Carmen (1983) - full transcript
A group of flamenco dancers are rehearsing a very spanish version of the Prosper Merimee's drama. Antonio (the coreographer) falls in love with Carmen (the main dancer). Their story then turns similar to the play.
One and two...
Okay.
Now the other step.
All right.
Just a minute, please.
Come here.
The rest of you, just watch.
That's fine.
Okay. Thank you.
All right.
Carry on. Cristina.
Work with the girls, please.
The same step?
Any step.
It doesn't matter.
Paco, when are you going
to Seville?
I'm catching the 8:00 plane
tomorrow morning.
Do me a favor.
Check the dance schools there.
See if there isn't a girl there
who could be Carmen.
Don't you like any of these?
Some of them aren't bad...
but I just don't
see them as Carmen.
Cry no more
Weep no longer
Suffer no longer
That melody's pretty.
Sounds nice as a buler?a.
It'd work well for Antonio.
He'd be more comfortable with this
than with the orchestra.
I'm gonna tell him.
We were listening
to that music.
I think you'd find it
hard to dance to.
The orchestra keeps
slowing down for the singer.
You'll be left perched
on one leg like a stork.
The rhythm should be more even,
like in buler?as.
Listen.
Cristina, come here.
Paco, it sounds good,
but I'd like it a little slower,
more like the original.
- But it works better, right?
- Yes.
Follow me
when the melody comes in.
Do me a favor.
Give the girls some steps.
Mostly arms and posture.
Very good, Paco.
Keep working on it.
Boys, off the floor.
We're going to work on buler?as
using that rhythm we just heard.
That's it.
Hands nice and slow.
That's it.
Nice and slow.
Carmen had a strange
and savage beauty.
Her lips were plump
but well-shaped
and opened to reveal teeth
whiter than the whitest pearls.
Watch how she does it!
Don't just learn the step!
Her long ha/r
was shiny and black,
with a glimmer of blue,
like a raven's feathers.
Her eyes had
a voluptuous but surly express/on
that I've never seen
/n another human gaze.
"Gypsy eyes, wolf eyes,"
as the Spanish saying goes.
Hello.
- Hey!
- Hi! How are you?
- Hello, Mar?a.
- Hi, Antonio.
- When is Magdalena's class?
- It started at 5:00.
- Which studio?
- Second door on the right.
How are you?
Come to take a few classes?
To brush up a bit.
See you later, okay?
Right arm comes down.
Head up, then to the left.
Left arm down
and the head turns.
Both arms down the middle...
and up slowly,
like an eagle's wings.
Neck relaxed.
Left arm down the center.
Bring it up nice and slow.
Right arm down the middle.
Manuel, bring
your arm higher, sweetie.
Arm up high,
and now down.
Not bad, ladies.
But don't forget:
Technique is only a tool for your art.
Keep the wrists still
when playing the castanets.
The arm rises
slowly and precisely.
Pull the waist and ribs
up out of the hips.
The breasts are like a bull's horns,
but warm and soft.
Hold your head up like a queen.
And don't move your hands.
Let's go on
to the next exercise.
One, two...
and then on three the head turns,
and again, and again.
Preparation.
Sharp!
Arm up gracefully.
Hurry up, Carmen.
You're always late.
I looked up and saw her.
It was a Fr/day.
I'll never forget /t.
At first I didn't like her
and returned to my work.
But /n that way
women and cats have
of never coming when you call
but only when you don't,
she walked up
and spoke to me.
- Good evening.
- Hello.
Hello, Antonio.
- I didn't know you were her agent.
- Her exclusive agent.
What an incredible place!
I love it.
It's beautiful.
Give me a light.
- Shall I change?
- Whatever you like.
Then I won't.
Even a bar!
You guys did it up right.
- Care for a drink?
- Sure. A glass of wine.
Follow me.
Legs open.
And back to the left to finish.
Here.
- You're doing fine.
- Give me some.
Relax.
Just do your best.
Stand over there, please.
We'll do that same step,
but in a semicircle.
No, go back.
Please try to relax.
Believe in what you're doing.
Look at me.
Look me in the eyes!
That's it.
Don't look away.
Really look at me!
Don't blink.
Now turn slowly.
- Good-looking couple.
- Yeah.
Lean back.
No, lean back against me.
Hold on tight,
like I was in front of you.
Now circle with the hips.
