The Jackal

This one started only as an exercise, the idea was to emulate a scene from a famous movie. The thing is, as I was planning the script I went off to create a distinct scene that deserved to come to life. This was also the first time I took the time to do good pre-production and storyboard of the whole thing, which made the shooting fast and juicy!

Halcyon Days (Chapter I)

EXT. ROAD IN THE MIDDLE OF THE MOUNTAINS – NIGHT

Echoes of drifting wheels, to one side and to the other. A faint light is lit in the intense darkness.

As we get closer, the light reveals the outline of the street, the rows of trees around it.

It’s a winding road through a mountainous and tree-covered area, seen from the heights.

The light comes from the headlights of a BLUE NISSAN ALTIMA.

We continue to approach from the heights, the echo of a violent blow, the car crashes against the protective barriers and falls in the middle of the forest.

We keep descending, the car crashes into a tree. The horn sounds without stopping.

There’ s a person lying on the grass, bleeding.

We get closer.

To WILL (47), cuts on his face, shards of glass on his body, breathing hard, his eyes still, open.

CUT TO:

OVER BLACK: HALCYON DAYS

INT. BEACH HOUSE KITCHEN – DAY

The waves calmly hit the shore of the beach and recede, their sound is heard faint, low. The image of bluish tones is contemplated by Will from the window partially fogged.

Steam escapes from the neck of the kettle.

Will pours two cups, arranged on the table. He removes the bread from the toaster, places it on the plates.

EXT. OUTSIDE THE BEACH HOUSE – DAY

The door of the house opens and hits the frame, driven by the sea wind. Will comes out covered by a blanket, his bare feet in the sand.

He walks across the sand, ahead, near the shore of the beach, a small boat.

The crests of the waves rise. Cloudy, flat sky.

Will takes a deep breath, turns and looks back.

In the kitchen window of the weathered white wooden house he can see SOPHIA (45) with a cup in her hands. Next to her, CHRIS (8) waves effusively.

Will smiles, continues walking through the sand. He reaches the boat, leaves the blanket inside.

Then pushes the boat into the water, pushes hard against the onslaught of the waves.

He manages to get into the depths, until he can no longer stand up underwater.

Will climbs into the boat, takes the oars and places them in their positions.

He forcefully pushes himself out to sea, paddling again and again, pulling away with each embrace. Until the coast is no longer visible.

The boat stops in the middle of the sea.

Silence.

Will wipes the condensed water from his nose. He picks up the net from the floor, prepares to throw it into the water.

Suddenly.

A slight whistling sound catches Will’s attention, he looks around, he can see nothing but the calm sea.

The whistling intensifies.

From above. Will looks up at the cloudy sky. Nothing.

The whistling intensifies even more.

The clouds open up, a fireball pierces the sky, its downward trajectory takes it towards the sea.

Will watches in amazement, following the rapidly descending fireball until it hits the surface of the water.

The blow causes a wave, which comes rushing towards the boat.

Will has no time to hold on to the boat, the wave hits him and throws him into the water.

As the wave passes, Will returns to the surface, grabs the edge of the boat and climbs back up.

Looking up at the impact site, Will can see a SPACE SHUTTLE floating on the surface of the sea.

CUT TO:

FLASHBACK

EXT. OUTSIDE WILL’S HOUSE – NIGHT

Will’s car pulls up to the curb, he gets out, waves to a neighbor who is walking his dog.

Will walks up to the house, a BLUE NISSAN ALTIMA is parked in the driveway.

Will sighs, walks over to the driver’s window. Inside the Nissan sits Sophia, with both hands on the steering wheel.

Will knocks on the window twice, Sophia lowers it.

WILL
Honey, when did you get out?

SOPHIA
Don’t talk to me that way.

WILL
I just want to know.

Sophia turns to look at Will.

SOPHIA
I’m fine.

WILL
You don’t look fine.

SOPHIA
I just want to talk, okay?

Will nods, he looks to the side, tries to contain his emotions.

SOPHIA
Can you get in the car?

WILL
Why?

SOPHIA
Please.

Will takes a deep breath, walks around the Nissan.

Gets in the passenger side.

WILL
What do you want to talk about?

Sophia starts the engine, the Nissan backs into the street, drives away from the house.

END OF FLASHBACK

CUT TO:

EXT. BEACH SHORE – DAY

The tip of the boat hits the shore of the beach. Will jumps onto the sand, runs toward the house.

