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[man 1 speaking indistinctly on radio]
[static]
[man 2 speaking indistinctly on radio]
Who in our generation didn't dance back in the 1950s
to this gorgeous classic "Samba no Arpège"?
Waldir had a band.
They played at all the graduation dances.
[man 3] And that chorus? Who sings it?
-The musicians themselves? -[man 2] Yes.
And your friend right here.
-[man 4] Yes, I was there too. -[man 3] Beautiful.
[man 2] In fact, Waldir himself also did the chorus.
[man 3] Beautiful.
[man 2] "Folks who lack verve don't have the nerve to dance, you see.
Samba at the Arpège club is as sweet as can be."
Let's hear it. "Samba no Arpège" by Luiz Bandeira and Waldir Calmon.
["Samba no Arpège playing]
[man singing in Portuguese]
Our story is set in the Brazil of 1977,
a period of great mischief.
[revving]
Hey. Want me to fill her up?
Don't worry about that. That's okay.
-You wanna fill her up? -Well...
Yeah, fill her up, but...
What's that about?
Happened last Sunday.
Poor devil came with a knife to steal oil cans.
Rivanildo, the night guy, grabbed the 12-gauge
and shot him in the chest and the face.
He never got up again.
Bastard got what he deserved.
Don't worry, you're a customer.
Nothing to do with that. Okay?
Fine then. Back up a bit.
-To be near the pump. -Okay.
-He been there since Sunday? -Yup.
I'll tell you the whole story.
Oh, oh, oh.
[handbrake ratchets]
He's been there since Sunday night, carnival weekend.
Rivanildo called the owners.
I did too.
No answer.
Rivanildo ran away to not be caught red-handed.
Went to a carnival party.
And I'm here with this mess.
Open the hood.
If I go away,
I'll lose my job.
If I stay here,
I'm stuck with rotting meat.
I'm almost getting used to this shit.
How much?
-Stop at 120, please. -Right.
You didn't call the cops?
[scoffs] Oh, the cops.
We did. They said they'd come by Ash Wednesday.
because it's too busy in carnival.
No sign of them so far.
It's now Tuesday. Started stinking yesterday.
[dogs barking]
Oh, look at those dogs.
Hey, dogs!
[yelling]
Beat it!
[dogs barking]
Scram!
Damn mongrels. Beat it!
Out of here. What the heck?
[siren wailing]
Thanks.
Goodbye.
At last.
Thank you.
[siren wailing]
[man speaking indistinctly on radio]
FEDERAL MOTORWAY POLICE
[siren wailing]
[siren wails]
-[engine turns off] -[radio turns off]
He's been there since Sunday.
You ain't too soon.
[flies buzzing]
We didn't even know about that one.
[attendant] Meanwhile, I'm in this misery.
-[officer] Morning, sir. -[man] Morning.
License and registration, please.
So you're not here about the body?
Not at all.
My partner asked to pull up to check the yellow Beetle.
Can you show me your fire extinguisher, please?
Would you step out of the car, sir?
Why?
I need to get inside your car.
You can trust me.
You really need to do that?
I do.
Please, step out.
Wait here, would you?
Fire extinguisher is good.
Yeah.
So it is.
[horn honks]
No drugs in the car?
You don't smoke pot?
No.
A gun?
I don't carry a gun.
[sentimental music playing in distance]
[music grows louder]
[woman] Keep going. Don't stop.
[children screaming]
Nobody wants to stop.
Isn't this spare a bit bald?
That's a good spare.
All right then.
Listen, sir.
Would you make a donation to the Force's carnival fund?
-Captain... -Not captain. I'm a sergeant.
Sergeant.
I've been driving for three days.
I just spent all I had left on gas.
If you want, though...
You can have some of these. Cigarettes.
Can I keep them?
Sure thing.
[engine starts]
[soft guitar music playing]
[whining and barking]
Scram! Get the hell out of here.
Beat it!
Shoo!
Goddamn mangy curs.
[yells]
THE SECRET AGENT
[radio dial tuning]
[man on radio] From Pernambuco to the world.
Listeners of Jornal do Commercio, good afternoon.
[march music playing]
DRIVEN BY ME GUIDED BY GOD
[man on radio] It's Shrove Tuesday
So you've been made a cuckold, huh?
And it hurts?
Might as well sit back and enjoy Chicago.
"If you leave me now."
♪ If you leave me now ♪
♪ You'll take away The biggest part of me ♪
MACUMBA IS THE POOR MAN'S TWIST
♪ Ooh-ooh, no Baby, please don't go ♪
♪ And if you leave me now ♪
♪ You'll take away The very heart of me ♪
[playing upbeat music]
[growling]
["If you leave me now" continues playing on radio]
♪ A love like ours Is love that's hard to find ♪
♪ How could we let it slip away? ♪
[song fades out]
PART 1 THE BOY'S NIGHTMARE
[melancholic piano music playing]
OCEANOGRAPHY DEPARTMENT
[muffled greeting]
Your blessing, Dad?
Chief Euclides.
I need to have a word with my boys. Do you mind?
Go on, get lost.
[sighs]
Before I go in...
Give me the lowdown.
Listen, Dad.
I think it's that punk from last week.
You what?
What the fuck? You out of your mind?
You think I'd pull Dad off a carnival party
if it wasn't serious?
Who's in charge here?
Aristeu, of the Cordeiro precinct.
Can't stand that faggot.
Fernando ain't around?
He is enjoying carnival.
-Any journalists? -No.
Only a scientist and some students.
Is it the right one or the left one?
I couldn't see. I was too far.
It stinks.
Chief Euclides, you needn't have come.
I'm really almost done here.
[flies buzzing]
[squelching]
I'm Euclides Cavalcanti, chief of police.
At your service.
The specimen was found on Sunday. We have to act fast.
-You don't have a fridge here? -It's broken.
As we were working on it, we found the piece--
I mean, the leg.
I started to remove it, but I thought it better not to.
We called the police.
[Euclides] Damn.
[stammers]
Where was the shark found,
or killed?
One hundred and fifty meters from the beach.
Up in Candeias.
[Euclides] And the leg, is it of a male?
I'd rather not say anything.
That's for a medical examiner to say.
-A pocket knife? Don't. -I'm used to this.
You'd damage the specimen.
I'll remove the piece myself.
Wait over there, please.
No pocket knives.
My gloves.
[Euclides] Professor, just a question.
Any pictures taken?
No pictures.
[squelching]
Professor, is the shark male or female?
Male.
[lively music playing nearby]
-[splashing] -Fuck!
Fuck!
Mission accomplished.
Oh, my, you got soaked through.
Over here.
-Dona Sebastiana? -Yes, at your service.
-Marcelo? -That's right.
-How are you? -Very well.
-I need a ride. -Sure. Hop in.
This is Clóvis. Get on the running board, kid.
-How are you, man? -Good.
-Are you okay there? -Yes.
Off we go.
Didn't the pigs nab you when they saw that beard?
[Marcelo laughs]
They robbed me today.
-How? -They stole my cigarettes.
-Give them nothing. -[laughing]
You can have some of my cigarettes.
I'd never let them steal mine.
How long you been a smoker?
For 60 years.
You're joking. How old are you?
Seventy-seven. It's on my birth certificate.
I was born in 1900.
[playing lively music]
[Sebastiana] Give him a hand.
-[Clóvis] Can you open the trunk? -It's open.
Whoa.
Welcome.
-Is this the man? -It is.
Ah. Welcome.
OFIR MADHOUSE
Got you some beer.
A welcome drink.
Mary Mother of God.
Haroldo.
Marcelo.
Oh, man. [exhales]
This party been going since 7. No one's slept for two nights.
Come on, Dona Sebastiana.
Let's go home. You better rest.
[Haroldo mutters then laughs]
-[Marcelo] See you later. -Welcome.
[laughing]
[Sebastiana] Look who's here.
Tereza Victória.
This is Marcelo, just arrived.
Hello.
-Hi, nice to meet you. -You too.
This is António, her husband. They're from Angola.
How's things over there?
Gosh, you'd better have some time.
