Dos familias que viven bajo condiciones económicas totalmente opuestas, cruzan sus caminos de forma inesperada.
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00:00And Miguel Ignacio asked me to talk to her, and I went to talk to that woman, and she fell in love with me.
00:23She became your lover.
00:24No, no.
00:27That's her number.
00:29I'll leave you so you can talk to her.
00:30No, no, no. Stay.
00:31I'm not staying.
00:32Please.
00:32Hello, Lucy.
00:33Yes, can I see you now?
00:35Of course.
00:37You won't regret it, I swear.
00:42Mike, why don't you answer my phone?
00:45Mother, what are you doing here?
00:46I can't leave.
00:47I can't leave the country.
00:50My God.
00:56So...
00:58You're finally alone.
01:05Reina!
01:09Sister-in-law.
01:10How long have you been here, girl?
01:12A few minutes ago.
01:14You can go and spread the joy of my arrival.
01:20You have to come with me because I can't do it alone.
01:22These street attacks have made me too nervous.
01:25I can imagine.
01:26Do you know in which police station the complaint was filed?
01:29The one in Las Lomas.
01:30Las Lomas?
01:33Oh, Reina, here you are.
01:35Yes.
01:36And Alaterre went to inform everyone.
01:38All those below.
01:39Of the good news.
01:40I suppose that now the holidays are over for the fake of La Charo.
01:56Little country.
02:03What are you doing here?
02:06Remembering old times.
02:10Come.
02:11Not crazy.
02:12Out of my room.
02:13This bed is too big to sleep alone, Isabela.
02:16And who told you I'm alone?
02:18A little bird.
02:19Or rather, a maquisapa.
02:22Is it true that the saltimbanqui went forever?
02:27Come on, tell me.
02:38Yes.
02:39It's true.
02:40Leonardo left me.
02:42Come on, make fun of yourself.
02:43Make fun of yourself.
02:44No, Isabela.
02:46I'm not going to make fun of myself.
02:48I never liked to see you suffer.
02:50Oh, no.
02:51Sure.
02:52And when we were married, didn't you take me out with all your secretaries?
02:55I never made you suffer.
02:58I always kept you and my family out of my problems while I fixed the situation.
03:05Tell me, weren't those the happiest years of your life?
03:11Oh yes, sure.
03:12I lived deceived, ignoring my reality.
03:15Weren't those the happiest years of your life?
03:21Yes.
03:23And can you do it again?
03:25Of course, with everything that has happened to me, I have already learned the lesson.
03:30Now I am a man of a single woman.
03:35What are you talking about, Miguel Ignacio?
03:40Isabela.
03:44You and I can be a family again.
03:50Yes.
03:56What's wrong with you today?
03:57And that puppy?
03:58No, queen.
03:59Don't turn around.
04:00Keep enjoying the sun on this side.
04:01Look how nice it is.
04:02No, Miguel.
04:03I'm pretty lonely too.
04:04What's wrong with you?
04:05Why don't you want me to turn around?
04:06No, no, no.
04:07Don't turn around.
04:08But what's wrong?
04:09There's nothing.
04:10There's only this Maldini employee.
04:11What do I care about those people?
04:12Yes, we don't care.
04:13Let's go home.
04:14Let's go.
04:20Yellow.
04:22Black.
04:24White head.
04:26Yellow.
04:28Fist bump.
04:51Mother.
04:53Mother.
04:55Mother.
04:57Mother.
05:01Mother.
05:03Mother.
05:11Do you remember how we were before?
05:14You, me, the boys.
05:17Yes, I remember.
05:18We had a single car and we went for a walk to the beach with Zuzu, with Raúl.
05:24And we decided that Nicolás and Lucianita were going to get married.
05:28I hope Nicolás gets better and grows up a little.
05:33Raúl no longer.
05:34He is lost.
05:36What about Zuzu's life?
05:39Now we only care about us, Isabela.
05:42The boys are already grown up and want to make their lives.
05:45Us?
05:46Yes, us.
