25.000 English SDH
[THUNDER RUMBLING]
[RAIN PATTERING]
Hello, Adri.
Um, this isn't easy.
l wasn't strong enough to tell you face-to-face.
Maybe this is the way to avoid useless arguments.
l'm leaving.
l love you so much...
...but l can't carry on with you.
Please don't look for me, and don't hate me.
[THUNDER CRASHES]
THE HIDDEN FACE
[CHATTERING]
[MELLOW JAZZ MUSIC PLAYING OVER SPEAKERS]
[SIGHS]
Good evening.
What are you having?
Whiskey with one ice cube, pIease.
Right away.
I don't Iike seeing men cry.
When a man cries, it's because he feeIs guiIty.
Not aIways.
Excuse me. We're cIosing up.
Never mind.
Are you aII right?
No, I'm not aII right.
[MAN SPEAKING INDISTINCTLY]
What's up, paI?
[GRUNTING]
WOMAN: What are you doing?
Leave him, he's drunk. Let's go.
MAN: But he hit me! Didn't you see?
WOMAN: Let's go. It's over. MAN: Sure, sure.
FABIANA: What happened?
Why did they hit you?
ADRIAN: Nothing happened.
CarefuI.
Ooh. Ah.
Does it hurt?
No, it's nothing.
You can't go Iike this.
I'II caII a taxi. Where do you Iive?
Where do I Iive?
[CHUCKLES]
[DRAMATIC CLASSICAL MUSIC PLAYING]
-No. -What are you doing? Ha, ha.
I'm conducting.
What's the tempo?
Don't turn it down, I'm conducting.
[LAUGHING]
ForcefuIIy.
FABIANA: Don't faII down.
One, two, aImost there.
Three, four. Good.
[ADRIAN MUMBLING]
-CarefuI. -Where's a sofa?
CarefuI.
Good morning.
Where am I?
My pIace.
I have to go.
Adrian, isn't it? I'm Fabiana.
-How do you know my name? -You toId me.
What happened Iast night? Why were you fighting?
I reaIIy have to go.
Thank you.
[CAR BEEPS]
[PLAYING DRAMATIC CLASSICAL MUSIC]
That's aII for today.
[MUSICIANS MURMURING]
[MELLOW JAZZ MUSIC PLAYING OVER SPEAKERS]
Whiskey with one ice cube.
I came to apoIogize.
I was a dick this morning.
Yes, that's true.
I aIso wanted to thank you for heIping me.
You didn't have to.
-Anyone wouId've done it. -No, I don't think so.
Excuse me.
WouId you Iike to sit with me?
No, I can't, I have to work.
Sure. Then I suggest something.
What?
Wow, this is incredibIe.
The instruments are arranged from Iesser to greater voIume.
First the strings: vioIins, vioIas, ceIIos and basses.
Then woodwinds, horns and percussion at the back.
And that's it.
[BOTH CHUCKLE]
It's a very speciaI pIace. Thanks for bringing me.
You're weIcome.
-I Iike seeing you Iike this. -Like what?
ReIaxed, happy, okay.
I bet you're married or have a girIfriend.
[CHUCKLES]
Neither.
I Iike this mirror.
[LOW HUMMING]
[DOG GROWLS]
[DOG BARKS]
ADRIAN: Fabiana.
HeIIo.
-Have you been up Iong? -No.
Want some breakfast?
Let's go.
This pIace is huge.
Why don't you Iive in the city?
It's quieter. I concentrate better.
Nature is inspiring.
Yes, but not just the beautifuI side.
I Iike what's behind too, hidden, you know?
Hmm.
-When do you go to work? -I'm not working today.
No? I am.
SIeep here tonight.
I'II pick you up Iater.
AII right.
Okay.
BUITRAGO: Morning, maestro. -Morning.
Maestro.
I assume there's no news of Miss BeIen Echeverria.
-I don't know anything. -Have you got company?
Are we interrupting?
Come in.
BUITRAGO: If I may.
Nice to meet you, miss.
Francisco Jose Buitrago, DA's office.
Fabiana Caicedo.
-Bernardo Ramirez, my partner. -How are you?
Your girIfriend hasn't Ieft the country.
I confirmed it with Immigration.
-We want to Iook at the house. -Is that necessary?
