La Promesa Episodio 363 Completo
La Promesa Episodio 363 Completo
Category
🎥
Short filmTranscript
00:00 [MUSIC PLAYING]
00:03 [MUSIC PLAYING]
00:05 [SPEAKING SPANISH]
00:07 Or why does she treat me so affectionately?
00:09 - I think that if she kicked you, it would be much worse for you.
00:11 - Well, it would be much easier to forget her.
00:13 - Well, you still have to be the one to put distance between the two, right?
00:16 - I'm not trying, Salvador.
00:18 But I still love her.
00:20 - All I want is to get out of your sight.
00:22 In a war like the one that is taking place in the middle of Europe,
00:25 having news that Manuel and Curro have not died is a real miracle.
00:29 - What do you think if we take a walk and you forget a bit of this accountability?
00:32 - No, no, I don't know.
00:34 - I'm supposed to be an uninvited guest and that you can't tell me no, right?
00:37 - Yes.
00:39 Let's go.
00:43 What time is it that we give him a serious opportunity for our thing?
00:46 - We are not giving him that.
00:48 But let's enjoy the process like this, calmly.
00:50 - I agree to enjoy it.
00:52 But later, sooner we will have ...
00:53 - But this issue is not good for us to get it out if you don't want to make my walk bitter.
00:56 Please.
00:57 - I can't tell you what happened.
00:59 - That's very easy to say, Candela.
01:01 But every time I see that he changes his step so as not to cross paths with me,
01:04 or that he makes a mistake in front of his companions,
01:07 a sorrow is engraved in my soul like a dagger.
01:10 - Without your brother or without you,
01:12 Miss Leonor so far from the promise, without Mr. Tomás.
01:16 Miss, your father is alone.
01:20 - I know everyone thinks I'm here for whim, Rómulo, but it's not like that.
01:26 I can't step foot in that house again until Cruz recognizes his absence.
01:29 - Gregorio! I saw Gregorio!
01:30 - Impossible. That sick man was in Trelera.
01:33 He was at the door of the promise.
01:34 - That's not Mrs. Agarra's husband.
01:35 - And the one who was a little bad-tempered in the other neighborhood.
01:37 - What's he up to?
01:39 - I assure you, nothing good.
01:41 We have to prevent him from entering anyway, sir.
01:44 - We must act quickly, but we must do it well.
01:53 - Mr. Pellicer, Gregorio will not stop you from closing the door.
01:55 - He is a criminal, Mr. Pellicer.
01:58 If he has come here, it is because he has some bad intention.
02:02 - Yes. Yes, yes. We must be careful.
02:05 I will stop that man myself.
02:06 - No way.
02:08 Let Salvador go.
02:09 - I'm not going to expose him to that risk.
02:11 - No, no. Don't worry, Mr. Pellicer. Gregorio.
02:13 - Yes, yes. I'm worried.
02:15 Although if you prefer, we go together.
02:16 - No, no. Really. I have faced armed squadrons myself, even the teeth in the war.
02:19 I will be able to do this.
02:21 - Get down a little. This is not time to see who is more man.
02:24 I want Salvador to go, so he can talk to him.
02:27 And stop him without fighting.
02:29 If you go, Mr. Ricardo, we don't know what can happen,
02:31 because he doesn't know him.
02:33 - I'm going to the door.
02:35 - Please, be careful.
02:37 If that man doesn't attack you, don't attack him.
02:39 I don't want him to put his life at risk. It's an order.
02:42 - Understood. I will not fight.
02:44 Unless it is the legitimate defense.
02:47 - Mr. Candela, I'm going with him.
02:51 - You stand still and stop!
02:52 - Mrs. Candela, I know Gregorio and I can help Salvador.
02:56 - You are going right now to look for Mr. Rómulo to keep him informed of what is happening here.
03:00 This way you will help him and not by being a man.
03:03 - Okay, now I'm going to look for him.
03:04 - We should call the civil guard, right?
03:06 - Man, I think that Mr. Rómulo will be the first to do it.
03:09 Notify him before Mr. Gregorio approaches Mrs. Pia.
03:11 - By the way, where is Mrs. Darre?
03:14 We should keep an eye on her and make sure she is in a safe place.
03:17 - She will tell us right now. Let's go and notify them.
03:19 - Yes. We are going to take her somewhere where that man cannot find her.
03:22 - Well, it would be best if she stays in her room.
03:24 Gregorio will think that she is still sleeping in the key master's room.
03:27 - Very well seen. Well, the sooner the better. Let's go.
03:29 - Let's go.
03:30 [Music]
03:32 [Music]
03:34 [Music]
03:37 [Music]
03:39 [MUSIC - ENRIQUE CERVERA, "LAS LUCES"]
03:42 [SINGING IN SPANISH]
03:46 [SINGING IN SPANISH]
03:49 [SINGING IN SPANISH]
03:53 [SINGING IN SPANISH]
03:56 [SINGING IN SPANISH]
03:59 [SINGING IN SPANISH]
04:03 [SINGING IN SPANISH]
04:06 [SINGING IN SPANISH]
04:10 [SINGING IN SPANISH]
04:14 [SINGING IN SPANISH]
04:17 [SINGING IN SPANISH]
04:32 [SINGING IN SPANISH]
04:36 [SINGING IN SPANISH]
04:48 [SINGING IN SPANISH]
04:57 [SINGING IN SPANISH]
05:01 [SPEAKING SPANISH]
05:12 [SPEAKING SPANISH]
