Edha (2018) s01e03 Episode Script
The Perfect Model
1 A NETFLIX ORIGINAL SERIES [EDHA.]
Are you OK? - I'll call a cab for you.
- [TEO.]
No need.
You should go to the hospital.
Here's money to get yourself checked and fix your bike.
[TEO.]
You paying me off? I'm not going to go to the police.
I could, but I won't.
The precinct, witnesses, it's a waste of time.
I'm not paying you off.
Give me a job then.
That's what I need.
I've got nothing to offer you.
- I've seen you before.
- Me? Impossible, I'm not from this neighborhood.
Do you have a cook? A dog? I can cook, walk the dog.
Teo.
Nice to meet you.
Edha.
Sure you don't need anybody? I have a fashion show this week, we'll probably need some help.
Call me.
Get in.
[DOORS SHUT, MOTOR STARTS.]
[YASTIN.]
Girl, taking and carrying stuff, without asking, the first time of many.
See? It wasn't so hard.
Women inspire more trust.
Now we finish this, there'll be a show, I'll get you on the runway.
Your cut.
With this, you're done with Medina.
Forget about him.
And I'm stuck with you.
Think of it as an investment.
- Can you take it to him? - Yeah, I can do that.
- OK, El Pija goes with you.
- Let's go.
I take care of myself, Pija.
This is what we owe you.
We're done.
This all you've got for me? You don't owe me anything.
Not until I saw you.
Did that rat Teo send you? Why didn't he come himself? Because I came.
Now you came, I have a problem that I didn't have.
If your husband sends me candy, I can't turn it down.
It wouldn't be nice.
No one gave me away.
- Don't touch me.
Ah! Let go of me! - Come here! - Come here! - Don't touch me! Don't Ow! [EL PIJA.]
Let her go.
- That kid is mine.
- Pija, dear! Nice nickname! You know who gave it to him? - Daddy.
- Go.
Now! You like trouble, girl.
Don't come near.
You have your money.
Stop fucking around.
- [EL PIJA.]
Let's go.
- You owe me a ride! - Do you know him from before? - Medina raised me.
- How did you get away? - I left when I was 15.
- Yastin took me in.
- Will you tell me your name? Christian.
Thank you, Christian.
Take care, kid.
Yastin.
[SINGING IN HEBREW.]
Amen.
I made a promise to the investors.
You should care too.
I do care.
[SEWING MACHINES WHIR.]
[ANTONIO.]
What is it? - Elena.
- Don't worry so much.
- He'll treat her right.
- I don't know.
Elena is strong, she'll defend herself.
Jáuregui isn't after her.
He's after me.
[JÃUREGUI.]
Orange juice for the princess.
[ELENA.]
Thank you.
- It's a beautiful day, isn't it? - Yes.
- Is it too hot? - No.
- Did you put sunscreen on? - Yes.
[CELLPHONE VIBRATES.]
You're not answering? No.
I'm enjoying an afternoon with my daughter.
Cheers.
Oh, Molina.
It's not very creative, is it? To accuse the foreman? I'm not here to innovate.
For creative types, look in advertising or engineering - Art, perhaps.
- Let's talk about the brand.
Who was this factory sewing for? I'm on it.
The search turned up empty.
The witnesses don't even know what they were doing.
You know how it is.
I want this case.
And I'll get it somehow, Molina.
You've already decided who's guilty, haven't you? That's futurism, not investigating.
You know as well as I do.
Why don't you get over your dad's death with counselling? We DAs have access to counselling.
It might help you quit smoking.
[DA RAMOS.]
I don't smoke anymore.
[DA RAMOS.]
When the case is mine, I'll begin a new investigation.
[DOOR CLOSES.]
[YASTIN.]
Paloma Zucatzer, Edha.
The show is today, High Couture.
- [CELIA.]
I can't go.
- I already sold you.
Who, me? [YASTIN.]
Yes, I'm one short, get changed.
This is a modeling agency, not a fruit store.
- [YASTIN.]
I have to deliver.
- She's saying she can't go.
- What part don't you understand? - Listen to me, Brad Pitt.
You know that loose tongue of mine? Or have you forgot how you got to Edha? If I tell them you're the foreman's brother, you're toast, baby.
I'll wait for you.
Let's go.
[CELLPHONE RINGS.]
- [TEO.]
Yes? - [MOTA.]
It's now, you have to do it.
Today? [MOTA.]
The DA has changed.
They're doing a new investigation at the sweatshop.
What time? [MOTA.]
Anytime now.
Hurry up.
OK.
- [CELIA.]
What is it? - Mota.
They're opening a new investigation at the factory.
I'm going there.
This time they'll find something.
[DOOR CLOSES.]
[INHALES.]
Come out, I saw you.
Come on, I'm nervous.
Don't make it worse.
- What's your friend's name? - He's not my friend.
You can't name him.
I told you what to do.
- And if they ask who sent me? - They won't.
If you get there it's because you know.
Go where I told you to.
Knock the door.
Thank you, Manito.
- Remember what you promised.
- What's wrong with him knowing? Neither him nor anybody else.
