- 5/28/2025
Dos familias que viven bajo condiciones económicas totalmente opuestas, cruzan sus caminos de forma inesperada.
Category
🗞
NewsTranscript
00:00We're not going to sit idly by.
00:02At this very moment, we're going to call the whole family.
00:04Yes, the whole family, so you can call Tupac Amaro!
00:08You're going to be Tupac Amaro, my mommy.
00:10My God.
00:11You're just like everyone else.
00:14You know what?
00:16I'm going back to Miami.
00:17I don't want to see you in my life again.
00:19You're miserable!
00:23Hello?
00:24Hello, Christian? Christian!
00:27Is something wrong?
00:28No.
00:29On the contrary, my love.
00:31This Christian Rocha is the best!
00:33I'm so happy, my love!
00:35Of course they're in love.
00:36But let's see how long it lasts.
00:38Because that Montserrat is very easy.
00:41But if she's got a gut, she's got a gut.
00:46So you're going to let her keep working in front of you?
00:48Of course.
00:49That's how I keep an eye on her.
00:51In case the son gets tired and wants to win over the father again.
00:54No, that's not going to happen.
00:56That's not going to happen.
00:57We are sorry for what my mother said unconsciously.
01:02We know she offended you.
01:04And...
01:06We want to know how we can do to forget what happened.
01:15Poor you!
01:16That you bring me babies that are not worth it.
01:19Little thing.
01:20You take care of nothing else when you bring me a baby.
01:22And you!
01:23You're not going to mess with a maid who used you before.
01:25Not anymore.
01:26Now?
01:27Doña Nelly, ask for whatever you want.
01:30Yes.
01:31Whatever I want?
01:32Whatever you want.
01:40I want to appear on the cover of the magazine Chosas
01:43as the most important emerging aristocrat in Peru.
01:56Ah!
01:59Aha!
02:02Is something wrong, daughter?
02:03Because now that we talk about aristocrat, aristocrat,
02:06we can cuddle, right?
02:09Of course.
02:10Do you want to appear on the cover of Chosas?
02:14Oh, of course, daughter.
02:16Can you imagine?
02:18An emerging aristocrat and a milady from London.
02:21It would look rich.
02:24Mike.
02:25Mother.
02:26Are you going to give me something?
02:27No, no, no, no.
02:28If he gives you something, there is no deal.
02:29If there is no deal, they do not file the complaint.
02:30And if they don't file the complaint,
02:31you stay in Lima forever.
02:32What do you think of my idea?
02:34Mommy, look at the milady's face.
02:37I think she doesn't like the idea very much.
02:39No, no.
02:40It's not that, no.
02:42It's just that I don't understand the truth.
02:44What is the desire of people to want to appear on Chosas?
02:48That magazine is no longer the same as before.
02:50And besides, now anyone appears in a cover.
02:55I want to appear in the magazine Chosas.
02:58What?
02:59Are you ashamed to be photographed as a chusca?
03:03No, no, no, no.
03:04Not at all.
03:05Doña Nelly.
03:06Raise the complaint and you will have your cover.
03:09How nice, right?
03:10Your cover.
03:11Do you think I'm an idiot, right?
03:13First my cover and then raise the complaint.
03:18Do you drink it or do we leave it?
03:20Mother, you don't have any left.
03:22You have to say yes.
03:30Yes.
03:38Wait.
03:39Wait.
03:43Mother.
03:44Get the best French champagne.
03:47I want to toast to my freedom.
03:50I won't get tired of telling you how happy I am, Madam.
03:56Only you manifest it to me, Peter.
03:58The rest is immersed in their own problems.
04:01But I don't hold a grudge against them.
04:03Call them.
04:04I want to toast to them.
04:06As you say, Madam.
04:08As you say.
04:17Hello, my dear.
04:18I'm Anita Miller.
04:19With whom do I have the pleasure?
04:22Hello, my dear.
04:23Mom.
04:24I have a scoop for you.
04:27Yes, much better than the other day.
04:30Right now I'm here in the residence
04:35of the most important emerging aristocrat in all of Peru.
04:41Yes.
04:42Are you interested in covering the note?
04:43Tell him to send you the best photographer.
04:48Yes.
04:49Please send me the best photographer you have.
04:52Yes.
04:53Yes.
04:54You are a love.
