00:00with our colleague who is there in the theater house
00:02precisely with Jonathan, the employee who saved Jorge Martínez's life
00:07Oliver, we are with you
00:10Hello Cari, yes, here we are with Jonathan
00:12as they were counting on the floor
00:14Jonathan had to approach the ninth floor
00:16where Jorge Martínez was
00:18he is the doorman
00:19they gave him a notice here
00:21a collector from the front hand
00:23what was happening
00:24and well here Jonathan is going to tell us a little
00:25how was that situation
00:26how he found Jorge
00:27that he himself told us
00:29that he had to stop in the middle of the runway
00:31to be able to tell Jorge to calm down
00:33to be able to get on and find him
00:37there is Jonathan
00:38how are you?
00:39Hello, how are you? Good afternoon
00:40Hello Jonathan, tell us
00:41how were those moments that you lived
00:43and that you had to intervene
00:47well, we receive a call
00:50my colleague Liliana attends
00:53she gives me the message
00:56and I cross Santa Fe Avenue
00:59to see the panorama
01:00where I could find him
01:02until then we did not know who he was
01:05well, I manage to locate him
01:07and I see that he is in the dining room of the house
01:10which is on the ninth floor
01:12and well
01:13I hope he cuts the traffic light
01:15obviously to be able to go
01:19to see Jorge, right?
01:22Jonathan, did you know Jorge Martínez?
01:24Did you have a deal with him?
01:26Or was that the first time you saw him in your life?
01:28Yes
01:30No, I see him, yes, obviously here
01:33Yes, yes, yes, you see him there
01:35And then what happened? Did you go up?
01:39Yes, obviously I shouted at him
01:41I told him to calm down, to wait for me
01:43he manages to see me
01:45he gives me some signs
01:46I don't know what signs they were
01:48but well
01:49there he gave me a little time to go up, right?
01:52And how did you manage to convince him
01:55so that he doesn't leave
01:56so that he leaves that place, that cornice?
02:02And the truth is that
02:04obviously he wouldn't have done it
02:06because he heard me
02:07I wouldn't know what happened to him
02:10but well, I was able to calm him down
02:14He was sitting, sorry
02:15He was sitting, standing
02:16because I want to imagine that situation
02:18he was on the edge, on the edge
02:20of falling into the void
02:22or was he a little deeper
02:23evaluating the situation?
02:27No, no, no
02:28he was on the edge of the void
02:30but when I went up to the ninth
02:32he already left
02:34he already left that panorama
02:37Let's see, Johnny
02:38the question is this
02:39Did you have any kind of resistance
02:41in terms of what was the convincing?
02:44I mean, he didn't want to
02:46enter again through the window
02:48from which he had left?
02:51Yes, there
02:53I didn't hear well
02:54but we had a quarrel
02:57a second time, right?
02:59Yes, because I understand
03:01and correct me if I'm wrong, Johnny
03:03I understand that
03:05the police was notified
03:08and that the police
03:10assigned two agents
03:11to accompany him to the hospital
03:13in Rivadavia
03:16Yes, yes
03:18because a psychiatric doctor also came
03:20Yes
03:21and that was the one who authorized, right?
03:23He, I understand
03:25a friend said it
03:26I don't know if it's confirmed
03:27he was claiming
03:29apparently the lack of money
03:31and the passport he had
03:33in his documentation
03:34Is this true or incorrect?
03:38Yes
03:39The truth is that I don't know about that
03:41Now, the quarrel, Johnny
03:42how does it happen?
03:43I mean, he had returned to the dining room
03:45and he wanted to resume that scene
03:47he wanted to regain momentum
03:49to take his life
03:50and you have to grab him there
03:52Why was there a quarrel between you?
03:58When the first time
04:00I can try to calm him down
04:02and talk to him
04:04he automatically
04:06stands up again
04:07and tells me
04:09I want to die
04:10Oh, poor guy
04:11and that's when I
04:13grab him again
04:14I grab him by the arms first
04:16and then I take him by the shoulder
04:18because Jorge is a big person
04:21Yes, of course
04:22And Johnny, do you realize
04:24that you have family
04:26that was going to visit you
04:27or were you alone
04:29in the middle of the jungle?
04:33No, I, on the 20th
04:36on the 23rd
04:39my daughter was with him for a long time
04:41she came to see him
04:43One question
04:44The last visit he received on the 23rd
04:47Yes
04:48What did they talk about up there
04:49in the cornice?
04:50What did they talk about?
04:51What did he tell you?
04:52Or you, what did you tell him?
04:54No, well, I
04:55I tried to calm him down
04:57and obviously
04:59his words were
05:00that he told me he was alone
05:02and I, calming him down
05:03I told him he was alone
05:04because I wanted to
05:05because a lot of people come here to see him
05:07Yes, but he says that the family
05:09doesn't want to take him
05:11let's say, in custody
05:13for if they give him the high, right?
05:16I don't know if that's real
05:18But that's with this diagnosis
05:19But it's crazy
05:20I don't know, we're
05:21That's the issue of the hospital
05:22I mean, when he was here
05:23living in a nursing home
05:24No, he's in a psychiatric rehabilitation center
05:27But when he was there
05:28I left him in the Rivadavia hospital
05:29We're in Mexico
05:30He's telling
05:31He's telling
05:32He's telling how Jorge's life was
05:33in there
05:34before this painting
05:35Jorge said no one was going
05:36I mean, Johnny
05:37He had a relationship with the other actors
05:39who also live in the theater house
05:41I mean, did he have a normal life
05:43if you can define it like that?
