Original subtitles

[Ethereal melody; Soothing, bell-like percussion]

[Delicate violin plucking]

[Sustained, warm violin tone joins]

[Music fades]

[Traffic hum outside]

[Instrumental Tango - Hace veinte años by Astor Piazzolla and Gerry Mulligan]

[Horn honks]

[Instrumental tango continues]

[Instrumental tango continues]

THE DELINQUENTS

[Music ends]

[Metal clangs, lock clicks]

[Front door clicks]

PART ONE

[Footsteps; Cart clatters]

[Door shuts, clicks]

[Distant alarm bell rings]

[Rotary lock clicks]

[Metal clangs]

[Lock clicks]

[Clerk 1] Twenty,

twenty,

twenty, twenty,

thirty,

sixty.

[Clerk 1] Twenty.

[Clerk 1] Done.

[Calculator whirs]

[Cash counter rolls]

[Keys jingle]

[Lock clicks]

[Beeps]

[Clerk 1] Six hundred.

[Metal clangs, lock clicks]

[Telephone rings]

[Woman] What do you have there?

[Clerk 1] I have to give you...

some statements for Del Toro.

[Clerk 1] Box 2: $485,225.

[Clerk 2] Beardy.

[Clerk 1] Box 4: $511,511.

[Clerk 3] Del Toro, how do you do?

[Del Toro] Marianela.

[Marianela] Del Toro.

- [Del Toro] Go on, Morán. - [Morán] How do you do?

- Isnardi. - Del Toro.

- [Del Toro] Ivanchuk. - Del Toro, how do you do?

[Typewriter keys clack; Indistinct chatter]

[Distant beep]

[Client] Anything wrong?

[Clerk 3] Román!

[Clerk 3] I don't get this.

- [Román] Hi. - [Client] How do you do?

- [Román] Let's see... - [Clerk 3] Maybe the name is wrong,

because it matches the signature of...

of another client. Look!

[Román] Just a second, ma'am. Thank you.

Marianela...

A client brought in this check.

Isnardi, excuse me...

Send me the table for these, there's a problem with boxes 3 and 4.

They don't match?

[Del Toro] Three and four don't match, there's an error.

[Client and clerks chatter]

[Román] You'll speak to the assistant manager, ma'am.

[Román] No, you're welcome.

[Román] Here she comes.

- [Client] Hello. - How are you? How do you do?

All good, my dear, all good.

- I'm glad. - Well.

Here's the question...

Do you need me at all?

No, you go, no problem. Thank you.

This signature...

are we completely sure it is yours?

Yes.

Yes, absolutely.

I don't need my glasses.

- [Client] I know it by heart. - Right.

And you don't have, maybe, another one?

No, no, just that one,

for years...

I've been signing like this for years.

Could you wait here for a short while?

[Client] Where?

- [Marianela] Sit wherever you like. - Alright.

Sit down here, and I'll show you in.

[Marianela] Check this out.

The bank's signature registry

shows these two identical signatures, here.

- [Morán] Yes. - [Marianela] Under the name...

José Marzio Crivilone.

[Marianela] The signature is identical and she endorsed the check,

and it's the same here.

[Marianela] It is the same signature.

Is he still a client?

[Marianela] Yes.

Did you call him?

[Marianela] No.

Call him.

Hi, this is a message for José Marzio Crivilone.

I'm calling you from the Social Cooperative Bank,

please get in touch with us urgently.

My name is Marianela Barbaj,

and the bank's number is 4361-7252,

extension 748.

Thank you very much.

Incredible!

Let's see...

hand me some paper, please.

Please, madam, be so kind,

and sign for me here, please.

Sure.

[Indistinct office chatter]

They are identical.

- [Client] Sure, that is my signature. - No, madam.

We won't be able to receive this check until we clarify the situation.

We have another client,

with the same signature as yours. Do you understand me?

The bank records show the signature of this gentleman,

of another client, let's say,

in lieu of yours.

But I don't think it's my problem,

it's yours, because, in truth,

I've always signed like that.

There are people with the same handwriting,

others can have the same signature.

[Client] But that's nonsense!

[Del Toro] Madam, this is the first time this ever happened.

Some people have the same voice.

What does that have to do with it?

Some people have the same life--

Enough, Marianela.

Madam, listen to me

we have to investigate this. Do you understand?

Leave the check with us, we'll solve the issue,

and then you can deposit it.

Excuse me, but I have to leave. My pleasure.

- Show the madam out, please. - Yes, sure.

Alright.

Come with me, madam.

[Traffic hum]

- Would you like one? - No, I quit.

When did you quit, if we smoked after lunch yesterday?

Right then.

What a will!

I made the decision.

Did you take any pills? Patches, anything?

No, nothing.

I'll have one.

[Marianela] Sure?

Yes.

[Marianela] I was thinking...

nobody listens to voice mail any more.

I'll have to keep on calling.

Yes, you better call him.

[Morán] Another one?

You're going to die, Del Toro!

Oh yeah? And what about you?

You're immortal, Morán.

I love to smoke two in a row.

Especially now that you have to go out to smoke.

One could smoke at the bank,

restaurants,

on planes, at the office.

Everything was a big cloud of smoke.

Real toxic,

and nobody cared.

Do you know why?

Because everybody smoked.

[Morán] I don't know. I'm a former smoker.

I'm from another generation.

I am an old-timer who longs for that era.

We had more freedom.

[Marianela] Would you say there was more freedom, Rolando?

No, you're right.

There wasn't more freedom, but you could smoke anywhere.

Tell me something, Morán,

When did you quit smoking?

This is my last one.

[Indistinct office chatter]

[Román] Isnardi, won't you back me up?

[Isnardi] Can't you see I'm busy?

I have to go to talk to Del Toro.

[Isnardi] Can it wait? I have to go downstairs with Morán.

Close your counter and let them wait.

There are eight people, I have to get this thing off!

[Isnardi] It's been ages since I was a teller, please.

[Román] Come on, just until closing time, I beg you.

- [Isnardi] Is there change? - [Román] Yes, there is.

[Román] Thank you!

Román.

Morán.

[Del Toro] Yes, come in.

[Machine whirs]

[Del Toro] What is it, Román?

Excuse me, Del Toro, I have to leave.

[Del Toro] And why is that?

I told you before, I'm getting the collar removed.

[Del Toro] At last! How long have you had it?

Not so long, but I can't stand it. I can't sleep.

[Del Toro] Who'll cover for you?

- [Román] Isnardi, he's at my counter. - [Del Toro] OK.

[Del Toro] Will he sign the statement?

[Román] Yes.

[Del Toro] What are you doing this weekend?

[Román] I'll stay in town.

- [Del Toro] See you on Tuesday? - [Román] See you.

- [Del Toro] Have a nice weekend. - [Román] Thank you.

[Morán whispers] $12,996 dollars...

by 25 years...

[Morán] $324,900 dollars.

[Morán] $324,900 dollars.

Isnardi, I'm leaving.

- [Román] Thank you. - You owe me one.

[Ivanchuk] Fifty, counter number 4.

- [Morán] By two. - [Client] Morning.

[Client] I want to make a deposit.

- [Isnardi] To you. - [Client 2] Thanks.

[Client 3] Thanks.

[Morán] Isnardi, shall we make a deposit?

[Isnardi] I can't.

I have to be here until closure.

[Isnardi] You go.

[Morán] I'll be right back.

- [Isnardi] They fucked me, huh? - [Clerk] Sign here, please.

[Morán breathes heavily]

[Rotary lock clicks]

[Metal clangs]

[Lock clicks]

[Zip scratches]

[Lock clicks]

[Uptempo instrumental tango - Persecuta by Astor Piazzolla]

[Lock clicks]

[Horn honks]

[Instrumental tango continues]

[Instrumental tango continues]

[Music ends]

[Siren wails]

[People chatter]

- [Román] Hey, what's up? - [Morán] What's up?

