-Well, I didn't mean it like that. -Don't contradict me, Ralph.
I've heard it all 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.
Well, really Hollywood is just a place where they make a profit.
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 the 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, Ralph?
-Sure. -Sure.
Whores have to sell the one thing that shouldn't be for sale in the world.
And that's love.
Of course, there are other kinds of whores than the floozies you frequent, Ralph.
There are whores who sell words and ideas and melodies.
I know what I'm talking about because I've done a little hustling in my time.
A hell of 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, it's the whores who put Hollywood up as a big target.
Sure.
Hell, John, I didn't realize you were such a hometown boy.
-Well, I am, kid. I am when I'm in Africa. -Yeah.
No, I'm serious. It took Africa to bring all this out in me.
Africa and the smell of my first wild elephant.
It's a shame Kivu couldn't have heard you say that, John.
Oh, Kivu knows. Kivu knows without being told.
John, why don't you ask Kivu to go back to Hollywood with you?
Not a bad idea, kid. He could be mighty useful around there.
Yeah.
Where are we going this morning, John?
A place Kivu knows. And he says a lot of elephant go there this time of year.
I was wondering. How do you two communicate?
Oh, we get on. I asked him this morning about going back to the States with me.
Zib here actually acted as my interpreter.
-What did he say? -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 he thinks it best if only two shooters go.
-Pete, are you ready? -No, you and Zib are plenty.
-You're not coming? -No, I'll wait here.
Now, look, kid. I've never given you much advice.
I've never forced you to do anything. But this time it's different.
I think you should come. I urge you as a friend.
No, you just go on in there, John. I'll wait here.
If you don't come, you'll regret this as long as you can remember.
-I don't want to shoot an elephant. -That's besides the point.
If you don't come, it's because you're scared. And you know it.
All right, well, I guess I'll just have to live with that.
John. John, hold your fire.
John, don't shoot!
It's too dangerous. Hold your fire. Come back slowly. Come on.
This is him. This is the one I'm looking for.
It's not safe. There are too many cows around. Come back slowly. Come on.
Just come. Do as I tell you. Come on.
I've never seen one before, outside the circus or the zoo.
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, Hod.
Feeling of unconquerable time.
You certainly have a way with words, Pete. No wonder you're a writer.
So, what happened, John? Weren't you able to get close enough?
We got close enough, but I wouldn't let him shoot.
Too many cows around the big fellow. They'd have charged.
That was the biggest tusker in all of Africa.
It would have been a risk well worth taking.
-You all right? -I'm all right.
John.
Come on, let's face it. This country's too tough for us.
We're just characters from Vine Street. We're not heroes out of one of your films.
Come on.
Get up.
You know, kid, we're gonna 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.
Sit around the campfire at night. Tell lies to each other.
-Yeah. -About all the things we've done.
The wars we fought. Books you've written, movies I've made.
You know, I don't doubt that, John.
You'll need two, possibly three cameras on the fire sequence, John.
If you could just 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 very quickly if they have their young with them.
There have been rogue herds created in Kenya and Tanganyika in just such a way.
And then they have to go out and shoot every bloody one of them.
All right. All right. Forget it. We'll try again tomorrow.
Tomorrow morning. Tomorrow afternoon, we leave. I have another safari.
You have to get started on the film, John.
You can leave if you want. I'm staying.
The company arrives in Entebbe the day after tomorrow.
I'm staying.
-Jesus Christ! Will you be reasonable? -I am being reasonable.
I don't give a goddamn if the company gets here tomorrow or got here three days ago.
I'm staying till I get my elephant.
You need someone with you. You can't hunt alone.
-Kivu will go with me. -What about that fellow at the fishery?
The one who used to be game warden down on the Zambezi. Ogilvy?
Yes. Yes, that's the man. Yes, they say he killed over 500 elephants in his day.
-Well, let's get him up here. -John, how long do you plan on staying?
Well, that depends upon the elephants. And on the guides.
If Ogilvy turns out to be another old lady like the rest of you, it may take months.
But if he's half the man Kivu is, it may take no time at all.
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 goddamn 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.
It's the only sin that you can buy a license and go out and commit.
That's why I want to do it before I do anything else in this world.
Do you understand me? Of course you don't.
How could you? I don't understand myself.
Well, if you don't need me, then I'll take the plane to London tomorrow.
You do that. 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. -Welcome. My wife.
-Hello. How do you do? -Good morning, welcome.
-Nice to meet you. Nice to meet you. -How do you do?
-Well, hello. -Welcome. Welcome.
Miss Gibson. Right here.
Pete!
Pete! Where's John? Why isn't he here?
I'm going back to London on the next flight, Paul.
What happened? Where's John? Where's the script?
-I sent you the script. Didn't you get it? -I got half of it.
-There's only one copy? -No. John has the original.
If he hasn't lost it, which he probably has.
-How are you, Pete? -Hi.
-Where's the ogre? -He's out scouting locations.
I hope you boys have improved the script.
What Kay means is, is her part gonna get bigger?
Not at all. I don't mind if you do the talking and I don't say a word.
As long as I get to play a real human being.
Beautiful, Kay. Come with me. Come this way. To the side.
Mr. Duncan! Can we have one of you with your new bride?
How do you want it, boys? Passionate or domestic?
Can we have a kiss?
Thank you very much.
Peter, think. Think what will happen to the morale of the company 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. You've got to stay.
You've got to help me get him back. If he's not back in three days, we'll all be ruined.
Apologize to him.
Go on, apologize to him.
No. I won't apologize to him, Paul, but I'll tell you what I will do.
I'll get that script from him. Because you hired me to write a script.
And it's the best writing I've ever done.
And I'll be goddamned if I'll let that bastard destroy it!
