{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "whuhnJDxMKfm", "audio_description_us": "1\n00:02:22,350 --> 00:02:23,060\nShe grabs him.\n\n2\n00:02:42,700 --> 00:02:44,710\nShe leaves Mark sitting alone at the table.\n\n", "audio_description_uk": "1\n00:01:24,170 --> 00:01:25,090\nShe glares.\n\n2\n00:02:04,290 --> 00:02:05,170\nShe glowers.\n\n3\n00:02:42,620 --> 00:02:45,580\nPretty ponytailed Erica gets up from the table and leaves.\n\n", "subtitles": "1\n00:00:00,090 --> 00:00:02,470\n- Mark, I'm not speaking in code.\n- Erica.\n\n2\n00:00:03,010 --> 00:00:04,890\nYou're obsessed with finals clubs.\n\n3\n00:00:04,970 --> 00:00:07,410\nYou have finals clubs OCD\nand you need to see someone about it\n\n4\n00:00:07,430 --> 00:00:09,160\nwho will prescribe you\nsome sort of medication.\n\n5\n00:00:09,190 --> 00:00:11,690\nYou don't care if the side effects\nmay include blindness.\n\n6\n00:00:11,810 --> 00:00:14,480\nFinal clubs. Not \"finals clubs.\"\n\n7\n00:00:15,780 --> 00:00:18,340\nAnd there's a difference between\nbeing obsessed and being motivated.\n\n8\n00:00:18,360 --> 00:00:21,200\nYes. There is.\n\n9\n00:00:21,280 --> 00:00:23,010\nWell, you do.\nThat was cryptic, so you do speak in code.\n\n10\n00:00:23,030 --> 00:00:24,280\nI didn't mean to be cryptic.\n\n11\n00:00:24,370 --> 00:00:26,180\nI'm just saying I need to do\nsomething substantial\n\n12\n00:00:26,200 --> 00:00:28,040\nin order to get the attention of the clubs.\n\n13\n00:00:28,120 --> 00:00:29,870\n- Why?\n- Because they're exclusive.\n\n14\n00:00:30,620 --> 00:00:32,370\nAnd fun, and they lead to a better life.\n\n15\n00:00:32,500 --> 00:00:34,100\nTeddy Roosevelt didn't get elected president\n\n16\n00:00:34,130 --> 00:00:36,040\nbecause he was a member\nof the Phoenix Club.\n\n17\n00:00:36,170 --> 00:00:38,380\nHe was a member of the Porcellian,\nand yes, he did.\n\n18\n00:00:38,510 --> 00:00:41,840\nWell, why don't you just concentrate\non being the best you you can be?\n\n19\n00:00:42,470 --> 00:00:43,530\nDid you really just say that?\n\n20\n00:00:43,550 --> 00:00:45,050\nI was kidding.\n\n21\n00:00:45,140 --> 00:00:46,870\nJust because something's trite\ndoesn't make it less true.\n\n22\n00:00:46,890 --> 00:00:48,030\nI wanna try to be straightforward with you\n\n23\n00:00:48,060 --> 00:00:50,370\nand tell you I think you might\nwant to be a little more supportive.\n\n24\n00:00:50,390 --> 00:00:53,980\nIf I get in, I will be taking you\nto the events and the gatherings,\n\n25\n00:00:54,060 --> 00:00:57,230\nand you'll be meeting a lot of people\nyou wouldn't normally get to meet.\n\n26\n00:00:58,400 --> 00:00:59,820\nYou would do that for me?\n\n27\n00:01:00,490 --> 00:01:01,860\nWe're dating.\n\n28\n00:01:02,070 --> 00:01:03,320\nOkay.\n\n29\n00:01:05,030 --> 00:01:06,680\nWell, I wanna try and be\nstraightforward with you\n\n30\n00:01:06,700 --> 00:01:08,490\nand let you know that we're not anymore.\n\n31\n00:01:08,580 --> 00:01:11,080\n- What do you mean?\n- We're not dating anymore. I'm sorry.\n\n32\n00:01:11,210 --> 00:01:13,250\n- Is this a joke?\n- No, it's not.\n\n33\n00:01:13,330 --> 00:01:14,390\nYou're breaking up with me?\n\n34\n00:01:14,420 --> 00:01:15,730\nYou're gonna introduce me to people\n\n35\n00:01:15,750 --> 00:01:17,470\nI wouldn't normally\nhave the chance to meet?\n\n36\n00:01:17,550 --> 00:01:19,340\nWhat the...\nWhat is that supposed to mean?\n\n37\n00:01:19,420 --> 00:01:20,730\n- Wait, settle down.\n- What is it supposed to mean?\n\n38\n00:01:20,760 --> 00:01:22,690\nErica, the reason we're able to sit here\nand drink right now\n\n39\n00:01:22,720 --> 00:01:24,520\nis 'cause you used to sleep\nwith the door guy.\n\n40\n00:01:25,510 --> 00:01:29,180\n\"The door guy\"? His name is Bobby.\nI have not slept with the door guy.\n\n41\n00:01:29,270 --> 00:01:33,690\nThe door guy is a friend of mine,\nand he's a perfectly good class of people.\n\n42\n00:01:33,770 --> 00:01:36,270\nAnd what part of Long Island\nare you from, Wimbledon?\n\n43\n00:01:36,400 --> 00:01:38,610\n- Wait. Wait, wait.\n- I'm going back to my dorm.\n\n44\n00:01:38,730 --> 00:01:40,030\n- Is this real?\n- Yes.\n\n45\n00:01:40,110 --> 00:01:42,190\n- Then wait, I apologize, okay?\n- I have to go study.\n\n46\n00:01:42,240 --> 00:01:43,530\n- Erica?\n- Yes?\n\n47\n00:01:43,610 --> 00:01:45,920\n- I'm sorry, I mean it.\n- I appreciate that, but I have to go study.\n\n48\n00:01:45,950 --> 00:01:48,200\nCome on, you don't have to study.\nLet's just talk.\n\n49\n00:01:48,280 --> 00:01:49,530\n- I can't.\n- Why?\n\n50\n00:01:49,620 --> 00:01:52,540\nBecause it is exhausting.\nDating you is like dating a StairMaster.\n\n51\n00:01:52,620 --> 00:01:54,820\nAll I meant is that you're not likely to...\nCurrently...\n\n52\n00:01:54,920 --> 00:01:56,100\nI wasn't making a comment\non your appearance.\n\n53\n00:01:56,130 --> 00:01:58,400\nI was saying that you go to BU.\nI was stating a fact, that's all,\n\n54\n00:01:58,420 --> 00:01:59,520\nand if it seemed rude, then I apologize.\n\n55\n00:01:59,550 --> 00:02:00,940\n- I have to go study.\n- You don't have to study.\n\n56\n00:02:00,960 --> 00:02:02,360\nWhy do you keep saying\nI don't have to study?\n\n57\n00:02:02,380 --> 00:02:04,220\n'Cause you go to BU.\n\n58\n00:02:06,300 --> 00:02:07,760\nDo you want to get some food?\n\n59\n00:02:08,470 --> 00:02:11,310\nI am sorry you are not sufficiently\nimpressed with my education.\n\n60\n00:02:11,770 --> 00:02:13,410\nAnd I'm sorry I don't have a rowboat,\nso we're even.\n\n61\n00:02:13,430 --> 00:02:16,140\n- I think we should just be friends.\n- I don't want friends.\n\n62\n00:02:16,270 --> 00:02:17,310\nI was just being polite.\n\n63\n00:02:17,400 --> 00:02:18,620\nI have no intention\nof being friends with you.\n\n64\n00:02:18,650 --> 00:02:20,730\nI'm under some pressure right now\nfrom my OS class\n\n65\n00:02:20,820 --> 00:02:23,400\nand if we could just order some food,\nI think we should...\n\n66\n00:02:23,780 --> 00:02:28,160\nOkay, you are probably going to be\na very successful computer person.\n\n67\n00:02:28,740 --> 00:02:31,300\nBut you're gonna go through life\nthinking that girls don't like you\n\n68\n00:02:31,330 --> 00:02:32,990\nbecause you're a nerd.\n\n69\n00:02:33,750 --> 00:02:36,710\nAnd I want you to know from the bottom\nof my heart that that won't be true.\n\n70\n00:02:38,170 --> 00:02:40,790\nIt'll be because you're an asshole.\n\n", "sdh": "1\n00:00:00,340 --> 00:00:03,090\n- Mark, I'm not speaking in code.\n- Erica.\n\n2\n00:00:03,170 --> 00:00:05,140\nYou're obsessed with finals clubs.\n\n3\n00:00:05,220 --> 00:00:07,660\nYou have finals clubs OCD\nand you need to see someone about it\n\n4\n00:00:07,680 --> 00:00:09,520\nwho will prescribe you\nsome sort of medication.\n\n5\n00:00:09,560 --> 00:00:11,780\nYou don't care if the side effects\nmay include blindness.\n\n6\n00:00:11,810 --> 00:00:14,850\nFinal clubs. Not \"finals clubs.\"”\n\n7\n00:00:15,850 --> 00:00:18,500\nAnd there's a difference between\nbeing obsessed and being motivated.\n\n8\n00:00:18,520 --> 00:00:21,070\nYes. There is.\n\n9\n00:00:21,150 --> 00:00:23,340\nWell, you do. That was cryptic,\nso you do speak in code.\n\n10\n00:00:23,360 --> 00:00:24,480\nI didn't mean to be cryptic.\n\n11\n00:00:24,530 --> 00:00:26,490\nI'm just saying I need to\ndo something substantial\n\n12\n00:00:26,530 --> 00:00:28,280\nin order to get\nthe attention of the clubs.\n\n13\n00:00:28,370 --> 00:00:30,370\n- Why?\n- Because they're exclusive.\n\n14\n00:00:30,830 --> 00:00:32,540\nAnd fun, and they lead to a better life.\n\n15\n00:00:32,620 --> 00:00:34,340\nTeddy Roosevelt didn't\nget elected president\n\n16\n00:00:34,370 --> 00:00:36,290\nbecause he was a member\nof the Phoenix Club.\n\n17\n00:00:36,370 --> 00:00:38,540\nHe was a member of the Porcellian,\nand yes, he did.\n\n18\n00:00:38,630 --> 00:00:40,170\nWell, why don't you just concentrate\n\n19\n00:00:40,250 --> 00:00:42,550\non being the best you you can be?\n\n20\n00:00:42,630 --> 00:00:44,970\n- Did you really just say that?\n- I was kidding.\n\n21\n00:00:45,050 --> 00:00:47,280\nJust because something's trite\ndoesn't make it less true.\n\n22\n00:00:47,300 --> 00:00:50,430\nI wanna be straightforward. I think\nyou might want to be more supportive.\n\n23\n00:00:50,510 --> 00:00:54,310\nIf I get in, I will be taking you\nto the events and the gatherings,\n\n24\n00:00:54,390 --> 00:00:57,230\nand you'll be meeting a lot of people\nyou wouldn't normally get to meet.\n\n25\n00:00:58,520 --> 00:01:00,120\n[sarcastically]\nYou would do that for me?\n\n26\n00:01:00,650 --> 00:01:02,110\nWe're dating.\n\n27\n00:01:02,400 --> 00:01:03,440\nOkay.\n\n28\n00:01:04,990 --> 00:01:06,780\nI wanna try\nand be straightforward with you\n\n29\n00:01:06,860 --> 00:01:09,530\n- and let you know that we're not anymore.\n- What do you mean?\n\n30\n00:01:09,620 --> 00:01:11,330\nWe're not dating anymore. I'm sorry.\n\n31\n00:01:11,410 --> 00:01:13,330\n- Is this a joke?\n- No, it's not.\n\n32\n00:01:13,410 --> 00:01:15,970\n- You're breaking up with me?\n- You're gonna introduce me to people\n\n33\n00:01:16,000 --> 00:01:17,870\nI wouldn't normally\nhave the chance to meet?\n\n34\n00:01:17,960 --> 00:01:19,600\nWhat the... What is\nthat supposed to mean?\n\n35\n00:01:19,630 --> 00:01:21,310\n- Settle down.\n- What is it supposed to mean?\n\n36\n00:01:21,340 --> 00:01:22,940\nErica, the reason we can drink right now\n\n37\n00:01:22,960 --> 00:01:24,840\nis 'cause you used to\nsleep with the door guy.\n\n38\n00:01:25,670 --> 00:01:27,590\n\"The door guy\"?\nHis name is Bobby.\n\n39\n00:01:27,680 --> 00:01:31,140\nI have not slept with the door guy.\nThe door guy is a friend of mine,\n\n40\n00:01:31,220 --> 00:01:33,890\nand he's a perfectly good class of people.\n\n41\n00:01:33,970 --> 00:01:36,430\nAnd what part of Long Island\nare you from, Wimbledon?\n\n42\n00:01:36,520 --> 00:01:38,810\n- Wait. Wait, wait.\n- I'm going back to my dorm.\n\n43\n00:01:38,900 --> 00:01:40,230\n- Is this real?\n- Yes.\n\n44\n00:01:40,310 --> 00:01:42,360\n- Then wait, I apologize, okay?\n- have to go study.\n\n45\n00:01:42,440 --> 00:01:43,730\n- Erica?\n- Yes?\n\n46\n00:01:43,820 --> 00:01:44,820\nI'm sorry, I mean it.\n\n47\n00:01:44,860 --> 00:01:46,500\nI appreciate that,\nbut I have to go study.\n\n48\n00:01:46,530 --> 00:01:48,490\nCome on, you don't have\nto study. Let's just talk.\n\n49\n00:01:48,530 --> 00:01:49,740\n- I can't.\n- Why?\n\n50\n00:01:49,820 --> 00:01:51,070\nBecause it is exhausting.\n\n51\n00:01:51,160 --> 00:01:52,720\nDating you is like\ndating a StairMaster.\n\n52\n00:01:52,780 --> 00:01:56,370\nAll I meant is you're not likely to...\nI wasn't commenting on your appearance.\n\n53\n00:01:56,450 --> 00:01:58,520\nI was saying that you go to BU.\nI was stating a fact.\n\n54\n00:01:58,540 --> 00:01:59,780\nIf it seemed rude, I apologize.\n\n55\n00:01:59,830 --> 00:02:01,130\n- Have to go study.\n- You don't.\n\n56\n00:02:01,210 --> 00:02:02,970\nWhy do you keep saying\nI don't have to study?\n\n57\n00:02:03,000 --> 00:02:04,210\n\"Cause you go to BU.\n\n58\n00:02:06,460 --> 00:02:07,970\nDo you want to get some food?\n\n59\n00:02:08,630 --> 00:02:11,470\nI am sorry you are not\nsufficiently impressed with my education.\n\n60\n00:02:11,550 --> 00:02:13,590\nAnd I'm sorry I don't have a rowboat,\nSO we're even.\n\n61\n00:02:13,640 --> 00:02:16,270\n- I think we should just be friends.\n- I don't want friends.\n\n62\n00:02:16,350 --> 00:02:18,830\nI was just being polite. I have\nno intention of being friends...\n\n63\n00:02:18,850 --> 00:02:20,980\nI'm under some pressure\nright now from my OS class\n\n64\n00:02:21,060 --> 00:02:23,520\nand if we could just order some food,\nI think we should...\n\n65\n00:02:23,610 --> 00:02:27,990\nOkay, you are probably going to be\na very successful computer person.\n\n66\n00:02:28,950 --> 00:02:30,230\nBut you're gonna go through life\n\n67\n00:02:30,280 --> 00:02:33,240\nthinking that girls don't like you\nbecause you're a nerd.\n\n68\n00:02:33,700 --> 00:02:37,500\nAnd I want you to know from the bottom\nof my heart that that won't be true.\n\n69\n00:02:38,500 --> 00:02:41,000\nIt'll be because you're an asshole.\n\n", "screenplay": "{\"screenplay_scene_2\": \"<scene>\\n    <stage_direction>INT. CAMPUS BAR - NIGHT</stage_direction>\\n    <scene_description>MARK ZUCKERBERG is a sweet looking 19 year old whose lack of any physically intimidating attributes masks a very complicated and dangerous anger. He has trouble making eye contact and sometimes it's hard to tell if he's talking to you or to himself. ERICA, also 19, is Mark's date. She has a girl-next-door face that makes her easy to fall for. At this point in the conversation she already knows that she'd rather not be there and her politeness is about to be tested. The scene is stark and simple.</scene_description>\\n    <character>MARK</character>\\n    <dialogue>How do you distinguish yourself in a population of people who all got 1600 on their SAT's?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I didn't know they take SAT's in China.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>They don't. I wasn't talking about China anymore, I was talking about me.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>You got 1600?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Yes. I could sing in an a Capella group, but I can't sing.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Does that mean you actually got nothing wrong?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I can row crew or invent a 25 dollar PC.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Or you can get into a final club.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Or I can get into a final club.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>You know, from a woman's perspective, sometimes not singing in an a Capella group is a good thing?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>This is serious.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>On the other hand I do like guys who row crew.</dialogue>\\n    <character>MARK</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>Well I can't do that.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I was kid--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Yes, it means I got nothing wrong on the test.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Have you ever tried?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I'm trying right now.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>To row crew?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>To get into a final club. To row crew? No. Are you, like--whatever--delusional?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Maybe, but sometimes you say two things at once and I'm not sure which one I'm supposed to be aiming at.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>But you've seen guys who row crew, right?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>No.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Okay, well they're bigger than me. They're world class athletes. And a second ago you said you like guys who row crew so I assumed you had met one.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I guess I just meant I liked the idea of it. The way a girl likes cowboys.</dialogue>\\n    <character>MARK</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>Okay.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Should we get something to eat?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Would you like to talk about something else?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>No, it's just since the beginning of the conversation about finals club I think I may have missed a birthday.</dialogue>\\n    <parenthetical>(can't get over it)</parenthetical>\\n    <dialogue>There are really more people in China with genius IQ's than the entire population of--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>The Phoenix is the most diverse. The Fly Club, Roosevelt punched the Porc.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Which one?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>The Porcellian, the Porc, it's the best of the best.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Which Roosevelt?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Theodore.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Is it true that they send a bus around to pick up girls who want to party with the next Fed Chairman?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You can see why it's so important to get in.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Okay, well, which is the easiest to get into?</dialogue>\\n    <scene_description>MARK is visibly hit by that...</scene_description>\\n    <character>MARK</character>\\n    <dialogue>Why would you ask me that?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I'm just asking.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>None of them, that's the point. My friend Eduardo made $300,000 betting oil futures one summer and Eduardo won't come close to getting in. The ability to make money doesn't impress anybody around here.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Must be nice. He made $300,000 in a summer?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>He likes meteorology.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>You said it was oil futures.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You can read the weather you can predict the price of heating oil. I think you asked me that because you think the final club that's easiest to get into is the one where I'll have the best chance.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I asked--what?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You asked me which one was the easiest to get into because you think that that's the one where I'll have the best chance.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>The one that's the easiest to get into would be the one where anybody has the best chance.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You didn't ask me which one was the best one, you asked me which one was the easiest one.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I was honestly just asking. Okay? I was just asking to ask. Mark, I'm not speaking in code.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Erica--</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>You're obsessed with finals clubs. You have finals clubs OCD and you need to see someone about it who'll prescribe you some sort of medication. You don't care if the side effects may include blindness.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Final clubs. Not finals clubs and there's a difference between being obsessed and being motivated.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Yes there is.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Well you do--that was cryptic--so you do speak in code.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I didn't mean to be cryptic.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I'm saying I need to do something substantial in order to get the attention of the clubs.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Why?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Because they're exclusive. And fun and they lead to a better life.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Teddy Roosevelt didn't get elected president because he was a member of the Phoenix Club.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>He was a member of the Porcellian and yes he did.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Well why don't you just concentrate on being the best you you can be?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Did you really just say that?</dialogue>\\n    <character>ERICA</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>I was kidding.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Although just because something's trite it doesn't make it any less--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I want to try to be straight forward with you and tell you that I think you might want to be a little more supportive. If I get in I'll be taking you...to the events, and the gatherings...and you'll be meeting a lot of people you wouldn't normally get to meet.</dialogue>\\n    <character>ERICA</character>\\n    <parenthetical>(smiles)</parenthetical>\\n    <dialogue>You would do that for me?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>We're dating.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Okay, well I want to try and be straight forward with you and let you know that we're not anymore.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>What do you mean?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>We're not dating anymore, I'm sorry.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Is this a joke?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>No, it's not.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You're breaking up with me?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>You're going to introduce me to people I wouldn't normally have the chance to meet? What the fff--What is that supposed to mean?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Wait, settle down.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>What is it supposed to mean?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Erica, the reason we're able to sit here and drink right now is cause you used to sleep with the door guy.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>The door guy, his name is Bobby. I did not slept with the door guy, the door guy is a friend of mine. He's a perfectly good class of people and what part of Long Island are you from--Wimbledon?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Wait--</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I'm going back to my dorm.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Wait, wait, is this real?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Okay, then wait. I apologize, okay?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I have to go study.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Erica--</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I'm sorry, I mean it.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I appreciate that but--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Come on.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>--I have to study.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You don't have to study. You don't have to study. Let's just talk.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I can't.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Why?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Because it's exhausting. Dating you is like dating a stairmaster.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>All I meant is that you're not likely to-- currently--I wasn't making a comment on your parents--I was just saying you go to B.U., I was stating a fact, that's all, and if it seemed rude then of course I apologize.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I have to go study.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You don't have to study.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Why do you keep saying I don't have to study?!</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Because you go to B.U.!</dialogue>\\n    <scene_description>ERICA stares at him...</scene_description>\\n    <character>MARK</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Do you want to get some food?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I'm sorry you're not sufficiently impressed with my education.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>And I'm sorry I don't have a rowboat so we're even.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I think we should just be friends.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I don't want friends.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I was being polite, I have no intention of being friends with you.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I'm under some pressure right now with my OS class and if we could just order food I think we should--</dialogue>\\n    <scene_description>ERICA takes MARK's hand and looks at him tenderly...</scene_description>\\n    <character>ERICA</character>\\n    <parenthetical>(close)</parenthetical>\\n    <dialogue>You are probably going to be a very successful computer person.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>But you're going to go through life thinking that girls don't like you because you're a nerd. And I want you to know, from the bottom of my heart, that that won't be true. It'll be because you're an asshole.</dialogue>\\n    <scene_description>And with that stinger, ERICA walks off we slowly push in on MARK. A fuse has just been lit. CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "154.40", "video_duration": "167.58"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "rA5cozFfnpxf", "audio_description_us": "1\n00:00:26,900 --> 00:00:27,690\nMark stands up.\n\n2\n00:00:43,090 --> 00:00:44,040\nHe takes his seat.\n\n3\n00:01:16,490 --> 00:01:18,790\nThe head of security blinks, his smile fading.\n\n4\n00:01:18,950 --> 00:01:21,210\nLater, Mark finds Eduardo waiting outside.\n\n", "audio_description_uk": "1\n00:00:24,900 --> 00:00:25,820\nHe stands.\n\n2\n00:00:43,840 --> 00:00:45,000\nHe sits down again.\n\n3\n00:01:16,700 --> 00:01:18,830\nMr Cox bridles slightly and blinks.\n\n4\n00:01:19,120 --> 00:01:21,540\nMark exits the hearing to find Eduardo waiting for him.\n\n", "subtitles": "1\n00:00:00,010 --> 00:00:03,630\nMr. Zuckerberg, this is\nan Administrative Board hearing.\n\n2\n00:00:04,050 --> 00:00:06,930\nYou're being accused\nof intentionally breaching security,\n\n3\n00:00:07,010 --> 00:00:08,430\nviolating copyrights,\n\n4\n00:00:08,510 --> 00:00:13,810\nviolating individual privacy\nby creating the website www.facemash.com.\n\n5\n00:00:14,150 --> 00:00:16,710\nYou're also charged with\nbeing in violation of university policy,\n\n6\n00:00:16,770 --> 00:00:18,980\non distribution of digitized images.\n\n7\n00:00:19,070 --> 00:00:22,110\nBefore we begin with our questioning,\nyou're allowed to make a statement.\n\n8\n00:00:22,190 --> 00:00:23,400\nWould you like to do so?\n\n9\n00:00:24,320 --> 00:00:25,450\nI...\n\n10\n00:00:26,530 --> 00:00:31,160\nYou know, I've already apologized\nin The Crimson to the ABHW,\n\n11\n00:00:31,250 --> 00:00:32,830\nto Fuerza Latina,\n\n12\n00:00:32,910 --> 00:00:35,250\nand to any women at Harvard\nwho may have been insulted,\n\n13\n00:00:35,330 --> 00:00:37,580\nas I take it that they were.\n\n14\n00:00:38,290 --> 00:00:40,550\nAs for any charges stemming\nfrom the breach of security,\n\n15\n00:00:40,630 --> 00:00:43,510\nI believe I deserve\nsome recognition from this board.\n\n16\n00:00:45,970 --> 00:00:47,640\n- I'm sorry?\n- Yes.\n\n17\n00:00:48,510 --> 00:00:49,720\nI don't understand.\n\n18\n00:00:49,810 --> 00:00:50,850\nWhich part?\n\n19\n00:00:51,350 --> 00:00:53,020\nYou deserve recognition?\n\n20\n00:00:53,600 --> 00:00:56,240\nI believe I've pointed out\nsome pretty gaping holes in your system.\n\n21\n00:00:56,310 --> 00:00:58,310\n- Excuse me, may I?\n- Yes.\n\n22\n00:00:59,400 --> 00:01:00,820\nMr. Zuckerberg,\n\n23\n00:01:00,900 --> 00:01:04,110\nI'm in charge of security\nfor all computers on the Harvard network,\n\n24\n00:01:04,190 --> 00:01:06,610\nand I can assure you of its sophistication.\n\n25\n00:01:06,700 --> 00:01:10,280\nIn fact, it was that level of sophistication\nthat led us to you in less than four hours.\n\n26\n00:01:10,700 --> 00:01:11,990\n- Four hours?\n- Yes, sir.\n\n27\n00:01:12,080 --> 00:01:13,120\nThat would be impressive,\n\n28\n00:01:13,200 --> 00:01:14,600\nexcept if you had known\nwhat you were looking for,\n\n29\n00:01:14,620 --> 00:01:16,740\nyou would have seen it\nwritten on my dorm room window.\n\n30\n00:01:22,130 --> 00:01:23,170\nSo?\n\n31\n00:01:23,260 --> 00:01:25,590\nSix months academic probation.\n\n32\n00:01:25,800 --> 00:01:27,930\nWow. Well, they had to make\nan example out of you.\n\n33\n00:01:28,010 --> 00:01:29,590\nThey had my blog.\n\n34\n00:01:29,680 --> 00:01:31,530\nI shouldn't have written\nthat thing about the farm animals.\n\n35\n00:01:31,560 --> 00:01:32,850\nThat was stupid.\n\n36\n00:01:32,930 --> 00:01:36,020\nBut I was kidding, for God's sakes.\nDoesn't anybody have a sense of humor?\n\n37\n00:01:36,100 --> 00:01:38,520\n- I tried to stop you.\n- I know.\n\n38\n00:01:38,600 --> 00:01:42,150\nHow do you do this thing where\nyou manage to get all girls to hate us?\n\n39\n00:01:42,230 --> 00:01:44,150\n- And why do I let you?\n- I know.\n\n", "sdh": "1\n00:00:01,750 --> 00:00:04,050\nthis is an Administrative Board hearing.\n\n2\n00:00:04,130 --> 00:00:06,970\nYou're being accused\nof intentionally breaching security,\n\n3\n00:00:07,050 --> 00:00:08,340\nviolating copyrights,\n\n4\n00:00:08,430 --> 00:00:10,050\nviolating individual privacy\n\n5\n00:00:10,140 --> 00:00:14,060\nby creating the website\nwww.facemash.com.\n\n6\n00:00:14,140 --> 00:00:16,700\nYou're also charged with being\nin violation of university policy,\n\n7\n00:00:16,770 --> 00:00:19,020\non distribution of digitized images.\n\n8\n00:00:19,100 --> 00:00:22,150\nBefore we begin with our questioning,\nyou're allowed to make a statement.\n\n9\n00:00:22,230 --> 00:00:23,400\nWould you like to do so?\n\n10\n00:00:24,190 --> 00:00:25,360\nI...\n\n11\n00:00:26,570 --> 00:00:29,820\nYou know, I've already\napologized in The Crimson\n\n12\n00:00:29,910 --> 00:00:32,830\nto the ABHW, to Fuerza Latina,\n\n13\n00:00:32,910 --> 00:00:35,120\nand to any women at Harvard\nwho may have been insulted,\n\n14\n00:00:35,200 --> 00:00:37,040\nas I take it that they were.\n\n15\n00:00:38,170 --> 00:00:40,500\nAs for any charges stemming\nfrom the breach of security,\n\n16\n00:00:40,580 --> 00:00:43,420\nI believe I deserve some\nrecognition from this board.\n\n17\n00:00:46,010 --> 00:00:47,590\n- I'm sorry?\n- Yes.\n\n18\n00:00:48,260 --> 00:00:49,720\nI don't understand.\n\n19\n00:00:49,800 --> 00:00:50,800\nWhich part?\n\n20\n00:00:51,600 --> 00:00:52,970\nYou deserve recognition?\n\n21\n00:00:53,510 --> 00:00:56,150\nI believe I've pointed out\nsome pretty gaping holes in your system.\n\n22\n00:00:56,180 --> 00:00:58,440\n- Excuse me, may I?\n- Yes.\n\n23\n00:00:59,270 --> 00:01:00,810\nMr. Zuckerberg,\n\n24\n00:01:00,900 --> 00:01:02,190\nI'm in charge of security\n\n25\n00:01:02,270 --> 00:01:04,150\nfor all computers on the Harvard network,\n\n26\n00:01:04,230 --> 00:01:06,650\nand I can assure you\nof its sophistication.\n\n27\n00:01:06,740 --> 00:01:08,570\nIn fact, it was that\nlevel of sophistication\n\n28\n00:01:08,650 --> 00:01:10,330\nthat led us to you\nin less than four hours.\n\n29\n00:01:10,410 --> 00:01:11,990\n- Four hours?\n- Yes, sir.\n\n30\n00:01:12,070 --> 00:01:14,510\nImpressive, except if\nyou had known what you were looking for,\n\n31\n00:01:14,540 --> 00:01:16,460\nyou would have seen it written on\nmy dorm window.\n\n32\n00:01:16,500 --> 00:01:18,210\n[all muttering]\n\n33\n00:01:22,170 --> 00:01:23,170\nSo?\n\n34\n00:01:23,210 --> 00:01:25,630\nSix months academic probation.\n\n35\n00:01:25,710 --> 00:01:27,970\nWow. Well, they had to\nmake an example out of you.\n\n36\n00:01:28,050 --> 00:01:29,340\nThey had my blog.\n\n37\n00:01:29,430 --> 00:01:31,570\nI shouldn't have written that thing\nabout farm animals.\n\n38\n00:01:31,590 --> 00:01:34,050\nThat was stupid.\nBut I was kidding, for God's sakes.\n\n39\n00:01:34,140 --> 00:01:36,060\nDoesn't anybody have a sense of humor?\n\n40\n00:01:36,140 --> 00:01:38,430\n- I tried to stop you.\n- I know.\n\n41\n00:01:38,520 --> 00:01:39,940\nHow do you do this thing\n\n42\n00:01:40,020 --> 00:01:41,940\nwhere you manage to\nget all girls to hate us?\n\n43\n00:01:42,020 --> 00:01:43,110\nAnd why do I let you?\n\n44\n00:01:43,190 --> 00:01:45,150\n- I know.\n- You can't do that.\n\n", "screenplay": "{\"screenplay_scene_43\": \"<scene>\\n    <stage_direction>INT. ADMINISTRATIVE HEARING ROOM - DAY</stage_direction>\\n    <scene_description>MARK stands before a panel of ADMINISTRATORS as well as COX, the systems manager who was woken up in the opening sequence.</scene_description>\\n    <character>ADMINISTRATOR</character>\\n    <dialogue>Mr. Zuckerberg, this is an Administrative Board hearing. You're being accused of intentionally breaching security, violating copyrights, violating individual privacy by creating the website, WWW.FACEMASH.COM. You're also charged with being in violation of university policy on distribution of digitized images. Before we begin with our questioning you're allowed to make a statement. Would you like to do so?</dialogue>\\n    <character>MARK</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>Uh...I've, you know--</dialogue>\\n    <scene_description>MARK stands to address the Board.</scene_description>\\n    <character>MARK</character>\\n    <dialogue>I've already apologized in the Crimson to the ABHW, to Fuerza Latina and to any women at Harvard who might have been insulted as I take it that they were. As for any charges stemming from the breach of security, I believe I deserve some recognition from this Board.</dialogue>\\n    <scene_description>MARK takes his seat.</scene_description>\\n    <character>ADMINISTRATOR</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>I'm sorry?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>ADMINISTRATOR</character>\\n    <dialogue>I don't understand.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Which part?</dialogue>\\n    <character>ADMINISTRATOR</character>\\n    <dialogue>You deserve recognition?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I believe I pointed out some pretty gaping holes in your system.</dialogue>\\n    <character>COX</character>\\n    <dialogue>Excuse me, may I?</dialogue>\\n    <character>ADMINISTRATOR</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>COX</character>\\n    <dialogue>Mr. Zuckerberg, I'm in charge of security for all computers on the Harvard network and I can assure you of its sophistication. In fact it was that level of sophistication that led us to you in less than four hours.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Four hours?</dialogue>\\n    <character>COX</character>\\n    <dialogue>Yes sir.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>That would be impressive except if you'd known what you were looking for you would have seen it written on my dorm room window.</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\", \"screenplay_scene_44\": \"<scene>\\n    <stage_direction>INT. CORRIDOR - DAY</stage_direction>\\n    <scene_description>As the heavy wooden door from the hearing slams shut behind MARK. EDUARDO is waiting for him.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>So?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Six months academic probation.</dialogue>\\n    <scene_description>They walk out onto--</scene_description>\\n  </scene>\", \"screenplay_scene_45\": \"<scene>\\n    <stage_direction>EXT. QUAD - CONTINUOUS</stage_direction>\\n    <character>EDUARDO</character>\\n    <dialogue>Wow, they had to make an example out of you.</dialogue>\\n    <character>MARK</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>They had my blog. I shouldn't have written the thing about the farm animals. That was stupid. I was kidding for God's sake, doesn't anybody have a sense of--</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>I tried to stop you.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I know.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>How do you do this thing where you manage to get all girls to hate us? Why did I let you--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I know.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>You can't do that.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Wardo. I said I know.</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "1137.34", "video_duration": "106.60"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "q3jrMnxjIgfY", "audio_description_us": "1\n00:00:56,520 --> 00:00:57,890\nEduardo rubs his forehead.\n\n2\n00:00:59,940 --> 00:01:01,270\nHe sits and faces Mark.\n\n", "audio_description_uk": "1\n00:01:15,370 --> 00:01:16,410\nEduardo sighs,\n\n2\n00:01:16,410 --> 00:01:17,740\nthen meets Mark's gaze.\n\n3\n00:02:53,170 --> 00:02:54,340\nMark glares.\n\n", "subtitles": "1\n00:00:00,500 --> 00:00:02,010\nMark, what is this?\n\n2\n00:00:02,090 --> 00:00:03,550\n- What?\n- This.\n\n3\n00:00:03,630 --> 00:00:05,990\nIt's called a cease-and-desist letter.\nWhat were their names?\n\n4\n00:00:06,010 --> 00:00:07,050\n- Who?\n- The girls.