Original subtitles

Its heart will burst at any moment.

Could you stop, please? I can't stand it any longer.

Relax. Can't you see I'm working?

I can't stand to see that poor animal die.

Then shut your eyes.

I told you he shouldn't have come.

I can't stand it!

Where are you going?

Keep shooting!

Keep shooting!

Where are you going?

Nowhere. I just wanted to stop you from killing that poor gazelle.

Well, you've succeeded.

Now I have to film you instead of the gazelle. I don't want to be in your

film. It's too late. It's already done.

Put in the spare can of petrol.

Here.

It's empty.

The cap was loose.

Is there anything wrong?

Well, it's obvious, Miss Davies. No more petrol.

Well, that's all right. Now we're even worse off than the gazelle, hmm? I

always did like the unexpected.

Did any of you bring some extra water?

But I thought you were supposed to do that.

Miss Davis, let's make everything straight once and for all. Did I invite

you to come along?

No, it was someone else in your group.

A certain Signor Rossi. Well, if you have any complaints to make, make them

to Signor Rossi.

Signor Rossi's not with us. At the very most, I'm responsible for this lady and

this gentleman that I invited on the clear understanding we were going on a

gazelle hunt.

To me, Senor Rossi said a drive across the desert. He didn't say you'd hunt

gazelles.

How

many

miles have we come into the desert?

Sixty miles.

The best thing to do is to walk back to the trail.

Then hope and pray somebody comes along.

And what if nobody comes along?

One thing's certain. If we stay here, nobody will come along.

Let's go.

Check it.

Wait a minute. He has water.

He was drinking. I saw him.

Don't be hysterical, Miss Davis.

Nobody's drinking.

But I'm sure he was drinking. There is water.

Look, this is empty.

If any of you in this extremely dramatic moment, and you must realize the

predicament we're in,

would care to record a statement of any sort, he can do it now.

You mean, are you suggesting we record our last will and testament?

Well, if any of you feels it's necessary, why not?

Why are you doing this?

Haven't we had enough bad luck as it is?

Yes, Mr. Klaus.

Mrs. Bates.

What would you give for a glass of water?

A year of my life.

Or else?

Or else what?

How long have you been married?

I don't like the tone of your question.

All right.

Let's change the subject.

Mrs. Bates, would you be unfaithful to your husband for a glass of water?

That's enough.

Listen.

You sure their ship docked at Aden?

Yes. But you'll have to change planes in Cairo in order to get to Aden. And I'm

not sure you'll find a connection there.

Well, I can always rent one.

Well, you're at it. Why don't you buy one, eh? Fine.

Why not?

How why not, like hell? I try to organize things as best I can so you can

make your film. And you leave us all high and dry so you can run after a

girl.

She's not any old woman.

She's useful. I can't do without her.

I'll catch up with her on the ship and I'll bring her with us to Singapore.

All right.

You realize that I have to clear this with Rome?

It's already done.

I had the producer on the phone. He said the material was fantastic.

Cairo. All I need is a few days and I'll be in Singapore with her.

All right.

Thanks a lot.

A bag.

I'm taking that book there.

All right. Thanks.

One thing I'm sure about is coming for you.

What are you going to do about it?

What do you mean?

I mean that you know perfectly well you're free to do what you want.

But if I were you, I wouldn't trust that chap.

Why, you still think that that incident in the desert was nothing but a trick to

get a lifelike scene for his documentary?

Don't you?

No, I don't.

Will you please leave me alone?

You're wasting your time chasing after me.

And besides, it's very embarrassing.

I could either say nothing, which as far as I'm concerned is like saying yes, or

I could make a row, which I don't intend to do.

Why don't you want to make a row?

Because my husband's here.

If I were alone, I would.

But with my husband.

It makes me look like an outraged little wife, a part which I haven't the

slightest desire to play.

Now, listen, Barbara.

You're already part of my documentary, and you should be in the rest of it.

You won't appear all the time, of course.

You would play the part of a straight-laced Anglo-Saxon woman who's

always being shocked.

At the same time, she's falling for the so-called lure of the Orient.

