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Short filmTranscript
00:00How do you feel?
00:03Your daughter told me that you are thinking about returning your position.
00:09Do you think it's wrong?
00:11No, on the contrary.
00:12In fact, I wanted to show my support and offer my help, if necessary.
00:16I would also give up being part of the business if that makes you feel more comfortable.
00:21Salvador, I sent you a telegram and you didn't tell me.
00:25Because there was not much to tell.
00:27You arrived well, period.
00:29And?
00:30And that's it.
00:31Well, María, you know that telegrams are very expensive.
00:34Yes, but it was hard to put a
00:36I love you very much
00:37or a roof of less.
00:38Well, look, exactly twice.
00:40My father is valuing putting me in front of the jam business.
00:43But when he says
00:45regain control, he means you alone?
00:49Well, my plan is also that Pelayo is returned.
00:54I understand her perfectly.
00:56She wants the best for you and I have hurt you in the past.
00:59But I want to see you again with good eyes.
01:03Okay, 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.
01:12We ended up in the infantry.
01:14Surely they have a lot of very interesting stories to tell.
01:21Sorry.
01:22I just realized it's something I don't want to remember.
01:25Sorry for my lack of touch.
01:27You have no right to meddle in my marriage.
01:31It is that your marriage should have been with my son.
01:35It is that you have already forgotten about him. I swear to God.
01:38That I have not stopped thinking about Feliciano not a single day.
01:41It is impossible that you will love my son
01:43and return to the little time hanging from the arm of anyone.
01:47Doña Petra has a little bit of reason.
01:50María.
01:51It is what we all think.
01:53That we were stunned when you appeared in La Promesa
01:56with that man in the arm.
01:58I didn't look for him, María.
02:00It just happened that way.
02:01And that pessimism?
02:03It is clear to me that this marriage 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 had them, but we always solve them.
02:15Yeah. Until one day comes when they are no longer solved.
02:20It's my mother. She's back.
02:22But she's back this time.
02:23I don't know. Don Rómulo took care of 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.
02:30How 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 long to throw me out of La Promesa, don't you think?
02:39This must be repeated.
02:40And I hope this time you put a little more interest.
02:42It was not out of disinterest, I promise.
02:43Well, then you put it worse for me.
02:45I am not surprised that she got married.
02:47What surprises me is that she married that man.
02:49Don't you think it's strange that no one has seen her kiss him or make out with him?
02:54That marriage is stranger 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. Calm 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, I care more right now.
03:23Well, you say that because he has a beast like a cousin.
03:26I just hope 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.
03:38Hanna, 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.
03:50What's going on, Hanna?
03:53My name is not Hanna, Manuel.
03:58The time has come for you to know the truth about me.
04:07As I told you, my name is not Hanna.
04:11My real name is Mariana.
04:14Mariana?
04:17Manuel, I ...
04:19I 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.
04:47It's not true at all.
04:51Yes, she died.
04:54But it wasn't in a ravine, and it wasn't an accident either.
05:01Her children did survive.
05:08Where do you want to go?
05:13Dolores was my mother.
05:18No.
05:26The day she died, my mother took us out of the house, very scared.
05:30She took us running through the woods.
05:32We suddenly heard some dogs and saw some men on horseback chasing us.
05:36They wanted to kill us, Manuel.
05:38That's why we ran even harder, with all our strength.
05:42They were going to catch up with us.
05:44So my mother put my brother, who was just 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.
06:00Do you understand?
06:01Yes.
06:05Run.
06:07Run!
06:14Did they...
06:18Did they kill her?
06:22Yes.
06:25I could see how they shot her.
06:28And how they killed her mercilessly.
06:36My brother cried and they found us, so...
06:39I ran with him in my arms.
06:41Until I got to a ravine.
06:44I had no choice but to jump.
06:49A man got off the horse and approached me.
06:53And he demanded that I give him to my brother.
06:57I didn't want to jump with him because I didn't want him to get hurt, so...
07:03He left me on the ground.
07:04And before the man could react, I ran to the edge of the ravine.
07:09And I jumped into the murky waters of the river.
07:12I thought they were going to kill me.
07:15Just like they had done to my mother.
07:18But I thought they weren't going to be able to kill a baby.
07:25That's terrible.
07:29I thought they were going to kill me.
07:31That's terrible.
07:34Yes, Manuel.
07:37But what's even worse...
07:40...is that the person who killed my mother...
07:43...belongs to this palace.
07:48The man who approached me was wearing a mask.
07:51But he was wearing a ring with the initials of the promise.
07:54That ring.
07:59The same ring that your grandfather, the Baron of Linaja, left you in inheritance.
08:10My grandfather's ring.
08:19Manuel, what are you doing here?
