All language subtitles for The.Rundox265-RARBG

I just love mushrooms.

One of my favourites,
or as l caIl it. . .

. . .the king of mushrooms,
is the porcini.

Now, stop right there.

Don't be alarmed.

There's a lot of confusion
in this country between porcini. . .

. . .the ItaIian name, and cèpes,
which is the French name .

They're fat and they're earthy.

Now, the porcini is most often seen
dried here in this country.

And they would always be labeIled. . .

-. . .dried porcinis' not dried cèpes.
-Beck!

-Come on!
-They are very, very, very flavourfuI.

It's about time.
I've been waiting.

Man' you're lucky to be getting in.
It's an extremely private party tonight.

-What's he drinking?
-Jägermeister and CristaI.

Great.

-Security?
-No, but we do have a sIight probIem.

Have fun.

What's the probIem?

That's your probIem.

The guy on the Ieft
is JaIiI Johnson.

-l think he's the Ieff tackIe.
-JamaI Johnson.

Defensive end.

The best defensive lineman Notre
Dame's produced in the last 20 years.

Maybe ever.

The guy on his Ieff
is Kambui Jackson.

He ran for 2000 yards last year,
AlI-Pro five years in a row.

The guy in the headband,
that's Fernando Lewis.

Middle linebacker.

Plays a Iot Iike Ray Lewis.

-He just hits harder.
-Whatever. I'm not into footbalI.

The other two guys
are Jimmy CoggesheII.. .

. ..and David MuIaire.

One's from USC.
The other one's from Ohio State.

Stay down, bitch!

The guy you're Iooking for is there.
Brian KnappmiIIer.

Throws like Brett Favre .

Bets like Pete Rose .

So I'm telIing this cat, l'm Iike'
"Yo, l know it's you that jumped.

I saw you. Don't telI me it's not you."
He's like' "I don't know."

-Excuse me.
-"Trust me. It's you, I know."

Excuse me.
I'm sorry to bother you guys.

-l apoIogise. I need--
-My man.

I ain't got no hook-ups to tryout
camps. You just gotta show up.

I think you'II be aII right.

So I'm telIing the cat,
"I don't want--"

Excuse me. I'm not here
to talk about tryouts.

-lf I couId have a minute--
-l got it. Pass me that.

Who do I make this out to, man?

Who do I make it out to?
What's your name?

-Beck.
-Beck?

B-E-C-K.

-What's up?
-What's happening?

Here you go.
Knock yourseIf out.

-AIl right?
-Thank you.

What are you gonna do?
Are you gonna come back, or what?

Excuse me.

-l'm reaIIy--
-What are you doing' man?

A coupIe of months ago, you made
wagers with an associate of mine.

-Two, three months ago.
-What's up, Knappy?

-Nothing. It's good. Enjoy your drink.
-What's up?

Yo, bets? You embarrass me
in front of friends about bets?

I don't mean to embarrass you.
This is embarrassing to me.

-$50 ,000 . You might remember.
-Yeah, I know what it is, man.

Listen' there's a G to get me started.
Now do me a favour.

TeIl your man l'II see him Monday
with the rest. . .

. ..and not to send anybody eIse
to see me' alI right?

Brian.

I'm gonna need some coIIateraI
from you.

What?

I'm gonna need the ring.

-l'm sorry.
-You're--? Are you--?

SIip it under the tabIe'
on the Iow-low.

-l'II make sure you get it back.
-On the Iow-Iow.

-l'II give it to you. Want a drink too?
-Thank you.

Take the ring.
That's what I think about that.

Get the heIl on' man.
Go' man! Go!

-Do something with this.
-You heard the man.

Yo, man, get up!

Okay.

Yeah, that's right' pIayboy' waIk.
Go on' man!

You wanna jump?

Get your ass out of here.

You alI right?

This shit burns.

Hey, it's me.

Oh' yeah, he's here.
We got a probIem, though.

He's got the entire offensive Iine.
The entire offensive Iine is here .

Let me do it another night.
How about that?

They've got a shot
at repeating this year.

I do not wanna hurt them.
I don't wanna go out--

Okay, BiIly.

KnappmiIIer!
You got two choices.

Option A, you give me the ring.

Option B ,
I make you give me the ring.

I'II take B.

Wrong choice.

Okay.

Yeah, put him down, man!

-Yo, what's with aII this hostility?
-You shouId have taken option A.

Are you aII right' mate?

Are you okay?

Thanks, mate.

-There he is.
-Why'd you send him' BilIy?

Martin? Oh, he was just a backup.

Affer I got your caII,
I wasn't so sure you couId deIiver.

-What happened?
-He stole it from me!

He got you
with those beanbags? No.

That is gonna be 1 0 off your vig'
anyway' you know.

BiIIy, you know I've got pIans!
Stop nickeI-and-diming me.

It's a tough business,
the restaurant business.

I hear 75 percent of them fail
the first year. Do you know why?

Undercapitalization, that's why.
I don't think--

BiIIy, I want out, I want a new Iife.
I want my money, and I want it now!

Now?

Now.

Okay.

One job.

One job' I wipe your sIate cIean. . .

. ..and you have your restaurant.

Come on, open it up.

Come on.

That's a photo
of Travis AIfred WaIker.

Stanford dropout' treasure hunter.
OnIy to date. . .

. ..the only thing he's found
is troubIe.

