- hace 4 meses
En este episodio, la trama profundiza en las historias de los personajes y los conflictos sociales de la Venezuela de la época.
El personaje de Eudomar Santos, el mecánico que representa al pueblo y a las clases populares, sigue enfrentándose a las dificultades económicas y la corrupción. Se muestra su lucha diaria por salir adelante de forma honesta.
La historia de la abogada de clase alta, Armida, y su relación con el "mundo real" continúa desarrollándose. Se evidencia la brecha social y económica que existe entre ella y Eudomar, a pesar de la conexión que empieza a surgir.
Los temas de corrupción y crisis política se hacen más patentes. La novela muestra de manera realista la vida en las calles, con sus problemas y esperanzas.
El episodio termina con un evento que pone en mayor contacto a los dos protagonistas, Eudomar y Armida, obligándolos a interactuar más allá de sus diferencias sociales, sentando las bases para el desarrollo de su relación.
El personaje de Eudomar Santos, el mecánico que representa al pueblo y a las clases populares, sigue enfrentándose a las dificultades económicas y la corrupción. Se muestra su lucha diaria por salir adelante de forma honesta.
La historia de la abogada de clase alta, Armida, y su relación con el "mundo real" continúa desarrollándose. Se evidencia la brecha social y económica que existe entre ella y Eudomar, a pesar de la conexión que empieza a surgir.
Los temas de corrupción y crisis política se hacen más patentes. La novela muestra de manera realista la vida en las calles, con sus problemas y esperanzas.
El episodio termina con un evento que pone en mayor contacto a los dos protagonistas, Eudomar y Armida, obligándolos a interactuar más allá de sus diferencias sociales, sentando las bases para el desarrollo de su relación.
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00:00Ricardo
00:03We have reason to believe that your daughter is using drugs.
00:26With constitutional sex, unfortunate
00:29Constitutional precept
00:31A sewer rat like you
00:34The constitutional precept is being chosen
00:36Commissioner, control yourself, control yourself.
00:38Leave me alone, boy, leave me alone
00:40Commissioner, leave me alone.
00:41Leave me alone, I told you, boy.
00:43You're hitting a detainee, Dad.
00:46I handed it over to the police, that revolver is wanted.
00:49Look, dude, don't go to the teacher's house for dinner.
00:51What? Don't kill her.
00:52Look, Ricardo, go inside and don't look.
00:54Who talked about killing the teacher here?
00:57Daddy
00:58What's up, buddy? There's war at that moment.
01:00Hay war
01:01You should make me proud to be your son.
01:05But you know what?
01:13I couldn't tell him that there is a judge.
01:15That he is going to open an investigation
01:18Because you act
01:23How the thugs in your neighborhood act
01:26I couldn't tell him that there is a judge.
01:29I couldn't tell him that there is a judge.
01:31I couldn't give him tens
01:34nen
01:34I couldn't tell him there was a judge.
01:35I couldn't tell him that there is a judge.
01:37I couldn't tell him that there is a judge.
01:39Kit
01:39Amen.
02:09Amen.
02:22Hello.
02:24Life, it's me.
02:26Still working.
02:28Yes, something. And you?
02:30I was reading.
02:30I was reading.
02:33I was reading a very sad love story that reminds me of the two of us, you know?
02:37It is the story of two solitudes.
02:40Elisa, don't be so cheesy.
02:44But life, why does everything have to be like this, so dry, so...?
02:48It's eleven at night and I have to get up early.
02:52Okay, life, forgive me.
02:54It's just that I'm in love and I'm being so impertinent, so silly.
02:59Sleep well, love. Good night.
03:04Oh my God, a tale of two solitudes.
03:06When in your life have you read a book, Elisa?
03:08I read one once, I think.
03:11And you're leaving?
03:12So you can read, okay?
03:14What happened, Raúl?
03:16How are you going to leave, boy?
03:17Come here.
03:21What happened, dad?
03:23Don't be a child, okay?
03:24You could wait until I'm gone, okay?
03:26Without jealousy, my love.