04:56Yes.
04:57Yes.
04:58I'll give you the address.
04:59Of course.
05:04So my friend Miguel Ignacio never met Chris.
05:10My love.
05:11Now that I remember, I have something very important to do at the producer's office.
05:14Oh, Ramón.
05:15You can't do it later.
05:17It's very important.
05:18But I'm coming.
05:19I'm coming.
05:20But why?
05:21But why?
05:33Sit down well, daughter.
05:34Make yourself comfortable.
05:37Tell me, will the photographer take a long time?
05:39I hope not.
05:40There.
05:41Tell the tavern to come out and prepare some criollo steaks for our guests.
05:46No.
05:47No.
05:48Don't worry.
05:49Don't worry.
05:50Don't worry.
05:51Don't worry.
05:52Don't worry.
05:53My mother and I are on a diet.
05:54What a pity.
05:55You guys miss it because the tavern makes a chicken fillet, a causa, a cara purra to suck
05:56your fingers.
05:58Mike?
05:59What a surprise.
06:00Hello.
06:01Raúl, I introduce you to my mother.
06:03Anita Miller.
06:04Nice to meet you.
06:05Delighted.
06:06The pleasure is mine.
06:07Well, I have to go to the producer's office.
06:08I have to walk the beans.
06:09Bye.
06:10Excuse me.
06:13Raul Del Prado, the husband of Mrs. Ayaro and the mother of my ex-wife.
06:22Damn, Mike's mother.
06:25Don't get distracted. You have a matter to solve.
06:33Oh, daughter, you're going to forgive me, but...
06:36I'm going to leave you for a few minutes.
06:38We have to go to put bars inside.
06:41Are you in your house?
06:43No, mom, I'm going to put in a beautiful house.
06:47To open the news.
06:49No. Mike, are you sure we are doing the right thing?
06:53Mother, it's to raise the complaint.
06:55Mike, I can't show up in a house with those people.
06:57Shh, shh, shh.
06:58Shut up, shut up.
07:01But look at this house, for God's sake, look at this house.
07:03Look at this house, for God's sake, look at this house.
07:06Look at those paintings.
07:07They are, they are...
07:09...scary.
07:11Look at that.
07:13It must have macaws, fleas.
07:16And that lady, for God's sake, is so chusca and ordinary.
07:20You're not talking about me, are you?
07:23No, my dear.
07:25Oh, I was just making sure.
07:27We're leaving.
07:28Of course.
07:33We're leaving.
07:55Hello, bad friend.
08:04Breathe, breathe.
08:05Easy, easy.
08:12Oh, I'm sorry, daughter, if we're overshadowing you with our elegance.
08:16But we are the new aristocracy and we have to prove it.
08:19Yes, yes.
08:21Of course, of course.
08:28Hello, Mrs. Miller?
08:29Oh, yes, come in, come in, come in.
08:31Come in.
08:32Come in, come in, come in.
08:34I'm bringing you back your macaw.
08:50Are you going to tell me what's going on with you?
08:52And you still ask?
08:53I trust you, in your word.
08:55And once again you lied to me.
08:57But what lie are you talking about?
08:58I talked to Cris.
08:59And you never got together with her, did you?
09:02Raúl, everything has an explanation.
09:04Yes, of course it does.
09:05You're a bad friend, a bastard, a fraud.
09:08And, of course, Raúl de Prado did do his part, but you...
09:11Raúl, what did you want me to do?
09:13He fucked me.
09:14He realized it wasn't you and he cut me off.
09:17And you're telling me that now?
09:18But I had no other choice, Raúl.
09:20If I told you, you wouldn't have seduced the fat girl
09:23and I'm sure you'd still be harassing me.
09:24Look, I've decided something today.
09:26I'm going to stop being your friend.
09:27It's over.
09:28Don't overdo it, Raúl.
09:30Look, I'll call her right now,
09:32but first I have to practice your way of speaking.
09:34Hello, Cris.
09:35Sorry, sorry, but it's not necessary.
09:36Do you know why?
09:37Because Cris is at the airport right now
09:40taking a plane to Miami.
09:42Do you understand?
09:43What?
09:44Yes.
09:45The stalker is going to stop harassing you?
09:46That's right.
09:47Then why is he harassing me?
09:58Can we take the picture at once, please?
