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00:00I don't know how you could do something like that.
00:13When I wanted to realize it, it was too late.
00:17It's hard for me to understand it now, but I lived locked up in the hangar, angry with the world.
00:23Well, you put it worse for me. It doesn't seem like a situation for me to talk about Amorios.
00:26Amorios?
00:28It's hard for me to call him that. I didn't look for him.
00:32I didn't think something like that would happen to me when I moved to the hangar.
00:38By the way, if you lived locked up, how did you meet that man?
00:42It was Tadeo.
00:45I didn't want to see anyone, not even my own family.
00:48But Tadeo insisted that I help a friend of his who had a problem.
00:53And that friend turned out to be that Adriano, right?
00:57That's how it was. Yes.
01:00I couldn't deny it. Tadeo had done me many favors.
01:06And what did that guy need from you?
01:10He had lost his father overnight.
01:13And he had to face his lands and ...
01:16And he didn't know how, and Tadeo asked me to help him.
01:20And you accepted.
01:21I already told you that I owed Tadeo a lot.
01:26At first, Adriano and I didn't make good friends, quite the opposite.
01:30But wow, you ended up doing them.
01:35The truth is, Catalina, I don't understand it.
01:37Why?
01:39Because I know you.
01:41I find it very strange that you ended up doing something like that.
01:47Deep down, we were very similar.
01:49Similar?
01:50What were you similar in?
01:52Well ...
01:54He had lost his father and his life took a turn.
01:56And mine too, when everything ended between us.
01:59So in the end, it was my fault that you got together with him.
02:02No, I don't think it's anyone's fault.
02:05In fact, it was a stroke of luck to meet him.
02:09But how is it going to be a stroke of luck that you get in bed with that guy?
02:11You don't have to talk like that.
02:13It's what happened. No more, no less.
02:16It was much more.
02:19Thanks to Adriano, I had the courage to get out of the hangar, to face life again.
02:24It was like that. He helped me regain my spirit, my joy.
02:29And you got it back by shooting together in the hangar.
02:32Don't be so vulgar, please.
02:33What you're telling me is a very vulgar story.
02:37In any case, it's a story that's over.
02:39No, it's not over, Catalina.
02:40I don't know if you've realized it, but you're pregnant with that man.
02:48And to think that I always respected you.
02:50That I behaved with you like a gentleman.
02:52You and I are not together.
02:54Adriano and I met, we supported each other in a bad moment.
02:57Stop it, please. It's okay.
02:59It's okay.
03:03Are those the best explanations you have?
03:06Yes, they are the only ones I have.
03:11Well, they don't work for me.
03:23No.
03:45This is very serious. Very serious.
03:48Marrying a maid.
03:50We already know it's very serious, Lorenzo. You don't have to repeat it every minute.
03:53But you've shown Manuel that this is a mess.
03:55Of course, but he's obsessed with marrying that girl.
03:58There's no one to get him out of there.
03:59He doesn't get out of the mud. He's always been very stubborn.
04:02Yes, well, one can be stubborn with their political ideas.
04:05Or if he likes a bullfighter more than another, but in something like that.
04:08Well, he's doing it. He doesn't listen. He doesn't listen.
04:10My God, this youth.
04:12Yes, they are deaf to any kind of advice.
04:15Until they mature and acquire a little knowledge.
04:19He can, but we can't wait for him to mature to solve this.
04:22No, no, of course not.
04:23Just imagining Manuel marrying a maid makes my body shake.
04:27Imagine it.
04:29And we would be the food of the whole country.
04:31I think that from something like that, they would be in a mess.
04:34Thank you very much for your words to everyone.
04:36It's relieving me a lot to hear you.
04:38I'm sorry. I'm sorry because we didn't want you to be worse.
04:41Well, that's exactly what you're achieving.
04:43Well, we just want to help them.
04:45And I think I speak on behalf of everyone.
04:48Yes, of course.
04:50If we can do anything to prevent him from marrying that maid,
04:54you don't have to ask for anything else.
04:56Is that whore still here?
04:58Yes, unfortunately.
05:00I hope I don't run into her because I don't answer.
05:02It's better this way.
05:03Yes, it's better this way.
05:04As soon as I see her, I pull her hair.
05:06And why don't you kick her in the street?
05:08Lorenzo, you were at dinner.
05:10Manuel has been very clear.
05:11If Hanna leaves the promise, she will announce what happened to everyone.
05:14It's true.
05:15All you have to do is negotiate with him.
05:17Good luck.
05:19But in a negotiation, both parties must give in.
05:23How far are you willing to give in?
05:26I just know that we are not going to allow him to marry a whore.
05:29We can't let something like this happen.
05:32The thing is to know how far you can pressure Manuel.
05:38To think that there would be so many women who would want to go to the altar with him.
05:41You have to look at a maid.
05:43That a man whims with a maid is the most common thing.
