Original subtitles

["La Vie Errante" playing]

[Zilah speaking in Spanish] Carmen, my heart.

These men.

[music fades]

They weren't the first and they won't be the last.

Different faces.

Different shapes and sizes.

But they are always the same man.

One man.

His eyes are sad but produce no tears.

He is parched and cold like the desert in the night.

His heart pumps sand through his veins, not blood.

He yearns for the tears of our eyes. The milk from our breasts.

The blood of our womanhood.

Anything, that he might taste life again.

He won't.

He can't.

[wind blowing]

-[wind chimes tinkling] -[steps thumping]

[engine revving]

[steps thumping]

[fingers snapping]

[engine rumbling]

[steps continue thumping]

[engine stops]

[in Spanish] Where is she?

Where is she?!

[steps thumping]

[gunshot echoes]

[woman breathing heavily]

-[wind whipping] -[crickets chirping]

[Zilah] You have loved me, as I loved my mother.

Now it is time for you to leave me. Time for you to fly.

Go to the City of Angels,

to La Sombra Poderosa. And find Masilda.

If you are my heart, then she is my spine.

She will be yours as well.

My precious Carmen...

inside you,

you carry my blood, my milk,

my tears.

Take them to my Masilda.

Both of you, share them.

Feast on me.

And I will live inside you forever.

Loving.

Dancing.

Laughing.

["L'oiseau s'envole" playing]

Hey!

[in Spanish] Do it.

[gasps]

["L'oiseau s'envole" turns dramatic]

[grunting]

["L'Amour est loin" playing]

[music stops]

You're the only one that keeps me out of trouble.

[laughs]

-Is that a beer for me? Thank you. -What? Oh, fuck you! [laughs]

[ominous music playing]

-You like that? -Ha!

[gunshot echoes]

[country music playing indistinctly over radio]

[gunshot echoes]

[gunshot echoes]

[gunshot echoes]

-Hey. -Hey.

How are ya?

Okay.

-You look like you could use a beer. -I'll take the Pepsi.

-Sure. -Thanks.

-Is there anything I can do to help? -No, I'm good. Thanks.

Hey, John.

Stop.

Not now.

Hey, handsome.

Can I get you a beer? No?

Oh, okay.

How about I just stand here and rub my boobs against your arm--

-She's just looking for attention. -She could get it from her husband.

-You should mind your own business. -You are my business.

[gunshot echoes]

It's an unfortunate side effect of being my little brother.

[Aidan] Mm-hm.

-Have you said hello to Jay yet? -Uh...

-No. Hi. -Come on.

Hey.

How're you doing?

-[Marie] Okay. -[Julieanne] Thanks for coming.

-[Aidan] Hey, Marie. -[Marie] Hey.

[Aidan] Hi, Jay. How are you?

[sound turns distorted and muffled]

[Marie] He's good. Always eager to see you.

-Last time, was it Thanksgiving? -Uh, yeah. Yeah, I think so.

[Julieanne] Yeah, it was.

[ghostly helicopter whirring and men screaming]

And we all got so hammered.

Did we? I guess so.

-It was so funny. Remember? -Yeah.

I remember Aidan played this song on his guitar.

Oh, he's always playing some song on his guitar.

-[haunting music playing] -[indistinct chatter]

I should get back.

-Aidan... -I don't want this stuff to burn.

See you later, Jay.

[music fades]

[poignant music playing]

[music fades]

[playing "Slip Away"]

♪ Oh, river come and carry me ♪

♪ Till I return to whiskey Bone and stone ♪

♪ Brave winged spirit guide us home ♪

♪ Don't slip away ♪

♪ Stray with me ♪

♪ Forever, like sand holds the ocean ♪

♪ Don't slip away ♪

♪ Lonely, wild, open plains ♪

♪ And barren sky Circling birds of prey ♪

♪ The wind groans ♪

♪ Whistling his shame ♪

♪ Don't slip away ♪

♪ Stray with me ♪

♪ Forever, like sand holds the ocean ♪

♪ Don't slip away ♪

[playing stops]

-Come on. Let's go. -[Aidan] Where?

