'You're sweatin'.'
'I'm excited, I can see it all happening.'
(# Piano: "These Are A Few Of My Favourite Things")
A little turn. Now side to side.
- # Raindrops and roses... - Other people can sing.
(All) # ..on kittens
# White copper kettles and warm woollen mittens
# Brown paper packages tied up with string
# These are a few of my favourite things... #
- Can we talk? - But she's fantastic.
- I think she sings funny. - God!
- Her dancing's not great either. - It's the first time she did it.
Bum bum-bum, bum bum-bum, bum bum-bum...
But I had the kettle by then, she didn't take the kettle.
Do you want me to...
No, I just want Kathy to put it here. This is...
You say these words, put your hands out and they're there.
(All) # These are a few of my favourite things... #
Please, don't drop the props, Kathy.
# Cream-coloured ponies and apple strudels
# Doorbells and sleigh bells and schnitzel with noodles... #
(Samuel) Why are you putting it on her head? I'm a little confused.
I don't know... Because she's not going to pick it up.
It looks like you're trying to put a hat on her head.
You're fantastic. You just have to listen to your heart, Cvalda.
I don't want you to call me Cvalda.
You're Cvalda to me.
Let's do some sound effects.
- Uh! # When the dog bites - (All) Woof!
- # When the bee stings - Ouch!
# When I'm feeling sad...
- (Selma) # When the dog bites - Woof!
# When the... #
- I'm not barking. - # ..I'm feeling sad
# And then I don't feel so bad #
(Applause)
Wait!
I told you no tapping in "The Sound of Music"!
It needs rhythm, like drums or something.
(Samuel) Everybody's doing a great job.
Really.
- Hello, Selma. Come in. Ready? - Yeah.
- OK, you know where to stand. - Yeah.
Let's try this one.
F-E-Z-D
Maybe the last one.
D-E-F-P-O
I think you can work that machine safely.
I'll write a note to the plant.
OK, thank you.
Bye.
- Goodbye. - Bye.
Bye.
(Roar of machines)
# So long, farewell, auf wiedersehen, adieu... #
# I'd like to stay and taste my French champagne
# Ah-ha!
# So long, farewell, auf wiedersehen, adieu #
We lost five hours cos some idiot broke the machine.
- Bill's here. - So?
Well, he's here with Gene.
That sounds like bad news.
What are you going to do?
I guess I gotta tell her, don't I?
# So long... #
You can't bring the script to work, Selma.
Keep your eyes on the machine, OK?
Yeah.
Sure, sure.
Bill's here.
Bill?
He's here with Gene.
Damn.
Not again.
You gotta come right back, OK?
Don't be too worried.
We'll work this out. Here she comes.
(Sighs)
Why are you not in school?
When I say so you go to school.
Do you think I joke? You have to study!
Come on, Selma, stop.
We talked about this, didn't we?
Hanging out with those automobile thieves.
- So what? - He's learning.
Selma, he's learning.
Gene, this is the most important thing.
You have to go to school.
I-I-I can drive him back to school.
Since when was that your business?
If you need a ride home...
I-I don't even punch out till another two hours.
- Sometimes you punch out around now. - I never punch out early!
Don't need a dump! Don't need a ride!
..in your little head.
Let's get you to school, Mr G.
(Train whistle)
Thank you, but...I'll just, I'll just ride my bike.
Bye, Jeff.
She likes you.
I'm sure of it.
- Are you sure? - Yes, I'm sure of it.
This is my punishment, that you help me with this.
And you've got...
You've got to make your bed as well.
And you forgot to wrap up the bread...two times.
There's no more of that. You keep reading.
"So long, farewell, auf...wiedersehen,
"adieu, adieu, adieu to yieu and yieu and yieu."
To "yieu" and "yieu"... What does that mean...
"yieu"?
- It's your dumb musical. - And yieu?
It's German.
Do you think?
- Y-you want some more ketchup? - No.
Are you tired?
Wh-Why should you...always ask me so, so stupid questions?
Shall I show you my step?
(Metronome clicks)
# So long, farewell, auf wiedersehen, adieu
# So long... #
- Oh, hi. - Hi, Gene. Hi.
How's the dancin'?
- Oh, good, yeah. - Yeah?
You want to come to me and Bill's place and listen to some music?
That...that would be lovely. But we couldn't.
- Come on. Come on. - Yeah, I'll...
Let's go. Come on.
You should ask Bill about his money.