05:15 [SPEAKING SPANISH]
05:18 [MUSIC PLAYING]
05:22 [GIGGLING]
05:24 [SPEAKING SPANISH]
05:26 [SPEAKING SPANISH]
05:29 [SPEAKING SPANISH]
05:33 [SPEAKING SPANISH]
05:36 [SPEAKING SPANISH]
05:39 [SPEAKING SPANISH]
05:42 [SPEAKING SPANISH]
05:45 [SPEAKING SPANISH]
05:47 [SPEAKING SPANISH]
05:49 [SPEAKING SPANISH]
05:52 [SPEAKING SPANISH]
05:54 [SPEAKING SPANISH]
05:56 [SPEAKING SPANISH]
05:59 [SPEAKING SPANISH]
06:02 [SPEAKING SPANISH]
06:05 [SPEAKING SPANISH]
06:08 [MUSIC PLAYING]
06:11 [CAMERA SHUTTER CLICKING]
06:15 [CAMERA SHUTTER CLICKING]
06:18 [SPEAKING SPANISH]
06:22 [SPEAKING SPANISH]
06:25 [SPEAKING SPANISH]
06:28 [SPEAKING SPANISH]
06:32 [SPEAKING SPANISH]
06:35 [SPEAKING SPANISH]
06:38 [SPEAKING SPANISH]
06:42 [SPEAKING SPANISH]
06:45 [SPEAKING SPANISH]
06:48 [SIGHING]
06:50 [SPEAKING SPANISH]
06:52 [SPEAKING SPANISH]
06:55 [SIGHING]
06:57 [SPEAKING SPANISH]
07:00 [SPEAKING SPANISH]
07:03 [SPEAKING SPANISH]
07:06 [SPEAKING SPANISH]
07:11 [SPEAKING SPANISH]
07:14 [SPEAKING SPANISH]
07:16 [SPEAKING SPANISH]
07:20 [SPEAKING SPANISH]
07:25 [SPEAKING SPANISH]
07:28 [CAMERA SHUTTER CLICKING]
07:29 [SPEAKING SPANISH]
07:33 [MUSIC PLAYING]
07:36 [WATER POURING]
07:46 [SPEAKING SPANISH]
07:49 [SPEAKING SPANISH]
07:55 [SPEAKING SPANISH]
07:59 [SPEAKING SPANISH]
08:01 [SPEAKING SPANISH]
08:04 [SPEAKING SPANISH]
08:06 [SPEAKING SPANISH]
08:08 [SPEAKING SPANISH]
08:11 [SPEAKING SPANISH]
08:12 [SPEAKING SPANISH]
08:16 [SPEAKING SPANISH]
08:18 [SPEAKING SPANISH]
08:21 [SPEAKING SPANISH]
08:23 [SPEAKING SPANISH]
08:25 [SPEAKING SPANISH]
08:29 [SPEAKING SPANISH]
08:30 [SPEAKING SPANISH]
08:32 [SPEAKING SPANISH]
08:35 [SPEAKING SPANISH]
08:37 [SPEAKING SPANISH]
08:39 [SPEAKING SPANISH]
08:42 [SPEAKING SPANISH]
08:44 [SPEAKING SPANISH]
08:47 [SPEAKING SPANISH]
08:49 [SPEAKING SPANISH]
08:58 [SIGHS]
08:59 [SPEAKING SPANISH]
09:00 [SPEAKING SPANISH]
09:08 [SPEAKING SPANISH]
09:10 [SPEAKING SPANISH]
09:12 [SPEAKING SPANISH]
09:16 [SPEAKING SPANISH]
09:17 [SPEAKING SPANISH]
09:20 [SPEAKING SPANISH]
09:26 [SPEAKING SPANISH]
09:29 [SPEAKING SPANISH]
09:30 [SPEAKING SPANISH]
09:32 [MUSIC PLAYING]
09:34 [SPEAKING SPANISH]
09:35 [MUSIC PLAYING]
09:38 [SPEAKING SPANISH]
09:39 [MUSIC PLAYING]
09:42 [MUSIC PLAYING]
09:44 [MUSIC PLAYING]
09:47 [MUSIC PLAYING]
09:48 [SPEAKING SPANISH]
09:50 [SPEAKING SPANISH]
09:52 [SPEAKING SPANISH]
09:53 [MUSIC PLAYING]
09:56 [SIGHS]
09:57 [SPEAKING SPANISH]
09:59 [SPEAKING SPANISH]
10:01 [SPEAKING SPANISH]
10:02 [SPEAKING SPANISH]
10:04 [MUSIC PLAYING]
10:06 [SPEAKING SPANISH]
10:08 [SPEAKING SPANISH]
10:10 [SPEAKING SPANISH]
10:12 [SPEAKING SPANISH]
10:14 [SPEAKING SPANISH]
10:16 [SPEAKING SPANISH]
10:18 [MUSIC PLAYING]
10:20 [MUSIC PLAYING]
10:24 [SPEAKING SPANISH]
10:26 [MUSIC PLAYING]
10:28 [SPEAKING SPANISH]
10:29 [MUSIC PLAYING]
10:32 [MUSIC PLAYING]
10:35 [SPEAKING SPANISH]
10:37 [MUSIC PLAYING]
10:40 [SPEAKING SPANISH]
10:43 [SPEAKING SPANISH]
10:46 [SPEAKING SPANISH]
10:47 [MUSIC PLAYING]
10:51 [SPEAKING SPANISH]
10:53 [MUSIC PLAYING]
10:56 [SPEAKING SPANISH]
10:59 [MUSIC PLAYING]
11:02 [SPEAKING SPANISH]
11:04 [SPEAKING SPANISH]
11:06 [MUSIC PLAYING]
11:09 [MUSIC PLAYING]
11:13 [MUSIC PLAYING]
11:16 [MUSIC PLAYING]
11:20 [MUSIC PLAYING]
11:23 [MUSIC PLAYING]
11:25 [SPEAKING SPANISH]
11:28 [SPEAKING SPANISH]
11:31 [SPEAKING SPANISH]
11:33 [SPEAKING SPANISH]
11:34 [SPEAKING SPANISH]
11:35 [SPEAKING SPANISH]
11:37 [MUSIC PLAYING]
11:39 [SPEAKING SPANISH]
11:42 [MUSIC PLAYING]
11:45 [SPEAKING SPANISH]
11:48 [SPEAKING SPANISH]
11:51 [SPEAKING SPANISH]
11:54 [SPEAKING SPANISH]
11:57 [MUSIC PLAYING]
11:59 [SPEAKING SPANISH]
12:01 [SPEAKING SPANISH]
12:02 [SPEAKING SPANISH]
12:05 [MUSIC PLAYING]
12:09 [SPEAKING SPANISH]
12:12 [MUSIC PLAYING]
12:15 [SPEAKING SPANISH]
12:18 [SPEAKING SPANISH]
12:21 [SPEAKING SPANISH]
12:24 [MUSIC PLAYING]
12:25 [SPEAKING SPANISH]
12:28 [SPEAKING SPANISH]
12:31 [SPEAKING SPANISH]
12:34 [MUSIC PLAYING]
12:37 [SPEAKING SPANISH]
12:40 [SPEAKING SPANISH]
12:43 [SPEAKING SPANISH]
12:46 [MUSIC PLAYING]
12:49 [SPEAKING SPANISH]
12:52 [MUSIC PLAYING]
12:55 [SPEAKING SPANISH]
12:58 [MUSIC PLAYING]
13:01 [SPEAKING SPANISH]
13:04 [SPEAKING SPANISH]
13:07 [MUSIC PLAYING]
13:10 [MUSIC PLAYING]
13:13 [MUSIC PLAYING]
13:16 [MUSIC PLAYING]
13:19 [MUSIC PLAYING]
13:22 [MUSIC PLAYING]
13:25 [MUSIC PLAYING]
13:27 [SPEAKING SPANISH]
13:30 [SPEAKING SPANISH]
13:33 [SPEAKING SPANISH]
13:36 [SPEAKING SPANISH]
13:39 [SPEAKING SPANISH]
13:42 [SPEAKING SPANISH]
13:45 [SPEAKING SPANISH]
13:48 [SPEAKING SPANISH]
13:51 [SPEAKING SPANISH]
13:54 [MUSIC PLAYING]
13:57 [SPEAKING SPANISH]
14:00 [SPEAKING SPANISH]
14:03 [SPEAKING SPANISH]
14:06 [SPEAKING SPANISH]
14:09 [SPEAKING SPANISH]
14:12 [SPEAKING SPANISH]
14:15 [SPEAKING SPANISH]
14:18 [SPEAKING SPANISH]
14:21 [MUSIC PLAYING]
14:24 [SPEAKING SPANISH]
14:27 Don't mess with the Duchess. She'll have her things, but a generous and fun woman.