\n\n5\n00:00:07,140 --> 00:00:08,300\nWhen did you get this?\n\n6\n00:00:08,430 --> 00:00:10,510\nAbout 10 days ago.\nRight after we launched the site.\n\n7\n00:00:10,600 --> 00:00:12,490\n- Jesus Christ.\n- Hey, the girls. What were their names?\n\n8\n00:00:12,520 --> 00:00:15,640\nThe Winklevoss twins are saying\nthat you stole their idea.\n\n9\n00:00:15,770 --> 00:00:18,100\nI find that to be a little more\nthan mildly annoying.\n\n10\n00:00:18,190 --> 00:00:21,440\nOh, well, they find it to be\nintellectual property theft.\n\n11\n00:00:21,530 --> 00:00:22,790\n- Look...\n- Why didn't you show this to me?\n\n12\n00:00:22,820 --> 00:00:24,320\nIt was addressed to me.\n\n13\n00:00:24,450 --> 00:00:27,590\nThey're saying that we stole The Facebook\nfrom Divya Narendra and the Winklevosses.\n\n14\n00:00:27,620 --> 00:00:29,660\n- I know what it says.\n- Did we?\n\n15\n00:00:29,780 --> 00:00:30,780\nDid we what?\n\n16\n00:00:30,870 --> 00:00:32,550\nDon't screw around with me now.\nLook at me.\n\n17\n00:00:33,120 --> 00:00:34,840\nThe letter says we could face legal action.\n\n18\n00:00:34,870 --> 00:00:36,540\nNo, it says I could face legal action.\n\n19\n00:00:36,620 --> 00:00:38,940\nThis is from a lawyer, Mark.\nThey must feel they have some grounds.\n\n20\n00:00:38,960 --> 00:00:42,090\n- The lawyer is their father's house counsel.\n- Do they have grounds?\n\n21\n00:00:42,170 --> 00:00:43,650\nThe grounds are\nour thing is cool and popular,\n\n22\n00:00:43,670 --> 00:00:45,090\nand Harvard Connection is lame.\n\n23\n00:00:45,170 --> 00:00:47,430\nWardo, I didn't use any of their code,\nI promise.\n\n24\n00:00:47,510 --> 00:00:48,550\nI didn't use anything.\n\n25\n00:00:48,640 --> 00:00:50,530\nLook, a guy who builds a nice chair\ndoesn't owe money\n\n26\n00:00:50,550 --> 00:00:52,280\nto everyone who ever\nhas built a chair, okay?\n\n27\n00:00:52,310 --> 00:00:54,160\nThey came to me with an idea,\nI had a better one.\n\n28\n00:00:54,180 --> 00:00:57,060\n- Why didn't you show me this letter?\n- I didn't think it was a big deal.\n\n29\n00:00:59,230 --> 00:01:00,400\nOkay.\n\n30\n00:01:01,690 --> 00:01:07,320\nSo if there's something wrong, if there's\never anything wrong, you can tell me.\n\n31\n00:01:07,570 --> 00:01:10,030\nI'm the guy that wants to help.\nThis is our thing.\n\n32\n00:01:10,120 --> 00:01:13,580\nNow, is there anything\nthat you need to tell me?\n\n33\n00:01:14,040 --> 00:01:15,120\nNo.\n\n34\n00:01:18,420 --> 00:01:19,960\nWhat are we doing about this?\n\n35\n00:01:20,040 --> 00:01:23,460\nI went to a 3L at Student Legal Services\nand he told me to write them back.\n\n36\n00:01:23,550 --> 00:01:24,710\nAnd what did you say?\n\n37\n00:01:24,800 --> 00:01:27,920\n\"When we met in January,\nI expressed my doubts about the site.\n\n38\n00:01:28,010 --> 00:01:30,390\n\"Where it stood with graphics,\nhow much programing was left\n\n39\n00:01:30,470 --> 00:01:31,890\n\"that I had not anticipated.\"\n\n40\n00:01:31,970 --> 00:01:34,220\n\"The lack of hardware\nwe had to deal with site use,\n\n41\n00:01:34,310 --> 00:01:37,560\n\"the lack of promotion that would go on\nto successfully launch the website.\"\n\n42\n00:01:37,640 --> 00:01:41,230\nThis was the first time you raised\nany of those concerns, right?\n\n43\n00:01:41,310 --> 00:01:42,940\nI'd raised concerns before.\n\n44\n00:01:43,020 --> 00:01:44,270\n- Bullshit.\n- Not to us.\n\n45\n00:01:44,360 --> 00:01:48,400\nGentlemen, I'm talking about at the meeting\nin January to which this letter is referring.\n\n46\n00:01:48,490 --> 00:01:49,530\nYeah.\n\n47\n00:01:49,610 --> 00:01:51,490\nLet me rephrase this.\n\n48\n00:01:51,780 --> 00:01:56,240\nYou sent my client 16 e-mails.\nIn the first 15 you didn't raise any concerns.\n\n49\n00:01:56,330 --> 00:01:57,410\nIs that a question?\n\n50\n00:01:57,500 --> 00:02:01,040\nIn the 16th e-mail you raised concerns\nabout the site's functionality.\n\n51\n00:02:01,130 --> 00:02:03,880\n- Were you leading them on for six weeks?\n- No.\n\n52\n00:02:03,960 --> 00:02:07,050\nThen why didn't you raise\nany of these concerns before?\n\n53\n00:02:07,130 --> 00:02:09,010\n- It's raining.\n- I'm sorry?\n\n54\n00:02:09,090 --> 00:02:10,340\nIt just started raining.\n\n55\n00:02:10,430 --> 00:02:13,510\nMr. Zuckerberg,\ndo I have your full attention?\n\n56\n00:02:14,350 --> 00:02:15,430\nNo.\n\n57\n00:02:16,520 --> 00:02:17,890\nDo you think I deserve it?\n\n58\n00:02:18,180 --> 00:02:19,230\nWhat?\n\n59\n00:02:19,310 --> 00:02:22,270\nDo you think I deserve your full attention?\n\n60\n00:02:22,810 --> 00:02:24,920\nI had to swear an oath\nbefore we began this deposition\n\n61\n00:02:24,940 --> 00:02:28,070\nand I don't wanna perjure myself,\nso I have a legal obligation to say no.\n\n62\n00:02:28,150 --> 00:02:31,950\nOkay. No.\nYou don't think I deserve your attention?\n\n63\n00:02:32,030 --> 00:02:35,070\nI think if your clients wanna sit on my shoulders\nand call themselves tall,\n\n64\n00:02:35,160 --> 00:02:36,340\nthey have a right to give it a try,\n\n65\n00:02:36,370 --> 00:02:39,700\nbut there's no requirement that I enjoy\nsitting here listening to people lie.\n\n66\n00:02:40,870 --> 00:02:43,210\nYou have part of my attention.\nYou have the minimum amount.\n\n67\n00:02:44,040 --> 00:02:46,500\nThe rest of my attention is\nback at the offices of Facebook,\n\n68\n00:02:46,590 --> 00:02:48,940\nwhere my colleagues and I are doing things\nthat no one in this room,\n\n69\n00:02:48,960 --> 00:02:50,550\nincluding and especially your clients,\n\n70\n00:02:50,630 --> 00:02:53,970\nare intellectually or creatively\ncapable of doing.\n\n", "sdh": "1\n00:00:00,460 --> 00:00:01,960\nMark, what is this?\n\n2\n00:00:02,040 --> 00:00:03,500\n- What?\n- This.\n\n3\n00:00:03,590 --> 00:00:05,980\nIt's called a cease-and-desist letter.\nWhat were their names?\n\n4\n00:00:06,010 --> 00:00:07,010\n- Who?\n- The girls.\n\n5\n00:00:07,090 --> 00:00:08,260\nWhen did you get this?\n\n6\n00:00:08,340 --> 00:00:10,470\nAbout ten days ago.\nRight after we launched the site.\n\n7\n00:00:10,550 --> 00:00:12,470\n- Jesus Christ.\n- The girls. What were their names?\n\n8\n00:00:12,510 --> 00:00:15,600\nThe Winklevoss twins are saying\nthat you stole their idea.\n\n9\n00:00:15,680 --> 00:00:18,060\nI find that to be a little more\nthan mildly annoying.\n\n10\n00:00:18,140 --> 00:00:21,400\nOh, well, they find it to be\nintellectual property theft.\n\n11\n00:00:21,480 --> 00:00:22,730\nWhy didn't you show this to me?\n\n12\n00:00:22,810 --> 00:00:24,440\nIt was addressed to me.\n\n13\n00:00:24,520 --> 00:00:27,590\nThey're saying we stole The Facebook\nfrom Divya Narendra and the Winklevosses.\n\n14\n00:00:27,610 --> 00:00:29,610\n- I know what it says.\n- Did we?\n\n15\n00:00:29,700 --> 00:00:30,780\nDid we what?\n\n16\n00:00:30,860 --> 00:00:32,990\nDon't screw around with me now.\nLook at me.\n\n17\n00:00:33,070 --> 00:00:34,780\nThe letter says\nwe could face legal action.\n\n18\n00:00:34,870 --> 00:00:36,390\nNo, it says I could face legal action.\n\n19\n00:00:36,450 --> 00:00:38,850\nThis is from a lawyer.\nThey must feel they have some grounds.\n\n20\n00:00:38,870 --> 00:00:42,080\n- The lawyer is their father's counsel.\n- Do they have grounds?\n\n21\n00:00:42,170 --> 00:00:45,190\nThe grounds are our thing is cool and\npopular and Harvard Connection is lame.\n\n22\n00:00:45,210 --> 00:00:47,420\nWardo, I didn't use any of their code,\nI promise.\n\n23\n00:00:47,510 --> 00:00:48,510\nI didn't use anything.\n\n24\n00:00:48,550 --> 00:00:50,610\nLook, a guy who builds a nice chair\ndoesn't owe money\n\n25\n00:00:50,630 --> 00:00:52,190\nto everyone who ever has built a chair.\n\n26\n00:00:52,220 --> 00:00:54,140\nThey came to me with an idea,\nI had a better one.\n\n27\n00:00:54,180 --> 00:00:56,980\n- Why didn't you show me this letter?\n- I didn't think it was a big deal.\n\n28\n00:00:59,180 --> 00:01:00,350\nOkay.\n\n29\n00:01:01,640 --> 00:01:07,440\nSo if there's something wrong, if there's\never anything wrong, you can tell me.\n\n30\n00:01:07,530 --> 00:01:09,990\nI'm the guy that wants to help.\nThis is our thing.\n\n31\n00:01:10,070 --> 00:01:13,530\nNow, is there anything\nthat you need to tell me?\n\n32\n00:01:13,990 --> 00:01:15,160\nNo.\n\n33\n00:01:18,370 --> 00:01:19,910\nWhat are we doing about this?\n\n34\n00:01:20,000 --> 00:01:23,460\nI went to a 3L at Student Legal Services\nand he told me to write them back.\n\n35\n00:01:23,540 --> 00:01:24,750\nAnd what did you say?\n\n36\n00:01:24,830 --> 00:01:27,880\n\"When we met in January,\nI expressed my doubts about the site.\n\n37\n00:01:27,960 --> 00:01:30,340\nWhere it stood with graphics,\nhow much programing was left\n\n38\n00:01:30,420 --> 00:01:31,880\nthat I had not anticipated.\"\n\n39\n00:01:31,970 --> 00:01:34,180\n\"The lack of hardware\nwe had to deal with site use,\n\n40\n00:01:34,260 --> 00:01:37,510\nthe lack of promotion that would go on\nto successfully launch the website.\"\n\n41\n00:01:37,600 --> 00:01:41,180\nThis was the first time you raised\nany of those concerns, right?\n\n42\n00:01:41,270 --> 00:01:42,940\nI'd raised concerns before.\n\n43\n00:01:43,020 --> 00:01:44,270\n- Bullshit.\n- Not to us.\n\n44\n00:01:44,350 --> 00:01:48,360\nI'm talking about at the meeting in\nJanuary to which this letter is referring.\n\n45\n00:01:48,440 --> 00:01:49,480\nYeah.\n\n46\n00:01:49,570 --> 00:01:51,650\nLet me rephrase this.\n\n47\n00:01:51,740 --> 00:01:56,200\nYou sent my client 16 e-mails. In the\nfirst 15, you didn't raise any concerns.\n\n48\n00:01:56,280 --> 00:01:57,410\nIs that a question?\n\n49\n00:01:57,490 --> 00:02:01,000\nIn the 16th e-mail you raised concerns\nabout the site's functionality.\n\n50\n00:02:01,080 --> 00:02:03,830\n- Were you leading them on for six weeks?\n- No.\n\n51\n00:02:03,920 --> 00:02:07,000\nThen why didn't you raise\nany of these concerns before?\n\n52\n00:02:07,090 --> 00:02:08,960\n- It's raining.\n- I'm sorry?\n\n53\n00:02:09,040 --> 00:02:10,050\nIt just started raining.\n\n54\n00:02:10,130 --> 00:02:13,470\nMr. Zuckerberg,\ndo I have your full attention?\n\n55\n00:02:14,300 --> 00:02:15,380\nNo.\n\n56\n00:02:16,470 --> 00:02:17,890\nDo you think I deserve it?\n\n57\n00:02:17,970 --> 00:02:19,180\nWhat?\n\n58\n00:02:19,260 --> 00:02:22,270\nDo you think\nI deserve your full attention?\n\n59\n00:02:22,770 --> 00:02:24,870\nI had to swear an oath\nbefore we began this deposition\n\n60\n00:02:24,890 --> 00:02:28,060\nand I don't wanna perjure myself,\nso I have a legal obligation to say no.\n\n61\n00:02:28,150 --> 00:02:31,980\nOkay. No.\nYou don't think I deserve your attention?\n\n62\n00:02:32,070 --> 00:02:35,010\nI think if your clients wanna sit on\nmy shoulders and call themselves tall,\n\n63\n00:02:35,030 --> 00:02:36,490\nthey have a right to give it a try,\n\n64\n00:02:36,570 --> 00:02:39,610\nbut there's no requirement that I enjoy\nsitting here listening to people lie.\n\n65\n00:02:40,830 --> 00:02:43,150\nYou have part of my attention.\nYou have the minimum amount.\n\n66\n00:02:44,000 --> 00:02:46,420\nThe rest of my attention is\nback at the offices of Facebook,\n\n67\n00:02:46,500 --> 00:02:49,140\nwhere my colleagues and I are doing things\nthat no one in this room,\n\n68\n00:02:49,170 --> 00:02:50,750\nincluding and especially your clients,\n\n69\n00:02:50,840 --> 00:02:53,420\nare intellectually or creatively\ncapable of doing.\n\n", "screenplay": "{\"screenplay_scene_102\": \"<scene>\\n    <stage_direction>INT. MARK'S DORM ROOM - NIGHT</stage_direction>\\n    <scene_description>As the door opens and MARK and EDUARDO come into the overheated warmth of the room.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>It's time to monetize the thing.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>What were their names?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Did you hear what I said?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>When?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>I said it's time to monetize the site.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>What does that mean?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>It means it's time for the website to generate revenue.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>No I know what the word means. I'm asking how do you want to do it?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Advertising.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>No.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>We've got 4000 members.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>'Cause theFacebook is cool. If we start installing pop-ups for Mountain Dew it's not gonna--</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Well I wasn't thinking Mountain Dew but at some point--and I'm talking as the business end of the company--the site--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>We don't even know what it is yet. We don't know what it is, we don't know what it can be, we don't know what it will be. We know that it's cool, that is a priceless asset I'm not giving it up.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>When will it be finished?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>It won't be finished, that's the point. The way fashion's never finished.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>What?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Fashion. Fashion is never finished.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>You're talking about fashion? Really? You?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I'm talking about the idea of it and I'm saying it's never finished.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Okay, but they manage to make money selling pants...</dialogue>\\n    <scene_description>EDUARDO has seen something on the top of MARK's mantle...</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>Mark, what is this?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>What.</dialogue>\\n    <scene_description>EDUARDO holds up a letter that's on a lawyer's stationary.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>This.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>It's called a cease and desist letter. What were their names?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Who?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>The girls.</dialogue>\\n    <scene_description>EDUARDO's speed reading the letter.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>When did you get this?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>About 10 days ago. Right after we launched the site.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Jesus Christ.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Hey, the girls. What were their names?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>They're saying--the Winklevoss twins are saying you stole their idea.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I find that to be a little more than mildly annoying.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>They find it to be intellectual property theft. Why--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Look--</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>--why didn't you show this to me?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>It was addressed to me.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>They're saying we stole theFacebook from Divya Narendra and the Wink--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I know what it says.</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Did we?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Did we what?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Don't screw around with me now. Look at me.</dialogue>\\n    <scene_description>MARK looks at EDUARDO--</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>The letter says we could face legal action.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>No, it says I could face legal action.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>It's from a lawyer, Mark. They must feel they have some grounds for--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>The lawyer is their father's house counsel.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Do they have grounds?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>The grounds are our thing is cool and popular and HarvardConnection is lame. Wardo, I didn't use any of their code, I promise I didn't use anything. A guy who builds a really nice chair doesn't owe money to everyone who has ever built a chair. They came to me with an idea, I had a better one.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Why didn't you show me the letter?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I didn't think it was a big deal.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>If there's something wrong--if there's ever anything wrong--you can tell me. I'm the guy that wants to help. This is our thing.</dialogue>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Is there anything you need to tell me?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>No.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>What are we doing about this?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I went to a 3-L at Student Legal Services and he told me to write them back.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>What did you say?</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "2850.02", "video_duration": "177.47"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "mJwbSCdw94_E", "audio_description_us": "1\n00:00:00,130 --> 00:00:01,250\nAt Kirkland House...\n\n2\n00:00:12,640 --> 00:00:17,810\nNow, in a public bathroom, Christy pulls Eduardo\ninto a stall and kisses him voraciously.\n\n3\n00:00:17,940 --> 00:00:20,650\nShe rips her shirt off\nand Eduardo eyes her body.\n\n4\n00:00:22,980 --> 00:00:25,360\nKissing him again, she clutches his head and neck.\n\n5\n00:00:29,910 --> 00:00:34,030\nDown low on the tile floor, we glimpse\nMark and Alice's feet in the next stall.\n\n6\n00:00:40,830 --> 00:00:41,880\nThey kiss again\n\n7\n00:00:41,960 --> 00:00:43,250\nand she unbuckles his belt,\n\n8\n00:00:43,250 --> 00:00:44,250\nunzips his pants\n\n9\n00:00:44,250 --> 00:00:45,130\nand reaches in.\n\n10\n00:00:45,340 --> 00:00:48,670\nThe view down low to the floor\nshows Mark's pants drop too.\n\n11\n00:00:48,920 --> 00:00:51,760\nNow Christy kisses her way down Eduardo's chest.\n\n12\n00:00:51,970 --> 00:00:54,640\nWe slowly ascend the dark wood of the stall doors.\n\n13\n00:00:55,810 --> 00:01:00,100\nLater, standing outside the bathroom,\na happy Eduardo glances at his friend.\n\n14\n00:01:00,230 --> 00:01:01,310\nA guy approaches.\n\n15\n00:01:07,190 --> 00:01:08,030\nMark nods.\n\n16\n00:01:09,530 --> 00:01:10,490\nThey share a grin\n\n17\n00:01:10,530 --> 00:01:11,410\nand he goes off.\n\n18\n00:01:11,610 --> 00:01:13,120\nEduardo’s smile lingers.\n\n19\n00:01:15,160 --> 00:01:15,990\nThey swap a grin.\n\n20\n00:01:19,500 --> 00:01:22,960\nPeering across the busy restaurant,\nMark sees Erica with some friends.\n\n21\n00:01:27,840 --> 00:01:31,130\nHe watches uneasily as Mark\napproaches his ex-girlfriend's table.\n\n22\n00:01:33,510 --> 00:01:34,140\nShe looks up,\n\n23\n00:01:34,140 --> 00:01:35,300\nthen eyes him flatly.\n\n24\n00:02:12,970 --> 00:02:14,010\nEduardo looks on.\n\n25\n00:02:45,750 --> 00:02:46,580\nHe goes off.\n\n26\n00:02:53,420 --> 00:02:54,720\nMark glances aside.\n\n27\n00:02:59,300 --> 00:03:01,640\nAs Mark walks out, Eduardo faces the girls.\n\n28\n00:03:02,980 --> 00:03:04,270\nNow, in their dorm suite...\n\n", "audio_description_uk": "1\n00:00:00,580 --> 00:00:01,170\nAt the dorm...\n\n2\n00:00:18,730 --> 00:00:21,940\nChristy drags Eduardo into a toilet cubicle\nat a fancy club.\n\n3\n00:00:23,820 --> 00:00:25,400\nShe kisses him with hungry abandon.\n\n4\n00:00:25,530 --> 00:00:27,110\nHearing a noise, he pulls away.\n\n5\n00:00:37,120 --> 00:00:39,330\nMark and Alice are in the adjacent cubicle.\n\n6\n00:00:41,790 --> 00:00:43,840\nChristy feverishly unbuckles his belt\n\n7\n00:00:44,040 --> 00:00:46,210\nand thrusts her hand down his boxer shorts.\n\n8\n00:00:46,760 --> 00:00:50,010\nIn the adjacent cubicle,\nAlice tugs Mark’s jeans down.\n\n9\n00:00:50,590 --> 00:00:53,680\nChristy kisses Eduardo's chest\nas she sinks to her knees.\n\n10\n00:00:54,680 --> 00:00:57,470\nEduardo and Mark stand guard\noutside the restroom door.\n\n11\n00:00:57,810 --> 00:01:00,600\nEduardo grins inanely at Mark, who stares into space.\n\n12\n00:01:00,850 --> 00:01:02,150\nA guy approaches.\n\n13\n00:01:07,150 --> 00:01:08,190\nHe smiles wryly.\n\n14\n00:01:10,030 --> 00:01:12,490\nEduardo nods bashfully and grins from ear to ear.\n\n15\n00:01:12,950 --> 00:01:13,870\nThe guy goes.\n\n16\n00:01:15,740 --> 00:01:17,910\nMark cracks a smile and they share a look.\n\n17\n00:01:20,080 --> 00:01:22,080\nMark sees somebody and his smile fades.\n\n18\n00:01:22,170 --> 00:01:23,790\nHe leaves Eduardo on guard duty.\n\n19\n00:01:28,010 --> 00:01:29,590\nMark crosses the candlelit room\n\n20\n00:01:29,590 --> 00:01:32,180\nand approaches a table when Erica sits with friends.\n\n21\n00:01:34,140 --> 00:01:35,050\nShe eyes him.\n\n22\n00:02:13,470 --> 00:02:14,510\nThe groupies emerge.\n\n23\n00:02:46,170 --> 00:02:47,080\nHe turns away.\n\n24\n00:02:53,970 --> 00:02:55,260\nMark's eyes rove.\n\n25\n00:02:59,390 --> 00:03:00,930\nMark storms out of the club.\n\n26\n00:03:02,980 --> 00:03:04,230\nEduardo shakes his head.\n\n", "subtitles": "1\n00:00:01,640 --> 00:00:03,720\nSo what were their names?\n\n2\n00:00:05,310 --> 00:00:07,520\nTheir names were Christy and Alice,\n\n3\n00:00:09,980 --> 00:00:12,610\nand they wanna have drinks tonight.\n\n4\n00:00:14,820 --> 00:00:18,110\nYou're not supposed to be in here.\nThis is a men's room.\n\n5\n00:00:22,160 --> 00:00:23,320\nWow.\n\n6\n00:00:37,340 --> 00:00:38,760\nOh, my God.\n\n7\n00:00:39,680 --> 00:00:41,180\nI don't care.\n\n8\n00:01:03,160 --> 00:01:04,360\nHey, man, sorry.\n\n9\n00:01:05,450 --> 00:01:07,370\nA couple girls are freshening up in there.\n\n10\n00:01:08,540 --> 00:01:09,790\nSweet.\n\n11\n00:01:14,210 --> 00:01:15,920\nWe have groupies.\n\n12\n00:01:24,430 --> 00:01:25,720\nI'll be right back.\n\n13\n00:01:25,800 --> 00:01:27,600\nMark, where you going? Mark.\n\n14\n00:01:32,850 --> 00:01:33,900\nErica?\n\n15\n00:01:35,810 --> 00:01:36,860\nHi.\n\n16\n00:01:36,940 --> 00:01:39,630\nI saw you from over there.\nI didn't know you came to this club a lot.\n\n17\n00:01:39,650 --> 00:01:41,360\n- First time.\n- Mine, too.\n\n18\n00:01:42,030 --> 00:01:43,590\nCould I talk to you alone for a second?\n\n19\n00:01:44,570 --> 00:01:45,780\nI think I'm good right here.\n\n20\n00:01:45,870 --> 00:01:49,910\nI just... I'd love to talk to you alone\nif we could just go someplace.\n\n21\n00:01:50,000 --> 00:01:51,250\nRight here is fine.\n\n22\n00:01:52,000 --> 00:01:54,100\nI don't know if you heard about\nthis new website I launched.\n\n23\n00:01:54,120 --> 00:01:55,210\nNo.\n\n24\n00:01:56,040 --> 00:01:58,800\n- The Facebook?\n- You called me a bitch on the Internet, Mark.\n\n25\n00:01:58,880 --> 00:02:00,710\nThat's why I wanted to talk to you.\n\n26\n00:02:00,800 --> 00:02:02,800\n- On the Internet.\n- That's why I came over.\n\n27\n00:02:02,880 --> 00:02:04,510\nComparing women to farm animals.\n\n28\n00:02:05,010 --> 00:02:06,470\nI didn't end up doing that.\n\n29\n00:02:06,550 --> 00:02:08,220\nIt didn't stop you from writing it.\n\n30\n00:02:08,310 --> 00:02:10,890\nAs if every thought that tumbles\nthrough your head was so clever\n\n31\n00:02:10,970 --> 00:02:13,270\nit would be a crime for it not to be shared.\n\n32\n00:02:14,850 --> 00:02:17,400\nThe Internet's not written in pencil, Mark,\nit's written in ink,\n\n33\n00:02:17,480 --> 00:02:20,400\nand you published that Erica Albright\nwas a bitch,\n\n34\n00:02:20,480 --> 00:02:24,860\nright before you made some ignorant crack\nabout my family's name, my bra size,\n\n35\n00:02:24,950 --> 00:02:26,780\nand then rated women\nbased on their hotness.\n\n36\n00:02:28,030 --> 00:02:30,150\n- Erica, is there a problem?\n- No, there's no problem.\n\n37\n00:02:31,160 --> 00:02:33,200\nYou write your snide bullshit\nfrom a dark room\n\n38\n00:02:33,290 --> 00:02:36,080\nbecause that's what the angry do nowadays.\n\n39\n00:02:37,040 --> 00:02:39,130\nI was nice to you.\nDon't torture me for it.\n\n40\n00:02:39,210 --> 00:02:41,170\nIf we could just go somewhere for a minute...\n\n41\n00:02:41,260 --> 00:02:43,460\nI don't wanna be rude to my friends.\n\n42\n00:02:43,550 --> 00:02:45,970\nOkay.\n\n43\n00:02:47,760 --> 00:02:50,140\nGood luck with your video game.\n\n44\n00:02:50,220 --> 00:02:52,200\nHey, that was great.\nThat was the right thing to do.\n\n45\n00:02:52,220 --> 00:02:54,140\nYou apologized, right?\n\n46\n00:02:56,940 --> 00:02:58,150\nWe have to expand.\n\n47\n00:02:58,230 --> 00:02:59,650\nSure. Mark?\n\n48\n00:03:02,110 --> 00:03:03,570\nIs he mad about something?\n\n", "sdh": "1\n00:00:01,590 --> 00:00:03,680\nSo what were their names?\n\n2\n00:00:05,260 --> 00:00:07,470\nTheir names were Christy and Alice,\n\n3\n00:00:09,930 --> 00:00:12,560\nand they wanna have drinks tonight.\n\n4\n00:00:14,770 --> 00:00:18,070\nYou're not supposed to be in here.\nThis is a men's room.\n\n5\n00:00:22,110 --> 00:00:23,280\nWow.\n\n6\n00:00:28,450 --> 00:00:29,910\n[shushing]\n\n7\n00:00:30,700 --> 00:00:31,700\n[banging]\n\n8\n00:00:37,290 --> 00:00:38,710\nOh, my God.\n\n9\n00:00:39,630 --> 00:00:41,130\nI don't care.\n\n10\n00:01:03,110 --> 00:01:04,320\nHey, man, sorry.\n\n11\n00:01:05,400 --> 00:01:07,320\nA couple girls are freshening up in there.\n\n12\n00:01:08,490 --> 00:01:09,740\nSweet.\n\n13\n00:01:14,160 --> 00:01:15,870\nWe have groupies.\n\n14\n00:01:24,380 --> 00:01:25,680\nI'll be right back.\n\n15\n00:01:25,760 --> 00:01:27,550\nMark, where you going? Mark.\n\n16\n00:01:32,810 --> 00:01:33,850\n[Mark] Erica?\n\n17\n00:01:35,770 --> 00:01:36,810\nHi.\n\n18\n00:01:36,890 --> 00:01:39,580\nI saw you from over there.\nI didn't know you came to this club a lot.\n\n19\n00:01:39,610 --> 00:01:41,230\n- First time.\n- Mine, too.\n\n20\n00:01:41,980 --> 00:01:43,860\nCould I talk to you alone for a second?\n\n21\n00:01:44,570 --> 00:01:45,820\nI think I'm good right here.\n\n22\n00:01:45,900 --> 00:01:49,910\nI just... I'd love to talk to you alone\nif we could just go some place.\n\n23\n00:01:49,990 --> 00:01:51,240\nRight here is fine.\n\n24\n00:01:51,330 --> 00:01:54,040\nI don't know if you heard about\nthis new website I launched.\n\n25\n00:01:54,120 --> 00:01:55,410\nNo.\n\n26\n00:01:56,000 --> 00:01:58,790\n- The Facebook?\n- You called me a bitch on the Internet.\n\n27\n00:01:58,870 --> 00:02:00,710\nThat's why I wanted to talk to you.\n\n28\n00:02:00,790 --> 00:02:02,750\n- On the Internet.\n- That's why I came over.\n\n29\n00:02:02,840 --> 00:02:04,420\nComparing women to farm animals.\n\n30\n00:02:04,960 --> 00:02:06,420\nI didn't end up doing that.\n\n31\n00:02:06,510 --> 00:02:08,180\nIt didn't stop you from writing it.\n\n32\n00:02:08,260 --> 00:02:10,890\nAs if every thought that tumbles\nthrough your head was so clever\n\n33\n00:02:10,970 --> 00:02:13,140\nit would be a crime\nfor it not to be shared.\n\n34\n00:02:14,850 --> 00:02:17,370\nThe Internet's not written in pencil,\nMark, it's written in ink,\n\n35\n00:02:17,440 --> 00:02:20,350\nand you published that Erica Albright\nwas a bitch,\n\n36\n00:02:20,440 --> 00:02:24,650\nright before you made some ignorant crack\nabout my family's name, my bra size,\n\n37\n00:02:24,730 --> 00:02:26,650\nand then rated women\nbased on their hotness.\n\n38\n00:02:27,490 --> 00:02:29,950\n- Erica, is there a problem?\n- No, there's no problem.\n\n39\n00:02:31,070 --> 00:02:33,160\nYou write your snide bullshit\nfrom a dark room\n\n40\n00:02:33,240 --> 00:02:36,040\nbecause that's what the angry do nowadays.\n\n41\n00:02:37,040 --> 00:02:39,120\nI was nice to you.\nDon't torture me for it.\n\n42\n00:02:39,210 --> 00:02:41,170\nIf we could just go\nsomewhere for a minute...\n\n43\n00:02:41,250 --> 00:02:43,420\nI don't wanna be rude to my friends.\n\n44\n00:02:43,500 --> 00:02:45,920\n- Okay.\n- Okay.\n\n45\n00:02:47,720 --> 00:02:50,130\nGood luck with your video game.\n\n46\n00:02:50,220 --> 00:02:52,260\nHey, that was great.\nThat was the right thing to do.\n\n47\n00:02:52,300 --> 00:02:54,100\nYou apologized, right?\n\n48\n00:02:56,890 --> 00:02:58,100\nWe have to expand.\n\n49\n00:02:58,180 --> 00:02:59,600\nSure. Mark?\n\n50\n00:03:02,060 --> 00:03:03,480\nIs he mad about something?\n\n", "screenplay": "{\"screenplay_scene_106\": \"<scene>\\n    <stage_direction>INT. MARK'S DORM ROOM - NIGHT</stage_direction>\\n    <character>MARK</character>\\n    <dialogue>So, what were their names?</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Their names were Christy and Alice. They want to have drinks tonight.</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\", \"screenplay_scene_107\": \"<scene>\\n    <stage_direction>INT. MEN'S ROOM - NIGHT</stage_direction>\\n    <scene_description>It's a nice men's room--mahogony stalls--in a nice club in Cambridge. We HEAR the thumping of the house music coming from the club. And then one of the wooden stall doors flies open and EDUARDO is shoved in, followed by CHRISTY, who did the shoving. She's all over him as she presses him back against the divider. EDUARDO's hands are sliding under CHRISTY'S white shirt and finding the red bra when they hear a noise. Someone's gone into the next stall.</scene_description>\\n    <character>EDUARDO</character>\\n    <parenthetical>(whispering)</parenthetical>\\n    <dialogue>Shit.</dialogue>\\n    <character>CHRISTY</character>\\n    <parenthetical>(whispering)</parenthetical>\\n    <dialogue>I don't care.</dialogue>\\n    <scene_description>CHRISTY keeps him pinned against the divider as she reaches down and unbuckles his belt. And then he hears another noise from the stall next door. A thump against the divider. CHRISTY's got his fly unzipped. EDUARDO looks down at the space between the stalls. He sees a pair of Adidas flip-flops. Then the sound of moaning. Before EDUARDO has time to say anything, CHRISTY pulls her shirt open, revealing the red bra, and puts her hand down his pants as we CUT TO:</scene_description>\\n  </scene>\", \"screenplay_scene_108\": \"<scene>\\n    <stage_direction>INT. CLUB/MEN'S ROOM - NIGHT</stage_direction>\\n    <scene_description>MARK and EDUARDO are standing guard outside the door. They're silent but very happy. A guy comes along to use the men's room.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>Sorry. It'll just be a minute. Some girls are freshening up in there.</dialogue>\\n    <character>CLUB GUY</character>\\n    <parenthetical>(nodding a little)</parenthetical>\\n    <dialogue>Sweet.</dialogue>\\n    <scene_description>The guy goes off. EDUARDO taps MARK...</scene_description>\\n    <character>EDUARDO</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>We have groupies.</dialogue>\\n    <scene_description>MARK can't help a smile. Then he sees something...</scene_description>\\n    <character>MARK</character>\\n    <dialogue>I'll be right back.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Mark, where you going?</dialogue>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>Mark?</dialogue>\\n    <scene_description>MARK makes his way through the crowd toward a round booth. A girl is sitting there and even though her back is to MARK he can recognize her. She's with a girlfriend and three guys. When he makes it to the booth he says--</scene_description>\\n    <character>MARK</character>\\n    <dialogue>Erica?</dialogue>\\n    <scene_description>ERICA, from the opening scene, turns her head and looks up to see MARK. She's looking sexy for her Friday night on the town and the three guys she's with are studs. A few more friends of theirs are standing around at the edges of the booth.</scene_description>\\n    <character>ERICA</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Hi.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I saw you from over there. I didn't know you came to this club a lot.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>First time.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Mine too. Could I talk to you alone for a second?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>I think I'm good right here.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I just--I'd love to talk to you alone. If we could just go someplace--</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Right here's fine.</dialogue>\\n    <scene_description>MARK is aware of everyone else around the booth...</scene_description>\\n    <character>MARK</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>I don't know if you heard about this new website I launched.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>No.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>TheFacebook?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>You called me a bitch on the internet, Mark.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>That's why I wanted to talk to you. If we could just--</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>On the internet.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>That's why I came over.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Comparing women to farm animals?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I didn't end up doing that.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>It didn't stop you from writing it. As if every thought that tumbles through your head is so clever it would be a crime for it not to be shared. The internet's not written in pencil, Mark, it's written in ink and you published that Erica Albright was a bitch right before you made some ignorant crack about my family's name, my bra size and then rated women based on their \\\"hotness\\\".</dialogue>\\n    <character>REGGIE (A FRIEND OF ERICA'S)</character>\\n    <dialogue>Erica, is there a problem?</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>No, there's no problem.</dialogue>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>You write your snide bullshit from a dark room because that's what the angry do nowadays. I was nice to you. Don't torture me for it.</dialogue>\\n    <scene_description>MARK glances at the table of Erica's friends--</scene_description>\\n    <character>MARK</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>If we could just go somewhere for a minute--</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>No, I don't want to be rude to my friends.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Okay.</dialogue>\\n    <character>ERICA</character>\\n    <dialogue>Okay. Good luck with your video game.</dialogue>\\n    <scene_description>It was an honest mistake on ERICA's part but a kidney punch to MARK. MARK turns and goes and sees that EDUARDO has been standing and watching from a distance with CHRISTY.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>Hey, that was great. That was the right thing to do. You apologized, right?</dialogue>\\n    <character>MARK</character>\\n    <parenthetical>(ignoring him)</parenthetical>\\n    <dialogue>We have to expand.</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(over the music)</parenthetical>\\n    <dialogue>What?</dialogue>\\n    <scene_description>And MARK heads out the door. EDUARDO watches MARK and then looks back at the girls...</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>Is he mad about something?</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "3040.99", "video_duration": "184.44"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "pGTigiBSius1", "audio_description_us": "1\n00:00:21,230 --> 00:00:23,190\nSeated near the desk, Ann smiles.\n\n2\n00:02:46,710 --> 00:02:48,130\nThe twins leave the office.\n\n3\n00:02:48,290 --> 00:02:51,550\nAs Tyler shuts the door behind him,\nthe knob comes off in his hand.\n\n", "audio_description_uk": "1\n00:00:21,270 --> 00:00:23,070\nHis assistant Ann smirks.\n\n2\n00:02:13,680 --> 00:02:14,760\nSummers points.\n\n3\n00:02:47,040 --> 00:02:48,840\nThe brothers exit into the waiting room.\n\n4\n00:02:48,920 --> 00:02:52,010\nAs Tyler closes the door,\nthe doorknob snaps off in his hand.\n\n5\n00:02:56,260 --> 00:02:57,510\nEduardo's deposition.\n\n", "subtitles": "1\n00:00:03,630 --> 00:00:06,230\nunder the heading \"Standards of Conduct\nin the Harvard Community,\"\n\n2\n00:00:06,430 --> 00:00:09,720\nit says the college expects all students\nto be honest and forthcoming\n\n3\n00:00:09,800 --> 00:00:12,220\nin their dealings with members\nin this community.\n\n4\n00:00:12,310 --> 00:00:14,810\nStudents are required to respect\npublic and private ownership,\n\n5\n00:00:15,430 --> 00:00:17,310\nand instances of theft, misappropriation or...