05:47That has always happened.
05:48But everyone knows that it is for a while, not to take her to the altar.
05:54Well, my son is not enough for a while.
06:07Aren't you going to say good night?
06:10I'm ashamed to look at your face after everything I've done to you.
06:14María, let it be, Dinavid.
06:16What has been done is done.
06:17I can't stop thinking about how my notebook could get into the hands of the Marquise.
06:23Well, the point is that I'm here.
06:25So it's not going to help you at all to torture yourself.
06:27Let it be.
06:28And to think that because of me, you are not married to your Manolito right now?
06:33Torturing yourself is not going to help you at all.
06:36I don't understand how it could have happened.
06:39If I always carried my notebook with me.
06:41Or I had it hidden under the pillow.
06:45Do you think they could have entered the room to get it?
06:47I don't know, María, but I don't care.
06:52Well, now that I think about it, once I was sewing.
06:56And I had to leave it in a basket.
06:59Because Doña Petra came to pick me up.
07:02Come on.
07:03Go upstairs and fix the ladies' bedrooms.
07:05They've already gotten up from the nap.
07:07Now?
07:08Of course now.
07:09You'll figure that out later.
07:14María Fernández, what are you waiting for?
07:16I'm coming, Doña Petra.
07:22María.
07:24I'm coming, I'm coming.
07:25Fly.
07:27I'm coming.
07:28I'm coming, I'm coming.
07:29Fly.
07:42But of course, then shortly after I came back for him.
07:45And the notebook was right where I had left it.
07:49But when you left, Petra stayed there.
07:53Not that I know, she came after me.
07:56But of course, now I'm not sure.
07:59Well, don't think about it anymore.
08:01It was her.
08:03But I came back shortly after, Hanna.
08:05And I don't think I gave it to her to read it,
08:08take it to the Marquise and ask her to read it.
08:11I understand.
08:13Besides, I didn't even write when your wedding would be.
08:16I don't even know if I knew or didn't know back then.
08:19Well, one way or another, the point is that she found out, María.
08:22That can't be solved anymore.
08:24Well, if she found out, and it's my fault that she found out.
08:26So what?
08:29But what happened, right? María is going to be there.
08:32And that I don't stop looking for you, I tell you, Hanna.
08:35Do you want to listen to me and stop saying nonsense?
08:38Well, what do I think, Hanna?
08:43Well, you don't have to think about that.
08:47Let's see.
08:53Because the most important thing that has happened to me in this life
08:56has been meeting you.
08:59And no matter how many times you meddle, that will never change.
09:02I love you.
09:27Don't you like my company?
09:32I understand you, it's not the happiest in the world.
09:35No, it's not that, Manuel.
09:38I just didn't want to bother you.
09:40I was surprised to see you so ...
09:42taciturn after how happy you were this morning.
09:48It is what it is, not to stop thinking about it.
09:56The point is that ...
09:58I wanted to talk about a matter, but ...
10:01looking at everything you're going through, I don't think it's the best time.
10:05More problems?
10:07No, I wouldn't call it that, exactly.
10:12My mother has said another nonsense about Hanna.
10:14No, no.
10:16It's not about Hanna.
10:19It's about Julia.
10:20Julia?
10:24What about her?
10:26Do you remember that you were familiar with her face?
10:31Yes.
10:33Yes, she said she looked like a French actress,
10:35which was said a lot.
10:36Yes, yes, she said that, but ...
10:38now I know you weren't familiar with that.
10:41Oh, no?
10:43And why?
10:46Because you had already seen a picture of her,
10:48just like me.
10:50Me?
10:52Where?
10:54Where?
10:55On the forehead.
10:59What do you mean on the forehead?
11:01Manuel, she is the young woman in the picture that Paco always wore.
11:05The one who always taught us as soon as she could.
11:09The picture that Paco always wore was the one of his fiancée, Matilde.
11:16We always talked about her.
11:19That's what Julia's real name is.
11:23Julia.
11:29Julia is Matilde?
11:30The same.
11:35But what is she doing here?
11:38She came looking for explanations.
11:40The same ones that Jose Juan didn't want to give her.
11:42And that's why she made up all this farce.
11:46What explanations are you talking about?
11:50I wanted to know how.
11:53And why her fiancé died.
12:24Sit down, Madre.
12:26I hope you invited me here to tell me where the money you took is.
12:30I want to talk about the money, yes.
12:32Come.
12:33I'm glad you finally come to your senses.
12:37Are you tired of pretending you don't have it?
12:40I'm afraid I haven't pretended.
12:42And that you may have lost that money.
12:44What?
12:46What I told you, Mother.
12:48I haven't lied to you.
12:49I've lost that money and therefore you can't get it back.
12:52Yes, of course.
12:53The money has vanished.
12:55Mother, I've really lost that money.
12:58No.
12:59You don't lose a suitcase full of money as if it were an umbrella or a hat that is left forgotten anywhere, no.