14:33 Wouldn't you prefer having a lady...
14:35 Yes, Maria, me too. The truth is that dressing up from time to time has to be fun.
14:40 I mean, there are carnivals in Burlevas, though.
14:44 Well, Maria, are you sorry that you haven't gone to work at the Palace?
14:50 No, because I wanted to be with my Salvador.
14:53 And I don't change my boyfriend for any Indian costume.
14:57 Don't lie, Maria. You had everything planned with Salvador.
15:00 What happens is that you're a very good friend and Teresa will be very grateful to you.
15:05 No one has seen her around here, right?
15:08 Who do you suppose we're supposed to see?
15:10 Have they not notified us yet?
15:13 We don't know what day she's talking about, Candela.
15:16 Gregorio has died.
15:19 That bad guy?
15:20 He's not around here.
15:22 Salvador? I've seen him walking around the promenade.
15:25 Salvador? Is he okay?
15:26 Yes. He's gone to prevent us from entering the Palace.
15:29 Has anyone called the Civil Guard?
15:31 Yes, the maestro must have done it, I say.
15:34 That heartless man has returned.
15:36 Knowing him, he's no good.
15:38 So from now on, all of you, be careful.
15:41 And if you see anything strange, let me know as soon as possible.
15:45 He's mine.
15:50 He's mine.
15:53 [♪♪♪]
15:57 [♪♪♪]
16:25 [speaking Spanish]
16:28 [speaking Spanish]
16:32 [speaking Spanish]
16:35 I thought he was heading this way.
16:38 - Did he escape from prison? - No.
16:42 I am a free man.
16:43 - After what he did to Mrs. Darre, I doubt it.
16:47 I have called the civil guard. They should be on their way.
16:51 I repeat, I have already settled my accounts with the court.
16:54 - I know. - But not with this house.
16:56 We don't want him here, not even in the picture.
16:59 So he can turn around now.
17:01 We don't want criminals running around for the promise.
17:03 - I don't care.
17:05 I don't care.
17:08 I didn't kill anyone. - No, because you couldn't.
17:11 - Look, I don't want to keep arguing with you.
17:13 So please leave before I have to regret it.
17:17 - I have no reason to leave. I came to see my wife and my son.
17:20 - Your wife? After trying to poison her?
17:24 - I refuse to analyze what happened with you.
17:27 The only thing that is clear is that Pia is still my wife and her son is mine.
17:33 As a husband and father, I have rights.
17:36 - It is not between them to enter this house.
17:38 So leave right now if you don't want to discuss your rights in a dungeon for entering a private property.
17:44 - Okay.
17:48 For now I will leave. I don't feel like fighting with an old man.
17:53 And I with a criminal.
17:55 I assure you that I will not give up what belongs to me.
17:58 - Leave. Leave right now.
18:02 I don't want to hear it anymore.
18:04 - Be careful.
18:07 For now I'm leaving, but I'll be back.
18:09 - You can go telling Pia.
18:12 I have come back for her and for my son.
18:14 And with them, I will leave.
18:17 - Aire.
18:19 Don't step foot in this house again.
18:21 Neither you nor all the lackeys of this house will be able to stop me.
18:28 - I'm sorry.
18:30 - I'm sorry.
18:32 [Music]
18:34 - Wow. It seems that after months of practicing alone, you have improved your calligraphy.
19:01 - Yes.
19:03 - Although so much work, it seems that you are getting tired, Ignacio.
19:07 You look hoarse.
19:09 - I'm working, Petra. - Yeah.
19:11 Did you sleep badly? Or maybe you're like that because of the pillows they gave you yesterday.
19:16 - I don't know what you're talking about.
19:18 - It looks like fatigue is making you lose your memory.
19:22 But it doesn't matter. I remind you what I hear.
19:26 - Stop messing around.
19:28 - It was unintentional, Ignacio, but ...
19:31 I couldn't help but listen to you when I gave the message to Mrs. Margarita.
19:35 - We weren't talking about anything important?
19:38 - I think so.
19:40 The lady came to tell you that she was not going to formalize your relationship.
19:45 Come on. That she was not going to get married.
19:48 - You should leave that habit of listening to other people's conversations.
19:53 - And what do you want me to do, Ignacio? To cover my ears?
19:58 - Although I understand that you are so upset.
20:01 - As I am or as I stop being, it is none of your business.
20:05 - That you answer me so angry, I already told you everything.
20:10 - Wait. I don't have to keep talking to you.
20:14 - No, you don't have to.
20:16 But you didn't have before either.
20:18 And good that you didn't miss the opportunity to throw me some ...
20:22 ... slaps.
20:24 - Petra, it would be time to get over it, don't you think?
20:26 - Uy. It's more than over, don't worry.
20:29 In the end, one with time gets used to everything.
20:33 But it's very easy to let go.
20:35 Come on.
20:36 - What do you mean?
20:38 - Well, it seems that your slaps are no longer enough for Mrs. Margarita.
20:41 - What do you know?
20:44 - I know the obvious, Ignacio.
20:46 And the obvious thing is that you have been after that woman for months and you can't formalize your relationship.
20:52 Your words are no longer enough.
20:55 - Well, they were enough with you, dear.