AbsoIuteIy, maestro. You never know.
-What was your name? -Fabiana Caicedo.
Fabiana. If I may.
Ah.
BeautifuI.
Very nice. Very nice.
CongratuIations, a very pretty house.
-Thanks a Iot. -Yours, isn't it?
Rented.
BUITRAGO: How Iong have you Iived here?
AImost two months.
Did Miss Echeverria Ieave anything?
A few things in the bathroom. Creams, a toothbrush.
And work items. That's her workshop.
What's going on?
ADRIAN: She didn't disappear. She Ieft me for another man.
-The poIice are investigating-- -It's routine.
They don't know anything.
Her friends or famiIy in Spain?
I tried every means to contact her. They never repIied.
Nor do I want to aIarm anyone.
Aren't you worried?
Of course, but I know she's aII right.
You don't think she's dead?
No.
-What if she was kidnapped? -PIease.
Do they think I've got her buried in the garden?
[THUNDER RUMBLING]
[PLAYING DRAMATIC MELOD Y]
What are you doing?
Come up, it's Iate.
-I'II be right there. -I'II be waiting.
[THUNDER CRASHES]
[CONTINUES PLAYING PIANO]
[RESONANT HUMMING]
[GASPS SOFTLY]
[THUNDER CRASHES AND FABIANA SHRIEKS]
-Fabiana. -Adrian, don't scare me.
What's wrong?
I don't Iike the Iights going out in this pIace.
They do when it rains. It's fine.
Are you aII right?
Come here.
See? It comes back on its own. Ha, ha. Don't be scared.
You're so cIean.
You Ieft me waiting.
The water was IoveIy.
-Oh, yeah? -Yes.
Can you get the dog out, pIease?
Hans, out.
Fabiana, don't you think it's a bit rushed...
...this guy going out with you just after his girI vanished?
No, I don't.
[UPBEAT POP MUSIC PLAYING OVER SPEAKERS]
I wouIdn't be so caIm if I were you.
-Why? -He's a suspect.
That doesn't mean he is guiIty.
Besides, she Ieft him.
We don't know that for sure.
Are you jeaIous?
You finaIIy got what you wanted, a guy with money.
Better than a cop with a shit saIary.
You may be right.
[PLAYING DRAMATIC CLASSICAL MUSIC]
[PEOPLE CHATTERING]
ADRIAN: Tito.
The orchestra manager. Remember?
I'd Iike you to meet Fabiana.
-Hi, nice to meet you. -Oh, I saw you.
I was right behind you in the concert. Roberto Peña.
Fabiana Caicedo. Nice to meet you.
Tito makes sure aII this comes off perfectIy.
He's a wonderfuI boss.
On the contrary, Adrian, you know we were Iucky...
...and priviIeged to have you.
The orchestra and I won't forget you.
I'II miss you when I go, which is soon.
That's Iife.
[SHRIEKS]
[LOW HUMMING]
[GASPS]
[GROWLS]
Hans.
Out. Get out of here.
[THUNDER RUMBLING]
[THUNDER CRASHES]
Who's there?
Adrian?
[THUNDER CRASHES]
Who is it?
[THUNDER CRASHES]
Who is it?
[BARKING]
Does it stiII hurt? Here.
In haIf an hour it won't hurt anymore.
AII right?
I don't want to be aIone in this house. What if something bad happened to me?
Nothing happened.
The Iights went because of the rain, and the dog scared you, that's aII.
No? What happened?
I think there's a ghost.
-Ha, ha. Fabiana.... -Don't Iaugh, I'm serious.
What ghost? Where is it?
[LOW HUMMING]
It's here. Listen.
Right....
-Hear it? -There is a weird sound.
See?
It couId be the wind through the pIumbing.
No?
Hmm.
Ghost down there...
...if you bother Fabiana, you'II be deaIing with me, aII right?
I think that'II do it.
No, something's going on here.
[ADRIAN CHUCKLES]
Don't worry.
Let's go to sIeep. I'II put ice on your head.
[RINGING]
Thanks.
Yes.
Yes, that's me.
What?
Yes, I'II be there in haIf an hour.
What's wrong?
What happened?
It was the DA's office.
They say they've found a body that couId be BeIen.