\n\n6\n00:00:17,440 --> 00:00:18,900\n- Anne?\n- Yes, sir?\n\n7\n00:00:18,980 --> 00:00:20,810\nPunch me in the face. Go ahead.\n\n8\n00:00:23,780 --> 00:00:27,740\nor unauthorized use\nwill result in disciplinary action,\n\n9\n00:00:27,820 --> 00:00:29,880\nincluding the requirement\nto withdraw from the college.\n\n10\n00:00:29,910 --> 00:00:31,990\nAnd you memorized that\ninstead of doing what?\n\n11\n00:00:32,120 --> 00:00:35,500\nWhat my brother and I came here today\nto ask of you, respectfully, of course...\n\n12\n00:00:35,620 --> 00:00:38,810\nSir, it's against university rules to steal\nfrom another student, plain and simple.\n\n13\n00:00:38,830 --> 00:00:40,140\nAnd you've spoken to your House Master?\n\n14\n00:00:40,170 --> 00:00:42,600\nYes, sir. And the House Master\nmade a recommendation to the Ad Board,\n\n15\n00:00:42,630 --> 00:00:44,170\nbut the Ad Board won't see us.\n\n16\n00:00:44,300 --> 00:00:46,150\nHave you tried dealing with\nthe other student directly?\n\n17\n00:00:46,170 --> 00:00:49,090\nMr. Zuckerberg hasn't been responding\nto any of our e-mails or phone calls\n\n18\n00:00:49,130 --> 00:00:50,180\nfor the last two weeks.\n\n19\n00:00:50,300 --> 00:00:52,160\nHe doesn't answer when\nwe knock on his door at Kirkland,\n\n20\n00:00:52,180 --> 00:00:54,120\nand the closest I've come\nto dealing with him face-to-face\n\n21\n00:00:54,140 --> 00:00:56,490\nis when I saw him on the quad\nand chased him through Harvard Square.\n\n22\n00:00:56,520 --> 00:00:57,600\nYou chased him?\n\n23\n00:00:57,690 --> 00:01:00,570\nI saw him and I know he saw me.\nI went after him and then he disappeared.\n\n24\n00:01:01,150 --> 00:01:04,440\n- I don't see this as a university issue.\n- Of course this is a university issue.\n\n25\n00:01:04,530 --> 00:01:07,000\nThere's a code of ethics and an honor code\nand he violated them both.\n\n26\n00:01:07,030 --> 00:01:10,490\nYou enter into a code of ethics\nwith the university, not with each other.\n\n27\n00:01:11,320 --> 00:01:14,530\nI'm sorry, President Summers, but what\nyou just said makes no sense to me at all.\n\n28\n00:01:14,620 --> 00:01:15,790\nI'm devastated by that.\n\n29\n00:01:15,870 --> 00:01:18,600\nWhat my brother means is,\nif Mark Zuckerberg walked into our dorm room\n\n30\n00:01:18,620 --> 00:01:20,850\nand stole our computer,\nthat would be a university issue.\n\n31\n00:01:20,870 --> 00:01:23,270\nI really don't know.\nThis office doesn't handle petty larceny.\n\n32\n00:01:23,290 --> 00:01:24,630\nThis isn't petty larceny.\n\n33\n00:01:24,710 --> 00:01:26,880\nThis idea is potentially worth\nmillions of dollars.\n\n34\n00:01:27,010 --> 00:01:28,130\n- Millions?\n- Yes.\n\n35\n00:01:28,220 --> 00:01:30,800\nYou might just be letting\nyour imaginations run away with you.\n\n36\n00:01:30,880 --> 00:01:33,720\nSir, I honestly don't think you're\nin any position to make that call.\n\n37\n00:01:33,800 --> 00:01:38,060\nI was the US Treasury Secretary.\nI'm in some position to make that call.\n\n38\n00:01:38,180 --> 00:01:39,540\nLetting our imaginations run away with us\n\n39\n00:01:39,560 --> 00:01:41,540\nis exactly what we were told to do\nin your freshman address.\n\n40\n00:01:41,560 --> 00:01:44,560\nWell, then I would suggest\nthat you let your imaginations\n\n41\n00:01:44,650 --> 00:01:46,040\nrun away with you on a new project.\n\n42\n00:01:46,070 --> 00:01:47,230\nYou would?\n\n43\n00:01:47,320 --> 00:01:48,840\nYes. Everyone at Harvard's\ninventing something.\n\n44\n00:01:48,860 --> 00:01:53,490\nHarvard undergraduates believe that\ninventing a job is better than finding a job.\n\n45\n00:01:53,870 --> 00:01:57,330\nSo I'll suggest again that the two of you\ncome up with a new new project.\n\n46\n00:01:57,410 --> 00:02:00,500\n- I'm sorry, sir, but that's not the point.\n- Please, arrive at the point.\n\n47\n00:02:00,580 --> 00:02:02,390\nYou don't have to be\nan intellectual property expert\n\n48\n00:02:02,420 --> 00:02:04,020\nto understand the difference\nbetween right and wrong.\n\n49\n00:02:04,040 --> 00:02:05,840\nAnd you're saying that I don't?\n\n50\n00:02:05,920 --> 00:02:07,980\n- Of course I'm not saying that, sir.\n- I'm saying that.\n\n51\n00:02:08,010 --> 00:02:09,710\n- Really?\n- Sir.\n\n52\n00:02:09,920 --> 00:02:11,840\nAnne, how did they get this appointment?\n\n53\n00:02:11,930 --> 00:02:13,840\nColleagues of their father.\n\n54\n00:02:15,390 --> 00:02:17,680\nLet me tell you something,\nMr. Winklevoss, Mr. Winklevoss,\n\n55\n00:02:17,770 --> 00:02:20,180\nsince you're on the subject\nof right and wrong.\n\n56\n00:02:20,270 --> 00:02:24,520\nThis action, this meeting,\nthe two of you being here is wrong.\n\n57\n00:02:24,770 --> 00:02:28,110\nIt's not worthy of Harvard.\nIt's not what Harvard saw in you.\n\n58\n00:02:28,190 --> 00:02:30,610\nYou don't get special treatment.\n\n59\n00:02:30,780 --> 00:02:33,200\n- We never asked...\n- Just start another project?\n\n60\n00:02:33,280 --> 00:02:35,120\nLike we're making a diorama\nfor a science fair?\n\n61\n00:02:35,240 --> 00:02:36,760\nIf you have a problem with that,\nMr. Winklevoss...\n\n62\n00:02:36,780 --> 00:02:37,930\nWe never asked for special treatment.\n\n63\n00:02:37,950 --> 00:02:41,620\nthe courts are always at your disposal.\nIs there anything else I can do for you?\n\n64\n00:02:41,750 --> 00:02:43,430\nYou can take the Harvard\nStudent Handbook and shove it...\n\n65\n00:02:43,460 --> 00:02:44,540\nTy.\n\n66\n00:02:45,210 --> 00:02:47,420\nThank you very much for your time, sir.\n\n67\n00:02:52,630 --> 00:02:53,930\nWhoops.\n\n68\n00:02:54,130 --> 00:02:56,640\nBroke your 335-year-old doorknob.\n\n", "sdh": "1\n00:00:03,630 --> 00:00:06,460\nunder the heading \"Standards of Conduct\nin the Harvard Community,”\n\n2\n00:00:06,550 --> 00:00:09,720\nit says the college expects all students\nto be honest and forthcoming\n\n3\n00:00:09,800 --> 00:00:12,220\nin their dealings with members\nin this community.\n\n4\n00:00:12,300 --> 00:00:14,800\nStudents are required to respect\npublic and private ownership,\n\n5\n00:00:15,430 --> 00:00:17,230\nand instances of theft,\nmisappropriation or...\n\n6\n00:00:17,270 --> 00:00:18,890\n- Anne?\n- Yes, sir?\n\n7\n00:00:18,980 --> 00:00:20,730\nPunch me in the face. Go ahead.\n\n8\n00:00:23,730 --> 00:00:27,730\n...or unauthorized use\nwill result in disciplinary action,\n\n9\n00:00:27,820 --> 00:00:29,960\nincluding the requirement\nto withdraw from the college.\n\n10\n00:00:29,990 --> 00:00:32,030\nAnd you memorized that\ninstead of doing what?\n\n11\n00:00:32,110 --> 00:00:35,240\nWhat my brother and I came here today\nto ask of you, respectfully, of course...\n\n12\n00:00:35,320 --> 00:00:38,740\nIt's against university rules to steal\nfrom another student, plain and simple.\n\n13\n00:00:38,830 --> 00:00:40,390\nAnd you've spoken to your House Master?\n\n14\n00:00:40,410 --> 00:00:42,770\nYes. The House Master made\na recommendation to the Ad Board,\n\n15\n00:00:42,790 --> 00:00:44,210\nbut the Ad Board won't see us.\n\n16\n00:00:44,290 --> 00:00:46,440\nHave you tried dealing with\nthe other student directly?\n\n17\n00:00:46,460 --> 00:00:49,100\nMr. Zuckerberg hasn't been responding\nto our e-mails or phone calls\n\n18\n00:00:49,130 --> 00:00:50,170\nfor the last two weeks.\n\n19\n00:00:50,260 --> 00:00:52,090\nHe doesn't answer when\nwe knock on his door.\n\n20\n00:00:52,170 --> 00:00:54,510\nThe closest I've come\nto dealing with him face-to-face\n\n21\n00:00:54,590 --> 00:00:56,430\nis when I chased him\nthrough Harvard Square.\n\n22\n00:00:56,510 --> 00:00:57,390\nYou chased him?\n\n23\n00:00:57,470 --> 00:01:00,350\nI saw him and I know he saw me.\nI went after him and then he disappeared.\n\n24\n00:01:01,140 --> 00:01:04,440\n- I don't see this as a university issue.\n- Of course this is a university issue.\n\n25\n00:01:04,520 --> 00:01:07,210\nThere's a code of ethics and an honor code\nand he violated them both.\n\n26\n00:01:07,230 --> 00:01:10,480\nYou enter into a code of ethics with\nthe university, not with each other.\n\n27\n00:01:11,320 --> 00:01:14,520\nI'm sorry, President Summers, but what\nyou just said makes no sense to me at all.\n\n28\n00:01:14,570 --> 00:01:15,740\nI'm devastated by that.\n\n29\n00:01:15,820 --> 00:01:18,550\nWhat my brother means is, if\nMark Zuckerberg walked into our dorm room\n\n30\n00:01:18,580 --> 00:01:20,800\nand stole our computer,\nthat would be a university issue.\n\n31\n00:01:20,830 --> 00:01:23,270\nI really don't know.\nThis office doesn't handle petty larceny.\n\n32\n00:01:23,290 --> 00:01:24,580\nThis isn't petty larceny.\n\n33\n00:01:24,670 --> 00:01:26,670\nThis idea is potentially worth\nmillions of dollars.\n\n34\n00:01:26,710 --> 00:01:28,250\n- Millions?\n- Yes.\n\n35\n00:01:28,340 --> 00:01:30,840\nYou might just be letting\nyour imaginations run away with you.\n\n36\n00:01:30,920 --> 00:01:33,760\nSir, I honestly don't think you're\nin any position to make that call.\n\n37\n00:01:33,840 --> 00:01:38,050\nI was the US Treasury Secretary.\nI'm in some position to make that call.\n\n38\n00:01:38,140 --> 00:01:39,460\nLetting our imaginations run away\n\n39\n00:01:39,510 --> 00:01:42,140\nis what we were told to do\nin your freshman address.\n\n40\n00:01:42,220 --> 00:01:44,480\nWell, then I would suggest\nthat you let your imaginations\n\n41\n00:01:44,560 --> 00:01:46,560\n- run away with you on a new project.\n- You would?\n\n42\n00:01:46,650 --> 00:01:48,730\nYes. Everyone at Harvard's\ninventing something.\n\n43\n00:01:48,810 --> 00:01:53,360\nHarvard undergraduates believe inventing\na job is better than finding a job.\n\n44\n00:01:53,440 --> 00:01:57,320\nSo I'll suggest again that the two of you\ncome up with a new new project.\n\n45\n00:01:57,410 --> 00:02:00,370\n- I'm sorry, sir, but that's not the point.\n- Please, arrive at the point.\n\n46\n00:02:00,450 --> 00:02:02,490\nYou don't have to be\nan intellectual property expert\n\n47\n00:02:02,540 --> 00:02:04,600\nto understand the difference\nbetween right and wrong.\n\n48\n00:02:04,620 --> 00:02:05,860\nAnd you're saying that I don't?\n\n49\n00:02:05,920 --> 00:02:07,920\n- Of course I'm not saying that.\n- I'm saying that.\n\n50\n00:02:08,000 --> 00:02:09,790\n- Really?\n- Sir.\n\n51\n00:02:09,880 --> 00:02:11,840\nAnne, how did they get this appointment?\n\n52\n00:02:11,920 --> 00:02:13,760\nColleagues of their father.\n\n53\n00:02:15,300 --> 00:02:17,680\nLet me tell you something,\nMr. Winklevoss, Mr. Winklevoss,\n\n54\n00:02:17,760 --> 00:02:20,180\nsince you're on the subject\nof right and wrong.\n\n55\n00:02:20,260 --> 00:02:24,640\nThis action, this meeting,\nthe two of you being here is wrong.\n\n56\n00:02:24,730 --> 00:02:28,100\nIt's not worthy of Harvard.\nIt's not what Harvard saw in you.\n\n57\n00:02:28,190 --> 00:02:30,690\nYou don't get special treatment.\n\n58\n00:02:30,770 --> 00:02:33,150\n- We never asked...\n- Just start another project?\n\n59\n00:02:33,230 --> 00:02:35,150\nLike we're making a diorama\nfor a science fair?\n\n60\n00:02:35,240 --> 00:02:38,090\n- If you have a problem with that...\n- We never asked for special treatment.\n\n61\n00:02:38,110 --> 00:02:41,660\n...the courts are always at your disposal.\nIs there anything else I can do for you?\n\n62\n00:02:41,740 --> 00:02:43,380\nYou can take the Harvard Student Handbook\n\n63\n00:02:43,450 --> 00:02:44,450\n- and shove it...\n- Ty.\n\n64\n00:02:45,200 --> 00:02:46,870\nThank you very much for your time, sir.\n\n65\n00:02:52,630 --> 00:02:53,920\n[Tyler] Whoops.\n\n66\n00:02:54,130 --> 00:02:56,630\nBroke your 335-year-old doorknob.\n\n", "screenplay": "{\"screenplay_scene_114\": \"<scene>\\n    <stage_direction>INT. SUMMERS' OFFICE - CONTINUOUS</stage_direction>\\n    <scene_description>LARRY SUMMERS, a large man, is on the phone at his desk in his well-appointed office. A fire crackles in the sitting area and a 40-ish African-American woman, ANNE, in a pants suit is nearby going over some papers. SUMMERS waves the boys in--</scene_description>\\n    <character>SUMMERS</character>\\n    <parenthetical>(into phone)</parenthetical>\\n    <dialogue>That's just their own stupidity, I should have been there.</dialogue>\\n    <parenthetical>(into phone)</parenthetical>\\n    <dialogue>Darkness is the absence of light and stupidity in that instance was the absence of me.</dialogue>\\n    <scene_description>SUMMERS motions for them to sit and they do. They take in some of the photographs around the room--SUMMERS with BILL CLINTON, etc.</scene_description>\\n    <character>SUMMERS</character>\\n    <parenthetical>(into phone)</parenthetical>\\n    <dialogue>Catherine, I have students in my office now.</dialogue>\\n    <character>SUMMERS</character>\\n    <parenthetical>(into phone)</parenthetical>\\n    <dialogue>Students.</dialogue>\\n    <parenthetical>(into phone)</parenthetical>\\n    <dialogue>Undergrads.</dialogue>\\n    <parenthetical>(into phone)</parenthetical>\\n    <dialogue>I don't know, from the looks of it they want to sell me a Brooks Brothers franchise.</dialogue>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>Alright.</dialogue>\\n    <scene_description>SUMMERS hangs up the phone--</scene_description>\\n    <character>SUMMERS</character>\\n    <dialogue>Good morning.</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>Good morning, sir. I'm Cameron Winklevoss and this is my brother, Tyler.</dialogue>\\n    <scene_description>SUMMERS reaches to the top of a pile of papers and pulls a ten- page letter off the top.</scene_description>\\n    <character>SUMMERS</character>\\n    <dialogue>And you're here because...</dialogue>\\n    <scene_description>There's silence while SUMMERS appears to read over the letter...</scene_description>\\n    <character>SUMMERS</character>\\n    <dialogue>Either one of you can answer.</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>I'm sorry, I thought you were reading the letter.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>I've read the letter.</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>We came up with an idea for a website called HarvardConnection--we've since changed the name to ConnectU--and Mark Zuckerberg stole that idea and--</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>I understand. I'm asking what do you want me to do about it.</dialogue>\\n    <scene_description>CAMERON points to a row of Harvard Student Handbooks on the bookshelf behind SUMMERS.</scene_description>\\n    <character>CAMERON</character>\\n    <dialogue>Well sir, in The Harvard Student Handbook, which is distributed to each freshman--under the heading \\\"Standards of Conduct in the Harvard Community\\\"--</dialogue>\\n    <scene_description>SUMMERS can't help an agonized sigh--</scene_description>\\n    <character>CAMERON</character>\\n    <dialogue>--it says, \\\"The College expects that all students will be honest and forthcoming in their dealings with members of this community. All students are required to respect public and private ownership. Instances of theft, misappropriation--</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Anne?</dialogue>\\n    <character>ANNE</character>\\n    <dialogue>Yes sir.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Punch me in the face.</dialogue>\\n    <parenthetical>(then to CAMERON)</parenthetical>\\n    <dialogue>Go ahead.</dialogue>\\n    <character>CAMERON</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>...or unauthorized use will result in disciplinary action. Including requirement to withdraw from the college.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>And you memorized that instead of doing what?</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>What my brother and I came here today to ask of you, respectfully of course, is that--</dialogue>\\n    <character>TYLER</character>\\n    <parenthetical>(a little frustrated with this bullshit)</parenthetical>\\n    <dialogue>Sir, it's against University rules to steal from another student, plain and simple.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>You've spoken to your House Master?</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>Yes sir, and the House Master made a recommendation to the Ad Board but the Ad Board won't see us.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Have you tried dealing with the other student directly?</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>Mr. Zuckerberg hasn't been responding to any of our e-mails or phone calls for the last two weeks. He doesn't answer when we knock on his door at Kirkland and the closest we've come to dealing with him face to face is when I saw him on the quad and chased him through Harvard Square.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>You chased him?</dialogue>\\n    <character>CAMERON</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>I saw him and I know he saw me and I went after him but he disappeared.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>I don't see this as a University issue.</dialogue>\\n    <character>TYLER</character>\\n    <dialogue>Of course this is a University issue. There's a code of ethics and an honor code and he violated them both.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>You entered into a code of ethics with the university, not with each other.</dialogue>\\n    <character>TYLER</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>I'm sorry President Summers, what you just said makes no sense to me at all.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>I'm devastated by that.</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>What my brother means is that if Mark Zuckerberg walked into our dorm room and stole our computer that would be a university issue, right?</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>I really don't know, this office doesn't handle petty larceny.</dialogue>\\n    <character>TYLER</character>\\n    <dialogue>This isn't petty larceny.</dialogue>\\n    <character>CAMERON</character>\\n    <parenthetical>(calming)</parenthetical>\\n    <dialogue>Ty--</dialogue>\\n    <character>TYLER</character>\\n    <dialogue>This idea is potentially worth millions of dollars.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Millions?</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>You might be letting your imaginations run away with you.</dialogue>\\n    <character>TYLER</character>\\n    <dialogue>Sir, I honestly don't think you're in any position to make that call.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>I was U.S. Treasury Secretary, I'm in some position to make--</dialogue>\\n    <character>TYLER</character>\\n    <dialogue>Letting our imaginations run away with us is exactly what we were told to do in your freshmen address.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Well I would suggest that you let your imaginations run away with you on a new project.</dialogue>\\n    <character>TYLER</character>\\n    <dialogue>You would.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Yes. Everyone at Harvard is inventing something. Harvard undergraduates believe that inventing a job is better than finding a job so I'll suggest again that the two of you come up with a new new project.</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>I'm sorry, but that's not the point.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Please arrive at the point.</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>You don't have to be an intellectual property expert to understand the difference between right and wrong.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>And you're saying that I don't?</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>Of course I'm not saying that.</dialogue>\\n    <character>TYLER</character>\\n    <dialogue>I'm saying that.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Really.</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>Sir--</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>Anne, how did they get this appointment?</dialogue>\\n    <character>ANNE</character>\\n    <dialogue>Colleagues of their father.</dialogue>\\n    <scene_description>SUMMERS gives a quick nod--that's what he thought.</scene_description>\\n    <character>SUMMERS</character>\\n    <dialogue>Let me tell you something, Mr. Winklevoss and...Mr. Winklevoss. Since you're on the subject of right and wrong. This action, this meeting, the two of you being here, is wrong. It's not worthy of Harvard. It's not what Harvard saw in you. You don't get special treatment.</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>We've never--</dialogue>\\n    <character>TYLER</character>\\n    <dialogue>Start another project? Like we're making a diorama for the science fair?</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>And if you have a problem with that, Mr. Winklevoss--</dialogue>\\n    <character>CAMERON</character>\\n    <dialogue>We've never asked for special treatment.</dialogue>\\n    <character>SUMMERS</character>\\n    <dialogue>--the courts are always at your disposal. Is there anything else I can do for you?</dialogue>\\n    <character>TYLER</character>\\n    <parenthetical>(under his breath)</parenthetical>\\n    <dialogue>Well you could take the Harvard Student Handbook and shoved it up--</dialogue>\\n    <character>CAMERON</character>\\n    <parenthetical>(stopping him)</parenthetical>\\n    <dialogue>Ty.</dialogue>\\n    <parenthetical>(to SUMMERS)</parenthetical>\\n    <dialogue>Thank you very much for your time, sir.</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "3675.97", "video_duration": "177.42"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "d7rw8fuixyd0", "audio_description_us": "1\n00:00:51,890 --> 00:00:53,100\nMark and Christy smile.\n\n2\n00:02:00,540 --> 00:02:02,250\nChristy shoots him a scolding pout.\n\n3\n00:02:02,410 --> 00:02:03,120\nIn the present.\n\n4\n00:02:04,880 --> 00:02:06,250\nSy lifts his chin.\n\n5\n00:02:06,380 --> 00:02:07,290\nGretchen eyes Mark,\n\n6\n00:02:07,290 --> 00:02:08,090\nwho looks down.\n\n7\n00:02:54,630 --> 00:02:56,220\nSean pauses on his way out.\n\n8\n00:03:01,520 --> 00:03:04,690\nAs he goes, Mark stares after him\nwith an enthralled gaze.\n\n", "audio_description_uk": "1\n00:00:50,930 --> 00:00:52,720\nEduardo quietly concedes.\n\n2\n00:02:01,000 --> 00:02:02,660\nSean smiles and says...\n\n3\n00:02:05,880 --> 00:02:07,960\nThey exchange looks over the conference table.\n\n4\n00:02:54,970 --> 00:02:56,840\nSean turns to Mark in the restaurant.\n\n5\n00:03:01,810 --> 00:03:03,140\nAnd with that, he's gone.\n\n6\n00:03:04,060 --> 00:03:04,690\nMark...\n\n", "subtitles": "1\n00:00:03,150 --> 00:00:05,400\nYou're not a psychiatrist, but what?\n\n2\n00:00:05,530 --> 00:00:08,360\nA psychiatrist would say\nthat he was paranoid.\n\n3\n00:00:08,570 --> 00:00:11,050\nThey'll hire private detectives\nwho'll follow you day and night.\n\n4\n00:00:11,080 --> 00:00:13,160\nYou're a target for high-priced escorts.\n\n5\n00:00:13,240 --> 00:00:15,580\nI can't prove it,\nbut I know they tap my phones.\n\n6\n00:00:15,710 --> 00:00:18,250\nWhatever it is that's gonna trip you up,\nyou've done already.\n\n7\n00:00:18,370 --> 00:00:20,920\nPrivate behavior is a relic\nof a time gone by.\n\n8\n00:00:21,000 --> 00:00:23,900\nAnd if somehow, someway, you've managed\nto live your life like the Dalai Lama,\n\n9\n00:00:23,920 --> 00:00:25,090\nthey'll make shit up.\n\n10\n00:00:25,210 --> 00:00:27,760\nBecause they don't want you,\nthey want your idea.\n\n11\n00:00:28,090 --> 00:00:30,010\nAnd they want you\nto say \"thank you\" while you...\n\n12\n00:00:30,050 --> 00:00:31,090\nExcuse me.\n\n13\n00:00:31,180 --> 00:00:32,600\nWipe your chin and walk away.\n\n14\n00:00:32,720 --> 00:00:33,840\nThat's what happened to you?\n\n15\n00:00:33,890 --> 00:00:35,430\nAnd delusional.\n\n16\n00:00:36,100 --> 00:00:39,190\nYes. But there'll be payback at Case.\n\n17\n00:00:39,270 --> 00:00:40,910\nI brought down the record companies with Napster\n\n18\n00:00:40,940 --> 00:00:42,330\nand Case'll suffer for their sins, too.\n\n19\n00:00:42,360 --> 00:00:44,860\nSorry, you didn't bring down\nthe record companies.\n\n20\n00:00:45,280 --> 00:00:46,280\nThey won.\n\n21\n00:00:46,440 --> 00:00:48,110\n- In court.\n- Yeah.\n\n22\n00:00:48,450 --> 00:00:51,030\nYou wanna buy a Tower Records, Eduardo?\n\n23\n00:00:53,450 --> 00:00:56,870\nAnd he told story after story\nabout life in Silicon Valley,\n\n24\n00:00:56,950 --> 00:01:00,960\nand parties at Stanford and down in LA,\nand friends who'd become millionaires...\n\n25\n00:01:01,080 --> 00:01:05,960\nBut mostly how Mark had to...\nHe had to come to California.\n\n26\n00:01:06,880 --> 00:01:09,220\nAnd then he got around to The Facebook.\n\n27\n00:01:09,300 --> 00:01:11,800\nSo, tell me about your progress.\n\n28\n00:01:11,890 --> 00:01:15,470\nWell, we're in 29 schools now.\nWe got over 75,000 members.\n\n29\n00:01:15,640 --> 00:01:17,450\n- Tell me about the strategy you're using.\n- Okay.\n\n30\n00:01:17,480 --> 00:01:19,390\nFor instance, we wanted Baylor, in Texas,\n\n31\n00:01:19,480 --> 00:01:21,410\nbut Baylor already had\na social network on campus.\n\n32\n00:01:21,440 --> 00:01:22,980\nSo instead of going right after them,\n\n33\n00:01:23,110 --> 00:01:25,150\nwe made a list of every school\nwithin 100 miles...\n\n34\n00:01:25,270 --> 00:01:26,380\nYou put The Facebook\non those campuses first.\n\n35\n00:01:26,400 --> 00:01:29,300\nPretty soon all the Baylor kids\nsaw their friends on our site and we were in.\n\n36\n00:01:29,320 --> 00:01:30,760\nIt's called the Little Bighorn.\nThat's smart, Mark.\n\n37\n00:01:30,780 --> 00:01:32,160\n- Thanks, that was mine.\n- Easy.\n\n38\n00:01:32,240 --> 00:01:34,040\nHey, you know what?\nSettle an argument for us.\n\n39\n00:01:34,120 --> 00:01:36,090\nI say it's time to start making money\nfrom The Facebook,\n\n40\n00:01:36,120 --> 00:01:37,990\nbut Mark doesn't want advertising.\nWho's right?\n\n41\n00:01:38,080 --> 00:01:39,330\nWell...\n\n42\n00:01:40,000 --> 00:01:41,250\nNeither of you yet.\n\n43\n00:01:41,330 --> 00:01:43,670\nThe Facebook is cool,\nthat's what it's got going for it.\n\n44\n00:01:43,790 --> 00:01:44,830\nYeah.\n\n45\n00:01:44,920 --> 00:01:46,650\nYou don't wanna ruin it with ads\nbecause ads aren't cool.\n\n46\n00:01:46,670 --> 00:01:47,750\nExactly.\n\n47\n00:01:47,840 --> 00:01:49,400\nIt's like you're throwing\nthe greatest party on campus\n\n48\n00:01:49,420 --> 00:01:50,780\nand someone's saying\nit's gotta be over by 11:00.\n\n49\n00:01:50,800 --> 00:01:51,840\nThat's exactly right.\n\n50\n00:01:51,930 --> 00:01:54,090\n- You don't even know what the thing is yet.\n- Exactly.\n\n51\n00:01:54,180 --> 00:01:57,890\nHow big it can get, how far it can go.\nThis is no time to take your chips down.\n\n52\n00:01:57,970 --> 00:01:59,950\nA million dollars isn't cool.\nYou know what's cool?\n\n53\n00:01:59,980 --> 00:02:01,020\nYou?\n\n54\n00:02:03,810 --> 00:02:05,150\n\"A billion dollars.\"\n\n55\n00:02:08,780 --> 00:02:10,360\nAnd that shut everybody up.\n\n56\n00:02:10,440 --> 00:02:13,530\nAnd that's where you're headed.\nA billion-dollar valuation.\n\n57\n00:02:14,280 --> 00:02:17,010\nUnless you take bad advice, in which case\nyou may as well have come up with\n\n58\n00:02:17,030 --> 00:02:18,870\na chain of very successful yogurt shops.\n\n59\n00:02:19,410 --> 00:02:23,080\nWhen you go fishing, you can catch\na lot of fish or you can catch a big fish.\n\n60\n00:02:23,170 --> 00:02:26,460\nYou ever walk into a guy's den and see\na picture of him standing next to 14 trout?\n\n61\n00:02:26,540 --> 00:02:28,380\n- No, he's holding a 3,000-pound marlin.\n- Yep.\n\n62\n00:02:28,460 --> 00:02:29,610\n- That's a good analogy.\n- Okay.\n\n63\n00:02:29,630 --> 00:02:32,070\nBut we all know marlins don't really\nweigh 3,000 pounds, right?\n\n64\n00:02:32,090 --> 00:02:33,190\nHave you seen the big ones up close?\n\n65\n00:02:33,220 --> 00:02:36,180\nNo, but I don't think the guy's\nholding a marlin the size of a Range Rover.\n\n66\n00:02:36,260 --> 00:02:38,890\nThat would be a really big fish\nand a very strong guy.\n\n67\n00:02:38,970 --> 00:02:40,580\nYou think we might be getting away\nfrom the point?\n\n68\n00:02:40,600 --> 00:02:44,890\nI don't have a dog in this fight.\nI'm just a fan who came to say hi.\n\n69\n00:02:44,980 --> 00:02:46,810\nHe owned Mark after that dinner.\n\n70\n00:02:47,730 --> 00:02:50,110\nHe picked up the check,\nhe told Mark they'd talk again soon,\n\n71\n00:02:50,190 --> 00:02:51,280\nand he was gone.\n\n72\n00:02:51,360 --> 00:02:55,240\nBut not before he made his biggest\ncontribution to the company.\n\n73\n00:02:57,620 --> 00:03:00,080\nDrop the \"The.\" Just \"Facebook.\"\n\n74\n00:03:00,660 --> 00:03:02,200\nIt's cleaner.\n\n", "sdh": "1\n00:00:03,150 --> 00:00:05,400\nYou're not a psychiatrist, but what?\n\n2\n00:00:05,480 --> 00:00:08,440\nA psychiatrist would say\nthat he was paranoid.\n\n3\n00:00:08,530 --> 00:00:11,050\nThey'll hire private detectives\nwho'll follow you day and night.\n\n4\n00:00:11,070 --> 00:00:13,070\nYou're a target for high-priced escorts.\n\n5\n00:00:13,160 --> 00:00:15,620\nI can't prove it,\nbut I know they tapped my phones.\n\n6\n00:00:15,700 --> 00:00:18,290\nWhatever it is that's gonna trip you up,\nyou've done already.\n\n7\n00:00:18,370 --> 00:00:20,910\nPrivate behavior is a relic\nof a time gone by.\n\n8\n00:00:21,000 --> 00:00:24,060\nAnd if somehow, someway, you've managed\nto live your life like the Dalai Lama,\n\n9\n00:00:24,080 --> 00:00:25,130\nthey'll make shit up.\n\n10\n00:00:25,210 --> 00:00:27,710\nBecause they don't want you,\nthey want your idea.\n\n11\n00:00:27,800 --> 00:00:29,720\nAnd they want you\nto say \"thank you\" while you...\n\n12\n00:00:30,050 --> 00:00:31,090\nExcuse me.\n\n13\n00:00:31,170 --> 00:00:33,760\n- ...wipe your chin and walk away.\n- That's what happened to you?\n\n14\n00:00:33,840 --> 00:00:35,430\nAnd delusional.\n\n15\n00:00:35,890 --> 00:00:39,350\nYes. But there'll be payback at Case.\n\n16\n00:00:39,430 --> 00:00:42,290\nI brought down the record companies.\nCase will suffer for their sins too.\n\n17\n00:00:42,310 --> 00:00:45,190\nSorry, you didn't bring down\nthe record companies.\n\n18\n00:00:45,270 --> 00:00:46,480\nThey won.\n\n19\n00:00:46,560 --> 00:00:48,070\n- In court.\n- Yeah.\n\n20\n00:00:48,150 --> 00:00:50,900\nYou wanna buy a Tower Records, Eduardo?\n\n21\n00:00:53,450 --> 00:00:56,870\nAnd he told story after story\nabout life in Silicon Valley,\n\n22\n00:00:56,950 --> 00:01:00,870\nand parties at Stanford and down in LA,\nand friends who'd become millionaires...\n\n23\n00:01:00,950 --> 00:01:05,960\nBut mostly how Mark had to...\nHe had to come to California.\n\n24\n00:01:06,750 --> 00:01:09,210\nAnd then he got around to The Facebook.\n\n25\n00:01:09,300 --> 00:01:11,800\nSo, tell me about your progress.\n\n26\n00:01:11,880 --> 00:01:15,340\nWell, we're in 29 schools now.\nWe got over 75,000 members.\n\n27\n00:01:15,430 --> 00:01:17,570\n- Tell me about the strategy you're using.\n- [Mark] Okay.\n\n28\n00:01:17,600 --> 00:01:19,390\nFor instance, we wanted Baylor, in Texas,\n\n29\n00:01:19,470 --> 00:01:21,430\nbut Baylor already had\na social network on campus.\n\n30\n00:01:21,470 --> 00:01:24,700\nSo instead of going after them, we made\na list of every school within 100 miles...\n\n31\n00:01:24,730 --> 00:01:26,600\nYou put The Facebook\non those campuses first.\n\n32\n00:01:26,690 --> 00:01:29,230\nThe Baylor kids saw their friends\non our site and we were in.\n\n33\n00:01:29,320 --> 00:01:30,940\nCalled the Little Bighorn. That's smart.\n\n34\n00:01:31,030 --> 00:01:32,150\n- Thanks that was mine.\n- Easy.\n\n35\n00:01:32,190 --> 00:01:33,990\nHey, you know what?\nSettle an argument for us.\n\n36\n00:01:34,030 --> 00:01:36,170\nI say it's time to start making money\nfrom The Facebook\n\n37\n00:01:36,200 --> 00:01:38,040\nbut Mark doesn't want advertising.\nWho's right?\n\n38\n00:01:38,070 --> 00:01:39,330\nWell...\n\n39\n00:01:39,990 --> 00:01:41,240\nNeither of you yet.\n\n40\n00:01:41,330 --> 00:01:43,750\nThe Facebook is cool,\nthat's what it's got going for it.\n\n41\n00:01:43,830 --> 00:01:44,710\nYeah.\n\n42\n00:01:44,790 --> 00:01:46,870\nDon't wanna ruin it with ads\nbecause ads aren't cool.\n\n43\n00:01:46,920 --> 00:01:47,750\nExactly.\n\n44\n00:01:47,830 --> 00:01:50,810\nLike you're throwing the greatest party\nand saying it's gotta be over by 11.\n\n45\n00:01:50,840 --> 00:01:51,840\nThat's exactly right.\n\n46\n00:01:51,920 --> 00:01:54,090\n- Don't even know what the thing is yet.\n- Exactly.\n\n47\n00:01:54,170 --> 00:01:57,840\nHow big it can get, how far it can go.\nThis is no time to take your chips down.\n\n48\n00:01:57,930 --> 00:01:59,930\nA million dollars isn't cool.\nYou know what's cool?\n\n49\n00:01:59,970 --> 00:02:01,010\nYou?\n\n50\n00:02:03,770 --> 00:02:05,060\n\"A billion dollars.\"\n\n51\n00:02:08,770 --> 00:02:10,360\nAnd that shut everybody up.\n\n52\n00:02:10,440 --> 00:02:13,570\nAnd that's where you're headed.\nA billion-dollar valuation.\n\n53\n00:02:14,240 --> 00:02:17,170\nUnless you take bad advice, in which case\nyou may as well have come up with\n\n54\n00:02:17,200 --> 00:02:18,800\na chain of very successful yogurt shops.\n\n55\n00:02:19,410 --> 00:02:23,080\nWhen you go fishing, you can catch\na lot of fish or you can catch a big fish.\n\n56\n00:02:23,160 --> 00:02:26,540\nYou ever walk into a guy's den and see a\npicture of him standing next to 14 trout?\n\n57\n00:02:26,620 --> 00:02:28,380\n- No, he's holding a 3,000-pound marlin.\n- Yep.\n\n58\n00:02:28,420 --> 00:02:29,580\n- That's a good analogy.\n- Okay.\n\n59\n00:02:29,630 --> 00:02:31,670\nWe all know marlins\ndon't weigh 3,000 pounds, right?\n\n60\n00:02:31,710 --> 00:02:33,150\nHave you seen the big ones up close?\n\n61\n00:02:33,210 --> 00:02:36,170\nNo, but I don't think the guy's holding\na marlin the size of a Range Rover.\n\n62\n00:02:36,260 --> 00:02:38,510\nThat would be a really big fish\nand a very strong guy.\n\n63\n00:02:38,590 --> 00:02:40,550\nYou think we might be getting away\nfrom the point?\n\n64\n00:02:40,600 --> 00:02:44,890\nI don't have a dog in this fight.\nI'm just a fan who came to say hi.\n\n65\n00:02:44,970 --> 00:02:46,730\nHe owned Mark after that dinner.\n\n66\n00:02:47,730 --> 00:02:50,100\nHe picked up the check,\nhe told Mark they'd talk again soon,\n\n67\n00:02:50,190 --> 00:02:51,270\nand he was gone.\n\n68\n00:02:51,360 --> 00:02:55,190\nBut not before he made his biggest\ncontribution to the company.\n\n69\n00:02:57,610 --> 00:03:00,070\nDrop the \"The.\" Just \"Facebook.\"\n\n70\n00:03:00,660 --> 00:03:02,200\nIt's cleaner.\n\n", "screenplay": "{\"screenplay_scene_129\": \"<scene>\\n    <stage_direction>INT. 66 - NIGHT</stage_direction>\\n    <character>SEAN</character>\\n    <dialogue>Yes. There'll be payback at Case. I brought down the record companies with Napster and Case's gonna suffer for their sins too.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>You didn't bring down the record companies. They won.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>In court.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>You want to buy a Tower Records, Eduardo?</dialogue>\\n  </scene>\", \"screenplay_scene_130\": \"<scene>\\n    <stage_direction>INT. FIRST DEPOSITION ROOM - DAY</stage_direction>\\n    <character>EDUARDO (V.O.)</character>\\n    <dialogue>And he told story after story about life in Silicon Valley, and parties at Stanford and down in LA, and friends who'd become millionaires, but mostly how Mark had to-- had to come to California. And then he got around to theFacebook.</dialogue>\\n  </scene>\", \"screenplay_scene_131\": \"<scene>\\n    <stage_direction>INT. 66 - NIGHT</stage_direction>\\n    <character>SEAN</character>\\n    <dialogue>Tell me about your progress.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Well...we're in 29 schools now and we have over 75,000 members--</dialogue>\\n    <character>SEAN</character>\\n    <parenthetical>(ignoring EDUARDO and going for MARK)</parenthetical>\\n    <dialogue>Tell me about the strategy you're using.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Okay. For instance, we wanted Baylor in Texas but Baylor already had a social network on campus so instead of going right after them, we made a list of every school within a hundred miles--</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>--and put theFacebook on those campuses first.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Pretty soon all the Baylor kids were seeing their friends on our site we were in.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>That's called the Little Big Horn, that's smart, Mark.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Thank you, it was mine.