Synopsis: Set in Buenos Aires, Argentina, the film tells the story of director Mario Suarez's quest to make the ultimate tango film. Lonely after his wife (one of the film's stars) has left him, Mario must find the themes that will hold the film together, while simultaneously permitting his musicians and dancers the freedom of expression that is necessary to satisfy the tango-hungry Argentine audience. Things become complicated when Mario falls in love with Elena, a beautiful and talented young dancer who is the girlfriend of the powerful and dangerous Angelo Larroca, an investor in the picture. And Mario's creative vision is challenged by his investors when he plans a scene that recreates Argentina's dark years of political suppression and "disappearances".
Genre: Drama, Musical
Director(s): Carlos Saura
Production: Sony Pictures Classics
  Nominated for 1 Oscar. Another 8 wins & 10 nominations.
Rotten Tomatoes:
115 min


The credits will be superimposed over...

1. The city of Buenos Aires

on a winter morning.

The sun rises over the Rio de la Plata...

lighting up Buenos Aires.

2. Mario's apartment.

He lives on the top floor

of an old building...

that is still a distinguished

central address.

The furnishings are quietly modern...

parquet floors, simple furniture,

functional lighting.

Who is Mario Suarez,

the hero of our story?

That's not as important

as what happens to him...

and what he does.

We hear a woman singing

the first notes of a tango.

Mario is pensive.

Life is so strange, friend

I didn't love her

when I met her

Until one night

she firmly said to me

"I'm tired of everything"

and left

Life is so strange, friend

That night

I fell in love with her

I sacrificed so much

trying to forget her

partied my life away

All over town

How could I know

that her affection

Would cause me all the troubles

that it did

I wasted my life in bars

So they'd all see

I'd forgotten her

But that was a lie

And when I was alone

I cried like a woman, my friend

2 whole years we were together

I never dreamt

that I'd fall for her

How could I know

that she'd bewitch me

That I'd do anything

to see her again

Life is so strange, friend

That was the night

I fell in love with her

I didn't know you were here.

I came for my necklace.

- Why did you come, Laura?

- I told you.

For the necklace.

The keys...

I found them among my things.

Can we talk, Laura?

What about?


You and me.

Haven't we said it all?

I can't live this way.

You're everywhere, Laura.

I miss you.

Come back.

Mario, let's not start again.

You don't understand.

Hug me.

Like that.

- No!

- Please hug me.

Please, I want to. Kiss me!

Let go of me!

You're hurting me!

Let go!

I'm living with another man!

I'm happy!

Is he a better lay?

Don't be crude!

Hi, Mr. Mario.

- How's everything going?

- Just fine.

I'm moving into the studio.

I'll need a mattress,

hi-fi and video...

a few chairs, a table.

- Can you handle it?

- Leave it to me.

- When are you moving in?

- Tomorrow.

- How's your leg?

- Much better.

In a few days, I won't need this.

- It was a miracle!

- I feel asleep.

I wasn't drunk or on drugs,

as they said. I was exhausted.

All I remember is

a truck coming at me.

They say your whole life flashes by.

You see too many movies.

Didn't happen.

I woke up in a hospital

with a broken leg.

It could have been worse.


Mr. Mario, you don't know me.

I'm a pro at this.

I'm very good.

The best of the Guardia Vieja.

Where's Fuentes?

Back to your place.

They're calling us.

Don't forget us.

"The Creole Waltz", Maestro!


Everything's ready for a rehearsal.

- Hi, Mario.

- Waldo.

- How's the leg?

- I'm ready to dance.

How do you like the place?

I like it.

I'll leave you with Andres.

If you need me,

I'll be in the workshop.

Let's have the slides.

Left side.

Right side.

- Be right with you.

- I'll come back.

No, tell me.

I've thought about our talk

on t103he lighting.

I think I get it.

You want to use color

to tr106avel in time.

And use light to show

our hero's passage...

from outer light

to inner darkness.

That's it.

How are the rehearsals?


I hear you're complicating

the show, adding slides...

a wind machine, new dances

and lots of other gimmicks.

- Who told you?

- Never mind.

You've got good spies.

I'm looking for links

to give it unity.

Sure. We're using new materials...

textures from abroad...

It's interesting.

I have no idea

how it'll come out.

Listen to me for once!

Don't complicate things.

Today, audiences want simple things.

They're used to TV,

everything predigested.

They want pure entertainment...

no moralizing, no politics,

no heavy thoughts.

The similar it is,

the happier they are!

I talked to them.

- Really.

- We had a meeting and...

- nd?

- They want a good show...

and they'll do anything

you want, but...

- But?

- Think of other people.

Especially the investors.

