The Little Mermaid: Ariel's Beginning Page #4

Synopsis: The kingdom of Atlantica where music is forbidden, the youngest daughter of King Triton, named Ariel, discovers her love to an underground music club and sets off to a daring adventure to bring restoration of music back to Atlantica.
Director(s): Peggy Holmes
Production: Walt Disney Home Entertainment
  2 nominations.
 
IMDB:
6.4
Rotten Tomatoes:
33%
G
Year:
2008
77 min
Website
3,449 Views


to the adoring crowds.

But high enough so they

can't see disdain on my face.

Can you taste it, Benjamin?

The sweet taste of power!

Filling, yet oddly minty!

# Hello, world

# It's Marina Del Rey

# I'm the new attach

# But I want more

[laughing]

# And I'm never going back

# Did you get that, clawboy?

No, I'm never going back...

Delivery for Miss Del Rey.

# Make no mistake

I'm here to stay

# Oh... OK.

# Meet the new

# Marina Del Rey

- [harmonizing]

- She does seem happier. Oh!

- How long has she been in charge?

- We're going on... seven minutes.

# I remember #

[object hitting wall]

[wailing]

[continues wailing]

I got to get out of here.

I got to get out.

The walls, they're closing in.

There's no space! No air!

[grunting]

I got it! We'll start a riot!

Follow my lead.

Atlantica! Atlantica!

Join me, guys. Atlantica!

- [Ray-Ray] Hey, Ink Spot.

- Yeah?

- [panting]

- [scatting]

This ain't living.

You know what I'm saying?

And the acoustics are non-good-ular.

Listen.

# Do, re, mi, fa, so, la, ti, do

Come on, at least we're hanging out.

Can I get a "hoo-yah?"

Come on, guys. This looks

a lot worse than it is.

I'll just get an audience

with the king and I'll fix it.

Now, no offense, man,

but you had ten years to fix it,

- and this is where we end up?

- In jail.

- [all chattering indistinctly]

- Well, I...

The band has talked it up, see,

and we want you to...

- Slip through the bars.

- Use your claws to pick the lock, man.

- And open that door!

- Good plan. Good plan.

- Solid.

- Liquid!

- Just kidding.

- No, bad plan!

If we break out of this jail, there

ain't no coming back here, mon!

We'll be fugitives!

- That's cool.

- That works.

What's a fugitive?

[Sebastian] What about Ariel?

You just going to abandon her?

Leave her to deal with all

that we tangled her up in?

You think that small, weak,

innocent, helpless little girl

- can do anything by herself? Oh!

- [grunting]

- Ariel?

- Come on, Sebastian. Let's go.

- I'm with her.

- If we run away from Atlantica,

- it will break your father's heart.

- She got to do what she got to do.

- I'm sorry. I just can't live here.

- Yeah, let's go.

Listen, I will not be responsible

for taking you away from your family.

I'm leaving! With or without you.

- All right!

- Nobody's leaving!

- Except you.

- Mmm-hmm.

Look, Sebastian, without music,

this place just isn't home.

- You know she ain't lying.

- Ain't no comeback to that!

You got that right.

Ha! Oh, no, no, no.

[gasps, grumbles] Never mind.

[screams]

- Are you OK?

- Ariel, you're right!

Without music,

this place just isn't home.

I know just where to go!

[all] Freedom!

Oh...

- [sighs]

- Aw...

- [Benjamin humming]

- [snoring]

[gasps] OK...

[moaning] Oh!

Oh, dear.

[Sebastian] Go, go, go,

go, go, go, go, go!

[Flounder scatting]

[Sebastian] Flounder, shh!

Move it, move it, move it, mon.

- [Flounder] Move it, move it, move it.

- Flounder, please!

- [Flounder scatting]

- Shh!

This way. Come on.

- Flounder, shh! Be quiet.

- Ditto!

- Shh!

- [grumbling]

[scatting loudly] Yeah! Hit me!

Hey, small fry, I think you could

use some lessons in fugitivity.

Oh, yeah. Right. Got it.

You're gonna blow it for all of us.

- Blow, good.

- [continues scatting]

Hey, kid, ixnay on the soundtrack.

- Why?

- Why? Why? Why? Try jail!

- Prison!

- The big house!

- The slammer!

- Music is against the law, you dig?

Not out here.

- What?

- Come on.