05:48Think about it, Isabela.
05:51The house is going to go down.
05:54I found out that your mother made a breakfast for the González.
05:59I don't know what's wrong with my mother.
06:00She's so changed.
06:02So many months in jail affect Isabela.
06:05And Francesca is no longer a young girl.
06:07And at her age, those emotional shocks can be fatal.
06:10It's true.
06:11Every day comes out with a different surprise.
06:13That's right.
06:15Isabela, you have to be prepared.
06:17The house is going to go down.
06:20You and I have to be prepared to take the family's share.
06:26The family?
06:27No, you mean the company, right?
06:31Yes, I admit it.
06:33The construction company, the family, the house, everything is united.
06:38I'm not going to deny that I'm not interested in business.
06:42But I'm also interested in the future of the Maldini family in general.
06:48I appreciate your concern, Miguel Ignacio.
06:50But I'm going to get Leonardo back.
06:52And with him by my side, I'll face all the problems.
06:57And your little thing ...
07:00Are you going to face Rafaela?
07:02What?
07:06Your sister has a foreign MBA.
07:09She is a businesswoman in New York.
07:11She has many contacts in Europe.
07:13Do you think I haven't cast an eye on the construction company?
07:16It's true.
07:18She fought with me when my mom put me in front of the companies.
07:22And the saltimbanqui, what are you going to do to stop that?
07:25At most, he's going to start singing.
07:27Isabela, think about it.
07:30Who do you need by your side when Pepe González is the man of this house?
07:39Pepe González!
07:46PAU, PAU, PAU, PAU, PAU, PAU.
07:54PAU, PAU, PAU, PAU, PAU, PAU.
08:03After all, Isabela is not so stupid.
08:06To me with little things.
08:09Soon, very soon.
08:12I want to be the fifth Teletubbies.
08:16Oh, he already saw me, he already saw me.
08:18And just when I was dancing to my godfather.
08:20Oh, he's going to kill me, he's going to kill me.
08:24I tell you, this house is coming to bite.
08:27No, he didn't hide me, he didn't hide me.
08:33Hello.
08:35Oh, what's up? I'm not going to do anything to you.
08:37Oh, miss, please don't throw me away. I'm very good.
08:40Me too.
08:42Oh, but I don't know why the idiot of my boyfriend prefers the horrible and classless lizard.
08:48You know who I'm talking about, right?
08:50I don't know anything, miss.
08:52Well, it's okay, it doesn't matter.
08:54As I was saying, I love Razek and he's cute, but he has that weakness for humble girls.
09:01Surely because he gives everything to him.
09:04On the other hand, I am old-fashioned and I respect myself.
09:06And if my boyfriend loves me, he knows how to wait for me.
09:10Right? What do you think?
09:12I'm very good.
09:14Well, then you say that if I want to retain my boyfriend, I don't have to make it difficult for myself.
09:19Yes, well, maybe you're right, but I'm going to tell you a little secret.
09:25I bought a very nice lingerie.
09:29Look, I had seen a very cute bunny one, but Razek is a fan of dinosaurs.
09:34And I bought one from Velociraptor.
09:37Very cute.
09:39Who are you talking to?
09:41Well, since you don't listen to me.
09:43Oh my, please don't be a martyr.
09:46Okay, well, tell me your things.
09:48Well, it's okay.
09:50I'm going to have a romantic night with Razek and my lingerie.
09:54Really?
09:56Yes, I bought a beautiful one.
09:58Did you buy a lingerie?
10:00Of course, from Velociraptor.
10:02For Razek?
10:04Monster! What are you doing in my room? Get out!
10:08Well, are you going to listen to me or not?
10:23What was that?
10:26We already saw Fuana.
10:27Monster!
10:32Monster! Come here, I'm going to skin you, you bastard!
10:37No, queen, it's not Monserrat.
10:39Leave me alone, you bastard! You've cheated on me, haven't you?
10:43No, but I caught you lying, bastard!
10:45Daddy, run!