-Hello, chaps. -Where's John?
-Well, believe it or not, he's gone. -Gone where?
He's visiting Kivu's village up in Semuliki. It's the truth.
Ogilvy and Kivu convinced him that's the best place to find a big tusker.
-So off they went. -Shit.
-And how far is that from here? -About six miles.
Most of it through swamp.
-There's been a change in plans. -What's that?
The boss has 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.
Have a pleasant day.
There it is, there. That must be the village there.
I don't believe it.
I just don't believe it.
What about the village we built at Masindi? It cost a fortune.
Lockhart says John plans to use that for the big fire.
He'll move back there once he's finished in the Congo.
I'm not going to let him do it! I'm not going to send people to a place like that.
I'll call off the picture first!
You've already invested over 1 00,000 pounds, Paul.
I'll pay it back if it takes the rest of my life.
Why don't you just tell everybody that it'll be rough.
-But it'll make for a distinguished film. -No, we can't do that.
-Why not? -Because we can't!
Either we call it off or we play along with Wilson.
We can be honorable or crooked. There's no middle road.
Well, I don't agree with you.
I've always found that it's better just 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?
-Well, here it is. Home away from home. -Well, I think this is quite lovely.
Holy shit.
Oh, do come in, chaps. Do come in.
I've been looking forward to seeing you again.
May I present Madam Dorshka and Mr. Zibelinsky, our hosts.
Well, this is glorious.
This is marvelous.
And this is Count Ogilvy, my new white hunter.
Hello, John.
-So wonderful to be here. -Excuse my friend.
-How do you do? Very glad to see you. -Hello, John.
-Pleasure to see you all.
-How you doing? -Cheers.
Well, have some champagne, everyone, and let's get with it.
-Cheers, John. -With the evening.
I trust you all enjoyed our borscht à la Russe?
-Excellent. Absolutely first class. -Spiffing.
And now we have the piêce de résistance.
It's a freshly killed reedbuck from Semuliki plain.
The female of the species, just to prove that God does not let man off the hook.
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.
Red has to go out to the location. You have to check the costumes.
I'm willing to do anything you suggest, dear boy.
That is, within reason, of course.
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.
Listen, you Balkan rug peddler...
...my role of the great hunter, as you put it, is my own business.
It has nothing to do with you. It's a sacred subject.
Much like the sex life of my mother.
It's something you'll refrain from talking about or even thinking about.
It's way 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 the smell of the woods.
I'd have to create you all over again...
...and stamp out all 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? When?
I haven't even gotten the last section of the script yet!
Oh, dear. Well, I'll correct that immediately.
Kivu!
You've finished your rewrites, have you?
He polished it, Pete, and gave it a little balls.
It has to be typed. Copies have to be made.
The ape!
Somebody get hold of the goddamned ape!
Frontal brain shot! And for God's sake, don't miss!
Oh, God. This makes it all so worthwhile.
-Oh, isn't this wonderful? -My God, what a performance.
-They really love him, don't they? -They sure do.
Or, if you've got time this afternoon, we could--
John, scene 244.
Pete, I'm surprised to see you here, last night. I thought you'd be in Paris...
...devoting yourself to literature and all those things you know nothing about.
Yeah? Well, I thought you'd have your big tusker by now.
Stick around, kid. Stick around.
When do we start?
Shit.
No shooting today, folks.
Where you going, John? John!
I'm going hunting. We can't shoot the sequence in the rain.
-Well, how long will the rain last? -Oh, it could last for days.
It's the beginning of the rainy season.
Why didn't somebody tell us about a rainy season?
I did! I told Mr. Wilson.
He just said, well, the days he couldn't shoot the film, he could shoot elephant.
At this rate, I'll be in debt the rest of my life.
-Come here, you little devil! -Now, I feel this...
...this change is appropriate, but John seems to think it's a bit complicated.
Why complicated?
That's a good question, Kay. And if l could sit John down someday, I'd ask.
No luck? No elephants?
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?
Shit.
It's going to be a clear day. We can finally start the picture.
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!
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. I'm ready to make magic. Make you rich.
-What the hell's the matter with you? -Nothing.
Wait. John. Kivu sent him. He's onto a big herd.
-Is that right? -About three miles from here.
What are we waiting on?
John, the sky is clear.
You've got plenty of unloading to do. Plenty of work. I'll be right back.
-Well, how do I know you'll come back? -Send your boy Pete if you don't trust me.
Go with him. Make sure he doesn't forget we're starting a picture.
-He doesn't need me. -That's right. And it may be risky.
You're onto a big one?
What's he saying?
We'll leave the boy here.
John.
Please, let's go back. They're waiting for us.
Well, let them wait.
Bad country, this. Walk right up to a big tusker before you'd ever see him.
-What's he saying? -He says they're just beyond these trees.
It's a big one, all right. But there are cows and young ones with him.
-What do we do? -It's no good. I don't like it.
-What does Kivu say? -I don't care what he says.
I've killed more than 500 of them. And I'll tell you, this is not the day.
How many chances does a man get?
That's never a reason to do something wrong.
Would you ask Kivu what he thinks?
-He says he's willing to try. -Of course he's willing. He's got guts.
Jesus Christ, John! Give it up.
-It's his word against mine, Mr. Wilson. -I'm asking, will you come along?
Come on, Kivu.
No!
What are they saying, Ogilvy? What are the drums saying?
They're telling everybody what happened, that's all. The bad news.
-It always starts with the same words. -What are they?
White hunter. Black heart.
You were right, Pete. The ending is all wrong.
John, we're ready.
All right, quiet please, everyone. Ready, Miss Gibson?
Ready, Mr. Wilson?
Roll them!
Speed.
-Mark it. -Scene one, take one.
Action.