- [Román] Fine? - [Morán] Follow me.

- [Román] What's up? - [Morán] Follow me.

[Morán] All good.

- [Morán] How are you? Fine? - [Román] Yeah.

[Román] What happened?

[Lively chatter]

[Román] Cheers.

Cheers.

- [Román] What's up? - I have a proposal.

[Román] What?

[Román] Business?

Yes, business.

[Morán] Look down.

- [Román] Huh? - [Morán] Look down!

[Morán] Between my feet, you see it?

[Román] Yeah, the bag.

[Morán] I need you keep that bag for three and a half years.

[Román] Why? Three and a half years? I don't get it.

[Morán] It has $650,000 dollars.

[Morán] I took it from the bank today.

[Morán] You can report me if you want, it's okay.

Go to the station, say that a coworker stole it.

I'll turn myself in anyway.

I need you to hold onto it and look after it.

[Román] Are you insane?

Someone has to look after it while I serve my sentence.

In three and a half years,

when I get out, we split it.

Half is yours, and we never work again.

[Román] Your sentence? Are you going to jail?

Three and a half, not more.

[Román] And how do you know it's three and a half?

Well, it's six actually.

But for good conduct, three and a half years.

[Morán] Listen to me.

[Morán] Have you considered how many years it is until you retire?

[Morán] Twenty-five years.

Look, here.

I have $650,000, all in dollars.

In the backpack,

I've got some pesos, not much, $330,000.

I'm going to need them now.

$325,000 dollars is the equivalent of our salary until we retire.

Not a penny more, not a penny less.

That's what we get, if we go to the bank every day of our lives.

$325,000 dollars, each.

That's what I have here.

$325,000 dollars

between two.

I want a modest life. I don't want to work any more, Román.

And if you do what I say,

you can do the same.

You'll get your salary every month without having to work.

Three and a half years in jail, or twenty-five in the bank.

Why me?

Why me?

You are lucky, Román, you don't have to do anything.

Just be careful,

keep it safe.

When I'm out, we split it up and that's it, that's all.

And if I go to the bank and return it?

Everyone would know it was me, I'm turning myself in.

But listen,

I can say you're my accomplice.

You went to take off your collar because I had to go down to vault.

You left me a clear path.

Isnardi went to the counter, I took the dollars with ease.

It's nothing, Roman, I'll say it.

I will say it.

But what are you saying? Have you gone mad?

You can rest easy.

No one, absolutely no one,

will suspect you, Román.

You are an excellent employee.

It's on your face, brother.

[Román] What are you going to do now?

Nothing.

There's some furniture in the flat, clothes that I don't care about.

In a couple of months the lease is due.

Nothing to lose.

Listen to me, look...

I have a present for you.

The only thing I took with me.

No, I can't.

It's a great album.

[Román] Yes, I know it's great but it implicates me, Morán.

[Román] I can't accept it.

[Román] What's the next step?

I'll leave now,

we'll meet again in three and a half years, okay?

Look,

that's to pay for the pizza.

[Morán] It's about time I invited you, right?

[Dog barks]

[Siren blasts]

[Siren blasts]

[Siren blasts in the distance]

[People chatter]

[Cabinet thuds, Román sighs]

[Woman] What are you doing?

[Román] Turn it off Flor!

[Román] Why are you awake at this hour?

Coming?

[Zip scratches]

[Driver] Shall I carry on?

Where are we?

[Driver] Kilometre 530.

Drive for another 200 kilometres and drop me off.

[Engine stops]

Good morning, sir.

- [Driver] Good day. - [Police officer] Driver's license?

- [Driver] Of course. - Vehicle registration card...

[Police officer 1] Check the lights.

- [Driver] Vehicle ID. - [Police officer 1] Okay.

- [Driver] License. - [Police officer 1] Very well.

[Birds chirp]

[Police officer 1] Are you licensed to carry passengers?

[Driver] Yes.

ID, please.

[Police officer 1] Check it.

- [Police officer 2] I'll check. - [Police officer 1] Go on.

[Driver] Is there any problem, officer?

[Police officer 1] No, routine check, that's all.

Nothing to worry about.

[Police officer 1] Alright, here are your documents.

[Driver] Thanks.

[Police officer 1] Where are you heading?

Alpa Corral, officer.

[Chatter outside, indistinct]

[Radio chatter]

[Police officer 2] No news.

- [Police office 1] You may go on. - Thanks.

[Car engine starts]

[Birds chirp; Water ripples]

[Morán breathes heavily]

[Classical music plays - Fantasía para Oboe, by Astor Piazzolla]

[Dogs bark]

[Classical music continues]

[Morán] Can I play?

[Kids] Sure.

[Morán] Which team?

[Classical music continues]

[Classical music ends]

[Birds chirp]

- [Chief] What's up? - Chief,

this man is here to report that he committed a crime.

[Chief] What has he done?

Bank robbery.

[Chief] A bank?

[Police officer 2] What's up?

[Chief] He robbed a bank.

You robbed a bank?

[Chief] Sir, what's your name?

Morán.

Ponce, stay with Morán,

you, step in my office.

- Ponce. - Yes?

- Come here with the gentleman. - Come with me please.

[Ponce] Sit down.

Sir, I'll cuff you, put your hands up.

[Cuffs creak]

[Isnardi inhales sharply] Oh!

[Marianela] Isnardi!

[Clerk] Are you okay?

[Clerk] What happened?

Oh, my chest hurts!

[Clerk] He's having a heart attack!

[Isnardi] No, not a heart attack! No!

- [Ivanchuk] Calm down! - [Isnardi] My chest hurts.

[Isnardi] Not the key! Leave it with me.

[Del Toro] What's going on?

- [Del Toro] What's up? - [Ivanchuk] He's unwell.

[Román] No one's answering.

Lift him up, sit him here.

[Isnardi moans] Don't take off my shoes.

Sit him down.

[Del Toro] What happened?

[Isnardi] Oh, forgive me, Del Toro. Oh.

Tony, turn that around, please.

Why are you watching that? Why?

[Román] No one's answering.

- Are you calling the emergency number? - [Isnardi] Oh, my chest hurts.

[Isnardi] Oh, my hand is numb.

- [Ivanchuk] Sit back. - [Del Toro] Some water?

[Isnardi] No, it's okay, oh well yes. I don't know.

[Del Toro] Alright.

[Isnardi] Sorry.

He fainted. You fell backwards.

We have to talk.

I have strict orders that this must remain between us.

If we want to keep our clients' loyalty,

this robbery never happened.

We will make you sign confidentiality statements

issued by the insurance company.

They will repay the missing amount.

That administrative issue doesn't concern me at all,

but the internal situation is serious.

Really serious!

What we know so far is that he took dollars.

It was quite a sum, but it could've been worse.

Huh?

And the security cameras show, as you can see,

that Morán was the perpetrator.

But there is a chain of responsibilities here.

And we are all,

each one of us, involved.

There was a breach

of the trust that the bank had in each of you.

[Del Toro] I had to put up with yelling from head office

and you should know, I won't protect anyone.

[Del Toro] I think that any of you could be guilty.

Excuse me, Del Toro, but I think

what you're saying is really unfair.

- [Del Toro] Unfair? - Yes. Unfair.

Oh, unfair, sure, unfair.

One of you, and probably,

certainly more than one, committed a felony,

and put my job at risk.

Not just mine, but everyone's.

I agree.

[Del Toro] Everyone's, yes. And you call me unfair.

Do you know for how long I've been working here?

Huh? Any idea? No?

55 years.

55 years.

[Ivanchuk] How old are you, Del Toro?