08:21We were waiting for you to have dinner.
08:22Yes, Father, I was going to...
08:25Yes, I see you. You're not even dressed.
08:27Come on, your mother is going to be furious.
08:30Yes.
08:31Sir, tomorrow when I return to the hangar, everything will be as clean as it should be.
08:35Thank you, Hanna.
08:39Are you okay?
08:42Yes.
08:44Yes, Father, I'm sorry. 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.
09:21I know I saw you.
09:52I love you.
09:54I love you.
09:56I love you.
09:58I love you.
10:00I love you.
10:03I love you.
10:05I love you.
10:07I love you.
10:09I love you.
10:11I love you.
10:13I love you.
10:15I love you.
10:17I love you.
10:19I love you.
10:21I love you.
10:23I love you.
10:24We are the love when you live life to the fullest.
10:30I've never seen the water run.
10:34The promise will be made, it's a matter of luck.
10:49Did you have the door locked with furniture?
10:51Yes, in case Gregorio thought of coming here.
10:55Ah, well, first I would have to find her.
10:58Yes, well, nobody assures me that they can't do it.
11:01I see that you are not very safe here.
11:04Well, no, as long as Gregorio is free, I do not feel safe anywhere.
11:08I would like to bring you interest and value, but the only thing I can bring you is some milk and some food.
11:13Thank you very much. Sit down there, please.
11:16And look, I'm going to put some ... some raw lentils.
11:19What do you want?
11:20No, thank you, no, but I'm already having dinner.
11:22Are you going to say no to some lentils with deer chorizo?
11:25Anyone who says no to a dish like that, right?
11:28Although then I will have a bad night.
11:30Well, my nights are all bad. Eat what you eat.
11:35Well, tell me, how about Palacio, any news?
11:39No, no, no, thank God, no, no news.
11:42Are you referring to the matter of Hanna and Manuel?
11:46Yes, yes.
11:47Have you already spoken to them?
11:49Yes, I have already told them that nothing will come out of my lips about their relationship.
11:53Well, they will have been calm, because the news would have been made up by God.
11:58The apocalypse would have been made up, yes.
12:00And I confess that I am about to tell Mr. Marqués, but well, after talking to you, my doubts have dissipated.
12:06Well, I'm glad you had the arrests to face a situation like this, because those two needed it.
12:13Well, nothing, they can breathe easy, yes.
12:16The one who will not be calm will be me, because I have betrayed the Lord.
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 ...
12:27But nothing.
12:29What would it be useful to tell Mr. Marqués? 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.
12:38It seems to me that you are changing the saying to your convenience.
12:42Well, maybe I've heard it from María Fernández, but it's true.
12:47Shall we have dinner?
12:48Eh? No. Re-dinner, God. Re-dinner.
12:50It's good and I think I'm not going to feel well.
12:53How bad are you going to feel? These lentils are so delicious, it's impossible.
12:56No, no. Well, yes. Look.
12:58Maybe having dinner twice is fine, and hiding things from the gentlemen is appropriate.
13:03That's it.
13:04So you have a great father.
13:05That's it.
13:08Delicious.
13:11Tonight is a slow fire.
13:13As I have nothing else to do here.
13:31Finally alone.
13:35Why do you say that?
13:38Because lately it seems that you and I can't be together without Julia showing up.
13:44Suddenly.
13:46Well, I think she's a very nice girl.
13:49Don't you like her?
13:51No, it's not that.
13:54It just bothers me.
13:56But is there a reason for that discomfort?
14:02Well, I wouldn't know how to tell you.
14:04It's ... a feeling of mine and that's why I can't give you any reason.
14:14Or maybe yes.
14:16Maybe it's because that girl is more refined than that record.
14:20Always with the same Montserrat.
14:24Let's see, which one is it?
14:27Martina, I've already told you a couple of times.
14:29Julia does not stop talking about the war.
14:33And not only does she talk, but she also asks.
14:35And I assure you that it is the last thing I would like to talk about.
14:37I can't believe it.
14:38Well, the next time I bring up the subject, you tell her to stop.
14:40Yeah.
14:41As if that would help.
14:43No, 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.
14:57Well, because I wanted to avoid that trip to see her brother-in-law.
15:01And 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.
15:06Sure.
15:07I think it's great.
15:09Don't you think you gave her your hand and she took your arm?
15:13I 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.
15:24Would you be excited to go on vacation with your father?
15:27With the captain of the Mata?
15:28No.
15:29Even if they're family, they're not forced to get along.
15:31There's nothing else.
15:32Don't be suspicious.
15:33Yes, yes.
15:35But don't you think it's strange that even if her parents aren't in that palace,
15:39she doesn't come back?
15:40Her 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.
