Well, look, let's do something.
35:47Why don't you go get some bread and get some fresh air?
35:49You have the money there.
35:51Okay.
35:58Hello, Marta. Is Antonia here?
36:01I want to talk to her.
36:03She's here.
36:05Another thing is that I want to talk to you.
36:15Excuse me.
36:17Hello.
36:21I don't know if it was a good time,
36:23but I wanted to talk to you.
36:25Pietro, I really don't feel like arguing right now.
36:27I'm not here to argue.
36:29I'm here to tell you that
36:31I'm going to ask Lucia to leave my house.
36:37Very well. You know what you're doing.
36:39You really don't have anything else to say?
36:43I don't know what else to tell you, Pietro.
36:45I don't know.
36:47When that woman leaves your house,
36:49then we'll talk.
36:51Okay.
36:53Okay.
36:55Okay.
36:57It's all been said.
36:59Good afternoon.
37:11Look, I've known him since forever,
37:13but I'm not used to seeing him so nervous.
37:15Because I'm a great actor, Laurita,
37:17and you're very observant.
37:19Don't worry. You'll see that my sister will deal with him.
37:21Nerves are inevitable.
37:23Everything that matters to you two
37:25matters to me.
37:27On top of that, they're contagious,
37:29and this morning your sister told me
37:31that she had a flat.
37:33Well, it's normal, but you'll see
37:35that as soon as she gets up, it happens to her.
37:37She has a lot of temper.
37:39Besides, she's worked a lot with Agustín.
37:41She doesn't lack tenacity, of course.
37:43Let's hope everything goes well tonight,
37:45because that way she'll gain confidence
37:47and her career will be able to take off,
37:49but you know...
37:53Mr. Fermin, would you mind
37:55if I take some pictures from here?
37:57Please.
37:59I have a better angle.
38:11Good evening, ladies and gentlemen.
38:13First of all,
38:15I'd like to thank Domingo Peñalver
38:17for allowing me to introduce
38:19the next guest
38:21of such a special night.
38:23Today, a spectacular artist
38:25returns to the Madrid Cabaret,
38:27who curiously began his career here.
38:29And after a brief parenthesis,
38:31he returns
38:33to delight us with his talent.
38:35Let's welcome
38:37with a strong round of applause
38:39the wonderful
38:41Inés Balbuena!
38:48I can't, Agustín, I can't.
38:50Listen to me, you can.
38:52You were born for this.
38:54Please, trust me.
39:18It's been such a long day.
39:20Would you like to go for a drink
39:22before going to the bar?
39:24Look, I'd like to clear my head a bit,
39:26although lately I don't know
39:28what's right or wrong.
39:30Well, man,
39:32as happy as you are,
39:34let's see what happens.
39:36Teresa.
39:38Yes.
39:40Today I had the great idea
39:42to talk to her about my feelings again.
39:44Anyway, she's been avoiding me all day.
39:47Well, I'm sorry, man,
39:49but with the number of fish in the sea,
39:51again in love, Cañete,
39:53we've already messed it up.
39:55Besides, when you insist ...
39:57And give Perico the turn.
39:59Elías, no, I'm not insisting on anything.
40:01What do I do?
40:03I can't forget her.
40:05I see her everywhere.
40:07Holy Virgin, but this is contagious.
40:09Here she comes.
40:12Teresa.
40:14I understand that what you least want
40:16right now is to talk to me,
40:18but I think I owe you an apology
40:20for this morning.
40:22Cañete, this morning has been ...
40:24I'm ashamed, I know.
40:26I don't know who I have believed
40:28to carry you with my feelings,
40:30as if they were yours.
40:32Listen.
40:34This morning has been beautiful.
40:36What?
40:38Well, it has been
40:40the most beautiful thing
40:42they have told me in my life.
40:44Are you serious?
40:46Because lately I haven't been
40:48right with you.
40:50Look, I know that sometimes
40:52we don't agree,
40:54but it's true that you're
40:56always there for me,
40:58that I can count on you for everything.
41:00For everything and more.
41:02I'm there for whatever you need.
41:04Look, I always believed
41:06that love was something romantic,
41:08but I think I was wrong.
41:11That good love,
41:13the real good love,
41:15what makes you feel
41:17peace,
41:19tranquility too.
41:22Feeling that the other person is there
41:24no matter what happens.
41:26Support, respect,
41:28those things.
41:30And talking to you this morning
41:32I have realized that
41:34all those things
41:36have been there for a long time.
41:39But 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 have already lost a lot.
41:49So,
41:51there it goes.
41:55Cañete, do you want to be
41:57my life partner?
41:59Yes.
42:05Of course.
42:07Yes?
42:09Of course.
42:13Well,
42:15give me a kiss or something.