10:00My daughter, for God's sake.
10:01What's the rush?
10:02The expert is the gentleman.
10:04I was asked to take some pictures
10:05in the residence of an emerging aristocrat.
10:08That's me.
10:10Yes, and I'm his daughter,
10:11Teresita Collazos.
10:13Okay.
10:14What do you think if we use the different environments
10:16of the house as a background?
10:17No, with a picture I think it's fine, right?
10:19I'm sorry, I'm sorry,
10:21but I'm the aristocrat.
10:24And I'm in charge.
10:26What pictures are you going to take?
10:28I love using the different environments of the house.
10:32Let's start with the Hall of Fame.
10:35Hall of Fame?
10:36Yes, here.
10:38Come, sir.
10:41Come in, come in, come in.
10:43These paintings represent the illustrious members
10:46of this family.
10:47Juan González, my late husband.
10:50Pepe, my great-grandson.
10:52Charitín.
10:53And Gonzalito,
10:54the first saintly dog, but not like that.
10:57Enough, enough.
10:59The picture, the picture.
11:00Use it for the picture, please.
11:01Let's go, daughter, let's go.
11:02Let's see, here in front.
11:05There it is.
11:06Take it out of a bag.
11:07Take it out, take it out, take it out.
11:09It's going to look prettier.
11:10That's it.
11:11Come here.
11:13That's it.
11:14Let's see.
11:15Smile.
11:17One, two.
11:19Here.
11:21Come.
11:30Did you want her to leave or not?
11:32Of course I did.
11:33Then, Raúl, look,
11:35Cris is going back to Miami and she's going to leave you alone.
11:38And all thanks to who?
11:39To me.
11:40Because I called her,
11:41and she didn't eat the story that it was you.
11:44But, Raúl,
11:45I called her, and she didn't eat the story that it was you.
11:48So, if I told you the truth,
11:50you were going to call her right away,
11:51and you were going to commit some Raulada del Prado,
11:55right?
11:56And everything would have gone to hell.
11:57Do you understand?
11:58Well, yes, you're right about that, but ...
12:01Friends or not?
12:03It may be, but yes,
12:04and only if you promise me that you will never lie to me again.
12:09I promise you.
12:16I can lend you this dress whenever you want.
12:19I see you've been looking at us a lot.
12:21Yes, yes.
12:22Beautiful, beautiful.
12:23This is the family patio.
12:27As you will see,
12:28the doors that lead to the rooms
12:30are made of a very fine wood.
12:33And the floor,
12:34the floor soon will be made of marble.
12:36And what architect designed this house?
12:38Juan González, my late husband.
12:40Oh, González.
12:41Let's see, a photo.
12:43Everyone smile.
12:45That's it.
12:46Mom, what do you think if we take a picture in the main bathroom now?
12:50No, no, I don't think that's necessary.
12:52No, no.
12:53No, of course.
13:00And what are you two doing here?
13:02Come Gilberto.
13:04You already know him.
13:05Gilberto, my second husband.
13:07That's how we are, the aristocrats.
13:09We get married several times.
13:10Be kind, be kind.
13:12Well, are we going to take the picture in the bathroom?
13:15No, Mike.
13:16I warn you.
13:17I don't go into that bathroom even dead.
13:41Mike?
13:44Mrs. Miller?
13:58Mother,
14:10Enough.
14:11Please.
14:13We've known Pepe González all our lives.
14:18We could even say that he's like family.
14:22That's it.
14:23Mother!
14:24Well, can we make a toast at once?
14:26Of course.
14:28Because finally, the nonna is free.
14:32Cheers.
14:33Cheers.
14:34Cheers.
14:37Cheers.
14:41Cheers.
14:43Mrs. Anel, are you going to appear in the magazine Chosas
14:45as the new emerging aristocrat?
14:48Yes, daughter, what do you think?
14:50Can you imagine me next to Anita Miller?
14:53Well, let's continue with our photo session.
14:56Chino, let's go to the terrace.
14:58Come on, daughter.
14:59Chino.
15:00Does this house have a terrace?
15:02To the roof, mother.
15:03To the roof.
15:05Excuse me.
15:06Yes.
15:11My grandmother went completely crazy.
15:16Yes, what I don't understand is what that lady is doing here.