WILL
Sophia!

Will stumbles on a mound of sand, but manages to keep his balance.

WILL
Sophia, come out!

He looks toward the—

BEACH HOUSE

Where Sophia walks out the door.

SOPHIA
What happened?

Sophia looks at Will, looks towards the boat, where an ASTRONAUT, with a helmet covering the face, is lying down.

WILL
Come help me! Quick!

Sophia covers her chest with the sides of her vest, crosses her arms, walks towards Will with a serious look on her face.

Will runs back to the boat, grabs the astronaut from behind, tries to lift him up. Sophia reaches the boat.

WILL
He’s unconscious.

SOPHIA
Where did you find him?

WILL
He fell from the sky, take his feet.

Sophia grabs the astronaut by the feet, Will pulls and manages to lift him up. They both pull him out of the boat.

SOPHIA
What are you going to do with him?

Will looks at Sophia in confusion.

WILL
Help him.

Sophia looks away, both continue to move across the sand and toward the house.

(To be continued…)

Explosion of supernova feelings

The titanium alloy builded cabine of the interstellar rollercoaster vibrates upon warp speed entry as Johnny, a teenage pulsar dj practitioner, changes tracks once again, undecided about the atmospheric melody which he would like to listen upon death by suffocation, tossed imaginarilly into space and time after loosing the incoming dj battle he’s about to face. Yet, the rollercoaster arrives to the nearest star at lightspeed, alongside the new beat in Johnny´s playlist; “excitement of a burning star”. The tune hits the cabin, some dude in the back starts moving his head with a smile that fastly spreads to more and more, increasingly excited, people.

  • I bet they won’t toss me into space after listening to this killer track.

Johnny accomodates his vintage headphones and let’s himself be carried away by the melody, but he’s quickly interrupted by the harsh bass on Azeroth,  his contestant, hit track; “Cry of a pulsar”. The battle is on.

Johnny turns up the volume, along with the rising laser melody which welcomes the audience into the sudden fall of the rollercoaster and manages to take them away from the sad tunes of his adversary. But at the end of the fall, the melancholic pulse on the bridge of “Cry of a Pulsar”, pushes them back into the sadness of oblivion, conveyed by Azeroth’s feelings. Johnny concentrates on his previous sentiments, on the warm rising of the sun in the summer, but the melody only manages to upset the audience, completely caught up in sadness, and they love it. The rollercoaster spirals, taking Johnny off from concentration and giving Azeroth even more sad feelings to feed upon. Hanging in despair, Johnny notices Azeroth is looking right at him, probably feeding of Johnny’s desperation to add to his sad tune. And so, Johnny opens his safebelt and lets himself go in the middle of the rollercoaster spinning. The sudden fall of Johnny makes Azeroth laugh and the sad tune he’s conveing changes into an uprising beat, following his own feelings, and more so than that, merging with another rising tune, the hopeful arrangement that comes from Johnny’s heart, grabbing the side of the dj table and not letting himself go in the middle of the chaotic movement of the rollercoaster. Fighting for his own life, Johnny’s heart fuses with the melody from “excitement of a burning star”, transforming it into a new song; “Explosion of supernova feelings”. And the entire audience let’s themself go from their seatbelts,  and the rollercoaster travels through space with a multitude of people hanging from their chairs, fighting to stay alive and not letting go.

The spiral tracks are behind and the rollercoaster stabilises near the heart of a gigantic galaxy, purple mist and the birth of new stars accompany Johnny´s triumphant coda, as “explosion of a supernova feelings” hits the end. The audience goes back into their sits, a couple rejoice by the window, kissing passionately. Azeroth´s song has stopped for some time now, not that anyone notices it and Johnny is the only one to say goodbye to him, before the floor opens and tosses him out into space, to die. 

The End.

Eternal Dream (Part III)

V

The impression awakens Alfonso, what was that? A dream? The place is unfamiliar to him, the shelves with candy, the flickering light in the damp sky and the vibrant sound of the refrigerators on the side, the smell of gasoline in the air gives him a more or less convincing clue as to where he is and who has rescued him during the night. The bell rings with the opening of the door and a woman enters the store. Alfonso gets up to sit on the old red sofa, with some bites in the corners that reveal the boards that shape it. The woman introduces herself as Paloma, informs him that thanks to the big explosion in the middle of the night they have been able to find him in the desert, that he has been lucky because of that. Exalted, Alfonso asks about the old man, Paloma says she didn’t see anyone else, because the place was very dark and repeats that he was lucky they even found him. She remembers meeting an old stranger some time ago, perhaps it was the same person. But Alfonso is not satisfied with the answer, he insists on the old man, explaining that he may be seriously injured, that they need to go and look for him immediately. A second voice interrupts him and asks.

