Jonathan, portero de la Casa del Teatro, intervino para salvar al actor Jorge Martínez, quien intentaba quitarse la vida caminando por la cornisa de un noveno piso. Tras recibir un aviso, Jonathan se apresuró y logró calmar a Jorge antes de llevarlo a su habitación en el octavo. La rápida acción de Jonathan y su capacidad para tranquilizar a Jorge fueron cruciales en este momento crítico.
📞135 - Línea de prevención del suicidio.
#ALaTarde
📞135 - Línea de prevención del suicidio.
#ALaTarde
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NewsTranscript
00:00with our colleague who is there in the theater house
00:02precisely with Jonathan, the employee who saved Jorge Martínez's life
00:07Oliver, we are with you
00:10Hello Cari, yes, here we are with Jonathan
00:12as they were counting on the floor
00:14Jonathan had to approach the ninth floor
00:16where Jorge Martínez was
00:18he is the doorman
00:19they gave him a notice here
00:21a collector from the front hand
00:23what was happening
00:24and well here Jonathan is going to tell us a little
00:25how was that situation
00:26how he found Jorge
00:27that he himself told us
00:29that he had to stop in the middle of the runway
00:31to be able to tell Jorge to calm down
00:33to be able to get on and find him
00:37there is Jonathan
00:38how are you?
00:39Hello, how are you? Good afternoon
00:40Hello Jonathan, tell us
00:41how were those moments that you lived
00:43and that you had to intervene
00:47well, we receive a call
00:50my colleague Liliana attends
00:53she gives me the message
00:56and I cross Santa Fe Avenue
00:59to see the panorama
01:00where I could find him
01:02until then we did not know who he was
01:05well, I manage to locate him
01:07and I see that he is in the dining room of the house
01:10which is on the ninth floor
01:12and well
01:13I hope he cuts the traffic light
01:15obviously to be able to go
01:19to see Jorge, right?
01:22Jonathan, did you know Jorge Martínez?
01:24Did you have a deal with him?
01:26Or was that the first time you saw him in your life?
01:28Yes
01:30No, I see him, yes, obviously here
01:33Yes, yes, yes, you see him there
01:35And then what happened? Did you go up?
01:39Yes, obviously I shouted at him
01:41I told him to calm down, to wait for me
01:43he manages to see me
01:45he gives me some signs
01:46I don't know what signs they were
01:48but well
01:49there he gave me a little time to go up, right?
01:52And how did you manage to convince him
01:55so that he doesn't leave
01:56so that he leaves that place, that cornice?
02:02And the truth is that
02:04obviously he wouldn't have done it
02:06because he heard me
02:07I wouldn't know what happened to him
02:10but well, I was able to calm him down
02:14He was sitting, sorry
02:15He was sitting, standing
02:16because I want to imagine that situation
02:18he was on the edge, on the edge
02:20of falling into the void
02:22or was he a little deeper
02:23evaluating the situation?
02:27No, no, no
02:28he was on the edge of the void
02:30but when I went up to the ninth
02:32he already left
02:34he already left that panorama
02:37Let's see, Johnny
02:38the question is this
02:39Did you have any kind of resistance
02:41in terms of what was the convincing?
02:44I mean, he didn't want to
02:46enter again through the window
02:48from which he had left?
02:51Yes, there
02:53I didn't hear well
02:54but we had a quarrel
02:57a second time, right?
02:59Yes, because I understand
03:01and correct me if I'm wrong, Johnny
03:03I understand that
03:05the police was notified
03:08and that the police
03:10assigned two agents
03:11to accompany him to the hospital
03:13in Rivadavia
03:16Yes, yes
03:18because a psychiatric doctor also came
03:20Yes
03:21and that was the one who authorized, right?
03:23He, I understand
03:25a friend said it
03:26I don't know if it's confirmed
03:27he was claiming
03:29apparently the lack of money
03:31and the passport he had
03:33in his documentation
03:34Is this true or incorrect?
