All language subtitles for 1977.Saturday.Night.Fever.likko_track10_eng

(TRAIN WHISTLING IN THE DISTANCE)

(TRAIN WHISTLING IN THE DISTANCE)

(STAYIN'ALIVE PLAYING)

Well, you can tell
By the way I use my walk

I'm a woman's man
No time to talk

Music loud
And women warm

I've been kicked around
Since I was born

And now it's all right
It's okay

And you may look the other way

And we can try
To understand

The New York Times' effect on man

Whether you're a brother
Or whether you're a mother

You're stayin' alive
Stayin' alive

Feel the city breaking
And everybody shaking

And we're stayin' alive
Stayin' alive

Stayin' alive

Hiya, Tony. Two or three?

Two. Two. Give me two. That's good.

Well, now, I get low
And I get high

And if I can't get either
I really try

Got the wings of heaven
On my shoes

I'm a dancing man
And I just can't lose

You know it's all right
It's okay

I'll live to see another day

We can try
To understand

The New York Times' effect on man

Whether you're a brother
Or whether you're a mother

You're stayin' alive
Stayin' alive

Feel the city breaking
And everybody shaking

And we're stayin' alive
Stayin' alive

Stayin' alive

Hey, you guys do layaway?

As long as it don't turn into
a 20-year mortgage.

All right, look, put me down for $5
for that blue shirt in the window.

— Hold it for me.
— Hey, wait for your receipt.

— I trust you.
— Please don't. Don't trust me.

Well, you can tell
By the way I use my walk

I'm a woman's man
No time to talk

Music loud
And women warm

I've been kicked around
Since I was born

And now it's all right
It's okay

And you may look the other way

We can try
To understand

The New York Times' effect on man

Whether you're a brother
Or whether you're a mother

You're stayin' alive
Stayin' alive

Feel the city breaking
And everybody shaking

And we're stayin' alive
Stayin' alive

(CAR HONKING)

Stayin' alive

— What did he charge you?
— $7. 98.

That bastard.
Wait till he runs out of something.

Listen, you know what to tell her.

Excuse me, ma'am, I gotta get by.

— Got a second?
— Just a minute.

Look what I got for you,
Carnival, gold, just like you wanted.

Where have you been?
I've been here for a half hour.

That's all right. Look, I'm gonna
make you a deal on this paint.

— I'm very angry with you.
— That's all right.

Look, I'm gonna make you
a nice deal on this. $1 off for you.

$10. 98 on this special gold paint.

— How you like that?
— WOMAN: Thank you.

— MAN: I'll take a gallon of this.
— All right.

You got it. Heads up.

That's all right.

Customers like that,
it gives them a sense of power.

I need some brushes.

All right, how much painting
you planning to do?

After these two rooms,
I wouldn't paint my wife's ass purple.

What color is it now?

You wanna know
what color my wife's ass is?

You brung it up.

Actually, it ain't got no color,
just stripes, them stretch stripes.

What about them brushes?

Right. See that second display counter?
Over there.

— Hey, Mr. Fusco, can I get an advance?
— Payday's Monday.

I know payday is Monday,

but every place else
is Friday or Saturday.

And they're broke on Monday.

— Boozing, whoring…
— Oh, come off it.

Pissing away their money all weekend.

This way, you're paid on a Monday,
you got money all week.

— You can save a little, build a future.
— Oh, fuck the future.

No, Tony, you can't fuck the future,
the future fucks you.

It catches up with you, and it fucks you
if you ain't planned for it.

Look, tonight is the future,
and I am planning for it.

There's a shirt I gotta buy,
a beautiful shirt. Blue…

Sorry, Tony, no exceptions.

Just wait till you need an advance,
all right?

Big shot.

Life going nowhere

BOY 1: Hey, come on.

Somebody help me

Somebody help me
Yeah

BOY 2: Thanks, Tony.

Life going nowhere

Somebody help me
Yeah

I'm stayin' alive

Where you been?

Your mother wants to know
where you been.

Where you been?

Your father's asking you!
Where you been?

Dinner's gonna be late tonight,
they was out of things at the market.

But you'd have been late
if it was normal.

— Hey, Tony.
— Hey, hot stuff. Give me a kiss.

— Look what I made for you. Here.
— Oh, that is beautiful.

— You like it?
— Yeah.

You'll put it in your room?

Yeah, I'll put it in my room right now,
how's that?

— Okay.
— All right.

Night fever
Night fever

We know how to do it

Give me that night fever
Night fever

We know how to show it

Here I am
Praying for this moment to last

Living on the music so fine

Borne on the wind

Making it mine

Night fever
Night fever

We know how to do it

Give me that night fever
Night fever

We know how to show it

And that sweet city woman
She moves through the light

Controlling my mind and my soul

When you reach out for me, yeah
And the feeling is bright

Then I get night fever
Night fever

We know how to do it

— Dinner's on the table.
— I ain't hungry.

Hey, just because
you're kicking in for food,

don't mean you don't gotta eat.

You still gotta eat.

— I got my shirt on, all right?
— So?

So, I don't want to get anything on it,
that's what.

You got nothing to be afraid of.

Your mother's spaghetti sauce
don't drip.

It don't taste and it don't drip.

Let's go.

Making it mine

Night fever
Night fever

How come every day
it's the same thing?

I come home,
you tell me I'm late for dinner

when you know that I gotta work till 6: 00
and I can't make dinner on time.

You should've been a priest,
like your brother,

you wouldn't worry about a job.

Yeah.

Every time you mention Frank, Jr.,
you gotta cross yourself?

He's a priest, ain't he?
Father Frank, Jr., your brother.

Your mother doesn't have much
to cross herself about these days.

You're so jealous of Frank, Jr.

— Oh, shut up, will you?
— FRANK, SR: Hey!

— What are you doing?
— Hey, the shirt! Watch the shirt, stupid.

— FLO: All right. Come on.

— Mangia, mangia.
— Yeah, go ahead. Eat, eat.

I got more pork chops, more spaghetti.

What do you mean, you got
more pork chops? I'm out of work.

Yeah, well, as long as we got $1 left,
we eat good in this house.

— What?
— Yeah, I might even get a job myself.

Like hell, you will.

Twenty-five years in construction work,
I always brought home a paycheck.

What, six, seven months
I'm out of work?

Then, all of a sudden, what?

— You're hitting me and talking back.
— All right, all right.

Talking about getting a job
and hitting me.

All right, all right. No hitting,
no slapping at the dinner table. Okay?

That's the rule.
And you was the one that was hitting.

You never hit me before. Never.

Not in front of the kids.

— One pork chop! One!
— Hey, Frank!

TONY: It's disgusting, Ma. He's sick.

Will you just watch the hair?

You know, I work on my hair a long time
and you hit it.

He hits my hair.

Take care of his hair.
I'm gonna take a walk.

Tony, you walk me to church later?

Didn't you go already today?

Yeah, confession.
I gotta go back and pray for something.

For what?

I gotta pray
for Father Frank, Jr. to call me.

LINDA: Why don't you call him direct?

I want him to call me.
A son should call his mother.

Wait a minute. You're going to church
to have God make Frank, Jr. call you?

— Right.
— I don't believe it.

You know, you're turning God
into a telephone operator.

(TONY LAUGHING)

(WHOOPING)

(LAUGHING)

Go, go, now!

Hey, you scumbags! Get back here!

— Assholes.
— Come on, fuckhead!

Hey, the stubborn fuck won't budge.

(WHOOPING)

(CAR HONKING)

— Will you put two hands on the wheel?
— I got two hands on the wheel!

Hey, you know, you assholes
almost broke my pussy finger.

Oh, yeah, you wouldn't know
which one it was.

Hey, get some of this, will you?

Hey, Gus, tell them what we got.

Oh, yeah, we got some ups,
we got some downs,

three ludes, two Js,
and a half a bottle of vodka.

All right, yeah, yeah!

That's what you got, huh?
I bet I'd get a bigger high from a fart.

— GUS: You want something?
— No.

We ain't dropping nothing till I say so.

— GUS: Oh, come on. Why the fuck not?
— Hey, bullshit.

I got my reasons, all right?
I got my reasons.

Oh, fuck, Tony.
What's wrong with you, man?

DOUBLE J: Hey, give me the vodka.

Hey, when're you gonna get new tapes?
These things are four years old.

I bought them in the bargain basement.

You don't like my tapes?
I'll get new tapes.

(LAUGHING)

(CAR HONKING)

(WHOOPING)

Someone mad is going wild

And look, uh-oh
It's a one-man style

Doctor Disco

(HUMMING)

Hey, looking sharp, huh?

Sharp as you can look
without turning into a nigger.

— Or a spic.
— Spic, spic.

Would you put your dick in a spic?

— Does it get bigger in a nigger?
— I don't know.

I gotta score tonight, man.

I'm horny, you know what I mean?
Horny.

Yeah, man, I know what you mean.
Horny, right? Horny!

Hey, anybody scores,
you get in the car for 10 minutes,

and you're out for the next guy, all right?

If you get five, you get
a medal of honor with rubies,

and a piece of the Pope's ass.

What are you talking about, man?

The Pope don't got no ass,
that's why he's the Pope.

Now, shape up, you assholes.
We're the faces.

(A FIFTH OF BEETHOVEN PLAYING)

Tony, how's it going? All right?

Hey, Мое!

Hey, Tony, you seen Pauline
around here at all?

No, we ain't seen Pauline.

Joey, you seen Pauline?

HI. What would you like?

— Oh, give me a Seven and Seven.
— Yeah, I'll take a beer.

Hey, I'd like a vodka and tonic.

You guys wanna go see the Knicks
on Tuesday? Anybody?

— Give me a…
— Wanna see the Knicks?

Tony.

— Yeah.
— What do you mean, «yeah»?

Well, I mean, I could dance with you,

but, you know, you're not
my dream girl or nothing like that.

ANNETTE: You want a dream girl?

Well, then go to sleep
and have a nightmare.

Hey, Gus, here's the speed.

What are you doing? Here, take this.

