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00:00What do you mean you're getting married?
00:02But...
00:03I've been told and I said yes.
00:05Yes, and we're here to ask 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, just a moment.
00:18I don't know what you're talking about.
00:20I don't know what you're talking about.
00:22I don't know what you're talking about.
00:24I don't know what you're talking about.
00:26I don't know what you're talking about.
00:28But, let's see, just a 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're studying?
00:40It's not like that, Antonia, but there aren't any places to study in Salamanca.
00:44I'll enroll there.
00:46And how are you going to keep studying?
00:48Taking a house, a husband?
00:50No, no, I'm not going to give her more work than she already has.
00:52I'll learn to fry an egg,
00:54to 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 that I don't have enough rings to work wherever I want.
01:11Oh, my God.
01:14I'm an unconscious person, you know that, right?
01:18But I'm so happy for you.
01:21Oh, honey.
01:27Well, 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
01:45so that my father can't get in the way.
01:47Once married, he won't have the courage to separate us.
01:49Of course, or to take my job away from me.
01:51I'm his son, and that's something.
01:54But even so, we have to pay the bills.
01:57We have to do a lot of things.
01:59At least we'll get married in 15 days.
02:01I know Alparroco.
02:03He married a friend of mine in Las Bravas
02:05because he and his girlfriend had...
02:08They had asked for dessert before the main course.
02:13Well, if you think it's for the best, I...
02:17Look, I don't want to break up my family,
02:19but I can't think about separating from Marta.
02:23And when we're married to God,
02:25my father won't have any choice but to accept it.
02:28I see.
02:29I guess you're not going to invite him, right?
02:31No, no, not him or anyone else.
02:33Just you and Pietro.
02:36And, well, I also wanted to ask you
02:39if you could do us the honor of being our godparents.
02:45Oh.
02:47Yes, look, I'm already crying.
02:50Yes, of course, of course.
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.
03:01I'll see if I can talk to Alparroco on my way to the pension
03:03and leave everything organized.
03:11See you tomorrow, my love.
03:12See you tomorrow.
03:21Oh, I understand what they say about butterflies in the stomach, Antonia.
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, isn't it?
03:51Naturally, dear.
03:52I was referring to my nephew, especially Inés,
03:55who, since he left school, has done nothing but complicate his life.
04:00Well, he has a soul of an artist.
04:02Artists are extravagant, unpredictable.
04:05Yes, yes, I'm not saying that after a night or that he has extravagant friends
04:08or that he is a little alive, but ...
04:11He got involved with a criminal.
04:14They almost poisoned her.
04:16And now ...
04:18Now she has taken it out on her brother-in-law.
04:21Well, good is what comes to an end.
04:23The important thing is that they have reconciled and that's it.
04:25Yes, yes, that's true.
04:26But now I have a niece 2,000 kilometers from here
04:29doing I don't know what in a country of barbarians.
04:32Everything will be fixed, you'll see.
04:36God willing.
04:38By the way, have you 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,
04:53but then I'll talk to them.
04:54Yes, but in any case, before the day is over.
04:56We can't lose two veterans in a row.
04:58Of course.
05:00How sleepy are you this morning?
05:02Well, thanks to you, who did everything possible
05:05so that Laurita and I were fine.
05:07What less, Inés, what less.
05:09And I'm also happy because I talked to Agustín
05:11and 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.
05:20Well, I'm going to the office.
05:21I'll be right back.
05:25Are they the girls of your eyes?
05:27Well, yes, yes, I think so, yes.
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, very bad.
05:40Very bad, we barely talked for five minutes.
05:42She was wanting to hang up.
05:44The natural state of my sister 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 wedding, of course.
05:53Of course, yes.
05:54She'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.
06:05200?
06:06200, yes.
06:07We have to see if they fit here or we have to find 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.
06:18Antonia, do you know what's wrong with Marta?
06:40What's wrong with Marta?
06:42She's been like a tail of the cartilage since she came in.
06:45She's making me nervous.
06:47Well, now that you say it, it's true that last night it was moving.
06:50Yes, right? Yes.
06:52What do you mean it was moving? Your house was also moving?
06:55Oh my God, oh my God, well then it's not the works.
06:57So, are they earthquakes?
07:00Earthquakes? What are you talking about?
07:02Well, this is going to be worse than Lisbon and it's going to be worse than San Francisco, I'm telling you.
07:07What's wrong with you?
07:08Hey, between one and the other, really.
07:10Well, maybe it's pregnancy stuff.
07:12Sit down, honey, sit down, breathe.
07:14Calm down, let's see.