Teo has a very loose tongue.
Nobody can know I went.
You know I do what you tell me.
No, I don't.
Prove it to me.
- This is my chance, you know? - I know.
- Lips sealed? - I promise.
You can't smoke here.
[EDHA.]
Where are you from? Me? From the South Zone.
- Where are you from? - [CELIA.]
You want my address? - What agency? - I don't know.
Antonio saw her.
My name is Celia Vargas.
Where are you from? - [CELIA.]
Buenos Aires.
- Which agency? How did she get here? I don't know, I have no idea.
It's obvious she has no agency, though she knows about today.
- She looks really good.
- Yeah.
She's by far the best, I love that sense of darkness.
- Give her a chance? - No, no agency.
No references, I don't know how she got here.
No, no.
[FLORENCIA.]
Girls, we're done here.
- [CELIA.]
Are you OK? - That's normal, don't worry.
- What did she say? - Nothing, it doesn't matter.
- Tell me.
- With a name like that she bets you clean the toilet well.
- What else? - All awful.
Pay no attention.
- Don't even tell her.
- No, better not to.
Why don't you tell me in Spanish, tough girl? Shit sticks together, you know? Why are we waiting? We'll be late.
The princess That's who we're freezing our asses for.
That bitch? [LAUGHTER.]
Stop drinking! You'll swell like toads.
Come on, get going! Let's get in! Go on, get going! We're all waiting for you.
Who do you think you are, kid? I can't go.
Stop screwing around and get in.
- She knows me.
- Who? That woman, Edha.
She knows me.
Teo doesn't know.
Look, I know I owe you one and I'll pay, but not today.
I can't.
I want to, but I can't.
You're such a cheat.
[MOTOR STARTS.]
Let's go.
- Thank you very much.
Nice work.
- Baruch Hashem.
Blessed be the name.
Do you understand? Antonio told me you were a couple.
Do you know him well? Take care of him.
[MOTOR STARTS.]
Not those, they're awful.
Florencia, I don't want any wrinkles on the collar.
AnÃbal, start loading the van.
You told me someone else was doing that.
He hasn't arrived.
The clothes hangers, going to the bank, running errands to the pharmacy, security, the suppliers I do everything.
Good, speak to Lorenzo about your trade union problems.
What's up with AnÃbal? The usual.
Complaining about everything.
Sometimes he's right.
You like him because he's an ass-kisser.
Your problem is he doesn't kiss yours.
No, he stares at mine, and it's unpleasant.
- Is that so? - Yes, it is.
AnÃbal is here and obeys orders.
That guy you were bringing didn't show up.
Where is he? [GLASS SHATTERS.]
[GRUNTS.]
[DA RAMOS.]
Come on, come on, let's go in, gentlemen! [DA RAMOS.]
Careful in the sewing areas, everything could be evidence.
[POLICE SIRENS.]
[DA RAMOS.]
Any papers, any cloth, any labels could be evidence in the case.
[UPBEAT MUSIC PLAYS.]
- So? What's up? - You're always late? [EDHA.]
You can't wear that if you're working with me.
- Antonio! - [ANTONIO.]
Edha.
- Give him proper clothes, please.
- Come this way, please.
[ANTONIO.]
Come on.
There's a mirror here, put this on.
Go to hair for a touch-up.
- Where are your boots? - I don't know.
[ANTONIO.]
Hey.
Put this on.
Good.
Go.
[ANTONIO.]
Don't put me on the spot with Edha.
Wait for me.
[ANTONIO.]
Edha! [EDHA.]
Come here.
- What happened here? - I had an accident on my way here.
That one over there is AnÃbal.
He'll tell you what boxes to load.
Tell him you're with me.
I'm "with you"? You work for me.
That's why you're here, isn't it? Go on.
- Antonio, Maia's boots are missing.
- Where are Maia's boots? [EL PIJA.]
Go on, walk like ladies, everyone's beneath you.
- Be good, the boss is in a bad mood.
- Get lost.
Park this thing far away.
Hey.
We're here for the show, these are my girls.
Paloma Zucatzer is waiting for us.
Can you do me the favor? [ELENA LAUGHS.]
How awful.
So? How do I look? Bad.
[MONINA.]
I'm not asking you.
[ELENA.]
Good, it's really nice.
- Those pants make your ass look fat.
- Your dad loves it.
Well, make something to eat later, I don't want you ordering in.
- You don't need to open the door.
- Say hi to my mom.
Study hard.
You especially, Delfina, please.
I don't want another year without a vacation.
- I promise you that won't happen.
- OK, bye! [BEDROOM DOOR CLOSES.]
[FRONT DOOR CLOSES.]
- What are you doing, Del? - You think I'm studying? Yes, that's what we're going to do.
I can't tell you the truth because you're a terrible liar.
- Go on, get changed.
- Where are we going? - To a party.
- What party? A party with Sebi.
[DELFINA.]
Come on, get changed.
- Hello.
- No, not that one.
- How are you, Paloma? - I'm very well.
You? Happy.
Happy with this.
We're so far removed from the real world.
