All language subtitles for White.Hunter.Black.Heart.1990.1080p.WEBRip.x265-RARBG_2_English

CAPTIONING MADE POSSIBLE BY
WARNER BROS. INC.

JOHN WILSON--

A VIOLENT MAN GIVEN
TO VIOLENT ACTION.

SOME ASCRIBED HIS TROUBLED LIFE
TO PERSONAL SELF-DESTRUCTION.

THESE GENERALIZATIONS
ALWAYS SEEMED INACCURATE TO ME.

THAT'S WHY I HAD TO WRITE
ALL THIS ABOUT JOHN--

A BRILLIANT,
SCREW-YOU-ALL FILMMAKER

WHO VIOLATED THE UNWRITTEN LAWS
OF THE MOTION PICTURE BUSINESS,

YET HAD THE DIVINE ABILITY
TO ALWAYS LAND ON HIS FEET.

COME THIS WAY.

MR. VERRILL?

YES.

HELLO. I'M MISS WILDING.
HOW WAS YOUR FLIGHT?

WONDERFUL.

MR. WILSON
IS EXPECTING YOU.

HOW WAS SWITZERLAND?

SWITZERLAND?
FINE.

EGGERTON GARDENS,
PLEASE.

YES, MA'AM.

I THOUGHT HE WAS
AT CLARIDGE'S.

HE WAS.
HE'S GOT A HOUSE NOW.

ONE OF HIS SOCIETY FRIENDS
LENT IT TO HIM.

YOU KNOW WHAT JOHN IS.

I MEAN MR. WILSON.

HELLO, GEORGE.
THIS IS MR. VERRILL.

IS MR. WILSON
UP YET?

HE'S BEEN UP HOURS.
BEEN RIDING.

HAVING
HIS BREAKFAST NOW.

COME IN.

MR. VERRILL IS HERE,
MR. WILSON.

PETE.

JOHNNY.

FOR GOD'S SAKE.

HOW THE HELL
ARE YOU?

ALL RIGHT.

WHAT HAVE YOU
BEEN UP TO?

I'VE BEEN SKIING
AND SITTING IN THE SUN.

I MISSED YOU.

I MISSED YOU, TOO,
JOHN.

CARE FOR
SOME COFFEE?

THIS IS SOME JOINT
YOU GOT.

DID YOU GET A LOAD
OF THE LIVING ROOM?

ISN'T IT HIDEOUS?
I'M CRAZY ABOUT IT.

YOU CAN GET THE HELL
OUT OF HERE.

WHAT DO YOU THINK
OF THIS OUTFIT?

THAT'S SOME GETUP
YOU GOT THERE, JOHNNY.

OF COURSE.

WHAT ABOUT YOU?
WHAT ABOUT THE BOOK?

I DIDN'T GET MUCH DONE.

WHY'S THAT?

I COULDN'T GET STARTED.

I GOT HOOKED UP
WITH SOME DAME.

HELL, ISN'T IT?

ONCE IT'S OVER,
YOU CAN'T FIGURE

WHY IT WAS
SO DAMN IMPORTANT.

IT'S TOUGH
REMEMBERING

WHY YOU CHASED A DAME
ONCE YOU'VE HAD HER.

I DIDN'T SKI VERY MUCH
BECAUSE OF HER.

THAT'S A SHAME.

I'VE GOT THE CURE
FOR THAT--AFRICA.

COME WITH ME AND WORK
ON THIS SCRIPT.

YOU THINK
THAT WILL HELP?

EVEN IF IT DOESN'T,
YOU'VE GOT TO DO IT.

THERE ARE TIMES
YOU CAN'T

WONDER WHETHER IT'S
THE RIGHT THING TO DO,

NOT FOR GUYS
LIKE YOU AND ME, KID.

I'VE GOT TO GET
STARTED ON THIS BOOK.

IF YOU DIDN'T WRITE IT,
YOU'RE NOT READY TO.

WHEN DO YOU PLAN
ON LEAVING?

IN ABOUT 1O DAYS.

WE'LL GET OUR SHOTS
AND TAKE OFF.

WHO WILL BE
IN THIS PICTURE?

PHIL DUNCAN
AND KAY GIBSON.

HOW LONG WILL YOU
STAY THERE?

FIVE MONTHS--LONG ENOUGH
TO MAKE A PICTURE

AND HAVE OURSELVES
A SAFARI.

HAVEN'T YOU EVER WANTED
TO SHOOT AN ELEPHANT?

NO.

A LION
OR A BUFFALO?

THIS IS A SAFARI.

WHO WILL PAY FOR ALL THIS?

WHAT'S YOUR
FINANCIAL SITUATION?

IT REMAINS UNCHANGED.

SO YOU'RE BROKE.

I OWE A QUARTER
MILLION DOLLARS.

A QUARTER MILLION
DOLLARS?

CLOSER TO 3OO,OOO.

$3OO,OOO AND YOU'RE
NOT WORRIED?

I THINK ABOUT IT
NOW AND THEN.

DO YOU SEE
A WAY OUT?

THIS PICTURE. I'VE GOT
NOTHING ELSE TO LOSE.

IF A LION GETS ME,
MY LAST MINUTE WILL BE HAPPY.

I'LL THINK OF MY CREDITORS
IN THE STATES.

WHEN THEY FIND OUT
I'VE BEEN EATEN ALIVE,

IT WILL ALL
SEEM WORTHWHILE.

OK, JOHN.
HOW ABOUT A SCRIPT?

THERE'S ONE AROUND HERE
SOMEWHERE.

WE DON'T HAVE
A TITLE YET.

IT'S CALLED AFRICAN TRADER
OR SOMETHING.

MISS WILDING?

WHERE'S THAT
GOD DAMNED SCRIPT?

I HAVEN'T SEEN IT,
JOHN.

FIND IT. WHAT KIND OF
A SECRETARY ARE YOU?

I'VE BEEN
TYPING YOUR LETTERS

AND ANSWERING
THE TELEPHONE.

BALLS.

YOU WERE
A COMPETENT SECRETARY.

NOW YOU HANG AROUND
ALL DAY

SPYING FOR PAUL LANDERS.

I DON'T SPY
FOR ANYBODY,

ESPECIALLY
MR. LANDERS.

FIND THE SCRIPT, THEN.

WE HAVE A MEETING WITH LANDERS
AND HIS MONEY MEN.

PAUL LANDERS
IS PRODUCING THIS?

YOU KNOW WHY I'M
WORKING WITH HIM AGAIN?

NO.

BECAUSE IT'S
THE WRONG THING TO DO.

I'M SO GLAD TO SEE YOU, PETE,
I CAN'T TELL YOU.

GOOD TO SEE YOU,
PAUL.

YOU CAN SAVE OUR LIVES.

THE MONSTER--I THINK
HE'S LOSING HIS MIND.

HE'S FINE.

YOU DON'T KNOW
HOW HE'S BEEN.

HE'S ALMOST KILLED
THE DEAL FIVE TIMES.

HE WANTS TO GO
TO AFRICA.

HOW THE HELL
ARE YOU?

JOHNNY BOY,
DID YOU GET A LOT DONE?

HELL, NO,
BUT PETE AND I CHATTED.

WHAT DO YOU THINK
OF THE SCRIPT?

IT'S AWFULLY GOOD.

IT'S A SHAME YOU DON'T KNOW
A DAMN THING ABOUT IT.

YOU SEE?

HE'S ALWAYS BEEN
LIKE THAT.

HE'S INSANE. HE SHOULD BE
IN A STRAIT JACKET.

AS FAR AS THE QUESTION
OF COLOR IS CONCERNED,

IT'S AN EXTRA EXPENSE
OF QUESTIONABLE VALUE.

I QUITE AGREE.

WELL, I DON'T.

COLOR IS WORTH
A MILLION DOLLARS.

THAT'S
NOT IMPORTANT.

WHAT I'M TRYING
TO FIND OUT

IS HOW MUCH
COLOR COMPLICATES
OUR OPERATION.

I'M AFRAID IT DOES,
JOHN.

THE CAMERA'S
MUCH HEAVIER.

THERE ARE MORE
LIGHTING PROBLEMS.

COLOR IS ESSENTIAL
TO THE SUCCESS
OF THIS VENTURE.

I'M NOT CONCERNED
WITH THAT.

I JUST DON'T WANT
TO GET BOGGED DOWN.

BOGGED DOWN?BOGGED DOWN?

I KNOW HOW EASILY
YOU GET BOGGED DOWN
ON LOCATION.

HAVE YOU EVER

BEEN BOGGED DOWN?

NO.

THEN WHY BRING IT UP?

I THINK IT'S VALID.

I DON'T.

OF COURSE YOU DON'T.

WHILE WE'RE IN AFRICA
SWEATING AND KILLING
OURSELVES,

YOU'LL BE IN PARIS
SENDING OUT MEMOS.

I'LL BE IN AFRICA
WITH YOU.

LIKE HELL.

IF IT WERE SHOT
IN ENGLAND,

AND A SECOND UNIT
SENT TO AFRICA,

THE RISK WOULD BE
GREATLY MINIMIZED.

THAT WOULD BE
WITH ANOTHER DIRECTOR.

WE HAVE ALREADY
DISCUSSED THAT.

OH, WE HAVE,
HAVE WE?

COULD I TALK TO YOU
IN THE BEDROOM?

WHAT IS THIS BULLSHIT
ABOUT ANOTHER DIRECTOR?

YOU KNOW I WOULDN'T
DO THAT TO YOU.

YOU'D SELL YOUR MOTHER
TO MAKE A DEAL.

WHAT'S THE MATTER?
DO YOU WANT TO KILL THIS?

NO. NO, I DON'T.

THEN WHY BRING UP
THE POSSIBILITY
OF BOGGING DOWN?

YOU SCARED THEM.

THEN TELLING THEM

YOU'D QUIT IF THE PICTURE
WASN'T MADE IN AFRICA.

IF ONE FRAME'S SHOT
IN ENGLAND, I'LL QUIT.

BUT IT WON'T BE.

YOU DISCUSSED IT
BEHIND MY BACK.

THERE ISN'T A CHANCE
IN THE WORLD

IT COULD BE DONE
THAT WAY.

YOU'LL GUARANTEE THAT,
I SUPPOSE.

YES, GOD DAMN IT.
I GUARANTEE IT.

YOUR GUARANTEE DOESN'T MEAN
A DAMN THING TO ME.

I WON'T MAKE
SOME FAKE CRAPPY MESS
TO PLEASE YOU.

I DON'T CARE

IF THIS PICTURE'S SHOT
IN BLACK AND WHITE
OR SEPIA TONE,

PETE AND I
ARE GOING TO AFRICA.

