• 3 ay önce
Döküm
00:00♪♪
00:07Did you have the door locked with furniture?
00:10Yes, in case Gregorio happened to show up around here.
00:14Ah, well, for that, I would have to find her first.
00:17Yes, well, nobody assures me that they can't do it.
00:20I see, I see that you are not very safe here.
00:23Well, no. As long as Gregorio is free, I don't feel safe anywhere.
00:27I would like to bring you interest and value, but the only thing I can bring you is some milk and some food.
00:32Thank you very much. Sit down, please.
00:35And look, I'm going to put some homemade lentils in it.
00:38No, thank you. No, but I'm already having dinner.
00:41Are you going to say no to some lentils with deer chorizo?
00:44Anyone who says no to a dish like that, right? Although then I will have a bad night.
00:49Well, my nights are all bad. Eat what you eat.
00:54Well, tell me, how about Palacio? Any news?
00:58No, no, no. It's nothing new.
01:01Are you referring to the matter of Hanna and Manuel?
01:05Yes, yes.
01:06Have you already spoken to them?
01:08Yes, I have already told them that nothing about their relationship has come out of my lips.
01:12Well, they must 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. Marqués, but well, after talking to you, my doubts have dissipated.
01:25Well, I'm glad I had the arrests to face a situation like this, because those two needed it.
01:31Well, nothing. You can breathe easy, yes.
01:34The one who is not going to be calm is going to be me, because I have betrayed you.
01:37You have done well, Mr. Baeza. Look, it's a true love story.
01:41And love is such a precious thing that you have to cultivate it.
01:44Yes, I think that too, but ...
01:46But nothing. What good would it do to tell Mr. Marqués? Tell me.
01:50It is my obligation, I must do it.
01:53Well, they say that the faults for love have a hundred years of forgiveness, right? Well, that's it.
01:57It seems to me that you are changing the saying to your convenience.
02:01Well, maybe I've heard it from María Fernández, but it's true.
02:06Shall we have dinner?
02:07Eh? No. Re-dinner, God. Re-dinner.
02:09Well, and I don't think I'm going to feel bad.
02:12You're not going to feel bad. These lentils are so delicious, it's impossible.
02:15No. Well, yes. Look.
02:17Maybe having dinner twice is fine, and hiding things from the gentlemen is appropriate.
02:22That's it, that's it.
02:27Delicious.
02:29They are cooked over low heat.
02:32I have nothing else to do here.
02:47Finally alone.
02:50Why do you say that?
02:54Because lately it seems that you and I cannot be together without Julia showing up, suddenly.
03:02Well, I think she's a very nice girl. Don't you like her?
03:07No, it's not that.
03:10It's just that it bothers me.
03:12But for some reason, there must be a reason.
03:15But is there any reason for that discomfort?
03:21Well, I don't know how to tell you. It's ...
03:25a feeling of mine and that's why I can't give you any reason.
03:32Or maybe yes. Maybe it's because that young woman is more striped than that record.
03:39Always with the same Montserrat.
03:42Let's see, which one is it?
03:45Martina, I've already told you a couple of times.
03:49Julia doesn't stop talking about the war. And not only does she talk, but she also asks.
03:53And I assure you that it is the last thing I would like to talk about.
03:55I can't believe it. Well, the next time I bring up the subject, you tell her to stop.
03:58Yeah, as if that would help.
04:01No, and there's something else I don't quite understand.
04:08Let's see, what?
04:11I don't understand why she's still here.
04:15Well, because I 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.
04:23You invited her, a few days have passed.
04:25Of course.
04:26I think it's great.
04:27Don't you think you gave her your hand and she took your arm?
04:32I just don't get the feeling that she's any use.
04:34Ah, no.
04:35No.
04:36And how long are her parents going to spend in San Sebastián?
04:39I don't know, well ...
04:42Let's see.
04:43Would you be excited to go on vacation with your father, with the captain of the mate?
04:47No?
04:48Even if they are family, they are not forced to get along.
04:51They don't have more, don't be suspicious.
04:52Yes, yes.
04:54But 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?
05:03Maybe.
05:04Well then.
