1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:11,545 --> 00:00:13,747 CAPTIONING MADE POSSIBLE BY WARNER BROS. INC. 4 00:00:48,149 --> 00:00:50,384 JOHN WILSON-- 5 00:00:50,384 --> 00:00:53,187 A VIOLENT MAN GIVEN TO VIOLENT ACTION. 6 00:00:53,187 --> 00:00:57,591 SOME ASCRIBED HIS TROUBLED LIFE TO PERSONAL SELF-DESTRUCTION. 7 00:00:57,591 --> 00:01:01,629 THESE GENERALIZATIONS ALWAYS SEEMED INACCURATE TO ME. 8 00:01:01,629 --> 00:01:05,666 THAT'S WHY I HAD TO WRITE ALL THIS ABOUT JOHN-- 9 00:01:05,666 --> 00:01:08,068 A BRILLIANT, SCREW-YOU-ALL FILMMAKER 10 00:01:08,068 --> 00:01:12,072 WHO VIOLATED THE UNWRITTEN LAWS OF THE MOTION PICTURE BUSINESS, 11 00:01:12,072 --> 00:01:17,211 YET HAD THE DIVINE ABILITY TO ALWAYS LAND ON HIS FEET. 12 00:01:30,891 --> 00:01:32,493 COME THIS WAY. 13 00:01:32,493 --> 00:01:33,894 MR. VERRILL? 14 00:01:33,894 --> 00:01:35,163 YES. 15 00:01:35,163 --> 00:01:37,898 HELLO. I'M MISS WILDING. HOW WAS YOUR FLIGHT? 16 00:01:37,898 --> 00:01:38,899 WONDERFUL. 17 00:01:38,899 --> 00:01:41,101 MR. WILSON IS EXPECTING YOU. 18 00:01:50,911 --> 00:01:52,313 HOW WAS SWITZERLAND? 19 00:01:52,313 --> 00:01:53,914 SWITZERLAND? FINE. 20 00:01:53,914 --> 00:01:56,049 EGGERTON GARDENS, PLEASE. 21 00:01:56,049 --> 00:01:58,018 YES, MA'AM. 22 00:01:58,018 --> 00:02:00,421 I THOUGHT HE WAS AT CLARIDGE'S. 23 00:02:00,421 --> 00:02:03,424 HE WAS. HE'S GOT A HOUSE NOW. 24 00:02:03,424 --> 00:02:07,027 ONE OF HIS SOCIETY FRIENDS LENT IT TO HIM. 25 00:02:07,027 --> 00:02:09,029 YOU KNOW WHAT JOHN IS. 26 00:02:09,029 --> 00:02:11,532 I MEAN MR. WILSON. 27 00:02:36,490 --> 00:02:39,092 HELLO, GEORGE. THIS IS MR. VERRILL. 28 00:02:39,092 --> 00:02:41,094 IS MR. WILSON UP YET? 29 00:02:41,094 --> 00:02:43,497 HE'S BEEN UP HOURS. BEEN RIDING. 30 00:02:43,497 --> 00:02:46,567 HAVING HIS BREAKFAST NOW. 31 00:03:10,991 --> 00:03:13,227 COME IN. 32 00:03:22,202 --> 00:03:24,572 MR. VERRILL IS HERE, MR. WILSON. 33 00:03:27,641 --> 00:03:29,042 PETE. 34 00:03:29,042 --> 00:03:30,043 JOHNNY. 35 00:03:30,043 --> 00:03:31,412 FOR GOD'S SAKE. 36 00:03:31,412 --> 00:03:33,614 HOW THE HELL ARE YOU? 37 00:03:33,614 --> 00:03:35,015 ALL RIGHT. 38 00:03:35,015 --> 00:03:37,150 WHAT HAVE YOU BEEN UP TO? 39 00:03:37,150 --> 00:03:40,921 I'VE BEEN SKIING AND SITTING IN THE SUN. 40 00:03:40,921 --> 00:03:42,423 I MISSED YOU. 41 00:03:42,423 --> 00:03:44,425 I MISSED YOU, TOO, JOHN. 42 00:03:44,425 --> 00:03:46,427 CARE FOR SOME COFFEE? 43 00:03:46,427 --> 00:03:48,829 THIS IS SOME JOINT YOU GOT. 44 00:03:48,829 --> 00:03:52,433 DID YOU GET A LOAD OF THE LIVING ROOM? 45 00:03:52,433 --> 00:03:55,736 ISN'T IT HIDEOUS? I'M CRAZY ABOUT IT. 46 00:03:55,736 --> 00:03:58,739 YOU CAN GET THE HELL OUT OF HERE. 47 00:03:58,739 --> 00:04:01,609 WHAT DO YOU THINK OF THIS OUTFIT? 48 00:04:01,609 --> 00:04:05,178 THAT'S SOME GETUP YOU GOT THERE, JOHNNY. 49 00:04:05,178 --> 00:04:06,547 OF COURSE. 50 00:04:06,547 --> 00:04:09,550 WHAT ABOUT YOU? WHAT ABOUT THE BOOK? 51 00:04:09,550 --> 00:04:11,685 I DIDN'T GET MUCH DONE. 52 00:04:11,685 --> 00:04:13,053 WHY'S THAT? 53 00:04:13,053 --> 00:04:15,055 I COULDN'T GET STARTED. 54 00:04:15,055 --> 00:04:18,359 I GOT HOOKED UP WITH SOME DAME. 55 00:04:18,359 --> 00:04:20,060 HELL, ISN'T IT? 56 00:04:20,060 --> 00:04:22,463 ONCE IT'S OVER, YOU CAN'T FIGURE 57 00:04:22,463 --> 00:04:25,065 WHY IT WAS SO DAMN IMPORTANT. 58 00:04:25,065 --> 00:04:26,467 IT'S TOUGH REMEMBERING 59 00:04:26,467 --> 00:04:29,937 WHY YOU CHASED A DAME ONCE YOU'VE HAD HER. 60 00:04:29,937 --> 00:04:33,073 I DIDN'T SKI VERY MUCH BECAUSE OF HER. 61 00:04:33,073 --> 00:04:34,475 THAT'S A SHAME. 62 00:04:34,475 --> 00:04:37,210 I'VE GOT THE CURE FOR THAT--AFRICA. 63 00:04:37,210 --> 00:04:40,080 COME WITH ME AND WORK ON THIS SCRIPT. 64 00:04:40,080 --> 00:04:41,615 YOU THINK THAT WILL HELP? 65 00:04:41,615 --> 00:04:45,218 EVEN IF IT DOESN'T, YOU'VE GOT TO DO IT. 66 00:04:45,218 --> 00:04:46,887 THERE ARE TIMES YOU CAN'T 67 00:04:46,887 --> 00:04:49,890 WONDER WHETHER IT'S THE RIGHT THING TO DO, 68 00:04:49,890 --> 00:04:52,860 NOT FOR GUYS LIKE YOU AND ME, KID. 69 00:04:55,696 --> 00:04:58,699 I'VE GOT TO GET STARTED ON THIS BOOK. 70 00:04:58,699 --> 00:05:02,302 IF YOU DIDN'T WRITE IT, YOU'RE NOT READY TO. 71 00:05:02,302 --> 00:05:04,905 WHEN DO YOU PLAN ON LEAVING? 72 00:05:04,905 --> 00:05:06,707 IN ABOUT 1O DAYS. 73 00:05:06,707 --> 00:05:09,710 WE'LL GET OUR SHOTS AND TAKE OFF. 74 00:05:09,710 --> 00:05:12,312 WHO WILL BE IN THIS PICTURE? 75 00:05:12,312 --> 00:05:14,314 PHIL DUNCAN AND KAY GIBSON. 76 00:05:14,314 --> 00:05:16,717 HOW LONG WILL YOU STAY THERE? 77 00:05:16,717 --> 00:05:19,620 FIVE MONTHS--LONG ENOUGH TO MAKE A PICTURE 78 00:05:19,620 --> 00:05:21,622 AND HAVE OURSELVES A SAFARI. 79 00:05:21,622 --> 00:05:24,825 HAVEN'T YOU EVER WANTED TO SHOOT AN ELEPHANT? 80 00:05:24,825 --> 00:05:25,626 NO. 81 00:05:25,626 --> 00:05:27,828 A LION OR A BUFFALO? 82 00:05:27,828 --> 00:05:29,530 THIS IS A SAFARI. 83 00:05:29,530 --> 00:05:32,132 WHO WILL PAY FOR ALL THIS? 84 00:05:32,132 --> 00:05:34,134 WHAT'S YOUR FINANCIAL SITUATION? 85 00:05:34,134 --> 00:05:35,536 IT REMAINS UNCHANGED. 86 00:05:35,536 --> 00:05:37,137 SO YOU'RE BROKE. 87 00:05:37,137 --> 00:05:39,540 I OWE A QUARTER MILLION DOLLARS. 88 00:05:39,540 --> 00:05:41,141 A QUARTER MILLION DOLLARS? 89 00:05:41,141 --> 00:05:42,543 CLOSER TO 3OO,OOO. 90 00:05:42,543 --> 00:05:44,445 $3OO,OOO AND YOU'RE NOT WORRIED? 91 00:05:44,445 --> 00:05:47,448 I THINK ABOUT IT NOW AND THEN. 92 00:05:47,448 --> 00:05:49,850 DO YOU SEE A WAY OUT? 93 00:05:49,850 --> 00:05:52,853 THIS PICTURE. I'VE GOT NOTHING ELSE TO LOSE. 94 00:05:52,853 --> 00:05:57,525 IF A LION GETS ME, MY LAST MINUTE WILL BE HAPPY. 95 00:05:57,525 --> 00:06:00,528 I'LL THINK OF MY CREDITORS IN THE STATES. 96 00:06:00,528 --> 00:06:03,697 WHEN THEY FIND OUT I'VE BEEN EATEN ALIVE, 97 00:06:03,697 --> 00:06:05,699 IT WILL ALL SEEM WORTHWHILE. 98 00:06:05,699 --> 00:06:08,335 OK, JOHN. HOW ABOUT A SCRIPT? 99 00:06:08,335 --> 00:06:10,337 THERE'S ONE AROUND HERE SOMEWHERE. 100 00:06:10,337 --> 00:06:12,740 WE DON'T HAVE A TITLE YET. 101 00:06:12,740 --> 00:06:15,342 IT'S CALLED AFRICAN TRADER OR SOMETHING. 102 00:06:15,342 --> 00:06:16,910 MISS WILDING? 103 00:06:20,514 --> 00:06:23,250 WHERE'S THAT GOD DAMNED SCRIPT? 104 00:06:23,250 --> 00:06:24,852 I HAVEN'T SEEN IT, JOHN. 105 00:06:24,852 --> 00:06:28,756 FIND IT. WHAT KIND OF A SECRETARY ARE YOU? 106 00:06:28,756 --> 00:06:30,758 I'VE BEEN TYPING YOUR LETTERS 107 00:06:30,758 --> 00:06:32,793 AND ANSWERING THE TELEPHONE. 108 00:06:32,793 --> 00:06:33,627 BALLS. 109 00:06:33,627 --> 00:06:35,596 YOU WERE A COMPETENT SECRETARY. 110 00:06:35,596 --> 00:06:38,065 NOW YOU HANG AROUND ALL DAY 111 00:06:38,065 --> 00:06:39,767 SPYING FOR PAUL LANDERS. 112 00:06:39,767 --> 00:06:41,769 I DON'T SPY FOR ANYBODY, 113 00:06:41,769 --> 00:06:43,504 ESPECIALLY MR. LANDERS. 114 00:06:43,504 --> 00:06:45,506 FIND THE SCRIPT, THEN. 115 00:06:45,506 --> 00:06:49,510 WE HAVE A MEETING WITH LANDERS AND HIS MONEY MEN. 116 00:06:49,510 --> 00:06:52,079 PAUL LANDERS IS PRODUCING THIS? 117 00:06:52,079 --> 00:06:55,449 YOU KNOW WHY I'M WORKING WITH HIM AGAIN? 118 00:06:55,449 --> 00:06:56,750 NO. 119 00:06:56,750 --> 00:07:00,554 BECAUSE IT'S THE WRONG THING TO DO. 120 00:07:01,689 --> 00:07:06,359 I'M SO GLAD TO SEE YOU, PETE, I CAN'T TELL YOU. 121 00:07:06,359 --> 00:07:08,361 GOOD TO SEE YOU, PAUL. 122 00:07:08,361 --> 00:07:10,163 YOU CAN SAVE OUR LIVES. 123 00:07:10,163 --> 00:07:13,366 THE MONSTER--I THINK HE'S LOSING HIS MIND. 124 00:07:13,366 --> 00:07:14,768 HE'S FINE. 125 00:07:14,768 --> 00:07:17,104 YOU DON'T KNOW HOW HE'S BEEN. 126 00:07:17,104 --> 00:07:20,774 HE'S ALMOST KILLED THE DEAL FIVE TIMES. 127 00:07:20,774 --> 00:07:23,310 HE WANTS TO GO TO AFRICA. 128 00:07:23,310 --> 00:07:25,312 HOW THE HELL ARE YOU? 129 00:07:25,312 --> 00:07:28,315 JOHNNY BOY, DID YOU GET A LOT DONE? 130 00:07:28,315 --> 00:07:31,318 HELL, NO, BUT PETE AND I CHATTED. 131 00:07:31,318 --> 00:07:34,321 WHAT DO YOU THINK OF THE SCRIPT? 132 00:07:34,321 --> 00:07:35,923 IT'S AWFULLY GOOD. 133 00:07:35,923 --> 00:07:41,995 IT'S A SHAME YOU DON'T KNOW A DAMN THING ABOUT IT. 134 00:07:41,995 --> 00:07:43,396 YOU SEE? 135 00:07:43,396 --> 00:07:45,198 HE'S ALWAYS BEEN LIKE THAT. 136 00:07:45,198 --> 00:07:48,802 HE'S INSANE. HE SHOULD BE IN A STRAIT JACKET. 137 00:07:48,802 --> 00:07:52,205 AS FAR AS THE QUESTION OF COLOR IS CONCERNED, 138 00:07:52,205 --> 00:07:55,408 IT'S AN EXTRA EXPENSE OF QUESTIONABLE VALUE. 139 00:07:55,408 --> 00:07:57,010 I QUITE AGREE. 140 00:07:57,010 --> 00:07:58,879 WELL, I DON'T. 141 00:07:58,879 --> 00:08:01,849 COLOR IS WORTH A MILLION DOLLARS. 142 00:08:01,849 --> 00:08:03,450 THAT'S NOT IMPORTANT. 143 00:08:03,450 --> 00:08:05,853 WHAT I'M TRYING TO FIND OUT 144 00:08:05,853 --> 00:08:08,822 IS HOW MUCH COLOR COMPLICATES OUR OPERATION. 145 00:08:08,822 --> 00:08:10,824 I'M AFRAID IT DOES, JOHN. 146 00:08:10,824 --> 00:08:12,826 THE CAMERA'S MUCH HEAVIER. 147 00:08:12,826 --> 00:08:14,928 THERE ARE MORE LIGHTING PROBLEMS. 148 00:08:14,928 --> 00:08:18,599 COLOR IS ESSENTIAL TO THE SUCCESS OF THIS VENTURE. 149 00:08:18,599 --> 00:08:20,601 I'M NOT CONCERNED WITH THAT. 150 00:08:20,601 --> 00:08:23,571 I JUST DON'T WANT TO GET BOGGED DOWN. 151 00:08:23,571 --> 00:08:25,973 BOGGED DOWN?BOGGED DOWN? 152 00:08:25,973 --> 00:08:30,578 I KNOW HOW EASILY YOU GET BOGGED DOWN ON LOCATION. 153 00:08:30,578 --> 00:08:32,312 HAVE YOU EVER 154 00:08:32,312 --> 00:08:33,914 BEEN BOGGED DOWN? 155 00:08:33,914 --> 00:08:34,715 NO. 156 00:08:34,715 --> 00:08:36,483 THEN WHY BRING IT UP? 157 00:08:36,483 --> 00:08:38,118 I THINK IT'S VALID. 158 00:08:38,118 --> 00:08:39,319 I DON'T. 159 00:08:39,319 --> 00:08:41,154 OF COURSE YOU DON'T. 160 00:08:41,154 --> 00:08:44,157 WHILE WE'RE IN AFRICA SWEATING AND KILLING OURSELVES, 161 00:08:44,157 --> 00:08:47,628 YOU'LL BE IN PARIS SENDING OUT MEMOS. 162 00:08:47,628 --> 00:08:50,230 I'LL BE IN AFRICA WITH YOU. 163 00:08:50,230 --> 00:08:51,632 LIKE HELL. 164 00:08:51,632 --> 00:08:54,067 IF IT WERE SHOT IN ENGLAND, 165 00:08:54,067 --> 00:08:57,070 AND A SECOND UNIT SENT TO AFRICA, 166 00:08:57,070 --> 00:08:59,607 THE RISK WOULD BE GREATLY MINIMIZED. 167 00:08:59,607 --> 00:09:02,009 THAT WOULD BE WITH ANOTHER DIRECTOR. 168 00:09:02,009 --> 00:09:04,377 WE HAVE ALREADY DISCUSSED THAT. 169 00:09:04,377 --> 00:09:07,648 OH, WE HAVE, HAVE WE? 170 00:09:07,648 --> 00:09:11,451 COULD I TALK TO YOU IN THE BEDROOM? 171 00:09:12,319 --> 00:09:15,488 WHAT IS THIS BULLSHIT ABOUT ANOTHER DIRECTOR? 172 00:09:15,488 --> 00:09:18,491 YOU KNOW I WOULDN'T DO THAT TO YOU. 173 00:09:18,491 --> 00:09:21,829 YOU'D SELL YOUR MOTHER TO MAKE A DEAL. 174 00:09:21,829 --> 00:09:25,766 WHAT'S THE MATTER? DO YOU WANT TO KILL THIS? 175 00:09:25,766 --> 00:09:27,901 NO. NO, I DON'T. 176 00:09:27,901 --> 00:09:31,504 THEN WHY BRING UP THE POSSIBILITY OF BOGGING DOWN? 177 00:09:31,504 --> 00:09:33,540 YOU SCARED THEM. 178 00:09:33,540 --> 00:09:34,942 THEN TELLING THEM 179 00:09:34,942 --> 00:09:38,779 YOU'D QUIT IF THE PICTURE WASN'T MADE IN AFRICA. 180 00:09:38,779 --> 00:09:41,749 IF ONE FRAME'S SHOT IN ENGLAND, I'LL QUIT. 181 00:09:41,749 --> 00:09:43,583 BUT IT WON'T BE. 182 00:09:43,583 --> 00:09:46,720 YOU DISCUSSED IT BEHIND MY BACK. 183 00:09:46,720 --> 00:09:49,723 THERE ISN'T A CHANCE IN THE WORLD 184 00:09:49,723 --> 00:09:52,125 IT COULD BE DONE THAT WAY. 185 00:09:52,125 --> 00:09:54,928 YOU'LL GUARANTEE THAT, I SUPPOSE. 186 00:09:54,928 --> 00:09:57,965 YES, GOD DAMN IT. I GUARANTEE IT. 187 00:09:57,965 --> 00:10:01,368 YOUR GUARANTEE DOESN'T MEAN A DAMN THING TO ME. 188 00:10:01,368 --> 00:10:05,773 I WON'T MAKE SOME FAKE CRAPPY MESS TO PLEASE YOU. 189 00:10:05,773 --> 00:10:07,274 I DON'T CARE 190 00:10:07,274 --> 00:10:11,712 IF THIS PICTURE'S SHOT IN BLACK AND WHITE OR SEPIA TONE, 191 00:10:11,712 --> 00:10:14,815 PETE AND I ARE GOING TO AFRICA. 192 00:10:23,023 --> 00:10:24,124 [CLICK] 193 00:10:24,124 --> 00:10:27,327 WHAT'S THE EFFECTIVE RANGE OF THIS THING? 194 00:10:27,327 --> 00:10:28,729 ABOUT 1OO YARDS. 195 00:10:28,729 --> 00:10:31,732 THAT'S PLENTY FOR YOUR BUFF AND YOUR ELEPHANT. 196 00:10:31,732 --> 00:10:34,735 THEY KILL THEM AT 2O YARDS, KID. 197 00:10:34,735 --> 00:10:37,738 EVEN CLOSER THAN THAT SOMETIMES, THEY TELL ME. 198 00:10:37,738 --> 00:10:41,541 I'VE NEVER BEEN TO AFRICA, BUT THIS MAN HAS. 199 00:10:41,541 --> 00:10:43,076 INVALUABLE READING-- 200 00:10:43,076 --> 00:10:46,613 JOHN TAYLOR, BIG GAME AND BIG GAME RIFLES. 201 00:10:46,613 --> 00:10:48,615 WE'LL NEED TWO OF THESE. 