-Did you say, "WaIker"?
-My son.

From my third marriage.
Lasted about three minutes.

That picture was taken
two months ago. . .

. ..in some goId-mining town calIed EI
Dorado in the middle of the Amazon.

-How much?
-250 large.

For that much,
why not invite him back yourseIf?

-The boy doesn't trust me.
-Kidnapping's gonna heIp.

Is that sarcasm?

You wanna be sarcastic,
do it to your monkey friends!

You do not do it to me!
Do you understand?

I'm sorry, BiIIy.

You're goddamn right you are.

-What'd he do?
-Pissed off the wrong peopIe.

I don't have to remind you
what happens when you do that, do I?

So I bought him some forgiveness.

But if I don't bring him back
to face the music. . .

. ..you know damn weII
that I can't carry a tune.

So you deIiver my boy back here,
you bring him right through that door. . .

. ..you waIk out of this house
a free man, with a restaurant.

Is that duct tape?

Don't worry there' IittIe feIIa.
WaIk by faith, not by sight.

WiII you Iook at that?
We can't Iand now.

-Why? Why can't we Iand?
-They got the buIIs on the ground.

"Booze on the grind"?

The buIIs. On the ground.
Cattle down there .

-Cows?
-Yeah.

I'II give them a wee fright there.
Get moving! Come on!

Out of me way!

Out the way' you!

Move it! Move it now!

Out my way!

Out me way!

AII right there' IittIe feIIa.
Okay, gotcha.

What did I teII you about the Iamp?
My needIe was totalIy knackered.

Rpm's aII over the shop.

-ls this the onIy road in and out?
-lf you wanna stay aIive.

-Why is that?
-There. That's the jungle, littIe feIIa.

You got anacondas in there.

Poison arrow frogs, bIack fIies'
buIIet ants.

If they don't get you'
the rebels wiII.

-What?
-RebeIs. That's what I'm teIling you.

To them' Cornelius Hatcher's
buiIt a BabyIon in paradise.

-BuiIt a what?
-A Babylon.

Yeah, that mine is as close as a man
can come to the gates of heII. . .

. ..whiIe his heart's stiII beating.

The Sunday school picnic is over,
I'II telI you that.

Stay out of the jungIe'
littIe feIIa, okay?

I found these fIowers growing
in the deepest parts of the jungIe.

I mean, as far as I can teII,
no one's ever identified them. . .

. ..which means l'm responsible
for naming them.

I can onIy think of one word
that fits something so beautiful.

Mariana.

How much do you want?

-What?
-How much?

I need your uncle's boat.
A day or two, max. Mariana--

You borrow my car,
bring it back with no windshieId.

-My brother's scooter--
-That wasn't my fault.

Now you want to borrow
my uncIe's boat?

"I found it, I found it." You'Il never
find this Garbo of yours.

-lt's "Gato," I told you.
-Gato.

It's out there' Mariana.
I know exactIy where it is.

But I need that boat.

-How much?
-l toId you, I--

No. How much is your Gato worth?

This is a very significant
academic find.

-How much?
-lt's not about money.

-You Iie like a Iittle girI, Travis.
-l'm not lying.

If I get the boat for you,
you have to take me with you.

Ridiculous.
We're taIking about a boat.

-And we spIit the take 50-50 .
-l've been doing aII the work' okay?

-l found it. No way.
-50-50 , Travis.

-70-30 .
-50-50 .

-60-40 .
-50-50, and I get off work at 6.

Then we can go and get your Gato.

You're eviI.

-Thank you.
-Whatever.

For the fIowers.

Harvey! We're here
to see your brother.

Where's he from?

-He's an American.
-You got a gun?

No, I don't like guns.

Check him.

-What's the current payout?
-Give me a payout for Quadrant 3.

2425' down 20 percent.

Checked him?

AII right, Iet's go.

Come on.

I never met an American
who didn't Iike guns.

TeIl them to dig harder.

If only it were that simple,
eh, Mr. Beck?

-How do you know my name?
-When a man of your dimensions. ..

. ..traveIs aIl this way
to visit a pIace Iike this. . .

. ..it arouses the curiosity.

What can l do for you?

Do you know this man?

Travis Walker.

I Iet him excavate
around the mine. ..

. ..aIIow him to rent a room
in my town...

. ..aII for a fair 60 percent
of anything he might unearth.

-Where can l find him?
-FoIIow the bulIshit.

-Guy's mouth shouId be in the circus.
-Brother' please.

-Do you have business with him?
-l do.

What kind of business?
I Iove business.

-lt's personaI.
-So. ..

-. . .why come to me?
-When I'm a guest in a man's house. ..

. ..I don't reach into his refrigerator
without permission.

Refrigerator.

I wanna show you something'
Mr. Beck' pIease.

Does that Iook Iike
a refrigerator to you?

Looks more Iike heIl.

Where you see heIl' I see
a spelIbinding sense of purpose.

I see the value of keeping your eye
on the baII.

When a bride sIips the ring
on her finger.. .

. ..when a businessman Iays his hands
on a RoIex. ..

. ..when a rapper gets a shiny new
tooth' this is that cost, Mr. Beck.

My horror for their beauty.
My heIl for their IittIe sIice of heaven.

Somebody's gotta keep his eye
on the baII.

That somebody is me, Mr. Beck.

I am down here every day
keeping my eye on the baIl.

That's just a simple fact of Iife.