13:06Well, that's what happened.
13:08I hid that money in the promise so that no one would find it and, by the way, so that they wouldn't reveal my identity.
13:13And what happened?
13:14Have they stolen it from you here?
13:15Yes.
13:16I guess someone found it.
13:18He took it, went from hand to hand and ended up in the hands of the Marquise.
13:22Cruz has it?
13:24Or at least he had it.
13:26To know where that money could be at this point.
13:29Oh my God.
13:31And what are we going to do now?
13:34Mother, but don't get like that.
13:37It was a lot of money, I don't deny it, but not so much for you.
13:40You have no idea.
13:41You don't know what we're going through, your father and I.
13:45What do you mean? Has something happened?
13:48We're going through a very delicate situation.
13:52What?
13:53What you hear.
13:54We are on the brink of ruin.
13:57Your father has spent many rooms trying to solve the problems you left in your way.
14:02So many to be in such a desperate situation?
14:05It has been a lot of money, Mercedes.
14:07In addition, your father did some business that did not go well and we have lost several thousand pesetas.
14:14Father, always the same with his business.
14:16And as I have known that we are not doing well, he does not grant us a loan and we are with the water to the neck, daughter.
14:22Don't worry, mother.
14:24Your father is very cunning and I'm sure he will find someone to intimidate to get ahead.
14:28And you make fun of yourself.
14:30It's what he's always done, isn't it?
14:34And what about you?
14:38Do you think you are better than him?
14:41You stole your parents.
14:42You entered this house with lies, deceiving everyone.
14:46So don't you dare give us any moral lesson.
14:49But not one.
15:07Yes, yes, yes.
15:08Of course, the Duchess of Carril can appear here whenever she wants.
15:12But at least she could give notice, right?
15:14Because what is happening does not make any sense.
15:17Come on, go to the door of my office and when the Duchess of Carril comes out, let me know.
15:20Immediately.
15:43Mr. Alcor, is something wrong?
15:48What do you mean?
15:50No, it's just that you've been staring at me like that.
15:55Am I doing the job wrong or something?
15:58No, no.
16:01It's just that ...
16:03I've been thinking that the worst thing that could happen to you is that you're going to die.
16:08It's just that ...
16:10I've been thinking about how bad your father feels that you and I are getting along.
16:16Yes, lately ...
16:19He doesn't care about everything I do.
16:20It's better not to pay attention to him.
16:23I just want there to be peace between you two, but that's not why I'm going to ...
16:27I'm not going to leave the complicity between you and me out of the question.
16:31Of course not.
16:32He can say a thousand things about this.
16:35Has he told you anything about our conversation?
16:41What is he talking about?
16:44Nothing.
16:45You'd better let him be.
16:46No, Mr. Alcor.
16:47If this affects you and me, I need to know.
16:54Okay.
16:57I'm going to tell you, but ...
16:59Because I think it's better that you find out about me.
17:01I think it's better that you find out about me.
17:04Your father reproached me for neglecting my ... my tasks ...
17:08to take care of you when you were sick.
17:11Did he tell you that?
17:13And in such an open tone that I had no choice but to stop him.
17:17I told him that what I did in my free time was just my business.
17:21Well, very well said.
17:22Because I already tell him that lately everything bothers him.
17:27Has he told you anything?
17:29Yes.
17:30About the bouquet of flowers I gave him.
17:32That I shouldn't have spent so much money.
17:34You see.
17:36It bothers him that we do good things for each other.
17:39Well, I'm starting to get fed up.
17:41I'm going to have to talk to him and make it very clear to him.
17:43No.
17:44Don't do anything, son.
17:46You leave things as they are.
17:48It's better not to do anything.
17:49If I've told you, it's ...
17:51out of trust.
17:52That we have each other.
17:54But ...
17:56it's better not to make a world of this.
17:57Agree?
18:28They told me they wanted to see me.
18:33Julia.
18:35Yes.
18:36I wanted to congratulate you on how the painting turned out.
18:40I started from a good work and that helps a lot.
18:44You know, my father is delighted with the result.
18:47And my sister Catalina.
18:49In fact, I think that if the promise were broken right now,
18:52they would save this painting before their own jewels.
18:55Let's hope they don't see each other in that break.
19:00I was sorry to finish the restoration.
19:03I spent some very entertaining days working on the painting.
19:07I almost felt that that woman and I were friends.
19:12You must think I'm crazy, right?
19:14No, not at all.
19:16Artists go through things like that.
19:19Thank you, but the word artist is too big for me.
19:21Not at the sight of how this painting has turned out.
19:26She must have been a great woman.
19:28At least that's what the painter reflected.
19:33Yes.
19:36From what I've been told, she was.
19:39You know, she made my father very happy.
19:43And that's not something common in all marriages.
19:48Are you okay, Manuel?
