Episode 11: "El unico culpable"
English subtitles https://youtu.be/iH0WWuFWA6I
Spanish https://youtu.be/IHyI876Jjk4
Wish one day that entire script for intelligent telenovelas such as PARIENTES A LA FUERZA could be available (not sure how long videos will be available for viewing online). Dialogue in readable form would be entertaining teaching tool for students learning Spanish--subtitles can go by too quickly for even native speakers to follow.
Having scripts to study could help those who wish to analyze the genre, such as somewhat scholarly example http://www.henciclopedia.org.uy/autores/Bary/Corazonsalvaje.htm and also aspiring screenwriters. Screenwriting guru Michael Hauge recommends the latter not only watch and study at least one movie per week, but also study scripts for acclaimed films. I like having print form to refer back to and refresh my memory.
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Everyone knows but George. Margarita goes to speak with George seated at desk in his study. Camera angle from below features at least three spiny cactus by his desk. Marga wears green eye shadow. When camera moves over to behind seated Margarita, "just happens" that markers can be seen on desktop in similar colors to Carmen's dress, pink, orange, purple.
MARGARITA: No escuchaste la Carmen en la tele ahi, diciendo que renunciaba a tu pelicula y a ti?
GEORGE (eyes wide with shock): Carmen dijo que?
MARGA: Ay Virgen de la Caridad, no lo sabe? Perdon, perdon, George. Yo no sabia que no te habia dicho nada. (He raises left hand to touch forehead, eyes downcast, thoughts turned inward, then lowers hand to mouth)
Ay, George. Pues, y ves como esto cambia las cosas.
GEORGE: No, no, Margarita, esto no cambia nada. Esta es su casa y mi palabra sigue en pie. Bueno, con Juancho, no. MARGA (agreeing): No, yo lo entiendo, gracias.
GEORGE: Voy a tener a hablar con el. (Margarita is reflected in window behind George still lost in thought, looking bereft.)
MARGA: Bueno, ademas no--aunque pudieramos regresarnos a nuestra casa, no nos vamos a ir hasta pagarte el ultimo centavo...dolar, dolar de esa deuda. (George shakes his head, dazed, focused on his thoughts)
This may be new experience for George for someone to break with him after he vents anger. Leti, his kids, his manager, etcetera don't want to lose their meal ticket, so put up with his bad moods. But Carmen wants relationship based on mutual trust and love, so won't accept less. "Berrinches" (tantrums) by many characters are mentioned, another immature behavior that supposed "grown ups" are going to have to truly grow out of.
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KURT: Esta vez nos fallo el olofacto, Rick, a los dos. RICK: Si. I know.
KURT: Hasta tu me felicitaste por haber contratado a Carmen.
RICK: I know, man. A ver, yo se, yo se. Pero yo no dejo de pensar que ella es una mujer muy talentosa. No estoy de acuerdo en la manera en como renucio, eso si. Pero creo que lo que hizo habla muy bien de ella como mujer.
(Kurt chokes on drink) RICK: Are you okay? KURT: Are you serious?
RICK: A ver, te explico. A ti y a mi, nos consta que en este media, las mujeres se acercan a hombres como tu y como yo con tal de ser famosas. Carmen hizo todo lo contrario el dia de hoy. Yo creo que renuncio para no deberle nada a nadie, no deberle ningun favor, mucho menos a alguien que ya no es su pareja. Mujeres asi, Kurt...en este medio, es muy dificil de encontrar. Y mucho mas dificil en la vida.
KURT: En serio. RICK: Si. KURT: Solo espero que no se te ocurra premiarla y ofrecerle trabajo despues de lo que me hizo hoy.
RICK: No no no, yo ahorita no tengo tiempo para estar lanzando nuevos talentos. Y hablando de tiempo, me tengo que ir. Mi vuelo esta por salir. Kurt, es un placer haberte visto.
KURT: Un placer, siempre, somos amigos de toda la vida. No lo olvides, si siente la tentacion de contratar a una novata que hoy me dejo en ridiculo.
RICK: Don't worry. No lo voy a ser. KURT: Mas te vale. RICK: Cualquier cosa te lo consulto.
KURT: Yeah. I'm gonna hold you to that. RICK: Yes. I love you.