And if you're boId enough
to face that coId' hard fact. . .

. ..you can make a Iot of money.

-What do you want with the kid?
-l've come to take him home.

That'II cost you $1 0'000 .

-l need to borrow the jeep.
-Wait a minute, friend.

I'II give you $1 000 .

I need you to take my bag back to
the pIane, keep the engine running.

-Can you do that?
-For $1 000?

-That's right.
-l'II find a way.

DecIan. I'm gonna be coming fast.

American?

Yeah.

Where from?

SomepIace that's got bartenders.

What can l get you?

I'II take a beer.

Nice fIowers.

"The smiIing fooI."

Back in the States' Brazil nuts
like these go for $1 5 a pound.

WeIl' those feIl off the tree
out back.

And around here'
we don't caII them Brazil nuts.

-What do you caII them?
-WeII' we're in BraziI. . .

. ..so we just caII them nuts.

-Fair enough.
-What brings you to the Amazon. . .

. ..other than the food and drink'
of course?

-l'm looking for a man.
-What's your type?

His name's Travis WaIker.

Brown hair. He's in his 20s.
Wears a bIue shirt' jeans.

Right now he's got a reaI
bewiIdered Iook on his face.

-Do l know you?
-Name's Beck.

-What can I do for you?
-l need you to make a choice for me .

A choice?

-Option A or option B .
-What's option A?

Option A is, you and I
waIk out of here nice and easy. . .

. ..and drive back to the airstrip.

And then we begin our long journey
back to Los Angeles.

There'II be no bIood'
no broken bones. . .

. ..and no probIems.

-What's in Los AngeIes?
-Your father.

-What's option B?
-Pretty much the opposite of A.

But I wouIdn't recommend that one.

I'II take option C .

Travis' there is no option C .

ReaIIy?

Are you sure?

I mean, big boy'
there's aIways an option C.

So angry!

-Shut up.
-Shut up!

Like I said'
there is no option C.

-Let me introduce you to option C.
-Mr. Beck. . .

. ..there's been a sIight change
in the narrative.

An unexpected twist, you might say.
Can I have a beer, pIease?

Mr. Hatcher, I was just gonna
come find you when this--

The kid stays.

-l paid you.
-WeII' fortunateIy. ..

. ..I had my fingers crossed
the whoIe time.

ApparentIy, young Mr. Walker. . .

. ..may have stumbled
onto a trinket of vaIue.

And as he's located it
in my jungIe. . .

. ..I'm gonna need him
to Iead me to it.

Okay, so Iet's go' dickhead.

Don't calI me a dickhead,
you dickhead.

-Did you find it or not' asshoIe?
-What, asshoIe?

-Did you find it or not?
-What's that?

-Did you find it or not' asshoIe?
-Don't!

Hey, don't rock the boat.

Okay.

-l don't want any trouble.
-Leave now. Don't come back.

-And the 1 0 '000?
-Consider it tax-deductibIe.

A contribution
to your personaI heaIth fund.

With aII due respect, Mr. Hatcher.. .

-. . . I'm feeIing pretty healthy.
-Oh' yeah?

WaIk.

Don't make waves.

You're gonna kiIl us aII' Mr. Beck?

I tried to be reasonable.

That's not the way to do business.

You shouId've kept the gun.

You're dead aIready.
You just don't know it yet.

This is option B?
Are you kidding me?

Quiet.

You're dead. You're so dead.

We won't get out of here .
AII this Iand' Hatcher owns it.

The road, the air,
Hatcher owns it aII.

-Shut up.
-Whatever my dad is paying you. . .

-. . . I wiII double it.
-No.

-l'II quadrupIe it.
-No.

-DoubIe it and quadrupIe it.
-No.

You're being unreasonabIe!

-l'II give you a chance to reconsider.
-You get one more chance to shut up.

Is that your final answer?

For what it's worth,
I hope you enjoy the faII.

-Yeah, what falI?
-This faII.

Come on, big boy,
where's the frigging keys?

AII right.

Travis?

Good God!

Travis!

-l'm not going back.
-Oh' you're going back.

No way.

-Right now.
-Who the heII do you think you are?

You come into my town,
mess up my bar...

-. . .and you eyebaIl my woman?
-EyebaIl your woman?

It's on.

What's this?

Who is this? ls he your friend?
Do you know him?

Do you? Say helIo.

Say heIIo. Say heIIo.

Are you finished? Let's go.

Big boy' you Iike thunderstorms?

Bet you do, right?

-LittIe thunder?
-Stop it.

-LittIe Iightning?
-Stop!

Thunder? Lightning?
Thunder? Lightning? Ears--

You done beating me up?
Let's go.

-l'm tired of this.
-You win.

Come on! Go to sIeep.

Go to sleep. Night-night.

Night-night. Go to sIeep now!
Come on!

ObviousIy, we got off
on the wrong foot here.

So I'm gonna be completeIy
candid with you.

Have you ever heard
of the Gato do Diabo?

-The Devil's Cat?
-You're gonna stop speaking now.

AII right. It's--

It's a priceIess object, man.

Forged out of pure gold.

-Worth milIions.
-You said priceIess.

You do not wanna argue semantics
with a Ph.D . candidate.

-Ph.D .?
-Yeah.

I am realIy very cIose
to being Dr. Travis WaIker.

You dropped out of Stanford
after two semesters' Einstein.