202 00:10:48,615 --> 00:10:51,018 WE'LL TAKE TWO OF THESE RIFLES, 203 00:10:51,018 --> 00:10:53,620 AND TWO OF THESE SMALLER ONES 204 00:10:53,620 --> 00:10:55,689 TO SHOOT FOR THE POT, 205 00:10:55,689 --> 00:10:57,758 AND ONE 12-GAUGE SHOTGUN. 206 00:10:57,758 --> 00:10:59,760 ALWAYS USEFUL TO HAVE ALONG. 207 00:10:59,760 --> 00:11:01,228 CARTRIDGES, OF COURSE. 208 00:11:01,228 --> 00:11:03,230 HOW MANY ROUNDS, SIR? 209 00:11:03,230 --> 00:11:04,631 2OO PER WEAPON. 210 00:11:04,631 --> 00:11:07,400 PLANNING TO BE AWAY QUITE A WHILE, SIR? 211 00:11:07,400 --> 00:11:12,239 YES. SUNRISE FILMS WILL SEND YOU THE CHECK. 212 00:11:12,239 --> 00:11:14,541 [DOOR OPENS] 213 00:11:14,541 --> 00:11:17,144 JOHN, BE CAREFUL! 214 00:11:19,980 --> 00:11:21,048 IRENE. 215 00:11:21,048 --> 00:11:24,151 FOR GOD'S SAKE, WHAT ARE YOU DOING HERE? 216 00:11:28,188 --> 00:11:31,424 YOU TOLD ME TO MEET YOU HERE. 217 00:11:31,424 --> 00:11:32,926 WE HAD AN APPOINTMENT-- 218 00:11:32,926 --> 00:11:35,262 DRINKS AND DINNER. 219 00:11:36,696 --> 00:11:38,298 I DRESSED. 220 00:11:38,298 --> 00:11:39,532 YES. 221 00:11:39,532 --> 00:11:41,334 IT PLAIN SLIPPED MY MIND. 222 00:11:41,334 --> 00:11:44,137 IRENE SAUNDERS, THIS IS PETE VERRILL. 223 00:11:44,137 --> 00:11:45,072 HELLO. 224 00:11:45,072 --> 00:11:48,508 I ADMIRED YOUR LAST BOOK ENORMOUSLY. 225 00:11:48,508 --> 00:11:50,510 I'M A WRITER, TOO. 226 00:11:50,510 --> 00:11:54,681 JOHN'S PROMISED TO LISTEN TO MY IDEA FOR A FILM. 227 00:11:54,681 --> 00:11:56,549 I HOPE YOU'LL JOIN US. 228 00:11:56,549 --> 00:11:58,385 YOU CAN GIVE ME POINTERS, 229 00:11:58,385 --> 00:12:00,788 ONE WRITER TO ANOTHER. 230 00:12:06,526 --> 00:12:09,462 IT'S ABOUT A DOG, A PUPPY DOG. 231 00:12:09,462 --> 00:12:11,431 HE'S THE HERO, THE STAR. 232 00:12:11,431 --> 00:12:12,833 IMAGINE, JOHN, 233 00:12:12,833 --> 00:12:15,836 OVER THE OPENING CREDITS, WE'LL SEE HORACE. 234 00:12:15,836 --> 00:12:17,838 WONDERFUL, ADORABLE DISSOLVES OF HORACE 235 00:12:17,838 --> 00:12:19,639 IN CLOSE-UP. 236 00:12:19,639 --> 00:12:22,642 THIS IS A PART I'M NOT SURE ABOUT. 237 00:12:22,642 --> 00:12:24,644 THE CENSORS MIGHT CUT IT. 238 00:12:24,644 --> 00:12:27,647 IT TURNS OUT THAT HORACE IS IN HEAT. 239 00:12:27,647 --> 00:12:30,050 IT'S A STORY OF MISTAKEN IDENTITY. 240 00:12:30,050 --> 00:12:32,652 HORACE HAS A TWIN, A BITCH. 241 00:12:32,652 --> 00:12:34,054 SHE'S CALLED GERALDINE. 242 00:12:34,054 --> 00:12:35,956 IT'S SHE THAT'S IN HEAT. 243 00:12:35,956 --> 00:12:38,458 ISN'T THAT A WONDERFUL SWITCH? 244 00:12:42,863 --> 00:12:45,866 WE'LL CUT FROM THE HYDE PARK SEQUENCE, 245 00:12:45,866 --> 00:12:49,469 JOHN, TO AN EARLY MORNING SHOT OF THE RIVER. 246 00:12:49,469 --> 00:12:51,071 THE RIVER. 247 00:12:51,939 --> 00:12:53,273 HORACE IS ALONE. 248 00:12:53,273 --> 00:12:57,477 WE DOLLY WITH HIM AS HE TROTS DOWN A STREET. 249 00:12:57,477 --> 00:12:59,579 WHAT ARE YOU DOING HERE? 250 00:12:59,579 --> 00:13:01,381 I FOUND THE SCRIPT. 251 00:13:01,381 --> 00:13:05,585 I HOPE YOU LIKE IT AS MUCH AS I DO. 252 00:13:05,585 --> 00:13:07,454 I'M SURE I WILL. 253 00:13:07,454 --> 00:13:08,221 PETER! 254 00:13:08,221 --> 00:13:10,423 YOU MUST HEAR THE ENDING. 255 00:13:10,423 --> 00:13:13,426 HORACE IS ALONE. WE'LL DOLLY WITH HIM 256 00:13:13,426 --> 00:13:16,629 AS HE TROTS SLOWLY DOWN A DESERTED STREET. 257 00:13:16,629 --> 00:13:18,031 FROM ANOTHER ANGLE, 258 00:13:18,031 --> 00:13:21,034 GERALDINE CAN BE SEEN COMING DOWN BROOK STREET. 259 00:13:21,034 --> 00:13:24,037 SHE PASSES CLARIDGE'S, AND SHE ENTERS THE SQUARE. 260 00:13:24,037 --> 00:13:26,506 SUDDENLY, THEY SEE EACH OTHER, 261 00:13:26,506 --> 00:13:29,142 HORACE AND GERALDINE. 262 00:13:29,142 --> 00:13:31,778 THERE ISN'T A HUMAN IN SIGHT. 263 00:13:31,778 --> 00:13:33,881 THEY RACE TOWARD EACH OTHER. 264 00:13:33,881 --> 00:13:37,250 WE HOLD THE PICTURE IN A LONG SHOT... 265 00:13:39,386 --> 00:13:42,255 AS THEY MEET... 266 00:13:43,390 --> 00:13:45,392 TURN... 267 00:13:46,193 --> 00:13:48,395 AND GO OFF TOGETHER. 268 00:13:52,799 --> 00:13:55,802 THEY'VE ONLY JUST BEGUN TO LIVE. 269 00:13:55,802 --> 00:13:58,138 WELL, THAT'S THE END. 270 00:14:01,408 --> 00:14:03,376 THEY FIND EACH OTHER. 271 00:14:06,813 --> 00:14:08,815 WELL, ISN'T THAT SOMETHING? 272 00:14:08,815 --> 00:14:10,617 ISN'T THAT SOMETHING? 273 00:14:10,617 --> 00:14:13,086 MM-HMM. 274 00:14:13,086 --> 00:14:15,222 DO YOU REALLY LIKE IT? 275 00:14:15,222 --> 00:14:18,725 WELL, DARLING, IT'S SWELL. 276 00:14:18,725 --> 00:14:22,029 COME ON. WE'LL TALK SOME MORE. 277 00:14:22,829 --> 00:14:24,631 PETE... 278 00:14:24,631 --> 00:14:28,835 IF THERE'S HALF AS MUCH LOVE IN THIS OLD GAL 279 00:14:28,835 --> 00:14:30,837 AS THERE IS TALK, 280 00:14:30,837 --> 00:14:34,041 I MAY BE DEAD IN THE MORNING. 281 00:14:39,579 --> 00:14:40,847 [WHISTLING] 282 00:14:40,847 --> 00:14:42,449 HEY, JOHNNY. 283 00:14:42,449 --> 00:14:43,450 MORNING. 284 00:14:43,450 --> 00:14:44,684 MORNING. 285 00:14:44,684 --> 00:14:48,055 YOU LOOK LIKE YOU'VE BEEN RUN THROUGH THE WRINGER. 286 00:14:48,055 --> 00:14:50,857 JUST PART OF ME. 287 00:14:50,857 --> 00:14:53,994 WHAT DID YOU THINK OF THE SCRIPT? 288 00:14:53,994 --> 00:14:57,864 I'LL TELL YOU THE TRUTH. I LIKE IT A LOT. 289 00:14:57,864 --> 00:14:59,866 IT'S ORIGINAL, EXCITING, AND MOVING. 290 00:14:59,866 --> 00:15:03,003 I HAVE ONE LITTLE PROBLEM WITH IT. 291 00:15:03,003 --> 00:15:04,604 THE ENDING. 292 00:15:04,604 --> 00:15:06,273 YOU DON'T LIKE THE ENDING? 293 00:15:06,273 --> 00:15:09,276 I DIDN'T SAY I DON'T LIKE THE ENDING. 294 00:15:09,276 --> 00:15:12,145 I'M JUST NOT SURE IT'S THE RIGHT ONE. 295 00:15:12,145 --> 00:15:14,547 IN HOLLYWOOD TERMS, IT'S TOO DOWNBEAT. 296 00:15:14,547 --> 00:15:18,118 AFTER EVERYTHING THESE TWO HAVE GONE THROUGH-- 297 00:15:18,118 --> 00:15:21,288 THEY FOUGHT THE RIVER AND THE GERMANS. 298 00:15:21,288 --> 00:15:24,291 JUST WHEN YOU'VE SET THE AUDIENCE UP 299 00:15:24,291 --> 00:15:26,293 FOR A WONDERFULLY COMIC ENDING, 300 00:15:26,293 --> 00:15:29,362 YOU BLOW THE SHIP UP AND KILL EVERYBODY. 301 00:15:29,362 --> 00:15:32,899 WELL, PETE, THERE'S AN OLD SAYING. 302 00:15:32,899 --> 00:15:35,702 GOD MAKES A MAN BEFORE HE KILLS HIM. 303 00:15:35,702 --> 00:15:37,204 I'VE HEARD IT. 304 00:15:37,204 --> 00:15:39,606 I DON'T THINK IT APPLIES HERE. 305 00:15:39,606 --> 00:15:42,309 YOU'RE BEATING THE AUDIENCE OVER THE HEAD. 306 00:15:42,309 --> 00:15:46,313 PEOPLE DON'T GO TO SEE PICTURES TO BE LECTURED TO. 307 00:15:46,313 --> 00:15:49,482 DO YOU OWN A PERCENTAGE OF THIS FILM? 308 00:15:49,482 --> 00:15:50,717 NO. 309 00:15:50,717 --> 00:15:54,087 THEN WHY ARE YOU CONCERNED ABOUT THE DAMN AUDIENCE? 310 00:15:54,087 --> 00:15:57,357 BECAUSE WE'RE IN SHOW BUSINESS, JOHN. 311 00:15:57,357 --> 00:15:58,625 NOT ME... 312 00:15:58,625 --> 00:16:01,828 AND NOT YOU, EITHER, WHEN WE WORK TOGETHER. 313 00:16:01,828 --> 00:16:03,630 WE'RE GODS-- LOUSY LITTLE GODS 314 00:16:03,630 --> 00:16:07,367 WHO CONTROL THE LIVES OF THE PEOPLE WE CREATE. 315 00:16:07,367 --> 00:16:09,502 WE SIT IN SOME HEAVENLY PLACE 316 00:16:09,502 --> 00:16:12,505 AND DECIDE WHETHER THEY LIVE OR DIE 317 00:16:12,505 --> 00:16:17,110 ON THE MERITS OF WHAT HAPPENS TO THEM IN REEL ONE. 318 00:16:17,110 --> 00:16:20,713 WE DECIDE IF THEY HAVE THE RIGHT TO LIVE. 319 00:16:20,713 --> 00:16:22,382 THAT'S THE ENDING. 320 00:16:22,382 --> 00:16:24,584 THAT'S WHAT YOU SAY, JOHN, 321 00:16:24,584 --> 00:16:26,386 BUT I'M A SWELL GOD. 322 00:16:26,386 --> 00:16:28,388 I SAY THEY SHOULD LIVE 323 00:16:28,388 --> 00:16:30,657 BECAUSE OF EVERYTHING THEY'VE GONE THROUGH, 324 00:16:30,657 --> 00:16:33,860 BECAUSE THIS WORLD DOESN'T NECESSARILY HAVE TO BE 325 00:16:33,860 --> 00:16:35,862 A HOPELESS AND ROTTEN PLACE. 326 00:16:35,862 --> 00:16:38,265 WE'RE NOT ALL DOOMED TO DIE 327 00:16:38,265 --> 00:16:40,267 OF RADIUM POISONING. 328 00:16:40,267 --> 00:16:42,469 I MIGHT BE COMPLETELY WRONG... 329 00:16:43,670 --> 00:16:47,174 BUT THAT'S WHAT MAKES ME A SWELL GOD. 330 00:16:47,174 --> 00:16:49,742 YOU'RE A FLEA ON AN ELEPHANT'S ASS. 331 00:16:49,742 --> 00:16:51,711 OH, BALLS TO YOUR PESSIMISM. 332 00:16:51,711 --> 00:16:54,914 YOU'RE NEVER GOING TO BE A GOOD SCREENWRITER, 333 00:16:54,914 --> 00:16:57,184 AND YOU KNOW WHY? 334 00:16:57,184 --> 00:17:00,320 NO, JOHN. WHY DON'T YOU TELL ME WHY? 335 00:17:00,320 --> 00:17:03,290 YOU LET POPCORN EATERS PULL YOU AROUND. 336 00:17:03,290 --> 00:17:06,993 YOU MUST FORGET ANYONE'S EVER GOING TO SEE IT. 337 00:17:06,993 --> 00:17:09,429 NOBODY WILL EVER SEE THIS ONE. 338 00:17:09,429 --> 00:17:13,433 I FIGURE THERE'S TWO WAYS TO LIVE IN THIS WORLD. 339 00:17:13,433 --> 00:17:17,437 YOU CAN CRAWL AND KISS ASS AND WRITE HAPPY ENDINGS, 340 00:17:17,437 --> 00:17:19,639 SIGN THEIR LONG-TERM CONTRACTS, 341 00:17:19,639 --> 00:17:21,774 AND NEVER TAKE A CHANCE 342 00:17:21,774 --> 00:17:23,910 AND NEVER LEAVE HOLLYWOOD. 343 00:17:23,910 --> 00:17:26,313 SAVE ALL YOUR GOD DAMN MONEY. 344 00:17:26,313 --> 00:17:28,615 WHEN YOU'RE A HEALTHY-LOOKING 5O, 345 00:17:28,615 --> 00:17:32,719 YOU DIE OF A STROKE BECAUSE WHATEVER WAS WILD IN YOU 346 00:17:32,719 --> 00:17:35,722 HAS EATEN AWAY THE MUSCLES OF YOUR HEART. 347 00:17:35,722 --> 00:17:38,925 OR LET THE CHIPS FALL WHERE THEY MAY, 348 00:17:38,925 --> 00:17:40,293 DON'T SIGN THEIR CONTRACTS, 349 00:17:40,293 --> 00:17:42,829 TELL OFF SOMEONE WHO CAN CUT YOUR THROAT, 350 00:17:42,829 --> 00:17:46,933 FLATTER THE LITTLE GUY HANGING BY A THREAD YOU HOLD. 351 00:17:46,933 --> 00:17:49,136 MAYBE YOU SHOULDN'T BE IN PICTURES. 352 00:17:49,136 --> 00:17:51,338 WELL, MAYBE YOU'RE RIGHT, KID. 353 00:17:51,338 --> 00:17:54,341 MAYBE I SHOULD HAVE WANDERED THE PLANET, 354 00:17:54,341 --> 00:17:57,344 GAMBLING ON OIL WELLS OR STOLEN DIAMONDS 355 00:17:57,344 --> 00:17:59,412 OR PIMP FOR MAHARAJAHS. 356 00:17:59,412 --> 00:18:02,415 MAYBE, BUT YOU KNOW WHY YOU DIDN'T? 357 00:18:02,415 --> 00:18:04,417 BECAUSE SOMEWHERE DEEP INSIDE YOU 358 00:18:04,417 --> 00:18:07,086 IS A TINY SPARK OF HOPE. 359 00:18:07,086 --> 00:18:08,755 HOPE, HELL. 360 00:18:08,755 --> 00:18:12,359 I'LL DIE BROKE IN A DOWNTOWN LOS ANGELES FLOPHOUSE, 361 00:18:12,359 --> 00:18:14,361 AND I WON'T BE BITTER. 362 00:18:14,361 --> 00:18:17,364 I'LL HAVE CONTRIBUTED 5, 1O DAMN GOOD PICTURES. 363 00:18:17,364 --> 00:18:20,367 THEY'LL NAME A SPECIAL ACADEMY AWARD FOR ME. 364 00:18:20,367 --> 00:18:23,370 ALL THE WRONG GUYS WILL GET IT. 365 00:18:23,370 --> 00:18:26,639 I'LL BE IN HELL LAUGHING MY ASS OFF. 366 00:18:27,707 --> 00:18:29,342 ROMANTIC FUTILITY-- 367 00:18:29,342 --> 00:18:31,378 YOUR ONE TRUE LOVE. 368 00:18:31,378 --> 00:18:33,713 NOTHING TO BE ASHAMED OF. 369 00:18:33,713 --> 00:18:35,382 I DIDN'T SAY THAT. 370 00:18:35,382 --> 00:18:37,784 YOU ARE RIGHT ABOUT THE ENDING. 371 00:18:37,784 --> 00:18:41,488 YOU SHOULD KILL THEM ALL AND BLOW EVERYTHING UP. 372 00:18:41,488 --> 00:18:45,091 I KNEW YOU WOULD ULTIMATELY SEE IT MY WAY. 373 00:18:45,091 --> 00:18:46,693 [FOOTSTEPS] 374 00:18:46,693 --> 00:18:47,860 MORNING, BOYS. 375 00:18:47,860 --> 00:18:51,063 IF IT ISN'T THE PRODUCER, RIGHT ON CUE. 376 00:18:51,063 --> 00:18:53,866 I HAVE JUST COME FROM A MEETING, 377 00:18:53,866 --> 00:18:57,470 AND I THINK THE FINANCIAL DEAL IS FINALLY SET. 378 00:18:57,470 --> 00:19:00,072 WHEN DO I GET MY TAKE? 379 00:19:00,072 --> 00:19:02,409 I'M GLAD TO SEE YOU'RE WORKING. 380 00:19:02,409 --> 00:19:04,411 WE'RE JUST WARMING UP, 381 00:19:04,411 --> 00:19:06,413 DOING SOME MENTAL CALISTHENICS. 382 00:19:06,413 --> 00:19:10,082 IF YOU TAKE MY ADVICE, START WITH THE ENDING. 383 00:19:10,082 --> 00:19:11,418 OH, YEAH? 384 00:19:11,418 --> 00:19:13,820 DON'T GO INTERFERING WITH THE SCRIPT. 385 00:19:13,820 --> 00:19:17,023 DON'T TRY TO INFLUENCE MY WRITER, EITHER. 386 00:19:17,023 --> 00:19:18,825 YOU'RE AN OBSCENE MAN. 387 00:19:18,825 --> 00:19:22,028 YOU'VE WITNESSED THE CULTURAL DISINTEGRATION 388 00:19:22,028 --> 00:19:23,563 OF CENTRAL EUROPE, 389 00:19:23,563 --> 00:19:26,165 AND YOU NEVERTHELESS PERSIST ON FOLLOWING 390 00:19:26,165 --> 00:19:28,167 THE SAME CHEAP, DISASTROUS COURSE 391 00:19:28,167 --> 00:19:30,603 THAT LED TO HITLER OVER EUROPE, 392 00:19:30,603 --> 00:19:33,606 WORLD WAR II, AND THE ATOMIC BOMB. 393 00:19:33,606 --> 00:19:36,576 MEANING THE ENDING STAYS AS IT IS. 394 00:19:36,576 --> 00:19:38,578 EXCEPT FOR ONE MINOR CHANGE. 395 00:19:38,578 --> 00:19:43,182 THE GERMANS KILL YOU, TOO, OVER THE END TITLE. 396 00:19:43,182 --> 00:19:45,117 [FOOTSTEPS] 397 00:19:45,117 --> 00:19:47,454 COULD I BORROW A COAT? 398 00:19:47,454 --> 00:19:50,457 I CAN'T GO OUT DRESSED LIKE THIS. 399 00:19:50,457 --> 00:19:53,092 IRENE, MEET MY PARTNER. 400 00:19:53,092 --> 00:19:54,861 PAUL LANDERS, OUR PRODUCER. 