Slowly.
Turn with me very slowly.
Follow me.
Do what I do
with your hand.
Same thing.
Come on, caress me.
That's it.
Now face me.
Good.
Very good.
- Is that it?
- For now.
How long
have you been dancing?
Since I was 15.
I always saw my mother
singing and dancing at parties.
It got in my blood
at a young age.
- Your parents are dancers?
- Not at all.
How did you get started?
In a dance troupe?
Here in the nightclub,
about three months ago.
I started in November.
- Do you sing?
- A little.
But what I really
want to do is dance.
I take class every day with Mar?a
Magdalena, Cirio and Alberto Lorca.
Here.
Do I have to read it?
No, but it might help.
You know, when I want something,
I usually get it.
I'm stronger than I look.
Well, Antonio?
What do you think?
See you tomorrow at the studio.
Good-bye, Gir?n.
Who the hell
does he think he is?
Stupid jerk!
Son of a bitch.
I'm going to do that part.
We'll see about that.
Let's start.
That's it. Good.
Your whole body.
Let's see those hands
flutter like doves.
Elbows in!
Your waist!
We're here to dance!
What's the problem?
Transition.
Stretch your body up
like a queen!
Carmen, come and watch.
Let's see here.
Are you paying attention?
Let's see it.
Your shoulders!
Lift up out of your waist!
Let's see some gracefulness!
What is it?
Antonio wants to see you
in his office alone.
Go on with the class.
- You wanted to see me?
- Sit down.
Cristina, help me out here.
Help you out?
I'm doing all I can.
Please.
She's the one
who has to practice.
I'm sure she will,
but we have to help her.
I don't get it.
There are dozens better than her.
That's my business.
She has what I'm looking for.
Sure... she's young.
Let's get something clear.
You're the best dancer,
but you're not going to be Carmen.
I need a different type,
someone younger. Is that clear?
Cristina...
you're my right hand here!
I need you, damn it!
Do me a personal favor.
What is it?
Help Carmen.
Work with her. Teach her.
I'll do what I can.
Are you just marking it,
or dancing it, or what?
- I'm trying.
- You're trying?
It's all the same!
There's no flavor to it!
Put some accent in it!
What's wrong with you?
You're not concentrating.
Cristina devours you in rehearsal!
It should be the opposite!
You understand?
Come on!
Devour me!
Don't look away!
Come on!
Better!
Don't you feel it?
- Of course I do.
Then why don't you do it
all the time?
Do I have to wear myself out
before you'll do it?
You're Carmen!
Believe it!
If you don't, who will?
Don't worry.
Don't worry?
I'll do it.
You bet you will!
Right now!
By yourself!
More! That's it!
More!
Good! Good!
Come over here a minute.
Come over here.
We're going to rehearse
the scene in the tobacco factory.
According to M?rim?e's story,
we're in Seville in 1830
in a tobacco factory.
It's very hot,
and since only women
work there,
they've made themselves
comfortable.
I want you all
to feel that terrible heat.
Feel that atmosphere,
and make me feel it with you.
I'm burning up!
Just a minute.
All those not in this scene,
clear the stage.
Singers, sit over there.
You ladies take a seat,
and Cristina will move you around.
Cristina, you sit here
and have Carmen sit there,
and place the others
as you see best.
Carmen, you mind
switching places with Blanca?
Sonia, trade places
with Mar?a Jos?.
Teresa, take that chair.
Don't go near the brambles
Don't go near the brambles
The brambles have thorns
Thorns that tear aprons
The brambles have thorns
Thorns that tear aprons
In this tobacco factory
There are evil women
and there are good women
In this tobacco factory
There are more sluts
than good girls
In this tobacco factory
You better leave Carmen alone
Better not get /n Carmen's way
Carmen has a knife
For anyone
who gives her trouble
Carmen has a knife
For anyone
who gives her trouble
Don't go near the brambles
Very good.
Very good.
We'll each pitch in
100 duros, right?
What for?
- A little wine for Anto?ito's birthday.
- Thanks, man.
I'll give you mine later.
Here's my hundred.
Make sure you don't pocket it,
you thief.
- You too.
- Like hell!
It's my birthday!
Get out of here!
I guess he's right.
I'll go get some wine.
Sorry.
- Sorry, everyone.
- Late again.
- I couldn't get here earlier.
- Traffic, right?
