Scene
1 -
Late Night Reflections and Curious Purchases
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
turns over in bed, restless, and Rodney also wakes up, looks
at Marta and tries to hug her; but she rejects him abruptly.
Rodney gets out of bed, without a word; and his burly, tanned
figure disappears behind the bathroom door. The sound of
water from the shower is heard.
Marta glances sideways at the bathroom door, closes her eyes
and sighs. She gets out of bed and looks out the window.
Almost immediately, Rodney comes out of the shower naked and
with his body slightly soaked, half-dried, and Marta gives
him an indifferent look. Rodney lies back on the bed.
RODNEY
Are you going back to bed?
Marta looks at him, but doesn't answer. She leaves the
bedroom.
2 INT. MARTA'S APARTMENT/OFFICE - NIGHT.
MARTA enters the office, where she searches in her bag and
takes out a cigarette that she lights. There is a laptop on
the office table.
MARTA (OFF)
It's been more than a month since I
last saw Irene. My police
colleagues accuse me of letting her
escape, although they have been
unable to prove anything. Even
Rodney, without telling me, thinks
the same. It's hard to see how
certain people, even the ones you
least expect, point the finger at
you.
2.
Marta plugs in her laptop. She sits on the couch and lets
herself slide down the back of it while she takes short drags
on the cigarette.
MARTA (OFF) (CONT’D)
Many people say that, if they could
go back in time, they would change
many decisions. At this point, and
despite the mistakes made, I don't
think I would change anything.
3 EXT. STREET - DAY.
IRENE (35) walks down the street alone. She is a tall, very
attractive woman, with long dark hair, and wears designer
clothes.
She stops in front of a sex shop. On the door there is a sign
that announces its BDSM section. Irene looks from one side to
the other before deciding to enter.
4 INT. SEX-SHOP - DAY.
Inside the shop, IRENE sees few CUSTOMERS, most of them YOUNG
PEOPLE (20-30) of both sexes and only TWO MATURE MEN (40-50).
Almost all the clients go alone, like her, although there is
also a COUPLE (25) who speaks inaudibly and between
mischievous laughter while they browse the mannequins wearing
fantasy lingerie. Irene walks through the sex shop trying to
ignore the rest of the customers. She goes to the counter
where she meets a FEMALE SALES CLERK (28), with a pierced
nose and dressed in dark, tight-fitting, modern-cut clothes,
without being extravagant. The sales clerk is busy with her
cell phone.
IRENE
Hello. I saw outside a sign
announcing a Sado section.
The sales clerk looks away from her cell phone and smiles at
Irene.
FEMALE SALES CLERK
You’re right. What are you looking
for?
3.
Irene takes out a list from her purse on which she has
written down a series of items and hands it to the sales
clerk, who reads it without showing any surprise.
FEMALE SALES CLERK (CONT’D)
Are you going submissive?
Irene nods affirmatively.
FEMALE SALES CLERK (CONT’D)
Well, I think we have it all. But I
have to check out the catalog.
IRENE
OK.
The female sales clerk goes to the computer at the counter
and begins to type. While waiting, Irene looks around her and
curiously observes the collection of masturbation gadgets
displayed on the shelves.
FEMALE SALES CLERK
Right now, we have all this
material available. If it is your
first time, I would suggest that
you only take two or three things.
The entire batch will cost you
more.
IRENE
No problem. I want the date to be
successful.
FEMALE SALES CLERK
In that case, if you buy them all,
I would include a couple more
items. They usually work very well
for submissives. And I'll give you
a special price.
IRENE
No. I only want the items that are
on my list.
FEMALE SALES CLERK
(smiling)
You haven't even asked me what
items I'm referring to.
4.
IRENE
Whatever. This is what they asked
me for.
The clerk leaves the counter with the list and begins to
bring boxes that she places on the counter. A ball gag,
Japanese clover clamps with weights, a foot restraint bar,
seven meters of treated jute ropes, a rattan rod, a double
anal hook, a steel speculum, a triple leather tawse. In the
process of completing the order, some customers look at Irene
without any concealment. When she has finished bringing the
entire order, the sales clerk types the item codes into the
computer and puts the boxes in a large bag. At the end, she
shows her the amount to pay.
FEMALE SALES CLERK
Cash or card?
IRENE
Cash.
Irene pays in cash and the female sales clerk gives her the
bag containing everything and smiles knowingly.
FEMALE SALES CLERK
Thank you, and good luck on that.
Irene nods goodbye, takes the bag and heads for the exit.
Genres:
["Drama","Thriller"]
Ratings
Scene
2 -
Bar Brawl
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.)
We have got a call about an
altercation taking place in a bar
called El Peruano, on Tablada
Street. Any patrol nearby?
MARTA
Central, this is Marta Novoa. Agent
Joaquín Costa and I are very close.
5.
CENTRAL (V.O.)
OK. Approach the location and put
order in place; but be careful. We
have no information about whether
they are armed.
Joaquín makes a histrionic gesture, as if he were raising his
elbow.
JOAQUÍN
(quietly)
We don't know if they are armed,
but I bet they are very drunk.
MARTA
(holding back laughter) )
Roger. Over.
Marta switches off the microphone and slaps her partner on
his shoulder.
MARTA (CONT’D)
I told you not to make me laugh
when I'm talking!
JOAQUÍN
It's so monotonous to drive when
your partner doesn't pay attention
to you...
MARTA
Turn down the next street.
Joaquín obeys Marta and stops the car in front of the bar.
6 EXT. TABLADA STREET - DAY.
JOAQUÍN starts to park the car. MARTA unfastens her seat belt
and gets out of the car.
JOAQUÍN
Hold on a bit...
MARTA
See you inside.
Marta heads to the bar.
6.
7 INT. EL PERUANO BAR - DAY.
MARTA enters the place, which has a very long bar back. In
the background, there are three MEN engaged in a fight. They
are screaming and MAN1 (32) has MAN2 (30) completely subdued,
with his body lying on a table and his arm grabbed behind his
back. In this position, one of the men shakes the other with
a blow or kicks him while the second man, who is defenseless,
tries to use his free arm to defend himself, although without
much success. The third man, who is the MANAGER (50) of the
bar, is shouting at the other two, but not daring to come
between the two men.
MANAGER
Stop it now! If you want to kill
each other, do it outside!
Marta approaches to try to mediate and bring order.
MARTA
(authoritatively)
Police! What’s going on here?
Upon hearing her, the man1 stops his attitude and turns away.
Man2 gets up from the table with difficulty. He is panting.
MAN2
That motherfucker is stoned and he
was hitting me for no reason!
Hearing this, the man1 pounces on him again.
MAN1
I'm going to give you reasons!
Marta steps in and pushes man1 back to keep him at a
distance. He reacts by spitting in Marta's face. Without
saying a word, Marta approaches the man1 and punches his face
with her right fist, which knocks him to the ground. Without
giving him time to react, she bends down and handcuffs him.
MARTA
You asked for it! You’re under
arrest for resisting authority.
MAN1
Let go of my hands and I'll show
you what authority is, bitch!
7.
MARTA
Open your mouth again and I'll beat
you to death, animal.
At that moment JOAQUÍN arrives, who approaches to take charge
of the situation and prevent Marta from getting into trouble
due to abuse of authority.
JOAQUÍN
What’s going on here?
MAN1
What is going on is that I’m going
to report you for assault! I have
witnesses!
Marta wipes the saliva from her face with a handkerchief and
approaches the detainee, brandishing the handkerchief.
MARTA
I bet you are going to eat it?
JOAQUÍN
Stop it. I'll take care of it.
Joaquín takes him handcuffed to the patrol car.
MARTA
Does anyone else want to file a
complaint?
Everyone is silent. They are scared by the bad temper of the
female police officer and they don't want any more troubles.
Marta then takes out a notebook and a pen.
MARTA (CONT’D)
So, now I’m going to write down
your names and IDs. And you are
going to tell me what happened
here. OK?
Genres:
["Crime","Action","Drama"]
Ratings
Scene
3 -
Tensions Rise and Messages Go Unanswered
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.
9 INT. BAR EL PERUANO - DAY.
MARTA returns the ID cards to the CUSTOMERS and keeps the
notebook back into her pocket.
MARTA
(addressing MAN2)
You come with me to the police
station to testify.
MAN2
Do I have to go in the same car
with that guy?
Marta gives him a withering look. The man does not dare to
reply and meekly accompanies Marta. They leave the premises.
10 INT. POLICE CAR - DAY.
JOAQUÍN starts the car. The two MEN arrested are sitting in
the back seat. MAN1 has calmed down. MARTA turns back a
couple of times to look at him defiantly. Man1 looks down and
MAN2, who is sitting next to him, doesn't dare move a muscle.
Joaquín looks in the rearview mirror, turns to Marta with a
smile.
JOAQUÍN
Is everything okay, tough cop?
MARTA
I do not know what you are talking
about. This motherfucker in the
back broke my nail.
11 INT. IRENE’S CAR - DAY.
IRENE gets into a white Mercedes Coupé and leaves the sex
shop bags on the front passenger seat.
She looks for her cell phone in her purse and types a
WhatsApp message to MARTA: "WOULD YOU LIKE TO HAVE A COFFEE
WITH ME?"
Irene waits for a response. Since no one answers, she puts
her cell phone back in her purse, starts her car and heads to
the office.
9.
12 INT. IRENE COMPANY PARKING LOT - DAY.
IRENE pulled into a numbered space in the underground parking
lot. She gets out and puts the bags in the trunk.
13 INT. IRENE OFFICES - DAY.
IRENE enters the office floor. It’s an open space without
compartmentalization. She greets everyone with a smile as she
heads to her workplace. She reaches her office table and
turns on the computer. Next to her table is the one of her
partner PATRICIA (30), who, upon seeing her, greets her with
a childish gesture.
PATRICIA
The boss has asked about you.
IRENE
What did he want?
Patricia points out a pile of dossiers stacked on the table.
PATRICIA
He wants you to check that out.
Need a report for tomorrow's
hearing.
Irene snorts and protests under her breath.
IRENE
Anyway. There is no remedy!
Irene sits at the table and, before starting to work, checks
out her mobile phone and looks at WhatsApp messages. She
notices that Marta has not answered and begins to write to
her again; but when she barely has written a word, she
deletes it and continues with her work.
Genres:
["Crime","Drama"]
Ratings
Scene
4 -
A Day in the Life of Marta
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
commented on the punch you gave
him.
10.
MARTA
It's better like this.
JOAQUÍN
One day, you're going to get into
trouble.
Marta laughs. She gathers her things together.
MARTA
(jokingly) )
Yes, dad.
Marta turns around, leaving Joaquín perplexed.
JOAQUÍN
You should control your temper.
Marta turns around smiling, sticks her tongue out at him and
gives the finger to him. Joaquín sighs with a condescending
gesture.
JOAQUÍN (CONT’D)
Seriously, Marta.
Marta blows him a kiss with her hand, with a hot flirtatious
face, and walks away.
15 EXT. NEXT STREET TO THE POLICE STATION - DAY.
MARTA goes outside the police station and, as she walks down
the street, she checks out her phone. She has a new message
from Rodney asking if she'll be back for a long time. Marta
does not answer and puts away her cell phone, takes her
private car, a blue Renault Clio, and starts it.
16 INT. MARTA’S APARTAMENT/KITCHEN - NIGHT.
RODNEY is chopping tomatoes when he hears the entrance door.
MARTA enters and greets him with a kiss.
MARTA
Do you want eat out?
11.
RODNEY
(feigning anger)
Are you questioning my skills as a
cook?
MARTA
Hmm, I don't know. I'll risk
poisoning myself. I’m going to the
shower. Will you accompany me?
Marta leaves the kitchen. Rodney puts down the knife and
follows her.
17 INT. MARTA’S APARTAMENT/BATHROOM - NIGHT.
MARTA and RODNEY share a shower. They kiss eagerly while the
water runs down their bodies.
18 INT. MARTA’S APARTAMENT/LIVING ROOM - NIGHT.
MARTA and RODNEY are sitting on the couch. Their hair is
still wet and they are both drinking beer while they snack on
the food Rodney has prepared. The TV is on in the background,
since neither of them pays attention to it. Rodney laughs.
RODNEY
Seriously? Did you punch that guy?
MARTA
(grabbing his arm)
Do you want me to show you how I
did it?
RODNEY
(feigning fear)
Oh! I surrender, I surrender! Let
me go and I'll bring you another
beer!
Marta lets go of him with a laugh and Rodney takes the
opportunity to get up from the couch. Marta checks out her
cell phone on the table. She goes through the messages and
sends a WhatsApp to IRENE: "DO YOU WANT TO CHAT FOR A
WHILE?"; but Irene does not answer. With a look of annoyance,
she turns off the phone and just then Rodney returns with two
cans of beer.
12.
MARTA
Thank you, honey, but I think I've
had enough for today. I'm going to
go to bed.
Rodney shrugs.
RODNEY
Then I will drink them to your
health.
Rodney plops down on the couch and starts zapping.
Genres:
["Drama","Comedy"]
Ratings
Scene
5 -
Preparing for the Meeting
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
upside-down rose. Irene moves her body as if she were
dancing. She is dressed in a black leather harness. She looks
at herself in the closet mirror, swaying.
IRENE
(with suggestive tone)
Do you like it? Do you think it
suits me?
A notification rings. It’s Irene's cell phone; but she
ignores it. On the bed is a laptop with a webcam on. Irene
checks her framing, wanting it to look good on the screen.
There is a Twitter account she is logged into and, through
the cam, the face of AMODARK (48) is seen between some
shadows.
AMODARK
(with deep voice)
Show me the rest.
Irene smiles and goes in search of a bag from which she takes
out each of the items with a sensual gesture and shows them
through the laptop's webcam. One of the items is a leather
necklace with a chain as a leash.
AMODARK (CONT’D)
Try that on.
13.
Irene feels desired and obeys, while laughing. Her phone
rings, but she doesn't answer. Her dog TRUHAN, a beagle,
enters the room, sniffs the new stage props and barks
increasingly louder, forcing Irene to interrupt the video
conference and throw him out of the room. When she returns,
AmoDark has logged out, leaving her a written message: "BRING
IT ALL".
Irene smiles pleased when she reads the message, and closes
the lid of the laptop. She turns back to the mirror and looks
at the photo of her and Luna together. She makes a sensual
gesture as if she were also posing for the girl in the photo.
She blows a kiss into the air, but she stops that attitude
right away.
She smiles sadly. She gathers together all the items she has
bought, putting them back in the bag and lies down on her bed
where she checks her cell phone, going through the unread
messages, and sees the message that Marta sent her a few
minutes ago. So, without getting out of bed, she rings her
number.
Genres:
["Drama","Thriller"]
Ratings
Scene
6 -
A Missing Daughter and a Meeting at 221B
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?
IRENE
I just read your message. I hope I
did not wake you up.
MARTA
Oh, it's you. No, you didn’t. I
wasn't asleep. But I was about to
go to bed.
IRENE
(laughing)
Don’t lie to me. You were asleep.
MARTA
Whatever. I'm glad we can finally
talk.
14.
IRENE
Hey, I know you're tired. I just
want to suggest that we meet up one
afternoon to talk quietly, while
having a coffee.
MARTA
If you change the coffee for a
drink, I accept.
IRENE
It’s up to you. How about tomorrow
afternoon?
MARTA
Sounds good for me. We can meet in
221B. Do you know it? They offer
luxury drinks and they also serve
coffee.
IRENE
I do. I think I've been there with
you before. See you there at five?
MARTA
Okay.
IRENE
See you tomorrow then. Sleep tight.
Marta hangs up the phone, feeling relieved, and closes her
eyes. Rodney lies down next to her. He begins to caress her,
and she sits up abruptly.
MARTA
Forget it! I’m tired.
Rodney is about to reply something; but Marta wags her finger
at him threateningly.
MARTA (CONT’D)
If you insist, I will put handcuffs
and a gag on you.
15.
They both stay on the bed, in silence. Marta falls asleep
immediately while Rodney watches her, still with his eyes
open.
FADE TO BLACK
21 INT. POLICE STATION - DAY.
MARTA reviews some documentation and JOAQUÍN, who is
gathering his stuff, approaches her.
JOAQUÍN
Are you going to stay all
afternoon??
MARTA
I want to finish some paperwork.
Why do you ask?
JOAQUÍN
No reason. I thought you were
meeting someone.
Marta's face lights up. She looks at the time and, without
putting the papers away, she gets up quickly, cursing.
MARTA
Shit! Irene. I had forgotten!
JOAQUÍN
(in a joking tone)
Someday you are going to introduce
me to your friend.
Marta gives him a look, as if sparing him the death penalty.
MARTA
She's not your type. But I owe you
one!
Marta leaves the office in a hurry.
