2x2 - Festival Brief

Upcoming festivals for 2x2:

1) New York Big Apple Film Fest - www.bigapplefilmfestival.com

2) New York Zero Film Fest - www.zerofilmfest.com

3) Arizona Underground Film Fest - www.azundergroundfilmfest.com

4) Los Angeles Shorts Fest - www.lashortsfest.com

5) Festival Internacional de Granada - www.filmfest-granada.com

6) Viewster Online Film Fest - www.festival.viewster.com

7) Raindance Film Festival - www.raindance.org

8) Tallgrass Film Festival - www.tallgrassfilmfest.com

9) Orlando Film Festival - www.orlandofilmfest.com

10) Coney Island Film Festival - www.coneyislandfilmfestival.com

11) Santa Fe Independent Film Fest - www.santafeindependent.com

12) UK Film Festival - ukfilmfestival.com

2x2 - Cast & Key Production Credits

CAST

ROCIO CEBRERO as GEMMA

ARTURO VARGAS as ADRIÁN

FERNANDO JIMÉNEZ as FELIPE

GLORIA LEÓN as ESTHER

KEY PRODUCTION CREDITS

Production Company

Elm St. Productions

Producers

Ibai Fernández

Sara Santos

Writer / Director / Editor

Ibai Fernández

Director Of Photographer

Salvador Blanco

Art Director

Sara Santos

Sound & Original Score

Juan Carlos Moya

Country of production

Spain

Date of completion

2014

Format

Digital

Ratio

16:9

Duration

23 mins 40 secs

Genre

Drama

Contact Info

Elm St. Productions

(+593) 098388102 · (+593) 0967276656

ibai@elmst.es

2x2 - Production Notes

The origin of “2x2” came about well before any scenes had been shot, its production had been started or even its script was written. Thinking back, it probably started around December of 2010, when two boys decided to oppose all social norms by getting away from their homes during Christmastime, rather choosing to enjoy themselves in Madrid. It was then and there when I decided to shoot a short movie, "2+2". The original script was nothing to be proud of, but it was the only thing I had that wouldn’t be a large production. After all, we were 533 kilometers from home and had very little money. Immediately after shooting "2+2", I wrote a script called "2x2" that respected some formal structures of that previous film, but also improved it in many ways, mostly in narrative terms. Though it was groomed to my liking, life didn’t permit me to get to production for nearly two and a half years.

Once I registered in Málaga’s Drama School, in 2013, I began to learn about the art of drama. And I got to know some really great people. Two of them were acting students – Iván Aranda and Víctor Castilla – and one was a biology student – Clara Valle. The four of us met after Drama School and between stage rehearsals and biological workshops to talk about the four characters I had created a while back.  Little by little, within two to three months, we had come up with a script of which the four of us felt very proud. "2x2", as it is today, had finally been written.

It was at that same school where I met Sara Santos, who became a fan of the idea shortly after it was written. Sara insisted upon lending her house to the project as a set location. It was perfect: her room in the basement converted nicely into Adrian’s dorm and the rest of the house was spot on at representing the wealth of Felipe and Esther’s characters. Having two sets in the same building made it very convenient to shoot. Additionally, Sara would eventually take the position of art director for the project so I was confident her ownership would transpire into a beautiful arrangement. I remember entering the set for Adrian’s dorm one day and having to ask myself where I was… it was so alive with Adrian’s vibe that I had a hard time seeing anything that once resembled Sara. The most difficult conversion of any of the sets was Felipe’s office. Left with my last choice in my own father’s work office, a sad looking room in the middle of an industrial unit, Sara had her hands full. Once again, with the help of decorator Alberto Ortega, she managed to make magic happen and I was thoroughly impressed with the outcome.

By this time, I had nearly finished my first year at the Drama School and had become quite involved with theatre, which swayed my subconscious to pursue stronger theatrics for my short and in my search for actors. This worked in my favor, as the best thing you can do to find proper actors in a city like Malaga is bounce from theatre to theatre, watching live talent.

I was previously casted for the production "Prometeo: Encadenado", directed by Asier Etxániz, where I shared the stage with Arturo Vargas. He was my first stage colleague and later became a friend and easily my best choice for my Adrián. When offered the role, Arturo warned, "I’ve never done anything for a camera". That was the point – perfect! 

Shortly after finding Arturo, I saw a play by name of "La Reunión", directed by my absolute favorite professor, Juan Alberto Salvatierra. The play was as expected but one particular actress, Rocío Cebrero, stood out with an incredible performance. I had known her a while back but wasn’t aware that she began acting – and so well. After sending the script to Rocío the following day, per her request, she responded with interest that same night. Two down, two to go.

For the role of Esther, I asked my own acting professor, Gloria León. Aside from all she had been teaching me each day in class, I had seen her on stage in "Luces de Bohemia", written by Ramón María del Valle-Inclán and directed by Carmen Ruiz-Mingorance. Though the play itself didn’t particularly intrigue me, Gloria stood out well above the rest. When offered the role of Esther, Gloria accepted without even reading the script but politely admitting, like Arturo, she had never done work for a camera.  

