Learn Language through the song - | English exercises

Translate:

(elevator dings)

- Hey, will you hold the door?

Thanks.

Oh, sorry, I didn't see your hands were-

- No worries, no worries, no, I ah.

Actually, I recognize you.

You work out at Crunch, right?

- Oh, yeah.

I used to, I moved down to Melrose now.

- Oh nice.

Do you live in this building too?

I've never seen you here before.

- Ah, no, no.

I'm just here for a friend's birthday.

- Duh, you said that.

This is gonna sound weird.

Could I take you out sometime?

- What? - At the gym,

I always thought you were really handsome.

So I just.

- Oh, thanks.

Ah. - You're straight.

Or worse, you're gay and married.

That's my M.O. - No, no, that's.

I'm definitely.

It's just that this- - I know it doesn't happen.

I'm sorry, I got, I got a moment of balls, or something.

- No, no, no, you're good.

It's just, it caught me off guard.

I'm sure I'll see you around.

- Yeah, yeah, yeah, yeah, no, ah.

Yeah, no worries.

Take it easy. - No, yeah, you too.

(mechanisms whining)

(mechanisms crunching)

Oh, God. - Are, are we?

- Ah, it appears to be.

- Should we?

- I don't know.

It's my first time

- I'm gonna.

(alarm sounding)

(phone dialing)

- [Nora] Central Elevator Systems.

This is Nora speaking.

I see you are calling from Franklin near La Brea.

Is the cabin with or without lighting?

- With, we're just reporting so that the fireman,

or whoever can come let us out.

- [Nora] A call has been placed on your behalf.

Average wait time

for release tends to be less than two hours.

- Do you know if the building-

- Tends? - Yes, ma'am.

There's only one crew to handle the county.

So you will be released in order of reported event.

Unless there's someone with a medical emergency.

You're not pregnant are you, ma'am?

- No, I don't think so.

- [Nora] Okay.

- You're not, right?

- Just hang tight and we'll be there as soon as possible.

- All right, thanks.

(man breathing shallowly)

Can I, here, come on, gimme one of those.

You should sit.

(man breathing hard)

Are you okay?

- Mm-hm.

I just, ah,

I don't like elevators.

And I just, I've always been terrified

to be stuck in one, so.

Will you, uh, hand me that bag?

I always make sure there's a twist-top bottle

of wine on my grocery list for events such as this.

- Wait, you have a contingency plan for this phobia?

- It's not a phobia.

I, I, I just, I, I, I don't like

being stuck in tight places.

Do you want some?

- Oh, yes.

But that definitely sounds like a phobia.

I'm just saying.

- My dad asked his first girlfriend out on an elevator.

- Yeah? - Mm-hm.

So I thought I would, (chuckles).

Now, here we are.

I cannot believe I just did that.

- Well, what'd she say?

- She's my mom.

- I mean, had I known the stakes.

- I don't use the apps.

I mean, I, I have, of course.

I just, you know, I'd rather-

- No, I gotcha, I know what you mean.

Look, I didn't mean to sound rude.

I'm sorry if it did.

It's just, it was a bit- - It was stupid.

Did she just call me ma'am?

- Okay, so we're stuck on an elevator.

Uhh.

Are you from L.A.?

- No, I am from Alabama originally.

- Oh, wow. - Mm-hm.

- Yee-ha.

Where's the accent?

- At the bottom of this.

And you, are you from L.A.?

- Kinda, but Argentina originally.

- Ay, caramba.

Where's the accent?

No, no, no, no, wait, so (chuckles), you said yee-ha.

So I was making a joke because jokes are funny.

Oh God, can this elevator, can we just,

can we crash and die already?

- No, no, no, I want you to keep talking.

This is fun for me (chuckles).

I actually do remember seeing you at the gym.

- I'm sure you do.

Who, who's that guy just creeping around the free weights,

staring at me?

- Well, yeah, but I've had weird creepers.

And you were a cute creeper.

A really cute creeper.

