Between Strangers (2002) - full transcript
Toronto, 2001. Three women in spiritual crisis. In secret from her dismissive husband, Olivia draws what she sees in dreams. Catherine, a world-class cellist, has abandoned her husband and daughter to hunt down her father. Photojournalist Natalia, in her famous father's footsteps, scores her first Time Magazine cover, but realizes she has paid an incalculable price for the photo. Olivia has another secret besides her art; Catherine makes discoveries about her father; Natalia receives a gift that's undeserved: these complications push each woman in a new and unexpected direction.
[girl humming]
[clock ticking]
[music playing]
[phone ringing]
MAN (ON PHONE): You've reached
the Windsor Apartments.
Please leave a message
for the occupant.
HANNAH (ON PHONE): Hi, mommy.
Did you get the picture,
the one with my new haircut?
I wanted to know if
you like it that way.
I know you're busy, but maybe
you can write and tell me, even
just a postcard or something.
I miss you.
I hope you can come home soon.
Bye bye.
Morning.
Good morning.
HOST (ON TV): Has it, Candace?
Candace and Brian are here
everybody, let's welcome them.
RICK HUNTS (ON TV):
With the Flowbee.
Now, right here I have all...
MAN (ON TV): I'm
getting a little.
How you doing buddy?
Quit poaching on
my territory, pal.
Am I mo...
NEWS ANCHOR (ON TV): We
got some messy problems
here on the Gardiner.
Let's check it out with
our flying traffic report.
TRAFFIC REPORTER (ON TV):
A tanker has sprung a leak
on the Gardiner eastbound.
I can't believe this.
Yeah, right, close off
the Bay Street exit again.
No problem leaving this city,
as long as you got a boat.
John, I'm going to work now.
You need anything?
TRAFFIC REPORTER (ON
TV): ...and the QEW
is crawling into the city.
Traffic is also crawling south
on Bay and University Avenue.
I'm not finished with that.
TRAFFIC REPORTER (ON
TV): ...ramp being closed.
If you have to get
on the Gardiner,
I suggest Jameson for westbound
and Jarvis for eastbound.
There you are.
TRAFFIC REPORTER (ON
TV): You'd be better
off avoiding it altogether.
All other major routes
have normal volume
for this time of day.
Hey, you.
Congratulations, sweetie.
Come up here to the den.
So how was the flight?
Four stopovers.
There's no easy
way out of Luanda.
ALEXANDER: The 23rd?
I'll be in Montreal for
their retrospective.
I'll tell him you're here.
OK.
ALEXANDER: Yes.
Right.
NIGEL: Natalia is here.
ALEXANDER: Mm-hm.
I call you later.
There she is.
Dad.
[humming]
What do you have?
Oh, good girl, good
girl, be patient.
Your first cover.
The first of many.
I certainly hope so.
At your age, I was on my fifth.
Mm-hm.
She'll have that wall
covered in no time.
Thank you, Nigel.
Yes, pretty soon, dad,
they're gonna be calling you
the father of Natalia Bauer.
[laughing]
Here you go, Nigel.
I can't.
Oh, it's just a little sip.
I have your
itinerary to arrange.
Natalia.
Yes.
I had another one
framed for you.
Thank you.
Congratulations.
The shot is fantastic.
Stop it.
She'll get a big head.
It runs in the family.
Bonk.
I'll see myself out.
Bye, bye.
What?
Didn't mom used to call
this your wall of fame?
It wasn't always a compliment.
I wish she were
alive to see this.
To mom.
And to your future.
[somber music playing]
You catch him!
Hey, keep the noise
down, hey, guys?
BOYS: Jeb!
Jeb!
Jeb!
Jeb!
Jeb!
Jeb!
Jeb!
Jeb!
Whoa!
[yelling]
Here's your check.
Your last Friday's
overtime is in there.
Thank you.
No, you're gonna die.
Jeb, keep your eyes open.
[chatter]
Don't call me that.
Get out of here.
Get out of here.
Screw you.
You're gonna get
the high score.
You're gonna get the high score.
You're gonna beat
his high score.
Come on!
Oh!
Fuck!
Fuck!
Hey, hey, hey, don't
hit the machines, ey?
What was that, Jaba?
You heard me.
Don't take it out
on the machine.
Oh, I'm sorry.
I... I don't know what I'm doing.
Am I breaking this?
Hey, cut that out now.
Stop it!
[chatter]
OK, all of you, out.
God damn punks.
- Shit.
Go.
Shit.
- Shit.
- Let's go!
Let's go!
[laughing]
[inaudible]
Hey, you!
Stop him.
Hey!
Whoa!
God!
[laughing]
Yo, watch out, baby.
- Watch it!
- Ha!
Fuck you.
- You wish!
Kiss my ass.
[girl humming]
[music playing]
WOMAN (ON PHONE): Reuters.
Hi can I speak to
George Kessler, please.
You got it.
I mean, you definitely
got it, your father's eye.
Which is lucky,
because all my father
gave me was his taste in ties.
Are you positive?
Nat, I called their
picture department.
The edge numbers on the negative
correspond with your roll.
It's your shot.
I don't remember taking it.
You were in a shit storm.
You were on autopilot.
Look, Nat, you got the cover.
Just enjoy it.
OK, fine, I'll
buy you something.
We can celebrate.
Hi, there.
Hi.
Hi
How much are these?
$4.00 and $5.00
for the beaded ones.
How about that one?
No, it's not for sale.
Can we see it?
Sure.
Come on.
That's beautiful.
Is that West African?
It's from Angola.
Angola?
You're kidding.
You know who took this picture?
George.
This woman right here.
Sure you don't want to
sell her that bracelet?
You were in Angola?
I was born in Luanda.
Look at those eyes.
The poor baby.
What happened to her?
I don't know.
Thank you.
[bell ringing]
[chatter]
Uh, you can't go up there.
Rogelio?
Rogelio?
No, no, no.
This is private.
It's not for customers.
It's all right.
I used to own this store.
- This place?
Yes.
My family, we...
we lived upstairs.
So you want to look
around, is that it?
Hm.
Uh, OK.
You can come with me.
[music playing]
22 years.
[speaking french]
It's beautiful, Olivia.
Thanks.
You never told me you draw.
Can I see?
It's nothing.
Please.
After all these years,
I didn't know you can...
you can do this.
After all these
years, me neither.
What do you mean?
Well, growing up in Italy,
all I wanted was to become
an artist and live in Florence.
Really?
I used to paint and
draw all the time.
I haven't picked up
a pencil in years.
What?
I never seen you
like this before.
Like what?
[laughs]
[dog barking]
[yelling in french]
[dog growling]
Olivia.
Yeah?
Where you been?
Dinner will be
ready in a minute.
So where were you?
I was at the park.
The park?
Till now?
It was... it was
a beautiful day
and I lost track of the time.
[chatter]
So what's next on the agenda?
Jerusalem.
Jerusalem?
