1
00:00:06,880 --> 00:00:14,760
Speaker 1: Fantastica Sola Presse. Previously on the Princess of South Beach.

2
00:00:15,440 --> 00:00:18,200
Speaker 1: Raoul is recovering at the hospital after being beaten up

3
00:00:18,200 --> 00:00:20,400
Speaker 1: by the mobsters who are coming after Nacho to get

4
00:00:20,400 --> 00:00:23,079
Speaker 1: the money he owes them. Raoul told all of this

5
00:00:23,160 --> 00:00:25,440
Speaker 1: to Luisa, who went to visit him at the hospital.

6
00:00:26,000 --> 00:00:29,159
Speaker 1: She really is turning over a new leaf, huh. And

7
00:00:29,280 --> 00:00:32,560
Speaker 1: after an existential crisis, Maria del Garman went to see

8
00:00:32,560 --> 00:00:36,240
Speaker 1: the only person she trusts Edmana Claudia with Estraya. She

9
00:00:36,400 --> 00:00:39,120
Speaker 1: ended up telling her nun mom the whole story. What

10
00:00:39,280 --> 00:00:41,519
Speaker 1: they didn't realize was that Nacho follow them to the

11
00:00:41,560 --> 00:00:46,080
Speaker 1: convent and secretly listened to the entire thing. When Nacho

12
00:00:46,159 --> 00:00:49,360
Speaker 1: realized that Gloria was actually Maria del Garmin, he threatened

13
00:00:49,400 --> 00:00:52,640
Speaker 1: her and after a struggle involving all three, a body

14
00:00:52,680 --> 00:01:02,639
Speaker 1: fell to the ground. But whose will it be? Are

15
00:01:02,680 --> 00:01:06,759
Speaker 1: you too? Okay? See siss now? I think so yeah, yeah, yeah, yeah,

16
00:01:06,800 --> 00:01:11,120
Speaker 1: I'm okay. Oh god, his head is bleeding, Nacho, Oh no,

17
00:01:11,200 --> 00:01:13,320
Speaker 1: that's a lot of blood. No, no, no, get out

18
00:01:13,360 --> 00:01:16,840
Speaker 1: of the way. Let me see if he's breathing. Looks

19
00:01:16,840 --> 00:01:19,480
Speaker 1: like he hid his head pretty hard on the statue

20
00:01:19,520 --> 00:01:27,360
Speaker 1: of San Martine bores. Ah, well he's dead. What radio?

21
00:01:27,880 --> 00:01:30,120
Speaker 1: It was an accident. He grabbed me and I was

22
00:01:30,120 --> 00:01:32,039
Speaker 1: just trying to get away. I pushed him, but it

23
00:01:32,080 --> 00:01:34,200
Speaker 1: was instinct. I killed him. We need to call an

24
00:01:34,240 --> 00:01:38,400
Speaker 1: ambulance for what? Didn't I just tell you that he's dead? No, no,

25
00:01:38,400 --> 00:01:40,160
Speaker 1: no, no no, no, no no no no. I'm not going to prison.

26
00:01:40,200 --> 00:01:42,319
Speaker 1: I am not made for prison. What are we gonna do?

27
00:01:42,680 --> 00:01:45,400
Speaker 1: What are we gonna do? What are we gonna die? Okay, okay, okay, okay,

28
00:01:45,400 --> 00:01:48,320
Speaker 1: calm down, both of you. I already got a dead

29
00:01:48,320 --> 00:01:50,560
Speaker 1: body on my hands. I don't need two Panican girls

30
00:01:50,560 --> 00:01:53,320
Speaker 1: on top of it. Sorry forgive me. This is all

31
00:01:53,360 --> 00:01:57,480
Speaker 1: my fault. If I hang up with that, guilt is

32
00:01:57,600 --> 00:02:01,440
Speaker 1: not gonna solve anything. Can take that conversation up with

33
00:02:01,480 --> 00:02:07,200
Speaker 1: God later. He's busy, but he'll make time. No, we're

