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00:00Your daughter told me that you're thinking of returning her position.
00:09Does she think it's wrong?
00:11No, no, no. On the contrary.
00:12In fact, I wanted to show her my support and offer her my help, if necessary, of course.
00:17I would also give up being part of the business if that makes you feel more at ease.
00:21Salvador, I sent you a telegram and you haven't told me?
00:24Because there wasn't much to tell.
00:26You came in good, period.
00:29And?
00:30And that's it.
00:31Well, María, you know that telegrams are very expensive.
00:34Yes, but it was hard for her to put a
00:36I love you very much
00:37or a roof of less.
00:38Well, look, exactly twice as much.
00:40My father is considering putting me in charge of the jam business.
00:43But when he says
00:45regain control, does he mean you alone?
00:49Well, my plan is also for Pelayo to be reinstated.
00:54I understand her perfectly.
00:56She wants what's best for you and I've hurt you in the past.
00:59But I want to see you again with good eyes.
01:02Okay, I'll talk to her and I'll earn her appreciation again.
01:06Was that what he did in the war? Air combat?
01:10No.
01:11We ended up in the infantry.
01:14I'm sure they have a lot of very interesting stories to tell.
01:21Sorry.
01:22I just realized it's something you don't want to remember.
01:25I'm sorry for my lack of tact.
01:27You have no right to meddle in my marriage.
01:31Your marriage should have been with my son.
01:35You've already forgotten about him. I swear to God.
01:38I haven't stopped thinking about Feliciano for a single day.
01:41It is impossible for you to love my son and return to the little time
01:44hanging from the arm of anyone.
01:47Mrs. Petra is a little bit right.
01:50María.
01:51It's what we all think.
01:53We were stunned when you appeared in La Promesa with that man in the arm.
01:58I didn't look for him, María. It just happened that way.
02:01And that pessimism?
02:03It's clear to me that this marriage thing is something new for you.
02:06But I'm sure Margarita knows what I mean.
02:09Didn't you have any crisis with Fernando?
02:11Of course I did, but we always solve them.
02:15Yeah. Until one day comes when they don't get solved anymore.
02:20It's my mother. She's back.
02:22But has she come back this time?
02:23I don't know. Don Rómulo attended her and apparently he had a snack with Mrs. Marquesa.
02:27And if he told her anything about you?
02:29No, my mother hasn't told me.
02:31How are you so sure?
02:33Well, because if Mrs. Cruz knew who I am, I wouldn't be here.
02:36And it wouldn't have taken me long to give up La Promesa, don't you think?
02:39I have to repeat this.
02:40And I hope this time you put a little more interest.
02:42It wasn't out of lack of interest, I promise.
02:43Well, then you put it worse for me.
02:45I'm not surprised that she got married.
02:47What surprises me is that she married that man.
02:49Don't you think it's weird that no one has seen her kiss him or make out with him, huh?
02:54That marriage is weirder than a green dog. I don't know if they are discreet or not.
02:58Or if they miss each other.
03:00I understand that Santos respects you.
03:02Because he is very strict.
03:04But you can always ask me.
03:07I know, Teresa.
03:09Calm down.
03:09I can't calm down, Marcelo.
03:12One more mistake like this and the job will last you less than a sigh.
03:16You are so beautiful, my friend.
03:20Although he is not crazy, but I care right now.
03:23Well, you say that because he has a beast like a cousin.
03:26I just hope that nothing changes when I tell him all this.
03:30Of course not.
03:32And you'll see how he's going to take a weight off your shoulders.
03:35A weight that I'm going to put on him, let's see.
03:37Hanna, you're giving me a lot of wrinkles.
03:42Tell me whatever it is, I'm not going to be scared.
03:45I wouldn't be so sure.
03:47Okay, now you're worrying me.
03:51What's going on, Hanna?
03:53My name is not Hanna, Manuel.
03:59The time has come for you to know the truth about me.
04:08As I told you, my name is not Hanna.
04:11My real name is Mariana.
04:14Mariana?
04:17Manuel, I ...
04:20I didn't make the promise by chance.
04:25Do you remember ...
04:28Do you remember Dolores?
04:31Mrs. Carmen's personal maid, my father's first wife.
04:35That's the one.
04:38What does she have to do with all this?
04:41She just left with her children through a ravine.
04:44I know that's what they said, but that's not true.
04:48It's not entirely true.
04:52She did die.
04:54But it wasn't in a ravine, and it wasn't an accident either.
05:02Her children did survive.
05:08Where do you want to go to stop?
05:11Dolores was my mother.
05:25The day she died, my mother took us out of the house, very scared.
05:29She took us running through the woods.
05:31We suddenly heard some dogs and saw some men on horseback chasing us.
05:35They wanted to kill us, Manuel.
05:37That's why we ran even harder, with all our strength.
05:41They were going to catch up with us.
05:43So my mother put my brother, who was only a baby in my arms, and told me to run.
05:51And he stayed there, trying to delay those men.
05:57Hold him tight, okay? Very tight.
05:59Do you understand?
06:01Yes.
06:03Run.
06:05Run!
06:11The...
06:15The wood?
06:19Yes.
06:23I could see how they shot her.
06:25And how they killed her mercilessly.
06:27My brother cried and they found us.
06:29So I ran with him in my arms, until we reached a ravine.
06:35I had no other escape.
06:39A man got off his horse and approached me.
06:43And he demanded that I give him my brother.
06:47And I gave him my brother.
06:49And he said,
06:51He got off his horse and approached me.
06:55And he demanded that I give him my brother.
06:57I didn't want to jump with him, because I didn't want him to get hurt.
07:01So...
07:03I left him on the ground.
07:11And before the man could react,
07:13I ran to the edge of the ravine
07:15and jumped into the deep waters of the river.
07:17I thought they were going to kill me.
07:21Just like they did to my mother.
07:23But I thought they wouldn't be able to kill a baby.