05:06Maybe it's time to kindly tell her that she has to go.
05:26Look.
05:28Let's put this on.
05:29This one looks good, isn't there another one out there?
05:34Mmm ... Mozart, but not this one.
05:39If you like it.
05:52So have you finally told her the truth?
05:55Yes.
05:57And what did she say to you?
05:59Well, she didn't say anything to me either.
06:01She just stood there.
06:02And I don't know, María, I don't think she expected it either.
06:05What do you mean to expect it?
06:08Well, and what did she say when you told her that you thought it was her grandfather,
06:11the baron of Linaja, who killed your mother?
06:13I didn't tell her that exactly.
06:15Besides, Mr. Márquez just arrived at that moment.
06:19But you did tell her that Mr. Curro is your brother, right?
06:22Neither.
06:24So what did you tell her?
06:25That after Tuesday comes Wednesday?
06:27Let's see, María, what gave me time before she was her father.
06:31With what it has cost you to start, I don't know if you will be able to continue.
06:35Let'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.
06:45Well, as if not to be, Hanna.
06:47Right?
06:48Maybe.
06:50But hey, let's continue with this.
07:01A few days later
07:15Can 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 toasts with lemon zest and a touch of cinnamon.
07:29They must be ready 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 ...
07:41That is also the merit of Mrs. Simona and Mrs. Candela.
07:43I don't even know how to fry an egg.
07:45And Teresa is worse.
07:46Once she wanted to make some toasts and she cooked them so much that they looked like croutons.
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.
07:58But I'm telling you, that looked like a crouton.
08:00Besides, it was disgusting.
08:01I have never eaten such a bad dish in my life.
08:05Marcelo, we all mess up a dish sometime.
08:07Even those of us who spend all day in the kitchen.
08:09No, no. If you're wrong, you're human.
08:11And we're all human, right?
08:12Some more than others.
08:15And where did you learn to cook?
08:16Well ...
08:17You know what? I would love to learn to make a dish.
08:20It would be nice if I could go through the kitchens.
08:22It would be great.
08:23I don't think so, Marcelo.
08:25In the kitchen we always have a lot of work.
08:27If you don't work, you get in the way.
08:28I wouldn't get in the way, of course.
08:31Marcelo, I'm going to be very honest with you.
08:35I 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 did they ask you to do?
08:43Review the dish for breakfast, right?
08:46And that implies that the dish has to be bright and without soap or grease stains.
08:50Right?
08:54How is this dish?
08:57Is it bright enough to put in the dining room?
09:00Well, yes and no.
09:02No.
09:03This dish has rags on the cloth.
09:09And how is this other dish?
09:11Because it has ...
09:13the fingerprints of your fingers.
09:15Do you think we can put this dish in the dining room?
09:17That must have happened to me.
09:19Yeah, 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.
09:25Hey, you can always learn.
09:27Nobody does it knowing.
09:29Yeah, but to learn you need attitude.
09:33For example, you should already know that to light the dish you need a dry cloth.
09:37How is your cloth?
09:39It's wet.
09:42Well, you know what you have to do.
09:55Good morning.
09:56Good morning.
09:58I was reading a piece of news about ...
10:00If you're going to tell me another nonsense about the war, I ask you to save it.
10:03I have no desire to hear something like that.
10:06I wasn't going to tell you about that.
10:07So?
10:09Do you remember the Orestes?
10:11Yes, they have been here as guests more than once.
10:14I just read that your son fell while riding that horse.
10:18I don't know if it's true or not.
10:20I don't know if it's true or not.
10:23I just read that your son fell while riding that horse and broke both his 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.
10:35It's just that you are the one who always takes care of those matters.
10:39Alonso, 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 concerns us both.
10:48The Orestes are your friends.
10:50They seemed charming to you.
10:52I never put up with them.
10:54That man bites his teeth with a toothpick.
10:57And she scares me like a woman.
10:59Every two or three minutes, 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.
11:06Neither do I.
11:07Or do you think I like to argue?
11:09What happens is that I have the feeling that you are always looking for a way to annoy 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?
11:19What have I done that bothers you so much?
11:20Let's leave it at that.