[CLICK]

WHAT'S THE EFFECTIVE
RANGE OF THIS THING?

ABOUT 1OO YARDS.

THAT'S PLENTY FOR YOUR BUFF
AND YOUR ELEPHANT.

THEY KILL THEM
AT 2O YARDS, KID.

EVEN CLOSER THAN THAT
SOMETIMES, THEY TELL ME.

I'VE NEVER BEEN TO AFRICA,
BUT THIS MAN HAS.

INVALUABLE READING--

JOHN TAYLOR, BIG GAME
AND BIG GAME RIFLES.

WE'LL NEED TWO
OF THESE.

WE'LL TAKE TWO
OF THESE RIFLES,

AND TWO OF THESE
SMALLER ONES

TO SHOOT
FOR THE POT,

AND ONE 12-GAUGE
SHOTGUN.

ALWAYS USEFUL
TO HAVE ALONG.

CARTRIDGES,
OF COURSE.

HOW MANY ROUNDS, SIR?

2OO PER WEAPON.

PLANNING TO BE AWAY
QUITE A WHILE, SIR?

YES. SUNRISE FILMS
WILL SEND YOU THE CHECK.

[DOOR OPENS]

JOHN, BE CAREFUL!

IRENE.

FOR GOD'S SAKE,
WHAT ARE YOU
DOING HERE?

YOU TOLD ME
TO MEET YOU HERE.

WE HAD
AN APPOINTMENT--

DRINKS AND DINNER.

I DRESSED.

YES.

IT PLAIN
SLIPPED MY MIND.

IRENE SAUNDERS,
THIS IS PETE VERRILL.

HELLO.

I ADMIRED YOUR LAST
BOOK ENORMOUSLY.

I'M A WRITER, TOO.

JOHN'S PROMISED
TO LISTEN TO MY IDEA
FOR A FILM.

I HOPE
YOU'LL JOIN US.

YOU CAN GIVE ME
POINTERS,

ONE WRITER
TO ANOTHER.

IT'S ABOUT A DOG,
A PUPPY DOG.

HE'S THE HERO,
THE STAR.

IMAGINE, JOHN,

OVER THE OPENING CREDITS,
WE'LL SEE HORACE.

WONDERFUL, ADORABLE
DISSOLVES OF HORACE

IN CLOSE-UP.

THIS IS A PART
I'M NOT SURE ABOUT.

THE CENSORS
MIGHT CUT IT.

IT TURNS OUT THAT
HORACE IS IN HEAT.

IT'S A STORY
OF MISTAKEN IDENTITY.

HORACE HAS A TWIN,
A BITCH.

SHE'S CALLED GERALDINE.

IT'S SHE
THAT'S IN HEAT.

ISN'T THAT
A WONDERFUL SWITCH?

WE'LL CUT FROM
THE HYDE PARK SEQUENCE,

JOHN, TO AN EARLY MORNING
SHOT OF THE RIVER.

THE RIVER.

HORACE IS ALONE.

WE DOLLY WITH HIM
AS HE TROTS DOWN A STREET.

WHAT ARE YOU
DOING HERE?

I FOUND
THE SCRIPT.

I HOPE YOU LIKE IT
AS MUCH AS I DO.

I'M SURE I WILL.

PETER!

YOU MUST HEAR
THE ENDING.

HORACE IS ALONE.
WE'LL DOLLY WITH HIM

AS HE TROTS SLOWLY
DOWN A DESERTED STREET.

FROM ANOTHER ANGLE,

GERALDINE CAN BE SEEN
COMING DOWN BROOK STREET.

SHE PASSES CLARIDGE'S,
AND SHE ENTERS THE SQUARE.

SUDDENLY,
THEY SEE EACH OTHER,

HORACE AND GERALDINE.

THERE ISN'T
A HUMAN IN SIGHT.

THEY RACE TOWARD
EACH OTHER.

WE HOLD THE PICTURE
IN A LONG SHOT...

AS THEY MEET...

TURN...

AND GO OFF
TOGETHER.

THEY'VE ONLY JUST
BEGUN TO LIVE.

WELL, THAT'S THE END.

THEY FIND EACH OTHER.

WELL, ISN'T THAT
SOMETHING?

ISN'T THAT
SOMETHING?

MM-HMM.

DO YOU REALLY
LIKE IT?

WELL, DARLING,
IT'S SWELL.

COME ON.
WE'LL TALK SOME MORE.

PETE...

IF THERE'S HALF AS MUCH LOVE
IN THIS OLD GAL

AS THERE IS TALK,

I MAY BE DEAD
IN THE MORNING.

[WHISTLING]

HEY, JOHNNY.

MORNING.

MORNING.

YOU LOOK LIKE
YOU'VE BEEN RUN
THROUGH THE WRINGER.

JUST PART OF ME.

WHAT DID YOU THINK
OF THE SCRIPT?

I'LL TELL YOU THE TRUTH.
I LIKE IT A LOT.

IT'S ORIGINAL,
EXCITING, AND MOVING.

I HAVE ONE LITTLE
PROBLEM WITH IT.

THE ENDING.

YOU DON'T LIKE
THE ENDING?

I DIDN'T SAY
I DON'T LIKE THE ENDING.

I'M JUST NOT SURE
IT'S THE RIGHT ONE.

IN HOLLYWOOD TERMS,
IT'S TOO DOWNBEAT.

AFTER EVERYTHING THESE
TWO HAVE GONE THROUGH--

THEY FOUGHT THE RIVER
AND THE GERMANS.

JUST WHEN YOU'VE SET
THE AUDIENCE UP

FOR A WONDERFULLY
COMIC ENDING,

YOU BLOW THE SHIP UP
AND KILL EVERYBODY.

WELL, PETE, THERE'S
AN OLD SAYING.

GOD MAKES A MAN
BEFORE HE KILLS HIM.

I'VE HEARD IT.

I DON'T THINK
IT APPLIES HERE.

YOU'RE BEATING THE AUDIENCE
OVER THE HEAD.

PEOPLE DON'T GO
TO SEE PICTURES
TO BE LECTURED TO.

DO YOU OWN A PERCENTAGE
OF THIS FILM?

NO.

THEN WHY ARE YOU
CONCERNED ABOUT
THE DAMN AUDIENCE?

BECAUSE WE'RE
IN SHOW BUSINESS, JOHN.

NOT ME...

AND NOT YOU, EITHER,
WHEN WE WORK TOGETHER.

WE'RE GODS--
LOUSY LITTLE GODS

WHO CONTROL THE LIVES
OF THE PEOPLE WE CREATE.

WE SIT IN SOME
HEAVENLY PLACE

AND DECIDE WHETHER
THEY LIVE OR DIE

ON THE MERITS OF WHAT
HAPPENS TO THEM IN REEL ONE.

WE DECIDE IF THEY HAVE
THE RIGHT TO LIVE.

THAT'S THE ENDING.

THAT'S WHAT YOU SAY,
JOHN,

BUT I'M A SWELL GOD.

I SAY
THEY SHOULD LIVE

BECAUSE OF EVERYTHING
THEY'VE GONE THROUGH,

BECAUSE THIS WORLD
DOESN'T NECESSARILY HAVE TO BE

A HOPELESS
AND ROTTEN PLACE.

WE'RE NOT ALL
DOOMED TO DIE

OF RADIUM POISONING.

I MIGHT BE
COMPLETELY WRONG...

BUT THAT'S WHAT
MAKES ME A SWELL GOD.

YOU'RE A FLEA
ON AN ELEPHANT'S ASS.

OH, BALLS
TO YOUR PESSIMISM.

YOU'RE NEVER GOING TO BE
A GOOD SCREENWRITER,

AND YOU KNOW WHY?

NO, JOHN. WHY DON'T
YOU TELL ME WHY?

YOU LET POPCORN EATERS
PULL YOU AROUND.

YOU MUST FORGET ANYONE'S
EVER GOING TO SEE IT.

NOBODY WILL EVER
SEE THIS ONE.

I FIGURE THERE'S TWO WAYS
TO LIVE IN THIS WORLD.

YOU CAN CRAWL AND KISS ASS
AND WRITE HAPPY ENDINGS,

SIGN THEIR
LONG-TERM CONTRACTS,

AND NEVER TAKE A CHANCE

AND NEVER LEAVE HOLLYWOOD.

SAVE ALL YOUR
GOD DAMN MONEY.

WHEN YOU'RE
A HEALTHY-LOOKING 5O,

YOU DIE OF A STROKE BECAUSE
WHATEVER WAS WILD IN YOU

HAS EATEN AWAY
THE MUSCLES OF YOUR HEART.

OR LET THE CHIPS FALL
WHERE THEY MAY,

DON'T SIGN
THEIR CONTRACTS,

TELL OFF SOMEONE
WHO CAN CUT YOUR THROAT,

FLATTER THE LITTLE GUY
HANGING BY A THREAD YOU HOLD.

MAYBE YOU SHOULDN'T BE
IN PICTURES.

WELL, MAYBE
YOU'RE RIGHT, KID.

MAYBE I SHOULD HAVE
WANDERED THE PLANET,

GAMBLING ON OIL WELLS
OR STOLEN DIAMONDS

OR PIMP
FOR MAHARAJAHS.

MAYBE, BUT YOU KNOW
WHY YOU DIDN'T?

BECAUSE SOMEWHERE
DEEP INSIDE YOU

IS A TINY SPARK
OF HOPE.

HOPE, HELL.

I'LL DIE BROKE IN A DOWNTOWN
LOS ANGELES FLOPHOUSE,

AND I WON'T BE BITTER.

I'LL HAVE CONTRIBUTED
5, 1O DAMN GOOD PICTURES.

THEY'LL NAME A SPECIAL
ACADEMY AWARD FOR ME.

ALL THE WRONG GUYS
WILL GET IT.

I'LL BE IN HELL
LAUGHING MY ASS OFF.

ROMANTIC FUTILITY--

YOUR ONE TRUE LOVE.

NOTHING TO BE
ASHAMED OF.

I DIDN'T SAY THAT.

YOU ARE RIGHT
ABOUT THE ENDING.

YOU SHOULD KILL THEM ALL
AND BLOW EVERYTHING UP.

I KNEW YOU WOULD
ULTIMATELY SEE IT MY WAY.

[FOOTSTEPS]

MORNING, BOYS.

IF IT ISN'T
THE PRODUCER,
RIGHT ON CUE.

I HAVE JUST COME
FROM A MEETING,

AND I THINK
THE FINANCIAL DEAL
IS FINALLY SET.

WHEN DO I GET
MY TAKE?

I'M GLAD TO SEE
YOU'RE WORKING.

WE'RE JUST
WARMING UP,

DOING SOME
MENTAL CALISTHENICS.

IF YOU TAKE MY ADVICE,
START WITH THE ENDING.

