La Hija del Mariachi                           Summaries of Colombian Episodes* 10 dic. 2007-18 enero. 2008 updated Jan. 23, 2008

 

 

 

Colombia (Canal RCN) 11 sept. 2006 -

 

These summaries come from the Telenovela-World forum. You may share them, but you may not sell them or include them in anything you sell. In addition, you must give credit to all the sources, especially the authors, and to Telenovela-World (for the collection).

 

Estos resúmenes son del foro de Telenovela-World.  Puede compartirlos, pero no puede venderlos o incluirlos en cualquier cosa que vende. Tambien, tenga que dar crédito a todas las fuentes, especialmente a los autores,  y a Telenovela-World (por la colección).

 

A informação nesta página pode distribuir-se, mas sem cobrar por ela. Além disso, deve dar reconhecimento a www.telenovela-world.com e incluir todas as fontes.

 

Sources/fuentes:  Telenovela-World (www.telenovela-world.com, www.telenovela-world.com , http://foro.telenovela-world.com/n4/list.php?f=424),

A GREAT BIG THANK-YOU TO B.

 

 

Please send additions, changes, corrections to diane@telenovela-world.com/ Por favor, envia adiciónes, cambios o correcciónes a diane@telenovela-world.com.

 

*EXPLANATION FOR THE DIFFERENCE BETWEEN THE TELEFUTURA & COLOMBIAN VERSIONS OF THE NOVELA

 

Telenovela-World:  Re: Rooked,Indeed,(and then,some)! Author: B. (---) Date:   12-13-07 15:48 PST

     <<I don't get why they needed to end the novela.>>

     what happened was, when RCN first decided to make the novela, they decided it would work out to the equivalent of a certain number of "one-hour" episodes, and when they started selling it for air to other networks outside of Colombia, they told the networks that's how long the novela would be. so the other networks --like Telefutila-- plan their programming accordingly. let's say, for the sake of this post, that that certain number was 120 episodes. that works out to about six months worth of programming for Telefutila, so they say to themselves, "if we start airing this the beginning of March, then we will need to have a new novela lined up for the beginning of September," and they go out and contract to air some other novela for then.

     meanwhile, back in Colombia, the novela that was supposed to air for the equivalent of 120 "one-hour" episodes has become SUCH a hit and SUCH a ratings-earner for the home crowd, that RCN decides to extend the story. so they add, say, another month's worth of episodes. now instead of being 120 episodes, it's 140. but all the international networks only contracted for 120. and either they can't change their contracts to accommodate the extension (OR RCN decided that only the home crowd was going to have the privilege of seeing the entire novela). so in order to honor the original contracts, RCN ended up making two versions of the final week(s): one that went (and will go) to anyone who buys the "international" version, and the other that so far only the Colombians are getting to see.

     so it's not a case of Telefutila cutting the story. it's a case of Telefutila airing what RCN was contractually obliged to provide. and we are not the only people who got the "international" ending -- EVERYONE but the Colombians got or is getting it.

 

 

SUMMARIES FROM TELENOVELA-WORLD

 

Telenovela-World:  Re: Pardon Me,But,... (brief summary Colombia 12/10/07) Author: B. (---) Date:   12-12-07 02:24 PST

     as of this past Monday's episode in Colombia (12/10/07): Coloso has been kicked out of five different mariachis --i'm guessing for fighting when he doesn't get paid what he feels he is worth, since that's how he got kicked out of the most recent one-- and is looking really seedy and battered.

     Sigi and Fer are playing with the Maguey mariachi from La Laguna, but Fer in particular isn't too happy as they've done a bunch of serenades and the client hasn't paid yet. Fer and Leti are living together, but it's not in the apartment he had before and it also doesn't look like where i remember her living -- it appears to be a tiny one-room place. i don't know what Leti is doing these days (if it was mentioned, i didn't catch it) but think she might still be a student, as it looked as if she may have fallen asleep while studying. it appears they are happy together, at least.

     Mañanitas is playing with yet another mariachi but they don't seem to be particularly good and, as Maria Isabel mentioned, when he's out working, Lourdes is tricking in order to make ends meet. Genaro knows she's doing this but neither he nor Lourdes wants Mañanitas to find out so she makes sure to come back and get changed out of her gear before Mañanitas gets back to the pensión.

     Jairo is singing rancheras accompanied by pre-recorded tape player in what restaurants or bars, for tips. they seem to be a bit run-down (maybe they're in La Laguna?) and it doesn't appear he's making much, either.

     some of the others are: a bike messenger (Chino?), a bus driver (Pajarito), an auto mechanic (maybe Salvador??), a portero (sortof a doorman) (Giovanni?), and working in some sort of bakery shop thing (Simón).

     Emiliano is working as a mechanic in the prison's auto shop. the other prisoners get him to sing them rancheras (they like "La Faltona" because they don't want songs that sing the praises of women since they can't have any at the prison...). his hair is even longer, and he's let his beard grow in. he has "ROSARIO" tattoo'd down one shoulder blade on his back and apparently the prison no longer feels the need to make him and Felipe wear bullet-proof vests when not in their cell. Rosario is working in a bank and ignoring Macías when he comes around --as apparently he does from time to time-- to tell her AGAIN that with her talent and work ethic, she could and should be doing something much better if she would just let him help her to a job that's truly worthy of her abilities; Rosario won't even speak to him.

     and as Maria Isabel also mentioned, Don Carlos and his family are running a taco joint ("Taquería Garibaldi") with Virginia working as a waitress, Eulalia calling the orders, Don Carlos cooking (presumably), and Mirella doing i don't know what (maybe waitressing as well?). Macías' horrible partner Dr Soto apparently all but haunts the place as he's still mooning over Virginia. he doesn't care that she's pretty rude to him, but i think now that she's seen how her life has changed --and not for the better-- since the bar closed, Virignia perhaps blames him for his part in the whole affair. at any rate, she doesn't want to know from the guy; Eulalia, as might be expected, keeps trying to promote him as an eligible match.

     Comandante Salas was about to retire --in fact, had handed in his letter of resignation-- when Lt Morales told him she was pregnant with his child. so he un-retired because he is about to have a family to support again. they got married, and she's now eight months along. thanks to the e.mail Sigi and Fer sent to Salas before Fer got Emiliano's letter essentially ordering him and the rest of the manada to keep their mouths shut (and telling Fer about the threat Corona and company used!!), Salas and Morales began to re-examine the case against Emiliano. the detectives have now realized that Felipe and Emiliano were framed and Emiliano must've been seriously threatened in order to make him take a 40-year sentence without complaining. in spite of Emiliano's utter and absolute refusal to cooperate, the two detectives have been working diligently to discover the truth, and in yesterday's episode went to the prison with an order for Felipe's immediate release. right as what i saw of Monday's episode ended, they'd just told Emiliano about this (Felipe doesn't know yet) -- we have yet to see his reaction, but i saw a preview where he yells at the detectives that they've just condemned his whole family.

 

 

Telenovela-World:  Summary 12/11  Author: Maria Isabel (---)  Date:   12-11-07 09:29 PST

     Here are the summaries from RCN for 12/11/2007

     Spanish

     Sin esperar los cuarenta años de condena que debía pagar, Emiliano logrará tener frente a frente a Corona, Steve y demás maleantes que arruinaron su vida, para hacerles pagar por todo el daño que le han causado. Sin embargo, antes de cantar victoria, una bala se cruzará en su camino y sus sueños e ilusiones se apagarán.

     Mientras el comandante Salas (Daniel Lugo) y la teniente Morales (Alpha Acosta) se encargan de organizar el operativo de captura de Corona y Steve, Emiliano le contará a sus "ex" amigos que las autoridades mexicanas descubrieron que ni él ni Felipe (Luis Caballero) son culpables de los cargos que les imputan y que extrañamente tanto Corona y Steve aparecen como dueños de algunas sociedades que se crearon para el lavado de dólares. No obstante, la agilidad de Rubén, el maleante que los mafiosos contrataron para matar a Emiliano, será más certera que la de los policías y antes de que Sánchez-Gallardo termine de hablarles, le propinará un disparo en el pecho que lo dejará tendido sobre el suelo. Estas y muchas sorpresas más en la recta final de La hija del Mariachi.

     English

     Without waiting 40 years of his sentence, Emiliano will have in front of him, Corona, Steve, and the other criminals that ruined his life to make the pay for all the damage they have caused. But before being victorious there will be a bullet that will cross his way and his dreams and illusions will be put out.

     In the meanwhile, Salas and Morales will be in charge of organizing the operation that will capture Corona and Steve, Emiliano will tell his “ex” friends that the authorities have discovered that him and Felipe are guilty of the charges that are charged with and that strangely, Corona and Steve appear to be owners of corporations that were created with the laundered money. Nevertheless, Ruben’s agility, the criminal hired to kill Emiliano, will be more certain than the police officers and before Sanchez Gallardo finishes talking, will fire a shot in the chest that will leave him on the floor. This and much more in the final part of “la Hija del Mariachi”

     Enjoy

     Re: Pardon Me,But,...(Summary 12/11) Author: Maria Isabel (---) Date:   12-11-07 17:06 PST

     Hi Pilaf,

     I know that RCN' s summaries are all jumbled, but my understanding is that Emiliano gets shot.

     Since the bar closed, thanks to Macias and Virgies approval, R is now a bank receptionist. They haven't shown much of the characters, but Mananitas is part of another Mariachi group, Lourdes has gone back to being a prostitute to help ends meet, el coloso's friend (his faithful one) is also singing if he gets hired. My favorite is Tacos Garibaldi. Don Carlos, Eulalia, Mireya, and Virginia now have a little taco shop in which they have to work at. It's funny seeing Virgie as a waitress. I haven't seen the most recent episodes, but once I find out what they do I'll post it.

     -Maria Isabel

 

 

Telenovela-World:  Re: Rooked,Indeed,(and then,some)! (very short summary for Colombia 12/11/07) Author: B. (---) Date:   12-13-07 16:00 PST

     <<it sounds like it could go for another 2 months>>

     not really, actually. Tuesday's episode really advanced the story a great deal. in very short order, we saw: Salas and Morales convincing Emiliano to participate in setting up a sting operation to catch ALL the bad guys; said sting operation taking place; Corona, Steve, Andrew, and Rubén turning up and getting caught, except for Rubén, who got shot by the police after he tried to kill Emiliano, who was saved by his bullet-proof vest (it looks like Tomás and the other gringo guy are still at large, for now); Emiliano and Felipe having the official hearing where they are formally cleared of all charges; Emiliano and Felipe packing up their stuff from their prison cell and leaving the prison as free men, while Corona, Steve, and Andrew are being brought into the prison and each is "introduced" to his new cellmates (they're not in cells together, the way Emiliano and Felipe were -- they're each in separate cells with two or three other mean-looking guys, ha ha!), ALL of whom are well aware that these guys are the ones who screwed over "Doc and the Mariachi," and are apparently more than willing to exact some payback on behalf of their former fellow prisoners. (heh!)

     the promo for today's episode (there wasn't an episode yesterday) says that word of Emiliano and Felipe's release quickly spreads around the world but the "manada" is hurt when, upon being interviewed, Emiliano doesn't say a single word about Colombia, the mariachis, or any of the other people who helped him when he was on the run. (speaking of when he was on the run -- Salas and Morales told Emiliano that their baby was conceived in Colombia, when they were there looking for him. Emiliano's reply? "Well, no wonder you couldn't catch me...!" LOL!!!). but that at least the Plaza Garibaldi was going to re-open.

     i haven't seen an official date for the finale announced yet, but i have seen posts speculating it may be next Thursday or Friday.

     (unfortunately, the woman who has been uploading the Colombian episodes went on vacation yesterday, so she won't be uploading any more episodes until after the new year -- waaaahh!!!)

 

 

Telenovela-World: summary for Thu/Fri (12/13 - 12/14) in Colombia, and 'en los próximos capítulos...' (slightly edited)  Author: B. (---)  Date:   12-17-07 02:52 PST

     (brief summary of Colombian eps for 12/13 and 12/14/07, as well as previews for upcoming episodes...)

     Steve's thuggish-looking cellmates at the prison help themselves to all his stuff. he doesn't say a word or try to stop them, but just stands there like a manneqin.

     Corona's thuggish-looking cellmates think he looks cute. Corona shouts for the guard. (what a lame-o whiner!)

     Emiliano and Felipe are given back the possessions they had on them when they were arrested. in Emiliano's case, it's 10,000 Colombian pesos ("it's about $5," he tells Felipe), the ring Rosario gave to him, and his hat. Emiliano is very subdued -- there is none of the joking and enthusiasm we saw in the "international" finale, and instead of putting the ring back on his finger, he quietly puts it in his pocket without even mentioning what it is or what it means to him.

     Leti and Rosario are both still students. Leti has been working in a bookstore. Rosario comes to meet her at the end of Leti's shift. Rosario's all depressed and Leti tries to get her all excited that they're about to take their last exam before graduating and being able to go on and get real jobs that earn real money. she tells Rosario they've both got their whole lives ahead of them. Rosario says that's true for Leti, but as Leti well knows, HER (Rosario's) whole life is BEHIND her.

     at Emiliano's parents' house (or one of them), Felipe, Emiliano, Salas, and Morales wait for the media to arrive for the interview Emiliano and Felipe are going to give now that they've been cleared of all charges. Emiliano is still in this odd, somber mood and he's pacing around restlessly while the other three relax in chairs. he says (in answer to Morales' question) it's been about two years since he's been there. he doesn't seem to care, either way. Salas asks if they've spoken to their families. Felipe says yes, and that very night he will be on a plane to Canada to join his parents. Emiliano says he's spoken to his family as well but doesn't offer any additional commentary. Salas tells the guys he's confident the police will capture Thomas and Ronald very soon -- they've got them tracked down already. the police will let the guys know as soon as it happens (presumably this is so that Felipe and his family, as well as Emiliano's family, can all feel it's safe for them to return to Mexico). the journalists arrive. Morales reminds Emiliano and Felipe it has to be a quick interview because they all have to leave for the airport very shortly.

     Emiliano speaks for both of them:

     Q: How do you feel now you're free?

     A: Well..., free.

     Q: what are your plans now?

     A: Felipe is going to go out of the country this very night, and I myself will be leaving soon as well.

     Coloso, Mañanitas, and Jairo are at the Maguey after hours, sitting around a table with some of the Maguey mariachis, Fer (who seems to be trying to grow a mustache, ick), and Sigi while the bar staff sweeps up and does other after-closing stuff. they're discussing Coloso's options, which seem to be pretty limited and bleak, and Coloso wishes he still had his taxi. Don Memo rushes in all excited: Guys, guys!! Our Mexican is free!

     Rosario's walking home, books in her arms. she looks like she's on autopilot, not actually seeing or caring where she's going. Lourdes comes rushing out of the pension as she passes the entrance and says that Francisco is free. she urges Rosario to come inside because the news is about to be on. Rosario immediately comes to life and is so eager to hear for herself, she just drops everything and races up the stairs. Lourdes stops to collect everything Rosario dropped in her haste, then hurries up the stairs after Rosario.

     on the news, the reporter says she's there with Emiliano and Felipe, both of whom were just completely cleared of all charges. Don Memo and the mariachis and staff still at the Maguey are watching eagerly. they comment on what a fine house Lara's family has. "You see? I TOLD you he was innocent!!" crows Memo. the group is all excited when Emiliano comments that he intends to leave Mexico immediately -- they are certain he's coming back to Colombia, and are crushed when he adds that he's going to Stockholm, because there are some excellent economic models there he wants to study.

     in Lourdes' room at the pension, the mood changes as rapidly as it did over at the Maguey when they hear this. without a word, Rosario picks up her stuff and goes to leave as Emiliano confirms to the reporter that he intends to remain in Sweden for some time. Lourdes and Genaro struggle for things to say. Rosario puts a good face on it, saying she's happy for Emiliano that he was proven innocent and released from jail. Genaro says he had expected that "Francisco" would at least have come to visit them. Rosario says that he's not Francisco any more -- he's Emiliano, and they are all part of his past now. but once outside, she breaks down and sobs, heartbroken.

     back at the Maguey, Sigi tries to look on the bright side: At least Lara's ok... the guys are depressed. Coloso sums it up: "Guys, Lara forgot about us. That's the truth."

     Rosario breaks the news to her mother and Lucía. "So, Francisco isn't coming back," says Raquel. Rosario points out that the important thing is that Emiliano was proven innocent. Raquel agrees that Rosario always knew that Francisco was innocent. but she (Raquel) had believed he kept returning Rosario's letters to him in prison unopened because he wanted Rosario to move on with her life and live it rather than having her putting everything on hold for 40 years. Raquel now concludes that he did it because he didn't care about Rosario after all, and says that she (Raquel) can't forgive him for putting Rosario behind him and breaking her heart like this. Lucía tosses the little stuffed animal "Pacho" gave her in the trunk on top of the returned letters (which are on top of Rosari's mariachi outfit) with a snap. she tells Rosario that she doesn't want to know from Pacho ever again.

     Fer goes home and wakes Leti up to give her the news about Emiliano being freed. before Fer can do more than tell her the first part, Leti gets all excited for Rosario about Lara's being declared innocent and released from jail. thinking that Lara is going to come back to Rosario, she wants to call Rosario right away to make sure she's heard the news. she's talking a mile a minute and it takes Fer a while before finally manages to tell her the rest of the story. she immediately deflates on hearing about the Sweden plan. "I think he left us behind," Fer concludes.

     someone's walking around the vacant Bar Plaza Garibaldi, seemingly checking the place out. the way this is shot, we are looking at the place from the person's POV. it looks like all that was done after the bar closed was to bring the posters advertising the various stars in from outside and leave them propped up any old where inside the bar; otherwise things seem to be pretty much as they were when the place closed for the last time -- it doesn't look like it's been used for anything in the months since. the unseen visitor's footsteps echo around the place as s/he continues the tour.

     Rosario is waiting for Leti at the bookstore. Leti tells her she went to look for Rosario at the bank -- she heard the news about Lara from Fer and she's very sorry for Rosario. Leti wants Rosario to take her ring off, but Rosario says no, she promised she'd never remove it.

     the guy who's been walking around the bar turns out to be a sortof blondish, nice-enough-looking guy in a suit (we see this when he checks himself out in the mirror of one of the dressing rooms, and we also see it's not just him that's there visiting). after walking around some more, he tells the estate agent with him that he's seen enough: he wants to buy the place. the estate agent starts talking about prices but the guy (whose name we learn later is Don Alejandro but who some on the forums are calling "Hembro" since that's what Virigina said about him when she first sees him a few scenes from now) says he's not interested in the price, he just wants to buy the place. the estate agent tells Hembro to contact Don Carlos and work things out with him. then Hembro hands the estate agent a card (that presumably has a name written on it) and says, "This man used to work here. I need to find him." on the way out, behind Hembro's back, the estate agent crosses himself and says a silent prayer or thank-you. as Hembro walks away, the estate agent quietly takes down the "for sale or lease" sign from the board outside.

     Macías is not happy to hear that Emiliano was set free and even less so to learn that he was innocent after all. Soto says that's the bad news. the good news is, Emiliano's going to go live in Stockholm. Macías asks about Rosario, and Soto babbles on about Swedish women. Macías decides this means Emiliano abandoned Rosario, but oddly, he doesn't look quite as pleased about this as you would think (he looks more like he thinks there must be a catch somewhere...).

     as Fer's music students all leave, Hembro enters the classroom to speak to Fer.

     Fer goes to find Leti at the bookstore to tell her the news: "They're reopening Plaza Garibaldi -- our bar!" it seems a Mexican company bought it and wants to get everything back just as it used to be.

     Fer goes to meet with Sigi, who bawls him out for telling him they have to meet at Fer's right away and then being late and leaving Sigi standing around in the rain and everything. Fer apologizes, saying he had to tell Leti first, and asks if Sigi is ready for some good news. Sigi thinks he's saying Leti is pregnant. Fer sez no, that's not it, and asks if Sigi still has his mariachi suit. Sigi says it's in storage -- no way would he pawn it. Fer tells him to get it out. Sigi insists he's not going to pawn it. Fer: "The mariachis of Plaza Garibaldi are returning to their bar. That's it!" Sigi is ecstatic.

     Sigi waits for a bus to pull up. when the driver opens the doors, Sigi greets Pajarito. they have some chat about how this job isn't that great but what can you do...? then Sigi breaks the good news.

     Fer and his dirty upper lip wait for Salvador, the bike messenger kid, to show up. he plays a similar game with Salvador to that Sigi just pulled on Pajaritos, commiserating on the crappy job, then telling the kid there's a place that needs a violinist for a mariachi band, and only then telling him it's Plaza Garibaldi. Salvador gets this huge grin on his face.

     Pajarito goes to the bakery-type place where Simón is working and orders eleven each of various different things (rolls or whatever), telling Simón to have them delivered to the Plaza Garibaldi because a mariachi is going to be starting rehearsals there. Simón can’t believe it. the two hug each other over the counter.

     Fer tells Giovanni, the doorman guy, that he would look better dressed as a mariachi than as a doorman. Giovannisays his job is totally boring, and Fer tells him he's got a job offer for him, if he's interested: a post as a violinist at the Plaza Garibaldi. Giovanni: "What?!"

     Sigi arrives at the garage just as the nasty boss is giving the mechanic mariachi (Henry?) a ton of grief. the boss wants the mechanic to kick Sigi out and get back to work. Sigi suggests the mechanic mariachi tell his nasty boss to take the mechanic job and shove it, because he's got a way better job for him -- as a mariachi in Plaza Garibaldi.

