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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
1
1 INT. MARTA'S APARTMENT/BEDROOM - NIGHT. MARTA (35) wakes up in the middle of the night due to the noise of night traffic. She is a thin woman, with short brown hair and an angular face having hard features. She is sweaty from the heat, as is RODNEY (36), who is next to her. Marta
2
5 INT. POLICE CAR - DAY. MARTA patrols by squad car with her partner JOAQUÍN (42) who is behind the wheel. On the radio, they got a call from the CENTRAL. Marta turns on the microphone. CENTRAL (V.O.)
3
8 EXT. TABLADA STREET - DAY. JOAQUÍN puts MAN1 in the back seats of the car, closes the door and waits for MARTA to get out. In the meantime, he lights a cigarette. 8.
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14 INT. POLICE STATION - DAY. MARTA is standing next to the office table, gathering her things together. JOAQUÍN approaches her. JOAQUÍN So, after all, the bar guy hasn't
5
19 INT. IRENE'S APARTMENT/BEDROOM - NIGHT. On the table there is a photo in which IRENE and LUNA (33) appear holding each other by the waist. Luna is a dark woman with tanned skin, very beautiful. She wears a sundress and her right arm is tattooed with a waning moon crossed by an
6
20 INT. MARTA'S APARTMENT/BEDROOM - NIGHT. The phone's vibration wakes MARTA. She sits up with a start and, without looking at the number, she answers hurriedly. MARTA Hello?
7
23 INT. CAFÉ 221B - DAY. IRENE and MARTA laugh. The waiter returns with the glasses. Marta takes hers and raises it. Irene accepts the toast and they clink glasses. They take a sip. Marta makes a satisfied face.
8
24 EXT. INSTITUTE COURTYARD - DAY. In the courtyard of a high school, during recess, several BOYS (15-17) seem to be chatting; they eat a sandwich, they smoke secretly. IRENE (15) is a pretty girl, very striking for her age, but with a fragile appearance. Three BOYS (16)
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27 INT. IRENE'S APARTMENT/BEDROOM - DAY. IRENE gathers her dog's things and puts them in a travel bag: a bag of food, a feeder, the leash, one of his toys and also the veterinary card. 28 EXT. STREET - DAY.
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30 INT. IRENE’S CAR - DAY. IRENE turns on the GPS on her phone and marks the coordinates of the destination. She starts the car and drives guided by the GPS. 31 EXT. ROAD - DAY.
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39 INT. POLICE STATION/OFFICE - DAY. MARTA's desk calendar says it's Monday. 33. Marta takes her cell phone, scrolls through the contact list for Irene's number and calls. She waits, but no one answers
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46 EXT. COTTAGE - DAY. MARTA leaves the house, breathing anxiously. She stops next to a tree and rests her hands on it. She hits the tree with her palms. MARTA
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49 EXT. COTTAGE - DAY. MARTA is finishing giving a statement to AGENT1, who closes his notebook and puts it back in his pocket. AGENT1 Alright. That's all for now.
14
53 INT. POLICE STATION/ISIDRO'S OFFICE - DAY. MARTA goes to ISIDRO's office. She knocks on the door and passes without waiting for an answer. ISIDRO Good morning. I take it that you
15
54 INT. POLICE STATION/INTERROGATION ROOM - DAY. INTERVIEW ROUND. ALTERNATE SCENES. INTERVIEW 1: Two police officers are sitting at the table in the room with a serious expression: FELIPE (43) and ISABEL (38). In front
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55 INT. POLICE STATION - DAY. MARTA leaves the interrogation room and heads to her table. When JOAQUÍN sees her, he gets up from his table and approaches her. JOAQUÍN
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61 EXT. STREET - DAY. MARTA walks down the street. Tied to a leash, she carries TRUHAN to her car and puts him in the trunk. She goes to close it, but stops. She looks in her purse for a plastic bag. She plucks a lock of Truhan's hair and puts it in the
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64 INT. CYBERSECURITY UNIT - DAY. PABLO's office (30) is small; however, the space is almost completely occupied by three adjacent tables arranged in an L- shape and full of monitors of different sizes. When MARTA enters the room, she does not see Pablo, whose face is
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65 INT. POLICE STATION - DAY. MARTA is standing next to JOAQUÍN, checking some data on his computer. Marta's phone rings and she momentarily leaves her partner to answer the call. MARTA
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68 EXT. STREET - DAY. MARTA gets into her car and starts it. As she walks away from the house, she crosses RODNEY, who is walking TRUHAN on the leash. Upon seeing her, Rodney gestures with her hand, but Marta does not stop and goes on.
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71 EXT. IRENE'S PARENTS' HOUSE - NIGHT. MARTA momentarily walks away from the house. She takes a few steps, but, shortly after, she returns and sidles up to the windows. She looks inside the house. She sees ANTONIO walking followed by SILVIA. They seem to be arguing.
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77 INT. JOTA’S HOUSE/BDSM ROOM - DAY. LUNA is standing, her wrists and ankles shackled. Around her neck she wears a silver waning moon pendant. JOTA is in front of her. He is piercing her breasts with pins. Luna screams and writhes in spasms of pain.
