Plot
After fleeing from her abusive stepfather, Nola (Emmy Rossum) travels to New York City searching for her biological father. She spends her first night sleeping in Central Park, but her luck changes when she is hired by the owner of a small diner. She ends up staying with the frycook/law school student Ben (James Badge Dale) until the real owner of the diner, Ben's landlady Margaret (Mary McDonnell), hires Nola as her assistant for her escort service.
Things go well at the escort service until Niles, a billionaire client of Margaret's service, has a bad session. Niles likes to receive rough physical activity from men cross-dressing as women, but only to a point. Wendy, one of Niles's favorites, went a little too far and sent Niles into a rage. Niles demands Margaret rough Wendy up or else he will have it done, along with inducing the police to investigate the escort service. Nola attempts to help by making up Wendy to look battered and bruised, documenting it with photos, then sending her out of the country until Niles can calm down. Niles's informants spot Wendy, no longer wearing the bruise makeup, trying to flee. Niles responds by arranging a subpeona for Margaret to appear before a grand jury and calling Nola directly, threatening her by revealing detailed information about her upbringing.
Further events lead Nola closer to finding her real father, but not without the help of a journalist (Steven Bauer), who is in need of a story on escort services.
Read more about this topic: Nola (film)
Famous quotes containing the word plot:
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“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)
“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)