- 14 hours ago
مسلسل Étoile مترجم - Episode 1
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TVTranscript
00:00:00Last five
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00:00:54I'm going to go to the bathroom.
00:00:55Why don't we go home?
00:00:56I haven't slept in the morning.
00:00:58Let's go.
00:01:29Let's go.
00:01:56Let's go.
00:02:01Have you heard of this guy?
00:02:03He's one of the hottest DJs in the country.
00:02:06He's wearing a styrofoam hat.
00:02:09That's his professional name, styrofoam hat.
00:02:25Guess what?
00:02:26Hands all on me till my dress gets worn.
00:02:27Watch me do it, do it real hard.
00:02:29Call my, my, my, my, you.
00:02:31Tchaikovsky or Aaron Copland?
00:02:34Tchaikovsky, no question.
00:02:35No, no.
00:02:36Copland was from Brooklyn.
00:02:37He would have been fighting in the streets.
00:02:38He could totally take Tchaikovsky.
00:02:39But Tchaikovsky had that Russian thing going.
00:02:42Upper body strength.
00:02:44And syphilis.
00:02:45What?
00:02:45Who has syphilis?
00:02:47Tchaikovsky.
00:02:47He was dripping with syphilis.
00:02:49Tchaikovsky didn't have syphilis.
00:02:51I'm pretty sure he did.
00:02:52Didn't they all have syphilis?
00:02:54They didn't all have syphilis.
00:02:55Schubert had syphilis.
00:02:57Schumann had syphilis too.
00:02:58And Paganini.
00:03:00So much syphilis.
00:03:01Tchaikovsky with syphilis.
00:03:03We could still get Copland in a fight.
00:03:05Only if Copland had syphilis.
00:03:07Nicholas, you went to school with Tchaikovsky, did he?
00:03:10Or did he not have syphilis?
00:03:12What?
00:03:38None of us have syphilis.
00:03:41We were just discussing famous composers who had syphilis.
00:03:45That's really weird.
00:03:47Wow, we're in the ballet.
00:03:53And the stars take sun a box.
00:03:57The night begins.
00:03:59A lover's heart's waiting for the moon to rise.
00:04:04The world's the stars.
00:04:06A lifter asks.
00:04:09Nights are for love.
00:04:12A stars are for the heavens above.
00:04:15In every moon there is a light for those who love
00:04:23Nights are for love
00:04:27The stars are for the heavens above
00:04:30In every moon there is a light for those who love
00:04:38Nights are for love
00:04:42The stars are for the heavens above
00:04:46In every moon there is a light for those who love
00:04:53Nights are for love
00:04:57The stars are for the heavens above
00:05:01In every moon there is a light for those who love
00:05:31To the bar, you know what to do
00:05:46An hourly employee claimed they were asked to work off the clock
00:05:49They won an apology and $5,000
00:05:50You know what needs $5,000?
00:05:52Our Sunday matinees
00:05:53You tie one on last night?
00:05:55Like I would tell you
00:05:56Another employee lodged a complaint about a toxic work environment and bullying
00:05:59Sounds like a real sissy
00:06:01Oh, Kate, that was a joke
00:06:02You know, I was pretending to be a bully
00:06:04So, 12 of your dancers have not completed their online sexual harassment course
00:06:07They're months overdue
00:06:08I'll get an aspirin
00:06:10Plus two of the administrative staff
00:06:12Are you kidding me?
00:06:13I told everybody, god damn it
00:06:16I'll take care of this, Kate
00:06:18Some people, huh?
00:06:20You were supposed to do it for us
00:06:21The skit on snack shaming was so poorly acted I had to turn it off
00:06:24Well, that's unprofessional, Julian, okay?
00:06:25Very unprofessional
00:06:26Sorry
00:06:26They still didn't fix that thing?
00:06:29Where are they going?
00:06:30Are they growing legs and walking out on their own?
00:06:32What's happening?
00:06:32Hard to say
00:06:33Not that hard
00:06:34They're going in purses, pockets
00:06:35They're being stolen
00:06:36Not necessarily
00:06:37Stolen, absolutely
00:06:38Most are stolen
00:06:39Last week I went to a cocktail party at Ainsley Perdue's house
00:06:42She has a set of six
00:06:44We don't sell these, Jack
00:06:45I know
00:06:46I mean, in a way, it's kind of flattering
00:06:47So, what do we do?
00:06:48Frisk these old ladies as they walk out the doors?
00:06:50Oh, I really don't
00:06:50We need another hundred
00:06:51Another hundred?
00:06:52And they're 110 each
00:06:53110?
00:06:54Who's doing the etching?
00:06:55Degas?
00:06:55Plus tax and shipping
00:06:56It's the etching
00:06:57The etching is costly
00:06:59Then screw it
00:06:59Skip the etching
00:07:00We can't do that
00:07:01I'm not paying ten thousand fucking dollars
00:07:03Because the fucking Perdue's are fucking kleptomaniacs
00:07:05Skip the etching
00:07:06But they won't match
00:07:07What are we, Cleveland?
00:07:11Cleveland?
00:07:13Cleveland?
00:07:41Lisa's a bullet, she just gets stronger every day
00:07:44You as hungover as me
00:07:46That's what I'm saying
00:07:46Do we swing for the fences, feature her opening night, premiere a new face?
00:07:50Steven, you look as if you're nodding off, fall forward with the chest
00:07:53Marketing would love it
00:07:54So will the audience
00:07:55I say let's do it
00:07:57Your head is a feather
00:07:59Great, great
00:08:00First good thing I've heard all day
00:08:01I'm going back to my office and popping her on the board
00:08:04God, too hard
00:08:05Excited, Nicholas
00:08:06She will be too
00:08:07It's the second piece of good news for her this week
00:08:11That's it, Steven
00:08:12What, you win the lottery?
00:08:14No, the baby
00:08:17You knew about that, right?
00:08:24The mayor canceled
00:08:25Again?
00:08:26I'm getting a vibe like they think you're planning to run against him
00:08:28I have no plans to run for mayor, yet
00:08:31Wait, is this right?
00:08:32I've got an hour long with Genevieve and her team today
00:08:34At three
00:08:35I wined and dined in last night
00:08:37She rebuffed my advances twice
00:08:39What's left to do?
00:08:40Was that sexual harassment?
00:08:41Yes
00:08:42The meeting's been on the books for Wage
00:08:44Genevieve was very specific about it
00:08:45One hour
00:08:46An hour?
00:08:47What the fuck?
00:08:48Jack, you read Arts and Leisure yet?
00:08:50Should I?
