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00:00You don't know how hard it is to have to face you every two or three and to top it off, everyone thinks that I have replaced Feliciano too soon and the more comparisons they make between you and him, the more pain it causes me.
00:18Please don't leave me. I need you to be by my side.
00:22Imagine that you are the guest in a house and they talk to you like that.
00:28Yes, I admit that my ways were beyond the decorum. I'm sorry.
00:35You don't have to apologize to me. It's her.
00:39What's that about you being the girlfriend of a cook?
00:43Who told you?
00:44The cooks, who are charming and gossipy. And the servant himself has also confirmed it to me.
00:50López is not a servant. He is the cook of the palace.
00:53He is a nobody. And you are the daughter of a duke.
00:56You see, I can't stop thinking about the conversation I had with Rómulo about Gregorio.
00:59What you're still thinking about is the possibility of meeting him.
01:03I know it's dangerous, but I think I can find a way to make Pia leave once and for all.
01:08Manuel is up to something.
01:10Something like what?
01:12I tell him I don't know what it is, he hasn't given me details, but I'm convinced that if it's about him, it's a good idea.
01:18But I don't want him to put himself at risk for me.
01:22Well, don't worry. Manuel knows what he's doing.
01:25I made it very clear in the note that I wanted to talk about Pia to Darre.
01:29And I hope that's enough to attract the curiosity of that bastard.
01:33Manuel, please, I need you to tell me where you mentioned her.
01:36In the old slaughterhouse in Ruines.
01:38They said it was a Don Juan. What is your mother going to think now?
01:42She had to take a horrible image of me.
01:44Anyway, she was going to take it.
01:46You will never be enough for my mother.
01:48And you don't care about that?
01:50All I care about is you.
01:52But wait a minute, how did you fall? Here.
01:54I'm going to ask your husband.
01:56Yes, I tripped and fell. It was a stupid accident.
01:58And Santos, when he tried to help me, he fell too.
02:01You have to be a little more careful, Feliciano.
02:03You can catch pneumonia.
02:07Look, father.
02:09I understand that you will keep me away from the business as a punishment for everything that happened with the guns.
02:13Or because I abandoned it overnight.
02:15I even understand that you like the way Lorenzo manages it.
02:19What makes me desperate is that he does all this so as not to anger his wife.
02:22Father, you have what you have chosen.
02:24What time did you meet Salvador?
02:26Well, he talks to Petra and as soon as he finishes eating, I go out for a walk.
02:29Perfect.
02:30So we have time to finish the chocolate cookies and you take a few.
02:34In a way, I feel like I've failed him.
02:36I know, sir. I'll take care of it.
02:38Really?
02:39I don't know the specific details of the conflict he has with his daughter,
02:43but I dare to say, without fear of making a mistake,
02:46that sometimes one is forced to do what is not correct to avoid major evil.
02:52Chocolates!
02:54And those delights, who sends them to you?
02:56Salvador.
02:57That's good love.
02:58Yes, good love, but it doesn't come.
03:02Why? What happened?
03:03Well, an unexpected thing happened to the Count of Matesán.
03:07And he can't take the afternoon off.
03:09Oh my God.
03:11Tell me.
03:13Yes. Yes, sir.
03:24Yes, I hear you perfectly.
03:30Absolutely, sir. I would have informed you without delay.
03:36I will take care of it personally and I will assume the responsibility when the time comes, of course.
03:43I will do so.
03:46At your service, my commander.
03:51Do you need anything else?
03:53Nothing from you.
03:57All right, Lorenzo?
04:01Yes, yes.
04:04A business call.
04:06At this time?
04:07Any time is good to do business, Margarita.
04:10You haven't answered my question yet. Any setback?
04:13I think I have answered your question.
04:16It was a business call and, as such, business has its ups and downs.
04:22It is a mistake to give more importance than they have to each other.
04:26That's right, Lorenzo.
04:29That's right.
04:40I don't know if I can tell you
04:46The things that have happened since I saw you
04:50The lights that have danced through our garden
04:54The new rumors between the heart and the walls
05:00In the promise
05:02There will be love particles in motion
05:07There will be secrets that will never come out
05:11It will be as beautiful as the flight of a plane
05:17In the promise
05:19The farewells are spins on the ground
05:23Even the flowers will dance in their own way
05:27Balancers between fear and passion
05:33We are like a jump to the D3
05:37We are love when life or death is experienced
05:41A long way to go
05:45In the promise you will be a matter of luck
05:50We are like a jump to the D3
05:54We are love when life or death is experienced
05:58A long way to go
06:02In the promise you will be a matter of luck
06:12You have not lost your faculties, Lorenzo.
06:14What do I owe the pleasure?
06:17You have escaped Ayala's curiosity quite skillfully.
06:22But not mine.
06:24Who was it?
06:27A client.
06:30Not just any client.
06:34Commander Alcaraz is the chief of staff of the African detachment.
06:40What happened?
06:43It seems that several soldiers have been hospitalized for intoxication.
06:49What are you saying? That's very serious.
06:53They don't know if it was because of my jams.
06:56Well, they will suspect something if they have called you.
06:58At the moment, they are that. Only suspicions.
07:02For your sake, I hope they will never be confirmed.
07:05I will investigate what was the origin.
07:07Do it, yes. But do it discreetly. Alonso cannot know this.
07:11He won't find out about me, believe me.
07:13As soon as he finds out, he will have the perfect excuse to give his beloved Catalina to the business.