05:48Yes, here obviously
05:49it's a normal life
05:51and here they are
05:53all colleagues
05:54How many people live here, Johnny?
05:56I think
05:57Permanently
05:58How many are there in total?
06:01I think less than 30
06:03Ah, but it's a band of people
06:05Less than 30
06:06And each one has a room
06:07where they can take
06:08many of their belongings
06:09It's not a small place
06:10I need to intervene alone
06:12to say that line 135
06:14is suicide prevention
06:16that the way is never there
06:18that there are always people
06:19who want to listen
06:20and who want to hug
06:21and who want to contain
06:22And the way is life
06:23for those who are going through
06:24I want to add
06:25I want to add something
06:26Ventura, Ventura
06:27Ventura, yes
06:28I want to add something
06:29that is important
06:30to know
06:31The theater house
06:32is going through
06:33one of its worst economic moments
06:35since its creation
06:38How can we help Ventura?
06:40By bringing economic collaboration
06:43And buying in the boutique
06:44that has very good clothes
06:45new clothes
06:46and clothes used
06:47in excellent condition
06:48There is a lot of tax debt
06:50Totally, Jonathan
06:51I want to ask you
06:52Once it came out
06:53like the suicide shock
06:54that Jorge had
06:56Could he do his catharsis?
06:58Could they talk a little?
07:00Who cut it
07:01in some way emotionally?
07:06Well
07:08This was on the ninth floor
07:10When I try to calm him down
07:12we sat in the armchair
07:14and there I convinced him
07:16to go down to the room
07:18Yes
07:19And well
07:20I accompanied him to the eighth floor
07:21where is the floor
07:22where Jorge lives
07:24And well
07:25there I asked for help
07:26from a colleague of Jorge
07:28so I could call
07:31911
07:32that my colleague
07:33had already called
07:34Of course
07:35Now
07:36in the dialogue
07:38obviously we are talking
07:39with a person
07:40with a very strong depression
07:42Of course
07:43I mean
07:44the answers
07:45how did they sound to you?
07:46Were they logical answers?
07:47Were they out of place answers?
07:49Was he in time and space?
07:51How did you feel?
07:55No
07:56He was in shock
07:57I noticed it very badly
08:01I noticed it very badly
08:02Jorge
08:03He barely spoke
08:05and well
08:06And I asked for help
08:07Yes
08:08I have
08:09I don't know if it adds something
08:11I have the call
08:12from a producer
08:13a very good friend of mine
08:14Juancho
08:15together with Arellano
08:17they are going to produce
08:18a play
08:19so that Jorge Martínez
08:20can participate
08:21Yes
08:22and also to make
08:23a money transfer
08:25to the theater house
08:26I think it is very important
08:27also
08:28to make it clear
08:29that when a person
08:30goes through a depressive situation
08:31I mean
08:32a person who suffers from depression
08:33we can't
08:34blame the family
08:35or the environment
08:36It's true
08:37It's a disease
08:38and we have to take it as such
08:39and it has to be treated
08:40in the corresponding place
08:41We are not the children
08:42or the parents
08:43No, why not?
08:44or who have to take care
08:45of that situation
08:46because it's a medical issue
08:47It's a social issue
08:48It's something
08:49that is used
08:50I have a flu
08:51I have pneumonia
08:52I go to the hospital
08:53We have to give medication
08:54We have to take care of it
08:55It doesn't even coincide
08:56with the theater producers
08:57because here Luis
08:58also writes to me
08:59He tells me
09:00that he went to see him
09:01as a theater producer
09:02to hire him
09:03He told him
09:04that he was not
09:05in a condition to work
09:06He talks about
09:07that he is retired
09:08The last time
09:09I talked to him
09:10he said
09:11that he was retired
09:12I'm going to look
09:13in the chat
09:14I wanted to tell you
09:15what happens
09:16with these stars
09:17that were millionaires
09:18beautiful,
09:19dear,
09:20full of work
09:21What happens
09:22with old age?
09:23Juan José Camero
09:24Pablo Alarcón
09:25Jorge Martínez
09:26They are all
09:27more or less
09:28of the same age
09:29They are all bad
09:30Do you understand?
09:31It is very true
09:32what you are saying
09:33They do not schedule
09:34their old age
09:35Excesses are sent
09:36Yes
09:37Unfortunately
09:38I wanted to say something
09:39We can also see
09:40the half-full side
09:41in this case
09:42that maybe someone
09:43has to tell Jorge
09:44Entering the theater
09:45house is a privilege
09:46Totally
09:47It is not that one goes
09:48There are many people
09:49on the waiting list
09:50Yes
09:51They have a possibility
09:52of housing
09:53without paying a peso
09:54Totally
09:55Exactly
09:56They have people
09:57They have a positive
09:58mental health
09:59The state has to
10:00be part of that
10:01Exactly
10:02We thank you very much
10:03to Jonathan
10:04who had a decisive role
10:05the other day
10:06regarding
10:07Jorge Martínez's life
10:08Jonathan, we send you
10:09a big kiss
10:10A kiss to all the people
10:11there in the theater house
10:12who must also be
10:13moved by the news
10:14Thank you, Jonathan
10:15Thank you very much
10:16Our partner
10:17Oliver Quiroz
10:18We follow her tomorrow
10:19We follow her tomorrow
10:20We follow her tomorrow
10:21We follow her tomorrow
10:22We follow her tomorrow
10:23We follow her tomorrow
10:24We follow her tomorrow
10:25We follow her tomorrow
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