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1
00:01:30,834 --> 00:01:34,133
YES, I THINK THE FISH-EYE
LENS WILL DO FINE.
2
00:01:35,400 --> 00:01:39,067
GREETINGS, FASHION FIENDS.
SO GLAD YOU COULD JOIN ME.
3
00:01:39,067 --> 00:01:41,901
BET YOU DIDN'T KNOW
YOUR PAL THE CRYPT KEEPER
4
00:01:41,901 --> 00:01:43,567
DABBLED IN PHOTOGRAPHY.
5
00:01:43,567 --> 00:01:45,234
I JUST LOVE
6
00:01:45,234 --> 00:01:49,033
WINDING A FEW ROLLS
OF KODAGROAN INTO MY CAMERA,
7
00:01:49,033 --> 00:01:51,601
TURNING ON THE OLD
FRIGHT METER,
8
00:01:51,601 --> 00:01:53,601
AND SNAPPING OFF
A FEW HEAD...
9
00:01:53,601 --> 00:01:55,067
SHOTS.
10
00:01:55,067 --> 00:01:56,934
HEE HEE HEE!
11
00:01:56,934 --> 00:01:59,067
TONIGHT'S PUTRID PICTURE
12
00:01:59,067 --> 00:02:02,567
IS SURE TO INCREASE
YOUR SHUDDER SPEED.
13
00:02:02,567 --> 00:02:05,868
IT'S ABOUT A PHOTOGRAPHER
WHO'S LOSING HIS TOUCH
14
00:02:05,868 --> 00:02:09,567
AND WOULD DO ALMOST ANYTHING
TO GET IT BACK.
15
00:02:09,567 --> 00:02:12,567
DID I SAY "ALMOST"?
16
00:02:12,567 --> 00:02:15,033
I CALL
THIS SICKENING SNAPSHOT
17
00:02:15,033 --> 00:02:18,200
FOREVER AMBERGRIS.
18
00:02:21,641 --> 00:02:25,338
FOREVER AMBERGRIS
19
00:03:07,834 --> 00:03:09,968
WHAT DO YOU THINK?
20
00:03:09,968 --> 00:03:11,634
BE HONEST WITH ME,
ALL RIGHT? JUST--YOU KNOW...
21
00:03:11,634 --> 00:03:13,634
WHAT DO YOU THINK?
22
00:03:13,634 --> 00:03:15,968
THEY'RE NOT BAD.
NOT BAD.
23
00:03:15,968 --> 00:03:18,567
I MEAN, YOU'VE GOT
YOUR BASIC MOTHER
WITH DEAD CHILD.
24
00:03:18,567 --> 00:03:19,701
YEAH, NOT BAD.
25
00:03:19,701 --> 00:03:21,467
YOU WANT TO SEE MINE?
26
00:03:21,467 --> 00:03:22,901
YEAH, SURE.
27
00:03:31,434 --> 00:03:33,467
THESE ARE GOOD, MAN.
28
00:03:33,467 --> 00:03:35,100
COME ON, IKE.
29
00:03:35,100 --> 00:03:37,567
I PREFER TO JERK MYSELF
OFF, IF YOU DON'T MIND.
30
00:03:37,567 --> 00:03:39,067
THEY'RE FUCKING SHIT.
31
00:03:41,234 --> 00:03:43,901
DID YOU EVER SEE
ANY OF MY OLD STUFF?
32
00:03:43,901 --> 00:03:46,434
SEEN IT?
MAN, I STUDIED IT.
33
00:03:46,434 --> 00:03:48,300
THE ONE FROM TONKIN,
WITH THE SOLDIERS AT BIEN HO?
34
00:03:48,300 --> 00:03:49,868
THE ONE THAT GOT YOU
THE ROBERT CAPA AWARD?
35
00:03:49,868 --> 00:03:51,267
I GOT THAT HANGING
IN MY BEDROOM.
36
00:03:51,267 --> 00:03:52,467
AND THE ONE IN '69,
37
00:03:52,467 --> 00:03:53,968
WITH THE BUDDHIST BONZE
WHO SET HIMSELF ON FIRE,
38
00:03:53,968 --> 00:03:55,033
AT THE PROTEST OF DIEM--
IKE--
39
00:03:55,033 --> 00:03:56,634
I WAS 7 YEARS OLD
WHEN I SAW THAT, MAN.
40
00:03:56,634 --> 00:03:58,534
I, LIKE, STARED AT IT
FOR DAYS.
IKE--
41
00:03:58,534 --> 00:04:00,234
AND THE ONE FROM LEBANON,
WITH THE KID WITH THE--
42
00:04:00,234 --> 00:04:02,200
IKE, YOU'RE
EMBARRASSING ME.
43
00:04:02,200 --> 00:04:03,167
OH, SORRY.
44
00:04:05,000 --> 00:04:08,701
OH...YOU KNOW,
I THINK I'VE LOST IT.
45
00:04:08,701 --> 00:04:10,534
NO WAY, MAN.
NOT YOU.
46
00:04:10,534 --> 00:04:11,901
COME ON,
YOU'RE DALTON SCOTT.
47
00:04:11,901 --> 00:04:13,267
YOU'RE THE GREATEST.
48
00:04:13,267 --> 00:04:14,701
SHUT THE FUCK UP, IKE.
49
00:04:17,334 --> 00:04:18,934
HEY, WHAT'S THAT SMELL?
50
00:04:18,934 --> 00:04:21,734
IT'S SWEET BALSAM.
IT'S GOOD FOR INCENSE.
51
00:04:21,734 --> 00:04:23,968
THEY GOT
GOOD INCENSE IN IRAQ.
52
00:04:23,968 --> 00:04:26,734
I BRING SOME BACK
EVERY ASSIGNMENT
FOR MY GIRL.
53
00:04:26,734 --> 00:04:28,234
WHO'S THAT, BOBBI?
54
00:04:28,234 --> 00:04:30,300
YEAH. YOU REALLY
GOT TO MEET HER
SOME TIME, DALT.
55
00:04:30,300 --> 00:04:33,400
HEY, MAYBE THIS TRIP
YOU CAN COME BY
FOR DINNER SOME NIGHT.
56
00:04:33,400 --> 00:04:34,567
OH, COME ON.
57
00:04:34,567 --> 00:04:36,567
BACK IN THE WORLD
FOR 2 WEEKS,
58
00:04:36,567 --> 00:04:38,267
ALL THE GIRLS
ON THE BEACHES
OF SAN DIEGO
59
00:04:38,267 --> 00:04:40,234
WAITING FOR ME...
