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00:00What do you mean you're getting married?
00:02But...
00:03I've been told and I've said yes.
00:05Yes, and we're here for you to give us your blessing,
00:07because you're like a mother to Marta.
00:12My blessing?
00:14Yes, of course, of course, but...
00:16But, let's see, one moment.
00:18I don't know what to say.
00:20I don't know what to say.
00:22I don't know what to say.
00:24I don't know what to say.
00:26I don't know what to say.
00:28But, let's see, one moment.
00:30Aren't you going to Salamanca?
00:31Yes, yes, yes, that doesn't change.
00:32I have to go study law.
00:34The thing is, we're getting married and I'm going with him.
00:37What do you mean you're going with him?
00:39And you study?
00:40It's not like that, Antonia, but there are no places to study in Salamanca.
00:44I'll enroll there.
00:46And how are you going to keep studying, taking a house, a husband?
00:49No, no, I'm not going to give her more work than she already has.
00:52I'll learn to fry an egg, to iron my shirt and whatever it takes.
00:56We're going to take the house between the two of us.
00:58And what are you going to live off of, if I may ask?
01:01I'm going to work at my father's bookshop.
01:03And I'll look for something to do that doesn't interfere with my studies.
01:06You know I don't have enough rings to work wherever I want.
01:11Oh, my God.
01:14I'm so unconscious.
01:16You don't know, do you?
01:18But I'm so happy for you.
01:21Oh, honey.
01:27Well, now we'll have to think about looking for a wedding dress.
01:32I'm afraid we won't have time, Antonia.
01:35We'll get married tomorrow.
01:37What do you mean tomorrow?
01:38What have you done?
01:39No, no, no, don't worry, Antonia.
01:41I've treated her like a goddess.
01:43But we have to get married quickly and quickly so that my father can't get in the way.
01:47Once married, he won't have the courage to separate us.
01:49Of course, nor to take my job away from me.
01:51In the end, I'm his son and that's something.
01:54Yeah, well, but even so, we have to hang up the money.
01:57We have to do a lot of things.
01:59At least we'll get married in 15 days and that's it.
02:01No, I know Alparroco.
02:03A friend of mine got married like that at Las Bravas because he and his girlfriend...
02:07They had...
02:09They had asked for dessert before the main course.
02:11Oh, my God.
02:13Well, if you think it's for the best, I...
02:17Look, I don't want to break my family, but I can't think about separating from Marta.
02:23And when we're married before God, my father won't have any other choice but to accept it.
02:28Yeah.
02:29I guess you're not going to invite him, of course.
02:31No, no.
02:32Neither him nor anyone else.
02:33Only you and Pietro.
02:35And well, I also wanted to ask you if...
02:39If you could do the honor of being our godparents.
02:44Oh.
02:47Yes, but I'm already crying.
02:50Yes, of course.
02:51Yes, of course.
02:52Of course I am.
02:53Oh, and by the way, don't say anything to Moderna.
02:57No, don't worry, don't worry.
02:59Well, I have to go.
03:01Let's see if on the way to the pension I can talk to Alparroco and leave everything organized.
03:11See you tomorrow, my love.
03:12See you tomorrow.
03:21Now I understand what they say about butterflies in the stomach, Antonio.
03:26That's love.
03:29Marta.
03:39You don't know how happy I am that your niece has been fixed.
03:42Well, yes, finally good news among so much disgust.
03:46Man, don't tell me that.
03:48That we are going to get married is good news, right?
03:51Naturally, dear.
03:52I was referring to my niece, especially Inés.
03:55Since she left school, she has done much more than complicate her life.
04:00Well, she has a soul of an artist.
04:02Artists are extravagant, unpredictable.
04:05Yes, yes, I'm not saying that at night she has extravagant friends or that she is a little alive, but ...
04:11She got involved with a criminal.
04:14They almost poisoned her.
04:16And now ...
04:18Now she has given up on her sister's boyfriend.
04:20Well, good is what comes to an end.
04:22The important thing is that they have reconciled and that's it.
04:24Yes, yes, that's true, but ...
04:26Now I have a niece two thousand kilometers from here.
04:28Doing I don't know what in a country of barbarians.
04:31Everything will be fixed, you'll see.
04:35God willing.
04:38By the way.
04:39Have you already spoken to Cañete and Teresa?
04:42No, not yet.
04:43I was waiting for the end of the shift.
04:45Don't take too long, please.
04:47We have to convince them to stay.
04:49Don't worry.
04:50Now is a bad time because there are two large groups on the terrace, but I'll talk to them later.
04:54Yes, but in any case, before the day is over.
04:56We can't lose two veterans.
04:58Of course.
05:01How sleepy are you this morning?
05:03Well, thanks to you, who did everything possible for Laurita and I to be fine.
05:07What less, what less.
05:09And I'm also happy because I talked to Agustín and I'm going to continue in the cast of the play.
05:13But that's great news.
05:15I'm very happy, darling.
05:17It's a great opportunity that you shouldn't waste.
05:19Well, I'm going to the office.
05:21I'll be right back.
05:25Are they the girls of your eyes?
05:27Well, yes, yes, they are.
05:30Yesterday I spoke to her mother.
05:34I thought I had an obligation to tell her that Laurita had gone to Germany.
05:37And how did she take it?
05:38Bad.
05:39Very bad.
05:40Very bad.
05:41We barely talked for five minutes.
05:42I was longing to hang.
05:44My sister's natural state is indignation and anger.
05:48She can't stand that her daughters get along better with me than with her.
05:51So you didn't tell her anything about the long wedding.
05:53Of course I did. She's my sister, I had to invite her.
05:56At the risk of making the party bitter.
05:59By the way, we have to think about the guest list now.
06:02Because I'm sure we won't go down from 200.