Mm-hm.
What about Bogota?
Not on this trip.
Why not?
Because it's not
the assignment, dad.
You have to make your own
assignments, especially now.
Strike while the iron's hot.
Yeah.
[laughs]
You remember the
first camera I gave you?
How could I forget?
All the other kids got these
cool toys for Christmas,
and I come to school
with this old camera.
Remember, that old camera,
it was a 1940s Leica.
What did I know about Leica?
I was seven.
And then the next year when I
wanted to go to Disneyland...
Instead I dragged
you to Kathmandu.
And look at you now.
[laughs]
[phone ringing]
Hello?
Hello?
I can't... Nigel?
Sorry.
Nigel, I can't understand you.
[fire crackling]
[cello tuning]
Give us a couple
of minutes, will you?
Eric called again.
Look, I know it's
not my business,
but, you know, your husband's
making it my business.
He says he hasn't heard
from you in weeks.
Katie, he asked me if you
were having an affair.
I don't know what to tell him
'cause I don't get it either.
You've been away for
months on this tour.
And now the little
bit of time we
have before our New York
gig, you suddenly decide
you have to record in Toronto.
When are you... when are
you planning to go home?
"Bach Suite Number 2, Prelude."
OK, whenever you're ready.
[cello playing]
Get up.
Get the fuck up!
[laughing]
Get up and face the wall!
That's right.
- Come on.
- Get up!
Get up!
Well, congratulations,
there Mr. Bum,
you have just been selected
to be our next victim.
Yeah, man.
So how's it feel to know
that you're gonna die?
You're gonna die!
Huh?
Oh, come on, you don't want
to disappoint our viewers now.
I mean, tell me, you have
any last words before you
get your head blown off?
Yeah, splattered
all over this wall.
Psh!
Hey, come on, just put your
hands on your head all right?
Put your hands on your head.
Did you not hear what I said?
Just drop the stupid bag, and
get your hands on your head.
Jeb, he's not scared of you.
Give me the fucking bag.
Leave me alone.
[grunting]
Jeb, what are you doing?
You said we're only
gonna scare him.
Come on, Matt.
Come on, it's a bum,
just a fucking bum!
It's just a fucking bum, man!
Hit 'em!
Hit 'em!
Yeah, that's it.
[groaning]
Come on.
Come on!
That's it.
[groaning]
[gunshot]
Get away from him.
What's it to you?
[gunshot]
Shit!
Olivia?
Olivia?
What are you doing?
Hm?
What's that?
It's just a drawing.
You did this?
Yeah.
Why?
It's just...
It's just what?
I have been having a dream.
A dream?
Mm-hm.
A dream about what?
These shapes.
Coming out of the stone.
And what about them?
They're all around me.
I want to touch them.
But when I try to, their
flames, they're everywhere.
Flames?
I want to run
away, but I can't.
I can't move.
I can't even scream.
I just have to stand there
and watch myself burn.
You forgot my coffee.
Morning, dad.
Cathy.
Hurry, before it gets cold.
Sunny side up, just
the way mom made it.
That kid last night
asked you how it felt
knowing you were gonna die.
Do you think that's
the way my mother
felt every day of her life?
Every day.
Just the sound of
those footsteps
coming up the stairs when you'd
come home drunk off your ass.
And you'd send me
into my room and tell
me to practice so I wouldn't
have to see you hurt her.
But I heard it.
No matter how loudly I
played, I heard it all.
How does it feel?
You look so much like her.
When I found out they
were letting you out early...
I mean, 22 years for
beating that woman to death?
You don't think it was
enough either, do you?
Do you?
Please don't do
this to yourself.
Think of your family.
I don't have a family anymore.
I'm not worth it.
[knocking]
Catherine?
Catherine, it's Ralph.
She'll be right there.
Fuck you.
Don't move.
Hi.
Hi.
Are you OK?
Yeah.
Look, I'm sorry to
interrupt, but your phone
has been busy all morning.
What do you want, Ralph?
The "Gigue" we liked, we
found a hiss on the track.
And we need to listen
to your other takes.
Can we talk about this later?
We're going to New
York in two days,
so if we need to rerecord,
it's gotta be today.
We don't need to rerecord,
just you can pick another take
and I will see you
at the airport.
It's all right.
I was just leaving.
No.
Who's that?
I... I have to
talk to you later.
Catherine?
Catherine?
Did you push them for Bogota?
No, dad, I already told you.
They're sending me to Israel.
I can't pick my own assignments.
If you don't
let them know what
you want, how can you expect...
Dad, I think I'm doing OK.
Did you hear that I beat
Raymond Paul to the cover?
I heard it.
Well, I think that's
pretty good, no?
Actually, I
think he's lost it.
He has been playing it safe.
You, you on the other hand.
What?
You take too many risks.
So I'm not
pushing hard enough,
but I'm taking too many risks.
Your cover shot was
taken with a 50 millimeter.
That means you were right
in that hot, in the fire.
What the hell were you thinking?
Oops.
[girl humming]
[distant explosion]
[camera shutter clicking]
Hi.
Someone came in
yesterday, an older man,
tall, carrying a duffel bag.
Oh, the guy who used
to own this place.
Has he been back?
No, I don't...
well, Rogelio?
Rogelio?
The man from yesterday,
did he come back here?
No.
Why?
I just need to find him.
Why don't you leave your
number and we'll call you
if we see him.
I'll go.
OK.
555-0151.
Thank you.
[music playing]
[phone ringing]
Hello?
HANNAH (ON PHONE): Mommy?
Mommy?
She's not here right now.
HANNAH (ON PHONE): So do you
know when she'll be back?
No, I...
I think she'll be
out for a while.
HANNAH (ON PHONE):
When she comes back,
can you tell her
her daughter called?
I'll do that.
HANNAH (ON PHONE):
Thank you very much.
Bye bye.
[chatter]
Yeah, you can't trust the guy.
Thank you very much.
No, you know what?
We'll take care of it here.
No, don't worry about it.
It's no problem.
Look, Tom, I'm gonna have
to call you back, OK?
Yeah.
OK, bye.
Hey.
- Hey.
You're looking exceptionally
professional today.
I was running with dad.
Ah, what's up?
I was just
wondering if you had
my contact sheets from Angola.
Um, yeah, sure.
The contacts, they're in here.
You know what,
they're at my place.
Um, I can get them to you
first thing in the morning.
I could come by
and pick them up.
Sure you could,
but what's the rush?
Oh, I don't know.
I just want to see 'em.
So what time do you
think you might be home?
6:30, 7:00.
Yeah, and there's a
bunch of us that are
going over to the jazz bistro.
Come.
We want to celebrate
your success.
So 6:30, 7:00?
OK.
OK.
Oh, hey, this was
at reception for you.
Thank you.
See ya.
$50 for littering.
Are you OK?
[speaking french]
Come with me.
Wait here.
Wait.
[humming]
Liquor de berry, my
grandmother's recipe.