15:22Isn't it more practical to go down and take a shower?
15:25Water is water, Leonardo.
15:27It doesn't matter if it comes out of the shower or the pipe.
15:29You know what?
15:30It's your turn.
15:31Come on, come on.
15:32But it's cold.
15:33I'm cold, aunt.
15:35What is this?
15:38Leonardo.
15:39Leonardo.
15:40Anita.
15:41Anita, what are you doing here?
15:43Taking some pictures with me.
15:45The new great Aristocrat Alemeña.
15:47And you?
15:48What are you doing here?
15:50This is my new house.
15:52Yes, she left Isabella.
15:54The poor woman is so crazy that there is no man who can stand her.
15:57Let's see, son.
15:58Come on.
15:59Let's see.
16:00Take some pictures here.
16:01Let's see.
16:02It is not necessary to take a picture here.
16:04The magazine is not going to publish it anyway.
16:06What?
16:07This place is too ...
16:08Family.
16:09Family.
16:10Family, family.
16:11Oh, yeah.
16:12So, I have an idea.
16:15Take a picture of us on the facade of the house.
16:17Just Anita and me.
16:18Okay?
16:19This is your chance.
16:20Come on.
16:23Yes.
16:24Just Anita and you, mom.
16:25On the facade.
16:26It's a great idea.
16:27Mother?
16:28Just the two of us?
16:29Mother?
16:30Yes, the two of us.
16:31Yes, yes, yes, of course.
16:32Come on, girls.
16:33Let's go, Anita.
16:34Yes, go, go.
16:35Go.
16:36Go fix the photo.
16:37Let's go, let's go.
16:38Let's go, let's go, let's go.
16:39Be careful, son, be careful.
16:40Yes.
16:44It's time for the heroes.
16:50Another Chinese, another, another, another.
16:51I don't like that one very much.
16:54Yes, that.
16:55Another, but with another position.
16:57Now you look over there.
16:58Towards the horizon.
16:59You see?
17:00Towards infinity.
17:01That.
17:02Come on.
17:07For a change.
17:08The boss says that.
17:09The boss says that.
17:10Yes, I know.
17:11Look.
17:12You see?
17:13I know.
17:14Yes.
17:15Look.
17:16What's going on?
17:17What's going on?
17:18No, I mean no.
17:19I mean no.
17:20We're going to go.
17:21We're going to go to the VIP room.
17:23You see?
17:24We're going to the VIP room.
17:25We're going to the VIP room.
17:26Yes.
17:27Yes.
17:28Yes.
17:29I'll go.
17:30I'll go.
17:31I'll go.
17:32I'll go.
17:33Yes.
17:34Yes.
17:35Yes.
17:36It belongs to the emerging aristocracy of Lima.
17:40The suitors are going to love it.
17:43In case Carlitos Cabrera doesn't hurry.
17:46Tere!
17:48Tere!
17:51Tere!
17:56Have you seen Tere?
17:58No, Grandma.
18:00That's weird.
18:07Tere!
18:08Tere!
18:09Charo, have you seen Tere?
18:10No, Mrs. Aneli.
18:11She must have gone out.
18:12Leo!
18:13Leo!
18:14Leo!
18:15Wait!
18:16Listen!
18:17Leo!
18:18Damn it!
18:19Leo!
18:20Leo!
18:21Leo!
18:22Leo!
18:23Leo!
18:24Leo!
18:25Leo!
18:26Leo!
18:27Leo!
18:28Leo!
18:29Leo!
18:30Leo!
18:31Leo!
18:32Leo!
18:33Leo!
18:34Leo!
18:35Leo!
18:36Leo!
18:37Listen to me.
18:38Isabela, you and I have nothing to talk about.
18:41Leo!
18:42Leo, I can't live without you.
18:47I need you to forgive me.
18:48Mother, I'm sorry you had to go through all this, but Mrs. Aneli is happy and that means
19:00goodbye complaint.
19:02Mom!
19:03Mom, I'm talking to you!
19:06Forgive me, Mikey.
19:07I was distracted.
19:08I've been thinking about Leonardo and how well he's done in leaving that woman.
19:12He didn't deserve it.
19:13Cosito.
19:14Cosito, forgive me, you don't know how sorry I am.
19:15I don't believe you, Isabela.
19:16I'm sorry.