19:52I'm trying.
19:58I don't want to meddle where I'm not called.
20:01But if I could do something to help...
20:04I appreciate it.
20:07But it won't be necessary.
20:11Julia, I've actually called you for another reason.
20:14Not to talk about this painting.
20:17I can imagine.
20:18So imagine what I want to talk to you about.
20:21I sense it.
20:24What has the promise brought you, Matilde?
20:29I don't mind telling you.
20:32And since we're on the subject,
20:34I'd like us to talk about Paco.
20:36About everything that happened to him.
20:40Of course.
20:43Please, have a seat.
20:44We have a lot to talk about.
21:15It was you, wasn't it?
21:17Don't deny it.
21:19María Fernández.
21:21What kind of way is that to talk to a key-slave?
21:25I'm giving you my notebook, Mrs. Marquesa.
21:28Because you knew I was writing.
21:30I even broke some papers once.
21:33Admit it.
21:35It was you.
21:37It was you.
21:39It was you.
21:41It was you.
21:42It was you.
21:46You can think whatever you want.
22:00And we could do little more for Paco.
22:02Paco.
22:11He died thinking about you.
22:15He kept you in his mind until his last breath.
22:22He loved life.
22:24Yes.
22:28And he loved you.
22:29You.
22:31Like crazy.
22:40Can I ask you a question?
22:43Go ahead.
22:46You've told Curro about all this, haven't you?
22:52That's right, but...
22:56I'd rather know your version of the facts.
22:59My version?
23:04Don't you trust that our stories coincide?
23:08No.
23:10I don't want to distrust anyone.
23:12But...
23:14José Juan spoke very badly of Curro.
23:19I see.
23:24Although...
23:26The truth is that...
23:28I've been able to get to know Curro during these days and...
23:33He seems like a good person to me.
23:36He doesn't just seem like it.
23:38He is.
23:40I guarantee it.
23:42That's why I'm so surprised.
23:44I don't understand José Juan's words towards him.
23:47Look, Matilde, you don't have to turn him around.
23:52We were at war.
23:55And that can affect anyone's understanding.
23:59But all of you were companions.
24:03I know.
24:07But in such an extreme situation...
24:10Thoughts go wild.
24:13And they get out of control.
24:17You have to try to forget.
24:20No matter how hard it is.
24:26I know, but...
24:30In that war, I lost the love of my life.
24:33My only love.
24:37Do you know what that is?
24:41Are you able to stand up for me, Manuel?
24:52I swear it wasn't my fault.
24:53It's never your fault.
24:54Let me explain.
24:55I don't want you to explain anything to me, Marcelo.
24:57I want you to do things the right way.
24:59Because if you continue like this, you'll end up in the streets.
25:06María, why don't you look where you're going?
25:09I'm sorry, Teresa. I didn't see you.
25:12What's wrong with you?
25:14What's wrong with me?
25:16That I'm a fool and a stupid without any knowledge.
25:19You don't have to talk about yourself like that.
25:21I deserve it. For being stupid.
25:23If it weren't for me,
25:25Hanna and Manuel would be married.
25:27What?
25:29Of course, you mean you knew everything.
25:32Of course I knew it from the beginning.
25:34And I covered it up because I'd do anything for her.
25:37And that's why I didn't tell anyone.
25:39So how did Mrs. Marquesa find out?
25:41Because I didn't tell her with my mouth.
25:43I wrote it down.
25:44What do you mean you wrote it down?
25:46Yes. For a while, I've been accused of writing love stories in a notebook.
25:49Yes, I've seen you with that notebook more than once.
25:51So what did you do?
25:53Did you write Hanna and Manuel's story?
25:55Not with their names.
25:57But anyone who read it and knew them
26:00would realize what I was referring to.
26:02And what did you do?
26:04Did you give it to Mrs. Marquesa to read?
26:06No, I'm not so unconscious,
26:08but someone took it and gave it to Mrs. Cruz.
26:10And who would be able to do such a bad thing?
26:12Who do we know, Teresa?
26:14Who is the baddest person in the whole palace?
26:16Mrs. Petra.
26:17Precisely.
26:19So Mrs. Petra took your notebook.
26:21That's what I think, because she knew I was writing.
26:24Even before starting the notebook,
26:26she broke a few sheets of paper
26:28because she caught me writing at work hours.
26:30Knowing her, you're capable of that and much more.
26:32Well, yes, I think it was her.
26:34Although he doesn't admit it.
26:37The point is that I've ruined the life of my best friend.
26:40Maria, this wasn't your fault.
26:43Directly, yes, Teresa.
26:44Because in the end,
26:46Hanna and Mr. Manuel have been able to marry us.
26:49And let's see if they can get married someday.
27:08Father, when you enter this office,
27:11call me.
27:12When you enter the office, call me first.
27:14Even if you're my son, you have to keep a certain form.
27:16Apply the story with that of the forms.
