Original subtitles

[music playing]

[non-english speech]

Let us welcome our distinguished speaker,

a true pioneer in the field of Alzheimer's disease research.

Dr. Alvaro Cruz.

[applause]

Thank you for the warm introduction.

The focus of my remarks today is a disease

that much of our community has dubbed an epidemic.

Disease for which there's no proper diagnosis,

no preventable treatment, and no cure.

It affects countless human beings all over the world.

And, like some of you, I've experienced it first hand

with my own mother.

As we all know, it was in 1901 that Alois Alzheimer

observed our Mr. Deter at the Frankfurt Asylum in Germany.

She was 51-years-old and exhibited, among other things,

loss of short-term memory.

[thunder]

[opera on stereo]

[phone ringing]

[non-english speech]

ANGELA (ON PHONE): Alvoro?

Angela.

Angela?

ANGELA (ON PHONE): Alvaro, I'm sorry.

[inaudible] a big one.

That's interesting.

[voice on pa]

[seagulls]

[sigh]

Zevvy, it's me.

I'm, um-- I'm not coming in.

I'm going to take some time away from the office.

Herbsaint.

Thank you.

[non-english speech]

[record playing stops]

[light guitar plays]

Can I have another one?

UNA VIDA (SINGING): Why should I feel discouraged?

Why should the shadows come?

When Jesus is my portion, my constant friend is here.

When Jesus is my portion, my constant friend is here.

His eye is on the sparrow.

And I know he watches me.

ALVARO'S MOTHER: [non english speech]

[skipping record]

[record player starts]

[gasps]

Sweetheart?

I'm all right.

It was just a dream.

Just a dream.

[guitar plays]

UNA VIDA (SINGING): Every morning memories stray.

Across the sea where flying fishes play.

And as the night is falling I find

that I'm recalling that blissful all enthralling day.

I found my love in Avalon beside the bay.

I left my love in Avalon and sailed away.

I dream of him in Avalon from dusk until dawn.

And so I think I'll travel on to Avalon.

[applause]

I think that's about it for today, my dear.

How you all doing?

Oh, good.

You?

[light jazz playing]

ALVARO'S MOTHER: [non english speech]

Well, don't we look comfortable?

What have you been doing?

I got a sandwich from the grocery,

went to Frenchman Street, listened to some great music.

Oh.

And then took a little siesta.

Siesta?

Mm-hm.

All right.

I'm going to go change and get dinner going.

Siesta.

[church bells]

[rap music playing]

Hey, Queeny.

Hey, sugar.

Hey.

My manager going to need some strings.

Hey, Kenny.

Mr. Stomp.

Yes, sir.

How we doing out there?

Mm.

OK, Kenny.

I'm [inaudible].

I'm fine.

How fine are you?

I got four strings.

It's no worries.

I got a return in the back I can't sell anyway.

All right? I'll take care of you.

Just give me a second.

Big Butter and Egg Man.

I got that in the other day.

Family traded in the entire collection.

Queeny.

Come on, girl.

There you go, Stomp.

Thank you, son.

It's all good.

You know that.

You got your strings?

Yeah.

Thanks to Kenny.

[chuckles]

Bye, babe.

Miss Queeny.

Y'all be careful out there.

Just headed to the diner.

I could show you some other ones if you're interested.

Just this one.

Nice choice.

All righty, $16.95.

Thank you.

You will enjoy this.

[guitar tuning]

[guitar playing]

UNA VIDA (SINGING): Make me a pallet on the floor.

Make me a pallet on the floor.

Make it soft.

Make it low so my good man won't know.

Make me a pallet on your floor.

Make me a pallet on the floor.

Make-- make me-- pallet on the floor.

Make it soft.

Make it low so my good man won't know.

Make me a pallet on the floor.

[applause]

Thank you.

When you were getting started it

was like listening to [inaudible] himself.

I've had lots of influences along the way, I suppose.

You're both very good.

Oh, uh, she'd just take this and give it

to the next person she sees.

She don't own money.

She barely know that she sung the songs.

I see to it that she don't starve

to death not knowing that.

Uh, Cruz.

Oh, Stompleg.

She goes Una Vida.

One life.

I saw the most interesting performance today.

Somewhere on Frenchman?

No.

The old diner that I used to go to with mama.

An old man and woman.

And the woman-- her voice was wonderful.

But something was off.

She's lose her place in the song and then find it again.

I don't know.

I've never seen anything like it.

