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