They want me to identify the body.
We have the body here of a young Iady with simiIar characteristics...
...to Miss BeIen Echeverria, and we want you to heIp us identify her.
-Very weII. -FoIIow me.
CORONER: Mr. SaIamanca. -HeIIo.
Her face is unrecognizabIe due to the fire.
It was impossibIe to identify her.
It's not BeIen.
-Are you sure, maestro? -CompIeteIy.
[CAR ENGINE STARTS]
FABIANA: I'm sorry.
[GASPS]
-Hi. -Who were you taIking to?
-What happened out there? -To nobody. I was Iooking for a book.
How did it go?
-Was it her? -No.
BeIen is no Ionger in my Iife.
AII right?
I Iove you.
Are you foIIowing me or not?
[SPEAKING INDISTINCTLY]
[BOTH CHUCKLE]
[BIC YCLE BELLS RINGING]
Why this great honor, you cooking?
-I cook a Iot. -Yeah.
I have to teII you something.
Good or bad?
WeII....
Remember I was a candidate to conduct the Bogotá PhiIharmonic?
-Yes. -They caIIed me today...
...and they've chosen me.
ReaIIy?
-Adri, reaIIy? -Ha, ha. Yes.
CongratuIations, honey.
That's great.
I'm so happy, I reaIIy am.
I Ieave in 15 days.
In 15 days?
-For how Iong? -A year.
[CHUCKLES]
A year?
WeII, then....
-I don't know. -You are coming with me?
What, to Bogotá?
You want me to go to Bogotá for a year with you in 15 days?
[CHUCKLES]
What do I do about my job, for exampIe?
Come and then we'II see.
Okay.
If I come with you, do you promise to take care of me?
-Is that a yes? -Yes.
What?
You won't Ieave me aIone?
You'II be with me?
Mm, I won't Ieave you aIone for one second.
[PLAYING DRAMATIC CLASSICAL MUSIC]
Adrian was wonderfuI.
There are very few conductors of his age with such taIent.
I wasn't wrong to get him.
No, you have a good eye.
-So do you. -WeII, I'II get him.
-WeII done, Tito. -CongratuIations to you too.
Thanks.
Yes.
-Hi. -Hi, BeIen.
How are you? I was Iooking for you.
I was saying goodbye to Veronica. Remember her?
-Sure. How are you? -How are you?
Great.
-Did you Iike the concert? -Very much. You were aII great.
ADRIAN: Let's go. -Yes.
-Bye. -Bye.
I didn't know you were such a good conductor, sir.
Excuse me, miss, are you trying to pick me up?
I won't deny it. I am a IittIe.
-And are you picking me up? -Who eIse?
-I don't know. -''I don't know''?
-Eh? -I'm just kidding, siIIy. Ha, ha.
I know you onIy have eyes for me.
EMMA: This house was buiIt by a very interesting ItaIian architect...
...a very famous one.
-Oh, pIease. -Ha, ha. This is my dog, Hans.
He's a good dog, aren't you, Hans?
HeIIo, Hans. You're gorgeous.
It seems he Iikes you.
I Iove dogs.
Then some modifications were done.
I took care of the garden. Botany is my passion.
-Is your husband German too? -He was.
He came to CoIombia to work, and I foIIowed him, in Iove.
A toast to that.
Mm. You have a piano.
It's not just any piano, it's a very fine German piano.
-May I? -Sure.
-Do you pIay? -No, not a note.
But my boyfriend does. He conducts the phiIharmonic.
Oh, yes? How marveIous.
-Like you, I foIIowed him to CoIombia. -Ah.
That's Iove.
For some time, I've been Iiving in a smaII fIat in the city.
I onIy spend weekends here.
Here we have the bathroom.
I'm going back to BerIin in a month. I've got mixed feeIings about it.
If you Iike the house, you can have it when you Iike.
-There's onIy one drawback. -What's that?
The person who stays has to Iook after my dog, Hans.
No, no probIem. As I said, I Iove dogs.
FabuIous.
Adrian.
What's the purpose of the tabIe here?
-I don't quite understand. -It's a great position.
Hans, get off.
[BELEN LAUGHING]
[BOTH LAUGHING]
BELEN: So Iooking at the Ieather first...
...I Iike this one best, for the texture and coIor.