07:17That is something that neither of us want.
07:19Exactly. So do it.
07:23I don't want any more mistakes, Lorenzo.
07:25Your husband won't find out.
07:27Okay?
07:34Can you repeat the name of that commander?
07:36Alcaraz, sir.
07:39And do you know anything else about the reason for the call?
07:41I retired when I saw that he didn't need anything else from me.
07:44I'm sorry.
07:45Don't apologize for doing your job.
07:47There is something else, sir.
07:49Mr. Pellicer cannot assure you, but he suspects that ...
07:54that the call is related to the jam business.
07:58Is that so?
08:00Well, I couldn't hear the captain's interlocutor clearly,
08:03but I would dare to assure you that I heard the word jam.
08:07And if I didn't tell you anything, it was because I didn't want to spread rumors.
08:11On this occasion, it has been good to let me know.
08:13Well, on this occasion and in the ones to come.
08:15I understand, sir.
08:16You can go.
08:17Thank you, sir.
08:18Not you, Mr. Maez.
08:22Tomorrow at 1 o'clock I want you available to make some phone calls.
08:26Very well, sir.
08:27The captain won't say anything,
08:29but we're going to find out what is so important
08:31that Commander Alcaraz wanted to tell you.
08:51Hanna, have you seen Manuel?
08:53No, sir, I haven't seen him.
08:55But if you need him, I can call someone to pick him up.
09:00Ah, I understand.
09:01No, it won't be necessary.
09:05Consuelo, I'm missing a deck of cards.
09:08Could you go get it?
09:10I'll stay with your tray if you want.
09:12Okay.
09:13I'll be right back.
09:14Okay, thank you.
09:19Do you really need another deck of cards?
09:22Because ...
09:26Ah, sorry.
09:29Anyway, Consuelo won't take long to return,
09:31so it has to be quick.
09:33Well, do you know where Manuel is?
09:37No.
09:38He told me he had to do some kind of management,
09:40but he didn't give me more details.
09:42Where?
09:43Is he in Lujan or when is he coming back?
09:46Curro, I'm telling you I don't know.
09:51What's wrong?
09:53Well, I'd like to know that.
09:56It seems very strange to me that Manuel knows that you and I are brothers
10:00and that he hasn't come to talk to me.
10:03I don't know, I'm starting to think that
10:05those managements he has to do in Lujan
10:07are excuses to avoid seeing me.
10:09Well, don't think that, Curro.
10:11It has nothing to do with it.
10:12He's probably having a hard time assimilating it
10:14and that's it, like you had at the beginning.
10:17Anyway, why don't you start the conversation?
10:19I'm sure he'll appreciate it.
10:25Here are the decks.
10:26Thank you, Consuelo.
10:43Santos, are you there?
10:49What are you still doing in bed?
10:53What time is it?
10:54It's time to serve breakfast to the gentlemen.
11:04I think I'm not feeling very well.
11:06No, no, it's obvious, it's obvious.
11:09Oh.
11:11Well, nothing that a warm bath and an infusion can't fix.
11:16No, nothing of that.
11:17You're not going anywhere.
11:19You stay in bed all morning.
11:26What hurts?
11:28My throat burns there.
11:31And I've spent the night coughing and shivering.
11:34I have a stiff body.
11:36The cold from yesterday.
11:39I'll let Dr. Guillén come as soon as possible.
11:42No, no, it's not necessary, Father.
11:44As you say, a cold.
11:46A little rest and I'll be fine.
11:48Well, then I'll give the order
11:50for you to have a tea with honey and lemon
11:53to calm your sore throat.
11:57Yes, but this afternoon, if you don't feel better,
11:59I'm going to call the doctor.
12:01Because I don't want to risk that cold
12:03hitting your chest.
12:04I'm not a child anymore, Father.
12:06Given your background,
12:08what's necessary is to act prudently.
12:11And I don't want arguments.
12:14I'm giving you the same treatment
12:15I would give to any subordinate.
12:19Now, now I'll bring you the infusion.
12:35Well, we're all here.
12:38We can start now.
12:42Excuse me, ma'am.
12:43Wouldn't it be more appropriate
12:45to teach about cooking in the kitchen?
12:49I remind you, Simona, that my only interest
12:51is to make an anthology with your recipes
12:53and that we will be more comfortable here.
12:56Sit down.
13:02I understand.
13:04But how are we going to make him understand
13:06things if he doesn't see them?
13:09With the correct use of Spanish.
13:11After our last meeting,
13:13I realized that it is not necessary
13:15to get your hands dirty
13:16to have a complete description
13:18of the preparation of the dishes.
13:20Yeah, but there are problems, doubts,
13:21that arise while cooking.
13:23Well, then I will ask for a greater effort
13:26in the exercise of memory.
13:28I insist, we will be more comfortable here.
13:30It's a shame, I already had all the ingredients ...
13:32Simona, don't follow me, please.
13:34This time I'm going to decide the recipes.
13:37And we're going to start with the desserts.
13:41Well, at this point,
13:43Lope can help you more than me.
13:45The boy has a pastry wood.
13:48How timely.
13:52What do you want to know?
13:54I would like the recipe for those elongated sweets,
13:57like Biscochito,
13:58that have chocolate on top
14:00and that are filled with cream.
14:02Leclerc.
14:04But Leclerc is not a Spanish sweet,
14:06it is a French sweet,
14:07from the beginning of the last century.
14:09Go on.