00:08:51Despite promising stars and well-placed intentions
00:08:54The reimagined piece proved low on actual imagination
00:08:57That's just mean
00:08:59Hi, Jack
00:09:00Hi, Alicia
00:09:01Congrats on the baby
00:09:02So excited
00:09:04Reviews don't matter
00:09:08So, last night was fun
00:09:10Loud
00:09:11Fucking loud
00:09:12Loud, yes
00:09:13They do play the music quite loud
00:09:15There's one scotch too many for me
00:09:17I throw up all night
00:09:18Anyone else throw up all night?
00:09:20We're French
00:09:21So, I thought we said our au revoirs
00:09:24I'm sorry, you think my team and I flew all the way from Paris
00:09:27To drink watered-down vodka
00:09:29And dance to DJ Fomehead
00:09:31What's going on here?
00:09:34You're in trouble
00:09:35What?
00:09:35Your company is in trouble
00:09:37No, it's not
00:09:38Yes, it is
00:09:40Minus two
00:09:40The audience is dead and dying
00:09:43So's the funding
00:09:44I've got union issues
00:09:46You're French
00:09:46Then there was the mighty reign of King COVID
00:09:48I've got long COVID
00:09:50Our dancers sat idle for months
00:09:52Losing muscle mass and fucking and eating
00:09:55And eating
00:09:56And eating
00:09:56Some quit
00:09:57Four of mine did
00:09:58How many for you?
00:09:59Six
00:09:59There are some on sabbatical
00:10:01Sabbatical?
00:10:02Come on, Jack
00:10:03Where's Lauren Straw?
00:10:05She wasn't on stage last night
00:10:06She makes plant-based donuts in Memphis
00:10:08They're terrible, by the way
00:10:10You need lard
00:10:11You just need lard
00:10:13There's no way around it
00:10:14Plant-based donuts?
00:10:16Face the facts, Jack
00:10:18A lot of our dancers have abandoned toe shoes for TikTok
00:10:21The dressing rooms are filled with screaming babies
00:10:24And asshole rescue dogs
00:10:26A generation of young people was lost
00:10:28The pipeline is ruined
00:10:30The seats are empty
00:10:31Not ours
00:10:32No, that's right
00:10:33Once we closed off the balconies
00:10:35The house filled right up
00:10:37We have to fix this
00:10:38Our jobs are on the line
00:10:39Yours, mine
00:10:40Every person in here
00:10:42Their heads are on the chopping block
00:10:44Okay, fine
00:10:45Big talk
00:10:45What do we do?
00:10:47I propose a swap
00:10:48We trade our top talent
00:10:50Yours for us
00:10:52Wait a minute
00:10:53I'm cautiously intrigued
00:10:55Launch a massive transatlantic market
00:10:58Marketing campaign to bring the audience back to us
00:11:00Get people interested in dance again
00:11:02Put fresh faces out there
00:11:04Maybe do a documentary or a reality show about the swap
00:11:08Do you like pink?
00:11:10The color?
00:11:11The singer
00:11:11She can host
00:11:12You're kidding me, right?
00:11:13We don't joke about pink
00:11:14Okay, back up
00:11:15Back up
00:11:17Point of logic
00:11:19If, and I say if we were in that much trouble
00:11:22How in the world would we pay for this massive transatlantic marketing campaign?
00:11:26It's counterintuitive
00:11:27C'est contre-intuitif
00:11:30Your accent is terrible
00:11:31Do you have any idea what marketing costs cost in New York City?
00:11:34Costs, costs?
00:11:35What costs, costs
00:11:36Costs, costs
00:11:37Why do you keep saying it twice?
00:11:39You know what I'm saying
00:11:39My company's in Paris, Jack
00:11:41Not Poop Town
00:11:42Poop Town!
00:11:43I know what marketing costs, costs
00:11:45But I've secured the financing
00:11:47For both of us
00:11:48Oh, really?
00:11:50How?
00:11:53Hello, hello
00:11:55What a glorious day to be meeting
00:11:57No
00:11:57I just had a hot dog out in the park
00:11:59It was sublime
00:12:01No
00:12:01You must forgive me for barging in like this
00:12:03Awfully dramatic, I know
00:12:04But blame dear Genevieve
00:12:06She thought that you should hear this directly from me
00:12:09Hello, Jack
00:12:10No
00:12:11And your vocabulary's improved immensely
00:12:14So
00:12:14This swap
00:12:16Brilliant idea
00:12:17And all dear Genevieve
00:12:19Vous êtes aussi intelligente que belle, ma chère
00:12:22And it's true
00:12:22I will sponsor the whole thing
00:12:25Travel, lodging, pointe shoes, pink
00:12:27The entire marketing campaign
00:12:29All and any publicity
00:12:31And I will even go beyond that
00:12:33And pay for all capital improvements on your facilities
00:12:37We don't need capital improvements
00:12:39Dear boy, you do
00:12:41How did you get in here?
00:12:43You're not allowed in the building
00:12:44Jack
00:12:45I've tried working with you in the past
00:12:47You've turned down all the many, many contributions I've offered you
00:12:52You were quite dismissive
00:12:54In fact
00:12:55I'm not used to that
00:12:59But as they say
00:13:00All water under the bridge
00:13:01What's in front of us is all that matters
00:13:03So you can go ahead and tell them to etch those new champagne flutes
00:13:07And double the order
00:13:10This art form will survive
00:13:14And prosper
00:13:17I'll make sure of it
00:13:28Does anyone else smell sulfur?
00:13:33Sorry, did I miss something?
00:13:35Crispin Chamblee
00:13:36It was the only way, Jack
00:13:37You befriended the devil
00:13:38And you brought him into my house
00:13:40He's not my friend
00:13:41He's my boss
00:13:42Don't let the
00:13:43Oh, I'm so cute
00:13:45I'm so cuddly
00:13:46I ate a hot dog
00:13:47And it was scrumdily
00:13:48Uptious demeanor
00:13:49Fool you
00:13:50That man
00:13:52Manufactures weapons
00:13:53And sells them to God knows who
00:13:54That man is a friend of tyrants
00:13:55That man is a noxious chemicals manufacturer
00:13:58Well, none of us are perfect
00:13:59That man
00:14:00Delivered the eulogy
00:14:01At Rush Limbaugh's funeral
00:14:03That man
00:14:04Rapes soil
00:14:05He's a soil raper
00:14:07That man is Beelzebub
00:14:08Yes, that's all true
00:14:10And Ballet needs his money
00:14:12Blood money
00:14:13Yes
00:14:18I want a sidebar
00:14:19A sidebar?
00:14:21Qu'est-ce que c'est
00:14:21Une barre latérale?
00:14:22Ce type est un imbécile
00:14:24Just follow me, Geneviève
00:14:25I speak French, dummy
00:14:30Why are you doing this?
00:14:32Cold cocking me in front of my staff
00:14:35Because if I had suggested the idea in an email
00:14:38You would have said no
00:14:39Is this because of our thing?