OH, YEAH?

DON'T GO INTERFERING
WITH THE SCRIPT.

DON'T TRY TO INFLUENCE
MY WRITER, EITHER.

YOU'RE AN OBSCENE MAN.

YOU'VE WITNESSED
THE CULTURAL
DISINTEGRATION

OF CENTRAL EUROPE,

AND YOU NEVERTHELESS
PERSIST ON FOLLOWING

THE SAME CHEAP,
DISASTROUS COURSE

THAT LED TO HITLER
OVER EUROPE,

WORLD WAR II,
AND THE ATOMIC BOMB.

MEANING THE ENDING
STAYS AS IT IS.

EXCEPT FOR ONE
MINOR CHANGE.

THE GERMANS KILL YOU,
TOO, OVER THE END TITLE.

[FOOTSTEPS]

COULD I BORROW A COAT?

I CAN'T GO OUT
DRESSED LIKE THIS.

IRENE,
MEET MY PARTNER.

PAUL LANDERS,
OUR PRODUCER.

IRENE HAS THE MOST
WONDERFUL IDEA
FOR A FILM.

TELL IT TO PAUL
WHILE WE WORK.

START FROM
THE BEGINNING,
DARLING.

IT'S ABOUT A DOG,
A PUPPY DOG.

[PETE]
HIS NAME
IS HORACE.

I SHOULD HAVE
SENT YOU BACK.

I LOVE PAUL.
HE'S SUCH A DESPERATE MAN.

WHY DON'T WE GET
SOME PICTURES, KAY?

THIS WAY.

MR. AND MRS. DUNCAN!

EASY, NOW.

PLEASE, KAY.
YOUR AUTOGRAPH.

MR. DUNCAN. PLEASE,
WILL YOU SIGN MY BOOK?

GOOD EVENING, SIR.
CHAMPAGNE?

ARE YOU COMING
TO AFRICA WITH US,
PETER?

YES, I AM.

THANK GOD.
DID YOU HEAR THAT?

PETER'S
COMING WITH US.

AT LEAST WE'LL HAVE
ONE SANE, REASONABLE
PERSON ALONG.

WON'T IT BE
WONDERFUL?
I CAN'T WAIT.

I'VE NEVER
LOOKED FORWARD
TO ANYTHING AS MUCH.

I HOPE JOHN FINDS US
SOMEWHERE COMFORTABLE
TO STAY.

NOT TOO COMFORTABLE.
I'D LIKE TO ROUGH IT.

I'M SURE
JOHN WILL GRANT
YOUR WISH, KAY,

PROBABLY
WATCH US SUFFER.

HOW'S THE SCRIPT
COMING ALONG?

FINE, KAY. I THINK
YOU'LL LIKE IT.

KAY.

I WOULD LIKE
TO PROPOSE A TOAST

ON BEHALF OF JOHN
AND MYSELF

TO OUR BRITISH
PARTNERS.

HANDS ACROSS
THE SEA.

CHEERS.

CHEERS.

I ALSO WOULD LIKE
TO PROPOSE A TOAST

TO MY PARTNER AND OUR
PRODUCER, PAUL LANDERS.

I HOPE
I DON'T KILL YOU

BEFORE THIS PICTURE'S
FINISHED.

TO KAY...

AND TO PHIL AND HIS LOVELY,
BLUSHING BRIDE,

AND TO PETE...

PROBABLY THE BEST SKIER
IN THE SCREENWRITERS' GUILD,

THE ONLY MAN WHO CAN
KEEP UP WITH ME,

THE ONLY MAN WHO'S CAPABLE
OF THE DANGEROUS LIFE

BECAUSE NOW
HE'S MAKING A MOVE ON
THE PRODUCER'S GIRLFRIEND,

AND, HONEY, HE'S HUNG
LIKE A STUD HORSE.

[DRUM ROLL]

AAAH!

[ROAR!]

DOESN'T THAT MAKE YOU
LONG FOR THE DARK CONTINENT?

MMM.

I HOPE YOU HAD
A GOOD FLIGHT.

THANK YOU, DEAR.

FEEL THE MYSTERY
OF IT, KID?

HELLO, JOHN.
YOU HAVE A GOOD TRIP?

A LITTLE BIT LONG.

MAY I INTRODUCE
SQUADRON LEADER
ALEC LAING.

HOW DO YOU DO?

RALPH LOCKHART,
OUR UNIT MANAGER.

THIS IS PETE VERRILL.
TOM HARRISON,
OUR ART DIRECTOR.

SQUADRON LEADER LAING.

MR. LAING.

AND YOURS...

LOCKHART.
RALPH LOCKHART.

OF COURSE YOU ARE.

SHALL WE GET IN
OUT OF THE SUN?

YOU CHAPS MUST BE READY
FOR A BATH AND A DRINK.

I'LL TAKE CARE
OF THE LUGGAGE.

[JOHN]
THE DRINK PART
SOUNDS GOOD TO ME.

[HORN HONKING]

[HONK! HONK!]

GET OUT OF THE WAY!

STUPID BUGGERS!

[HONK!]

[HONK! HONK!]

GET OUT OF THE WAY!

THEY KNOCK OFF ABOUT
1O OF THEM A MONTH

ALONG THIS ROAD.

DOESN'T MAKE
THE SLIGHTEST BLOODY
IMPRESSION ON THEM, THOUGH.

IS THAT SO?

[HONK! HONK!]

[LOCKHART]
WILL YOU GET OUT
OF THE BLOODY WAY?

[YELLING IN SWAHILI]

[HONK!]

[HONK! HONK!]

CHEY, CHEY.
CHEY, CHEY.

HELLO.
I'M HARRY LONGTHORNE,

GENERAL MANAGER
OF THE LAKE VICTORIA HOTEL.

HELLO. I'LL SHOW YOU
TO YOUR ROOMS.

EXCUSE ME,
MR. VERRILL.

DO YOU PLAY SOCCER?

YES. WHY?

WE'RE HAVING
A STAFF SOCCER GAME.

WE'RE MINUS ONE WHITE.
INTERESTED?

CERTAINLY.

WE'LL PRACTICE
SATURDAY.

ALL RIGHT.

PETE, THIS IS
MRS. MARGARET MacGREGOR.

PLEASURE
TO MEET YOU.

AND MR. MARLOWE.
HE'S A LICENSED
WHITE HUNTER.

HELLO.

PETE'S A CRACK SHOT--
MARINE-TRAINED.

SIT DOWN.
HAVE A DRINK.

I'LL HAVE
AN ICED TEA.

GIVE HIM A BEER.

PETE AND I ARE INTERESTED
IN GETTING SOME ELEPHANTS.

ELEPHANT'S DANGEROUS
BECAUSE HE'S SUCH
A HEARTY BUGGER.

YOU MUST HIT HIM
IN ONE OF TWO PLACES.

BETWEEN THE EYES
OR THE HEART?

NOT RIGHT BETWEEN THE EYES.
DOWN ABOUT 6 INCHES.

"THERE'S BEEN SILENCE
FOR HOURS NOW.

"SHE'S SITTING,
READING THE BIBLE.

"HE'S STILL WORKING
ON THE ENGINE.

"FINALLY, HE SAYS,
MISS, I'M SORRY I GOT DRUNK.

"I APOLOGIZE.

"WHAT MORE CAN A MAN DO?

"SHE SAYS, IT'S NOT ONLY
YOUR DRINKING I'M UPSET ABOUT.

"YOU PROMISED TO GO DOWNRIVER.

"HE SAYS, MISS, LISTEN TO ME
AND UNDERSTAND.

"THERE'S DEATH A DOZEN TIMES
OVER DOWN THAT RIVER.

"SHE SAYS, YOU PROMISED.

"HE SAYS,
I'M TAKING THE PROMISE BACK.

"SILENCE.

"SHE PICKS UP THE BIBLE,

"STARTS READING AGAIN,
COMPLETELY IGNORING HIM.

"NOW HE CAN'T TAKE
THE SILENCE ANY LONGER.

"FINALLY, HE SAYS,
ALL RIGHT, MISS, YOU WIN,

"WHICH I'M SURE THE CROCODILES
WILL BE HAPPY TO HEAR.

DOWN THE RIVER WE GO."

WHAT DO YOU
THINK, JOHN?

NOT BAD, BUT YOU'RE TRYING
TO COMPLICATE IT, PETE.

THINGS ARE ALWAYS GOOD
IF THEY'RE LEFT SIMPLE.

NO, NOT ALWAYS.

ALWAYS.

SIMPLICITY IS WHAT CREATES
TRULY IMPORTANT ART.

THERE ARE
NO RULES TO ART.

THERE ARE HUNDREDS OF RULES.
HEMINGWAY UNDERSTOOD THAT.

THAT'S WHY HE ALWAYS
REDUCED LIFE TO ITS
SIMPLEST TERMS.

WHETHER IT'S COURAGE,
FEAR, IMPOTENCE, DEATH,

PEOPLE'S LIVES
JUST SORT OF UNFOLDED.

THINGS HAPPENED TO THEM
ONE AFTER ANOTHER.

THEY WERE NEVER
BOGGED DOWN

WITH THAT NONSENSE
OF SUBPLOT

WE SWEATED OVER.

STENDHAL
UNDERSTOOD THAT.

FLAUBERT,
TOLSTOY, MELVILLE--

SIMPLICITY IS WHAT
MADE THEM GREAT.

NO, PETE,
DON'T COMPLICATE IT.

YOU'LL BE WASTING YOUR TIME.

WASTING MY TIME?

I'M WASTING MY TIME
TRYING TO IMPROVE
THE SCRIPT?

ISN'T THAT
WHY I'M HERE?

I THINK
IT'S DAMN GOOD.

I JUST WISH
THE DAMN SCRIPT
WERE FINISHED

SO WE COULD
GO ON SAFARI.

I THOUGHT
WE WERE GOING TO
FINISH THE FILM.

IF WE WAIT
UNTIL THE FILM
IS FINISHED,

WE'LL NEVER GET TO IT.

WE'LL FINISH THE SCRIPT,
THEN GO ON SAFARI.

THEN WE'LL SHOOT THE FILM

AFTER WE'VE SHOT
OUR ELEPHANTS.

[CLICK]

DAMN LAKE FLIES.

GOOD JOB
THEY DON'T BITE.

COME ON, WHITES.

THERE'S A SPARE MAN
IN THE MIDDLE.

[WHISTLE BLOWS]

HE--HE TRIPPED
OVER MY ARM.

PLEASE.

THAT WAS A FAULT.

LOCAL BOYS
ARE QUITE GOOD.

YES. THEY WENT
TO ENGLAND LAST YEAR.

OF COURSE, THEY DIDN'T
STAND A CHANCE.

