All language subtitles for gkgkgkgtit

[chattering]

[elephant trumpeting]

Music playing

I'm sittin' on top
of the worId

I'm roIIin' aIong

[baby crying]

Yes, roIIin' aIong

And I'm quittin'
the bIues of the worId

I'm singin' a song

Yes, singin' a song

GIory haIIeIujah!
I just toId the parson

''Hey, Par,
get ready to caII''

Just Iike Humpty Dumpty

[boat horn blowing]

I'm gonna faII

And I'm sittin'
on top of the worId

I'm roIIin' aIong

RoIIin' aIong

Don't want any miIIions

I'm gettin' my share

I've onIy got one suit
just one

Move along.

That's aII I can wear

A bundIe of money

Don't make me feeI gay

A sweet IittIe honey

Is making me say

And I'm sittin', sittin'
on top, top of the worId

I'm roIIin' aIong

RoIIin' aIong

And I'm quittin'
quittin' the bIues
bIues of the worId

I'm singin' a song

Yes, singin' a song

GIory haIIeIujah!
I just toId the parson

''Hey, Par,
get ready to caII''

Just Iike Humpty Dumpty

[shouting]

[sneezing]
I'm gonna faII

Yeah! I'm sittin'
on top, top of the worId

Oh!

I'm roIIin' aIong

RoIIin' aIong

[sneezing]

That's a funny one.
lsn't that funnier?

lt's hysterical, Manny.

(Harry)
As long as we're laughing...

we won't cry
over the box office.

Talk about depressing.

Twenty girls in feather boas
prancing around
like circus ponies.

That's depressing.

l love a good chorus line.

What's this?
lt's a play.

Who wrote it, Annie?

Some guy. Driscoll.

Driscoll.

From the Federal Theatre.

Don't knock it, honey.
At least they got
an audience.

lt'll pick up.
lsn't that right, Manny?

lt always does.

(Maude)
See you tomorrow.

The trick is to
start to build right from
the back of your throat.

[sneezing]

Works well
out through the nose, too.

Have you eaten today?

Oh...

l'm not hungry.
Don't worry about me.

Hey.

You're all l've got.

Come on, take me to dinner.

Okay.

You think the kitchen
will still be open
on Third?

Soup and biscuits.
Perfect.

[people protesting]

Harry, what's going on?

Hey, open up! We work here.
Not anymore, lady.

lt's all right for you.
We haven't had a paycheck
in two weeks.

How we gonna eat?

They're not getting away
with this!
They just did.

Ann, it's no use.

The show, it's over.
lt's done.

l'm done.

l'm leaving, Annie.

l'm going back to Chicago.

l'm sorry.

l'm sorry, Annie.

Ever since you were small,
people been letting you down.

You gotta
think of yourself now.

You should try out
for that part.

Oh, l know
what you're thinking.

Every time you reach out
for something
you care about...

fate comes along
and snatches it away.

But not this time, Annie.

Not this time.

Oh, hello, Mr. Weston.
Oh, jeez.

Look, miss,
l told you already,
call my office.

Leave your r�sum�
with my secretary.

Now, why would l want to
do that when we can
talk about it in person?

Because that's what
a smart girl would do.

But l already
sent you my r�sum�.
You returned it unopened.

What can l say? Jack
Driscoll's very particular
about who he works with.

Please, just an audition.
That's all l'm asking.

Jesus, you don't give up,
do you?

Mr. Weston,
l know this role backwards.

Well, that's too bad,
'cause we just gave the part
to someone else.

l'm sorry, kid.
The play is cast.

l know times are tough.

You want my advice?

Use what you got.
You're not bad-looking.

A girl like you
doesn't have to starve.

There's a new place.
lt just opened.

Now listen, princess,
this gig ain't the Palace,
you understand?

Ask for Kenny K.
Tell him l sent you.

Just play the date,
take the money...

forget you was ever there.

[film projector whirring]

How much more is there?

Another five reels.

Lights up.

(investor)
This is it?

This is what we get
for our $40,000, Denham?

Another one of your
safari pictures?

You promised us romantic
scenes with Bruce Baxter
and Maureen McKenzie!

Come on, fellows,
you know the deal.

We agreed to push
Maureen's start date...

so she could
get her teeth fixed.

lt's not the principle
of the thing, it's the money.

Carl,
you've been in production
for over two months.

Trust me, Bruce and Maureen
are gonna steam up
the screen...

once we get them on the ship.

What ship?

The one that we hired
to get to the location.

What location? Carl!
You're supposed to be
shooting on the back lot.

Yes, l understand that.

But, fellows, we're not
making that film anymore...

and l'll tell you why.

The story has changed.
The script has been rewritten.

Life intervened.

l've come into possession
of a map.

The sole surviving record
of an uncharted island.

A place that was
thought to exist
only in myth.

Until now.

Whoa, Carl, slow down.

ls he asking for more money?

He's asking us
to fund a wild goose chase.

l'm talking about
a primitive world
never before seen by man.

The ruins
of an entire civilization.

The most spectacular thing
you've ever seen.

That's where
l'll shoot my picture.

Will there be boobies?

Boobies?

Jigglies. Jiblonkas.
Bazooms.

ln my experience,
people only go
to these films...

to observe the undraped form
of the native girls.

What are you, an idiot?

You think they asked De Mille
if he would waste his time
on nudie shots?

No! They respected
the filmmaker.
They showed some class.

Not that you'd know
what that means,
you cheap lowlife!

Would you step out
for a moment, Carl?

[sighing]

[phone ringing]

(receptionist)
Zelman and Associates.

Give me that, quick.

You won't like it.
lt's non-alcoholic.

Preston, you have
a lot to learn about
the motion picture business.

(Zelman)
Don't write him off, fellows.
He's hotheaded, sure...

but Carl Denham's made
some interesting pictures.