We ran away so we could sing.

And I'm singing.

[scatting]

You know, the kid's

striking a major chord.

I feel it, I feel it.

Look at him go with his bad little self.

- Oh, yeah.

- Come on. Let it happen.

[scatting]

# Sha-na-na, na, na, na, na

# Na, na, na, na, na, na

# Shake, shake, shake, Senora

Shake your body line

# Shake your body line

# Shake, shake, shake, Senora

Shake it all the time

# Shake it all the time

# Work, work, work, Senora

Work your body line

# Work your body

# Work, work, work, Senora

Work it all the time

# Let's break it down

Jump-J-J-Jump in the line

- # Rock your body on time

- There he goes again.

- # J-J-Jump in the line

- He's groovin'!

- Let me try it now.

- # Jump-J-J-Jump in the line

- # Rock your body on time

- # We're in

# Jump-J-J-Jump

J- J-Jump Jump

Whoo!

# Jump in the line

# Hit it

Jump in the line

- # Rock your body in time

- I dig this freedom!

# Jump in the line

Rock your body in time

Try and stop me!

# Jump in the line

Rock your body in time

Oh, yeah, take me with you.

# Jump in the line

Rock your body on time

- [Sebastian] Come on, guys. This way.

- [male] All right.

- [Ink Spot] OK.

- [male 2] Let's step-a-doodle.

# Jump in the line

Rock your body on time

- [Flounder] Where are we going exactly?

- [Sebastian] Don't worry, mon.

[Flounder] 'Cause I got to go

to the bathroom.

[Ariel] Oh, Flounder.

[Marina] And thanks to my

bold new initiatives,

second only to my fabulous day wear

and dressy evening separates,

productivity in all sectors

is up 20 percent.

Squids are producing more ink,

kelp more oxygen,

and the coral reef is just churning

out the plankton. Chuga, chuga! [laughs]

I do so enjoy fresh plankton

on my salad, don't you?

I'll take that as a yes.

As you can see, I'm...

I'm a self-starter, Your Majesty,

here to anticipate your every need.

Not like that last guy.

What was his name?

Sooner we forget about him,

the better.

In fact, let's make a vow

never to mention his name again.

Here, I'll start.

There. Wasn't that easy?

- Marina.

- Busy!

- I think I was too hard on them.

- [Marina] Huh?

- It's about Ariel.

- Not now!

- Perhaps I went too far.

- Nonsense, Your Highness. Not possible.

[gasps]

- Marina.

- What?

- [Attina] Daddy!

- Huh?

- Ariel's missing.

- What?

- Why didn't you tell me?

- I just... did.

We can't find her!

We've looked everywhere!

Don't worry. I'll find her.

Get me Sebastian!

What, what! No, no, no!

No, I'm in charge here! Well...

Sebastian's gone, too.

Guards! Search the palace.

Search every inch of Atlantica!

Find my daughter!

Your Majesty. Whoo-hoo!

Your Majesty, Your Majesty.

[growls]

Sebastian.

- Are we there yet?

- No.

- Are we there yet?

- No.

- Are we there yet?

- No.

- Are we there yet?

- No.

- Are we there yet?

- Yes. This is it.

- Are you sure?

- Yes.

- Are you sure?

- Yes.

- Are you s?

- Yes!

Oh, man. We can't live here!

Yeah, this place is all "Oom-pa-pa."

We need some... [drumbeats]

Nonsense. It's perfect.

Just listen to them acoustics:

# Do, re, me, fa, so, la, ti, do

[echoing] # Do, Do, Do...

Solid.

Well, it beats the dungeon.

But not by much.

It'll do for the time being. Excuse me.

Ooh...

- [sputtering]

- Sebastian, be honest. Are we lost?

No, this is fine.

There's more to this place

than meets the eye.

[Flounder scatting]

- [all] Knock it off!

- [Flounder] Sorry.

[gate rattling]

- [Marina] Give me the key!

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Robert Reece

Robert Reece (2 May 1838 – 8 July 1891) was a British comic playwright and librettist active in the Victorian era. He wrote many successful musical burlesques, comic operas, farces and adaptations from the French, including the English-language adaptation of the operetta Les cloches de Corneville, which became the longest-running piece of musical theatre in history up to that time. He sometimes collaborated with Henry Brougham Farnie or others. more…

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Submitted on August 05, 2018

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