Original subtitles

(dramatic music)

What's wrong?

Hey, let's go.

Wait a minute, man, wait.

This guy has never put up with the circus.

Not even when he was a kid.

It makes me sad.

Well, but, Danilo, what are you doing?

Admiral, Admiral, do something.

No, Danilo, it can't be, it can't be.

Kick him out of here, out of everything.

Hey, I've got enough over there.

See you tomorrow at the newspaper.

Okay, bye.

For her appearance on the Wonderland Circus, the

queen of the Amazons, the extraordinary, the fantastic,

Judith!

I've never seen her on a circus track.

Judith will have to hit and break the

balloons shooting with her rifle with the gallop mounted on her horse.

Come on, Judith.

The whole audience is with you.

Children, you are going to choose the color

that Judith will have to break with her shot.

Let's see.

A color.

I told you I didn't want to talk to you.

Please, Anna.

I'm tired now.

What do you want?

My name is Marcos Valle.

I'm a journalist for El País.

This is Fernando.

Hello.

What?

I'm doing a report on the circus for the Dominican Supplement.

I'd like to ask you a few questions and some photos, if you don't mind.

How much do you pay?

Excuse me?

How much do you pay?

Actually, it's just two questions about your work to complete the article.

Yes, how much are you going to pay me?

We can reach an agreement.

Judith, are you German?

No, I'm Italian.

My name is Anna.

Judith is my artistic name.

Can you take a picture of me in the newspaper?

Yes, of course.

Then I'll be famous.

Why not?

I never read the newspapers.

I like TV.

Anna, Anna!

When are you going to teach me how to shoot?

When you grow up a little more.

You have to have a lot of strength to drive a carabiner.

I do it every day at school.

My mom has already given me permission.

Yesterday she told me I was older.

Older.

Well, when you're a little older, we'll do the numbers the two of us.

Okay?

Okay.

Judith and Karen.

No, better.

Karen and Judith.

- Okay. - Anna, when can we talk?

I have a lot to do in half an hour.

Anna, get ready to jump.

Yes, I'm coming.

Can it be tomorrow?

Yes, it can be.

It can be.

At what time?

It doesn't look like it's for work.

I like it.

In neighborhoods where housing is accumulated and a

certain sadness and despair, it is possible to find a magical place.

A forgotten world inhabited by strange people who

dedicate their entire lives to an art that is disappearing.

The circus.

Well.

And it is possible to suddenly find a

woman, a fragile, unexpected beauty girl, but who

knows how to shoot like Buffalo Bill.

No.

It was Buffalo Bill.

Marcos.

Marcos.

No.

It's me, Laura.

- Do you want to answer? - No.

I know you're listening to me.

Are you there?

I already told you no.

Why are you doing that to me?

What did I do to you?

That would be difficult to explain now.

You're a son of a bitch.

No.

That's the same as yesterday.

Hi.

Good morning.

Have you come to the interview or to see her?

But Karen, please.

Well, for both.

Hey, can we talk for a moment?

It's for the article.

I have nothing to say.

What's your name?

Anna Melzer.

Passport.

841-8492.

And where are you from?

Bolzano, Italy.

Have you been doing this job for a long time?

15 years.

Your parents also belong to the guild, to the circus.

No, no, no.

Look, my father is a Ferrari driver.

Driver.

Yes, my mother is a Russian dancer.

Russian from Minsk, Belarus.

My mother is an extraordinary dancer.

Svetlana Pavlova.

Do you know her?

Pavlova, the great Pavlova.

Svetlana Pavlova, Svetlana.

She is the daughter of a Russian dancer.

She is very famous.

She is an idol for everyone.

It's strange that you don't know her.

Yes.

At least my mother is interested in being a dancer.

Because I have always had a passion for horses and weapons.

Without a doubt, that's my sacred thing.

Without a doubt.

I was an extraordinary girl.

They gave me a doll.

A doll.

A doll.

And I started to cry desperately.

But desperately.

Why?

Because I wanted a gun, a rifle, a carabiner.