You drink this?
No only on two occasions,
when you are sick
or when we celebrate.
Today, we celebrate to you.
Drink.
I really should be going.
What's wrong, Olivia?
You can tell me.
Yesterday, I saw this
light in your eyes.
And I thought...
I thought finally I'm
seeing the real Olivia.
That's right.
That's how it should
always be for you.
That's what you deserve.
You don't know what I deserve.
REPORTER (ON TV): The
exhibition inaugurated
this morning at the newly
reopened waterfront site...
Olivia?
REPORTER (ON TV): ...of
the Royal Ontario Museum.
Olivia, come here.
Not now, John.
No, come here,
you've got to see this.
REPORTER (ON TV): ...taking
her work around the world.
Come on.
REPORTER (ON TV):
...from London to Rome...
Take a look.
REPORTER (ON TV): ...and
Paris via Geneva and Oslo.
We are very proud
that Ms. Amanda Trent
could take time out
of her busy schedule
to spend a few moments...
- Look familiar?
REPORTER (ON TV): ...with
us this afternoon.
Ms. Trent, I've read that
these sculptures go back
to your early childhood
being shuttled around
from foster home to foster home.
Well, when you have
no roots, you're always
searching for an identity.
And as a child, I found
mine through my dreams.
Look at that right there, huh?
You copied them all off her.
That's exactly like
one of your pictures.
REPORTER (ON TV):
Can you tell us
about those childhood dreams?
Well, there were two big ones.
First, I wanted to be adopted.
REPORTER (ON TV): Which at the
age of seven came true for you.
AMANDA (ON TV): Yes,
yes, indeed it did.
And I'm very lucky I
have wonderful parents.
REPORTER (ON TV):
And the second dream?
Well, I always wanted to be
an artist and live in Florence.
REPORTER (ON TV):
Well, you've certainly
taken care of the artist part.
And who knows, maybe Florence
isn't too far behind?
AMANDA (ON TV): No,
I think my family
and I are very happy
on the farm up north.
REPORTER (ON TV): Well,
thank you so much for being
with us here today, Miss Trent.
It's been a great pleasure.
AMANDA (ON TV): Thank you.
REPORTER (ON TV): And I want to
remind our viewers that Amanda
Trent will be signing
copies of her book at Indigo
tomorrow after...
Why did you give me all
that bullshit about dreams?
Why did you lie to me?
The guys will be
here in a minute.
[cello playing]
[music playing]
MAN (ON PHONE): You've reached
the Windsor Apartments.
Please leave a message
for the occupant.
HUSBAND (ON PHONE):
It took me two hours
to get Hannah to sleep.
She's your daughter.
She knows your voice.
You can walk out on our
marriage, but how can
you walk out on her?
I've had it.
What kind of mother
have you become?
You want out?
You got it.
Just do Hannah a favor,
change your number.
Change your fucking number.
Hey.
Hi.
So did you find them?
I just got to
throw on my jacket.
Because we're gonna be late.
Late?
Yeah, for the jazz club.
But I'm not going anywhere.
No, no, no, no, no, no, no.
No, there are at least 15
people waiting in a smoky bar
to congratulate you.
George, I just need
to see the contacts.
Nat, how many times
do I have to tell you?
You got the cover.
Nobody else took
this picture, you.
Why can't you accept that?
I just need to see them.
No, sorry, you don't get
anything till we go out
and celebrate.
George, just give me
the goddamn contacts.
No.
George.
Sorry.
George, I want
my contact sheets.
Mm, can't do that.
George, give me
the fucking contacts!
I'm sorry.
I'm very sorry.
I didn't mean to...
I'm sorry.
I need to know what
happened to the little girl.
OK.
Here you go.
Nat.
[phone ringing]
Hello?
ALEXANDER (ON PHONE):
I've got news.
Oh, hi, dad.
Can I... Can I call you later?
ALEXANDER (ON PHONE): I think
you'll want to hear this.
I just spoke with Orson Stewart.
I can't call you tomorrow?
ALEXANDER (ON PHONE): Orson
Stewart, the editor of "Time."
Yeah, I know who he is.
ALEXANDER (ON PHONE):
He wants you on staff,
the international desk.
Really?
ALEXANDER (ON PHONE): Yes.
Do you realize what this means?
He's in town for
two days and wants
to meet you for lunch tomorrow.
His office will
call and confirm.
Wow, that's... that's...
that's great.
ALEXANDER (ON PHONE): [laughing]
Hey, we did it, Natalia.
We did it.
- Bye, dad.
ALEXANDER (ON PHONE): We did it.
[fire crackling]
[gunshots]
[chatter]
[camera shutter clicking]
[explosion]
[screaming]
[heartbeat thumping]
[camera shutter clicking]
[explosion]
[helicopter blades whirring]
The entire
village was on fire.
And I'm inside.
And everyone is running around
and they're all screaming.
And there are children, there
are children everywhere crying.
And then... then I see
her through a doorway.
And I go inside the hut.
And it's so hot inside
and there she is.
She's sitting on the
floor next to her parents.
And they're dead.
And she's so quiet.
So she doesn't wake them.
And I have only seconds and
I can hear the wood cracking
and the flames are
getting closer.
And... and instead
of saving her I...
Photographed her.
What have I done?
Your duty, your job.
But dad, in the
moments that it
took for me to get that shot,
I could have pulled her out.
I killed her.
Not you.
The war killed her.
How can you say that?
What you're going
through right now,
this guilt is only human.
And don't forget, we are not
the ones who raped the women
or put fire to the villages
or execute innocent people.
All what we are doing is
trying to find the truth.
So that people who
are really guilty
can be touched by the world.
Dad, you said that
for an interview
in "Life Magazine"
in November, 1972.
Uh, your 20.
Mm-hm.
And 20 more.
Bull shit, Marty.
[laughs] That's for
you to find out, cowboy.
Come on.
There's a month's disability
sitting there, John.
Hey, I got a wife
for that kind of shit.
All right.
It's your money.
Hey, talk of the devil.
What do you think Olivia?
Is Marty bullshitting me?
What do you say?
Well, I'm gonna
take that as a yes.
Now, there's your 20.
And I'm gonna raise you 40.
Thank you.
You're called.
Moment of truth, Marty.
I got a couple of pairs.
- Full house.
All fives.
Yee-haw, I knew it.
I fucking knew it.
Thanks, Olivia.
What'd I tell you?
You can't bullshit
a bullshitter, huh.
Hey, talking about bullshit.
Why don't you show the
guys your pictures?
Pictures, what pictures?
Well, my wife's an artist.
Didn't you know that?
Really.
Yeah, she's the best
bullshit artist in town.
Come on, Olivia.
Show the guys your pictures.
Come on, let 'em see 'em.
Hey, relax.
It's only a bunch of pictures.
We playing cards or what?
Come on, deal.
[television chatter]
WOMAN 1 (ON TV): So
something along this OC-20,
a little bit lighter than
the existing wall color.