Stress on "novata" seems to be deliberate comparison with virginity in Tommy and Lara parallel storyline. (As Paz puts it in her scheme get revenge on Pedro thru his little sister Lara, "robar su tresorito")
In preparation for "big night" debut, first time for both, Tommy tells Paz he stole ("robe") lotion from their dad called "Ven a mi" (Come to me) which I suppose is cologne Leticia probably bought George (cologne/aftershave is traditional Father's Day gift--but as we know from around Ep. 3, self-centered Paz seems unaware of existence of even Mother's Day). Leti's manipulation of George in her creation of lifestyle she wants (remember his professorial tweed jacket, as well as ostentatious, lifeless Cruz "home") reminds me of classic Ibsen play THE DOLL'S HOUSE--but rather than woman being treated as decorative doll, in PALF that role seems filled by man.* I think George has already called his daughter pet names "doll" and "muneca".
In Ep. 10, Juancho asks his sister if he can steal (robar) a moment of her time; still very resentful of his part in stealing away her home, Marga retorts she doesn't--even less if it's stolen (robado). To get a little money, Leti sneaks into George's closet and takes a couple of his expensive watches, reasoning "since I gave them to him, I'm really only getting a refund". Tommy sees her leaving master bedroom, and when closer to his mother, notes she's hiding something under her clothing (again, asymmetrical top, leaving her left arm bare).
Going back very first episode of PALF to birthday gift of watch from Tania meant to remind George to not lose track of time on coming up with new script that should have been done "yesterday" (ayer), viewers may be meant to make connection that time has been robbed again. (More puns involving time are used in classic book PHANTOM TOLLBOOTH, which I think inspired name of Ecker family dog Milo seen in Guy's Instagram videos)
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Andy volunteers to take upset Carmen to Tenoch's home to stay with her brother, telling Clio "Carmen necesita mi ayuda....Es la novia de mi papa, sea lo que sea, la tengo que ayudar."
TANIA: Bueno, de acuerdo con sus mas recientes declaraciones, es la EX novia de tu papa.
ANDY: Bueno, sea lo que sea, Tania. Esta pasando por un mal momento. La voy a auydar.
Carmen and Andy sit at outdoor cafe. Behind her is mural of man in a lion mask and ears of growing corn, heart with eye and blue wind or water flowing out of it. Behind Andy is Aztec-style warrior painting, mostly black & white, yellow, orange & light blue. Andy still wears dark blue tie, but has loosened it, not used to wearing one.
ANDY: Despues de todo lo que paso, no te podria llevar con Pedro, sabes? Si algo le pasa a su hermanitas, arde Troya.
CARMEN: Si, ya se, gracias.
ANDY: Carmen, eh, como estas, estas feliz?
CARMEN: No, pues, ahorita ando bien, sacuda de onda porque es que... mira, yo cuando me enojo o supongo cosas, me hago una pelicula en la cabeza tipo de terror. Y tomo decisiones y hago mucha tontera, y ya luego digo, "Ay, para que lo hice". Estoy pesada? Pero es que George me acuso como de robo.
ANDY: Pero hay veces que mi papa pierde el contro de las palabras cuando esta enojado.
CARMEN: Pues si, pero hay veces que--digo, yo no--Pero la gente cuando esta enojoda dice lo que siente. Y siente que a el se le salio lo que piensa de mi.
ANDY: No, yo te voy a dejar algo muy claro, Carmen. El me ha dicho lo que piensa de ti, el y todos nosotros sabemos que eres una mujer maravillosa.
CARMEN: Pues si, pero el me trato como si fuera una ladrona. Y yo no le robe el cheque. O sea, el me lo dio para lo de mi tio.
ANDY: O sea, si pero tambien entiende su punto de vista. El esta muy preocupado. Par mi papa siempre lo mas importante va a ser la seguridad de su familia. CARMEN: Si, si. ANDY: Y eso incluye a ti.
CARMEN (scoffs): Ah, que me va a incluir a mi? No, yo no se que hacer, de veras que me senti como una ladrona y tome decisiones a lo tonto, y ahora me siento sola.
ANDY: Ay, Carmen, tranquila, pase lo que pase, nunca vas a estar sola: me tienes a mi.
Carmen sighs, drops her head on folded arms on table, groans.
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Like scene in shadowy, 1930's, 40's, 50's film noir crime movie with hard boiled detective and femme fatale such as MALTESE FALCON: In Cruz home, Leti slides metal screen almost closed to talk privately with Juancho. Sultry "man-eater" Leticia (in tiger-striped dress) wears gold bracelet on left arm like writhing serpents.
Pair stand side by side leaning against grill, at first not looking at the other.
JUANCHO: Que bueno que viniste, guera. Yo ya no voy a seguir con tu juegito. Tu sabes lo dificial que es quedarse callado cuando todo el mundo te esta agarrando como pinata, peguele, peguele, peguele? No, asi no son las cosas en mi barreo, esto ya se acabo.
