Carla's Song (1996) - full transcript

1987, love in time of war. A bus driver George Lennox meets Carla, a Nicaraguan exile living a precarious, profoundly sad life in Glasgow. Her back is scarred, her boyfriend missing, her family dispersed; she's suicidal. George takes her to Nicaragua to find out what has happened to them and to help her face her past. Once home, Carla's nightmarish memories take over, and Carla and George are thrown into the thick of the US war against the Sandinistas. A mystery develops over where Carla's boyfriend is, and the key to his whereabouts may be Carla's friend Bradley, a bitter American aid worker. She finds her family, the Contras attack, and she and the Scot face their choices.

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All right?

- I want a word with you.
- All right, Victor. All right, doll.

All right, doll.

Oh, my,
that step's awful high.

- What are you having? - I'm going
to the Victoria to visit my sister.

- You want a long ticket or a short one?
- I've only got 25 pence.

I think you'll be cheaper with a
long ticket. Stick your money in there.

You hold onto that and take a walk
down to that first seat there. OK?

Nice and steady now.

I'll get this nice inspector here
to roll it up nice and tight for you.

All right, Victor?



There you go.

All right, pal.

That seems correct.

I don't know.

What the fuck's that?
I hope you're going to pay for that.

I'll make it up later.

- And what's this?
- What about it?

McGurk. He's down the road and he's
after your blood. Just give me that poster.

Be careful.
That's a work of art.

A work of art?
McGurk scratching his balls?

You've already got one suspension
under your belt, Picasso.

You just watch yourself.

I don't know.
I'm trying to keep you in a job.

All right, pal.



35, please.

All right, Inspector McGurk.

Tickets, please.

Ticket, please.
Your ticket.

I must see your ticket, please.

You show me ticket.

- You have no money?
- No money, no ticket.

No money. Look, it's an offence.
I can get the police here, you know.

- You understand police?
- No.

There must be something
that you have...

- I have nothing.
- You have no identification?

You're telling me you've got on the bus
with no money, no ticket, no identification?

This is ridiculous.

You must have some means of showing
me who you are, where you're...

Shylock, it's only 45 pence.
Leave the lassie alone.

- No, no.
- You take it, doll.

- No. I've got you this time, smartarse.
- Don't take it out on her.

- What's your name, Miss?
- She doesn't understand English.

- You listening? She doesn't understand.
- Get back to your cabin.

I'm not going to any fuck all cabin.
She doesn't understand.

I'll ask you one more time. What is your
full name? Give me your full name.

She can't even understand.

I'm telling you. You've got nothing to do
with this. Just you get back in your cabin.

Are you enjoying this?
Are you?

If you don't get back...
You're in trouble, son.

I'm in trouble?
I thought she was in trouble.

- Are you going to throw us a laugh?
- You're in trouble.

This is embarrassing.
These people know this.

- I think it's terrible.
- It is terrible, "hen".

Are you listening?
It's terrible.

- Just you get back in your cabin!
- It's only fucking 45 pence.

- You fucking miserable prick, you!
- Leave her alone.

It's disgusting.

Hey, darling, come on.

Thank you.

- Hey, calm down.
- Open that fucking door!

Please calm... Watch your language
in front of the passengers, Mr McGurk.

Ho!
You fucking baldy bastard, you!

- George.
- All right, Sammy boy.

What you been up to? He's waiting for you.
You going in like that?

- Fucking really.
- Catch a grip of yourself.

- Just get a wee bit smartened up.
- Who the fuck are you? Coco Chanel?

It'll be OK.
Thanks, Sammy.

- What the fuck? Give us my...
- Hey! No smart answers, all right?

- Sammy, come on.
- Keep the trap shut, George.

Come in.

So the scratcher
got you at last.

"You big, constipated
miserable prick, you. "

I don't remember
saying constipated.

You don't want this job, do you?

I need it.

Like a hole in the head,
you need it.

Right, a week's suspension.
Next time you're out.

Why don't you give me
a shot on the motorbike?

- I'm fixing it the noo.
- That's what you said the last time.

I know, but it was
broke last Saturday.

But you told me I should
come last Saturday.

Once I've fixed it,
you can get on it.

- How are you doing?
- George Lennox?

- I remember you on the bus.
- Yeah, hi.

- How are you doing?
- Well, I got your address from the bus.

And I just want
to say thank you.

