♪♪
woman: Give them some time.
You cannot rush things.
Your time is not God's time.
The Lord works in very mysterious ways.
You can get up now.
I've left some herbs now this evening.
- Yes. - You are to boiI those herbs.
- Yes. - She has to drink it
right before she goes to bed with her husband, okay?
This is very important... okay?
$150, God wiIIing, you'II be a grandmother soon, NishaIIa.
♪♪
(train cIacking)
man: Oh, no.
man: Oh, it's just kids-- Come on.
Let's get inside.
Hey...
(woman shouting)
Okay, okay, it's cIean.
- Hey. - Morning.
lf that was my mother-in-Iaw...
Do it for me.
(music pIaying)
Stop it.
woman: $6.00
- Bye. - Bye.
- Bye! - woman: Bye.
(music pIaying)
(phone ringing)
HeIIo?
Just a second pIease.
Frank?
Frank: What can l do for you?
Line two.
What Iine?
- Two. - Okay, l got it.
(jingling)
(phone ringing)
HeIIo?
man: And up, around and chest two, three and four.
And hips two, three and four around and...
and four.
And hips two, three and four, good.
And one and four.
Now hips, one...
four, shimmy and one.
four shimmy again.
One, four, shimmy, good.
One and four, now one.
All right, not bad you guys, not bad.
What do you think l'm gonna say?
Brains-- what am l gonna say about brains.
Stop using them.
Dance with your body, with your soul, okay?
Efficiency has no pIace in dance especially belly dance, okay.
Just Iet it go.
Enjoy yourseIves, enjoy your hips.
l need much more hips out of all of you, okay?
AII right, just work on it for a second.
I just need to talk to Marilyn for a second, if you don't mind.
Sure.
Did you taIk to Harvey yet?
- No. - Why?
Peter...
Look, you're the onIy one l have here that has any chance
of getting in that dance company in Santa Fe.
Now l toId them about you.
Are you gonna audition?
Look, I can't talk to Harvey-- you know, he...
Why not, he's not doing anything right now.
WeII, exactIy.
l know what he'll say.
l just wanna spare myseIf the disappointment of not...
You don't know this,
and you need this for yourseIf, aII right?
l do.
- Promise me you'II taIk to him? - Yes.
- Okay. - Okay.
You might just get this.
(TV chatter)
Baby, don't eat that, your cholesterol.
WeII, shame on me.
Maybe if you were here sooner
l wouIdn't have to have chips for dinner.
WeII, it's Tuesday, I have my class.
Right.
BeIIy dancing.
How couId l forget?
What's that supposed to mean?
Nothing, hey...
l think it's great that you beIieve
you can still be a dancer at your age.
l wish l had that positive attitude.
So did you find anything?
Why wouId you even ask me that?
Because I have a right to know.
You think l'm not trying?
You think l'm purposefuIIy not trying to find a job?
You think... l Iike this?
Sitting at home watching...
shit TV and getting fat?
Harvey, l'm sorry.
Hey, sswet bird.
l'm sorry.
l'm an asshoIe, okay?
l'm sorry-- l'm sorry to make you think
that l thought you swren't trying.
You wanna start over... Hmm?
How was your day?
lt was okay.
How was your cIass?
CIass was great.
ActuaIIy, l wanna--
Did you get paid today?
- Why did-- - l'm gonna--
l'm gonna need a IittIe cash.
What for?
l'm just gonna go out and blow off some steam.
WeII, baby, l just got home.
Come on.
l wanna make appearances.
What if something opens up.
I want people to know l'm aIive.
- So this is Iike a job search? - Yeah.
You know, this is how peopIe make connections.
Where are you gonna make these connections, Harvey, some bar?
Where's your purse?
Where's your goddamn purse, Marilyn?
Where it aIways is.
Don't wait up.
(door cIosing)
Never do.
When sw're Iying in bed
what do you think about?
Nothing.
You're Iying.
l'm not.
Don't you think...
what am l doing with her?
She cannot even give me a chiId?
No.
l never think that way.
We couId adopt.
(chuckIes)
LeiIa is going to be very happy.
(scoffing)
You want to know what I'm thinking
when we Iie in bed together?
l wish my mother wouId disappear.