03:27What we agree on, without jealousy.
03:29Of course, without jealousy.
03:30But without cynicism.
03:32So good night.
03:33Oh, and don't read in bad light.
03:37And would you do me a favor and drink all that coffee with milk?
03:50How did you sleep?
03:55Scared, teacher.
03:56Look, those thieves aren't going to want me to leave them, then.
03:59Now yes.
04:00You're not even supposed to have been born to you, boys.
04:01Well, you stay here until I find Mrs. Stilita and your mom.
04:06Why are you going to look for her?
04:08Look, she didn't want to take me with her.
04:15Well, whatever happens, you're not going to be on your own, my boy.
04:18That's good for you to know.
04:20Let me clarify, Mr. Area.
04:21You're here in my house, right?
04:23So you come and report here.
04:25Are we clear?
04:26Yes, there isn't.
04:26And hurry up, because we're going to be late for school, come on.
04:33No, my daughter, and what happened to you?
04:35What bug bit you?
04:37Everyone asks for at least two years of experience, my mom.
04:40And they don't give you a job because you don't have experience.
04:42But you don't get experience if you don't get a job.
04:44Oh, patience, what can we do?
04:46Ricardo, let's go.
04:48What breeze?
04:50Don't be so hard, bro.
04:53See you tonight.
04:56What's happening?
05:16It's better if you don't come in.
05:17You're going to want to cry.
05:19No, let's see.
05:22My God, you have to be really sick to destroy a school.
05:51Look, teacher, next time it's your turn, teacher.
06:00There are so many crooks and criminals on these streets.
06:07And in that, I think, race or color do not matter.
06:12No, let's see.
06:37Good morning, Alvaro.
07:03Was it your idea to invite the children?
07:09They should be in school.
07:11I thought it would be a complementary activity for them.
07:15It's not always the case that you have a baroque music concert in your home.
07:18I have discipline problems with María Fernanda.
07:21And you're not helping her at all by keeping her in the house.
07:24Little pieces, little pieces!
07:26The little pieces have arrived!
07:28With all sincerity, Alvaro.
07:34I think it's inconsiderate of you to let that woman walk around this house like that.
07:38Permission!
07:39Mr. Director, excuse the interruption, little pieces.
07:42No matter what, my sister is still your wife.
07:45And if she were here, Elisa wouldn't be here...
07:48In short, this is your house, your life and you decide.
07:53I think that about my nephews.
07:54There's more around here.
07:59Let's see, the first violinist will want one.
08:02People are very malicious.
08:04And who knows, they might tell you anything.
08:09Anything about what?
08:11Well, about you and Elisa.
08:12I have a thing going on with Elisa.
08:14A commotion.
08:15While Magdalena is hospitalized, that's it, isn't it?
08:18Álvaro, you can't talk to me without being rude.
08:23Permission.
08:24Ricardo, Yuleci, help me with this.
08:33Yuleci, no.
08:34Leave that.
08:35But mom, the teacher can't do it alone.
08:38Look, my girl, I've been living in this neighborhood for 17 years and I know how things are.
08:42This school is a waste of time.
08:44A waste of time, Margarita.
08:47Look, I think it's best if you remove Yuleci from the list.
08:51And my boy, it's better that no more of them come.
08:53One of these days the boys are going to come out ruined.
08:57It is not possible.
08:57So you're going to take Yuleci out of school.
09:04And where are you going to put him? In a private school?
09:06Are you going to take me out of school, Mommy? Why?
09:09There are 10 bags, but pure ones, I don't know...
09:23Not everything is going away, dad.
09:24Operation ahead, Dima.
09:26So, start to make the packages come through the cellar.
09:28Oh, what a breeze that is, Dima!
09:42I think I know where the cove is.
09:44Come.
09:46Permission.
09:47Daisy.
09:48Girl, you're going to take Yuleci out of school.
09:50Teacher, I wouldn't want to.
09:52But you don't realize that materially I can't do much.
09:55And even less so now that he's beaten all the neighborhood thugs to the punch.
