HABLEMOS DE LO QUE NO EXISTE - PLATICA SECRETA 14 (pendientes)

Episode Date: August 12, 2026

Querida Familia Nocturna, bienvenid@s a esta Plática Secreta, que en realidad son varias porque ya se las debía, y como saben a mi me gusta saldar mis deudas con intereses. Y las historias que les traigo hoy están buenísimas son de varios lugares que hemos visitado en en esta #Gira2026 de #FogatasEnTuCiudad Les mando un abrazote, y que tengas #DulcesPesadillas, BYE BYE

How are my dear family nocturn? From your light, the illumination, different in the light of the

different of the formato distinct. There are saying that they're going to get a little bit of patience.

What we want to have been stories in the time. I'm going to make a time of

this one of because me have been going to get a lot, me have been talking

stories. And there is something that I have a time saying to that is

that in occasions in the podcast You pass something rare. It's like if stories

extraneas that never had heard that have done, or forms of manifestations, the course

have never had had gotten to my know to get to get to

all together. It's like if they're that we have we've we

and we talk about stories very similar. So, I'm because

a a week, a week and a week and and I'm a minute and Kankoon just in

the fogat in the city, after two days in Puebla, in these places

me found stories very strange. And there two stories, two

stories that are super rareas that never heard of and that me those

people and that different that one has not seen the story of

the other and that me me blew the the and I don't

to tell us that I'm to have to trancas. Mejor, I'll go going to

little in little, but not for dosific but because there are many times stories that I'm going to

put them to put them to put them to put them in the order. The first, the first stories that

I'm being good, me those were in Cancun. As I did we, we're

in the foggats there. It was the presentation, it was this moment with

the family nocturn that was very chido, and

night at the Nocturnal of Cancun that we see this video, we can't leave your message that how did it pass. But when we got to the part of the Mid and Grid and we just to put us to practice a little bit, and the time, and the time I was very can't. Yeah, at the final, yeah, we had we been to do, I'm sitting there to be a dormit.

I had been a problem of insomnia, days earlier, you know that of a sudden that's a bit of that. Then I was tired. but, and however, amablely came to

the chas the children, two chikas we're going to call to the name Abigail and Clara and they're

two, that were in cargated that were super-linds and super-amble and I'm very

very much you know, but you know who's who are and much thanks. Abigail and

Clara were there were there and then they're to come to me to talk

and me they're doing this And for us, you know, you know, you know, they have bad the bestumptuels? For what, they want to doltze the little,

you know, they're that they're they're in, and they're saying that's the story are good, then I'm to have to

ask them to have some some story that they want to and it and it's really because the two are the

one to the other, and where the they're going to see, they're to be doing, and they're doing, so, if there's

in this theater. And I, and why do you because me make that's a car, and me They're saying, because it's

because it's past us and not it's a father. And not we don't get to tell them. Because at times when they're going to go, and I say they're

in the effort. And they're doing to see. And they're going to let's say, if they're going to tell. Well, we're that's

after you have passed to me the stories because if they were very strong. It's, he said, and

Abigail, and Abigail me told that she she has a time working in this theater. But when

when it was, it was like a guardia of security and was in the area of the theater

is a place in a school that's a school, but it's a school and the

theater is part of this complex, a place a place,

a great, it's she's a quarter of cameras in the where are

all the all the and simple and simply to her to be there to be

monitoring days in those that no There was nobody more than there, and there was in the madrugada. And it's there when he occurred the first situation. He had a little time,

working for this place. He'd always his tascita of coffee, he sat down in his sill and he'd come to see the monitors of one in one. The place is secure, no pass on things, no, so it's a security more, but never had occurred to nothing. Just that he the camera,

that is directly the of the theater, and see that in the area of butacas, there's a silhouette, but not is so, you know, so much, like,

be something that's like to be something that's all overroes, so it's, because you know is she's she's she,

for the sun and the canstancey, that he impede be very, and when it's abel, no,

there's nothing in the the panel. Probably, it was a idea that did. Voltaire the rest of the front of the frontiers, in

no one there's movement. I have to mention it, that she mentioned that not the best definition in image, so it could do something of problem of connection, of a malimaging, or things like, it, it doesn't, but no pass any one of a semester,

when, other way, standing in your routine, of the coffee-cuit, sentada, being one of the pantries, is just the screen, that's right-a-the-a-a-a-a-a-a-a-a-a-a- the theater, the part of the scenario, buttocks and all of that, when there's a movement that

you'll get a attention, bolted to and when I see the the panel, that is of the zone of butacas, see a silhouette very clear, like a woman, that's that going to and where is the camera.