14:11Well, it is a recipe that has not undergone
14:13many modifications since it was invented.
14:16Curious. Coincidence.
14:20And what else?
14:23Well, no ...
14:25It is not well known who was its creator.
14:28There are people who only attribute it to the chef Marie Antoine Cagem.
14:31Get to the point, Lope.
14:32You're going through the mountains of Oueda
14:34and the lady has asked for the recipe, she has already said it.
14:37No, don't worry.
14:38This interests me enormously.
14:41Go on, Lope.
14:43Well, Cagem is the author of the art of French cuisine,
14:46where he includes all his recipes.
14:49Although, unfortunately, Leclerc does not appear among them.
14:52It is not until 1860 that there are written references.
14:59Santos, I have been asked to upload this to you,
15:02with honey and lemon.
15:04Yes, leave it on the table.
15:10What happened to you? Are you sick?
15:14A cold.
15:16Because of the fortunate chapuzón that Gayer suffered.
15:19In fact, I was looking for him.
15:22Me?
15:23No, no, don't get up.
15:29Do you have any discomfort?
15:31Me? I'm like a rose.
15:33Yes, we get wet, but it's just water.
15:35What can I do wrong?
15:38Sorry, I was saying it for me.
15:40Leave it, Marcelo.
15:42You've done enough.
15:44Anyway, since I have you both here,
15:47I take the opportunity to communicate something to you.
15:49Since you are well, you will be in charge of replacing Santos
15:52in the care of Mr. Curro while Deva remains in charge.
15:55But father ...
15:57Sir ...
15:58There are no buts that are worth Santos.
16:00You are willing to take care of the young man as he should.
16:04But I have never served a young man.
16:07Well, it always has to be a first time.
16:09You have been in charge of his training.
16:11I say that he will be prepared, right?
16:13Yes, but he still has many things to learn.
16:16It will have to be enough, because I don't have another one either.
16:20Do you think you will be up to it?
16:24Of course, sir.
16:26I promise you that I will do everything on my part.
16:28Well, go in search of him, introduce yourself,
16:30and inform the young man that it will be Cayo
16:33who will attend to him in the following days.
16:35As you wish, sir.
16:45Take the infusion.
16:53We pour the water until we get the texture we want
16:56and then we pour it hot on the baked sponge cake.
16:59And that's it.
17:01Magnificent, Lope.
17:03I hope it has been useful.
17:05Much more than you think.
17:08Leave us alone.
17:11I hope I can contribute something more in the next reception.
17:15Yes, of course.
17:17I hope so.
17:20I hope I can contribute something more in the next reception.
17:24Don't worry. If I need it, I'll have it called.
17:28And you don't want me to write anything down, ma'am?
17:31Haven't I expressed myself clearly enough?
17:50Finally alone, Lope.
17:53I have to admit that you have pleasantly surprised me.
17:57Where did you learn to cook like this?
18:01My grandmother taught me the base.
18:03And what house did she cook for?
18:05No, she didn't work for any house.
18:08For no noble house, I mean.
18:11She cooked for us and for the people of the village.
18:14But this is a noble house.
18:18But she was versed in foreign recipes.
18:21No, no, no, no.
18:23Her thing was stews and stews.
18:25Some roasts, desserts from here ...
18:27Stop counting.
18:28Of course, everything she prepared she did with great care and affection.
18:32Yeah, but you haven't answered my question.
18:35Where did you learn to cook like this?
18:38In books and magazines.
18:41Then I must understand that you haven't had a teacher.
18:44Yes, Mrs. Simona.
18:46Simona is not your teacher.
18:48Because your knowledge outweighs hers.
18:51So don't make me believe that she was the one who taught you to cook like this.
18:56You have a talent, Lope.
18:59A raw talent.
19:04Don't thank me.
19:06Or at least not yet.
19:09You're wasting your time.
19:11What do you mean?
19:13You're wasting that talent that God has given you between these walls.
19:18Have you ever thought about working in a restaurant?
19:22I already did that, ma'am.
19:24In Madrid, and the experience was not ...
19:27It was not enriching.
19:29What happened?
19:32Well, it's true that I was in one of the best kitchens in the country.
19:37But my task was reduced to being.
19:40What they wanted from me was to clean the kitchen,
19:42to clean dishes, peel potatoes ...
19:45But you have to start with something.
19:47Yes.
19:49But here I can do whatever I want.
19:52I can create dishes,
19:54modify the ones we already have.
19:56I can do what I want, which is to cook.
20:01Well, maybe you would have done better staying in Madrid.
20:11No, María. That was in Boston.
20:13But we were in New York before.
20:15And which one do you like more?
20:17Well ...
20:18The truth is that New York is impressive.
20:20It has very tall buildings and there are people everywhere.
20:24But I think that if I had to choose, I would stay with Boston.
20:29And why is that?
20:31Well, because it has ...
20:33avenues that are very beautiful.
20:36And why is that?
20:38Well, because it has huge avenues and it is full of parks everywhere.
20:43And all the buildings are like palaces.
20:45You should have seen our hotel.
20:47If you hurry up, it was even bigger than that of the King of Madrid.
20:50Well, it's very big, isn't it?
20:52It's just that everything in the United States is very big.
20:54And we were also at Harvard University.
20:57And why is that?
20:59Did the Duchess want to return to the puppet?
21:01No.
21:02We were visiting an old priest
21:05who was a friend of the Duchess during his youth in Paris.
21:09What a coincidence, right? To have coincided there.