In a manner of speaking.

A whole lifetime devoted to this!

And you have the nerve to call me unfair?

Because you're only looking at me.

Our colleague is right though?

Because there's a perpetrator here who's clearly identified.

I don't care.

All I say to you is that, as of today,

every one of you is under suspicion.

[Del Toro] I want you to know that. We had worked peacefully until now,

and after this situation, that is over.

I believed in you, and I don't believe any more.

[Isnardi] Morán, you fucking son of a bitch!

Well, I just wanted to introduce myself,

my name is Laura Ortega, I am a national CPA,

but in this case I am acting as an investigator.

The insurance company asked me to lead this internal investigation.

- [Marianela] Perfect. What, what...? - [Tony] What investigation?

Investigating the chain of responsibilities

that Del Toro was just talking about. Nothing else.

What do we have to do with it? The perpetrator has been identified.

That's the thing, we should see...

if he had any accomplices...

If I'm not wrong, he's the bank's treasurer?

Yes, the treasurer.

For the treasurer to carry out such a felony.

I am offended by what you say.

- Laura is your name? - Laura, yes.

It offends me because we are here and we don't...

You know? It fucks us all...

I understand that my arrival is unpleasant.

But it's the right thing to do in a case like this.

- The idea is for you to trust me. - [Hands clap]

To cooperate with me.

[Laura] I will take your statements. And you can keep calm.

- [Laura] We will work together. - [Rhythmic claps and knocks]

[Laura] The more information I gather,

the quicker we resolve this mess...

[Laura] What do you think?

[Laura] You agree, right?

- [Ivanchuk] Yes. - [Laura] Do you agree?

- [Laura] Are you Ivanchuk? - [Ivanchuk] Yes.

- [Laura] Come with me, please. - [Ivanchuk] Where to?

[Laura] To Del Toro's office. I'll come back for you all.

[Rhythmic claps and knocks continue]

Okay, the one we did last class.

[Flor] We can be quieter,

and you improvise.

We'll wrap up.

[Flor continues] Good.

Shall we use instruments?

The melodica?

Ready, Auro?

[Flor] You look at me, and we start together?

[Xylophone and guitar play]

[Melodica starts]

That's it... shorter now.

[Flor] One more time.

[Music continues]

[Water trickles, dishes clank]

Can I have a glass of water?

Yes, just a second.

Tap water OK?

Yup.

There.

Can I have another one?

Sure.

Here.

And another?

- Thank you. - You're welcome.

[Román] No, not that way!

It's this way.

[Wood creaks]

[Román sighs]

What are you doing?

Are you awake?

I woke up just now.

Just now, when?

Just now, where were you going?

I was going to fetch a glass of water.

[Classical music plays - Suite para oboe by Astor Piazzolla]

[Laura] We are forced to do this...

[Del Toro] It is because of the bank's status.

We are in a critical situation. Honestly.

But, well, please...

[Laura] Go on.

[Del Toro] Let's keep on working.

[Classical music continues]

[Classical music ends]

[People chatter; telephone rings]

[Client] Sir!

[Client] Sorry, is this counter open?

- Come over, please. - [Client] I want to change 500 dollars.

ID please.

- [Román] Withdrawal? - [Client] Yes.

[Client] From my savings account.

Perfect.

Signature and name, please.

[Client] There you go.

- Thank you. - [Client] No worries.

What are you doing here? Where's Tony?

[Isnardi] Laid-off indefinitely.

They sent me to work the counter.

Do you know why Marianela is crying?

[Isnardi] Because her salary was cut.

[Isnardi] You got lucky. You weren't here when it happened.

I feel guilty.

No, why should you feel bad?

The problem is this Ortega bitch who's killing us all.

So unfair!

Guys!

It's my last day!

Thanks so much for everything.

So... [Sniffles]

[Isnardi] Ortega?

Yes, could have been any of us.

A lapse in security.

Well...

It's been a pleasure.

[Laura] Come on in, have a seat.

Were you friends with Mr. Morán?

Friends?

I don't come here to make friends.

But you were aware of Mr. Morán's plans?

Is that a question or a statement? I don't get it.

[Laura] As you like it.

No, I wasn't aware.

[Laura] You were aware? You weren't?

Sorry, I don't understand.

No.

No, comma, I was not aware.

[Laura] But you met with Mr. Moran after the robbery, didn't you?

I thought I came to answer questions, not accusations.

[Del Toro] It's Laura's style, Román.

Some people ask questions as if they were affirmations

but don't think of it as an accusation.

It so happens, Román,

that all statements agree

that you requested to leave the bank

on the day the robbery was committed.

Please understand that

this is a coincidence that is quite outstanding.

[Román] I understand that it draws your attention.

[Román] Mr. Del Toro knows that I had asked for this in advance.

No, no, I don't remember, Román.

[Román] I asked you as soon as I got my appointment.

[Del Toro's chair squeaks]

[Chair squeaks]

Is your wife pregnant?

No, not at all.

No, comma, not at all.

Do you know that Mr. Morán turned himself in to the police?

No, I knew nothing.

[Laura] Yes,

he is being held in jail.

- [Román] I didn't know that. - You didn't.

We were informed today by the District Attorney's office.

This means that one issue is complicated,

and another one is solved.

That this man has turned himself in,

partly answers who is guilty of the crime.

What it doesn't answer,

is what happened with the money.

[Laura drums her fingers on the desk]

What do you think about that, Román?

I don't have a clue.

It seems that all the bank's staff

has come to an agreement and no one has a clue.

[Thud]

What do you know about that, Román?

About what?

The money, of what Morán could have done with the money.

I don't know.

[Typewriter keys tap]

[Chair squeaks]

[Traffic hum]

[Classical music plays - Suite para oboe by Astor Piazzolla]

[Classical music continues]

[Keys clink]

[Classical music ends]

[Lock clicks]

[Classical music resumes - Suite para oboe by Piazzolla].

[Doorbell rings]

[Doorbell rings]

[Thud]

- [Classical music ends] - [Doorbell rings]

[Doorbell rings]

Coming!

[Doorbell rings]

I was taking a shower.

[Román] Want to take a shower with me?

Well, OK.

[Water trickles]

We're thinking about going away for the weekend, with the girls.

Three days, somewhere outdoors.

The idea is to go and write some songs.

Record them, maybe...

What do you say?

[Flor] Cool, isn't it?

[Classical music resumes]

[Flor] The idea is to go on our own.

Get away from the city, a breath of fresh air.

[Classical music continues]

[Flor coughs]

[Alarm beeps]

- [Classical music ends] - [Horns honk]

[Indistinct chatter]

[Alarm bell blasts]

[Keys jingle]

[Footsteps approach]

[Lock clicks]

[Prison guard] Come on, Morán!

[Indistinct chatter]

I like it with lentils, right.

But red sausage...

Tell him.

Tell him "Don't use red sausage."

It gave me an upset stomach, that sausage.

Time!

Kid!

Again! What's wrong with him? Hey!

[Morán] Can't you see I haven't called yet?

No! Where do you think you are?

- Huh? - [Morán] And what do you--

[Inmate] Walk straight...

[Indistinct chatter and laughs]

This isn't like outside.

In here the time to talk on the phone has to be short.

There is only one thing, you see, about jail that saves you.

Do you know what it is?

The little screen.

Outside, everyone is watching their phones.

The messages, pictures, the comments.

Everyone thinks they're free,

and they're constantly refreshing web pages, do you get it?

That doesn't happen here.

We have to find some sort of advantage.

[He continues] Outside, they don't have any.

And in here we have plenty of it. Time.

Except...

at the communal phones.

There we're all nervous, in a hurry.

Better not to insist...

So if it's busy, nobody answers...

best to give the chance to a mate.

Do you understand?