06:06200?
06:07200, yes.
06:08We have to see if they fit here or we have to look for another place.
06:11Oh my God, Fermín, don't spend too much.
06:13I'll spend whatever I want.
06:15You're going to have the wedding worthy of an archduchess.
06:36Antonia.
06:38Do you know what's wrong with Marta?
06:40What's wrong with Marta?
06:42She's been like a lizard's tail since she came in.
06:45She's making me nervous.
06:46Well, now that you say it, it's true that she was moving tonight.
06:49Yes, right?
06:50Yes.
06:52What do you mean she was moving?
06:53Her house was also moving?
06:54Oh my God, oh my God, then it's not the works.
06:56Then...
06:57Are they earthquakes?
06:59Earthquakes? What are you talking about?
07:01Well, this is going to be worse than Lisbon and it's going to be worse than San Francisco.
07:06I'm telling you.
07:07Marta, what's wrong with you?
07:08Between one and the other, really.
07:10Maybe it's pregnancy.
07:11Sit down, honey, sit down.
07:12Breathe.
07:13Calm down.
07:17What are you talking about, honey?
07:18That she's moving, my house is moving, it's moving.
07:20And hers too.
07:21What?
07:22My house is not moving.
07:23I'm talking about Marta, we were upset this morning.
07:26What do you mean your house is moving?
07:28Yes, they are doing the works to make an extension of the subway.
07:34And suddenly...
07:35No, no, don't see.
07:36What tremors, my goodness.
07:37It has even moved the furniture.
07:40That looks very bad.
07:41Yes, and they have not warned us?
07:43Yes, they warned that maybe there was a wall collapse.
07:47But, well, of that.
07:49Suddenly everything falling on the floor.
07:51The shelves too.
07:53Well, the neighbor upstairs.
07:54A disaster.
07:55Oh, what a danger, for God's sake.
07:57But surely it's nothing.
07:58It's nothing because those things are very supervised.
08:01There are architects, engineers, making sure that nothing happens.
08:04Well, I wouldn't trust much of that.
08:07If not, remember what happened on the street, Alonso Cano.
08:11I wouldn't stay in your house for a minute more, Trini.
08:14Don't you have to go clean anywhere?
08:16Alonso Cano 36.
08:18The whole building fell.
08:20Two dead and a bunch of...
08:22Well, my dear, that's it.
08:23Shut up or leave the barrel somewhere.
08:25Oh, what a character.
08:26Listen to me.
08:27Nothing happens.
08:28Look, I've had a heart attack now and I thought it was the end of the world.
08:30And in the end, nothing.
08:31Well, I'm pregnant.
08:32I can't be with this anguish all day long.
08:34I'm going to die.
08:35Yeah, that's true.
08:36That's true.
08:37Look, let's do one thing.
08:38Why don't you and Miguel come to my house?
08:40As long as the works last.
08:42And so you sleep quietly, at least.
08:45And where is he going to put them?
08:46If you know, Antonio.
08:47Well, in Marta's room.
08:48And where is he going to put Marta?
08:50Hey, I don't know where to put Marta.
08:51You can stick your tongue under the shoe.
08:54Thank God.
08:55Well, what do you think?
08:57Good, good.
08:58And thank you very much.
09:00Come on, I'm going to talk to Miguel.
09:01Sure.
09:02Well, come on.
09:03Well, that's it.
09:04Now we stop talking about earthquakes and we're going to work.
09:06Agree?
09:07Now you're calmer.
09:09Let's go to work.
09:10Come on, come on.
09:11Besides, I have to tell you something.
09:14That finally Matilde and Íñigo are going to La Rioja.
09:18That they have found a little land.
09:20Really?
09:21Yes.
09:22Well, he has fulfilled his dream, right?
09:24It's a shame.
09:25But I'm very sorry.
09:27Well, you all know César Morel.
09:30The special affection that Madrid Cabaret has for him.
09:33And if his offer has been successful, it is because he has guaranteed me that he will maintain your jobs.
09:39And the truth is that I have not had to convince him of anything, because that was his idea from the first moment.
09:44Work as it is.
09:47And the truth is that I see it as the most sensible thing, because Madrid Cabaret has come a little.
09:54And that is thanks to you.
09:58I thank you from the bottom of my heart for all the work you have done.
10:03The dedication, the effort, the dedication, year after year.
10:08Because that is what has made Madrid Cabaret where it is today.
10:13Being one of the best places in the city of Madrid.
10:21I will never forget you.
10:42One less thing.
10:45When we go out, let's do something great.
10:49You can say goodbye to your modern-day companions, if that's what you want.
10:53I can go putting things in the car and let's travel at night, nothing happens.
10:59Domínguez, how nice to see you.
11:02Hello Matilde.
11:04Hello.
11:05You caught us by the hair, we were about to leave.
11:07I hope you do very well in the north.
11:09Thank you, Agustín.
11:11I wanted to tell you that my brother is looking for an apartment in the center and I was talking to him about his attic.
11:17And he seemed very interested.
11:19I don't know if...
11:20Yes, yes, yes.
11:21Give me his fingerprints, please.
11:22Yes, of course.
11:23Well, look.
11:25Here it is.
11:27He sends you a message and he will be attentive.
11:29By the way, he will have left the keys to the doorman so that they can see the floor.
11:33Of course, of course.
11:34Everything is organized like this.
11:35Well then, I won't steal your time anymore.
11:39I wish you all the luck in the world.
11:52Shall we go?
11:55Yes.
11:56Let's go.
12:15Are you going to miss him?
12:20I'm going to remember him a lot.
12:22I will always remember him, Matilde.
12:25Always.
12:27But I'm not going to miss him.
12:30Because...
12:32Before you came into my life, I was a lonely man.
12:38I had many things to do.