401 00:19:54,861 --> 00:19:58,465 IRENE HAS THE MOST WONDERFUL IDEA FOR A FILM. 402 00:19:58,465 --> 00:20:01,468 TELL IT TO PAUL WHILE WE WORK. 403 00:20:01,468 --> 00:20:03,470 START FROM THE BEGINNING, DARLING. 404 00:20:03,470 --> 00:20:06,473 IT'S ABOUT A DOG, A PUPPY DOG. 405 00:20:06,473 --> 00:20:08,207 [PETE] HIS NAME IS HORACE. 406 00:20:08,207 --> 00:20:10,743 I SHOULD HAVE SENT YOU BACK. 407 00:20:10,743 --> 00:20:14,481 I LOVE PAUL. HE'S SUCH A DESPERATE MAN. 408 00:20:23,490 --> 00:20:27,494 WHY DON'T WE GET SOME PICTURES, KAY? 409 00:20:31,898 --> 00:20:33,833 THIS WAY. 410 00:20:33,833 --> 00:20:35,902 MR. AND MRS. DUNCAN! 411 00:20:35,902 --> 00:20:38,037 EASY, NOW. 412 00:20:38,037 --> 00:20:40,307 PLEASE, KAY. YOUR AUTOGRAPH. 413 00:20:40,307 --> 00:20:43,910 MR. DUNCAN. PLEASE, WILL YOU SIGN MY BOOK? 414 00:21:02,662 --> 00:21:05,532 GOOD EVENING, SIR. CHAMPAGNE? 415 00:21:09,736 --> 00:21:12,939 ARE YOU COMING TO AFRICA WITH US, PETER? 416 00:21:12,939 --> 00:21:14,474 YES, I AM. 417 00:21:14,474 --> 00:21:16,643 THANK GOD. DID YOU HEAR THAT? 418 00:21:16,643 --> 00:21:18,845 PETER'S COMING WITH US. 419 00:21:18,845 --> 00:21:22,649 AT LEAST WE'LL HAVE ONE SANE, REASONABLE PERSON ALONG. 420 00:21:25,251 --> 00:21:28,054 WON'T IT BE WONDERFUL? I CAN'T WAIT. 421 00:21:28,054 --> 00:21:31,190 I'VE NEVER LOOKED FORWARD TO ANYTHING AS MUCH. 422 00:21:31,190 --> 00:21:34,894 I HOPE JOHN FINDS US SOMEWHERE COMFORTABLE TO STAY. 423 00:21:34,894 --> 00:21:38,030 NOT TOO COMFORTABLE. I'D LIKE TO ROUGH IT. 424 00:21:38,030 --> 00:21:41,100 I'M SURE JOHN WILL GRANT YOUR WISH, KAY, 425 00:21:41,100 --> 00:21:42,969 PROBABLY WATCH US SUFFER. 426 00:21:44,837 --> 00:21:47,139 HOW'S THE SCRIPT COMING ALONG? 427 00:21:47,139 --> 00:21:50,309 FINE, KAY. I THINK YOU'LL LIKE IT. 428 00:21:51,578 --> 00:21:52,979 KAY. 429 00:21:56,783 --> 00:21:59,786 I WOULD LIKE TO PROPOSE A TOAST 430 00:21:59,786 --> 00:22:03,155 ON BEHALF OF JOHN AND MYSELF 431 00:22:03,155 --> 00:22:06,526 TO OUR BRITISH PARTNERS. 432 00:22:06,526 --> 00:22:09,128 HANDS ACROSS THE SEA. 433 00:22:09,128 --> 00:22:10,530 CHEERS. 434 00:22:11,330 --> 00:22:13,700 CHEERS. 435 00:22:15,802 --> 00:22:18,805 I ALSO WOULD LIKE TO PROPOSE A TOAST 436 00:22:18,805 --> 00:22:22,108 TO MY PARTNER AND OUR PRODUCER, PAUL LANDERS. 437 00:22:22,108 --> 00:22:24,411 I HOPE I DON'T KILL YOU 438 00:22:24,411 --> 00:22:26,446 BEFORE THIS PICTURE'S FINISHED. 439 00:22:30,016 --> 00:22:31,518 TO KAY... 440 00:22:32,585 --> 00:22:36,288 AND TO PHIL AND HIS LOVELY, BLUSHING BRIDE, 441 00:22:36,288 --> 00:22:38,090 AND TO PETE... 442 00:22:38,090 --> 00:22:41,293 PROBABLY THE BEST SKIER IN THE SCREENWRITERS' GUILD, 443 00:22:41,293 --> 00:22:44,597 THE ONLY MAN WHO CAN KEEP UP WITH ME, 444 00:22:44,597 --> 00:22:48,000 THE ONLY MAN WHO'S CAPABLE OF THE DANGEROUS LIFE 445 00:22:48,000 --> 00:22:52,405 BECAUSE NOW HE'S MAKING A MOVE ON THE PRODUCER'S GIRLFRIEND, 446 00:22:52,405 --> 00:22:55,775 AND, HONEY, HE'S HUNG LIKE A STUD HORSE. 447 00:22:59,446 --> 00:23:00,913 [DRUM ROLL] 448 00:23:11,458 --> 00:23:12,459 AAAH! 449 00:23:12,459 --> 00:23:13,893 [ROAR!] 450 00:23:45,592 --> 00:23:49,696 DOESN'T THAT MAKE YOU LONG FOR THE DARK CONTINENT? 451 00:23:49,696 --> 00:23:50,697 MMM. 452 00:25:17,984 --> 00:25:21,187 I HOPE YOU HAD A GOOD FLIGHT. 453 00:25:21,187 --> 00:25:23,189 THANK YOU, DEAR. 454 00:25:24,991 --> 00:25:28,194 FEEL THE MYSTERY OF IT, KID? 455 00:25:36,002 --> 00:25:39,371 HELLO, JOHN. YOU HAVE A GOOD TRIP? 456 00:25:39,371 --> 00:25:41,173 A LITTLE BIT LONG. 457 00:25:41,173 --> 00:25:44,210 MAY I INTRODUCE SQUADRON LEADER ALEC LAING. 458 00:25:44,210 --> 00:25:46,012 HOW DO YOU DO? 459 00:25:46,012 --> 00:25:48,014 RALPH LOCKHART, OUR UNIT MANAGER. 460 00:25:48,014 --> 00:25:51,618 THIS IS PETE VERRILL. TOM HARRISON, OUR ART DIRECTOR. 461 00:25:51,618 --> 00:25:53,219 SQUADRON LEADER LAING. 462 00:25:53,219 --> 00:25:54,621 MR. LAING. 463 00:25:54,621 --> 00:25:56,388 AND YOURS... 464 00:25:56,388 --> 00:25:58,057 LOCKHART. RALPH LOCKHART. 465 00:25:58,057 --> 00:25:59,926 OF COURSE YOU ARE. 466 00:25:59,926 --> 00:26:03,029 SHALL WE GET IN OUT OF THE SUN? 467 00:26:03,029 --> 00:26:07,634 YOU CHAPS MUST BE READY FOR A BATH AND A DRINK. 468 00:26:07,634 --> 00:26:10,036 I'LL TAKE CARE OF THE LUGGAGE. 469 00:26:10,036 --> 00:26:13,239 [JOHN] THE DRINK PART SOUNDS GOOD TO ME. 470 00:26:14,406 --> 00:26:16,242 [HORN HONKING] 471 00:26:20,613 --> 00:26:22,248 [HONK! HONK!] 472 00:26:22,248 --> 00:26:25,251 GET OUT OF THE WAY! 473 00:26:25,251 --> 00:26:27,053 STUPID BUGGERS! 474 00:26:28,054 --> 00:26:29,255 [HONK!] 475 00:26:32,659 --> 00:26:34,661 [HONK! HONK!] 476 00:26:34,661 --> 00:26:36,896 GET OUT OF THE WAY! 477 00:26:36,896 --> 00:26:40,499 THEY KNOCK OFF ABOUT 1O OF THEM A MONTH 478 00:26:40,499 --> 00:26:42,101 ALONG THIS ROAD. 479 00:26:42,101 --> 00:26:45,471 DOESN'T MAKE THE SLIGHTEST BLOODY IMPRESSION ON THEM, THOUGH. 480 00:26:45,471 --> 00:26:47,273 IS THAT SO? 481 00:26:50,677 --> 00:26:52,078 [HONK! HONK!] 482 00:26:52,078 --> 00:26:55,682 [LOCKHART] WILL YOU GET OUT OF THE BLOODY WAY? 483 00:26:55,682 --> 00:26:57,884 [YELLING IN SWAHILI] 484 00:27:06,292 --> 00:27:07,860 [HONK!] 485 00:27:09,295 --> 00:27:11,297 [HONK! HONK!] 486 00:27:20,707 --> 00:27:22,909 CHEY, CHEY. CHEY, CHEY. 487 00:27:30,717 --> 00:27:32,719 HELLO. I'M HARRY LONGTHORNE, 488 00:27:32,719 --> 00:27:35,722 GENERAL MANAGER OF THE LAKE VICTORIA HOTEL. 489 00:27:35,722 --> 00:27:39,325 HELLO. I'LL SHOW YOU TO YOUR ROOMS. 490 00:27:41,694 --> 00:27:43,730 EXCUSE ME, MR. VERRILL. 491 00:27:43,730 --> 00:27:45,732 DO YOU PLAY SOCCER? 492 00:27:45,732 --> 00:27:47,133 YES. WHY? 493 00:27:47,133 --> 00:27:49,736 WE'RE HAVING A STAFF SOCCER GAME. 494 00:27:49,736 --> 00:27:51,738 WE'RE MINUS ONE WHITE. INTERESTED? 495 00:27:51,738 --> 00:27:52,739 CERTAINLY. 496 00:27:52,739 --> 00:27:54,540 WE'LL PRACTICE SATURDAY. 497 00:27:54,540 --> 00:27:55,975 ALL RIGHT. 498 00:27:55,975 --> 00:27:58,577 PETE, THIS IS MRS. MARGARET MacGREGOR. 499 00:27:58,577 --> 00:28:00,212 PLEASURE TO MEET YOU. 500 00:28:00,212 --> 00:28:02,715 AND MR. MARLOWE. HE'S A LICENSED WHITE HUNTER. 501 00:28:02,715 --> 00:28:03,883 HELLO. 502 00:28:03,883 --> 00:28:06,118 PETE'S A CRACK SHOT-- MARINE-TRAINED. 503 00:28:06,118 --> 00:28:08,320 SIT DOWN. HAVE A DRINK. 504 00:28:08,320 --> 00:28:10,322 I'LL HAVE AN ICED TEA. 505 00:28:10,322 --> 00:28:12,124 GIVE HIM A BEER. 506 00:28:12,124 --> 00:28:16,362 PETE AND I ARE INTERESTED IN GETTING SOME ELEPHANTS. 507 00:28:16,362 --> 00:28:19,365 ELEPHANT'S DANGEROUS BECAUSE HE'S SUCH A HEARTY BUGGER. 508 00:28:19,365 --> 00:28:22,935 YOU MUST HIT HIM IN ONE OF TWO PLACES. 509 00:28:22,935 --> 00:28:25,071 BETWEEN THE EYES OR THE HEART? 510 00:28:25,071 --> 00:28:29,876 NOT RIGHT BETWEEN THE EYES. DOWN ABOUT 6 INCHES. 511 00:28:35,081 --> 00:28:37,683 "THERE'S BEEN SILENCE FOR HOURS NOW. 512 00:28:37,683 --> 00:28:39,685 "SHE'S SITTING, READING THE BIBLE. 513 00:28:39,685 --> 00:28:42,088 "HE'S STILL WORKING ON THE ENGINE. 514 00:28:42,088 --> 00:28:45,691 "FINALLY, HE SAYS, MISS, I'M SORRY I GOT DRUNK. 515 00:28:45,691 --> 00:28:48,027 "I APOLOGIZE. 516 00:28:48,027 --> 00:28:50,429 "WHAT MORE CAN A MAN DO? 517 00:28:50,429 --> 00:28:54,633 "SHE SAYS, IT'S NOT ONLY YOUR DRINKING I'M UPSET ABOUT. 518 00:28:54,633 --> 00:28:56,635 "YOU PROMISED TO GO DOWNRIVER. 519 00:28:56,635 --> 00:28:59,638 "HE SAYS, MISS, LISTEN TO ME AND UNDERSTAND. 520 00:28:59,638 --> 00:29:03,442 "THERE'S DEATH A DOZEN TIMES OVER DOWN THAT RIVER. 521 00:29:03,442 --> 00:29:05,244 "SHE SAYS, YOU PROMISED. 522 00:29:05,244 --> 00:29:08,380 "HE SAYS, I'M TAKING THE PROMISE BACK. 523 00:29:08,380 --> 00:29:09,381 "SILENCE. 524 00:29:09,381 --> 00:29:11,183 "SHE PICKS UP THE BIBLE, 525 00:29:11,183 --> 00:29:15,287 "STARTS READING AGAIN, COMPLETELY IGNORING HIM. 526 00:29:15,287 --> 00:29:18,290 "NOW HE CAN'T TAKE THE SILENCE ANY LONGER. 527 00:29:18,290 --> 00:29:21,293 "FINALLY, HE SAYS, ALL RIGHT, MISS, YOU WIN, 528 00:29:21,293 --> 00:29:25,497 "WHICH I'M SURE THE CROCODILES WILL BE HAPPY TO HEAR. 529 00:29:25,497 --> 00:29:27,499 DOWN THE RIVER WE GO." 530 00:29:30,202 --> 00:29:32,438 WHAT DO YOU THINK, JOHN? 531 00:29:32,438 --> 00:29:36,042 NOT BAD, BUT YOU'RE TRYING TO COMPLICATE IT, PETE. 532 00:29:36,042 --> 00:29:39,778 THINGS ARE ALWAYS GOOD IF THEY'RE LEFT SIMPLE. 533 00:29:39,778 --> 00:29:41,347 NO, NOT ALWAYS. 534 00:29:41,347 --> 00:29:42,448 ALWAYS. 535 00:29:42,448 --> 00:29:45,551 SIMPLICITY IS WHAT CREATES TRULY IMPORTANT ART. 536 00:29:45,551 --> 00:29:47,954 THERE ARE NO RULES TO ART. 537 00:29:47,954 --> 00:29:51,090 THERE ARE HUNDREDS OF RULES. HEMINGWAY UNDERSTOOD THAT. 538 00:29:51,090 --> 00:29:55,094 THAT'S WHY HE ALWAYS REDUCED LIFE TO ITS SIMPLEST TERMS. 539 00:29:55,094 --> 00:29:57,696 WHETHER IT'S COURAGE, FEAR, IMPOTENCE, DEATH, 540 00:29:57,696 --> 00:30:00,099 PEOPLE'S LIVES JUST SORT OF UNFOLDED. 541 00:30:00,099 --> 00:30:03,102 THINGS HAPPENED TO THEM ONE AFTER ANOTHER. 542 00:30:03,102 --> 00:30:05,104 THEY WERE NEVER BOGGED DOWN 543 00:30:05,104 --> 00:30:08,440 WITH THAT NONSENSE OF SUBPLOT 544 00:30:08,440 --> 00:30:09,842 WE SWEATED OVER. 545 00:30:09,842 --> 00:30:11,844 STENDHAL UNDERSTOOD THAT. 546 00:30:11,844 --> 00:30:13,846 FLAUBERT, TOLSTOY, MELVILLE-- 547 00:30:13,846 --> 00:30:17,850 SIMPLICITY IS WHAT MADE THEM GREAT. 548 00:30:17,850 --> 00:30:19,852 NO, PETE, DON'T COMPLICATE IT. 549 00:30:19,852 --> 00:30:21,820 YOU'LL BE WASTING YOUR TIME. 550 00:30:21,820 --> 00:30:23,655 WASTING MY TIME? 551 00:30:23,655 --> 00:30:27,793 I'M WASTING MY TIME TRYING TO IMPROVE THE SCRIPT? 552 00:30:27,793 --> 00:30:30,262 ISN'T THAT WHY I'M HERE? 553 00:30:30,262 --> 00:30:32,264 I THINK IT'S DAMN GOOD. 554 00:30:32,264 --> 00:30:35,267 I JUST WISH THE DAMN SCRIPT WERE FINISHED 555 00:30:35,267 --> 00:30:37,870 SO WE COULD GO ON SAFARI. 556 00:30:37,870 --> 00:30:41,207 I THOUGHT WE WERE GOING TO FINISH THE FILM. 557 00:30:41,207 --> 00:30:44,410 IF WE WAIT UNTIL THE FILM IS FINISHED, 558 00:30:44,410 --> 00:30:46,212 WE'LL NEVER GET TO IT. 559 00:30:46,212 --> 00:30:49,481 WE'LL FINISH THE SCRIPT, THEN GO ON SAFARI. 560 00:30:49,481 --> 00:30:51,150 THEN WE'LL SHOOT THE FILM 561 00:30:51,150 --> 00:30:53,219 AFTER WE'VE SHOT OUR ELEPHANTS. 562 00:30:54,486 --> 00:30:55,487 [CLICK] 563 00:30:56,889 --> 00:30:58,557 DAMN LAKE FLIES. 564 00:30:58,557 --> 00:31:00,626 GOOD JOB THEY DON'T BITE. 565 00:31:29,956 --> 00:31:32,791 COME ON, WHITES. 566 00:31:32,791 --> 00:31:36,395 THERE'S A SPARE MAN IN THE MIDDLE. 567 00:31:36,395 --> 00:31:38,130 [WHISTLE BLOWS] 568 00:31:39,331 --> 00:31:42,134 HE--HE TRIPPED OVER MY ARM. 569 00:31:47,306 --> 00:31:48,107 PLEASE. 570 00:31:48,107 --> 00:31:50,476 THAT WAS A FAULT. 571 00:31:52,211 --> 00:31:54,213 LOCAL BOYS ARE QUITE GOOD. 572 00:31:54,213 --> 00:31:57,216 YES. THEY WENT TO ENGLAND LAST YEAR. 573 00:31:57,216 --> 00:32:00,419 OF COURSE, THEY DIDN'T STAND A CHANCE. 574 00:32:00,419 --> 00:32:02,288 WHY'S THAT? 575 00:32:02,288 --> 00:32:04,290 THEY'RE CLEVER WITH THEIR FEET, 576 00:32:04,290 --> 00:32:06,292 BUT THEY'RE JUST TOO SMALL. 577 00:32:06,292 --> 00:32:08,894 BLOCKING AND CHECKING THROWS THEM OFF. 578 00:32:08,894 --> 00:32:12,298 THEY DON'T GO IN FOR THAT SORT OF THING. 579 00:32:12,298 --> 00:32:14,000 PROBABLY BE LYNCHED. 580 00:32:14,000 --> 00:32:18,470 HA, WE'RE NOT LIKE YOU AMERICANS. 581 00:32:18,470 --> 00:32:20,572 OF COURSE NOT. 582 00:32:33,585 --> 00:32:34,987 GOOD SHOW. 583 00:32:34,987 --> 00:32:37,589 HELL OF A MAN, THAT BOY. 584 00:32:37,589 --> 00:32:39,591 HELL OF A MAN. 585 00:32:43,996 --> 00:32:46,332 WHERE IS THE DEFENSE? 586 00:32:52,604 --> 00:32:54,606 [SINGING IN SWAHILI] 587 00:33:03,515 --> 00:33:05,017 [SPEAKING SWAHILI] 588 00:33:05,017 --> 00:33:06,018 WHAT? 589 00:33:06,018 --> 00:33:08,087 WHAT? WATCH IT! 590 00:33:14,760 --> 00:33:17,229 GOOD JOB. 591 00:33:18,164 --> 00:33:20,332 YOU ALL RIGHT? 592 00:33:46,658 --> 00:33:48,026 SHIT! 593 00:33:48,026 --> 00:33:50,629 WE FOUND EVERYTHING YOU WANTED, JOHN, 594 00:33:50,629 --> 00:33:52,464 BUT IT'S BLOODY AWFUL. 595 00:33:52,464 --> 00:33:55,667 IT'S NO PLACE FOR A MAN TO LIVE. 596 00:33:55,667 --> 00:33:57,069 IT LOOKS INTERESTING. 597 00:33:57,069 --> 00:34:00,472 THERE'S A BLACK WATER RIVER AND A FEW HUTS. 598 00:34:00,472 --> 00:34:03,075 THERE ARE MOSQUITOES, AND IT RAINS. 599 00:34:03,075 --> 00:34:05,077 THERE ARE ELEPHANTS, CROCODILES, PYGMIES. 600 00:34:05,077 --> 00:34:07,413 LOTS OF BIG GAME, IS THERE? 601 00:34:07,413 --> 00:34:09,014 ANTELOPE, BUFFALO-- 602 00:34:09,014 --> 00:34:12,017 WE SAW AN ELEPHANT FROM THE PLANE 603 00:34:12,017 --> 00:34:14,653 WITH TUSKS DOWN TO THE GROUND. 