Linda likes it when we talk about that.
(Classical Spanish guitar)
You're doing a nice job of these.
How about that?
You have to be very careful not to bend the card.
Otherwise I don't get paid for it.
No?!
That's fair, because the people in the shops
would never buy it if it's bent.
- You wouldn't buy it if it was bent. - That's true. No.
In Czechoslovakia...I saw a film
and they were eating candy from a tin just like this.
- No (!) - I thought to myself...
how wonderful it must be in the United States.
(Linda) Yeah? You think my house looks like a movie?
- Our house looks like a movie! - (Bill) You look like a movie star.
Bill gives me a lot of money, you know.
Of course, it's all that money you inherited, Bill.
(Bill and Linda) That's right.
Hey, Selma... (Take the rest with you.)
- Are you sure? - (Go on.)
(Sweets rattle in tin)
(Whistle)
- (Bill) Hello. - (Selma) Good morning.
Got the rent.
Oh, you always pay right on time.
Don't worry about Gene, I'll get him to school.
Thank you. Thanks very much.
Remember your bag.
- (Linda) Bye. - (Selma) Bye.
You're always so serious, Kathy.
Ah, again we start.
(Laughs) I don't think inside you're serious at all.
I don't know.
- Not always. - Cvalda.
- Why do you call me that? - It's like...someone who's...
- What? - Dunno, big and happy.
Hey! I'm not that big. Happy, I don't know.
You just need someone to pull it out.
# You're getting to be a habit with me... #
- (Kathy) Beautiful eyes. - (Selma) Yeah. But he's not happy.
How's she doing?
It's when she cannot keep up and she is going to faint.
(Kathy) She fainted.
- (Man) Please, be quiet. - She doesn't see that well.
- I paid good money to see this. - So did she.
I love it when they dance.
It's a musical, of course they're dancing!
- We know. - You're so smart!
- Yes. - Oh.
I think you made friends, Kathy.
Shh!
(Stop.)
(Linda) So?
So what did she say?
- What? - What did she say?
She didn't say anything.
Are you trying to tell me something?
It's about the bike.
- (Selma) The bike? - (Bill) Mmm. The bike.
Oh...I-I cannot give... give Gene a bike.
- Is this his idea? - (Bill) It is not.
- Gene? - Yeah?
Did you ask them to come over?
No.
(Kathy) No, he doesn't know anything, Selma. Frankly.
- Why? Have I done something? - No.
I haven't got the money.
I'm almost the only kid in class who doesn't have a bike.
I even know a boy who's got a scooter.
You all know I haven't got any money.
All the extra money I've got...
The times I save up - I send it to Grandpa.
Come and have a look. Your mother is only teasing.
Look what she's brought for you!
It's a bike!
- (Selma) We can't accept that. - (Kathy) It's not new.
I can't give him any expensive things - not even for his birthday.
He's just gotta accept I'm not that sort of mum.
I-I-I'm just not that kind of mother, G-Gene...
Can't you be that kind of a mother?
It's not exactly a scooter.
We'll see.
- (Kathy) Careful! Careful! - (Linda) Don't ride so fast!
(Bill) Gene, bring it over here.
- He looks very happy. - (Bill) He does look happy.
(Kathy) Here he comes again. Attention!
(Bill) Bring it over here.
- Mom? - OK.
(Kathy) Did you hear that?
- (Gene) Did you say OK? - (Kathy laughs) Yeah.
- (Bill) She said OK? - (Linda) Yeah.
- But promise to go to school. - Yes, yes.
Every day...on time.
I didn't know you were such a good biker.
(Jeff) Rust and women are the same.
Rust and women are the same?
Yeah, I'm just saying...
- Your father said that. - Yeah.
I didn't know what it meant.
(All laugh)
He is so kind. Look at me...
He did all the work. He's really kind.
Thank you, Jeff.
(Jeff) You're welcome.
Come in.
Something up, Bill?
No. I just couldn't sleep, that's all.
I have no money.
All the money that I inherited is... It's gone.
And Linda...
Ah, Linda.
She just spends and spends.
And my salary is nowhere near enough.
I can't say no to her.
The bank is going to repossess the house...
because I'm so far behind on the payments.
And I'm going to lose Linda.
I know it.
I know I am.
She loves you, Bill.
(Bill sobs)
Ah, don't cry.
I shouldn't have told you.
- Don't worry. It's OK. - I shouldn't have.