19:17I'm sorry.
19:18I'm sorry.
19:19I'm sorry.
19:20I'm sorry.
19:21I'm sorry.
19:22I'm sorry.
19:23I'm sorry.
19:24I'm sorry.
19:25I'm sorry.
19:26I'm sorry.
19:27I'm sorry.
19:28I'm sorry.
19:29I'm sorry.
19:30I'm sorry.
19:31Cosita, yes, you're right.
19:35I should never have let Miguel Ignacio get so involved in our lives.
19:39It was a big mistake, but you learn from mistakes.
19:42And I love you very much.
19:44I don't want to lose you.
19:45Well, it's a little late for that.
19:47You already lost me.
19:51In the name of love...
19:52Don't talk about love.
19:54Ours was extinguished forever.
19:58But my flame is still on, Cosita.
20:00But mine isn't.
20:01And you need two flames to make a fire.
20:04Do you know how much damage you've done to me?
20:06You broke my heart.
20:08And I cried a lot for you.
20:11Cosita, I never wanted to hurt you.
20:13I didn't change you for anyone.
20:16You are the love of my life.
20:18Yes, but I'm not the man of your life.
20:22You say you love me a lot.
20:25But you don't see me as the man of your life.
20:27You see me as a little thing.
20:29And being a little thing doesn't mean I can't be a big thing.
20:33I can help you solve your problems, Isabela.
20:36You can lean on me when you need it.
20:39You don't have to look for another man.
20:42You're right, little thing.
20:45I mean, big thing.
20:48I know I've hurt you a lot, but I'm very sorry.
20:52If you want, I won't approach Miguel Ignacio anymore, but...
20:56I need you to come back home.
20:59When will I find the way to fit in?
21:04What will Mr. Leonardo say now?
21:06Will he come back home?
21:08Life is not what I imagined.
21:12What did you say, Mom?
21:14I said Isabela doesn't deserve a man like Leonardo by her side.
21:18Oh, no?
21:19Not.
21:20Uh-huh.
21:21And what kind of man does she deserve?
21:23I don't know.
21:24Someone of her own intellectual level.
21:27Maybe one of those national Buckingham guards
21:30she had at the door of her house the other day at lunch.
21:32Uh-huh.
21:33Of course, because if Isa Pampañaupa was a little smarter,
21:36she should go back to her ex-husband's magazine.
21:39Both are just for which.
21:41Yeah, yeah, yeah.
21:42And why not Leonardo, huh?
21:44Because Leonardo is an intelligent man,
21:47educated,
21:48endowed with a special sensitivity.
21:52On the other hand, Isabela's sensitivity is that of a cactus.
21:55But it is obvious that this woman has never read a book in her life
21:58or appreciated a work of art
22:00and much less, much less enjoyed a good musical.
22:05It is very clear.
22:06That woman is not interested in culture or art.
22:08Very clear, very clear.
22:11Mother, a question.
22:14Can I ask you a question?
22:16Yes, of course.
22:17Yeah.
22:22Are you interested in Leonardo?
22:26Uh-huh.
22:37I have not seen the baby either, Palomita.
22:40Uh-huh.
22:54This is strange.
22:56Very strange.
22:57I have looked for him all over the house, he is not there.
23:00Teres always warns before leaving.
23:07And if he is with Leonardo?
23:10Think badly and you will get it right.
23:14But if that truant is singing to my daughter,
23:18at this moment I have done it from my house.
23:22Tere,
23:24it's time for the forbidden fruit to stop being forbidden.
23:27Don't you think?
23:30Yes.
23:32I think it's time
23:35to change his name.
23:38And now it's called
23:41the fruit of love.
23:45Is that what you want to call it?
23:49Yes.
23:50And you?
23:52Also.
23:55So,
23:58what are we waiting for?
24:37THE FOURTH EPISODE
24:46Teresa!
24:51Mommy!
24:52I was watching the movie with my face cut off.
24:55Don't do it. I'm going to sleep.
24:58Do you think I'm an idiot?
25:00What's going on? Why so much noise?
25:02Mrs. Nelly, what's going on here?
25:03Don't play dumb.
25:05I saw everything!
25:07I knew!
25:08I knew there was another man!
25:10That's why you weren't interested in Carlos Cabrera.