15:54Hmm?
16:08Look.
16:10Let's put this one.
16:11This one looks good.
16:12Isn't there another one around?
16:18Mozart, but maybe not this one.
16:20If you like it.
16:25Yes.
16:33So, have you finally told her the truth?
16:36Yes.
16:39And what did she say?
16:41Well, she didn't tell me anything either.
16:43She just stood there.
16:45I don't know, María. I don't think she expected it either.
16:47How could she expect it?
16:50Well, and what did she tell you 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?
17:07That after Tuesday comes Wednesday?
17:09Let's see, María, what gave me time before I 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 time to time.
17:18Hey, 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, as if not to be in Lohana.
17:28Right?
17:29Maybe.
17:31But hey, let's continue with this.
17:48I can help you?
17:50No, thank you.
17:51Call Paño, I'll do it.
17:53I'm looking for a source to serve breakfast to the gentlemen.
17:57What have you prepared for them today?
17:59Well, some crispy torrijas with lemon zest and a touch of cinnamon.
18:03They must be about to lick their fingers.
18:04Yes, that's what they say.
18:06Everyone says that there are scandalous cooks, and rightly so.
18:09I have never eaten as well as here in Lohana.
18:12I have never eaten as well as here in Lohana.
18:14I have never eaten as well as here in Lohana.
18:16You're right.
18:17I have never eaten as well as here.
18:19Thank you very much.
18:21But that 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 gachas.
18:33Well, the 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, that looked like a mess.
18:41Besides, it was disgusting.
18:42I've never eaten such a bad dish in my life.
18:45Marcelo, 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?
18:53Some more than others.
18:55And where did you learn to cook?
18:57Well...
18:58You know what? I'd 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.
19:12Marcelo, I'm going to be very honest with you.
19:16I think you should take care of doing your job well.
19:19Which is what they're paying you for.
19:21Why do you say that?
19:23What did they ask you to do?
19:25Go over the dish for breakfast, right?
19:27And that means that the dish has to be shiny and without soap or grease stains.
19:31Right?
19:35How is this dish?
19:38Is it lustrous enough to be served at the dining room?
19:41Well, yes and no.
19:43No.
19:45This dish has a lot of stains from the cloth.
19:50And how is this other dish?
19:52Because it has...
19:54the fingerprints of your fingers.
19:56Do you think we can serve this dish at the dining room?
19:58That must have happened to me.
20:00Enough, Marcelo. A lot of things happen to you.
20:03I really don't understand how they hired you,
20:05with how demanding they are with the service.
20:07Hey, you can always learn.
20:09No one does it knowing.
20:10Yes.
20:12But to learn, you need attitude.
20:14For example, you should know that to shine 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.
20:41Good morning.
20:43Good morning.
20:45I was reading a piece of news about...
20:47If you're not going to tell me another story about the war,
20:49I ask you to save it.
20:51I don't want to live something like this.
20:53I wasn't going to tell you about that.
20:55So?
20:57Do you remember the Orestes?
20:59Yes, they've been here as guests more than once.
21:01I just read that your son fell while riding
21:03and broke both legs.
21:05We should send him a letter.
21:07No.
21:08We should send him a letter.
21:10Very well, then tell him the usual.
21:12That we feel for him a lot
21:14and 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.
21:27It's just that this is not good for both of us.
21:29The Orestes are your friends.
21:31They seemed charming to you.
21:33No, I never put up with them.
21:35That man...
21:36He bites his teeth with a toothpick.
21:38And she...
21:40What a woman!
21:42Every two or three minutes she says a word in French
21:44and she doesn't even know the language.
21:46I will write that letter.
21:48I don't want us to argue again.
21:50Neither do I.
21:52Or do you think I like to argue?
21:54The thing is that I have the feeling
21:56that you are always looking for a way to annoy me.
21:58But what have I done now?
22:00Tell you that we have to send a letter?
22:02It has nothing to do with the letter.
22:04But then what's wrong with you?
22:07Lorenzo has told me that you want to take away the jam business
22:11to give it to your daughter Catalina.
22:13I haven't made a decision yet.
22:15But 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.
22:25Come on, Cruz.
22:27Well, who has taken care of the jams?
22:29Lorenzo.
22:31But maybe he hasn't taken care of it very well.
22:33In any case, I already tell you that the decision
22:34has not yet been made.
22:36Well, look, for once,
22:38it will be better for you to continue like this,
22:40without making a decision, as you always do.
22:42Alonso, for God's sake,
22:44Catalina can't even take care of a doll house.
22:46If I had done that,
22:48I would not have raised that business,
22:50almost without help.
22:52Well, it seems that the money from the smuggling
22:54came in handy to clean up the accounts.
22:56That's too much water.
