Original subtitles

One and two...

Okay. Now the other step.

All right. Just a minute, please.

Come here.

The rest of you, just watch.

That's fine.

Okay. Thank you.

All right.

Carry on. Cristina.

Work with the girls, please.

The same step?

Any step. It doesn't matter.

Paco, when are you going to Seville?

I'm catching the 8:00 plane tomorrow morning.

Do me a favor. Check the dance schools there.

See if there isn't a girl there who could be Carmen.

Don't you like any of these?

Some of them aren't bad...

but I just don't see them as Carmen.

Cry no more

Weep no longer

Suffer no longer

That melody's pretty.

Sounds nice as a bulería.

It'd work well for Antonio.

He'd be more comfortable with this than with the orchestra.

I'm gonna tell him.

We were listening to that music.

I think you'd find it hard to dance to.

The orchestra keeps slowing down for the singer.

You'll be left perched on one leg like a stork.

The rhythm should be more even, like in bulerías.

Listen.

Cristina, come here.

Paco, it sounds good,

but I'd like it a little slower,

more like the original.

- But it works better, right? - Yes.

Follow me when the melody comes in.

Do me a favor.

Give the girls some steps.

Mostly arms and posture.

Very good, Paco. Keep working on it.

Boys, off the floor.

We're going to work on bulerías using that rhythm we just heard.

That's it. Hands nice and slow.

That's it. Nice and slow.

Carmen had a strange and savage beauty.

Her lips were plump but well-shaped

and opened to reveal teeth whiter than the whitest pearls.

Watch how she does it! Don't just learn the step!

Her long hair was shiny and black,

with a glimmer of blue, like a ravens feathers.

Her eyes had a voluptuous but surly expression

that I've never seen in another human gaze.

"Gypsy eyes, wolf eyes,"

as the Spanish saying goes.

Hello.

- Hey! - Hi! How are you?

- Hello, María. - Hi, Antonio.

- When is Magdalena's class? - It started at 5:00.

- Which studio? - Second door on the right.

How are you?

Come to take a few classes?

To brush up a bit.

See you later, okay?

Right arm comes down. Head up, then to the left.

Left arm down and the head turns.

Both arms down the middle...

and up slowly, like an eagle's wings.

Neck relaxed. Left arm down the center.

Bring it up nice and slow.

Right arm down the middle.

Manuel, bring your arm higher, sweetie.

Arm up high, and now down.

Not bad, ladies.

But don't forget: Technique is only a tool for your art.

Keep the wrists still when playing the castanets.

The arm rises slowly and precisely.

Pull the waist and ribs up out of the hips.

The breasts are like a bull's horns, but warm and soft.

Hold your head up like a queen.

And don't move your hands.

Let's go on to the next exercise.

One, two...

and then on three the head turns, and again, and again.

Preparation.

Sharp!

Arm up gracefully.

Hurry up, Carmen. You're always late.

I looked up and saw her.

It was a Friday. I'll never forget it.

At first I didn't like her and returned to my work.

But in that way women and cats have

of never coming when you call

but only when you don't,

she walked up and spoke to me.

- Good evening. - Hello.

Hello, Antonio.

- I didn't know you were her agent. - Her exclusive agent.

What an incredible place!

I love it. It's beautiful.

Give me a light.

- Shall I change? - Whatever you like.

Then I won't.

Even a bar! You guys did it up right.

- Care for a drink? - Sure. A glass of wine.

Follow me.

Legs open.

And back to the left to finish.

Here.

- You're doing fine. - Give me some.

Relax. Just do your best.

Stand over there, please.

We'll do that same step, but in a semicircle.

No, go back.

Please try to relax.

Believe in what you're doing.

Look at me.

Look me in the eyes!

That's it.

Don't look away.

Really look at me!

Don't blink.

Now turn slowly.

- Good-looking couple. - Yeah.

Lean back.

No, lean back against me.

Hold on tight, like I was in front of you.

Now circle with the hips.

Slowly.

Turn with me very slowly.

Follow me.

Do what I do with your hand.

Same thing. Come on, caress me.

That's it. Now face me.

Good.

Very good.

- Is that it? - For now.

How long have you been dancing?

Since I was 15.

I always saw my mother singing and dancing at parties.

It got in my blood at a young age.

- Your parents are dancers? - Not at all.

How did you get started? In a dance troupe?

Here in the nightclub, about three months ago.

I started in November.

- Do you sing? - A little.

But what I really want to do is dance.

I take class every day with María Magdalena, Cirio and Alberto Lorca.

Here.

Do I have to read it?

No, but it might help.

You know, when I want something, I usually get it.

I'm stronger than I look.

Well, Antonio? What do you think?

See you tomorrow at the studio. Good-bye, Girón.

Who the hell does he think he is?

Stupid jerk!

Son of a bitch.