     Fer and Sigi both go to find Coloso, who's been in yet another fight, this time when he went singing with Jairo the night before. "Wherever you were when it happened, I'll bet Jairo can never sing there again," opines Sigi. Coloso glumly agrees he messed things up for Jairo and says the closing of Plaza Garibaldi totally ended his (Coloso's) life. Sigi and Fer work as a tag team, messing with Coloso a bit, telling him they've heard of this great job that would be perfect for him except there's a big catch. but everything they're telling Coloso about the job --being the leader of a mariachi, etc-- just sounds great to Coloso. in fact, it seems too good to be true to the depressed man: the way they’re setting things up –constantly looking at each other to decide whether or not he’s strong enough to withstand the blow of a particular piece of information—Coloso’s constantly waiting for the other shoe to drop. by the time Fer and Sigi finally get tired of stringing him along and just tell him everything, Coloso thinks they're lying to him and threatens to beat them up. it takes some convincing to get him to believe that a Mexican company bought the bar and is going to re-open it, with the sole condition that the entire original mariachi returns. Coloso is so relieved, he starts to cry.

     with Coloso finally convinced, the three go to find Jairo, who is working in a restaurant in what looks like La Laguna. Sigi and Fer let Coloso have the fun this time. Coloso tells Jairo's would-be customer that he'd better take the opportunity to have Jairo sing for him now, because next time he wants to hear Jairo sing, he will have to pay way more AND instead of Jairo coming to him, he'll have to go to Jairo, at the Plaza Garibaldi.

     the four of them go to find Mañanitas, who is once again being put down --and in front of a client!-- by the leader of his current mariachi group. overhearing this latest put-down, Fer asks the leader why he doesn't say that to him (Fer) instead. Mañanitas is surprised to see his former bandmates. Fer suggests to him that he throw the first punch at the leader; Sigi endorses this, saying they're there as backup. Coloso, looking more cheerful by the minute as he dances in place and throws a few practice jabs in the air, says he'll throw the second punch, and Jairo chimes in that he'll throw the third. Mañanitas giggles in that way he does, then turns and asks the would-be client to hold his guitar. then he punches the leader of the mariachi. a brawl ensues, with all the mariachis from both groups piling into the fray. as Sigi effortlessly holds off the one girl mariachi with one hand (his reach is longer than hers), Mañanitas asks him what they're doing there. Sigi replies that the manada is getting back together at Plaza Garibaldi. Mañanitas is so astonished, one of the other mariachis has a chance to sock him in the face. Sigi, still holding off the girl mariachi, shakes a finger in the face of the guy that just punched Mañanitas, saying, "Not like that -- like this," and he punches the guy in the nose. Mañanitas watches and giggles, then falls over in a faint, a big smile on his face.

     Mañanitas, carrying a bouquet, some candy, and a stuffed toy animal, comes dancing back to the pension, arriving from one direction just as Lourdes, all tarted up in her hooker gear, arrives from the other. he stops abruptly and his face falls; he wants to know why. she explains its to help cover expenses. she adds that she adores him and does so with her whole heart, but now he doesn't want to know from her. Mañanitas throws the gifts to the ground and storms off.

     Lourdes is in her room, sobbing quietly. Genaro comes in to find out what’s wrong, and she tells him how Mañanitas came back early and saw her. Genaro gently points out that he warned her this would happen one day. Lourdes knows, and she's just sick about it. Mañanitas is the best thing that ever happened to her. she adores him, and he was the only man who realled loved her. Mañanitas is in the doorway with all the stuff he'd tossed on the ground outside back in his hands. he tells her he knows they're going through some tough times financially, but he doesn't want her earning money like this. she protests that he's killing himself working, and this is the only way she knows to help. he says he does love her and will forgive her this time -- but she's never to turn any more tricks, because he won't forgive her if it happens again. she promises. then he asks for the money she earned that night. she hands it to him and he rips it up. he recklessly agrees that now they don't have a peso to their name, but adds that at least he's got a good job that pays well. at "mi casa" -- the Plaza Garibaldi. Genaro and Lourdes are astonished.

     Hembro turns up at the taquería. Virgina just about faints when she sees him. she starts primping, getting ready to go fawn all over him. watching her do this from his seat at a table, Soto thinks (with obvious surprise -- LOL) that it's for him. Eulalia shuts down Virginia’s hopes by telling her to get back to work, Table 6 needs tending. Virginia stomps off to the indicated table in a huff while Eulalia goes to see what the good-looking stranger wants. Hembro tells Carlos he has a proposition for him.

     the whole manada goes to see Rosario at home. she tells them she's really happy for them, but she won't return to the bar. Sigi explains that the deal is all or nothing: if it's not the whole mariachi, including Rosario, then none of them get the job. Rosario comments that one other is also missing. they know she's referring to Lara but dismiss him, saying that he's forgotten about the manada. in contrast, they add, SHE’s never let them down. they urge her to do it. Rosario repeats that she's told them a thousand times: she's not putting on a mariachi suit again, never mind singing. but, she adds, she'll go to the meeting with them and try to convince Hembro to let the group get together without her. Mañanitas replies that without her the mariachi will have a body, but no soul.

     Hembro gets an address from the man who makes and sells the marichi suits (the one Rosario pawned Emiliano's suit to). in the next scene, Hembro's walking into Bar Maguey. the club's not open yet, and only Don Memo is there, behind the bar, doing some accounting. Hembro says he's looking for Don Guillermo, and after Memo identifies himself, Hembro tells him that Memo has something he needs.. (it's SO obvious Memo is the one who bought Emiliano's mariachi suit...)

     Soto’s totally become Mr Bad News around the office... now he’s told his horrible cuate Macías about how some Mexicans are reopening Plaza Garibaldi, saying that they offered his "father-in-law" (ha ha, he and Eulalia wish!) a deal as a partner. Soto's drinking whiskey and his unhappiness with this latest development is making him even less coherent than usual. Macías is again incredulous, and this time he's definitely unhappy. ha ha. serves him right.

     that night, Rosario is delighted as she tells her mother, "They hired all of them -- ALL of them!!" if Raquel had just seen the happy faces on all the guys --!! they've been so sad and depressed for so long... Raquel says she's happy for the manada, then asks what Rosario is going to do. Rosario replies that she will be there to support the guys, but she's not going to go back. Raquel says that if it will make Rosario happy again, then she (Raquel) --along with the mariachis!-- will be delighted should Rosario decide to rejoin the group. Rosario takes this in, but then repeats she's not going to return. Raquel guesses that it's because of Francisco. Rosario confirms this, adding that she can't be in places that remind her of him and of all the places there are, the Plaza Garibaldi is the one that reminds her of him the most.

     the next day (?), the manada, including Rosario, is gathering at Plaza Garibaldi. her face tight and sad, Rosario stands looking at one of the posters that used to be outside the bar -- the one of Francisco Lara. the camera pulls back and shows that the rest of the manada is all there, too, waiting around for.... something.

     instead of a promo for the next episode (whenever that will be -- i've seem some comments that seem to indicate there won't be any new episodes until after the holidays!!), they had a series of clips the chyron said are from upcoming episodes ( note the plural):

     Sigi to a group of people (not identifiable in the shot, but probably the manada): "...They tell us it's going to be exactly as it was..."

     Steve stands wordlessly in front of the judge as he is sentenced to 25 years in prison. (Steve seems to be doing a lot of that lately...)

     at Fer and Leti's little apartment, Sigi says, "Lara finally freed himself from all his enemies!" "And from his friends," Leti snarks in reply.

     Corona yells at the judge that no WAY is he going to spend 40 years in prison. the guards haul him out of the

 

 

Telenovela-World:  SUMMARY for Colombian episode - 17 Dec 2007 Author: B. (---) Date:   12-18-07 21:18 PST

     PLAZA GARIBALDI - THE MAIN ROOM: Rosario, her face tight and sad, stands looking at the poster of Francisco Lara that used to be outside as an advertisement but is now inside, propped against a chair. the camera pulls back and shows that the rest of the manada is all there, too, standing around just sortof looking. Rosario backs away from the poster toward the group. Fer, standing behind her, wordlessly gives her an encouraging hug. Hembro, dressed in a suit and tie, walks out into the room from the backstage area and pauses to greet them all before advancing toward Rosario. he holds out his hand to her. she quickly wipes away a tear before extending her own to shake his as the rest of the group start to move over toward them. instead of shaking her hand, however, Hembro solemnly bows over it, as if to kiss it in the old-fashioned way, saying “Welcome, Miss Rosario.” Rosario doesn’t quite know what to make of this; she just nods briefly in response. Hembro introduces himself (Alejandro Villaruíz) and says he’s “truly enchanted” to meet her. Rosario, almost mechanically: “Rosario Guerrero, it’s a pleasure,” but she seems a little wary. next Hembro looks at Fer, standing next to Rosario. stepping towards him, he extends his hand to Fer and, addressing him as “Don Fernando,” says it’s a pleasure to see him again. Fer shakes Hembro’s hand, replying, “Just ‘Fernando’ is fine.” addressing the whole group, Hembro asks if they’re the mariachis of Plaza Garibaldi. there is a chorus of, “Yes, sir” from the assembled group. he looks at Sigi and asks who he is. Sigi, a little non-plussed, answers, “Sigifredo.” Hembro steps toward him, once again extending his hand. as they shake, he tells Sigi that he is “’Alejandro’, to you, Don Sigifredo.” Hembro steps back again and asks which of them is the “famous Coloso de Jalisco.” some of the mariachis point at Coloso, who steps forward and says, “I am, Doctor.” shaking his hand, Hembro says, “Please, Don Manuel, call me ‘Alejandro’.” Coloso is a bit bewildered that this gentleman knows his real name, and asks about this. Hembro says he took the liberty of getting a list of all their names, and asks if Coloso would introduce the rest of the group. one by one, Coloso points the rest of them out. Giovanni, Henry, Simón, Mañaitas.... who steps forward and offers his hand to Hembro, saying, “It’s a pleasure, Doctor – it’s a pleasure.” Hembro shakes Mañanitas’ hand, replying, “’Alejandro’ to you, Mr Mañanitas,” which makes Mañanitas giggle. Coloso continues pointing people out: Salvador, Jairo, Pajarito, and "the loveliest in our plaza, our Lucero, Rosario." as two men dressed in waiters’ garb carefully manoeuver their way across the stage and down to the group, each bearing a tray of filled champagne glasses, Hembro repeats his name and tells the group that he is there to serve them. the waiters pass around the glasses to a chorus of thanks from the surprised mariachis. when everyone has a glass, Hembro raises his in a toast and welcomes them to their home.

     MAGUEY: Don Memo and the three main mariachis from his group are sitting around two tables pushed together, having lunch as Memo tells them about the rich guy who came to buy Pedro Guerrero’s old mariachi suit from him. apparently the guy had seen the suit when it was in the window at the tailor’s, but when he returned to buy it, it was gone, so he asked the tailor for the contact information of the person he’d sold it to. the guys ask if the rich man is a mariachi, but Memo says no, he’s just a collector. Memo adds that he told the rich man the whole story, how he’d bought the suit for four million pesos --a price he hasn’t yet finished paying off to the tailor, who has let him do it in installments even though he let Memo take the suit with him right away-- and how the suit had tremendous sentimental value to him as it had belonged to his best friend. (literally what he says is that Pedro died in the suit, but i think he doesn't mean that Pedro actually did die wearing it, but rather that Pedro was a mariachi to the very end, no matter the cost to himself.) Memo bought the suit because he didn’t want to see it torn up and sold for parts. (remember: the buttons and other decorations are worth a lot as they are silver.) the rich man (oh, heck, we all know it’s Hembro, so i’m just going to use that from here on, but keep in mind that Memo doesn’t identify him by name to the mariachis --not that i think it matters...) said he intended to keep the suit just as it was, too, because he’s a collector. Memo says that Hembro offered him double what he paid for it, but Memo turned him down, a statement that causes the mariachis to choke on their food. they’re astounded Memo didn’t take the offer, in these difficult times. Memo agreed, and says that his bar with its leaky roof and bathrooms that need repair and so on is why he couldn’t refuse when Hembro again doubled his offer: he closed the deal at sixteen million pesos and the promise that Hembro wouldn’t resell the suit in pieces. Memo is going to give half of that to “Doña Raquel” -- “It’s only fair.” the mariachis say Hembro is heaven-sent. José (the black mariachi) adds that Don Pedro would think that was the perfect thing to do: Memo gets some money, and so does Doña Raquel. Memo agrees.

     ROSARIO’S HOUSE: the whole manada is there after the meeting with Hembro, telling Raquel and Lucía all about it as Raquel serves cookies. the general opinion seems to be that Hembro is completely crazy: he treats them as if they were royalty, he offers them salaries as if they were oil barons, he is going to reopen the bar just exactly as it was, and he’s going to hire all the same staff. Raquel thinks it all sounds too good to be true, and warns them not to get their hopes up. Fer confirms that Leti will have a job at a good salary, too, and Coloso tells Raquel that Don Carlos has been brought in as a partner. Sigi, ever the straight-faced jokester, says that there is one thing Hembro asked them that really worried and intrigued him. Lucía falls for it, asking what that was. “Why, if we agreed!” Sigi replies, and everyone laughs. Coloso tells Raquel that the bar will be re-opened in 10-15 days -- Hembro’s getting a bunch of workers in to get the place into shape as he wants to have the place up and running ASAP. Raquel asks if Hembro is a big fan of rancheras or something, but they tell her no, he doesn’t seem to know from the music at all. Lucía concludes that it’s as Fer was saying, then: the guy is nuts. Raquel asks if Hembro did indeed hire the mariachi without Rosario. Rosario says yes, but on one condition: when the bar is all finished, there will be a private event (“like a dress rehearsal,” says Coloso) for just the company staff and associates, as well as family and friends of the mariachis. Rosario will be participating in that that event -- it was a requirement from the owner of the company. (it wasn't definitely said that she would be singing, but it was clear that she would have to be present and with the mariachis --rather than just attending as an audience member, for instance-- even if she perhaps isn't required to actually sing.) Raquel is surprised that Hembro isn’t the owner, and they tell her he’s only the manager of the company that bought the bar -- the owner is someone else. “If the manager is like a king,” says Mañanitas, “just think what the owner must be!!” Raquel can’t even imagine.

     PLAZA GARIBALDI: Don Carlos is in his office, seated at a large table that he seems to be using as a desk (otherwise, the room looks pretty bare to me). Hembro, Eulalia, and Mirella are standing behind him, and off to one side are Leti, two other waitresses, and Lalo. they’re all there to sign their contracts with the new company. Eulalia waxes enthusiastic about having everyone back and welcomes them in her usual garbled way. Don Carlos is rather more coherent and businesslike.

     FER AND LETI’S APARTMENT: Fer is on the computer as Leti enters, telling him she’s just been down signing her contract. Fer shows her a report online with a picture of Thomas, and tells her that he’s one of Lara’s enemies. the authorities captured him in Panama, along with Ronald, another bad man. Fer points to another picture, and says that the guy, Andrew, is the one who killed Lara’s brother-in-law, Martín del Valle. he was sentenced to sixty years for the crime, and Corona and Steve will be sentenced in eight days. “They got the whole gang, Leti!! All Larita’s enemies are in jail!!” he’s pleased. Leti is skeptical: “And has ‘Larita’ written to you yet?” she snarks. Fer reluctantly admits he hasn’t. “Well, if all the enemies of ‘Larita’ are in jail, and ‘Larita’ is very happy in Sweden... why don’t you forget about him, Molina?” “We’re parseros, Leticia.” (like, blood brothers.) Fer seems to think this answers the question, but Leti doesn’t. “You WERE. Ay, my love -- why don’t you come down to Earth? Lara doesn’t exist anymore. All there is now is the detestable Emiliano Sánchez Gallardo. And he doesn’t remember you, my love...”

     ROSARIO’S HOUSE: Memo and Raquel are having coffee while he tells her abput the rich collector who paid sixteen million pesos for Pedro’s old mariachi suit and agreed to keep it intact. he tells her that half of it is for her -- he owes that to Pedro. “[Pedro] always knew he would end up very badly, and he never lied to himself about that. Because of that, he always asked Don Carlos and me that if anything should happen to him, we would help you all out.” (meaning, Raquel, Rosario, and Lucía.) “But we never did. Pedro died, and we abandoned you [three].” Raquel demurs, saying that they weren’t his and Carlos’ responsibility, but Memo insists that they were -- he and Carlos made a promise, and his failure to keep it has been weighing on him for ten years. he wants to be at peace with his memories of Pedro. “I’m not doing this for you,” he tells Raquel. “I’m doing this for me.” Raquel has no choice but to accept. then he asks her about the boots and spurs that went with the outfit, because the guy who bought the outfit was hoping to have them as well. Raquel says that Rosario had been keeping them, because of Francisco, but now she doesn’t think Rosario will care if she gives them away. she gets the bag holding the two pairs of boots --Rosario’s and Francisco’s-- out of the trunk and gives Francisco’s pair to Memo. Raquel thanks him with sincere gratitude, but Memo tells her it’s nothing, since it was the easiest money he’s ever made. “In ten minutes – and thanks to a lunatic!” the only thing that made the outfit really worth anything to anyone but them were the buttons and so forth. he'd bought the suit precisely because of its sentimental value to him, so that it couldn’t be sold for parts. “Who other than a collector would care or want to buy it?” Memo leaves, and Raquel re-opens the trunk to put back the bag now containing only Rosario’s boots. for a moment, she glares at the pile of returned, unopened letters -- Rosario's letters to Emiliano in prison. she shuts the trunk with something of a snap.

     MEXICO -- SENTENCING COURT: Steve Anderson is sentenced to 25 years. Steve swallows hard and falls backward into his seat as if his legs won’t hold him up any longer. he looks like he’s going to cry, but he doesn't say anything. the judge turns to Corona, and addresses him a brief sermon about how despicable it was for Corona to pervert the duties of a lawyer. then, after reading a long list of his crimes, the judge sentences Corona to 40 years. for a moment, Corona is brash. “No way. No WAY am I going to spend 40 years in prison!!” he shouts, as if that could make the judge say, "OMG!! whatever was i thinking?? you -- you can go free!!" several court guards manhandle him toward the door. Comandante Salas had been sitting at the back with a woman next to him. as the proceeding ended with Corona’s sentence, Salas and the woman stand to leave. Corona piteously appeals to Salas as he is hustled past him and out of the courtroom, but Salas doesn’t respond. two more guards go and help the still-shattered Steve to his feet and out of the courtroom as well. meanwhile, the woman addresses Salas, congratulating him on winding up the case for good this time. then she asks after Morales and their baby. Salas tells her it’s just as well the baby inherited his mother’s good looks and father’s disposition, “because otherwise, it would have been a disaster!”

     SALAS’ OFFICE: he’s on the phone with someone. “Yes, it’s all over!... Now you can go on with your life!” he laughs. “...Take full advantage -- that’s an order!” he hangs up and sits back in his chair, still smiling, and gives a happy sigh.

     FER AND LETI’S: Sigi, in his Maguey mariachi suit, is sitting at the computer, eagerly checking out the sites Fer has been showing him with the news about all the bad guys getting captured, etc. Sigi is delighted the whole gang has been caught and Lara’s finally been able to finally prove his innocence. Leti watches all this excitement disapprovingly. Fer tells Sigi it’s time they got going for their final performances with the Maguey mariachi. Sigi’s still really happy: "Lara finally freed himself from all his enemies!" Leti gives a sarcastic snort: "Of course! AND from his friends!"

     GENARO’SPENSIÓN: Hembro is at the pension, talking to Genaro. Genaro wants to know when he would want the room, and Hembro says in eight days. Genaro apologizes, telling Hembro he’s already got a student staying in that room. he offers to show Hembro a different room, but Hembro says he wants the room the student is in. as he gets out a bunch of cash and starts peeling off bills and handing them to Genaro, he tells Genaro to show the other room to the student. Genaro fumbles with the cash, telling Hembro as soon as he’s counted it, he will let him know how many months’ rent it covers, but Hembro says that the money he just gave him isn’t for the rent – it’s for Genaro, for his trouble. he peels off some more bills and hands them to Genaro as payment for the room. Genaro wants to know how long Hembro will want the room, and he replies, “Indefinitely,” and goes to leave. Genaro stops him, asking who the room is for. “Good question,” replies Hembro coolly. “It’s for the person who comes asking for the room.” Genaro gapes. Hembro turns and quickly strides down the stairs to the street, where a chauffer and a Mercedes are waiting for him.

     MAGUEY: Hembro is lounging at one of the tables in the deserted bar when Memo comes in, carrying a bag that he puts on the bar. after greeting Memo, Hembro asks if he was able to get the boots, and Memo tells him he has them. Hembro gets up and goes over to the bar as Memo gets out the bag with the boots. he shows the spurs to Hembro, pointing out that they’re made of silver. Hembro nods, “I know.” he takes the bag and leaves, saying ”Hasta pronto, Don Guillermo.” (more or less, see you later – but more formal than that.) Memo replies, almost mechanically, ”Que le vaya bien.” (loosely, May you be well.”) and looks thoughtful.

     PLAZA GARIBALDI – OUTSIDE: it is nighttime and the lights are all on again. the signboard out front has a picture of Sigi playing his trumpet with the words “Live” and “Today” on it. the manada, in street clothes and carrying instruments and garment bags, gleefully strides up to the entrance.

     ROSARIO’S: Raquel finishes ironing a white blouse with a frilly collar. Rosario thanks her. she's not excited -- more as if she's resigned and now just wants to get through the ordeal. Raquel packs the blouse up in a bag with some other clothing so they’ll be ready for the taxi. Lucía asks Rosario how long it's been since she dressed up to sing with the mariachis. "Eleven months," Rosario replies somberly.

     GENARO’S: Genaro calls to Lourdes, telling her the taxi’s arrived and he doesn’t want to be late for the show. Lourdes comes out of her room, all dressed up in a fuscia dress with her hair arranged in a demure sortof ponytail over one shoulder. she asks how she looks, and Genaro replies that Mañanitas is going to be very proud of her.

     PLAZA GARIBALDI – AT THE BAR: everyone is back at their old jobs. Lalo bustles over to Leti, whistling tunelessly and carrying a bottle of champagne with a red bow on it. he puts it on Leti’s try, which already has a single champagne glass on it. Leti asks him if he’s certain it’s from “Don Alejandro” (Hembro), and Lalo corrects her: “Leticia, it’s ‘Alejandro.’ ‘Alejandro!’ -- you know that!” Leti says she knows, and has Lalo ever worked for such a crazy boss?? she’s smiling and bouyantly happy like we haven't seen her in a long time, and so is Lalo. Lalo says it’s the first time, but he hopes to work for the guy for the rest of his life. Leti agrees, and turns to deliver the bottle. after threading her way through the tables, she puts the bottle and glass down in front of Raquel, telling her it’s from “Alejandro. But don’t ask me why or what for.” at Raquel’s request, Leti points Hembro out to Raquel, who looks at him for a moment before turning back to Leti and telling her he must have gotten confused. Leti says no, he told her to deliver it to “Señora Raquel de Guerrero.” she bustles off as Lucía giggles but is a little snarky some guy seems to be trying to pick up on her mother.

     PLAZA GARIBALDI – GUYS’ DRESSING ROOM: the guys are all in their familiar black outfits, doing a bit of last-minute grooming or adjustments here and there. Coloso addresses the group: “Boys, you all look very good in those suits, yessir!” the guys agree. Coloso: "Manada -- we're back!" the guys all cheer.

