All language subtitles for Of Mind and Music (2014) BR

[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]