60
00:04:40,234 --> 00:04:41,701
I'M GONNA COME AND
HAVE A COZY DINNER
61
00:04:41,701 --> 00:04:43,234
WITH YOU AND
YOUR HAUSFRAU.
62
00:04:43,234 --> 00:04:46,467
WELL, LOOK, IF YOU
CHANGE YOUR MIND...
63
00:04:46,467 --> 00:04:48,033
BOBBI'S THE KIND OF GIRL
THAT CAN MAKE YOU FORGET
64
00:04:48,033 --> 00:04:49,467
THAT SHIT-STORM BACK THERE
65
00:04:49,467 --> 00:04:52,400
JUST BY THE WAY SHE
CRINKLES HER BROW, I SWEAR.
66
00:04:52,400 --> 00:04:55,133
YEAH, WELL.
DEEP-SIX THE
STINKY STUFF, IKE.
67
00:04:55,133 --> 00:04:56,701
IT'S MAKING ME SICK.
68
00:04:58,501 --> 00:05:00,767
YOU SURE YOU DON'T
WANT SOME OF THIS?
69
00:05:00,767 --> 00:05:02,200
ALL RIGHT.
70
00:05:04,634 --> 00:05:06,234
THANKS, MAN.
71
00:05:07,467 --> 00:05:10,467
WHAT AM I LOOKING AT?
WHAT IS THIS?
72
00:05:10,467 --> 00:05:12,167
I MEAN, I DON'T KNOW
WHAT I'M LOOKING AT.
73
00:05:12,167 --> 00:05:15,100
I LOOK AT THIS
AND I DON'T KNOW
WHAT I'M LOOKING AT.
74
00:05:15,100 --> 00:05:16,634
THIS LOOKS LIKE
IT WAS SHOT BY MY NEPHEW
75
00:05:16,634 --> 00:05:18,100
WITH HIS INSTAMATIC,
76
00:05:18,100 --> 00:05:20,033
AND THIS
ISN'T THE FIRST.
RANDOLPH--
77
00:05:20,033 --> 00:05:22,200
I WAS TELLING MY GUY
AT THETIMES,
78
00:05:22,200 --> 00:05:24,167
DALTON SCOTT,
IN HIS PRIME,
79
00:05:24,167 --> 00:05:26,267
COULD CAPTURE
THE HORRORS
OF AN ENTIRE WAR
80
00:05:26,267 --> 00:05:27,767
IN THE FACE
OF A CHILD.
81
00:05:27,767 --> 00:05:32,701
NOW ALL OF A SUDDEN,
THAT'S SAID, UH,
THROUGH MY NEPHEW?
82
00:05:32,701 --> 00:05:36,167
RANDOLPH, I'M WORKING
ON SOMETHING REALLY BIG.
83
00:05:36,167 --> 00:05:37,234
I GOT A TIP.
84
00:05:37,234 --> 00:05:38,334
WHERE?
85
00:05:38,334 --> 00:05:39,400
CENTRAL AMERICA.
86
00:05:39,400 --> 00:05:41,901
CENTRAL AMERICA IS
SO EIGHTIES, DALTON.
87
00:05:41,901 --> 00:05:44,934
YEAH. THIS IS SOMETHING
REALLY SPECIAL.
88
00:05:44,934 --> 00:05:47,100
I'M GOING OUT WITH
A GUERRILLA-BACKED
MERCENARY UNIT.
89
00:05:49,000 --> 00:05:51,167
HAVE YOU SEEN
THIS STUFF?
90
00:05:53,200 --> 00:05:54,300
ISAAC FORTE?
91
00:05:54,300 --> 00:05:55,901
THIS KID
IS A STAR.
92
00:05:55,901 --> 00:05:58,334
THIS KID IS YOU
20 YEARS AGO,
93
00:05:58,334 --> 00:06:01,834
BEFORE BEIRUT
AND PANAMA
AND AFGHANISTAN
94
00:06:01,834 --> 00:06:04,300
TURNED YOU
INTO MY NEPHEW.
95
00:06:04,300 --> 00:06:06,200
I HATE TO THINK
OF THE BATON
BEING PASSED,
96
00:06:06,200 --> 00:06:08,868
DALTON, AND YOU ONLY
45 YEARS OLD.
97
00:06:11,367 --> 00:06:12,501
BOLLOCKS!
98
00:06:12,501 --> 00:06:14,934
YOU'RE GOING
DOWN SOON?
99
00:06:14,934 --> 00:06:16,501
YEAH. FRIDAY.
100
00:06:16,501 --> 00:06:18,701
BRING ME BACK
SOMETHING LARGE,
DALTON.
101
00:06:18,701 --> 00:06:21,300
BREAK MY HEART.
BREAK IT IN TWO.
102
00:06:22,400 --> 00:06:24,167
AND, OF COURSE,
103
00:06:24,167 --> 00:06:27,167
YOU TAKE THE FORTE
KID WITH YOU.
104
00:06:27,167 --> 00:06:29,100
YEAH, OF COURSE.
105
00:06:40,067 --> 00:06:41,334
OH, EXCUSE ME.
106
00:06:41,334 --> 00:06:43,267
I'M LOOKING
FOR ISAAC FORTE.
107
00:06:43,267 --> 00:06:45,634
YOU FOUND HIM.
108
00:06:47,400 --> 00:06:48,901
MM-HMM.
BOBBI?
109
00:06:48,901 --> 00:06:49,834
Ike: HEY, DALTON.
110
00:06:51,534 --> 00:06:53,968
OH, WOW, MAN,
I NEVER THOUGHT
YOU'D COME.
111
00:06:53,968 --> 00:06:55,501
DALTON,
THIS IS BOBBI.
112
00:06:55,501 --> 00:06:56,868
BOBBI, THIS IS--
THIS IS
DALTON SCOTT,
113
00:06:56,868 --> 00:06:58,033
THE GUY I'M ALWAYS
TALKING ABOUT.
114
00:06:58,033 --> 00:07:00,400
I FEEL LIKE
I KNOW YOU ALREADY.
115
00:07:00,400 --> 00:07:01,801
HEY, COME ON IN,
COME ON IN.
116
00:07:01,801 --> 00:07:03,167
YOU'RE JUST IN TIME
FOR SUPPER.
117
00:07:03,167 --> 00:07:05,534
WOW, THIS IS GREAT!
