A rotting baby corpse appears in a young woman's apartment on a stormy night in Buenos Aires.

Angelita forgives the narrator for losing her bones but shakes her head when asked if she will leave.

A group of teenage girls discovers that their older friend Silvia is officially dating Diego, the boy they all desire.

Natalia summons a pack of enormous dogs at the quarry that advance on Diego and Silvia as the girls escape.

A drunk neighbor named Juancho assaults a homeless man who has defecated on the sidewalk.

A working-class neighborhood is struck by a sudden wave of collective misfortune as residents lose jobs and fall into poverty.

The Woman in Corrientes tells Josefina that her family deliberately transferred their old evil into her as a child.

Josefina rushes to throw herself into The Woman's well but stops at the edge, too terrified to jump.

Julieta warns Sofía that ghost children haunt the Barcelona neighborhood and trap residents there, urging her to leave immediately.

The Lady Upstairs takes the form of a young girl to lead Elina up the hotel's crumbling lookout tower.

The heartbeat fetish narrator tells her lover she wants to hold his heart, and he responds that they will need a saw.

Rockstar Santiago Espina is found dead in a hotel room, having died by suicide after releasing his album Meat.

Two teenage fans, Julieta and Mariela, are caught after digging up Espina's grave and eating his flesh.

Missing children begin reappearing in parks across Buenos Aires, still dressed in the clothes they were last seen wearing.

A spirit takes the form of Pinocchia's brother, then vanishes at a street corner, sending Pinocchia into a breakdown.

This pool captures the most dramatic, headline-level events from each story in Mariana Enriquez's collection, moving from the first appearance of a rotting baby ghost to the supernatural confrontation that closes the book. The events trace the full arc of the collection, including the quarry girls' violent revenge against Diego and Silvia, the villero's curse on a working-class neighborhood, and Josefina's devastating revelation about her family's betrayal. The collection's horrors grow increasingly public and collective, culminating in two fans' act of cannibalism and the mass reappearance of missing children across Buenos Aires. Each event is a decisive pivot point that changes the course of its story, signaling Enriquez's interest in moments when the supernatural breaks through the surface of everyday life. Together, these events map the collection's exploration of fear, grotesque bodies, and the impossibility of hiding the past.

The headline events across all twelve horror stories.

As a child, the narrator digs up small bones in the backyard; her grandmother claims they belong to a long-dead infant sibling.

The narrator wraps Angelita in bandages and carries the rotting baby in a backpack to hide her from others in public.

A group of teenage girls meets Diego during a school trip to Bariloche and becomes collectively infatuated with him.

Natalia secretly puts her own menstrual blood in Diego's coffee hoping to win his love, but it has no effect.

The narrator's mother intervenes to stop Juancho's attack on the homeless man, sending the villero safely away.

The narrator's family realizes they alone are immune to the neighborhood's misfortune and makes a plan to escape.

Six-year-old Josefina visits The Woman in Corrientes, falls asleep in an armchair, and wakes suddenly consumed by paralyzing fear.

Sofía witnesses a young woman in a Barcelona street collapse after suddenly expelling explosive diarrhea on the sidewalk.

Manuel tells the group the story of Madame Yasmine and her son, who was decapitated by a cart on the Ramblas.

The Lady Upstairs secretly watches Elina dream of being raped on a beach as a teenager.

The heartbeat fetish narrator begins collecting medical textbooks and masturbating alone to a recording of abnormal heartbeats.

Mariela and Julieta meet in a club bathroom and bond over their shared devotion to Santiago Espina.

Nico films Marcela during a hallucination episode as she harms herself, then secretly continues filming her sleeping naked body.

Paula wakes to the smell of smoke and learns from the doorman that a bedridden neighbor burned to death while smoking.

Teenage girls gather at Pinocchia's house with a Ouija board and begin trying to contact people disappeared during Argentina's dictatorship.

This pool focuses on the significant secondary events that establish context, reveal backstory, and deepen the horror of each story in the collection. Beginning with the childhood discovery that sets the Angelita haunting in motion and ending with the Ouija board sessions that will eventually unleash a ghost, these events illuminate the roots of each story's central horror. Players will follow the teenage girls from their first infatuation with Diego to the failed love spell that precedes their violent revenge, and trace the villero's encounter from the mother's courageous intervention to the family's desperate plan to flee. The pool also explores the intimate psychological origins of the collection's darker horrors, from Josefina's first terrifying childhood visit to The Woman to the fetish narrator's solitary obsession with medical recordings. These events reveal the layers beneath the surface of each story, showing how private fears and buried histories accumulate before exploding into the supernatural.

The revealing setups and secondary shocks behind each story's main horror.

The narrator realizes that Angelita's constant pointing has been directing her south, toward her childhood home all along.

Silvia proposes the group swim at the Virgin's Pool, described as the largest, deepest, and most dangerous of the quarries.

Diego and Silvia humiliate the girls by swimming away laughing after tricking them into walking all around the quarry.

Juancho sets the villero's abandoned cart on fire, blaming it for the neighborhood's accumulating misfortune.

Josefina's sister Mariela convinces an exhausted and fearful Josefina to travel back to Corrientes to visit The Woman.

Julieta confesses to Sofía that she suffered a mental breakdown while trying to conceive a child with Daniel in Barcelona.

Elina cuts herself on the rain-soaked beach and returns to the hotel to cut herself again in the bath.

A mysterious girl at the hotel breakfast table tells an isolated Elina that the lookout tower is accessible and unlocked.

The heartbeat fetish narrator meets a very sick man from her online community in person and they begin an erotic relationship.

Espinosas across Argentina receive anonymous emails promising an unstoppable underground cult and a coming second arrival.

Marcela asks Nico to give her the secret footage he filmed of her sleeping naked, but he refuses and keeps it.

Mechi spots the missing girl Vanadis sitting at a park fountain and recognizes her from the archive photograph.

Parents begin returning their unaging children to the authorities, and a couple dies by suicide after their daughter reappears.

Paula burns cigarette holes in her bedsheet, letting each burn grow larger, until she imagines seeing a starry sky above her.

A spirit warns the girls that one of them does not belong, and the Ouija planchette later spells Ready on its own.

This pool highlights the turning points and revelations that pivot each story toward its conclusion, focusing on the moments when characters make fateful decisions or finally understand what they are facing. From the narrator's realization of Angelita's true destination to Josefina's anguished decision to travel back to Corrientes, these events mark the moments when escape or change becomes impossible. The pool captures quieter but equally devastating horrors, including Elina's self-harm at the sea and Marcela's unsettling request for footage of her own body. As the collection moves toward its end, the horrors become more collective and prophetic, with Espina's fans receiving anonymous messages and returned children marching silently through the city at night. The pool closes as the Ouija board sends its final warning, a reminder that in Enriquez's Argentina, the past cannot be contained and even those who feel untouched by collective trauma will eventually be claimed by it.