I'm going to do that part.

We'll see about that.

Let's start.

That's it. Good.

Your whole body.

Let's see those hands flutter like doves.

Elbows in! Your waist!

We're here to dance!

What's the problem?

Transition.

Stretch your body up like a queen!

Carmen, come and watch.

Let's see here.

Are you paying attention?

Let's see it.

Your shoulders!

Lift up out of your waist!

Let's see some gracefulness!

What is it?

Antonio wants to see you in his office alone.

Go on with the class.

- You wanted to see me? - Sit down.

Cristina, help me out here.

Help you out? I'm doing all I can.

Please.

She's the one who has to practice.

I'm sure she will, but we have to help her.

I don't get it. There are dozens better than her.

That's my business. She has what I'm looking for.

Sure... she's young.

Let's get something clear.

You're the best dancer, but you're not going to be Carmen.

I need a different type, someone younger. Is that clear?

Cristina...

you're my right hand here!

I need you, damn it!

Do me a personal favor.

What is it?

Help Carmen.

Work with her. Teach her.

I'll do what I can.

Are you just marking it, or dancing it, or what?

- I'm trying. - You're trying?

It's all the same! There's no flavor to it!

Put some accent in it!

What's wrong with you?

You're not concentrating.

Cristina devours you in rehearsal! It should be the opposite!

You understand?

Come on!

Devour me!

Don't look away!

Come on!

Better!

Don't you feel it? - Of course I do.

Then why don't you do it all the time?

Do I have to wear myself out before you'll do it?

You're Carmen!

Believe it!

If you don't, who will?

Don't worry.

Don't worry?

I'll do it.

You bet you will! Right now!

By yourself!

More! That's it!

More!

Good! Good!

Come over here a minute.

Come over here.

We're going to rehearse the scene in the tobacco factory.

According to Mérimée's story,

we're in Seville in 1830 in a tobacco factory.

It's very hot,

and since only women work there,

they've made themselves comfortable.

I want you all to feel that terrible heat.

Feel that atmosphere, and make me feel it with you.

I'm burning up!

Just a minute.

All those not in this scene, clear the stage.

Singers, sit over there.

You ladies take a seat, and Cristina will move you around.

Cristina, you sit here and have Carmen sit there,

and place the others as you see best.

Carmen, you mind switching places with Blanca?

Sonia, trade places with Maria José.

Teresa, take that chair.

Don't go near the brambles

Don't go near the brambles

The brambles have thorns

Thorns that tear aprons

The brambles have thorns

Thorns that tear aprons

In this tobacco factory

There are evil women and there are good women

In this tobacco factory

There are more sluts than good girls

In this tobacco factory

You better leave Carmen alone

Better not get in Carmen's way

Carmen has a knife

For anyone who gives her trouble

Carmen has a knife

For anyone who gives her trouble

Don't go near the brambles

Very good.

Very good.

We'll each pitch in 100 duros, right?

What for?

- A little wine for Antoñito's birthday. - Thanks, man.

I'll give you mine later.

Here's my hundred.

Make sure you don't pocket it, you thief.

- You too. - Like hell!

It's my birthday! Get out of here!

I guess he's right. I'll go get some wine.

Sorry.

- Sorry, everyone. - Late again.

- I couldn't get here earlier. - Traffic, right?

- Shall I change? - No, sit down.

Listen, everybody.

Give me your attention a minute.

After the fight in the factory,

Jose takes Carmen into custody but then lets her escape,

so they throw him in jail as punishment.

He tells us,

“Looking out through the prison bars at the women passing by,

I saw no woman who could compare

with that she-devil.”

There's a line I think is very important.

It explains the relationship between Carmen and José.

José says,

“She lied, sir. She has always lied.

I don't know if she's ever spoken a word of truth in her life.

But when she spoke, I believed her.

I couldn't help it.”

We're going to work on the next scene now.

Carmen takes José to the house of an old procuress.

It's a miserable little room.

Let's imagine

that this is a hard old bed.

Beside it is a lamp. Lower that.

A little more. Okay.

There's a chair over there.

Step back a bit.

There'll be a table there,

a sort of dresser with a mirror.

Juan and Carmen, come here.

You be José. We'll do this step.

Let's see it. One and two...

Just a minute.

You have to be more feminine.

Caress him as you caress yourself.

Got it? Let's try it.

Caress him!

All right. Better.

Let's take the ladder away,

put the mirrors back,

and close the curtains very slowly.

Clear the whole space.

- May I? - Of course.

Take it easy.

We've got plenty of time.

How about getting me a drink?

You were dancing when I drove up.

Cooking up some wicked step to throw at us tomorrow?

No, I was practicing the Farruca.

You know, since I was 15,

I've danced just about everything.

But the Farruca taught me what all this is about...

and I'm thankful for that.