WHY'S THAT?

THEY'RE CLEVER
WITH THEIR FEET,

BUT THEY'RE
JUST TOO SMALL.

BLOCKING AND CHECKING
THROWS THEM OFF.

THEY DON'T GO IN
FOR THAT SORT OF THING.

PROBABLY
BE LYNCHED.

HA, WE'RE NOT LIKE
YOU AMERICANS.

OF COURSE NOT.

GOOD SHOW.

HELL OF A MAN,
THAT BOY.

HELL OF A MAN.

WHERE IS THE DEFENSE?

[SINGING IN SWAHILI]

[SPEAKING SWAHILI]

WHAT?

WHAT? WATCH IT!

GOOD JOB.

YOU ALL RIGHT?

SHIT!

WE FOUND EVERYTHING
YOU WANTED, JOHN,

BUT IT'S BLOODY AWFUL.

IT'S NO PLACE
FOR A MAN TO LIVE.

IT LOOKS
INTERESTING.

THERE'S A BLACK WATER
RIVER AND A FEW HUTS.

THERE ARE MOSQUITOES,
AND IT RAINS.

THERE ARE ELEPHANTS,
CROCODILES, PYGMIES.

LOTS OF BIG GAME,
IS THERE?

ANTELOPE,
BUFFALO--

WE SAW AN ELEPHANT
FROM THE PLANE

WITH TUSKS
DOWN TO THE GROUND.

COULD YOU
TAKE US THERE?

NO PROBLEM. WHEN ARE
YOU THINKING OF GOING?

PETE?

OH, IF I
CAN MANAGE

TO KEEP
THE SCRIPT
SIMPLE,

TWO OR
THREE DAYS.

ISN'T THIS, UH...

ISN'T THIS
JUST SWELL,

DINING WITH A BEAUTIFUL LADY
IN AFRICA?

WOULD YOU CARE
FOR SOME MORE CHAMPAGNE?

YES.

WAITER, COULD YOU BRING
ANOTHER BOTTLE OF CHAMPAGNE?

YES, SIR.
THANK YOU, SIR.

YOU KNOW, YOU SPOIL
THOSE BOYS DREADFULLY.

AS GOOD AS THEY PLAY SOCCER,
THEY SHOULD BE SPOILED.

THEY'LL BE IMPOSSIBLE NOW
FOR FIVE OR SIX DAYS.

OH, I DON'T
THINK SO.

I THINK
THEY KNOW

THE DIFFERENCE
BETWEEN SPORT
AND REAL LIFE.

SO, MRS. MacGREGOR--

MARGARET,
PLEASE.

MARGARET,
DO YOU MISS LONDON?

YES, I DO, RATHER.

I DON'T MISS LONDON
AS MUCH AS I MISS THE COUNTRY,

ESPECIALLY IN THE WINTER
WITH THE HOUNDS,

CROSSING
A GOOD BIT OF COUNTRY.

I'M NOT KEEN
ON LONDON.

I HAD TO LIVE THERE
DURING THE WAR.

I GOT AWFULLY FED UP.

I ENJOYED IT
DURING THE WAR.

THE PEOPLE BEHAVED
SO MAGNIFICENTLY.

THEY DIDN'T
ALL BEHAVE WELL.

YOU PROBABLY NEVER
LEFT THE WEST END.

NOT TRUE. I DID A FILM
ABOUT THE LONDON BLITZ.

I WAS EVERYWHERE.

YOU CAN'T HAVE
BEEN IN SOHO.

WHY DO YOU SAY THAT, DEAR?

I THOUGHT PEOPLE
WERE HORRID.

THERE WERE
A LOT OF JEWS.

MRS. MacGREGOR.

MARGARET.

MARGARET,
I MUST WARN YOU.

I'M A JEW.

YOU'RE NOT.

I AM.

YOU'RE PULLING
MY LEG.

NO, I'M NOT PULLING
YOUR LEG, MARGARET.

I'M A JEW.

OH, I DON'T
BELIEVE YOU.

I KNOW I SHOULDN'T
SAY THIS,

BUT THAT WAS
THE ONE THING

ABOUT WHICH I
THOUGHT HITLER WAS
ABSOLUTELY RIGHT.

THE MAN HAS JUST
WARNED YOU.

BECAUSE THE JEWS
IN LONDON WERE AWFUL.

THEY RAN
THE BLACK MARKET,

AND THEY DIDN'T
GO INTO THE ARMY.

WHEN THEY DID,
THEY GOT THEMSELVES
CUSHY JOBS.

OF COURSE, THERE WERE
UPPER-CLASS JEWS.

I'M NOT TALKING
ABOUT THEM.

I'M TALKING ABOUT
THE KIKES IN SOHO.

THE FOREIGNERS.

MARGARET.
MARGARET...

MY GRANDPARENTS
WERE KIKES,

MY PARENTS WERE KIKES,

AND I'M A KIKE.

RIGHT.

YOU'RE NOT
GOING TO TELL ME

THAT YOU'RE
JEWISH, TOO.

ABSOLUTELY NOT,

BECAUSE THAT
WOULD BE A LIE,

BUT I'D LIKE TO
TELL YOU A STORY.

OH, I LOVE STORIES.

WELL, YOU MUSTN'T
INTERRUPT, NOW.

YOU'RE TOO BEAUTIFUL.

WHEN I WAS IN LONDON
IN THE EARLY FORTIES,

I WAS DINING ONE EVENING
AT THE SAVOY

WITH A SELECT
GROUP OF PEOPLE.

SITTING NEXT TO ME
WAS A BEAUTIFUL LADY,
MUCH LIKE YOURSELF.

NOW YOU'RE
PULLING MY LEG.

NOW, JUST LISTEN, DEAR.

WHILE WE WERE DINING

AND THE BOMBS
WERE FALLING,

WE WERE ALL
TALKING ABOUT HITLER

AND COMPARING HIM
WITH NAPOLEON,

AND THEN SUDDENLY
THIS BEAUTIFUL LADY,

SHE SPOKE UP AND SAID
THAT THAT WAS THE THING

SHE DIDN'T MIND
ABOUT HITLER--

THE WAY HE WAS
TREATING THE JEWS.

WELL, WE ALL STARTED
ARGUING WITH HER.

MINDING NO ONE
AT THE TABLE WAS JEWISH,

BUT SHE PERSISTED.
ARE YOU LISTENING?

I MUSTN'T
INTERRUPT DADDY.

THAT'S RIGHT. YOU'RE WAY
TOO BEAUTIFUL FOR THAT.

ANYWAY, SHE WENT ON TO SAY
THAT THAT'S HOW SHE FELT.

IF SHE HAD HER WAY,
SHE'D KILL THEM ALL.

WE ALL SAT THERE IN SILENCE.

THEN FINALLY,

I SAID,
"MADAM, I HAVE DINED

"WITH SOME OF THE UGLIEST
GOD DAMN BITCHES,

"AND I'VE DINED WITH
SOME OF THE GODDAMNDEST
UGLY BITCHES

"IN THIS WORLD,

BUT YOU ARE
THE UGLIEST BITCH
OF THEM ALL."

WELL, SHE GOT UP TO LEAVE,

AND SHE TRIPPED OVER A CHAIR
AND FELL ON THE FLOOR.

WE ALL JUST SAT THERE,

AND FINALLY,
WHEN SHE PICKED HERSELF UP,

I SAID TO HER
ONE MORE TIME,

"YOU ARE
THE UGLIEST BITCH."

WELL, YOU KNOW WHAT HAPPENED?

SHE REPORTED ME
TO THE AMERICAN EMBASSY,

AND THEY BROUGHT ME IN
FOR REPRIMAND.

WHEN THEY INVESTIGATED,
THEY DISCOVERED SHE WAS
A GERMAN AGENT.

THEY ARRESTED HER.

ISN'T THAT AMAZING?

WHY DID YOU
TELL ME THAT STORY?

OH, I DON'T KNOW.

IT WASN'T BECAUSE
I THOUGHT YOU WERE
A GERMAN AGENT.

I WAS TEMPTED

TO SAY THE VERY SAME
THING TO YOU.

I DIDN'T WANT YOU THINKING
I'D NEVER SAID IT BEFORE.

YOU, MADAM, ARE THE...
YOU KNOW THE REST.

CARE FOR SOME
CHAMPAGNE, HONEY?

NO, THANK YOU.

PETE?

IT'S GETTING LATE.
I THINK I'D BETTER GO.

WE'LL ACCOMPANY YOU.

THERE'S NO NEED.

GOOD NIGHT,
MARGARET.

SORRY, JOHN.

I KNOW YOU WANTED
TO GET LAID.

WELL, THAT'S ALL RIGHT, KID.

YOU CAN'T HELP IT
IF YOU'RE A KIKE.

HE SAYS, "NEVER MIND
THE CAR KEYS.

HAVE YOU SEEN
THE CAR?"

[TRAY CRASHES]

YOU CLUMSY OAF!

DIMWIT!

NOW LOOK WHAT
YOU'VE DONE.

JOHN, WHERE
ARE YOU GOING?

PICK UP
THAT GLASS, BOY.

DAMN IT!
PICK IT UP!

JOHN, WHAT
ARE YOU UP TO?

I JUST WANT TO
TALK TO HARRY.

WHAT HAPPENED
HERE, HARRY?

THE BLACK BASTARD
SPILLED A DRINK

ON THIS GENTLEMAN.

ON PURPOSE?

WHO KNOWS?
BLACK BASTARDS!

HARRY, I THINK
YOU'RE A YELLOW,

ROTTEN, SADISTIC
SON OF A BITCH.

MR. WILSON,
I DON'T HAVE TO TAKE

THAT KIND OF TALK
FROM ANYONE.

RIGHT.

YOU DON'T.

HOW ABOUT TRYING
TO KICK ME AROUND?

YOU'RE DRUNK,
MR. WILSON.

I AM,

BUT THAT DOESN'T
CHANGE THE FACT

THAT YOU'RE
YELLOW, HARRY.

I'M NOT SUPPOSED TO FIGHT
WITH THE GUESTS, MR. WILSON.

I'M NOT A GUEST TONIGHT.

I HAPPEN TO BE
AN INTRUDER.

LET'S GO.

JOHN, WHAT
ARE YOU DOING?

IF MRS. MacGREGOR
HAD BEEN A MAN,

WOULDN'T YOU HAVE
KNOCKED HIM
ON HIS ASS?

THIS IS DIFFERENT.

WE FOUGHT
THE PRELIMINARY
FOR THE KIKES.

NOW WE'LL FIGHT
THE MAIN EVENT
FOR THE NIGGERS.

JUST ONE HAND?

FINISH HIM.

FINISH HIM!