</dialogue>\\n    <character>CHRISTY</character>\\n    <parenthetical>(to EDUARDO)</parenthetical>\\n    <dialogue>Easy.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Settle an argument for us, would you? I say it's time to start making money from theFacebook but Mark doesn't want advertising. Who's right?</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>Neither of you yet. TheFacebook is cool, that's what it's got going for it.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>You don't want to ruin it with ads because ads aren't cool.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Exactly.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>It's like you're throwing the greatest party on campus and someone's telling you it's gotta be over at 11:00.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>That's exactly right.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>You don't even know what the thing is yet.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I said exactly that.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>How big it can get and how far it can go. This is no time to take your chips down. A million dollars isn't cool. You know what's cool?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>You?</dialogue>\\n    <scene_description>CUT BACK TO:</scene_description>\\n  </scene>\", \"screenplay_scene_132\": \"<scene>\\n    <stage_direction>INT. FIRST DEPOSITION ROOM - DAY</stage_direction>\\n    <character>EDUARDO</character>\\n    <dialogue>A billion dollars.</dialogue>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>And that shut everybody up.</dialogue>\\n    <scene_description>CUT BACK TO:</scene_description>\\n  </scene>\", \"screenplay_scene_133\": \"<scene>\\n    <stage_direction>INT. 66 - NIGHT</stage_direction>\\n    <character>SEAN</character>\\n    <dialogue>And that's where you're headed. A billion dollar valuation. Unless you take bad advice in which case you may as well have come up with a chain of very successful yogurt shops. When you go fishing you can catch a lot of fish or you can catch a big fish. You ever walk into a guy's den and see a picture of him standing next to fourteen trout?</dialogue>\\n    <character>CHRISTY</character>\\n    <dialogue>No, he's holding a 3000 pound marlin.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>Yep.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>That's a good analogy.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Okay, but we all know that marlins don't really weigh 3000 pounds, right?</dialogue>\\n    <character>CHRISTY</character>\\n    <dialogue>Have you seen the big ones up close?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>I haven't but I don't think the guy's holding a marlin the size of a Range Rover. That would be a really big fish and a very strong guy.</dialogue>\\n    <character>CHRISTY</character>\\n    <dialogue>You think we might be getting away from the point?</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>I don't have a dog in this fight. I'm just a fan who came to say hi.</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "4085.44", "video_duration": "185.88"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "jn26MYplmLCv", "audio_description_us": "1\n00:02:09,710 --> 00:02:10,800\nMark nods eagerly.\n\n2\n00:02:23,690 --> 00:02:24,650\nSean smiles\n\n3\n00:02:24,650 --> 00:02:25,650\nand sips his drink.\n\n4\n00:02:32,530 --> 00:02:33,530\nTheir dates return.\n\n5\n00:02:49,380 --> 00:02:52,590\nMark stares slack-jawed as Sean grins\nand takes another drink.\n\n", "audio_description_uk": "1\n00:00:04,550 --> 00:00:05,590\nSean thinks.\n\n2\n00:02:19,180 --> 00:02:20,220\nMarks look down.\n\n3\n00:02:24,140 --> 00:02:25,650\nSean sips his martini.\n\n4\n00:02:32,610 --> 00:02:33,650\nThe girls return.\n\n5\n00:02:46,920 --> 00:02:47,920\nMark stares.\n\n6\n00:02:49,710 --> 00:02:51,300\nSean smirks and sips his drink.\n\n7\n00:02:51,340 --> 00:02:52,550\nMark leans back in his seat\n\n8\n00:02:52,550 --> 00:02:53,420\nand shakes his head.\n\n", "subtitles": "1\n00:00:01,490 --> 00:00:03,070\nShe looks familiar to a lot of people.\n\n2\n00:00:03,160 --> 00:00:04,410\nWhat do you mean?\n\n3\n00:00:06,410 --> 00:00:09,790\nA Stanford MBA named Roy Raymond\nwants to buy his wife some lingerie,\n\n4\n00:00:09,910 --> 00:00:12,710\nbut he's too embarrassed\nto shop for it in a department store.\n\n5\n00:00:12,790 --> 00:00:14,630\nHe comes up with an idea\nfor a high-end place\n\n6\n00:00:14,750 --> 00:00:17,050\nthat doesn't make you feel like a pervert.\n\n7\n00:00:17,130 --> 00:00:21,130\nHe gets a $40,000 bank loan,\nborrows another 40,000 from his in-laws,\n\n8\n00:00:21,260 --> 00:00:24,220\nopens a store and calls it Victoria's Secret.\n\n9\n00:00:24,300 --> 00:00:27,010\nMakes a half million dollars his first year.\n\n10\n00:00:27,100 --> 00:00:30,930\nStarts a catalog, opens three more stores,\nand after five years, he sells the company\n\n11\n00:00:31,020 --> 00:00:34,270\nto Leslie Wexner and The Limited\nfor $4 million.\n\n12\n00:00:34,440 --> 00:00:35,610\nHappy ending, right?\n\n13\n00:00:36,150 --> 00:00:40,400\nExcept two years later,\nthe company's worth $500 million,\n\n14\n00:00:40,490 --> 00:00:43,780\nand Roy Raymond jumps off\nthe Golden Gate Bridge.\n\n15\n00:00:45,990 --> 00:00:49,790\nPoor guy just wanted to buy his wife\na pair of thigh-highs, you know?\n\n16\n00:00:50,960 --> 00:00:52,370\nWas that a parable?\n\n17\n00:00:53,170 --> 00:00:57,380\nMy date's a Victoria's Secret model.\nThat's why she looks familiar to you.\n\n18\n00:00:57,460 --> 00:00:58,980\n- God.\n- Don't be impressed by all this.\n\n19\n00:00:59,010 --> 00:01:00,260\nI read your blog.\n\n20\n00:01:00,340 --> 00:01:02,380\nYou know, no, that was for web cretins.\n\n21\n00:01:02,470 --> 00:01:04,130\nYou know why I started Napster?\n\n22\n00:01:05,300 --> 00:01:10,100\nThe girl I loved in high school was with\nthe co-captain of the varsity lacrosse team,\n\n23\n00:01:10,180 --> 00:01:12,230\nand I wanted to take her from him.\n\n24\n00:01:12,310 --> 00:01:14,230\nSo I decided to come up\nwith the next big thing.\n\n25\n00:01:14,650 --> 00:01:17,190\n- I didn't know that.\n- Napster wasn't a failure.\n\n26\n00:01:17,320 --> 00:01:20,730\nI changed the music industry\nfor better and for always.\n\n27\n00:01:20,820 --> 00:01:25,070\nIt may not have been good business,\nbut it pissed a lot of people off.\n\n28\n00:01:25,160 --> 00:01:27,620\nAnd isn't that what\nyour Facemash was about?\n\n29\n00:01:27,700 --> 00:01:30,370\nThey're scared of me, pal,\nand they're gonna be scared of you.\n\n30\n00:01:30,490 --> 00:01:32,250\nWhat the VCs want is to say,\n\n31\n00:01:32,330 --> 00:01:35,170\n\"Good idea, kid,\nthe grown-ups will take it from here.\"\n\n32\n00:01:35,250 --> 00:01:37,880\nBut not this time.\nThis is our time.\n\n33\n00:01:38,340 --> 00:01:41,800\nThis time, you're gonna hand them\na business card that says,\n\n34\n00:01:41,880 --> 00:01:43,590\n\"I'm CEO, bitch.\"\n\n35\n00:01:44,840 --> 00:01:46,680\nThat's what I want for you.\n\n36\n00:01:47,390 --> 00:01:49,010\nSo where the hell is Eduardo?\n\n37\n00:01:50,180 --> 00:01:52,640\n- He's in New York.\n- Sucking up to ad execs.\n\n38\n00:01:52,730 --> 00:01:54,680\n- He's got an...\n- An internship.\n\n39\n00:01:55,850 --> 00:01:59,360\nThe company's here.\nA billion-dollar company's here.\n\n40\n00:02:00,780 --> 00:02:02,380\n- Do you live and breathe Facebook?\n- Yes.\n\n41\n00:02:02,400 --> 00:02:03,530\nI know you do.\n\n42\n00:02:03,610 --> 00:02:06,700\nWardo wants to be a businessman\nand for all I know he's gonna be a good one,\n\n43\n00:02:06,780 --> 00:02:09,530\nbut he shouldn't be in New York\nkissing Madison Avenue's ass.\n\n44\n00:02:11,540 --> 00:02:14,700\nThis is a once-in-a-generation,\n\"holy shit\" idea.\n\n45\n00:02:15,040 --> 00:02:18,710\nAnd the water under the Golden Gate\nis freezing cold.\n\n46\n00:02:20,420 --> 00:02:24,550\nLook at my face and tell me\nI don't know what I'm talking about.\n\n47\n00:02:26,260 --> 00:02:27,800\nDo you ever think about that girl?\n\n48\n00:02:27,890 --> 00:02:28,930\nWhat girl?\n\n49\n00:02:29,050 --> 00:02:32,390\nThe girl from high school\nwith the lacrosse thing.\n\n50\n00:02:33,720 --> 00:02:34,720\nNo.\n\n51\n00:02:34,810 --> 00:02:38,350\nIf you guys are gonna talk about bandwidth,\nwe need shots.\n\n52\n00:02:38,440 --> 00:02:40,040\nA hundred schools by the end of the summer?\n\n53\n00:02:40,060 --> 00:02:41,060\nYeah.\n\n54\n00:02:41,150 --> 00:02:42,580\nTell you what.\nGesture of good faith.\n\n55\n00:02:42,610 --> 00:02:47,070\nWhile you're getting into 100 schools,\nI'll put you on two continents.\n\n56\n00:02:48,240 --> 00:02:49,320\nTwo...\n\n57\n00:02:53,790 --> 00:02:55,250\nIf you don't have a place to crash,\n\n58\n00:02:55,330 --> 00:02:57,620\nI think you should definitely come\nand live with us.\n\n59\n00:02:58,580 --> 00:03:00,500\nLet's line up some shots.\n\n", "sdh": "1\n00:00:01,480 --> 00:00:03,030\nShe looks familiar to a lot of people.\n\n2\n00:00:03,110 --> 00:00:04,240\nWhat do you mean?\n\n3\n00:00:06,410 --> 00:00:09,830\nA Stanford MBA named Roy Raymond\nwants to buy his wife some lingerie,\n\n4\n00:00:09,910 --> 00:00:12,700\nbut he's too embarrassed\nto shop for it in a department store.\n\n5\n00:00:12,790 --> 00:00:14,660\nHe comes up with an idea\nfor a high-end place\n\n6\n00:00:14,750 --> 00:00:17,040\nthat doesn't make you feel like a pervert.\n\n7\n00:00:17,130 --> 00:00:21,170\nHe gets a $40,000 bank loan,\nborrows another 40,000 from his in-laws,\n\n8\n00:00:21,250 --> 00:00:24,260\nopens a store\nand calls it Victoria's Secret.\n\n9\n00:00:24,340 --> 00:00:26,930\nMakes a half million dollars\nhis first year.\n\n10\n00:00:27,010 --> 00:00:30,930\nStarts a catalog, opens three more stores,\nand after five years, he sells the company\n\n11\n00:00:31,010 --> 00:00:34,350\nto Leslie Wexner and The Limited\nfor $4 million.\n\n12\n00:00:34,430 --> 00:00:35,560\nHappy ending, right?\n\n13\n00:00:36,140 --> 00:00:40,400\nExcept two years later,\nthe company's worth $500 million,\n\n14\n00:00:40,480 --> 00:00:43,780\nand Roy Raymond jumps off\nthe Golden Gate Bridge.\n\n15\n00:00:45,990 --> 00:00:49,700\nPoor guy just wanted to buy his wife\na pair of thigh-highs, you know?\n\n16\n00:00:50,950 --> 00:00:52,290\nWas that a parable?\n\n17\n00:00:53,160 --> 00:00:57,370\nMy date's a Victoria's Secret model.\nThat's why she looks familiar to you.\n\n18\n00:00:57,460 --> 00:00:59,000\n- God.\n- Don't be impressed by all this.\n\n19\n00:00:59,080 --> 00:01:00,210\nI read your blog.\n\n20\n00:01:00,290 --> 00:01:02,380\nYou know, no, that was for web cretins.\n\n21\n00:01:02,460 --> 00:01:04,050\nYou know why I started Napster?\n\n22\n00:01:05,300 --> 00:01:10,090\nThe girl I loved in high school was with\nthe captain of the varsity lacrosse team,\n\n23\n00:01:10,180 --> 00:01:12,220\nand I wanted to take her from him.\n\n24\n00:01:12,310 --> 00:01:14,190\nSo I decided to come up with\nthe next big thing.\n\n25\n00:01:14,270 --> 00:01:17,230\n- I didn't know that.\n- Napster wasn't a failure.\n\n26\n00:01:17,310 --> 00:01:20,690\nI changed the music industry\nfor better and for always.\n\n27\n00:01:20,770 --> 00:01:25,070\nIt may not have been good business,\nbut it pissed a lot of people off.\n\n28\n00:01:25,150 --> 00:01:27,610\nAnd isn't that what your Facemash\nwas about?\n\n29\n00:01:27,700 --> 00:01:30,140\nThey're scared of me, pal,\nand they're gonna be scared of you.\n\n30\n00:01:30,200 --> 00:01:32,240\nWhat the VCs want is to say,\n\n31\n00:01:32,330 --> 00:01:35,120\n\"Good idea, kid,\nthe grown-ups will take it from here.\"\n\n32\n00:01:35,200 --> 00:01:38,250\nBut not this time. This is our time.\n\n33\n00:01:38,330 --> 00:01:41,790\nThis time, you're gonna hand them\na business card that says,\n\n34\n00:01:41,880 --> 00:01:43,840\n\"I'm CEO, bitch.\"\n\n35\n00:01:44,800 --> 00:01:46,260\nThat's what I want for you.\n\n36\n00:01:47,380 --> 00:01:48,930\nSo where the hell is Eduardo?\n\n37\n00:01:50,180 --> 00:01:52,600\n- He's in New York.\n- Sucking up to ad execs.\n\n38\n00:01:52,680 --> 00:01:54,470\n- He's got an...\n- An internship.\n\n39\n00:01:55,850 --> 00:01:59,440\nThe company's here.\nA billion-dollar company's here.\n\n40\n00:02:00,730 --> 00:02:02,310\n- Do you live and breathe Facebook?\n- Yes.\n\n41\n00:02:02,400 --> 00:02:03,520\nI know you do.\n\n42\n00:02:03,610 --> 00:02:06,690\nWardo wants to be a businessman.\nFor all I know he's gonna be a good one,\n\n43\n00:02:06,780 --> 00:02:09,450\nbut he shouldn't be in New York\nkissing Madison Avenue's ass.\n\n44\n00:02:11,490 --> 00:02:14,950\nThis is a once-in-a-generation,\n\"holy shit\" idea.\n\n45\n00:02:15,080 --> 00:02:19,080\nAnd the water under\nthe Golden Gate is freezing cold.\n\n46\n00:02:20,420 --> 00:02:24,540\nLook at my face and tell me\nI don't know what I'm talking about.\n\n47\n00:02:26,250 --> 00:02:27,800\nDo you ever think about that girl?\n\n48\n00:02:27,880 --> 00:02:28,920\nWhat girl?\n\n49\n00:02:29,010 --> 00:02:32,470\nThe girl from high school\nwith the lacrosse thing.\n\n50\n00:02:33,720 --> 00:02:34,720\nNo.\n\n51\n00:02:34,800 --> 00:02:38,310\nIf you guys are gonna talk\nabout bandwidth, we need shots.\n\n52\n00:02:38,390 --> 00:02:40,070\nA hundred schools\nby the end of the summer?\n\n53\n00:02:40,100 --> 00:02:41,100\nYeah.\n\n54\n00:02:41,190 --> 00:02:42,690\nTell you what. Gesture of good faith.\n\n55\n00:02:42,770 --> 00:02:47,070\nWhile you're getting into 100 schools,\nI'll put you on two continents.\n\n56\n00:02:48,230 --> 00:02:49,320\nTwo...\n\n57\n00:02:53,780 --> 00:02:55,240\nIf you don't have a place to crash,\n\n58\n00:02:55,330 --> 00:02:57,540\nI think you should definitely\ncome and live with us.\n\n59\n00:02:58,580 --> 00:03:00,500\nLet's line up some shots.\n\n", "screenplay": "{\"screenplay_scene_155\": \"<scene>\\n    <stage_direction>INT. RUBY SKYE - CONTINUOUS</stage_direction>\\n    <scene_description>An ultra-hip San Francisco nightclub. It's a hundred-year old theater that's been converted into a 21st Century hot spot for Silicon Valley's rock stars. The lower level is a giant dance floor packed with sweating 20-somethings bouncing to pounding house music. There are raised blocks where scantily dressed professional dancers perform non-stop. A huge lighting grid hangs from the ceiling shooting colored lights and lasers everywhere. Also hanging from the ceiling are two trapeze bars with two performers swinging and contorting. The staircase leads up to the 2nd level which is all VIP tables that look out over the dance floor. Each VIP area has a couple of couches and a table covered in bottles of vodka, tequila, rum, mixers, ice, glasses and a private waitress who's happy to bend over and pour a drink for you. And that's where we catch up with MARK and SEAN. Sitting next to SEAN is a BEAUTIFUL WOMAN and there's another standing behind him and leaning against the couch. MARK and SEAN have to speak up above the music.</scene_description>\\n    <character>SEAN</character>\\n    <dialogue>I was crashing there for a little bit while I'm taking care of some things. But she's done for the summer so she's back at her parents' place.</dialogue>\\n    <character>BEAUTIFUL WOMAN #1 (BRIANNA)</character>\\n    <dialogue>The homeless rock star of Palo Alto.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>What's your plan for the summer?</dialogue>\\n    <scene_description>MARK has been subtly checking out the club and not paying attention.</scene_description>\\n    <character>SEAN</character>\\n    <dialogue>Mark?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I'm sorry, I was looking at the architecture.</dialogue>\\n    <scene_description>SEAN smiles...</scene_description>\\n    <character>SEAN</character>\\n    <dialogue>I asked what your plan--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>A hundred schools by the end of the summer.</dialogue>\\n    <character>BRIANNA</character>\\n    <dialogue>I'm going to the restroom.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>Okay.</dialogue>\\n    <character>BEAUTIFUL WOMAN #2 (KELSEY)</character>\\n    <dialogue>I'll go with you.</dialogue>\\n    <scene_description>The two girls exit--</scene_description>\\n    <character>MARK</character>\\n    <dialogue>Your date looks so familiar to me.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>She looks familiar to a lot of people.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>What do you mean?</dialogue>\\n    <scene_description>SEAN takes a sip of his drink...</scene_description>\\n    <character>SEAN</character>\\n    <parenthetical>(simply)</parenthetical>\\n    <dialogue>A Stanford MBA named Roy Raymond wants to buy his wife some lingerie but he's too embarrassed to shop for it in a department store. He comes up with an idea for a high end place that doesn't make you feel like a pervert. He gets a $40,000 bank loan and borrows another forty-thousand from his in-laws, opens a store and calls it Victoria's Secret. He makes a half-million dollars his first year.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>He starts a catalogue, opens three more stores and after five years, he sells the company to Leslie Wexner and The Limited for four million dollars. Happy ending, right? Except two years later the company's worth 500 million dollars and Roy Raymond jumps off the Golden Gate Bridge.</dialogue>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>Poor guy just wanted to buy his wife a pair of thigh-highs, you know?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Was that a parable?</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>My date's a Victoria's Secret model, that's why she looks familiar to you.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>God.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>Don't be impressed by all this, I read your blog.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Oh, you know, that was--</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>You know why I started Napster? A girl I loved in high school was with the co- captain of the varsity lacrosse team and I wanted to take her from him so I decided to come up with the next big thing.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I didn't know th--</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>Napster wasn't a failure. I changed the music industry for better and for always. It may not have been good business but it pissed a lot of people off. And wasn't that what your Facemash was about? They're scared of me, pal, and they're gonna be scared of you. What the VC's want is to say, \\\"Good idea, kid. The grown-ups'll take it from here.\\\" But not this time. This is our time. This time you're gonna hand 'em a business card that says \\\"I'm CEO...bitch\\\", that's what I want for you, so where the hell's Eduardo?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>He's in New York.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>Suckin' up to ad execs.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>He's got an--</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>--an internship? The company's here. A billion dollar company is here. Do you live and breathe Facebook?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>Wardo wants to be a businessman and for all I know he's gonna be a good one but he shouldn't be in New York kissing Madison Avenue's ass. This is a once-in-a- generation-holy-shit idea and the water under the Golden Gate is freezing cold. Look at my face and tell me I don't know what I'm talking about.</dialogue>\\n    <character>MARK</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Do you ever think about the girl?</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>What girl?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>The one--the girl in high school who was-- with the lacrosse thing.</dialogue>\\n    <character>SEAN</character>\\n    <parenthetical>(are you kidding?)</parenthetical>\\n    <dialogue>No.</dialogue>\\n    <scene_description>The girls comes back--</scene_description>\\n    <character>BRIANNA</character>\\n    <dialogue>If you guys are gonna talk about bandwidth we need shots.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>A hundred schools by the end of the summer?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>Tell you what, gesture of good faith. While you're getting into a hundred schools, I'll put you on two continents.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>If you don't have a place to crash I think you should definitely come and live with us.</dialogue>\\n    <character>SEAN</character>\\n    <parenthetical>(nods)</parenthetical>\\n    <dialogue>Let's line up some shots.</dialogue>\\n    <parenthetical>(getting the server)</parenthetical>\\n    <dialogue>Excuse me.</dialogue>\\n    <character>SERVER</character>\\n    <dialogue>Yes sir.</dialogue>\\n    <character>SEAN</character>\\n    <dialogue>You can take this away and bring out the 1942.</dialogue>\\n    <character>SERVER</character>\\n    <dialogue>Absolutely, Mr. Parker.</dialogue>\\n    <scene_description>MARK takes this in a moment before we CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "4871.55", "video_duration": "181.72"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "cwxPHjAmkpQU", "audio_description_us": "1\n00:00:41,460 --> 00:00:42,540\nShe checks his cell.\n\n2\n00:00:52,090 --> 00:00:53,140\nHe answers the phone.\n\n3\n00:01:27,050 --> 00:01:28,670\nChristy lights her gift on fire.\n\n4\n00:01:29,720 --> 00:01:31,380\nShe drops it into a trash can,\n\n5\n00:01:31,380 --> 00:01:32,760\nthen tips it onto his bed.\n\n6\n00:01:35,300 --> 00:01:36,180\nChristy leaves.\n\n7\n00:01:47,690 --> 00:01:49,440\nEduardo aims a fire extinguisher.\n\n8\n00:02:22,890 --> 00:02:24,480\nEduardo squeezes his eyes shut,\n\n9\n00:02:24,480 --> 00:02:25,020\nswallows\n\n10\n00:02:25,020 --> 00:02:25,980\nand shakes his head.\n\n11\n00:02:31,940 --> 00:02:33,700\nHe tearfully snaps his phone shut.\n\n", "audio_description_uk": "1\n00:01:26,960 --> 00:01:28,460\nChristy sets the scarf alight\n\n2\n00:01:30,880 --> 00:01:32,180\nand drops it in a bin.\n\n3\n00:02:23,810 --> 00:02:27,190\nHaving extinguished the fire,\nEduardo closes his eyes and shakes his head.\n\n4\n00:02:32,400 --> 00:02:34,990\nEduardo hangs up and Christy appears in the doorway.\n\n", "subtitles": "1\n00:00:00,410 --> 00:00:03,240\nWhy does your Status say \"single\"\non your Facebook page?\n\n2\n00:00:03,370 --> 00:00:04,410\nWhat?\n\n3\n00:00:04,490 --> 00:00:08,410\nWhy does your Relationship Status\nsay \"single\" on your Facebook page?\n\n4\n00:00:08,500 --> 00:00:10,180\nWell, I was single when I set up the page.\n\n5\n00:00:10,250 --> 00:00:12,330\nAnd you just never bothered to change it?\n\n6\n00:00:12,420 --> 00:00:13,500\nWhat?\n\n7\n00:00:13,710 --> 00:00:15,170\nI don't know how.\n\n8\n00:00:15,250 --> 00:00:17,090\nDo I look stupid to you?\n\n9\n00:00:17,210 --> 00:00:18,510\nNo, calm down.\n\n10\n00:00:18,590 --> 00:00:20,840\nYou're asking me to believe\nthat the CFO of Facebook\n\n11\n00:00:20,930 --> 00:00:23,240\ndoesn't know how to change\nhis Relationship Status on Facebook?\n\n12\n00:00:23,260 --> 00:00:26,700\nIt's embarrassing, so you should take it\nas a sign of trust that I would tell you that.\n\n13\n00:00:26,720 --> 00:00:27,930\n- Go to hell.\n- Take it easy.\n\n14\n00:00:28,060 --> 00:00:31,100\nNo, you didn't change it so you could\nscrew those Silicon Valley sluts\n\n15\n00:00:31,190 --> 00:00:32,410\nevery time you go out to see Mark.\n\n16\n00:00:32,440 --> 00:00:35,440\nNot even remotely true, and I can promise you\nthat the Silicon Valley sluts\n\n17\n00:00:35,570 --> 00:00:38,440\ndon't care what anyone's\nRelationship Status is on Facebook.\n\n18\n00:00:38,570 --> 00:00:39,940\nPlease, open your present.\n\n19\n00:00:40,070 --> 00:00:41,950\nYour phone does work.\n\n20\n00:00:42,910 --> 00:00:44,030\nIt's Mark.\n\n21\n00:00:44,120 --> 00:00:46,280\nOkay, this is gonna be tricky.\n\n22\n00:00:46,370 --> 00:00:48,870\nOpen your present. It's a silk scarf.\n\n23\n00:00:48,950 --> 00:00:50,620\nHave you ever seen me wear a scarf?\n\n24\n00:00:51,040 --> 00:00:52,870\nThis'll be your first.\n\n25\n00:00:52,960 --> 00:00:54,040\nYeah.\n\n26\n00:00:54,130 --> 00:00:55,410\n- You froze our account?\n- I did.\n\n27\n00:00:55,460 --> 00:00:57,770\n- You froze the account.\n- I had to get your attention, Mark.\n\n28\n00:00:57,800 --> 00:00:59,610\nDo you realize that you jeopardized\nthe entire company?\n\n29\n00:00:59,630 --> 00:01:01,280\nDo you realize that your actions\ncould have destroyed\n\n30\n00:01:01,300 --> 00:01:02,400\neverything I've been working on?\n\n31\n00:01:02,430 --> 00:01:03,470\nWe have been working on.\n\n32\n00:01:03,550 --> 00:01:05,110\nWithout money, the site can't function.\n\n33\n00:01:05,140 --> 00:01:07,450\nLet me tell you the difference\nbetween Facebook and everybody else.\n\n34\n00:01:07,470 --> 00:01:08,560\nWe don't crash ever!\n\n35\n00:01:08,640 --> 00:01:12,310\nIf the servers are down for even a day,\nour entire reputation is irreversibly destroyed.\n\n36\n00:01:12,390 --> 00:01:14,460\n- Look...\n- Users are fickle. Friendster has proved that.\n\n37\n00:01:14,480 --> 00:01:17,290\nEven a few people leaving would reverberate\nthrough the entire user base.\n\n38\n00:01:17,320 --> 00:01:19,650\nThe users are interconnected.\nThat is the whole point.\n\n39\n00:01:19,740 --> 00:01:21,550\nCollege kids are online\nbecause their friends are online\n\n40\n00:01:21,570 --> 00:01:23,740\nand if one domino goes,\nthe other dominos go.\n\n41\n00:01:23,820 --> 00:01:24,910\nDon't you get that?\n\n42\n00:01:24,990 --> 00:01:27,070\nI am not going back to\nthe Caribbean Night at A-E-Pi!\n\n43\n00:01:28,620 --> 00:01:29,990\nHoly shit.\n\n44\n00:01:32,830 --> 00:01:34,170\nWhat is wrong with you?\n\n45\n00:01:34,290 --> 00:01:35,750\nDid you like being nobody?\n\n46\n00:01:35,830 --> 00:01:37,650\nDid you like being a joke?\nDo you wanna go back to that?\n\n47\n00:01:37,670 --> 00:01:39,090\nHang on, hang on, hang on, hang on.\n\n48\n00:01:39,170 --> 00:01:40,570\nThat was the act of a child,\nnot a businessman,\n\n49\n00:01:40,590 --> 00:01:42,110\nand it certainly was not\nthe act of a friend.\n\n50\n00:01:42,130 --> 00:01:44,740\nYou know how embarrassing it was for me\nto try to cash a check today?\n\n51\n00:01:44,760 --> 00:01:46,080\nI am not going back to that life.\n\n52\n00:01:46,140 --> 00:01:48,510\n- Maybe you were frustrated.\n- Yeah!\n\n53\n00:01:48,680 --> 00:01:50,970\n- Maybe you were angry.\n- I was!\n\n54\n00:01:51,180 --> 00:01:53,520\nBut I am willing to let bygones be bygones,\n\n55\n00:01:53,640 --> 00:01:55,940\nbecause, Wardo,\nI've got some good news.\n\n56\n00:01:56,020 --> 00:01:57,190\nI'm sorry.\n\n57\n00:01:57,270 --> 00:02:02,030\nI was angry, and maybe it was childish,\nbut I had to get your attention.\n\n58\n00:02:02,150 --> 00:02:04,950\nWardo, I said I've got some good news.\n\n59\n00:02:05,360 --> 00:02:06,360\nWhat is it?\n\n60\n00:02:06,490 --> 00:02:09,090\nPeter Thiel just made an angel investment\nof half a million dollars.\n\n61\n00:02:09,120 --> 00:02:10,280\nWhat?\n\n62\n00:02:10,490 --> 00:02:14,460\nHalf a million dollars.\nAnd he's setting us up in an office.\n\n63\n00:02:15,210 --> 00:02:17,710\nThey wanna reincorporate the company.\nThey wanna meet you.\n\n64\n00:02:17,840 --> 00:02:19,350\nThey need your signature\non some documents,\n\n65\n00:02:19,380 --> 00:02:21,860\nso you gotta get your ass\non the first flight back to San Francisco.\n\n66\n00:02:21,880 --> 00:02:23,460\nI need my CFO.\n\n67\n00:02:28,390 --> 00:02:29,470\nI'm on my way.\n\n68\n00:02:29,560 --> 00:02:31,060\n- Wardo?\n- Yeah?\n\n69\n00:02:31,220 --> 00:02:32,680\nWe did it.\n\n70\n00:02:36,020 --> 00:02:37,230\nWardo?\n\n71\n00:02:37,810 --> 00:02:39,730\nYou're going back there already?\n\n72\n00:02:39,860 --> 00:02:40,980\nYes.\n\n", "sdh": "1\n00:00:00,400 --> 00:00:03,280\nWhy does your Status say \"single\"\non your Facebook page?\n\n2\n00:00:03,360 --> 00:00:04,410\nWhat?\n\n3\n00:00:04,490 --> 00:00:08,410\nWhy does your Relationship Status\nsay \"single\" on your Facebook page?\n\n4\n00:00:08,490 --> 00:00:10,170\nWell, I was single when I set up the page.\n\n5\n00:00:10,240 --> 00:00:12,330\nAnd you just never bothered to change it?\n\n6\n00:00:12,410 --> 00:00:15,170\n- What?\n- I don't know how.\n\n7\n00:00:15,250 --> 00:00:17,130\nDo I look stupid to you?\n\n8\n00:00:17,210 --> 00:00:18,500\nNo, calm down.\n\n9\n00:00:18,590 --> 00:00:20,710\nYou're asking me to believe\nthat the CFO of Facebook\n\n10\n00:00:20,800 --> 00:00:23,280\ndoesn't know how to change\nhis Relationship Status on Facebook?\n\n11\n00:00:23,300 --> 00:00:26,640\nIt's embarrassing so you should take it\nas a sign of trust I would tell you that.\n\n12\n00:00:26,720 --> 00:00:27,970\n- Go to hell.\n- Take it easy.\n\n13\n00:00:28,050 --> 00:00:30,810\nNo, you didn't change it so you could\nscrew those Silicon Valley sluts\n\n14\n00:00:30,890 --> 00:00:32,350\nevery time you go out to see Mark.\n\n15\n00:00:32,430 --> 00:00:35,480\nNot even remotely true, and I can\npromise you that the Silicon Valley sluts\n\n16\n00:00:35,560 --> 00:00:38,480\ndon't care what anyone's\nRelationship Status is on Facebook.\n\n17\n00:00:38,560 --> 00:00:39,980\nPlease, open your present.\n\n18\n00:00:40,070 --> 00:00:41,980\n- [phone ringing]\n- Your phone does work.\n\n19\n00:00:42,900 --> 00:00:44,030\nIt's Mark.\n\n20\n00:00:44,110 --> 00:00:46,280\nOkay, this is gonna be tricky.\n\n21\n00:00:46,360 --> 00:00:48,870\nOpen your present. It's a silk scarf.\n\n22\n00:00:48,950 --> 00:00:52,330\n- Have you ever seen me wear a scarf?\n- This'll be your first.\n\n23\n00:00:53,250 --> 00:00:54,160\nYeah.\n\n24\n00:00:54,250 --> 00:00:55,500\n- You froze our account?\n- I did.\n\n25\n00:00:55,580 --> 00:00:57,710\n- You froze the account.\n- I had to get your attention.\n\n26\n00:00:57,790 --> 00:00:59,630\nYou realize you jeopardized\nthe entire company?\n\n27\n00:00:59,670 --> 00:01:02,400\nYou realize your actions could've\ndestroyed everything I've worked on?\n\n28\n00:01:02,420 --> 00:01:03,420\nWe have been working on.\n\n29\n00:01:03,510 --> 00:01:05,070\nWithout money, the site can't function.\n\n30\n00:01:05,130 --> 00:01:07,740\nLet me tell you the difference\nbetween Facebook and everybody else.\n\n31\n00:01:07,760 --> 00:01:08,590\nWe don't crash ever!\n\n32\n00:01:08,680 --> 00:01:12,310\nIf the servers are down for even a day,\nour entire reputation is destroyed.\n\n33\n00:01:12,390 --> 00:01:14,350\n- Look...\n- Users are fickle. Friendster proved that.\n\n34\n00:01:14,430 --> 00:01:17,310\nEven a few people leaving would\nreverberate through the entire user base.\n\n35\n00:01:17,350 --> 00:01:19,650\nThe users are interconnected.\nThat is the whole point.\n\n36\n00:01:19,730 --> 00:01:21,920\nCollege kids are online\nbecause their friends are online\n\n37\n00:01:21,940 --> 00:01:23,730\nand if one domino goes,\nthe other dominos go.\n\n38\n00:01:23,820 --> 00:01:26,700\nDon't you get that? I am not going back to\nthe Caribbean Night at A-E-Pi!\n\n39\n00:01:28,610 --> 00:01:30,280\nHoly shit.\n\n40\n00:01:32,990 --> 00:01:34,200\nWhat is wrong with you?\n\n41\n00:01:34,290 --> 00:01:35,750\nDid you like being nobody?\n\n42\n00:01:35,830 --> 00:01:37,620\nYou like being a joke?\nWanna go back to that?\n\n43\n00:01:37,710 --> 00:01:39,130\nHang on, hang on, hang on, hang on.\n\n44\n00:01:39,210 --> 00:01:41,050\nThat was the act of a child,\nnot a businessman,\n\n45\n00:01:41,090 --> 00:01:42,450\ncertainly not the act of a friend.\n\n46\n00:01:42,500 --> 00:01:44,770\nKnow how embarrassing it was\nto try to cash a check today?\n\n47\n00:01:44,800 --> 00:01:46,080\nI'm not going back to that life.\n\n48\n00:01:46,130 --> 00:01:48,550\n- Maybe you were frustrated.\n- Yeah!\n\n49\n00:01:48,630 --> 00:01:50,510\n- Maybe you were angry.\n- I was!\n\n50\n00:01:51,220 --> 00:01:53,560\nBut I am willing\nto let bygones be bygones,\n\n51\n00:01:53,640 --> 00:01:55,930\nbecause, Wardo, I've got some good news.\n\n52\n00:01:56,020 --> 00:01:57,180\nI'm sorry.\n\n53\n00:01:57,270 --> 00:02:02,060\nI was angry, and maybe it was childish,\nbut I had to get your attention.\n\n54\n00:02:02,150 --> 00:02:04,980\nWardo, I said I've got some good news.\n\n55\n00:02:05,070 --> 00:02:06,400\nWhat is it?\n\n56\n00:02:06,490 --> 00:02:09,130\nPeter Thiel just made an angel investment\nof half a million dollars.\n\n57\n00:02:09,160 --> 00:02:10,410\nWhat?\n\n58\n00:02:10,490 --> 00:02:14,450\nHalf a million dollars.\nAnd he's setting us up in an office.\n\n59\n00:02:15,200 --> 00:02:17,750\nThey wanna reincorporate the company.\nThey wanna meet you.\n\n60\n00:02:17,830 --> 00:02:19,510\nThey need your signature\non some documents,\n\n61\n00:02:19,580 --> 00:02:21,850\nSo get your ass\non the first flight back to San Francisco.\n\n62\n00:02:21,880 --> 00:02:23,460\nI need my CFO.\n\n63\n00:02:28,380 --> 00:02:29,470\nI'm on my way.\n\n64\n00:02:29,550 --> 00:02:30,930\n- Wardo?\n- Yeah?\n\n65\n00:02:31,010 --> 00:02:32,680\nWe did it.\n\n66\n00:02:35,930 --> 00:02:37,220\n- Wardo?\n- [exclaims]\n\n67\n00:02:37,730 --> 00:02:39,770\nYou're going back there already?\n\n68\n00:02:39,850 --> 00:02:40,980\nYes.\n\n", "screenplay": "{\"screenplay_scene_168\": \"<scene>\\n    <stage_direction>INT. PALO ALTO HOUSE - SAME TIME</stage_direction>\\n    <character>MARK</character>\\n    <parenthetical>(into his cell phone)</parenthetical>\\n    <dialogue>You froze our account?</dialogue>\\n    <scene_description>In the background there's a small celebration going on with SEAN, DUSTIN, the INTERNS and of course some GIRLS. Champagne is being sprayed from shaken bottles and the girls are dancing to triumphant music.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>I did.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You froze the account.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>I had to get your attention, Mark.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Do you realize that you jeopardized the entire company? Do you realize that your actions could have permanently destroyed everything I've been working on?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>We've been working on.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Without money, the site can't function. Let me tell you the difference between Facebook and everybody else: WE DON'T CRASH EVER!</dialogue>\\n    <scene_description>What EDUARDO can't see behind his back is that CHRISTY has taken the gift box and lit it on fire with a cigarette lighter.</scene_description>\\n    <character>MARK</character>\\n    <dialogue>If the servers are down for even a day, our entire reputation is irreversibly destroyed. Users are fickle. Friendster has proven that fact.</dialogue>\\n    <scene_description>And CHRISTY's now dropped the flaming cardboard box into the wastebasket where the fire grows larger. She casually kicks the basket over with her foot.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>Look--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Even a few people leaving would reverberate through the entire user base. The users are interconnected, that's the whole point! College kids are online because their friends are online and if one domino goes, all the dominos go! Do you get that?! I'm not going back to Caribbean Night at A-E-Pi!</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(finally seeing the fire)</parenthetical>\\n    <dialogue>Holy shit!</dialogue>\\n    <parenthetical>(to CHRISTY)</parenthetical>\\n    <dialogue>What is wrong with you?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Did you like being nobody?! Did you like being a joke?! Do you wanna go back to that?!</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Hang on, hang on.</dialogue>\\n    <scene_description>EDUARDO hits a button on his cell and tosses it down. We'll keep hearing MARK's voice as EDUARDO runs out into the hallway, grabs a fire extinguisher from its wall bracket, comes back in and sprays out the fire.</scene_description>\\n    <character>MARK</character>\\n    <dialogue>That was the act of a child, not a businessman.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>And it certainly wasn't the act of a friend. You know how embarrassed I was for me to try and cash a check today? I'm not going back to that life.</dialogue>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>Maybe you were frustrated.</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(shouting)</parenthetical>\\n    <dialogue>Yeah!</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Maybe you were angry.</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(calling out)</parenthetical>\\n    <dialogue>I was!