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00:00...
00:07Did the door have some furniture locked?
00:10Yes, in case Gregorio came here.
00:14Ah, well, for that, I would have to find her first.
00:17Yes, well, no one assures me that he can't do it.
00:20I can see that you are not very sure here.
00:23Well, no. As long as Gregorio is free, I'm not sure of any place.
00:27I would like to bring you interest and value, but the only thing I can bring you is some milk and a little food.
00:32Thank you very much. Sit down, please.
00:35And look, I'm going to put some homemade lentils in the margarine.
00:38Thank you, but I'm already having dinner.
00:40Are you going to say no to some lentils with veal chorizo?
00:44Anyone who says no to a dish like that, right? Although then I will have a bad night.
00:48Well, my nights are all bad. Eat what you eat.
00:53Well, tell me, how about the palace? Any news?
00:57No, no, no. My God, no. There is no news.
01:00Are you referring to the matter of Hanna and Manuel?
01:05Yes.
01:06Have you already spoken to them?
01:08Yes, I have already told them that nothing has come out of my lips about their relationship.
01:12Well, they will have been calm, because the news would have been made up by God.
01:17The apocalypse would have been made up, yes.
01:19And I confess that I am about to tell Mr. Marquez, but well, after talking to you, my doubts were dissipated.
01:25Well, I'm glad that he had the arrests to face a situation like this, because those two needed it.
01:32Well, nothing. They can breathe easy, yes. The one who will not be calm will be me, because I have betrayed the Lord.
01:37You have done well, Mr. Baeza. Look, it's a true love story.
01:42And love is such a precious thing that it must be cultivated.
01:44Yes, I think so too, but ...
01:46But nothing. What good would it do to tell Mr. Marquez? Tell me.
01:50It is my obligation, I must do it.
01:52Well, they say that the faults for love have a hundred years of forgiveness, right? Well, that's it.
01:56It seems to me that you are changing the saying to your convenience.
02:00Well, I may have said it to María Fernández, but it is true.
02:05Shall we have dinner?
02:06Re-dinner, God. Re-dinner. Well, and I don't think I'm going to feel bad.
02:11You're not going to feel bad. These lentils are so rich, it's impossible.
02:14Well, yes. Look, having dinner twice a week is fine, and hiding things from the gentlemen is appropriate.
02:22That's it.
02:26Delicious.
02:29They are cooked over low heat. I have nothing else to do here.
02:44Finally alone.
02:47Why do you say that?
02:51Because lately it seems that you and I cannot be together without Julia showing up, suddenly.
02:59Well, I think she's a very nice girl. Don't you like her?
03:04No, it's not that. It's just that she bothers me.
03:08No, it's not that. It's just that she bothers me.
03:15But is there any reason for that discomfort?
03:21Well, I wouldn't know how to tell you. It's a feeling of mine and that's why I can't give you any reason.
03:31Or maybe yes. Maybe it's because that young woman is more refined than that record.
03:39Always with the same Montserrat.
03:43Let's see, which one is it?
03:46Martina, I've already told you a couple of times.
03:50Julia doesn't stop talking about the war. And not only does she talk, but she also asks.
03:54And I assure you that it is the last thing I would like to talk about.
03:56I can't think of it. Well, the next time I bring up the subject, you tell her to stop.
03:59Yeah, as if that would help.
04:02No, and there's something else I don't quite understand.
04:08Let's see, what?
04:12I don't understand why she's still here.
04:16Well, because she wanted to avoid that trip to see her brother-in-law.
04:20And how she did me the favor of coming here to give me back the pendant.
04:24You invited her, a few days have passed.
04:25Sure.
04:26It seems great.
04:28Don't you think you gave her your hand and she took your arm?
04:32I just don't get the feeling that it's any use.
04:35Ah, no.
04:36No.
04:37And how long are her parents going to spend in San Sebastián?
04:40I don't know.
04:42Let's see, would you be excited to go on vacation with your father?
04:46With the captain of the Mata?
04:47No.
04:48Even if they are family, they are not forced to get along.
04:50There's nothing else. Don't be suspicious.
04:52Yes, yes.
04:53But don't you think it's strange that even if her parents are not in that palace, she doesn't come back?
04:59Her servants are waiting for her there, right?
05:02Maybe.
05:04Well then, maybe it's time to kindly tell her that she has to go.
05:23Look.
05:25Let's put this one.
05:26This one looks good.
05:27Isn't there another one out there?
05:32Mozart, but maybe not this one.
05:35Do you like it?
05:48So, have you told her the truth?
05:50Yes.
05:52And what did she tell you?
