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00:00THE LORD OF THE SKIES
00:07Come in.
00:11Mrs. Arcos?
00:13Come in, Santos.
00:15Come in and close the door.
00:26What's with the long face, Santos?
00:28Santos Pellicer always keeps his word.
00:33You did it.
00:35Did you doubt it?
00:37No.
00:38Actually, no.
00:40Have you found any information?
00:43I haven't been able to read it yet.
00:45I just picked it up from Maria Fernández's room.
00:47No one would have seen you, right, Santos?
00:50Of course not.
00:52Come on, sit down.
00:58And read something.
01:01What?
01:02I don't know. Open it and the first thing you find...
01:05I'm looking forward to seeing if Maria Fernández
01:08describes the same nonsense she says.
01:12Let's see...
01:16This one.
01:18But despite how much she loved her lover,
01:23something was wrong with the girl.
01:25Every time they talked about marriage,
01:27it was like...
01:29like a paralysis.
01:32And she didn't know why.
01:35Well, I guess you're not reading the spelling mistakes.
01:38No, because you can't.
01:40But she has a few that are very boring.
01:42Although that's the least of it.
01:44This brochure is unsmokable.
01:46Yes, I think it would be more useful
01:48to liven up the fire in the chimneys.
01:50But keep reading.
01:51Maybe you'll find something more interesting.
01:53Yes.
01:54You choose what you want.
01:57Let's see.
01:59I'm so clueless.
02:02Look.
02:04Here, for example.
02:07But then, why did her departure hurt so much?
02:13Maybe it wasn't just the distance, but...
02:17but something had broken between them.
02:22No, no. Don't go on, please. I'm going to cry.
02:25Well.
02:27I guess this whole paragraph is dedicated
02:29to his beloved Salvador.
02:30To his such-and-such.
02:32Curses and paragraphs to rage.
02:34Well, look.
02:35Maybe you'll find something more interesting.
02:40Let's see.
02:44This one, for example.
02:47He was a just man, and better than bread.
02:51So good, so good,
02:52that many thought he was too soft.
02:56She was quite the opposite.
02:59Hard as a stone.
03:01Maybe she had a heart, but it was so cold
03:05that she never seemed kind or close.
03:09Enough.
03:10Don't keep reading.
03:12What's going on?
03:13It's clear he's talking about the Marquis.
03:17You think so?
03:19Yes.
03:20It's obvious this notebook contains something more
03:23than innocent notes.
03:26This notebook contains...
03:28grievances we can't let go.
03:36Santos.
03:38Don't tell anyone what you just read.
03:42Of course not.
03:44If you don't mind, I'll return it right now.
03:47No. No, no.
03:48Don't do it.
03:51I think this notebook will be much more useful
03:55than I imagined.
03:59I'm going to examine it in detail.
04:14Curro.
04:16You're here.
04:17Yes, I was trying to read the newspaper.
04:20So you're not very busy.
04:22No, not really.
04:30Great. Why do I have to talk to you?
04:33I see.
04:34What's going on?
04:39It's about my wedding with Gena.
04:43Do you know the date?
04:45Yes.
04:47It'll be tomorrow.
04:49What? Really?
04:51Yes.
04:52But, Manuel, that's wonderful!
04:54I know.
04:55I'm sorry I can't tell you more.
04:57You already told me why.
04:59You don't want me to ruin it.
05:01Curro, that's not it.
05:03I don't want to compromise you.
05:05If you don't know anything, they can't force you to say anything.
05:09Then why are you telling me the date?
05:13Because your dear sister did the same thing with MarÃa Fernández.
05:17Ah.
05:18I see something has gone wrong in your perfect plan
05:21to keep everything in the most absolute of secrets, right?
05:24Well, yes.
05:27And given the circumstances, I think it's only right
05:29that you're also aware of it.
05:31Yes, since I'm the brother of both traitors,
05:34I appreciate the gesture, yes.
05:37Although you know perfectly well
05:39that what I would like
05:41would be to take you to the altar.
05:43Yes, I know, don't worry.
05:45It's impossible, it's okay.
05:58Manuel, you're in a good mood.
06:00Why do you say that?
06:02Well, because you're shaking like a flan
06:04and because you just drank my coffee.
06:06And because you just drank my coffee?
06:09I'm sorry.
06:10It's okay.
06:12After all, this is going to be the most important day of my life.
06:16The only thing I feel is that it's not going to be the wedding I dreamed of for Hanna.
06:19And why do you say that?
06:21Because it's going to be.
06:23She would love it if we could share this day
06:25with the people who love her the most.
06:27And there are many.
06:29Yes, starting with MarÃa Fernández, from what I see.
06:32And for you.
06:37I swear I would love to shout to the four winds that I'm going to marry her.
06:41But unfortunately, it's impossible.
06:44I see.
06:46Well, you've told me.
06:49Even if I'm not shouting.
06:53Curro, you know that one way or another you'll be there with us, right?
06:58I don't know.
07:03And now,
07:04tell me.
07:06How can I help you?
07:10You've already helped me a lot.
07:11Yes, yes, I know.
