All language subtitles for Cry Tough - 1959

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[MUSIC] [LAUGHTER]

[MUSIC] [LAUGHTER] [MUSIC]

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So you made the most of your reeducation,

adding you doe to your

other accomplishment.

[MUSIC]

So you will finally come around.

Just for old time.

[MUSIC]

If all this is just a

play for a higher percentage.

Like I told you, I'll be visiting there.

No go for no money.

[MUSIC]

My young friend, yours is the tragic

dilemma of every first generation born in

the land of the big dollar.

Like all those trapped here before us, we

Puerto Ricans have only two choices.

To make it the slow, hard way like our

immigrant fathers or to break out fast

with the point of a gun.

I tried that.

Others had not bungalow.

A year, my wife.

A whole year.

[MUSIC]

What is it worth to you?

[MUSIC]

You couldn't buy

everything, every one is worth sale.

Go on.

Name it.

Who are you?

There are so many others around here.

I want Miguel Estada.

Once every night, a

boy like you comes along.

From the alleys but

with class and brains.

Plus, he don't open his

exhaust no matter what.

A rare combination.

With such a boy, I see a chance to shake

out all of the body.

Together, you and together.

Together or nothing.

I know where I belong.

Save yourself and slap your face.

Even if you came crawling on your hands

and knees like in the old country, your

father would not let you in.

Forgive.

I know the pride of a

Cascadilla in Barra, Caddo.

You are hurting me.

[MUSIC]

Ladies and gentlemen,

welcome to La Casa de Straat.

I mean my brother's

apartment, so Casas me Casa.

His house, my house.

I feel like it's settled in this country.

So I'll make you at home.

It's seven years now I am USA.

Every year I make a baby.

But tonight is best.

Celebrate for son enough, six dollars.

Salud!

To the first son of my brother.

No, to your son.

Miguel Antonio Ricky Francisco Estrada.

The fruit of your heart.

[MUSIC]

Pop.

Opey what you do here?

Before all those people stop me.

Must everybody know

you hate your own son?

He's not son of mine.

If one week Miguel should be home,

something happened to my boy.

I know I did.

Nothing happened, he

just don't go that far.

But if you forgive him.

Forgive never.

He just crashed the name of Estrada.

[MUSIC]

[MUSIC]

No.

No.

All the time keep off.

For your central park or my girl?

No more.

Not because we're married.

I mean it.

Didn't I swear on my mother saying to his

mother I want to marry with you?

You won't even ask permission to speak.

What neither bring your

own man in us like a cop?

And what's the good in getting his okay

when they steal your brother?

I'll get Miguel's

benedict on when he comes back.

[MUSIC]

[MUSIC]

Miguel.

Miguel.

Miguel.

Papa.

Can I come in?

Papa.

The permission?

This is your house too.

[MUSIC]

[MUSIC]

[MUSIC]

Hello.

Hello.

Hello.

[MUSIC]

Look who's here.

Ask your courtes.

Ask your courtes.

Welcome to her.

Ask your father.

Forgive for for for for I'm late.

I've just come with funeral to leave the

poor widow and the children.

It's always our pleasure when you come.

It is my biggest pleasure

to siesta every nine months.

And for this work I can depend on you.

Alberto, he's in your all the time.

You're looking more

beautiful with every baby.

A little something for the

boutismo and for everybody.

The boss courtes.

A bolípico.

A dish out of slough.

But he does do a lot for our people.

Luzzy blood sucker.

He's got more ways to bleed and die than

they got brains in their hands.

Miguel.

Well what he makes him

pay for every little favor.

He's from a penny and

a sweat out of buck.

Come on, let's get out of here.

We don't have to see him or hear him.

Get me out of the house.

Permission.

Permission.

Permission for everything?

Come on.

I haven't seen you for a whole year.

Let's go some place

where we can be alone.

I can't Miguel.

You know I can't without permission.

Ah, Miguel.

You're back just in time.

You're coming out, Fred.

I picked it up myself.

Open it.

Let everybody enjoy.

Nothing like a fine

year suit and your own job.

To make you forget

where you've been, huh?

Thanks.

I got something else, Jake.

Fine, fine.

But if you shall have trouble getting a

job because of your record, remember,

everybody's friend in little space.

[wind blowing]

[dog barking]

[dog barking]

[dog barking]

[indistinct talking]

[indistinct talking]

Hurry up.