No, not at all.
It was a pleasure.

- And did you lose your job?
- No. Short sabbatical we call it.

- I'm very sorry.
- Don't worry about it. It's no problem.

I brought... This is for you.
This is present for you.

That's really nice of you.
Thank you very much.

Better stick it in my pocket.

Thank you very much.
That's really nice of you.

Listen, do you want
a wee cup of coffee?

- I can't. - I need to say
thank you for the present.

Please. Just two minutes. Yeah?
You make sure she stays here, right?

You stay there. OK?

What's your name?

- Where'd she go?
- She ran away.

I thought I told you
to look after her.

- She ran away up there.
- That way?

- Aye.
- You watch my stuff, OK?

See you later.

- Thanks very much.
- Keep the change.

- Two coffees.
- Two coffees, OK. Sorted that.

It's cold. Are you cold?
It's always cold here.

Listen, erm... George.

- Carla.
- Carla.

- Very nice to meet you, Carla.
- You, too.

So where is it you come from?

Don't ask me question.
No question, please.

- No questions?
- No.

Fair enough, no questions.
It's a really nice name, Carla.

Thank you.

- I don't suppose you've got a second name.
- I'm sorry, I have to go.

No, you don't need to go.
Don't go.

I'm sorry about your job.
I have to go.

Why do you need to go?

I have to go.

Carla, you give me
your phone number?

Come on.
I'm amazing company, really.

I'll even let you drive my bus.

9540119.

9540119.
I'll phone you.

- You want the change, Sammy?
- Aye.

All right, girls?

What's up with yo u, man?
You've hardly said a word all night.

- Nothing.
- Nothing, aye.

- Come on, tell your Uncle Sam.
- Get off, Sam.

Is it McGurk?
Is it something to do with the work?

It's nothing to do
with the work, Sammy.

You playing hard to
get with this man, eh?

- What you saying to him?
- Tell him to shut up. He's nipping my head.

- Shut up.
- Nothing like a good night out!

I would like to do one of
my favourite songs.

Let's see all the couples on
the dance floor for Miss You Nights.

George, come on.
Come on, George.

Is he steaming?

Oh, listen, Rosemary can get us
a great discount with flowers.

- Good, good.
- Aye.

And I don't give a toss
about a fancy car.

Well, we'll not
get you one, then.

Are you OK?

Aye.

Kiss me.

For fuck's sake, driver,
what's the matter?

Give us a shot of that wheel.

For fuck's sake!

Come on, driver!
You're going the wrong way.

- God Almighty.
- Aye, right.

Will this be happening every second before
we get off at our stop? Fucking nut job...

Thank you.
Thank you.

Thank you.
Thank you.

Thank you.
Thank you.

That was really good.

Thank you.

So how come you gave me the
bum telephone number, Carla?

Sorry.
I'm going.

You keep running
away all the time.

Carla?

Fuck you, you again?

Yeah.

Carla, why did you give me
the bum telephone number?

- Why did you ask me?
- Because I'm fucking concerned about you.

Jesus Christ,
you don't live in here?

- This is my home.
- It's a fucking terrible place.

Listen, you can't come in here, OK?
You can't.

- OK, then.
- Go!

- OK.
- Go now!

- Carla, Jesus Christ, this place is a dump.
- Stop following me.

I don't even know why
you're staying here.

Just five minutes, darling,
and I'll be away.

- Are you OK?
- Will you open this door?

Carla.

Who do you think you are?

Talk to me.

Jesus, what a dump this is.

- You don't understand what get out means.
- Carla, calm down, it's OK.

- Carla.
- Get out!

- Carla, come here, come here.
- Get out. Get out. Get out.

It's OK.

It's OK.
It's all right.

I'm sorry.

Look, I'm sorry, I...

What the hell's
going on in there?

Open this door or I'm
gonna boot the fucker down.

- Who the hell are you?
- Spiritual advisor.

- Corporation supplying them nowadays?
- Very good.

- Right, you, out.
- It's not her fault.

Out. You, too because
you knew the golden rule.

- It's not her fault. I barged my way in.
- Barged your way in?

Nobody,
but nobody barges past me.

You fucking listening
to what I'm saying?

I want you two out in five minutes
or I'm phoning the police.

- You're no' listening.
- Quiet!

You've got four minutes now
and I'm phoning the police.