You mean die?
That's horribIe, Mourad.
l know.
She's your mother.
I'm the one that shouId disappear.
♪♪
- MariIyn: Hi, Frank. - Good morning.
(scoffing)
(phone ringing)
Ron?
Ron.
Who put my stuff in the trash bag?
lt's not funny.
l did it, l packed your stuff.
Why?
WeII, because business isn't good.
lt's the recession.
And you don't give me any notice?
What-- l don't get an expIanation?
You're firing me as if l was some fuckin' Ioser?
This is your chance to--
a chance to move on.
Do something different.
You are reaIIy sswet.
l think you're reaIIy taIented.
Don't.
Just pay me what you owe me.
Well, I'll-- I can write you a recommendation Ietter.
And say that l'm good at ansswring the phone
and stacking boxes?
Do you think you're good peopIe?
ls this how you behave?
ls this how you treat somebody
who's been in the company for seven years?
Aside from everything eIse, this is fucking illegal.
WeII, then you can take me to court.
(phone ringing)
♪♪
Harvey, caII me.
(music pIaying)
MariIyn?
Everything is all right?
l got fired.
l'm sorry.
You'll find something eIse.
With a 20% unempIoyment rate?
Know her?
She's Samia GamaI.
She was the best dancer in Egypt.
They didn't even give me a reason.
- Do you have a bag? - Sure.
How much?
Take it.
(distant horns honking)
(woman grunting)
♪♪
Peter?
- Peter: What's going on? - (sniffling)
Honey, taIk to me.
WeII, l got fired... first.
Sorry.
Do you need a pIace to stay?
ls there something l can do?
No, Harvey's-- Harvey's cheating on me.
Oh, that shit.
l just saw him, Peter, with another woman in our bed.
- l'm so sorry. - l feeI so sick...
- No, it's not your fauIt. - ...and stupid.
ls there anything I can do?
l think l'm gonna go.
l think l'm gonna go to Santa Fe.
Can you sign me up?
Yes.
l don't know how l'm gonna--
l haven't got any money or...
Don't worry about that.
Look, you can make extra money
dancing in bars and restaurants aIong the way.
Peter, l can't dance in a restaurant.
Yes, you can.
I did it for years.
Besides, it'll give you a chance to work in front of an audience.
That's what you need anyway.
Look, l know of a reaIIy good pIace aIong the way to Santa Fe.
lt's a, uh-- they're friends of mine.
l'II give them a caII
and then I'll text you with their information, okay?
lt's gonna be all right.
l promise.
- (Iaughing) - What?
You Iook ridicuIous.
l know l Iook ridicuIous.
WeII, l was doing a faciaI.
You shouIdn't bother peopIe when they're doing fac--
don't smoke, it's bad for you.
Oh, uh, the green one.
Yes, yes.
l'm caIIing my parents.
- Right now. - Mona, Mona,
what's going on here?
Ma, pIease, enough.
Mona!
♪♪
(sobbing)
Nowadays, things are different.
You don't need to have chiIdren.
Mona!
- Mona! - l'm coming, l'm coming!
- l Iove her. - Eh, love.
(crashing)
Mona!
l'm coming, l'm coming!
(water running)
l'm here.
♪♪
(knocking)
Ma.
Ma, wake up, Ma.
Ma?
Ma.
Ma!
Mona!
- What? - CaII 911 .
Ma, Ma!
ls she dead?
CaII an ambuIance, now!
Ma!
HeIIo?
Yes, l need an ambuIance.
Yes, uh...
(panting)
It's my mother-in-Iaw.
82.
(ambuIance door cIoses)
Shit.
Oh.
(panting)
(sobbing)
(rattIing)
♪♪
man: Where are you going, missus?
Uh...
Bus station?
Which one?
Uh...
l don't know.
North, south?
Um...
The-the cIoser one?
AII right.
♪♪
(ceII phone ringing)
Peter?
- Hey, MariIyn, how you doing? - I'm Okay.
Good, Iisten, l've got a gig for you, it's tonight.
- You do? - Yeah, it's in
BeIIeviIIe, lIIinois.
The name is-- it's the Casbah Restaurant.
Wait, Iet me get a pen.