Like Alisa, Tyler.

(indistinct chatter)

- Where is he as we dance?

- In the distance.

- So early.

- I decided I was gonna go

back to my old job with Papa.

- Oh, and the end of Papi.

- Really?

- Seriously.

- Why did you come right

home like you wrote Tino?

- You make Mama eat

bitter bread or worry,

at least you could fall.

- I didn't wanna hear Mama cry.

Now you didn't want me home.

- You never hear me yourself.

- Never let Mama show up or Tino.

- Who are we gonna see in prison?

- The boy I raised to go to work,

to go to church to be good.

- Or a wild animal they lock up.

- Why don't I make this

scene, bring you up wrong?

- Papa, it's not you, it's me.

You know, there's

something always pushing,

be somebody, get someplace, understand?

- Where do you wanna go?

- Where he at's the point.

Get this, get that,

whatever it takes to belong.

- Man belongs at home.

- We don't belong here.

Papa, these laptops,

they ain't home to me.

- You've gotta be patient, me girl.

Someday your kids and

Tinos, they will get out.

- What about me, Papa?

Do I have to rot here because I was born

one generation too soon?

Everybody else busted out before us.

The Irish, the Jews, the Italians.

What about me, Papa?

- That is for you to say.

- And I told you, don't worry.

You learn me, I know

what you don't start,

but I don't finish right.

Don't worry, Papa, yeah?

- Hey, remember me on

the bongos last night?

- Oh, yeah.

Yeah, you were a friend of my uncle's.

- He's your brother-in-law, if you give

the better this job.

- Promise to see you when I ask.

- No, huh?

What are you trying to do, get out of it?

- I'm crazy for your sister.

Don't I look at, help out of my head.

Only I know what you want for her.

No garlic mouth who can't

take it out of the barrio, right?

- So I even ask.

- Because I'm on the way.

I got it made.

- Pushing dirty laundry.

- That's only a sideline.

- What do you do for a main line?

Just flop off tables?

- Listen, I said I got it made.

Enough to kick little Spain for good.

- Oh.

- What's the difference?

Money's money.

- Nobody marries my

sister, I don't know all about.

- Hey, knock down there.

- Why not?

- Just keep away, that's all.

Use the other boilers.

- What's wrong with these?

- Nothing.

- Man, get out of the way, huh?

- No, don't.

- Get me blow up.

(tires screeching)

- You're getting the bounce, didn't you?

- No, no.

- Then who did?

- I don't know.

- Look, this has got Carlos all over.

I went up on one of the jobs.

I'm not gonna do it

again, now who did it?

- Okay, it's good.

- You let him in?

- I never knew this, Lasso.

- Love you, little punk.

You keep away from my sister.

- You understand?

- We found us, I got a future.

- Not here.

- Exceed under, you got a future.

- You're not cut out for

this, you smell like a fool.

- If I can't tell my own brother-in-law.

- You'll never be unless you quit Carlos.

(tires screeching) - The steam burned off your tongue.

You understand, let me do the talk.

- How about you leave?

(door creaking)

- Your return will be prodigal.

- Amigo.

(audience laughing)

- Like you said he showed.

- I'm only here to tell you,

you put the squeeze on

Cortez any way you like.

Only lay off Emilio.

- Who's doing the talking?

- Never mind who.

You scare that kid into scoring again,

and I'll blow up your boilerworks.

- Hey, nobody talks to Carlos.

My nose is like that.

Unless you get pushed off the roof.

- Open it.

Watch your hurry, my

young friend, sit down.

- You got the message, no PS.

- What I need is you.

With you on the inside,

I could hit Cortez like with an army.

Help me bring him in.

- Not for all you get.

- Don't tell me you soon

as sweat bucket's for him.

Like every ex-con garlic moth,

he works for rice and bean.

- What's crummy about him

don't make you look no better.

- Who's talking ethics?

- Me.

I paid a year to man some.

Open it.

- Sure, I keep it open.

You'll be around.

- Don't hold your breath.

- I know who runs Miguel Estrada.

The real boss is the devil in you.

The wild ambition, lashing out,

the full enjoyment of violence.

- Go to hell.

- We'll go together.

- Open it.

(upbeat music)

- Hello, big boy.

- What's cooking?

- Nothing is cooking

but the peas in the pot.