00:14:40Is that it?
00:14:41Our thing?
00:14:41Notre aventure
00:14:42On a coché ensemble
00:14:43Are you punishing me for that?
00:14:45No
00:14:45You broke up your marriage
00:14:46I never really lied that, husband
00:14:50Well, thank you for thinking so much about my company, Geneviève
00:14:53But I want no part of this
00:14:54You wasted your time
00:14:55Jack
00:14:56You need help arranging travel back to Paris?
00:14:58No? Good
00:14:59Have a safe trip
00:15:00Jack
00:15:00Jack
00:15:00Jack
00:15:03Jack
00:15:03Jack
00:15:04Jack
00:15:04Jack
00:15:07Jack
00:15:09Jack
00:15:09Jack
00:15:10Jack
00:15:11Jack
00:15:11Jack
00:15:12Jack
00:15:15Jack
00:15:19Jack
00:15:34You need baking soda for blood, or bleach, and you have to scrub them super hard.
00:15:39Or get new ones, hello?
00:15:41They're supposedly backordered.
00:15:42Guess they got the order in late.
00:15:44But bleach should do it.
00:15:57Open to the world!
00:15:59Open!
00:16:00What does it sound like to open up to the world?
00:16:06And silly face, silly face, silly face, and silly walk, and silly face, that's it.
00:16:13Dancing is discipline.
00:16:16Expression is openness.
00:16:20Now fall back, get little, be little, be little.
00:16:25It's Mr. Jack.
00:16:28Oh no!
00:16:29Look at that face.
00:16:31That serious, serious face.
00:16:35Attack!
00:16:37No, attack!
00:16:38No!
00:16:39It's a new suit.
00:16:40It's custom made.
00:16:42It's smart.
00:16:42I'm calling my lawyer.
00:16:44I'm calling my lawyer.
00:16:45And my tailor, he's scared of my lawyer.
00:16:47The face is gone.
00:16:48The battle is won.
00:16:50Forward, forward.
00:16:53And now everybody join hands and stand far away from each other without losing contact.
00:17:03There is plenty of time to be serious, but to dance is to play.
00:17:11Listen to me.
00:17:12I'll be sorry.
00:17:12Listen to me.
00:17:12We're all going to get good.
00:17:13The dancers appreciate your gifts.
00:17:14Can we finish after the war?
00:17:16I'll have to finish the war.
00:17:17I'll fix that.
00:17:18I'll be happy.
00:17:18I'd like them to pay the wire they buy for the rubber bands.
00:17:21Every production has a new color.
00:17:22It's a lot of time.
00:17:23The last point, I guess we're good.
00:17:25We'll be good, yeah.
00:17:26Very good.
00:17:28Well, well, it seems...
00:17:29What?
00:17:30What?
00:17:31It's gross.
00:17:32It's gross.
00:17:33What?
00:17:34What are you doing?
00:17:39Do you know how long I've been negotiating with this motherfucker?
00:17:43If they strike, I don't have to pay them.
00:17:46What?
00:17:47Just a tiny strike, two, three weeks tops.
00:17:50I thought I was trying to stop a strike.
00:17:54We need a better system of communication, okay?
00:17:56Memos, hand signals.
00:17:58Allo, vous êtes là?
00:18:00Oui, on est là.
00:18:02C'est non pour le fil.
00:18:04Si je leur dis ça, ils risquent de trouver la direction mesquine.
00:18:06Eh ben, on l'est mesquine.
00:18:07Ils n'ont qu'à la coeur, leurs dames.
00:18:08Pour du fil?
00:18:09Que biais.
00:18:10D'abord, c'est le fil.
00:18:12Ensuite, les épingles à cheveux.
00:18:13Après, c'est les vacances en Espagne.
00:18:15Avec toute la famille auprès de la princesse.
00:18:17Mais quand est-ce que ça s'arrête?
00:18:18Voilà.
00:18:18Vous vous envolez, madame.
00:18:19Oui, ben, c'est le monde du ballet.
00:18:20On s'envole souvent.
00:18:21Ils vont être furieux.
00:18:24Yes?
00:18:25Come back.
00:18:26Je crois qu'ils ne vont pas nous donner le fil.
00:18:29Accepte.
00:18:32Change of plans.
00:18:34Yes, ma'am.
00:18:36C'est bon pour le fil.
00:18:37On est bon.
00:18:38Merci.
00:18:39Tout est bien.
00:18:40Ils nous donnent le fil.
00:18:41On attend le contrat.
00:18:41C'est bon.
00:18:43C'est bon.
00:18:58C'est bon.
00:19:12D'accord.
00:19:13Vous savez, un puissant, un preincipal danser ?
00:19:15Définement.
00:19:15Un puissant qui peut vendre des tickets et est tall enough pour le partage du Julien ?
00:19:20Oh, vous allez me hate.
00:19:21Oh, mon Dieu !
00:19:22Juste le nom, Jack.
00:19:23Je veux...
00:19:26Antoine Guillaume.
00:19:50Luca.
00:19:50Wait, what?
00:19:51He's all yours.
00:19:52Great!
00:19:53No, why'd you agree so quickly?
00:19:54Because I'm a guest in your house and I'm being polite.
00:19:57Is he injured?
00:19:58Tell me if he's injured.
00:19:59What did he pull?
00:19:59Jack, you asked and I graciously consented.
00:20:02Now say thank you, take the victory and let's move on.
00:20:05One down.
00:20:06Terrific.
00:20:07Now it's my turn.
00:20:08I want Anna.
00:20:09Anna?
00:20:23You're about to promote her to soloist, yes?
00:20:26Yes.
00:20:26Maybe.
00:20:27Give her to us.
00:20:28Let us promote her.
00:20:29It'll be a good story.
00:20:30Yes, that would be a wonderful story.
00:20:32Very good, Genevieve.
00:20:35Smart.
00:20:35I want to stick a pin in this.
00:20:36What does that mean?
00:20:37To stick a pin in her?
00:20:39Like a voodoo dog?
00:20:40No, just stick a pin in her, set her aside and let's see where we go from here.
00:20:44I said yes to you.
00:20:45Too quickly.
00:20:45Oh, you're impossible.
00:20:47I have another name.
00:20:48And this one, this one's going to hurt for sure.
00:20:52Say it.
00:20:54Harmony.
00:20:55You got it.
00:20:56Oh, now come on.
00:20:57My turn.
00:20:58We're doing very well here.
00:21:00I need a choreographer.
00:21:02Someone young, new, exciting.
00:21:04And you've got one.
00:21:06Someone I'd like to stick a pin into.
00:21:09Well, that's not the correct use of the phrase.
00:21:10We want Tobias Bell.
00:21:27Stop, stop.
00:21:29Stop.