Come with me.

I'm Garrincha, what's your name?

Morán.

[Garrincha] So, you came with money, Morán.

[Morán] I wouldn't be here if I had money.

[Garrincha] How so?

[Morán] I mean, I wouldn't be here. I'd be somewhere else.

[Garrincha] I think it's the other way around.

[Garrincha] If you're here it's because you have it.

The thing is that you earned it unlawfully.

[Garrincha] Look...

those who end up here, it's because they earned it.

And if they earned it, then they've stashed it somewhere.

[Morán] What do you want, Garrincha?

[Garrincha] Ah, quick, this fellow.

[Morán] I want to know.

[Garrincha] Let's cut to the chase.

[Garrincha] I offer certain assurances in this ward.

Let's say I'm the boss.

[Garrincha] Do you like soccer?

- [Keys jingle] - [Morán] Sure.

Believe it or not, I was born in Brazil.

When I was a child I was given to an Argentinean family, and well...

I crossed the border.

And in Brazil, the best is not Pelé.

It's Garrincha.

The one we love the most, we respect the most.

So, pretend you're in Brazil.

[Morán] If only we were in Brazil!

You don't know what a prison is like in Brazil.

I assure you that you wouldn't last a second in a Brazilian jail.

Look, I'm offering you protection.

So if you are with me and pay me every month,

you'll have a quiet life,

you'll be able to do what you want.

What you want inside these walls, right?

[Morán] Let me think about it.

[Keys jingle]

[Morán grunts]

[Garrincha] Do you see, Morán?

There's not much to think about.

Go.

Steady now, back to your cell.

He'll give you the amount,

and payment method.

Oh,

[Speaks Portuguese] and... I'm expensive, my friend.

[Water drips]

[Keys jingle, footsteps approach]

[Knocks]

[Prison guard] Morán!

[Prison guard] Come here.

[Morán] What happens?

[Paper crackles]

[Prison guard] That

is an account number, Garrincha's.

For you to pay him.

[Metal clangs]

[Water continues to drip]

[Dog barks]

[Flor coughs]

- [Marianela] Next, please. - [Client 1] Good afternoon.

[Phone rings]

[Marianela] Good, it would be...

[Client 2] Good afternoon. I wish to withdraw some money.

[Román] How much do you wish to withdraw?

[Client 2] Four hundred and sixty thousand, please.

Well, sign here.

Much obliged.

Signature, name and ID.

- [Marianela] Well, sign here. - Who's that?

The new guy.

Ortega is preparing briefs for some of us.

On top of that, the main office sends this new guy.

His name is Vespucio.

[Marianela] Thank you very much.

[Laura] And here's the cabinet, see.

I'll leave it here.

So here are the keys.

Thank you.

[Laura] Well, if you need anything...

you let me know, OK?

Great Ortega, thank you.

[Cash counter rolls]

[Electronic music plays - Cisne by Ulises Conti]

[Indistinct chatter]

[Electronic music continues]

[Police officer] Good.

[Police officer] Go on.

[Electronic music ends]

[Indistinct chatter]

[Morán] What are you doing here? Are you mad?

I need to talk to you.

[Morán] But you can't see me!

[Morán] Didn't you think of that?

How would I call you?

There's no other way.

[Morán] I don't know if you're mad or dumb.

[Morán out loud] He didn't even bring me yerba mate!

Home-made food he said...

I quit smoking.

Hey.

[Morán] Leave me alone for a while.

Why are you here?

I can't stand it any more, Morán.

[Morán] What can't you stand?

The pressure.

[Morán] What are you talking about?

I haven't slept for days.

[Morán] Do you think I can sleep here?

You told me they weren't going to suspect me.

They sent a woman to the bank who's asking me questions.

[Morán] Say what you need to say, then maybe I can understand.

I can't have it at home any more.

I have to get it out of there.

[Morán] Do you want me to snitch on you?

Huh?

I'll call Del Toro.

[Román] Easy, Morán.

Or I call the judge, you'll be in here within two weeks.

[Román] Please calm down, I beg you.

You want me to send someone to kill you?

[Román] Stop it Morán, please.

There are plenty of people here to crush you, asshole.

I'm gambling my life for this, you know?

[Román] What can I do?

[Morán whistles]

[Morán] Do you have a lighter?

You've got it all, right?

You will deposit $30,000 in an account.

I have to pay for some stuff.

It's like an insurance to stay alive in here.

[Román] In which account?

[Román] Pesos or dollars?

Dollars.

Then you'll go to Alpa Corral.

In Córdoba.

You'll cross the only bridge there.

And you'll take the dirt road that runs along the river, upstream.

[Classical music plays Suite para oboe, by Astor Piazzolla]

There is a pine forest to the left.

You'll walk through it.

It ends in a ravine.

Down there, you'll find the Talita river

There's like a lagoon, it's pretty, you'll like it.

Just in front of where you're standing,

there's a cliff.

Then you'll climb down the cliff,

cross the river,

the water is quite cold there.

And you'll start climbing the hill

to it's peak.

Once you're there,

you'll turn your back to the river.

There are stones of all sizes there.

Small, big.

One of the stones is loose.

If you lean on it, you'll see it move.

It's supporting a smaller rock.

Place the money there,

take out the small rock, and that'll cover it.

[Classical music continues]

[Birds chirp]

[Water ripples]

[classical music ends]

[Birds caw]

[Classical music plays - Suite para oboe by Astor Piazzolla]

END OF PART ONE

[Classical music ends]

[Birds chirp]

PART TWO

[Cicadas sing]

[Román sighs]

[Román groans]

[Román pants]

[Zip scratches]

[Cicadas sing]

- [Thud] - Ouch!

Ouch.

[Woman 1] Do you want us to take you to the emergency room?

[Man] We have a motorcycle.

No, no need, I'll be fine.

[Román groans]

[Román] Hi.

[Man] What were you doing up there?

It's dangerous without a guide.

[Román] I wanted to climb to the peak.

[Woman 2] You're quite overloaded to be climbing up there.

[Woman 2] Do you always wander around

in your underwear in front of strangers?

Are you from around here?

[Román] No.

[Man] She means if you are from here, from planet Earth.

Because this is an apparition zone.

There's always "visitors."

[Woman 2] Do you want some water?

No, thanks.

[Román] Bye.

[Man and woman 2] Bye.

[Woman 1] Don't you want to stay for lunch?

[Román] No, thank you.

[Román] Bye.

[Woman 2] But we brought good stuff!

[Román] Thanks, but no, I have to leave.

I have to catch a bus.

[Man] The next bus comes at night.

Yes, I'll take that one.

[Woman 2] We can take you to the stop on our bike tonight.

- [Román] No, thanks, I need to leave. - [Woman 1] Don't be so unfriendly,

we have lots of food!

[Man] Go on, come here!

[Birdsong]

What's your name?

Román.

Morna.

Ramón.

Norma.

[Cicadas sing]

[Ramón] You had no breakfast?

[Román] Just a little.

[Metal clatters]

Plenty of cicadas.

Plenty of heat.

Cicadas are summer creatures.

[Morna] That's the female, and there's one that goes:

[Makes a continuous cry]

[Norma giggles]

[Morna] That's the male.

[Norma hums]

[Ramón] I'm here now shooting a movie.

[Morna joins the song]

[Ramón] It's about gardens.

[Ramón] A movie that I started in...

in Viña, my home town,

I am from Viña.

[Ramón] Have you been there?

[Román] I've never been there, but I know where it is.

[Ramón] Viña is known as the "garden city."

So, in truth, I started filming

like... gardens.

[Ramón] Numerous different gardens in Viña.

And...

well, then I met Morna.

I didn't manage to finish the film, but in the end,

it transformed and I continued shooting it here.