</dialogue>\\n    <character>MARK</character>\\n    <dialogue>But I'm willing to let bygones be bygones because, Wardo, I've got some good news.</dialogue>\\n    <scene_description>EDUARDO--with the fire now out--picks up the phone.</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>I'm sorry. I was angry and maybe it was childish. But I had to get your attention.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Wardo, I said I've got some good news.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>What is it?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Peter Thiel's just made an angel investment of a half a million dollars.</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>What?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>A half a million dollars and he's setting us up in an office. They want to re- incorporate the company, they want to meet you they need your signature on some documents so get your ass on the next flight back to San Francisco.</dialogue>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>I need my CFO.</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(beat--smiles)</parenthetical>\\n    <dialogue>I'm on my way.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Wardo.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>We did it.</dialogue>\\n    <scene_description>EDUARDO clicks the phone shut. After a moment...</scene_description>\\n    <character>CHRISTY</character>\\n    <parenthetical>(like nothing's happened)</parenthetical>\\n    <dialogue>Wardo?</dialogue>\\n    <scene_description>And EDUARDO jumps because CHRISTY was standing behind him--</scene_description>\\n    <character>EDUARDO</character>\\n    <dialogue>Aaggh!</dialogue>\\n    <character>CHRISTY</character>\\n    <dialogue>You going back there already?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Yes. Also I'm breaking up with you.</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "5712.22", "video_duration": "164.79"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "K8avjR6U4Y0P", "audio_description_us": "1\n00:00:52,850 --> 00:00:54,810\nEduardo glares at Sean through a window.\n\n2\n00:00:57,770 --> 00:00:59,310\nHe thoughtfully rumples his lips.\n\n3\n00:01:05,940 --> 00:01:07,030\nBack in the deposition.\n\n4\n00:01:23,000 --> 00:01:26,750\nEduardo sits with his back to Mark\nand the rest of the table, gazing off glumly.\n\n5\n00:01:34,550 --> 00:01:37,060\nHe swivels his chair around to lock eyes with Mark.\n\n6\n00:01:42,980 --> 00:01:44,520\nMark stares back stonily.\n\n7\n00:01:44,690 --> 00:01:45,810\nEduardo swivels away\n\n8\n00:01:45,810 --> 00:01:46,820\nand faces the window.\n\n9\n00:02:04,790 --> 00:02:06,840\nIn a flashback at the Facebook office.\n\n10\n00:02:23,850 --> 00:02:24,980\nEduardo sips a beer\n\n11\n00:02:24,980 --> 00:02:26,310\nand the friends share a smile.\n\n", "audio_description_uk": "1\n00:00:45,500 --> 00:00:46,800\nThe two lawyers share a look.\n\n2\n00:00:58,520 --> 00:01:00,140\nEduardo frowns pensively.\n\n3\n00:01:05,690 --> 00:01:06,860\nThe deposition room.\n\n4\n00:01:23,290 --> 00:01:25,250\nEduardo sits with his back to the others.\n\n5\n00:01:25,590 --> 00:01:26,880\nHe stares at the floor.\n\n6\n00:01:35,140 --> 00:01:37,350\nHe turns and looks over his shoulder at Mark.\n\n7\n00:01:43,480 --> 00:01:44,860\nMark holds his gaze\n\n8\n00:01:45,110 --> 00:01:46,900\nand Eduardo turns his back again.\n\n9\n00:02:24,650 --> 00:02:26,610\nMark and Eduardo smile at each other.\n\n", "subtitles": "1\n00:00:00,430 --> 00:00:01,470\nFour documents.\n\n2\n00:00:01,600 --> 00:00:03,570\nThe first two are common\nstock purchase agreements,\n\n3\n00:00:03,600 --> 00:00:06,640\nallowing you to buy stock\nin the newly reincorporated Facebook,\n\n4\n00:00:06,730 --> 00:00:10,150\nas opposed to the old shares,\nwhich are now worthless.\n\n5\n00:00:10,230 --> 00:00:11,460\nThe third is an exchange agreement\n\n6\n00:00:11,480 --> 00:00:14,230\nallowing you to exchange\nthe old shares for new shares,\n\n7\n00:00:14,320 --> 00:00:16,570\nand then finally a voter holding agreement.\n\n8\n00:00:16,650 --> 00:00:18,400\nHow many shares of stock will I own?\n\n9\n00:00:18,490 --> 00:00:21,660\n1,328,334.\n\n10\n00:00:21,740 --> 00:00:23,120\nJesus Christ.\n\n11\n00:00:23,200 --> 00:00:26,120\nThat represents a 34.4% ownership share.\n\n12\n00:00:26,620 --> 00:00:28,960\nWhy the increase from the original 30%?\n\n13\n00:00:29,040 --> 00:00:31,790\n'Cause you may need to dilute it\nto award shares to new investors.\n\n14\n00:00:32,500 --> 00:00:34,750\n- I love working with business majors.\n- I'm telling you.\n\n15\n00:00:34,840 --> 00:00:35,880\n- Economics.\n- Right.\n\n16\n00:00:35,960 --> 00:00:40,880\nYou should know that Mark has already\ntaken his percentage from 60 down to 51.\n\n17\n00:00:42,180 --> 00:00:45,430\nWell, Mark doesn't care about money\nand he needs to be protected.\n\n18\n00:00:47,480 --> 00:00:49,810\nDustin Moskovitz owns 6.81%.\n\n19\n00:00:49,890 --> 00:00:52,730\nSean Parker, 6.47%.\n\n20\n00:00:54,980 --> 00:00:56,030\nI can live with that.\n\n21\n00:00:56,110 --> 00:00:57,940\nAnd Peter Thiel, 7%.\n\n22\n00:01:02,320 --> 00:01:04,620\nWould you like to use my pen?\n\n23\n00:01:04,870 --> 00:01:07,830\nEduardo? Eduardo?\n\n24\n00:01:09,580 --> 00:01:10,770\nCan you please repeat the question?\n\n25\n00:01:10,790 --> 00:01:13,060\nNo, it was an outrageously leading question\nthe first time around,\n\n26\n00:01:13,080 --> 00:01:14,270\nand now you want us to hear it twice?\n\n27\n00:01:14,290 --> 00:01:16,170\nYes. Would you read it back, please?\n\n28\n00:01:16,250 --> 00:01:17,300\nWell, go ahead.\n\n29\n00:01:17,380 --> 00:01:19,150\n\"Counsel: 'And when you\nsigned these documents,\n\n30\n00:01:19,170 --> 00:01:21,930\n\"'were you aware that you were signing\nyour own death certificate?'\"\n\n31\n00:01:22,010 --> 00:01:23,090\nNo.\n\n32\n00:01:27,520 --> 00:01:31,640\nIt was insanely stupid of me not to have\nmy own lawyers look over all the...\n\n33\n00:01:31,730 --> 00:01:34,900\nIn all honesty,\nI thought they were my lawyers.\n\n34\n00:01:38,150 --> 00:01:39,740\nI was your only friend.\n\n35\n00:01:41,660 --> 00:01:42,990\nYou had one friend.\n\n36\n00:01:47,830 --> 00:01:48,930\nMy father won't even look at me.\n\n37\n00:01:48,950 --> 00:01:54,040\nOkay, Eduardo, did Mr. Zuckerberg say\nanything to you after you signed the papers?\n\n38\n00:01:54,170 --> 00:01:57,170\nThere was a lot of handshaking,\na lot of congratulations.\n\n39\n00:01:58,340 --> 00:01:59,770\nHe'd already told me that he wouldn't be\n\n40\n00:01:59,800 --> 00:02:02,930\ncoming back to school\nfor at least a semester,\n\n41\n00:02:03,010 --> 00:02:05,760\nso we were saying goodbye for a while.\n\n42\n00:02:06,550 --> 00:02:07,870\nAnd then before I left he said...\n\n43\n00:02:07,890 --> 00:02:08,970\nBut you gotta come back.\n\n44\n00:02:09,060 --> 00:02:11,560\nSomewhere around the end of November\nor early December.\n\n45\n00:02:11,640 --> 00:02:14,160\nPeter wants to throw us an amazing party\nwhen we hit a million members.\n\n46\n00:02:14,190 --> 00:02:16,000\nIt's gonna be out of control.\nYou gotta come back for it.\n\n47\n00:02:16,020 --> 00:02:17,310\nA million members?\n\n48\n00:02:17,400 --> 00:02:18,570\nYeah.\n\n49\n00:02:19,070 --> 00:02:22,360\nRemember the algorithm\non the window at Kirkland?\n\n50\n00:02:23,280 --> 00:02:24,490\nYeah.\n\n", "sdh": "1\n00:00:00,420 --> 00:00:01,470\n[lawyer] Four documents.\n\n2\n00:00:01,550 --> 00:00:03,550\nThe first two are common stock\npurchase agreements,\n\n3\n00:00:03,590 --> 00:00:06,640\nallowing you to buy stock\nin the newly reincorporated Facebook,\n\n4\n00:00:06,720 --> 00:00:10,140\nas opposed to the old shares,\nwhich are now worthless.\n\n5\n00:00:10,230 --> 00:00:11,590\nThe third is an exchange agreement\n\n6\n00:00:11,640 --> 00:00:14,230\nallowing you to exchange\nthe old shares for new shares,\n\n7\n00:00:14,310 --> 00:00:16,570\nand then finally\na voter holding agreement.\n\n8\n00:00:16,650 --> 00:00:18,400\nHow many shares of stock will I own?\n\n9\n00:00:18,480 --> 00:00:21,650\nAh, 1,328,334.\n\n10\n00:00:21,740 --> 00:00:23,110\nJesus Christ.\n\n11\n00:00:23,200 --> 00:00:26,120\nThat represents a 34.4% ownership share.\n\n12\n00:00:26,620 --> 00:00:28,950\nWhy the increase from the original 30%?\n\n13\n00:00:29,040 --> 00:00:31,830\n'Cause you may need to dilute it\nto award shares to new investors.\n\n14\n00:00:32,500 --> 00:00:34,790\n- I love working with business majors.\n- I'm telling you.\n\n15\n00:00:34,880 --> 00:00:36,460\n- Economics.\n- Right.\n\n16\n00:00:36,540 --> 00:00:40,880\nYou should know that Mark has already\ntaken his percentage from 60 down to 51.\n\n17\n00:00:42,170 --> 00:00:45,390\nWell, Mark doesn't care about money\nand he needs to be protected.\n\n18\n00:00:47,470 --> 00:00:49,810\nDustin Moskovitz owns 6.81%.\n\n19\n00:00:49,890 --> 00:00:52,730\nSean Parker, 6.47%.\n\n20\n00:00:54,980 --> 00:00:55,980\nI can live with that.\n\n21\n00:00:56,060 --> 00:00:57,940\nAnd Peter Thiel, 7%.\n\n22\n00:01:01,690 --> 00:01:04,240\nWould you like to use my pen?\n\n23\n00:01:04,860 --> 00:01:08,120\n[Gretchen] Eduardo? Eduardo?\n\n24\n00:01:09,450 --> 00:01:10,850\nCan you please repeat the question?\n\n25\n00:01:10,910 --> 00:01:14,210\nIt was outrageously leading the first\ntime, now you want to hear it twice?\n\n26\n00:01:14,290 --> 00:01:16,170\nYes. Would you read it back, please?\n\n27\n00:01:16,250 --> 00:01:17,290\nWell, go ahead.\n\n28\n00:01:17,380 --> 00:01:19,590\n\"Counsel: 'And when you signed\nthese documents,\n\n29\n00:01:19,670 --> 00:01:22,070\n'were you aware you were signing\nyour own death certificate?\"\n\n30\n00:01:22,130 --> 00:01:23,130\nNo.\n\n31\n00:01:27,510 --> 00:01:31,640\nIt was insanely stupid of me not to have\nmy own lawyers look over all the...\n\n32\n00:01:31,720 --> 00:01:34,890\nIn all honesty,\nI thought they were my lawyers.\n\n33\n00:01:38,150 --> 00:01:39,690\nI was your only friend.\n\n34\n00:01:41,650 --> 00:01:43,280\nYou had one friend.\n\n35\n00:01:47,570 --> 00:01:48,850\nMy father won't even look at me.\n\n36\n00:01:48,910 --> 00:01:54,040\nOkay, Eduardo, did Mr. Zuckerberg say\nanything to you after you signed?\n\n37\n00:01:54,120 --> 00:01:57,170\nThere was a lot of handshaking,\na lot of congratulations.\n\n38\n00:01:58,330 --> 00:02:00,000\nHe'd already told me that he wouldn't be\n\n39\n00:02:00,090 --> 00:02:02,920\ncoming back to school\nfor at least a semester,\n\n40\n00:02:03,010 --> 00:02:05,260\nso we were saying goodbye for a while.\n\n41\n00:02:06,510 --> 00:02:07,830\nAnd then before I left he said...\n\n42\n00:02:07,880 --> 00:02:08,970\nBut you gotta come back.\n\n43\n00:02:09,050 --> 00:02:11,430\nSomewhere around the end of November\nor early December.\n\n44\n00:02:11,510 --> 00:02:14,280\nPeter wants to throw us an amazing party\nwhen we hit a million members.\n\n45\n00:02:14,310 --> 00:02:16,070\nGonna be out of control.\nYou gotta come back.\n\n46\n00:02:16,140 --> 00:02:17,310\nA million members?\n\n47\n00:02:17,390 --> 00:02:18,560\nYeah.\n\n48\n00:02:19,060 --> 00:02:22,480\nRemember the algorithm\non the window at Kirkland?\n\n49\n00:02:23,280 --> 00:02:24,480\nYeah.\n\n", "screenplay": "{\"screenplay_scene_169\": \"<scene>\\n    <stage_direction>INT. FACEBOOK OFFICE - DAY</stage_direction>\\n    <scene_description>A glass conference room in the corner of a glass bullpen on a high floor of a high rise. Cartons are being unpacked, computers are everywhere along with bags of potato chips and boxes of cereal. In the conference room, EDUARDO is sitting with three LAWYERS at a round, glass table and documents have been put out in front of him. We can see through the glass that MARK is working at a computer nearby. SEAN is also hovering in the background.</scene_description>\\n    <character>LAWYER</character>\\n    <dialogue>Four documents. The first two are common stock purchase agreements allowing you to buy stock in the newly re-incorporated Facebook as opposed to the old shares which are now worthless. The third is the exchange agreement, allowing you to exchange the old shares for new shares and then finally a voter holding agreement.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>How many shares of stock will I own?</dialogue>\\n    <character>LAWYER</character>\\n    <dialogue>1,328,334.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Jesus Christ.</dialogue>\\n    <character>LAWYER</character>\\n    <dialogue>That represents a 34.4% ownership share. Why the increase from the original 30%?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Because you may need to dilute it to award shares to new investors.</dialogue>\\n    <character>LAWYER</character>\\n    <dialogue>I like working with business majors.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Economics.</dialogue>\\n    <character>LAWYER #2</character>\\n    <dialogue>You should know that Mark's already taken his percentage from 60 down to 51.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Mark doesn't care about money and he needs to be protected.</dialogue>\\n    <character>LAWYER</character>\\n    <dialogue>Dustin Moskovitz owns 6.81%, Sean Parker 6.47%--</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>I can live with that.</dialogue>\\n    <character>LAWYER</character>\\n    <dialogue>And Peter Theil 7%. Would you like to use my pen?</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\", \"screenplay_scene_170\": \"<scene>\\n    <stage_direction>INT. FIRST DEPOSITION ROOM - EVENING</stage_direction>\\n    <scene_description>It's dusk now and the sky outside the room is turning purple. EDUARDO seems lost in thought.</scene_description>\\n    <character>GRETCHEN</character>\\n    <parenthetical>(helping)</parenthetical>\\n    <dialogue>Eduardo?</dialogue>\\n    <scene_description>EDUARDO looks up.</scene_description>\\n    <character>EDUARDO</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Could you please repeat the question?</dialogue>\\n    <character>SY</character>\\n    <dialogue>No. It was an outrageously leading question the first time around and now you want us to hear it again?</dialogue>\\n    <character>GRETCHEN</character>\\n    <dialogue>Yes, would you read it back, please.</dialogue>\\n    <character>SY</character>\\n    <dialogue>Well, go ahead.</dialogue>\\n    <character>COURT REPORTER</character>\\n    <dialogue>Counsel: \\\"And when you signed these documents, were you aware that you were signing your own death certificate?\\\"</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>No.</dialogue>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>It was insanely stupid of me not to have my own lawyers look over all the...the, uh...in all honesty I thought they were my lawyers.</dialogue>\\n    <parenthetical>(then to MARK)</parenthetical>\\n    <dialogue>I was your only friend. You had one friend.</dialogue>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>My father won't even look at me.</dialogue>\\n    <character>GRETCHEN</character>\\n    <parenthetical>(beat)</parenthetical>\\n    <dialogue>Okay. Eduardo? Did Mr. Zuckerberg say anything to you after you signed the papers?</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>There was a lot of handshaking and a lot of congratulations. He'd already told me that he wouldn't be coming back to school for at least a semester so we were saying goodbye for a while. And then before I left, he said--</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\", \"screenplay_scene_171\": \"<scene>\\n    <stage_direction>INT. FACEBOOK OFFICE - DAY</stage_direction>\\n    <character>MARK</character>\\n    <dialogue>But you gotta come back. Somewhere around the end of November/early December. Peter wants to throw us an amazing party when we hit a million members, it's gonna be out of control. You've gotta come back for it.</dialogue>\\n    <character>EDUARDO</character>\\n    <parenthetical>(quietly can't believe it)</parenthetical>\\n    <dialogue>A million members.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Remember the algorithm on the window at Kirkland?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>EDUARDO</character>\\n    <dialogue>Yeah, I'll be here.</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "5884.83", "video_duration": "148.93"}
{"rottentomatoes_id": "the-social-network", "imdb_id": "tt1285016", "video_id": "XW8ibMVLyUUG", "audio_description_us": "1\n00:00:05,300 --> 00:00:07,880\nHe faces an open laptop and punches a few keys.\n\n2\n00:00:13,060 --> 00:00:14,720\nHe turns to face the young attorney\n\n3\n00:00:14,720 --> 00:00:16,520\nand his melancholy scowl fades.\n\n4\n00:00:22,810 --> 00:00:24,230\nMark nods understandingly\n\n5\n00:00:24,230 --> 00:00:25,610\nand briefly works his mouth.\n\n6\n00:00:25,820 --> 00:00:26,900\nHe turns away shyly,\n\n7\n00:00:26,900 --> 00:00:27,950\nshuts his laptop,\n\n8\n00:00:27,950 --> 00:00:29,110\nthen faces her again.\n\n9\n00:00:42,540 --> 00:00:43,290\nMark sighs\n\n10\n00:00:43,290 --> 00:00:45,170\nand drums his laptop with his fingers.\n\n11\n00:01:39,640 --> 00:01:40,980\nMark taps his laptop.\n\n12\n00:02:05,040 --> 00:02:06,080\nMarylin heads out.\n\n13\n00:02:08,590 --> 00:02:12,050\nAs Mark opens his laptop, the young attorney\npauses and turns back.\n\n14\n00:02:14,260 --> 00:02:15,890\nHe faces her with a furrowed brow.\n\n15\n00:02:18,010 --> 00:02:19,640\nMarylin regards him sympathetically,\n\n16\n00:02:19,640 --> 00:02:20,850\nthen turns away abruptly\n\n17\n00:02:20,850 --> 00:02:22,560\nand pushes out through a glass door.\n\n18\n00:02:22,850 --> 00:02:26,060\nShouldering her bag,\nshe crosses a reception area outside.\n\n19\n00:02:26,310 --> 00:02:29,020\nMark lingers at the conference table,\nstaring distantly.\n\n20\n00:02:29,270 --> 00:02:30,360\nHe shifts his gaze,\n\n21\n00:02:30,360 --> 00:02:30,820\nblinks,\n\n22\n00:02:30,820 --> 00:02:34,820\nthen eyes his laptop screen,\nhis jaw tensely screwed to one side.\n\n", "audio_description_uk": "1\n00:00:05,920 --> 00:00:07,420\nEveryone else has gone.\n\n2\n00:00:13,600 --> 00:00:14,390\nShe nods.\n\n3\n00:00:14,640 --> 00:00:16,350\nMark looks up from his laptop.\n\n4\n00:00:24,070 --> 00:00:25,610\nMark nods and looks thoughtful.\n\n5\n00:00:26,070 --> 00:00:27,360\nHe opens his mouth to speak,\n\n6\n00:00:27,360 --> 00:00:29,530\nthen sighs and closes his laptop.\n\n7\n00:00:43,000 --> 00:00:45,050\nMark drums his fingers on his laptop.\n\n8\n00:01:55,660 --> 00:01:56,490\nHe considers.\n\n9\n00:02:08,920 --> 00:02:11,170\nMarylin strolls to the glass door behind him,\n\n10\n00:02:11,170 --> 00:02:12,010\nand turns.\n\n11\n00:02:19,470 --> 00:02:21,230\nHe gazes at her over his shoulder.\n\n12\n00:02:21,890 --> 00:02:27,360\nMarylin turns and leaves, slipping her handbag over\none shoulder as she trots out through the adjacent office.\n\n13\n00:02:28,110 --> 00:02:29,440\nMark looks thoughtful.\n\n", "subtitles": "1\n00:00:00,540 --> 00:00:02,210\nWe're done for the day.\n\n2\n00:00:02,300 --> 00:00:04,880\nYeah. Yeah, I was just sitting here.\n\n3\n00:00:08,550 --> 00:00:10,470\nWhat happened to Sean?\n\n4\n00:00:10,800 --> 00:00:13,220\nHe still owns 7% of the company.\n\n5\n00:00:17,390 --> 00:00:21,650\nAll you had all day was that salad.\nDo you wanna get something to eat?\n\n6\n00:00:21,730 --> 00:00:23,070\nI can't.\n\n7\n00:00:30,740 --> 00:00:31,990\nI'm not a bad guy.\n\n8\n00:00:32,080 --> 00:00:33,580\nI know that.\n\n9\n00:00:33,950 --> 00:00:37,460\nWhen there's emotional testimony,\nI assume 85% of it is exaggeration.\n\n10\n00:00:37,580 --> 00:00:39,040\nAnd the other 15?\n\n11\n00:00:39,120 --> 00:00:42,250\nPerjury. Creation myths need a devil.\n\n12\n00:00:45,920 --> 00:00:47,260\nWhat happens now?\n\n13\n00:00:48,430 --> 00:00:52,640\nSy and the others are having a steak\non University Avenue.\n\n14\n00:00:53,140 --> 00:00:54,660\nThen they'll come back up to the office,\n\n15\n00:00:54,680 --> 00:00:57,980\nand start working on a\nsettlement agreement to present to you.\n\n16\n00:00:58,100 --> 00:00:59,980\n- They're gonna settle?\n- Oh, yeah.\n\n17\n00:01:00,600 --> 00:01:03,440\n- And you're gonna have to pay a little extra.\n- Why?\n\n18\n00:01:03,520 --> 00:01:05,690\nSo that these guys sign\na nondisclosure agreement.\n\n19\n00:01:05,780 --> 00:01:08,840\nThey say one unflattering word about you\nin public, you own their wife and kids.\n\n20\n00:01:08,860 --> 00:01:10,070\nI invented Facebook.\n\n21\n00:01:10,160 --> 00:01:12,280\nI'm talking about a jury.\n\n22\n00:01:12,530 --> 00:01:15,120\nI specialize in voir dire, jury selection.\n\n23\n00:01:15,200 --> 00:01:17,580\nWhat a jury sees\nwhen they look at a defendant.\n\n24\n00:01:17,660 --> 00:01:20,040\nClothes, hair, speaking style, likeability...\n\n25\n00:01:20,120 --> 00:01:21,330\nLikeability.\n\n26\n00:01:21,460 --> 00:01:24,290\nI've been licensed to practice law\nfor all of 20 months,\n\n27\n00:01:24,380 --> 00:01:25,750\nand I could get a jury to believe\n\n28\n00:01:25,840 --> 00:01:28,550\nthat you planted the story\nabout Eduardo and the chicken.\n\n29\n00:01:28,630 --> 00:01:29,720\nWatch what else.\n\n30\n00:01:30,220 --> 00:01:32,300\nWhy weren't you at Sean's sorority party\nthat night?\n\n31\n00:01:33,050 --> 00:01:35,320\n- You think I'm the one that called the police?\n- Doesn't matter.\n\n32\n00:01:35,350 --> 00:01:37,490\nI asked the question,\nnow everybody's thinking about it.\n\n33\n00:01:37,520 --> 00:01:39,640\nYou've lost your jury in the first 10 minutes.\n\n34\n00:01:41,310 --> 00:01:42,440\nFarm animals.\n\n35\n00:01:42,520 --> 00:01:43,690\nYeah.\n\n36\n00:01:44,690 --> 00:01:47,230\nI was drunk and angry and stupid.\n\n37\n00:01:47,320 --> 00:01:49,570\n- And blogging.\n- And blogging.\n\n38\n00:01:50,700 --> 00:01:52,030\nPay them.\n\n39\n00:01:52,320 --> 00:01:53,530\nIn the scheme of things,\n\n40\n00:01:53,990 --> 00:01:55,320\nit's a speeding ticket.\n\n41\n00:01:57,330 --> 00:01:59,700\nThat's what Sy will tell you tomorrow.\n\n42\n00:01:59,830 --> 00:02:02,810\nDo you think anybody would mind if I stayed\nand used the computer for a minute?\n\n43\n00:02:02,830 --> 00:02:04,350\nI can't imagine it would be a problem.\n\n44\n00:02:04,420 --> 00:02:05,670\nThanks.\n\n45\n00:02:06,500 --> 00:02:08,840\nI appreciate your help today.\n\n46\n00:02:12,680 --> 00:02:14,930\nYou're not an asshole, Mark.\n\n47\n00:02:16,180 --> 00:02:18,680\nYou're just trying so hard to be.\n\n", "sdh": "1\n00:00:00,540 --> 00:00:02,210\nWe're done for the day.\n\n2\n00:00:02,290 --> 00:00:04,840\nYeah. Yeah, I was just sitting here.\n\n3\n00:00:08,760 --> 00:00:10,130\nWhat happened to Sean?\n\n4\n00:00:10,880 --> 00:00:13,220\nHe still owns 7% of the company.\n\n5\n00:00:17,390 --> 00:00:21,640\nAll you had all day was that salad.\nDo you wanna get something to eat?\n\n6\n00:00:21,730 --> 00:00:23,060\nI can't.\n\n7\n00:00:30,740 --> 00:00:32,030\nI'm not a bad guy.\n\n8\n00:00:32,110 --> 00:00:33,780\nI know that.\n\n9\n00:00:33,860 --> 00:00:37,490\nWhen there's emotional testimony,\nI assume 85% of it is exaggeration.\n\n10\n00:00:37,580 --> 00:00:39,080\nAnd the other 157\n\n11\n00:00:39,160 --> 00:00:42,500\nPerjury. Creation myths need a devil.\n\n12\n00:00:45,920 --> 00:00:47,210\nWhat happens now?\n\n13\n00:00:48,420 --> 00:00:53,050\nSy and the others are having a steak\non University Avenue.\n\n14\n00:00:53,130 --> 00:00:54,730\nThen they'll come back up to the office,\n\n15\n00:00:54,800 --> 00:00:58,010\nand start working on a settlement\nagreement to present to you.\n\n16\n00:00:58,100 --> 00:00:59,970\n- They're gonna settle?\n- Oh, yeah.\n\n17\n00:01:00,600 --> 00:01:03,480\n- And you're gonna have to pay extra.\n- Why?\n\n18\n00:01:03,560 --> 00:01:05,810\nSo that these guys sign\na nondisclosure agreement.\n\n19\n00:01:05,900 --> 00:01:09,000\nThey say one unflattering word about you\nin public, you own their wife and kids.\n\n20\n00:01:09,030 --> 00:01:10,070\nI invented Facebook.\n\n21\n00:01:10,150 --> 00:01:12,450\nI'm talking about a jury.\n\n22\n00:01:12,530 --> 00:01:15,110\nI specialize in voir dire, jury selection.\n\n23\n00:01:15,200 --> 00:01:17,580\nWhat a jury sees\nwhen they look at a defendant.\n\n24\n00:01:17,660 --> 00:01:20,080\nClothes, hair, speaking style,\nlikeability...\n\n25\n00:01:20,160 --> 00:01:21,370\nLikeability.\n\n26\n00:01:21,450 --> 00:01:24,290\nI've been licensed to practice law\nfor all of 20 months,\n\n27\n00:01:24,370 --> 00:01:25,750\nand I could get a jury to believe\n\n28\n00:01:25,830 --> 00:01:28,540\nthat you planted the story\nabout Eduardo and the chicken.\n\n29\n00:01:28,630 --> 00:01:29,710\nWatch what else.\n\n30\n00:01:29,800 --> 00:01:32,300\nWhy weren't you at Sean's sorority party\nthat night?\n\n31\n00:01:33,050 --> 00:01:35,470\n- You think I called the police?\n- Doesn't matter.\n\n32\n00:01:35,550 --> 00:01:37,740\nI asked the question,\nnow everybody's thinking about it.\n\n33\n00:01:37,760 --> 00:01:39,640\nYou've lost your jury\nin the first ten minutes.\n\n34\n00:01:41,310 --> 00:01:42,480\nFarm animals.\n\n35\n00:01:42,560 --> 00:01:43,680\nYeah.\n\n36\n00:01:44,690 --> 00:01:47,190\nI was drunk and angry and stupid.\n\n37\n00:01:47,270 --> 00:01:49,320\n- And blogging...\n- And blogging.\n\n38\n00:01:50,690 --> 00:01:52,030\nPay them.\n\n39\n00:01:52,110 --> 00:01:53,570\nIn the scheme of things,\n\n40\n00:01:53,650 --> 00:01:55,320\nit's a speeding ticket.\n\n41\n00:01:57,320 --> 00:01:59,740\nThat's what Sy will tell you tomorrow.\n\n42\n00:01:59,830 --> 00:02:02,800\nYou think anybody would mind if I stayed\nand used the computer for a minute?\n\n43\n00:02:02,830 --> 00:02:04,350\nI can't imagine it would be a problem.\n\n44\n00:02:04,410 --> 00:02:05,660\nThanks.\n\n45\n00:02:06,500 --> 00:02:08,830\nI appreciate your help today.\n\n46\n00:02:12,710 --> 00:02:14,550\nYou're not an asshole, Mark.\n\n47\n00:02:15,970 --> 00:02:18,140\nYou're just trying so hard to be.\n\n", "screenplay": "{\"screenplay_scene_188\": \"<scene>\\n    <stage_direction>INT. FIRST DEPOSITION ROOM - NIGHT</stage_direction>\\n    <scene_description>MARK is sitting alone in the conference room. The only one left is MARYLIN, whose voice we just heard. The lights of the San Francisco skyline fill the huge picture windows.</scene_description>\\n    <character>MARYLIN</character>\\n    <dialogue>Mark?</dialogue>\\n    <scene_description>MARK looks up at her...</scene_description>\\n    <character>MARYLIN</character>\\n    <dialogue>We're done for the day.</dialogue>\\n    <character>MARK</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Yeah. Yeah. I was just sitting here.</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>What happened to Sean?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>He still owns 7% of the company. All you had all day was that salad. You want to get something to eat?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>I can't.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I'm not a bad guy.</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>I know that. When's there's emotional testimony I assume 85% of it is exaggeration.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>And the other 15%?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>Perjury. Creation myths need a devil.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>What happens now?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>Sy and the others are having a steak on University Ave. Then they'll come back up to the office and start working on a settlement agreement to present to you.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>They're gonna settle?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>Oh yeah. And you're gonna have to pay a little extra.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Why?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>So that these guys sign a non-disclosure agreement. They say one unflattering word about you in public and you own their wife and kids.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I invented Facebook.</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>I'm talking about a jury. I specialize in voir dire--jury selection. And what the jury sees when they look at the defendant. Clothes, hair, speaking style, likability--</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Likability?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>I've been licensed to practice law for all of 20 months and I could get a jury to believe you planted the story about Eduardo and the chicken. Watch what else. Why weren't you at Sean's sorority party that night?</dialogue>\\n    <character>MARK</character>\\n    <dialogue>You think I'm the one who called the police?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>Doesn't matter. I asked the question and now everybody's thinking about it. You've lost your jury in the first 10 minutes.</dialogue>\\n    <character>MARK</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Farm animals?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>I was drunk and angry and stupid.</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>And blogging.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>And blogging.</dialogue>\\n    <character>MARYLIN</character>\\n    <parenthetical>(pause)</parenthetical>\\n    <dialogue>Pay them. In the scheme of things it's a speeding ticket. That's what Sy will tell you tomorrow.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Do you think anybody would mind if I stayed and used the computer for a minute?</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>I can't imagine it would be a problem.</dialogue>\\n    <character>MARK</character>\\n    <dialogue>Thanks. I appreciate your help today.</dialogue>\\n    <character>MARYLIN</character>\\n    <dialogue>You're not an asshole, Mark. You're just trying so hard to be.</dialogue>\\n    <scene_description>MARYLIN, who's been putting on her coat, takes her briefcase and exits. MARK sits down at the computer. He logs on to Facebook. He types a name in the search box: \\\"Erica Albright\\\". Erica's name and picture come up, along with Boston University, '07. Mark smiles. She's on Facebook. He moves the mouse back and forth between two boxes: \\\"Send a Message\\\" and \\\"Add as a Friend\\\". He clicks on \\\"Add as a Friend\\\". A box comes up that reads: \\\"Your request to add Erica Albright as a friend has been sent.\\\" Then MARK clicks to his homepage and waits for the response. And waits...then hits \\\"Refresh\\\". TITLE: Cameron and Tyler Winklevoss received a settlement of 65 million dollars and signed a non-disclosure agreement. They rowed for the U.S. Olympic Team in Beijing and placed sixth. MARK is still waiting...then hits \\\"Refresh\\\". Eduardo Saverin received an unknown settlement. His name has been restored to the Facebook masthead as a Co-founder. MARK is settling into his chair. He'll wait all night if he has to. Facebook has 500 million members in 207 countries. It's currently valued at 25 billion dollars. Mark Zuckerberg is the youngest billionaire in the world. MARK waits... And waits... And we SNAP TO BLACK ROLL MAIN TITLE</scene_description>\\n  </scene>\"}", "movie_duration": "7241.38", "video_start": "6679.55", "video_duration": "154.79"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "zlZYqzRVl2J1", "audio_description_us": "1\n00:00:00,790 --> 00:00:01,960\nBjurman opens a door\n\n2\n00:00:01,960 --> 00:00:03,170\nand steps into the hall.\n\n3\n00:00:05,760 --> 00:00:10,720\nClutching the strap of her shoulder bag in her fists,\nshe enters a tastefully decorated apartment.\n\n4\n00:00:11,050 --> 00:00:12,390\nBjurman shuts the door\n\n5\n00:00:12,390 --> 00:00:14,220\nand positions himself in front of it.\n\n6\n00:00:18,560 --> 00:00:19,390\nHe smiles.\n\n7\n00:00:19,390 --> 00:00:20,770\nSalander lowers her gaze.\n\n8\n00:00:23,860 --> 00:00:25,690\nBjurman starts to move past his ward,\n\n9\n00:00:25,690 --> 00:00:26,820\nthen stops in front of her.\n\n10\n00:00:29,400 --> 00:00:31,070\nSalander avoids his gaze.\n\n11\n00:00:32,120 --> 00:00:34,700\nProceeding past her, he leads her down a hallway.\n\n12\n00:00:42,630 --> 00:00:44,290\nHe ushers her through a doorway.\n\n13\n00:00:44,550 --> 00:00:47,590\nIt leads to a room with a bed set against the far wall.\n\n14\n00:00:47,880 --> 00:00:50,380\nSalander sets her bag in a chair facing it.\n\n15\n00:00:50,590 --> 00:00:51,890\nShe removes her jacket.\n\n16\n00:00:52,220 --> 00:00:53,930\nBjurman starts to take it from her.\n\n17\n00:00:59,850 --> 00:01:00,940\nShe goes to the bed.\n\n18\n00:01:06,480 --> 00:01:07,730\nBjurman steps closer.\n\n19\n00:01:08,070 --> 00:01:11,030\nPerched on the bed's footboard,\nSalander avoids his gaze.\n\n20\n00:01:11,860 --> 00:01:13,240\nBjurman takes her hand.\n\n21\n00:01:13,370 --> 00:01:15,160\nHe slaps handcuffs on her wrist.\n\n22\n00:01:16,240 --> 00:01:18,160\nLooking up, Salander bolts for the door.\n\n23\n00:01:19,250 --> 00:01:21,750\nHer hand bumps it shut as Bjurman drags her back.\n\n24\n00:01:22,000 --> 00:01:23,460\nWe drift back down the hall.\n\n25\n00:01:23,790 --> 00:01:28,380\nIn the bedroom, a mirror reflects Bjurman\nwrestling Salander to the floor in a choke hold.\n\n26\n00:01:28,710 --> 00:01:30,380\nHer flailing leg kicks a chair.\n\n27\n00:01:30,720 --> 00:01:32,300\nWe drift further down the hall,\n\n", "audio_description_uk": "1\n00:00:05,920 --> 00:00:06,920\nShe walks past him\n\n2\n00:00:06,920 --> 00:00:08,220\nand goes into the apartment.\n\n3\n00:00:08,800 --> 00:00:10,300\nHe closes the door behind them\n\n4\n00:00:10,680 --> 00:00:12,180\nand she turns to face him.\n\n5\n00:00:24,230 --> 00:00:25,400\nHe steps over to her.\n\n6\n00:00:29,400 --> 00:00:30,450\nShe doesn't look at him.\n\n7\n00:00:31,030 --> 00:00:32,410\nHe walks away down a corridor\n\n8\n00:00:32,570 --> 00:00:33,490\nand she follows.\n\n9\n00:00:43,090 --> 00:00:44,460\nHe ushers her into a bedroom.\n\n10\n00:00:45,090 --> 00:00:46,260\nShe steps past him,\n\n11\n00:00:46,670 --> 00:00:47,590\nputs her bag down,\n\n12\n00:00:47,590 --> 00:00:48,920\nand starts to take her coat off.\n\n13\n00:00:52,340 --> 00:00:53,430\nHe makes to help her.\n\n14\n00:01:07,110 --> 00:01:09,030\nShe leans against the end of the bed.\n\n15\n00:01:09,900 --> 00:01:10,820\nHe steps up to her\n\n16\n00:01:10,820 --> 00:01:11,860\nand takes her hand,\n\n17\n00:01:12,660 --> 00:01:15,200\nthen suddenly claps a handcuff on her wrist.\n\n18\n00:01:19,620 --> 00:01:20,580\nShe tries to run,\n\n19\n00:01:20,660 --> 00:01:21,580\nbut he pulls her back.\n\n20\n00:01:24,920 --> 00:01:26,250\nHe wrestles her to the floor.\n\n21\n00:01:26,500 --> 00:01:28,880\nThe closed bedroom door recedes into the distance\n\n22\n00:01:29,010 --> 00:01:31,090\nand the screen fades to black.\n\n", "subtitles": "1\n00:00:03,390 --> 00:00:05,240\nLisbeth.\n\n2\n00:00:05,390 --> 00:00:06,760\nCome on in.\n\n3\n00:00:15,790 --> 00:00:17,480\nYou like it? It's nice.\n\n4\n00:00:17,870 --> 00:00:19,000\nIt's home.\n\n5\n00:00:20,790 --> 00:00:22,560\nWhat do you need\nmoney for this time?\n\n6\n00:00:22,710 --> 00:00:23,790\nFood.\n\n7\n00:00:28,070 --> 00:00:29,360\nHow are you?\n\n8\n00:00:35,590 --> 00:00:38,480\nI'm so glad you decided\nto come and visit.\n\n9\n00:00:39,070 --> 00:00:40,680\nI just want my money.\n\n10\n00:00:40,830 --> 00:00:43,520\nWell, let's see if we can\nhelp you out with that.\n\n11\n00:00:54,590 --> 00:00:56,240\nWait.\n\n12\n00:00:56,590 --> 00:00:58,880\nIs there a problem?\n\n13\n00:00:59,070 --> 00:01:01,040\nI just want to know,\n\n14\n00:01:01,270 --> 00:01:04,200\nam I going to have to do this\nevery time I need money to eat?\n\n15\n00:01:04,470 --> 00:01:07,160\nYou're so cute\nwhen you're surly.\n\n", "sdh": "1\n00:00:03,380 --> 00:00:05,230\nLisbeth.\n\n2\n00:00:05,380 --> 00:00:06,750\nCome on in.\n\n3\n00:00:15,780 --> 00:00:17,470\nYou like it? It's nice.\n\n4\n00:00:17,860 --> 00:00:18,990\nIt's home.\n\n5\n00:00:20,780 --> 00:00:22,550\nWhat do you need\nmoney for this time?\n\n6\n00:00:22,700 --> 00:00:23,780\nFood.\n\n7\n00:00:28,060 --> 00:00:29,350\nHow are you?\n\n8\n00:00:35,580 --> 00:00:38,470\nI'm so glad you decided\nto come and visit.\n\n9\n00:00:39,060 --> 00:00:40,670\nI just want my money.\n\n10\n00:00:40,820 --> 00:00:43,510\nWell, let's see if we can\nhelp you out with that.\n\n11\n00:00:54,580 --> 00:00:56,230\nWait.\n\n12\n00:00:56,580 --> 00:00:58,870\nIs there a problem?\n\n13\n00:00:59,060 --> 00:01:01,030\nI just want to know,\n\n14\n00:01:01,260 --> 00:01:04,190\nam I going to have to do this\nevery time I need money to eat?\n\n15\n00:01:04,460 --> 00:01:07,150\nYou're so cute\nwhen you're surly.