 

 

Telenovela-World:  SUMMARY for Colombian ep - 18 Dec 2007 (COMPLETED, includes some tweaks and promos for next ep) Author: B. (---) Date:   12-20-07 17:21 PST

     PLAZA GARIBALDI – MAIN ROOM: Leti threads her way through the tables, a bottle of champagne with a red bow on her tray along with a glass. she puts these down in front of Raquel, telling her it’s from “Alejandro, but don’t ask me why or what for.” at Raquel’s request, Leti points Hembro out to Raquel, who looks at him for a moment before turning back to Leti and telling Leti he must have gotten confused. Leti says no, Lalo told her Alejandro told him it was “Señora Raquel de Guerrero.” Lucía giggles, but snarks at this apparent attempt to woo her mother on Hembro's part..

     PLAZA GARIBALDI – GUYS’ DRESSING ROOM: the guys are all in their familiar black outfits, doing a bit of last-minute grooming or adjustments here and there. Coloso addresses the group: “Boys, you all look very good in those suits, yessir!” the guys agree. Coloso: "Manada -- we're back!" the guys all cheer. Coloso is just about to continue his pep talk when there is a knock on the open door, and Hembro’s voice can be heard asking “Don Manuel” (Coloso) for permission to enter. a little non-plussed, Coloso says, “Of course, Doctor,” and Hembro appears in the doorway, followed by one of the waitresses carrying a tray full of shot glasses, and Lalo carrying another tray with a bottle of amber-colored liquid carefully positioned in the center. some of the mariachis want to know what all this is, and the two admit they have no idea. Sigi says he knows. pointing to the bottle, he says it’s the very finest tequila in the world. Coloso agrees. now the mariachis are all pleased, and Lalo and the waitress advance so they can start serving up drinks as Hembro excuses himself, “With your permission, gentlemen...” as he turns to leave, Fer stops him to ask (almost suspiciously, LOL!) who sent the tequila. with a small, respectful bow, Hembro tells him, “The owner of the bar, Don Fernando,” and leaves the dressing room followed by a chortling chorus of “Don Fernando” from the mariachis, all directed at Fer, who fruitlessly points at Hembro’s retreating back to indicate that this “Don Fernando” stuff is none of his (Fer’s) doing.

     PLAZA GARIBALDI – GIRLS’ DRESSING ROOM: Rosario, in the off-the-shoulder white frilly blouse we saw Raquel pressing in the previous episode and with a shawl draped around her arms, sits in front of the dressing table, which has two pots of bright-colored flowers on it. she is all made up as if to go on stage, but is wearing her hair loose instead of tied back with a bow or arranged in a bun or something. she looks sombre and turned inward, and she fidgets a bit with the ring Emiliano gave her. the knock on the closed door seems to make her come to, and, sitting up and pretending to be doing something with her makeup, she calls out for the knocker to enter. Hembro enters, saying “Good evening, Miss Rosario.” he is followed by one of the wait staff (? i’m guessing) bearing a large bouquet of white flowers in a vase. as the waiter puts the bouquet down on the dressing table, Rosario asks Hembro who sent them, and is told “The owner of the company.” Rosario asks him to express her thanks, but seems more puzzled than flattered. Hembro waits for a moment, but Rosario doesn’t add anything, so he excuses himself with a small bow and leaves, closing the door behind him. Rosario turns to stare at the bouquet on her dressing table with a hint of a frown, then looks behind her at a similar bouquet already parked on a small table against the wall. she looks a little troubled.

     UNKNOWN ROOM SOMEWHERE: a leg wearing black mariachi trousers that end at a spurred boot is decisively placed on a stool. two ringless hands adjust the spur. a man gives a brief sigh as we see him swing a spotless white shirt around his bare torso so he can slip his arms into it. the same ringless hands briskly start to button the shirt, then buckle the shiny belt buckle. the man sighs again as he picks up his silver-trimmed black vest and swings it around to pull it on. we get a view from the back as he pulls the perfectly crease-free jacket into place; there is an elaborate silver design all over the back of the jacket. we see him hook the jacket closed, and button the collar of his shirt before adjusting a red and silver tie around his neck.

     PLAZA GARIBALDI – MAIN ROOM: Don Carlos, Eulalia, Gastón (gay designer guy), and Virginia are sitting around one of the tables, right down in front next to the stage. Don Carlos is dressed in his customary way, in a sort of suit, with his shirt collar open and a “cravat” around his neck. Eulalia has dignified the occasion by wearing a small half-crown. Gastón has limited his over-excess to a white feather boa draped around his neck. Virginia, in a halter-dress, looks impatient and bored. Don Carlos comments that everything is just like it always was. Virginia mockingly remarks in a smug tone that the only thing missing to make it just like before is Lara. Gastón thinks that Lara the cupcake is “divino divino,” and Don Carlos tells him, “Down, boy!” in a reproving tone. Virginia, in a smug tone: “Of course, the moment Lara got his last names and his millions back, obviously he dumped the little hypocrite....!” (meaning, Rosario.) Don Carlos, casting her a reproving, but resigned glance: “That is unfair, Virgina!” Eulalia garbles in her usual fashion that it IS unfair, because Rosario was always an angel with Lara, and always stood by him. the whole idea of “in bad times yes, but in good times no” seems really twisted to her. Don Carlos agrees, but Virgina, of course, does not: “Let’s see, let’s see, let’s see... For such a very important guy... [to come back] to Rosario?? Ay, Mom, puh-leeze!! Look, I assure you that if Francisco Lara were to come across Rosario on the street, he would certainly pretend he doesn’t even know her!!” Eulalia: “For heaven’s sake, Virginia...!” but Virginia ignores her: “Ay, Mom, of course – for God’s sake! How embarrassed he would feel – and she’s supposedly waiting for him to come back to her, the fool!” Virginia is pleased with her version of things. both Don Carlos and Eulalia continue to murmur disapprovingly.

     GUYS’ DRESSING ROOM: Rosario has joined the guys in their dressing room and is smiling. although she doesn’t have her mariachi suit on, she is dressed more or less as if she is part of the group, with a long black skirt with silvery decorations on it similar to the kind on the guys’ mariachi suits, her off-the-shoulder white blouse with the frilly collar, big dangly earrings, and the makeup she habitually wore when she was performing. all the guys --but not Rosario-- are holding little shot glasses of tequila as they stand around in a sort of rough circle. Coloso raises his glass: “Guys, for this suit..., for this bar..., and for the manada -- Let’s go!” they all join him shouting out the traditional toast: ”¡Pa’ arriba!” (they all raise their glasses high.) ”¡Pa’ abajo!” (they all hold their glasses down low.) ”¡Pa’ el centro!” (they all hold their glasses out toward the center of the circle.) “¡Y pa’ adentro!” (they all toss back their shots.) “Cheers!” Rosario is clearly delighted to see them back doing what they love: “Ay, guys, you don’t know how good it makes me feel to see you all so happy again!!” on behalf of all of them, Fer tells her that it’s all thanks to her. they know how much it is costing her to be there and they really appreciate it. Rosario wants to know how she could possibly have said “no” to her manada... Jairo tells Coloso they’re all ready, and Coloso, as usual, shouts, “To the stage!” picking up their hats and instruments, the guys all follow him out the door, but Rosario lingers behind, her arms holding her shawl tightly around her. she walks over to the lockers, now with the doors back in place, and, after a moment, opens the one that used to be Francisco’s. it is empty. she looks inside, her face growing sadder by the millisecond. “Ay, my love, I don’t forget you,” she says softly. “I love you with all my soul.” still standing there, holding the door of the locker, she starts to cry.

     MAIN ROOM – DON CARLOS’ TABLE: Dr Soto, all dressed in his suit and with his hair carefully slicked, oozes over. he shakes hands with Don Carlos, then Eulalia, then reaches for Virginia’s hand as if to shake it, too. Gastón wordlessly gets out of his chair next to Virgina as, with visible reluctance and an expression of distaste, Virginia offers her hand to Soto. instead of shaking it, Soto bows and kisses it instead; Virginia, meanwhile, has turned her head away in a clear rejection that of course Soto ignores. tossing his boa over his shoulder with as much of a snap as can be managed by a feather scarf, Gastón minces away while Soto seats himself and gives Virginia a friendly bump with his shoulders. she doesn’t seem to appreciate it. Mirella makes her way through the tables, holding a microphone. she leans over and offers it to Don Carlos, telling him it’s time. Eulalia is excited for him and asks Don Carlos what he’s waiting for. as he gets up to go to the stage, she makes a little benediction to his back.

     Don Carlos, looking nervous, happy, and almost overcome, as if he is trying not to cry: “Well, this is a very special day for all of us. For me, it’s the happiest day of my life – I never thought I would say this again: Ladies and gentlemen, this, your bar, welcomes you. Let’s continue with a round of applause for El Coloso de Jalisco and his mariachi group from the Plaza Garibaldi!!” everyone applauds and cheers as the guys all file on stage playing their usual opening song. they line up in an outward-facing half-circle along the edge of the stage nearest the audience. Rosario, who had apparently rejoined the guys before their introduction, filed onstage with them, but is not singing or dancing along with the guys. instead, she is quietly standing next to one of the pillars toward the back, present in body if not really in spirit. she looks sad again, but seems determined to fulfill her part of the agreement by getting through the ordeal. as the song progresses, the guys gradually move backward until they are in their usual positions lined up at the back of the stage with Coloso out in front when singing. but when he’s not singing, he returns to stand next to Rosario behind the line of musicians.

     meanwhile, back at Don Carlos’ table, Gastón has returned and is now crouched down behind his former seat. as the song ends, Rosario joins in the applause for the mariachis. Gastón, along with most of the rest of the audience, stands to applaud and cheer (the notable exceptions being Soto and Virginia, who neither stand nor applaud, never mind cheer). Virgina sulks, and Soto looks as if he would applaud but doesn't dare so long as he's anywhere Victoria might see. one end of Gastón's boa slips down over Soto’s shoulder and the motions of his body as he vigorously applauds cause the feathers to fly around in Soto’s face, resisting all Soto's attempts to bat it away – hee!! Gastón eventually realizes his boa is all in Soto’s face and pulls it away, causing Soto to sneeze repeatedly.

     while the audience continues to applaud, Hembro discretely approaches Coloso and says, as he hands him a little slip of paper, "With all due respect, the owner of the company would like to hear this song." Coloso says, “Of course -- with great pleasure,” but as Hembro goes to leave, he stops him and quietly asks, with an almost imperceptible motion toward the audience, if one of the people there is the owner. Hembro doesn’t answer, he just says “Thank you” and quietly walks offstage. looking a bit doubtful, Coloso hands the slip of paper to Sigi, who gasps audibly when he sees the title and says “Yes?” to Coloso (basically, asking if they really are going to do the song). Coloso just says “Do it,” so Sigi passes the paper along to the other guys, an odd look on his face. some of the rest of the guys also get an odd look on their faces, but they follow Sigi's countdown and start playing the song. the suit, stage, and music have already begun to work their magic for Coloso -- for most of the long introduction he is smiling, nodding, and even waving at people in the audience, just waiting to start singing. but then a look at Rosario’s drawn face and closed-in posture reminds him of the sacrifice she's making for them all, and he gets more sombre.

     the introduction finally ends, and Coloso opens his mouth to start singing, only to find someone else --someone unseen-- has beaten him to it. the hand holding the microphone slowly drops as Coloso takes in the unseen singer's voice. along the line of mariachis, Sigi and Fer also look stunned as they mechanically continue playing. Rosario, who is still looking down and not at Coloso or the guys as if she had been trying to get through the night by shutting out as much as she could, takes only a heartbeat longer to realize that the voice singing the song is not that of Coloso, and just one more heartbeat after that to realize who the voice sounds like. she looks up, as if to confirm that Coloso indeed is not the one singing, then starts to look around, hardly daring to hope. her shawl falling unheeded to the floor, she pushes past Coloso and the line of mariachis, looking everywhere for the singer. she's so intent upon looking around for the singer, she nearly falls down the steps onto the main floor. she advances a little further, and then she sees him: Emiliano, bearded and with his hair longer than any of them have ever seen it, is up in the “balcony,” wearing the mariachi suit she’d had to pawn, his hat in one hand and his microphone in the other. Rosario can’t believe her eyes, and neither can anyone else who’s noticed him. still singing, Emiliano comes quickly down the steps and over to where Rosario is standing in the middle of the floor. Rosario is crying, tears streaming openly down her face, and he stares at her longingly as he sings. her ring is back on his hand. during the musical bridge, Emiliano puts the microphone in the same hand that’s holding his hat so he has a hand free to reach out and touch her, hold hands with her, stroke her face. she clings to his arm and he continues singing. onstage, Fer can’t play any more -- he’s crouching, tears on his cheeks. Sigi, too, looks like he’s nearly overcome. although they are leaving room for Emiliano and Rosario in the center of the room, some of the audience has left their seats and crowded round the edges of that space. Emiliano is putting his whole heart into the song, which (as usual with this show!) is thoroughly appropriate: “Volver, Volver” (literally, “To Return, To Return”):

 

Este amor apasionado,

anda todo alborotado

por volver....

Voy camino a la locura

y aunque todo me tortura,

sé querer....

Nos dejamos hace tiempo,

pero me llegó el momento

de perder...

Tú tenías mucha razón;

le hago caso al corazón,

y me muero por volver.

Y volver, volver, volver...

a tus brazos otra vez.

Llegaré hasta donde estés;

yo sé perder, yo sé perder;

Quiero volver, volver, volver.

 

(LOOSELY:

This passionate love,

is going completely wild

to come back...

I’m on my way to going crazy,

and although everything tortures me,

I know how to love...

We left each other some time ago,

but now it’s time for me

to admit defeat...

You were really right,

I’ll listen to the heart,

and I’m dying to come back.

And come back, come back, come back...

to your arms once again.

I will go wherever you are,

I know how to give in, I know how to give in;

I want to come back, come back, come back.)

 

     the audience erupts in applause and cheers when he finishes the song, but neither he nor Rosario seem to notice -- they're too intent upon each other now. both are breathless. he again reaches out to caress her face and neck.

---------------

     Rosario <almost on a sob>: You came back...

     Emiliano <softly>: You beat me (in the sense that she won, not that she hit him!) -- I told you to forget about me and you never could forget about me, nor I about you either.

     R: I would have waited for you all my life -- ALL of it.

     E: Well, here I am and this time for good, my love -- for good.

     Emiliano pulls her into an embrace, she throws her arms around him, and they kiss as if they were alone together instead of the center of attention in the middle of a crowded room. over at Don Carlos' table, Virginia watches the scene angrily. Soto, perhaps carried away by the so-obvious feeling between Emiliano and Rosario, leans over and gives her an encouraging kiss on her bare shoulder, then smiles at her, oblivious to her silent fury (not to mention envy!). she jerks away and glares at Soto, then gets up, snatches her purse off the back of her chair, and stalks off. he watches her uncertainly, then in that groveling, obsequious way he has, gets up and follows after her.

     Rosario and Emiliano are still locked in an embrace. when they stop kissing, she can't stop touching him, as if to make sure he's really real, really there. behind her, we can see Raquel beaming and Lucía staring delightedly.

---------------

     R <softly, to him alone>: I love you, my life, I love you. I love you, you hear?

     E <softly, to her>: And I you.

---------------   

     they kiss some more, then Emiliano seems to force himself to look away from Rosario and acknowledge the others that are there, eager to see and greet him for themselves.

---------------

     E <to Lucía>: Esquincla! (loosely: brat)

     L <delighted>: Hi, Mocoso! (loosely: snot-nose) <she throws herself into his arms and he lifts her off her feet in a big hug. Rosario watches, overcome, joyous.>

     Doña Raquel <quietly, but pleased>: You returned, Francisco.

     E: I never left, Mrs Raquel -- I was always here <he looks to his side, where Rosario is standing, and takes her hand> with Rosario. <he lets go of Rosario's hand and steps toward DR to hug her. then he steps back again and looks up at the mariachis, clustered at the edge of the stage. in a louder voice>: Manada! I came back, manada!! <everyone laughs and applauds and cheers, and the mariachis and a few others start to line up as the applause continues.>

     Sigi <advancing with his arms open wide>: My brother...!

     E <hugging him>: Sigi!! <Leti doesn't say anything, she just gives him a big ol' hug. to Coloso>: And you, did you miss me here, or what?

     Coloso: Not as much as you missed me! <they laugh, shake hands and hug.>

     Mañanitas: So, Lara, now you're the owner of the bar?

     E <hugging him>: No, you all are the owners of the bar. <Mañanitas giggles.>

     Jairo: Mine?

     E <hugging him>: It's yours.

     J: Mine, [garbled]!

---------------   

     Emiliano hugs Don Genaro and tells him it's good to see him again, then holds his arms open wide for Lourdes.

          E <shaking hands with Don Carlos>: Don Carlos, here is your bar once again.

     DC <hugging him>: Thank you, Lara.

     E: [No,] thank you.

     Eulalia <hugging him>: I always knew you were innocent -- always!

     (Emiliano nicely refrains from saying, “right, of course you did -- not!”)

     Emiliano sees Mañanitas' mother and addresses her with pleasure (and deliberately) as “Doña Luvia!” “Livia, Lara -- LIVIA!” she reproves him. “That's it: Lidia!” Emiliano pretends to repeat, and gives her a big hug as Mañanitas giggles again.

     one by one the rest of the mariachis come to greet him and give him a hug. last of all is Fernando:

     E <gesturing casually at Fer with his hat>: And you, what, parce?

F <hands on hips, pretending to be stern>: You come back to f*ck up my life, or what?

E: Well, I'm going to do absolutely everything I possibly can to do so, got it? <they give each other a big hug as everyone applauds again.>

F <fatalistic, answers Emiliano's question>: Yes.

     with everyone greeted, Emiliano takes Rosario by the hand and leads her up onto the stage. raising his voice, he addresses the crowd before him:

     E: Manada: I've come here to tell you aloud what I told you under my breath in a prison cell: Thank you. Thank you for everything you did. <pulling Rosario close to him and looking at her almost hungrily> And I've come to tell this woman, MY woman, the woman I adore, what I have to tell her. <looks out at the crowd> And it's for that, guys, that I need you all HERE! <the hand still holding the hat points downward at the stage on which he is standing.>

Coloso: You heard him, manada! To the stage -- get going!

     the mariachis all pile onto the stage as Emiliano embraces Rosario again. she is still crying. as the guys get themselves assembled, picking up their instruments, etc, and the audience returns to their seats, Emiliano gently leads Rosario over and seats her at a table by the side of the stage, with Doña Raquel and Lucía. Rosario leans against her mother, begging her to tell her she's not dreaming and this all really is happening, as Emiliano, with a big smile, returns to the stage. the song: “Ella Volvió” (She Came Back)

 

No fueron en vano mis ruegos...

la vida ha querido

que, al final de cuentas,

tus besos sean para mí.

Qué triste quedé aquella noche

¿te acuerdas, mi vida?

no más, te alejaste,

y nada supe de mí.

No fueron en vano mis ruegos...

ya estoy en tus brazos,

salí del abismo,

mi suerte negra cambió.

 

Ya los mariachis están cantando de nuevo,

ya de mis ojos no puede brotar el llanto,

ya de mis manos las copas jamás caerán.

 

No fueron en vano mis ruegos..

yo creo que tu vida

ya está marcada

y habías de ser para mí.

Ya estoy al estilo Jalisco,

pero ahora el tequila,

en vez de agüitarme,

me pone todo feliz.

No fueron en vano mis ruegos...

ya estoy con mi reina,

brindando con ella,

al fin, bohemio, gané,

 

Ya los mariachis están cantando de nuevo,

ya de mis ojos no puede brotar el llanto,

ya de mis manos las copas jamás caerán.

 

(loosely:

My pleas weren't in vain...

Life has wished that,

in the end,

your kisses be for me.

How sad I was that night

--Do you remember, my love?--

No more -- you left,

and I knew no more of myself.

My pleas weren't in vain...

I'm in your arms now,

I came out of the abyss,

my bad luck changed.

 

Now the mariachis are singing again,

now my eyes no longer fill with sad tears,

now drinks will never fall from my hands again.

 

My pleas were not in vain...

I believe that your life is already marked

and you must be for me.

I'm already in the Jalisco style (??),

but now now tequila,

instead of making me sad,

makes me all happy.

My pleas were not in vain...

I'm now with my queen,

drinking a toast with her,

in the end, Bohemian, I won.

 

CHORUS.)

     Emiliano might be onstage, but he's singing the song to Rosario. he's only looking at her, and after only a few lines he approaches her table. at the chorus, during the part about his eyes no longer filling with tears, he parks his hat temporarily on a vacant chair so he has a hand free to stroke Rosario's tear-streaked cheek. after the chorus, while the mariachis play the bridge, he takes her hand, then tenderly leans across the table to exchange a lingering, loving kiss with her. as the next verse is about to start, he gives her a tender but quick kiss on the forehead, picks his hat up off the chair, and turns to practically skip back to the singer's customary place on stage. he does the rest of the song from there, but he's still singing the song to Rosario, who can't take her eyes off of him.

     the song ends, and everyone applauds. dropping his hat off on the stage, Emiliano re-approaches Rosario's table, but this time he looks at Doña Raquel.

     E <quietly, a bit breathless from the energy and emotion he put into the song, to Raquel>: I promised you, Mrs Raquel... I promised you that I would never take your daughter into an abyss.

DR <with tears in her voice, but happy>: And you kept [your promise] to me, Francisco.

E: And now there aren't any abysses anymore. Now I do mean to give her all the stars in the world <again caresses Rosario's face>, so... <lets go of Rosario's hand to pat his pants pocket, but doesn't find what he thought was there.> so...

     Emiliano starts checking all his pockets -- first his pants pockets, then the pockets in his jacket, then his pants pockets again-- growing more and more frantic as he doesn't find what he's looking for. the mariachis watch with interest from the stage.

     Coloso <off-handed, fatalistically>: What's up, Lara?

E <whips around -- it's as if he forgot there was anyone else in the room than himself, Rosario, Raquel, and Lucía. distractedly, he's still patting down all his pockets>: I don't know where I put...

C <of course>: Totally inept. <Mañanitas laughs. Coloso looks at the mariachis and cues them with his hand.>

Manada <obediently chiming in>: Lara... Lara... Lara... <Rosario laughs -- she never thought to hear that again. Emiliano's still frantically looking through his pockets.>

Fer <arms crossed, observing>: Take hope -- 'the third time's the charm,' brother...

E <to himself> I don't know where I left... <turning briefly to Fer> Thanks, parse! <turns back, still looking in his pockets. to Rosario>: Wait a sec, will you wait a sec, my love? Just wait...

R <smiling adoringly at him>: I'll wait for you as long as you want, my love.

E <finally finds what he's looking for, fishes it out of his inside coat pocket, and hides it in his fist before we can see what it was (like we don't know...!)> AHA!

     he holds his hands up to signal everyone that he's ready, takes a breath and pushes his hair back with one hand, then takes Rosario's hand and goes down on one knee...

     and that's where the episode ended.

     promos for the next episode, which will not air until mid-January, 2008, according to a note on the RCN website (booo!!!):

     -outside the Plaza Garibaldi, a silver late-model Mercedes with a chauffeur stands waiting by the curb. Emiliano has his arm around Rosario, who is smiling. “That car is yours, my love,” he tells her.