To the border.

No. Not going.

Aidan, it's been nine months.

You can't just sit out here all alone, night after night.

Yes, I can.

Damn it.

Attention, Aidan's audience of none!

I'm oh so sorry, but he has to cancel tonight's lonely concert.

'Cause unless you know something I don't,

strumming that guitar isn't gonna pay the mortgage.

There it is. Yeah, nice.

If you're ever gonna get a job, you'll need to meet more people than me.

You know how many jobs there are in this town?

One.

So tonight, you show them how good you are

and maybe we won't have to move to the Motel 6.

["Il est là" playing]

[indistinct chatter]

[crickets chirping]

[in Spanish] Wait up, asshole. What's your name?

[in Spanish] Ramon.

[coyote] Are you Mexican, Ramon?

[Ramon] Yes, yes. Francisco is my wife's cousin.

He gave you the money, right?

[coyote] Now wait for the truck.

[coyote and woman speaking indistinctly]

[whispering] Nothing's wrong.

Look.

For you.

You're okay.

["Lullaby" playing]

[Carmen singing] ♪ Don't cry anymore, blue night ♪

♪ Your shadows shelter my soul ♪

♪ For now, fly without fear ♪

♪ It's time for me to leave ♪

♪ If I get lost in the wind ♪

♪ The wind has given me wings ♪

♪ Sing the echo of who I've been ♪

♪ And my blood burns all the way to dawn ♪

[vehicle approaching]

[ominous music playing]

[coyote speaking indistinctly]

[indistinct police radio chatter]

-Hey. -Yeah?

-My phone's on if-- -Yeah.

-Whatever, yeah. -Sure.

-Okay. See ya. -Bye.

[soldiers chattering]

-[man 1] It's your first time, right? -[man 2] Yeah, yeah.

[man 1] You're gonna love it. There's nothing like it.

Fucking A, brother, fucking A. Come here.

You met Aidan? He's patrolling with me tonight.

Ah... Don't believe I have.

-Phil. -Hi.

[Mike] First night out.

Got home from Afghan last August.

-[Phil] How many tours? -Uh, two.

-I'm volunteering the next. -[Phil] Damn.

-Yeah. -Welcome home, son.

-I appreciate your service. -Thank you.

We need more guys like you here.

Wait until you see how it feels

to guard your country from your own backyard.

All right, listen up.

We've had two or three scout sightings just west of Puerto Palomas,

so maybe keep an extra eye out there.

You guys are out here on your own dime.

Helping us do our jobs.

We appreciate it.

The country appreciates it.

[Jimmy] You guys know the drill.

You put eyeballs on anybody, you call it into base.

-Base calls Border Patrol. -[Phil] All right.

[Jimmy] Weapons check!

[guns clacking and cocking]

[Pete] So anyone learned Spanish yet?

What for?

[Pete] If we're hunting Mexicans, someone ought to speak Spanish.

Why? You know how to speak deer?

[all laughing]

[ominous music playing]

[engine rumbling]

[Mike] What the hell?

You seeing this?

[Aidan] Call it in.

["Si tu m'aimais, tu me suivrais" playing]

Mike.

[Mike chuckles]

[Mike] Either the beaners left it here,

or someone left it for them for when they cross.

[engine turns off]

Mike.

Mike.

Get back in the truck and call it in.

[music fades]

There's nobody here!

[man whimpering]

Mike, stop! Put the gun down!

Got him. I got him!

[Aidan] Hey! Hey!

-[man grunts] -Mike!

-[Mike] Fuck! -Mike, Mike, Mike, stop, Mike! Mike!

[metal clatters]

Fuck!

[dramatic music playing]

[breathing heavily]

[breathing heavily]

No! Mike, let her go!

