Qué Bonito Amor #26 (Mex 38.2-39) Monday 5/20/13

Capitulo 38.2: Pretense and Denial

Mendoza Apartment: La vipora de Elvira enters the Mendoza apartment to return the sombrero to Amalia along with her poisonous lie about Jorge Alfredo spending the night with her. Maria – in a classic case of bad timing – arrives just in time to hear this. Amalia asks Elvira why she didn't return the sombrero to Jorge Alfredo and gets the response that it is being returned “to its proper owner” because something this elegant can't belong to someone who doesn't value it. However, Amalia appears to have Elvira's number at least in one way: She calls her on her lie, saying she recognizes her evil intentions. She tells Elvira carefully that she is of low moral character. Elvira pretends to be on some high horse, demanding to know how Almira dares talk to her that way. Almira answers “the same way you dare to come here to disturb the peace of this house. Ge out of here and leave my daughter alone. Get out of here and don't return if you don't want me to confront your parents and tell them what sort of 'person' you really are.” Perhaps shocked that a woman like Amalia has told her off so effectively the nasty bitch departs saying “I'm going. This is like talking to a dog.” Maria follows her out. Amalia doesn't like that and we don't either.

Jorge Alfredo's Apartment: He tells Lourdes she is mistaken about him; things are not as they appear. She doesn't look willing to listen. Her next statement proves how mistaken she is, saying that she's sure he has no dignity [What projection!], he's after their money, and he has never had anything in his life. He sees the futility of attempting to explain anything to her and suggests they wait for Elvira so she can learn the truth by observing her own daughter. She is not willing. He tries one more time to explain that nothing is going on between him and Elvira and he is not interested in her money. If she's not willing to wait for Elvira, it's better if she leaves. “Are you throwing me out?” she asks with a mocking expression. He tells her she may be the boss at the bar, but not in his house. She sticks her nose in the air and departs.

Deleted Scene in JNTR, Office: Don Concho is sure Lourdes suspects something [Was he borracho when Lourdes walked in on them?]; Mirna asks if this is the end of them. She's very peeved at what feels to her like being cast aside after “muchos años.” “It's not going to be that easy.” Concho obviously doesn't want this, but looks genuinely afraid. He should be because Mirna – in the cliché words of every gangster movie we've ever seen – knows too much. Like that the late Pedro Mendoza invested money in the bar and his widow doesn't know that. That gets his attention.

Street in front of Mendoza Apartment: Elvira marches out in her FM shoes with Maria following. Maria demands to know what she was doing with her father's sombrero. The mujer suela answers that she should ask Jorge Alfredo since she showed up and crashed the party. Maria asked what she was doing on Jorge Alfredo's lap. She tells her to just stop dreaming and give up; she has nothing that interests Jorge Alfredo. That Jorge Alfredo has come to her for what she can't give him. Without using the phrase “muerte de hambre” she goes on about how that is what Maria is compared to herself with money and a fancy car [although it's obvious to all of us who has the better taste in clothes, and that's just the beginning]. Maria is clearly out of her depth in dealing with women like this because she attempts to defend Jorge Alfredo's indifference to wealth. This does not impress the vipora, who says she has never met any pobre who didn't appreciate help in getting ahead. She ends with “Pero no te preocupes, when I'm tired of him you can have him back” or something to that effect before getting into her car and driving off. [Dice de basura humana].

Deleted Scene in JNTR, Office: Mirna jokingly tells him to control his wild cat, growls at him, and exits. Concho looks rather weary... and a little wary at the same time.

Mendoza Apartment: It is evident from this exchange that Maria realized that the serenata supposedly commissioned by Elvira's friend was a trap. She won't give her mother the details. Almira doesn't press for them, but says it had to have been something very serious for Jorge Alfredo to be hanging out outside their apartment all night. This causes Maria to look up as she prepares to leave for work. Amalia tells her that Jorge Alfredo came looking for her.

