All language subtitles for Tales from the crypt - 5x03 - Forever Ambergris

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 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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