[Mike panting and grunting]

Okay. Take these. Here. Come here.

[in Spanish] Thank you.

[Aidan] Here you go.

Water, water. Wait, wait, wait.

Go. Go. Quickly, okay?

[Carmen yells, then grunts]

[Mike grunts]

[Mike] Don't fucking move, all right?

-I will fucking shoot you, I swear to God. -[grunting and panting]

You wanna say good night?

You wanna say good night?

That's fine. Hey. Todo bueno.

[gunshot]

[music turns unsettling]

[gasps]

[truck engine starts]

Hey! Hey!

Get out of the truck.

[music turns dramatic]

You know where you're going?

North.

Take the next right!

[music fades]

[engine sputtering]

-[engine stops] -[alarm beeps]

[engine starter whirs]

-[wind whipping] -[insects chirping]

-[Carmen panting] -[engine rumbling]

[engine turns off]

Get in.

[unsettling music playing]

[jingling]

[ghostly voice whispers indistinctly]

[engine turns off]

["Regardons passer les gens" playing]

[indistinct police radio chatter]

[John] Christ, Mike.

You knew him?

Where you from?

El Paso.

[flies buzzing]

[John] Well, this is damning. Of course I fucking knew him.

Get an APB out on a blue '88 Chevy.

[music turns dramatic]

[music fades]

[engine turns off]

[truck door slams]

[laughs]

[dramatic music playing]

["Je veux dire ton nom" playing]

That man you shot.

Was he your friend?

You speak English good.

Well.

I speak English well.

His name was Mike.

Are you a soldier?

Mm-hm.

Marine.

My name is Carmen.

Do you have a name, Marine?

[indistinct police radio chatter]

Hello, sir.

["Songe bien" playing]

[horn blaring]

[music fades]

[Carmen and man speaking in Spanish]

-[dramatic music playing] -[sirens wailing]

[Carmen in Spanish] What's your name, sir?

[in Spanish] Angel. And yours?

Carmen.

-And where are we going, Carmen? -To your city.

The City of Angels.

I've never said no to an adventure.

Me neither.

My name's Aidan.

[dramatic music continues]

[music fades]

["Quand je vous aimerai" playing]

[band playing "Réponds-nous"]

[music stops]

[in Spanish] Angel. This is my friend Pablo.

He is going to Los Angeles and he offered to take us.

[in Spanish] Are you sure?

Yes. We've taken you far enough.

No, it's too much.

Please.

Thank you.

Be careful, Carmen.

Always remember that the thing you're running from

is almost always the thing you are running toward.

Thank you.

Thank you.

["Le Ciel Même" playing]

[music intensifies]

[knocking]

[knocking]

[tense music playing]

[music fades]

[tranquil music playing]

[music turns dramatic]

[music fades]

[Pablo] So how long have you guys been together?

[Carmen in English] Long enough.

[Pablo] Long enough?

Okay.

[Carmen] Okay.

I wouldn't do that.

My boyfriend gets jealous.

And violent.

[in Spanish] Why don't you get rid of Blondie and come with me?

[in Spanish] Because he's a man, and you're a musician.

-Pablo. -Yo.

[in Spanish] I understand Spanish.

[in English] It's all good, man.

Let's hit the road.

[in English] You think I'm a man?

Hm?

[engine starts]

["To Los Angeles" playing]

[engine turns off]

[Pablo] This is it.

[music fades]

[poignant music playing]

[engine starts]

There you are.

[music fades]

-Sure you don't wanna come in? -No, I should keep moving.

What are you gonna do?

Hide.

Figure it out.

Anyway, I...

I'm glad you made it.

You should lay low for a while.

[siren wailing]

["Ta Promesse" playing]

[ominous music playing]

[electricity buzzing]

[band playing "Ven a Mi"]

[Masilda in Spanish] She's here, they're here.

Make way for her.

She is from nowhere in particular,

but she knows where she comes from and she knows where she is going.

