Plot
Jake Lever (Adam Kaufman) is a successful cardiologist living in Washington, D.C. While at the hospital, he dreams that his brother, Benjamin, tells him that they are okay. Jake is confused and is baffled after learning later that day that his brother has died suddenly. He feels guilty for not having kept in touch with his brother for several years. After Ben's funeral held in Brooklyn, Jake finds out that because his brother's wife Leah (Lauren Ambrose) has been left without children, they must perform a ceremony called halizah in order to nullify a levirate marriage.
Jake and Leah agree, but Jake changes his mind after seeing a necklace which his brother gave him. Dating from before Benjamin left home, the necklace reminds Jake of how much he loved his big brother. He pulls Leah aside and tells her that he doesn't want to deny his brother's existence. After deciding that she wants to leave her mother's home, become independent, and start college, Leah agrees to move with Jake to Washington. Jake is constantly busy with work at the hospital, his girlfriend Carol has little patience for his new "wife", and Leah adjusts to finding her way around a new city. But eventually, true love arises, and the two find that the greatest gift Benjamin has left them is each other.
Read more about this topic: Loving Leah
Famous quotes containing the word plot:
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)
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The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)