All language subtitles for A Cross to Bear 2012 1080p AMZN WEBRip DDP2 0 x264-Kitsune

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These are the user uploaded subtitles that are being translated: Eߣ�B��B��B�B�B��matroskaB��B��S�g�M�t�M��S��I�fS��M��S��T�kS���M��S��S�kS���M��S��T�gS�����O�I�f�*ױ�B@M��libebml v1.3.4 + libmatroska v1.4.5WA�mkvmerge v9.5.0 ('Quiet Fire') 64bitD��AS�6Da� �'H� s���w=M%��+n��T�k���ׁsň̏}%����������S_TEXT/UTF8�D%C�u��\D����� WHERE ARE YOU GOING?�������>I THOUGHT YOU SAID WE COULD GO���C�u@��s������SHOPPING TODAY?��;�����^ I AIN'T SAY THAT.��O������ YOU DID.�������� s OKAY, MAYBE I DID, BUT WE CAN'T GO TODAY.��|C�u@�炇������NOW GO ON IN THE HOUSE.��������� YOU GOING WITH HIM?�� Ơ����� HE'S GONNA GIVE MAMA SOME MONEY SO I CAN TAKE YOU�� KC�u�炣ˠ����SHOPPING.��;�����^THAT'S WHY I GOT ALL DRESSED UP TODAY.�� ������} WHEN WILL YOU BE BACK?���C�u�点����� I'LL BE BACK IN A COUPLE OF DAYS.���C�u��������TAKE THIS, PUT IT IN THE HOUSE.��:C�u���s�����[ CAR DOOR OPENS, CLOSES ] [ CAR STARTS ]��{C�u@���¡��IT'S AMAZING HOW LIFE CAN FORM PATTERNS THAT HAVE A WAY�� ������ �OF SHOWING UP IN THE BEHAVIOR OF OUR OFFSPRING.�� QC�u�� c�ơ��ERICA MOSES WAS A BEAUTIFUL GIRL RAISED IN WASHINGTON, D.C.��$<C�u@��D������BEFORE I MET ERICA, SHE HAD DREAMS OF ONE DAY BEING�� P����� sAN ACCLAIMED BALLERINA.������BUT QUICKLY FOUND THAT THE CLASSICAL ARTS DIDN'T�� �C�u��bd�����ALWAYS CATER TO GIRLS LIKE HER.��F�����hSHE HAD USED HER MOTHER'S ATTITUDE AS A WAY OF�� UC�u@��wD�����TRANSFORMING HERSELF.��3�����U"USE WHAT YOU GOT TO GET WHAT YOU NEED, ERICA."�� ������*THOSE WERE THE ECHOES OF HER MOTHER.�� �C�u@���������AND THAT WAS THE START OF HER METAMORPHOSIS.�� ����� .DESPERATE TO FIT IN, SHE TRADED TIGHTS FOR MINISKIRTS��C�u���۠����AND BALLET SLIPPERS FOR STILETTOS AND --�� 頤��� BLACK SKIRT STEP FORWARD.�� KC�u���U�����EVENTUALLY A STAR WAS BORN.��"�C�u���Z�š��SHE THOUGHT SHE SCORED BIG WHEN SHE SNARED A HOT, TALENTED���������ARTIST WITH PLENTY OF MONEY.���C�u@��������� I'M TREY.�������A HI.��;������ AND YOU ARE?��2������ ERICA.�������/ WELL, IT'S NICE TO MEET YOU, ERICA.��C�u@��T�����I LOOK FORWARD TO WORKING WITH YOU.��������� ME TOO.�������� yIN ERICA'S MIND, HER MOTHER WOULD HAVE BEEN SO PROUD���C�u��1������OF HER.��}������ERICA BECAME A LEADING LADY IN THE WORLD OF MUSIC�� dC�u��F������AND ENTERTAINMENT.��٠š���THE LIGHTS FLASHED AND CAMERAS ROLLED AND THE PEOPLE NEVER��i������SLEPT.���C�u��^����� ♪ LIKES TO FOLLOW ♪ TAKE A TRIP WITH ME�� �����0ALL AROUND THE WORLD ♪ ♪ AND YOU CAN BE���C�u���8�����MY SUPER MODEL ♪ WHAT ERICA CAME TO REALIZE���C�u@���S�á��WAS THAT SHE WAS BECOMING A REFLECTION OF HOW SHE REALLY�� ����� 5FELT ON THE INSIDE -- BROKEN, DISCOURAGED AND LIVING�� xC�u���"�á��OUT A REVISED DREAM FULL OF FANTASY AND DISAPPOINTMENTS.��8,C�u���p����� Woman: ♪ GET IT, GET IT, GET IT, GET IT ♪�� ����� B♪ I'M GONNA GET WHAT I WANT ♪ HEY, I'M GONNA�� BC�u�������GET WHAT I NEED ♪ ♪ HEY, I'M GONNA GET�� ������ �WHAT I WANT ♪ ♪ HEY, I'M GONNA GET IT�� KC�u@��)�����GET IT, GET IT, GET IT ♪ ♪ HEY, I'M GONNA�� ������ �GET WHAT I WANT ♪ ♪ HEY, GET IT��7�����/I'M GET IT, GET IT, GET IT ♪ ♪ HEY, I'M GONNA�� .C�u��5������GET WHAT I WANT ♪ ♪ HEY, I'M GONNA�� ֠���� �GET IT, GET IT, GET IT ♪ ♪ GET WHAT I WANT�� �C�u��K������♪ GET THE MAN I WANT ♪ GET WHAT I NEED�� K����� m♪ GET IT ♪ GET WHAT I WANT�� VC�u��b������♪ GET WHAT I NEED HI.�� �����/♪ GET IT ♪ GET WHAT I NEED�� �C�u��������♪ GET IT ♪ GET WHAT I WANT�� ������ �♪ GET WHAT I NEED ♪ GET WHAT I WANT���C�u���*�����♪ GET WHAT I NEED... [ BEEP BEEP ]���C�u�������� I'M SORRY, THE CARD IS DECLINED.�� ֠���� � OKAY.�� �C�u���0�����UH, TRY THIS ONE.��$<C�u@��ꎠ����[ BEEP BEEP ] I'M SORRY, THAT ONE IS NOT�� ������ �WORKING EITHER.��P�����R OKAY, CAN YOU TRY THIS ONE AGAIN PLEASE?��=JC�u��:L�����[ TELEPHONE RINGS ] TYIESE STUDIO.���C�u@��O �����UH, EXCUSE ME.���������YOU NEED TO SIGN IN.��A����� = I'M TREY'S GIRLFRIEND.��2������ I'VE HEARD THAT BEFORE.��rC�u��d1�����YOU STILL NEED TO SIGN IN.��������� [ SIGHS ] ♪ WASN'T ROMANCE WITH YOU��!�C�u���������'CAUSE WE'RE JUST FRIENDS TREY.��5�C�u���������TREY, I NEED TO TALK TO YOU.�� ������ � ♪ DREAMS, DREAMS, DREAMS TREY!��%C�u��������I NEED TO TALK TO YOU.�� Ǡ���� �IT'S IMPORTANT.���C�u���à����OKAY, MY CARDS WERE DECLINED TODAY.�� Q����� s [ CHUCKLES ] THAT'S WHAT HAPPENS WHEN YOU�� �C�u�� �����DON'T PAY THE BILLS.��Ơ�����YOU BEEN DRINKIN' OR SOMETHING?��ˠ���� � HAVE YOU?�� �C�u��#ޠ����LOOK, ARE WE IN TROUBLE?��������� OH, IT'S "WE" NOW?�� ������HOLD ON, DAWG, I'LL BE RIGHT BACK.���C�u��8W�����COME WITH ME.��j������ WHAT'S THE POINT IN COMING OUT HERE?���C�u@��L󠺡��YOU COULDN'T SAY IT IN FRONT OF EVERYBODY ELSE?��������� I DON'T WANT EVERYBODY IN MY BUSINESS.�������  WHATEVER.��Š����� COME HERE!�� C�u@��b�����SO IT'S "WE" NOW, HUH?���������IT WASN'T "WE" WHEN YOU SPENT UP ALL MY MONEY.��Р����� YOU SAID I DIDN'T HAVE TO WORK.���C�u@��������� WHAT CAN YOU DO?��^������HUH?��������� I -- I CAN FIND SOMETHING TO DO.�� ������ WELL, GO FIND IT THEN.��TC�u���������BYE.��㠞���I GOT TO GO TO WORK.�� 頬���  I WASN'T THROUGH TALKING TO YOU.���C�u���%����� I'M DONE LISTENING.�� Ơ���� � EXCUSE ME, I NEED SOME MONEY.��򠟡��� CUE THE TRACK, DAWG.��tC�u��Թ�����CUE THE TRACK.��������� I NEED SOME MONEY.�������� �[ MUSIC PLAYING ] I'M HUNGRY, I NEED SOME MONEY.���C�u���R����� YOU KNOW WHAT?��������� WHOA, WHOA, WHOA.��-�����I GOT THIS.�� �C�u�� i�����HERE, JUST TAKE THIS AND GO.��������� THANK YOU.��E_C�u@��X������ YOU KNOW, I'M GETTING SICK OF THIS ERICA.�� K����� nYOU AIN'T NOTHING BUT A GOLD DIGGER ANYWAY.�� n������ TREY.��(C�u@��mࠚ���TREY, I DO CARE.���������IT'S NOT ABOUT THE MONEY.��A�ơ�� I PROMISE, I'LL DO BETTER, PLEASE -- WHAT DO YOU WANT ME TO�� C�u��������DO?�������� I JUST NEED YOU OUT BY TOMORROW.�� ������ 3 BUT I HAVE TO TELL YOU SOMETHING.��ZC�u���Ġ���� ERICA, I'M DONE.��]|C�u@���b�ǡ�� YOU'RE GOING TO GROW UP TO BE A PRETTY GIRL AND YOU CAN USE�� ������ �THAT PRETTY TO GET YOURSELF A GOOD MAN.���C�u�� �����AND MAKE SURE HE'S GOT MONEY.�� L�¡�� nA MAN WITH NO MONEY AIN'T NO MAN AT ALL, REMEMBER THAT.��?�C�u��RS����� HEY.��������� OH, WHAT'S UP WITH YOU?�� /�����* UH, NOTHING MUCH.�� �C�u��n������ UH, DOING OKAY?��>�����a NOT REALLY.���C�u��� �����I MEAN, YOU KNOW ME AND TREY BROKE UP.�������%[ SNIFFS ] OH, I REALLY JUST��jC�u���������NEED TO TALK TO HIM.��������� IF I -- IF I HEAR FROM HIM, I'LL TELL HIM TO GIVE YOU�� sC�u��������A CALL.��蠻��� IF YOU NEED ANYTHING JUST -- JUST CALL ME, OKAY?��&�C�u��������� SHH.��F�����i[ BABY CRYING QUIETLY ] SHH.��~C�u���������QUIET NOW.�� n����� �I'M TRYING AS FAST AS I CAN.�� �C�u��� �����DON'T CRY FOR MOMMY.��&C�u���T�����I'M TRYING.���������I'M TRYING REAL HARD.�������� nI'M GONNA FIND US SOMEWHERE TO SLEEP TONIGHT, OKAY?�� C�u���������OH.��6�C�u@�� ꠫��� WE'RE OVER CAPACITY, I'M SORRY.