[music playing]
[record crackling]
[soft orchestral music playing]
[stairs creaking]
[faint whispering]
[fire crackling]
[thunder crashes]
[ominous music]
[screams]
[dramatic violin playing]
[buttons click]
Is everything OK, Rose?
That was a really great take.
It wasn't. I was late on the second movement.
Right.
Your manager's just arrived, so why
don't we all take five, yeah?
I thought you were in Berlin.
I was.
Rose, I have some--
I have some bad news.
I spoke with your notary on the phone.
Your father is dead.
I'm so sorry.
Are you OK?
Mr. Gilford wasn't able to tell me anything more
over the phone, but we're supposed to meet him
tomorrow morning at his office.
[door thuds]
Sorry, uh, to barge in.
We should try moving on.
We only have until 6:00.
[sighs]
I don't have time for this right now.
Let's go again.
Can we deal with this tomorrow?
10 AM?
[suspenseful music]
Jesus Christ.
Above all, I wish to express my most sincere condolences.
I also apologize for the way you were informed
of your father's demise.
Well, actually, I had no idea whether he was alive or dead.
From the little I knew of him, I'm amazed he lived this long.
We weren't exactly close.
When was the last time you saw him?
Uh, 1993.
He left when I was 14 months.
My French counterpart, Monsieur Zurah,
informed me of his death.
According to him, you are the one and only
heiress of Richard Marlowe.
Richard Marlowe, the composer?
Mm-hm.
You're the daughter of Richard Marlowe?
You never told me?
I didn't tell you anything about my father.
But I thought--
Not now, Charles.
Uh, there's no will.
You inherit the copyrights of his entire body of work,
his property in France, some minor bonds
worth next to nothing, and, uh-- well, that's it.
I'm afraid there's very little money.
Let me get this straight.
All of Marlowe's musical copyrights now belong to Rose?
NOTARY: Indeed.
Are we done?
Uh, almost.
But, uh, before you go, I am obliged to give
you these myself.
In there are the property title and some personal effects
he wanted you to have.
For the house.
Miss Fisher?
[sighs]
Can you deal with the rest?
Of course.
[suspenseful music]
Forgive my curiosity, but was Mr. Marlowe famous?
Not famous so much as notorious--
the kind of composer an up-and-coming
conductor would cite in order to show off,
show they were in the know.
Back in the '80s, he composed a symphony that
caught the critics off-guard.
He became trendy, I suppose.
Some hailed him as the leader of a new generation of composers--
a savior of British classical music,
which he might have become if he hadn't disappeared.
Every medium has one--
a would-be champion that burns out before they got started.
Rock and roll had Syd Barrett.
We have Richard Marlowe.
The press thought there had been an accident,
some form of foul play.
[laughs]
Ends up he was just in France rotting
in a country [inaudible].
There's something I should probably mention.
I didn't dare say anything while Miss Fisher was here.
If there is any legal impediment--
No.
No, not that.
More a moral one.
Mr. Marlowe committed suicide in the most
violent way imaginable.
How?
He set fire to himself in front of his house.
I see.
Thank you for not mentioning that in front of Rose.
I know she doesn't seem it, but she's actually very emotional.
Is there anyone who can be with her-- family, a loved one?
Rose's mother is dead, and she doesn't
have time for loved ones.
NOTARY: Doesn't have time?
Her words.
I'm the closest thing she has to family.
I'll take care of it, make sure to tell her at the right time.
[DRAMATIC ORCHESTRAL MUSIC PLAYING]
[doorbell rings]
What do you want?
Can I come in?
Well?
Well.
Well?
Jesus Christ, Rose.
I'm worried about you.
Well, don't be.
I've known you since you were 16,
and I know perfectly well when you're not OK.
Why didn't you tell me your father was Richard Marlowe?
It wasn't relevant.
Wasn't relevant?
You're a classical violinist.
He was one of the most gifted composers of living memory.
You don't see the link there?
I didn't want people to know.
Christ, Rose, I'm not just your agent.
You could have told me.
No.
Why?
Because fuck him, that's why.
He didn't give a shit about me and my mom.
He left us.
So I want to make it on my own without even
a hint of trading in his name.
Yes, he was a great composer.
Well, so was Shostakovich.
And that's the only context in which
Marlowe has any meaning to me.
I wouldn't have made you trade on his name.
Wouldn't you?
No.