12:42But you have given me a life.
12:45And my life begins now.
12:52Let's go.
12:54Let's go.
13:13Ruiz.
13:14Miguel Ruiz.
13:16No, but how do you leave it written down?
13:18No, I repeat.
13:20I repeat that it is a matter of utmost urgency.
13:24Hey.
13:28You, come here.
13:30Is my father there?
13:31No.
13:32And can you tell me where you are going?
13:33Because your father has told me that you have not appeared at home or to sleep.
13:36I'm staying in a pension.
13:37In a pension?
13:38But you want me to be fired.
13:39You have to talk to your father now, Salvita.
13:41No, it's a matter of today or tomorrow.
13:42I'm getting married this afternoon.
13:43Well, after getting married...
13:45What do you mean you're getting married?
13:46Who are you marrying?
13:47Who else?
13:48Marta.
13:49Are you kidding me?
13:51You're a joker.
13:52You laugh at everything and everyone.
13:53But this is a very serious matter.
13:55Don't deny it, it's not a joke.
13:57I've talked to the priest and we have a church.
13:59We're getting married today.
14:01I would like you to come.
14:02But let's see.
14:03First thing.
14:05Thank you very much for the invitation.
14:06And second.
14:07How are you going to get married this afternoon?
14:08Things are not like that, man of God.
14:10There are some protocols, some things.
14:11Are you going to give me lessons on how I have to get married as God commands?
14:14After the mess you and Trini have made with the Montes Aquilianos?
14:17You're right.
14:18I'm not the most suitable to give lessons on the matter.
14:21But you have to think about how your father will react.
14:26Look, my father has agreed with Marta as long as I go to Salamanca to study.
14:31Well, I'm going to Salamanca to finish my law degree, but married to Marta.
14:37Explained like that, it's difficult to refute it.
14:41It shows that you have the guts to be a lawyer.
14:43Of course.
14:44I think that once he sees it, he will have no choice but to accept it.
14:47Well, I hope you're right.
14:48But there is a small detail that you have not thought about.
14:51And it is that your father is going to make me a nun.
14:53What a name, Miguel.
14:55My father only wants the best for me.
14:57He wants to separate me from Marta because he is convinced that she is a pastime for me.
15:01But when he sees us married, he will be convinced.
15:04Well, I hope so.
15:06Because a child is coming.
15:08Don't worry.
15:09Don't you say he always comes with a loaf of bread under his arm?
15:12We'll see.
15:13Well, Antonio and Pietro have agreed to be godparents.
15:17And I was wondering if Trini and you would like to be the witnesses.
15:22After all this time, well ...
15:25I have taken care of you.
15:32No, no more talk.
15:34I will tell the church and at what time it will be and there we will be with Trini like a nail.
15:39Congratulations.
15:40Thank you, man.
15:44Come on, to work.
15:48Come on.
15:55Antonia.
15:57It's not normal that I find her.
15:58I come at the right time.
16:00I was thinking how she is leaving without saying goodbye.
16:02She gives me another crybaby.
16:04But the crybaby that Esperanza has given her when I told her I was leaving.
16:08Well, I understand that Marta has told him.
16:10Yes.
16:11That you are going to La Rioja.
16:13How nice, right?
16:14It's what you wanted.
16:15It's finally a reality.
16:17Yes.
16:18I'm very happy.
16:19I'm very happy, but ...
16:21I'm also very scared, I confess.
16:24Scared for what, honey?
16:26I don't know if it's a dream come true and with the man I wanted.
16:29Yeah, but that's precisely why.
16:31Because after everything that has happened, it is too beautiful for it to be true and ...
16:36I'm scared of the idea that everything is going to crumble again.
16:38Come on.
16:39Stop thinking about that and enjoy the moment.
16:42And let us enjoy you.
16:45I'm going to miss her a lot.
16:47And me to you.
16:49A lot.
16:50The dinner that I'm going to have tonight.
16:52And I know that Pietro too.
16:53That he is going to be hard, but ...
16:55He will say that I am going for a walk.
16:57And then he will end up taking off his handkerchief.
17:01They have to promise me that ...
17:04That they will come to visit us when we are settled.
17:06Of course.
17:08Of course.
17:09And that you will invite me to your wedding.
17:10Of course.
17:11Well, God willing, there will be a wedding soon.
17:14Well, of course there will be.
17:15Well.
17:16There will be.
17:18And who knows, maybe they can go through La Rioja on their honeymoon.
17:22Any of the two haciendas that we are looking at have plenty of room.
17:27Darling.
17:30I am very happy for you.
17:32Much.
17:34Much.
17:36Sorry.
17:38You are going to La Rioja with Martita Salamanca.
17:41Salamanca?
17:43I haven't told you.
17:45Martita is getting married.
17:47Yes.
17:49With Salvita, Don Salvador's son, from the bookstore.
17:52Damn, I didn't know it was going to be so serious.
17:55They didn't even know.
17:57Don Salvador has interposed between them and ...
18:00They have taken the middle street, they are getting married this afternoon.
18:03This afternoon?
18:04Yes, yes.
18:05As you can see, Salvita knows a priest who is willing and ...
18:09And that's it.
18:11Don Salvador, for turning off a flame, lit a fire.
18:15And well ...
18:17He doesn't know.
18:18They are getting married in secret.
18:19In secret?
18:20Yes.
18:21My God, it looks like a novel adventure.
18:23Of course it does.
18:24Well, Pietro and I are the godparents.
18:25We are leaving after work.
18:27We have to run.
18:29Well, tell Marta that ...
18:31I wish her the best.
18:32And that I love her a lot.
18:34And that I'm going to miss her a lot too.
18:36And we miss you so, so, so much.
18:40Well, I'm very happy for you.
18:43Really.