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80 INT. CYBERSECURITY UNIT - DAY. Marta looks at the time on her cell phone again. It’s 12:35. PABLO leans back in his seat. 77. He presses a key on the computer and a file appears on the
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82 EXT. STREET - DAY. MARTA drives through an upper-middle class residential neighborhood, which has single-family homes with garden areas and a swimming pool. 83 INT. MARTA'S CAR - DAY.
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89 INT. HOSPITAL/WAITING ROOM - NIGHT. RODNEY is sitting in the waiting room. He sees MARTA leave the doctor’s office and gets up. He approaches Marta and takes her hand. Marta leans over him and rests her head on his shoulder.
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92 INT. NATALIA'S APARTMENT - DAY. NATALIA hears the doorbell and goes to answer it. When she opens the door, she sees MARTA. She gets scared and tries to close it. Then Marta blocks the door from closing and kicks it open. She rushes in and slams the door behind her. With
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93 INT. JOTA’S HOUSE/BDSM ROOM - DAY. LUNA is standing, her wrists and ankles shackled. Around her neck she wears a silver waning moon pendant. JOTA is in front of her. He is piercing her breasts with pins. Luna screams and writhes in spasms of pain. Jota penetrates her. While he
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101 INT. POLICE STATION/ISIDRO'S OFFICE - DAY. MARTA shows up to work with her arm in a sling. She goes to ISIDRO's office. ISIDRO What the fuck happened to you?
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103 INT. MARTA’S APARTMENT /BEDROOM - NIGHT. MARTA and RODNEY are changing clothes. Marta is barefoot and is taking off her pants with one hand. Rodney is undoing his shoelaces when the cell phone on the bed rings. Marta checks out the screen and sees the letters "SUB." She makes a
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111 INT. MARTA'S APARTMENT/KITCHEN - DAY. RODNEY uncovers a pot and stirs its contents with a wooden spoon. The front door is heard opening. MARTA enters the kitchen and Rodney approaches to kiss her, but she rejects him.
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116 INT. MARTA'S APARTMENT/BEDROOM - NIGHT. MARTA wakes up agitated. RODNEY turns around in bed. RODNEY What’s going up? MARTA
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127 INT. MARTA'S CAR - DAY. MARTA watches the entrance door to an apartment block from her car. She watches everyone who comes and goes. At one point, she sees a woman come out who looks like IRENE, although she hesitates a little. The woman has short hair and
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132 INT. COTTAGE - NIGHT. IRENE quickly picks up her clothes and gets dressed. She wipes away the prints of everything she remembers touching and she rushes out of the house. IRENE (OFF)
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139 INT. NATALIA'S APARTMENT/BEDROOM - NIGHT. NATALIA looks jealous at IRENE and LUNA while they kiss. LUNA looks askance at NATALIA and smiles evilly. 140 INT. NATALIA'S APARTMENT/BATHROOM - NIGHT. NATALIA looks at herself in the mirror over the sink. She
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142 INT. POLICE STATION - DAY. JOAQUÍN inserts some coins into the coffee vending machine and selects one of the coffees. He takes it out of the machine and MARTA approaches it to take out another one. JOAQUÍN
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143 INT. IRENE'S APARTMENT - DAY. IRENE takes her cell phone out of her bag, removes the SIM card and drops it in the trash. She puts a new card in its place. She then heads to the entrance of the apartment, where there is a small suitcase on the floor. She picks it up and
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151 EXT. STREET - DAY. NATALIA is restless, she moves back and forth, she walks with her gaze lost. NATALIA What about Marta?
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155 EXT. POLICE STATION - DAY. MARTA smokes a cigarette at the front door. JOAQUÍN accompanies her. JOAQUÍN You shouldn't blame yourself for
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158 INT. POLICE STATION - DAY. MARTA sits in front of her computer and begins the search for cottages on a rental portal. The map shows all the cottages around Vigo. Marta filters those that are furthest from urban centers. Then, she filters those that are free. That narrows
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166 INT. VIGO COTTAGE - NIGHT. MARTA looks at IRENE with a perplexed face. PERSEPHONE then approaches Marta and stands behind her. MARTA That doesn't make sense to me. You
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168 INT. VIGO COTTAGE - NIGHT. MARTA looks at IRENE with a gesture of surprise. MARTA When did you know? IRENE
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169 EXT. VIGO COTTAGE - NIGHT. Several police cars arrive at the house. JOAQUÍN comes out of one of them, who has come with reinforcements. 170 INT. VIGO COTTAGE - NIGHT. JOAQUIN finds MARTA sitting on the floor next to the corpses