07:18What are you talking about, honey?
07:19That it's moving, my house is moving, it's moving.
07:21And yours too.
07:22What? My house is not moving.
07:24I'm talking about Marta, we were very upset this morning.
07:27What do you mean your house is moving?
07:29Well, yes, they are doing the works to make an extension of the subway.
07:34And suddenly, well, no, no, look, what tremors, my goodness.
07:38It has moved to the furniture.
07:40Oh, that looks very bad, huh?
07:42Did they tell you?
07:43Yes, they told me that maybe there was a wall collapse.
07:47But, well, that.
07:49Suddenly everything falling on the floor, the shelves too.
07:53Well, the neighbor upstairs, a disaster.
07:55Oh, what a danger, for God's sake.
07:57But surely it's nothing.
07:59It's nothing because those things are very supervised.
08:02There are architects, engineers, making sure nothing happens.
08:05Well, I wouldn't trust much of that.
08:08If not, remember what happened on the street, Alonso Cano.
08:12I wouldn't stay in your house for a minute longer, Trini.
08:15Don't you have to go clean anywhere?
08:17Alonso Cano 36.
08:19A whole building fell, two dead and a handful of nests.
08:22Well, 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.
08:31And in the end, nothing.
08:32Well, I'm pregnant, I can't be all day with this anguish that I'm going to die.
08:35Yeah, that's true, that'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 can sleep peacefully, at least.
08:45And where is he going to put them?
08:47Well, in Marta's room.
08:48And where is he going to put Marta?
08:50I don't know where he would put Marta.
08:52You 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.
08:59Come on, I'm going to talk to Miguel.
09:01Sure.
09:02Well, that's it.
09:03Now we stop talking about earthquakes and we're going to work.
09:06Okay?
09:07Now you're calmer.
09:09Let's go to work.
09:10Come on, come on.
09:11Besides, I have to tell you something.
09:14What?
09:15Matilde and Íñigo are finally going to La Rioja.
09:18They have found a little land.
09:20Really?
09:21Yes.
09:22Well, they're going to make their dream come true, right?
09:24It's a shame, but I'm very sorry.
09:28Well, you all know César Morel.
09:30The special affection that Madrid Cabaret has for him.
09:33And if his offer has been successful,
09:35it 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,
09:41because that was his idea from the outset.
09:44Work as it is.
09:47And the truth is that I see it as the most sensible thing,
09:49because Madrid Cabaret has come, dad.
09:54And that is thanks to you.
09:57I 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.
10:12Being one of the best places in the city of Madrid.
10:20I will never forget you.
10:43One less thing.
10:46When do we leave for Logroño?
10:50You can say goodbye to your modern-day companions if that's what you want.
10:54I can put things in the car and travel at night.
10:58It's okay.
10:59Dominico.
11:01It's good to see you.
11:03Hi, Matilde.
11:04Hi.
11:05You caught us by the hair.
11:06We 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
11:14and I was talking to him about his attic
11:16and he seemed very interested, which I don't know if ...
11:19Yes, yes, yes, yes, yes, yes, yes.
11:21Give me your passwords, please.
11:22Yes, of course.
11:23Well, look.
11:25Here you go.
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, everything is organized like this.
11:35Well then, I won't steal your time anymore.
11:39I wish you all the luck in the world.
11:51Are we leaving?
11:54Yes.
12:15Are you going to miss him?
12:19I'm going to remember him a lot.
12:22I'm always going to remember him, Matilde.
12:25Always.
12:27But I'm not going to miss him.
12:30Because ...
12:32before you came into my life, I ...
12:36I 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.
13:12Ruiz.
13:13Miguel Ruiz.
13:15No, but how does he leave it written down?
13:17No, I repeat.
13:18I repeat.
13:19I repeat that it is a matter of utmost urgency.
13:22Hey.
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 at a pension.
13:37At a pension? But 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 is it going to be?
13:48With Marta.
13:49Are you kidding me?
13:50You are a joker, you laugh at everything and everyone.
13:53But this is a very serious thing.
13:55Don't tell me it's not a joke.
13:57I've talked to the priest and we have a church.
13:59We get 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 teach me how I have to get married as God commands?
14:14After the mess you and Trini made with the Montes Aquilians?
14:17You are right.
14:18I am not the most suitable to give lessons on the matter.
14:21But you have to think about how to react to your father.
14:26Look, my father has agreed with Marta.
14:28As long as I go to Salamanca to study.
14:31Well, I would go to Salamanca to finish my law degree.
14:34But married to Marta.
14:37Explained like this, it is 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.