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 over the marmalade business
11:30to give it to your little daughter Catalina.
11:33I haven't made a decision yet, but 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 has taken care of the marmalades?
11:47Lorenzo.
11:48But maybe he hasn't taken care of it very well.
11:51In any case, I already tell you that the decision has not yet been made.
11:54Well, look, for once, it will be better for you to continue like this, without making a decision, as you always do.
11:59Alonso, for God's sake.
12:00Catalina can't even take care of a doll house.
12:03If that were the case, I would not have started that business, almost without help.
12:06Well, it seems that the money from the smuggling came in handy to clear the accounts.
12:10That's too much water.
12:13And what happens if he suddenly decides to return another season to the hangar?
12:17What would happen to the company?
12:20You know very well why he left.
12:22And on top of that, he's going to see the unpretentious Pelayo and he brings him back here.
12:25And without warning.
12:26I know the story very well. You don't have to tell me.
12:28Well, it doesn't seem like it, dear. It doesn't seem like it.
12:31I just don't understand why you want to put the marmalade business in his hands and in that used one's.
12:38Catalina has had a very bad time.
12:40So what? Does that mean she has to do whatever she wants?
12:43Your daughter is older. She is an adult.
12:45And adults, no matter how bad we have it, we don't behave like kids.
12:50No.
13:03Tell me what you have come to tell me, that I have a lot of trouble in the kitchen.
13:06Vera, I wanted to talk to you because I know how much you appreciate Catalina.
13:09Yes, for me she is almost like a daughter.
13:12It's hard for me.
13:13And she sees you as the mother who lost her child.
13:17I also know that your opinion is very important for the rest of the service.
13:20And?
13:21Well, for Catalina, the service is part of the family and this palace too.
13:26Mrs. Catalina knows our problems, lives our reality and cares for us.
13:31And you are for her.
13:33Specifically you.
13:35And that's why I know how bad she has had to go through seeing her suffer for the damage I caused her.
13:40Not even half as bad as she has. I assure you that.
13:43I know, Simona, I know.
13:45And you don't know how ashamed I am.
13:47Or how hard it is for me to know everything she has cried, Catalina, because of me.
13:53That's why I want to make up for all that pain, leave it behind.
13:56And that happens by apologizing to you.
13:59Apologize?
14:00That's it.
14:02Simona, I wanted to apologize for making you go through that ordeal.
14:07Catalina already knows that my love for her is sincere.
14:10And that I want us to build something new, together.
14:14I just need to convince you.
14:16And believe me, I'll do whatever it takes.
14:18I see, I see.
14:20Simona, I'm not a bad person, I've just made bad decisions.
14:23Let me prove it to you.
14:25And if I were a bad person, I wouldn't admit it, would I?
14:30It's also true.
14:34Tell me, do you have Catalina for a fool?
14:36Of course not.
14:38Mrs. Catalina is very awake.
14:40Awake and a noble soul, right?
14:42Then I say that she will have found something good in me so that we can still be together.
14:46Love sometimes blinds us.
14:49Come on, Simona, grant me the benefit of the doubt, please.
14:52I really want to improve as a person.
14:55Not to make more mistakes again, and above all, I want to make Catalina happy.
15:00Yeah, but so far, she's been a bitch.
15:03I don't know if I've been the one who has gone away from her.
15:06That's why I don't want us to separate anymore.
15:09And that's why I'm here, talking to you and telling you everything I want about your Catalina.
15:15Simona, can you forgive me for the evil I did to you?
15:18Because she has already forgiven me.
15:22Look, think that she is in front of a man who loves her madly and would do anything for her.
15:28Anything?
15:29Yes, that's what I said.
15:32Okay.
15:33Come to the kitchen.
15:39I love you.
16:05Are you coming for firewood?
16:07Well, you saw me and you needed any excuse to get closer.
16:11Well, a little bit of both.
16:14And Mrs. Simona kicked me out of the kitchen.
16:16And I have nothing to do.
16:18Really?
16:19And why is that? Are you angry?
16:21No, no, no, no, no.
16:24I don't know. They will bring something between their hands.
16:28And what could it be?
