Public Reel

Queen of the Amazons (1946)

No renewal found Free in the US since 1 January 1975, on the registry's reading: registration LP809 of 1946 by Screen Art Pictures Corp., Hollywood was not renewed in the volumes searched. Record.

Frame from the Internet Archive copy QueenoftheAmazons
Copy
QueenoftheAmazons on the Internet Archive; released 1946
Read
152 shots over 1:00:14 · 112 beats in 96 sequences · 495 transcript lines · JSON
Record
Queen of the Amazons No renewal found
Wrong?
Report a problem
Lands on the beat covering that second.
96 sequences; each is also a heading below.
Check before citing the shot count. A 5:27 shot at 45:09 (shot 112): either a static hold or a run of missed cuts. Treat it as unverified.
How this page was made

152 shots over 1:00:14, read from the Internet Archive copy QueenoftheAmazons (QueenoftheAmazons.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Queen of the Amazons No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 152 shots judged colour), average shot 23.8s long, a frontal face detected in 18% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1946 (Internet Archive).

112 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Beats

Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.

Sequence 1 from 0:00

Sequence 2 from 0:47

Frame at 1:23, shot 11:23
1 of 1 shots sampled

2. Street

0:47–1:59 Not yet checked

Model synopsis: A person rides an elephant down a street lined with buildings while a voiceover discusses political unrest in the Far East. The transcript mentions parades, bazaars, and a revolution in the Albi, warning of potential trouble between natives and foreigners.

  • A person rides an elephant down a street. [frame:1]

3 people observed.

“The Dune is quite a load of excitement.” 1:00 · “- I couldn't hear an act of noise. - That's just what I was thinking. Rather provincial, but things are like that in the Far East. We'd be…” 1:30

Evidence, details and a link to share

Sequence 3 from 1:59

Frame at 2:28, shot 22:28
1 of 1 shots sampled

3. Hotel lobby

1:59–2:57 Not yet checked

Model synopsis: A group arrives at a hotel in a tropical location, seeking information about a missing American man named Greg Jones. One woman, Jean, insists on staying to find him despite warnings about local tensions.

  • The group enters a hotel lobby with luggage. [frame:1]

Named: Jean (t:2:00), Colonel Jones (t:2:35), Miss Preston (t:2:42). 5 people observed.

“I don't think we should stay here. There's trouble brewing.” 2:00 · “No matter what happens, I will not leave till I find out what happened to Greg.” 2:00

Evidence, details and a link to share

Sequence 4 from 2:57

Frame at 2:59, shot 32:59Frame at 3:04, shot 43:04Frame at 3:14, shot 53:14
3 of 3 shots sampled

4. Private office

2:57–3:20 Not yet checked

Model synopsis: Two men converse indoors, one wearing a hat and glasses, while a third person is mentioned but not shown. The dialogue discusses the difficulty of searching for a man in a large country and references a native girl.

  • A man in a suit and a man in a hat converse indoors. [frame:2]

Named: Wayne (t:3:04). 3 people observed.

“There are many safaris leave from here.” 2:57 · “Like looking for a needle in a haystack.” 3:02

Evidence, details and a link to share

Sequence 5 from 3:20

Frame at 3:44, shot 63:44
1 of 1 shots sampled

5. Private office

3:20–4:08 Not yet checked

Model synopsis: A man in a suit is on the phone in an office while a voice-over mentions rooms and a party. A woman named Tondra enters, seeking Greg Jones and asking about white men with a lost safari.

  • A man in a suit is seated at a desk, holding a telephone receiver to his ear. [frame:1]

Named: Tondra (t:4:04). 2 people observed.

“Yes? Sahib. There's a young lady at a party here. Seeking Greg Jones.” 3:40 · “Detain the party.” 3:47

Evidence, details and a link to share

Sequence 6 from 4:08

Sequence 7 from 4:37

Frame at 4:40, shot 84:40
1 of 1 shots sampled

7. Forest

4:37–4:42 Not yet checked

Model synopsis: A large cat, likely a jaguar or leopard, walks through dense brush in a sunlit outdoor setting. No people or dialogue are visible or audible in this beat.

  • A large cat walks through brush. [frame:1]

Evidence, details and a link to share

Frame at 4:46, shot 94:46
1 of 1 shots sampled

8. Forest

4:42–4:49 Not yet checked

Model synopsis: A large dark animal, possibly a panther, moves through dense brush in a single shot. No people or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Sequence 8 from 4:49

Frame at 4:50, shot 104:50
1 of 1 shots sampled

9. Field

4:49–4:52 Not yet checked

Model synopsis: A person in striped clothing crawls on all fours across uneven ground. The scene is outdoors, with no visible structures or other people.

  • A person crawls on all fours across uneven ground. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 9 from 4:52

Frame at 4:57, shot 114:57
1 of 1 shots sampled

10. Forest

4:52–5:01 Not yet checked

Model synopsis: A large cat, possibly a jaguar, is seen moving through a wooded, sloped terrain. The scene is outdoors and appears to be in a natural, wild setting.

  • A large cat moves across a sloped, wooded area. [frame:1]

Evidence, details and a link to share

Sequence 10 from 5:01

Frame at 5:26, shot 125:26
1 of 1 shots sampled

11. Private office

5:01–5:50 Not yet checked

Model synopsis: Two women stand in a dimly lit room; one offers something to the other, who declines due to danger. The dialogue suggests a negotiation involving a husband and wine.

  • The two women stand facing each other, one extending a hand with an object. [frame:1]

Named: Tandra (t:5:04). 2 people observed.

“Tandra, that may not have been Greg's safari. Would you bring your husband here so I could question him? No, ma'am. Too much danger.” 5:04 · “I think I can make it worth your wine.” 5:22

Evidence, details and a link to share

Sequence 11 from 5:50

Frame at 5:52, shot 135:52Frame at 5:57, shot 145:57Frame at 6:05, shot 166:05Frame at 6:08, shot 176:08
4 of 5 shots sampled

12. Town square

5:50–6:10 Not yet checked

Model synopsis: Two men in suits observe an elephant tug-of-war event from a balcony; spectators including uniformed figures watch from nearby structures. The transcript states the government encourages such events to distract the populace.

  • Two men in suits observe from a balcony. [frame:2]
  • Elephants are positioned for a tug-of-war in a courtyard. [frame:3]
  • Spectators watch from ornate balconies. [frame:4]

3 people observed.

“The government is encouraging these sporting events because the people take such a keen interest in them.” 5:52 · “It's like baseball or football in our country.” 5:52

Evidence, details and a link to share

Sequence 12 from 6:10

Frame at 6:36, shot 186:36
1 of 1 shots sampled

13. Private office

6:10–7:03 Not yet checked

Model synopsis: A person enters a dimly lit interior room and greets someone off-screen while another person speaks about a young man named Wayne going to the marketplace during unrest. No named characters are visually identifiable beyond what is spoken.

  • A person enters a room and greets someone off-screen. [frame:1]

Named: Wayne (t:6:15). 3 people observed.

“I can't understand why that young fool Wayne insists on going to the marketplace at a time like this with all this unrest.” 6:15 · “Why did Wayne have to go to the marketplace to rest? I didn't say rest. I said unrest. Oh. We'll keep messing around until he gets us al…” 6:22

Evidence, details and a link to share

Sequence 13 from 7:03

Sequence 14 from 7:30

Frame at 7:55, shot 207:55
1 of 1 shots sampled

15. Hotel lobby

7:30–8:19 Not yet checked

Model synopsis: A group discusses escaping after a shot was fired, fearing native unrest and police involvement; they decide to flee to a clipper in the bay to continue their search for Greg in Africa. A frame at 475s shows a chaotic crowd scene, possibly natives rising, consistent with the dialogue.

  • A chaotic crowd scene is visible, possibly natives rising. [frame:1]

4 people observed.