118
00:07:16,534 --> 00:07:20,467
* YOU REALLY DON'T KNOW
HOW I FEEL *
119
00:07:22,534 --> 00:07:27,467
* BABE, YOU'VE GOT TO SEE
MY LOVE IS REAL... *
120
00:07:30,534 --> 00:07:32,367
HEY, DALTON, WANT TO
DANCE WITH BOBBI?
121
00:07:32,367 --> 00:07:33,767
ISAAC...
122
00:07:33,767 --> 00:07:36,033
COME ON, BABY.
DANCE WITH THE GUY.
123
00:07:36,033 --> 00:07:37,834
HE'S MY BOSS.
YOU HAVE TO.
124
00:07:37,834 --> 00:07:39,601
COME ON. HE HASN'T SEEN
BLOND HAIR IN 3 MONTHS.
125
00:07:39,601 --> 00:07:40,968
HE'S GOIN' NUTS.
COME ON.
126
00:07:40,968 --> 00:07:42,234
IKE, I'M FINE.
127
00:07:42,234 --> 00:07:44,033
IT'S ALL RIGHT.
JUST A LITTLE DANCE.
128
00:07:44,033 --> 00:07:45,300
I DON'T DANCE.
129
00:07:45,300 --> 00:07:46,801
IT'S OK. IT'S OK.
SHE DON'T MIND.
130
00:07:46,801 --> 00:07:49,734
COME ON. YOU DANCE,
EVERYBODY DANCES.
131
00:07:49,734 --> 00:07:50,968
BOBBI'S A GREAT DANCER.
132
00:07:50,968 --> 00:07:52,267
SHE'LL SHOW YOU HOW.
133
00:07:52,267 --> 00:07:53,868
I GOT TO PEE.
134
00:07:53,868 --> 00:07:55,334
IS THIS OK
WITH YOU?
135
00:07:55,334 --> 00:07:57,100
YEAH.
HE'S DRUNK.
136
00:07:57,100 --> 00:07:59,067
HE'S HOME.
137
00:07:59,067 --> 00:08:00,567
NO OFFENSE, BUT YOU--
138
00:08:00,567 --> 00:08:01,834
DON'T SEEM
THE TYPE OF GIRL
139
00:08:01,834 --> 00:08:03,234
TO GO WITH
A GUY LIKE IKE.
140
00:08:03,234 --> 00:08:04,467
REALLY?
141
00:08:04,467 --> 00:08:06,167
COMBAT PHOTOGRAPHER?
142
00:08:06,167 --> 00:08:07,701
WELL, WHY NOT?
143
00:08:07,701 --> 00:08:09,367
I THINK SPIRITUALISM
IS THE HIGHEST FORM
144
00:08:09,367 --> 00:08:12,767
OF POLITICAL PROTESTING,
YOU KNOW?
145
00:08:12,767 --> 00:08:14,367
ISAAC SEES THINGS
LIKE NOBODY.
146
00:08:14,367 --> 00:08:16,133
HE HAS THE EYE.
147
00:08:17,534 --> 00:08:19,534
WE WERE OUT
HIKING ONCE.
148
00:08:19,534 --> 00:08:21,534
WE FOUND THIS
DEAD POSSUM.
149
00:08:21,534 --> 00:08:23,667
IT HAD BEEN DEAD
FOR DAYS, DECAYED,
150
00:08:23,667 --> 00:08:24,667
SWIMMING
WITH MAGGOTS.
151
00:08:24,667 --> 00:08:26,701
IT WAS HORRIBLE.
152
00:08:26,701 --> 00:08:30,901
YET, ISAAC
THOUGHT IT WAS,
LIKE, LOVELY.
153
00:08:30,901 --> 00:08:32,033
HE--HE DUG IT.
154
00:08:32,033 --> 00:08:35,133
HE TRIPPED
ON THE MAGGOTS,
155
00:08:35,133 --> 00:08:36,534
ON THE LIFE
GROWING
156
00:08:36,534 --> 00:08:39,868
WITHIN THE CONTEXT
OF DEATH.
157
00:08:39,868 --> 00:08:41,701
HE FINDS BEAUTY
158
00:08:41,701 --> 00:08:45,801
EVEN IN THE MOST
GROTESQUE THINGS.
159
00:08:45,801 --> 00:08:47,400
THAT IS HIS GIFT.
160
00:08:47,400 --> 00:08:49,300
HEY!
161
00:08:49,300 --> 00:08:51,000
EVERYBODY HAVING FUN?
162
00:08:52,901 --> 00:08:55,667
YEAH,
HAVING A BALL.
163
00:09:04,067 --> 00:09:05,567
THAT GOOD?
164
00:09:05,567 --> 00:09:07,000
YEP.
165
00:09:09,067 --> 00:09:11,968
I BEEN IN THE JUNGLE
TOO LONG, BABY.
166
00:09:15,367 --> 00:09:16,801
I DRANK TOO MUCH.
167
00:10:35,968 --> 00:10:37,467
HI.
168
00:10:38,934 --> 00:10:40,067
WHOO.
169
00:10:40,067 --> 00:10:41,934
YOU KNOW, I HAVEN'T
SMOKED THIS SHIT
170
00:10:41,934 --> 00:10:43,801
SINCE THE FALKLANDS.
171
00:10:43,801 --> 00:10:45,000
IT RELAXES ME.
172
00:10:45,000 --> 00:10:48,300
ESPECIALLY AFTER AN
INTENSE FUCK.
173
00:10:50,400 --> 00:10:53,200
YOU LIKE TO WATCH,
DON'T YOU, DALTON?
174
00:10:53,200 --> 00:10:54,734
EXCUSE ME?
175
00:10:54,734 --> 00:10:57,501
OH, YOU KNOW.
PHOTOGRAPHERS.
176
00:10:57,501 --> 00:11:00,734
THEY WATCH
WHILE OTHERS DO.
177
00:11:02,434 --> 00:11:04,567
YEAH, THAT'S RIGHT.
178
00:11:04,567 --> 00:11:07,100
SO WHAT DO YOU DO
WHEN IKE'S AWAY?
179
00:11:07,100 --> 00:11:10,634
OH, THE USUAL
WARTIME WIDOW STUFF.
180
00:11:10,634 --> 00:11:12,167
YOU MUST GET
VERY LONELY.
181
00:11:12,167 --> 00:11:15,834
SURE, BUT WE ALL
HAVE TO MAKE SACRIFICES.