- Shall I change?
- No, sit down.
Listen, everybody.
Give me your attention
a minute.
After the fight
in the factory,
Jos? takes Carmen into custody
but then lets her escape,
so they throw him in jail
as punishment.
He tells us,
"Looking out through the prison bars
at the women passing by,
I saw no woman
who could compare
with that she-devil."
There's a line
I think is very important.
It explains the relationship
between Carmen and Jos?.
Jos? says,
"She lied, sir.
She has always lied.
I don't know if she's ever spoken
a word of truth in her life.
But when she spoke,
I believed her.
I couldn't help it."
We're going to work
on the next scene now.
Carmen takes Jos?
to the house of an old procuress.
It's a miserable little room.
Let's imagine
that this is a hard old bed.
Beside it is a lamp.
Lower that.
A little more. Okay.
There's a chair over there.
Step back a bit.
There'll be a table there,
a sort of dresser with a mirror.
Juan and Carmen, come here.
You be Jos?.
We'll do this step.
Let's see it.
One and two...
Just a minute.
You have to be more feminine.
Caress him
as you caress yourself.
Got it? Let's try it.
Caress him!
All right. Better.
Let's take the ladder away,
put the mirrors back,
and close the curtains
very slowly.
Clear the whole space.
- May I?
- Of course.
Take it easy.
We've got plenty of time.
How about getting me a drink?
You were dancing
when I drove up.
Cooking up some wicked step
to throw at us tomorrow?
No, I was practicing
the Farruca.
You know, since I was 15,
I've danced
just about everything.
But the Farruca
taught me what all this is about...
and I'm thankful for that.
Sometimes I just
start dancing it.
I don't know why.
I just have to.
You've never danced
the Farruca for love?
There'll never be a better time.
Dance it for me.
Now?
Dance for me, Antonio.
Come on, devour me!
Or are you just
marking the steps too?
Shit!
What are you doing?
I'm leaving.
Leaving?
I have to.
Where are you going?
It's 2:00 in the morning.
Good-bye, Antonio.
I don't know.
What am I going to do?
And then she comes in...
with the fan, the comb,
the flower, the mantilla...
everything.
All the clich?s.
But what of it?
Why not?
Your husband's waiting.
Happy birthday, old man!
To?ito, old buddy!
Happy birthday, nephew!
Paco, what do you know
about Carmen?
Same as everybody.
You know something I don't.
I feel it in your looks,
your hints.
Tell me what you know.
She's married to a guy
who's in jail for drugs.
- I know that.
- Did she tell you?
Seriously... is she living
with someone?
Will I be the last to know?
Tell me, please.
She left Gir?n,
but I don't know who she's with.
I don't know anything.
What is it about her anyway?
You've had 20 women better than her.
You're losing it.
Antonio,
this is my husband.
Jos? Fern?ndez Montoya,
at your service.
Antonio, how are you?
He just got out of jail.
Isn't that great?
Don't rush!
Let's go.
Tauro, you're winded
from smoking all those joints!
Don't rush!
Let's go!
Pick up your skirt!
Juan, straighten up!
Feet!
Tauro, don't look down!
Feet!
Hold on!
Easy now!
Enrique!
Tauro, straighten up!
Come on, man!
Don't laugh!
Backs straight!
All right. Good.
What do you want?
What's going on?
You almost killed us.
What do you want?
If you're gonna be like that,
forget it.
What do you expect?
Go back to your husband
and leave me alone.
I don't love him anymore.
A lot has happened.
You're the only one I love.
Stop it.
I wanted to talk
to you about this.
He wants to go south
and get a new start.
He just wants some money.
I told him about us.
He doesn't give a damn.
He just wants
to get out of here.
What are you thinking about?
That should be enough.
Tell him to leave you alone.
Why don't you
move in with me?
We're fine as we are.
I'm afraid of losing you.
Don't be stupid.
You're the only one I love.
Your turn.
- How much have you won?
- Two thousand.
Lucky stiff!
Play.
- Twenty to open.
- I'm in.
Me too.
All we ever did in jail
was play cards.
I raise 40.
I call.
Here's mine.
And here's mine.
- Cards?
- Two.
It feels great to be free, man.
I just can't tell you.
- You're happy now?
- Wouldn't you be?
What will you do now?
The usual.
What else would I do?
The drug scene's getting tough.
Lots of competition.