And it'll completely...
WOMAN 2 (ON TV): It'll look like
a textured wall instead, OK.
WOMAN 1 (ON TV): It sort
of looks like a loft,
like a loft deal.
MAN (ON TV): And
if painting that
with your husband, if
your marriage survives,
you can get through anything.
WOMAN 1 (ON TV):
That's what we say...
What are you doing?
Hey, give me that.
Olivia?
Come on, Olivia, don't be silly.
Give me that thing.
Look, if this is about
what I said tonight.
I'm sorry, OK?
Now give me back the remote.
Olivia.
[sighs]
She's my daughter,
the artist Amanda Trent.
What?
There was this boy at school.
We were just kids, you know.
When my father found out
about it, that was it.
What are you talking about?
He locked me in my room.
The only thing that kept me
from going crazy was to draw.
Olivia?
All I know of my baby
was her first cry.
Then my father took
her away from the house
and gave her up for adoption.
Olivia?
This joke is over.
It's not a joke.
She's my baby.
I know she is.
John.
John.
I'm going to bed.
Don't come in
there until you get
this bullshit out of your head.
"Thank you for what
you did for my country."
[music playing]
[knocking]
Miss Catherine Saber?
I'm Detective Mendocino.
Do you identify this
man as Alan Baxter?
I'll be outside.
[phones ringing]
Miss Saber?
I'm so sorry.
It's my wife, they
would have killed their.
But your father, he
tried to stop them.
So they... they beat him.
They beat him instead.
And he let them so she could...
she could get away.
He saved her life.
I know this must be
very difficult for you.
Excuse me.
[chatter]
[chimes ringing]
Good, and to who is this?
To Helen.
Helen?
There you go, Helen.
And to who am I dedicating this?
To Mark, please.
OK.
I really like the book.
Oh, really?
I'm so glad you're enjoying it.
OK.
- Thank you.
See you.
Hi, how are you today?
I'm good, thanks.
Good.
So this is to?
To Anita.
Anita.
Well, thanks for coming
out to the show, Anita.
I really appreciate it.
Hi.
Avery with a Y. Thanks,
I'm honored, really.
My pleasure.
Thank you.
Hello.
Your name?
I'm so proud of you.
Well, thank you.
You have a
family, a good life.
You've followed your dream.
Well, dreams are all
we have, don't you think?
What's your name?
Olivia.
It's a pleasure
to meet you, Olivia.
Excuse me, Olivia,
you forgot your book.
Have we met before?
I am...
I'm your biggest fan.
That's what my
mother always says.
Amanda, Amanda, I'm...
I'm sorry but
people are waiting.
Thank you for coming.
You don't know how it
felt holding her in my arms.
If only I didn't
let go that day.
My father didn't take my
daughter away from me, Max.
I gave her up myself.
But Olivia, you
were only a child.
I could have held on tighter.
Olivia.
You can't imagine what
a strong and beautiful
woman she is.
Who do you think
she got it from?
Who do you think
she got it from?
Thanks.
So Orson, what
are you thinking
for Natalia's first assignment?
Lima.
Ease her into it.
Lima is not the way
you make your bones.
Tomorrow she is leaving
for the West Bank.
Yes, of course, Alexander,
but maybe Orson has a point.
She can handle herself, Nigel.
I know it.
Here she is.
Orson, that's my
daughter Natalia.
My pleasure.
Hi.
Sit down.
Natalia, have a seat.
I can't.
You can't what?
I can't do this.
What do you mean?
I can't do this
work anymore, dad.
Don't be ridiculous.
I'm very sorry.
Sorry.
Oh, excuse me.
Natalia.
Excuse me.
Hey.
Hi.
Thank you very much, but I...
I can't accept this.
Well, I gave that to you.
But I can't take it.
You keep it.
It was my mother's.
I'm sure she would have
wanted you to have it.
Do you have any
idea what the time...
Look at you.
Where have you been?
Olivia, I asked you
a simple question.
I went to see my daughter.
I went to see my daughter
at her book signing.
You look like a whore.
How many guys you
screwed behind my back
while I've been in
this wheelchair?
You're never to see that
woman again, you hear me?
Never.
Now, give me that book.
No.
Olivia, give me
the goddamn book.
Olivia.
- No.
- Just give me that book.
- No.
Olivia, give me...
give it to me, Olivia.
No.
Give me the book.
No, no.
[thudding]
John!
John!
Don't touch me.
I can do it myself.
- I want to help you.
- Don't touch!
Get off!
I'm sorry, John.
Nothing happened.
I really didn't mean to...
Nothing happened, Olivia.
You know, the most
pathetic thing about you,
Olivia, is that you really
think that I need you.
I don't.
No.
It's you who needs me.
30 years ago, I asked you why
you wanted to marry a cripple.
Now I know why.
I'm the reason that you
can look at yourself
in the mirror every
morning after what you did.
You abandoned your daughter.
And you took me in like charity.
I don't need your
charity, Olivia.
Shit.
[laughing]
Are you crazy?
Shut the window.
Olivia, shut the window.
HANNAH (ON PHONE): Hi, mommy.
Did you get the picture,
the one with my new haircut?
I wanted to know if
you like it that way.
I know you're busy, but maybe
you can write and tell me, even
just a postcard or something.
I miss you.
I hope you can come home soon.
Bye, bye.
[girl humming]
You haven't been further than
the grocery store for 50 years.
It's my dream.
Florence?
Watch out Michelangelo,
here comes Olivia.
Olivia, god created dreams
so he could laugh at us
all when we wake up from them.
You know what they used to say
about me when I was running?
It looked like I
was flying, flying.
And then in just one instant...
You always thought
that I didn't
know what it was like
for you, couldn't
understand what you lost.
John, I lost a child.
That's my money from the
grocery store, $1,200.
$1,200?
It's enough to get you there.
That's right.
Then what?
Florence, no money, no
job, no place to stay.
It should be a short trip.
It doesn't matter.
I'm going to Florence, even if I
have to come back the next day.
I'm going to take a shower.
Best that you're gone
when I'm through.
I'll leave your precious
art book on your bed.
I am not going
to let you do this.
I do not want that you
throw your life away.
I'm going, dad.
Volunteering for the
United Nations in Angola?
You think you can bring that
little girl back to life?
No, that's impossible.
That's a waste of time.
Your pictures could
be raising awareness
on other parts of the world.
Use your talent.
I will once I
find out what it is.
Photographs,
taking photographs,
that's your talent.
Don't do this to me.
Dad, this has
nothing to do with you.
We take off in 15 minutes.
Where's your cello?
I tried calling you.
I'm not going to New York.
What do you mean
you're not going?
I just...
I'll call you in
a couple of days.
A couple of days?
What, are you nuts?
Do you know how much...
Ralph, cancel it, please.
Can I at least know
where you're going?
Home.
Hi.
There's no other tables.