And a horse.

This...

Look, if you want, we can leave it.

Okay.

My father was a trapeze dancer.

And they wanted me to work on the trapeze too.

I have always had vertigo.

What taught me to shoot was my first boyfriend.

I am 30 years old and he is almost 30.

And we worked together for about six months.

And you got bored of him, of course.

He was an idiot.

But don't write about that.

No.

Do you like the job you do?

Yes, I am very good.

I could be in a bigger circus or in Las Vegas.

But I like this circus.

Smaller.

It's like my family.

Have you ever shot before?

When I was a kid.

With a compressed air gun.

You haven't done the humanity service?

No.

You've never been hunting?

I'll do the interview, but I'll tell you.

I'm not against hunting.

And I hate firearms.

Here.

Be careful, it's loaded.

What do I do with this?

You aim and pull the trigger.

- The trigger. - Yes.

And shoot.

Okay.

That easy, right?

If I kill someone, then...

For whom?

Okay, wait, wait.

Legs, one forward and one backward.

And flexing, right?

Yes, if you want.

Let's see.

Like this.

Got it?

Yes.

Shoot.

Again.

I almost hit him.

Yes.

Now, you have to breathe deeply.

Looking at the second.

Yes.

Hold your breath.

Ready?

And shoot.

Another one.

I'll do it.

I like this one.

Another one.

No.

Why?

I'm not good at this.

No, it's your turn.

You don't want more?

No, I want to see you pull.

What do you bet?

What do I bet?

Well, if you bet everything, you have to give me a kiss.

No.

That's not fair.

Why?

Nothing personal.

It has to be money.

And a big bill, do you have it?

The only thing I have is this.

Go to a journalist.

Okay, is it a bet or not?

(gunshots)

It's confirmed, Marcos.

You're going to Barcelona tomorrow to cover the concert.

You're annoying me.

Can't you find someone else?

We agreed you were going.

Carlos can't go.

You can't back out now.

Have fun in Barcelona, Marcos.

What's up? Are you done?

I'm not done, if you don't leave me alone.

I'm leaving.

Are you from El Ceco?

Ana?

Marcos?

What's up, journalist?

Come in.

I don't want to bother you.

Come in, close the door and leave.

Do you want a drink?

Yes, yes.

Beer.

Will you take it?

Yes.

Thank you.

You haven't finished the article yet?

Yes, more or less.

I came to show you the photos.

I'll be right there.

So you live here?

Yes, that's my house.

What do you think?

You live here?

Yes, I like it.

Look.

No, be careful.

There's oil and it's going to get dirty.

Look.

I love this one.

And this one.

This is your private room.

It's my way of saying good night.

Yes, of course.

Look, look.

This is so pretty, like a girl.

These are all mine.

Aren't the other ones yours?

I only brought yours.

Can I keep one?

All of them?

Are they for you?

No, I only want one.

But which one?

Let me see.

This one.

This one.

This one?

This is a gift for you.

Do you dedicate this one?

Yes, of course.

Thank you.

Do you have a pen?

Yes.

Can you write it in Italian?

Write it in whatever language you want.

Can I take the TV off?

Yes, yes.

Shoot.

What's wrong with you?

And now what's going to happen?

What do you mean?

With your newspaper, what are they going to do with the photos?

The article and the photograph will be in the Sunday supplement.

It's a good publicity for the circus and for you.

We're leaving on Friday.

You're leaving?

And where are you going?

France and then to Germany.

And when are you coming back to Madrid?

I don't know.

In a year.

Maybe less, but I don't know.

I'm leaving.

Have you eaten yet?

Shall I invite you to dinner?

No.

I'll invite you.

Tonight is a special night because Mary and Bruno have promised each other.

And now we're going to...

This is Marcos.

Sheila.

Rashid.

Thank you.

Do you always marry people from the circus?

Yes, if you want to keep working in the circus, yes.

By force.

It's hard to find someone who wants to share your life.

We're gypsies.

Without a home.

Always from here to there.