STOMPLEG: Jessie, I'm going down to the Gator.

You want something?

JESSIE: No.

I'm good, Stomp.

Queeny, I'm going down to get some grub.

I'll be back in a minute.

You want something?

You need anything, Jessie is right over there.

It's 25.

5.

Have a good day.

[queeny humming]

I got to take a walk, Queeny.

Queeny?

You going to be OK?

UNA VIDA: Yeah, baby.

JESSIE: You sure?

OK.

[JESSIE AND STOMP'S VOICES ECHOING]

Dammit, Jessie.

Queeny!

Hold on, girl.

Queeny, stop!

Queeny!

Stop!

I'm coming.

Queeny, wait, wait wait!

Queeny!

Stop the carriage!

[horses neigh]

I'm sorry, ma'am.

You all right?

Woman!

Oh, she's-- she's a wandering fool.

Always on the move.

Queeny, you got to stay put.

I just wanted some coffee.

Girl, ain't you ever get enough coffee?

Always needing coffee.

If you-- if you need me, just give me a call.

If you need anything, all right?

Good seeing you.

Let's go get some coffee.

Come on.

[dog barking]

[knocking]

[knocking]

Can I come in?

She, uh-- she resting, Jessica.

Look, I'm sorry.

I know.

I know.

Tell her I stopped by.

Thank you.

I know her radio broke, so I loaded her favorite songs.

Oh, thank you.

She'll-- she'll like that, Jessica.

That man, what's he want with Una Vida?

I don't know.

A fan, I guess.

Look like he's a doctor.

Maybe he--

Maybe he what?

Another day with your musicians?

The woman she almost got hurt.

Hm.

She seemed confused.

Lost.

I don't know.

And you were going to help her?

Yeah.

[loud music from clubs]

[cell phone vibrates]

[loud music from clubs]

Did you call my office?

What do you want with Una Vida?

Sorry?

It's a simple question.

I'm, uh, fascinated with her-- by her.

Her singing.

You a doctor?

How did you get my number?

Stompleg.

Neuroscientist.

Huh?

I'm a scientist.

I do research.

Oh, so you want to study her.

Yesterday she was in a daze.

She stepped into traffic.

She could've gotten hurt.

I'd like to help.

Stay away from her.

Stay away?

You called me.

UNA VIDA (SINGING): Sometimes I feel like a motherless child.

A long way from home.

A long, long way from home.

[applause]

It's all right, Queeny.

Go on inside.

I'll be right in.

Hey, doc.

Stompleg, how is she?

She good.

We good.

Good.

Jessie got to you, huh?

Jessie?

Jessica.

She-- she snatched your card from me.

I shouldn't have shown it to her.

Who is she?

What was that all about?

She's the closest thing to family that Una Vida has got.

And, uh, she has issues.

But she just doesn't want to see anybody

interfering with Una Vida.

Do you mind if I have a word with her?

Oh, no.

That's cool.

It's time for our break anyway.

Oh.

This is not Cuban.

You might like it.

Hey, that's a good cigar.

Thank you.

[una vida humming and tapping]

What are you humming?

Humming?

You hearing the wind, mister.

There's no wind.

Always wind.

Wind is what took my butterfly away.

Your butterfly.

[humming and tapping]

Hey, Queeny.

I thought you guys might want some coffee.

Thank you.

You like coffee?

Sure.

With sugar in it?

Definitely.

You like this place?

I used to come here with my mother.

[non-english speech]

I bet you was good to your mama.

Thank you, mister.

[non-english speech]

You know how Satchmo got his name?

No.

When he was a kid he used to tap dance

on the streets for money.

Right up there in Storyville.

He'd pick up the pennies and put them

in his mouth to keep the big kids from getting to them.

So they called him "Satchel Mouth."

How'd you know that story?

What story you talking about?

Queeny, time to roll.

Hey, Stompleg.

I can stay here with her for awhile.

And you can probably use a break.

Hm?

Sounds like a good idea.

I got a few things to do anyway.

She'd probably fancy a walk if you're up to it.

Yeah.

Hey, Miss Queeny?

Why don't you come hang over with us?

I take some classes at Tulane.

You want to know anything on the back of them albums,

I'm your man.

Like this song that's playing right now.

Hm?

99% of people coming in here they'll tell you,

that's early Benny Goodman.

Simple stuff.

Spot this arrangement a mile away.

But, truth be told--

Fletcher done it.

She's right.