- I've got good connections.
- A thousand pesetas.
All right.
- I'll see that.
- I pass.
I'm already out.
All of it.
I'm out.
Sixteen hundred.
Take 400 back.
Two, three...
and four.
What have you got?
Thirty-one.
Forty-one. I win.
Son of a bitch!
Motherfucker!
You can relax now.
Juan, did I hurt you?
No, don't worry.
- That was something else.
- Damn!
God, I want to get this thing off!
Came out nice, didn't it?
I'll take this to makeup.
That was great.
I can't do this anymore, Paco.
I'm worn out.
I couldn't tell.
You looked amazing.
I'm gonna quit dancing next year.
You've been saying that for 15 years.
You're dancing better than ever.
The years take their toll.
No, really. I've never
seen you in better form.
Chin up!
I'm going now.
You want anything?
I'll see you later today
or tomorrow.
Thanks, Paco.
- Hang in there.
See you tomorrow.
Get out
and don't ever come back!
Get out!
- Don't take it like that, man!
- Not another word!
Get out!
Let go of me!
You're hurting me!
All right.
I have no right
to make demands,
but I can't live like this.
Nobody is going to spy on me!
I want to be free
to do whatever I want.
With the first jerk
who comes along?
What can they give you
that I can't?
I never promised you anything.
You have no right
to demand anything from me.
We love each other, right?
I don't know
what else you want.
I want to be with you always.
I know I'm possessive
and jealous.
What can I do?
I don't want
to share you with anyone.
Come on now.
How can you be so dense?
Don't you know I love you?
Love /s torment
and jealousy a traitor
Love /s torment
and jealousy a traitor
Jealousy /s to blame
I'm dying under its spell
Woe to the poor lover
consumed by jealousy
From dusk to dawn
jealousy will devour h/m
Second verse!
Jealousy /s to blame
for so many cowardly acts
Jealousy devours h/m
like a burning fire
Love and jealousy
are like blood brothers
The poor lover
can only suffer in silence
Let me go.
I've had enough.
What have I done to you?
I'm fed up. Can't you see
I don't love you anymore?
What have I done?
I just don't love you anymore.
It's over.
Carmen, don't leave me!
I love you!
There's nothing you can do.
Antonio, that's enough!
Don't leave me, Carmen.
I don't love you anymore.
Okay.
Now the other step.
All right.
Just a minute, please.
Come here.
The rest of you, just watch.
That's fine.
Okay. Thank you.
All right.
Carry on. Cristina.
Work with the girls, please.
The same step?
Any step.
It doesn't matter.
Paco, when are you going
to Seville?
I'm catching the 8:00 plane
tomorrow morning.
Do me a favor.
Check the dance schools there.
See if there isn't a girl there
who could be Carmen.
Don't you like any of these?
Some of them aren't bad...
but I just don't
see them as Carmen.
Cry no more
Weep no longer
Suffer no longer
That melody's pretty.
Sounds nice as a buler?a.
It'd work well for Antonio.
He'd be more comfortable with this
than with the orchestra.
I'm gonna tell him.
We were listening
to that music.
I think you'd find it
hard to dance to.
The orchestra keeps
slowing down for the singer.
You'll be left perched
on one leg like a stork.
The rhythm should be more even,
like in buler?as.
Listen.
Cristina, come here.
Paco, it sounds good,
but I'd like it a little slower,
more like the original.
- But it works better, right?
- Yes.
Follow me
when the melody comes in.
Do me a favor.
Give the girls some steps.
Mostly arms and posture.
Very good, Paco.
Keep working on it.
Boys, off the floor.
We're going to work on buler?as
using that rhythm we just heard.
That's it.
Hands nice and slow.
That's it.
Nice and slow.
Carmen had a strange
and savage beauty.
Her lips were plump
but well-shaped
and opened to reveal teeth
whiter than the whitest pearls.
Watch how she does it!
Don't just learn the step!
Her long ha/r
was shiny and black,
with a glimmer of blue,
like a raven's feathers.
Her eyes had
a voluptuous but surly express/on
that I've never seen
/n another human gaze.
"Gypsy eyes, wolf eyes,"
as the Spanish saying goes.
Hello.
- Hey!
- Hi! How are you?
- Hello, Mar?a.
- Hi, Antonio.
- When is Magdalena's class?
- It started at 5:00.
- Which studio?