Listen, I didn't come here to fight.
I want to be here for you, help you through this.
Is that the estate in France?
Yes.
I'm heading over tomorrow.
Good, but how?
Oh, I'll probably take a plane and then a taxi.
You know what I mean.
You're halfway through your recording.
The studio costs a fortune.
The label is expecting six pieces, not to mention
your other commitments.
Well, it's going to have to wait.
CHARLES: Wait?
Yes.
I'm heading over tomorrow, Charles,
and that's all there is to it.
It's not just your decision.
So your sympathy extends as far as it affects
the next concert, is that it?
Yes.
I'm your agent, remember?
Yeah, well, about that.
What?
I've been meaning to tell you for a while, actually.
I was contacted by DMI in New York, and they want to sign me.
Since when?
It's been a few months.
Rose, you're a wonderful musician, but it's too soon.
What do you mean too soon?
Look, I had a lot of clients like you-- young, talented,
with potential for greatness.
They go to bigger agencies which cares only
about money and fame, and end up swamped
by all the other musicians.
No, you haven't.
You've had clients that are good and clients that are OK,
and the good ones leave and the passable are dropped.
But you've never, ever had a client like me,
and you know it.
And every time I bring this up, it's always too soon,
or let's wait, or be patient.
But I'm out of patience, Charles.
I've waited so long that--
You think I'm holding you back.
I'm afraid that you're never going to let me go.
You've taken me as far as you can,
and now you need to let me go.
Oh.
Just 'cause you screwed up your career
as a musician doesn't mean I need to screw up mine.
Charles--
Rose, do whatever you want.
I don't give a shit anymore.
But keep one thing in mind.
You're good, but you're not that good.
And talent is not the only thing that matters.
[door slams]
[dramatic orchestral music]
Thank you.
[suspenseful music]
[door thuds]
[door creaks]
[door thuds]
[ominous music]
[gasps]
[speaking french]
With, uh, fire.
[car rumbles]
[suspenseful music]
[glass cracking]
[ominous music]
[suspenseful orchestral music]
[soft piano playing]
[ominous music]
[suspenseful orchestral music]
[birds cawing]
[cork pops]
Et voila.
[sniffs]
[phone vibrates]
Hello, Rose.
Hey.
Hi.
Um-- are you OK?
ROSE (ON PHONE): I'm fine.
Are you in France?
Yes, I'm at Marlowe's house.
Look, um, I-- I wanted to apologize for the other night.
You know, it was--
I didn't mean to say what I said.
It was wrong of me to--
to say it.
Oh.
It's OK.
Look, I just want the best for you, that's all.
Now, if you feel I'm holding you back--
No, I am--
I'm frustrated, but I didn't mean to lash out.
I think I just need some time alone.
I understand.
So this house, what's it like?
Old, creepy, isolated.
I like it.
It reminds me of you.
[laughs]
Lovely.
How are you holding up?
Did you learn anything about your father?
Well, that's actually what I wanted to tell you about.
I think that he was working on something before he died--
a sonata.
Sonata?
You mean a finished one?
I think so.
But it's really weird because some of the staves,
they begin with symbols that I've never seen before.
What kind of symbols?
I can't describe them.
Perhaps if I send you some pictures--
do you think you'd have time to have a look at them?
Of course.
Rose, you do know if this is your father's final work,
it could be a huge sensation.
Yes, well, that much had occurred to me.
And if this score was more important to him than I was,
I'd like to know why.
Hm.
I've got to go.
I'll send you the pictures as soon as I can.
Sure thing.
Keep me posted.
ROSE (ON PHONE): Will do.
Bye.
Oh, and-- and there's one last thing.
CHARLES (ON PHONE): Yes?
You wouldn't happen to know how he died?
Your father?
No.
Did you find anything?
No.
OK.
Talk soon.
[ominous music]
INTERVIEWER: Mr. Marlowe, good evening, and thank you
for granting us this interview.
We are aware it is not really in your habit to do so.
Over the course of the last three or four years,
you have gone from being an obscure, shall we say, composer
to being the face of a brave new era of classical composers.
And yet an equal number of detractors
find your music too old-fashioned.
You know, the concept of old-fashioned
means very little to me.
I don't judge a piece of art by its period.
If Mozart were alive, he would meet the same silly criticism.
Ha.
I don't write music to please anyone.
It's not entertainment.
It floats around, whispering inside me.