00:21:32The swoop down, duck, duck, shweesh, pweesh, shoo, beetle move tied up with full extension.
00:21:39Understand?
00:21:41I think so.
00:21:42Begin.
00:21:45Tobias.
00:21:45Can I?
00:21:46What?
00:21:47Can I try landing on my left foot instead of the right?
00:21:50You know, after the shh and before the beetle move?
00:21:53It doesn't make it better.
00:21:55Can I just show you?
00:21:57Okay.
00:22:07Is he...
00:22:09Is he coming back?
00:22:12Is he coming back?
00:22:12Is he coming back?
00:22:14He's coming back.
00:22:28Who is he coming back?
00:22:42Another really fine choice.
00:22:44Geneviève Tobias is a star on the rise.
00:22:46Bravo.
00:22:47Hold it.
00:22:48We raised him from a pub.
00:22:50We're applauding emojis.
00:22:51We need him.
00:22:52I think it's Paris' coming up short on developing decent choreographers.
00:22:55Oh, fuck you.
00:22:57We're sticking a pin in this one, too.
00:22:58What is it with you and your bloody pins?
00:23:00Nicholas, you know you can spare him for a while.
00:23:02You've got a new piece from him ready to go.
00:23:04We want his next one.
00:23:06Maybe.
00:23:06Whoa, whoa, Sonny Corleone.
00:23:08You never tell anybody outside the family what you're thinking.
00:23:10Give him to me.
00:23:11Why?
00:23:12You got the hearts for him, Geneviève?
00:23:13Is that why you're so dead set on Tobias?
00:23:15If I did, I wouldn't tell you.
00:23:17I'd tell him and he'd be mine.
00:23:18My God, the arrogance.
00:23:20Are you hearing this?
00:23:21I'm not sure.
00:23:22I'm still rather deaf from that music last night.
00:23:24We're getting very far off topic here, Chance.
00:23:27Fine.
00:23:29I need a conductor and you've got one of the best.
00:23:31You want Henri?
00:23:32Yes.
00:23:33Take him.
00:23:34Motherfucker.
00:23:35This is turning into quite a show.
00:23:38My last ask, Jack.
00:23:40I want her back.
00:23:41Who?
00:23:42You know who.
00:23:43Oh, really?
00:23:45Yes.
00:23:46You kicked her out of your program with a year left of her schooling.
00:23:50We discovered her, trained her.
00:23:52Then cut her.
00:23:53That's the point.
00:23:54Doesn't matter.
00:23:55We want her back.
00:23:58We want our mission.
00:24:25Okay, okay.
00:24:28We've hit a wall.
00:24:30You're tired.
00:24:31I am too.
00:24:32I tell you what, let's switch back to emeralds.
00:24:35Got anything left?
00:24:36I'm out of gas.
00:24:38I'll do it.
00:24:39If you need someone to fill in for now.
00:24:41You know her part?
00:24:43I know everyone's part.
00:24:44Hello, Tracy Flick.
00:24:47Well, I say we...
00:24:48Oh, if you tell me we're sticking a pin in her, I'm going to rip your fucking head off.
00:24:53Do that!
00:24:55Put me out of my misery.
00:24:57Crispin, you've employed assassins.
00:24:58You put me out of my misery, too.
00:24:59I'll stand by my picture window tonight and give you a clean shot.
00:25:03I've never employed an assassin.
00:25:05Where are you going?
00:25:06I'm just shy of 10,000 steps.
00:25:37I'm just shy of 10,000 steps.
00:25:37I'm just shy of 10,000 steps.
00:26:07I'm just shy of 10,000 steps.
00:27:31Sheyenne.
00:27:31Now this is getting really interesting.
00:27:35I want Sheyenne.
00:27:36That is true.
00:27:38She's our biggest star.
00:27:40I know.
00:27:40She is poetry in motion.
00:27:43To quote Mr. Thomas Dalby.
00:27:45A national treasure.
00:27:46No, you can't see Sheyenne.
00:27:47She's on our postage stamps.
00:27:48I've licked the stamps.
00:27:49Don't make it weird.
00:27:50You despise her.
00:27:52I don't.
00:27:52When she guested with your company, you threatened to deport her.
00:27:56But I didn't.
00:27:57And she sold tickets.
00:27:58For price tickets.
00:27:59Absolutely not.
00:28:00You're crazy.
00:28:01You want Tobias and Michy, you give me Sheyenne.
00:28:03I'll give them back.
00:28:04Take them.
00:28:04I don't want them.
00:28:05Keep you.
00:28:06You can't have Sheyenne.
00:28:07So the whole deal's off.
00:28:08Is that what you're saying?
00:28:09No.
00:28:10Yes.
00:28:12Yes.
00:28:13No, Geneviève.
00:28:14You cannot derail these talks.
00:28:16We're too far in.
00:28:18He asks for the moon.
00:28:24I missed two or three words there, but I think I agree.
00:28:27You must see it from Jack's point of view.
00:28:30What he's asking for is not unreasonable.
00:28:32After what's the poor man got?
00:28:34A dancer with hip problems, an alcoholic ballerina, and a deaf conductor.
00:28:40What?
00:28:40Mr. Chambly.
00:28:41Geneviève, this deal must happen for ballet's sake.
00:28:50Fine.
00:28:52Good.
00:28:54Get into the details and send me the bill.
00:28:58Thank you, everyone.
00:29:03Cheyenne.
00:29:06Cheyenne.
00:29:11Mama!
00:29:12Attention.
00:29:12You are engaged in an illegal fishing operation.
00:29:15They are catching the nets too slow.
00:29:17Cheyenne, get back to your boat.
00:29:18Release your nets.
00:29:19Ram the ship.
00:29:20If we sink it, the nets will release.
00:29:22We can't do that.
00:29:23Why not?
00:29:23Because if we ram the ship, then we go down too.
00:29:26So what?
00:29:26This is war, huh?
00:29:27Just focus on the nets.
00:29:29But they will get more nets.
00:29:30We need to suck the boat.
00:29:32We need to suck this motherfucking criminal bastard.
00:29:36Murder is best.
00:29:38You asshole.
00:29:39I'm talking to you.
00:29:40I don't think he knows what you're saying.
00:29:41I think he does.
00:29:42Captain.
00:29:43Jasper's on the board.
00:29:44Oh, shit.
00:29:44Who cares?
00:29:45Leave him.
00:29:46We're not leaving him and you are not in charge.
00:29:48He's too stupid.
00:29:48Do not fall off the boat.
00:29:50That's how he's saying.
00:29:51Don't take an idiot like Jasper on the boat.
00:29:54Get the chapter.
00:29:54Every available man is on the net.
00:29:57Forget the net.
00:29:57What do you mean fuck up the net?
00:30:00Brian, take a break.