No, I think you've got... enough stuff...
Would it make you feel better if I told you a secret?
What could you tell me?
I'm going blind.
Not yet, but...soon.
Maybe sometime this year.
Blind?
It's not as bad as it sounds.
It's a...
It's a family thing.
- But blind? - I've always known it.
From...from... I was a little girl, I knew.
(Sniffs)
And you're OK?
Well, I came to America,
because in America they can give Gene an operation, you know?
Gene?
But, he doesn't know about it.
You mustn't tell him because then it could get worse.
I just have to save up money, you know. Enough money to...
Oh, I almost got it.
To, um... For the operation.
They can operate on Gene when he turns 13.
You made up that story about your father?
I never had a father. I made up his name too.
That's why you put in all these hours and do everything you do.
For him? For his operation?
Well, it is my fault...I guess.
How is it your fault?
Because I knew he would... he would have bad eyes like me.
But I had him all the same.
You're very strong.
I'm not strong.
I've got little games I play when it goes really hard.
When I'm working in the factory...
and the machines, they make these...rhythms.
And I just start dreaming and it all becomes music.
- You like movies, don't you? - I love them.
- Yeah? - I just love the musicals.
- When they're all tap-dancing? - All of them tap-dancing.
All of them in those huge long lines.
I... Wouldn't you like to be in that line?
- Yeah. - Just kicking your feet.
Yeah.
When they're like spiralling up the huge enormous wedding cakes.
- Yeah, yeah. - To the top?
Isn't it annoying when they do the last song?
Why?
You know when it goes really big
and the camera goes, like, out of the roof
and you just know it's going to end.
I hate that. I really hate that.
I used to cheat when I was a little girl in Czechoslovakia.
I would leave the cinema just after the next to last song.
And the film would just go on forever.
- It's lovely, isn't it? - It is lovely.
- Selma? - Yeah?
Thank you for telling me your secret.
Thanks for telling me yours.
Mum's the word, right?
Mum?
- We don't tell anybody. - Oh, yes.
(Selma) I won't tell anyone.
Good night.
Thank you.
So, can I get you another?
Yeah, sure.
- How about a big one? - How many is there in a big one?
Ten thousand.
I'll have a big one.
(Man) What's this guy's name again?
(Kathy and Selma) Who?
The old man - the guy we're carding these pins for?
Her father? I know. Oldrich, right?
Yeah.
Oldrich Novy. He used to dance in Prague.
You commies make a big deal out of sharing everything.
Yeah, it's a good thing.
What are you doing here,
if Czechoslovakia is so much better than the US of A?
No, Selma, no!
There are two plates.
It's all right.
You know what happens when you put two plates in, don't you?
Well, she didn't. It didn't..
You destroy the tool!
Takes a whole day to mend. Never two plates, Selma!
You cheated the doctor. You shouldn't be working here.
How dare you! How much can you see?
We could do it with our eyes closed.
No.
It's just because I was daydreaming.
Daydreaming? Dreaming about what?
- I just hear music. - Come on, Selma. Music?
You could cut off your hand. You have to watch out.
Promise me you'll stay awake.
I promise I will stop daydreaming.
No, you're not really, you repeat but...
I don't know why I bother that much.
(Car engine)
(Jeff) Hi, Selma.
If you're not going with Kathy can I give you a lift?
I don't want a boyfriend. I-I told you.
You're a really nice guy, Jeff, but...
I just don't have time for a boyfriend.
Not right now.
I know.
If I wanted a boyfriend, it would be you, Jeff.
I just don't want one right now.
No problem, you know - on the back - to have the bike there.
Yeah.
Bye, Jeff.
I don't think it's very safe,
riding the bike wearing glasses and all.
- Selma? - Bye, Jeff.
(Jeff) Are you OK?
Yeah, I'm fine.
- Hi, Selma. - Hi, Bill.
- Heading home? - Oh, yes.
Wanna throw that in the back?
That would be lovely. Yes, please.
- Hi, Jeff. - Hey, did you see the truck?
No.
Like, driving like crazy.
- He what? - He was driving like crazy.
Getting dirty.
Thank you.
- (Selma) Bye, Jeff. - Bye. Thank you, Bill.
- OK? - (Bill) OK.
If I could make the next payment, I'd have a bit more time.
Yeah.
All I need is a loan.
Just be a month.
This money's Gene's.
- I'm sorry, Bill. - I shouldn't have asked.
Don't worry, there's no harm in asking.
