# Romeo y Julieta – Los Cuentos de Pancho Madrigal

An episode of [Pancho Madrigal](https://invisiblenetwork.ai/podcast/1873984445), 7 Jun 2024, 21 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/59262177/romeo_y_julieta.mp3

Don Teyo eran gran admirador de la literatura

## Transcript

[0:06] Ah you know the story Gilberto Romeo and Juliette Man Romeo and Julie Taibel,
[0:11] told us hear us hear. This story I' m going to tell you,
[0:30] folks, is a true story, yes, authentic. And it happened
[0:34] in the galp It' s the beautiful and picturesque little town of our bililibert
[0:39] homeland. It all happened when Don Tego Gutierrez, an old man of the
[0:45] many who abound in Galope, a great lover of the great universal literary works,
[0:51] of the best works written by the best masters of the lyrics, like
[0:56] Chaspea. This is how Gulierto is called Balzac and many other masters of the
[1:03] literal world. The Don Pancracio came and they were going I think how are
[1:19] you, Shombria, how are you? How you' ll win her forward
[1:26] I' ll go ahead to toy brother. I' m back here.
[1:27] That' s why I stayed here so you' d come where I'
[1:34] m past sitting down so good to see you around this house. You hardly
[1:38] ever come to see. It' s true that they stop creating me very
[1:44] true, but I' m here looking at you man. I almost didn
[1:47] ' t come, but here I am tense today I came down and what
[1:52] I can do for you. I imagine you came here for something. I
[1:56] know that you always sell when you need me for something to have John Pancracio,
[2:01] you have a lot of reason for something I come to see you being
[2:07] right, because I am to serve you this me if I can help you
[2:14] talk man you walk now. Well, then, Pancratium, you already see
[2:17] that I am in love with the great literary works that the great myths of
[2:23] history have written. You see that clearly. Me. What I' m
[2:28] surprised at is that you say evil by being so read. Well, by
[2:30] custom, teachers, I know perfectly well. There' s no one in
[2:37] this town who' s left with you in literature, but what' s
[2:43] that about, why are you telling me? That looks pancral, look now.
[2:47] It is time for this town to begin to illustrate itself as well.
[2:53] Man, you don' t think so. Right, I' m right,
[2:58] it' s not a bad idea of yours, the lutra balutra for
[3:00] you to be neutral. But how do you think you can do that,
[3:06] how good with characters like wohi say, with people understood as you bread creso
[3:13] with people who have the good will to help me in the nine companies that
[3:17] I plan to set up. It' s clear, yes, nine companies
[3:22] say I am, but I really don' t understand you yet I don
[3:28] ' t know who you' re talking about. It' s very simple.
[3:29] Pancracia, very simple, well, very simple. But what didn'
[3:34] t you tell me? Nothing. Nothing, nothing, nothing, bread creso,
[3:38] look, bread grew. The company that I intend to set up so
[3:44] that all Galopeans know the great literary works of the great masters is a company
[3:54] of actors, a company of artists who represent the works. Go get it
[4:01] already, now, now I, now, yes, now, I understand
[4:03] you. It' s not a fabulous thing. Fancracio, imagine yourself,
[4:10] you imagine it, I imagine it a moment all the galloping seeing the most
[4:16] fabulous literary works in the world and something more represented by artist and actor ega
[4:32] los peños te artists and actors Galopeño. Oh, what' s the rift,
[4:40] Pancracio, what' s the rift, Hey, and say get me
[4:43] where you plan to get actors and artists here to the peños Here The only
[4:49] thing there are are drunks, bums, players, Look pancaraso look don'
[4:56] t give in laughing. I' ll see that no one gets caught,
[5:00] nobody. We simply have to look for the most suitable elements to represent a
[5:08] work, as we said, because we could present as the first work in
[5:15] the cinema, the Palomar del Galope. Let' s see, let'
[5:17] s see, let' s see, let' s see, let'
[5:26] s see, let' s see, let' s see, let'
[5:26] s see, let' s see, let' s see, let'
[5:26] s see, let' s see, let' s see, let'
[5:26] s see, let' s see, let' s see, let'
[5:26] s see, let' s see, let' s see, let'
[5:26] s see, let' s see, let' s see, let'
[5:26] s see, let' s see, let' s see, let'
[5:26] s see, let' s see, let' s see, let'
[5:26] s see, let' s see. Impossible, it' s impossible.