FINISH HIM OFF,
WHY DON'T YOU?

COME ON!

YOU YELLOW BASTARD.

HIT HIM AGAIN.

STEADY ON,
OLD MAN.

FAIR'S FAIR, EH?

[COUGHING]

PLEASE, DON'T GET UP,
MR. WILSON.

AREN'T YOU
GOING TO STOP IT?

COME ON.
GET UP.

COME ON.

WHERE IS HE?
I'LL KILL THE BASTARD!

HE'S CALLED IT
QUITS, JOHN.

I TOLD YOU
HE WAS YELLOW.

GET A DOCTOR.

HE'S HURT
THAT BAD, HUH?

HE ALMOST
KILLED YOU.

YOU'RE FULL OF CRAP.

I WAS ABOUT READY
TO FINISH HIM OFF.

ALL RIGHT.

YOU'RE BACK
IN YOUR ROOM.

I AM?

IT'S ALL OVER.

HOW ABOUT THAT?

I FEEL PRETTY GOOD,
REALLY.

IT'S LIKE I ALWAYS
TELL YOU, KID--

YOU'VE GOT TO FIGHT

WHEN YOU THINK
IT'S THE RIGHT THING.

OTHERWISE, YOU FEEL LIKE
YOUR GUT'S FULL OF PUS.

EVEN IF YOU LOSE,

IF YOU FIGHT,
YOU FEEL OK ABOUT IT.

"PETE, OF ALL THE WILD
ANIMALS IN AFRICA,

"JOHN WILSON IS THE WILDEST.

DO EVERYTHING YOU CAN..."

TO BRING HIM
TO HIS SENSES.

IF HE FIGHTS

WITH AN EMPLOYEE
OF THE HOTEL,

YOU CAN HIT HIM

FROM BEHIND.

WILL ARRIVE IN AFRICA
IN 1O DAYS. PAUL.

GOOD MORNING.
HOW ARE WE?

GOOD MORNING.

CAN I DO
SOMETHING
FOR YOU?

NO, RALPH, BUT YOU CAN DO
SOMETHING FOR YOURSELF.

WHAT'S THAT?

STICK TO YOUR JOB

AND STOP SPYING ON WILSON.

WHAT THE HELL
DO YOU MEAN?

YOU TOLD LANDERS
WILSON PROVOKED A FIGHT,

AND THAT'S BULLSHIT.

SOMEONE SHOULD'VE
HIT THAT BASTARD
LONG AGO, RALPH.

YOU DO REALIZE YOU'RE BACKING
THE WRONG HORSE, DON'T YOU?

BECAUSE WILSON IS THE BOSS.
LANDERS CAN'T CHANGE THAT.

TELEPHONE, MR. LOCKHART.
LONDON CALLING.

YES.

JUST REMEMBER
WHAT I SAID.

HAVE A PLEASANT DAY.

I WOULD HAVE HAD HIM
IF YOU HADN'T STOPPED ME.

HE ONLY KNOCKED
YOU DOWN 15 TIMES.

I WAS JUST GETTING ON
TO HIS STYLE.

IN ANY CASE,
IT WAS WORTH DOING.

IT CERTAINLY WAS.

I HAVE ARRANGED
FOR YOU TO FLY

TO A HUNTING CAMP
ON LAKE ALBERT.

THE CAMP'S OWNED
BY A MAN NAMED
ZIBELINSKY.

HE'S LAID ON A SAFARI,
IF YOU HAVE TIME.

MR. WILSON,

MR. LANDERS
IS ON THE PHONE.

TELL HIM

YOU MISSED ME.

JOHN, IT MIGHT
BE IMPORTANT.

I'VE GONE ON A RECCE.

[SPEAKING SWAHILI]

GOOD-BYE, YOU WORTHLESS
SON OF A BITCH.

[YELLING IN SWAHILI]

GOOD-BYE, YOU PEARL
OF CENTRAL EAST AFRICA.

GOOD-BYE,
YOU LAKE FLIES.

GOOD-BYE,

YOU FLAT-CHESTED,
BUCK-TOOTHED WOMEN.

GOOD-BYE FOREVER.

HELLO.
ANYBODY HOME?

HELLO. YOU CHAPS
LOOKING FOR ME?

THE NAME'S HODKINS--
YOUR NEW AIRPLANE DRIVER.

THIS IS MR. WILSON.
PETE VERRILL.

CALL ME HOD.
NOW, WE BETTER GET GOING.

NEVER START OUT LATE.

I UNDERSTAND
YOU'VE NEVER FLOWN
TO THE CONGO BEFORE.

I CAN FIND THE WAY.

IF NOT, WE'LL SET DOWN
IN ONE OF THOSE BIG TREES.

IT'S DIFFICULT
GETTING IT UP AGAIN.

AS A FAMOUS PILOT
ONCE SAID,

"IT'S ALL WORTH IT,
INCLUDING THE FINAL CRASH."

THAT'S PETE'S
PHILOSOPHY, TOO.

I'LL GET
THE LUGGAGE.

SO THIS IS, UH...

THIS IS REALLY
YOUR FIRST TIME

OVER THE CONGO, HOD?

YEAH, QUITE.

I'LL BE SEEING YOU.

JUST LIKE THE AIRLINES, EH?

THERE.

CAN I HELP YOU?

IT'S THE SPOT.
THAT'S IT.

I'M GETTING
THE HANG OF THIS.

YOU SEE
THIS HILL HERE?

HMM?

THE HILL!

OH, CHRIST!
WHERE'S THE STICK?

SHIT!

OH...

AH...

COME ON.

COME ON.

OH, JESUS!

OH, DEAR.
OH, DEAR.

THANKS AWFULLY,
OLD BOY.

PETE...

I'M GOING TO TAKE A NAP.

PLEASE DON'T WAKE ME
UNLESS WE'RE GOING TO CRASH

BECAUSE I WOULDN'T
WANT TO MISS THAT.

HEH HEH HEH! NO.

HEY, ALL THAT FANCY FLYING
DIDN'T BOTHER YOU, DID IT?

NO, NOT AT ALL.

IT WAS YOUR FRIEND'S
IDEA OF A JOKE.

A JOKE?

WHAT IF THE ENGINES
WOULD HAVE STALLED OUT?

WELL, I WAS
A BIT WORRIED,

BUT THE OLD BOY SEEMED
AWFULLY KEEN ON HIS RIB.

HE'S A PAIN
IN THE ASS.

A VALET WITH WINGS,
THAT'S A PILOT OUT HERE.

RANKS UP THERE
WITH WRITERS.

THAT'S WHAT YOU DO?

I'VE GOT SOME BLOODY FUNNY
STORIES I SHOULD TELL YOU.

A PARTICULARLY GOOD ONE

WAS WHEN THE SQUADRON DOG
BIT ME IN KHARTOUM.

WAS HIS NAME HORACE?

NO. WHY?

FORGET IT.

YOU MUST BE
MR. WILSON.

THAT'S RIGHT.

MR. ZIBELINSKY,

THIS IS PETE VERRILL
AND HODKINS, OUR PILOT.

THIS IS QUITE A PLACE
YOU HAVE HERE.

THANK YOU.

WELL, BY GEORGE,

HERE THEY ARE--
THE HUNTERS FROM HOLLYWOOD.

HOW DID YOU
GET HERE?

CAME WITH A PILOT
WHO KNEW THE WAY.

RIGHT THIS WAY,
MR. WILSON.

I THINK I FOUND
A STEAMBOAT FOR YOU.

YOU HAVE?

WHEN CAN I TAKE
A LOOK AT IT?

THE DAY AFTER TOMORROW.

I'M HAVING HER
PUT IN DRY DOCK

TO CHECK HER BOTTOM.

THE BELGIANS WANT
A BLOODY BOND POSTED.

WHERE'S HARRISON
THIS EVENING?

DOWN ON THE OTHER LOCATION,
NEAR PONTHIERVILLE.

MR. LANDERS IS STILL
TRYING TO REACH YOU.

WE'RE GOING HUNTING
IN THE MORNING.

WOULD YOU LIKE
TO GO WITH US, RALPH?

CUSTOMS BLOKE'S COMING
FROM TATSUMU TO LOG MY STUFF IN.

I SAY,

IS HE ALWAYS
LIKE THIS JUST BEFORE
A PRODUCTION STARTS?

LIKE WHAT?

HE ACTS AS IF
HE COULDN'T CARE LESS.

AW, HE'LL BE FINE,
RALPH,

ONCE HE'S KILLED
AN ELEPHANT.

GOOD EVENING,
GENTLEMEN.

JOHN, THIS IS
MY WIFE DORSHKA.

WHAT A PLEASURE,
INDEED.

HELLO.

WHAT A PLEASURE.

YOU KNOW
RALPH LOCKHART?

YES. WE MET
THIS AFTERNOON.

AND THIS IS
PETER VERRILL.

HELLO.

WELCOME.

SO YOU ARE A BIG-GAME
ENTHUSIAST, ALSO?

WELL, MORE OR LESS.

IT'S A PLEASURE TO
HAVE YOU ALL HERE.

I HOPE YOU FIND
YOUR QUARTERS
COMFORTABLE.

THIS IS SIMPLY PARADISE.

ABSOLUTE PARADISE HERE.

IN FACT, I'M SERIOUSLY THINKING
OF STAYING HERE FOREVER.

COME ON.
HEAVE IT.

DOONSA!

AH.

WELL, WHAT DO YOU
THINK OF HER?

SHE'S BEAUTIFUL.
PERFECT.

WELL, NOT QUITE.

SHE'S VERY OLD,
YOU SEE,

AND ACCORDING
TO THE SKIPPER,
NOT THAT SEAWORTHY.

OH, SHE WILL BE.

WELL, YES,
FOR EVERYTHING

EXCEPT
THE WHITE-WATER SEQUENCE.

THE SKIPPER SAYS
IT WOULD BE TOO DANGEROUS.

SHE'D FALL APART IF YOU
RAN THE RAPIDS WITH HER.

ACTUALLY, I CALLED
MR. LANDERS

AND TOLD HIM ABOUT IT.

UH...HE SUGGESTED--

WELL, I SHOULD SAY
HE INSISTED

THAT YOU CUT THE SEQUENCE
OUT OF THE FILM.

HE DID?

RIGHT.

WRONG.

NO. SHE LOOKS
SOUND TO ME.

OF COURSE,
THERE'S ONLY ONE WAY

TO FIND OUT,
ISN'T THERE, RALPH?

[TOOT]

OH!

HA HA HA!

OH! PLEASE STOP!

STOP!

PLEASE STOP!

HA HA HA!

WHOA!

OH, SHIT.

ARE YOU
CONVINCED, RALPH,

OR WOULD YOU
LIKE TO CONTINUE ON?