22:58And what happens if he suddenly decides
23:00to return another season to the hangar?
23:02What would happen to the company?
23:04The company is not representative of Pelayo
23:06and he brings it back here, without warning us.
23:08I know the story very well.
23:10You don't have to tell me.
23:12Well, it doesn't seem so, dear.
23:14I don't understand why you want to put in your hands
23:16and in those of that used man
23:18the business of jams.
23:20Catalina has had a very bad time.
23:22So what?
23:24Does that mean you have to do whatever he wants?
23:26Your daughter is older, she is an adult.
23:28And adults, no matter how bad we have it,
23:30we don't behave like kids.
23:34I'm sorry.
23:44Tell me what you have come to tell me
23:46that I have a lot of trouble in the kitchen.
23:48Look, I wanted to talk to you
23:50because I know how much you appreciate Catalina.
23:52Yes, for me she is almost like a daughter.
23:54I know.
23:56And she sees you as the mother
23:58she lost as a child.
24:00I also know that your opinion
24:02is very important for the rest of the service.
24:04Catalina, the service is part of the family
24:06and of this palace too.
24:08Miss Catalina knows our problems,
24:10she lives our reality
24:12and she worries about us.
24:14And you for her.
24:16Specifically you.
24:18And that's why I know how bad it has been for her
24:20seeing her suffer for the damage I caused her.
24:22Not even half of what she has gone through.
24:24I assure you that.
24:26I know, Simona, I know.
24:28And you don't know how ashamed I am.
24:30Nor how hard it is for me to know
24:32everything that Catalina has cried for my fault.
24:34That's why I want to make up for all that pain.
24:36Leave it behind.
24:38And that happens by apologizing to you.
24:40Apologize?
24:42That's it.
24:44Simona, I wanted to apologize
24:46for making you go through that ordeal.
24:48Catalina already knows that my love for her is sincere
24:51and that I want us to build something new together.
24:54Now I just need to convince you
24:56and believe me, I'll do whatever it takes.
24:58I see, I see.
25:00Simona, I'm not a bad person.
25:02I've just made bad decisions.
25:04Let 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, do you have Catalina for a fool?
25:18Of course not.
25:20Miss Catalina is very awake.
25:22Awake and a noble soul, right?
25:24So I say that she must have found something good in me
25:26so that we can still be together.
25:28Love sometimes blinds us.
25:30Come on, Simona, grant me the benefit of the doubt, please.
25:34I really want to improve as a person.
25:36I don't want to make any more mistakes
25:38and above all, I want to make Catalina happy.
25:41I see.
25:43But until now, you've made her a wretch.
25:45I don't know if I've been the one who's gone away from her.
25:48That's why I don't want us to be apart anymore.
25:50And that's why I'm here,
25:52talking to you and telling you everything I want about your Catalina.
25:56Simona, can you forgive me for what I did to you?
26:00Because she has already forgiven me.
26:01Look, think that she's in front of a man who loves her madly
26:05and would do anything for her.
26:08Anything?
26:10Yes, that's what I said.
26:12Okay.
26:14Come to the kitchen.
26:31Come on.
26:47Are you coming for firewood or did you see me
26:50and you needed any excuse to come closer?
26:53It's a bit of both.
26:55And that Mrs. Simona kicked me out of the kitchen
26:58and I have nothing to do.
26:59Really?
27:01And why? Are you angry?
27:03No, no, no.
27:05I don't know.
27:07They will bring something between their hands.
27:09And what could it be?
27:11Well, look, honestly, I didn't want to ask.
27:14Because whenever I ask, you end up next to me.
27:17I love seeing you smile.
27:19And you don't do it enough.
27:21Well, it's just that lately it hasn't been my best days
27:24with my mother walking around here when she felt like it.
27:27Let's hope that from now on she has understood
27:30that it is useless to return.
27:32Yes, I hope so.
27:34That's why I'm a little calmer.
27:36And you smile more?
27:38Even so, I can't get my head out of my head
27:41about what they could have talked about
27:43the last time the Marquise and my mother met.
27:45You'll see.
27:47Well, today I met the Marquise
27:49and she looked at me as always.
27:51Come on, she didn't even look at me.
27:53Well, that only means that your mother
27:54has been exposed.
27:56That she was right.
27:58Yeah, but then why did she come?
28:00To apologize for standing here without announcing herself?
28:02Or to enter the service area?
28:04Well, maybe.
28:06The Marquise must have found it very strange.
28:08Well, I guess Don Rómulo must have told her
28:10and the Marquise must have asked for explanations.
28:12Well, that's why I'm back.
28:14So let it be.
28:16Yeah, but I doubt the Marquise has swallowed
28:18the excuse that she wanted the cake recipe.
