The case of very sad Marta admitting out loud that she loves weddings, and especially her own inofficial wedding to Fina (the post includes mentions and photos of Cloe after the cut), over the third Fina flashback in a row, with the Sound Department again adding core Mafin love motifs to the sequencing.
The music starts just after Mafin tells Andrés, who wonders whether Cloe has made Marta forget Fina, "Stop talking nonsense, I cannot forget Fina": there's an ominous woodwind waver, and Cloe enters the office.
Again, there is a brief playing of Wrong Flutes, again fading out without resolve in the top note. Cloe - who pushes because something is off, and she knows it ("I feel like I just interrupted something important" - did you ever, girl) - sits down and there's a desk and an ocean of unspoken things underneath this talk from the start:
There is no music or additional soundcueing while Cloe tells Marta that she can't even get Marta to look at her. Case in point:
This continues when Marta admits that her father's wedding makes her recall her own wedding to Pelayo -
At this point, several musical motifs are teased briefly: Pelayo/gaslighting, also the “falling chords” general scene change motif, but as soon as the flashback starts and Marta recalls, also in gesture in the present, the bouquet of flowers "from our own garden", it's True Flutes again:
This third flashback centers Marta's own feelings - no. 2 had highlighted Fina's "Sí quiero"; and in this one, we get Marta declaring (and she is still sitting opposite Cloe for this, who might be just about anyone at this point because Marta is lost in her own memories and hurt, testifying. - Cloe, of course isn't very good good with realizing and accepting that something is*not* about her when she wants it to be about her) "I love you, Fina Valera, and nothing and no one will ever be able to change that":
For this part of the flashback and also the next, over the "whoosh" of the time change, the sound design adds first two of the minor piano love motifs.
A the point where Marta starts retelling the wedding night, and pleading with God that it would last forever, the sound design, as a third piano motif (with underlying celli) segues into the Farewell Love Motif (the one that underlined Fina writing her farewell letter, and Marta burning her diary).
In this instance, the motif carries back over into current reality, where Cloe asks, "Are you still in love with Fina?", over a variant of the Wrong Flutes, but now switches to the piano soundscape that has characterized the flashbacks.
Well. Cloe. If you have to ask, you didn't listen to the soundcueing here.
The Wrong Flutes repeat, once more, as piano suggestion, now with a somber lower strings lining, while Marta, unseeing and overwhelmed, blinks through her heartbreak.
The monologue delivery by Belmonte was outstanding here, in particular in voice work, but on the sound level, the Sound Department also added a poignant assist to the scene overall.
Either I need an intervention, or this is an intervention. Costuming, you did it again.
And I definitely need a drink, too.
Our love disaster spaniel siblings are grouped together again: emotionally challenged at the moment, but both looking great!
It is not the royal blue that signaled "Queen" in the past dozen or so episodes, but it it notably blue, highlights the shoulders to the elongated neckline that leaves just the hollow of the throat free and marks it through the brooch: formal (also for the dark tone), but extravagant in cut. That little cape that functions as Sleeves!
I don't know who found this, or who thought this up in the Costume Department, but they deserve a toast, and that open tab is continuing.