LETI: Bueno, dile a todo el mundo que la deuda era mia, y si tu abres la boca, yo abro la mia, viene la migra, te llevan con tu familia a tu "Mexico lindo y querido" (song that refers to death, as subtle threat) . Y te reciben con dos tiros en la nuca, despues a ellos y listo.
JUANCHO laughs: A guerita, y tu que te crees? La Reina del Sur** o que? Sabes cuantas veces he escuchado esas tonterias? Si supieras de donde vengo, a mi no me importa, yo voy a ver como los escondo y luego, que me maten.
LETI: Wow, el superheroe Juancho, siempre sacrificandose por su familia. Y tu que crees que va a pasar cuando te maten a ti? Van a ir por ellos y los van a matar.
JUANCHO: Pues, que le vamos a hacer? Lo que diosito vela, no?
LETI: Ay, pero que rapido te das por vencido. Yo pense que ibas a querer probar las mieles de tu...partnership.
JUANCHO: Ay y tu que crees? Que soy como el Chicharoncito, el puerquito? Que me gusta que me estan toqueteando y cargando?
LETI: Bueno, pues, hasta ahora, nadie se ha resistido a mis encantos...caricias...(Maria going upstairs holding broomstick at significant angle, glances in their direction, sees them together as Leti kisses Juancho.)
JUANCHO (seems to be giving in--but then says): Cuando Juancho dice no...es no, eh? (Leaves Leti) Lo mejor es de escapado. (The best is the one that got away? Saying that gave name to film BIG FISH. Or is it "De mejores he escapado"?)
**Title of telenovela based on book of same name, inspired by THE COUNT OF MONTE CRISTO by Dumas.
Leti's ovoid ear drops remind me of Marga's reference in Ep. 10 to "producto de gallina". A number of other similar asides refer to same thing which adults may pick up on. Related metaphorical action apparently takes place between Episodes 66 and 67, when octopus-like siren--as in Disney movie LITTLE MERMAID--commits dirty deed alluded to by Joseph Keenan/Octavio Paz (to be elaborated on later: decided would be too much of spoiler to tell now, but am dropping hint in case I don't get around to posting comments already written. If you can't wait, see Chapter 25 of book NTC'S Dictionary of Mexican Cultural Code Words for more clues.)
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*Characters calling another adult "baby" seems infantilizing rather than endearment. George has affectionally called Carmen "babe" and "nena", but he may need to recognize her as a grown woman, not someone requiring his protection. More important examples involving other characters (adult children) are stressed around episode 62. I think George has already called his daughter pet names "doll" and "muneca".
PAZ to her brother: No puedo creer que el susto mas grand de mi vida haya sido "the best of the best" para ganarle la guerra a esos igualados.
Talking of spoiled brats...Clio is already paranoid about Carmen, attributing her own feelings to someone not capable of them. In talking to Tania, Clio accuses Carmen of deliberately going after both starring role in film and her boyfriend Andy. Clio comments Carmen may think she's in A Star is Born movie--but really, Clio is acting like she's starring in classic Bette Davis movie (considered one of the greatest films ever made) All About Eve.
Kurt suggest champagne (another example of bubbles/globes) to toast Clio becoming leading lady of PARA BIEN O PARA MAL since Carmen resigned, and that Clio and Andy are "la pareja iconica" de momento.
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Juancho is holding and petting piglet Chicharron, talking to Rocco in kitchen, who reports he got job for himself and Robert delivering pizza (due to "inclusion" policy for handicapped workers, which Rocco mistakes for "impulsion"), and plan to ask Andy to borrow his old car. Juancho "generously" says he'll give Robert 20% of the take, to which mostly paralyzed man is able to reply by lifting his middle finger. Rocco excitedly notices (but boy is ignorant of meaning of gesture). Juancho thinks Rocco is imagining things. Robert repeats movement, Juancho still doesn't see he's being given the finger. "No sea mentiroso. No sea Pinochio, te va a crecer la nariz". (In next episode, Leti also makes use of Robert's condition by begging his doctor for medication she has another plan for.)
Juancho is summoned to speak with George. Before leaving kitchen, he gives tender farewell to Rocco, asking him to tell Chicharon about tio Juancho (as he suspects he's going to get the boot). Unsuspecting Rocco innocently says he's not going to war. Seated opposite George, he's like child facing school principal or judge.