I had me some schooling too now.

This is beautiful.

You like it?

This reminds me of my house.

Where is your house?

915 Royal Street.

We best be getting back to my manager.

Sure.

You were talking about your daddy.

He was a blues man.

But on account of the war and things

he kept things all bottled up.

He was a blues man.

And one morning I saw daddy wheel himself

across the front porch.

[harmonica playing]

You see that Marshall there?

ALVARO: Sorry?

UNA VIDA: In that car.

The woman, the musician.

I believe she has dementia or even early-onset Alzheimer's.

But she seems to be hanging on through her music unlike mama.

Like she-- I don't know.

It's different somehow.

[non-english speech]

What?

Tomorrow night I have a pair of tickets for a benefit.

And if you're up for it, it's at The Little Gem Saloon.

Absolutely.

Good.

I have a conference at the Monteleone.

But you can pick me up at 6:30.

I'll be there.

All right.

Welcome to the Little Gem Saloon with me, John Cleary.

Put your hands together for my buddy, [inaudible].

[dixieland playing]

Oh, look.

I love that.

You look so beautiful.

TOUR GUIDE: --marks the address of the famed residence

at 915 Royal Street.

The inconic--

915 Royal.

Oh, what do you think about-- Sweetheart?

Unbelievable.

I thought we were having a little moment back there.

Yes.

Let's stay the night.

Let's see if they have a room available.

Oh, come on.

We can't just-- with the car.

We've got work.

You can get someone to cover for work.

And what's life if you don't do something crazy once

in a while?

Hey, I don't even have a toothbrush.

Wow.

[laughs]

ALVARO: It's beautiful.

[non-english speech]

Mama!

Mama!

ALVARO'S MOTHER: Alvaro.

Mama!

Mama!

Alva?

Sorry.

Just another dream.

OK.

[sirens]

[dog barks]

[dog barks]

[stomp snoring]

[dog barks]

[sigh]

Good morning.

Good morning.

Do you want to tell me about these dreams?

Mm.

Since -- every night or when I shut my eyes, I dream.

And each time I see myself.

I'm like 6 or 7-years-old in the field behind my mother's house.

In each dream there is a butterfly.

And I chase after it but never catch it.

[non-english speech]

It's all linked somehow.

[non-english speech]

What do you mean, linked?

To my mother.

Do you like this book?

"Sam and the Firefly."

"Sam and the Firefly."

"The moon was up and Sam came out.

Now is the time for fun, he said.

Who, said Sam.

Who?

Who wants to play?

STOMPLEG: But no one said a thing.

And then Sam looked about and Fox was asleep.

And the Jay was asleep.

The dog was asleep.

And the hog was asleep.

The sheep was asleep.

And so was the cow.

Have we met?

Yes, Queeny.

We are friends.

Queeny, I'm going to go out and get the mail.

You want your headphones?

[music playing in headphones]

I'll put the tube on.

[tv turns on]

[music from tv]

MAN (SINGING ON TV): Oh, it's only a paper moon

sailing over a cardboard sea.

But it wouldn't be make believe if you believe in me.

Yes, it's only a canvas sky hanging over a cotton tree.

But it wouldn't be make believe if you believe in me.

Without your love it's a honky tonk parade.

Without your love it's a melody played in a penny arcade.

It's a Barnum and Bailey, just as hollow as it can be.

[shaky harmonica]

But it wouldn't be make believe if you believe in me.

[shaky harmonica]

WOMAN (SINGING ON TV): The light from the paper moon shines down

on a cardboard sea.

It will always be real, my love, as long as you care for me.

[woman singing on tv]

Oh.

Hey, Queeny.

It's OK, girl.

It's OK.

It's OK.

Sh, sh, sh, sh.

It's OK.

Oh, it's all right.

It's all right.

Old thing is just out of tune.

We'll take it to Kenny.

He'll fix it.

Yeah.

It's all right.

[rain and thunder]

[phone ringing]

Louisiana Music Factory.

This is Kenny.

Hi, Kenny.

This Dr. Cruz.

I met you with Una Vida. -Yeah.

Yeah. I remember.

Doc, huh?

What's up, doctor?

ALVARO (ON PHONE): Listen, have you seen Una Vida or Stompleg?

KENNY (ON PHONE): No.

Man, I haven't seen them in a while.

What's up?

ALVARO (ON PHONE): Well, no I haven't seen them either

and it's been a few days.

I'm sure they're OK.

