- I'm taking her back. We're out of here.
- We're not going yet.
The rendezvous is 10 miles away.
You think the chopper'll wait?
Dillon, we make a stand now, or there will be
nobody left to go to the chopper.
There is something else.
When the big man was killed,
you must have wounded it.
It's blood was on the leaves.
If it bleeds, we can kill it.
Look out.
You really think
this boy-scout bullshit's gonna work.
It can see our tripwires.
Maybe it can't see this.
Instead of complaining,
maybe you should help.
What makes you think
he'll come in through here?
There are tripwires on every tree for 50 yards.
This is the only way in.
When I was little, we found a man.
He looked like,
like, butchered.
The old women in the village
crossed themselves
and whispered crazy things,
said strange things.
El diablo, cazador de hombres.
Only in the hottest years this happens.
And this year it grows hot.
We begin finding our men.
We found them sometimes
without their skin,
and sometimes much, much worse.
"El que hace trofeos de los hombres" means
"the demon who makes trophies of man."
So, what you gonna try next? Cheese?
Hey, Dutch. Dutch
Shit
Got you, motherfucker I got you
I'm coming!
Mac! Get Ramirez on his feet
and get to the chopper.
- Hold it. I'm going after Mac.
- That's not your style, Dillon.
I picked up some bad habits from you.
Get your people the hell outta here.
You can't win this, Dillon.
Maybe I can get even.
Dillon.
Just hold on to that damn chopper.
He's busted up pretty bad, Major.
- I can make it. I can make it.
- Get the radio. Forget the rest.
Come on, Poncho.
* Long tall Sally
* She's built sweet
* She got everything that Uncle John need
* Oh, baby
* Baby
* I'm gonna have me some fun
* I'm gonna have me some fun
Turn around.
Over here.
Over here.
Mac?
Out there. Past them trees.
You see it?
I see you.
I see it.
I see it.
You know, we can get this thing, Mac.
You work your way down there toward him.
I'll get in back of him, flush him toward you.
When I flush that son of a bitch, you nail him.
I got a score to settle.
We've both got scores to settle.
Come on Quickly. Hurry up!
Don't. Leave it.
It didn't kill you because you weren't armed.
No sport.
Mac?
Any time.
Let's go.
Billy!
Billy, let's go
Give me the weapon!
No!
Run!
Run!
Go!
Get to the chopper!
Oh, shit
He couldn't see me.
Bleed, bastard.
You're one ugly motherfucker.
Bad idea.
Come on.
Come on. Do it.
Do it!
Come on. Come on!
Kill me. I'm here. Kill me!
I'm here. Kill me!
Come on! Kill me. I'm here.
Come on! Do it now! Kill me!
What the hell are you?
What the hell are you?
What the...?
My God...Screenwriters Jim and John Thomas
on the origins of "Predator":
( John) Our parents read to us
a great deal when we were young,
and that included some of
the classic mythological stories
starting with the Brothers Grimm,
the fairy tales.
Those were our favourites.
We were fascinated.
( Jim) We've always had
an interest in mythology.
There've always been creatures
or characters like the Predator.
There's the Cyclops, the Minotaur,
Goliath, the Grendel in Beowulf.
They always represent the darkness.
The original conceit of the story was
"What would it be like if human beings
were hunted by dilettante hunters,
the way humans hunt big game in Africa?"
In exploring that, we tried to use all
the elements of hunting that we knew about:
Stalking, mimicking the calls of its prey
and choosing the most dangerous species.
The most dangerous species for an
extraterrestrial hunter would be humans.
The most dangerous humans
are combat soldiers.
Stalking was where the whole
camouflage idea came from
because hunters use camouflage
to stalk everything else.
We completed the screenplay
in September '83 and sold it in early '84.
The process we used then,
and have always used,
is to