���������WE HAVE NOWHERE TO SLEEP AND WE HAVE NO MORE FOOD.�� Ơ����� OKAY, I GOT -- I GOT SOME MONEY, YOU CAN HAVE IT.���C�u�� Bk�����OKAY, IT'S NOT ENOUGH FOR A HOTEL.�� ������ �PLEASE.�� ������I HAVE A BABY.���C�u�� Y ����� SO DO HALF THE WOMEN IN HERE.���������I'M SORRY.�������� eYOU GOT TO GET HERE EARLY, SORRY.���C�u�� ~\����� YOU LOOKING FOR A PLACE TO SQUAT?�� ����� .COME ON, I KNOW A PLACE, IT'S A REAL CLEAN PLACE TOO.���C�u�� �0�����COME ON.���������IT'S ALL RIGHT.�� ֠�����IT'S ALL RIGHT.��2C�u�� �M�����COME ON.�� ������ �COME ON.��-�����EXCUSE THE PLACE, I DIDN'T GET A CHANCE TO CLEAN UP.�� �C�u�� �8����� Man: HEY, HEY, HEY, HEY!��$�����FTHAT'S MY CORNER.�������� d[ LAUGHING ] I'M JUST KIDDING WITH YOU.��aC�u@�� ������YOU'RE NEW AROUND HERE, EH?��������� CHARLIE, LEAVE HER ALONE.��c����� .SHE'S HAVING HARD TIMES.��������M I'M GONNA TAKE CARE OF HER.�� �C�u�� ������I'LL EVEN SHARE MY PRIVATE STASH.��������� IT'S OKAY, HE'S HARMLESS.��HC�u@�� 1������ CHARLIE, GET ON OUT OF HERE.�� �����-LISTEN, YOU AND YOUR BABY IS GOING TO BE ALL RIGHT,�� �������I PROMISE.�������� YOU'RE GOING TO BE FINE.��2C�u@�� J����� JUST GOT ONE NIGHT, OKAY?��������� HEY, LITTLE GIRL.��-����� �YOU WOULDN'T HAPPEN TO HAVE ANY CHANGE, WOULD YOU?���C�u�� e蠞���A COUPLE OF DOLLARS?��)C�u�� � �����THANK YOU.��������� IT'S FOR YOUR RENT.��ߠ�����[ CHUCKLES ] WELL, MAKE YOURSELF COMFORTABLE.�� �C�u�� �������WE'RE AT HOME.��G�����iWE ARE AT HOME.��)8C�u�� �l�����HEY, YOU GOT A CRIB.�� ̠���� � UH-HUH.���C�u�� J�����[ BABY COOING ] GO TO SLEEP.���C�u�� 񠖡��GO TO SLEEP.��?C�u�� 3R�����GO TO SLEEP.��N C�u�� �������[ BLOWING PUFF OF AIR ] I AIN'T NEVER SEEN NOBODY�� �C�u@�� �������SLEEP FOR TWO DAYS STRAIGHT.��������YESTERDAY, I THOUGHT YOU WERE DEAD.��Z����� �I PUT A GLASS ON YOUR NOSE AND YOU FOGGED IT UP.���C�u�� ������I LEFT YOU ALONE.�� ������ �YOU HUNGRY?�� K����� I GOT BIG BOXES.���C�u�� �P�����BIG BOXES.�� ������ �NO?��������[THAT'S FINE, MORE FOR ME.��#mC�u�� ;�����WHAT'S YOUR NAME?��>�����`YOU GOT LEGS LIKE A DANCER.���C�u�� 7������I USED TO BE A DANCER.���������A BACKUP DANCER.�� ������oI TOOK BALLET AND EVERYTHING.�� �C�u@�� T젤���WE GOT A DANCE GROUP HERE.��ˠ�����STACEY OVER IT.�� ����� BUT I GUESS YOU'LL MEET HER ONE DAY.���������YEAH.���C�u@�� {������I HEARD THEY FOUND YOU OUT BY THAT OLD COTTON MILL.�� `����� �WHAT YOU WAS DOING OUT THERE?��������*YOU HOMELESS?��IC�u�� �)�����HELLO?��ܠ�����HELLO?��oC�u�� Ĺ�����HELLO?��F�����hYOU DON'T TALK?��HC�u�� ጠ����YOU SLOW?��Р�����THAT'S ALL RIGHT, DANCER, YOU AIN'T GOT TO TALK TO ME.�� �C�u�� �Y�����I TALK TO YOU.��^������JUST JOAN COLLINS.��ˠ���� nTAKE IN HOMELESS GIRLS AND RUNAWAYS.��GC�u�� 0�����SHE COOL.��P�����rBUT SHE GOT A LOT OF RULES.�� ������HSHE GOT THE SIX-MONTH RULE.���C�u�� !e�����BUT ME, I BEEN HERE FOR YEARS.���������ON AND OFF.���C�u@�� 7�����OFF AND ON.�� �����- SO LISTEN, MY FRIEND JOE, YOU KNOW, WHO WORKS FOR�� y������THE CITY, HE FOUND HER AND BROUGHT HER IN.��%C�u�� W#�����SHE'S GOT A REALLY BAD BURN AND SOME CUTS.�� ����� .I BANDAGED HER UP, BUT SHE'S STILL OUT OF IT.���C�u�� s�����HMM.��-�����PAND -- AND YOU SAY THERE'S NOBODY MISSING FITTING HER�� B������DESCRIPTION?���C�u�� �Ġ����[ SIGHS ] OKAY, ALL RIGHT.�� ������ �THANK YOU, SWEETIE.���������YOU HAVE A BLESSED ONE TOO.��C�u�� �������OKAY, BYE.�� K����� n I'M GONNA GET MY OWN PLACE SOON.�� C�u�� �K�����'CAUSE LOOK.�� ����� )LOOK, I'M PREGNANT.�� .C�u�� �Ġ����YOU CAN'T REALLY TELL YET THOUGH.�� ������ � [ CRYING ] HELLO?�� �C�u�� �W�����HELLO.��|������I'M GLAD TO SEE YOU'RE AWAKE.�� ՠ����� I THINK SHE A RETARD OR SOMETHING.���C�u�������� TINA!�� �����-COULD I SEE YOU FOR A MINUTE PLEASE?��/�C�u@�6������I AM NOT GOING TO ARGUE WITH YOU TODAY.�� �ġ�� =NOW, YOU AND I HAVE BEEN GOING BACK AND FORTH FOR A WHILE��C�u@��N��ġ��AND WE ARE ON GOOD TERMS NOW AND I'D LOVE TO KEEP IT THAT�� ������ �WAY.����ơ���I'M JUST ASKING YOU TO KEEP AN EYE ON THIS ONE, I THINK SHE�� �C�u@��o������NEEDS IT.��������� WHAT ABOUT WHAT I NEED?�������� �YOU AIN'T GIVE ME A ROOMMATE WHEN I CAME.��w�����LWHO GONNA LOOK AFTER ME?��PC�u���u�����I JUST HAVE SOME CEREAL AND A DVD, "THE COLOR PURPLE."��j������"YOU TOLD HARPO TO BEAT ME."�� LC�u@���o�����"YOU TOLD HARPO TO BEAT ME."��������� YOU DIDN'T WANT A ROOMMATE.��F�����GYOU DIDN'T WANT ANYONE LOOKING AFTER YOU.���C�u��������� I FORGOT.��������� EXCUSE ME?��ˠ���� � I FORGOT.�� �C�u@���[�����WHY DON'T YOU PAY ME?��w������AND I'LL WATCH HER FOR YOU.��A����� � I'M NOT PAYING YOU.��h�ơ���I GO ABOVE AND BEYOND TO HELP YOU, TINA, AND YOU KNOW THAT.���C�u���᠒��� PLEASE.��A�����cYEAH, YEAH.�������� I'M SERIOUS, TINA, LOOK OUT FOR HER, ALL RIGHT?��C�u��%'����� MY NAME IS JOAN AND THIS IS MY HOUSE.��?C�u��=��ʡāA FRIEND OF MINE FOUND YOU A FEW DAYS AGO AND BROUGHT YOU HERE.��[�����}YOU UNDERSTAND WHAT I'M SAYING?���C�u��j������I NEED FOR YOU TO COMMUNICATE IN SOME WAY.��&C�u��񠛡��UH, DO YOU WRITE?���������OH, THIS ISN'T A PRISON.���C�u���f�ʡāI'M HERE TO HELP YOU, BUT ONLY IF YOU WANT IT AND IF YOU DON'T,��t������YOU ARE FREE TO LEAVE.���C�u���������I NEED TO KNOW IF YOU ARE ON ANY MEDICATION OR�� ������ �ANY SUBSTANCE -- ANY SUBSTANCE.�� C�u���Ϡ����WHILE YOU ARE HERE, THERE IS ABSOLUTELY��G�����iNO DRINKING AND NO DRUGS.���C�u�� ������DO YOU UNDERSTAND WHAT I AM -- [ COUGHS ]��'C�u���]����� [ SIGHS ] GOOD MORNING.��'C�u@��e�š��IF YOU DIDN'T WANT HELP, YOU WOULDN'T HAVE COME BACK HERE.��~������NOW QUIT PRETENDING AND LET SOMEONE HELP YOU.��'C�u���C�����I KNOW YOU UNDERSTAND ENGLISH.��Z�����}NOW I NEED TO FIGURE OUT WHY YOU'RE NOT SPEAKING.�� xC�u���Z�����HAVE A SEAT.��,C�u��������I STARTED THIS PLACE SEVEN YEARS AGO.�� ����� .I ONLY TAKE IN WOMEN AND CHILDREN AND I DON'T TAKE�� C�u@��2�����EVERYONE.��l������THIS IS A SIX-MONTH PROGRAM.��U����� YOU MUST STAY HERE EVERY NIGHT.��i������I LOCK MY DOORS AT 9:00 PM.��wC�u@��I+�á��IF YOU WANT TO KILL YOURSELF, GO DO THAT SOMEPLACE ELSE.�� ՠ���� �THIS IS MY HOUSE, MY HOME, NOT A SHELTER.���C�u@��dȠ����I'M NOT RICH, DO NOT ASK ME FOR MONEY.�� ������ �IF YOU STAY HERE, YOU WILL GET A JOB.�� n�á��eYOU DON'T HAVE TO PAY RENT AND I PROVIDE ONE MEAL A DAY.�� yC�u���Ƞ����I'M HERE TO HELP YOU.��C�u����á��BUT ONLY, AND I MEAN ONLY, IF YOU WANT TO HELP YOURSELF.��$^C�u���������DO YOU UNDERSTAND THAT?��!EC�u����ǡ�� SO WHAT GOOD IS GOD IF HE'S NOT AROUND WHEN YOU REALLY NEED�� ������ �HIM?���������THAT'S MY ISSUE.��ZC�u@���󠒡�� MM-HMM.��O�����r OKAY, WELL, UM, ROBIN, I THINK PART OF THE PROBLEM IS�� ��ȡGTHAT WE WANT GOD TO JUST SHOW UP WHEN WE WANT HIM TO SHOW UP.�� C�u��|�����AND JUST FIX EVERYTHING.��h������ YEAH.��O����� � WELL, HE MIGHT BE FIXING EVERYTHING AND WE DON'T EVEN�� �C�u��*b�����REALIZE IT.�������� YOU'RE SERIOUS?�� n����� � QUITE.��0C�u��I]����� HEY, LISTEN, GOD'S TIMING IS NOT OUR TIMING, OKAY?��yC�u��]������PERIOD.