182
00:11:15,834 --> 00:11:18,067
IKE AND ME,
183
00:11:18,067 --> 00:11:22,434
WE'RE IN A PRETTY
DANGEROUS RACKET.
184
00:11:22,434 --> 00:11:25,934
NOW, IF I HAD A GIRL
LIKE YOU AT HOME,
185
00:11:25,934 --> 00:11:27,067
I WOULDN'T BE
OUT THERE
186
00:11:27,067 --> 00:11:30,100
RISKING MY NECK
FOR A FEW
LOUSY PICTURES.
187
00:11:30,100 --> 00:11:33,200
WHAT IF HE DOESN'T
COME BACK?
188
00:11:33,200 --> 00:11:34,701
I DON'T WANT
TO THINK ABOUT IT.
189
00:11:34,701 --> 00:11:36,067
YEAH, BUT WHAT
IF HE DOESN'T?
190
00:11:36,067 --> 00:11:38,267
I'D PROBABLY
DIE MYSELF.
191
00:11:41,434 --> 00:11:43,501
NOW, THAT WOULD
BE A TRAGEDY.
192
00:11:43,501 --> 00:11:45,501
DON'T.
193
00:11:45,501 --> 00:11:47,467
WHAT'S UP?
194
00:11:47,467 --> 00:11:50,601
YOU'RE VERY STRONG
AND YOU'RE VERY ATTRACTIVE.
195
00:11:50,601 --> 00:11:53,067
ISAAC WORSHIPS YOU,
196
00:11:53,067 --> 00:11:55,200
BUT YOU SEE, DALTON,
197
00:11:55,200 --> 00:11:57,133
I WORSHIP ISAAC.
198
00:11:59,234 --> 00:12:03,200
TAKE CARE OF HIM FOR ME, OK?
199
00:12:03,200 --> 00:12:05,133
TAKE CARE OF MY BABY.
200
00:12:06,801 --> 00:12:07,734
NIGHT.
201
00:12:11,567 --> 00:12:12,968
NIGHT.
202
00:12:36,834 --> 00:12:38,267
DALTON SCOTT.
203
00:12:48,701 --> 00:12:49,901
ROCK.
204
00:12:49,901 --> 00:12:52,868
HAVEN'T SEEN YOU
SINCE LIBYA, DALTON.
205
00:12:52,868 --> 00:12:54,033
WHAT BRINGS YOU
DOWN HERE?
206
00:12:54,033 --> 00:12:55,701
IT'S THE ONLY GAME
IN TOWN.
207
00:12:55,701 --> 00:13:00,200
I NEED SOMETHING BIG
TO GET ME BACK INTO IT.
208
00:13:00,200 --> 00:13:01,400
I'M A HORSE HAIR AWAY
209
00:13:01,400 --> 00:13:03,267
FROM TAKING HIGH-SCHOOL
GRADUATION PICTURES.
210
00:13:04,334 --> 00:13:05,901
SAY CHEESE, SKIPPY.
211
00:13:08,567 --> 00:13:10,434
SAME OLD ROCK.
212
00:13:11,534 --> 00:13:14,801
I HEAR NICE THINGS
ABOUT VALMALERA.
213
00:13:16,501 --> 00:13:17,868
VALMALERA?
214
00:13:17,868 --> 00:13:21,501
IT'S A CAMPESINO
VILLAGE...WAS.
215
00:13:21,501 --> 00:13:23,501
NOTHING LEFT
OF IT NOW.
216
00:13:23,501 --> 00:13:27,367
WORD IS, IT MAKES
MY LAI LOOK LIKE
A JUNIOR PROM.
217
00:13:27,367 --> 00:13:29,067
OF COURSE, THAT'S
STRICTLY CLASSIFIED.
218
00:13:32,367 --> 00:13:34,033
IS THAT IT?
219
00:13:34,033 --> 00:13:37,000
NONE OF THE CAMPESINOS
KILLED
220
00:13:37,000 --> 00:13:38,834
WERE SHOT OR FRAGGED.
221
00:13:38,834 --> 00:13:41,334
THEY FOUND
CANISTERS HERE.
222
00:13:43,200 --> 00:13:46,901
THAT AIN'T GOING
TO BE EASY TO GET TO.
223
00:13:46,901 --> 00:13:49,501
OH, IT'LL BE
EASY TO GET TO.
224
00:13:49,501 --> 00:13:52,400
IT JUST AIN'T GOING
TO BE EASY TO LEAVE.
225
00:13:52,400 --> 00:13:56,334
THE VILLAGE
IS CONTAMINATED.
226
00:13:56,334 --> 00:13:58,300
GERM WARFARE?
227
00:13:58,300 --> 00:14:02,334
DALTON, YOU GO
TO VALMALERA,
228
00:14:02,334 --> 00:14:04,834
YOU TAKE
YOUR PICTURES,
229
00:14:04,834 --> 00:14:06,501
AND YOU DON'T
COME BACK.
230
00:14:13,534 --> 00:14:15,234
I'LL COME BACK.
231
00:14:17,033 --> 00:14:18,734
BE LUCKY.
232
00:14:24,033 --> 00:14:26,200
WHY DON'T YOU
GO GET HER, ALL RIGHT?
233
00:14:26,200 --> 00:14:28,033
I'LL SHOW HER
A THING OR TWO.
234
00:14:28,033 --> 00:14:30,000
LET'S GET IT
TOGETHER, MEN.
235
00:14:30,000 --> 00:14:32,767
THE GHOSTS ARE OUT THERE.
236
00:14:32,767 --> 00:14:35,834
I CAN FEEL 'EM.
237
00:14:35,834 --> 00:14:39,167
YO. YOU GOT TO EXCUSE
UNCLE SALTY, MAN.
238
00:14:39,167 --> 00:14:41,601
HE'S ONE OF THOSE
"STILL IN SAIGON,
239
00:14:41,601 --> 00:14:43,400
"CHARLEY'S IN THE WIRE,
240
00:14:43,400 --> 00:14:46,834
COME ON, BABY, LIGHT
MY FIRE, MOTHERFUCKER."
241
00:14:46,834 --> 00:14:50,367
THERE HE IS.
DALTON SCOTT.
242
00:14:50,367 --> 00:14:52,267
DIE FOR HIS
CAMERA, MERCS.
243
00:14:52,267 --> 00:14:54,234
BLEED FOR
THE FRONT PAGE.
244
00:14:54,234 --> 00:14:56,968
WHAT THE FUCK IS YOUR
PROBLEM, SALUCCI?