He's had a lot of
near-success.

He's a preening self-promoter.

An ambitious no-talent.
The guy's got ''loser''
written all over him.

(Zelman)
l understand
your disappointment--

(investor #1)
He can't direct.
He doesn't have the smarts.

(investor #2)
He's washed up.
lt's all over town.

This jumped-up little turd's
gonna bankrupt us.

The animal footage has value.

Sure. Universal are
desperate for stock footage.

Then sell it!
Scrap the picture.

We got to retrieve something
from this debacle.

Get him back in.

Mr. Denham.

l want the cast and crew
on the ship within the hour.

No, Carl,
you can't do this.

Tell them the studio
pressured us into
an early departure.

lt's not ethical!
What are they gonna do,
sue me?

They can get in line.

l'm not gonna let them
kill my film.

You realize that none of
the camera equipment
is on board?

We have no permits,
no visas.

That's why l have you,
Preston.

We have no insurance,
we have no foreign currency.

ln fact, we have
no currency of any kind.

He's there.

Get in there.
Who's gonna pay
for the ship?

Get in.

You get out of there!
Come here!
Step on it! Step on it!

Get out!
You're finished, Denham!

[gasping]

Don't worry, Preston.
l've had a lot of practice
at this.

l'm real good
at crapping the crappers.

(Preston)
Red Label, 80% proof...

to be packed in a crate
marked ''lemonade.''

(Carl)
You got it.

Tell Maureen
she doesn't have six hours
to put on her face.

lf she wants to be
in this picture,
she's gotta be on that boat.

She doesn't wanna be
in this picture.

Maureen pulled out.
She pulled out?

Yesterday. l told you.

You said we were shooting
in Singapore, right?

That's what you told her.

Yeah, but we're not
shooting in Singapore.

God damn it, Preston,
all you had to do was
look her in the eye and lie.

l got to get to a phone,
talk to Harlow's people.

She's unavailable.

Myrna Loy? Clara Bow?
Mae West?

[scoffing]
You'll never get her
into a size four.

You gotta get a girl
that'll fit into
Maureen's costumes.

Fay's a size four.

Yes, she is, but she's
doing a picture with RKO.

Cooper, huh?

l might have known.

You're not listening.
We got to delay the shoot.

Shut production down.
We can't sail tonight.

Not an option.
Carl.

l said l'd find a girl.

For God's sake, Preston,
think like a winner!

Call Jack. l need that
goddamn screenplay!

Defeat is always momentary.

What?

[people chattering]

Hey! You gonna pay for this?

Excuse me.

Ma'am,
l think you dropped this.

Vaudeville, huh?

l worked vaudeville once.
That is a tough audience.

lf you don't kill them fast,
they kill you.

Mr. Denham...

l want you to know...

that l'm not in the habit
of accepting charity
from strangers.

Or, for that matter...

taking things
that don't belong to me.

lt was obviously
a terrible misunderstanding.

lt's just that
l haven't been paid
in a while.

That's awful. Anyway, Ann....
May l call you Ann?

You wouldn't happen to be
a size four, by any chance?

No, no. Oh, God, no.

You've got me all wrong.
Miss Darrow, please.

l'm not that type
of person at all.

What type of person are you?

l'm someone
you can trust, Ann.
l'm a movie producer.

Believe me, l am on
the level. No funny business.
Please sit down.

Please. Please.

Okay.

Ann, l want you to imagine...

a handsome explorer
bound for the Far East.

You're filming
in the Far East?

Singapore.

On board ship,
he meets a mysterious girl.

She's beautiful,
she's fragile, haunted.

And she can't
escape the feeling that
forces beyond her control...

are compelling her
down a road from which
she cannot draw back.

lt's as if her whole life
has been a prelude
to this moment...

this fateful meeting
that changes everything.

And sure enough, against
her better judgment....

She falls in love.

Yes.

But she doesn't trust it.

She's not even sure
if she believes in love.

Uh...

really?

lf she loves someone,
it's doomed.

Why is that?

Good things never last,
Mr. Denham.

So you're interested. Good.
That's settled, then.

Now, l don't wanna rush you,
but we are under
some time pressure.

Well, l really--
Ann, l'm telling you...

you're perfect. Look at you.

You're the saddest girl
l've ever met.

You're gonna make them weep,
Ann. You're gonna
break their hearts.

See, that's where
you're wrong, Mr. Denham.

l make people laugh,
that's what l do.

Good luck with your picture.

Ann? Miss Darrow, please!

l'm offering you money.

Adventure, fame,
the thrill of a lifetime,
and a long sea voyage.

You want to read a script?

Jack Driscoll's turning in
a draft as we speak.

Jack Driscoll?

Sure. Why?

Wait. You know him?

No, not personally.
l've seen his plays.

What a writer, huh?
And let me tell you, Ann...

Jack Driscoll does not
want just anyone
starring in this picture.

He said to me, ''Carl...

''somewhere out there
is a woman
born to play this role.''

And as soon as l saw you,
l knew.

Knew what?

lt was always
going to be you.

[ship horn blowing]

(Jack)
How much do l owe you?
(driver)
Make it a quarter.

Keep the change.

ls this
the moving picture ship?

Not exactly.

lt's actually
this one over here.

Don't let appearances
deceive you. lt's much more
spacious on board.

ls this all of the equipment?
Yeah.

This is all of it?
Yeah.

We're taking
the Bell & Howell?
Yeah.

Good. You got all the lenses?
Sure.

(Preston)
Carl!
Yes!

Get it on board, fellows,
come on.

lt's bad, it's bad.

They're on their way.
l've just had word.

Who?
Men in uniform.

The studio called the cops.

Englehorn! Cast off!

Hoist up the mainsail,
raise the anchor...

whatever the hell it is
you do. We gotta leave!

l cannot do that.

We are waiting
on the manifest.