     -backstage (? i'm guessing) at the Maguey. Emiliano, still in his Plaza Garibaldi kit, puts his arm around the Maguey mariachi's singer and claps him on the shoulder as a couple other Magueys look on. “I came back, carnal!!” (like, blood brother --almost literally, in this case, since “carne” means “meat” or “flesh” in Spanish...) “I came back! I came back!!”

     -onstage at the Maguey, Emiliano has the microphone in his hands. the Maguey mariachis are grinning. “What did you all think -- that you were never going to see me again, or what?!”

     -(somewhere) Emiliano to Rosario: “Rosario, I came back. You don't... [can't make the rest out.]

     -street outside Rosario's house, Lucía's in her school uniform and Raquel is just locking the door. a man politely says, “Doña Raquel?” she turns to look. there's a silver Mercedes with a chauffeur waiting. “Are you and the girl going to the school?” Raquel agrees, non-plussed. the chauffeur says he's there to take them. Raquel wants to know who the car belongs to. “It's yours, Mrs Raquel,” says the chauffeur, waving his hand politely at the open back door.

     -Macías, sitting down in his usual seat in the conference room and looking like he already knows to brace himself for bad news: “What did he come back for?” Mr Bad News (aka Soto), standing, looking unhappy: “To give back the bar, to Rosario, and to marry her.” Macías looks dismayed and appalled. ha ha ha!!

 

HIATUS OVER THE CHRISTMAS HOLIDAYS

 

Telenovela-World:  Monday 1/14/2008 summary Author: Maria Isabel (---) Date:   01-14-08 14:36 PST

     Hi Everyone:

     Here are the summaries:

     Spanish:

     El final llegará pronto, lleno de grandes sorpresas para “La manada”… Por fin Emiliano logrará su meta deseada, ya que hará oficial la propuesta de matrimonio a Rosario, donde todos estarán felices y por supuesto llenos de gratitud por ser Emiliano el nuevo socio del bar “Plaza Garibaldi”. Además, él recompensara a sus amigos, que le enseñaron el valor de la vida, amistad y lealtad, dándoles lo que más han querido en sus vidas, un automóvil lujoso para el “Coloso de Jalisco” y a Sigifredo un viaje a México… y así con todos los integrantes del grupo

------------

English"

     The end is near, filled with big surprises for "la manda". Emiliani finally will obtain his desire, now that he officially proposes to Rosarion, in where everyon will be happy and ofcourse gratefull that Emiliano is the new associate of "Plaza Garibaldi". Besides, he will compensate his friends, who showed him meaning of life, friendship, and loyalty, by giving them what they most desire in life, a luxurious car for "el Coloso" and for Sigi a trip to Mexico and like that with all the members of the group.

     Enjoy,

     Maria Isabel

 

Telenovela-World:  SUMMARY for Colombian ep - 14 January 2008 -- COMPLETED!  Author: B. (76.208.189.3)  Date:   01-16-08 00:33 PST

     LHDM – final episodes

     14 Jan 2008 in Colombia:

     the episode starts the same way as did the episode from December 18th (the summary for which you can find here) --Leti taking a bottle of champagne over to Doña Raquel-- and continues by repeating virtually the entire episode. some of the earlier scenes were trimmed or left out altogether, but ALL of the later scenes from the episode were included intact -- the manada returning to the stage for the first time in nearly a year; the surprise arrival of 'El Principe de México' singing “Volver, Volver;” Lara/Emiliano greeting Rosario and all his friends; and the whole scene where he sings "Ella Volvió” that leads up to what we all know is coming, so i won't be coy: the proposal. that's where the episode on the 18th ended -- just as Emiliano was getting down on one knee in front of Rosario with everyone looking on.

     that being said, starting this summary right where my previous summary left off is a bit abrupt, so i'm going to back up and repeat myself a little bit, just to lead us into the rest of the scene...

     "Ella Volvió" ends, and everyone applauds. dropping his hat off on the stage, Emiliano re-approaches Rosario's table, but this time he looks at Doña Raquel.

     Emiliano <quietly, a bit breathless from the energy and emotion he put into the song, to Raquel>: I promised you, Mrs Raquel... I promised you that I would never take your daughter into an abyss.

     Doña Raquel <with tears in her voice, but happy>: And you kept [your promise] to me, Francisco.

     E: And now there aren't any abysses anymore. Now I do mean to give her all the stars in the world <again caresses Rosario's face>, so... <lets go of Rosario's hand to pat his pants pocket, but doesn't find what he thought was there.> so...

     Emiliano starts checking all his pockets -- first his pants pockets, then the pockets in his jacket, then his pants pockets again-- growing more and more frantic as he doesn't find what he's looking for. (hmmmm.... when have we seen this before...? let me think... could it be, oh, i dunno -- just about every other time he's tried to propose to Rosario that he's forgotten which pocket he stashed the ring in??) the mariachis watch with interest from the stage.

     Coloso <off-handedly, fatalistically>: What's up, Lara?

     E <whips around -- it's as if he forgot there was anyone else in the room than himself, Rosario, Raquel, and Lucía. distractedly, he's still patting down all his pockets>: I don't know where I put...

     C <of course>: Totally inept. <Mañanitas laughs. Coloso looks at the mariachis and cues them with his hand.>

     Manada <obediently chiming in>: Lara... Lara... Lara... <Rosario laughs -- she never thought to hear that again. Emiliano's still frantically looking through his pockets.>

     Fer <arms crossed, observing>: Take hope -- 'the third time's the charm,' brother...

     E <to himself> I don't know where I left... <turning briefly to Fer> Thanks, parse! <turns back, still looking in his pockets. to Rosario>: Wait a sec, will you wait a sec, my love? Just wait...

     Rosario <smiling adoringly at him>: I'll wait for you as long as you want, my love.

     E <finally finds what he's looking for, fishes it out of his inside coat pocket, and hides it in his fist before we can see what it was (like we don't know...!)> AHA!

     he holds his hands up to signal everyone that he's ready, takes a breath and pushes his hair back with one hand, then takes Rosario's left hand in his right and goes down on one knee in front of her. he stares intently at her face.

     E: Rosario, my life... will you marry me? <Rosario is momentarily overcome with emotion, so he hurries to continue.> I beg you -- I beg you! -- to tell me “yes.”

     R <smiling> I was going to say “yes” to you before you said “I beg you”!

     Emiliano lifts her left hand up to put his new engagement ring (with a nice big --but not ostentatiously big-- diamond on it) but, as he finally tears his gaze from her face to look at her hand, he stops short, stunned, staring down at the ring on her finger – the one he’d bought from the wandering jewelry saleswoman in the Maguey for 15,000 pesos that Rosario later told him he should have only paid 12,000 for. it’s still on her finger. as if to verify it's not a figment of his imagination, he fondles her finger and the ring with both hands, smiling a wistful sort of half smile.

     E <surprised, a bit awed>: You still wear it? <he can’t believe it.>

     R <softly; of course>: I promised you I would never take it off.

     Emiliano wordlessly holds up his own left hand, the thumb pushing his ring finger forward. he’s wearing the ring she gave him at the Fiestas Patronales, just before they went on the run. they smile at each other.

     E <back to business>: Ok, now.... <he places the new ring on her finger above the old one.> I love you. I mega-idolize you un jurgo y un resto. (Colombian slang basically meaning a lot and a lot – maybe like saying, “a ton” and “everything else”.)

     R: And I super-adore you un chingo y un híjole. (Mexican slang that Rosario's more or less converted into meaning the same as “un jurgo y un resto.” but, um, a word of warning to people learning Spanish who might think to utilize part of this phrase sometime: "híjole" is not a noun but an exclamation that might be roughly equivalent to saying "geez!" in English (not a literal translation). i don't believe it's necessarily considered rude, but i'm not sure the same can be said for "chingo," which i'm fairly certain is considered a vulgarilty in at least some countries (including Mexico -- certainly the verb associated with this word is quite rude). it's sortof like saying "a shitload" -- though that is also not any kind of literal translation. at any rate, be careful how and where you use them, especially "chingo"...)

     E <standing and pulling her to her feet and into his arms>: I love you.

     they kiss, as one of the manada --i think, Sigi-- shouts “¡¡At LAAAAST!!” and the audience applauds and cheers as they hug and kiss each other over and over again, so much that the manada starts making, um, appreciative noises. (YouTube clip of proposal)

     OUTSIDE THE PLAZA GARIBALDI: Rosario and Emiliano, still in the same clothes they were wearing inside (Emiliano in Pedro's mariachi suit; Rosario in her “Mexican” outfit) are strolling along up the driveway toward the street. he asks if they should do or hit something (couldn't make out what) one at a time, or all at once. Rosario thinks, then asks where they're going. he tells her to the hotel, so she says they should go get a taxi NOW, and starts to rush off up the drive. he grabs her, saying “What taxi?” but she gets away from him and starts to rush off again, saying it's not a problem, she has money and can pay for it. he catches her again and tells her to hold on for a moment, close her eyes, and walk. “You trust me, don't you?” he asks. she does as he asks. they get to the end and he stops, telling her she can open her eyes now. a silver late-model Mercedes is parked there with a chauffeur in a dark suit standing next to it, waiting. Rosario is non-plussed: “And that car... whose is it?” Emiliano has his arm around Rosario. “That car is yours, my love,” he tells her softly. “And that gentleman standing there is named Ismael -- he's your chauffeur.” on cue, Ismael turns to open the back passenger's side door, saying “Your servant, Miss Rosario.” Rosario throws up her hands, protesting, “I'm not going to accept that car from you...!” but Emiliano isn't listening. “Aw, but of course you are going to accept it from me!” giving her a loud kiss and saying “of course you are!” over her protests, he hustles her over to the open door. looking at Ismael, Rosario resigns herself to the inevitable. she greets Ismael by name and allows Emiliano to help her into the car. he gets in next to her and puts his arm around her as Ismael goes around and gets into the driver's seat. Ismael asks “Don Emiliano” if he should drive to the hotel, and Emiliano, his head half-buried in Rosario's neck, moves just far enough away to be clearly understood when he responds: “I'd love it, but no. I want to stop by to see some friends to whom I owe a great deal... Let's head for Laguna Street, please.” Ismael is confused: “For where, Don Emiliano?” Emiliano clarifies: “To the Bar Maguey, please.” Rosario looks at him and smiles, and Emiliano smiles back and mutters something that i couldn't make out. Rosario says to him, “I idolize you with all, all, all my soul -- did you know?” his face very close to hers, stroking her hair adoringly, Emiliano replies, “If I didn't know it, I would never, never, never have survived.” the car pulls away from the Garibaldi.

     i'm sorry, i haven't translated the songs this time, but translations are wanted, just let me know...

     BAR MAGUEY: things are as always. the mariachi is onstage, either between songs or maybe about to start a new set. Memo is in his customary seat at the table down near the front. it’s reasonably full of people – more so than when Emiliano first took refuge in La Laguna, but not like it had gotten to be once word got out he was singing there. the band has just figured out what song they’re going to play and José stamps his foot to count them in when a voice calls out peremtorily: “STOP RIGHT THERE, ASSHOLES!!” Memo slings around in his seat in shock, his jaw dropping. he stares. he stands up and stares some more, still gaping. “Memo...” the unseen voice says. Memo gets a big grin: “¡Mexicano!” the camera finally changes angles and we see Emiliano and Rosario walking towards Memo with big smiles on their faces. Rosario rushes over and gives Memo a big hug, and then it’s Emiliano’s turn.

     M: So, the suit was for you!

     E: Well, just look! Just look!! <looking up at the mariachis onstage and raising his voice> What happened, you SOBs? What? You were going to start without me, or what?! <continuing to harrangue them, he strides briskly up and steps onstage> Ahhh, what’s up, dad?

     Osvaldo (singer): How’s it going, Mexicano...

     E: What do you think you’re doing with my microphone, huh? <Osvaldo holds out the mic and Emiliano snatches it out of his hand> Thattaboy, man! <clapping his arm around Osvaldo’s shoulder, to the group>: I’m back, guys – I’m back! I’m back!! <making the rounds, greeting each one> What did you think – you all were never going to see me again, or what?

     Elías (guitar player w/frizzy hair): We never expected to be so lucky, asshole! <he and Emiliano exchange a hearty handshake> It’s good to see you, man!

     E: The same! <holding his hand out to José (trumpet player and group leader)> Don José! A pleasure to see you again!

     José <giving him a big hug>: I say the same, Mexicano!

     E: Well, then...

     J: Which one? Which one??

     E <duh!>: Why, “El Ausente” (The Absent One)– which other, guys?? and GO FOR IT, assholes!!

     J: Let’s go, guys! <counts them into the song...>

     as the song begins, everyone applauds and cheers. Memo is back in his seat, and Rosario is sitting in the “client’s” seat to his left, gazing happily, adoringly, at Emiliano onstage.

     E: ? Ya vine de donde andaba,

     se me concedió volver

     A mí se me afiguraba

     que no te volvería a ver.

     (E leaves the stage and goes over to caress Rosario’s cheek)

     Pareces amapolita

     cortada al amanecer.?

     (E gestures at the mariachis onstage who chime in with the chorus, repeating the last two lines of the verse as E pulls R from her seat and swings her into his arms to dance with him up and down in front of the stage during the musical bridge. the audience cheers and whistles its approval. as the bridge ends, he lets her go. she heads back to her seat and, now wandering around amongst the tables, E sings the next verse.)

     E: ? Si porque vengo de lejos

     me niegas la luz del día,

     Se me hace que a tu esperanza

     le pasó lo que a la mía.

     Por andar en la vagáncia

     perdí un amor que tenía. ?

     (E again gestures toward the mariachis onstage and they obediently repeat back the last two lines. during this musical bridge, instead of dancing with R, E returns to the stage and ‘raps,’ in a very exaggerated Mexican accent, something about a horse and a man and a mule and women and a donkey and i don’t know what-all else.)

     E: ? Estrellita reluciente

     de la nube colorada

     Si tienes amor pendiente,

     (E has reapproached R and as he sings this line, he shakes his finger at her in mock warning.)

     tócale su retirada.

     (R smiles up at him as he waves his hand, dismissing the hypothetical ‘amor pendiente.’)

     Ya llegó el que andaba ausente

     y este no consiente nada. ?

     (E again cues the mariachis for their chorus, and they sing all but the last two words, which Emiliano finishes instead.)

     Mariachis: ? Ya llegó el que andaba ausente

     y ese no... ?

     E: ?...consiente nada. ?

     as the song ends, Emiliano is once again standing next to Rosario. he holds both arms out, asking for the praise he knows he’s due, as the audience cheers and applauds. smiling, Rosario stands and puts her arms around him.

     R: Sabías que yo me muero de amor por tí?

     Emiliano just smiles and kisses her. the crowd cheers and applauds some more. Rosario finally becomes self-conscious and pulls away, smiling. Emiliano turns and hands the mic back to Osvaldo, thanking him. “Nos pillamos, cabrón!” someone else echoes this as Emiliano turns to follow Rosario toward the door, clapping Memo on the shoulder as he passes him. as they head toward the door, Memo stands and turns, calling out after them: Mexicano! they turn, and look at him inquiringly. ¡Bienvenido, hermano! smiling, Rosario and Emiliano mutely acknowledge this welcome, then turn and leave as the mariachis all wave after them.

     CAR: Emiliano turns to Rosario.

     E <softly>: I adore you, my Rosario. <Rosario smiles at him.> And now, yes, Ismael -- to the hotel. <he almost snickers as he says this. Rosario does, too.>

     Ismael: Very good, Don Emiliano. <starts the car>

     E <to Rosario>: Did you know... did you know, my love, that the best hotel on the whole, on the whole, on the WHOLE planet is here in Bogotá?

     R <grinning at him>: Seriously?

     E: Um-hmm. And there is where we’re going to grab some... <Rosario laughs.> (This is a deliberate play on the different meanings some words have from country to country. one of the things that shocked Emiliano when he first arrived in Colombia was the verb Colombians routinely used to mean “to catch” or “to take” a bus or a taxi, “coger,” because in Mexico it means “to f*ck.” and is the reason why people stared at Rosario when she was in Mexico and said she was going to “coger un taxi,” before she remembered and changed it to “agarrar.” the word Emiliano uses here – deliberately – is “coger”...)

     PENSIÓN: if you hadn't already guessed, the “best hotel on the whole planet” is Emiliano's old room at the pension. as Emiliano locks the door on the inside (with the padlock from outside!), Rosario looks around the room with us. a bottle of champagne is chilling in an ice bucket with two glasses beside it on the little table. there are bouquets of red and white (mostly red) flowers on the table, every shelf, the dresser, and even on the floor, and where there aren't flowers or candles, red rose petals are scattered -- on the floor near the bed, in the shape of a heart on the white coverlet, etc. Rosario is stunned, and looks like she's about to cry. finished with the lock, Emiliano turns to look at the room, and then at her. nearly overwhelmed, they rush together, embracing and kissing each other passionately, almost desperately. after a few moments, though, Rosario pulls away a little and says, with a sob in her voice, “Every day... I went along this street to go to the university... and I just prayed to God that some day – some day!! – you would appear on that balcony and say to me, ‘Rosario, I’m back. I didn’t forget you.’” looking at her intently, Emiliano tells her, “Rosario, I’m back. I didn’t forget you. My love, without you I am a body – you are my soul.” they start kissing each other again. Rosario pushes his jacket off and pulls his tie over his head. she starts to unbutton his shirt as he pulls hers out of her skirt and unzips it in the back. she fumbles with the buttons on his cuffs and he gets impatient and almost jerks his shirt off, then pulls hers off over her head. and, well, i don't think i need to continue -- do you? i'm sure you can all do a much better job imagining how things went for Emiliano and Rosario after being apart for nearly a year without my help, right...?

     PLAZA GARIBALDI - GUYS' DRESSING ROOM: the guys seem to be just a bit drunk (!). or more precisely, they're all drunk, though some rather more than others. most of them aren't quite so neatly dressed as they had been when we last saw them -- jackets and/or ties are askew or have been removed, vests unbuttoned, shirt tails allowed to hang out (Coloso and Mañanitas, and, to a slightly lesser degree, Sigi, are still relatively neat in appearance, though once you hear them talk, you realize that appearances are deceiving...). everyone without an instrument in his hands is holding a shot glass. they're singing the last verse and chorus to “Ella Volvió” as one or two of the guitar players and one of the trumpet players play in a languid sort of way. as they finish, Fer walks in, carrying a full bottle of --i'm guessing-- aguardiente. he brandishes it triumphantly, telling them to see what he's got. Coloso asks if he can steal it from Fer, but Fer tells him it's not necessary, because “Alejito, el Misteriosito” (Hembro) told Fer to help himself since the bar belongs to him. well, to all of them. they all seem to like this idea of free access to the stock and drinking all the profits. one of them hands his tie to Fer, telling him to put it on the bottle, and after doing so, Fer solemnly puts the decorated bottle in the middle of the shelf in “Lara's” empty locker. Mañanitas says he has a good idea: they should go find Lara and serenade him. Jairo objects, saying Lara would kill them. Sigi agrees with Jairo, pointing out Lara would toss them all into an abyss if, right in the middle of his “honeymoon,” a full mariachi comes to crash the party! someone protests that they could sing “quietly,” but the guys all know this is a bad plan. nevertheless, Coloso asks anyone who likes the idea to raise his hand. only Mañanitas does, so of course they all grab their instruments and head out to give Lara a serenade, leaving the decorated bottle sitting on the shelf in Lara’s locker. (ha ha ha!!!)

     PENSIÓN: Rosario kisses Emiliano's back where her name is tattoo'd down one shoulder.

     E: I idolize you, Rosario.

     R <stroking the tattoo>: You tattoo’d my name on your back! <she's almost overcome.>

     E: And why not? Why not, since you were always watching my back? (as in, protecting him.) You were always there, guarding me. In short, my guardian angel is named “Rosario.”

     R: I adore you madly, you hear?

     E <reaches around behind himself to embrace her>: And I you! And I you!

     R: And who did [the tattoo] for you?

     E <rolling over and propping himself on his elbows>: A prisoner friend of mine from there in the prison.

     R <upset>: You don’t know how it destroys me that you had to go through that! How did you manage to survive?

     E: In two ways, my love. The second, was singing rancheras.

     R <astonished>: Seriously?

     E: I swear! I swear!! So, to my long list of names, now we can add 'The Mariachi of the South Prison.' <Rosario laughs, but she's still sad. Emiliano sees this.> It’s ok now! I swear it’s ok now! I swear it’s ok now! Now, I’m going to show you the first -- the reason I was able to withstand absolutely everything. <reaches over and unzips a small bag that's sitting next to the bed. he reaches inside...> Are you ready? <she nods, and he pulls out the picture of her singing that Corona once gave him as a warning to keep his mouth closed, and shows it to Rosario. she looks like she’s about to cry.> You. You, my love. Thanks to you, I could withstand absolutely everything. Look -- they can give me a thousand names... they can take me wherever they want... they can lock me up... but I will go on being the same: The man who loves Rosario.

     Rosario can't take any more. she leans toward him, pushing him back onto the bed, kissing him, caressing him. he drops the photo and hugs and kisses her back, and...

     ROSARIO’S HOUSE: Raquel is sitting at the table, having a cup of tea or something, smiling to herself. Lucía, still in her clothes, appears from around the corner behind her and says in a smart-alec little sister kind of way, that there’s still no sign of Rosario. Raquel isn’t surprised. Lucía supposes that Rosario went to a hotel with Emiliano, and since it’s been nearly a year since they’ve seen each other, she can just imagine the make-out session that must be going on... Raquel cuts this off by saying “Lucía!” in a repressive tone. unabashed, Lucía replies, “I know, I know: Shut your yap and go to bed.” Raquel says that Lucía took the words right out of her mouth. Lucía resignedly goes over and gives her mother a kiss goodnight before walking away toward her bedroom. Raquel goes back to smiling fondly at nothing in particular.

     PENSIÓN: Rosario and Emiliano are still, um, making up for lost time, when suddenly the sound of a mariachi starting to play the opening bars to “Guadalajara” can be heard, quite clearly, in the room. Emiliano and Rosario both stop mid-kiss, Emiliano looking around with an almost crazed stare and Rosario starting to get this resigned sort of look on her face.

     E <wildly>: It’s them!

     R <calmly, nodding>: It’s them.

     E: Ay, NO!!

     R <still nodding>: Ay, yes.

     E <starting to struggle in protest>: Ay, noooo! What are we going to do??