It'd mean making one with a rubber wedge Iike this...
[PHONE RINGING]
...and another with a wooden heeI.
Excuse me a second.
Hi, Emma. Good.
Yes, he's with me, and he's behaving reaIIy weII.
Oh, perfect. Hans wiII be so happy to see you.
Okay, see you tomorrow, then.
-Who's this beastie? -That's Hans.
Is it a probIem Ietting him Ioose here?
No, we Iove dogs here, and dogs Iove music.
[BELEN CHUCKLES]
HeIIo, BeIen.
Sorry, am I interrupting? Are you stiII rehearsing?
-No, I was taIking to Veronica. -HeIIo, BeIen.
AII right, then.
Finish your whiskey, rehearse.... I'II see you in the car.
I'II go too.
Miss Veronica, you appear to have forgotten your vioIin.
Maestro.
-We weren't doing anything. -And I'm not saying anything.
Aren't you going to taIk for the whoIe trip?
BeIen?
Do you take aII your musicians into your office, or just the girI vioIinists?
Can't I speak to the musicians?
Sure, but taIking and fIirting aren't the same thing.
-You're exaggerating. -I'm exaggerating?
Yes.
I've seen you with her before.
-When? -Forget it.
Do what you Iike. It's your probIem if you screw up.
Don't get a shock if one day you wake up and I'm not there.
I'm sorry.
[ADRIAN SIGHS]
[SHOWER RUNNING]
-How are the new designs? -Fine.
Have you sent the sketches to Spain?
Yes, Iast week. They're very pIeased.
Is the Ieather here aII right?
-Fine, good quaIity. -That's great.
I'm going.
Adrian?
What is it?
What have you got going with that vioIinist Veronica?
Jeez, BeIen.
I've got nothing going on with her.
Then why do you caII and text each other?
You Iooked at my phone?
Answer me.
I fIirted with her a IittIe, that's aII.
Nothing happened.
I couIdn't do anything to hurt you.
Then why fIirt with her?
-We aII fIirt. -No...
...we don't aII fIirt.
I Iove you and I'm with you.
There is nothing eIse.
What can I do for you to beIieve me? Fire Veronica?
AII right, fire her.
-I can't do that. -Okay.
Get going. You'II be Iate.
It's fine. I just need to be aIone, that's aII.
[DOOR OPENS THEN CLOSES]
[SOBS]
I Ieft behind my Iife in Spain to come here with him...
...and I don't know if it was the right decision.
My husband was very invoIved with his work.
It aIways came first.
But he couIdn't Iive without me.
What did your husband do?
He was an engineer.
He had a prodigious mind. He wooed me with it.
Can you beIieve it?
[SPEAKS INDISTINCTLY]
Sometimes I wonder...
...what wouId happen if something happened to me...
...if I died or something.
How wouId Adrian react?
Why don't you test him?
What do you mean, ''test''?
Yes, teach him a IittIe Iesson.
Love has to be absoIute, doesn't it?
Can you keep a secret?
Come with me.
My husband feIt they couId come for him...
...at any time, Iike others in South America.
So he buiIt this pIace. He was obsessed with it.
He said it was a pIace where one couId die in peace.
And so he did.
Go in.
Reinforced gIass, one-way vision.
UtterIy soundproof. It's hermeticaIIy seaIed.
This is a dynamo to turn on the Iight.
Look.
See?
With this speaker, you can hear everything outside.
This is crazy.
And here?
It's strange.
I haven't come in here for a Iong time.
Thank you for showing me your secret.
It's ours now.
-Goodbye. -AII the best. Take care.
-I'II caII you when I get to BerIin. -Okay.
-AII the best. -Thanks.
Have a nice trip.
And thanks for everything, Emma.
You're weIcome. Take care, eh?
HeIIo, Adrian. I'm Ieaving because I've met someone...
[LAUGHING] ...at the gym, and he gets me hot.
HeIIo, Adrian.
Look, I'm off to Spain, and you know why?
Because I'm fucking fed up.
Hello, Adri.
Um, this isn't easy.
I wasn't strong enough to teII you face-to-face.
Maybe this is the way to avoid useIess arguments.
I'm Ieaving.
I Iove you so much...
...but I can't carry on with you.
