Original subtitles

One and two...

Okay. Now the other step.

All ri9ht. Just a minute, please.

Come here.

The rest of you, just watch.

That's fine.

Okay. Thank you.

All ri9ht.

Carry on. Cristina.

Work with the 9irls, please.

The same step?

Any step. It doesn't matter.

Paco, when are you 9oin9 to Seville?

l'm catchin9 the 8:OO plane tomorrow mornin9.

Do me a favor. Check the dance schools there.

See if there isn't a 9irl there who could be Carmen.

Don't you like any of these?

Some of them aren't bad...

but l just don't see them as Carmen.

Cry no more

Weep no lon9er

Sumer no lon9er

That melody's pretty.

Sounds nice as a buler_a.

lt'd work well for Antonio.

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

l'm 9onna tell him.

We were listenin9 to that music.

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

The orchestra keeps slowin9 down for the sin9er.

You'll be leR perched on one le9 like a stork.

The rhythm should be more even, like in buler_as.

Listen.

Cristina, come here.

Paco, it sounds 9ood,

but l'd like it a little slower,

more like the ori9inal.

- But it works better, ri9ht? - Yes.

Follow me when the melody comes in.

Do me a favor.

Give the 9irls some steps.

Mostly arms and posture.

Very 9ood, Paco. Keep workin9 on it.

Boys, om the floor.

We're 9oin9 to work on buler_as usin9 that rhythm we just heard.

That's it. Hands nice and slow.

That's it. Nice and slow.

Carmen had a stran0e and sava9e beauty.

Her l�ps were plump but well-shaped

and opened to revear teeth wh�ter than the wh�test pearls.

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

Her lon9 ha�r was sh�ny and black.

w�th a 9l�mmer of blue. l�ke a raven's feathers.

Her eyes had a voluptuous but surly express�on

that r've never seen �n another human 9_e.

''Gypsy eyes. wolf eyes.~

as the Span�sh say�n9 9oes.

Hello.

- Hey! - Hi! How are you?

- Hello, Mar�a. - Hi, Antonio.

- When is Ma9dalena's class? - It started at 5:OO.

- Which studio? - Second door on the ri9ht.

How are you?

Come to take a few classes?

To brush up a bit.

See you later, okay?

Ri9ht arm comes down. Head up, then to the leR.

LeR arm down and the head turns.

Both arms down the middle...

and up slowly, like an ea9le's win9s.

Neck relaxed. LeR arm down the center.

Brin9 it up nice and slow.

Ri9ht arm down the middle.

Manuel, brin9 your arm hi9her, sweetie.

Arm up hi9h, and now down.

Not bad, ladies.

But don't for9et: Technique is only a tool for your art.

Keep the wrists still when playin9 the castanets.

The arm rises slowly and precisely.

Pull the waist and ribs up out of the hips.

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

Hold your head up like a queen.

And don't move your hands.

Let's 9o on to the ne_ exercise.

One, two...

and then on three the head turns, and a9ain, and a9ain.

Preparation.

Sharp!

Arm up 9racefully.

Hurry up, Carmen. You're always late.

l looked up and saw her.

lt was a Fr�day. l'll never for9et �t.

At f�rst l d�dn't l�ke her and returned to my work.

But �n that way women and cats have

of never com�n0 when you carr

but only when you don't.

she warked up and spoke to me.

- Good evenin9. - Hello.

Hello, Antonio.

- l didn't know you were her a9ent. - Her exclusive a9ent.

What an incredible place!

l love it. It's beautiful.

Give me a li9ht.

- Shall l chan9e? - Whatever you like.

Then l won't.

Even a bar! You 9uys did it up ri9ht.

- Care for a drink? - Sure. A 9lass of wine.

Follow me.

Le9s open.

And back to the leR to finish.

Here.

- You're doin9 fine. - Give me some.

Relax. Just do your best.

Stand over there, please.

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

No, 9o back.

Please try to relax.

Believe in what you're doin9.

Look at me.

Look me in the eyes!

That's it.

Don't look away.

Really look at me!

Don't blink.

Now turn slowly.

- Good-lookin9 couple. - Yeah.

Lean back.

No, lean back a9ainst me.

Hold on ti9ht, like l was in front of you.

Now circle with the hips.

Slowly.

Turn with me very slowly.

Follow me.

Do what l do with your hand.

Same thin9. Come on, caress me.

That's it. Now face me.

Good.

Very 9ood.

- Is that it? - For now.

How lon9 have you been dancin9?

Since l was 15.

l always saw my mother sin9in9 and dancin9 at parties.

lt 9ot in my blood at a youn9 a9e.

- Your parents are dancers? - Not at all.

How did you 9et started? In a dance troupe?

Here in the ni9htclub, about three months a9o.

l started in November.

- Do you sin9? - A little.

But what l really want to do is dance.

l take class every day with Mar�a Ma9dalena, Cirio and Alberto Lorca.

Here.

Do l have to read it?

No, but it mi9ht help.

You know, when l want somethin9, l usually 9et it.

l'm stron9er than l look.