     R <practical, but with some urgency>: Well, let them in, because if we don’t they’ll get in somehow anyway! I know what they’re like!! <Emiliano finally manages to get out of the bed, protesting the whole time, as the band finishes the intro and starts to sing.>

     mariachis <out in the hall>: ? ¡Guadalajara, Guadalajara! ?

     E <frantic, furious>: It can’t be! Do you know – do you know how long I’ve waited to have this moment alone with you?!?

     mariachis <out in the hall>: ? ¡Guadalajara, Guadalajara! ?

     R <hastily wrapping herself in sheets>: Yes: Eleven months and five days.

     E <struggling to get his pants on> Five days --? NO! and TWELVE. HOURS!! Don’t just dismiss a half-day of my torture!!! Please! These people... they have no respect for --are you ready?

     mariachis: ? Tienes el alma de provinciana.

     Hueles a limpia rosa temprana.

     A verde jara fresca del río.

     Son mil palomas tu caserío.

     Guadalajara, Guadalajara,

     Sabes a pura tierra mojada! ?

     muttering complaints the whole time, Emiliano finally gets his shirt on as well, but he doesn't bother to button even one button. he heads for the door and goes to unlock it, checking quickly to ensure that Rosario, who is now sitting up on the bed, is completely covered and “decent.” (well, so far as being wrapped in sheets is “decent.”) he opens the doors and the whole mariachi piles in, singing and playing. Mañanitas has this whole head-banging thing going on while he’s playing (it’s hysterical). Coloso, who doesn’t seem to be singing but only encouraging Mañanitas in his head-banging, the guys in their playing, and generally directing things with the aid of a bottle of something he’s brought along with him, seats himself on the bed next to Rosario with half the mariachis ranged alongside him next to the bed. the rest of the guys, including Sigi and Fer, have got Emiliano trapped on the other side of the room, by the table. Emiliano looks like he’s trying to keep from punching the lot of them, and the mariachis are all staggering -- clearly drunk. Rosario is laughing.

     mariachis: ? ¡Ay, ay, ay, ayyyy! ¡Tlaquepaque Pueblito!

     Tus olorosos jarritos

     hacen más fresco el dulce tepache

     para la birria, junto al mariachi,

     que en los parianes y alfarerías

     suenan con triste melacolía. ?

     the song seems to go on forever. Mañanitas head-bangs nearly the entire time, and by the end is looking decidedly the worse for wear. Fer and Sigi encourage Emiliano to dance, which he does, it appears, mostly to keep them from jumping on his toes. Coloso staggers over to offer Emiliano a swig from his bottle of very expensive tequila, then snatches the bottle back. Emiliano keeps moving the candles off the table so a nearby mariachi doesn't set a stray shirttail ablaze.

     mariachis: ? ¡Ay, ay, ay, ayyyy! ¡Guadalajara hermosa!

     Quiero decirte una cosa:

     Tu que conservas el agua del pozo

     De tus mujeres lo más hermoso.

     ¡Guadalajara, Guadalajara!

     Tienes el alma más mexicana.

     ¡Ay, ay, ay!

     ¡Ay, ay, ay!

     ¡Ay, ay, ay!

     ¡Ay, ay, ay!

     Guadalajara, ¡Guadalajara! ?

     they finally finish the song and Sigi starts to talk for all of them before Emiliano can get a word in other than an enthusiastic but sarcastic "Bravo!"

     Sigi: Good, good, good, very good. ¡Chevere! <looking around.> I see flowers, I see candles... In other words, you were waiting for us with open arms! <the mariachis and Rosario all crack up.>

     Coloso: Lara, Lara... what were you two doing...? <he laughs uproariously, and so does everyone else except Emiliano.>

     one of the violin players notices the unopened bottle of champagne in the bucket on the table and takes it out, asking who wants some. several mariachis speak up, loudly.

     Mañanitas <raising his hand for attention>: Lara, Lara... Lara, Lara -- <the mariachis finally quiet down> The idea... the idea for the serenade was mine...

     E: So that’s the second thing you owe me!

     M <confused>: Excuse me?

     E: Yes! Look, the first was that little letter you sent me, where you thanked me for teaching you how to put on a condom!!

     R <astonished>: No! No!! <Mañanitas and several other mariachis all say No! as well. then they and Rosario start laughing again. >

     E <still indignant>: Yes! Yes! You know what happens with letters in prison, don’t you? The WHOLE WORLD READS THEM, you beast -- the prisoners, the police, EVERYONE!!

     another mariachi: Seriously, Lara?

     E: Yes, seriously!

     The mariachis all think this is quite funny. Fer talks about taking a course by mail, Sigi chimes in with something about "preservatives," and they’re all having quite a good time with it.

     E <to Rosario>: I don’t know what you think is so funny, my love! Every day I was either in a fight over that effing letter, or all the prisoners thought I was a homo -- thanks to this man!

     Mañanitas has this "me? I did that??" expression, but Rosario and the rest of the mariachis continue to be in hysterics over this.

     R <half falling over from laughing so hard> What success! Even in prison they didn’t stop flirting with you! <trying to act diginified as she tucks the sheet more securely around her breasts.> It’s just as well I didn’t find out about any of this because the only thing I did here was not be jealous!

     Coloso <putting his arm around Rosario, in a more serious tone.>: Lara, Lara... very rough, prison....

     E: Very rough, very rough.

     another mariachi: Why did you plead guilty? Tell us! Tell us!! <some others join in, urging Emiliano to tell.>

     E <talking over them>: “Tell us, tell us!” What “tell us”? Listen up: Do you all know how long I dreamed of this moment alone with Rosario??

     Fer: Well, months.

     R: Eleven...! Eleven months!!

     E: Exactly! Eleven! And you all know what? NONE of you were in those dreams!! <several mariachis make “awwww” sounds>

     Fer: You know what, pal? Life is not a dream -- and especially not your life, which always turns out completely backward.

     Sigi: I would like to clear something up here: Are you trying to say that you don’t want us here in this moment?

     E <with exaggeratedly feigned reluctance> and R <frankly>: Nnnnnno! No! <the mariachis laugh and make fun.>

     Sigi <the picture of offended dignity>: Wha-- wha-- What ingratitude! What truly amazing ingratitude! Ingratitude is one of the lowest passions ever. <to the mariachis, in an exaggeratedly offended tone> In other words, HE would rather be here alone with Rosarito instead of talking to us! <the mariachis all chime in in agreement.> Manada! Let us preserve our dignity and STAY!

     the mariachis all laugh and shout their agreement. Rosario protests, but, bundled up in the sheets as she is, that’s about all she can do. however, the idea they might actually all stay --they're drunk enough they might decide that's a good idea-- is the last straw for Emiliano. he immediately starts to herd everyone out the door, yelling “Out! OUT!!” at them. Fer puts a friendly arm around Emiliano’s shoulders and gives him a little hug, telling him “Welcome.” Coloso, who is starting to droop, has to be physically hauled off the bed and to his (not very steady) feet by Emiliano, with the dubious assistance of Mañanitas. Emiliano practically shoves Coloso out the door (so vigorously that Coloso nearly falls flat on his face in the hall -- hee!). Mañanitas, the last to leave, wants to give Emiliano a big hug and talk, but Emiliano isn’t having any of it. he pushes him out the doors and quickly pulls them closed again. Rosario, still wrapped up in the bedsheets, leans weakly against the ‘headboard,’ still laughing. Emiliano, as he latches the door: “There are only twelve of them but they seem like fifty!” he heads for the bed, where Rosario lifts two sheet-wrapped arms to greet him. “Well now, where were we...?” Emiliano continues, muttering about “jurgos” and “chingos” and “restos” and so on as she wraps her arms around him and the two start to fall back onto the bed. “Excuse me, excuse me, excuse me!” says the mariachi who had appropriated the bottle of champagne as he stumbles apologetically through the doors. he drunkenly tip-toes over to the table and puts the bottle back in the ice bucket as Emiliano, indignant, gets off the bed and hurries over to push the guy back out into the hall and shut the doors again. once again, he returns to the bed to resume making love with Rosario. and once again, no sooner have they started to get into the embrace, than there is noise outside and the doors burst open again, this time to reveal Mañanitas, trying to hold Coloso back. of course, he can’t, and Coloso surges drunkenly into the doorway and leans there casually, one arm propped on the lintel. “Lara! Eleven months!!” “A lot!” chimes in Mañanitas, lurching behind him. “What a totally rad summer!!” concludes Coloso with a chortle. then he sees Emiliano surging toward him and shouts “RUN!!” to Mañanitas. the two quickly vanish down the hall as Emiliano reaches the doorway. he shouts curses and insults after them at the top of his lungs while Rosario collapses on the bed, convulsed with laughter once again. as Emiliano closes the doors yet again, the manada can be heard shouting back at him from a distance. this time he not only latches the door, he gets the padlock out of his pocket and snaps it firmly through the latch: NO-ONE else is going to come busting in. Rosario just about can’t breathe, she’s laughing so hard, gasping out, "It can't be... it can't be..." muttering “Ok, ok...” Emiliano wearily returns to the bed, but Rosario, still convulsed, tells him to wait a minute. he sinks down next to her, one arm along the ‘headboard,’ and, finally cracking a smile at the whole ridiculous situation, says, "Oh, 'wait a minute!' -- We're not going to do anything now!"

     ROSARIO’S HOUSE: it’s morning. Raquel calls out to Lucía that her breakfast is ready. when Lucía appears, still in her pajamas, Raquel tells her to eat quickly because she still has to bathe and she doesn’t want to be late for school. in a sing-song, i-told-you-so tone of voice, Lucía informs her mother that Rosario didn't sleep at home the night before, and Raquel tells she she's aware of that. Lucía starts to go on about the killer make-out session that must've been taking place, and Raquel reproves her again. unfazed, Lucía replies, “I know, I know: Shut your yap and eat your breakfast.” Raquel agrees, but she can't hide a smile, and Lucía sees it.

     PENSIÓN: Emiliano is wearing a glaringly white bathrobe with black trim and a HUGE “ESG” monogrammed on the left breast pocket (puh-leeze!). Rosario, on the other hand, only has the clothes she arrived in (hmmmm, you should have planned a little bit better, Emiliano...!), and is already dressed from the waist down. she's standing with her back to us, facing the balcony doors, her arms above her head as if she's stretching. but then The Monogram walks into the scene with her blouse in his hands. as they talk, he attempts to help her put it on, and fails miserably. finally Rosario does it herself, though once she has it on, he obligingly helps her zip up the back.

     R: To Mexico?

     The Monogram: Yes, I want you to get to know where you're going to live before we get married, my love. (and again i will say it: i appreciate his training and his parents and probably his business contacts are in Mexico and all, but that was his old life. except for Felipe, his FRIENDS, his brothers, and the rest of his family, are all in Colombia. keep a pied-a-terre in Mexico but live in Colombia, man!!)

     R: In other words, I'm finally going to see the 2,000 meters plus terraces.

     TM: Totally!

     R <chuckling>: Fine. <pretending to challenge him> And if I don't like it?

     TM: If you don't like it -- so what? I'll buy you another!

     R: It was a joke.

     TM. Fine.

     R: Plus, who isn't going to like an apartment like that?

     TM: I swear -- it could be you! I swear it! Right, my love... I also need for us to see my parents.

     R: To tell them we're going to get married?

     TM: No, they already know that.

     R: ...But they don't approve.

     TM: My little love, you will soon see that many things have changed. But what I cannot allow is [this]: If they don't apologize to you, they don't go to the wedding.

     R: They don't have to apologize to me...

     TM <not open for discussion>: They DO have to apologize to you! They do! And now -- oopah! Breakfast! <he heads for the table, pulls the champagne bottle out of the bucket with one hand, and picks up the two glasses with the other.

     R: We're going to have champagne for breakfast?

     TM: So what? Do we have anything else? I'm sorry my love, but our excellent days of opulence and wealth eating breakfasts of coffee and bread are over, so: a very good morning to you!

     R: A very good morning to you! <he toasts her with his glass and gives her a lingering kiss, then they each take a sip. she coughs, as usual.>

     TM <he was waiting for that cough>: Right, that's what I expected... I'm warning you, my love: The day you stop coughing, I'll kill myself!

     R <finally getting the coughing under control>: I thought it made you crazy...

     TM <taking her in his arms>: The only thing I don't want to change in this whole world, is you... <he holds her close, looking at her fondly, for a long moment. then suddenly, he's all business.> And now -- your present!

     R: My present??

     TM <striding over to the cabinet.> Yes! There's just one promise that I made you which I haven't yet fulfilled.

     R <confused, absently tucking her blouse into her skirt>: Promise?

     TM <getting two boxes wrapped in shiny silver paper, one smaller than the other, out of the cabinet and placing them on the end of the bed in front of her.> Wait until you see --wait until you see!-- then you'll remember...!

     Rosario finishes tucking in her blouse, then hastily picks up the smaller one and unwraps it. it's an iPod. she looks at it, then looks at him, then unwraps the bigger box. it's a nice docking station with speakers. Rosario turns the two boxes over in her hands, smiling.

     R: My love, it's divine. <looks at him.> So, where do you put the CD, or what? <she looks at him and he looks back like he can't believe her. she laughs -- gotcha!> Yes, I know, I know...

     TM: When I... When I was the poorest -- the poorest man on the planet, I told you that one day I would buy you a stereo -- isn't that right? <we flash back to one of the earliest episodes, perhaps a day or two after they'd met, when she took him to a mall so he could visit an internet café to see if he had any messages from his family. while he was checking his mail, she went window-shopping. after he finished in the café PastEmiliano rejoined PastRosario as she was staring longingly at a boom box in the window of an electronics store, and surprised her by sneaking up behind her. he asked if she saw anything she liked, and she'd indicated the modest boom box, saying it was too expensive. PastEmiliano thought it was cheap for $135 or so, but PastRosario told him she'd have to save up if she wanted to get it, only she never had any extra cash.... back in the present, The Monogram is softly caressing Rosario's neck with his hand.> Do you remember...? <back in the mall again, PastEmiliano is pointing to a larger stereo system with fancy speakers. he asks her what she thinks about that one instead. PastRosario is shocked, and asks if he didn't notice how much it cost. PastEmiliano shrugs off the $1,000 price tag as not being so expensive, but PastRosario points out that if she couldn't afford the boom box at a tenth the price, even less could she afford a system like that one. PastEmiliano tells her that if she isn't going to get it for herself, then he will get it for her. back in the present, The Monogram continues to caress Rosario's neck as she keeps recalling that day... PastEmiliano's voice echos in her head as he says, “One of these days, not too very far away, that stereo will be yours.” back in the present, The Monogram is still gently caressing her..>

     R <moved>: Thank you, my life...! Thank you for not forgetting.

     TM <softly>: [No,] thank you, for always believing, and for never forgetting me, ever! <they kiss>

     OUTSIDE ROSARIO'S HOUSE: Lucía is in her school uniform with her backpack. she is standing outside the front door, which is ajar, playing with the key, and staring dubiously at the late-model silver Mercedes parked right in front of the house. after a moment, she pushes the door open and, still looking at the car, goes into the house, shutting the door behind her.

     ROSARIO'S HOUSE - KITCHEN / INTERIOR PATIO: Raquel is looking through what appears to be a change purse, but not finding whatever it is she was searching for. Lucía comes in and asks her mother who the car outside could belong to. for all she kept hurrying Lucía along earlier so that she would not be late for school, Raquel almost seems to be stalling now. she's given up looking in the change purse and has now got the refrigerator door opened for some reason. “I don't know, my love -- it must belong to some neighbor,” she replies absently, staring into the 'fridge. Lucía states that the car is a mega-car, as if saying so would make Raquel suddenly know to whom the car belonged. but Raquel is dismissive, shutting the 'fridge door and waving around the change purse as she replies that she has no idea and in any event, it's nothing to do with them. and NOW she seems to be in a rush all over again as she tells Lucía she (Lucía) forgot her map in her room and to hurry and get it or they'll be late.

     OUTSIDE ROSARIO'S: Emiliano and Rosario are strolling slowly down the street toward the house. he is dressed in a dark blue suit with a white button-down shirt (no tie) and is carrying a blue bag. Rosario, as mentioned earlier, has on her clothes from the night before. she can't stop admiring the ring on her finger, while he can't take his eyes off of her. Emiliano asks, “So, do you like your ring, or what?” she replies that she loves it -- “It's the prettiest jewel I've ever seen in my life!” but Emiliano won't allow that: “Ah, no, no, no, my love! You're not [the kind of] woman who wears a jewel. The jewel of a woman is definitely you!” they reach her front door and she rings the bell, then turns immediately around to face him, putting her arms around him. he obligingly puts his free arm around her waist and holds her close. “Did you know that I adore you un chingo y un híjole?” “And I [adore you] un jurgo y un resto, if you can imagine,” he replies, kissing her. Lucía walks out the front door right at this moment and interrupts. she tells Emiliano not to let her mother see him, because Raquel is “furious” with him. Emiliano wants to know what he did now, and Lucía, in a “duh!” tone, tells him it's because Rosario didn't come home the night before. Rosario listens to this exchange, laughing quietly to herself. with a sigh, Emiliano tells Lucía he'll talk to Raquel in a moment. she gives him a big smile and tells him he's “divine,” calling him “Mocoso” (loosely, “snot-nose”). in an approving tone, Emiliano tells Lucía that THAT is how she should have started out the conversation, then points out that instead, every time he sees her she gives him bad news. she tells him it's because he started out badly. Raquel's voice calls out from inside (wasn't she in a hurry??), asking who is at the door, and Lucía calls back that it's Rosario and -- wincing slightly in anticipation of the explosion?-- “Pacho,” there is no response from Raquel, so Lucía turns to Emiliano and says, “At least you're not drunk or beat up!” which causes Rosario to giggle even more. Emiliano tells Lucía to settle down and go inside, and they both walk past Lucía into the house, giving her a kiss on the way. as Raquel's voice is heard calling out, in a disapproving tone, “Come in,” Lucía follows them inside and shuts the door again, firmly.

     ROSARIO'S HOUSE - INSIDE: as if she didn't remember that Lucía told her who was at the door, once again in a rush to get out of there, and still clutching the little black change purse-type bag, Raquel distractedly rounds the corner into the patio/living room area calling out to Lucía over her shoulder (!! Lucía can magically transport herself from out front to the back of the house, then??) to get a move on. she comes to a stop when she sees Rosario entering the area from the entry hall, and smiles. she and Rosario greet each other; Raquel spares a disapproving glance at Emiliano, who looks like he expected nothing less. as Rosario steps back to Emiliano's side after giving her mother a kiss, Raquel asks reprovingly why she smells like alcohol. Rosario explains that she and Emiliano had champagne for breakfast. Lucía scoots around the pair of lovers to her mother's side and, looking at Emiliano and saucily drawing her finger across her throat, tells him “This is as far as you get, Mocoso!” she should have known better... Emiliano isn't giving up so easily. he grumbles at Lucía, then steps forward to pleasantly greet Raquel and give her a kiss on the cheek. she returns his greeting politely. stepping back to Rosario's side, Emiliano looks at Lucía and says, “See? It wasn't so bad.”

     Raquel <reprovingly>: Look, Francisco. I understand that you two have been apart and that you want to be together. But I'm going to warn you about one thing: Until Rosario gets married, she sleeps in her own bed at home every night. Have I made myself clear?

     Lucía <unabashed, to Emiliano>: You see that it was?

     Emiliano <ha ha, very funny. NOT. to Lucía>: Ha ha... Allow me. <more formally, to Raquel> Mrs Raquel, you have no idea how much --truly, how VERY much!-- I have missed your scolds! <Raquel, listening to this with her arms cross and a “you don't say!” look on her face, raises her eyebrows at this.> In fact, I asked Life to return me to Colombia so that I could continue to listen to them, because in truth, today is the happiest day of my life! <Rosario is biting her lip to keep from laughing. Lucía, still standing next to her mother, is drawing circles in the air around one side of her head in the universal sign for “he's crazy!” Raquel, arms still crossed, just nods her head with an “oh, really?” look on her face, making a non-committal humph sort of sound. Emiliano smiles winningly at her.> It won't happen again, ma'am!

     Raquel <fussing with her sweater, trying to repress a grin>: Go and make yourselves a little breakfast.

     Rosario <amusement in her voice as well>: No, I have to go get changed, Mom, to go to the office.

     Lucía <surprised>: You're going to go to work?

     Rosario <pleased with herself>: To give notice, in fact.

     Emiliano <to Raquel>: ...And I came to speak with you.

     Raquel: Ah, fine, then. I'll take Lucía to school and then come back so we can speak.

     Emiliano: Perfect.

     Raquel <to Lucía>: Come along, my love... <she heads toward the door. Lucía trails along after her.>

     Emiliano <to Lucía>: Ciao, Princess!

     Lucía <giving him a kiss>: Ciao, Mocoso! <to Rosario.> Ciao! <Rosario and Emiliano watch them leave. as soon as the door shuts behind them, Emiliano grins. Rosario turns to him with a big smile.>

     Rosario: I know her -- she's not going to accept it.

     Emiliano: You should know me better: I'm more stubborn than she is! <puts his arm around her and pulls her close. she happily returns his embrace and they give each other a long, loving kiss.>

     ROSARIO'S HOUSE - OUTSIDE: Raquel has her back to the street as she fusses with the lock for the front door. Ismael, now standing attentively by the rear passenger-side door, addresses her politely.

     Ismael: Mrs Raquel? <Raquel, still locking the door, looks at him over her shoulder.> Are you and the girl are going to the school?

     Raquel <non-plussed>: Yes, sir...

     I: Permit me. <he opens the door. Lucía, who has been watching him and the car with suspicion ever since leaving the house, continues to do so. Raquel just stares blankly from the car to Ismael for a moment.>

     Raq: And you are...?

     I <giving a small bow>: Ismael, at your service.

     Raq <looking at him and the car again, then turning to look behind her. Lucía still isn't saying anything.> ...And this car?

     I <motioning politely for them to get in>: It's yours, Mrs Raquel.

     Raquel gets a worried sort of “oh, really?” look on her face. Lucía, on the other hand, is grinning delightedly as she looks at the car again.

     ROSARIO'S HOUSE - INSIDE: Emiliano (who is still holding that shopping bag in one hand, although in the process it seems to have morphed from a blue paper bag to a yellow plastic one with blue handles...) and Rosario are still locked in a close embrace, kissing each other. so intent are they that they don't hear the door being noisily opened and closed again, or the footsteps stalking briskly up the hall from the front door.

     Raq: Well, leave that for when you're married!

     R <breaking away from Emiliano, trying to suppress a grin>: Mom...

     Raq <indignant, gesturing toward the street>: No, Rosario! Outside there is a man with a car!