Finding my Felipe was difficult. The actor I had originally imagined for the role came with too many compromises. Rocío recommended Fernando Jiménez to me and he and I met one rainy evening at the hotel where he was playing intimate theatre. I was able to hurriedly pitch him the role of Felipe between his sessions. Fernando asked to see the script and, within a few days, he called to opt in. At this point, I had great sets which were beautifully arranged and most of the cast was filled by the exact people I had been hoping for.

At the time of shooting "2x2", DOP Salvador Blanco was my boss. He’d always told me that he would help me one day with one of my crazy adventures, and this was his chance. He was amidst a slow year for business and, after reading the script, Salvador was happy to join.

A few months earlier, while starring in Alejandro Lozano’s short film, "El Adiestramiento de las Hormigas", I met my future sound designer and musician, Juan Carlos Moya. Again without needing to read the script, Juan Carlos took the job as he had only worked with one prior film and was happy to gain a second for experience in his early career. I had little doubt in him and he certainly did not fail to deliver. 

The creation of "2x2" began in the first week of July. My assistants, the cast and myself got together for a few days of rehearsal, took a day break, and then shot half of the film in one weekend. Taking a few weeks off before shooting the rest in late July and early August gave me some time to work on editing. I knew we were well on our way to achieving a great product as editing came to be a very challenging task. Being incredibly hot and humid that month of shooting made for exceptionally difficult rehearsals and shoots and I owe it to my team for sticking to it and keeping up the top-notch work. It is easy to lose focus when conditions are so miserable.  

The last day of shooting was on August 5th, my birthday. Some friends came from Madrid and snuck onto the set, hiding behind me, to see how things were coming along. Once I realized they had arrived, I went to see them and upon doing so noticed my friend César, known to be a tough guy, had been crying. “Damn, it’s emotional,” he said. I knew things were going well. We finished the shoot and partied for two reasons that night.

After such a long and strenuous month of production, I set aside August for vacation. I returned to editing in September, which made it difficult to focus being that classes had started again. Editing therefore took about four months to complete. That Christmas, I made one of the biggest decisions of my life: I would seek a living on the other side of the world in Quito, Ecuador, finding a fresh start working as university professor as well as trying to earn a career in Ecuador’s audiovisual industry. February 10th, 2014 was the day I was booked to fly out but I had requests from my team that I release a "work in progress" cut of the film we could all watch before I departed. Juan Carlos Moya and I spent every afternoon for a month creating the music most suitable for the short film as well as structuring new arrangements for the final soundtrack. I then hunted down J.J. Franco, an old friend of mine who specializes in postproduction and colorimetry, and asked him to give "2x2" the final touch it needed.  It took him a few weekends but he finished in time for us to show the film, missing only part of the soundtrack, on February 6th. Four days later, I boarded the plane to Quito. 

On April 25th, 2014, separated by the Atlantic Ocean and the continent of South America, Juan Carlos and I put the final touches on the soundtrack and "2x2" was officially complete. After two and half years of sitting on the script, after months of pounding over the scenes with Clara, Iván and Víctor, after nearly a year of producing, shooting, editing and working 8500 kilometers away from my sound editor during finalization, I can wholeheartedly say that the result has been well worth the time and effort. It took incredible commitment from the best team I’ve had the pleasure to work with, but we achieved what I had always wanted: filming a good script in the best way possible. It is my absolute pleasure to present to you my very best work to date, "2x2".

.- Ibai Fernández

2x2 - Press Kit

2x2 - Press Kit

2x2 - Cast

ROCÍO CEBRERO (GEMMA)

Rocío Cebrero (Málaga, 1986) got her grade(degree?) in Journalism from the University of Málaga, Spain and her grade(degree?) in acting from the Drama School in Málaga, Spain. Paralelly, she was a part of a formation in contemporary dance comprised of Vanessa López, Fernando Hurtado and Sol Picó, as well as practicing techniques such as Feldenkreis, Contact Improvisation y Movement at Tanzfabrik dance school in Berlin, Germany.

In terms of audiovisual performance, Rocío had parts in the following: "Constelación Hiperbólica," a short film by Jon Rivero, awarded by 2014 Torremolinos’ Fantastic Film Fest; "Rayos Gammatrónicos," also a Jon Rivero’s short film; "Pausa," directed by Luigi R.P and "2x2", directed by Ibai Fernández.

On the stage, Rocío has participated in the creation of the Delanadateatro theatre company in 2010. With that company she staged "Combatientes," directed by Antonio Centeno. For other companies Rocío has staged "La Reunión" (Teatro Línea 6), "Konstante 013" (Teatro de los Orígenes) and "Crónica" (APO Teatro), all of which premiered in 2013.

ARTURO VARGAS (ADRIÁN)

Born in Sevilla, Spain in 1989, Arturo moved early in life to Antequera, Spain, where he was raised. Restless as a kid, he was always quite observant and longed to be a professional athlete.  Arturo was very interested in music, dance and art, for he spent most of his childhood feeling compelled to express himself in as many ways as possible. Arturo fell in love with theatre the very day he enrolled in his first drama lesson. The feeling he received from the applause of the audience the first time was the exact moment he knew his calling in life.

It wasn't until he was 20 that Arturo could begin studying drama professionally, at the Drama School in Málaga, Spain. In conjunction with school, he took formation on Commedia dell’Arte with Javier Oliva, director of the company Teatro del Lazzi; formation on body theatre with José Piris, director of the company Mimox; contemporary dance with Thome Araujo, coreographer and director of the company Málaga Danza Teatro. Arturo Vargas is also the founder of the company of body theatre Mimetic Teatro Gestual.

