Episode 13: "La servidumbre"
English subtitles https://youtu.be/5aN_SeDrhGk
Spanish https://youtu.be/9qB7Szrkw98Angel wings top worn by Carmen has "sleeves" that are little frills, like some old-fashioned pinafores) Her round purse is red (even more noticeable when she stands in front of Andy's red truck which his father gave him--so perhaps color red might refer to blood ties/family--or as in expression "seeing red" mean anger? Contrasts with her square brown bag used at other times which may stand for opposite of love & family.
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Tania tells Clio that she'd like to become her manager, and asks that since she's already been helping the actress, Clio might help her, revealing that now Carmen is out of the picture and Leti has revealed the horrendous person she really is, Tania feels George should have a "espectacular" woman at his side--herself.
CLIO remarks to Tania (her gesturing hand almost touching Tania's hair): De tonta no tienes nada (expression that often uses "un pelo" rather than nada, and so is among numerous verbal and visual references to idioms including "pelo"). In previous episode, Gina wears pretty pink eyeshadow. In this episode, Tania wears unusual eye makeup which may be orange (has darker shading). Clio says admiringly to Tania in English: You're on fire!
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George is shown walking up and down Orbit studio hallway from a distance, he first seems to be talking to himself. Moving closer, eventually can be seen his ear buds. Carmen won't let him help her find work--by asking Tania, who steered her wrong before--nor help her get a visa now she is no longer under studio contract.
GEORGE: No entiendo porque no te dejas ayudar.
CARMEN on phone tells George: El defuncto sabe que pesa cuando lo cargan (to which Juancho, seated in car with her, agrees: Bien dicho. But Andy, like George is lost--"Que defunto?")
GEORGE: Por favor, por una vez podrias dejar de hablar en refranes y decirme las cosas como si fuera un idiota para que puedo entender?
CARMEN: Que te agradece tu intencion, pero yo lo puedo resolver sola.
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Leticia begins giving Paz a "benediction" or sign of the cross when bidding her farewell on departure from Cruz mansion with no known return; her daughter stops her, saying in English "What are you doing? That's like so Mexican!" Leti: "Oops, sorry." Just as Leti is leaving with rolling cream color suitcase matching her shoes, a police officer in black comes to front door asking for her. But it's false alarm--he's not there to arrest her for murder, but to report that her husband Robert is missing, and to get her contact information. Paz had earlier said "I'll miss you mommy", but also "loving parent and child" wrestle over daughter's credit card that Daddy pays for.
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Tommy wears rainbow striped jacket. He tells Lara who has been ordered to put away his laundry that his shirts are arranged "al derecho al izquerdo, colores primarios a secondarios". His room has round rug with concentric rings like a target. Sign on his bedroom wall says "Disco", likely referring to 1970's style music made famous in John Travolta movie Saturday Night Fever. Literally, a "disco" or vinyl record is a round object--like pizzas also in this episode (I recall famous record store chain called "Licorice Pizza"). Circles and spheres are repeated symbol; other round things--"uvas"/grapes and toy consisting of rainbow range of donuts on blue key/"llave" were recently stressed in Ep. 83, when topic of pregnancy is in the air.
Later in George's study, Tania tries putting the moves on him*, leading up to inviting him to relax with her that night. He just wants her to help Carmen to find work and therefore able to stay in Los Angeles. Phone call interrupts her, it's from Sharpei, inviting George over for get together with her husband Wesley who just returned from a "gira" (tour) with sports team, and their mutual close friends, Sofi and her husband Don (who are of Asian descent).
I don't think I already pointed out on blog (comment is in draft elsewhere) that name "Shar Pei" is joke referring to expensive breed of Chinese dog with lots of wrinkles, fashionable in US in 1970's. Co-worker of mine had some. Many other allusions to dogs (El Perrote, exclamation "Chihuahua", Perricia) are tie-ins to Mexican movie AMORES PERROS; actor's name "Gael" is used around Episode 30.
Framed photos on George's desk include one of Carmen and another supposedly of beardless George and child Andy (but actually of Guy holding one of his little sons in real life). Future episode will show close up; both father and son have eyes closed, maybe asleep together on sofa. Que lindos!
*THE DEFINITIVE BOOK OF BODY LANGUAGE by Allan and Barbara Pease states "Overall, women are far more perceptive than men, and this has given rise to what is commonly referred to as "women's intuition." Women have an innate ability to pick up on and decipher nonverbal signals, as well as having an accurate eye for small details. This is why few husbands can lie to their wives and get away with it and why, conversely, most women can pull the wool over a man's eyes without his realizing it. Research by psychologists at Harvard University showed how women are far more alert to body language than men."