28:20What lady is she interested in cooking?
28:21They're more interested in eating well.
28:23Yeah.
28:25Go find out what excuse she used
28:27to get me out of here.
28:30You have to stop thinking about her.
28:32Look, what you have to do now
28:34is enjoy your new life.
28:37And I love this new life.
28:39Especially you,
28:41who are the most important part.
28:43You're going to blush.
28:45That's what I'm looking for.
28:47You're very funny
28:49when your ears turn red.
28:51No, I'm not.
28:53No.
28:55You turn red like a tomato.
28:57You're gorgeous.
28:59And it's hard for me to control myself,
29:01just so you know.
29:03Really?
29:05And why is that?
29:07Because I really want to kiss you.
29:09And we're in the courtyard.
29:11Come on.
29:13Help me hang this sheet.
29:15Now.
29:17You help me, you fool.
29:19Come on.
29:21Come on.
29:30Pizza.
29:44I love you.
29:51I love you.
29:58I'm telling you, she's coming down.
30:00I don't know, she must be busy.
30:02Maybe I should go up and look for her.
30:04What are you saying?
30:06If Mrs. Petre catches you at the noble plant,
30:08those curls of your hair will get stiff.
30:10Look, there she comes alone.
30:12Maria Fernandez told me you wanted to see me.
30:14What happened?
30:16No, nothing, miss.
30:18Don't worry.
30:19Why didn't you invite her for a snack?
30:21Simona is always nagging me.
30:23Let's see, what have you prepared today?
30:25We haven't prepared a dinner.
30:27So who did it?
30:29Well, believe it or not,
30:31I prepared all of this myself.
30:33No, I can't believe it.
30:35Yes, I just came down to apologize to Simona
30:38and nothing, I got involved.
30:40And what happened?
30:42Nothing now,
30:44but what happened at the time not only affects us,
30:46but also the people who love you.
30:47And there are many in Seville.
30:49All of us, basically.
30:52Yes, the point is that I told Simona
30:54that I was willing to do anything
30:56to show her my love for you.
30:58And she asked me to start cooking
31:00so that I could experience her reality a little.
31:02What a coincidence.
31:04I think Pelayo has never used a pan in his life.
31:06Until today.
31:08Well, he has used a rod
31:10and he has dared to light the oven.
31:12And did he do well?
31:14Let's say he has done what he could.
31:15No one can deny that.
31:17And he has also been chatting with us for a long time.
31:21Yes, the man has a very good taste.
31:23He knows everything, man.
31:25I know these women are very important to you
31:27and I wanted to show you that they will also be for me.
31:30Well, yes, they are.
31:32Simona has raised me, as they say,
31:34she and Candela.
31:36Wow, yes.
31:39Yes, this is my paradise,
31:41the kitchen.
31:43And now I understand better why.
31:45Yes, I appreciate the compliment.
31:47But it is not Menester who will cook again,
31:49you have just made a mess.
31:51Well, it's true.
31:53I'm going to have to send everything straight to the laundry.
31:55Let's see, I think it's just some flour.
31:57I don't know if that's going to be enough.
32:00Look.
32:05It seems that the cooks are abandoning us.
32:08Maybe they want to leave us a little privacy, right?
32:15Let's go.
32:34There is a time for everything.
32:36And there are always people willing to measure that time.
32:39For example,
32:41there is also a time for mourning.
32:43But your people don't agree.
32:47Is half a year enough to get a boyfriend
32:51if you have lost the other one?
32:53Or a whole year?
33:04And for secrets,
33:06how long can you keep a very fat secret
33:09that a friend has told you?
33:12I don't know.
33:18You can't even tell your boyfriend?
33:20It seems not.
33:35What are you doing, María Fernández?
33:38I'm sweeping the sheets.
33:40Sheets that I didn't see you sweeping.
33:43Because I stopped a little to thread the needle.
33:46It was already threaded.
33:48Or because I threaded it, Mrs. Petra.
33:50Needles don't thread on their own.
33:53Come on.
33:55Go upstairs to fix the ladies' bedrooms.
33:57They have already gotten up from their nap.
33:59Now?
34:01Of course, now.
34:03You'll sweep that later.
34:06María Fernández, what are you waiting for?
34:07I'm coming, Mrs. Petra.
34:13María!
34:15I'm coming, I'm coming.
34:17Get out!
34:30Well, this cake is not bad.
34:32This one is safe, but the first one was straight to the trash.
34:35No one has taught you.
34:37And you have made a double effort.
34:39Cooking and talking to Simona.
34:41I did it because I know how important Simona is to you.
34:44And because I want to be good to you,
34:46but also to the people you love.
34:48You're on the right track.