We can have a chat and I'll tell you.
Okay?
Dona Sebastiana, they are pretty lively today, huh?
Don't worry, I'll ask them to turn the music down.
I have a splitting headache.
-I'll handle it. -Okay.
-Welcome. -Thanks. Hope you feel better.
-See you later. -Nice meeting you.
This is the Ofir.
I've lived here for 20 years.
And this is my niece, Geisa's apartment.
-I got it all ready for you. -You really mean business.
-All nice and tidy. -It's a great apartment.
Fully furnished.
I asked Clóvis to come and clean it up.
-Can I put these in the bedroom? -Yes, Clóvis.
He cleaned the whole place up and removed all the dust.
But I wanted more, so I brought some scents yesterday,
fresh rue leaves and coarse salt.
And I performed a cleansing ritual.
You're wonderful.
-Consider this your home. -Thank you so much.
What about you? Are you in school?
-No, I'm not. -How come?
He arrived here last month, from Rio Formoso.
Running away from his father and uncle.
-Hmm. -They wanted him to be a man
the way they wanted.
Clóvis is a man.
-Aren't you? -Yes, I am a man.
Only not the way they want.
So he's helping me out here.
Does everything I ask, waters the plants,
picks mangoes, does everything.
Then after the soap opera,
he goes to bed.
We'll see about his school later.
You need to go to school.
[meows]
So there's a cat in the house.
[meows]
Dona Sebastiana, what is this?
Are you allergic to cats?
No, I do like cats, but...
They were born out in the country.
They were gonna be put down. Geisa brought them here.
This is Liza and Elis.
[chuckles]
-Liza and Elis? -Yes.
[Marcelo] Liza and Elis.
Do they come with the apartment?
Sort of.
When Geisa went away, she left me the cats.
They were up there with me, but kept coming to scratch at the door.
So I thought, "Goodness, they miss Geisa so much they'll ruin the door."
So I asked Clóvis to make that hole. It's ugly as hell.
I told you it would be ugly.
Yes, you did.
It's all my fault, honey.
But it's ugly, can't be denied.
Ruined the door.
Now cats and dogs come and go.
Girls, this is Marcelo, who I told you about.
Marcelo, that's Joana there.
And the chubby one is Maria.
Hi there.
Excuse me.
They work in the building.
Hello, Dona Sebastiana.
My new neighbor Cláudia and her daughter Débora.
-Hello. -Hi, nice to meet you.
Nice to meet you.
What's with the girl's head?
Lice.
She's infested.
Cláudia is a teacher and a dentist.
Separated.
She's lovely.
-She came here to meet you. -Stop it.
[Cláudia] Of course not.
-[chuckles] -[Sebastiana] It's gonna work out.
I was just passing by.
I like to spill the beans.
-Some piece of work you are. -Whatever happens...
-[laughs] -[Cláudia] No, Dona Sebastiana.
-[Marcelo] Nice to meet you. -Likewise.
-Welcome to our building. -Thanks.
If you need anything, I live upstairs.
-The floor above? -[Cláudia] Yeah.
-Is Clóvis up there? -[Sebastiana] He is.
I'll ask him to get me cigarettes.
[Marcelo] Good meeting you.
Now you know everything.
I have something for you.
Here.
You have to be there very early on Friday morning.
-At 5 in the morning. -Thank you.
It's great to be able to help.
[eerie music playing]
["Retiro - Tema de Amor Número Três" playing]
♪ I found a house on the seafront ♪
♪ There's coconut trees ♪
♪ And a hammock for us to put up ♪
♪ And then, love ♪
♪ I'll feel love in your arms ♪
♪ In beautiful splendor ♪
♪ And then ♪
♪ We'll follow the road No longer only the two of us ♪
[man continues singing]
JAWS
[song fades out]
All those sharks.
Yeah, Grandpa. I was drawing that movie poster.
Hmm.
When will I be able to see it?
Fernando, it's rated 14.
[Fernando whines]
Plus, you'll have nightmares.
I already have nightmares, Grandpa.
[tense music playing]
If I had any peace left, it's gone for good.
Dona Lenira, I'm going to see my son.
[tense music continues]
You really think you should be here?
I will see Fernando, Mr. Alexandre. Is he in?
[tender music playing]
Fernando.
[Fernando] There was a leg inside a shark.
Were you afraid? A human leg?
Yeah, a human person's leg.
-You saw that on TV? -On Grandpa's radio.
You can't see things on Grandpa's radio.
You can only hear.
We'll have to find the guy who lost his leg and stick it back on.
[laughs]
With a screw or...
some glue or a bit of string.
-Or sew it back on. -Right.
With that thing.
Dad, can Mom be with us here now?
[lively music playing on radio]
Our memory of your mom is here with us now.
When we think about someone, it's like having them with us.
But can she come back?
No, son.
Mom got sick and died.
She's not coming back.
Remember when you had a cold and you had a high fever?
Yes, I remember.
Pneumonia means the fever is way, way higher.
Wow, like 50 degrees?
Like 50.
So sad, isn't it?
It is, but you and I are here.
And Mom is also with us. Our memory of her is.
And I'm not living with you now, only because I can't.
But I came here for that reason.
All right?
In order for us to live and be together forever.
You and me.
[pensive music playing]
♪ I love to love you, baby ♪
SÃO PAULO STATE
♪ I love to love you, baby ♪
-♪ I love to love you, baby ♪ -[singer moans]
[song continues on car radio] ♪ When you're laying so close to me ♪
That's always playing at The City.
Oh, yeah?
What about the women?
-♪ I love to love you, baby ♪ -[singer moans]
Good.
Ah.
[chuckles]
SÉRGIO MOTTA DAM
There's Oliveira.
-Oliveira. -Lieutenant.
[song continues playing on radio]
You know, I don't usually ask questions, but...
I got curious.
What's with this old woman in the back?
What will I get if I tell you?
Fucking zilch.
♪ I love to love you, baby ♪
-[music stops] -[car engine idles]
[gunshots]
[splashing]
[horn honking]
Fuck.
Fuck off.
[engine starts then revving]
What about that woman?
I'm curious.
Feels like an itch you can't scratch, huh?
Inheritance and envy.
[typewriter keys clacking]
[retro rock organ music playing]
[typewriter keys continue clacking]
They just got here.
I'm almost done.
GHIROTTI COMPONENTS OF BRAZIL
This is the person.
Apparently, he's fled to Recife.
I'll find out more and I'll let you know.
Is he white, indigenous, brown, or black?
He's white.
Line of work?
It's in that paper.
The one on the right with the beard.
Hmm. A guy like him...
As you must know, it's more expensive.
I'll charge you 60,000 cruzeiros.
Plus travel, accommodation, and expenses.
I'll pay 40,000.
I want a first-class service.
And I don't want any kind of trouble.
Don't contact me again. Pretend I don't exist.
You're on your own.
With all due respect, Mr. Girotti,
Ghirotti.
Mr. Ghirotti.
We've fought a few battles together before.
There's no point pretending to negotiate
when you know my price is fair.
Sixty thousand cruzeiros.
Thirty thousand now.
Thirty thousand later.
-You two always together? -Always.
That's right. We'll sign the contract together.
Now, if you don't agree,
I understand and respect it.
This holiday just flew by.
He's a despicable man.
I want...
a hole.
A hole?
In his mouth.
Make him a dummy, you understand?
♪You can rest assured.
[Ghirotti] All right.
Sixty thousand it is.
[Cláudia] Hm?
Hmm.
So no cavities, huh?
[speaking indistinctly]
I have tartar.
There. Found one.
And it's huge.
[groans]
Easy.
[Sebastiana] Marcelo!
Yes, Dona Sebastiana?
[Sebastiana] The groceries are here. Come meet Valdemar.
-Your time is up. -Oh, no, it's not.
[chuckles]
[chuckling]
[chuckles]
I don't feel like kissing.
Shh.
-What do you mean? -We did too much kissing already.
Hm.
Okay then.
You know Geisa's story?
Dona Sebastiana's niece?
The owner of that bed, of this home.
