After sixty years, Amparo walks along Cuchilleros Street, witness of her first five years of life; then she had to emigrate. She does not know the number where her house was located, so her steps take time waiting for something to awaken her memory. A name catches her attention: "Botín's nephew".
Curiosity leads her to immediately search for information on the internet. What she reads excites and surprises her in equal parts: "open uninterruptedly since 1725"; but that's not all, a paragraph further down she discovers that her favorite writer, María Dueñas, is a regular at this place, she has even mentioned it in several of her novels. She does not hesitate and enters such a distinguished establishment. Suddenly, her vision blurs and she feels a certain dizziness. He takes a deep breath until he regains his composure. However, the image captured by her pupils bewilders her: it looks like a painting by Toulouse Lautrec. In the same scene she glimpses different periods. A corner in the background shelters the imposing figure of Hemingway, who, glass of rioja in hand, converses with the barman, and then prepares to capture the last scene of his novel "Fiesta". Suddenly, two women, oblivious to such an ostentatious space, carry a small pitcher to the last table. Amparo is forced to stop the scream that struggles to come out; she has no doubt, they are Fortunata and Jacinta. The desire to recognize the diner causes an increase in visual acuity, and she distinguishes, nothing more and nothing less, than the creator of such an extraordinary work.
This walk through history injects him with the courage he needs to return to the street and locate the starting point of his existence.