10:47Guys, his mother thought it was Monserrat in the front, but it's actually an employee who looks like her.
10:52Yes, yes, it's not her, mom.
10:54She looks like her.
10:55It's another Monserrat.
10:57It's your imagination, mommy.
10:59Guys!
11:01Yes, it's her.
11:03You cheated on me, didn't you?
11:05You made me think I was crazy,
11:07that I was out of my mind to keep you with your lover and send me away, didn't you?
11:10No, queen, calm down, queen.
11:12Yes, it's Monserrat.
11:14But something very funny happened.
11:19She was run over and she stayed to work in the front.
11:25First the rat!
11:27Then the beast!
11:29Open!
11:31Open, demon Monserrat!
11:33Head hit!
11:35Open, Peter, run!
11:37Open!
11:39Open your door!
11:41Open your door!
11:44I never thought I would miss this gray sky so much.
11:48I'm so happy for you.
11:51I'll make you a very special dinner.
11:55To Madame's house?
11:57No, Peter.
11:59I've been locked up at home for so long
12:01that I still don't want to go back.
12:04To the club, then?
12:06No, I don't want to know anything about the club or those people.
12:09I want to see the sea.
12:11The sea?
12:13Yes.
12:15What could be freer than the waves?
12:18Well...
12:19Well...
12:24Where is Caracuñete?
12:26Where did we leave her?
12:28Come on, queen, go up and look for her.
12:30This house is now nobody's land.
12:35Hey, queen!
12:41Where is Caracuñete?
12:43I'll fly you, I'll fly you!
12:45Aha!
12:47Get out of there, damn dwarf!
12:50You can hide me in any hiding place, son.
12:53Where are you? Get out, get out!
13:04I think Miguel Ignacio may be right.
13:07If we become a family again,
13:09I'm sure my mother will give me the construction company.
13:13Get out of there, rat!
13:16Where is she? Where is she?
13:18Get out of my bathroom!
13:20I'm looking for a rat.
13:22A rat?
13:24Yes, a rat.
13:26Queen, queen, have you gone crazy?
13:28Don't do it! That's what you've made me believe!
13:30No, so you can stay with your lover and keep me away!
13:32No!
13:34I'm sorry, Isabela. Let's go, let's go.
13:36Go away, rat!
13:38Shut up, crazy!
14:01The best things in the world have no price.
14:04The sea,
14:05the sea breeze,
14:07the singing of the birds.
14:10One misses these simple, pleasant things
14:14when one loses freedom.
14:36My little boat,
14:39Santa Lucia,
14:42Santa Lucia.
14:48And I asked you,
14:50is your house on the other side?
14:55And I told you,
14:57Peru is now my home.
15:00You've suffered a very hard, very hard lesson, Francesca.
15:05I know.
15:07But the nightmare is finally over.
15:13This is the same sea that brought me here.
15:18With nothing.
15:20With one hand in front and the other hand behind.
15:23And I brought you to work day and night, dad,
15:27to get ahead.
15:30Your example is the best thing you could leave me.
15:36And this country gave us everything, Francesca.
15:41Don't turn your back on it.
15:44Prison has changed me a lot, dad.
15:48I see things in a different way.
15:52I'm different.
15:54No.
15:56No, daughter, no.
15:58You're becoming my Francesca again.
16:16Dad?
16:18Dress up, madam.
16:20It's getting very cold.
16:23Thank you, Peter.
16:25I've heard what I had to hear.
16:29Let's go home.
16:31Let's go.
16:40Mr. Commissioner, this complaint is unfair.
16:44My mother was attacked.
16:46And now it turns out she's to blame?
16:48The police department says quite the opposite.
16:51Listen.
16:52After countless insults and humiliations,
16:55the angry woman attacked us with blows and kicks,
16:58attacking us with a white weapon.
17:01White weapon?
17:03Mom, did you have a knife?
17:05Of course not, Mikey, how could you?
17:07They were just my magazines.
17:09Of course, a white magazine.
17:11It's just that in the magazine Chosas there are no colored people.