BeIIeviIIe?
The Casbah, C-a-s-b-a-h.
It's on Lebanon Avenue, 155 North.
AII right, good Iuck.
Love you, goodbye.
Good, you guys.
♪♪
MariIyn!
MariIyn.
MariIyn: Mona?
What are you doing here?
Are you by yourseIf?
No, l'm...
What's the matter?
Why are you crying.
Shh...
(sobbing)
What?
Huh?
l Ieft...
l Ieft.
Me too.
Good for you.
Where you headed?
l don't even know where sw are right now.
And you?
Santa Fe.
There's a dance company, they're having auditions and...
l had to do something.
(sobbing)
Mona?
WiII you come with me?
Okay.
Hey, l need to diaI this Moroccan restaurant
in BeIIeviIIe.
Will you diaI it for me?
lt's under Tarek.
What's that...
- Tarek? - T-a-r-e-k, Tarek.
Here, it's ringing.
Yes, can l speak to Tarek?
Tarek, this is MariIyn, I'm a friend of Peter.
Hey.
Yeah, he toId me you're Iooking for a dancer for tonight?
You need two?
Yeah, there's two of us.
Dinner and a room pIus a hundred each-- great.
AII right, sw'II be there.
Thank you.
Can you find BeIIeviIIe?
Sure.
lt's somewhere out there.
WiII you do it with me?
MariIyn...
l don't dance in restaurants.
You think l do?
First time for everything, right?
l get it, but... l need the money.
l'm guessing you do too.
Think about it-- you'd be doing me a favor.
This fucking car is a gas guzzIer.
Think about it?
Sure.
Did you find BeIIeviIIe?
(dishes cIanking)
man: Okay, Iisten.
You dance with the customer.
You have good time in the club of mine.
Okay-- Come on, come on.
(appIause)
(man shouting)
(music begins)
(cIapping in unison)
(whistIing)
$120 in tips pIus $100 each?
To think l spent seven years doing a fucked up job
when I could've been dancing every night?
(knocking)
- Hey. - Hey.
You guys did fantastic job.
Thanks.
But there's one thing that my customer doesn't like
bIonde woman to dance, so bIack wig-- cooI?
Dye it bIack?
Sure.
Okay.
What's up?
Here's a hundred for you.
Go have some drink and Ieave me with your friend here.
She's not interested.
How about you?
Listen to me, Mister.
We had a deal, sw kept our end of it.
Leave us aIone or l'm calling the cops.
What the fuck you think you're taIking about.
Do you think l'd be afraid of cop?
This is my fucking house.
Easy, or l fuck you up!
(door sIams)
Marilyn, Marilyn, don't caII the cops.
We need to get out of here.
Get your stuff.
♪♪
(ceII phone ringing)
(birds chirping)
(grunting)
♪♪
My mother never prepared her medication herself.
Who did then?
My wife.
Did she prepare it that evening?
l guess, yes.
Like every evening.
man: The autopsy reports were concIusive.
Your mother died of an overdose of digoxin...
her heart medication?
Did your mother have any reason to increase her dosage?
Where is your wife, Mr. Suni?
l don't know, she's gone.
When?
Just after my mother died.
Did she tell you where she was going?
No.
Do you have any reason to believe
that she increased the dosage on purpose?
No, no-no, she's not a kiIIer, no.
Did she have anything against your mother?
There was a Iot of tense between them.
We... we couIdn't have chiIdren.
Did your mother beat her?
What?
Did your mother beat her?
What kind of question is this?
What do you mean?
l don't understand your question.
lt's a question.
Do your mother beat your wife?
ReIax.
Yes or no, did your mother beat your wife?
You beat your wife?
Do you beat your wife?
woman: Can you pIease excuse us?
I'd like to see you outside.
Hey, what time is it?
Why are you pushing him so hard?
What?
Why are you pushing him so hard?
It's gonna seem prejudiciaI in court.
WeII, it's our word against his.
lt doesn't heIp us.
l don't Iike him.
You won't quit.
Mr. Suni?
Do you have any clue of your wife's whereabouts?
CouId she be with her famiIy?
She has nobody here, I'm worried.
She never been out of Chicago before.
Not even out of her neighborhood.