Go ahead.
Thanks.
OK, seat 35A, gate 23.
And you'll be leaving
in half an hour.
First time flying?
My first time everything.
Excuse me, may I?
[girl humming]
[laughs]
How are you?
How are you?
[laughing]
ALL: [laughing]
[music playing]
[clock ticking]
[music playing]
[phone ringing]
MAN (ON PHONE): You've reached
the Windsor Apartments.
Please leave a message
for the occupant.
HANNAH (ON PHONE): Hi, mommy.
Did you get the picture,
the one with my new haircut?
I wanted to know if
you like it that way.
I know you're busy, but maybe
you can write and tell me, even
just a postcard or something.
I miss you.
I hope you can come home soon.
Bye bye.
Morning.
Good morning.
HOST (ON TV): Has it, Candace?
Candace and Brian are here
everybody, let's welcome them.
RICK HUNTS (ON TV):
With the Flowbee.
Now, right here I have all...
MAN (ON TV): I'm
getting a little.
How you doing buddy?
Quit poaching on
my territory, pal.
Am I mo...
NEWS ANCHOR (ON TV): We
got some messy problems
here on the Gardiner.
Let's check it out with
our flying traffic report.
TRAFFIC REPORTER (ON TV):
A tanker has sprung a leak
on the Gardiner eastbound.
I can't believe this.
Yeah, right, close off
the Bay Street exit again.
No problem leaving this city,
as long as you got a boat.
John, I'm going to work now.
You need anything?
TRAFFIC REPORTER (ON
TV): ...and the QEW
is crawling into the city.
Traffic is also crawling south
on Bay and University Avenue.
I'm not finished with that.
TRAFFIC REPORTER (ON
TV): ...ramp being closed.
If you have to get
on the Gardiner,
I suggest Jameson for westbound
and Jarvis for eastbound.
There you are.
TRAFFIC REPORTER (ON
TV): You'd be better
off avoiding it altogether.
All other major routes
have normal volume
for this time of day.
Hey, you.
Congratulations, sweetie.
Come up here to the den.
So how was the flight?
Four stopovers.
There's no easy
way out of Luanda.
ALEXANDER: The 23rd?
I'll be in Montreal for
their retrospective.
I'll tell him you're here.
OK.
ALEXANDER: Yes.
Right.
NIGEL: Natalia is here.
ALEXANDER: Mm-hm.
I call you later.
There she is.
Dad.
[humming]
What do you have?
Oh, good girl, good
girl, be patient.
Your first cover.
The first of many.
I certainly hope so.
At your age, I was on my fifth.
Mm-hm.
She'll have that wall
covered in no time.
Thank you, Nigel.
Yes, pretty soon, dad,
they're gonna be calling you
the father of Natalia Bauer.
[laughing]
Here you go, Nigel.
I can't.
Oh, it's just a little sip.
I have your
itinerary to arrange.
Natalia.
Yes.
I had another one
framed for you.
Thank you.
Congratulations.
The shot is fantastic.
Stop it.
She'll get a big head.
It runs in the family.
Bonk.
I'll see myself out.
Bye, bye.
What?
Didn't mom used to call
this your wall of fame?
It wasn't always a compliment.
I wish she were
alive to see this.
To mom.
And to your future.
[somber music playing]
You catch him!
Hey, keep the noise
down, hey, guys?
BOYS: Jeb!
Jeb!
Jeb!
Jeb!
Jeb!
Jeb!
Jeb!
Jeb!
Whoa!
[yelling]
Here's your check.
Your last Friday's
overtime is in there.
Thank you.
No, you're gonna die.
Jeb, keep your eyes open.
[chatter]
Don't call me that.
Get out of here.
Get out of here.
Screw you.
You're gonna get
the high score.
You're gonna get the high score.
You're gonna beat
his high score.
Come on!
Oh!
Fuck!
Fuck!
Hey, hey, hey, don't
hit the machines, ey?
What was that, Jaba?
You heard me.
Don't take it out
on the machine.
Oh, I'm sorry.
I... I don't know what I'm doing.
Am I breaking this?
Hey, cut that out now.
Stop it!
[chatter]
OK, all of you, out.
God damn punks.
- Shit.
Go.
Shit.
- Shit.
- Let's go!
Let's go!
[laughing]
[inaudible]
Hey, you!
Stop him.
Hey!
Whoa!
God!
[laughing]
Yo, watch out, baby.
- Watch it!
- Ha!
Fuck you.
- You wish!
Kiss my ass.
[girl humming]
[music playing]
WOMAN (ON PHONE): Reuters.
Hi can I speak to
George Kessler, please.
You got it.
I mean, you definitely
got it, your father's eye.
Which is lucky,
because all my father
gave me was his taste in ties.
Are you positive?
Nat, I called their
picture department.
The edge numbers on the negative
correspond with your roll.
It's your shot.
I don't remember taking it.
You were in a shit storm.
You were on autopilot.
Look, Nat, you got the cover.
Just enjoy it.
OK, fine, I'll
buy you something.
We can celebrate.
Hi, there.
Hi.
Hi
How much are these?
$4.00 and $5.00
for the beaded ones.
How about that one?
No, it's not for sale.
Can we see it?
Sure.
Come on.
That's beautiful.
Is that West African?
It's from Angola.
Angola?
You're kidding.
You know who took this picture?
George.
This woman right here.
Sure you don't want to
sell her that bracelet?
You were in Angola?
I was born in Luanda.
Look at those eyes.
The poor baby.
What happened to her?
I don't know.
Thank you.
[bell ringing]
[chatter]
Uh, you can't go up there.
Rogelio?
Rogelio?
No, no, no.
This is private.
It's not for customers.
It's all right.
I used to own this store.
- This place?
Yes.
My family, we...
we lived upstairs.
So you want to look
around, is that it?
Hm.
Uh, OK.
You can come with me.
[music playing]
22 years.
[speaking french]
It's beautiful, Olivia.
Thanks.
You never told me you draw.
Can I see?
It's nothing.
Please.
After all these years,
I didn't know you can...
you can do this.
After all these
years, me neither.
What do you mean?
Well, growing up in Italy,
all I wanted was to become
an artist and live in Florence.
Really?
I used to paint and
draw all the time.
I haven't picked up
a pencil in years.
What?
I never seen you
like this before.
Like what?
[laughs]
[dog barking]
[yelling in french]
[dog growling]
Olivia.
Yeah?
Where you been?
Dinner will be
ready in a minute.
So where were you?
I was at the park.
The park?
Till now?
It was... it was
a beautiful day
and I lost track of the time.
[chatter]
So what's next on the agenda?
Jerusalem.
Jerusalem?
Mm-hm.
What about Bogota?
Not on this trip.
Why not?
Because it's not
the assignment, dad.
You have to make your own
assignments, especially now.
Strike while the iron's hot.
Yeah.
[laughs]
You remember the
first camera I gave you?
How could I forget?