“- Is Preston in her room? - Yes, I...” 7:33 · “What happened here? I don't know. But with all this native unrest, if the police ever get wind of this, there's going to be trouble. Thei…” 7:42

Evidence, details and a link to share

Sequence 15 from 8:19

Frame at 8:24, shot 218:24Frame at 8:42, shot 228:42
2 of 2 shots sampled

16. Vehicle interior

8:19–8:56 Not yet checked

Model synopsis: A character speaks about traveling to Africa and boarding a riverboat for Kaibo, while a silhouette is visible on the boat's bridge. The dialogue ends with someone declaring 'Professor, checkmate.'

1 person observed.

“We were lucky to get out of the country without further trouble and to catch the clipper for Africa. We all felt encouraged as it seemed at…” 8:19 · “After an uneventful flight, we landed in Africa and caught the riverboat and headed for Kaibo.” 8:31

Evidence, details and a link to share

Frame at 9:00, shot 239:00
1 of 1 shots sampled

17. Bathroom

8:56–9:04 Not yet checked

Model synopsis: A man is seen from behind, looking into a round mirror in a dimly lit interior. The setting appears to be a bathroom or dressing area, with water visible on the surface below the mirror.

1 person observed.

Evidence, details and a link to share

Sequence 16 from 9:04

Sequence 17 from 9:24

Frame at 9:31, shot 259:31
1 of 1 shots sampled

19. Vehicle interior

9:24–9:37 Not yet checked

Model synopsis: A group of four people are in a dimly lit interior space; one man sits at a chessboard, another stands near a porthole, and a woman sits at a table with rolled papers. Dialogue suggests tension over a search and communication with someone named Greg.

4 people observed.

“Gene, when will you realize you're wasting your time in this search?” 9:26 · “and buoying yourself up with false folks.” 9:29

Evidence, details and a link to share

Sequence 18 from 9:37

Frame at 9:49, shot 269:49Frame at 10:04, shot 2710:04
2 of 2 shots sampled

20. Vehicle interior

9:37–10:07 Not yet checked

Model synopsis: A man in a light suit stands near a porthole while a woman in a light blouse gestures emphatically; dialogue suggests tension over continuing a journey in a dangerous, remote location. No names are spoken that can be assigned to the visible individuals.

  • A man stands near a porthole while a woman gestures with her hand. [frame:1]
  • The woman continues to gesture while speaking, with another person partially visible behind her. [frame:2]

2 people observed.

“And if he's dead, he's buried long ago.” 9:38 · “We'll never find any traces. Wayne, it was your idea to come with us. Now, if you want to go back, go back.” 9:39

Evidence, details and a link to share

Sequence 19 from 10:07

Frame at 10:27, shot 2810:27
1 of 1 shots sampled

21. Field

10:07–10:47 Not yet checked

Model synopsis: A man and a woman stand outdoors discussing a guide named Gary Lambert who refuses to take them into the backcountry and dislikes women; the woman vows to handle the situation. The scene is set in a natural, brush-filled environment under daylight.

2 people observed.

“I just came from the commissioner's office and he's going to help us all he can.” 10:19 · “But he won't allow us to go into the backcountry without a guide.” 10:23

Evidence, details and a link to share

Frame at 11:25, shot 2911:25
1 of 1 shots sampled

22. Field

10:47–12:04 Not yet checked

Model synopsis: Two men in safari attire converse outdoors; one is addressed as 'Jimmy' and the other as 'Commissioner'. The Commissioner requests Jimmy's help on a new expedition involving a woman, which Jimmy refuses due to his dislike of women on safaris.

Named: Jimmy (t:10:48), Commissioner (t:11:00). 2 people observed.

“Good shooting, huh, Jimmy? Nine out of ten.” 10:48 · “Oh, hello, Commissioner.” 11:00

Evidence, details and a link to share

Sequence 20 from 12:04

Frame at 12:05, shot 3012:05
1 of 1 shots sampled

23. Other

12:04–12:06 Not yet checked

Model synopsis: A sheet of paper with ten circular targets is shown against a dark, textured background. No people, dialogue, or movement is visible in this single frame.

Evidence, details and a link to share

Frame at 12:07, shot 3112:07Frame at 12:10, shot 3212:10
2 of 2 shots sampled

24. Outdoor

12:06–12:11 Not yet checked

Model synopsis: Two men in hats stand outdoors; one wears a safari-style jacket, the other a light shirt and tie. A separate shot shows a grid of ten circular targets on paper.

2 people observed.

Evidence, details and a link to share

Sequence 21 from 12:11

Frame at 12:24, shot 3312:24
1 of 1 shots sampled

25. Forest

12:11–12:37 Not yet checked

Model synopsis: Three people in safari attire stand outdoors and speak; one is addressed as Miss Jean Preston, another as Mr. Gary Lambert. They comment on a village band approaching, suggesting they are unexpected visitors.

Named: Mr. Gary Lambert (t:12:20), Professor (t:12:37), Miss Jean Preston (t:12:17). 3 people observed.

“Miss Jean Preston, the young lady I was telling you about.” 12:17 · “Mr. Gary Lambert. Well, Annie Oakley, when do we start?” 12:20

Evidence, details and a link to share

Sequence 22 from 12:37

Frame at 13:02, shot 3413:02
1 of 1 shots sampled

26. Other

12:37–13:28 Not yet checked

Model synopsis: A man and a woman in safari attire converse outdoors; the woman asks about the safari’s readiness and suggests visiting a general store to recruit a cook named Gabby. The transcript includes a poetic interlude about ashes sailing west as the sun sets.

Named: Mr. Lambert (t:12:48). 2 people observed.

“That must be the village band come out to welcome us. Did they know we were coming? Oh, no. Professor.” 12:37 · “Hello, Mr. Lambert. Oh, hello.” 12:48

Evidence, details and a link to share

Sequence 23 from 13:28

Frame at 14:02, shot 3614:02
1 of 1 shots sampled

28. Private office

13:49–14:15 Not yet checked

Model synopsis: A man in a hat and white shirt gestures while speaking indoors. The transcript describes women weeping for men who will not return, and mentions work, sleep, and a bar.

  • A man gestures with his hands while speaking. [frame:1]

1 person observed.

“And the women are weeping and wringing their hands for those who will never come back to the town.” 13:55 · “For men must work.” 14:01

Evidence, details and a link to share

Sequence 24 from 14:15

Frame at 14:25, shot 3714:25
1 of 1 shots sampled

29. Kitchen

14:15–14:36 Not yet checked

Model synopsis: Two men and a woman are in a rustic interior; one man asks another if he will join as cook, and the seated man replies that he will if the woman continues throwing rolling pins at him. The setting appears to be a simple wooden structure with kitchen tools visible.

Named: Gabby (t:14:18). 3 people observed.

“Well, how about it, Gabby? You coming along as cook? Well, I don't know.” 14:18 · “Let me see. Oh, yeah.” 14:25

Evidence, details and a link to share

Sequence 25 from 14:36

Frame at 15:33, shot 3815:33Frame at 16:33, shot 3916:33
2 of 2 shots sampled

30. Private office

14:36–16:36 Not yet checked

Model synopsis: Two men converse in a rustic interior; one is a cook who avoids shore leave to evade his wife, while the other, a commissioner, assigns him a mission to find a missing man linked to an ivory smuggling ring. A crow perches on a table with a lantern and small objects.

  • A crow perches on a table next to a lantern. [frame:2]

Named: Commissioner (t:15:44), Gary (t:15:44). 2 people observed.

“The very next day I ship out on the Pearl of Cape Town.” 14:36 · “So my wife don't catch me. By and by I hear she's run away with some no account from the inland country. Far, far away. So I'm a free man.” 14:48

Evidence, details and a link to share

Sequence 26 from 16:36

Frame at 16:45, shot 4016:45Frame at 16:58, shot 4116:58
2 of 2 shots sampled

31. Forest

16:36–17:02 Not yet checked

Model synopsis: A man holds a monkey while another man stands nearby in a jungle-like setting; dialogue mentions maps, equipment, and a Commissioner. The scene includes references to characters named Gary, Apollo, Jimmy, Gabby, and a Colonel.

  • A man holds a monkey on his shoulder while another man stands behind him in a wooded area. [frame:1]
  • The same man with the monkey is shown in a closer shot, with the other man still visible behind. [frame:2]

2 people observed.