00:30:01Over there.
00:30:02Take a break?
00:30:03Oh, I'm so sorry.
00:30:04I didn't realize it was swing dance lesson time of the leader day.
00:30:07They are breaking laws.
00:30:09They are killing animals.
00:30:10Do you hear me?
00:30:12Yes.
00:30:13Because you're yelling.
00:30:15You won't get away with this.
00:30:17Asshole.
00:30:18We eat those oranges, Brian.
00:30:20Well, what weapons do we have?
00:30:23Carpoons?
00:30:24Crossbows?
00:30:26We're at the torpedoes.
00:30:27We don't have torpedoes.
00:30:29Why would we come out here without torpedoes?
00:30:32What kind of eco-warriors are you, people?
00:30:35Oh, my God.
00:30:41Oh, my God.
00:30:41Sayin Tosin.
00:30:43You're in state of arrestation.
00:30:45Why?
00:30:45You're in the middle of the boat, please.
00:30:47I don't believe it.
00:30:48I'm not in the middle of the boat.
00:30:49I'm going to go with the boat.
00:30:50I'm going to go with the water.
00:30:50You're in the middle of the boat, please.
00:30:52You know, there was a whole team at board with me.
00:30:54It was that Jasper.
00:30:55Just so.
00:30:55It's your team who was in the middle of the boat.
00:30:57It's not in the middle of the boat.
00:31:00You're in the middle of the boat.
00:31:07You're in the middle of the boat.
00:31:49You're in the middle of the boat.
00:31:59Hey.
00:32:01It's not easy to find out.
00:32:02Because we want something easy.
00:32:04We're going to eat nuggets of chicken.
00:32:05It's easy, isn't it?
00:32:05You're not in the middle of the boat.
00:32:06I'm not in the middle of the boat.
00:32:08I'm just...
00:32:09I'm going to be with the opponents.
00:32:10I'm going to beat them.
00:32:11I'm going to beat them.
00:32:17I'm going to beat them.
00:32:17It's good that you fumes.
00:32:18Surpopulation, it's going to destroy the planet.
00:32:28Bruna!
00:32:30Téléphone!
00:32:41Charge-le avant de me le rendre cette fois.
00:32:44Ouais, ouais, ouais.
00:32:52Ouais?
00:32:53Ouais, c'est moi.
00:32:54Je suis à Marseille.
00:32:54J'ai été arrêtée.
00:32:55Encore?
00:32:55Ouais, encore.
00:32:56J'ai besoin que tu m'apportes de l'argent pour l'avocat.
00:32:57J'en ai pas ici.
00:32:59Tu as des billets sous ton matelas, dans tes oreillers?
00:33:01Non.
00:33:01Dans la théière, si vous pouvez te faire de droite?
00:33:03Non.
00:33:03Vous pouvez te faire de gauche, dans ton soutien-gorge du dimanche.
00:33:05Ça, c'est pour les urgences.
00:33:07Je vais te chercher du fric à la banque.
00:33:09Merci, maman.
00:33:10Au fait, il y a des tutus qui te cherchent.
00:33:12Ah bon?
00:33:13Pourquoi?
00:33:16Allô?
00:33:17Allô?
00:33:26Allô?
00:33:51Allô?
00:33:56Oh, excuse me.
00:33:57Oh, my God.
00:33:58Snake.
00:33:59Cheyenne, I've been trying to...
00:34:01Snake.
00:34:02Oh, my God.
00:34:03Snake with rattles in a fence, like the Bible in a tree.
00:34:07Hanging there, waiting, quiet, and then suddenly, here's some fruit.
00:34:12Enjoy it on your way to America.
00:34:14It's not America, it's New York.
00:34:16Please, sit.
00:34:17Let us talk.
00:34:18Talk?
00:34:18Our talk is wonderful.
00:34:20What should we talk about?
00:34:21About how you fired me?
00:34:22I didn't fire you.
00:34:24I saved your pathetic right of spring.
00:34:26Go out for two weeks and combat fire.
00:34:28You didn't save it, and I didn't fire you.
00:34:30He wanted it cheerier.
00:34:31Right of spring?
00:34:32You never said cheerier, Cheyenne.
00:34:33He just changed the costumes.
00:34:35Fluffy skirts, like the Ken Ken.
00:34:37Lucien, does this fucking window not open?
00:34:39It does not.
00:34:40Right of spring is about human sacrifice.
00:34:43You don't carry out a human sacrifice in a fluffy skirt.
00:34:45And you refused to wear the skirt.
00:34:47You exchanged it for a t-shirt with a cat giving the finger.
00:34:51And that's why you're firing me?
00:34:52I'm not firing you.
00:34:54Things happened while you were gone.
00:34:56All these years, I am here.
00:34:57I gave up everything.
00:34:58Family, children.
00:35:00Oh, you hate children.
00:35:01Because they are a train on the world and are boring to talk to.
00:35:03But that doesn't mean I did not give them up.
00:35:06Je liais, stop.
00:35:07Ignore my smell.
00:35:08Just breathe through your mouth.
00:35:11You didn't even call.
00:35:14You just gave me away.
00:35:16I couldn't call.
00:35:17You were on a bloody ship in the middle of the ocean.
00:35:20Et voilà.
00:35:21Je suis là.
00:35:22Va faire ma couleur.
00:35:24Gabin.
00:35:24Quelle surprise.
00:35:25Excité?
00:35:26Ecstatic?
00:35:26Super.
00:35:26Maintenant, on va parler de comment moi je me sou.
00:35:28T'as besoin qu'on te change la couche?
00:35:29Je viens d'apprendre que je pars pas à New York.
00:35:30C'est vrai?
00:35:30Non.
00:35:31Enfin, si, tu pars pas.
00:35:32Je peux ça voir?
00:35:32Quoi?
00:35:33Peut-être qu'ils veulent pas de toi.
00:35:33C'est la mairie qu'ils en ont plein des petits comprétencieux.
00:35:36Gabin.
00:35:36Tu m'as fait intégrer cette compagnie parce que je suis exceptionnel.
00:35:39Alors, à quel moment je vais avoir le droit d'être exceptionnel?
00:35:41Moi, je te trouve exceptionnel à chaque fois que t'ouvres la bouche.
00:35:43Tu pues encore plus que d'habitude.
00:35:44J'y vais pas.
00:35:45Moi, j'y vais.
00:35:45Toi, t'y vas.
00:35:46Toi, t'y vas pas.
00:35:47Les gens disent qu'ils ont pas eu un tel talent depuis Baryshnikov.
00:35:49Personne n'a jamais dit ça.
00:35:50La danse classique t'a beaucoup apporté.
00:35:52Non, j'ai beaucoup apporté à la danse.
00:35:54On en a besoin.
00:35:54La compagnie en a besoin.