604 00:34:18,224 --> 00:34:20,659 COULD YOU TAKE US THERE? 605 00:34:20,659 --> 00:34:24,096 NO PROBLEM. WHEN ARE YOU THINKING OF GOING? 606 00:34:24,096 --> 00:34:25,964 PETE? 607 00:34:25,964 --> 00:34:27,966 OH, IF I CAN MANAGE 608 00:34:27,966 --> 00:34:29,968 TO KEEP THE SCRIPT SIMPLE, 609 00:34:29,968 --> 00:34:32,404 TWO OR THREE DAYS. 610 00:34:36,908 --> 00:34:39,245 ISN'T THIS, UH... 611 00:34:39,245 --> 00:34:42,114 ISN'T THIS JUST SWELL, 612 00:34:42,114 --> 00:34:45,117 DINING WITH A BEAUTIFUL LADY IN AFRICA? 613 00:34:45,117 --> 00:34:48,120 WOULD YOU CARE FOR SOME MORE CHAMPAGNE? 614 00:34:48,120 --> 00:34:49,521 YES. 615 00:34:49,521 --> 00:34:52,391 WAITER, COULD YOU BRING ANOTHER BOTTLE OF CHAMPAGNE? 616 00:34:52,391 --> 00:34:54,393 YES, SIR. THANK YOU, SIR. 617 00:34:54,393 --> 00:34:57,396 YOU KNOW, YOU SPOIL THOSE BOYS DREADFULLY. 618 00:34:57,396 --> 00:35:01,400 AS GOOD AS THEY PLAY SOCCER, THEY SHOULD BE SPOILED. 619 00:35:01,400 --> 00:35:05,471 THEY'LL BE IMPOSSIBLE NOW FOR FIVE OR SIX DAYS. 620 00:35:05,471 --> 00:35:07,673 OH, I DON'T THINK SO. 621 00:35:07,673 --> 00:35:09,475 I THINK THEY KNOW 622 00:35:09,475 --> 00:35:12,678 THE DIFFERENCE BETWEEN SPORT AND REAL LIFE. 623 00:35:12,678 --> 00:35:14,680 SO, MRS. MacGREGOR-- 624 00:35:14,680 --> 00:35:16,081 MARGARET, PLEASE. 625 00:35:16,081 --> 00:35:18,617 MARGARET, DO YOU MISS LONDON? 626 00:35:18,617 --> 00:35:21,287 YES, I DO, RATHER. 627 00:35:21,287 --> 00:35:25,691 I DON'T MISS LONDON AS MUCH AS I MISS THE COUNTRY, 628 00:35:25,691 --> 00:35:28,894 ESPECIALLY IN THE WINTER WITH THE HOUNDS, 629 00:35:28,894 --> 00:35:31,997 CROSSING A GOOD BIT OF COUNTRY. 630 00:35:31,997 --> 00:35:33,999 I'M NOT KEEN ON LONDON. 631 00:35:33,999 --> 00:35:37,436 I HAD TO LIVE THERE DURING THE WAR. 632 00:35:37,436 --> 00:35:39,438 I GOT AWFULLY FED UP. 633 00:35:39,438 --> 00:35:42,040 I ENJOYED IT DURING THE WAR. 634 00:35:42,040 --> 00:35:44,042 THE PEOPLE BEHAVED SO MAGNIFICENTLY. 635 00:35:44,042 --> 00:35:46,044 THEY DIDN'T ALL BEHAVE WELL. 636 00:35:46,044 --> 00:35:48,847 YOU PROBABLY NEVER LEFT THE WEST END. 637 00:35:48,847 --> 00:35:53,652 NOT TRUE. I DID A FILM ABOUT THE LONDON BLITZ. 638 00:35:53,652 --> 00:35:55,053 I WAS EVERYWHERE. 639 00:35:55,053 --> 00:35:57,856 YOU CAN'T HAVE BEEN IN SOHO. 640 00:35:57,856 --> 00:36:00,192 WHY DO YOU SAY THAT, DEAR? 641 00:36:00,192 --> 00:36:02,194 I THOUGHT PEOPLE WERE HORRID. 642 00:36:02,194 --> 00:36:04,796 THERE WERE A LOT OF JEWS. 643 00:36:04,796 --> 00:36:06,198 MRS. MacGREGOR. 644 00:36:06,198 --> 00:36:08,367 MARGARET. 645 00:36:08,367 --> 00:36:10,569 MARGARET, I MUST WARN YOU. 646 00:36:10,569 --> 00:36:11,937 I'M A JEW. 647 00:36:11,937 --> 00:36:13,539 YOU'RE NOT. 648 00:36:13,539 --> 00:36:14,973 I AM. 649 00:36:14,973 --> 00:36:16,608 YOU'RE PULLING MY LEG. 650 00:36:16,608 --> 00:36:19,811 NO, I'M NOT PULLING YOUR LEG, MARGARET. 651 00:36:19,811 --> 00:36:21,613 I'M A JEW. 652 00:36:21,613 --> 00:36:24,216 OH, I DON'T BELIEVE YOU. 653 00:36:24,216 --> 00:36:26,618 I KNOW I SHOULDN'T SAY THIS, 654 00:36:26,618 --> 00:36:29,020 BUT THAT WAS THE ONE THING 655 00:36:29,020 --> 00:36:32,691 ABOUT WHICH I THOUGHT HITLER WAS ABSOLUTELY RIGHT. 656 00:36:32,691 --> 00:36:35,294 THE MAN HAS JUST WARNED YOU. 657 00:36:35,294 --> 00:36:38,364 BECAUSE THE JEWS IN LONDON WERE AWFUL. 658 00:36:38,364 --> 00:36:40,366 THEY RAN THE BLACK MARKET, 659 00:36:40,366 --> 00:36:43,369 AND THEY DIDN'T GO INTO THE ARMY. 660 00:36:43,369 --> 00:36:46,372 WHEN THEY DID, THEY GOT THEMSELVES CUSHY JOBS. 661 00:36:46,372 --> 00:36:49,375 OF COURSE, THERE WERE UPPER-CLASS JEWS. 662 00:36:49,375 --> 00:36:51,310 I'M NOT TALKING ABOUT THEM. 663 00:36:51,310 --> 00:36:54,313 I'M TALKING ABOUT THE KIKES IN SOHO. 664 00:36:54,313 --> 00:36:55,981 THE FOREIGNERS. 665 00:36:55,981 --> 00:36:57,583 MARGARET. MARGARET... 666 00:36:58,984 --> 00:37:01,520 MY GRANDPARENTS WERE KIKES, 667 00:37:01,520 --> 00:37:03,755 MY PARENTS WERE KIKES, 668 00:37:03,755 --> 00:37:06,958 AND I'M A KIKE. 669 00:37:06,958 --> 00:37:08,126 RIGHT. 670 00:37:08,126 --> 00:37:10,529 YOU'RE NOT GOING TO TELL ME 671 00:37:10,529 --> 00:37:12,431 THAT YOU'RE JEWISH, TOO. 672 00:37:12,431 --> 00:37:14,032 ABSOLUTELY NOT, 673 00:37:14,032 --> 00:37:16,435 BECAUSE THAT WOULD BE A LIE, 674 00:37:16,435 --> 00:37:19,538 BUT I'D LIKE TO TELL YOU A STORY. 675 00:37:19,538 --> 00:37:21,740 OH, I LOVE STORIES. 676 00:37:21,740 --> 00:37:24,476 WELL, YOU MUSTN'T INTERRUPT, NOW. 677 00:37:24,476 --> 00:37:25,844 YOU'RE TOO BEAUTIFUL. 678 00:37:25,844 --> 00:37:29,448 WHEN I WAS IN LONDON IN THE EARLY FORTIES, 679 00:37:29,448 --> 00:37:32,451 I WAS DINING ONE EVENING AT THE SAVOY 680 00:37:32,451 --> 00:37:34,853 WITH A SELECT GROUP OF PEOPLE. 681 00:37:34,853 --> 00:37:39,658 SITTING NEXT TO ME WAS A BEAUTIFUL LADY, MUCH LIKE YOURSELF. 682 00:37:39,658 --> 00:37:42,428 NOW YOU'RE PULLING MY LEG. 683 00:37:42,428 --> 00:37:44,430 NOW, JUST LISTEN, DEAR. 684 00:37:44,430 --> 00:37:46,432 WHILE WE WERE DINING 685 00:37:46,432 --> 00:37:48,434 AND THE BOMBS WERE FALLING, 686 00:37:48,434 --> 00:37:50,836 WE WERE ALL TALKING ABOUT HITLER 687 00:37:50,836 --> 00:37:52,838 AND COMPARING HIM WITH NAPOLEON, 688 00:37:52,838 --> 00:37:55,441 AND THEN SUDDENLY THIS BEAUTIFUL LADY, 689 00:37:55,441 --> 00:37:59,445 SHE SPOKE UP AND SAID THAT THAT WAS THE THING 690 00:37:59,445 --> 00:38:01,447 SHE DIDN'T MIND ABOUT HITLER-- 691 00:38:01,447 --> 00:38:04,583 THE WAY HE WAS TREATING THE JEWS. 692 00:38:05,884 --> 00:38:08,854 WELL, WE ALL STARTED ARGUING WITH HER. 693 00:38:08,854 --> 00:38:12,190 MINDING NO ONE AT THE TABLE WAS JEWISH, 694 00:38:12,190 --> 00:38:15,293 BUT SHE PERSISTED. ARE YOU LISTENING? 695 00:38:15,293 --> 00:38:18,897 I MUSTN'T INTERRUPT DADDY. 696 00:38:18,897 --> 00:38:21,900 THAT'S RIGHT. YOU'RE WAY TOO BEAUTIFUL FOR THAT. 697 00:38:21,900 --> 00:38:26,505 ANYWAY, SHE WENT ON TO SAY THAT THAT'S HOW SHE FELT. 698 00:38:26,505 --> 00:38:30,108 IF SHE HAD HER WAY, SHE'D KILL THEM ALL. 699 00:38:30,108 --> 00:38:33,111 WE ALL SAT THERE IN SILENCE. 700 00:38:33,111 --> 00:38:34,346 THEN FINALLY, 701 00:38:34,346 --> 00:38:37,349 I SAID, "MADAM, I HAVE DINED 702 00:38:37,349 --> 00:38:40,652 "WITH SOME OF THE UGLIEST GOD DAMN BITCHES, 703 00:38:40,652 --> 00:38:44,222 "AND I'VE DINED WITH SOME OF THE GODDAMNDEST UGLY BITCHES 704 00:38:44,222 --> 00:38:45,657 "IN THIS WORLD, 705 00:38:45,657 --> 00:38:49,661 BUT YOU ARE THE UGLIEST BITCH OF THEM ALL." 706 00:38:51,162 --> 00:38:53,565 WELL, SHE GOT UP TO LEAVE, 707 00:38:53,565 --> 00:38:58,269 AND SHE TRIPPED OVER A CHAIR AND FELL ON THE FLOOR. 708 00:38:58,269 --> 00:39:00,639 WE ALL JUST SAT THERE, 709 00:39:00,639 --> 00:39:03,642 AND FINALLY, WHEN SHE PICKED HERSELF UP, 710 00:39:03,642 --> 00:39:06,645 I SAID TO HER ONE MORE TIME, 711 00:39:06,645 --> 00:39:09,381 "YOU ARE THE UGLIEST BITCH." 712 00:39:10,716 --> 00:39:12,718 WELL, YOU KNOW WHAT HAPPENED? 713 00:39:12,718 --> 00:39:15,721 SHE REPORTED ME TO THE AMERICAN EMBASSY, 714 00:39:15,721 --> 00:39:18,524 AND THEY BROUGHT ME IN FOR REPRIMAND. 715 00:39:18,524 --> 00:39:23,161 WHEN THEY INVESTIGATED, THEY DISCOVERED SHE WAS A GERMAN AGENT. 716 00:39:23,161 --> 00:39:24,930 THEY ARRESTED HER. 717 00:39:24,930 --> 00:39:27,298 ISN'T THAT AMAZING? 718 00:39:27,298 --> 00:39:31,102 WHY DID YOU TELL ME THAT STORY? 719 00:39:31,102 --> 00:39:33,104 OH, I DON'T KNOW. 720 00:39:33,104 --> 00:39:37,809 IT WASN'T BECAUSE I THOUGHT YOU WERE A GERMAN AGENT. 721 00:39:37,809 --> 00:39:39,310 I WAS TEMPTED 722 00:39:39,310 --> 00:39:42,113 TO SAY THE VERY SAME THING TO YOU. 723 00:39:42,113 --> 00:39:46,317 I DIDN'T WANT YOU THINKING I'D NEVER SAID IT BEFORE. 724 00:39:46,317 --> 00:39:49,755 YOU, MADAM, ARE THE... YOU KNOW THE REST. 725 00:39:51,322 --> 00:39:53,324 CARE FOR SOME CHAMPAGNE, HONEY? 726 00:39:53,324 --> 00:39:55,326 NO, THANK YOU. 727 00:39:55,326 --> 00:39:56,528 PETE? 728 00:39:56,528 --> 00:40:00,031 IT'S GETTING LATE. I THINK I'D BETTER GO. 729 00:40:00,031 --> 00:40:02,100 WE'LL ACCOMPANY YOU. 730 00:40:02,100 --> 00:40:04,102 THERE'S NO NEED. 731 00:40:04,102 --> 00:40:06,538 GOOD NIGHT, MARGARET. 732 00:40:09,941 --> 00:40:11,342 SORRY, JOHN. 733 00:40:11,342 --> 00:40:15,080 I KNOW YOU WANTED TO GET LAID. 734 00:40:15,080 --> 00:40:16,882 WELL, THAT'S ALL RIGHT, KID. 735 00:40:16,882 --> 00:40:20,819 YOU CAN'T HELP IT IF YOU'RE A KIKE. 736 00:40:27,392 --> 00:40:30,395 HE SAYS, "NEVER MIND THE CAR KEYS. 737 00:40:30,395 --> 00:40:32,598 HAVE YOU SEEN THE CAR?" 738 00:40:34,966 --> 00:40:36,568 [TRAY CRASHES] 739 00:40:38,136 --> 00:40:39,971 YOU CLUMSY OAF! 740 00:40:39,971 --> 00:40:40,772 DIMWIT! 741 00:40:40,772 --> 00:40:43,575 NOW LOOK WHAT YOU'VE DONE. 742 00:40:45,777 --> 00:40:48,113 JOHN, WHERE ARE YOU GOING? 743 00:40:49,748 --> 00:40:52,250 PICK UP THAT GLASS, BOY. 744 00:40:52,250 --> 00:40:54,720 DAMN IT! PICK IT UP! 745 00:40:57,789 --> 00:41:00,391 JOHN, WHAT ARE YOU UP TO? 746 00:41:00,391 --> 00:41:03,595 I JUST WANT TO TALK TO HARRY. 747 00:41:06,397 --> 00:41:08,399 WHAT HAPPENED HERE, HARRY? 748 00:41:08,399 --> 00:41:11,269 THE BLACK BASTARD SPILLED A DRINK 749 00:41:11,269 --> 00:41:13,004 ON THIS GENTLEMAN. 750 00:41:13,004 --> 00:41:14,405 ON PURPOSE? 751 00:41:14,405 --> 00:41:17,475 WHO KNOWS? BLACK BASTARDS! 752 00:41:18,677 --> 00:41:21,813 HARRY, I THINK YOU'RE A YELLOW, 753 00:41:21,813 --> 00:41:24,583 ROTTEN, SADISTIC SON OF A BITCH. 754 00:41:27,653 --> 00:41:31,422 MR. WILSON, I DON'T HAVE TO TAKE 755 00:41:31,422 --> 00:41:34,025 THAT KIND OF TALK FROM ANYONE. 756 00:41:34,025 --> 00:41:35,260 RIGHT. 757 00:41:35,260 --> 00:41:36,427 YOU DON'T. 758 00:41:36,427 --> 00:41:38,964 HOW ABOUT TRYING TO KICK ME AROUND? 759 00:41:38,964 --> 00:41:41,166 YOU'RE DRUNK, MR. WILSON. 760 00:41:41,166 --> 00:41:42,568 I AM, 761 00:41:42,568 --> 00:41:45,436 BUT THAT DOESN'T CHANGE THE FACT 762 00:41:45,436 --> 00:41:46,972 THAT YOU'RE YELLOW, HARRY. 763 00:41:46,972 --> 00:41:51,242 I'M NOT SUPPOSED TO FIGHT WITH THE GUESTS, MR. WILSON. 764 00:41:51,242 --> 00:41:53,244 I'M NOT A GUEST TONIGHT. 765 00:41:53,244 --> 00:41:55,914 I HAPPEN TO BE AN INTRUDER. 766 00:41:55,914 --> 00:41:58,984 LET'S GO. 767 00:42:06,858 --> 00:42:08,860 JOHN, WHAT ARE YOU DOING? 768 00:42:08,860 --> 00:42:11,863 IF MRS. MacGREGOR HAD BEEN A MAN, 769 00:42:11,863 --> 00:42:15,066 WOULDN'T YOU HAVE KNOCKED HIM ON HIS ASS? 770 00:42:15,066 --> 00:42:16,267 THIS IS DIFFERENT. 771 00:42:16,267 --> 00:42:19,270 WE FOUGHT THE PRELIMINARY FOR THE KIKES. 772 00:42:19,270 --> 00:42:23,074 NOW WE'LL FIGHT THE MAIN EVENT FOR THE NIGGERS. 773 00:43:02,781 --> 00:43:04,650 JUST ONE HAND? 774 00:43:20,431 --> 00:43:21,833 FINISH HIM. 775 00:43:25,136 --> 00:43:27,138 FINISH HIM! 776 00:43:31,943 --> 00:43:34,813 FINISH HIM OFF, WHY DON'T YOU? 777 00:43:36,181 --> 00:43:37,749 COME ON! 778 00:43:37,749 --> 00:43:39,751 YOU YELLOW BASTARD. 779 00:43:39,751 --> 00:43:41,653 HIT HIM AGAIN. 780 00:43:41,653 --> 00:43:44,155 STEADY ON, OLD MAN. 781 00:43:44,155 --> 00:43:46,157 FAIR'S FAIR, EH? 782 00:43:47,993 --> 00:43:49,761 [COUGHING] 783 00:43:53,965 --> 00:43:56,902 PLEASE, DON'T GET UP, MR. WILSON. 784 00:43:58,569 --> 00:44:02,140 AREN'T YOU GOING TO STOP IT? 785 00:44:10,682 --> 00:44:13,184 COME ON. GET UP. 786 00:44:13,184 --> 00:44:14,786 COME ON. 787 00:44:16,154 --> 00:44:19,357 WHERE IS HE? I'LL KILL THE BASTARD! 788 00:44:19,357 --> 00:44:21,359 HE'S CALLED IT QUITS, JOHN. 789 00:44:21,359 --> 00:44:23,762 I TOLD YOU HE WAS YELLOW. 790 00:44:23,762 --> 00:44:25,363 GET A DOCTOR. 791 00:44:25,363 --> 00:44:27,498 HE'S HURT THAT BAD, HUH? 792 00:44:27,498 --> 00:44:29,500 HE ALMOST KILLED YOU. 793 00:44:29,500 --> 00:44:31,302 YOU'RE FULL OF CRAP. 794 00:44:31,302 --> 00:44:35,206 I WAS ABOUT READY TO FINISH HIM OFF. 795 00:44:39,610 --> 00:44:41,012 ALL RIGHT. 796 00:44:41,012 --> 00:44:43,214 YOU'RE BACK IN YOUR ROOM. 797 00:44:43,214 --> 00:44:44,615 I AM? 798 00:44:44,615 --> 00:44:46,617 IT'S ALL OVER. 799 00:44:46,617 --> 00:44:48,820 HOW ABOUT THAT? 800 00:44:51,790 --> 00:44:54,025 I FEEL PRETTY GOOD, REALLY. 801 00:44:54,025 --> 00:44:57,595 IT'S LIKE I ALWAYS TELL YOU, KID-- 802 00:44:57,595 --> 00:44:59,230 YOU'VE GOT TO FIGHT 803 00:44:59,230 --> 00:45:02,167 WHEN YOU THINK IT'S THE RIGHT THING. 804 00:45:02,167 --> 00:45:07,572 OTHERWISE, YOU FEEL LIKE YOUR GUT'S FULL OF PUS. 805 00:45:07,572 --> 00:45:09,340 EVEN IF YOU LOSE, 806 00:45:09,340 --> 00:45:13,879 IF YOU FIGHT, YOU FEEL OK ABOUT IT. 807 00:45:18,316 --> 00:45:21,519 "PETE, OF ALL THE WILD ANIMALS IN AFRICA, 808 00:45:21,519 --> 00:45:23,521 "JOHN WILSON IS THE WILDEST. 