You've got it all worked out, haven't you?

You're chasing after me?

Just to make use of me.

Why, yes, I intend to make use of you.

Do you always make use of the persons you love?

In a certain way, yes.

You, for example, are a kind of object that can be made use of in a number of

ways.

Making love, companionship, perhaps, as a character in my film.

And later on, no doubt, I'll discover... Other uses for you.

Of course, you'll have to leave your husband.

I shall do nothing of the sort.

My husband, at least, treats me like a human being.

I can think of nothing more degrading than becoming an object, as you say.

Stop kidding yourself.

But listen to me.

There's nothing you want more than to be degraded.

Why didn't you go to his table?

It would be much less embarrassing, especially for you.

It's sad.

Even in Japan, everything's changing.

What, for example?

Women. Even there they want to be emancipated.

They don't look up to men anymore like the one over there.

Do you want women to be objects?

Barbara, it's not a question of preference.

They are objects as far as sex is concerned, and that's what counts.

You know, if I were the sort of woman you seem to prefer, I wouldn't be here

talking to you now.

What's there to stop you from being here with me?

My husband.

Why doesn't he?

Don't you understand? We have a civilized relationship based on

friendship and understanding.

You think so?

Well, I at least keep the objects that belong to me near at hand.

If you really want to know, I told him you kissed me.

When did you tell him?

Last night. I couldn't sleep because of the heat.

And what did he say?

He said I wasn't to trust you.

Is that all?

No.

He smoked a cigarette.

And afterwards, I suppose you made love.

If you tell him what you do with me, you'll have to tell me what you do with

him. Well, it's not the same thing Did you make love or didn't

you Yes

If I hadn't come, you would have left the ship at Singapore without even

saying goodbye.

You're leaving the boat with me.

I've already booked a room for you at the Cathay Hotel.

Do you really care about me?

I may well need you.

What for?

Why, for the film.

Do you really care about me?

Get undressed.

Thank you.

Thank you.

That's enough. We've shot too much of this.

It's a kind of scene nobody would believe is true.

Do you think so?

It's quite obvious they're deaf and dumb.

Come on.

Tell Rossi to wait at the jeep. All right.

Why don't you go with one of them?

Me?

What are you doing?

I want to see how the deaf and dumb make love.

Do you beat them with it?

Yes, whenever they ask for it.

What do you mean exactly?

More so than with the whip.

We kill them with faith.

Come.

These people come here with the will to be healed.

And if they are not strong enough to overcome the desire for opium, they can

ask to be whipped.

But do you believe they would ask to be whipped?

Of course, physical pain makes one forget most desires.

But why do they sleep in the open?

to stay in close contact with nature, which is the highest manifestation of

purity.

Man's destruction begins when he leaves nature.

Ah, here is where to sleep if it rains at night.

Well, Doctor, it's all magnificent, but it's not very much movie-wise.

Do you understand?

What means have you to help these opium addicts?

With whatever little charity we receive.

Look, I'm ready to make charity enough to get these gentlemen fat as Buddhas.

Of course, I'll have to make some changes when I shoot, if you agree.

But you'll be satisfied.

Huh? Yes.

I would never have believed such a thing.

What a way to cure the sick.

You fell for it?

What do you mean?

Didn't you realize that almost the whole scene was faked?

Faked? And what about all those people being beaten?

Weren't they drug addicts?

Barbara, come on, don't be naive.

The only real thing about this scene was you.

And even that was too much.

Barbara, reality...

It's boring.

Lies are entertaining.

Rossi, what about those men in a trance? Is it true or just a figment of your

imagination? I'm told we can find them in Siam.

All right, I'll go any way you suggest.

But next time, don't take me on one of your wild goose chases.

Thanks. Now, if you don't mind, I'm going to get some sleep.

Barbara, you can't leave.

Let go.

I'm going.

My husband was right.

When and where?

Even in the desert, everything was planned.

First the water which wasn't there, and then the rescue.

Correct.

Don't be an idiot.

Come here.

You bastard! Stop it!

You're just a coward. What you're trying to do...

is something low, filthy and horrible.

Treating people just like... Like what they are, objects.