18:44Antonio.
18:46Thank you for everything, really.
18:50You have been like ...
18:52An older sister to me.
18:54And how much my mother loved her, too.
18:57And me to her.
18:58You have meant so much to me.
19:01So much.
19:03And you have taught me so much.
19:06I miss you a lot.
19:08Well.
19:09Well.
19:10This is a joy, huh?
19:12Be very happy.
19:14A lot, because you deserve it.
19:16Likewise, Antonio.
19:19I love you.
19:20And me.
19:22I will write it when I have my new signatures.
19:25I hope so.
19:26Goodbye.
19:56Goodbye.
20:15Inés?
20:18I see you better.
20:19Yes, I'm better.
20:20And that?
20:22I managed to talk to my sister.
20:23But your sister had not gone to Germany.
20:26My uncle managed to put her on the phone.
20:28We talked, we clarified everything and ...
20:30He forgave me.
20:31That for me it was the most important thing.
20:33Well, that's good.
20:34I'm glad.
20:35And I'm calmer now.
20:37I have rehearsed again and very soon you will see me in the theater.
20:40I will give you invitations for the premiere.
20:43A theater premiere?
20:46What an illusion.
20:47I would love to go.
20:49Uy.
20:50And these shoes?
20:51Are they for the wedding?
20:53Antonio and Pietro are getting married.
20:55Yes.
20:57They still have no date, but I wanted to be prepared.
21:00But then he's not going to wear the same dress as the last time?
21:04Well, I don't know, Inés.
21:05I'll tell you.
21:06Now I have to go, I'm in a bit of a hurry.
21:14I hope everything goes well, Inés.
21:18Inés!
21:20You're here.
21:22I was going to go to your house to look for you.
21:24Well, I just wanted to tell you something about the rehearsal calendar.
21:27No, no, no, no.
21:28Forget about the rehearsal calendar.
21:30At the moment, they are all canceled until further notice.
21:33The owner of the theater wants us to suspend the function.
21:41Then I called the town hall to see if they could give me some guarantee.
21:44And nothing, right?
21:45Nothing.
21:46They took the data and hung me up.
21:47They have noses.
21:48Ah, maybe it's a divine punishment.
21:50What do you mean, divine punishment?
21:52Boss, haven't you had a fire in your pension?
21:57For the fire we just set up, it's me.
21:59I just don't understand the divine punishment.
22:01Well, Cañete has a fire and you have a collapse.
22:03Well, don't say that, Elias.
22:05I'm about to knock on the door.
22:07And Antonia's house had charcoal.
22:09And here in La Moderna we have been victims of a scam.
22:12These are the seven plagues.
22:14And we still have four, four, or three, three.
22:17What nonsense, Elias.
22:18What nonsense.
22:21I'm sorry to tell you that I resign.
22:24Eh?
22:25I'm leaving.
22:26Don't exaggerate, boss.
22:27And it won't be for long.
22:29Let's see, you already had your plague with the fire.
22:32I figure that the next misfortune has to touch at least Esperanza or Montero.
22:36Stop talking nonsense, Elias.
22:37That I really resign.
22:38That I leave the job.
22:40That I leave La Moderna.
22:41Teresa can no longer stand Mrs. Lázara.
22:43And she's going to leave the job.
22:44And I'm not going to separate from Teresa, so I'm leaving with her.
22:47What are you going to do?
22:49That they torture the vampire.
22:52But are you serious?
22:54Totally.
22:57And where are you going to work?
23:00Well, that's yet to be seen.
23:02But come on, I say that having two arms, two legs and two eyes,
23:06I don't need a job.
23:09But come on, I don't have anything at the moment.
23:12But how are you going to go like this with one hand in front and the other behind?
23:15Insensitivity.
23:16No, Miguel.
23:17An insensitivity would be to let Mrs. Lázara go over Teresa without me doing anything.
23:22I love Teresa madly and I intend to defend her.
23:27So I'm going with her.
23:32Excuse me.
23:36Now it's going to be hard.
23:39Miguel, this is the fifth plague.
23:42And then they're going to destroy the modern one.
23:45But where are we going to stop?
24:00How do we suspend the function?
24:03But it's my fault.
24:04No, no, woman.
24:06The thing is, I think someone in the company had to tell Don Luis,
24:09who was the owner of the theater,
24:11that you wanted to back out.
24:14But it wasn't even 24 hours.
24:16I know, but now the man says that if you had doubts at the beginning,
24:20as we get closer to the day of the premiere,
24:22you're going to get more nervous and that he doesn't want to risk money.
24:26Yeah, but isn't he going to risk money by suspending the function with all the cast hired?
24:31Inés, money is very cowardly.
24:34He doesn't care about the function, or the cast, or the audience.
24:37All he cares about is square the accounts.
24:40And there's a company that in two weeks
24:43will make a play by the Alvarez-Quintero brothers.
24:45Alvarez-Quintero?
24:47We're in the hands of those people, Inés.
24:49In the end, the wall-businessmen send more than those of us who do real theater.
24:54It seems so unfair.
24:56Any day, look at what I'm telling you,
24:59I'm getting rid of the cinema and I'm changing business.
25:01No, Agustín.
25:03But you have a full house almost every day.
25:05I know, Inés, but now they've invented sound cinema.
25:09You have to spend a lot of money on a few things to make the movie sound.
25:13And tomorrow they'll invent any frisbee we have to buy
25:17so that, I don't know, a different projector, I don't know, I don't know.
25:22It's all my fault.
25:24You had to delay everything when I had the accident and now this...
25:28Don't worry, don't worry.
25:30I'm going to meet in person today with Mr. Luisquero, okay?
25:36Because the problem is not that they cancel the premiere.
25:39The problem is that they take the voice and cancel the tour, Inés.