“Here you are, Commissioner. That's a smart word you got, Gary.” 16:39 · “Now, you boys be careful of that stuff. I don't want it lost. I've had it a long time and I need it.” 16:49

Evidence, details and a link to share

Sequence 27 from 17:02

Frame at 17:03, shot 4217:03Frame at 17:19, shot 4317:19
2 of 2 shots sampled

32. General Store

17:02–17:33 Not yet checked

Model synopsis: A group of five people in safari attire stand outside a building labeled 'General Store' while discussing a planned trek. One man and one woman are shown in a closer shot as others speak about the Commissioner's requirement to include someone named Gabby and offer to look after the woman if she goes.

Named: Colonel (t:17:02), Gary (t:17:22), Commissioner (t:17:02), Gabby (t:17:02). 9 people observed.

“Well, Gabby's got his equipment ready. How about you, Colonel? All ready. Commissioner, are you sure these maps will get us where we're g…” 17:02 · “Yes, sir. I suppose he's got to go along.” 17:08

Evidence, details and a link to share

Sequence 28 from 17:33

Frame at 17:45, shot 4417:45
1 of 1 shots sampled

33. Other

17:33–17:57 Not yet checked

Model synopsis: A man walks near a cart loaded with supplies in an outdoor setting with simple buildings. A voice mentions the low pay rate and the two-day preparation time for loading boats for a safari.

  • A man walks near a cart loaded with supplies. [frame:1]

1 person observed.

“The rate of pay isn't very high here. It'll take them two days to load our boats and get us ready for the safari.” 17:47

Evidence, details and a link to share

Frame at 18:00, shot 4518:00Frame at 18:10, shot 4618:10Frame at 18:19, shot 4718:19Frame at 18:25, shot 4818:25
4 of 4 shots sampled

34. Field

17:57–18:29 Not yet checked

Model synopsis: A group of people are gathered outdoors, some dancing while others observe; a man and a woman stand together watching, and a close-up shows a child with a stick in his mouth. The transcript mentions dancing and a ritual involving bamboo shoots and pain.

  • A crowd of people is gathered in a field, some dancing. [frame:1]
  • People are dancing in a group, some holding sticks. [frame:2]
  • A man and a woman stand side by side, watching the scene. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“That, my dear, is the origin of all modern dancing.” 18:03 · “Looks like fun. You should try it sometime, Colonel. When they're small children, long bamboo shoots are forced into their flesh. The more…” 18:16

Evidence, details and a link to share

Sequence 29 from 18:29

Frame at 19:02, shot 4919:02
1 of 1 shots sampled

35. River

18:29–19:34 Not yet checked

Model synopsis: Three people on a boat look ahead at a jungle river endpoint; one speaks of danger ahead while another names 'Cymbala'. No names are assigned to visible people since none are spoken with clear reference to them in the lines.

  • Three people stand on a boat looking ahead at a river endpoint. [frame:1]

3 people observed.

“Oh, what a beautiful sight. This is the end of the river. There are the great falls of Africa.” 18:44 · “You want a jungle, from here on you've got it.” 18:57

Evidence, details and a link to share

Sequence 30 from 19:34

Sequence 31 from 20:40

Sequence 32 from 20:49

Frame at 20:54, shot 5220:54Frame at 21:02, shot 5321:02
2 of 2 shots sampled

38. Marketplace

20:49–21:06 Not yet checked

Model synopsis: The scene shows a large gathering of people in an open area with thatched-roof structures and trees in the background. The transcript mentions a ceremony and natives gathering in a marketplace to obtain supplies before reaching their destination.

  • People are gathered in an open area with thatched structures nearby. [frame:1]
  • A large crowd is seated and standing in a grassy area near huts. [frame:2]

1 person observed.

“After the ceremony, the natives gathered in the marketplace...” 20:55 · “supplies as we wouldn't reach another village until we'd arrived at our destination.” 21:00

Evidence, details and a link to share

Sequence 33 from 21:06

Sequence 34 from 21:27

Frame at 21:33, shot 5521:33Frame at 21:57, shot 5621:57
2 of 2 shots sampled

40. Field

21:27–22:16 Not yet checked

Model synopsis: Two men in safari attire converse outdoors while others stand nearby; one man is reprimanded for knocking over pots. The dialogue refers to a 'white goddess' and 'she-devils' in the jungle, and a character named Tonga is mentioned.

  • Two men stand facing each other outdoors while others stand in the background. [frame:1]
  • Three men stand together, one in the center wearing a dark hat. [frame:2]

Named: Tonga (t:21:33). 5 people observed.

“I thought you were all over that business, Tonga. Tonga, no afraid for voodoo.” 21:33 · “She's queen of the she-devils. Very pretty. But good native is freed from her.” 21:46

Evidence, details and a link to share

Sequence 35 from 22:16

Frame at 23:36, shot 5723:36
1 of 1 shots sampled

41. Other

22:16–24:56 Not yet checked

Model synopsis: A man in a cap and jacket is shown in a dark setting while dialogue discusses white women in the jungle, a native named Tonga, and a trek despite warnings. The transcript mentions a sacred fire dance, Greek mythology, and obstacles during the journey.

  • A man is shown in a dark interior setting. [frame:1]

Named: Gary (t:22:39), Miss Preston (t:22:51), Tonga (t:23:12). 4 people observed.

“Shh.” 22:25 · “Well, Miss Preston. There's something I wanted to talk to you about. These white women, Amazon, whatever you call them.” 22:51

Evidence, details and a link to share

Sequence 36 from 24:56

Frame at 24:57, shot 5824:57Frame at 25:03, shot 5925:03
2 of 2 shots sampled

42. Forest

24:56–25:09 Not yet checked

Model synopsis: A monkey is seen in foliage, followed by a wide shot of a group marching along a dirt road in a natural landscape. No dialogue or on-screen text is present in these frames.

  • A monkey is visible among dense foliage. [frame:1]
  • A group of people marches in single file along a winding dirt road through a wooded area. [frame:2]

Evidence, details and a link to share

Sequence 37 from 25:09

Frame at 25:40, shot 6225:40Frame at 25:45, shot 6325:45Frame at 26:13, shot 6426:13
3 of 3 shots sampled

45. Forest

25:39–26:38 Not yet checked

Model synopsis: A group of men in hats and safari-style clothing stand outdoors in a wooded area, examining an object while one looks through binoculars. Dialogue references an American gold coin from 1921, a boy named Bambo, and plans to camp for the night.

  • A group of men are standing in a wooded area. [frame:1]
  • One man looks through binoculars while another holds a rifle. [frame:1]
  • The view through binoculars shows a clearing with trees. [frame:2]
  • 1 more under Evidence and details.

7 people observed.

“Wallace! This is the boy Bambo. He gave me this. You look, you look. This is an American gold coin. Oh, that's Greggs. I gave it to him. Are…” 25:56 · “And there's the square he cut in it so he could wear it in his key chain. Bumble.” 26:11

Evidence, details and a link to share

Sequence 38 from 26:38

Frame at 27:24, shot 6527:24
1 of 1 shots sampled

46. Forest

26:38–28:11 Not yet checked

Model synopsis: A person is visible in dense foliage at night, and dialogue reveals concern over a 'she-devil' holding Greg prisoner and a line that may kill someone. No named characters are identified in the dialogue or frames.

  • A person is partially visible among dense branches and leaves. [frame:1]

Named: Gene (t:27:51), Gary (t:27:21), Greg (t:26:51), Bombo (t:26:51), she-devil (t:26:51). 6 people observed.