34:50Although the cake didn't turn out very well.
34:53The intention is what matters.
34:55Although it would not have been bad if it wasn't so hard.
34:58Is it really that inedible?
35:00It looked like it was made of sand.
35:02What a disaster.
35:04It's my intention.
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 me.
35:25It's okay, it's okay.
35:27I won't laugh anymore.
35:29You know what?
35:31To make up for my laughter, I want to take you to the confectionery in Luján one day.
35:34Really? Where?
35:36I received an invitation from my friend the composer Don Eugenio Santiago
35:39for his engagement party.
35:41The truth is, I was surprised. I hadn't received invitations for a long time.
35:43Imagine me.
35:45We fell out, yes.
35:48But hey, I think it's time to leave all that behind.
35:52Would you accompany me to his party?
35:56If I'm honest with you, I don't really feel like it.
35:59But Catalina, it could be a good way to return to a normal life.
36:02We don't have to keep hiding.
36:04We've been criticized so much and we've been made fun of so much.
36:07Maybe if you see us together, you'll realize how little we care about those girls.
36:11Come with me, please.
36:14Okay, I'll go with you.
36:20I'll write to them today to confirm that we're going.
36:34Okay.
37:04I love you.
37:14That horse was already limping last year.
37:16It seems that he hasn't recovered from everything.
37:19What's wrong, son? Are you sick?
37:21I'm sorry, father. I have a headache somewhere else.
37:24I guess it's because of some news I read about the war.
37:31Do you like the painting, Juan?
37:32I'm excited.
37:34It has everything.
37:36Good strokes, harmonious colors ...
37:38And the model, of course.
37:40What a lady.
37:42Yes, she is my first wife.
37:44The mother of my daughter Catalina and my late son Tomás.
37:48I didn't know. I'm sorry.
37:50No, don't worry.
37:52Life is like that.
37:54It's a good painting.
37:56By Enguidanos, a very fine painter.
37:58I know him.
37:59He's a bit old.
38:01But it's a shame his state of conservation.
38:06Has he deteriorated?
38:08He's been here for years.
38:10But I think he looks perfect.
38:12At first glance.
38:14Do you see those wrinkles?
38:16He's starting to wrinkle.
38:19I see him normal.
38:22Normal if he were 200 years old, maybe.
38:25But that's not the case, is it?
38:27No, it's not. I'm not that old.
38:29Think about it.
38:31This white, if I'm not mistaken,
38:33should be a pure white.
38:35That's the effect of the smoke, the dust ...
38:38I'm worried about what you're telling me.
38:40Because I really appreciate this painting.
38:43It's nothing you can't fix.
38:45A good restoration
38:47would fix all these problems
38:49and leave the painting as new.
38:51But you would have to take it out of the promise.
38:53It wouldn't be necessary.
38:55Although I have never restored a complete work by myself,
38:57I know a lot about the subject
38:59and I could leave the painting as new.
39:01I thank you, young man,
39:03but I have heard very unfortunate
39:05restoration stories.
39:07In a church in Murcia,
39:09an amateur left a very valuable painting
39:11made by an ex-CEO.
39:13Yes, I also know that story.
39:15But I assure you that nothing like that would happen to me.
39:17I have studied and a couple of valuable paintings
39:19by friends of my parents have already passed through my hands.
39:24Also, think that in this case
39:25there is no need to repaint.
39:27It would be better to clean the dirt
39:29and give a varnish.
39:31And that does not entail any danger?
39:33None, sir.
39:35It would only be a matter of
39:37removing the dust that is between the cracks
39:39and changing the varnish.
39:41And the original colors would be recovered?
39:43That's it.
39:45And with the new varnish,
39:47it will be more protected and the lustre will recover.
39:49I don't see that restoration thing wrong.
39:51And it seems that Miss Julia
39:53knows what she's talking about.
39:55So I could thank you
39:57for everything you have done for me.
40:00I would need, however,
40:02to order a few materials
40:04and a quiet space to work.
40:07The hangar.
40:09My hangar, I think it's perfect.
40:11A lot of light comes in.
40:14Well, there is no more talk.
40:16Do it in the hangar.
40:18Prepare a list with everything you need
40:20and a servant will take care of getting everything.
40:22And now,
40:24would you like to join us for an aperitif?
40:39Well, the new priest, Don Samuel,
40:41has organized a contest for fried aubergines.
40:43And what does religion have to do
40:45with fried aubergines?
40:47I think it has to do with the philigrees.
40:49And he had thought of participating.
40:50And he had thought of participating.
40:52That the prize is a handful of ham.
40:54Or two, it's not a bad prize.
40:56And how would we do it?
40:58With honey or without honey?
41:00As you prefer.
41:02I like them anyway.