��Š����� HEY, GUYS.�������� � OH, MORGAN.���������OH, MY GOODNESS.��iC�u��v�����AWW.��������� BABY.�� 頏���� AWW.��dC�u���T����� OH, MY GOODNESS.�� 頥��� Erica: I WANT TO HOLD HIM.�� �C�u���z����� WAS THAT ERICA?��������� Erica: I WANT TO HOLD HIM.���C�u���!�����I WANT TO HOLD HIM.�� L����� n SHE SAID SOMETHING.���C�u���f����� YOU LET -- DANCER.�� ��ǡ�� � JUST -- JUST ASK HIS MAMA IF IT'S OKAY IF YOU CAN HOLD HIM.��C�u���>����� LET ME HOLD HIM, PLEASE.�� ������  OH, SHE TALKS NOW.�� �C�u��8����� OKAY?��r������OKAY.��������ZOKAY.��^����� �ALL RIGHT.���C�u��'㠔���IT'S OKAY.��h������SAY HI.��ʠ���� xHELLO.���C�u��=p�����HERE YOU GO.��������JUST BE CAREFUL, WATCH HIS HEAD.�� Ǡ����OKAY.��m������THAT'S OKAY.��PC�u��Tx�����I'M GOING TO GET HER SOME WATER.�� n����� � OKAY.��:C�u��{f����� [ CRYING ] YOU'RE -- YOU'RE HURTING MY��0C�u@���������BABY.���������GIVE ME MY BABY.��(����� NO.��㠝���I WANT TO HOLD HIM.��������� JOAN!��J����� . WHAT'S GOING ON IN HERE?��h������ I WANT -- HEY, HEY, HEY!��FC�u@���ڠ���� SHE HAS -- SHE HAS MY BABY.��2�����U OKAY, OKAY.��^����� �ERICA, GIVE BACK THE BABY.��@�����9GIVE HER BACK THE BABY.�� C�u���P����� MY BABY.��������� NO, DON'T.������� STOP IT!���������I WANT TO HOLD HIM.���C�u���렕��� RIGHT NOW.��������� [ SOBBING ] [ CHUCKLING ]�� ������� HEY, NO.�� )C�u���������NO, NO, NO.���������THAT'S NOT FUNNY.�� ������� WHAT WAS THAT?��C�u��������HUH?���������I DON'T LIKE SURPRISES.��䠝����OH, NO, NO, NO, NO.���C�u��&������IT IS WAY TOO LATE FOR YOU TO KEEP PLAYING MUTE.���������YOU START TALKING, AND I MEAN RIGHT NOW.�� C�u��B{����� I WANT MY BABY.�� ������ � THAT IS NOT YOUR BABY.��������a I WANT MY BABY.���C�u��\������I WANT MYBABY.�� d����� �[ CRYING ] I WANT MY BABY.��<�C�u���䠬��� [ SIGHS ] SO YOUR BOYFRIEND TOOK�� ������ �THE BABY AND THEN -- AND THEN JUST DISAPPEARED?��C�u���頠���YOU CALLED THE POLICE.��w������ NO, THEY DON'T LISTEN TO PEOPLE LIKE ME.��GC�u���젢��� DO YOU HAVE ANY FAMILY?�� ����� B NO.��r������ MOTHER?��C�u��������� DEAD.��������� FATHER?�������� � NO.��-������ AND YOU HAVEN'T SPOKEN TO THE BABY'S FATHER AT ALL?���C�u�� y����� NO.����á���HE WAS ALWAYS THREATENING TO THROW ME OUT ON THE STREET.��C�u��&������AND THEN HE JUST SOLD THE HOUSE AND LEFT.���C�u��<6�����SO I STAYED IN HOTELS UNTIL MY MONEY RAN OUT.�� �����0 AND THEN?�� �C�u��Y,����� I WAS AT SHELTERS.�� ՠ���� � ARE YOU AN ADDICT?���������DO YOU HAVE A DRUG PROBLEM?��\C�u@��K�����I'M GONNA ASK YOU ONE MORE TIME.���������ARE YOU AN ADDICT?��蠥��� �DO YOU HAVE A DRUG PROBLEM?��������� I DRINK.��hC�u���Y����� WE DIDN'T FIND ANY IDENTIFICATION.�� 3����� UDO YOU HAVE I.D.?��UC�u���&����� IT'S IN MY BAG.��������� WHAT IS YOUR NAME?���C�u���𠗡�� ERICA RENEE���C�u���֠����MOSES.���������I'M FROM WASHINGTON, D.C.��������� ALL RIGHT, WELL, THAT'S A START.�� C�u@��������� WHO ARE YOU CALLING?���š��2 MY FRIEND CARRIE, SHE'S AN INVESTIGATOR AND SHE CAN HELP.�� .�ɡÁ� WAIT, WHY ARE YOU CALLING AN INVESTIGATOR, I DON'T WANT TO DO�� =C�u@��������THAT.��_������ [ HANGS UP ] BECAUSE WE HAVE TO FILE A���������MISSING PERSON'S REPORT ON YOUR BABY.��x�����9 BUT WHAT IF THEY THINK LIKE -- LIKE I HAD�� )C�u@��3�����SOMETHING TO DO WITH IT BECAUSE I DIDN'T REPORT IT?�� ������ � WE'LL CROSS THAT BRIDGE WHEN WE COME TO IT.��򠧡��� NO, I DON'T WANT TO DO THAT.�� �C�u��P⠲��� WE HAVE TO FILE A REPORT ON YOUR BABY.���C�u��lĠ���� FINE.��򠓡��GO AHEAD.��WC�u���R����� [ DIALING ] YOU FOOLED EVERYBODY.��*�C�u��������EVEN OLD, OLD JOAN.��ߠ����I KNEW YOU COULD TALK.���C�u��������WHY YOU ACT ALL CRAZY WHEN YOU SAW MORGAN'S BABY?�� ����� I MISS MY BABY.�� �������THAT'S ALL.�� �C�u���ޠ���� WHERE IS SHE?��2�����U GONE AND I DON'T WANT TO TALK ABOUT IT.���C�u��蠕��� ALL RIGHT.�� �C�u@��2��ġ�� YOU AIN'T GONNA BE ABLE TO TAKE CARE OF THAT BABY IF YOU�� ۠���� �MOVE OUT.��J�����jIT'S HARD WORK.��Š����R YEAH, WELL...��2C�u��KI�����SEE, ME AND JEROME, WE BEEN TOGETHER FOR A MINUTE.��%�����HHE SAY HE WANT US TO BE A FAMILY.�� �C�u@��c������HE SAY HE LIKE MY AURA, IT BRING GOOD ENERGY.��o�ơ���I MEAN, I DON'T KNOW WHAT HE BE TALKING ABOUT ALL THE TIME,�� �C�u��~ࠩ���BUT HE INTO THAT KIND OF STUFF.���������BUT, I LIKE IT.��$����� I LIKE THE WAY HE LOOK AT ME.�� C�u���3�����HE MAKE ME FEEL PRETTY.�� ������ � THAT'S NICE.�� �C�u@���(����� YEAH, WE WEREN'T THAT BUT WE CAN DO THAT.����š���PLUS HE SAY I DESERVE TO LOVE SOMEBODY WHO GOING TO MAKE A�� ������DIFFERENCE IN THIS WORLD.��wC�u��ź����� I AIN'T NEVER THINK ABOUT IT LIKE THAT.�� ̠���� � ME NEITHER.���C�u��ۯ�����I'M GONNA DO RIGHT THIS TIME.���������WATCH.��<�C�u��������YOU KNOW HOW TO BRAID HAIR?�� ������ �CAN YOU BRAID MINE?�� C�u��K������ YOU GOT NICE HAIR.�������8WHY DON'T YOU NEVER FIX IT?��F������ WHY YOU DON'T NEVER FIX YOURS?��"�C�u��~!����� WHY DO YOU DO THAT?�������$ DO WHAT?��ˠ����  YOU JUMP LIKE YOU GETTING AN ELECTRIC SHOCK.���C�u��������� OH, IS IT NOTICEABLE.�� m����� � IS THAT NOTICEABLE?���C�u��������� I MEAN, YOU ASKING ME ABOUT MY BUSINESS.�� )����� L I WAS A CRACK BABY.��%C�u���!�����I MEAN, WHEN YOUR BODY USED TO ONE DRUG,�� n����� �THEY KEEP GIVING YOU MORE UNTIL YOUR BODY WEAN ITSELF.��`C�u���4����� I'M SORRY.��$�����F AIN'T YOUR FAULT.�� �C�u@�� 7�ˡŁAND THEN WHEN I TURNED SIX, THEY START GIVING ME DIFFERENT DRUGS���������AND THAT'S WHEN THE TICKS STARTED.��|C�u@��!������I'VE BEEN HAVING THEM EVER SINCE.�� ������ � THEY CAN'T GIVE YOU NOTHING FOR THAT?�� ������ I'VE BEEN ON ALL KINDS OF DIFFERENT DRUGS.���C�u@��Fm�ơ��WHEN I WAS 13, I STOPPED TAKING THEM DRUGS, I FOUND MY OWN.�� ۠���� �I BEEN IN AND OUT OF THIS SYSTEM FOR YEARS.��%C�u��`������WHEN I WAS 20, I GOT MY OWN PLACE.�� 3����� VTHAT AIN'T LAST FOR LONG.�� �C�u��xΠ����SO I CAME HERE A FEW YEARS BACK.�������� YOU FINISHED HIGH SCHOOL?��$C�u@���4����� MNH, BUT I GOT MY G.E.D.�� _����� �JOAN MADE ME.����š��9SAID IF I AIN'T FINISH CLASS, SHE WAS GOING TO KICK ME OUT��iC�u���������FOR GOOD.��+C�u���6�����[ RINGS DOORBELL ] WHO ARE YOU?��(C�u��Z����� TREY.���������IS ERICA MOSES HERE?�� 頏���� WHO?���C�u��젞��� ERICA, ERICA MOSES.��F�����iBROWN SKIN.��2����� � DANCER!��C�u��1᠑���DANCER.�� ������ WHAT YOU SAY YOUR NAME WAS AGAIN?�� xC�u��I������ TREY.��r������ AND WHAT YOU DO?��8����� �HELLO?��(�����8WHAT YOU DO?���������AND WHY YOU HERE?��ZC�u@��e����� I'LL TAKE IT FROM HERE.��P�����rHOW DID YOU FIND ME?��^������ YOU CALLED THE STUDIO FROM HERE.��2�����H GET AWAY FROM ME.��^������ NO, TASHA TOLD ME YOU HAD A BABY.��2C�u@��}-����� TASHA TOLD ME YOU HAD A BABY.��c������ TASHA, DON'T KNOW -- WHERE IS MY CHILD?��򠗡�� � YOU LEFT ME!��Ԡ�����SO YOU LEAVE.�� C�u@���렪��� LOOK, ERICA -- THAT'S ENOUGH!�� ����� =GET IN THE HOUSE.��O������SIR, THIS IS PRIVATE PROPERTY AND YOU ARE TRESPASSING.���C�u���E����� TELL HER I HAVE A RIGHT TO SEE MY CHILD.�� n����� � YOU LEAVE RIGHT NOW, I WILL KNOCK YOU ACROSS MY YARD.��*C�u@���"�����CHILD.