Original subtitles

(DROMEDARY GRUNTS)

Come in, come in.

Wow.

(BOTH SPEAKING FRENCH)

I can't thank you enough for this. I...

- I didn't know where else to go. - Shh!

You did the right thing coming here, huh?

You've had a shock. But you need to gather yourself, bonita, hmm?

Yes.

- It's such a beautiful room. - Oh, thank you.

LUCY: Oh.

- Don't touch it. - Oh, sorry.

Look.

My first husband gave all these to me. Each one represent one year of marriage.

Oh.

Did you notice any pattern in his choice of "surprise"?

Yes. They're all birds.

Yes. Domesticated fowl.

And this one, the big one, he offered me, for our divorce.

PARROT: Puta. Puta.

- What does puta mean? - (SCOFFS) Whore.

(CONTESSA LAUGHING)

Very jealous guy. (SPEAKING SPANISH)

Okay, darling.

I'll let you enjoy the room.

Yes.

- Please enjoy, huh? - Thank you. Yes.

Bye-bye.

Leo!

Leo!

(THEME MUSIC PLAYING)

♪ Little birds ♪

Do you wanna get pregnant?

(INDISTINCT PRAYERS IN ARABIC)

(CHERIFA PRAYING SOFTLY IN ARABIC)

CHERIFA: I don't do this. I don't pray.

But I've come to ask for help.

Whore.

- Yes? - You heard me, whore.

- This isn't the place for you. - Why?

Because this is a place for clean, honest people.

Why are you so sour?

Hmm?

Is it because when you were young, you watched at us walking on the streets with our gold

and silver and our beautiful clothes and you longed from your little window

in your fancy house under lock and key

to be free to come and go like us?

You wanted to be rich like me.

Rich in ways no one man could ever make you.

- Is that what you wanted? - Get out. Get out!

- That's what you still want. - Get out! Get out!

Ask Sidi.

So, for the mahjoun, we mix all this.

Where did you learn how to do this?

A slave trader sold me to a kif farmer when I was small.

That's how I ended up in the north.

And did they whip you?

Yeah, they whipped me.

And will you show us how they whipped you?

All right.

Stand up.

You have not eaten for days. Maybe a little water.

Eat this. Like it's a piece of stale bread.

That they left on the side of their plate. After they'd eaten all they want.

- What do you think you are doing? - I'm hungry.

- (GROWLS) - (GIGGLES)

You're a thief.

And you know what?

I didn't pay to have a thief round here. You have some things to learn.

Let me go.

No.

(LEO CLICKS TONGUE)

I'm going to take this leather strap that I always carry with me

and rip off your shirt

and I am going to flay your back so you can hardly move for weeks...

Stop!

(SIGHS, GRUNTS)

What? We're just playing.

Isn't what you wanted? Huh?

(THUDS)

A game about whipping people.

(DOOR OPENS)

I was having a dream.

Wanna keep dreaming?

Hmm. Company would be nice.

- I don't feel like celebrating though. - Champagne.

In victory, one deserves it, and in defeat, one needs it.

To defeat.

(GLASSES CLINK)

Did everyone know?

Know what?

That he was betraying me.

Who is everyone?

People.

What are these people to you?

All they say...

It's been weeks. Not even a month.

What will they think of me?

Should I fight for him?

Pistols at dawn. You and Mr Abaza.

(BOTH CHUCKLE)

Too dangerous.

- Pistols. I'd win. - Exactly.

(SPEAKING ARABIC)

I know your face. You are Ouled Nail. The same as me.

Come. Sit.

Why did you come to the shrine?

You didn't come for the views, that's for sure.

No.

My troubles are my own.

Habibti. Anyone can see you are troubled. I don't need to read your hand.

What?

- No wonder you are here. - Don't tell me anything.

I don't wanna know.

You're not the first.

My grandmother was the greatest whore inside the Bou Saada city walls.

She learned the trade from her mother, going down into the cities,

learning the erotic arts. Things change when the Europeans came.

