Guerra and Rocío's Concurrent Pregnancies

Guerra and Rocío’s concurrent pregnancies turn a private romantic conflict into a consequential reconfiguration of family. The disclosures arrive separately: Rocío announces her pregnancy during a tense confrontation with César and Guerra, while Guerra later tells Lucas Pereyra that she, too, is pregnant. Neither revelation resolves the relationships around them. Instead, the pregnancies change what the characters must reckon with, and they prepare the ground for a later family arrangement that refuses the conventional boundaries Lucas has taken for granted.

The Confrontation and Rocío’s News

The first disclosure comes after Guerra has confronted César and Rocío in front of friends. César reacts by disconnecting Guerra’s phone and smashing it against a wall before leaving. Guerra then tells Rocío that she can leave as well. Rocío begins to cry, and their friends, who have understood what has happened, are unsure whom to comfort. Guerra waits for Rocío to go; instead, Rocío says that she and César had intended to tell Guerra the next day that she was pregnant.

The announcement abruptly changes the meaning of the confrontation. What had appeared to be a reckoning over the relationships among Guerra, César, and Rocío now includes an impending child and a piece of news that, by Rocío’s account, the couple planned to disclose later. Guerra’s immediate response is astonishment. She subsequently characterizes Rocío as pregnant, and the group’s drinks arrive before they resume the meal. The narrator registers the pregnancy as altering the situation, leaving him unsure what to say. It is not a resolution or reconciliation: the scene gives no account of what decision Rocío makes about the pregnancy or how the three adults settle their immediate conflict.

Guerra’s Disclosure to Lucas Pereyra

Guerra’s pregnancy becomes known in a separate, private encounter with Lucas Pereyra at the beach. Before she tells him, Lucas urges her to leave with him for Brazil that night and spend a week together. She does not agree; she shakes her head, and Lucas notices that she is crying. The proposal and her response establish the distance between his urgent wish to escape with her and the obligations or complications she has not yet explained.

Guerra then tells Lucas that she is pregnant too. She says she is in her second month and does not know whether she will have the child. The news gives her earlier silence a new context, but the text does not identify the pregnancy’s father or state what she eventually decides. Lucas embraces her and struggles to understand what she has told him. His wish to leave with her cannot be separated from the fact that she is facing a decision about a pregnancy, while the earlier disclosure has already made clear that Rocío is pregnant as well.

The encounter is soon interrupted by an attack, preventing the disclosure from unfolding into a settled conversation. Later, Lucas’s uncertainty about whether Guerra had any part in the robbery remains attached to a gap in his memory after the assault. He says he is almost certain she was not involved, though he cannot eliminate his doubt. That uncertainty belongs to the aftermath of the attack, not to evidence that Guerra caused it; the account supplies no confirmation that she did. The pregnancy disclosure therefore remains emotionally linked to the interrupted encounter without becoming an explanation for the violence or for Lucas’s later suspicions.

From Two Disclosures to a Shared Family

A later recollection shows that the pregnancies did not lead to the simple separation Lucas might have expected from the confrontation. Watching delayed episodes of Tiranos temblad, he sees a brief report describing the first triple marriage in Montevideo. The image shows Guerra and Rocío pregnant, dressed as brides, with César between them; all three are laughing at an alternative ceremony that Lucas regards as nearly a parody of a wedding. He has to pause the fleeting footage to recognize Guerra, whose pregnancy is now visibly advanced. The briefness of the broadcast contrasts with the importance Lucas assigns to it: a few seconds of local news make public a family arrangement he had not known about.

Lucas later looks at a friend’s Facebook page because Guerra has closed her own. Photographs show each woman with her child. In one, César feeds his two children, who have different mothers, using a spoon in each hand. Lucas wonders whether all five may live together but explicitly does not know. The images support a shared parental connection and a strikingly practical scene of care; they do not establish the household’s living arrangements. Nor do they describe what decisions led from the pregnancies to the births. The adult relationships have taken a form that the earlier confrontation alone could not predict.

Meaning and Limits of Lucas’s Account

For Lucas, the two pregnancies expose the inadequacy of treating the situation as a straightforward choice between a couple and an outsider. Rocío’s news changes the stakes of Guerra’s confrontation with César; Guerra’s news, disclosed as Lucas asks her to run away, makes his desired escape collide with a future she has not decided on. Later, the triple wedding and the photographs of the children reveal an outcome organized less by the conventional pairings Lucas initially assumes than by overlapping bonds and responsibilities.

The ending remains deliberately partial. Lucas is glad that Guerra became a mother and reads her as happy in the wedding footage, although he thinks she looks tired in more domestic photographs. He has no further email contact with her, and their communication fades into silence. His account cannot supply the women’s perspectives on their choices or verify whether the five share a home. What it can show is Lucas revising his idea of family: the pregnancies first appear as news that changes everything, and later images suggest that the people involved have assembled a life together in a form he can witness only from outside.