��m������ AND DON'T COME BACK AGAIN.��^����� GET YOUR TAIL IN THE HOUSE.�� �����L ERICA, THIS AIN'T OVER WITH.�� �C�u�������� ERICA WILL CALL YOU.���¡��7BUT IF YOU EVER COME ON MY PROPERTY AGAIN TO BOTHER ME,���C�u�� �����ERICA, OR ANY OF THESE WOMEN...��/�����Q THIS AIN'T OVER, ERICA.�� C�u�� ������I WANT MY CHILD.�������*YOU GOT MY CHILD, I WANT HIM.��C�u��G[����� WHERE IS YOUR CHILD?�� Ǡ���� �WHERE IS YOUR CHILD!?��1C�u��k������ SHE'S DEAD.��8�����Z[ SOBBING ] LALA?��'C�u��6������LALA?�������AWHAT'D YOU DO WITH MY BABY?��2����� �WHAT'D YOU DO WITH MY BABY?��QC�u��U�����LALA!���������WHERE'S MY BABY?��|����� VWHERE'S MY BABY?!��7C�u��j������DON'T TOUCH ME.���������[ SOBBING ] LALA!��'C�u@��Cؠ���� I'M TELLING YOU.��٠�����IT'S ALWAYS SOMETHING GOING DOWN IN THIS HOUSE.�� 頱���MAN, IT'S LIKE A REALITY SHOW IN HERE.�� C�u��`!����� HMM.��������HOW YOU FEELING?�������� � ME?���C�u��uѠ����I'M FINE.�� ������  NO, I MEAN.���������ARE YOU IN A GOOD PLACE RIGHT NOW?�� VC�u���.����� I'M AT JOAN'S PLACE.��Р�����I MEAN, I DON'T REALLY KNOW HOW GOOD THIS IS.�� C�u@���c����� T, YOU STILL TAKING ALL THAT MEDICATION?�� <����� _LOOK, I GOT THESE HERBS, RIGHT?����ʡāCAND I BEEN DOING SOME RESEARCH AND I REALLY THINK THIS IS GONNA��`C�u@���(�����HELP YOU WITH YOUR NERVOUSNESS.�� ����� YOU TRYING TO CHANGE ME.�� ������� NO, NO -- I THOUGHT YOU SAID YOU LIKED���C�u@��� �����ME FOR ME.�������< [ SIGHS ] BABE, I LOVE YOU FOR YOU.��Z�ʡā �BUT YOU SHOULDN'T BE ON ALL THAT MEDICATION WHILE YOU PREGNANT.���C�u�� ������ FINE.�� )����� KI STOPPED DRINKING TOO.��������I'M JOKING.�� C�u��(Ԡ����[ LAUGHS ] LOOK, BABE, I REALLY WANT US�� ۠���� �TO BE A FAMILY.���������BUT I NEED YOU TO TRUST ME.�� C�u��CŠ���� OKAY, JEROME.�� 3����� V THEN YOU NEED TO START BY EATING BETTER.�� �C�u@��[������YOU CAN'T EAT CEREAL ALL DAY LONG.���������WE GOING TO THE FARMER'S MARKET.��#�����*I MEAN, YOU NEED TO EAT SOME FRUIT.���C�u��t������MATTER OF FACT, WHERE'S YOUR LIST?��t������ THERE YOU GO.�� C�u���n����� OKAY, THAT'S WHAT I'M TALKING ABOUT.�� ����� ) MADE IT THIS MORNING.��c������ SO WE GOT APPLE LOOPS.���C�u�������� APPLE LOOPS.��A�����c BANANA NUT RAISIN.��x����� � MM-HMM.��Ơ����� AND GRAPE-Os.��$C�u���,����� [ SQUEALS ] GRAPE-Os.���C�u���5�����YOU KNOW YOU WANT TO LAUGH.��F�����i NO, I DON'T.�������� [ LAUGHS ] COME ON, NOW.��C�u��������� WAIT, WAIT, WAIT.��������ARE RAISINS FRUIT?�������G YES.���C�u@�� *����� GOOD.��c������LET'S PUT RAISIN CRUNCH ON THERE TOO.�� ������[ [ SIGHS ] [ LAUGHS ]��������! COME ON.��OC�u�� &������ WAIT, WAIT, WAIT.��U�����xGOT TO GET OUR CEREAL.��2����� �[ CHUCKLES ] I REALLY WISH YOU HADN'T LIED�� sC�u�� ?�����THE FIRST TIME.��;�����^ I KNOW.�� Ǡ����GI'M SORRY.��-������ IT ONLY MAKES IT WORSE.���C�u�� `������ WHAT DO YOU THINK YOU CAN DO?���á��$ I HAVE TO TALK IT OVER WITH THE D.A. AND MAYBE THEY CAN�� 3C�u�� u!�����REDUCE THE CHARGES TO NEGLIGENCE.��Z�����}I CAN'T PROMISE YOU ANYTHING.��w�����DO THE BEST I CAN.���C�u�� �堕��� THANK YOU.��������� EXCUSE US, ERICA.��XC�u�� �*�����JOAN, WHY DO YOU KEEP DOING THIS TO YOURSELF?��a������ DOING WHAT, CARRIE?���C�u@�� Ơ����� STRESSING OVER THESE GIRLS?���������YOU NEED TO GET OUT AND GET YOURSELF A LIFE.�� ������e YOU KNOW THIS IS MY LIFE.��7C�u�� �_�¡�� LOOK, I TOLD YOU BEFORE THAT WHAT YOU'RE DOING HERE IS��������AMAZING, BUT YOU NEED TO GET SOME HELP.�� �C�u��!F�����YOU CANNOT SAVE THE WORLD, JOAN.�� K����� n OKAY, YOU'RE RIGHT, YOU'RE RIGHT.�� �C�u��!������BUT MAYBE, MAYBE I CAN SAVE ONE LIFE.�� ��� MAYBE TWO.���C�u@��!,t�����MAYBE EVEN THREE.��������� [ LAUGHS ] MY FRIEND JOAN.�� ��ġ���TELL YOU, GIRL, THERE'S A SPECIAL SEAT IN HEAVEN JUST FOR�� �C�u@��!J�����YOU.��Ԡ����� WELL, IT'S RIGHT NEXT TO YOURS.��U����� m WHATEVER.��_����� �I'LL GET BACK TO YOU ON HER COURT DATE.���C�u��!_����� THANKS, CARRIE.��蠕��� ALL RIGHT.��������$ LOVE YOU.��D�C�u@��!�5����� YOU LIVE HERE TOO?�� _����� � I LIVE ACROSS THE STREET.��8�š���I COME HERE AFTER SCHOOL BECAUSE MY MOM WORKS AT NIGHT AND�� VC�u��!ˉ�̡ƁMISS JOAN DIDN'T REALLY LIKE THE IDEA OF ME BEING HOME BY MYSELF.��������� OH.���C�u��!�V�����I'M ERICA.��٠����� I'M KHLOE.��kC�u��!�ߠ���� WHO TOLD TO READ MY BIBLE?��ʠ����� I'M NOT READING IT.�� ������� HEY, KHLOE.��-C�u@��"����� JUST LOOKING FOR THIS SCRIPTURE I'M SUPPOSED TO READ�� n����� �IN THE NEXT GROUP SESSION.��������FAE IS SERIOUS ABOUT THIS STUFF.��$C�u@��"$������I DON'T SEE WHAT THE BIG DEAL IS.�������8 I HEARD WHAT HAPPENED TO YOU.��������MM-HMM.��������/YOU ONLY GOT PROBATION, YOU LUCKY.�� �C�u@��"A̠���� YEAH.��m������JOAN KNEW SOME PEOPLE.��������BUT LOOK, I STILL GOT CHARGED WITH NEGLIGENCE.�� ꠣ���� BUT YOU AIN'T LOCKED UP.��2C�u��"Z������JOAN LIKE YOU.�������# NO.�� ����� PSHE LIKE YOU.�������� NO.���C�u��"q�����I'M JUST PART OF JOAN'S MISSION.��h������YOU KNOW HER MISSION TO SAVE THE WORLD.��tC�u��"�6����� YOU ACTUALLY READ THIS STUFF?�� 頝��� YEAH, I READ THAT.�� �C�u��"�*�����THEY GOT SOME GOOD STORIES IN HERE.��������I READ IT AT NIGHT.��}C�u��"�ߠ����IT MAKE ME FEEL BETTER.��ˠ�����LET ME SHOW YOU MY FAVORITE ONE.��C�u��"�������LUKE15.�� ������ � WHAT'S THIS ABOUT?������� FORGIVENESS.�� LC�u��"�w�����READ IT.��������� THERE YOU ARE.�� ������~JOAN SAY YOU GOING TO WORK WITH FAE TOMORROW.���C�u@��# ����� WHERE WE WORKING?��ʠ����� OVER AT THAT LAW FIRM.�������� � WHAT WE DOING WITH A LAW FIRM?��������t [ CHUCKLES ] YOU GOING TO BE CLEANING IT.���C�u��#,,�����[ CHUCKLES ] SHE'S SUCH A POPSICLE STICK.���C�u@��#J6����� Fae: HEY, HOW'S IT GOING?�������� Erica: I'M NOT USED TO DOING THIS MUCH CLEANING.�� )�����j BELIEVE ME, HONEY, YOU'LL GET��ZC�u��#a�����USED TO IT.���������IT'S A BLESSING JUST TO HAVE A JOB.�� ������ x WHY ARE YOU ALWAYS SO OPTIMISTIC?�� �C�u��#|R����� LISTEN, IF YOU HAD THE LIFE THAT I'VE HAD,�� ��� YOU'D BE OPTIMISTIC TOO.�� 3C�u@��#���ơ�� YOU DON'T EVEN LOOK LIKE YOU SUPPOSED TO BE HANGING AROUND�� ������ JOAN'S HOUSE.��;����� y YEAH, WELL, ME AND JOAN GO WAY BACK.�� sC�u��#�Ơ����SHE TOOK ME IN...��R�����tJUST AFTER I DID TEN YEARS IN PRISON.�� QC�u��#ͭ����� TEN YE-- FOR WHAT?��}������ KILLED MY HUSBAND.���C�u��#�b����� WHY?�� ����� . DIDN'T LIKE THE SHIRT HE WAS WEARING THAT NIGHT.��"�C�u��$s����� I'M SORRY.���������I'M -- I'M BEING WAY TOO NOSY.�� ���� � NO, NO, NO, DON'T EVEN WORRY ABOUT IT.���C�u��$*�����IT'S OKAY.���������UM, I MARRIED YOUNG.��RC�u��$?:�����YOU KNOW?���������TURNS OUT MY HIGH SCHOOL SWEETHEART WASN'T EXACTLY AS��C�u��$ZM�����SWEET AS I THOUGHT HE WAS.��{C�u��$uꠡ���WE USED TO FIGHT A LOT.��󠼡��ONE NIGHT THINGS JUST KIND OF GOT OUT OF CONTROL.�� �C�u��$������STUFF START FLYING THROUGH THE HOUSE.��#�����FAND HE BROKE MY ARM.���C�u��$������AND I DON'T KNOW, I JUST...���C�u��$� �����I SNAPPED.��/�����RI STABBED HIM.��jC�u��$�蠿���AT FIRST, I WAS JUST TRYING TO GET AWAY, I WASN'T...��ܠ�����BUT THEN IT STARTED FEELING GOOD.