09:57No, no, you're going to take me out of school.
09:59And the Mathematical Olympiad.
10:01Girl, Yuleci has a Math Olympiad now.
10:04You are invited.
10:04You're going to take her out of school now.
10:06You're going to play that joke on him.
10:07Teacher, Yuleci, right now she's not ready for a contest or an Olympics.
10:11Don't you want to realize that this is not a school anymore?
10:14That is nothing anymore.
10:15Which is now a mortification for all of us.
10:18Let's go, Yuleci.
10:20Truly.
10:21Let's go.
10:22To study like this is better than working.
10:24Let's go, my children, come.
10:27Don't get angry with him, teacher.
10:42Look at those people, what they have is fear.
10:43Everything will be a dream come true.
11:03Elisa, don't you think your familiarity with musicians is misleading?
11:09How's the fall, boy?
11:10Don't let the turkeys be a party.
11:15Behave yourself because you're in my house.
11:19Besides, the orchestra and the foundation are my sister-in-law's obligation, not yours.
11:29Life, I don't deserve that treatment from you, boy.
11:35All I want is for everything to look really cool on you.
11:39Elisa, I inherited that foundation and that orchestra from my father.
11:48And that will be my cross.
11:54But really, I love baroque music.
11:59And people who pretend to like classical music.
12:03Because I know you don't even have ears for a guaracha botiaíta.
12:15What's happening?
12:15Besides, you should be in the office, not here at my house.
12:26But beam.
12:34Let me go!
12:35What do they want?
12:36What do they do?
12:37Let me go, teacher!
12:39Let me go!
12:40This is an evolution of many bills.
12:42And you're not going to keep it.
12:44And don't open your mouth, you hear?
12:45Because if not, we'll cover it with dirt.
12:49You have no right to bring that garbage in here.
12:51This is the safest place.
12:53And you as dead.
12:55Because if not, the minors will die.
12:58Minors die.
12:59And in that, I think race or color do matter to me.
13:08To take care of you, I only have this life of mine.
13:16Look at this phenomenon, Colmenare.
13:19Colmenare.
13:21Look at this.
13:23A summons.
13:26Finding a knot tied.
13:28For personal injuries.
13:32Unlawful deprivation of liberty.
13:34And abuse of authority.
13:36Commissioner, your son recused himself from the case.
13:39And that is perfectly understandable.
13:41Because being a relative of his with Blood,
13:44he cannot act as a prosecutor.
13:45Yes, but they'll open an investigation anyway.
13:48As if I were the criminal, you understand?
13:50That is precisely what is not understood.
13:53The deer behind the dogs.
13:56Oh, gosh.
13:58My son.
14:00My own son.
14:01Don't save them.
14:05Until we come for her.
14:06Don't move and give him your ID.
14:26Leave her, Camargo.
14:29It's Miss Uridis.
14:31She is the teacher who teaches the children here in the neighborhood.
14:33Oh, excuse me.
14:35Don't worry.
14:36He is new to the command and doesn't know the people in this neighborhood.
14:39Hi darling.
15:05How are you?
15:07Hello.
15:08She looks beautiful.
15:11Welcome.
15:12Thank you so much.
15:12And Álvaro is in there.
15:14Oh, thank you.
15:14The concert is about to begin...
15:16Thank you.
15:17You are welcome.
15:17Thank you.
15:18Thank you.
15:19Thank you.
15:21Thank you.
15:23Thank you.
15:25Thank you.
15:27Thank you.
15:29Thank you.
15:31Thank you.
15:33Thank you.
15:34Thank you.
15:35Álvaro, I thought you weren't going to come down.
15:54We are very late.
15:56Elisa.
15:59Don't act like the lady of the house because it doesn't suit you.
16:02Hey, life, forgive me.
16:04It wasn't my intention.
16:05You constantly pose as the owner of the house.
16:07You address me with familiarity in front of the public.
16:12You claim a place in my life that I have not given you.
16:16Elisa, I'm getting tired.
16:19But life.
16:24Don't call me life.
16:26No.