And the peas they are

cooking cause the water in hot.

That's the boiler.

(upbeat music)

(upbeat music)

- Straight up from the street,

(speaking in foreign language)

made the curse of the

chicken head pour on you.

- Don't nobody touch it.

They say you die.

(upbeat music)

- Who the brother of a

chicken head falls down die soon.

- Yeah and get any on your hands

when you spill a man's blood.

- Yeah.

- Now if it's washed off

right away like the old folks say.

How long have you been in this country?

- Why?

- Not long enough, huh?

Where you from Puerto Rico?

The hills?

- North San Juan.

- San Juan?

And they go for the sea bottle.

And the big town too?

- Everybody in the

old country knows this.

- What brought you here?

- What brings every girl?

- They don't all work for Carlos.

- Maybe they aren't so lucky.

- Oh baby look, I know the operation.

No girl they bring up

who walks on a roll.

- He don't know me, no man does.

I sooner be dead.

Look, if only we'll drop left any place.

Nothing.

(upbeat music)

Nothing?

Nothing.

You'll be so old time, sorry.

- Why?

- Believe what I believe in.

I live like I like.

You know when the Spanish pray?

Any days he will stay to die.

So make your life a ball when you can.

- Sure.

Why not?

At your place?

- You know the dance hall

on the next top floor back.

Meet me after work.

- No.

- No I, I still got a couple of hours.

- Then just warm it up a little bit.

- All that time in here,

suppose I was a lady gonna have a baby.

- Hey Miguel, hey Miguel,

where you heading with a

couple of hours to kill?

- What do you got, radar?

- Meet me after work, right?

I'll take you where I

used to wait for her.

It's a new joint on the

avenue with a special drink.

- I don't need any drink.

- Oh man, but this drink,

it makes two men out of one.

What do you say?

- Okay.

All right, tonight anything goes.

(knocking)

Keep the chain.

Come on, let's go

upstairs where it's real private.

- Come on.

Come on.

What are you doing?

- We hit the numbers

the whole week's take.

- Grab, you're not

afraid of me, little score.

- I said grab.

- Okay.

- For real, my daddy.

Go back to your old self

again, like the old kid.

That's right where you live inside.

- That's what I figured on, huh?

He knows you better than

you know yourself, you punk.

Only this time the kid don't ride me.

- My 80s, who'd you like on them?

They're all yours.

(slow music)

(slow music)

(knocking)

(slow music)

- Oh dear.

What happened to you?

- You didn't have to work.

I know everything moves.

(slow music)

(speaking in foreign language)

- Like you don't know.

- I never come here.

(slow music)

- Thanks for your day, baby.

Take the police lock off the door.

It's your daddy, Toro.

- Not tonight, I am going to the bed.

- Oh, come on, honey, I'll sleep, me too.

- Yeah, your daddy's

falling off his feet.

- Later, for you much

later, meaning never.

- Someone move by into the next hour.

- Honey, honey.

- Open up.

- Go away, we are finished.

(slow music)

(slow music)

- No, he's here, he's here, he's here.

- No.

(slow music)

- I will see you soon.

Goodbye, my children, goodbye.

- Father, have you seen Miguel?

He's been missing 10 days.

- Nothing on Miguel, nothing.

Don't worry, he'll be home.

- Thank you.

- Well, let me see.

(crowd chattering)

- Oh, he's so hot.

(laughing)

- Don't tickle me.

Oh.

But where are you dressed?

- I ain't gonna go to work.

- No, you don't.

- I'm okay now.

You'll fix me a gun.

Best medicine I ever got.

- Please, tell him.

- Save it.

I ain't gotta go make some jingly stuff.

I'm down to a subway token.

- I have enough to feed my

loving men, pay the rent,

but else.

- I don't live off any woman.

- When I live on men, all I got is here.

- Forget about the others.

Understand?

From now on, it's you and me.

- Oh?

And that nice little

angel living on Mary?

(crowd chattering)

- After the last 10 days, I

don't want nobody but you.

I'm gonna get all the overtime I can

so we can marry right now.

- Mary?

What for you want to marry with me?

Oh.

So you can tie me down and

have me all for yourself?

(laughing)

Oh, you are jealous, huh?

When you're crazy about

somebody like me for you--

- I mean, you got to get married.

- Like I got a break to live.

- But look, it's wonderful like this.