So I'm fairIy cIose. CIoser than you.

CIose to getting your ass
kicked again.

Wait, wait, wait!
The Gato is real' aII right?

I know where to find it.

-l'II spIit it with you' 80-20 .
-Move!

70-30?

You're a very unpIeasant individuaI,
you know that?

You think they're dead?

What am I ' psychic?

I'm gonna cut that kid's nose off.

No, Harvey.

You want the Gato
because if the bad guys get it. . .

. ..they won't need us anymore.

There'II be no one to work the mine.
You wanna work the mine?

There are two men in that jungIe
who are trying to steaI from me.

I feel Iike a IittIe boy
who's Iost his first tooth. ..

. ..put it under his piIIow,
waiting for the tooth fairy to come.

OnIy, two eviI burgIars
have crept in my window...

. ..and snatched it
before she couId get here.

Wait a second. Do you understand
the concept of the tooth fairy?

Explain it to them.

You find a tooth,
you put it under your piIIow.

The fairy comes. . .

. ..waiting for the tooth.

Wait. She takes the goddamn thing,
gives you a quarter!

They got my tooth!

I want it back.

I have to ask you'
back at the bar, man. That was crazy!

No guns. Strip, toss, toss' strip.

-Didn't I teII you to be quiet?
-l know, but what is that?

Some kind of nouveau samurai code?
You got a probIem with guns?

They take me to a pIace
I don't wanna go.

Where do they take you?

To a pIace you
don't wanna see me go. WaIk!

How offen do you work out?

Let me get this straight.

-You never use guns?
-No.

-Never?
-Never.

What if your best friend
was gonna die?

No guns.

Santa wouId do it
to save his best friend.

Do I Iook Iike Santa CIaus?

-Do l look Iike Santa CIaus to you?
-What is it?

Guns make you um pouco louco?
Bang-bang crazy?

I pick up guns, bad things happen.
I don't Iike that.

-What kind of things?
-Very bad things' Travis. Walk.

-What about knives?
-Move!

My father doesn't share
the same distaste.

-He's your father. He won't kiII you.
-AIl he cares about. . .

. ..is what's good for business.
Now' the question is' Mr. Beck.. .

. ..what's good for your business?

You don't Iike money?

I don't make deaIs
with peopIe Iike you.

-You don't even know me.
-You're like every jackass I take down.

First they try to run, then fight'
then they try to negotiate.

When that faiIs, they do what you're
about to do when you reaIise it's over.

Oh' yeah? What's that?

You're gonna get down on your hands
and knees and beg me for a break.

WeIl' guess what.
I don't give breaks.

No breaks.

You don't understand the situation.

You borrowed money
from the wrong guy.

You sIept with the wrong guy's wife.
I don't care.

Your mistake.

What about you' Mr. Beck?
Haven't you ever made a mistake?

I know! Move.

No breaks. That's lame.

No breaks!
No, I don't give breaks.

Santa CIaus doesn't give
any breaks.

-ShouId've been at the airstrip by now.
-Like I'm gonna heIp.

I didn't ask for your heIp.

-What are you doing?
-l have to pee.

-Pee in your pants. Move.
-No.

I've Iet you push me around
this jungIe for, like' five hours.

You've been very aggressive' and I'm
not moving untiI you let me pee.

If you wanna keep going' you'Il have
to carry me. I'lI pee on your head.

You threatening me?
You threatening me with pee?

WeIl' yeah,
if you don't let me pee here.

Fine. You win.

Pee.

-WiIl you unzip me?
-No, l won't.

-You wanna pee, you got 30 seconds.
-How can I with my hands cuffed?

Find a way. Pee.

Come on.

Don't make it weird.

PIease?

Don't breathe, don't say a word.

Don't even Iook at me.
Look over there.

Thanks, man.

Oh' shit.

I can't get it out!

-Could you just heIp--?
-No. HeII, no.

Come on! Son of a--!

Come on, come on!

Come on! Oh, hey. Hey' I got it.

CongratuIations.
You got 30 seconds. Hurry up.

Don't Iisten to Tiny Tim' okay?

You're the reaI big boy.
Everybody knows it.

Ready? One, two, three' go.

One, two, three' go' go' go' go!

Oh' yeah.

I'm going.

Oh' boy.

What--? What is this?

What is--?

Travis! Hey!

WeIcome to the jungIe, tough guy!

Looks Iike big boy
got himseIf pig-snared!

Hey! Hey!
I've got the keys to your cuffs.

-Shit.
-l'II teII you what you've got, paI.

-You've got problems.
-That's-- Don't do it, Travis.

Hey. Hey' get me down. Travis.

Oh' what's this? Is this your diary?
Your IittIe journaI?

-Give me that. Don't touch that.
-You want this? Get it!

Come on, get it! Get it! Come on!
Come on! Yeah, yeah!

Oh' yeah, come on! Get it!
Get it!

Give it to me!

You're Iike a littIe birdie up there!

I wiII kiIl you.
You better give me that book.

"Shrimp and pea risotto
with basiI and mint."

-Are you a chef?
-None of your business. Give it back!

Looks Iike you're
WoIfgang Stuck right here.

Travis! Travis!

-Hey! I Iet you pee.
-Oh' yeah' you did. You did.

Thank you so much.
Do you have to pee?

WeIl' you got 30 seconds.
Go ahead and pee.

Oh' shit.

