Original subtitles

[g rand m usic]

[senti mental m usic]

♪ San Antone, it's real ly good to see you ♪

♪ It's been awh i Ie, but you've been on my m i nd ♪

♪ I've seen you r rol I i ng h i l ls and wi nd i ng rivers ♪

♪ So clear that I cou ld al most make them m i ne ♪

♪ I can al most see ♪

♪ The old bandero h ig hway ♪

♪ Stretch i ng out ♪

♪ Toward old Mexico ♪

♪ And the ti mes we used to wal k down by the river ♪

♪ Now it seems l i ke s uch a Iong, Iong ti me ago ♪

♪ San Antone, it's real ly good to see you ♪

♪ It's been awh i Ie, but you've been on my m i nd ♪

♪ I've been a Iot of places, but I th i n k I've always known ♪

♪ One day I'd come back to San Antone ♪

Major, I su re do hate to face al I them people.

Then put you r g Iasses on , Joh n .

[cheeri ng]

[d ru m rol I playi ng]

[march i ng band playi ng]

[cheeri ng conti n ues]

[m us ic ends]

Welcome home, Major Rane.

Meet M rs. M u rphy.

Hel lo, M rs. M u rphy.

Meet Colonel Bu rl i ngame.

Welcome home. Meet M rs. Bu rl i ngame.

-Than k you . -Welcome home.

Meet Colonel Maxwel I .

Welcome home, Major.

[man] Major Mercado, s i r. Welcome home.

Good to meet you .

Major Rane, I'm su re the crowd

wou Id l i ke to hear you say a few words.

[aud ience cheeri ng]

[Rane] It's good to be back.

We knew al I along ...

that everyone back home, from the pres ident on down ,

was beh i nd us 1 08 percent.

It was God and faith i n ou r fam i l ies

that kept us goi ng .

Speaki ng for myself,

I'd I i ke to say that the whole experience

has made a better man ,

a better officer,

and a better American out of me.

Than k you very m uch .

[aud ience cheeri ng]

Very wel I done. Very wel I done.

Wish you a lot of l uck.

Than k you , si r.

Major, M rs . Rane and you r son are rig ht over th is way.

[sobbi ng]

Howdy.

H i , Daddy.

Hel lo, son . How are you?

Fi ne.

Oh , honey. Oh !

Oh , baby, it's so good to have you back.

Look who al l came to see you .

That's you r dad .

Oh , God , we've been Iooki ng forward to th is day.

Is n't it g reat?

Oh , I'm so g Iad you're home.

-Look at h is patches, Pa! -[man] Hey, boy!

[J oh n] H i , Daddy.

[woman] Does n't he look good ?

[man] G Iad to see you , son .

Major Rane, how do you feel about bei ng back

after seven years?

Major, Major, do you feel any bitterness

toward the people i n the anti-war movement

-here at home? -I don't th i n k th is is

the ti me for that, if you don't m i nd . Gentlemen , please.

[man] Is it true that you were starved--

[man 2] Colonel Maxwel I , can you com ment?

Charl ie, I was so nervous that, u h,

C I iff came by to d rive us out.

You remem ber C I iff?

How you doi ng , C I iff?

Real good , C harl ie.

-Goddam n , it's good to see you . -Good to see you , too, agai n .

Jesus C h rist, you're looki ng good .

Hey, let's get you out of here, okay?

Oh , excuse me.

Hey, ru nt, not over there.

Come on , get i n back with you r daddy.

Come on , ru nt. Let's move it.

Come on .

[ai rplane whoos h i ng]

Major.

Wel I , we made it, J oh n .

We're home.

Take care of you rself, now. You're gon na be fi ne.

Oh , yeah .

You ever get out to EI Paso, Major...

Hey, I'I l be there.

Take care.

Aren't you g Iad you r daddy's home?

Su re.

Remem ber what Dr. Maxwel I said .

It'l I take a l ittle wh i le

for you two to get to know each other, but you wi l l .

Why's he stayi ng out i n the work s hed?

J ust 'cause it's smal l and q u iet out there.

Charl ie, come i n .

Oh .

That's a real pretty shotg u n

you got me for a present. Than k you .

CI iff took me down to h is s pecial pol ice g u n store to get it.

He hel ped me pick it out.

Says it's as good as they come.

S Ieep tig ht.

Wel l , that was real n ice of C I iff.

Maybe you and I can go out and take a I ittle target practice with it.

-What do you say? -Okay.

We'I I do it.

Why don't you get some sleep

and I' l l tal k to you i n the morn i ng, h u h ?

Where'd you fi nd that?

I n the I ivi ng room . Mom said it was you rs .

It's al I rig ht. I j ust d id n't know you had it.

I carried that arou nd with me for a Iong ti me.

See, where I was,

I d id n't get to see the American flag very often .

I n jai I?

Jai l ? Wel I , I g uess so, yeah .

I made that myself.

I col Iected I ittle pieces of th read and cloth and ...

Wel I , it took a Iong ti me,

but I made it.

Every morn i ng , al l the men i n my com pou nd

wou Id come i n and sal ute it.

That l ittle th i ng?

Yep. That I ittle th i ng .

Someti mes we'd even wh isper the "Star-Spang Ied Ban ner. "

Do you remem ber me?

I mean , what I looked I i ke when I was a baby?

Su re.

Of cou rse I do.

Every Iast detai l .

Why don't you take that as a present from me?

Than ks.

You don't remem ber me, do you ?

Wel l , there's no reason why you shou ld .

When I Ieft, you were on ly about that big .

About 1 8 months old .

But you knew you r daddy then , Mark.

You knew me.

The Iast th i ng I remem ber j ust before

I was getti ng on the plane to go overseas

was you r l ittle Iegs todd I i ng u p toward me,

sayi ng , "Daddy, Daddy! "

You were some toug h I ittle g uy.