20:57 What happens is that Margarita has a lot more class than you.
21:00 - They were enough?
21:02 Good that you left the good quarters trying to buy my love.
21:06 Hey, don't you remember the expensive gifts you gave me?
21:09 Of course you had a better taste with me.
21:12 Because you never bought me a pot with ...
21:15 What was that, Ignacio? A bush?
21:17 - Uh ...
21:19 You wouldn't have liked it, would you?
21:21 - No.
21:22 And neither does Mrs. Margarita, that is something more than obvious.
21:25 By the way, I haven't seen that dress you gave her on her birthday again, have I?
21:30 - We are not going to events as things are.
21:33 - Yeah ...
21:34 Is that it?
21:36 If you say so.
21:50 - Take this to the office.
21:52 - Who's going?
22:05 - Me, Romulo.
22:06 - What? Did you see Gregorio?
22:11 - Yes, yes, yes. But don't worry, I kicked him out.
22:14 - Where did you find him?
22:15 - I gave him access to the service stairs and he left on his trip.
22:18 - But what happened?
22:19 - Well, nothing. I told him I had called the civil guard and he already withdrew.
22:22 - And it was true? Did he call them?
22:23 - No, no. It didn't take me long, since I received the notice and he arrived.
22:27 - Well, but he will call them now, right? Because it is clear that he has escaped.
22:30 He has to be detained in jail.
22:31 - He told me that he had fulfilled his debt to the law.
22:34 Yes. And he left because I warned him that he was entering private property.
22:39 - But how can that be? That man tried to kill her, right?
22:42 - Of course. I have witnesses.
22:44 I have a crime like that, it will be to be years in jail.
22:47 However, he is here.
22:48 - No doubt, this is justice. But how could they have left that German woman on the street?
22:51 - But let's see, did he tell you why he came?
22:54 - He dropped something between Barabuconada and Barabuconada.
22:56 - What does he want?
22:57 - He said he wanted to see his son and his wife, that he had the right to do so.
23:02 - But what right? What right?
23:04 He tried to kill me. I don't want to see that man ever again in my life.
23:07 - Mrs. Pia, calm down. That man is not going to show up here again.
23:10 - I'm afraid that won't be possible because Amin has threatened to return.
23:13 - Well, if he comes back, I'm the one who's leaving. I'm going to pack my bags right now.
23:16 - Mrs. Pia. Mrs. Pia, she can't leave.
23:19 She can't leave her job and her life just because that man has left.
23:21 - Hanna, I know him perfectly.
23:22 - And he's going to end what he started, which is killing me.
23:25 So I'm going to go to Lujan, I'm going to pick up my son,
23:28 I'm going to take the first bus that leaves and I'm not going to look back.
23:30 - Mrs. Adarre, the rushes are not good, counsel.
23:33 - But I can't stay here and risk it!
23:35 - And what are you going to do then? Risk leaving the promise alone,
23:38 knowing that that German woman is out there?
23:40 - Mr. Baeza is right. It is too dangerous for you to go out there alone.
23:43 Here you are protected. You have to cross many doors and risk too much before going with you.
23:49 - That's Mrs. Adarre. If that man wants to come back, he won't be able to get out of the vestibule
23:52 because there are many of us against one.
23:54 - But come on, I have to go out anyway. I have to go get my son.
23:57 - Gregorio knows that Dieguito is not at the promenade.
24:00 - No, I didn't tell him anything and it seemed to me that he thought he was here with his mother.
24:05 - Well, while he's thinking about that, Dieguito is safe.
24:08 - But he found out that he is in Lujan.
24:11 - So, Mrs. Pia, what you're going to have to do is ...
24:14 not go to the promenade for a while. Just to avoid raising suspicions.
24:20 - Okay. Then we'll have to warn her.
24:24 Unless that criminal finds out and gives her a hard time.
24:28 - I'll go as soon as I can. And don't let Petra know, of course.
24:31 - Yes, please, don't let Petra know anything.
24:33 Let's see what she would be able to do to ... to harm me.
24:37 And the child.
24:39 [Sighs]
25:06 - A prelude to "My minor" by Chopin. Are you going to show it?
25:10 - No, I hadn't heard it coming.
25:13 - In this house, melancholy is a plague.
25:16 Are you okay?
25:19 - Uh ...
25:20 Uh ...
25:23 I've been a little out of it since the captain read the letter I got
25:30 informing about Emanuel and Curro.
25:34 - But as far as I know, that letter said that there was no evidence that anything had happened to them.
25:39 - Well, it's not quite like that.
25:42 What was said was that they were not in ... in the death list,
25:46 but that they could well be dead.
25:49 - That is, there is no evidence that anything happened to them.
25:53 Everything is still the same.
25:55 I don't understand the story of what to increase your disappointment.
25:58 Don't you see that by getting worse you won't get anything?
26:02 - It's just that that letter was devastating.
26:05 It said that thousands of soldiers had died in the last battle,
26:09 that there were so many that they couldn't even bury them.
26:12 And if Curro and Emanuel are those people who have had to bury in a ditch without even identifying themselves ...
26:18 - Oh, come on. Come on, Martina.
26:21 You have to get those dark thoughts away.
26:24 - Sorry.
26:29 I'm sorry to be telling you these things but I have no one to vent to.
26:34 My aunt is even more depressed than me.
26:38 And my mother ...
26:40 - You have been disgusted.
26:42 You still don't like the relationship she maintains with the king, do you?
26:49 You also have your cousin Catalina.
26:54 Maybe it's good for you to talk to her.
26:56 - My cousin Catalina is locked up in the hangar trying to defeat her own ghosts.
27:01 And she knows that she doesn't like to receive visitors.
27:04 - And your uncle the Marquis?
27:06 - He is always very busy.
27:09 - True. He has a dull head with all his suffering that he carries inside.
27:14 - And let's not even talk about Curro's father because it seems that he doesn't even care that his son is at war.
27:21 - Well, you know what?
27:23 The next time you find yourself sad, you can come to me and we'll talk.
27:27 Okay?
27:29 - Thank you. But I don't want to make it bitter with my sorrows either.
27:34 - Shared will be more than just wood.
27:37 - I just feel that this whole situation is overwhelming me.
27:41 - Come on. You'll see how you see everything a little clearer in no time.
27:50 - Women crying in this house again. Please, you don't know how annoying it is.
27:55 I'm fed up.
27:56 - Captain, this is not the army.
27:58 Here everyone expresses their feelings wherever and whenever they want.