No, I shouldn't have asked. Linda wants new couches.
Huh.
I could always shoot myself.
You mustn't say things like that.
It'd just...make things easier.
- You know that, Bill? - No, Selma...
- You mustn't say those things. - I'm kidding.
Hi, Selma. Come on in. Hi, Gene.
- Good morning. - Hi.
- (Linda) How are you? - (Selma) Fine, thank you.
- (Gene) Can I see the gun? - (Linda) Yeah, go on.
- He's got a gun? - Sure, he's a police officer.
Just didn't know he'd keep it here, in the house.
Oh, yeah. Yeah, yeah. Keeps it in his desk.
Maybe I should pay more rent.
It's been the same since I've been here.
No, Selma. I won't hear it.
You keep your money, you need it more than we do.
Two boxes?
You are going to do two boxes at the same time now?
- Yeah. - Selma, ten o'clock, then?
Yeah, ten o'clock.
What happens at ten o'clock?
I'm gonna do the night shift.
The night shift? You can hardly see enough to do your own shift.
It suits me fine. It's just after drama class.
You are going to do that too?
I've had my fill of you. Do what you want.
Go ahead! Break your neck. You do your night shift.
But don't think I'm going to come rescue you.
(Jeff) Selma.
Kathy split already.
I'm not looking for Kathy. I was looking for you.
Just have to go to a drama rehearsal.
What do you say?
You always ride your bike. You have it over there.
I...I left it at home. I thought it would be quicker if I walk.
How do you reckon that?
I'd just walk along the railroad tracks.
It's, a...short cut.
I don't understand, in musicals...
why do they start to sing and dance all of a sudden?
I mean, I don't suddenly start to sing and dance.
No.
You're right, Jeff. You don't.
The last thing on the list is the bake sale.
Two Sundays away.
- Hi, Selma. Come on in. - Hi.
I'm gonna introduce you to your understudy.
- My...my understudy? - Yeah.
This girl, Suzan, whom Boris knows. She's a good singer and dancer.
She'll learn your part too.
Because, say you get a cold and...you can't do it...
then the show doesn't have to stop. OK?
Suzan - Selma. Selma - Suzan.
Ah... Could you take off your glasses?
I think we'll do the part without glasses.
Next Sunday you will see both Marias.
I mean Selma will do the role, but I'll have you read too. All right?
It's your first night shift, right?
While this is being pressed, you'll be cutting here.
That means you'll be in charge of two machines.
You have to feed Sarah over there, right?
This palette must never be empty.
- Is it always so dark in here? - What?
It's exactly the same as the daytime.
But you have to work a little faster.
- That's what we're paid for. OK? - Thank you.
Excuse me. You have to work, you know, a little faster.
OK.
What are you doing here?
What do you think?
I didn't put you down for the night shift, Kathy.
Run along, Norman. I'm on my own time now.
How I spend it is my own business.
- Night, ladies! - Good night.
Faster. A little faster.
I like it better when you dance.
You should dance more, Cvalda.
I will when there is music.
(Machines begin working in rhythm)
# Clatter, crash, clack
# Racket, bang, thump
# Rattle, clang, crack
# Thud, whack, bam...
# Clatter, crash, clack
# Racket, bang, slam
# Rattle, clang, crack, thud, whack, bam
- (Selma) # It's music - (All) Dance, dance
- (Selma) # Now dance - (All) Dance, dance
# Listen, Cvalda
# You're the dancer
# You've got the sparkle
# In your eyes
# Look
# At
# Me
# And transcend...
(Harp crescendos)
# Clatter, crash, clack
# Racket, bang, thump
# Rattle, clang, crash, splash, whack, bam...
# The clatter machines
# They greet you and say...
# We tap out a rhythm
# And sweep you away
# A clatter machine
# What a magical sound
# A room full of noises
# That spins you around
(Rhythmical clattering, banging and whirring)
# Darling, Selma, look who's dancing
# Faster than a shooting star
# Cvalda's here
(All) # Dance...dance
# Cvalda's here
(All) # Dance, dance, dance, dance, dance, dance, dance
(All) # Clatter, crash, clack, racket, bang, thump
# Racket, clang, crack, thud, whack, bam
# Clatter, crash, clack, racket, bang, thump
# Rattle, clang, crack, thud, whack, bam...
# The clatter machines
# They greet you and say
# Tap out a rhythm
# And sweep you away
# A clatter machine
# What a magical sound
# A room full of noises
# That spins us around
# That spins us... #
(Kathy) Selma! Stop it you've cut yourself!