25:43In any case, I'm going to try to convince him.
25:46I don't promise you anything.
25:49What a disaster, Agustín. I'm so sorry.
26:01Is it true, what Elias told me?
26:03Is he going to resign?
26:05Well, yes, Trini.
26:07As soon as the day is over, goodbye to the modern one.
26:11Well, I can't believe it.
26:14I don't know, maybe I should have warned you, but I also thought that if he did,
26:18maybe he wouldn't be able to make the decision.
26:20But why does he have to tell me why? Why is he going to leave the modern one?
26:24Trini, because I'm tired of dealing with whatever things. I can't take it anymore.
26:28I've done everything I could, but sometimes in life you fail.
26:32No, that's not true, because you haven't failed.
26:34Oh, I'm telling you, I have.
26:37This woman is like mustard.
26:39You think you've ripped her off, but no.
26:41Come back stronger.
26:43What is she going to tell me?
26:44I have a boyfriend that I can't even look him in the eye, come on.
26:47Besides, she's capable of anything. I'm afraid of what could happen from now on.
26:51Look, if you allow me some advice, try to get along with her.
26:56Because soon she will be the owner of all this.
26:59Don't tell me that, please. I'm starting to tremble.
27:01As soon as Mr. Fermin puts the ring on her finger, it will be as if they give her the keys to the place.
27:06Well, that can't be allowed.
27:09And what do I do? Trinidad, I'll kill her.
27:13Yes, I've already gone to her house, I've followed her, I've talked to the neighbors,
27:17I've gone to her previous job, I've talked to the dependents of the previous job,
27:20I've told Mr. Fermin, and look, here I am. It didn't help at all.
27:24But what are we going to do without you?
27:26You are the only one who can talk to Mr. Fermin.
27:28And for him to come to his senses?
27:30Well, look at what it has done. Now he values her more than before.
27:34Well, but there is still hope because they have not married yet.
27:36So we still have to stop it.
27:38No, Trini, no, no one can stop this.
27:41But you have to look on the bright side.
27:43Maybe the manager will promote you. Or Antonia.
27:46Yes, but I don't want to be in charge.
27:48First of all, because I wouldn't do half as well as you.
27:50And second, because no, no, I don't want to be there all day,
27:53dispatching next to this lady.
27:55Well, one way or another you will get ahead,
27:57because you have had the good judgment not to get in their way.
28:01But mine is really unbearable.
28:04And Cañete is also leaving.
28:07Well, yes. We both leave, we throw ourselves into the void.
28:11Maybe we are a little ...
28:12No.
28:13No, no, they are not crazy.
28:14What they are doing is betting on being together,
28:16for their relationship and trying to get away from the problems.
28:20Well, yes, Trini, that's what I want.
28:22I want to get away from the problems and enjoy life a little bit, right?
28:26Yes, I know.
28:28And besides, he deserves it more than anyone else.
28:32I just hope he finds a job as soon as possible.
28:35And if we don't find it, we tighten the belt a little
28:38and throw away the savings that are there for that.
28:40Thank goodness I didn't lose them.
28:41Yeah.
28:43Hey, when I talk to Mrs. Lázara to tell her this,
28:46let me know that I want to see the face she makes.
28:48When I go to tell her what? That I resign?
28:51But if she knows, she knows it since yesterday.
28:53What do you mean she knows it and hasn't said anything?
28:56Well, I find it very strange that she is so fat as if nothing.
29:00But if she knows, what will happen to her when the two of you are not here?
29:03If she knows.
29:04Because, let's see, she's bad, but she's not stupid at all.
29:08Well, yes, a little weird, yes, it is, really.
29:11Maybe she has already selected a substitute.
29:14Well, how is she going to have a substitute?
29:16You can't find a substitute overnight.
29:19And less without us finding out.
29:23Well, in any case, Cañete and I make it very clear
29:26that today was our last day.
29:32Thank you, Emiliano.
29:33You don't know the joy you give me
29:34and the relief that this means for the rest of the merchants.
29:37Of course.
29:39A big hug.
29:40Goodbye.
29:44Did we get it?
29:45Yes.
29:49Emiliano Pedraza has bought the gallery.
29:52It is signed.
29:54Thank you very much, Don Fermín.
29:56This is the beginning of a new era.
29:59Finally, the gallery will be in the hands of a businessman
30:02with his feet on the ground and his head in his place.
30:04I'm looking forward to meeting your friend.
30:06We will have to gather the rest of the merchants to give them the news.
30:09We will meet at the reservation or on the upper floor.
30:12Because I think I'll have a good bottle of champagne.
30:15Everyone will want to toast to you, Don Fermín.
30:18You have saved our lives.
30:21Well, now that the business matters are resolved,
30:26Inés has told me that she is finally going to be part of the cast of her play.
30:33Thank God.
30:35He reconsidered and realized that leaving the function was not a good idea.
30:40Laurit had a lot to do with it.
30:42What mattered most to Inés was that her sister forgave her.
30:46I am very sorry to have generated this situation.
30:49Those girls were nail and flesh.
30:51Despite the scourge that their parents put between them.
30:55One was raised among cotton
30:57and they treated her like a princess and the other was little less than the maid.
31:02And to see them like that, faced ...
31:04I am responsible for everything, Don Fermín.
31:07I have been an unconscious.
31:10When is the premiere of The Court of Pharaoh?
31:15Precisely this afternoon I have been to discuss the matter with Don Luis Quero.
31:20He is the owner of the theater.
31:22We had a provisional calendar, but now it does not seem very convincing.
31:27Well, when you know, let me know because I want to buy tickets to invite suppliers and customers.
31:32Of course, when we have more clarified the dates, I will inform you.
31:36By the way, how do you think Mrs. Bárbara will act when she finds out about the play we have done to her?