It's just that, well, what do you know about Una Vida?

What's her story?

Who is she?

You know, I ask.

She don't like talking about it, so I stopped asking.

KENNY (ON PHONE): Her memory and all.

I don't think she could tell me, even if she wanted to.

ALVARO (ON PHONE): Thanks, Kenny.

OK.

Hey, hey, you know what?

Her name is Maisie.

I do know do that.

ALVARO (ON PHONE): Oh, Maisie.

Now, Una Vida says she lives on Royal block 900, if I recall.

Royal? No.

She lives with Stomp in the Chamais.

ALVARO (ON PHONE): Do you have an address by any chance?

Yeah.

I got an address.

Hold on.

KENNY (ON PHONE): They stay at 2315 Dufranc.

ALVARO (ON PHONE): Thank you, Kenny.

Thanks a lot. -OK, Doc.

[non-english speech]

[buzzer]

It's that doctor.

Maybe there's something he can do, Jessie.

Stompleg.

Hey, doc.

How you doing?

So-so.

[chuckles]

Come on and have a seat.

So how is Una Vida doing?

Not-- not-- not so good.

She's inside with Jessie.

I got something I want to tell you, doc.

Oh.

Oh.

I got accepted.

Accepted to what?

The Music Maker Foundation up in Durham, North Carolina.

They got permanent homes for street musicians like myself.

And I passed.

I passed.

Best thing I've done in 10 years.

The thing is I got family up there.

And at my age, doc.

I was telling them about Una Vida,

but there's no way they're going to take her,

you know, being like she is, and all.

And she ain't doing so good, doc.

She just sits there and stares.

She doesn't even hum no more.

Do you think Jessie could take care of her?

Jessie is a junkie.

Oh.

Does Una Vida know that you are leaving?

No.

No.

I didn't tell her or Jessica.

Damn shame a woman like Queeny.

Got her share of chumps with the likes of me.

What you've done for her has been great.

She done more for me than the other way around.

Can you help her, doc?

I'll see what I can do.

I'll catch you.

Mm.

Bless you, doc.

You, too.

[phone ringing]

JANE (ON PHONE): Saint Annes?

Hi, Jane.

It's Alvaro Cruz.

Would you have any beds available by any chance?

JANE (ON PHONE): No.

ALVARO (ON PHONE): I understand.

JANE (ON PHONE): Yeah.

As soon as something opens up I'll give you a call.

I was with the musicians and Stompleg, the man,

he's leaving.

And the only person that can take care of Una Vida

is Jessica, and she's a junkie.

So Una Vida doesn't have anyone.

[rock music playing]

Herbsaint.

Herb-what?

Just give me a dark rum.

Is Jessica working tonight?

Yeah.

She's on tonight.

Thank you.

Why are you here?

Because I want to talk.

Well, it's going to cost you.

Fine.

$100.

You can pay her.

Let's go.

We can do it right here.

Fine.

What do you intend to do with Una Vida?

And why should I tell you?

Because I want to help her and because I just

paid you a lot of money.

She needs someone to cares for her.

Stompleg is leaving and she has no one.

[buzzer]

Hey, doc.

Stompleg.

Queeny, you remember the doc?

Are these yours?

Yeah.

In Angola you got to find something

to occupy your time while you're doing your time.

The hardest thing is the sameness of everything.

I can still remember what's for breakfast, lunch,

and dinner every single day.

Doc, I've done some things I'm not so proud of.

But some good things came out of that place.

I learned my music.

Because of that, I met her.

Would you mind if Una Vida and I go for a walk?

No.

I think she'd like that.

(SINGING) There's a place called lonesome valley.

You got to go there by yourself.

Ain't nobody else going to go there for you.

You got to go that valley by yourself.

My mother walked through lonesome valley.

She got to walk that lonesome valley for herself.

Ain't nobody else going to walk it for her.

She got to walk that lonesome valley by herself.

We all got to walk that lonesome valley.

We got to walk that lonesome valley for ourself.

Ain't nobody else going to walk it for us.

We got to walk that lonesome valley for ourselves.

[car starts]

[crying]

Sweetheart, it's temporary.

It's just a few days.

Why would you bring her here without talking to me first?

I know. I'm sorry.

I'm-- I know.

You're right.

I'm sorry.

Alvaro, this is a big deal.

You can't just expect--

Angela, when my mother needed me, I wasn't there.

I-- she-- please.

It's the right thing.

I know it.