07:12But I'm sure I can do something else to make you feel more at ease.
07:18Well, actually, you can.
07:20Let's see, tell me.
07:26Brother, when ...
07:28When we get married, I'm going to ask Father Samuel to bring a letter of promise.
07:32A letter?
07:33Yes.
07:34In it I will explain what happened and why I acted in that way.
07:38So you're going to tell your love story with Hanna?
07:42That's right.
07:44And something tells me that the news will be devastating.
07:47Your mother is not going to take it well.
07:49No.
07:50But my mother's thing is not fixed.
07:53What matters to me is how our father is going to take it.
07:58And you want me to be present?
08:01That's right.
08:03And why don't you prefer that I give him the letter directly?
08:06No.
08:07Not in any way, because that would make you my accomplice.
08:10And I don't want to put you on that net even when I'm going to put land in the middle.
08:14So?
08:17So I need you to be there.
08:20I need you to support our father in what he needs.
08:26And most importantly,
08:29that you show him the good side of all this.
08:34Okay?
08:36Yes, like, for example, showing him that you're going to be very happy.
08:42Right?
08:44Immensely.
08:48Well, count on it, brother.
08:52Don't worry. Calm down.
09:04Do I interrupt any captivating reading?
09:08Actually, I can't get past the first page.
09:11Well, then it's not that captivating, right?
09:14I'm afraid the problem is not the reading, but myself.
09:21Let's see ...
09:24To be honest, I couldn't either with this novel, huh?
09:28You're right.
09:29The election hasn't helped either.
09:31The election hasn't helped either.
09:37Why do you spend your hours locked up here?
09:40If you were interested in reading and you were drunk, I could understand, but ...
09:45I don't know, I'm surprised not to see you wandering around the farm,
09:48watching the crops, or ...
09:51Let the grain grow properly.
09:55The grain grows well without surveillance.
09:58Let's see, I'm an ignorant in everything that has to do with the field, we all know that.
10:02But ...
10:04This ignorant is worried about you.
10:06I'm just tired.
10:08I don't think it's anything serious.
10:10But thank you for worrying about me.
10:13You're my favorite cousin.
10:15Thank you, Martina.
10:20And how are you?
10:22Fine.
10:24Well ...
10:25I think I'm dying of jealousy, cousin.
10:29Jealous of whom?
10:31They are my infuses, so let's leave the subject.
10:34Come on, tell me. Jealous of whom?
10:37Well, I know that those jealousies are not justified.
10:40Because I was the one who insisted that she stay with us.
10:44So ...
10:45Do you mean Julio?
10:47I just couldn't imagine that he would be interested in that way for work.
10:51Really?
10:52Well, he doesn't even leave him alone.
10:54But, let's see, wait a minute, wait a minute.
10:56How is it that you are jealous of Julia?
10:59Well, maybe I chose the word wrong.
11:01What I mean is ...
11:04That I feel displaced.
11:06That's what I mean by being jealous.
11:09But now Curro and you have a friendship relationship, right?
11:11Yes, that's why I told you that I chose the word wrong.
11:14But ...
11:15We have known Julia for a very short time.
11:17And now they seem inseparable.
11:19You see ...
11:21Curro has been at the forefront.
11:23I think he knows how to take care of himself.
11:25Yes, in many aspects, yes.
11:27But in many others, I don't think so.
11:29And I would be afraid to let Julia hurt him.
11:35Are you listening to yourself, cousin?
11:38Why?
11:40Well, I think you have chosen the right words and you are dead jealous.
11:45What is there between Curro and you?
11:47Are you back together?
11:48No.
11:52We are fine, but we are not ...
11:56You don't know what you are.
11:58It's not true.
12:00I know we are not dating.
12:03And I know we are not engaged.
12:05But I know we are fine.
12:08And that maybe there is some possibility that there is something else.
12:12And do you think Julia's presence can ruin that possibility?
12:18I'm afraid so.
12:20Then talk to him.
12:23Let him know that you are worried.
12:24No.
12:25No, I can't.
12:27Be honest with him.
12:29And so he will be honest with you.
12:32Maybe that can help you find out who you really are.
12:48A few days later.
12:56Vera, do you know where Javel's water is?
12:58What?
13:00I just sold some blankets with MarÃa Fernández and we have realized that one has a stain and does not come out with soap.
13:06Yes, yes, of course, sorry.
13:08The point is that it has run out.
13:10I suppose they will bring it now when they go shopping in town.
13:13Well, in that case, the blanket will have to wait.
13:16I have to go up and attend to the gentlemen.
13:18If you want, I can clean it as soon as they bring Javel's water.
13:23Would you do that for me?
13:25Sure, it costs me nothing.
13:27Thank you, Vera, you are a heaven.
13:29I hope so.
13:31No, really, I'm not exaggerating.
13:33You are one of those people who deserve to have returned the promise.
13:36Now I'm going to smile, Teresa.
13:38Well, that's what I feel.
13:40And not only do I think so.
13:42They are all delighted with you.
13:43Thank you very much.
13:45Thank you all, thank God, of course.
13:47And I don't understand why.