22 INT. CAFÉ 221B - DAY.
MARTA arrives in a hurry to the meeting place. She looks at
the time and walks quickly, looking among the tables for
Irene. When she finally finds her, she approaches her.
16.
IRENE gets up from her seat and they both give each other two
kisses.
MARTA
Sorry. I was absorbed in work.
IRENE
(smiling, sarcastically)
How odd! Why doesn't that surprise
me?
Marta and Irene sit.
MARTA
(with a resigned gesture)
Well, let's talk about serious
things: how is Luna doing?
Irene's face abruptly loses its smile and Marta notices it. A
WAITER (25) approaches the table.
MARTA (CONT’D)
I'm going to have a gin and tonic.
IRENE
I'll have the same.
The waiter nods affirmatively and leaves. Marta looks at
Irene with concern and takes her hand.
MARTA
What’s the matter?
IRENE
Nothing. She... she had to go.
MARTA
(surprised)
When? I had no idea...
Irene forces a smile.
IRENE
It doesn't matter. Let's talk about
something else.
17.
Genres:
["Drama","Crime","Mystery"]
Ratings
Scene
7 -
Confessions at Cafe 221B
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.
MARTA
This is the best gin and tonic in
the world... Well, why did you want
to see me?
IRENE
Do I need a reason? We are friends.
I was willing to see you.
MARTA
Come on! Spit it out!
Irene takes a long drink from her glass and snorts.
IRENE
I have gotten into a
sadomasochistic relationship.
MARTA
(choking on her drink)
What are you saying? Tell me at
least that you are the one with the
riding crop.
IRENE
I'm afraid not. I'm going to spend
this weekend with a master.
MARTA
Come on! All weekend? In a hotel?
Irene nods negatively.
IRENE
In a house on the outskirts.
MARTA
How did you know him? Did someone
introduce you?
IRENE
I met him on Twitter.
18.
MARTA
So, you haven't seen him in your
fucking life. And you go with him
to a house for a whole weekend.
Damn, you're out of your mind.
Irene looks at her with a forced, uncomfortable smile.
MARTA (CONT’D)
How did this cross your mind, tell
me?
IRENE
Maybe it's just curiosity.
MARTA
Curiosity? What's wrong with you?
Have you read one of those Grey's
books and been blown away?
IRENE
(nodding negatively)
Months ago, I began to be
interested in this topic. I have
been informing myself on the
Internet, I contacted Twitter
groups about this matter, I have
had virtual dates...
MARTA
I guess you know that these silly
little games on the Internet have
little to do with real sex.
IRENE
Real sex? Do you really think it's
not real because it is through a
screen and a camera?
MARTA
Listen. Maybe it's fun. I do not
deny it; but it’s not the same, and
even less so if it involves games
of domination.
19.
IRENE
I assure you that, for me, it is
the most exciting thing. I haven't
felt so alive in a while.
MARTA
(snorting)
Have you even bothered to
investigate your "master"?
IRENE
What for?
MARTA
Wow, you're naive. Listen, tell me
your Twitter account.
IRENE
Wait. What do you have in mind? I
won’t let you spy on him.
MARTA
That wouldn't be spying... Damn.
OK. At least tell me where the
meeting will take place. Is it one
of those places they rent for these
things? You know, decorated like
dungeons and all that stuff.
IRENE
I can't give you an address. It is
a house away from the city. It is
not in an urban center. You get
there through an unmarked path.
MARTA
In other words, it’s in an isolated
place in the middle of the country.
I like your date less and less.
Will I be able to persuade you to
cancel it?
IRENE
No, you won’t.
20.
MARTA
I knew it. Listen. I guess you have
the coordinates to get to that
place, right? Give me the location.
I only ask you that.
IRENE
What for? Are you going to join the
party and surprise us by showing
up?
MARTA
I don’t mean that; but...
IRENE
Listen. If I'm telling you all
this, it's because you are my
friend and I wanted to share it.
For me, it's like an adventure.
MARTA
I know, and I don't mean to spoil
your party. I have asked you for
the location, but I don’t plan to
interrupt anything. But if I didn't
hear from you by Monday, I would go
there to look for you.
IRENE
What do you think will happen?
MARTA
Nothing. I hope so. But if
something were to happen to you, I
don't want to torment myself
thinking that I could have helped
if I had known the location.
IRENE
(sighing)
Alright. I’ll send you the location
by phone. You happy?
MARTA
Not entirely.
IRENE
What else do you want?
21.
MARTA
That guy's Twitter username.
IRENE
No. I don’t want you to snoop
around...
MARTA
I swear I'm not going to snoop on
anything unless something happens
to you.
IRENE
Okay, I'll send you the location
and his Twitter alias. Anything
else?
Marta calms down and takes a long drink of her gin and tonic.
MARTA
I wouldn't have worried if you had
chosen the role of mistress. Guys
who allow themselves to be beaten
are assholes and deserve to be
kicked; but the others are
psychopaths, fucking morons.
Irene looks at her cell phone clock.
IRENE
It has been a pleasure to talk with
you; but I have to go. You know,
the preparations.
Marta nods affirmatively, smiling. Irene takes her purse out
of her bag and puts a bill on the tray to pay the check.
MARTA
Don’t bother. We pay half.
IRENE
You pay the next time. If you want
me to tell you about next weekend,
you'll have to.
Marta smiles and accepts. They get up and kiss goodbye. At
the exit door, when they are about to separate, Irene turns
to Marta.
22.
IRENE (CONT’D)
Would you really have preferred me
to be a...?
MARTA
What?
IRENE
Moronic psychopath. Isn't that what
you called the masters?
MARTA
But I didn't mean you.
IRENE
Of course!
Irene opens the door and leaves. Marta stands for a moment
and, through the glass door, she sees the figure of her
friend disappear into the crowd.
FLASHBACK.
Genres:
["Drama","Thriller"]
Ratings
Scene
8 -
Defending a Friend
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)
approach her and, seeing them coming, Irene tries to run away
from them. The BOYS surround her and prevent her escape.
25 EXT. INSTITUTE COURTYARD - DAY.
MARTA (15) sees the BOYS harassing IRENE in the distance. The
boys laugh while they grope her. Irene tries to defend
herself without success.
Marta is not that attractive and, especially next to Irene,
she seems like a tougher girl. Marta decisively addresses
BOY1 who is harassing Irene at that moment, and pushes him
back. Boy1 turns and looks at her up and down.
BOY1
Go away. I’m not interested in you.
23.
MARTA
Leave my friend alone.
BOY1
She's hotter than you. I'm not
going to leave her alone.
After saying this, boy1 gropes Irene's ass and chest, who
cries, trying to get rid of him. Marta pushes him again and
stands between Irene and him, standing up to the boy.
BOY1 (CONT’D)
(with sarcasm)
If you insist, we can have a
threesome.
The three boys who surround the bully celebrate his joke.
Marta reacts decisively and punches him, causing him to lose
his balance. When he is getting up, she kicks him in the
crotch and the boy writhes in pain. Irene watches the scene
with admiration, even pleasure. Marta turns to her and gives
her hand to get her out of there. Before leaving, Marta turns
to the other boys.
MARTA
If you guys happen to bother her, I
will do the same to you.
Boy1 begins to sit up, battered, and looks at them with
hatred.
BOY1
Tomboys! Get out of here!
Marta and Irene ignore the provocation and leave.
END FLASHBACK.
26 INT. MARTA'S APARTMENT/OFFICE - NIGHT.
MARTA looks carefully at a web page with different profiles
of masters on her laptop screen. From the door, RODNEY sees
her busy on her laptop and enters the office. He hugs her
from behind.
RODNEY
I thought we agreed that you
wouldn't take work home.
24.
MARTA
(sighing) )
It's not from work.
Rodney looks at the screen and is surprised to discover that
Marta is browsing BDSM-related Twitter profiles. Makes a
surprised face.
RODNEY
What's that?
MARTA
Don't worry. It's because of
something my friend Irene told me.
RODNEY
Is it something you should worry
about?
MARTA
I don’t know yet.
RODNEY
Tell me about it.
MARTA
Irene is going to see a master this
weekend. I'm looking at his Twitter
profile.
RODNEY
Why? She is already grown up. If
she likes those games, what's
wrong?
MARTA
The problem is that she doesn't
know that guy at all and he has
arranged to meet her at a house in
the middle of nowhere.
RODNEY
I see. And have you found out
anything?
Marta nods negatively with a worried expression.
25.
RODNEY (CONT’D)
I wouldn't worry too much. Your
friend Irene has always been...
MARTA
Strange? Maybe. But I worry. I
can't help it.
RODNEY
What makes you think you have to
follow her? You are not her
bodyguard.
MARTA looks at RODNEY tenderly and shakes her head
doubtfully.
MARTA
I feel like something is wrong. And
my intuition does not usually fail
me.
RODNEY
What are you going to do then?
Marta moves away from the laptop and stands up. She hugs
Rodney.
MARTA
Don't be angry. Come on! Let's
forget this matter.
Rodney does not hide his satisfaction and smiles frankly.
kisses her.
RODNEY
Let's go out for a drink. That will
distract you and you won't give it
any more thought.
MARTA
Alright. I turn this off and we
leave.
Rodney nods affirmatively and leaves the office. Marta looks
at the Twitter account again, with a worried expression. She
turns off the computer.
26.
Genres:
["Drama","Thriller"]
Ratings
Scene
9 -
Weekend Getaway with a Canine Handoff
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.
IRENE opens the trunk of her car and, with a signal, tells
her dog TRUHAN to get in. He obeys, jumping. Then she puts
her luggage inside, the travel bag with the dog's stuff and
closes the trunk.
29 EXT. RESIDENTIAL AREA. DAY.
IRENE drives through the city until she reaches a residential
area on the outskirts. She parks her car and rings the
doorbell of one of the houses. Antonio (62), a thin man with
a frail and aged appearance, opens the door. They greet each
other with a kiss.
ANTONIO
Hello! Did you bring me Truhan?
IRENE
I have him in the trunk. Let's go
for him.
Antonio and Irene head towards the car.
ANTONIO
Your holy mother is going to kill
me when she sees this furry guy at
home.
IRENE
Haven't you told her yet?
Antonio smiles mockingly. Irene opens the trunk and TRUHAN
greets Antonio effusively.
ANTONIO
Don't worry. I'll blame you for
everything. I'll tell her that you
stayed home with the dog, saying
you had to leave.
27.
IRENE
You are a case...
ANTONIO
Well, I call it “fait accompli
politics”.
Irene leashed the dog and hands the leash to Antonio.
ANTONIO (CONT’D)
Where are you going to spend the
weekend?
IRENE
A friend and I have rented a rural
hotel.
ANTONIO
One of those having a pool and
massage service?
IRENE
Of course! You already know me.
ANTONIO
And they don't let you bring
animals?
IRENE
No. They don’t. Also, my friend is
allergic.
ANTONIO
Do you mean your friend the female
police officer?
IRENE
No, I don’t. I'm going with
Natalia.
ANTONIO
The weird one? Well...
Irene casts a disapproving look at her father. Antonio grabs
one of the travel bags in the trunk and prepares to open it.
IRENE
(nervous)
Don’t. That's my luggage.
28.
Irene takes the bag from his hands, puts it back in its place
and hands him the bag with her dog's stuff. Irene closes the
trunk.
IRENE (CONT’D)
I have to go now. Take care of
Truhan. And don't fight with mom.
They say goodbye. Irene gets into her car.
Genres:
["Drama"]
Ratings
Scene
10 -
Dark Encounter
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.
IRENE'S car travels along a main road and takes a detour.
32 EXT. MINOR ROAD - NIGHT.
IRENE'S car leaves a secondary road and enters a dirt road.
33 INT. IRENE’S CAR - NIGHT.
IRENE stops the car and picks up her cell phone. Before
leaving the vehicle, deletes recent location history and
turns off the phone.
MARTA and RODNEY are sitting on the couch watching TV. Rodney
falls asleep and Marta gets up quietly. She goes to the
office and plugs in the computer.
She browses a BDSM meeting site. She finds a videos section.
She hesitates a little before clicking.
A screen is in view with dozens of thumbnail images linked to
videos. She clicks on one at random. The video shows a
blindfolded woman on her knees, with her hands tied behind
her back. A guy comes up behind her and pushes her violently.
Then he climbs on top of her and raises his hand. He
brandishes a huge dildo. Marta snorts and stops the video.
29.
She takes a deep breath and plays another one. This video
shows a woman with a ball gag in her mouth. Very tight ropes
are tied to her body, surrounding her breasts, arms, legs.
Marta looks with a displeased face. Her ropes are so tight
that they leave indentations in the woman's flesh. A hooded
man approaches and slaps her. He pounces on her and rapes her
while he squeezes her neck with his hands. The woman's face
turns red. Marta stops the video, rubs her eyes with her
fingers and looks down for a moment.
She looks up again and chooses another video. In it, a woman
in leather boots whips a man chained to rings who wears a
metal device, which presses on his genitals.
Marta looks scared and stops the video. She huffs with
resignation, closes her laptop and lights a cigarette.
35 INT. COTTAGE/HALL - NIGHT.
IRENE enters the house, carrying the bag. All the windows are
closed, the blinds and the curtains are drawn. No light
enters from the outside. The room is illuminated with candles
placed on the floor and with candelabras on the few rustic
furniture. The first ones form a path leading to a narrow,
empty room. There is a handwritten note with brief
instructions: "CHANGE AND WAIT."
36 INT. COTTAGE/ROOM - NIGHT.
IRENE enters the room and begins to undress. A couple of
candles dimly illuminate the room.
37 INT. COTTAGE/ROOM - NIGHT.
IRENE is dressed in black leather lingerie, she is barefoot.
She has a leather strap around her neck and wears her hair in
a ponytail. She is standing and shivering from the cold. She
rubs her body with her hands. The candles are about to burn
out. There is a loud knock, and Irene turns towards the door.
IRENE
Is there anybody there?
Nobody answers. She sits on the floor. PERSEPHONE (38) shows
up, another slave dressed in a black latex suit. They look at
each other.
30.
Without saying a word, Persephone ties a chain to the slave
collar she is wearing. They don’t speak. Persephone pulls
Irene and they leave the room.
38 INT. COTTAGE/LIVING ROOM - NIGHT.
PERSEPHONE and IRENE enter a large room also illuminated with
candles. Music that is difficult to identify is heard in the
background: instrumental sounds, moans, screams, gasps (it is
a recording in loop mood). AMODARK waits for them sitting on
a wooden chair. He is dressed in dark clothing and a mask
over his eyes.
AMODARK
You, stay in the cage until I tell
you to.
Persephone immediately obeys and goes into a cage under a
torture rack.
Irene is standing in the middle of the room with the dog
leash hanging around her neck. She is scared and waits for
AmoDark to guide her. He gets up and approaches her. Without
touching her, he grabs the leash and pulls it violently,
dragging Irene to a wall with several nailed supports and
hanging chains. He hooks the leash on one of those supports.
AmoDark feels her, as if she were an item and he was
examining the quality of the material. Irene lets herself be
done.
Without releasing Irene from the chain, AmoDark presses on
her shoulders to make her kneel, which makes the chain a
little tighter. He ties her hands behind her back and then
wraps the rope around her ankles, completely immobilizing
her. In that position, he continues touching her entire body
and placing the Japanese clamps on her nipples.
Then, he lays her face down so that her legs can be raised
and separated by the restraints that connect her wrists and
ankles, leaving room for penetration. The chain of her collar
then becomes tighter and she pulls on the leash, putting
slight pressure on Irene's neck, but everything seems
calculated to not suffocate her.
31.
AmoDark begins to shake her with the rattan stick on her
buttocks and the back of her thighs, one of which is tattooed
with a waning moon crossed by an upside-down rose.
AmoDark sodomizes her. Irene suffers and enjoys, cries and
moans, resists but remains submissive. She has several
tearful orgasms; it’s evident that she is exhausted; her
muscles are no longer responding to her; she is completely at
the mercy of AmoDark and his own pleasure.
Then, a stranger enters the room. This is JOTA(50) a man with
a hard face and a worked out body. He looks at the spectacle
with a challenging gesture. Irene notices his presence and
looks at his face. Then Jota approaches and pushes aside
AmoDark, who makes way for him and heads to the cage where
Persephone is. Jota stands in front of Irene and grabs her by
the ponytail.
JOTA
What are you staring at, bitch?
Jota notices the tattoo that Irene has on her right thigh. He
takes the ball gag and places it on Irene.
JOTA (CONT’D)
I met a bitch who had an identical
tattoo. Her name was Luna. Did you
know each other?
From her position, Irene gestures that she does not know who
he is referring to. Her level of excitement seems have turned
into pure fear.
JOTA (CONT’D)
Really? Well, you guys look a lot
alike. You are just as shit as she
was.
Jota begins to tighten the chain so that Irene begins to
suffocate.
