Story
The soap's story centered on two best friends: Theo Braganza and Gardo Valiente, whose lives are opposite from one another. Theo was born rich, a playboy and was groomed as an heir to one of the biggest haciendas, Hacienda Braganza. Gardo on the other hand, was born poor, God-fearing and was poised to take over his father Damian as one of Hacienda Braganza's workers. Despite their differences, Gardo and Theo treated each other like brothers until Gardo falls for Theo's youngest sister, Maila. Their relationship was doomed from the start as Theo never liked Maila for Gardo as he preferred Maila's elder sister Leona to fall for his friend. The conflict turned for the worse as an uprising occurred in Hacienda Braganza which caused the death of Gardo's father Damian and scarred Gardo's face after a battle with Theo.
Gardo later on planned his revenge during Theo's wedding with Elaine. However, the bloodshed resulted in both Maila and Leona's death and the Braganza matriarch Donya Trinidad (who was killed before the wedding of Theo and Elaine). Since then, the two men had vowed revenge against one another and fight till the last breath.
In the final episode, Gardo succeeded at the end, while Theo was dead after his last wish.
Read more about this topic: Valiente (1992)
Famous quotes containing the word story:
“If we are on the outside, we assume a conspiracy is the perfect working of a scheme. Silent nameless men with unadorned hearts. A conspiracy is everything that ordinary life is not. It’s the inside game, cold, sure, undistracted, forever closed off to us. We are the flawed ones, the innocents, trying to make some rough sense of the daily jostle. Conspirators have a logic and a daring beyond our reach. All conspiracies are the same taut story of men who find coherence in some criminal act.”
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“The child ... stands upon a place apart, a little spectator of the world, before whom men and women come and go, events fall out, years open their slow story and are noted or let go as his mood chances to serve them. The play touches him not. He but looks on, thinks his own thought, and turns away, not even expecting his cue to enter the plot and speak. He waits,—he knows not for what.”
—Woodrow Wilson (1856–1924)