Like in this landscape

of Alpa Corral that has lots of...

of varieties of...

[Ramón] it's very unique, it has all these stones.

[Ramón] And...

and well, I'm here, filming with her.

[Ramón] Wine?

[Morna and Norma continue humming]

[Ramón] And here we are.

I've been doing it for a year and a half.

More wine?

[Román] Just a bit.

[Román] That's enough!

- Just that? - [Román] Yes.

The important thing is

"With wine and bread, the path is laid."

After me: "With wine and bread..."

[Román] "...the path is laid."

Exactly!

[Both] "With wine and bread, the path is laid."

To your health, and welcome!

Well,

I'll tell you about the movie later, I'm going for a swim.

[Morna and Norma continue chanting]

[Wind blows]

[Norma shrieks]

[Norma] Here we go!

[Norma laughs]

Bombs away!

[Morna] Oh shit!

Half spin!

Like a stick!

A little dove!

[Water flows]

[Ramón] More wine?

[Román] When I was nine, I was going with my mom once through a square,

and I heard two girls playing something that started like this

"They were three...

two Poles and a French."

We kept walking and I wondered how the game might continue.

Was it a song, a riddle, a story? I don't know.

Or was it a game?

I asked some friends, but no one knew it.

No, thanks.

"They were three, two Poles and a French."

As an adult I searched the internet, but nothing.

That phrase meant nothing to the internet.

[Morna] There's a world of memories that internet doesn't understand.

[Román] Yes, but for any of you,

does it ring a bell? Do you know what it is?

- [Ramón] Not at all. - [Román] It was...

"They were three, two Poles and a French."

[Norma] No.

Can we make something up?

[Román] Yes, but I'd love to know what those girls were playing.

[Morna] Right. Best to make up what you don't remember,

leave it like that, like one of life's mysteries.

[Ramón] For example,

"They were three, two Poles and a French..."

"one went and got a wine."

[Morna] Everything Ramón says it's about wine,

especially when he's drunk.

[Ramón] Oh, such a bad vibe.

[Morna] "They were three,

"two Poles and a French,

- [Morna] he fell in love with a..." - [Norma] Colonel!

- [Morna] The French? - [Norma] Yes!

[Both sing] ♪ Going through a barrack, ♪ She fell in love with a colonel

♪ Raise the barriers and let the lantern girl through,

♪ From the gate to the sun

[Morna sings] ♪ Two and two are four, four and two are six... ♪

Why do I still remember that?

If it's nothing...

[Classical music plays - Fantasie for solo harp by Camille Saint-Saenz]

[Hawks screech]

[Classical music continues]

[Classical music ends]

[Thunder roars]

[Classical music resumes - Fantasie for solo harp by Camille Saint-Saenz]

[Morna] Paramaribo.

Osaka.

Amberes.

Santiago de Chile.

Esteban Echeverría.

Yes, great.

One point for me. Is he on my team?

No, you're wrong.

Do you know the game?

Yeah, I got it.

Shall we start again?

No, let's carry on.

Okay.

Esteban Echeverría, where is that?

Esteban Echeverría is...

a town in the province of Buenos Aires.

Okay, with an "A"...

Uh, Athens!

Stuttgart!

Tristán Suárez.

Zanzibar.

Remedios de Escalada.

Abu Simbel.

- Luanda. - Amman.

Nüremberg.

González Catán.

[Norma and Morna] New York!

I said it first.

Hmm... Kentucky.

That's a state.

Yacanto.

No, you've lost. Someone else start.

- You made me lose! - Nairobi.

Iguazú.

Ulan Bator.

Rome.

Ancona.

Avellaneda.

Amsterdam.

- Maputo. - Oklahoma.

Addis Abeba.

Antananarivo.

Oaxaca.

Andorra la Vella.

Avilés.

Seattle.

La Plata.

Seattle, with an "e."

OK, Escobar.

Rabat.

Tel Aviv.

Viña.

Viña del Mar, the garden city. I'm from there.

With an "r."

Riga.

Alabama.

[Classical music continues - Fantasie for solo harp by Camille Saint-Saenz]

- [Román] This way, right? - [Norma] Yes.

I'll give you a ride on the motorbike.

[Morna] Give me your bag, so you can travel light.

Okay.

[classical music continues]

[Rain trickles]

[Román] Well...

[Román] Thank you.

[Classical music ends]

[Norma] Don't leave.

[Román] I have to.

[Norma] Come on, don't leave, stay the night.

[Román] I can't.

[Norma] I'll go with you.

[Román laughs] No.

[Román] We barely know each other. I can't!

[Norma] I'll go and we'll get to know each other.

No... [Román giggles]

[Román] You're beautiful.

[Classical music resumes - Fantasie for solo harp by Camille Saint-Saenz]

[Music ends]

[Classical music resumes]

[Engine purrs]

[Classical music continues]

[Classical music ends]

[Brakes squeak]

Román...

[Flor] Come here.

[Horn honks]

[Román sighs]

Are you going to tell me where you were?

I had to do a favour for one of my colleagues.

Yes, but you haven't been home in two days.

You could've told me.

Yes, well...

I've been calling you, I couldn't get through.

There was no signal.

[Flor] I was worried, I called everyone.

- [Román] Everyone? Who did you call? - [Flor] Everyone.

Everyone? Who?

You called the bank?

Of course I did. It was the first place I called.

What did they say?

That you had called in sick.

[Flor] I think I need some time.

[Flor] I need some time on my own.

Some time? Like?

[Flor] Some time.

What do you mean with "some time"?

[Flor] Exactly that.

How long?

[Flor] Some time without seeing each other.

Three days, a month, a year?

[Flor] A month, a year...

A month or a year?

[Flor] I don't know.

What are you going to do? Where are you going to go?

[Flor] I thought of staying here.

I think you're the one who should leave.

[Loud traffic hum, horn honks]

[Footsteps, on film]

[Dog howls, on film]

[Dog whines]

[Woman cries]

[Dog pants]

[Man speaks in French]

[Dog barks]

[Objects crash, rattle]

[Water trickles]

[Water splashes]

[Man speaks in French]

[Woman] Can you move? I can't see!

[People speak in French]

[Laura] Román...

- [Laura] Come here, please. - [Román] Yes.

[Indistinct chatter]

[Laura] Well...

We got word that you went to the prison

to visit Mr. Morán himself, of all people?

Can you explain that?

Yes, I did, what's the problem?

[Laura] So you accept that you are complicit on some level?

Complicit? Me? Why?

I went to visit a former colleague to see how he was doing.

I also wanted to ask him why he did what he did.

[Laura] Is that so?

And what did he say?

[Román] Nothing. Absolutely nothing.

Look, Román...

we believe that you were involved

in one way or another.

But we're not going to fire you because that would mean

acknowledging the robbery.

Besides, we would have to pay you a big compensation

that you clearly don't deserve.

So, we decided

to keep you in your post.

The idea is to make your life miserable, Román.

Next!

ID, please.

Vespucio...

- Marianela. - Yes.

Here.

[Vespucio] We're to continue helping clients on a single counter.

We have new orders.

You can take the day off.

The day off? It's payday today.

Look at the line!

It's under my responsibility.

Yes, but...

- Two people are not enough and... - We're at our limit...

if it's just me, it's impossible.

Ladies and gents, please form a single line here at counter 5.

[Clients complain]

Next.

ID, please.

[Woman] There.

[Indistinct complaints]

No, stop, look...

you entered "2, 6, 5" instead of "5, 6, 2."

The ID, see? It's "5, 6, 2."

Here is your ID.

Give me some space. I can't work like this.

Signature, name and ID, ma'am.

Faster.

[Faster knocks on the desk]

[Accelerates]

[Vespucio] Very good, it's OK.

That's it, that's it.