JOTA (CONT’D)
I enjoyed that bitch. Too bad she
didn't have stamina. Do you have
more resistance or will I finish
you off easily too?
AmoDark looks towards Jota and Irene.
32.
AMODARK
Hey! You're going to suffocate her!
Jota releases the chain and kicks Irene in the ribs. He gets
close to her ear and whispers.
JOTA
I finished off your little friend
and I’ll do the same to you.
AmoDark comes closer to Jota and puts a hand on his shoulder.
AMODARK
Hey! Don't overdo. We have come to
have fun, not to kill anyone.
Jota, without stopping to look at Irene, shakes off the hand
from his shoulder and smiles contemptuously.
JOTA
These bitches need to get a good
education. And that's what I'm
doing now.
Irene, with the ball gag on her face, cannot speak clearly.
She tries to make herself understood, until Jota bends down
and rips off her gag.
IRENE
Red!
JOTA
(laughing but confused)
Red?
AMODARK
It's the safe word. Stop it.
JOTA
No way. She belongs to me.
Irene screams and Jota slaps her and hits her with a brass
knuckle, leaving her stunned. AmoDark intervenes to defend
her and gets into a fight with Jota.
Genres:
["Drama","Thriller","Erotic"]
Ratings
Scene
11 -
The Ritual House
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
on the other side. Marta takes her cell phone away from her
ear and looks at the screen. Multiple calls failed are listed
in the call history.
Marta opens the WhatsApp app and Irene's chat appears. Marta
scrolls through the screen where the messages read: "BABY,
HOW DID IT GO?" at 1:00 p.m. "IRENE, YOU'RE MADE VICIOUS" at
7:00 p.m. "HEY, SLUT, ANSWER!" at 00.30. "IRENE, PLEASE, I'M
STARTING TO BE HYSTERICAL" at 07.30. All messages appear as
unread.
Marta gets up and goes to her boss's office.
40 INT. POLICE STATION/ISIDRO'S OFFICE - DAY.
ISIDRO (54) is sitting at his table typing something on the
computer. They knock on the door and Isidro interrupts the
task.
ISIDRO
Come in.
MARTA opens and remains in the doorway.
MARTA
I come to ask your permission to
leave. I feel bad. I think I have a
little fever.
ISIDRO
(scrutinizing her face)
Oh. I see. You have bad face. Go
home.
Marta turns to leave. Isidro calls her.
ISIDRO (CONT’D)
Go through the Health Service
first. Get you checked.
MARTA
Thank you! I will.
34.
41 EXT-INT. MARTA'S STREET/CAR - DAY.
MARTA walks down the street until she reaches her car, parked
near the police station. She gets on it and takes out her
mobile phone from her bag. She looks for the location that
Irene gave her and turns on the GPS. She starts the car.
42 EXT. ROAD - DAY.
MARTA car travels on a main road and takes a detour.
43 INT. CAR - DAY.
MARTA’s car is traveling on a secondary road and, at one
point, the GPS indicates that the car should turn right in a
few meters. Marta slows down and tries to figure out where
the exit is, but she doesn't find any sign. There is only
something that looks like a country road, a path that is
barely visible. She turns right and drives down that road,
where she has to go very slowly because it is full of
potholes and the damping of her car is terrible. After a
couple of kilometers, at the end of the path, a house is
finally seen. She parks at a safe distance and, before
getting out of her car, she checks her service weapon and
puts it in the waistband of her pants.
44 EXT. COTTAGE - DAY.
MARTA gets out of her car and walks to the house. There is
not a soul around. She surrounds the house, but finds no
parked cars or any traces that indicate human presence. All
the windows are closed and the blinds drawn; so, she cannot
look inside the house. She finishes walking around it until
she reaches the front door again and knocks on the door.
Nobody answers. She checks that the door is closed. Next, she
takes out of her pocket a set of wires with which to open the
lock. She opens the door after fiddling with it for a while.
45 INT. COTTAGE/HALL/LIVING ROOM/BEDROOM - DAY.
MARTA enters the house. Inside it's all dark. She turns on
the flashlight on her cell phone and pulls out the gun from
her waist. She crosses the hall and the living room. On the
floor, she sees traces of wax, burnt candles, but no sign of
anyone.
35.
When she reaches the back room, with the door closed, she
slowly opens it and shines the flashlight inside. On the wall
there are rings, chains and, on the floor, there is a cage
and some stuff used to provide an atmosphere for this type of
activities.
In the center of the room, she contemplates, horrified, the
corpse of AMODARK, who has been violently murdered in the
middle of a scenario that seems completely unreal to Marta,
like something out of a movie.
At the crime scene, everything seems to have been expressly
prepared to show the staging of a macabre ritual. The
position of the body, for example, is totally unnatural and
has been placed in a posture with a sexual connotation. There
is BDSM decoration that seems to have been arranged in a
certain way to reinforce the image of a symmetrical
composition, with a pre-established order. The center of that
horrifying composition is the corpse of AmoDark, brutally
wounded with bumps and bruises that run all over his body.
MARTA
Irene! Somebody home?
With accelerated movements, Marta goes through the rest of
the rooms of the house, opening the doors abruptly, entering
the rooms with the gun in front of her, aiming first at the
blind corners and calling out Irene’s name continuously. But
she doesn't find any trace in the house. Not a soul, nothing.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
12 -
A Ritual of Death
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
Shit. Shit. Shit!
When she regains some peace of mind, she takes out her cell
phone and finds out that there is little coverage. She walks
until she finds a point where the signal is better and rings
the extension of her partner JOAQUÍN. She waits and, after
two or three rings, he finally answers.
36.
MARTA (CONT’D)
Joaquín, this is Marta. I got a
problem.
JOAQUÍN
Where are you calling me from?
You’re breaking up.
MARTA
(stammeringly)
Listen. I’m calling because of my
friend Irene. She is not here. And
there's a dead guy. Murdered.
JOAQUÍN
What the fuck are you talking
about?
MARTA
I'm going to send you my location,
okay? Call the judge and the
forensic team.
JOAQUÍN
But what...?
MARTA
I will explain it to you later.
I'll wait here.
Joaquín mutters under his breath. Marta hangs up on him.
47 INT-EXT. MARTA'S CAR/COTTAGE - DAY.
MARTA is sitting in her car, smoking a cigarette. She hears
the engine of approaching vehicles and crushes the cigarette
against the car's ashtray, which is full. She gets out of the
vehicle.
Police vehicles arrive at the scene. AGENT1 (44) and JOAQUÍN
come out of one of the cars. Marta approaches them. The JUDGE
(55) comes out of the other car accompanied by a FORENSIC
EXECUTIVE (58).
MARTA
(showing the badge)
Good morning.
37.
AGENT1
What happened here?
MARTA
Inside the house. There is a man
murdered.
AGENT1
Can I ask what you were doing here?
MARTA
Of course. But it's a long and
complicated story.
AGENT1
(producing a notebook)
No hurry.
48 INT. COTTAGE - DAY.
The JUDGE and the CORONER put on gloves and enter the house
preceded by AGENT2 (54) and AGENT3 (38) who thoroughly
examine the scene in search of evidence. Agent3 photographs
details of the rooms, the burned-out candles, ropes, chains,
rings, a cage and a gynecologist's chair that seem to be part
of a macabre decoration. Agent 2 leaves a room and gestures
to the judge and the coroner to come closer.
AGENT2
Here it is.
The judge and the coroner come closer. Upon seeing the body,
the judge makes a face of displeasure.
JUDGE
Good Lord!
The coroner leans over the body and begins to examine it,
trying not to touch too much.
FORENSIC
I'd say he's been dead for 48
hours.
JUDGE
It seems that there was cruelty.
38.
FORENSIC
Yes, indeed! Some of the injuries
could have been caused postmortem.
And probably, that dildo was
introduced after placing the body
in this position, when he was
already dead.
JUDGE
Like the murderer's signature.
FORENSIC
Maybe.
JUDGE
And what is all this? A kind of
sadomasochistic ritual?
AGENT2
I guess that's what whoever set
this stage up wanted it to look
like.
JUDGE
What do you mean?
AGENT2
All the objects here suggest that
there was such a meeting. But the
clothes the victim was wearing
indicate that he was a master.
JUDGE
Perhaps a planned revenge? An angry
slave?
AGENT2
Maybe. Or even another master who
entered into competition with him.
FORENSIC
In any case, they gave the guy a
good defeat. Judge, when you give
the order, the body must be taken
to the morgue to perform an
autopsy.
39.
JUDGE
Have they taken pictures of
everything yet?
AGENT2
Yes
JUDGE
Let's go out, then. We have to take
this poor unfortunate.
Genres:
["Crime","Thriller","Mystery"]
Ratings
Scene
13 -
The Animal Hair
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.
MARTA
Thanks.
Agent1 greets her and leaves. Then JOAQUÍN approaches her.
JOAQUÍN
What a mess! Why didn't you tell me
anything before you acted on your
own?
MARTA
(shrugging her shoulders)
I guess I didn't expect to find any
of this.
JOAQUÍN
This doesn't stop here. And you are
going to have problems. You entered
that house without authorization.
MARTA
That doesn't matter now. Have you
found any clues that lead to Irene?
JOAQUÍN
No, I haven’t. I heard that they
want to search the ground in case
they find... They are going to
bring the dogs.
40.
MARTA
The dogs?
JOAQUÍN
Listen, you know how this works.
Everything possible will be done to
find Irene, you know that.
In the meantime, you should go home.
MARTA
I won't leave until I know
something more.
JOAQUÍN
There's nothing left you can do
here. They are going to take the
body and seal the house. Listen to
me: go home and try to rest.
MARTA
I'll leave when the others leave.
Joaquín frowns and grunts. He turns around and leaves Marta
alone. She is searching through her purse looking for
tobacco. The package is empty, and she crumples it into a
ball in her fist.
50 EXT. COTTAGE/BACK - DAY.
AGENT1 and AGENT2 look for tire marks around the house. They
take photographs of any details that catch their attention
and place marks. MARTA approaches them. It is evident that
Marta's presence causes them some discomfort.
AGENT1
In this part of the terrain that is
sandier there seem to be two tire
marks.
MARTA
One of them has to be from Irene's
car. The other is probably from the
victim's vehicle.
AGENT2
If so, someone took it.
41.
MARTA
This indicates that there was
someone else in the house.
AGENT1
Someone else?
MARTA
In addition to the victim and my
friend Irene. A third person who
took the car, maybe the killer.
AGENT2
But if there was a third person,
she or he would come in his or her
own car. This doesn't check out.
Why would anyone want to take the
victim's car?
MARTA
Maybe he/she came back for it
later, to hide it.
AGENT1
I see. And for what purpose?
Marta sighs with a worried expression.
AGENT2
Listen. I know what you're up to.
You don't want your friend to seem
suspicious. But what we know, for
now, is that she was here. Or
that's what she told you, right?
Martha nods affirmatively. She turns around and walks to her
car. She leaves the scene.
51 INT. MARTA'S APARTMENT/LIVING ROOM - NIGHT.
RODNEY is sitting on the couch. He is asleep, head tilted. He
has his cell phone on his legs. The street door is heard.
Hearing the sound, Rodney wakes up, checks the time on his
cell phone and gets up. MARTA enters the living room. She
seems dejected.
42.
RODNEY
Where were you? Why haven't you
answered my calls?
MARTA
I have been busy. I'm sorry.
RODNEY
And may I know what you've been
doing so important?
MARTA
I come from a crime scene. In the
house where Irene was.
RODNEY
But then, is she...?
MARTA
I don’t know. There’s no trace of
her. She doesn't answer her cell
phone either. It's like she has
vanished.
Rodney reaches out to hug Marta. She collapses only
momentarily and begins to cry on his shoulder; but then she
fights back the tears and abruptly separates from Rodney.
MARTA (CONT’D)
Leave me alone, please.
Rodney looks at her ruefully and leaves without saying
anything. When Marta checks that she is alone, she falls on
the couch and cries silently.
FADE TO BLACK
52 INT. MORGUE - DAY.
MARTA attends the autopsy of the body where the CORONER
provides data for her ASSISTANT (35) to write down in a
notepad.
CORONER
The death occurred more than 48
hours ago, possibly on Saturday
morning.
(MORE)
43.
CORONER (CONT’D)
Probable cause of death: lethal
injury from a blow to the base of
the skull. There are also signs of
cruelty caused by the action of a
blunt object that has caused bone
fractures and trauma, some of them
post-mortem, throughout the body.
MARTA
Did they hit him with the same
object?
CORONER
I would think so, according to the
size of the bruises.
MARTA
Any signs of sexual activity?
CORONER
We have not found semen on his body
or at the crime scene. But we did
find some remains of hair stuck to
his clothes.
MARTA
I see. What color?
CORONER
I know it will seem strange. But
the hair seems to be of animal
origin. Maybe he had a pet.
Marta is silent and her face breaks down.
CORONER (CONT’D)
What’s wrong?
MARTA
My friend Irene had a dog; I mean,
she has a dog.
The coroner and the Assistant stare at Marta, without saying
anything. Marta leaves the morgue.
44.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
14 -
Marta's Determination
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
are no longer sick.
MARTA
(embarrassed)
I think I owe you an explanation.
ISIDRO
Definitely.
MARTA
I don't know where to start. I'm
stunned.
ISIDRO
I have read your statement. Your
behavior was strange, to say the
least. They could discipline you.
MARTA
I wish I could make up for it,
but... It was about my friend.
ISIDRO
That is not an excuse. Not even a
bad excuse.
MARTA
I'd like to help and participate in
the investigation: I have to find
Irene.
ISIDRO
That's not entirely up to me. Now
the case is being handled by
Homicide. However, I don't think
it's a good idea.
MARTA
I could collaborate. I know Irene's
parents and some of her friends.
(MORE)
45.
MARTA (CONT’D)
It would be easier for me to
interview them.
ISIDRO
I don't know. Let me make some
calls and I'll see what I can do.
MARTA
Thank you. One more thing. Could I
see the victim's file?
Isidro sighs. He takes a dossier from his office table and
hands it to her.
ISIDRO
You can take a look at it, but you
can't take it with you. We were
able to identify him by his
footprints.
Marta takes the dossier with a trembling hand, sits down and
begins to read.
MARTA
There is nothing here.
ISIDRO
He had no criminal record or
complaints for any other reason. In
his file, there are only a couple
of traffic tickets for speeding.
Nothing that provides a significant
clue. Everything looks filthy
clean.
MARTA
That's all?
Isidro nods affirmatively. Marta returns the dossier. She
gets up and heads to the door.
ISIDRO
One more thing. If they finally
give you permission to be part of
the investigation operation, I want
you to inform me of every step you
take. I don't want any more
surprises. Okay?
46.
Marta nods affirmatively, without turning around. She leaves
the office.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
15 -
Interrogation Room Interviews
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
of them is GABRIELA (33), a very attractive mulatto woman.
MARTA remains standing behind her companions, with her back
against the wall.
FELIPE
Well, guys. Before we begin, I must
ask you for the utmost discretion.
You shouldn't comment on anything
said here, okay?
Gabriela nods affirmatively, without speaking. It is evident
that she’s restless and worried.
ISABEL
How did you and Raimundo meet?
GABRIELA
(with a dominican accent)
We met five years ago in my country
and I came here with him. We
married. I have everything in
order. I am a Spanish citizen.
FELIPE
Do not worry about that.
INTERVIEW 2:
FELIPE is sitting sideways with his legs crossed and looking
bored while ISABEL reviews a file. The door to the room opens
and LORENZO (50) enters, a man with little hair and
overweight, with a harmless appearance. MARTA enters after
him. Felipe sits tight in his seat. Isabel gestures to
Lorenzo to take a seat and everyone sits down except Marta,
who remains observing without participating in the interview.
47.
FELIPE (CONT’D)
Very good. Thanks for coming. As
you know, we are trying to clarify
the circumstances of Raimundo
Gutiérrez's death. You were friends
of his, right?
LORENZO
Well, not exactly friends... We
were co-workers. Although from time
to time we would meet up to watch
football and have a few beers, you
know.
FELIPE
Got it. And did you also see each
other in other types of meetings?
LORENZO
What do you mean?
INTERVIEW 3:
FELIPE and ISABEL open the door and ask GINÉS (60), a small,
restless-looking man, to come in first. They enter next,
followed by MARTA. Everyone takes a seat, except Marta, who
remains in an observer position.
GINÉS
This won't take long, will it?
ISABEL
Are you in a hurry?
GINÉS
I am indeed. I have to take care of
my business.
FELIPE
Don't worry. We're not going to
take too much of your time. But we
need your cooperation.
GINÉS
That's why I'm here. When can I
enter the house? I need to clean it
of... you know, before I rent it
again.
48.
ISABEL
We can't give you a date; but we
hope it will be as soon as
possible.