I think this is the best for both of us.
PIease don't Iook for me, and don't hate me.
[SIGHS]
[HANS BARKING]
[DOOR OPENS AND HANS BARKS]
VIDEO FOR ADRIAN
BELEN [ON VIDEO]: Hello, Adri.
Um, this isn't easy.
l wasn't strong enough to tell you face-to-face.
[CHUCKLES]
ADRIAN: BeIen, I just saw the video.
I don't get it.
I don't know what's going on.
CaII me when you can, okay?
Adrian! Adri, I'm here! I'm here! Adri!
Adrian! Adrian!
No, don't go, Adri!
HoIy shit.
Come on.
Fuck!
[WHIMPERING]
[DOOR OPENS]
Adrian! Adrian!
[SOBBING]
I'm sorry. I'm sorry, Adri.
I'm so sorry.
I Iove you.
[SOBBING] Adri.
HeIp me.
--but l can't carry on with you.
l think this is the best for both of us.
Please don't look for me, and don't hate me.
-Do you suspect anyone? -What do you mean, ''suspect anyone''?
BUITRAGO: She's a beautifuI woman.
SuddenIy there's an admirer, a friend, a Iover.
No. We hardIy know anyone here.
She was aIone a Iot, but I doubt it.
This was the 8th of August, the Iast day you saw her.
-Yes. BUITRAGO: Mm-hm.
Mr. Peña?
I saw her the day before. She came here.
BUITRAGO: Did she say anything that couId heIp us?
Why don't you teII them, Adrian?
-We argued. Nothing important. -Everything's important here.
A coupIe's spat, that's aII.
What happened was that BeIen surprised Adrian...
...with a member of the orchestra.
Nothing happened, they were having a drink...
...but BeIen was annoyed.
It's not important, it isn't. What's important is finding out where she is.
-That's what we have to find out. RAMIREZ: We have to wait now.
Maybe she'II turn up.
Maestro, we have no traces of a kidnapping or forced disappearance.
We'II go to Immigration and see if she Ieft the country.
We'II check your house to see if something can heIp us find her.
So you don't think anything bad happened to her?
BUITRAGO: These cases are more common than you might think.
Even in this country.
[SNIFFS]
[COUGHS]
[BELEN SPEAKING INDISTINCTLY ON VIDEO]
-AII the best. -What?
Adri.
What do you mean, ''aII the best''?
Adri.
What does ''aII the best'' mean? Adrian.
You can't say that! It couIdn't be worse!
[RAIN PATTERING]
Adrian!
Adrian, Iook at the rippIes!
[THUNDER CRASHES]
Adri, Iook at them!
Adri, no. Adrian!
Adri!
[LAMP BUZZING]
Fucking heII.
[CIRCUITS SIZZLING]
What's wrong with this?
[CRACKLES]
Come on.
Don't do this to me, pIease.
[DOOR OPENS]
[FOOTSTEPS]
[FABIANA CHUCKLING AND SPEAKING INDISTINCTLY]
I Iike this mirror.
No, pIease, no.
Adri, pIease don't do this.
[SOBS]
[CRYING]
Stop it, pIease, stop.
[ADRIAN & FABIANA MOANING]
Stop!
Stop it! Shut up!
BELEN: Where the heII did you come from?
That's my toothbrush.
Fucking bitch.
HeIp!
HeIp! Here! HeIp!
[SOBBING]
[THUNDER RUMBLING]
[WATER RUNNING]
[FABIANA SHRIEKS]
BELEN: Oh, I scaIded you.
What a bummer, eh? Sorry, but I've got to do it.
You understand, don't you, Fabiana?
Fabiana!
Fabiana, can you hear me?
[FABIANA SHRIEKS]
Hans.
Out. Get out of here.
Fuck.
Having a great time, huh?
How oId are you? Five?
What are you doing?
The key. Fabiana.
You've found the key, Fabiana.
Okay, now think. Fabiana, Iisten to me.
Very good, Fabiana. Listen to me. Listen to me. Think.
What are you doing?
Don't do that! It's not a neckIace! Listen to me!
[THUNDER CRASHES]
Why do the Iights cut out in this shitty house?
Fabiana, no. The key, Fabiana!
[PHONE RINGING]
ADRIAN: WiII you pass me that?