05:54Well, she didn't tell me anything either.
05:56She just stood there.
05:58And I don't know, María, I don't think she expected it either.
06:00What do you mean, expected it?
06:03Well, and what did she tell you when you told her that you thought it was her grandfather,
06:06the baron of Linaja, who killed your mother?
06:08I didn't tell her that exactly.
06:10Besides, at that moment, Mr. Márquez just arrived.
06:14But what did you tell him?
06:15I didn't tell him anything.
06:17At that moment, Mr. Márquez just arrived.
06:20But what did you tell him?
06:21That Mr. Curro is your brother, right?
06:23Neither.
06:25So what did you tell him?
06:26That after Tuesday comes Wednesday?
06:28Let's see, María, what gave me time before you became his father.
06:32With what it has cost you to start, I don't know if you will be able to continue.
06:36Let's give time to time.
06:37Well, I think it's better to finish.
06:39I told you little by little.
06:41And remember that you were very upset every time I told you one thing.
06:44Man, how good is Lohana.
06:46Right?
06:48Maybe.
06:50But hey, let's continue with this.
07:14Can I help you?
07:16No, thank you. I'll take care of it myself.
07:19I'm looking for a source to serve breakfast to the gentlemen.
07:23What have you prepared for them today?
07:25Well, some crispy torrijas with lemon zest and a touch of cinnamon.
07:29They must be about to suck their fingers.
07:31Yes, that's what they say.
07:32Everyone says there are scandalous kitchens.
07:34And rightly so.
07:35I have never eaten as well as here.
07:38Thank you very much.
07:39But that is also the merit of Mrs. Simona and Mrs. Candela.
07:43I don't even know how to fry an egg.
07:45And that Teresa is worse.
07:46Once she wanted to make some tortillas and she cooked them so much that it looked like some gachas.
07:51Well, the times I've needed Teresa to help me in the kitchen have been very effective.
07:56Well, I don't know what she did, but I'll tell you.
07:58That looked like a mess.
07:59Besides, it was disgusting.
08:00I have never eaten such a bad dish in my life.
08:04Marcelo, have we all ever screwed up a dish?
08:06Even those of us who spend all day in the kitchen.
08:08No, no. If you're wrong, you're human.
08:10And we're all human, right?
08:12Some more than others.
08:14And where did you learn to cook?
08:16Well ...
08:17You know what? I would love to learn to make a dish.
08:19It would be nice if I could go through the kitchens.
08:21It would be worthy.
08:22I don't think so, Marcelo.
08:24In the kitchen we always have a lot of work.
08:26And whoever doesn't work gets in the way.
08:28I wouldn't get in the way, of course.
08:30Marcelo, I'm going to be very honest with you.
08:34I think you should take care of doing your job well.
08:38Which is what they're paying you for.
08:40Why do you say that?
08:41What have they asked you to do?
08:43Review the dish for breakfast.
08:45And that means that the dish has to be bright and without soap or grease stains.
08:49Right?
08:53How is this dish?
08:56Is it lustrous enough to serve it to the dining room?
08:59Well, yes and no.
09:01No.
09:03This dish has scraps of the cloth.
09:08And how is this other dish?
09:11Because it has the fingerprints of your fingers.
09:15Do you think we can serve this dish to the dining room?
09:17That must have happened to me.
09:18Come on, Marcelo, a lot of things happen to you.
09:22I really don't understand how they have hired you with how demanding they are with the service.
09:26Hey, you can always learn.
09:28You don't do anything wrong.
09:29Right.
09:30Yes.
09:31But to learn, you need attitude.
09:34For example, you should already know that to light the table you need a dry cloth.
09:38How is your cloth?
09:39It's wet.
09:42Well, you know what you have to do.
10:04Good morning.
10:05Good morning.
10:06What are you doing?
10:08I was reading a news about...
10:09If you're going to tell me another nonsense about the war, I ask you to save it.
10:12I have no desire to live something like that.
10:15I wasn't going to tell you about that.
10:16Then?
10:18Do you remember the Orestes?
10:20Yes, they have been here as guests more than once.
10:23I just read that your son fell while riding and broke both legs.
10:27We should send him a letter.
10:29Very well, then tell him the usual.
10:31That we feel for him a lot and that we hope he has a quick recovery.
10:34It's just that you are the one who always takes care of those matters.
10:38Alonso, things have changed a lot in this marriage.
10:43From now on, we will take care of each of his affairs.
10:46It's just that this doesn't apply to both of us.
10:48The Orestes are your friends.
10:50They seemed charming to you.
10:51I never put up with it.
10:53That man...