INTERVIEW 1:
GABRIELA searches in her purse and takes out a pack of
cigarettes.
ISABEL (CONT’D)
Smoking is not allowed here.
Gabriela makes a disgusted face and puts the cigarettes away
again.
ISABEL (CONT’D)
Did you know about your ex-
husband's love for BDSM?
GABRIELA
What's that?
ISABEL and FELIPE exchange a look.
ISABEL
Did your ex-husband use to have
different sexual practices with
you?
Gabriela makes a face of perplexity.
FELIPE
My partner is asking if he ever
tied you up or hit you during sex.
GABRIELA
(laughing)
Raymond? Tie me? Oh my God!
Gabriela laughs out loud without being able to contain
herself. Isabel and Felipe try to keep their poker faces even
though the situation makes them uncomfortable.
INTERVIEW 2:
LORENZO scratches his bald head with a meditative gesture.
49.
LORENZO
Now that he says it, Raimundo
actually sometimes held meetings in
a cottage.
FELIPE
What type of meetings?
LORENZO
Hmm, friends meetings.
ISABEL
What did they used to do there?
LORENZO
Normal things. I mean, there were
drinks. Raimundo brought out a
barbecue and... Oh, no! I know what
you are imagining.
FELIPE
I don't know. You tell me.
LORENZO
(uncomfortable)
Well... women. Raimundo wasn't that
kind of person.
FELIPE
What was he like? Describe him.
LORENZO
A normal guy. Sociable, although he
didn't talk much. He was a nice
person, although a bit...
ISABEL
What?
LORENZO
I don't know how to say it. He
wasn't the life of the party. I
don't know if you understand what I
mean.
INTERVIEW 3:
GINÉS crosses his arms and stares at his interviewers.
50.
GINÉS
He was a good client. He always
paid on time and he like that
house; and thanks to him I had it
rented for a good season.
FELIPE
Were you aware of the use he gave
to your house?
GINÉS
Of course I wasn’t! I wouldn't have
allowed that kind of...!
ISABEL
But when he left the house, a
cleaning service would come in,
right? You never noticed anything?
You were not told if any unusual
object had been found?
GINÉS
Absolutely. In fact, the guy left
everything quite organized.
INTERVIEW 1:
GABRIELA tries to contain her laughter and compose her
serious expression.
GABRIELA
Sorry! Just imagining my Raimundo
doing that...
Gabriela laughs again. ISABEL clears her throat.
ISABEL
Describe your ex-husband. What was
he like?
GABRIELA
He was a good person, but boring,
and not very active. You know what
I mean.
51.
ISABEL
Was there ever anything in your
relationship that indicated he
liked sadomasochistic stuff?
GABRIELA
I wish! If I had known, I would
have given him a chance and maybe
we would have stayed together.
ISABEL
After separating. Do you know if he
met anyone else?
GABRIELA
He never talked to me about that.
But I don’t think so. Those things
are noticeable.
FELIPE
How do you notice these things?
GABRIELA
(smiling)
When a man has somebody else, it
shows on his face.
FELIPE
Alright. I think that's all. Thank
you so much.
INTERVIEW 3:
FELIPE takes notes in a notebook. GINÉS shifts restlessly in
his seat.
GINÉS
We're done? Before I go... I beg
you not to involve the name of my
company in this matter. It would
discredit my business. Do you
understand?
FELIPE
(without looking up)
You’re free to go. Have a good day.
Ginés gets up and leaves.
52.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
16 -
A Father's Plea
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
How has it been?
MARTA
Nothing useful. The victim had a
low profile: an ordinary, boring,
rather docile guy. The complete
opposite of a master.
JOAQUÍN
I guess he would use that role as a
counterpoint.
MARTA
(ironic)
Do you think he felt more macho
that way?
JOAQUÍN
Or more alive. Even though it's all
pure theater, there are guys who
feel dominant and powerful that
way. That turns them on.
MARTA
How strange you men are.
JOAQUÍN
(laughing)
Indeed. And what about Irene?
MARTA
My calls go unanswered. I still
haven't talked to her parents.
JOAQUÍN
Maybe you should do it before
Homicide contacts them.
MARTA
It will be unpleasant.
53.
Joaquín shrugs his shoulders and heads to his table. Marta
sighs, goes to her table and looks for her cell phone in her
bag.
56 INT. IRENE'S PARENTS' HOUSE/LIVING ROOM - DAY.
The landline rings. The room is empty. After four rings,
ANTONIO enters, with a light step and picks up the phone.
ANTONIO
Hello.
MARTA (OFF)
Good morning, Antonio. This is
Marta, Irene's friend.
ANTONIO
(nervous)
What happened? Has she suffered an
accident?
57 INT. POLICE STATION - DAY.
MARTA sits at her table and looks for paper and something to
write with.
MARTA
Not that I know of. Actually, I
want to know if Irene has contacted
you these days.
ANTONIO (OFF)
The last time we spoke was Friday
afternoon. She came to leave me the
dog.
MARTA
Did she tell you where she was
going?
58 INT. IRENE'S PARENTS' HOUSE - DAY.
Here enters SILVIA (63), Irene's mother, a thin woman with
very well-groomed skin, who does not look her age and
maintains her beauty.
54.
She approaches ANTONIO and questions him with her eyes.
Antonio makes a gesture with her hand asking for patience.
ANTONIO
She didn't specify much. I only
know that she was going on a trip
with a friend. But what has
happened?
MARTA (OFF)
Do you mind if we talk about it at
your house? It will take me about
half an hour to get there.
59 INT. POLICE STATION - DAY.
MARTA turns off her cell phone and gets up from her seat.
Upon seeing her, JOAQUÍN questions her with his eyes.
MARTA
I'll be right back. I'll tell you
later.
Marta leaves the office and Joaquín observes her with a
perplexed expression.
60 INT. IRENE'S PARENTS' HOUSE - DAY.
The doorbell rings and ANTONIO goes to open the door. It's
MARTA. Antonio smiles at her. He approaches to give her a
kiss while Marta extends her hand to him. They both hesitate
for a moment. Finally, Antonio shakes her hand.
ANTONIO
How fast! Come in, please. I'm
going to look for Silvia.
Marta enters and follows Antonio, who leads her to the living
room, where SILVIA is sitting on the sofa.
ANTONIO (CONT’D)
(looking at Silvia)
Ah, you are here! Do you remember
Martha??
Silvia gets up and approaches Marta. She gives her two
kisses.
55.
SILVIA
How could I not remember her?
Antonio gestures to Marta to take a seat. Marta sits in an
armchair. Antonio and Silvia sit on the sofa.
SILVIA (CONT’D)
Has something bad happened to
Irene?
Marta shakes her head without much conviction. She twists her
face and looks down.
MARTA
In reality, we have no news about
her. We agreed that she would call
me last Monday and she hasn't.
ANTONIO
She has not called us either and is
not answering our calls.
Martha nods affirmatively.
SILVIA
You know something. Tell us now,
please.
MARTA
Irene did not go on a trip with any
friend.
ANTONIO
But she didn't leave alone, did
she?
Martha nods affirmatively. She shifts on the couch and faces
Silvia and Antonio directly.
MARTA
Irene had a date with a guy she
didn't know. And they agreed to
meet in a secluded, isolated house,
far from urban centers.
ANTONIO
My God. Did that man attack her?
56.
MARTA
We don't know what happened in the
house. When we arrived, we only
found the man she had met with. He
was dead. Murdered.
Antonio puts his hand on his face; he is stupefied. Silvia
begins to cry, distraught.
SILVIA
My daughter! What have they done to
her?
Antonio approaches Silvia and hugs her. She cries on his
shoulder.
ANTONIO
Are there any clues as to who it
might have been?
MARTA
There’s not any. And even if I
knew, I couldn't tell you.
ANTONIO
But, Irene is... suspicious?
MARTA
It's still early to say that.
Silvia cries harder. Marta gets up from the couch.
MARTA (CONT’D)
I think I should go. I just wanted
to be the one...
ANTONIO
(getting up) )
Of course! I'll take charge. I
accompany you.
They both reach the door. Antonio opens it and before Marta
leaves it, he closes it again. He addresses Marta with a
confidential tone.
ANTONIO (CONT’D)
I want to ask you a favor. It's for
Silvia. You've seen how she is now.
57.
MARTA
No problem. Whatever you want.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
17 -
Truhan's Charm and a New Lead
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
bag.
MARTA returns home accompanied by TRUHAN. From the kitchen
RODNEY looks out and sees the dog, which makes him look
surprised.
MARTA
It will be something temporary.
Just until we find Irene.
Rodney makes a disgusted face, but says nothing. Then Marta
releases Truhan from the leash, the dog jumps towards Rodney
and starts licking him. Rodney's face gradually changes and
he begins to caress him. The animal just won him over.
63 INT. POLICE STATION/ISIDRO'S OFFICE - DAY.
MARTA goes to ISIDRO's office. She holds a sheet of paper in
her hand. The door is open, so Marta enters. Upon seeing her,
Isidro looks up.
ISIDRO
Is there anything new?
MARTA
I have received a report from the
laboratory. The remains of animal
hair found on the victim's clothes
match those of Irene's dog.
ISIDRO
Which only confirms that she was
there. We haven't made much
progress.
58.
MARTA
You told me to keep you posted.
Isidro leans back in his seat and intertwines his fingers.
Without much of a transition, he opens a desk drawer and
pulls out a stack of sticky notes. He writes down something,
tears off the note and hands it to Marta.
ISIDRO
I know you've been trying to find
out something through the victim's
and your friend's Twitter profiles.
This is the phone number of Pablo
Palacios, from Cybersecurity. Talk
to him. Maybe he can help you find
something.
Marta takes the note and Isidro returns to his work, putting
an end to the conversation. Marta is going to ask something;
but, seeing that Isidro is not even looking at her, she turns
around and leaves the office.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
18 -
Cyber Trail: Following the Digital Footprints
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
completely hidden behind the wall of monitors that stands in
front of him.
MARTA
Hello?
Pablo raises his head, allowing himself to be seen minimally.
When he sees Marta, he gets up. Pablo is taller than Marta,
somewhat unkempt, wears glasses and has a three-day beard; he
dresses in slightly worn and unironed clothes.
PABLO
(offering her his hand) )
You must be Marta.
Marta nods affirmatively and shakes his hand. She looks
around her in bewilderment.
59.
PABLO (CONT’D)
Is something wrong?
MARTA
Nothing is wrong. It's just that
all this is...
PABLO
I know. Very geeky. Come in.
MARTA
Where?
They both laugh. Pablo points out the hallway through which
she can access his position. Marta crosses the bastion of
monitors and towers and sits next to Pablo.
PABLO
Alright. I've been browsing the
AmoDark account.
MARTA
So?
Pablo types something on the computer and shows Marta a
screen with account information.
PABLO
It has been inactive since last
Friday.
MARTA
It seems logical, considering that
he was killed on Saturday.
PABLO
I don’t think so. Sometimes those
accounts are shared. Furthermore,
the important thing in this case is
to look at the interactions.
MARTA
Irene gave me her master's alias.
But I don't know which one she
used. Could you find out that?
Pablo goes back to typing on the computer. Marta leans over
the screen with a gesture of interest.
60.
PABLO
I have organized a cross list of
followers. I have selected those
that were active last week, until
Friday, and the list is reduced to
ten users.
MARTA
One of those must be Irene's alias.
PABLO
We can reduce this list a little,
selecting the accounts that have
remained inactive since Friday.
MARTA
And what we get from it?
Pablo types, seeming focused. He presses ENTER and leans back
in his seat with a gesture of satisfaction.
PABLO
Three users.
MARTA
We have reduced it quite a bit. But
is there anything else?
Pablo raises his index finger and smiles. He points to
something on the screen.
PABLO
Look at this.
Marta looks at the screen and frowns.
MARTA
I see nothing.
PABLO
(pointing out)
There. Look in the comments of the
AmoDark account. He mentions a
username and the @ does not appear.
That means it hasn't been deleted.
And that user is one of the three
on the list that we have narrowed
down.
61.
MARTA
Do you think it's Irene's?
PABLO
I bet you anything it is.
MARTA
And can you access her account?
PABLO
Of course, as long as a judge
authorizes it.
MARTA
What are we waiting for then? Let's
make the request.
PABLO
I'd rather be sure. If it's a false
positive and I ask for a new
authorization again, the judge will
be pissed.
MARTA
Well, let him get angry. It's his
job, and we do ours.
PABLO
Damn, you're right. I like you. Do
you happen to have a boyfriend?
MARTA
(laughing)
I'm afraid so.
PABLO
What can we do? If one day you
break up with him, remember that I
am available.
MARTA
I'll add you to my list of suitors.
Although I'm not much into geeks.
PABLO
(clicking his tongue)
That is the sad fate of computer
scientists.
62.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
19 -
The Phone Call Trace
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
Hallo?... Speaking... Okay. Thank
you very much.
Marta approaches back to Joaquín. He looks at her
questioningly.
MARTA (CONT’D)
The judge granted authorization to
look into Irene's alleged account.
Pablo is going to check on it.
JOAQUÍN
What do you hope to find? We
already know that she was in the
house.
MARTA
Don't know. Maybe some clue that
will help us know where she can be
found, in case she is still alive.
JOAQUÍN
Do you think someone has taken her?
MARTA
Maybe she's hiding.
JOAQUÍN
That would be weird.
MARTA
Why?
JOAQUÍN
If I were hiding, I would try to
call the closest people to me to
tell them not to worry.
MARTA
I assure you that she has not
contacted me.
63.
JOAQUÍN
I did not mean you.
Martha frowns.
MARTA
Shit! Why didn't I think of that?
Marta rushes out in search of her boss.
66 INT. POLICE STATION/ISIDRO'S OFFICE - DAY.
MARTA opens the door to ISIDRO's office without knocking. He
looks at her with surprise.
ISIDRO
I’m busy.
MARTA
It will only be a minute. An idea
cropped up in my mind. I want to
check the calls that Irene's
parents have received in recent
days.
ISIDRO
You're late. Homicide has already
done it.
MARTA
What did they find?
ISIDRO
Nothing that I know of.
MARTA
Can I see that list?
ISIDRO
I told you I'm busy.
MARTA
Please.
ISIDRO
(sighing)
I'll tell them to send me a copy.
(MORE)
64.
ISIDRO (CONT’D)
But I don't guarantee anything. And
now, get out of here.
MARTA enters the apartment. TRUHAN is lying on the living
room floor, but he gets up when he hears the door, and goes
over to greet Marta, who caresses him without much
enthusiasm. Marta enters the kitchen, where she finds RODNEY
with a can of beer. She kisses him.
RODNEY
I was waiting for you to go out for
a while.
MARTA
Ugh. I don't feel like it. I'm
tired.
RODNEY
Anyway, we have to take the dog
out.
MARTA
You do it without me. OK?
RODNEY
It was you who brought the animal.
MARTA
I know. Listen, I'll make it up to
you. But today I can't. Really.
RODNEY
Great.
Rodney downs his beer in one gulp and grabs the leash. He
whistles and the dog follows him. Marta sees them leave. When
she is left alone, she sighs and rubs her eyes. She opens the
refrigerator, takes a look and closes it again.
She gets a notification on her cell phone. It's an email. She
opens it. It’s the list of telephone numbers that she has
requested from Isidro. All phone numbers are listed with
their respective owners. None correspond to Irene: there are
family members, friends, business numbers identified.
65.
Only two mobile numbers with prepaid cards remain to be
identified. One of them has the prefix +351, a number from
Portugal. Marta closes the email and remains thoughtful.
Marta grabs her bag and goes out to the street.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
20 -
Concerns and Secrets
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.
69 EXT. STREET/HOUSE OF IRENE'S PARENTS - DAY.
MARTA gets out of her car and goes to the entrance of the
house. She discreetly looks inside through the windows and
she sees ANTONIO and SILVIA talking animatedly. They seem to
joke with each other, they even cuddle here and there. They
don't seem at all worried. Marta then approaches the door of
the house and rings the bell. Antonio opens with a smile
still on his mouth, which disappears almost the instant he
sees Marta. A second later, Silvia also appears and, upon
seeing her, seems confused.
SILVIA
¡Marta! What’s going on?
MARTA
I have to ask you a couple of
questions. About Irene. Can I come
in?
ANTONIO
Of course! Come in.
70 INT. IRENE'S PARENTS' HOUSE - NIGHT.
ANTONIO and SILVIA enter the living room. They seem worried.
MARTA follows them.
ANTONIO
Will you tell us if there is any
news?
66.
MARTA
Not much. Actually, I came to ask
you a few things.
Antonio sits down. Silvia and Marta remain standing.
ANTONIO
Take a seat, please.
MARTA
It'll only be a moment; so, I'll
get to the point. The man she went
to meet is dead. We know that Irene
had started a sadomasochistic
relationship with him.