34
00:02:07,280 --> 00:02:12,280
Speaker 1: in this together, Estralia. Go and bring that mantle that's

35
00:02:12,280 --> 00:02:15,240
Speaker 1: by the statue, by the altar, the one that's covering

36
00:02:15,280 --> 00:02:18,040
Speaker 1: the statue of Jesus. Yeah, I guess he doesn't really

37
00:02:18,040 --> 00:02:22,400
Speaker 1: need it. Now, Gardman, which one is your car? That

38
00:02:22,520 --> 00:02:28,840
Speaker 1: one estrays perfect? Now? Help me turn him over? What? No, no,

39
00:02:28,840 --> 00:02:30,679
Speaker 1: no, no no, no, I can't. I can't touch him. He's dead.

40
00:02:30,720 --> 00:02:36,600
Speaker 1: I can't. I get it together. The other cardman, damn ba.

41
00:02:38,240 --> 00:02:42,560
Speaker 1: We need to find his keys. Now lift him up

42
00:02:42,600 --> 00:02:51,600
Speaker 1: so I can check his pockets. Okay, got him. Bring

43
00:02:51,600 --> 00:02:54,280
Speaker 1: his car around the front, but make sure to not

44
00:02:54,560 --> 00:02:57,280
Speaker 1: turn on the headlights. We don't want to call attention

45
00:02:57,320 --> 00:03:01,560
Speaker 1: to ourselves the screaming and the fire on the accidental murder.

46
00:03:01,800 --> 00:03:05,840
Speaker 1: Happy enough, bark his car with a trunk, looking towards

47
00:03:05,840 --> 00:03:10,560
Speaker 1: the church entrance. Why are you both still staring at me?

48
00:03:11,280 --> 00:03:15,480
Speaker 1: Woa wove yea and Manna? Have you like done this before?

49
00:03:15,919 --> 00:03:19,160
Speaker 1: All the other thing? Uh? That I was born in

50
00:03:19,200 --> 00:03:21,960
Speaker 1: a habit I put follower. I've seen some you know what,

51
00:03:22,760 --> 00:03:30,359
Speaker 1: mida now mo wow? Okay, I was not expecting that

52
00:03:30,520 --> 00:03:33,720
Speaker 1: from a nun. When while those three cover up their crime,

53
00:03:34,160 --> 00:03:36,960
Speaker 1: Raoul is recovering from his injuries and drowning his sorrows

54
00:03:36,960 --> 00:03:47,240
Speaker 1: at the bottom of a bottle with the most unexpected friend, Luisa. Lisa,

55
00:03:47,360 --> 00:03:49,000
Speaker 1: thank you for having me a place to stay for

56
00:03:49,040 --> 00:03:51,760
Speaker 1: the night. The truth is, I don't feel too safe

57
00:03:51,840 --> 00:03:53,920
Speaker 1: spending the night alone in my house with everything that's

58
00:03:53,960 --> 00:03:59,160
Speaker 1: going on. Mentioning honest, the menting I'm thankful for the company.

59
00:03:59,240 --> 00:04:01,240
Speaker 1: I never thought you or the type tole like company.

60
00:04:01,400 --> 00:04:07,480
Speaker 1: What is that supposed to mean? Another? No, I'm kidding.

61
00:04:08,120 --> 00:04:11,360
Speaker 1: I know I can be a kind of a bitch sometimes,

62
00:04:11,440 --> 00:04:14,360
Speaker 1: but I'm working on it. Don't. Don't put the cup

63
00:04:14,360 --> 00:04:22,359
Speaker 1: down without a coast or the US. Oh sorry, I

64
00:04:22,480 --> 00:04:26,919
Speaker 1: mean hey, yeah, I've been kind of lonely too. Well,

65
00:04:27,560 --> 00:04:30,520
Speaker 1: then let's toast for all the sad and lonely people

66
00:04:30,560 --> 00:04:38,839
Speaker 1: out there. Oh yeah, you've never told me why Gloria

67
00:04:38,960 --> 00:04:42,240
Speaker 1: left you. I would ask her myself, but truth be told,

68
00:04:42,320 --> 00:04:44,720
Speaker 1: Since the accident, she's not talking to me much anymore.