10:55He bites his teeth with a toothpick.
10:56And she...
10:57I'm so scared of women.
10:59Every two by three she says a word in French and doesn't even know the language.
11:02I will write that letter.
11:04I don't want us to argue again.
11:05Neither do I.
11:06Or do you think I like to argue?
11:08What happens is that I have the feeling that you are always looking for a way to bother me.
11:12But what have I done now?
11:13Tell you that we have to send a letter?
11:15It has nothing to do with the letter.
11:17But then what's wrong with you?
11:18What have I done that bothers you so much?
11:20Better let it be.
11:21No.
11:22Don't throw the stone and hide your hand.
11:24Tell me.
11:28Lorenzo has told me that you want to take the jam business from him
11:30to give it to your little daughter Catalina.
11:32I haven't made a decision yet.
11:34But yes, I'm thinking about it.
11:36Can you tell me why?
11:38Lorenzo has given up on that business for the last few months.
11:41Lorenzo giving up on something.
11:43Come on, Cruz.
11:44Well, who's in charge of the jams?
11:46Lorenzo.
11:48But maybe he hasn't taken care of us very well.
11:51In any case, I already tell you that the decision has not yet been made.
11:54Well, look, for once,
11:55it will be better for you to continue like this, without making a decision,
11:57as you always do.
11:59Alonso, for God's sake.
12:01Catalina can't even take care of a doll house.
12:04If that were the case,
12:05I would not have started that business almost without help.
12:08Well, it seems that the money from the smuggling
12:09came in handy to clear the accounts.
12:11That's too much.
12:14And what happens if he suddenly decides to return another season to the hangar?
12:18What would happen to the company?
12:20You know very well why he left.
12:21And on top of that,
12:22he's going to see the unpresentable from Pelayo
12:24and he brings him back here.
12:25And without warning.
12:26I know the story very well.
12:27You don't have to tell me.
12:28Well, it doesn't seem like it, dear.
12:29It doesn't seem like it.
12:31It's just that I don't understand
12:32why you want to put the jam business
12:33in his hands and in the hands of that used man.
12:38Catalina has had a very bad time.
12:39So what?
12:40Does that mean she has to do whatever she wants?
12:43Your daughter is older.
12:44She's an adult.
12:45And adults,
12:46no matter how bad we have it,
12:47we don't behave like kids.
13:01Tell me, what have you come to tell me?
13:02I have a lot of trouble in the kitchen.
13:03Look, I wanted to talk to you
13:04because I know how much you appreciate Catalina.
13:06Yes.
13:07For me, she's almost like a daughter.
13:09I know.
13:11And she sees you
13:12as the mother she lost as a child.
13:15I also know that your opinion
13:16is very important for the rest of the service.
13:18And?
13:20Well, for Catalina,
13:21the service is part of the family
13:22and this palace too.
13:24Mrs. Catalina knows our problems,
13:26lives our reality
13:27and cares about us.
13:28And you are for her.
13:30Specifically, you.
13:32And that's why I know
13:33how bad she has had to go through
13:34seeing her suffer
13:35for the damage I caused her.
13:37Not even half as bad
13:38as she has gone through.
13:39I assure you that.
13:40I know, Simona, I know.
13:42And you don't know how ashamed I am.
13:44Nor how hard it is for me
13:45to know everything she has cried,
13:46Catalina, because of me.
13:49That's why I want to make up
13:50for all that pain.
13:51Leave it behind
13:53and that happens
13:54because of you.
13:55Leave it behind
13:57and that happens
13:58because I apologize to you.
13:59Apologize?
14:00That's it.
14:02Simona, I wanted to apologize
14:04for making you go through
14:05that ordeal.
14:07Catalina already knows
14:08that my love for her is sincere
14:10and that I want us to build
14:11something new together.
14:13Now I just need to convince you
14:15and believe me,
14:16I will do whatever it takes.
14:17I see, I see.
14:19Simona, I am not a bad person.
14:21I have only made bad decisions.
14:23Let me prove it to you.
14:24And if I were a bad person,
14:26I wouldn't admit it, would I?
14:29That's also true.
14:33Tell me,
14:34do you have Catalina for a fool?
14:35Of course not.
14:37Miss Catalina is very awake.
14:39Awake and a noble soul, right?
14:41So I say
14:42that she must have found something good
14:43in me
14:44so that we can still be together.
14:46Love sometimes blurs our vision.
14:48Come on, Simona,
14:49grant me the benefit
14:50of the doubt, please.
14:52I really want to improve
14:53as a person.
14:55I don't want to make any more mistakes
14:56and above all,
14:57I want to make Catalina happy.
