No World Concerto (2 page)

The screenwriter forgets all about the woman in the building opposite, and her sons, who must have finished their dinner by now. Only the girl occupies his thoughts. He imagines her in a theater, sitting on a stool in the middle of a stage, surrounded by five other members of the Little Sinfonietta, reciting the same stanza over and over. The rehearsal might have gone quite differently of course, but this is how he likes to imagine her. He feels incapable of writing now. He needs her to be near him, speaking to him, for when she speaks, he takes what she says as dictation, which is why she’s the protagonist of his script, but he also wants to keep her close-by, to prolong the time he has with her, a time during which he no longer feels the ache of her absence, a time that seems to contract with each visit. He writes his characters’ initials on a blank page, with line strokes of varying thickness radiating from each, representing all manner of links and associations. He organizes himself and tries to gather his thoughts, but all he can think about is the girl’s next visit. He goes to the window and looks down on the fading rush hour, the traffic lights, and the windows above the sidewalk across the street. He makes out the light of a TV in the darkness of the woman’s apartment, and he imagines her children seated before it as she’s washing the dishes in the kitchen. Although it’s past their bedtime, he makes allowances for their staying up so late since it’s vacation time. When he returns to his seat, it doesn’t take long before he’s fantasizing again, before he’s affecting industry by jotting a few halfhearted notes on a card now and then. Some of his characters are gifted musicians. He’s well acquainted with the type: the girl, the young orchestra conductor, and the brilliant composer and accompanist for the Little Sinfonietta had all been his students once. The Scholastic Institute at which he taught wouldn’t settle for second best. The screenwriter thinks his movie is structured in concentric layers like an onion, but when his spirits are low, and he can’t concentrate, he finds it impossible to distinguish between the layers. Maybe he’s just tired, he thinks, attempting to justify abandoning his desk and going to bed. But he stays seated for a while longer, thinking of the layers, incomplete, indistinguishable, trying to cut the onion, bleary-eyed, purblind, until he finally gives up. Again, he removes his glasses to massage his eyes, to relax them on the middle distance beyond the window. The woman in the building opposite has turned out the lights and he stares into the darkness of her window. He’s procrastinating. He thinks about the onion again. Then the girl — she’s probably tired by now, at the point of sleep, but still burning with ambition all the same, still determined to be a writer who’ll accomplish great things. He wonders about the voices in her head, always calling out to her, never silent, and about her persecution complex — like her ambition — ever restless. A thing of little consequence to others, perhaps, but for the screenwriter, at least, it’s a beginning.

He sleeps badly, erratically, waking in the night repeatedly, until the new day’s reveille breaks in through the curtain cracks, prompting him to get out of bed. It’s early. In August, he always rises early. He draws the curtains and opens the window, taking a quick look at the building opposite. Nothing. No movement on the street below either. The city still slumbers. This makes the screenwriter think of his wife. He promised to call her several times a day, to sustain, rejuvenate her memory of him. He’s already lost track, but he does remember yesterday was the last time he called. Something in the pit of his stomach goads him to pick up to phone and dial the number. No reply. Feeling a chill, he goes to the window. The drone of vehicles waiting at the traffic lights below tells him the city is stirring. He closes the window to shut out the noise, and takes a seat beside the telephone. Again, he calls his wife; again, he lets it ring five times before hanging up. Then he repeats the process again. She never answers. He cracks a smile as if the ritual induces a pleasurable frisson. Remember me? he mutters into receiver, biting his bottom lip. After hanging up for the last time, he grabs his glasses and returns to the writing desk, takes out a few index cards and scans them a while, reviewing his notes on the plot from the beginning: the girl practicing endlessly at the piano, her rehearsals with the Little Sinfonietta, her writings, her nightly visits. He imagines her thinking of him — thinking of him waiting for her, sitting at his desk in a modest room in a flophouse most piano starlets like her would avoid. After sleeping a little more, he wakes up hungry. He checks the time. He goes into the bathroom and eyes himself in the mirror for a while. Then he starts scrupulously combing his hair. He feels young, despite his age, no one could ever guess his age. In the hallway, the doors to some of the other rooms are open. He sees a maid pushing a vacuum, flanked by a massif of dirty towels. She says hello, he simply