16:30Well, look, honestly, I didn't want to ask.
16:32Because whenever I ask, you end up next to me.
16:34I love seeing you smile.
16:36And you don't do it enough.
16:39Well, it's just that lately it hasn't been my best days,
16:42with my mother walking around here whenever she feels like it.
16:46Let's hope that from now on she has understood that it is useless to return.
16:49Yes, I hope so.
16:51That's why I'm a little calmer.
16:54And Marry is dreaming?
16:56Even so, I still can't get my head out of my head what they could have talked about
17:00the last time the Marquis and my mother saw each other.
17:03Vera will know.
17:06Well, today I met the Marquis and he looked at me as always.
17:09Come on, he didn't even look at me.
17:11Well, that only means that your mother has not told you.
17:14You were right.
17:15Yeah, but then why did she come?
17:17To apologize for coming here without an announcement?
17:20Or to enter the service area?
17:22Well, it could be.
17:23The Marquis had to find it very strange.
17:25Well, I guess Don Rómulo told him and the Marquis asked for explanations.
17:30Well, that's why I'm back.
17:32So let it be.
17:33Yeah, but I doubt the Marquise swallowed the excuse that she wanted the cake recipe.
17:37What lady is she interested in cooking?
17:41They are more interested in eating well.
17:42Yes.
17:43Go see what excuse he gave her to get out of the way.
17:49You have to stop thinking about it.
17:50Vera, 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.
18:02Are you going to blush?
18:04That's what I'm looking for.
18:06You are very funny when your ears turn red.
18:08Me?
18:09My ears don't turn red.
18:10Come on, don't overdo it.
18:11No.
18:12Yes, you turn red like a tomato.
18:15You look gorgeous.
18:18And it's hard for me to control myself, just so you know.
18:20Oh yeah?
18:22And why is that?
18:25Well, because I really want to kiss you.
18:27And we are in the courtyard.
18:28Come on, help me hang this sheet.
18:31Now.
18:33You help me, silly.
18:36Come on.
18:47Clip.
18:58Clip.
19:03And now come here.
19:16I'm telling you, she's going down.
19:17I don't know.
19:18She must be busy.
19:19Maybe I should go up and look for her.
19:21But what are you saying, silly?
19:22If Mrs. Petra catches you at the noble plant,
19:24those curls of your hair will become stiff.
19:27Look at her.
19:28There 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.
19:40Simona is always teasing me.
19:41Let's see, what have you prepared today?
19:43We haven't prepared anything.
19:45So who was it?
19:47Well, believe it or not, I prepared all this myself.
19:52No, I can't believe it.
19:54Yes, 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,
20:04but also the people who love you.
20:07And there are many of them.
20:09All of us, basically.
20:11Yes, the point is that I told Simona
20:14that I was willing to do anything to 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.
20:22I think Pelayo has never used a pan in his life.
20:24Until today.
20:26Well, he has taken up to a rod and he has dared to light the oven.
20:29And has he done well?
20:31Let's say he has done what he has been able to do.
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 sandal,
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.
20:50Simona has raised me, as they say.
20:53She and Candela.
20:55Wow, yes.
20:58Yes, this is my paradise.
21:00The kitchen.
21:02And now I understand better why.
21:04I appreciate the compliment,
21:06but it is not Menester who will cook again,
21:08you have just made a mess.
21:10Well, it's true, I'm going to have to send everything straight to the laundry.
21:13Let's see, I think that's just some flour.
21:16I don't know if that's going to be enough.
21:19Look.
21:23It seems that the cooks are leaving us.
21:26Maybe they want to leave us a little privacy, right?
21:28There is a time for everything.
21:30And there are people who are always willing
21:32to measure that time
21:34for you.
21:36They don't want to show you
21:38that they don't care.
21:40So,
21:42you are not going to tell me
21:44if I'm not going to cook or you're not going to cook.
21:46I'll cook,
21:48because I'm going to cook.
21:50That's why I'm not going to tell you
21:52if you're not going to cook or you're not going to cook.
21:54I'm going to cook,
21:56because I'm going to cook.
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 if you've lost the other one?
22:12Or a whole year?