07:31That's terrible.
07:33Yes, Manuel.
07:37But what's even worse
07:39is that the person who killed my mother
07:43belongs to this palace.
07:48The man who approached me was wearing a moustache.
07:52But he was wearing a ring with the initials of the promise.
07:59The same ring that your grandfather, the Baron of Linaja, left you in inheritance.
08:10The ring of my grandfather?
08:18Manuel, what are you doing here?
08:20We're waiting for you to have dinner.
08:22Yes, Father, I was going to ...
08:24Yes, I see you. You're not even dressed.
08:27Come on, your mother is going to get mad.
08:30Yes.
08:31Sir, tomorrow when I go back to the hangar, everything will be as clean as I want it to be.
08:35Thank you, Hanna.
08:39Are you okay?
08:42Yes.
08:44Yes, Father, excuse me, I'm ...
08:48I'm thinking about the design of my last airplane.
08:51Put your feet on the ground, Manuel.
08:54Let's go.
08:55Yes.
08:59Let's go.
09:01Yes.
09:17Tell you
09:19The things that have happened since I saw you
09:23The lights that have danced through our garden
09:27The new rumors
09:29Between the heart and the walls
09:33In the promise
09:35There will be particles of love in motion
09:39There will be secrets that will never come out
09:43It will be as beautiful as the flight of a bird
09:47It will be as beautiful as the flight of a bird
09:50In the promise
09:52The farewells are turns on the ground
09:56Even the flowers will dance in their own way
10:00Balanced between fear and passion
10:06We are like a jump to the D3
10:10We are love when you live life to death
10:13We are like a jump to the D3
10:17We are love when you live life to death
10:21We are like a jump to the D3
10:25We are love when you live life to death
10:29We are like a jump to the D3
10:33We are love when you live life to death
10:37We are like a jump to the D3
10:40We are like a jump to the D3
10:49Was the door locked with furniture?
10:52Yes, if Gregorio happened to show up here.
10:56Ah, well, first I would have to find her.
10:59Yes, well, nobody assures me that he can't do it.
11:02I see that you are not very safe here.
11:05Well, no, as long as Gregorio is free, I do not feel safe anywhere.
11:08I would like to bring you interest and value,
11:11but the only thing I can bring you is some milk and some food.
11:14Thank you very much, but sit down, please.
11:17And look, I'm going to put some homemade lentils in the margarine.
11:21No, thank you, no, but I'm already having dinner.
11:23Are you going to say no to some lentils with deer sausage?
11:26Anyone who says no to a dish like that, right?
11:29Although later I will have a bad night.
11:31Well, my nights are all bad.
11:33Eat what you eat.
11:35Well, tell me, how about the palace? Any news?
11:39No, no, no, my God, no. There is no news.
11:42Are you referring to the matter of Hanna and Manuel?
11:47Yes, yes.
11:48Have you already spoken to them?
11:50Yes, I have already told them that nothing has come out of my lips about their relationship.
11:54Well, they must have been calm,
11:56because the news would have become the news of God is Christ.
11:59The apocalypse would have become, yes.
12:01And I confess that I am about to tell Mr. Marquis,
12:04because after talking to you, my doubts were dissipated.
12:07Well, I'm glad you had the restraints to face a situation like this,
12:11because those two needed it.
12:14Well, nothing, they can breathe calmly, yes.
12:16The one who is not going to be calm is going to be me, because I have betrayed you, sir.
12:19You have done well, Mr. Baeza.
12:21Look, it's a true love story.
12:23And love is such a precious thing that it must be cultivated.
12:26Yes, I think so too, but ...
12:28But nothing.
12:30What would it do to tell Mr. Marquis? Tell me.
12:32It is my obligation, I must do it.
12:34Well, they say that the faults for love have a hundred years of forgiveness, right?
12:37Well, that's it.
12:39It seems to me that you are changing the saying to your convenience.
12:42Well, I may have said it to María Fernández, but it's true.
12:47Shall we have dinner?
12:49Re-dinner, God, re-dinner.
12:51Well, and I don't think I'm going to feel well.
12:53You're not going to feel bad, these lentils are so delicious.
12:55It's impossible.
12:57Well, yes, look.
12:58Maybe having dinner twice is fine,
13:01and hiding things from the gentlemen is appropriate.
13:04That's it, that's it.
13:08Delicious.
13:11This night is on fire.
13:13I have nothing else to do here.
13:29Finally alone.
13:32Why do you say that?
13:36Because lately it seems that you and I cannot be together
13:40without Julia showing up, all of a sudden.
13:44Well, I think she's a very nice girl.
13:47Don't you like her?
13:49No, it's not that.
13:52It just bothers me.
13:54But for some reason,
13:55for that discomfort?
13:58Well, I don't know how to tell you.
14:00It's a feeling of mine,
14:03and that's why I can't give you any reason.
14:09Or maybe I can.
14:11Maybe it's because that girl is more striped than that record.
14:16Always with the same Montserrat.
14:19Let's see.
14:21I don't know.
14:22The same Montserrat.
14:24Let's see, which one is it?
14:28Martina, I've already told you a couple of times.
14:31Julia doesn't stop talking about the war.
14:34And not only does she talk, but she also asks questions.
14:36And I assure you, it's the last thing I'd like to talk about.
14:38I can't think of anything.
14:39The next time she brings it up, you tell her to stop.
14:41Yeah, as if that would help.
14:44No, and there's something else I don't quite understand.
14:50Let's see.
14:51What?
14:53I don't understand why she's still here.
14:58Well, because she wanted to avoid that trip to see her brother-in-law.
15:02And how she did me the favor of coming here to give me back the pendant.
15:05You invited her, it's been a few days.
15:06Of course.
15:07I think it's great.
15:09Don't you think you gave her your hand and she took your arm?
15:14I just don't get the feeling that she's any use.
