How these two are literally not in the same room, or on the same page, at all. (Thanks, Camera Team. You want your knives back?)
After saying "Endgame!" in #568, Editing is saying "but for now: major crisis!" in #570 by intercutting, as an episode opener, Beatriz killing her relationship with Álvaro (and Álvaro himself) with Fina killing her relationship with Marta over lies and yet more lies.
How are they going to account for all of Fina's lying? Especially since she's a terrible liar and even lovestruck Marta calls her on some of it. They may be formally together, but a wasteland in terms of an actual relationship and communication (and it hurts to watch. It hurts!) because Fina keeps a lid on things, which means that she neither trusts their relationship right now nor is she giving it a chance to prove itself.
Outwardly, they're having flan in the dining room (and I take it back: no smiling at Marta hurt less than strained fake smiling at Marta).
Inwardly, we get Fina's new Haunted Flutes Motif (00:02:07 in the Mafin Drive Cut) and Fina turning away from Marta when Miguel calls in with her test results. Belmonte gets in a blink-and-you-miss-it, excellent reaction look by Marta: hurt and bewildered.
That call is followed by more lying and Marta pointedly asking, "The doctor is calling you? About a headache?"
And Fina is lying so badly about "I think it's necessary to have uhm some bloodwork done... for precaution" that it makes me wince, and on the sound layer, the lone final a' fermata of Fina's Haunted Flutes Motif gets an octave-down echo companion piece in two pale, single cello notes: Hauntosphere is here to stay, it seems (00:04:07).
Editing is going in for the kill today: Fina lies about "some neighbors" taking care of her during her brucellosis recovery to Marta's trusting face, right after Beatriz shoots Álvaro dead. One relationship blown up and a second on the way, and we get haunted, empty fifth jumps on piano over a held g' flat, teasing first g flat minor (although: probably f sharp minor, with the D Major third parallel popping up next) and then D Major when Marta says "We are here now, for the one to take care of the other" (just as she promised to Fina after her release from prison, "until the end of my days" -- are you not running out of knives to throw at me yet, novelita?) and Fina is, again, locking herself away under trauma, now more than ever:
And the uncomfortable truth is that keeping silent about Bianca showcases how Fina is living (or not living) two lives right now that she considers irreconcilable, and she has not yet made a decision (not holding my breath for a break-up with Bianca on the phone in #571 as teased in the preview; but crossing my fingers that the Writing Room will spare us te quieros there. Please. This week has already been enough torture on the Mafin heart).
Marta could so easily tell Fina about her relationship with Cloe because Marta knew very clearly that Cloe is over, that they never were in actual te quiero territory, and that she wants Fina. While Fina needs to shift from "Bottled Up Trauma Covered With a Comforting Rebound" to "Working Through The Trauma and Trusting My Loved Ones Again". (Brunet will get to play a big breakdown down the road, I expect. Belmonte will get to play another, and the audience will slowly get to reconnect with Fina who seems to have lost all sense of safety and trust. Hence the lies? That would be an explanation. The Writing Room also underlines again that Fina nearly died, so allowing Bianca close was initially not a choice, but survival instinct, which serves as a nice metaphor for the Chacracore Copy Rebound Scenario overall).
But there is a small step in the direction of processing trauma for Fina - and Editing intercuts Tasio talking with his father to Fina talking to Digna as her mother figure for this - because at last Fina tells Digna about the death of Santiago and Pelayo's ensuing blackmail, and Digna is the perfect audience who knows a thing or two about being implicated in the death of bad men.
The Writing Room and also Directing are giving more space to Fina's trauma; she gets another flashback (starting again with Marta: her voice telling her to run) and a PTSD reaction.
In this dialog - where Fina finally speaks a truth, with her voice breaking - Digna calls Marta "el amor de tu vida" when she speaks of Fina having had to abandon her, and Fina assents, and right off Fina's confession - "he forced me to leave!" - Fina adds "That's why I thought I would never see Marta again, and that's why I was capable of falling in love with another woman."
The Writing Room is careful to explicitly frame the causality chain in a way that does not unseat the long-term Mafin narrative (just like they did with Marta and Cloe: in both cases the assumption is that the actual loved one is lost before embarking on another relationship), whereas Fina's decision at this point, which is to stay with Marta and break up with Bianca, comes across as unconvincing (Bianca will show up in front of an unsuspecting Marta, won't she) - and that's logical: Fina may have feelings for two women to sort through, but most of all, she has a lot of feelings locked away, and at the moment, she is not in a relationship with anyone: regarding Bianca, there is is the distance of both geography and an overarching frame of love that is Marta. Regarding Marta, Fina keeps her at a distance with her lies.
And the Sound Department has a good reason why there have been no traces of the two central True Flutes Mafin Motifs since episode 561.