New laws and penalties for harlotry. She and her sisters were forced

into trucks and sent to army barracks as moving brothels.

Our traditions died.

(THUNDER RUMBLING)

My grandmother is here with us now.

She is smiling at you.

She wants to say something.

Don't let them drive you away.

Take your power. Go back.

Go back.

- Go towards your trouble. - DAUGHTER: Trouble.

- Go towards total freedom. - DAUGHTER: Freedom.

(SHAWAFA SPEAKS ARABIC)

(SPEAKS ARABIC)

(SPEAKS ARABIC)

Er, you know so little about women, darling. But you never claimed to be an expert.

- I'd like to talk to my wife. - A flower? Really? It will only provoke her.

- She's not in the mood. - CONTESSA: But you can leave your offering.

Chico will eat it. Chico loves orchids.

So marvellous to see you. You know, darling, this will all blow over

and if it doesn't, it will still blow over, hmm?

And we shall all be dust. And blown away.

No, I need to talk to her, please. If you'd just direct me

to where she is, I'd be very grateful, thank you.

She's upstairs.

Thank you.

(KNOCK ON DOOR)

What is that?

Peace offering.

- You can sit, Hugo. - Thank you.

Erm, sorry.

When I was with Dr Maxwell at that place,

there was a girl.

They had this library there.

No one used it except for her and me.

We'd go in there and we'd spin the globe.

Look up countries in the encyclopaedia.

She got better and she married a banker. China.

When I was marrying you, I thought I could marry a new world.

Hardly a reasonable expectation.

I came to say that we don't have to throw everything away.

We'd have separate rooms. Think that'd be best.

The light in this room is beautiful, isn't it?

We could entertain.

Bridge, tennis.

And you could have lovers, even, if that's what you want.

Discreetly.

And in public we'd just have to like each other enough to stop tongues wagging.

- I'm fond of you. - Do you see it?

How it changes the light?

Gives you this glimpse of something that's shimmering.

Beautiful.

I see it.

I want it. I want...

HUGO: I'm offering you freedom.

I have seen a woman who is free.

On our wedding night.

Woman who sang.

She was free.

She sang for money.

What did Hugo do for money?

He fell right into Daddy's trap.

And he lied to his wife.

And got her caught up in it too.

Fond isn't good enough for me, Hugo.

People are fond of dogs.

Go.

Go.

(DOOR OPENS)

If I were a man,

I would murder you.

(DOOR CLOSES)

MAI: Umi Fatima, Umi Khadija!

Up now, Mai.

(BOTH SPEAKING ARABIC)

I'm not... (COUGHS SOFTLY)

I'm not sure how I...

- Where am I? - You're in our house.

- You're welcome, brother. - Thank you, sister.

KHADIJA: We picked you up off the street.

- All sorts out at night. You weren't waking up. - You were outside that place.

- Where those people go. - You carried me?

KHADIJA: You wouldn't walk. You wouldn't wake up. What else could we do? She took your head.

She took your feet. You got off light. It could have been much worse.

KHADIJA: All sorts out at night in Tangier.

FATIMA: There it is.

We didn't rob you.

Someone got you shoes already.

KHADIJA: No. Mine.

What were you two doing out at night?

FATIMA: It's lucky for you we were.

Well...

(SPEAKING ARABIC)

You've been very kind.

FATIMA: He thinks we robbed him and now he's trying to pay us.

(FATIMA AND KHADIJA LAUGHING)

Sorry, I, er...

I can't quite seem to...

It's a very nasty bump.

Yeah. (GRUNTS)

All right. All right. Come on. Lunch is almost ready.

(DOOR OPENS)

Oh, Leo. Here you are. I want to thank you.

For helping my daughters this morning. Really appreciate it, what you're doing for us.

We really do. What about you?

Are you happy working here?

- Yes, Contessa. - It's not bad, huh?

Sometimes, there are a lot of things to do, I know.

Like in my little party. Remember my little party?

You know, Leo. I'm gonna give you my advice.

Some jobs, it's better to spend time on them.