In audiovisual, Arturo has worked in music videos such as: "Animals," by the Spanish pop band Hungry Butterflies, produced by 99páginas; "Satélite," by the Spanish rock band Smoking Victims, directed by Bokehartes; and "Fragments," by the Spanish rock band The Wheel and the Hammond, directed by Biktor Kero.

Regarding fictional drama, "2x2," directed by Ibai Fernández, is Arturo's first work.

FERNANDO JIMÉNEZ (FELIPE)

Fernando Jiménez studied Acting at the Drama School in Málaga, Spain as he also received formation acting in audiovisual media.

Fernando's experience both on the stage and in front of the camera is quite dilated. Some of his best works have been "321 Días en Michigan," full-length feature film directed by Enrique García in 2013; "4th Session," a full-length feature film directed by David Martín in 2011; "Prime Time," a full-length feature film directed by Luis Calvo in 2008 and "El Camino de los Ingleses," a full-length feature film directed by Antonio Banderas in 2005 and 2006.

On television, Fernando has also participated in quite a few TV series: "Luna Llena”, "El Asesinato de Carrero Blanco”, “Cuéntame Cómo Pasó”…

In stage theatre scripts, Fernando has a great deal of experience by proofing the following: "La Blanca Paloma," directed by Jesús Domínguez; "A Sangre," directed by Mercedes León; "Cinema Terror," directed by Antonio Meliveo; "Esperándote Espero," directed by Miguel Gallego; and "Somos Grandes," directed by Carlos Torres.

GLORIA LEÓN (ESTHER)

Gloria León has been a professor at the Drama School in Málaga, Spain since 1997, the same school from which she graduated in 1993. Besides her formation within that school, she has taken lessons from Ricardo Sierra at the Collegi de Teatre in 1986; from Lluis Masgrau, Jose Antonio Sánchez and Jorge Cobos in 1994 on contemporary theatre; from Silvia Montesinos in 2006 in musical performing; and from various others like Begoña Valle, José Carlos Plaza, Antonio Fava and Yolanda Vázquez (Vázquez is from the Royal Shakespeare Company).

The year she started working as a professor at Malaga’s Drama School, Gloria also started her professional work as an actress for the company Acuario Teatro. This happening right before she moved on to the company Teatro Estable de Málaga, where she also carried out tasks on production and distribution. In 1997, she starred her first big play, "Agnus Dei," directed by John Pielmeier.

Later, as an actress, Gloria was staged on "Aquellas Añoradas Sirenas Roncas y Despeinadas," directed by Antonio Garriga Vela, working for another theatre company by name of AZ Teatro. Also as an actress, she took part in "Malfario," directed by Antonio Onetti, and in "Baby Boom en El Paraíso," directed by Teresa León.

Afterwards, as Art Director and Dramaturgist, she worked on "1, 2, 3, Cuento," "Un Pasacalle con Vistas" and" Las Aventuras de la Familia Bachancleta," to cite some of her main works.

2x2 represents Gloria’s first professional approach to the world of filmmaking.

2x2 - Ibai Fernández (writer, director, editor & producer)

Ibai Fernández has never taken any courses in film or attended to any proper film school. His passion for movies came about in his very early childhood when his mother, in an attempt to calm down his natural born restlessness, repeatedly played for him the first three films that he had ever watched: "Alien", "Terminator" and "Predator".

Though young Ibai always had a disproportionate passion for cinema, it was not until the age of 9 when, exiting the theater after seeing "Pulp Fiction" during its launch, he asked his mother if cinema could be studied, in an academic sense. He was told they would look into it for potential post-high school studies but they found that a filmmaking education in Spain can be quite difficult and laborious, as well as quite costly. With all things considered, Ibai put cinema school on the back burner and instead began studying Audiovisual Communication at the public university in his hometown.

The Audiovisual Communication studies wouldn’t be useful for his filmic goals in the slightest but, because of the scholarships he was awarded due to his academic excellence, Ibai was able to study cinema abroad. First, he studied Intercultural Communication in The Hague, Netherlands. There he was unable to get in-touch with the filmic industry but, inspired by distance from his home, The Hague was the place where he would write his first scripts. Two years later, sponsored by another scholarship for academic excellence, he traveled to study at Missouri State University in Springfield, MO, USA, where he took on a major in media production and management, specifying in filmmaking related subjects. It was at MO State in 2008 where Ibai made his first short movie, titled "The Couple". The film was a big success among its audience and critics.

From that point on, as he kept on traveling and filming through different cities in Europe and North Africa, Ibai was able to shoot a wide variety of themes and subjects: he has written, produced and filmed TV news productions, publicity, music videos, industrial videos, artistic videographic creations, documentary full-length movies - some of them very risky to shoot (e.g. "The Common Enemy", filmed in the midst of the Tunisian Arab Spring) - and some other fictional short movies like "6:09", "2+2" and "The Print".

At the moment, he has quit studying at the Drama School in Malaga, Spain, where he had been studying acting for a year and a half, to seek a better living and new experiences in Quito, Ecuador. Ibai remains in Quito and now earns a living working as a film and art professor at the University of Israel as well as editing a documentary on "La Tri", the national soccer team of Ecuador (to be released at the end of May 2014).