69
00:04:44,760 --> 00:04:47,799
Speaker 1: I don't know. She just kept saying that she couldn't

70
00:04:47,800 --> 00:04:50,359
Speaker 1: be with me. You know that things have changed, But

71
00:04:51,120 --> 00:04:52,880
Speaker 1: how could that happen if she was the a one

72
00:04:52,920 --> 00:04:56,480
Speaker 1: sauce to my stake do? You may not know how

73
00:04:56,560 --> 00:05:01,640
Speaker 1: to engage in a conversation without veering into She used

74
00:05:01,680 --> 00:05:05,039
Speaker 1: to love my metal for it. She pretended like she didn't,

75
00:05:05,080 --> 00:05:10,839
Speaker 1: but she loved Yeah, yeah, yeah, just stop crying. Okay,

76
00:05:10,880 --> 00:05:14,880
Speaker 1: she'll probably come around, you know how she is. One

77
00:05:14,960 --> 00:05:17,440
Speaker 1: day she loves her dress and the next she's throwing

78
00:05:17,480 --> 00:05:21,520
Speaker 1: it out The window. Oh this is different. Yeah, ever

79
00:05:21,560 --> 00:05:24,080
Speaker 1: since the accident. She doesn't laugh like she did before,

80
00:05:24,120 --> 00:05:27,120
Speaker 1: she doesn't talk like she did before. She's completely different.

81
00:05:27,600 --> 00:05:29,920
Speaker 1: And if I lose her, I mean, nah dah. Maybe

82
00:05:29,960 --> 00:05:33,799
Speaker 1: this is for the best. People change, and the last

83
00:05:33,839 --> 00:05:36,400
Speaker 1: thing you want is to realize too late that you

84
00:05:36,480 --> 00:05:40,520
Speaker 1: are with the wrong person. You deserve someone who loves

85
00:05:40,560 --> 00:05:46,120
Speaker 1: you for you. Now, trust me, don't tell me that

86
00:05:46,360 --> 00:05:53,680
Speaker 1: you and Stebe aren't happy. You've always seemed so well. Actually,

87
00:05:53,680 --> 00:05:55,120
Speaker 1: now you mentioned it. I don't know if I've ever

88
00:05:55,160 --> 00:05:56,800
Speaker 1: seen you two in the same room. It didn't used

89
00:05:56,800 --> 00:06:01,640
Speaker 1: to be like this, but now, truth is, he doesn't

90
00:06:01,640 --> 00:06:05,320
Speaker 1: even speak to me that much. I don't think he's

91
00:06:05,480 --> 00:06:15,200
Speaker 1: much of a fan. Oh Luisa, he's an idiot. What

92
00:06:15,240 --> 00:06:22,960
Speaker 1: did you say? He's an idiot? Okay, maybe we haven't

93
00:06:23,000 --> 00:06:25,880
Speaker 1: really gotten along, but I'm starting to see who you

94
00:06:25,880 --> 00:06:29,240
Speaker 1: really are. And you are caring and funny and kind,

95
00:06:29,960 --> 00:06:33,479
Speaker 1: maybe not to everyone, but definitely the people you care about.

96
00:06:34,320 --> 00:06:37,480
Speaker 1: And I mean, you're real in a city full of

97
00:06:37,520 --> 00:06:46,520
Speaker 1: fake people. My plastic surgeon would disagree. The point is,

98
00:06:47,680 --> 00:06:52,120
Speaker 1: if Esteban can appreciate the wonderful wife he has, then

99
00:06:52,640 --> 00:07:00,680
Speaker 1: he's an idiot. M see, he's an idiot idiot, but

100
00:07:00,839 --> 00:07:04,880
Speaker 1: for some reason, I love him and it's taken me

101
00:07:05,000 --> 00:07:07,920
Speaker 1: twenty years to realize that he doesn't love me back.