31:42How? When he finds out, they will give him the seven evils.
31:46I would very much like to be present to see his face because that ...
31:50That will not happen.
31:53It would not be professional.
31:55And it would leave my friend Emiliano in a very bad place.
31:58Of course not, of course not.
32:01Anyway, I don't want to steal more time from him.
32:04I would like to thank you once again for all the things you have done on behalf of all the merchants in the gallery.
32:10See you later.
32:12Good morning.
32:26But hey, you're still like this.
32:28I don't go anywhere with dirty shoes, Antonia. And less to a wedding.
32:32I understand, but Salvita and Marta are about to arrive.
32:35Yes, yes, just a moment, I'll finish right away.
32:37Come on, I'm going to put the birdie on you, then you take a lot of time and more nerves.
32:43There is the ...
32:49Where is my son? Tell him to come out.
32:52Good afternoon to you too.
32:54Stop being silly and tell my son to come out.
32:56Salvita, show your face, bastard.
32:58Gentlemen.
32:59Lower your voice, please.
33:01And speak respectfully.
33:04Marta lives here with you, right?
33:06Yes, she lives here.
33:08But her son is not here.
33:10Do you have children?
33:11Yes, I have one.
33:12His age, more or less.
33:13Then put yourself in my place.
33:15My son is capable of committing madness.
33:18Excuse me, but you run a bookshop, right?
33:20That sells novels and plays.
33:22He has to be a well-read man.
33:23And what does that have to do with my son?
33:25In all those readings, I have not learned that when two young people are in love and their family wants to ask him, everything goes wrong.
33:30If your son is going to commit madness, it is because you are pushing him.
33:34If you listened to your son, if you made an effort to accept and understand his feelings, you would not be giving voice and pushing him to Porto Madrid.
33:40I listen to my son.
33:42And I try to understand him.
33:45But there are things that I will not tolerate.
33:47A young man from a good family cannot marry ...
33:50Be careful with what you say, huh?
33:51Careful.
33:53I will not allow you another lack of respect.
33:55Excuse me, but when you talk about a good family, what do you mean?
33:57That he has money in his pockets?
33:59Because in this family it is true that we do not have enough money.
34:02But we are as good a family as his.
34:04Better come safe.
34:05Are you going to tell me where my son is, yes or no?
34:07I think it's better if he leaves.
34:08Yes, better.
34:09Right now.
34:10Please, let's go.
34:12This is not going to stay that way.
34:15Are we?
34:22Yes.
34:30What's wrong with you, my love?
34:32Nothing, I'm getting hot.
34:34Why? Is the house shaking again?
34:36No, no.
34:37I say it because, I don't know, because of the wedding.
34:41Because of the resignation of Cañete and Teresa.
34:44Because Matilde is leaving. I don't know, it's been a few days of a lot of emotions.
34:48By the way, speaking of tremors.
34:50Have you talked to the people from the town hall yet?
34:52Well, the first time I wasn't lucky and they hung up on me.
34:55But I called again.
34:56In the end, I managed to talk to someone from the town hall who buys the newspaper in La Goleta.
35:01And he told me to be calm.
35:04But let's see, who did you talk to?
35:05With a construction technician?
35:07Yes, more or less, I don't know exactly.
35:09No, but tell me, who did you talk to?
35:10Did you talk to a Bedel?
35:11My love, let's not get into details that don't make sense.
35:14The point is that he told me that the foundations of the building were safe and that there is nothing to worry about.
35:18Well, there are a couple of neighbors who have left until the construction is finished.
35:21Well, I think it's very good. They have the right to throw the money.
35:25But the truth is that it is impossible.
35:28They assured me that there is no danger of this.
35:36You'll see, but tonight I'm going to Antonia for sure.
35:40But how are you going to go to Antonia?
35:42Well, I don't know. He invited me and I'm going to go. Do you remember?
35:45And are you going to leave me here?
35:46Look, love, as a life falls on my head, you'll see.
35:49Look, well, let's go to the wedding and let's stop doing nonsense.
35:54Leave it to me.
36:02Leave it to me. You are very beautiful.
36:04Miguel!
36:12Come in.
36:17Did you want to see us, Mrs. Lázaro?
36:20Yes.
36:22If you are so kind to sit down, it will only be a moment.
36:32This is for you, Cañete.
36:36And Teresa.
36:40What is this?
36:41Read it carefully. It is very well explained. It is easy to understand.
36:46Anyway, if there is any legal term that you do not fully understand,
36:49tell me and I will explain it to you.
36:52Resignation order.
36:54You don't know what it is.
36:58But who wrote this?
37:00This was written by the lawyer who advises Don Fermín on the issues of the company.
37:05Of course, the paper is not binding.
37:08You can take the door and leave whenever you want and forever.
37:12Now, face the consequences.
37:16But here it says that they are going to report us.
37:18According to the contract, if you want to leave the company,
37:22you have the obligation to notify the management of the company in advance,
37:27and not overnight.
37:31Well, what nonsense is this?
37:33The company can fire the worker at any time.
37:36And we have to give a warning.
37:38Well, if the company kicks you in the street overnight,
37:42you will have to pay a compensation.
37:44In the same way, if you harm the company
37:47by leaving your jobs overnight,
37:50you will also have to pay.
37:52That's all.
37:55Will you be able to report us as if we were criminals?
37:58Look, Cañete. Don Fermín and I are going to get married.
38:01And since it is natural, we will go on a honeymoon.
38:04My God.
38:05They have chosen the worst time to leave.
38:07And in my personal opinion,
38:10they do it to harm La Moderna.
38:12No, excuse me.
38:13We do it because you don't leave us another way out.
38:15That's why we do it.
38:17Don't yell at me.
38:18No one is going to raise their voice here, okay?