21:12Well, he has been teaching philosophy classes at that university for many years.
21:15And we even attended one of his lessons.
21:18How cool.
21:19No, not at all, quite the opposite.
21:21It's not like here, where the teachers speak and everyone shuts up.
21:24Of course, as it should be.
21:26The one who knows has to speak and the others have to listen.
21:29Yes, everyone participates. It's like a debate.
21:32Well, that's great, that everyone participates.
21:34I didn't understand a word.
21:36But it seemed that they expressed themselves very well.
21:38And not a word louder than the other.
21:42And don't you feel ashamed to have left your wife's service?
21:48Well, you know.
21:50After my wedding with Marcelo, I had to ...
21:54stop working for the Duchess.
21:57Yes, of course.
22:09Didn't you see the smoke?
22:11It was quite striking.
22:13The fire reached the doors of the palace of the Duchess of Ormuelos.
22:16But is she okay?
22:18It's a miracle. The wind changed direction.
22:22Thank God.
22:24Well, half.
22:25It seems that the fire spread through the gardens of Santa Clara
22:28and took a large part of the olive grove.
22:30The lawyer Vergara will be happy.
22:33Well, I think he was probably taken to court.
22:35Which has caused several thousand pesetas in losses.
22:39It was a matter of time before something like this happened.
22:42But why do you say that?
22:44Was it a lucky thing?
22:46Since the Duchess of Ormuelos became widowed, that farm ...
22:49It's chaos.
22:51The fire managed to spread, as you say, so quickly.
22:54It is without a doubt because it was not clean of rastrojo and ojarasca.
22:58And that, do you think she was alone?
23:01I don't think so.
23:02The newspaper brings a chronicle of the request of hand
23:04that Catalina and Pelayo attended.
23:06And what does it say? Talk about them.
23:09Elegio.
23:10Pelayo says that even members of the royal family attended.
23:13Well, read it to us.
23:16It says ...
23:17Among the guests, on the part of the groom,
23:19the couple made up by Count de Añil and Doña Catalina de Luján stood out.
23:25The two young men were the center of attention throughout the evening.
23:29We already know why.
23:33Is there any interesting news?
23:35Well, yes.
23:36One that suits you personally.
23:38Yes.
23:39And that?
23:40Because it is about the request of hand to which you came.
23:44We let them enjoy it then.
23:46But have you already read it, cousin?
23:48I will.
23:49We were going for a walk.
23:51Right, Pelayo?
23:52Yes, yes.
23:53And it is better that we leave soon if we want to be back at lunchtime.
24:04Those two have already read the chronicle.
24:06What happens is that they will be back in an hour and a half and that is why they run away.
24:09No, Cruz.
24:10Nothing further from reality.
24:12Well, keep reading.
24:13Let's go, please.
24:15The two young men were the center of attention throughout the evening
24:18for their elegance and charm.
24:21And they enjoyed the favor of the guests.
24:23A bunch of nonsense.
24:25I'm sure they say the same about anyone who passes by the party.
24:28Well, auntie, don't get angry either.
24:29No, I don't.
24:31But I'm not going to waste my time either.
24:33We all know that journalists like Darkova.
24:35But those from La Crónica Social are the worst of all.
24:39Goodbye.
24:45The protagonists of the request welcomed them in their circle of closest relatives.
24:56And López, the biggest one, got away.
24:58As if he could see it.
24:59So he gives it to her and doesn't fall into the water.
25:02He even told her about the story, Candela.
25:04That's why.
25:06And then the recipe was blown away in two kicks.
25:09I was also scared.
25:10Because it's weird that there is no recipe.
25:12Candela, they haven't explained it to you yet.
25:14It's for a book.
25:15I think there's something fishy here.
25:17If the sugar has such a fine skin,
25:19why doesn't it melt in front of a fire?
25:21Because she doesn't want to cook.
25:23She wants recipes.
25:24That's why she has gathered us in Doña Petra's office.
25:27There you have it.
25:28This is all very strange, Simona.
25:30And you and me?
25:31Adobe.
25:32You see ghosts where there are no ghosts, Candela.
25:35Do you remember the book your master Orengo gave us?
25:39Of course, I remember everything about my house.
25:41You don't need to give me details.
25:43I'm not going to give it to you either.
25:46Well, a countess wrote that book too.
25:49Emilia Pardo Bazal.
25:51I knew it too.
25:52Ready?
25:54Isn't Lope here?
25:55No, why do you want him, girl?
25:57No, he hasn't been here.
25:59So that can only mean one thing.
26:01Is he still in the office with the Duchess?
26:04Look at his face.
26:05It looks like he was scared of a little bird.
26:07Or that he was going to eat it.
26:11That's what he wants.
26:13To eat it?
26:14No, not Lope.
26:15His plate.
26:16That's why he's asking for the recipe.
26:17This is a test.
26:19Candela.
26:20Put your feet down to the ground.
26:21No, no, no.
26:22Think about it.
26:24With the excuse of the book,
26:25he goes into the kitchen,
26:26tests our dishes,
26:27and you'll see that the next thing he asks for
26:29is that he goes to cook in his palace.
26:31And so, little by little,
26:32SAS!
26:33The Marquise takes it away.
26:35The Marquise and us?
26:36And us.
26:38But don't you think all this is very complicated
26:40to change the cook?
26:44Mrs. Arcos, what can I do for you?
26:45Well, you have finally finished your annoying meeting in my office.