But we are all like that, Barbara.

I am and you are.

Kiss me.

Kiss me.

Thank you.

What would you say to a trip to Rome?

To Rome?

Why not?

We could fly there.

We'd be back in two days.

Do you mean it?

Were you talking seriously about that trip to Rome?

I was joking.

With all the important things we have to do, our plans for Vietnam, and I'm still

awaiting an answer from the Chinese consulate. It's very important for me.

Are we going to China as well?

Yes.

Provided we get our visas.

I've got some fabulous ideas for the film.

Life in the communes, for example, you know.

The men live in one part, the women in another.

So making love is a sort of military exercise, by numbers, you know.

Then a big sequence on the...

School children being brainwashed with the thoughts of Chairman Mao.

But my film will finish in the States.

Yes, in the world of astronauts, plastic flowers.

Transistors.

Sounds fabulous.

Just a minute.

I know very well it's not Saigon here, but if I were you, I would think about

my offer. It would be a great act of faith.

What a magnificent opportunity of spreading your creed at a moment when

mankind has lost all its faith in itself and in God.

Your proposal seems to me quite absurd, here at any rate.

But perhaps it is only a question of latitude.

I suggest you go to Saigon.

Excuse me.

What were you talking about?

I was trying to make a deal with him.

What kind of a deal?

In front of the temple.

Just think what a horrifying, terrible spectacle it would be if he set himself

on fire.

If who set himself on fire?

That Buddhist priest.

That's what I was asking him to do.

And while he burnt himself in protest against the war in Vietnam, you and I

would be making love.

But that's monstrous.

Why?

People are dying all over the world and just think how many others are kissing

and making love.

What difference is there if we make love a thousand miles away or under the nose

of a burning priest?

Come on.

I want to make love the real thing, not for the film.

I think we're in luck. What do you mean?

I fixed us an appointment with that English hunter I was telling you about.

Why? Does he know something?

It looks like he does.

So you know exactly what we're looking for.

My friend must have told you about the information we've been given.

Yes, he mentioned it to me. But look, I've lived here for many years. I know

the way things work here.

Everyone is ready to give you information, but most of the time it's

false. Pretty, isn't she?

But it's no use. She's in love with me.

You still haven't told us if you know where we can find these men who go into

a trance.

Well, I know they exist.

And I know more or less you can find them along the border between Malaya and

Siam where there's famine.

But there is one area where I'm sure it takes place.

And the Sultan there happens to be a good friend of mine. We're like

brothers. Let's get going then.

Just a moment.

It's not as easy as all that.

We'll have to organize a properly equipped expedition, if we're going to

get there in one piece.

It's the only way. The place is infested with dangerous animals.

All right, but we are not easily frightened.

Don't worry. Where do we leave?

You won't run any risks as long as I'm with you.

We can leave tomorrow if I can get everything ready.

We should get an early start.

All right, then it's agreed.

You'll take care of everything.

Yes, I will.

All right Well, shall we go you go ahead?

I'll see you back at the hotel.

I'll probably stay here.

What about Barbara?

Don't worry about that.

What are you waiting for? Go on I feel like sleeping alone Okay

Tell me something.

Does he send you to bed with all his clients?

Don't worry about the buffalo.

I know how to make them miss if they charge us. That's good. You mean a twist

of the hips, like the matadors do.

Olé!

Imagine what a marvelous scene it could be.

While Buffalo charging and Barbara on her knees pointing her rifle.

Why are you with me?

Because of the public.

Audiences are masochistic and sadistic.

A pretty girl with a rifle arouses their masochism.

The same girl, helpless and unarmed, their sadism.

There are no good or bad films.

They're just those with or without the occasional stimulation it makes. The

public digest the rest of the film.

This way.

Follow me.

Sayid! Sayid!

That's one of his dogs. He has a lot of them.

That one's a bit mangy.

Hey, there's somebody there.

That's Zahi.

That's him.

Zahi.

Zahi.

The Sultan says that his palace is at your disposal.

Ask him where we can find the men in a trance.

We'll get around to that later.

Oh, wait a minute.