OH, NO!

I'M CONVINCED.

SO AM I.

HAS ANYONE HEARD FROM
OUR CHIEF HUNTER YET?

I SENT ONE OF THE BOYS
TO FETCH HIM.

HMM...GOOD.

[KNOCK KNOCK]

AH, OUR CHIEF HUNTER.

LET'S HAVE HIM IN.

PINDA SHAMWARI.

EXPLAIN TO HIM
WE WANT TO GO
AFTER SOME GAME--

BUFFALO, PREFERABLY
AN ELEPHANT.

[SPEAKING SWAHILI]

[SPEAKING SWAHILI]

HMM.

[GUNSHOT]

THIS MAN IS WONDERFUL.
WHAT'S HIS NAME?

KIVU.

HE'S CALLED KIVU
BECAUSE HE WENT

ON A TRIP
THERE ONCE.

I MUST SAY,
KIVU IS AMAZING.

HE FOUND ELEPHANT TRACKS
THAT BIG,

A WHOLE HERD.

ONLY DARKNESS PREVENTED US
FROM GOING ON.

COME AND SIT DOWN.

[SPEAKING SWAHILI]

[SPEAKING SWAHILI]

HE SAYS HE PREFERS
TO STAND.

OH, GOOD EVENING,
GENTLEMEN.

SO, DID
THE HOLLYWOOD
HUNTERS

HAVE ANY LUCK
TODAY?

TELL KIVU TO GET
A GOOD NIGHT'S REST.

WE'LL BE LEAVING
AT 5:OO IN THE MORNING.

WE'LL GET
OUR ELEPHANT THEN.

[SPEAKING SWAHILI]

[SPEAKING SWAHILI]

I TALKED TO
MR. LANDERS
IN LONDON.

HE'S QUITE
HYSTERICAL.

HE WANTS TO TALK
TO YOU TOMORROW.

I TOLD HIM THAT

WE COULD
DRIVE YOU DOWN
TO THE BORDER

AND USE THAT
PHONE THERE.

YOU DID, DID YOU?

BUT YOU'LL
BE ON SAFARI,
I SUPPOSE.

YOU'RE WELCOME
TO COME ALONG, RALPH.

NO HOLLYWOOD
SAFARIS FOR ME.

THAT WORD HAS CREPT
INTO THE CONVERSATION

QUITE A FEW TIMES,
HASN'T IT?

WHICH WORD
IS THAT, SIR?

HOLLYWOOD.

I REALIZE IT'S JUST
THE NAME OF A PLACE,

BUT THE WAY YOU SAY IT
HAS AN ADDED MEANING,

LIKE AN INSULT.

I DIDN'T MEAN IT
LIKE THAT.

DON'T CONTRADICT ME.
I'VE HEARD IT BEFORE--

IN THE ARMY,
IN NEW YORK,

IN THE THEATER.

HELL, I'VE HEARD IT
EVERYWHERE.

PEOPLE SAY HOLLYWOOD
WHEN THEY WANT TO
INSULT YOU.

REALLY, HOLLYWOOD
IS JUST A PLACE

WHERE THEY MAKE
A PRODUCT.

IT'S A FACTORY TOWN,

LIKE DETROIT
OR BIRMINGHAM
OR SCHAFFHAUSEN.

BECAUSE THE CHEAP
ELEMENT OF THE TOWN

HAS BEEN SO
OVERLY ADVERTISED,

IT BECOMES AN INSULT

TO REMIND A MAN
HE'S FROM THERE.

THEY'RE NOT
TALKING ABOUT PEOPLE
WHO WORK THERE

AND THAT TRY TO DO
SOMETHING WORTHWHILE.

THEY'RE TALKING ABOUT
THE WHORES WHEN THEY
MENTION HOLLYWOOD.

YOU KNOW WHAT THAT WORD
MEANS, DON'T YOU?

SURE.

SURE.

WHORES HAVE TO SELL

THE ONE THING THAT
SHOULDN'T BE FOR SALE,

AND THAT'S LOVE.

THERE ARE OTHER KINDS
OF WHORES

THAN THE FLOOZIES
YOU FREQUENT.

THERE ARE WHORES

WHO SELL WORDS
AND IDEAS AND MELODIES.

NOW, I KNOW WHAT
I'M TALKING ABOUT

BECAUSE I'VE DONE
A LITTLE HUSTLING
IN MY TIME--

A LOT MORE THAN
I'D LIKE TO ADMIT TO,

AND WHAT I SOLD
WHEN I WAS WHORING

I'LL NEVER GET BACK.

WHAT I'M TRYING
TO SAY, RALPH--

IT'S THE WHORES
WHO PUT HOLLYWOOD UP

AS A BIG TARGET.

SURE.

WELL, JOHN,
I DIDN'T REALIZE

YOU WERE SUCH
A HOMETOWN BOY.

WELL, I AM, KID.

I AM WHEN
I'M IN AFRICA.

YEAH.

IT TOOK AFRICA TO BRING
ALL THIS OUT IN ME--

AFRICA AND THE SMELL
OF MY FIRST WILD ELEPHANT.

HA HA HA HA.

HA HA HA HA.

IT'S A SHAME
KIVU COULDN'T
HAVE HEARD THAT.

OH, KIVU KNOWS.

KIVU KNOWS
WITHOUT BEING TOLD.

WHY DON'T YOU BRING KIVU
BACK TO HOLLYWOOD?

NOT A BAD IDEA, KID.

HE COULD BE MIGHTY
USEFUL AROUND THERE.

YEAH. HA HA HA.

WHERE ARE WE GOING
THIS MORNING, JOHN?

A PLACE
THAT KIVU KNOWS.

HE SAYS A LOT OF
ELEPHANT GO THERE.

I WAS WONDERING,
UH...

HOW DO YOU TWO
COMMUNICATE?

I ASKED HIM
THIS MORNING

ABOUT GOING BACK TO
THE STATES WITH ME.

ZEB ACTUALLY ACTED
AS MY INTERPRETER.

WHAT DID HE SAY?

HE SAID
HE DIDN'T KNOW.

SAID HE'D HAVE TO
THINK ABOUT IT,

THAT IT WAS
A VERY BIG DECISION.

HE SAYS
WE'RE GETTING CLOSE.

HE SAYS THEY'RE
IN THERE,

BUT IT'S BEST
IF ONLY TWO
SHOOTERS GO.

PETE, ARE YOU READY?

NO. YOU AND ZEB
ARE PLENTY.

YOU'RE NOT COMING?

I'LL WAIT HERE.

LOOK, KID...

I'VE NEVER GIVEN YOU
MUCH ADVICE.

I'VE NEVER FORCED YOU
TO DO ANYTHING,

BUT I THINK
YOU SHOULD COME.

YOU JUST GO ON, JOHN.
I'LL WAIT HERE.

YOU'LL REGRET THIS
AS LONG AS YOU CAN
REMEMBER IT.

I DON'T WANT TO SHOOT
AN ELEPHANT, JOHN.

IF YOU DON'T
COME ALONG,

IT'S BECAUSE
YOU'RE SCARED,
AND YOU KNOW IT.

I GUESS I'LL JUST
HAVE TO LIVE WITH THAT.

[AROOO]

John.

John, hold your fire.

[AROOO!]

John, don't shoot.

IT'S TOO DANGEROUS.
HOLD YOUR FIRE.
COME BACK SLOWLY.

THIS IS HIM.

THIS IS THE ONE
I'M LOOKING FOR.

THERE ARE TOO
MANY COWS AROUND.
COME BACK SLOWLY.

JUST COME.
COME ON.

KIVU, KINO.

[AROOO]

OH, I'VE NEVER
SEEN ONE BEFORE...

OUTSIDE THE CIRCUS
OR THE ZOO.

HA HA HA HA.

THEY'RE SO MAJESTIC,

SO INDESTRUCTIBLE.

THEY'RE PART
OF THE EARTH.

THEY MAKE US FEEL LIKE

PERVERSE LITTLE CREATURES
FROM ANOTHER PLANET...

WITHOUT ANY DIGNITY.

MAKES ONE
BELIEVE IN GOD...

IN THE MIRACLE
OF CREATION.

FANTASTIC.

THEY'RE PART OF A WORLD
THAT NO LONGER EXISTS.

THE FEELING
OF UNCONQUERABLE TIME.

HA HA HA HA.

YOU CERTAINLY
HAVE A WAY WITH
WORDS, PETE.

NO WONDER
YOU'RE A WRITER.

[COUGHING]

AHEM...

SO WHAT
HAPPENED, JOHN?

WEREN'T YOU ABLE
TO GET CLOSE ENOUGH?

[COUGHING]

WE WERE CLOSE ENOUGH,
BUT I WOULDN'T LET HIM SHOOT.

TOO MANY COWS.
THEY WOULD HAVE CHARGED US.

THAT WAS
THE BIGGEST TUSKER
IN ALL OF AFRICA.

[COUGHING]

IT WOULD HAVE BEEN A RISK
WELL WORTH TAKING.

[PANTING]

OH...

[COUGHING]

YOU ALL RIGHT?

I'M ALL RIGHT.

JOHN.

HUH?

COME ON.
LET'S FACE IT.

THIS COUNTRY'S
TOO TOUGH FOR US.

WE'RE JUST
A COUPLE OF CHARACTERS
FROM VINE STREET,

NOT TWO HEROES
FROM ONE OF YOUR FILMS.

HUH? COME ON.

[COUGHING]

GET UP.

YOU KNOW, KID...

WE'RE GOING TO
END UP TOGETHER.

WHEN WE'RE OLD,
THAT IS.

PROBABLY LIVE
IN A CABIN

UP IN THE SIERRAS
AND PAN FOR GOLD,

HAVE A COUPLE MULES--

[COUGHING]

SIT AROUND
THE CAMPFIRE AT NIGHT,

TELL LIES
TO EACH OTHER--

YEAH?

ABOUT ALL THE THINGS
WE'VE DONE--

WARS WE'VE FOUGHT,
BOOKS YOU'VE WRITTEN,

MOVIES I'VE MADE.

[ENGINE STARTS]

YOU KNOW, I DON'T
DOUBT THAT, JOHN.

YOU'LL NEED THREE CAMERAS
ON THE FIRE SEQUENCE.

IF YOU INITIAL
THESE PLANS,

I CAN GO AHEAD
AND START CONSTRUCTION.

IT WAS A RISK
TO ALL OF US.

A HERD OF COWS CAN
GO ROGUE QUICKLY.

THERE HAVE
BEEN ROGUE HERDS
CREATED IN KENYA

IN JUST SUCH A WAY.

THEN THEY
HAVE TO SHOOT

EVERY BLOODY ONE
OF THEM.