14:59I see,
15:00but until now
15:01you have made her a wretch.
15:03I don't know if I have gone
15:04away from her.
15:06That's why I don't want
15:07us to separate anymore
15:09and that's why I'm here
15:10talking to you
15:11and telling you everything
15:12I want about your Catalina.
15:15Simona, can you forgive me
15:16for the bad thing I did to you?
15:18Because she has already forgiven me.
15:20Look,
15:21think that you are
15:22in front of a man
15:23who loves you madly
15:24and who would do anything
15:25for her.
15:27Anything?
15:28Yes, that's what I said.
15:31Okay.
15:32Come to the kitchen.
15:50Are you coming for firewood
15:52or did you see me
15:53and you needed
15:54just any excuse
15:55to come closer?
15:57Well, either of them.
15:59And Mrs. Simona
16:00threw me out of the kitchen
16:01and I have nothing to do.
16:03Oh, really?
16:05So why are you here?
16:07I'm here
16:08to talk to you.
16:10I'm here
16:11to talk to you.
16:13What's going on?
16:15That's what I'm here
16:16to talk to you about.
16:17Oh yeah? And why is that? Are you angry?
16:21No, no, no, no, no.
16:24I don't know. They will have something in their hands.
16:28And what could it be?
16:30Well, look, honestly, I didn't want to ask.
16:32Because whenever I ask, I end up silent.
16:36I love to see you smile. And you don't do it enough.
16:40Well, it's just that lately it hasn't been my best days,
16:43with my mother walking around here whenever she feels like it.
16:46Let's hope that from now on she understands that it's useless to come back.
16:50Yes, I hope so. That's why I'm a little calmer.
16:54And you smile more?
16:57Even so, I still can't get my head out of my head
16:59about what they could have talked about the last time
17:01the Marquise and my mother saw each other.
17:03You'll see.
17:05Well, today I met the Marquise and she looked at me, as always.
17:09Come on, she didn't even look at me.
17:11Well, that only means that your mother didn't betray you.
17:13She was right about you.
17:15Yeah, but then why did she come?
17:17To apologize for standing here without making an announcement?
17:19Or to enter the service area?
17:21Well, maybe.
17:23The Marquise must have found it very strange.
17:25Well, I guess Don Rómulo must have told her
17:27and the Marquise must have asked for explanations.
17:30Well, that's why I'm back.
17:32So let it be.
17:33Yeah, but I doubt the Marquise has swallowed the excuse
17:35that she wanted the cake recipe.
17:38What lady is she interested in cooking?
17:41They are more interested in eating well, yes.
17:43Go find out what excuse she used to get out of that mess.
17:49You have to stop thinking about it.
17:51Look, what you have to do now is enjoy your new life.
17:56And I love this new life.
17:59Especially you, who are the most important part.
18:02You're going to blush.
18:04That's what I'm looking for.
18:06You're very funny when your ears turn red.
18:09Me? My ears don't turn red.
18:11Come on, don't overdo it.
18:12Yes, you turn red like a tomato.
18:16You're gorgeous.
18:18And it's hard for me to control myself, you should know.
18:20Really?
18:22And why is that?
18:25Because I really want to kiss you.
18:27And we're in the courtyard.
18:30Come on, help me hang this sheet.
18:33Now.
18:35You help me, you fool.
18:38Come on.
18:43Come on.
18:49Come on.
19:03I love you.
19:12I love you.
19:16I'm telling you, she's going to come down.
19:18I don't know, she must be busy.
19:20Maybe I should go up and look for her.
19:22What are you saying?
19:23If Mrs. Petre catches you at the noble plant,
19:25those curls of your hair will be stiff.
19:27Look, there she comes alone.
19:30María Fernández told me you wanted to see me.
19:32What happened?
19:33No, nothing, miss.
19:35Don't worry, don't worry.
19:37We have the pleasure of inviting you to have a snack.
19:39Simona is always teasing me.
19:41Let's see, what have you prepared today?
19:43We haven't prepared anything.
19:45So who has it been?
19:47Well, believe it or not,
19:49I prepared all this myself.
19:51No, I can't believe it.
19:53Yes, I just came down to apologize to Simona
19:56and nothing, I got tangled up.
19:58And what happened?
20:00Nothing now.
20:01But what happened at the time not only affected us,
20:04also the people who love you.
20:07And there are many in the service.
20:08All of us, basically.
20:11Yes, the point is that I told Simona
20:13that I was willing to do anything
20:15to show her my love for you.
20:17And she asked me to start cooking
20:19so that she could live her reality a little.
20:21What a coincidence.