809 00:45:23,521 --> 00:45:25,523 DO EVERYTHING YOU CAN..." 810 00:45:25,523 --> 00:45:28,126 TO BRING HIM TO HIS SENSES. 811 00:45:28,126 --> 00:45:29,594 IF HE FIGHTS 812 00:45:29,594 --> 00:45:32,697 WITH AN EMPLOYEE OF THE HOTEL, 813 00:45:32,697 --> 00:45:35,266 YOU CAN HIT HIM 814 00:45:35,266 --> 00:45:36,734 FROM BEHIND. 815 00:45:36,734 --> 00:45:39,737 WILL ARRIVE IN AFRICA IN 1O DAYS. PAUL. 816 00:45:39,737 --> 00:45:42,473 GOOD MORNING. HOW ARE WE? 817 00:45:43,875 --> 00:45:45,276 GOOD MORNING. 818 00:45:45,276 --> 00:45:47,879 CAN I DO SOMETHING FOR YOU? 819 00:45:47,879 --> 00:45:51,582 NO, RALPH, BUT YOU CAN DO SOMETHING FOR YOURSELF. 820 00:45:51,582 --> 00:45:52,984 WHAT'S THAT? 821 00:45:52,984 --> 00:45:54,820 STICK TO YOUR JOB 822 00:45:54,820 --> 00:45:56,788 AND STOP SPYING ON WILSON. 823 00:45:56,788 --> 00:45:59,190 WHAT THE HELL DO YOU MEAN? 824 00:45:59,190 --> 00:46:02,393 YOU TOLD LANDERS WILSON PROVOKED A FIGHT, 825 00:46:02,393 --> 00:46:03,628 AND THAT'S BULLSHIT. 826 00:46:03,628 --> 00:46:07,032 SOMEONE SHOULD'VE HIT THAT BASTARD LONG AGO, RALPH. 827 00:46:08,266 --> 00:46:12,270 YOU DO REALIZE YOU'RE BACKING THE WRONG HORSE, DON'T YOU? 828 00:46:12,270 --> 00:46:16,307 BECAUSE WILSON IS THE BOSS. LANDERS CAN'T CHANGE THAT. 829 00:46:16,307 --> 00:46:18,509 TELEPHONE, MR. LOCKHART. LONDON CALLING. 830 00:46:18,509 --> 00:46:19,510 YES. 831 00:46:19,510 --> 00:46:21,847 JUST REMEMBER WHAT I SAID. 832 00:46:23,381 --> 00:46:26,384 HAVE A PLEASANT DAY. 833 00:46:30,321 --> 00:46:34,325 I WOULD HAVE HAD HIM IF YOU HADN'T STOPPED ME. 834 00:46:34,325 --> 00:46:37,328 HE ONLY KNOCKED YOU DOWN 15 TIMES. 835 00:46:37,328 --> 00:46:40,331 I WAS JUST GETTING ON TO HIS STYLE. 836 00:46:40,331 --> 00:46:43,534 IN ANY CASE, IT WAS WORTH DOING. 837 00:46:43,534 --> 00:46:46,171 IT CERTAINLY WAS. 838 00:46:46,171 --> 00:46:49,174 I HAVE ARRANGED FOR YOU TO FLY 839 00:46:49,174 --> 00:46:52,177 TO A HUNTING CAMP ON LAKE ALBERT. 840 00:46:52,177 --> 00:46:55,180 THE CAMP'S OWNED BY A MAN NAMED ZIBELINSKY. 841 00:46:55,180 --> 00:46:58,383 HE'S LAID ON A SAFARI, IF YOU HAVE TIME. 842 00:46:58,383 --> 00:46:59,784 MR. WILSON, 843 00:46:59,784 --> 00:47:02,387 MR. LANDERS IS ON THE PHONE. 844 00:47:02,387 --> 00:47:03,989 TELL HIM 845 00:47:03,989 --> 00:47:05,556 YOU MISSED ME. 846 00:47:05,556 --> 00:47:07,558 JOHN, IT MIGHT BE IMPORTANT. 847 00:47:07,558 --> 00:47:10,028 I'VE GONE ON A RECCE. 848 00:47:16,001 --> 00:47:18,036 [SPEAKING SWAHILI] 849 00:47:18,036 --> 00:47:22,007 GOOD-BYE, YOU WORTHLESS SON OF A BITCH. 850 00:47:22,007 --> 00:47:24,042 [YELLING IN SWAHILI] 851 00:47:26,377 --> 00:47:29,915 GOOD-BYE, YOU PEARL OF CENTRAL EAST AFRICA. 852 00:47:32,918 --> 00:47:35,720 GOOD-BYE, YOU LAKE FLIES. 853 00:47:35,720 --> 00:47:37,055 GOOD-BYE, 854 00:47:37,055 --> 00:47:40,258 YOU FLAT-CHESTED, BUCK-TOOTHED WOMEN. 855 00:47:41,726 --> 00:47:43,594 GOOD-BYE FOREVER. 856 00:47:49,000 --> 00:47:51,202 HELLO. ANYBODY HOME? 857 00:47:56,007 --> 00:47:58,609 HELLO. YOU CHAPS LOOKING FOR ME? 858 00:48:02,013 --> 00:48:05,416 THE NAME'S HODKINS-- YOUR NEW AIRPLANE DRIVER. 859 00:48:05,416 --> 00:48:08,219 THIS IS MR. WILSON. PETE VERRILL. 860 00:48:08,219 --> 00:48:11,189 CALL ME HOD. NOW, WE BETTER GET GOING. 861 00:48:11,189 --> 00:48:13,358 NEVER START OUT LATE. 862 00:48:17,262 --> 00:48:21,066 I UNDERSTAND YOU'VE NEVER FLOWN TO THE CONGO BEFORE. 863 00:48:21,066 --> 00:48:23,068 I CAN FIND THE WAY. 864 00:48:23,068 --> 00:48:27,472 IF NOT, WE'LL SET DOWN IN ONE OF THOSE BIG TREES. 865 00:48:27,472 --> 00:48:30,075 IT'S DIFFICULT GETTING IT UP AGAIN. 866 00:48:30,075 --> 00:48:32,477 AS A FAMOUS PILOT ONCE SAID, 867 00:48:32,477 --> 00:48:35,680 "IT'S ALL WORTH IT, INCLUDING THE FINAL CRASH." 868 00:48:35,680 --> 00:48:37,082 THAT'S PETE'S PHILOSOPHY, TOO. 869 00:48:37,082 --> 00:48:39,284 I'LL GET THE LUGGAGE. 870 00:48:46,924 --> 00:48:48,326 SO THIS IS, UH... 871 00:48:48,326 --> 00:48:50,928 THIS IS REALLY YOUR FIRST TIME 872 00:48:50,928 --> 00:48:53,064 OVER THE CONGO, HOD? 873 00:48:53,064 --> 00:48:55,533 YEAH, QUITE. 874 00:48:57,668 --> 00:48:59,537 I'LL BE SEEING YOU. 875 00:49:35,373 --> 00:49:38,576 JUST LIKE THE AIRLINES, EH? 876 00:50:31,362 --> 00:50:32,530 THERE. 877 00:50:32,530 --> 00:50:34,765 CAN I HELP YOU? 878 00:50:34,765 --> 00:50:37,335 IT'S THE SPOT. THAT'S IT. 879 00:50:44,442 --> 00:50:46,877 I'M GETTING THE HANG OF THIS. 880 00:50:46,877 --> 00:50:48,913 YOU SEE THIS HILL HERE? 881 00:50:48,913 --> 00:50:49,914 HMM? 882 00:50:49,914 --> 00:50:51,449 THE HILL! 883 00:50:52,583 --> 00:50:55,153 OH, CHRIST! WHERE'S THE STICK? 884 00:50:56,020 --> 00:50:57,222 SHIT! 885 00:51:00,057 --> 00:51:02,393 OH... 886 00:51:02,393 --> 00:51:03,794 AH... 887 00:51:11,402 --> 00:51:12,970 COME ON. 888 00:51:12,970 --> 00:51:14,805 COME ON. 889 00:51:14,805 --> 00:51:17,442 OH, JESUS! 890 00:51:17,442 --> 00:51:19,444 OH, DEAR. OH, DEAR. 891 00:51:19,444 --> 00:51:22,413 THANKS AWFULLY, OLD BOY. 892 00:51:22,413 --> 00:51:24,149 PETE... 893 00:51:25,716 --> 00:51:27,918 I'M GOING TO TAKE A NAP. 894 00:51:27,918 --> 00:51:31,522 PLEASE DON'T WAKE ME UNLESS WE'RE GOING TO CRASH 895 00:51:31,522 --> 00:51:34,292 BECAUSE I WOULDN'T WANT TO MISS THAT. 896 00:51:34,292 --> 00:51:38,663 HEH HEH HEH! NO. 897 00:52:26,677 --> 00:52:30,881 HEY, ALL THAT FANCY FLYING DIDN'T BOTHER YOU, DID IT? 898 00:52:30,881 --> 00:52:32,683 NO, NOT AT ALL. 899 00:52:32,683 --> 00:52:36,153 IT WAS YOUR FRIEND'S IDEA OF A JOKE. 900 00:52:36,153 --> 00:52:37,555 A JOKE? 901 00:52:37,555 --> 00:52:40,558 WHAT IF THE ENGINES WOULD HAVE STALLED OUT? 902 00:52:40,558 --> 00:52:43,561 WELL, I WAS A BIT WORRIED, 903 00:52:43,561 --> 00:52:47,565 BUT THE OLD BOY SEEMED AWFULLY KEEN ON HIS RIB. 904 00:52:47,565 --> 00:52:50,167 HE'S A PAIN IN THE ASS. 905 00:52:50,167 --> 00:52:53,571 A VALET WITH WINGS, THAT'S A PILOT OUT HERE. 906 00:52:53,571 --> 00:52:55,773 RANKS UP THERE WITH WRITERS. 907 00:52:55,773 --> 00:52:57,575 THAT'S WHAT YOU DO? 908 00:52:57,575 --> 00:53:01,779 I'VE GOT SOME BLOODY FUNNY STORIES I SHOULD TELL YOU. 909 00:53:01,779 --> 00:53:03,581 A PARTICULARLY GOOD ONE 910 00:53:03,581 --> 00:53:07,184 WAS WHEN THE SQUADRON DOG BIT ME IN KHARTOUM. 911 00:53:07,184 --> 00:53:09,520 WAS HIS NAME HORACE? 912 00:53:09,520 --> 00:53:10,921 NO. WHY? 913 00:53:10,921 --> 00:53:12,523 FORGET IT. 914 00:53:47,358 --> 00:53:49,960 YOU MUST BE MR. WILSON. 915 00:53:49,960 --> 00:53:51,429 THAT'S RIGHT. 916 00:53:51,429 --> 00:53:52,830 MR. ZIBELINSKY, 917 00:53:52,830 --> 00:53:55,833 THIS IS PETE VERRILL AND HODKINS, OUR PILOT. 918 00:53:55,833 --> 00:53:59,036 THIS IS QUITE A PLACE YOU HAVE HERE. 919 00:53:59,036 --> 00:54:00,371 THANK YOU. 920 00:54:00,371 --> 00:54:01,639 WELL, BY GEORGE, 921 00:54:01,639 --> 00:54:05,543 HERE THEY ARE-- THE HUNTERS FROM HOLLYWOOD. 922 00:54:05,543 --> 00:54:07,645 HOW DID YOU GET HERE? 923 00:54:07,645 --> 00:54:11,015 CAME WITH A PILOT WHO KNEW THE WAY. 924 00:54:11,015 --> 00:54:13,351 RIGHT THIS WAY, MR. WILSON. 925 00:54:26,697 --> 00:54:29,900 I THINK I FOUND A STEAMBOAT FOR YOU. 926 00:54:29,900 --> 00:54:31,302 YOU HAVE? 927 00:54:31,302 --> 00:54:34,372 WHEN CAN I TAKE A LOOK AT IT? 928 00:54:34,372 --> 00:54:36,374 THE DAY AFTER TOMORROW. 929 00:54:36,374 --> 00:54:39,377 I'M HAVING HER PUT IN DRY DOCK 930 00:54:39,377 --> 00:54:41,379 TO CHECK HER BOTTOM. 931 00:54:41,379 --> 00:54:45,115 THE BELGIANS WANT A BLOODY BOND POSTED. 932 00:54:45,115 --> 00:54:46,917 WHERE'S HARRISON THIS EVENING? 933 00:54:46,917 --> 00:54:50,621 DOWN ON THE OTHER LOCATION, NEAR PONTHIERVILLE. 934 00:54:50,621 --> 00:54:53,724 MR. LANDERS IS STILL TRYING TO REACH YOU. 935 00:54:53,724 --> 00:54:56,327 WE'RE GOING HUNTING IN THE MORNING. 936 00:54:56,327 --> 00:54:59,129 WOULD YOU LIKE TO GO WITH US, RALPH? 937 00:54:59,129 --> 00:55:03,668 CUSTOMS BLOKE'S COMING FROM TATSUMU TO LOG MY STUFF IN. 938 00:55:13,177 --> 00:55:14,745 I SAY, 939 00:55:14,745 --> 00:55:19,216 IS HE ALWAYS LIKE THIS JUST BEFORE A PRODUCTION STARTS? 940 00:55:19,216 --> 00:55:20,618 LIKE WHAT? 941 00:55:20,618 --> 00:55:24,989 HE ACTS AS IF HE COULDN'T CARE LESS. 942 00:55:24,989 --> 00:55:28,359 AW, HE'LL BE FINE, RALPH, 943 00:55:28,359 --> 00:55:30,761 ONCE HE'S KILLED AN ELEPHANT. 944 00:55:30,761 --> 00:55:33,130 GOOD EVENING, GENTLEMEN. 945 00:55:33,130 --> 00:55:36,367 JOHN, THIS IS MY WIFE DORSHKA. 946 00:55:36,367 --> 00:55:38,369 WHAT A PLEASURE, INDEED. 947 00:55:38,369 --> 00:55:39,470 HELLO. 948 00:55:39,470 --> 00:55:41,372 WHAT A PLEASURE. 949 00:55:41,372 --> 00:55:43,674 YOU KNOW RALPH LOCKHART? 950 00:55:45,209 --> 00:55:47,144 YES. WE MET THIS AFTERNOON. 951 00:55:47,144 --> 00:55:49,113 AND THIS IS PETER VERRILL. 952 00:55:49,113 --> 00:55:50,114 HELLO. 953 00:55:50,114 --> 00:55:51,315 WELCOME. 954 00:55:51,315 --> 00:55:54,118 SO YOU ARE A BIG-GAME ENTHUSIAST, ALSO? 955 00:55:54,118 --> 00:55:56,253 WELL, MORE OR LESS. 956 00:55:56,253 --> 00:55:59,056 IT'S A PLEASURE TO HAVE YOU ALL HERE. 957 00:55:59,056 --> 00:56:02,993 I HOPE YOU FIND YOUR QUARTERS COMFORTABLE. 958 00:56:02,993 --> 00:56:06,163 THIS IS SIMPLY PARADISE. 959 00:56:06,163 --> 00:56:08,032 ABSOLUTE PARADISE HERE. 960 00:56:08,032 --> 00:56:13,404 IN FACT, I'M SERIOUSLY THINKING OF STAYING HERE FOREVER. 961 00:56:18,409 --> 00:56:20,411 COME ON. HEAVE IT. 962 00:56:20,411 --> 00:56:21,879 DOONSA! 963 00:56:23,280 --> 00:56:24,815 AH. 964 00:56:24,815 --> 00:56:27,818 WELL, WHAT DO YOU THINK OF HER? 965 00:56:27,818 --> 00:56:29,887 SHE'S BEAUTIFUL. PERFECT. 966 00:56:29,887 --> 00:56:31,422 WELL, NOT QUITE. 967 00:56:31,422 --> 00:56:33,223 SHE'S VERY OLD, YOU SEE, 968 00:56:33,223 --> 00:56:36,561 AND ACCORDING TO THE SKIPPER, NOT THAT SEAWORTHY. 969 00:56:36,561 --> 00:56:38,563 OH, SHE WILL BE. 970 00:56:38,563 --> 00:56:40,431 WELL, YES, FOR EVERYTHING 971 00:56:40,431 --> 00:56:42,600 EXCEPT THE WHITE-WATER SEQUENCE. 972 00:56:42,600 --> 00:56:45,536 THE SKIPPER SAYS IT WOULD BE TOO DANGEROUS. 973 00:56:45,536 --> 00:56:48,906 SHE'D FALL APART IF YOU RAN THE RAPIDS WITH HER. 974 00:56:48,906 --> 00:56:51,108 ACTUALLY, I CALLED MR. LANDERS 975 00:56:51,108 --> 00:56:53,277 AND TOLD HIM ABOUT IT. 976 00:56:53,277 --> 00:56:54,945 UH...HE SUGGESTED-- 977 00:56:54,945 --> 00:56:57,414 WELL, I SHOULD SAY HE INSISTED 978 00:56:57,414 --> 00:57:00,985 THAT YOU CUT THE SEQUENCE OUT OF THE FILM. 979 00:57:00,985 --> 00:57:02,019 HE DID? 980 00:57:02,019 --> 00:57:03,320 RIGHT. 981 00:57:03,320 --> 00:57:04,755 WRONG. 982 00:57:05,890 --> 00:57:08,826 NO. SHE LOOKS SOUND TO ME. 983 00:57:08,826 --> 00:57:11,328 OF COURSE, THERE'S ONLY ONE WAY 984 00:57:11,328 --> 00:57:13,864 TO FIND OUT, ISN'T THERE, RALPH? 985 00:57:22,339 --> 00:57:24,475 [TOOT] 986 00:57:31,482 --> 00:57:34,785 OH! 987 00:57:50,601 --> 00:57:52,737 HA HA HA! 988 00:57:54,071 --> 00:57:56,807 OH! PLEASE STOP! 989 00:57:56,807 --> 00:57:59,043 STOP! 990 00:57:59,043 --> 00:58:00,678 PLEASE STOP! 991 00:58:18,929 --> 00:58:20,097 HA HA HA! 992 00:58:21,566 --> 00:58:24,101 WHOA! 993 00:58:33,544 --> 00:58:35,980 OH, SHIT. 994 00:58:35,980 --> 00:58:38,048 ARE YOU CONVINCED, RALPH, 995 00:58:38,048 --> 00:58:41,752 OR WOULD YOU LIKE TO CONTINUE ON? 996 00:58:44,521 --> 00:58:46,423 OH, NO! 997 00:58:46,423 --> 00:58:48,859 I'M CONVINCED. 998 00:58:52,129 --> 00:58:54,131 SO AM I. 999 00:59:09,914 --> 00:59:12,950 HAS ANYONE HEARD FROM OUR CHIEF HUNTER YET? 1000 00:59:12,950 --> 00:59:16,420 I SENT ONE OF THE BOYS TO FETCH HIM. 1001 00:59:16,420 --> 00:59:18,022 HMM...GOOD. 1002 00:59:18,022 --> 00:59:19,156 [KNOCK KNOCK] 1003 00:59:21,558 --> 00:59:23,327 AH, OUR CHIEF HUNTER. 1004 00:59:23,327 --> 00:59:25,195 LET'S HAVE HIM IN. 1005 00:59:25,195 --> 00:59:26,897 PINDA SHAMWARI. 1006 00:59:29,834 --> 00:59:33,871 EXPLAIN TO HIM WE WANT TO GO AFTER SOME GAME-- 1007 00:59:33,871 --> 00:59:36,073 BUFFALO, PREFERABLY AN ELEPHANT. 1008 00:59:36,073 --> 00:59:39,109 [SPEAKING SWAHILI] 1009 00:59:39,109 --> 00:59:42,613 [SPEAKING SWAHILI] 1010 00:59:44,214 --> 00:59:46,316 HMM. 1011 01:00:01,632 --> 01:00:03,233 [GUNSHOT] 1012 01:00:12,910 --> 01:00:16,113 THIS MAN IS WONDERFUL. WHAT'S HIS NAME? 1013 01:00:16,113 --> 01:00:17,514 KIVU. 1014 01:00:17,514 --> 01:00:19,817 HE'S CALLED KIVU BECAUSE HE WENT 1015 01:00:19,817 --> 01:00:21,986 ON A TRIP THERE ONCE. 1016 01:00:39,770 --> 01:00:42,072 I MUST SAY, KIVU IS AMAZING. 