42:17Of course.
42:29I'm there for whatever you need.
42:31Look, I always believed
42:33that love was something romantic,
42:35but I think I was wrong.
42:37That good love,
42:39the real good love,
42:41what makes you feel
42:43peace,
42:45tranquility too.
42:47Support, respect,
42:49those things.
42:51And talking to you this morning
42:53I have realized that
42:55all those things
42:57have been there for a long time.
42:59But I haven't been able to see it.
43:01So,
43:03look,
43:05I don't want to waste time
43:07because I think we have already lost a lot.
43:09So,
43:11look,
43:13I always believed
43:15that love was something romantic,
43:17but I think I was wrong.
43:19That good love,
43:21the real good love,
43:23what makes you feel
43:25peace,
43:27tranquility too.
43:29So,
43:31look,
43:33I always believed
43:35that love was something romantic,
43:37but I haven't been able to see it.
43:39So,
43:41look,
43:43I always believed
43:45that love was something romantic,
43:47but I haven't been able to see it.
43:49So,
43:51look,
43:53I always believed
43:55that love was something romantic,
43:57but I haven't been able to see it.
43:59So,
44:01look,
44:03I always believed
44:05that love was something romantic,
44:07but I haven't been able to see it.
44:09So,
44:11look,
44:13I always believed
44:15that love was something romantic,
44:17but I haven't been able to see it.
44:19So,
44:21Well, if you keep being like this,
44:23what awaits me is a crybaby in every performance.
44:25I still have goosebumps.
44:27With your permission,
44:29I would like to take a bottle
44:31to 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
44:37and we'll talk about that later.
44:41Why don't you tell her to make one for us?
44:43The more, the better.
44:45Of course.
44:51Celia.
44:55Congratulations to Inés.
44:57It's been amazing.
44:59Why don't you tell her yourself?
45:01I'm sure she'll be excited.
45:03Besides, my uncle would like you
45:05to toast with us.
45:07Celia,
45:09are you okay?
45:15The truth is that
45:17I'm very sorry
45:19to have reproached you this morning
45:21that you had told Don Fermín
45:23that I wanted to leave.
45:25I'm really sorry.
45:27No, don't worry.
45:29What has bothered me
45:31is that you think
45:33that I have said
45:35or that I have been talking
45:37about your feelings.
45:39Yes, I would never do that.
45:41For me, you are someone very important.
45:43I know,
45:45but...
45:47I'm sorry.
45:49I don't know what I can do
45:51to be friends again like before.
45:53It's not your fault.
45:55I have to make a decision
45:57once and for all.
45:59I have everyone waiting for me.
46:01If I stay, I leave.
46:03Celia, why don't you leave
46:05that decision for tomorrow
46:07and now you come to toast?
46:09Better not.
46:11Do me a favor
46:13and go to the party right now.
46:15Tonight is very important
46:17for your sister.
46:19Have a good time.
46:29I forgot to tell you.
46:31The surgeons told me
46:33that the carcoma is solved.
46:35Finally,
46:37next week I'm moving out.
46:40It's been a long time,
46:42but I'm glad.
46:47Pietro,
46:49I didn't want to bring it up,
46:51but I'm really sorry about yesterday.
46:53I feel really bad
46:55seeing you like this.
46:57Don't worry, it's all in the past.
47:01I can't stop thinking about it.
47:03I don't know,
47:05I feel nostalgic.
47:07For a moment,
47:09it was like being together again
47:11in Italy, in our house.
47:13Lucia, I don't want to hurt you
47:15or be rude,
47:17but I don't know what you lived
47:19in America,
47:21but I made my life here
47:23and I want to live it with Antonia.
47:25I wish
47:27my life in America
47:29was half as good
47:31as yours.
47:33I had to do horrible things there,
47:35things I don't even wish
47:37for my enemies.
47:39It would be complicated
47:41to move and live in a foreign country,
47:43to learn a language.
47:45It wasn't easy for me either.
47:47Oh, Pietro,
47:49it's time to tell you the truth.
47:53In America,
47:55I didn't just have to forget about you,
47:57I forgot about me too.
48:01I've been trying to tell you for a long time,
48:03but
48:05I'm afraid of what you might think
48:07of me.
48:09I don't want you to tell me
48:11what hurts you.
48:13I imagine it was hard and complicated,
48:15but thanks to Marc,
48:17you found a job,
48:19and that's what matters.
48:21Marc,
48:23what I told you about Marc isn't true.
48:25It's true that
48:27he helped me survive,
48:29but in return,
48:31I was nothing to him,
48:33and you don't know how hard that is.
48:35What do you mean, Lucia?
48:39What you imagine.
48:41For him, I was
48:43nothing more than a commodity.