Hello, again. This is beautiful Monti,
your delicious deejay,

reminding you about
the Universal Disco sweepstakes,

so get in line to get the prize.

MAN 1: Oh, looks good!
MAN 2: Go, baby.

(DISCO INFERNO PLAYING)

A trip. A good trip.
Feel the music, baby.

Disco inferno
Burn, baby, burn

Burn that mama down

Look at that chick.
I'm gonna dance with her.

DOUBLE J: Which one?

One hundred storeys high

GUS: Corne on, Tony! Dance!

Getting down on the roof
Do you hear?

Folks were screaming
Out of control

It was so entertaining

GUS: All right!

When the boogie started to explode
I heard somebody say

Disco inferno
Burn, baby, burn

Burn that mama down

Came in a chain reaction

It's so beautiful in there.
I like your new haircuts.

I like that polyester look
Turn yourself there, baby

The heat was on

Rising to the top

All right!

Yeah!

(ALL CHEERING)

I heard somebody say

Hey, Tony, you know something?

You're the king out there.
You're great. You're a great dancer.

You could do as good as me
if you practiced.

Yeah?
Think I'd be a good dancer, Tony?

Sure. Why not? No.

(ALL CHUCKLING)

— No?
— No.

— Ain't you gonna ask me to sit down?
— No, you'd do it.

— But you'd ask me to lay down.
— No, you would not do it.

JOEY: Double J, move over.
I want you to meet my friend here.

Hey.

Hey, Tony, listen,
you want some speed?

It's very good stuff, Ton.
Really, it's good stuff. You want some?

TONY: Can't you guys
get off on dancing?

Tony, can I wipe off your forehead?

Why not? Sure. Go ahead.

Hey, Doreen, it ain't no blowjob.

DOUBLE J: You don't know fuck
about women, Joey.

You get a blowjob easier
than you get that.

I noticed.

I love to watch you dance, Tony.

— Oh, yeah?
— I love it. I love to watch you dance.

I just love it, watching you dance.

Hey, Tony, listen, do her a favor.

Why don't you take her
for a dance, huh?

That's a good idea. Wanna dance?

Would you like to dance with me?
I'd dance with you.

It's for charity.

Any kind of dresses
with the lace on the side.

Weirdest chick I ever seen.

Ton, I love to watch you dance.

(TONY'S FRIENDS LAUGHING)

I just love it, watching you dance.

DOUBLE J: Doreen, move up a little bit.
Come on, doll.

She's doing a two-step with him.
Jesus Christ.

Get your head out of his belt, there, doll.

Oh, Jesus.

(LATIN DISCO MUSIC PLAYING)

You can't dance to this shit.

MAN 1: Let's get the fuck out of here.
MAN 2: I paid $5 to hear this shit?

MAN 1: You paid $5?
I fucking paid for you to get in.

Hey, Monti,
what are you playing that shit for?

What are you talking about, baby?

Look at that chick, she's dancing, man.
She's grooving.

— Joey?
— Yeah.

You know that girl?

No.

— You ever see her before?
— No.

Oh, yeah. Yeah, I seen her here
about a month ago.

She can dance, you know that?

She got the wrong partner, of course,
but she can dance.

— Go ask her.
— Fuck you.

Yeah? Which position?

Who the hell's that guy?

— Hey, Penny.
— Hey, Tony!

— How you doing?
— Okay. How you been?

All right. You gonna dance for me?

— Sure, why not?
— Okay.

(IF I CAN'T HAVE YOU PLAYING)

I'm surviving every lonely day

— Hello, Lucille.
— Hello, Nureyev. How you doing?

— You got a Seven and Seven for me?
— Sure, doll.

Give me one of your butts, too,
all right?

Sure.

And it doesn't matter how I cry

My tears of love

Having another sweepstakes.

I know that.

It's double the prize money. $500.

Am I strong enough to see it through
Go crazy is what I will do

You gonna enter?

Well, you'll need a partner.

I don't want nobody, baby
If I can't have you

We won before.

But we're gonna have to practice.

If I can't have you

We'll have to practice.

They got people coming in
from Manhattan.

Revelation, Gazebo's.
You know that, right?

We'll have to practice.

That's «practice» Annette.

It don't mean dating,
it don't mean socializing,

it means practice.

Why not? We had a date.

Yeah, once, and once was enough.

Why?

Why? Annette, the whole time,
you talked about your married sister.

And then, you was talking
about your other married sister.

And then, your third married sister.

I got the idea
that all you was interested in

was being a married sister yourself.

I got bored with it.

Hey, look, I told you
I'd take care of it, huh?

Hey, Tony, look, Double J's been
in the car 25 minutes with some chick.

So what?

So, I can't get the selfish prick out.

These guys can't do nothing without me,
you know that?

If I can't have you

If I can't have you
I don't want nobody, baby

If I can't have you

Hey, listen, are you gonna
make it with Annette?

No, I don't think so.

You know, Joey, you make it
with some of these chicks,

and they think
you gotta dance with them.

Look at this guy, huh?

All right, get out.
You've been in there 20 minutes.

— Come on!
— 25 in the car, 20 in the chick.

Yeah, well, get out
before we pull you out.

— She ain't come yet.
— Since when do you care?

(MOANING)

Hey, come on!

DOUBLE J: Whoa. Okay.

WOMAN: Harder! Harder!
DOUBLE J: Okay, it's happening!

It's happening! It's happening!

I'll be out in a minute, man.

WOMAN: Harder! I'm coming!
I'm coming!

DOUBLE J: Oh, yeah!

(BOTH MOANING)

WOMAN: Yes.

(JOEY GROWLING)

(MOANING)

What did you say your name was?

(NIGHT FEVER PLAYING)

Listen to the ground
There is movement all around

There is something going down
And I can feel it

On the waves of the air

WOMAN: Kiss me.

Kiss me!

If it's something we can share
We can steal it

Oh, I just kissed Al Pacino!

She moves through the light

Controlling my mind and my soul

When you reach out for me, yeah
And the feeling is bright

Then I get night fever
Night fever

We know how to do it

Give me that night fever
Night fever

We know how to show it

Here I am
Praying for this moment to last

Living on the music so fine
Borne on the wind

Making it mine

Night fever
Night fever

We know how to do it

Feels like forever, baby
Don't you know

Give me that night fever
Night fever

We know how to show it

Here I am
Praying for this moment to last

Living on the music so fine
Borne on the wind

Making it mine

Night fever
Night fever

We know how to do it

Feels like forever, baby
Don't you know

Give me that night fever
Night fever

We know how to show it

Feels like forever, baby
Don't you know

Give me that night fever
Night fever

We know how to do it

Feels like forever, baby
Don't you know

Give me that night fever
Night fever

We know how to show it

Feels like forever, baby
Don't you know

Give me that night fever
Night fever

We know how to show it

(OPERA PLAYING IN THE DISTANCE)

Al Pacino. I don't look like Al Pacino.

Well, I could look like him.

Al Pacino.

Yeah. Al Pacino.

Al Pacino!

«Attica! Attica!»

«Attica! Attica!»

— «Attica!»
— DOUBLE J: Hey give me the ball.

(WHOOPING)

Hey, you wanna go see
that Bruce Lee picture at the Orpheum?

— Yeah!
— Hey, you wanna know something?

Bruce Lee's dead,
so I don't give a damn about him.

— Hey, look.
— Man, you got no respect for the dead.

What kind of shit is that, huh?

Hey, you guys see what the Knicks
are gonna pay Frazier?

BOBBY: We're never gonna make
that much money in our whole life.

— DOUBLE J: Hey, douche! Douche!
— It's all right. It's okay.

Hey, you know why
you don't kill fags on Sunday?

You kill fags on Sunday,
they go straight to heaven.

Hey, sweetheart! Hey, your turn, isn't it?

You look so heavenly,
it makes me want to die, you know?

Hey, Double J, hey!

You know, this is a drag.

What's with you today, huh?

Nothing.
I'd just rather be doing 2001 tonight.

Yeah? Well, fucking do it.

Oh, «fucking do it»
20, 30 bucks, asshole!

You got 20, 30 bucks
to blow twice a week?

— Come on, Tony.
— Hey, Tony.

GUS: Man, I'm gonna get myself
one of these, you know.

You're never gonna get yourself
one of these.

These things cost too much money.

You'll never have that kind of money.

Hey, you, you know,
I've had you up to here.

That's your favorite speech.

You're never gonna have
that kind of money.

Not you, not me, not anybody.

Hey, get it together before it's all
over the street, huh? You see this?

This is a Caddy Seville.

My Uncle Nunzio's got one of these
and he's got a Mercedes Benz, too.

You know how he got it?

He forced his partner to sell out.
He gave him a real screwing.

It's a dog-eat-dog world, right?
Everybody's out for what they can get.

It's true.

They got it all locked up.

Ain't nobody gonna give you a chance.

DOUBLE J:
Nobody gives you nothing, Joey.

JOEY: Yeah, you know,
it's every man for himself.

It's a stinking rat race.

Hey, that stuff goes on beautiful, Tony.
Best vinyl I ever seen at that price.

See? I told you.
You just listen to me, right?

You know, you saved me a bit
of change on the job. You know paint.

You ever want a job as a painter,
why don't you let me know, huh?

You make twice as much
as you make here,

but you break your back.
You interested?

— I don't know.
— Don't be interested.

You'll make twice as much,
but you'll break your back.

— No advances, no nothing. It's payday…
— I gave you a raise.

— You gave me what?
— A raise.

— You kidding me?
— No. Come on, look. See how much it is.

You gave me a raise? Thank you.
I can't believe this.

Wait, hold on, you better look first.

I don't gotta look.
It don't make no difference.

You gave me a raise.
That's the important thing.

— It's only $2. 50.
— So what?

That's $2. 50. It ain't much.

The important thing is it's a raise.
I think that's really great.

I'll tell you what,
I'm gonna give you $3. 50, all right?

— You do not have to, Mr. Fusco.
— I'll give you $3. 50.