\n\n16\n00:01:17,500 --> 00:01:19,500\n[GRUNTING]\n\n17\n00:01:19,660 --> 00:01:21,660\n[LISBETH GRUNTING AND SCREAMING]\n\n18\n00:01:26,420 --> 00:01:28,550\n[LISBETH GRUNTING AND SCREAMING]\n\n", "screenplay": "{\"screenplay_scene_107\": \"<scene>\\n    <stage_direction>EXT. BJURMAN'S APARTMENT BUILDING - NIGHT</stage_direction>\\n    <scene_description>Outside the building 's entrance with a backpack slung over her shoulder , Salander presses an apartment button . As she waits , she notes there 's no security camera .</scene_description>\\n    <character>BJURMAN</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>Yes?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>It's me.</dialogue>\\n    <scene_description>The door buzzes . She pushes it open .</scene_description>\\n  </scene>\", \"screenplay_scene_109\": \"<scene>\\n    <stage_direction>INT. BJURMAN'S APARTMENT - CONTINUOUS</stage_direction>\\n    <scene_description>She takes in the layout quickly : living room , dining area , kitchen , short hallway to a closed door .</scene_description>\\n    <character>BJURMAN</character>\\n    <dialogue>Like it?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>It's nice.</dialogue>\\n    <character>BJURMAN</character>\\n    <dialogue>It's home.</dialogue>\\n    <parenthetical>( pause . )</parenthetical>\\n    <dialogue>So, what do you need money for this time? Grand Theft Auto 5?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>Food.</dialogue>\\n    <scene_description>He smiles . Steps toward her . Lifts her chin .</scene_description>\\n    <character>BJURMAN</character>\\n    <dialogue>How are you? Been thinking about last time? Decided you wanted to see me again?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>I just want my money.</dialogue>\\n    <character>BJURMAN</character>\\n    <dialogue>Well, let's see if I can help you out with that.</dialogue>\\n    <scene_description>He walks to the hallway . She does n't . He holds out his hand . She finally joins him . As they step into the bedroom , he roughly pushes her toward the bed .</scene_description>\\n    <character>SALANDER</character>\\n    <dialogue>Wait.</dialogue>\\n    <scene_description>She puts her backpack and leather jacket on a chair . Sits on the edge of the bed . He stands over her . She knows what she 's supposed to do , but seems unable to .</scene_description>\\n    <character>BJURMAN</character>\\n    <dialogue>Is there a problem?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>I just want to know, am I going to have to do this every time I need money to eat?</dialogue>\\n    <character>BJURMAN</character>\\n    <dialogue>It's so cute when you do that surly thing. Take my hand</dialogue>\\n    <scene_description>She reaches out to it and before she can react , there 's a handcuff around the wrist . He quickly cuffs the other to his own wrist . This is bad . She tries to get out . He gets her in a strangle hold and chokes her into unconsciousness .</scene_description>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "3103.01", "video_duration": "92.39"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "z6AeY_y7Casa", "audio_description_us": "1\n00:00:00,040 --> 00:00:02,090\nThe two young women head to the front door.\n\n2\n00:00:04,380 --> 00:00:05,920\nSalander opens the door.\n\n3\n00:00:05,960 --> 00:00:07,630\nHer exotic lover steps out,\n\n4\n00:00:07,670 --> 00:00:09,510\nthen turns back and gives her a kiss.\n\n5\n00:00:15,890 --> 00:00:17,680\nSalander ambles toward the kitchen,\n\n6\n00:00:17,680 --> 00:00:18,390\nthen stops\n\n7\n00:00:18,390 --> 00:00:19,730\nand switches on her taser.\n\n8\n00:00:39,080 --> 00:00:41,630\nShe grabs a cigarette from an ashtray and a lighter.\n\n9\n00:00:41,710 --> 00:00:42,840\nBlomkvist takes a seat.\n\n10\n00:01:25,170 --> 00:01:26,500\nHe slides a plate toward her.\n\n11\n00:01:35,550 --> 00:01:36,140\nLater...\n\n", "audio_description_uk": "1\n00:00:04,960 --> 00:00:06,300\nThe girls go to the door.\n\n2\n00:00:07,010 --> 00:00:09,590\nBefore leaving, the girl gives Elizabeth a kiss.\n\n3\n00:00:16,480 --> 00:00:19,440\nLisbeth turns to face Mikael, who's still in the kitchen.\n\n4\n00:00:39,870 --> 00:00:41,580\nShe gets a cigarette and a lighter.\n\n5\n00:01:35,470 --> 00:01:36,510\nShe's interested.\n\n", "subtitles": "1\n00:00:03,060 --> 00:00:04,950\nBye. Bye.\n\n2\n00:00:11,980 --> 00:00:13,070\nBye.\n\n3\n00:00:13,220 --> 00:00:14,270\nSorry. It's okay.\n\n4\n00:00:20,980 --> 00:00:23,390\nI guess I must have alarmed\nyou, turning up like that.\n\n5\n00:00:23,540 --> 00:00:25,870\nIf you touch me, I'll\nmore than alarm you.\n\n6\n00:00:26,020 --> 00:00:27,510\nThat won't be necessary.\n\n7\n00:00:28,660 --> 00:00:31,470\nYour report, very detailed.\n\n8\n00:00:31,660 --> 00:00:34,670\nBut for me, it wasn't very entertaining.\nIt wasn't meant to be.\n\n9\n00:00:34,820 --> 00:00:37,510\nWhen I write about people, I\ntry to entertain the reader.\n\n10\n00:00:37,660 --> 00:00:39,670\nWennerström wasn't\nentertained much.\n\n11\n00:00:43,100 --> 00:00:47,080\nUh, your boss, Armansky,\n\n12\n00:00:47,260 --> 00:00:50,670\nyeah, he tells me you only\ndo jobs that interest you,\n\n13\n00:00:50,820 --> 00:00:53,350\nso I suppose I\nshould be flattered.\n\n14\n00:00:54,100 --> 00:00:55,830\nYou gonna sit down?\n\n15\n00:00:56,620 --> 00:01:02,470\nHe also says that you're the one he\ngoes to when the job is, um, sensitive.\n\n16\n00:01:02,620 --> 00:01:06,550\nThat's the word he used, \"sensitive\n.\" I'm gonna use \"illegal,\"\n\n17\n00:01:06,740 --> 00:01:09,870\nbecause that's what it was when\nyou hacked into my computer.\n\n18\n00:01:10,020 --> 00:01:12,990\nNo, I'm not gonna do anything about that.\nI could, but I won't.\n\n19\n00:01:13,140 --> 00:01:15,800\nWhat I'm gonna do is I'm\ngonna tell you a story,\n\n20\n00:01:15,940 --> 00:01:19,710\nand if it entertains you, maybe you'll\ndecide to help me research further.\n\n21\n00:01:19,860 --> 00:01:23,030\nAnd if not, I'll do the washing\nup and you'll never see me again.\n\n22\n00:01:24,140 --> 00:01:26,110\nHere, you should eat that.\n\n23\n00:01:26,820 --> 00:01:28,350\nWhat kind of research?\n\n24\n00:01:28,860 --> 00:01:30,990\nLisbeth...\nOh, can I call you Lisbeth?\n\n25\n00:01:32,860 --> 00:01:35,070\nI want you to help me\ncatch a killer of women.\n\n", "sdh": "1\n00:00:03,050 --> 00:00:04,940\nMIKAEL: Bye. Bye.\n\n2\n00:00:11,970 --> 00:00:13,060\nBye.\n\n3\n00:00:13,210 --> 00:00:14,260\nSorry. It's okay.\n\n4\n00:00:20,970 --> 00:00:23,380\nI guess I must have alarmed\nyou, turning up like that.\n\n5\n00:00:23,530 --> 00:00:25,860\nIf you touch me, I'll\nmore than alarm you.\n\n6\n00:00:26,010 --> 00:00:27,500\nThat won't be necessary.\n\n7\n00:00:28,650 --> 00:00:31,460\nYour report, very detailed.\n\n8\n00:00:31,650 --> 00:00:34,660\nBut for me, it wasn't very entertaining.\nIt wasn't meant to be.\n\n9\n00:00:34,810 --> 00:00:37,500\nWhen I write about people, I\ntry to entertain the reader.\n\n10\n00:00:37,650 --> 00:00:39,660\nWennerström wasn't\nentertained much.\n\n11\n00:00:43,090 --> 00:00:47,070\nUh, your boss, Armansky,\n\n12\n00:00:47,250 --> 00:00:50,660\nyeah, he tells me you only\ndo jobs that interest you,\n\n13\n00:00:50,810 --> 00:00:53,340\nso I suppose I\nshould be flattered.\n\n14\n00:00:54,090 --> 00:00:55,820\nYou gonna sit down?\n\n15\n00:00:56,610 --> 00:01:02,460\nHe also says that you're the one he\ngoes to when the job is, um, sensitive.\n\n16\n00:01:02,610 --> 00:01:06,540\nThat's the word he used, \"sensitive\n.\" I'm gonna use \"illegal,\"\n\n17\n00:01:06,730 --> 00:01:09,860\nbecause that's what it was when\nyou hacked into my computer.\n\n18\n00:01:10,010 --> 00:01:12,980\nNo, I'm not gonna do anything about that.\nI could, but I won't.\n\n19\n00:01:13,130 --> 00:01:15,790\nWhat I'm gonna do is I'm\ngonna tell you a story,\n\n20\n00:01:15,930 --> 00:01:19,700\nand if it entertains you, maybe you'll\ndecide to help me research further.\n\n21\n00:01:19,850 --> 00:01:23,020\nAnd if not, I'll do the washing\nup and you'll never see me again.\n\n22\n00:01:24,130 --> 00:01:26,100\nHere, you should eat that.\n\n23\n00:01:26,810 --> 00:01:28,340\nWhat kind of research?\n\n24\n00:01:28,850 --> 00:01:30,980\nLisbeth...\nOh, can I call you Lisbeth?\n\n25\n00:01:32,850 --> 00:01:35,060\nI want you to help me\ncatch a killer of women.\n\n", "screenplay": "{\"screenplay_scene_151\": \"<scene>\\n    <stage_direction>INT. SALANDER'S APARTMENT - LATER</stage_direction>\\n    <scene_description>Blomkvist , plunging a French press , watches as the girlfriend lets herself out . In the bedroom , Salander finishes getting dressed , sticks her Taser in the back pocket of her jeans and comes out to find a table setting that 's more formal than she , or anyone who lives alone , is used to .</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>You're awake. Good. Breakfast is ready.</dialogue>\\n    <scene_description>He pours her , and then himself , coffee .</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>I guess I alarmed you showing up like this.</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>If you touch me, I'll more than alarm you.</dialogue>\\n    <character>BLOMKVIST</character>\\n    <dialogue>That wo n't be necessary.</dialogue>\\n    <scene_description>He smiles . His eyes are not unkind . As he helps himself to one of the bagels -</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>Your report on me was quite detailed but for me not very entertaining.</dialogue>\\n    <scene_description>A copy of it sits next to his plate .</scene_description>\\n    <character>SALANDER</character>\\n    <dialogue>It was n't meant to be.</dialogue>\\n    <character>BLOMKVIST</character>\\n    <dialogue>When I write about people, I try to entertain the reader.</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>Wennerstrom was n't entertained.</dialogue>\\n    <scene_description>Blomkvist lets it go .</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>Your boss Armansky tells me you only work on things that interest you. I guess I should be flattered. He also says you're the one he goes to for jobs that are, ` sensitive' is the word he used. I'll use ` illegal,' since that what it was when you hacked into my computer.</dialogue>\\n    <parenthetical>( they study each other . )</parenthetical>\\n    <dialogue>I'm not going to do anything about that. I could but I wo n't. What I'm going to do is tell you a story. If it entertains you, maybe you'll decide to help me research it further. If it does n't, I'll wash the dishes and leave. Are you going to even touch your food?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>What kind of research?</dialogue>\\n    <character>BLOMKVIST</character>\\n    <dialogue>Lisbeth - may I call you Lisbeth? I want you to help me catch a killer of women.</dialogue>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "4674.34", "video_duration": "96.80"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "0Eagx4MJGnyD", "audio_description_us": "1\n00:00:02,130 --> 00:00:05,090\nNow Blomkvist climbs a hill away from the cabin.\n\n2\n00:00:05,710 --> 00:00:09,010\nStanding at the top, he scans the area contemplatively.\n\n3\n00:00:09,380 --> 00:00:11,760\nA bullet hits the utility pole behind him.\n\n4\n00:00:13,100 --> 00:00:13,890\nHe ducks,\n\n5\n00:00:13,890 --> 00:00:15,560\nglance’s at the poles chipped wood\n\n6\n00:00:15,770 --> 00:00:18,640\nand notes a bleeding cut just above his right eyebrow.\n\n7\n00:00:18,770 --> 00:00:19,650\nHe bolts.\n\n8\n00:00:21,440 --> 00:00:25,070\nHe races through the woods,\npushing tree branches aside as he goes.\n\n9\n00:00:25,400 --> 00:00:29,990\nMeanwhile, at the cottage, Salander removes\nsurveillance cameras from the equipment case.\n\n10\n00:00:30,240 --> 00:00:32,530\nShe drags a chair to a corner of the room,\n\n11\n00:00:32,660 --> 00:00:33,580\nclimbs on top,\n\n12\n00:00:33,740 --> 00:00:35,700\nand mounts one camera from the ceiling.\n\n13\n00:00:36,080 --> 00:00:39,370\nIts black and white view\nshows the young woman staring up at it.\n\n14\n00:00:39,830 --> 00:00:43,000\nOutside she mounts a camera\non an eve of the roof.\n\n15\n00:00:43,340 --> 00:00:47,010\nIts view shows a blurry image\nof her face washed out by light.\n\n16\n00:00:47,300 --> 00:00:49,970\nShe steps away to reveal\nthe camera's aim at the door.\n\n17\n00:00:50,470 --> 00:00:54,180\nElsewhere on the cottage's exterior,\nshe places another hidden camera.\n\n18\n00:00:54,810 --> 00:00:58,350\nNow Blomkvist stumbles as he sprints past Henrik's mansion.\n\n19\n00:00:58,890 --> 00:01:03,940\nIn the cottage, Salander watches the three surveillance\nfeeds on a portable monitor split screen.\n\n20\n00:01:04,360 --> 00:01:06,440\nShe sees a figure racing into the house,\n\n21\n00:01:06,650 --> 00:01:08,570\nthen turns as Blomkvist enters.\n\n22\n00:01:09,030 --> 00:01:14,910\nLater, he sit shirtless in a tub with his legs hanging over\nits side as water showers onto his head.\n\n23\n00:01:15,240 --> 00:01:17,410\nBlood streams down his face and chest.\n\n24\n00:01:21,210 --> 00:01:23,500\nHis hand trembles as he wipes his eyes.\n\n25\n00:01:23,580 --> 00:01:25,090\nSalander threads a needle.\n\n26\n00:01:28,340 --> 00:01:29,840\nShe bites a strand off with her teeth,\n\n27\n00:01:29,840 --> 00:01:30,800\nthen approaches him.\n\n28\n00:01:33,090 --> 00:01:34,550\nShe glances around the bathroom,\n\n29\n00:01:34,550 --> 00:01:35,930\nthen strides into the kitchen.\n\n30\n00:01:40,390 --> 00:01:42,350\nShe grabs a vodka bottle from the freezer.\n\n31\n00:01:43,270 --> 00:01:45,940\nReturning, she pours alcohol in the needle in his cut.\n\n32\n00:01:51,110 --> 00:01:53,410\nAs he swings from the bottle, she moves closer.\n\n33\n00:01:57,870 --> 00:02:00,160\nShe pierces his skin on one side of the cut.\n\n34\n00:02:03,540 --> 00:02:05,580\nShe pulls the needle through to the other side,\n\n35\n00:02:05,580 --> 00:02:07,040\nthen sews another stitch.\n\n36\n00:02:07,290 --> 00:02:11,130\nLater, Blomkvist enters his bedroom,\nstill holding the vodka bottle.\n\n", "audio_description_uk": "1\n00:00:05,170 --> 00:00:07,590\nHe stops and looks out over the lake.\n\n2\n00:00:13,180 --> 00:00:15,220\nA bullet thuds into a post next to him.\n\n3\n00:00:15,850 --> 00:00:18,060\nGrazed by the shot, his forehead is now bleeding.\n\n4\n00:00:18,270 --> 00:00:20,190\nDabbing the wound, Mikael breaks into a run.\n\n5\n00:00:22,310 --> 00:00:23,440\nHe darts through the trees\n\n6\n00:00:23,440 --> 00:00:25,570\nand scurries down a rocky escarpment.\n\n7\n00:00:30,820 --> 00:00:34,990\nBack at the cottage, Lisbeth unpacks\na number of compact black security cameras.\n\n8\n00:00:35,540 --> 00:00:37,910\nShe stands on the chair\nand fixes one to the ceiling,\n\n9\n00:00:38,080 --> 00:00:40,870\nthen steps back into shot\nand appears on the video feed.\n\n10\n00:00:44,000 --> 00:00:47,800\nShe puts one up outside to cover the entrance,\npath, and neighbouring house.\n\n11\n00:00:51,430 --> 00:00:54,140\nClimbing a ladder, she puts another camera\non the wall of the house\n\n12\n00:00:54,140 --> 00:00:55,350\nand peers into the lens,\n\n13\n00:00:55,970 --> 00:00:58,140\nappearing in black and white on the video feed.\n\n14\n00:01:02,730 --> 00:01:05,820\nMikael scrambles over a wall\noutside Henrik's stately mansion\n\n15\n00:01:05,820 --> 00:01:06,530\nand keeps running.\n\n16\n00:01:07,320 --> 00:01:08,900\nLisbeth goes back inside the cottage\n\n17\n00:01:08,900 --> 00:01:10,780\nand views the video feed on her laptop.\n\n18\n00:01:11,490 --> 00:01:13,070\nShe sees Mikael on screen\n\n19\n00:01:13,200 --> 00:01:14,490\nand turns as he bursts in.\n\n20\n00:01:15,490 --> 00:01:19,120\nMikael sits with his legs out of the bath,\nrinsing his head wound under the shower.\n\n21\n00:01:23,330 --> 00:01:25,500\nLisbeth takes something from beside the sink.\n\n22\n00:01:29,130 --> 00:01:30,380\nShe removes her gloves.\n\n23\n00:01:34,090 --> 00:01:35,100\nShe turns on her heel\n\n24\n00:01:35,100 --> 00:01:36,430\nand marches out of the kitchen.\n\n25\n00:01:40,850 --> 00:01:42,350\nShe grabs a bottle of vodka.\n\n26\n00:01:44,150 --> 00:01:46,520\nStriding back in, she douses the dental floss,\n\n27\n00:01:50,190 --> 00:01:50,860\nthen him.\n\n28\n00:01:51,150 --> 00:01:52,280\nHe swigs from the bottle\n\n29\n00:01:52,280 --> 00:01:53,740\nand she goes to stitch the wound.\n\n30\n00:01:59,330 --> 00:02:00,540\nShe stitches the wound.\n\n31\n00:02:06,040 --> 00:02:09,000\nHe grimaces in pain\nas she feeds the floss through his flesh.\n\n32\n00:02:09,800 --> 00:02:11,050\nThey go through to the bedroom.\n\n", "subtitles": "1\n00:01:20,090 --> 00:01:22,220\nOw, ow, ow.\n\n2\n00:01:25,970 --> 00:01:27,970\nIs that dental floss? Yes.\n\n3\n00:01:28,130 --> 00:01:29,330\nOh.\n\n4\n00:01:31,970 --> 00:01:34,020\nYou're gonna sterilize\nthat, right?\n\n5\n00:01:37,810 --> 00:01:40,020\nCouldn't we just use\ntape or something?\n\n6\n00:01:40,170 --> 00:01:41,530\nNo.\n\n7\n00:01:42,930 --> 00:01:43,980\nWhat?\n\n8\n00:01:46,810 --> 00:01:49,210\nThank you. Jesus! Ow!\n\n9\n00:01:49,370 --> 00:01:52,050\nDrink. Okay.\n\n10\n00:01:54,210 --> 00:01:55,890\nJust be careful. It's my eye.\n\n11\n00:01:56,090 --> 00:01:58,690\nDon't move. You're not a doctor.\n\n", "sdh": "1\n00:00:07,080 --> 00:00:09,450\n[BIRD SQUAWKING]\n\n2\n00:00:12,120 --> 00:00:13,560\n[GUNSHOT]\n\n3\n00:00:14,400 --> 00:00:16,400\n[♪♪♪]\n\n4\n00:00:20,720 --> 00:00:22,080\n[GUNSHOT]\n\n5\n00:01:17,000 --> 00:01:18,050\n[PANTING]\n\n6\n00:01:20,080 --> 00:01:22,210\nOw, ow, ow.\n\n7\n00:01:25,960 --> 00:01:27,960\nIs that dental floss? Yes.\n\n8\n00:01:28,120 --> 00:01:29,320\nOh.\n\n9\n00:01:31,960 --> 00:01:34,010\nYou're gonna sterilize\nthat, right?\n\n10\n00:01:37,800 --> 00:01:40,010\nCouldn't we just use\ntape or something?\n\n11\n00:01:40,160 --> 00:01:41,520\nNo.\n\n12\n00:01:42,920 --> 00:01:43,970\nWhat?\n\n13\n00:01:46,800 --> 00:01:49,200\nThank you. Jesus! Ow!\n\n14\n00:01:49,360 --> 00:01:52,040\nDrink. Okay.\n\n15\n00:01:54,200 --> 00:01:55,880\nJust be careful. It's my eye.\n\n16\n00:01:56,080 --> 00:01:58,680\nDon't move. You're not a doctor.\n\n17\n00:02:01,480 --> 00:02:02,760\n[INHALES SHARPLY]\n\n18\n00:02:03,440 --> 00:02:04,640\n[GRUNTS]\n\n19\n00:02:04,800 --> 00:02:06,530\n[PANTING]\n\n", "screenplay": "null", "movie_duration": "9487.36", "video_start": "5733.95", "video_duration": "131.73"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "KqNcAcZWNijZ", "audio_description_us": "1\n00:00:00,960 --> 00:00:02,960\nHe steps out from behind the island.\n\n2\n00:00:05,460 --> 00:00:07,720\nBlomkvist shifts his defeated gaze.\n\n3\n00:00:07,930 --> 00:00:11,050\nUnder Martin's cold stare,\nhe takes the knife from his coat\n\n4\n00:00:11,050 --> 00:00:12,470\nand drops it on the counter.\n\n5\n00:00:13,680 --> 00:00:19,100\nMeanwhile, hurrying from the archives, Salander\ndrops off the keys at the empty security booth.\n\n6\n00:00:19,440 --> 00:00:22,690\nNow, Martin ushers Blomkvist\nthrough his house at gunpoint.\n\n7\n00:00:23,570 --> 00:00:27,440\nOutside Vanger Industries, Salander walks\nbriskly with her phone to her ear.\n\n8\n00:00:31,870 --> 00:00:32,700\nAt the house…\n\n9\n00:00:34,160 --> 00:00:35,540\nThey stop at the wine case.\n\n10\n00:00:43,590 --> 00:00:45,590\nMartin touches a keycard to a panel\n\n11\n00:00:45,590 --> 00:00:47,550\nand the door behind Blomkvist opens.\n\n12\n00:00:48,170 --> 00:00:51,640\nOutside Vanger Industries,\nSalander races off on her motorcycle.\n\n13\n00:00:52,640 --> 00:00:58,060\nIn the house, Martin keeps his gun trained on Blomkvist\nas he ushers him down a dark, narrow stairway.\n\n14\n00:00:58,430 --> 00:01:03,360\nHis drink in hand, the journalist takes in his surroundings\nas they pass through an electrical room.\n\n15\n00:01:03,730 --> 00:01:06,610\nBehind him, Martin glowers darkly at his captive.\n\n16\n00:01:06,980 --> 00:01:09,280\nBlomkvist reaches a steel door and halts.\n\n17\n00:01:09,400 --> 00:01:12,320\nHe faces Martin, who scans his keycard on a panel.\n\n18\n00:01:12,530 --> 00:01:15,030\nThe door swings open into a dark space.\n\n19\n00:01:17,580 --> 00:01:18,870\nThe journalist steps through.\n\n20\n00:01:19,000 --> 00:01:23,420\nMartin follows and turns on a light, revealing\na torture chamber with a white tiled center.\n\n21\n00:01:23,710 --> 00:01:28,670\nTurning, Blomkvist finds him covering his own face\nwith an oxygen mask as he flips a switch.\n\n22\n00:01:29,010 --> 00:01:30,880\nGas plumes from ceiling pipes.\n\n23\n00:01:31,090 --> 00:01:33,800\nBlomkvist collapses, his drink shattering beside him.\n\n", "audio_description_uk": "1\n00:00:01,420 --> 00:00:02,750\nHe starts across the room.\n\n2\n00:00:05,510 --> 00:00:08,340\nMikael seems to wither under Martin's unerring glare.\n\n3\n00:00:09,050 --> 00:00:11,350\nAverting his eyes, he takes the knife from his sleeve\n\n4\n00:00:11,350 --> 00:00:13,060\nand drops it onto the kitchen counter.\n\n5\n00:00:15,140 --> 00:00:17,480\nLisbeth strides out of the lift\nin her motorcycle leathers\n\n6\n00:00:17,640 --> 00:00:19,690\nand dumps the keys at the security kiosk.\n\n7\n00:00:19,730 --> 00:00:21,400\nThe guard is absent from his post.\n\n8\n00:00:21,770 --> 00:00:22,400\nMartin...\n\n9\n00:00:23,820 --> 00:00:25,730\nHe guides Mikael along at gunpoint.\n\n10\n00:00:25,900 --> 00:00:27,690\nLisbeth makes a call on her mobile.\n\n11\n00:00:45,210 --> 00:00:46,800\nHe swipes a security card\n\n12\n00:00:46,800 --> 00:00:47,840\nand the door opens.\n\n13\n00:00:48,220 --> 00:00:51,510\nLisbeth hares away from the Vanger Industries\narchives on the motorbike.\n\n14\n00:00:55,260 --> 00:00:57,180\nMartin points his pistol at Mikael,\n\n15\n00:00:57,430 --> 00:00:59,060\nwho descends stairs ahead of him.\n\n16\n00:01:02,940 --> 00:01:07,820\nThey enter a room with metal tanks, pipes snaking\nalong the walls and rows of yellow levers.\n\n17\n00:01:08,440 --> 00:01:11,070\nMikael stops by a door and looks back at Martin.\n\n18\n00:01:13,870 --> 00:01:16,330\nMartin swipes a keycard and the door opens.\n\n19\n00:01:18,500 --> 00:01:21,000\nMikael steps into the dark room beyond.\n\n20\n00:01:21,500 --> 00:01:24,290\nMartin hits the lights,\nilluminating a torture chamber.\n\n21\n00:01:25,000 --> 00:01:29,800\nHolding an oxygen mask to his face, he pushes a button\nreleasing knockout gas from pipes throughout the room.\n\n22\n00:01:33,760 --> 00:01:34,850\nMikael collapses\n\n", "subtitles": "1\n00:00:03,160 --> 00:00:04,530\nBring your drink.\n\n2\n00:00:04,680 --> 00:00:06,250\nLeave my knife.\n\n3\n00:00:22,520 --> 00:00:24,200\nTo the right.\n\n4\n00:00:28,520 --> 00:00:30,050\nHi, leave a message.\nI'll call...\n\n5\n00:00:30,200 --> 00:00:33,040\nYou know what's harder\nthan shooting someone?\n\n6\n00:00:33,280 --> 00:00:34,520\nJust missing him.\n\n7\n00:00:35,360 --> 00:00:37,810\nThat was a very good\nshot up at the cabin.\n\n8\n00:00:37,960 --> 00:00:40,440\nIt didn't work. I'm here.\n\n9\n00:00:40,640 --> 00:00:43,960\nMikael, it did work.\nYou're here.\n\n10\n00:01:16,840 --> 00:01:18,050\nInside.\n\n", "sdh": "1\n00:00:03,150 --> 00:00:04,520\nBring your drink.\n\n2\n00:00:04,670 --> 00:00:06,240\nLeave my knife.\n\n3\n00:00:06,430 --> 00:00:08,640\n[♪♪♪]\n\n4\n00:00:22,510 --> 00:00:24,190\nTo the right.\n\n5\n00:00:26,630 --> 00:00:28,360\n[LINE RINGING]\n\n6\n00:00:28,510 --> 00:00:30,170\nMIKAEL [ON RECORDING]: Hi, leave a message.\nI'll call...\n\n7\n00:00:30,190 --> 00:00:33,030\nYou know what's harder\nthan shooting someone?\n\n8\n00:00:33,270 --> 00:00:34,510\nJust missing him.\n\n9\n00:00:35,350 --> 00:00:37,800\nThat was a very good\nshot up at the cabin.\n\n10\n00:00:37,950 --> 00:00:40,430\nIt didn't work. I'm here.\n\n11\n00:00:40,630 --> 00:00:43,950\nMikael, it did work.\nYou're here.\n\n12\n00:00:44,590 --> 00:00:45,960\n[BEEPS]\n\n13\n00:01:15,270 --> 00:01:16,640\n[BEEPS]\n\n14\n00:01:16,830 --> 00:01:18,040\nInside.\n\n", "screenplay": "{\"screenplay_scene_247\": \"<scene>\\n    <stage_direction>INT. MARTIN'S HOUSE - NIGHT</stage_direction>\\n    <scene_description>Martin `` leads '' Blomkvist from behind back to the kitchen , switching off lights as they go .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>You know what's harder than shooting someone? Just missing them. That was a very good shot up at the cabin.</dialogue>\\n    <character>BLOMKVIST</character>\\n    <dialogue>It did n't work. I'm here.</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>Mikael, it did work. You're here.</dialogue>\\n    <scene_description>They come through a pantry , at the end of which is a door .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Open it.</dialogue>\\n    <scene_description>Blomkvist does . Sees steps leading into darkness . As they descend Martin flicks a switch and bare fluorescent tubes flicker on to reveal : A furnace . Washer . Dryer . Old discarded furniture . And another door . A steel one . As they approach it , Martin presses a little remote and the lock on the steel door clicks .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Push it open.</dialogue>\\n  </scene>\", \"screenplay_scene_248\": \"<scene>\\n    <stage_direction>INT. BASEMENT ANTEROOM - CONTINUOUS</stage_direction>\\n    <scene_description>As Blomkvist steps across the threshold -</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Switch is on the left.</dialogue>\\n    <scene_description>Blomkvist flips it and a row of overhead fluorescent tubes flickers on - one after the other - revealing a subterranean torture chamber : Metal eyelets bolted to the concrete walls and ceiling and floor - table with leather straps - bed with leather straps - steel - mesh cage - work bench with handsaws and other tools - Blomkvist takes it in with one glance and immediately turns to try to smash the glass in his hand into Martin 's face - which is covered now with a plastic oxygen mask he holds to it . Gas plumes down on Blomkvist from above ; the glass comes out of his hand , shattering on the cement floor -</scene_description>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "7037.44", "video_duration": "96.34"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "p9_3a61i_3Mb", "audio_description_us": "1\n00:00:13,220 --> 00:00:14,470\nBlomkvist eyes him.\n\n2\n00:00:29,700 --> 00:00:31,450\nMartin gets up, scratching his hand.\n\n3\n00:00:37,410 --> 00:00:38,790\nHe uses hand sanitizer.\n\n4\n00:00:40,500 --> 00:00:41,580\nHe returns to his seat.\n\n5\n00:01:50,940 --> 00:01:52,070\nBlomkvist sneers.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:00,000\n\n", "subtitles": "1\n00:00:00,000 --> 00:00:01,970\nWhat do I do with the girls?\n\n2\n00:00:02,120 --> 00:00:03,200\nThat's a good question.\n\n3\n00:00:04,120 --> 00:00:06,010\nWell, before, I do\nwhat we're doing:\n\n4\n00:00:06,200 --> 00:00:08,520\nSit down, relax, have a drink.\n\n5\n00:00:08,720 --> 00:00:09,850\nI like that part a lot.\n\n6\n00:00:10,000 --> 00:00:13,530\nHaving a chat when both of you know\nthat one of you is going to die.\n\n7\n00:00:14,520 --> 00:00:18,160\nAnd afterwards, I just get\nrid of them, far out at sea.\n\n8\n00:00:18,360 --> 00:00:20,970\nUnlike my father, who\nleft them scattered\n\n9\n00:00:21,160 --> 00:00:24,640\nall over the place, like trophies.\nThat's not very smart, if you ask me.\n\n10\n00:00:25,360 --> 00:00:27,170\nWell, he was a loud\nand garish man.\n\n11\n00:00:28,120 --> 00:00:30,410\nFrankly, he got\nwhat he deserved.\n\n12\n00:00:31,400 --> 00:00:33,770\nYou can't be a sloppy\ntechnician like that.\n\n13\n00:00:33,920 --> 00:00:36,160\nYou can't drink to\nexcess like he did.\n\n14\n00:00:36,320 --> 00:00:37,850\nThis takes discipline.\n\n15\n00:00:38,480 --> 00:00:40,930\nIt's a science of a\nthousand details.\n\n16\n00:00:41,280 --> 00:00:43,970\nThe planning, the execution.\n\n17\n00:00:44,120 --> 00:00:45,850\nIt's the cleanup.\n\n18\n00:00:46,480 --> 00:00:48,130\nI guess I don't\nhave to tell you,\n\n19\n00:00:48,280 --> 00:00:50,440\nbut you're going to\ncreate quite a mess here.\n\n20\n00:00:51,760 --> 00:00:54,160\nShh-Shh-Shh. Shh.\n\n21\n00:00:54,360 --> 00:00:56,280\nLet me ask you something.\n\n22\n00:00:56,440 --> 00:00:59,050\nWhy don't people trust\ntheir instincts?\n\n23\n00:00:59,960 --> 00:01:01,490\nThey sense something is wrong,\n\n24\n00:01:01,640 --> 00:01:04,120\nsomeone is walking too\nclose behind them.\n\n25\n00:01:04,560 --> 00:01:06,770\nYou knew something was wrong.\n\n26\n00:01:07,080 --> 00:01:08,760\nBut you came back\ninto the house.\n\n27\n00:01:08,960 --> 00:01:12,120\nDid I force you?\nDid I drag you in? No.\n\n28\n00:01:12,960 --> 00:01:16,360\nAll I had to do was\noffer you a drink.\n\n29\n00:01:17,000 --> 00:01:19,370\nIt's hard to believe that\nthe fear of offending\n\n30\n00:01:19,520 --> 00:01:24,530\ncan be stronger than the fear of\npain, but you know what? It is.\n\n31\n00:01:26,120 --> 00:01:27,960\nAnd they always come willingly.\n\n32\n00:01:28,440 --> 00:01:29,730\nAnd then they sit there.\n\n33\n00:01:29,880 --> 00:01:32,410\nThey know it's all over,\njust like you do.\n\n34\n00:01:32,560 --> 00:01:35,450\nBut somehow, they still\nthink they have a chance.\n\n35\n00:01:35,600 --> 00:01:37,570\n\"Maybe if I say\nthe right thing.\"\n\n36\n00:01:37,720 --> 00:01:39,560\nMaybe if I'm polite.\n\n37\n00:01:39,720 --> 00:01:41,960\n\"If I cry, if I beg.\"\n\n38\n00:01:42,560 --> 00:01:44,960\nAnd when I see the hope\ndraining from their face,\n\n39\n00:01:45,160 --> 00:01:47,610\nlike it is from yours right now,\n\n40\n00:01:47,880 --> 00:01:49,480\nI can feel myself...\n\n41\n00:01:50,040 --> 00:01:51,330\ngetting hard.\n\n42\n00:01:52,840 --> 00:01:57,210\nBut, you know, we're not that different,\nyou and I. We both have urges.\n\n43\n00:01:57,360 --> 00:01:59,010\nSatisfying mine\n\n", "sdh": "1\n00:00:02,110 --> 00:00:03,190\nThat's a good question.\n\n2\n00:00:04,110 --> 00:00:06,000\nWell, before, I do\nwhat we're doing:\n\n3\n00:00:06,190 --> 00:00:08,510\nSit down, relax, have a drink.\n\n4\n00:00:08,710 --> 00:00:09,840\nI like that part a lot.\n\n5\n00:00:09,990 --> 00:00:13,520\nHaving a chat when both of you know\nthat one of you is going to die.\n\n6\n00:00:14,510 --> 00:00:18,150\nAnd afterwards, I just get\nrid of them, far out at sea.\n\n7\n00:00:18,350 --> 00:00:20,960\nUnlike my father, who\nleft them scattered\n\n8\n00:00:21,150 --> 00:00:24,630\nall over the place, like trophies.\nThat's not very smart, if you ask me.\n\n9\n00:00:25,350 --> 00:00:27,160\nWell, he was a loud\nand garish man.\n\n10\n00:00:28,110 --> 00:00:30,400\nFrankly, he got\nwhat he deserved.\n\n11\n00:00:31,390 --> 00:00:33,760\nYou can't be a sloppy\ntechnician like that.\n\n12\n00:00:33,910 --> 00:00:36,150\nYou can't drink to\nexcess like he did.\n\n13\n00:00:36,310 --> 00:00:37,840\nThis takes discipline.\n\n14\n00:00:38,470 --> 00:00:40,920\nIt's a science of a\nthousand details.\n\n15\n00:00:41,270 --> 00:00:43,960\nThe planning, the execution.\n\n16\n00:00:44,110 --> 00:00:45,840\nIt's the cleanup.\n\n17\n00:00:46,470 --> 00:00:48,120\nI guess I don't\nhave to tell you,\n\n18\n00:00:48,270 --> 00:00:50,430\nbut you're going to\ncreate quite a mess here.\n\n19\n00:00:50,590 --> 00:00:51,590\n[COUGHING]\n\n20\n00:00:51,750 --> 00:00:54,150\nShh-Shh-Shh. Shh.\n\n21\n00:00:54,350 --> 00:00:56,270\nLet me ask you something.\n\n22\n00:00:56,430 --> 00:00:59,040\nWhy don't people trust\ntheir instincts?\n\n23\n00:00:59,950 --> 00:01:01,480\nThey sense something is wrong,\n\n24\n00:01:01,630 --> 00:01:04,110\nsomeone is walking too\nclose behind them.\n\n25\n00:01:04,550 --> 00:01:06,760\nYou knew something was wrong.\n\n26\n00:01:07,070 --> 00:01:08,750\nBut you came back\ninto the house.\n\n27\n00:01:08,950 --> 00:01:12,110\nDid I force you?\nDid I drag you in? No.\n\n28\n00:01:12,950 --> 00:01:16,350\nAll I had to do was\noffer you a drink.\n\n29\n00:01:16,990 --> 00:01:19,360\nIt's hard to believe that\nthe fear of offending\n\n30\n00:01:19,510 --> 00:01:24,520\ncan be stronger than the fear of\npain, but you know what? It is.\n\n31\n00:01:26,110 --> 00:01:27,950\nAnd they always come willingly.\n\n32\n00:01:28,430 --> 00:01:29,720\nAnd then they sit there.\n\n33\n00:01:29,870 --> 00:01:32,400\nThey know it's all over,\njust like you do.\n\n34\n00:01:32,550 --> 00:01:35,440\nBut somehow, they still\nthink they have a chance.\n\n35\n00:01:35,590 --> 00:01:37,560\n\"Maybe if I say\nthe right thing.\"\n\n36\n00:01:37,710 --> 00:01:39,550\nMaybe if I'm polite.\n\n37\n00:01:39,710 --> 00:01:41,950\n\"If I cry, if I beg.\"\n\n38\n00:01:42,550 --> 00:01:44,950\nAnd when I see the hope\ndraining from their face,\n\n39\n00:01:45,150 --> 00:01:47,600\nlike it is from yours right now,\n\n40\n00:01:47,870 --> 00:01:49,470\nI can feel myself...\n\n41\n00:01:50,030 --> 00:01:51,320\ngetting hard.\n\n42\n00:01:52,830 --> 00:01:57,200\nBut, you know, we're not that different,\nyou and I. We both have urges.\n\n43\n00:01:57,350 --> 00:01:59,000\nSatisfying mine\n\n", "screenplay": "{\"screenplay_scene_252\": \"<scene>\\n    <stage_direction>INT. MARTIN'S BASEMENT - CONTINUED</stage_direction>\\n    <scene_description>Martin reframes the video camera to include part of himself in the shot , sits again and crosses his leg like this is a talk show .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>So what would you like to know?</dialogue>\\n    <scene_description>There are so many things , but also no point , so Blomkvist says nothing .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>You're the journalist, ask me something.</dialogue>\\n    <scene_description>Nothing from Blomkvist . Which is okay with Martin ; he can do this alone -</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>What do I do with my guests? Is that the question? Well, before - I do what we're doing. Relax, have a drink, converse. I like that part a lot - having a chat when you both know one of you is going to die. After - I simply get rid of them. Out to sea -.</dialogue>\\n    <parenthetical>( points off . )</parenthetical>\\n    <dialogue>- unlike my father leaving them scattered all over the place like trophies. That's not smart if you ask me. That's just garish and loud. But he was a garish and loud man. Frankly, he got what he deserved.</dialogue>\\n    <scene_description>Nothing from Blomkvist , but he is wondering now what happened to Gottfried if the drowning was n't accidental .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>You ca n't be a sloppy technician like that. You ca n't drink to excess like he did. This takes discipline. It's a science of a thousand details. The planning. The execution. The cleanup. I'm sure I do n't have to tell you you're going to make quite a mess.</dialogue>\\n    <scene_description>Nothing from Blomkvist , but Martin nods . -LRB- `` How do you do this and still function in normal society ? '' -RRB-</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>That's the interesting thing. Because most of the time I am just like everyone else. I just have a bigger secret. It's wonderful really - standing there waiting for a train - or on a street corner as people brush past me. You know what I mean ; you have secrets. You had one when you came up here. It made you feel - special. Did n't it?</dialogue>\\n    <scene_description>Blomkvist does n't say . Martin is a little thrown by Blomkvist 's next unspoken comment - -LRB- `` Yes , but my secrets are n't rape and murder '' -RRB-</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>No. I'm not a rapist. Of course I do that too - and at one time it was enough - but -.</dialogue>\\n    <parenthetical>( gathers his thoughts to explain it . )</parenthetical>\\n    <dialogue>A rapist, Mikael, gets off on domination. I need.</dialogue>\\n    <parenthetical>( discards a few other words before : . )</parenthetical>\\n    <dialogue>- destruction.</dialogue>\\n    <scene_description>Martin gets up and sets about the business of immobilizing Blomkvist further with a block - and - tackle contraption of chains and straps .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Can I ask you something? Why do n't people trust their instincts? They sense something's wrong - someone's walking too close behind them - yet they do n't cross the street. You knew something was wrong - you even knew what it was - but you came back into the house. Did I force you? Did I grab you and drag you in? I just offered you a drink.</dialogue>\\n    <parenthetical>( pause . )</parenthetical>\\n    <dialogue>You'd never think the fear of offending could be stronger than the fear of pain - but you know what? It is. They always come willingly.</dialogue>\\n    <scene_description>It amazes him . It always amazes him . He keeps working .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>And then they're here. They know it's over like you do - and still somehow think they have a chance. `` Maybe if I say the right thing - if I'm polite - or I cry and beg - maybe I'll survive.''