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Carmen goes to Cruz home to talk with George, but he's already left. She sees her grandmother wearing maid uniform taking a tray to Leti, and her uniformed mother scrubbing Leticia's toilet. Carmen is shocked, although both her relatives feel it is dignified work, making them feel better by helping out, and not living there sponging on George. (Blue uniforms may identify them as being on "Team George" as it's his favorite color.)
MARGA tells Carmen that George "anda bien triste, el pobre y ya no es que me quiera meter entre ustedes dos, pero a mi, me parece que estas perdiendo a un buen hombre."
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Catching up on what happened to his friend while he was away on tour (mother's death, divorce, going to Mexico and falling in love) Wes tells George he'd have liked to met Carmen who "enciendo la llama". Wes tells his disheartened pal he's got "pajas en la cabesa", and exclaims in English "you're an animal!" (both expression make me think of Wizard of Oz). Wes also says having Carmen's family working in his house is "arma de double fila". George says gossip is false, that in reality "no estoy de acuerdo" with his guests becoming servants, "pero estan muy orgullosas" and the women prefer to do something to help out.
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Carmen decides to wait for George to return home to confront him on what Leti implied was his decision to make women work. Andy says he will stay also, so he can give her ride back to Tenoch's. Andy tells Carmen his father "esta pasando por un mal momento. Yo no me quiero imaginar lo que seria perder una mujer pues tan buena vibra, tan talentosa, tan hermosa como tu, sabes.
A little surprised, she innocently thanks him, saying she didn't know he thought those things about her. Andy quickly tries to explain away his remarks as repeating something he heard his father say about her.
Books interpreting "body language" say people who are in agreement or are attracted tend to sit in similar way. When Andy & Carmen sit on couch waiting for George, their "figure 4" ankle on knee is opposite=she isn't attracted to him. Contrasts with Ep. 8 when Carmen & George sit cozily together, touching in clearly "we are couple" way when talking to family, Carmen wearing green flowered skirt. Twins may not pick up on it, but Carmen massaging George's knee (LOL) in that scene conveys intimacy that Leti must covet and fear, although she's wearing mask of being grateful guest. (Wikipedia entry on Disney Little Mermaid may have given clue.)
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Closer view of painting in George's study, ROOM IN NEW YORK by artist EDWARD HOPPER (described in notes on Ep. 4, Todos Juntas) while Lara in maid uniform is dispiritedly dusting when Tommy comes in to invite her to another rendevous in his room that night. Lara says she'll think about it, which seems like polite way of refusing. Long blue feather duster she uses is "pluma" (meaning both pen & feather in Spanish).
Maria chided Rocco that her duster is not a "cuerno de chivo" (goat's horn) when he used as mock gun when playing "shoot out" with Robert in studio while home invasion was going on elsewhere in Ep. 9: Saldos Pendientes. Maria also lays duster next to figurine in family room of woman doing splits near modern art piece like large lemon tootsie pop when she answers phone from police in Ep. 12, "Un problema tras otra", which suggests rod-like dusters may have other significance (see related comment below).
African-style masks in George's study Lara dusts--just before false-faced Alan sends her a text invitation--remind me of 1958 movie starring Jimmy Stewart/Kim Novak (plus wonderful Jack Lemmon, Hermione Gingold, Elsa Lanchester) very humorous romantic fantasy BELL, BOOK AND CANDLE (few seem aware helped inspire HARRY POTTER), but may just allude to deceptive "masks" many two-faced characters hide behind in PALF.
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While Carmen had been talking to her mother and Leti in Cruz home, Andy notices that Yuli is concerned about how her father is doing, so he volunteers to take her to Emiliano's home. She brings home cooking, which her father praises, saying with his mouth full something like she's good homemaker, "con todo y chamacos". Yuli replies she doesn't even have a boyfriend.
Emiliano comes in and clearly is attracted to Yuli, suddenly gives her full body embrace, which startles her, but his admiration pleases her.
EMILIANO: Esta energia que siento en Yuliana es la buena energia que necesitamos para la reparaciones. However, Juancho taken by surprise at their mutual admiration society (flirtation), and alarmed, clumsily becomes over-protective father. Yuli wears red top with black trim and fallen "angel wings" ruffle sleeves; modern art painting hanging on wall is of red figure which may be a woman.
EMILIANO: La verdad es que me gusto mucho hacer yoga. Lo haga desde antes que fuera algo "cool". Y no se, lo haga porque me hace estar bien, sabes, y sentirme bien.
YULI: Y verte bien.
JUANCHO: Ay, como verte bien? Yo creo que-- (claps his hands loudly) Eh! esta lloviendo ya. Ves los truenos? Perdoname. Es que me asuste. Es que los escuche. Te va a caer la lluvia. Vente, vamonos, te acompano.
YULI: Bueno, entonces ya meyor nos vamos.
EMILIANO: Pero vuelve, vuelve cuando quieres.