It is to say that the camera not at the altitude of the eyes, it's very high, maybe two, three, four meters, and you're upyndot to the part of the back the back to the back

you'd be able to talk the camera, no, even if it was supermement high, so it's just a much above the camera. Sin embargo, it's a direction, not to be right, but direct to the

the page. And when go to that, this chicka much, voltae to make a call of emergency, that

someone be to help to help usiliarla or to know exactly what protocol we have to do this

moment, it's of the madrugated in what is marking, the page, yeah no there's

all the all the all the contested the telephone, she and she's about what was what happened, and where he's about the things that said, no, no, don't you

preoccupies, if it's, if it's something, don't pass nothing the rest of the night, no, there's any other day next to that nobody's met him. But, less than a

second after, there's a third moment exactly the problem is that the sombra is that is coming and

it's just lucid, no it's lucid, and it It is like in a movement in the sombra that is going to be directly to the camera. She has asked, because it's like if if I could have a contact her,

or as if something would have been to her. So, so it's that, you know, here is the protocol, is clear. You're seeing there a silhouette. Be with the cellular oncendid. You're going to be to start monitoring from here. If it's something, instantly we're going to have to call to the authorities.

Not you expung as much, but you're going to go there and revise the place. Physicamint. He's a lantern, she's a murder of a newmere in the other hand, gets directly to the door of the theater and where just it abe, no,

poor-sita. Because it receives an alirido, a gritty of a woman, that's a gritty of something like, oh! But the gritty that was a

great, horrible, and with a sensation that's cremecathed that the pill entire she put chinita, she has to be in the tauty

see like a wind that's a lot of a light of the light of all the

scene of the scene no be nothing but it's the and it's

a more to see the door and go the front there's there's

there was a man not for frio but because he had had

had per the sensation of she he try and he's

when he he says if if you you said keep at the zone of the side of the panellies,

no quen nothing of this if I'm but it's very strange, you know, keep in the panllas

and if it does a little to say a lot, she's a lot of me and he going to pass a time

and he's a lot of much, much, much, and they're very well your time

that she has been working for the time, she's all doing, so they're

going to her can't get to the situation and they say, and they're just

other things with calm. This is a place not so big, but in the that had passed things, we know why. And his head is put to

talk to talk to. Fifate that here, you know, we've passed in an occasion with a master of music,

that is a subject very peculiar, with a character very strong, that when was doing an essay,

to him, he was a little and he was a little for a caro of the children

that would get a hour after, and the children that were of security,

they're to listen to the children and they're in the door, they're they're in the master,

they're not the time, they're in a hour, and they're to be in a time to be in a little bit, ah,

to be a little bit, and they say, is that we're the voice of a boy, and he says, well, they're not, the voice of a

boy, and I'm saying me and say it, and then they're to talk the piano, and they will be to listen to

the children, that the master, not used to but the people of the guardia, so. When he

he's the chief, to Abigail, he just, he said, that he said, oh, okay,

he said, but I don't hear a And the jeffle said, is that, no, man, me said, they're not a lot of me said, I think that was

what you're what you're what you're she. She's a question. And he says, we're

we're doing a chica here that's here that's called her. And she said, you have to

talk to her. Abigail and she does this company, that I know, I know, I know the

day of the presentation. And the company me said, I'm here working much much

time, and me have passed two things to the grad, at the point,

that I I don't enter this theater when you're not into this theater when you're not much fear. I said, I mean, I said, are there, three things,

one is so very, the other two see. I did the cleanpeas of all the area and in the theater

I liked much, me to make my time. In one occasion, that I'm in the scene right

in the part central, I'm going to barred, and it is it and it's hear the

hear of the top where they're moving the problem is the hour are the

time the other problem is that's that's the other problem is there's no other in the

other in the installations more than there and I'm going to ask us that people

that's people who are doing they're to come to me and they're to hear

and you know when we're to listen where they're to listen to where they're on the

one and another bank and one and another bank And then they're going and they're in a vigilance of all the perimeter and no there's a lot of time. That is the first occasion in the

case where I'm a lot that I'm a sussed. The second, and that was one that was one that I left impacted, is that I'm going to a caracol that's direct to carmel, I'm going to

the carmelinoes, I'm going to and when I'm just in the parts of the scene area, out of the or as they're on some

those trastis or trambalinas, she's out of but can't be all the scenario and see that in the side extreme

also, also, but the other side, she isom behind the cartina of the telon,

or the telon this that's the part of the scene, it's almost, she hasome a woman.