</dialogue>\\n    <parenthetical>( regards Blomkvist . )</parenthetical>\\n    <dialogue>And then the moment comes when they realize. no, all hope is gone And when that happens - when I see the hope draining from their face like it is from yours right now -.</dialogue>\\n    <parenthetical>( whispers like it 's just between them . )</parenthetical>\\n    <dialogue>- well, I feel myself getting hard just watching it.</dialogue>\\n    <scene_description>Silence .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Say something.</dialogue>\\n    <character>BLOMKVIST</character>\\n    <dialogue>You are a sick fuck.</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>Is this an interview or an editorial?</dialogue>\\n    <scene_description>Blomkvist , of course , does n't answer , or comment , yet Martin considers what the journalist has n't said . -LRB- `` Martin , civilized people do n't do what you do . '' -RRB-</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>You're right, this behavior is unacceptable. I know that. But we're not completely different. We both have desires. Satisfying mine just requires more towels.</dialogue>\\n    <scene_description>Martin regards Blomkvist in a silence . Then -</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Anything else you want to know?</dialogue>\\n    <parenthetical>( pause . )</parenthetical>\\n    <dialogue>You sure?</dialogue>\\n    <parenthetical>( pause . )</parenthetical>\\n    <dialogue>All right. Whatever you say.</dialogue>\\n    <scene_description>He yanks a chain that feeds through the pulleys that lift Blomkvist up onto his feet -</scene_description>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "7308.00", "video_duration": "121.58"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "IWfhHWNv7m5N", "audio_description_us": "1\n00:00:21,940 --> 00:00:24,150\nHe clutches the neck brace, lifting Blomkvist.\n\n2\n00:00:31,070 --> 00:00:32,240\nMartin lets him go.\n\n3\n00:00:37,750 --> 00:00:41,710\nWhile Blomkvist catches his breath,\nMartin ties a plastic bag over his head.\n\n4\n00:00:47,010 --> 00:00:48,260\nMartin flips a switch\n\n5\n00:00:48,340 --> 00:00:51,090\nand a cable lifts Blomkvist a few feet off the floor.\n\n6\n00:00:51,390 --> 00:00:57,930\nAs his captor casually taps his fingers on a counter,\nBlomkvist glances at him through the bag, his mouth open wide.\n\n7\n00:00:58,270 --> 00:01:00,190\nMartin returns with a utility knife.\n\n8\n00:01:00,480 --> 00:01:05,440\nThe clear plastic sticks to Blomkvist’s face\nas he inhales and puffs out as he exhales.\n\n9\n00:01:05,860 --> 00:01:07,440\nMartin studies his prisoner.\n\n10\n00:01:07,570 --> 00:01:11,990\nCracking a subtle smile,\nhe rips open Blomkvist’s buttoned overshirt,\n\n11\n00:01:12,200 --> 00:01:17,620\nthen uses the utility knife to tear open his undershirt,\nexposing the helpless man's chest.\n\n12\n00:01:17,950 --> 00:01:20,080\nMartin unbuttons Blomkvist’s pants,\n\n13\n00:01:20,250 --> 00:01:21,250\nthen stands upright\n\n14\n00:01:21,250 --> 00:01:23,250\nand steps back, gazing thoughtfully.\n\n15\n00:01:26,630 --> 00:01:28,300\nBlomkvist’s eyes bulge.\n\n16\n00:01:28,420 --> 00:01:30,420\nMartin meets his terrified gaze,\n\n17\n00:01:30,420 --> 00:01:32,050\nthen ambles back to the counter.\n\n18\n00:01:43,150 --> 00:01:44,810\nHe returns with a kitchen knife.\n\n19\n00:01:44,980 --> 00:01:50,190\nAs his prisoner continues to gasp for air,\nhe presses on his midsection with his fingertips.\n\n20\n00:01:50,610 --> 00:01:54,200\nMeanwhile, Salander enters the basement\nwielding a golf club.\n\n21\n00:01:54,410 --> 00:01:56,280\nShe approaches Martin from behind.\n\n22\n00:01:58,410 --> 00:01:59,160\nHe turns\n\n23\n00:01:59,200 --> 00:02:02,250\nand she strikes him in the face,\nknocking him to the tile floor.\n\n24\n00:02:02,540 --> 00:02:04,000\nShe lowers Blomkvist,\n\n25\n00:02:04,000 --> 00:02:05,920\nthen rips the plastic bag off his face\n\n26\n00:02:05,920 --> 00:02:07,380\nand unshackles his ankles.\n\n27\n00:02:07,670 --> 00:02:10,510\nHis jaw misaligned, Martin struggles to his feet\n\n28\n00:02:10,510 --> 00:02:11,380\nand runs out.\n\n29\n00:02:11,550 --> 00:02:12,930\nSalander sees him go.\n\n30\n00:02:18,140 --> 00:02:19,720\nMartin runs through a corridor.\n\n31\n00:02:19,770 --> 00:02:21,140\nSalander grabs the gun.\n\n32\n00:02:21,350 --> 00:02:22,770\nMartin runs upstairs.\n\n33\n00:02:22,980 --> 00:02:24,900\nSalander crouches over Blomkvist.\n\n34\n00:02:27,440 --> 00:02:29,650\nLeaving him behind, she runs out the door\n\n", "audio_description_uk": "1\n00:00:31,240 --> 00:00:33,410\nMartin lets go of Mikael's throat.\n\n2\n00:00:38,620 --> 00:00:40,870\nHe puts a plastic bag over Mikael's head.\n\n3\n00:00:47,630 --> 00:00:53,180\nHe starts a winch, which yanks Mikhail violently up off the floor,\nleaving him dangling a couple of feet off the ground.\n\n4\n00:00:53,760 --> 00:00:58,270\nAs Mikael chokes in the bag, Martin wanders over\nto a workbench and selects a tool.\n\n5\n00:00:58,640 --> 00:00:59,430\nHe comes back\n\n6\n00:00:59,600 --> 00:01:03,860\nand a faint smile plays on his lips as he regards\nMikael's bag-covered head.\n\n7\n00:01:09,400 --> 00:01:12,280\nHe pulls open Mikael's cardigan,\npopping off the buttons,\n\n8\n00:01:12,700 --> 00:01:16,160\nthen uses the tool to split his shirt open,\nexposing his bare chest.\n\n9\n00:01:16,620 --> 00:01:18,620\nHe undoes the top of Mikael's trousers,\n\n10\n00:01:19,200 --> 00:01:20,410\nthen stands back.\n\n11\n00:01:27,130 --> 00:01:27,960\nHe turns away.\n\n12\n00:01:28,460 --> 00:01:31,970\nThe bag on Mikael's head inflates and deflates\nas he tries to breathe.\n\n13\n00:01:44,270 --> 00:01:45,190\nHe picks up a knife\n\n14\n00:01:45,190 --> 00:01:46,690\nand walks back over to Mikael.\n\n15\n00:01:47,610 --> 00:01:50,240\nAs he assesses where best to make the first incision,\n\n16\n00:01:50,860 --> 00:01:53,910\nLisbeth sneaks up behind him with a golf iron.\n\n17\n00:02:01,500 --> 00:02:04,290\nAs he turns around, she smacks him\nsquare in the face with the iron.\n\n18\n00:02:04,500 --> 00:02:07,210\nHe hits the floor and bounces,\nblood dripping from his mouth.\n\n19\n00:02:07,630 --> 00:02:12,470\nAs she releases Mikael, Martin, his jaw\nnow badly broken, staggers from the room.\n\n20\n00:02:18,640 --> 00:02:21,230\nShe picks the semi-automatic pistol up and cocks it.\n\n21\n00:02:21,600 --> 00:02:23,060\nMartin flees upstairs.\n\n22\n00:02:27,690 --> 00:02:28,610\nMikhail nods.\n\n23\n00:02:28,690 --> 00:02:30,280\nShe sprints off out of the basement\n\n", "subtitles": "1\n00:00:01,420 --> 00:00:03,340\nI had Irina down\nhere in that cage.\n\n2\n00:00:04,060 --> 00:00:06,540\nWho is Irina, you might ask?\n\n3\n00:00:06,700 --> 00:00:08,540\nJust another girl.\n\n4\n00:00:09,100 --> 00:00:12,180\nJust another immigrant whore.\n\n5\n00:00:12,820 --> 00:00:14,630\nWho misses them?\nYour sister wasn't.\n\n6\n00:00:15,260 --> 00:00:16,420\nWhat?\n\n7\n00:00:16,580 --> 00:00:21,060\nYour sister Harriet\nwasn't just another girl.\n\n8\n00:00:21,260 --> 00:00:23,100\nYou found her?\n\n9\n00:00:24,940 --> 00:00:26,460\nWhat happened to her?\n\n10\n00:00:28,620 --> 00:00:31,140\nYou killed her.\n\n11\n00:00:35,500 --> 00:00:38,660\nYou useless fucking detective.\n\n12\n00:00:43,220 --> 00:00:47,540\nThis too tight to talk? Good.\nI'm tired of talking to you.\n\n13\n00:00:57,060 --> 00:01:01,060\n♪ Turn it up, turn it up\nTurn it up, up, up ♪\n\n14\n00:01:10,420 --> 00:01:13,630\n♪ Sail away, sail\naway, sail away ♪\n\n15\n00:01:13,980 --> 00:01:17,820\n♪ Sail away, sail\naway, sail away ♪\n\n16\n00:01:18,220 --> 00:01:24,750\n♪ Sail away, sail\naway, sail away ♪\n\n17\n00:01:24,900 --> 00:01:26,820\nI've never had a man\nin here before.\n\n18\n00:01:33,140 --> 00:01:34,950\nIn fact, I've never\ntouched a man,\n\n19\n00:01:35,100 --> 00:01:37,020\nexcept my father.\n\n20\n00:01:38,500 --> 00:01:40,620\nThat was our duty.\n\n21\n00:01:41,860 --> 00:01:43,940\nHarriet's and mine.\n\n22\n00:01:45,580 --> 00:01:47,580\n♪ We can sail, we can sail ♪\n\n23\n00:01:47,780 --> 00:01:50,140\n♪ Sail away, sail\naway, sail away ♪\n\n24\n00:01:50,300 --> 00:01:53,350\n♪ We can steer, we can near With\nRob Dickins at the wheel ♪\n\n25\n00:01:53,540 --> 00:01:57,590\n♪ We can sigh, say goodbye\nRoss and his dependencies ♪\n\n26\n00:01:57,740 --> 00:01:59,020\nHey.\n\n27\n00:02:01,020 --> 00:02:03,300\n♪ Sail away, sail away ♪\n\n28\n00:02:08,940 --> 00:02:11,220\n♪ Sail away, sail\naway, sail away ♪\n\n29\n00:02:11,380 --> 00:02:14,540\n♪ From Bali to Cali Far\nbeneath the Coral Sea N\n\n30\n00:02:15,380 --> 00:02:17,950\nThere's a gun.\nThere's a gun on the television.\n\n31\n00:02:25,020 --> 00:02:26,980\nMay I kill him? Yeah.\n\n", "sdh": "1\n00:00:01,410 --> 00:00:03,330\nI had Irina down\nhere in that cage.\n\n2\n00:00:04,050 --> 00:00:06,530\nWho is Irina, you might ask?\n\n3\n00:00:06,690 --> 00:00:08,530\nJust another girl.\n\n4\n00:00:09,090 --> 00:00:12,170\nJust another immigrant whore.\n\n5\n00:00:12,810 --> 00:00:14,620\nWho misses them?\nYour sister wasn't.\n\n6\n00:00:15,250 --> 00:00:16,410\nWhat?\n\n7\n00:00:16,570 --> 00:00:21,050\nYour sister Harriet\nwasn't just another girl.\n\n8\n00:00:21,250 --> 00:00:23,090\nYou found her?\n\n9\n00:00:24,930 --> 00:00:26,450\nWhat happened to her?\n\n10\n00:00:26,650 --> 00:00:27,930\n[GRUNTING]\n\n11\n00:00:28,610 --> 00:00:31,130\nYou killed her.\n\n12\n00:00:35,490 --> 00:00:38,650\nYou useless fucking detective.\n\n13\n00:00:38,810 --> 00:00:40,810\n[PANTING]\n\n14\n00:00:43,210 --> 00:00:47,530\nThis too tight to talk? Good.\nI'm tired of talking to you.\n\n15\n00:00:49,690 --> 00:00:51,580\n[GRUNTING]\n\n16\n00:00:57,050 --> 00:01:01,050\n♪ Turn it up, turn it up\nTurn it up, up, up ♪\n\n17\n00:01:01,210 --> 00:01:04,370\n[MIKAEL GASPING]\n\n18\n00:01:10,410 --> 00:01:13,620\n♪ Sail away, sail\naway, sail away ♪\n\n19\n00:01:13,970 --> 00:01:17,810\n♪ Sail away, sail\naway, sail away ♪\n\n20\n00:01:18,210 --> 00:01:24,740\n♪ Sail away, sail\naway, sail away ♪\n\n21\n00:01:24,890 --> 00:01:26,810\nI've never had a man\nin here before.\n\n22\n00:01:29,250 --> 00:01:30,660\n[GASPING]\n\n23\n00:01:33,130 --> 00:01:34,940\nIn fact, I've never\ntouched a man,\n\n24\n00:01:35,090 --> 00:01:37,010\nexcept my father.\n\n25\n00:01:38,490 --> 00:01:40,610\nThat was our duty.\n\n26\n00:01:41,850 --> 00:01:43,930\nHarriet's and mine.\n\n27\n00:01:45,570 --> 00:01:47,570\n♪ We can sail, we can sail ♪\n\n28\n00:01:47,770 --> 00:01:50,130\n♪ Sail away, sail\naway, sail away ♪\n\n29\n00:01:50,290 --> 00:01:53,340\n♪ We can steer, we can near With\nRob Dickins at the wheel ♪\n\n30\n00:01:53,530 --> 00:01:57,580\n♪ We can sigh, say goodbye\nRoss and his dependencies ♪\n\n31\n00:01:57,730 --> 00:01:59,010\nHey.\n\n32\n00:01:59,170 --> 00:02:00,850\n[YELLS]\n\n33\n00:02:01,010 --> 00:02:03,290\n♪ Sail away, sail away ♪\n\n34\n00:02:04,250 --> 00:02:06,140\n[GRUNTING AND GASPING]\n\n35\n00:02:07,410 --> 00:02:08,770\n[PANTING]\n\n36\n00:02:08,930 --> 00:02:11,210\n♪ Sail away, sail\naway, sail away ♪\n\n37\n00:02:11,370 --> 00:02:14,530\n♪ From Bali to Cali Far\nbeneath the Coral Sea N\n\n38\n00:02:15,370 --> 00:02:17,940\nThere's a gun.\nThere's a gun on the television.\n\n39\n00:02:25,010 --> 00:02:26,970\nMay I kill him? Yeah.\n\n", "screenplay": "{\"screenplay_scene_254\": \"<scene>\\n    <stage_direction>INT. MARTIN'S BASEMENT - NIGHT</stage_direction>\\n    <scene_description>Blomkvist hangs from the block - and - tackle rig , leather strap around his neck now , fed through a ceiling eyelet . With a big sewing scissors , Martin cuts through and removes Blomkvist 's pants and underwear -</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>It might amuse you to know that while you were over here having dinner with me and Liv - who, by the way, finds me very conventional - Irina was down here in the cage. Who's Irina, you ask? A girl I met in Belarus. Just another girl. Another immigrant whore. Who misses them?</dialogue>\\n    <scene_description>He returns to his work bench to lay out various tools next to his gun and a desk phone .</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>Your sister was n't just another girl.</dialogue>\\n    <scene_description>Martin comes back quickly and yanks a strap that cinches the noose tighter around Blomkvist 's neck as it lifts him onto his tiptoes .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>What happened to her.</dialogue>\\n    <character>BLOMKVIST</character>\\n    <dialogue>You're choking me -</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>You found her?</dialogue>\\n    <character>BLOMKVIST</character>\\n    <dialogue>You killed her.</dialogue>\\n    <scene_description>Martin just stares at him confused . Then -</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>You useless fuckin detective.</dialogue>\\n    <scene_description>He lets go of the strap and Blomkvist 's feet come back down to the floor . As Martin returns to his workbench , Blomkvist is not only scared to death , but confused now . Did Martin not kill her ? Then Martin is back in front of him with a roll of cellophane , pulls on the strap again until Blomkvist is balancing on his tiptoes , and ties it off .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Too tight to talk?</dialogue>\\n    <scene_description>It is . Blomkvist can utter no sound but a gag .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Good. I'm tired of talking to you.</dialogue>\\n    <scene_description>He wraps Blomkvist 's head in cellophane , completely cutting off his ability to breathe , and calmly watches him struggle .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Would you like me to do something about that?</dialogue>\\n    <scene_description>Blomkvist desperately nods as he 's about to suffocate . Martin watches another several moments . then pokes a finger through the cellophane into Blomkvist 's gasping mouth .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>See? I'm not a monster.</dialogue>\\n    <scene_description>He frames a wide shot of his naked prey . Turns on some music . Takes a moment to collect himself from all this strenuous work . Brushes back his hair like he wants to look presentable in the shot . Then smiles pleasantly -</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>You know, I've never had a man in here. I've never touched a man as a matter of fact. Except my father, of course. But that was my duty. Harriet's, too.</dialogue>\\n    <scene_description>The circulation to Blomkvist 's head is being cut off by the strap . His fingers behind his naked back claw at the concrete wall to try to relieve some of the weight on the noose , but ca n't get a grip . Martin watches the struggle calmly , and just as calmly offers :</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>It's time. I do n't want to be late for my date with our girlfriend.</dialogue>\\n    <scene_description>He puts on a plastic rain poncho . A painter 's mask . Plastic goggles . Surgeons gloves . Picks up a hunting knife . Steps up to Blomkvist . Looks at his eyes . Brings his own head close to his victim 's -</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Goodbye, Mikael.</dialogue>\\n    <scene_description>He pulls the strap , lifting Blomkvist 's toes off the floor , closing off his air again . and is about to gut him like a wild boar . when he hears a sound like some kind of animal behind him . He turns and sees her - coming at him from out of the shadows by the steel door - He darts for the gun he left on the workbench - Salander just as quickly swings a 5 - iron - his 5 - iron - like a baseball bat . Its metal - wedged end arcs through the gloom and slams into the side of his head , sending him tumbling to the floor . He struggles up to his knees , and she swings the club again , splitting flesh and crushing bone as he crumples the floor . She takes the gun from the bench and shoves it in her other back pocket . Grabs the hunting knife and shackles key and hurries over to Blomkvist who only witnessed part of the spectacle before losing consciousness - She saws through the leather strap around his neck . Unlocks the chain . As he sinks to his knees on the floor , blood rushes to his head , bringing him back to life just enough to see what she ca n't behind her - Martin , blood streaming from the gash in his head , getting to his feet . But he 's not coming at them ; he 's trying to get out - Blomkvist tries to say her name to get her to look . Lifts a hand to try to point . She turns and glimpses the monster as he disappears out the steel door . Looks back at Blomkvist , still handcuffed on the floor , and , like a child asking a parent for permission -</scene_description>\\n    <character>SALANDER</character>\\n    <dialogue>May I kill him?</dialogue>\\n    <scene_description>Nothing in his life would allow him to agree to such a thing - until now . Now it 's as if her years of violence and degradation have been passed to him . He nods . She puts the hunting knife in his hand . Pulls the gun from her back pocket , checks the clip , flicks off the safety , and turns to leave -</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>He has more guns in the den -</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>I know.</dialogue>\\n    <scene_description>She comes up the basement stairs , leading with her gun . Distant thunder rumbles . She crosses through the kitchen to the living room , and down the hall to the study . She eases around the doorway - the room is empty - looks to the gun case - sees there are only two rifles there now . She hears an engine start outside . Hurries back through the house . Sees out the picture window the taillights of Martin 's car receding fast down the road as clouds burst . She bangs out the front door . Runs halfway down the hill in the rain to where she left her motorcycle , jumps on and kick - starts it .</scene_description>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "7462.62", "video_duration": "150.33"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "CQEeb6wSS97K", "audio_description_us": "1\n00:00:00,290 --> 00:00:02,420\nThe SUV cruises a forest road.\n\n2\n00:00:02,710 --> 00:00:05,050\nPulling out, the motorcycle kicks up gravel.\n\n3\n00:00:05,380 --> 00:00:08,340\nAs Martin struggles to drive, the SUV swerves.\n\n4\n00:00:08,550 --> 00:00:09,840\nSalander catches air,\n\n5\n00:00:10,050 --> 00:00:11,720\nthen races down the forest road\n\n6\n00:00:11,720 --> 00:00:12,760\nand rounds a bend.\n\n7\n00:00:12,970 --> 00:00:15,600\nHer lone headlight shines through Martin's back window.\n\n8\n00:00:15,930 --> 00:00:18,270\nHer view finds the SUV rounding a bend.\n\n9\n00:00:18,390 --> 00:00:20,150\nMartin checks his rear view mirror.\n\n10\n00:00:20,190 --> 00:00:22,520\nSalander hunches over her bike's handlebars.\n\n11\n00:00:22,730 --> 00:00:26,400\nThe vehicles race along the forest road,\nflanked by tall, thin trees.\n\n12\n00:00:26,530 --> 00:00:30,910\nNow the motorcycle gains on the SUV,\njouncing in the cold rushing air.\n\n13\n00:00:31,240 --> 00:00:32,990\nMartin checks his rear view again.\n\n14\n00:00:33,120 --> 00:00:36,540\nShe follows him down a hill,\npeering ahead with a determined gaze.\n\n15\n00:00:36,870 --> 00:00:39,370\nAs they reach the bridge, Salander rides up close.\n\n16\n00:00:39,580 --> 00:00:41,500\nMartin spots her in his side mirror,\n\n17\n00:00:41,580 --> 00:00:43,500\nthen cuts her off before she can pass.\n\n18\n00:00:43,750 --> 00:00:44,960\nShe tries the other side,\n\n19\n00:00:44,960 --> 00:00:46,050\nbut he blocks her way.\n\n20\n00:00:46,380 --> 00:00:48,720\nNearing the end of the bridge, she fakes him out\n\n21\n00:00:48,800 --> 00:00:53,220\nand as his SUV grazes the right hand railing,\nSalander races ahead on his left.\n\n22\n00:00:53,350 --> 00:00:54,970\nShe veers across his path.\n\n23\n00:00:55,140 --> 00:00:56,680\nHe swerves through a wooden fence,\n\n24\n00:00:56,680 --> 00:00:57,980\nbangs off a low stone wall\n\n25\n00:00:57,980 --> 00:00:59,020\nand goes airborne.\n\n26\n00:00:59,270 --> 00:01:05,190\nAs Salander skids off her bike, Martin's SUV grinds\non its side into a fuel tank outside the grocery store.\n\n27\n00:01:05,360 --> 00:01:06,610\nSalander approaches.\n\n28\n00:01:06,980 --> 00:01:08,690\nThick smoke rises from the wreck.\n\n29\n00:01:08,780 --> 00:01:11,950\nApproaching the vehicle, Salander\nremoves the gun from her waistband\n\n30\n00:01:11,950 --> 00:01:13,280\nand holds it at her side.\n\n31\n00:01:13,530 --> 00:01:16,790\nInside the SUV,\nMartin watches through the windshield.\n\n32\n00:01:16,950 --> 00:01:22,290\nStill about 50 yards away, Salander continues her march\ntoward the wreck through a gentle snowfall.\n\n33\n00:01:22,620 --> 00:01:24,710\nMartin watches her, his face bloody.\n\n34\n00:01:25,000 --> 00:01:27,130\nThe pale woman's gaze remains fixed on him.\n\n35\n00:01:27,380 --> 00:01:28,340\nHe sees a spark.\n\n36\n00:01:29,460 --> 00:01:33,140\nA fiery explosion erupts, rising over 50 feet high.\n\n37\n00:01:33,340 --> 00:01:36,390\nSalander steps back and watches the SUV burn.\n\n38\n00:01:36,720 --> 00:01:38,720\nThe flames reach into the night sky.\n\n39\n00:01:38,970 --> 00:01:44,100\nOur view swings around behind the young woman,\nthe burning wreck now visible over her shoulder.\n\n40\n00:01:44,190 --> 00:01:45,310\nShe looks at the gun,\n\n41\n00:01:45,480 --> 00:01:46,690\nreleases its trigger,\n\n42\n00:01:46,690 --> 00:01:47,770\nthen turns away.\n\n43\n00:01:47,900 --> 00:01:49,900\nShe marches back to her motorcycle.\n\n44\n00:01:50,530 --> 00:01:51,400\nFade to black.\n\n", "audio_description_uk": "1\n00:00:05,630 --> 00:00:08,300\nThe motorcycle starts to gain ground on the Range Rover.\n\n2\n00:00:08,590 --> 00:00:11,180\nMartin sees its headlights appear in his rear view mirror.\n\n3\n00:00:11,720 --> 00:00:15,890\nLisbeth guns the bike’s engine,\nshrinking the gap between her and the car.\n\n4\n00:00:29,780 --> 00:00:32,490\nAs they approached the bridge, she's right on Martin's tail.\n\n5\n00:00:32,820 --> 00:00:34,410\nHe sees her try to come alongside him\n\n6\n00:00:34,410 --> 00:00:35,790\nand swerves to block her path.\n\n7\n00:00:36,250 --> 00:00:37,410\nShe makes another attempt\n\n8\n00:00:37,500 --> 00:00:39,160\nand he slews back across the bridge.\n\n9\n00:00:39,870 --> 00:00:43,670\nThe Range Rover’s gyrations become more violent\nas he tries to stop her passing\n\n10\n00:00:43,920 --> 00:00:45,380\nand the back clips the bridge.\n\n11\n00:00:45,960 --> 00:00:49,420\nLisbeth guns her engine and streaks through\non Martin's left hand side.\n\n12\n00:00:50,050 --> 00:00:52,470\nHe loses control as he comes off the end of the bridge\n\n13\n00:00:52,590 --> 00:00:53,800\nand overturns the car.\n\n14\n00:00:54,390 --> 00:00:56,350\nIt comes to rest on its side in the road.\n\n15\n00:00:56,680 --> 00:01:00,350\nLisbeth comes to a skidding halt,\ndropping the bike in the process.\n\n16\n00:01:04,440 --> 00:01:05,480\nShe takes a deep breath\n\n17\n00:01:05,480 --> 00:01:08,570\nand walks towards the stricken Range Rover\nas smoke billows from it.\n\n18\n00:01:09,190 --> 00:01:10,650\nShe takes the pistol from her pocket\n\n19\n00:01:10,650 --> 00:01:11,320\nand cocks it.\n\n20\n00:01:12,200 --> 00:01:15,330\nTrapped inside the vehicle,\nMartin looks fearfully through the windscreen\n\n21\n00:01:15,660 --> 00:01:17,540\nas Lisbeth walks towards him.\n\n22\n00:01:21,080 --> 00:01:27,630\nSomething shorts out under the bonnet, igniting spilled fuel,\nand the Range Rover is engulfed in a massive fireball.\n\n23\n00:01:32,970 --> 00:01:38,180\nLisbeth stops in her tracks and watches\nas the car and Martin are incinerated in front of her.\n\n24\n00:01:46,360 --> 00:01:49,190\nShe uncocks the pistol and walks back to her bike.\n\n25\n00:01:49,900 --> 00:01:51,860\nThe screen fades to black.\n\n", "subtitles": "", "sdh": "1\n00:00:40,420 --> 00:00:41,990\n[TIRES SCREECHING]\n\n2\n00:01:02,100 --> 00:01:04,100\n[♪♪♪]\n\n3\n00:01:31,140 --> 00:01:33,140\n[MARTIN SCREAMING]\n\n4\n00:01:50,140 --> 00:01:52,140\n[♪♪♪]\n\n", "screenplay": "{\"screenplay_scene_255\": \"<scene>\\n    <stage_direction>EXT. THE BRIDGE - NIGHT</stage_direction>\\n    <scene_description>She roars onto the bridge , chasing the taillights . Guns the bike to full throttle . Comes alongside him . He swerves to try to crush her against the railing - but she hits the brakes , avoiding the impact - She accelerates again and comes up on the other side of the car . He swerves again at her , but this time the bike pulls ahead of him . Now he 's chasing her - He gains on her as they near the end of the bridge . As they race off it , he goes in for the kill , but she veers hard to one side , leaving him headed straight for the gas station Blomkvist makes his pay phone calls from - and the tanker truck parked there - Martin hits the brakes - hydroplanes into the truck - and its , or his own tank , or both , explode - Salander circles back . Regards the fire engulfing the car . The rain does nothing to dampen it . She could probably brave it to pull Martin out - but does n't . As the flames burn his clothes , he manages to get his hands on the rifle he took from the den , turns its barrel to his bloody head - but before he can pull the trigger , she hurries over , yanks it from his grasp and stands back again . It 's much more cathartic to watch him burn .</scene_description>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "7647.33", "video_duration": "113.31"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "klVz0el6OTvm", "audio_description_us": "1\n00:00:00,000 --> 00:00:02,340\nShe gazes at him, lying on her side.\n\n2\n00:00:04,920 --> 00:00:10,550\nThe petite young woman wears a black tank top,\nthe head of her dragon tattoo visible on her bare shoulder.\n\n3\n00:00:38,620 --> 00:00:40,040\nShe lowers her gaze.\n\n4\n00:00:46,710 --> 00:00:48,340\nShe looks at him directly.\n\n5\n00:01:03,360 --> 00:01:05,020\nShe leaves him lying on the bed.\n\n", "audio_description_uk": "1\n00:00:19,730 --> 00:00:21,310\nShe looked steadily back at him.\n\n2\n00:00:39,540 --> 00:00:41,250\nShe drops her gaze awkwardly.\n\n3\n00:01:03,900 --> 00:01:05,070\nShe gets up off the bed.\n\n", "subtitles": "1\n00:00:14,010 --> 00:00:17,090\nHow come a 23-year-old\n\n2\n00:00:17,250 --> 00:00:19,980\nis a ward of the state?\n\n3\n00:00:23,170 --> 00:00:27,220\nI'm mentally incompetent and\ncan't manage daily life.\n\n4\n00:00:29,770 --> 00:00:32,420\nSince when have they said that?\n\n5\n00:00:32,610 --> 00:00:35,290\nSince I was 12.\n\n6\n00:00:36,770 --> 00:00:38,580\nWhat happened when you were 12?\n\n7\n00:00:42,530 --> 00:00:46,330\nI'm sorry, that's...\nThat's none of my business.\n\n8\n00:00:48,810 --> 00:00:50,540\nI tried to kill my father.\n\n9\n00:00:52,690 --> 00:00:54,770\nBurned him alive.\n\n10\n00:00:55,410 --> 00:00:59,540\nGot about 80 percent of him.\n\n11\n00:01:02,530 --> 00:01:03,580\nOh.\n\n", "sdh": "1\n00:00:14,000 --> 00:00:17,080\nHow come a 23-year-old\n\n2\n00:00:17,240 --> 00:00:19,970\nis a ward of the state?\n\n3\n00:00:23,160 --> 00:00:27,210\nI'm mentally incompetent and\ncan't manage daily life.\n\n4\n00:00:29,760 --> 00:00:32,410\nSince when have they said that?\n\n5\n00:00:32,600 --> 00:00:35,280\nSince I was 12.\n\n6\n00:00:36,760 --> 00:00:38,570\nWhat happened when you were 12?\n\n7\n00:00:42,520 --> 00:00:46,320\nI'm sorry, that's...\nThat's none of my business.\n\n8\n00:00:48,800 --> 00:00:50,530\nI tried to kill my father.\n\n9\n00:00:52,680 --> 00:00:54,760\nBurned him alive.\n\n10\n00:00:55,400 --> 00:00:59,530\nGot about 80 percent of him.\n\n11\n00:01:02,520 --> 00:01:03,570\nOh.\n\n", "screenplay": "{\"screenplay_scene_260\": \"<scene>\\n    <stage_direction>INT. COTTAGE BEDROOM - LATER - MORNING</stage_direction>\\n    <scene_description>Blomkvist half - wakes to find Salander lying next to him , fully - clothed , watching him . Is she actually there , or part of a dream ? He looks at her a long moment , then tries out his voice -</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>How is it someone who's 23 is a ward of the state?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>I'm mentally incompetent and ca n't manage daily life.</dialogue>\\n    <scene_description>He smiles , thinking it 's joke . It is n't , he realizes .</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>Since when have they said that.</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>Since I was twelve.</dialogue>\\n    <character>BLOMKVIST</character>\\n    <dialogue>Something happened when you were twelve?</dialogue>\\n    <scene_description>She does n't say . Just studies him .</scene_description>\\n    <character>BLOMKVIST</character>\\n    <dialogue>It's all right, you do n't have to tell me anything -</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>I tried to kill my father. I burned him alive. Got about 80 percent of him.</dialogue>\\n    <character>BLOMKVIST</character>\\n    <parenthetical>( pause . )</parenthetical>\\n    <dialogue>Oh.</dialogue>\\n    <scene_description>Silence . Then -</scene_description>\\n    <character>SALANDER</character>\\n    <dialogue>We need milk.</dialogue>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "7784.83", "video_duration": "66.11"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "JW0Yvfh6mTIr", "audio_description_us": "1\n00:00:00,000 --> 00:00:01,840\nSalander steps out of a Rolls Royce.\n\n2\n00:00:01,960 --> 00:00:07,050\nAs a businessman escorts her through a building,\nshe tilts her face away from a security camera.\n\n3\n00:00:07,130 --> 00:00:08,550\nThey reach a man's office.\n\n4\n00:00:10,390 --> 00:00:12,100\nSalander sits across from him.\n\n5\n00:00:20,940 --> 00:00:22,270\nShe opens her purse.\n\n6\n00:00:25,360 --> 00:00:26,940\nThe banker checks his watch.\n\n7\n00:00:33,580 --> 00:00:35,040\nHe takes her list of codes.\n\n8\n00:00:35,080 --> 00:00:36,700\nLater in her hotel suite…\n\n9\n00:00:50,550 --> 00:00:54,890\nSitting on her bed, Salander listens to the report\nas she counts stacks of bonds.\n\n10\n00:00:55,100 --> 00:00:58,730\nNow a man totes two bags for her\nas he leads her into a building.\n\n11\n00:00:59,100 --> 00:01:03,440\nIn an office, the disguised woman\nreveals the bonds inside one of the bags.\n\n12\n00:01:09,780 --> 00:01:14,530\nShe sips from a teacup as the bespectacled banker\npunches numbers into a calculator.\n\n13\n00:01:14,870 --> 00:01:19,830\nNoticing a lipstick smear near the cup's rim,\nSalander wipes it away with a gloved finger.\n\n14\n00:01:20,080 --> 00:01:22,120\nThe bank official shows her the calculator.\n\n", "audio_description_uk": "1\n00:00:01,210 --> 00:00:04,090\nand Lisbeth in her Ivy Nesser disguise steps out.\n\n2\n00:00:04,920 --> 00:00:07,340\nA security camera tracks her as she enters a bank\n\n3\n00:00:07,340 --> 00:00:08,720\nand is taken to see the manager.\n\n4\n00:00:34,410 --> 00:00:36,370\nThe manager takes the clearing codes.\n\n5\n00:00:51,090 --> 00:00:56,640\nStill in disguise, Lisbeth and a man carrying two large bags\nstep out of the Rolls Royce on the Zurich street.\n\n6\n00:00:57,390 --> 00:00:58,680\nThey go into another bank.\n\n7\n00:00:59,270 --> 00:01:03,150\nIn an office, Lisbeth showed another banker\nthe bags are full of bonds.\n\n8\n00:01:11,820 --> 00:01:14,870\nAs the banker calculates the value,\nshe sips a cup of tea.\n\n9\n00:01:15,200 --> 00:01:17,240\nShe's careful to wipe her lip print from the cup.\n\n10\n00:01:17,910 --> 00:01:24,290\nThe banker shows her the value is 3,212,655,732.\n\n11\n00:01:27,210 --> 00:01:28,590\nThe banker smiles wryly.\n\n", "subtitles": "1\n00:00:09,760 --> 00:00:11,130\nThank you.\n\n2\n00:00:12,920 --> 00:00:15,890\nI have accounts at Bank of\nKroenenfeld, Cayman Islands.\n\n3\n00:00:16,040 --> 00:00:18,250\nI'd like to transfer them\nand convert to bonds.\n\n4\n00:00:18,600 --> 00:00:20,120\nNaturally, you have\nthe clearing codes.\n\n5\n00:00:20,200 --> 00:00:21,610\nNaturally.\n\n6\n00:00:22,760 --> 00:00:24,520\nHow many accounts\nwill you transfer?\n\n7\n00:00:24,680 --> 00:00:25,760\nThirty.\n\n8\n00:00:26,600 --> 00:00:29,080\nOh. This will take some time.\n\n9\n00:00:29,240 --> 00:00:30,890\nYou will receive 4\npercent commission.\n\n10\n00:00:31,040 --> 00:00:34,090\nI will.\nThen it won't be a waste of it.\n\n11\n00:00:37,240 --> 00:00:39,480\nA Swedish tourist\nvacationing here in Barbados\n\n12\n00:00:39,640 --> 00:00:43,440\nsays he knows where fugitive-\n\n13\n00:00:43,600 --> 00:00:46,170\nHere, in this Caribbean\nisland's capital, Bridgetown.\n\n14\n00:00:46,360 --> 00:00:50,130\nPolice released this photo and believe\nit is the disgraced billionaire.\n\n15\n00:01:04,920 --> 00:01:08,450\nUh, how many of these would you\nlike to convert for deposit?\n\n16\n00:01:08,600 --> 00:01:10,010\nAll 50, into five accounts.\n\n17\n00:01:24,880 --> 00:01:26,530\nYes. That looks correct.\n\n", "sdh": "1\n00:00:09,750 --> 00:00:11,120\nThank you.\n\n2\n00:00:12,910 --> 00:00:15,880\nI have accounts at Bank of\nKroenenfeld, Cayman Islands.\n\n3\n00:00:16,030 --> 00:00:18,240\nI'd like to transfer them\nand convert to bonds.\n\n4\n00:00:18,590 --> 00:00:20,110\nNaturally, you have\nthe clearing codes.\n\n5\n00:00:20,190 --> 00:00:21,600\nNaturally.\n\n6\n00:00:22,750 --> 00:00:24,510\nHow many accounts\nwill you transfer?\n\n7\n00:00:24,670 --> 00:00:25,750\nThirty.\n\n8\n00:00:26,590 --> 00:00:29,070\nOh. This will take some time.\n\n9\n00:00:29,230 --> 00:00:30,880\nYou will receive 4\npercent commission.\n\n10\n00:00:31,030 --> 00:00:34,080\nI will.\nThen it won't be a waste of it.\n\n11\n00:00:37,230 --> 00:00:39,610\nREPORTER [ON TV]: A Swedish tourist\nvacationing here in Barbados\n\n12\n00:00:39,630 --> 00:00:43,430\nsays he knows where fugitive\nfinancier Hans-Erik Wennerström is:\n\n13\n00:00:43,590 --> 00:00:46,160\nHere, in this Caribbean\nisland's capital, Bridgetown.\n\n14\n00:00:46,350 --> 00:00:50,120\nPolice released this photo and believe\nit is the disgraced billionaire.\n\n15\n00:01:04,910 --> 00:01:08,440\nUh, how many of these would you\nlike to convert for deposit?\n\n16\n00:01:08,590 --> 00:01:10,000\nAll 50, into five accounts.\n\n17\n00:01:11,110 --> 00:01:12,350\n[CLEARS THROAT]\n\n18\n00:01:12,870 --> 00:01:14,680\n[KEYPAD CLACKING]\n\n19\n00:01:24,870 --> 00:01:26,520\nYes. That looks correct.\n\n", "screenplay": "{\"screenplay_scene_300\": \"<scene>\\n    <stage_direction>EXT.   ZURICH - DAY</stage_direction>\\n    <scene_description>`` Irene Nesser '' enters Bank Hausen General under watchful security cameras .</scene_description>\\n  </scene>\", \"screenplay_scene_301\": \"<scene>\\n    <stage_direction>INT. BANK HAUSEN GENERAL - ZURICH - DAY</stage_direction>\\n    <scene_description>Security cameras inside watch her and a banker at a desk in an area reserved for discreet transactions .</scene_description>\\n    <character>SALANDER</character>\\n    <dialogue>I have a number of accounts at Bank of Kroenfeld, Cayman Islands. I want to transfer those funds and convert them to bonds.</dialogue>\\n    <scene_description>As she writes an account number on a slip of paper from memory , Herr Wagner notices - as she intends - the pen she 's using - from the venerable Zimmerstal Hotel .</scene_description>\\n    <character>WAGNER</character>\\n    <dialogue>Naturally, you have the clearing codes.</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>Naturally.</dialogue>\\n    <character>WAGNER</character>\\n    <dialogue>How many accounts will you be transferring?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>Thirty.</dialogue>\\n    <scene_description>He glances at his watch , perhaps thinking about lunch . His faux - politeness - even his appearance - reminds her of Bjurman .</scene_description>\\n    <character>WAGNER</character>\\n    <dialogue>This will take some time.</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>For which you'll receive a 4 - percent commission.</dialogue>\\n    <character>WAGNER</character>\\n    <dialogue>I will.</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>Then it wo n't be a waste of it.</dialogue>\\n    <scene_description>She offers him the Zimmerstal pen .</scene_description>\\n    <character>WAGNER</character>\\n    <dialogue>Thank you, I have one.</dialogue>\\n    <scene_description>He picks up one of his cheap pens . She hands him a long list of account numbers and clearing codes -</scene_description>\\n  </scene>\", \"screenplay_scene_302\": \"<scene>\\n    <stage_direction>INT. SUITE - ZIMMERSTAL HOTEL - ZURICH - DAY</stage_direction>\\n    <scene_description>As she sorts through a stack of bonds , the TV shows a reporter in a colorful town square .</scene_description>\\n    <character>REPORTER</character>\\n    <dialogue>A Swedish tourist vacationing here in Barbados says he knows where fugitive financier Hans - Erik Wennerstrom is : Here in this Caribbean island's capital, Bridgetown. Police released this photograph, taken yesterday by the tourist, Jens Assur -</dialogue>\\n    <scene_description>A snapshot of Wennerstrom , or someone who looks like him - tropical shirt , hat and sunglasses - climbing into a car .</scene_description>\\n    <character>REPORTER</character>\\n    <dialogue>- and say they believe it is the disgraced billionaire.</dialogue>\\n  </scene>\", \"screenplay_scene_303\": \"<scene>\\n    <stage_direction>INT. BANK DORFMANN - ZURICH - DAY</stage_direction>\\n    <scene_description>Sitting with a different bank manager now as security cameras keep silent watch , she opens her portfolio and turns it so he can see its contents . He glances up with a polite smile that 's supposed to mask his surprise .</scene_description>\\n    <character>HASSELMAN</character>\\n    <dialogue>How many of these would you like to convert for deposit?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>All fifty. Into five accounts.</dialogue>\\n    <scene_description>He works out the conversion to CHF and hands her the calculator : A `` 2 '' followed by more digits than we can count .</scene_description>\\n    <character>SALANDER</character>\\n    <dialogue>That looks correct.</dialogue>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "8765.60", "video_duration": "88.59"}