26:49I'm sorry to inform you that no.
26:51That the Duchess and Lope are still in their office.
26:55Well, I'll have to talk to Mr. Baeza.
26:57Because this is not welcome.
26:59Weren't the lessons supposed to be about cooking?
27:02That's right.
27:03And where has it been seen that someone learns
27:05to cook, to bake and to cook?
27:08Out of the kitchen.
27:09Well, that's what I think.
27:10Yes, me too.
27:11But the Duchess of Carril has loved him.
27:14The Duchess.
27:16The Duchess was supposed to be in the kitchen.
27:19And to use my office from time to time.
27:21Simply.
27:25Well, yes, she's angry.
27:26No.
27:27Just a little friend.
27:29To speak like that of a lady?
27:30I wish I were in Mr. Baeza's skin.
27:32He's going to make him fall like a donkey.
27:35Well, the news has not been so bad.
27:38Well, if I'm honest with you, daughter, I found out in the middle.
27:42And me?
27:44Do you know why the uncles got angry?
27:47I don't know.
27:48They have argued.
27:49But come on, it's not the first time they've fought.
27:51Yeah, but so much.
27:55Well, what do you say about Catalina?
27:58What do I say about Catalina?
27:59About what?
28:00Well, has the fright caught your attention with Pelayo?
28:04Well, I suppose that since the newspaper already spoke badly of them at the time,
28:07she will want to cure herself of fright.
28:10I don't know.
28:11Don't you think that's why?
28:14Why not?
28:16I don't know.
28:17But it seems to me that your cousin is not easily intimidated.
28:20I think it was for something else.
28:23Daughter, why don't you talk to her?
28:30I don't care if it wasn't you.
28:33Now you dedicate yourself, Teresa, to accusing your colleagues?
28:35Absolutely, Mrs. Arcos.
28:37Be careful with the tone you use, girl.
28:40Remember who you're talking to.
28:43Excuse me.
28:45Well, do everything I tell you.
28:47And I want you to go and clean up all the silverware.
28:50Even the last teaspoon of coffee.
28:53I'll get to it right now.
28:55And this time I don't want to see you.
28:57I'll get to it right now.
28:59And this time I don't want to see you.
29:01As you wish, Mrs. Arcos.
29:03One more thing, Teresa.
29:06Have you seen Mr. Baeta?
29:12Marcelo!
29:18Don't you have anything to say?
29:21Hello, Teresa.
29:23Are you crazy?
29:27I thought...
29:28No.
29:29I've seen this better, don't think.
29:31I'm waiting for you to apologize for whistling through the corridors
29:34if you dare to kiss your wife in front of my nose.
29:39I'm sorry, ma'am. I should never have whistled.
29:41That, of course.
29:42In this house, the manners of decorum are kept.
29:46I hope you don't forget from now on.
29:48No, Mrs. Petra.
29:49It won't happen again.
29:51I don't expect it.
29:53If you'll excuse me.
29:55I'm not done with you.
29:58Do you know where Mr. Baeta is?
30:00I need to talk to him.
30:01No.
30:04Are you going to look for him?
30:06I can't right now.
30:08Do you dare to disobey my order, Marcelo?
30:11I'll do it later, I swear.
30:12Don't swear in vain.
30:14Don Ricardo asked me to go to Mr. Curro's room.
30:17You?
30:18What do you have to do there?
30:20Since Santos is in bed,
30:22Don Ricardo asked me to go to Mr. Curro's room.
30:26Santos is sick, then?
30:28Yes.
30:29Don Ricardo says he's had a bad fall yesterday,
30:32but I have my doubts.
30:33Why?
30:34Because with the same water I got wet,
30:36and here I am, like a young roble.
30:40Go with Mr. Curro.
30:42And you take care of the money.
30:48What? If you do it without wanting to, I didn't notice.
30:50That's your problem, that you don't realize anything.
30:52Not even trying, you would do it worse.
30:54I've already apologized.
30:55It has nothing to do with the whistle, Marcelo.
30:57Don't you realize the look on Mrs. Arcos' face
30:59when you've talked about Santos?
31:09That woman is not well dressed, let's go.
31:12This blanket is more than ready.
31:13Well, if it's ready, we'll fold it and go to the palace.
31:18What I was telling you,
31:20Santos was dripping with water
31:22and Maria Mandrajo was trying to dry him like that.
31:25With a love that not even a mother with her son.
31:27You are an exaggeration, Maria.
31:29Yes, I would say that too.
31:31But I even call him Feliciano.
31:34What are you saying?
31:36With these two ears that God has given me, I heard it.
31:39Well, let's see.
31:40You have to think that the two of them have a lot of confidence
31:43and that maybe it was the tension of the moment, nothing more.
31:46Hanna, who calls him like her son.
31:50Well, we'll have to see it on the positive side.
31:53Maybe this makes him overcome his death, I don't know.
31:58But what positive will he have?
32:00If all the good that one had of good, of innocent,
32:03the other has it of evil and of low.
32:05Yeah, I've seen it like that.
32:07Well, now that we're alone, I'm going to tell you something else.
32:10About Petra.
32:11About Marcelo.
32:12Don't get involved with him either.
32:14You have to understand that he is learning, Maria.
32:17And I know that ...
32:18Learning.
32:19Well, he's a special guy.
32:21But hey, you have to support him because he's Teresa's husband.
32:24And maybe not for long.
32:26What are you saying?
32:28Because I was sewing with Teresa.