Clear the way for this woman.

Her strength is her root, her story.

What holds her when she loses her way, when she doesn't know where to go.

Clear the way for her strength.

The strength of her blood.

The strength of her mother, of her grandmother,

of the soil fighting to emerge.

Throw me a chance,

and chance will throw you back to me.

Clear the way for this woman. Majestic in her domains.

She is from nowhere in particular,

but she knows where she comes from

and she knows where she is going.

Clear the way for this woman.

Her story is her root.

What holds her when she loses her way,

when she doesn't know where to go.

Clear the way for her strength.

The strength of her blood.

The strength of her mother, of her grandmother,

of the soil fighting to emerge.

Throw me a chance, and chance will bring you back to me.

Clear the way for this woman.

Come and rest on me.

Put your life on pause.

Rest in my lap.

Come and rest on my chest.

Life is a mystery that no one can solve.

What's important is to know who you are

and where you want to go.

What's important is to know who you are

and where you want to go.

-Excuse me. -What can I get you?

I'm looking for Masilda.

To drink.

What can I get you to drink?

Uh... tequila.

Tequila, hm?

You? Hey.

-Hm? -Casper the Ghost, what can I get you?

Uh, just a Pepsi.

-A Pepsi? -Yeah.

That's hot.

[in Spanish] ♪ If you're looking For a place to be free ♪

♪ Free from that hurtful thing ♪

♪ That oppresses your soul ♪

♪ If you need refuge from what kills ♪

♪ From the tides of this world ♪

♪ Come to me ♪

♪ Come to me ♪

[scatting]

♪ Come to me ♪

♪ Come to me ♪

[music fades]

[knocking on door]

Who the fuck is it?

How many times do I have to tell you I don't want to be bothered? Fuck.

[door opens]

[Gabrielle in Spanish] Yeah, I know. Calm down.

This Mexican girl is really insisting.

What girl?

[Gabrielle] Come in.

[in English] Who are you?

Are you looking for a job?

I...

I don't know.

Maybe.

Carmen?

[in Spanish] Carmen, is that you?

Holy Mary!

My God, I can't believe it.

You've got your mother's eyes.

Like burning coals.

[in Spanish] They killed her.

Damn those sons of bitches.

My mom told me you were like sisters.

Yes.

Sisters of life and sisters of death.

I wanted to ask you if I could stay here for a night or two?

Of course. Of course, sweetheart.

Can I give you a hug?

[sighs]

[sobs] Oh, Carmencita.

[poignant music playing]

[sobbing] Carmencita, little girl.

[in English] Who is this?

[in English] This my friend Aidan.

-Ah. Welcome, Aidan. -Thank you, ma'am.

Oh, he has manners.

[in Spanish] The quiet ones with the manners

always have the big pee pees.

[Gabrielle] Masilda, stop.

[unsettling music playing]

See what I have to put up with?

[Masilda] He looks like he has a good pee pee, doesn't he?

What'd she say?

She say you have potential.

Yes, you have lots of potential. Lots of potential.

It's true.

I'm sure he's hungry too.

-[in English] Are you hungry, huh? -Yeah, sure.

[in Spanish] Give him something to eat.

[in English] Gabrielle gonna give you something. Go with her. Get some food.

Yeah. A pleasure to meet you.

[Masilda] Oh, my pleasure. My pleasure.

For me a pleasure, too, darling.

Great.

Look, he look like Anthony Hopkins.

If I was 30 years younger, I'd go:

Like a platter of chilaquiles.

-[in English] Come. -Mm-hm.

[Carmen in Spanish] No, no, no. It's okay.

[Masilda] Shh.

[in Spanish] It's the first time you enter my home. Let me do it.

["Pour pays l'univers" playing]

In Sevilla, in my family, we do it like this.

These feet know how to dance, right? They're butterflies.

[tango music playing over speakers]

[unsettling music playing]

Do you know if there's a telephone booth anywhere I could use?