27:22But what happens now?
27:24Well, the usual.
27:26That he has taken her with Mrs. Arcos.
27:28I think it's mean that the other day he recriminated her
27:30that she was taking care of me during my pregnancy.
27:32I only asked for information.
27:34I have to know what the key soul is doing
27:36during the working hours.
27:38But Mrs. Arcos was not taking care of me
27:40during her working hours,
27:42that's what she told you.
27:44And that's what I think.
27:46Above what your father tells you, right?
27:50Why does it bother you so much
27:52that someone wants to take care of their son?
27:55I tell you that what bothers me
27:57is that it is done during the working hours.
28:00Just as it bothers him that I am a grateful person
28:03and that's why he asked me
28:05to give him a bouquet of flowers.
28:07I only told you to spend your quarters with Césera.
28:10Your salary is not enough to pay off.
28:12It's none of your business what I spend my money on.
28:14Just as it is not what Mrs. Arcos does
28:16in her free time.
28:18That's why I forbid him to reproach her again.
28:21You forbid me?
28:23Yes, that's what I said.
28:25Leave us alone once.
28:27Son,
28:29don't you see that woman is behaving
28:31as if she were your own mother?
28:34I know very well what she is doing.
28:36But
28:38I like to feel that someone is worried about me.
28:42Now it varies.
28:55Well, yes.
28:57I can keep the promise.
28:59And your uncles have accepted?
29:01They have said that this is like my home
29:03and that it will remain so as long as I want.
29:05I see, I see.
29:07Well, it's just that
29:09deep down I knew they were going to tell me something like that.
29:10Because I have always been like a daughter to them
29:12and I knew that they would also
29:14dislike the fact that ...
29:15But your uncles are not your parents, Martina.
29:18Yeah, I know.
29:20Well, it doesn't seem so.
29:24Does it bother you that they are happy that I stay with them?
29:28No.
29:30No, what bothers me, daughter, is
29:32that you don't come to live with me.
29:34But that can't put it in front of me
29:36because I already told him that I accepted that marriage
29:38as long as I could stay here in the promise.
29:41That was the pact.
29:42I know.
29:43I know, I'm very aware of it, Martina.
29:45And I promise you that I will keep my word.
29:48Although ...
29:50Count de Ayala is ...
29:52What?
29:53What about Count de Ayala?
29:55Well, he was the one who asked me to convince you
29:57to live with us.
29:58No one can convince me of something like that.
30:00Daughter, and you can't try it even for a few months?
30:02Let's leave it, please.
30:03No.
30:06Well, I just hope he takes it well.
30:08He will understand that I don't care how the count takes it,
30:10that I'm going to stay here, yes or yes.
30:12Martina, if I'm insisting, it's ...
30:15Well, because you are my daughter and because I love you.
30:17And I would like you to be by my side.
30:20But I'm going to visit her from time to time.
30:22And you can come to the promise whenever you want.
30:25I'll go wherever you are.
30:31I don't like hurting you, mother.
30:34Well, don't worry, because I understand it perfectly.
30:39Who has seen us and who sees us, huh?
30:42That before the father was missing,
30:44we were always like the dog and the cat,
30:46arguing about anything.
30:48Well, after your father died,
30:50we also argued about ours, huh?
30:52Yes, but well, we ended up getting closer, right?
30:55Yes.
30:57For ...
30:59For now.
31:00Will you separate us?
31:02Let's see.
31:04We will be far away, but ...
31:06I will always have her very close.
31:09And remember that there were days
31:11when we were in the same room and I didn't even want to see her.
31:13Well, you didn't look at me, girl.
31:15Well, but that has already changed.
31:17We will be separated, but we will love each other more than ever.
31:20Well, that's a consolation, daughter.
31:23But that's all.
31:25A consolation.
31:29Ana, don't make me sad.
31:32I thought you were going to be very happy.
31:35Did you get into that?
31:38Yes.
31:48Mrs. Petra.
31:50Come here for a moment, please.
31:54Tell me, what do you want?
31:56I just argued with my son because of you.
31:59Am I to blame again for you being in bad terms with Santos?
32:02Well, this time, yes.
32:04Because he wouldn't face me like that
32:06if there wasn't someone behind him pushing him.
32:08Stop meddling between us.
32:10I haven't done such a thing.
32:12So if you want to find out the cause of your discomfort with your son,
32:15look elsewhere.
32:17The cause is you.
32:19Goodbye.
32:21Wait, I'm not finished.
32:23But I am.
32:25Because I plan to continue treating your son as I have until now.
32:28That is, with the same affection that he treats me.
32:31And we both know what bothers you so much.
32:35And that is that your son
32:36has more affection for me than you.
32:58Yes?
32:59Yes.
33:05María Fernández told me you wanted to see me.
33:10Yes, that's right.
33:13Well, you tell me.
33:22From what I see, you're back at work.