I heard it from the day I was born,
and it will be there long after I die.
It holds the key to the human heart.
Its real voice has no written words,
and it reveals darkness, sadness, joy, longing.
It's magic.
INTERVIEWER: By the sound of things,
you seem to be entrusted with a mission.
I just follow the voice that I hear.
INTERVIEWER: God?
Something like that.
INTERVIEWER: What of your future work?
Can you tell us a little bit about it?
I started years ago.
It's still not finished.
But it will be one day.
INTERVIEWER: And do you think it will affect people?
It will touch someone, I think.
[suspenseful music]
[thunder crashes]
[humming the sonata]
[ominous music]
[doorknob creaks]
[faint whispering]
[doorknob creaks]
[child cries]
Hello?
[door creaks]
[clock ticking]
[floor creaks]
Who's there?
[clock strikes loudly]
[dramatic violin music]
Ugh.
Bloody French.
[speaking french]
[suspenseful music]
Charles?
James.
Thank you so much for coming.
What wouldn't I do for my former agent.
Yeah.
I know you're performing a concert tomorrow evening,
but I'm in desperate need of your expertise.
I'll have a pint of lager, please.
Same again.
Since when do you drink water?
[laughs]
I'm on the wagon--
for good, this time.
These damn things make me fall asleep half the time,
but they really help.
Well, I'm glad to hear that.
So, tell me about this piece of music
that you want me to have a look at.
Yeah.
What can you tell me about this?
Well, it would appear to be a violin sonata.
And it's composed on the basis of a fairly regular structure,
but it's quite uneven.
I mean, the quality it, uh--
it changes drastically depending on the passage.
It's fairly coherent.
But the first, the third, and the fifth movement here--
they are magnificent, they are.
They're truly magnificent, in fact.
Who wrote this?
I'm not at liberty to say.
Oh, Charles, you tease.
Come on.
I must know.
Sorry, James.
I have to keep schtum.
But I will say this.
It's going to be huge when it goes official.
About bloody time, Charlie.
The elusive big break, eh?
It's better late than never.
Yeah.
Right now, I need you to help me decipher these symbols.
Do they mean anything to you?
In all honesty, I have never seen anything like it
before in my life.
I mean, perhaps there's some kind of a key beginning
of each stave--
you know, like a way they code the score or something?
That would certainly explain the poor quality
of certain passages.
It's almost as if the composer has done this on purpose
so that nobody would be able to decipher the score.
Hm.
Charles, no one understands more than me the need
for secrecy in this business, but if you don't tell me
who wrote this, it's going to be really hard for me to help you.
OK, James.
But I need your word you won't tell anyone.
Absolutely.
It's Richard Marlowe's last work.
The Richard Marlowe?
The crazy, eccentric savior of classical music
who disappeared to listen to the voices in his head?
The very same.
I thought he died years ago.
No, last week.
Well, that would explain it.
[clears throat]
Thank you.
Look, you have my word I won't tell anybody, OK?
Do you know anyone who can help me out?
I can think of one person.
Yeah.
He worked with Richard Marlowe for years.
Truth be told, he was the only one that Marlowe ever
really tolerated being around.
If he can't help you, no one can.
But he won't really appreciate me giving out his number
to a complete stranger.
Come on, James.
You owe me this.
Please?
OK.
I'll have to call ahead and let him know that you're
going to be in touch.
He doesn't really like new people.
[suspenseful music]
[child screams]
[children screaming]
[doorbell rings]
Charles Vernais.
I have an appointment with Sir Victor.
Follow me, please.
Thank you.
[birds chirping]
VICTOR: Monsieur Vernais.
Pleasure to meet you.
Pleasure's all mine, Sir Victor.
And thank you for your time.
Please, sit down.
Meredith, if you'd be so kind as to bring us some tea, please.
MEREDITH: Right away, sir.
Oh, and, Meredith?
MEREDITH: Yes, Sir Victor?
Preferably not the disgusting concoction my daughter
gave me, if you'd be so kind.
She's new.
I see.
Are you writing a new book?
Uh, indeed.
The third and final volume of the history of baroque music.
I must confess that your visit offers me an unexpected
and quite welcome break.
So, Monsieur Vernais, what can an old man
like myself do for you?
I came to ask you some questions about--
about this.
It was composed by Richard Marlowe.
I see.
The sonata.
I'm sorry?
I never thought he'd finish it.