48:45It took me a long time
48:47to realize that,
48:49but by then,
48:51I was already in a world
48:53I couldn't get out of.
48:57I wasn't
48:59a wife,
49:01or a mother, or anything.
49:03I was just a nobody.
49:05My God.
49:09I'm so sorry.
49:11There are so many
49:13bad people in this world,
49:15but you did what you had to do
49:17to survive.
49:19No, Pietro.
49:21I felt like one of them because of what I did.
49:23How could I
49:25reunite with my family after
49:27everything?
49:29It was many years.
49:33Many endless nights.
49:37I wasn't the same as before, Pietro.
49:39I became another person.
49:41No.
49:43That's not how you became.
49:45I even felt disgusted
49:47with myself.
49:51You know,
49:53what was the only thing
49:55that reminded me who I was?
49:57The last picture
49:59we took together.
50:01Sometimes I looked at it
50:03and it gave me strength.
50:05And other times
50:07I wasn't even able to look at it.
50:11I'm so sorry.
50:13When Marce died,
50:15I took all the money
50:17I had saved and I was able to escape
50:19from that nightmare.
50:21If it weren't for you,
50:23I would never have been able
50:25to escape from that life.
50:27I dreamed about the day
50:29when we would meet again.
50:31I didn't know how I was going to
50:33be able to explain all this to you,
50:35but I knew that one day
50:37I would.
50:39And I would feel like I did
50:41before.
50:43I would be the same Lucia
50:45from before through your eyes.
50:49Now that you know everything,
50:51I understand that you don't want to see me again.
50:53No.
50:55That's not going to happen.
50:57I still admire you.
51:01Even more, Lucia.
51:03Even more.
51:05You are a very brave
51:07and strong woman.
51:13Give me your hand.
51:21I love you.
51:25But I don't want you to get your hopes up.
51:33My heart belongs to Antonio, Lucia.
51:35You were my first love.
51:39You are the mother of Giancarlo,
51:41but we can't live
51:43as if we were still living
51:45in the past.
51:47I understand.
51:51Each one on their own.
51:53Each one on their own.
51:59And I will always be here to help you,
52:01like now, always.
52:05But our paths are different.
52:13Papere.
52:15Papere.
52:17This afternoon,
52:19Mrs. Bárbara will leave the palace garden
52:21with a tray of food.
52:23What if she's in the basement?
52:25Carla is alive and she's in that basement.
52:27Imagine that every night
52:29I'm going to sleep under the same roof
52:31with another man.
52:33A man who has the right to be with me,
52:35even if I don't want to.
52:37I've taken advantage of your confidence
52:39and I'd like to fix it.
52:41Let me be a little skeptical
52:43about your good intentions.
52:45But Clarita was spending the afternoons
52:47with me, with Susana.
52:49But Susana doesn't live in our neighborhood.
52:51It's a little weird.
52:53What you deserve is that I report you
52:55and you end up in jail.
52:57But you can't just leave like that.
52:59I have to know if I have a partner or not
53:01to make a decision.
53:03Maybe it's not worth it for me to get out of the car alone.
53:05I know, Laura, but I need a little more time.
53:07Do you realize that this costs me a lot of plans?
53:09Laura, do you realize that if I can't tell you
53:11yes 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.
53:17Don't be so nosy.
53:23Maybe we should talk about what's going on, right?
53:25My father wants to marry me
53:27to the daughter of the Bennets.
53:29A rich family with wineries in Jerez.
53:31But what is this woman doing here?
53:33I don't know, but I don't understand anything.
53:35But she's going to get into Mr. Fermí's office.
53:37Vanessa Bennet,
53:39Sakurai Sinclair.
53:41I'm not interested
53:43in your numbers.
53:45You'll have to learn to grow wine.
53:47I'll tell my father that you agree
53:49with our demands.
53:51Well, 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.
53:59No, I'm not going to sign those papers.
54:01I want everything to be like before.
54:05Everything...
54:07We'll see.
54:09Inspector Jiménez
54:11is going to pick you up this afternoon.
54:15But that's great news.
54:17He even told me that we can accompany you
54:19to the registry office.
54:21But that's irregular.
54:23It is, but it doesn't matter.
54:25Something as beautiful as what we were building
54:27between the two of us
54:29was torn off as if it were a bad weed.
54:31And all because of the evil of a person.
54:33I'm going to talk to my uncle and we're going to clear things up
54:35between you two.
54:37I feel something for your uncle
54:39I never thought I'd feel this age.
54:41There's no one else in the house, then?
54:43As far as I know, no.
54:45No one.
54:47Not even Carla?
54:49Mrs. de Morcuende, are you there?
54:53Mrs. de Morcuende?