Deleted Scene in JNTR Musicians' Dressing Room: Jairo is buttoning his shirt as Mirna enters to ogle him. And come on to him. She is interrupted by the waitress whom he was flirting with in the previous episode who clears her throat, comments that the door was left open, and she doesn't want them thinking her a gossip. Jairo and Mirna laugh.

Los Angeles

Parking Garage: Giuliano and Bruno approach what looks like a taxi stand when they are stopped by two suited thugs with high-powered rifles. A black sedan pulls up with a screech and the thugs force them inside. It takes off.

Deleted Scene in Maria's Dressing Room: Ana and Lety talk about their hopeless love lives, the latter mentioning seeing Jairo with Mirna. “Todos los hombres son eguales.” Same old song here.

Jorge Alfredo's Apartment: He folds the colorful serape and leaves, clad in the black traje.

Unknown Location in Los Angeles: To the sound of staccato suspense music Giuliano and Bruno are seated back to back in chairs and tied up. A bright interrogation light shines from above as the two thugs from before and a third one hang out in the background and the Godfather speaks ominously to these two lowlifes. [Note that we do not see his face throughout this scene nor will we through the remainder of the episode.] This is not the first mistake they've made, but will be their last. They should remember prison well enough to not be making mistakes. The police could find out a lot from further investigation. He asks about the photo of Santos; Bruno tells him that they don't know where Santos is. He has disappeared.

Pension: Jorge Alfredo approaches the desk and asks Doña Prudencia if anyone was looking for him. He has the serape draped over his right shoulder. She comments on how handsome he looks in those clothes [We agree] and that he reminds her of Don Pedro. [Ewww; that was for Maria.] He asks whether she knew him. She tells him she didn't know him that well, but knew he was an interesting person. We hear an old recording in the background and she drones on about childhood memories of Jorge Negrete's movies. [There appears to be a continuity error here regarding timelines or Doña Prudencia is getting a little senile.] Jorge Alfredo listens to her indulgently as she describes having “Las Mañanitas” sung to her by both Jorge Negrete and Pedro Infante. She gets very emotional about this as we hear that recording.

Unknown Location in Los Angeles: The Godfather demands his dinero, which the two lowlifes do not have. Bruno starts to speak up but Giuliano tells him to stifle himself. The Godfather also wants Santos never to return to L.A. Giuliano asks for a month. If he can't find Santos in that time he has fallen off the face of the earth.

Pension: More of the old recording in the background and another Valentine to Mexico.

Garage: The three thugs have Giuliano and Bruno on their knees as they tell them at gunpoint that they have one month or else. They get into the sedan and drive off. Giuliano says “See what you've gotten into?” and tells Bruno he has to marry Wendy. Bruno tells him that this money is that of Santos' family. Giuliano tells him this situation is his fault and now he has to get the money to get them out of it. He has their lives in his hands.

Federal Prison Visiting Room: Michael's lawyer goes off on him about how his friends have gotten free and he is in prison for eight years because he didn't denounce Santos. [The echo in that room is giving me some trouble understanding this actor.] Mike gets up and says that he is the victim of a conspiracy. Someone took advantage of his friendship with Santos to frame them for the money laundering. His lawyer tries to convince him that Santos betrayed him and he's free while Michael will be in prison for eight years. It looks as though Michael might weaken. [Author's note: Victor Noriega is not maturing well.]

Deleted scene in Hotel Room: Bruno tells Wendy they need to see her parents to make up with them because they can't start their marriage with a rift. She agrees, saying all she wants is for them to be FPS (felices para siempre). He looks pretty guilty through this, but leaves with her.

Prison Cell: Michael hears his lawyer's words echoing in his ears. He is losing his huevos.