38:22They can think of me and whatever they want.
38:24But of course, Don Fermín does not deserve this disloyalty.
38:28He is stabbed in the back just when he is so vulnerable.
38:31We don't want to harm La Moderna or Don Fermín.
38:33No, of course not.
38:34What you want is to harm me.
38:36But I repeat to you that we are going to get married.
38:41I'm sure this was all your idea.
38:43Cañete doesn't have that much initiative.
38:46Well, thank you very much.
38:47He doesn't give up.
38:49He has tried to kick me out of La Moderna so many times,
38:52to get away from Don Fermín, and he has always failed.
38:55Doesn't he get tired?
39:01You can go now.
39:04I'll wait for you here tomorrow, first thing in the morning,
39:06with your uniform on and ready to work.
39:09If that's not the case,
39:10I recommend that you look for a lawyer because you will need one.
39:33I'm sorry.
39:40Did you talk to the businessman?
39:44That he doesn't receive you until in a month or what?
39:46That we premiere in a month.
39:52You're making fun of me.
39:53Making fun, she says.
39:55Look at what I'm going to tell you.
39:57In a matter of five weeks,
39:59your life is going to change completely.
40:01You're going to become a famous artist.
40:04You're going to sign autographs at the theater door.
40:06You're going to have the press on top of you.
40:10Agustín, you're scaring me.
40:12No, no, no, I don't want to scare you.
40:13No, no, please, please, no.
40:15What I want is that you trust,
40:17that you bet, just like I did,
40:19because I had to give everything to convince Luisquero.
40:26But if a while ago I wanted to cancel,
40:29and now...
40:30What did you tell him?
40:32I've thrown up.
40:35And what does that mean?
40:39I don't know.
40:42I suddenly have a dry throat.
40:44Do you want water?
40:46Well, if you don't have anything more interesting.
40:52Yes, of course, forgive me.
40:54I'm offering you water to celebrate.
40:57Well, the thing is that I've sat down in front of Luisquero
41:02and I've said,
41:03look Luis, I understand perfectly well that you're worried.
41:08I wouldn't care if I were in your place,
41:10but I've listened to Inés Balbuena
41:13and I've seen the face of the audience when she sings,
41:18and then my concern has vanished.
41:24But did you convince him with that?
41:26No, no, no, no, no.
41:28Wait.
41:29The horde is coming now.
41:30Well, cheers.
41:31Ah, yes.
41:37I've told Luis
41:40that the night of Madrid Cabaret
41:43there was another wall businessman,
41:45La Competencia.
41:48And I've given him the job
41:50because he offered us 20% more in cash.
41:54But that's not true.
41:57No, but he believed it.
42:00And that's what it's about.
42:01But are you crazy?
42:03If he talks to the other businessman,
42:05you'll see that you've lied to him.
42:07Too late.
42:09I've made him sign right there.
42:12I've told him,
42:13either you show me the money
42:15or I'll go directly to the Iberian correspondent
42:17to tell him that I'm taking the pharaoh's court to another theater.
42:20And you know what, Inés?
42:22He swallowed it.
42:25Swallowed it!
42:29But, but then,
42:31this morning we didn't have a show
42:33and now we have the premiere in a month
42:35and with better cash.
42:38Is it or is it not to celebrate it?
42:41Another toast?
42:49You don't look very happy.
42:51No, yes, yes.
42:52Yes, I'm happy.
42:54Are you thinking about Laura?
42:57Yes, it's just that...
43:00I've hurt her so much that, I don't know,
43:02somehow I feel like
43:05I don't deserve to be happy.
43:09You know, in that sense,
43:12the people at the theater
43:13have learned their lesson.
43:17Because
43:20if yesterday's performance was terrible,
43:25today you can do it very well.
43:29What are you going to do?
43:31Stay all afternoon regretting it?
43:34You can't.
43:37No, because you have another performance to do.
43:39Exactly.
43:41Life goes on
43:44and the curtain rises every afternoon
43:47regardless of whether yesterday's performance
43:49was good or bad.
43:57Don't worry, Salvita.
43:59It's been half an hour.
44:00You're going to spend your whole life with her.
44:03What's going to change if she marries you at 7 or 7.15?
44:07I see.
44:08My father was very nervous, wasn't he?
44:10Not nervous, angry.
44:12When he finds out what's going on here,
44:14he'll be nervous and angry.
44:17You should talk to him.
44:19Yes, of course I'm going to talk to him.
44:21But when we're married.
44:22Now, don't get mad at me,
44:23because I'm not going to let him disrespect my wife.
44:26Salvita, your father is very conservative,
44:28but he loves you.
44:30And he loves you a lot.
44:32You have to understand that.
44:34I know, but...
44:35But what?
44:38You're his only son, right?
44:39His only son.
44:41He's a widower.
44:42He's going to be very lonely.
44:45You have to wake him up.
44:47And make an effort to wake him up and to understand him.
44:53I'm here.
44:55Is that the dress?
44:56Yes.
44:57But what are you doing?
44:58If you've been here half an hour, you weren't getting dressed.
45:00No, I was putting on makeup and fixing my hair.
45:02By the way, it's a bit broken.
45:04Can you help me?
45:05Yes, yes, come on, let's go inside.
45:06Well, but please don't be long.
45:07We have to be in church in half an hour.
45:09Do you think a priest goes there because his girlfriend arrives late?
45:12I don't know.
45:13No, darling, he doesn't go.
45:15Besides, brides always arrive late.
45:17And I'm telling you, it's bad luck that the groom sees the bride dressed.
45:20I didn't know that.
45:22Is it bad luck?
45:23Yes.
45:24Well, you know.
45:43Have they arrived?
45:55They will be in Alcaer.
45:56Matilde won't leave without saying goodbye.
