Carmen, Merche and Paula are three young singers living in the same pension. Every night are forced to dodge men arriving from Madrid in search of adventure. They are assisted by Don Narciso, a fellow board that has solutions for everything. What I really want is to get married and all three have found a boyfriend, but every couple has their problems.

The bullfight is about to begin. On the bill are announced the toreros Ricardo Puente, Juan Carmona and Rondeño II, who will take the alternative. Puente is an old bullfighter, famous in earlier times, who, now bitter and full of resentment, lives with Paloma, a woman who is not resigned to continue being the lover of a man who has fallen into oblivion. Carmona, the fashionable bullfighter, has an important contract to fight in America, but his wife Isabel wants him to reject the offer. Anamaría, Carmona's sister, hopes that her brother will approve her relationship with Rondeño II; but Carmona opposes because he considers him a bad bullfighter. In a fourth, hopeful and exciting plot, a young amateur bullfighter has a plan to sneak into the ring and fight a bull, hoping for public acclaim for his feat of bravery.

San Ginés de la Sierra is a small village lost in the mountains in southern Spain. It is known throughout the region for two peculiar characteristics: its "persistent" drought and a "Home of the Vanquished". This "home" is an institution that houses some twenty old people, to whose care are eleven nuns and crosses a distressing economic situation. The nuns are desperately seeking a solution and decide to hold a charity bulls run.

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The film evokes all the aspects of bullfighting - its history, the bulls, the toreros, the arena, the audience - and involves numerous matadors from the era.

Four real episodes told by their protagonists: Antonio Mejías "Bienvenida" tells the serious goring he suffered in the Plaza de Las Ventas and his recovery process. Álvaro Domecq Romero evokes the last days of the life of the mare "Splendid", the noble animal that was brave and sensitive companion of his father. Andrés Vázquez tells how the times of the "capeas" were in little villages. With him were many unknown kids, who found an anonymous and obscure death. Finally, Luis Miguel "Dominguín", who was with Manolete, in Linares, the afternoon in which he met his death, evokes that tragic afternoon and glosses the bullfighter's human virtues. The four protagonists have seen the death in one way or another and the four tell the indelible impression that remained on them.