Garza Mansion: Bruno and Wendy have come to ask her parents to give their marriage the parental blessing. [Here Bruno looks as though he has aged 20 years since the first episode.] Neither Altagracia nor Justo are inclined to give it. Wendy tells them she will marry Bruno with or without their consent [How old is she anyway?] and tries to pull the you-love-Santos-but-not-me guilt card once again. Altagracia isn't having it and she exits. Justo tells Wendy to do as she wants; they still love her. This still doesn't exactly look like an endorsement.

Deleted scene in JNTR: The waitresses prepare the Tostitos snack in the package as they talk about Jorge Alfredo being in love with Maria.

Mendoza Apartment (outside): Isabel comes down to see Jorge Alfredo and she is annoyed with him. She knows about him sleeping outside and about the sombrero.

Street: Paloma and Rodrigo talk about her quinceñera. She wants him to be her chamberlain. He doesn't answer right away.

Mendoza Apartment (outside): Isabel tells him that the sombrero was returned. He asks her for it but not to tell her mother. She shouts for her mother against his wishes after telling him she was to call her mother if he showed up.

Street: Paloma is disappointed in his silence and he finally admits that he doesn't want to do this because he thinks the whole thing is ridiculous. Besides, he can't dance and doesn't want anyone making fun of him for it. [Where have we heard this before?] Poor Paloma hears his refusal echoing in her mind.

Mendoza Apartment: Amalia gets on our last nerves again, trying to convince Jorge Alfredo he does nothing but hurt Maria. Neither is particularly forgiving. She points out that the sombrero is more than just a hat; it is Maria's heart. [Amalia, why the hell can't you admit what your real problem is?]

Maria's Dressing Room: The waitresses sing the chorus of Amalia's old song about men being no good. Lagrimas de Maria with her ongoing confusion, lamenting that her ideals have been hurt.

Mendoza Apartment: Amalia hands the sombrero to Jorge Alfredo saying she is giving Maria's heart. He can accept it and take care of and protect it or decline to. Of course he accepts. However, his exit is accompanied by sad music.

Capitulo 39: El Duelo de Pasiónes

Del Olmo Casa: Rubén is packing a suitcase, telling Lorena that his lawyers will contact her about the divorce and his visits to their children. As long as she is raising the children she can remain in the house (stating also that it is his house). She throws a pillow at him and goes on pathetically about how could he throw their marriage in the garbage for that insignificant lowlife female. All while crying either pathetically or manipulatively; we aren't sure which. Rubén stares at her, almost as though he were about to cross-examine a trial witness.

JNTR Musicians' Dressing Room: Jorge Alfredo sits down, kisses the serape, and puts it in a drawer with the theme instrumentals in the background. He finally stands and puts on the sombrero.

Del Olmo Casa: Rubén tells Lorena that their marriage was over a long time ago. She is not to worry about money; she will be protected as long as their children live in the house. She is not to try to manipulate him further. She threatens to destroy Maria if he leaves her. “You have no idea how much I've suffered.” He is not falling into this one, saying “We'll see who makes who suffer” as he zips the suitcase and exits. As the non-ranchera background music travels down a minor key, she curses Maria for stealing her husband and ruining her life, swearing that she will destroy Maria's life.

Maria's Dressing Room: She does a sewing repair as Jorge Alfredo enters. She tells him she doesn't want to see him or even hear his name. He tries to get her to listen to him about the double case of misunderstanding (him at the ambush serenata and her meeting Oscar), but Maria is being stubborn again against all logic. He brings up the humiliating situation at the Olmo party. She denies involvement with Rubén; he denies involvement with Elvira. She brings up the frequency of this and he brings up the duration of Rubén's pursuit [4 years?]. Each speaks of being a victim in the case. Jorge Alfredo wants to make up with her but Maria isn't willing. She wants to end it. She could not stand how she felt seeing him with the bar owner's daughter in his lap and doesn't want to fight about it.