-Hey' I was kidding about what I said.
-Give me the book.

-l don't want it. I don't want it.
-Turn around.

-Why you aIways gotta hit me?
-Now Iisten to me.

We gotta get to this tree.
Let's go back to back.

AII right. Okay.

-Kick your Iegs!
-l'm trying! I'm kicking my Iegs!

-Where are you?
-Grab me. Grab my back, not my ass.

-Got it?
-l got it. Got it.

Oh' great! You did it!

-Now what?
-Put your arm over me. Get to the tree.

-Listen.
-You're like Joe Pig-snare?

Put your arm over me!

-Just stop moving!
-The vine. You gotta grab the--

What was that?

-Oh' shit.
-What was that?

Monkeys.

Steady.

Steady!

Oh' God!

Do not fight them!

Oh' my God!

-What's he doing? What's he doing?
-He's humping you, he's humping you!

-What's he doing?
-EstabIish dominance!

EstabIish dominance!

Get him off of me!

He's humping me!
Make him stop!

The ears! Get the ears.

-Who's that?
-lt's the rebeIs.

Don't worry, they're my friends.

God bIess you!

Say hi.

Hi.

These are your friends, huh?
What, are you kidding me?

I'm starting to Iong for a monkey
with a hard-on.

Whatever happens,
just keep looking into his eyes.

-Won't that offend him?
-No.

Whatever you do, do not bIink.
They're Iike grizzIies.

Just shut up
and Iet me take care of this.

We know you work for Hatcher.
Were you tracking us?!

-He thinks we work for Hatcher.
-WeII' telI him the truth.

Fierce gaze. Fierce gaze.
Fierce gaze.

HonourabIe host' unIike this man on
my Ieft, I do not work for that eviI scum.

Why does the giant stare at me without
respect? I wiII cut out his arrogant eyes!

-What's he saying?
-Shut up. Just hoId his gaze.

He is Hatcher's assassin. Paid to hunt
aII who oppose him' incIuding me.

Why do I get the feeIing
you reaIIy suck at Portuguese?

What did he say?!

He says he pisses
on your ancestors. . .

. ..and that you wouId make
a very pretty bride!

-What's going on?
-He wants to fight you.

No. We're not fighting.
TeIl him I don't wanna fight.

The assassin is a great warrior! Better
to shoot him now and get it over with!

-We are not fighting.
-Don't worry, they're IittIe peopIe.

-What?
-You could take them. They're littIe.

You can win.

Why do you wanna fight? Why?

I just wanna get back to the airport.

PIease. I just have to get home.

Okay, hip-hop.

I don't wanna do this.
PIease. PIease.

Travis' telI them one more time
I do not wanna fight.

I'd Iove to heIp you out,
buddy' but I don't think. . .

. ..they're reaIIy listening
to me anymore.

Heads up.

That's okay! That is okay!

Hey, Kansas Cities!

Don't do it.

What is that?
It's Iike spinning Tarzan jujitsu!

Speedy IittIe bastards' aren't they?

Head's gotta stay up.

Oh ' shit.

I am not your enemy.

Mariana?

What are you doing here?

Barmaid by day,
rebel Ieader by night.

You are good! The whoIe time I was
working you' you were working me.

I was hoping you might find
O Gato do Diabo.

It couIdn't have aII been work.

CouId it?
Man' that was some good work.

What do you think, Travis?

I knew. You know that' right?
I totaIIy knew.

Of course.

Hey.

The herbs wiII keep it
from getting infected.

-Why do you do this?
-Pardon me?

-Why do you fight?
-Because of 65 cents an hour.

That's what Hatcher
pays the workers.

But in order to mine,
you need tooIs.

You need food, cIothing'
a pIace to sIeep.

You have no money'
so, what do you do?

You borrow from Hatcher.

Pick and shovel' a dolIar a day.

A sack to hauI the dirt,
another doIIar.

Old Mr. Beck knows a Iot
about debt, don't you?

He knows what it's Iike to dig a hoIe
so deep you can't cIimb out.

CaII it what you want.
It's escravidão.

"SIavery."

And we intend to stop it.

Manito wants to know who wouId win
a fight between Tyson and AIi.

AIi, hands down.

He says, "What about
Tyson's power?"

Shit. TeIl him AIi
wouId've done to Tyson. . .

. ..what he did to Foreman in Africa.

Rumble. "RumbIe in the JungIe."

TeIl him AIi was too smart.

Too smart, too fast.
Would've used his jabs. Bam, bam!

Would've danced.

Would've pIayed with his mind.

Before you know it' bam! Leff
to the body. Bam! Right to the head.

Down goes Tyson.

Float Iike butterfIy.

Sting Iike bee.

Float Iike butterfIy' sting like bee.

-Yeah!
-FIoat Iike butterfly' sting Iike a bee!

He says he thinks
you are a great fighter. . .

. ..and he wants you to have it.

-lt's for Iuck.
-TeII him I'm sorry, I can't.

You'II offend him if you refuse .

I'm honoured. Thank you.

You'II need alI the Iuck you can get.

It's a Iong waIk back to the airfieId.

EspecialIy by yourseIf.

Nice!

You don't understand.

-l'm not going back without him.
-Oh' here we go again.

Fifty rifles say you are.

And we're rebeIs' not thieves.

Hatcher!

Travis!

Let's cIean it up.

Not so fast, jungIe boy.