��9C�u��%A�ʡāAND I WASN'T THINKING, I WASN'T TRYING TO KILL HIM, I WASN'T --��HC�u��%��š��I DIDN'T WANT TO MURDER HIM, I JUST WANTED HIM -- I WANTED���C�u@��%4a�����HIM TO BE IN PAIN.�������7I WANTED HIM TO KNOW WHAT IT FELT LIKE.�� Ǡ���� AND, YOU KNOW, SIX STABS LATER HE, UM..��&C�u��%mà����WELL, YOU KNOW THE REST.��4C�u��%��ʡāLISTEN, IF YOU WIPE A CIRCULAR MOTION, YOU WON'T LEAVE STREAKS.�� ������ �OKAY?��'C�u��&b_����� ♪ LIFE CAN BE CRUEL WHEN YOU'RE TRYING���C�u��&|�¡��TO MAKE IT, YEAH ♪ ♪ AND THOUGH YOU PAID YOUR DUES,���C�u��&�(�����YOU JUST KEEP ON TAKING ♪ ♪ BUT YOU WON'T LOSE��#mC�u��&�������IF YOU HOLD ON TO ♪ ♪ EVERY BIT OF YOUR DREAMS��)ZC�u��&�4�ǡ��NO MATTER HOW HARD IT SEEMS ♪ ♪ YOU'RE GOING TO MAKE IT,��C�u��'e�����YES YOU ARE ♪ ♪ MAKE IT,�� ������ �YOU'RE GONNA ♪ THANK YOU.���C�u��'�����SHAKE THAT.��ʠ�����MAKE IT.��>�C�u��'c������ GOT TO GET IT RIGHT.��w������GOT TO GET IT RIGHT.�������� eOKAY.��-������ I'M HERE.��$C�u��'{������HOW Y'ALL GOING TO START WITHOUT ME?�� _�¡�� � TINA, WE ALREADY TOLD YOU YOU CAN'T BE A PART OF THIS.�� �C�u��'������ WHY NOT?��٠�����I'M A DANCER.��A����� _ FIVE, SIX, SEVEN, EIGHT.�������� STEP UP.���C�u��'�ݠ����WHAT -- WHY DON'T YOU DO THE MUSIC?�� ̠���� � 'CAUSE I'M A DANCER, NOT A DJ.�� mC�u��'�\����� FIVE, SIX, SEVEN, EIGHT.�� ������ �STEP UP, STEP BACK.�� )C�u��'�d����� I THINK YOU NEED TO HELP STACEY OUT.�� ꠳��� I HEAR YOU OVER THERE TALKING ABOUT ME.�� C�u@��'𭠣��� FIVE, SIX, SEVEN, EIGHT.��w������ I MEAN, YOU SHOULD GIVE THEM A FORMATION FIRST.�� �������DOES ANYBODY HAVE ANY FORMAL TRAINING?�� �C�u��(,����� FIVE, SIX, SEVEN, EIGHT.�� ۠���� �STEP UP, STEP BACK.�� �C�u��(&�����ROLL WITH KICK.�� d����� �FIVE, SIX -- COME ON.��'UC�u��(�q����� [ WHISTLING ] EXCUSE ME.��'C�u@��)4 ����ERICA, RIGHT?�� Ǡ���� �BEEN CHECKING YOU OUT AROUND HERE.��Р�����YOU DON'T REALLY HANG WITH TOO MANY PEOPLE, HUH?�� C�u��)R̠ǡ��IS THAT BECAUSE YOU DON'T WANT TO BE BOTHERED OR JUST QUIET?���C�u��)g������ BOTH.��WC�u��)|����� OH.�� �����-WELL, IF I WAS TO ASK YOU OUT, WHAT WOULD YOU SAY?�� 3������MAYBE DO LUNCH?�� �C�u��)������� I DON'T THINK SO.�� ������ � WELL, YOU GO AHEAD AND THINK ABOUT IT.�� �C�u��)�/�����I'LL SEE YOU AROUND.���������ERICA.�������� � MM-HMM.��;gC�u��)�p�����HEY.��-�����PI GOT PAID TODAY.�� ������j [ CHUCKLES ] CONGRATULATIONS.�� �C�u��*������ AND SHE GAVE ME CASH.��kC�u@��*+����� THAT'S MY MONEY.�������$ I KNOW THAT.��O����� �I KEEP IT FOR YOU.���������IT'S PART OF THE PROGRAM, ERICA.��C�u��*D �����ALL RIGHT?��-�����OIT TEACHES ALL OF YOU GIRLS HOW TO SAVE AND BUDGET.�� ������iHERE'S SOME FOR YOU.�� �C�u��*_������ I WANT MY MONEY.�� ������ � HMM, YOU DON'T SCARE ME, ERICA.�� �C�u��*s������NOW TAKE THE $40 BEFORE I TAKE THAT BACK.��0�C�u@��*��á�� YOU KNOW IF MY MAMA HADN'T BEEN SO CRAZY, MY LIFE WOULD�� )����� KHAVE BEEN REAL DIFFERENT.����ǡ��% HMM, SO YOU BLAME YOUR MOM FOR THE WAY YOUR LIFE HAS TURNED���C�u��*������OUT.�������( YES!�� �������MAYBE NOT FOR EVERYTHING.�� �C�u��*������BUT I AIN'T NEVER HAD IT EASY.�� ��á�� � THOSE OF US WITH THE HARDEST STRUGGLES HAVE THE BIGGEST���C�u��*�Ԡ����PURPOSE.����ʡāHEY, MAYBE IT'S TIME FOR YOU TO START WALKING INTO YOUR DESTINY���C�u��+������AND STOP USING EXCUSES.��󠝡�� WHAT'S MY DESTINY?�������� �WHAT DOES THAT EVEN MEAN?��TC�u��+'Ѡ���� YOUR PURPOSE.�� �����C WHAT'S MY PURPOSE?��hC�u��+B������ [ LAUGHS ] AND THAT, MY DEAR GIRL,�� ̠���� �IS THE MILLION DOLLAR QUESTION.��'C�u��+�e�����[ KNOCKING ] [ WHISPERING ]��!gC�u��,���DANCER.��O�����rDANCER.������� � WHAT ARE YOU DOING ON THE ROOF?��Р�����YOU ARE PREGNANT.���C�u@��,������WHY DIDN'T YOU JUST GO THROUGH THE FRONT DOOR?�� ������  BECAUSE I DON'T WANT JOAN TO SEE ME.�� ����� WHY AREN'T YOU AT JEROME'S HOUSE?��C�u@��,7Ơ���� I BEEN FROM OVER THERE.��h������HIM AND HIS INCENSE BEEN GETTING ON MY NERVES.�� m����� OKAY, WELL, JUST COME INSIDE THE --��7C�u��,Q;����� NO!���������NOT RIGHT NOW.��򠣡�� �NOT 'TIL JOAN ACCEPTS ME.�� �C�u��,h𠜡�� JUST COME INSIDE.��򠓡�� STOP IT.��O����� �I'M NOT COMING IN RIGHT NOW.��C�u��,������� ARE YOU HUNGRY?��Ѡ�����YOU'RE -- STAY RIGHT HERE.���C�u��,�������I'LL BE RIGHT BACK.��'C�u��-R�����OKAY.���������LOOK, HERE.��ˠơ�� �THIS BAG HAS GOT FOOD, FOOD STAMPS, A TOWEL AND SOME MONEY.���C�u��-'Π����UM, YEAH, LET ME WIPE.���C�u��-G������ WAIT, WAIT.��ˠ�����I GOT YOU SOMETHING.���C�u��-j{�����YOU LIKE?��ˠ�����I THINK IT'S YOUR SIZE, YOU LIKE IT?��Z�����i WHERE DID YOU GET THIS?�� �C�u@��-�᠝��� GUY GAVE IT TO ME.��A�ġ��dOKAY, HE DIDN'T REALLY GIVE IT TO ME, BUT HE SPOKE TO ME.�� V������AND HE SAID YOU SHOULD HAVE IT, SO I GOT IT.���C�u��-�b����� YOU -- YOU NOT HIGH, RIGHT?�� ̠���� � NO, NO.��@�����RI'M NOT TAKING NOTHING.�� nC�u@��-�D�����NOT EVEN MY MEDICATION.�� ����� =IT'S WHY I KEEP TWITCHING.���������I DON'T WANT THESE DRUGS TO GET INTO MY BABY.�� �C�u��-������� OKAY, YOU NEED TO TAKE THEM.��Z�����} WELL, WHO SAYS?���������I'M NOT GOING TO TAKE ANYTHING.�� �C�u��-�y�����I WANT MY BABY TO HAVE A CLEAN START.�� ����� 3 SIT DOWN.���C�u��."z�����LOOK, I'M -- I'M WORRIED ABOUT YOU.��C�����f DON'T WORRY ABOUT ME.�� _C�u��.@a�����DON'T WASTE YOUR WORRY ON ME.�������8I'M GOOD.���C�u@��.gq����� HERE, TAKE THIS.��������� NO, I AIN'T GOT NOWHERE TO PUT THAT, IT'S TOO HEAVY.�� ۠����� JUST TAKE THE BOOK.��iC�u@��.������AND THE READ THE ONE ABOUT THE RICH BOY,��j�š���WHO HAD GOT ALL THE MONEY AND RAN OFF, LOST IT ALL AND THE���C�u@��.������THING ABOUT -- SOMETHING ABOUT THE PIGS.�� =����� _THE ONE YOU READ ALL THE TIME.�������� [ GIGGLES ] LOOK AT YOU TRYING TO SAVE ME.�� dC�u��.������[ LAUGHS ] DANCER.��C�u��.�>����� LOOK, PROMISE ME YOU'LL CALL ME IF YOU NEED ME.��uC�u��.�֠���� SCOUT'S HONOR.�� )����� K[ LAUGHS ] I PROMISE.���C�u��/������ YOU TAKE CARE OF THAT BABY.��C�u��/64����� Fae: HEY, ALL RIGHT, GIRL.�� ������ HEY, WHAT'S UP, ERICA?�� �C�u@��/M����� HI, UH, CHARLES.��������� HEY, HOW ARE YOU DOING?��r����� A I'M GOOD, HOW ARE YOU?�� �����n I'M GREAT.��ՠ����eWHAT YOU DOING AFTER WORK?���C�u@��/e7�����MAYBE ME AND YOU COULD GO GRAB SOMETHING TO EAT.��䠓���  I CAN'T.��蠴���  YOU DON'T HAVE NO BOYFRIEND, SO WHY NOT?�� �C�u@��/}1����� I JUST GOT TO GET HOME, THAT'S ALL.�������7 WELL, MAYBE I CAN ESCORT YOU HOME.�� �����` [ LAUGHS ] OKAY, I'LL, UM, TALK TO YOU��[C�u��/������LATER.��������� BYE.��������h BYE.�������� � Fae: BOYFRIEND.�������� HUSH.��'C�u��0d������ [ SIGHS ] IT'S REAL NICE OUT HERE.�� ՠ���� �RIGHT?�� VC�u��0|-�����UM, LET'S PRAY.��%rC�u��0�������AMEN.�� ̠���� � IT'S NICE TO SEE YOU OUTSIDE OF THE OFFICE THOUGH.���C�u@��0������� YEAH.��^������I'VE BEEN DOING SECURITY FOR FOUR YEARS.�� �ơ���NOW I'M GETTING READY TO STUDY FOR THE POLICE ACADEMY EXAM.��jC�u��0ݲ�á�� AIN'T YOU A LITTLE TOO OLD TO BE STARTING A NEW CAREER?��j������ HOLD UP, WHO YOU CALLING OLD?���C�u��0������PLEASE, GIRL, I'M IN MY PRIME.