In 1799, we see the floor of a room with broken objects and a candle, and also a man on the ground, while other two people walk up to a painting: La maja desnuda.
In the present, a group of tourists visits the museum, and a Japanese man stops to make photos of the painting's companion, La maja vestida. When he stops in front of La maja desnuda, all of a sudden the painting is brutally cut - because someone vandalizes the painting in the past.
In the Ministry, Pacino is in the bar, reading the newspaper, when the lights go out. Pacino walks to see if he can find someone, when he crosses paths with Marta, but it rapidly turns into a nightmare and Pacino wakes up, only to be calmed down by Alonso, who bitterly comments on something that is going on with Elena and apologizes for what happened in the previous mission. Before they can do anything else, they are called to the Ministry - who sends the trio to 1799 with a double mission: find out who destroyed the painting and convince Goya to remake it. Alonso and Pacino will pass themselves as members of the Malaespina Expedition
while Amelia will be Pacino's wife.
Velázquez, meanwhile, goes to Salvador's office to request going to the past and meet Goya. While initially reluctant, Velázquez's enthusiasm gives Salvador an idea.
In 1799, the trio discusses the current trends while walking to the Pradera de San Isidro.
In the present, Salvador calls Angustias to give her a mission: keep Velázquez centered on painting a copy on La maja desnuda.
In 1799, the trio enters the "La Inclusa" orphanage, where Francisco de Goya is meeting with several noblewomen (one of them the Duchess of Osuna, who invites them to a meeting at her summer palace) to paint something for the orphanage, to request a chance to buy one of Goya's paintings. While they are seeing them, in comes Manuel Godoy, who orders the trio out so he can talk with Goya alone. The trio acquiesces, but Amelia hides a microphone to listen in on the conversation, in which Godoy demands Goya paint La maja desnuda again, much to the painter's fury (while confirming that both the main theories behind the model are right).
In the present, Velázquez unsuccessfully begins his task and, as Salvador feared, gets somewhat distracted. Angustias tries to push him to paint, but Velázquez claims he cannot paint it without knowing what's behind that painting.
In 1799, the trio goes to the Duchess' meeting. The Duchess of Osuna has a bad encounter with Godoy, who blackmails her, telling her that, unless Goya paints La maja again, the women will not be allowed to work with the children of "La Inclusa". Meanwhile, Alonso and Pacino meet with the Duchess of Alba, who invites them to play the blind man's bluff (much to Alonso's discomfort, who dislikes being blinded, although the Duchess of Alba appears to like Alonso). A young boy sneaks in on the encounter to meet with a young girl, who appears to dislike the boy - which turns out to be troubling, as the boy is Simón Bolívar and the young lady is his future wife María Teresa Rodríguez del Toro y Alaiza, so now they have to add a third mission - ensure the two will get together.
That night, Amelia and Pacino teach Alonso about Bolívar's future actions, much to the patriot's anger, who dislikes Bolívar's future role as the Libertador (or destroyer of the Empire, according to him), so he thinks they should stop him. Amelia, however, tells him that they have to keep history as it is and leaves for her rooms - when she is attacked by someone who threatens her so they will stop their attempts to restore the painting.
In the present, Amelia reports a symbol she saw on the man, which appears to belong to a secret society. Salvador tells them they have to concentrate on Bolívar and Goya, but that does not mean they have to stop considering the children: the trio suggests the Duchess of Osuna to host the children in her palace, although she does not have access to the resources needed to take care of them. Bolívar appears again, but Teresa rebuffs him again. Pacino makes a comment on it, and Amelia has an "Eureka!" Moment: remembering what Lope de Vega did to hook up with her), maybe repeating the experience can help Bolívar woo Teresa. Pacino mentions this strategy is a bit too similar to Back to the Future, while Leaning on the Fourth Wall and looking straight to the camera while stating the no idea is original... well, some more than others (possibly a Take That! against Timeless).