Carla, look, you couldn't
stay here anyway, darling.

Look, come with me.
I'll take you someplace better than this.

I've got a pal and
he's got a flat,

and there's a room in his flat
and you can stay there.

It's a fucking huge flat and he's got a big
room and you can have that, no rent.

I'll sort that out with Sammy.

You don't have to pay
any rent or anything.

Listen, it's a nice place, Carla,
you know?

Much better than here.

And we can go tonight.
Get you sorted out.

OK.

Aye, OK.

Right, just go up the stairs.

I hope Sammy's got milk.

- All right, man.
- All right, Sammy.

Er... Sammy, this is Carla.
Carla, Sammy.

In you go.

- What the fuck are you playing at?
- Not now.

Coast clear?

- What do you mean?
- Empty.

- Yeah.
- Good. Come on, Carla.

- I tell you what, sack your cleaner.
- Just can't get the staff.

Don't you worry, Carla.
We'll soon have this place tidied up.

You sit there, darling.
Sit there.

Get this fire on, heat you up.

I'll be back in a minute.

Come on.

- That'll be breakfast for three, then, aye?
- Don't jump to conclusions.

I'm not jumping to conclusions.
It's just...

You're auditioning bridesmaids?

Just thought you'd let the best man
have a wee say who's who.

No, it's Maureen's pen
pal just flown in, aye?

Who did she see? The groom to be,
number 72. There you are.

Oh, far be it for me
to jump to any...

For fuck's sake, Sammy.
It's no' like that. Ok?

It's just...

I don't know what the fuck it's about.
I'm just trying to help a lassie out.

That's all right.

There's some tea, Carla.

Thank you.

Listen, I had a word with Sammy and
you can stay here as long as you like.

Sammy's a good man.

Nicaragua...
is where I come from.

Nicaragua?
Right.

Did I hurt you?

Did you hurt me?

No, I've had a lot
worse than that.

- Are you sure?
- I'm sure.

Crazy guy.

Crazy dancer.

All right, doll.

Fucking stupid...

That's fucking clever, mate.

Did you see that there?
See the way he pulled in like that?

- Are you blind?
- I had a fucking indicator on!

Do you not use your mirrors?
I'm drivin' the fuckin' bus!

You shouldn't pull into
a bus stop like that.

Check your bloody mirrors!

Why pull in?
The taxi's there.

I was pulling in past the bus stop.
Do you not use your mirrors?

I'm driving the fucking bus.
Passengers could be walking off there.

- Never mind your passengers!
- Fucking sorry.

I'm asking for a bit of
professional courtesy.

- Passengers could walk in front.
- Never mind them. Look at my back light.

- Away to fuck. You use your mirrors.
- Your punter's fucked off.

You wee shite, get back here!

- You're paying for my back light.
- Let's try and catch him up.

Open this door!
Where are you going?

- Let's just go for a wee run.
- Open this door!

Get this door open! My money's in
that taxi! Open this door up!

- We'll try and find him for you.
- Are you off your head?

My money's in that fuckin' taxi!

Calm down.
Calm down.

Shit.
My money's in that taxi!

- Right, stop this bus right now!
- I'm taking you on a wee tour.

Open this door!
I want off this bus right now.

- A magical mystery tour.
- Open this fucking door!

Look, I'll tell everybody it's my fault.
Just pull the fuckin' bus in, will you?

- Want off?
- Aye, I want off.

- Sure you want off?
- Aye, I want off. Now, open the doors!

You want to see a doctor.
You're off your fuckin' head.

Aye, so people tell me.

What are you waiting for now?

You need to all get off the bus.
It's out of service.

I'm not joking.
You need to get off.

- The guy's a pot head.
- We could have all been killed.

Ho.

- Ho! Off the bus.
- What's the bus doing here?

Just fuck off.

OK, OK.

- Where are we going?
- Please don't ask me questions.

- Why?
- No questions.

"Better by bus. "

There we are.

- Eh?
- Beautiful.

Yeah.

This mountain over here
is called Ben Lomond.

And this is Loch Lomond.
It goes on for miles and miles.

- It's really beautiful.
- Yeah.

I've been here hundreds of times.

First I came here with my grandfather,
my grandpa.

I was just a wee, wee boy.

He loved it here.

The thing I like about it is it's always
changing all the time, you know?

The sky, the water, the ferns.