  • How long do you think it’s been since we found you?

It is a man with a grey beard and a trucker’s hat, who presents himself as Pedro, a strong man but beaten by the passage of time. Alfonso has no way of answering the question correctly, he wants to say “a few hours” but the heaviness in his head tells him otherwise.

  • You have been sleeping for a whole month.

Pedro replies and Alfonso gets up completely from the sofa.

  • What happened to Amelia?

Unanswered question, the woman approaches and tries to reassure him, explaining that no one else has been found in the desert, which is a very vast place and sometimes people simply disappear. Confused, Alfonso cannot believe the words he has just heard. How is it possible that they have not been able to find their car?

  • This desert is special.

Pedro answers once again, in that cryptic way that already begins to irritate Alfonso.

The sands rise up and sometimes form figures that seem real, but after a while the wind blows them away and they don’t exist anymore.

Words that confuse Alfonso even more.

  • Are you saying that I hallucinated everything? That Amelia doesn’t exist? And the old man?

Pedro has no answers. The ground and the sky revolve around Alfonso, confusion and dizziness lead him to run towards the exit door. The sound of the small bell on the door resonates and merges with the arches that Alfonso has outside the quickstop, the little he has in his stomach is expelled through his mouth and ends up spilled on the floor, where the sand, which moves in the wind, forms circular shapes. Alfonso stares at the movement, in his mind, the idea of illusion begins to gain strength. At least it takes away his responsibility for the lives of two people. But is he really considering believing that it was all an illusion? Peter walks out the door and approaches Alfonso, offering him a napkin to wipe his mouth. Alfonso receives the napkin and wipes himself without getting up.

  • You’ll be fine, I assure you.
  • I’ll be fine? We are talking about the lives of two people.

Alfonso responds without hiding his irritation.

  • Two people who may be an illusion.

Pedro comes back to the charge with his theory of illusions in the sand.

  • I understand you, believe me. Something similar happened to me, I also lost a person.

Alfonso wakes up half relieved that someone else shares the odyssey. Amelia’s face remains in his memory, impossible to believe that it was all just a dream.

  • But don’t worry, there is still something we can do.
  • What do you mean?
  • Well, I saved your life and you can now help me with something that will benefit us both.

Alfonso still can’t believe they couldn’t find Amelia, what about her car? What happened to it? Pedro indicates that details have never helped anyone change the reality of things, but that Alfonso does not need to despair, as there is still hope.

  • It is about the inhabitants of the desert, it is a tribe that, according to the legend, has a special connection with the creative principles of this universe, they know about the desert and illusions, they can help both.

Peter explains the whole mess and then goes off to tell the sad story about the disappearance of his younger brother, also “swallowed up or imagined” by the desert. Has he hallucinated him? He doesn’t know, as time goes by he can’t even remember if he really had a brother all his life. But what he keeps in his heart is the memory and affection for him, and that is what drives him to keep looking. And Alfonso listens to Pedro’s words with disbelief, the reality now seems so different to him than it was when he started the journey that now has him completely confused outside a gas station, who knows where.

  • What do you say?

Peter asks once again and Alfonso accepts, hoping to find, at some point on the confusing path that seems to hover before his feet, some answer that makes sense.

VI

Early the next day, Alfonso and Pedro go into the desert, both of them cross the sand in silence, walking until they find themselves completely surrounded by golden mounds that reflect intense sun rays, indistinguishable from each other. The walk continues and Alfonso returns to that feeling of fullness that reminds him of the moment when he decided to start walking on the road, the starting point of his current odyssey. The first steps he took, moving away from the car and the woman who, while asleep, he hopes, he will still be able to see again, no matter how illusory it seems to return to her and with it still keeping the hope that she is still alive. Heavy steps in the sand, the tiredness reaches him faster this time. Pedro advances in a hurry, sure of himself, of the path, which for Alfonso is as diffuse as the sand itself. And then it occurs, first a light blow that raises a soft breeze that moves the surface of the desert, then it grows as a breath that becomes more and more agitated, until raising a whole wall of sand that moves quickly and wraps Pedro and Alfonso, making impossible to distinguish heaven from earth.