15:16Ah, no.
15:17No.
15:18And how long are her parents going to spend in San Sebastián?
15:21I don't know.
15:23Let's see.
15:25Would you be excited to go on vacation with your father?
15:27With the captain of the Mata?
15:28No, right?
15:29Even if they are family, they are not forced to get along.
15:32They don't have more. Don't be suspicious.
15:33Yes, yes.
15:35But don't you think it's strange that even if her parents are not in that palace,
15:39she doesn't come back?
15:41Her servants are waiting for her there, right?
15:44Maybe.
15:46Well then.
15:48Maybe it's time to kindly tell her
15:52that she has to go.
16:08Look.
16:10Let's put this on.
16:11This one looks good.
16:12Isn't there another one out there?
16:18Mozart, but not this one.
16:20If you like it.
16:33So, have you finally told her the truth?
16:37Yes.
16:39And what did she say?
16:41Well, she didn't say anything to me either.
16:43She just stood there.
16:45I don't know, María. I don't think she expected it either.
16:47Like to wait for it.
16:50Well, and what did she say when you told her that you thought it was her grandfather,
16:53the baron of Linaja, who killed your mother?
16:55I didn't tell her that exactly.
16:57Besides, Mr. Márquez just arrived at that moment.
17:01But you did tell her that Mr. Curro is your brother, right?
17:04Neither.
17:06Yes, and then what did you tell her?
17:08That after Tuesday comes Wednesday?
17:09Let's see, María. What gave me time before you became her father.
17:13With what it has cost you to start, I don't know if you will be able to continue.
17:17Let's give it time.
17:19Hey, I think it's better to finish.
17:20I told you little by little.
17:22And remember that you were very upset every time I told you one thing.
17:26Man, like not to be in Lohana.
17:28Right?
17:30Maybe.
17:31But hey, let's continue with this.
17:48Tuesday
17:56Can I help you?
17:58No, thanks. I'll take care of it myself.
18:01I'm looking for a source to serve breakfast to the gentlemen.
18:04What have you prepared for them today?
18:07Well, some crispy torrijas with lemon zest and a touch of cinnamon.
18:10They must be about to suck their fingers.
18:12Yes, that's what they say.
18:14Everyone says that there are scandalous kitchens.
18:16And rightly so.
18:17I have never eaten as well as here.
18:20Thank you very much.
18:21But ...
18:22That is also the merit of Mrs. Simona and Mrs. Candela.
18:25But I don't even know how to fry an egg.
18:27And Teresa is worse.
18:28Once she wanted to make some tortillas and she cooked them so much that they looked like crutches.
18:33Well ...
18:34The times I've needed Teresa to help me in the kitchen have been very effective.
18:38Well, I don't know what she did, but I'm telling you.
18:40That looked like a mess.
18:41Besides, it was disgusting.
18:42I have never eaten such a bad dish in my life.
18:46Marcelo, we all mess up a dish sometime.
18:48Even those of us who spend all day in the kitchen.
18:50No, no. If you're wrong, you're human.
18:52And we're all human, right?
18:54Some more than others.
18:56And where did you learn to cook?
18:58Well ...
18:59You know what? I would love to learn how to make a dish.
19:01It would be nice if I could go through the kitchens.
19:03It would be great.
19:04I don't think so, Marcelo.
19:06In the kitchen we always have a lot of work.
19:08And whoever doesn't work gets in the way.
19:10I wouldn't get in the way, of course.
19:12Hey, Marcelo.
19:13I'm going to be very honest with you.
19:16I think you should take care of doing your job well.
19:20Which is what they're paying you for.
19:22Why do you say that?
19:23What did they ask you to do?
19:25Review the dish for breakfast, right?
19:27And that means that the dish has to be bright and without soap or grease stains.
19:31Right?
19:36How is this dish?
19:39Is it lustrous to put it on the table?
19:41Well, yes, no.
19:43No.
19:45This dish has rags of the cloth.
19:51And how is this other dish?
19:53Because it has ...
19:54the fingerprints of your fingers.
19:56Do you think we can put this dish on the table?
19:58That must have happened to me.
20:00Come on, Marcelo. A lot of things happen to you.
20:03I really don't understand how they have hired you
20:05with how demanding they are with the service.
20:08Hey, you can always learn.
20:09Nobody does it knowingly.
20:10Enough!
20:11Yes.
20:13But to learn, you need attitude.
20:15For example, you should already know that to light the dish
20:17you need a dry cloth.
20:19How is your cloth?
20:21It's wet.
20:24Well, you know what you have to do.
20:38Good morning.
20:39Good morning.
20:41I was reading a piece of news about ...
20:43If you're not going to tell me another nonsense about the war,
20:45I ask you to save it.
20:46I have no desire to live something like that.
20:49I wasn't going to tell you about that.
20:50So?
20:52Do you remember the Orestes?
20:54Yes. They have been here as guests more than once.
20:57I just read that your son fell while riding
20:59and his arm was broken.
21:01I don't know what happened to him.
21:03I don't know.
21:04I just read that your son fell while riding
21:06and his arm was broken.
21:08We should send him a letter.
21:10Very well, then tell him the usual.
21:12That we feel for him a lot
21:13and that we hope he has a quick recovery.
21:16It's just that you are the one who always takes care of those matters.
21:20Alonso,
21:22things have changed a lot in this marriage.
21:24From now on, we will take care of each of his affairs.
21:28It's just that this is not good for both of us.
21:30The Orestes are your friends.
21:31They seemed charming to you.
21:33No, I never put up with them.
21:35That man
21:37gnaws his teeth with a toothpick
21:38and she is a womanizer.
21:41Every two or three minutes she says a word in French
21:42and she doesn't even know the language.
21:44I will write that letter.
21:46I don't want us to argue again.
21:47Neither do I.
21:48Or do you think I like to argue?
21:50What happens is that I have the feeling
21:51that you are always looking for a way to annoy me.