You converted to Buddhism or something? No, I'm talking about our work.
We have to get engaged with reality.
- Which reality? - The production one.
- Didn't you hear what happened? - No.
Another fire.
Another clothes factory.
Tremendous.
How many is that now? The investors were very pleased with you after that dinner.
You do a fine job.
Yes.
Hurried, but tidy.
[PALOMA.]
Let's go to our area.
We're bothering the other designers here.
Inclusive beauty? She's no fool.
I'll look shallow now.
- The investors asked for some of that.
- You didn't tell me.
I don't follow whims.
- Except your own.
- Except my own.
[EDHA.]
Is everyone dressed? [ELECTRONIC MUSIC PLAYS.]
[CROWD CHEERS.]
[CROWD CHEERS.]
[CROWD CHEERS.]
[CROWD CHEERS.]
[CROWD APPLAUD.]
[CROWD SCREAM.]
Florencia, have you seen the new guy? - The new helper? - Teo.
[FLORENCIA.]
No, I haven't seen him.
[CROWD APPLAUSE CONTINUES.]
Delfi! Delfi! - Eh? - Stay here, I'm leaving.
- Where are you going? - Wait.
I left my things in your house.
- Go on then.
- Let's go.
- How do I get home? - Take these.
- No, I'm not going alone, let's go! - Calm down, take them! Go on, Elena, just go! [JULIÃN.]
Where's Delfina? [ELENA.]
She's coming.
- She's coming, from where? - A party.
Weren't you supposed to be studying? We studied, then went out.
I came back early because I wasn't feeling well.
- You threw up again? - [ELENA.]
No.
No, I'm a little dizzy.
I got dizzy, I don't know.
But I'm going now.
I came to get my keys It's very late, Ele.
Did you eat? No.
Eat something and then sleep here.
- I'm not hungry.
- You get dizzy because you don't eat.
That's what happened.
Or I can call your mom.
No, it's OK.
I'll eat.
I won't be eating alone.
It's after 12.
It's my birthday.
It didn't turn out as I hoped.
It was delicious.
You shouldn't lie to me.
- No, I liked it.
- No, I mean Delfi.
I know she smokes and does other things, I'm not an idiot.
Hard to believe, but I was your age once.
[SHE LAUGHS.]
I understand everything's more complicated these days.
I don't like her not telling me because if something happens, I don't know where she is.
- Do you understand? - Yes.
Anyway, it's not your fault.
You always do things correctly.
- What? Did I say something wrong? - No.
Your face says "yes.
" I'm always the idiot, the boring one.
I'm sick of doing the right thing.
I don't think so.
I know very well the price of being a goody two-shoes.
Look, I'm the eldest of three.
I was always the cleanest, the tidiest, the best student, the cutest The cutest, no.
That was Lucas.
Nice is being here with you and having you listen to me.
- We're like worms, you and me.
- What? They cut us in half and we live on.
We survive everything.
Cheers.
They're here.
Despite the scene you made at the restaurant, here they are.
- They liked the collection.
- Oh, they went crazy.
It wasn't crazy putting the workshop at home.
No, it wasn't so crazy.
Focus on the new collection and we'll present it to them soon.
[DOOR OPENS.]
Why didn't you go? Why are you dressed like that? [SHE SIGHS.]
I got into trouble.
I got the money and paid Medina for you.
Where did you get the money? What did you do? What did I do? I saved your life, while you were playing detective.
- Look, Celia - What do I do if something happens to you, Teo? Where do I go? Manito is gone, now you Why the fuck did I come with you two? So you'd leave me alone? [SIGHS.]
Manito shouldn't have been there when the factory caught fire.
It wasn't your fault.
If we hadn't told him the truth, he'd be here.
Manito is here with us.
He always will be.
[LAUGHS.]
Look at your clothes.
They're shit.
Take them off.
[DA RAMOS.]
After a second appraisal, among other evidence, a roll of labels with the inscription EDHA was found, which would involve the clothing brand with the place's activity, which was determined to be that of a sweatshop.
This gives us grounds for suspicion over any and all persons who can be proven to have entered or left the burnt-down factory among which we note the presence of the deceased foreman's brother, as well as the apparent girlfriend of one or both.
So? Where did you go this time? Did you eat at his place? Yes.
What did you do after? - Nothing.
- What do you mean, "nothing"? We were alone.
You were alone when you went for Japanese? What else? We ate well.
What are you saying? I'm talking to myself.
- What? - What's wrong with you? - Nothing.
- Where are you? Here.
Did he treat you well? Yeah, it was weird.
Weird, how? I don't know, Mom.
[MOLINA.]
They did a new investigation and some labels showed up.
And you're just telling me now, Molina? I just found out.
The labels were never sewn on in the factory.
It was an express order.
It's textbook stuff.
I don't believe it.
Their value as evidence is dubious.
That ass-wipe Pereyra did something shady.
That son of a bitch has got it in for me.
He's capable of anything.
That report has no legal worth.
I still had the case.
There's just hours between the report and the case being passed to him.
The same file? No, a federal judge.
