Original subtitles

One, two.

All right. Let's do the other steps.

Let's go.

All right. Just a minute. You. The rest of you don't move.

Thank you.

You.

All right, thank you.

You.

Thank you. Carry on. Christina...

Take care of them.

- The same step? - Whatever you feel like.

Paco, when are you leaving for Seville?

I'll catch the plane at eight o'clock tomorrow morning.

Do me a favour. Check the dance academies.

See if there's a girl who could be Carmen.

- Don't you like any of these? - Some of them are all right.

But I just don't see them as Carmen.

Thank you.

It's lovely...

- It's nice as a buleria. - Antonio'll like it.

He'll feel more comfortable with it than with the stuff he's listening to.

I'll tell him.

Antonio.

We were listening to the tune. I don't think it'll do for dancing.

The orchestra is very slow, it's accompanying the voice.

You're going to be left standing on one leg like a stork.

The rhythm should be more even like in a buleria. Listen...

Christina, come here.

It sounds fine to me, but I'd like it to be a bit slower...

...more like the melody itself.

- Is that better for you? - Yes.

Follow me when he starts playing.

Great.

Listen, give the girls a work-out. Mostly their arms and their posture.

Very good, Paco. Keep working on it.

Boys, get off the floor. Enrique, get off.

We're going to work with the buleria rhythms we've been listening to.

One, two, one, two.

Come on. That's it.

Hands slow.

That's it. Good. Slowly. Good...

Carmen had a wild and strange beauty...

Her lips, full but well-shaped...

...opened onto teeth whiter than almonds.

Look how she does it! Don't just follow her steps.

Her hair was long, black and shiny, -

- with blue glints like the feathers of a raven.

Her eyes had a voluptuous but surly expression, -

- that I've never been able to find again. Gypsy eyes, wolf eyes...

...as the Spanish saying goes.

- Good evening. - Hello.

Bye, Maria.

- Hi there! - Hello.

Hello, Maria.

- Maria Magdalena's class? - It just started.

- In which room? - Second one on the left.

Hi, how are you?

- Have you come for lessons? - Just to refresh my memory.

- See you. - Sure. Bye.

Heads up... to the left...

Lower the left arm... Heads to the left.

Up. Lower to the centre...

And up, like the wings of an eagle. Slowly.

The head flexible, left arms to the centre.

Slowly up, up...

Bring the right arm down. Manuel, bring your arm higher up...

Further up. Down, Manolito...

Not bad, girls, but don't forget that technique is only good -

- when used for your art.

Practise the castanets without moving the wrist.

Raise your arms slowly and articulately.

Your hips must be detached from the waist...

Your breasts like a bull's horn, but soft and warm...

Heads up, dignified. And remember, never move your hands.

We'll continue with the next exercise.

You know how to count. One, two, and on three...

...head... head... head...

In line. One, two...

And break... break...

Lift your arms. Artfully. Lift those arms. Artfully...

You're always late, Carmen! Get in line.

Up, up, slowly!

Dance, girls! Heads up!

Your expression! Faces, breast, up!

Down, up, up, up!

I looked up and I saw her. I'll never forget it.

At first, I didn't like her and I went back to my work.

But she, following the habit of women and cats, -

- who do not come when you call but come when you do not call, -

- she stopped in front of me and spoke to me.

- Good evening. - Hello.

Antonio, good evening.

- Giron. Are you her agent? - Exclusive.

What an incredible place.

I really like it. It's beautiful.

Who's got a light?

- Shall I change? - Whatever you feel like.

Then I won't.

There's a bar, too. You're not stingy.

- Want a drink? - Sure, a glass of wine.

Follow me.

Split.

Good.

Now, turn to the left to finish off...

- Here. - You're just fine.

Give me some.

Take it easy.

Stand over there, please.

We're going to do the same steps, but in a semi-circle.

Let's go.

No. Go back. Try to relax.

Believe in what you're doing. Let's go. One, two...

Look at me.

Look me in the eyes! That's it.

Don't lower your eyes.

Look at me! That's it. No, look at me!

Don't blink.

There... turn slowly...

- They look good together. - Yeah, you're right.

Back. No, closely.

Embrace me. Just as if I were in front of you.

Now, turn.

Slowly...

Turn with me. Slowly. Very slowly...

Follow me.

Do the same with your hand.

Do the same.

Caress me... slowly...

Good. Very good.

- That's it? - Yes, for now.

- When did you start dancing? - When I was 15.

Ever since I was a kid I always saw my mother singing and dancing.

- Are your parents dancers? - Not at all.

And how did you start?

Here, in the night club. About... three months ago.