If they don't like me,

they can fire me.

Don't be so arrogant!

That's not it.

If they don't trust me...

I'll quit.

Don't dramatize! They trust you!

That's why they hired you.

But they want a simple show

with no headaches.

They've got their problems,

I've go mine.

But I won't put up with interference!

- As usual.

- As usual.

F*** it!

Tonight is a special night...

because here among us are...

dear friends who came

to keep us company.

Like Maestro...

Carlos Nebbia!

Give him a big hand!

We'll impose on

our distinguished guest

and ask him to delight us

with a tango!

Go, Maestro!

Next, in this emotion-filled night

we hear this unique orchestra

playing a milonga!

- How are you doing?

- Not as well as you.

Don't exaggerate.

I'm Angel Larroca,

the owner of this place.

Angelo to my friends.

- Maestro Stein.

- Delighted.

- Mario Suarez.

- Delighted.

It's a real honor for us

to have you here.

May I take a moment of your time?

I'd like to talk to you.

- Now?

- I'd be grateful.

Let's go to my table.

We'll have more privacy.

Be careful.

- Allow me.

- I'm okay, thanks.

See you later.

The guy's dangerous.

What can I do for you?

I'm not quite sure how to put it.


my life is all set up.

Business is fine,

and I've got money.

This place is just a whim for me.

Are you aware that I own

50% of your show?

- I put up the money.

- What about Alex and Fontan?

They're in on it too.

But as I told you, I'm in control.

Don't look so glum.

- I didn't realize that.

- I'm not your enemy.

I'm a big fan of your work.

What I'm going to ask you...

is perfectly normal.

I'm in love with a girl.

She's wild about dancing.

I think she's talented.

I'd give my life for her.

You understand me?

Of course.

That's her, over there...

dancing with the old man.

He's my father.

Your father's a pro.

Let's say, as good as one.

But I didn't inherit his talent.

All I'm asking for is...

an audition for her.

No favoritism.

I won't put any pressure on you.

It's a deal.

She can come by the studio

at 11:
00 a.m. Tomorrow.

Let's do the same as yesterday.

Separate the men and the women.

The women, this side, OK?

- Later they'll mingle.

- OK. Can I start?

Yes, and don't stop.

Hello. How are you?

To your places.

Girls on this side.

Boys on that side.

We'll do a basic eight-beat step.

Ready, Maestro?

Five, six, seven, eight...

Very good.

The eight in 16 beats.

Five, six, seven, eight...

A double sentada in 16 beats.


Lmagine you're holding a boy

in your arms. You too!

Girls, put some joy into it!

Some love, some spice!

A double hook, in 16 beats.

Very good.

Now we'll do...

the double hook...

then the parada.

First the voleo in eight beats.

Now the parada in 16.

Form a circle.

Now we'll do...

Move counterclockwise.

Now we'll practice...

the basic step...

the double hook...

the voleo, the parada...

and the finale in 16 beats.

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Carlos Saura

Carlos Saura Atarés (born 4 January 1932) is a Spanish film director, photographer and writer. His name, with those of Luis Buñuel and Pedro Almodóvar, forms a triad of Spain’s most renowned filmmakers. He has a long and prolific career that spans over half a century. A great numbers of his films have won many international awards. Saura began his career in 1955 making documentaries shorts. He quickly gained international prominence when his first feature-length film premiered at Cannes Film Festival in 1960. Although he started filming as a neorealist, Saura quickly switched to films encoded with metaphors and symbolisms in order to get around the Spanish censors. In 1966, he was thrust into the international spotlight when his film La Caza won the Silver Bear at the Berlin International Film Festival. In the following years, he forged an international reputation for his cinematic treatment of emotional and spiritual responses to repressive political conditions. By the 1970s, Saura was the best known filmmaker working in Spain. His films employed complex narrative devices and were frequently controversial. He won Special Jury Awards for La Prima Angélica (1973) and Cría Cuervos (1975) in Cannes; and an Academy Award for Best Foreign Language Film nomination in 1979 for Mama Cumple 100 Años. In the 1980s, Saura was in the spotlight for his Flamenco trilogy – Bodas de Sangre, Carmen and El Amor Brujo. He continued to appear in worldwide competitions earning numerous awards, and received another two Academy Award for Best Foreign Language Film nominations, for Carmen (1983) and Tango (1998). His films are sophisticated expression of time and space fusing reality with fantasy, past with present and memory with hallucination. In the last two decades, Saura has concentrated on works uniting music, dance and images. more…

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Submitted on August 05, 2018

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    "Tango" Scripts.com. STANDS4 LLC, 2024. Web. 16 Jul 2024. <https://www.scripts.com/script/tango_19379>.

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