ALL RIGHT. FORGET IT.

WE'LL TRY AGAIN TOMORROW.

TOMORROW
MORNING, YES.

TOMORROW AFTERNOON,
WE LEAVE.

I HAVE
ANOTHER SAFARI.

YOU HAVE TO
GET STARTED ON THE FILM.

YOU CAN LEAVE
IF YOU WANT.

I'M STAYING.

THE COMPANY ARRIVES IN ENTEBBE
THE DAY AFTER TOMORROW.

I'M STAYING.

JESUS CHRIST, JOHN!
WILL YOU BE REASONABLE?

I DON'T GIVE
A GOD DAMN

IF THE COMPANY
GETS HERE TOMORROW.

I'M STAYING TILL
I GET MY ELEPHANT.

YOU CAN'T HUNT ALONE.

KIVU WILL GO
WITH ME.

WHAT ABOUT
THAT FELLOW

DOWN AT
THE FISHERY?

THE ONE WHO WAS
A GAME WARDEN

DOWN ON
THE ZAMBEZI?
OGILVY?

THEY SAY HE KILLED OVER
5OO ELEPHANTS IN HIS DAY.

LET'S GET HIM UP HERE.

HOW LONG
WILL YOU STAY?

WELL, THAT DEPENDS
UPON THE ELEPHANTS...

AND ON THE GUIDES.

IF THIS FELLOW OGILVY

TURNS OUT TO BE
JUST ANOTHER OLD LADY,

IT MAY TAKE MONTHS,

BUT IF HE'S
HALF THE MAN KIVU IS,

IT MAY TAKE NO TIME.

[DOOR CLOSES]

WHAT'S
THE MATTER, KID?

GO AHEAD
AND SPIT IT OUT.

YOU'RE SITTING
AROUND STEWING
LIKE A DAME

WHO'S JUST BEEN
KICKED OUT OF BED.

YOU'RE EITHER CRAZY...

OR THE MOST EGOCENTRIC,
IRRESPONSIBLE SON OF A BITCH

THAT I'VE EVER MET.

YOU'RE ABOUT TO BLOW
THIS WHOLE PICTURE

OUT OF YOUR NOSE, JOHN,

AND FOR WHAT?

TO COMMIT A CRIME.

TO KILL ONE OF THE RAREST,
MOST NOBLE CREATURES

THAT ROAMS THE FACE
OF THIS CRUMMY EARTH,

AND IN ORDER FOR YOU
TO COMMIT THIS CRIME,

YOU'RE WILLING TO
FORGET ABOUT ALL OF US

AND LET THIS WHOLE THING
GO DOWN THE DRAIN.

YOU'RE WRONG, KID.

IT'S NOT A CRIME
TO KILL AN ELEPHANT.

IT'S BIGGER
THAN ALL THAT.

IT'S A SIN
TO KILL AN ELEPHANT.

DO YOU UNDERSTAND?
IT'S A SIN--

THE ONLY SIN THAT
YOU CAN BUY A LICENSE

AND GO OUT AND COMMIT.

THAT'S WHY
I WANT TO DO IT.

DO YOU UNDERSTAND ME?

OF COURSE YOU DON'T.
HOW COULD YOU?

I DON'T UNDERSTAND
MYSELF.

IF YOU DON'T NEED ME,

THEN I'LL TAKE THE PLANE
TO LONDON TOMORROW.

WELL, YOU
DO THAT, KID.

I'VE NEVER BEEN
ONE TO INTERFERE

WITH ANYTHING
A FRIEND OF MINE
WANTS TO DO.

HOW DO YOU DO?
IT'S NICE TO MEET YOU.

HELLO.
HOW DO YOU DO?

HELLO.
NICE TO MEET YOU.

WELL, HELLO.

MISS GIBSON...

RIGHT HERE.

PETE.

PETE.

WHERE'S JOHN?
WHY ISN'T HE HERE?

I'M GOING BACK
TO LONDON, PAUL.

WHAT HAPPENED?
WHERE'S JOHN?
WHERE'S THE SCRIPT?

I SENT YOU
THE SCRIPT.

I GOT HALF OF IT.
THERE'S ONLY ONE COPY?

NO. JOHN HAS
THE ORIGINAL,

IF HE HASN'T
LOST IT.

HOW ARE YOU, PETE?
WHERE'S THE OGRE?

HE'S OUT SCOUTING
LOCATIONS.

I HOPE YOU'VE IMPROVED
THE SCRIPT.

WHAT KAY MEANS IS,
WILL HER PART GET BIGGER?

I DON'T MIND
IF YOU DO THE TALKING,

AS LONG AS I PLAY
A REAL HUMAN BEING.

BEAUTIFUL, KAY.
COME WITH ME.

MR. DUNCAN, CAN WE HAVE
ONE OF YOU

WITH YOUR NEW BRIDE,
PLEASE?

PASSIONATE
OR DOMESTIC?

CAN WE HAVE
A KISS?

THAT'S LOVELY.

THANK YOU
VERY MUCH.

[THUNDER]

[THUNDER]

PETER, THINK
WHAT WILL HAPPEN

TO THE COMPANY'S MORALE
IF YOU GO BACK.

THEY'LL THINK SOMETHING
TERRIBLE IS WRONG.

I CAN'T START
A PICTURE THAT WAY.

PAUL, DON'T YOU
UNDERSTAND?

SOMETHING TERRIBLE
IS WRONG.

THE MAN
HAS THE FEVER.

IT'S JUST LIKE
ANY PASSION.

IT'S IRRESPONSIBLE,
AND IT'S DESTRUCTIVE!

I UNDERSTAND
HOW YOU FEEL,

BUT WE'VE
GOT A PICTURE
TO MAKE HERE.

YOU'VE GOT TO STAY.

IF HE'S NOT BACK
HERE IN THREE DAYS,

WE'LL ALL BE RUINED.

APOLOGIZE TO HIM.

GO ON.
APOLOGIZE TO HIM.

[THUNDER]

HA HA HA HA.

NO.

BUT I'LL TELL YOU
WHAT I WILL DO.

I'LL GET THAT SCRIPT
FROM HIM

BECAUSE IT'S
THE BEST WRITING
I'VE EVER DONE,

AND I'LL BE DAMNED

IF I'LL LET
THAT BASTARD
DESTROY IT!

[ENGINE STOPS]

HELLO, CHAPS.

WHERE'S JOHN?

BELIEVE IT OR NOT,
HE'S GONE.

WHERE?

HE'S VISITING KIVU'S VILLAGE
UP IN SEMLIKI.

IT'S THE TRUTH.

OGILVY AND KIVU
CONVINCED HIM

THAT'S THE BEST PLACE
TO FIND A BIG TUSKER.

HOW FAR IS THAT?

ABOUT 6 MILES,
MOST OF IT THROUGH SWAMP.

THERE'S BEEN
A CHANGE IN PLANS.

WHAT'S THAT?

THE BOSS DECIDED TO START
SHOOTING THE FILM THERE.

MADE UP HIS MIND
YESTERDAY

WHEN WE FINALLY CLEARED
THE TRUCKS THROUGH CUSTOMS.

HE SEEMS TO THINK
KIVU'S VILLAGE

IS MUCH MORE AUTHENTIC.

THE COMPANY CAN STAY
AT THE HUNTING CAMP.

HA HA HA HA!

HA HA HA HA!

HAVE A PLEASANT DAY.

THERE IT IS.
THAT MUST BE THE VILLAGE.

[THUNDER]

I DON'T BELIEVE IT.

I JUST
DON'T BELIEVE IT.

WHAT ABOUT THE VILLAGE
WE BUILT AT MASINDI?

IT COST A FORTUNE.

JOHN PLANS TO USE
THAT FOR THE FIRE.

HE'LL MOVE THERE
ONCE HE'S FINISHED
IN THE CONGO.

I'M NOT GOING TO
LET HIM DO IT!

I'LL CALL OFF
THE PICTURE FIRST.

YOU'VE
ALREADY INVESTED
OVER £1OO,OOO.

I'LL PAY IT BACK

IF IT TAKES
THE REST OF MY LIFE.

WHY DON'T YOU
TELL EVERYBODY
IT'LL BE ROUGH

BUT IT'LL
MAKE FOR A MOST
DISTINGUISHED FILM?

WE CAN'T DO THAT.

WHY NOT?

EITHER
WE CALL IT OFF

OR WE PLAY ALONG
WITH WILSON.

WE CAN BE HONORABLE
OR CROOKED.

THERE'S
NO MIDDLE ROAD.

I DON'T AGREE WITH YOU.

I'VE FOUND IT'S BETTER
TO TELL THE TRUTH.

IF I HAD ALWAYS
TOLD THE TRUTH, PETE,

I WOULD NOW BE
A CAKE OF SOAP.

DOES THIS LOOK FAMILIAR
TO YOU, PETE?

YES, PAUL.
WE'RE GETTING CLOSE.

IT'S AWFULLY PRIMITIVE.
WHERE'S THE HOTEL?

HA HA HA.

WELL, HERE IT IS--
HOME AWAY FROM HOME.

WELL, I THINK THIS
IS QUITE LOVELY.

HOLY SHIT.

OY.

[GASP]

AH.

OH, DO COME IN, CHAPS.

I'VE BEEN SO LOOKING FORWARD
TO SEEING YOU AGAIN.

MAY I PRESENT
MADAME DORSHKA

AND MR. ZIBELINSKY,
OUR HOSTS.

WELL, THIS IS...
GLORIOUS.

THIS IS MARVELOUS.

HA HA HA HA.

THIS IS COUNT OGILVY,
MY NEW WHITE HUNTER.

HELLO, JOHN.

NICE TO SEE YOU.

EXCUSE
MY FRIEND HERE.

HELLO, JOHN.

PLEASURE TO SEE YOU
ALL HERE AGAIN.

HOW ARE YOU DOING?

CHEERS.

AHEM...

WELL, HAVE
SOME CHAMPAGNE, EVERYONE,

AND LET'S GET WITH IT.

CHEERS, JOHN.

I TRUST YOU ALL ENJOYED
OUR BORSCHT A LA RUSSE.

EXCELLENT.
ABSOLUTELY
FIRST-CLASS.

SPIFFING.

HMM.

AND NOW WE HAVE
THE PIECE DE RESISTANCE.

IT'S A FRESHLY KILLED REEDBUCK
FROM THE SEMLIKI PLAIN,

THE FEMALE
OF THE SPECIES,

TO PROVE GOD DOESN'T LET MAN
OFF THE HOOK.

HA HA HA!
HA HA HA!

SO I TOLD ANATOLE

THAT HE SHOULD NOT
LET PAULETTE
EVER DO THAT AGAIN.

JOHN, CAN WE STOP
PLAYING GAMES?