  • Is it all sand?

Alfonso tries to follow in Pedro’s footsteps, but the wall of sand that stands between them barely allows him to distinguish it from everything else.

  • Alfonso, let’s keep going!

Forward, where to? Alfonso doesn’t know. Thunder rumbles on the ground around them both, frightening the raised sands and taking over the sides of all horizons, invisible among so much sand. Alfonso shouts to Pedro, asks him about the origin of the thunder, does it matter? Pedro turns and smiles.

  • We are close!

Close to what? Alfonso has lost all confidence in the journey. A new roar is now revealed as a high-pitched scream and, a little further on, a figure stands on the highest dune on the nearby horizon, almost indistinguishable among so much sand. As they approach, both can see that it is a naked man, with his arms raised and his face angry, his words, incomprehensible to Alfonso, seem to curse the desert. The sands follow his movement, to the left, to the right, his cries provoke the wrath of the winds. Pedro indicates to Alfonso that the guy standing on the dune is his younger brother, that it is time to capture him, to stop him before the desert prevents them from doing so. Alfonso follows Pedro to the dune, but the brother sees them approaching and starts running, shouting louder, raising new storms that make it impossible to follow his trail. Pedro shouts his brother’s name over and over again.

  • Gustavo!

Alfonso orientates himself by following the sound of Peter’s voice, his eyes can no longer see anything but sand fluttering aggressively between the columns of wind that push him in all directions. Then, a sharp sound and an aggressive blow pass furiously through Alfonso’s left side, grazing his bare ear. A fast line that forms a tube between the sands, an opening that points the way of the object, embedded with violence, in the center of the back of Gustavo, brother of Pedro, who falls dead in the middle of the desert storm. Pedro reaches his brother’s body a few seconds later, too late. He takes him in his arms and sobs, trying, without success, to separate him from the arrow that has taken his life. Alfonso spins around tracking the direction of the arrow, his eyes set on a group of individuals standing about fifty meters away. People who look at him with inexpressive faces and naked bodies, except for the colors they wear on their skin, red some, blue others.

  • They are the people of the desert.

Pedro points to Alfonso and urges him to kneel in silence. By the expression on the man’s face, Alfonso understands that both are in extreme danger. Fear leads him to stutter some incoherent answer. Pedro falls to his knees, the tears that flow from his eyes are lost in the sand, it is his brother’s turn to mourn in silence. Alfonso follows him, trembling, manages to kneel down and lowers his head. A group of naked men surround Alfonso and Pedro, and between them they talk in a language that Alfonso cannot understand. One of them takes Alfonso by the hair and lifts him up to inspect him. Alfonso avoids looking at him in the eyes, and manages to count five of them in a quick glance to the sides. The men tie Alfonso and Pedro’s hands and feet, while another one approaches Gustavo’s body and, wielding a knife carved in stone, starts slicing him into several pieces. The blood flowing from Gustavo’s body stains the crimson red sands, the men wash the body with the blood of the dead man, looking up, they sing until the violence of the wind stops. The road clears, the sky appears again. Alfonso, obsessed with the events, cannot move his muscles, which are numb, and assumes with enough reasons that any suspicious movement could end up in his death. The men cover Alfonso’s and Pedro’s eyes with cloths cut from Gustavo’s torn skin, then leave for their village, dragging the prisoners through the boiling sand of the afternoon, both tied to ropes that two of them carry on their backs.

Eternal dream (Part II)

II

The hours pass and Alfonso is left alone with the desert landscape and his thoughts. Lying down on the side of the car, he smokes one cigarette after another waiting for the announced rescue that still does not materialize. The sun is lost in the horizon, the flame of the lighter burns and lights the tip of the fourth cigarette, Alfonso takes a big puff and exhales the smoke into the wind in an attempt to stay calm. Looking inside the vehicle, Amelia continues to sleep. Then he looks to both sides of the road and manages only to measure the enormous space that separates him from civilization, a situation that reassures him. In a few words, Alfonso does not want to return to the everyday life he has built, he feels trapped in it, squeezed to the last drop of novelty that he could find in the same streets he has walked all his life, in the same living spaces, in the same people with whom he has shared his life. Put in this way, is it so bad to have been stranded in the middle of the road next to the only woman in his life for whom he has felt a true connection? Night finally falls on the desert and the cold forces Alfonso to return to the interior of the car. Amelia continues to sleep, surely she was very tired, after walking who knows for how long through the desert. Alfonso settles into his seat and closes his eyes. It takes him a long time to fall asleep, but he succeeds.