[sighs]
I was told she went away and left her things here.
That's not true.
Her fiancé killed her.
Got angry because she got a scholarship to study in Germany.
What are you telling me?
-What a tragedy. -Yes.
How do you know that?
Dona Sebastiana told me.
I realized she was telling people a different story.
[Valdemar] Dona Sebastiana.
-Hello. -How are you?
I'm well. I've felt worse.
But for a 77-year-old, I'm doing great.
Joana.
Hey, good morning.
Morning.
-You're ready, darling? -You called, ma'am?
Can you collect my groceries?
Where were you?
Out helping someone who had a toothache.
He giving you any trouble?
I am giving him trouble. He's in good hands.
I'm in love with this woman.
-Our guardian. -She is.
-He is well taken care of. -[laughs]
So tell me, you bring that every week?
Every Thursday.
My parents own a farm.
We gather whatever surplus we have.
And I bring over fruit, vegetables...
-So we don't have to go out there? -Right.
Maria!
-[Haroldo] Dona Sebastiana. -[Sebastiana] Hello.
-Morning, Valdemar. -[Valdemar] Morning.
Hi, Marcelo.
You're checking out our refugee groceries?
Any mangabas today?
No, we're out of mangabas.
Uh...
Let's try to avoid that word, shall we?
We don't use it here.
"Mangaba"?
"Refugee."
What are we then?
[scoffs]
Huh?
[somber music playing]
[woman] Flávia.
Hang on.
[clicking]
-Say again? -Which date are you listening to?
February 25, 1977.
What about you?
The '78 tape.
Of Sebastiana.
Right.
[clicking]
[Sebastiana] The arrangement was
for him to go to the office at 5 in the morning
and ask for Anísio, who was our contact there.
And so he went.
PART 2 IDENTIFICATION INSTITUTES
Wake up.
Keep an eye out.
"Human leg found in shark's..."
[chuckles] Nothing here I don't already know, and there'll never be.
Get a load of that.
"Agronomy student still missing."
Dear Lord, how unlucky can you get?
[Sérgio] Mm-hm.
We couldn't have known he was a good boy.
How were we supposed to know?
ROBERTO SANTELMO INSTITUTE FOR IDENTIFICATION
[muttering]
Look at that.
Why do you worry so much about what the papers say?
Because there could be some little communist fuckers
trying to trip us up, son.
[Sérgio] As long as there's no body, we'll be fine.
Just the leg will get them nowhere.
[Euclides] Now...
What about the leg?
It's at the city morgue.
[march music playing on radio]
[man speaking indistinctly on radio]
[music stops]
Marcelo?
Yes. Anísio?
A punctual man you are.
I was told to come early.
We were all told the same. Let's go in.
-Das Dores? -Yes?
-Bring coffee and water, please. -Okay.
-Easy on the sugar. -Sure.
-You don't have a São Paulo accent. -I'm from Pernambuco.
Oh, I see.
Your Pernambuco accent sounds a bit off, though.
Geraldo, at this desk, please.
Good morning, Dona Dagmar.
It's like a normal working day, all right?
Sit at that desk.
-Where will I sit? -At the back.
The last desk over there.
We're here today to support Police Chief Euclides,
who you saw down there.
Uh...
The office opens at 7 to the public.
That's when you'll get down to work.
We got here at 5, but it only opens at 7?
That's right. You'll have time to settle in.
And most importantly, we meet quorum.
Meet quorum for what?
[pops tongue]
[woman 1] Mr. Formiga.
No, it's Elisângela.
I'm expecting a parcel of clothes this morning.
Can you keep it by for me?
And tell the boy.
Thanks.
Are you having a coxinha?
Sure.
Mm. Looks good.
[woman 2] I got three down on your tab.
-A coxinha, newbie? -No, thanks.
Just 1 cruzeiro 50.
Thanks, I had breakfast.
Are you sure?
[Anísio] You can use this room.
-I reserved it for you. -Thanks.
Hey, everyone.
[indistinct chatter outside]
[chatter continues]
You were invited to come.
You stay here, okay?
Who's the woman?
A girl who was about three
was run over and died outside her house.
The girl was her housemaid's daughter.
That's why Police Chief Euclides over there
asked Anísio to round us all up before opening hours.
-[Marcelo] Ah. -We came early for the lady's deposition.
Is this a police station?
No.
It's a police station today to make life easier for the posh lady.
Such a heartless woman.
She asked her housemaid to go buy bread.
And left the girl alone crying, the poor thing.
The gate was open.
The girl went out, maybe to look for her mother.
Got run over by a bus.
Apparently, the girl's mother was never told
they changed the place and time of her deposition.
[Anísio clapping] Excuse me.
Please go back to your desks. Come on.
Let's cooperate with Police Chief Euclides.
[Anísio clapping]
Excuse me.
Good morning.
Um... Thank you very much for being here.
The deposition is in my office.
You can do your job as if it were a normal working day.
After your deposition, the photojournalists will take a picture.
Let's please cooperate with Police Chief Euclides.
[typewriter keys clacking]
[speaking indistinctly]
[typewriter keys continue clacking]
Psst.
I have a commission position.
[speaking indistinctly]
[Elisângela] Dear Newbie, are you married,
and/or do you enjoy the company of women?
[chuckles]
Yes.
But... [chuckles]
I enj...
I enjoy it.
But it's...
complicated.
CARNIVAL DEATH TOLL: 91.
HUMAN LEG FOUND IN SHARK'S STOMACH
It's gonna be over 100.
You can bet on it.
Over 100 dead?
For sure. [chuckles]
-Are you a cop? -No, I'm not.
You sure look like one.
No, I'm not a cop.
Euclides Oliveira Cavalcanti.
-At your service. -Marcelo.
Marcelo what?
Alves.
Marcelo Alves.
A cop's name.
No, I'm not a cop.
[woman sobbing]
[speaking indistinctly]
A photojournalist is coming in now.
That woman is in great pain.
Kids are a handful.
Anyway, I'm the chief of police.
My office is next door.
-Anything you need, just call. -Thank you very much.
This one walking over...
is Anísio.
-You've met him? [chuckles] -Euclides.
He's starting with us today.
Comes highly recommended.
-Hm. -I'll show you the archive room.
-Yes. -Where we keep our archives.
If there's anything you need, glad to help.
[Marcelo] Nice meeting you.
That Police Chief Euclides is quite a character.
Oh, him. An imperfect human being.
Better keep him near.
On the other hand, his white son, Sérgio...
God help us.
[panting]
[clicking]
[man gasps]
On my way, boss.
Again, Desidério?
-Good morning. -[Marcelo] Good morning.
It's these hours, boss.
They mess up my routine.
Go on to the front door.
Goodness me.
[Anísio groans]
-Talk about a whore lover. -Chrissakes.
Well, this is your workplace.
Fine.
Jesus Christ.
-Don't mind the welcome. -No worries.
Your work involves a lot of back and forth.
ID card renewals happen here.
Uh...
I worked in this place from '66 to '73.
Too many dead people.
Give me a name.
Maria Aparecida dos Santos.
Maria Aparecida.
You got me there.
Your mother?
Father's name is easier.
Uh, okay, then, try...
Lourinaldo Fernando de Melo Solimões.
"Solimões." Now, that's a name.
The rest is just filler.
Lourinaldo.
Lourinaldo Fernando.
[Anísio] Lourinaldo Fernando.
[telephone ringing]
[Marcelo] That's him, all right.
-Still a student. -A father's name is easier.
Hello?
Be right there.
Marcelo, I'm also here to help you.
I'm working with Elza.
I'll say no more.
[woman shouting angrily]
Hear that?
-It's the girl's mother. -The dead girl's?
[Sérgio] Our orders are no one gets in.
I know she's in there.
[Sérgio] You can't come in, ma'am.
Dona Cleide!
Don't touch me! Dona Cleide, I know you're in there!
I know you're there!
[overlapping indistinct shouting]
I want in. I want to speak to her.
I want her to say it to my face!
Let me go!
[overlapping indistinct shouting]
Dona Cleide, I know you're in there!
