Wa□□er Wil□iams (Bria□ Don□ev□)□is a □ake-c□arge captai□ of industry who□h□s □□rked his way up □n a San Francisco st□el□comp□ny from a □ositi□n as a shee□ meta□ □ork□r. He □oves his wife I□ene (□□□en □alker) v□□y much and □hey h□□e p□ann□d□a v□ca□ion drive togethe□.□□□□ne cancel□ □t the □ast minute □laimin□ □ toothache, but ask□ □h□t Wa□te□ dr□ve □er cousin Jim To□□ance (Tony□□ar□□□□) as □ar as Illinoi□. Walt□r agrees and he and Jim take of□ toge□□er bu□ □ater Jim knocks W□lter unconsci□us and t□k□s the ca□ on□y to be□hit himself by a t□uck and killed, his□body burned be□ond □ecognition.□W□lte□ comes to a□d suf□ering a□co□cussi□□ and deep □□nfusion □rom feeli□g betra□ed□by □rene hides out in□a□□ma□l Midwest town until guilt and pee□ pressur□ force him to go□back to S□n □r□nc□□□o a□d □e□l □is stor□□to the Pol□□e. □ut □y the time Walt□r □e□ur□s to□San Francis□o□a□□le□er□dete□□i□e Lieu□en□nt Quincy (□harles Co□urn□ has□□nc□□er□d so□e fact□ abo□t□Irene and her cousin&□39□ Jim. Th□ po□ice□□ave been holding Irene□for the murder □□ her h□sband □alter but rel□ase her□□onsidering that□Walter was hiding□out be□ause□h□ □ad kil□ed□Jim. Al□ng the wa□ to uncovering t□e □rut□□in Cou□t W□l□□r re□l□□es som□ har□ fact□about wh□t he h□ld□ valuable and the□tru□t he has□put in those aroun□ him.看(📞)着众□□闪躲的□光,少年□脸的得意,□那原本都□㊙)抬得够高的头颅又再往上抬了□,然后趾高气扬地开口(🧦)道:“怎么,□的提议有谁□服,嘿嘿,不服□🤹)也只(🐑□□给□🎤)□忍着,否则,到了凌华□,我只要跟我伯父一□,哼,保证你们连凌华宗□门都进不了□”
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When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.