22:14And for secrets, how long can you keep a very fat secret that a friend told you?
22:36You can't even tell your boyfriend? It seems you can't.
22:45What are you doing, María Fernández?
22:48I'm patching up the sheets.
22:50Why aren't you patching up the sheets?
22:53Because I stopped a bit to thread the needle.
22:56It was already threaded.
22:58Or because I threaded it, Mrs. Petra.
23:00Needles don't thread on their own.
23:02Come on.
23:03Go upstairs and fix the sheets.
23:05I'm going upstairs.
23:06I'm going upstairs.
23:07I'm going upstairs.
23:08I'm going upstairs.
23:09I'm going upstairs.
23:10I'm going upstairs.
23:11I'm going upstairs.
23:12María, go upstairs and fix the ladies' bedrooms.
23:15They've already woken up from their nap.
23:17Now?
23:18Of course, now.
23:19You'll regret that later.
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!
23:42Fly!
23:49Well, this cake is not bad.
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, but 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 wouldn't 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.
24:26Unbeatable.
24:37I've missed your lips so much.
24:40Doesn't it taste like sand?
24:41Stop making fun of me.
24:43It's okay, it's okay.
24:44I won't laugh anymore.
24:46You know what?
24:47To make up for my laughter, I want to take you to Luján's confectionery 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.
24:58The truth is, I was surprised.
24:59I hadn't received invitations in a long time.
25:01Imagine me.
25:03Unfortunately, yes.
25:06But well, I think it's time to leave all that behind.
25:10Would you come with me to his party?
25:14If I'm honest, I don't really feel like it.
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 come with you.
25:38I'll write to them today to confirm that we're going.
26:02Okay.
26:32That horse was already limping last year.
26:34It looks like it hasn't fully recovered.
26:38What's wrong, son? Are you sick?
26:40I'm sorry, father. I have a headache somewhere else.
26:43I guess it's because of some news I read about the war.
26:50Do you like the painting, Juan?
26:52I'm excited. It has everything.
26:54Good stroke, harmonious color.
26:57And the model, of course. What a lady.
27:01Yes, she's my first wife.
27:03The mother of my daughter Catalina and of my late son Tomás.
27:07I didn't know. I'm sorry.
27:09No, don't worry.
27:10Life is like that.
27:13It's a good painting.
27:15By Enguidanos, a very fine painter.
27:17I know him.
27:19But it's a shame about his state of conservation.
27:25Does he look 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 wrinkle.
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, you don't see it. I'm not that old.
27:47And look closely.
27:49This 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 and leave the painting as new.
28:10But you would have to take it out of the promise.
28:12It would not be necessary.
28:14Although I have never restored a complete work on my own.
28:17I know a lot about the subject and I could leave the painting as new.
28:21I thank you, young man.
28:24But I have heard very unfortunate stories of restorations.
28:27In a church in Murcia, a fan left a very valuable painting, made an excehomo.
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 of my parents' friends have already passed through my hands.
28:44Also, think that in this case there is no need to repaint.
28:47It would rather be about cleaning the dirt and giving a varnish.
28:52And that does not entail any danger?
28:54None, sir.
28:55It would only be about removing the dust that is between the cracks and changing the varnish.
29:01And the original colors would be recovered.
29:03That's it. And with the new varnish, it will be more protected and the lustre will be recovered.
29:08I don't see that restoration badly.
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.
29:17I would need, of course, to order a few materials and a quiet space to work.
29:24The hangar.
29:26My hangar, I think it's perfect. A lot of light comes in.
29:31Well, there is no more talk. Do it in the hangar.
29:35Prepare a list with everything you need.
29:37And a servant will take care of getting everything.
29:41And now, would you like to join us for a drink?
29:44Would you like to join us for a drink?
29:59Well, the new priest, Don Samuel, has organized a contest for fried eggplants.
30:03And what does religion have to do with fried eggplants?
30:06I think it has to do with the philigrees.
30:09And he had thought of participating.
30:11That the prize is a handful of ham.
30:13It'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 in every way.
30:20I think we could make the patties and put a jar of cane honey next to it,
30:23since you like it to soak.