245
00:14:56,968 --> 00:15:00,033
YOU. YOU'RE
THE ONLY GUY I KNOW
246
00:15:00,033 --> 00:15:01,534
WHO USES
THE GREAT AMERICAN
FIGHTING MAN
247
00:15:01,534 --> 00:15:04,701
LIKE A $5.00-A-THROW
BEANER WHORE.
248
00:15:04,701 --> 00:15:07,901
YOU'RE THE ONE
SPREADING YOUR LEGS
FOR THE HIGHEST BIDDER.
249
00:15:07,901 --> 00:15:09,667
I'M JUST HERE TO
RECORD YOUR POSITION.
250
00:15:09,667 --> 00:15:12,534
RELAX, BOYS. RELAX.
251
00:15:12,534 --> 00:15:14,367
ANYWAY, TO MAKE
YOU HAPPY,
252
00:15:14,367 --> 00:15:17,200
I AIN'T GOING OUT
WITH YOU TODAY. IKE IS.
253
00:15:17,200 --> 00:15:18,667
I'M GOING DOWN
TO VALMALERA.
254
00:15:18,667 --> 00:15:20,400
VALMALERA?
255
00:15:20,400 --> 00:15:21,834
WHAT DO YOU
KNOW ABOUT IT?
256
00:15:21,834 --> 00:15:23,501
HEY, DALTON,
257
00:15:23,501 --> 00:15:26,100
THEY SAID IT WAS
REAL BAD, MAN--
258
00:15:26,100 --> 00:15:28,367
SAID THE DEAD LOOK LIKE
THEY HAD BEEN PUT
THROUGH A BLENDER.
259
00:15:28,367 --> 00:15:29,901
SOUNDS RIGHT UP
YOUR ALLEY.
260
00:15:29,901 --> 00:15:31,167
NOBODY DOES
HUMAN SUFFERING
261
00:15:31,167 --> 00:15:33,501
LIKE DALTON SCOTT,
RIGHT?
262
00:15:33,501 --> 00:15:35,200
RIGHT?!
263
00:15:35,200 --> 00:15:37,968
HEY, DALTON,
CAN I GO WITH YOU?
264
00:15:37,968 --> 00:15:39,400
NO WAY, MAN.
265
00:15:39,400 --> 00:15:41,467
ONE OF US HAS
TO GO OUT WITH
THE MERCS.
266
00:15:41,467 --> 00:15:42,801
IF WE DON'T GET
SOME COMBAT SHOTS,
267
00:15:42,801 --> 00:15:45,634
RANDOLPH'S GONNA
HAVE MY BALLS.
268
00:15:45,634 --> 00:15:47,567
WELL, MAYBE...
269
00:15:47,567 --> 00:15:48,834
WHAT?
270
00:15:48,834 --> 00:15:50,067
MAYBE YOU CAN GO
WITH THE MERCS,
271
00:15:50,067 --> 00:15:52,100
AND I CAN GO
TO VALMALERA.
272
00:15:55,367 --> 00:15:56,901
YOU LITTLE FUCK.
273
00:15:56,901 --> 00:15:58,167
WHAT?
274
00:15:58,167 --> 00:16:00,167
YOU PLAY THAT
"AW, SHUCKS" THING
275
00:16:00,167 --> 00:16:02,300
JUST LIKE
A FUCKING PRO,
276
00:16:02,300 --> 00:16:03,834
BUT THE TRUTH IS
YOU'RE A JACKAL,
277
00:16:03,834 --> 00:16:05,167
JUST TRYING TO
DEPRIVE ME
278
00:16:05,167 --> 00:16:06,601
OF ONE LAST
WALK IN THE SUN.
279
00:16:06,601 --> 00:16:07,667
NO, MAN,
THAT AIN'T IT.
280
00:16:07,667 --> 00:16:10,267
THIS IS MY LAST
CHANCE TO GET BACK
281
00:16:10,267 --> 00:16:12,834
TO WHERE I WAS
AT THE START OF THIS
FUCKING PIG CIRCUS,
282
00:16:12,834 --> 00:16:14,567
AND YOU'RE GOING
TO TAKE IT AWAY
FROM ME?
283
00:16:14,567 --> 00:16:16,434
NO WAY! HEY, DON'T--
COME ON, MAN,
284
00:16:16,434 --> 00:16:18,834
YOU SAID IT YOURSELF,
ABOUT BEING TOO JADED.
285
00:16:18,834 --> 00:16:21,400
AND THIS IS, LIKE,
AN OPPORTUNITY.
286
00:16:21,400 --> 00:16:23,634
WE'D SHARE
THE SHOTS.
287
00:16:23,634 --> 00:16:24,634
SHARE THE SHOTS?
288
00:16:24,634 --> 00:16:27,400
SHARE THE
FUCKING SHOTS?!
289
00:16:27,400 --> 00:16:30,000
GET OUT OF MY FACE.
290
00:16:45,734 --> 00:16:46,868
YOU GO.
291
00:16:46,868 --> 00:16:48,634
HEY, I'M SORRY, MAN.
292
00:16:48,634 --> 00:16:50,567
GO. YOU'RE RIGHT.
293
00:16:50,567 --> 00:16:52,567
YOU CAN CAPTURE IT
MUCH BETTER THAN ME.
294
00:16:52,567 --> 00:16:54,801
WE CAN SHARE...
295
00:16:54,801 --> 00:16:56,701
SO GO GET IT, IKE.
296
00:16:59,033 --> 00:17:01,167
GET IT GOOD.
297
00:17:01,167 --> 00:17:03,100
THANKS, DALTON.
298
00:17:05,834 --> 00:17:07,701
CHANGE OF PLANS, MEN.
299
00:17:07,701 --> 00:17:10,868
I'M COMING WITH YOU.
IKE'S GOING TO VALMALERA.
300
00:17:10,868 --> 00:17:12,901
YOU SENDING HIM
ALONE?
301
00:17:12,901 --> 00:17:15,367
YEAH, WELL, YOU CAN
SEND ONE OF YOUR GUYS,
IF YOU LIKE.
302
00:17:15,367 --> 00:17:17,167
IF IT MAKES YOU FEEL
BETTER, SEND SALUCCI.
303
00:17:17,167 --> 00:17:18,167
FUCK YOU.
304
00:17:18,167 --> 00:17:20,067
SALUCCI GOES WITH US.