- Second door on the right.
How are you?
Come to take a few classes?
To brush up a bit.
See you later, okay?
Right arm comes down.
Head up, then to the left.
Left arm down
and the head turns.
Both arms down the middle...
and up slowly,
like an eagle's wings.
Neck relaxed.
Left arm down the center.
Bring it up nice and slow.
Right arm down the middle.
Manuel, bring
your arm higher, sweetie.
Arm up high,
and now down.
Not bad, ladies.
But don't forget:
Technique is only a tool for your art.
Keep the wrists still
when playing the castanets.
The arm rises
slowly and precisely.
Pull the waist and ribs
up out of the hips.
The breasts are like a bull's horns,
but warm and soft.
Hold your head up like a queen.
And don't move your hands.
Let's go on
to the next exercise.
One, two...
and then on three the head turns,
and again, and again.
Preparation.
Sharp!
Arm up gracefully.
Hurry up, Carmen.
You're always late.
I looked up and saw her.
It was a Fr/day.
I'll never forget /t.
At first I didn't like her
and returned to my work.
But /n that way
women and cats have
of never coming when you call
but only when you don't,
she walked up
and spoke to me.
- Good evening.
- Hello.
Hello, Antonio.
- I didn't know you were her agent.
- Her exclusive agent.
What an incredible place!
I love it.
It's beautiful.
Give me a light.
- Shall I change?
- Whatever you like.
Then I won't.
Even a bar!
You guys did it up right.
- Care for a drink?
- Sure. A glass of wine.
Follow me.
Legs open.
And back to the left to finish.
Here.
- You're doing fine.
- Give me some.
Relax.
Just do your best.
Stand over there, please.
We'll do that same step,
but in a semicircle.
No, go back.
Please try to relax.
Believe in what you're doing.
Look at me.
Look me in the eyes!
That's it.
Don't look away.
Really look at me!
Don't blink.
Now turn slowly.
- Good-looking couple.
- Yeah.
Lean back.
No, lean back against me.
Hold on tight,
like I was in front of you.
Now circle with the hips.
Slowly.
Turn with me very slowly.
Follow me.
Do what I do
with your hand.
Same thing.
Come on, caress me.
That's it.
Now face me.
Good.
Very good.
- Is that it?
- For now.
How long
have you been dancing?
Since I was 15.
I always saw my mother
singing and dancing at parties.
It got in my blood
at a young age.
- Your parents are dancers?
- Not at all.
How did you get started?
In a dance troupe?
Here in the nightclub,
about three months ago.
I started in November.
- Do you sing?
- A little.
But what I really
want to do is dance.
I take class every day with Mar?a
Magdalena, Cirio and Alberto Lorca.
Here.
Do I have to read it?
No, but it might help.
You know, when I want something,
I usually get it.
I'm stronger than I look.
Well, Antonio?
What do you think?
See you tomorrow at the studio.
Good-bye, Gir?n.
Who the hell
does he think he is?
Stupid jerk!
Son of a bitch.
I'm going to do that part.
We'll see about that.
Let's start.
That's it. Good.
Your whole body.
Let's see those hands
flutter like doves.
Elbows in!
Your waist!
We're here to dance!
What's the problem?
Transition.
Stretch your body up
like a queen!
Carmen, come and watch.
Let's see here.
Are you paying attention?
Let's see it.
Your shoulders!
Lift up out of your waist!
Let's see some gracefulness!
What is it?
Antonio wants to see you
in his office alone.
Go on with the class.
- You wanted to see me?
- Sit down.
Cristina, help me out here.
Help you out?
I'm doing all I can.
Please.
She's the one
who has to practice.
I'm sure she will,
but we have to help her.
I don't get it.
There are dozens better than her.
That's my business.
She has what I'm looking for.
Sure... she's young.
Let's get something clear.
You're the best dancer,
but you're not going to be Carmen.
I need a different type,
someone younger. Is that clear?
Cristina...
you're my right hand here!
I need you, damn it!
Do me a personal favor.
What is it?
Help Carmen.
Work with her. Teach her.
I'll do what I can.
Are you just marking it,
or dancing it, or what?
- I'm trying.
- You're trying?
It's all the same!
There's no flavor to it!
Put some accent in it!
What's wrong with you?
You're not concentrating.
Cristina devours you in rehearsal!
It should be the opposite!
You understand?
