With the couple already broken inexorably, Patxi started a relationship with Gloria Monis (former girlfriend of Palomo Linares), with whom she would eventually marry, and Amparo started dating director and producer Elias Querejeta, in his words, one of the greatest influences of his life. Their two years of relationship, from 77 to 79, went unnoticed by the general public, since unlike their marriage, they barely appeared in the press. They formed a more or less stable couple in which, a little like Pygmalion, he encouraged her to read, learn and protect her professionally. He helped her to get more enjundia roles such as Mama's 100th birthday, from Carlos Saura, whose character during filming was told by the sincere Amparo in her autobiography: "I took refuge behind Rafaela Aparicio's chair while he screamed like a madman. In order not to make any more rodeos, I'll say that, decomposed, I shat my panties. "
Querejeta remained a good friend for the rest of Amparo's life, although his romance ended when during the filming of the film El tahúr, Amparo fell in love with the Mexican Tomas Farkas. There begins a brief but sad episode in the life of the actress; she has an affair with a pilot, she becomes pregnant but after an attack of jealousy in which the pilot threatens her and although Farkas offers to take care of the child, decides to abort. "I had to go through the consultation of eight doctors in order to be able to abort. Everyone wanted to sleep with me earlier. " After the abortion, Farkas rejects her and Amparo decides to return to Madrid. It is then, in 1981, when Flavio Labarca, a dubious Chilean businessman with an attractive appearance and apparently crazy about her, appears. "who would suspect that a man so attentive, so affectionate, so different from the ones I had known until then would bring me down to the abyss."
On a trip to Venice, Flavio offers him a mixture of heroin and cocaine on the canvas of a gondola: "Don't be silly, try it. Nothing's gonna happen to you. You'll see how good you feel. " Amparo proved, and the consequent addiction to heroin marked the rest of his existence. It is inevitable not to see in his trajectory a path analogous to that of so many fellow generations who became junkies in those years (in fact, in the same 81, Amparo returns to work with Eloy de la Iglesia y El Pirri, two confessed heroinomans, in the Minister's wife), but Amparo rejected any victimization on the subject: "Yes, he initiated me, but one gets into the drug because he wants. I started fooling out of ignorance, lack of information. I had a lot of personal and professional disappointments, I had a hard time and I grabbed that. Just because she was successful and beautiful didn't mean she was happy. Little by little it was weighing on me that the directors didn't give a damn whether I did it right or wrong. Only beauty was enough for them. They wanted to throw me in the balls at all costs. "