The next day, Alfonso wakes up with a sore neck, hanging from his seat for much of the night. He thinks he should have worn a sweatshirt as a pillow, but he has not wanted to copy Amelia. He prefers to open the door and stretch out, the morning wind receiving him fresh, enough to not make such a fuss about the fact that the people from the gas station haven’t shown up yet. Alfonso hoped they would show up during the night. Nothing to do and Amelia still sleeping in the co-pilot’s seat, will she have woken up? No, she is still in the same position she was sleeping the night before. At midday, Alfonso has made some laps around the car, he has walked to the limit of the road and the desert, he has taken the sand in his hands, it has slipped away completely, he has remembered the fox that influenced him the day before. And Amelia, continues sleeping in the same position. Alfonso despairs; at least eighteen hours have passed since she fell asleep. Has something happened to her? He doesn’t know and takes a long time before he dares to check. It occurs to him to move her from her position to try to wake her up. Perhaps she will be angry, but at least he will know that she is okay. He does it, he moves her from one side to another with delicacy, nothing. Then with strength, back and forth, he says her name, shouts her name and nothing, she does not open her eyes. Fear takes hold of Alfonso. Convinced that something bad is happening, he takes the bottle and pours what is left of the water over Amelia’s face, but she does not wake up. Without water and with his companion unconscious, Alfonso nervously meditates on the situation, which takes a dark turn when Alfonso notices that the phone has lost all of its battery life. Unable to ask for help, all lines of thought lead him to the same conclusion, the only solution is to venture into the desert in search of help. After more than a day of waiting, the arrival of external help seems to him to be an illusory idea. To remain waiting could mean not only his own death due to lack of water, but also the death of Amelia. A lot of questions impossible to answer keep him sitting in front of the wheel for a long time, it occurs to him to hit the handle to get even for the present situation. Already with sore arms, he decides to open the door to go out and start walking, and the desert receives him imposing and eternal.

III

One step after another, Alfonso advances through the empty road. His mind clings to the tireless gaze of the fox in the middle of the desert dunes, to the adventures of Amelia, who walked for so many hours in the desert. Can he do it too? He supposes that he has no other option, to walk until he finds help or perhaps to faint from the heat. Anyway, the situation amuses him, he feels alive, honest, whole, with a valid mission, with a different objective than the monotonous speech of simply staying alive. The sun crosses the horizon and in its movement it loses the incandescent pale tone that does not give truce, painting now the land of orange tones, then reddish, losing with it part of its intensity and making the trip more bearable. At sunset, Alfonso loses some of his initial impulse, it’s the tired legs, the feverish forehead, the dry throat that don’t allow him to move with the same ease. At the same time, he can’t stop walking, he doesn’t want to, he assumes that if he does, he won’t move again for a long time. The night almost falls completely when a new vision leaves him perplexed for the third time. Miracle, a gas can arranged on the berm. A mirage? No, it’s really there. Alfonso walks the stretch that separates him from this marvelous vision and finds the gas can, noting that it is almost completely full, enough to give new life to the car, to take Amelia to a hospital. However, as soon as Alfonso takes the can in his hands, a figure hidden among the dunes and the sand throws itself at it and knocks it down. It is an old man completely naked, with long filthy gray hair and a pronounced beard of the same color. From the ground, Alfonso notices that the eyes of the old man are shining as intensely as the stars that take possession of the sky; his vision leads him to discard assuming a hostile posture. And with those shining eyes, the old man does not stop observing, almost without blinking, Alfonso lying on the sand, while he picks up the gasoline can from the ground. Alfonso gets up from the floor and cleans his clothes with his hands. He tells the old man about the car stranded in the middle of the desert and the woman he had to leave behind to find a solution to the dilemma. However, after the story is over, the old man does not change his attitude; the gas can belongs to him and he has no intention of sharing it. Alfonso reluctantly accepts and sits down by the side of the road to rest, he has really been walking for more than four hours and night has fallen on the desert, to continue advancing in these conditions does not seem a good idea. While Alfonso is lost in thought, the old man gathers some branches and with some gasoline he prepares to light a fire, only to realize that he has no way to make a fire. Alfonso then approaches and lights the branches with the lighter, an object that causes the old man a lot of curiosity. The flames grow with the wind and the fire takes shape quickly. Alfonso and the old man sit by the fire and stare silently, both with the same lost gaze between the reddish crests and the small incandescent sparks that escape from the interior of the fire. Alfonso has not forgotten the gas can, he still has some hope of taking it away from the old man. He surprises himself by these Machiavellian thoughts, assuming they come from the desperate circumstances in which he finds himself. He decides to inquire about the old man’s motives, asks him what he is doing in the desert in the middle of the night, the old man scratches his chin and stays a while thinking, he seems not to remember what he is doing. After a long time he answers that he is looking for a woman who was lost a long time ago. Alfonso doesn’t know if the old man is pulling his leg, so he decides to ask for more details. The old man says that’s all he knows, that and that for no reason should he let go of the gas can he has with him, as it is necessary to rescue the woman. Alfonso responds, and assumes with insight, that the old man has released it when Alfonso has found it, at the side of the road. The old man goes off laughing for a long time. Irritated, Alfonso prefers to remain silent. Then, the old man gets up and from the side of the sand he takes a red robe, something is wrapped inside. The old man reveals the content hidden inside, it is a dead snake, which he presents to Alfonso, without hiding his pride as a hunter for having achieved it. Alfonso doesn’t hide his disgust for the discovery, the old man grabs the snake by its head, cuts it off with his teeth right there and buries it in a stick, which shows up towards the flames. The old man covers his body with the red robe and soon after, the snake is cooked, he takes it out of the fire and bites a piece, his face draws a wide smile. Could it be that he has not eaten in days? Alfonso wonders as he receives the piece of snake that the old man offers him. Both eat in silence, Alfonso says nothing, but the taste of the snake has seemed less terrible to him than he expected. It occurs to him to tell a joke.