305
00:17:20,067 --> 00:17:22,267
BUT YOU RUN INTO ANYTHING,
YOU LAY CHILLY.
306
00:17:22,267 --> 00:17:24,601
AND YOU GET BACK
HERE DIDI MAO.
307
00:17:24,601 --> 00:17:26,167
HEY, I'LL BE COOL.
308
00:17:26,167 --> 00:17:27,934
I'LL SHOOT THEM
WITH THIS.
309
00:17:30,133 --> 00:17:32,300
MOVE OUT, GUYS.
310
00:17:32,300 --> 00:17:34,567
HEY, UNCLE SALTY,
TELL ME,
311
00:17:34,567 --> 00:17:36,734
IS THIS THE ONE WHERE
THE GOOD GOVERNMENT'S
312
00:17:36,734 --> 00:17:37,968
FIGHTING THE BAD GUERRILLAS,
313
00:17:37,968 --> 00:17:40,267
OR THE BAD GOVERNMENT'S
FIGHTING GOOD GUERRILLAS?
314
00:17:40,267 --> 00:17:42,934
AW, SHIT, MAN.
315
00:17:42,934 --> 00:17:44,767
WHAT YOU TALKIN' ABOUT?
WE'VE BEEN OUT ALL DAY.
316
00:17:44,767 --> 00:17:47,767
WE AIN'T SEEN NO HOOCH,
NO NOTHING.
317
00:17:47,767 --> 00:17:49,467
A WASTE OF TIME.
I TELL YOU WHAT--
318
00:17:49,467 --> 00:17:50,801
YOU GUYS ARE GETTING
FAT AND LAZY, MAN.
319
00:17:50,801 --> 00:17:51,834
YOU NEED
THE EXERCISE.
320
00:17:51,834 --> 00:17:53,033
I TELL YOU WHAT--
321
00:17:53,033 --> 00:17:54,400
PIRATE, I WANTMY
FUCKING PENTHOUSE BACK.
322
00:17:54,400 --> 00:17:55,968
KEEP IT DOWN.
323
00:18:14,834 --> 00:18:17,367
HEY, I WAS
GETTING WORRIED.
324
00:18:17,367 --> 00:18:19,334
DID YOU HAVE
ANY TROUBLE?
325
00:18:19,334 --> 00:18:20,968
NOPE.
326
00:18:20,968 --> 00:18:22,000
YOU?
327
00:18:22,000 --> 00:18:23,300
IT WAS UNBELIEVABLE,
DALTON.
328
00:18:23,300 --> 00:18:24,868
I SWEAR TO GOD,
I'VE NEVER SEEN
ANYTHING LIKE IT
329
00:18:24,868 --> 00:18:26,501
IN MY WHOLE LIFE.
330
00:18:26,501 --> 00:18:28,067
IT WAS, LIKE,
HAUNTED, MAN.
331
00:18:28,067 --> 00:18:29,167
WHATEVER ARTILLERY
HIT THESE PEOPLE,
332
00:18:29,167 --> 00:18:30,300
HIT THEM HARD.
333
00:18:30,300 --> 00:18:33,234
THERE WAS
CRAZY VEGETATION,
SPOOKY-ASS BUGS.
334
00:18:33,234 --> 00:18:35,133
SMELL THE FIRE
STILL BURNING.
335
00:18:35,133 --> 00:18:38,234
I'M WRITING BOBBI
A POSTCARD NOW,
TELLING ABOUT IT.
336
00:18:38,234 --> 00:18:40,234
YOU GOT TO SEE IT.
EVEN YOU CAN GET
A GOOD SH--
337
00:18:43,033 --> 00:18:44,634
I MEAN,
IT WAS AMAZING.
338
00:18:46,834 --> 00:18:48,367
AMAZING, HUH?
YEAH.
339
00:18:48,367 --> 00:18:49,767
YOU GET
SOME GOOD SHOTS?
340
00:18:49,767 --> 00:18:51,501
OH, MAN, I GOT SOME
BRILLIANT SHOTS.
341
00:18:51,501 --> 00:18:52,801
WE'RE GONNA HIT 'EM
ALL, MAN--
342
00:18:52,801 --> 00:18:54,901
TIME, NEWSWEEK,
NEW YORK FREAKIN' POST.
343
00:18:54,901 --> 00:18:55,834
HA HA!
344
00:18:57,801 --> 00:18:59,167
I'M GOING
TO GET SALUCCI--
345
00:18:59,167 --> 00:19:01,367
SEE IF I CAN'T
GET THESE OFF
IN THE NEXT MAIL.
346
00:19:07,400 --> 00:19:09,667
HOW THE FUCK
DOES HE DO IT?
347
00:19:16,634 --> 00:19:19,834
AH, I'M TELLING YOU,
DALTON,
348
00:19:19,834 --> 00:19:21,834
WAR MIGHT BE HELL,
349
00:19:21,834 --> 00:19:25,300
BUT, GOD,
IT SURE MAKES
YOU SLEEP GOOD.
350
00:19:32,100 --> 00:19:33,701
AAHHH!
351
00:19:33,701 --> 00:19:36,200
AAH!
352
00:19:36,200 --> 00:19:38,400
WHAT'S THE MATTER?
353
00:19:38,400 --> 00:19:40,634
IT BURNS!
AAH! IT BURNS!
354
00:19:40,634 --> 00:19:42,334
WHAT BURNS?
WHAT'S WRONG?
355
00:19:42,334 --> 00:19:44,801
I DON'T KNOW!
OH! OH!
356
00:19:44,801 --> 00:19:46,334
HERE, HAVE A DRINK.
357
00:19:50,901 --> 00:19:53,234
HEY, WHAT'S UP
IN THERE, MAN?
358
00:19:53,234 --> 00:19:54,767
NOTHING. NOTHING.
WE'RE OK.
359
00:19:55,968 --> 00:19:58,267
I'M GONNA GET LITTLE WING
ON THE RADIO.
360
00:19:58,267 --> 00:20:00,000
AAH! AAH!
361
00:20:01,567 --> 00:20:02,667
HEY, WHAT'S UP,
DALTON?
362
00:20:02,667 --> 00:20:03,734
WHAT'S UP
IN THERE, MAN?
363
00:20:03,734 --> 00:20:05,534
IKE'S GOT SOME
KIND OF FEVER.
364
00:20:05,534 --> 00:20:07,000
SHOULDN'T WE
CALL THE MEDIC?
365
00:20:07,000 --> 00:20:08,467
NO, MAN.