— I like the raise just the way it is.
— I'll give you $1 more.

Shut up, will you? $4.

I'll make it an even $4.

Christ, I've never seen anybody

so shit-ass happy over
a crummy $2. 50 raise.

Wait a minute. $2?
You just said $4. 00, didn't you?

What the hell are you doing?

— I just feel like it, all right?
— Girls do that.

I got a raise today.
How do you like that?

Yeah?
Why didn't you say so during dinner?

We could've used the conversation.
Put them down. Come here.

— How much you get?
— It's gonna be $4. 00.

It was… It was $2. 50, right?

But he raised the raise

when he found out
I wasn't so, you know, disappointed.

— $4. 00?
— Yeah.

Shit. You know what $4. 00 buys today?

It don't even buy $3. 00.

I don't see nobody giving you a raise
down at Unemployment.

$4. 00. Shit.

I knew you'd piss on it.
Go on, just piss on it, right?

A raise says, like, you're good,
you know what I mean?

You know how many times somebody
told me I was good in my life?

Two. Two. Twice. Two fucking times,

this raise today and dancing,
dancing at the disco.

You sure as fuck never did. Asshole.

$4. 00. Shit.

Why ain't you waiting inside?

Well, I wanted to watch you
come down the street.

I like the way you walk.

Shit.

Tony, listen, I've been thinking.

Maybe I'll make it with you.

That's what you call thinking, huh?
Jesus Christ.

You know what? You're too much,
Annette. You know that?

I mean, you say we're gonna make it,
that means we're gonna make it, right?

I mean, like,
I got no say in this at all, right?

It's time we went out.

You told me you wanted to do it.

You told me
how horny a man gets when he's 19,

how much his balls ache
morning, noon and night,

six days a week, sometimes seven,
if he don't get it.

How do you remember those things?

Look, Annette, we're gonna be
spending a lot of time together,

you know, rehearsing,
practicing, whatnot.

If we was balling,
it would be like we was going together.

And I won't be going with you.

Look, I mean, what are you, anyway?
You a nice girl or you a cunt?

I don't know. Both?

You can't be both. I mean, that's a thing
a girl's gotta decide early on.

You gotta decide whether
you're gonna be a nice girl or a cunt.

— How you doing, Pete?
— Hey, Tony, my man.

— You got a studio free or what?
— Yeah, two is free.

— Good. Hey, how you doing?
— Steady at 65%.

Pete. He's always busting my onions.

I send him a lot of customers, you know.
He gives me free studio time when…

What did he mean, 65%?

(CLASSICAL PIANO MUSIC PLAYING)

Oh, that… Oh, that means that he…

Не scores with 65% of the chicks
that come in here.

And one, two, three, two, two, three.

One, two, one, two, three.

One, two, three. Good.
Two, two, three. Good.

One, two, one, two, three.

Good, that's it.

Now do it again.

(DISCO MUSIC PLAYING)

That's it, good. All right. All right. Again.

Tony, it's only dancing. Jesus.

Only dancing? Forget it, Annette.

If you're not gonna take this seriously,
I don't wanna dance.

— Don't get mad.
— «Don't get mad.»

Jesus.

(DISCO MUSIC STOPS)

Look, I think we done
enough dancing for today.

So, why don't we… Why don't we
dance Wednesday, all right?

Yeah. Sure.

— All right. Here.
— You walking home now?

No. I'm gonna stick around
and talk to Peter a little bit,

and, you know,
work on some stuff myself.

— I'll see you later, all right?
— Yeah.

You was good today.

(CLASSICAL PIANO MUSIC PLAYING)

(CLASSICAL PIANO MUSIC STOPS)

Hi. How you doing?

Hey, you know, you're
a very good dancer, you know that?

I would like to meet you.

Look, would you…
Would you mind just going away, okay?

— What?
— Don't be hurt, but I…

Don't be hurt?

Yeah, I wanna be by myself now,
you know?

Listen, I seen you at 2001
the other night.

Yeah, so? So?

Well, I mean, you was looking at me
and I was looking at you, remember?

Well, what is this? I look at a guy
longer than a millionth of a second,

already, he gets delusions of grandeur.

You know what you are?
I'm gonna tell you what you are.

I bet it begins with a «C» Mr. P.

Oh, fine. Fine. That's…

I know the type. I know the type. Fine.

What you doing up so late?

What is this? I walk in,
you don't got no criticism of me?

— Your brother's upstairs.
— You're kidding.

— Yo, Frankie!
— Tony.

— Hey, how you doing?
— Hiya, kid.

— It's good to see you.
— You, too.

Yeah. You look good.

No, I don't. You do. You look wonderful.

— You checking out my trophy?
— Oh, yeah. That's you, huh?

— Yeah.
— «First prize»

Looks just like you.

Hey, what did you say
to them downstairs?

They look crazy,
they look like zombies, like…

Like somebody died or something.

I think they're in shock, Tony.

In shock?
Well, how come they're in shock?

I'm leaving the church, Tony.

Oh, yeah, yeah. Sure.
Leaving the church.

— Tell me another one.
— I'm leaving the priesthood.

Oh, come on, Frank.
Don't fool around like that.

Do you think I'm losing my hair?

It looks awful thin
right over here and here.

Are you serious?

Can I borrow some of your clothes
until I buy some?

I don't want to wear the uniform.

I'm sorry, Frank. I really am. I'm sorry.

What are you sorry about?

You got fired, huh?

I didn't get fired. I quit.

You quit?

Yeah, you can do those things,
you know.

What did Mom say?
What did she say about it?

She said, «Dear Lord, what am I
gonna tell Theresa and Marie?»

— And Dad? What did he say about it?
— They're ashamed, the both of them.

They're ashamed, right?

You ashamed of me, Tony?

Yeah, you are.

— They didn't ask why or nothing?
— No.

I think they're afraid to.
Like, I might say, «celibacy»

But…

(SIGHING)

You gonna sleep here tonight?
You wanna sleep in my room?

— Yeah, I thought I would.
— All right, you can…

I'll get your blankets for you.

Frank, how come you left? Really?

It's not easy to explain, Anthony.
A lot of things.

One day, you look at a crucifix,

and all you see
is a man dying on a cross.

But that's only a backdrop
to something else.

Mama and Papa,
their dreams of pious glory.

They turn you
into what they wish at a time…

You can't defend yourself
against their fantasies.

All I ever really had any belief in
was their image of me as a priest.

That's all.

Guess we're gonna have to take
your picture down from the mantle.

Know what's weird?

Like, I always felt like
I was the shit of the family,

and you was always, like, perfect.

Now that I'm the disgrace to the family,
I'm not so perfect anymore.

So, maybe you're not shit anymore.

Yeah, maybe if you ain't so good,
I ain't so bad, you know?

Yeah.

— Give me the groceries, motherfucker.
— Hey, come on.

=Hey, don't take my groceries, man.
— I'm hungry.

— I'm hungry, Gus.
— Hey, what are you doing?

Hey, come on! Hey, come on!
Hey, don't eat the apple!

— Give me… Give me it back.
— Here.

Jesus.
What's the matter with you anyway?

What are you doing?
What are you doing?

My brother, he quit the Church.
You believe that?

— I feel…

I feel wild. I got all this energy.
I can't believe it.

Yeah?

Hey, listen, I'll call you later tonight,
all right?

Yeah, we'll do… Hey!

— See you later, Gus.
— I'll see you.

(DISCO DUCK PLAYING)

Come on, honey, higher with the arms.

Yeah, that's it.

Yeah, do it to me!

(SCATTING)

Pete, she come in?

I told you on the phone,
she comes in on Tuesday.

— I know. So, did she come in or what?
— And what is it today, huh?

— It's Tuesday.
— Yeah.

Hey, Ton! Watch it, man.
That one's practicing to be a bitch.

Come on, people!

Good, yeah. Oh, that's good.
You're doing great. Yeah.

(DISCO MUSIC PLAYING)

Hello, Stephanie Mangano.

I'm Tony Manero.

We both got the same last initials.
How do you like that?

Wow. We get married,
I don't have to change the monogram

on my luggage, huh?

Somebody told me
you was practicing to be a bitch.

Is that true?

All right, Mr. Manero.
What do you want to ask me?

I would like to take you out to coffee.
Would that be good?

That's it, huh?
You want me to have coffee with you?

I think you're a very good dancer.

You know that 2001 Odyssey,

they got a dance contest now.

And I think that we could be
a dynamite team together.

— How old are you, huh?
— I'm 20.

Well, I'm 19 at the moment,
but I'll be 20 very shortly.

What I think is this.

There's a world of difference
between us, you know?

Not just chronologically,
but emotionally,

culturally, physically, every which way.

And this world would get much bigger

and much worse
with every passing week.

What kind of shit is that?

— Coffee, not sex.
— Just coffee, huh?

See, look, where I work,
the people are very remarkable.

They're not like these here
Bay Ridge people at all.

You mean snobs
instead of slobs, right?

— What?
— Nothing.

Hey, you know, Bay Ridge
ain't the worst part of Brooklyn.

You know what I'm talking?

I mean, you know,
it ain't like a hellhole or nothing.

Yeah, well, it ain't Manhattan.
It isn't Manhattan.

You got no idea how it changes,
you know.

Just right over there,
right across the river,

everything is different,
completely different.

It's beautiful, just beautiful.

The people are beautiful,
offices are beautiful.

The secretaries, you know,
they all shop at Bonwit Teller.

Oh, yeah?

And, like, the lunch hours
are beautiful, too.

Like, you know, they'll give you,
like, two hours for lunch

— to do something that's related.
— Oh, yeah?

Like we've seen
Zeffirelli's Romeo and Juliet.

Over here. Romeo and Juliet, yeah?
I read that in high school.

That's… That's Shakespeare, right?

No, it's Zeffirelli,
the director of the movie.

— You know, the movie? Film.
— Yeah.

You know what?
What I never understood

about that Romeo and Juliet,

I never understood why Romeo,
he took the poison so quick, you know?