Why don't you get some s leep, son?

Good n ig ht, Daddy.

D id you Ieave the n ig ht-I ig ht on?

He can't s leep without it.

[Charl ie] He seems a l ittle confused .

Yeah , he's been that way for weeks.

Had a 1 04-deg ree fever for th ree days.

Vom iti ng and d iarrhea.

Dr. Maxwel I says it's noth i ng organ ic.

It's j ust nerves.

It's a problem that POW fam i I ies have.

[C harles] Among others.

You d id n't change the house m uch , d id you ?

Did n't change a th i ng .

You had al l that back pay.

I d id n't touch a pen ny of it...

soon as I fou nd out you were al ive.

AI ive?

Wel I , i n the prison cam p. Whatever you cal l it.

Anyway, I was worki ng .

I decided j ust to Ieave it i n the ban k

for you to do what you wanted with it.

That's real n ice to hear.

I , u h . . . I got you a present,

a special one.

I hope you remem ber.

Mou nds, h u h ?

Yeah . Remem ber how you used to eat them

when we fi rst went together?

I told you that you r teeth were gon na fal I out.

I had one of those i n my fl ig ht jacket

the day I went down .

I tried to save it.

I'd take a I ittle bite out of it

every day for six months.

Oh , Charl ie.

You've changed you r hai r.

Yeah , about 1 08 ti mes i n the Iast th ree weeks .

And you're not weari ng a brassiere.

N obody wears them anymore.

Did n't they tel I you that?

N o.

They told us about m i n iski rts,

but I never thoug ht we'd get to see one.

Wel l , I have one. You want me to try it on ?

N o, you don't have to do that.

C harl ie...

I've, u h ...

I've been with another man .

Wel l , aren't you gon na say anyth i ng?

You're j ust gon na sit there?

Oh , Charl ie, I d id n't know when you were com i ng back

or if you ever wou Id .

I tel I you ,

the men arou nd here don't res pect anyth i ng .

If I told you al I the g uys that cal Ied me u p...

a Iot of you r friends from the base--

I d id n't even look at 'em .

And then C I iff.

He and Peggy spl it, and , u h ...

s he took the kids to Cal iforn ia.

And C l iff started com i ng over,

playi ng with Mark and ...

fixi ng th i ngs u p arou nd the house.

He d id n't make a pass at me.

I mean , he d id n't even do it at al I , C harl ie.

I knew what he wanted, but...

he never d id anyth i ng about it.

And then it j ust seemed I i ke the two of us j ust had to.

I knew. We al l knew.

Cou Id n't have been any other way.

C l iff asked me to marry h i m , C harl ie,

and I . . . I said I wou Id .

I don't th i n k I'm u p for any more of th is.

Why don't you go to bed ?

We'I I work th is al I out.

What are you gon na do?

I'm j ust gon na s it here.

[somber m usic]

[om i nous m usic]

[footsteps]

[door slams]

[men chanti ng i nd isti nctly]

[g roans]

Aah !

[chanti ng conti n ues]

[g roans]

[g roan i ng]

[chanti ng conti n ues]

[g roans]

[m usic, chanti ng fade]

I can't sleep.

Those pi I ls you gave me don't work anymore.

Wel I , after seven years, u h ,

it's gon na take some ti me to readj ust.

I had everyth i ng worked out,

but noth i ng's goi ng the way I plan ned .

My wife wants a d ivorce,

but I su ppose you al ready knew that.

M m-h m m .

Does it make you ang ry?

It's im portant to me that I stay close to my son .

I won't Iet h i m go.

You don't have to.

[d i ngs]

Now, no matter what happens,

I won't Iet h i m go.

[chai n saw buzzi ng]

[band playi ng "When the Sai nts Come March i ng I n"]

[applaud i ng , cheeri ng]

Al I rig ht, fol ks. Keep it q u iet.

Major Rane, to hel p you travel on the road to s uccess i n style,

Rogers Motors is proud to present you the keys

to that Cad i l lac converti ble.

[C harl ie] Than k you very m uch .

[applaud i ng , cheeri ng]

And as a special presentation ,

the you ng Texas bel Ie who wore you r VIVA bracelet

al l the wh i le you were away,

Ms . Li nda Forchet. Li nda?

[applaud i ng]

Major...

I've been Iooki ng forward to the day

that I'd be g ivi ng th is back to you .

-Than k you very m uch . -[applaud i ng, cheeri ng]

And Gri m m's Department Store wou ld l i ke to present you

with a token of ou r respect,

adm i ration, and hope for the futu re.

One si lver dol Iar for every day you were i n Hanoi's hel l hole.

That amou nts to a g rand total of 2,555 dol Iars .

Oh , and one for good I uck.

-[cheeri ng, applaud i ng] -Than k you very m uch .

What are you gon na do with al l those s i Iver dol lars?

Oh , I g uess I'l I take them home and h ide them .

[applaud i ng]

You shou Id try tal ki ng to C harl ie about it.

What s hou Id I tel I h i m?

"I'm sorry they shot you down and tortu red you ?

I'm sorry I'm taki ng you r fam i Iy away from you ?"

Su re d id n't want it to work out l i ke th is.

I d id n't, either.

Hey.

Hey.

Hey, come on .

Come on . It's gon na be al I rig ht.

I'I I try tal ki ng to h i m .

C I iff, I feel so g u i Ity.

[Charl ie] Ah !

Come on , ru nt. C h uck it over here.

Now over to you r daddy.

No, no, no.

You g uys go ahead .

I'm beat.

[knock on door]

Buy you a d ri n k?

[Charl ie] Su re.

If I'm botheri ng you , man , j ust tel I me to leave.

N o, it's al I rig ht.

I mean , hel I , I wou Id n't blame you

if you came after me with a dam n ti re i ron or someth i ng .