16:26Doctor Caicedo.
16:51Madam, welcome.
16:56Thank you so much.
16:57Well, the one we haven't seen is Magdalena.
17:01It's just that his trip was delayed a little.
17:04My assistant will deliver the program to you.
17:08Yes, to me.
17:11Thank you so much.
17:12And they left me a huge package planted at the little school.
17:21I say that now we really have to do something.
17:22How can we not close the little school?
17:25Close the little school, Eudomar.
17:27For your life, boy.
17:28They're going to impose a curfew on us criminals if we don't do anything.
17:31Okay, don't close the little school.
17:33So what do you think is going to happen?
17:34They're going to take it as a hiding place.
17:36Can you fight that?
17:38Echico, what you have to do is, I don't know, show your face.
17:42Oh, show your face.
17:44As she says, show your face.
17:46It will be so they can fill it with dirt, girl.
17:48What's more, the one who ends up standing up for you here is someone.
17:52Look at the problem with the revolver.
17:54If it hadn't been for my black man here,
17:56I had no idea that this had happened to me.
17:58Well, what?
17:59No, open the little school.
18:01Come on, share it with the lambros.
18:03That way they'll cover it for you.
18:04That might be a good idea.
18:05Oh no.
18:06Oh, and how can one teach calmly?
18:09Knowing that he has this planted right there in front of the children.
18:14Oh, blessed Christ of La Guaira, my love, Eurydice.
18:17Did you have any need to bring that here, girl?
18:20But well, your thing is already in Mérida, Eurydice.
18:22Look, please grab this, put it in your wallet,
18:25Store the powders in the place where you found them
18:26and Eurydice, for God's sake, girl,
18:28leave it alone, he's getting us into trouble, okay?
18:30Don't worry, I'm not going to involve you.
18:33I'm going to make a phone call from the phone
18:35like a shovel and you see.
18:36Wait, Mérida, how are you?
18:37Eurydice, Eurydice.
18:39Look, they're going to cover my face with dirt,
18:41But my little school is not a cadet to Manandro, okay?
18:43Look, Eurydice, Eurydice, come here.
18:45Eurydice.
18:47Look, black, chase her.
18:48Chase her now and answer to me for that crazy woman with your skin,
18:52black, hurry up.
18:54Eurydice!
18:54Compassion no longer appears in these streets.
19:10and the stone has been able to travel for a while.
19:17When my father created the Infante Foundation
19:30emphasized
19:32in the dissemination of the country's musical values.
19:37My dad doesn't like classical music.
19:40If you don't like classical music
19:42because he always does those concerts.
19:45And Mom isn't traveling either.
19:48He is not traveling and these letters.
19:50No, it doesn't have a postmark, kid.
19:53That doesn't come from any country, to any email.
19:56I'm writing this to someone so you don't ask about Mom.
19:58María Fernanda, you make it up.
20:02Look, my mom is at the clinic.
20:04I found this on my dad's desk.
20:07It is a medical report.
20:09Mom is sick.
20:10A medical report.
20:12And what does it say?
20:14Well, this...
20:17I can tell you...
20:20If you turn on the tap,
20:22that connects the showers.
20:30I'm listening to you.
20:33They do me a favor.
20:35Stop messing around with me.
20:37They're going over there to listen to the concert.
20:40We are?
20:41Look, you're not my mom.
20:43So don't scold me because you can't do it.
20:50And that is why tonight's evening
20:52has the support of the group
20:56Young Strings of Caracas.
20:59Under the direction of maestro Félix Rodríguez.
21:05Applause!
21:06Applause!
21:07Applause!
21:07Applause!
21:08Applause!
21:09Applause!
21:10Applause!
21:11Applause!
21:12Applause!
21:13Applause!
21:14Applause!
21:15Applause!
21:16Applause!
21:17Applause!
21:18Applause!
21:49The truth is that with everything that is happening in this house
21:51I don't feel like it, I don't feel like it for any baroque evening.
21:55Have you heard from dad?
21:58Yeah.