Five years, she's never been out of the neighborhood?
ls that normaI?
Um...
C'est la vie.
Are you finished with me?
Yeah.
We'II be in touch.
(percussive music pIaying)
(music stops)
(sighing)
l shouId have started ten years ago.
Samia Gamal, she danced untiI she was 55.
- ReaIIy? - Um-hm.
And did you know that she was married to a Texan billionaire?
When?
ln the '50s, in Egypt.
Their marriage didn't Iast Iong.
They divorced.
(chuckIing)
l don't know if l'm gonna get in.
You wiII.
Your choreography shouId be speciaI and different.
(ceII phone ringing)
♪♪
MariIyn!
MariIyn.
(gasping)
(coughing)
You can't swim?
No.
Why'd you do it?
l don't know.
You gonna fiIe for a divorce?
l don't know.
Mourad never stand up for me in front of his mother.
l see my Mother-in-Iaw, three maybe four times a year?
l can't beIieve you actuaIIy Iive with her.
He was so kind to me.
He never hurt me.
l wouId've kiIIed myseIf without him.
Were you in Iove with him when you married him?
I didn't know him then.
God.
What difference does it make?
l was crazy about Harvey, Iook where it got me.
He was cheating on me.
Are you gonna divorce him?
l don't know.
l don't know how to forgive him.
(ceII phone ringing)
We got another gig for tonight.
Let's do it.
♪♪
man: ♪ Whoo! ♪
♪ She didn't bat an eye ♪
♪ As l packed my bags to Ieave ♪
♪ Thought she wouId start to cry ♪
♪ As I turned around in my room to Ieave ♪
♪ But she's the girI ♪
♪ FooIed me this time ♪
♪ She acted Iike l was the Iast thing on her mind ♪
♪ But l wouId Iike to ♪
♪ Start aII over again ♪
♪ Baby, can I change my mind? ♪
♪ Baby, baby, pIease do, yeah ♪
♪ Baby, can l change my mind? ♪
♪ Baby, baby, pIease do, yeah ♪
♪ Baby, l'm so sorry watch out! ♪
- Oh! - man: Ladies, on stage!
man: At this time, in this pIace
l want y'aII to give it up for two...
beIIy dancers.
For the one and onIy
Miss Mona and Miss MariIyn!
(cheering)
(music pIays)
(cheering)
(man shouting)
man: Yeah, come on-- that's nice.
Come on, girI!
AII right, girI.
Let me heIp you out here.
AII right.
(cheering)
(cheering and appIause)
man: Yeah, go, girI!
(cheering)
man: Yeah, yeah!
Give it up for Mona and MariIyn!
Give it up, MariIyn and Mona!
(cheering and whistIing)
man: AII right.
(humming)
WeII, IittIe darIing.
Hey.
That's quite a dance y'all got going on.
You do any, uh, private dancing?
Just thought l'd ask, you know.
What is with this newspaper?
What the fuck is wrong with you?
WeII, you see l Iike to Iook at them guys eyes.
The all got... different eyes.
You're fucked up.
We're aII different.
(crowd chanting "more")
Mona.
man: Okay, Iadies, back on!
On stage!
Come, come, Iet's go.
I didn't want to kiII her.
lt was an accident, l mean, the piIIs got mixed up.
How am I supposed to know it was dangerous.
And you swren't pIanning on teIIing me?
- I was. - When?
When, Mona?
After sw get arrested?
MariIyn, MariIyn, wait!
You gotta go to the cops.
You gotta teII 'em what happened.
They won't beIieve me.
l mean, you don't believe me.
l'm-- so scared.
l'm-- so scared to go to jail.
l don't want to spend the rest of my Iife in jaiI.
You think l wanna spend the rest of my Iife in jaiI?
You think l'm not involved now?
You think this isn't the getaway car, Mona?
We're taIkin' about a murder.
l got enough fuckin' probIems.
Shit.
You're sympathetic to her
because she was forced to marry that guy.
- Yes. - Taken from her famiIy
and humiIiated because she can't bear him chiIdren, l get that.
But you seem to think l'm out to get her.
l think you are out to get her.
What if it was an accident?
WeII, then why is she running away?
Look, l just wanna enforce the Iaw.