Now why wou ld I want to do someth i ng I i ke that?

After everyth i ng that's happened ...

Hel l , what ki nd of a man wou Id I be if I went and h id someplace

without tal ki ng about it?

Welcome home, C harl ie.

It's good to be home, C l iff.

I gotta say th is, C harl ie.

I real ly ad m i re you .

Wel I , than k you , CI iff.

I mean , I've been i n some scrapes .

I know what I can do,

but, u h ...

wel I , anyone who wasn't over there has to ask h i mself

if. . . if he cou Id have taken it,

you know, getti ng tortu red and al I .

I mean them gooks had no mercy.

Wel I , you don't want to hear about that, C I iff.

N o. No way.

I don't even want to th i n k about it.

You know, you're l ucky.

You're l ucky they d id n't ru i n you for l ife.

You want to know what they d id ?

N o.

Su re you do.

I'I I show you . It's the dam nedest l ittle rope trick.

-Yeah? -Yeah , they were...

ki nd of happy with it.

What they d id was, see,

was they got you down on you r knees

i n front of 'em , see?

-U h -h u h . -Li ke th is .

Then they tied you r arms beh i nd you , see?

-Here. Here, hel p me. -[m utters]

J ust hel p me out. Tie it u p.

That arm to th is one. Real close.

Okay.

Li ke th is?

-That's rig ht. -M m-h m m .

Tig hter, man . They d id it tig hter.

AI l rig ht.

You su re you want to go th roug h th is agai n ,

h u h , Charl ie?

Yeah , of cou rse I'm su re.

Go ahead . N ow you take the Ioose ends .

AI l rig ht.

And you pu I l it u p i n the ai r

I i ke you 're gon na take me clear on u p to the cei l i ng .

AI I rig ht. Li ke th is?

-[C harl ie] That's it. -[CI iff] M m-h m m .

[om i nous m usic]

H ig her, man . H ig her.

Ti l I you hear the bones starti ng to crack.

That's it. H ig her!

[m usic i ntens ifies] [men chanti ng i nd isti nctly]

[C harl ie] Come on ! H ig her, h ig her!

[exhales heavi ly] AI I rig ht, Charl ie.

That's enoug h .

They used to do that to us twice a day.

I don't know how you took it.

You learn to love the rope.

That's how you beat 'em .

That's how you beat people who tortu re you .

You learn to love 'em ,

and they don't know you're beati ng them .

Listen , CI iff...

I hope you don't m i nd me sayi ng th is to you ,

but I'd real Iy appreciate it

if you d id n't cal I my kid a ru nt.

I won't.

Sorry, C harl ie.

Here's Iooki ng at you .

How you doi n', fel la?

What can I do for you ?

Oh , how about g ivi ng me 1 0 dol lars worth of prem i u m?

[man] Than k you , si r.

Than k you .

Major Rane?

H i .

H i .

Li nda Forchet, the g i rl who wore you r bracelet.

Oh , yeah .

I remem ber. How are you?

Fi ne.

I I i ke you r s h i rt.

You been shoppi ng?

Yeah .

Come on . I'I I buy you a d ri n k to you r new ward robe, okay?

N o, I gotta be getti ng back.

Hey, are you gon na be the fi rst g uy to say no to me?

Come on .

I g uess not. Why don't you hop i n ?

I'l I park the car.

[cou ntry m usic playi ng]

[Li nda] I work here at n ig ht.

What are you doi ng here now?

J ust hang i ng out.

I come i n , and I water the plants...

and social ize.

Bebe, u h , bri ng me a Tom Col l i ns.

Major, what do you d ri n k?

[C harl ie] I'I I have a tap beer.

You Major C harles Rane?

[C harl ie] Yes, ma'am .

Bebe, the man's th i rsty.

Oh . Wel I , you su re shou ld n't be.

[ch uckles] Pay no attention to the vi I lage id iot.

I've been hopi ng to ru n i nto you l i ke th is .

Wou Id you bel ieve that I was gon na sl i p you my n u m ber

that day they gave you those d u m b s i lver dol lars?

B ut you bei ng married and al I , I j ust said ,

"Whoa, baby. Get a hold of you rself."

Than k you .

Th is rou nd's on Edd ie, Major.

[Li nda] That's the bartender.

Wel I , wou Id you than k h im for me, please?

[Li nda] Wel I , happy days.

Here's Iooki ng at you .

[Li nda] Here's looki ng at you .

You're the strong, si Ient type, aren't you ?

N ah , I'm j ust a I ittle rusty on my smal l tal k.

Hey, I d id n't mean anyth i ng bad .

I don't m i nd carryi ng the bal I .

S hoot, it's a pleasu re [stam mers]

after al I the fat, maud I i n d ru n ks I have to put u p with .

Wel I , I gotta be getti ng back anyway.

I'd I i ke you to than k you r friends for me.

That was real ly n ice.

And I'd l i ke to than k you , too,

for weari ng my bracelet al l that ti me.

I real Iy appreciate that.

It's the very least I cou Id do.

I'd I i ke to do more.

[C harl ie] Yeah , wel I . . . [clears th roat]

Wel l , come back and see me, now, okay?

Wed nesday th roug h S u nday n ig ht.

Su re. I'I I be arou nd .

Bye.

[C harl ie] Bye.

[crowd shouti ng encou ragement]

[ch i Id ren s houti ng]

[man] Come on i n, Major, and have a seat.

Hel Io, Major.

Saw you on TV.

You looked good .

You real Iy d id . You looked good .

We also saw them g ive you

a whole s h itload fu I I of si Iver dol Iars .

Me and the boys, we were i n the neig h borhood ,

and we thoug ht maybe you s hou Id g ive us

some of them s i lver dol lars.

H mm ?

Now if you'I I j ust be so ki nd as to tel I us where al I that money is,

then we can j ust be on ou r way.