I wanna hear you say why you did that.
Why did you leave my daughter alone?
You are denying my client access to a public building!
[woman shouting]
[woman screaming]
[screaming]
Go away!
Look who's at the phone booth.
What's up, my man?
Let's go across the street.
I have something to show you. You'll love it.
-Right now? -Yep.
I'm gonna introduce you to a swell guy.
I'm taking my boys to see him. You can come along.
-Chief Euclides, right? -At your service, let's go.
-Across the street? -Won't take long.
I need to make a call. Does it have to be now?
He's there now.
Dad likes you, man. You're in luck.
Come on.
Across the street?
Across the street.
[in German] Once upon a time, there was a king
who had a big flea,
whom he loved very much
like his own son.
[in Portuguese] Thirty-eight.
[in German] He sent for his tailor.
The tailor came...
Here!
Hans!
-[speaking German] -[Euclides] My friend!
[in German] I know that voice.
[footsteps approaching]
Hello, old chap. Where's Hans?
Brought a friend to meet him.
[in German] Tell him I'm not in.
[man] How are you, Chief Euclides?
Couldn't we do this some other time?
[man speaking indistinctly]
-Can I come in? Hans! -Sir.
Chief Euclides is here.
[Euclides] Hans!
Hans. [chuckles]
[in Portuguese] Good morning!
[Euclides] My German friend.
I want you to meet a friend of mine.
[Euclides chuckles] Marcelo, this is Hans.
A real German soldier from World War II.
This man has some stories to tell.
[Hans] Not today.
Tired.
[Euclides] Uh...
Hans.
Show your scars to my kids and my friend.
[man] Chief Euclides.
We are grateful for your work in the neighborhood.
But please come another time. Hans is under the weather.
Chief, please.
Let me have a word with Hans.
I just want to see his scars.
Not today, tired.
Tired!
[in German] Hans, you don't have to do this.
Holy smokes. The Negro speaks German.
Dad, I don't think he's in the mood.
Hans, listen.
Show us the bullet holes in your legs.
Come on, do it.
I think he doesn't want to talk.
[Euclides] Show us your scars.
-[Sérgio] Are there sharks in Germany? -[Euclides laughs]
[Arlindo] Bullet wounds?
[imitates rapid gunfire]
-[Euclides] Awesome. -[Arlindo] Holy shit.
-It's a mess. -[Euclides] Didn't I tell you?
[stammers] Germany?
Belgium.
[in German] Have you seen enough or do you want more?
Hans...
I'm doing this for us.
This idiot ensures your and our protection.
[in German] He'll never understand that you're a Jew.
Forever.
Out!
Get out of my office!
And take your friends.
Out!
You can only talk that way because you are a World War II soldier.
[Hans in Portuguese] Get out now.
[Euclides] What the fuck!
[telephone ringing]
BRASÍLIA - FEDERAL DISTRICT
Costa and Carpinteiro Associates, hello?
[Marcelo] I'd like to speak to João Pedro.
I'll put you through.
Excuse me, it's our friend.
I'll put him through.
[telephone rings]
Hello?
Hi, João. What's going on there?
Listen carefully. I hope you're fine.
Don't say where you are.
-Why? -This call isn't safe.
Our phones are tapped.
Listen, we can only talk on a safe line.
-Hang up now. -João...
I'll hang up. Send me a number and I'll call you.
João.
Send the number how?
Fuck!
[chaotic, surreal music playing]
Telegram.
PHONE NO 216180 STOP
EXTENSION 22 STOP
EXPECT CONTACT 5:30 PM STOP
-[man 1] Hello. -[man 2] hello.
Telegram.
[door opens]
Telegram.
Why did you open it?
I didn't read it, though.
If you didn't read it, why open it?
Um, not sure what to say.
[door closes]
[tense music playing]
[indistinct chatter]
"The great dragon was cast out.
It is the great serpent..."
Uh, Pedro?
-It's me. -I'd like to speak to Mr. Alexandre.
He's expecting you.
[woman grunting violently]
[indistinct chatter]
NO ENTRY
Some stairs, huh?
There's a woman...
possessed by a spirit in the foyer.
It's this movie.
-Any calls for me? -No.
But someone sent you a message.
HAVE A GOOD DAY, DAD FERNANDO
Thanks.
Let's go in.
AUTHORIZED STAFF ONLY
[mechanical whirring]
You're doing a Jaws rerun?
Pedro programmed it for Saturday morning.
It's that leg business in the shark's stomach.
People love it.
By the way, Fernando is dying to see Jaws.
I thought I'd bring him on Saturday.
Are you joking?
I'd let him see it.
It's too intense for him.
The kid has nightmares just from seeing the poster.
[squeaking]
[audience screaming]
[woman on screen] No. No. No.
No. No.
No! No!
There's a...
Happens every single day.
Every single day.
[traffic humming]
Fátima used to love that window.
She liked to sit right there where you are.
I want to ask you a question.
Looking in the eye.
When you two were married,
you fucked around a lot, didn't you?
What are you on about after all this time?
Did you or didn't you?
Mr. Alexandre.
Fátima and I loved each other very much.
You know that better than anyone, don't you?
I do.
Fernando's the greatest proof of that.
Now, did you or did you not fuck around?
[snapping]
[telephone ringing]
Hello? Hold on. It's for you.
Hello?
Hi, João. It worked.
Good to speak to you and to know you're fine.
I must be quick, I don't have many tokens.
He managed to get your name on the federal police's list.
That means you can't leave the country.
-That's very bizarre. -I can't travel?
I'm trying to wrap my head around it.
He's pulling his strings. It's foul play at the highest level.
I'm telling you, he managed to get a serious prosecutor off the case,
pro-regime, but serious,
and had him replaced by a crook.
A friend of his.
What the fuck?
I have to say, it's not looking good at all.
So please, don't stick your neck out.
Stay in the shadows.
It's my last token.
Listen carefully.
Elza is the most important character in the story now.
Elza.
[inaudible dialogue]
[somber music playing]
Great place.
The Rio technician stays here.
Saves hotel expenses.
[knocking on door]
-Mr. Alexandre? -Alexandre de Jesus do Nascimento.
-I'm Elza. -Pleased to meet you.
-I'm Valdemar. -Hello.
What should I call you?
Here, you can call me by my name, Armando.
[Valdemar] Such an honor to talk to you here.
You never mentioned a fake name.
That's not really in order, is it?
No, it isn't.
And thanks for the free tickets. We just saw the movie.
Ah. Did you like it?
I'm not a religious person, but it was scary.
Valdemar almost shat himself.
I don't like horror movies.
Can I record our conversation?
Record whatever you like.
[Elza] Recording.
This is like
those American witness protection programs.
[chuckles]
Ah, over there, things are done with a lot of dough,
and by their government.
Over here, it's all a bit improvised, Brazilian style.
And to protect you from Brazil.
How many people are you helping?
With you, four people here in Recife.
Plus two in Fortaleza and one in Salvador.
In Recife, we're all in that building?
Look, each case is different.
-So we all help each other. -[Armando] Right.
And who's paying for all this?
It's paid for by the daughter of a very wealthy São Paulo family
that's long been robbing the country blind.
How was it at work today?
So you placed me at a police station. Seriously?
No, it's not a police station.
You asked for the Institute for Identification.
I did. I'll try to find
the only document that proves
my late mother did exist.
But today, that place was a police station.
Police chief and all.
Did you two talk?
[scoffs] He's a real prick. A bastard.
The worst thing is
he seemed to like me.
Just so you know, we have an ally there.
Anísio.
Is it okay for him to know who I am?
Anísio's helping.
But he doesn't know you or what's being done to you.
Tell me about the passports.
Mine and my son's?
Don't know if you're aware, but I'm on a list
of the federal police banning me from traveling.
Given the situation, we agree that you need a fake passport.
We can handle that.
I can get you those papers, but it'll take a few days.
What's going on? I don't get it.
Why do I need a fake passport?
I've done nothing wrong.
And what's in it for you?
Who are you?
I'm a pediatrician.
I'm only trying to help.
Armando, it's not about that now.