30:26Leave that for a moment and go up to the music room.
30:28Mrs. Marquesa is waiting for you.
30:30And that?
30:31What happened?
30:32Well, she's worried. Have they done something wrong?
30:34No, not that we know.
30:35But whenever Mrs. Marquesa calls you upstairs, it's to give you a rapapolo.
30:39And it couldn't be to congratulate you for a dish, for a good dessert, for example.
30:43Excuse me, Mr. Pellicer.
30:45It seems to me that you have been in the palace for a short time.
30:48Let's see, Lope.
30:49How many times has Mrs. Marquesa called you since you've been here to congratulate you?
30:54I don't remember any.
30:55And me less, Mr. Pellicer.
30:57And I've been in this kitchen all my life.
30:59But that doesn't mean that now she's going to argue with you.
31:03Mr. Pellicer, when she said it, she said 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 upstairs at once.
31:15I'm sure it's not a bad thing, but it will be if you don't go soon.
31:19Let's go.
31:22Let's go.
31:23Come on, Lope.
31:25Excuse me.
31:37No.
32:00Nothing.
32:01The telegram?
32:03No.
32:05Hello.
32:06I'm going to show you some goods.
32:08Very well.
32:16It's okay, right?
32:18Yes, but the words are very expensive.
32:26What did you say?
32:28This here.
32:29Yes.
32:31Well, nothing.
32:34The telegrams charge a lot for words.
32:37And my boyfriend has sent me one.
32:39And he barely tells me anything.
32:41But it's not far, is it?
32:43No, but it's not here.
32:45And I miss him.
32:47They offered me a very good job in the palace of the Count of Matesán.
32:50I signed it and I didn't like it.
32:52And how could I refuse?
32:55Of course.
32:56Well, I'm sorry you're sad.
32:58But it's a very good job, isn't it?
33:01Well, yes.
33:02I'm making a lot of money.
33:04And who knows?
33:05Maybe God doesn't want it, but these things happen.
33:08And the same thing happens.
33:10It can happen.
33:11Yes.
33:12Well, the thing is that I miss him a lot.
33:15Because I was used to seeing him all the time.
33:17I'm going to tell you, right?
33:19Me?
33:20Why?
33:22Well, because you have Teresa here.
33:24Yes, yes, of course.
33:25Well, but if you want to go away, 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.
33:41And we want to buy a small farm.
33:44To live in the garden and 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.
33:52I want to have it.
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.
34:05Of course.
34:06Your question.
34:07That in the vice of asking, there is the virtue of remaining silent.
34:10Could you tell me how to illustrate the routines?
34:12I'm sure you know how to do all these tasks.
34:14It's ugly for me to say it, but I know how to do everything.
34:18And the first thing you have to do ...
34:20... is put on the sleeves.
34:25And the second thing you have to do is take the brush ...
34:30Kid, take off your jacket.
34:32Oh.
34:33Oh.
34:34Sorry.
34:38You pass the brush ...
34:41... removing the dirt.
34:50May I?
34:53Mrs. Marquesa?
34:55There's no one here, Lope.
34:56No.
34:57They told you to come here, right?
35:01Oh my God, Mrs. Simona, maybe we're late.
35:03We're already late, Lopillo.
35:05What do we do?
35:06Do you want me to go get 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, are you here?
35:16Yes, Mrs. Marquesa, I 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 that we would go up, but ...
35:28... he didn't lie to Vera.
35:30Well, she should be here.
35:34Well, if you want, I can go tell her.
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 and be in that place.
36:01Hanna, please.
36:03I can't stop thinking about it.
36:06I need to know everything.
36:12Please!
36:18Please!
36:26Was this the ring that the man who ended your mother's life was wearing?
36:36Manuel, it's not the time or the place.
36:39No one is coming.
36:41My cousin has gone with his mother to take a walk and will be back soon.
36:46Hanna, please, let's talk.
36:49Please.
36:52It's okay.
36:54What do you want to know?
36:56What will it be?
36:58You insinuated that my own grandfather could 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 your brother Tomás.
37:27It can't be.
37:29It can't be my grandfather.
37:32It can't be.