George tries to talk to Juancho, but latter barely lets him get a word in edgewise. Sunshine floods scene in office (noted patch of sunlight on Kurt when talking with Rick about Carmen in Ep. 10 which must be "illuminating", contrasting with artificial lighting with that literally heaven-sent). Point of view keeps shifting sides; by George's right hand is book "Se puede probar que Dios existe?" by Fred Heenen (in English Show me God) about views of God by astronomers--people who study stars such as Stephen Hawking. Book might just be there because of black and yellow cover--seems to be pale yellow post-it note obscuring word Dios; black may mean "darkness/hidden" and yellow "sunshine" like warm color of George's study OR sour taste like acidic lemon.
JUANCHO: Ya esta mi Georgis, da igual, simplementete tengo que decir que estoy apenadisimo, la verdad, por todo lo que paso. Yo te prometo, mira, por esta (kisses his fingers as vow to God?) que te voy a devolver todo el dinero que te debo, eh? No, yo no soy de esos que te quedan mal. Y tambien lo de los malotes lo del los perrotes. Lo siento, yo se que estuvo refeo.
GEORGE: Juancho, el caso es que--
JUANCHO: Tambien me queda bien clarita tambien lo de mi Carmencita y no te preocupes, que yo voy a hacer que regreses con ella. Todavia no se como, pero tu nerviosa y yo tambien muy nerviosa, pero seguro que voy a hacer que regreses.
GEORGE: Eso no va a ser necesario.
JUANCHO: Claro que va a ser necesario. Como no va a ser necesario si fue mi culpa? Me tengo que hacer responsable de mis actos, no? Entonces, esta bueno, no pasa nada. Eso si, que te quede bien claro, y asumo toda la responsabilidad, porque mi familia no tiene absolutamente nadita que ver.
GEORGE: Si lo se.
JUANCHO: De verdad?
GEORGE: Los Jurados fueron victima igual que mi familia. Pero lo que yo queria decir...
JUANCHO: Es que bueno, yo te digo, de verdad, que yo asumo toda la responsabilidad.
GEORGE: Ya deja de interrumpirme, Juancho!
JUANCHO: Perdon.
GEORGE: Ya hable con Margarita. Le dije que la familia se puede quedar el tiempo que quiera.
JUANCHO: En serio? (smiles)
GEORGE: Pero tu, no.
JUANCHO: Eh.
GEORGE: Quiero que te vayas de la casa.
JUANCHO: Fuera?... Bueno.
(Before departing, Juancho asks Leti to look after his family, and also for her to ask George for some money)
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After Carmen calms down somewhat, she and her brother ask if they can work for Tenoch in restaurant, doing anything. Tenoch says he already can only pay illegal Gina minimum wage as it is, but Carmen and Pedro are willing to work for tips (and apparently room and board) in order to get away from uncomfortable atmosphere at George's house caused by his ex-wife and children, and now the estrangement between George and Carmen.
Pedro suggests his sister could sing for restaurant clients, and borrowing a guitar, they perform and are "hired".
Carmen joins her brother in his room which has twin beds. Andy talks with Tenoch inside the restaurant:
TENOCH: Nada mas que andate con mucho cuidado, eh. Porque andas sobre camino minando. No te vayas a clavar de esa muchacha.
ANDY: Muchacha? Es una mujeron. Esa mujer podria, no se, enloquecer a cualquiera, no?"
Clio just happens to enter Tenoch's restaurant in time to overhear Andy's remark to his uncle.
CLIO: Al cualquiera? O sea tu tambien, Andy?*** (Tho Andy tries to defuse situation, Clio runs off to tell George: Tu hijito esta enamorado de Carmen.
Andy is alarmed: Tio, tu y yo sabe que rencoroso se puede ser mi papa. Si Clio le dice esto y el le cree, mi relacion con el.... tu no conoces a Clio. Ella es capaz de armarse una historia en la cabeza y contarse la a los cuatro vientos hasta que lo creen.
George goes to Tenoch's to confront Andy, who reassures him Clio is exaggerating, inventing. Carmen peeks through open window to look at George while he's talking with Andy; latter glancing in direction of Carmen. When George turns to look, she has disappeared.
***To me, sounds like echo of "Et tu brute?" made famous by Shakespeare play. Another echo may appear later in story from lives of Julius Caesar, Anthony and Cleopatra. Word "history" is related to "story". Watch for eventual incorporation of both an ancient Greek myth and perhaps a famous "Freudian" Greek play (one involving blindness).
For complete capitulos go to www.Telemundo.com All entire episodes of PARIENTES A LA FUERZA (so far) can be seen On Demand with www.NBC.com app.