“mishaps. It seemed as if an evil force were trying to impede our progress.” 26:46 · “You seem troubled about something. I didn't want to tell the others until I'd investigated further. Yes? This native boy confirms the voodoo…” 26:51

Evidence, details and a link to share

Sequence 39 from 28:11

Sequence 40 from 32:36

Sequence 41 from 32:39

Sequence 42 from 32:51

Sequence 43 from 33:16

Sequence 44 from 33:33

Sequence 45 from 33:39

Sequence 46 from 33:44

Sequence 47 from 33:50

Sequence 48 from 34:06

Sequence 49 from 34:41

Sequence 50 from 35:27

Sequence 51 from 35:31

Sequence 52 from 35:32

Sequence 53 from 35:35

Sequence 54 from 35:40

Sequence 55 from 37:04

Sequence 56 from 37:24

Sequence 57 from 37:36

Sequence 58 from 37:48

Sequence 59 from 37:52

Sequence 60 from 38:37

Sequence 61 from 38:40

Sequence 62 from 38:43

Sequence 63 from 38:46

Sequence 64 from 38:54

Sequence 65 from 38:56

Sequence 66 from 39:23

Sequence 67 from 39:53

Sequence 68 from 40:14

Sequence 69 from 40:45

Sequence 70 from 42:24

Sequence 71 from 43:18

Sequence 72 from 44:11

Sequence 73 from 45:09

Sequence 74 from 50:36

Sequence 75 from 52:19

Sequence 76 from 53:29

Sequence 77 from 53:33

Sequence 78 from 53:40

Sequence 79 from 54:03

Sequence 80 from 54:13

Sequence 81 from 54:26

Sequence 82 from 54:32

Sequence 83 from 54:35

Sequence 84 from 55:13

Sequence 85 from 55:29

Sequence 86 from 55:53

Sequence 87 from 56:46

Sequence 88 from 56:49

Sequence 89 from 57:47

Sequence 90 from 57:49

Sequence 91 from 58:03

Sequence 92 from 58:04

Sequence 93 from 58:24

Sequence 94 from 58:35

Sequence 95 from 58:55

Sequence 96 from 59:26

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 495 segments kept, 90 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 1:00 The Dune is quite a load of excitement.
  2. 1:30 - I couldn't hear an act of noise. - That's just what I was thinking. Rather provincial, but things are like that in the Far East. We'd better stay together. In spite of what you see, the situation in the Far East is rather disturbing. There's an undercurrent of hatred for their present ruler in spite of the fact that they've done everything to quiet them. Gigantic parades, bazaars, exhibitions in the Alhambra Mart. There's a revolution in the Albi, and trouble between the natives and foreigners like us might just set it off.
  3. 2:00 I don't think we should stay here. There's trouble brewing. Oh, don't worry. Whenever the natives are nervous, they always hold a parade to take their minds off their troubles. I told you, we shouldn't come here in the first place. No matter what happens, I will not leave till I find out what happened to Greg. I know how you feel, Jean. But the English and Americans are not very popular here at this time. Oh, look. There's a hotel where Greg stayed.
  4. 2:28 Good afternoon.
  5. 2:35 I don't know how long we're going to stay here. Colonel Jones and I are looking for someone. Um, perhaps you can help us.
  6. 2:42 Yes, Miss Preston.
  7. 2:44 a young man
  8. 2:45 An American about 25 years of age
  9. 2:47 Greg Jones, Colonel Jones's son.
  10. 2:50 We know we left you on a safari about a month ago and didn't return.
  11. 2:54 I wish I could give some help.
  12. 2:57 There are many safaris leave from here.
  13. 2:59 Searching for a man in a country of this size, why...
  14. 3:02 Like looking for a needle in a haystack.
  15. 3:04 Wayne, we've discussed this before, and we'll keep on searching until we find that needle.
  16. 3:10 Notice that little native girl? Yes, I thought she seemed particularly interested. But that's just what I was thinking.
  17. 3:22 Room 207, 211, 214.
  18. 3:25 On your left.
  19. 3:40 Yes? Sahib. There's a young lady at a party here. Seeking Greg Jones.
  20. 3:47 Detain the party.
475 more segments
  1. 3:57 Come in.
  2. 4:02 Well,
  3. 4:04 I am Tondra.
  4. 4:06 You are looking for white men with lost safari?
  5. 4:09 Why, yes, Tundra, I am.
  6. 4:11 I'm looking for the man I'm engaged to marry.
  7. 4:14 Greg Jones.
  8. 4:15 Moyo told me of Lost Safari.
  9. 4:17 Lone white man. What?
  10. 4:20 My husband was many safaris.
  11. 4:22 Last time.
  12. 5:04 Tandra, that may not have been Greg's safari. Would you bring your husband here so I could question him? No, ma'am. Too much danger.
  13. 5:22 I think I can make it worth your wine.
  14. 5:52 The government is encouraging these sporting events because the people take such a keen interest in them. It's like baseball or football in our country. A tug of war is arranged between two bull elephants and the natives bet high on the outcome. Plants like this are designed to keep their minds off of more troublesome matters.
  15. 6:15 I can't understand why that young fool Wayne insists on going to the marketplace at a time like this with all this unrest.
  16. 6:22 Why did Wayne have to go to the marketplace to rest? I didn't say rest. I said unrest. Oh. We'll keep messing around until he gets us all into trouble.
  17. 6:39 Oh, come in.
  18. 6:45 This is my...
  19. 6:47 How do you do?
  20. 6:48 He will be glad to tell you what he can.
  21. 6:51 Perhaps you have a picture of the young man you are looking for. Why, yes, I have.
  22. 7:03 He not in last safari?
  23. 7:05 one before.
  24. 7:07 They hunt elephant ivory.
  25. 7:09 Big tusk.
  26. 7:10 It was so high.
  27. 7:12 The first go to sea town
  28. 7:14 Then go to Kibo in Africa. Lesson, I tell you.
  29. 7:25 A native has just been killed in room 207. You will notify the police at once. One side.
  30. 7:33 - Is Preston in her room? - Yes, I...
  31. 7:38 Well, it's a lucky thing. No one heard that shot.
  32. 7:42 What happened here? I don't know. But with all this native unrest, if the police ever get wind of this, there's going to be trouble. Their investigation may detain us here for a month.
  33. 7:52 Oh, it's too late. The natives are rising already.
  34. 7:58 Now, Redford, come on, let's get out of here. That's just what I was thinking. There's a clipper lying in the bay. If we hurry, we can make it.
  35. 8:03 Oh, but if we run away now, it'll only make matters worse.
  36. 8:06 They'll follow us. Let's risk that. Well, the man just said the great safari went on to Africa, and we can't afford to waste any more time here.
  37. 8:13 Are you packed? Oh, yes, yes. Well, then hurry. We'll meet you down in the lobby. Yes, hurry. Let's go.
  38. 8:19 We were lucky to get out of the country without further trouble and to catch the clipper for Africa. We all felt encouraged as it seemed at last that we had picked up Greg's trail.
  39. 8:31 After an uneventful flight, we landed in Africa and caught the riverboat and headed for Kaibo.
  40. 8:49 Professor, checkmate.
  41. 9:26 Gene, when will you realize you're wasting your time in this search?
  42. 9:29 and buoying yourself up with false folks.
  43. 9:31 - Dwayne, please.
  44. 9:33 Greg, we're alive. He communicated with you by now.
  45. 9:36 That is, if we wanted to.
  46. 9:38 And if he's dead, he's buried long ago.
  47. 9:39 We'll never find any traces. Wayne, it was your idea to come with us. Now, if you want to go back, go back.
  48. 9:45 Find time to tell me that in the middle of nowhere,
  49. 9:47 Alligators and lions and savages all around me.
  50. 9:51 What's so funny, Colonel?
  51. 9:53 I think it was Horace Greeley who said there are times when it's more dangerous to go back than to go ahead. Well, I'm not Horace Greeley.
  52. 10:00 I think we all should be back.
  53. 10:02 Oh, well, now you know what that means, even on a trolley car. It means go ahead.
  54. 10:19 I just came from the commissioner's office and he's going to help us all he can.
  55. 10:23 But he won't allow us to go into the backcountry without a guide.
  56. 10:27 And unfortunately, the only man available is Gary Lambert...
  57. 10:31 And he hates women.
  58. 10:34 - Hey, it's women, huh? - Hmm, he thinks they're nuisance.
  59. 10:36 Oh, he does, does he? Don't you worry, I'll take care of that.
  60. 10:48 Good shooting, huh, Jimmy? Nine out of ten.