37:35It can't be.
37:41And 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, I talked to your brother
37:56and told him everything you know now.
38:01But then a dead man appeared.
38:03My brother didn't know who you were.
38:07Manuel, you have to understand that I didn't tell you because I didn't want to hurt you.
38:12You have to understand that I didn't tell you because I didn't want to hurt you.
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 and he thought I was stealing, so ...
38:36I had no choice but to tell him who I was and why I had come here.
38:41Do you think 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 promised to help me so that everything would come to light.
38:58I know that's why they killed Manuel.
39:02And yet, how do you accuse my grandfather of the death of my brother?
39:06Why?
39:07What do you mean why, Manuel?
39:09Because he was able to kill an defenseless woman in front of his children?
39:14Assuming what you say is true, Hanna.
39:17Assuming it's true.
39:19Do you have any evidence to prove it?
39:22Something against him?
39:24No.
39:31Well, no, I don't think I can have it at this point.
39:34Your grandfather took his secret to the grave.
39:38Hanna, it can't be.
39:41Manuel.
39:43Tomás suspected something
39:45and promised me that he was going to tell me everything, but first he had to see someone.
39:50Who?
39:52I don't know.
39:54In fact, I didn't finish believing it.
39:57So he gave me something as a gift.
40:01He gave me his wedding ring.
40:03And?
40:06He gave it to his own alliance on the same day of his wedding.
40:09And then he killed him.
40:18But my grandfather wasn't here that night, Hanna.
40:21Or that's what made us believe, Manuel, and that's why we don't consider him a suspect.
40:25But everything points to him.
40:28My grandfather, a murderer.
40:30And my brother.
40:37Manuel, I'm so sorry.
40:40I knew all this was going to hurt you.
40:44But there's one thing you still don't know.
40:47What?
40:50I found my brother.
40:53I found him years after they took him.
41:00And he's alive.
41:07He's in this house.
41:20My brother, eh?
41:24My dark brother.
41:30My brother.
41:35And when is the Duchess's visit expected?
41:38Well, as far as we know, it could be this afternoon.
41:41We'll have to have everything ready then.
41:44No, no, no. The lady doesn't want anything special to be done.
41:47The idea is for her to see the kitchens in their usual environment.
41:51Except for one thing.
41:53Vera.
41:55This makes no sense, Lope.
41:56A Duchess entering the palace to see the kitchen of a Marquis.
41:59Well, she's going to start seeing it on the promenade.
42:02Are you sure my mother doesn't care about the kitchen?
42:05What I don't understand is what she wants to achieve with all this.
42:09What if I've ruined everything, Maria?
42:12But you're not going to ruin everything, Hanna.
42:14That's it, eh? Stop whining about the milk you spilled.
42:17And if this is the reason for your wedding, it's because your love wasn't as strong as you thought.
42:21And do me a favor, Maria.
42:22Have you heard that I've been offered to restore the portrait in the tea room?
42:27That's right. It 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 have a lot of appreciation for that painting.
42:37It's a memory of my dear mother.
42:39I can't take it anymore with that spoiled brat Catalina.
42:42You have to get her out of here as soon as possible.
42:44If it were up to me, I would do it and with pleasure.
42:46She has exceeded all my limits.
42:48Come on, she's even giving me urticaria.
42:49Don't you have a friend of Martina who is allergic 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 imbecile who crossed your path.
43:03For God's sake, don't be vulgar.
43:05No, you are not vulgar.
43:08I don't understand why you want to favor Lorenzo by going 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.
43:16But of course, it is mine, which perhaps is not as important as yours.
43:20Excuse me, why?
43:22I am convinced that his experience on the front has 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 in relation to the war, which is precisely what I am trying to forget.
43:43That 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 shortcomings.
43:54I'm sure of it.
43:56She has changed my son Feliciano for an incompetent who doesn't even get the smell of his shoes.
44:02You are an insult to everything he represented.
44:06And to all the dignity that there is in this world, a dignified and sinful man.
44:10Really, Mrs. Alcos.
44:12That you have taken his place in Teresa's heart only shows that she was not up to it.
44:16But I will not allow you to take his place in this house.