102
00:07:09,240 --> 00:07:17,360
Speaker 1: The only thing he ever loved was my money. It's okay,

103
00:07:17,760 --> 00:07:21,880
Speaker 1: this is so embarrassing, breathed with meek in here. I

104
00:07:21,880 --> 00:07:27,160
Speaker 1: don't even know why this is happening. It's okay anymore.

105
00:07:28,280 --> 00:07:33,160
Speaker 1: Just believe me. It never stops. Okay, Okay, this is

106
00:07:33,200 --> 00:07:37,240
Speaker 1: this is gonna sound strange. Okay, but can you hug me?

107
00:07:38,680 --> 00:07:41,880
Speaker 1: I haven't had physical contact with another human being in

108
00:07:41,920 --> 00:07:47,240
Speaker 1: a very, very, very very long time. Of course, I

109
00:07:47,320 --> 00:07:57,400
Speaker 1: love hugs. Okay, Okay, Oh that feels nice. Oh yeah,

110
00:07:58,240 --> 00:08:07,600
Speaker 1: that's nice. What what are you doing? Did you just

111
00:08:08,080 --> 00:08:16,800
Speaker 1: try to kiss me? Oh god? Oh sorry, I'm drunk.

112
00:08:17,120 --> 00:08:20,160
Speaker 1: I thought there was a vibe and I haven't been

113
00:08:20,240 --> 00:08:24,000
Speaker 1: kissing over a decade. And I'm I'm so sorry. You know,

114
00:08:24,120 --> 00:08:28,559
Speaker 1: I'm I'm going to bed. No, no, no, no, it's okay. Um, listen,

115
00:08:28,600 --> 00:08:31,240
Speaker 1: don't get me wrong. You're a hot older woman, but

116
00:08:31,280 --> 00:08:33,640
Speaker 1: you're a hot older woman who is the mother of

117
00:08:33,679 --> 00:08:37,439
Speaker 1: my ex fiance, So can you stop saying older woman?

118
00:08:37,679 --> 00:08:40,360
Speaker 1: I'm so sorry. Uh, should I go. I was planning

119
00:08:40,360 --> 00:08:42,920
Speaker 1: on saying over because of the thugs, you know, trying

120
00:08:42,920 --> 00:08:45,120
Speaker 1: to kill me and my father. But no, no, no, no no, no,

121
00:08:45,800 --> 00:08:48,760
Speaker 1: it's fine, it's fine. Just stay. Let's just pretend this

122
00:08:48,920 --> 00:08:53,600
Speaker 1: didn't happen. Okay, m yeah, I'll leave you to it.

123
00:08:54,440 --> 00:09:03,160
Speaker 1: I have to rush my hair. WHOA can't a day

124
00:09:03,200 --> 00:09:07,120
Speaker 1: go by without someone cheating on someone else? And Raoul,

125
00:09:07,440 --> 00:09:11,679
Speaker 1: I didn't think that you were sort of into my mom. Well,

126
00:09:12,120 --> 00:09:16,160
Speaker 1: it seems like things are awkward or maybe hot between

127
00:09:16,240 --> 00:09:20,280
Speaker 1: Raoul and Luisa. Whatever. Let's see how our three accidental

128
00:09:20,400 --> 00:09:37,040
Speaker 1: murderers are doing. Hey, tea lovers, it's me Tatiana. Obviously, boy,

129
00:09:37,080 --> 00:09:40,480
Speaker 1: do we have a juicy scoop for you? On the

130
00:09:40,600 --> 00:09:49,080
Speaker 1: next Tea with Tatiana next week, we'll have Karen, self

131
00:09:49,200 --> 00:09:53,960
Speaker 1: proclaimed assistant of the Year, giving us all the juicy