- A people trafficking and slavery case.
- No! [INHALES DEEPLY.]
- Can you do something? - No, not me.
- You can, you have to do something.
- Me? But tell me what.
You have to sacrifice someone.
Someone has to fall.
- But who? - I don't know.
Think about it.
[MOLINA.]
This will help you.
[MOLINA.]
Take my advice.
Hello, daughter.
A pleasure.
Why did you bring me here? Well, this is a private place.
I invited him.
The DA did me a favor.
- We can't be seen together.
- Something happened? Yes.
What? - Something of a delicate nature.
- What? What do you think, Edha? The fire at the factory.
- You said that was taken care of.
- It was.
- The case has gone to another DA.
- And? We could go to prison unless I do what Molina suggested.
What did he say? That if someone, Antonio, for instance were to give himself up voluntarily to show we have nothing to hide, it could help us.
Do you understand? - Why Antonio? - I don't cut fabric, Edha.
- Leave this to me.
- Not Antonio.
Don't drag him into this.
Relax, it will be fine.
I promise.
It will be dealt with quickly? Absolutely.
Pastene will take care of everything.
He's been my lawyer my whole life.
You know him.
[LORENZO.]
He'll tell you what to say.
Are you on board? Listen, Antonio.
I'm not feeding you to the dogs.
If things go badly for you, they do for me.
You're the number-one employee in this company.
I'm ultimately responsible.
- It's just a show of good faith.
- That's right.
What do you think? I don't know anything about this.
It's best to let Lorenzo take care of it.
Listen, I assure you that in three days this case will be closed and we can forget all about it.
I've got the investors after me.
I need to seal the deal, and you're essential in that.
[MONINA.]
Is Sebastián going to be long? I texted him.
- [MONINA.]
And? - [DELFINA.]
He hasn't read it yet.
Don't worry about me.
I'll survive if Sebastián can't make it.
[DELFINA.]
You're so mean.
Let's order drinks.
I don't like taking up a table and not ordering.
- No, let's wait.
- Just the drinks.
No, Mom, we have to wait.
Happy birthday to you! Happy birthday to you! Happy birthday [SEBASTIÃN.]
And out of respect.
[JULIÃN.]
There are better ways [SEBASTIÃN.]
How old are you? [INDISTINCT CHATTER.]
Happy birthday, Julián.
I'm going to the bathroom.
AnÃbal sent for me.
Are you going to escape again? Last chance.
If you pass, you stay.
If not, you're out.
[DOORBELL RINGS.]
[KEYS JINGLE.]
I'll be right back.
- Edha Abadi? - Yes.
Andrés Pereyra Ramos DA.
[DOOR CREAKS OPEN.]
[MANITO.]
Half.
- I have to deliver it today.
- Make do with that.
Don't bust my balls.
[ANÃBAL.]
What are you looking for? You were going through this stuff.
Why? Stop playing dumb.
I know you're planning something.
This is my house.
Here we have the showroom and the offices.
We set up workshops according to production demands.
And how is current demand? Low.
We just finished a collection.
- And where was that made? - Right here.
I made it.
Ah.
You? And how did you supply the businesses, the quantity production? We work with four factories and a tailor.
We never had any trouble.
Anyway, I don't deal with that.
Contact our lawyer or failing that, Lorenzo Abadi.
- Lorenzo Abadi? - Yes.
Tell your father I'll contact him later, OK? Have you ever considered an Italian collar? Excuse me? Your ties would look much better with an Italian collar.
But to each his own.
The police are outside.
Explain to them.
- I've got nothing to explain.
- What is this? - [ANÃBAL.]
He was in your workshop - What were you doing? No one can go in there.
- Search me if you want.
- He's new, he doesn't know the rules.
Come with me.
[DOOR OPENS.]
[DOOR CLOSES.]
Get up here.
AnÃbal was right.
I don't let anybody come in here.
Let's go somewhere else.
No, I want to try something on you.
[EDHA.]
Teo is much more than a model or a support for my designs.
Teo is real.
Unique.
Everything.
[EDHA.]
A feeling that's impossible to define resides in him.
His story, his mystery.
What I don't know about him is as compelling as what I do.
- The pants too? - What did this? - I cut myself with a glass shard.
- Accidentally? Yes.
[EDHA.]
Teo is the perfect model.
I don't know if you'll like it.
No one really does.
You just have to bear with it.
Sometimes it gets tiring.
Tiring? This? There are worse jobs, I'm not stupid.
There's a false belief about this job.
No one knows what it's really about.
Girls come with an air of triumph without knowing they're going to crash and burn.
They live by themselves.
Then the agency calls them, sends them to Japan or Australia.
With a guide under their arm they only learn how to say "hello" and "please.
" They're old by the time they're 25.
Don't touch it.
- How old are you? - Thirty-five.
You're old.
Old for what? For almost everything.
I don't know what I'm doing.
You don't? Model.
A model for my brand.
Don't you make women's clothing? I have some designs for men.
Exceptional.
An attempt that never succeeded.
- No one liked them? - People liked them.
But I didn't know how to continue them.