13:49MarÃa Fernández told me in one of her letters that you became a couple.
13:55Well, a lot has happened since then.
13:59Yes, of course.
14:01I guess it's something personal, but I just want you to know that you can count on me for everything you need.
14:16Actually, there is not much to tell.
14:20I was never very convinced of that relationship.
14:23Oh, no?
14:25No.
14:26I never felt very comfortable with Santos.
14:30I didn't know.
14:33Don't worry.
14:35No one knew, or almost no one.
14:39And then why were you with him?
14:42Well, it's hard to explain.
14:45I don't even stop past.
14:49Let's say that Santos always found a way to keep me by his side.
14:56That doesn't sound good at all.
15:00So you didn't have feelings for him?
15:04No.
15:06Although the situation between Santos and I could seem like it from the outside, it was always very tense.
15:11I'm sorry, but ...
15:14But hey, that's already part of the past.
15:17And ...
15:19Are you happy now?
15:21Yes, I think so.
15:23I'm glad.
15:25And I'm sorry I couldn't be there before to help you.
15:29Well, actually, all this happened while you were away on a trip and ...
15:33And even if you had been here, you couldn't have done much.
15:36You can always do something, even if it's giving unasked advice.
15:42And what advice would you have given me?
15:46Well, I guess I would have told you that it is important to face the truth.
15:53And that you have to face the problems head-on.
15:56It makes perfect sense.
16:00And it's not even my advice.
16:04It's what Feliciano always told me.
16:12Well, it's very good advice.
16:14Very sensible.
16:17It's a shame that sometimes it's so hard for us to act that way.
16:22Yes.
16:24Of course it is.
16:34A envelope.
16:36With the pledge of the promise, sir.
16:39Wow.
16:40And in the name of Don Gregorio Castillo.
16:54I'm going to leave this letter to the innkeeper, so he can give it to you as soon as he sees it.
17:00I'm going to leave this letter to the innkeeper, so he can give it to you as soon as he sees it.
17:04And what have you written?
17:06Nothing new, it's the same location as last time.
17:08And I'm not going to tell you when.
17:12Yes, I know what I put in that envelope, Mr. Baeza.
17:19I wrote it myself.
17:21I knew it.
17:23I didn't tell Sergeant Goldina.
17:25I know.
17:26Because otherwise I would be making a statement in the barracks.
17:30I have to, sir.
17:34So we can deduce that the sergeant found the envelope, but not the note that was inside.
17:38Considering the questions he asked me, it seems so.
17:42What did that note say?
17:47Just the time and place of the citation.
17:49It didn't say anything that personally intrigued him.
17:52No.
17:54I don't think so, at least.
17:56But you can know why that man kept only the envelope.
17:59Maybe he took a mental note of the address and got rid of it.
18:03That's what would go through that poor devil's head.
18:06The one you call the devil, I remind you that he is a murderer.
18:09I know.
18:11And he was willing to kill himself again, Mr. Baeza.
18:13Anyway, what we do know now is that the Civil Guard has evidence that relates the promise to that man.
18:20And everything seems to indicate that I am one of the last people who saw him alive.
18:23That's right.
18:25Which makes me one of the main suspects.
18:36It seems so.
18:39Mr. Baeza, I assure you that I have nothing to do with his death.
18:41You don't have to tell me.
18:43I totally believe your innocence, sir.
18:45And don't worry because the envelope doesn't prove anything.
18:48What it proves is that I was with that man a few hours before he died.
18:51That doesn't prove anything if you don't find anything else.
18:57Listen, I know it's not going to sound like a good idea, but ...
19:00I think you should go talk to that sergeant.
19:02That would be to succumb to panic, sir.
19:05Let things go at their course.
19:07It is not convenient for him to personalize in that bridge.
19:22The noble seamstress guild allows only single girls
19:31who meet every week in the home of each sister
19:39so that they can sew and sing at work, sew and sing, sew and sing, sew and sing.
19:49Hello, MarÃa Fernández.
19:52Well, we already know what I can do if they fire me.
19:55A seamstress and a seamstress too.
19:58Look at the most beautiful arrangement that the waist of the dress throws at him.
20:03MarÃa, for God's sake.
20:05Thank you very much.
20:07Today for you, tomorrow for me.
20:09Although the one who gets married tomorrow is you.
20:12It will be your turn tomorrow.
20:14This step is not mine.
20:19Let's see.
20:25You know what?
20:29I still can't believe that tomorrow at this time I will be married
20:33and that Manuel and I are going to be husband and wife.
20:35Until death do us part.
20:37And let's hope that happens in many, many, many, many years.
20:40I don't care about that.
20:42As long as I can live the rest of my days with him
20:44and as long as we don't have to hide our love.
20:47Who was going to tell you, huh?
20:49Less than a month ago, your fiancé was having sex in the trenches.
20:53And at that moment I thought I would never see him again.
20:57But well, things have changed a lot.
21:00And let's hope they stay there.
21:02That you were right and things in the promise change very quickly.
21:05Are you optimistic that you were here this morning?
21:07No, and I'm still here.