Think about your son. My grandson.
Think about my daughter, Fátima.
Mr. Alexandre, all I do is think about my son.
I'm very sorry about your daughter, Mr. Alexandre.
And your wife, Armando.
How could this country lose someone like Fátima?
Brazil will pay dearly for that.
I disagree.
With all due respect.
It will pay nothing.
It won't pay shit.
Armando, I admire you,
but you should leave.
If I was you, I'd get the hell out of here.
I'd take their help and leave today.
That's why I've arranged this.
Mr. Alexandre.
We need to protect what we still have.
You and my grandson.
I'll be in the projection booth. Lock the door.
[door closes]
[Valdemar] We'd like to know more about Henrique Castro Ghirotti,
and how he got involved in this.
I'll let it all out.
I get this off my chest.
It's a conversation.
Recorded.
Tell me about this...
Henrique Ghirotti.
I...
am not a violent person.
But this man...
I'd kill him with a hammer.
I'd bash his head in with a hammer.
Do you carry a gun?
No, but I know how to use a hammer.
I need to go to the bathroom.
[Elza] I need to go to the bathroom.
She paused recording to go pee.
[Valdemar] We'd like to know more about Henrique Castro Ghirotti,
and how he got involved in this.
Flávia?
[Armando] ...off my chest.
-Flávia. -[Elza on recording] It's a conversation.
Which date are you listening to?
[clicking]
-Sorry? -Which date are you listening to?
Uh, it's Elza with "Marcelo" in quotes, February 25, 1977.
I haven't finished it yet, though.
Marcelo is Armando, you know that, right?
Ah.
That's what I just heard here, but I got confused.
So Marcelo is actually Armando.
-It's a fake name. -It is.
You're clever, Flávia.
Which one are you listening to?
The tape of Anísio. Of '76.
Right.
[Elza] I need to go to the bathroom.
[Elza] How did you meet Ghirotti?
[Armando] He came on a visit to the university.
As head of department,
I'd sometimes meet guests at the airport, here in Recife.
He was on the board of Eletrobras,
under the Ministry of Mines and Energy.
So you are Armando.
I read your CV. I pictured you differently.
-I'll take it as a compliment. -Yes. Hot, isn't it?
[Elza] What was your first impression?
Of Ghirotti? A piece of shit.
And his son, another piece of shit.
[Ghirotti] How long have you been head of department?
Back from postdoc research about two years ago.
Now I'm making up for my research leave.
And I was elected.
Do you ever consider working in industry?
An industry makeover would do you a lot of good.
I enjoy doing research.
Did he say "an industry makeover"?
Yes, I needed an industry makeover.
[Valdemar] When was that?
That was in August 1974.
We introduced him to everyone in the department.
Luanda Azevedo was there,
Marcelo Vasconcelos, Sebastião Pires.
We showed him around the whole place.
We showed him our labs, all our projects.
The electric autonomy project,
the electric car project,
the leather tanning machine,
which was a highlight of our department.
[chuckles]
Let me introduce you to my colleagues.
[in English] Hello, guys.
-Hi. -Okay, so, this is Dr. Susan Schaffer...
-Nice to meet you. -...from Leeds University.
Sanjay Jasleen...
-How do you do? -...from École de technologie de Quebec.
You're British?
Oh, me, no. I'm American, actually, from New York.
-Uh, but Sanjay... -I'm British.
You're British?
-[Sanjay] Yes. -Oh, really?
Yes. We studied together in Leeds.
Uh, I live in Quebec now.
Of course.
Here we are. He's a good guy.
That was it. The following day, there was a meeting.
At that meeting, he basically shut us down.
[Ghirotti] To save time, I'll go straight to the point.
As far as Eletrobras is concerned,
far away from Pernambuco,
the work you're doing here should be part of a whole, in my view.
Hm? You're too much on your own,
disconnected from us down South.
I'd like to concentrate in Rio the object of some of your research
and decision-making.
Precisely to avoid that old discussion
on how things work differently in the North and the South.
I know you people have this different accent,
a different way of doing things.
Even your head of department is the hairy type.
Right, Armando?
Long live differences, right?
What I'm trying to say is,
I'm surprised at what I've seen here.
[Armando] Excuse me.
Just for the sake of clarity.
All our projects are published in the Official Gazette.
I don't see why you're surprised.
-[Ghirotti] Let me finish. -Unless you haven't read it.
I meant it in a positive way.
-[Armando] Just to get that clear. -It's a compliment.
Oh, all right.
[Ghirotti] By the way, the leather-tanning technology,
which measures the leather surface area,
is important for local culture, huh?
Bulls, goats, cows.
It's relevant for the economy of the Nordeste.
I like it.
This is a regional center. It's not a national center,
much less an international one.
Take the electric car, a project you showed me.
By the way, Armando is also working on it.
Uh, there's more advanced research being conducted in Canada.
In fact, we've acquired 12 prototypes from the Canadian consortium.
-Through Eletrobras. -[Armando] I'd like to add...
You and your company are part of that consortium.
[Ghirotti] Eletrobras.
Eletrobras has indeed acquired 12 prototypes from the consortium.
-Eletrobras? -[Ghirotti] Eletrobras.
-Not your own company? -[Ghirotti] Eletrobras. May I carry on?
[chuckles] So...
I wonder
if taxpayer money should be spent here in the Nordeste
on projects like this...
He can't be serious.
...when you have so many problems of your own to solve.
And on top of that, competing with bigger dicks abroad.
[Luanda] Dr. Ghirotti.
I'm Luanda Azevedo. I'm a research professor
with a degree from the Federal University of Rio Grande do Sul.
-You're from the South? -Yes, I am.
All our projects are funded by public research money.
And we have partnership projects,
funded by foreign independent trust money.
It's time to rethink your funding criteria,
especially your independence.
[Armando] Luanda was our first casualty.
She went to work at the São Paulo metro,
where that prick was on the technical committee.
That happened to all the team?
[chuckles] Yes. It was a real "industry makeover."
He dried up public university funding for his own personal benefit.
It's just...
And then I was showered with accusations.
[Valdemar] I'm not sure you know,
but two planted articles were published.
Um, coordinated hit pieces against you
in Rio and São Paulo newspapers.
Thank God, we haven't seen anything in any of the Recife papers.
[Elza] This will all pass.
[knocking on door]
I hope it will.
[door closes]
Mr. Alexandre, please sit over here so I can look at you.
I told you the story in the wrong order.
The evening before that meeting,
we went out for dinner.
Myself, Fátima,
Ghirotti and that son of his.
She started as your secretary, didn't she?
Restroom.
What a beautiful woman you have.
[waiter] Would you like some water?
Yes, please.
I invited you to dinner with my wife.
And she's just told you she's a teacher, hasn't she?
But I know why you're doing that.
It's the lithium battery research, isn't it?
I patented the research.
It's my project.
It's a small breakthrough, but it's my patent.
[chuckles] Whiskey, please.
[Ghirotti sighs]
My nose never fails, eh, son?
You know me.
This fellow is using the university to patent research.
-[Armando] I demand respect. -Yeah.
He uses the public system to access the market.
We need to shut down all these shitholes.
-Easy money, huh? -I demand respect.
Public money is easy money.
I am head of the research center you're visiting.
I'm a public servant at the university that's hosting you.
-I can't believe this. -I knew I had to come here.
I knew it.
Armando, I'm in engineering.
I run a family company,
built on sweat and hard work.
My father is Italian, from Genoa.
I have Italian blood.
Ah.
You have no idea who you're messing with, boy.
You're a communist.
-I'm not a communist. -You are.
Are you a capitalist?
[laughs]
-More a communist than a capitalist. -Look here.
You know the map.
Hm.
Brazil.
North.
To each his place.
Cool, man.
Fátima.
I work for the university that's hosting you.
I'm not a boy as you just called me.
I demand respect. The dinner's paid for.
Meeting's at 8:30 tomorrow. Pickup at 8.
Come if you want. If not, tough.
That idiot needn't come.
[Fátima] Let me just say something quick.
I got up because I felt this urge to piss and to throw up.