You've heard of this?
He used to speak of it as his life's work.
Now, let's see.
It should go something like--
[plays the sonata]
[distant growling]
It's delightful.
Might I be so bold as to ask how you acquired this work?
I-- it's confidential.
There are other parties.
I see, I see.
Well, go on.
The problem is that the music is so erratic,
and then there are these strange symbols.
Do these look familiar?
They are the same.
These symbols were created by a French secret society
back in the 19th century.
Now, each symbol represents one of four different aspects
of a code, which, when joined together,
create the symbol of the Famulus Order.
Meredith?
Does one have to be Her Majesty the Queen
to get a simple cup of tea?
MEREDITH: It's coming, sir.
I'm trying to work out whether she is mentally retarded
or just maliciously slow.
The members of the Famulus Order were, uh, perverted successors
of the Romantic Movement--
noblemen, artists.
What-- what does it have to do with music?
They were convinced that music has the capacity of unlocking
portals between worlds.
I'm sorry, portals?
Doors, openings, gaps in the fabric of the cosmos.
I understand, sir, I understand.
It's just that-- so-- so this order,
they believed that music had a kind of magic?
Absolutely.
Not metaphorically, or as part of some illusion or trick.
They believed that music had real, tangible power.
W-- what kind of power?
Well, they believed that if the notes were properly aligned
and played with exactly the right pitch,
they could conjure and seduce the Antichrist.
By playing music?
More or less.
Their theory was based on one simple belief--
one does not address the devil with words.
Only music would allow mortals to communicate with him
and understand his divinity.
The Antichrist, sir?
[laughs]
This is no joke, Monsieur Vernais.
CHARLES: These symbols, do you think they can be deciphered?
Of course.
Marlowe was fascinated by the order.
He probably found the inspiration
in it to code his own work.
You seem to have known him quite well.
Were the two of you close?
Close?
To Marlowe?
You must be joking.
That man was the very incarnation
of pride, ruthless and cruel.
I very much doubt he was close to anyone.
But the two of you worked together.
Surely you must have appreciated each other's company.
Well, don't misunderstand me.
He was a terrific composer.
One couldn't help but be impressed by him.
He was devoted to his work and would have sacrificed
everything for his music, apart from, perhaps, his little Rose.
Don't be so surprised, Monsieur Vernais.
You can't possibly think that I would allow you into my home
without knowing everything about you?
It's not that I--
well, she's not exactly aware of my being here.
And truth be told, she doesn't speak
very highly of her father.
It's funny.
He loved those flowers so much, he named
his own daughter after them.
Believe me, if the rest of the score
is as good as the opening passage,
and given Marlowe's talent, you may very well be holding
an absolute masterpiece.
This is going to seem rather forward,
but would you mind if I borrowed your book on the Famulus Order?
Well, I can't see why not.
Thank you very much for your time, Sir Victor.
I'll bring the book back as soon as possible.
I have no doubt of it.
[suspenseful music]
[distant growling]
Oh!
[the sonata on violin]
[fire crackling]
[suspenseful music]
[soft orchestral music]
[phone vibrates]
[ominous music]
[soft jazz music playing]
[radio static]
[screeching voice]
[soft jazz music playing]
[owls hooting]
[thunder rumbles]
[plays the sonata]
[sighs]
[door clicks]
[crickets chirping]
[sighs]
[ominous music]
[panting]
[soft thudding]
Therese?
[thudding]
[door creaks]
CHARLES: C'est un fenetre de merde.
Charles?
No, it's Santa Claus.
Oh, my god.
What the hell are you doing here?
Yeah, great to see you too.
You scared the hell out of me.
Why are you coming in through the window?
You weren't answering your phone.
You've locked the front door shut, so I improvised.
Why are you here?
I thought a little company wouldn't harm you.
Plus, I brought a couple of things you and I can work on.
[fire crackling]
By researching information about this French sect,
I discovered the leader used to live here in this very house.
Your father was fascinated about their beliefs.
I discovered that the symbols of the sonata
correspond to what they call the four faces of evil.
[ominous music]
The first symbol represents power.
The second, immortality.
The third, appearance.
And the fourth, duality.
United, they form the symbol of evil, which is also the symbol
of the Famulus Order.
Your father left clues for you here in this very house.
Brilliant.
This one represents power.
And I found another one just like it.
CHARLES: Immortality.