32:30And I was watching him peel the turnip with one of our classmates.
32:33What did you see?
32:35Well, smiles, flirting ...
32:37It's not a sin either.
32:38Well, caresses don't make children, but they touch at dusk.
32:43And speaking of dusk, do you already have the date with Don Manuel?
32:48What are you waiting for?
32:50Well, it's just that Manuel is now dealing with other matters.
32:54I see.
32:55What's going on with your daughter?
32:57Is there a new trouble in paradise?
32:59What's going on?
33:00It's just that ...
33:02He's collecting information about ...
33:05When Gregorio was in prison.
33:07What has he done?
33:08Nothing.
33:09But I think I can convince him to let Mrs. Pina go.
33:12Convince him with what?
33:14Well, telling him that he has evidence of ...
33:17The murder of the prisoner that Mr. Beta told us.
33:20But we don't know where Gregorio is, do we?
33:23Manuel has located him.
33:24And in fact, he has mentioned him in ...
33:26In the old slaughterhouse.
33:28Couldn't he have mentioned him in the town square?
33:30With all the people?
33:32Bad news, Hanna, huh?
33:35I just hope everything goes well.
33:41Come on.
33:45Come on.
33:46Come on.
33:49I'm going to miss you.
34:17Can you do me a favor?
34:20Put the pillow back on me.
34:26Hug me, please.
34:42We should have hugged more.
34:47You know, Feliciano ...
34:52No matter how many mistakes I have made as a mother,
34:54God knows there are many.
34:59There is a bond that binds me to you.
35:03A bond ...
35:05That nothing or no one can ever break.
35:10I love you like I've never loved anyone.
35:13And I can't love anyone in my life, honey.
35:17Feliciano, can you hear me?
35:21Feliciano.
35:24Feliciano.
35:27Son.
35:29Son, for God's sake!
35:32Feliciano, talk to me!
35:34No, Feliciano, for God's sake!
35:36No, no, no, no!
35:38My son, no!
35:40Son!
35:42No!
35:43No!
35:45No, my son, not now, please!
35:49Open your eyes, Feliciano, for God's sake!
35:51Talk to me, talk to me!
35:56No!
36:13No!
36:29Doña Petra.
36:32Keep your strength, Santos.
36:35You are burning.
36:38Right now, I'm going to get you an infusion of thyme
36:41so that a doctor can come and see you.
36:44He's already done it.
36:46Dr. Guillén was here a couple of hours ago
36:49and he has prescribed the appropriate medication.
36:52But what's wrong with him?
36:54What caused him to have such a high fever?
36:56Since he was a child, his lungs have always been weak.
36:59And the slightest cold ends up putting him in bed.
37:04Pneumonia?
37:06It's probable.
37:08The other doctor must see him.
37:12Why?
37:13Dr. Guillén is not trustworthy.
37:15No, but a lung infection is very serious
37:19and we must not make a mistake in the diagnosis or treatment.
37:24Well, for now, we'll do what Dr. Guillén has indicated.
37:28But wait a second.
37:29I haven't been clear enough!
37:38Absolutely, Mr. Pellicer.
37:41Well, go to your tasks.
37:43I'll stay to take care of my son.
38:08I love you.
38:34Julia, can I talk to you?
38:36Just a second, Curro.
38:38Okay.
38:47I ...
38:52I would like to apologize.
38:55The way I spoke to you the other day was totally inappropriate.
38:59Don't blame yourself, Curro.
39:01I shouldn't have pressured you to talk about the war either.
39:04You warned me at the time that it was not something you wanted to remember and I ignored it.
39:10I appreciate your words, but my behavior is no excuse.
39:15Then I accept your apologies.
39:18These days I have been able to reflect on it and ...
39:22I have realized that I had to live a real hell.
39:25Even that is short.
39:30Julia,
39:32war has nothing beautiful or epic.
39:36War is destruction and pain.
39:40I'm very sorry.
39:42I was insensitive when I asked you to remember something so horrible.
39:47Can you forgive me too?
39:50Julia?
39:56Julia?
40:01I didn't expect to find you here, Curro.
40:05He has come to see the progress in the restoration of the painting.
40:08Oh, I was coming too. How are you?
40:11It would be best if you judge it yourself.
40:18Uh ...
40:21It doesn't matter.
40:23That's what it's about.
40:25Yeah, yeah, but ...
40:28It doesn't matter?
40:32There is still work to do.
40:34For now, I have removed the old varnish and I am correcting some of the most damaged parts.
40:40Do you see it?
40:41Uh-huh.
40:44Then I will finish cleaning it to recover the original color and then I will varnish it again.
40:52It's just that the more times I do it, the harder it seems to me.
40:55Well ...
40:57I don't know if it's a matter of difficulty or that everything has its time
41:02and a work of art like this has to be handled very carefully.
41:07And do you need help? Because I could bring you anything ...
41:11I prefer to work alone.
41:14I understand.
41:16And how is that cleaning?
41:19I'm going to apologize for leaving you alone.
41:22But why? If this is the most interesting part.
41:25Yes, but before I asked to be saddled on the horse.
41:29And ... well, I haven't been around the farm for many days.
41:33Of course, Curro. Enjoy the ride.
41:36And if at some point you are curious to see how the painting is going, you know where I am.
41:50Do you want me to explain how the painting is cleaned?
41:52Please.
41:53The most important thing is not to damage the color.
41:55So for this we have different solvents ...