03:38Yes
03:39The truth is that I don't know about that
03:41Now, the quarrel, Johnny
03:42how does it happen?
03:43I mean, he had returned to the dining room
03:45and he wanted to resume that scene
03:47he wanted to regain momentum
03:49to take his life
03:50and you have to grab him there
03:52Why was there a quarrel between you?
03:58When the first time
04:00I can try to calm him down
04:02and talk to him
04:04he automatically
04:06stands up again
04:07and tells me
04:09I want to die
04:10Oh, poor guy
04:11and that's when I
04:13grab him again
04:14I grab him by the arms first
04:16and then I take him by the shoulder
04:18because Jorge is a big person
04:21Yes, of course
04:22And Johnny, do you realize
04:24that you have family
04:26that was going to visit you
04:27or were you alone
04:29in the middle of the jungle?
04:33No, I, on the 20th
04:36on the 23rd
04:39my daughter was with him for a long time
04:41she came to see him
04:43One question
04:44The last visit he received on the 23rd
04:47Yes
04:48What did they talk about up there
04:49in the cornice?
04:50What did they talk about?
04:51What did he tell you?
04:52Or you, what did you tell him?
04:54No, well, I
04:55I tried to calm him down
04:57and obviously
04:59his words were
05:00that he told me he was alone
05:02and I, calming him down
05:03I told him he was alone
05:04because I wanted to
05:05because a lot of people come here to see him
05:07Yes, but he says that the family
05:09doesn't want to take him
05:11let's say, in custody
05:13for if they give him the high, right?
05:16I don't know if that's real
05:18But that's with this diagnosis
05:19But it's crazy
05:20I don't know, we're
05:21That's the issue of the hospital
05:22I mean, when he was here
05:23living in a nursing home
05:24No, he's in a psychiatric rehabilitation center
05:27But when he was there
05:28I left him in the Rivadavia hospital
05:29We're in Mexico
05:30He's telling
05:31He's telling
05:32He's telling how Jorge's life was
05:33in there
05:34before this painting
05:35Jorge said no one was going
05:36I mean, Johnny
05:37He had a relationship with the other actors
05:39who also live in the theater house
05:41I mean, did he have a normal life
05:43if you can define it like that?
05:48Yes, here obviously
05:49it's a normal life
05:51and here they are
05:53all colleagues
05:54How many people live here, Johnny?
05:56I think
05:57Permanently
05:58How many are there in total?
06:01I think less than 30
06:03Ah, but it's a band of people
06:05Less than 30
06:06And each one has a room
06:07where they can take
06:08many of their belongings
06:09It's not a small place
06:10I need to intervene alone
06:12to say that line 135
06:14is suicide prevention
06:16that the way is never there
06:18that there are always people
06:19who want to listen
06:20and who want to hug
06:21and who want to contain
06:22And the way is life
06:23for those who are going through
06:24I want to add
06:25I want to add something
06:26Ventura, Ventura
06:27Ventura, yes
06:28I want to add something
06:29that is important
06:30to know
06:31The theater house
06:32is going through
06:33one of its worst economic moments
06:35since its creation
06:38How can we help Ventura?
06:40By bringing economic collaboration
06:43And buying in the boutique
06:44that has very good clothes
06:45new clothes
06:46and clothes used
06:47in excellent condition
06:48There is a lot of tax debt
06:50Totally, Jonathan
06:51I want to ask you
06:52Once it came out
06:53like the suicide shock
06:54that Jorge had
06:56Could he do his catharsis?
06:58Could they talk a little?
07:00Who cut it
07:01in some way emotionally?