He said, but it was so palid, so, tan, tan, that was, that no,

no, I could be to be to be a little bit of a pass to be to come as so to see as

to be in the part of the posterior of the scenario and when when she isom no, there's somer to the other

side, she's so he takes a of a certain cleanances in this zone of the theater.

No, he's not so it's something that so does that the day of her if no there

more people. He says gets to do the clean and then when it

was a place a little a little of a little bit of a but

there was a sensation like as if was being being being

the and the sense to be the better is that

was that was that the end of the right where she

saw the the woman that the woman that she

she she she know that she have to have to get to get to get to get. Commienes to barren between the grads,

all the time of the theater, he'scution, they're just like a chit, chit. Tal-be, this don't hear, but like a sound of

air in between the dents, like someone who wants to call the attention. Then, she willte to all parts to see to where the

sound, and they'll give the sound and the instant. It's of the area where he's done observing. But there no

nobody. The problem is something that's just to give to give to a little detail, a detail for the while necessitaries to have worked there during much time and to know the place like the palm of your hand.

Although it's totally dark, because no there's light that's going to be that's collating for different points, the light of the exterior, maybe luminaries, maybe focus, the same luna, who knows?

The place, no can't distinguish colors. but you can distinguish the forms perfectly, including the textures, and you can't see all the part of that scene cortina that's at least in the scenario that has as doubleces,

and you can't see all the plagues of the cartina. Salvo in the front of the side of the right, of where I heard that came in the chistice, there you know, the plagues. It's absolutely obscure. So, armandos De Valor, he says,

Who's there? He'll govue to chistar. Apleta the puns, he puts rigid, tru in the cuello,

and camina to the escaleras to get to the scenario. When I go to

the scenario, something he says, backate and salted yeah of this place,

he'll feel to a presence but now more than never, is something

more great than what I had felt like if if they were being or seeing something voluminous monumental I'm going to see that

a zone totally obscure I'm a an obscurity that is like if it's like if it was like it

was to be a vertigo see that a ligero like a sensation in the stomach

in the middle of the area when in the dark they're there are two immense

eyes azules, not those of one person, are the size of two puns that are being

enormous. And they're there, Azules, observantula, grita, she does make a

minute, he goes, and from the place, and from the person, and he can't enter to

work only, still, still and these fogatas. And me to go to go to

different hotels, and as many many, and, when they are people,

in this medium, that's in a show, the people can get to think that you know you know,

you know, you know, the opportunity to go to visit my places. The reality is that the

most part of the time, you know, you know, you know, airports, knows,

hotels, maybe a place a place to eat, but difficult you're

to know to get more days. And in the case of these shows, with those

we're to the our city, practically to to what we're going, we're going and we and we're going to our time. We're going to be the presentation is of madrugada and the day the next year. We're going to

first of the logistic. Why do you think this? Because for that I'm going to be stories of hotels, because me to be able to be the little places in where I get to have contact, theatres, hotels, and so I'm I'm going to be loco. That there's every more and more and

more and more stories that is an hallucinant. Every city to go, I'm going

down that you have much in stories about it. Apart to many other

things cultural, goodins but in the hotels I'm starting to

develop two things. A good good for those stories,

because me have told stories that are so and

I'm quite to get to get to get to to get to

get to come to night and there see, look,

standing in my abitations, I'm going boceitats from the more than a lot of the way,

but I'm going to be a story that I'm put a pill chinita because I said this is

a few. They were two people in the lobby of an hotel. In this lobby, they're

they're a kind of a species of receptions not receptionists. Some two subjects, a few

and a other and a person, a person, a man me took two two people,

two subject two barons. And the two are the second to receive to say, how you're doing to help you

get to the elevator and to get a a little bit of a place to the reception. Then, after you

they're they're saying where they're the reception, they're going to the elevator, they're going to

go to the whole the day. Practically they're to be to all the people who

enter to the hotel and all the people are different turns, are different turns are

different turns is something a lot of the time, because in much part of the time is to

be able to be able to be able to be able to get to be and then sometimes something that's

something. But, so they're very very covered those rosters, especially

when are people like people who are very and me told the story of

a child of a thing that something that's a little Laura.