N o fuss, no m uss .

He ai n't gon na do it.

These are mean ol' boys.

They can make you tel I me where the money is .

Mel io?

[g ru nts]

[g ru nts softly]

[low om i nous m us ic]

[C harl ie g ru nts softly]

[g roans softly]

[C harl ie g ru nts]

[g ru nts]

[g roans]

[m usic conti n ues]

[men chanti ng i nd isti nctly, m uffled]

I d id n't hear you , boy.

[al l ch uckl i ng]

N ow, you are gon na tel l us where that money is

sooner or Iater.

I wou ld suggest sooner...

'cause Iater may be too late.

[m usic i ntens ifies]

He ai n't cooperati ng worth a sh it.

Sam .

[Sam] Get h i m u p, Mel io.

Now, don't g ive me any of that officer hard s h it.

[C harl ie g roans]

'Cause I was rig ht there i n 'N am with the rest of you ,

'cept I was Iayi ng face down i n the m ud

wh i Ie you cats was flyi ng over.

Come on .

N ow what do you got to say?

Rane, Major Charles W.

396-84-69.

[g ru nti ng] [dark m usic]

[g roan i ng]

[ch uckles] He's a roug h ol' boy, ai n't he?

[ch uckles]

[g roan i ng]

Th is d ude's crazy.

He ai n't gon na do too wel I i n the i nformation department.

[m usic, chanti ng conti n ue]

Goddam n you .

I'l I make th is motherfucker tal k.

Fetch h i m .

[garbage d isposal ru n n i ng] [C harl ie gru nti ng]

[dark m usic] [garbage d isposal wh i rri ng]

[no aud i ble d ialog ue] [m usic, wh i rri ng conti n ue]

[wh i rri ng stops]

[C harl ie gas pi ng]

You ready to tal k to us now, boy?

I don't th i n k we're gon na get them si Iver dol Iars.

Sh it, SI i m , we'l I get 'em . We'I I get 'em .

[man] Jefe, la Fuerfa.

Wel I , get it.

-[man 2] come on . -[Janet] C harl ie? Who are you?

C harl ie?

[screams]

[man 2] Sh ut u p !

Oh , my god .

Lady, you r h usband ...

he's got a whole bag of si Iver dol Iars,

and he's got them h id from me.

N ow, I want them si Iver dol Iars .

And if I don't get 'em , he's gon na d ie.

[Mark] N o, don't h u rt h i m !

No, don't. PIease don't.

I know where he h id 'em .

[man] Show me. Come on . Ándale.

You d u m b asshole.

H ow does it feel to go th roug h al I th is sh it for noth i n'?

Cou Id have saved you rself a Iot of grief.

Wel I , now, SI i m , you know, a hero, he don't work I i ke that.

C harl ie, why d id n't you tel I h i m?

I'I I tel I you why, Iady.

'Cause he's one macho motherfucker.

Jefe, mira. Vamanos, ¿ Pronto, eh 7

SI i m , you and T Bi rd , you take the wagon ,

and Mel io and I wi I I meet you i n N uevo Laredo.

Fat Ed's?

Yeah . Mel io.

[tense m us ic]

[g u ns fi ri ng]

[g u n fi res]

[door opens]

[door closes]

[somber m usic]

[Joh n ny] They're cutti ng new orders for me, Major.

I wasn't gon na re-u p,

but I fig u re with COOP ti me, I got me 1 0 years .

If I hang i n another 1 0, I'l I get me a pens ion .

Wel l , you shou ld stay i n , Joh n .

Al l you have to do is col lect you r checks.

Yeah . What am I gon na do i n 1 0 years, thoug h ?

I g uess you re-u p for another 1 0.

After al l , ai n't gon na d ig no oi l wel Is i n you r backyard , are they?

Yeah .

One jerk-off job's as good as another, I g uess .

H ow's you r wife?

Real good .

Oh , it's hard getti n' used to home l ife agai n ,

you know, getti n' used to bei ng with a woman .

You want to head back?

Yeah , su re. M ig ht as wel I .

Than k you , J oh n .

Pretty sl ick, ai n't it?

[Joh n] Oh , yeah .

Fig u re out how to work it yet?

U h -h u h , and I've been practici ng , too.

You oug ht to get the hang of it pretty soon .

They'l l catch them su m bitches, Major.

They'l I catch 'em .

I su ppose.

Can't j ust let it s l ide, Major.

They don't have any rig ht to I ive.

[Li nda] H i .

Hey, I isten , I can come back Iater.

Oh , no. That's al I rig ht.

Come on i n . Sit down .

Li nda Forchet,

th is here is J oh n Vohden .

We were together.

[Li nda] Pleased to meet you .

H ow do you do?

Wel I , I g uess I better get goi ng, Major.

I got a Iong d rive back to EI Paso.

I' l l see you .

Yeah , J oh n .

Than ks for com i ng .

I'I I see you real soon .

Bye, m iss.

[Li nda] Bye.

Bye, Major.

Take care, Joh n .

I'm goi ng to put these i n some water.

You tryi ng to tel l me you haven't got anyth i ng better to do?

Oh , su re. My l ife is j ust a mad world of parties

and rich boyfriends .

It wou Id n't make any d ifference what I was doi ng .

I'd sti I I want to come see you .

Why?

Got you rself a g rou pie, Major.

What's a g rou pie?

That word's a I ittle after my ti me.

Wel I , a g rou pie is ...

a g i rl who fal ls i n Iove with a rock star or a movie star.

Somebody s he does n't know.

Wors h i ps h i m, and ...

knows she's never gon na meet h i m .

But, u h ...

if she ever does, s he' l l do anyth i ng for h i m .

Anyth i ng she can .

[C I iff] It's s ix weeks...

and we're getti ng nowhere.

I wish you cou Id remem ber someth i ng ...

a name, a face, an accent, anyth i ng .