[Accelerates more]

[Bells ring]

[Announcement on speaker, indistinct]

[Inaudible dialogue]

Where do we go? Your home?

No, I don't have a home.

- So what? - To a hotel.

I love it.

We can just lie there all day.

No, I have to work.

- Where do you work? - At a bank.

- For how long? - Seventeen years.

[Door squeaks, shuts]

Leave your bag here if you like.

OK.

[Woman talks outside, indistinct]

Nice home!

Ha! Yeah.

[Motor roars by]

You have a nice view. That's a school, right?

It is.

Well, that's it. This is it.

Yeah, there's nothing more.

- I like it. - Yes.

Me too.

Well, what else do you need? Nothing.

[Román] Nothing at all.

[They moan softly]

[Classical music plays - Prelude & Fugue BWV 847 in C minor by J.S. Bach]

[Classical music continues]

[Indistinct chatter]

[Classical music stops]

[Classical music resumes - Prelude & Fugue BWV 847 in C minor by J.S. Bach ]

[Norma laughs]

Are you OK?

[Music stops]

[Laura] Marianela.

Laura.

We did what we had to do.

I wanted to tell you that I was deeply hurt

by everything that happened.

I understand, I'm very sorry too.

Well, yes, me too.

Well...

- [Del Toro] Laura! - Del Toro, I'm leaving.

Yes.

[Laura] As soon as I file this, it goes into the archive.

[Del Toro] What are we going to do? It's a lost cause.

[Laura] Indeed.

[Del Toro] Still, your work was excellent. Many thanks.

[Laura] Thank you so much.

[Cell phone vibrates]

Hello?

Hello?

Who is it?

Morán, how are you?

Hello.

Hello.

[Police officer] Your boyfriend is here.

He's my lawyer, asshole.

[Police officer] Come forward, counsellor.

[Román] What's up?

[Morán] You look older.

- [Román] What? - [Morán] I need a favour.

[Morán] Go back to the hill.

[Román] More money?

[Morán] No.

[Morán] I want you to get in touch with someone.

[Román] Who?

[Morán] A girl.

[Morán] Give this to her.

[Morán] I fell in love with her when I was there.

I think she fell in love with me too, even more than me with her.

She has black hair, she is in her forties...

[Classical music plays - Sonata for oboe and piano by Poulenc]

[Morán] Which team?

[Kid] This one!

[Classical music ends]

I was told that you have rooms for rent.

I do, come in.

Thank you.

[Classical music - Sonata for oboe and piano by Poulenc]

And how long are you staying?

I'll pay for three nights.

- It's 9,500 Argentine pesos. - Okay.

And the room?

It's comfortable, it has a bathroom, hot water all day long.

If you're staying you'll need pay to me upfront.

[Classical music fades]

[Hens cluck outside]

[Classical music resumes]

[Classical music ends]

[Birds chirp]

[Morán] Morna?

[Classical music resumes - Sonata for oboe and piano by Poulenc]

[Morán] Morna, could I get some eggs for breakfast?

[Music ends]

I'm Norma.

Morna is my sister.

What's your name?

- I'm Morán. - [Norma] Oh.

Could I have some eggs then?

[Norma] Sure.

[Norma] What are you up to right now?

Nothing.

Could you help me, with the horse?

'Cause the motorcycle broke, and my sister is up there.

[Morán] Up where?

[Norma] There, near Romo's place.

- You're not from here, right? - No.

Can you come? We need another set of hands.

- [Morán] Alright. You need help? - Yes.

Hold this...

and untie the horse.

I know how to ride a horse.

[Norma] People from Buenos Aires can't ride horses.

I'm not from the city.

Where are you from?

I'm from Salta, ever been there?

Never been.

Let's see, salteño, hop on!

[Norma] Easy, Mancha, easy!

Steady Mancha, Manchita.

- Where to? - [Norma] There, in that direction.

Go Mancha!

[Mancha snorts]

[Mancha snorts]

[Norma] Battery.

[Norma] Done?

- What were you doing? - [Morna] Recording ambient sound.

[Morna] Do you need anything?

[Ramón] Yes, we need to pull focus.

- [Ramón] First position here. - [Morna] Where?

And...

Over there.

- [Morna] Here? - [Ramón] Right there, yes.

[Morna] Done?

Stop, don't cross the...

- [Ramón] I'm going to shoot now. - [Morna] OK. Come on.

[Norma] Let me know...

[Morna] Stay back.

- [Ramón] Shall we mark it? - [Morna] Morán has to walk behind you?

- Where do I go? - [Ramón] Yes, go here.

[Morna] Behind Ramón.

[Morna] Done?

- [Ramón] Let's mark it. - [Morna] Fine.

[Ramón] Morna?

[Morna] Which one is this? 53?

[Ramón] Fifty-three, one.

[Ramón] Let's see,

I'll take a test shot.

[Morna] But then, when...

[Morna] You'll pan over there.

[Ramón] I'll pan from there to here, to the flower.

[Morna] I won't arrange it that much, I'll do it when you get here.

[Morna] My hands are in shot.

[Ramón] Yes, but when I get there, that's when your hands appear.

[Morna] OK.

[Mancha snorts]

[Morna] Let me know.

[Ramón] Let's do a dry run.

[Morna] Shall we sing at the end?

[Ramón] No, no.

[Ramón] Let me see how can I get there.

[Morna] Wait.

- [Morna] There? - [Ramón] That's it.

[Ramón] Wait a bit more, I'll get there and...

when the camera stops, then we see it.

[Morna] OK.

[Ramón] Well, we're ready now.

[Cowbells jingle]

[Cows moo]

[Norma] And what are you doing here?

[Morán] I've been looking for some land, maybe move and live here.

All the people from the city say that.

And then, they leave.

I told you I'm not from the city.

And who will you come with?

All alone.

It's tough out here.

That's why I like it.

[Morna and Ramón chat]

[Mancha snorts]

[Classical music plays - Sonata for oboe and piano by Poulenc]

How much?

It's on me.

Bye.

[Classical music ends]

[Ramón] It's like nature in its purest state,

without human intervention.

There are kilometres and kilometres of pastures

on which suddenly,

a tiny flower appears, and one asks

why?

Why is it there?

Some approaches to gardening attempt to imitate

all that, that surprise.

I think of English gardens.

They have...

even when they are man-handled, with gardeners in charge,

they try to pretend they're unkempt.

As if there were no intervention, just nature abandoned to itself.

It's a much more melancholic and romantic garden.

Another concept, right? It tries...

At the same time, this is a reaction...

to French gardening,

which is gardening

prior to the Revolution.

The King, at the Versailles palace, with all his...

symmetrical gardens,

geometrical.

Right? Like the concept of parterre,

of having a place where you can see the whole garden.

Having control,

control over nature.

[Ramón] Different to what we see here. For me here is more...

in line with the Japanese garden, which is more austere.

[Ramón] Also because of the mountain,

the importance of the stones,

which have a sacred value for Japanese gardening.

[Ramón] They are some kind

of representation of the mountain.

[Morna] Ramón is a film-maker.

[Ramón] Videomaker.

[Ramón] Film as such is dead.

[Morna] He is the best videomaker around.

I am also the only one.

[Morna] We've been making a video of all this for about two years.

[Ramón] It is a film.

[Morna] Well, he's a videomaker that makes films, not videos.

[Ramón] Format doesn't matter, they are films.

[Norma] But didn't you say that film is dead?

[Ramón] Maybe it didn't completely die.

[Dog barks]

[Morna] Well, we're off.

- [Norma] Can you take my things? - [Morna] OK.

[Ramón] Take the flash light.

Give them your stuff.

[Ramón] Have a good time.

[Ramón] Well, let's go home.

- [Ramón] See you. - [Morán] Bye.