20:22Yes, I think Pelayo has never used a pan in his life.
20:25Until today.
20:26Well, he has taken up to a rod
20:27and he has dared to light the oven.
20:30And has he done well?
20:32Let's say he has done what he has been able to.
20:34No one can deny that.
20:36And he has also been chatting with us for a long time.
20:39Yes, the man has a very good ass,
20:42he knows everything, man.
20:44I know these women are very important to you
20:46and I wanted to show you that they will also be for me.
20:48Well, yes, they are.
20:51Simona has raised me, as they say,
20:54she and Candela.
20:55Wow, yes.
20:58Yes, this is my paradise, the kitchen.
21:01And now I understand better why.
21:03I appreciate the compliment,
21:05but it is not Menester who will cook again,
21:07you have just made a mess.
21:10Well, it's true,
21:11I'm going to have to send everything straight to the laundry.
21:13Let's see, I think it's just some flour.
21:16I don't know if that's going to be enough.
21:19Look.
21:24It seems that the cooks are abandoning us.
21:26Maybe they want to leave us a little privacy, right?
21:33Let's go.
21:52There is a time for everything.
21:54And there are always people willing to measure that time.
21:58For example, there is also a time for mourning.
22:02But your people don't agree.
22:06Is half a year enough to get a boyfriend
22:10if you have lost the other one?
22:12Or a whole year?
22:23And for secrets,
22:25how long can you keep a very fat secret
22:28that a friend has told you?
22:33You can't even tell your boyfriend?
22:36It seems not.
22:51What are you doing, María Fernández?
22:54I'm sweeping the sheets.
22:56Didn't you see yourself sweeping the sheets?
22:58Because I stopped a little to thread the needle.
23:01It was already threaded.
23:03Or because I threaded it, Mrs. Petra.
23:05Needles don't thread on their own.
23:08Come on.
23:09Go upstairs and fix the ladies' bedrooms.
23:12They've already gotten up from nap time.
23:14Now?
23:15Of course now.
23:16You'll do that later.
23:21María Fernández, what are you waiting for?
23:23I'm coming.
23:24María Fernández, what are you waiting for?
23:26I'm coming, Mrs. Petra.
23:32María!
23:34I'm coming, I'm coming.
23:35Fly!
23:48Well, this cake is not bad.
23:50The cake?
23:51This one is safe, but the first one was straight to the trash.
23:55No one has taught you.
23:57And you have made a double effort.
23:59Cooking and talking to Simona.
24:01I did it because I know how important Simona is to you.
24:04And because I want to be good to you,
24:06but also to the people you love.
24:08You're on the right track.
24:10Although I didn't like the cake very much.
24:13The intention is important.
24:15Although it would not have been bad if it wasn't so hard.
24:18Is it really that inedible?
24:19It looked like it was made of sand.
24:21What a mess.
24:22I've already told you that what matters is the intention.
24:24And yours is very good.
24:26And improvable.
24:37How I missed your lips.
24:40Doesn't it taste like sand?
24:41Stop making fun of yourself.
24:43Okay, okay, I won't laugh anymore.
24:46You know what?
24:48To make up for my laughter, I want to take you to the confectionery in Luján one day.
24:51I also want to take you somewhere.
24:53Oh yeah? Where?
24:54I received an invitation from my friend the composer Don Eugenio Santiago
24:57for his engagement party.
24:59The truth is, I was surprised.
25:00I hadn't received invitations in a long time.
25:01Imagine me.
25:03Unfortunately, yes.
25:06But hey, I think it's time to leave all that behind.
25:10Would you accompany me to his party?
25:14If I'm honest, I don't really want to.
25:17But Catalina, it could be a good way to return to a normal life.
25:20We don't have to keep hiding.
25:22We've been criticized so much and we've been made fun of so much.
25:26Maybe if you see us together, you'll realize how little we care about those girls.
25:30Come with me, please.
25:33Okay, I'll go with you.
25:39I'll write to them today to confirm that we're going.
25:47Okay.
26:17That horse was already limping last year.
26:34It looks like it hasn't fully recovered.
26:37What's wrong, son?
26:39Are you sick?
26:40I'm sorry, father.
26:41I have a headache elsewhere.
26:43I guess it's because of some news I read about the war.
26:50Do you like the painting, young man?
26:52It excites me. It has everything.
26:54Good stroke, harmonious color.
26:57And the model, of course. What a lady.
27:01Yes, she is my first wife.
27:03The mother of my daughter Catalina and of my late son Tomás.
27:08I didn't know, I'm sorry.
27:09No, don't worry. That's life.
27:13It's a good painting.