17:13Mr. Commissioner.
17:15That complaint is a mockery.
17:18It's true.
17:19Your shift officer is studying dramaturgy.
17:22That's why in your police departments they make you a little colorful.
17:25Of course.
17:27And because of a dramatic sub-officer,
17:29my mother was detained in Immigration
17:31and they didn't let her leave the country.
17:33I'm so sorry, ma'am.
17:35I apologize for the case.
17:37Thank you. You are a gentleman.
17:39If it's not too much trouble,
17:41could you file the complaint so that I can leave the country?
17:44I'm sorry.
17:46That can only be done by the complainants.
17:47But I was the assailant.
17:50But they went to court.
17:52Does that mean we'll have to go to court?
17:55Because I warn you that my mother is going to bring the best lawyers in London.
17:59Straight from the London Chamber with everything and a wig.
18:02I hope we don't have to get to that.
18:04Officer,
18:06I'm sure there has to be a simpler way to fix this matter.
18:11If you give me the names of the lady and her daughter,
18:14maybe I can get them to come to terms.
18:15I'm sorry,
18:17but the protocol does not allow me to give the whereabouts of the complainants
18:20for fear of retaliation.
18:22Well, but maybe you can tell us who they are not.
18:26Okay.
18:28I will answer in monosyllables.
18:30Ready? Go ahead, mother.
18:32Well, they were two ladies of another level.
18:37They had no education or manners.
18:40Maybe if you describe them a little more.
18:42Well, the mother was very short, she was a dwarf,
18:46something like that.
18:48With a vinegared gesture on her face.
18:50Her hair was orange, beige,
18:53and she gave herself ladylike airs.
18:56Oh my God, and she didn't even know how to dress.
18:59Vinegared gesture,
19:01like a Cuy, like a Pequeness?
19:04Yes, yes.
19:06And the daughter was rather robust, exuberant,
19:09and with sparkling colors.
19:10That, yes.
19:12She looked like an inflated Christmas tree.
19:14Doña Nelly and La Tere, right?
19:17Very well. Case closed.
19:19Look for the lady and convince her to file the complaint.
19:22I don't think it will cost you much work,
19:24but please don't tell Doña Nelly that I helped you find her.
19:28Hello.
19:30Lucy.
19:32I've been waiting for you for a while.
19:34Yes, yes, but Lucy, we have to talk.
19:36Oh, how serious.
19:38I don't like words, I like action.
19:40Lucy, please.
19:42Have you ever been with a big woman?
19:44No, no, no.
19:46Oh, you don't know what you're missing.
19:48No, no, no, no.
19:50Oh, you don't know what you're missing.
19:52No, no, no, no.
19:54Oh, you don't know what you're missing.
19:55No, no, no, no, no.
19:57Oh, you don't know what you're missing.
19:59I need a Viking like you, big.
20:01After five years of forced abstinence,
20:03you don't know how I am today.
20:05In total exhaustion.
20:07Yes, I understand.
20:09Lucy, you're going to forgive me,
20:11but I have to introduce you to someone.
20:13Charo.
20:15Hello.
20:19I don't get into that, but if you want.
20:22No, no, no, no.
20:23My wife is my wife.
20:25Are you married?
20:27Yes.
20:29And me? I don't understand.
20:31Why did you try to fall in love with me if you had a woman?
20:33I didn't try anything.
20:35It was all a misunderstanding of mine, Ignacio.
20:37He always gets him in trouble.
20:39Well, he sent him to finish with you.
20:41That.
20:45Oh, forgive me, Charo.
20:47I didn't know.
20:49You have to understand,
20:51after five years in the shadows,
20:53I don't understand.
20:55Yes, I understand you.
20:57I just wanted to clarify that Raul is my husband
20:59and don't get your hopes up with him.
21:01Let's not talk about it anymore.
21:03Rather, don't you have a little brother like you?
21:06A sister and yes, yes, we look alike.
21:08No, thank you.
21:10And nothing else happened.
21:12Again, excuse me, Charito.
