Ana.
I have news about yourfather.
-He's getting evicted. -From the cave?
Yes.
Who toId you?
Friends of yours. VaIencians.
The San Juans.
Yourfather is Iiving with them.
I'm going. My dad can't Iive out of his cave.
He'II get used to it, you'II see. Living aIone in a cave is no fun.
That's why he didn't want me to visit.
He's fighting with some poIitician and he didn't want me to worry.
Ana, there's no time to Iose.
Yourfather needs you as soon as possibIe.
I know, he'II never get in a car, not even yours.
Let's go.
Ana...
Yourfather is iII.
Isn't your IocaI festivaI this time of year?
He didn't want you to see him
untiI he feIt better.
But he has cancer, Ana.
And now he knows he's dying.
Because I Ieft.
-Don't say that. -Fine, I won't say it.
But I'II aIways think it.
He wants to dance with you, Iike when you were IittIe.
HoId me tight, Maria.
HoId me tight.
Tonight's the coIdest night,
and I can't sIeep.
HoId me tight, Maria.
HoId me tight.
I'm scared
and I have nowhere to go.
Tomorrow when you wake
I'II be far away.
It's nothing to worry about,
I've been through worse.
In case I never see you again,
forget I made you suffer.
If I disappear I don't want
anyone to rememberwho I was.
HoId me tight, Maria.
HoId me tight.
Tonight's the coIdest night
and I can't sIeep.
HoId me tight, Anita.
HoId me tight.
I'm scared
and I have nowhere to go.
You've made me the happiest man
in the whoIe worId.
HoId me tight.
I'II be back foryou some day,
we'II run away together.
HoId me tight, Maria.
HoId me tight.
I'm scared
and I have nowhere to go.
I'm scared
and I have nowhere to go.
I'm aIone and I'm happy, damn it!
Free!
I'm free!
Linda!
Linda, is that you?
Trying to punish me?
WeII, you've succeeded.
IsmaeI, you don't know me.
I'm Ana.
What eIse are you?
WeII, I'm your stowaway.
We'II have to make do.
But I can heIp you.
I don't want a fucking stowaway!
Sorry, it was me.
I grabbed the rope when I came out.
This is my boat.
-You snuck inside me. -I know.
I heard you were going to New York and...
Linda!
I'm a friend of Linda's!
Dear Cave Monster,
Here I am, in the AtIantic.
The souIs of the dead don't go anywhere, do they?
AII they can do is fIy away to enterthe Iiving.
I don't want to fIy away.
My onIy wish is to stay with you.
You're a friend of Linda's?
You said that in the water.
Is that why you came back for me?
No.
Want to know what your daughter thinks of you?
Don't beIieve aII you hear about me.
I was Iiving with her.
What time is it there?
I'm onIy interested in here and now.
Me, too.
From now on.
HoId on!
Don't Iet go!
I'd never spent so much time with a man before.
A man who isn't my father.
Tomorrow we arrive at the Port of Manhattan.
I want to dock in New York a few months.
New York, new Iife.
Then I'II foIIow the coast south.
Take my time. To BraziI.
I'II rent out the boat for money. With a crew.
Stay with me and I'II teach you to saiI.
I have no idea what I want to do.
PIay it by ear.
Sorry I'm not your Prince Charming.
WeII, aImost.
You're aIways cIose.
How did you find me?
Linda's father.
I was just with him on his boat.
WiII you continue the voyage?
-Why are you here? -I'm sorry, Ana.
I absoIuteIy had to see you.
We've done a Iot of research.
You have?
Forthe Iast session,
-to reach the origin. -What's the point?
Look where I am now.
This is New York.
The most open city in the worId.
Far away from your Iife,
right? But the funny thing is,
you've never been cIoserto yourseIf than you are right now.
Running away brought you back to your beginning.
How wiII I die this time?
Ana, Iook at me.
I couIdn't wait to see you.
You're so dearto me.
I'II see him again, won't I?
We've entered the Indian reservation.
Look, Beast.
It's a cave.
I was anxious to see you again, Ana.
You broke my heart when you Ieft without saying goodbye...
I understood,
but I aIso feIt guiIty.
Why are you here now?
To heIp you understand, if you Iet me.
-I have to go back even further? -Yes.
2000 years.
What's wrong?
It hurts.
Then we'II go outside. You must feeI
comfortabIe above aII eIse.
Something happened to you here and it's stiII nearthe surface.
She reaIized as weII.
What happened?
We're not exactIy sure.
That's why I've brought you here. Come.
Mother, Mother, Mother...
of Good Men!
Of Good Men!
She wants you to pick it up.
Trust her, Ana.
There's nothing mysticaI about me.
Come on, Ana. We're on your side.
Ana, do not be afraid.
We're together again.
Now say my name, you know me. Say it.
Osdad Ciaca.
That was your name.
I got it right the first time.
To your peopIe, the Goddess of Life.
How oId was I when I was exterminated?
22.
How scary.
I'm stiII 21.
I am aIive, inside of you.
Ten,
nine,
eight,
seven,
six,
five...
We're preparing a surprise foryou
from Madrid.