Properly. Hmm?

If the Contessa doesn't mind, I will get on with my chores.

Hmm.

- You are rushing away. - I need no more breaks. Thank you. I am here to work.

Work, work. Go work.

I'm watching you, Leo. Don't make any mistakes.

I made them already.

Mmm...

(FLIES BUZZING)

ZEFZAF: It's Frederic, sir.

He's dead.

Found on a beach.

Where is the body?

ZEFZAF: Strangulation.

Send the body back to his mother.

Tell her it was murder. And then, arrest one of the King's people and bring them to me.

I don't have a suspect.

(LAUGHS LOUDLY)

Really?

Secretary, Fredric had predilections.

I mean, his death may have been an accident.

With all respect, sir, the situation is quite volatile.

There's a lot of resentment on the street

and arresting the wrong person would throw oil on it.

- France wants order. - Order. They want to pave the way for the King.

Scatter petals before his return.

He can't be kept from his people much longer.

"His people."

There is a boy at the Contessa's.

- Secretary... - You are right! It is volatile. And so we must act.

A member of this administration is dead. In a time of terror, this cannot go unpunished!

So, make an arrest. A very public arrest right in the hotbed of Tangier gossip.

In the house of the queen.

I want the whole beehive buzzing with it.

(DOOR OPENS)

(DOOR CLOSES)

What? Oh, my God!

- What the hell? - What is going on here?

Apologies, Contessa. The Secretary has asked me to send personal assurances.

We're only thinking of your safety.

What? Safety from what?

- Terrorism. - That boy's not a terrorist.

A member of the French administration has been murdered.

- LILI: Well, it wasn't Leo. - Our sources suggest otherwise.

- Come back with a warrant. - If the owner of the property consents,

- there is no need for a warrant. - Please, no.

When I thought he was just a thief, I was very happy to give him a chance.

Anita. You know what they'll do to him.

You better think what he'd done to us.

I have to protect my daughters.

- Take him away. Thank you, Contessa. - No! No! No!

(SPEAKING ARABIC) Let me stay!

Well, you! Go back to work!

(SCREAMING)

FATIMA: What's your name?

Do you remember it?

Adham.

Fatima.

Khadija.

FATIMA: Where do you come from?

- KHADIJA: Don't plague him. Let him eat. - It's all right.

Who's that?

The French took him. We thought they took him to Rabat.

KHADIJA: But he wasn't in Rabat. FATIMA: It's a very bad prison.

But he wasn't there.

Your husband?

Why did they take him?

A colon said he was a terrorist.

Our husband. A terrorist.

FATIMA: He couldn't even terrorise a baby.

He siphoned some water.

He wanted it for his pigs. This Frenchman.

We needed it for ourselves, but he needed it for his pigs.

RADIO ANNOUNCER: Ben Arafa, the puppet sultan installed by the French, has abdicated,

leaving the way clear for Port Morocco to return.

- And he is sorry indeed. - (KNOCKING ON DOOR)

- No, sorry. - Mr Hugo?

- Yes? - Come with me.

- Where? - To the guy.

- To the American. - What guy? What does he look like?

I don't know. You all look the same to me.

Oh, look what it sent in a hat.

- How's it going? - You said you were American?

America. Dublin. I get around.

So I suppose you have something for me.

Maybe. That depends.

- On what? - On what you've got for me.

- I wasn't informed about bringing anything. - One thousand ought to do it.

Of francs?

- Dollars. - For what?

For your little toys.

Grant didn't say anything about this.

Mr Savage isn't here. I am. Here.

In this shithole. So, if you want your package, you better get me $1,000.

- I don't have $1,000. - Well, you better go get it.

- Hey, just give them to me. As agreed with your boss. - He's not the boss of me.

I'm a middleman. Pops don't know me from Adam.

Yeah, but I'm supposed to deliver them to the client. Where are they?

They're not here.

Look, I presume you're getting your cut.

Alls I'm asking for is a cut of the cut.

You know what I mean?

- I understand. - I know. It's tragic.