21:14You know,
21:16you're a very pretty woman
21:18and I think
21:20if you put two more chips in the broth,
21:21you get more beautiful.
21:23Really, seriously.
21:26Oh, you make a nice couple.
21:30Well, I'm leaving.
21:32Take care.
21:34Of course.
21:36Good luck.
21:40Why me?
21:42She left.
21:44She left, right?
21:46And so fast.
21:48You see, you just have to listen to me, my love.
21:49We're not going to get out of your mess.
21:51Yes, you're right.
21:53It's just that I'm so stupid,
21:55but I was afraid you'd be upset with me.
21:57Of course I'm upset,
21:59but I'm your wife and we have to be together
22:01and get out of your mess,
22:03no matter how stupid it is.
22:05Together.
22:07Yes, I love you.
22:09I love you too.
22:11But don't think it's going to happen to me so fast, Raul.
22:13Oh, no?
22:15Microwave?
22:17What?
22:19I can't hear you.
22:21What?
22:23The refrigerator?
22:25No, the microwave.
22:27No, Raul.
22:29Let's go home, my love.
22:31Yes.
22:33Let's go.
22:42Let's go.
22:44Let me go.
22:46Let me go.
22:47You're a pain in the ass too.
22:49Let's go.
22:51What's wrong?
22:53Reina?
22:55It's in here.
22:57It's in here.
22:59It's the good one.
23:01It's the good one.
23:03Hey, hey, hey, Reina.
23:05Calm down.
23:07Let me go.
23:09Let me go.
23:11What's going on here?
23:13When not, Reina Pachas.
23:15Let me go.
23:17Let me go, please.
23:19Ma'am, I'm sorry,
23:21but I'm going to put an end to this plague.
23:23Get rid of the husbands.
23:25What's going on?
23:27As far as I know, my mokama is with Juel González.
23:29Yes, that's it.
23:31Montserrat is with Juel.
23:33Are they in love?
23:35Get out of here, please.
23:37Mr. Pillar, please.
23:39I'll explain your situation and we'll talk, Montserrat.
23:41Let's go, Reina.
23:43Let's go.
23:45Let's go.
24:01How can you sleep with so many cockroaches?
24:03Cockroaches?
24:05I didn't know there were cockroaches.
24:07Like I sleep on the hammock.
24:09But I sleep on the floor.
24:11What does that mean?
24:13What do you want me to tell you, Leonardo?
24:15The gringo never complained.
24:17Although sometimes he said something like cockroach, cockroach.
24:19But I thought it meant health.
24:21Do you think she's down there?
24:23With Mrs. Nelly?
24:25Impossible.
24:27What's wrong with you?
24:29I just remembered that you almost kicked the lady.
24:31I thought she already knew.
24:33As she said, she knows everything about Teresa.
24:35Nobody knows. You can't tell her.
24:37Have you talked to anyone?
24:39No one.
24:41Don't be stupid, Tito.
24:43I made her see how much you really love her.
24:45It would be a shame for such a pure and sincere love to be lost.
24:47You have to talk to her.
24:49Yes, but...
24:51What about Pepe?
24:53Do you think he's going to listen to his sister's wishes?
24:55If you really love each other and formalize,
24:57you can go together to talk to him.
24:59He's never going to do that.
25:01Well, we'd have to go together so he can see it's serious, right?
25:03Of course.
25:05You have to do something right away.
25:07Are you sure she loves him too?
25:09Completely.
25:11She doesn't know anything about you, Tito.
25:13She told me, but...
25:15She's not going to wait forever.
25:17You're right.
25:19You're right.
25:21I'm going to be brave right now and I'm going to talk to her.
25:31Does Inanna Velicosa live here?
25:33Yes, they live here.
25:35In Las Lomas, right in front of the Valdini's.
25:37Oh, Mikey, please.
25:39You can't go in alone.
25:41Don't tell me they're the same as the Valdini's.
25:43No, no, no.
25:45They're not the same.
25:47They're a little more surreal.