I had my d�but in November.

- Do you sing? - A little bit.

What I really like is to dance.

I take dancing lessons every day.

Here...

- Do I have to read it? - It might help if you did.

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

I'm stronger than I look.

Well, what do you think about her?

I'll see you tomorrow in the studio. Bye, Giron.

What an asshole. Who does he think he is?

- I'm going to do it. - We'll see.

Come on, let's start.

Move.

That's it. Good.

Straighten up.

Your hands slow, fluttering like doves...

Those elbows, don't turn them out!

Waists!

We come here to dance!

Let's see.

Change.

Hold yourselves like queens!

Let's see you.

Carmen, come here and look.

Let's see...

Are you looking or what? Come on, let's see you.

Your shoulders!

Bring your waist up. Your posture!

Your hands! Be more graceful.

Antonio wants to see you.

Carry on.

- You wanted to see me? - Sit down.

- Christina, help me a little bit. - Help you?

- I'm doing everything I can. - Christina, please...

- She's the one who has to work. - She's trying. But we must help her.

What's she got? There are hundreds better than her.

That's my problem. She's got what I want.

Yes. She's young.

Let's get this clear. You're the best dancer, but you're not Carmen.

I need someone different, and younger. Is that clear?

Christina, don't you realize that I count on you for everything?

I need you, dammit!

- I'm going to ask you a favour. - What is it?

Help Carmen. Work with her, teach her.

I'll do my best.

Come here.

Are you marking time or dancing or what?

- I'm trying... - Trying?

But you're doing all the steps the same way!

Separate the times!

What the hell is wrong with you? You're not concentrating.

Christina devours you during rehearsals. Don't let her!

Get it? Let's go!

Devour me! That's it!

Look me in the eyes! More!

Better.

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

Then why don't you do it? I have to exhaust myself and then you.

You are Carmen! Believe it!

If you don't, who will?

Don't worry. I'm going to do it.

Of course you are. Right now. On your own!

Let's go! More!

That's it!

Move! Good! Good.

Very good.

Listen up...

Listen up.

We'll rehearse the Tabacalera. According to M�rim�e, -

- we're in Seville in 1830 in the tobacco factory.

It's very hot.

As only women work there, they make themselves comfortable.

Not too many clothes.

I want you all to feel that heat...

...to feel that atmosphere and make me feel it with you.

I'm on fire!

One moment.

Those who are not in this scene, get off the ramp.

Singers over there.

Christina will show the rest of you where to sit.

Christina, you'll sit here...

Carmen there. Place the others as you like.

Carmen, do you mind taking Blanca's place?

Sonia, change places with Maria Jose.

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

in this tobacco factory

there are bad girls there are good girls

in this tobacco factory

there are more bitches than good girls

in this tobacco factory

don't you mess with Carmen

don't you mess with Carmen

Carmen has a knife

for those who mess with her

Carmen has a knife

for those who mess with her...

Very good. That's it.

- Everybody gives five duros. - What for?

For wine. It's Anto�ito's birthday tomorrow.

- Here. - We'll have to check the accounts.

- For you, 100 duros. - Like hell, it's my birthday!

I'll go get the wine.

- Hi. Sorry, everybody. - You're late.

- I couldn't make it. - Lots of traffic, eh?

- Shall I change? - No, sit down.

Listen up.

Listen up, everybody.

After the fight in the tobacco factory -

- Jos� arrests Carmen, but then he lets her escape.

So they put him in prison. He says:

"When looking through the prison bars -

- I could not see a single woman who compared with that devilish girl. "

There's an important sentence in the novel.

It explains the relationship between Carmen and Jos�. He says:

"She lied, sir. She has always lied. "

"I don't think she ever spoke a word of truth. "

"But when she spoke, I believed her. I couldn't help it. "

We're going to work on the next scene.

Carmen takes Jos� to the house of an old procuress.

It's a miserable little room.

Let's imagine that this is a bed.

There's a lamp. Lower it. A bit more. There.

Over there's a chair.

Make room. Here's a dressing table with a mirror on it.

Juan, come here. You too, Carmen.

You'll be Jos� and we'll do those steps...

Let's see. One, two...

Wait a minute.

You must be more feminine.

Caress him and caress yourself.

Get it? Let's try.

One, two...

Caress him.

Okay. Better.

Now we'll pull back the ladder.

We'll place the mirrors -

- and close the curtains very slowly.

Clear the whole space.

- Can I come in? - Of course.

Easy.

We've got plenty of time. Come on, give me a drink.

When I got out of my car, you were dancing.

Cooking up some tricky steps for tomorrow?

No, I was rehearsing the farruca.