All the other kids got these
cool toys for Christmas,
and I come to school
with this old camera.
Remember, that old camera,
it was a 1940s Leica.
What did I know about Leica?
I was seven.
And then the next year when I
wanted to go to Disneyland...
Instead I dragged
you to Kathmandu.
And look at you now.
[laughs]
[phone ringing]
Hello?
Hello?
I can't... Nigel?
Sorry.
Nigel, I can't understand you.
[fire crackling]
[cello tuning]
Give us a couple
of minutes, will you?
Eric called again.
Look, I know it's
not my business,
but, you know, your husband's
making it my business.
He says he hasn't heard
from you in weeks.
Katie, he asked me if you
were having an affair.
I don't know what to tell him
'cause I don't get it either.
You've been away for
months on this tour.
And now the little
bit of time we
have before our New York
gig, you suddenly decide
you have to record in Toronto.
When are you... when are
you planning to go home?
"Bach Suite Number 2, Prelude."
OK, whenever you're ready.
[cello playing]
Get up.
Get the fuck up!
[laughing]
Get up and face the wall!
That's right.
- Come on.
- Get up!
Get up!
Well, congratulations,
there Mr. Bum,
you have just been selected
to be our next victim.
Yeah, man.
So how's it feel to know
that you're gonna die?
You're gonna die!
Huh?
Oh, come on, you don't want
to disappoint our viewers now.
I mean, tell me, you have
any last words before you
get your head blown off?
Yeah, splattered
all over this wall.
Psh!
Hey, come on, just put your
hands on your head all right?
Put your hands on your head.
Did you not hear what I said?
Just drop the stupid bag, and
get your hands on your head.
Jeb, he's not scared of you.
Give me the fucking bag.
Leave me alone.
[grunting]
Jeb, what are you doing?
You said we're only
gonna scare him.
Come on, Matt.
Come on, it's a bum,
just a fucking bum!
It's just a fucking bum, man!
Hit 'em!
Hit 'em!
Yeah, that's it.
[groaning]
Come on.
Come on!
That's it.
[groaning]
[gunshot]
Get away from him.
What's it to you?
[gunshot]
Shit!
Olivia?
Olivia?
What are you doing?
Hm?
What's that?
It's just a drawing.
You did this?
Yeah.
Why?
It's just...
It's just what?
I have been having a dream.
A dream?
Mm-hm.
A dream about what?
These shapes.
Coming out of the stone.
And what about them?
They're all around me.
I want to touch them.
But when I try to, their
flames, they're everywhere.
Flames?
I want to run
away, but I can't.
I can't move.
I can't even scream.
I just have to stand there
and watch myself burn.
You forgot my coffee.
Morning, dad.
Cathy.
Hurry, before it gets cold.
Sunny side up, just
the way mom made it.
That kid last night
asked you how it felt
knowing you were gonna die.
Do you think that's
the way my mother
felt every day of her life?
Every day.
Just the sound of
those footsteps
coming up the stairs when you'd
come home drunk off your ass.
And you'd send me
into my room and tell
me to practice so I wouldn't
have to see you hurt her.
But I heard it.
No matter how loudly I
played, I heard it all.
How does it feel?
You look so much like her.
When I found out they
were letting you out early...
I mean, 22 years for
beating that woman to death?
You don't think it was
enough either, do you?
Do you?
Please don't do
this to yourself.
Think of your family.
I don't have a family anymore.
I'm not worth it.
[knocking]
Catherine?
Catherine, it's Ralph.
She'll be right there.
Fuck you.
Don't move.
Hi.
Hi.
Are you OK?
Yeah.
Look, I'm sorry to
interrupt, but your phone
has been busy all morning.
What do you want, Ralph?
The "Gigue" we liked, we
found a hiss on the track.
And we need to listen
to your other takes.
Can we talk about this later?
We're going to New
York in two days,
so if we need to rerecord,
it's gotta be today.
We don't need to rerecord,
just you can pick another take
and I will see you
at the airport.
It's all right.
I was just leaving.
No.
Who's that?
I... I have to
talk to you later.
Catherine?
Catherine?
Did you push them for Bogota?
No, dad, I already told you.
They're sending me to Israel.
I can't pick my own assignments.
If you don't
let them know what
you want, how can you expect...
Dad, I think I'm doing OK.
Did you hear that I beat
Raymond Paul to the cover?
I heard it.
Well, I think that's
pretty good, no?
Actually, I
think he's lost it.
He has been playing it safe.
You, you on the other hand.
What?
You take too many risks.
So I'm not
pushing hard enough,
but I'm taking too many risks.
Your cover shot was
taken with a 50 millimeter.
That means you were right
in that hot, in the fire.
What the hell were you thinking?
Oops.
[girl humming]
[distant explosion]
[camera shutter clicking]
Hi.
Someone came in
yesterday, an older man,
tall, carrying a duffel bag.
Oh, the guy who used
to own this place.
Has he been back?
No, I don't...
well, Rogelio?
Rogelio?
The man from yesterday,
did he come back here?
No.
Why?
I just need to find him.
Why don't you leave your
number and we'll call you
if we see him.
I'll go.
OK.
555-0151.
Thank you.
[music playing]
[phone ringing]
Hello?
HANNAH (ON PHONE): Mommy?
Mommy?
She's not here right now.
HANNAH (ON PHONE): So do you
know when she'll be back?
No, I...
I think she'll be
out for a while.
HANNAH (ON PHONE):
When she comes back,
can you tell her
her daughter called?
I'll do that.
HANNAH (ON PHONE):
Thank you very much.
Bye bye.
[chatter]
Yeah, you can't trust the guy.
Thank you very much.
No, you know what?
We'll take care of it here.
No, don't worry about it.
It's no problem.
Look, Tom, I'm gonna have
to call you back, OK?
Yeah.
OK, bye.
Hey.
- Hey.
You're looking exceptionally
professional today.
I was running with dad.
Ah, what's up?
I was just
wondering if you had
my contact sheets from Angola.
Um, yeah, sure.
The contacts, they're in here.
You know what,
they're at my place.
Um, I can get them to you
first thing in the morning.
I could come by
and pick them up.
Sure you could,
but what's the rush?
Oh, I don't know.
I just want to see 'em.
So what time do you
think you might be home?
6:30, 7:00.
Yeah, and there's a
bunch of us that are
going over to the jazz bistro.
Come.
We want to celebrate
your success.
So 6:30, 7:00?
OK.
OK.
Oh, hey, this was
at reception for you.
Thank you.
See ya.
$50 for littering.
Are you OK?
[speaking french]
Come with me.
Wait here.
Wait.
[humming]
Liquor de berry, my
grandmother's recipe.
You drink this?
No only on two occasions,
when you are sick
or when we celebrate.
Today, we celebrate to you.
Drink.
I really should be going.
What's wrong, Olivia?
You can tell me.
Yesterday, I saw this
light in your eyes.
And I thought...