     R <disclaiming>: Yes. But don't ask me about it, Mom! <pointing over her shoulder at Emiliano, standing just behind her.> Ask him about it -- I had nothing to do with it!

     Raq: Look, I'm not going to accept this from you!

     R <amusement in her voice>: Convince him yourself, Mom! I'm going to bathe. Good-bye! <takes the bag that Emiliano has been holding (that has now morphed back into a blue bag!) and holding it up like a shield as she makes a hasty exit.> Ciao...! <Emiliano turns to watch her leave, grinning.>

     Raq <sternly, to Emiliano>: Look, Francisco: I am not going to accept that car from you! For heaven's sake! We're going to get one thing clear -- look: <advances a few steps toward him and takes a deep breath.> I am very happy that you have been able to settle your economic problems, <Emiliano, listening with folded hands and a serious “I'm listening attentively” expression on his face, nods briefly at this.> but that is YOUR money and I am not going to accept it from you!

     E <amiably but implacably>: No, you are going accept that car from me! And what's more, you're going to accept a beautiful apartment from me!

     Raq <not in the mood>: Ay, you have lost your mind! No, sir!! <waves behind her toward the street.> Tell that gentleman with the car to leave!!

     E: No, ma'am, he's not going to leave. You are going to get used to that gentleman and that car! You'll see.

     Raq: I will not! I am not going to accept this from you -- I already told you!

     E: Yes, you will! And look, I don't intend to argue any more with you. I don't intend to discuss economic matters with you -- that's the last thing I need! It's precisely for that reason that I hired Alejandro, so if you have any objection, present it to him! Ok? <there is a brief silence while Raquel considers this.>

     Raq <raising a finger in protest>: Hold on just one little momen--

     E <interrupting>: And I also told him, ma'am, that arguing with you is very difficult: Every time I argue with you, I lose! But I also warned him that if he loses an argument [with you], then he'll lose his job. Don't fight with him too much...

     Raq: Look, Francisco: You're not going to get away with this!

     E <grinning>: We'll just see.

     Raq: I'm not going to get into that car!! <starts to stomp off toward the kitchen. Emiliano heads for the door.>

     E: Then I will take Lucía to school. <raising his voice.> My love! I'll see you later!

     R <from the depths of the house somewhere>: What happened?

     E: I'm just here fightin-- er, talking, --TALKING to your mother. <grins wickedly at Raquel, who looks harried.> Ciao! <heads for the door.>

     Raq <calling after him>: Now wait just one minute, Francisco! Come back here! <we hear the front door close. Raquel heaves a sharp sigh in frustration.>

     ROSARIO'S HOUSE - OUTSIDE: Ismael is still waiting at attention next to the car, but Lucía is already in the back seat, happily playing with the electric window, rolling it down and up and down again. Emiliano greets Ismael, who returns the greeting as he opens the door. Emiliano gets into he back seat next to Lucía and turns to face her as Ismael shuts the door.

     E <briskly, to Lucía>: Well, let's see, Squincla (loosely, “brat), let's see if I've got this right: When I was in prison, those girls in your school began to make fun of you...?

     L: Yes, and worst of all was when they found out you were a millionaire, you were set free, and you didn't come back for Rosario.

     E <thoughtful>: Hmmm. What did they say? <we see from the movement of the car, that Ismael has gotten into the driver's seat.>

     L <in a small voice>: That Rosario and I were way beneath you.

     E <heaves a deep sigh. softly, sympathetic>: You had a really bad time without me, didn't you, my princess?

     L <tearfully>: Yes.

     E: So that's what they were saying, huh?

     L: Yes.

     E: Well, what are we going to do? Are we going to remove that thorn, or just leave it in?

     L <go get 'em!>: Remove the thorn! Once and for all!

     E: Once and for all, is it? Ok, let's go -- that's perfect! <to the driver.> Ismael! Let's go to the school, please!

     I: Yes, sir.

     E <to Lucía>: Here's what we're going to do...

     ENTRANCE TO LUCÍA'S SCHOOL: Lucía's red-headed friend Sarita --the same one who once told Francisco that she believed Rosario would be better off chosing Macías and who didn't believe Emiliano when he told her all about how, back in Mexico, he had cars and a huge apartment and a private jet-- is standing near the corner, frowning out at the cross-street with her arms crossed, as if that will make Lucía appear. over next to the entrance, three bratty Virginias-in-training are lined up, staring at her back. one has large white stud earrings on, one seems to be wearing a purse (that totally clashes with her uniform, i might add!) AND a book bag, and one just looks like she thinks she's All That. one of them calls out to Sarita, telling her to come on already, because the teacher had already arrived.

     Sarita <turning around>: Ay, girls, but the thing is, Lucía isn't here yet!

     Virginia-in-training with the purse: She's probably at the post office with her fool of a sister, sending more letters to that millionaire...!

     VIT who's not really All That: The “Pacho” who was supposedly coming for them the minute he got out of prison...! <Sarita, arms still crossed, makes a face at them.>

     Sarita <snide> Whatever...

     VIT/purse: What, like that millionaire would marry that pathetic Rosario!

     VIT/not All That: Lucía is an idiot! That guy is probably even embarrassed to admit he was Rosario's boyfriend.

     Sarita <glares, then pretends she's so impressed - NOT.> Fool!

     behind Sarita, the silver Mercedes streaks around the corner. Ismael pulls to a stop at the curb in front of the school as Emiliano, from the back seat, says “Well, well, well...” in a bracing tone of voice.

     VIT/earrings: Oooee! And that mega-car?

     E <to Lucía, as they peer at the three VITs through the windshield from the back seat>: So which is Daniela Pinzón...?

     L <pointing, but we can't tell to which -- maybe VIT/earrings?>: That one.

     E: Well, now we're going to leave her gaping. <Lucía smiles.> And the others, what about them?

     L: All of them tease me except for Sarita.

     E <turning to stare at her in mock shock>: What? Sarita's on my side?

     L <nodding at him with a smile>: She told me not to cry because I would see you again. <the camera shows us Sarita, who has turned around again to watch out for Lucía, clearly not realizing she is in the car. Sarita looks mad, and sad.>

     E <approvingly>: Well, that's one point in her favor among all those against -- good for Sarita!

     L: Yes, and she also said that you wouldn't waste any time getting into trouble with the police and that I should watch out because you were going to come back to hide out with us.

     E: And here I thought we came here so that you could get even, but now I see that I am the one who urgently needs to get even! So, ready, Ismael?

     I: Yes, Don Emiliano.

     E: You know what you have to do, right?

     I: Yes, sir.

     E: Ready, Squincla?

     L: Ready, Mocoso! <they share a little secret handshake sort of thing as Ismael gets out of the car and goes to open the door next to Lucía, while Emiliano opens the door next to him for himself.>

     VIT/not All That <pretending not to be impressed>: Oooee, with a chauffeur and everything! Who could it be? <Lucía hands her bookbag to Ismael, who holds it in one hand while helping her out of the car with the other as Emiliano walks around behind the car to join them. the VITs notice, with obvious dismay, that it's Lucía. Sarita recognizes the heavily bearded man putting his arm around Lucía.>

     S: It's Pacho! <she looks like she's not sure she approves. Emiliano tucks Lucía's hand in his arm and, patting it, walks with her toward the entrance, Ismael trailing along behind. Lucía is walking extra tall, and has a superior little smile on her face. they stop in front of Sarita, who still has her arms crossed.>

     I: What time would you like me to pick you up, Miss Lucía?

     L <turning to look at him, her hand still firmly tucked in the crook of Emiliano's arm, in her finest “aristocrat” voice>: At 4pm would be fine, Ismael -- thank you. <the VITs watch this performance with dubious surprise and dismay.>

     I <handing her book bag to Lucía with a little bow>: As you wish, Miss Lucía.

     L: Thank you. <puts the bag on her shoulder.>

     E: Thank you, Ismael. <turns back to face Lucía.> Well, Princess, I'm going to rent that club for the wedding to your sister, ok? And those five thousand invited guests are going to have a marvelous time. <the VITs are all exchanging looks with each other now. Sarita is still standing with her arms crossed and an “Oh, puh-leeze” air. Emiliano ignores them.> Or, you know what I'm thinking...? Instead of renting the club, how about we buy it? <he looks inquiringly at Lucía but she just looks at him like, come on...> Oh, I don't know, I don't know which is better, but I'll see you tonight. <gives her a big, noisy kiss on the cheek.> I adore you, Squincla!

     L <smiling at him>: And I you, Mocoso!

     after giving Lucía one final pat on the cheek, Emiliano finally shows he's seen Sarita, giving her a little wave and saying “Bye-bye!” with something of an embarrassed half-smile, Sarita looks up and gives him a bit of a wave in return. as Emiliano walks back to the car where Ismael opens the door for him, her smile fades and turns into something of a pout. the three VITs, on the other hand, are definitely pouting now. Lucía pretends not to see any of this. “Well, what are we waiting for -- to class, right?” she smiles brightly at all of them, and they wordlessly turn and head into the school. Lucía, following them, waits until they're inside and she's at the entrance. she turns to look at Emiliano and gives a little “Yes!!” victory jab with her arm, grinning at him like crazy. from the opened door of the car, Emiliano returns the gesture and the grin, and watches as she turns and heads into the school. he pats Ismael on the back as he gets into the car. Ismael shuts the door and goes to open the driver's door.

     MACÍAS' OFFICES - CONFERENCE ROOM: Macías is sitting at the conference table, looking like he's just eaten something nasty. Mr Bad News (Soto), is standing, and fidgeting a bit, as if he were a student who's been called into the principal's office.

     Macías: He's back. <it's not a question.>

     Mr Bad News <nodding and fidgeting slightly> : Yes. <fidgets some more, looks down and away in the ensuing pause.>

     M: Then he didn't forget about her...?

     MBN <still fidgeting and not able to really look at Macías, shaking his head>: No. No, Javier, no. <decides to get it over with.> What's more, he is the owner of the company that bought the bar.

     Macías rears back slightly in his seat, looking appalled. (ha ha ha!!!)

 

Telenovela-World:  RCN's avance for Tuesday 1/15/08 Author: B. (---) Date:   01-15-08 00:05 PST

     15 de enero de 2008

     "Espere muchas sorpresas en la recta final de LA HIJA DEL MARIACHI

     Esta Noche Después de Pura Sangre"

Mientras Raquel le entrega a Emiliano las cartas que Rosario le escribió durante el tiempo que estuvo en la cárcel y que él nunca quiso leer, Macías se entera de los pormenores del regreso triunfal del mexicano. Poco a poco Emiliano empezará a retribuirles a sus amigos la ayuda y apoyo incondicional que le brindaron durante el momento más duro de su vida. Los primeros beneficiados serán Fernando y Coloso. El primero recibirá un apartamento para que él y Leticia tengan su propio nidito de amor, y el segundo tendrá el carro que siempre soñó. Pero como las cosas entre estos dos personajes no se pueden solucionar sino es a los golpes, esta no será la excepción, y después de una cruenta disputa, el Coloso recibirá un lujoso vehículo.

-----------

     "Expect many surprises in the final episodes of LA HIJA DEL MARIACHI

     Tonight After Pura Sangre"

     While Raquel gives Emiliano the letters Rosario wrote him during the time he was in prison that he never wanted to read, Macías learns the details of the Mexican's triumphant return. Little by little, Emiliano will begin to repay his friends for the help and unconditional support they offered him during the most difficult time of his life. The first beneficiaries will be Fernando and Coloso. The former will receive an apartment so that he and Leticia can have their love nest, and the latter will have the car of which he'd always dreamed. But as things between these two characters have never been able to be settled without coming to blows, this time will not be the exception, and after a bloody dispute, Coloso will receive a luxurious vehicle.

 

Telenovela-World:  SUMMARY for Colombian ep - 15 January 2008 -- COMPLETED  Author: B. (76.208.189.3)  Date:   01-17-08 02:16 PST

     LHDM – final episodes

     15 Jan 2008 in Colombia:

     the episode starts with the final scenes from the show on the 14th (see this post), beginning with the scene where Emiliano and Ismael drop Lucía off at her school and show up her three snotty Virginia-in-training classmates who have been enjoying talking down to Lucía saying how now that he was rich, Emiliano had forgotten all about Lucía and Rosario. it continues on to complete a scene i knew i was going to enjoy when it was only started on Monday night's episode: Mr Bad News giving that turd Macías the latest report on What's Happening With My In-Laws. each news item is less pleasing to Macías than the one that preceded it. in short order, Mr Bad News lets Macías know that:

     -Emiliano's back

     -he hadn't forgotten about Rosario after all

     -he's the owner of the company that bought the bar

     -he's made Don Carlos a business partner in the bar

     -he's going to invest money in the bar

     -everyone at Plaza Garibaldi is very happy

     Macías looks more and more ill with each successive piece of information. finally...

     Macías <can't take it>: No, don't tell me any more... <yet, after a moment...> But then, what did he come back for? To re-open that dump?

     Mr Bad News <still fidgeting, even more reluctant>: Yes, to return the bar... to Rosario... and those two-bit musicians. And, um, to marry her...

     Macías looks like he's been suckerpunched (hee!!). he gets up, almost stumbles as he gets himself a drink. he orders Mr Bad News to leave him alone. Mr Bad News starts to tell him that he's there, if Macías needs him, but Macías just orders him, again, to get. out. (heh. maybe Macías will jump out the window. that's a nice high building he's in, the fall would be painful....)

     ROSARIO'S HOUSE: Raquel and Emiliano are sitting at the small table on the patio having a chat over coffee. still calling him "Francisco," Raquel tells Emiliano how Rosario paid off the debt to Macías with the money she got from selling Pedro / Francisco's mariachi suit. and how she, Raquel, knew that though they could ill afford to spend that heaven-sent money in such a manner given their "complicated" financial situation, she had totally approved of Rosario's decision to do so because she knew it was important to Emiliano to have that debt paid -- as it was to her, Raquel, as well, so she is grateful. she says that Rosario paid the debt in his name --Emiliano Sánchez Gallardo-- in honor of him (Emiliano), a man who was condemned to 40 years in prison and in whom practically nobody believed anymore. she tells him all about how even after the debt was paid, Macías kept coming around to Rosario at her minimum-wage job, trying to offer her better positions at a higher salary, but Rosario just shut him out. Emiliano is surprised -- it seems Rosario hadn't told him she was only earning minimum wage. Raquel says Rosario was faithful to her job, and to Emiliano. “...A man who was never coming back,” says Emiliano in a grim tone; it's killing him to hear all of this. Raquel explains that Rosario once told her that even if she couldn't have been Emiliano's wife, at least she could be his widow. Raquel goes on, telling Emiliano that after Macías had the bar shut down, she (Raquel) never wanted to see his (Macías') face again. “You can't imagine, Francisco, the faces of those boys when they closed the bar, crying as they said good-bye, one by one..." Raquel is barely holding back tears at the memory. "They even said good-bye to 'The Prince of Mexico.' Rosario... Rosario got up [onstage] with your sombrero, as a token of your presence there.” Emiliano and Raquel are both nearly overcome, and he reaches out to rub her shoulder for a moment in reassurance and support, his eyes brimming with tears. as he clasps her hands in his, Raquel continues, telling him that after that, life was pain and poverty for all of them. Emiliano, brokenly: “And how could it not be, since they took away your house, and separated the children [from each other]?” Raquel agrees that what little everyone had was taken from them: Fer couldn't afford his apartment, so he gave it up and he and Lety went to live together in a tiny place... Coloso lost his beloved taxi, because otherwise he couldn't afford the support money for Roro.... but then she cheers up, saying that everything's better now: they have the bar back, and can get on their feet again --and it's all thanks to Emiliano. Emiliano protests that they have nothing to thank him for. on the contrary, he is the one who owes thanks to all of them, for everything they did for him. then he asks Raquel specifically how the three Guerrero women made out over the past year. a little reluctantly, Raquel admits that things were a bit difficult -- Rosario only earned minimum wage at her job. Emiliano suddenly realizes why Rosario didn't want him to come with her when she gave notice at the bank: she'd lied, telling him she was earning an entry-level salary, not minimum wage, but that even at that she had had to supplement it by giving serenades at night. Raquel is surprised to hear Rosario told Emiliano she was getting an entry-level salary, and even more so to hear Rosario said she was doing serenades. Emiliano, genuinely puzzled, asks why. trying not to cry, Raquel explains that ever since Rosario came back from Mexico, she had put away her mariachi suit and never wore it again. Emiliano is stunned: "But Rosario told me--!" walking over to open the trunk to show him Rosario's mariachi suit, Raquel explains that ever since Emiliano went away, Rosario just couldn't sing any more. looking like he'd been socked in the stomach, Emiliano joins Raquel beside the trunk and looks inside, then drops to his knees as he sees all the blue envelopes lying there with the neatly-folded suit. Emiliano reaches into the trunk. he can barely get the words out: “These... these are... the letters... the letters she sent to me!” he picks a few up and looks at them. Raquel says that each time one came back to Rosario, she knew he was keeping his promise to her (to Raquel) to let Rosario live and not drag her into the abyss, but she also knew how much it must have cost him to do so. as she is speaking, he puts down the letters and starts picking up pieces of the mariachi suit and holding them for a moment, in turn -- the tie, the sash.... Emiliano says he sent a little bit of his soul back with every one of the refused letters. “These letters are mine?” he asks, tearfully. Raquel smiles. "Of course, Francisco -- they're yours." Emiliano strokes the sash he's holding fondly for a moment, then puts it down and picks up the jacket. “And this suit...?” “That, too,” says Raquel softy, with a fond little smile. Emiliano is left speechless. he just pats the jacket and bites back his tears.

     PENSIÓN: Emiliano is in his room, reading all the letters Rosario wrote. she's telling him she and her mother and sister are fine, she's still going to school every day and working at the bar, the guys are all doing great, etc... there's not one word about all the terrible things that happened to all of them after he was taken back to Mexico, or the difficulties she, her family, and all the mariachis were experiencing. she says that every day when she gets home from class, the first thing she does is sit down at the table in the patio to write him his letter. she tells him she will send him a letter every day until she dies, if she has to. he can ask her to do anything --anything!-- except to leave him. leaving him is the ONLY thing she will never do for him. she says he is always with her: every night she sleeps with him in his cot, wherever he is, holding him and kissing him. he is always with her. they wake up early, he walks with her along the streets, he accompanies her to the university, and to her house, and at the Plaza Garibaldi they continue to sing duets. Emiliano lets out a long, deep, unsteady breath after finishing the last letter. he folds it up and kisses it, saying “I idolize you, my sweet liar.”

     FER AND LETY'S: Fer is curled up asleep on the small bed (and now that we're getting a wider shot than we have before, we can see the bed really is little bigger than a twin!). someone bangs on the door until he wakes up. cranky, not making a move to get up, Fer wants to know who the Hell it is, and Emiliano cheerfully shouts that it's someone who loves to bust up honeymoons. Fer gets out of bed to let him in, saying Emiliano can't really be sore about that. Emiliano says of course he isn't -- he's just thinking of busting up all of their "honeymoons" is all. then he gives Fer grief about the time: it's two in the afternoon and Fer's still asleep! crawling back onto the bed and pulling the blanket over himself, Fer grumpily tells Emiliano to make himself at home, and gets ready to go back to sleep. but Emiliano yanks the blanket back off him and tells Fer to get cleaned up and dressed, because they have to get going -- they have a meeting at the bar --a meeting of the partners-- did Fer forget? Fer laughs and admits that, being the total prole he is, he did forget. he says he'll be just five minutes to bathe and three more to get dressed, and hurries off toward the bathroom. while he waits, Emiliano looks around the tiny apartment, noticing how very little there is to it -- a cheap tin pot on the small stove/oven that is just an arm's length from the end of the bed; a small dresser; a tiny table barely large enough for Fer's computer... Emiliano picks up the keyboard and notices it's missing a couple of the keys. (in fact, i think Emiliano's room in La Laguna was larger than Fer and Lety's place...!) Fer abruptly comes back, wondering aloud what Lety did with “the towel,” which he fishes out of a drawer in the dresser. watching this, Emiliano can't take it anymore. he asks where Fer and Lety want to live. Fer tells Emiliano not to worry about it: now that he's working at the Garibaldi again, he'll take care of things. Emiliano tells Fer he wants to give him an apartment, as a gift. Fer wants to know what Emiliano has in mind -- one of those ritzy place with a jacuzzi and everything? Emiliano says if they want a jacuzzi, they shall have a jacuzzi, which provokes a reprimand on water conservation from Fer the Prole. so Emiliano says fine, no jacuzzi then -- how about a nice big penthouse loft with a great view of the whole city? but this, too, is shot down for environmental reasons (on the basis of how much energy it would take to light the place). getting exasperated, Emiliano says, "Ok, fine... the Apocalypse is coming, the world is going to end, the Four Horsemen are approaching at top speed... but BEFORE that all happens, I want to give you an effing apartment -- which one do you want??!?" Fer says he wants his old apartment in Soledad: it was 20 minutes from the university, ten minutes from the bar, "and a millimeter from me." Fer isn't going to let Emiliano's millionaire generosity turn him (Fer) into a capitalist pig, no sirree! Emiliano can't believe Fer wants that place back even if it is convenient -- the shower barely works, etc. but as Fer starts to look mulish, Emiliano hurriedly says that if that's what Fer wants, that's what Fer shall have. that matter settled, he tells Fer to hurry up and get showered, because he (Emiliano) is starving and he wants to get some lunch before the meeting. now Fer is wary all over again, thinking Emiliano is going to drag him to some chi-chi expensive place that will give his proletariat stomach indigestion over a meal that costs a year's salary, but Emiliano tells him off in his best Colombian, asking if Fer seriously thinks he came back to Colombia to eat that kind of meal and saying he wants a good 5,000 peso corrientazo, so Fer needs to get a move on already.

     OFFICE AT THE GARIBALDI: as Emiliano paces around, fretting, “Alex” (formerly Hembro) is on the phone with someone who is clearly telling him whatever he's trying to get isn't for sale. “But if it were, how much would it cost?” Alex persists in his usual patient way. as he hangs up, he tells Emiliano, “Ninety million.” Emiliano, looking frustrated, tells him to offer a hundred million. “And I keep raising until they sell,” Alex concludes -- he knows the drill. Emiliano reminds him to make sure the papers are in Fer's name, then adds, “While I'm away in Mexico with Rosario, make an appointment with Leticia Agudelo and see they get a decent apartment.” Alex tells him it's a done deal. Emiliano smiles wickedly to himself: “They're going to murder me!” he turns to leave, then turns back. “I just remembered something important: A jacuzzi, THIS. BIG.!!” (he holds his arms as far apart as he can.) Alex tells him, “Ok,” and the two head out of the office together.