Move! Move!

Come on!

Manito!

Go' go' go!

-Manito!
-Let's go!

I want hunting parties.

SmalI ones.

Find them.

Find them!

AII right, this is the way
it's going to be.

You're going to take me
to Q Gato do Diabo.

-And you're going to take me now.
-CaIm down.

Don't! You saw what they do.
Don't ever teII me to calm down.

Travis' don't pIay with me.

-Or what?
-Or l'm going to shoot you.

WeIl' if you shoot me'
you're never gonna find the Gato.

-So we're gonna make a IittIe deal.
-Deal?

You see? O Gato is an object to you.
It's Iife on the Riviera, a private yacht.

-You don't know anything about me.
-For us it's hope.

My heart's breaking.
It's Iike a teIethon.

-You seIfish--
-Enough!

Sit down! Sit down!

HoIy shit, you tried to shoot me!

You saw it!

-Crazy.
-Shut up.

Shut up.

The deaI's this.
He takes you to the Gato.

You just show me how I get out of this
jungIe so I can take him home. Deal?

Do we have a deaI?

-Deal.
-Let me get this straight.

She gets what she needs,
you get what you need. . .

-. . .and I get the shaff.
-l couId always give her back the gun.

-l reaIly don't Iike you.
-Yeah, weII, I get that a Iot.

Seriously.

What?

I was just wondering
how it is you came to do...

. ..you know, whatever it is you do.

-lt's a Iong story.
-lt's a Iong waIk.

I grew up in a very rough pIace.

One thing Ied to another, that's aIl.

-Just like you.
-Like me?

Yeah, you get pushed,
you push back.

WeIl' with me' l pushed so hard
that word got around.

Before I knew it, I was in a room
fuIl of the wrong peopIe. . .

. ..with the wrong money.

So you think I'm standing
in a room fuIl of the wrong peopIe?

Yeah. Something Iike that.

I Iike you, Mr. Beck.

ReaIIy.

But you and I are nothing aIike.

Travis!

Let's keep moving. Let's go.

What are you doing?

Let's take us a IittIe swim'
WoIfgang.

We're not swimming. Let's go.

Come on, big boy.
You couId use a bath.

Travis' we have to keep moving.
It'Il be dark soon.

Why?

We're aIready here.

-Don't pee in the water.
-Why?

A candiru, a vicious parasite,
wilI swim up the urine into your pau.

Come on, big boy! It feeIs good!

-Swim up my what?
- Your pinto .

It'Il swim up your ding-dong. And once
it gets in' we can't get it out.

Come on!

Wait.

WeIl' then what?

They have to amputate.

Not this boy's pinto. Not today.

The hierogIyphic code. . .

. ..said the great chief of the Marajó
peopIe put the Gato to sleep. . .

-. . .behind waIls of a moving curtain.
-A waterfaII.

Must be some kind of
methane buiId-up.

It's cool. Let's go.

-Oh' God!
-Yeah, reaI genius.

-You have no cIue what you're doing.
-Oh' shut up!

You obviousIy don't know
anything about methane deposits.

-Oh' and you do?
-Shut up.

What'd you just say?

What is it?

Why do I get the feeIing
we are not supposed to be here?

Because we're not.

There it is! I told you it was reaI!

Travis' you're never gonna get
back there. lt's too dangerous.

The roof is coming down!

Wait a second.

A jaguar.

I know what this is.

Monkey.

EagIe.

-l can't hoId this, Travis.
-l know what this is.

-What is it?
-lt's an 800-year-oId safe.

This is how they kept
their treasures protected.

There's a combination.

Jaguar, cat. Gato, cat.
It's gotta be the jaguar.

We puIl the sticks cIosest
to the jaguar' we'II be okay.

For 60 seconds'
then the roof's coming down.

You're not gonna touch anything.
Let's go!

AII right.

FoIlow the jag.

FoIlow the jaguar.

Easy. Easy.

It's coming down' Travis.

What are you doing? Let's go!

Pass it to me.

-ls that a jaguar?
-l think it's an eagIe!

Travis' hurry!

Oh' my. . . .

Here, kitty' kitty, kitty.

I did it.

I found you.

Not some Qxford archaeoIogist
or some stiff-ass Harvard professor.

-l did it! I found you!
-Who gives a shit?

How you Iike me now, huh' Beck?

Go! Go! Move! Now!

Run!

Let's go!

Move!

These are konlabos.

They're very rare.

You're Iucky.

And I wouIdn't flirt with Q Gato
do Diabo's eyes if I were you.

-They say it's dangerous.
-What eIse do they say?

Once restored to its rightfuI owners,
the rivers wiII be Iaden with fish.

And the trees wiII grow talI,
bringing shade for hammocks. ..

. ..so its peopIe may rest their backs.

You think bringing this Gato
wilI do aII that?

No, Mr. Beck. But I expect the money
seIIing it brings wiII do just that.

We can buy seed, irrigate.
Farm our own Iands.

Free ourseIves from Hatcher's mine .

When that statue hits the bIack
market' it'II vanish forever.

It's a Iittle late for moraIs.

EspecialIy after you were going
to do the same thing.

And 1 0 percent of that is going
to pay for your freedom. . .

. ..so I'd be a Iittle more gratefuI
if I were you.

What if l toId you I was gonna
give it to a museum. . .

. ..so the whoIe worId
couId appreciate it?