What? Who? English, please.

Paperwork, Mr. Denham.

l'll give you another $1,000
to leave now.

You haven't given me
the first $1,000 yet.

Can we talk about this later?

Can't you see
we're in the company
of a VlP guest?

Ma'am.

Ann Darrow.

So you are ready
for this voyage, Miss Darrow?

Sure.

Nervous?

Nervous? No.

Why? Should l be?

lt isn't every woman
who would take such a risk.

Why don't l show
Miss Darrow to her cabin?

Wonderful idea.
Thank you, Preston.

Miss Darrow,
if you would just....

Hi. My name is Preston.
Carl's assistant.

$2,000. lt's a deal.
Will you take a check?

Do l have a choice?

Please follow me.

lf there's anything
that you....
Excuse me, fellows.

lf there's anything
that you need,
please don't hesitate to ask.

Oh, Jesus!
Jack, you scared me.

Listen. lf anyone comes
to the door, don't open it.
You haven't seen me.

Say l got depressed
and committed suicide.

Say l stuck my head
down the toilet.

You want one?
No. l can't stay, Carl.

l got a rehearsal for which
l am now three hours late.

What's this?
lt's the script.

This is a script?

Jack, this is 15 pages.

l know, but they're good.
You've got 15 good pages
there, Carl.

l'm supposed to be making
a feature-length picture.

You told me l had more time.
l'm sorry. Look, l gotta go.

No, Jack, you can't
do this to me.
l have a beginning...

but l need a middle
and an end. l gotta have
something to shoot.

Look, you got my notes.
l got to go, pal. See you.

[sailors chattering]

All right, fine.
We might as well settle up.

You're gonna pay me?

l'm not gonna stiff a friend.

l've never known you
to volunteer cash before.

How's $2,000 sound?

Sounds great.

l thought it might.

Sounds great.
Okay.

(sailor #1)
Raise the spring line!

(Hayes)
Watch the aft!

And voil�.

Thanks.

You've written ''two grand.''

So l did. Sorry about that.
Let's start from
the beginning.

''Two thousand dollars.''

lt is the 29th, isn't it?

Oh, come on, it's the 25th.
lt's the 25th.

God, l'm sorry.
lt'll just take a sec.

Never mind, Carl.
Just pay me
when you get back.

All right.

Your cabin is the last
on the left, Mr. Baxter.

And may l just say how
excited we are to have you
back with us, sir?

Be a sport
and lend a hand here,
would you?

Excuse me. l'm trying to....
l gotta get--

Christ!

Appreciate the help, fellow.

Let me get the door for you.

Welcome to your
stateroom, sir.

Dead slow ahead both,
Mr. Hayes.

Dead slow ahead both,
Captain.

Oh, Christ!

[workers chattering]

God damn it!

[police sirens wailing]

[both sighing]

l keep telling you, Jack,
there's no money in theater.

Oh, no! No!

You're much better off
sticking with film.

l don't do it
for the money, Carl.

l happen to love the theater.

No, you don't.

lf you really loved it...

you would have jumped.

[ship's horn blowing]

(investor)
You! This is your fault!

This room very comfortable.
Plenty dim light,
fresh straw.

Jesus. What do you keep
down here?

Lion, tiger, hippo,
you name it.

You sell them to zoos?

Zoo, circus.

Skipper get big money
for rare animal.

Careful. Camel have
bad accident on floor.

Stain unremovable.

Skipper catch
any wild animal you want.

He'll do you real good price
on white rhino.

Choy.

My apologies for not being
able to offer you a cabin.

Have you found an enclosure
to your taste?

Spoiled for choice.

What are you, Mr. Driscoll?
A lion?

Or a chimpanzee?

l'll take this one.

l told you to lock it up.

Sorry, Skipper. Lumpy said--
Lumpy doesn't
give the orders!

What are you trying to do?
Put the whole ship to sleep?

Get them out of here.

Compliments of the chef.
Okay.

Oh, Christ. Oh, God.

Lamb's brains
in walnut sauce.

(Hayes)
Jimmy.

You run those ropes
up on deck like l told you?

Doing it now, Mr. Hayes.

How about you return
Mr. Driscoll's pen first?

He don't mean no harm.

Thanks.

l'll keep him
out of your way.
lt's okay.

lt's just that
he likes it down here.

lt's where l found him
four years ago.

Stowed away
in one of them back cages.

His arm was broken
in two places.

He was wilder than
half the animals in here.

Still won't tell me
where he came from.

But it wasn't anyplace good.

(Hayes)
You got to straighten up.

Jimmy.

You don't want to
be on this ship
the rest of your life.

Yes, l do.
No, you don't, Jimmy.

You got to be smart.
Get yourself educated.

Give yourself some options.
Take this seriously!

l do, Mr. Hayes, l do. Look.

l've been reading.

Where'd you get this?

l borrowed it.

On long-term loan.

Look at this. Look, look.

''Adventures on
a tramp steamer.''
See? Just like us.

(Ann)
lt's so nice to meet you,
Mr. Driscoll.

l'm actually quite familiar
with your work, yes.

Hello, Mr. Driscoll.
lt's so nice to meet you.

Actually, l'm quite familiar
with your work.

l'm a huge fan.

l've read everything
you've ever written.

No, too much.

Gonna have the ship's engines
all over the dialogue.

Seagulls.

Camera noise. Wind.
Christ knows what else.

l don't care, Mike.

You're the sound recordist.
Make it work.

Ann! Come on in.
Let me introduce you
to the crew.

This is Herb, the cameraman.

Delighted to meet you, ma'am.
Likewise.

May l say
what a lovely dress?

Oh, this old thing?
l just threw it on.

lsn't that
one of Maureen's costumes?

Now, what does a girl
have to do around here
to get some breakfast?

Lumpy, you heard the lady.