41:04I think we could make the batter
41:06and put a jar of cane honey next to it
41:08since he likes it to soak.
41:10Leave that for a moment
41:12and go up to the music room.
41:14Mrs. Marquesa is waiting for you.
41:16And that?
41:17What happened?
41:18Mrs. Marquesa is calling you upstairs
41:20to make a fried aubergine.
41:22And it couldn't be to congratulate you for a dish
41:24or a good dessert, for example.
41:26Excuse me, Mr. Pellicer.
41:28I think you've been in the palace for a short time.
41:30Let's see, Lope.
41:32How many times has Mrs. Marquesa called you
41:34since you've been here to congratulate you?
41:36I don't remember any.
41:38Me neither, Mr. Pellicer.
41:40And I've been in this kitchen all my life.
41:42But that doesn't mean that now she's going to argue with you.
41:45Mr. Pellicer, when she said it,
41:46she meant it seriously.
41:49Maybe she didn't like the soup last night.
41:51Lope, what did I tell you?
41:53It was too spicy.
41:55Well, stop speculating and go up at once.
41:57I'm sure it's not a bad thing,
41:59but it will be if you don't go soon.
42:01Let's go.
42:03Let's go.
42:05Come on, Lope.
42:07Excuse me.
42:16Excuse me.
42:42Nothing. The telegram?
42:44No.
42:46Hello.
42:48I'm going to light some matches.
42:50Very well.
42:57Is it okay?
43:00Yes, but the words are very expensive.
43:07What did you say?
43:09This here.
43:12Well, nothing.
43:14The telegrams, because they charge a lot per word
43:17and my boyfriend has sent me one.
43:20And he barely tells me anything.
43:22But it's not far, is it?
43:24No, but it's not here.
43:26And I miss it.
43:28They offered me a very good job
43:30in the palace of the Count of Matesán.
43:32The first one on the street, no more, no less.
43:34And how could I refuse?
43:36Sure.
43:38Well, I'm sorry you're sad,
43:40but it's a very good job, isn't it?
43:43Yes, it's a very good job.
43:45And who knows?
43:47Maybe God doesn't want it, but these things happen
43:49and the same thing happens.
43:51It can happen.
43:53Yes.
43:55Well, the thing is that I miss him a lot
43:57because I was used to seeing him all the time.
43:59I'm going to tell you, right?
44:01Me? Why?
44:03Well, because you have Teresa here.
44:05Ah, yes, yes, of course.
44:07But if you want to go far, it doesn't matter.
44:09Now what we have to do is work,
44:11earn a room and save.
44:14For what?
44:17Because we're thinking of getting married.
44:20And we want to buy a small farm
44:22to live in the garden
44:24and no one will send us away.
44:26And we want to have animals, chickens, rabbits.
44:28I don't know.
44:30Even a donkey called Ernesto I want to have.
44:32It seems like a very good idea.
44:33Well, I'm going to show you the routines.
44:37Hey, María, can I ask you a question?
44:39You seem very excited.
44:41Of course, your question.
44:43In the vice of asking,
44:45there is the virtue of remaining silent.
44:47Could you tell me how to illustrate the routines?
44:49I'm sure you know how to do all these tasks.
44:51It's ugly for me to say it,
44:53but I know how to do everything.
44:56And the first thing you have to do
44:59is to put your hands up.
45:00And the second thing you have to do
45:02is to take the brush...
45:05Kid, take off your jacket.
45:07Oh.
45:09Sorry.
45:12You pass the brush
45:15by removing the dirt.
45:21And then,
45:23you put your hand
45:25on the brush
45:27and rub it.
45:29Can you do it?
45:32Mrs. Marquesa?
45:34There's no one here, Lope.
45:36No.
45:38They told you to come here, right?
45:41Oh my God, Mrs. Simona,
45:43maybe we're late.
45:45We're late, I can see it.
45:47What do we do?
45:49Do you want me to go get the Marquesa?
45:51No, I think it's better to wait here.
45:53You think?
45:55If you want, I can call Mr. Pellicer.
45:56Oh, you're here.
45:58Yes, Mrs. Marquesa, I thought we didn't know...
46:00Come in, Mrs. Amalia.
46:02Where is Vera?
46:04The Duchess of Carril has asked to see her.
46:06Mr. Pellicer informed us
46:08that 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.
46:27Hanna.
46:29I've been looking for you all over the palace for a long time.
46:32You have to finish telling me that story.
46:35Manuel, right now I have to finish the job
46:37and be in that place.
46:41Hanna, please.
46:43I can't stop thinking about it.
46:45I need to know everything.
46:52Please.
46:57Oh.
47:01Oh.
47:07Was this the ring that the man
47:09who ended your mother's life was wearing?