Come on!
Devour me!
Don't look away!
Come on!
Better!
Don't you feel it?
- Of course I do.
Then why don't you do it
all the time?
Do I have to wear myself out
before you'll do it?
You're Carmen!
Believe it!
If you don't, who will?
Don't worry.
Don't worry?
I'll do it.
You bet you will!
Right now!
By yourself!
More! That's it!
More!
Good! Good!
Come over here a minute.
Come over here.
We're going to rehearse
the scene in the tobacco factory.
According to M?rim?e's story,
we're in Seville in 1830
in a tobacco factory.
It's very hot,
and since only women
work there,
they've made themselves
comfortable.
I want you all
to feel that terrible heat.
Feel that atmosphere,
and make me feel it with you.
I'm burning up!
Just a minute.
All those not in this scene,
clear the stage.
Singers, sit over there.
You ladies take a seat,
and Cristina will move you around.
Cristina, you sit here
and have Carmen sit there,
and place the others
as you see best.
Carmen, you mind
switching places with Blanca?
Sonia, trade places
with Mar?a Jos?.
Teresa, take that chair.
Don't go near the brambles
Don't go near the brambles
The brambles have thorns
Thorns that tear aprons
The brambles have thorns
Thorns that tear aprons
In this tobacco factory
There are evil women
and there are good women
In this tobacco factory
There are more sluts
than good girls
In this tobacco factory
You better leave Carmen alone
Better not get /n Carmen's way
Carmen has a knife
For anyone
who gives her trouble
Carmen has a knife
For anyone
who gives her trouble
Don't go near the brambles
Very good.
Very good.
We'll each pitch in
100 duros, right?
What for?
- A little wine for Anto?ito's birthday.
- Thanks, man.
I'll give you mine later.
Here's my hundred.
Make sure you don't pocket it,
you thief.
- You too.
- Like hell!
It's my birthday!
Get out of here!
I guess he's right.
I'll go get some wine.
Sorry.
- Sorry, everyone.
- Late again.
- I couldn't get here earlier.
- Traffic, right?
- Shall I change?
- No, sit down.
Listen, everybody.
Give me your attention
a minute.
After the fight
in the factory,
Jos? takes Carmen into custody
but then lets her escape,
so they throw him in jail
as punishment.
He tells us,
"Looking out through the prison bars
at the women passing by,
I saw no woman
who could compare
with that she-devil."
There's a line
I think is very important.
It explains the relationship
between Carmen and Jos?.
Jos? says,
"She lied, sir.
She has always lied.
I don't know if she's ever spoken
a word of truth in her life.
But when she spoke,
I believed her.
I couldn't help it."
We're going to work
on the next scene now.
Carmen takes Jos?
to the house of an old procuress.
It's a miserable little room.
Let's imagine
that this is a hard old bed.
Beside it is a lamp.
Lower that.
A little more. Okay.
There's a chair over there.
Step back a bit.
There'll be a table there,
a sort of dresser with a mirror.
Juan and Carmen, come here.
You be Jos?.
We'll do this step.
Let's see it.
One and two...
Just a minute.
You have to be more feminine.
Caress him
as you caress yourself.
Got it? Let's try it.
Caress him!
All right. Better.
Let's take the ladder away,
put the mirrors back,
and close the curtains
very slowly.
Clear the whole space.
- May I?
- Of course.
Take it easy.
We've got plenty of time.
How about getting me a drink?
You were dancing
when I drove up.
Cooking up some wicked step
to throw at us tomorrow?
No, I was practicing
the Farruca.
You know, since I was 15,
I've danced
just about everything.
But the Farruca
taught me what all this is about...
and I'm thankful for that.
Sometimes I just
start dancing it.
I don't know why.
I just have to.
You've never danced
the Farruca for love?
There'll never be a better time.
Dance it for me.
Now?
Dance for me, Antonio.
Come on, devour me!
Or are you just
marking the steps too?
Shit!
What are you doing?
I'm leaving.
Leaving?
I have to.
Where are you going?
It's 2:00 in the morning.
Good-bye, Antonio.
I don't know.
What am I going to do?
And then she comes in...
with the fan, the comb,
the flower, the mantilla...
everything.
All the clich?s.
But what of it?
Why not?
Your husband's waiting.
Happy birthday, old man!
To?ito, old buddy!
Happy birthday, nephew!