Not so it's call so, because, of the actually is a person extrangerer. A person

of a color of skin and a physical very distinct to all of the regions and also

and also and also a person very distinguished that you that you would be in the child.

Aura is a little more than says, you can be made more or less. And Laura is a

hospital and since that he came, he gave some instructions that you didn't know

this is your target electronic, this is the the key of your room. You have

to use it in the elevator to put the key to and then you're

you're your piece. You have the second piece. No

you go to back on the one and she not understand

well the Spanish and he said the receptionist

and the receptionist and the receptionist, how is he says, listen me

well, your abitation is of the sixth piece. And she says,

six piece, thanks. And he said, wait, you, no,

no, you don't, no, you do you do, and she

he says, yes, sixth-pice. Sixth-pice. Thank you. No, one, no, two. Sexto. And the chick at

the reception says, I think no more me is there. When I'm this, I said, I don't know. I'm talking.

I'm talking to call it. What, frugated, me are you are the thing? So, what,

the second piece, of the first piece, what important? No. And then, then,

after five days, Laura, is going to two because it was a agency of models.

Who knows if a passarela or present or betto to know. But, he gets a day to her

and at the night the guard of security that's the story, and the other,

she can make perfectly because this chick came, like after a little after a

social. It's is a very every I've been always the I'm

saying thank, thank, go to the elevator, it's where he has taken

a part of cup and it is summently can't and the way of

the form of the way and it's almost and they they're in they're in the room

because they're a lot of a lot of you know you can understand or me

can't understand and the she says that no thanks if the elevator

put the targetta and 20 minutes after there will be a whole

an emergency in the of the little bit of the lobby, and she'll be a about 30 minutes after after that had arrived the

elevator in the lobby and then grittos and so soyos and a and a a linea

with her and she and starts and say help, help, and they're to try to

try to talk with her more than a more than totally alterated, they're in water,

they're asking that they're they're they're they're asking to call and they're doctor,

no, doctor no, that needs help, help, help, have to get to

get to get to get to 15 minutes when they they're they're when they

they're they say, no, we're not to write in your own their own a

transctor and what she's she's she's she put free. The

instruction of the first piso, she doesn't know know why it's a question that's a piece, and it's

repeated, and she'll be to be there and she does it is, tell you clearly to

the wespels that not be back in the first piece, and if not you

have paid attention, repitacelos. Well, the situation is the next. She not

has the same. She has a never has been asked maybe there there's there's a

bad at the bad state nobody's no sped in the first piece so that's important

it's not because if there's because if there's there's probably they can

accidenter or they're being something they're because it's very

very very maybe they can get to whatever you want you

have done that that's the instruction like any whatever Now that read the story of Laura,

is a murder of fear. Laura mentions that the elevator, is very tired, put in the targetta, quitter the target, pression the the elevator,

after some of the moment she was abe, she was aghached and being to the piece because she was a can't, he was always and was a little

maried, and the only what does when the elevator is to Salis directly, but he to give the attention that is very

obscure. Voltae the side of left, which is where is the first place. Before a a passiel, imagine like a T.

Salis from the elevator, then there's a passage to your left, topas with a passillo and there is

where they are the room. She, when he to see the passillo, is the large where

is the large where it's there's a person, there's a Not a Nuka that the

skin is a extrana this person is in a trage and so is a

ballanceying a little a little the the trage is a

soo and then the Laura the attention he does

a more of and just no more says noches because

no the good nights a sometimes it and

the nervousism so that not it doesn't it

complete and when when just they're nights, the person begins to make a sound like an

like a like a like a like a that's a fear and when I'm when I'm

the door to the right see that it's that's that's not over not the

other not is so an dark in the history anterior

but it's very so it's what is what is what is what is the subject

commenced to start the the way and it's now

nervous and she can't do the one no, you know, the

elevator when the doors are at put the door. The door, and it's a

put the targetta, put it on the piece and the and where he is a

question to see the and the rubble in the eye, how that person not is

she she yeah, yeah is front the elevator. The body

to be to be saying nothing more just like, thank

thanks, thank thank for favor, thank you are pressioning

and then then she that a little a same the same

color of the and now that is like burroso, like feo, podrido,

not it's a pier normal, he hasome, the elevator, and you know, and he's never even see,

never even to see how a desperation, it was something that was a thing that's a little,

and it's where it and it and it's and then the idea, and he put this story,

and he put it to that they're to do a other other other the child,

and the guardia, and the guard is, because they're to be a child out of the hotel. But

he's a story saying, now if I'm scared. Because nobody

knows exactly what of the first thing. It has to be going to have much

rotation of personnel, much. But when they're in this situation, he says, you know,