47:17Manuel, this is not the time or the place.
47:20No one is coming.
47:22My cousin has gone with his mother
47:24to take a walk and will be back soon.
47:27Hanna, please, let's talk.
47:33Okay.
47:35What do you want to know?
47:37What will it be?
47:39You insinuated that my own grandfather
47:42could have something to do with your mother's death.
47:46I want to know everything.
47:50Manuel,
47:52I think your grandfather
47:54is to blame for my mother's death.
47:57But not only for her death.
48:00I think he is also to blame
48:02for the death of your brother Tomás.
48:08It can't be.
48:10It 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?
48:26Why, after all the time you've been in La Promesa?
48:30Manuel, because I was afraid for you.
48:34Let me explain.
48:36The first night I arrived at La Promesa,
48:39I talked to your brother
48:41and told him everything you know now.
48:45But then he appeared dead.
48:47My brother knew who you were.
48:51Manuel, you have to understand that I didn't tell you
48:54because I didn't want to put you in danger.
48:57Manuel.
49:04What does my brother have to do with all this?
49:07And why did you tell him everything?
49:10Because your brother surprised me at the library.
49:13While I was looking for a photograph,
49:15he thought I was stealing, so
49:17I had no choice but to tell him who I was
49:20and why I had come here.
49:22So my brother was aware of absolutely everything?
49:24But the most curious thing about all this, Manuel,
49:28is that he didn't take it again.
49:30What do you mean?
49:32That 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 you accuse my grandfather of the death of my brother.
49:46Why?
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 evidence to prove it?
50:03Anything against him?
50:05No.
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
50:26and promised me that he would tell me everything,
50:28but first he had to see someone.
50:31Who?
50:33I don't know.
50:35In fact, I didn't finish believing 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 they killed him.
50:54Yes.
50:59But my grandfather wasn't here that night, Hanna.
51:02Or that's what made us believe, Manuel,
51:04and that's why we don't consider it a suspicion.
51:06But everything points to him.
51:09My grandfather, a murderer.
51:13What about my brother?
51:20Manuel, I'm very sorry.
51:22I knew all this was going to hurt you.
51:26But there's one thing you still don't know.
51:29What?
51:32I found my brother.
51:35I found him years after they took him.
51:42And he's alive.
51:48He's in this house.
51:51He's alive.
52:02My brother, eh?
52:05My brother Escurro.
52:17And when is the visit of the Duchess expected?
52:19Well, as far as we know, it could be this afternoon.
52:23We'll have to have everything ready then.
52:25No, 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.
52:32Except for one thing.
52:34Vera.
52:36This is nonsense, Lope.
52:38Where have you seen a Duchess entering the palace and the kitchen of a Marquis?
52:41Well, the promise is about to begin.
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.
52:50What if I've ruined everything, María?
52:53But you're not going to ruin everything, Hanna.
52:55That's it, eh?
52:57Stop whining about the milk you spilled.
52:59And if this is the reason for your wedding, it's because your love wasn't as strong as you thought.
53:02And it does you a favor.
53:04María, I've heard that you've offered to restore the portrait in the tea room.
53:08That's right.
53:10It will be a way to compensate for the kindness of your family to welcome me here these days.
53:13We'll win, I assure you.
53:15We all have a lot of appreciation for that painting.
53:17It'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.
53:27You have exceeded all my limits.
53:29Come on, you're even giving me urticaria.
53:31Doesn't that friend of Martina have an allergy to walnuts?
53:34Well, I have Catalina.
53:36What happened to you, Teresa?
53:38So desperate, you were about to forget my son,
53:41that you had to sleep with the first idiot who crossed your path.
53:45For God's sake, don't be vulgar.
53:47You're the one who's vulgar.
53:49I don't understand why you want to favor Lorenzo
53:52over a member of the Lujan family.
53:54I remind you that Lorenzo is married to my sister,
53:56so he's also part of the family.
53:58But of course, it's mine, which may not be as important as yours.
54:01Excuse me, why is that?
54:03I'm convinced that his experience on the front
54:07has generated very strong friendships and unbreakable bonds.
54:10You know, we've also talked about that this morning.
54:13I admit that Julio makes me nervous with so many questions.
54:16Well, 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.
54:24That 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 for her husband's clumsiness.
54:35I'm sure of it.
54:37She changed my son Feliciano for an incompetent
54:40who doesn't even have the sole of his shoes.
54:41You are an insult to everything he represented
54:44and to all the dignity that there is in this world
54:47and a worthy and compassionate man.
54:49Really, Mrs. Alcos.
54:51That you have taken his place in Teresa's heart
54:53only shows that she was not deaf.
54:55But I will not allow you to take his place in this house.