Musicians' Dressing Room: Oscar, Jairo, and the guy who wants to go to NYC talk about getting half the money from the ambush serenata which segues to Maria looking for Oscar. He tells them she needed him but doesn't reveal what that was about. Fernando listens to all this, then politely excuses himself and exits. Jorge Alfredo enters, ready to perform. He and Oscar exchange mutually antipathetic looks before he exits. Oscar comments something that sounds like he knows that Jorge Alfredo and Maria are fighting and he and his two jerky friends laugh.

Deleted scene in Mendoza Apartment: Almira tries to help Isabel with her math homework with no success. Paloma arrives, crying over Rodrigo's refusal to be her chamberlain.

Deleted scene in Reyes Apartment: Rodrigo tells Gloria about the same thing. He wishes Paloma had asked him anything else. Gloria tries to get him to understand that this important and it is an honor to be asked this. He doesn't want the other guys making fun of him.

Deleted scene in Mendoza Apartment: Amalia tries to assure Paloma that other boys would love to have this honor, but she doesn't want to dance with anyone else. As Amalia hugs Paloma Isabel suggests that Rodrigo probably turned Paloma down because he doesn't know how to dance. [Now, how does she know that?]

Deleted scene in Reyes Apartment: Rodrigo looks at a video of Paloma on his computer screen while flashing back to scenes in the park. Their song plays as she cries at the same time.

Deleted scene in JNTR, Club Room: Fernando tries to apologise to Ana but this isn't working. She backs away when he attempts to kiss her cheek and he ends up kissing her forehead instead. Lety watches, shaking her head.

Musicians' Dressing Room: Oscar needles Jorge Alfredo once again. Mirna enters and it's obvious she realizes the guys are being frat boys again. Oscar teases her and gets “No; you don't have what I'm looking for.” Some minor laughter. She tells him that Don Concho wants to talk to him – all of them – to settle accounts. Oscar is ready for this and he tells they guys “Let's go.” But before they do he sticks the knife in Jorge Alfredo again over his fighting with Maria, asking “Are you coming with us or are you going to sit here and cry?” “Llorar, llorar” sing the others as they exit. Jorge Alfredo holds his breath and doesn't rise to this bait.

Maria's Dressing Room: She has been telling Lety and Jennifer about her argument with Jorge Alfredo when Ana comes in telling her she is expected in Don Concho's office immediately, along with all the guys. They all become certain that this is about the disaster the night before.

Musicians' Dressing Room: Fernando and Jorge Alfredo talk about the same thing; Fernando tries to get him to chill and talk to Maria and give her a chance to get over it. Jorge Alfredo – in true romantic hero fashion – talks about how his life in Los Angles is over and he is without friends, without family, without money, with the Mexican police and Interpol looking for him and.... all that matters is Maria. Fernando is sympathetic and Jorge Alfredo says it was good that he was never in love before.

Irasema's Apartment: As she tarts herself up [thereby adding ten years to her appearance] Irasema flashes back to the flower delivery and Susanito's breakfast invitation.

Don Concho's Office: Everyone arrives, with Mirna and Don Concho entering last. He starts saying he's heard from Don Rubén regarding the party last night. Maria offers to explain but Mirna stops her, saying it isn't necessary. Don Concho announces that Don Rubén gave him a checque for 20,000 pesos, which includes a bonus. Everyone seems surprised except for Jorge Alfredo, who is not pleased, having twice torn up checques from this perv. Don Concho is therefore increasing his commission to 20%. Nobody objects. He hands a wad of cash to Oscar to distribute as he sees fit. As for the serenata the prior evening, Concho says he only got half the payment and the party refused to pay the rest. How did that happen, how are they going to make it up?  Coloso looks at Jorgito, putting him on the spot again--ask him, he's the one at fault for not getting the full payment. .  This goes into saying that Jorge Alfredo was singing with a sore throat [possibly they mean something else?]. The others say they also did. Don Concho is not getting involved with their internal conflicts, telling them they need to settle among themselves. [cobarde; he is not a good or effective boss] He tells them to get back to work and do their job, finally exiting with Mirna. The musicians file out, with Jorge Alfredo last. Oscar stops him and lets him know he isn't handing over his money.