And if you live with someone who doesn't

like the circus, either you leave the circus or they leave you.

I have a question for you.

Do you know Gordo and Carlos?

Yes.

He's in love with Ursula, the girl next to him.

And he left everything.

And he came to live with her.

He had a grocery store in Stuttgart.

Stuttgart.

Stuttgart.

He left everything and there you have it.

And you?

You're more handsome without glasses.

I... I don't know how to do anything else.

Sometimes I dream of having a millionaire lover.

And a very romantic villa.

With two floors.

And a... A big terrace that reaches a lake.

And in the lake there's my boat.

My private boat.

And in the lake there are many swans.

Swans.

And a wonderful garden with flowers.

And at least ten children.

Only.

Silence.

Silence, please.

Silence.

Sarah wants to say a few words.

Dear friends.

Tony, the light.

Dear friends.

Although the circus has known better times, here

we are to show that the circus will never die.

Among other things, because if not, what the fuck are we going to live?

Tony, light for the grooms.

Our companions, Bruno and Mari, have decided to unite their lives.

And that's why the great family of the circus wants to wish them to be very

happy.

And that also their children, the children of

their children, the children of the children of

their children, well, that all of them work in this circus.

For them and for the circus.

(cheers)

For their happiness?

Yes, for Mari and for Bruno.

For them.

Is this a new company?

It's a friend, a journalist.

A journalist?

Well, happiness for you too, journalist.

But be careful with her.

She's a very dangerous woman.

And if you misbehave, boom, boom.

Let's dance.

Do you want to dance with me?

Yes. Yes.

I don't know anything about you.

You know more than I do about you.

- No. - Yes. No?

Well, you've only done an interview.

Ah, yes.

I know you had your first boyfriend when you were 13 years old.

Ah, no, no.

I exaggerated a little.

I was 16.

And I was a little stupid when I was with that idiot.

And then?

And then?

How many men have you met?

Ah, you're jealous.

No. No.

And you?

Me?

How many men have I met?

How old would you be when you were the first woman?

It wasn't very fun.

- No? - No.

I hardly found out.

I don't know. I think I would be 18 or 19 years old.

The truth is that I've never been a prodigy.

And then I've recovered.

Really?

I've wasted time, you know?

We're leaving on Friday.

I'll go after you.

I'm going to Russia.

I'll cry.

No.

I'll follow you...

to hell.

When are you coming back?

Tomorrow morning.

Bye.

Take care.

I'll call you when I get to Barcelona.

I was walking through the woods and I found a white, shiny, beautiful horse.

Ana, can you hear me?

Yes, it's a white horse.

Yes.

And suddenly, some wings came out.

I was impressed because a horse with wings...

Of course, a horse with wings is a bit strange, isn't it?

Yes.

And I got closer to the horse.

And then... What happened?

I got closer to the horse and he said to me, Come and get on me.

We're going to fly.

And when we were flying, flying, flying...

from the sky, I saw a huge meadow... Mario, fuck it, I'll stop it.

Yes, stop it, stop it.

Ana!

Yes?

The phone!

Ana?

It's me, Marcos.

How are you?

Good. I slept until midnight.

And you?

A bit tired, but fine.

I stop thinking about you, you know?

We're done, boss.

But where are you with all that noise?

In Barcelona.

It's the rehearsal for the concert.

Do you want to see the show tonight?

Yes, okay.

And when are you coming back?

I don't know.

The concert will end at dawn.

If I don't die of sleep, I'll go back to Madrid tomorrow morning.

- Thank you. - You're welcome.

Ana...

I love you.

Goodbye.

A kiss.

A new one?

What you've done is not professional.

It's imprudence.

I know.

You're right.

It's those three idiots.

They've been bothering me the whole show.

Ana, your act is dangerous enough as it is without any more risks.

You know, it's the devil that loads the guns.

It won't happen again.

No thanks.

Wait a second, don't go.

This is Paco, Mario, and my name is Juan.

It's been amazing.

You know, you're an important lady.