A telephone booth?

Yeah, you know, like a pay phone. I have to make a call.

Yeah, I didn't think you were gonna change into a cape and tights.

You can use mine. I won't listen.

No, it's, uh... it's private.

Use the house phone. There's one on the podium.

No, I just need a pay phone.

I don't think they exist anymore.

But check the old bodega.

Think I saw one at the back.

It's okay. Don't worry.

Thanks.

I, uh... I have to call my sister.

I didn't ask.

[police sirens wailing]

[line dialing]

[Julieanne] Hello?

Aidan, is that you?

You have to tell me because we don't know if you're...

Is it you?

["Le Destin" playing]

It's me.

Oh, Thank God.

Are you okay?

I don't know what they told you, but it's...

It's not...

Stop.

I just wanna know if you're okay.

I'm okay.

Jules--

The bullet they found was...

They said that...

Just tell me it was an accident, Aidan.

Tell Nancy I'm sorry.

And Sarah.

I gotta go.

Jules--

Don't tell me where you are.

I don't wanna know.

I can't come back.

I'm not coming back.

Jules...

you took good care of me.

I love you.

Yeah.

I love you too.

Aidan?

[in English] Here we are.

It's not everything, but you're gonna be comfortable.

Thanks.

I thank you very much to take care of Carmen.

She's tough, but she's also frail, you know?

So are you. Right, sweetheart?

Uh...

Anyway, my heart and my house are both full today.

Sweet dreams.

[ominous music playing]

["Rooftops" playing]

[music fades]

-[clapping] -[Carmen gasps]

[in Spanish] Sorry. I didn't see you.

[Masilda in Spanish] You do it beautifully, Carmen.

Precious.

I don't dance like her.

You don't need to.

Everyone dances how they feel. That's how it's supposed to be.

Look at yourself.

You're beautiful.

Everything you're looking for is here.

Inside you, everything is here.

Don't doubt it.

[scatting]

Oh, my little girl.

Get it out.

Get it out.

Don't torture yourself anymore.

Get it out and don't torture yourself anymore.

She is here with us.

I miss her.

She is here with us.

She is here, feel her.

Everything is wrong.

I don't know what I'm doing here.

-You're alive. -Why am I here and not her?

You're alive.

And you're looking for yourself, and that is already a gift.

Don't worry about anything else.

She will always be with us. Always.

Carmen.

Dance.

Dance, because that is what she made you for. To dance.

Dance. Dancing will heal you.

Don't worry about anything.

[poignant music playing]

For her. Dance for her and for you.

Look.

Do you feel it?

Can you feel her here?

Your hands are cold.

Cold hands and warm heart.

Why didn't she tell me about this place? Why did she leave?

She needed to be with your grandmother.

And then with you.

She sacrificed herself for both of you, but...

you have to make sure it was worth it.

Don't torture yourself anymore.

You have to be free.

Beautiful Carmen.

-Let's move our skirts. -[laughing]

And let's dance.

And let's sing.

That's what we were born for.

We built this place together, your mother and I.

We dreamt of every corner.

We would stay up late, smoking and drinking.

Dreaming.

This place is your home.

You can always come here, whenever you want.

Always.

She'll be waiting for you because she is here in your heart.

She is in both of our hearts.

Why do you think we named the club La Sombra Poderosa?

Because Zilah means "shadow"

and Masilda means "strong."

Strong shadow.

-Dance for me here, okay? -Here?

Yes. I can even change the name if you want.

I can name it El Poema Poderoso.

Because Carmen means "poem."

And you're the beautiful poem that she wrote.

[ominous music playing]

[speaking in Spanish indistinctly]

-Good to see you. -You too.

How you been?

[Aidan] Yeah, I've been better.

Have you seen Jay lately?

Yeah. Yeah, we had him over.

He's, uh...

He's the same.

-Shit. -Yeah.

[engine revving]

They called me.

And?