  61. 10:51 Here, put up this new target.
  62. 10:54 Go on, Jim.
  63. 11:00 Oh, hello, Commissioner.
  64. 11:02 Oh, hello, Gary. Still at your target, eh?
  65. 11:06 Well, I'm going to send you somewhere where you'll need that good marksmanship.
  66. 11:10 There's another confinement party arriving, and you've got to help me with them.
  67. 11:14 I knew there was a catch to your visit, but I didn't think you were allowing any more expeditions to start out while the natives were so upset. Well, it's orders from the Home Office.
  68. 11:22 Besides, there's a girl with him.
  69. 11:25 A girl, huh? Well, you can count me out.
  70. 11:27 you mean to say you'd let another safari start out after what happened to the last one not just the point gotti
  71. 11:32 The man she's going to marry was...
  72. 11:35 With that last one.
  73. 11:36 And she wants to find him.
  74. 11:38 Now look, Commissioner.
  75. 11:39 You know, I'd do anything I could for you.
  76. 11:41 But you ought to know by now how I feel about women on safaris. They always want things impossible to get in the jungle. They're useless in emergencies. They're just added responsibility. I know all that.
  77. 11:50 Maybe if you just met this girl and talked to her.
  78. 11:53 You might persuade her to give up the idea.
  79. 11:55 I don't want to meet her. I've never met one yet that wasn't a blasted nuisance.
  80. 12:17 Miss Jean Preston, the young lady I was telling you about.
  81. 12:20 Mr. Gary Lambert. Well, Annie Oakley, when do we start?
  82. 12:37 That must be the village band come out to welcome us. Did they know we were coming? Oh, no. Professor.
  83. 12:48 Hello, Mr. Lambert. Oh, hello.
  84. 12:50 I've been looking for you. Is our safari ready?
  85. 12:53 Yes, I've got the boys and the supplies all lined up.
  86. 12:56 I certainly appreciate you going with us, even though you were against the whole idea. I understand you're having trouble getting a cook.
  87. 13:04 Yes, I've been trying to get Gabby to go along with us. He's about the best cook in these parts, but I haven't been able to get a word in edgewise.
  88. 13:11 Why don't you come over to the general store with me and we'll talk to him together.
  89. 13:14 I'd love to.
  90. 13:16 Ashes went sailing out into the west.
  91. 13:20 Out into the west as the sun goes down.
  92. 13:23 Each thought on the woman who loved him best, and the children stood watching them out of the town. The men must work.
  93. 13:30 And women must weep
  94. 13:32 There's little to earn and many to keep.
  95. 13:34 Though the harbor bar be moaning.
  96. 13:37 Three wives sat up in the lighthouse tower and they trimmed the lamp as the sun went down.
  97. 13:43 He looked at the squall and he looked at the shower.
  98. 13:46 And the night rack came rolling up ragged and brown. Three corpses lay out on the shining sand in the morning gleam as the town went down.
  99. 13:55 And the women are weeping and wringing their hands for those who will never come back to the town.
  100. 14:01 For men must work.
  101. 14:04 And women must weep. And the sooner it's over, the sooner to sleep. And goodbye to the bar and it's morning.
  102. 14:18 Well, how about it, Gabby? You coming along as cook? Well, I don't know.
  103. 14:25 Let me see. Oh, yeah.
  104. 14:27 After she throws the fifth rolling pin at me, I figure she don't like me. If that's the way she wants it, that's okay by me.
  105. 14:36 The very next day I ship out on the Pearl of Cape Town.
  106. 14:39 For five years then, I'm the best doggone sea cook on the whole Cape Coast. And everybody knows that, Gabby. That's why you're here. I never go ashore, though. Never. Never.
  107. 14:48 So my wife don't catch me. By and by I hear she's run away with some no account from the inland country. Far, far away. So I'm a free man.
  108. 14:57 But I don't get married no more. Oh, no. Now I got a cook. A cook's cook. So now you don't have any trouble. But I do. I do. That's just it. Well, but Gabby, I don't see how that concerns you're going with us. My cook.
  109. 15:10 She don't like me to go away. She thinks I'm such a good boss.
  110. 15:14 Why don't you tell her to get a girlfriend to stay with her until you get back?
  111. 15:17 Kelly will bring her messages and gifts from her people.
  112. 15:20 Well, that's a good idea. To tell the truth, I wouldn't mind a little trip myself. After all, if a cook is a cook, he's got to keep a cooking. Supposing I talk to her, huh? That's a good idea. You go right ahead and talk to her. You'll find her in back. Okay.
  113. 15:35 What's the matter with you, Gabby? You know Matty can't speak English. Oh, there's just a little joke on the lady.
  114. 15:44 Commissioner, I've been waiting for you. Good, good. I was looking for you too, Gary.
  115. 15:49 To tell you the truth, Gary, I had two reasons to urge you to go in the strip.
  116. 15:53 It wasn't only that the Home Office ordered me to look after this party.
  117. 15:57 What else?
  118. 15:58 This fellow Greg Jones that Miss Preston is looking for
  119. 16:01 We're sent out here on a mission.
  120. 16:03 There's a contraband ring working somewhere in the back country, shipping out ivory.
  121. 16:07 And it was his job to find and stop them.
  122. 16:10 I see.
  123. 16:11 We're just as anxious about this situation as the people who hold the concession.
  124. 16:15 So you'll be doing me a great favor if you get on the track of Greg Jones.
  125. 16:19 Well, find out what happened to him.
  126. 16:21 I'll see what I can do. Yes, sir.
  127. 16:27 Jimmy!
  128. 16:28 Go get the commissioner a match.
  129. 16:39 Here you are, Commissioner. That's a smart word you got, Gary.
  130. 16:49 Now, you boys be careful of that stuff. I don't want it lost. I've had it a long time and I need it.
  131. 16:53 Apollo, you be a good boy. Don't make a monkey out of yourself.
  132. 16:57 Don't you fight with Jimmy. Hmm? Hmm?
  133. 17:02 Well, Gabby's got his equipment ready. How about you, Colonel? All ready. Commissioner, are you sure these maps will get us where we're going? Okay.
  134. 17:08 Yes, sir. I suppose he's got to go along.
  135. 17:11 The Commissioner said quite definitely we can't go without him.
  136. 17:14 Now, if he bothers you, you don't have to go.
  137. 17:16 There's no reason for you to make this long, dangerous trek. If you go,
  138. 17:21 I'm going to look after you.
  139. 17:22 As you like. Goodbye, Commissioner. Goodbye, Gary, and have a nice trip.
  140. 17:47 The rate of pay isn't very high here. It'll take them two days to load our boats and get us ready for the safari.
  141. 18:03 That, my dear, is the origin of all modern dancing.
  142. 18:16 Looks like fun. You should try it sometime, Colonel. When they're small children, long bamboo shoots are forced into their flesh. The more pain they can bear, the more they are respected and admired.
  143. 18:44 Oh, what a beautiful sight. This is the end of the river. There are the great falls of Africa. Yes, but like many other beautiful things, it has its drawbacks. This is as far as we can go by boat. Oh, you mean this is the end of the line?
  144. 18:57 You want a jungle, from here on you've got it.
  145. 19:00 Eh, under you and around you.
  146. 19:13 Civilization was now far behind us. Nothing serious had happened since Moya was killed. But we sensed that we were coming closer and closer to danger.
  147. 19:33 -Cymbala. -Cymbala.
  148. 19:37 We're going deep into the jungle.
  149. 19:38 We need 40 good boys and one good head man.
  150. 19:41 Always I give you what you want.
  151. 19:43 I send Tonga.
  152. 19:44 My best head man.
  153. 19:46 But first we have welcome dancers for you.
  154. 19:49 Come now.
  155. 19:50 You see...
  156. 19:51 The chief is very proud of his tribesmen and likes to show them off. It wouldn't be good policy to offend him.
  157. 19:56 And why a bar?
  158. 20:40 Remember, Professor, you're supposed to be interested in insects. But you find them in the strangest places.
  159. 20:55 After the ceremony, the natives gathered in the marketplace...