�� ՠ���� �NO, I PROBABLY WAS A KNUCKLEHEAD BACK IN MY TIME,��GC�u��1 a�����BUT I'M JUST MAKING UP FOR LOST TIMES, THAT'S ALL.�� x����� � BUT YOU ALWAYS WANTED TO BE A POLICEMAN?��FC�u��1"d����� THAT AND A PHOTOGRAPHER.�� ����� ) THAT'S DIFFERENT.��ߠ����*GOOD DIFFERENT, BUT DIFFERENT.��jC�u��1A����� RIGHT.�� ����� AMAYBE WE SHOULD DO A PHOTO SHOOT.�� �C�u��1XF����� HMM, I DON'T KNOW.��w������I -- I'M NOT THAT PHOTOGENIC.���C�u@��1m��á�� ERICA, DO YOU LISTEN TO THE WORDS THAT COME OUT OF YOUR��%�����GMOUTH?�������� LIKE WHY WOULD YOU SAY THAT ABOUT YOURSELF?��#C�u��1�᠜���[ CHUCKLES ] WOW.�� ��ġ�� �THIS IS ONE OF THE REASONS WHY I HATE COMING TO THE PARK.��~C�u��1�G�����I MEAN, LOOK AT THIS, IT DOESN'T MAKE SENSE.�� ̠���� �LIKE WHY -- YOU KNOW, IT'S NOT THAT�� .C�u@��1�������SIMPLE FOR EVERYONE, CHARLES.��󠬡��WHENEVER I HAVE TO GIVE IT, I DO.�� ������� OKAY, BUT YOU DON'T UNDERSTAND --�� _C�u��1������� NO, LET'S JUST NOT TALK ABOUT IT, OKAY?��4�C�u��2 l����� WOW.��������� SO DO YOU GO OUT WITH ALL THE GIRLS IN THE OFFICE?���C�u��2堓��� NO, WHY?�� ������ � I'M JUST WONDERING WHY YOU WANTED TO GO OUT WITH ME.��9C�u��2?������ LOOK, ARE YOU SERIOUS, ERICA?�������%YOU REMIND ME OF THE WOMEN THAT RAISED ME.��#C�u@��2U_�ǡ��IF IT WASN'T FOR MY MOM AND MY AUNTY, I DON'T KNOW WHERE I'D�� ������ BE RIGHT NOW IN MY LIFE.�� �����G BABY GIRL, WHERE YOU BEEN?���C�u@��2j������I AIN'T SEEN YOU AROUND.��ˠɡÁ� SIR, I DON'T MEAN TO BE RUDE, BUT COULD YOU PLEASE NOT BOTHER�� �������US RIGHT NOW.���C�u@��2 ����� I -- I KNOW HER.��r������I AIN'T GONNA DO NOTHING BUT SPEAK.��7����� � LISTEN, SHE DOESN'T KNOW YOU.��ʠ����� I KNOW YOU.���C�u��2������� SHE DOESN'T KNOW YOU, JUST -- STOP, STOP!��|������DON'T PUSH HIM LIKE THAT, OKAY?��ˠ����� MAN.���C�u��2�1����� ARE YOU OKAY?�� Q����� s I'M DOING WHAT I CAN.�� �C�u��2ð�����YOUR BABY.�� d����� �I'M SO SORRY.��C�u��2�[�����SO SORRY.���������I AIN'T NEVER GOING TO FORGET THAT.��4C�u��2������� LOOK...��ʠ�����[ INAUDIBLE DIALOGUE ] THANK YOU, DEAR.��C�u��3������GOD BLESS.��5WC�u��3O����� SO YOU KNOW HIM?��o������ I COME TO THE PARK A LOT.���C�u��3s������LOOK, I GOT TO GO.��򠎡��BYE.��٠����  HEY, ERICA, COME ON NOW.���C�u��3�������LET ME AT LEAST TAKE YOU HOME OR SOMETHING.�� ꠐ��� ERICA!���C�u��3�������[ FOOTSTEPS POUNDING ] WHO IS MARCHING UP MY STEPS��/�����QLIKE THAT DON'T HAVE ANY SENSE?��2C�u��3�7�����WHAT'S THE MATTER WITH YOU?��$�����F NOTHING.�� Q������NOTHING.�� �C�u��3�Р����YOU NEED ME?�� �����- YES, ACTUALLY.������� nHANG ON, I GOT SOMETHING FOR YOU.��&C�u��4����� SO YOU HAVE OFFICIALLY BEEN HERE --����ġ��� OKAY, SO, JOAN, THIS GUY AT WORK HAS BEEN ASKING ME OUT.�� �C�u@��4.֠á��WELL, WE'VE BEEN GOING OUT TO LUNCHES AND HE SEEMS OKAY,�� 3����� UYOU KNOW, A LITTLE JUDGING, BUT EVERYBODY IS, RIGHT?�� BC�u��4H������ WELL, I MEAN -- RIGHT, SO WE WERE EATING�� 3����� VLUNCH IN THE PARK AND I SAW THIS GUY I KNOW.�� �C�u��4b������HE'S HOMELESS.���������HE'S NOT -- HE LOOKS REALLY BAD,�� �������BUT HE'S NOT A BAD GUY.���C�u@��4x?�ơ��AND THEN CHARLES NEARLY TRIES TO ASSAULT HIM BECAUSE HE WAS�� ������ TRYING TO KEEP HIM AWAY -- YOU KNOW WHAT?�� �C�u��4������I DON'T EVEN WANT TO TALK ABOUT IT.���C�u@�4������� OKAY, SO -- BUT THAT'S EXACTLY WHY I��Ƞš���DON'T LIKE TO GET CLOSE TO PEOPLE BECAUSE IF HE KNEW WHO I�� �C�u@��4�X�����REALLY WAS, HE WOULDN'T REALLY LIKE ME.��ߠ���� WELL, YOU CAN'T RUN FROM YOUR PAST.�� �����>YOU KNOW THAT.�� C�u@��4�à���� BUT I'M NOT PROUD OF IT.��ߠ���� I KNOW.��<����� _I KNOW.��d�ǡ���BUT THAT'S WHY YOU GOT TO KEEP WORKING, KEEP WORKING TO MAKE���C�u��4�~�����SURE THAT YOU HAVE A FUTURE THAT YOU ARE PROUD OF.��j������ YOU SAY THAT LIKE IT'S SO SIMPLE.���C�u��5 ����� [ CHUCKLES ] WELL, THE DECISION --��$�����GTHAT IS SIMPLE.��ZC�u��5 �����OOH, BUT THAT EFFORT, THAT'S A WHOLE DIFFERENT STORY.��+C�u��581�����YOU KNOW.���C�u��5LC����� I'M DONE.��^������I DON'T WANT TO TALK ABOUT IT ANYMORE.��䠞��� � [ CHUCKLES ] OKAY.���C�u��5k��š��SO YOU HAVE OFFICIALLY BEEN HERE FOR THREE MONTHS AND THIS��C�u��5�F�����IS ONE OF THE BIGGEST REWARDS.��%-C�u��5���¡��WE WILL GO TO THE BANK AND OPEN A BANK ACCOUNT FOR YOU.�� �����/ BUT!���C�u��5���ɡÁI STILL WILL BE MONITORING AND HELPING OUT WITH YOUR FUNDS AND���C�u��5ԓ�ơ��YOUR FINANCES SO NO, NO, NO SHOPPING SPREES AND NO TRIPS TO��C�u��5�͠����KABUL OR GIRLS NIGHT OUT TO SCOTLAND.�������8 WELL, CAN I AT LEAST GET MY HAIR DONE?�� �C�u��6۠���� OH.���������WANT TO LOOK ALL CUTEY CUTE NOW?�� d�����[[ LAUGHS ] I KNOW HOW MUCH IS IN THERE.��fC�u��6-������ THANK YOU.���C�u��6F̠���� AND FIVE, SIX, SEVEN, EIGHT.��,�C�u@��6s��¡�� OKAY, WE HAVE TWO MORE REHEARSALS, WE NEED TO GET THIS�� ��� TOGETHER.��Ԡ���� WE ARE NOT A PROFESSIONAL GROUP.�� �C�u@��6�0����� IT'S HARD.�������< BUT WE'RE GOING TO LOOK LIKE ONE.������� s WHAT WE NEED IS SOMEBODY TO SING THIS LIVE.�� LC�u��6������THAT'D BE COOL.��5C�u��6�h�����HELLO?��������� I KNOW SOMEBODY.�� BC�u@��6˜����� YOU KNOW SOMEBODY?�������� MM-HMM.���������OKAY THEN.������� 4 BUT, IN THE MEANTIME, BACK TO FORMATION, PLEASE.��5C�u@��7����� HEY, ERICA.��������� HEY, CHARLES.��Ơ����� LOOK, I'M HERE ON MY BREAK SO WAIT UP.�� K����� I GOT TO CLOCK IN.���C�u@��7#������ JUST WAIT UP, JUST WAIT UP.��w������ALL RIGHT, LOOK, LOOK, LOOK.��c�ʡā I REALLY LIKE HANGING OUT WITH YOU, I'M REALLY DIGGING YOUR NEW���C�u@��7C9�����STYLE.��Ԡ�����SO WHAT'S UP WITH THIS WEEKEND?�� ������ � NO.��������� WELL, I THOUGHT WE WAS HAVING FUN?��8C�u@��7[x�ɡÁ LOOK, THERE'S A LOT GOING ON RIGHT NOW, IT'S JUST BAD TIMING.�� ������ WELL, BUT YOU DON'T -- YOU DON'T --��C�u@��7oϠ���� CHARLES, YOU DON'T EVEN KNOW ME.��Р����� WON'T YOU GIVE ME THE OPPORTUNITY TO GET TO KNOW YOU?�� s������ YOU -- YOU GOT SOME ISSUES.���C�u@��7������ I GOT ISSUES?��P�����rHOLD UP, HOLD UP.��Ơ����ZLOOK, ALL I DO IS GIVE YOU NOTHING BUT RESPECT.�� n������ IF YOU WOULD STOP INTERRUPTING ME.���C�u��7��ǡ��IT'S STUFF GOING ON THAT YOU CAN'T EVEN BEGIN TO UNDERSTAND.�� B����� e WHY DON'T YOU TALK TO ME, OKAY?�� _C�u��7�Ǡ����YOU AT LEAST OWE ME THAT.�� n����� � I DON'T OWE YOU ANYTHING.�� �C�u@��7�7����� ERICA.��i������ALL I'M SAYING IS I'M DIGGING YOU.��������THAT'S ALL I'M SAYING IS I'M DIGGING YOU, BABY.��3�C�u��8������ LOOK WHO'S HAPPY.�� ������ � I DON'T EVEN REALLY KNOW WHAT THAT FEELS LIKE.���C�u��83d�����BUT I DO KNOW FOR THE FIRST TIME IN A LONG TIME,��t������I DON'T FEEL LIKE CRYING.��-dC�u��8s������WHAT'S THIS ONE?�� ̠���� � I'M PLANTING THIS FOR LALA.�� _C�u��8�򠚡��IT'S A MEMORIAL.�� ������ �YOU OKAY WITH THAT?��#�C�u@��8�à����WHOO.��^������ WHY ARE YOU DOING THIS?���š�� � BECAUSE IN ORDER TO MOVE FORWARD, YOU HAVE TO HAVE PEACE.��IC�u��8��á��AND IN ORDER TO HAVE PEACE, YOU HAVE TO ACCEPT THE PAST.��*C�u��9 ����� THANKS.�� ����� B NOW, DON'T THANK ME.�������tTHANK YOUR PAL TINA.���C�u��9#'�����THIS WAS HER IDEA.��;gC�u��9^������ WHAT?��ޠ����WHY AM I BEING FIRED?