Listen, talk about

things like marriage and--

- Man, look, when

it's good, down the aisle

can only make it better.

- Not for me.

- Why, you've been married?

You married now?

- Me?

- Well, what's stopping you?

- I just don't want to, that's all.

I like it like it here.

- I mean, Carlos tells you not to.

- Carlos?

- He told you to go this far, no more.

- Carlos got nothing to do with it.

- Don't give me that, Mambo.

He beats it out and you dance.

He gives it enough to shack up with me

so that he can hook me

back into the trade, right?

- Don't think of what I feel.

I told you he's a non-me.

- Well, then you prove it.

Prove it.

- All right, all right.

I don't want Carlos no more.

Satisfied?

- No, and the rest.

Amiguel wants it.

- Huh.

What for?

You better put a chain on me.

You want to spoil it all?

When you love somebody

big enough, you're married.

Now do your own, don't you?

- Look, I love my Taiwan

and I don't have to

marry you to prove it.

- Then adios.

- Adios.

- For good.

- Dorita Alano.

Do you know this girl?

- Yeah.

Yeah, she lived here.

- Anyone see her this morning?

- No, not since yesterday.

- Looks like she's gotten away.

- Immigration bolt.

They're after you.

Your ID card, okay?

- It's this I am warning Puerto Rico.

Isn't that okay?

- Would you not Puerto Rican?

- I'm Cuban.

Carlos got me the card so that I can--

- Come on, let's get this

right back on the first plane.

- Some wrong way here?

(thunder rumbling)

- Papa, don't give me

that sound treatment now.

Come on, I haven't got time.

- Well, I've got time

for you to stay away

from home from work, 10 days!

- Papa, I called you every night.

- You never say from where or why?

- Yeah.

What's the problem?

- Papa, I'll take you about it later.

Look, I need some money.

- Okay, let's go.

- Go where?

- Down in the station.

- Where you at, my boy?

- Assistant of Fugitive, an hour ago,

helping an alien escape.

One-time loser

hitting into a double play.

- You're in trouble, son, big trouble.

I'm sure I saw you

shooting up those stairs.

- It must be a mistake,

Miguel, with me all that size.

- Yeah, and an hour ago,

we was all together on the subway.

You want the number of the car?

I keep all the numbers.

I just had to figure out, play one.

When it gets legal.

- Double backing.

Okay.

You're off.

For now, it's too bad

it was all for nothing.

They got the girl anyway.

(door creaks)

- Thanks, Papa.

Papa, forget about the money.

Let's give me the benedicion.

- For the what?

- Papa, please, I always

feel like there's no chance

unless I get it, the benedicion.

Please, I need it now like

I never needed it before.

- Dios, de bendica.

- Hey, Miguel, I quit him like you said.

What about the okay?

- You got it.

(car engine rumbles)

Carlos!

- The immigration boat, they got Cerrita.

- Oh?

Get her out.

Deportation.

Not even my fine

Castilian hand can strip the gives

of federal justice.

- Better, Alan.

I'll take care of the rest.

They'll never know she's here.

- There's only one

thing wrong with your logic.

Why should I get involved?

- Well, who yanked her

out of a sewer in Havana?

She goes back and will kill her.

- Yes, terrible.

A high rate of

suicide among the deported.

- Better not.

- Beware pity.

In business like oil and water.

Better out.

That won't get you to go.

- What's it take?

Come on, come on, name it.

- You.

- Spengar.

- Tell me the phone.

- Salud, my young friend.

Historical abandoned little Spain.

Together we'll make it an empire.

- Better off first.

- Where are you going?

- To pick her up.

- Very well, Ron.

I need some money.

- Drop by my office.

Dip your hand in the royal treasury.

- Okay.

- Who do this for me, Carlos?

- How much he owes you?

- What do you owe him now?

To do what he wants?

- He'll never get him.

- You mean you're gonna double cross him?

Nobody does that to Carlos.

- Come on.

- You better not leave them

send me back than do that.

- I said, come on.

- What are we doing?

- The Penn Station.

- Come on, Miguel, you

won't get away from Carlos.

No matter where you go.

- I'm not running.

You either from the federales.

You're not jumping bail

hiding in one hole after another.

You're gonna stay in this country.

Out in the open.

And nobody's gonna send you back.

- They can't.

Not when you're an American citizen,

same as your husband.

- Yeah, we're gonna get married.