00:35:56La danse en a besoin.
00:35:56J'étouffe ici.
00:35:58Eh ben, t'as qu'à ouvrir cette fenêtre de merde.
00:35:59Send Kim, send Baryshnikov.
00:36:01They want you.
00:36:02Impossible, Jack hates me.
00:36:04Many people hate you.
00:36:05He asked for you.
00:36:06He insisted.
00:36:08There was no negotiation.
00:36:09Gabin, retourne en répétition.
00:36:10En répétition?
00:36:11Debout à regarder un Roméo de 45 ans, draguer une Juliette de 39.
00:36:14Debout avec un pichet de 20 à la main.
00:36:16De temps en temps, j'en bois une goulée, ma touche personnelle.
00:36:18T'auras ta chance quand tu seras prêt.
00:36:20C'est la prison ici.
00:36:21Même les assassins sont traités mieux que moi.
00:36:22Je suis pas un assassin.
00:36:23J'ai vu t'attarenté là la saison dernière.
00:36:25Je t'emmerde en long, en large et en travers.
00:36:28It's a year she am.
00:36:29One year.
00:36:30They're going to make me do Stars and Stripes.
00:36:33They probably will.
00:36:34And you'll have to do it.
00:36:36And the nutcracker.
00:36:37And you'll have to go to the galas and the donut parties.
00:36:40And you're going to have to teach a masterclass.
00:36:42Oh, no.
00:36:43And you're going to have to participate in the marketing campaign.
00:36:45What?
00:36:46You want me to go on TV and sell pasta noodles?
00:36:48Je suis sous-exporté ici.
00:36:50Laisse-moi aller là où ils apprécient mon talent.
00:36:51Je suis jeune, je suis fort, et mon anglais est aussi bon que le sien.
00:36:54What are the specials today?
00:36:55I have no smaller bills.
00:37:00Cheyenne, wait.
00:37:03Cheyenne!
00:37:04Parf!
00:37:05Maintenant qu'elle est partie, je peux te montrer ce qu'il me faut faire dans mon dernier rôle?
00:37:08Disons que ça, c'est un pichet de noir.
00:37:15Fascinant, non?
00:37:43This is where I get to the jungle.
00:37:45I got the grace, got the clothes, not the face, got the thread, but not the bum, got the window,
00:37:57but not the shut up, but I'm big in Japan, I'm big in Japan, hey, but I'm big in Japan,
00:38:09I'm big in Japan.
00:38:10I got the house, not the teeth, got the horn, not the reed, got the clothes, not the mud, got
00:38:24the wheel, not the truck, but here I'm big in Japan, I'm big in Japan, but here I'm big in
00:38:33Japan.
00:38:35Mixed videos, United States.
00:38:37D'accord.
00:38:40D'accord.
00:38:40Les règlements climatiques.
00:38:42Les sujets environnementaux sont pas.
00:38:44Les sujets contre les...
00:38:45...
00:38:48...
00:38:53...
00:39:10Whoa! Why are you coming so close to me?
00:39:12Sorry, Tobias.
00:39:13You have the whole room to dance in. You don't have to aim it right at me.
00:39:15Won't do it again, Tobias.
00:39:16Can't hear you. Just don't do it again.
00:39:22Stop. Everybody stop.
00:39:27We're rehearsing.
00:39:28And it's wonderful.
00:39:30I just need a quick chat with you at some point.
00:39:31About what?
00:39:32Just come find us when you take a break.
00:39:34He doesn't take breaks?
00:39:35Well, when you're done.
00:39:36Tell me now.
00:39:36I'll tell you when your rehearsal's over.
00:39:38I can't rehearse until you tell me.
00:39:39Please, just tell him.
00:39:40It can wait.
00:39:41I won't think about anything else until you tell me what it is.
00:39:43I will just stand here for hours.
00:39:45Well, we can speak now, but how about in the hall?
00:39:50Why?
00:39:52Do you want to ask the dancers to step into the hall?
00:39:57Am I dying?
00:39:58What? No.
00:40:00Of course not.
00:40:01I mean, honestly, I don't know if you're dying, but you look very healthy.
00:40:04Are you dying?
00:40:05I don't know.
00:40:06I don't know why you want to talk to me.
00:40:07I don't know if I'm dying.
00:40:08I don't know why Julie aims right for me every time she does that jeté.
00:40:11There are many things I don't know, Jack.
00:40:15Well, okay.
00:40:19Le Ballet National has specifically requested you as part of the swap.
00:40:25To go.
00:40:29To Paris.
00:40:41Is he?
00:40:42Is he coming back?
00:40:44It would be for a year, at least.
00:40:46You train with them, learn the Paris way.
00:40:48A lot to ingest, I know.
00:40:50A year?
00:40:51Well, I think you can do it.
00:40:53You are two of our top students.
00:40:55You've got the poise, which is crucial, because there will be press.
00:40:58You'll be representing Paris, but you'll be representing New York, too.
00:41:02Well?
00:41:05I don't know.
00:41:06All our friends are here.
00:41:07We'll make new friends.
00:41:08I was going on a driving trip with my family through the national parks.
00:41:11It's kind of a yearly thing.
00:41:13You'd have to skip that.
00:41:14And my brother's graduating middle school.
00:41:15You'll miss some things for sure, but give it a think.
00:41:20Okay?
00:41:20We will.
00:41:21Thanks, Mr. McMullen.
00:41:27Dude.
00:41:29We're going to Paris!
00:41:32Yeah, we're going to Paris.
00:41:35Yeah, we're going to Paris.
00:41:37Yeah, we're going to Paris.
00:41:37Yeah, we're going to Paris.
00:41:40Welcome to New York City.
00:41:42Welcome to New York City.
00:41:44You can turn the world on with a smile.
00:41:49Day by nothing day.
00:41:51You'll suddenly make it all seem worthwhile.
00:41:54I want you to world and you should know it.
00:41:56With each glance and every little movement to show it.
00:42:00Puffs all around, no need to fake it.
00:42:02You can never die.
00:42:03Why don't you take it?
00:42:05You're going to make it after all.
00:42:07You're going to make it after all.
00:42:12Oh, hello.
00:42:14You missed your car.
00:42:15They pollute.
00:42:16I thought maybe you'd been infected by aliens.
00:42:17I wasn't.
00:42:18There was a whole welcoming presentation awaiting you.
00:42:20All the young girls from the school were lined up to meet you.
00:42:22They had a special dance plan for you.
00:42:23They were so excited.
00:42:24Oh, why are they now?
00:42:26They stood out here for two hours.
00:42:27They had to go back to school.
00:42:28Half of them were crying.
00:42:29They'll toughen up or they'll quit one or the other.
00:42:31I need a toilet.
00:42:35Slow down.