- What was your name? - Teo.
Welcome to Edha, Teo.
Are you OK? - I'll call a cab for you.
- [TEO.]
No need.
You should go to the hospital.
Here's money to get yourself checked and fix your bike.
[TEO.]
You paying me off? I'm not going to go to the police.
I could, but I won't.
The precinct, witnesses, it's a waste of time.
I'm not paying you off.
Give me a job then.
That's what I need.
I've got nothing to offer you.
- I've seen you before.
- Me? Impossible, I'm not from this neighborhood.
Do you have a cook? A dog? I can cook, walk the dog.
Teo.
Nice to meet you.
Edha.
Sure you don't need anybody? I have a fashion show this week, we'll probably need some help.
Call me.
Get in.
[DOORS SHUT, MOTOR STARTS.]
[YASTIN.]
Girl, taking and carrying stuff, without asking, the first time of many.
See? It wasn't so hard.
Women inspire more trust.
Now we finish this, there'll be a show, I'll get you on the runway.
Your cut.
With this, you're done with Medina.
Forget about him.
And I'm stuck with you.
Think of it as an investment.
- Can you take it to him? - Yeah, I can do that.
- OK, El Pija goes with you.
- Let's go.
I take care of myself, Pija.
This is what we owe you.
We're done.
This all you've got for me? You don't owe me anything.
Not until I saw you.
Did that rat Teo send you? Why didn't he come himself? Because I came.
Now you came, I have a problem that I didn't have.
If your husband sends me candy, I can't turn it down.
It wouldn't be nice.
No one gave me away.
- Don't touch me.
Ah! Let go of me! - Come here! - Come here! - Don't touch me! Don't Ow! [EL PIJA.]
Let her go.
- That kid is mine.
- Pija, dear! Nice nickname! You know who gave it to him? - Daddy.
- Go.
Now! You like trouble, girl.
Don't come near.
You have your money.
Stop fucking around.
- [EL PIJA.]
Let's go.
- You owe me a ride! - Do you know him from before? - Medina raised me.
- How did you get away? - I left when I was 15.
- Yastin took me in.
- Will you tell me your name? Christian.
Thank you, Christian.
Take care, kid.
Yastin.
[SINGING IN HEBREW.]
Amen.
I made a promise to the investors.
You should care too.
I do care.
[SEWING MACHINES WHIR.]
[ANTONIO.]
What is it? - Elena.
- Don't worry so much.
- He'll treat her right.
- I don't know.
Elena is strong, she'll defend herself.
Jáuregui isn't after her.
He's after me.
[JÃUREGUI.]
Orange juice for the princess.
[ELENA.]
Thank you.
- It's a beautiful day, isn't it? - Yes.
- Is it too hot? - No.
- Did you put sunscreen on? - Yes.
[CELLPHONE VIBRATES.]
You're not answering? No.
I'm enjoying an afternoon with my daughter.
Cheers.
Oh, Molina.
It's not very creative, is it? To accuse the foreman? I'm not here to innovate.
For creative types, look in advertising or engineering - Art, perhaps.
- Let's talk about the brand.
Who was this factory sewing for? I'm on it.
The search turned up empty.
The witnesses don't even know what they were doing.
You know how it is.
I want this case.
And I'll get it somehow, Molina.
You've already decided who's guilty, haven't you? That's futurism, not investigating.
You know as well as I do.
Why don't you get over your dad's death with counselling? We DAs have access to counselling.
It might help you quit smoking.
[DA RAMOS.]
I don't smoke anymore.
[DA RAMOS.]
When the case is mine, I'll begin a new investigation.
[DOOR CLOSES.]
[YASTIN.]
Paloma Zucatzer, Edha.
The show is today, High Couture.
- [CELIA.]
I can't go.
- I already sold you.
Who, me? [YASTIN.]
Yes, I'm one short, get changed.
This is a modeling agency, not a fruit store.
- [YASTIN.]
I have to deliver.
- She's saying she can't go.
- What part don't you understand? - Listen to me, Brad Pitt.
You know that loose tongue of mine? Or have you forgot how you got to Edha? If I tell them you're the foreman's brother, you're toast, baby.
I'll wait for you.
Let's go.
[CELLPHONE RINGS.]
- [TEO.]
Yes? - [MOTA.]
It's now, you have to do it.
Today? [MOTA.]
The DA has changed.
They're doing a new investigation at the sweatshop.
What time? [MOTA.]
Anytime now.
Hurry up.
OK.
- [CELIA.]
What is it? - Mota.
They're opening a new investigation at the factory.
I'm going there.
This time they'll find something.
[DOOR CLOSES.]
[INHALES.]
Come out, I saw you.
Come on, I'm nervous.
Don't make it worse.
- What's your friend's name? - He's not my friend.
You can't name him.
I told you what to do.
- And if they ask who sent me? - They won't.
If you get there it's because you know.
Go where I told you to.
Knock the door.
Thank you, Manito.
- Remember what you promised.
- What's wrong with him knowing? Neither him nor anybody else.
Teo has a very loose tongue.
Nobody can know I went.