And I said it didn't sound like you.

What can I do?

I need cash.

You know I wish I could.

Fuck.

You know I'm fucked, man. I...

[chuckles]

And what do you mean, you wish you could? I...

Aidan.

Every Friday, there's a fight.

Cash prize.

-How much? -Over 10 G's.

Could be more.

Three rounds.

No gloves.

You come throw down, pot's gonna get big.

Why's that?

'Cause you're a white boy.

Boys love to bet against a white boy.

[engine revving]

["Amor" playing over speakers]

[people laughing and chattering]

[inaudible dialogue]

[crowd cheering]

["Mal Hombre" playing over speakers]

♪ I was still a young girl ♪

Oh, what a young girl!

♪ When you found me by chance ♪

How convenient!

♪ And because of your worldly charm ♪

♪ You crushed the flower of my innocence ♪

He took it away.

♪ You did with me what all men do ♪

♪ The ones who are like you with women ♪

They're assholes!

♪ So don't be surprised that now ♪

♪ I tell you who you are to your face ♪

What is he? What is he?

♪ Bad man ♪

What is he?

♪ Your soul is so vile ♪

♪ That it has no name ♪

♪ You are a scoundrel, you are evil ♪

♪ You are a bad man ♪

["Mal Hombre" continues]

Punch.

Yep, two. One, two. One, two.

And roll. Roll. That's it. Under my hand.

One, two. One, two. One, two.

One, two. One, two.

Jab. Go. Go.

[tender music playing]

[music turns poignant]

They're gonna find us.

I mean, you know that, right?

[music fades]

You should stay here.

You belong here.

-No, I don't. -Yeah, you do.

-And you don't get to-- -Carmen.

--tell me where I belong.

[in Spanish] I belong to myself.

And to my heart.

And I go wherever it calls me.

Do you understand?

["Tout Mon Etre" playing]

[music fades]

[groaning]

[ominous music playing]

["Songe bien" playing]

[Carmen whispering in Spanish]

The Lord is with thee.

Blessed art thou among women,

and blessed is the fruit of thy womb, Jesus.

Holy Mary, Mother of God, pray for us sinners...

now, and at the hour of our death.

Mother.

[music turns dramatic]

Mother.

You told me to fly...

It's a cruel God who grants you the gift of flight...

but never allows you to land.

Come on.

Ready? Go.

It's time to go.

[Carmen in English] We have no money.

-How far are we gonna go? -Find out tonight.

Tonight?

What's tonight?

It's, uh... it's a shot at money.

I just need you to trust me, okay?

-Aidan. -What?

What are you--? Where you gonna go?

Listen, I...

-I have to do something. -No.

No, we didn't come all this way for you to disappear now.

You keep saying "I." It's not "I," it's "we."

-Just tell me what-- -There's a fight.

[ominous music playing]

We have to go now, okay?

Tonight.

Let's go.

[music fades]

[audience applauding]

You paid to see blood and blood is what you'll see.

Blood of my blood. She is one of a kind.

Carmen. The most beautiful poem, made into a woman.

["Tú y Yo" playing over speakers]

♪ Wait ♪

♪ This too shall pass ♪

♪ It's dust ♪

♪ From what is to come ♪

♪ To be able to tell What happened without the pain ♪

♪ To be able to sing it, you and I ♪

♪ I know ♪

♪ You want, you want to know ♪

♪ If you ♪

♪ Are going to be saved today ♪

♪ If time ♪

♪ Will heal everything ♪

♪ To be able to sing Like someone without fear ♪

♪ To be able to sing it ♪

♪ You and I ♪

[music fades]

["Cello Impromptu in F Minor" playing]

[tense music playing]

["Waltz Tango" playing]

[music stops]

[audience cheering and applauding]

[ominous music playing]

[crowd yelling and cheering]

["Jamais Carmen ne cèdera" playing]

[inaudible dialogue]

[music fades]

-[speaks in Spanish] -[crowd cheering]

[tense music playing]

[in English] Everybody ready?