00:42:36You need a pass, miss.
00:42:37She's with me, Mike.
00:42:39I called you.
00:42:40I left messages.
00:42:40Do you need anything?
00:42:41Is a seat on the plane?
00:42:42Okay.
00:42:42Was there anything in the paperwork that was confusing?
00:42:44And I got nothing.
00:42:44No answer at all.
00:42:45Sometimes no answer is your answer.
00:42:47No text, no smoke signals.
00:42:49It's like I lit the beacons of Gondor and then Rohan went,
00:42:51Oh, that's pretty.
00:42:51And then went back to guard me.
00:42:52I got your messages and I understood your random Lord of the Rings reference.
00:42:56So we're good?
00:43:00Stop walking away from me.
00:43:03Are you serious?
00:43:03I'm talking to you.
00:43:04Get the fuck out of the ladies' room, Jack.
00:43:06It's gender neutral.
00:43:07Read the signs.
00:43:09I pee with an audience?
00:43:10No.
00:43:14Cheyenne, come on.
00:43:15You're being ridiculous.
00:43:18Cheyenne.
00:43:19Cheyenne, stop it.
00:43:20Use the bathroom.
00:43:21I'll wait outside.
00:43:22I am fine.
00:43:22And if I can't hold it, I won't.
00:43:24That's what beds do.
00:43:25Wait, did you just threaten to pee on my rug?
00:43:27Welcome back to New York, miss.
00:43:29Why am I here?
00:43:30You know why.
00:43:31You don't need me here.
00:43:32You don't want to be here.
00:43:33I was very happy where I was.
00:43:35You're never happy anywhere.
00:43:36My life.
00:43:37I decide.
00:43:38See, this is why I thought we should have a phone call to discuss...
00:43:40I don't need a phone call.
00:43:41I'm standing right here.
00:43:43I want to know why you insisted that I come here.
00:43:45To this place.
00:43:46With the blinding light everywhere.
00:43:48Why is there so much light?
00:43:50You think these are such wonderful people to look at?
00:43:52You think their dancing needs to be highlighted by so much water?
00:43:55Do you make anyone take class here?
00:43:57Julian, does anybody need me to be somewhere?
00:43:59No.
00:43:59I don't like being a chess piece.
00:44:01Anybody at all?
00:44:01I'm not chattel.
00:44:02You're good.
00:44:03Schedule's clear.
00:44:03Could you double check?
00:44:04Okay.
00:44:05No one needs you.
00:44:05There are no rich ladies who make you sit their panties for a donation.
00:44:08First of all, fuck you.
00:44:09Second of all, fuck you.
00:44:11You may kidnap me.
00:44:11No, you didn't kidnap me.
00:44:12Packed up and tossed out of my country?
00:44:14You were not tossed out of your country.
00:44:15I thought I am to be in New York in two days, forced onto a plane.
00:44:17A plane uses four liters of fuel every second, Jack.
00:44:20Every second, and now that's on my head.
00:44:32I'm sorry about the plane.
00:44:42You know the smoked salmon cinema closed on Broadway?
00:44:45I walked by it on my way here.
00:44:48It did.
00:44:48Too bad.
00:44:51How you can sell smoked salmon at the movie theater?
00:44:53It was a surprising menu item.
00:44:55I like that theater, though.
00:44:57They were so mean to the old people.
00:45:04The world can break your heart in so many ways, you know.
00:45:08Look, Cheyenne, this swap is very important.
00:45:12To me, to my company.
00:45:14I have approval over all my pieces.
00:45:16You have consultation and right of refusal, yes.
00:45:19No approval.
00:45:19Right of refusal.
00:45:21It's the same thing.
00:45:22Says who?
00:45:22Your lawyer.
00:45:23What lawyer?
00:45:24Ben.
00:45:25Ben Friedman.
00:45:26He's a lawyer?
00:45:27Yes.
00:45:27What did you think he was?
00:45:28I don't know.
00:45:29He always handed me a cappuccino.
00:45:30I thought he was the cappuccino man.
00:45:31He's been negotiating on your behalf for a week.
00:45:33He's killing us over the parking space.
00:45:35I don't drive.
00:45:36You should tell him that.
00:45:39I don't know how much is left in me, Jack.
00:45:43I don't know what I'm supposed to be doing right now.
00:45:45Well, while you figure it out, be here.
00:45:47Change of pace, new faces.
00:45:49I don't need new faces.
00:45:50What do you need?
00:45:56To watch you dance is like dying and finding out there actually is a heaven.
00:45:59You know that.
00:46:01I need the right part.
00:46:03I know you hate the bullshit.
00:46:05Let me deal with the bullshit.
00:46:06You just dance.
00:46:07Do what you love.
00:46:09You do love to dance, don't you, Cheyenne?
00:46:12No.
00:46:13But it's who I am, so there is no choice.
00:46:32You just dance.
00:47:04Okay.
00:47:05So, I'll take it over in the morning.
00:47:09I'm going to go in the middle of the room.
00:47:13I'm going to go in the middle of the room.
00:47:14Okay.
00:47:15Okay.
00:47:16I'm going to go in the room.
00:47:18I'm going to go in the room.
00:47:19Okay?
00:47:30So, open the lobby door and you walk right into this.
00:47:33You see what I'm talking about?
00:47:35The chairs, which look like we borrowed from a church basement.
00:47:38The cheap laminate floors.
00:47:40Look at the sconces.
00:47:42You'll have nightmares.
00:47:42This whole room is an abomination.
00:47:45The ballet theatre should be a sacred space.
00:47:49When you walk in here, it should feel like church.
00:47:52Church?
00:47:53Okay.
00:47:54I'm going to redo everything.
00:47:56Make it more La Scala, less Odd Feathers Hall.
00:47:59Does Jack know about this?
00:48:01Because, you know, he just brought us in to put some shelves in the storage closet.
00:48:06I'll handle Jack.
00:48:07You just click your heels together and get us out of Kansas.
00:48:14Cheyenne Toussaint.
00:48:16Donceuse Etoile and Queen of Le Ballet National.
00:48:20Gentlemen, you should be aware that you are currently in the presence of greatness.
00:48:27It's nice to see you're still completely full of shit, Crispin.
00:48:31I've always been a big believer in consistency.
00:48:34I heard they overnighted you from France.
00:48:37Bubble wraps me and everything.
00:48:39You look wonderful.
00:48:41Let's not pretend to be friends, hmm?
00:48:44It's beneath us.
00:48:46You haven't softened any of those rough edges of your horse, I see.
00:48:50I didn't know you had anything to do with this.
00:48:52Jack never even let you in the lobby of this place.
00:48:55But he was doing himself a favor, because that lobby is terrible.
00:48:58I'm fixing it, though.
00:48:59It'll be a marvel.