I feel like he could have waited
or something.

Well, that's the way
they took the poison in those days.

Hey, you gonna eat?
Here, look at a menu.

No, no. I'll just have tea.
Tea with lemon.

I started drinking tea recently, you know.
It's really a lot more refined.

— Oh, yeah?
— Yeah.

All those women executives
in my office,

they all drink tea with lemon.

— Oh, yeah?
— Yeah. And you notice that I do, too.

— I like coffee, you know? I drink coffee.
— Yeah.

You see, like, I've only been
at this agency a really short time,

but already I'm functioning in a, kind of,
public relations capacity, you know.

I fill in for the agents
when they're elsewhere.

Like, this week, you know, I had…

I had business lunches
with Eric Clapton at La Cote Basque

— and Cat Stevens at Le Madrigal.
— Oh, far out.

Yeah. You heard of
those restaurants, huh?

No, I don't know
those exact restaurants.

I know the type.

Yeah, but you must have heard
of the artists.

No, I… Not… I don't know… You know.

Not really.

So what did you say «far out» for, huh?

'Cause it sounded, like, far out.
Wasn't it? I mean…

— Well, yeah.
— We'd like a lemon with some tea now.

And I'd like a cheeseburger
and some coffee.

Hey, you know who came
in the office the other day?

— Who?
— Laurence Olivier.

Who's that?

Who's Laurence Olivier?
You don't know who he is?

Laurence Olivier, man!

He's the greatest actor
in the whole world.

Oh, come on, you know who he is.

He's the English actor,

the one on television who does
all those Polaroid commercials.

You know, Laurence Olivier.

— Oh, him. Oh, he's good. He is good.
— Yeah.

Well, anyway,
he comes in the office, right?

So, I just do a few errands for him.

So, he goes around,
he tells everybody in the entire office,

he says I'm the brightest,

I'm the most vivacious thing
in the entire office he's seen in years.

— Oh, yeah?
— Yeah.

Do you think that you could get, like,
a camera from him at a discount?

I didn't ask him about a camera.

'Cause you got one already, right,
you sly fox, you.

Hey, look, are you enjoying
all this stuff I'm telling you?

Sure. I think it's good.

Well, I just think maybe you can't handle
hearing about a kind of life

that is so completely different
than yours.

— You mean «better» don't you?
— Yes, I mean better. Sure, it's better.

Can I have some ketchup, please?

I mean, I'm out of this scene
almost completely,

you know, this Bay Ridge scene.
I'm moving into Manhattan.

I'm getting my own apartment.

I'm changing.

I'm really changing as a person,
and I'm growing.

You know what I mean? Nobody has
any idea how much I'm growing.

Why don't you go on a diet?

(SIGHING)

Okay, listen. I like you.
We could dance together.

That's it. We could just dance together
and nothing more.

Nothing personal.
I don't want you coming on to me.

Why not?

Because I don't date guys
like you anymore, for one thing.

You're too young,
you haven't got any class, and, yeah,

I'm sick of jerk-off guys
ain't got their shit together!

Oh, come on.
It's easy to get your shit together.

All you need is a salad bowl
and a potato masher.

Get your shit together.

— Would you like to know what I do?
— It's not necessary.

I'll tell you what I do.

I work in a paint store,
and I got a raise this week.

Right. You work in a paint store, right?

You probably live with your family,
you hang out with your buddies,

and on Saturday night you go,
you blow it all off at 2001, right?

— That's right.
— You're a cliche.

You're nowhere,
on your way to no place.

What do you got?
A fucking stairway to the stars or what?

— Yeah, maybe.
— Yeah.

I'm taking a course, nights,
at the new school.

Next semester, I'm gonna take two.

Now, you, you probably
didn't get no college, did you?

No, I did not.

Well, did you ever think
about going to college?

— No.
— Not ever?

— No. Did you?
— Well, not back then, no…

Then why the fuck
are you bugging me about it for?

Well, why not? Why didn't
you ever want to go to college?

— Oh, just fuck off, will you? I did not.
— No, really. Tell me. Why not?

Oh, Jesus Christ! I didn't!

The thing is
the high I get at 2001 is just dancing,

it's not being the best
or nothing like that.

The only thing is
that I would like to get that high

someplace else in my life. You know?

Like where?

I don't know where.
I don't know. Someplace.

You see, dancing, it can't last forever.

It's a short-lived kind of thing.

But I'm getting older, you know.

You know, I feel like…

I feel like, you know,
so what, I'm getting older.

Does that mean, like, I can't feel
that way about nothing left in my life?

You know? Is that it?

Listen, we gotta split here.

No, I'll walk you the rest of the way.

No, I'll meet you at the dance studio,
just like we said, okay?

Stephanie, I can walk you home.

Look, nothing personal, right?

Oh, come on, Stephanie. I can walk you.

Oh, Jesus Christ! You know?

I don't know where he is.

— Did you call him?
— No.

What's the matter? What's going on?

It's Gus, man. He's in the hospital.
The spics got him.

— Spanish Barons?
— Barracudas.

— Hey, that's my fucking car!
— Forget the car!

— Save it for the spics.
— Just give me the keys.

— You're asking for it.
— I can't believe it. I just saw him.

He could have run, you know?
But he hung tight. That's Gus.

TONY: Don't worry about it.
Okay? All right?

I got in the hospital to see him.

He got a broken nose, busted ribs,
a broken leg and four teeth knocked out.

Shit.

I mean, all he was doing was walking
along the street carrying his groceries,

and three of them
do a shove number on him.

They spill his fucking groceries
into the street.

So, he says under his breath,
«grease balls, spic dicks»

and they laid into him.

(CAR HONKING)

TONY: All right. Go check it out.

Nobody in there, man.

All right, all right.
This is what we're gonna do.

We're just gonna cruise around

until there's enough of them
that we can handle.

BOBBY: Yeah, yeah, we'll just pick
off a couple on the street.

— That's pussy, man!
— Fuck, man. Fuck.

— You're fucked up!
— I'm sorry, guys.

I'm sorry. I'm sorry. I'm sorry.

You're sorry.

Oh, forget it. We'll get them tomorrow.

All right, dream good. Jerk off better.

Tony, I'm getting married.

Will you cut it with that shit?

No, listen.
I just wanted to let you know, all right?

All right. Look. If you get married,

we'll all go with you
on your honeymoon, all right?

— You will? Okay.
— Okay, good. Take it easy.

Come on, Bobby. Get in the car.

Hey.

Hey, you know,
we should go to the hospital tomorrow.

You know what I'm talking?

And you, cool off! You know?

All right. Good night.

Tony, what did you say
to Father Frank, Jr. ?

— What?
— What did you say? What did you do?

Yeah, what did you say?

— What are you talking about?
— You must have said something to him.

You sleep in the same room.
You talk to him.

The next night he stays out all night,
he don't come back.

— I said nothing to him.
— A priest staying out all night.

A priest is not a priest no more,

and he's grown up,
so he can do what he wants.

Something you said to him.

Oh, yeah? You try and blame me
now he ain't a priest no more?

You been writing to him.

I don't believe this.
You're trying to hang this on me?

Forget it, all right?
He called. He called. He called.

In a couple of days
he's gonna see he's wrong.

He's going through, like,
a trial of the soul, you know?

He's going back to the church.
He's going back.

No, he won't.
He's not going back to the church.

Yes he is.
He's going back to the church!

I'm telling you, he's going back!

You know what?
You don't got a priest no more!

And you got no saint!

You got nothing
but three shit children now!

Good. Good.

FLO: (SOBBING) No.

I'm sorry, Mom.

I just…

I didn't mean that. I'm sorry.
I'll never say that.

I love you, Mom. I really do.

Go on. Get out of here.

— How you doing, Annette?
— Okay.

— That's good.
— Yeah.

Hey, listen, look, Annette.
I gotta tell you something, all right?

It's very hard to tell you this, but…

I changed my mind
about us dancing together.

I got another partner.

Look, it's professional.
You know what I mean? It's like…

Things like this happen
when it's professional.

Oh, Jesus Christ.
My fucking mother, now you.

Why do you hate me so much?

All I ever did to you was like you.

Give me a break, huh?

(COUGHING)

Hi.

You're late.

Five minutes. That's not late.

How long you been here?

I don't know.
Six, seven, something like that.

Pete said you been here 15.

Well, who's he?

Hey, I got some records over here.
I don't know if you like them or not.

— You like these guys?
— Yeah, yeah. Super.

Do you do the New York hustle,
the Latin hustle, what?

— New York, Latin, I do it all.
— Okay.

(MORE THAN A WOMAN PLAYING)

Girl, I've known you very well
I've seen you growing every day

I never really looked before
But now you take my breath away

Suddenly you're in my life
A part of everything I do

You got me working day and night
Just trying to keep a hold on you

Follow me this time.

I found my paradise

My only chance for happiness

And if I lose you now
I think I would die

Yeah, that's really nice.
What'd you do, make that up?

Yeah. Yeah. No, I saw it on TV first.

Then I made it up.

Hey, you know what? I know this one.
What I do is…

Wait a minute. This is simple.
Let me just check something out.

More than a woman

More than a woman to me
Baby

More than a woman

(MUSIC STOPPING)

— Come on. Come on.
— What you doing?

Okay, stay right there.

(MORE THAN A WOMAN PLAYING)

Now we can dance.

Let me show you the step, okay?

The Latin one I was
gonna show you, okay?

Now, take your hand like this,
and count one, two, three.

Two, two, three.
Three, two, three, kick, two, three.

— Okay, I got that.
— Okay?

— Looks good.
— All right.

More than a woman to me
Baby

— That's good. I like that.
— Yeah.

— Do you know the tango hustle?
— Yeah, yeah.

Okay, let's try that.

More than a woman

There are stories old and true
Of people so in love like you and me

And I can see myself
Let history repeat itself

Reflecting how I feel for you
Thinking about those people then

I know that in a thousand years

(STEPHANIE LAUGHING)

This is the only way that we should fly

This is the only way to go

And if I lose you
I know I would die

Oh, say you'll always be my baby
We can make it shine

We can take forever
Just a minute at a time

Minute at a time

More than a woman
More than a woman

More than a woman to me

Yes, you are, baby

More than a woman
More than a woman

More than a woman to me

— Would you like some coffee?
— Yeah.