132
00:09:54,120 --> 00:09:59,160
Speaker 1: insights we've been craving for on the Calderonne front. Also,

133
00:09:59,280 --> 00:10:05,040
Speaker 1: there's more talk about that slick Lincoln aviator GT. Oh gosh,

134
00:10:05,400 --> 00:10:12,360
Speaker 1: that SUV is really taking over. I love it. All Right,

135
00:10:12,679 --> 00:10:15,040
Speaker 1: that's it for now, but be sure to tune in

136
00:10:15,120 --> 00:10:18,959
Speaker 1: next time for more scandalous rumors about the Calderon's on

137
00:10:19,120 --> 00:10:38,680
Speaker 1: the next tea with Tatiana. Okay, on the count of three,

138
00:10:39,200 --> 00:10:51,160
Speaker 1: we lift him up. Ready, you own a surprisingly heavy

139
00:10:51,160 --> 00:10:54,200
Speaker 1: for a short guy. Not forgive me. I never meant

140
00:10:54,200 --> 00:10:58,760
Speaker 1: for this to happen. I mean, now, what's done is done.

141
00:11:00,000 --> 00:11:03,200
Speaker 1: How all that's left is to pray and get rid

142
00:11:03,240 --> 00:11:07,880
Speaker 1: of the body. Seriously, you're kind of scaring me. What

143
00:11:07,960 --> 00:11:11,520
Speaker 1: did you do before becoming a nun? Well, everything started

144
00:11:11,520 --> 00:11:14,640
Speaker 1: at a work camp in Couva. I was a lunge

145
00:11:14,800 --> 00:11:17,800
Speaker 1: singer and I met a young Fidel before he was

146
00:11:17,840 --> 00:11:21,800
Speaker 1: the revolutionary and then well you know what happened in Maldito.

147
00:11:22,120 --> 00:11:26,439
Speaker 1: But that story is for another day. For now, Maria Garman,

148
00:11:26,520 --> 00:11:29,080
Speaker 1: remember when you were a little girl and we took

149
00:11:29,120 --> 00:11:34,160
Speaker 1: you to the Everglades on a day track. Um, see bueno,

150
00:11:35,280 --> 00:11:39,720
Speaker 1: that's where you're going to get right now, Maria, you

151
00:11:39,880 --> 00:11:44,520
Speaker 1: drive Nacho's car and Estralia you follow her in your car.

152
00:11:44,559 --> 00:11:47,160
Speaker 1: Why do I have to drive Nacho's car? Yeah? More, Okay,

153
00:11:47,960 --> 00:11:49,920
Speaker 1: I think that a non driving a Ferrari is going

154
00:11:49,920 --> 00:11:54,600
Speaker 1: to seem a little suspicions, don't you think, Maria? No

155
00:11:54,600 --> 00:11:56,760
Speaker 1: one would be surprised to see loriacal. They don't drive

156
00:11:56,800 --> 00:11:59,880
Speaker 1: in a car like that, which is why Estralia can't

157
00:12:00,040 --> 00:12:05,320
Speaker 1: drive it either has to be you Aura, pay attention.

158
00:12:06,280 --> 00:12:09,520
Speaker 1: Get on the eight thirty six until you make it

159
00:12:09,559 --> 00:12:14,199
Speaker 1: to the forty one. Don't stop until you make it

160
00:12:14,240 --> 00:12:18,320
Speaker 1: to the middle of the Everglades. And then what then

161
00:12:18,360 --> 00:12:21,240
Speaker 1: You put the car in neutral and you push it

162
00:12:21,440 --> 00:12:24,679
Speaker 1: into the swamp. No one should know how to get

163
00:12:24,760 --> 00:12:28,800
Speaker 1: rid of a body so quickly. It's awesome but also disturbing.

164
00:12:29,640 --> 00:12:39,120
Speaker 1: Hm Na, I'll stay behind and clean this mess. So

165
00:12:39,440 --> 00:12:43,640
Speaker 1: now Maria del Carmin doesn't just steal lives, she takes lives.