In the present, Velázquez is unable to paint, still stuck with the problem of not knowing how to portray Goya's feelings, and Salvador, irate, pushes him to do it, because it would be their only backup if the mission fails - and Velázquez insists on visiting Goya, which Salvador does not want to allow. Some time later, Irene comes to him to tell him that the symbol Amelia saw comes from the Society of the Exterminating Angel, a secret society that sought to keep Spain as an ultra-Catholic country, keeping the Inquisition and absolutism. However, there's a problem: this society was not actually founded until 1821 - 22 years after the point where the trio is. Salvador immediately sends her to meet with the patrol and warn them of the new danger. On the side, Angustias helps Velázquez sneak through the door to 1799, so he can meet with Goya - with Salvador's full knowledge, as he has surreptitously approved such travel.
In 1799, though, they have to continue with the mission. An attempt to mend bridges between the Duchess of Alba and Goya completely fails, so they have to turn to Josefa Tudó so she will pose again. Goya, however, tells them he cannot do it, and Amelia angrily calls him out for not living up to his own standards. Goya angrily goes for a walk to the park, which Velázquez takes advantage of to meet with him and find out what was behind his painting of La maja desnuda. While Goya speaks, though, Velázquez hears a woman screaming (which Goya cannot because of his deafness) and he rushes to the woman's aid, leaving an oblivious Goya to continue with his talk, which includes a high praise to Velázquez.
The young woman is, naturally, Teresa, who is being "attacked" by two men so Simón Bolívar can come up to her rescue. Before he can do little more than face them off, Velázquez appears out of nowhere and strikes Bolívar with his cane, much to Alonso and Pacino's anger.
While Bolívar is being taken care of in the Duchess of Osuna's palace, Goya appears so as to talk with the Duchess of Osuna and Amelia, apologizing for being unable to paint La maja desnuda again. Amelia apologizes to Goya, who does not appear to have any hard feelings for her, telling her that, if he were younger, he would probably fall in love with her. Meanwhile, Pacino and Irene read Velázquez the riot act for his actions, which could have put history in danger - but their discussion is cut short when a group of soldiers appears to take the children away: Godoy remains centered in his demands that Goya will paint again, and has the children taken back to "La Inclusa". Bolívar faces off with one of the soldiers, and then warns Godoy that, eventually, he will hear of his name with dread.
When Goya returns to his workshop, he suddenly finds someone there he did not expect: Amelia, telling him she is willing to become the model the painter needs to recreate the painting. Surprised, Goya nonetheless is up to the task, and soon La maja desnuda is restored, bringing history back to its course as Godoy relents and allows the noblewomen to take control of "La Inclusa", much to the benefit of the children - and it appears that Bolívar's defense of the children has brought Teresa's positive attention, particularly after a little push by Irene. Before they leave, Pacino gives the Duchess of Osuna a little present: a drawing of a feeding bottle (calling back to how, earlier in the episode, the Duchess unsuccessfully tried to feed a crying baby).
That night, the trio, Irene and Velázquez meet with Goya, who happily gifts Amelia an engraving he has drawn (one that would not be known to history) before leaving for his home. The joy is cut short, though, when Alonso realizes two men were looking at Goya with obvious bad intentions, so the group rushes behind the painter. Two gunshots are heard, but when the group finds Goya, he is sitting on the ground, unhurt: Amelia and Irene find two members of The Exterminating Angel, while Alonso and Pacino attempt to follow whoever did the shooting. Pacino appears to take something from the floor that Alonso has not seen, but, when asked, Pacino says he has seen nothing.
Back to the present, Pacino tells Amelia he hopes Bolívar and Teresa will have a good life, but Amelia reveals to him that, in four years, Teresa will die of a fever in Venezuela, and Bolívar will swear never to marry again - which he followed through. In the debriefing, Ernesto reveals something of interest: the two dead men have been to the 1990s, judging by their dental care, which prompts Pacino to reveal what he found: the necklace he gave Marta. It is obvious there is something big going on...