At the time being, "2x2" represents the apex of Ibai's cinematographic work as it is the latest and greatest accumulation of his labor, created with the intent of being recognized in the movie making industry.

2x2 - Ibai Fernández's Demo Reel

2x2 - Director's Statement

I have always sincerely felt there is nothing more dramatic in life than a lie. Despite the negative connotation the masses associate with lies, many people make lying a regular part of their everyday lives. My thinking about portraying this anomaly on film brought me to question how to combine the inner drama of a lie as well as the coldness of the people involved in those same lies. How do I display two couples, representing different generations, who are so used to lies and deceit that there is no more dramatic tension focusing on the negativity but rather an acceptance of their own false and hypocritical realities? How do I exhibit a cold universe where love itself is both a warm feeling and yet just another form of lying? Those questions are, in essence, how "2x2" was born: as an open criticism of a society driven by self-interest and immediate self-gratification. People often lie so much that lying itself becomes their very own way of life; a way of getting through their days and nights, small bits of stimulation to see if they’re able to feel something every now and then.

The four characters in the film are caught in a vicious circle that brings them all to the same destination: unified dissatisfaction. It is not only about love and sex: it is about moral victories and pride, lots of pride. The only thing they have in common is, for the most part, their unanimous desire to escape from the redundancy in life that is causing them a great deal of unhappiness. And yet still, they are merely stuck in this cycle because, one way or the other, they have become addicted to the situation as it is.

As "2x2" simply shows what some people’s reality is all about, I needed to arrive at the most realistic depiction possible in each field of cinematography. To start with, I needed performances in line with naturalism: that step beyond realism that would give the feeling that this story could be happening to any of us at anytime. To achieve that, I needed people who could work as they do on the stage: experiencing the life in every single moment as it comes; people able to carry on the true energy of those moments in their entirety in ordert to truly capture on my digital negative the genuine life and reality of the situations contained within the original script. The four actors (Rocío Cebrero, Gloria León, Fernando Jiménez y Arturo Vargas) gave me exactly what I was hoping for: doubtless truth on every single frame. Working with theatre actors, admittedly, entailed a great deal of challenge but I knew that if I really wanted to harness that special magic that the stage has, that palpability of the sensations the mediation of a screen always prevents us from, I had to give them exactly what they needed: freedom. I outlined a different form of shooting from what I was used to: I would not plan every single step of the filmmaking process (aside from to what the performing was related). My call was therefore to shoot, in spite of whatever I had planned for the edit, the sequences from beginning to end, never calling for a cut regardless of the accuracy of what I was seeing on my monitor. I knew shooting scenes in this fashion would be more exhausting for the actors, but choosing theatre actors meant that they already had the endurance needed for full scenes.

In order to make the most of the editing, the camera used to shoot "2x2" had a special assignment. First, it had to be much more voyeuristic than typically found in movies, almost as if it was through the eyes of a fifth character we never meet. And, for theatre actors, the presence of the camera could hinder their performances, especially the naturalism I sought after. Therefore, not only the truth and beauty of light that Salvador Blanco achieved for this production, but also his work as a silent, almost invisible spy who meddles in the most intimate moments of the lives of two cheating couples, makes this an absolutely perfect directing decision in my humblest opinion. It was decided to shoot all of the sequences with a 50 millimeters lens to be able to capture the truth with no image distortion whatsoever, keeping it as real as possible.

None of this extreme truth would have been possible without the decisive collaboration of the art director, Sara Santos, who created (with the tiniest of the budgets) the perfect atmospheres in which this film could be developed. I was awestruck with the sets Sara had created and how perfectly she had read the images in my mind. Adrián’s dorm and Esther’s house were exactly as I imagined. And the way she converted an industrial unit into Felipe’s office was simply perfect. Sara’s care for the minutest details was the key to making the actors feel as if they were in their very own element which, in turn, created the definitively stainless atmosphere that this short needed to pull the audience into the cruel universe of "2x2".

And as the shooting process was full of liberty and spontaneity, I knew I would face a huge challenge editing this film. Essentially, I found myself with quite a few long sequences that I had to put together. Sequences in which actors without film experience were able to act with full gesture continuity. I spent long weeks in front of my computer trying to get the best of the photographic work while still respecting all such continuity. It was a rough road… but it was worth it in the result. In narrative terms, though it would mean not being able to keep the final pro-duct completely natural, I preferred to break the time continuity, offering a parallel between the stories of both couples: how each of them go on, continuing to sink until they both end in a well of bitterness, only with different consequences.

The proverbial cherry was put on top of this short by Juan Carlos Moya who, besides providing the intimate sound design I was hoping to hear in this movie, provided it with an original soundtrack that appeals to a truly emotional nature that every drama aims to achieve. By doing so, the movie ends by means of the perfect crowning jewel.

"2x2" is not only the best movie I’ve ever made, but also has the best context within which I have ever worked and I owe it all to the hard working group of individuals who trusted me and my project…and who got together to carry it along so successfully.

.- Ibai Fernández

2x2 - Dialogue List

ESC. 1  - INT. HABITACIÓN DE ADRIÁN - NOCHE

SEC# 1  - INT. ADRIAN’S ROOM - NIGHT

Time	Español	English
00:01:51	GEMMA Adrián… ADRIÁN ¿Qué? GEMMA ¿Tú me quieres?	GEMMA Adrián… ADRIÁN What? GEMMA Do you love me?