42:09A mayor told me you were looking for me.
42:12That's right. Sit down.
42:17You know ...
42:18Before, I would like to know the reason for your call.
42:21I want to hear from your mouth what Commander Algeraz wanted when he called last night.
42:27Once again, in this house, the privacy of others is not respected.
42:32It is that your privacy ends where the privacy of others begins. In this case, mine.
42:42Who has left the soul?
42:44That's the least, Lorenzo.
42:45It had to be that mayor, Ricardo.
42:47Ricardo.
42:48Ayala would not have the pleasure of humiliating me.
42:50I doubt that Margarita has found out about something and your wife has not gone.
42:54As far as you and I know.
42:56Lorenzo, keep your poison. We are talking about you, not me. What did the commander want?
43:01Military affairs.
43:03All very tedious. But if you have time, I'll tell you.
43:06It didn't seem so tedious when I talked to him.
43:11A food poisoning that has left 56 soldiers in Africa hospitalized.
43:17And the suspicion that the cause is our products.
43:19You said it. The suspicion.
43:23How long do you think it will take to confirm it?
43:25They can't.
43:27You know, while you were moving your threads to stab me in the back ...
43:30Lorenzo, to the point.
43:33I've been doing research.
43:36The intoxicated were keeping the line of blockade. Do you know what that is?
43:40That those bastards were living in mousetraps.
43:44Without hygiene. Drinking stagnant water.
43:46There is no human way to show that this has been our fault.
43:50Yours, you mean.
43:51Whatever.
43:53And has it been your fault?
43:56No.
44:00Anything else I can help you with?
44:02No.
44:07Next time, before talking to my superiors, I would appreciate it if you let me know.
44:33Those are my boots.
44:34I beg you to excuse me. I got confused.
44:36Don't worry. It's okay.
44:37Do you want me to help you?
44:38No, no, no. I'll put them on myself.
44:39Yes, man. You're not going to get hurt with your hanky. That's what I'm here for.
44:44Sit down, please, sir.
44:49Careful, careful. Don't break it.
44:52It's the only way for your foot to get in.
44:54And if you try with a footwear?
44:55Let's see. Sure. A footwear.
44:57If you want, I can go get one.
45:00You haven't brought it?
45:01No.
45:03And since you're in such a hurry, if you want, I can try to put it on myself with a little push.
45:08I have an infallible trick.
45:12Okay.
45:14If you'll excuse me.
45:23Let's see.
45:25Here.
45:28I don't know if this infallible trick is going to work.
45:30Yes, yes. Listen to me.
45:35We did it!
45:37Yes.
45:38Now, this one, I'll put it on myself.
45:40Are you sure you don't want me to help you?
45:41No.
45:42You, go get my horse. He must be nervous to get out.
45:50Let's see. What happens now?
45:53His horse.
45:54What do I do?
45:57Please tell the ladies to get him ready.
46:01I forgot. It was just a little slip-up.
46:03What was I missing?
46:05I'm sorry, sir. I'm in a hurry.
46:07Leave him.
46:09But where are you going?
46:11To tell the ladies.
46:12No, not now. It's late.
46:14I won't have time to ride before the sun sets.
46:16So he's not going to ride?
46:18No.
46:19Do you want me to help him take off his boot?
46:20No, no, no. Step aside.
46:22So what does he want me to do?
46:24I want you to leave me alone.
46:26And I don't want to see you all day.
46:27Do you understand?
46:29Okay, sir.
46:44Hanna, I'm sorry I can't help you.
46:45But it's just that tonight has been refreshing and my bones hurt.
46:51Don't worry.
46:52I'm going to give you a herbal tea right now.
46:53You'll have it in half an hour, dancing.
46:55You can't go back on your word for years.
46:58But this has nothing to do with the years, Mrs. Darre.
47:01It has to do with the fact that you've been still for too long and your body is resentful.
47:06But let's not talk about me. I have no news to tell.
47:09Tell me about you.
47:11How are you with Mr. Manuel?
47:15Well, the truth is that better than ever.
47:20You don't know how happy I am, Hanna.
47:23I feel like I'm living a dream.
47:25It's as if God had rewarded me for all the suffering I've experienced and given me the best person there is.
47:32Wow, you look very in love.
47:35A lot. And more and more every day.
47:38This doesn't sound like a wedding bell, does it?
47:42Hanna, congratulations. When did you think of telling me?
47:45Well, we were dealing with the subject with so much discretion that in the end ...
47:48But who am I going to share it with here?
47:50Well, we have to celebrate it. We have to celebrate it.
47:53This is a secret.
47:55I'm going to prepare the infusion of angel hair.
47:58And there will be time to celebrate, you'll see.
48:00And when will the wedding be?
48:03Well, well ...
48:06The truth is that we still don't know.
48:09But it is true that Manuel has already spoken to the priest and I already have the dress.
48:15Sit down.
48:16What I'm going to do is give you a hug and congratulate you.
48:21I'm very happy.
48:24Well, let's have this.
48:26Oh, it burns, huh?
48:32You burn, Isabel Rayo.
48:37Well, and what are you going to do next?
48:39Because his thing would be for you to live as husband and wife. What are you going to do?
48:43That is supposed to be what we will do.
48:46But then it will no longer be a secret for anyone.
48:48Not even for Mrs. Marquesa.
48:51Well, I guess you'll have to accept it.
48:54We both know it won't be easy.
48:57Especially for Manuel, but ...
