It is always hard to say goodbye to a ministry worker, even more so when we don’t know for sure if the show will be back, which makes their “it’s not a goodbye, it’s a see you later” all the more heartbreaking.
But as always, I am getting ahead of myself. There is drama in the ministry: at a Ministers’ Council in Comillas, the king, Alfonso XII, is shot by a servant, and goes into a coma. The servant, a protegé of the Marquis of Comillas, is instantly shot dead.
So Salvador sends our team to 1881’s Comillas after the then president, Sagasta, calls him in a hurry to get some help. Our guys travel to the 19th century with modern equipment so that the king’s doctor (who is a worker of the Ministry of Time) can successfully perform surgery on the king, who has yet to conceive his successor, Alfonso XIII.
Everyone is a bit concerned about Amelia, because this is her time (officially, she is in 1882, so a year earlier), and many of her father’s work colleagues will be there, as plenty of Catalonian businessmen were known to be at the Council. To her surprise, while Alonso joins the doctor, she and Pacino run into her uncle Pere, who instilled in her a love of books. Pere asks Pacino if he speaks Catalonian. Since he doesn’t they proceed to speak Spanish. It is during this conversation that we learn Amelia has “moved” to Madrid to work for Irene (who is still worried about Young Lola’s disappearance), and that is the version everyone in her family believes. She also claims to be attending Comillas as a journalist, and her cover so far works.
In the meantime, Alonso and the doctor are performing brain surgery with the help of cameras so that a proper neurosurgeon can guide them step by step from the ministry in the present day. Unfortunately, the brain is too inflamed. There is nothing to be done. And yet, the doctor tells everyone in Comillas that the king will be fine, so as not to worry them.
Pacino then decides to talk to Sagasta and the marquis, and finds out that Tomasín, the dead servant, was rescued by the marquis as a child during his time in Cuba, but when Amelia and Pacino check Tomasín’s room, they find a slave record from 1851. In it, there is Tomasín’s name next to a woman’s, Rosario, who is said to be her mother, and who was sold. In the ministry, they all guess that Tomasín found out that he was a slave and her mother’s fate, and intended to kill the marquis, but accidentally shot the king. The only viable choice? Pacino and Amelia will travel to 1951’s Cuba and save the mother, thus erasing Tomasín’s reason for revenge.
So Pacino and Amelia meet a young (not yet)marquis, who traded with slaves, and in the midst of the night, they go and release all the slaves, and take Rosario and Tomasín to the present day.
Alonso, who is still with the doctor guarding Alfonso XII’s bed, is surprised when the guards attack them and try to kill the king. Just as one of them is about to inject the monarch with something while shouting “eat it, dog“, they and the king disappear. The slaves are in the present day, safe. Alonso and the doctor go to the living room and find the king alive and well.
But! They can’t just leave! Because even though the have prevented Tomasín from killing the king, these two “guards” disappeared, which means they weren’t time travelers, but people from 1881 who will make an attempt on his life again (this removes The Exterminating Angel from the equation).
So off they go again, knowing that they have to repeat the charade because no one will remember them. But Pacino is wary, because upon meeting Pere Folch, he starts speaking Spanish, without asking Pacino if he knows Catalonian. He doesn’t ask about Amelia’s journalistic career either. Weird…
Our Alonso spots then the assassin, now dressed as a servant, and the three of them chase him to the woods. But wait! It’s a trap! They are now surrounded by a gang that -yes, sorry Amelia- is led by Pere Folch. They call themselves the new Sons of Padilla, and they basically are the opposite of TEA: they are rebels, radicals, basically a very extreme version of communism and whatnot (a bit hypocrite coming from a man who owns lots of wealthy companies). After Amelia refuses to join her uncle, choosing the same fate as her colleagues, Pere leaves them to die and Salvador receives a video call from them to show him their executions. Just as they are about to get killed, the executioner kills her SoP colleagues instead. What is going on?
I will tell you what: it’s Young Lola! Salvador had discovered that Marta, along with some rebels (including some former ministry workers) had released her dad from prison in 1821. YLola found out about the SoP and infiltrated the band. So there, screw you, radicals!
But there’s some bad news: the SoP actually want to kill everyone, not just the king, and they have put a bomb in the basement that will go off while the council meeting is taking place. So using the camera from the surgery, Alonso very nervously deactivates the bomb, saving the day!
And here come the bad news. After Pere is taken prisoner by the ministry, Salvador has to tell Amelia what has changed in that year that has passed from 1881 to her present day, 1882: Pere’s companies were seized, and most of them were co-owned by Amelia’s dad. With no money and depressed, her father had died of a heart attack a year earlier. A distressed Amelia chooses to go back to her time and stay there, to help her mother and take the reins of the business, not before Salvador gives her some stock market intel and advises her to invest in electricity and telephony.
Without wanting to say goodbye, off she goes. But one day, as she is visiting her father’s grave, Alonso and Pacino meet her, and tell her this is not a goodbye, because they are sure she one day will return. After Pacino whispers something in her ear, they both leave. We’ll see what happens now…
¡Por Santiago y por España!
-While Alfonso XII was saved here, he actually died not much later, in November 1885, aged only 27, of tuberculosis and dysentery, because not even a king can escape disease. His son, Alfonso XIII, was born already a king, in May 1886 (and married one of Queen Victoria’s granddaughters).
-“If he dies, Juan Carlos I won’t be born, and neither will Felipe VI, nor will those cute little girls…”
-“Moving to Madrid, and as a single woman…what an atrocity.”
-“I trust pickpockets and criminals more than politicians and provosts.”
-“These people have clearly never watched Columbo.”
-“Sometimes you have to change something so that everything remains the same.”
-When discussing how the men disappeared in front of Alonso, the team mentions the killer who went through the same.
-“Sometimes, you throw quite a speech to explain something simple.”
-As usual, the casting of actors who look quite like the monarchs they portray is praiseworthy.
-“You changed history, how did you do that?” “Like I’m going to tell you, a**shole…”
-“Killing a man to defend an idea is not defending an idea, it’s killing a man.”
-For me, the killing image of this episode is Angustias fainting and subsequently recovering after the team is almost executed. She is the queen.
–YLola starts telling Salvador what the SoP plan to do “Can you untie us while you’re talking to him?”
-“You are too young too die.” “Err, and you aren’t?”
-“You are alive!” “I don’t know for how long, because of your effing bomb, but in case I die, I have one last wish.” “What is it?” Pacino punches Pere “For someone who loves reading so much, you could have seen that coming.”
-How could I forget! In the end, Pacino’s idea to make amends is to have the guilt-ridden marquis take care of Rosario and child Tomasín.
-“You get to the future step by step, not murdering people.”