21:09But one thing does not take away the other and you are going to get married in Luján, right?
21:12Very close to the Marquise.
21:14And that's playing with fire.
21:16I already know, I could get married further away.
21:19But well, it is true that having the priest nearby has helped us to speed up
21:22and plan things well.
21:24No, I don't intend to convince you.
21:26But come on, I could have married you in Puebla de Tera,
21:29which is a shot from an airplane.
21:31Manuel doesn't have the plane here.
21:33Yeah.
21:35Yes, I just ...
21:36I already know, Maria.
21:38And I appreciate your advice.
21:40Because I know you give them to me with good intentions.
21:43But you're going to be submissive, right?
21:45As if I were watching you.
21:47Well, yes, I'm going to marry Manuel and the hermit of Luján tomorrow.
21:51It has been quite difficult for Manuel to manage them
21:53so as not to reveal the priest's identity.
21:55As if it were Don FermÃn.
21:57He would have slapped each of them twice.
22:01That's the luck of having a new priest
22:03who doesn't know his dangers.
22:05You'll see, Ana.
22:07But lying to a priest, that has to be a sin.
22:09And a very big sin.
22:11Maria, we are not lying to him about the essentials.
22:13And we love each other.
22:15Yes, yes, I know we have no choice.
22:17As if I wasn't going to formalize yours.
22:20Of course.
22:22So what's wrong with you?
22:23Don't you want me to get married or what?
22:27It's not that.
22:29I want you to get married, Ana.
22:32But it's going to be the most special day of your life and ...
22:35And I'm not going to be able to see it.
22:38You're going to be with me.
22:40One way or another, but ...
22:42You're going to be with me.
22:45And you know what?
22:48You have to remember what Teresa said.
22:50That the important thing is not the day of the wedding,
22:52but what comes after.
22:54For the rest of our lives.
22:57Yeah, and we're going to share that.
22:59Well, of course.
23:01Come on, how often does the Marquise complain that he's going to hit himself?
23:04You're going to rent balconies to see it.
23:06You're going to rent a good one because ...
23:08No one can stop this.
23:11Come here.
23:20I'm not proud to have lied.
23:22But ...
23:24I don't know.
23:27I'm not proud to have lied.
23:29But ...
23:31It was the only way I had to get to you.
23:34Well, but tell me about yourself.
23:36I barely know Matilde.
23:38Well, before being Julia,
23:40she was the institute of the grandchildren of the Duchess of Ferino.
23:44Matilde, a babysitter.
23:46I didn't expect that.
23:48Well, some of the Duchess's grandchildren are no longer ...
23:50Children, exactly.
23:52Oh no?
23:54In fact, the eldest granddaughter is quite a woman.
23:57Her name is Carolina
23:59and she is a kind and sweet young woman.
24:03I taught them to read, to write,
24:05history, art ...
24:07And well, to be up to the task,
24:09I had to train myself.
24:12That shows that you have a lot of ambition.
24:15It shows that it has come this far.
24:17But that's another story.
24:19Well, we have time.
24:21Besides, I want to meet her.
24:23Well, that girl Carolina
24:25had lived outside of Spain for a long time
24:27and she barely had friends.
24:29That's why my lady got her granddaughter
24:31to go to the feast of the Duchess of Trezuelos.
24:34The one that Martino went to.
24:36That's right.
24:37But Carolina was not in the mood to attend.
24:40She only agreed if I accompanied her.
24:43I see.
24:44But that reception was only for young ladies.
24:49That's why we agreed that I would go through one of them.
24:53At first I didn't think it was a good idea.
24:55But then I found out that Martina de Luján
24:58was also invited to the feast.
25:00And by then you already knew the relationship you had with Manuel
25:03and with me it was Luján's request, right?
25:05That's right.
25:06So I agreed to play his game
25:09and I stopped being Matilde of the Institute
25:11and I became Miss Julia.
25:15I understand.
25:17I only went to the feast to meet Martina
25:20and to get to you.
25:23I needed to talk about Paco.
25:25To know everything about his death.
25:29There is only one thing that I don't quite understand.
25:34You came to this palace to give Martina the pendant, right?
25:39Did you steal it?
25:41No, please, no.
25:42No, no, no.
25:44I took advantage of a moment of carelessness
25:46in which I kept the pendants in my bag
25:48and I borrowed one.
25:50And so I could make an excuse to visit La Promesa.
25:55An immeasurable excuse.
25:57Just like all those who came later
25:59to extend their stay in La Promesa.
26:01Their dizziness, the trip of their parents,
26:03restoring the painting ...
26:06I already told you that I hate lies.
26:09But I had to do it.
26:11For Paco.
26:18For Paco.
26:35Come in.
26:39What are you coming for, Petra?
26:41To bring me another bouquet?
26:42As if it were for me?
26:44Sorry, ma'am.
26:46That was just a carelessness.
26:48One of many.
26:50Ma'am, I actually ...
26:51Petra, I'm almost ready to go down to have a snack,
26:53so whoever has to wait, let them wait.
26:56Actually, ma'am, I came for another matter.