No.

Please.

I know it.

[record player turning]

[music from record player]

[knock at door]

[sobbing]

[club music]

[sigh]

How'd you find me?

They found my business card on you.

What happened?

I just got a little stupid is all.

Where is she?

She's in my house for now.

But I should take you home and then we go see her.

We need to talk.

I'm going to go change.

You want some water or something?

Sure.

I got to smoke a cigarette. You want to talk outside?

Sure.

My mother died when I was born.

The Queeny was my mama until I was 12.

And then she went away again for her music.

I guess she figures she-- she gave me all she could.

And then she came back?

I was 18 walking home one night and I hear her voice.

That voice.

We talked for hours.

Any anger I had just-- just went away.

She moved in with me and things were good.

My art was selling and-- we were happy.

And then she started forgetting things.

You know, it was little stuff at first.

We'd be supposed to meet someplace

and she wouldn't show up or she'd forget her way home

and I'd have to go looking for her.

And when was it?

When did it start?

About 10 years ago.

Then one day she got angry.

She broke all my pieces.

And I tried to stop her but she knocked me down.

Broke every single one except the butterflies.

Why butterflies?

That's all she talks about.

Her music, her butterfly, her firefly,

she loves that damn book.

Can I show you something?

Sure.

This is one of Queeny's drawings.

It's a club in New York called the Village Gate.

She talks about it all the time how she played there,

it opened in 1958.

[chuckles]

How come she remembers a club that opened in 1958 but not me?

My mother had Alzheimer's.

And that's what Una Vida has.

My mother wasn't aggressive with everybody.

But at times she forgot who I was.

That broke my heart.

Now, this is very good.

[chuckles]

Yeah.

She drew a lot.

And she-- she always put herself in her drawings.

When she started forgetting things, her drawings changed.

Things got all-- things just changed up in her mind.

You know?

Oh, yeah.

And everywhere she went she always wrote my grandma.

Paris.

Mm-hm.

I think it's time for us to go see Una Vida

and maybe you could stay with us for a while.

I think she would like that.

Why are you doing this?

Because I can.

[train whistle]

Sweetheart.

I thought that we could maybe have dinner in here.

Angela, this Jessica.

Where is she at?

She's taking a nap.

But she will be down for dinner.

I'm Angela.

Jessica.

I'm going to finish setting the table.

Just give me a minute.

Honey, can I?

Really?

You came.

You came.

[crying]

I'm sorry.

I'm sorry.

Oh, my baby.

My baby girl.

My baby girl.

Queeny?

Are you my sister?

Yeah.

My sister?

You want me to read some of your book?

Get Stompleg to read the book?

You want me to read some?

I don't want to be no cost to no one.

[phone ringing]

ALVARO: Yes, Dr. Cruz.

Oh, no, that's wonderful.

Thank you, Jane.

Much obliged.

That was my friend at Saint Anne's, the assisted living

facility.

There is a room available.

No, no.

She is not yours to do with.

She is my responsibility.

I know I'm not-- but if you do this,

they will never let me take her home.

She has Alzheimer's, Jessica.

It's not going away.

She needs proper care.

Professional care 24/7.

She can't be in a place like that.

She'll stop singing.

Why do you say that?

You just don't understand, do you?

I don't understand?

Listen, young lady.

Don't tell me-- You've got to let me help.

She's not going to no facility.

I appreciate all you're doing.

But she's going home with me tomorrow.

[harmonica playing]

Come here, baby.

Mama has got something to tell you.

Let me see how good you getting.

Here.

[harmonica playing]

Look at mama.

What's that?

The moon.

The moon Who is that?

You, mama.

Who is that?

You, mama.

You see what I'm doing?

I'm right by your side.

Look at mama.

I want you to go with these people today, OK?

I don't want to go!

They are going to take care of you

better than I can right now. You're going to take this.

OK?

What you going to do with it?

Play.

You're going-- you're going to play it

and you're going to get good.

Mama loves you so much and don't you ever forget that.

Do you hear me?

Don't you ever forget.

Say I'm going to be big and strong, mama.

I want to be big and strong.

I'm going to be big and strong, mama.

Go ahead.

[car starts]

Make them go away!

Make them go away!

Please don't let them take them.

Don't let them take my baby.

Get her some water.

Sh.

Queeny?

Here.

(CRYING) Don't let them take my boy.

You're all right.

[una vida sobbing and crying]

[footsteps approaching]

Is everything OK?