14:47I hope you are right.
14:48But there is a small detail that you have not thought about.
14:51And it is that your father is going to turn me into a snitch.
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 creature is coming.
15:08Don't worry.
15:09Don't you say they always come with a bread under their arm?
15:12We'll see.
15:13Well, Antonia and Pietro have accepted to be the 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, it won't open anymore.
15:34I will tell the church what time it will be and there we will be with Trini like a nail.
15:39Congratulations.
15:40Thank you, man.
15:43Come on, let's go to work.
15:55Antonia, thank goodness I find it.
15:58I had just the right time.
16:00I was thinking, how are you going without saying goodbye?
16:02Are you going to give me another crybaby?
16:04For the crybaby that Esperanza has given her when I told her I was leaving.
16:08Well, I understand that Marta has told you.
16:10Yes, that you are going to La Rioja.
16:12How good, right?
16:14This is what you wanted.
16:15It's finally a reality.
16:17Yes, I'm very happy.
16:19I'm very happy, but I'm also very scared, I confess.
16:24Scared why, honey?
16:26Well, 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 to be true.
16:36And I'm scared of the idea that everything is going to fall apart again.
16:38Come on, stop thinking about that and enjoy the moment.
16:41And let us enjoy with you.
16:44I'm going to miss her a lot.
16:46And me to you.
16:48A lot. The dinner I'm going to do tonight.
16:51And yes, Pietro too, who is going to be hard, but ...
16:54He will say that I am going for a walk and then he will end up taking off his handkerchief.
17:00They have to promise me that ...
17:03that they will come to visit us when we are settled.
17:06Of course.
17:07Yes, of course.
17:09And that he will invite me to his wedding.
17:11Of course. God willing, there will be a wedding soon.
17:14Well, of course there will be.
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.
17:27Honey.
17:30I'm very happy for you.
17:32Much.
17:34Much.
17:37Sorry.
17:39You are going to La Rioja with Martita Salamanca.
17:42Salamanca?
17:44I haven't told you.
17:46Martita is getting married.
17:48Yes, with Salvita, the son of Don Salvador, the one from the bookstore.
17:53Damn, I didn't know it was going to be so serious.
17:56They didn't even know.
17:58Don Salvador has interposed between them and ...
18:01they have taken the middle street, they are getting married this afternoon.
18:04This afternoon?
18:05Yes, as you can see, Salvita knows a priest who is willing and ...
18:10and that's it.
18:12Don Salvador, for turning off a flame, set a fire.
18:16And well, he doesn't know.
18:19That they are getting married in secret.
18:21In secret?
18:22Yes.
18:23My God, it seems like a novel adventure.
18:25Of course.
18:27Well, Pietro and I are the godparents, we are leaving after work.
18:29We have to run.
18:31Well, tell Marta that I wish her the best.
18:33And that I love her a lot and that I will miss her a lot too.
18:37And we miss you so much, so much, so much.
18:41Well, I'm very happy for you.
18:44Really.
18:45Antonio.
18:47Thank you for everything, really.
18:51You have been like an older sister to me.
18:55And how much my mother loved her, too.
18:58And me to her.
19:00You have meant so much to me.
19:03So much.
19:05And you have taught me so much.
19:08I thank you very much.
19:10Well.
19:11Well.
19:12This is a joy, huh?
19:14Be very happy.
19:16A lot, because you deserve it.
19:18Likewise, Antonio.
19:20I love you.
19:22And me.
19:24I will write it when I have my new signatures.
19:27I hope so.
19:28Goodbye.
19:58Goodbye.
20:15Inés?
20:18You look better.
20:19Yes, I'm better.
20:20And that?
20:22I managed to talk to my sister.
20:24But your sister didn't go to Germany.
20:26My uncle managed to put her on the phone.
20:28We talked, we clarified everything and ...
20:30He forgave me.
20:31Which for me was the most important thing.
20:33Well, that's good.
20:34I'm very glad.
20:35And I'm calmer now.
20:37I have rehearsed again and 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.
20:50And these shoes?
20:51Are they for the wedding?
20:53Antonio and Pietro are getting married?
20:55Yes.
20:57They don't have a date yet, but I wanted to be prepared.
21:00But then he's not going to wear the same dress as 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.
21:19Inés!
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 schedule.
21:27No, no, no, no.
21:28Forget about the rehearsal schedule.
21:30At the moment, they are all canceled until further notice.
21:33The theater owner wants us to suspend the function.
21:41Then I called the town hall to see if they could give me any guarantees.
21:44And nothing, right?