Fast, where we don't have

to wait for no licenses.

- Miguel.

Oh Miguel.

All right, I'll try to be good for you.

Oh you'll see, you'll see.

(gasps)

(dramatic music)

(somber music)

(somber music)

- It's heat.

Roll that up.

What's the matter?

Come on, none of that

Carlos ain't gonna put

any finger on you.

- I am not afraid of him.

It's me.

I don't want to bring you hurt.

- Not a child.

- I know myself.

How I am.

- And I know what you want.

To belong.

To bust out of these

peeling wallpaper traps.

- That's not what I mean.

- I know what you mean.

You think I'm not gonna

give you all you want?

- No, no.

That's not what I'm scared of.

- I'm trying to get easy on you.

- You don't understand.

- I understand.

You and me, we're two of a kind.

We're like ones, look

right down the middle.

All I ever want, then

I'm gonna get for you.

Just give me time.

Just give me time.

(somber music)

(engine revving)

- Mr. Cortez, please, I need more money.

- Show me the man who don't,

and I'll show you a lie,

like from the old country.

Personally, I could use the US Mint.

- That's not how I'm bracing you.

- Well, I'm asking for

us what the others get

for the same work.

- With a number across your chest?

- How long are you gonna keep seeing it?

- I reckon you don't put in the wet wash.

- Meaning for you, I'll never be clean?

- I wouldn't say that.

Aren't you in regular?

And work for beans like

everybody you do in a favor?

- Nobody does more for us people

than one Antonio Hernán de Cortez.

- You mean nobody takes him for more?

Like from the time you start

talking it up in Puerto Rico,

how good they could

have at working for you.

Like they're cigars with dollar bills.

Sleep one in a bed if they like.

Everybody's friend in Little Spain.

- Couldn't have a lousy one.

- No, troublemakers I

don't need, all their families.

So how do you go, all of you?

Your father, your

uncle, all your cousins?

- You take it out on them.

- And what?

Wait.

A smart boy like you, I don't

like to sit out on the street.

I like to see them get ahead.

You wanna make more money?

I'll give you a chance to fight.

It happens a big job opened up.

You're that smart?

I'll give you twice

what you're making now.

- You're talking about

the boy that's in real life.

- I'm finding them with the Steve-I'm.

There's a job of the future.

Too bad you won't take it.

I'll take it.

All yours, starting tomorrow.

Thank you very much, Mr. Cortez.

(footsteps thudding)

(door creaking)

- I'm sorry I'm late, Mama.

The boss had to talk to

me about a big promotion.

Where's Clarita?

She's there, isn't she?

- You hear that?

You work hard like your uncle

Miguel, you get promos, hmm?

- What about the

foreman in the new section?

- Huh?

- Oh no, better than that.

Starting tomorrow, I

work on the border too.

- Are you crazy?

- Everybody who take

that job have accidents.

You wanna kill yourself?

- That's for sure.

Like you used my wife, Super Stelis.

- Funny man.

- Not so funny.

You're about to stay with the boy.

That job I will not let you stay.

- Papa, I got a wife to think about.

I don't want her stuck in no back room.

- You don't got to worry about that.

- No more.

- What do you mean no more?

Clarita?

- She's gone.

(tense music) - Well I'm forget she said.

(tense music)

- Man's greatest delusion,

that he can tame the tigers in his life.

So you want me to find her?

Bag her latest tiger?

What the?

- I'll tell you when the time comes.

- How do I know you

won't double cross me again?

- There's a chance

you're gonna have to take me.

- Not if you put up first.

Or your hand.

(tense music)

- He'll join you tonight.

- Only if I call him.

- Of course.

In the common interest,

vary the switch play.

(tense music)

(speaking in foreign language)

- Take a teaser, take

it back or leave it all.

(tense music)

- That's 20 in advance.

- Hey daddy, I ain't been to a stag

since my old man dragged me a dick.

(laughing)

(tense music) (speaking in foreign language)

- Get him.

Come on.

- Hello Mr. Wendy.

- Hey, how are you?

- Well an old friend of yours

told me to give you his best

on your first night in

business for yourself.

- Yeah?

Who?

Carlos.

(speaking in foreign language)

- Hey daddy, mucho bread.

(tense music)

Come on.

(tense music)

Let's grab all the bread in this oven.

- It's cut out.