28:01 - Of course, I understand. But without acrity, couldn't you express them a little less?
28:06 - The strange thing is not that you are with poor people.
28:09 The strange thing is that you are cold when you have your own son at war.
28:13 Come on, honey. Go wash your face and don't listen to what this man says.
28:18 - I'm careless. I won't do it.
28:21 - Mrs. Arcos? - Yes?
28:37 - I came to pick up some shoes from the man who had to be polished.
28:41 - It must be those blacks.
28:44 But before you take them, make sure they are fine.
28:47 Because with so much lazyness working here, you'll see.
28:50 - They don't seem to be bad at all.
28:53 - Pure coincidence.
28:55 Well, I'm going to see what the kitchen sluts are doing.
28:59 - Wait a second.
29:02 I wanted to ask you something. Do you know who that Gregorio is?
29:07 - What do you know about that man?
29:10 - Little. Only that he has come to visit, I promise.
29:14 - What are you saying? That is impossible. Don Gregorio is in prison.
29:19 - No.
29:21 That must be why everyone was so surprised. Especially Mrs. Pia.
29:26 - Has he returned then? - Yes.
29:30 And they were very upset. Nobody wanted to tell me anything.
29:33 - Except those bastards. None of them told me anything.
29:36 - Well, that's why I'm afraid, Mrs. Petra.
29:38 As soon as I found out, I wanted to come running to tell you in case you weren't aware.
29:42 - I appreciate it.
29:44 - But just in case, don't tell me I told you.
29:48 And can you tell me something else about that man?
29:52 - He worked here for a while.
29:55 At a time when Mr. Baeza was not up to it.
29:58 - And why was he so upset about his visit?
30:03 - The truth is that the Marquis ordered him to sign the service because he was out of control.
30:09 - That's why everyone was so upset. They'll think he's back to work here.
30:13 - No.
30:15 Don Gregorio can't go back on his word.
30:19 - And that?
30:22 - It's a long story.
30:24 Pia was obsessed with him.
30:29 - Is he the father of his son? - Well, yes, he is.
30:34 Apparently, before they got here, they had already had some kind of indecent encounter.
30:39 - Wow, with Mrs. Pia.
30:41 - A fresh and perverse one.
30:43 Careful, no matter how hard they try to look like something else.
30:47 But luckily for her, they got married before that child they had conceived in sin was born.
30:54 - But they are not together anymore.
30:57 Why did they break up?
30:59 - Everything was quiet.
31:02 It even seemed that Mr. Castillo was more at ease with the service.
31:07 But suddenly Pia began to feel bad.
31:11 - Because of the pregnancy? - No.
31:15 It turns out that someone was poisoning her.
31:19 And you don't know who those bastards accused?
31:25 - You.
31:27 - But no.
31:30 It was not me. Although they thought I was capable of poisoning a pregnant woman.
31:36 It was his own husband who was guilty.
31:40 - And why would he do something like that?
31:43 - Go figure.
31:45 Although I already saw something murky in that man, but of course.
31:47 How could I imagine that he could do such a thing?
31:51 - Well, he must have run away and that's why he's here.
31:54 - No. He didn't run away.
31:56 They arrested him, took him to trial and put him in jail.
31:59 That's why I don't understand what he's doing here now.
32:01 - Well, he must have escaped from prison.
32:03 - And he shows up here, in broad daylight.
32:07 No. That man is not stupid.
32:11 There must be another explanation.
32:15 - Don't worry, Mrs. Petra.
32:19 If I find out, I'll come to tell you.
32:22 Although it will be complicated, I have to get the words out of you.
32:28 - I'll be waiting for you.
32:30 - Santos.
32:34 You and I must help each other.
32:41 Because we are in the same boat.
32:43 And if we don't do it, no one else will.
32:47 You understand, right?
32:51 - Yes.
32:53 - You are no one to talk to me like that.
33:07 Especially in the presence of third parties.
33:09 - If I do it alone, it would seem better to you.
33:12 - I don't understand what those superiority airs are about.
33:14 Who do you think you are? The owner of the promise?
33:16 - I'm just Cruz's best friend.
33:18 But being a simple guest doesn't mean that I have to shut up when I see certain things.
33:22 - No, no. If it's about shutting up, it's clear that you don't practice it.
33:24 - Unlike you, complaining. It seems that everything bothers you.
33:27 - What happened?
33:28 For not crying in the corners like a whiner, you already have the right to make me look bad.
33:32 - Look, you don't miss your son if you don't want to.
33:34 But don't blame the others who do it, or me, who comforts them.
33:38 - Is that your role here, María Antonia?
33:41 Be the cloth of tears of the poor people in Luján?
33:44 - And with great honor.
33:46 Cruz called me because he was depressed after his son's departure to war
33:49 and I did what a good friend should do.
33:51 Go to support her.
33:53 Friends do these things without the greatest interest.
33:57 - I don't agree.
33:59 Everyone pursues an interest.
34:01 Cruz has needed your help hundreds of times and you have not shown up here.
34:06 Why now?
34:08 - Because before I had to take care of my sick husband.
34:11 But now I am a widow and I have time.
34:14 And besides, I don't have to give him any kind of explanation.
34:18 - You know, María Antonia, I didn't know your husband.
34:21 But I wish he was still alive and you with him.
34:24 Far away from here.
34:26 [Music]
34:53 - But what a beautiful bride I have.
34:56 - Hello.
34:57 - What are you doing?
34:59 - I was going to pick up some oats that are already laid.
35:01 I'm leaving, I'm in a hurry. - Wait, wait, wait.
35:04 Are you going to go without kissing me first?
35:07 What's up? Two boyfriends can't kiss each other in this house.
35:20 - Not here.
35:21 Imagine that Mrs. Petra sees us making out.
35:24 - Well then we will have to find a quieter place where she can kiss us.
35:29 - I have to lay the sheets down.
35:31 It's cloudy today and it's not going to rain.
35:34 [Music]
35:53 - I'm telling you that since Gregorio tried to go one step further and sneak into the promise,
35:56 it will be over my dead body.
35:58 - Well, you don't have to get to that point either, huh?
36:00 When I found out that it was you who had gone to stop him,
36:03 I almost got sick.
36:05 - It's okay, woman.
36:06 If he's with me, unless it's a betrayal or by surprise,
36:09 he has nothing to do.
36:11 - Look.
36:12 That man never goes head on.
36:14 If not, look how he tried to kill Mrs. Pia.
36:17 With poison.
36:18 - Well, this time he did try to go head on.