25:12That's why you made those gestures
25:14when I asked you to fall in love with him!
25:17I thought it was Leonardo, given the circumstances.
25:20But I see I was wrong.
25:23I was wrong, Teresa.
25:24What a shame.
25:26You changed the ideal man for you
25:28and chose the worst whore in the world!
25:32Mrs. Nelly, I'm not a whore.
25:34You're a bum.
25:35A good-for-nothing.
25:36Useless!
25:37But I have a heart, Mrs. Nelly.
25:40What did you two do in my absence?
25:42Mom!
25:43Mom, let me explain, please!
25:46Of course you're going to explain.
25:48Of course you're going to do it.
25:50But get down.
25:51No, Mom!
25:52Get down.
25:53Mom, I...
25:54Get down, I said!
25:55Mrs. Nelly!
25:56Mrs. Nelly, if I may...
25:57No!
26:06No!
26:11Come back home, Leonardo.
26:14Let's give our marriage a new chance.
26:16I know we'll get over this bad time together.
26:21No.
26:22I'm not coming back.
26:25I've made up my mind and I'm not going back.
26:27Pepe and Tito are my friends.
26:29They helped me get over your betrayal all this time.
26:32That's how you talk, little thing.
26:34Little thing.
26:36There has to be something I can do to make you forgive me.
26:40Everything is already lost.
26:44I don't know.
26:45What can I do to make you realize
26:48that you are and always will be the man of my life?
26:57Although, thinking about it,
27:01there is something you can do.
27:03What?
27:04Yes, what?
27:06Make another dream come true.
27:08One that I wake up to realize.
27:11What do you mean?
27:12I don't understand your question.
27:15I mean, if you're interested in Leonardo as...
27:19a man.
27:20Please, Mike!
27:21What are you saying?
27:22Respect me!
27:23I'm your mother!
27:24No, mother.
27:25With all due respect,
27:26all I want to know is if you like Leonardo or not.
27:28Of course not!
27:30But then why do you always talk about him
27:32as if he were the wonderful man?
27:34He is!
27:36No!
27:37Mikey, you're misinterpreting everything.
27:39For me, Leonardo is a musical theater talent.
27:42I haven't seen any of his works yet,
27:44but I feel like he's like a...
27:46a brilliant brute.
27:49And I'm sure that with the right representation,
27:52he could be shining in any of the West End of London stages.
27:56Really?
27:57Of course!
27:58But not next to that woman.
28:00That way he won't get anything.
28:02Well, he already broke up with Isabella.
28:03Now that he's going to get his dream, then.
28:05And I hope he does, you know?
28:07For me, there's nothing sadder in this life than seeing...
28:12a wasted talent.
28:14Oh, I get it, I get it.
28:18Another question, mother.
28:21When are you going back to London?
28:29And officially,
28:32we've been together since today.
28:34Congratulations, Joel. I'm happy for you.
28:36Thank you, thank you, Ricolás.
28:39The truth is, we're very, very happy.
28:41And now we want to enjoy this moment, right?
28:44I mean, enjoy each other, right?
28:46You know that, right?
28:48Of course, of course.
28:49Hey, how did it go? How did you get together?
28:51Well, you know that with my sympathy and my charisma,
28:54women don't take long to succumb to my charms,
28:56don't you, Ricolás?
28:57Then I have them at my feet.
29:00And I'm calm, huh?
29:01I was just throwing my corn at him.
29:04I was calm and patient,
29:06and out of nowhere,
29:08he started pecking me.
29:10Until he couldn't take it anymore,
29:12and...
29:13he left me.
29:15He left you?
29:16He left me, man.
29:17He gave me a kiss.
29:18A slap.
29:20And with that little kiss,
29:22we seal our union for all eternity.
29:26I'm happy for you, Joel.
29:27I just hope it's not a one-day flower.
29:30No, no, no, no, you're not listening, are you, Ricolás?
29:32With that little kiss,
29:33we seal our union for all eternity, I said.
29:36No, I know.
29:37And it's because I know you that I tell you that...
29:39I hope it's not a one-day flower.
29:41I know you're a little...
29:43emotionally volatile.
29:45No, no, that's already...
29:47It's part of the past, huh?
29:48That's already a new story.
29:51Since we first met,
29:53I only have eyes for her.