Get away from the machine. Henry!
Oh, Jeff is here.
- Hello, Jeff. - Hi, Kathy.
Do you live here?
She might say yes to a ride when it's this late.
Maybe Kathy...wants a ride.
No, it's all right.
What's that on your hand?
- She cut her... - Cut my finger.
- It's going to be all right. - The plates are sharp.
- Good night. - Careful.
(Birds twittering)
I think I found a solution to my problem.
That makes me really happy.
It's nothing special.
But I've made up my mind I'm gonna tell Linda.
I mean, after all, she loves me, and...
We'll just work it out together.
That sounds like a really good idea, Bill.
Sorry. I'll let you get to bed.
I guess I'm kinda tired. Thanks, Bill.
- Good night, Selma. - Good night, Bill.
Bill?
What's happening now?
(Samuel) Here we go. Selma, are you ready?
# So long, farewell, auf wiedersehen, goodbye
# I hate to go and leave this pretty sight... #
(Samuel) And...
You're on.
(Samuel) Cut, cut. Stop, stop, please.
(Samuel) This is Selma's entrance, OK? Yeah?
OK, Paul, please.
(All) # ..an absurd little bird... #
How far do you think it is?
I don't know.
(All) # So long, farewell, auf wiedersehen, goodbye... #
(Samuel) And...
Kathy, what are you doing? This is Maria's entrance.
Yes, I'm sorry. It's my mistake.
Please, I don't have all night.
- Six steps. - OK.
(Samuel) Good.
OK, I'm thinking maybe, Selma,
you could take a little circle around Boris on this next part.
Unless you have something else you want to suggest.
I'm open.
OK?
- Samuel? - Yes?
I need to talk to you.
If it's about the drummer, I have been looking everywhere...
- I promised you... - It's not about the drummer.
- Just a quick word. - Do you wanna go outside?
- Yeah. - OK.
(All) # And up in the nursery an absurd little bird
# Is popping out to say cuckoo
I'm...I'm not gonna play Maria.
What?
My heart just isn't in this,
like, I shouldn't be wasting my time on something...
that isn't that important, really.
I've been watching Suzan and she's...she's great.
She's...she's a much better dancer than I am.
Suzan's terrific, I'm not denying that.
But, you... I thought you lived for musicals.
So you've been pretending the whole time?
Yes, I've just been pretending.
I don't know what else... Everything's cast now.
Yeah.
The only part that's left is the old nun.
I don't think you'd want that part. There's no dancing.
She's quite serious, then?
She's serious, yeah. It's important for the part.
And not dancing, really. No.
I could put a little dancing in there.
You think so?
I didn't have it in mind.
You can have your tapping.
She could be just a little humorous once in a while.
Even though she's a nun.
You'll always be my perfect Maria.
Where are all the hairpins today?
I left them at home.
And she won't be playing Maria.
What will I do if I can't bawl you out
for learning your lines on company time?
One...two...three!
What kind of a joke is that?
- I need a word with you. - We're talking now.
All right. Come on.
Please, sit down.
We were off for the whole day.
Everything stops when the machine breaks, you know that.
I-I can do my job just fine if I stick to the day shift.
This won't happen again.
I-I daydream too much.
I-I decided to quit.
I guess, then, I forgot.
I've been ordered to let you go, Selma.
You don't have to pay for the machine you broke. I got them to agree.
Thanks, Norman.
This is your, ah...salary.
And you know, ah...
maybe we can find you something away from the machines...
where your eyesight wouldn't matter so much.
- Not right away. - That's very kind.
But, um, I'll be OK.
I-I really will.
- Thanks, Norman. - Thank you, Selma.
Thank you.
What is she going to do now?! Did you ever think about that?!
Don't worry, Kathy, really. I'm going to be fine.
Has anybody seen Jeff today?
He's usually here early, Selma. But not this early.
That's a shame.
Selma!
Selma.
I could give you a lift if you want.
I-I will need a lift...later.
I need to do something important at, ah...three.
You need to get your truck, then, don't you?
Yeah.
(Whistle)
Train's coming. Get off the track, Jeff.
You have to be careful.
Stick to the side.
You can't see, can you?
What is there to see?