You know I do what you tell me.
No, I don't.
Prove it to me.
- This is my chance, you know? - I know.
- Lips sealed? - I promise.
You can't smoke here.
[EDHA.]
Where are you from? Me? From the South Zone.
- Where are you from? - [CELIA.]
You want my address? - What agency? - I don't know.
Antonio saw her.
My name is Celia Vargas.
Where are you from? - [CELIA.]
Buenos Aires.
- Which agency? How did she get here? I don't know, I have no idea.
It's obvious she has no agency, though she knows about today.
- She looks really good.
- Yeah.
She's by far the best, I love that sense of darkness.
- Give her a chance? - No, no agency.
No references, I don't know how she got here.
No, no.
[FLORENCIA.]
Girls, we're done here.
- [CELIA.]
Are you OK? - That's normal, don't worry.
- What did she say? - Nothing, it doesn't matter.
- Tell me.
- With a name like that she bets you clean the toilet well.
- What else? - All awful.
Pay no attention.
- Don't even tell her.
- No, better not to.
Why don't you tell me in Spanish, tough girl? Shit sticks together, you know? Why are we waiting? We'll be late.
The princess That's who we're freezing our asses for.
That bitch? [LAUGHTER.]
Stop drinking! You'll swell like toads.
Come on, get going! Let's get in! Go on, get going! We're all waiting for you.
Who do you think you are, kid? I can't go.
Stop screwing around and get in.
- She knows me.
- Who? That woman, Edha.
She knows me.
Teo doesn't know.
Look, I know I owe you one and I'll pay, but not today.
I can't.
I want to, but I can't.
You're such a cheat.
[MOTOR STARTS.]
Let's go.
- Thank you very much.
Nice work.
- Baruch Hashem.
Blessed be the name.
Do you understand? Antonio told me you were a couple.
Do you know him well? Take care of him.
[MOTOR STARTS.]
Not those, they're awful.
Florencia, I don't want any wrinkles on the collar.
AnÃbal, start loading the van.
You told me someone else was doing that.
He hasn't arrived.
The clothes hangers, going to the bank, running errands to the pharmacy, security, the suppliers I do everything.
Good, speak to Lorenzo about your trade union problems.
What's up with AnÃbal? The usual.
Complaining about everything.
Sometimes he's right.
You like him because he's an ass-kisser.
Your problem is he doesn't kiss yours.
No, he stares at mine, and it's unpleasant.
- Is that so? - Yes, it is.
AnÃbal is here and obeys orders.
That guy you were bringing didn't show up.
Where is he? [GLASS SHATTERS.]
[GRUNTS.]
[DA RAMOS.]
Come on, come on, let's go in, gentlemen! [DA RAMOS.]
Careful in the sewing areas, everything could be evidence.
[POLICE SIRENS.]
[DA RAMOS.]
Any papers, any cloth, any labels could be evidence in the case.
[UPBEAT MUSIC PLAYS.]
- So? What's up? - You're always late? [EDHA.]
You can't wear that if you're working with me.
- Antonio! - [ANTONIO.]
Edha.
- Give him proper clothes, please.
- Come this way, please.
[ANTONIO.]
Come on.
There's a mirror here, put this on.
Go to hair for a touch-up.
- Where are your boots? - I don't know.
[ANTONIO.]
Hey.
Put this on.
Good.
Go.
[ANTONIO.]
Don't put me on the spot with Edha.
Wait for me.
[ANTONIO.]
Edha! [EDHA.]
Come here.
- What happened here? - I had an accident on my way here.
That one over there is AnÃbal.
He'll tell you what boxes to load.
Tell him you're with me.
I'm "with you"? You work for me.
That's why you're here, isn't it? Go on.
- Antonio, Maia's boots are missing.
- Where are Maia's boots? [EL PIJA.]
Go on, walk like ladies, everyone's beneath you.
- Be good, the boss is in a bad mood.
- Get lost.
Park this thing far away.
Hey.
We're here for the show, these are my girls.
Paloma Zucatzer is waiting for us.
Can you do me the favor? [ELENA LAUGHS.]
How awful.
So? How do I look? Bad.
[MONINA.]
I'm not asking you.
[ELENA.]
Good, it's really nice.
- Those pants make your ass look fat.
- Your dad loves it.
Well, make something to eat later, I don't want you ordering in.
- You don't need to open the door.
- Say hi to my mom.
Study hard.
You especially, Delfina, please.
I don't want another year without a vacation.
- I promise you that won't happen.
- OK, bye! [BEDROOM DOOR CLOSES.]
[FRONT DOOR CLOSES.]
- What are you doing, Del? - You think I'm studying? Yes, that's what we're going to do.
I can't tell you the truth because you're a terrible liar.
- Go on, get changed.
- Where are we going? - To a party.
- What party? A party with Sebi.
[DELFINA.]
Come on, get changed.
- Hello.
- No, not that one.
- How are you, Paloma? - I'm very well.
You? Happy.
Happy with this.
We're so far removed from the real world.
You converted to Buddhism or something? No, I'm talking about our work.