Paco, what do you know
about Carmen?
Same as everybody.
You know something I don't.
I feel it in your looks,
your hints.
Tell me what you know.
She's married to a guy
who's in jail for drugs.
- I know that.
- Did she tell you?
Seriously... is she living
with someone?
Will I be the last to know?
Tell me, please.
She left Gir?n,
but I don't know who she's with.
I don't know anything.
What is it about her anyway?
You've had 20 women better than her.
You're losing it.
Antonio,
this is my husband.
Jos? Fern?ndez Montoya,
at your service.
Antonio, how are you?
He just got out of jail.
Isn't that great?
Don't rush!
Let's go.
Tauro, you're winded
from smoking all those joints!
Don't rush!
Let's go!
Pick up your skirt!
Juan, straighten up!
Feet!
Tauro, don't look down!
Feet!
Hold on!
Easy now!
Enrique!
Tauro, straighten up!
Come on, man!
Don't laugh!
Backs straight!
All right. Good.
What do you want?
What's going on?
You almost killed us.
What do you want?
If you're gonna be like that,
forget it.
What do you expect?
Go back to your husband
and leave me alone.
I don't love him anymore.
A lot has happened.
You're the only one I love.
Stop it.
I wanted to talk
to you about this.
He wants to go south
and get a new start.
He just wants some money.
I told him about us.
He doesn't give a damn.
He just wants
to get out of here.
What are you thinking about?
That should be enough.
Tell him to leave you alone.
Why don't you
move in with me?
We're fine as we are.
I'm afraid of losing you.
Don't be stupid.
You're the only one I love.
Your turn.
- How much have you won?
- Two thousand.
Lucky stiff!
Play.
- Twenty to open.
- I'm in.
Me too.
All we ever did in jail
was play cards.
I raise 40.
I call.
Here's mine.
And here's mine.
- Cards?
- Two.
It feels great to be free, man.
I just can't tell you.
- You're happy now?
- Wouldn't you be?
What will you do now?
The usual.
What else would I do?
The drug scene's getting tough.
Lots of competition.
- I've got good connections.
- A thousand pesetas.
All right.
- I'll see that.
- I pass.
I'm already out.
All of it.
I'm out.
Sixteen hundred.
Take 400 back.
Two, three...
and four.
What have you got?
Thirty-one.
Forty-one. I win.
Son of a bitch!
Motherfucker!
You can relax now.
Juan, did I hurt you?
No, don't worry.
- That was something else.
- Damn!
God, I want to get this thing off!
Came out nice, didn't it?
I'll take this to makeup.
That was great.
I can't do this anymore, Paco.
I'm worn out.
I couldn't tell.
You looked amazing.
I'm gonna quit dancing next year.
You've been saying that for 15 years.
You're dancing better than ever.
The years take their toll.
No, really. I've never
seen you in better form.
Chin up!
I'm going now.
You want anything?
I'll see you later today
or tomorrow.
Thanks, Paco.
- Hang in there.
See you tomorrow.
Get out
and don't ever come back!
Get out!
- Don't take it like that, man!
- Not another word!
Get out!
Let go of me!
You're hurting me!
All right.
I have no right
to make demands,
but I can't live like this.
Nobody is going to spy on me!
I want to be free
to do whatever I want.
With the first jerk
who comes along?
What can they give you
that I can't?
I never promised you anything.
You have no right
to demand anything from me.
We love each other, right?
I don't know
what else you want.
I want to be with you always.
I know I'm possessive
and jealous.
What can I do?
I don't want
to share you with anyone.
Come on now.
How can you be so dense?
Don't you know I love you?
Love /s torment
and jealousy a traitor
Love /s torment
and jealousy a traitor
Jealousy /s to blame
I'm dying under its spell
Woe to the poor lover
consumed by jealousy
From dusk to dawn
jealousy will devour h/m
Second verse!
Jealousy /s to blame
for so many cowardly acts
Jealousy devours h/m
like a burning fire
Love and jealousy
are like blood brothers
The poor lover
can only suffer in silence
Let me go.
I've had enough.
What have I done to you?
I'm fed up. Can't you see
I don't love you anymore?
What have I done?
I just don't love you anymore.
It's over.
Carmen, don't leave me!
I love you!
There's nothing you can do.
Antonio, that's enough!
Don't leave me, Carmen.
I don't love you anymore.