To Sir, with Love II Page #2

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The course is American history. | My name is Mr. Thackeray.

Hackery? | Thwackery? Did he say Thwackery?

Do you think you can say that? | Thackeray.

Thackeray. | Good. Now try Mr. Thackeray.

Give it to him, Evie. Give it to him!

Mr. Thackeray.

Good. | Beautiful!

My name is not dude or bro or man.

I'm sure you can manage | to address me as Mr. Thackeray.

Yeah, but what if we can't? | Then you will address me as sir.

Yes, sir.

Thought you got popped, man.

Are you supposed to be in this class?

That's right, brother. | It's Thackeray. Mr. Thackeray.

Say it, please.

You must be new here. | That's right.

Don't look like you're from here. | No. England.

Like up in Boston? | Not New England, stupid. England.

Ever been there? | Yeah. I zip over every weekend.

Do you take a train, a bus, a plane?

He's figuring out | if you know where it is.

She hitchhikes. | Ooh, looking good!

Mr. Laredo, do you know where it is? | I never told you my name, man.

No, but I told you mine. | He looked at your schedule.

You're calling Danny "mister"?

It's called respect. Miss...? | Hillis. But you can call me Evie.

No, thank you.

Tell me where England is, | Miss Hillis.

Europe. And it's an island, | so you have to take a boat.

You could fly. | I could get there in five minutes.

Nose candy'll get you there in one.

You think that's funny? You're | a bunch of fools, you know that?

Don't you see that this brother | is trying to mess with your heads?

That's what I'm here for.

Maybe you've forgotten, | but I asked you to say my name.

Then I'm going to ask you | to sit down.

Hot in here, ain't it?

Sit down, Mr. Laredo. | You didn't get permission.

It's hot in here. | It's a warm day. Sit down.

It's hot. | We're smarter if we're comfortable.

I'm going to faint. | Let me open one window, man.

Man? | Sir.

Open a window.

We're gonna need more than just one.

Check out the windows.

Come in.

Did you see the windows? | I saw them.

Turn that off. Turn it off. | All right, get in your seats.

Look at the windows. | Where's my seat?

Over there. | That ain't my seat.

Take it for the time being. Okay, sit.

Where are you sitting? | Sit there.

That's my seat. | Just take your seats.

Come, come, come. Get in your seats. | You know where you were.

To your seat, please. To your seat. | All right. Sit down.

That ain't my seat. | Put that down. Put that down!

History. It wouldn't make much sense

to get on a subway if we didn't know | where we wanted to go.

Stan does it all the time. | He's cruising.

Bastard. | Enough of that.

When you want to speak, | raise your hand.

My point is, it matters | where we are going.

History is how we know who we are.

We are all products of history. | What's so funny, Mr. Laredo?

I didn't say nothing. | But you laughed.

Ask him. | I'm asking you.

Frankie says he don't know about | history, but he knows who he is.

But does he?

Frankie don't know who he is!

Maybe our boy think he Elvis.

Why don't you have your mom put | your name in your mittens, Frankie?

All right! Sit.

Sit, sit.

Sit down.

We're all pretty much agreed | that it's a very funny idea,

someone not knowing who he is.

But let's see what we actually know.

Who would like to go first? | Tell me who you are.

You the one we don't know | nothing about.

Yeah, Mr. Thackeray.

I was born and raised in Guyana | in South America.

It's a very poor country.

When I was a year older than most | of you are now, I moved to England,

where I had a much better chance | of finding a job.

I found one, teaching in a school | very much like this school.

That sounds like | a messed-up country.

Most places are messed up, | Mr. Laredo.

The only way that will change is | if we can get most people educated.

That's the story of my life.

I taught in London | until I retired this year.

Retired? | Man, you must be old.

You're so stupid. Don't you know | better than calling old people "old"?

How come you came here? | That's really not your concern.

No one in their right mind | comes to this hole.

They send us a teacher who's not in | his right mind, we deserve to know.

I have my reasons for being here. | I assure you, I am in my right mind.

Mr. Laredo, tell us who you are. | Sure thing.

Who I am, by Danny Laredo.

I'm the man. | The man?

You need something, talk to me. | Such as what?

All right. Assuming I knew what | I wanted, you are the man I'd see?

That's right. | That's who you are?

Right again.

Let's say I wanted something | you couldn't get.

Who would that make you, then, | Mr. Laredo?

That could be arranged, Louis. | That definitely could be arranged.

What do you mean, arranged?

You're interested. Come on.

Yo, Wilsie, look up. | Raise up. Here.

If it isn't the " Casmothers Brothers. " | Can we play too?

You step over here, | there won't be no playing.

Is that right, dark side? | What say we get this party started?

You ain't saying nothing | but a word, brother.

Look, Arch!

Behind you!

Get up, punk!

Get up, punk. | This ain't over, dark side.

What you gonna do?

Cops. | Let's go!

Come on, man, let's go. | This ain't over.

Get the hell out of here.

Come on!

All right, the party's over. | Don't worry, Arch.

They won't be able to hold me.

They got nothing on him. | Did you screw up again?

Shut up, man!

My family is from Santo Domingo, | and I'm proud to be Dominicana.

My mom's Italian and my dad's Polish. | What's that make me?

A pizza with sausage.

A good answer, Miss Guzman.

A lot of us define ourselves by where | our families come from. Who else?

Mr. Radatz? Who are you? | Leo Radatz.

That's an answer to my question. | What about you, Miss Torrado?

A set of b*obs that talk. | Somebody hold Billy down.

My name is Rebecca Torrado, | and I am the hottest thing here.

All right, enough of that.

Your definition of yourself has to do | with how you see yourself as a woman,

as a young lady, is that right?

Yeah. That's what I am. | I'm no genius, you know what I mean?

But I got some things going for me.

And that's important? | Being popular?

You kidding? That's what it's about. | That's sick.

Being popular don't mean a thing. | What does?

A woman wants to be popular, | so she puts out.

The tight clothes and makeup ain't | got nothing to do with who she is.

It's just a male stereotype.

Guys, let her finish! Shut up! | It's simple.

You guys got pictures in your heads

relating to what women | are supposed to be like.

We try to be like those pictures, | but it don't get us a thing. It's a trap.

Yeah? Well, maybe it's a trap | if you don't got it, but I got it.

I'd be a damn fool | if I acted like I didn't.

That's who I am, Mr. Thackeray. Sir.

I can't believe you just said that. | This is stupid.

Why is it stupid, Mr. Cameli?

This is great if you're somebody. | If you're nobody, what's the point?

Is there such a thing | as being nobody?

Yes, there is. | It's your own damn fault.

You let everybody push you around. | Who pushes him around?

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