27:15Denguidanos, a very fine painter.
27:17I know him.
27:19But it's a shame his state of conservation.
27:25Hasn't he deteriorated?
27:27He's been here for years, but I think he looks perfect.
27:30At first glance.
27:32Do you see those wrinkles? He's starting to frown.
27:37I think it's normal.
27:40Normal if he were 200 years old, maybe.
27:43But that's not the case, is it?
27:45No, it's not. I'm not that old.
27:47And look closely.
27:48This white, if I'm not mistaken, should be pure white.
27:54That's the effect of the smoke, the dust ...
27:57I'm worried about what you're telling me.
27:59Because I really appreciate this painting.
28:02It's nothing you can't fix.
28:04A good restoration would fix all these problems
28:07and leave the painting as new.
28:10But you would have to get it out of La Promesa.
28:12It wouldn't be necessary.
28:14Although I've never restored a complete work by myself,
28:17I know a lot about the subject and I could leave the painting as new.
28:21I appreciate it, young man,
28:24but I've heard stories of very unfortunate restorations.
28:27In a church in Murcia, an amateur
28:29left a very valuable painting made by an ex-CEO.
28:32Yes, I also know that story.
28:34But I assure you that nothing like that would happen to me.
28:36I have studied and a couple of valuable paintings
28:39by friends of my parents have already passed through my hands.
28:44Also, think that in this case there is no need to repaint.
28:48It would be better to clean the dirt and apply a varnish.
28:52And that does not entail any danger?
28:54None, sir.
28:56It would only be about removing the dust that falls between the cracks
28:59and changing the varnish.
29:01And the original colors would be restored.
29:03That's right. And with the new varnish,
29:05it will be more protected and the lustre will be restored.
29:08I don't see anything wrong with the restoration.
29:11And it seems that Miss Julia knows what she is talking about.
29:14So I could thank you for everything you have done for me.
29:19I would need, however, to order a few materials
29:23and a quiet space to work.
29:26The hangar.
29:28My hangar, I think it's perfect. A lot of light comes in.
29:33Well, there's nothing else to do. Do it in the hangar.
29:37Prepare a list with everything you need.
29:39And a servant will take care of getting everything.
29:43And now, would you like to join us for a drink?
29:59Well, the new priest, Don Samuel, has organized a contest for fried aubergines.
30:03And what does religion have to do with fried aubergines?
30:06I think it's what you want to do with the pilgrims.
30:09And he had thought of participating.
30:11That the prize is a handful of ham.
30:13Or two, it's not a bad prize.
30:15And how would we do it? With honey or without honey?
30:17As you prefer.
30:18I like them anyway.
30:20I think we could make them battered
30:22and put a jar of cane honey next to it,
30:24since you like it to soak.
30:26Leave that for a moment and go up to the music room.
30:29Mrs. Marquesa is waiting for you.
30:30What about that?
30:31What happened?
30:32Well, she's worried. Did they do something wrong?
30:34No, not that we know.
30:36But whenever Mrs. Marquesa calls you upstairs,
30:38it's to give you a rapapolo.
30:40And it couldn't be to congratulate them for a dish,
30:42for a good dessert, for example.
30:44Excuse me, Mr. Pellicer.
30:46I think you've been in the palace for a short time.
30:49Lope, how many times has Mrs. Marquesa called you
30:52since you've been here to congratulate you?
30:54I don't remember any.
30:56Me neither, Mr. Pellicer.
30:57I've been in this kitchen all my life.
30:59But that doesn't mean she's going to scold you now.
31:04Mr. Pellicer, when she said it, she meant it seriously.
31:08Maybe she didn't like the soup last night.
31:10Lope, what did I tell you? It was too spicy.
31:12Well, stop speculating and go up at once.
31:15I'm sure it's not a bad thing,
31:17but it will be if you don't go soon.
31:19Let's go.
31:22Let's go.
31:23Yeah.
31:25Excuse me.
31:27Lope.
31:53No.
32:00Nothing.
32:01The telegram?
32:02No.
32:05Hello.
32:06I'm going to light some matches.
32:08Very well.
32:16Are you okay?
32:18Yes, but ...
32:21Words are very expensive.
32:26What do you mean?
32:28This here.
32:31Well, nothing ...
32:34The telegrams charge a lot for words,
32:36and my boyfriend has sent me one.
32:39And he barely tells me anything.
32:41But it's not far, is it?
32:43Well, no, but it's not here.
32:45And I miss it.
32:47They have offered me a very good job
32:49at the Count's palace in Matesán.
32:51The first one on the street, no more, no less.
32:53And how could I refuse?