21:45Nothing.
21:46They took the data and hung me up.
21:47He's got a nose.
21:48Maybe it's a divine punishment.
21:50What do you say about divine punishment?
21:52Boss.
21:53Didn't you have a fire in your pension?
21:57For the fire we just set up, Teresa and I.
21:59I 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.
22:16Or three, three.
22:17What nonsense, Elias.
22:18What nonsense.
22:22I'm sorry to tell you that I resign.
22:25I'm leaving.
22:26Don't exaggerate, boss.
22:28And it won't be for long.
22:30Let'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 your nonsense, Elias.
22:37I really resign.
22:39I quit my job.
22:40I'm leaving La Moderna.
22:41Teresa can't stand Mrs. Lázara anymore.
22:43And she's going to quit her job.
22:45And I'm not going to separate from Teresa, so I'm leaving with her.
22:49Let them 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 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?
23:15That's nonsense.
23:16No, Miguel.
23:17An insensitivity would be to let Mrs. Lázara get over Teresa without me doing anything.
23:22I love Teresa madly and I intend to defend her.
23:27So I'm leaving with her.
23:32Excuse me.
23:36But now Cañete is leaving.
23:38Miguel, this is the fifth plague.
23:42And then they're going to destroy La Moderna.
23:44But where are we going to stop?
23:47I don't know.
24:01How do we stop the show?
24:03But it's my fault.
24:05No, no, woman.
24:06The thing is, I think someone from the company had to tell Don Luis that he was the owner of the theater.
24:11What did you want to do?
24:14But it wasn't even 24 hours.
24:16I know, but now the man says that if you had doubts at the beginning,
24:19as we get closer to the day of the premiere,
24:21you'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 show with all the cast hired?
24:31Inés, money is very cowardly.
24:33He doesn't care about the show, the cast or the audience.
24:37All he cares about is squaring the bills.
24:40And there's a company that in two weeks will put a play by the Quintero brothers.
24:45Álvarez Quintero?
24:47We're in the hands of those people, Inés.
24:49In the end, the wall-businessmen send more than we do real actors.
24:54It seems so unfair to me.
24:56Any day, look at what I'm telling you.
24:58I'm getting rid of the cinema and changing business.
25:01No, Agustín.
25:02But you have a full house almost every day.
25:05I know, Inés, but now they've invented sound cinema.
25:08And you have to spend a lot of money on some gadgets to make the movie sound.
25:13And the next day, they'll invent any nonsense that 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. Whiskey, 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.
26:11Well, I can't believe it.
26:14I don't know, maybe I should have warned you.
26:16But I also thought that if he did, maybe he wouldn't be able to make the decision.
26:20But why does he have to tell me why?
26:22Why is he going to leave the modern?
26:24Trini, because I'm tired of dealing with whatever things.
26:27I can't take it anymore.
26:28I've done everything I could, but...
26:31Sometimes in life, you fail.
26:33No, that's not true, because you haven't failed.
26:35Oh, I'm telling you, I have.
26:37This woman is like the sauce.
26:40You think you've ripped her off, but no.
26:42Come back stronger.
26:43What is she going to tell me?
26:44I hate her so much that I can't even look her in the eye.
26:47Besides, she's capable of anything.
26:49I'm afraid of what could happen from now on.
26:52Look, if you allow me some advice,
26:54try 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.
27:02As soon as Don Fermín puts the ring on her finger,
27:04it will be as if he gives her the keys to the place.
27:06Well, that can't be allowed.
27:10And what do I do?
27:11Trinidad, I'll kill myself. I'll kill her.
27:13Yes, I've gone to her house, I've followed her,
27:16I've talked to the neighbors, I've gone to her previous job,
27:18I've talked to the dependents of the previous job,
27:20I've told Don Fermín.
27:21And look, here I am.
27:23It didn't help at all.
27:24But what are we going to do without you?
27:26You're the only one who can talk to Don Fermín.
27:28And that he's right.
27:30Yeah, well, look what it's done.
27:32Now he values her more than before.
27:34Well, but there's still hope because they haven't gotten married.
27:36So we still have to stop him.
27:38No, Trini, no. No one can stop this.
27:41But you have to look on the bright side.
27:43Maybe you'll be promoted.
27:45Or 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.
27:52I don't want to be there all day,
27:53dispatching next to this lady.
27:55Well, one way or another you'll get ahead
27:57because you've had the good judgment
27:59not to get in their way.
28:01But it's just that mine is really unbearable.
28:04And Cañete is also leaving.
28:07Well, yes.
28:08We'll both leave.