- [Morán] Bye. - [Morna] Grab the mare.

[Ramón] What?

Okay.

Norma, tell me about you.

About your life, if you have a boyfriend.

Boyfriend?

Who told you I have a boyfriend?

No one, just asking.

And why do you ask that?

You like gossip, salteño.

Just making conversation.

No, let's not talk.

[Classical music plays - Sonata for oboe and piano by Poulenc]

[Norma] Where would you build your home?

I like it there, up there, see?

[Classical music ends]

You'd come and live here?

Yes, with you.

[Norma chuckles]

Let's get married Norma.

- What? - Let's get married.

Live together.

[Norma] But we haven't even kissed!

Let's kiss then.

[Classical music resumes]

[Classical music ends]

Sage.

[Norma] There's rosemary here.

[Morán] Good.

[Morán] I won't work any more.

[Norma chuckles]

[Norma] How come?

[Morán] I want to live like this, like you.

[Norma] But I work.

[Morán] I mean, I want to work like you, with plenty of time.

[Rooster crows]

If you and your sister don't have any work, you don't work.

Instead, if I don't have work to do,

I still have to go to work.

I have to wake up at the same time,

wear the same clothes,

take the same subway.

Do exactly the same as the day before,

surrounded by the same people.

[Birds chirp, hens cluck]

[Norma] Where do you work?

I clock in every day.

[Morán] And for what?

[Morán] To pay for the apartment,

buy a suit once in a while,

a new shirt,

get the newest cell phone,

save money to take 15 days off...

[Morán] Fifteen days per year!

[Morán] Fifteen out of 365 days.

To have spare time, supposedly spare because...

you go to a beach and you find the same people

that you meet on the subway the rest of the year.

We live only to work.

When you meet someone in the city for the first time,

what do they ask?

What's your job?

That is why I don't want to work.

I want to live like you.

[Blues music plays - El viejo by Pappo's Blues]

♪ What happens to us ♪ After so much time

♪ We ponder as we look into the mirror

♪ What's happening? I'm getting old

♪ I don't know what to think, I no longer know what I think

♪ I am a good man, It's just that I'm getting old

♪ I will try to do things in due time

♪ Or else I won't care about time, oh no ♪

- [Music stops] - [Norma reads] "I went to the river,

"and felt it, close to me in front of me.

"The branches had voices that couldn't reach me.

"The current said things I didn't get.

"It almost distressed me,

"I wanted to comprehend,

"to feel what the pale vague sky said in the river,

"with its first stretched syllables,

"but I couldn't."

[Morán] It's good, huh.

"I returned,

"Was it I who returned?

"With the vague distress

"of feeling alone among the last and secret things.

"I suddenly felt the river in me,

"it flowed in me,

"with its banks trembling with signs,

"with its barely starred deep reflections.

"The river flowed in me with its branches.

"I was a river at dusk,

"and, in me, the trees sighed,

"and the path

"and the grass faded in me.

"A river was flowing through me,

"a river was flowing through me!"

Are you sad?

[Norma] No, just emotional.

[Norma sniffles]

[Morán sings] ♪ I'm from Salta and I'm needed

♪ I'm from Salta and I'm needed

♪ I'm from Salta and I'm needed

♪ I'm from Salta and I'm needed

♪ And I spend my time singing from dusk to dawn ♪

[Classical music plays - Sonata for oboe and piano by Poulenc]

[Music stops]

[Morán] Can you help me with this?

[Ramón] Just a sec.

[Ramón] Lower!

[Ramón] A bit more!

- [Ramón] What? - Can you help me? This got tangled.

[Ramón] Sure.

[Ramón] Let's see...

[Morán] Put these on.

Should I press REC?

Put the cable through here.

You point it like this.

Towards the action.

- Shall I press REC? - When I say so.

Steady.

Right,

sound, roll.

[Morán] There.

[Ramón] Let's go.

[Ramón] Fifty-five, one, one.

[Claps]

[Ramón] Action!

[Morna and Norma giggle]

[Ramón] Come over here! Over here!

[Morán] Do I have to turn?

[Ramón] No, stay there.

[Ramón] Cut!

[Morna] Done?

[Ramón] Yes!

[Morán] Shall I come with you, Ramón?

[Ramón] As you want.

[Morán] Norma?

[Morán] Shall I come with you?

[Norma] Yes, come.

[Morna] We're going there.

- [Ramón] Here is fine. - [Morna] Huh?

[Ramón] Here is fine.

[Ramón] The sun is setting.

[Morna] We'll see what we can do.

[Ramón] So? What do you think?

- [Morna] About the sunset? - [Ramón] A panoramic shot...

[Rhythmic claps]

[Folklore music plays - Por la mañanita by Violeta Parra]

♪ Take me away, Take me away, my love

♪ Take me away, take me away, I beg you

♪ Take me away, my wound is too deep

♪ The wound you cause when you left

♪ Take me away, take me away, my love

♪ Take me away, take me away, I beg you

♪ In the morning, white handkerchief

♪ White handkerchief I will wash you

♪ In the evening...

- [Morna] Full circle! - [Norma] Let's go!

♪ ...A lot of love I will give to you

[Morna] Tapping with our feet!

♪ ...A lot of love I will give to you

[Morna and Norma laugh]

♪ Why did I love you so much?

♪ Why did you promise your love?

♪ What are women for

♪ To whom men cause such a pain?

♪ Why did I love you so much?

♪ Why did you promise your love?

♪ In the morning, white handkerchief

♪ White handkerchief, I will wash you

♪ In the evening, a lot of love

♪ A lot of love I will give to you

♪ In the evening, a lot of love

♪ A lot of love I will give to you

[She cheers]

♪ Please don't take your love away

♪ Your eyes are my light

♪ I give you the honey of my lips

♪ You will be my master, I will be your cross

♪ Please don't take your love away

[Norma] Wait!

♪ You will be my master, I will be your cross

♪ In the morning...

Give me that. Can you close it?

♪ White handkerchief, I will wash you

♪ In the evening, a lot... ♪

[Norma] Hi girls!

Come in!

[Music fades]

[Hens cluck]

Look.

I'll come live here.

We'll have a life together, Normita.

[Mancha snorts]

[Norma] Hey!

[Norma] What are you doing?

Sorry.

I'm leaving.

[Norma] How so, leaving? Right now?

Yes, I can't stay any more. I've got to go.

[Classical music plays - Sonata for oboe and piano by Poulenc]

Take the record, please.

[Morán] If you play track eight you'll remember me.

[Classical music ends]

[birds chirp]

[Classical music resumes]

[Román sighs softly]

[Norma] What is it?

[Román] Nothing.

[Classical music continues]

Are you OK?

Yeah, everything's fine.

I'll be right back.

I didn't like Buenos Aires.

Buenos Aires is great!

[Norma] I didn't like it.

But what did you visit?

[Norma] The movie theatre,

the obelisk...

But that's nothing!

There are beautiful neighbourhoods.

[Norma] Life at the hotel...

Well, we have a lot to do here.

I'm going back.

But you just got here!

You have a life here, a job, I have nothing to do.

So why did you come?

To see what it was like.

I got you a present.

[Norma] Do you like it?

I have to tell you something.

[Rain patters; thunder rumbles]

[Morán, voice over] "Norma,

"I think about you every day.

"I know it hasn't been long, but every day without you was endless.

"As I said in Alpa Corral,

"I'll go back to look for you,

"we're going to marry and have a house at the hill.

"A friend, Román,

"whom I trust, gave you this letter.

"Don't ask him questions. He knows nothing.

"He doesn't know I love you,

"or that I will be back for you in three and a half years.

"Well, less than three, actually.

"Less than three, Norma, don't you see?

"Time flies.