25:49Oh, my God.
26:01So now you're in love with Joel.
26:06Yes.
26:08Yes, Godmother.
26:09Now I'm with Joel.
26:11I don't have anything to do with my godfather anymore.
26:15Did you hear her, Queen?
26:17Monserrate is now Joel's girlfriend.
26:19She doesn't want anything to do with me anymore.
26:21Let's go home.
26:23In love, in love.
26:27Yes, yes, Godmother.
26:29Look!
26:31What a coincidence.
26:33There's Joel.
26:35If you're in love, kiss him.
26:37Kiss him.
26:39Kiss him.
26:54How easy it was to break up with the fat one.
26:56And I, who deserved so many problems.
26:58That's the solution.
27:00Women understand each other.
27:02I should trust my wife more.
27:04Together, we get rid of Cris's crazy.
27:07Of course.
27:12What are you thinking?
27:14Me? Nothing.
27:17Actually...
27:20Electrodomestics.
27:22Oh, Raúl.
27:24Me too.
27:25Yes?
27:26Yes.
27:38It's Cris.
27:47Kiss him?
27:49Yes.
27:50And no piquitos or nonsense.
27:52With his recuteco, his language, his interlaced.
27:55Like that.
27:56Isn't it your machucante?
27:57Then kiss him.
27:59Monserrate is a shy girl who doesn't like those demonstrations of affection in public.
28:05I didn't say anything.
28:08Is he your boyfriend or not?
28:11Yes, yes, godmother, I already told him yes.
28:14Demonstrate him then.
28:16Quickly.
28:26Join me, godfather.
28:30Monserrate, I was just thinking about you.
28:37Joel, I think it's time to...
28:55Satisfied?
29:08You're going to kill me.
29:27I already told my palomita.
29:29Now it's fine.
29:31Thank you very much, good man.
29:32You're welcome, you're welcome.
29:33Mr. Gilberto.
29:35Preparing lunch?
29:36No, I'm washing my pants.
29:38Pantaloons, my pantaloons.
29:45Hello.
30:07Mike, I don't think we should come.
30:10Don't worry, mother.
30:11Oh, no.
30:12He came to insult us.
30:13I'm not going to allow it.
30:14At this moment, I let go of the bow and strip her.
30:17No, we have come to reconcile.
30:18But first I strip her.
30:20Shhh, calm down, Teresa.
30:21Let's see, let's hear what the lady has to say.
30:23Mommy.
30:24Silence.
30:28Lady?
30:32Miss?
30:33Miss?
30:35I...
30:37I'm very sorry about the incident the other day.
30:41I admit that I misused my words.
30:46And...
30:47For that reason, I have come today...
30:50To your house...
30:53To ask you personally that...
30:58Please excuse me.
31:03I'm sorry.
31:11Chris?
31:12Yes, Christian Rocha.
31:15Ah.
31:16Why don't you answer?
31:18Yes, right?
31:20Yes, why don't I answer?
31:22If it's a private conversation, I can leave you alone if you want.
31:26Yes.
31:27No, I mean no, because you can listen to all my conversations.
31:31Hello?
31:33Did you think you had gotten rid of me?
31:47Not yet.
31:54Look who's here.
31:56The little turtles, little turtles.
31:58They had it well kept, right?
32:00Miss Reina.
32:02Montserrat is now my little lady in love.
32:05That's how I see it.
32:06Oh yes, yes.
32:07Joel is...
32:08He's very good to me and...
32:10And...
32:11And he's very cute.
32:12He even takes me to serenades.
32:14Mexican serenades.
32:15Oh, what a pretty girl.
32:18Yes, Montserrat likes Peri Infante, right?
32:20I fulfill my child all his whims.
32:24Come on, man.
32:26Well...
32:27Oh, if Mrs. Francesca sees me with Joel, she's going to bother me.
32:29Oh, you can't lose your job, Montserrat.
32:31Go, go, go home.
32:32One moment.
32:34I'm not done yet.
32:43Uh...