     MAIN ROOM AT THE GARIBALDI: all the mariachis and Don Carlos are there. Sigi is just clarifying something with Don Carlos: “50%??” Sigi can’t believe it, but Don Carlos confirms the figure. as Emiliano and Alex walk out from the back, Coloso calls out, “Lara, Lara! Is it true what Don Carlos is saying?” Emiliano stops and asks what’s up. “That you’re going to give us half of the bar,” says Coloso, looking like he’s afraid to hope it might be true. Emiliano says, "It’s like this: Thirty percent goes to Rosario. Twenty percent goes to Don Carlos, who will continue to be the boss. And the other 50% is for you guys." the guys all cheer. Jairo: “Ay, Mexicanísimo, I mean --Don Mexicanísimo!-- And what about you?” with a broad grin, Emiliano explains that he’s going to be the husband of the principal shareholder, so what else does he need? the guys all laugh. this reminds Sigi, and he asks where said principal shareholder is. Emiliano replies that she’s getting her Mexican visa. Don Carlos asks if the company is indeed going to buy the entire block. Emiliano says what they hope to do is build Plaza Garibaldi into something “immense.” Coloso wants to know if he’s thinking of something along the lines of “a fortress with the façade of a castle and a pool and everything” -- he clearly likes this idea. Alex and Emiliano look at each other, each seemingly hoping the other has a good response. Emiliano finally manages settles on, “Yyyyessss, something like that, could be...” Don Carlos wants to know if they truly think this expansion plan is going to work, and Alex assures him that if it doesn’t, the company will cover the losses. Emiliano adds that any business venture is a risk -- it might work, or it might not. but it’s not so improbable as the idea that two mariachis in Colombia should send an e.mail to a Commander of the Federal Police in Mexico that results his being set free, so.... “Look, guys -- it’s a dream. Let’s go for it?” the guys all agree and cheer. Emiliano says he’s leaving Alex there to explain the details to everyone while he and “Manuel” (Coloso) go off to run an errand. looking wary, Coloso immediately wants to know where to and what for. Emiliano just tells him to come along. he turns to leave, then stops and tells Alex he and “Manuel” (sorry, that just makes me laugh. this whole novela he’s been Coloso, and now he’s Manuel. hee!) will need another car because Rosario has the original one. looking a bit dubious, Mañanitas asks if Lara and “Manuel” are really going somewhere, just the two of them. Emiliano says, Yes, in a tone of voice that shows he doesn’t understand why there should be any question at all. all the mariachis immediately chortle and comment. Emiliano still doesn’t see what the big deal is. Jairo points out they will end up punching each other in the face, like always. Alex grins on hearing this, while Emiliano dismisses the idea as nonsense -- why would they end up punching each other in the face? Mañanitas persists: “But you guys always end up punching each other in the face...!” Coloso gravely concedes that he and Lara have certainly exchanged blows -- lots of times. “But we’ve matured because of them,” he lectures the rest of the mariachis. Emiliano immediately agrees with this, then makes his getaway with Coloso. they haven’t even reached the door before Sigi is speaking for the rest of the manada: “That pair... That pair is going to mix it up. They’re going to mix it up!” everyone agrees with him.

     OUTSIDE A CAR DEALERSHIP: Emiliano and Coloso approach a car dealership. “Lara! We’ve come to this dealership. Don’t tell me you’re going to buy another car...!” says Coloso. Emiliano says he is, but this one is for Coloso. Emiliano tells him he found out that Coloso had to sell his taxi.

     C: This is true.

     E <takes Coloso by the shoulder so he will stop walking>: I’m only going to tell you this once, and I have no intention of repeating it ever again in my life: <he takes a deep breath, bracing himself.>

     C <in classic fashion>: I know, I know, I know... You’re going to tell me how much you love me. Lara, do it on your knees -- do it as a favor. I’ll watch.

     E <grinning>: That you are never going to see! <Coloso grins back at him.> But of all the enemies I’ve had in all of my life, in truth the only one I respect, sincerely, Manuel, is you.

     C: I feel the same. But... my having lost my car -- that’s not your problem, sir!

     E: No, but it also wasn’t your problem that a whole army of not only the Colombian police but the Mexican ones were pursuing me, and in spite of this --and despite the fact you had just found out that I was a fugitive and an impostor, Manuel!-- you helped me to escape.

     C <pleased>: A car for me -- get moving!

     INSIDE THE DEALERSHIP: a salesman greets them as they enter. Emiliano tells the salesman that they’ve come for the “little car,” and the salesman walks with them across the showroom floor. although the salesman is pointing to a little two-door car similar to the one i seem to remember Coloso used as his taxi, it’s parked right next to some big ol’ Chevy SUV, and Coloso only has eyes for the SUV. he heads right for it and pats the roof near the driver’s door, saying, “Lara, let me tell you that this is very nice.” Emiliano asks the salesman to give him a moment, then goes and breaks it to Coloso that he was going to get him the little sedan instead. Coloso informs “Lara” that he (Emiliano) is going to get him the SUV -- it’s the car he deserves. as Emiliano says, “No, no...” Coloso ignores him and asks the salesman if it’s ok if he gets inside. on being told told it's ok, Coloso opens the driver’s door and slides behind the wheel, saying again that it’s a very nice car. Emiliano hurries around and gets into the passenger’s seat, telling Coloso that he knows it’s a very nice car, but does Coloso know how much it costs?? without batting an eyelash, Coloso tells him, “More than 100 million, that’s for sure.” (to put this in perspective, 100,000,000 Colombian pesos is something around US$ 50,000.) Emiliano is disconcerted: “So much? Hey, in Mexico they’re cheaper.” Coloso tells Emiliano he can import his (Coloso's) SUV from Mexico, then, if he wants. Emiliano flatly states that he’s not importing any cars for Coloso, and repeats that he's going to buy the sedan for him. Coloso asks Emiliano if he believes the man who helped him escape deserves the sedan, and before Emiliano can even blink, Coloso punches him on the side of the face, telling him not to be a tightwad. Emiliano sits up, holding his hand to his face, and accuses Coloso of being manipulative, punching Coloso in the face as he says it. now they’re both holding a hand up to their faces. the salesman hurries over and asks if there is a problem, and (as they’re groaning and holding their hands to their faces -- ha ha!!) Emiliano tells him no -- no problem they can’t resolve by punching each other. when the salesman has left again, Coloso comments that Emiliano is punching much harder than he used to -- has he been working out? Emiliano replies that he lifted weights in prison. calming down a bit, Coloso wants to know where they stand. Emiliano suggests they just get the sedan he intended to buy and go back to the bar. Coloso disagrees. Emiliano objects, and Coloso pulls out the “When I Helped You Escape” card again, mentioning that the cops could have shot him -- let’s suppose! -- and then where would Roro have been? without a father and in exchange for what? for helping a guy escape who recovers his millions and only wants to give him a goddammed sedan?? he punches Emiliano in the face and calls him a tightwad again. Emiliano immediately punches back, calling Coloso an opportunist. Coloso tries a new trick, telling Emiliano that when he offered his life for Lara’s, he did it completely for free. and now, if Lara is going to cry over a measly million more or less... Emiliano indignantly breaks into this rant pointing out that the difference in price between the sedan and the SUV is more like 40 or 50 millions, not one. Coloso sticks to his guns, pointing out that the difference between helping him to escape or not is the difference between being alive or dead. Coloso risked his life for Lara; if he can’t risk a little money to get him that SUV, it’s ok. he likes that SUV, a lot, but... on Lara’s conscience be it. Coloso gets out of the car, leaving Emiliano sitting in the passenger seat, knowing he’s been played. again.

     OFFICE AT THE GARIBALDI: Alex and Sigi are seated at the desk, Sigi holding what looks like a little booklet in his hands at which he’s staring in happy shock. “Mexico. I’ve spent my entire life, sir, dreaming of a ticket on a plane bound for Mexico.” he reads his name off the ticket. "Bogotá. Mexico City." Alex tells him that he’s going first-class, and staying at the best hotel. Sigi can’t believe it: “Me. Xi. Co.” he shows the page to Alex and asks him what it says, just there. Alex reads off Sigi’s name. “That’s me,” says Sigi, still in wondering shock. Alex confirms this. Sigi starts to cry: “I’m going to Mexico!”

     DEALERSHIP: a pleased Coloso and a resentful-looking Emiliano are seated at the salesman’s desk. Coloso is holding a brochure for the SUV at arm's length, so he can admire it. “Yes, sirree!! THAT’S my car, Lara!! This is my car!! And I’m not going to put horns on this one -- no, no, no!! I’m going to put the bull’s head on the roof!! And I’m going--“ the salesman breaks into these transports to tell Emiliano the total price for the car: 104 million pesos. Coloso tells the salesman to relax, because that is like nothing to Emiliano. Emiliano glares at him. the salesman asks how Emiliano is going to pay, and he ruefully says, “breaking rocks.” Coloso laughs at this. Emiliano sighs, and tells the salesman, “In full, please” Coloso: “Lara... thanks.” Emiliano looks at him and, in a “yeah, right.” tone of voice, says, “Hmmm, thanks.” Coloso laughs in a friendly way, and Emiliano, resigned, pats him on the leg.

     BAR MAGUEY: Alex enters and greets Don Memo, who is at the bar, going over his accounts. Memo returns the greeting, saying, “Alejandro, isn’t it?” and asking what “that Gamín” wants now. looking around the room, Alex says that as the Maguey is falling apart, Emiliano sent him to tell Memo that unless Memo gets it fixed up, Emiliano’s not going to sing there ever again. Memo: “Oh, yeah? You don’t say...! He finally turned into a villain on us, did he?” Alex smiles and tells Memo not to worry: Emiliano is sending an architect who will arrive the next day. Memo dismisses the architect: “Me and a pair of workmen, and [it's] done,” he says firmly. Alex explains that the architect will bring his own workmen. Memo tells Alex that he had better explain to Emiliano that an architect will cost him and arm and a leg, but Alex just points out that in any event it will be “Licenciado Sánchez Gallardo’s” arm and leg, and not Don Memo’s. Don Memo scoffs: “’Licenciado Sánchez Gallardo’-- give me a break! The ‘licenciado’ who spent all his time here drunk and picking fights with everyone and his mother on the streets, who never bathed -- and now the ‘licenciado’ comes out with the story that if I don’t fix the roof, then he won’t come back and sing in my bar?!? You just go back and tell him he’s got a nerve!” (only he used a rather more crude expression.) Alex calmly gives his little bow with his little smile and says that he will do that, then says good-bye to “Don Guillermo.” Don Memo: “Adios Don Alejandro.” he watches Alex leave, and gives a rueful little chuckle to himself.

     PENSIÓN: Lourdes has been tidying Emiliano's room. Emiliano comes back just as she finishes making the bed. she’s concerned about the cuts on his face, but he says they’re nothing and changes the subject by thanking her for straightening everything up. she tells him she also cleaned his mariachi suit, so it will shine brightly at the show that night. Emiliano sits down on the bed and invites her to sit down and talk to him for a moment. he asks what her dream is. Lourdes smiles fondly and says she wants to marry Mañanitas, have a child with him.... “...Have a house?” Emiliano guesses, but she says no, she doesn't think she and Mañanitas could or would leave the pensión -- they're Don Genaro's only “family.” Don Genaro would never leave the pensión --Emiliano agrees: Don Genaro's whole life is here!-- and they couldn't leave him. plus, they're really happy there, the three of them -- especially now that Emiliano is back. Emiliano prompts her to tell him more, so she says that she'd also like to have a good job, so she could help Mañanitas out with the expenses. but her biggest dream is to never have to work on the streets again. Emiliano tells her that's a done deal -- he swears she never will have to work the streets ever again. he asks what other dreams she has. she laughs and confesses that she's always wanted to have her own beauty salon -- “but dreaming is free!” she adds. Emiliano urges her to talk about what Mañanitas wants, and she says that he's always dreamed of paying off his mother's little house, and then of helping her set up her beauty salon. “And you know?” she confides, “I think one day the Virgincita is going to help us to fulfill that dream...!” figuring the conversation is at an end, she gets up and goes over to the table, telling him she organized all his letters in order, by date. “Do you know what those are, Lulú?” he asks her. “Rosario's letters,” she replies. “No, that is my great treasure,” he tells her. “They are the only thing that no amount of money in the world could ever buy.”

     GARIBALDI, NIGHT: Rosario enters the women's dressing room to find a new big bouquet on the table and her mariachi suit hanging on a stand, waiting for her. she eagerly opens the note that is with the flowers. it’s from Emiliano: “My adored liar: Tonight you are going to sing for me.” she smiles, and strokes the sleeve of the jacket.

 

Telenovela-World:  RCN's avance for Wednesday 1/16/08 Author: B. (---) Date:   01-15-08 18:36 PST

     16 de enero de 2008

     "Emiliano tiene nuevos proyectos con la PLAZA GARIBALDI

     Después de PURA SANGRE"

     Después de hablar con Raquel (Alejandra Borrero) y de contarle sobre sus planes para el futuro, Emiliano y Rosario (Carolina Ramírez) partirán a México, país en el cual piensan radicarse después de la boda. Emiliano aprovechará este viaje con su prometida a su tierra natal, para que sus padres se disculpen por haber pensado mal de ella y por la forma tan descortés como se comportaron el día en que la conocieron. El Lucerito de México quedará en shock cuando conozca el mundo al que el ejecutivo y su familia pertenecen. Antes de este viaje, Emiliano y Rosario vivirían una idílica noche de rancheras dedicadas exclusivamente al amor.

------------

     "Emiliano has new projects with the PLAZA GARIBALDI

     After PURA SANGRE"

     After talking to Raquel (Alejandra Borrero) and telling her about his plans for the future, Emiliano and Rosario (Carolina Ramírez) leave for México, a country in which they plan to live after the wedding. Emiliano will take advantage of this trip to his homeland with his fiancée for his parents to apologize for having thought badly of [Rosario] and for the very discourteous way in which they behaved [towards her] the day they met her. The little Lucero de México will be in shock when she gets to know the world to which the business executive and his family belong. Prior to this trip, Emiliano and Rosario will live an idyllic night of rancheras dedicated exclusively to love.

 

Telenovela-World:  SUMMARY for Colombian ep - 16 January 2008 -- COMPLETED  Author: B. (76.238.153.83)  Date:   01-20-08 20:02 PST

     LHDM – final episodes

     16 Jan 2008 in Colombia:

     as is their custom, the episode starts with the final 1-2 scenes from the previous episode (see this post, which, unlike the summary for the 14th, IS completed), beginning with part of the scene between Emiliano and Lourdes. i'll pick up with the last scene from the 15th...

     PLAZA GARIBALDI - WOMEN'S DRESSING ROOM: Rosario enters to find a new big bouquet on the table and her mariachi suit hanging on a stand, waiting for her. she eagerly opens the note that is nestled with the flowers. it’s from Emiliano: “My adored liar: Tonight you are going to sing for me.” she smiles, and strokes the sleeve of the jacket.

     PLAZA GARIBALDI - MEN'S DRESSING ROOM: most of the manada is there, already dressed or nearly so. Mañanitas, looking glum, says that if this isn't really real, if it's all just a dream, then he'll kill whoever dares to wake him up. Sigi wants to know if any of the rest of them are feeling the need to sing the blues, and they all chorus, “No!” his mariachi suit slung over his shoulder and a big grin on his face, Coloso briskly strides into the room, followed by Emiliano, who is looking rather less cheerful and more plodding than striding. the mariachis look at the pair of them carefully as Coloso parks his suit over by the dressing table and Emiliano stands near his locker, glaring at Coloso. with one voice, the guys say, “Yup, they had a fight.”

     Fer: Well, and may we know what it was about this time?

Coloso <casual>: Colleague Molina, it was a minor disagreement over car models. <the mariachis gasp.>

     Sigi: What?! Car models?? You guys are a little bit too old to be fighting over car models, for heaven's sake!

     Coloso <interrupting> No, Sigi, Sigi!! It really was just a minor difference...!

     Emiliano <annoyed>: Aaaahaha, “a minor difference”? So 140 million pesos seems like “a minor difference” to you! Asshole! <giving Coloso a final glare, he turns to open his locker as the guys chortle and Coloso snickers outright.> (and wasn't the price of the car only 104 million pesos?? maybe Emiliano is exaggerating for effect?)

     Coloso <grinning>: Prison made his temperament worse, yessir! <Emiliano snarls and opens his locker, stopping short when he sees the bottle of aguardiente with the “bow” (a mariachi's tie) around it that Fer and the guys had left there the night before. he stares at it as Sigi whistles to catch the attention of the rest of the mariachis and silently point to Emiliano, so they can all see his reaction. with a “ha ha, very funny” look on his face, Emiliano picks up the bottle and turns around to show it to the grinning mariachis. letting the door swing shut behind him, he puts the suit down on the bench and takes the bow off the bottle.>

     Fer: Welcome to the dressing room, parselito!

     Sigi: Drink it later, brother!

     Emiliano <smiling as he opens the bottle>: What 'drink it later'?? No! Drink it now!! <lifts the bottle in a toast to the manada, who chuckle appreciatively.> Cheers! <he waves it around to include everyone.> Cheers! <tilts back his head to take a big, long drink that is choked off practically mid-swallow when a high-pitched effeminate voice is heard outside the dressing room. Emiliano turns and stares toward the door in horror.>

     James Gastón <off-camera>: Boys!!

     Emiliano <horrified, pointing toward the door>: It's...it's... it's That..?! <several of the mariachis give him resigned nods.> But... but it's not possible he's still...

     Fer <arms crossed, resigned>: Yes, yes... No, it's possible, it's possible -- believe me.

     Emiliano <deflated>: It can't beee! <the rest of the mariachis just look resigned as well.>

     Jairo <calling out to Gastón>: Cover your eyes and come in! <Emiliano can be heard groaning, “yeeesh.”>

     JG <entering, one hand coyly over his eyes>: Good evening, boys...! <he pauses inside the door and poses, eyes still covered. Emiliano groans in an “oh, puh-leeze!” sort of way again, and the rest of the guys grumble.>

     Coloso <muttering>: It's just not right... it's just not right... <lifting his voice> Guys: Singly, or all at once?

     Emiliano <to Coloso, nodding his head decisively>: I think both. <puts the bottle down and turns to join the rest of the mariachis, who are surrounding Gastón. Gastón emits a little cry of alarm.>

     OFFICE: Don Carlos is seated behind the desk, with Eulalia in a chair facing him. he's in his usual “show night” gear -- his shirt open at the collar with an Ascot cravat around his neck, red smoking jacket, etc. Eulalia has honored the occasion with a large glittery silver headband worn crown-style over a vaguely magenta page-boy-style hairdo, a huge and very gaudy glittery silver necklace that fans out from a wide choker-style band around her neck to fall over her chest and back in multiple glittery silver strands that reach the top of her black strapless mid-thigh-length sheath dress, boots that come more than half-way up her calf, and wide glittery silver Xena-type wristbands covering 2/3 of each forearm. Don Carlos is telling her how having the Plaza Garibaldi open to the public again is an illusion, a fantasy, a dream, a benediction! Eulalia smiles and agrees, stretching her hands out to him across the desk. as he leans forward to clasp her hands in his, we again hear James Gastón calling out from outside the room. this time he sounds more distressed than coy.

     JG: Doña Eu?! May I come in?

     Eu <not entirely pleased at this interruption>: Ay, yes, my child -- come in!

     the camera pans over to the door and we see a surprisingly trim and muscular pair of legs whose shoe- or boot-clad feet are nearly obscured by the black trousers that have been pulled down. as they carefully advance into the room, the stride greatly restricted --not to say hampered!-- by the pants, the camera pans upward to reveal a pair of blue boxer shorts with what appears to be a vaguely floral pattern, a white t-shirt, and the reason the wearer of the pants has not pulled them back up: his hands are tightly bound in front of him by several lengths of material that seems to be royal purple and glittery silver. as Eulalia, who has not turned to face the door, asks what the mariachis had to say about the ties, Gastón comes to a stop behind her chair and the camera finishes panning upward. the feathery things that would have been attached to violin bows and guitar necks, etc, have been trussed around his head like a headband, and a large bunch of them is sprouting over one ear, while the other hangs over his shoulder and down in front of his chest like a misplaced feathery corsage. more of the ties appear to be fixed at one shoulder, but i can't be positive. Eulalia finally turns around and has to quickly conceal a smile as Gastón hangs his head. Don Carlos hides his face in his hands as, looking at him and finally not trying to hide her grin anymore, Eulalia concludes that the guys didn't want to wear the ties. “Oh, well! Leave it at that, my son!” she turns back to face Don Carlos, who is laughing outright. “This reminds me of Christmas...!” he laughs some more as Gastón continues to hang his head. not entirely keeping the amusement out of her voice, Eulalia tries to change the subject: “Well, yes, where were we..? Lara... Lara gave us our life back, didn't he...?” Gastón is still standing there. Don Carlos waves a hand at him in dismissal, saying, with a frown, “Enough. Enough already -- you're indecent!”

     MEN'S DRESSING ROOM: the camera gives us a close-up of Emiliano's bare shoulder blade with the “ROSARIO” tattoo running the length of it. there is silence as the guys all stare at it, stunned and moved, but Emiliano, busy dressing, is oblivious. Sigi breaks the silence as Emiliano, pulling on his shirt, starts to turn around.

     S: Well, so then, what? Shall we decide on the set list, or what?

     E <starting to button his shirt>: Yes.

     C <a bit worried>: Lara... <gets to his feet.> ...am I still the boss, or...

     E <matter-of-fact>: Clearly, of course!

     C <still diffident>: Well, I thought.. that... now you're...

     E <briskly>: Manuel! Manuel, you're always going to be the boss of this group. And believe me, guys, I thought that I would never in my life hear this again, so, <to Coloso> what are you waiting for?

     C: Are you all ready?

     E: Out with it!

     C <his usual self>: MANADA! TO THE STAGE!!

     Emiliano shouts, “That's the way!” as the rest of the guys all cheer. they gather up their instruments and head out of the dressing room, leaving Emiliano, grinning, to finish dressing.

     MAIN ROOM: the guys are already playing as they file onstage to a standing ovation from the audience. the first piece is an instrumental, “El Jarabe Tapatío.” they dance as they play. behind the bar, Lalo is trying out his “Cocktail” moves. Don Carlos, Eulalia, Mirella, and Gastón --who has been released from his bounds and has gotten himself put back together again-- are all sitting at Don Carlos' customary table. further back, the ranchera-loving Colombian policeman and his “may I touch your finger, just to see if you're real?” subordinate (Bernal and ??) have a table and are clearly delighted the bar is open again. as the song ends, the audience surges to their feet again to applaud and cheer. Coloso strides forward, microphone in hand.