It doesn't work anymore?
I turned it off because of the noise.
And it was an hour late, anyway.
There's got to be a logic behind all this.
If these symbols are placed where they are,
it must be for a good reason.
Hm.
Well, the symbol in the chimney only appears
when the flames rise up.
Could it be that if--
It's worth a try, isn't it?
Lemon juice.
(LAUGHING) Kid stuff.
Which means that the objects the symbols appear on
affect the way the music is deciphered.
The symbol on the clock represents immortality.
It must have a kind of link with time.
When I found it, it was an hour behind on French time.
And when I played this, it didn't sound right.
Maybe if we shift the notes forward,
making them a time late, it'll give something more coherent.
Yes, that would seem logical.
[ominous music]
Hm.
Are you OK?
Yeah, yeah, yeah.
It's just a headache.
I'm fine.
Are you sure?
I said, I'm fine!
We must look for all the clues left by your father.
One must be appearance, the other, duality.
Any ideas?
Have you seen the size of this place?
It could be anywhere.
Then there's no time to lose.
It's like looking for a needle in a haystack.
I mean, even if I knew--
Therese.
Therese?
Who's Therese?
My father had a cleaning lady.
She knows this place perfectly.
Maybe she knows something.
In that case, we have to go see her and ask
her the right questions.
You should go.
You speak better French than me.
[laughs]
Yeah.
[birds cawing]
[suspenseful music]
THERESE: [speaking french]
Therese.
[speaking french]
[suspenseful music]
[birds cawing]
[ominous music]
[gate creaks]
[door thuds]
[door creaks]
[suspenseful music]
[match crackles]
[distant scream]
[breathing heavily]
[match crackles]
[ominous music]
[child screams]
[shouting and wailing]
[match crackles]
[chains rattling]
MARLOWE (ON TAPE): Recording number two.
CHILD (ON TAPE): [crying]
MARLOWE (ON TAPE): Shush.
You must join the others now.
CHILD (ON TAPE): [screams]
Help!
[loud thud]
[screams]
[metal scrapes]
[screams]
[loud thud]
[screams]
[loud thud]
[screams]
[frantic music]
[panting]
[birds cawing]
[ominous music]
[twig snaps]
[ominous music]
[door thuds]
Rose?
We have to call the police.
Rose, what's going on?
Rose, what's-- what's wrong?
What's wrong?
Inside the chapel in the woods,
children have been killed.
We have to call the police.
Wait, wait, wait, wait.
What are you talking about?
Under the chapel, there-- there's a room
which has torture devices.
What are you talking about?
(CRYING) He recorded them screaming.
Rose?
Rose, for god's sake--
Let go of me!
We have to call the police!
Hey, tell me what the hell is happening.
[panting]
Listen to me, listen.
I don't know what you think you've seen,
but right now I want you to calm down, OK?
Deep breath.
Just take a moment.
Listen to me, I'm here now.
I'm protecting you.
I want you to wait until your breathing's under control,
and then you take it from the top.
Good?
Now, these children, are there bodies, bones, what?
No, I saw some shadows in the woods.
No, but I heard them on the tapes.
What tape?
He was torturing them, and he recorded it.
Ro, do you think your father would
have been capable of doing something like that?
I don't know.
But there was this--
this wall painting with some kind of demon on it.
I'm not crazy!
Go and see for yourself!
OK, Rose, OK.
I believe you.
I'm sure whatever you've seen down
there has given you quite a fright,
but let's not jump to any conclusions yet.
Don't patronize me, Charles.
I'm not!
I'm-- I'm trying to help you.
I've always been there for you, and I'm here right now.
Look, I came over to see you because I've
discovered a great deal of things about your father.
I've been led to believe that he had a--
drink up-- he had a strange taste
for morbid folklore, which doesn't mean he
actually did anything morbid.
It could simply be an artistic approach-- a way
to immerse himself in a fantasy world
to capture what he needed to achieve with his music.
And believe me, he wouldn't be the first to do so.
Take Schumann, for instance.
Schumann found inspiration in voices from above,
and Tartini, from the devil.
[chuckles]
It doesn't mean they were psychopaths.
Well, you weren't there.
You didn't see what I did.
I don't want to stay here anymore.
I want to go back to London.
So that's it, huh?
You want us to leave now, let the whole thing
go when we're so close?
Do you realize what this music could represent for us?
What do you mean "us"?