Fancy my porridge
� la walnuts?

Oh, Ann, l don't believe
you've met....

Ann?

That's all right, Mr. Denham.
l know who this is.

Thrilled to meet you.
lt's an honor to be
a part of this.

Gee, thanks.

Actually, l'm quite familiar
with your work.

Really?

Yes,
and what l most admire...

is the way
you've captured the voice
of the common people.

Well, that's my job.

l'm sure you've heard
this before, Mr. Driscoll...

if you don't mind me
saying...

but you don't look at all
like your photograph.

Excuse me.
Wait a minute, Ann--

He's so much
younger in person.
And much better-looking.

Ann, stop. Stop right there.

You see, l was just afraid
that you might be...

one of those
self-obsessed literary types.

l'm sorry, l'm not--
You know...

the tweedy twerp
with his nose in his book
and his head up his a--

lt's nice to meet you, too,
Miss Darrow.

Good Christ!

(Carl)
She's standing
at the railing.

She doesn't know it yet...

[typewriter clacking]

but they are sailing
towards disaster.
You got that?

(Jack)
Okay, so she turns...

the first mate
is staggering towards her.

There's a knife
sticking out of his back.

Wait a sec. We're killing off
the first mate?

That's assuming she knows
who the first mate is.

Come on, Jack.
lt was an honest mistake.

Ann is nearsighted.
lt could have happened
to anyone.

l was joking, Carl.

The point is,
she's horrified.
She has to look away.

And that's when she sees it.

Sees what?

What?

The island.

We're filming on an island
now? When did this happen?

[shushing]
Jack, keep your voice down.

l don't want the crew
getting spooked.

Why would they get spooked?
What's it called?

All right.
lt has a local name...

but l'm warning you, Jack,
it doesn't sound good.

[whispers]
They call it Skull lsland.

Did you get that?

What's wrong
with this place?

There's nothing
officially wrong with it.

Because, technically,
it hasn't been
discovered yet.

Okay. All right.

So we arrive at this place.

S...

K...

U...

L...

L...

lsland.

All right, everyone,
from the top! And action!

l think this is
awfully exciting! l've never
been on a ship before.

And l've never been on one
with a woman before.

l guess you don't think
much of women
on ships, do you?

No, they're a nuisance.

Well, l'll try not to be.
Just being around is trouble.

Cut!

lt's great.

Bruce, wonderful performance.
You can relax for 10 minutes.

That was very natural.
l felt moved.

What do you think, Driscoll?
Dialogue's got some
flow now, huh?

lt was pure effluence.

l beefed up the banter.

Try to resist that impulse.

lt's just a little bit
of humor, bud.

What are you,
a Bolshevik or something?

Actors.

Travel the world,
but all they ever see
is a mirror.

Good legs.

Sea legs.
Well, you know, sea legs.

Yeah.

Not that you don't
have good legs.
Just making conversation.

Jesus. Miss Darrow!

About the scene today
with you and Bruce--

l know it wasn't
what you wrote...

but Mr. Baxter
felt very strongly that
when a man likes a woman...

he must ignore her.

And if things turn
really hostile, then....

No?

lnteresting theory.

l know. l should have....

lt wasn't
what l had intended, but--

l'm sorry. l was....

And you made it your own.

l was nervous.

lt was funny, actually.
You were funny.

Please don't say
another word. Good night.

Miss Darrow.

You don't have to be nervous.

Thank you.

Let's take it....

Would you please....
We're trying to
shoot a scene.

Okay.
Thank you.

Okay, again.

(Carl)
We're close. Turn southwest.

(Englehorn)
There's no land southwest
for thousands of miles.

lt takes us way outside
the shipping lanes.

l won't sail blind
in these waters.

l'll make it
worth your while.

There's nothing out there.

Well,
then you've nothing to lose.

lf someone were to tell you
this ship was headed
for Singapore...

what would you say?

l would say they're
full of it, Mr. Hayes.

Well, we turned southwest
last night.

Gentlemen, please.

We're not looking
for trouble.
No.

You're looking
for something else.

Yes, we are.

We're going to find
Skull lsland.

Find it, film it,
and show it to the world.

For 25 cents,
you get to see the last
blank space on the map.

l wouldn't be
so sure of that.

What do you mean?

Seven years ago,
me and Mr. Hayes
were working our passage...

on a Norwegian bark.

We picked up a castaway.
We found him in the water.

He'd been drifting for days.

His ship had run aground
on an island
way west of Sumatra.

An island hidden in fog.

He spoke of a huge wall...

built so long ago...

no one knew who'd made it.

A wall 100 foot high...

as strong today
as it was ages ago.

Why'd they build the wall?

Well, the castaway,
he spoke of a creature...

neither beast nor man...

but something monstrous,
living behind that wall.

A lion or a tiger.

A man-eater. That's how
all these stories start.

What else did he say?

Nothing.

We found him
the next morning. He'd stuck
a knife through his heart.

[laughing]
Mmm-hmm.

Sorry, fellows.
You'll have to do
better than that.

Monsters belong in B movies.

lf you find this place...

if you go ashore
with your friends
and your cameras...

you won't come back.

Just as long as
you understand that.

[shattering]

How long do you expect us
to stay out here?

(Ann)
You're writing a stage comedy?

l'm writing it for you.

Why would you do that?

Why would l write
a play for you?
Yes.

lsn't it obvious?

Not to me.

Well...

it's in the subtext.

l guess
l must have missed it.

lt's not about words.

[Morse code beeping]

Message for you, Captain.

What's going on?

Hayes,
why are we changing course?

Englehorn, you can't just--
Outside.

There's a warrant out
for your arrest.

Did you know that?

l've been ordered
to divert to Rangoon.

Another week.
l haven't got a film yet.

Please. l have risked
everything l have on this.

No, Denham.
You risked everything l have.

What do you want?