But you better get going.

Same time tomorrow.

Rue D'Athens market.

Adios, sweetheart.

- I was just talking about you. - Oh, really?

I would have expected more

discretion.

(SCOFFS, STAMMERS)

Of course.

- I wasn't gossiping. - Tangier is full of gossips.

- Absolutely. - But

not a lot of clients, I hope.

It's much better to be talking to one side in this kind of business.

It's here.

Excellent. Excellent.

- May I see it? - Mmm. I'll need cash in advance.

- A thousand dollars. - For something I've never seen?

- I suppose that's not how it works. - My advice is

not to try the patience of your client.

In a town like this.

In a time like this.

You'll be in touch. Soon.

VANESSA: Honey, it's a dowry. They're as old as the hills.

- So, you knew. - It's a dowry.

He's a homosexual, Mother. Did you know that as well?

Well, I mean,

there's not that many handsome unmarried lords at that age. I mean, you know.

I'm not the one who got locked up, Lucy.

I'm not the one that no one else would marry.

Okay? Stop complaining.

How do you think I got a classic eight on the Upper East Side? I married an awful man.

That's what we do.

I want a divorce.

And add second hand? To this situation?

Did you stop taking your pills?

You did, didn't you? You sound like you're off your pills.

I hope you're still smoking too by the way because you get so fat.

Once you start, you never stop.

Goodbye, Mother.

- Bye, darling. - (HANGS UP TELEPHONE)

(DOGS BARKING)

What a mess. Absolute mess.

Are you going to tell Cherifa about Leo?

Yes. Better if it comes from us.

(DOOR OPENS AND CLOSES)

Will you just wait with this?

And what? Just act like nothing happened and leave him?

I think you are forgetting that Leo may be innocent, but you are not!

- I don't care. - You get involved with this,

it may come down on you. And I helped to throw that man's body off a cliff.

So, it might come down on me.

- So, I forbid this. - (CHUCKLES DRYLY)

- Move. - What? There is nothing you can do about Leo.

- I am El Cherifa. - Don't give me that.

Cherifa.

There is no point in fighting.

Because you will lose.

Sorry.

That's how life is.

But...

Life goes on.

You're in shock.

- I'm not in shock. - I'm going to make you some soup.

I don't want soup.

Fine. So, you are El Cherifa, hmm?

You are the great El Cherifa. But you know what?

You are nothing. You're just a whore.

That is all.

(HUMMING)

Does she know?

About her father?

KHADIJA: She doesn't ask if he's coming back any more.

What will you do?

KHADIJA: We do it.

We get up. We fetch water.

- We cook. - FATIMA: She goes to school.

We make her go.

But all the girls do.

She can read.

KHADIJA: What will you do?

Where are you going back to?

FATIMA: What's your life?

I grew up in a palace.

A prince.

Yes.

I am a prince.

This prince, he grew up in a palace. In Alexandria.

His mother was

beautiful

and wild.

And when his father died, she didn't lock herself away like they wanted her to.

She went out all night and danced with men.

The mother had her life to lead and the little prince was very often

left alone in this beautiful palace.

KHADIJA: Sounds nice to grow up in a palace.

Oh.

I had all anyone could ever want.

But who really looked after you?

Really?

You were a child alone.

I wasn't alone.

I had Safinaz.

Her and the other servants.

They would fuss over me.

Like I was their own child.

God, I loved Safinaz.

(WHISPERING)

Good night, my angels.

But I never once saw her face.

I never saw her face.

I know my name.

Abaza.

But I don't know where I belong.

That's why I came to Tangier.

Because no one belong here.

(ADHAM SIGHS HEAVILY)

Do you want to see my face?

I'm sorry, I...

- I have to go now. You've been very kind to me. - FATIMA: It's okay.

You were sent to us.

♪ There is one

♪ You are so dear to me

♪ I want you near to me

♪ Truly I do

♪ Dearest one

FATIMA: You were sent to us.