No, no. Look, I really gotta go home.

You know something?
I like you when you're like this.

When you're quiet and you ain't laying
all that shit on me and everything.

Oh, yeah? Well, as a matter of fact,

guess who I had lunch with today?
Paul Anka.

I had to open my big mouth, right?

It was very interesting.
Very interesting. Very interesting.

Very, very intelligent fellow.

You cream over that word,
«interesting» don't you?

— Well, what's wrong with «interesting»?
— I don't know, something.

You know, I want to tell you something.

I've never told you this before,
but I think you're full of shit.

— Oh, you do, do you, huh?
— Yeah, except I'm not sure.

I'm not sure how much is just shit
and how much is bullshit.

Well, listen, when you figure it out,
just let me know, all right?

We should really practice
a couple more times.

Maybe go to 2001 with a crowd.

How about Saturday?
Would that be good?

Maybe.

Stephanie, I wanna
ask you something, all right?

I don't know how to say this.

Do you think that I am
either interesting or intelligent?

Interesting? Yeah. Yeah.

Intelligent?

I don't know. Maybe.

I don't know. I gotta know you better.
You know what I mean?

You got a way of putting things together,
you know?

Seeing things a certain way.

Interesting? Yeah, yeah.

Intelligent? Yeah, maybe.
Maybe intelligent.

Well, what do you know?

(EXCLAIMING)

All right.

Hey, Stephanie,
how come we never talk

about how we feel when we're dancing?

— How come we never talk about that?
— Good night and thanks.

No, maybe I could walk you
the rest of the way.

— Let me do that.
— Nope.

You shouldn't have asked.
You should have just done it.

Oh, hot stuff, Jesus.

(IF I CAN'T HAVE YOU PLAYING)

If I can't have you
I don't want nobody, baby

If I can't have you

If I can't have you
I don't want nobody, baby

If I can't have you

If I can't have you
I don't want nobody, baby

If I can't have you

(CHATTERING)

— Hey, what's happening, Tony?
— Bob, what's up? My brother, Frank.

Hey, how you doing? Double J.

Don't know why
I'm surviving every lonely day

When there's got to be

Hey, how you doing?

My life would end

— Come on up to the table over there.
— Oh, okay.

My tears of love are a waste of time

If I turn away
Am I strong enough to see it through

Go crazy is what I will do

You guys have the Moses effect.

You arrive
and the crowd parts like the Red Sea.

They know we're the faces, that's all.

— How do you like it, Father?
— What father? I look like your father?

Please don't call me that.
I never could stand that.

But, yeah, I think the place is,
you know, energizing.

— JOEY: It's all right, huh?
— Great.

FRANK, JR: Good place.

(DISCO INFERNO PLAYING)

Disco inferno

— Tony.
— Hey.

Hey.

Are you as good in bed
as you are on that dance floor?

Well, are you?

Are you as good in bed
as you are on the dance floor?

— Hey, he never made it in a bed.
— Watch this.

This ain't my regular partner,
but you'll see.

Ton, what are you gonna have to drink?
We'll get you something, huh?

— Seven and Seven.
— Seven and Seven.

When my spark gets hot

I just can't stop

When my spark gets hot

So, when's Connie
gonna get her answer, huh?

— You know, Connie.
— Yeah.

If you're as good in bed
as you are on the dance floor,

I'll bet you're one lousy fuck.

So, how come they always send me
flowers the next day, huh?

You know, some guys don't know
a lousy fuck when they got one.

— You know what I mean?
— Oh, yeah?

Maybe they thought you was dead.

Father, wanna hear something? Listen.

I got a girlfriend of mine, you know.
She's such a good Catholic, Father.

She tells me she loves the taste
of communion wafers.

(BOBBY LAUGHING)

BOBBY: Hey, Mr. Manero,
could I talk to you for a sec?

— Hey, what's he doing?
— Frank.

BOBBY: Frank, yeah,
Frank, yeah. Listen…

Oh, forget this.

MAN: Look out. Give the kid some room.
He's taking over again.

— All right!
— All right!

BOBBY: Go, go!

(YOU SHOULD BE DANCING PLAYING)

My baby moves at midnight

MAN: Right on.

Goes right on till the dawn

My woman takes me higher

WOMAN: There he goes.

MAN: Okay, babe.
WOMAN: There he goes.

What you doing on your back?

What you doing on your back?

You should be dancing
Yeah

Dancing
Yeah

She's juicy and she's trouble

She gives it to me good

My woman gives me power

Goes right down to my blood

What you doing on your back?

What you doing on your back?

You should be dancing
Yeah

Dancing
Yeah

What you doing on your back?

What you doing on your back?

Dancing
Yeah

Dancing
Yeah

My baby moves at midnight

MAN: Go, Tony!

MAN: Yeah!

My woman takes me higher

My woman keeps me warm

What you doing on your back?

What you doing on your back?

You should be dancing
Yeah

Oh, yeah.

Dancing, yeah

— He's very good, yeah.
— He's the king out there, Father.

— He's the best.
— Hey, man, he's great. He's great.

You know, man?

Dancing
Yeah

Listen, can I talk to you
for a second, Father?

Yes, but call me Frank.

Frank? Frank, listen. Corne here.
You wanna hear something? Listen.

I got… My girlfriend, you know…
Can I tell you something?

— Yeah.
— Come here for a sec.

Listen, Frank. Wanna hear something?

I got a lot of ideas. You see, like,
I was reading up about the Pope.

— Hey, Father?
— Yeah, sure. Frank, Frank.

Frank. Yeah, Frank. Yeah, Frank.

Okay, Frank. Listen, Frank,
I got a girlfriend, you know?

She's Pauline.
Her name's Pauline. And…

Yeah. What do you mean, you got her…

Did you get her pregnant?

Yes, I did. Yes. Yes, I did.

She loves the taste
of communion wafers.

Well, I got a lot of ideas, you know,
swimming around in my head.

And I was reading a lot of stuff lately.

I heard, like, the Pope, he gives special,

— you know…
— Dispensation.

Yeah. Do you think the Pope
could give Pauline an abortion?

You mean give you
a dispensation for an abortion?

Yeah, you think you could do this?

I don't think so, Bobby.

Well, maybe, you know,
maybe you could do it for me.

— Maybe?
— I'm sorry, Bobby. I don't think so.

I was just thinking.

Have you talked to your priest about it?

Yeah, I talk to everybody about it.

I talked to a lot of people.
A lot of people. A lot of people.

All right, thank you.
Thanks a lot. All right?

You play, you pay. It's funny, huh?

Don't forget, everybody.
You could win, too, man.

Disco Universe sweepstakes,
just a week away.

500 bucks. 500 big ones.

— Do you know Stephanie Mangano?
— No.

— No?
— I know Stephanie.

— Did she come in yet?
— No, she didn't get in yet.

— You sure?
— Yeah, I'm sure.

MONTI: Right, right.
Don't forget again, baby,

Universal Disco sweepstakes,
just a week away.

Tony! Tony, that was really great.

— Oh, you liked it?
— Yeah.

Listen, I'm gonna go home now.
All right?

— You're gonna go home?
— Yeah.

No, no, stay a little longer, Frank.
The night's just beginning.

Yeah, I know,
but it's not my scene, you know?

Come on. You didn't expect me
to stay the whole night, did you?

No, no. I didn't…

Yes, I thought maybe
you'd stay a little longer.

— No, it's not your scene. Of course not.
— I'm sorry, Tony.

Don't worry about it.
It's nothing, you know.

So what, right? Come on.

I'll walk you to the door.

Hey, you know,
your dancing is really marvelous.

It's exciting. I mean, it's exciting
to watch you out there.

They can't keep their eyes off of you.

Look, I got to go now, okay?
I'll see you later.

All right, well, have a good night.
I'll see you later. All right?

Yeah, you, too.

Hey, she come in or what?

Hey, you just asked me,
and I told you she isn't here.

(BOOGIE SHOES PLAYING)

And I can't wait till I see you again

— Tony, your brother, is he okay?
— He's fine.

He just had a stomach thing.
I don't know.

I want to put on
My my my my my boogie shoes

Just to boogie with you
Yeah

I want to put on

Just the two of them.

My, my my my my boogie shoes

Just to boogie with you

— We could make it now.
— What?

We ain't practicing,
seeing each other like you said,

so we could make it.

Look, Annette, we make it
when I decide, all right?

No other time.

— All right.
— When I say so, all right?

I'll just make it with somebody else.

Who? Who?

Somebody. I don't care. Anybody here.

— Oh, somebody here?
— Yeah.

Double J, Joey.

Oh, the fuck you will.
Hey, look. Hey, Bobby.

Look, we're gonna go out to the car,

and when I get back,
we'll go to the bridge, all right?

You fixed?

— Huh?
— Hmm?

— You fixed?
— What do you mean?

— You know, are you on the pill or what?
— No.

No?

What do you got, the IOU, that thing?

— Huh?
— No.

No diaphragm?

— Nothing?
— It doesn't matter, though.

— You don't got nothing?
— It doesn't matter. Tony, I love you.

Are you kidding me?

Oh, forget it. Oh, fuck.

Just give me a blowjob.
Ready? Come on.

(CHATTERING)

— Just a minute.
— JOEY: Hey, Tony!

Forget it. Forget it. Just fix yourself up.

Everything was cool.
Everything was all right.

You had a good time.

Annette, cigarette?

DOUBLE J: Guess not, huh?

(WHOOPING)

(WHOOPING)

Stupid goofs.

(WHOOPING)

Hey, Annette, can you dig it?
I knew that you could.

— Joey!
— You're fucked, Double J.

— Hey, Tony.
— What?

Come on.
Let's get this selfish motherfucker.

— All right.
— Let's push him off.