(carefree Muzak)

I actually remember you humming

or singing along to your Ear Pods.

- What? - You sounded good.

You sing? - No.

- Yes, I did.

I just, uh, you, you acted like you don't know

who in the sam hill I was.

- That's not true. - You totally did.

- Well, you caught me off guard.

I didn't expect some guy to ask me out in an elevator.

It's, unless, wait.

Are, are you known for this sort of thing?

- No, no, I'm, I'm not known for this sort of thing.

- Okay.

Good.

What are you known for then?

- I don't know.

Uh, I work for a director, writer.

So, um, I'm an assistant.

I like, I'm handy.

- Oh, handy, huh?

- Handy, so I like to build things, grow things.

My car's name is SoPrius Petrillo.

Like from the-

- [Both] "Golden Girls."

- Yes. - I used to be

a cruise ship singer, that was fun.

- Oh, you do sing.

- What about you?

Uh, what are you known for?

Aside from turning down dates in elevators?

- I'm a choreographer.

So I do different gigs, like some TV shows.

I did a show in Vegas once.

- Oh my God.

That's wild, I have a lot of friends who do shows in Vegas.

(carefree Muzak continues)

(both laughing)

- No. - I'm dead serious.

This one time, we were porting out of Venice.

- California. - Italy.

- Gross. - I know, and it was,

it was this place called Orange Bar we'd go to.

And then we go, uh, to, I think it was called Picolo Mondo.

Anyway, we were, this Albanian street gang

was literally chasing us through the streets of Venice.

- You're lying. - No, I'm not.

It was, it was insane.

- You need a chaperone.

- You applying?

Anyway, it was a good time.

Good friends.

- Good loves?

- Good lessons.

- That's fair.

Sing me something.

- Absolutely not. - Come on.

- No.

(singing in foreign language)

- Your Spanish needs some work.

- Look, it's been a very long time.

- I've never met a ginger who wooed me with Bamboleo.

- I wasn't wooing.

(mellow guitar music)

- Stand up. - What are we doing?

- I wanna teach you something.

- Okay. - I wanna salsa.

Okay, put your hands up like mine.

Okay, now move your right leg back while my left leg

moves forward, yeah.

Ball change, now towards me.

One, two, three.

Okay, now loosen up. - I'm plenty loose.

- Hips, shoulders.

One, two, three.

Ah, that's it.

See, you got this.

You're doing it.

(mellow guitar music continues)

- I, I can't, I'm, I'm sorry, um.

I, I, I can't- - No, I'm-

- I can't do this. - No.

- I just, I don't, I don't hook up,

ever, so this- - I know that.

I, I, I don't, that's not what I.

I, I'm sorry. - I'm, I'm sorry.

I'm, I'm really sorry.

I just, God, this fucking elevator, Jesus fucking God,

can this elevator please, please just figure itself out.

I, my God, I, my groceries are ruined.

You, you're not real, this, none of this is real.

I don't, I can't, can you please button your shirt up?

Oh my God.

- Hey, hey. - Oh my God.

- Hey. - No, I, I, I've seen a man

get split in half by an elevator before.

It's a, it's a long story.

- It won't be happening to you.

- What if Nora tells you

that you have to pry the doors open,

and as you're trying to escape,

you get split in half on the elevator?

And then here I, it's not funny.

And here I am staring at the bottom half of your body.

- Oh, are you calling a bottom now?

- I'm not calling you anything 'cause I don't know

your fucking name.

This is.

(man exhaling)

- I'm Rafi.

Rafael.

- Rafi.

Rafi.

Can you please just button your shirt, Rafi?

I, uh, my name is-

- [Both] Joel.

- How, how, how did you know that?

- I follow you.

- I'm, I'm, I'm sorry, what?

- I told you, I remember you.

You showed up as like people you may know one time.

Or- - Why, why would you

act like you don't know who I am then?

- I told you, you caught me off guard.

I, I didn't expect you to see me the way that I see you.

You good? - Uh-huh.

With me in this moment, are you good?

- I said yes.