JNTR Clubroom: Pinchi and the waiter make jokes over preparing snacks with chips and salsa. One of the musicians arrives for a bite, followed by Susanito, who gets a piece of the food action.

Los Angeles

Deleted Scene in Restaurant, presumably near the Police Precinct: Curtis makes a fool of herself yet again, trying to seduce Derecho out of retreating to archival work. A little jazz music in the background tells us she is trying to pretend to be a femme fatale as she leans into his space, almost pushing him down on the bench seat while he's eating his french fries. Other patrons turn around to look. He pretends to be part of the joke in order to save face. [He may be smarter than we supposed.]

Deleted Scene in JNTR Clubroom: Pinchi and the waiter run up on stage with a female patron in between them, finishing off what was probably a comedy routine. They introduce the three waitresses who come on stage singing “La Reina es el Rey” a capella. [Author's Wager: Each of these chicks is going to bag a mariachi before the end of the series.]

Deleted Scene in Rubén's Office: In what looks like a scene straight out of Mad Men, he and Fabian talk about his pending divorce. Rubén talks about how the children should not have to hear their parents fighting all the time. Fabian – after pouring businessmen's booze on the rocks – tells Rubén it's his fault. He should not be looking for sex outside the marriage. Rubén protests that he hasn't boinked Maria. Fabian tells him that he needs to think of his future. He should forget Maria and fix things with Lorena for the good of his children, his career, and his money. Rubén tells him that he's made up his mind. He's getting a divorce. He removes his wedding ring and drops it on the desk for emphasis.

JNTR Clubroom: Oscar greets the audience, telling the ladies they're more beautiful than ever. He points out a table of single women and the one of the single men that should join them; they take this good-naturedly. He then introduces Maria, who enters in a fabulous red strapless dress, followed by Jorge Alfredo in full traje and serape. This begins their singing duel, starting with “Me Equivoque Contigo” and going into four other songs, between which they steal the microphone from each other. Oscar gets a big childish kick out of this despite not being in control over it and despite that Jorge Alfredo is starting to sound and emote more and more like Alejandro Fernández. The audience is eating this up while Don Concho seems to catch on to what is really happening. He is seated with his wife, who may or may not understand what is happening. There is a close-up of a male patron with sparse facial hair. Finally, they sing “El Ultimo Trago” together and it looks as though they might be working out their differences.

At the end of the music Jorge Alfredo grabs Maria into a kiss which pleases the audience. Oscar starts toward them, but is held off by Fernando to avoid a scene. Maria is not pleased; she hauls off and slaps Jorge Alfredo. Oscar laughs, Fernando looks concerned, the audience applauds, probably thinking this is all an act. Maria and Jorge Alfredo exit stage right and start arguing on the way to the dressing rooms. Both are taking these songs seriously and she can't forget the sight of Elvira on his lap. To the background of Don Vicente's song, he tries to tell her that he has eyes for no other woman and just when it looks like she believes him she decides she doesn't. Fernando arrives when Jorge Alfredo tells her he will leave soon and doesn't need her help; she says that's fine with her, and Fernando finally comes down with mocking applause. The entire argument and his comments use lyrics from the songs. Fernando finally tells them they shouldn't drag their personal stuff onto the stage and that they are arguing like children. He suggests that Jorge Alfredo get cleaned up and Maria be quiet. Jorge Alfredo steps back, knocking over the chair almost as though he were drunk. The microphone falls to the floor along with the sombrero, which Fernando reproaches him for as he exits. Finally he jokingly asks Maria when they got married. She throws some water in his face and exits. Fernando laughs, thinking it amusing that this is the daughter of Amalia Garcia de Mendoza. Of course she's in love!