(Whistle)
(Rhythmical clacking of train on tracks)
# I've seen it all
# I have seen the trees
# I have seen the willow leaves
# Dancing in the breeze
# I've see a man killed by his best friend
# And lives that were over before they were spent
# I've seen what I was
# And I know what I'll be
# I've seen it all - there is no more to see
# You haven't seen elephants, kings or Peru
# I'm happy to say I have better to do
# What about China?
# Have you seen the Great Wall?
# All walls are great if their roof doesn't fall
# And the man you will marry
# The home you will share?
# To be honest, I really don't care
# You've never been to Niagara Falls
# I have seen water
# It's water, that's all
# The Eiffel Tower, the Empire State
# My pulse was as high on my very first date
# Your grandson's hand as he plays with your hair
# To be honest, I really don't care
# I've seen it all
# I have seen the dark
# I have seen the brightness in one little spark
# I have seen what I choose and seen what I need
# And that is enough, to want more would be greed
# I've seen what I was
# And I know what I'll be
# I've seen it all - there is no more to see
(Workmen) # You've seen it all and all you have seen
# You can always review on your own little screen
# The light and the dark, the big and the small
# Just keep in mind you need no more at all
# You've seen what you were and know what you'll be
# You've seen it all, there is no more to see #
(Music stops, train keeps beat)
(Jeff) You can't see, can you?
See you at three.
I can see.
Gene hasn't come back yet.
I need to talk to Bill.
He decided to take the day off to go to the bank for his box.
Is he...is he upstairs?
I know everything, Selma. Bill told me.
I want you to move out.
I don't understand. What do you know?
That you came on to him.
That you asked him into the trailer, but he turned you down.
You've got nothing to say for yourself?!
No. I want to talk to Bill.
(Record has finished playing)
Hi, Bill.
Linda saw me go up to the, um... up to the trailer.
I told her it was you who wanted to...
That you'd... That you'd fallen in love with me.
I know. She told me.
And what did you tell her?
Nothing.
You didn't tell her I was lying?
Mum's the word, right?
Linda told me you went to the bank.
I went to the bank to ask for more time.
But I couldn't do it and I brought the box home instead.
Linda always gets so proud when she sees me sitting in here with it.
But you've put my money in it, haven't you?
To make it look like it's yours.
But it's my money, Bill. I'm gonna have to take it.
You can have it back.
Y-You can... you can have it back in a month.
But I can't do that, Bill.
Selma...
I-I've decided to... to pay the doctor this afternoon.
I can't save up more money. That's over now.
Gene doesn't even turn thirteen until after Christmas.
There was $2,026 and ten cents in the tin.
I can't count it now, but I trust you.
And it's thirty dollars I got today...
which makes it...
2,056...ten cents.
It's not enough...
but it'll have to do.
- Selma. - Bye, Bill.
Selma.
Selma, stop.
I'm pointing my gun at you, Selma.
I don't believe you.
You're just trying to scare me. I can't see a gun.
Just feel this. Feel this. Feel it. Feel it!
(Selma sobs)
Do you believe I have the gun?
I believe you. But it's my money.
No, it's my money. It's the money I had in MY box
and you're trying to steal it from me.
Selma! Selma!
SELMA! STOP! SELMA, STOP! LINDA! LINDA! LINDA!
What's the matter, Bill?
She was trying to steal our money.
She knew I had the gun in my drawer and she...
Is that why you wanted him? For the money?
Run to the car and get my handcuffs.
Go get the handcuffs.
Give me the money.
(Give me the money.)
(Gimme the money and I'll let you go.)
Where should I go?
(Just gimme the money.)
(Selma, just gimme the money.)
Gimme the money. Give me...
No! No! No!
(Gunshot)
(Selma cries)
You shot me.
I'm gonna...
No, no, Selma, you did the right thing.
I should have done it myself.
Kill me.
Just kill me.
Be my friend and show some mercy, please, and just kill me.
You handcuffs aren't in the car.
Show some mercy, Selma, and just...
Linda, run. Run up to Miller's farm.
Call the station and tell them to hurry.
RUN! GET UP THERE! Go to Miller's farm!
If you want the money...
(Breathes heavily)
You're going to have to kill me.
Don't do this to me.
(Selma cries)
Don't do this to me.
I'm not letting go.
No.
Just shoot me. Just shoot me. Shoot me! Shoot me! Shoot me!
(Gunshot)
(Bill shouts and gasps)
Can't you just stand up and pull the goddam trigger!
(Sobbing) I want to take my money.
(Music starts)