SILVIA
My God!
MARTA
It would be helpful for me to know
who Irene was seeing lately. If she
had relationships that you knew
about. Anything that can help me.
ANTONIO
(nodding negatively)
I had no idea... If I had known...
MARTA
It's late to regret. The fact is
that Irene has been left in a
complicated situation. Her
disappearance can only indicate
three things: either someone took
her from there and is holding her,
or she fled and is hiding, or she
is...
SILVIA
She's not dead!
Marta looks at Silvia intently.
MARTA
Has she contacted you?
67.
Silvia's face changes color. She falls on the couch next to
Antonio.
ANTONIO
What kind of question is that? You
know she hasn’t. Poor Silvia hasn't
slept for days. She has to take
tranquilizers. She is... broken
inside.
MARTA
I take responsibility. I'm sorry.
Antonio gets up from the couch.
ANTONIO
Silvia needs to rest. I'd rather
you came another time...
SILVIA
No.
ANTONIO
What are you saying?
SILVIA
I don't want to go to bed. Marta is
right. We must help her.
ANTONIO
But, honey...
SILVIA
Lately Irene was hanging out a lot
with a girl much younger than her.
Natalia, yes, that's her name.
ANTONIO
It's true. We saw her a couple of
times. However, I insist...
MARTA
Coworker?
68.
SILVIA
No. None of that. She worked in a
company with a strange name:
PALMOS, or something like that. It
was Irene who told me.
MARTA
PALNOS?
SILVIA
Yes. Maybe. I don't remember well.
However, that girl, although I saw
her a few times...
ANTONIO
Silvia, please.
SILVIA
Let me finish! That girl had
something dark about her.
MARTA
What do you mean by that?
Silvia shakes her head and shrugs her shoulders. Her eyes
start to turn red.
SILVIA
I couldn't explain it. They are
sensations that only a mother
knows. That girl was strange, very
striking, with that red hair and
those light eyes. She was no good
for Irene, that's for sure.
MARTA
That's something. How could I find
that Natalia?
Irene's mother seems uneasy. Her eyes are getting redder.
SILVIA
Excuse me a moment. I'll be with
you shortly.
Silvia leaves. Antonio looks at Marta with a reproachful
gesture and leaves in search of his wife. Marta is left alone
in the living room.
69.
On the sofa table there is a cell phone with an intermittent
notification of incoming message. Marta takes it
instinctively. It’s a contactless number, and begins with
+351. She’s going to open the message when Antonio returns
and, seeing Marta with the cell phone, he abruptly takes it
from her.
ANTONIO
Silvia is going to bed. I'll take
the cell phone to her. Nowadays, we
don't know how to get by without
these gadgets...
MARTA
I got it. Forgive me. It’s my bad.
I'm leaving now.
ANTONIO
I appreciate it. She's a nervous
wreck.
MARTA
It's understandable. I'm also
worried about Irene.
ANTONIO
I know. And I have to thank you for
all the effort you are making to...
Marta puts her hand on Antonio's shoulder.
MARTA
Keep your wife company. I know my
way out.
ANTONIO
Thanks.
Marta leaves the house.
Genres:
["Crime","Mystery","Drama"]
Ratings
Scene
21 -
A Trail of Clues
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.
70.
Silvia cries nervously and Antonio puts his hands on her
shoulders in a gesture of calming her down. Marta sighs and
walks away from the house, this time for good.
72 INT. MARTA'S APARTMENT/FRONT DOOR - NIGHT.
MARTA opens the door and enters.
73 INT. MARTA'S APARTMENT/LIVING ROOM - NIGHT.
MARTA enters the living room and finds RODNEY sitting on the
sofa, and playing a soccer game on the console. Next to him
is TRUHAN, lying down. Marta makes a face of disgust when she
sees the dog on the couch. She is about to say something.
Then Rodney turns and looks at her. They look at each other
without saying anything. Marta leaves the living room, goes
to the bedroom and closes the door behind her.
FADE TO BLACK
74 INT. POLICE STATION - DAY.
JOAQUÍN approaches MARTA's table and places a sheet of paper
on top of it.
JOAQUÍN
Here it is.
Marta picks up the sheet of paper quickly and reads it.
MARTA
There are only three. Great.
JOAQUÍN
The last one may not be useful. She
left the PALNOS company three
months ago and applied for a visa
to China. But the name matches. Who
is this Natalia you are looking
for?
MARTA
I'll tell you if I can find her.
Marta gets up with the sheet of paper and leaves the police
station.
71.
75 EXT. STREET - DAY.
MARTA goes out to the street to smoke. She takes out a
cigarette and lights it. She looks at the list with the phone
numbers. She dials the first one on her cell phone and
listens to the ringtone until someone picks up.
NATALIA (OFF)
Who is it?
Marta remains silent for a moment. She hesitates before
answering.
MARTA
This is Martha. A friend of Irene.
NATALIA (OFF)
What do you want?
MARTA
I want to talk to you. Irene has
disappeared.
NATALIA (OFF)
I don't know where she is.
MARTA
Please. I just want to talk.
Natalia remains silent for a while. Marta can hear her
breathing.
NATALIA (OFF)
Alright. At six in cafe 221B. Do
you know where is it?
MARTA
Yes, I do. I was there with...
Natalia hangs up abruptly. Marta takes a long drag on her
cigarette and throws it on the floor.
76 INT. CAFE 221B - DAY.
MARTA waits sitting at a table, with a coffee cup. She
watches the customers come in, but none of them match
Natalia's description. A young woman arrives. She goes alone.
Marta doesn't see her face until she turns around.
72.
This is NATALIA (25) a young redhead with a somewhat exotic
beauty. Marta gestures with her hand and Natalia approaches
the table. While she does so, Natalia asks a WAITER (40) for
something and gestures to Marta's table.
MARTA
(standing up to greet)
Natalia?
Natalia nods affirmatively. They shake hands and sit down.
Marta notices a slight tremor in Natalia's hands, which she
tries to hide by hiding them under the table. Natalia does
not look directly at Marta. She keeps her gaze down or looks
sideways. The waiter brings her the drink and she takes a
long sip.
MARTA (CONT’D)
Thanks for coming.
Natalia shrugs her shoulders.
MARTA (CONT’D)
Irene told me that she had arranged
to meet a certain AmoDark at a
cottage. Does this name ring any
bells?
Hearing the mention of the cottage, Natalia raises the glass
to her mouth with a slight tremor and takes a sip.
MARTA (CONT’D)
On Monday we found AmoDark's body.
And no sign of Irene. I need your
help.
Natalia doesn't respond, she plays with the rings on her
fingers, she keeps turning them and moving them. Marta leans
her body forward.
MARTA (CONT’D)
Irene is my childhood friend. I
don't know what she has done. But I
want to find her.
Marta takes out her cell phone and shows her some photos of
the two of them together to prove that she is not lying.
Natalia looks at the photos without much interest and nods
reluctantly.
73.
NATALIA
I know the house. I have been there
on occasions.
MARTA
Along with Irene?
NATALIA
I don’t believe so. Irene didn't
even... She was a rookie. She
sometimes asked me to tell her some
things...
MARTA
What kind of things? Things you did
there?
NATALIA
That’s right. At first, I thought
it was just curiosity. Until I knew
that Irene's intention was
different.
MARTA
Different?
NATALIA
For her it was something personal.
MARTA
Did she have something against
AmoDark?
Natalia appears restless again, and plays with a silver
waning moon pendant that she wears around her neck.
NATALIA
No, she didn’t. He only served as a
bridge. Irene wanted to meet a
master who called himself Jota.
MARTA
Jota. Do you know him?
Natalia sighs without answering the question. She takes
another sip of her drink.
74.
NATALIA
Jota's fame precedes him.
MARTA
What do you mean?
NATALIA
He is a beast, the type of master
who takes domination far beyond the
norm.
MARTA
Have you been with him?
FLASHBACK.
Genres:
["Mystery","Thriller","Crime"]
Ratings
Scene
22 -
Dangerous Discoveries
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.
END FLASHBACK.
78 INT. CAFÉ 221B - DAY.
NATALIA tucks the pendant inside her shirt and looks away
from MARTA.
NATALIA
I've already talked too much. I
have to go.
Natalia finishes her drink and takes her purse out of her
bag.
MARTA
Don’t. It’s on me.
NATALIA
I prefer not to owe you anything.
Natalia puts a ten-euro bill on top of the table and leaves
the premises. Marta stays seated at the table and watches her
leave.
75.
For a moment she follows her figure walking down the street
through the glass window, until she loses sight of her.
79 INT. CYBERSECURITY UNIT - DAY.
MARTA enters the room where she finds PABLO concentrated on
the screen of one of his computers. Seeing her enter, he
smiles.
PABLO
I haven't been able to find much
about the username Irene used. She
followed several masters.
MARTA
May I see that?
Pablo gestures for her to sit next to him.
PABLO
Take a look. Irene called herself
SubmissiveSoul. She maintained more
or less regular contact with
AmoDark.
MARTA
Are you sure that alias is Irene's?
Pablo nods affirmatively.
PABLO
I found private messages about the
last weekend’s meeting. They also
mention two other people.
MARTA
Who?
PABLO
They talk about another submissive.
They call her Persephone. Although
I have not found any user that
matches to that alias. And they
also mention another master.
76.
MARTA
Then there were more people invited
to the meeting. Who was the other
master?
PABLO
A certain Jota. A strange name for
a master.
MARTA
(excited)
Show me his profile.
Pablo looks for it. The user in question uses a Jack of
Spades as an avatar. The finding makes Marta’s face brighten
up.
MARTA (CONT’D)
I need to find out who is behind
that alias.
PABLO
Why?
MARTA
He must be a fucking sadist. A
friend of Irene told me about him.
Her voice was shaking just
mentioning him. Give me his name
and I will ask for authorization to
investigate him.
PABLO
If I do, can I have a date with
you?
Marta looks at him harshly.
PABLO (CONT’D)
Okay. I had to try it.
Pablo types on the computer. Marta looks at the time on her
cell phone. It's 12. Marta waits patiently.
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
23 -
Betrayal and Frustration
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
screen. From his seat, Pablo turns to Marta.
PABLO
You've been lucky: it hasn't been
easy, but I've done it.
Marta smiles happily. Her eyes shine. She gets up, looks at
the screen and sees Jota's personal data sheet: his photo,
his full name, date of birth and his address. Marta takes a
notebook and a pen that Pablo has on the table, she
impetuously writes down some information and tears off the
page.
MARTA
I catch you!
PABLO
And now what?
MARTA
I'm going to show this to my boss.
Marta hurriedly heads to the exit.
PABLO
You’re welcome!
Marta retraces her steps, leans over Pablo and kisses him. He
is stunned. After that, without saying a word, Marta leaves
the room.
RODNEY is cooking lunch. MARTA arrives angry. She
disdainfully throws the bag on the living room table and it
falls to the floor. TRUHAN comes to sniff her and Marta
scares him away. She is tense.
RODNEY
A bad day?
MARTA
I found out that there was another
guy in the house with Marta.
RODNEY
Is that bad news?
78.
MARTA
The bad news is that my superiors
have denied my request to
investigate him. They say I have no
solid evidence against him.
Rodney takes the pan off the heat. He drinks from a can of
beer that he has open on the counter.
MARTA (CONT’D)
Fuck them! They won't stop me. I
want to stand in front of that guy.
I thought you could...
RODNEY
What?
MARTA
Damn! You work at the Ministry of
the Interior. You could help me.
RODNEY
What do you want me to do? I am a
government official, not a police
officer.
MARTA
But you have direct access to the
CEO, right? Well, tell him about
the case. Let him know that this
son of a bitch is still free
because someone from the police
force protects him.
RODNEY
I don’t think it's a good idea.
MARTA
(raising the tone)
Why are you so fucking cowardly?
What are you afraid of?
RODNEY
It's not because of me and you know
it.
Marta is furious. Rodney takes a sip from the can of beer.
Marta slaps him and the can falls to the ground.
79.
RODNEY (CONT’D)
(angry)
What the fuck is wrong with you?
Marta leaves the kitchen and picks up her bag from the floor.
She heads to the exit.
RODNEY (CONT’D)
Are you going to eat at home?
Marta slams the door. Rodney sighs. He bends down to pick up
the can from the floor.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
24 -
Ambushed and Injured
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.
MARTA parks her car on the sidewalk in front of a house.
Without getting out of the car, she watches the entrance. She
waits patiently until she sees JOTA leave the house and get
into a high-end car. She starts following him.
84 INT. JOTA'S CAR - DAY.
JOTA looks in the rearview mirror and sees MARTA's car. He
speeds up slightly.
85 INT. MARTA’S CAR - DAY.
MARTA follows JOTA without losing sight of him. At one point,
Jota's car drives away, and Marta has to speed up.
86 INT. JOTA’S CAR - DAY.
JOTA takes a detour that leads him to an area with little-
traveled streets, and yet, when he looks in the rearview
mirror, the MARTA car continues behind him, at some distance.
Jota continues driving until he reaches an industrial estate.
He parks at the door of a warehouse and gets out of his car.
80.
87 EXT. INDUSTRIAL ESTATE - DAY.
MARTA parks a few meters from JOTA's car. It's getting dark
and the warehouses are already closed. There's almost no one
there. Marta has seen Jota turn down a street. She walks
there and looks out cautiously. She doesn't see anyone.
She continues walking and, suddenly, Jota appears behind her
and hits her with a bar. The blow hits her in the collarbone
and Marta falls to the ground. Still conscious, she turns
around just before Jota delivers a second blow with the bar,
which hits the ground. Marta jumps up and pulls the gun. Upon
seeing it, Jota runs away.
Marta tries to run after him, but the pain stops her. Marta
touches her collarbone. The pain is very strong and she lets
Jota go away. There is no one around her. She returns to her
car and starts it with a grimace of pain.
88 INT. HOSPITAL/TRAUMATOLOGY - NIGHT.
A FEMALE DOCTOR (32) attends to MARTA. She is placing a sling
on her.
FEMALE DOCTOR
You've been very lucky. The break
has been clean and will be welded
without much difficulty.
MARTA
How long do I have to wear this?
FEMALE DOCTOR
At least a month. Don't make any
effort. Visit your family doctor to
request the medical leave.
MARTA
Medical leave?
FEMALE DOCTOR
Duh! You're not going to work like
that, are you? We are done here.
Marta snorts. She gets up from the stretcher.
MARTA
Thank you.
81.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
25 -
A Rift in the Investigation
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.
90 EXT. MARTA’S CAR - NIGHT.
RODNEY drives MARTA's car and they arrive home together.
Rodney parks and they get out of the car.
91 INT. MARTA'S APARTMENT - NIGHT.
MARTA is sitting on the sofa. RODNEY brings her a drink in a
glass.
MARTA
Thanks.
RODNEY
Are you going to tell me what
happened?
MARTA
Nothing. It was an accident.
RODNEY
Of course not. You went out looking
for that guy. I'm wrong?
MARTA
No, you're not wrong.
Rodney is angry with Marta. He moves from side to side
nervously and makes gestures.
RODNEY
This cannot go on like this.
MARTA
(raising the tone of
voice)
So? What do you want me to do?
82.
RODNEY
To begin with, do not go against
the rules, and even less so if it
is at the cost of your own physical
health.
MARTA
You're going to have to be patient.
RODNEY
I already have been. And look at
the result. You have to stop,
Marta. Let others deal with this.
MARTA
I can't. Not now. It's him, Rodney.
I'm sure. Now that I've seen him, I
know.
RODNEY
What the fuck do you think you
know?
MARTA
Jota killed the other master. And
he did something to Irene.
RODNEY
Those are speculations. All this is
nothing but a challenge to you. A
game that you want to solve alone.
But you know what? This case is
beyond you.
Rodney leaves the room. Marta is left alone. She closes her
eyes and rubs them with her hand.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
26 -
The Truth About Luna
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
her good hand, she draws her gun and points it at Natalia.
MARTA
Let’s go inside!
83.
Natalia walks in front of Marta. They arrive at the living
room. Marta pushes Natalia, who falls on the sofa.
MARTA (CONT’D)
Now you are going to tell me what
you really know.
NATALIA
I already told you everything I
know.
In an outburst, Natalia throws the decorative objects on the
living room table to the floor.
MARTA
Listen. I'm very angry; so, don't
waste my time.
NATALIA
(scared)
What do you want to know?
MARTA
Tell me about Jota.
NATALIA
I already told you. He is a sadist,
capable of anything.
MARTA
Does that include killing? Am I
right? Do you know if he has ever
done it?
Natalia sobs. She nods affirmatively.
MARTA (CONT’D)
When? Who are his victims? I want
facts, not vague words!
NATALIA
Those girls have no names. They are
the type of women that, if they
disappear, no one would ask about
them.