Thanks.
Yes. Yes, that's me.
What?
What's wrong?
They say they've found a body that couId be BeIen.
Don't smiIe, bitch, I'm not dead.
[SPLASHES]
WeII, you're not as thick as I thought.
Start.
Stop.
Good, Fabiana. No.
[MUMBLING]
Don't stop now. Fabiana, come back.
That's it, come on.
Come on, come on, come on.
Start.
Stop.
Is anyone there?
Yes!
Are you taIking to me?
-Good, Fabiana. -Adrian, is it you?
Don't pIay with me.
Come on. Come on.
-Papa? -No.
Christ, Fabiana, think.
-BeIen? -Yes!
Come on, Fabiana.
-Are you dead? -You wish. Come on.
Are you aIive?
Are you trapped?
Yes!
Did Adrian Iock you up?
No. Come on, Fabiana, keep asking.
Keep going.
Behind the mirror?
Yes!
Good, Fabiana, good.
[HANS BARKING]
No.
The other mirror is the door?
Yes!
Good, Fabiana.
Come on.
The wardrobe, Fabiana.
The wardrobe. How the heII do I teII you?
The wardrobe, the wardrobe.
Very good, Fabiana.
Yes.
Fabiana, what are you doing?
Fabiana!
Why won't you open up?
What the fuck are you doing? Open up!
I'm sorry.
[GASPS]
-Hi. -Who were you taIking to?
-What happened out there? -To nobody. I was Iooking for a book.
How did it go? Was it her?
-Fucking bitch. ADRIAN: No.
Fucking bitch.
Fabiana, you fucking bitch! Open up!
Fabiana, you fucking bitch...
...you can't Ieave me here.
Fabiana, open up!
You can't Ieave me here!
Open up! Open up!
Adrian.
What are you doing?
I couIdn't sIeep.
Are you aII right?
Go to bed. I'II be right there.
[BARKS]
ReIax, Hans.
ReIax, it's aII right.
It's aII right, reIax.
RAMIREZ: Maestro SaIamanca.
-Ramirez. -Everything aII right?
Fine.
It's my duty to inform you that as a judiciaI officer...
...Miss BeIen Echeverria is now my case.
Officer Buitrago caIIed me this morning to teII me.
I hope you find her soon.
-We'II do aII we can. -Thanks a Iot.
[CAR BEEPS]
Do you want something?
Listen, maestro, be very carefuI what you do.
What's wrong with you?
I don't reaIIy care much about your girIfriend.
But if something happens to Fabiana, I'II kiII you.
-Everything aII right? -Yes, thanks.
-Hi. -Hi.
-Can I have one? -You don't smoke.
What about the Spaniard?
-What about him? -How's it going with him?
Fine.
So are you going to Spain with him?
-We'II see what happens. -And the girIfriend?
I don't know.
It's better she doesn't turn up, eh?
BeIen.
BeIen, are you aII right?
ARE YOU OKAY?
What happened?
HeIIo.
Why did you change everything around?
I wanted to surprise you. This bathroom works properIy.
-Oh, yes? -Yes.
And the view from here is nicer.
Do you mind?
No, but I wish you'd asked me first.
I thought you'd Iike it.
It's fine.
-Adrian's not here. -No? And where is he?
Working.
That's what you think.
Take care of yourseIf, Fabiana.
[CHATTERING]
Veronica.
HeIIo.
Let's see.
I Iike you a Iot.
I Iove hanging out with you, but what we're doing....
I can't go on.
Okay.
PeopIe, we'II begin on C.
Wind instruments, you are the meIody. Stand out, aII right?
VioIas, basses and ceIIos, heavy on the tripIets.
Yes?
Let's go.
One and two and....
[PLAYING SOFT CLASSICAL MUSIC]
BeIen.
BeIen. BeIen.
[PHONE RINGING]
[HANS BARKING]
[ANSWERING MACHINE BEEPS]
MAN [ON MACHINE]: This message is for Miss Belen Echeverria.
l inform you that Emma Engel has passed away in Berlin.
The family wants to sell the house from Germany, so l need you to....
[SIGHS]
TransIated by: SiIvia Grumaches Cortina, RauI E. Reyes
[EngIish - US - SDH]