22:00He said that either you leave or he leaves the house.
22:09At your house, right?
22:11I'll go.
22:13I'll see where to.
22:16Oh, Hector, Hector.
22:17But why did you have to act in the cause?
22:19That's what I say.
22:21I didn't know, Cecilia.
22:22I found out the day I went to do that errand, now.
22:28I inhibited myself.
22:31The law requires me to abstain.
22:37I am your son, Cecilia, but...
22:41the investigations into the knot are going to prosper.
22:46And that is serious?
22:51You could go to jail.
22:53To jail.
22:55A man who has done nothing but fight crime.
22:58Oh, perfect, but there are laws.
22:59And laws are meant to be respected.
23:02And look, I better go because I'm late.
23:04and I want to talk about this case with Dr. Infante.
23:09Wait, it could be dad.
23:10Who's going to know what you decided.
23:13Hello?
23:14Yes, on behalf?
23:17Yes, yes, wait a minute, me.
23:24It's for you.
23:26Eurydice says it's urgent.
23:27Hello?
23:29Thank you.
23:30Hello?
23:31Hector.
23:33Hello, look, it's Eurydice.
23:36Look, sorry to bother you until now,
23:39but it's that...
23:40I need you to help me, boy.
23:42It's really urgent and I don't have anyone else.
23:45Well, what happens is that they planted me.
23:56No, well, the thugs planted me.
24:01Look, you couldn't get close here.
24:02or I go where you tell me
24:03because I really need you to help me.
24:05It's something urgent.
24:08Oh, okay.
24:10Well.
24:12Well, I don't know, there's a small square nearby,
24:14Artiga's little square.
24:17Well.
24:18Half an hour?
24:20Ok, half an hour.
24:22Thank you.
24:26I was talking to the prosecutor,
24:28the son of the super cop.
24:29Yeah.
24:31I'll go with you.
24:32A boy.
24:33I don't want to harm him, reudomar.
24:36Look, man, I don't know if the guy is Superman.
24:38that you want to talk to him.
24:40But I will not allow it
24:41that you walk down the street with that in your wallet.
24:44I'll go with you.
24:46Who was that woman?
24:52A friend.
24:54A friend in trouble.
24:57She asked you to come see her.
25:02Yes, yes, well.
25:04She's stuck in a...
25:06Well, there's a problem.
25:08And I offered to help him.
25:10And I have to go.
25:13And by the winds that blow,
25:15the young strings of Caracas
25:16as if they're going to have to wait a little
25:18because I'm going to arrive after the break.
25:19Bye, brother.
25:22A favorite of mine.
25:24Don't go.
25:24Through these streets
25:26Compassion no longer appears
25:30And the stone gives closed that
25:35Compassion no longer appears
25:41Compassion no longer appears
25:52Compassion no longer appears
25:57For my dead mother, don't go
26:19What happened, sister?
26:21Perception is transcendental again
26:23The inner voice that says, Hector, don't go, don't...
26:26Don't mock, not this time
26:29Don't go, Hector, I know what I'm telling you.
26:33But, Cecilia, I'm already committed, I can't let you down.
26:36For God's sake
26:37Take this, Hector
26:57Take it with you
26:59Please
27:01Yeah
27:03Yeah
27:07You're not going to stay calm, are you?
27:12Do you promise me?
27:15Will you do it for me, sister?
27:17Yeah
27:17Give me a kiss
27:18Peaceful
27:23Chaito
27:26Should I take this key?
27:32I won't do it to you, son.
27:49Thank you!
28:19You constantly pose as the owner of the house
28:24You attribute to yourself a place in life that I have not given you
28:28You are a dear girl
28:35So you better shut up.
28:37Well, me, Álvaro Vida
28:43I'm going to have whatever place I want in your life.
28:49Thank you!
29:19Thank you!
29:21Thank you!
29:23Thank you!
29:25Thank you!
29:27Thank you!
29:29Thank you!
29:31Thank you!
29:33Thank you!
29:35Thank you!
29:37Thank you!
29:39Thank you!
29:41Thank you!