- What did I say?

- I'm calling it, Pop.

- He's calling it, man.

- We think she got plenty.

- You see you crazy?

You think we could not go this way?

- I'll hold it.

- You want crumbs?

- You cut out.

- I'm with this cat.

- Me too, take him in.

- You come to the guy by the door.

- Come with me.

- He's gonna blow it, man.

And when he does.

- Yeah, daddy.

- Just keep it going.

- Ladies and gentlemen,

management's got an announcement to make.

We're going to take up a collection.

For a good cause,

they'll give all you got.

I mean all.

Don't hold out

nothing or you'll get hurt.

Hurt real bad.

Ladies, take all the wallets.

(speaking in foreign language)

How many times I got to tell you people,

you need a permit to hold

them eating on a sidewalk.

Mark, come on, give us a break.

(men shouting)

Bring the collection back here.

(men shouting)

- The fools, let's take the roof.

- No, let's do it.

- How'd you get here?

- I heard about the heist.

I figured you could use a lookout.

- Look out, nothing,

you little cockroach.

- First you ditch Carlos and I'm not

checking on the fool.

- No!

- You got a mouth like a spigot.

Open it and it runs.

I said cut it!

- You want to call it?

Call it all the way.

(door creaking)

(footsteps thudding)

(dramatic music)

- You are right, Daddy, whatever you say.

- Huh?

(cows mooing)

- The cops are taking off.

- You killed him.

- Take away from me, yeah?

- Keep away from me.

Just take care, Tina.

If I catch you around here once more,

as a homey god, I'll kill you.

(panting) (ominous music)

(door creaking)

- Quite an hacienda.

- Where is she?

- On the way.

I came to tell you they found Toro.

It's that easy how you step on her.

I don't want a trail of

blood leading directly to you.

(sighs)

Magnifico.

The barrier at your toes.

Must have taken all the

spoils for the first month rent.

- How do you move?

- Think of it.

The generation after yours will come

to all of this legitimately.

Really belong.

Nobody belongs more than

those who kicked the door in.

(chuckles)

Now enter your ambition, huh?

Keep it in check until it's safer.

(phone buzzing)

(ominous music)

Don't mind the company.

On the way up.

- We have nothing to talk about.

- Happy reunion.

(door creaking)

- How's me precious, huh?

- If he didn't make me

come here, I would have--

- One more note from her lover boy

and I'd have worked him over.

- Room off.

- Like you say, Daddy.

- Another?

- Look, baby, when I leave him,

then there is always another.

So, adios.

- Let me show you around.

Nice, huh?

No back room, is it?

Kids under your feet

and the smell of yeast

so you could scrape it off the walls.

- That didn't matter to me.

- Not much it didn't.

You just had to have it

fast and I could get it.

- That's not what I left.

Look, I tried to make you understand,

but you will listen.

- Okay, listen now.

I can't stay married to nobody.

I've got to be free.

Face me to one minute

and it's like a cage.

Understand now?

I'm sorry you go through all this for me,

but I'm still where I am.

- Okay.

Okay, it's finished between us.

Only nobody else is gonna get it either.

I'm gonna put you in cold storage.

Here's the refrigerator.

- Oh, you stop me.

You gonna lock it up?

- You think no?

- Oh yes, you see, you can keep me--

- You have so much as luck in another man

and I'll turn and show--

- No.

(speaking in foreign language)

- Hello, Miguel.

Mind if I come in?

(door opens)

What do you want?

- It's terrible.

This New York either.

- What do you want?

- A glass of water, if you don't mind.

(door opens)

- Thank you.

Miguel, you're a bright boy.

Suppose you were me.

How would you go about finding the doctor

who fixed Toro for good?

- I know you were in on a pointy job.

That much pointy told

us before he got scared

and withdrew his statement.

I could go after Incho and the others,

but they won't crack either.

No?

There's one sure way.

Go after the oddball, the

one who can't play the game.

Right?

- I don't know what you're talking about.

- Miguel, you'll talk.

I bet you wanna save him the trouble.

(heart beating)

- Okay.

I guess it's me in

the little bright room.

- Keep him here until you hear from me.

I know phone calls.

- You can't.

- Yes, I can.

- Suspension of murder,

unless you prefer the station.

What a crumb bum thing

to write in your own.

(whistling)

- I've never seen anything so gorgeous.