166
00:12:44,160 --> 00:12:47,679
Speaker 1: What happened to the innocent girl from the convent? Spoiler alert,

167
00:12:48,160 --> 00:12:55,320
Speaker 1: she's disposing of a dead body Estraya. I am freaking out, Maria. Maria,

168
00:12:55,440 --> 00:12:59,199
Speaker 1: listen to me. You're okay. Just breathe. Let me hear

169
00:12:59,240 --> 00:13:04,040
Speaker 1: you breathe. Okay, that was a little in tim. We're

170
00:13:04,040 --> 00:13:07,280
Speaker 1: almost there. Stay calm, I'm right behind you. Look up

171
00:13:07,320 --> 00:13:10,199
Speaker 1: the car and drive right back. Oh no, oh, no,

172
00:13:10,240 --> 00:13:12,360
Speaker 1: I think there's a cop following us. Oh my god,

173
00:13:12,640 --> 00:13:15,680
Speaker 1: you're soul nervous. Nobody is following us. No, I'm being serious.

174
00:13:15,679 --> 00:13:18,319
Speaker 1: I think there's a cop following us. I already told

175
00:13:18,320 --> 00:13:21,880
Speaker 1: you there's no one following us. Okay, okay, maybe there

176
00:13:21,960 --> 00:13:29,200
Speaker 1: is a cop following us, a ferrari that's not hers,

177
00:13:29,440 --> 00:13:31,920
Speaker 1: a body in the trunk and on her way to

178
00:13:31,960 --> 00:13:35,040
Speaker 1: the Effort Glades. How are you going to get yourself

179
00:13:35,040 --> 00:13:39,160
Speaker 1: out of this? One, little ciss? If you're enjoying Princess

180
00:13:39,160 --> 00:13:42,480
Speaker 1: of South Beach, please subscribe, rate, and review our show

181
00:13:42,679 --> 00:13:45,440
Speaker 1: wherever you're listening. The Princess of South Beach is a

182
00:13:45,440 --> 00:13:49,640
Speaker 1: production of Ihearts, Michael Podcast Network and Sono, Created and

183
00:13:49,720 --> 00:13:53,360
Speaker 1: directed by Jasmine Romero, Written by Jasmine Romero and Joanna

184
00:13:53,400 --> 00:13:57,440
Speaker 1: Houseman with help from daniels Er, Monisa Henri, and Christian.

185
00:13:58,200 --> 00:14:02,199
Speaker 1: Produced by Luis You, Executive produced by Conald Byrne and

186
00:14:02,280 --> 00:14:06,199
Speaker 1: Giselle Bances for iHeart by Joanna Houseman, and by Jasmine

187
00:14:06,280 --> 00:14:09,920
Speaker 1: Romero and Joshua Weinstein for Sonora. Performances in this episode

188
00:14:09,920 --> 00:14:15,760
Speaker 1: by Rachel Zegler, Gina Torres, Yvonne cole X Mayo, and

189
00:14:15,760 --> 00:14:20,600
Speaker 1: Andy Bustillos. Our production manager is Guerinsachitis. Recording and engineering

190
00:14:20,640 --> 00:14:25,000
Speaker 1: by Emiliano Quintanar, with sound designed by Edwin Irigoyen Cassandra

191
00:14:25,120 --> 00:14:30,040
Speaker 1: Tinajo Andres Bayena, Diego Medina and Andres Coronaldo. Assistant sound

192
00:14:30,080 --> 00:14:34,200
Speaker 1: designed by Eric Senttheno, Casting and coordination by Andres Chitis,

193
00:14:34,240 --> 00:14:37,960
Speaker 1: Folly by Samantha Gonzalez Fong, our theme song and original

194
00:14:38,040 --> 00:14:41,120
Speaker 1: music by Rodrigo Garcia Roles and Charlie Hernandez