Plot
In the telenovela, Miranda San Llorente is a modern, practical young woman who seems to have it all: beauty, money and class. Her father (millionaire Gonzalo San Llorente) puts all his faith in her because of his three daughters, she is the one who looks and acts most like him. Florencia (her older sister) has a fatal heart disease; her youngest sister Renata is an immature, capricious adolescent.
Miranda is planning her wedding to her fiancé, Fabricio Beltrán, when he returns from Germany after finishing his doctoral degree. However, she does not realize that Fabricio is returning to marry not her, but her sister Florencia. Bertha de Aragón (Miranda’s maternal aunt) ensured that love arose between Fabricio and Florencia to spite Miranda (whom she has never been able to control and who is immune to Bertha's false charm). Bertha also sees in Miranda the woman she hates the most: her own sister, Fernanda de Aragón.
Fabricio returns from Germany with his friend Alejandro Luque, who wishes to avenge himself on Gonzalo (who he believes murdered his father). When Alejandro gets to know Miranda, love awakens in him for the first time; this conflicts with his desire for revenge. Miranda is also attracted to him; this leads to a bittersweet, love-hate relationship which will hurt them both. The businesses of Gonzalo's businesses failed due to mismanagement by Caesar (Fabricio's brother and Bertha's accomplice. Gonzalo is sent to prison; Miranda must recover not only the family fortune, but also her family (including her mother, who has left because of Bertha's intrigues. In addition, Miranda and Alejandro must overcome obstacles on their path placed by Caesar (who loves Miranda) and Bertha (who falls in love with Alejandro at first sight).
Read more about this topic: Heridas De Amor
Famous quotes containing the word plot:
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)