I don't know. When I'm pissed off,
it makes me peaceful.

And then when I'm happy...

it makes me more happy.
I don't know. I can't explain it.

Anyway, let's have a seat.

There we go.

I've got a wee surprise.
You like surprises?

- Yes.
- Good.

A special treat.

Da-da.

- You like this?
- Yes.

I love this.

Get it off.

Yes!

Here.

OK, toast.

Make a toast and you're
bound to get good luck.

To all my family,
to all my friends,

to all the world,
to the band I play with,

to the music, to the drinks.

That's lovely.

And... to Antonio.

Wherever he is.

Your... boyfriend?

He was.

And to Nicaragua libre.
Free Nicaragua.

Nicaragua libre.

In a oner.
In a oner.

Oh, fuck.

Ya... fuckin' bastard.

Go on, you bastard!

Fuck it.

Fuck it, it's no' working.

It's freezing. Come up the back.
It's warmer up here.

Oh, that's better.

Oh!

Oh.

Oh, your hands are cold.
Cold.

Yeah.

OK?

It only happened a couple of times,
sweethart.

And have you slept with her?

No.

Did you want to?

For fuck's sake, Maureen.

You've never ever
lied to me before.

Probably. I don't know.
I hardly know her.

What am I gonna do?

Look, Maureen,
you're my best pal, but...

I just don't want to marry you.

I tried to kid myself on.
I just can't do it.

My God, you mean it.

I wish I didn't but it's true.

Maureen.
Maureen. Maureen.

Maureen.

Come here, please.

Carla?

Carla?

Carla?

For God's sake.

Fuck, fuck, fuck.

Fuck!

God.
Fuck.

Get up, for fuck's sake.

Fuck!

Oh, fucking Jesus fucking Christ.

Oh, Carla.

Come on.

Shit.
Fucking shit.

Excuse me.
How's the lassie?

Well, erm, she's just been
seen by the consultant

and... well, she's not responding
as well as we'd hoped,

so we're just going to give her a
wee bit of help with her blood pressure.

So erm, it'll be an hour
or so before we know.

Any chance I can sit in there?

I'll check with the doctor. If you want
to take a seat and I'll get back to you.

No problem.

How's she doing?

It's close.
Too close for comfort really.

- Jesus Christ.
- She's been through a lot.

Twice in six weeks is
more than most people...

What?

- I'm sorry. I thought you knew.
- Knew what?

Well, she went through much
the same thing six weeks ago.

I was on call at the time,
took her in.

She's... I'm afraid to say.

- I'm sorry. I'm going to have to dash.
- It's all right. Thanks a lot. Cheers.

Fucking hell, Carla.

"Carla's symptoms suggest
post-traumatic stress.. "

"Dancer with group
in Nicaragua.. "

"Said country in state of war.. "

"Her group toured areas
of extreme danger.. "

"Involved in some sort of
incident to do with that.. "

"Patient becomes confused on being
questioned about it and can't... "

"won't give account of
what actually happened. "

Jesus.

"Came to Europe seven
months ago with group.. "

"intention to promote
support for cause. "

"Stayed in UK when group
returned to Nicaragua. "

"Joined up with Salvadorian refugees
in London for two months.. "

"Chaotic existence.. "

"Knew Glasgow only as
their first venue in UK.. "

"No friends here. "

- I'm fucking sorry, Sammy.
- It's all right.

- Is she all right?
- I don't know if she's... She's all right.

There was a lot of letters
lying about the floor.

- Where'd you put 'em?
- Hung 'em up in the kitchen to dry out.

I'm just gonna take
this wee photo.

I don't know what the fuck it is.
It means something to her, anyway.

What'll we do with 'em?

Don't know.

Get every one of them.

These two look the best.

Carla.

Carla.

- All right, darlin'?
- Fine, sweetheart. You?

I'm OK to you.
How are you, Carla?

- Bien.
- Bien. That's the three of us all right.

- Come on. Up you come.
- You look lovely, Sammy.

Aye, so do you.
Real men wear pinnies, do you not know?

Good to see you, darlin'.
In you come. In you come.

I'll whip that off
you later on.

Hold on there.
Wait a minute.

Just a wee minute.

- Now is the time.
- Now is the time. Da-da!

It's beautiful.

Thank you.

- It's nothing, darlin'.
- That's nice, Sammy boy.