84.
MARTA
How did they get to Jota? How did
they contact him?
NATALIA
Jota uses third parties to recruit
them. There was a girl, one of her
submissives, who was in charge of
looking for them.
MARTA
And what’s the catch? What do they
offer them?
NATALIA
He pays very well. And the longer
you are able to resist, the more
money.
MARTA
I got it. How long did those
sessions usually last?
NATALIA
There is nothing predetermined. It
all depends on how rushed you are.
MARTA
Were you at any of those meetings?
NATALIA
Just once. That was enough for me.
MARTA
What happened?
NATALIA
I went there with a friend. That
didn’t go well for either of us.
But she...
MARTA
Did he kill her?
Natalia nods yes. She covers her face with her hands.
85.
MARTA (CONT’D)
Why did Irene want to meet Jota?
She didn't need money.
Natalia uncovers her face and stares at Marta.
NATALIA
The girl who died was Irene's
girlfriend. Her name was Luna.
FLASHBACK.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
27 -
Tragic Revelation
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
does this, he covers her nose and mouth with his hand. Luna's
face turns red. She can't breathe. Jota releases her and Luna
catches her breath with difficulty.
END FLASHBACK.
94 INT. NATALIA'S APARTMENT - DAY.
NATALIA's eyes are bathed in tears.
MARTA
But you didn't do anything to help
Luna?
NATALIA
(sobbing)
Jota likes erotic asphyxiation
games. No one imagined that it
would end like this.
FLASHBACK.
95 INT. JOTA’S HOUSE/BDSM ROOM - DAY.
LUNA has a plastic bag over her head. Her head is tilted and
her body falls inert, suspended from her wrists by shackles.
Feminine hands remove her waning moon pendant.
86.
END FLASHBACK.
96 INT. NATALIA'S APARTMENT - DAY.
MARTA is shocked, she puts away her gun and falls on the
couch next to NATALIA.
MARTA
What happened after?
NATALIA
I was so frightened. I shit myself.
Jota laughed when he saw me and
threatened to kill me if I reported
what happened. I left there and
deleted all my BDSM contacts. I
haven't done it again.
Marta approaches Natalia. She lifts her head and makes her
look directly into her eyes.
MARTA
Did you tell Irene?
Natalia cries and nods affirmatively.
NATALIA
Irene was devastated. She couldn't
conceive that Luna had left without
telling her anything. The three of
us were very close.
MARTA
Did Irene also play those games?
FLASHBACK.
97 INT. NATALIA'S APARTMENT/BEDROOM - NIGHT.
IRENE is on her knees painting the toenails of LUNA, who is
sitting on a double bed.
NATALIA (OFF)
Sometimes we did it together.
87.
Luna puts her foot in Irene's mouth and she kisses it.
NATALIA observes the scene from the door and, timidly,
approaches them. Seeing her, LUNA makes an imperative gesture
for her to leave. NATALIA leaves and closes the door. She
drops to the floor with her back against the wall and cries
silently. She scratches her arms with her nails until she
bleeds.
END FLASHBACK.
98 INT. NATALIA'S APARTMENT - DAY.
NATALIA looked away, avoiding eye contact with MARTA.
NATALIA
Luna played the role of mistress.
She was the submissive queen. With
us, she was only the queen.
MARTA
Who put Irene in touch with Jota?
Natalia puts her hands over her face.
NATALIA
Irene wanted to meet him and asked
Luna to set up her with him.
MARTA
And did she?
NATALIA
At first, she didn't want to. Then
she put her to a test.
MARTA
What kind of test?
FLASHBACK.
99 INT.-EXT. IRENE'S CAR/POLYGON - NIGHT
IRENE drives her car. Next to her, LUNA is sitting.
NATALIA (OFF)
Luna wanted to know how far Irene
was capable of going.
88.
The car enters an industrial area full of half-naked
prostitutes.
LUNA
Pull over here.
Irene stops her car.
LUNA (CONT’D)
Take off your clothes and go out
there.
Irene obeys. It doesn't take long when a car stops in front
of Irene. Luna observes the scene from inside the vehicle.
The man in the car gives Irene a bill, gets out of his car
and has sex with her. Luna watches with a satisfied face.
END FLASHBACK.
100 INT. NATALIA'S APARTMENT - DAY.
MARTA looks at NATALIA with distrust.
MARTA
Was it Irene who told you that?
Natalia shakes her head negatively.
NATALIA
It was Luna. Although Irene was
ahead. She wanted to humiliate her
in front of me. But it was me who
suffered with that story.
MARTA
Why?
NATALIA
Because I would do anything for
Irene. However, she only had eyes
for Luna. She was so jealous that
she wished...
MARTA
Her death?
Natalia sobs.
89.
NATALIA
I thought I could take Luna's
place. But Irene didn't love me, at
least not like she loved her. It
was she who insisted.
MARTA
Why? Was she planning to get
revenge??
NATALIA
(haltingly)
I don't know... I told her to stop
that, I swear... I...
Natalia ends up breaking down. Marta feels sorry for her and
puts her hand on her shoulder.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
28 -
A Case Stalled, A Relationship Blossoming
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?
MARTA
I fell off from my bike. I come to
bring the medical leave.
ISIDRO
I received a note from above. A
certain person has filed a
complaint. Apparently, someone has
been following him these days.
MARTA
Oh yeah? So, that was it. Who is
it? A businessman, a politician?
ISIDRO
Be careful. You are too involved
and this is beyond your control. In
Homicides, they will take charge of
it.
90.
MARTA
Don't worry. And, besides, I'm on
sick leave now.
Marta places the medical report on Isidro's table and leaves.
102 EXT. PARK - DAY.
RODNEY and MARTA walk TRUHAN. Marta is very serious. Rodney
looks at her with concern.
RODNEY
Stop thinking about it. You've done
everything you could do.
MARTA
Maybe it hasn't been enough. You do
not understand. Irene and I have
always been like sisters. We went
everywhere together.
Rodney unleashes Truhan in a dog park and lets him run
around. Marta and he sit on a bench.
RODNEY
Was she in love with you?
MARTA
(angry)
Why do you ask?
RODNEY
Just curiosity.
Marta shakes her head and walks away a few steps, turning her
back on Rodney. He approaches and puts his hands on her
shoulders.
RODNEY (CONT’D)
Sooner or later, they will find
her.
MARTA
Don't know. The investigation
appears to have reached a dead end.
The case is no longer even talked
about by the media.
91.
RODNEY
Bah! They only seek to feed their
audience with fake news.
MARTA
Okay. But silence only serves to
push the case into oblivion.
RODNEY
Do you think that if she were still
alive, she would have contacted you
by now?
MARTA
(shrugging her shoulders)
I just know I would have done so.
Rodney runs his hand around Marta's waist until their bodies
touch. He kisses her.
RODNEY
Listen, I'm going to try to help
you. I will discuss the case with
the Director General.
MARTA
(excited)
For real? Are you going to do it?
RODNEY
I don't like seeing you like this.
Marta hugs Rodney. They kiss again.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
29 -
Confrontation at the Police Station
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
strange face. Rodney finishes taking off his shoes and looks
at the cell phone screen. He leaves the bedroom.
RODNEY (OFF)
(quietly)
What do you want? I told you not to
call me here.
92.
Marta starts listening. She hears Rodney's footsteps receding
down the hallway and his voice becoming more distant and
unintelligible. She gets up and heads towards the door. She
looks out.
104 INT MARTA’S APARTMENT/HALLWAY - NIGHT.
MARTA goes out into the hallway, but she doesn't see RODNEY.
She walks quietly until she reaches the living room door.
There she stops and hears Rodney's voice speaking in a
whisper.
RODNEY (OFF)
(whispering)
Okay... Yes... Tomorrow at ten...
Yes... In your office.
105 INT MARTA’S APARTMENT/LIVING ROOM - NIGHT.
RODNEY has his back to the living room door. He hangs up the
phone. MARTA has stuck her head in there and, seeing him, she
goes back to the hallway.
106 INT MARTA’S APARTMENT/HALLWAY - NIGHT.
MARTA walks quickly and on tiptoe down the hallway until she
reaches the bedroom door. Just as she enters her bedroom,
RODNEY comes out into the hallway.
107 INT. MARTA'S APARTMENT/BEDROOM - NIGHT.
RODNEY enters the bedroom. MARTA is trying to put on her
pajamas using only her good hand.
MARTA
Who was calling?
RODNEY
Nobody. A telephone commercial who
wanted to talk me into changing
companies.
Marta remains silent. She stares at Rodney. He makes a
gesture of unbuttoning his shirt; but he stops and approaches
Marta. He helps her put on her pajamas.
93.
RODNEY (CONT’D)
They always call at the most
inopportune moment, don't you
think?
Marta smiles and moves away from Rodney without abruptness.
He continues to undress.
FADE TO BLACK
108 EXT. MINISTRY BUILDING/GENERAL DIRECTORATE OF POLICE - DAY.
MARTA walks down the street on the sidewalk opposite the
Ministry building. She looks at the clock on her mobile. It
marks 9:50.
Around the corner RODNEY approaches the front door. Marta
sees him and hides behind one of the trees on the street. As
Rodney is about to enter, he stops and turns around. He makes
a gesture of looking for someone who has called him. Then
someone approaches him. It's JOTA. Marta sees him and her
face changes color.
Rodney and Jota enter the building. Marta remains leaning
against the tree, with a defeated expression.
109 EXT. MINISTRY BUILDING/GENERAL DIRECTORATE OF POLICE - DAY.
MARTA smokes a cigarette while still watching the Ministry
building door. She looks at her mobile. It's 10:25.
Jota leaves through the door and walks down the street. Marta
throws the cigarette on the ground and begins to follow him
from the opposite sidewalk.
110 EXT. STREET - DAY.
MARTA crosses the street at a traffic light and looks through
the crowd, trying not to lose sight of JOTA. She quickens her
pace to follow him. Jota turns a corner and when Marta
reaches that corner, she does not find Jota. She gets
nervous, starts looking around her, looks through the shop
windows.
94.
She continues walking hastily to the end of the street and,
as she turns a corner of the street again, she runs into
Jota, who is standing in front of a shop window with women's
clothing, looking at his cell phone. Marta decides to address
him.
MARTA
Hello.
Jota looks up from his phone and frowns.
JOTA
We know each other, don’t we?
Marta points to her injured arm.
MARTA
You do not remember me anymore? You
did this to me.
Jota looks at her with a dry and contemptuous gesture.
JOTA
I'm sorry. I think you're confusing
me with someone else.
MARTA
I usually remember well the people
who have tried to attack me.
JOTA
Tried? Well, this time it seems
that they have achieved it.
Marta and Jota stare one another with arrogance.
MARTA
Tell me what happened to my friend
Irene.
JOTA
I don’t know who you are talking
about.
Marta smiles sarcastically. She takes out her cell phone and
shows him a photo of Irene.
95.
MARTA
Does this photo refresh your
memory?
Jota looks nonchalantly at the photo and shakes his head
negatively, without getting upset in the slightest.
MARTA (CONT’D)
You killed Luna. Tell me what have
you done to Irene.
JOTA
Hey, stop it. Who put that nonsense
into your brain?
MARTA
I know who you are, son of a bitch.
You call yourself Jota.
Jota takes a step towards Marta, getting within half a meter.
JOTA
No. You have no fucking idea who I
am. If you knew, you wouldn't have
the balls to talk to me like that.
Marta tries to control her emotions. Her forehead begins to
sweat, and her breathing becomes stronger.
MARTA
I know you were at the house. Did
you kill Raimundo?
JOTA
(sarcastically)
Oh. So, I have also killed a man.
This gets interesting.
At that moment, PERSEPHONE leaves the shop, greeting Marta
with a smile.
JOTA (CONT’D)
(turning to Persephone) )
Dear, meet Marta Novoa, from the
national police.
96.
PERSÉFONE
(motionlessly)
Nice to meet you.
JOTA
She works with Isidro Arteaga, our
friend the chief commissioner.
Marta looks with a mixture of perplexity and anger at Jota,
who smiles ironically.
JOTA (CONT’D)
If one day we have a party at home,
we can invite Marta... And her
boyfriend, of course. Great guy,
Rodney.
Marta's face goes silent for moments.
PERSÉFONE
We’ll be glad to do so. And now, if
you'll excuse us... We have to do
some shopping.
MARTA
Of course.
Persephone moves away from them and Jota approaches Martha's
ear.
JOTA
(whispering)
I do know who you are. Stop fucking
with me or you'll regret it.
MARTA
Are you threatening me?
JOTA
Call it whatever you want. It would
be a shame if you lost your job.
You have such a promising career...
MARTA
Fuck you!
97.
JOTA
... and I guess you wouldn't want
something to happen to Rodney. He’s
so young and so handsome...
As a farewell, Jota pats Marta on her injured shoulder and
she feels pain. Jota smiles evilly.
JOTA (CONT’D)
Oh, sorry! I forgot.
Jota leaves and Marta remains shocked, motionless, gasping
for breath.
Genres:
["Thriller","Drama","Crime"]
Ratings
Scene
30 -
Confrontation and Dream Sequence
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.
RODNEY
What’s got into you?
Marta hesitates for a moment.
MARTA
You tell me.
RODNEY
What's the matter?
MARTA
I saw Jota this morning. I have
spoken with him.
Rodney looks at her in disbelief.
RODNEY
Have you gone crazy?
MARTA
(hysterical)
No. I haven’t. But you're going to
have to explain to me what the hell
he was doing at the Ministry
building with you.
98.
Rodney drops the spoon angrily and snorts.
RODNEY
Have you been spying on me?
MARTA
You have lied to me!
RODNEY
You don't know what you're getting
into...
MARTA
What do you want me to do?
RODNEY
I want you to get away from this
case!
MARTA
I can’t.
RODNEY
Shit! If you don't, I...!
Rodney grabs Marta by her arm and shakes it. Marta winces
from pain and RODNEY remains silent at that moment. Marta
pulls away with rage and turns to him with a gesture of
contempt.
MARTA
Alright. It's enough. I drop the
case.
Rodney looks down, looking somewhere between hurt and
embarrassed. Marta leaves the kitchen.
112 INT. MARTA'S APARTMENT/BEDROOM - NIGHT.
MARTA and RODNEY are in bed sleeping. Marta has a dream that
makes her turn over in bed several times.
FLASHBACK. MARTA'S DREAM.
99.
113 EXT. AMSTERDAM STREET - DAY.
MARTA and IRENE (23) walk down a street in Amsterdam. They
enter a coffee-shop.
114 INT. COFFEE-SHOP - DAY.
MARTA and IRENE smoke a joint while laughing.
115 INT. HOTEL ROOM - DAY.
MARTA and IRENE return to the hotel, looking tired, but with
smiling faces.
MARTA
I'm going to take a shower.
Marta enters the bathroom, undresses and turns on the shower.
It doesn't take long for Irene to appear behind her; she also
gets naked and gets into the shower with her. When Marta sees
her, she seems surprised; but she laughs. The two laugh
together.
Irene pours some gel on her hand and begins to soap Marta,
who continues laughing, although weaker. She allows that.
Irene first pours soap over her arms, over her torso,
caresses her breasts and goes down to her legs. As she does
so, she approaches Marta, touches her mouth and kisses her
while caressing her sex. Marta then reacts abruptly, she
pushes away Irene, who remains a little stunned, but with a
strange smile.
Marta gets out of the shower and fills a glass of water at
the sink. Irene leaves shortly after, and Marta drops her
glass on the floor, which shatters. Marta bends down to pick
up the pieces of it, but Irene stops her with a gesture.
IRENE
I'll pick it up.
Irene steps on the glass pieces and Marta comes to her aid.
MARTA
You are crazy? Why did you do that?
100.
Marta takes Irene out of the bathroom and sits her on the
floor. She examines her feet and carefully removes the glass
pieces. Irene smiles.
END FLASHBACK.
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
31 -
Haunted by Secrets
116 INT. MARTA'S APARTMENT/BEDROOM - NIGHT.
MARTA wakes up agitated. RODNEY turns around in bed.
RODNEY
What’s going up?
MARTA
(agitated)
Nothing. It was just a nightmare.
117 INT. MARTA'S APARTMENT/OFFICE - NIGHT.
FOUR WEEKS LATER. MARTA is sitting at the office table, with
the laptop on. She is no longer wearing the sling. RODNEY
enters and Marta closes the laptop.
RODNEY
What are you doing?
MARTA
Nothing.
Rodney approaches Marta and opens her laptop. The screen
shows a connection to a BDSM-related Twitter account.
RODNEY
But you promised me...
Marta looks at him defiantly, but she doesn't reply. She
picks up a cup on the table and takes a sip.
RODNEY (CONT’D)
Aren't you going to tell me
anything?
MARTA
What can I say?
101.