Del Olmo Casa: Lorena – who is mas loca than we or her husband ever realized – declares that if Rubén won't be hers he won't be anyone's and that she will take care of this... singer (said in a deprecating tone). She puts on a scarf and a pair of dark glasses to ominous music.

Musicians' Dressing Room: Although Fernando doesn't appear terribly concerned Jorge Alfredo goes on about how ever since he's arrived in Mexico all he's done is fight over things. He hasn't done anything wrong. Fernando reminds him of Elvira sitting on his lap [although he has to know that this was Elvira's trap]. Oscar arrives with a handful of cash, peels off some bills for Fernando. Saying something about Jorge Alfredo owing him three thousand, he hands him nothing and exits. Jorge Alfredo declines to follow him, stating that one day this guy will not forget who he is.

JNTR Clubroom: Pinchi mops up the bar, satisfied with the evening's events. Maria enters on her way out and he stops her, asking whether Vargas is going to see her home. When she says no, he says that the audience thought this evening was an act but he knows it was the truth. He tries to get her to talk about it because he's concerned and hopes to have the right advice. However, she doesn't want to talk about it. He tries one more time but she wishes him good night, accepts a fatherly kiss, and exits. He's left in a philosophical mood as he finishes the clean-up.

Street outside JNTR: Dark clouds cross in front of the moon as Maria exits the building with her makeup case. Lorena, looking like something out of James M. Cain, appears behind a young tree to watch. The music builds up in a minor-key suspense leitmotif. A thug in a hoodie (the guy from the audience) appears with a switchblade aimed at Maria's face. She parries it aside with her case, then swings it back right in his face, knocking him back toward the exterior of the building. Lorena watches in frustration from behind the tree. The thug recovers quickly, running back toward Maria with hands out to grab her and she knees him right in the huevos, knocking him down to the sidewalk. However, she makes the mistake of turning her back while trying to get away and he grabs her ankle. As she tries to pull away he gets closer to the knife and grabs it with his right hand. We close on her terrified face while all viewers are exhorting her to scream bloody murder.

Avances

Michael's lawyer tells Justo his son's goose is cooked and another misunderstanding is being cooked up.

Lyrics from this Evening's Episode:

La Reina es el Rey

Unos dicen que el hombre no llora
Y otros dicen que el hombre is el rey
Yo les digo que todo es mentira
Que el hombre si llora por una mujer
Nada importa que sea muy valiente
Ni que tenga medallas de honor
Porque el hombre se vuelve cobarde
Y pierde su orgullo por un gran amor
coro (2 veces):
Y llora por ella, Y toma licor
Y aunque sea muy hombre se arrastra y se humilla nomas por su amor
Y que el hombre sera el que gobierna
Claramente lo dice la ley
Pero basta el embrujo de un beso
Y de ese momento, La Reina es el Rey
Nada importa que sea muy valiente
Ni que tenga medallas de honor
Porque el hombre se vuelve cobarde
Y pierde su orgullo por un gran amor coro:
Y llora por ella...

Me Equivoque Contigo

Me equivoque contigo,
Me equivoque a lo macho
Como muy pocas gentes
Se habran equivocado.

Te conoci en la iglesia
Y te mire en silencio
Por no turbar tu rezo
Que para mi es sagrado,
Por tu carita buena
Y tu mirada clara
Por tantas otras cosas
Hubiera yo jurado,
Pero que triste realidad me has ofrecido,
Que decepcion tan grande haberte conocido,
Quien sabe dios porque te puso en mi camino.

Me equivoque contigo
Como si no supiera
Que mis mas grandes penas
Las debo a los amores,
Me equivoque contigo
Despues de tantos años
Y tantas decepciones.

Pero te vi en la iglesia,
Y tu mirada clara
Me hizo formar de nuevo
Un mundo de ilusiones
Pero que triste realidad me has ofrecido
Que decepcion tan grande haberte conocido
Quien sabe dios porque te puso en mi camino.