Well, Antonio? What do you think?

See you tomorrow at the studio. Good-bye, Gir�n.

Who the hell does he think he is?

Stupid jerk!

Son of a bitch.

l'm 9oin9 to do that part.

We'll see about that.

Let's start.

That's it. Good.

Your whole body.

Let's see those hands flutter like doves.

Elbows in! Your waist!

We're here to dance!

What's the problem?

Transition.

Stretch your body up like a queen!

Carmen, come and watch.

Let's see here.

Are you payin9 attention?

Let's see it.

Your shoulders!

LiR up out of your waist!

Let's see some 9racefulness!

What is it?

Antonio wants to see you in his omice alone.

Go on with the class.

- You wanted to see me? - Sit down.

Cristina, help me out here.

Help you out? l'm doin9 all l can.

Please.

She's the one who has to practice.

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

l don't 9et it. There are dozens better than her.

That's my business. She has what l'm lookin9 for.

Sure... she's youn9.

Let's 9et somethin9 clear.

You're the best dancer, but you're not 9oin9 to be Carmen.

l need a dimerent type, someone youn9er. Is that clear?

Cristina...

you're my ri9ht hand here!

l need you, damn it!

Do me a personal favor.

What is it?

Help Carmen.

Work with her. Teach her.

l'll do what l can.

Are you just markin9 it, or dancin9 it, or what?

- l'm tryin9. - You're tryin9?

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

Put some accent in it!

What's wron9 with you?

You're not concentratin9.

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

You understand?

Come on!

Devour me!

Don't look away!

Come on!

Better!

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

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

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

You're Carmen!

Believe it!

lf you don't, who will?

Don't worry.

Don't worry?

l'll do it.

You bet you will! Ri9ht now!

By yourself!

More! That's it!

More!

Good! Good!

Come over here a minute.

Come over here.

We're 9oin9 to rehearse the scene in the tobacco factory.

Accordin9 to M�rim�e's story,

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

lt's very hot,

and since only women work there,

they've made themselves comfortable.

l want you all to feel that terrible heat.

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

l'm burnin9 up!

Just a minute.

All those not in this scene, clear the sta9e.

Sin9ers, sit over there.

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

Cristina, you sit here and have Carmen sit there,

and place the others as you see best.

Carmen, you mind switchin9 places with Blanca?

Sonia, trade places with Mar�a Jos�.

Teresa, take that chair.

Don't 9o near the brambles

Don't 9o near the brambles

The brambles have thorns

Thorns that tear aprons

The brambles have thorns

Thorns that tear aprons

rn th�s tobacco factory

There are ev�l women and there are 9ood women

rn th�s tobacco factory

There are more sluts than 9ood 9�rls

rn th�s tobacco factory

You better leave Carmen alone

Better not 9et �n Carmen's way

Carmen has a kn�fe

for anyone who 9�ves her trouble

Carmen has a kn�fe

for anyone who 9�ves her trouble

Don't 9o near the brambles

Very 9ood.

Very 9ood.

We'll each pitch in 100 duros, ri9ht?

What for?

- A little wine for Anto�ito's birthday. - Thanks, man.

l'll 9ive you mine later.

Here's my hundred.

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

- You too. - Like hell!

lt's my birthday! Get out of here!

l 9uess he's ri9ht. l'll 9o 9et some wine.

Sorry.

- Sorry, everyone. - Late a9ain.

- l couldn't 9et here earlier. - Tramic, ri9ht?

- Shall l chan9e? - No, sit down.

Listen, everybody.

Give me your attention a minute.

ARer the fi9ht in the factory,

Jos� takes Carmen into custody but then lets her escape,

so they throw him in jail as punishment.

He tells us,

''Lookin9 out throu9h the prison bars at the women passin9 by,

l saw no woman who could compare

with that she-devil.''

There's a line l think is very important.

lt explains the relationship between Carmen and Jos�.

Jos� says,

''She lied, sir. She has always lied.

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

But when she spoke, l believed her.

l couldn't help it.''

We're 9oin9 to work on the ne_ scene now.

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

lt's a miserable little room.

Let's ima9ine

that this is a hard old bed.

Beside it is a lamp. Lower that.

A little more. Okay.

There's a chair over there.

Step back a bit.

There'll be a table there,

a sort of dresser with a mirror.

Juan and Carmen, come here.

You be Jos�. We'll do this step.

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

Just a minute.

You have to be more feminine.

Caress him as you caress yourself.

Got it? Let's try it.

Caress him!

All ri9ht. Better.

Let's take the ladder away,

put the mirrors back,

and close the curtains very slowly.

Clear the whole space.

- May l? - Of course.

Take it easy.

We've 9ot plenty of time.

How about 9ettin9 me a drink?

You were dancin9 when l drove up.

Cookin9 up some wicked step to throw at us tomorrow?

No, l was practicin9 the Farruca.

You know, since l was 15,

l've danced just about everythin9.

But the Farruca tau9ht me what all this is about...

and l'm thanMul for that.

Sometimes l just start dancin9 it.