Sometimes I just start dancing it.

I don't know why. I just have to.

You've never danced the Farruca for love?

There'll never be a better time.

Dance it for me.

Now?

Dance for me, Antonio.

Come on, devour me!

Or are you just marking the steps too?

Shit!

What are you doing?

I'm leaving.

Leaving?

I have to.

Where are you going?

It's 2:00 in the morning.

Good-bye, Antonio.

I don't know.

What am I going to do?

And then she comes in...

with the fan, the comb,

the flower, the mantilla -

everything.

All the clichés.

But what of it? Why not?

Your husband's waiting.

Happy birthday, old man!

Toñito, old buddy!

Happy birthday, nephew!

Paco, what do you know about Carmen?

Same as everybody.

You know something I don't.

I feel it in your looks, your hints.

Tell me what you know.

She's married to a guy who's in jail for drugs.

- I know that. - Did she tell you?

Seriously - is she living with someone?

Will I be the last to know? Tell me, please.

She left Girón, but I don't know who she's with.

I don't know anything.

What is it about her anyway?

You've had 20 women better than her. You're losing it.

Antonio, this is my husband.

José Fernández Montoya, at your service.

Antonio, how are you?

He just got out of jail. Isn't that great?

Don't rush!

Let's go.

Tauro, you're winded from smoking all those joints!

Don't rush!

Let's go!

Pick up your skirt!

Juan, straighten up!

Feet!

Tauro, don't look down!

Feet!

Hold on!

Easy now!

Enrique!

Tauro, straighten up!

Come on, man!

Don't laugh!

Backs straight!

All right. Good.

What do you want?

What's going on?

You almost killed us.

What do you want?

If you're gonna be like that, forget it.

What do you expect?

Go back to your husband and leave me alone.

I don't love him anymore.

A lot has happened.

You're the only one I love.

Stop it.

I wanted to talk to you about this.

He wants to go south and get a new start.

He just wants some money.

I told him about us.

He doesn't give a damn.

He just wants to get out of here.

What are you thinking about?

That should be enough. Tell him to leave you alone.

Why don't you move in with me?

We're fine as we are.

I'm afraid of losing you.

Don't be stupid.

You're the only one I love.

Your turn.

- How much have you won? - Two thousand.

Lucky stiff!?

Play.

- Twenty to open. - I'm in.

Me too.

All we ever did in jail was play cards.

I raise 40.

I call.

Here's mine.

And here's mine.

- Cards? - Two.

It feels great to be free, man. I just can't tell you.

- You're happy now? - Wouldn't you be?

What will you do now?

The usual. What else would I do?

The drug scene's getting tough. Lots of competition.

- I've got good connections. - A thousand pesetas.

All right.

- I'll see that. - I pass.

I'm already out.

All of it.

I'm out.

Sixteen hundred.

Take 400 back.

Two, three...

and four. What have you got?

Thirty-one.

Forty-one. I win.

Son of a bitch!

Motherfucker!

You can relax now.

Juan, did I hurt you?

No, don't worry.

- That was something else. - Damn!

God, I want to get this thing off!

Came out nice, didn't it?

I'll take this to makeup.

That was great.

I can't do this anymore, Paco. I'm worn out.

I couldn't tell.

You looked amazing.

I'm gonna quit dancing next year.

You've been saying that for 15 years. You're dancing better than ever.

The years take their toll.

No, really. I've never seen you in better form.

Chin up!

I'm going now. You want anything?

I'll see you later today or tomorrow.

Thanks, Paco. - Hang in there.

See you tomorrow.

Get out and don't ever come back!

Get out!

- Don't take it like that, man! - Not another word!

Get out!

Let go of me!

You're hurting me!

All right.

I have no right to make demands,

but I can't live like this.

Nobody is going to spy on me!

I want to be free to do whatever I want.

With the first jerk who comes along?

What can they give you that I can't?

I never promised you anything.

You have no right to demand anything from me.

We love each other, right?

I don't know what else you want.

I want to be with you always.

I know I'm possessive and jealous.

What can I do?

I don't want to share you with anyone.

Come on now.

How can you be so dense?

Don't you know I love you?

Love is torment and jealousy a traitor

Love is torment and jealousy a traitor

Jealousy is to blame I'm dying under its spell

Woe to the poor lover consumed by jealousy

From dusk to dawn jealousy will devour him

Second verse!

Jealousy is to blame for so many cowardly acts

Jealousy devours him like a burning fire

Love and jealousy are like blood brothers

The poor lover can only suffer in silence

Let me go. I've had enough.

What have I done to you?

I'm fed up. Can't you see I don't love you anymore?

What have I done?

I just don't love you anymore. It's over.

Carmen, don't leave me!

I love you!

There's nothing you can do.

Antonio, that's enough!

Don't leave me, Carmen.

I don't love you anymore.

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