Unmarked path

A police officer's search for her missing childhood friend leads her down a dark path into the world of BDSM, where she must confront her own desires and the blurred lines between victim and perpetrator.

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Overview

Poster
Unique Selling Point

This script offers a compelling blend of crime thriller and psychological drama, exploring the dark underbelly of online relationships and the dangers of hidden desires. It features a strong female protagonist, Marta, a determined police officer whose personal life becomes entwined with a complex and unsettling case involving her friend Irene. The script delves into themes of obsession, betrayal, and the blurred lines between love and control, with a unique voice that combines raw emotion, suspense, and compelling dialogue. The narrative is driven by a gripping mystery, unexpected twists, and a cast of captivating characters, offering a fresh and captivating take on the crime genre that will keep audiences on the edge of their seats.

AI Verdict

Model upgrade — Mar 31, 2026: Analysis is from our newer, stronger readers. Scores aren't directly comparable to pre-upgrade analyses.
Claude
 Recommend
Gemini
 Consider
GPT4
 Consider
Story Facts
Genres:
Drama 40% Crime 50% Thriller 45% Action 20% Romance 15%

Setting: Contemporary, Various locations including Marta's apartment, police station, a cottage in Vigo, hospital

Themes: Betrayal, Mystery, Guilt, Violence, Friendship

Conflict & Stakes: The primary conflicts revolve around Irene's disappearance, the involvement of dangerous individuals like Jota and Persephone, and Marta's struggle to uncover the truth while facing personal and professional challenges.

Mood: Tense and suspenseful with elements of danger and mystery

Standout Features:

  • Twists and Turns: Intriguing plot twists that keep the audience engaged and guessing
  • Complex Characters: Well-developed characters with layers of depth and internal conflicts
  • Dark and Suspenseful Atmosphere: Creates a tense and gripping atmosphere that draws viewers in

Comparable Scripts: Gone Girl, The Girl with the Dragon Tattoo, True Detective (TV series), The Killing (TV series), Zodiac, Sharp Objects (TV series), The Silence of the Lambs, Mindhunter (TV series)

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

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Overall Score: 6.70
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters
Explores the depth, clarity, and arc of the main and supporting characters.
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

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Scene-Level Percentile Chart
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Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.