I can't.

You su re about that, Charl ie?

I can't even remem ber how th is happened .

I know. Sorry.

I j ust came from the cemetery.

Took some flowers.

G raves look real n ice.

Wel l ...

Oh , god ...

I want to get my hands on them m u rderi ng bastards .

That'I I pass, CI iff.

Everyth i ng passes.

[woman on PA] X-ray technician, piease call the emergency room.

X-ray technician. ..

[Maxwel I] G uess I'd better sig n you out.

[woman] Hel Io, Major.

[Maxwel l] I want to s ig n the major out, please.

Okay.

[Maxwel I] How are you today?

[n u rse] F i ne. How are you ? Taki ng the major home?

-That's rig ht. -Good .

[woman on PA] IV nurse to tloor west, stat.

IV nurse to tloor west, stat.

[i nd isti nct chatteri ng]

Than k you . Than k you . You al l set?

[C harl ie] Yeah .

[n u rse speaks i nd isti nctly]

S u re you wou ld n't rather stay at a hotel now?

I'm su re.

I' l l pick you u p Monday morn i ng at about 1 0 o'clock, okay?

That's fi ne.

You know, I real Iy do th i n k I can hel p you , C harl ie.

Wel l , I'm su re you can , doc.

I th i n k we g ive it ou r best shot on Monday morn i ng .

[s ig hs]

Why don't you j ust...

pu I I over and Iet me out by the mai I box?

See you Monday morn i ng , then , h u h?

You need some hel p with th is bag ?

[C harl ie] No. I can get it, than k you .

[dog barki ng i n d istance]

[door opens]

[somber m usic]

[door s h uts]

[mach i ne wh i rri ng]

[clang i ng]

[cou ntry m usic playi ng] [patrons chatteri ng , shouti ng]

H ow you doi ng ?

Oh , and I was j ust starti ng to get mad at you for not cal I i ng .

Hey, I isten , I'm gon na go on down to Mexico for a cou ple of days.

-You want to come with me? -When are you Ieavi ng?

Now.

[Li nda] I get off at two. Why don't you stick arou nd and have a d ri n k?

I gotta go now.

What do you expect me to do, j ust d rop everyth i ng?

[crash i ng] [woman screams]

Wed nesday was always a s low n ig ht.

Where are we goi ng?

Wel I , we're goi ng to head down toward N uevo Laredo.

What's there?

Some people I used to know.

What are we gon na do?

Be sociable.

Okay, I'm ready.

[gentle m us ic]

[m usic conti n ues]

[i nd isti nct chatteri ng]

[mariach i m us ic playi ng i n d istance]

Okay, so what do you want me to do, ask for Fat Ed?

That's rig ht.

I wis h you'd come i n there with me.

I'm goi ng to come i n rig ht beh i nd you .

I want to su rprise them .

[mariach i m usic playi ng]

Do you know a g uy named Fat Ed?

No comprendo.

[m usic conti n ues]

I'm Iooki ng for a g uy named Fat Ed .

Fat Ed?

Don't know anybody by that name.

¿ Tü conoces a Fat Ed7

[woman] No, no lo conozco.

[speaki ng Span ish]

Fat Ed?

-[man] Que Iinda. -I know Fat Ed .

He is a good friend of m i ne.

You want to tal k to h i m?

[Li nda] Yeah . U h , he's a friend of a friend .

You want to tal k to Fat Ed?

[speaki ng Span ish]

I wi l I take you to h i m .

Fol Iow me.

Mira.

[Li nda] H mm ?

[man speaki ng Span ish]

I'm Lopez.

Why do you want to see Fat Ed ?

I told you .

Where is he?

Oh , he'l I be here.

Fat Ed ...

I i kes beautifu l g ri ngo g i rls.

I I i ke beautifu I g ri ngo g i rls.

Everybody l i kes beautifu I g ri ngo g i rls .

Fat Ed ,

he always takes care of h is friends.

What do you mean ?

We share.

It's okay. It's okay.

M ister.

It's okay.

You've got the wrong idea !

N o, I don't th i n k so.

-Wel l , I do ! -[Lopez] It's okay. It's okay.

C harl ie, what the hel I is th is?

Wait for me i n the car.

Wait a fucki ng m i n ute, man .

You don't tel I nobody where to go.

She stays here.

[Lopez scream i ng]

[Charl ie] Get on you r fucki ng knees.

[Lopez] PIease! [g roans]

[C harl ie] P ut you r hands beh i nd you r head .

Put you r forehead on the g rou nd .

And don't move.

Now...

I want to know where Fat Ed is,

or I'm gon na ki l l you .

Honest, señor, I don't know no Fat Ed .

I was j ust Iyi ng .

I'm i n a h u rry.

I don't know! I don't know!

You're tel l i ng me you never heard of Mel io,

T B i rd , or Automatic S l i m?

Wait, please ! P lease, sehor.

Those sou nd I i ke C u ña boys .

Go to Acu ha.

Ask for B i I Iy Sanchez at EI Lobo.

He knows everybody.

[gas ps] I don't know nobody.

PIease, m ister, please !

[g roans]

[cryi ng]

You cou ld lose a hand I i ke that.

[cryi ng]

[Li nda] Why'd you set me u p i n there?

[Charl ie] Move over.

[Li nda] Who the hel I is Fat Ed ?

I thoug ht I was taki ng off with you for a good ti me.

You're Iooki ng for those g uys, aren't you ?

Aren't you ?

You know who they are, don't you?

Don't you? !

Some of them .

Wel I , why don't you j ust tel I the pol ice?

Because I want to fi nd al I of them .

Man , I have had it with lyi ng men , Charl ie.

The ones that say one th i ng , and they do another.

The ones that always Iet you down .

Are you gon na Iet me down?

Depends on what you're looki ng for.

