Plot
The story centers around María Guadalupe, María Paula and María Fernanda, identical triplets (all played by Lucero) with non-identical, complex personalities. Their parents were killed in a car accident when they were very young. María Guadalupe is believed dead after she falls down a mountain and into a river. Instead, she suffers from amnesia and forgets she has a family and two sisters. Ana Salas, who is going through a tragedy coping with her own mothers's death, raises María Guadalupe as her own, even after becoming aware of her true identity. María Fernanda is a sweet girl who hopes to find her sister, but as a result of the accident is left blind. María Paula is different from her sisters in that she's glamorous, selfish and willful. She always wants to be the center of attention, especially around her grandmother, Mercedes, and her uncle, Eduardo Rivas. After an illness brings María Guadalupe and Ana to México City, María Guadalupe falls in love with Nicolás, a cab driver and good-hearted man, who had just moved to México to live with his grandmother. Living in fear that someone may recognize her daughter, Ana restricts María Guadalupe's actions. But Nicolás's grandmother learns Ana's secret without saying a word. The ties of love eventually draw the three sisters together, weaving through the lives of those that surround them in unexpected ways.
Read more about this topic: Lazos De Amor
Famous quotes containing the word plot:
“There saw I how the secret felon wrought,
And treason labouring in the traitor’s thought,
And midwife Time the ripened plot to murder brought.”
—Geoffrey Chaucer (1340?–1400)
“The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.”
—Woodrow Wilson (1856–1924)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)