— TONY: All right.
— You're going in, you big, fucking hump!

(SWEARING IN ITALIAN)

JOEY: Come on, Ton. Let's get him.

Come on. Let's go. Shit.

Hey, come on, let's get the fucking
show off and throw him the fuck off.

DOUBLE J: Hey, Tarzan!

(YELLING)

JOEY: Look out, Double J!

Don't worry about nothing! I'm coming!

You fuckers!

— Can you dig it? I knew that you could.
— I knew that you could.

(ALL LAUGHING)

You stupid bitch.

I wish you was staying longer,
you know, Frank?

Ex-priests don't stay back home.

Listen, everyone's too shocked
and disgraced.

A family raises a priest,

they think
they've scored points in heaven,

— and now they're gonna lose them.
— Hey, Frank. How you doing?

Okay. We better get a move on.
I gotta pick some people on the way.

Okay. Listen, we gotta keep in touch.

Yeah. You gonna like
this settlement house?

What do you think?

— It'll do until I figure out my next move.
— Yeah.

— What about you?
— What about me?

Are you gonna do something
with your dancing, Tony?

I don't know.
People ask me all the time.

But I don't know, I mean, you know,
I feel like my whole life, right,

I've been told I'm the no-good
in the family and that…

Tony, the only way you're gonna survive
is to do what you think is right,

not what they keep trying
to jam you into.

You let them do that and you're
gonna end up nothing but miserable.

Huh?

— Hey, have a good trip, all right?
— Yeah.

I left you something in your room.

— What did you leave me?
— A souvenir.

Money?

Leave me money.

(DISCO MUSIC PLAYING)

Hey.

So, what are you standing there for?

How come you wasn't there
Saturday night?

I didn't say I was gonna be there
Saturday night.

— The fuck you didn't.
— I said maybe. Maybe's a maybe.

I didn't think you'd go
and get upset about it.

Oh, forget upset. I'm not upset.
It's just that we needed the practice.

I mean, you know,
you should've been there.

All right, right, let's practice then.

We can't.

I didn't bring the records 'cause
I didn't think you was gonna be here.

Yeah? So what did you come for, huh?

— Stugats. You know «stugats»?
— Yeah, I know «stugats»

All right, we'll use some of this stuff.

«If you're not of a mind to break up…»

What's up?

We've been waiting, man.

Pete said you was practicing, you know.

Hey, Tony, we were cruising
you know who. Looking good.

Not now. Don't talk about it now.
Talk about it later.

Stephanie, this is Joey,
this is Double J, this is Bobby C.

— JOEY: How you doing, Stephanie?
— How do you do?

— You a dancer?
— Yeah.

— You hungry?
— Yeah.

What do you wanna eat, huh?

— I'm gonna change and then…
— All right.

What maracas. She's got maracas.
She's got nice tits.

STEPHANIE: It's like,
I'm gonna be traveling, you know.

Promotional tours
with authors and performers.

Of course, I'm gonna hate
to leave Manhattan, even briefly.

There's certain ballets and concerts
I'm just gonna have to miss.

TONY: Tell them about the people
who come into the office.

That's what they wanna hear.
Tell them that.

Oh, you know who came in today?
This guy, David Bowie.

— Не comes in, has this Astrakhan coat…
— He's a fagot.

— He's a half-fagot, man.
— Hey, relax! Come on. Sit down.

You mean, he's a bisexual.

Yeah, he swings both ways.
Men and boys.

(WOMAN LAUGHING)

— What's so funny?
— Oh, yeah?

Well, you know who came in today?
Joe Namath. You know Joe Namath?

Не comes in
and he wants some coffee,

so I brought him coffee.

And then he asked me to sit down,
have some coffee with him.

You had coffee with Joe Namath?

Yeah, that's right.
We were talking a little bit.

He wanted to know
what it was like to be 21.

I told him I didn't know
'cause I was just 20.

— Yeah, what else?
— That's all.

Ain't that enough?

Hey, don't you never chew, Tony?
Don't you never chew?

Hey, look, when my mother dies,
I'll give you the job, all right?

You know what's going
down your throat, man?

Big chunks of hamburger, you know.

Big gobs, like dog food,
dog friskies, dog yummies.

You know something, Joey?
He's gonna turn into a dog.

(BOTH BARKING)

(JOEY GROWLING)

Stephanie, listen,
can I talk to you for a second?

I was listening
to what you said in there before,

and you seem to know a lot of people,
and a lot of places and a lot of things.

I got a friend of mine, you know,

he's a very good friend of mine
and he got a girl pregnant.

He got a girl pregnant,
and I wanted to know

if you had to make a choice

between getting an abortion
and have to get married to somebody,

what would you do?

Well, who would I have to marry?

You'd have to marry me.
You'd have to marry me. Yeah.

I think I'd get an abortion.
Hey, so long, Tony.

It's very nice meeting you.

So, what'd you guys think of her?

Hey, Tony, I liked her.
I thought she was nice. I liked her a lot.

She's a snotty bitch, man.

She's cool.
You just gotta get to know her, that's all.

Hey, Ton, did you fuck her, yet?

— What do you think?
— I don't think so.

You know, you guys got a lot
of growing up to do, you know that?

A lot of growing up. You're babies.

Yeah.

Hey, Mr. Fusco, look,
I need the afternoon off.

Sam's out. Harold's sick.
Here, take these.

— But I gotta, Mr. Fusco.
— Sorry, Tony.

Look, all I'm asking for
is one afternoon off.

I've been here almost eight months.
I didn't miss a day yet!

— Not today, Tony.
— Oh, come on, Mr. Fusco.

Some of those old farts,
they miss three, four days at a time,

you don't say nothing to them.

Hey, cool off.

Look, I got to have the afternoon off.
I'm taking it.

— You do, you're fired.
— I'm doing it.

— Then you're fired!
— Then fuck you, asshole!

And the fuck horse you rode in on.

— Fucking cocksucker asshole!
— Tony.

Tony, I don't wanna marry Pauline.
I don't give a fuck about this cunt.

— So, don't marry her!
— Tony, I gotta marry her!

Fuck it. She won't get the abortion.

— Everyone says I gotta marry her, Tony.
— Who says that?

Oh, fuck, her fucking parents,
my fucking parents.

The fucking priest on the corner.

Her fucking high school
guidance counselor.

Tony, I'm paralyzed.
I got no more control.

I mean, you and me, Tony,
we've been friends for so long.

I mean, I'm hurting.

Shit! You're always together.

And I'm always fucking up,
and you're always all right. You know?

I… Oh, come on.
Everybody fucks up. Really.

— Don't worry about nothing.
— You know, you're great.

I'm in a terrible rush.
I hate to leave you like this.

You got no idea
how much I appreciate this.

I mean, this car's very important
for me today, you know?

— Will you call me tonight?
— Yeah, I'll call you.

Don't worry about nothing, all right?
Take care.

— I'll talk to you later then?
— Yeah.

— Call me tonight, right?
— Yeah.

You're gonna call me tonight?

(CAR HONKING)

You know, Stephanie, this got me fired.

— What?
— This got me fired.

You know, you couldn't do it on Sunday,
so, my boss, he fired me.

Well, I just wanted
to get everything in, you know,

so I could start fixing up
when I move in on Saturday.

Yeah.

Nobody bitched at my office.
I got the whole day off.

Hey, I'm sorry.

Oh, it's all right. No problem.
No big deal. I can handle it.

Yeah, come on in.

Now, put that over here.

Hey!

I thought you were
gonna be out of town.

I postponed the trip.

Jay, this is Tony Manero. He's a friend.

— Tony, this is Jay Langhart.
— Unspecified status.

How do you do?

Well, I've decided to leave you
all the furniture.

What, are you kidding?
You're not gonna take any of this stuff?

No, I'm gonna start fresh. What the hell,
you picked out most of it anyway.

— Well, super.
— Stephanie, I told you not to say «super»

Nobody says «super» anymore.

Can I get you a beer? Glass of wine?

No, man, it's all right.

Hey, I read that book you told me to.
You know, the…

Kerr or the Lawson?

— The Kerr.
— Should have read the Lawson.

Listen, if I can help you guys move in,
you just say the word. Be glad to help.

(DOOR CLOSING)

I'll get the rest of the stuff.

Stephanie, who is that guy?

He's an arranger, a record producer.
He wants to do films.

He's gonna move now
to a more expensive apartment.

I met him at the agency.

He didn't want his wife
to know how much money he had

until the divorce was final.

Come on. Let's go.

I mean, who is he to you, Stephanie?
That's what I'm talking about.

He's a friend of mine, okay?
He's a friend.

And I was living with him
for a little while.

Are you in love with this man or what?
I mean, tell me the story.

— That's all I'm asking, is the story.
— No, I'm not. We had a thing.

You know?
It didn't work out, and it's over now,

and he's my friend, and he still likes me.

He likes you. He likes you to have…

To have you around for a quick piece
when he feels like it.

He helped me, man. You don't know
what it's like at that place.

It's crazy. You don't know shit!

You know? I didn't know how to do stuff,
so I'd go to him and I would ask him,

and he would tell me how to do things.

And then I'd go back to work
and everything would be all right.

Otherwise, I'd be walking around
like an idiot,

going, «I don't know. I don't know.
I don't know.»

— And he helps me. He does.
— Yeah, he helps you. Helps you what?

Get in and out of the sack?
Is that what he helps you do?

— He helped me.
— Sure.

What the hell do you
expect me to do, man?

What do you expect me to do?
He helped me.

Don't cry about it. I mean, you know.

All right, so he helped you.
That's good for you.

All right. Come on. Let's get out of here.

STEPHANIE: (SOBBING) I'm sorry.

TONY: It's all right.
Don't worry about nothing.

Don't worry about that.
Don't worry about nothing.

Stephanie, don't.

Look, we'll stop here for a while.
We'll sit down. All right?

Don't stop. Just take me home.
Just take me home, man.

No, come on, we'll sit here
for a while, all right?

Just, don't worry about nothing.