ESC. 2  - INT. CASA DE ESTHER - NOCHE

SEC# 2  - INT. ESTHER’S HOUSE - NIGHT

Time	Español	English
00:03:25	CONTESTADOR Papá, mamá… ¿qué tal? Tengo noticias... ¡Vuelvo a casa! Solo serán dos semanas, os lo prometo. Ha sido un asunto imprevisto y… llego mañana. Me haría ilusión que vinierais a recogerme, pero entenderé que no lo hagáis. estáis ocupados... Mi avión llega a las 11.30 a la terminal cuatro y... Si no, iré directamente a casa... Y allí nos vemos... Os quiero... ¡Hasta mañana!	CONTESTADOR Dad… Mom… What’s up? I’ve got some news… I’m coming back home… It’s gonna be for two weeks only, I promise. It just came unannounced and…  I’ll be arriving tomorrow. It’d be cool if you came to get me but I’ll understand if you can’t make it… My plane will be landing at 11:30 at Terminal 4 and… otherwise, I’ll find a way home, and I’ll see you there… Love you bot… See you tomorrow
00:04:24	ESTHER Mmm. Vaya… Veo que te lo estás pasando bien, ¿eh?… Pero no tan bien como cuando estás conmigo… Sí, sí, claro… Claro. Oye, ¿qué va a ser esta vez: servicio a domicilio o cuarto de hotel por horas? Oye, no es que me moleste… ¿eh?	ESTHER Mmm… Well… I see you’re having a good time… eh? But not as good as when you’re with me… Yeah, yeah, sure, sure… Listen, what’s it going to be this time: home delivery service or an hourly rate hotel? Not that it bothers me but… Damn…

ESC. 3  - INT. HABITACIÓN DE ADRIÁN - NOCHE

SEC# 3  - INT. ADRIAN’S ROOM - NIGHT

Time	Español	English
00:05:16	ADRIÁN ¿Sí? Lo… Lo siento, Felipe… No sé cómo ha podido pasar… No, no, no, por… por supuesto, sí… En seguida le devuelvo la llamada…	ADRIÁN Yeah? Uh… I… I’m sorry, Felipe… I don’t … I don’t know how it happened… No, no, no… Of …Of course... Yeah… I’ll call you back right away.

ESC. 4  - INT. BAÑO - NOCHE

SEC# 4  - INT. BATHROOM - NIGHT

Time	Español	English
00:05:45	GEMMA ¿Sí? ¿Que qué? Pero mañana es mi audición! No, no, no… ¡Ni de coña! ¿Pero de verdad te da tanto coraje que ésta la haya conseguido yo solita? Mira, mira… Voy para allá, ¿vale? Sí, no hay nada que no pueda hacer mañana que no pueda hacer hoy…	GEMMA Yeah? Wh… Say waht!? No… But my audition is tomorrow! No, no, no, no… No… N… W…N… No way! Does it really piss you off that much that I’m getting this one by myself? Look… Mmm… Look, I’m going over there, alright? Yes, there’s nothing I can do tomorrow that can’t be done today…

ESC. 5  - INT. HABITACIÓN DE ADRIÁN - NOCHE

SEC# 5  - INT. ADRIAN’S ROOM - NIGHT

Time	Español	English
00:07:00	ADRIÁN ¿Qué pasa? GEMMA ¿Qué pasa? ADRIÁN ¿Te vas? GEMMA Sí… ADRIÁN ¿Adónde? GEMMA A tomar una copa… ADRIÁN ¿Con quién? GEMMA Con Nerea… ADRIÁN Ah… ¿Y cómo es que ha venido sin avisar? GEMMA Pues… No sé… De eso me voy a enterar ahora.	ADRIÁN What’s up? GEMMA What’s up? ADRIÁN You’re leaving? GEMMA Yes… ADRIÁN Where to? GEMMA To have a drink… ADRIÁN With who? GEMMA With Nerea… ADRIÁN Ah… And how come she came unannounced? GEMMA Well… I don’t know… That’s what I’m gonna find out…