21:54But what have I done now?
21:55Tell you that we have to send a letter?
21:57It has nothing to do with the letter.
21:59But then what's wrong with you?
22:00What have I done that bothers you so much?
22:01Let's leave it at that.
22:02No.
22:03Don't throw the stone and hide your hand.
22:05Tell me.
22:09Lorenzo has told me that you want to take the business
22:11of the jams from him to give it to your little daughter Catalina.
22:14I haven't made a decision yet.
22:16But yes, I'm thinking about it.
22:17Can you tell me why?
22:19Lorenzo has given up on that business
22:21during the last few months.
22:23Lorenzo giving up on something.
22:24Come on, Cruz.
22:26Well, who has taken care of the jams?
22:28Lorenzo.
22:30But maybe he hasn't taken care of it very well.
22:33In any case, I already tell you
22:34that the decision has not yet been made.
22:36Well, look, for once,
22:37it will be better for you to continue like this,
22:38without making a decision, as you always do.
22:41Alonso, for God's sake.
22:42Catalina can't even take care of a doll house.
22:45If I had been like that,
22:46I would not have raised that business,
22:47almost without help.
22:49Well, it seems that the money from the smuggling
22:50came in handy to clean up the accounts.
22:52That's too much water.
22:55And what happens if he suddenly decides
22:56to return another season to the hangar?
22:59What would happen to the company?
23:01You know very well why he left.
23:03And on top of that,
23:04he's going to see the unpretentious Pelayo
23:05and bring him back here.
23:06And without warning.
23:07I know the story very well.
23:08You don't have to tell me.
23:10Well, it doesn't seem like it, dear.
23:11It doesn't seem like it.
23:12I just don't understand
23:13why you want to put the jam business
23:14in his hands
23:15and in those of that...
23:16used one.
23:19Catalina has had a very bad time.
23:21So what?
23:22Does that mean
23:23she has to do whatever she wants?
23:25Your daughter is older.
23:26She's an adult.
23:27And adults,
23:28no matter how much we spend it,
23:29we don't behave like kids.
23:44Tell me,
23:45you've come to tell me
23:46that I'm very involved in the kitchen.
23:47Look, I wanted to talk to you
23:48because I know how much
23:49you value Catalina.
23:51Yes, for me,
23:52she's almost like a daughter.
23:53I know.
23:55And she sees you
23:56as the mother
23:57she lost as a child.
23:59I also know that her opinion
24:00is very important
24:01for the rest of the service.
24:02And?
24:03Well, for Catalina,
24:04the service is part
24:05of the family
24:06and this palace too.
24:08Mrs. Catalina
24:09knows our problems,
24:10lives our reality
24:11and cares for us.
24:13And you care for her.
24:15Specifically, you.
24:17And that's why I know
24:18how bad it has been for her
24:19seeing her suffer
24:20because of the damage
24:21I caused her.
24:22Not even half of how bad
24:23it has been for her.
24:24I assure you that.
24:25I know, Simona, I know.
24:27And you don't know
24:28how ashamed I am
24:29or how hard it is for me
24:30to know everything
24:31Catalina has cried
24:32because of me.
24:35That's why I want to
24:36make up for all that pain,
24:37leave it behind
24:39and that happens
24:40by apologizing to you.
24:41Apologize?
24:42That's it.
24:44Simona, I wanted
24:45to apologize
24:46for making you
24:47go through that ordeal.
24:49Catalina already knows
24:50that my love for her
24:51is sincere
24:52and that I want us
24:53to build something new,
24:54together.
24:55Now I just need
24:56to apologize to you
24:57and believe me,
24:58I'll do whatever it takes.
24:59I see, I see.
25:01Simona, I'm not
25:02a bad person.
25:03I've just made bad decisions.
25:05Let me prove it to you.
25:06And if I were a bad person,
25:08I wouldn't admit it, right?
25:11That's also true.
25:15Tell me,
25:16do you think
25:17Catalina is stupid?
25:18Of course not.
25:19Miss Catalina
25:20is very awake.
25:21Awake and a noble soul, right?
25:24So I say
25:25that God has found me
25:26so that we can still be together.
25:28Sometimes love
25:29blinds us.
25:31Come on, Simona,
25:32grant me the benefit
25:33of the doubt, please.
25:34I really want to
25:35improve as a person.
25:37I don't want to make
25:38any more mistakes
25:39and, above all,
25:40I want to make Catalina happy.
25:42I see.
25:43But until now,
25:44she's been a wretch.
25:45I don't know if I've been
25:46a wretch to her
25:47by moving away from her.
25:49That's why I don't want
25:50us to separate anymore.
25:51And that's why I'm here,
25:52talking to you
25:53and telling you
25:54how much I love your Catalina.
25:57Simona, can you forgive me
25:58for what I did to her?
26:00Because she has already
26:01forgiven me.
26:04Look, think that she's
26:05in front of a man
26:06who loves her madly
26:07and would do anything
26:08for her.
26:10Anything?
26:11Yes, that's what I said.
26:14Okay.
26:15Come to the kitchen.
26:24Okay.
26:47Are you coming for firewood
26:48or did you see me
26:49and you needed
26:50any excuse to come closer?
26:52It's a bit of both.
26:55And that Mrs. Simona
26:56threw me out of the kitchen
26:57and I have nothing to do.
26:59Really?
27:00And why is that?
27:01Are you angry?
27:02No, no, no, no, no.
27:05I don't know.
27:06They'll bring something
27:07between their hands.
27:09And what could it be?
27:11Well, look,
27:12I honestly didn't want to ask
27:13because whenever I ask,
27:14I end up silent.
27:17I love seeing you smile
27:18and you don't do it enough.
27:19Well,
27:20it's just that lately
27:21haven't been my best days
27:22with my mother
27:23walking around here
27:24whenever she felt like it.