��F�����i THEY DO A SECURITY CAMERA CHECK JUST TO MAKE SURE���C�u@��9|ݠȡEVERYTHING IS AS IT SHOULD BE IN THE OFFICE AND WE CAUGHT YOU���á�� TAKING A BOTTLE OF CHAMPAGNE FROM ONE OF THE EXECUTIVES.���C�u��9�������IT WAS -- IT WAS REPORTED TO ME AND I HAVE --��&C�u��9������I HAVE TO LET YOU GO.��䠘���  IT WASN'T ME.�� �����/ THEY HAVE YOU ON CAMERA.�� �C�u��9� ����� BUT IT WAS A DIFFERENT ME.�� ������ �I'M NOT THAT PERSON ANYMORE.�� �C�u��9�i�����LOOK, DOCK MY PAY OR -- JUST DON'T FIRE ME.�������8I NEED THIS JOB.���C�u��9������� I'M SORRY.��T0C�u��:Q�����[ CLINK ]��=�C�u��:������� OKAY.��P�����rOKAY, I KNOW THAT THIS IS MY FAULT, BUT YOU HAVE TO --���C�u��:�~�����AFTER THIS...��9�ġ��[PLEASE LISTEN, I MESSED UP, BUT I'M NOT THE SAME PERSON I���C�u��:�͠����WAS WHEN I MOVED IN THIS HOUSE.���C�u@��:�䠶���BUT I NEED TO TAKE IT -- OKAY, THIS IS WHAT�� ������ �I'M GOING TO DO.�������� xI'M GONNA THANK HER AND THEN I'M��FC�u��:�Š����GONNA TELL HER I MESSED UP.�������$ WHAT ARE YOU DOING?���C�u��; נ���� FINDING OUT THE TRUTH.��2�����TYOU TOLD ME THAT YOU WERE DONE!��i����� � I -- I HAVE.��C�u��;頢���AT LEAST, I'M TRYING TO.���������JOAN, PLEASE BELIEVE ME.��������} BELIEVE YOU?�� C�u��;3������ERICA, CLEARLY YOU ARE STILL DRINKING?�� ������ � YOU DON'T THINK I WANT TO STOP?�� �C�u��;G`�����AT LEAST I CAN ADMIT THAT I NEED HELP.�� ������ � YOU KNOW THE RULES.��C�u��;a_����� I KNOW YOU'RE NOT KICKING ME OUT.�� ������ � IF I LET YOU STAY, WHAT IS THE POINT OF MAKING RULES?�� �C�u��;y����� FORGET THE RULES!�� L����� n HOW MANY MORE CHANCES AM I SUPPOSED TO GIVE YOU?�� _C�u@��;������ PEOPLE MAKE MISTAKES.��������WE SHOULD BE ALLOWED TO BE FORGIVEN.��|�ˡŁ �IF YOU TAKE US IN, THEN YOU NEED TO DEAL WITH OUR IMPERFECTIONS.��C�u��;�株��� YOU NEED TO LEAVE BY TOMORROW.��"C�u��;������ NO!��MQC�u��<������ PHEW.��)ZC�u��8ᠬ���UNTO THE HILLS FROM WHENCE COMETH���C�u��>Nՠ����MY HELP ♪ LORD...�� TC�u��>oL�����I DON'T...��蠣��� I DON'T KNOW WHAT TO SAY.��$^C�u��>�נ����[ CRYING ] [ BUZZING ]��QC�u��>������HELLO?���������HEY, ERICA, YOU DIDN'T COME TO REHEARSAL LAST NIGHT.�� ������LTHE SHOW IS TONIGHT.���C�u@��?����� I KNOW.��Ơ�����WE CAN'T DO IT WITHOUT YOU.��d����� nJOAN EVEN ASKED WHERE YOU WERE.��7������ I DON'T LIVE IN THE HOUSE NO MORE.��C�u��?�����BUT YOU'RE STILL ONE OF US.��Р�����THE SHOW STARTS AT 6:00.�� =�����R [ SIGHS ] HELLO, EVERYONE.��uC�u��?D������MY NAME IS SUNSHINE.���������[ CRYING ] EVERYBODY LOVES SUNSHINE.���C�u@��?c��ȡIF YOU'D TOLD ME A FEW WEEKS AGO THAT I WOULD BE HERE IN THIS���š��?THEATER DOING A PERFORMANCE, I WOULDN'T HAVE BELIEVED YOU.��`C�u��?�d�����I'M HOMELESS.����ơ���I SLEEP DOWN NEAR THE SHELTER THAT RECEIVES MONEY FROM THIS���C�u@��?������FOUNDATION THAT'S PUTTING THIS EVENT ON.��8�ɡÁZSO I REALLY WANT TO THANK EACH AND EVERY ONE OF YOU FOR COMING���C�u��?�������OUT HERE.��.�����QI ESPECIALLY WANT TO THANK MY FRIEND ERICA,���C�u��?�������FRIEND ERICA, WHO ASKED ME TO GIVE THE GIFT OF�� W����� zSONG.��^������I LOVE TO SING.���C�u��?�à����I LOVE SINGING.��Р�����THAT'S HOW I SURVIVE.���C�u��@������AND THROUGH MY MUSIC I'M ABLE TO UPLIFT OTHERS.���������AND I KNOW MY PURPOSE.��9C�u��@&�á��I THANK GOD FOR EVERYTHING I HAVE AND I DON'T HAVE MUCH,���C�u��@<��ǡ��BUT I KNOW HE'S PRESENT RIGHT NOW BECAUSE I'M STANDING HERE.���C�u��@S������MY NAME IS SUNSHINE.��$�����EI DON'T WANT Y'ALL TO FORGET THAT.�� fC�u@��@gV�����ME AND THE LADIES, THE JOAN'S HOUSE, WE GONNA TRY�� ̠���� �TO DO SOMETHING FOR YOU CALLED "STARTING TODAY."�� eC�u��@�ˠ����♪ I FEEL THE WEIGHT ♪ THE PRESSURE���C�u��@�{�����♪ I FEEL THE HATE NOW CLOSING IN ♪�� 頨��� ♪ GOT TO BE SMART ♪ SMART��C�u��@�������♪ AND STRONGER ♪ I KNOW IN MY HEART�� ����� *I'M GONNA WIN ♪ ♪ SOMETIMES IT HURTS��`C�u��@�k�����♪ HURTS WON'T LAST ♪ SOMETIMES IT RAINS�� ࠵���♪ STORMS WILL PASS ♪ WHEN IT GETS HARD���C�u��@�>�����♪ AS IT MAY ♪ THESE ARE THE WORDS���������THAT I'LL SAY ♪ ♪ STARTING TODAY���C�u��A�����NOTHING GETS IN MY WAY ♪ ♪ NOTHING, NOTHING��%C�u��AP�����♪ RIGHT NOW I CHOOSE ♪ RIGHT NOW I CHOOSE�� ������ �NEVER TO LOSE ♪ ♪ I'M GONNA BE OKAY���C�u��A:Р����♪ STARTING TODAY ♪ TODAY���������♪ TODAY ♪ TODAY���C�u��A^=�����♪ STARTING TODAY ♪ WHOO-OOH��@C�u��A}������♪ IT'S GETTING BRIGHT ♪ THE FUTURE���������I SEE THE LIGHT ♪ ♪ SHINING FREE���C�u��A�G�����♪ I FEEL A CHANGE ♪ CHANGE��������♪ I REARRANGE ♪ PRIORITIES���C�u��A�B�����♪ SOMETIMES IT HURTS ♪ HURT WON'T LAST�������*♪ AND SOMETIMES ♪ STORMS WILL PASS���C�u��A�`�����♪ AND WHEN IT GETS HARD ♪ AS IT MAY�� �����♪ THESE ARE THE WORDS THAT I'LL SAY ♪�� �C�u��A�A�����♪ STARTING TODAY NOTHING GETS IN MY WAY ♪��:C�u��B ������♪ NOTHING GETS IN MY WAY ♪ RIGHT NOW I CHOOSE�������*♪ RIGHT NOW I CHOOSE NEVER TO LOSE ♪�� �C�u��B)Ġ����♪ I'M GONNA BE OKAY ♪ OKAY���������♪ TODAY ♪ TODA-A-AY���C�u��BM1�����♪ TODAY ♪ TODAY��*�����L♪ TO-OOH-DAY ♪ TODAY��-C�u��B{̠����♪ STARTING TODAY [ CHEERS AND APPLAUSE ]��A�C�u��B�͠����[ DANCE BAND PLAYING ] [ PHONE BUZZING ]��yC�u��B�i�����[ MUSIC STOPS ] TINA.���C�u@��B�5�����NO, IT'S JEROME.��P�����sTINA WENT INTO LABOR AND SHE WON'T GO TO THE HOSPITAL.�� ������&WE'RE HERE AT THE APARTMENT RIGHT NOW.���C�u��B�9����� I'M NOT THAT FAR AWAY, I'M ON MY WAY.��àá���JOAN, TINA JUST WENT INTO LABOR, BUT SHE WON'T GO TO THE�� �C�u��C�����HOSPITAL.��m������YEAH.��m�����THEY'RE AT THEIR APARTMENT.��Р���� 150 WALKER STREET.��!C�u��CEO����� COME ON, TINA.��������COME ON, TINA.�������� .COME ON, TINA.��$C�u��C^Ġ����PLEASE.�������2PLEASE, PLEASE.�� VC�u��Crn�����YOU HANG IN THERE.��;�C�u��C������� [ SCREAMING ] DID YOU CALL 911?��}������THEN WHY THEY NOT HERE YET?��C�u@��C�E����� DANCER!��ˠ����� HEY, HEY, SHH, SHH.��򠕡��DON'T TALK.��q������OKAY, THE PARAMEDICS ARE COMING, OKAY?��C�u��C������ I'M NOT GOING TO THE HOSPITAL.��������� YOU HAVE TO GO.�� ������� [ GROANS ] HEY, THE PARAMEDICS ARE���C�u��C�q�����COMING.��������YOU HAVE TO GO.�������ZWE'RE NOT GOING TO ARGUE ABOUT THIS, OKAY?��5C�u@��D!#����� Tina: PLEASE, CAN YOU PRAY?��ޠ���� I DON'T KNOW ANY PRAYERS.��T����� x [ CRYING ] UM, GOD, GOD, PLEASE TAKE��C�u��DDԠ����CARE OF MY FRIEND.��������� [ GROANS ] SHE NEEDS IT RIGHT NOW.���C�u@��D\g�����SHE'S IN BAD SHAPE.�������2I JUST NEED FOR YOU TO LOOK AFTER HER.�� ��š�� I'M ERICA MOSES, BY THE WAY, AND, UM, I KNOW THAT YOU MAKE���C�u��D�A�����MIRACLES.�� �����-AND ALL WE HAVE TO DO IS ASK FOR IT AND HAVE FAITH.���C�u��D�c����� KEEP GOING, BABY.��vC�u@��D���š��AND THAT BABY NEEDS ITS MAMA, SO WE'RE GOING THROUGH THIS.�� ������ � Erica: I DON'T WANT TO -- I DON'T WANT TO SEEM TOO��C�u@�D��ȡSELFISH, BUT THIS IS MY FRIEND AND I JUST REALLY NEED FOR HER�� �����/TO BE OKAY AND THE BABY TO BE OKAY.�� QC�u��D�������OKAY?���������PLEASE DON'T -- OH.��mC�u��Eޠ���� FIGHT, TINA.��h������[ SIRENS ] SHE'S ON��T�C�u��Ew������HER WAY TO THE HOSPITAL.�� ������ �WHAT'S WRONG?���������LET'S GO, JOAN.