Rig ht now I'm gon na take you to Acu ha.

That's m i Ies from here, and I'm dog -ti red .

Come on . C l i m b i n the back seat and go to s leep.

Why do I always get stuck with crazy men ?

Man !

That's the on ly ki nd that's Ieft.

C harl ie.

[clatteri ng]

My brother-i n -Iaw took off on me.

He got pissed at my sister and spl it.

I'd l i ke you to ru n h i m down for me, you know,

put out a 1 8-29 on h i m u nofficial ly.

I don't know.

Come on , it wou ld n't be the fi rst ti me.

Okay, but now you owe me one.

AI l rig ht, then .

Listen , it's a 1 973 red Cad i I lac converti ble,

Texas I icense n u m ber, tem porary, 3802-Wi I l iam .

N ow, I isten , when you fi nd h i m ,

I don't want you to pu l I h i m over or noth i ng .

You j ust cal l me, u nderstand?

Remem ber you're i n the barrel if anybody fi nds out.

Don't worry, I'I l cover it.

-Okay. Al I rig ht. -Later.

Th is is a 1 0-29 .

'73 red Cad i I Iac converti ble...

[cou ntry m usic playi ng]

You Iook better.

Does that mean I Iook good?

[C harl ie] Su re does.

Wel I , anyth i ng wou ld be an im provement.

[s ig hs]

I hope you 're not j ust stri ng i ng me along , C harl ie Rane.

Hope that's not al l you're doi ng .

I don't have to do that, do I?

Maybe you do.

H ow old do you th i n k I am ?

[C harl ie] 25.

AI most 30.

I've been arou nd the cou rse a cou ple ti mes now.

[C harl ie] You s u re don't Iook it.

Wel I , I do i n the morn i ng,

after I've been out partyi ng al l n ig ht.

I do when I'm s itti ng alone brood i ng about some worth Iess man .

I've had a few of them , you know?

What are you getti ng at?

On Iy that you can trust me.

And I want to know I can trust you .

I want to hel p.

Let's get out of here.

[m usic conti n ues]

Why don't we tel I them?

[C harl ie] Forget it.

Poor Li nda. Here s he goes agai n .

Hey, J i m , wasn't that the car?

I th i n k it was .

They said no arrest, thoug h ,

j ust to cal I i n on it.

Go ahead and get me some coffee.

-C l iff? -Yo?

You r sister better be good -looki n'

'cause you r brother-i n -Iaw's got a real piece of ass with h i m .

Yeah . Where are they?

Outs ide Del Rio, head i ng across to Acu ha on H ig hway 98.

Okay. Than ks, Bob.

Listen , I'I I cal l you for any u pdates, okay?

You bet.

[ch i Id ren s houti ng]

[dog barki ng]

[mariach i m usic playi ng] [electricity sparki ng]

[laug h i ng]

[speaki ng Span ish]

[Li nda] Do you know a g uy named Bi I Iy Sanchez?

Why are you Iooki ng for h i m ?

He ai n't no good for noth i ng .

I don't want h i m for noth i ng .

I j ust want to tal k to h i m .

[man] He ai n't even good for that.

[laug hter]

Hey, Bi I Iy!

[B i I Iy] Yeah?

Lady here wants to tal k to you .

Hel lo, lady. [ch uckles]

What's you r name?

I'm Iooki ng for a g uy named Fat Ed .

I was told to ask for h i m here.

I'm a friend of h is from San Antone.

That I ucky old horse !

How does he get a friend I i ke you , ug Iy as he is, h u h?

What's you r name, baby?

Shari .

I was su pposed to meet h i m here a cou ple days ago,

but I got i nto someth i ng else.

Oh , you mean someth i ng else got i nto you ?

[laug h i ng]

Ed wou Id n't I i ke that ki nd of tal k.

He ai n't here to hear it.

Went over to the [i nd isti nct] house i n E l Paso.

-[laug h i ng] -Where's that?

[B i I Iy] Over on Latol i no road . [laug h i ng]

Did they al I go over?

[Bi l ly] Yeah . Al I except Automatic S I i m . He's sti I I here.

I n Acu ha?

[B i I Iy] Yeah . Hey, u h , why don't you wait arou nd?

He'I I be back i n a cou ple of m i n utes. [laug hs]

He'I l d rive you over to EI Paso if you're real Iy a friend of Fat Ed .

N o, that's okay. I got my own car out front.

Come on , I' l l buy you a d ri n k.

I gotta go.

Hey, come on ! One d ri n k ai n't gon na slow you down .

I said no than ks !

C harl ie, come on , Iet's go. Th is is getti ng ug Iy.

Start the car.

Hey, u h , what ki nd of h ustle are you two putti ng down , h u h?

[bel I ri ng i ng]

You been Iooki ng for me, Major?

[g ru nti ng , g roan i ng]

[i nd isti nct shouti ng]

[g roan i ng]

[g ru nts]

[s houts]

[i nd isti nct shouti ng] [g roan i ng]

[g ru nti ng]

Let me have h i m .

Ooh ! Sh it!

Let h i m go ! Let h i m go !

[S l i m] Get away! Get away from h i m !

[g roan i ng]

Ooh ! Ooh !

Goddam n it, get away from h im !

[g ru nti ng]

[men s houti ng i n Span ish]

[s houts]

When we get to E l Paso, I am gone !

You know, I'm not one to Ieave a man i n trou ble,

but, man , you don't deserve any better.

I thoug ht I cou Id hel p you , but that was a big m istake.

The same dam n m istake I always make.

Wel l , the best th i ng that I cou ld do for you

rig ht now is j ust tel l the pol ice.

That's rig ht. I'm gon na tel I the pol ice, and --

If you won't do it, I wi I I .

And you're not gon na change my m i nd .

What is wrong with you?

You 're d rivi ng too s low.

Where are you goi ng?