We like you a lot.

- See? You're awesome. - Thank you.

Hey, why don't you take a drink with us?

Come, come with us.

I'm sure you'll have a good time, really.

Look, I'm tired.

Let's do it again, okay?

Come on, man, don't be like that.

Don't touch me!

Let go of me!

Don't be like that, damn it.

We just want to be your friends.

What the hell do you want?

Something wrong?

No, everything is okay, thank you.

These guys bugging you?

No, don’t worry, it’s nothing.

- Come on. - Go home.

Go home.

Come on, man.

What's wrong with you?

Are you crazy?

Let go of me, okay?

(rain pours)

Miss Mariana, please.

I had the opportunity to meet you at the convent.

I'm sorry, but we've had a misfortune at home.

And the lady is very upset.

I don't know if she can decide.

Yes, I know, ma'am.

That's precisely why I wanted to see you.

Anyway, I hope you can make me feel better.

Because I don't want to see you again.

I'm going back to Buenos Aires today.

Buenos Aires?

What's his name?

Raúl.

Raúl Menezma.

(rain pours)

I feel like nothing bad will ever happen to me while you're by my side.

You won't let anything bad happen to me, will you, Johnny?

(dramatic music)

Who is it?

It's me.

One moment.

I’ll be right back.

(dramatic music)

(screams)

(screams)

(screams)

Come on.

I have to wait.

Come on, we're not playing, dammit.

Son of a bitch!

Son of a bitch!

What are you doing?

Son of a bitch! Throw her out!

No one fucks with me.

Not you, because you're a whore.

Do you hear me, bitch?

(dramatic music)

(rain pours)

(rain pours)

(dramatic music)

(engine revs)

I didn't want to. I didn’t want to.

(gunshot)

(glass smashes)

(dramatic music)

(gun clicks)

(gunshot)

(dramatic music)

(electricity)

(gunshot)

Where are you?

(dramatic music)

(sirens)

Good morning.

(knocking)

Ana?

It's me, Marcos.

Ana?

What the hell is this?

(car revs)

Hello, good morning.

I'd like a coffee with ice, please.

Very well.

And a cognac.

Right away.

You can't even imagine the house I bought for you.

It's beautiful.

It's wonderful.

It's all marble.

It's not marble, it's real.

It's beautiful.

It's very good.

We’re good.

Oh, it’s so good!

It smells great.

I love it.

I'm tired.

This is Marcos Valles' house.

If you want to leave a message, do it after the bell rings.

Thank you.

It's horrible.

Horrible!

Horrible!

We are going to start with National Information.

At 8.30 this morning, a triple murder took place.

Francisco Arroyo, 19, Juan de la Encina, 24,

and Mario Rodríguez Venegas, 23, were shot this

morning in the repair shop Rodauto in Fuenlabrada.

We still don't know the reasons for this

execution, although everything suggests that it's a set

-up between gangs aimed at drug trafficking.

The possibility of a terrorist mobile phone is not ruled out either.

We are with the head of the Luonto workshop in Fuenlabrada.

Any information?

I don't know anything.

I don't know any reason.

They were very young, good workers.

Did you see what happened?

Yes, I saw.

I saw how all the salesmen came to the workshop.

I went up to the office.

They were very young.

They worked in Chamba.

I was in the office.

I had seen a lot.

I read everything.

Thank you.

I was alone.

I was alone and I thought that... (knocks)

As if nothing happened.

What are you thinking about?

I'm in a hurry.

I was running, and my husband was very... Look at the girl, she's so drunk.

And we were in the alley, in a huge gray car.

Juan Paco.

Hi, how are you?

It was a serious accident.

Do you know if he was injured?

I don't know if he was injured.

I don't know.

(crying)

They have been shot this morning in the

workshop of the Rodauto region, in Fuelabrada.

The reasons are still unknown... Marcos, I'm Fernando.

Call me when you can.

Accounts between gangs linked to drug trafficking.

The possibility of a terrorist mobile phone is not ruled out either.