Why do you think he sent you the key to this place?
Hm?
If we're able to decipher this sonata,
we'll own the rights to it.
Think about it.
Young virtuoso violinist plays her long-lost father's work.
Look, I'm not saying we shouldn't call the police.
I'm just asking you to give me at least five minutes to tell
you what I've discovered.
Thanks to Therese, I found the symbol for appearance.
The way I see it, this means the score has to be played
in reverse, like in a mirror.
I don't think this is a good idea.
I think we have to destroy the score.
Could we-- could we, before taking any rash decisions,
think this through calmly, please?
We only have two more symbols to find.
Two.
One, actually.
[suspenseful music]
CHARLES: Charity.
Of course.
Let's get back inside.
Yeah, let's go.
Now, if-- if we juxtapose them like the statues, we should--
et voila.
I knew it.
[laughs]
Last, but not least, we have to find the symbol
that unites them all.
It's the symbol of the Famulus Order in the [inaudible] score.
Charles, we--
You look terrible.
You should rest.
We have to destroy the score.
CHARLES: Do me a favor, Rose.
Go get some sleep.
[ominous music]
Who's there?
Charles?
[muttering]
[button clicks]
[tape rewinding]
[button clicks]
MARLOWE (ON TAPE): Recording number two.
For the beast will only speak through the mouths of the pure,
the uncorrupted--
those who have only known God's--
[button clicks]
[tape rewinding]
[button clicks]
For the beast will only speak through the mouths of the pure,
the uncorrupted--
those who have only known God's love.
[ominous music]
[suspenseful music]
What were you thinking, old man?
VICTOR (VOICEOVER): He loved those flowers so much--
He named his own daughter after them.
Ah.
[ominous music]
CHILD (ON TAPE): [screams]
[howling and screaming]
[door creaks]
Charles?
What are you doing?
[tape clicks off]
It's absolutely phenomenal.
Once the symbol's deciphered, it's pure genius.
Your father was a genius.
This score is going to change the way
we consume music forever.
What's going on?
I've realized something.
All these years living here away from the world--
it's all for you.
He wrote the sonata for you.
What do you mean?
All of this was planned.
He had everything worked out, probably
before you were even born.
The last symbol points to you, Rose.
The final staves are empty.
You have to fill them.
It's up to you to finish his work.
Why do you think he wrote the sonata for violin?
Whether you want it or not, you're part of his work.
It's our duty to make this music reach
people's ears all over the world,
and you have to be the one to play it.
But that's--
Rose, whether you like it or not, it's your legacy.
You can't deny it.
That music is wrong.
Oh-ho.
It's so much more than simply music.
It's evil, Charles.
Don't you hear it?
The children were screaming!
They were being tortured for that music!
[chuckles]
I know.
Their sacrifice was a necessary evil.
The voices coming out of those children's mouth,
it's magnificent.
They're pure, like you.
Listen to you.
I don't even recognize you.
The music is making you go crazy.
Can't you see?
This is the very reason he cast you aside all these years.
This sonata can only be played by pure, uncorrupted souls.
The book says so.
That is you, Rose.
He left you because he knew-- he knew he would have tainted you.
He saved you-- saved you for this.
Well, I don't want any part it.
You don't have a choice.
The only thing that matters now is the music.
What are you doing?
What I should have done before.
I'm burning these pages and going to the police.
Ah!
Ugh!
I've always protected you, nurtured you, and for what?
So you could leave?
So you could get out into the world and leave me behind,
forget I ever existed?
I've given you so much, and all you've done
is throw it at my face.
You don't even realize how lucky you are.
If I had but only the slightest hint of your talent,
I wouldn't have had this shitty life.
This sonata is the key to my success.
And for once in your miserable life, you will listen to me
and do as I fucking say.
Got it?
[wheezing]
Play it.
Charles--
I need to hear it.
It keeps coming back in my head.
It's unbearable.
Charles, please--
Play!
I've deciphered all the symbols.
All you have to do is play the music and let yourself go.
But--
Play it!
[plays the sonata]
[ominous music]
Who told you to stop?
Keep playing!
[growls]
[plays the sonata]
[faint whispering]
CHILDREN: [whispering]
[glass cracking]
[glass shattering]
[door thuds]
[door creaks]
[gasps]
[screams]
[haunting music]
[chatter]
[applause]
[plays the sonata]
[dramatic orchestral music]