36:20 I don't know, try to sneak into the palace in broad daylight.
36:24 - Well, what happened?
36:25 When you found him, what did he do? What did he tell you?
36:28 - Nothing. I stopped him to make him win time and that's it.
36:31 We didn't get to the hands of him, they gave me precise orders not to do it.
36:34 - Well, thank goodness.
36:36 I don't know how he came up with the idea that they were going to let him pass.
36:39 - Well, I think he knew they weren't going to let him pass,
36:43 but he still did it so that we all found out that he was here.
36:46 Especially Mrs. Adarre.
36:48 - Poor thing.
36:50 In such a big scare that he wanted to run away from the promise.
36:53 - Normal.
36:54 What is he going to do with the boy?
36:56 Is he going to bring him here?
36:58 - I don't know.
36:59 But I just hope that bastard doesn't find out that Dieguito is in town today.
37:03 - Yeah.
37:04 - If he ...
37:05 What a bad time Mrs. Pia married that scoundrel.
37:08 Worse than hitting a mother.
37:10 - Yeah, well, she was pregnant with him.
37:12 - For love I tell you, it wasn't.
37:14 - No, not for love. It was a mistake, but ...
37:16 - A mistake that neither you nor I are going to make.
37:19 Well, at least me.
37:22 - What do you mean, at least you? What are you insinuating?
37:24 That I don't love you?
37:26 - Well, I don't know, but lately you give me very few kisses.
37:28 I don't know what's going on here.
37:30 - Happy?
37:38 - Happy?
37:39 For that evil kiss?
37:42 - What do you mean evil?
37:44 - I'll be happy when we get married.
37:47 I'll be happy there.
37:48 - At the wedding. At the wedding.
37:50 It's been a long time since we talked about it.
37:52 - Well, yes, because it seems that we have forgotten.
37:54 And you are there pending.
37:55 - No, we haven't forgotten, but we see each other every day.
37:57 We eat together, we drink together.
37:59 It's almost like a marriage.
38:01 - We just need the "almost".
38:02 But at some point we will have to move on, Salvador.
38:04 - Yeah.
38:05 But maybe it's not the best time with everything that's going on.
38:07 The subject of the war, Mr. Manuel, Mr. Curro ...
38:11 Maybe it's better to wait a little.
38:12 - Well, yes.
38:13 Maybe it's better to wait.
38:15 And in the meantime, maybe you can improve your kisses, because come on.
38:19 - Well, you know what? I'm not going to give you any more.
38:21 Look.
38:22 - You don't believe that, you or Arturo Vino.
38:24 - Well, no. It's true that no.
38:26 - Do you still want a kiss?
38:27 - Well, yes.
38:28 - This one yes?
38:35 - This one yes, Salvador.
38:37 There is love.
38:38 - What?
38:52 - Picking up food for the kitchen.
38:55 - Well.
38:56 The little man is still angry with me.
38:59 What's up?
39:01 You can't stand the jealousy of seeing me as a boyfriend with Vera, right?
39:04 - Leave her alone.
39:06 - Of course, of course.
39:08 If the last thing I want is to bother you.
39:10 I'm surprised you didn't get the idea.
39:13 What's up?
39:14 You can't forget her, is that right?
39:16 - That's none of your business.
39:18 - Look, I'm going to give you some advice.
39:22 If you really want Vera, you should be generous and be happy for her.
39:25 Because ...
39:26 She is happy with me.
39:30 - Are you going to stop with your nonsense?
39:32 - Or not.
39:33 Don't get like that, man.
39:35 There are many women.
39:37 Although, as you will see, none.
39:42 Right?
39:43 - What are you doing, chachera?
39:44 Here you are paid to work, not to be in Tertullia.
39:48 - Yes, Mr. Baeza.
39:50 I was finishing but Santos started talking.
39:53 I was just giving him some advice.
39:55 - No, but you give us advice at dinner time.
39:58 Now we are at work.
40:00 Mr. Ruiz, take that to the pantry.
40:03 And you, go up to the floor of the gentlemen in case they need something.
40:06 - No.
40:35 - Are you going to spend the whole day like this?
40:37 You can't, As.
40:42 You have to leave here in a while.
40:45 Change and go down to eat a little.
40:50 - Eat? Do you think I want to eat?
40:52 Without hearing from Manuel.
40:54 - Well, do it like me, without wanting to.
40:55 But you have to feed yourself.
40:57 We have to move on while we wait.
40:59 - Eat for me, Alonso.
41:00 I want to stay here.
41:01 - But what do you solve with so much crying?
41:04 - Nothing.
41:05 But it's the only consolation I have.
41:10 So don't try to take it away from me.
41:12 - Get dressed.
41:13 - Leave me alone, Alonso.
41:15 I don't want to see anyone.
41:17 - Come in.
41:20 - Is everything okay?
41:25 - I'm trying to convince you that you can't be here crying all day.
41:30 - I'm not leaving here.
41:33 - Alonso, can you leave us alone for a moment, please?
41:35 I think crying is the best thing you can do.
42:00 Men don't know what they're missing.
42:03 - I'm sorry.
42:04 - In this house they would forbid me if they could.
42:10 - Well, you don't listen to them.
42:12 Let it out as you like.
42:13 Crying is what you need.
42:16 Here, use this, it must be soaked.
42:23 - Thank you.
42:24 - And what makes you so funny?
42:35 - Nothing, woman.
42:36 I've seen you drying your tears.
42:39 And I remembered once when we were young,
42:41 when I saw you cry, and a lot.
42:43 - When?
42:45 - I'll give you a clue.
42:46 It was in Madrid.
42:49 - Madrid?
42:50 - It didn't fall.
42:55 - Yes.
42:56 It was on a trip we made with your father.
42:58 We were just teenagers.
43:00 - To the opera?
43:02 - No.
43:03 On a two or three day trip to the capital.
43:05 I remember that on the first night,
43:08 your father went out to dinner with some friends and we ran away.
43:11 - Yeah.
43:13 That trip we got into a cabaret,
43:16 remember?
43:17 We were afraid to go in because we thought they were going to stop us at the entrance.
43:20 - But you got in so stretched that no one said anything to you.
43:28 - Well, in those places you have to get in as if you were the owner.
43:31 - Everyone drank vodka in there, remember?
43:37 - Yes.
43:38 - And we ordered two glasses.
43:39 - What a strong thing.
43:40 - But as you tasted it, you spat it out of the glass.
43:44 - I thought it was bleach.
43:46 - Yes.
