Majo’s daliance with a washed-up actor will soon prove to provide her with a little more drama than she’d bargained for. Gloria senses that his role might not be the hero’s but Majo is oblivious. Meanwhile Gala meets one of those cincuentones (guy in his fifities) that Melina has promised her.

Tomás’ parents are leaving him all alone for the weekend, and Juan is quick to come up with a plan. Violeta, meanwhile, is cooking up plans of her own, but they don’t involve Mauro—despite his attempts to woo her back with flowers.

Teresa thinks that Juan’s room has a lot of onda, which is to say that it’s got a nice vibe. But hey, Jim Morrison’s watchful gaze will do that to a pad. It’s definitely a summer of love for some, but not for Mauro: but not for lack of trying. Can he buy Violeta’s love with favors and persistence?

Through una trampa Cholito catches Ivo in bed with a nun and turns it into una extorsión while confronting him about paying up, or poniendo estaba la gansa, for an apuesta that he lost to a friend.

While some people are trying to get to the party at all costs (and that means dodging grandma’s attentions for Benji), the only thing Tomás wants to do is to get out of there. Don’t let the panza pain fool you, he’s definitely in love with Clara. We can feel the temperature growing higher and the plot getting closer and closer to the ignition point.

Elena claims she only wants to tell Mariano about the bills, but if you believe that we’ve got a bridge in Uruguay we’d like to sell you. Mariano, well, he just doesn’t seem to be able to say the right thing. Hombres.

Milagros, aka Cholito, aka Mili, gets glum about being a rata traicionera.
Bobby laughs it up at Ivo who now owes money to both Bobby and Millie. What better way to aflojarse a little than to go dancing?

Milagros comes clean about how she found out about the bet between Ivo and Bobby. Despite advice to sleep, Cholito leaves behind her fútbol playing personality and pigtails for the Mili of the night life when she decides to salir a bailar.

It’s a slow night at Amelia’s little casa de tolerancia. Gloria takes off to see her son, Luchi, and Soledad disappears with young Carlos, who has once again arrived with a pocket full of pesos. Amelia finds that she has an itch in her stockings, and an obliging Raymond is beckoned to scratch it (while the great José Luis Perales once again sets the mood).

Mili is dressed to kill, ready to go to the bailante to meet Lina. Bobby and Ivo are already there dancing. Ivo blows off steam by telling Bobby that he’ll have his grandmother get rid of the source of his problems, who then shows up. What will happen next?

Poor Bertolt Brecht should have suffered with Majo’s free version of one of his most well known poems “Ahora Me Llevan a Mí.” Her performance not only disturbed the German playwright’s sleep but also wasn’t delivered to the right audience, was it?

Once again Mili has to face Ivo. They’re sharing a roof after all. But this time she seems to have a strategy suggested by good friend and inexperienced but enthusiastic hairdresser Mariposa. Will it work? Heavenly houseguest Sister Catalina is leaving. The fridge is empty and we learn what planchar used to mean.

Majo’s theatrical aspirations seem to have been crushed by reality. Meanwhile Gloria is trying without success to balance intimacy and family.

Finally, Ivo acts on his threats. He asks his grandmother—the refined Señora Angelica—to fire her maid Milagros. Why? Because Milagros is una cloaca, un desastre and, well, casi salvaje. But Grandma has some of her own ideas cooking…

Milagro’s street smarts are well developed but now it’s time for a serious musical education. Enough with the cumbia, says Grandma, let’s appreciate Beethoven’s tunes. Will Mili survive classical music? What does Sister Catalina/Sister Cheeks know about Milagros? Will her secret make her lose her appetite?