It was a serious accident.

The head of the Rodauto workshop in Fuenlabrada.

Any motive for the crime?

I don't know anything about any motive.

They were very young, hard-working men.

Did you see what happened?

Yes, I saw what happened.

I came every morning, opened the workshop, and went up to the office.

Then they came with the motorcycles, and I gave them the work.

One did the sheet metal, the other the engine, and Mario there.

They started working.

I was looking at papers in the office.

I was in the office, and I saw that his hair was long and curly.

He was wearing a jacket, and the barrel of the rifle was on the floor.

I saw Mario fall to the floor, and I was on top of him.

(dramatic music)

Excuse me, are you the head of the workshop?

No more journalists, please.

I've told you everything I know.

Wait, I don't want to bother you.

I just want you to tell me one thing.

(dramatic music)

A woman can't be like that.

A woman would never do something like that.

He had long, curly hair.

Of course, many boys have hair like that.

He was wearing a jacket, and the rifle was on the floor.

Can I talk to you for a moment, Manuel?

Yes, go ahead.

What's up?

Are you following the murder this morning?

The three boys?

The ones from the workshop?

Yes. Yes, damn it.

I hadn't had breakfast yet, when I was already in front of three corpses.

What a job.

Is there anything new?

Nothing that I know of.

One of them had an accident due to a carnal violence.

The other two are important drug dealers.

The police think it's a set-up for drug dealers.

Come with me.

Damn, you have to help me.

I'm not completely sure.

It's more like a premonition.

What's it about?

Okay.

The one who killed those guys could be the girl I'm going out with.

(whistles)

You're in trouble.

No, I'm not.

You're the only person who can help me.

What do you want me to do?

You have access to the police, to that world.

I don't know anything about that.

But I have to find her.

This is stupid.

Forget it.

I'm making a mistake.

It doesn't make sense.

I'll call you if I know anything.

(dramatic music)

You have a tear and hemorrhage.

You must go to a hospital right away.

How did it happen?

They raped me.

Has the police noticed?

Not yet.

You must do it right away.

You can get dressed.

Thank you.

This will ease the pain.

But you must go to the hospital right away.

You're losing a lot of blood.

I can't do anything here.

Do you have a car?

Yes, I have one outside.

Thank you. Go to Ciudad Real.

Tell them what happened.

- No, I... - Don't be afraid.

Ask Dr. Núñez.

Tell him to send Dr. María Rivero.

Give this to her.

Thank you.

Go to the hospital as soon as possible.

Do you need anything?

No, nothing.

Thank you.

Please.

Don't tell anyone about this.

Sexual assault is a crime.

The perpetrators must pay for it.

I know.

I'll think about it.

Please don't tell anyone.

Just a moment.

Civil Guard?

(dramatic music)

(dramatic music)

(dramatic music)

(knocking)

Good afternoon.

Is something wrong?

No, I was just resting.

Documentation of the car and driving license.

Italian, huh?

Tourist?

Tourist.

Who is such a beautiful girl alone in this desert?

I'm going to Madrid.

It's not the fastest way to go to Madrid.

You're wrong.

You should have taken the detour.

Oh, yes.

Thank you.

I'll take the detour and go there.

Do you want me to go with you?

Can I go now?

No.

Wait a moment.

Excuse me.

What's in your bag?

Travel clothes.

Please get out and open the bag.

Get out of the car.

Come on, man. She's an Italian tourist.

Get out!

Come on, get out of the bag.

(dramatic music)

(dramatic music)

The rain is strong enough to penetrate deep into the sand.

Approximately one meter.

And it wakes up an animal that seems surprising to find in a desert.

A frog.

However, there are plenty of frogs here.

Because they survive droughts in an exceptional way.

They hide underground for years.

Wrapped in a second layer of skin to keep their body moist.

This gives them the first bite when the kiss of the water ends with a dream

that may have lasted five years.

Then comes a brief but glorious song of freedom.

During which it feeds and reproduces.

Until again drought returns the frogs to their time capsule.