27:26Let's hope that from now on
27:27you've understood
27:28that it's useless to come back.
27:30Yes, I hope so.
27:31That's why I'm a bit calmer.
27:34And you smile more and dream more.
27:37Even so,
27:38I still can't get it out of my head
27:39what they could have talked about
27:40the last time
27:41the Marquise and my mother met.
27:43You'll see.
27:45Well,
27:46today I met the Marquise
27:47and she looked at me,
27:48as always.
27:49Well, she didn't even look at me.
27:50Well,
27:51that only means
27:52that your mother
27:53didn't betray you,
27:54that she was right.
27:55Yeah,
27:56but then why did she come?
27:57To apologize
27:58for coming here
27:59without an announcement
28:00or for entering
28:01the service area?
28:02Well, maybe.
28:03The Marquise
28:04must have found it very strange.
28:05Well,
28:06I guess Don Rómulo
28:07must have told her
28:08and the Marquise
28:09must have asked for explanations.
28:10Well, that's why I'm coming back.
28:12So let it be.
28:13Yeah,
28:14but I doubt the Marquise
28:15swallowed the excuse
28:16that he wanted the recipe
28:17for the pastries.
28:18What kind of lady
28:19is he interested in cooking?
28:21He's more interested
28:22in eating well.
28:23Yeah.
28:24Go find out
28:25what excuse he used
28:26to get me out of trouble.
28:29You have to stop
28:30thinking about him.
28:31Look,
28:32what you have to do now
28:33is enjoy
28:34your new life.
28:37And I love this new life.
28:40Especially you,
28:41who is the most important part.
28:43You're going to make him blush.
28:46That's what I'm looking for.
28:47You're very funny
28:48when your ears turn red.
28:50Me?
28:51My ears don't turn red.
28:52No, you don't.
28:53No.
28:54Yeah, you turn red
28:55like a tomato.
28:57You're gorgeous.
28:59And it's hard for me
29:00to control myself,
29:01just so you know.
29:02Really?
29:03And why is that?
29:06Because I really want
29:07to kiss you.
29:09And we're in the courtyard.
29:11Come on,
29:12help me hang this sheet.
29:14Now.
29:16You help me, silly.
29:19Come on.
29:30Clip.
29:44And now, come here.
29:47Come here.
29:58I'm telling you,
29:59she's coming down.
30:00I don't know.
30:01She must be busy.
30:02Maybe I should go up
30:03and look for her.
30:04What are you saying, silly?
30:05If Mrs. Petra catches you
30:06at the noble plant,
30:07those curls of your hair
30:08will stay straight.
30:09Look at her.
30:10She's coming alone.
30:12María Fernández told me
30:13you wanted to see me.
30:14What happened?
30:15Don't worry, miss.
30:16Don't worry.
30:18It's our pleasure
30:19to invite you to have a snack.
30:21Simona is always teasing me.
30:22Let's see,
30:23what have you prepared today?
30:24We haven't prepared
30:25a snack.
30:26So, who did it?
30:29Well,
30:30believe it or not,
30:31I prepared all this
30:32by myself.
30:33No, I can't believe it.
30:35Yes, I just came down
30:36to apologize to Simona
30:37and nothing,
30:38I got involved.
30:40And what happened?
30:41Now, nothing.
30:42But what happened
30:43at the time
30:44not only affects us,
30:46but also the people
30:47who love you.
30:48And there are many in Seville.
30:50All of us, basically.
30:53Yes, the point is
30:54that I told Simona
30:55that I was willing
30:56to do anything
30:57to show her my love for you.
30:59And she asked me
31:00to start cooking
31:01so she could live
31:02her reality a bit.
31:03What a coincidence.
31:04I think Pelayo
31:05has never used a frying pan
31:06in his life.
31:07Until today.
31:08Well, he has even used a rod
31:09and he has dared
31:10to light the oven.
31:11And did he do well?
31:13Let's say he has done
31:14what he could.
31:15No one can deny that.
31:17And he has also been
31:18chatting with us
31:19for a long time.
31:20Yes, Mr. Conde
31:21has a very good ass.
31:23He knows everything, man.
31:25I know these women
31:26are very important to you
31:27and I wanted to show you
31:28that they will also be
31:29for me.
31:30Well, yes, they are.
31:32Simona has raised me,
31:33as they say,
31:35she and Candela.
31:36Wow, yes.
31:39Yes, this is my paradise,
31:41the kitchen.
31:42And now I understand
31:43better why.
31:45I appreciate the compliment,
31:47but it is not Menester
31:48who will cook again,
31:49you have just
31:50made a mess.
31:52Well, it's true,
31:53I'm going to have to send everything
31:54straight to the laundry.
31:55Let's see, I think
31:56it's just some flour.
31:57I don't know
31:58if that's going to be enough.
32:01Look.
32:06It seems that the cooks
32:07are leaving us.
32:08Maybe they want to leave us
32:09a little privacy, right?
32:33There is a time for everything.
32:35And there are people
32:36always willing
32:37to measure that time
32:39For example,
32:41there is also a time
32:42for mourning.
32:44But your people
32:45do not agree.
32:48Is half a year enough
32:49to get a boyfriend
32:51if you have lost the other?
32:54Or a whole year?
33:05And for secrets,
33:06how long can you keep
33:07a secret
33:08that a friend
33:09has told you?
33:17You can't even tell
33:18your boyfriend?
33:20It seems not.
33:35What are you doing,
33:36María Fernández?
33:38Here,
33:39patching the sheets.
33:40Sheets that I didn't see you patch?
33:43Because I stopped a little
33:44to thread the needle.
33:46It was already threaded.
33:48Or because I threaded it,
33:49Doña Petra?
33:50That the needles
33:51are not threaded alone.
33:53Come on,
33:54go up to fix
33:55the women's bedrooms.
33:57They have already gotten up
33:58from the nap.
33:59Now?