1017 01:00:42,072 --> 01:00:44,541 HE FOUND ELEPHANT TRACKS THAT BIG, 1018 01:00:44,541 --> 01:00:45,943 A WHOLE HERD. 1019 01:00:45,943 --> 01:00:48,813 ONLY DARKNESS PREVENTED US FROM GOING ON. 1020 01:00:48,813 --> 01:00:50,547 COME AND SIT DOWN. 1021 01:00:50,547 --> 01:00:52,149 [SPEAKING SWAHILI] 1022 01:00:52,149 --> 01:00:54,551 [SPEAKING SWAHILI] 1023 01:00:54,551 --> 01:00:57,554 HE SAYS HE PREFERS TO STAND. 1024 01:00:57,554 --> 01:00:59,790 OH, GOOD EVENING, GENTLEMEN. 1025 01:01:01,158 --> 01:01:03,360 SO, DID THE HOLLYWOOD HUNTERS 1026 01:01:03,360 --> 01:01:04,995 HAVE ANY LUCK TODAY? 1027 01:01:04,995 --> 01:01:08,065 TELL KIVU TO GET A GOOD NIGHT'S REST. 1028 01:01:08,065 --> 01:01:11,068 WE'LL BE LEAVING AT 5:OO IN THE MORNING. 1029 01:01:11,068 --> 01:01:13,570 WE'LL GET OUR ELEPHANT THEN. 1030 01:01:13,570 --> 01:01:16,841 [SPEAKING SWAHILI] 1031 01:01:16,841 --> 01:01:19,043 [SPEAKING SWAHILI] 1032 01:01:23,948 --> 01:01:27,985 I TALKED TO MR. LANDERS IN LONDON. 1033 01:01:27,985 --> 01:01:29,987 HE'S QUITE HYSTERICAL. 1034 01:01:29,987 --> 01:01:33,190 HE WANTS TO TALK TO YOU TOMORROW. 1035 01:01:33,190 --> 01:01:35,025 I TOLD HIM THAT 1036 01:01:35,025 --> 01:01:37,995 WE COULD DRIVE YOU DOWN TO THE BORDER 1037 01:01:37,995 --> 01:01:40,197 AND USE THAT PHONE THERE. 1038 01:01:40,197 --> 01:01:41,999 YOU DID, DID YOU? 1039 01:01:41,999 --> 01:01:45,002 BUT YOU'LL BE ON SAFARI, I SUPPOSE. 1040 01:01:45,002 --> 01:01:47,738 YOU'RE WELCOME TO COME ALONG, RALPH. 1041 01:01:47,738 --> 01:01:51,475 NO HOLLYWOOD SAFARIS FOR ME. 1042 01:01:57,414 --> 01:02:00,484 THAT WORD HAS CREPT INTO THE CONVERSATION 1043 01:02:00,484 --> 01:02:02,753 QUITE A FEW TIMES, HASN'T IT? 1044 01:02:02,753 --> 01:02:06,156 WHICH WORD IS THAT, SIR? 1045 01:02:06,156 --> 01:02:07,157 HOLLYWOOD. 1046 01:02:07,157 --> 01:02:10,160 I REALIZE IT'S JUST THE NAME OF A PLACE, 1047 01:02:10,160 --> 01:02:13,764 BUT THE WAY YOU SAY IT HAS AN ADDED MEANING, 1048 01:02:13,764 --> 01:02:15,432 LIKE AN INSULT. 1049 01:02:15,432 --> 01:02:17,902 I DIDN'T MEAN IT LIKE THAT. 1050 01:02:17,902 --> 01:02:20,871 DON'T CONTRADICT ME. I'VE HEARD IT BEFORE-- 1051 01:02:20,871 --> 01:02:23,473 IN THE ARMY, IN NEW YORK, 1052 01:02:23,473 --> 01:02:24,909 IN THE THEATER. 1053 01:02:24,909 --> 01:02:26,911 HELL, I'VE HEARD IT EVERYWHERE. 1054 01:02:26,911 --> 01:02:30,214 PEOPLE SAY HOLLYWOOD WHEN THEY WANT TO INSULT YOU. 1055 01:02:30,214 --> 01:02:32,817 REALLY, HOLLYWOOD IS JUST A PLACE 1056 01:02:32,817 --> 01:02:34,819 WHERE THEY MAKE A PRODUCT. 1057 01:02:34,819 --> 01:02:36,453 IT'S A FACTORY TOWN, 1058 01:02:36,453 --> 01:02:39,323 LIKE DETROIT OR BIRMINGHAM OR SCHAFFHAUSEN. 1059 01:02:39,323 --> 01:02:42,526 BECAUSE THE CHEAP ELEMENT OF THE TOWN 1060 01:02:42,526 --> 01:02:44,528 HAS BEEN SO OVERLY ADVERTISED, 1061 01:02:44,528 --> 01:02:46,196 IT BECOMES AN INSULT 1062 01:02:46,196 --> 01:02:49,033 TO REMIND A MAN HE'S FROM THERE. 1063 01:02:49,033 --> 01:02:52,169 THEY'RE NOT TALKING ABOUT PEOPLE WHO WORK THERE 1064 01:02:52,169 --> 01:02:55,205 AND THAT TRY TO DO SOMETHING WORTHWHILE. 1065 01:02:55,205 --> 01:02:58,475 THEY'RE TALKING ABOUT THE WHORES WHEN THEY MENTION HOLLYWOOD. 1066 01:02:58,475 --> 01:03:01,545 YOU KNOW WHAT THAT WORD MEANS, DON'T YOU? 1067 01:03:01,545 --> 01:03:04,248 SURE. 1068 01:03:04,248 --> 01:03:05,816 SURE. 1069 01:03:05,816 --> 01:03:07,952 WHORES HAVE TO SELL 1070 01:03:07,952 --> 01:03:11,455 THE ONE THING THAT SHOULDN'T BE FOR SALE, 1071 01:03:11,455 --> 01:03:12,957 AND THAT'S LOVE. 1072 01:03:12,957 --> 01:03:14,959 THERE ARE OTHER KINDS OF WHORES 1073 01:03:14,959 --> 01:03:16,961 THAN THE FLOOZIES YOU FREQUENT. 1074 01:03:16,961 --> 01:03:18,462 THERE ARE WHORES 1075 01:03:18,462 --> 01:03:22,099 WHO SELL WORDS AND IDEAS AND MELODIES. 1076 01:03:22,099 --> 01:03:25,102 NOW, I KNOW WHAT I'M TALKING ABOUT 1077 01:03:25,102 --> 01:03:28,705 BECAUSE I'VE DONE A LITTLE HUSTLING IN MY TIME-- 1078 01:03:28,705 --> 01:03:31,942 A LOT MORE THAN I'D LIKE TO ADMIT TO, 1079 01:03:31,942 --> 01:03:35,712 AND WHAT I SOLD WHEN I WAS WHORING 1080 01:03:35,712 --> 01:03:37,814 I'LL NEVER GET BACK. 1081 01:03:39,016 --> 01:03:41,718 WHAT I'M TRYING TO SAY, RALPH-- 1082 01:03:41,718 --> 01:03:44,989 IT'S THE WHORES WHO PUT HOLLYWOOD UP 1083 01:03:44,989 --> 01:03:46,723 AS A BIG TARGET. 1084 01:03:46,723 --> 01:03:48,192 SURE. 1085 01:03:58,869 --> 01:04:00,871 WELL, JOHN, I DIDN'T REALIZE 1086 01:04:00,871 --> 01:04:03,407 YOU WERE SUCH A HOMETOWN BOY. 1087 01:04:03,407 --> 01:04:04,909 WELL, I AM, KID. 1088 01:04:04,909 --> 01:04:07,344 I AM WHEN I'M IN AFRICA. 1089 01:04:07,344 --> 01:04:08,845 YEAH. 1090 01:04:08,845 --> 01:04:12,649 IT TOOK AFRICA TO BRING ALL THIS OUT IN ME-- 1091 01:04:12,649 --> 01:04:16,420 AFRICA AND THE SMELL OF MY FIRST WILD ELEPHANT. 1092 01:04:16,420 --> 01:04:18,088 HA HA HA HA. 1093 01:04:19,656 --> 01:04:20,958 HA HA HA HA. 1094 01:04:20,958 --> 01:04:23,860 IT'S A SHAME KIVU COULDN'T HAVE HEARD THAT. 1095 01:04:23,860 --> 01:04:25,762 OH, KIVU KNOWS. 1096 01:04:25,762 --> 01:04:28,298 KIVU KNOWS WITHOUT BEING TOLD. 1097 01:04:28,298 --> 01:04:31,568 WHY DON'T YOU BRING KIVU BACK TO HOLLYWOOD? 1098 01:04:31,568 --> 01:04:33,237 NOT A BAD IDEA, KID. 1099 01:04:33,237 --> 01:04:36,440 HE COULD BE MIGHTY USEFUL AROUND THERE. 1100 01:04:36,440 --> 01:04:38,508 YEAH. HA HA HA. 1101 01:04:44,848 --> 01:04:47,851 WHERE ARE WE GOING THIS MORNING, JOHN? 1102 01:04:47,851 --> 01:04:49,853 A PLACE THAT KIVU KNOWS. 1103 01:04:49,853 --> 01:04:52,822 HE SAYS A LOT OF ELEPHANT GO THERE. 1104 01:04:52,822 --> 01:04:55,192 I WAS WONDERING, UH... 1105 01:04:55,192 --> 01:04:58,195 HOW DO YOU TWO COMMUNICATE? 1106 01:04:58,195 --> 01:05:00,197 I ASKED HIM THIS MORNING 1107 01:05:00,197 --> 01:05:03,200 ABOUT GOING BACK TO THE STATES WITH ME. 1108 01:05:03,200 --> 01:05:06,070 ZEB ACTUALLY ACTED AS MY INTERPRETER. 1109 01:05:06,070 --> 01:05:08,072 WHAT DID HE SAY? 1110 01:05:08,072 --> 01:05:10,074 HE SAID HE DIDN'T KNOW. 1111 01:05:10,074 --> 01:05:13,077 SAID HE'D HAVE TO THINK ABOUT IT, 1112 01:05:13,077 --> 01:05:16,646 THAT IT WAS A VERY BIG DECISION. 1113 01:05:28,825 --> 01:05:31,295 HE SAYS WE'RE GETTING CLOSE. 1114 01:05:42,239 --> 01:05:44,241 HE SAYS THEY'RE IN THERE, 1115 01:05:44,241 --> 01:05:47,244 BUT IT'S BEST IF ONLY TWO SHOOTERS GO. 1116 01:05:47,244 --> 01:05:49,246 PETE, ARE YOU READY? 1117 01:05:49,246 --> 01:05:51,581 NO. YOU AND ZEB ARE PLENTY. 1118 01:05:51,581 --> 01:05:53,450 YOU'RE NOT COMING? 1119 01:05:53,450 --> 01:05:54,851 I'LL WAIT HERE. 1120 01:05:54,851 --> 01:05:56,120 LOOK, KID... 1121 01:05:56,120 --> 01:05:58,322 I'VE NEVER GIVEN YOU MUCH ADVICE. 1122 01:05:58,322 --> 01:06:01,258 I'VE NEVER FORCED YOU TO DO ANYTHING, 1123 01:06:01,258 --> 01:06:03,527 BUT I THINK YOU SHOULD COME. 1124 01:06:03,527 --> 01:06:06,863 YOU JUST GO ON, JOHN. I'LL WAIT HERE. 1125 01:06:06,863 --> 01:06:10,667 YOU'LL REGRET THIS AS LONG AS YOU CAN REMEMBER IT. 1126 01:06:10,667 --> 01:06:13,737 I DON'T WANT TO SHOOT AN ELEPHANT, JOHN. 1127 01:06:13,737 --> 01:06:15,405 IF YOU DON'T COME ALONG, 1128 01:06:15,405 --> 01:06:18,508 IT'S BECAUSE YOU'RE SCARED, AND YOU KNOW IT. 1129 01:06:21,278 --> 01:06:25,349 I GUESS I'LL JUST HAVE TO LIVE WITH THAT. 1130 01:07:21,971 --> 01:07:24,074 [AROOO] 1131 01:07:26,876 --> 01:07:27,944 John. 1132 01:07:27,944 --> 01:07:29,813 John, hold your fire. 1133 01:07:29,813 --> 01:07:31,881 [AROOO!] 1134 01:07:31,881 --> 01:07:33,817 John, don't shoot. 1135 01:07:37,887 --> 01:07:41,458 IT'S TOO DANGEROUS. HOLD YOUR FIRE. COME BACK SLOWLY. 1136 01:07:41,458 --> 01:07:42,959 THIS IS HIM. 1137 01:07:42,959 --> 01:07:45,629 THIS IS THE ONE I'M LOOKING FOR. 1138 01:07:45,629 --> 01:07:49,599 THERE ARE TOO MANY COWS AROUND. COME BACK SLOWLY. 1139 01:07:55,172 --> 01:07:57,441 JUST COME. COME ON. 1140 01:08:00,009 --> 01:08:01,545 KIVU, KINO. 1141 01:08:13,523 --> 01:08:14,991 [AROOO] 1142 01:08:14,991 --> 01:08:19,996 OH, I'VE NEVER SEEN ONE BEFORE... 1143 01:08:19,996 --> 01:08:22,999 OUTSIDE THE CIRCUS OR THE ZOO. 1144 01:08:22,999 --> 01:08:25,001 HA HA HA HA. 1145 01:08:25,001 --> 01:08:26,870 THEY'RE SO MAJESTIC, 1146 01:08:26,870 --> 01:08:28,272 SO INDESTRUCTIBLE. 1147 01:08:28,272 --> 01:08:30,340 THEY'RE PART OF THE EARTH. 1148 01:08:34,010 --> 01:08:36,413 THEY MAKE US FEEL LIKE 1149 01:08:36,413 --> 01:08:39,216 PERVERSE LITTLE CREATURES FROM ANOTHER PLANET... 1150 01:08:42,018 --> 01:08:44,221 WITHOUT ANY DIGNITY. 1151 01:08:47,424 --> 01:08:50,494 MAKES ONE BELIEVE IN GOD... 1152 01:08:52,028 --> 01:08:54,498 IN THE MIRACLE OF CREATION. 1153 01:08:57,033 --> 01:08:59,269 FANTASTIC. 1154 01:08:59,269 --> 01:09:03,640 THEY'RE PART OF A WORLD THAT NO LONGER EXISTS. 1155 01:09:08,445 --> 01:09:11,648 THE FEELING OF UNCONQUERABLE TIME. 1156 01:09:11,648 --> 01:09:13,450 HA HA HA HA. 1157 01:09:13,450 --> 01:09:16,453 YOU CERTAINLY HAVE A WAY WITH WORDS, PETE. 1158 01:09:16,453 --> 01:09:18,788 NO WONDER YOU'RE A WRITER. 1159 01:09:22,659 --> 01:09:24,661 [COUGHING] 1160 01:09:34,538 --> 01:09:35,872 AHEM... 1161 01:09:38,074 --> 01:09:40,076 SO WHAT HAPPENED, JOHN? 1162 01:09:40,076 --> 01:09:42,946 WEREN'T YOU ABLE TO GET CLOSE ENOUGH? 1163 01:09:42,946 --> 01:09:45,482 [COUGHING] 1164 01:09:45,482 --> 01:09:49,486 WE WERE CLOSE ENOUGH, BUT I WOULDN'T LET HIM SHOOT. 1165 01:09:49,486 --> 01:09:52,489 TOO MANY COWS. THEY WOULD HAVE CHARGED US. 1166 01:09:52,489 --> 01:09:56,092 THAT WAS THE BIGGEST TUSKER IN ALL OF AFRICA. 1167 01:09:56,092 --> 01:09:57,494 [COUGHING] 1168 01:09:57,494 --> 01:10:01,298 IT WOULD HAVE BEEN A RISK WELL WORTH TAKING. 1169 01:10:50,747 --> 01:10:53,350 [PANTING] 1170 01:10:57,621 --> 01:10:58,888 OH... 1171 01:11:02,158 --> 01:11:04,361 [COUGHING] 1172 01:11:07,764 --> 01:11:09,766 YOU ALL RIGHT? 1173 01:11:09,766 --> 01:11:11,635 I'M ALL RIGHT. 1174 01:11:11,635 --> 01:11:12,769 JOHN. 1175 01:11:12,769 --> 01:11:13,903 HUH? 1176 01:11:13,903 --> 01:11:15,839 COME ON. LET'S FACE IT. 1177 01:11:15,839 --> 01:11:18,041 THIS COUNTRY'S TOO TOUGH FOR US. 1178 01:11:18,041 --> 01:11:21,277 WE'RE JUST A COUPLE OF CHARACTERS FROM VINE STREET, 1179 01:11:21,277 --> 01:11:24,280 NOT TWO HEROES FROM ONE OF YOUR FILMS. 1180 01:11:24,280 --> 01:11:26,182 HUH? COME ON. 1181 01:11:26,182 --> 01:11:27,784 [COUGHING] 1182 01:11:27,784 --> 01:11:29,185 GET UP. 1183 01:11:29,185 --> 01:11:31,187 YOU KNOW, KID... 1184 01:11:31,187 --> 01:11:33,590 WE'RE GOING TO END UP TOGETHER. 1185 01:11:33,590 --> 01:11:35,592 WHEN WE'RE OLD, THAT IS. 1186 01:11:35,592 --> 01:11:37,461 PROBABLY LIVE IN A CABIN 1187 01:11:37,461 --> 01:11:40,330 UP IN THE SIERRAS AND PAN FOR GOLD, 1188 01:11:40,330 --> 01:11:42,298 HAVE A COUPLE MULES-- 1189 01:11:42,298 --> 01:11:43,600 [COUGHING] 1190 01:11:43,600 --> 01:11:46,202 SIT AROUND THE CAMPFIRE AT NIGHT, 1191 01:11:46,202 --> 01:11:48,204 TELL LIES TO EACH OTHER-- 1192 01:11:48,204 --> 01:11:49,272 YEAH? 1193 01:11:49,272 --> 01:11:51,608 ABOUT ALL THE THINGS WE'VE DONE-- 1194 01:11:51,608 --> 01:11:54,811 WARS WE'VE FOUGHT, BOOKS YOU'VE WRITTEN, 1195 01:11:54,811 --> 01:11:56,813 MOVIES I'VE MADE. 1196 01:11:56,813 --> 01:11:58,214 [ENGINE STARTS] 1197 01:11:58,214 --> 01:12:01,418 YOU KNOW, I DON'T DOUBT THAT, JOHN. 1198 01:12:04,621 --> 01:12:07,624 YOU'LL NEED THREE CAMERAS ON THE FIRE SEQUENCE. 1199 01:12:07,624 --> 01:12:09,626 IF YOU INITIAL THESE PLANS, 1200 01:12:09,626 --> 01:12:12,629 I CAN GO AHEAD AND START CONSTRUCTION. 1201 01:12:12,629 --> 01:12:15,632 IT WAS A RISK TO ALL OF US. 1202 01:12:15,632 --> 01:12:18,568 A HERD OF COWS CAN GO ROGUE QUICKLY. 1203 01:12:18,568 --> 01:12:22,338 THERE HAVE BEEN ROGUE HERDS CREATED IN KENYA 1204 01:12:22,338 --> 01:12:24,207 IN JUST SUCH A WAY. 1205 01:12:24,207 --> 01:12:26,109 THEN THEY HAVE TO SHOOT 1206 01:12:26,109 --> 01:12:28,111 EVERY BLOODY ONE OF THEM. 1207 01:12:28,111 --> 01:12:29,979 ALL RIGHT. FORGET IT. 1208 01:12:29,979 --> 01:12:31,648 WE'LL TRY AGAIN TOMORROW. 1209 01:12:31,648 --> 01:12:33,383 TOMORROW MORNING, YES. 1210 01:12:33,383 --> 01:12:35,251 TOMORROW AFTERNOON, WE LEAVE. 1211 01:12:35,251 --> 01:12:37,253 I HAVE ANOTHER SAFARI. 1212 01:12:37,253 --> 01:12:40,256 YOU HAVE TO GET STARTED ON THE FILM. 1213 01:12:40,256 --> 01:12:42,859 YOU CAN LEAVE IF YOU WANT. 1214 01:12:42,859 --> 01:12:44,227 I'M STAYING. 1215 01:12:44,227 --> 01:12:47,864 THE COMPANY ARRIVES IN ENTEBBE THE DAY AFTER TOMORROW. 1216 01:12:47,864 --> 01:12:48,998 I'M STAYING. 1217 01:12:48,998 --> 01:12:52,035 JESUS CHRIST, JOHN! WILL YOU BE REASONABLE? 1218 01:12:52,035 --> 01:12:54,404 I DON'T GIVE A GOD DAMN 1219 01:12:54,404 --> 01:12:57,273 IF THE COMPANY GETS HERE TOMORROW. 1220 01:12:57,273 --> 01:13:00,209 I'M STAYING TILL I GET MY ELEPHANT. 1221 01:13:00,209 --> 01:13:02,612 YOU CAN'T HUNT ALONE. 