YULI: Pues manana mismo aqui me tienes. Es que sirve que yo vengo aqui a reviso que por que mi pa este bien, claro.
JUANCHO: No, pero yo ya estoy rebien. Aqui el Gandhis me ayuda aqui a meditar y eso.
EMILIANO: Pero puedes venir cuando quieras.
JUANCHO: Vamonos mi nina, todo va estar bien.
YULI to Emiliano: Este, pues mucho gracias. Y pues sobre todo tu, gracias para aydar a mi apa. Se ve que eres un chavo bien fresa, pero de esos fresas que caen bien, son muy buena honda. A ver si luego me ensena hacer el yogis.
EMILIANO: Cuando quieres.
JUANCHO: Vente, pa'ca. Aver si te vas caer or estar jugando. Nunca es que nos vamos a quedar aqui todos, eh. Como creas!
YULI: (off screen) Que pasa? Por que me pones asi en verguenza. Tu no queres nietos?
JUANCHO: Si, pero no con este. Que venga otro, otro. Este no.
On wall of Emiliano's home is what looks like sepia tone reproduction of Greek/Roman mythological young lovers, perhaps "Cupid & Psyche in the nuptial bower". Other wall decorations include orange and black Shinto Torii gate--seen closer around episode 50--which is symbol of border between mundane and spiritual worlds. Decorative details can have importance to story, not just something picked up randomly to fill screen. Did you notice yet in Cruz home odd tall stacked stone or clay tower at entrance of hallway leading to Master bedroom--clearly symbolic, at least to Freudian interpretation. https://www.psychologytoday.com/us/blog/out-the-ooze/201801/the-freudian-symbolism-in-your-dreams
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At party, Sharpei wears lemon yellow dress, which jars with golden walls of room with bar. Sharpei also invited separately her best friend Leticia, who pretends when she arrives that she's surprised to see George there. He reluctantly stands close to her when group photo is taken of the friends. It's all a plot by Leti to get her ex to start remembering old times, good memories, insinuating herself back into his life as 'once and future' wife.
LETI: Te acuerdas que bien los pasabamos y que felices eramos.
GEORGE: No se, Leticia. Sinceramente, no se si en algun momento fuemos realmente felices. Mira nada mas como acabamos.
LETI: Sin duda alguna fuimos muy felices. Tal vez el dano que te provoque hace que no lo recuerdes. (Earlier scene--when Leti pretended to lawyer on phone that he just doesn't remember what a wonderful time they'd had together--suggests George is right in being dubious about reality of "their happy home" and marriage.)
GEORGE: Prefiero no hablar de eso. De hecho estoy muy cansado. Creo que me voy a la casa. Porque no le quedas aqui con tus amigos?
LETI: No, como creas, George! Yo me regresa contigo a la casa como en los viejos tiempos, te acuerdo si esta bien. (to their friends) Ay, que creen. Los tengo malas noticias. Nos tenemos que ir.
(Walking from car to Cruz home, Leti gives peal of laughter) Sorry!
GEORGE: Que pasa? Que tienes?
LETI: Es que estoy recordando una fiesta que fuimos en casa de Sharpei y de repente Sofia llego y te dijo, "Tu es una guionista de estos que parece que estas como en terapia intensiva, porque tus parientes no le pueden ver".
GEORGE: Hmm. Si. Yo se que te abandone a ti, a Paz, y a Tommy. Perdoname.
LETI: Te perdono. Lo unico que si te voy a prometer es que no vas a volver a estar en terapia intensiva nunca, okay. Come on. Oh my God, George, I'm tired. (She slyly uses this excuse to hold on to his arm closely before they enter house.)
LETI: ...que Wes siempre hace lo mismo, te das cuenta? Siempre que esta en una fiesta hace lo mismo.
O sea toda la vida que hemos ido a su casa...(laughing together, divorced couple enter house).
CARMEN (taken aback to see them enter together arm in arm, then ironic): Orale. Que bien los estan pasando.
GEORGE is also startled: Carmen, yo no sabia que estaba aqui...
CARMEN: Lo imagino. Pero que padre que se la estan pasando tan chido. Se ven felices. Se ven muy bien juntos.
GEORGE (uncomfortably tries to explain): Lo que pasa es...
LETI: Lo que pasa es que venimos de la fiesta en casa de unos amigos en comun que alegresaron muchisimo de vernos y, bueno, pues como somos "roomies" (George makes grimace of annoyance, distaste at her word choice) le dije a George, pues, "me voy contigo".
CARMEN: Ay que padre. Oye, te pregunte en donde estaba George, y me dijiste no lo sabia.
LETI: Porque cuando me preguntaste, no lo sabia. Pero bueno, pues me encontre con el de casualidad.