IT'S OK.
366
00:20:08,467 --> 00:20:09,501
I'LL TAKE
CARE OF HIM.
367
00:20:09,501 --> 00:20:10,567
NO. WHAT'S UP
IN THERE, MAN?
368
00:20:10,567 --> 00:20:12,033
I'LL TAKE CARE
OF HIM, MAN!
369
00:20:12,033 --> 00:20:14,267
ALL RIGHT.
ALL RIGHT.
370
00:20:22,267 --> 00:20:25,367
UHH...AAH...
371
00:20:25,367 --> 00:20:27,167
DALTON!
UHH...
372
00:20:32,267 --> 00:20:34,300
I RADIOED
FOR A MEDIC.
373
00:20:34,300 --> 00:20:36,767
THEY'RE GONNA CHOPPER YOU
TO BASE CAMP HOSPITAL.
374
00:20:36,767 --> 00:20:39,000
AND IF THE DOCTORS
THINK IT'S NECESSARY,
375
00:20:39,000 --> 00:20:41,200
THEY CAN GET YOU
TO MANAGUA IN 8 HOURS.
376
00:20:41,200 --> 00:20:44,834
AAAHH! IT BURNS!
IT BURNS!
377
00:20:44,834 --> 00:20:45,834
AAH!
378
00:20:45,834 --> 00:20:49,701
CAN I TELL YOU SOMETHING?
379
00:20:49,701 --> 00:20:51,634
YOU LOOK LIKE SHIT.
380
00:20:53,000 --> 00:20:54,834
REALLY. YOU'RE STARTING
TO LOOK LIKE
381
00:20:54,834 --> 00:20:57,667
THE HOUSE SALAD,
WITH DRESSING
ON THE SIDE.
382
00:21:00,434 --> 00:21:01,701
VALMALERA?
383
00:21:02,767 --> 00:21:04,901
YOU GOT IT, BROTHER.
384
00:21:04,901 --> 00:21:09,734
THOSE PEASANTS
WEREN'T KILLED BY
NO ARTILLERY ROUNDS.
385
00:21:09,734 --> 00:21:11,567
YOU'RE DEEP
IN THE HURT LOCKER NOW.
386
00:21:11,567 --> 00:21:13,801
WHY?
387
00:21:13,801 --> 00:21:15,100
WHY DO YOU THINK,
ISAAC?
388
00:21:15,100 --> 00:21:16,067
WHY?
389
00:21:17,701 --> 00:21:19,534
I'M ON
THE COMEBACK TRAIL.
390
00:21:21,234 --> 00:21:22,501
AND WHO WOULD LOOK AFTER
391
00:21:22,501 --> 00:21:24,901
THAT SWEET LITTLE
GIRL OF YOURS?
392
00:21:28,300 --> 00:21:30,100
BOBBI.
393
00:21:34,200 --> 00:21:36,934
AAH...AAH!
394
00:21:38,968 --> 00:21:42,000
THERE GOES THAT WONDERFUL
EYE OF YOURS.
395
00:21:45,367 --> 00:21:47,267
IF YOU DON'T MIND,
396
00:21:47,267 --> 00:21:49,834
I'M GOING TO GET ME
SOME FRESH AIR.
397
00:21:49,834 --> 00:21:51,934
NO OFFENSE, BROTHER,
398
00:21:51,934 --> 00:21:55,200
BUT YOU'RE STARTING
TO GET A LITTLE RIPE.
399
00:21:57,968 --> 00:22:00,767
OHHH!
400
00:22:00,767 --> 00:22:03,701
BACK IN THE 'NAM,
I KNEW A LANCE CORPORAL--
401
00:22:03,701 --> 00:22:08,334
ECHO COMPANY,
THIRD BATTALION, KHANH DIEN.
402
00:22:08,334 --> 00:22:12,267
NOW, ONE NIGHT, HE GETS
A SMALL CASE OF THE ROT.
403
00:22:12,267 --> 00:22:13,634
WOKE UP IN THE MORNING,
404
00:22:13,634 --> 00:22:17,234
THE BUGS HAD EATEN
HIS NOSE OFF.
405
00:22:17,234 --> 00:22:18,467
SPENT THE REST
OF THE DAY
406
00:22:18,467 --> 00:22:22,501
COMBING THE DEEP,
HAIRY BUSH FOR BUGS.
407
00:22:22,501 --> 00:22:25,400
AND EVERY BUG HE'D FIND,
408
00:22:25,400 --> 00:22:27,334
HE'D CUT IT OPEN...
409
00:22:29,567 --> 00:22:32,534
LOOKING TO PUT
HIS NOSE BACK TOGETHER.
410
00:22:34,501 --> 00:22:36,434
I THINK HE MUST HAVE
PICKED UP SOMETHING
411
00:22:36,434 --> 00:22:37,901
IN VALMALERA.
412
00:22:37,901 --> 00:22:39,100
I'LL BET HE DID.
413
00:22:39,100 --> 00:22:41,834
AMAZING, ISN'T IT,
HOW IT COULD HAVE BEEN YOU?
414
00:22:47,334 --> 00:22:50,234
JESUS FUCKING CHRIST.
415
00:22:50,234 --> 00:22:51,267
CHRIST ON A--
416
00:23:06,234 --> 00:23:08,200
DALT--
417
00:23:21,067 --> 00:23:23,501
YOU KILLED HIM.
418
00:23:23,501 --> 00:23:25,267
I HAD TO.
419
00:23:25,267 --> 00:23:27,467
WHATEVER HE'S GOT
IS CONTAGIOUS.
420
00:23:27,467 --> 00:23:29,234
HE WAS COMING
STRAIGHT AT US.
421
00:23:29,234 --> 00:23:30,701
WHAT ARE WE GOING
TO DO, SARGE?
422
00:23:30,701 --> 00:23:34,100
I DON'T KNOW.
I JUST DON'T KNOW.
423
00:23:34,100 --> 00:23:35,701
WE BURN IT.
424
00:23:35,701 --> 00:23:37,234
WE CAN'T RISK
CONTAMINATION.
425
00:23:37,234 --> 00:23:39,567
YOU SON OF A BITCH.
426
00:23:39,567 --> 00:23:41,267
WHAT ARE WE GOING
TO DO, SARGE?
427
00:23:43,100 --> 00:23:45,400
I THINK
HE'S RIGHT.
428
00:23:45,400 --> 00:23:47,634
WE BURN IT
MOST RICKI TIC.