RODNEY
Damn, you could at least try! You
are becoming more distant. We don't
even do anymore...
MARTA
What? We don’t fuck anymore? Is
that all you're worried about?
RODNEY
(sharply)
I know what worries you. Your
little friend the dyke.
Marta throws the coffee cup at Rodney, who has no time to
dodge it and was hit on the eyebrow. Almost immediately, he
begins to bleed. Marta hastily gets up and approaches Rodney.
MARTA
Sorry. I didn't want to... Let me
see.
Rodney angrily rejects her.
RODNEY
Forget about it! This is the straw
that breaks the camel's back. I've
been thinking about it for a while.
I'm going away. It’ll be the best
for both of us!
Rodney leaves the office. Marta follows him.
MARTA
Don’t go. I didn’t mean it…
118 INT. MARTA'S APARTMENT/BEDROOM - NIGHT.
RODNEY enters the bedroom and grabs a suitcase. He puts it on
the bed and starts throwing clothes on it. He looks defiantly
at MARTA.
RODNEY
It’s already decided. I cannot take
anymore.
Marta remains still for a moment. She becomes agitated and
storms out of the room.
102.
MARTA (OFF)
Fuck you! I do not need you!
119 INT. MARTA'S APARTMENT/LIVING ROOM - NIGHT.
MARTA is sitting on the sofa. Behind her, RODNEY leaves the
bedroom, carrying the suitcase. He looks at her. Marta
doesn't turn to look at him. Rodney leaves the house without
saying a single word of goodbye. When she is left alone,
Marta collapses and begins to cry. Seeing her sad, TRUHAN
approaches her and begins to lick her.
MARTA
And you, why don't you leave too?
The dog looks at her with his eyes down, a little scared to
see that he is being scolded for no reason. Realizing her
hostile attitude, Marta tries to make amends by petting the
dog.
MARTA (CONT’D)
Come on, I was just joking. I'll
take care of you.
120 INT. VET’S OFFICE - DAY.
The FEMALE VETERINARIAN finishes checking TRUHAN. She just
gave him a vaccine.
FEMALE VETERINARIAN
Have you brought the vaccination
card?
MARTA searches in her bag and hands it to her. The female
veterinarian marks the card with a stamp indicating the
vaccine she just gave him. She stares at one of the leaves.
FEMALE VETERINARIAN (CONT’D)
This dog is from Portugal?
MARTA
I don't know. The dog was left to
me by a friend. Why you ask?
FEMALE VETERINARIAN
Just curiosity. One of the vaccines
was given there six months ago.
(MORE)
103.
FEMALE VETERINARIAN (CONT’D)
An antitetanic. He must have had a
bite or something.
Marta’s face brightens up.
MARTA
Is the clinic data there?
121 INT. MARTA'S APARTMENT/BEDROOM - DAY.
MARTA packs a small suitcase. While she takes clothes out of
the drawers, she talks on the phone.
MARTA
I'm fine, but I need a few days
off.
JOAQUÍN (OFF)
Don't worry. Try to recover. It
must have been hard, after so much
time together.
MARTA
I will. Listen, is there anything
new on our case?
JOAQUÍN (OFF)
Don't worry. I'll tell the boss
that you're unwell.
MARTA
Thank you.
Marta hangs up and zips closed her travel bag. She picks it
up and leaves the bedroom.
122 EXT. STREET - DAY.
MARTA puts her luggage in her car and also takes TRUHAN with
her. She sits behind the wheel and starts driving.
104.
123 EXT. ROAD - DAY.
The MARTA car travels on the road.
124 EXT. PONTE DE LIMA - DAY.
A sign with the name of the town indicates that MARTA has
reached its destination. The car passes by the sign and
drives away.
125 INT. MARTA'S CAR - DAY.
MARTA parks the car next to the veterinary clinic.
126 INT. PONTE DE LIMA/VETERINARY CLINIC - DAY.
MARTA enters the veterinary clinic accompanied by TRUHAN and
goes to the counter. She takes out the card and shows it to
the SECRETARY (50), a plump woman with thick glasses.
MARTA
Do you speak English?
SECRETARY
A bit.
MARTA
I need a favor. Half a year ago
this dog was vaccinated at this
clinic. I would like to know the
address of its former owner.
SECRETARY
I can't give you that information.
MARTA
I would like to show him the dog.
They haven't seen each other in a
while. Both will be happy to meet
again.
SECRETARY
I'm sorry. These data are
confidential.
Marta flashes her police badge.
105.
MARTA
Please, it's something very
important. An official matter that
requires absolute discretion.
The secretary looks at Marta over her glasses. She purses her
lips, gets up from her seat, and disappears behind the
counter. Marta waits impatiently for her to return; she walks
from one side of the counter to the other without letting go
of Truhan's leash. After a while, the secretary returns. She
brings a sticky note on which she has written down an
address. Marta grabs it with impetus and rushes out. She
turns just before leaving with a smile.
MARTA (CONT’D)
Muito obrigada.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
32 -
Reunion and Suspicion
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
is dark.
128 EXT. STREET - DAY.
MARTA gets out of the car and takes the dog with her. TRUHAN
sniffs and immediately recognizes the scent of her former
owner. He starts barking. IRENE turns and sees her friend
Marta with Truhan. Marta approaches. They are both confused
and look at each other in silence. Irene throws herself on
Marta and hugs her with joy. Marta frowns, then smiles and
reciprocates her friend's hug.
129 INT. IRENE'S APARTMENT/LIVING ROOM - DAY.
IRENE and MARTA are sitting in armchairs, facing each other.
IRENE
I do not know where to start.
MARTA
To begin with, could you explain
why you didn't contact me.
106.
IRENE
I'm sorry. I was so scared... I'm
really sorry.
MARTA
What happened at the house, Irene?
FLASHBACK.
130 INT. COTTAGE - NIGHT.
JOTA begins to tighten the chain, trying to make IRENE
suffocate. Jota releases the chain and kicks Irene in the
ribs.
Irene screams, and Jota slaps her and hits her with a brass
knuckle, leaving her stunned. AMODARK then intervenes to
defend her and gets into a fight with Jota.
END FLASHBACK.
131 INT. IRENE'S APARTMENT/LIVING ROOM - DAY.
IRENE throws her head back on the chair. She sighs.
IRENE
It's the last thing I remember.
When I woke up, I found AmoDark
dead.
MARTA
And what happened to the others?
You said there was another girl and
that guy who shook you. Where were
they?
IRENE
I have no idea. They had left.
MARTA looks at Irene with a skeptical expression. She notices
it and turns her face away.
MARTA
And you left. Why?
FLASHBACK.
107.
Genres:
["Thriller","Drama","Mystery"]
Ratings
Scene
33 -
Hidden Truths and Growing Suspicions
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)
I don't know. I was afraid.
133 EXT. COTTAGE - DAY.
It’s dawning. IRENE gets in the car and speeds off.
MARTA (OFF)
Why didn't you call me then?
134 EXT. IRENE’S BLOCK - DAY.
IRENE enters her building.
IRENE (OFF)
The police would have arrested me.
135 INT. IRENE’APARTMENT - DAY.
IRENE puts some clothes in the travel bag and takes cash from
a drawer. She goes down the stairs, avoiding the elevator.
MARTA (OFF)
I would have helped you.
136 EXT. STREET - DAY.
IRENE walks down the street. She opens the door of her car
with the key fob, leaves the luggage on the passenger seat
and gets in.
IRENE (OFF)
I had little time to think.
137 EXT. ROAD - DAY.
On the highway, a sign indicates the direction to Lisbon.
IRENE'S car passes underneath and continues on its way.
108.
END FLASHBACK.
138 INT. IRENE'S APARTMENT/LIVING ROOM - DAY.
IRENE gets up from the couch and lights a cigarette.
IRENE
I decided to hide for a while,
until the case got cold.
MARTA
Why here?
IRENE
Luna had rented it for a year.
Sometimes she came here with her.
She liked this place because it was
quiet, and she was able to speak
her language.
MARTA
You said before that the master who
hit you told you that he had broken
up with another girl. He was
referring to Luna, wasn't he?
Irene puts on a poker face, takes a drag on her cigarette and
doesn't answer.
MARTA (CONT’D)
I know you're hiding something from
me.
IRENE
I have told you everything I know.
MARTA
Shit! You haven't even mentioned
that guy's alias. He calls himself
Jota. Do you think I haven't
informed myself?
IRENE
What else do you know?
109.
MARTA
More than what you think. I met
your friend Natalia. She told me
quite a few things.
Irene grimaces. She puts out her cigarette in an ashtray.
IRENE
I'm thirsty. Do you want some
water?
Without giving Marta time to answer, Irene heads to the
kitchen. Once there, Irene opens a drawer full of cutlery.
She grabs one of the sharpest knives, but at that moment
Marta enters the kitchen. Irene drops the knife and closes
the drawer. Marta pretends not to have seen her friend's
maneuver.
MARTA
I think I'll have that glass of
water.
Irene takes a couple of glasses from the cupboard and fills
them with tap water. She offers one to Marta and raises her
glass in a gesture of toast. Marta refuses the toast.
MARTA (CONT’D)
Toasting with water brings bad
luck.
IRENE
What does that matter anymore?
Marta then raises her glass; Irene touches it with hers and
they drink.
IRENE (CONT’D)
You shouldn't believe everything
Natalia told you.
MARTA
Your mother told me she was a bad
influence...
110.
IRENE
(raising eyebrows)
Mothers don't usually make
mistakes... Did she tell you about
Luna?
MARTA
Vaguely. But she mentioned Jota.
Irene lets out a bitter laugh and looks down a little.
FLASHBACK.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
34 -
A Deal Struck
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
cries silently. She picks up a razor blade and cuts her arm.
She trembles and drops the blade. Blood drips into the sink.
END FLASHBACK.
141 INT. IRENE'S APARTMENT/LIVING ROOM - DAY.
IRENE takes a sip of water.
MARTA
She hinted that you had something
against him.
IRENE
Jota is a maniac. He killed
AmoDark. But he took care of
leaving evidence, so that they
could frame me as the main suspect.
If I show up, the police will
arrest me and I will have no
possible defense.
MARTA
We can prove that he was the one
who did it.
111.
IRENE
You wouldn't get it. And before I
could throw shit at him, he would
finish me off. He knows that it is
better for me to keep silent about
this.
Irene drinks the water and leaves the glass in the sink.
Marta leaves hers on the counter.
MARTA
With that attitude, the only thing
you have achieved is to become a
suspect.
IRENE
I know. What are you up to? Have
you come to turn me in?
Marta sighs and takes a few steps towards Irene. She places
her hands on Irene's shoulders.
MARTA
I have not come to turn you in.
Sooner or later, Jota will make a
mistake and we’ll catch him.
Meanwhile...
IRENE
What?
MARTA
You can stay hidden, but on one
condition: you have to give me your
number and keep in touch with me. I
want to know where you are at all
times.
Irene purses her lips and looks down.
IRENE
Alright.
The two friends hug each other. Marta kisses Irene, who shows
a surprised face. Marta whispers in her ear.
112.
MARTA
If you disappear again, I swear
that I will personally see that you
are locked up.
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Facing Reality
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
Good morning. Are you feeling
better?
MARTA
Yes, I am. Thanks for asking.
JOAQUÍN
Have you sorted things out with
Rodney?
Marta nods negatively.
MARTA
I think we both need to give
ourselves some time.
JOAQUÍN
That’s right! I heard that Homicide
is almost certain there was at
least one other person in the
house. I'm sorry to tell you this,
but they think Irene must be dead.
Marta takes her coffee out of the machine and remains
thoughtful.
MARTA
(hesitantly)
I see... Joaquín, there is
something I need to tell you.
JOAQUÍN
Go ahead.
113.
MARTA
(bites her lip) )
Irene is not... I keep thinking
about it, you know.
JOAQUÍN
(understandingly)
It’s normal. But listen. You must
turn the page and take her
disappearance as a death. I know
it's hard; but believe me, it's the
best.
MARTA
But there is something...
JOAQUÍN
I know what you're going to say.
Listen: visit the psychologist.
Other colleagues have done it and
it has gone very well.
MARTA
I’ll give it a thought.
JOAQUÍN
Promise me.
MARTA
(pretending to be upset)
Do you think you are my father...?
Okay, I'll do it. I promise.
Joaquín puts his arm around Marta's shoulders and gives her a
small hug.
JOAQUÍN
You will get over it.
MARTA
Thank you.
Joaquín leaves with the coffee cup towards his table. Marta
is left standing alone in front of the coffee machine.
114.
Genres:
["Drama","Mystery","Crime"]
Ratings
Scene
36 -
On the Run
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
leaves the apartment.
144 EXT. ROAD - DAY.
IRENE drives her car along the highway and passes under a
sign for Vigo.
145 INT. HOSTEL/RECEPTION - DAY.
IRENE is at the reception signing in. After which, the
RECEPTIONIST (58) puts away the register and hands her the
keys.
146 INT. HOSTEL/ROOM - DAY.
IRENE enters the room. To the right there is a bathroom and
then there is almost just enough space for the bed and a
table. Irene drops her suitcase and sits on the bed. She
takes out her cell phone, searches Natalia's contacts and
calls.
NATALIA (OFF)
Who is it?
IRENE
It’s me.
147 EXT. STREET - DAY.
NATALIA walks down the street while talking on her phone.
Recognizing Irene's voice, she stops with a gesture of joy.
NATALIA
Irene! Thank God! I thought you
were never going to call me.
148 INT. HOSTEL/ROOM - DAY.
IRENE narrows her eyes and sighs.
115.
IRENE
We have a problem. Marta has
tracked me and Jota down. I know
you told him about Jota. We can't
just sit and wait. We have to act.
149 EXT. STREET - DAY.
NATALIA takes a few short steps. Her face has a scared
expression.
NATALIA
What? That wasn't what...
150 INT. HOSTEL/ROOM - DAY.
IRENE lights a cigarette.
IRENE
We have to take extreme measures
and do it as soon as possible.
NATALIA (OFF)
(breathing heavily) )
I'm afraid I cannot.
IRENE
Listen. Jota has us in his sights.
He knows you've talked to the
police and he probably suspects
that you and I are still in touch.
If we don't make a move, he'll
screw us alive.
Genres:
["Thriller","Drama"]
Ratings
Scene
37 -
A Shadow of Fear
151 EXT. STREET - DAY.
NATALIA is restless, she moves back and forth, she walks with
her gaze lost.
NATALIA
What about Marta?
IRENE (OFF)
Leave that to me. You already know
what you have to do.
116.
IRENE hangs up and Natalia shows a perplexed face with her
cell phone in her hand. She sits on a street bench and goes
through her contact list. She finds what she is looking for,
and taps on it.
152 INT. JOTA'S HOUSE - DAY.
JOTA is lying face down on a massage table. PERSEPHONE is
applying oil to his back and massaging him. A cell phone
rings and Persephone lets it ring.
JOTA
Pick up the phone.
Persephone wipes her hands on a towel and answers.
PERSÉFONE
Hello.
NATALIA (OFF)
This is Natalia.
Upon hearing NATALIA's voice, Persephone makes a strange
face.
PERSÉFONE
Natalia?
Jota turns over on the massage table and gets interested in
the conversation.
NATALIA (OFF)
We need to talk.
PERSÉFONE
Sure. We could meet in a discreet
place, where we won't be disturbed.
NATALIA (OFF)
OK.
Persephone and Jota exchange a look. Jota nods a yes.
PERSÉFONE
So, listen...
117.
153 EXT. PARK/STREET - DAY.
It's getting dark. NATALIA waits sitting on a bench and
watches how the sun begins to disappear on the horizon. She
looks at the time impatiently. She checks the messages on her
cell phone, but there is nothing. She then rings PERSEPHONE's
phone, but the answering machine picks it up. She tries
again, with the same result. She then gets up and starts
walking quickly. From time to time, she turns to look, but
she doesn't find any familiar faces. As she leaves the park,
she walks down the street and a car begins to follow her
slowly.
154 INT. MARTA'S APARTMENT - DAY.
The doorbell to MARTA's apartment rings. TRUHAN approaches
the entrance door and starts barking. A moment later, Marta
goes to open the door. While doing so, she meets RODNEY.
Truhan puts his paws on him to greet him and Rodney pets him
with a smile. Martha is surprised.
MARTA
Rodney! What are you doing here?
RODNEY
Mind if I come in? I have come over
to teach you something.
Marta opens the door and Rodney walks in. Truhan doesn't let
go of him. They go into the living room together and sit on
the couch.
MARTA
Rodney, listen. If you have come
for a reconciliation...
RODNEY
Don’t worry. This morning I read a
news story on my phone. I thought
you might be interested in seeing
it.
Rodney takes out his cell phone and shows the screen to
Marta. A video is paused. Upon seeing it, Marta snatches his
cell phone and plays the video. A JOURNALIST recounts the
events.