I'm not stayi ng i n any car with any dam n I u natic!

-Then get out! Get out. -[s houts]

-[C harl ie] Get outta here. -[Li nda yel pi ng]

[screams]

No!

[scream i ng]

[s houts]

Aah !

C harl ie...

I'm al I you got.

[breath i ng heavi ly]

[staticky cou ntry m us ic playi ng]

[Li nda] You feel i ng better now?

Better than what?

[ch uckl i ng] Better than before.

I shou ld be aski ng you that q uestion .

You don't have to worry about me.

♪ My darlin ' ♪

♪ t don 'f have much cash... ♪

I remem ber that song from when I was al ive.

AI ive?

That's what we used to cal l the ti me before we were captu red .

[g u ns hot]

That's a hel I of a wake-u p cal I .

Whatcha doi ng ?

Practici ng .

M ust be plan n i ng on some poi nt-blan k shooti ng .

Sawi ng off the barrels don't g ive you m uch d istance.

[g u nshots]

[g u nshots]

[laug hs]

I haven't used one i n years,

but I g uess you never forget.

I g rew u p arou nd them .

Where was that?

J ust arou nd .

My daddy was a master sergeant i n the army.

Sti l I is.

He teach you how to shoot?

Ride, too.

[g u ns hot]

See, he wanted a boy, and he got th ree g i rls ...

u h , or I shou ld say two g i rls and a tom boy.

I'm ki nd of the black sheep.

[g u nshots]

Why are you the black sheep?

Wel I , I eloped when I was 1 7.

My mama was a ch u rchgoi ng Iady.

She d id n't I i ke me very m uch 'cause I was my father's favorite.

So, u h ...

S he j ust acted I i ke I was ki I l i ng her.

[g u ns hot]

G uess they were rig ht, thoug h .

I on Iy stayed married for a year.

[g u nshots]

I wis h we had someth i ng more exciti ng to shoot at.

[eng i ne starti ng , revvi ng]

[mariach i m usic playi ng]

[i nd isti nct chatteri ng]

[speaki ng Span ish]

[dog barki ng]

[laug hter] [mariach i m usic playi ng]

H i .

¿ Tü has visto un cadiliac rojo ?

8f.

[speaks Span is h]

[Li nda] God , Iook at me. What a mess .

I'm gon na need a vacation when th is vacation's over.

I feel I i ke I've been gone for two years i nstead of two days .

Su re wou Id I i ke to soak i n a hot tu b.

Where are you goi ng now, on parade or someth i ng?

[ch uckl i ng] You don't have to get al I s pruced u p for me.

I I i ke a I ittle natu ral ness i n a man .

Does n't you r friend l ive here,

the one I met i n the hos pital?

N o.

Joh n ny Vohden ?

N o.

You said he l ived i n EI Paso.

Wel I , he doesn't.

Wi I I you sit down and relax?

You know, you don't have to do any of th is .

You don't have to go after these g uys .

We cou ld j ust j u m p i n the car

and go 1 ,080 m i Ies from here

and nobody'd know any d ifferent.

Bu ry the g u ns i n the desert, and ...

Wi l l you j ust stay with me for a wh i le?

Hold me?

Charl ie, I Iove you .

[cows mooi ng]

He knows about you r car.

[cows mooi ng]

The boy says you're Iooki ng for a Yan kee

that d rives a big red Cad i I Iac.

That's rig ht.

F ive dol Iars .

A Yan kee, h u h?

With a big steel hand?

Yeah .

He was here.

Where'd he go?

That wi I I be five more dol lars.

1 0 al I together.

Yes?

There was a big fig ht, and ...

now he's gone.

Where?

Why do you want to fi nd h i m?

Hey, look, I'm payi ng . I ask the q uestions.

Wel I , if you want some answers,

you have to pay a I ittle more.

[CI iff] Where the fuck d id you get th is, h u h?

[cows mooi ng]

[g u nshots]

[g u nshots] [bu I lets ricocheti ng]

[g roans]

[body th uds]

[g u ns hot]

Hey.

[g u ns hot]

[C l iff g ru nti ng]

[g u ns hot]

C harl ie, you 're the q u ietest man I've ever known .

That's 'cause I can't th i n k of anyth i ng to say.

It's I i ke my eyes are open , and I'm Iooki ng at you ,

but I'm dead .

They've pu l led out whatever it was i ns ide of me.

And it never h u rt at al I after that, and it never wi I l .

C harl ie...

What?

Are we goi ng back to San Antone?

If you want to.

H ow about you ?

I don't care if I ever see that town agai n .

Good . Then Iet's go as far away as we can get.

Let's go someplace cold .

Let's go to AIaska.

Wel l , AIaska's cold .

People don't do anyth i ng but j ust stay i ns ide

and s it i n front of the fi replace...

and make Iove al l day long .

PIease tel I me we're goi ng .

[somber m usic]

[eng i ne starts]

[m usic conti n ues]

C harl ie?

C harl ie.

[m usic conti n ues]

[m usic fades]

[woman] OFerator.

Yeah, u h , let me have the n u m ber for the pol ice department.

-[woman] Emergency7 -Yes .

[woman] y-2-2-2-j.

Than k you .

[ri ng i ng]

[s ig hs]

[man] El Paso Poiice 8tation.

[i nd isti nct chatteri ng i n Span ish]

[i naud i ble d ialog ue]

[mariach i m usic playi ng]

[i naud i ble d ialog ue]

[man] That there is the Iast American factory-made converti ble.

[woman] N o more converti bles?

[man] N o, ma'am . Those th i ngs cost a fortu ne, too.

The Japanese wi I l start maki ng them .

That's what happens.

We'I I be buyi ng ou r Cad i l Iac converti bles from Japan .

Japan?

I ai n't buyi n' noth i n' from no Japs.