29:56And I want to give her everything,
29:57everything, my love.
29:59Oh, and don't be surprised,
30:01that very soon I'll have a cousin with whom to play.
30:06Okay, okay, ladies and gentlemen,
30:07everyone get ready,
30:09because it's time for the dance of the Amestru!
30:13Don't say anything!
30:14You have no right in this house!
30:16Mrs. Ariely, if you'll allow me to explain...
30:18Shut up!
30:19Teresa, get out.
30:21Mom, stop treating me like I'm a child, please!
30:26Get out!
30:27Get out!
30:28Get out, boy!
30:29Mom, it hurts!
30:31It hurts me more, your betrayal!
30:33Get out!
30:34Come on, get out.
30:35Mom, please forgive me!
30:37Get out, get out!
30:38I don't want him to hear you, Mom!
30:40Get out!
30:42Mrs. Nelly!
30:44Mrs. Nelly!
30:53I don't want to hear any explanation!
30:55Mrs. Nelly,
30:56I understand that you're upset,
30:57but I want you to understand
30:58that what I feel for Teresa is love.
31:00Love?
31:01Yes, Mrs. Nelly, I fell in love!
31:02Well, you fell in love with the wrong woman.
31:04Teresa is not for you!
31:06Yes, she is!
31:07She is not!
31:08She deserves a man!
31:10A man like Carlos Cabrera, and not you!
31:12And what does Carlos Cabrera have that I don't?
31:14Don't make me answer that question.
31:16Well, okay.
31:17Okay, Carlos Cabrera has more money,
31:19and he has a house, and he has a car,
31:21and he has a few inches more biceps than me.
31:23But I, Mrs. Nelly,
31:25I have love.
31:26I have a lot of love for Teresa.
31:28And I am convinced that she is the woman
31:31with whom I want to form a family.
31:33You are not going to cheat on my daughter!
31:35I'm not cheating on her!
31:36What I say is the pure truth!
31:37Enough!
31:38Enough of that nonsense!
31:39I don't want to hear any more.
31:40At this moment,
31:41grab your four chivas
31:42and leave my house
31:43because I don't want to see you
31:44ever again!
31:57Grab your four chivas and leave!
31:59Mrs. Nelly.
32:00I beg you.
32:01Please don't throw me out on the street.
32:02Give me a chance!
32:03No chance!
32:05How could you corrupt my daughter like that?
32:07I didn't corrupt anyone, Mrs. Nelly!
32:09We just let ourselves be carried away
32:11by our feelings,
32:12and you can't condemn that
32:13because feelings are not our fault!
32:15We can't control them!
32:17But we can control what we do!
32:20How could you?
32:21How could you lack respect?
32:24How could you lack respect for this house,
32:27for this family that welcomed you?
32:30Get out!
32:31Get out right now!
32:32I don't want to see you!
32:35But, Mrs. Nelly...
32:36Get out!
32:37I said get out of my house!
32:39Pepe will find out about all this.
32:42Okay.
32:44Okay, Mrs. Nelly.
32:45I'll leave.
32:46I'll grab my things and leave.
32:48But I beg you.
32:50Please.
32:52Don't tell Pepe anything.
32:54He wouldn't resist.
32:56You should have thought of that before betraying him.
33:01Judas!
33:22What's wrong, auntie?
33:24It's Ervin! It's Ervin!
33:27What happened? Tell me!
33:28My mommy!
33:30My mommy!
33:32What happened to my grandma?
33:33My mommy...
33:34She found us.
33:36She found you?
33:37I don't understand.
33:38Us.
33:40Us?
33:41Us.
33:42Us.
33:43Why?
33:45Because we had to give in to temptation.
33:49Auntie, calm down.
33:50I don't understand.
33:51What temptation are you talking about?
33:52Eating?
33:55Yes, eating.
33:57Eating the forbidden fruit!
34:00Please, calm down.
34:02What's wrong? Why are you crying?
34:05What's wrong?
34:07Llanito, my mom doesn't know anything anymore.
34:10She knows the truth.
34:12No.
34:13You mean...
34:14Yes!
34:15I don't understand.
34:16How did she find out?
34:18She didn't see.
34:20In your room.
34:22Kissing us.
34:24Kissing us?
34:25My God.
34:26I don't understand.
34:30You're going to tell me the truth right now!