29:43Thank you!
29:45Thank you!
29:47Thank you!
29:49Thank you!
29:51Thank you!
29:53Thank you!
29:55Thank you!
30:25Thank you!
30:27Thank you!
30:29Thank you!
30:31Thank you!
30:33Thank you!
31:03It's good that you came.
31:15But, no way, get on.
31:18I told you that you could join me for whatever you wanted.
31:26What's wrong? I notice you're upset.
31:33This
31:34They put it in my school
31:37And they threatened me with the children so I wouldn't say anything.
31:40Drug
31:44You did very well to call me
31:52But well, I don't know
31:54I think we shouldn't talk about this here, right?
31:58Are we going somewhere else?
32:00Yeah
32:00Well
32:03Hector
32:18Hector!
32:33My God!
32:35Hector!
32:42Hector!
32:44Hector!
32:45Hector, talk to me, please!
32:48Hector!
32:49Hector!
32:50Compassion no longer appears in these streets.
32:55And the stone gives closed that...
33:01Thank you so much
33:16Oh, how ashamed Dr. Infante must be, huh?
33:19It's just that it's okay, it's so formal
33:21Send yourself, you came to spend this accident on your beautiful one.
33:24What accident, Clementina?
33:26I don't know, it must have been some...
33:29Well, girl.
33:30Anyway, what I hope is that they cancel this blessed recital.
33:33Not a recital, Aristide, it's a concert.
33:35Recital is when there are soloists.
33:37Recital, concert, it is not the same.
33:39My wife, I want to die of grief and shame.
33:42Here, my God!
33:43Help me!
33:45Help me, my God!
33:48Oh my God!
33:49That's bad!
33:51That's bad!
33:52They killed him, that's bad!
33:54Some men, a speck, us!
33:56Hurry up, let's take him to the bush!
34:15He said he's leaving home.
34:17That he's going to look for somewhere to go.
34:20I don't know.
34:21Why do you tell me that?
34:23As if I were kicking the holy child of Prague out of the house.
34:27He's not sending me to investigate with a judge.
34:30What do I have to do?
34:31Keep it quiet at home too.
34:33Oh, Dad!
34:34Dad, don't get upset!
34:35Hector is leaving.
34:38Besides,
34:39he recused himself from the case.
34:41Of course he has to refrain.
34:42If I am his father, do you understand?
34:44And the code of prosecution was drawn up by some members who were parents.
34:49Dad, until when?
34:55Do you want to have something to drink?
34:58Yes, man, it will be.
35:00Make me a little rum and bring it to the living room.
35:02Why does it stop you?
35:23Why does it stop you?
35:25Why does it stop you?
35:26He's dying!
35:27Well, men die.
35:29It's time to be dead.
35:32Look, it's better for us to think about the living.
35:46Look, we've done our part by bringing him here.
35:48TRUE?
35:48TRUE?
35:49No more problems, no more inconveniences.
35:52I'm not going to leave it here.
35:53I'm not going to leave him here, Eudomar.
35:55There are a few steps left to get there.
35:56I'm not going to leave it here.
35:57Listen to me, listen.
35:58I don't feel it.
35:59There are police officers there in an emergency who ask questions.
36:02When they ask you, what are you going to say?
36:04Ah, you made an appointment with Commissioner Vega's son to have him killed,
36:08to get shot in the chest.
36:09Is that what you're going to tell him?
36:11You know I didn't do anything.
36:12No, no, no.
36:12You know I didn't do anything.
36:13I want you to know, I want you to know, if you have noticed,
36:15that you are in a tremendous package, a very big package.
36:20If this guy is dead, he doesn't feel anything anymore.
36:23Come on, come on, come on, come on.
36:25No, no, let it go, let it go, let it go.
36:27Let it go, boy, let it go.
36:28Get off, get off, get off, get off.
36:30When your mother was still alive and...
36:42When your mother was still alive and...
36:55And you were still very young,
37:01we lived for a while with your grandparents.
37:04Until we got the little apartment.
37:10Over there in the blocks?