nods his head. Her blue uniform is unbuttoned at the crotch, but since he doesn’t find her attractive anyway, he looks away. He heads for the canteen musing over the girl, imagines the realia she deems indispensable: the satchel in which she keeps her sheet music, the books he recommends, her diary, and the notebooks in which she works on her magnum opus. It’s probably an idea he jotted elsewhere, but he imagines the young orchestra conductor saying something along the lines of: Supposing twelve-tone music had never been invented. The screenwriter scribbles it in his notebook just in case, setting it off from the rest of the page, and takes a seat at the table. No need for more detail, the suggestion of the phrase is all he needs to recover the whole idea. Now, he imagines the girl writing in her diary, gasping for an afflatus, groping after an elusive plot so she can finally continue her story, and the screenwriter squirms under this reminder of himself. When she finishes giving the concerts, he’ll ask her to run away with him, he thinks, to go with him as far away as possible, to the other side of the world if need be, to a city where the cost of living could be covered by a pension check, where they could live off the earnings from his screenplays, the novels the girl will write under his aegis, and maybe even the proceeds of a piano recital or two: a beautiful thought, but the reverie makes him lose his train of thought. Still, the idea’s now safely ensconced in his pocket. How different it would be, having breakfast with her, looking out at the sea: a different life; a different world. This neighboring country, this capital city, is only a hitching post — he thinks, trying to reassure himself — a momentary detour from his path to a better life. After breakfast and reading a newspaper in the discommodious hotel lobby, he decides to stretch his legs by joining the pedestrians outside. He heads first to the pond, then to a kiosk located at the point where the boulevards intersect, and purchases a broadsheet from his native country. He’s unable to read while limping, so he stands aside and skims over some of the headlines. Then he tucks it under his arm and limps down the hill toward the café in the plaza. The waitress is attractive. He smiles, she doesn’t seem to notice. So he lights a cigarette and finishes going over the headlines. While waiting to be served, he takes a look around the plaza and suddenly recalls the phrase he noted down during breakfast. He recites it a couple of times under his breath, and decides to build on it before it dissipates. The action takes place on stage in a small, empty theater. Near the end of the rehearsal, as the girl sees her father take a seat in the front row, the screenwriter puts in the mouth of the young conductor the words: Supposing twelve-tone music had never been invented. The brilliant composer, barely paying attention as he collects the tiny music boxes from the young musicians, eventually suggests that another, similar, genre of music would exist in its place, but under another name. It’s a possibility, says the young conductor wearily, half-engrossed in his own thoughts. The girl grabs her satchel and steps down from the stage. As he enters the theater, her father takes a look around to get a sense of the place. He hopes the dreary surroundings, the darkness, the empty seats are only due to the orchestra’s still being in rehearsal, not a foreboding of the concerts ahead. He wanted to be there for the whole rehearsal, but he arrived late. Still, at least he managed to catch the last few notes as he walked in the door. The precocious youngsters are putting away their instruments. The young conductor greets the girl’s father, as does the brilliant composer. Both seem to be on familiar terms with him. They slowly exit the theater together. The girl wonders why her father showed up. He’s never attended a rehearsal before, and she doubts he’d be interested in a work whose chief protagonist is a clown. But she doubts even more that he’d be interested in her. She explains to him part of their repertoire. It’s a new version of an old composition, she says, so fresh it could be mistaken for an original piece, entitled
Dress Rehearsal for Voice and Music Boxes
. He’s not very interested. He happened to be visiting the neighboring country’s capital on business; his presence is a coincidence, that’s all. The screenwriter considers the situation as presented, and asks himself why a father wouldn’t take more of an interest in his own daughter. He doesn’t seem the least bit concerned she might end up in the arms of an unscrupulous roué, he thinks, referring to the young conductor of the orchestra. For some reason, the young conductor’s come to embody the screenwriter’s notion of lubricity and perversion. All fathers must think like this. After all, the world is full of these kinds of people, and although they’re precocious, the young musicians of the orchestra are still kids — dressed in their uniforms, heading for the minibus that will return them to their dorms. We were looking for a place with a foosball table, she says, referring to the conductor, the composer, and herself, who