ESC. 6  - INT. OFICINA DE FELIPE - NOCHE

SEC# 6 - INT. FELIPE’S OFFICE - NOCHE

Time	Español	English
00:07:36	FELIPE ¿Sí, cariño? Ya sabes hasta dónde estamos con la auditoría… Sí, he hecho volver a Adrián para que me eche una mano… Se lo ha tomado mal… ¿Qué maquina? No sé, mañana hablaré con él… Bueno sí, eso es lo que quería decir… Estoy cansado, ya sabes… Claro, cariño. Iré a echar una cabezada tan pronto como acabe aquí… Y yo a ti, preciosa… GEMMA Bueno… querías joderme mañana y ya lo has hecho hoy. Supongo que ahora puedo ir a mi audición. FELIPE El que está jodido soy yo, si la que estaba al otro lado del teléfono era mi mujer… GEMMA ¿Y lo era? FELIPE ¡Pues claro que sí! GEMMA Perfecto, aprovecha la ocasión… Déjala, fúgate conmigo! FELIPE ¡Sí! No solo le digo que la engaño, sino además lo hago contigo… Sus abogados tardarían en desplumarme lo que tu tardaste en bajarte las bragas en la primera ocasión. GEMMA Algún día seré una actriz famosa y te arrepentirás de no haberme elegido a mí. FELIPE Hasta que llegue ese momento, prefiero conservar  a mi familia y a mi empresa, eso significa conservar a mi esposa y a tu novio. GEMMA Un poco tarde para no cagar en donde comes, ¿no crees? De todos modos, a Adrián le queda muy poco en este convento… Se nos va. FELIPE ¿Qué es esto? GEMMA Un pase a una vida mejor… FELIPE ¿Una carta de suicidio? GEMMA No se lo ha contado a nadie… Bueno, a mí. Pero todos sabíamos que Adrián volaría tarde o temprano. FELIPE Sí, ni siquiera tú has sido capaz de matar su ilusión. GEMMA Como ni tú de matar la mía. FELIPE ¿De veras aún piensas en ser actriz? GEMMA Si… y con tu ayuda o sin ella voy a lograrlo. Estoy harta de chupártela para conseguir audiciones. FELIPE ¡Joder! No responde GEMMA Igual se lo está montando con uno más alto más guapo y más joven que tú. FELIPE O con tu novio… GEMMA Con alguien se lo monta…Me dijo que estaba hablando contigo por teléfono cuando la que lo hacía era yo… Sabes... ya no me sorprende, de hecho me lo imaginaba hacía semanas. FELIPE ¿Ya lo has asumido? GEMMA Bueno ¿qué vas a hacer con lo de la carta? FELIPE No tendrá huevos… GEMMA Los tendrá… Está harto de todo esto… De mí y de tu empresa. No le va a importar dejarme a mí en la calle y a tu empresa en la ruina. FELIPE Pues le estaré esperando… ¿Cuánto crees que va a tardar en volver, eh? GEMMA ¿Un trabajo mejor que este… y en California? Échale unos 60 años… FELIPE Pues que le vaya bonito… Se lo puedes decir de mi parte cuando llegues a tu casa… GEMMA “Cariño, que vengo de follarme a tu jefe, que dice que estás despedido” FELIPE Tienes razón. Además nos resultará más barata su renuncia. GEMMA Siempre cuidando de ti… Espero que cuentes con que mañana me tomo el día libre. FELIPE El mercado laboral está muy difícil para niñas sin graduado. GEMMA Y para empresas de publicidad sin nada que publicitar… Nos vemos pasado mañana…	FELIPE Yeah, honey? You know how hard the audit is coming along… Yeah, I made Adrián come back to lend me a hand… He didn’t like it… Wear whom out?  I don’t know I’ll talk to him tomorrow… Well, yeah… That’s what I meant to say… I’m tired… You know… Sure, honey, I’ll go nap at home as soon as I’m done here, eh? And I love you, precious… GEMMA Well… You wanted to fuck me up tomorrow and you have today. I guess I can go to my audition tomorrow. FELIPE I’m the one who’s fucked up… If that was my wife on the phone. GEMMA Was she? FELIPE Sure she was! GEMMA Perfect… Enjoy the occasion! Leave her... Run away with me… FELIPE Yes… I won’t only tell her that I’m cheating on her but also that I’m doing it with you. Her lawyers would take no longer to clear me out than what it took you to take off your panties at first chance. GEMMA I’ll be a famous actress someday and you’ll regret not choosing me. FELIPE Till that moment arrives, I’d rather keep my family… and my company. And that means to keep my wife… and your boyfriend. GEMMA A little late not to shit where you eat, don’t you think? Anyway… Adrián doesn’t give a damn about your company… He’s leaving us… FELIPE What’s this? GEMMA A ticket to a better life. FELIPE A suicide note? GEMMA He’s told no one… Well… He’s told me… But we all knew Adrián would fly sooner or later… FELIPE Not even you have been able to kill his dreams. GEMMA As you haven’t been able to kill mine. FELIPE Are you really still thinking of being an actress? GEMMA And with or without your help. I will be… I’m tired of sucking your dick to get auditions. FELIPE Fuck… She doesn’t answer… GEMMA Maybe she’s hooking up with a taller … more handsome and younger man than you. FELIPE Or with your boyfriend. GEMMA He’s seeing somebody. He told me he was talking to you on the phone at the same time you and I were on it. You know… It doesn’t surprise me… In fact, I’ve been imaging it for weeks. FELIPE Have you already assumed it? GEMMA Well… What are you gonna do about the letter? FELIPE Won’t have the guts… GEMMA He will… He’s tired of this all… He’s tired of me and tired of your company. He won’t mind leaving me on the streets and your company in bankruptcy. FELIPE Well, then I’ll wait for him. How long do you think he’ll take to get back? GEMMA A better job than this… in California… 60 years, gives or takes. FELIPE Hope it all goes well for him! You can tell him on my behalf when you get home. GEMMA “Listen, honey… I’m just coming from humping your boss… he says “you’re fired”. FELIPE You’re right. His resignation will turn out cheaper. GEMMA Always watching out for yourself… I hope you’re taking into account that I’m taking a day of tomorrow. FELIPE The labor market is hard for girls who are high school dropouts. GEMMA And for advertising companies with nothing to advertise… See you the day after tomorrow…