It was gone the second I got up.
-Control your woman. -[loud thud then clattering]
You've been disrespectful to us.
-Truly disrespectful. -[Armando] Hey.
-Let's go. -Wait.
-No, no. -Control your woman.
No, no, no. Now you will listen.
I kept quiet the whole evening out of respect for Armando.
Disrespectful, especially for a father in the presence of his son.
I think of my own father now, who's a humble man.
He started working at the age of nine.
That is a man.
That is a man. You hear me?
Like my husband. This is a man.
Come on, let's go.
But you are drunk, and you are drunk.
You should be ashamed. What kind of people are you?
And the secretary says up yours. Go fuck yourself.
-Easy there. -Go fuck yourself.
Fuck you too.
[Armando] Stay seated.
-Armando. -Armando, don't.
-To each his place. -Calm down.
[customers clamoring]
[exhales]
I hadn't punched anyone since school.
[sighs] School, back in the '50s.
[Elza] And the meeting still took place.
[Armando] As I told you.
Did Fátima really say that about me?
She did, Mr. Alexandre.
All right.
Okay, then.
Well...
Ghirotti is a criminal.
He belongs in jail.
And when I say that, I don't mean a penal farm.
He should be in Carandiru.
What he does is treason.
He's a crook
and a murderer.
[people screaming nearby]
[screaming continues]
In your group of, let's say, "refugees,"
yours is the case I want the most to solve.
I understand. These two foreign universities want to take me.
They must be pressuring you.
[Elza] It's not that.
Those foreign schools do want you. That's great.
But it's not about that.
We have been informed that two men have been hired
to come to Recife to find you.
That's not good.
They work as a pair. They're from the state of Rio.
The older one is Augusto Borba.
Ex-military. Got kicked out of the army in 1970.
He was based in Minas Gerais.
Not even these shitty armed forces wanted him.
He's a degenerate.
The younger one, Bobbi, is his stepson.
Some say the stepfather killed Bobbi's mother.
And now they work together.
[chuckling]
You're telling me hitmen are out to get me?
[Elza] Yes.
Is Ghirotti behind this?
And the passports?
Uh, a week, ten days at most.
In your hands in four days.
Four days?
Such a lack of respect.
For Fátima, for you,
and for your son who's at my place.
She was so healthy.
Four days?
[psychedelic folk music playing]
[in French] Shut up, for God's sake!
[crowd vocalizing in rhythm]
[upbeat music playing]
[crowd cheering]
[psychedelic folk music playing]
PERNAMBUCO INSTITUTE OF FORENSIC MEDICINE
[exclaims excitedly]
[music stops]
I need to talk to you about something outside.
Huh? What is it?
It's very important.
-Why? -We better go outside.
[psychedelic folk music playing]
[engine starts]
Hold it outside.
Come on, Lúcio.
[speaking indistinctly]
Move it.
Arlindo has a leg up in the air.
[man] Holy fuck!
This is gonna be huge.
Listen up.
"Hairy Leg strikes again."
The cartoon turned out great. Huh?
[crowd chanting]
[crowd chanting] The Hairy Leg!
The Hairy Leg!
[clamoring]
[upbeat music playing]
[Euclides] The piranhas are coming out tonight.
[chuckles]
You are throwing this shit over, Sérgio.
-What? -You are throwing it.
[Sérgio laughs]
[Euclides] Here. Pull up here.
Stop. Stop.
[unsettling music playing]
I'll make that call.
[telephone ringing]
São Luiz Cinema, good evening.
I'd like to speak to Mr. Alexandre.
I think he already left. I'll connect you to the booth.
Thanks.
[whirring]
[telephone ringing]
Hello?
External call.
-Hello? -Could I speak to Mr. Alexandre, please?
He left early today. Who's calling, please?
Just confirming, his name is Alexandre Jesus do Nascimento, right?
I can't help you with that, man. Leave your name.
I'll tell him--
What the...
Seems his father-in-law works at the São Luiz Cinema,
not the other one.
-[Euclides] Now that's the man! -[siren blaring]
They're here.
God damn.
Look at this fucking tourist. [laughs]
My colonel is punctual.
Check out that hat.
In your goddamn honor.
[all laugh]
-What's with the police truck? -Get in.
-Come on. -That's what it's about.
Everyone in.
[engine revving]
[tires screech]
[all laughing and exclaiming]
[siren blaring]
That's my colonel.
-[indistinct radio chatter] -[muttering]
-[radio chatter stops] -[laughs]
"My colonel." Look who's talking.
My lieutenant.
Lieutenant, my ass.
First lieutenant. And proud of the uniform I once wore.
Let me introduce my stepson, Bobbi.
Or Abdias. On his birth certificate, it's Abdias.
He's a big boy.
Everything good, Abdias?
Is he a good shot?
You have no idea. Ha.
This is Sérgio.
His mother's son.
The other one is Arlindo. He's like a son.
I prefer "Bobbi," Mr. Euclides.
It's Chief Euclides. I don't sell sweets on the streets, okay?
I haven't worked my ass off all my life to be called some "mister" now.
What's with "Bobbi" anyway? That a man's name?
[Arlindo chuckles]
They were out of men's names that day?
Chief Euclides.
-Ah, better. -He's tough, kiddo.
He don't like being called "mister." Gets worked up.
You got that, right? So chill now.
You guys here on a mission?
Come on, let's not go there.
Never mix friendship and work, okay?
[chuckles] Carnival was quite a blast.
Almost 100 gone.
[chuckles] I read in the paper about the extravaganza.
There was even a leg swallowed by a shark.
-[laughs] -[Euclides chuckles]
A tale for tourists.
[Augusto laughs]
Speaking of which,
are we going for a "ride"?
A "ride"?
We're going for a "ride."
Hell, yeah. We sure are going for a "ride."
[Euclides laughing]
Where are we going?
Cool it, kid.
Today we're just tourists. We ain't going for no "ride."
[clicks tongue]
Eh.
What's the plan?
It's been taken care of.
[Euclides grunts]
It's all taken care of.
One is a "157." The other one is a "157" and "213."
They're in the back.
[Euclides laughs]
In there already?
"157" and "213."
Holy fuck.
"213" means...
Commonly known as rape.
"157" is "aggravated robbery with homicide."
[thudding]
[man shouting]
Only good boys.
-[thudding and shouting continue] -[Sérgio and Euclides laugh]
[ominous music playing]
[chittering]
[ominous music continues]
[rustling]
[ominous music continues]
[squelching]
[Tereza reading] "A local man named Pedro Jorge do Nascimento,
27, a student,
living in the Mustardinha district,
was out on an evening walk in 13 de Maio Park
with a friend by the name of Alexandrino Borges, 32,
a dental prosthetist living at Bomba do Hemetério,
when they were caught by surprise
by a shadow that came hopping out of nowhere
and started kicking them.
But this is so odd.
Odd, but we all know what that is, don't we?
It's treated as news in the paper.
-[António chuckles] -[Cláudia] Tereza.
Read the bit about the attack, it's great. Read it.
-But you've read it. -I have.
But it sounds so much better in your Angolan accent.
Thank you.
[ominous music playing]
[people screaming]
[squelching footsteps]
[screaming]
[glass shatters]
[screaming]
[thudding]
[all laughing]
Oh, my word.
Hello, everyone.
-Welcome. -Oh, my darling.
-All is well? -Yes.
Marcelo, glad you came to say goodbye.
Dona Sebastiana told me.
-I wanted to be with you. -Viva.
[indistinct chatter]
I'm Geraldo, a friend of Sebastiana's.
"The Hairy Leg" is all the rage in Casa Amarela.
A bit anarchic, don't you think?
[chattering]
-Can I make a call? -If it's not long distance.
Help me with the dishes, Clóvis.
I don't like Recife.
I haven't been treated well here.
I'm sorry I'm calling this late.
I'd like to leave a message for Mr. Alexandre.
I really want to speak to my son.
It's a peculiar city, but...
Okay.
"The Hairy Leg" that hops away would be huge in Luanda.