have a puckish streak, unlike the others. In reality, they don’t even know if foosball bars exist here in the neighboring country’s capital. Her father excuses himself, says he must go, for there are people waiting for him elsewhere, and he’s already running late. Let’s suppose twelve-tone music had never been invented, the young conductor is overheard declaiming, no serialism, or any of that stuff. For he wants to know if music with aleatoric elements, or whatever one wishes to call them, could have been conceived at any other time. The brilliant composer doesn’t respond. He seems lost in thought, as if he’s immersed in his mysterious creative process, playing the part of the genius, the brilliant one, the wunderkind that they all imagine him to be. The other two don’t respond either. What do you think? The conductor asks, directing his question at the girl. That it couldn’t have existed at any other time, she says. They walk a few meters in the opposite direction to her father, who’s parked his car a little farther ahead. Night falls, and the screenwriter observes the scene from afar, he sees them poorly lit under a streetlight whose brightness has yet to overtake the dimming twilight. The girl takes a few steps away from her friends and tells her father good-bye. Putting her right arm around him, she feels a revolver at his side and asks him jokingly if he’s on duty, though she’s well aware he’s not a policeman or anything of the sort. He smiles in a routine manner that could be interpreted to mean anything, and she returns to her friends as he makes his way up the street — thinking, perhaps, that the twelve-tone experiment was a failure, and wondering why anyone would want to repeat it. He saw you, says the girl reprovingly, addressing the brilliant composer, who’s in the process of rolling a joint. Your dad probably knows more about this stuff than we do, he says, but the girl doesn’t want her father getting too close. She doesn’t want him interfering in her life.

I hear voices, the girl confesses. I think they come from another world. The young conductor asks her how she can be sure. How does she know the voices aren’t just inside her head? But she’s utterly convinced of it, and that should be proof enough, it seems. The young conductor says no one can know if something exists in and of itself outside the mind. Maybe you don’t exist except in my head, he says. The world doesn’t truly exist, interjects the brilliant composer, who then asks them to consider whether the entity that has created everything, that is imagining their existence, is of limited extension — if it takes up space somewhere — or whether it’s infinite. They’re not even voices from this world, insists the girl, they’re from a false world, a No World created by some alien consciousness. The brilliant composer’s symphony touches on this, she says, while really thinking about her own work in progress — the
No World
she writes and rewrites without ever getting anywhere; the
No World
that’s always expanding inside her, ever ripening, while never reaching maturity. There is a language that reaches out into the cosmos, with which we could communicate with beings from another galaxy. That language is music. How can she know they’re not actually the voices of the great musicians? Suppose the great musicians had never really existed. At times, it seems they’re only playing games. But then they’d say life itself is a game. The young conductor says it’s all the same, speculating about what would’ve happened if twelve-tone serialism had never been invented, or if the great musicians had never been born: the point is the music
was
invented, the musicians
were
born. And these things happened because they had to. The screenwriter imagines the young conductor’s voice off-screen, as the camera zooms in from a panoramic view of the city toward a dingy little bar with a foosball table — like one of those gambling dens in the movies, fumid and fusty, manned by local ruffians playing pool. Similarly, says the young conductor, youth exists in every age because it has to. The girl and the brilliant composer remain silent as he concludes his monologue, and the camera stops zooming once all three are together in the frame, their hands gripping the bars running through the tiny foosball players, the funk of smoke and alcohol pervading a setting unsuited for formalist debates and metaphysical colloquies. The two guys are wearing the Scholastic Institute’s regulation uniform, comprised of a navy-blue blazer, gray pants, a white shirt, and a necktie. The girl, on the other hand, likes to think she’s different, since she’s considered a rising star of the piano world, and although she attends the same school, believes she can dress however she likes, and it so happens she likes to dress in white. The young orchestra conductor takes aim, maneuvering his defensive line, before spinning the bar violently, projecting the ball up the table. If the great musicians were never born, he says, other musicians would be revered in their place. The brilliant composer reproves him for sounding like a broken record, for he’s merely repeating something he’s stated several times before.