[5:28] Today don' t mess with that I or impossible man. You' re
[5:35] dreaming of seeing me tell you who' s gonna be the Juliet h cras
[5:40] man. That' s if Juliet can make the roll more of you man,
[5:45] the theodolite' s daughter, that pretty girl is beautiful. The role
[5:49] of Juliet and Romeo likes who do you think? Why not? Make me
[5:58] laugh at you, not men, that crazy pancreas man. Me. The
[6:01] truth is that nighttime can talk, you can' t talk. There we
[6:04] see ourselves jam to or how you thought the idea of Ponteyo, Gutierrez and
[6:30] Cristo, as you already saw, wanted to set up a theater company to
[6:36] represent masterpieces in the cinema Palomar del Gallopez. Of course, Don Pancracio did
[6:44] not want to get into it, but, as I told you, Don
[6:48] Tade was a great lover of literary works and decided to set up company himself,
[6:57] so he sought the right people to be the first presentation. And soon,
[7:01] very soon he was practicing with his new artistic painting that, however bad
[7:06] it was, he left it in the hands of the man corporation, he
[7:11] heard who he had gathered to form the artistic painting. You heard good.
[7:15] A lot of hordes to see you, you little cat, come here I
[7:20] heard lead and this Parliament, I heard good. I hear it from before
[7:24] me I hear the whole thing that I' m going to do Mamtica,
[7:29] already Meti looks felipito. When Romeo gets to La Julieta' s balcony,
[7:33] who' s granny, man, don' t interrupt me. When Romeo
[7:39] arrives at the balcony of La Julieta, he is already well in love with
[7:43] her. What she does then kneel down to see her tenderly and with a
[7:50] voice. Shade I said, oh, Juliet, Juliet of my flame,
[7:58] the queen of my soul, the redeemer of my days of hardship. We
[8:03] ' ll soon have to be united. It' s clear, the clear
[8:09] one. Felipito, it is clear, as it is the thing because,
[8:11] of course I lead before them Ohn that it is not clear, that I
[8:16] am clear, of course, hear me hear well what I am going to
[8:20] say. Not good, let' s start it, no more and you
[8:22] hear it. Oh, Juliet, Juliet of my love, the rule of
[8:31] my love, Felipitus, the queen of my love. Ah and men,
[8:35] the queen of my love, the redeemer of my days, of the redeemer
[8:43] of my days of hardship, blessed days of hardship, and putting her all
[8:50] the days of hardship. Look onte and man, Look onte and man,
[8:56] Felipito as a donkey, I' ve noticed that Parliament where you' re
[9:01] going to learn it. Felipistambon de uu. If there' s a donkey,
[9:07] I don' t know this fool you. Don' t get involved
[9:13] You heard the first Ph D from the GALOPEO here Did you hear? Stay
[9:18] out of it? Take the legs, the horses because I don' t
[9:22] kick you Today I' m the only Galician romedio. It is true what
[9:26] I said about this awning that I find it hard for you to learn this
[9:31] Parliament from your dialogue, well, but don' t get me into practice.
[9:35] You have to learn it. You have to learn it and the rose
[9:41] as enough, I too find it hard to learn from Parliament and apan believe
[9:48] where you seemed to be watching the essay as well. You got me.
[9:50] Unsuspecting brother, you came as I said to give you or the keyboardist,
[9:56] right, to choke, to criticize. Well, I say yes, after
[10:03] you didn' t want to help me. That' s how I am.
