Teodoro García

Teodoro García enters the story through a collision between a name Débora barely recognizes and a stage identity she remembers intimately. A former sexual partner who believes he may be the father of her son, he offers to accept responsibility despite Débora’s rejection. His introduction turns a disputed past encounter into an immediate question of parenthood, money, and what responsibility can mean when the two people involved do not agree on what should happen next.

Identity and Introduction

Teodoro approaches Débora after learning that she may have a child who is his. She responds by calling the situation a confusion and telling him she does not even know his name. He gives it as Teodoro García; when she says it means nothing to her, he asks whether Ricky Troyan sounds more familiar. It does. Ricky Troyan is his stage name, and Débora recalls using it during their sexual encounter. The difference between the names makes the scene’s central contrast immediate: to Débora, the man who has arrived is at first unrecognizable, but the performer belongs to a memory she cannot dismiss.

Bea observes part of the exchange from an upstairs window after Teodoro leaves the house. The conversation remains close enough to hear, allowing the reader to witness his attempt to make himself known and Débora’s resistance without turning their meeting into a private reconciliation. The scene is framed as an awkward confrontation rather than a sentimental reunion: each new piece of information sharpens the dispute instead of resolving it.

The Past Encounter and the Dispute

Teodoro does not present his possible paternity as an accusation against Débora. He says he is willing to take his share of responsibility if the boy is his. Débora rejects the premise, insisting that he cannot be the father and pointing out that she does not know his name. His stage name disrupts that denial by showing that, even if she did not know his personal identity, she remembers the encounter itself.

Their disagreement becomes more explicit when money enters the conversation. Débora says she does not have to pay three hundred euros to sleep with a man of short stature. Teodoro answers that she did pay him and that she now has a son with his genes. The exchange establishes both a paid sexual encounter and the amount involved, while placing the possible child at the center of a sharp contest over how that past should be understood. Débora responds by saying she could report him for not using a condom, prostitution, and ruining her life. The dialogue does not settle the accusations; it records how quickly a question of fatherhood becomes an argument about consent, blame, and the consequences of their encounter.

Work, Studies, and Money

Teodoro later describes a life extending beyond his stage persona. He is a qualified nurse, is finishing a psychology degree, and is completing a placement at a psychology practice. He says the patients are fond of him and that he believes he is doing the work well. Débora reacts with disbelief that he could be a psychologist. His account places him in professional training and patient-facing work, but the exchange offers no independent assessment of his competence; it presents his own description alongside her skepticism.

His offer to return the three hundred euros exposes a material limit on his ability to respond immediately. He says he can repay it in installments because paying the full amount at once would disrupt his month. Débora treats that shortage as evidence against his capacity to support a child. Teodoro answers that he can work more bachelor-party bookings and, once he finishes his degree, take whatever work is available. The specific alternatives matter: his promise is not backed by an already secure income but by a willingness to add work and broaden his prospects.

Paternity and the Limits of His Claim

Débora tells Teodoro she does not want him to take responsibility for her son because the boy already has a mother and a family. Teodoro does not answer by claiming that her existing family is irrelevant. Instead, he insists that he is a good man and assures her that the child will lack for nothing. His appeal is therefore both practical and personal: he offers increased work and future employment, while also asking her to judge his character as a potential father.

The scene leaves the outcome unresolved. Teodoro declares himself willing to take responsibility, but Débora does not accept his offer, and the exchange supplies no agreement about his role in the boy’s life. Nor does his confidence erase the tension between his assurance and his present financial constraint. His introduction makes that gap part of his characterization: he is prepared to promise care before he has demonstrated what place Débora will allow him to occupy.

Teodoro is thus presented through competing identities and claims rather than a settled account of his future. Ricky Troyan is the name that reconnects him to Débora’s memory; Teodoro García is the name he offers as a prospective father, nurse, and psychology student. The contrast does not itself prove that either identity is more authentic. It gives the confrontation its force: the man Débora recognizes from a paid encounter is asking to be considered in a role neither of them has yet defined.