32:46You told me horrible things.
32:48And you didn't even let me defend myself.
32:51I had to put the dots on the yes.
32:53You should never have asked that guy to call me.
32:57But I cut him in one.
33:00You never met him?
33:02No!
33:04Raúl, I thought you were different.
33:08But no.
33:09You called me crazy.
33:10Crazy.
33:12You're just like everyone else.
33:15You know what?
33:16I'm going back to Miami.
33:18I don't want to see you again in my life.
33:20Miserable!
33:23Hello?
33:24Hello, Christian?
33:25Christian!
33:27Is something wrong?
33:29No.
33:30On the contrary, my love.
33:31This Christian Rocha is the best.
33:33I'm happy, my love.
33:37I feel like dancing, singing, really.
33:39We're going to dance in a bar.
33:47Come on, Montserrat.
33:48You can't leave me like this.
33:51Joel, please.
33:53We're in front of my godmother and my godfather.
33:55No.
33:57Let's go around.
33:58Because the lovers want to do their thing.
34:00I'm sorry, Joel.
34:01But if I don't want to lose my job, I have to go.
34:04Goodbye, godmother.
34:05Goodbye, godfather.
34:07Isn't there one more kiss for the lover?
34:09Give me one.
34:18So you and Monsefona are lovers?
34:21Cinta.
34:26I'm going to take a shower, just in case.
34:28I'll have a lemon too.
34:31Let's go, Lucho.
34:32Is everything okay, sis?
34:33Let's go!
34:34Let's go.
34:40What do you think, girl?
34:43Yeah!
34:53I admit that my behavior wasn't the most appropriate.
35:00I had a bad day.
35:01Yes.
35:02Anyone can have a bad day, right?
35:04Look.
35:05My mother is a somewhat anxious person.
35:10And that day she forgot to take her pills.
35:13Mom.
35:14I think she's a dangerous lunatic.
35:16We should call the asylum.
35:21I imagine the lady already found out that there is a complaint against her.
35:26I am a very polite woman.
35:30Correct.
35:31Educated.
35:32Fine, ma'am.
35:34The truth is that I don't know what happened to me that day.
35:37I think it was...
35:38The pills.
35:39What pills?
35:41This lady attacked us.
35:43She treated us worse than a pair of old shoes.
35:46Yes.
35:47You know, my dear lady,
35:48that here in Lima it is forbidden to discriminate against people.
35:51Yes.
35:52And you treated us like ordinary people.
35:54Like chuscas.
35:57But remember that the magazine Chostas was in its full name to make the complaint.
36:00Yes.
36:01And we are not going to sit idly by.
36:03At this very moment we are going to call the whole family.
36:06Yes, to the whole family so that they do Tupac Amaro.
36:09Are they going to do Tupac Amaro to my mom?
36:12My God.
36:13This gets good.
36:16You and me inside.
36:18I invite everyone.
36:21Because in good countries.
36:24This gets good.
36:28Is it true that you make a nice couple, Monserrat and Joel?
36:33That you look so in love.
36:35Especially her.
36:36It's just what my son needed.
36:39A girl who makes him sit upside down.
36:44If you think that the relationship of Joel and Monserrat is a lie to ...
36:50Do you think I would be like that?
36:52Loose bones?
36:53Without thinking that?
36:55Of course they are in love.
36:56But let's see how long it lasts.
36:58Because that Monserrat is very easy.
37:01But that she has her gut, she has her gut.
37:05So are you going to let her keep working at the front?
37:07Of course.
37:09That's how I keep an eye on her.
37:11In case the son gets tired and wants to win back the father.
37:14No, that's not going to happen.
37:15That's not going to happen.
37:17What makes me happy is that Joel finally found a girl of his level.
37:21A maid.
37:22Little thing.
37:23Because that's what the Monserrat is.
37:25That bitch.
37:26Little thing.
37:27A whole victim crying in the corners.
37:29It's a soap opera with legs.
37:31Don't talk like that about ...
37:33No, I didn't say anything, Reinita.