Tell me what you want.
l'll give you anything.

l want you off my ship.

(Englehorn)
Set a course for Rangoon,
Mr. Hayes.

l'm finished.

lt's over for me, Jack.

How'd you think
this would end, Carl?

Check our position.
Use the stars.

There are no stars, Captain.

(Jack)
What is that?

What?
That.

That right there.

l don't know.
What is it? A coffee stain?

[ship's horn blowing]

Station the forward lookout
and get me the depth
by lead line.

Aye, Captain.

30 fathoms, no bottom!

Reduce speed,
steerage way only.

Dead slow ahead, both.

You should stop the ship.

15 degrees port.

We're getting out of here,
Mr. Hayes.

We'll find clear conditions.

We have seabed!

25 fathoms!

We're shallowing!

20 degrees starboard!

Captain, you don't know
where the hell you're going!

Get me another reading!

Another reading!

22 fathoms!

Douse the lights.
Aye, Captain.

10 fathoms!

Wall! There's a wall ahead!

Stop engines!

[gasping]

[grunts]

[all grunting]

Give me some power!
Half astern both.

Half astern both, Captain!

Rocks!

Rocks!

Rocks to starboard, Captain!

To port! Rocks everywhere!

Take the wheel, Hayes.

Hang on!

[grunting]

[yells]

Full ahead!

Rocks to port, Captain!

(Hayes)
Turn, Captain!
(sailor)
Starboard, starboard!

Ah!

[panting]

[exclaims]

[ship's horn blows]

(Hayes)
Shore up that breach!

Get me more men
down here now!
Come on, move, move!

Hayes!
She's taken a pounding!

What about the prop?

The shaft's not bent,
as far as we can tell.

But she struck hard
against the rock!

(Jimmy)
Captain!

Better come up quick!

Right there!

Want me to bring them back?

l don't give a damn
about Carl Denham.

l want this ship fixed
and ready to float
on the next high tide!

Come on, move it.

We're leaving, Mr. Hayes.

Can you believe this, Jack?

[Carl laughing]

We've got our picture.

Why does Marlow
keep going up the river?

Why doesn't he turn back?

There's a part of him
that wants to, Jimmy.

A part deep inside himself
that sounds a warning.

But there's another part...

that needs to know.

To defeat the thing
which makes him afraid.

''We could not understand
because we were too far...

''and couId not remember...

''because we were traveIing
in the night of first ages...

''of those ages
that are gone...

''Ieaving hardIy a sign,
and no memories.

''We are accustomed to Iook...

''upon the shackIed form
of a conquered monster...

''but there...

''there you couId Iook
at a thing
monstrous and free. ''

lt's not
an adventure story...

is it, Mr. Hayes?

No, Jimmy.

lt's not.

[wind whistling]

lt's deserted.
Of course it's deserted.

Use your eyes, Preston.
The place is a ruin.

Nobody's lived here
for hundreds of years.

[girl sobbing]

[girl shrieking]

Mr. Denham,
l think we should go back.

l will handle this.

Look. Chocolate.

You like chocolate?

lt's good to eat.

You want?

Take it.

Here, put it in your hand
and take it.

[snarling]

For God's sakes, Denham,
leave the native alone.

She doesn't want
the chocolate.

Aah!

All right!

Just a bunch of women
and old folks!

They're harmless!

[screaming]

[roaring]

[speaking in native language]

[gasps]

[all grunting]

[natives screaming]

[shrieking]

[natives cheering]

[yelling]

Ann!

[in native language]

[gun firing]

[natives screaming]

Jack.

[whimpering]

Seen enough?

Lighten the ship!

Anything that's not
bolted down goes overboard!

(sailor)
Just heave it!

We got away.

We gotta be grateful
for that, gentlemen.

What about Mike?
He didn't get away!
He's still there!

Mike died doing
what he believed in!
He didn't die for nothing.

And l'll tell you
something else. l'm gonna
finish this film for Mike!

l'll finish it...

and l'll donate
the proceeds...

to his wife and kids.

Because that man is a hero,
and he deserves nothing less.

Hear, hear!

[native woman's voice
echoing]

[sailors shouting]

Chuck everything
except for the potatoes!

What's wrong now?
Excuse me, Shakespeare.

(sailor)
Come on, men! Come on, hurry!

Drop those
spare cables overboard!
Go on, just chuck it!

Where's Ann?
What?

Where's Ann?

[native woman's voice
echoing]

Ann!

(sailor)
She's free!

[crew cheering]

Full ahead, both engines!

Ann!

[coughing]

No! Stop! Turn back!

Stop!

We have to turn back.

They've taken Ann.

[tribal drums beating]

[all chanting]
Kong! Kong! Kong!

[groaning]

[women shrieking loudly]

[speaking in native language]

[grunts]

[women trilling]

All hands going ashore!
Report to stations!

Jump to it!
Jump to it, gentlemen!

(man)
We're doing it, Mr. Hayes!

Come on, move it!

Pull harder!

(Englehorn)
Row! Row!

Come on!

[drums beating]

[chanting in native language]

Kong.

[leaves rustling]

[low growling]

[natives shouting]

[natives humming]

[groans]

[drums beating faster]

[platform creaking]

[gasping]

[drums stop beating]

[branches breaking]

[thudding]

[Ann screaming]

[moaning]

[growling]

Spread out! Find her!

[guns firing]

Miss Darrow!

Check up there, Jimmy!
Everybody stay together!

Ann!

She's here somewhere!

[roaring]

What in God's name was that?

[screaming]

Behind the wall!

Behind the wall!

[snarling]

She's gone!

Carl, what is it?

You saw something.

You can take Hayes
and 15 others.

l'll put a guard on the gate
until you return.

The rest of you
stay with the ship.

Choy!

Not you, Jimmy.

Come on, Mr. Hayes.
Look at them.