1222 01:13:02,612 --> 01:13:04,548 KIVU WILL GO WITH ME. 1223 01:13:04,548 --> 01:13:06,015 WHAT ABOUT THAT FELLOW 1224 01:13:06,015 --> 01:13:07,684 DOWN AT THE FISHERY? 1225 01:13:07,684 --> 01:13:10,687 THE ONE WHO WAS A GAME WARDEN 1226 01:13:10,687 --> 01:13:12,689 DOWN ON THE ZAMBEZI? OGILVY? 1227 01:13:12,689 --> 01:13:16,593 THEY SAY HE KILLED OVER 5OO ELEPHANTS IN HIS DAY. 1228 01:13:16,593 --> 01:13:18,695 LET'S GET HIM UP HERE. 1229 01:13:18,695 --> 01:13:20,797 HOW LONG WILL YOU STAY? 1230 01:13:20,797 --> 01:13:23,567 WELL, THAT DEPENDS UPON THE ELEPHANTS... 1231 01:13:23,567 --> 01:13:25,535 AND ON THE GUIDES. 1232 01:13:25,535 --> 01:13:27,471 IF THIS FELLOW OGILVY 1233 01:13:27,471 --> 01:13:30,474 TURNS OUT TO BE JUST ANOTHER OLD LADY, 1234 01:13:30,474 --> 01:13:32,442 IT MAY TAKE MONTHS, 1235 01:13:32,442 --> 01:13:35,445 BUT IF HE'S HALF THE MAN KIVU IS, 1236 01:13:35,445 --> 01:13:37,447 IT MAY TAKE NO TIME. 1237 01:13:37,447 --> 01:13:39,649 [DOOR CLOSES] 1238 01:13:47,591 --> 01:13:49,459 WHAT'S THE MATTER, KID? 1239 01:13:49,459 --> 01:13:51,861 GO AHEAD AND SPIT IT OUT. 1240 01:13:51,861 --> 01:13:54,931 YOU'RE SITTING AROUND STEWING LIKE A DAME 1241 01:13:54,931 --> 01:13:58,201 WHO'S JUST BEEN KICKED OUT OF BED. 1242 01:13:58,201 --> 01:14:01,004 YOU'RE EITHER CRAZY... 1243 01:14:01,004 --> 01:14:05,208 OR THE MOST EGOCENTRIC, IRRESPONSIBLE SON OF A BITCH 1244 01:14:05,208 --> 01:14:07,210 THAT I'VE EVER MET. 1245 01:14:08,612 --> 01:14:11,615 YOU'RE ABOUT TO BLOW THIS WHOLE PICTURE 1246 01:14:11,615 --> 01:14:14,217 OUT OF YOUR NOSE, JOHN, 1247 01:14:14,217 --> 01:14:17,220 AND FOR WHAT? 1248 01:14:17,220 --> 01:14:19,623 TO COMMIT A CRIME. 1249 01:14:19,623 --> 01:14:23,627 TO KILL ONE OF THE RAREST, MOST NOBLE CREATURES 1250 01:14:23,627 --> 01:14:28,031 THAT ROAMS THE FACE OF THIS CRUMMY EARTH, 1251 01:14:28,031 --> 01:14:31,635 AND IN ORDER FOR YOU TO COMMIT THIS CRIME, 1252 01:14:31,635 --> 01:14:34,638 YOU'RE WILLING TO FORGET ABOUT ALL OF US 1253 01:14:34,638 --> 01:14:38,241 AND LET THIS WHOLE THING GO DOWN THE DRAIN. 1254 01:14:43,246 --> 01:14:45,048 YOU'RE WRONG, KID. 1255 01:14:45,048 --> 01:14:48,652 IT'S NOT A CRIME TO KILL AN ELEPHANT. 1256 01:14:48,652 --> 01:14:51,254 IT'S BIGGER THAN ALL THAT. 1257 01:14:51,254 --> 01:14:55,024 IT'S A SIN TO KILL AN ELEPHANT. 1258 01:14:55,024 --> 01:14:57,627 DO YOU UNDERSTAND? IT'S A SIN-- 1259 01:14:57,627 --> 01:15:01,230 THE ONLY SIN THAT YOU CAN BUY A LICENSE 1260 01:15:01,230 --> 01:15:03,266 AND GO OUT AND COMMIT. 1261 01:15:03,266 --> 01:15:06,269 THAT'S WHY I WANT TO DO IT. 1262 01:15:06,269 --> 01:15:08,672 DO YOU UNDERSTAND ME? 1263 01:15:09,673 --> 01:15:12,676 OF COURSE YOU DON'T. HOW COULD YOU? 1264 01:15:12,676 --> 01:15:14,878 I DON'T UNDERSTAND MYSELF. 1265 01:15:19,282 --> 01:15:21,084 IF YOU DON'T NEED ME, 1266 01:15:21,084 --> 01:15:24,287 THEN I'LL TAKE THE PLANE TO LONDON TOMORROW. 1267 01:15:24,287 --> 01:15:26,089 WELL, YOU DO THAT, KID. 1268 01:15:26,089 --> 01:15:28,692 I'VE NEVER BEEN ONE TO INTERFERE 1269 01:15:28,692 --> 01:15:32,295 WITH ANYTHING A FRIEND OF MINE WANTS TO DO. 1270 01:16:14,070 --> 01:16:17,573 HOW DO YOU DO? IT'S NICE TO MEET YOU. 1271 01:16:17,573 --> 01:16:19,575 HELLO. HOW DO YOU DO? 1272 01:16:19,575 --> 01:16:21,210 HELLO. NICE TO MEET YOU. 1273 01:16:21,210 --> 01:16:23,346 WELL, HELLO. 1274 01:16:23,346 --> 01:16:25,281 MISS GIBSON... 1275 01:16:25,281 --> 01:16:27,316 RIGHT HERE. 1276 01:16:32,088 --> 01:16:33,089 PETE. 1277 01:16:34,090 --> 01:16:34,958 PETE. 1278 01:16:34,958 --> 01:16:38,027 WHERE'S JOHN? WHY ISN'T HE HERE? 1279 01:16:38,027 --> 01:16:40,229 I'M GOING BACK TO LONDON, PAUL. 1280 01:16:40,229 --> 01:16:43,599 WHAT HAPPENED? WHERE'S JOHN? WHERE'S THE SCRIPT? 1281 01:16:43,599 --> 01:16:45,669 I SENT YOU THE SCRIPT. 1282 01:16:45,669 --> 01:16:48,905 I GOT HALF OF IT. THERE'S ONLY ONE COPY? 1283 01:16:48,905 --> 01:16:50,907 NO. JOHN HAS THE ORIGINAL, 1284 01:16:50,907 --> 01:16:53,176 IF HE HASN'T LOST IT. 1285 01:16:53,176 --> 01:16:56,512 HOW ARE YOU, PETE? WHERE'S THE OGRE? 1286 01:16:56,512 --> 01:16:59,182 HE'S OUT SCOUTING LOCATIONS. 1287 01:16:59,182 --> 01:17:01,851 I HOPE YOU'VE IMPROVED THE SCRIPT. 1288 01:17:01,851 --> 01:17:05,521 WHAT KAY MEANS IS, WILL HER PART GET BIGGER? 1289 01:17:05,521 --> 01:17:08,191 I DON'T MIND IF YOU DO THE TALKING, 1290 01:17:08,191 --> 01:17:11,494 AS LONG AS I PLAY A REAL HUMAN BEING. 1291 01:17:11,494 --> 01:17:13,496 BEAUTIFUL, KAY. COME WITH ME. 1292 01:17:13,496 --> 01:17:16,499 MR. DUNCAN, CAN WE HAVE ONE OF YOU 1293 01:17:16,499 --> 01:17:18,501 WITH YOUR NEW BRIDE, PLEASE? 1294 01:17:18,501 --> 01:17:19,969 PASSIONATE OR DOMESTIC? 1295 01:17:19,969 --> 01:17:22,405 CAN WE HAVE A KISS? 1296 01:17:22,405 --> 01:17:24,407 THAT'S LOVELY. 1297 01:17:24,407 --> 01:17:26,409 THANK YOU VERY MUCH. 1298 01:17:30,146 --> 01:17:32,415 [THUNDER] 1299 01:17:37,053 --> 01:17:39,889 [THUNDER] 1300 01:17:43,827 --> 01:17:45,829 PETER, THINK WHAT WILL HAPPEN 1301 01:17:45,829 --> 01:17:49,098 TO THE COMPANY'S MORALE IF YOU GO BACK. 1302 01:17:49,098 --> 01:17:51,701 THEY'LL THINK SOMETHING TERRIBLE IS WRONG. 1303 01:17:51,701 --> 01:17:53,737 I CAN'T START A PICTURE THAT WAY. 1304 01:17:53,737 --> 01:17:55,939 PAUL, DON'T YOU UNDERSTAND? 1305 01:17:55,939 --> 01:17:57,941 SOMETHING TERRIBLE IS WRONG. 1306 01:17:57,941 --> 01:17:59,943 THE MAN HAS THE FEVER. 1307 01:17:59,943 --> 01:18:01,945 IT'S JUST LIKE ANY PASSION. 1308 01:18:01,945 --> 01:18:04,080 IT'S IRRESPONSIBLE, AND IT'S DESTRUCTIVE! 1309 01:18:04,080 --> 01:18:06,249 I UNDERSTAND HOW YOU FEEL, 1310 01:18:06,249 --> 01:18:09,285 BUT WE'VE GOT A PICTURE TO MAKE HERE. 1311 01:18:09,285 --> 01:18:11,087 YOU'VE GOT TO STAY. 1312 01:18:11,087 --> 01:18:14,257 IF HE'S NOT BACK HERE IN THREE DAYS, 1313 01:18:14,257 --> 01:18:16,692 WE'LL ALL BE RUINED. 1314 01:18:18,594 --> 01:18:20,764 APOLOGIZE TO HIM. 1315 01:18:22,966 --> 01:18:26,369 GO ON. APOLOGIZE TO HIM. 1316 01:18:26,369 --> 01:18:28,571 [THUNDER] 1317 01:18:28,571 --> 01:18:31,574 HA HA HA HA. 1318 01:18:31,574 --> 01:18:32,842 NO. 1319 01:18:32,842 --> 01:18:36,079 BUT I'LL TELL YOU WHAT I WILL DO. 1320 01:18:36,079 --> 01:18:38,481 I'LL GET THAT SCRIPT FROM HIM 1321 01:18:38,481 --> 01:18:42,685 BECAUSE IT'S THE BEST WRITING I'VE EVER DONE, 1322 01:18:42,685 --> 01:18:44,153 AND I'LL BE DAMNED 1323 01:18:44,153 --> 01:18:47,156 IF I'LL LET THAT BASTARD DESTROY IT! 1324 01:19:14,217 --> 01:19:16,219 [ENGINE STOPS] 1325 01:19:16,219 --> 01:19:18,221 HELLO, CHAPS. 1326 01:19:18,221 --> 01:19:19,622 WHERE'S JOHN? 1327 01:19:19,622 --> 01:19:22,091 BELIEVE IT OR NOT, HE'S GONE. 1328 01:19:22,091 --> 01:19:23,126 WHERE? 1329 01:19:23,126 --> 01:19:26,229 HE'S VISITING KIVU'S VILLAGE UP IN SEMLIKI. 1330 01:19:26,229 --> 01:19:27,630 IT'S THE TRUTH. 1331 01:19:27,630 --> 01:19:29,432 OGILVY AND KIVU CONVINCED HIM 1332 01:19:29,432 --> 01:19:33,236 THAT'S THE BEST PLACE TO FIND A BIG TUSKER. 1333 01:19:33,236 --> 01:19:34,904 HOW FAR IS THAT? 1334 01:19:34,904 --> 01:19:38,641 ABOUT 6 MILES, MOST OF IT THROUGH SWAMP. 1335 01:19:38,641 --> 01:19:41,244 THERE'S BEEN A CHANGE IN PLANS. 1336 01:19:41,244 --> 01:19:42,645 WHAT'S THAT? 1337 01:19:42,645 --> 01:19:46,049 THE BOSS DECIDED TO START SHOOTING THE FILM THERE. 1338 01:19:46,049 --> 01:19:48,051 MADE UP HIS MIND YESTERDAY 1339 01:19:48,051 --> 01:19:51,955 WHEN WE FINALLY CLEARED THE TRUCKS THROUGH CUSTOMS. 1340 01:19:51,955 --> 01:19:54,557 HE SEEMS TO THINK KIVU'S VILLAGE 1341 01:19:54,557 --> 01:19:56,192 IS MUCH MORE AUTHENTIC. 1342 01:19:56,192 --> 01:19:59,395 THE COMPANY CAN STAY AT THE HUNTING CAMP. 1343 01:19:59,395 --> 01:20:01,264 HA HA HA HA! 1344 01:20:01,264 --> 01:20:03,232 HA HA HA HA! 1345 01:20:06,669 --> 01:20:09,005 HAVE A PLEASANT DAY. 1346 01:20:13,342 --> 01:20:17,480 THERE IT IS. THAT MUST BE THE VILLAGE. 1347 01:20:34,297 --> 01:20:37,700 [THUNDER] 1348 01:20:37,700 --> 01:20:39,903 I DON'T BELIEVE IT. 1349 01:20:41,104 --> 01:20:43,839 I JUST DON'T BELIEVE IT. 1350 01:20:48,577 --> 01:20:51,780 WHAT ABOUT THE VILLAGE WE BUILT AT MASINDI? 1351 01:20:51,780 --> 01:20:53,382 IT COST A FORTUNE. 1352 01:20:53,382 --> 01:20:56,385 JOHN PLANS TO USE THAT FOR THE FIRE. 1353 01:20:56,385 --> 01:20:59,855 HE'LL MOVE THERE ONCE HE'S FINISHED IN THE CONGO. 1354 01:20:59,855 --> 01:21:03,126 I'M NOT GOING TO LET HIM DO IT! 1355 01:21:03,126 --> 01:21:06,262 I'LL CALL OFF THE PICTURE FIRST. 1356 01:21:06,262 --> 01:21:08,464 YOU'VE ALREADY INVESTED OVER £1OO,OOO. 1357 01:21:08,464 --> 01:21:10,133 I'LL PAY IT BACK 1358 01:21:10,133 --> 01:21:13,002 IF IT TAKES THE REST OF MY LIFE. 1359 01:21:13,002 --> 01:21:16,005 WHY DON'T YOU TELL EVERYBODY IT'LL BE ROUGH 1360 01:21:16,005 --> 01:21:19,142 BUT IT'LL MAKE FOR A MOST DISTINGUISHED FILM? 1361 01:21:19,142 --> 01:21:21,344 WE CAN'T DO THAT. 1362 01:21:21,344 --> 01:21:22,611 WHY NOT? 1363 01:21:22,611 --> 01:21:24,613 EITHER WE CALL IT OFF 1364 01:21:24,613 --> 01:21:27,016 OR WE PLAY ALONG WITH WILSON. 1365 01:21:27,016 --> 01:21:29,618 WE CAN BE HONORABLE OR CROOKED. 1366 01:21:29,618 --> 01:21:31,487 THERE'S NO MIDDLE ROAD. 1367 01:21:31,487 --> 01:21:33,289 I DON'T AGREE WITH YOU. 1368 01:21:33,289 --> 01:21:36,492 I'VE FOUND IT'S BETTER TO TELL THE TRUTH. 1369 01:21:38,294 --> 01:21:41,297 IF I HAD ALWAYS TOLD THE TRUTH, PETE, 1370 01:21:41,297 --> 01:21:44,500 I WOULD NOW BE A CAKE OF SOAP. 1371 01:22:04,920 --> 01:22:08,191 DOES THIS LOOK FAMILIAR TO YOU, PETE? 1372 01:22:08,191 --> 01:22:11,194 YES, PAUL. WE'RE GETTING CLOSE. 1373 01:22:11,194 --> 01:22:14,397 IT'S AWFULLY PRIMITIVE. WHERE'S THE HOTEL? 1374 01:22:14,397 --> 01:22:16,399 HA HA HA. 1375 01:22:43,492 --> 01:22:46,362 WELL, HERE IT IS-- HOME AWAY FROM HOME. 1376 01:22:46,362 --> 01:22:49,432 WELL, I THINK THIS IS QUITE LOVELY. 1377 01:22:50,833 --> 01:22:52,568 HOLY SHIT. 1378 01:22:55,838 --> 01:22:57,340 OY. 1379 01:23:09,852 --> 01:23:10,986 [GASP] 1380 01:23:10,986 --> 01:23:12,255 AH. 1381 01:23:14,857 --> 01:23:16,659 OH, DO COME IN, CHAPS. 1382 01:23:16,659 --> 01:23:20,263 I'VE BEEN SO LOOKING FORWARD TO SEEING YOU AGAIN. 1383 01:23:20,263 --> 01:23:22,865 MAY I PRESENT MADAME DORSHKA 1384 01:23:22,865 --> 01:23:25,634 AND MR. ZIBELINSKY, OUR HOSTS. 1385 01:23:28,871 --> 01:23:32,075 WELL, THIS IS... GLORIOUS. 1386 01:23:38,881 --> 01:23:40,883 THIS IS MARVELOUS. 1387 01:23:40,883 --> 01:23:44,087 HA HA HA HA. 1388 01:23:45,988 --> 01:23:48,991 THIS IS COUNT OGILVY, MY NEW WHITE HUNTER. 1389 01:23:48,991 --> 01:23:51,094 HELLO, JOHN. 1390 01:23:52,895 --> 01:23:54,897 NICE TO SEE YOU. 1391 01:23:54,897 --> 01:23:56,899 EXCUSE MY FRIEND HERE. 1392 01:23:56,899 --> 01:23:58,301 HELLO, JOHN. 1393 01:23:58,301 --> 01:24:01,304 PLEASURE TO SEE YOU ALL HERE AGAIN. 1394 01:24:01,304 --> 01:24:03,506 HOW ARE YOU DOING? 1395 01:24:03,506 --> 01:24:04,640 CHEERS. 1396 01:24:04,640 --> 01:24:05,908 AHEM... 1397 01:24:05,908 --> 01:24:07,910 WELL, HAVE SOME CHAMPAGNE, EVERYONE, 1398 01:24:07,910 --> 01:24:09,912 AND LET'S GET WITH IT. 1399 01:24:09,912 --> 01:24:11,380 CHEERS, JOHN. 1400 01:24:12,448 --> 01:24:16,452 I TRUST YOU ALL ENJOYED OUR BORSCHT A LA RUSSE. 1401 01:24:16,452 --> 01:24:18,087 EXCELLENT. ABSOLUTELY FIRST-CLASS. 1402 01:24:18,087 --> 01:24:19,088 SPIFFING. 1403 01:24:19,088 --> 01:24:20,489 HMM. 1404 01:24:20,489 --> 01:24:24,393 AND NOW WE HAVE THE PIECE DE RESISTANCE. 1405 01:24:38,006 --> 01:24:41,944 IT'S A FRESHLY KILLED REEDBUCK FROM THE SEMLIKI PLAIN, 1406 01:24:41,944 --> 01:24:43,746 THE FEMALE OF THE SPECIES, 1407 01:24:43,746 --> 01:24:47,049 TO PROVE GOD DOESN'T LET MAN OFF THE HOOK. 1408 01:24:47,049 --> 01:24:49,185 HA HA HA! HA HA HA! 1409 01:24:49,185 --> 01:24:51,354 SO I TOLD ANATOLE 1410 01:24:51,354 --> 01:24:56,559 THAT HE SHOULD NOT LET PAULETTE EVER DO THAT AGAIN. 1411 01:24:58,361 --> 01:25:01,564 JOHN, CAN WE STOP PLAYING GAMES? 1412 01:25:03,966 --> 01:25:05,868 PLAYING GAMES, DEAR FELLOW? 1413 01:25:05,868 --> 01:25:07,636 I DON'T QUITE UNDERSTAND. 1414 01:25:07,636 --> 01:25:10,973 WELL, WE HAVE TO GET STARTED TOMORROW. 1415 01:25:10,973 --> 01:25:13,976 RAY HAS TO GO OUT TO THE LOCATION. 1416 01:25:13,976 --> 01:25:16,245 YOU HAVE TO CHECK THEIR COSTUMES. 1417 01:25:16,245 --> 01:25:19,248 I'M PERFECTLY WILLING TO DO ANYTHING YOU SUGGEST. 1418 01:25:19,248 --> 01:25:21,684 THAT IS, WITHIN REASON, OF COURSE. 1419 01:25:21,684 --> 01:25:24,387 HA HA HA HA. WELL, FIRST OF ALL, 1420 01:25:24,387 --> 01:25:27,256 CAN YOU DROP THAT PHONY ENGLISH ACCENT, 1421 01:25:27,256 --> 01:25:29,325 AND FOR GOD'S SAKES, 1422 01:25:29,325 --> 01:25:33,196 ABANDON YOUR ROLE OF THE GREAT WHITE HUNTER 1423 01:25:33,196 --> 01:25:37,733 AND BECOME A MOVIE DIRECTOR AGAIN? 