It's pretty, isn't it?

Sit down.

You know how tall that bridge is?

That bridge, that tower right there,
goes up 690 feet.

They got 40 million cars
going across there a year.

127, 000 tons of steel is involved in that.

The concrete there,

they got almost three-quarter
of a million yards of concrete.

That's right.

The center span, right there,
is 4, 260 feet long.

And with the on-ramps,
it all together totals, like,

something like 2. 5 miles.

You know all about the bridge,
don't you?

That's right.

I know everything about that bridge.

You know what else?
They got a guy buried in the cement.

Yeah?

Know how it happened?

Well, they was working on it,
apparently, at the time.

And they, I guess,
they were pouring the cement,

and he slipped off, you know,

on the upper part of the bridge
and, you know, fell in.

Dumb fuck.

— What a way to go.
— I come down here a lot.

You know, I get ideas.

Oh, yeah? What kind of ideas you get?

I don't know, daydreams, you know?
I daydream a lot.

Mr. Fusco, I come for what I got coming.

Tony. Come on.

Things got a little hot under the collar,
don't you think?

What are you talking about?

I don't want to lose you, Tony.
You're a good kid.

Customers like you.
I want you to stay on.

— You mean, I ain't fired?
— No. Come on. Here.

— Jesus Christ. I don't believe this.
— You got a future here, Tony.

Here, Harold's with me 18 years,
since I opened.

Mike, 15 years, huh?

Come on, now. Give Harold
a hand, huh? He's making a mess.

(IF I CAN'T HAVE YOU PLAYING)

Pete, what are you doing?

Trying to get up to 70%?

Whoa, man.
I didn't know you hung your label on her.

What are you doing?

That guy's the biggest cunt hound
in Bay Ridge.

Oh, my God.
I've been in serious danger.

It's no fucking joke, Stephanie.
That guy's a fucking sleazy whore.

I was dancing with the fella.
You know? Dancing.

— No, no. No, forget it.
— Come on. Let's dance, huh?

You disgust me, you know that?

— Well, what do you mean?
— Forget it.

— Forget it.
— Tony, I was just dancing with the guy.

I don't want nobody, baby

Tony! Tony!

— Annette, what do you want?
— Just look. Look.

Oh, Jesus.

If I can't have you
I don't want nobody, baby

If I can't have you

Nobody
If I can't have you

(LATIN DISCO MUSIC PLAYING)

Beautiful, man. They got six or seven
of them in there and a couple of chicks.

Listen, why don't we wait till they get
down to about three, four people?

— Yeah, one or two?
— Tony!

— All right. I'm thinking, I'm thinking.
— Tony, listen, you gotta help…

— ALL: Shut up! Shut up!
— Back up, all right?

What are you doing?
What are you doing, Double J?

— Trying to back it up!
— What are you, crazy?

— Tony, I'm gonna get married.
— Shut up!

Come on, fuckers!

(YELLING)

(SHOUTING)

Tony!

Tony! Tony, help me! Please, God!

Hey, what the hell
you think you're doing, huh?

Ton!

Ton! Come here, it's me! Come on!

— Let's get out of here.
— You okay?

Jesus!

He chickened, man! Where is he?

Go, man! Go!

— Where the hell were you, huh?
— Tony, I was just driving around.

— Oh, Jesus Christ!
— I was looking for you. Where were you?

(JOEY COUGHING)

TONY: Hey, Gus. Did you get
the number of the truck that hit you?

Don't make me laugh, all right?
Do not make me laugh.

— Look at this. We don't love you, right?
— Right.

— JOEY: We got them.
— Does that hurt?

JOEY: Yeah, really, huh?

Hey, you guys really, you know,
you really kicked their asses?

Hey, come on, we got them
where they breathe, Italian style.

Yeah, that's great, you know.

Only, you know,
I ain't so sure it was the Barracudas.

WOMAN ON PA:
Dr. Allison to Emergency.

Hey, what are you talking about?
You said it was.

No, I said it probably was.

Don't be pulling our legs now.

DOUBLE J: Wait a minute.
Wait a minute.

— You said it probably was.
— Yeah, I said probably.

— That's what you told us.
— I said probably 'cause I wasn't sure.

You know? I mean,
it could've been a Spanish…

Stupid, fucking bastard.

— We almost got our heads busted.
— Yeah, not you, lover.

You know, you got some fucking pair
of balls on you, you know that, Gus?

— Hey, hey, come on.
— You know that?

Hey, you know, I had to say something.
Right? I had to lay somebody out for it.

What are you, stupid?
You can't see who hurt you, right?

Oh, my God, what are you doing?

If I said I didn't know who it was,
they would have got off. Come on.

Yeah, well, fuck you, Gus.
You know what I feel like doing?

I feel like breaking your broken leg.
That's what I feel like doing.

GUS: Hey, come on.
JOEY: Let's get out of here.

Oh, God, I can't believe
this whole fucking thing.

You wanna know something?
I could have killed him.

DOUBLE J:
You couldn't kill a fucking crab lice.

Oh, shit, what do you think I am?

— You think I'm a coward?
— What do you think you are?

TONY:
Enough of that shit, already. I'm bored.

I'm bored with it, all right?

(CAR HONKING)

Hey, hey. Jeez, look at this.
You're beautiful, babe.

Hey, come on. We got the winners here.
Let's get a table. Let's go.

DOUBLE J: Yeah. Let's get a table.

— How you doing?
— I'm all right.

What happened to your face, huh?

I cut myself shaving.

With a switchblade, huh?

Come on.

(OPEN SESAME PLAYING)

Climb aboard my magic carpet

And let us take a ride to the oasis
Get down with the genie

Feel the power and the spirit

Of the genie
Get down with the genie

Yeah! Come on! Do it!

Open sesame

Get down with the genie

Get down with the genie

A big hand
for Shirley and Charles Tuck.

Give them a big hand.
Come on, everybody.

What are you booing?
Come on, be cool, everybody

No way. No good. No way.

Yes!

Now we have Stephanie Manga no
and Tony Manero!

Come on.

All right.

Joey, hey, give me
another one of those, huh?

Hey, come on, you had enough.

Come on. I like it.
They're good. Come on.

All right. Get high.
You know, it's your head.

— That's right.
— Here you go.

(MORE THAN A WOMAN PLAYING)

Oh, girl, I've known you very well

I've seen you growing every day
I never really looked before

But now you take my breath away

Suddenly you're in my life
Part of everything I do

You got me working day and night
Just trying to keep a hold on you

Here in your arms
I found my paradise

My only chance for happiness

And if I lose you now
I think I would die

Oh, say you'll always be my baby
We can make it shine

We can take forever
just a minute at a time

More than a woman

More than a woman to me

More than a woman

More than a woman to me

There are stories old and true
Of people so in love like you and me

And I can see myself
Let history repeat itself

Reflecting how I feel for you

Thinking about those people then

I know that in a thousand years
I'd fall in love with you again

This is the only way
That we should fly

This is the only way to go

And if I lose your love
I know I would die

Oh, say you'll always be my baby
We can make it shine

We can take forever
Just a minute at a time

More than a woman

You are
More than a woman to me

More than a woman
Baby

More than a woman to me

More than a woman

More than a woman to me

More than a woman
Baby

More than a woman to me

More than a woman

More than a woman to me

More than a woman

More than a woman to me

Right on! That is the money.

(CROWD CHEERING)

(CHATTERING)

Hey! Hey be cool, baby!

Here now, we have couple number 15,
the Puerto Ricans…

(SPEAKING IN SPANISH)

(CROWD CHEERING)

Wrong neighborhood, huh?

Tony, listen to me,
you're gonna take the prize.

(LATIN DISCO MUSIC PLAYING)

Jesus Christ. They're so fucking good.

JOEY:
How could they be? They're spics.

Look at them greasing up the floor.

Numero uno!

DOUBLE J:
No contest, man. No contest.

I don't want to hear that shit.
They was fucking better than us.

They weren't better, they was different,
that's all. Just different.

— Bullshit.
— All right, folks!

We have the decision of the judges.

In third place,
we have Elizabeth and Joseph Cursa!

Give them a hand!

Come on, baby.

Yeah!

Second prize!

From Puerto Rico, we have
Cesar Rodriguez, Maria Huerta!

— You're doing them a favor!
— They're gonna take the prize.

— Thank you.
— WOMAN: Unbelievable!

— Don't spend it in one place, baby.
— Thank you.

In first place, the coolest,

the Fred Astaire of Brooklyn,
the boogie-woogie man,

the man who gave you coolness,
hotness and everything you wanted.

He was hot! He was right on!

Stephanie Mangano and Tony Manero.

STEPHANIE: We won.

Come on. Come on!

(CHEERING)

Didn't I tell you?

(STAYIN'ALIVE PLAYING)

Won.

(WHOOPING)

Well, you can tell
By the way I use my walk

I'm a woman's man
No time to talk

Come on, let's boogie.
Come on, everybody.

It's over. Come on, let's dance.
Come on, everybody!

And you may look the other way

And we can try
To understand

The New York Times' effect on man

Man, you put them down,
is what you did, huh?

You phony bastards!

You know who should have won
that contest.

My own fucking friends
can't even be straight with me.

You gotta lie
right through your fucking teeth.

— Come on!
— What's up your ass, man?

— Look, we won it.
— Stephanie, that was rigged.

That's like family. They can't give it
to no spic or no stranger.

What are you, crazy?

We was just as good
as they were, Tony, and I know it.

— Oh, you think so, huh?
— Yeah!

(ALL CHEERING)

Here. Come with me.

Excuse me. Congratulations. Here.

I'd like to give this,
I'd like to give you that,

'cause I think you deserve it, all right?
Come on.

God damn it! Good is good.
If the spics are good, they deserve it.

— That's all there is to it.
— Yeah, but we won it. They didn't.

This is a fucking shit hole,
you know that? A fucking shit hole!

God damn it.
My friends, the assholes I hang out with,

I can't believe them sometimes.
You know that?

Everybody's gotta dump
on somebody, right? Of course.

