All language subtitles for LOcchio selvaggio (1967)

Ha!

Ha!

Come on, run, pick up.

Ha!

Ha!

Run, come on.

Ha, ha!

It's hot, we'll 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.

Ha, ha!

I told you that we shouldn't have come.

Stop.

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.

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?

It's obvious, Ms Davis, no more petrol.

Oh, that's all right,
now we're even worse off than the gazelle.

I always did like the unexpected.

Did any of you bring some extra water?

But I thought
you were supposed to do that.

Ms 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.

If you have any complaints to make,
make them to Signor Rossi.

Signor Rossi is not with us.

At the very most, I'm responsible
for this lady and this gentleman

that I invited on the clear understanding
that we were going on a gazelle hunt.

To me Signor Rossi said
a drive across the desert.

He didn't say you'd hunt gazelles.

Ah.

How many miles
have we come into the desert?

Sixty miles.

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

and hope and pray
that somebody comes along.

What if nobody comes along?

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

Let's go.

Okay.

Wait a minute, he has water.

He was drinking, I saw him.

Don't be hysterical, Ms 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,

must realize the predicament we are in,

would care to record
a statement of any sort,

you can do it now.

Meaning, 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?

I…

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're sure their ship docked at Aden?

Yes, but you'll have to change planes
in Cairo in order to get to Aden.

I'm not sure
if you'll find a connection there.

I can always rent one.
-While you're at it, why not buy one?

Fine, why not?

Oh, why not like hell.

I try to organize things as best I can,
so you can make your film.

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.

[Arabic spoken audio]

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.

Ciao.
-Ciao.

[Arabic spoken audio]

Thanks a lot.

Get my bag, I'm in a hurry.

My bag.

I'm taking that boat.

All right, thanks.

One thing I'm sure of,
is he's coming here 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.

You still think
that incident in the desert

was nothing but a trick to get
a life-like 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.

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 is 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.

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.

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.

Listen to me.

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

Thanks.

Why don'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.

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.

What did he say?
-He said I wasn't to trust you.

Is that all?

No, he smoked a cigarette.

Afterwards, I suppose, you made love.

If you tell him what you do with me,
you should 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 Cafe 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.

All right, that's enough,
we've shot too much of this.

It's the 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.

Come on.

Do you beat them with it?

Yes, whenever they ask for it.

What do you mean exactly?

More so than with the whip.

We cure them with faith.

Come.

These people come here
with the will to be healed.

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.

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.

Here is where they 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.

[Malay spoken audio]

Take Barbara as a contrast now and then.

[Malay spoken audion]

Harder.

Like that.

[Malay spoken audio]

The one over there.

[Malay spoken audio]

Enough.

[Malay spoken audio].

Stop shooting.

[Malay spoken audio]

We've got a good scene.

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?

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.

Even that was too much.

Barbara, reality is 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 anywhere you suggest.

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.

What would you say about 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?

No, I was joking.

With all the important things to do,
our plans for Vietnam,

and I'm still awaiting an answer
from the Chinese consulate,

it's 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.

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.

It sounds fabulous.

Just a minute.

I know very well it's not Saigon here,
but you should 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 of 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.

While he burns 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 1,000 miles away,

or under the nose of a burning priest?

Come on,
I want to make love, the real thing,

not for the film.

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

I've fixed us an appointment

with that English hunter
I was telling you about.

Why, does he know something?

It looks like he does.

Glad to meet you.

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 Malay and Siam,
where there's famine.

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

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 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.
-When 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.

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.

Hey, come on.

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 at us.

That's good.

You mean a twist of the hips,
like the matadors do.

Ole.

Imagine what a marvelous scene
it could be.

Wild buffalo charging,
and Barbara on her knees,

pointing her rifle.

Why always 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

that makes the public
digest the rest of the film.

This way.

Follow me.

Zahir.

Zahir.

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 Zahir.

That's him.

Zahir.

Zahir.

[Malay spoken audio]

The Sultan says that
his palace is at your disposal.

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

We'll get to that later.

Wait a minute.

[Malay spoken audio]

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

This man is starving,
no wonder he's so thin.

Ruggero, go and get him a tin of beef.

Right.

[Malay spoken audio]

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 a lot of them around here.

But I'll need 1,000, maybe more.

I'll see what I can do,
if the others will give me a hand.

I can help too, the lighter.

What are you going to do
with so many butterflies?

I'll explain it to you later,
there's plenty of time.

We start shooting
tomorrow morning at dawn.

All right.

Try to catch one.

Look how beautiful they are.

That's it.

Now look at me.

Look now, slowly.

Try to catch one.

Look at me, turn around slowly.

Look at me, turn around.

Turn around.

Like this, yes, good.

Keep reaching, that's right, good.

Try to catch one now.

Keep it close up a bit, come on.

Go get a butterfly.

That's right, good.

Try harder, try to catch one.

Take it, and give to the sultan to eat.

To eat?
-Go and give it to him.

[Malay spoken audio]

Eat, you have to eat it.

Yes, eat it, good.

Poetic, isn't it?

The old sultan
reduced to eating butterflies.

Come this way, slowly, onto the carpet.

That's right, look at the sky now.

You can hear the tinkling
of the temple bells.