[10:07] I like to be an observer. It' s not conservative. Also
[10:11] only that I like to watch how they eat if they finish the patches in
[10:18] the gallop you like see if the Rosita does not give you ball in the
[10:24] julieta and I have the margarita, or cry that it is to the margarita.
[10:26] I have him on reservation at Brien, because look you messed up pancrasho
[10:33] here there' s not going to be a patch or anything that looks like
[10:39] it for and I' m practicing. Now go see the Rosita how they
[10:41] ' re in her role. I' d like to hear it. I
[10:46] ' d like to see a rosette already. Come and practice your Parliament,
[10:54] come here, I want you to see Rosita, I came here to see
[10:58] your Parliament hime to hear it. Pancrasho of follow me to see how you
[11:05] will answer him, how will you answer him? You' re going to
[11:09] Romeo when I get to the balcony, to see you Chita. I didn
[11:13] ' t hear you either you heard it taste good, I' ll tell
[11:20] you so this beloved of mine, the days run out my love for you
[11:26] is stronger and stronger. I can defy to death if that' s why
[11:33] we' d be together to never part again. And it horrifies my soul
[11:39] Romeo. Oh my well- loved Rocko I. All right, that'
[11:45] s it. It' s okay. It' s okay. Leave it
[11:48] with the will. How about pancracho, nothing jin, really. I'
[11:54] m Julia Chalan b boy who' s not bad. No truth, it
[12:03] ' s not bad, it' s not worse I congratulate you with everything
[12:07] and that I, despite how replete it will not be, because over time
[12:13] and a little bit in practice, the best you have success could be I
[12:18] could thank you, pancracio and thank you, it' s true, man
[12:24] this me, this rijita that knows it all true Boye, I what good,
[12:31] because what happens to you now I think you have problem, problem that
[12:39] could be solved if you wanted to help me, but I already saw that
[12:43] you did not. You want to give me a hand. What' s
[12:46] wrong with you? I told you, as an organizer of this art painting,
[12:50] I didn' t get involved, but I can help. I have
[12:54] other things. Of course I' ll help you. I speak, speak,
[12:56] no, but you and you say you can help me in something else.
[13:00] What is it, what is it already I want to know what the
[13:03] problem is, what do you have Mira Pancracio. The problem I have right
[13:09] now is felipite. He was talking to me about the weird little pussy giving
[13:15] trouble. No. I' m not playing in pancrasho I' m not
[13:18] playing. You see that Felipitus is about me yesterday, but you don'
[13:24] t learn. Parliament in Bridge is the problem that I have, because that
[13:28] poor horse this memory, that is what the poor man needs to do.
[13:35] Oh, I understand you, but I know that in these theatre matters you
[13:41] can blow. True, I think it' s called pointing stretchy hatch.
[13:48] It' s true in the place where the pointer is put, that'
[13:52] s street there, in the stages, right, there' s one to
[13:56] blow. It' s a note I bre pancracio. You see your little
[14:01] bit, you man, yes, pancracio is true, but man I don
[14:07] ' t have a snitch I have to watch the cinema entrance. I would
[14:13] have liked it to be Giliberto, but that one' s not a man,
[14:16] he' s just gonna see everything that' s a trip mole.
[14:20] M no, no, no, man. That one instead of talking can
[14:22] ' t get him mixed up. I may have you Pancracio, if you
[14:28] wanted to help me, man, but I, for I pushed him.
[14:35] Count me in. I help you count on me, count on me all
[14:41] that trouble. Solved, man. Thank you, Pancracio. Thanks a lot,
[14:45] man. Right. O. No, no, no, no,
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[15:01] no, no, no, no, no, no, no, no,
[15:01] no, no, no, no, no, no, no,
[15:01] no, no, no, no, no, no, no, no,
[15:01] no, no, no, no, no, no, no,
[15:01] no, no, no, no, no, no, no, no,
[15:01] no, no, no, no, no, no. No,
[15:05] Willy, Don Pancracio promised to help Don Tello. Don Pancracio was going to
[15:11] blow from the Felipito stage so that it would not get stuck in Parliament when
[15:15] it came to representing the work. Well, the days went by. The
[15:20] internships were done daily at Don Techo Felipto' s house. That Parliament was
[15:26] never learned until the day of the representation of Romeo and Juliet came. I
[15:39] think very well. I think he' s gonna look at Pancracio look.