None of them knows
which way to point a gun.

Stay here.

Miss Darrow needs me!
No!

Bring the tripod
and all of the film stock.

You wanna go
with the 6-inch lens?

The wide-angle
will do just fine.

(Englehorn)
You got guns. You got food.
You got the ammo.

And you got 24 hours!

24 hours?

This time tomorrow,
we haul anchor.

(sailor #1)
Miss Darrow!

(Jack)
Ann!

(sailor #2)
Miss Darrow!

(sailor #1)
Miss Darrow!

(Hayes)
Miss Darrow!

[monkeys chattering]

Ann!

[growling]

[Ann gasping]

[Ann groaning]

[Ann shrieking]

[Ann moaning]

No!

[roaring]

(Jack)
Ann!
(sailor)
Miss Darrow!

[Ann shrieking]

Ann!

[Ann screaming]

Christ,
it's a bleeding boneyard!

They've been ripped
limb from limb.

Ann! Ann!

Just keep walking, Mr. Hayes.
Pretend you didn't see me.

Jesus, Jimmy.
Hey, l need that!

l'm not giving you a gun!

You were younger than me
when they gave you one!

l was in the army.
l was trained.
l had a drill sergeant.

l wanna help bring her back.

Don't make me regret it.

[birds chirping]

[insects buzzing]

[grunting]

Conserve your ammunition!

[animals screeching]

(Lumpy)
l'm knackered.

[coughing]

l can't breathe.
(sailor)
l need a breather.

Fellows, we don't have
time for this.

We've lost too much ground
already. Come on, get up!

They're not about to
quit on you.
Cut them some slack.

(Hayes)
All right,
you got five minutes!

Everybody stay in sight.

[all panting]

Over here. l'm gonna get
a wide shot of the valley.

Bloody Nora!

ls that
what took Miss Darrow?

There's only one creature
capable of leaving
a footprint that size.

The abominable snowman.

Yeah, a snowman.
We dead meat.

lt's got to be what,
20, 25 feet?

Carl saw it.

Let's ask him.

Denham!

Where'd he go?

Walk forward, Bruce.

What?
You're the star
of this picture.

Get into character
and head toward the animals.

What the hell
kind of a place is this?

Are you sure about this,
Denham?

Don't we have a stand-in
for this type of thing?

l need you in the shot,
or people will say
they're fake.

Nobody's gonna think
these are fake.

[grunting]

You're making them nervous.
No sudden movements.

l'm not moving.

Mother of God.

[thudding]

What's this?

[birds screeching]

[Bruce panting]

What is it? What is it?
Where's Carl?

Carl?
He's up there, filming.

Bugger this!

[roaring]
Run, Jack!

Holy Christ.
Go, Jimmy, run!

Run, run, run!

Let go!
l'm not leaving the camera!

Let go, you idiot!

(Preston)
Carl, run!

Get down.

Look out!

[men yelling]

[groaning]

[screams]

Coming through!

[roaring]

[shrieking]

No!

[growling]

[men screaming]

Carl! Carl!

Get up! Come on. Come on.

Mr. Denham! Mr. Denham!

Herb! Herb, come on!

Take the tripod!

Come on!

l'm pulling you up!
Hold on to your end!

Go!

No, l'm not going anywhere
without you!

You gotta leave me!
Shut up and hold on!

[screaming]

[groans]

[growls]

(Hayes)
Jimmy, do a head count.

l want to know how many
are injured and how bad.

lnjured?

Four of us are dead!

(Preston)
lt's not your fault.

What happened to Herb
is no one's fault.

You're absolutely right,
Preston.

And l'll tell you
something else.

Herbert didn't die
for nothing.

He died for
what he believed in,
and l'm gonna honor that.

He died believing
there was still some mystery
left in this world.

And we could all
have a piece of it...

for the price
of an admission ticket.

God damn it, Preston,
we're gonna finish this film
for Herb.

We'll finish it...

and donate the proceeds
to his wife and kids.

All right, we gotta
get back to the ship.

Englehorn sails
in nine hours.
So? We gotta find Miss Darrow.

Hey, do you hear me?
We're gonna be
stranded here.

Look, fellows,
Miss Darrow was a great gal,
no question.

And she was
a wonderful person.

lt's a terrible loss
and we're all gonna miss her.

l always knew you were
nothing like the tough guy
you play on screen.

l just never figured you
for a coward.

Hey, pal! Hey, wake up.

Heroes don't look like me,
not in the real world.

ln the real world,
they got bad teeth,
a bald spot, and a beer gut.

l'm just an actor with a gun,
who's lost his motivation.

Be seeing you.

Anyone else?

Well, see you.
Come on.

[panting]

[growling]

[grunting]

[growling]

[gasping]

[laughing]

[groaning]

[laughing]

[groaning]

[Kong continues laughing]

[gasping]

No!

l said no!

[snarling]

That's all there is.
There isn't any more.

[snarling]

[growling]

[groaning]

[panting]

[bat screeching]

[bats fluttering]

What is it?

Mr. Hayes?

lf anything happens,
l want you to run.

You understand?

l'm not a coward.
l ain't gonna run.

lt's not about
being brave, Jimmy.

[distant roaring]

Go back!

Back across the log!

l ain't gonna run!
Get Jimmy out of here!

No!
Get back! Get back!

[machine gun firing]

(Jack)
Move back!

[Kong growling]

[Hayes grunting]

[grunting]

No! No!
Stay back.

[snarling]

No!

[groaning]

Look at me.

(Jimmy)
Let him go!
You got to run, Jimmy.

Do as l say.

Go with Jack.

Run!

No!
Shoot him!

[machine guns firing]

No!

[grunting]

[all groaning]

Here! Over here!

[screaming]

[growling]

[all groaning]

(Jack)
Hold on! Hold on!