  • It seems to lack a bit of salt.

The old man can’t understand. Doesn’t he know what salt is? A while later, the flames lose intensity, the old man’s eyes close and soon he falls asleep. Alfonso settles down on the sand to rest, but he cannot sleep. Another time passes, the flames burn agonizingly and Alfonso opens his eyes, in front of him, the can and the old man sleeping, a unique opportunity to get the gasoline and return to Amelia. He rises carefully from the floor and takes furtive, precise steps to avoid excessive noise. He manages to get so close to the old man that he can hear his breathing. Alfonso stretches out his hands to take the can and almost succeeds, but the old man wakes up excited, grabs the can with strength, pushing it towards his belly. Alfonso pulls once more but does not manage to take it away from him. The old man gets up and tries to run away, but Alfonso doesn’t let go and, without wanting to, ends up pushing the old man and the gas can towards the fire. The can falls first and then the old man, Alfonso cannot react, his intention is to help, but the explosion sends him flying through the air, along with a great flame that rises in the air, lighting up the night like the breath of a dragon, the column of fire rises in the middle of the darkness. The cries of the old man, wrapped in flames, keep Alfonso at the limit of consciousness, completely disoriented, he tries to stay awake, until the cries stop and only the flames remain. Confused, Alfonso tries to stand up a couple of times, but he doesn’t succeed, not until other hands pick him up and carry him to the back of a truck, where he is carefully placed. The doors of the truck close, Alfonso hears the voice of two people talking. These people, fuzzy silhouettes in the darkness of the cabin, ask him questions he can’t understand or answer. Tired, he lets himself go and falls completely asleep.

IV

The vaporous lines of the mirages, which meet on the horizon of the road at noon, form Alfonso’s body, which becomes flesh, comes alive and returns to the car in the middle of the desert. Walking he remembers the weight of noon and a bunch of foxes peep out among the dunes and receive him on his return. This fills him with joy, he takes the time to revere each one of them and wish them a prosperous journey. Smiling, he approaches the car and Amelia, soon he will see her again. A sudden impulse leads him to run the last stretch, and yet when he arrives he does not find her. Frightened, he looks out of the window to look at the inside of the car; what he finds there presses his heart and leads him to go back. There she is, but it is not her, but her body as if it were deflated, like her skin and clothes without muscles or skeleton to hold them, wrinkled and piled up on the seat. The vision is like a fabric that folds back but its tones still remember what she was. And then, from the inside, from the darkness that overflows in the tear in the middle of it, a red rose emerges that rises and the stems that accompany it take over the entire interior space of the car, until they break the windows and make Alfonso step back with blood on his hands.