  160. 21:00 supplies as we wouldn't reach another village until we'd arrived at our destination.
  161. 21:30 They scared of voodoo.
  162. 21:31 Voodoo?
  163. 21:33 I thought you were all over that business, Tonga. Tonga, no afraid for voodoo.
  164. 21:37 But boy, plenty afraid. What's the voodoo this time? Just what are they afraid of?
  165. 21:40 Wait a moment.
  166. 21:43 Well, I can't say as I blame him.
  167. 21:44 Pretty white woman, but bad.
  168. 21:46 She's queen of the she-devils. Very pretty. But good native is freed from her.
  169. 21:53 White goddesses.
  170. 21:54 Well, bless my soul, a white goddess in the jungle. A white goddess, huh?
  171. 21:59 She-devils.
  172. 22:03 And we'll move on. Hey, hold on, you vomit. You vomit knocking down all my pots there. Now, who's going to pick them up, huh? Stay in there, you.
  173. 22:25 Shh.
  174. 22:29 That night the natives danced the sacred fire dance to bring us good luck on our journey.
  175. 22:39 Gary. Gary. Yes?
  176. 22:51 Well, Miss Preston. There's something I wanted to talk to you about. These white women, Amazon, whatever you call them.
  177. 22:59 You don't really believe there are such creatures out here in the jungle, do you? Well, I... Well, if it'll make you feel any better, we'll go see what Tommy has to say about it. Come on.
  178. 23:12 Tonga. I want you to tell us all you know about the white she-devils at the jungle. Bad to talk. They know everything. They voodoo.
  179. 23:29 Tonga, tell us what you know of the white she-devils. Speak. Long time. Long, long time. Big boat on the ocean, near mouth of river. Big water. High water. In big stone. Men shy to get in boat. Captain no legend. Only women saved.
  180. 24:00 Women make camp in jungle.
  181. 24:03 There, she-devil you find now. She-devils? Amazon? Why, I read that in Greek mythology. It sounds like a fairy tale.
  182. 24:11 No, there's plenty of fact in what Tonga says. That part of the jungle holds plenty of terror for those boys, or they wouldn't act up as they do.
  183. 24:21 Despite the warnings of Tonga about the White Goddess, we started on our long trek, determined at all costs to bring our search to a successful conclusion.
  184. 24:53 Innuable obstacles seem to bar our progress. There was danger all around us. Even the monkeys chaffered as if to warn us.
  185. 25:11 He'll come back. He always does.
  186. 25:28 What do you see in your magic lantern?
  187. 25:39 They certainly seem to be in a hurry.
  188. 25:41 They don't seem like company, do they?
  189. 25:56 Wallace! This is the boy Bambo. He gave me this. You look, you look. This is an American gold coin. Oh, that's Greggs. I gave it to him. Are you sure? Of course he's wanted ever since I found it. See the date? 1921, his birthday.
  190. 26:11 And there's the square he cut in it so he could wear it in his key chain. Bumble.
  191. 26:16 Are you afraid of me? Ask him where he found us. He say, why did man give it to him to bring to Commissioner? Oh, I'm sure we're on the right trail now. I'm sure of it. Don't build your hopes too high, Gene. Tonga, we make camp here tonight. See what I'm... Night after night as we made camp,
  192. 26:46 mishaps. It seemed as if an evil force were trying to impede our progress.
  193. 26:51 You seem troubled about something. I didn't want to tell the others until I'd investigated further. Yes? This native boy confirms the voodoo that has our native carrier so badly frightened. I'm beginning to believe that. Then there is a white woman, a she-devil. Bombo says she's holding Greg prisoner.
  194. 27:21 Gary, Gary!
  195. 27:51 Gene, what?
  196. 27:53 Gene, that line's going to kill him. Gene, what?
  197. 28:21 That firebrand did the trick. Gary!
  198. 28:26 Oh, Gary. That's one I owe you, mister.
  199. 28:30 I guess that puts me to pleasure now.
  200. 28:33 But I'd rather it would have been anyone else but you. I didn't do it because I liked it.
  201. 28:38 Thanks, anyway.
  202. 28:42 Colonel.
  203. 28:43 If my suspicions prove correct,
  204. 28:45 I'll be able to tell you in the morning. He was responsible for all our troubles.
  205. 28:48 What do you mean, Wade?
  206. 28:49 Well, I'm convinced that someone in the outfit is making every effort possible to keep us from reaching Greg. Oh, that's nonsense. What could they have to gain?
  207. 28:56 That's just it. I don't know.
  208. 28:57 Little could it be anyway.
  209. 28:59 Not you or me. Certainly not she. Couldn't be the professor here. Or Gary.
  210. 29:04 I don't know, but I'm going to find out.
  211. 29:07 I know you'll think I'm running a fever when I tell you this.
  212. 29:11 That animal is wearing a collar around its neck.
  213. 29:18 Oh!
  214. 29:20 Oh, excuse me. I'm sorry I did that. I'm sorry. You're sorry.
  215. 29:28 After what you've just been through, I can't help feeling jittery. Well, that's all right, Jean. Don't let it upset you. I'm sorry I got you into this. You really, I am. Don't blame yourself.
  216. 29:38 I had other reasons for coming along other than seeing it through. You have? Mm-hmm. A little matter of a million dollars a year that the government is losing on revenue, on the exportation of ivory out of this district. You mean ivory runners? Well, we call it contraband. I knew Greg was here on some secret mission. Maybe it had something to do with this. It had. Someone has been taking ivory out of here for years. The commissioner and I thought that by using this safari as a cover-up, we might be able to put our finger on the guilty ones.
  217. 30:08 I haven't been able to tell you so far because, well, I didn't know how far I could trust you. All the time I thought, well, I... sort of... You sort of what? Thought you came on my account. When you left, you told me you were engaged to Greg.
  218. 30:24 I am. So I naturally concluded that you were in love with him. You certainly wouldn't have started on this long search if you hadn't been. We grew up together. I've known him all my life. I've never even thought of marrying anyone else but Greg. Oh, I see. That doesn't mean I can't have friends. Good friends. Like Wayne, for instance?
  219. 30:46 Why, yes. Wayne's a friend. Is that the way he wants it? No, but I can't help that. I've made it quite clear to him many times that we could never be anything more.
  220. 30:57 Why, even if I didn't love Greg, I couldn't care for Wayne.
  221. 31:01 How about me if you didn't love Greg? What a strange question. I do love Greg. What if you didn't? How can I tell? Things would be different. But you can't be sure about me.
  222. 31:16 Why, I don't know.
  223. 31:19 I've always thought Greg was the only one I could ever love that way or marry. I guess I had it fixed in my mind. Oh, you've got me so mixed up. Hi, buddy. Yes. That's what I'm trying to do.
  224. 31:35 Good night, Gary. Good night, Jean.
  225. 31:39 I
  226. 31:56 Have you seen Wayne this morning? Come to think of it, I haven't.
  227. 32:00 Gary, last night Wayne told me he'd won the confidence of Bombo. He told me I was exactly where to find the White Woman encampment.
  228. 32:07 He promised to tell me the location this morning. Wanted time off to draw a map. That's very strange, Jean.
  229. 32:14 Bombo refused to confide even in Tonga. Yet he agreed to guide us there. We're over! We're over!
  230. 32:22 Rosie!
  231. 32:24 - Turn it! - Yes, Will.
  232. 32:25 There's been a white man injured. Come on.
  233. 32:28 Eton Apupa, man is there. Wayne.
  234. 32:58 But surely that's impossible. How can you tell? Whoever made that print was accustomed to wearing shoes. What bothers me, as far as we know, the only white men within miles of here are in this camp. And one of them is a murderer.
  235. 33:22 With heavy hearts, we continued our journey, missing Wayne a hundred times a day.
  236. 33:54 Uh-oh. Locusts.
  237. 34:08 Hunger! We'd better camp there tonight until the locusts have passed. This is a bad place for Camp Juana. This lion country. Anyhow, I think this is our best bet. Light fires tonight and keep a sharp lookout. Mazzuti! Mazzuti! Mazzuti!