To Solte La Rienda

Se me acabo la fuerza
De mi mano izquierda
Voy a dejarte el mundo
Para ti solita

Como al caballo blanco
Le solte la rienda
A ti tambien te suelto
Y te me vas ahorita

Y cuando al fin comprendas
Que el amor bonito
Lo tenias conmigo

Vas a extrañar mis besos
En los propios brazos
Del que este contigo

Vas a sentir que lloras
Sin poder siquiera
Derramar tu llanto

Y has de querer mirarte
En mis ojos claros
Que quisiste tanto
Que quisiste tanto
Que quisite tanto

Cuando se quiere a fuerza
Rebasar la meta
Y se abandona todo
Lo que se ha tenido
Como tu traes el alma
Con la rienda suelta
Ya crees que el mundo es tuyo
Y hasta me das tu olvido

Y cuando al fin comprendas...
Y cuando al fin comprendas...

No me amenaces

No me amenaces, no me amenaces
si ya estas decidido a buscar otra vida
pos, agarra tu rumbo y vete
pero no me amenaces, no me amenaces
ya estás grandecito, ya entiendes la vida.
ya sabes lo que haces.

No me amenaces, no me amenaces.
Porque estás, que te vas y te vas
y te vas y te vas y te vas
y te vas y te vas, y no te has ido
y me tienes aquí esperando tu amor
esperando tu olvido.

No me amenaces, no me amenaces
si ya fue tu destino, buscar otro cariño
pos agarra tu rumbo y vete
pero no me amenaces, no me amenaces
ya juega tu suerte, ahi trais la baraja
pero yo traigo los ases.

No me amenaces, no me amenaces.
Porque estás, que te vas y te vas
y te vas y te vas y te vas
y te vas y te vas, y no te has ido
y me tienes aquí esperando tu amor
esperando tu olvido

No Volvere

Cuando lejos te encuentres de mi
Cuando quieras que este yo contigo
No hayaras un recuerdo de mi
Ni tendras mas amores conmigo

Yo te juro que no volvere
Aunque me haga pedazos la vida
Si una vez con locura
Ya de mi alma estaras despedida

No volvere, te lo juro por Dios que me mira
Te lo digo llorando de rabia, no volvere
No parare hasta ver que mi llanto ha formado
Un arroyo de olvido anegado
Donde yo tu recuerdo ahogare

Fuimos nubes que el viento aparto
Fuimos piedras que siempre chocamos
Gota de agua que el sol reseco
Borracheras que no terminamos

En el tren se la ausencia me voy
Mi boleto no tiene regreso
Lo que tengas de mi te lo doy
Pero no te devuelvo tus besos 

No volvere, te lo juro por Dios que me mira
Te lo digo llorando de rabia, no volvere
No parare hasta ver que mi llanto ha formado
Un arroyo de olvido anegado
Donde yo tu recuerdo ahogare...

El Ultimo Trago

Tómate esta botella conmigo
Y en el último trago nos vamos
Quiero ver a que sabe tu olvido
Sin poner en mis ojos tus manos
Esta noche no voy a rogarte
Ésta noche te vas de a deveras
Que difícil tener que dejarte
Sin que sienta que ya no me quiera

Nada me han enseñado los años
Siempre caigo en los mismos errores
Otra vez a brindar con extraños
Y a llorar por los mismos dolores

Tomate esta botella conmigo
Y en el ultimo trago, me besas
Esperamos que no haya testigos
Por si acaso te diera verguenza
Sin algun día sin querer tropezamos
No te agaches ni mi hables de frente
Simplemente la mano nos damos
Y despues que murmure la gente

Nada me han enseñado los años
Siempre caigo en los mismos errores
Otra vez abrindar con extraños
Y a llorar por los mismos dolores

Tómate esta botella conmigo
Y en el ultimo trago nos vamos