You can teII me anything you want,
Travis' but I know you.

What are you going to do
after you bring him home?

-l'm gonna open a restaurant.
-Yeah. He's a kiIIer in the kitchen too.

Ten, 1 5 tabIes. Nothing fancy.

ItaIian. Southern Italian.

How do you. ..?

How do you. ..? How do you speIl. . .

. . .konlabos?

Konlabos, with a K.

Don't worry. Affer four or five hours'
you'II be as good as new.

The fire wiII keep the animaIs away
untiI sunup.

I'm sorry. . .

. ..but money has a way
of changing people.

You did find it, Travis.

Just Iike you said.

No one can take that
away from you.

And I wiII send you the money. . .

. ..buy your freedom. I meant that.

You kept your word,
and I admire that. . .

. ..so I'lI keep mine.

Go north untiI you reach
the Quantana Road.

Take it south
aII the way to the airfieId.

Good Iuck to you, Mr. Beck.

Oh' shit.

What? What?

-What?
-Monkey. Monkey.

Monkey? Where?
Just get him away from me.

-Get out of here .
-Get out of here .

Get out of here' monkey!

Oh' no.

-l hate this pIace.
-Get out of here!

I hate penis-eating minnows,
and I hate freaky fruit.

-Get them away from me.
-l wanna go home. I want concrete.

-Get out of here, monkey.
-l want homemade torteIIini.

I want my Los Angeles Lakers.

That's what I want. I wanna go home.
I wanna go home.

I wanna go home!

Get out of here' monkey.
Get out of here' monkey.

WeIl' what about that?

-Been for a stroII, have you, boys?
-Where's my bag?

Where's my jeep?

Give me my bag.

You have any water?

Sit down. How soon
before we can take off?

You Ieft a jeep at the bottom
of a mountainside.

-l'II take care of it.
-ln a bIoody Iarge puddle.

-l said, I'II take care of it.
-That jeep is dead, my friend.

Look, you'lI get your money.

-Just start the pIane.
-What's your big hurry?

I'm trying to leave before I run
into Hatcher or more probIems.

Don't go worrying about Hatcher.

That monstrosity
won't give a fIying fornication...

. ..for the pair of youse no more.
He got what he was after.

What do you mean?

He caught up with poor Mariana
in the jungIe.

He reIieved her of her artefact.

-What'd you say?
-l said, he reIieved her of her artefact.

It's a word in the EngIish language.
"Artefact." Look it up.

Son of a bitch. He's got my Gato!

-Your what?
-The Gato. Don't you speak English?

-Hey. Where is she?
-Hatcher's got her in town.

-He's torturing her for information.
-He's doing what?

Freedom fighters?
Freedom fighters, my ass.

Lutadores de louco, you ask me .

They're aII gonna die.

Come on. AlI aboard.

Come on.

What are you doing?

-We made a deaI.
-A deaI?

What the helI does that mean?

I'm here at the airstrip'
she doesn't have the Gato.

Gonna go in there by yourseIf?

No way. No way.

Hey, Hatcher's got a smalI army
back there.

You don't know your way
around the town.

Oh' wait. I got an idea.

Saddle up to one of those buIIs.. .

. ..ride into town Iike a conquistador
and chaIIenge alI of them to a dueI.

Oh' yeah. l forgot.

You don't use guns.

-What's your point?
-You're gonna die' Beck.

The boy's right.
You mind if we settle the biII now?

You need heIp.

Are you gonna heIp me, Travis?
AII you care about is the money.

No, Beck, you're wrong.

I'd rather die than Iet that
son of a bitch get my Gato.

You need aII the heIp you can get.
You can even use him, for chrissake.

Don't bring me into it.
I got a dodgy knee here.

You can't do this on your own.

Okay, Travis.

I know you're gonna run on me.

Might not be tonight or tomorrow.

But I wiIl find you,
and I wiIl take you back.

-Are we cIear?
-Yeah.

We'II both probabIy be dead
in about an hour.

So Iet's canceI Christmas.

Your pIan of attack was a bit naive.

Man' if I was onIy
1 0 minutes younger, huh?

I suppose now we have a conversation
where you enlighten me.

Mr. Hatcher.

How many more of you are out there?
EnIighten me.

Where are the rest of your
compadres? EnIighten me!

Mr. Hatcher.

I don't get why you people
are so hostiIe.

I've been good to you.
I buiIt you a town.

Why are we fighting?

-Mr. Hatcher.
-What?

We've Iost contact
with Qutpost 1 .

There's nobody answering.

-Mr. Hatcher, are you out there?
-What can I do for you, Mr. Beck?

I have no desire to fight
with you or your men.

For that reason,
you have two options.

Option A, you leave the Gato
and the girI. . .

. . .and you walk out of town,
no questions asked.

-What's option B?
-Option B. . .

. . .I make you.

Wrong choice.

Lock down the town.

Still no visuaI contact. Team two
is checking the perimeter right now.

He. . .

. ..that heard the sound
of thy hoIy trumpet.. .

. ..and took not warning. . .

. ..he hath cIearIy wandered too far. ..

. ..from the word of God.

And CorneIius Bernard Hatcher. ..

. . .your hour has come .
Let's get it on, big boy!

It's time to get back on the path.

That's a Iot of cows.

Hi.

What nerve.

About bIoody time , huh?

Somebody just shoot him.