I thought finally I'm
seeing the real Olivia.
That's right.
That's how it should
always be for you.
That's what you deserve.
You don't know what I deserve.
REPORTER (ON TV): The
exhibition inaugurated
this morning at the newly
reopened waterfront site...
Olivia?
REPORTER (ON TV): ...of
the Royal Ontario Museum.
Olivia, come here.
Not now, John.
No, come here,
you've got to see this.
REPORTER (ON TV): ...taking
her work around the world.
Come on.
REPORTER (ON TV):
...from London to Rome...
Take a look.
REPORTER (ON TV): ...and
Paris via Geneva and Oslo.
We are very proud
that Ms. Amanda Trent
could take time out
of her busy schedule
to spend a few moments...
- Look familiar?
REPORTER (ON TV): ...with
us this afternoon.
Ms. Trent, I've read that
these sculptures go back
to your early childhood
being shuttled around
from foster home to foster home.
Well, when you have
no roots, you're always
searching for an identity.
And as a child, I found
mine through my dreams.
Look at that right there, huh?
You copied them all off her.
That's exactly like
one of your pictures.
REPORTER (ON TV):
Can you tell us
about those childhood dreams?
Well, there were two big ones.
First, I wanted to be adopted.
REPORTER (ON TV): Which at the
age of seven came true for you.
AMANDA (ON TV): Yes,
yes, indeed it did.
And I'm very lucky I
have wonderful parents.
REPORTER (ON TV):
And the second dream?
Well, I always wanted to be
an artist and live in Florence.
REPORTER (ON TV):
Well, you've certainly
taken care of the artist part.
And who knows, maybe Florence
isn't too far behind?
AMANDA (ON TV): No,
I think my family
and I are very happy
on the farm up north.
REPORTER (ON TV): Well,
thank you so much for being
with us here today, Miss Trent.
It's been a great pleasure.
AMANDA (ON TV): Thank you.
REPORTER (ON TV): And I want to
remind our viewers that Amanda
Trent will be signing
copies of her book at Indigo
tomorrow after...
Why did you give me all
that bullshit about dreams?
Why did you lie to me?
The guys will be
here in a minute.
[cello playing]
[music playing]
MAN (ON PHONE): You've reached
the Windsor Apartments.
Please leave a message
for the occupant.
HUSBAND (ON PHONE):
It took me two hours
to get Hannah to sleep.
She's your daughter.
She knows your voice.
You can walk out on our
marriage, but how can
you walk out on her?
I've had it.
What kind of mother
have you become?
You want out?
You got it.
Just do Hannah a favor,
change your number.
Change your fucking number.
Hey.
Hi.
So did you find them?
I just got to
throw on my jacket.
Because we're gonna be late.
Late?
Yeah, for the jazz club.
But I'm not going anywhere.
No, no, no, no, no, no, no.
No, there are at least 15
people waiting in a smoky bar
to congratulate you.
George, I just need
to see the contacts.
Nat, how many times
do I have to tell you?
You got the cover.
Nobody else took
this picture, you.
Why can't you accept that?
I just need to see them.
No, sorry, you don't get
anything till we go out
and celebrate.
George, just give me
the goddamn contacts.
No.
George.
Sorry.
George, I want
my contact sheets.
Mm, can't do that.
George, give me
the fucking contacts!
I'm sorry.
I'm very sorry.
I didn't mean to...
I'm sorry.
I need to know what
happened to the little girl.
OK.
Here you go.
Nat.
[phone ringing]
Hello?
ALEXANDER (ON PHONE):
I've got news.
Oh, hi, dad.
Can I... Can I call you later?
ALEXANDER (ON PHONE): I think
you'll want to hear this.
I just spoke with Orson Stewart.
I can't call you tomorrow?
ALEXANDER (ON PHONE): Orson
Stewart, the editor of "Time."
Yeah, I know who he is.
ALEXANDER (ON PHONE):
He wants you on staff,
the international desk.
Really?
ALEXANDER (ON PHONE): Yes.
Do you realize what this means?
He's in town for
two days and wants
to meet you for lunch tomorrow.
His office will
call and confirm.
Wow, that's... that's...
that's great.
ALEXANDER (ON PHONE): [laughing]
Hey, we did it, Natalia.
We did it.
- Bye, dad.
ALEXANDER (ON PHONE): We did it.
[fire crackling]
[gunshots]
[chatter]
[camera shutter clicking]
[explosion]
[screaming]
[heartbeat thumping]
[camera shutter clicking]
[explosion]
[helicopter blades whirring]
The entire
village was on fire.
And I'm inside.
And everyone is running around
and they're all screaming.
And there are children, there
are children everywhere crying.
And then... then I see
her through a doorway.
And I go inside the hut.
And it's so hot inside
and there she is.
She's sitting on the
floor next to her parents.
And they're dead.
And she's so quiet.
So she doesn't wake them.
And I have only seconds and
I can hear the wood cracking
and the flames are
getting closer.
And... and instead
of saving her I...
Photographed her.
What have I done?
Your duty, your job.
But dad, in the
moments that it
took for me to get that shot,
I could have pulled her out.
I killed her.
Not you.
The war killed her.
How can you say that?
What you're going
through right now,
this guilt is only human.
And don't forget, we are not
the ones who raped the women
or put fire to the villages
or execute innocent people.
All what we are doing is
trying to find the truth.
So that people who
are really guilty
can be touched by the world.
Dad, you said that
for an interview
in "Life Magazine"
in November, 1972.
Uh, your 20.
Mm-hm.
And 20 more.
Bull shit, Marty.
[laughs] That's for
you to find out, cowboy.
Come on.
There's a month's disability
sitting there, John.
Hey, I got a wife
for that kind of shit.
All right.
It's your money.
Hey, talk of the devil.
What do you think Olivia?
Is Marty bullshitting me?
What do you say?
Well, I'm gonna
take that as a yes.
Now, there's your 20.
And I'm gonna raise you 40.
Thank you.
You're called.
Moment of truth, Marty.
I got a couple of pairs.
- Full house.
All fives.
Yee-haw, I knew it.
I fucking knew it.
Thanks, Olivia.
What'd I tell you?
You can't bullshit
a bullshitter, huh.
Hey, talking about bullshit.
Why don't you show the
guys your pictures?
Pictures, what pictures?
Well, my wife's an artist.
Didn't you know that?
Really.
Yeah, she's the best
bullshit artist in town.
Come on, Olivia.
Show the guys your pictures.
Come on, let 'em see 'em.
Hey, relax.
It's only a bunch of pictures.
We playing cards or what?
Come on, deal.
[television chatter]
WOMAN 1 (ON TV): So
something along this OC-20,
a little bit lighter than
the existing wall color.
And it'll completely...
WOMAN 2 (ON TV): It'll look like
a textured wall instead, OK.
WOMAN 1 (ON TV): It sort
of looks like a loft,
like a loft deal.