The on ly color Pop recog n izes is wh ite.

Wel I , even wh ite people don't make th i ngs any good anymore.

I boug ht a U S-made TV because I wanted to buy American ,

and it broke down i n th ree weeks.

When the repai rman came to fix it,

he said al I the parts were made i n Japan anyway.

So next time, I'm gon na buy one straig ht from Japan .

Don Visser's got a car I i ke the major's .

You remem ber Don Visser, don't you , J oh n?

N o.

'Cou rse you do.

He went to h ig h school rig ht arou nd the ti me you d id .

He went on to play for the Cowboys for two years.

Hel I , he knows who Don Visser is .

Everybody knows who Don Visser is.

Come on , Susie. Let's take a Iook at that roast.

I' l l hel p you . Excuse me.

J oh n , can I tal k to you for a m i n ute?

Oh , yeah .

Excuse me.

[J oh n] Make you rself at home.

Say, Pop?

Can I have one of them cigars?

H ow's that?

I say, can I have one of them cigars?

Oh , you betcha, boy.

Wel l , I'm sorry about al l th is, Major.

That's al l rig ht, J oh n .

I fou nd them .

Who?

The men who ki I Ied my son .

[low om i nous m us ic]

[J oh n] I'I I j ust get my gear.

They're i n a whorehouse over i n J uárez rig ht now.

There's the fou r that came i nto my home...

and there's eig ht or 1 0 others .

Wel I , let's go clean them u p.

J oh n ny, come on i n . Everyth i ng's ready.

U h , me and the major are gon na go out and get some beer.

We'l I be back after a wh i Ie.

Wel l , what about you r d i n ner?

And why you weari ng that th i ng?

He never wears h is u n iform when I ask h i m to.

Good -bye, Daddy.

Good -bye, son .

W-where are you goi ng?

Y'al I get back here soon .

[ti res screech i ng]

[dark om i nous m us ic]

[m usic fades]

[u pbeat m usic playi ng] [i nd isti nct chatteri ng]

[Charl ie] They're al I i nside there now.

There's a Texan with beige boots and a tal I , ski n ny g uy

with a straw hat who I want,

and there's a cou ple of Mexicans .

They'I I recog n ize me,

so why don't you go i n th roug h the front?

Pick u p a hooker, take her on u pstai rs .

When you hear me com i ng ,

I'l I be tappi ng my g u n j ust I i ke that.

When you hear that, get you rself set.

When you hear me s hooti ng , come on i n .

[m usic conti n ues playi ng]

[i nd isti nct chatteri ng] [m usic conti n ues]

[woman] Hey, sold ier. You want to get married?

But not to you , muchacha.

Got any n ice American g i rls here?

Take a Iook arou nd , g ri ngo.

Maybe you'I l fi nd you r sister.

[Joh n] Dame una cerveza, por favor.

[man] Que ciase de cerveza, m ister?

Carta B lanca.

See anyth i ng you I i ke?

[Joh n] Oh , yeah .

30 m i n utes, 38 dol Iars .

Goddam n . I wanted to rent you , not buy you .

If you're Iooki ng for a cheap th ri I I ,

why don't you go to the dog races?

Lead on .

Fol Iow me.

[men laug h i ng]

[woman] Sold ier.

[laug hter]

Let's go.

Take you r ti me, sweetheart.

If I take my ti me,

I'l I take a hel I of a Iot more of you r money.

Yeah , you'I I get it if you're worth it.

That's what I l i ke to hear.

[mariach i m usic playi ng]

[footsteps approach i ng]

[speaki ng Span ish]

[g roans]

You wan na fuck or what?

I'm havi ng a problem .

I'm gon na have to go.

S h it!

Relax.

[m usic conti n ues]

[i nd isti nct chatteri ng , laug hter]

[chatteri ng , laug hter conti n ue]

[tappi ng]

[om i nous m usic]

[tappi ng]

[tappi ng]

[m usic i ntens ifies]

[suspensefu l m usic]

[men chanti ng i nd isti nctly]

[g u n cocks]

It's you r ti me, boy.

[woman yel ps]

[g u ns hot]

[woman scream i ng]

[women scream i ng]

What the fuck are you doi ng?

I'm goi ng to ki I I a bu nch of people.

[screams]

[woman conti n ues scream i ng] [i ntense m usic]

[woman conti n ue scream i ng]

Ad ios, boys !

[gagg i ng , choki ng]

[woman wh i m peri ng]

[g u ns hot] [g roans]

[g u nshots]

[dark m usic]

[g u ns hot] [screams]

[women sobbi ng]

Hey.

[m usic fades]

[g u nshots]

[g u nshots]

[g u ns hot]

Get you r ass on down here, flyboy.

[g u ns hot]

[g u nshots]

[g u nshots]

[woman scream i ng]

[g ru nts]

[woman conti n ues scream i ng]

[g u ns hot] [g ru nts]

[g u n cl icks]

[man coug hs]

[g u ns hot]

[g u ns hot]

[g u n cl icks]

-[g ru nts] Let's go home, J oh n . -[Joh n g ru nts]

[gentle m us ic]

♪ San Antone, it's real ly good to see you ♪

♪ It's been awh i Ie, but you've been on my m i nd ♪

♪ I've seen you r rol I i ng h i l ls and wi nd i ng rivers ♪

♪ So clear that I cou ld al most make them m i ne ♪

♪ I can al most see the old bandero h ig hway ♪

♪ Stretch i ng out toward old Mexico ♪

♪ And the ti mes we used to wal k down by the river ♪

♪ Now it seems l i ke s uch a Iong, Iong ti me ago ♪

♪ San Antone, it's real ly good to see you ♪

♪ It's been awh i Ie, but you've been on my m i nd ♪

♪ I've been a Iot of places, but I th i n k I've always known ♪

♪ One day I'd come back to San Antone ♪