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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�6 Da� �' 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�����s AN ACCLAIMED BALLERINA.������ BUT QUICKLY FOUND THAT
THE CLASSICAL ARTS DIDN'T���C�u��bd����� ALWAYS CATER TO GIRLS LIKE HER.��F�����h SHE 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.��������
y IN 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��
�����0 ALL AROUND THE WORLD ♪
♪ AND YOU CAN BE���C�u���8����� MY SUPER MODEL ♪
WHAT ERICA CAME TO REALIZE���C�u@���S�� WAS THAT SHE WAS BECOMING
A REFLECTION OF HOW SHE REALLY��
�����
5 FELT ON THE INSIDE --
BROKEN, DISCOURAGED AND LIVING��
xC�u���"�� 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������ 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.������� 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����� n YOU 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�¡�� n A 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.�������� n I'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.��������e YOU 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!��$�����F THAT'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�����i WE 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.��
������o I 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�����h YOU 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���� n TAKE IN HOMELESS
GIRLS AND RUNAWAYS.��GC�u��
0����� SHE COOL.��P�����r BUT SHE GOT A LOT OF RULES.�� ������H SHE 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.��-�����P AND -- 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�����L WHO 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�����G YOU 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�����c YEAH, YEAH.�������� I'M SERIOUS, TINA, LOOK OUT
FOR HER, ALL RIGHT?��C�u��%'����� MY NAME IS JOAN
AND THIS IS MY HOUSE.��?C�u��=��ʡā A 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�ʡā I'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�����i NO 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+�� 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��e YOU 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�� ��ȡG THAT 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.��������Z OKAY.��^������ ALL RIGHT.���C�u��'㠔��� IT'S OKAY.��h������ SAY HI.��ʠ����
x HELLO.���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.��@�����9 GIVE 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.������ 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�����
U DO 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�����j IT'S HARD WORK.��Š����R YEAH, WELL...��2C�u��KI����� SEE, ME AND JEROME, WE BEEN
TOGETHER FOR A MINUTE.��%�����H HE 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.��$�����
I LIKE THE WAY HE LOOK AT ME.�� C�u���3����� HE MAKE ME FEEL PRETTY.��������� THAT'S NICE.�� �C�u@���(����� YEAH, WE WEREN'T THAT
BUT WE CAN DO THAT.����š��� PLUS HE SAY I DESERVE TO LOVE
SOMEBODY WHO GOING TO MAKE A�������� DIFFERENCE IN THIS WORLD.��wC�u��ź����� I AIN'T NEVER THINK ABOUT IT
LIKE THAT.��̠����� ME NEITHER.���C�u��ۯ����� I'M GONNA DO RIGHT THIS TIME.��������� WATCH.��<�C�u�������� YOU KNOW HOW TO BRAID HAIR?��������� CAN YOU BRAID MINE?�� C�u��K������ YOU GOT NICE HAIR.�������8 WHY DON'T YOU NEVER FIX IT?��F������ WHY YOU
DON'T NEVER FIX YOURS?��"�C�u��~!����� WHY DO YOU DO THAT?�������$ 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.��$�����F AIN'T YOUR FAULT.��
�C�u@��
7�ˡŁ AND THEN WHEN I TURNED SIX, THEY
START GIVING ME DIFFERENT DRUGS��������� AND THAT'S WHEN THE TICKS
STARTED.��|C�u@��!������ I'VE BEEN HAVING THEM EVER
SINCE.�� ������ � THEY CAN'T GIVE YOU NOTHING
FOR THAT?�� ������ I'VE BEEN ON ALL
KINDS OF DIFFERENT DRUGS.���C�u@��Fm�ơ�� WHEN I WAS 13, I STOPPED TAKING
THEM DRUGS, I FOUND MY OWN.��۠����� I BEEN IN AND OUT OF THIS SYSTEM
FOR YEARS.��%C�u��`������ WHEN I WAS 20, I GOT MY OWN
PLACE.��
3�����
V THAT AIN'T LAST FOR LONG.��
�C�u��x���� SO I CAME HERE A FEW YEARS BACK.�������� YOU FINISHED HIGH SCHOOL?��$C�u@���4����� MNH, BUT I GOT MY G.E.D.��
_�����
� JOAN MADE ME.����š��9 SAID 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�����i BROWN 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?��(�����8 WHAT YOU DO?��������� AND WHY YOU HERE?��ZC�u@��e����� I'LL TAKE IT FROM HERE.��P�����r HOW 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.���¡��7 BUT 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?�������A WHAT'D YOU DO WITH MY BABY?��2������ WHAT'D YOU DO WITH MY BABY?��QC�u��U����� LALA!��������� WHERE'S MY BABY?��|�����
V WHERE'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.������� 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?����ʡāC AND 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.�������<