43:47 And do you remember those barmen who wanted to make us dance with them?
43:50 - And they wanted to invite us to champagne and everything.
43:54 - Yes.
43:55 Well, it wouldn't have been bad, huh?
43:56 We would have taken away the bad taste of vodka.
43:58 - What a pity that my father's friend recognized me.
44:03 I'll tell you the next day, remember?
44:05 - Yes.
44:06 - What a response you have given us.
44:08 - But you started crying like a Magdalena.
44:11 And your father softened.
44:14 - You see how good you are at crying.
44:16 - Oh, what a shame.
44:21 What a shame that he won't let us go out again on that trip.
44:24 - I think he has danced it to you, right?
44:26 - Thank goodness we didn't dance a polka because those grandparents were for a few pieces.
44:35 [Laughs]
44:37 - Here comes our flamboyant cook, who can be one of the new flavors of our jam.
45:03 - Gentlemen.
45:04 - Well, let's see what surprises us.
45:06 - I haven't tried it yet.
45:07 - What do you bring us, Lope?
45:09 - It is a very different jam from what people are used to trying.
45:13 - Well, the jams you made before weren't very common either.
45:16 - This time I have taken a risk, it fits.
45:19 - I hope not so much so that it can't be eaten.
45:21 - Forgive my modesty, sir.
45:23 But this jam is very tasty.
45:25 It is a pumpkin jam with a touch of blue cheese.
45:29 - No.
45:30 A curious combination.
45:32 - Even a bit extravagant.
45:35 - I understand that it can be a bit off, for those who are not used to such contrasting flavors,
45:39 but I assure you that it is my best creation.
45:41 - Let's see it.
45:43 - Sir.
45:52 - Let's see.
45:54 - But where did you get such a mejunje?
46:13 This is inedible.
46:14 - Sir, everyone who has tried it liked it.
46:16 - Well, not me.
46:18 We must stop experimenting.
46:19 We have to go back to the jams of all life, for God's sake.
46:21 - Strawberry, peach and apricot.
46:24 - Well, I like it.
46:26 A very original flavor.
46:27 - Yes.
46:28 The sweet touch of the pumpkin goes very well with the strong flavor of the blue cheese.
46:31 - Yes.
46:32 Who was going to say that two so disparate flavors would go so well together, right?
46:35 - True.
46:36 But that's how it is.
46:38 - Do you really like it?
46:40 - Yes.
46:41 A lot, Lope.
46:42 In fact, another toast?
46:44 - Yes, two.
46:46 It is very original and very tasty.
46:48 Different, huh?
46:50 Too different.
46:51 - Let's see, Lorenzo.
46:52 Any jam factory will offer the usual jams.
46:56 But tell me, where is no one going to find something like that?
46:58 - That's the problem.
46:59 I don't know if anyone is going to want to buy them.
47:01 - No, well, I think Margarita is right.
47:04 Such an original flavor can find its marketing niche.
47:07 - Sir.
47:11 - It's very good.
47:18 Very tasty.
47:19 - Please, Hernanda, in paraguay.
47:20 - Okay.
47:21 Let this jam be prepared.
47:23 But make few jars.
47:25 - As it will be, sir.
47:26 - And go preparing something simpler and more practical.
47:29 We are in times of war, Lope.
47:30 People don't want insolence.
47:31 People want to fill the pocket.
47:33 - How is she? Has she calmed down?
47:45 - Better, yes.
47:46 She has left much calmer.
47:49 - Well, you have to tell me the trick.
47:51 Because I don't know how to say good morning to her without making her angry.
47:54 - Well, I've been remembering anecdotes from when we were young and we ended up laughing.
47:58 - What did she laugh at?
47:59 - Not a lot of jokes, but yes.
48:01 - Well, she only cries with me.
48:04 - Don't take it as something personal.
48:06 - Sometimes it's hard for me not to do it.
48:08 - What I think is that she needed to stop thinking about Emanuel for a moment,
48:12 and by talking to her about our youth, it helped her.
48:14 - Yeah.
48:16 Well, I'm going to have to start talking to her about when we started dating.
48:19 And ... and she has gotten up?
48:23 - I've left her changing.
48:24 - Changing?
48:25 But then she's going to go down to dinner?
48:27 - And she has even agreed to take a walk in the gardens before dinner.
48:30 Do you want to join me?
48:32 - No, thanks.
48:34 It seems that your companion is more pleasant than mine.
48:36 - Don't say that.
48:37 - It hurts me to admit it, but the view is there.
48:39 - I think she needs to stop thinking about Emanuel,
48:42 and being with me is much easier.
48:45 And not being with you, who is the father.
48:47 - Yeah.
48:49 Anyway, I think it's better for you to go for a walk alone today.
48:53 - As you wish.
48:55 I'm going to change.
48:57 - María Antonia.
48:59 Thank you for everything you are doing for Cruz and for me.
49:04 - It's not that much.
49:05 - Yes it is.
49:06 If you are like this now, you should have seen her in the first days.
49:10 - Cruz and I have been friends since childhood.
49:14 When I received your invitation, I didn't hesitate for a moment.
49:17 I'm doing what I have to do.
49:20 - Not many would have left everything to come here to help.
49:23 - I assure you that after spending months taking care of my sick husband,
49:27 being here, surrounded by people, is good for me.
49:30 Despite the circumstances, of course.
49:32 - Even so, I have to thank you for the gesture.
49:35 I was already overwhelmed by the situation.
49:37 I didn't know what to do.
49:38 - It's not that difficult.
49:40 You just have to be with her, accompanying her in her pain.
49:44 - Well, she tells me many times to leave her alone.
49:46 - Don't listen to her.
49:48 What is good for her is the company.
49:50 Being with her, being present.
49:53 And that walk we are going to take through the gardens ...
49:55 It could be a good opportunity to be with your wife.
49:58 - Okay, she may be right and I will try to be more with her.
50:03 But after what happened before, I don't have much courage to go for a walk.
50:08 - As you wish.
50:11 But try tomorrow.
50:13 You will see that little by little she will feel better.
50:16 - I don't think that will happen until our son returns.
50:20 If he returns ...
50:23 [Music]
50:33 - Here I am.
50:44 Why did you want us to meet alone?
50:46 - Well, because ...
50:49 I can't do this in front of everyone.
50:52 - What?
50:53 - To give you this gift.
50:58 - Well, this is the last thing I expected, really.
51:03 - Wow, are you taking me for a scoundrel?
51:05 - No, no.