We have to get engaged with reality.
- Which reality? - The production one.
- Didn't you hear what happened? - No.
Another fire.
Another clothes factory.
Tremendous.
How many is that now? The investors were very pleased with you after that dinner.
You do a fine job.
Yes.
Hurried, but tidy.
[PALOMA.]
Let's go to our area.
We're bothering the other designers here.
Inclusive beauty? She's no fool.
I'll look shallow now.
- The investors asked for some of that.
- You didn't tell me.
I don't follow whims.
- Except your own.
- Except my own.
[EDHA.]
Is everyone dressed? [ELECTRONIC MUSIC PLAYS.]
[CROWD CHEERS.]
[CROWD CHEERS.]
[CROWD CHEERS.]
[CROWD CHEERS.]
[CROWD APPLAUD.]
[CROWD SCREAM.]
Florencia, have you seen the new guy? - The new helper? - Teo.
[FLORENCIA.]
No, I haven't seen him.
[CROWD APPLAUSE CONTINUES.]
Delfi! Delfi! - Eh? - Stay here, I'm leaving.
- Where are you going? - Wait.
I left my things in your house.
- Go on then.
- Let's go.
- How do I get home? - Take these.
- No, I'm not going alone, let's go! - Calm down, take them! Go on, Elena, just go! [JULIÃN.]
Where's Delfina? [ELENA.]
She's coming.
- She's coming, from where? - A party.
Weren't you supposed to be studying? We studied, then went out.
I came back early because I wasn't feeling well.
- You threw up again? - [ELENA.]
No.
No, I'm a little dizzy.
I got dizzy, I don't know.
But I'm going now.
I came to get my keys It's very late, Ele.
Did you eat? No.
Eat something and then sleep here.
- I'm not hungry.
- You get dizzy because you don't eat.
That's what happened.
Or I can call your mom.
No, it's OK.
I'll eat.
I won't be eating alone.
It's after 12.
It's my birthday.
It didn't turn out as I hoped.
It was delicious.
You shouldn't lie to me.
- No, I liked it.
- No, I mean Delfi.
I know she smokes and does other things, I'm not an idiot.
Hard to believe, but I was your age once.
[SHE LAUGHS.]
I understand everything's more complicated these days.
I don't like her not telling me because if something happens, I don't know where she is.
- Do you understand? - Yes.
Anyway, it's not your fault.
You always do things correctly.
- What? Did I say something wrong? - No.
Your face says "yes.
" I'm always the idiot, the boring one.
I'm sick of doing the right thing.
I don't think so.
I know very well the price of being a goody two-shoes.
Look, I'm the eldest of three.
I was always the cleanest, the tidiest, the best student, the cutest The cutest, no.
That was Lucas.
Nice is being here with you and having you listen to me.
- We're like worms, you and me.
- What? They cut us in half and we live on.
We survive everything.
Cheers.
They're here.
Despite the scene you made at the restaurant, here they are.
- They liked the collection.
- Oh, they went crazy.
It wasn't crazy putting the workshop at home.
No, it wasn't so crazy.
Focus on the new collection and we'll present it to them soon.
[DOOR OPENS.]
Why didn't you go? Why are you dressed like that? [SHE SIGHS.]
I got into trouble.
I got the money and paid Medina for you.
Where did you get the money? What did you do? What did I do? I saved your life, while you were playing detective.
- Look, Celia - What do I do if something happens to you, Teo? Where do I go? Manito is gone, now you Why the fuck did I come with you two? So you'd leave me alone? [SIGHS.]
Manito shouldn't have been there when the factory caught fire.
It wasn't your fault.
If we hadn't told him the truth, he'd be here.
Manito is here with us.
He always will be.
[LAUGHS.]
Look at your clothes.
They're shit.
Take them off.
[DA RAMOS.]
After a second appraisal, among other evidence, a roll of labels with the inscription EDHA was found, which would involve the clothing brand with the place's activity, which was determined to be that of a sweatshop.
This gives us grounds for suspicion over any and all persons who can be proven to have entered or left the burnt-down factory among which we note the presence of the deceased foreman's brother, as well as the apparent girlfriend of one or both.
So? Where did you go this time? Did you eat at his place? Yes.
What did you do after? - Nothing.
- What do you mean, "nothing"? We were alone.
You were alone when you went for Japanese? What else? We ate well.
What are you saying? I'm talking to myself.
- What? - What's wrong with you? - Nothing.
- Where are you? Here.
Did he treat you well? Yeah, it was weird.
Weird, how? I don't know, Mom.
[MOLINA.]
They did a new investigation and some labels showed up.
And you're just telling me now, Molina? I just found out.
The labels were never sewn on in the factory.
It was an express order.
It's textbook stuff.
I don't believe it.
Their value as evidence is dubious.
That ass-wipe Pereyra did something shady.
That son of a bitch has got it in for me.
He's capable of anything.
That report has no legal worth.
I still had the case.
There's just hours between the report and the case being passed to him.
The same file? No, a federal judge.
- A people trafficking and slavery case.
- No! [INHALES DEEPLY.]
