Dicen que soy mujeriego

The film opens with a woman in bed shouting 'My husband!' A man leaps from the bed and escapes through the window, heading for his horse on a village street. A jealous rival woman chases him, calling him a 'canalla' as she mutters insults. He kisses her goodbye, leaving her breathless as he rides off, setting the tone for his roguish charm.

A wedding party emerges from the village cathedral and invites the priest to join them for the evening celebration. The priest initially declines, claiming he must hunt, but he ultimately accepts the invitation. The scene establishes the community's mix of ceremony, festivity, and personal agendas.

At Doña Rosa's ranch, Pedro Dos Amantes has prepared a stocky alibi by stuffing his bed to look asleep. Rosa's servant Bartolo is harshly grilled for information about Pedro's whereabouts. Pedro arrives with lipstick on his face, insists it came from eating mangos, and Rosa orders him to wash it off.

The priest arrives during Rosa's tirade, and she quickly apologizes for her outburst. Pedro's absence is noted, and Rosa spots him attempting to kiss the servant girl, prompting a sharp cane-wielding scolding. The moment deepens the tension between propriety and romance in the household.

The trio goes hunting for rabbits, with Rosa shooting one, Pedro shooting one, and the priest accidentally shooting a donkey instead of 'God's little animals'. Bartolo points out the mishap, and the priest laments how things have gone wrong. The comic episode lightens the drama and reveals their characteristic rapport.

Flor arrives with urgent news that her uncle is gravely ill and the doctor says there is nothing more to be done. They debate going to him, while Flor hints at a complicated situation with the priest. The scene heightens the sense of impending tragedy and romance.

At the wedding reception, Pedro dances with one girl after another, making a public display of his romantic conquests. A note from 'Anonimo' mocks him as a secret admirer. Pablo, the town's mayor and saloon owner, arrives to stir trouble and complicate Pedro's chances with Flor.

In the town saloon, Pedro sits with Pablo while Luciérnaga, a fiery dancer, delivers a hot performance. A patron grabs her inappropriately, and Pedro defends her, earning her attention. She then slips him an invitation to join her in her room, which Pedro accepts with bravado.

Desperate to win Flor's hand, Pedro shows his reckless side by letting a bull calf out to frighten her; Bartolo releases a full-grown bull instead. The bull chases Flor up an apple tree, and Pedro ropes the bull back. Flor, furious and amused, falls from the tree and Pedro hurriedly rescues her, sparking a real romance.

That night, Tucita, a small child, arrives on Dona Rosa's mare claiming Rosa is her granny. She carries a letter addressed to her mother and a photo of Pedro around her neck, suggesting Pedro is her father and shocking the household. The revelation unsettles Flor and Rosa as they try to process the implications.

Flor confronts the growing possibility that Pedro may not be Tucita's father and begins to doubt the engagement. Dona Rosa tries to shield Pedro, but Flor, deeply hurt, breaks off the engagement. The family tension peaks as trust is put to the test.

Bartolo reveals that Luciérnaga had pretended to be Tucita's mother and that Pablo's men forced her to stay quiet. Pedro frees Luciérnaga, who confirms Pablo's plot and reveals Tucita was taken from an orphanage to frame Pedro. The truth motivates Pedro to confront Pablo directly.

Pedro and Pablo square off; a fight ends with Pablo drowning in a lake, and Pedro heroically saving him from sinking. The climactic moment vindicates Pedro's defense of Tucita and helps mend the rift with Flor, even as emotions remain taut.

In the cathedral's aftermath, Pedro and Flor emerge as a married couple. A final note from Anonimo arrives, and Flor reveals she herself is Anonimo, turning the mystery around. Tucita exclaims 'Válgame Dios!' and Dona Rosa drags Pedro away by the ear as the film ends.

Despite the chaos, the family bond holds. Dona Rosa accepts Tucita as part of the family, and Pedro commits to his new life with Flor and Tucita by his side, navigating his roguish past with responsibility and love.