Um, this is just, this, this, it's too much.

Uh, this would not be happening

if you were not stuck with me in this elevator.

So, it's just- - I'm not stuck with you.

We are stuck together.

I am feeling what you're feeling.

This is real for me.

So just quit.

Quit expecting people to reject you

just so that you're less disappointed when they do.

- Oh my God.

Can, please, please button your shirt.

- Okay, fine.

You good?

- Yeah. - Promise?

- I promise.

- Promise, promise?

- I promise, promise.

(mellow Muzak)

- [Nora] Hi, it's Nora again.

Just checking on y'all.

Ma'am, are you still okay?

- No, I actually think he's going into labor.

- Oh my God.

Nora, I'm fine, thank you.

- [Nora] You promise?

- He promise promises.

- [Nora] Okay, good.

(Muzak continues)

- Cut. - Hey, hey, hey, hey.

What are you doing, what's going on?

- You good, are you not happy with that take?

It looked great.

He's fine, just taking a minute.

Ah, where do you wanna take it from?

- I don't, I, I can't, I can't, I can't tell this story.

I'm sorry, this story is bullshit.

- You wrote this story.

- I know. - What are you,

what are you talking about?

- I wrote a fictional character

and hired someone to play him.

That's how I'm getting the man of my dreams.

I feel so fucking foolish.

I've raised so much money for this movie.

And, and to tell this story and,

and for what, to?

I'm hurting, I'm hurting so bad.

It hurts, I constantly hurt.

I don't know what that feels like.

That, that felt so real.

I want it, I need it.

I need it so bad.

I, I can't, tell that-- I can't

live this life alone anymore.

- Oh my God.

- Are you, oh, hey, you are not alone.

- Okay, that's only something

that someone not alone would say.

I'm so tired of being dismissed.

- Oh, Jesus. - Hey.

Hey, hey, hey, hey.

I hear you.

- [Director] Insane.

- I wanna say something to you.

You are not foolish for wanting to tell a hopeful story.

Okay?

So let us see where we are with time.

And you just take a minute,

and decide if you wanna finish this.

If you want to tell this story.

Okay?

- [Director] That was a lot.

We're all a lot.

- Hey.

- Look, did I?

I thought we felt pretty connected

and in the moment back there.

But like, if I- - No, yes, yes.

We were, ah,

you are, you are perfect in this role.

Too perfect.

It was triggering.

Ah, 'cause

I don't know that story very well.

I've never gotten you.

And what was happening was feeling very real for me.

Knowing that it's not.

- What if it is?

- What if it's what?

- What if it's real?

This story means something to me.

That's why I auditioned for it.

It spoke to how I feel.

And then I met you.

And then we rehearsed.

And then they called action and then we kissed.

And it didn't feel like acting.

- It was a good kiss.

- So what if our meet-cute happens because of you

writing about a meet-cute that you wanted to happen?

- What the fuck is a meet-cute?

- It's that thing in your script

that was happening before your existential crisis.

- Oh, oh honey,

you haven't seen an existential crisis.

Trust me.

- Well, that's terrifying.

So.

What if we go back there and finish the scene?

It's the last shot of the day.

And then when we're all finished,

what if you and I go out?

You and me.

- Okay.

- You good?

- Mm-hm.

- Promise, promise?

- I promise, promise.

- [Director] Shall we do this?

- Yeah.

Yeah. - Rehearsal up!

- [Director] Action.

(cheerful pensive music)

♪ I'm not going anywhere ♪

♪ Though it might be in my best interest not to care ♪

♪ Here I am ♪

♪ Holding out my hand ♪

♪ Don't you try to hide ♪

♪ You're not a monster ♪

♪ I see deep down inside ♪

♪ And it's cold here in the dark ♪

♪ All alone ♪

♪ So let's be cold together ♪

♪ We can make this our shelter ♪

♪ Let's be cold together ♪

♪ We'll laugh through all the weather ♪

♪ I know you feel ♪

♪ You'll drag me down but I don't care ♪

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