He wants to know if we can give him some of our European food.

This man is starving.

No wonder he's so thin.

Roger, go and get him a tin of beef. Right.

I'm sorry, but the Sultan was telling me that there are no more men in trances.

There was an epidemic and they all died.

I'm sorry.

We couldn't stand the stench in there.

I shall need a lot of butterflies.

There are lots of them around here.

Well, I'll need a thousand, maybe more.

I'll see what I can do.

If the others will give me a hand.

Well, I can help too.

The lighter.

What are you going to do with so many butterflies?

I'll explain to you later. There's plenty of time.

We start shooting tomorrow morning at dawn.

Try to catch one. Try to catch one.

Look how beautiful they are.

Now look at me. Look at me. Look at me.

Look at me.

Look now.

Slowly. Try to catch one. Try to catch one.

Look at me.

Turn around like this.

Look at me now. Look at me. Look at me. Turn around.

Turn around.

That's right.

Good.

Try to catch one now. Try to catch one.

Come on.

Go get a butterfly.

That's right.

Good.

Try harder.

Try to catch one. Try to catch one.

Take it and give it to the Sultan to eat.

Eat? Go and give it to him.

Eat.

You have to eat it.

Eat, yes.

Good, good.

Poetic, isn't it? The old Sultan reduced to eating butterflies.

Come this way now.

Slowly.

Onto the carpet.

That's right.

Look at the sky now.

You can hear the tinkling of the temple bells.

You ate very well, so you want to sleep now.

You are very happy.

Lie down very slowly.

Slowly.

It's no good like this. Look at me. Just look at me.

Look, I'm arriving here, and first of all, never look at the camera. Never.

Now, don't look at the camera.

You arrive here, you're very happy. You see a marvelous pool there which

reflects the sky, and you ate very well. You feel well.

All right?

Yes, and then you lie down very slowly, very slowly, content with a smile.

Smile.

Then you just lie back.

And then very happy, you go to sleep.

You must look very peaceful.

All right.

Now ready.

Again.

Go.

Rolling.

Action. Come on now.

Very slowly.

You're happy. Look happy.

Very slowly.

Yes, like this. And look at the sky.

You smile. Smile.

Come on.

That's right.

Like that.

You just sit down now. Sit down very slowly.

Very slowly.

Slowly.

Very happy.

Yes.

Now put your two hands under your head and slowly go to sleep.

Very slowly.

And then you hear the music of the tinkling of the temple bells.

So close your eyes very slowly and you sleep.

Sleep.

Sleep.

Close your eyes. Sleep.

That's a good boy.

Stop.

Give him a... a tin of beef because it's been good.

I would like to buy one of his wives.

No.

Oh, I'm sure he's going to accept.

Come on.

Ready.

Look.

Tell him that I would like to buy one of his wives.

And you're going to have a lot more.

Dia kasih semua wang ini.

Peter.

He says no.

It's very touching.

Well, that's about it for now.

You know, I felt so sorry for the Sultan today.

I don't think I ever felt so sorry for anyone.

That's a good sign.

What do you mean?

If you felt sorry for him, it means that the public probably will too.

Oh, but I feel sorry for the real Salton, not for the one who will appear

on the screen.

You are much too attached to reality.

You see a degraded, humiliated man, and you don't realize that through him I'm

representing the decline of the Orient.

The decline we'll see in this film is the decline of the West, which reduces

everything to merchandise, to products for mass consumption.

Even the suicide of a Buddhist priest.

What are you getting so excited about?

You think you're very clever, very cynical, very self-confident.

But the truth is, you're nothing but an instrument.

The really guilty person is somewhere else, waiting for you to make a film

full of lies and scandals, waiting for you to make money.

I don't know who this person is.

But I feel he's present among us.

Have you finished?

That's enough for now.

Do you think you've told me something new?

Do you think you've broken through some barrier of human understanding?

Now listen to me.

I have decided once and for all where my place in life is.

With the bosses.

Yes, with the bosses.

And I'm not ashamed of it like many others.

What's going on? Just a minute.

Hey, how's about a dance? Take your hands off me, please.