���C�u��E�Ҡ����WHY ISN'T THE CAR MOVING?��������� I NEED A MINUTE.��>C�u@��E���š�� SHE CAME TO SEE ME A COUPLE OF WEEKS AGO, I KNEW I SHOULD��9�����[HAVE TOLD YOU, I KNEW SHE WAS IN TROUBLE.�� �C�u��E�d����� I KNEW TOO.��٠����� HOW?��i������ A MOTHER KNOWS.��KnC�u@��F|�ǡ�� SO I JUST WANTED TO GATHER EVERYONE HERE TODAY TO SEE IF --�� ������ �EVERYONE HERE TODAY TO SEE IF -- IF ANYBODY WANTED�� C�u��F5v�����TO TALK ABOUT HOW THEY FELT.��C�u��FP������ Y'ALL KNOW TINA GOT ON MY NERVES, I'M JUST --���C�u��Fl������YOU KNOW, I'M GONNA MISS HER.�� ����� >I'M GONNA MISS HER.��������� I KNOW, I KNOW.��vC�u��F� ����� Erica: YOU SHOULD STOP BEATING YOURSELF UP.��*�����MYOU HAVE HELPED SO MANY PEOPLE.���C�u��F�s����� COULDN'T HELP THE ONE I DID IT FOR.���C�u��F�8����� SHE'S YOUR SACRIFICIAL LAMB.��C�u��F�w�����IT'S A PERSON THAT YOU LOVE THE MOST...���C�u��F�{�ȡWHO WILL SACRIFICE SO THAT YOU COULD HELP HUNDREDS OF OTHERS.��#(C�u��GƠ����YOU GOT TO GIVE YOUR TESTIMONY.�� ������ � WE ALL HAVE OUR CROSSES TO BEAR, ERICA.�� C�u��G4������THIS IS HOW IT IS.�� ��ʡā  BUT WILL YOU CARRY THE WEIGHT OR WILL YOU GIVE IT OVER TO GOD?��%rC�u��GfI�����THAT'S YOUR MILLION DOLLAR QUESTION.��9�C�u��G�W����� Fae: ANYBODY ELSE WANT TO TALK ABOUT TINA?��3�C�u��G�x����� TWO DAYS BEFORE I -- TURNED 19, I GAVE BIRTH TO TINA.��'C�u��G���ǡ��I HAD ALREADY BEEN ON DRUGS FOR AT LEAST FOUR YEARS BY THEN.��:C�u��H�����WHEN I FIRST GOT PREGNANT, I TRIED TO STOP AND,���C�u��H'������UM, TWO MONTHS IN, MY BODY STARTED GOING THROUGH��:C�u��H>V�����WITHDRAWALS AND I GAVE IN.�� ������ !I GAVE IN TO THE -- TO THE CRAVINGS.���C�u��H`k�����HER FATHER WAS, UM -- HE WAS A MUSICIAN.��%�C�u��H�#�¡��RIGHT AFTER TINA WAS BORN, I WENT ON THE ROAD WITH HIM.�� �C�u��H�#�ġ��AND, "OH, JUST A FEW WEEKS" TURNED INTO MONTHS AND THEN A���C�u��H���ˡŁYEAR AND THEN A COUPLE OF YEARS AND THEN SEVEN YEARS AND THEN --���C�u��H�������THEN TINA WAS 10.�� Q�ơ�� sSHE WANTED TO LIVE WITH ME AND I DECIDED I WAS GOING TO GET���C�u��H�]�����CLEAN AND I WORKED SO -- SO HARD.���C�u��I0�����I KNEW IT WAS -- IT WAS TOO LATE -- IT WAS TOO LATE.��C�u��I0e�����SHE DIDN'T STAY TO SEE MY HARD WORK.���������SHE LEFT.��C�u��IM[�����AND -- I CREATED JOAN'S HOUSE.��"{C�u��Io��¡��TO TRY TO RIGHT SOME OF THE WRONGS THAT I -- THAT I HAD���C�u��I�Р����DONE.����š���I'VE -- I'VE DONE SOME GOOD THINGS, BUT THEY'VE -- THEY'VE���C�u��I�������BEEN OUT OF GUILT.���ǡ�� THEY'VE BEEN OUT OF GUILT, THEY HAVEN'T BEEN FROM LOVE AND I���C�u��I�i�����NEED TO DO THINGS OUT OF LOVE.���C�u��I߀�����I HAVE TO ASK GOD TO FORGIVE ME.��&�C�u��J������I HAVE TO FORGIVE...�� .����� QI HAVE TO FORGIVE MYSELF.��;DC�u��JMH����� AREN'T YOU A SIGHT FOR SORE EYES!�� ������ � HOW ARE YOU?���C�u��Jn������ I'M FINE.��h������I'VE CALLED YOU.�� ������= I KNOW.�� yC�u��J������� SEVERAL TIMES.��ˠ����� I KNOW.�� =�����LI'M SORRY.���C�u��J������� LOOK, YOU COOL AND EVERYTHING, ERICA,�� ��� BUT I DON'T THINK I CAN DO THIS.��[C�u��J�4����� LOOK, I CAME TO APOLOGIZE AND TO ASK THAT YOU JUST��/�����RBEAR WITH ME.���C�u��Jठơ�� I'VE TRIED TO BEAR WITH YOU AND TO BE HONEST, I'M JUST NOT�������� FIT FOR THIS ARGUING STUFF.���C�u��J�������I JUST THINK IT'S BETTER IF WE BE FRIENDS.��$�C�u��K!������ WELL, HERE.���C�u��K8T�����I HOPE YOU CAN MAKE IT.��*C�u��Kb}�����[ SNIFFING ] SO, IT WAS MY ABUSE OF ALCOHOL�������)THAT ULTIMATELY LED TO THE DEATH OF MY CHILD.���C�u��K�[�����[ CRYING ] AND I WANTED TO DIE.��%PC�u��K�͠����FOR REAL, I WANTED TO LEAVE THIS PLACE.��WC�u��K�G�����BECAUSE I KNEW THAT GOD COULDN'T FORGIVE A BAD PERSON.��fC�u��K�Р����A BAD MOTHER.���C�u��K�������BUT I'M NOT A BAD PERSON.��C�u��L Π����I'M JUST A PERSON WITH A PROBLEM.���C�u��L%͠����MY EVERYDAY STRUGGLE IS JUST TRYING TO KEEP SOBER.��gC�u��L@V�����BUT A GOOD FRIEND ONCE SAID, "HAPPINESS IS HAVING���C�u��L[$�����THE COURAGE TO ENDURE."��"C�u��Lui�����SO I AM AN ALCOHOLIC...���C�u��L�E�����AND MY NAME IS ERICA MOSES.��I�C�u��L�8����� Fae: WHAT ABOUT MIMA?��󠝡�� Joan: MIMA, NO NO.�������� 4 THERE'S THE PRINCESS.�� KC�u��L�٠����HI, HONEY PIE.��i������YES.��-����� � WE WERE JUST THINKING ABOUT WHAT YOU SHOULD CALL ME.�� �C�u@��M������ THE DOCTOR SAYS SHE'S AS HEALTHY AS CAN BE.�������7 WELL, OF COURSE SHE IS.�� )������ OH, YOU NEED TO BE CHANGED NOW, DON'T YOU?�� C�u@��M$a�����DON'T YOU?��<�����_DON'T YOU?��;������DON'T YOU?��<�����  GRANDMA.��b������SHE KNOWS HER SPECIAL FRIEND.�� �C�u@��M>������[ LAUGHING ] LET'S GET CHANGED.���������COME ON, DADDY.��<����� WE'LL BE RIGHT BACK.�������M OKAY.�������� OKAY.��C�u��MUi����� THAT'S A SWEET BABY.�� ������ YOU'VE COME A LONG WAY.�� C�u��Mj������ STILL A WAYS TO GO.�� ꠳��� WELL, THAT'S WHY IT'S CALLED A JOURNEY.��C�u��M�栯��� [ SIGHS ] WHAT IS THAT GRIN ABOUT?��������� [ CHUCKLES ] I HAVE A DATE TONIGHT.��0C�u��M�ޠ���� YOU -- OKAY.��䠷���  [ CHUCKLING ] TALK TO YOU ABOUT THIS DATE.���C�u��M���ġ�� UM, HE DOESN'T HAVE A LOT OF MONEY, HE BARELY HAS A CAR,��zC�u@��Mے�����BUT HE'S NICE.����¡���NICE WASN'T EVEN A QUALITY I USED TO LOOK FOR IN A MAN.�� P�š�� I DON'T HEAR ANY GLASSES, ANY FORKS OR ANY OF THAT STUFF.�� �C�u@��M������� JUST BE PATIENT, OKAY?�� ������ �JUST BE PATIENT.��c�����Q YOU KNOW I GOT TO TRUST YOU, I LET YOU BLINDFOLD ME.�� C�u��NC����� AND YOU CAN TRUST ME, OKAY?�� .����� QTRUST ME.��XC�u��N|Π���� THESE ARE REALLY GOOD.�� ՠ���� � I HAVE YOU TO THANK FOR THAT.��C�u��N�������I THINK WE SHOULD GIVE THEM TITLES.��IC�u��N�i�����WHAT DO YOU WANT TO CALL THIS ONE?���C�u��N�x����� "STEPPING INTO DESTINY."�� m����� � I LIKE THAT.��!hC�u��N������� "TAKE CONTROL."��2�C�u��O)[����� "THINKING OF LALA."���C�u��OH3����� AND THIS ONE?��*�����M "I SURRENDER."���C�u��Og������WHY?��#�����F ERICA, I WAITED ALL MY LIFE TO HAVE MY OWN EXHIBIT.��$^C�u��O�\�����AND I WAITED ALL MY LIFE TO MEET SOMEONE LIKE YOU.��EC�u��O�à����TO ME THAT'S THE BEST OF BOTH WORLDS.���C�u��O˪����� IT CERTAINLY IS.��0�C�u��O�m�����Joan: I OPENED MY HOME TO CREATE A SANCTUARY FOR WOMEN�� V����� xTRYING TO GET BACK ON THEIR FEET.���C�u��P��á��IN THE PROCESS, I WAS BLESSED TO HELP A BEAUTIFUL WOMAN,��7�����ZA BRIGHT STAR.���C�u��P&��ɡÁSHE TAUGHT ME THAT OUR JOURNEYS WILL FOREVER BE FULL OF TWISTS��G�����hAND TURNS AND SACRIFICES,��3C�u��P;������BUT IN THE END, LIFE WILL NEVER�� =����� _OFFER A CROSS��������}TOO HEAVY TO BEAR.���S�k {�����\D��������������m���������%�������s������,����;����v����,����O����{b�����,��=������������,��R��|����������������������t��������'�� ƻ����]��������G�� K�����˷����G����;�����)�����G���� ������H�����G��L������������������⻔�������������:�����s�����'����{���������f���� ���������f��I�� Q���� c����������$<����D������C���� P����P4�����C��E����VD�����C��h�� �����bd����������F����i̷�������0�� U����wD�����^����3����}������^��&�� ������n�����^��b�� ����������������� 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