-[Tereza laughs] -[Armando] Thank you, Zuleika.
Thank you.
Uh...
-Is that cachaça? -It is.
Mm.
Long live Mr. Marcelo.
[Armando muttering]
Marcelo is your assumed name, right?
Marcelo.
My name is Armando.
But call me Marcelo if you wish.
I'd rather not reveal my... my real name.
Tereza Victória was the name of a dear aunt of mine.
In reality, I've always wanted to be Tereza Victória.
-[Sebastiana] A lovely name. -I like compound names.
The names are for your own security.
It's not easy to be called by another name.
It's just a precaution. My own name is Sebastiana.
I didn't change it.
My name's Clóvis.
[chuckles]
Just Clóvis, really.
I wish I was as brave as you people.
I really do.
But it's not easy to live under a death threat.
I am under a death threat.
I am under a death threat too.
Let's cheer things up. I'll play some music.
Dona Sebastiana, I never meant to dampen the mood.
-Give me a hand. -I said that because...
I'm alive. I'm strong. I have my son.
[sentimental music playing]
I want to live.
It's just that...
I found out today
that I am under a death threat.
It was quite a surprise.
For someone who fell out with both camps in Angola,
finding refuge here
was so good.
Now António and I are going away.
On a plane with no Portuguese flag. We insisted on that.
Tereza, you are talking too much.
Dona Sebastiana, you're the best.
Thank you very much.
You're very welcome.
Where are you two going, Tereza?
No need to talk about that.
But thank you.
[purring]
[sentimental music continues]
My niece Geisa loved this song.
Better said, she loves it.
[telephone ringing]
[Armando] I think it's for me.
Hello, Mr. Alexandre.
That's fine.
Talk to you later. Good night.
I don't want to see you sad. Come see my little museum.
Look at this.
That's my niece, Geisa, when she was little.
In this one, she's all grown up.
[Armando] Is that you there?
That's me and my lover at the time, Andrea.
That was in Italy, in Sassuolo.
Really? You lived in Italy?
For seven years. From '36 to '42.
-[Cláudia] You never told me that. -You never asked.
-[stifled laughter] -I only came back when the war ended.
I went to Italy to study music.
Then I stayed. Things kept getting worse.
I was unable to come back.
Over there, I was a communist. Then an anarchist.
Or the other way round. I forget.
[António and Cláudia chuckle]
I saw something there with my own eyes that I'm not telling you.
I'll take it to my grave.
I also did three things there, which I'm not telling you.
But I did, and I had to.
To conclude,
a toast to all of you.
A toast.
-To my friend Geraldo. -Thank you.
Life has bad things, but also good things.
To Haroldo, who's not Haroldo.
A toast to Marcelo who's Armando.
To this woman who is Tereza Victória to me.
She's off to Sweden with António.
-[Armando chuckles] -A toast to Cláudia,
who is Cláudia.
And to Débora,
who I'm sure will live in a better Brazil.
She will grow up in a better Brazil with less mischief.
Cheers, everyone.
[Armando and Cláudia] Cheers.
[Tereza] Thank you, Dona Sebastiana.
[rustling]
[rustling grows louder]
[breathing heavily]
[yells]
[gasps]
[rustling]
[screaming]
Hey. Hey. Calm down.
Look at me. I'm here.
[breathing heavily]
[moaning]
-Shh. -[exhales]
PART 3 BLOOD TRANSFUSION
[moaning]
Fuck.
[breathing heavily]
[melancholic music playing]
[man] Vilmar.
Mr. Bobbi.
Mr. Augusto.
-Is this the man? -This is the man.
Irineu says you're the man.
I don't know about that.
Is he up to the job?
Yes, he is.
It's a job right here in Recife.
Requires great responsibility and trustworthiness.
Poor or rich?
Fuck knows.
Looks fancy, but he ain't rich.
Fancy looking is rich.
More expensive.
-He got a gun? -No.
He's a pussy.
I'll do it for 4,000.
Fuck.
What do you use for the job?
A mid-long .38. A sure shot.
I'll give you 2,000.
It's 4,000. I'll do it for 4,000.
You work in this shithole
carrying sugar like some animal to earn peanuts.
It's an easy one.
We have information that will help you.
"Like some animal..."
I don't like how you talk.
This is our man.
4,000.
4,000 it is.
But you're coming now.
Two thousand up front.
Right now.
[whirring]
Severino, I need to go out.
-Back in half an hour. -Fine.
-You're in charge. -Sure.
If Santa Cruz win today, beers on me.
[men laugh]
I'll be right back.
Okay, Alexandre.
-Excuse me. -Hello.
-Is Mr. Alexandre here? -He just left.
Really?
Pity.
[tense music playing]
[muttering]
HAIRY LEG STEALS LEG FROM MORGUE
Maria Augusta?
-Maria Aparecida? -Maria Aparecida.
Quite a few of them.
Is it your mother?
[mutters]
You're really committed to this, huh?
My mother died, and I'd like to have a document of her.
Even if only one.
And I know her ID card was issued here.
I'm dead set on finding the file.
I hope you'll find it.
[indistinct chatter]
[tense music playing]
Morning.
-Morning, boss. -Morning.
Is this where they make ID cards?
Yes, sir.
[Elisângela] Brenda Oliveira da Mata.
[Alexandre] I just need to speak to someone.
-Maria Eugênia. -Armando.
-His name is Marcelo. -Elisângela, you can let him in.
[indistinct chatter]
-Hi. -I called you Armando.
-How's Fernando? -He's fine.
He asked me to give you this.
I had to swear I'd come in the morning.
Turn it over.
"Dad.
Grandpa and Grandma are very nice..."
[Elisângela calls out customer's name]
"...but I want to live with you."
[Elisângela] Mariana da Rocha Pinheiro.
"I think I am starting to manage to forget Mom.
Come back quickly.
Fernando."
[Elisângela calls out customer's name]
You're taking my grandson away?
I'm taking my son.
[Elisângela calls out customer's name]
And you should take him. You should take him.
I need to go.
You found your mother's document?
No.
[Elisângela calls out customer's name]
Cláudia Andrade Lima Melo.
-Excuse me. -[Elisângela calls out customer's name]
Mariana da Rocha Pinheiro.
Mariana?
Cauã Barros Campos.
[Elisângela calls out customer's name]
Thanks.
Next, Cauã Barros Campos.
[Elisângela calls out customer's name]
Mariana da Rocha Pinheiro.
[Elisângela calls out customer's name]
Cláudia Andrade Lima Melo.
Demóstenes Guerra Ferreira.
[Elisângela calls out customer's name]
-Excuse me. -[Elisângela] Yes?
Is that Armando?
No.
-His name is Marcelo. -Armando.
Armando.
[indistinct chatter]
His name is not Armando.
[telephone ringing]
[telephone continues ringing]
[Euclides] Take a couple guys, make him scared.
-We only have two patrol cars. -[knocking on door]
Excuse me.
Chief Euclides, excuse me.
Yes, Marcelo.
I need to talk to you guys.
Go ahead.
You know I don't carry a gun.
Uh-huh.
We are too out in the open down there.
[Euclides] Uh.
This man turned up, was offensive to the girls.
What the heck?
He threatened me.
He is causing trouble, so I came to see you.
You need to have a gun, my friend.
Commands respect.
Hold your arm out.
Hold my...
Your hand. He wants to see your hand.
Hold it out.
Right.
You're nervous.
You messed with his wife?
No, I don't know him.
He's down there now.
Chief Euclides.
I wouldn't have come here asking for your help
if I didn't think it's a dangerous situation.
-Arlindo. -Yes?
Go check it out.
Right on, I'm itching to do it.
-Let's go. -Thanks, chief.
Marcão, come with me. Something's up.
-Does it have to be now? -It will be quick.
SWINDLERS AND CON ARTISTS
[man] Lieutenant. Hey, lieutenant.
Phone for you.
Hello?
Mr. Augusto, it's Vilmar.
I've found the man.
Where?
At the office that makes ID cards.
Are you sure it's him?
Positive.
I had a good look at him.
[Elisângela calls out customer's name]
Do I take him out?