27:02And why should I be interested in your needs?
27:06The truth is that I still think about it.
27:08Yes, it was a mistake to ascend the bed of keys.
27:12Yes, you have already told me that on several occasions, ma'am.
27:16But both of us know the answer.
27:18The mistake would have been to ascend the bed.
27:23Tell me what you came for.
27:26What is this?
27:28A notebook?
27:30It is the proof of my efficiency as a key lover.
27:33Read it yourself and you will see for yourself.
27:40Vera, I left the soufflé halfway through.
27:42The soufflé can wait. We can't.
27:44I just put it in the oven.
27:46I need to know that it goes up well.
27:48Lope, it always goes up perfectly.
27:51That's why you're Lope, the best cook in the neighborhood.
27:54Vera, I'm just a cook.
27:56The soufflé is a very complicated dessert.
27:58Look, that's exactly what I wanted to talk to you about.
28:00The soufflé?
28:02No.
28:03The one you always miss, Lope.
28:05And it's not fair that you treat yourself like that.
28:07Vera, I know what I am and the place I occupy in the world.
28:10And what about the place you occupy in my heart?
28:13Because what demoralizes me is that we have already talked about this before.
28:16And no matter how much I repeat it to you, it seems that you don't finish believing me.
28:18It's not about believing or not believing.
28:20No.
28:21You're right there.
28:23The really important thing is if I'm willing to keep insisting.
28:27What do you mean?
28:28That I'm tired, Lope.
28:30And that I can't keep doing this.
28:33So what do we do?
28:35No, the question is what are you going to do.
28:37Are you going to keep pretending to be the victim?
28:39Or are you going to accept once and for all that for me you are just as worthy as any of the gentlemen?
28:45Lope, I'm very clear who I was, who I am and what I want to be.
28:49And if my past makes you feel inferior, you may not be prepared for the present.
28:53Much less for what comes next.
28:57So if that's the case, we'd better leave it as soon as possible.
29:02I can't be with someone who feels inferior to me.
29:05My love, it's not you.
29:07I don't think it's me.
29:08No.
29:09It's everything that surrounds you.
29:11Everything I've abandoned, you mean.
29:18Forgive me.
29:22You forgive me.
29:23I love you more than my life.
29:25And I promise you that I will not doubt again and that I will be up to it.
29:30Well, let's see if it's true.
29:38At Lope's level, it's hard for me to believe that there is a cook who has as much art in the kitchens as he does.
29:43Well, it's the truth. He is one of the best cooks in Madrid.
29:46And he will take care of the banquet of our wedding.
29:49Well, I share Margarita's skepticism.
29:51I don't think he cooks better than Lope.
29:53That's right.
29:54Come on, there is no guest who has ever left without dedicating a compliment to one of his dishes.
29:58Not to mention that you would realize more than that Madrid cook.
30:01Money is not a problem.
30:03And yes, I do not doubt that Lope is excellent, but he does not have the prestige or the name that I propose.
30:09Don't tell me that your cook is going to sign menus.
30:12That he is an oil painter.
30:15You can laugh at everything you want, Cruz.
30:17But the truth is that it has been very difficult for him to access to cook for us.
30:21In fact, it has been almost a miracle.
30:22Oh yeah?
30:23And how has the miracle been left over?
30:25Well.
30:26Through a good friend.
30:28Who?
30:30By discretion I prefer to keep the name a secret.
30:33I will only tell you that he works for the royal house.
30:36Please, how fantastic.
30:39And why would Ignacio have to invent something like that?
30:42To give importance, for example?
30:44No, because my fiancé doesn't need to do that.
30:46Leave it, Margarita. It's not worth it.
30:50When you tell us the specific identity of that genius of the stoves, I will believe you, Ignacio.
30:55Cruz, that's it, please.
30:57Well, yes, that's fine.
30:59We are organizing our wedding with the greatest enthusiasm.
31:02I don't understand why you can't share our joy.
31:04Yes, what should I be happy about?
31:06Margarita, don't make an effort.
31:08It is obvious that you are resentful for something.
31:10Resentful me?
31:11What nonsense.
31:12We better talk about something else.
31:14Or we don't talk about anything at all and that's it.
31:17Lately, in La Promesa, it seems that everyone is very upset.
31:21What do you mean?
31:22Well.
31:24That even young people behave in a strange way.
31:26If you mean my son Manuel, I remind you that he has just arrived from a war.
31:29I mean Manuel, Catalina, who is closed all day.
31:32Are you going to compare me to be in the front?
31:34With the leg of a spoiled little girl.
31:36Now you are going to attack my daughter.
31:38Let her mature at once.
31:39Stop it, Cruz.
31:40You are going to take her side, as always.
31:43Catalina is making a lot of effort with the subject of the jams and she is a little upset.
31:47You should understand her.
31:48You seem to understand everyone but me.
31:50I wish I could, dear, but you don't let yourself.
31:53You don't want anyone to understand you.
31:56I'm sorry.
32:05Come on, miss.
32:06Give the snack a try, we have prepared it with a lot of love.
32:10I appreciate it, but I wasn't kidding when I said I wasn't hungry.