Just one little dance. He's not even looking at you.

Paolo. Yes, what's the matter? Look.

Why don't you go to bed?

All right.

Hold this.

How's about that dance, huh?

Please go away.

Yes, understood.

Let's talk privately.

Look, we better talk somewhere else. All right.

But Paolo, what about me?

Wait for me or go back to the hotel.

He ditched you, eh? Let's go in and see our club. Go away.

Why not?

Please, sit down.

Mr. Rossi. No, thanks.

I'm sorry, sorry.

My friend here tells me that you know everything going on in Saigon.

Do you know where and when the monks, the Buddhist monks, set themselves on

fire?

We realize that.

All right, but I've got a film to make. I can't hang around waiting forever.

Here is a list of everything Mr. Rossi requested.

Bombings, executions, even the burning of a monk.

These boys have promised to let me know as soon as they hear something big is

going to happen.

All right, let's make a deal.

If you find me a monk willing to burn himself alive, I'll pay you too.

Plus a generous donation to the Buddhist community.

If you will excuse us, we will be in touch with you if you have any further

information.

Didi. All right.

Well, what did you expect?

They must think you're out of your mind.

No, you don't know these people.

They would sell their mother for a package of cigarettes.

Where'd you find those two?

Outside Saigon, about 20 miles.

In a village where the Viet Cong have set up a command post.

All right, take me there.

Get Valentino out of bed and we'll be off.

Come and dance with me. Come on, stupid.

We're going. Aren't you?

Oh, bless you, too. You're always so serious. Come on, now. Oh, but why not?

Oh, Rusty, please.

I don't want to go.

Oh, please, Mr. Dick.

I don't want to go.

I can't.

The tripod!

Here, hold this a minute.

Listen, they're not playing around.

And I'm a much better target than you are.

They're not shooting in our direction. Don't lose time talking.

We are Italian journalists.

I'm only here to...

I'm a journalist.

It could have been worse.

The Viet Cong found a pistol on him.

Did you get any film of me while I was being beaten?

No.

Well, we'd better be going.

If you need us, just call.

I want to sleep.

It would be a relief for me to know that you're happy.

But I doubt it, Barbara.

I leave for the States tomorrow.

You can join me there whenever you want to.

I'll be waiting for you.

More bombs here than at the front.

Think they'll blow up the hotel?

We're wasting a hell of a lot of film.

Never mind. Keep shooting.

Okay.

What do you think they're doing? Shooting a picture or something?

I don't know. Ask him.

What's going on?

I'm a reporter.

Same old crap, man.

That's one way of keeping the population in a state of panic.

Yeah, but sometimes these bomb scares are gonna get real, man, you know?

They're blasting everything they can lay their hands on, the bastards.

We caught eight Viet Cong in a raid this morning.

Did you shoot them?

No, they're being tried.

Probably some of them will be executed tonight in a public square, as an

example.

Did you torture them?

Stop shooting.

There's nothing happening.

Let's go.

They could easily plant a bomb in our hotel too. And this time it might go

off.

Who the hell cares?

When your number comes up, that's it. You can slip on a banana skin too.

The Pope's getting involved.

The war will finish. That's bad for us.

Yes, you can play the big hero.

But if the film goes well, you will make all the money.

But for me, it doesn't change a thing.

Just do your job well, and I promise there'll be a lot for everyone.

But what more do you want me to do?

Just being here with you is dangerous enough.

You know, one of these days, Ruggiero is just going to pack up and leave.

He can do as he likes as far as I'm concerned.

I've no need for yellow bellies.

Well, I happen to need him.

All right, all right. Don't worry about it. I'll talk to him.

I thought you had ideas like mine, that you liked this way of life.

You always dreamt of going to China. Well, we are nearly there.

It's not the same anymore.

Something has changed.

What?

I'm still the same, and you are too.

Maybe you still are the same, but the war was not on the program.

What war? Look around.

We always love to risk.

We.

We.

You always speak in the plural.

I followed you and I'm still following you for God knows what reason.

Come on, you're tired.

You know who's been a surprise?

Barbara. And she's a woman. Oh, well, she adapts to everything.