I mean, everybody…
Everybody can't do it straight, right?

My pa goes to work,
he gets dumped on,

so he comes home
and he dumps on my mother, right?

Of course, right?
Then the spics, they dump on us,

so we gotta dump on spics.
Of course, right?

Everybody's dumping on everybody.

Even the humping's dumping
most of the time.

All right. Okay. Listen, would you just
tell me what's wrong? Okay?

— Get in.
— What is it?

— Get in!
— Just tell me.

What the hell is wrong with you?

Wait. Stop it. Look, just stop it!

Let me alone, man!
Come on. Get away!

You know, you're such
a fucking cockteaser, you know that?

Don't you fucking call me
no goddamn cockteaser!

You are a cockteaser!

— Why you hanging around with me?
— Dancing, that's why.

— Oh, dancing, huh? Why else?
— Yeah!

You wanna know?
It's bullshit, that's why. Bullshit, man.

I've just been
dumping my bullshit all over you,

selling my act on you,

using you,
making you think that I love you!

It's just all bullshit, man!

— You fucking cunt!
— Don't fucking start! You stop it! Don't!

(GROANING)

Get off of me.

(GROANING)

Oh, Stephanie.

(STEPHANIE CRYING)

(CARS HONKING)

(GROANING)

(CHATTERING)

— I'm mad at you, Tony.
— Hey, Tony, come on.

Annette's gonna give everybody
a piece of snatch pie.

Yeah.

Oh, yeah? The fuck you are.
I wanna talk to you.

— Hey, what are you doing?
— What is with you, huh?

— What's with you, you little punk?
— What are you doing?

— What is it, man? What the fuck is it?
— You don't give a shit about her!

JOEY: Come on, Annette. Get in the car.

Come on. Do it.

(WHOOPING)

(ANNETTE GIGGLING)

JOEY: I told you.
You can fuck all night on this speed.

ANNETTE: Oh, yeah?
JOEY: Yeah, you will.

Joey, what you doing back there?

Hey, you fuck.
The first is always the best.

That's right.

(ANNETTE LAUGHING)

(JOEY MOANING)

JOEY: Yes. Yes.

Joey?

JOEY: Oh, God.

JOEY: Come on, Double J. You're up.

DOUBLE J: See you guys later, huh?

(ANNETTE CRYING)

ANNETTE: No. Joey.
DOUBLE J: Come on, mother.

— Oh, yeah! My turn.
— ANNETTE: No. You know what?

No, Double J. No, I don't wanna do it.

(ANNETTE CRYING)

Fuck-A!

(JOEY LAUGHING)

Shit. With me she's gotta cry?

— God damn, Annette. Come on.
— ANNETTE: No. No. Don't.

DOUBLE J: Come on.

Yeah!

JOEY: Fuck! Double J!

Come on, Double J! Come on!

— Give me a beer huh?
— Hey! Hey! With no pants.

And no hands!

Here, beer.

(WHOOPING)

JOEY: All right!
DOUBLE J: All right.

Fuck you, Manhattan!
Come to Brooklyn!

(JOEY AND DOUBLE J WHOOPING)

Mine's so big, I gotta strap it to my leg.

JOEY: Anita says
I got the biggest thing in town.

Proud of yourself now?

Is that what you wanted? Good.

Now you're a cunt.

Man, don't fuck around.
What are you doing?

Where you going? Annette.

(SOBBING)

No. No. No. Leave me.

Come on, Annette. I'm sorry.

— Annette, I said I'm sorry.
— I didn't want to do it.

Look at this guy.

Hey, Bobby! Hey, you punk!

Tony! Look at me!

— Look at the punk.
— Bobby, get down. It's too dangerous.

Look at me, Tony.
Hey, Tony, look at me!

Look! Hey, Tony!

(BOBBY LAUGHING)

I'm not kidding, Bobby.
Get down from there.

I'm all right. I'm all right.

I'm all right, Tony.
I'm all right. Watch me.

— Hey, Tony, look at me!
— That's crazy. Now you're being crazy.

Look at me, look at me, look at me.
I'm doing it.

— It's too dangerous.
— Look at me.

— TONY: I see you.
— Look at me.

TONY: Oh, Jesus.

(BOBBY LAUGHING HYSTERICALLY)

TONY: It's a long way down there.

— Give me your hand.
— I did it!

Come back. Come back in. Come on.

— Watch.
— Don't, don't.

You're making me
very nervous now, Bobby.

Don't do that. Jesus Christ.

Get over here. Get over here, right now!
Give me your hand.

TONY: Oh, Jesus! No. No!

— Oh, come on.
— BOBBY: I did it.

— TONY: What did you do?
— I did it.

Watch.

TONY: Come on, Bobby. Get over here.
Right now. Come on.

Now, don't get upset.
Come on. We'll talk.

We'll go talk in the car.
It's warmer there.

You didn't talk to me before.

How come you never called me?

BOBBY: I didn't wanna fuck up.
TONY: You didn't fuck up, Bobby.

— Come on. We'll talk, all right?
— I didn't wanna fuck up this time.

(BOBBY SCREAMING)

(ANNETTE SCREAMING)

ANNETTE: Oh, God! Oh, God!
Oh, God! Oh, God!

(MUTTERING)

(ANNETTE SOBBING HYSTERICALLY)

ANNETTE: No!

(MAN CHATTERING
ON POLICE RADIO)

Any of you guys think
maybe he killed himself?

No.

There's ways of killing yourself
without killing yourself.

Yeah. Okay, you can go now.

Forget the number, Chief.

We ain't gonna find nothing
out there tonight.

Shit.

Ton?

Hey, Tony!

(HOW DEEP IS YOUR LOVE PLAYING)

I know your eyes in the morning sun

I feel you touch me in the pouring rain

And the moment
That you wander far from me

I wanna feel you in my arms again

And you come to me
On a summer breeze

Keep me warm in your love
Then you softly leave

And it's me you need to show

How deep is your love

How deep is your love
How deep is your love

I really need to learn

'Cause we're living in a world of fools

Breaking us down

When they all should let us be

Stephanie?

(KNOCKING AT DOOR)

— Is that you?
— Yeah, it's me, Stephanie.

Hey, look, look,
I'm really sorry about last night.

— You're sorry?
— Yeah, I'm sorry, Stephanie. I just…

Look, it won't happen again,
I promise you.

I just… I just, I really need to talk to you.

What are you talking about,
you need to talk to me?

It's just like what I said.
I need to talk to you.

Okay, listen. Now, if I open this door,

you're not gonna pull
any funny stuff on me, right?

No, of course not.

First time I ever let a known rapist
in my apartment.

Hey, look, I'll just stay right here,
all right?

So, that way you don't think that I'm
gonna, you know, jump you or nothing.

What's wrong with you, man?

Nothing. I'll tell you later. Right?

Well, you can't just stand there.
This is ridiculous. Come on.

I've been up all night
just walking and looking around.

And, you know,
I'm gonna get myself my own place.

You know what I'm gonna do?

I'm getting my money,
I'm coming back, you know.

'Cause I ain't going back there.

Wait a minute. Why don't you sit down,
okay? Come on.

— So, what are you doing?
— What am I doing?

I'm just not going back there, that's all.
They're assholes back there.

— I'm fed up to here with it. It's bullshit.
— Okay. Okay.

What are you gonna do?

What do you do?
You come in. You get a job. You know.

Do what you do. Get a nice apartment.

Okay, what kind of job?

I don't know.

What did you do? You came in,
you couldn't do nothing, right?

I could type when I came.

No big deal. I'm an able person.
I mean, I can do these things.

Yeah, of course you can.

Tony, I wanna tell you something.

Now, you know, I said
all that stuff to you about…

Using you,
practicing my act on you, you know?

It wasn't true.

There's a lot of other reasons
that I was hanging around you.

— What do you mean?
— You made me feel better.

You gave me, like, admiration,
you know? Respect.

Support.

Stephanie, maybe now that, you know,
like, I'm gonna be in town like I planned,

maybe, like, we could see each other.

No, I don't mean like that.
I know what you're thinking.

You're thinking, like,
I'm promoting your pussy, but I ain't.

I mean, like, friends, right?

You know, like you once said,
we could help each other.

— Wanna be friends?
— Yeah. I'd like to be friends with you.

Think you know how, huh?

Think you could be friends with a girl?

Could you stand
being friends with a girl, huh?

— The truth?
— Yeah.

I don't know.

(BOTH LAUGHING)

I don't know. I mean, I could try.

That's all I can say, Stephanie.
I could try.

Okay. Okay.

Let's be friends, all right?
We'll just be friends.

TONY: All right.

Okay.

(STEPHANIE CHUCKLING)

STEPHANIE: Friends, man.

I know your eyes in the morning sun

I feel you touch me in the pouring rain

And the moment
That you wander far from me

I wanna feel you in my arms again

And you come to me
On a summer breeze

Keep me warm in your love
Then you softly leave

And it's me you need to show

How deep is your love

How deep is your love
How deep is your love

I really need to learn

'Cause we're living in a world of fools

Breaking us down

When they all should let us be

We belong to you and me

I believe in you

You know the door to my very soul

You're the light
In my deepest, darkest hour

You're my savior when I fall

And you may not think
I care for you

When you know down inside
That I really do

And it's me you need to show

How deep is your love

How deep is your love
How deep is your love

Well, you can tell
By the way I use my walk

I'm a woman's man
No time to talk

Music loud
And women warm

I've been kicked around
Since I was born

And now it's all right
It's okay

You may look the other way

And we can try
To understand

The New York Times' effect on man

Whether you're a brother
Or whether you're a mother

You're stayin' alive
Stayin' alive

Feel the city breaking
And everybody shaking

And we're stayin' alive
Stayin' alive

Stayin' alive

Well, now, I get low
And I get high

And if I can't get either
I really try

Got the wings of heaven
On my shoes

I'm a dancing man
And I just can't lose

You know it's all right
It's okay

I'll live to see another day

We can try
To understand

The New York Times' effect on man