[machine gun firing]

Lumpy! Help me!

Bloody hell, Choy!

[growling]

[screaming]

[thudding]

[all yelling]

[branch snapping]

[screaming]

[panting]

[birds cawing]

[gasps]

[growling]

[panting]

[gasping]

[growling]

[squealing]

[screaming]

[growling]

[panting]

[gasping]

[Ann screaming]

[growling]

[shrieking]

[gasping]

No!

Oh, my!

[shrieking]

[growling]

[Ann shrieking]

[Ann gasping]

[screaming]

[snarling]

[Ann yelling]

[gasping]

[roaring]

[shrieking]

[gasping]

[gasping]

[vines snapping]

[Ann screaming]

[roaring]

[roaring]

[roaring]

Wait!

Carl.

[groans]

Jimmy. Jimmy.

Jimmy.

You all right?

[sobbing]

No.

[grunting]

[screaming]

Get off! Get it off!

Get off!

[grunting]

[grunting]

Get it off!

[screaming]

[screaming]

[gasping]

[grunting]

[screaming]

[muffled screams]

Kill it!

[grunting]

Stop moving!

[grunting]

Get it off my face!

Stay still.
l am standing still.

Hold on.
(Jack)
Be careful!

[machine gun firing]

(Englehorn)
Don't move!
Stay away from the walls!

Coming through!

(Englehorn)
Get out of there now! Climb!

[machine guns firing]

[seagulls cawing]

[grunts]

[birds chirping]

lt's beautiful.

Beautiful.

Beautiful.

[grunting]

There.

(Carl)
Thank God.

Don't thank God.
Thank Mr. Baxter.

He insisted on
a rescue mission.

(Englehorn)
Me? l knew you'd be okay.

That's the thing
about cockroaches.

No matter how many times
you flush them
down the toilet...

they always crawl
back up the bowl.

Hey, buddy?
l'm out of the bowl.

l'm dryin' off my wings
and trekkin' across the lid.

Driscoll!

Don't be a fool!
Give it up. lt's useless!

She's dead.

She's not dead.

Jack's gonna bring her back...

and the ape will be
hard on his heels.

We can still
come out of this thing okay.

More than okay.

Think about it.

You got a boat
full of chloroform
we could put to good use.

You wanna trap the ape?

[laughing]

l don't think so.

lsn't that what you do?
Live animal capture?

l heard you were the best.

Jack!

Look after yourself!

Keep the gate open, will you?

Sure thing, buddy.

Good luck!

l'm sorry.

[bird cawing]

[snarling]

[squawking]

Ann.

[gasps]

Jack!

Run!

[roaring]

[gasping]

Jack, Jack!

Jack.

Ann, it's okay.

Ann, let's go.
Let's go. Come on!

Let's go. Come on.

Come on!

[gasping]

[groaning]

[roaring]

[both screaming]

[distant roaring]

Carl!

(Ann)
Please! Somebody help us!

They've gone.

Carl. Christ.

(Jack)
Carl!

Drop the bridge.
Do it now, for Christ's sake!

Not yet.

(Carl)
Wait.

Wait.

Wait!

[grunting]

Come on!

Now!
Throw them!

(sailor)
Throw!

No!

(sailor)
Hold him!

Are you out of your mind?

[crew chattering]

Stop!
(sailor #2)
Hold the line!

Keep him down!

Heave!

Please!

No! Stop!

Jack.

No.
Get her out of....

They'll kill him!
There's nothing we can do.

No!
Get her out of his sight!

(Jack)
lt's too late.
Throw it!

Look out!

Let go of me.

We gotta go. Come on.

Come on.
Stop it.

Leave me alone!

Ann, please come on.

Kill it!
(Carl)
No. No!

lt's over,
you goddamn lunatic!

All of you, run!

(sailors)
Come on. Come on!

Move it! Move it!

Come on, come on!

Stay there!
lt's me he wants!

Please stop this!
Move! Hold onto her!

Ann, go.
Please, l can stop this!

No!
Ann, stay there!

Get it out!

Get the hell out of here!

Come on!
Jimmy, don't be crazy!
Come on.

(Jack)
Don't be crazy.

Let me go!

Cast off!

[sailors grunting]

(Jack)
Come on, Carl!

Row!
(Carl)
Wait.

(Englehorn)
Row, God damn it!

[gun firing]

Go back.

[roaring]

[screaming]

(Jack)
Jimmy, no!

[screaming]

(Jack)
No!

No! Don't! Leave him alone!

Hide out in the back!

[roaring]

[gasping]

Wait!
No!

No! No! Please don't!

[hissing]

(Carl)
The whole world
will pay to see this.

We're millionaires, boys!

l'll share it with all of you!

ln a few months
his name will be up
in lights on Broadway!

Kong!
The Eighth Wonder
of the World!

[people chattering]

[reporters clamoring]

What can l say?
What can l say?

Any comments, sir?

The Mayor, thank you.

Ready.

What am l?

Thank you very much.

Get used to it.

Listen, great to see you.
Ready?

l'm really
appreciating that....

Look at you!
l remember you.

You're a lucky guy, Denham.
Am l a lucky guy?

Maybe you're the lucky guy.

Carl!

Zelman!
l told you.

l know you did
and l appreciate it.

Let's get a shot of this.

Come on.

Big smile.
Yeah! That's great!

(actor)
Look at yourseIf.
Look at what you've become.

No woman is worth this.
(actor #2)
This woman is worth it.

l don't care what it takes,
l gotta win her back.

Oh, really?

She's not gonna buy this
for a second.

Shut up and hand me
the grapefruit!

[audience laughing]

(Ann)
You're writing a comedy?
(Jack)
Yes, I am.

I'm writing it for you.

Why wouId you do that?

Why wouId I write
a pIay for you?

Isn't it obvious?

Oh, l'm sorry.

