Fuga

---

I want to put on a concert for piano

and orchestra.

I see you're anxious to work, um...

and... How's your father?

I brought the music.

No, wait a minute, we don't do things

as fast as you think here.

There's a calendar, a program

scheduled years in advance.

Now, I can understand your interest

...because I have enormous respect

for your training and I love it that

you're a musician;

but you have to take things easy...

How?

Where's the music?

Here

I have an orchestra inside my head.

Are you joking?

shhhh... they're tuning up

Stop fooling around!

Pa... pa papapapa... first

movement... parapparapparapa...

second movement,

this part is beautiful when the brass

dubs the strings... parapara...

third movement...

the violins...

and now a flute comes in sounding

like little girl's voices...

OK, OK, stop...

but a concert is a serious

undertaking,

it takes a lot of preparation...

I need somebody on the piano

Arturo Montero is the best there is at

the moment

A woman, it has to be a woman...

Thank you. Thank you. Any spare

change?

Double bass?

No, piano

ah...

Well?

Are you married?

What's that got to do with anything?

What's your name?

Georgina

Think about it...

Congratulations

Thank you

Good afternoon,

we're starting with the finale...

3-50 time.

Let's start pianissimo and slowly

build it up to a crescendo... OK?

3, that's it... crescendo, all crescendo,

that's it...

No! Hold it!

Look beyond the score, because

there's something hidden;

behind every note, there's

something hidden...

and behind every melody

there's a secret.

Come on, now... and!

Better... OK 190 time please

This should be nervous,

let's see, it should be... tense,

uncomfortable.

That, that's me.

It's a wonderful composition,

powerful.

Every time I hear it, I feel that, that

I'm being dragged by the sea...

into the depths...

and I like it. That's strange, why do I

like it? why do we like it?

She, she's my sister...

Are you going to sleep here?

You don't like it any more?

OK...

Well, your father already talked to the

people at the municipal theater.

Turn the light off.

In the name of the Father, the Son,

the Holy Spirit, Amen.

Brothers, I know that the death of our

loved ones always seems unfair,

that there are moments in life when

we think that we form part of...

My sister is not dead.

She transformed into something else.

I didn't see anything.

I watched from under the water.

There was only that music.

Argentinean?

You're Too?

Just keep going straight ahead.

Watch the car!

Sure.

How do I know you've got what I

want?

You'll just have to see for yourself,

what you see is what you get, right?

All right, no dirty tricks.

Hey, what's the matter, man? Are you

scared? Easy does it man.

My uncle Pato has had them for

years, like,

he tells me they're all valuable and

sh*t, so I called you right away.

This way.

This is it.

That's it, man.

Does that piano play?

Don't know. It's just there.

And your uncle?

Here he is, then.

Could we have some light?

Yeah, sure... Uncle Pato! We've got

company.

Where did he get this?

He's a musician,

kinda orchestra type.

He played the flute, those yellow

flutes,

those things. I don't know what

they're called, the rolled up one.

But he hit the bottle. Look at him,

he's a mess...

too much booze.

He played this music, sure,

but something happened to him and

he started drinking and drinking

and never stopped...

How much?

F***, I don't know.

Let's say 50,000 pesos?

Fifty thousand pesos for a few loose

scores?

Yeah.

Forget it...

Then let's say 40,000 pesos, OK?

And I'll give you my uncle's flute.

Horn, Too,

the flute is called a horn

and I'm not interested.

Twenty for the scores and that's it.

Stop, stop.

What's the matter, Georgina?

I've told you a thousand times that

chord is not controlled, what...

It's not a butterfly that's playing your

chord,

it's a dead hand, a river of blood.

it's a dead hand, a river of blood.

I beg you, please, play it from your

womb.

Georgina!

We'll resume in an hour.

Georgina

Parsifal, Venus!

Are you Klaus Roth?

What do you want?

To talk you about Eliseo Montalbn.

What do you want to know?

I want to know whether he's alive.

I don't have the foggiest idea

and I don't care either.

But you were his doctor,

weren't you?

Much to my distress.

You know, I haven't seen

him for years

and I don't think I can be of any help.

Do you know if he left anything?

Such as what?

Letters, writings,

anything.

He used to write on walls,

but that was lost; the building is

falling to pieces.

Where?

The old psychiatric hospital.

In a room on the third floor.

Great.

One more question?

What?

What drove him insane?

Are you a musician?

Yes.

Then you'll know.

What's the matter?

You're on in three minutes and you're

not even dressed!

Did you see my mother?

Yes, there're lots of people.

What are you doing going over the

scores?!

You're on in three minutes?!

Are you uncertain?

No, it's not that...

Georgina...

She's on stage.

Concentrate, man!

Concentrate!

That girl's been consumed

by this task.

Second...

break a leg, Eliseo Montalbn...

right... I hope everything turns out

macabrely well...

OK:

Do it, man.

All set.

Burn them.

Let's go,

excuse me.

I'm tired of grieving,

I'm tired of all this noise and all these

people.

Who are they?

Rate this script:0.0 / 0 votes