- You'd never do this for me.
- I'd do this for you.

- Would you fuck.
- I would.

It's really beautiful...
but there is one mistake.

This one is A, not O.

- You fucked it up.
- I got a wee dictionary.

Spanish-English dictionary. Oh, well,
you can't get the grammar in everything.

- Thank you.
- Hey, ho, ho.

Ho, ho, ho, enough.

No... no hands.

Get out of that.

Well done.

Come here.

- Have to cheat a wee bit.
- No hands.

These tights are gonna be
a bit of a problem.

Oh, fucking hell.

My teeth are going to
go fuckin' flying out.

- OK?
- Mm-hm.

You need to kiss it better,
though.

Stand up.

Stand up.

OK.

Oh, no, no.
Fuck it, fuck it.

Enough of that.
Come here.

Fucking hell, Carla,
what happened to your back?

I'm sorry.

Carla... Carla, I'm sorry.
I'm really sorry.

I'm sorry, darling, OK?
It's just a shock, OK?

Just hold me.

I'm sorry, Carla.

I'm sorry, baby.

Can... can you tell me
about the letters?

- The letters?
- The letters.

From Antonio...
Mi companero.

He was... hurt.

- Really hurt.
- He was hurt?

Too hurt.
Too hurt.

It's OK.
It's OK.

Please don't cry.

More than one letter,
I never opened them.

After the day in
the mountain...

I feel very strong.

And I opened the letters.

What did they say?

Nothing.
And everything.

I don't understand, darlin'.
What do you mean?

Song.

A simple song that
we wrote together,

until the...
We just played.

What happened to him?

Carla,
what happened to Antonio?

Promise not to ask.

Not to ask.

- Promise me.
- OK, OK, I promise. I promise.

On the life of your mother.

Say it.

On the life of my mother,
I promise I'll never ask.

For you, to Nicaragua?

For me.

- For me?
- For you.

Listen, you can't imagine
the situation at my home.

It's too dangerous for you.

But listen, Carla, we can't keep running
away from this. We can't bury this.

Am I right or am I wrong?

- You are right.
- I scared you when I said that.

But I don't know
where Antonio is.

Carla, you have nightmares about this guy.
You dream about this guy.

You don't know where he is,
whether he's hurt or he's alive,

whether he's dead.

We have to find him.

- This is my mum.
- Your mum?

Yes.

And this is my sister...

Lisa and Francisca.

Goodness.

- Who's that?
- Bradley.

We'll find him the first.

- Before your family?
- Yes.

He'll help us find Antonio.

So what does he do?

Now he work for Acci?n Cristiana
Permanente por la Paz.

A US voluntary group.

So he's a human
rights campaigner?

Yes.

Who's that?

Antonio.

Hey, Carla, any of these?

No, we can't.

- Carla, I need a drink.
- No good for you.

Carla, I need it.
I need it.

You want to live in
the toilet one week?

- No.
- No good for you. Come on.

Fuck it.
Yeah, yeah.

George, come on.

Carry on, carry on.

Carry on.

Come on!

George! George,
do you have money?

- Money?
- Yeah.

You have ticket,
you have to pay.

- I've no' got any money.
- No money, no ticket.

- You've got the money.
- Yeah, I know.

Skip on for nothing.

George?

Let her see it.

Carla,
tell her she can keep it.

This is for my family.

The bag's too heavy anyway.

You like it?

Here.

OK.

Jesus.

- Buenas.
- Buenos d?as..

OK. We have good luck.
He is here.

- Bradley?
- Yeah. We have to wait.

OK.

The delegation that we
have coming down now...

- Sit.
- OK.

From Vermont we have the March 8th
National Women's Delegation.

They're bringing down a pattern
for this woman from Colorado.

They need to decide where they're
going to go. Women's places.

That's him there, isn't it?

Mm-hm.
This is Bradley.

They were there in '84 and want
to go back and visit a family.

- Press coverage?
- No press coverage.

I don't think there'll be any outcome.
It's Bradley's turn to pick up reports.

Everybody needs to turn
your reports over to him.

- Let me have them.
- Here's my report.

- That's mine.
- That's mine.

- Photographs?
- Yup. Watch out, this one's...

- So, are you going to go through 'em?
- What's this?

I don't know which one it is.

Uh... "An eerie silence
hangs over the scene,

as we view the charred remains
of the house and farm

that was once the
Enrique Schmitt Cooperative.