The desert plants have their own methods to get the most out of the rain.

Many molds are shaped like inverted umbrellas.

What are you saying?

Where have you been?

I don't remember.

I'm going over there.

I'll pick you up in ten minutes.

(dramatic music)

What's your name?

Alberto.

He has blood on his nose.

And a scratch on his face.

Where do you live, Alberto?

There, in that house.

What's your name?

What's my name?

Ana.

Where do you live?

I don't know.

How are you going to know where you live?

I'm going over there.

Mom, a lady is coming.

A lady?

Let her in.

Come in, come in.

Good afternoon.

What do you want? What's wrong? Are you hurt?

No, no, no.

I had an accident with the car.

Do you want to drink something?

Do you want to rest a little?

- I'll get some water. - Go on, get some water.

Come on.

Are you feeling unwell?

No, no.

Come in, come in.

You're a hunter, aren't you?

Yes.

Come on.

Sit down a little.

Thank you.

It's mom, Ana.

No, I'm not going to use the information I have about her.

You shouldn't even mention it.

It's as if you don't know me.

When there's something like this going on, I don't even know my father.

Well, it doesn't work that way.

Are you sure?

If you're already involved, why did you take her diary?

Do you know that this diary is worth a fortune now?

I don't know.

I don't know why they say that.

I don't know.

People like morbidity.

And they want to participate in tragedy.

As long as, of course, they don't see themselves wrapped up in it.

Doesn't that seem sad to you?

It disgusts me.

What's more, it scares me.

It scares you because it affects you directly.

I'm Santana.

Do you know anything else about the girl?

What?

Look it up on the radio.

I don't know what he's talking about.

Call me as soon as you know anything, okay?

Yes.

When the autopsy was wrong, she had a lacerated uterus and lost a lot of blood.

It was clear that she had been raped.

Brutally raped.

I advised her to go to a hospital

immediately and file a complaint so that the

culprits wouldn't be left unpunished.

But she didn't listen to me.

That girl is sick.

If they don't take her in, she'll die soon.

(car screeches)

Hey!

If you don't want to, we'll let her go.

First thing in the morning.

Let's go, Marcos.

That girl is not well, Juan.

I think she hit her head.

You never know.

Why don't you take her to the village and have her examined?

If not, I won't be at ease.

To know who she is.

A woman doesn't walk around with a rifle of that caliber.

I don't like this matter.

(baby cries)

Is she better?

Does she need anything?

What does the rifle do?

Do you want my husband to take her to the doctor?

It's nothing.

If she's like this, it's better to take her to the doctor.

I said it's nothing!

Sorry.

- I'm sorry. - The jewel of the Nile.

Hold on.

Hold on.

It's nothing.

Once again, the violence has tainted the security

forces of the state with mourning.

A new act of blood has blinded two

human lives at approximately three in the afternoon

on kilometer 23 of the Comarcal 415 highway.

The policemen Francisco Muñoz Cerrada and Felipe Gomez Hermoso were shot down.

The first died in the act.

The second is in a very serious condition and is afraid for his life.

According to the testimony of the injured policeman,

it is a young, foreign woman who carries

a repetition rifle and to which the material

author of the death of three young people

is assumed in a workshop on the outskirts of Madrid because...

Help me, please.

(helicopter blades whir)

What does he want from us?

There's nothing of value here.

My God, I'm bleeding.

Do you have it?

(fire crackles)

(glass smashes)

(gunfire)

What are you doing?

Are you crazy?

What does he want from us?

Shut up!

No, Juan, don't do that!

Don't shoot!

No, don't shoot.

Juan, do what Juan tells you.

It's for the best.

But how am I going to leave you here?

Juan!

Come on, tell him we're okay.

It would be better if he left.

Don't shoot!

Don't shoot!

Don't shoot!

It's me!

Don't shoot!

We remind you that we are live.

Don't shoot!

Ana Menzel, the young woman of Italian nationality,

who has killed four people and has as hostages a family of peasants.

What happened?

The husband just left.