♪ When I'm awake from you

♪ Each night I pray for you

♪ Truly I do

♪ Life, you know, is funny

♪ And skies aren't always sunny

♪ But please believe me, honey

Thank you.

Hmm. That smells nice.

What is that?

Come here and find out.

♪ So now I live for you

♪ How truly I do

Drugs. Would you like some?

LUCY: Mmm-hmm.

- (CHOKES) - (GIGGLING)

Oh, she doesn't know how to inhale.

Lily?

Take some. Go ahead.

Sorry, I'm not in the mood.

CONTESSA: Oh, you're not in the mood.

You're becoming dull in your old age, darling.

- This is delicious. - Yeah.

But be careful with that, bonita.

You are not used to it. It's very strong.

♪ I really care ♪

♪ Darling so darling so

♪ Darling, darling if you love me

♪ You won't let me go

♪ No, no, you won't

♪ Won't let me go ♪

Wilkommen. Bienvenido.

(SPEAKING ARABIC)

(CROWD CHEERING AND APPLAUDING)

With anticipation and not a little trepidation, welcome to my film.

Let's see it first, shall we?

There will be bare skin. There will be indecent dancing,

excessive and lustful kissing.

There will be sympathy for criminals and the selling of virtue.

Everything I'm not allowed to do, oh, back home.

I thank my stars, Dita, Esther, Lena,

Ingma. Oh, Ginger. Oh, Ginger.

And my discovery, Lucy.

Lucy?

- Huh? - Come, take a bow, chicken.

Come on.

(CROWD WHOOPING)

Ooh, steady as you go. This is your moment.

There you go. Take your spot.

Okay.

I'd also like to thank all those who understand the value of integrity and freedom.

(CROWD WHOOPING)

Enjoy your film.

Lights.

WOMAN: (IN FILM) The childhood impression that has remained with me,

cut off that umbilical cord.

Can we keep out humanity and yet have flight of imagination?

Play into her creation.

You're magnificent.

No.

I don't... I don't know that girl.

I, I don't like that girl.

- I don't know that girl. - Well, which girl do you wanna be, Lucy?

(MOANING)

WOMAN: (IN FILM) I was not gonna cut off that umbilical cord.

(SPEAKING SPANISH)

WOMAN: (IN FILM) That's the thing that women are going to have to answer.

(ALL MOANING)

I don't like that girl.

Madame.

Uh-uh.

(SPEAKING FRENCH)

- It wasn't him. Leo didn't kill Frederic. - Sorry?

- You can't be here. - Please leave. This is a private party.

- You have to help him. - I don't think I do.

I don't like you.

Why don't you, huh? You, keep going.

A whore and a Berber.

Please help him. Help him.

He was an angry Arab. And a mediocre lover.

As perhaps you know, huh? Leave me alone.

(MOANING CONTINUES)

I don't like you.

(GUNSHOT)

What happened?

I feel better now.

Yeah. I feel better now. Hey.

Hi. Come with me. Come with me. Did you see it? I killed her.

She's gone. (STAMMERS) Do you want to play a game?

Let's play a game. I'm gonna be an animal.

(GROWLS LOUDLY)

And you're gonna hunt me. Hunt an animal. Hold the gun.

Do it, do as you're told. Hey, come here.

You do as I tell you.

Hold it straight. Do what I tell you.

Breathe.

Yes. See?

That's a good boy. That's a good boy.

Wait a minute. Hey.

Okay.

Hey.

- (GROWLS) - (LAUGHING)

You ready? Look at me!

Now, shoot. Okay?

Ready?

Shoot.

Shoot!

DITA: Do what she's asking. ESTHER: Do what she tells you.

ALL: Shoot! Shoot!

Shoot! Shoot! Shoot! Shoot!

(GUNSHOT)

Chico! My baby!

- Get out. - LUCY: Give me my gun.

- No. - Give me my gun.

Give that to me. Give it to me! No!

LUCY: No! No! No!

Give it to me.

(MAN SINGING IN SPANISH)

Subtitles Diego Moraes(oakislandtk) www.opensubtitles.org