34:33Since when are you with Tito?
34:51Hello, Miss Giovanna?
34:53Who?
34:55Yes, talk to me.
34:58Hello, Isabella?
35:00Put that bastard on speaker.
35:02I want to hear what that son of a bitch says.
35:04Yes, me too.
35:07Isabella, can you hear me?
35:10Hello, Miguel Ignacio.
35:12How are you? Can you hear me?
35:14Loud and clear.
35:15Then record what I'm going to tell you.
35:19I don't want you to look for me ever again.
35:21Do you understand?
35:23What?
35:24I don't want you to look for me, or call me,
35:27or write to me ever again in your life.
35:30Is that clear?
35:31Impossible, Isabella.
35:32We have two children.
35:35The children we have are older.
35:38So if you want to communicate with them,
35:40you'll do it directly.
35:41But never again in my life.
35:44Why are you telling me all these things?
35:47Because Miguel Ignacio came back to me.
35:51Let go of me.
35:54Don't come near my wife again.
35:57She loves me.
36:00Never again, Miguel Ignacio.
36:04Hello? Hello?
36:05Isabella?
36:06No, no. Hello?
36:07Hello?
36:11Let go of me.
36:15I already did what you asked.
36:17Are you going to come back home?
36:22Yes.
36:23I'm going to come back.
36:25I missed you so much.
36:27I missed you too.
36:29Kiss me.
36:41How I like happy endings.
36:53Since when are you in love with Tito's vagabond?
36:56Aunt Teresa.
36:57You and Tito?
36:58Answer me, Teresa!
37:00Mommy, I'm not with Tito.
37:03And if you're not with Tito,
37:05what were you doing kissing him in secret?
37:09Mom, please.
37:11Stop complaining to me like this.
37:13And you still love him.
37:15Please calm down.
37:16Calm down.
37:17Take things calmly.
37:21Since when are you doing dirty things, Teresa?
37:23Mom, I'm not going to tell you about my intimacy.
37:27Please.
37:30Understand, Teresa.
37:31For God's sake, come to your senses.
37:33You understand, Mom.
37:38I love Tito.
37:41He's stronger than my conscience and reason.
37:44What I feel for him.
37:47All my life I told you to aim high.
37:50That you would look at a man with money.
37:52That he would give you everything you deserved.
37:54And us too.
37:55And look at what you're doing now.
37:58Why ruin your life?
38:00Tell me why!
38:01Mom.
38:07I just want to be happy.
38:12And do you think you're going to be happy with that vagabond?
38:15Why can't you fall in love with Carlos Cabrera?
38:19Because I can't fall in love with Carlos Cabrera, Mom.
38:23Why not?
38:25Because I love Tito, Mom.
38:29Carlos Cabrera is the ideal man for any woman.
38:33Well, it will be ideal for any woman.
38:36But not for me.
38:38Charo, for God's sake.
38:40Help me, Charo.
38:41Make him come to his senses.
38:43And tell him that he can't be in love with Tito.
38:49You don't choose who to fall in love with, Mrs. Nelly.
38:53It just happens.
38:57Did you know what was going on?
39:01Yes.
39:02I knew it.
39:05And you didn't do anything to stop it.
39:08You didn't tell me anything.
39:10You didn't talk.
39:11You've been acting like an alcoholic!
39:14Actually, I always opposed that relationship.
39:16And I advised Tere to stay away from Tito.
39:19But given the circumstances,
39:22she ignored it.
39:28Nobody respects this house.
39:32But if nobody respects it,
39:36I will make it respect it.
39:39Grandma!
39:40Grandma!
39:41Grandma!
39:42Grandma!
39:43Grandma!
39:44Grandma!
39:45Grandma!
39:46Grandma!
39:47Grandma!
39:48Grandma!
39:49Grandma!
39:50Grandma!
39:51Grandma!
39:52Help me, Charo!
39:54Help me!
39:58I'm singing in the rain.
40:02I'm singing in the rain.
40:06What a glorious feeling.
40:09I'm happy again.
40:12Tito, what are you doing here?
40:15My friend.
40:17Pepe, we have to talk.
40:19Now come on.
40:22I have to be alone.
40:24What I have to tell you is only for your ears.
Recommended
2:51
|
Up next
1:39
0:28
55:25
50:46