- Can you do something? - No, not me.
- You can, you have to do something.
- Me? But tell me what.
You have to sacrifice someone.
Someone has to fall.
- But who? - I don't know.
Think about it.
[MOLINA.]
This will help you.
[MOLINA.]
Take my advice.
Hello, daughter.
A pleasure.
Why did you bring me here? Well, this is a private place.
I invited him.
The DA did me a favor.
- We can't be seen together.
- Something happened? Yes.
What? - Something of a delicate nature.
- What? What do you think, Edha? The fire at the factory.
- You said that was taken care of.
- It was.
- The case has gone to another DA.
- And? We could go to prison unless I do what Molina suggested.
What did he say? That if someone, Antonio, for instance were to give himself up voluntarily to show we have nothing to hide, it could help us.
Do you understand? - Why Antonio? - I don't cut fabric, Edha.
- Leave this to me.
- Not Antonio.
Don't drag him into this.
Relax, it will be fine.
I promise.
It will be dealt with quickly? Absolutely.
Pastene will take care of everything.
He's been my lawyer my whole life.
You know him.
[LORENZO.]
He'll tell you what to say.
Are you on board? Listen, Antonio.
I'm not feeding you to the dogs.
If things go badly for you, they do for me.
You're the number-one employee in this company.
I'm ultimately responsible.
- It's just a show of good faith.
- That's right.
What do you think? I don't know anything about this.
It's best to let Lorenzo take care of it.
Listen, I assure you that in three days this case will be closed and we can forget all about it.
I've got the investors after me.
I need to seal the deal, and you're essential in that.
[MONINA.]
Is Sebastián going to be long? I texted him.
- [MONINA.]
And? - [DELFINA.]
He hasn't read it yet.
Don't worry about me.
I'll survive if Sebastián can't make it.
[DELFINA.]
You're so mean.
Let's order drinks.
I don't like taking up a table and not ordering.
- No, let's wait.
- Just the drinks.
No, Mom, we have to wait.
Happy birthday to you! Happy birthday to you! Happy birthday [SEBASTIÃN.]
And out of respect.
[JULIÃN.]
There are better ways [SEBASTIÃN.]
How old are you? [INDISTINCT CHATTER.]
Happy birthday, Julián.
I'm going to the bathroom.
AnÃbal sent for me.
Are you going to escape again? Last chance.
If you pass, you stay.
If not, you're out.
[DOORBELL RINGS.]
[KEYS JINGLE.]
I'll be right back.
- Edha Abadi? - Yes.
Andrés Pereyra Ramos DA.
[DOOR CREAKS OPEN.]
[MANITO.]
Half.
- I have to deliver it today.
- Make do with that.
Don't bust my balls.
[ANÃBAL.]
What are you looking for? You were going through this stuff.
Why? Stop playing dumb.
I know you're planning something.
This is my house.
Here we have the showroom and the offices.
We set up workshops according to production demands.
And how is current demand? Low.
We just finished a collection.
- And where was that made? - Right here.
I made it.
Ah.
You? And how did you supply the businesses, the quantity production? We work with four factories and a tailor.
We never had any trouble.
Anyway, I don't deal with that.
Contact our lawyer or failing that, Lorenzo Abadi.
- Lorenzo Abadi? - Yes.
Tell your father I'll contact him later, OK? Have you ever considered an Italian collar? Excuse me? Your ties would look much better with an Italian collar.
But to each his own.
The police are outside.
Explain to them.
- I've got nothing to explain.
- What is this? - [ANÃBAL.]
He was in your workshop - What were you doing? No one can go in there.
- Search me if you want.
- He's new, he doesn't know the rules.
Come with me.
[DOOR OPENS.]
[DOOR CLOSES.]
Get up here.
AnÃbal was right.
I don't let anybody come in here.
Let's go somewhere else.
No, I want to try something on you.
[EDHA.]
Teo is much more than a model or a support for my designs.
Teo is real.
Unique.
Everything.
[EDHA.]
A feeling that's impossible to define resides in him.
His story, his mystery.
What I don't know about him is as compelling as what I do.
- The pants too? - What did this? - I cut myself with a glass shard.
- Accidentally? Yes.
[EDHA.]
Teo is the perfect model.
I don't know if you'll like it.
No one really does.
You just have to bear with it.
Sometimes it gets tiring.
Tiring? This? There are worse jobs, I'm not stupid.
There's a false belief about this job.
No one knows what it's really about.
Girls come with an air of triumph without knowing they're going to crash and burn.
They live by themselves.
Then the agency calls them, sends them to Japan or Australia.
With a guide under their arm they only learn how to say "hello" and "please.
" They're old by the time they're 25.
Don't touch it.
- How old are you? - Thirty-five.
You're old.
Old for what? For almost everything.
I don't know what I'm doing.
You don't? Model.
A model for my brand.
Don't you make women's clothing? I have some designs for men.
Exceptional.
An attempt that never succeeded.
- No one liked them? - People liked them.
But I didn't know how to continue them.
- What was your name? - Teo.
Welcome to Edha, Teo.