CARMEN: Ay, contigo siempre hay muchas casualidades. Que padre conocerte, Leticia! Bueno, que les siguen pasando bien, "roomies".
GEORGE: Carmen, podemos hablar?
CARMEN: Que quieres hablar? Quieres hablar, como hablamos en la manana, y que despues me terminaste besando?
GEORGE: A ver, dejame aclararte, porque no es lo que estas pensando.
CARMEN : No? Entonces que? Que quieres aclarar? Que en la manana besas una ex y en la noche sales con otra ex? Ah! (frustrated, she walks out of house, slamming door behind her)
GEORGE: Carmen, por favor.
ANDY: Ven Pa, ven. Hey, esta enojada. Ahorita no te va hacer caso. Deja que se calme.
GEORGE: Es que NUNCA es un buen momento. Por esto la estoy perdiendo.
ANDY: Ey, yo trato de hablar con ella. Tranquilo, okay.
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GEORGE (accusingly): Tu sabias que Carmen estaba en la casa, Leticia. Por que no me lo dijiste?
LETI: Porque yo tenia entendido que estaba aqui en la casa por la mama, pero que tenia muchisima prisa. Porque no tomas este tecito y te relajes, no?
GEORGE: Yo no quiero un te. Quiero respuestas.
LETI: Okay. Pues si efectivamente no pude hablar con ella. Yo no sabia donde estabas en ese momento cuando me fui a casa de Wesley y Sharpei, pues la verdad es que se me olvido, ya decidi pasarmela bien. Yo no tenia idea de que tu estas ahi.
GEORGE: A ver, hasta cuando van a continuar estas confusiones entre tu y Carmen? Eh? Estoy cansado de esto Leticia.
LETI: Ay, pero esto fue un problema de "timing" George. Yo entiendo, entiendo perfectamente que estas cansado. Pero te digo algo. Estas cosas van a seguir sucediendo porque eso pasa cuando dos personas tan diferentes como Carmen y tu se juntan.
George shakes head disbelievingly, weary, suspicious.
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Andy and Carmen are seen through window walking to Tenoch's restaurant
CARMEN: Ay, tanto esperar a George, y ni pude hablar con el de mi familia.
ANDY: Bueno, mira, es normal. Te dio un pequeno ataque de celos cuando lo viste Leticia. Eso es perfectamente justificable.
CARMEN seated at bar inside Tenoch's restaurant: Me regalas un te de manzanilla, de valeriana, de alguna hierba que me relaje, por favor? Y bien cargado? (to Andy, worked up, angrily sarcastic) Estas de acuerdo? Ya esta feliz. Ya ya ya se le paso.
ANDY: Carmen...
CARMEN: Que rapido lo supera, no?
ANDY: Mira, Carmen, yo creo que primero se tiene que pasar el enoje y despues escuchas a mi papa.
CARMEN: Ya esta feliz. O sea, con Leticia, muertos de risa, padrisimo, enamorados, recordando viejos tiempos. Y sabes de que es lo que mas? Soy una tonta! Me da coraje que Leticia en el fondo, hijole, y la veo, lo conozco, y la huelo, la huelo como esa disfruta y goza verme mal. Si soy una tonta.
ANDY: Tampoco te traes asi.
CARMEN: No, soy una tonta. Soy una tonta porque volvi a creer, porque caigo. Porque siempre me pasa lo mismo, porque todos los hombres son iguales, no?
ANDY: No todos los hombres son iguales, eh? No todos, no todos. Yo no soy asi.
CARMEN: Bueno, te saco del costal. Tu no eres asi. Que afortunada es Clio.
ANDY: Eh, porque afortunada?
CARMEN: (ignoring his query) Ahora no puedo creerlo. Yo enamorada, quierendolo, amandolo. Y siempre, siempre es asi y estoy llena de coraje. Y esta feliz. Ja ja ja, muerto de risa llego.
They go through door with sign "Restricted area, do not enter".
ANDY: Mira, bien venida al "tiemplo de Andy" (gestures to camper trailer in patio behind restaurant)
CARMEN: Ahi vives? No manches. Oye, esta bien chido. Puedo conocerlo, no?
ANDY: Si. No esta gran cosa, eh.
CARMEN: No manches, es como de pelicula aca de aca.
ANDY: Cuidado con la cabeza, pasa usted.
They discover Clio inside lying on bed.
CLIO: Que hace esta tipa aqui?
ANDY: Clio, que haces tu aqui?
Note that old fashion camper trailer behind Tenoch's restaurant where Andy is staying has orange and blue trim. At plaza coffee shop where many characters have discussions, staff wear blue t-shirts with orange aprons. Both are unusual color combination. Clio is wearing orange and black striped trousers when Andy invites Carmen to tour camper of type she's only seen in movies (not quite The Long Long Trailer with Lucille Ball & Desi Arnaz).
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