Hi, Ana.
WeII, first of aII,
I miss you a Iot, there's no doubt about that.
What eIse...?
Things have changed around here. My mother sIeeps
in your bed now.
She said to thank you.
She knows you're with my dad,
on his boat,
the Linda.
But anyway,
she says she's much better off without him,
which she didn't know, so good for her.
As for me,
you'II Iaugh but...
I'm back with Lucas,
so...
it's back to being a goddess.
Shared, of course,
but I'm used to the idea. As foryou,
foIIow the wind.
-They say ''a foIIowing wind.'' -Whatever.
That's it.
Ride it.
Ride the wind,
my dearfriend.
My dearest friend...
My bird friend.
Osdad Ciaca.
Stop it, pIease.
Ana,
it was the man you Ioved who dethroned you.
He kiIIed the goddess and your peopIe feII into a war
among brothers.
Show herthe ending.
He's dressed up as a bird.
His brothers wiII be angry.
Dressed Iike that, I won't go with you.
Your pride sickens me.
Put down that hatchet right now!
Don't be a savage!
Strike me again...
and you'II Iose me forever.
Ana,
now, dying, is when she gIows,
when she achieves wisdom.
And she speaks to you.
You have to Iisten to her.
I'm scared.
Then be brave.
But I'm not.
Ana,
down deep you are brave, the bravest of aII.
Your consciousness of humanity is deveIoped, but through the feminine,
which is the Iife instinct,
not the death instinct.
You have to open yourseIf up and expIore it.
I don't have to do anything.
Whateveryou say, princess.
I'm free.
And I never Iiked mothers.
The tape is yours. It's up to you.
You must have a purpose in Iife.
You have to find it.
I have no purpose, period.
AngIo, hypnotize me forthe rest of the trip, pIease.
Ten,
nine, eight,
seven, six,
five,
four, three,
two, one, zero.
You're going to reIax
because you've had a very rough day.
Empty your mind.
I understand you, my Iove.
I understand you.
I open in two hours.
And you're way too Iate.
But I can make you a crepe.
What fIavor?
Sugar.
How did you get here?
Justine.
She found me and toId me where you were.
-Is this yours? -No.
It's a friend's.
How are things?
Fine, I'm trying to Iive my Iife.
If they Iet me Iive this one.
This is the present. You're stepping on it, Said.
No. Stay where you were.
PIease.
This pIace is ideaI for me.
Yes.
It seems made for me.
What about you? How was Guantanamo?
Guantanamo?
For aII I knew, since you Ieft without saying a word...
Ana,
I've come to ask yourforgiveness.
Ana,
afteryour attack,
which we aII saw,
I had another, which nobody saw.
And I saw why I couIdn't heIp you, how I wouId hurt you.
You spoke to me in Arabic. What did you say?
How did I answer?
That night you reaIized it's not over
when bioIogy runs out.
Our souIs have another bioIogicaI sense.
You said that there's nothing
in the end. It's the opposite.
We accumuIate.
Death fiIIs, not empties.
Let's go for a waIk.
So how did it end up?
Did you make bioIogy Iast Ionger?
No.
Do you think if we didn't die we'd be capabIe of Ioving passionateIy?
I don't want to Iive forever.
I just want to Iive with you.
That's my wish.
And that's my window.
Don't worry, it's aII right.
I'm sorry.
Is there anotherwoman?
Forgive me,
I shouIdn't ask that.
What matters is we found each other.
Let's start a Iife together right now.
Where shouId we go?
To your desert?
Okay. ''May God send us to Hamada.''
Hamada.
Anyway,
even if we die again together,
devoured by birds...
You know what happened, don't you?
What I'm saying is, I'm going with you.
Anywhere you want.
Come on, say yes.
It'II be the happiest day of my Iife.
Ana,
I wasn't Yasir,
the Saharan you were in Iove with.
Why not? How do you know?
I'm Said, his son.
And aIso the son of Saida.
My parents were prisoners in a Moroccan camp.
A soIdiertook your son away.
My motherwas a weII-known Berber.
She came from way back
and possessed energy from otherwise women,
Amazigh women
that came before her.
That's why the Moroccans Iet the birds eat her aIive.
They thought her souI wouId be reIeased
into the air.
The onIy thing of hers returned to my peopIe
was this ring.
So I was your mother.
Your grizzIy beast of a mother.
Just as weII you weren't with us.
I saw him.
It's him, I know it is.
Who?
The big shot eating in the private room.
It's one of those fuckers who made up
the fucking war in Iraq
that kiIIed our IittIe Paco.
We're here, Ana. Don't be afraid.
We'II go together, aII together.
We're aII behind you.
ItaIian?
ItaIian-American.
Spain.
Yeah, sweetie. We know it's aII the same to you.
I'II be right back.
Even if you kiII me 2000 times...
I shaII be born again.
I wiII engender an army of chiIdren
who wiII become... Good Men.
TO MY SISTER ANA WHO LEFT
TO MY DAUGHTER ANA WHO CAME
Ana's paintings were painted by Ana Medem between 1989 and 2001.
The adaptations are by Sofia Medem.