118.
JOURNALIST
...The police have found the body
of a brutally murdered woman.
The video shows a photo of Natalia.
JOURNALIST (CONT’D)
The evidence suggests that the
crime is related to some type of
sadomasochistic ritual...
Marta returns the cell phone to Rodney.
MARTA
My God!
RODNEY
They do not mention the name of the
victim; but the photo did not seem
to be of Irene.
Marta nods negatively. She gets up hurriedly and looks for
her cell phone. She rings Irene's contact, but she gets a
message saying that her cell phone is disconnected or out of
service. She angrily throws her cell phone on the table.
MARTA
Shit! Shit!
RODNEY
What's happening?
MARTA
I screwed up. I screwed up again.
Genres:
["Thriller","Drama"]
Ratings
Scene
38 -
Irene's Return and Jota's Plans
155 EXT. POLICE STATION - DAY.
MARTA smokes a cigarette at the front door. JOAQUÍN
accompanies her.
JOAQUÍN
You shouldn't blame yourself for
what happened. Whoever gets into
those games knows what they are
exposing themselves to.
119.
MARTA
You do not understand. Natalia was
the one who told me about Jota. I
turned the spotlight on her. And
then... There's something I've
never told you.
Joaquín looks at Marta, raising his eyebrows.
MARTA (CONT’D)
Swear to me you won't tell anyone.
JOAQUÍN
(raising a hand,
sarcastically)
I swear.
MARTA
Irene is alive. Do you remember
those days I took off? I traveled
to Portugal and found her.
JOAQUÍN
(agitated)
Have you gone crazy? They could
accuse you of cover-up. You have to
report her whereabouts immediately.
MARTA
It's useless. I made her promise
that she would keep in touch with
me. I'm an idiot.
JOAQUÍN
She can't always be on the run. She
should turn herself in.
MARTA
She will not. Not without first
solving her problem with Jota.
156 INT. POLICE STATION - DAY.
MARTA and JOAQUÍN enter and go to their tables. At that
moment, PABLO approaches with impetuous movements and grabs
Marta by her arm and pulls her.
120.
MARTA
Hey! What got into you?
PABLO
I have to show you something.
JOAQUÍN
What’s going on?
PABLO
The Twitter account, the one Irene
used. It is active again.
Marta and Joaquín are amazed and exchange a knowing look.
JOAQUÍN
Come on. Show us.
157 INT. CYBERSECURITY UNIT - DAY.
PABLO is sitting in front of his computer and MARTA and
JOAQUÍN are behind him, looking at the screen.
MARTA
Since when is the account active
again?
PABLO
(pointing to the screen)
Last night. Someone, using a
Twitter account, sent a private
message to Irene. Check it out.
MARTA
I don't see anything.
PABLO
Because they were deleted. But they
exchanged several messages.
MARTA
Can we find out the content?
PABLO
No, we can’t. But I've done better.
I have hacked the accounts linked
to Jota.
121.
JOAQUÍN
You've done what?
Marta puts her finger to her nose and shushes Joaquín.
PABLO
(enthusiastic)
Don't worry, I haven't left a
trace.
While he speaks, Pablo opens a program and accesses the
emails of one of the accounts. He points them out.
PABLO (CONT’D)
Here it is. Jota is preparing an
event.
JOAQUÍN
It could be a trap for Irene.
MARTA
We have to find out where and when
the event will be held.
PABLO
Here are a couple of undeleted
messages from Irene, written
yesterday. She says that she is in
Vigo, and proposes to meet at a
cottage... on Friday night.
JOAQUÍN
Then there is no time. Today is
Friday. And there will be hundreds
of cottages around Vigo.
MARTA
Maybe not. I have a hunch.
JOAQUÍN
What do you mean?
As if she had had a sudden idea, Marta rushes out. Just
before she leaves, Pablo calls her.
PABLO
Hey! Don't you forget something?
Marta pouts at him as if she were giving him a kiss.
122.
PABLO (CONT’D)
That's all?
MARTA
I don't want you to get used to it!
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
39 -
The Trap at the Cottage
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
the search to three houses. Marta looks at the location of
the three on the map. The first has a direct exit from the
highway a few minutes away. She rules it out. The second
cottage is reached through a secondary road, and is a few
meters away from it. She then looks at the third one: the
cottage seems to be located in the middle of a vacant space.
Marta gets "Start Google Maps in Satellite View” and notices
that there is a barely marked dirt road that leads to the
cottage. Marta marks her location and sends it to her cell
phone. Then she gets up and starts to pick up her things,
leaving the computer on.
JOAQUÍN
Where are you going?
MARTA
I have a hunch.
JOAQUÍN follows Marta. They both talk while walking.
JOAQUÍN
Don’t. You can't show up there on
your own.
MARTA
Is there any law that prevents me
from doing this?
JOAQUÍN
It's called common sense. Tell your
boss what you have discovered.
MARTA
No way. He tells me that Jota has
got him by the balls.
123.
Marta and Joaquín arrive at the exit door. Joaquín grabs
Marta by her arm before she opens the door.
JOAQUÍN
At least tell me. This way I can
help you, if necessary.
Marta smiles gratefully at him.
MARTA
I don't want you to get into
trouble for me.
JOAQUÍN
I already am in trouble. Don't you
think?
MARTA
I really appreciate it. But don't
insist. Please.
Marta leaves the police station.
159 EXT. HIGHWAY - DAY.
MARTA drives her car on the highway. She passes under a sign
that indicates that she is traveling on the Rías Bajas
Highway, A-52, towards Vigo.
160 EXT. HIGHWAY/ROAD - NIGHT.
It’s getting dark. MARTA leaves the highway and takes a
secondary road.
161 INT-EXT. MARTA'S CAR/ROAD - NIGHT.
The GPS tells MARTA that she should exit the highway and turn
left onto an unmarked dirt road. Before reaching the cottage,
Marta takes the car off the road and moves it to a place
where it is not visible. Marta gets out of the car and walks
to the cottage. As she approaches, she sees that it has a
light on. Marta surrounds the cottage and tries to see the
interior from the windows. She doesn't see anything. She goes
to the door and finds it open. She pulls out her gun and
enters stealthily.
124.
162 INT. VIGO COTTAGE/ENTRANCE - NIGHT.
MARTA walks inside the house without letting go of her gun,
practically in the dark, except for some candles that are lit
up on the floor, forming a kind of hallway. At the end, there
is a room with dark music coming from it, which sounds like a
litany. Marta approaches and opens the door slowly. Voices
are heard inside.
163 INT. VIGO COTTAGE/ROOM - NIGHT.
MARTA enters the room, dimly lit with candles. She can barely
make out Irene. She is half naked, wearing latex underwear.
Next to her, there is a body lying on the ground, with a bag
over its head. Marta looks bewilderingly at him. It's JOTA.
MARTA
What’s this all about? What
happened here?
At that moment, without Marta noticing her, PERSEPHONE comes
up behind her and hits her on the head. Marta falls to the
ground, unconscious.
164 INT. VIGO COTTAGE - NIGHT.
MARTA wakes up with a dazed expression. She is sitting in a
chair, and they have tied her hands behind her back. Marta
growls and IRENE looks at her. Irene addresses PERSEPHONE,
who is next to her.
IRENE
She has already come to her senses.
MARTA
What is all this about? Why am I
tied up?
IRENE
You are the last link.
MARTA
You're going to kill me? You won't
dare.
125.
IRENE
You are right. She will take care
of that. She is a true
professional.
Marta looks at Persephone, who is waiting standing, without
moving.
MARTA
What happened? I think I deserve to
know.
IRENE
You are completely right.
FLASHBACK.
165 INT. COTTAGE - NIGHT.
IRENE screams and JOTA slaps her and hits her with a brass
knuckle, leaving her stunned. AMODARK intervenes to defend
her and gets into a fight with JOTA. AmoDark hits Jota hard,
knocking him out momentarily. AmoDark then heads towards
Irene and unties her, leaving her free.
AMODARK
I'm sorry for what just happened.
It hadn't happened to me before.
At that moment, PERSEPHONE comes up behind AmoDark and
delivers a forceful blow to his head with a bar. When he is
on the ground, she handcuffs his wrists with his hands behind
his back. She then puts a bag over his head and holds him
until he dies from suffocation.
IRENE (OFF)
The rest was purely theater.
Persephone and Jota set the stage.
They let me go, on the condition
that I disappear forever and say
nothing. Then you came along and
started turning everything upside
down.
END FLASHBACK.
126.
Genres:
["Thriller","Mystery","Crime","Drama"]
Ratings
Scene
40 -
The Truth Revealed
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
wanted to get revenge on Jota for
killing Luna.
IRENE
He didn’t do it. Jota didn't have
the guts to kill anyone.
MARTA
So... What happened to Luna?
FLASHBACK.
167 INT. JOTA HOUSE/BDSM ROOM - DAY.
LUNA is standing, her wrists and ankles shackled. Jota
penetrates her while he suffocates her. Luna can't breathe.
Jota releases her and Luna catches her breath with
difficulty. Gasping with pleasure, with a sadistic smile,
Jota makes way for Persephone, who approaches Luna.
Persephone carries a rope in her hand. She puts it around
Luna's neck, who begins to struggle.
LUNA
Let me go!
Persephone places a gag on Luna. Then she begins to tighten
the rope around her neck. Someone puts a hand on Persephone's
shoulder, stopping her. It's NATALIA.
Persephone releases the rope from Luna's neck. Natalia
approaches her and removes the gag.
LUNA (CONT’D)
Thank you. Get this thing off me. I
want to get out of here.
Natalia caresses Luna's face, runs her hands over her body.
LUNA (CONT’D)
Come on, untie me already!
127.
NATALIA
I have always loved you so much...
Natalia takes out a plastic bag and places it on Luna's head.
Luna tries to stop it and fights; but Natalia places the bag
on her without much difficulty. She ties her neck with a
rope. Luna breathes heavily and the bag sticks to Luna's face
with each heavy breath.
After a few moments of struggle, Luna dies of asphyxiation.
Natalia approaches her and removes her waning moon pendant.
She puts it on her neck. She then looks at Luna's corpse and
cries in despair. She drops to the ground, defeated.
END FLASHBACK.
Genres:
["Thriller","Drama","Crime"]
Ratings
Scene
41 -
Betrayal and Revenge
168 INT. VIGO COTTAGE - NIGHT.
MARTA looks at IRENE with a gesture of surprise.
MARTA
When did you know?
IRENE
When I saw her with Luna's
necklace. She would never have
given it to her. Luna never loved
her. She loved me. Killing her was
her way of getting revenge.
MARTA
I see. So, it was you who killed
Natalia.
IRENE looks at MARTA intently and nods negatively. She smiles
sideways.
IRENE
I only witnessed her death. Jota
had fun with her. It was Persephone
who finished the job.
MARTA
She? Wasn't she submissive?
Irene smiles, approaches Marta and caresses her.
128.
IRENE
You are so naive. You think people
can only be of one kind.
Irene kisses Marta with passion.
IRENE (CONT’D)
I was always crazy about you.
You're the best. You would have
been a perfect mistress.
MARTA
What are you going to do??
IRENE
I’m sorry, Marta.
Persephone puts a rope around Marta's neck and begins to
strangle her.
MARTA
Help me!
Persephone continues squeezing while Marta kicks and
thrashes.
MARTA (CONT’D)
Stop, please!
Marta's eyes plead desperately. Irene looks away.
MARTA (CONT’D)
Submissive slut! Stop this! I order
it to you!
Marta begins to lose consciousness; her eyes go blank. Then
Irene picks up a vase, throws herself on Persephone and hits
her head. Persephone falls to the ground, and Irene jumps on
top of her. Persephone struggles with Irene, gasps, thrashes
and manages to free herself from Irene.
She gets up; but as she does so, Irene grabs her ankle and
makes her lose her balance. Irene takes a cushion and puts it
on Persephone's face. She presses it with all the strength of
her own weight. Persephone kicks and slowly loses her
resistance until she dies.
Irene then gets up and unties Marta, who falls to the ground.
Irene approaches and whispers in her ear.
129.
IRENE
Now I must go, mistress.
Irene comes out. Marta remains on the floor, breathing hard.
Genres:
["Thriller","Drama"]
Ratings
Scene
42 -
The Aftermath
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
of JOTA and PERSEPHONE.
JOAQUÍN
Good God, Martha!
He leans over her and puts his hand against her neck to feel
for her pulse.
JOAQUÍN (CONT’D)
Call an ambulance!
Marta sees Joaquín as if he were enveloped in a mist. He
looks terrified and seems to scream, although she doesn't
hear what he is saying. Little by little, Joaquín's face
becomes blurry to Marta, and she closes her eyes.
JOAQUÍN (CONT’D)
Martha, Martha! You're going to be
fine! Do you hear me?
FADE TO BLACK
171 INT. HOSPITAL - DAY.
MARTA is convalescing in a hospital bed. RODNEY is sitting
next to her. Marta wakes up and Rodney smiles when he sees
her.
RODNEY
Hello! How do you feel?
MARTA
Bad. She has escaped again.
130.
RODNEY
Don't think about that now.
Marta looks out the window next to her.
MARTA
It's like she wants to play with
me, as a challenge.
RODNEY
What makes you think that?
Marta shakes her head.
MARTA
She moves closer to me and away
from me intermittently. She wants
me to find her and then get lost.
Maybe she wanted me to kill her. I
don't know.
RODNEY
Now you just have to think about
recovering and getting out of here.
I'm going to be with you.
Rodney puts his hand on Marta's hand. She accepts it,
intertwining the fingers of both hands.
172 INT. MARTA'S APARTMENT/OFFICE - DAY.
MARTA is looking at photos of Irene on her laptop. She
deletes some. Her cell phone rings. It's a phone call from
her partner JOAQUÍN.
MARTA
Hello.
JOAQUÍN (OFF)
Hello. I have bad news.
MARTA
Let me guess. They're going to
suspend me.
JOAQUÍN (OFF)
Internal Affairs has opened an
investigation.
(MORE)
131.
JOAQUÍN (OFF) (CONT'D)
They think you could be Irene's
accomplice, having planned the
murders with her.
MARTA
That's ridiculous.
JOAQUÍN (OFF)
Not for them. And if you think
about it, there are details that
fit that hypothesis: you knew the
locations and you arrived before
the police; you saw Irene without
informing us and you let her escape
unpunished for all the crimes
committed.
MARTA
Wow, I'm pretty screwed.
JOAQUÍN
I believe in your innocence.
MARTA
Really? That's why you told the
boss that I had met Irene, and
about the house in Galicia.
JOAQUÍN
Marta, I...
MARTA
Goodbye, Joaquín.
Marta hangs up.
173 INT. MARTA'S APARTMENT/BEDROOM - NIGHT.
MARTA wakes up in the middle of the night due to the noise of
night traffic. She is sweaty from the heat, as is RODNEY, who
is next to her. Marta turns over in bed, restless, and Rodney
also wakes up, looks at Marta and tries to hug her; but she
rejects him abruptly.
Rodney gets out of bed without saying a word and heads to the
bathroom, where he turns on the shower.
132.
Marta glances sideways at the bathroom door, closes her eyes
and sighs. She gets out of bed and looks out the window.
Almost immediately, Rodney comes out of the shower naked and
with his body slightly soaked, half-dried, and Marta gives
him an indifferent look. Rodney lies back down on the bed.
RODNEY
Are you going back to bed?
Marta looks at him, but she doesn't answer. She leaves the
bedroom.
174 INT. MARTA'S APARTMENT/OFFICE - NIGHT.
MARTA enters the office, where she searches through her bag
and takes out a cigarette that she lights. There is a laptop
on the office table.
MARTA (OFF)
It's been more than a month since I
last saw Irene. My police
colleagues accuse me of letting her
escape, although they have been
unable to prove anything. Even
Rodney, without telling me, thinks
the same. It's hard to see how
certain people, even the ones you
least expect, point the finger at
you.
Marta plugs in her laptop. She sits on the couch and lets
herself slide down the back of it while she takes short drags
on the cigarette.
MARTA (OFF) (CONT’D)
Many people say that, if they could
go back in time, they would change
many decisions. At this point, and
despite the mistakes made, I don't
think I would change anything.
Marta accesses a Twitter account. On the other side, after a
few moments of waiting, Irene connects. Marta sees her on
video. She types her a private message: "ISN'T IT TOO LATE,
LOVE?" Marta turns on the microphone and the camera and
answers with authority.
133.
MARTA (CONT’D)
If it's not late for me it's not
late for you; so, get ready.
IRENE
I await your orders, mistress.
MARTA
Get naked and get on your knees.
IRENE
Okay, mistress.
Irene begins to undress. When she takes off her shirt, the
silver waning moon pendant is revealed.