PLAYING GAMES,
DEAR FELLOW?

I DON'T QUITE
UNDERSTAND.

WELL, WE HAVE TO
GET STARTED TOMORROW.

RAY HAS TO GO OUT
TO THE LOCATION.

YOU HAVE TO CHECK
THEIR COSTUMES.

I'M PERFECTLY WILLING TO DO
ANYTHING YOU SUGGEST.

THAT IS, WITHIN REASON,
OF COURSE.

HA HA HA HA.
WELL, FIRST OF ALL,

CAN YOU DROP THAT
PHONY ENGLISH ACCENT,

AND FOR GOD'S SAKES,

ABANDON YOUR ROLE OF
THE GREAT WHITE HUNTER

AND BECOME
A MOVIE DIRECTOR AGAIN?

HA HA HA HA!

HA HA HA!

HA HA HA HA!

LISTEN, YOU BALKAN
RUG-PEDDLER,

MY ROLE
OF THE HUNTER

IS STRICTLY
MY OWN BUSINESS.

IT HAS NOTHING
TO DO WITH YOU.

IT'S A SACRED SUBJECT,

MUCH LIKE THE SEX LIFE
OF MY MOTHER.

HA HA HA.

IT'S SOMETHING YOU'LL
REFRAIN FROM TALKING ABOUT

OR EVEN THINKING ABOUT.

IT'S TOO DIFFICULT
A SUBJECT

FOR YOUR SMALL,
LITTLE BRAIN TO GRASP.

IT'S A PASSION
THAT'S BEYOND YOU.

I'D HAVE TO
EXPLAIN TO YOU

THE SOUND OF THE WIND
AND SMELL OF THE WOODS.

I'D HAVE TO CREATE YOU
ALL OVER AGAIN

AND STAMP OUT
THOSE YEARS

YOU SPENT ON THE DIRTY
PAVEMENT IN CRAMPED SHOES.

I'M NOT INTERESTED
IN YOUR HUNTING.

IT DOESN'T MEAN
A THING TO ME,

EXCEPT WHEN IT
INTERFERES WITH
THE PICTURE.

HOW IS IT INTERFERING
WITH THE PICTURE?

I HAVEN'T EVEN
GOTTEN

THE LAST SECTION
OF THE SCRIPT YET.

OH, DEAR, DEAR.

WELL, I'LL CORRECT
THAT IMMEDIATELY.

KIVU.

[SPEAKING SWAHILI]

AH, YOU'VE FINISHED
YOUR REWRITES.

HE POLISHED IT, PETE,
GAVE IT A LITTLE BALLS.

[MONKEY CHATTERS]

IT HAS TO BE TYPED.

COPIES
HAVE TO BE MADE.

HUH!

HA HA HA HA!

THE APE!

HA HA HA!

SOMEBODY GET HOLD
OF THE GOD DAMNED APE!

[GLASS BREAKS]

HA HA HA!

HA HA HA!
HA HA HA!

[COUGHING]

FRONTAL BRAIN SHOT,
AND FOR GOD'S SAKE, DON'T MISS!

[COUGHING]

OH, GOD. THIS MAKES IT ALL
SO WORTHWHILE.

HA HA HA HA!

[SPEAKING SWAHILI]

[DRUMS BEATING]

[SINGING IN SWAHILI]

OH, ISN'T THIS
WONDERFUL?

MY GOD,
WHAT A PERFORMANCE.

THEY REALLY LOVE HIM,
DON'T THEY?

THEY SURE DO.

JOHN, SCENE 244--

PETE, I'M SURPRISED
TO SEE YOU HERE LAST NIGHT.

I THOUGHT YOU'D BE
IN PARIS BY NOW,

DEVOTING YOURSELF
TO ALL THOSE THINGS
YOU KNOW NOTHING ABOUT.

YEAH? I THOUGHT YOU'D HAVE
YOUR BIG TUSKER BY NOW.

STICK AROUND, KID.

STICK AROUND.

[THUNDER]

OH, GEEZ.

NO SHOOTING TODAY, FOLKS.

WHERE ARE YOU
GOING, JOHN?

I'M GOING HUNTING.

WE CAN'T SHOOT
THE SEQUENCE IN THE RAIN.

HOW LONG WILL
THE RAIN LAST?

IT COULD LAST
FOR DAYS.

IT'S THE BEGINNING
OF THE RAINY SEASON.

WHY DIDN'T
SOMEBODY TELL US?

I DID!
I TOLD MR. WILSON.

HE SAID THE DAYS HE
COULDN'T SHOOT THE FILM,

HE COULD SHOOT ELEPHANT.

HA HA HA!

AT THIS RATE,
I'LL BE IN DEBT

THE REST
OF MY LIFE.

[THUNDER]

[SCREECH!]

COME HERE,
YOU LITTLE DEVIL.

I DON'T FEEL THIS CHANGE
IS APPROPRIATE,

BUT JOHN SEEMS TO THINK
IT'S A BIT COMPLICATED.

WHY COMPLICATED?

WELL, THAT'S
A GOOD QUESTION,

AND IF I COULD SIT
JOHN DOWN SOMEDAY,

I'D ASK HIM.

[COUGHING]

NO LUCK?

NO ELEPHANT?

WELL, WE SAW
PLENTY OF THEM.

WE JUST DIDN'T SEE
THE BIG TUSKER,

THE ONE I WANT.

WE'LL GET ONE.

THESE RAINS WON'T STOP
FOR ANOTHER WEEK YET.

YOU THINK SO?

OH, SHIT.

[ENGINE STARTS]

[THUNDER]

IT'S GOING TO BE
A CLEAR DAY.

WE CAN FINALLY START
THE PICTURE.

HA HA HA!

I'M SENDING THE COMPANY
TO KIVU'S VILLAGE.

JOHN, WE'VE BEEN
SITTING HERE
FOR FIVE DAYS.

WE'RE ALREADY
A WEEK BEHIND.

WE HAVEN'T EVEN
GOT ONE SHOT.

ALL RIGHT.

ALL RIGHT.
LET'S MAKE A MOVIE.

I'LL BELIEVE THAT
WHEN I SEE IT.

BOSS! BOSS! BOSS!

BOSS!

[SPEAKING SWAHILI]

HE NEVER LOOKS
AT THE SCRIPT, DOES HE?

NOPE. HE'S AFRAID
HE'LL LOSE

HIS ARTISTIC
SPONTANEITY.

WHAT ARE YOU TWO
GROUSING ABOUT?

WHAT'S WRONG, PAUL?
I'M ON THE SPOT,

READY TO MAKE MAGIC,
MAKE YOU RICH.

WHAT'S THE MATTER?

NOTHING.

JOHN,
KIVU SENT HIM.

HE'S ONTO
A BIG HERD.

IS THAT RIGHT?

ABOUT 3 MILES
FROM HERE.

WHAT ARE
WE WAITING ON?

JOHN, THE SKY
IS CLEAR.

YOU'VE GOT WORK TO DO.
I'LL BE RIGHT BACK.

HOW DO I KNOW
YOU'LL COME BACK?

SEND YOUR BOY PETE
IF YOU DON'T TRUST ME.

MAKE SURE
HE DOESN'T FORGET

WE'RE STARTING
A PICTURE HERE.

HE DOESN'T
NEED ME.

THAT'S RIGHT,
AND IT MAY BE RISKY.

[SPEAKING SWAHILI]

YOU'RE ONTO A BIG ONE?

[SPEAKING SWAHILI]

WHAT'S HE SAYING?

[SPEAKING SWAHILI]

WE'LL LEAVE
THE BOY HERE.

[SPEAKING SWAHILI]

[COCKS RIFLE]

JOHN.

LET'S GO BACK.
THEY'RE WAITING.

WELL, LET THEM WAIT.

[COUGHING]

BAD COUNTRY, THIS.

WALK RIGHT UP
TO A TUSKER

BEFORE YOU'D
EVER SEE HIM.

[COUGHING]

[SPEAKING SWAHILI]

WHAT'S HE SAYING?

HE SAYS THEY'RE JUST
BEYOND THESE TREES.

[ELEPHANT TRUMPETS]

[SPEAKING SWAHILI]

IT'S A BIG ONE,
ALL RIGHT,

BUT THERE ARE COWS
AND YOUNG ONES WITH HIM.

IT'S NO GOOD.
I DON'T LIKE IT.

WHAT DOES KIVU SAY?

I DON'T CARE
WHAT HE SAYS.

I'VE KILLED 5OO OF THEM.
THIS ISN'T THE DAY.

HOW MANY CHANCES
DOES A MAN GET?

THERE'S NEVER A REASON
TO DO SOMETHING WRONG.

WOULD YOU ASK KIVU
WHAT HE THINKS?

[SPEAKING SWAHILI]

[SPEAKING SWAHILI]

HE SAYS
HE'S WILLING TO TRY.

OF COURSE HE'S
WILLING TO TRY.
HE'S GOT GUTS.

JESUS CHRIST, JOHN!
GIVE IT UP.

IT'S HIS WORD
AGAINST MINE, MR. WILSON.

WILL YOU
COME ALONG?

COME ON, KIVU.

[AROOO!]

[AROOO!]

[AROOO! AROOO!]

[AROOO!]

[CLICK]

[AROOO]

[AROOO!]

[YELLING IN SWAHILI]

NO!

AAH!

[AROOO!]

[AROOO!]

[SPEAKING SWAHILI]

[SOBBING]

[SOBBING]

[DRUMS BEATING]

WHAT ARE THEY
SAYING, OGILVY?

WHAT ARE THE DRUMS
SAYING?

THEY'RE TELLING EVERYBODY
WHAT HAPPENED, THAT'S ALL.

THE BAD NEWS.

IT STARTS WITH
THE SAME WORDS.

WHAT ARE THEY?

WHITE HUNTER...

BLACK HEART.

WHITE HUNTER...

BLACK HEART.

YOU WERE RIGHT,
PETE.

THE ENDING
IS ALL WRONG.

UH, JOHN, WE'RE READY.

ALL RIGHT.
QUIET, PLEASE,
EVERYONE.

READY,
MISS GIBSON?

READY, MR. WILSON?

ROLL 'EM.

SPEED.

MARK IT.

SCENE 1.
TAKE 1.

ACTION.

[DRUMS BEATING]

[ELEPHANT TRUMPETS]

[SINGING IN SWAHILI]

CAPTIONING PERFORMED BY
THE NATIONAL CAPTIONING
INSTITUTE, INC.

CAPTIONS COPYRIGHT 199O
WARNER BROS., INC.

PUBLIC PERFORMANCE OF CAPTIONS
PROHIBITED WITHOUT PERMISSION OF
NATIONAL CAPTIONING INSTITUTE