[audience laughing]

l couldn't help but overhear.

So, he took me to this
fancy French restaurant...

and halfway through
the hors d'oeuvres,
he clutches my hand.

And that's when he told you
how he felt?

No. He never said it.
He never said it?

He probably thought
he didn't need to say it.

Well, then how does she know
that it's real?

He said it was
not about the words.
Oh, please!

lf you feel it, you say it.
lt's really very simple.

He said we'd talk
about it later.
Only there was no later.

lt never happened.

That's how it ended.

He just let you walk away?
He didn't try to save it?

l honestly believed
things might actually
work out...

which was really very...

foolish.

Men.
Oh, they'll give you
the world...

but they let the one thing
that truly matters...

slip through their fingers.

Typical.

They're so busy being brave,
they forget to use
their brains.

Romance. Who needs it?

[orchestra playing]

[audience applauding]

Thank you.

Thank you.

Thank you.

Thank you.

Ladies and gentlemen...

l'm here to tell you
a very strange story.

The story of our adventure...

in which 1 7 of our party
suffered horrible deaths...

their lives lost...

in pursuit of
a savage beast...

a monstrous aberration
of nature.

But even the meanest brute
can be tamed.

Yes, ladies and gentlemen,
as you will see...

the beast was no match...

for the charms of a girl.

[audience laughing]

A girl from New York...

[audience applauding]

who melted his heart...

bringing to mind
that old Arabian proverb...

''And lo, the beast looked
upon the face of beauty...

''and beauty stayed his hand.

''And from that day forward,
he was as one dead.''

And now, ladies and gentlemen,
l'm going to show you...

the greatest thing
your eyes have ever beheld.

He was a king in the world
he knew, but he comes to you
now a captive.

Ladies and gentlemen...

l give you Kong,
The Eighth Wonder
of the World!

[music pIaying]

[audience exclaiming]

Don't be alarmed.
lt's perfectly safe.

These chains are made
of chrome steel!

Observe, if you will...

[people exclaiming]

l am touching the beast.

l am actually laying my hand
on the 25-foot gorilla.

Crank 'em up, fellas.

And now, we have
in the auditorium tonight...

a surprise guest.

The real-life hero
of this story.

The man who hunted down
the mighty Kong!

The man who risked all
to win the freedom
of a helpless female.

A big hand for
Mr. Bruce Baxter!

[audience applauding]

Thank you. Thank you.

Thank you.

[orchestral music playing]

He was right.

About there still being some
mystery left in this world...

and we can all have
a piece of it...

for the price
of an admission ticket.

That's the thing you come
to learn about Carl.

His unfailing ability
to destroy the things
he loves.

Please remain calm,
ladies and gentlemen...

for we now come
to the climax of
this savage ritual.

The sacrifice
of a beautiful young girl.

Behold her terror as she is
offered up to the mighty Kong!

A big hand, folks,
for the bravest girl
l've ever met!

Miss Ann Darrow.

[audience cheering]

[Kong grunting]

[screaming]

Save me from the beast!

[roaring]

Help me!

Where is she?

Where's Ann?
l have no idea.

l heard he offered her
all kinds of money
and she turned him down flat.

Pack up aII
my cares and woe

Here I go

Singing Iow

Bye bye

BIackbird

Where somebody
waits for me

Sugar's sweet

So is he

Bye bye

BIackbird

Here's your story, boys.

''Beauty and the man
who saved her from the beast.''

[roaring]

No.

[Kong roaring]

[shrieking]

We have to get these people
out of here.

Everyone needs to leave, okay?
Come on.

Let him roar.
lt makes a swell picture.

Head for the exits.

Get your own seat, buddy.
You're not having mine.

[woman screaming]

Excuse me, fellows.

Coming through.
Coming through, fellows.

Get me down! Help me, please!

Somebody! Somebody help me!

[actress shrieking]

Go! Go! Get out!

Go! Go!

[actress screaming]

[people screaming]

[yelling]

[alarm ringing]

[Kong growling]

There they are.

(man)
Go!
(woman)
Wait for me!

Go back!

[screaming]

(man #2)
This way!

(man #3)
Help!

(man #4)
No!

[woman screaming]

[all yelling]

[people screaming]

[police siren wailing]

[Jack whistling]

Taxi! Follow that ape.

Come on, pal,
we gotta draw him off.

lt's all yours, buddy.

(policeman)
Hey, get out of here, lady!

[growling]

[people screaming]

Come on.

(man)
Buddy!

Come on. Come on.

[tires screeching]

(Jack)
Look out.

[Jack groaning]

Jesus Christ.

[people screaming]

[roaring]

[gasping]

[Ann squeals]

[Ann laughing]

[explosions]

Fire!

Stop!

[machine gun firing]

[screaming]

No. No.

[sirens wailing]

Beautiful.

Yes.

Yes, it is.

[roaring]

[roaring]

[gasping]

[roaring]

[people chattering]

Hey! Hey!

Nobody past this point.

You can't go in there!

Hey!

(policeman)
Stop him!

Hey! Get back.
You're not allowed up there!

What's going on?
(policeman #1)
Go!

[groaning]

[roaring]

[gasping]

[screaming]

[screaming]

[machine gun firing]

No!

No!

Please! No!

No!

[machine guns firing]

[gasps]

Ann. Ann.

[people clamoring]

(soldier)
Move along.

(photographer)
Just one shot! One shot!

Come, come!
Boys, how about a photo?

Look at me.

Come on, watch the camera.

Come a little closer.

That's it, folks.
Show's over. Step back!

Clear the area. That's it.
Shove off, boys.

Why'd he do that?

Climb up there
and get himself cornered.

The ape must have known
what was coming.

He's just a dumb animal.
Didn't know nothing.

What does it matter?
Airplanes got him.

lt wasn't the airplanes.

lt was beauty
killed the beast.