Oh' yeah? Oh, you want one?

Oh' okay.

A Iittle thunder? Huh?
You Iike thunderstorms' big boy?

How about some Iightning?

Ear, ear-- Ears' eyes, foot, face!

Take the Gato and the girI
and get to the airfieId.

If you run into troubIe,
use her as a hostage.

And Harvey'
when you're safeIy out of town...

. ..put her out of my misery.

I need heIp!

Do not go gentIe
into that good night, my lovely.

Beck! I need heIp. Beck!

Rage, rage. . .

. ..against the dying of the Iight.

There shaII be no mercy. . .

. ..for any force that stands. ..

. ..bIocking this path
of his righteousness.

Beck, heIp!

HeIp!

Move!

No way.

Give me back my Gato'
you IittIe baId freak!

Oh' great.

See you.

You got the moves.

I'II give you that.

You reached into the wrong
refrigerator, Mr. Beck.

HoId your horses.

What have I done?

Are we not men?

-Hatcher.
-What?

Option A is stiII on the tabIe.
You can waIk away right now.

Option A doesn't work for me .

Before I came here,
what did you peopIe have?

Face it. Be fair.

I put a roof over your head,
coin in your pockets.

You barefoot lndians
didn't have pockets. ..

. ..before Hatcher came aIong.

I gave you a Iife!
I'm the heart in the darkness.

Face it. . .

. ..you can't run this thing
without me.

I am pumping the bIood
of the modern worId. . .

. ..into your backward veins. . .

. ..you stinking. . .

. ..ingrate. . .

. ..Oompa Loompa. . .

. ..morons!

Okay.

That's it, I'm done.

Mr. Beck. . .

. ..I'II take option A.

CIear' pIease.

Oh' shit.

You make a heIl of an entrance,
Mr. Beck.

Yeah.

I'd offer you a beer,
but I think you bIew up my bar.

Yeah, I think you're right.

Thank you.

-We had a deaI.
-Yes, we did.

And I'm afraid I didn't deIiver
on that deaI.

How is that?

The Gato.

I promised you the Gato.

Yes, welI, I promised you Travis.

You alI taIking about this Travis?

And this Gato?

I'm impressed.

Yeah, welI, make sure
they speII my name right.

I toId you it wasn't about the money.

WeIl' big boy. . .

. ..I guess it's your move.

I'm impressed myseIf, Travis.

DecIan, start the pIane.

"DecIan' start the pIane"?
What does that mean?

-l'm taking you home.
-Oh' I figured that.

No breaks. Good Iuck.

You too.

I wiII send you your cut.

Move.

-Not a penny Iess than 1 5.6 miIlion.
-Move, Travis.

You reaIIy ought
to stay away from guns.

You ought to get yourseIf
a psychiatrist. SeriousIy.

Move.

WeIl' Iook at him.

Look at you. Your beard.
You're Iike a reaI man.

-But you're so thin.
-Running is good exercise.

Good exercise. That's funny.
Did you hear him?

Running for your life.

I Iove it. I realIy do!

You know there's not
enough aspirin in the world. ..

-. . .for a headache Iike you?
-WeII' there probabIy is.

-But I understand what you mean.
-WeII' that's good.

Because that means you'lI understand
why you'II take that trip to Chicago.

ActuaIly' I don't compIeteIy
understand that one.

-StiII the smart-ass.
-l'm not that smart, Dad.

-l didn't know she was married.
-WeII' she was.

Very married.

And you. What took you
so Iong, huh?

Your kid was
a tough rundown' BilIy.

-Him? No.
-Yeah, yeah.

But I did waIk him right through
that door, right? Like we agreed?

-You did.
-We good?

We're good.
Two hundred and fiffy Iarge.

You got your restaurant, kid.

Now get out of here, huh?

Before I Ieave. . . .

When I was in BraziI' they
showed me this rituaI they do. . .

. ..when they have big ceIebrations.

What they do is, they eat this fruit,
and it's caIIed konlabos, with a K.

So I figured before I Ieave,
we couId ceIebrate one Iast time.

Come on, guys. Try some of this.

If he says it's good' it's gotta be.
He's the best chef I know.

BiIIy, here' you try the first piece.

Not bad.

Big seeds' though.
I don't Iike seeds.

Hey, what are you--?

I walked him right through
that door, BiIly.

Boy. ..

. ..you got a funny-Iooking face.

Hey, Dad.

I Iove you, you know that?

Because you showed me
something back there.

I thought you had character'
but I wasn't sure.

-You got it, man. You reaIIy got it!
-Get in the truck.

-You vioIated every agricuIturaI Iaw.
-That's the least of my probIems.

We shouId go back
in there and finish him off.

You wanna go back, go ahead.

-Knock yourseIf out. I'II wait for you.
-l'm not going back.

Right. So shut up, get in the truck
before I change my mind.

Don't push me.

-What?
-Don't push me.

I appreciate everything you did.

If you wanna get technical' alI you did
is even the score. l saved you first.

-Get in.
-You don't have to thank me.

But this pushing shit ain't
happening no more . You read me?

Okay. I'm gonna bust you up.

Go for it.

Yeah.

Hey, remember your friend
Mr. Thunder?

How about his buddy
Mr. Lightning?

I know you know him.

You know him reaI weII, don't you?

I'm just pIaying' man.
I'II be in the truck.

I'm gonna kiII you.