32:14Oh, oh, oh, Miss Catalina without hunger.
32:19The thing is serious.
32:20Let's see if you're going to have a little temper.
32:23No, no, I'm fine.
32:25Yes, yes, it doesn't look bad.
32:29And how is the jam business going?
32:32Any news?
32:34Well, I have barely had time to review the accounts and analyze the state in which it is.
32:40Yeah, but with everything he told us, I'm sure the business will go ahead, whatever it is.
32:47Yes, we will have to adapt to the current market and the new times.
32:52The market of the Plaza de Ato?
32:54Well, they haven't changed their place, have they?
32:56No, Candela, I don't mean that market, but a more global market.
33:00Well, as soon as you know the news, let us know that we will be delighted to get down to work,
33:06even if it is with more common flavors.
33:08Take care, Lope.
33:10And I guarantee you that we will not diminish your creativity, even if we have to focus it in another way.
33:15Yes, of course.
33:16Looking for the thing in the world as it is ...
33:19Yes, offering a product as innovative as the one we offered is going to be difficult to sell now.
33:24Excuse me, Miss Catalina, but I don't quite understand.
33:27Well, because of the situation we are in, we are at war.
33:31People don't have rooms or are looking for novelties.
33:34They want things to be like before.
33:36Sure, people want strawberry jam to be strawberry jam.
33:41That's right.
33:43Don't worry, Lope.
33:44We will find a way to make the jam again.
33:47No, no, Miss Catalina, those are very logical arguments.
33:51Now is the time to do things as God commands, with quality products.
33:55Very well said.
33:56You have already heard Lope.
33:58When he has news, let us know.
34:02Yes.
34:06Lope, Candela, don't you have to go to Alacena to do some inventory?
34:10Us?
34:11But if it's yesterday ...
34:13Yes, because these days we have had a lot of trajÃn.
34:16Miss Simona is neglecting us now.
34:18So, come on, Miss Candela.
34:20Don't be stubborn.
34:21Let's go, let's go, let's go.
34:23So we stay at Catalina and Joa's date alone for a while.
34:25I wasn't going to stay much longer either.
34:27Nothing, just a little while, to give her the humidity.
34:30It will have to be at another time.
34:32As you wish, Miss.
34:34Thank you very much for the snack.
34:36You're welcome.
34:41What's wrong with this girl?
34:43I already told you that she is weirder than a green dog today.
34:46It's normal that she didn't eat the snack.
34:48No, what's not normal is that she didn't tell me what's wrong with her.
34:52Well, then let's go to Alacena, Lope, and I'll do the inventory or not?
34:56Candela, it was just an excuse.
34:58I knew it.
34:59Come on, you look like you're about to play the mouse.
35:01Of course, I don't take it as a couple, as a game.
35:03Come on, how smart.
35:05Come on.
35:06What a big smartness around here.
35:23Olé.
35:27Olé.
35:29What a beautiful thing.
35:31What a beautiful thing.
35:33Olé.
35:34What a beautiful thing.
35:40Olé.
35:41We had a great time.
35:46Come on, come on.
35:48To the square.
35:55Come on.
35:59Olé.
36:03Olé.
36:06Marcelo.
36:08Come here a moment.
36:11What, are you in a hurry?
36:13Me?
36:14Yes.
36:15But I was just shaking the carpets.
36:17I see.
36:18And with what were you shaking them? With your tongue?
36:21Why do you say that?
36:23I say it because I'm not Leila.
36:24I know perfectly well what you were doing.
36:26Camelot to the trini.
36:27Hey, I didn't do any of that.
36:29Well, that's not what my little eyes have seen.
36:31I was shaking some carpets
36:33and it turns out that one of them was so small
36:35that it almost looked like a crutch.
36:37I see.
36:39Yes.
36:40It's not my fault.
36:41The girl made it funny, don't you think?
36:43We're here to work, not to make fun of others.
36:46Because to laugh, all the clowns are in the circus.
36:48Hey, it was an innocent joke, woman.
36:50Well, you seem less innocent to me.
36:52So work and concentrate,
36:55you've had enough of that.
36:57Are you sure you don't want me to slap you too?
36:59I'm jealous of Joselito the Rooster.
37:01Don't even think about it, Marcelo.
37:03Don't even think about it.
37:04But why are you so angry with me, woman?
37:06Come to work.
37:30The potatoes are ready to fry.
37:32Can I have a look at Lupe's dessert?
37:35Oh, no, I'll be right there.
37:37You told me that five minutes ago.
37:39As soon as it's done,
37:40the guy is going to be so mad.
37:43You're right, Candela.
37:45I'm sorry.
37:46I'm very sorry,
37:47but the one who's going to get close to the oven
37:49is me.
37:51No, it's not enough.
37:53It wasn't supposed to be that much.
37:55It wasn't supposed to be that much either,
37:56but it had to be.
37:57What's wrong with you?
37:59Why are you so upset?
38:01I can't get my head off of Miss Catalina.
38:04That's even worse.
38:06But we have a job to do.
38:08Yes, yes, yes, of course.