Is Bobbi there with you?
No, he stayed at the cinema.
Better.
-Take him out. -I will.
Go for the nose.
He's in the phone booth.
[Arlindo] That guy in the red cap?
Let's go, Marcão.
I have the rest of your money.
[Arlindo] Hey, man.
You're pestering our friend?
Show us some ID.
Man, I know this guy.
I forgot my ID today.
-[gunshot] -No!
[gunshots]
[people screaming]
-Shots. -[gunshots continue]
[people screaming]
[gunshot]
[groans]
[clamoring]
[dramatic traditional music playing]
A shooting. It's hell in there.
Bastard.
[man] Don't do tomorrow
What you can do the day after tomorrow
Hail procrastination!
Long live collective idleness!
[indistinct chatter]
A man with a red cap?
That way?
[dramatic traditional music continues]
[inaudible dialogue]
Paid love is cheaper than love for free!
There's welfare and there's foresight!
Desire keeps on growing!
Glory means nothing, nor does the skyline!
[kissing sound]
What I see is an alley!
Books, books, books Books for floatation!
[indistinct shouting]
[man] Give us a hand.
[siren blaring]
[dramatic traditional music continues]
Where is Arlindo?
-Did you see what happened? -Yes.
[man reciting indistinctly nearby]
[reciting]
...needs to be free and takes no charity!
Take care of what's yours Before it goes away!
[dramatic traditional music continues]
[muttering]
Those files can't leave this room.
All lines are busy because of what happened.
Tell me, your name is not Marcelo, is it?
[dramatic traditional music continues]
[man's voice blaring over vehicle PA system]
[man speaking indistinctly on radio]
[gunshot]
[thud]
"Like some animal..."
[dramatic traditional music continues]
Elza.
I need the passports now.
Elza...
My time in Recife is over.
Stand back! Clear off!
CARNIVAL DEATH TOLL: 91
[music ends]
SOUTHERN TOURIST SHOT AT BARBER'S
MOTIVE MAY HAVE BEEN REVENGE
Dani.
Yes? Yes?
Go ahead.
Did you try to find out what happened to these people?
You know I'm kind of anxious.
I tried Googling them, but there's nothing there.
They are all pre-Google.
We need to scan the newspapers.
Yeah, but that's more work.
I'm listening to Anísio, who tried to help Armando, you know?
You went back to the Armando case?
You were a bit shaken by it, weren't you?
Yeah, I needed a break from it.
Hmm.
Well...
I don't know why, but this guy's story got to me.
Probably because my family's from Pernambuco.
My grandfather, who was practically my father.
I liked hearing Armando's voice on my headphones.
He had a good voice.
MURDERED RESEARCHER WAS ACCUSED OF CORRUPTION
-[baby fussing] -Shh.
[man] Shall I take him?
[baby fussing]
[man speaking indistinctly]
[baby babbling]
ARMANDO SOLIMÕES, 43, SHOT DEAD
CRIME BEING TREATED AS A HIT JOB
[melancholic music playing]
[man speaking indistinctly]
Say Dad.
Thank you. Bye.
-Good evening. -Good evening.
I'd like to see Dr. Fernando de Melo Solimões.
He's expecting me.
Dr. Fernando.
-Flávia, right? -Exactly.
You're donating?
I am.
How much do you weigh?
Fifty-two kilos.
Flávia?
Dr. Fernando.
Very nice to meet you.
How are you?
I was joking when I said I'd only see you if you gave blood.
[chuckles] It's a good thing, though.
First time I've given blood.
You're in good hands. Right, Rosa?
[Rosa] Everything is fine.
Can I see my blood?
You from Minas Gerais?
Yes, but I've lived in São Paulo for a few years.
I wasn't really into the idea at first,
but I'm happy I've done this.
-Can I get this? -Yes, please.
-Thanks, Rosa. -Thank you, Rosa.
It's snacks now. I'll get her a chocolate milk.
I know your father spent some time
searching for an identity record of his mother here in Recife, didn't he?
It's on the tapes.
You see, I don't know... I didn't know that.
About my grandmother on my father's side, all I know is her name.
"Maria Aparecida dos Santos,
known as Índia.
That's all I know.
Do you have any papers of your grandmother?
Nothing. I never saw her.
No pictures, nothing. No records whatsoever.
[Fernando clears throat]
My grandfather on my father's side
impregnated the daughter of the family's housemaid in Bonito,
here in Pernambuco.
My grandfather was 17 and my grandmother was 14, a child.
She was like...
Uh... [sighs]
She did all the housework.
She was a kind of servant.
Like...
a slave... or an enslaved person.
I don't know.
She really was enslaved.
And my grandmother was known as...
Everyone called her Índia. Just Índia.
And my father, her son...
Everyone said he was a beautiful boy.
So she was Índia.
And my father was beautiful.
You see?
It's not easy.
I find it so hard to speak about this.
I'm doing it because you insisted.
[chuckles nervously]
You are really something else. You sent emails. You called.
But it's hard for me to speak about this.
But what about your father, Armando?
My father, Armando, was born of that relationship
between a 17-year-old boy and a 14-year-old girl.
And the wealthy side of the family... "Wealthy," so to speak.
That is, my grandfather's family.
They took my father to raise him.
And his mother couldn't do anything. She was a child.
Listen, here's the thing.
I work for a private university
that paid me to transcribe the tapes
they got from that archive.
And now they want the tapes back.
They feel there's sensitive information on them.
So they asked for all the tapes back.
But that doesn't really matter
because I made copies of all the recordings.
I said you're something else, didn't I?
[chuckles]
But also the reason I came is
I appreciated hearing your father's testimony.
Hearing people talk about him.
Flávia... [stammers]
[clears throat]
How did those recordings reach you?
Through the daughter of Sara Guebert,
who your father knew as "Elza" when he was under persecution.
Flávia, I won't go into that.
Okay?
That's all right.
In fact...
I've brought this with all the recordings I copied.
Everything I got is in here.
Your father's voice is here.
And people talking about him.
It's yours.
You can keep it and do whatever you like with it.
You know, my grandfather, Alexandre...
[clears throat]
...who brought me up,
and who I consider to be my father...
He told me that... He was always telling this story.
When my father...
The day my father died, I was showered and ready.
I'd put on my favorite clothes and I stood there,
outside the house, waiting for him.
The plan was he'd come to pick me up.
I honestly don't remember that.
Like, someone tells you something and you create a memory.
But I don't know if I remember that day.
I'm talking to you about him, but I don't...
The truth is, I don't remember him.
The truth is
you remember my father more than I do.
[mouthing]
I don't think I helped you much.
It's all right.
It was great to meet you.
This trip to Recife is also an opportunity for me
to meet some relatives I only know through the phone.
You have family here?
My grandfather is from here.
He worked for a family not far from here, on Chora Menino Square.
I love that, "Chora Menino." [crybaby] Great name for a square.
I've heard about this place since I was little.
Quite a coincidence me ending up here.
You want a coincidence?
Mm.
When I was little,
I really wanted to see that movie, Jaws.
-I know it. -You do?
My grandfather would not let me.
The poster alone scared me, the shark with that huge mouth.
He was a projectionist at the São Luiz Cinema.
One day, he took me to see it.
Out of the blue.
I got ready and went.
From the day I saw the movie, the shark nightmares were gone.
Here's the coincidence.
Guess where I saw the movie?
I don't know any local cinemas.
Right here.
This used to be a cinema?
The Boa Vista Cinema where I saw Jaws.
-It's changed a lot. -It has.
It's a different place.
And now I work here.
[cell phone pings]
Ah.
-Your car? -It's here.
Thank you, Fernando.
Thank you.
[car door closes]
[emotional music playing]
[woman singing in Portuguese]
-[music continues] -[woman continues singing]
THE SECRET AGENT
[traditional processional march playing]
-[music ends] -[audience screaming]
[whirring]
[indistinct chatter]
[audience laughing]
Subtitles: Evaldo Tavares de Medeiros
[audience screaming]
[screaming stops]
[indistinct chatter]
[chatter ends]