MAN (ON TV): And
if painting that
with your husband, if
your marriage survives,
you can get through anything.
WOMAN 1 (ON TV):
That's what we say...
What are you doing?
Hey, give me that.
Olivia?
Come on, Olivia, don't be silly.
Give me that thing.
Look, if this is about
what I said tonight.
I'm sorry, OK?
Now give me back the remote.
Olivia.
[sighs]
She's my daughter,
the artist Amanda Trent.
What?
There was this boy at school.
We were just kids, you know.
When my father found out
about it, that was it.
What are you talking about?
He locked me in my room.
The only thing that kept me
from going crazy was to draw.
Olivia?
All I know of my baby
was her first cry.
Then my father took
her away from the house
and gave her up for adoption.
Olivia?
This joke is over.
It's not a joke.
She's my baby.
I know she is.
John.
John.
I'm going to bed.
Don't come in
there until you get
this bullshit out of your head.
"Thank you for what
you did for my country."
[music playing]
[knocking]
Miss Catherine Saber?
I'm Detective Mendocino.
Do you identify this
man as Alan Baxter?
I'll be outside.
[phones ringing]
Miss Saber?
I'm so sorry.
It's my wife, they
would have killed their.
But your father, he
tried to stop them.
So they... they beat him.
They beat him instead.
And he let them so she could...
she could get away.
He saved her life.
I know this must be
very difficult for you.
Excuse me.
[chatter]
[chimes ringing]
Good, and to who is this?
To Helen.
Helen?
There you go, Helen.
And to who am I dedicating this?
To Mark, please.
OK.
I really like the book.
Oh, really?
I'm so glad you're enjoying it.
OK.
- Thank you.
See you.
Hi, how are you today?
I'm good, thanks.
Good.
So this is to?
To Anita.
Anita.
Well, thanks for coming
out to the show, Anita.
I really appreciate it.
Hi.
Avery with a Y. Thanks,
I'm honored, really.
My pleasure.
Thank you.
Hello.
Your name?
I'm so proud of you.
Well, thank you.
You have a
family, a good life.
You've followed your dream.
Well, dreams are all
we have, don't you think?
What's your name?
Olivia.
It's a pleasure
to meet you, Olivia.
Excuse me, Olivia,
you forgot your book.
Have we met before?
I am...
I'm your biggest fan.
That's what my
mother always says.
Amanda, Amanda, I'm...
I'm sorry but
people are waiting.
Thank you for coming.
You don't know how it
felt holding her in my arms.
If only I didn't
let go that day.
My father didn't take my
daughter away from me, Max.
I gave her up myself.
But Olivia, you
were only a child.
I could have held on tighter.
Olivia.
You can't imagine what
a strong and beautiful
woman she is.
Who do you think
she got it from?
Who do you think
she got it from?
Thanks.
So Orson, what
are you thinking
for Natalia's first assignment?
Lima.
Ease her into it.
Lima is not the way
you make your bones.
Tomorrow she is leaving
for the West Bank.
Yes, of course, Alexander,
but maybe Orson has a point.
She can handle herself, Nigel.
I know it.
Here she is.
Orson, that's my
daughter Natalia.
My pleasure.
Hi.
Sit down.
Natalia, have a seat.
I can't.
You can't what?
I can't do this.
What do you mean?
I can't do this
work anymore, dad.
Don't be ridiculous.
I'm very sorry.
Sorry.
Oh, excuse me.
Natalia.
Excuse me.
Hey.
Hi.
Thank you very much, but I...
I can't accept this.
Well, I gave that to you.
But I can't take it.
You keep it.
It was my mother's.
I'm sure she would have
wanted you to have it.
Do you have any
idea what the time...
Look at you.
Where have you been?
Olivia, I asked you
a simple question.
I went to see my daughter.
I went to see my daughter
at her book signing.
You look like a whore.
How many guys you
screwed behind my back
while I've been in
this wheelchair?
You're never to see that
woman again, you hear me?
Never.
Now, give me that book.
No.
Olivia, give me
the goddamn book.
Olivia.
- No.
- Just give me that book.
- No.
Olivia, give me...
give it to me, Olivia.
No.
Give me the book.
No, no.
[thudding]
John!
John!
Don't touch me.
I can do it myself.
- I want to help you.
- Don't touch!
Get off!
I'm sorry, John.
Nothing happened.
I really didn't mean to...
Nothing happened, Olivia.
You know, the most
pathetic thing about you,
Olivia, is that you really
think that I need you.
I don't.
No.
It's you who needs me.
30 years ago, I asked you why
you wanted to marry a cripple.
Now I know why.
I'm the reason that you
can look at yourself
in the mirror every
morning after what you did.
You abandoned your daughter.
And you took me in like charity.
I don't need your
charity, Olivia.
Shit.
[laughing]
Are you crazy?
Shut the window.
Olivia, shut the window.
HANNAH (ON PHONE): Hi, mommy.
Did you get the picture,
the one with my new haircut?
I wanted to know if
you like it that way.
I know you're busy, but maybe
you can write and tell me, even
just a postcard or something.
I miss you.
I hope you can come home soon.
Bye, bye.
[girl humming]
You haven't been further than
the grocery store for 50 years.
It's my dream.
Florence?
Watch out Michelangelo,
here comes Olivia.
Olivia, god created dreams
so he could laugh at us
all when we wake up from them.
You know what they used to say
about me when I was running?
It looked like I
was flying, flying.
And then in just one instant...
You always thought
that I didn't
know what it was like
for you, couldn't
understand what you lost.
John, I lost a child.
That's my money from the
grocery store, $1,200.
$1,200?
It's enough to get you there.
That's right.
Then what?
Florence, no money, no
job, no place to stay.
It should be a short trip.
It doesn't matter.
I'm going to Florence, even if I
have to come back the next day.
I'm going to take a shower.
Best that you're gone
when I'm through.
I'll leave your precious
art book on your bed.
I am not going
to let you do this.
I do not want that you
throw your life away.
I'm going, dad.
Volunteering for the
United Nations in Angola?
You think you can bring that
little girl back to life?
No, that's impossible.
That's a waste of time.
Your pictures could
be raising awareness
on other parts of the world.
Use your talent.
I will once I
find out what it is.
Photographs,
taking photographs,
that's your talent.
Don't do this to me.
Dad, this has
nothing to do with you.
We take off in 15 minutes.
Where's your cello?
I tried calling you.
I'm not going to New York.
What do you mean
you're not going?
I just...
I'll call you in
a couple of days.
A couple of days?
What, are you nuts?
Do you know how much...
Ralph, cancel it, please.
Can I at least know
where you're going?
Home.
Hi.
There's no other tables.
Go ahead.
Thanks.
OK, seat 35A, gate 23.
And you'll be leaving
in half an hour.
First time flying?
My first time everything.
Excuse me, may I?
[girl humming]
[laughs]
How are you?
How are you?
[laughing]
ALL: [laughing]
[music playing]