34:00Of course now.
34:01You will patch that
34:02later.
34:06María Fernández,
34:07what are you waiting for?
34:08I'm coming,
34:09Doña Petra.
34:14María!
34:16I'm coming, I'm coming.
34:17Fly!
34:30Well, this cake is not bad.
34:32This one is saved,
34:33but the first one
34:34went straight to the trash.
34:36No one has taught you,
34:37and you have made
34:38a double effort.
34:39Cook
34:40and talk to Simona.
34:42I did it because
34:43I know how important
34:44Simona is to you
34:45and because I want to be
34:46happy with you,
34:47but also with the people
34:48you love.
34:49You are on the right track.
34:51Although I didn't like
34:52the cake very much.
34:54The intention is important.
34:56Although it would not have been bad
34:57if it wasn't so hard.
34:59Is it really that inedible?
35:00It seemed made of sand.
35:01What a disaster.
35:03I have already told you
35:04that the intention is important
35:06and yours is very good
35:08and improvable.
35:19I missed your lips so much.
35:21Doesn't it taste like sand?
35:23Stop making fun of yourself.
35:25It's okay, it's okay.
35:26I won't laugh anymore.
35:28You know what?
35:29To make up for my laughter,
35:30I want to take you
35:31to the confectionery in Lujan one day.
35:32I also want to take you
35:33to a place.
35:34Oh yeah? Where?
35:35I received an invitation
35:36from my friend the composer
35:37Don Eugenio Santiago
35:38for his engagement party.
35:39The truth is,
35:40I was surprised.
35:41It had been a long time
35:42since I received invitations.
35:43Imagine me.
35:44We fell in love, yes.
35:47But well,
35:48I think the time has come
35:49to leave all that behind.
35:51Would you accompany me
35:52to his party?
35:55If I'm honest with you,
35:56I don't really feel like it.
35:58But Catalina,
35:59it could be a good way
36:00to go back to a normal life.
36:01We don't have to keep hiding.
36:03We've been criticized so much
36:04and we've been made fun of so much.
36:06Maybe if you see us together,
36:07you'll realize how little
36:08we care about those girls.
36:11Come with me, please.
36:14Okay, I'll go with you.
36:19I'll write to them today
36:20to confirm that we're going.
36:31Okay.
37:01Dad.
37:14That horse was already limping
37:15last year.
37:16It seems he hasn't recovered
37:17at all.
37:19What's wrong, son?
37:20Are you sick?
37:22I'm sorry, father.
37:23I have a headache somewhere else.
37:24I guess it's because of some
37:25news I read about the war.
37:32Do you like the painting, young man?
37:34It excites me.
37:35It has everything.
37:36Good stroke,
37:37harmonious color,
37:39and the model, of course.
37:40What a lady.
37:43Yes, she's my first wife.
37:45The mother of my daughter Catalina
37:47and of my late son Tomás.
37:49I didn't know.
37:50I'm sorry.
37:51No, don't worry.
37:52Life is like that.
37:55It's a good painting.
37:57From Enguidanos,
37:58a very fine painter.
37:59I know him.
38:00But
38:01it's a shame
38:02his state of conservation.
38:06Has he deteriorated?
38:08He's been here for years,
38:09but I think he looks perfect.
38:12At first glance.
38:13Do you see those wrinkles?
38:14He's starting to wrinkle.
38:19I think it's normal.
38:21Normal
38:22if he were 200 years old, maybe.
38:24But that's not the case, is it?
38:26No, it's not.
38:27I'm not that old.
38:28And look,
38:29this white,
38:31if I'm not mistaken,
38:33it should be pure white.
38:35That's the effect of the smoke,
38:37the dust.
38:38I'm worried about what you're telling me,
38:40because I really appreciate this painting.
38:43It's nothing
38:44that you can't fix.
38:45A good restoration
38:47would fix all these problems
38:49and leave the painting as new.
38:51But you'd have to take it out of the promise.
38:53It wouldn't be necessary,
38:55although I've never restored
38:56a complete work by myself.
38:59I know a lot about the subject
39:00and I could leave the painting as new.
39:03I...
39:04I appreciate it, young man,
39:05but I've heard stories
39:06of very unfortunate restorations.
39:09In a church in Murcia,
39:10an amateur
39:11left a very valuable painting
39:12made by an ex-CEO.
39:13Yes, I also know that story,
39:15but I assure you
39:16that nothing like that would happen to me.
39:17I've studied
39:18and a couple of valuable paintings
39:19by friends of my parents
39:20have already passed through my hands.
39:23Besides,
39:24think that in this case
39:25you don't have to repaint.
39:27It would be more like
39:28cleaning the dirt
39:29and giving it a varnish.
39:31And that doesn't entail
39:32any danger?
39:33None, sir.
39:34It would only be about
39:36removing the dust
39:37from the cracks
39:38and changing the varnish.
39:40And the original colors
39:41would be restored?
39:42That's right.
39:43And with the new varnish,
39:44it would be more protected
39:45and the lustre would be restored.
39:47I don't see
39:48that restoration thing wrong.
39:49And it seems that
39:50Miss Julia knows
39:51what she's talking about.
39:52So I could thank you
39:53for everything
39:54you've done for me.
39:57I would need,
39:58however,
39:59to order a few materials
40:00and a quiet space
40:01to work in.
40:03The hangar.
40:05My hangar.
40:06I think it's perfect.
40:07A lot of light comes in.
40:11Well,
40:12there's nothing else to be said.
40:13Do it in the hangar.
40:15Get ready
40:16for the night.
40:17Do it in the hangar.
40:19Prepare a list
40:20with everything you need
40:21and a servant
40:22will make sure
40:23you get everything.
40:25And now,
40:26would you like to join us
40:27for a drink?
40:41Well, the new priest,
40:42Don Samuel,
40:43has organized a contest
40:44for fried eggplants.