Did she have any choice?

You don't think that she's happy, do you?

Cut it out. I have too much to think about.

The light's going fast.

If they don't arrive soon...

There

they are. Come on.

Closer.

Closer.

We are journalists.

We want to film this.

Come

on,

Valentino. Here.

Take them from this angle.

Here, quick!

There's not enough light there.

Look, sir, we need a place with more light. Shut up. Get out of the way.

Please, it's for the camera. We can't shoot our film there. We need more

light. Get out of my way! Do us a favor, please, won't you?

Against the white wall there.

It's only a few yards to the white wall. What do you have to lose?

It's the only way we can shoot the scene. Please!

Now take

the

soldiers, quick!

Get out of here.

Go away.

A close up against the wall.

Stop.

What did you have to pay them for the information?

$500. What information?

A terrorist bombing.

How can you be sure there'll be one?

I'm not.

It's a chance we'll have to take.

When will it take place?

At midnight tomorrow.

Where?

From there with a bazooka at midnight.

There are no windows here. They'll have to fire at the door.

If you shot the scene from here, you'd be perfectly safe.

Yes.

The shell will hit more or less where Barbara is sitting, and you'll be

shattered from the blast by this thick wall.

You'll have plenty of time to get some good shots of the customers before the

explosion.

But you're joking, aren't you?

No, I'm speaking perfectly seriously.

I wouldn't miss this if it cost me my life.

You mean my life?

You can see for yourself that you'd be perfectly safe here.

Forget it.

I'm not standing there or anywhere else.

Listen to me.

I'll tell you another thing, too.

I'm going back, straight back to Rome.

And I'm leaving right now.

While I'm still in one piece.

I'll shoot the scene by myself.

Is it all right now?

Is it all right or not?

All right.

Shall we go?

You can see how difficult it is to work with these people.

I have to do it all by myself.

I don't intend to give you my opinion on what you're about to do.

It wouldn't be much use anyway, would it?

No, it wouldn't.

But just tell me one thing I've wanted to know for a long time.

You're prepared to risk your life.

But what for?

Is it to make a great film?

Or is it because you just don't give a damn about anything or anyone?

I've never thought about it.

But I don't have much choice now.

The others are scared.

And you are not.

A little.

I feel empty inside.

I really don't know why I go on staying with you.

But with me, you've been living life to the full, really living.

What would you do with a so-called normal life? You eat, you sleep, and

then what?

Do you want to make love with me?

If you want.

What is it?

You're afraid somebody will see us?

No.

I've even got over that.

Good for you.

That's the way I like you to be.

That's enough here.

Let's take the other side.

He's over here.

It's almost time.

I'm going to get ready outside

What are you doing here?

Why didn't you stay in the hotel?

I didn't want to be alone.

I'll keep out of your way.

Valentino, come here.

If you ask me, he's crazy all right. I wish there was some way to stop him.

Everything ready?

Cameras, film loaded, lenses?

Of course.

Well done.

Now, listen.

Make a last sacrifice and I'll see you get a huge bonus.

You know, I could have bet on it.

This happens every time.

But it's not because I'm afraid.

We're not running any risks in there.

Just that scene would be much bigger filmed by you.

Save your breath.

You said you were going in there.

Well, go ahead.

Get the camera and go inside. That's an order now.

You're insane.

And we're even more insane to have come with you.

All right.

I'll make sure you regret this. I'll talk to you later.

and the battery.

Not this one.

The new one.

After the explosion, come in and film the scene even if you find me dead. Is

that clear? Quite clear.

Don't be afraid.

Everyone here is exaggerating. I won't get a scratch where I'll be standing.

Paolo.

turn off that light easy

Come on.

Drink up. Come on.

You little darlings, you.

Ruggero, how much film have I got left?

Almost finished. Get another reel, quick.

What happened now?

Valentino, I got it.

I got the explosion.

I got it.

Keep shooting.

Take close-ups. Keep shooting.

I got the explosion. I filmed it. Keep shooting, Valentino. I got it. I want

close-ups. All the close-ups you can get.

Get me on film.