[Malay spoken audio]

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

You are very happy.

Lie down very slowly.

No, stop.

It's no good this way.

Look at me.

Look, I'm arriving here,

and first of all,
never look at the camera.

Don't look at the camera.

You arrive here,
you're very happy to see a marvelous pool,

which reflects the sky.

You ate very well, you feel well.

All right?

Yes, then you lie down very slowly,

content with a 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, very slowly.

You're happy, look happy.

Very slowly, yes, like this.

Look at the sky, then you smile.

Come on, that's right, like that.

You just sit down now very slowly.

Very slowly.

Slowly and very happy.

Put your two hands under your head,
and slowly go to sleep.

Very slowly, then you hear the music
of the tinkling of the temple bells.

Close your eyes very slowly, then sleep,

sleep,

sleep.

Close your eyes, and sleep.

That's a good boy.

Stop.

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

Go and tell him
that 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.

[Malay spoken audio]

You're going to have a lot more.

[Malay spoken audio]

[Malay spoken audio]

He says no.

That'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 sultan,

not for the one
who'll appear on the screen.

You're 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 that you will 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?

Listen to me,

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

with the bosses, yes, with the bosses.

I'm not ashamed of it like many others.

[Malay spoken audio]

What's going on?

Just a minute.

Hey, how about a dance?
-Take your hands off me.

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?

Please go away.

He's understood, let's talk privately.

We better go somewhere else.

All right.

But Paolo, what about me?

Wait for me, or go back to the hotel.

He ditched you, let's go and see…

Go away.

Why not?

Please sit down.

Mr Rossi?
-No, thanks.

[Malay spoken audio]

I'm sorry.

My friend 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?

[Malay spoken audio]

We realized 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 two,

plus a generous donation
to the Buddhist community.

[Malay spoken audio]

Well, if you'll excuse us,
we will be in touch with you,

if we have any further information.

All right.

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 did you find those two?

Outside Saigon about 20 miles.

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

Take me there.

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

Paolo, darling, come and dance with me.
-Come on, stupid, we're going.

Won't you?

Oh, plus you too,
you're always so serious.

Come on now.
-But why not?

I don't want to go.

Oh please, take me back,
I don't want to go.

Oh, Paolo.

The tripod.

Hold this for 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.

Oh my God, now we really had it.

[Malay spoken audio]

We are Italian journalists.

[Malay spoken audio]

Journalists, Italian journalists.

[Malay spoken audio]

I'm only here to…

[Malay spoken audio]

I'm a journalist.

[Malay spoken audio]

An Italian journalist.

[Malay spoken audio]

Paolo.

Go away.

Get me some morphine in the first aid box.

It could've been worse.

The Viet Cong found a pistol on him.

Come on, quick.

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.

No, not now, I want to sleep.

It would be a relief for me
to know that you are 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.

Do you 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.

Yes, but sometimes these bomb scares
are going to get real, man.

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 the 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 plenty for everyone.

What more do you want me to do?

Just being here with you
is dangerous enough.

One of these days,
Ruggero will just pack up and leave.

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

I have no need for yellow bellies.

Well, I happen to need him.

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

I thought you had ideas like mine,
but you like 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 loved the risk.

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.

Do you know who's been a surprise,
Barbara, and she's a woman.

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.

[Malay spoken audio]

The lights going fast.

If they don't arrive soon…

There they are, come on.

[Malay spoken audio]

A close-up.

Closer.

We are journalists, we want to film this.

[Malay spoken audio]

Come on, Valentino, here.

Take them from this angle.

Here, quick.

There's not enough light there.

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.

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.

[Malay spoken audio]

Take the soldiers, quick.

Get out of here, go away.

A close-up against the wall.

[Malay spoken audio]

Stop.

[Malay spoken audio]

What did you have to pay them
for the information?

Five hundred dollars.
-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,
so they'll have to fire at the door.

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

Yes, the shell will hit more or less
where Barbara is sitting,

and you'll be sheltered
from the blast by this thick wall.

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

before the explosion.

You're joking, aren't you?

No, I'm perfectly serious.

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 straight back to Rome.

I'm leaving right now,

while I'm still in one piece.

Very well.

I'll shoot a scene by myself.

Is that all right now?

Is that 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.

Just tell me one thing
that 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 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 to stay with you.

With me, you've been living to the full,
really living.

What would you do
with the so-called normal life?

You eat, you sleep, 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 gotten over that.

Good for you.

It's the way I like you to be.

That's enough, let's take the other side.

He's over here.

Take that couple.

Hey, stop that, go away.

That girl there.

It's almost time,
I'm going to get ready outside.

What are you doing here,
why didn't you stay at 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.

You're 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've bet on it.

This happens every time.

It's not because I'm afraid,
we are not running any risks in there.

It's just that the scene
would be much better 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 more insane to come with you.

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

Come on, give me the camera,
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.
-No.

Come on.

You little darlings.

Ruggero, how much film have I got left?

Almost finished.
-Get another reel, quick.

Damn it, it would happen now.

Come on, run.

Valentino, I got it, I got the explosion.

I got it, keep shooting,
take close-ups, and 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.

Keep her out of the way.

Come on, help me.

My God.

Get me on film.