  238. 34:22 Simba! Simba! Simba! Simba! It did seem we were having more than our share of bad luck. We ran into swarms of locusts, were attacked by animals. And now we were in the lion country, the land of Simba.
  239. 34:42 Some foreboding of disaster had taken hold of Bombo.
  240. 34:46 He still strode at the head of the safari, but his courage and confidence were fast disappearing.
  241. 35:41 - Bumble was leading us to this white woman he spoke of.
  242. 35:44 He alone had the directions.
  243. 35:46 The day he confided those directions to Wayne, Wayne was killed.
  244. 35:51 Evidently by a white man. Now Bombo is gone and
  245. 35:55 They have those footprints again.
  246. 35:57 Gary, it can't be much further.
  247. 36:00 I don't know that, but I feel we're pretty close to what we're looking for.
  248. 36:04 Clean heads go on, huh?
  249. 36:07 All right with you gentlemen?
  250. 36:08 Dead.
  251. 36:09 Well, if we're all agreed, we'll go on. Although I admit it appears useless without bombables.
  252. 36:21 Before we go, my men get lions. They think lions kill Bombo. That's a fine idea, Tonga. Good luck to you and your men.
  253. 36:35 The superstitious natives could not be pacified after Bombo's death until we allowed them to organize a lion hunt to avenge their lost leader.
  254. 36:44 down their helmets made of lion's maids, their spears and shields, and after dancing tribute to their gods, scattered to round up the beasts of prey.
  255. 38:14 Simba Hopper! Simba Hopper!
  256. 39:03 Success crown their efforts. Five man-eaters fell pierced with avenging spears.
  257. 39:14 Finally, we reached the elephant country, and we're nearing our goal. Somewhere close ahead of us was the Forbidden Territory, presided over by the dreaded white goddess and the savage tribes under her domination.
  258. 39:50 If I turn my profile, heaven help my nose.
  259. 39:55 Fix the gorilla's nose, Greg.
  260. 39:58 All right.
  261. 40:00 The
  262. 40:18 I'm afraid you're getting tired of me, Greg, are you?
  263. 40:21 That's right, dear.
  264. 40:24 Are you making joke with me, Greg?
  265. 40:26 Well, why do you ask?
  266. 40:28 You seem restless, uneasy.
  267. 40:31 Are you unhappy?
  268. 40:32 Of course not, Zeta. I've never been happier than my life.
  269. 40:36 What's going on here?
  270. 40:51 Zeta, my dear, you're quite a queen.
  271. 40:54 Someone has to be boss, dear.
  272. 40:59 Greg, Tony's been hurt. Greg, Tony's been hurt.
  273. 41:08 It's a bullet wound.
  274. 41:10 and bullet means stranger.
  275. 41:15 Greg, you're angry with me because I sent for information on that safari.
  276. 41:21 That's it, isn't it? No, of course that isn't it.
  277. 41:24 I just want to stay here and meet these people.
  278. 41:26 You know, Zeta, it's been a long time since I've seen anybody from the outside.
  279. 41:30 But Greg, we must be represented at the council meeting.
  280. 41:34 That's more important.
  281. 41:36 It's the only way we can keep the natives in line.
  282. 41:39 And...
  283. 41:39 We just can't take any chances on being absent.
  284. 41:43 If that's what'll make you happy, I'll go.
  285. 41:48 I knew you would, darling.
  286. 41:57 Tony, when that safari arrives, we'll handle our own way.
  287. 42:04 without interference from anybody.
  288. 42:09 And the natives reluctant to move on. Suddenly out of the underbrush appeared three strangely painted warriors. Looks like we have guests. Colonel, tell Tonga to stand by. What do you want?
  289. 42:30 This is strange. Those natives brought us a message.
  290. 42:36 Three of your party may proceed to my camp.
  291. 42:38 But only three.
  292. 42:40 You'll be guided by the bearer of this note.
  293. 42:43 I promise you safe return. Zeta.
  294. 42:46 Well, I for one am going. Who are the other two? I feel it's my duty to go.
  295. 42:50 Thank you, Colonel.
  296. 42:51 I'm going to, of course. That's impossible, Jean. This may be an ambush. We don't know what we're getting into. Yes, remember, my dear, it was here. The last party was attacked and destroyed. It may be a trap.
  297. 43:00 You remain here with Tonga, the natives.
  298. 43:02 He'll guard you until we return. And if we don't come back, they'll get you out safely.
  299. 43:07 I'm quite sure the professor won't mind staying behind with Conger to take back news in case something happens to us.
  300. 43:13 you know,
  301. 43:14 I've made up my mind. I'm going with you.
  302. 43:18 This is no place for monkeys, Polo.
  303. 43:21 Let's get out of here.
  304. 43:23 Oh, you are beautiful, Theda. Just too beautiful.
  305. 43:27 Shuggie, a woman can never be too beautiful. Oh. You know, I really think some of the girls are jealous of you.
  306. 43:34 They are?
  307. 43:35 Oh, but they all worship you, of course.
  308. 43:37 They aren't the only ones that worship you.
  309. 43:44 Zeta.
  310. 43:46 I'm leaving for a meeting of the council, as you want me to.
  311. 43:50 But before I go, I want you to promise me something.
  312. 43:54 Yes, Greg.
  313. 43:55 But you'll hold that safari here till I get back.
  314. 43:58 Of course, darling, if you want me to.
  315. 44:00 I do.
  316. 44:37 Why are you attempting to enter my territory?
  317. 44:39 Everyone in the jungle knows that strangers are not welcome here.
  318. 44:43 We've come to investigate a rumor.
  319. 44:45 that a certain Sephora was attacked near here
  320. 44:48 And all the members of its party were killed except one.
  321. 44:51 whom you're holding prisoner.
  322. 44:53 My warriors resent strangers.
  323. 44:55 They are determined to kill all who attempt to invade this country.
  324. 44:59 If I had been informed in time,
  325. 45:01 I might have been able to save the other members of the party you speak of.
  326. 45:05 As for the one member I was able to save,
  327. 45:07 he is no prisoner.
  328. 45:09 but remains here of his own will.
  329. 45:11 In that case, we should be able to see him and hear this from his own lips.
  330. 45:15 Certainly.
  331. 45:16 Come with me.
  332. 45:26 Make yourself comfortable.
  333. 45:31 I'm going to go.
  334. 45:41 Shnooki!
  335. 45:43 We have guests.
  336. 45:44 Prepare food and refreshment.
  337. 45:46 Yes, Rita.
  338. 45:48 I was explaining to Miss Preston that it was almost impossible to find Greg Jones in his jungle. But Miss Preston wouldn't be convinced.
  339. 45:56 That was our first making every effort to find out if it's here. So the sole reason for this safari was to find Greg Jones? What other reason could there be?
  340. 46:04 to hunt wild bees
  341. 46:06 to explore strange territory
  342. 46:08 perhaps in search of ivory.
  343. 46:11 Men coming to the jungle for all sorts of reasons.
  344. 46:15 That is why if we wish to remain in peace,
  345. 46:18 We must set up barriers against them. I see.
  346. 46:22 Well, I'm afraid we are imposing on you, forcing ourselves in here this way, but you can understand we were concerned about Greg. Of course, Colonel, I understand. I tried to persuade Greg to return or send a message out, but...
  347. 46:35 He is very stubborn. I know that.
  348. 46:38 and your visit, far from being an intrusion,
  349. 46:41 I expected you and anticipated meeting you.
  350. 46:44 bought you and
  351. 46:45 Miss Preston.
  352. 46:46 Really? Oh, I assure you, Greg told me all about you.
  353. 46:51 Really? Really.
  354. 46:54 Well, this is very enjoyable, but after all, my dear, we came here on a definite mission. Yes. When do we see Greg? He's representing me now at the Council of the Chiefs. It's extraordinary how he has managed to impress them in his short stay here. Already they acknowledge his authority and...
  355. 47:14 Except he's domination. Yes, he's a remarkable boy.
  356. 47:18 And so are you, my dear. Tell me, how did you manage to acquire such a marvelous education here in the jungle?
  357. 47:25 I landed here as a child when the ship on which we were traveling foundered on the coast.