07:06Well
07:08This was on the ninth floor
07:10When I try to calm him down
07:12we sat in the armchair
07:14and there I convinced him
07:16to go down to the room
07:18Yes
07:19And well
07:20I accompanied him to the eighth floor
07:21where is the floor
07:22where Jorge lives
07:24And well
07:25there I asked for help
07:26from a colleague of Jorge
07:28so I could call
07:31911
07:32that my colleague
07:33had already called
07:34Of course
07:35Now
07:36in the dialogue
07:38obviously we are talking
07:39with a person
07:40with a very strong depression
07:42Of course
07:43I mean
07:44the answers
07:45how did they sound to you?
07:46Were they logical answers?
07:47Were they out of place answers?
07:49Was he in time and space?
07:51How did you feel?
07:55No
07:56He was in shock
07:57I noticed it very badly
08:01I noticed it very badly
08:02Jorge
08:03He barely spoke
08:05and well
08:06And I asked for help
08:07Yes
08:08I have
08:09I don't know if it adds something
08:11I have the call
08:12from a producer
08:13a very good friend of mine
08:14Juancho
08:15together with Arellano
08:17they are going to produce
08:18a play
08:19so that Jorge Martínez
08:20can participate
08:21Yes
08:22and also to make
08:23a money transfer
08:25to the theater house
08:26I think it is very important
08:27also
08:28to make it clear
08:29that when a person
08:30goes through a depressive situation
08:31I mean
08:32a person who suffers from depression
08:33we can't
08:34blame the family
08:35or the environment
08:36It's true
08:37It's a disease
08:38and we have to take it as such
08:39and it has to be treated
08:40in the corresponding place
08:41We are not the children
08:42or the parents
08:43No, why not?
08:44or who have to take care
08:45of that situation
08:46because it's a medical issue
08:47It's a social issue
08:48It's something
08:49that is used
08:50I have a flu
08:51I have pneumonia
08:52I go to the hospital
08:53We have to give medication
08:54We have to take care of it
08:55It doesn't even coincide
08:56with the theater producers
08:57because here Luis
08:58also writes to me
08:59He tells me
09:00that he went to see him
09:01as a theater producer
09:02to hire him
09:03He told him
09:04that he was not
09:05in a condition to work
09:06He talks about
09:07that he is retired
09:08The last time
09:09I talked to him
09:10he said
09:11that he was retired
09:12I'm going to look
09:13in the chat
09:14I wanted to tell you
09:15what happens
09:16with these stars
09:17that were millionaires
09:18beautiful,
09:19dear,
09:20full of work
09:21What happens
09:22with old age?
09:23Juan José Camero
09:24Pablo Alarcón
09:25Jorge Martínez
09:26They are all
09:27more or less
09:28of the same age
09:29They are all bad
09:30Do you understand?
09:31It is very true
09:32what you are saying
09:33They do not schedule
09:34their old age
09:35Excesses are sent
09:36Yes
09:37Unfortunately
09:38I wanted to say something
09:39We can also see
09:40the half-full side
09:41in this case
09:42that maybe someone
09:43has to tell Jorge
09:44Entering the theater
09:45house is a privilege
09:46Totally
09:47It is not that one goes
09:48There are many people
09:49on the waiting list
09:50Yes
09:51They have a possibility
09:52of housing
09:53without paying a peso
09:54Totally
09:55Exactly
09:56They have people
09:57They have a positive
09:58mental health
09:59The state has to
10:00be part of that
10:01Exactly
10:02We thank you very much
10:03to Jonathan
10:04who had a decisive role
10:05the other day
10:06regarding
10:07Jorge Martínez's life
10:08Jonathan, we send you
10:09a big kiss
10:10A kiss to all the people
10:11there in the theater house
10:12who must also be
10:13moved by the news
10:14Thank you, Jonathan
10:15Thank you very much
10:16Our partner
10:17Oliver Quiroz
10:18We follow her tomorrow
10:19We follow her tomorrow
10:20We follow her tomorrow
10:21We follow her tomorrow
10:22We follow her tomorrow
10:23We follow her tomorrow
10:24We follow her tomorrow
10:25We follow her tomorrow