Vultures fly overhead. My eyes fill with
tears as I examine the burnt-out remnants

of their humble homes. "

Jesus, Laura, this is Witness For Peace,
not War And Peace.

You know, Laura, we really need specific...
specific information.

- It's there.
- No, it's not there.

- Did you read the rest of it?
- Tomas? Where's his last name?

All right, now I've read it.
His name isn't there. It's Tomas who?

How many Contras...

Wait a minute.
Wait a minute.

Laura, we need time, date, location,
fatalities, civilian or otherwise.

- You want drink?
- Is the beer OK?

Yes, it's OK.
Victoria is really good.

I could murder a pint.

- Carla.
- Gracias.

Thank you.

- Have you seen people
from the Brigadista? - No.

- Vicky, Santiago, Ramon?
- No.

- Rafael? - Yeah, I hear
from Rafael now and then.

The last I heard is he's up in Esteli,
being worked to death by Norma.

Trying to get away from her.

I'd talk to her if she'd
give you 30 seconds.

Rafael, he teaches literacy,
you know?

- Reading and writing?
- Yeah.

People from the country, campesinos,
old people, young people. Well...

Look.

Here we'll find Norma.

And here is where
my family live now.

Who has to move
out from Estel?.

How come?

Well, this is where my sister
went after my brothers.

They killed one.
Mauricio.

This is Esperanza,
where they live.

And here the
biggest Contra camp.

Jesus, it's tricky.

- Hey, do that. Yeah, that.
- What do you do?

Hang on. That's your sphincter.
The muscles around your orifice.

- Don't.
- Hang on.

What was the last time you were
so scared, so fucking paralysed...

- Shut up! Bradley!
- ... you were taken over by your asshole.

Hence the reflexive
verb to shit oneself.

- Tricky, very tricky.
- OK. Fair enough. I get it.

Bradley,
have you seen Antonio?

- No, I already told you. Don't ask
me again. - Fucking callous bastard.

You're an ignoramus.
What the fuck are you doing here?

- Fuck you, man.
- What was that?

I said fuck you.
Is there a fucking problem?

Bradley!

Fucking wank.

- Forget him. He's an old friend.
- He's a fucking headcase.

Listen,
we'll find Norma and Rafael.

They know where Antonio is.

Uh, he say, what do you
grow in your country?

- What do I grow?
- Yes.

Er... nothing.

Any corn?

No.

Any beans?

No.

Melons?

No melons either.

I've got something, actually.

Tell him.

We grow...
It takes a long time to grow.

It takes ten years to grow.

In a bottle.

Whisky.

Try it.

He say, "What a fucking
wonderful country. "

A fucking wonderful country.

Refreshments!

Wait 10 minutes, please!

We run a co-operative.
Show your friend.

He'll see how title
deeds work here.

He want that you see
these deeds for the land.

- Deeds for the land?
- Yes.

How did he get the land?

The revolution gave the people
from the country...

500 acres of land.
Now there are 40 families there.

And he say that before
this is only for one man

and now it's for 40 men.

- One rich bastard owned the whole thing?
- Yes, 500 only for one people.

Yes and now 40
families lives and...

- So 500 for one before,
500 for 40 now. - Yes.

What happens if the rich bastard
comes back? The one guy.

I think I know what he's saying.
Tell him to fuck off.

And she... say that...

now everybody's
happy because...

because everybody...

the companero...

give the sangre,
give the blood for the revolution

and now everybody
is in this revolution.

And the revolution is new
and we defend the revolution.

And anybody...

come back
to Nicaragua...

Now everybody's free
and the people from the USA,

you know, gringos,
don't come back here.

And she say now everybody different,
this revolution,

because this revolution
is for people,

young people,
children, old people,

and everybody can't
forget everybody,

todos los companeros.

All the companeros that give
the life for this revolution.

And everybody together.

Sorry.

- Where's the bag?
- I don't know.

- The big bag.
- Hey!

Hey!
Hey!

- George, where is my bag?
- It's only a few bottles of shampoo.

- My presents.
- I know, but the bus is away.

You don't understand. This is people
living in the middle of the war.

Give me my other bag.
You don't understand anything.

- Not too bad, eh?
- No.

Could be worse.

Seems all right.
Mm.

So the lights have gone down.