51:06 It's just that ... well, I caught you off guard.
51:09 - Open the box.
51:11 - It's a pearl.
51:18 - A pearl of the Pacific and of the highest quality.
51:22 - Well ...
51:23 Thank you very much.
51:27 But what is the reason for this gift?
51:31 - There must be a reason to give a gift to a woman like you.
51:36 - Well, it's not a simple detail.
51:38 Therefore, yes, there must be a reason.
51:40 - Let's say I want to show you how much I love you.
51:46 - No.
51:47 - Damn!
51:54 Damn the time I believed your false words!
51:58 - They weren't false then.
52:04 But my feelings have changed.
52:06 It's a crime to change your mind.
52:08 - Well ...
52:11 Well, it's ...
52:12 It's a beautiful pearl.
52:14 Look how beautiful it is, please.
52:16 - Yes, right?
52:17 The jeweler told me that this type of pearls,
52:19 this size and this quality,
52:21 are only found in certain parts of the Pacific.
52:23 - Well, that's why it must have cost you a lot of money.
52:26 Was it necessary?
52:27 - I think so.
52:28 Because with ...
52:30 With this gift, I didn't just want to show you how much I love you.
52:33 - Oh no?
52:35 And what else did you want to show me?
52:37 - Rather, ask you.
52:40 - Ask what?
52:43 - That you marry me.
52:45 I thought this pearl could convince you.
52:49 - Yeah.
52:51 Well, let's see.
52:54 You know I like you a lot, right?
52:57 - I want to think that it is so.
53:02 I'm afraid that now a "but" will come.
53:04 - Well ...
53:06 Unfortunately, yes.
53:08 The truth is that in other circumstances I would have said yes from the beginning.
53:12 - What circumstances?
53:14 - Some in which my daughter would not be against our relationship.
53:19 - If that is the reason, we will never get married.
53:24 - No.
53:25 No Ayala.
53:26 I didn't say that.
53:27 I just need my daughter to see you as a good person.
53:30 I can't marry you if Martina doesn't give her good in the short term.
53:34 - Yes, of course.
53:36 I understand.
53:40 Thank you for understanding.
53:42 - Good evening, miss.
53:55 - You again around here.
53:59 The more times I say I don't want visits, the less attention I get.
54:04 - Well, I hadn't heard you.
54:06 - Actually, I'm a little hard of hearing and I hadn't noticed.
54:09 - Yeah.
54:10 That's it.
54:11 - Well, in any case, if I had understood you,
54:14 I wouldn't have brought you this cake so delicious that Mrs. Martínez has prepared for you.
54:18 - I don't know why everyone finds it so hard to understand that I want to be alone.
54:22 - Don't worry.
54:23 I'm leaving.
54:24 Just ask if you feel well.
54:26 Do you need anything?
54:27 - Thank you, Romulo.
54:28 But I'm fine.
54:29 And no.
54:30 I don't need anything.
54:31 - Well, if you say so, it will be true.
54:35 - Ah ...
54:36 - Well, Romulo, it is clear that you have not only come to bring me a piece of cake.
54:41 So tell me right away what you have to tell me.
54:44 - You and I know each other very well, right?
54:47 - Yes.
54:48 Very well.
54:49 What is it, Romulo?
54:51 You look worried.
54:53 Is it because of Manuel and Curro?
54:55 - No, no, no.
54:56 It's not that.
54:57 - Well ...
54:59 Well, come on.
55:00 Don't be afraid to go around.
55:02 - Certainly.
55:03 Certainly, yes.
55:04 But in this case it is not easy for me.
55:07 Because ...
55:08 Because if I did, I would not act with the discretion that a mayor is supposed to have.
55:14 - Why?
55:15 - Because ...
55:17 Because it is a conversation that I heard yesterday between the Marquise and the captain of the Mata.
55:24 - And I guess if he was going to tell me, it is because he thinks he should do it.
55:28 - Yes.
55:29 But to talk, yes.
55:30 But ...
55:32 Because if you are interested, and for the affection I have for you, I have to tell you.
55:38 - And can you tell me what those two said about me?
55:41 - Miss, why don't you leave this extravagance now?
55:45 Get out of here and go back to your old life.
55:48 - Why?
55:49 Are they going to kick me out of the hangar?
55:51 - Worse than that.
55:53 The Marquise wants to intern you in a asylum.
55:58 [Music]
56:08 - You know perfectly well that Mrs. Adarre should not leave the palace.
56:13 - What an excuse.
56:14 - It's not an excuse, Mrs. Arcos.
56:16 - Gregorio is out of jail. It is a threat to her.
56:18 - Well, if you can't leave the palace, find another job.
56:21 - I'm having a hard time too.
56:24 - I know.
56:26 - And don't do it, Adrede. Don't take it into account.
56:28 - But what do you want me to do?
56:30 - Try to understand her.
56:32 You know how obsessive she can be your wife.
56:34 - Well, it's that in my tasks, it's making sure that all the members of the service receive a fair treatment.
56:39 - Well, whatever it is, I have felt a great support on her part.
56:42 - Well, let me keep supporting her.
56:44 - The fact is that that pearl that the Count of Ayala has given her has nothing to envy the pilgrim pearl.
56:49 Tetra!
56:50 Come closer.
56:52 By the way, have you seen how wonderful the Count of Ayala has given me?
56:56 - Without a doubt, the Count's taste is exquisite, ma'am.
57:00 - Pera is not a conquest. He is my boyfriend.
57:02 - It would be more, right? But you don't have to worry about that boy's pain either.
57:07 And go to hell.
57:09 - I didn't do it with bad intentions or with the desire to go to hell.
57:11 - Forgive me for doubting you.
57:13 - I see that taking attributions that don't belong to you is becoming a habit, Tí.
57:16 I assure you that I don't know what you mean, ma'am.
57:19 Oh, no?
57:21 Then explain to me why the other day, before Manuel's birthday party,
57:24 you took the liberty of objecting to my decisions.
57:27 - All I want is for you to have a good time and to change that musky face you have.
57:31 - María, for God's sake!
57:32 - What do you want? The truth? Do you have it or not?
57:34 - Well, I'm sorry. María, I'm sorry. I'm sorry I'm not the best companion.
57:38 - Go to hell now.
57:39 - Don't go anywhere, Mrs. Adarre.
57:42 Mrs. Arcos, like it or not, I'm still your superior.
57:48 It's in my hands.
57:50 [♪♪♪]
57:52 ♪♪
57:53 [MUSIC PLAYING]