"I miss you, Norma.

"You're the woman of my life.

"I want us to have kids.

"Three, four...

"maybe a dog,

"and two horses to go to the mountains

"and then swim in the creek.

"I know that this may seem odd,

"I went away and told you that I'd be back in three years.

"Well, it's already less time.

"Think of it this way,

"soon the three years will be over,

"and we will be together, loving each another, with a beautiful life.

"I love you very much.

"Morán."

And what about you?

[Román] I kept the money when he stole it.

All in exchange for a percentage,

a small percentage, by the way.

[Norma] Yes, but he's in jail!

[Román] Three and a half years in jail or twenty at the bank. He chose.

[Norma] Your friend is nuts.

He or I?

[Norma] Don't be ridiculous.

[Román] I want to be with you.

And so does your friend.

Look, I've left everything.

I left my girlfriend, my house, everything, to be with you.

You're pathetic.

And your friend is a lunatic.

Let me go.

Let me go!

[Classical music plays - Sonata for oboe and piano by Poulenc]

[Classical music ends]

[Classical music resumes]

- Hi. - Hello.

[Classical music ends]

[Professor] You know what these are, right?

[Professor] Books.

Have you read any books?

[Inmate] The Bible.

[Garrincha] Nah, the Bible is not a book.

[Professor] The Bible is

a science fiction book.

Written by a lot of people.

[Professor reads] "The engine

"lights up the immense salt,

"the blocks of salt on the sides,

"the weeds mixed with salt that grow between the tracks.

"I waver... and hush...

"because I'm thinking about the freight trains

"that run at night through the Great Salt Flat.

"The word "mystery" should be crushed, as one crushes a flea,

"with both thumbs.

"The word 'mystery' explains nothing, no more.

"Mystery is nothing and nothingness does not explain itself.

"The word 'mystery' should be replaced

"at least for today,

"at least for this poem,

"for what I feel

"when I think about the freight trains

"that run at night

"through the Great Salt Flat."

"The pear clatters on the plate.

"The honey despairs in the closed jar,

"to much despair of the flies

"that stalk it, perched on the glass.

"But I can't explain,

"and so far nobody could,

"why I astound myself thinking in the Great Salt Flat.

"The man in a vest in the restaurant car

"has taken off his glasses.

"The glasses clatter on the tablecloth on the laid table.

"Everything clatters."

What's "clatter"?

[Professor] The poem, at this point,

is taking place on a train and everything moves, see?

"Everything clatters.

"Everything quivers.

"In the train that runs at noon through the Great Salt Flat.

"I've caught myself looking at the shadow of the plane

"passing over the Great Salt Flat.

"But that explains nothing.

"It's like a drop that evaporates instantly.

"Entertain yourself, they say.

"Entertain yourself looking and remembering

"to hide the dream of the Great Salt Flat.

"A piano hanging like a spider from a thread

"has stopped between the twelfth and thirteenth floors.

[Keys jingle]

"A truck passes by, loaded with stand-up fans

"that happily move their propellers.

"In 1948,

"in Salta,

"we went at night to hunt frogs and viscachas,

"and the conversation extinguished with the roast fire,

"overwhelmed as we were by the black starry sky.

"We nervously flicked on and off our flash lights

"until we ran out of batteries.

"I can't either explain why

"I dream of flash light batteries,

"with batteries for transistor radios..

"Nor why I dream of light bulbs,

"delicately stored in their respective boxes.

"Nor why

"I have caught myself staring at the broken filament

"of a burnt-out light bulb.

"I've never seen,

"I never could imagine

"rain falling on the Great Salt Flat.

"I don't have objectives but I like

"to be objective.

"Since I was a child I tried to cut a drop of water in two

"with scissors.

"Even now, I try,

"pushing things away from the table or frightening friends away,

"to imitate, to imagine, rain on the Great Salt Flat..

"And now I question myself as if imprisoned and testifying:

"The Great Salt Flat or Great Salt Lake is in north Córdoba,

"nearby,

"or within, I don't remember,

"the border with Santiago del Estero.

"I'm looking at the map...

"but that explains nothing.

"The matchbox is empty by four in the morning,

"and I feel myself, desperate,

"with the cigarette in my mouth...

"'Fire should be invented, ' some would think.

"I, instead, think about the glints of the train

"that runs at night by the Salado River.

"I can't sleep

"when travelling at night

"I know that I have to my right the Salado River.

"But even so I'm still escaping the great mystery...

"the mystery of the endless salt of the Great Salt Flat.

"I remember when we hurled sucked oranges with impunity

"into the blind, blinding mirror

"of the Great Salt Flat,

"in the afternoons,

"when glare blinds

"more than the sun.

"We expected to arrive in Tucumán at seven

"and at two we had to change a wheel

"by the Great Salt Flat.

"A newspaper flew through the air,

"the sun scorched the crumpled news of the world

"of the newspaper that fell on the Great Salt Flat.

"And I saw several trains go by and even a jet.

"The passengers of the Caravelles

"or the Back One-Elevens,

"don't know that that bluish spot,

"that they may be seeing at this very moment,

"from eight thousand meters high,

"that bluish stain that remains for a few minutes,

"is The Great Salt Flat.

"The Great Salt Lake."

[Indistinct chatter]

Román.

It's me.

It's time.

[Classical music plays - Sonata for oboe and piano by Poulenc]

[Police officer] Morán!

Your time is up.

[Garrincha chuckles]

Good luck.

Good luck.

This is to share with the guys.

- [Garrincha] Okay. - Maybe you learn something, huh!

Thanks, good luck!

[Indistinct chatter]

[Police officer] Signature, name

and left thumb print.

[Bell rings]

Thanks.

[Cicadas sing, birds chirp]

[Xylophone delicately chimes]

[Xylophone, guitar and melodica music]

[Román] Flor.

Flor!

I need to talk to you.

[Flor whispers] I'm teaching.

- [Román] Sorry. - What is it?

I have to leave.

Where to?

On a trip.

With this?

Can I have a glass of water before my mom comes?

Are you taking the tent?

And the sleeping bag?

Where are you going?

I'll be back in two days.

- [Flor] Where are you going? - Can I have another?

I need to do a favour for a colleague from the bank.

Who?

Can I have another?

Who?

What will you do?

You're skipping work?

What day is it today? Thursday?

How will you manage?

[Boy] Thanks.

[Xylophone music]

I quit.

[Xylophone and guitar music]

[Xylophone, guitar and melodica music]

[music fades]

[Water ripples]

[Water ripples]

[Firewood crackles]

[Birds chirp]

[Horse trots]

[Rock music plays - Adónde está la libertad by Pappo's Blues]

♪ Where is freedom?

♪ I never stop asking myself that

♪ Maybe they have it somewhere

♪ Some place where we must go

♪ I think that never, yeah that never

♪ I think that never ever

♪ We've been through such a rough patch

THE END

♪ It is not possible

♪ It is impossible

♪ To resist

♪ They tried to kill me the other day,

♪ with machine guns, bang!

♪ I just want to get away

♪ of all their intellectual madness

♪ I think that never, yeah that never

♪ I think that never ever

♪ We've been through such a rough patch

♪ It is not possible

♪ It is impossible

♪ To resist ♪

[Rock music continues]

♪ Where is freedom?

♪ I never stop asking myself that

♪ Maybe they have it somewhere

♪ Some place where we must go

♪ I think that never, yeah that never,

♪ I think that never ever

♪ We've been through such a rough patch

♪ It is not possible

♪ It is impossible

♪ To resist ♪

THIS FILM IS DEDICATED TO RAFAEL FILIPELLI (1938-2023)

[Rock music continues]

[Rock music fades]

[Classical music plays - Fantasie for solo harp by Camille Saint-Saenz]

[Music ends]