ESC. 7  - INT. HABITACIÓN DE ADRIÁN - NOCHE

SEC# 7  - INT. ADRIAN’S ROOM - NIGHT

Time	Español	English
13:03	ESTHER ¡Vamos! ¡Joder! ¡Vamos, tigre! ¡Joder! Joder… ¿Qué pasa, tigre…? ¿Te ha exprimido la zorrita de tu novia? Venga… Puedes contármelo. ADRIÁN Me voy… o creo que me voy. ESTHER ¿Adónde? ADRIÁN A hacer mi vida. ESTHER ¿Y cuándo te vas? ADRIÁN Pues no lo sé… Estoy esperando respuesta… En realidad podría llevar días en el buzón. ESTHER ¿Y entonces? ADRIÁN Me largo… Dejo la compañía,.. dejo a Gemma, dejo a Felipe y te dejo a ti…. Creo. Eres la primera persona a la que se lo digo… Bueno. Gemma también lo sabe, claro… ESTHER ¿Cómo que crees que te vas? ADRIÁN Estoy esperando respuesta, ya te lo he dicho… ESTHER ¿Vamos bien de tiempo? ADRIÁN ¿Qué? ESTHER Que si vamos bien de tiempo. ADRIÁN No lo sé… Supongo… Esta vez me ha dicho que venía una amiga de su pueblo… Cuando me… Aunque mañana se supone que tiene una audición importante así que habrá pedido el día libre… ESTHER Que yo sepa no… ADRIÁN ¿Cómo? ESTHER ¡Shh! ¡Hola, cariño! ¿Qué tal? ¿Todavía currando? Sí, sí… Ya lo sé… Lo sé… ¿Ah, sí? ¿Y cómo se lo ha tomado? Comprensible… Solo a ti te encanta estar por la noche en ese antro… ¿No crees que estás forzando mucho la máquina? ¡Joder! ¿Cuál va a ser? ¡La de Adrián! Vas a acabar con la gallina de los huevos de oro… Joder! Sí… ¿Mañana? ¿Pero no me has dicho que estaba esta noche contigo? Ya entiendo… Sí, sí, lo entiendo de verdad… Oye, si puedes, pásate un par de horas por casa esta noche, ¿vale? Vale… Venga… Te quiero, nene… ADRIÁN ¿Eh? ESTHER ¡Hijo de Puta! ADRIÁN Oye… ESTHER ¡!ué hijo de Puta! ADRIÁN ¿Qué pasa? ¿Se lo está montando con otra más joven, más alta y más guapa que tú, ¿eh? ESTHER ¡Joder, que cabrón! ¡Qué hijo de puta! Dice que está contigo en la oficina… y que te ha sentado fatal que te llamara en mitad de la noche… ADRIÁN ¡Hombre! Desde luego no me hubiera sentado bien… ESTHER No me lo puedo creer… ADRIAN ¿Tanto te molesta, ¿eh? Quiero decir… Tú me estás follando a mí… ESTHER ¡Joder, tío! ADRIÁN Tratamos de llenar con lo prohibido el vacío que el miedo deja en nuestras vidas… ESTHER ¿Qué miedo? ADRIÁN El miedo a arriesgarnos a perder aquello que hemos conseguido a cambio de la posibilidad de conseguir algo mejor… ESTHER Eres jodidamente bueno haciendo eslóganes… Ey... Vas a triunfar… Ya verás. ADRIÁN Aun así… Si tanto te importa tu marido, ¿por qué sigues viniendo a verme? ESTHER ¿De verdad quieres darle un final moralista a esta historia? ADRIÁN ¿Moralista? Nada más lejos de mi intención. Además, creo que sería lo menos indicado, ¿no?	ESTHER C’mon…Fuck... C’mon, tiger! C´mon… Fuck…Fuck… Fuck… What’s up, tiger? Has that slutty girlfriend of yours squeezed you dry? C’mon…Y ou can tell me. ADRIÁN I’m leaving… or I think I’m leaving. ESTHER Where to? ADRIÁN To make my life. ESTHER And when are you leaving? ADRIÁN I don’t know… I’m waiting on the answer. Actually, it could’ve been sitting in the mailbox for weeks now. ESTHER And then? ADRIÁN I’m taking off… I’m leaving the company… I’m leaving Gemma… I’m leaving Felipe and I’m leaving you… I think. You’re the first person I’ve told.  Well… Gemma also knows, of course… ESTHER How can you “think” you’re leaving? ADRIÁN I’m waiting on an answer, I’ve already told you… ESTHER Are we safe on time? ADRIÁN What? ESTHER Are we safe on time? ADRIÁN I don’t know… I guess… This time she’s told me a friend from her hometown was coming.  She usually takes longer when she lies to me… But, supposedly, tomorrow she’s got an important audition… So she must have asked for a day off. ESTHER Not that I know… ADRIÁN What? ESTHER Shh! Hi, honey… How´s it going? Still working? Yes… Yes, yes… I know, I know… Oh, really? And how did he take it? Understandable. Only you love to spend whole nights in that dump. Don’t you think you’re gonna wear him out? Damn, who is it going to be? Adrián! You’re gonna kill the golden eggs goose. Fuck! Yes…Tomorrow!? But haven’t you told me he was there with you? I understand… Yes, yes… I understand it, really… Listen… If you can, come by home for a couple of hours, will you? Ok… C´mon… I love you, baby… ADRIÁN Hey? ESTHER Son of a bitch! ADRIÁN What’s going on? ESTHER Son of a bitch! ADRIÁN What’s going on? He’s hooking up with a younger, taller and more beautiful woman than you, huh? ESTHER Fuck! What a sucker!... Son of a bitch! He says he’s at the office with you. That you don’t like that he made you go back there in the middle of the night… ADRIÁN Well, I wouldn’t have liked it, indeed. ESTHER I can’t believe it… ADRIÁN Does it really bother you that much? Huh? I mean… You´re fucking me… ESTHER Damn you… ADRIAN We try to fill up, with the forbidden, the emptiness that fear leaves in our lives. ESTHER Which fear? ADRIÁN The fear to jeopardize what we have in exchange for the chance of getting something better. ESTHER You’re fucking good at making slogans. You will triumph… You’ll see. ADRIÁN Even though, if your husband is so important to you…Why do you keep seeing me? ESTHER Aw… Do you really want to give this story a moral ending? ADRIÁN Moral? Nothing further from my intentions… Besides, I believe it’d be the least indicated…