     C: Ladies and gentlemen! The Coloso de Jalisco and his marichi group welcomes you to your bar Plaza Garibaldi, to tell you that these voices were not silenced....

     as he continues his introduction, the camera moves backstage to a closeup of a pair of clasped hands. Rosario and Emiliano are holding each other's left hands. she fingers her ring on his finger, then he turns their hands over so he can finger his rings on hers.

     C <voice only, we're still looking at Rosario and Emiliano, now both in their mariachi suits, backstage>: These voices returned, and to stay -- yessiree!!

     the camera pans up to show Emiliano is caressing Rosario's neck with his right hand. smiling, she leans her head into his caress.

     C: Sigi -- go for it!!! Let's go!!

S: Yes, sir -- COME ON!!! ONE TWO THREE UGH!!

     Emiliano solemnly leans in to gently give Rosario a small kiss as the mariachis start playing “Cucurrucucú, Paloma.” as the introduction plays, Rosario smiles lovingly at Emiliano, who, as Coloso starts singing, breaks into a broad grin. ...and the camera goes back to show us what's going on in the main room. Coloso is singing. as he gets to the chorus, a shot of the policemen and other audience members, all singing along, seemingly at the top of their lungs.

 

C: ? Dicen que por las noches

nomás se le iba en puro llorar.

Dicen que no dormía --

nomás se le iba en puro tomar.

Juran que el mismo cielo

se estremesia al oir su llanto.

¡Como sufrió por ella

que hasta en su muerte la fue llamando! ?

 

? Ay yayayayaííííí.... ¡Lloraba!

Ay yayayayaúúúúí.... ¡Gemía!

Ay yayayayaííííí.... ¡Cantaba!

De pasión mortaaaaal... ¡moría! ?

 

in the pause before the next verse starts, the audience applauds. then the second verse starts, only this time it's not Coloso singing. Emiliano is sauntering out from backstage, microphone in hand, to take up the second verse.

 

E: ? Que una paloma triste ?

C <over his singing>: The Prince of México, Francisco Lara!! <the audience stands and applauds again.> Come on! <Emiliano smiles as he steps onstage and into the light, still singing.>

 

E: ? muy de mañana le va a cantar

a la casita sola con

sus puertitas de par en par,

Juran que esa paloma

no es otra cosa más que mi alma,

que todavía la espera

a que regrese la desdichada. ?

 

once again, the audience is singing along. the policemen, in particular, seem to be delighted that “the Prince of Mexico” is there.

 

? Cucurrucucúúúúú... ¡Paloma!

Cucurrucucúúúúú... ¡No llores!

Las pidras jamááááás... ¡Paloma!

¿Qué van a sabeeeeer... de amores? ?

 

C: ? Cucurrucucúúúúú... ? <points over at Emiliano with his finger as if, 'over to you!'>

E <coming to Coloso's side>: ? Cucurrucucúúúúú... ?

E & C <arms around each other>: ? Cucurrucucúúúúú...

Paloma, ¡ya no le llores! ?

 

     as the song ends, the two men bow as one. once again, the mariachis get a standing ovation with whistles and cheers. Coloso and Emiliano, smiling, give each other a one-armed hug. from his table, Bernal smilingly toasts them, then tosses back his shot of tequila. from the stage, Emiliano smiles at him and points his microphone in acknowledgment as Coloso thanks the audience.

     C <turning to Emiliano, smiling broadly>: Lara, I beat you... <motions at the audience.> You did see? <Emiliano just grins at him. Sigi gets the attention of the mariachis and counts them into the intro for the next song.>

     E: And now I want to introduce an angel to you all, an angel dressed as a mariachi... the light that always --always!-- illuminated all of my sad nights and brightened all my days... the light that never goes out: Rosario, my guiding star, The Star of Mexico! <more applause as Rosario walks onstage singing “Toda una Vida.”>

 

R <singing to Emiliano>: ? Toda una vida

me estaría contigo.

No me importa en qué forma,

ni cómo, ni dónde, pero junto a ti.

 

Toda una vida

te estaría mimando,

te estaría cuidando cómo cuido mi vida

que la vivo por ti. ?

 

     <she turns to face the audience, which as usual, is singing along. the women, in particular, seem to be very moved.>

 

R: ? No me cansaría

de decirte siempre,

pero siempre, siempre,

que eres en mi vida

ansiedad, angustia y desesperación.

<now she's singing to Emiliano again.>

Toda una vida

me estaría contigo,

no me importa en que forma,

ni como, ni donde, pero junto a ti. ?

 

     <as she finishes the song, Rosario is standing very close to Emiliano, facing him. he leans over and gives her a gentle kiss. the audience applauds and cheers.>

     R <with a huge smile>: Ladies and gentlemen, Emiliano Sánchez Gallardo, my husband. <the audience again applauds, and the mariachis start to play “Amanecí en tus Brazos.” just as Rosario sang her song to Emiliano, he now sings this one to her.>

 

E: ? Amanecí otra vez entre tus brazos,

y desperté llorando de alegría.

Me cobijé la cara con tus manos

para seguirte amando todo el día.

Y despertaste tú casi dormida,

y me querías decir no sé qué cosa,

pero callé tu boca con mis besos,

y así pasaron muchas muchas horas. ?

<Emiliano gives Rosario a knowing look.>

 

E: ? Cuando cayó la noche,

y apareció la luna

y entró por la ventana.

Qué cosa más bonita

cuando la luz del cielo

iluminó tu cara...

 

Yo me volví a meter entre tus brazos,

y me querías decir no sé que cosa,

pero callé tu boca con mis besos,

y así pasaron muchas muchas horas. ?

 

     <ending the song, he gives her another kiss. more applause and cheering.>

     C: SIGI! CUT LOOSE!! <the mariachi swings into the opening for “Qué Bonita es la Vida” as the audience gets to their feet and starts to dance in place.

 

E: ? Me gusta el olor que tiene la mañana...

Me gusta el primer traguito de café...

Sentir cuando el sol se asoma en mi ventana,

y me llena la mirada de un hermoso amanecer. ?

 

C: ? Me gusta escuchar la paz de las montañas...

Mirar los colores del atardecer...

Sentir en mis pies la arena de la playa,

y lo dulce de la caña cuando beso a mi mujer. ?

 

E: ? Sé, sé que el tiempo lleva prisa

pa' borrarme de la lista,

pero yo le digo que.... ?

 

<glittery pieces of confetti rain down on the audience and stage as all three singers and the mariachi join in the chorus. those people in the audience not already on their feet, get to their feet and join the party.>

 

E, C, R, + mariachis: ? ¡Aaaaaaay!

¡Qué bonita es esta vida!

Aunque a veces duela tanto,

que a pesar de lo pesares,

siempre hay alguien que nos quiere,

siempre hay alguien que nos cuida...

 

¡Ay, ay, ay, aaaaaaay!

¡Qué bonita es esta vida!

Y aunque no sea para siempre,

si la vivo con mi gente,

es bonita hasta la muerte

con aguardiente y tequila. ?

 

     <Emiliano has his arm around Rosario and he gives her a kiss on the head as she smiles and snuggles up to him. >

     C <'rapping'>: ¡Apúrale! ¡Brindemos por la vida!

     <Emiliano and Rosario brush the confetti off each other, then start to dance around the stage together.>

 

E: ? Me gusta escuchar la voz de una guitarra...

Brindar por aquel amigo que se fue...

Sentir el abrazo de la madrugada,

y llenarme la mirada de otro hermoso amanecer. ?

 

C: ? Sé, sé que el tiempo lleva prisa

pa' borrarme de la lista,

pero yo le digo que.... ?

 

E, C, R, + mariachis: ? ¡Aaaaaaay!

¡Qué bonita es esta vida!

Aunque a veces duela tanto,

que a pesar de lo pesares,

siempre hay alguien que nos quiere,

siempre hay alguien que nos cuida...

 

¡Ay, ay, ay, aaaaaaay!

¡Qué bonita es esta vida!

Y aunque no sea para siempre,

si la vivo con mi gente,

es bonita hasta la muerte

con aguardiente y tequila.

 

¡Ay, ay, ay, aaaaaaay!

¡Qué bonita es esta vida!

Y aunque no sea para siempre,

si la vivo con mi gente,

es bonita hasta la muerte

con aguardiente y tequila.

 

¡Ay, ay, ay, aaaaaaay!

¡Qué bonita es esta vida!

Y aunque no sea para siempre,

si la vivo con mi gente,

es bonita hasta la muerte... ?

E, R, + C: ? ...con aguardiente y tequila. ?

     everyone is on their feet, applauding and cheering. it's a total party.

 

 

Telenovela-World:  RCN's avance for Thursday 1/17/08 Author: B. (---) Date:   01-17-08 12:40 PST

     17 de enero de 2008

     "Rosario tendrá una nueva vida en México"

     Los lujos y las comodidades en que vive Emiliano, dejarán a Rosario sin palabras. Antes de encontrarse con sus padres, Emiliano pasará un romántico día en compañía de la mujer que le robó el corazón y que le mostró el verdadero sentido de la vida. Sin embargo, Raquel en Colombia, no se encuentra muy cómoda con la presencia del chofer que Emiliano le dejó, pues no está acostumbrada a tener personal que le sirva y mucho menos a que se convierta en su sombra. El joven además de ser el chofer de la señora Guerrero, se convertirá en el amigo inseparable de Lucía.

     17 Jan 2008

     "Rosario will have a new life in Mexico"

     The luxuries and commodities with which Emiliano lives will leave Rosario speechless. Before meeting with his parents, Emiliano will spend a romantic day in the company of the woman who stole his heart and who showed him the true meaning of life. However, Raquel in Colombia will not find herself very comfortable with the presence of the chauffeur which Emiliano left for her as she is not accustomed to have staff that serves her and even less someone who becomes like her shadow. The young man, in addition to being chauffeur to Mrs Guerrero, will become Lucía's inseperable friend.

 

Telenovela-World:  Telenovela-World: SUMMARY for Colombian ep - 17 January 2008 -- JUST STARTED...  Author: B. Date:   01-21-08 21:35 PST

more to come!

LHDM – final episodes

17 Jan 2008 in Colombia:

as is their custom, the episode starts with a scene or two from the previous episode, in this case the final choruses of “Qué Bonita es la Vida” being sung by Rosario, Emiliano, Coloso, and all the mariachis at the grand re-opening of the Plaza Garibaldi to the public (see this post. and we'll start there as well...



E, C, R, + mariachis: ♫ ¡Aaaaaaay!
¡Qué bonita es esta vida!
Aunque a veces duela tanto,
que a pesar de lo pesares,
siempre hay alguien que nos quiere,
siempre hay alguien que nos cuida...

¡Ay, ay, ay, aaaaaaay!
¡Qué bonita es esta vida!
Y aunque no sea para siempre,
si la vivo con mi gente,
es bonita hasta la muerte
con aguardiente y tequila.

¡Ay, ay, ay, aaaaaaay!
¡Qué bonita es esta vida!
Y aunque no sea para siempre,
si la vivo con mi gente,
es bonita hasta la muerte
con aguardiente y tequila.

¡Ay, ay, ay, aaaaaaay!
¡Qué bonita es esta vida!
Y aunque no sea para siempre,
si la vivo con mi gente,
es bonita hasta la muerte... ♪

E, R, + C: ♫ ...con aguardiente y tequila. ♪


 on their feet, applauding and cheering. it's a total party. the three singers take multiple bows and graciously share the applause with the mariachis. the night was clearly a huge success.

     DAYTIME: an airplane is seen flying over a cityscape. the words “MEXICO D.F.” type out on the screen. then we have a shot of the imposing modernist towers where Emiliano's apartment is.

     EMILIANO'S DF APARTMENT - UNDERGROUND PARKING GARAGE: we cut to a shot of a Mexico City license plate as the trunk above it is being opened. a uniformed man takes a large suitcase out of the trunk as the camera pans around to show Emiliano and Rosario sitting in the back seat. Rosario seems to be gritting her teeth and bracing herself. Emiliano is rubbing Rosario's hand, as if to give her encouragement.

     Emiliano <tenderly>: Welcome to your new home, my life. <Rosario makes a sortof non-committal “uh-huh” sound and looks around a little nervously. in a bracing tone.> Well, at last you're going to get to know the two thousand meters plus terraces WITH a pool, my life! <Rosario, lips compressed, again just nods once and makes that “uh-huh” sound.> My love! Look, I know that you want to marry me for all the money I have, so please! Don't show so much enthusiasm! Don't give yourself away so much! <raising an admonishing finger and shaking it at her emphatically.> You should never make obvious what is evident, my love -- what have I told you?? <Rosario continues to compress and uncompress her lips, and now she's starting to fidget as well.> WHAT. HAVE. I. TOLD. YOU, Rosario Guerrero -- huh?? <again with the “uh-huh” sound. softly.> That I idolize you! <he presses a kiss on the side of her face.> Let's go! <opens the door and gets out. such is his haste that he doesn't notice Rosario, after heaving a sigh of resignation, has started to scoot over to get out the same door, and he slams it behind him -- right in her face. Rosario stares at it, dumfounded, then goes to open it for herself. Emiliano looks in from the other window, having dashed around to open “her” door, and realizes his mistake. he hurries back around to help her out of the car. the uniformed man is standing at attention this whole time, the suitcases at his feet.> Alessandro, do me a favor -- give the suitcases to the concierge to have them brought up, ok?>

     Alessandro: Very good, Don Emiliano.

     Rosario <to Alessandro>: Thank-you.,

     Al: At your service, Doña Rosario.

     E <clasping Rosario's hand in both of his and looking at her adoringly>: Shall we go? <and again with the nervous “uh-huh. in an encouraging tone.>: Let's go!! <with his right hand holding her right, and his left hand around her waist behind her, Emiliano ushers her through the doors.

     EMILIANO'S DF APARTMENT - INSIDE: in silence, the camera pans down from the huge central chandelier to show Rosario, leaning against the end of the large table, looking around, and fidgeting. Emiliano is standing off to one side, his elbow propped on the edge of one of the chairs, chin in hand, contemplating Rosario as she looks around. he looks a little concerned. Rosario stares out the huge picture windows in front of her at the view of Mexico City.

     R: The view is very pretty.

     E: It's a good thing you like it, or else I'd send to have it removed. <Rosario seems to be too nervous to really hear him. she turns and walks toward the living room, but comes to a fidgety stop by his side. he turns his head to keep looking at her.>

     R: Your apartment is very pretty, my love.

     E <in a rallying tone>: Hey, hey! OUR apartment, my love! OUR apartment! <and again with the compressed-lip “uh-huh”... she crosses her arms, tucking one hand firmly under her armpit and rubbing the other up and down as if cold.> So, shall we see the rest, or what?

     R <pretending to consider it, fidgeting a great deal>: Later... I think I've seen enough for now.

     E <groans and teases her as he steps over to embrace her>: I'm dying, I'm dying of love for you. <with a deep breath and satisfied moan, he kisses her.> So what do you want? You want something to eat? You want something to drink? You want to rest a little..?

     R: Ay, yes -- I'm thirsty. Do you have some soda?*

     E: SOFT-DRINK,

     R <repeating obediently>: “SOFT-DRINK.”

     E <approvingly>: Now, good. Chill out* because we do have -- I'll serve you. <turns to head toward the kitchen area.>

     (note to non-Spanish speakers: this is another Mexico vs Colombia thing -- in an early episode, Francisco had said he wanted to have a “refresco” (loosely, “refresment”), meaning, he wanted a soft drink of some kind, but she'd explained to him if he wanted a soda in Colombia, he needed to ask for a “gaseosa” (loosely, “carbonated”) because if he asked for a “refresco” he'd get something quite different. she ran into a problem with this when she went to Mexico the first time, because she asked for a “gaseosa” and they didn't know what she was talking about. here she asks if he has a “gaseosa,” and he's telling her she needs to say “refresco.” also, Emiliano's reply to Rosario is a play on the word “refresh” (“refrescar”) as well as on the Colombian habit of saying “fresco” all the time to mean, “chill out,” “relax,” “be cool,” or WTTE...)

     R <hurrying after him, taking her purse off and placing it on the table as she goes.> No, no, no! Just--

     E <stopping and gesturing>: In the refrigerator.

     R: --tell me where it is and I'll serve you! <she hurries into the indicated area, only to be confronted by what seems to be a solid wall of dark-colored panels. looks around in confusion.>: The refrigerator... <looks around some more.> And where is the refrigerator...?

     E: Let's see, c'mere... <walking over and, after gently moving her to one side, opening one of the panels to reveal a refrigerator filled with bottles and food. Rosario stares. he contemplates the contents.> What SOFT DRINK do you want? <Rosario is completely taken aback with surprise. he turns to look at her, pointing to the interior of the fridge with his thumb.>

     R <well, well..!> Do you have fruit?

     E: Yes, whatever you want! I know you love them so ordered for all the fruits to be brought! Which do you want? <Rosario is fidgeting again.> So you'd prefer some juice, or a soft drink?

     R: Juice. Strawberry, would work.

     Emiliano pushes the fridge closed with one hand as he he picks up the handset of the phone that's sitting at the end of the table with the other and tucks it between his ear and his shoulder to hold it in place as he dials. he asks whoever answers for a maid, then listens for a moment, before confirming it and, thanking the person, hanging up. Rosario stares.

     R: A maid is going to make the juice??

     E <naturally>: Um-hmmm.

     R: Look, that's not necessary -- I can do it just as easily!

     Emiliano amiably says if she wants to do that, that's fine, and he picks up the phone and cancels the maid. Rosario, reeling, asks how many servants he has, and he explains that they're not HIS servants -- they work for the building, which operates similarly to a hotel. as he's explaining, he's opening various panels and pulling out things like a blender, bowls, strawberries, glasses, a knife, etc, and setting them on the end of the table near Rosario, humming and talking to himself the whole time. Rosario watches all of this, looking more and more dubious the whole time.

     E <picking up a knife and cutting the leaves off a strawberry>: Ready, now we're going to fix this delicious strawberry juice for my queen! <Rosario still looks very dubious, and she hasn't said a word. still cutting strawberries, he sighs, then smiles at her.> My love, please relax, ok? Everything's going to turn out just fine. I've already told you that no matter where they put me, I'm going to be exactly the same person: The man who loves Rosario Guerrero, period.

     R <smiling and walking over to stand next to him and lay her head on his chest>: I super-adore you, did you know?

     E <mock offended>: Hey, hey, hey! <steps back from her. but he's still cutting strawberries even as he's pretending to stare at her in outrage.> No, what happened to my chingo and my híjole? <Rosario smiles at him and turns to hide a laugh.> No, nooo, if you are already like this -- just “I super-adore you” and nothing more, so indifferent like that... I can imagine that after we've been married for five years this is going to be an intolerable situation!!

     R <goaded, grinning, and stepping toward him, very exaggerated>: Fine, I super-adore you a chingo and an híjole! <puts her arms around his neck. he's put down the knife and strawberries so he can put his arm around her waist to hold her close.>

     E: That's the way! <they kiss.> And I super-mega idolize you a jurgo and a resto!! <they kiss again. offhanded.> Do you know how long it's been since you and I made love?

     R: Two weeks.

     E: Two weeks -- that's a whole lifetime! <she laughs. he feeds her a piece of strawberry. she steps out of his arms to better eat it. he starts to move some of the stuff he got out to make the juice.> And you know what? Speaking of that, this is... <bracing both hands on the cleared area of the table, he leans over and lifts his feet off the floor, to see if the table takes his weight.> ....this is good... <moves some more of the stuff.> ...it's like, just the right size...

     R <backing away and shaking her finger at him>: No!

     E: Come here.

     R: No, forget about it -- no!!

     E <cajoling, holding out his hand> C'mon...

     R <backing away some more>: No, it's cold!!

     E <rubbing one hand on the table, still holding the other out to Rosario>: It's not cold! C'mere, look...!

     she continues to protest and he continues to cajole and reach for her. he finally catches her, pulling her over and into his arms. she gig

 

Telenovela-World:  Re: RCN's avance for Friday 1/18/08 Author: Maria Isabel (---) Date:   01-18-08 15:53 PST

     Hi Everyone:

     I apologize for the bad translation (I'm at work typing it during a break) hope it works

     Spanish:

     Rosario se encontrará con los padres de su prometido y en medio de una emotiva conversación Roberto, Gabriela y Cristina Sánchez - Gallardo se disculparán por haberla juzgado sin conocerla. Después de este encuentro, la pareja de enamorados viajará a Colombia para finiquitar los detalles de su boda. Entre tanto, Raquel, Lucía y el apoderado de Emiliano buscarán el apartamento que el mexicano les obsequiará. Mientras Virginia se entera de la gran boda de Emiliano y Rosario por el periódico, Macías vivirá la peor humillación de su vida.

     English:

     Rosario will meet with the parents of the fiance and in the middle of an emotive conversation, Robert, Gabriela and Cristina Sanchez-Gallardo will ask for forgiveness for judging her without knowing her. After the encounter, the love birds will travel to Colombia to finalize the details of their wedding. In the meanwhile, Raquel, Lucia, and the individual empowered by Emiliano will search for the apartment the Mexican will give them. In the meanwhile, Virginia will learn of Emiliano and Rosario's great wedding from the newspaper, Macias will live the worst humiliation of his life.

 

 

Telenovela-World:  RCN's avance for Friday 1/18/08 Author: B. (---) Date:   01-18-08 15:49 PST

     18 de enero de 2008

     "Más emocionante que nunca

     Después de Pura Sangre"

     A puertas del gran final de la novela número uno de los hogares colombianos, Rosario se encontrará con los padres de su prometido y en medio de una emotiva conversación Roberto, Gabriela y Cristina Sánchez - Gallardo se disculparán por haberla juzgado sin conocerla. Después de este encuentro, la pareja de enamorados viajará a Colombia para finiquitar los detalles de su boda. Entre tanto, Raquel, Lucía y el apoderado de Emiliano buscarán el apartamento que el mexicano les obsequiará. Mientras Virginia se entera de la gran boda de Emiliano y Rosario por el periódico, Macías vivirá la peor humillación de su vida.

     18 Jan 2008

     "More moving than ever

     After Pura Sangre"

     At the gates of the grand finale of the Number One novela in Colombian homes, Rosario will meet with the parents of her fiancé and during a touching conversation with Roberto, Gabriela, and Cristina Sánchez-Gallardo, they will apologize for having judged her without getting to know her. After this meeting, the lovebirds will travel to Colombia to finalize the details of their wedding. Meanwhile, Raquel, Lucía, and Emiliano's representative (Alex) will look for the apartment the Mexican will give [Raquel and Lucía]. While Virginia learns of the grand wedding of Emiliano and Rosario from the newspaper, Macía will live through the worst humilliation of his life.

 

 

 

 

 

 

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