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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