48:59I also believe that our love is much greater than fear.
49:03And I know that maybe I may sound a little innocent, but when I'm with him I feel that everything is possible.
49:08I don't think you're innocent, Hanna.
49:11I think you're brave.
49:13And everything will be fine because you deserve it.
49:18And now I want you to tell me the truth.
49:21Before I asked you about Manuel and I want to know how everything is.
49:25It seemed to me that I saw a certain fear in your gaze and ...
49:29I think it has to do with Gregorio.
49:31Is that so?
49:35It is possible that ...
49:38that this afternoon the whole nightmare ends.
49:41Are you sure?
49:48Yes.
50:04Gregorio?
50:11Gregorio, it's me!
50:18Gregorio?
50:48Gregorio?
51:19Come.
51:21Why weren't you looking for me?
51:23Because I didn't know I had to talk to you.
51:26How are you?
51:27Fine.
51:29And you?
51:30Is something wrong?
51:32Of course something is wrong, Lope.
51:33It happens to me that you have been alone for an hour talking to my mother.
51:37Is that what worries you?
51:38And how can I not be worried?
51:40What have you been talking about?
51:42I don't know, has she asked you something about ...
51:44about us being a couple?
51:45No, no, no. She has asked me about my life.
51:47About my past.
51:48How I started cooking, where I have worked.
51:52And what have you told her?
51:54The truth.
51:58What's wrong? Shouldn't I have told her the truth?
52:00Well no, Lope, no.
52:01You should have lied to her.
52:03Why?
52:04Because my mother doesn't give up easily.
52:06And if she is so interested in you, it is because she is up to something.
52:09But what is your mother up to now?
52:11What do I know?
52:12You tell me.
52:13I don't know.
52:14Has she told you ...
52:15Has she told you something?
52:16Any strange comment?
52:19Well, the only thing she told me is that I should have stayed at the restaurant in Madrid and that's it.
52:22See?
52:23That's a threat.
52:25Listen to me, that's what I thought at first.
52:27But then we continued to talk normally and I came to the conclusion that they were my imaginations.
52:31No, Lope, no.
52:32They are not.
52:33She's up to something.
52:34Vera, I swear I haven't told her anything that could be used against us.
52:37I swear.
52:38Honey, I understand that you are tense, but you have to calm down.
52:43I don't like it either that your mother shows up here when she likes it.
52:47But we have to keep calm.
52:51I know.
52:53But I can't take it anymore.
52:55I know.
52:57How long will this nightmare last?
52:59Well, I don't know.
53:01I don't know.
53:03I don't know.
53:05I don't know.
53:06I don't know.
53:07But what I do know is that I want to be by your side.
53:11And what we have to live, we will live together.
54:20Gregorio!
54:37Do you remember that this morning I told you that I was going to compensate you for being so stingy?
54:43Of course.
54:44One does not forget things like that in a house where there is nothing to do.
54:48Well, I promised you that, right?
54:51This is the compensation.
54:54Do you like the discomfort you have with me?
54:56Do you think you're going to buy me with some simple money?
54:58Mother, I want to be good to you.
55:01He told me that he went to talk to some engineers.
55:04Good.
55:05And what is the problem?
55:07Stop suspecting him.
55:09I have my reasons.
55:10He has been very stingy with me.
55:13And when he behaves like that, I know he's hiding something from me.
55:16And why do you think he's coming back?
55:18After this fight, maybe he doesn't feel like it.
55:21I hope so.
55:23But as long as he feels that Doña Pia is here, he won't go far.
55:26Unfortunately, you are right.
55:28Gregorio has a single purpose, which is to take Doña Pia's life.
55:33And it will cost us blood, sweat and tears if he doesn't get it.
55:37Another visit from the Duchess?
55:38Yes.
55:39It seems that he has taken the pleasure.
55:41One day they will insist on the promise.
55:43But it is unfair.
55:44They are making them work too much and without any compensation.
55:46And what do you want us to do, little girl?
55:48They should complain to end this nonsense.
55:50Vera is right.
55:52We have to complain, Doña Simona.
55:54Here it is, doctor.
55:55Come in.
55:57The fever doesn't go down and it's hard for him to breathe.
56:03Dr. Guillén says he has a cold that has attacked his lungs.
56:07And why are they calling me then?
56:09What is this about some journalists and even a photographer coming to this house?
56:13What are you saying, Cruz?
56:15What you are hearing, dear.
56:16Here your daughter and the count intend to bring a journalist to interview them.
56:20They want to take pictures all over the palace.
56:23You're an idiot, aren't you?
56:24I'm sorry, sir. I'm sorry to have bothered you.
56:26Well, you have.
56:28I was having a very important conversation and you can't think of anything but bothering me.
56:31It won't happen again.
56:32Of course it won't happen again.
56:34Because as this is repeated, I will personally make sure that you are fired.
56:37Do you understand?
56:38I'm just saying that I have to be informed about what is going to be done in this palace.
56:42Well, you are informed.
56:43And I'm sorry to contradict you, father.
56:45But Cruz should be worried about the visit of those journalists.
56:48Because I plan to tell everything I think about you.
56:51And how he has treated me during these years.
56:53That's enough, Catalina.
56:54I've always thought that ...
56:56that the captain has never loved me.
56:58But I hope so.
57:00I haven't been more lucky than when I was with her.
57:05The same thing happens to me.
57:07What do you mean?
57:09That Hanna is the best thing that has ever happened to me in my life.