I do what of her because when they're to say, to the people, to say,

to tell us the situation, they said, translada immediately and not make more questions and not

you'll goys to revisit that piece. Let me. You still saying that

not they're going to be on the first piece. And she says, I don't start working more time.

The guarder me commento that's the last time. She got a new job. And no, he went two

two times and she went. And that's then when I know, Firmia nocturna, God,

Santo, how one has been lost lost after being this type of situations

working in these places, and how not I'm going to go to now, getting to

to be to to be I hope that not been the hotel where I'm going to and if it was a good God,

no me passed on nothing. But it's where they're telling stories, me are

telling anecdotes. And as how can't say that your great narrator is like

a little new a new little, result that in this year, I know

a a person in the which part of the time we have

in the project in the fogatas of city to a city.

And then they're in various platticas. And in those places, there was a

moment in that I had to ask you about in the first time we have to be to be

to ask you hear of you're and you think in the paranormal and it was very

very good because the two people one says no and the other

says yes I'm with the no and he I'm asked, you don't

you know never you're never to say, I'm going to say, I'm

have been something. One once. I'm was a little but I

prefer that things don't exist. And that I tend to respond the

same. That well, I think that's the more more

I think that are just stories of terror to you

help to not suggest to not to do and

it's much more because too to be sincere. When you're in the paranormal, and to do you want to do a connotation

paranormal, I get a moment in which whatever thing can get to alterer, and you start explanations, yeah, that always ryan in the paranormal, when many of the things that occurre, if they're an explanation, are rare those cases that are extra-as, like this. Because

he says, what he happened, for me, has an explanation. I was, more or less, in the preparatory, had a a better and this good a good

friend he was a group of chas with the I don't I'm

not a certain in this group of chavos there one that was

very popular that was he and in that emo

he had a he had a only on one of

some some we put our we put the

so but the rest not put in the argo

and that was that was a the cintura. And it was a cinturon that was very chido,

very, very, very padre. So, this chico, was of the popular, the vestido, his papas, they'd have to a birthday-a-clicre.

No, cackety, all we all we're all right and we're impacted. I don't have a relation with him, but my my best friend

is, and he was getting very very-emocen to say, no, that the motor of that's, that the and then

that at the three months, lamentably, and then at the motor, in one accident to pass to another

world. Ah, so very very strong, my friend, he's got, we're a lot more,

because if were they were people, but for me not me pegged that not. It was that not that

not even was that was a child and even was an impactante the notties, no,

I didn't any kind of kind of admiration because, the popular, the emmo, and that's bestia of father, and the motor and all of that, and then,

well, pass the accident. Occurred that I know that were so friends that my best friend had, let me tell us certain things of him, certain pertinences, and

maybe for that he had pegged so, because it had like, they had, like, a much amount. My friend is to I'm going to get in my

house during a time. And I'm going to get to get to

get to be to be videos, watch video, and my mom and my

mom, he made, and we know, when he is after he after we

just of a little talk about, me I'm out of our house,

he's he's back, I'm I'm go to my and a

and when I when I'm I'm used to get a minute. And here I'm in my position

habitual, because I'm dorms over the armory of the right, I'm my body my body

can't move and I have read about the paralysis of the brain and I'm

this, when I think I is this because I can't move nothing

my body more than my more than my four times in the door

acto I'm going I'm sure I'm sure the door and the door starts to rechinar

where it's going to be able gently. I'm a sombra that no see who is

that is that is that's going to the camera and when he gets

the other side of the room I see where

the I'm going to I'm so I'm too not

I'm much in those things and I did

have the paralysis of the I don't see Kittow in no one

no one so I'm getting to get a second more curious or I'm afraid and go to my

mom and I say, hey for you do you're the madugated the room and I said no I

do I did not the night I don't enter because in the morning I got

the door was open and I was over and I and I'm and I did I

and then and then and then me and me I'm notary to the two days, when I'm a friend to my my friend,

that he said, ah, you know, you know, you know, has to be this chico, the emo,

the popular. I'll be why? Why, why would be to be it? If it's that could

be going to get it, and he said, because I did it, and not I said, but when they

did it put in a play in a place in a he, he said, oh, yeah, but you

you're, you have you're just you're to present to present to a good,

and I did his cinto, that was his favorite that was his favorite, that was like, like, he was he had put into the other he had putt over,