28:10We'll throw ourselves into the void.
28:11Maybe we're a little...
28:12No.
28:13No, no, they're not crazy.
28:14What they're doing is betting on being together.
28:16For their relationship.
28:18And to try to get away from the problems.
28:20Well, yes, Trini, that's what I want.
28:22Get away from the problems
28:23and enjoy life a little at once.
28:26I know.
28:28Besides, he doesn't deserve more than anyone.
28:32I just hope they find work as soon as possible.
28:35And if we don't find it,
28:36we'll tighten their belts a little
28:38and throw them out of their savings, which is what they're for.
28:40Good thing I didn't lose them.
28:41Yeah.
28:42Hey, when I talk to Mrs. Lázara to tell her this,
28:46let me know, I want to see the look on her face.
28:48When I'm going to tell her what?
28:49That I quit?
28:51But if she knows, she's known since yesterday.
28:53What do you mean she knows and hasn't said anything?
28:56Well, I find it very strange
28:58that she's so angry as if nothing happened.
29:00Well, if she knows,
29:01what will happen to her when you two are not here?
29:03If she knows.
29:04Because, well, she's bad, but she's not stupid.
29:07Well, yes, it's a little strange, I know it's the truth.
29:10Maybe she has already selected a substitute.
29:14Well, how can she have a substitute?
29:16You can't find a substitute overnight.
29:19And even less without us finding out.
29:22Yeah.
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?
29:48Emiliano Pedraza has bought the gallery.
29:51It's 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'll have to get the rest of the merchants together
30:08to give them the news.
30:09We won't meet in the reservation or on the upper floor
30:12because I'm thinking of drinking a good bottle of champagne.
30:16Everyone will want to toast to you, Don Fermín.
30:19You've saved our lives.
30:21Well, now that the business matters are resolved,
30:27Inés has told me that she is finally going to be part
30:30of your opera troupe.
30:33Thank God.
30:35She reconsidered and realized
30:38that quitting the job wasn't a good idea.
30:40Laurit had a lot to do with it.
30:42What mattered most to Inés was that her sister would forgive her.
30:46I'm very sorry I created this situation.
30:49Those girls were nail and flesh.
30:51Despite the mess their parents made between them,
30:55they still raised her like a princess
30:57and they treated her like a princess
30:59and the other one was no less than a maid.
31:02And to see them like that...
31:04I'm responsible for everything, Don Fermín.
31:07I've been unconscious.
31:10When is the premiere of La Corte de Faraón?
31:15Precisely this afternoon.
31:17I've been discussing the matter with Don Luis Quero.
31:20He's the owner of the theater.
31:22We had a temporary schedule,
31:25but now he doesn't seem very convinced.
31:27When he finds out, let me know
31:29because I want to buy tickets to invite suppliers and clients.
31:32Of course, when we have the dates more clear, I'll let you know.
31:36By the way, how do you think Mrs. Bárbara will react
31:40when she finds out about the play we've made for her?
31:43How? When she finds out, she'll get the seven evils.
31:46I'd really like to be there to see her face because...
31:50That's not going to happen.
31:53It wouldn't be professional.
31:55And it would leave my friend Emiliano in a very bad place.
31:58Of course not.
32:01Anyway, I don't want to steal any more of your time.
32:04I'd like to thank you once again
32:06for all the things you've done
32:08on behalf of all the gallery's salespeople.
32:10See you later.
32:12Good morning.
32:23But you're still like this.
32:25I don't go anywhere with dirty shoes, Antonia.
32:27Especially not to a wedding.
32:29Yes, I understand, but Salvita and Marta are about to arrive.
32:32Yes, yes, just a moment. I'll be done soon.
32:34Come on, I'll put the birdie on you
32:36so you won't take too long and you won't be so nervous.
32:41There's the...
32:47Where's my son? Tell him to come out.
32:50Good afternoon to you too.
32:52Cut the crap and tell my son to come out.
32:54Salvita, show your face, you bastard!
32:56Gentlemen, lower your voices, please.
32:59And speak with respect.
33:02Marta lives here with you, doesn't she?
33:04Yes, she lives here, but her son isn't here.
33:07Do you have children?
33:09Yes, I have one. His age, more or less.
33:11Then put yourself in my place.
33:13My son is capable of doing crazy things.
33:15Excuse me, but you run a bookshop, don't you?
33:18You sell novels and plays.
33:20You must be a well-read man.
33:22What does that have to do with my son?
33:24In all those readings, I haven't learned
33:26that when two young people are in love
33:28and their family wants to ask him, everything goes wrong.