ESC. 8 - INT. HABITACIÓN DE ADRIÁN - NOCHE

SEC# 8  - INT. ADRIAN’S ROOM - NIGHT

Time	Español	English
17:35	GEMMA ¿Y tú? ¿Qué le pasa a Felipe? ADRIÁN Que me faltan tres memorias explicativas… GEMMA Mmm. ADRIÁN No sé cómo ha podido pasar… así que tengo que sentarme a hacerlas… GEMMA Genial… Así mejor… Te dejo en paz… ADRIÁN ¡Cariño! ¿Me quieres? GEMMA ¡Claro! ADRIÁN Esther… Tienes 10 minutos antes de que me duerma y cuarenta antes de que tengas que irte.	GEMMA And you? What’s up with Felipe? ADRIÁN There are three missing memos… GEMA Mmm. ADRIÁN I don’t know how it happened… So I gotta write them back… GEMMA Great… Better like this… I’ll leave you in peace… ADRIÁN Honey… ¿Do you love me? GEMMA Sure! ADRIÁN Esther … You’ve got 10 minutes before I fall asleep and 40 before you gotta go.

ESC. 9  - INT. OFICINA DE FELIPE - NOCHE

SEC# 9  - INT. FELIPE’S OFFICE - NIGHT

Time	Español	English
18:53	FELIPE ¿Qué quieres? ¿Por qué? ¿¡Mi mujer!? ¿Cariño que haces aquí? ESTHER ¿Y tú que haces aquí? ¿Deberías estar trabajando? ¿Dónde está Adrián? FELIPE Esther… Adrián no ha venido esta noche. ESTHER Prepárame una copa, ¿quieres? Pon algo de música… Hace mucho que no me seduces… ¿No bebes? FELIPE Esther... Tenemos que hablar… ESTHER Ya hablaremos el lunes… Me gustaría empezar el orden del día haciendo un reajuste de personal… FELIPE Sí… Yo tengo que hacer un nuevo contrato… ESTHER ¿Un nuevo contrato? FELIPE Necesitamos un nuevo talento… El que tenemos se nos va… ESTHER ¿Y cómo lo sabes tú? FELIPE ¿Y tú como lo sabes? ESTHER Bueno ya que se va el talento… ¿Podemos prescindir de la inútil de su novia, ¿no? Por cierto… Tu hijo ha llamado, viene mañana… Se quedará dos semanas… Deberías estar algún tiempo con él, para variar… FELIPE Para variar, hacer algo bien… ESTHER La semana que viene son las bodas de oro de mis padres… Deberíamos comprarle un regalo, ¿eh? FELIPE Sí. ESTHER Dios… Felipe… ¿Qué nos ha pasado? FELIPE Veinticinco años. ESTHER Entre otras cosas… FELIPE Cariño, ¿tú me quieres? ESTHER Hazme sentir bien, ¿vale? Hazme sentir bien…	FELIPE What do you want? Why? My wife!?... Honey, what are you doing here? ESTHER And what are you doing here? You should be working, shouldn’t you? Where is Adrián? FELIPE Esther… Adrián hasn’t come tonight. ESTHER Get me a drink, would you? Play some music… You haven’t seduced me in such a long time… You’re not drinking? FELIPE Esther... We have to talk… ESTHER We’ll talk on Monday… I’d like to start the agenda… with some staff readjustment. FELIPE Yeah… And I’ve got to hire somebody new… ESTHER Somebody new? FELIPE We need a new talent… The one we have is leaving us… ESTHER And how do you know? FELIPE And how do you know? ESTHER Well… Since the talent is leaving… We can manage without his useless girlfriend, right? By the way… Your son called, he’s coming tomorrow… He’s staying two weeks. You should spend some time with him, just for a change. FELIPE Just for a change… doing something well. ESTHER Next week… My parents will be celebrating their 50th wedding anniversary. We should get a present for them, huh? FELIPE Yes… ESTHER God… Felipe… What’s happened to us? FELIPE Twenty-five years. ESTHER Among other things… FELIPE Honey, do you love me? ESTHER Make me feel good, ok? Make me feel good…