Enforce Iaw, l know.
15 years ago you got a divorce.
You Ieft your country.
'Cause of the Iaws of this country
you swre able to start a new Iife...
And that is sacred to me.
And l get that.
l just aIso think that you're out to get her.
- woman: George? - Yep.
This gentIemen here wants to report his wife is missing.
Thank you-- come on in.
Uh, l'm sorry, sw don't have any, uh,
here, have a seat, pIease.
ls this your wife?
Yeah, Iike she said.
How-- how Iong ago did she go missing?
She... swnt to work two days ago and she hasn't been back since.
Oh, and what's her name?
MariIyn.
Yeah, MariIyn what?
O'Connor.
Did you guys get into a fight?
No more than usuaI.
Do you know what you're gonna do?
30 bucks.
Is there a bus that goes through here?
ln two hours heading south.
(car door shuts)
Hey.
lt's what you made last night, $160.
No one's gonna Iook for you on an Indian reservation.
(car starts)
♪♪
(ceII phone ringing)
MariIyn, it's Harvey.
l'm Iistening.
Where the heII are you?
I've been--
Jesus Christ, l'm caIIing and calling and calling.
l'm freakin' out.
l saw you with her.
I loved you, l trusted you.
ln our bed, Harvey?
l fucked up, l fucked up, okay, it was--
lt was stupid, it was a one-time thing.
lt won't happen again.
l'm sorry, okay?
You hurt me.
You don't respect me.
l can't do this any more, it's over.
We never did anything together.
Ten years, not even a child.
Ten years wasted.
Sweet bird...
l'm sorry.
We can work this out.
Just come back.
We can work this out.
You can keep the house if you can afford the rent.
Keep everything in it.
Goodbye, Harvey.
Don't say that, don't hang up-- MariIyn...
Marilyn, don't okay-- Don't, don't hang up...
(phone disconnects)
(sobbing)
(ceII phone ringing)
(ringing stops)
♪♪
l'm so sorry.
Come on.
(music pIaying)
(Iaughing)
(Singing in foreign Ianguage)
You want chiIdren?
Yeah.
Three, maybe four.
l better hurry up.
NearIy 30, singIe.
You?
Me, l can't become a mother.
I... tried for five years.
Did you see a doctor?
Not reaIIy, no.
So how do you know it's you?
Maybe it's your husband who can't--
(scoffing)
Men in my country they aIways can.
Yeah, my Mother-in-Iaw used to say that.
Maybe you should try with somebody eIse.
(chuckIing)
You're crazy.
l know.
You Iook Iike you couId be a mother.
You think so?
For sure.
You'II be a mother before l am.
lf l don't spend the rest of my Iife in jaiI.
♪♪
HeIIo.
Hey.
Hi, l'm TribaI Security.
Is there a probIem?
Yes, this is an lndian reservation.
You can't be camping here.
Oh, sw didn't know, I'm sorry.
We can Ieave right away.
There's no camping aIIoswd on Indian reservations.
Oh, sw didn't know, I'm sorry.
There is a place where you can camp.
lt's off the reservation.
lt has actuaI faciIities on there.
- Okay, great, thanks - Okay?
Hi, what's your name?
Mona?
Mona, where you from Mona?
From Chicago.
Okay, where y'aII headed to?
We just drove down from Chicago.
We're just on a trip, a road trip.
Okay, okay, that's fine.
l can show you where the campground is.
Thanks, that's great, okay.
Yeah, sw'II just pack up our stuff and...
Okay.
♪♪
lt's beautifuI.
Yes, here sw are.
Okay, tomorrow sw're ceIebrating a feast day
and it is our tradition that we invite a newcomer to our feast.
So y'aII are swIcome to come.
Aw, sw'd Iove to, thank you.
- Okay, great - Thanks.
Well, I'll be back here tomorrow to pick you up.
Great.
Don't worry he's not a cop.
- Are you sure. - Yep.
We cIosed.
- I gotta take a piss. - No-no, don't pee here, okay?
No-no, every day you pee...
Go pee somewhere eIse.
PIease, enough!
Enough, sir!
Excuse me, Mr. Mourad.
SaIam.
Question, sir.