33:30If your son is going to do something crazy,
33:32it's because you're pushing him.
33:34If you listened to your son and made an effort
33:36to accept and understand his feelings,
33:38you wouldn't be giving voice and pushing him to Porto Madrid.
33:41I listen to my son and I try to understand him.
33:44But there are things that I'm going to tolerate.
33:47A young man from a good family can't marry...
33:49Watch what you say!
33:51Watch it.
33:53I won't allow you to disrespect him again.
33:55Excuse me, but when you talk about a good family,
33:57what do you mean? That he has money in his pockets?
33:59Because in this family, it's true that we don't have much money,
34:02but we're as good a family as his.
34:04It's better to be safe than sorry.
34:05Are you going to tell me where my son is, yes or no?
34:07I think it's better if he leaves.
34:09Right now.
34:10Please, let's go.
34:12This won't end like this.
34:15We're here.
34:30What's wrong, my love?
34:32Nothing, I'm getting hot.
34:34Why? Is the house shaking again?
34:36No, no, I'm saying it because...
34:38I don't know, because of the wedding,
34:41because of Cañete and Teresa's resignation,
34:44because Matilde is leaving.
34:46I don't know, it's been a few days of a lot of emotions.
34:48By the way, speaking of shaking,
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
34:59who buys the newspaper in La Goleta
35:01and he told me to be calm.
35:04But who did you talk to?
35:06A 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 Bedell?
35:11My love, let's not get into details that don't matter.
35:14The point is that he told me that the foundations of the building were safe
35:17and that there is nothing to worry about.
35:19Well, there are a couple of neighbors who have left until the construction is finished.
35:22Well, I think it's very good.
35:23They 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.
35:43He invited me and I'm going to go, okay?
35:45And are you going to leave me here?
35:46Look, love, as a life falls on my head, you'll see.
35:49Look, come on, let's go to the wedding and we'll leave the nonsense.
35:54Leave the pendants.
36:02Leave the pendants and be beautiful.
36:04Miguel!
36:11Come in.
36:17Did you want to see us, Mrs. Lázaro?
36:19Yes.
36:21If you are so kind to sit down, it will only be a moment.
36:32This is for you, Cañete.
36:35And ... Teresa.
36:39What is this?
36:41Read it carefully.
36:43It is very well explained.
36:45It 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.
36:55He doesn'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.
37:06Of 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 compensation.
37:44In the same way, if you harm the company by leaving your jobs overnight,
37:50you will also have to pay.
37:52That's all.
37:55Will you be able to report us?
37:57As if we were criminals.
37:58Look, Cañete.
37:59Don Fermín and I are getting married.
38:01And since it is natural, we will not go on a honeymoon.
38:04They have chosen the worst time to leave.
38:07And in my personal opinion, they do it to harm La Moderna.
38:11No, excuse me.
38:12We do it because you don't leave us another way out.
38:14That's why we do it.
38:16Don't yell at me.
38:17No one is going to raise their voice here, okay?
38:21They can think of me whatever they want.
38:23But of course, Don Fermín does not deserve this disloyalty.
38:27He is stabbed in the back just when he is so vulnerable.
38:30We 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.
38:45Well, thank you very much.
38:47He doesn't give up.
38:49He has tried to kick me out of La Moderna so many times,
38:51to get away from Don Fermín, and he has always failed.
38:55Doesn't he get tired?
39:01You can go now.
39:03I'll wait for you here tomorrow at the first hour,
39:05with the uniform on and ready to work.
39:08If that's not the case,
39:10I recommend that you look for a lawyer because you will need one.
39:30You're welcome.
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.
39:54Making fun, he says.
39:55Look 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 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've had to give it all
40:23to convince Luisquero.
40:26But if a while ago I wanted to cancel,
40:29and now, what did you tell him?
40:33I've had it.
40:35And what does that mean?
40:39Oh, I 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.
40:58The thing is that I've sat in front of Luisquero
41:02and I've said,
41:03look Luis, I understand perfectly
41:06that you're worried.
41:08I wouldn't care if I were in your place,
41:09but I've listened to Inés Balbuena
41:13and I've seen the face of the audience
41:16when she sings,
41:18and then,
41:20my concern has vanished.
41:23But, have you convinced him with that?
41:26No, no, no, no, no.
41:28Wait.
41:29The horde is coming now.
41:30Well, cheers.
41:31Oh, yes.
41:37I've told Luis
41:40that the night of the Madrid Cabaret
41:43there was another wall businessman.
41:45The competition.
41:48And I've given him the job
41:50because he offered us 20% more.