33:25Yes, I already warned you, so I don't know, what are you surprised about?
33:28I already told you that I didn't think it was appropriate.
33:32Manuel, I'm not going to stay in my room as if I were afraid of something.
33:35I don't want to discuss this topic again.
33:38I don't want to discuss it with you either.
33:40Well, look, one thing we agree on.
33:43I have a very bad time when we are angry.
33:47Me too.
33:52If I sent you a call, it's because I wanted us to make peace.
33:58Well, then let's stop talking about this topic.
34:05You're right.
34:11What happened to us, Manuel?
34:13Because it's as if everything had twisted in just two days.
34:17No.
34:21Everything hasn't twisted.
34:24You and I still love each other.
34:28And that hasn't changed.
34:31No, that hasn't changed.
34:33And it won't change.
34:38My life has gone upside down.
34:41My colleagues keep asking me what I'm going to do, what I'm going to stop doing, and my job, well ...
34:46Has something happened at work?
34:48No, but ...
34:50Every time I go up to the noble floor, I think I'm going to meet your mother or your father.
34:58Actually, you don't have to worry about my father. He spends most of his time in his bedroom.
35:04I'm more afraid of your mother.
35:10I don't know, maybe ...
35:15Maybe you should avoid going up to the noble floor.
35:18Don't say that again, Manuel.
35:20That hiding is not the solution.
35:22I'm not talking about hiding.
35:24I'm talking about being prudent.
35:28But we haven't done a single thing that we've been prudent about.
35:32Not even this love is prudent, so don't tell me it's now.
35:39You're right.
35:42Okay, I won't say it again.
35:46What are we going to do?
35:51You see, my father asked me for a few days to think.
35:55But tomorrow won't pass.
35:57I'll go see him and tell him how things are.
36:00And how are things?
36:03I'm going to marry you, Hanna Expósito.
36:07Say what you say.
36:09No matter what.
36:12And you know it perfectly well.
36:28I'm telling you, María Fernández knew it.
36:31She was aware of Hanna and Don Manuel.
36:34That's for sure.
36:36There's no reason.
36:38Don't be naïve, Simona.
36:40Those two sleep in the same room and tell her everything.
36:42Sometimes a secret can be kept for a long time, even the most beloved people.
36:46It's true.
36:48Yeah, but María Fernández ...
36:50There comes María.
36:54What's going on?
36:55What's going on here?
36:59Did you order three passes?
37:01Come on, María, leave the packages and sit down with us for a moment.
37:13Well, someone explain to me once and for all what this is all about.
37:17You're sitting down, right?
37:19Come on.
37:21You knew it.
37:23About what?
37:25Do you know what we're talking about here every day?
37:28I don't know. About the price of the lamb?
37:31Cut it out, María.
37:33Did you know from the beginning that Hanna was sleeping with Mr. Manuel?
37:38Let's see, from the beginning, from the beginning, no.
37:41And they weren't sleeping.
37:43They were ...
37:45drinking.
37:47It must be the same.
37:49No, I don't know.
37:51And I don't care if I knew it or not.
37:53Even if I had known, I would have kept quiet.
37:55I'm not like others.
37:57I see.
37:59It's a time you never close.
38:02Well, Hanna has the right to fall in love with whoever she wants.
38:05Yes, I see.
38:07But what a coincidence
38:09that of all the men who are around here,
38:12she has fallen in love with the most convenient one,
38:15Mr. Manuel.
38:17That your friend Hanna is a fresh one.
38:20I don't allow you to talk like that about my friend, huh?
38:23It is clear that this relationship
38:27is the most convenient.
38:29Mr. Arcos, one does not decide who falls in love.
38:32You can't kill your heart.
38:34It seems to me that too many pamphlets are read here.
38:38On the one hand, there is love.
38:40And on the other, interest.
38:42It is clear that this relationship is the most interesting.
38:46Hanna is not like that.
38:48No, Hanna is like all of them.
38:49Or like almost all of them.
38:51That a waitress has been in this world for a long time
38:53to make mistakes with these things.
38:55Well, I think she really loves him.
38:58I have not said the opposite.
39:00She loves him, yes.
39:02But because of her rooms and her position.
39:05That Hanna is too carefree to fall in love with a poor man.
39:10Poor Mrs. Jimena.
39:13How bad it had to happen.
39:15It's just that I can't get my head off
39:17seeing what's happening.
39:19I don't know what that woman is going to do now, you see.
39:21You know it too well.
39:23Hanna was the love of which Mr. Manuel spoke at the time.
39:26And the one Mrs. Jimena was looking for so much.
39:28And the sincerity of your little friend Hanna
39:31shows that she has been deceiving you like a pamphlet.
39:34And she has made a fool of you.
39:36With that tongue of hers.
39:38God knows how long she has been deceiving you.
39:42What a panda.
39:44You're freezing.