- What's happening?
- Don't worry. Happens all the time.

Ach, well, who needs lights, eh?

Nice wee comfy bed.
We can give that a wee test.

A wee tryout.

- You're mad.
- Aye, it's OK, isn't it?

Yes.

Corre, Antonio.

Asesinos, hijos de la gran puta!

What's the matter?
It's OK.

It's OK.
It's OK.

- How long have you known Norma?
- Well, we met three years ago.

She very strong. She work with women.
Very strong.

- I ask is... is Norma here.
- OK.

- Can you tell me if Norma is here?
- Yes, but she's in a meeting.

- She's here.
- OK.

- Norma.
- Carla.

Me?

S?.

All right.
For me?

Thank you.
Thank you very much.

Er... I'm George.
George, aye, aye.

- Mi nombre es Carina.
- Carina. Carina.

- Maricella.
- Maricella.

- Jara.
- Jara. Nice names.

- Soweta.
- Soweta.

Mm. That's good, that.
Great. It's nice.

- Novia? Girlfriend?
- Girlfriend?

Er... tricky question.

Erm... it's a long story.
Maybe, so kind of.

Open to offers, you know.

- George.
- Companero there.

- Ah.
- There you go.

Bye. Bye. Bye.

- Hi.
- Are you OK?

- I'm fine.
- Norma, George. George, Norma.

- Hi, Norma.
- Nice to meet you.

Very nice to meet you, too.
Yes.

- Do you like our place?
- Yeah, it's very friendly.

Many little friends,
but one big enemy.

- You know.
- Yeah.

So do you have
news of Antonio?

I saw Antonio six months ago.

Just before he left hospital.

I've tried to make contact,
but it's difficult.

I understand.

We could do whatever.

Yeah, good idea.

- What do you think?
- Yeah, I've got some new pals.

A bus hit a mine... an ambush..

I want you to go home, George.

Do you mean that?

I mean it.

I want you to think about this,
and be honest with me.

I'm not going to
leave you now, Carla.

There are many
things to tell you.

We'll see this
through together, OK?

- Together?
- Together.

He thinks I'm fucking crazy, man.

- What does "corre, corre" mean?
- What?

- "Corre, corre. "
- It means "run, run. " Why?

Nothing.

Fucking bastard.

- It's OK. It's OK.
- No, no.

Carla, come here.
It's OK. It's OK.

No!

Carla!

- Jesus Christ.
- Carla! Carla! Carla!

- For fuck's sake, man, what's happening?
- Carla, Carla, Carla, Carla.

No!

Can you give me a hand?

- Bradley, is she OK, man?
- George, give me a hand, kid.

Come on.

- Come on.
- Got her, got her.

- You got her?
- Yeah. Got her, got her.

It's OK.
It's OK.

It's OK. You're going to be OK.
You're going to be OK.

You're going to be OK.

No, she won't.
She won't fucking be OK.

Ah, shit.

Piece of shit.

Give us a look.

Oh, Jesus Christ.

Fuck.

- Have you any soap?
- Soap?

Aye, soap.

Good.

Ah, it's fucking pissing out.

Ah, fuck.

- Try starting her up.
- Yeah?

Aye.

How's that?

Yes.

Are you sure?

Yeah, yeah, yes.

Well, that's what a good university
education does for you.

Hey!

Hi!

George.

Come on.

My family...

Carla?
Nice bird.

Aye.
Aye.

- Mi nombre es Harry.
- Harry?

Harry.

Harry's a real... See, Glasgow.
It's a real Glasgow name.

Aye. I tell you and you'll probably no'
understand this, but I fancy her. See her?

I fancy her and, like,
she's got a big...

mystery in her
head and her heart.

I also wanted to tell you, I love your
T - shirt. Let's make a trade.

What, you fancy her an' all?
Fuckin' no chance by the way, wee man.

Let's swap T-shirts.
I really love yours.

Take mine.
You take my Sandino T-shirt.

You want this T-shirt?
You want my...

Fucking no problem.
Take the T-shirt.

You wear this with pride, son.

- You give me this?
- S?. Mi camiseta.

I'll fuckin' wear that wi' pride,
I'm telling you. Sandino.

Sandino.
I know Sandino.

That's... oh, great.
Just watch.

Fuck.

Harry!

George, no!
Come back!

Listen, I'm erm...

You wanted me to be honest
with you and erm...