First rule:

There ain't no rules, man.

[speaks in Spanish]

[in English] We fight over here, baby.

We ain't got no bells.

[speaks in Spanish]

[in English] Here, we fight to the death.

[speaks in Spanish]

[in English] All right, we good?

[speaks in Spanish]

[in English] Bets! Bets!

C'mon, man, y'all gonna make some money or not?

Because here, tonight...

you gonna dance...

or you gonna die.

[dramatic music playing]

♪ Look at that boy from Compton 8-piece like the Mamba ♪

♪ Wanna be king in Cali? ♪

♪ Whup that fool like his mama ♪

♪ Bring that fucking drama Hell-bent like Osama ♪

♪ Hit his ass with the llama Hit his ass with the llama ♪

♪ 'Cause we got the bag to put him in We got the money he'll never win ♪

♪ Look at the giant drilling him Speed shooting like adrenaline ♪

♪ Beat his ass, get him Kill his ass, kill him ♪

♪ Murder, murder, killer fucking gorilla Soul stealer up in your village ♪

♪ A major drug dealer coming to get 'em ♪

♪ Can't nothing save ya From seeing the villain ♪

♪ Bloody, bloody death, look at the body ♪

♪ He took his last breath Now it's a party ♪

♪ Let's make a fast break Get to the border ♪

♪ Like fuck a wall, punk We on disorder and chaos ♪

♪ Chaos ♪

♪ Mayhem and a violent past ♪

♪ No problem whupping your ass ♪

♪ Chaos, chaos ♪

♪ We the kids that you fucking forgot ♪

♪ Now we in charge Fucking like it or not ♪

[crowd cheering]

-[rapper] ♪ One ♪ -[man in Spanish] ♪ Get up, get up ♪

-♪ Two ♪ -♪ Get up, get up, get up ♪

-♪ Three ♪ -♪ Get up, get up ♪

-♪ Four ♪ -♪ Get up, get up ♪

-♪ Five ♪ -♪ Get up, get up ♪

-♪ Six ♪ -♪ Get up, get up, get up ♪

-♪ Seven ♪ -♪ Get up, get up ♪

-♪ Eight ♪ -♪ Get up, get up, get up ♪

[rapper] Oh!

Ready?

Let's go.

[tense music playing]

♪ Oh, shit ♪

♪ Yo, look at this ♪

♪ He got some heart ♪

♪ Ain't that a bitch? ♪

♪ He came to dance Chop a giant, get fucking rich ♪

♪ Beat his ass, get him ♪

♪ Kill his ass, kill him Bloody murder like Tyson ♪

♪ Eat his motherfuckin' children ♪

♪ Break him down to his last breath Beat him till he take his last step ♪

♪ You get the money and get away When this motherfucker can taste death ♪

♪ Dance, get up, dance, get up ♪

♪ It's a time to run, amigo ♪

♪ It's a time to fight and make a way Dance, get up, dance, get up ♪

♪ Oh, shit ♪

[music fades]

["Je l'aime" playing]

-[tires screech] -[siren blaring]

[officer] Everybody down! Freeze!

[gunshots]

["C'est l'Espada" playing]

[Carmen] Get up!

-Wait. -Yeah.

-Are you okay? -Yeah.

Go. Go.

[Aidan] Stop.

-[groaning] -[music fades]

Hey, hey, hey.

[groaning and gasping]

[groans] I don't-- Leave it, leave it.

Hey. It's okay. Hey.

We have to go.

Yeah. Yeah.

Can you get up?

-Okay. -Yup.

[grunts, then groans]

It's okay. It's okay.

It's all right. Hey.

Hey.

It's okay.

It's okay. Yeah.

Yeah.

Okay.

-It's okay. -Yeah.

["Vive La Musique" playing]

[music fades]

[wind blowing]

["Rebelle" playing]

[dramatic music playing]