The bully didn't cost all that money.

- Hey, Mama, what's this

saying in the old country?

(speaking in foreign language)

- If a man can't buy the

wedding gown, he ain't no man.

- Oh, but $200.

- Oh, you're marrying with a big man.

- What's the matter?

(door slamming)

(car engine rumbling)

(car engine rumbling)

- Now look, son, I

just wanna talk to you.

(car horn honking)

(whistling)

(car horn honking)

(whimpering)

(whimpering)

- Amelia.

(screaming)

(crying)

(speaking in foreign language)

(crying)

(crying)

(crying)

- If it wasn't for

you, you'd be alive now.

Mr. Albea just told me everything.

I mean, I got killed to save you.

I wish it were you in that coffin.

(speaking in foreign language)

(crying)

(speaking in foreign language) - No, his prayer for the dead.

(speaking in foreign language)

- Babadon't.

- I have no son.

My son is dead.

(crying)

(speaking in foreign language)

- A circle of

(speaking in foreign language)

- Babadon.

(speaking in foreign language)

- Locked to the second.

- Man, what a setup.

- At six in the a.m., we

drive up to the Cortez laundry.

- Like we're making a delivery.

- Quite an elaborate plan.

- For you to commit suicide,

Cortez is a convenient

and lethal instrument.

- You want him to kick in or don't you?

- Not by helping you get knocked off

and pulling others in after you.

- You done with the cha-cha?

I'll hit it again.

- Like the Englishman, I am

not presiding over an empire

in the making known to see it liquidated,

which is exactly what will happen.

You take Cortez on directly.

This laundry is a citadel.

- Exactly.

- It keeps all the

loot from the sidelines

you don't pay tax on.

- You'll still end like

the others in a lime pit.

- In or out?

- Suicides, absolute and perfect.

And,

with my daddy, all the way.

(door opens)

- And who else?

Idiots!

Can't you see?

He's trying to find

peace by destroying himself.

- That's enough.

- A piece up six feet under.

Why, you don't hear the mass

for the dead red for yourself.

- I said enough.

- All right.

Follow me, dumb man.

(door opens)

- I'll give you my benediction.

(somber music)

(door closes)

- It's so hot.

You can't sleep either.

(somber music)

- Where are you going to go?

It's only five in the morning.

I didn't want him to tell you.

I'm sorry about Emilio.

I know he must be

terrible for your sister.

He was such a nice boy.

Yesterday I laid a decundle for him.

I wish somebody laid one for me.

I feel plenty dead too.

Where are you going?

It's so early in the morning.

(somber music)

I asked you that already, didn't I?

Not a word, not a look,

nothing since you bring me here.

Like I am dead.

(somber music)

Why don't you kill me

and be finished with it?

I can't take it no more.

Oh, Miguel.

Please, please, no.

- That's a hound.

- No.

- It's all over.

You know, I don't feel a thing anymore.

Anyway, you'll be taken

care of, I've seen to them.

- But you look like

you're never coming back.

- I only met...

You're free to go.

(somber music)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(engine revving)

(indistinct chatter)

(engine revving)

(engine revving) (engine revving)

(engine revving)

- You nuts, you're the

throw man with me alarm.

(engine revving)

(engine revving)

(engine revving)

(buzzer)

- Where is he?

- How do I know?

- When did you see him last?

- Yesterday.

- You sure he did not

come back this morning?

- I didn't hear him come in.

But then I don't listen.

Something happened with him?

- If not yet, it will.

- Where do you suppose you're going?

- Out of here for good.

- Not till it's over.

I would not deprive you of the pleasure

should it occur here.

After all, not every

woman has the privilege

of a lover dying in her arms.

- What do I care what happens to him?

Look, he made me feel like dirt.

I could cut his heart out.

Find him, give me the knife.

- You had it all along.

Boy, that could have made

all of Little Spain dance

like to the Castanets.

Threw it all away on a tramp.

- What hurts you really?

That you could never own him?

- Let her go.

- I'm sorry. - Barracuda?

(dramatic music)

(screaming)

(dramatic music)

- Please.

If not for me.

If not for me.

- I did this to him.

(dramatic music)

- Oh, Papa.

My fault.

Papa.

(speaking in foreign language)

- Miguel.

(speaking in foreign language)

(dramatic music)

Dear God.

Where?

Where we make the sin?

(dramatic music)