41:53In cash.
41:54But that's not true.
41:58No, but he believed it.
42:00And that's what it's about.
42:02But, are you crazy?
42:04If he talks to the other businessman,
42:05you'll see that you've lied to him.
42:08Too late.
42:10I'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 court of pharaohs to another theater.
42:20And you know what, Inés?
42:22He swallowed it.
42:25Swallowed it.
42:28But, but then,
42:30this morning we didn't have a show
42:33and now we have the premiere in a month
42:35and with better cash.
42:37It's or it's not to celebrate it.
42:41Another toast?
42:48You 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, well,
43:04I feel that
43:06I don't deserve to be happy.
43:09You know, in that sense,
43:12the people of the theater
43:13have learned their lesson.
43:17Because
43:18because
43:20if yesterday's performance
43:22was 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.
44:03Why don't you change
44:04and get married at 7 or 7.15?
44:07You 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 won't allow
44:24my wife to be disrespected.
44:27Salvita, 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.
44:41You're widowed.
44:42He's going to be very lonely.
44:44You have to respect him.
44:46And make an effort
44:47to respect him and understand him.
44:52I'm here.
44:54Is that the dress?
44:55Yes.
44:56But what are you doing?
44:57If you've been here for half an hour,
44:58you weren't getting dressed.
44:59No, I was putting on make-up
45:00and fixing my hair.
45:01By the way,
45:02it's a bit broken.
45:03Can you help me?
45:04Yes, yes.
45:05Come on, let's go inside.
45:06Well, but please, don't take too long.
45:07In half an hour,
45:08we have to be at church.
45:09Don't you think a priest
45:10is going to leave
45:11because his girlfriend is late?
45:13I don't know.
45:14No, darling.
45:15He's not leaving.
45:16Besides, brides are always late.
45:17And I'm telling you,
45:18it's bad luck
45:19that the groom sees his bride dressed.
45:21I didn't know that.
45:22Is it bad luck?
45:23Yes.
45:24Well, you know it.
45:44They're here?
45:45They'll be in Alcaer.
45:46Matilde won't leave without saying goodbye.
45:48And I'm sure
45:49that Inigo Peñalver
45:50also wants to say goodbye.
45:51By the way,
45:52speaking of saying goodbye,
45:53have you been able to talk
45:54to Cañete and Teresa?
45:55Yes, I've talked to them.
45:56I think they're all...
45:57I'm sorry, Lazara,
45:58but Matilde is there.
45:59Come in, please,
46:00and tell the rest
46:01of the family
46:02that I'll be in Alcaer.
46:03Yes, of course.
46:04I'll be in Alcaer.
46:05I'll be in Alcaer.
46:06I'll be in Alcaer.
46:07I'll be in Alcaer.
46:08I'll be in Alcaer.
46:09I'll be in Alcaer.
46:10I'll be in Alcaer.
46:11Matilde.
46:12Come in, please,
46:13and tell the rest
46:14of the family
46:15to leave.
46:16We'll say goodbye.
46:17Right away.
46:21Matilde.
46:22Inigo.
46:23Hello, beautiful.
46:26Thank you
46:27for saying goodbye,
46:28Don Fermín.
46:29You're welcome.
46:31What a jewel you are, Inigo.
46:34I know, Don Fermín.
46:35I know.
46:37But I forgive you.
46:38Are you leaving
46:39for Logroño?
46:40Yes, we have everything ready.
46:41The car is back there.
46:43Drive carefully,
46:44for God's sake.
46:46On those roads at night...
46:47Don't worry.
46:48I'll do it.
46:59Matilde, good luck.
47:02Well,
47:03will you bring us
47:04a box of La Rioja wine?
47:06And if you get a good harvest,
47:07I want the exclusive in Madrid.
47:08I trust you, Don Fermín,
47:09but of course.
47:10I'll do it.
47:12Well, I've brought you
47:13some sweets for the road.
47:16We'll miss you.
47:17Thank you, Teresa.
47:22Matilde, are you leaving?
47:23We can't say goodbye like this.
47:26Please, don't go.
47:27How elegant!
47:28What's going on?
47:29Are you going to the opera or what?
47:31No, we're going for a walk.
47:33A walk.
47:34Well,
47:35let Matilde speak.
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
47:50a second home for me
47:53and you a second family.
47:56That's why
47:58I don't want to say goodbye.
48:00I want to say
48:01goodbye
48:03and I hope that soon
48:05I can come and visit you
48:06at La Moderna.
48:09And until then,
48:10I'll take you in my heart
48:14forever.