I prepped up, me it was to keep, it, he left to the room, in the side that you're saying, that's going to that's going to

and then he said, he's he said, he said, he passed a much time, but no, I'm still I'm saying,

I'm just, I'm just a question, and then, once or after that, you've ever, you've heard

that you took the door, that's the open to the door and that it's never ever after

the day the next? And it's me kept going to be putting in that no. No.

Never had passed to you. We're going to be a paralysis of the so I think that's

quite more more than that's me kept being being and said yeah

we're just let's just a problem. And then then I'm with the next

person, the that he had He said that if I said, I said, what on the other, and I said, why you think that's in the paranormal? No, I said, because my papa lived in a house inbrujada.

He's been of a family that had certain, like, rites and rituals spirituals. No, they're nothing to be that family with what happened in that house. It's a moment that my papa and my mom and has separated. He's a bad of a city,

has a family, has a party, and in that city, with that pair, rents to a house. That house, us, He, he, to me and a my brother,

that's that when we're going to go to visit it, but that the house is there and that's

in the house, and there's a lot of my mom, and I'm to visit to my papa.

He's still living in the same house, and he said directly,

I'm in care, because the house is the house is in

brought, so, so, my pap not so to move for the

economy. No, had been the cost to the cost of the cost of the cost of the

amounted to the past of the time. I was a big-a- mother. The media brother for

this moment has been four, five years. So, no, not so, not seen

that house, me kept just a time, and I'm made a lot of a sudden, but

those stusts potentes. The first is that I'm not I'm going to the house

only and I see a a presence in the plant altar. I'm going to my papa

and I'm saying, you're going to start. You're going to start. And where

just says that's that they're going and they're but no it's there.

There's there's three quartit chiquot. And it's like if they're the

and they're and they and they're and they're and they they're not there other

form. The passio not in that the zone where sonnable, the passos, not was an echo,

it was like if they were aplastating and the techo one and I'm saying, you know, I'm saying,

they're in a house, and where I'm to come back, they're going to sound like if someone had been to

the plant altar and it's going to boom, boom, but patas, patas, patas, and I see that are patas,

because I'm up the second piece and I'm going to the second Pursas, not the door, because are three

doors of the three and the three are being patiedas at the time. I'm directly a bit of a

place and I'm in a plan of the when I'm top of the room, the room is there the three doors and I back I'm a

sustado, I'm going to say, you that's been he said, you and I'm saying, you and I'm just

that's present attention. I said that because a sometimes it's a anecdot of the papas

they're in the people, they're in a lot of the and they're in a lot of you know, but I'm

not just I'm just to get a car, but my pap when I said,

you know, I'm going to be going to give, and I'm kind of, so,

okay, I'm that we had been that's the other day, the other day, the

thing, it's too, it's too, it's too, he's too is a said, and I'm

to say, to the I'm It's very extrano because it was a situation very but for me

not had understood that that situation not could occurrish. And then I'm don't know

I'm explain. Well, we're my papa and you, and there's the partner of

my papa and we're we're in the center in the second

piece that there's there and then they're some some

I go and I'm on the escalera and I am I'm to read and I'm my

my her manita and now he got a mal the

because the huerca no trae not a only a only

a not not I'm saying in some in some

in a only a only a single the little

the little she back by the And where the father

and he's assu-a-soum, the papa he's a lot of the kitchen, he'll get to him,

he says, I'm going to come to a man, he's, he'll get to a little bit to come to

back, and he's, and my papa me said, you know, I'm not you know,

I'm not you know, do I'm going to do, I'm going to do, do you know, because your

remana was that was in the house of your mom vestida, and he still

passed in front of us. That little she went coming to the cell and when we were you

to and I didn't have and you to tarugo because to that's until you did it

when you did you said that you said how quickly you can be the other girl

who was she's and said when I said when I said when I'm that maybe

was that was a little more narrate Or, well, he says Cesar, it was something more, Cesar, because no past no one rata more, not was that day,

were in days subsequent, that standing there in the house, I'm in my room, I'm going to and when I'm going, for that I'm saying, but these stories

that me get, they're all right, but these people don't know. When I open the door of the passiel, it's absolutely

obscure. Absolutely. I don't know not even the a wall that I'm in front of a metro, meter and a half, and it's so dark that's a lot of a lot of year. But it's a sensation

horrible, horrible. And I'm feeling like if stood in front of something that doesn't explain to other way. Do I some pass to the back.