Do you recognize this woman?
Yes, she's a customer.
Mona knew her, they swre friends.
Did they hang out together?
No, never, no-no.
Mona went out onIy with me.
You know, sw'd go buy some clothes.
Or go to the movies.
That's it.
They call each other on the phone?
No-no, no-no, here in the shop.
Can you teII us anything about her?
l toId you everything l know.
They swre just friendly to say heIIo to each other.
- Yes, that's it, yes. - Okay.
- AII right, thank you. - Okay.
Good night.
As-saIam.
(music pIaying)
(music stops)
What are you doing?
You don't wanna try with another song?
l can't.
You know this one is a bit...
l don't know.
Mona, I don't have time, it's...
Honey, l've never danced to this before.
l don't have any steps.
Good, just-- just try to feeI the music.
But I just don't time to improvise right now
because the audition is in 48 hours.
l know.
Just feeI the music
and Iet your body decide, you know?
lt's aII about sexuality.
Just Iet it go.
Are you watching that?
Uh-huh.
l don't know what that stuff is.
Some kind of foreign music.
You know you Iook for a IittIe peace and quiet
and you get this.
lf l get this job my whoIe Iife's gonna change, Mona.
l get to traveI aII over the worId.
You'II get the job.
Now you better get some sleep.
Tomorrow's a big day.
Come on.
woman: Hey, hey, somebody's in here!
l'm sorry, l'm sorry.
l thought the door is, uh, broken.
You can't shake the door Iike that.
You onIy know how to get on peopIe's nerves.
l'm sorry.
You and your sand nigger music.
What did you just say?
Oh, another one.
What the fuck did you just say?
- Don't give me any Iip. - You bitch.
PeopIe Iike you make me sick.
SmaII minds!
SmaII minds.
You better do something about that.
AII right, aII right, I will.
- What happened? - She insuIted me.
(grunting)
Stop!
Stop it!
MariIyn!
That'll teach her.
(car starts)
Oh, God...
(screaming)
Bastards!
♪♪
(sobbing)
man: Come here!
lt's over, Mona.
Excuse me, you have a ceII phone?
Yes.
Can l bring it back to you?
Thank you.
(ceII phone ringing)
Yes.
Mona.
Mona, where are you?
Mona, where are you, the poIice is Iooking for you.
l never wanted to kiII LeiIa
lt was an accident.
l know, l know.
I know, I'm the one who wanted to kiII her.
PIease come back, Mona, okay?
l post the baiI for you.
You won't go in jaiI.
l'm not afraid to go to jail, Mourad.
I'm seIIing the store.
We'II Ieave Chicago.
And we can adopt chiIdren.
We shouId have done that before.
I'm not gonna go back to you, Mourad.
Why, why, Mona?
l don't care about chiIdren, okay?
l don't care.
She ruin her Iife with this.
Maybe l'm the one who can't have them.
l never had the courage to tell her.
And I didn't stand up for you enough.
No, you did, I--
l Ioved you, l Ioved you.
So, so, so Iet's try again, okay, somewhere else?
You and me, okay?
No Mourad, it's over.
lt's over.
We cannot buiId a new Iife over your mother's death?
Why?
Anyway, l'm coming back to Chicago.
I'm gonna turn myseIf in, just...
inform the poIice.
No, Mona, don't do that, don't do that, okay, let--
(phone disconnects)
Mona!
Oh.
(church beII ringing)
(music pIaying)
Okay, thank you.
Okay, O'Connor!
woman: Your name pIease?
O'Connor.
And where you from?
Chicago.
You have two minutes.
(music pIaying)
This certificate is for Marilyn.
Okay.
And... wouId you say goodbye to her for me?
Yes.
♪♪
- HeIIo, Jack. - Hey.
How you doing?
Fine, how you doing?
She needs a ticket to Chicago.
The train Ieaves in three hours.
- l'II get it ready. - Okay.
Okay, Jack's gonna take care of you.
Thank you for everything.
You're weIcome.
Take care of yourseIf.
Be safe.
♪♪
Mona!
♪♪
You swren't gonna say goodbye?
They'II never beIieve the dance they saw today was me.
Where you going?
Chicago.
Then l'm going with you.
♪♪