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

You've never danced the Farruca for love?

There'll never be a better time.

Dance it for me.

Now?

Dance for me, Antonio.

Come on, devour me!

Or are you just markin9 the steps too?

Shit!

What are you doin9?

l'm leavin9.

Leavin9?

l have to.

Where are you 9oin9?

lt's 2:OO in the mornin9.

Good-bye, Antonio.

l don't know.

What am l 9oin9 to do?

And then she comes in...

with the fan, the comb,

the flower, the mantilla -

everythin9.

All the clich�s.

But what of it? Why not?

Your husband's waitin9.

Happy birthday, old man!

To�ito, old buddy!

Happy birthday, nephew!

Paco, what do you know about Carmen?

Same as everybody.

You know somethin9 l don't.

l feel it in your looks, your hints.

Tell me what you know.

She's married to a 9uy who's in jail for dru9s.

- l know that. - Did she tell you?

Seriously - is she livin9 with someone?

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

She leR Gir�n, but l don't know who she's with.

l don't know anythin9.

What is it about her anyway?

You've had 20 women better than her. You're losin9 it.

Antonio, this is my husband.

Jos� Fern�ndez Montoya, at your service.

Antonio, how are you?

He just 9ot out of jail. Isn't that 9reat?

Don't rush!

Let's 9o.

Tauro, you're winded from smokin9 all those joints!

Don't rush!

Let's 9o!

Pick up your skirt!

Juan, strai9hten up!

Feet!

Tauro, don't look down!

Feet!

Hold on!

Easy now!

Enrique!

Tauro, strai9hten up!

Come on, man!

Don't lau9h!

Backs strai9ht!

All ri9ht. Good.

What do you want?

What's 9oin9 on?

You almost killed us.

What do you want?

lf you're 9onna be like that, for9et it.

What do you expect?

Go back to your husband and leave me alone.

l don't love him anymore.

A lot has happened.

You're the only one l love.

Stop it.

l wanted to talk to you about this.

He wants to 9o south and 9et a new start.

He just wants some money.

l told him about us.

He doesn't 9ive a damn.

He just wants to 9et out of here.

What are you thinkin9 about?

That should be enou9h. Tell him to leave you alone.

Why don't you move in with me?

We're fine as we are.

l'm afraid of losin9 you.

Don't be stupid.

You're the only one l love.

Your turn.

- How much have you won? - Two thousand.

Lucky st�m!

Play.

- Twenty to open. - l'm in.

Me too.

All we ever did in jail was play cards.

l raise 40.

l call.

Here's mine.

And here's mine.

- Cards? - Two.

lt feels 9reat to be free, man. l just can't tell you.

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

What will you do now?

The usual. What else would l do?

The dru9 scene's 9ettin9 tou9h. Lots of competition.

- l've 9ot 9ood connections. - A thousand pesetas.

All ri9ht.

- l'll see that. - l pass.

l'm already out.

All of it.

l'm out.

Si_een hundred.

Take 400 back.

Two, three...

and four. What have you 9ot?

Thirty-one.

Forty-one. l win.

Son of a bitch!

Mothe_ucker!

You can relax now.

Juan, did l hurt you?

No, don't worry.

- That was somethin9 else. - Damn!

God, l want to 9et this thin9 om!

Came out nice, didn't it?

l'll take this to makeup.

That was 9reat.

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

l couldn't tell.

You looked amazin9.

l'm 9onna quit dancin9 ne_ year.

You've been sayin9 that for 15 years. You're dancin9 better than ever.

The years take their toll.

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

Chin up!

l'm 9oin9 now. You want anythin9?

l'll see you later today or tomorrow.

Thanks, Paco. - Han9 in there.

See you tomorrow.

Get out and don't ever come back!

Get out!

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

Get out!

Let 9o of me!

You're hurtin9 me!

All ri9ht.

l have no ri9ht to make demands,

but l can't live like this.

Nobody is 9oin9 to spy on me!

l want to be free to do whatever l want.

With the first jerk who comes alon9?

What can they 9ive you that l can't?

l never promised you anythin9.

You have no ri9ht to demand anythin9 from me.

We love each other, ri9ht?

l don't know what else you want.

l want to be with you always.

l know l'm possessive and jealous.

What can l do?

l don't want to share you with anyone.

Come on now.

How can you be so dense?

Don't you know l love you?

Love �s torment and jealousy a tra�tor

Love �s torment and jealousy a tra�tor

Jearousy �s to brame l'm dy�n9 under �ts spell

Woe to the poor rover consumed by jealousy

From dusk to dawn jealousy w�ll devour h�m

Second verse!

Jearousy �s to brame for so many cowardly acts

Jearousy devours h�m l�ke a burn�n9 f�re

Love and �earousy are l�ke blood brothers

The poor rover can onry sumer �n s�rence

Let me 9o. l've had enou9h.

What have l done to you?

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

What have l done?

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

Carmen, don't leave me!

l love you!

There's nothin9 you can do.

Antonio, that's enou9h!

Don't leave me, Carmen.

l don't love you anymore.

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