You know, Carmen, ever since I was 15, I've danced just about everything.

But the farruca made me understand it all. And I'm grateful for it.

Sometimes I just start dancing it. I don't know why, I just need to.

- Haven't you ever danced it for love? - No.

There'll never be a better time. Dance it for me.

- Now? - Dance for me, Antonio.

Devour me, now! Or are you just marking time, too?

Shit.

- What are you doing? - I'm leaving.

- You're leaving? - I have to.

But where?

It's two o'clock.

Bye, Antonio.

I just don't know...

...what to do.

And now her...

...with a fan, a comb, a flower, a mantilla...

The works.

The clich�. So what? Why not?

Hello.

Your husband's waiting.

- Happy birthday, chum! - Happy birthday, Anto�ito!

Happy birthday!

- What do you know about Carmen? - The same as everyone else.

You know more than I do. I can see it in your looks, your hints...

Tell me.

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

- I know that. - She told you?

Is she living with someone?

Am I going to be the last one to know? Tell me, please.

I know she's no longer with Giron, but that's all I know.

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

Antonio, this is my husband.

- Hello. - Jos� Fernandez Montoya.

Antonio, how's things?

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

Don't run!

Tauro, you've got to quit smoking all those joints!

Come on! Don't run!

Move!

Pick up your skirt!

Straighten up! Move!

Move!

Your feet!

Don't look at the floor, Tauro!

Move. Your feet!

Keep it up!

Careful now!

Enrique!

Tauro, up!

Ni�o!

Don't laugh!

Backs straight!

Keep it up!

Good! Move!

Enough... Good. Good.

- What do you want? - What's wrong with you?

You nearly killed us.

- What do you want? - Nothing, if you take it like that.

What do you expect? Just go back to your husband and leave me alone.

I don't love him anymore. So many things have happened.

You're the one I love.

I wanted to tell you...

He wants to move south to start again.

All he wants is money.

I told him about us.

He doesn't give a damn.

He just wants to leave.

A penny for your thoughts.

I guess that's enough. And tell him to leave you alone.

Why don't you move in with me?

Why? We're fine like this.

I'm afraid of losing you.

Don't be silly. You're the one I love.

Your turn.

- How much did you win? - 2000 and a bit.

What luck!

- 20 duros to open. - Fine with me.

Here.

That's all we ever did in jail... play cards.

- 40 duros more. - I'm in.

Me too.

- Cards? - Two.

Man, freedom feels great! I just can't tell you.

- Happy now? - You bet.

- What'll you do now? - Same as always.

What else could I do?

Drugs are a tough business. Lots of competition.

I'm not worried.

I'm in.

- Pass. - My stake.

I'm out.

1600.

I'll take 400. Two, three and four.

- What have you got? - 31!

41! I win.

That's enough, right?

- Juan, did I hurt you? - No, don't worry.

I couldn't stand this any longer.

I'll just take this to make-up.

- I like it. - I've had it, Paco.

- I'm beat. - I couldn't tell. You looked great.

I'll quit next year.

You've been saying that for years. Every day you're better.

- I'm getting old. - Truly, I've never seen you better.

Just hang in there. I'm off now.

I'll see you later. Or tomorrow. Thanks, Paco.

See you!

See you tomorrow, Antonio.

Tauro, get out of here.

I don't want to see you again. Get out!

- Don't take it so badly... - Get the hell out of here!

Let go of me!

You're hurting me!

All right.

All right. I know I can't ask you anything, -

- but I can't live like this!

Nobody spies on me! I'm free. I'll do as I please!

But why with the first idiot you find? What can they give you that I can't?

I didn't promise you anything. You have no right to ask me!

We love each other, right? What else is there?

I want to be with you always.

I'm jealous and possesive, I know. What can I do?

I don't want to share you with anyone.

Fine.

You're so silly.

Don't you know I love you?

Love is terrible and jealousy is treacherous

love is terrible and jealousy is treacherous

love is terrible and jealousy is treacherous

treacherous jealousy is to blame and I'm dying of jealousy

it's to blame and I'm dying of jealousy

poor lover who is eaten up by jealousy

from dusk till dawn jealousy devours him

jealousy is to blame for many cowardly acts

for many cowardly acts jealousy is to blame

the jealousy that eats them up is like a burning fire

the jealousy that eats them up is like a burning fire

they're like fire, love and jealousy they're like blood brothers

poor lover with no one to pity you.

Let go. I've had enough.

- What have I done? - Don't you see I don't love you?

- What have I done? - It's over. I don't love you.

Carmen, don't leave me.

- I love you. - It's over.

- I can't take it anymore. - It's over.