I have to go back.

But I want you to come with me, you know,
and we can take the baby.

The three of us can go back.
I don't care.

Antonio's kid?

Yes.

Do you know where he is?

I do now.

He live with Bradley
in Esperanza.

Look, Carla,
I don't understand, you know.

I don't understand.
I mean...

Do you want to be with Antonio?
Do you love him?

I don't know.

I have to go back.

I'm going to go to Estel?,
to the hostel.

And I'll stay there
for one day. OK?

I want you to
come because...

I just can't take all
this killing, you know?

It's fucking chaos.

I wish the baby is mine.

George.

Carla.
How are you?

Did you tell him everything?

No.

- En media hora en Estel?.
- Later. To Estel??

George,
let me buy you a drink!

I don't want fuck
all off of you.

Come on, my Jeep's busted.
I'm stuck here and we need to talk.

- Why the fuck did you lie about Antonio?
- Come on!

- You fucking lied to me.
- Please, just come on.

So what am I gonna get this time,
Goldilocks and the three fucking bears?

Come on.
Why can't you just tell me the truth?

- Say when.
- When, when. Tell me the truth.

Ok.
Plain and simple.

They caught Antonio in an ambush,
tied his hands behind his back

and cut out his tongue
with a knife.

And then when he was lying there,
they smashed his spine with rifle butts.

Plain and simple.

- Fuckin' animals.
- Animals, no, no.

They're all fuckin' animals. The ones that
came here last night are fuckin' scum.

Do you think they make this up
as they go along? Kid, grow up.

It all came out from Langley.

It was worked out ahead of time
from Langley fuckin' Virginia.

Know where that is?
It's the headquarters for the CIA.

Central Intelligence Agency. American.
Jesus Christ, look at this.

- The fuckin' Nicaraguans came last night.
- Kid, that's right.

One of those Contras
had this in his pocket.

You tell me how he got this.
A satellite photo.

Taken by US planes. All right, look at this.
School, school, school.

That is, I think,
a healthcare centre for sure.

That's a farm co-op, OK.

Now, wait a minute. Now, these are
attack plans those fucks had for last night.

They're right here, OK?

This is here, all right?

They came in here right over
there between those sandbags.

These are the two targets.
Shit, you don't need to look at this.

It's right in front of you,
what's left of the school,

what's left of the
healthcare centre.

Military targets...

The CIA, kid,
runs this whole show.

They run the whole
fuckin' thing.

There is no Contras,
there is no war without 'em.

You tell me what happened to Carla.
Did they rape her?

- No.
- Did they?

No.

When he was lying there...

paralysed and choking on
what was left of his tongue...

We're talking about Antonio, OK?

They poured acid
all over his face.

- Oh, Jesus.
- George, George, George, George.

George, listen to me.

You know who watched
all of this, don't you?

Oh, fuck.
God.

Oh, Jesus, fuck.

Is, er, Carla...?

Carla?
She's here?

- Fuck, she's no' here, Carla?

- Antonio?
- Antonio.

Oh, shit.

OK.
OK.

Oh, shit.

She's not right. She's no' well.
I need to find her. Thank you.

Hey, Bradley!
Bradley!

You need to help me, man.
She's in Esperanza.

She's gonna fuckin'
do herself in.

- George, what is this?
- Carla went to Esperanza to see Antonio.

- She's gonna kill herself. I need
your Jeep. - It's busted. I told you.

Piss!

Fuckin' bus...

- Jesus.
- Hey, George! George!

George, what the fuck are you doing?
What are you doing?

Kid!
Hey, hold on!

Hey! Hey! Hey!

Come on, you fucker, move.

George, second house on the left. My place
is at the end, that's where Antonio is.

- OK.
- OK.

Hi.

Hi.

Are you OK?

Do you remember these?

"This song... is special to us.

Altogether ask what's that.

I touch him once.

Just once. "

OK.

Come on.

Come with me.

- Please.
- You have to go yourself.

Come on.

Hey, wee man.
Perfecto-fucking-mente.

Uh, she wanted
you to have this.

Aye.

So er... what did you do?

CIA, Juticalpa, '81 to '84,
Honduras. You?

Bus driver, double-deckers,
number 72, Glasgow.

All this stuff, man,
it's hard to believe, eh?

Hard to believe, George.

Ah, parting gift.

Hey, Bradley.