  358. 47:30 My mother taught us children. She was a natural leader, so the others followed her.
  359. 47:35 Now they follow me and there are no white men here at all no white man has ever come into our territory until Greg came and
  360. 47:43 We have often considered to invite desirable white settlers to come here.
  361. 47:48 because many of our girls have reach of suitable age to marry.
  362. 47:51 Yes, so I see. Do you mind, my dear? I've been saving you for just such an event. Not at all. May I have a few words with you? Alone.
  363. 48:05 You don't think Gene is in any danger? What else can we do?
  364. 48:10 I sent Greg on an important mission, but he'll be back before you leave.
  365. 48:16 Yes, I know.
  366. 48:17 I have no intention of leaving until he does get back.
  367. 48:20 You still think I'm holding him here against his will?
  368. 48:23 It does seem likely, doesn't it? It's what you prefer to believe, naturally.
  369. 48:28 But it isn't true.
  370. 48:29 The fact is that Greg has fallen in love with me.
  371. 48:33 And I'm in love with him. I'll believe that when I hear him tell it. You don't suppose I'd be foolish enough to tell it if it weren't so.
  372. 48:41 Knowing that she'll going to see you presently.
  373. 48:45 I could have waited to let him tell you because I know he will.
  374. 48:49 But I thought it better to saddle it frankly between ourselves.
  375. 48:53 I don't see that there's anything to settle for.
  376. 48:55 But Greg has promised to marry you. And men are stupid when bound by such promises.
  377. 49:01 All I know is that he loves me.
  378. 49:04 And if he were free, he'd marry me.
  379. 49:07 As far as his promise goes, don't think that I'd hold him for one instant.
  380. 49:12 He really wanted to be free. Do you really mean that?
  381. 49:16 - Honestly? - Of course I mean it.
  382. 49:18 I'm glad you're inclined to feel so sensible about it. Because I would have had you killed rather than give him up. You see, here in the jungle,
  383. 49:30 Such things are very easily managed.
  384. 49:32 And I'm not bound by the conventional laws of society that hamper you.
  385. 49:39 Greg says,
  386. 49:40 I'm more than half savage.
  387. 49:43 And maybe I am.
  388. 49:46 All I know is that I'm willing to fight for what I want.
  389. 49:50 and won't stop
  390. 49:51 Short of anything to get it.
  391. 49:54 And Greg really means that much to you. He really means that much.
  392. 49:59 Don't make any mistake about it.
  393. 50:03 Now that we understand each other,
  394. 50:06 I don't see why we shouldn't be friends.
  395. 50:08 Why not?
  396. 50:11 This is an outrage.
  397. 50:12 Put me down.
  398. 50:14 I was minding my own business and this bug when I was picked up by these two women.
  399. 50:19 I thought there was going to be trouble, so I got Tonga to leave me here.
  400. 50:23 We avoided the natives, all right.
  401. 50:26 But then I found my precious Suzudora Chalamita.
  402. 50:30 And then these creatures
  403. 50:32 Overpowered me.
  404. 50:34 Take it easy, Professor. Come on, get up. Oh, shoot. There you are. Now, what's this all about?
  405. 50:45 I see you worried about Miss Preston.
  406. 50:47 I assure you she's quite safe.
  407. 50:49 That's why we're here, to make sure.
  408. 50:51 Miss Preston is in my charge.
  409. 50:53 Of course, she became friends, too, during this long trek.
  410. 50:56 You spend hours together.
  411. 50:59 and the lonely nights in the jungle are somehow different than the nights you spend anywhere else.
  412. 51:05 Conventional barriers.
  413. 51:07 cease to exist.
  414. 51:08 You come close to one another. Well, you seem to know an awful lot about this.
  415. 51:16 I lived here all my life.
  416. 51:18 I know all about it.
  417. 51:20 I think you know all about a lot of things. I wish I knew some of them. I'm sure you would. In fact, I don't think there's very much happens in this jungle that you don't know about. Not much. Your safari wasn't out two days.
  418. 51:32 when the Jungle Underground told me you were coming. You know, you seem very friendly. I wonder just how friendly you are.
  419. 51:38 Why not put me to the tent?
  420. 51:41 I will.
  421. 51:42 I didn't come out here just to guide Miss Preston. I had an added reason.
  422. 51:46 concerning the ivory.
  423. 51:48 That's right.
  424. 51:49 And I want you to tell me the name of the leader of your organization.
  425. 51:52 organization
  426. 51:54 What do you mean?
  427. 51:55 I think we understand each other. Contraband ivory.
  428. 51:59 You're asking for trouble, Mr. Landbrot.
  429. 52:01 The man is a killer and a thief, and I came out here to get him.
  430. 52:06 Will you agree to get me out of it? Not even to mention where you got the information?
  431. 52:13 If I tell you this killer's name? Why not let me tell him?
  432. 52:17 Need I go on, Mr. Lambert? This doesn't make sense to me. It didn't very clear to me either.
  433. 52:23 Gabby! Down, Polo, down. I'm a little surprised, Zita, that you would dissolve our partnership so abruptly.
  434. 52:31 Oh, yes.
  435. 52:32 I've known about this, Greg, for some time, but...
  436. 52:36 I didn't think you'd sell me out for him.
  437. 52:40 Lambert?
  438. 52:42 I tried to stop you from coming here, not once but several times.
  439. 52:46 I tried to lose you in the jungle.
  440. 52:48 And when little Bamba was about to guide you here, I...
  441. 52:51 I took care of him. Unfortunately for Wayne Monroe, he learned too much for his own good, and now...
  442. 52:57 You've all learned too much.
  443. 52:59 It's too late for anyone to leave.
  444. 53:02 Bura Omba, Lamberti Ari, Simasani in Alkamoba.
  445. 53:07 My warriors will take care of you and your friends, Mr. Lambert.
  446. 53:11 The ladies remain. Gary! Paisy, Paisy.
  447. 53:41 If I nudge, you'll fall down. Fall down? Why? Don't ask questions.
  448. 53:53 No.
  449. 53:56 Get some water, quick.
  450. 54:41 Look out, Professor!
  451. 55:03 See what you nearly got? See what I did get? I haven't seen one of these in 30 years.
  452. 55:11 You and your bug-ology.
  453. 55:26 My gun is jammed.
  454. 55:34 Looks like we've got help. I'm going in the house after Gene. Cover me. All right.
  455. 55:43 Great.
  456. 55:46 It's good to see you, Dad.
  457. 55:49 Sorry, I can't say the same for you, you young fool.
  458. 55:54 You could have at least written us a letter and let us know you were alive. How did I give a hang? I did send word out several times. Somebody must have stopped my messengers.
  459. 56:04 Obviously, it was our good friend Gabby the cook. Men must work and women must weep.
  460. 56:11 And the sooner it's over, the sooner to sleep.
  461. 56:20 My dear, since you've lived by the ways of the jungle, I think it's only befitting that you should, shall we say, depart in the same manner. No, no, no.
  462. 56:52 Time and tide wait for no man, my dear.
  463. 56:58 No destiny for any woman.
  464. 57:11 Daddy!
  465. 58:36 Your purse. It's nothing.
  466. 58:38 You saved my life.
  467. 58:39 and deliver me not only from that pair, but...
  468. 58:42 from something much more dreadful.
  469. 58:44 I'm grateful.
  470. 58:50 Looks like we got him on the run, Dad.
  471. 58:55 Whoa!
  472. 58:58 For men must work.
  473. 59:01 And women must... weep.
  474. 59:26 Professor, this is probably one of the first double wedding ceremonies that has ever taken place in the jungle. Oh, that's why the Commissioner came last night.
  475. 59:34 Isn't it wonderful? Wonderful! It is! It is an idiosondra provadora. Looks like a spider to me. That ivory's going in the right direction at last. That completes my mission here. I'm leaving my wild jungle up behind me. Wild life! You should see one of our night clouds.

Also from 1946

Abilene Town 1946The Stranger 1946Till the Clouds Roll By 1946Whistle Stop 1946

Every free film of 1946 with a copy

Similar frames

Tarzan's Revenge 1938Riders of Destiny 1934The Lucky Texan 1934

By the average clip vector of the keyframes; a measurement, not a judgement