40:45And what does religion
40:46have to do
40:47with fried eggplants?
40:48I think
40:49it has to do
40:50with the philigrees.
40:51And he had thought
40:52about participating.
40:53The prize is a handful
40:54of ham.
40:55Or two.
40:56It's not a bad prize.
40:57And how would we do it?
40:58With honey or without honey?
40:59As you prefer.
41:00I like them
41:01in all ways.
41:02I think we could
41:03make the batter
41:04and put a jar
41:05of cane honey
41:06next to it
41:07and let it soak.
41:08Leave that for a moment
41:09and go up
41:10to the music room.
41:11Mrs. Marquesa
41:12is waiting for you.
41:13And that?
41:14What happened?
41:15Did something bad happen?
41:16No, no.
41:17As far as we know.
41:18But whenever
41:19Mrs. Marquesa
41:20calls you upstairs,
41:21it's to throw a rag at you.
41:22And it couldn't be
41:23to congratulate you
41:24for a dish
41:25or a good dessert,
41:26for example.
41:27Excuse me, Mr. Pellicer.
41:28I think you've been
41:29in the palace for a short time.
41:30Lope,
41:31how many times
41:32has Mrs. Marquesa
41:33called you
41:34since you've been here
41:35to congratulate you?
41:36I don't remember any.
41:37Me neither, Mr. Pellicer.
41:38And I've been in this kitchen
41:39my whole life.
41:40But that doesn't mean
41:41that now
41:42she's going to yell at you.
41:45Mr. Pellicer,
41:46when she said it,
41:47she said it
41:48seriously.
41:50Maybe she didn't like
41:51last night's soup.
41:52Lope, what did I tell you?
41:53It was too spicy.
41:54Well, stop speculating
41:55and go upstairs right now.
41:56I'm sure
41:57it's not a bad thing,
41:58but it will be
41:59if you don't go soon.
42:01Let's go.
42:03Let's go.
42:04Come on, Lope.
42:05Enough.
42:06Excuse me.
42:15I'm sorry.
42:42Nothing.
42:43The telegram?
42:44No.
42:46Hi.
42:47Hi.
42:48I'm going to light some matches.
42:50Very well.
42:58Are you okay?
43:00Yes, but...
43:02words are very expensive.
43:08What did you say?
43:10This here.
43:12Well, nothing.
43:15The telegrams
43:16charge a lot per word
43:18and my boyfriend
43:19sent me one.
43:20And he barely tells me anything.
43:22But he's not far, is he?
43:24No, but he's not here
43:26and I miss him.
43:28They offered me a very good job
43:30in the palace of the Count of Matesán.
43:32I signed the contract,
43:33no more, no less.
43:34And how could I refuse?
43:36Of course.
43:37Well, I'm sorry
43:38you're sad,
43:39but...
43:41it's a very good job, isn't it?
43:43Well, yes.
43:44You're making a lot of money.
43:45And who knows,
43:46maybe God doesn't want it,
43:48but these things happen
43:49and they rise.
43:51It can happen.
43:52Yes.
43:53Well, the thing is
43:55I miss him a lot
43:56because I was used to seeing him all the time.
43:59I'm going to tell you, right?
44:00Me?
44:01Why?
44:03Well, because you have Teresa here.
44:05Ah!
44:06Yes, yes, of course.
44:07But if you want to go far, it doesn't matter.
44:12Now what we have to do is
44:13work,
44:14earn a living
44:15and...
44:16and save.
44:17For what?
44:20Because we're thinking of getting married.
44:23And we want to buy a small farm
44:25to live in the garden
44:26and no one will send us away.
44:28And we want to have animals,
44:29chickens, rabbits...
44:31I don't know.
44:32Even a donkey,
44:33his name is Ernesto.
44:34I want to have one.
44:35It seems like a very good idea.
44:38Well,
44:39I'm going to show you the routines.
44:43Hey, Maria, can I ask you a question?
44:45You seem very excited.
44:46Of course.
44:47Your question.
44:48In the vice of asking,
44:49there is the virtue of remaining silent.
44:51Could you tell me how to illustrate the routines?
44:53I'm sure you know how to do all these tasks.
44:55It's ugly for me to say it,
44:56but I know how to do everything.
45:00And the first thing you have to do
45:04is put on the sleeves.
45:07And the second thing you have to do
45:09is take the brush...
45:12Kid, take off your jacket.
45:17Sorry.
45:20The brush.
45:22You pass it
45:24removing the dirt.
45:30May I?
45:33Mrs. Marquesa?
45:34Mrs. Marquesa?
45:36There's no one here, Lope.
45:39They told us to come here, didn't they?
45:43Oh my God, Mrs. Simona,
45:44we may have arrived late.
45:45We already saw it, I saw it.
45:47What do we do?
45:48Do you want me to go get the Marquesa?
45:50No, I think it's better to wait here.
45:52You think?
45:54If you want, I can call Mr. Pellicer.
45:57Oh, you're here.
45:58Yes, Mrs. Marquesa,
45:59I thought we didn't know...
46:00Come in, Mrs. Amalia.
46:02Where is Vera?
46:04The Duchess of Carril has asked to see her.
46:07Mr. Pellicer informed us that we should go up,
46:10but he didn't lie to Vera.
46:12Well, she should be here.
46:15Well, if you want, I can go tell her.
46:29Hanna.
46:31I've been looking for you all over the palace for a long time.
46:34I have to finish telling that story.
46:37Manuel, right now I have to finish the job and be in that place.
46:43Hanna, please.
46:45I can't stop thinking about it.
46:48I need to know everything.
46:54Please!
47:05It was this, the ring the man wore, that ended your mother's life.
47:16Manuel, it's not the time or the place.
47:19No one is coming.
47:21My cousin has gone with her mother to take a walk and will be back soon.
47:25Hanna, please, let's talk.
47:27Hanna, please, let's talk.