48:16Thank you for everything.
48:19See you later.
48:21Yes?
48:22See you later.
48:24Well, don't bother.
48:26You have many hours
48:27of driving ahead.
48:30Thank you for everything, Matilde.
48:31For everything.
48:33And as you just said,
48:35see you later.
48:38I'm going to give you a hug.
48:41Good luck.
48:47Goodbye.
48:49See you later.
48:54Goodbye.
49:08Goodbye.
49:25Aunt Conchita
49:26can come and visit us.
49:28Yes,
49:29when we're settled.
49:32And Luisa and Pablo?
49:34Also.
49:35We're going to be alone
49:36the three of us.
49:39The four of us.
49:54I'm going to have a nephew.
49:57I'm going to be the aunt.
50:05I'm going to be the uncle.
50:13But how did you leave the salon?
50:15This is a welcome.
50:17The new owners of the gallery are here.
50:22Emiliano Pedraza Santulario
50:24the same one who wears socks.
50:26I'm so happy.
50:28I'm convinced that my investment
50:29in the gallery will be a success
50:31and if it weren't enough
50:32we're going to revive our friendship.
50:34Me alegra mucho que estés devuelta, Emiliano.
50:37Por el matrimonio tan perfecto que tenéis.
50:40Maruja y Emiliano.
50:41¿Es cierto que usted y el señor Comas van a casarse?
50:45Bueno, eso es algo muy personal.
50:47Ahora lo importante es que no os perdáis la sombra del amor.
50:50Os va a encantar la película.
50:51Que ser madre está muy bien, ¿eh?
50:53Yo estoy muy feliz.
50:55Pero bendito el día en que decidimos juntar el bebé con la mudanza.
50:59¿Tú cómo vas con la tienda?
51:00¿Lo tienes ya todo listo para la inauguración?
51:02Voy bien.
51:03Trabajando mañana, tarde y noche.
51:06Pero por suerte, cuento con la ayuda de Rodrigo.
51:09Porque si fuera por padre, no me lo impide,
51:11pero me ha dejado claro que no piensa ayudarme.
51:13Bueno, pues yo te ayudaré en todo lo que pueda.
51:16Cuando triunfe con mi idea de llevar la moda a todas las mujeres,
51:20tanto a ricas como a trabajadoras, tendrá que darme la razón.
51:23Este mate está frío.
51:24Llévate esta taza, por favor.
51:26Madre, yo creo que hay que ayudarla en todo lo que podamos.
51:29Porque la chica se lo merece.
51:30Y también por los Pedraza.
51:31Ellos han portado siempre bien con nosotros.
51:33Lo sé.
51:34Yo, como usted, les estoy muy agradecido.
51:36Me gusta mucho ver cómo trabajas con don Emiliano.
51:38Y cómo, siendo tan joven, te has convertido en su hombre de confianza.
51:41No paro de darle vueltas a lo que te dijo la mujer esa,
51:44la de esta mañana.
51:45Sí, la que me ha preguntado si me voy a casar contigo.
51:48Me ha hecho pensar en nuestra relación, en lo que tenemos.
51:51¿Padres?
51:52Disculpad.
51:53No ceno con vosotros.
51:55Tengo un compromiso.
51:56Y déjame adivinar.
51:57Ese compromiso consiste en ir de picos palos, ¿no?
52:00¿Paula también se ha ausentado?
52:02Con una sutil diferencia,
52:03que Paula se ha ido con Rodrigo a trabajar a la tienda.
52:06Ya podrías parecerte un poquito más a ellos.
52:08¿Cuándo vamos a dejar de escondernos?
52:10¿Es que acaso estamos haciendo algo malo?
52:12¿Tú crees que tu padre te permitiría estar con alguien como yo?
52:21Pues me temo que se han agotado las existencias de este champagne, caballero.
52:25¿No lo estarás diciendo para fastidiarme que nos vayamos?
52:27Si quiere, puede acompañarme a la bodega y comprobarlo usted mismo.
52:30Aunque para ello tendría que levantarse y a lo mejor no está en condiciones.
52:34Me tienen un poco harto tus hijos.
52:36Quizás si les hubieras educado mejor, con más mano dura, no habría salido así.
52:41Después de que me haya dedicado a vosotros los últimos 25 años de mi vida.
52:45Pero si te tengo a mante el puesto.
52:48¿A mante el puesto?
52:49Para beneficencia lo que he hecho yo contigo.
52:56Señor, necesita algo.
52:58¿Que si necesito algo?
53:00Claro, lo de siempre.
53:03Pasa.