1424 01:25:37,733 --> 01:25:39,535 HA HA HA HA! 1425 01:25:39,535 --> 01:25:41,003 HA HA HA! 1426 01:25:41,003 --> 01:25:42,571 HA HA HA HA! 1427 01:25:42,571 --> 01:25:45,974 LISTEN, YOU BALKAN RUG-PEDDLER, 1428 01:25:45,974 --> 01:25:47,876 MY ROLE OF THE HUNTER 1429 01:25:47,876 --> 01:25:49,678 IS STRICTLY MY OWN BUSINESS. 1430 01:25:49,678 --> 01:25:52,881 IT HAS NOTHING TO DO WITH YOU. 1431 01:25:52,881 --> 01:25:54,550 IT'S A SACRED SUBJECT, 1432 01:25:54,550 --> 01:25:57,152 MUCH LIKE THE SEX LIFE OF MY MOTHER. 1433 01:25:57,152 --> 01:25:58,687 HA HA HA. 1434 01:25:58,687 --> 01:26:01,890 IT'S SOMETHING YOU'LL REFRAIN FROM TALKING ABOUT 1435 01:26:01,890 --> 01:26:03,892 OR EVEN THINKING ABOUT. 1436 01:26:03,892 --> 01:26:05,694 IT'S TOO DIFFICULT A SUBJECT 1437 01:26:05,694 --> 01:26:08,664 FOR YOUR SMALL, LITTLE BRAIN TO GRASP. 1438 01:26:08,664 --> 01:26:11,166 IT'S A PASSION THAT'S BEYOND YOU. 1439 01:26:11,166 --> 01:26:13,502 I'D HAVE TO EXPLAIN TO YOU 1440 01:26:13,502 --> 01:26:17,440 THE SOUND OF THE WIND AND SMELL OF THE WOODS. 1441 01:26:17,440 --> 01:26:20,276 I'D HAVE TO CREATE YOU ALL OVER AGAIN 1442 01:26:20,276 --> 01:26:22,278 AND STAMP OUT THOSE YEARS 1443 01:26:22,278 --> 01:26:27,316 YOU SPENT ON THE DIRTY PAVEMENT IN CRAMPED SHOES. 1444 01:26:29,051 --> 01:26:32,054 I'M NOT INTERESTED IN YOUR HUNTING. 1445 01:26:32,054 --> 01:26:34,857 IT DOESN'T MEAN A THING TO ME, 1446 01:26:34,857 --> 01:26:38,261 EXCEPT WHEN IT INTERFERES WITH THE PICTURE. 1447 01:26:38,261 --> 01:26:41,129 HOW IS IT INTERFERING WITH THE PICTURE? 1448 01:26:41,129 --> 01:26:42,731 I HAVEN'T EVEN GOTTEN 1449 01:26:42,731 --> 01:26:45,368 THE LAST SECTION OF THE SCRIPT YET. 1450 01:26:45,368 --> 01:26:48,070 OH, DEAR, DEAR. 1451 01:26:48,070 --> 01:26:51,674 WELL, I'LL CORRECT THAT IMMEDIATELY. 1452 01:26:51,674 --> 01:26:53,276 KIVU. 1453 01:26:57,079 --> 01:26:58,614 [SPEAKING SWAHILI] 1454 01:26:58,614 --> 01:27:00,616 AH, YOU'VE FINISHED YOUR REWRITES. 1455 01:27:00,616 --> 01:27:04,953 HE POLISHED IT, PETE, GAVE IT A LITTLE BALLS. 1456 01:27:04,953 --> 01:27:06,489 [MONKEY CHATTERS] 1457 01:27:06,489 --> 01:27:08,491 IT HAS TO BE TYPED. 1458 01:27:08,491 --> 01:27:10,959 COPIES HAVE TO BE MADE. 1459 01:27:10,959 --> 01:27:12,027 HUH! 1460 01:27:12,027 --> 01:27:13,829 HA HA HA HA! 1461 01:27:13,829 --> 01:27:15,063 THE APE! 1462 01:27:15,063 --> 01:27:16,299 HA HA HA! 1463 01:27:16,299 --> 01:27:19,902 SOMEBODY GET HOLD OF THE GOD DAMNED APE! 1464 01:27:19,902 --> 01:27:21,304 [GLASS BREAKS] 1465 01:27:21,304 --> 01:27:22,338 HA HA HA! 1466 01:27:22,338 --> 01:27:24,273 HA HA HA! HA HA HA! 1467 01:27:43,692 --> 01:27:45,994 [COUGHING] 1468 01:27:51,834 --> 01:27:55,871 FRONTAL BRAIN SHOT, AND FOR GOD'S SAKE, DON'T MISS! 1469 01:28:01,744 --> 01:28:03,278 [COUGHING] 1470 01:28:03,278 --> 01:28:06,749 OH, GOD. THIS MAKES IT ALL SO WORTHWHILE. 1471 01:28:06,749 --> 01:28:09,418 HA HA HA HA! 1472 01:28:38,180 --> 01:28:40,383 [SPEAKING SWAHILI] 1473 01:28:46,789 --> 01:28:49,792 [DRUMS BEATING] 1474 01:29:03,472 --> 01:29:06,775 [SINGING IN SWAHILI] 1475 01:29:32,100 --> 01:29:34,102 OH, ISN'T THIS WONDERFUL? 1476 01:29:34,102 --> 01:29:36,238 MY GOD, WHAT A PERFORMANCE. 1477 01:29:36,238 --> 01:29:39,241 THEY REALLY LOVE HIM, DON'T THEY? 1478 01:29:39,241 --> 01:29:41,444 THEY SURE DO. 1479 01:29:49,251 --> 01:29:51,053 JOHN, SCENE 244-- 1480 01:29:51,053 --> 01:29:54,657 PETE, I'M SURPRISED TO SEE YOU HERE LAST NIGHT. 1481 01:29:54,657 --> 01:29:57,860 I THOUGHT YOU'D BE IN PARIS BY NOW, 1482 01:29:57,860 --> 01:30:01,664 DEVOTING YOURSELF TO ALL THOSE THINGS YOU KNOW NOTHING ABOUT. 1483 01:30:01,664 --> 01:30:06,134 YEAH? I THOUGHT YOU'D HAVE YOUR BIG TUSKER BY NOW. 1484 01:30:06,134 --> 01:30:08,871 STICK AROUND, KID. 1485 01:30:08,871 --> 01:30:10,873 STICK AROUND. 1486 01:30:28,557 --> 01:30:30,759 [THUNDER] 1487 01:30:32,895 --> 01:30:35,063 OH, GEEZ. 1488 01:30:47,710 --> 01:30:50,613 NO SHOOTING TODAY, FOLKS. 1489 01:30:50,613 --> 01:30:52,447 WHERE ARE YOU GOING, JOHN? 1490 01:30:52,447 --> 01:30:54,116 I'M GOING HUNTING. 1491 01:30:54,116 --> 01:30:57,319 WE CAN'T SHOOT THE SEQUENCE IN THE RAIN. 1492 01:30:57,319 --> 01:30:59,722 HOW LONG WILL THE RAIN LAST? 1493 01:30:59,722 --> 01:31:01,724 IT COULD LAST FOR DAYS. 1494 01:31:01,724 --> 01:31:04,727 IT'S THE BEGINNING OF THE RAINY SEASON. 1495 01:31:04,727 --> 01:31:06,729 WHY DIDN'T SOMEBODY TELL US? 1496 01:31:06,729 --> 01:31:09,131 I DID! I TOLD MR. WILSON. 1497 01:31:09,131 --> 01:31:12,735 HE SAID THE DAYS HE COULDN'T SHOOT THE FILM, 1498 01:31:12,735 --> 01:31:14,937 HE COULD SHOOT ELEPHANT. 1499 01:31:14,937 --> 01:31:17,873 HA HA HA! 1500 01:31:17,873 --> 01:31:20,743 AT THIS RATE, I'LL BE IN DEBT 1501 01:31:20,743 --> 01:31:22,878 THE REST OF MY LIFE. 1502 01:31:27,249 --> 01:31:29,918 [THUNDER] 1503 01:31:35,423 --> 01:31:36,458 [SCREECH!] 1504 01:31:36,458 --> 01:31:38,126 COME HERE, YOU LITTLE DEVIL. 1505 01:31:38,126 --> 01:31:41,129 I DON'T FEEL THIS CHANGE IS APPROPRIATE, 1506 01:31:41,129 --> 01:31:44,733 BUT JOHN SEEMS TO THINK IT'S A BIT COMPLICATED. 1507 01:31:44,733 --> 01:31:46,702 WHY COMPLICATED? 1508 01:31:46,702 --> 01:31:48,704 WELL, THAT'S A GOOD QUESTION, 1509 01:31:48,704 --> 01:31:51,907 AND IF I COULD SIT JOHN DOWN SOMEDAY, 1510 01:31:51,907 --> 01:31:53,475 I'D ASK HIM. 1511 01:31:53,475 --> 01:31:56,078 [COUGHING] 1512 01:31:56,078 --> 01:31:57,546 NO LUCK? 1513 01:31:57,546 --> 01:31:59,414 NO ELEPHANT? 1514 01:31:59,414 --> 01:32:02,017 WELL, WE SAW PLENTY OF THEM. 1515 01:32:02,017 --> 01:32:05,220 WE JUST DIDN'T SEE THE BIG TUSKER, 1516 01:32:05,220 --> 01:32:07,089 THE ONE I WANT. 1517 01:32:07,089 --> 01:32:08,757 WE'LL GET ONE. 1518 01:32:08,757 --> 01:32:12,360 THESE RAINS WON'T STOP FOR ANOTHER WEEK YET. 1519 01:32:12,360 --> 01:32:14,930 YOU THINK SO? 1520 01:32:19,501 --> 01:32:21,236 OH, SHIT. 1521 01:32:38,253 --> 01:32:40,723 [ENGINE STARTS] 1522 01:32:51,266 --> 01:32:53,736 [THUNDER] 1523 01:33:25,968 --> 01:33:28,971 IT'S GOING TO BE A CLEAR DAY. 1524 01:33:28,971 --> 01:33:31,573 WE CAN FINALLY START THE PICTURE. 1525 01:33:31,573 --> 01:33:34,009 HA HA HA! 1526 01:33:37,980 --> 01:33:41,784 I'M SENDING THE COMPANY TO KIVU'S VILLAGE. 1527 01:33:47,389 --> 01:33:52,027 JOHN, WE'VE BEEN SITTING HERE FOR FIVE DAYS. 1528 01:33:53,696 --> 01:33:55,864 WE'RE ALREADY A WEEK BEHIND. 1529 01:33:55,864 --> 01:33:59,668 WE HAVEN'T EVEN GOT ONE SHOT. 1530 01:34:08,076 --> 01:34:09,812 ALL RIGHT. 1531 01:34:17,419 --> 01:34:20,789 ALL RIGHT. LET'S MAKE A MOVIE. 1532 01:34:20,789 --> 01:34:24,760 I'LL BELIEVE THAT WHEN I SEE IT. 1533 01:34:39,241 --> 01:34:41,643 BOSS! BOSS! BOSS! 1534 01:34:41,643 --> 01:34:43,245 BOSS! 1535 01:34:43,245 --> 01:34:44,980 [SPEAKING SWAHILI] 1536 01:34:44,980 --> 01:34:49,651 HE NEVER LOOKS AT THE SCRIPT, DOES HE? 1537 01:34:49,651 --> 01:34:52,054 NOPE. HE'S AFRAID HE'LL LOSE 1538 01:34:52,054 --> 01:34:54,256 HIS ARTISTIC SPONTANEITY. 1539 01:34:55,724 --> 01:34:58,126 WHAT ARE YOU TWO GROUSING ABOUT? 1540 01:34:58,126 --> 01:35:01,063 WHAT'S WRONG, PAUL? I'M ON THE SPOT, 1541 01:35:01,063 --> 01:35:03,932 READY TO MAKE MAGIC, MAKE YOU RICH. 1542 01:35:03,932 --> 01:35:05,533 WHAT'S THE MATTER? 1543 01:35:05,533 --> 01:35:06,902 NOTHING. 1544 01:35:06,902 --> 01:35:09,671 JOHN, KIVU SENT HIM. 1545 01:35:09,671 --> 01:35:11,907 HE'S ONTO A BIG HERD. 1546 01:35:11,907 --> 01:35:14,076 IS THAT RIGHT? 1547 01:35:14,076 --> 01:35:16,044 ABOUT 3 MILES FROM HERE. 1548 01:35:16,044 --> 01:35:18,280 WHAT ARE WE WAITING ON? 1549 01:35:19,414 --> 01:35:21,750 JOHN, THE SKY IS CLEAR. 1550 01:35:21,750 --> 01:35:25,253 YOU'VE GOT WORK TO DO. I'LL BE RIGHT BACK. 1551 01:35:25,253 --> 01:35:27,923 HOW DO I KNOW YOU'LL COME BACK? 1552 01:35:27,923 --> 01:35:31,593 SEND YOUR BOY PETE IF YOU DON'T TRUST ME. 1553 01:35:31,593 --> 01:35:33,561 MAKE SURE HE DOESN'T FORGET 1554 01:35:33,561 --> 01:35:35,430 WE'RE STARTING A PICTURE HERE. 1555 01:35:35,430 --> 01:35:37,099 HE DOESN'T NEED ME. 1556 01:35:37,099 --> 01:35:40,268 THAT'S RIGHT, AND IT MAY BE RISKY. 1557 01:36:27,749 --> 01:36:30,018 [SPEAKING SWAHILI] 1558 01:36:30,018 --> 01:36:32,354 YOU'RE ONTO A BIG ONE? 1559 01:36:32,354 --> 01:36:33,755 [SPEAKING SWAHILI] 1560 01:36:33,755 --> 01:36:35,523 WHAT'S HE SAYING? 1561 01:36:35,523 --> 01:36:37,759 [SPEAKING SWAHILI] 1562 01:36:37,759 --> 01:36:40,562 WE'LL LEAVE THE BOY HERE. 1563 01:36:40,562 --> 01:36:42,764 [SPEAKING SWAHILI] 1564 01:36:42,764 --> 01:36:44,766 [COCKS RIFLE] 1565 01:36:44,766 --> 01:36:46,268 JOHN. 1566 01:36:48,603 --> 01:36:51,039 LET'S GO BACK. THEY'RE WAITING. 1567 01:36:51,039 --> 01:36:53,241 WELL, LET THEM WAIT. 1568 01:37:09,391 --> 01:37:11,393 [COUGHING] 1569 01:37:13,395 --> 01:37:15,197 BAD COUNTRY, THIS. 1570 01:37:15,197 --> 01:37:17,799 WALK RIGHT UP TO A TUSKER 1571 01:37:17,799 --> 01:37:19,902 BEFORE YOU'D EVER SEE HIM. 1572 01:37:33,815 --> 01:37:36,018 [COUGHING] 1573 01:37:45,827 --> 01:37:47,829 [SPEAKING SWAHILI] 1574 01:37:47,829 --> 01:37:49,364 WHAT'S HE SAYING? 1575 01:37:49,364 --> 01:37:52,567 HE SAYS THEY'RE JUST BEYOND THESE TREES. 1576 01:38:25,867 --> 01:38:28,070 [ELEPHANT TRUMPETS] 1577 01:38:32,474 --> 01:38:34,309 [SPEAKING SWAHILI] 1578 01:38:34,309 --> 01:38:37,012 IT'S A BIG ONE, ALL RIGHT, 1579 01:38:37,012 --> 01:38:40,282 BUT THERE ARE COWS AND YOUNG ONES WITH HIM. 1580 01:38:40,282 --> 01:38:42,917 IT'S NO GOOD. I DON'T LIKE IT. 1581 01:38:42,917 --> 01:38:44,886 WHAT DOES KIVU SAY? 1582 01:38:44,886 --> 01:38:47,255 I DON'T CARE WHAT HE SAYS. 1583 01:38:47,255 --> 01:38:50,892 I'VE KILLED 5OO OF THEM. THIS ISN'T THE DAY. 1584 01:38:50,892 --> 01:38:53,461 HOW MANY CHANCES DOES A MAN GET? 1585 01:38:53,461 --> 01:38:56,898 THERE'S NEVER A REASON TO DO SOMETHING WRONG. 1586 01:38:56,898 --> 01:39:00,902 WOULD YOU ASK KIVU WHAT HE THINKS? 1587 01:39:00,902 --> 01:39:03,671 [SPEAKING SWAHILI] 1588 01:39:03,671 --> 01:39:05,740 [SPEAKING SWAHILI] 1589 01:39:05,740 --> 01:39:08,310 HE SAYS HE'S WILLING TO TRY. 1590 01:39:08,310 --> 01:39:11,479 OF COURSE HE'S WILLING TO TRY. HE'S GOT GUTS. 1591 01:39:11,479 --> 01:39:14,082 JESUS CHRIST, JOHN! GIVE IT UP. 1592 01:39:14,082 --> 01:39:17,785 IT'S HIS WORD AGAINST MINE, MR. WILSON. 1593 01:39:17,785 --> 01:39:19,954 WILL YOU COME ALONG? 1594 01:39:21,056 --> 01:39:23,125 COME ON, KIVU. 1595 01:39:41,843 --> 01:39:45,113 [AROOO!] 1596 01:39:46,414 --> 01:39:48,283 [AROOO!] 1597 01:39:49,817 --> 01:39:53,555 [AROOO! AROOO!] 1598 01:40:19,414 --> 01:40:21,483 [AROOO!] 1599 01:40:33,861 --> 01:40:36,098 [CLICK] 1600 01:40:47,409 --> 01:40:49,177 [AROOO] 1601 01:40:57,919 --> 01:41:00,188 [AROOO!] 1602 01:41:05,327 --> 01:41:07,429 [YELLING IN SWAHILI] 1603 01:41:13,868 --> 01:41:15,069 NO! 1604 01:41:15,870 --> 01:41:18,406 AAH! 1605 01:41:33,921 --> 01:41:35,490 [AROOO!] 1606 01:41:38,926 --> 01:41:42,230 [AROOO!] 1607 01:43:32,774 --> 01:43:35,610 [SPEAKING SWAHILI] 1608 01:43:40,782 --> 01:43:43,385 [SOBBING] 1609 01:43:58,065 --> 01:44:00,635 [SOBBING] 1610 01:44:01,736 --> 01:44:04,406 [DRUMS BEATING] 1611 01:44:37,572 --> 01:44:40,575 WHAT ARE THEY SAYING, OGILVY? 1612 01:44:40,575 --> 01:44:42,977 WHAT ARE THE DRUMS SAYING? 1613 01:44:42,977 --> 01:44:46,180 THEY'RE TELLING EVERYBODY WHAT HAPPENED, THAT'S ALL. 1614 01:44:46,180 --> 01:44:48,450 THE BAD NEWS. 1615 01:44:52,387 --> 01:44:54,789 IT STARTS WITH THE SAME WORDS. 1616 01:44:54,789 --> 01:44:56,591 WHAT ARE THEY? 1617 01:44:59,060 --> 01:45:00,795 WHITE HUNTER... 1618 01:45:00,795 --> 01:45:02,664 BLACK HEART. 1619 01:45:09,471 --> 01:45:11,806 WHITE HUNTER... 1620 01:45:11,806 --> 01:45:13,675 BLACK HEART. 1621 01:45:29,624 --> 01:45:32,226 YOU WERE RIGHT, PETE. 1622 01:45:32,226 --> 01:45:34,829 THE ENDING IS ALL WRONG. 1623 01:46:09,931 --> 01:46:13,701 UH, JOHN, WE'RE READY. 1624 01:46:34,288 --> 01:46:37,024 ALL RIGHT. QUIET, PLEASE, EVERYONE. 1625 01:46:37,024 --> 01:46:39,126 READY, MISS GIBSON? 1626 01:46:51,906 --> 01:46:53,641 READY, MR. WILSON? 1627 01:46:55,910 --> 01:46:57,445 ROLL 'EM. 1628 01:46:57,445 --> 01:46:58,913 SPEED. 1629 01:47:03,451 --> 01:47:05,587 MARK IT. 1630 01:47:05,587 --> 01:47:07,922 SCENE 1. TAKE 1. 1631 01:47:21,202 --> 01:47:22,670 ACTION. 1632 01:48:01,976 --> 01:48:04,979 [DRUMS BEATING] 1633 01:48:18,660 --> 01:48:20,995 [ELEPHANT TRUMPETS] 1634 01:48:25,399 --> 01:48:28,603 [SINGING IN SWAHILI] 1635 01:52:09,290 --> 01:52:11,292 CAPTIONING PERFORMED BY THE NATIONAL CAPTIONING INSTITUTE, INC. 1636 01:52:11,292 --> 01:52:13,627 CAPTIONS COPYRIGHT 199O WARNER BROS., INC. 1637 01:52:13,627 --> 01:52:16,230 PUBLIC PERFORMANCE OF CAPTIONS PROHIBITED WITHOUT PERMISSION OF NATIONAL CAPTIONING INSTITUTE