45:58And I'm sure that Inigo Peñalver also wants to say goodbye.
46:01By the way, speaking of saying goodbye, have you been able to talk to Cañete and Teresa?
46:06Yes, I've talked to them.
46:07I think everything is fine.
46:09Sorry, sorry, sorry, but Matilde is there.
46:11Come in, please, and tell the rest of the squad to come out to say goodbye.
46:14Right away.
46:21Matilde.
46:22Inigo.
46:23Hello, beautiful.
46:26Thank you for coming out to say goodbye, Don Fermín.
46:28You're welcome.
46:31What a jewel Inigo is wearing.
46:34I know, Don Fermín.
46:35I know.
46:37But I forgive you.
46:38Are you going straight to Logroño?
46:40Yes, we have everything ready.
46:41The car is back there.
46:43Drive carefully, for God's sake.
46:46On those roads at night ...
46:48Don't worry.
46:49I'll do it.
46:59Matilde, good luck.
47:02Well, you will bring us a box of La Rioja wine.
47:06And if any harvest comes out, I want the exclusive in Madrid.
47:09I don't know if you'll like it, Don Fermín, but of course.
47:11Give it a try.
47:13Well, I've brought you some sweets for the truck.
47:16Thank you very much.
47:17We'll miss you.
47:18Thank you, Teresa.
47:23Matilde, are you leaving?
47:24We can hardly say goodbye to you.
47:26Please, don't go.
47:28How elegant.
47:29What's going on?
47:30Are you going to the opera or something?
47:32No, for a walk, for a walk.
47:34Well, let Matilde talk, right?
47:37Matilde, please.
47:38A few words.
47:41Comrades.
47:43Friends.
47:45I'm leaving with tears in my eyes.
47:47Because ...
47:49La Moderna has been a second home for me.
47:53And you, a second family.
47:57That's why I don't ...
47:58I don't want to say goodbye.
48:00I want to say goodbye.
48:02See you later.
48:04And I hope that soon ...
48:06I can come to visit you at La Moderna.
48:09And until then, I take my heart with me.
48:14Forever.
48:16Thank you for everything.
48:19See you later.
48:21Yes?
48:22See you later.
48:24Well, don't bother anymore.
48:26You have many hours of road ahead.
48:30Thank you for everything, Matilde.
48:31For everything.
48:32And as you just said ...
48:35See you later.
48:38I'm going to give you a hug.
48:41Good luck.
48:49See you later.
48:54Goodbye.
49:01Goodbye.
49:23Aunt Conchita may come to visit us.
49:26Yes.
49:27When we are settled.
49:29And Luisa and Pablo?
49:31Also.
49:34But while we are going to be alone, the three of us.
49:38The four of us.
49:53I'm going to have a nephew.
49:54I'm going to be an actress.
50:09But how did you leave the salon?
50:11This is a welcome.
50:13Even the new owners of the gallery are here.
50:19Emiliano Pedraza Santulario.
50:21Emiliano Pedraza Santulario.
50:23The same one who wears shoes.
50:25How glad I am.
50:27I am convinced that my investment in the gallery will be a success.
50:30And if it were not enough, we are going to revive our friendship.
50:33What else can you ask for?
50:34I am very happy that you are back, Emiliano.
50:37For the perfect marriage you have.
50:40Maruja and Emiliano.
50:41Is it true that you and Mr. Comas are going to get married?
50:45Well, that's something very personal.
50:47Now the important thing is that you do not lose the shade of love.
50:50You are going to love the movie.
50:51Being a mother is very good.
50:53I am very happy.
50:55But blessed is the day when we decided to put the baby together with the move.
50:59How are you doing with the store?
51:00Do you have everything ready for the inauguration?
51:02I'm fine.
51:03Working tomorrow afternoon and night.
51:05But luckily I have Rodrigo's help.
51:08Because if it were for father.
51:10I did not stop him, but he has made it clear to me that he is not going to help me.
51:13Well, I will help you in everything I can.
51:16When I succeed with my idea of making fashion for all women.
51:19Both rich and workers.
51:21You will have to give me the reason.
51:23This mate is cold.
51:24Take this cup, please.
51:26Mother.
51:27I think we have to help her in everything we can.
51:29Because the girl deserves it.
51:30And also for the Pedraza.
51:31They have always behaved well with us.
51:33I know.
51:34I, like you, am very grateful to them.
51:36I really like to see how you work with Mr. Emiliano.
51:38And how being so young you have become his trusted man.
51:42I can't stop thinking about what that woman told you.
51:45The one this morning.
51:46Yes, the one who asked me if I was going to marry you.
51:49It made me think about our relationship.
51:51About what we have.
51:52Fathers.
51:53Excuse me.
51:54I don't have dinner with you.
51:55I have a commitment.
51:56And let me guess.
51:58That commitment is to go barefoot, right?
52:01Paula has also refused.
52:02With a subtle difference.
52:04Paula has gone to work at the store with Rodrigo.
52:07You could look a little more like them.
52:09When are we going to stop hiding?
52:11Are we doing something bad?
52:13Do you think your father would allow you to be with someone like me?
52:22Well, I'm afraid the existence of this champagne has run out, gentleman.
52:25You're not telling me to go.
52:27If you want, you can come with me to the winery and check it yourself.
52:30Although for that I would have to get up and maybe it is not in condition.
52:35Your children are a little fed up with me.
52:37Maybe if you had educated them better,
52:39with more skill,
52:40it wouldn't have turned out like this.
52:42After I have dedicated the last 25 years of my life to you.
52:45But if I have you to keep the job.
52:48To keep the job?
52:49To benefit from what I have done to you.
52:59Sir, do you need something?
53:02What if I need something?
53:04Sure.
53:05The usual.
53:07Come in.