Who's staying at the house?

The Italian, the woman and the two children.

If they're still alive, this woman is crazy.

She's crazy.

Hello, Sergeant.

My friend... No, you can't come in.

Listen to me.

I know that woman.

I can try to talk to her, do you understand?

- You know her? - Yes.

Come with me.

Wait a minute.

Excuse me, Nicoleta.

There's someone here who knows the Italian.

Who is she?

Take care of her.

Hello.

- Good evening. - What do you want?

I know that woman.

You know her?

Yes, I went out with her.

She's a friend of that son of a bitch.

Look, I think the most sensible thing is to try to talk to her.

I can do it, I know her.

I can try to convince her.

Let me talk to her.

You limit yourself to reporting.

And let us solve this matter.

Thank you.

The house is surrounded.

Leave the hostages free and surrender immediately.

Come out with your arms up.

You have no escape.

Surrender.

This is the last warning.

It is surrounded.

Come out or we will enter in 15

seconds.

What are you going to do?

I don't know.

I just want him to leave me alone.

And us?

Why don't you let Alberto go?

I'll stay with you.

I can't.

Let him go.

I'll stay with her.

You shut up.

You shut up.

Can you hear it?

No, Mom always says that I sleep little.

You don't ride a horse?

Yes, but I'm afraid.

I have two horses.

One is called Laura and the other Claudio.

Alberto.

What would you like to be when you grow up?

- A footballer. - I would like to play as Stoichkov.

What?

As Stoichkov.

Who is this?

Have you never seen him?

I don't know who Stoichkov is.

He's a striker from Barcelona.

I'm in the school team and I like to play as a striker.

(gunshot) (screams)

Enough!

Enough!

Enough, please!

Enough!

(baby cries)

(dramatic music)

I can't stand this wait.

If you help me, I can try to get home.

Maybe I can go there and try to do something, I don't know.

I'm not there to do anything, son.

The only thing we can do is wait.

They didn't do anything this morning.

There's a woman and two kids in the middle of the country's press.

The only thing that girl can do is turn herself in.

I read part of her diary.

She's not a criminal.

She is.

She had sex.

Shut up!

You're in love with her.

And with everything that's happening now, you're magnifying her.

You'll end up putting her on a pedestal.

That good girl killed four people and left another half-dead.

Where's the Italian's friend?

Come here.

How do you know her?

Fuck, and you don't say anything?

He's a bastard.

Shut up like a dead man.

No, look, bastard, you.

Besides, this is a personal matter.

And I don't have to give any kind of explanation.

Not to you, not to anyone.

- What's going on? - He's not a professional.

You're the professional?

You're the professional?

You fucking bastard.

Anna!

It's me, Marco.

I'm on my way home.

I have to talk to you.

I'm coming in.

I need to talk to you.

(dramatic music)

Wow.

A journalist.

I told you I'd follow you to hell.

And here I am.

How are you?

Good.

I had to see you.

You see, we haven't finished the interview yet.

Let him go.

I'll stay with you.

Leave.

Can we leave?

Yes, leave. Get out of here.

Alberto.

Alberto, wake up.

We're leaving.

(baby cries)

Let's go, son.

(baby cries)

Goodbye.

Goodbye, Alberto.

(baby cries)

Goodbye. I can't take it anymore.

I'm tired.

Hey, hey, wait.

Don't say that.

I want to die.

No, no, no.

I'm here with you now.

Hey, calm down.

I want to die.

Hey, hey.

Wait, wait, wait.

Wait.

No, no.

We're going to make it.

You and I are going to make it.

I'll take care of everything.

You just have to think about getting better.

Can you get up?

No.

I want to die.

Listen to me.

Listen to me.

This is what we're going to do.

We're going to get out of the fire.

You're going to heal.

We're going to call a lawyer.

No, we're going to call the best lawyer.

There are many attenuants.

We'll mobilize the press.

They can't keep you for many years.

They can't.

Besides, I'll wait for you.

I'll always be with you.

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)

(dramatic music)