38:09Yes, of course, of course.
38:10But there's no one here.
38:12But my soul is falling at my feet.
38:15So I'm going to have to go.
38:17But my soul is falling at my feet.
38:19Have you seen the little enthusiasm
38:21when I asked her about the jam?
38:23Of course, she's not.
38:25She's unrecognizable.
38:26Look, look, what a bad omen the captain has.
38:30You see what he's done to the business.
38:31Yeah, but I don't think that's why.
38:34I think something else is wrong with him.
38:37What?
38:38Well, I'd like to know that, Candela.
38:41But it has to be something very big
38:43so that he doesn't trust me and tell me.
38:45Will he have something to do with Cosme Dañi?
38:48It could be.
38:50Can you imagine if after coming to the palace
38:52to convince him to come here,
38:54in the end the girl is not in love?
38:56It could happen.
38:58But Miss Catalina has to tell the truth.
39:01It's hard for her, like everyone else,
39:03but in the end she does it.
39:05So?
39:06So it has to be something very big.
39:10But I don't feel like it at all.
39:16How do you hear it?
39:17I was taking him for a walk,
39:18as if he were a bullfighter.
39:21And Trini was laughing at him.
39:23Trini is not supposed to know that he is married.
39:26The one who is supposed to forget it is him,
39:28who wanted to take me for a walk.
39:30Really?
39:31Yes.
39:32And the worst thing, hold on,
39:33is that according to him, he was not doing anything wrong.
39:35He will be shameless.
39:37Are you sure you're exaggerating?
39:39Not a little bit, Hanna, not a little bit.
39:41Well, maybe everything is going to be fine.
39:43And a little bit.
39:44Well, maybe all this that we are imagining does not exist.
39:47Yes, of course, I would have imagined that I was doing a Veronica.
39:50MarÃa, maybe he likes gossip and gossip.
39:53Well, yes, he likes it like that.
39:54I'm telling you.
39:55Besides, you told me that Josefa was having an affair, right?
39:59Maybe he's just a good partner, that's it.
40:02Well, yes, he may be a good partner, yes.
40:05What surprises me is that Teresa has noticed that man.
40:09No, I also find it quite strange.
40:10Yes.
40:13Teresa, what are you doing here?
40:16Well, I came to look for the iron,
40:18but when I passed by, I thought I heard my name.
40:21Oh yeah?
40:22Yes.
40:23No, no.
40:28We were saying that Hanna couldn't use the iron
40:34because I'm sure you were coming for her
40:36and that she couldn't use it.
40:38So yes, Hanna.
40:39Sure.
40:40Well, if you're using it, better.
40:42I'll come for it later.
40:43No, take it if you want.
40:44Yes, sure.
40:45Yes, of course.
40:46Take it.
40:49To the iron.
40:55Why didn't you tell us?
40:57Who, me?
40:58You, who's going to tell you?
41:01Nothing.
41:02Because you're right and the boy was in a bad mood.
41:06Well, even so, I think she should know.
41:10Besides, I've already told her a few times
41:12that Marcelo went too far.
41:16And what did she tell you?
41:18She gave me the impression that she didn't care too much.
41:21The truth.
41:40What do you want now, Petra?
41:45Ma'am, I heard that you didn't finish your lunch.
41:50Is everything okay?
41:51And I was wondering if you needed anything.
41:53No, I don't need anything.
41:54And less from you.
41:58If I may ask, have you had the opportunity
42:01to read the notebook I gave you?
42:04And why would I waste my time on that nonsense?
42:07Because I have the feeling that it has information
42:10that would be very interesting for you, ma'am.
42:13Well, once again you are wrong.
42:15Before going down to have lunch, I could take a look at it
42:18and I have only found absurd ripples and childish stories.
42:22Well, maybe, ma'am, it's just that ...
42:27you haven't read the pages of Mas en Julia.
42:30Where do you want to go?
42:32Nowhere, ma'am.
42:34But I insist that I should give you a second chance.
42:39As it is another waste of time, you will be responsible.
42:43I assure you that lately the idea of ​​degrading you to Fregona
42:46is the most attractive to me.
42:48Let me show you the most succulent fragments.
42:53And read it yourself, ma'am.
43:05Once she got sick
43:08and had to go for a season to a retirement home
43:15and he suffered a lot from his absence.
43:19It could be said that they loved each other more
43:23in the distance than in the proximity.
43:26But does this have to do with me?
43:28I'm afraid so, ma'am.
43:30That fable dared to write about me and in this tone?
43:34I assure you that I'm going to kick her out.
43:37And no one in the region, no decent house, will hire her.
43:41Before doing that, ma'am, I would continue reading.
43:45Because there is other information,
43:48even more interesting.
43:51And who could imagine
43:54that those two maidens,
43:58united by chance,
44:00would find love
44:02in the same palace where they lived?
44:07The first one got engaged to a ...
44:10Sir, son of a Marquis?
44:13A young priest?
44:16Sir, son of a Marquis?
44:19A young priest?
44:21Brave?
44:23Able to fly through the sky?
44:29The two friends organized their wedding.