I want to help.

Good.

What do you know about Una Vida having a son?

Can we just get out of here?

Then I'll tell you everything I know.

Sure.

Let's stop for coffee at the diner

and then I'll take you home.

Thanks, Shake.

You got it, Jessie.

They're coming to take my boy today.

His name's Sam.

He used to work over at Tulane.

Professor of musicology or something.

Figures, huh?

She used to talk about him a lot when he was a kid.

Said he was a good boy, that I'd like playing with him.

But I was sort of glad he wasn't around.

I was jealous.

Where is he now?

I don't know.

I tracked him down a few years ago

when things started getting weird.

I used to call the school but he would hang up.

Jessie, we've got to find him.

Look, he doesn't want anything to do with her.

All right?

He has to know that his mother still thinks about him.

The last memories she'll retain are her oldest memories.

I'm just saying.

He don't want to be found.

What's his last name?

Waters.

[phone ringing]

Really? P.M. Dawn?

Really?

You know-- you know where you are, right?

Come on. Get out of here.

I'll deal with you in a minute.

Louisiana Music Factory.

This is Kenny.

ALVARO (ON PHONE): Hi, Kenny.

It's Dr. Cruz.

What's happening, doc?

Listen, I need to track down a faculty member at Tulane.

KENNY (ON PHONE): All right.

What's the name?

Sam Waters.

ALVARO (ON PHONE): He used to teach in the music department.

See if you can get an address.

I'm on it, doc.

I'll hit you later?

ALVARO (ON PHONE): Thanks, Kenny.

So Kenny got an address from the man

who ran the school where Sam was sent.

I don't know if it's still good, but it's across the river.

Shall we?

You're not going to call him first?

How do you do this over the phone?

[phone ringing]

Hello, love. ALVARO (ON PHONE): Hi.

How is she?

ANGELA (ON PHONE): She's fine.

Good.

Listen, I'm leaving the diner with Jessica.

She told me about the boy-- Una Vida's boy.

She's got a son.

Really?

ALVARO (ON PHONE): Yeah.

I'll call you later, OK?

OK.

[doorbell]

[music playing]

[knock]

Mr. Waters?

We'd like to have a word.

What's this about?

Mr. Waters?

My grandma new your mother before you were born.

I'm Jessica.

I'm the girl you hang up on.

Your mother--

My mother?

My mother, whoever she was, gave me away when I was 5-years-old.

She didn't give you away.

Your mother was ordered by the court

to turn you over to the state.

She had no choice.

[sigh]

Where is she?

She's in my house for now.

I'm Dr. Cruz.

Sir, your mother has Alzheimer's.

That's why you're here?

Mr. Waters?

Your mother doesn't remember me.

But she still dreams about you.

[clears throat]

It's too late.

If you change your mind, you have my card.

Come on.

Does she still remember her music?

That's the amazing thing, she does.

Brings her back.

And when it does, it's something to see.

She's upstairs in her room.

She had a really tough day.

That place.

I can visit any time, right?

Of course.

I'll get my stuff.

So?

It's done.

She's checked in.

And how is she?

Fine.

I'll be back tomorrow, OK?

OK.

[non-english speech]

Today more than 5 million people

live with Alzheimer's disease in the United States alone.

Currently, Alzheimer's is costing this nation

$203 billion a year.

And this number is expected to rise to $1.2 trillion

by the year 2050 unless we find the cure.

While we don't have all the answers,

we can take pride and confidence in the progress we have made.

And we will not stop until we find a cure

for this devastating disease.

And see you all next Tuesday.

I'm ready to see my mother.

Of course, Sam.

Sam saw Gus do another bad trick.

It made the firefly laugh and laugh.

It was funny to see them go in free to the movie show.

[knock at door]

Stop your tricks, call Sam.

No more words.

UNA VIDA: I like the movies.

You think they'd let us in free, too?

Yeah.

Queeny?

There's someone here to see you.

[sobbing]

[crying]

Can you play?

[harmonica playing]

[claps]

[distant music playing]

[alvaro's mother whispering]

ALVARO'S MOTHER: [non english speech]

ALVARO'S MOTHER: [non english speech]

Mama!

Mama!

Mama!

Mama!

Mama!

Mama!

Mama!

ALVARO'S MOTHER: [non english speech]

[grunts]

[phone ringing]

Neuroscience Institute.

This is Jane.

Hey, Dr. Cruz.

[music playing]

[music playing]