Víctor and Diego Get into a Fistfight at the Treehouse Construction Site

Víctor and Diego Get into a Fistfight at the Treehouse Construction Site is the eruption of a private triangle into the practical work of building a treehouse. Víctor arrives at the Andrada Estate with Ingrid while Bea is already arguing with a builder over insulation delivered in error. His presence brings Bea’s recent encounter with him into the open, provokes a fight with Diego, and forces Bea to name what she sees beneath the men’s rivalry: Víctor is too late, while Diego is hiding from the risk of living and loving again.

An Unwelcome Arrival

Bea has returned to the Andrada Estate to work, although her presence is no longer necessary for the decisions she had already communicated by phone. She is trying to clear Víctor and the television presenter from her mind by concentrating on the treehouse project. The work offers a concrete problem to solve: the builders have brought the wrong insulating material for the space between the wooden members, and Bea is in the middle of a disagreement with one of them when Ingrid appears with Víctor.

The site makes Víctor’s arrival feel particularly out of place. Bea had not expected him there, and his presence strikes her as an intrusion into a place where he has no part. Ingrid explains that Víctor had come to the studio insisting that he needed to speak with Bea urgently. She also says she had not known Bea had a boyfriend or was about to marry, and asks whether bringing him was a mistake. The arrival therefore exposes how much Bea’s current life is unknown to Ingrid, even as Víctor forces himself back into it.

The Hotel Encounter Becomes Public

Víctor frames the visit as a continuation of what happened at the village hotel two nights earlier. He acknowledges that returning to Bea may be premature, but appeals to their encounter as evidence that she had not found the idea unwelcome. He also praises the hotel as a beautifully restored Modernist building. The detail is dissonant against the scene: an architectural compliment cannot soften the fact that he is using their recent intimacy to claim a possible place in Bea’s life.

Diego asks what hotel night Víctor means. The question changes the encounter from a strained reunion into a disclosure Bea had not intended to make in front of him. Víctor then identifies Diego as the person Bea felt she was betraying when she slept with Víctor. Bea denies knowing what he is talking about, but the denial does not prevent Diego from understanding that her relationship with Víctor has been more intimate than she had said. The scene makes visible a contradiction Bea has tried to keep private: she has returned to Víctor’s bed, yet her feelings for Diego give that act the meaning of infidelity.

Diego withdraws from the construction structure and leaves across the garden rather than remain to question Bea. Víctor, meanwhile, absorbs what he has learned and turns it into an accusation: Bea does not want to return to him because she is sleeping with Diego. He singles out Diego’s red hair and calls him a posh man, converting a painful uncertainty about Bea’s choices into contempt for his rival.

The Fight and Its Makeshift Weapons

The confrontation escalates when Víctor repeats his insult directly to Diego, standing only inches from his face. Diego punches him hard enough to nearly knock him down. Once the surprise passes, Víctor charges with the force of his body rather than relying on his fists, and the two men fall to the ground. Bea sees that this is no polished, cinematic duel: they shove, kick, slap, and pull hair. Her account strips the fight of heroic glamour, presenting two men whose struggle is messy and undignified rather than impressive.

Bea tries to stop them by telling them how unattractive the spectacle is. She remarks that Diego’s black belt is of little use if he has not practised, and that Víctor has resorted to pulling hair. Ingrid refuses to intervene and prefers neutrality. The men do not stop, so Víctor reaches for a garden hose, finds the tap, and opens it at full force. He directs the stream at Diego, who can barely move toward him against the pressure and is driven from side to side. The spray catches Bea and Ingrid as well. The hose turns the garden into an extension of the quarrel: the men’s rivalry no longer affects only its supposed object, but soaks the women who are standing nearby.

Bea Rejects the Rivalry

When both men look to Bea for an answer, she refuses the terms of their contest. Víctor, she says, has arrived two months too late; Diego is not fighting for her but out of wounded pride. She is tired of proud men. Rather than choose between them or remain the prize around which they argue, she takes Ingrid by the arm and walks away from the conflict to dry off and change clothes. The movement is a decisive refusal to let their violence determine her response.

Diego calls after her, saying she should not return if she leaves without taking Víctor with her. Bea does not obey the demand or turn back immediately. Ingrid slows, however, and Bea then calls back to Diego that Víctor is not her boyfriend and is not her responsibility. She accuses Diego of settling into the role of the grieving widower, using his late wife and his mother-in-law as reasons to run from the possibility of being hurt. In her account, his retreat is not something to blame on Diana; it is his own refusal to risk living.

The Grief Beneath the Standoff

Bea’s rebuke comes out under the force of the absurd fight and the adrenaline she has been holding in. She recognizes that she might not otherwise have dared to speak so plainly. Diego seems to receive the words deeply; his expression becomes that of a helpless child. His answer is that he is there fighting Víctor for Bea. The reply does not settle the dispute. Instead, it lays bare its central mismatch: Diego’s physical fight may look like a declaration, but Bea has already distinguished action driven by wounded pride from the willingness to make a life with someone.

The scene ends with that distinction unresolved. Bea has rejected Víctor’s late attempt to reclaim her and challenged Diego’s use of bereavement as a shield, but Diego has not yet answered the deeper accusation with a decision to move forward. The treehouse work is interrupted by a fight over Bea, while Bea herself refuses to be reduced to its prize. The episode’s force lies in the contrast between the men’s loud, physical contest and the quieter question it leaves exposed: whether Diego can stop treating grief as a reason not to live.