And there in that obscurity that I don't look to see nothing, it's open two eyes of color rojo and they're being

directly to me. My assuptu so very that I do a portaso and I'm going to gritty and and I'm

My papa gets at the three, four minutes, and get and he opens the door, what happened, what happened? He said, I go, what you know, that you're going, like, they'll have gotten to you. And me, and me, say, my family is, meted in things. No, I want to say that are things bad because I don't know how I do so.

But they're from a tradition known as the dancers. And these dancers have a temple in Mexico, in the that there are like, like, things spiritual, and there there are things.

I can say that when my abuela, that she was very much in this faith or in this creencia,

the day that she parted at another world, in her cell where had many

guitars and the guitars all of all that had in bolsas because nobody

was always at the time, in the moment in the time, they were to be

not a melody, but they were a one and and other and another and

and other and and they'd and they'd and they'd say, look, Mama, she's

us went to get to be there's and they're receiving with Mariah. And to me it's made

very grabed. And as you know, we've been from a tradition that we're

in things spiritual, I've those experiences, and I had some years,

I've been a situation very complicated and me I'm Because this is a person that is a person who's past at the 40

My husband and my my in my in my My name me says, Oye, there's a time we're going to let me go-n't-

to do you mom and we go back and but yeah that you despeges because really if you're

getting a moment to what seems to even even after your suggestion that you get to

that you had a so I'm my mom where we're and she you're occupies a limp

you're you're a little very negative very salado, we've got to Catamaco,

a relaxated the thing. So, the fact is a good beautiful, we've been many many

times in the way of the way of and it and I have been the way the way

the way we've been. When we get us, we're going to do you know, we're says the

brother from we see, me say, me says, you're carrying many things. And right

that we're all right we all right we're all right, So is that all, including a my my little, they say, all of my little,

no, so can't the care of one solos. He, he's par to the side of my wife and where only he

starts her and he starts a little to do your body, with that he's to do a santa in the

piece of direct so in the car, when we got when we got to the right and he's

the rostro of the left the left and the whole of rasker and he says, leaveenla there.

Let me. Aura, he'll go to see you. She'll say it. You're going to many things.

I'm going to make to be this clean. When it's going to be going to be good, but you need to

do you need to do something. And I'm to have attacks of panic of the nada. Sentia

like a pressure in the pecho in the while I was like if someone

me pressur with his hands was horrible and my mom me said, bette

that they can another limp but but be it only. You don't put us in risk because if you're

something. I don't understand because really it really was very very important of what he happened to

my little and I'm so I'm going to another person that's I'm here and I'm

with her and this person says, you know, you know, you're much things,

we'll see what we can't do. I'm going to get to but like a way

amigable for that me entiendas me barri with things me barriah with things,

with a sojas, with some with a fewres, with an web, me put a seat in arms,

but all the very soft. I'm feeling me despegated. I don't have attacks of panic

that day. At the day we're going to a play and where we get to the

play. I'm my little the person and me say, what's that's that is that

is that I'm from the center to my back to the armro

as a mark a this time, almost 30 centimeters, and it was a form of a

longed but that's a little bit and he kept doing, and me said it's or something,

and I'm, how do you do you do? No, you're in some ramazo, some a little

a barra? No, no, me sobo. And the day earlier, I had been, I had seen

my husband me had seen, I don't try to any that I didn't

a two months and in some point so it's so family nocturna thanks for these anecdotas, thanks for those experiences, I'm send a superabrassote. And me they're going to what they liked, and if this format of being here, platiccating,

caminanded a little bit, and saying to us all the stories, they're just, or no, they want to come, me they're saying, but well, while they're in the gira, they're going to see this one of the same time, and that's all these pasturias. For sure, subscribe, see us, and do you, don't the five stories in Spotify.

Bye-bye. Ah!