39:49Let's go.
40:01Each sheep must go with her partner,
40:03because if not, problems will arise.
40:05What do you mean?
40:07It's clear.
40:09The gentlemen have to marry each other and the poor the same.
40:12Well, if I run into a noble woman of good looks,
40:15I don't disgust her.
40:17Let's see, for a few days.
40:19But for a man to marry a maiden,
40:22that can't end well.
40:24Well, there have been cases.
40:26Where?
40:28In the soap operas, for example.
40:30Yeah, Lope, but the soap operas are not life.
40:32Let's see, I don't know of any case that has gone well.
40:34Mr. Manuel should have spent more knowledge.
40:37It must be said that the girl is beautiful.
40:40It is normal that the gentleman has clouded his understanding.
40:43Yes, but a cloud lasts a few hours.
40:44They have moved on
40:46and they are harming Mr. Manuel's parents
40:48and his last name.
40:50Marcelo, the Marquis has many years.
40:52He will move on.
40:54But very unprestigious.
40:56A noble must respect his title.
40:58This is just the opposite.
41:00Well, I think that if they love each other,
41:02one must not stop them from being noble and the other not.
41:04How naïve, Lope.
41:06I think that here Han has taken the opportunity to make himself rich.
41:09You would do the same, right, Lope?
41:11Santos, I'm talking about love.
41:12I'm not talking about making you rich.
41:14Let's see.
41:16The fact is that both should take a step back.
41:18Well, I think that if they love each other,
41:20they have to move on.
41:22If they get married, they will be miserable.
41:24Miserable?
41:26With the rooms that the Marquis has?
41:28I doubt it.
41:30It is that if the Marquis allow that marriage,
41:32most likely,
41:34they will take away the inheritance from Mr. Manuel.
41:36Marcelo, that is very exaggerated.
41:38As little as I know the Marquis,
41:40I would not be surprised at the very least.
41:42Me neither.
41:44He will not let anyone humiliate her,
41:46not even his own son.
42:08Come in.
42:13Have you spoken to Manuel?
42:15No.
42:17I have not crossed paths with him all day,
42:19nor have I done to see him, the truth.
42:21And you?
42:23No.
42:25I thought he was going to come to dinner,
42:27but since he has not shown up ...
42:29He does not want us to insist on that absurd wedding.
42:31Well, of course we are going to insist,
42:33until that stupid idea is removed from his head.
42:35He is so stubborn.
42:37I know.
42:43And if we offer him a trip?
42:46I do not know,
42:48wherever he wants, with everything paid,
42:50a trip of three or four months?
42:52No.
42:54The world is not now for trips with Europe at war,
42:56and all those German submarines
42:58sinking all the ships they find.
43:00Yes, maybe you are right.
43:02The one we should offer it to is her,
43:04and pray that the Germans torpedo her ship.
43:08Although, well, if Manuel left,
43:10she would go after him.
43:12And they would end up getting married
43:14in the first parish they find.
43:16But then what do we do?
43:18We cannot allow him to make a fool of himself in that way.
43:20The heir of the Marquis of Lujan,
43:22married to a maid.
43:24Where has that been seen?
43:26I don't know, Alonso, I don't know what we can do.
43:28But any argument we give him would be useless.
43:30Well, if the arguments don't work,
43:32we'll have to be tougher.
43:34If you mean to threaten him,
43:36all I would do is beat him.
43:38He would get married tomorrow.
43:40What if we talk to someone?
43:42Someone he trusts?
43:44Someone who can convince him?
43:46I don't know, a friend of the nobility?
43:48Someone who has two fingers up?
43:50He won't listen to anyone, Cruz.
43:52And if we do something like that,
43:54the news would spread in two days.
43:56I don't know, then you propose something, Alonso,
43:58because you put everything on the line.
44:00I just try not to make things worse, nothing more.
44:02Things are like this thanks to you.
44:04What time is it my fault
44:06that he wants to marry a maid?
44:07It's not like that.
44:09I wanted to kick her out as soon as I got to the palace,
44:11but you stopped me.
44:13He saved her life.
44:15We couldn't kick her out.
44:17What are you going to save her?
44:19That's a burden she's holding on to to stay here.
44:21She came to what she came to,
44:23and now she's about to get it.
44:25We still have time to solve this.
44:27If we depend on what you do, we're ready.
44:29I'm going to leave.
44:31We'll talk tomorrow when you're calmer.
44:33No, I won't be calmer, Alonso.
44:35I'm not going to calm down
44:37because I'm going to propose, man.
44:42Ma'am.
44:44What do you want?
44:46I just came to give him the last hour
44:49and check his menu for tomorrow,
44:51but if I bother him, I'll leave.
44:53You bother him, yes, but stay.
44:55I have something to ask you.
44:57Close that door.
45:03I want to know how it all started.
45:04Why didn't anyone find out
45:06about what was going on between my son and that Fresca?