37:13Yes, in the blocks.
37:16One night...
37:18Just moved there.
37:22They rang the bell and...
37:24And I answered.
37:26You know, with the iron in your back pocket, just in case.
37:34There were three elements.
37:38They were drinking rum.
37:39And they were well shaken.
37:45What did they want?
37:47Well, they had already bitten that I was a police officer.
37:53And they were going to...
37:54Let's talk.
37:57To establish myself in a living mode.
38:00Living modes?
38:02What did they want?
38:03Yeah.
38:05They were the cream of the crop of the criminals in those blocks.
38:13They were trying to make me see that we were...
38:16That we were neighbors.
38:20And when I was going to work and...
38:23And at night he had guard.
38:28You were left there at their mercy.
38:32It was better that we understood each other.
38:35Look, the person...
38:37He is the son of Commissioner Natalio Vega.
38:39Please come quickly because he is seriously injured.
38:43I'm not going to tell you who I am.
38:45Very good.
38:46Now we're leaving all this behind.
38:48Look, Eudomar.
38:48I don't want to tell you.
38:50I want to introduce myself.
38:51I feel like I killed him myself.
38:52I haven't done anything, Eudomar.
38:54That you arrive and introduce yourself.
38:55Do you know what's going to happen to you?
38:56They're going to put you in jail.
38:58I'll tell you.
38:58What I do?
38:59Well, you're not running away.
39:00You're just waiting for things to calm down.
39:02and you're going to get right.
39:04But why should I take up law, Eudomar,
39:06if I haven't done anything?
39:07I don't want to run away.
39:08I have to introduce myself.
39:09Understand me.
39:10Okay, okay.
39:10I understand you.
39:10I understand you perfectly.
39:12You're coming with me.
39:12No, but...
39:13Come with me.
39:17Mother!
39:18Mother!
39:30And what did you tell him?
39:36What was I going to say to her, daughter?
39:37He was just a detective, one with a wife and two little kids.
39:51The time we lived there I had to dance close together.
39:55Yes, right next to them.
40:00So if...
40:02some fell...
40:05Well, I...
40:07I had to get it out.
40:10Instead, never...
40:13they messed with my family.
40:14This is how you grew up.
40:22This is how they grew up.
40:25Now...
40:27Now we live better, of course.
40:32You study.
40:34But with that modus vivendi...
40:37I was able to take Hector to law school.
40:42With that modus vivendi...
40:44I was able to graduate him.
40:47So now you come to me with that...
40:50Abuse of authority.
40:53So that he can report me now...
40:55for abuse of authority.
40:59What happened to you, daughter?
41:03What happened to you?
41:04Who was it?
41:06Who was it, my love?
41:08No!
41:09What happened?
41:09No, my God!
41:12What happened?
41:14Compassion no longer appears on these streets.
41:26And the stone from a while ago...
41:32went on a trip.
41:36When she left, the police chased her.
41:40Hey, conscience, you better hide with patience.
41:47No trace of courage is found anywhere.
41:53Those who saw her say she was pale and cold.
41:54She realized she was alone and without company and every time she showed her face she laughed at her.
42:06So be careful of the corners.
42:07So be careful of the corners.
42:08Don't get distracted when you walk.
42:09To take care of you, I only have this life of mine.
42:10So be careful of the corners.
42:11Don't get distracted when you walk.
42:12To take care of you, I only have this life of mine.
42:15To take care of you, I only have this life of mine.
42:20So be careful of the corners.
42:22Don't get distracted when you walk.
42:24To take care of you, I only have this life of mine.
42:28To take care of you, I only have this life of mine.
42:32To take care of you, I only have this life of mine.
42:34To take care of you, I only have this life of mine.
42:35To take care of you, I only have this life of mine.
42:36To take care of you, I only have this life of mine.
42:37To take care of you, I only have this life of mine.
42:38To take care of you, I only have this life of mine.
42:39To take care of you, I only have this life of mine.
42:40To take care of you, I only have this life of mine.
42:44I have this life of mine
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