[15:45] This is going to be a success, a jump, the cinema dates the
[15:50] leg betrothed, they know, right, came almost the whole galopte to see
[15:54] the work of Romeo and Juliet de Chache, but the yes is full.
[15:58] Then we' ll introduce Handlet and then I think of WHATSAPK and many more
[16:07] works. Pancra I thank you very much. I see a lot of optimism.
[16:11] I have to see how we get out of this first. First let
[16:15] ' s see what the vests are. You' re not gonna be all
[16:18] right, pancracio, everything. In five minutes they' ll turn off the
[16:23] lights. In five minutes the work Romeo and Juliet begins. I' m
[16:29] not gonna be out watching the tickets either. If you want to walk in
[16:34] the stretch, there is Crasher bread, if you want to walk well,
[16:37] then I already? Yeah? Yeah? Shall I go? Yeah? I
[16:38] ' m leaving now? And it wasn' t to tell me in five
[16:53] minutes the movie lights went out, the dove of the Galope, people applauded
[17:00] yes and the theatrical presentation, the time of joke Romen Goneta began to show
[17:03] up. Don Pancracio was ready to blow Felipito. The rose was in her
[17:10] role, in her Parliament, my beloved, I Romeo of my loves.
[17:18] My illusions are all set on our eternal love that Julius was horrifying. It
[17:26] ' s good. Now, Felipito, you' re going to come in
[17:30] playing Romeo. I' m gonna get ready to blow up Parliament. I
[17:33] ' m going to prepare myself or my hand, friend of my loves.
[17:56] Everything was going well, guide. It' s all the rose. It
[17:59] was very or very well known. Your Parliament, your part you had to
[18:02] say in the play. Don Pancracio, as I told you, was ready
[18:07] to blow off Felipitos, who was the one who didn' t know the
[18:11] play, the little rose that played the role of the julietas ended and I
[18:17] asked a reply to Romeo, who was felipite. I heard, I heard,
[18:22] answer me or Romeo of my soul, answer me, answer this,
[18:33] handmaid of love Ndesta here is there and I actrate of the Galoppi. What
[18:38] oh, my gulieta, my tenor, my master, pray here I am
[18:45] at his foot. It' s going well, congratulations. It' s
[18:49] going well, let' s see until now. It' s going well,
[18:53] so far. It' s going well. Good thing I' m
[18:56] to take and my day to bitter gift and my nights are full of tall
[19:02] gabres. All right with the notes, because my stickers are, they'
[19:08] re, they' re there, it' s already Parliament' s sense.
[19:12] It' s stuck like a striped disk. I' m gonna blow
[19:17] it. I heard, you little pussy, my aunts are set on You,
[19:23] put on you, right animal on you. Sure when you hear those.
[19:30] Felipto repeated it as Don Pancracio told him. Today hear my journeys are
[19:36] put in you animal or mind not imbecile to, but great. Get there
[19:47] without a beast. I hear asshole adin very great and water like that not
[19:55] beast, logically, to hear that. The audience began to get impatient and
[19:59] someone among the people protested to you sideways. Good thing you' re doing
[20:03] with the champagne work I don' t wish where they go or variety.
[20:11] It was a mistake, a mistake, please, but a yes all or
[20:18] no what about Willia. Felipito is a great horse man never understood what he
[20:30] had to say, everything he had to say, Don Pancracio. He had
[20:36] to repeat it. But you can imagine what came out saying the worst,
[20:41] because he was told and that was what I was saying to Juliet Ah.
[20:45] That was just threaded with a man' s cupur. That' s where
[20:49] we see everything.

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