44:32The first in private because no one
44:35could find out about their romance. What is this?
44:39You can deduce it yourself, ma'am.
44:41That sir, son of a Marquis,
44:44able to fly through the sky,
44:46is none other than his son Manuel.
44:49But then?
44:51Then who the hell is the bride?
44:54Can't you guess, ma'am?
44:58Pull the expose.
45:01You have to tell me.
45:12Leave this notebook where you found it
45:15and pretend no one has ever seen it.
45:27I'm intrigued.
45:29What's so secret you have to tell me?
45:32You'll see, more than secret, it's serious.
45:35So I need your maximum discretion.
45:38Manuel, you're scaring me.
45:40Tell me what it's about.
45:44Catalina, do you remember that time you turned to me
45:46to cover your back when you went to visit Pelayo?
45:49Of course. And I'm very grateful to you.
45:54Do you remember what I told you?
45:56I need you to return the favor.
46:00What are you up to, brother?
46:04None right now.
46:06But everything will change tomorrow.
46:09What are you talking about?
46:11Do you trust me, sister?
46:14Of course I trust you, but I don't understand what's so mysterious.
46:17I can't tell you anything else.
46:20Then you're not going to tell me anything you expect from me.
46:27I need you to defend me no matter what happens tomorrow.
46:32Will you do it?
46:34I've always done it. But what's going to happen tomorrow?
46:39Nothing bad. I give you my word.
46:42But I need you to defend me.
46:46And please, sister, I know this is very strange,
46:49but I need you to give me your word.
46:53I beg you.
46:55Okay, okay, I'll do it. You have my word. I'll defend you no matter what.
47:14First of all, thank you for coming with such urgency.
47:18You for warning me. I assume it's something important.
47:22That's right.
47:24Something you forgot to tell me this morning.
47:27I'm afraid so. I'm sorry for the inconvenience.
47:31You won't be if you manage to shed some light on Mr. Castillo's death.
47:36I understand that I have not advanced in your investigation.
47:40Do you really want to be the one to ask the questions?
47:43No, no, no. For God's sake, no. Excuse me.
47:46But no. Unfortunately, we still have no leads.
47:49That's why I'm here. Because I hope you will give them to me.
47:55I lied to you.
47:58What did you say?
48:00I didn't tell you the whole truth. I was scared.
48:03I didn't know the implications of revealing the name of the owner of the envelope.
48:10Do you know who did it?
48:13Who put Gregorio Castillo's name on it?
48:17I did it. I was the one who sent the envelope to Mr. Castillo.
48:22You?
48:23Yes. There was a note inside that said to meet me.
48:29I don't understand. Why did you want to meet Mr. Castillo?
48:35I wanted to convince him to leave Mrs. Adarre alone.
48:42Mrs. Adarre. Your wife.
48:47I understand it less and less.
48:49Didn't you tell me that Mrs. Pia Adarre had died?
48:55I also lied to you.
48:58Mrs. Adarre is alive, fortunately.
49:12A month later.
49:25And that rose?
49:27It's an attempt to make up for not having arrived in time to talk to the cooks about the jams.
49:33Don't worry.
49:35I'm very sorry, Catalina. I approached Juan and the saint went to heaven.
49:40It doesn't matter.
49:43I already went down and explained the situation to them.
49:45And what did they say?
49:47Well, what they already told us, that they are at our disposal.
49:51Lope seems a little more convinced about the decision to make more conventional jams.
49:56I'm very glad.
50:00Honey, will you forgive me?
50:04There is nothing to forgive.
50:07No, no.
50:16Catalina, what's going on?
50:22No, no, no.
50:25You're not going anywhere without telling me what's wrong with you.
50:28Talk at once.
50:36I'm pregnant.
50:49Mrs. Adarre, do you have a problem with me registering the cabin?
50:56No, of course not.
50:59Although I already told you that I'm not going to find anything.
51:01Where do you have the money?
51:04What money?
51:07Don't play dumb, Mercedes.
51:09And above all, don't take me for a fool.
51:11You know perfectly well what money I'm talking about.
51:14You are wonderful.
51:25I want the jam to be ordered tomorrow and not the day after tomorrow.
51:29The thing is that tomorrow is my day off.
51:32And?
51:33I've been invited to a snack today.
51:35That's an excellent plan.
51:37Since you've gotten up in such a good mood, maybe you'd like to join me this afternoon.
51:42Well, yesterday I tried to give him a task for this afternoon.
51:47And he already got off his horse, claiming that it was his day off.
51:51I have proposed to my son a plan for this afternoon, but he has come up with the most absurd excuse.
51:56It is clear that you are hiding something, ma'am.
52:00And now all that remains is that Father Samuel gives us his blessing.
52:03Yes.
52:04You shouldn't be here.
52:06At the last moment I asked him to go in search of the photographer from Luján.
52:09You wanted a memory so that our children could see it.
52:12But don't you want to go out in the photo with that cape covering all the dress you're wearing underneath?
52:16Today is the day.
52:18Or there are many possibilities that it is.
52:21All we need is to know where those two fools are going to get married.