32:55Sure.
32:56Well, I'm sorry you're sad,
32:58but it's a very good job, isn't it?
33:02Well, yes.
33:03I'm doing very well.
33:04And who knows?
33:05Maybe God doesn't want it,
33:07but these things happen,
33:08and the same thing happens.
33:10It can happen.
33:11Yes.
33:12Well, the thing is that I miss it a lot
33:15because I was used to seeing it every now and then.
33:17I'm going to tell you, right?
33:19Me?
33:20Why?
33:22Well, because you have Teresa here.
33:24Ah, yes, yes, of course.
33:25Well, but if you want the distance, it doesn't matter.
33:30Now what we have to do is work,
33:33earn a room and save.
33:36For what?
33:39Because we are thinking of getting married.
33:42And we want to buy a small farm
33:44to live in the garden
33:45and that no one sends us.
33:47And we want to have animals,
33:48chickens, rabbits ...
33:50I don't know.
33:51Even a donkey called Ernesto I want to have.
33:54It seems like a very good idea.
33:57Well, I'm going to show you the routines.
34:02Hey, Maria, can I ask you a question?
34:03You seem very excited.
34:05Well, of course.
34:06Your question.
34:07That in the vice of asking,
34:08there is the virtue of remaining silent.
34:10Could you tell me how to illustrate the routines?
34:12Are you sure you know how to do all these tasks?
34:14It's ugly for me to say it,
34:15but I know how to do everything.
34:18And the first thing you have to do
34:23is put on the sleeves.
34:27And the second thing,
34:28you have to take the brush ...
34:32Kid, but take off your jacket.
34:34Oh.
34:36Sorry.
34:38Uh-huh.
34:40The brush.
34:42You pass it
34:44removing the dirt.
34:50May I?
34:53Mrs. Marquesa?
34:55There's no one here, Lope.
34:58They told us to come here, right?
35:02Oh my God, Mrs. Simona,
35:03we may have arrived late.
35:04We're screwed, Lopillo.
35:05What do we do?
35:07I'm going to look for the Marquesa.
35:08No, I think it's better to wait here.
35:10Do you think?
35:12If you want, I can call Mr. Pellicer.
35:15Oh, you're here.
35:16Yes, Mrs. Marquesa,
35:17I thought we didn't know ...
35:18Come in, Mrs. Amalia.
35:20Where is Vera?
35:22The Duchess of Carril has asked to see her.
35:25Mr. Pellicer informed us
35:27that we would go up,
35:28but I didn't lie to Vera.
35:30Well, she should be here.
35:34Well, if you want, I can go tell her.
35:37Yes.
35:47Hanna.
35:49I've been looking for you all over the palace for a long time.
35:52You have to finish telling me that story.
35:55Manuel, right now I have to finish the job
35:57and be in that place.
36:01Hanna, please.
36:03I can't stop thinking about it.
36:05Marquesa, I need to know everything.
36:12Please!
36:26Was this the ring that the man who killed your mother wore?
36:36Manuel, this is not the time or the place.
36:39No one is coming.
36:41My cousin has gone with her mother to take a walk
36:43and will be back soon.
36:46Hanna, please, let's talk.
36:51Okay, what ...
36:54What do you want to know?
36:56What will it be?
36:58You insinuated that my own grandfather
37:01could have something to do with your mother's death.
37:04I want to know everything.
37:09Manuel,
37:11I think your grandfather is to blame for my mother's death.
37:16But not only his death.
37:19I think he is also to blame for the death of ...
37:22of your brother Tomás.
37:27It can't be.
37:29It can't be my grandfather.
37:30It can't be.
37:32It can't be.
37:39And why did it take you so long to tell me, Hanna?
37:43Why, after all the time you've been in La Promesa?
37:46Manuel, because I was afraid for you.
37:50Let me explain.
37:52The first night I arrived at La Promesa,
37:54I talked to your brother.
37:56And he told me everything.
37:57I arrived at La Promesa, I talked to your brother.
38:00And I told him everything you know now.
38:05But then he appeared dead.
38:06My brother knew who you were.
38:11Manuel, you have to understand that I didn't tell you
38:13because I didn't want to put you in danger.
38:23What does my brother have to do with all this?
38:26And why did you tell him everything?
38:29Well, because your brother surprised me at the library.
38:32While I was looking for a photograph,
38:34he thought I was stealing, so ...
38:36I had no choice but to tell him who I was
38:39and why I had come here.
38:41So my brother was aware of absolutely everything?
38:44But the most curious thing about all this, Manuel,
38:47is that he didn't take it again.
38:50What do you mean?