47:33It's okay.
47:36What do you want to know?
47:38What will it be?
47:40You insinuated that my own grandfather
47:42could have something to do with your mother's death.
47:46I want to know everything.
47:51Manuel,
47:53I think your grandfather is to blame for my mother's death.
47:57But not only for her death.
48:00I think he is also to blame for the death of your brother Tomás.
48:08It can't be.
48:11It can't be my grandfather.
48:14It can't be.
48:17It can't be.
48:23And why did it take you so long to tell me, Hanna?
48:27Why, after all the time you've been in La Promesa?
48:31Manuel, because I was afraid for you.
48:35Let me explain.
48:37The first night I arrived at La Promesa, I talked to your brother
48:41and told him everything you know now.
48:46But then he appeared dead.
48:47My brother didn't know who you were.
48:52Manuel, you have to understand that I didn't tell you because I didn't want to put you in danger.
48:58No.
49:04What does my brother have to do with all this?
49:07And why did you tell him everything?
49:10Well, because your brother surprised me at the library.
49:13While I was looking for a photograph and he thought I was stealing, so ...
49:18I had no choice but to tell him who I was and why I had come here.
49:22So my brother was aware of absolutely everything?
49:25But the most curious thing about all this, Manuel,
49:29is that he didn't take it again.
49:31What do you mean?
49:33That Tomás suspected the truth
49:35and promised to help me so that everything would come to light.
49:39I know that's why they killed Manuel.
49:43And yet, how do you accuse my grandfather of the death of my brother?
49:47Why?
49:48What do you mean, why, Manuel?
49:50Because he was able to kill an unarmed woman in front of his children?
49:55Assuming what you say is true, Hanna.
49:58Assuming it's true.
50:00Do you have any proof to prove it?
50:03Something against him?
50:06No.
50:12Well no, and at this point I don't think I can have it.
50:15Your grandfather took his secret to the grave.
50:19Hanna, it can't be.
50:22Manuel.
50:24Tomás suspected something
50:27and promised to tell me everything, but first he had to see someone.
50:31Who?
50:33I don't know.
50:35In fact, I couldn't believe it.
50:38So he gave me something as a gift.
50:43He gave me his wedding ring.
50:47He gave you his own ring on the same day of his wedding?
50:50And then he killed him.
50:54Yes.
51:00But my grandfather wasn't here that night, Hanna.
51:03Or that's what made us believe, Manuel, and that's why we don't consider it a suspicion.
51:07But everything points to him.
51:10My grandfather, a murderer.
51:14And my brother.
51:21Manuel, I'm very sorry.
51:23I knew all this was going to hurt you.
51:27But there's one thing you still don't know.
51:30What?
51:33I found my brother.
51:36I found him years after they took him.
51:43And he's alive.
51:49He's in this house.
51:52He's alive.
52:02My brother, eh?
52:06My brother Escurro.
52:17And when is the Duchess's visit expected?
52:19Well, as far as we know, it could be this afternoon.
52:23We'll have to have everything ready then.
52:26No, no, no. The lady doesn't want anything special to be done.
52:29The idea is for her to see the kitchens in their usual environment.
52:33Except for one thing.
52:34Vera.
52:36This is nonsense, Lope.
52:37Where have you seen a Duchess entering the palace and the kitchen of a Marquis?
52:41Well, the promise is going to start to be seen.
52:43Well, are you sure my mother doesn't care about the kitchen at all?
52:46What I don't understand is what she wants to achieve with all this.
52:51What if I've ruined everything, Maria?
52:53But you're not going to ruin everything, Hanna.
52:55That's it, eh?
52:56Stop complaining about the milk you spilled.
52:59And if I'm drinking to your wedding, it's because your love wasn't as strong as you thought.
53:02And it does you a favor.
53:03Maria.
53:04I've heard that you've offered to restore the portrait in the tea room.
53:08That's right.
53:09It will be a way to compensate for the kindness of your family to welcome me here these days.
53:13We'll make a profit, I assure you.
53:16We all have a lot of appreciation for that painting.
53:18It's a memory of my dear mother.
53:20I can't take it anymore with that spoiled brat Catalina.
53:23You have to get her out of here as soon as possible.
53:25If it were up to me, I would do it and with pleasure.
53:27She has exceeded all my limits.
53:29Come on, she's even giving me urticaria.
53:32Doesn't that friend of Martina have an allergy to walnuts?
53:34Well, I have Catalina.
53:36What happened to you, Teresa?
53:39So desperate, you were about to forget my son,
53:41that you had to sleep with the first imbecile who crossed your path.
53:45For God's sake, don't be vulgar.
53:46No.
53:48You are the vulgar one.
53:50I don't understand that you want to favor Lorenzo
53:52by going over a member of the Lujan family.
53:54I remind you that Lorenzo is married to my sister,
53:56so he is also part of the family.
53:58But of course, it's mine, which may not be as important as yours.
54:01Excuse me, why?
54:04I'm convinced that his experience on the front has generated very strong friendships
54:08and unbreakable bonds.
54:10You know, we also talked about that this morning.
54:13I admit that Julio makes me nervous with so many questions.
54:17Well, I think he's a tremendously curious person.
54:19Yes, especially when it comes to war,
54:22which is precisely what I'm trying to forget.
54:24It's just that that fool doesn't know how to do anything right.
54:27He doesn't even know where the wind blows him.
54:29He's useless.
54:31So Teresa is trying to cover up her husband's clumsiness.
54:35I'm sure of it.
54:38She has changed my son Feliciano for an incompetent
54:40who doesn't even wear the sole of his shoes.
54:44You are an insult to everything he represented
54:48and to all the dignity that there is in this world,
54:50unworthy and sinful.
54:51Really, Mrs. Alcos.
54:52That you have taken her place in Teresa's heart
54:55only shows that she was not deaf.
54:58But I will not allow you to take her place in this house.