00:49:00I just Venmo'd Santo Loquasto.
00:49:02But to answer your question, I'm here to make sure that this swap succeeds.
00:49:06In fact, I was very instrumental in getting you here.
00:49:09You're a liar and a criminal.
00:49:11Yes, but I also love a good Coppelier.
00:49:14I must go.
00:49:17I think it's wonderful you're here.
00:49:20It'll be a big boost for the company that desperately needs a boost.
00:49:25And you truly care?
00:49:27You don't think I do?
00:49:28No.
00:49:29I don't think you truly care about anything but power control.
00:49:34You're wrong.
00:49:35I mean, not about power.
00:49:36Of course, I do love that.
00:49:38Who doesn't?
00:49:39Right, Etoile?
00:49:42But you're not entirely wrong in your feelings about me.
00:49:44I have done many things in my life of which I'm not proud.
00:49:48Well, no, that's not right.
00:49:49Actually, I'm very proud of them.
00:49:52But I know that I shouldn't be, so at least there's a little self-awareness there.
00:49:56However, when it comes to dance, there my love is pure.
00:50:01And you think giving money to the body absolves you of your sins?
00:50:04Well, why not?
00:50:05Certainly a lot more concrete than give me five Our Fathers and ten Hail Marys.
00:50:09You just like your name on buildings.
00:50:10I like knowing that if my name is on a building, then this wonderful thing is still alive.
00:50:16If something bad goes to something good, then it's sort of a wash, isn't it?
00:50:22You understand that?
00:50:24Hm?
00:50:24Yes.
00:50:25You.
00:50:27You know, you and I are very similar Cheyenne.
00:50:32No.
00:50:32We're both exacting, determined, ruthless when we have to be.
00:50:36We know who we are, and we won't even try to change.
00:50:38We are pure.
00:50:40And I understand how isolating that can be.
00:50:43In fact, I may be the only person in the entire world who understands you.
00:50:48Who understands your constant search for meaning in what you do.
00:50:54Why are you here?
00:50:56On this earth?
00:50:58To dance?
00:50:59No one better at it, but is that it?
00:51:04Is that enough?
00:51:12You're an artist.
00:51:15And artistry comes at a cost.
00:51:18Oh.
00:51:19Hm.
00:51:20And you are an artist now?
00:51:21Well, I am in my own way.
00:51:23I'm also the best at what I do.
00:51:25And to be the best, you have to be uncompromising.
00:51:27And that comes with guilt.
00:51:29I have no guilt.
00:51:31Really?
00:51:32Anthony Briggs never recovered from his time working with you.
00:51:36He was an up-and-coming young choreographer, the next big thing.
00:51:40And then, like in a dream, he got handed the greatest ballerina in the world to build a ballet
00:51:46around.
00:51:47And she fought him.
00:51:49She refused to do what he asked, and then she humiliated him in front of the entire ballet
00:51:54world.
00:51:55It was a terrible piece.
00:51:57He was a mediocre talent at best.
00:51:59But all you had to do was the steps.
00:52:02That's it.
00:52:02You could have made them look wonderful, but you didn't.
00:52:05You did your own steps, and you let everyone know it.
00:52:09You let everyone know that Anthony was a fraud.
00:52:13And he's never attempted to choreograph anything ever again.
00:52:20Has he?
00:52:21No.
00:52:23He runs a yogurt stand in Barbados.
00:52:26Well, that's just as good as being a celebrated choreographer.
00:52:34Being an artist isn't generous.
00:52:38It isn't kind.
00:52:40Therefore, sometimes we have to do penance to keep our humanity from floating out into the
00:52:48ether.
00:52:50Be helpful to other people.
00:52:53And if we do that, then maybe someday the angel will overtake the devil.
00:53:01And we'll finally be able to find our place in this world.
00:53:13Oh, by the way, that was one of my boats you attacked the other day.
00:53:20We'll talk about that some other time.
00:53:22Shall we?
00:53:26Go.
00:53:31Go.
00:53:37Go.
00:53:41Go.
00:53:41Go.
00:53:43Go.
00:53:45Go.
00:53:48Go.
00:53:58Go.
00:53:59Go.
00:54:08Go.
00:54:10Go.
00:54:12Go.
00:54:13Go.
00:54:13Go.
00:54:14Go.
00:54:15Go.
00:54:17It's like a bun.
00:54:19It's like a bun.
00:54:20I'm going to go to the mantelope.
00:54:24I'm going to go to the�n.
00:54:36I'm going to go down.
00:54:37Step one.
00:54:39Step three.
00:54:40Step around that.
00:54:42Now this place.
00:54:44You go.
00:54:46And it's two.
00:55:03This is Josie's class.
00:55:05How did you get this?
00:55:11What are you doing here in the middle of the night?
00:55:16Are you in the school here?
00:55:17No.
00:55:18What?
00:55:19No.
00:55:21How did you get that?
00:55:23My mother got it for me.
00:55:25Who is your mother? She dances here?
00:55:26She's the cleaning lady.
00:55:28So this is stolen.
00:55:29The phone?
00:55:30The footage.
00:55:32Where do you study?
00:55:34Nowhere.
00:55:35Nowhere.
00:55:36You came out of your mother's womb with feet like that.
00:55:39My grandmother taught me some things when I was little.
00:55:41You've never been to class?
00:55:43No money for class.
00:55:44But there's money for shoes.
00:55:51If I looked inside of them, would I see some other girl's name?
00:55:54I always put them back when I'm done.
00:55:56What's your name?
00:55:59Susu.
00:56:00Am I in trouble?
00:56:08Meredith's classes are better.
00:56:10Tell your mother.
00:56:20On your face like place, the sun is young, in everything a mystery.
00:56:30I remember morning stars were sunk, and golden skies were thunk, upon a cypress tree.
00:56:41And even angels have a way to say you are gone.
00:56:51Not through words, but the first ray of dawn.
00:56:56And when the battle you're voicing, we've tried like a flower on, to eat your life in the rising sun.
00:57:29A flower on a cypress tree.
00:57:31That you're going to be a flower on, to eat your own house.
00:57:32I was put on a cypress tree.
00:57:33You and I was, I think, a flower on a cypress tree.
00:57:33I'll be certain that you don't know what my daughter is.
00:57:34And when the end of the day was sunk.
00:57:38In the open air our bodies sleep, and like a falling leaf, into the night descent, and even angels have
00:57:52their way, to say you're not gone.
00:57:58Not through earth, but the first ray of dawn, and when the birds with your voice sing, will shine like
00:58:08they will run, to meet your light in the rising sun.
00:58:13Or something like your eyes will see, the wind and the sand, the rainbow's colors that never end, into the
00:58:32night you can bring every hit and thing, and even angels have their way, to say you're not gone.
01:00:10You
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