38:52That Tomás suspected the truth.
38:54And he promised to help me so that everything would come to light.
38:58I know that's why they killed him, Manuel.
39:02And yet, how do you accuse my grandfather of the death of my brother?
39:05Why?
39:07What do you mean why, Manuel?
39:09Because he was able to kill an unarmed woman in front of his children?
39:14Assuming what you say is true, Hanna.
39:17Assuming it's true.
39:19Do you have any proof to prove it?
39:21Something against him?
39:24No.
39:30Well, no. And at this point I don't think I can have it.
39:33Your grandfather took his secret to the grave.
39:38Hanna, it can't be.
39:41Manuel.
39:43Tomás suspected something.
39:45And he promised me that he was going to tell me everything,
39:47but first he had to see someone.
39:49Who?
39:51I don't know.
39:53In fact, I couldn't believe it.
39:56So he gave me something as a gift.
40:01He gave me his wedding ring.
40:05He gave me his wedding ring on the same day of his wedding.
40:09And then they killed him.
40:18But my grandfather wasn't here that night, Hanna.
40:21Or that's what made us believe, Manuel.
40:22And that's why we don't consider him a suspect.
40:25But everything points to him.
40:28My grandfather, a murderer.
40:32He hurt my brother.
40:39Manuel, I'm very sorry.
40:42I knew all this was going to hurt you.
40:45But there's one thing you still don't know.
40:48What?
40:52I found my brother.
40:55I found him years after they took him.
41:01And he's alive.
41:07He's in this house.
41:19My brother, eh?
41:23My dark brother.
41:34And when is the Duchess's visit expected?
41:37As far as we know, it could be this afternoon.
41:40We'll have to have everything ready then.
41:43No, no, no. The lady doesn't want anything special to be done.
41:46The idea is for her to see the kitchens in their usual environment.
41:51Except for one thing.
41:53Vera.
41:54This is nonsense, Lope.
41:55Where have you seen a Duchess entering the palace to see the kitchen of the Marquises?
41:59Well, she's going to start seeing it at the promenade.
42:02Are you sure my mother doesn't care about the kitchen at all?
42:05What I don't understand is what she wants to achieve with all this.
42:09What if you've ruined everything, Maria?
42:12But what's going to ruin everything, Hanna?
42:13That's it, eh?
42:15Stop whining about the milk.
42:17And if this is the reason behind your wedding, it's because your love wasn't as strong as you thought.
42:21And it does you a favor.
42:22Maria.
42:23I've heard that you've offered to restore the portrait in the tea room.
42:27That's right.
42:28It will be a way to compensate for the kindness of your family to welcome me here these days.
42:32We'll win, I assure you.
42:34We all appreciate that painting a lot.
42:37It's a memory of my dear mother.
42:39I can't take it anymore with that spoiled brat Catalina.
42:41You have to get her out of here as soon as possible.
42:43If it were up to me, I would do it and with pleasure.
42:45You have exceeded all my limits.
42:47Come on, you're even giving me urticaria.
42:50Doesn't that friend of Martina have an allergy to walnuts?
42:53Well, I have Catalina.
42:55What happened to you, Teresa?
42:57So desperate, you were about to forget my son,
43:00that you had to sleep with the first idiot who crossed your path.
43:03For God's sake, don't be vulgar.
43:05No.
43:06You are the vulgar one.
43:07What is this?
43:09I don't understand that you want to favor Lorenzo
43:11passing over a member of the Lujan family.
43:13I remind you that Lorenzo is married to my sister,
43:15so he is also part of the family.
43:17But of course, he is mine,
43:19which may not be as important as yours.
43:21Excuse me, why?
43:23I am convinced that his experience on the front
43:26has generated very strong friendships and unbreakable bonds.
43:29You know, we also talked about that this morning.
43:32I admit that Julio makes me nervous with so many questions.
43:35Well, I think he is a tremendously curious person.
43:38Yes, especially when it comes to war,
43:41which is precisely what I am trying to forget.
43:43It's just that that fool doesn't know how to do anything right.
43:46He doesn't even know where the wind blows him.
43:48He is useless.
43:50So Teresa is trying to cover up her husband's clumsiness.
43:54I'm sure of it.
43:56She has changed my son Feliciano for an incompetent
43:59who didn't even get the sole of his shoes.
44:00You are an insult to everything he represented
44:03and to all the dignity that there is in this world,
44:06inhumane and sinful.
44:08Really, Mrs. Alcos.
44:10That you have taken her place in Teresa's heart
44:12only shows that she was not deaf.
44:14But I will not allow you to take her place in this house.