429
00:23:55,200 --> 00:23:58,167
OH, YEAH. YEAH.
430
00:24:05,200 --> 00:24:08,200
I'VE BEEN COVERING
THE WAR RACKET
SINCE INCHON,
431
00:24:08,200 --> 00:24:10,701
AND I'VE NEVER
SEEN SUCH HORROR.
432
00:24:10,701 --> 00:24:12,234
YOU'VE GOT IT BACK,
DALTON.
433
00:24:12,234 --> 00:24:14,667
YOU'VE GOT IT BACK.
434
00:24:16,534 --> 00:24:18,200
YOU'LL GET ANOTHER
CAPITAL AWARD
435
00:24:18,200 --> 00:24:20,601
FOR THIS STUFF.
436
00:24:20,601 --> 00:24:23,000
TOO BAD ABOUT FORTE,
THOUGH.
437
00:24:23,000 --> 00:24:24,667
KID WAS GOOD.
438
00:24:25,968 --> 00:24:28,000
KID WAS REAL GOOD.
439
00:24:30,300 --> 00:24:33,634
WAR IS HELL, RANDOLPH.
440
00:24:33,634 --> 00:24:38,000
THESE ARE LOVELY.
THANK YOU, DALTON.
441
00:24:38,000 --> 00:24:41,868
IT WAS THE LEAST
I COULD DO.
442
00:24:41,868 --> 00:24:45,934
THIS CAME FROM
ISAAC YESTERDAY.
443
00:24:45,934 --> 00:24:49,167
IT WAS WEIRD,
READING HIS POSTCARD,
444
00:24:49,167 --> 00:24:52,868
KNOWING IT WAS WRITTEN
BY A DEAD MAN.
445
00:24:52,868 --> 00:24:55,634
YOU WERE NICE TO GIVE HIM
THAT LAST ASSIGNMENT.
446
00:24:55,634 --> 00:24:59,133
HE WAS VERY GRATEFUL.
447
00:24:59,133 --> 00:25:01,234
YOU WERE THERE.
448
00:25:01,234 --> 00:25:03,133
DID HE SUFFER?
449
00:25:04,667 --> 00:25:07,934
NO. HE WENT VERY,
VERY PEACEFULLY.
450
00:25:10,300 --> 00:25:14,400
THERE WAS THIS LETTER
CAME WITH HIS POSTCARD
AND PACKAGES.
451
00:25:14,400 --> 00:25:15,834
IT WAS A CRAZY LETTER,
452
00:25:15,834 --> 00:25:18,434
SAYING HOW YOU SENT HIM
TO THAT VILLAGE
453
00:25:18,434 --> 00:25:20,267
KNOWING HE'D GET SICK.
454
00:25:20,267 --> 00:25:23,133
HOW ISAAC
TOOK THE PICTURES,
YOU DIDN'T.
455
00:25:23,133 --> 00:25:26,667
HOW, AFTER HE WAS SICK,
456
00:25:26,667 --> 00:25:28,467
YOU SHOT HIM DEAD.
457
00:25:38,567 --> 00:25:42,868
IT WAS FROM
A DOMINIC SALUCCI.
458
00:25:42,868 --> 00:25:45,234
I DIDN'T BELIEVE IT.
459
00:25:45,234 --> 00:25:47,701
I STILL DON'T.
460
00:25:47,701 --> 00:25:49,701
I KNOW YOU
BULLIED ISAAC,
461
00:25:49,701 --> 00:25:54,567
BUT I KNOW YOU
REALLY LOVED HIM.
462
00:25:54,567 --> 00:25:56,667
I LOVED HIM
LIKE A BROTHER.
463
00:26:14,267 --> 00:26:17,200
I SAW THE PHOTOS, DALTON.
464
00:26:19,200 --> 00:26:21,701
THEY WERE ISAAC'S PHOTOS.
465
00:26:21,701 --> 00:26:25,167
YOU KILLED MY ISAAC.
466
00:26:27,200 --> 00:26:29,067
WHATEVER HE HAD...
467
00:26:33,434 --> 00:26:35,033
WE'VE NOW GOT.
468
00:26:35,033 --> 00:26:37,133
WHAT?
469
00:26:37,133 --> 00:26:41,634
ISAAC SENT ME
SOME OF THE BALSAM
FROM THE VILLAGE.
470
00:26:43,601 --> 00:26:46,067
WE JUST SMOKED IT.
471
00:26:49,334 --> 00:26:52,234
WE'LL BOTH DIE.
472
00:26:52,234 --> 00:26:56,033
SURE. WE ALL
HAVE TO MAKE
SACRIFICES.
473
00:27:01,367 --> 00:27:03,801
YOU'RE FUCKING CRAZY.
NO!
474
00:27:04,868 --> 00:27:05,834
GET OFF!
475
00:27:12,968 --> 00:27:14,634
GET OFF! GET OFF!
476
00:27:20,834 --> 00:27:22,033
NO!
477
00:27:28,634 --> 00:27:31,300
OH, GOD, NO! NO!
478
00:27:43,901 --> 00:27:44,901
NO!
479
00:27:44,901 --> 00:27:48,400
NO!
480
00:27:53,033 --> 00:27:55,601
NOW, THAT'S WHAT
I CALL ROMANCE.
481
00:27:55,601 --> 00:27:58,501
BOY GETS GIRL.
BOY LOSES GIRL.
482
00:27:58,501 --> 00:28:01,601
BOY GETS GIRL AND GOES
TO PIECES OVER HER.
483
00:28:03,868 --> 00:28:05,567
YOU'LL BE PLEASED
TO KNOW, KIDDIES,
484
00:28:05,567 --> 00:28:08,467
THAT THINGS TURNED OUT
PRETTY WELL FOR BOBBI.
485
00:28:08,467 --> 00:28:09,801
SHE GOT HERSELF A JOB
486
00:28:09,801 --> 00:28:13,634
AND STARTED MODELING
FOR VIC-GORE-IA'S SECRET.
487
00:28:17,634 --> 00:28:20,934
BEAUTIFUL. BEAUTIFUL!
488
00:28:20,934 --> 00:28:24,200
TURN YOUR HEAD
A LITTLE MORE TOWARD ME.
489
00:28:24,200 --> 00:28:26,000
JUST A LITTLE MORE...
490
00:28:26,000 --> 00:28:27,701
LITTLE MORE...
491
00:28:30,901 --> 00:28:33,601
AH, PERFECT!
33089
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