37:35I didn't say anything.
37:37Oh, you don't know how sorry I am for your children with Charo.
37:40Grace?
37:41Waiting for a son of a former millionaire.
37:43And Joel?
37:45In love with a maid.
37:47Oh God.
37:50On the other hand, my children.
37:51Oh, Chile and Johnny.
37:53Poor of them.
37:54That they bring me little things here.
37:57One thing.
37:58I kill them.
38:00I swear I kill them.
38:07Teresa Collazos.
38:08We would never go down to do something like that.
38:12The complaint is already presented.
38:14And let the justice solve this bochornoso matter.
38:19That said, I'm going to finish now.
38:21Mrs. Nelly.
38:24You are a woman ...
38:33Sensitive.
38:34That.
38:35Sensitive.
38:36And you know that people sometimes don't react as they should.
38:41My mother is very sorry to have called you ...
38:44Chuscas!
38:45He called us chuscas.
38:46How is he going to call us chuscas?
38:48I had never used that word with anyone, my dear.
38:51With anyone.
38:52And also in London it is not used.
38:54But here in Lima, yes.
38:56And it is to despise people.
38:57No, no, no.
38:58My mother did not want to despise them.
39:00But if she loves to despise.
39:02He did it with Francisca.
39:04He did it with me.
39:06Mrs. Nelly.
39:07If we are here, it is to ask you to please file the complaint.
39:12Dead!
39:13Mrs. Nelly.
39:14In these cases, the best thing is to reconcile.
39:17Yes, reconcile.
39:19Look.
39:20We are sorry for what my mother said unconsciously.
39:25We know she offended you.
39:27And ...
39:29We want to know how we can do to forget what happened.
39:50Gionni!
39:51Chirle!
39:55Problem solved, children.
39:57The Montserrat will no longer look at her father.
40:00She is in love with Joel.
40:02Does that mean you're not going to kill her?
40:04No, why?
40:05On the contrary.
40:06I like.
40:07Joel with the Montserrat.
40:08The vagabond and the maid.
40:10It's good, right?
40:14Poor!
40:15Poor!
40:16Of you.
40:17That brings me the nubes that are not worth it.
40:20Little thing.
40:21You take care of nothing else when you bring a vagabond.
40:23And you.
40:24You are not going to mess with a maid.
40:26I used to before.
40:27Now no longer.
40:28Already?
40:29Understood?
40:36Forget what happened?
40:38That's right, Mrs. Nelly.
40:39We are adults, reasonable.
40:41We can reach an agreement, right?
40:43My dear.
40:44Has anyone ever told you that your house is ...
40:51Unique.
40:52Yes.
40:53Unique.
40:55It has a beauty of ...
40:58Art Nouveau.
40:59What?
41:00Hey, gringa, the popo is already flirting with the art of the nude.
41:04It's true, mommy.
41:07Do you really like it?
41:09Mother, be careful with what you're going to say.
41:11Of course.
41:12My dear, of course.
41:13In London they would die for a house like yours.
41:17Yes.
41:18People are already tired of the old-fashioned style
41:21that invaded the residences of the London aristocracy.
41:24Believe me, ma'am.
41:25Believe me and I know what I'm saying.
41:28The decoration of your house is ...
41:32Unbeatable.
41:35So I, in London, would be an aristocrat?
41:39Of the new emerging aristocracy.
41:43May, I think your father and I can reach a healthy agreement.
41:48Doña Nelly, ask for whatever you want.
41:51Yes.
41:52Whatever you want.
41:53Whatever you want.
42:01I want to appear on the cover of the magazine Chosas
42:04as the most important emerging aristocrat in Peru.
42:13I want to appear on the cover of the magazine Chosas
42:16as the most important emerging aristocrat in Peru.
42:22Tere.
42:24It's time for the forbidden fruit to stop being forbidden.
42:27Don't you think?
42:30Yes.
42:32I think it's time to change its name.
42:37And now it's called
42:40the fruit of love.
42:42What are we waiting for?