45:08Because it's clear that this comes from afar.
45:10Well, ma'am, I don't know when or how it started.
45:13So you're the key master,
45:15and once again you haven't noticed anything.
45:17I suppose, ma'am, that they would have been dating for a long time.
45:20And...
45:22Who knows, maybe it all started
45:24when I saw Humera, the key master.
45:26Is that really your excuse?
45:28Do you think you're going to look better
45:30blaming her?
45:32Ma'am, I have to remind you
45:34that it was for me
45:36that I gave her that notebook.
45:38Your son, Don Manuel,
45:40would be married to Hanna right now.
45:42I don't know, and I'd have to thank you.
45:44No, that's not what I want, ma'am.
45:46I just don't want her to be so unfair to me.
45:49I just think I don't deserve it.
45:53You can go.
45:55As you wish.
46:05No!
46:07If I win the next point, I win the game.
46:09No, no, no, wait, don't take it out, don't take it out.
46:11I need a break.
46:13I don't know if the rules
46:15include these breaks.
46:17Do you want me to throw up here?
46:19Okay, but two minutes.
46:21No, no, I need a break.
46:23I don't know if the rules
46:25include these breaks.
46:27Do you want me to throw up here?
46:29Okay, but two minutes.
46:31No, no, I need a break.
46:32I don't know if the rules
46:34include these breaks.
46:36Okay, but two minutes.
46:38No, no, I need a break.
46:40And to eat something, too.
46:42If we hadn't gone down without breakfast,
46:44it wouldn't be like this.
46:46I don't like doing sports with a full stomach
46:48because I feel very heavy.
46:50Well, with an empty stomach,
46:52it doesn't feel very light either.
46:54She's very cocky because she's winning,
46:56but she should know
46:58that the game is not over yet.
47:00I think it will be hard for you
47:02because if I don't, I don't understand why you always beat me.
47:04I repeat, only once.
47:05No, no. I don't believe it.
47:08You've played more times. Tell me the truth, I don't like lying people.
47:13Yeah.
47:15Me neither.
47:16And still, life...
47:18What's wrong?
47:21Nothing.
47:23Did what I said bother you? Because it was a joke.
47:27No, it's not that.
47:29Besides, you're right.
47:32I lied to you.
47:33So you're an expert in badminton and that's why you always beat me.
47:38It's true that I lied to you, but...
47:40not in that.
47:43In what?
47:47Yesterday, you were honest with me when you told me about your fiancé.
47:52Of course, because friends are supposed to be honest, right?
47:56Yes.
47:59That's why I think I have to tell you who I really am.
48:03I love you.
48:15Come in.
48:20Come in, Lope.
48:21Sit down.
48:23Don't you want me to go get Mrs. Simona?
48:24No, it's not necessary and I don't need you to explain any recipe to me.
48:29Sit down, please.
48:33Lope, I'm here because...
48:35I need your help.
48:37How can a simple cook help you?
48:40A lot.
48:41And you know very well why you don't need me to tell you.
48:45I don't know what you mean.
48:47I want to sort things out between Vera and me.
48:52I don't know what you mean by that.
48:54I don't know what you mean by that.
48:57I don't know what you mean by that.
49:00I don't know what you mean by that.
49:02You don't like how she's writing down the recipes...
49:05Lope.
49:06Please.
49:09She wants to put the cards on the table.
49:12That's right.
49:13That way it'll be easier to talk.
49:18Good.
49:22I know Vera is your daughter.
49:26And now you're going to tell me you don't like the relationship I have with her, right?
49:32That's something I already imagined.
49:34Of course I don't like it.
49:36I wouldn't like anyone to have two fingers in front of them.
49:41Are you calling us stupid?
49:42No.
49:43In love.
49:45It's typical of lovers, this kind of insensitivity.
49:48You're right about that.
49:50We're very in love.
49:51Yes.
49:52And I can understand that.
49:54Because love doesn't distinguish between social classes.
49:56And intelligence shouldn't either.
49:59And that's what I'm here to ask you, Lope.
50:01A little bit of intelligence.
50:03And if I do it, it's because I know you're a very smart boy.
50:07I don't know if I am, ma'am.
50:10What I do know is that I love your daughter.
50:12And that your daughter loves me.
50:13Yes, you love her.
50:14I don't doubt it.
50:15But you don't live from love.
50:18I know that too.
50:19I'm not an illusion.
50:20Then you must have also realized that my daughter is too much of a woman for you.
50:24And that you have nothing to offer her.
50:29Maybe...
50:30Lope.
50:31Shut up and listen.
50:35If you love my daughter so much,
50:38I guess you want the best for her.
50:41Don't you?
50:43Of course I do.
50:44Very well.
50:45Well, neither you nor the life you can offer her is the best for Mercedes.
50:50So I ask you, please, to leave her and convince her to come back to my house.
51:01You