{"rottentomatoes_id": "the_girl_with_the_dragon_tattoo", "imdb_id": "tt1568346", "video_id": "ofdvX951xl2S", "audio_description_us": "1\n00:00:00,460 --> 00:00:02,670\nNow a tailor unzips a garment bag\n\n2\n00:00:02,670 --> 00:00:04,710\nand shows Salander a black leather jacket.\n\n3\n00:00:05,090 --> 00:00:08,430\nShe compares it to Blomkvist’s jacket\nin the photo of him and Erika.\n\n4\n00:00:15,020 --> 00:00:18,310\nAs he zips the bag back up,\nSalander gives a wistful look.\n\n5\n00:00:18,850 --> 00:00:22,610\nNow at her apartment,\nshe intently writes a message inside a card,\n\n6\n00:00:22,650 --> 00:00:24,360\nthen slides it into an envelope.\n\n7\n00:00:25,900 --> 00:00:31,200\nThe card's cover shows a horse bending its neck down\nas a child bundled against the cold pats its head.\n\n8\n00:00:31,570 --> 00:00:34,030\nSalander writes an ‘M’ on the front of the envelope,\n\n9\n00:00:34,030 --> 00:00:35,040\nthen underlines it.\n\n10\n00:00:35,200 --> 00:00:36,200\nShe stares off.\n\n11\n00:00:37,080 --> 00:00:37,750\nNight-time.\n\n12\n00:00:41,330 --> 00:00:45,210\nSnow drifts to the ground\nas Salander glides her motorcycle down a hill\n\n13\n00:00:45,210 --> 00:00:48,220\nand parks across the street\nfrom Blomkvist’s apartment building.\n\n14\n00:00:48,670 --> 00:00:50,630\nDismounting, she removes her helmet,\n\n15\n00:00:50,840 --> 00:00:54,510\nthen takes the garment bag with her gift\noff the bike's rear cargo rack.\n\n16\n00:00:58,560 --> 00:01:01,230\nShe sees Blomkvist and Erika leaving the building\n\n17\n00:01:01,230 --> 00:01:04,900\nand watches unnoticed as he drapes\nan arm over her shoulders.\n\n18\n00:01:06,440 --> 00:01:10,110\nThe couple heads down a walkway\nto a waiting taxi at the top of a hill.\n\n19\n00:01:16,030 --> 00:01:19,120\nSalander watches woundedly\nas they climb into the cab,\n\n20\n00:01:19,120 --> 00:01:21,040\nthen lowers her heartbroken gaze.\n\n21\n00:01:22,920 --> 00:01:27,710\nTurning away, she tosses Blomkvist’s gift\ninto a dumpster against the side of a building.\n\n22\n00:01:28,050 --> 00:01:30,260\nShe glances at the cab as it drives off,\n\n23\n00:01:30,510 --> 00:01:31,680\nthen dons her helmet\n\n24\n00:01:31,680 --> 00:01:32,630\nand mounts her bike.\n\n25\n00:01:37,390 --> 00:01:42,560\nShe speeds off down the cobblestone street,\nher figure disappearing from view as she rounds a corner.\n\n", "audio_description_uk": "1\n00:00:01,210 --> 00:00:02,880\nWith his newspaper. Lisbeth is in an upmarket tailors.\n\n2\n00:00:03,050 --> 00:00:08,380\nThe tailor shows her a leather motorcycle jacket he's made\nfrom a photo of Mikael wearing an identical garment.\n\n3\n00:00:15,680 --> 00:00:17,770\nShe looks surprised by the tailor's comment.\n\n4\n00:00:18,640 --> 00:00:22,610\nBack at her apartment, she writes a card\nwhich has a picture of a horse on it\n\n5\n00:00:22,980 --> 00:00:24,230\nand put it in an envelope.\n\n6\n00:00:32,660 --> 00:00:34,410\nShe addresses the envelope to ‘M’.\n\n7\n00:00:35,120 --> 00:00:35,580\nNight.\n\n8\n00:00:35,910 --> 00:00:40,210\nLisbeth rides her motorcycle down a cobbled street\nwith snow piled at the curbside.\n\n9\n00:00:45,590 --> 00:00:48,130\nShe parks on a corner outside Mikael's apartment\n\n10\n00:00:48,130 --> 00:00:49,380\nand removes her crash helmet.\n\n11\n00:00:50,430 --> 00:00:52,300\nShe takes a package from the back of the bike,\n\n12\n00:00:52,720 --> 00:00:56,770\nbut stops dead when she sees Mikael\nleave his apartment with Erika.\n\n13\n00:01:00,100 --> 00:01:03,610\nShe watches numbly as the couple walk away\nwith their arms around each other.\n\n14\n00:01:18,080 --> 00:01:21,920\nLisbeth looks down as Mikael and Erika\nget into a waiting taxi.\n\n15\n00:01:27,500 --> 00:01:32,680\nLisbeth turns away and flings the package which has the card\nattached to it into a nearby dumpster.\n\n16\n00:01:33,550 --> 00:01:35,220\nShe puts her crash helmet back on,\n\n17\n00:01:35,220 --> 00:01:36,140\ngets on her bike\n\n18\n00:01:36,140 --> 00:01:36,970\nand starts it up.\n\n19\n00:01:37,720 --> 00:01:40,600\nA solitary figure, she rides off into the night.\n\n", "subtitles": "1\n00:00:09,690 --> 00:00:12,370\nIt's nice. Your father?\n\n2\n00:00:12,570 --> 00:00:14,970\nA friend.\nMust be a very good friend.\n\n3\n00:00:57,650 --> 00:01:00,650\n- We're late.\n- Fashionably late.\n\n", "sdh": "1\n00:00:09,680 --> 00:00:12,360\nIt's nice. Your father?\n\n2\n00:00:12,560 --> 00:00:14,960\nA friend.\nMust be a very good friend.\n\n3\n00:00:57,640 --> 00:01:00,640\nMIKAEL: We're late.\nERIKA: Fashionably late.\n\n4\n00:01:07,120 --> 00:01:09,170\n[MIKAEL & ERIKA\nSPEAKING INDISTINCTLY]\n\n5\n00:01:15,160 --> 00:01:17,130\n[ERIKA LAUGHS]\n\n", "screenplay": "{\"screenplay_scene_324\": \"<scene>\\n    <stage_direction>INT. TAILOR SHOP - STOCKHOLM - DAY</stage_direction>\\n    <scene_description>A tailor brings out a garment bag bearing his exclusive insignia , drapes it across a table , returns to Salander the photograph she provided him with last week : It 's of a much younger Blomkvist - at about Salander 's age now - wearing the black leather jacket he loved and lost track of years ago . The tailor unzips the bag revealing an exact - though considerably more expensive - replica of the jacket .</scene_description>\\n    <character>SALANDER</character>\\n    <dialogue>It's perfect.</dialogue>\\n    <character>TAILOR</character>\\n    <dialogue>Your father?</dialogue>\\n    <character>SALANDER</character>\\n    <dialogue>A friend.</dialogue>\\n    <character>TAILOR</character>\\n    <dialogue>Must be a very good friend.</dialogue>\\n    <parenthetical>( she nods . )</parenthetical>\\n    <dialogue>He's lucky.</dialogue>\\n  </scene>\", \"screenplay_scene_325\": \"<scene>\\n    <stage_direction>INT. SALANDER'S APARTMENT - DUSK</stage_direction>\\n    <scene_description>A perfect Christmas card vista that actually turns out to be a Christmas card : A snowy rural landscape scene . It 's stupid , but she 's writing under the pre - printed `` Merry Christmas '' inside , a personal note that 's more sincere than she thought herself capable . She blows on the ink , puts the card in its envelope , neatly writes `` Mikael '' on it , gets up -</scene_description>\\n  </scene>\", \"screenplay_scene_326\": \"<scene>\\n    <stage_direction>EXT. STOCKHOLM - EVENING</stage_direction>\\n    <scene_description>Snow 's falling , but unlike the brutal winter storms last year , it 's just heavy enough to dust the city in white powder that reflects the Christmas lights in the trees . The beauty of her city pleases Salander as she rides through it on her motorcycle . Or maybe it 's something she 's feeling as she turns onto Blomkvist 's street . She parks . Gathers the garment bag and card , walks under construction scaffolding toward his apartment building . From around the corner ahead , Blomkvist and Erika appear . He says something and she laughs , puts her arm around his waist and lays her head against his neck scarf . Salander stops mid - stride , ducks into an alcove under the scaffolding , waits as long as it should take them to get inside the building , then peers out again - They 're not inside . They 've stopped just outside the building 's entrance . They 're embracing . And the longer they stand there together , the sharper the pain stabs at Salander . Finally they separate , but only to allow Blomkvist to unlock the door . Erika takes his hand then , and they disappear inside . Salander ca n't move . Waits for the pain to subside - which it eventually does - but only to be replaced with a sense of helplessness . Then that subsides , replaced with a facade of insouciance . The richest girl in Sweden emerges from the alcove and walks back the way she came - tossing the garment bag and card into a construction dumpster - climbs onto her Honda - starts it - and drives off - Probably forever .</scene_description>\\n  </scene>\"}", "movie_duration": "9487.36", "video_start": "9067.55", "video_duration": "106.33"}
{"rottentomatoes_id": "super_8", "imdb_id": "tt1650062", "video_id": "5hmI4gYylyRD", "audio_description_us": "1\n00:00:01,540 --> 00:00:05,130\nHolding a boom microphone, Joe smiles\nas the train zips past a few feet away.\n\n2\n00:00:11,470 --> 00:00:12,430\nJoe turns to Charles,\n\n3\n00:00:12,430 --> 00:00:13,680\nwho smiles and nods.\n\n4\n00:00:19,140 --> 00:00:20,270\nJoe glances beyond the train\n\n5\n00:00:20,270 --> 00:00:22,810\nwhere a pickup truck bounces down\na dirt road toward the tracks.\n\n6\n00:00:32,820 --> 00:00:33,990\nThe truck turns onto the track\n\n7\n00:00:33,990 --> 00:00:35,620\nand speeds toward the oncoming train.\n\n8\n00:00:40,460 --> 00:00:41,750\nThe train slams into the truck\n\n9\n00:00:41,750 --> 00:00:42,580\nand derails.\n\n10\n00:00:45,380 --> 00:00:49,010\nAs the front train cars rise into the air and\ncrash into poles, the boys drop the camera\n\n11\n00:00:49,010 --> 00:00:50,380\nand scurry down the platform.\n\n12\n00:00:50,720 --> 00:00:52,220\nThe speeding train bucks and twists\n\n13\n00:00:52,220 --> 00:00:53,680\nas cars detach and crash.\n\n14\n00:00:53,890 --> 00:00:57,180\nAs the rear of the train comes apart,\nJoe, Charles and Cary turn back.\n\n15\n00:00:57,220 --> 00:00:58,390\nAlice stands rooted.\n\n16\n00:01:00,440 --> 00:01:03,560\nAlice dashes aside as a cartwheeling\ntrain car clips the depot.\n\n17\n00:01:03,730 --> 00:01:05,940\nMartin and brown-haired Preston\ncrawl under the platform\n\n18\n00:01:05,940 --> 00:01:07,110\nas the other boys flee.\n\n19\n00:01:07,360 --> 00:01:10,240\nOne train car slams like a missile\ninto the side of the depot,\n\n20\n00:01:10,240 --> 00:01:11,700\nexploding the building to splinters.\n\n21\n00:01:14,450 --> 00:01:15,700\nDebris rains from the sky\n\n22\n00:01:15,700 --> 00:01:17,080\nas more cars flip through the air\n\n23\n00:01:17,080 --> 00:01:18,290\nand crash in flames.\n\n24\n00:01:19,000 --> 00:01:21,330\nCharles, Joe and Cary sprint\nthrough the burning wreckage\n\n25\n00:01:21,330 --> 00:01:22,710\nas cars continue to pile up.\n\n26\n00:01:32,260 --> 00:01:34,680\nOne train car slams into the back of a tanker car,\n\n27\n00:01:34,680 --> 00:01:36,760\nlaunching the cylindrical tank into the sky.\n\n28\n00:01:36,930 --> 00:01:37,720\nThe tank crashes\n\n29\n00:01:37,720 --> 00:01:39,640\nand explodes in front of the fleeing boys.\n\n30\n00:01:39,850 --> 00:01:42,190\nRunning from the flames, Joe\nseparates from Charles and Cary\n\n31\n00:01:42,190 --> 00:01:43,690\nand dashes into a debris field.\n\n32\n00:01:43,940 --> 00:01:47,270\nHe stops as a piece of flaming wreckage\nmarked 'Explosives' lands in front of him.\n\n33\n00:01:49,940 --> 00:01:50,820\nJoe turns to run,\n\n34\n00:01:50,820 --> 00:01:53,160\nbut a massive explosion knocks him to the ground.\n\n35\n00:01:55,240 --> 00:01:57,450\nHe lies face down with his hands over his head.\n\n36\n00:02:09,000 --> 00:02:09,550\nJoe looks up\n\n37\n00:02:09,550 --> 00:02:12,840\nas a train car lying on its side a\nfew yards away shutters and rocks.\n\n38\n00:02:13,010 --> 00:02:14,720\nStanding, Joe grips the locket necklace\n\n", "audio_description_uk": "1\n00:00:12,390 --> 00:00:13,930\nJoe and Preston smile.\n\n2\n00:00:33,740 --> 00:00:36,700\nJoe sees a pickup pull onto\nthe tracks ahead of the train.\n\n3\n00:00:41,920 --> 00:00:43,130\nThe vehicles collide.\n\n4\n00:00:49,300 --> 00:00:50,680\nThe camera's knocked over.\n\n5\n00:00:55,430 --> 00:00:57,720\nThe freight train barrels through the station.\n\n6\n00:00:57,850 --> 00:00:59,020\nAlice stares at it.\n\n7\n00:01:03,360 --> 00:01:04,730\nThe train derails.\n\n8\n00:01:09,110 --> 00:01:10,740\nCarriages hurtle off the tracks.\n\n9\n00:01:10,820 --> 00:01:13,070\nOne careens through the station building,\n\n10\n00:01:13,070 --> 00:01:14,660\nsmashing it to matchwood.\n\n11\n00:01:19,000 --> 00:01:21,670\nElectrical explosions go off around the station,\n\n12\n00:01:21,750 --> 00:01:23,500\nand trucks hurtle through the air.\n\n13\n00:01:23,710 --> 00:01:26,000\nThe kids flee frantically through the debris\n\n14\n00:01:26,000 --> 00:01:28,420\nas explosions mushroom around them.\n\n15\n00:01:34,300 --> 00:01:36,680\nMore trucks and carriages fly off the line\n\n16\n00:01:36,680 --> 00:01:38,220\nand collide with one another.\n\n17\n00:01:38,560 --> 00:01:40,140\nA tanker is thrown through the air\n\n18\n00:01:40,140 --> 00:01:42,060\nand explodes as it hits the ground.\n\n19\n00:01:42,810 --> 00:01:44,940\nJoe runs past the flaming debris,\n\n20\n00:01:45,400 --> 00:01:47,480\na piece of which is flung into the air,\n\n21\n00:01:47,520 --> 00:01:49,530\nthen crashes down just in front of him.\n\n22\n00:01:49,900 --> 00:01:52,700\nHe sees a warning sign on it: Explosives.\n\n23\n00:01:55,160 --> 00:01:58,660\nAs he turns to run, a massive\nexplosion erupts from the debris,\n\n24\n00:01:58,660 --> 00:02:00,080\nthrowing him to the ground.\n\n25\n00:02:08,550 --> 00:02:09,420\nHe looks up,\n\n26\n00:02:09,460 --> 00:02:10,800\nthen gets to his feet.\n\n27\n00:02:11,050 --> 00:02:13,130\nHe looks at a carriage lying on its side.\n\n", "subtitles": "1\n00:00:03,520 --> 00:00:07,190\nThe dead coming back to life?\nI think you're in danger!\n\n2\n00:00:07,270 --> 00:00:08,440\nI don't have a choice!\n\n3\n00:00:08,690 --> 00:00:10,030\nYou do have a choice!\n\n4\n00:00:10,360 --> 00:00:11,450\nWe all do!\n\n5\n00:00:14,360 --> 00:00:16,360\nJohn, I've never asked you to stop!\n\n6\n00:00:16,950 --> 00:00:19,950\nI've never asked you to give up\nor walk away!\n\n7\n00:00:21,200 --> 00:00:24,210\nBut I'm asking you now!\nPlease, for me,\n\n8\n00:00:24,960 --> 00:00:26,880\njust don't go!\n\n9\n00:00:26,960 --> 00:00:29,960\nJust don't go back! Don't leave me!\n\n10\n00:00:30,300 --> 00:00:33,720\nI need to know this isn't the last time\nI'm going to see you!\n\n11\n00:00:35,430 --> 00:00:37,680\n- I love you so much!\n- I love you, too!\n\n12\n00:00:37,930 --> 00:00:39,890\n- Guys, watch out!\n- Joe, what the hell are you...\n\n13\n00:00:43,680 --> 00:00:45,980\n- Oh, my God!\n- Run!\n\n14\n00:00:47,480 --> 00:00:48,480\n- Oh, my God!\n- Go!\n\n15\n00:00:52,070 --> 00:00:53,360\nHoly shit!\n\n16\n00:00:53,440 --> 00:00:54,540\nGo, go, go!\n\n17\n00:00:59,740 --> 00:01:00,740\nAlice!\n\n18\n00:01:00,830 --> 00:01:02,920\nJoe, let's go! We got to go!\n\n19\n00:01:06,040 --> 00:01:07,880\n- Keep going!\n- Are we alive?\n\n20\n00:01:30,520 --> 00:01:32,190\nI don't want to die!\n\n21\n00:01:37,030 --> 00:01:38,030\nOh, my God!\n\n", "sdh": "1\n00:00:03,490 --> 00:00:07,220\nALICE: (SHOUTING) The dead coming\nback to life? I think you're in danger!\n\n2\n00:00:07,290 --> 00:00:08,460\nMARTIN:\nI don't have a choice!\n\n3\n00:00:08,670 --> 00:00:10,010\nYou do have a choice!\n\n4\n00:00:10,330 --> 00:00:11,460\nWe all do!\n\n5\n00:00:14,340 --> 00:00:16,340\nJohn, I've never\nasked you to stop!\n\n6\n00:00:16,970 --> 00:00:19,970\nI've never asked you\nto give up or walk away!\n\n7\n00:00:21,180 --> 00:00:24,180\nBut I'm asking you now!\nPlease, for me,\n\n8\n00:00:24,930 --> 00:00:26,900\njust don't go!\n\n9\n00:00:26,980 --> 00:00:29,980\nJust don't go back!\nDon't leave me!\n\n10\n00:00:30,310 --> 00:00:33,690\nI need to know this isn't the last\ntime I'm going to see you!\n\n11\n00:00:35,400 --> 00:00:37,700\n- I love you so much!\n- I love you, too!\n\n12\n00:00:37,900 --> 00:00:39,860\n- Guys, watch out!\n- Joe, what the hell are you...\n\n13\n00:00:43,700 --> 00:00:46,000\n- Oh, my God!\n- Run!\n\n14\n00:00:46,080 --> 00:00:47,300\n(FILM REEL WHIRRING)\n\n15\n00:00:47,500 --> 00:00:48,740\nMARTIN: Oh, my God!\nCHARLES: Go!\n\n16\n00:00:52,040 --> 00:00:53,340\nCARY: Holy shit!\n\n17\n00:00:53,420 --> 00:00:54,550\nCHARLES: Go, go, go!\n\n18\n00:00:59,720 --> 00:01:00,760\nAlice!\n\n19\n00:01:00,840 --> 00:01:02,890\nJoe, let's go!\nWe got to go!\n\n20\n00:01:06,060 --> 00:01:07,900\n- Keep going!\n- Are we alive?\n\n21\n00:01:11,440 --> 00:01:12,610\n(Screaming)\n\n22\n00:01:30,540 --> 00:01:32,210\nI don't want to die!\n\n23\n00:01:37,000 --> 00:01:38,050\nCARY: Oh, my God!\n\n24\n00:02:07,240 --> 00:02:08,960\n(THUDDING)\n\n", "screenplay": "{\"screenplay_scene_24\": \"<scene>\\n    <stage_direction>EXT. TRAIN DEPOT - PLATFORM - NIGHT</stage_direction>\\n    <scene_description>The lights -LRB- plugged into the car cigarette lighter -RRB- and camera -LRB- a EUMIG -RRB- are set . Alice has been made up , wears a coat with purse . Martin , in his tie , faces her . They both look over their script pages as Charles adjusts the camera . Joe , observing , holds the boom mike -LRB- a condenser mike taped to a broom handle -RRB- , Preston wears an overcoat .</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>Alice : Mrs. Hathaway really does n't want her husband to keep investiga -</dialogue>\\n    <character>ALICE</character>\\n    <dialogue>I know, we read it, we get it.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Okay, I'm just directing. Martin get on your mark. Martin, you're going to have to reassure her. Do you know what `` reassure her'' means?</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>Yeah, I think so.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Okay - we're starting on Alice's side first - Preston : a couple seconds after `` action'' walk to the pay phone, make it look like this place is busy -</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>I know what that looks like.</dialogue>\\n    <scene_description>POP ! Everyone JUMPS - Charles turns - Cary , laughing , has just exploded a firecracker :</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>Asshole, could you stop blowing shit up for two seconds and deal with the camera?</dialogue>\\n    <character>CARY</character>\\n    <dialogue>Sorry man.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Let's rehearse this - save your real performances for when we're filming, though.</dialogue>\\n    <scene_description>Martin and Alice put away their pages - Cary gets behind the camera . Charles stands near the camera , kneeling to camera - height . Joe wears headphones and holds the boom over the actors ' heads . Preston holds a suitcase , ready to walk .</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Ready? Here we go. action!</dialogue>\\n    <scene_description>Martin and Alice now perform as their characters , DETECTIVE JOHN HATHAWAY and MRS. REBECCA HATHAWAY :</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I'm going to stay here and investigate. I think it would be safer if you leave town.</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>John. I do n't like it. This case. These murders.</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>What am I supposed to do, go to Michigan with you?</dialogue>\\n    <scene_description>Preston walks past them , acting in the background .</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>Mackinac Island's beautiful this time of year.</dialogue>\\n    <scene_description>We 're TIGHT ON JOE NOW , watching Alice . Slowly amazed at the unexpected depth and truth she brings to this role -</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>Sweetheart. This is my job.</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>The dead, coming back to life? I think you're in danger -</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I have no choice -</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>You do have a choice. We all do.</dialogue>\\n    <scene_description>And holy shit , Alice actually starts to cry as she performs her lines . Not overdone , not hammy . Just fucking real .</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>John, I've never asked you to stop. I've never asked you to give up or walk away.</dialogue>\\n    <scene_description>Charles watches - in awe - he 's suddenly , giddily transported . But it 's JOE who , as he stares , becomes galvanized ; any vague interest in Alice has just set :</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>But I'm asking you now - please. For me. Do n't go back. Do n't leave me. I need to know this is n't the last time I'll see you.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>I just love you so much.</dialogue>\\n    <scene_description>Martin is thrown by the passion and heart of her performance .</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I. I love you too.</dialogue>\\n    <scene_description>And in the heat of it , Alice looks at Charles , unsure :</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>Was that okay? Or. not really?</dialogue>\\n    <scene_description>Charles is stunned - almost crying - ca n't talk - and as he searches , behind him , a LIGHT -</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>- uh, that was. I'm. that - yeah, good. Just like that.</dialogue>\\n    <scene_description>Then a distant AIRHORN - Charles looks : AN ONCOMING TRAIN . PUSH IN ON CHARLES , TIGHT . He turns to them all :</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>PRODUCTION VALUE! Is there film in the camera?!</dialogue>\\n    <character>CARY</character>\\n    <dialogue>- I did n't put it in -</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>PUT IT IN! PUT IT IN! Joe, get the mike ready. Go, go, Preston, get in position. Costume, costume. Martin, get that tripod set up. Joe, help her with her costume. Hurry, hurry! Go! I hope we do n't miss the train. Preston, get in position! Martin, you know you lines, right?! IS THE FILM IN THE CAMERA YET?!</dialogue>\\n    <scene_description>As Charles runs to Alice , takes her script pages .</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>I love how calm he is.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Yeah, he's a very relaxed guy.</dialogue>\\n    <scene_description>Joe laughs a little as he goes - Cary RIPS OPEN a YELLOW SUPER 8 box - Joe grabs the mike - Cary INSERTS the film : CLICK ! Joe plugs in the mike , Charles grabs the camera :</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>Everyone ready?! Be extra loud when the train passes by! Oh God, I hope it stops! You ready?!</dialogue>\\n    <scene_description>They 're set to film toward Alice , the approaching train in her background - Charles puts on the headphones -</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>And. ACTION!</dialogue>\\n    <scene_description>And they 're shooting :</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I'm going to stay here and investigate. I think it would be safer if you left town for a couple of days.</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>John. I do n't like it. This case. These murders.</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>What am I supposed to do, go to Michigan with you?</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>Mackinac Island's beautiful this time of year.</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>Sweetheart. This is my job.</dialogue>\\n    <scene_description>Charles watches , beaming with excitement . Joe holds the boom , looks to Charles to make sure it sounds okay ; this is when he notices something in the distance . HEADLIGHTS . A quarter mile away , a vehicle drives along the horizon . A beat . But the train is APPROACHING - GETTING LOUDER - which makes Joe turn back toward the train - the thing almost upon them - LOUDER AND LOUDER , so the actors begin to YELL over the</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>THE DEAD, COMING BACK TO LIFE?! I THINK YOU'RE IN DANGER!</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I HAVE NO CHOICE!</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>YOU DO HAVE A CHOICE! WE ALL DO! John, I've never asked you to stop. I've never asked you to give up or walk away.</dialogue>\\n    <scene_description>Joe looks back at the headlights - and sees something very odd : the distant vehicle TURNS ONTO THE TRACKS . PUSH IN ON JOE , unsettled - as the train CROSSES THEM NOW - Joe looks back toward Alice - a BLAST OF AIR , shockingly LOUD !</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>But I'm asking you now - please. For me. Do n't go back. Do n't leave me. I need to know this is n't the last time I'll see you.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>I just love you so much.</dialogue>\\n    <scene_description>Alice and Martin continue to yell their lines - Charles is almost LAUGHING at how good this looks - but Joe LOOKS DESPERATELY BACK toward the headlights - the train LIGHTING UP THE OLD PICK - UP THAT IS ABOUT TO CRASH INTO THE TRAIN !</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I love you too!</dialogue>\\n    <scene_description>And Joe finally swings the mike down and YELLS :</scene_description>\\n    <character>JOE CHARLES</character>\\n    <dialogue />\\n    <scene_description>GUYS , WATCH OUT ! Joe what the hell are y - ?! - just then BA - BA - BA - BAM ! THE TRAIN ENGINE , HUNDREDS OF YARDS AWAY , SLAMS INTO THE TRUCK - THE KIDS GASP - REACT - AS THE TRAIN ENGINE DERAILS !</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Run!</dialogue>\\n    <scene_description>THE TRAIN BEGINS TO CRASH - ACCORDION - THE KIDS SCREAM - RUN - ENTIRE 50 - TON CARS JACKNIFE AND CRASH UPWARD - FLYING VERTICAL - CHARLES ' SUPER 8 CAMERA AND TRIPOD SLAM ONTO THE PLATFORM , LANDING SIDEWAYS , STILL FILMING as the CRASH WAVE APPROACHES AND PASSES THEM ! THE KIDS SCATTER , PRESTON AND MARTIN RUN ONE WAY . CHARLES , CARY AND JOE RUN ANOTHER . JOE STOPS AS ALICE RUNS AROUND THE BUILDING .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Alice!</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Joe, we have to go.</dialogue>\\n    <scene_description>They run off .</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I DO N'T WANT TO DIE!</dialogue>\\n    <scene_description>AS NEARBY CARS RIP OFF TRACKS , TUMBLE - CARS FROM FATHER BACK JETTISON TOWARD THEM , SLAMMING INTO THE DEPOT , SHATTERING IT - THE ENTIRE AREA IS DECIMATED IN AN INSTANT ! And then - IT 'S OVER . Just the odd , dying CHUGS and SCREECH - SCREECH - SCREECH of TRAIN WHEELS running out of momentum , HISSES of STEAM , the unnatural bending of steel . In the DUST , JOE lies frightened on the ground , eyes tightly shut . His mind races , his heart pounds - and then : A LOUD METAL BANG ! Joe stands up fast , faces a MOUNTAIN of twisted STEEL - UPSIDE - DOWN TRAIN CARS PILED FRIGHTENINGLY around him . Just another few feet and he would 've been crushed . But what was that sound ? Something metal ? Then again : SLAM ! Joe BACKS UP , afraid - it was almost a LABORED GROAN - MECHANICAL or ANIMAL ?! A crazy SCREECH , another BANG , then AGAIN and AGAIN ! We see Joe TIGHTLY GRIPPING HIS NECKLACE LOCKET IN HIS HAND - THEN : CRASH ! - AWFUL - LOUD - and a TWISTED TEN - FOOT SQUARE SHEET OF METAL EXPLODES FROM BEHIND THE OVERTURNED TRAIN CARS - Joe covers his head as the metal STABS THE GROUND , twenty feet away : a TRAIN SLIDING DOOR . Joe turns to see it - stunned - then back to the direction of the NOISE - but it is GONE . Nothing . TIGHT ON CHARLES ' CAMERA - on its side , FINISHING UP A CARTRIDGE OF FILM .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>Guys?!</dialogue>\\n    <scene_description>Joe finds MARTIN , on his knees , THROWING UP - Martin keeps throwing up , but pumps a THUMBS UP .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Martin, are you okay?! Preston, is that you?</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>I'm okay! Though I think I'm having a heart attack! And I have a scrape!</dialogue>\\n    <scene_description>Joe MOVES FORWARD - up to camera - behind him , Cary appears , smiling . This kid enjoyed the crash :</scene_description>\\n    <character>CARY</character>\\n    <dialogue>Guys, did you see those explosions? That was awesome.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Has anyone seen Alice?!</dialogue>\\n    <character>CHARLES</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>I'm alive! Is anyone dead?</dialogue>\\n    <scene_description>Through the debris , steel and dust . Joe moves forward - Charles , shaken , eyes wide , appears through the thick dust - Joe moves forward , looking at , under a train WHEEL ASSEMBLY . BLOOD . A PUDDLE OF BLOOD and Joe 's heart sinks as he moves toward it - another woman he loves , crushed ?! Charles and Preston and Cary see the blood -</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue />\\n    <scene_description>- oh God - - no - nonono . Martin , still sick , calls out :</scene_description>\\n    <character>MARTIN CARY</character>\\n    <dialogue />\\n    <scene_description>- what ? Guys , what is it ? shit . Joe moves closer to the blood - heartsick - on the verge of DEEP , REAL TEARS - everything stops - but then :</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>- what's all that blood?</dialogue>\\n    <scene_description>Joe WHIPS AROUND - standing in the dusty mess is ALICE - shaken , but absolutely alive . Joe just BEAMS .</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>What's the blood? - did someone get hurt -?</dialogue>\\n    <scene_description>But JOE SUDDENLY KNOWS - he moves to the blood - reaches below the wheels - the others watch , freaked out -</scene_description>\\n    <character>KIDS</character>\\n    <parenthetical>( AD LIB . )</parenthetical>\\n    <dialogue>Joe, wait - maybe you should n't touch - what are you - careful!</dialogue>\\n    <scene_description>Joe pulls out his CRUSHED MAKE - UP KIT . He brightens :</scene_description>\\n    <character>JOE</character>\\n    <dialogue>It's my fake blood. It's fake!</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>What is this stuff?</dialogue>\\n    <scene_description>ALICE NOTICES THAT HE 'S HOLDING THE NECKLACE . Joe notices this and POCKETS IT self - consciously . PRESTON calls out :</scene_description>\\n    <character>PRESTON</character>\\n    <dialogue>Guys, what are these things?</dialogue>\\n    <scene_description>Joe looks - they all move to Preston -LRB- except Cary , who heads off -RRB- : CRATES have spilled from a nearby split car ; many shattered , revealing THOUSANDS OF SMALL WHITE - METAL CUBES which now litter the ground . Joe kneels , picks one up :</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Hey, do n't touch it, what are you doing?</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>They look like white Rubik's cubes or something. They're heavy like metal or something. There's like a billion of them.</dialogue>\\n    <scene_description>It 's just a few inches per side , an UNUSUAL DESIGN . Behind them , having walked up the ANGLED SIDES of overturned train cars , Cary calls out :</scene_description>\\n    <character>CARY</character>\\n    <dialogue>Guys, get up here. You can see everything from up here.</dialogue>\\n    <scene_description>They move up the mass of metal , revealing a VAST VIEW OF THE WRECK . It seems to stretch on forever . It is SOBERING .</scene_description>\\n    <character>CHARLES CARY</character>\\n    <dialogue />\\n    <scene_description>Oh my God . Look at that .</scene_description>\\n    <character>PRESTON</character>\\n    <dialogue>According to my Uncle Seth, an accident like this is exceptionally rare.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>It was n't an accident.</dialogue>\\n    <parenthetical>( turns away , eyes on the FIELD . )</parenthetical>\\n    <dialogue>There was a truck. On the tracks.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>What? Driving on the tracks?</dialogue>\\n    <scene_description>Joe 's seen it . He points . Chilled .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>There.</dialogue>\\n    <scene_description>Thrown fifty yards from the main wreckage is THE PICK - UP TRUCK . SHEARED IN HALF UPON IMPACT and lying in the overgrown grass .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>How can a pick - up truck derail a train? That's impossible.</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>Obviously it is n't.</dialogue>\\n    <scene_description>BOOM UP from behind the SHATTERED PICK - UP as the kids approach from the wreckage . PUSH IN ON THEM as they arrive at the truck and STOP ; what they see makes Joe 's heart pound - they 're stunned - all of them . They just stop . Finally :</scene_description>\\n    <character>CARY</character>\\n    <dialogue>holy shit.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>- is that him?</dialogue>\\n    <character>ALICE</character>\\n    <parenthetical>( covers her mouth . )</parenthetical>\\n    <dialogue>. -RRB- - yeah, it's him -</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>- who?</dialogue>\\n    <character>PRESTON CHARLES</character>\\n    <dialogue />\\n    <scene_description>It is , yeah , for sure - Holy shit .</scene_description>\\n    <character>MARTIN</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>What? Who is that?</dialogue>\\n    <scene_description>WE SEE NOW : it 's DR. WOODWARD - 75 , seat - belted , bloody and unconscious , stuck inside the crushed wreckage . Alice moves closer - scared and sad for him -</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>Dr. Woodward?</dialogue>\\n    <scene_description>No one can take their eyes off this as , SOTTO :</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>That's Dr. Woodward? The science guy?</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>Biology.</dialogue>\\n    <character>CARY</character>\\n    <dialogue>Honors biology.</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>Wow. I'm not in his class.</dialogue>\\n    <character>CARY</character>\\n    <dialogue>We know.</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>Shut up, Cary.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Remember when Old Man Woodward took your Electronic Football?</dialogue>\\n    <character>CARY</character>\\n    <dialogue>Yeah, he put it in the `` dungeon,'' never gave it back.</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>The dungeon?</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>That trailer Woodward keeps in the school parking lot.</dialogue>\\n    <scene_description>Joe moves next to Alice , who reaches out and gently NUDGES him - you keep expecting him to suddenly grab her -</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>Dr. Woodward?</dialogue>\\n    <scene_description>But he 's apparently dead ; when she nudges him , he LEANS , his arm drops limp from the steering wheel , where he was HOLDING A PAPER , that has now fallen onto the ground . Joe picks it up . UNFOLDS IT : it 's an OLD MAP - thin , off - white paper . They hold it up , the map now backlit and obscuring Woodward . We see MARKER WRITING ON IT - a BLACK LINE , from Nevada to Dayton - and NUMBERS written along the way .</scene_description>\\n    <character>PRESTON JOE</character>\\n    <dialogue />\\n    <scene_description>Map of the contiguous United States . - what 's the writing ?</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue />\\n    <scene_description>- dates and times . - what 's that line across ?</scene_description>\\n    <character>JOE</character>\\n    <dialogue>It's a schedule for the train.</dialogue>\\n    <scene_description>But a SHADOW has appeared : A TREMBLING HAND - before they can react , it RIPS THE MAP AWAY - THEY ALL SCREAM AS OLD DR. WOODWARD IS REVEALED , BLOODY EYES OPEN , in a DAZE :</scene_description>\\n    <character>DR. WOODWARD</character>\\n    <dialogue>- who - who are you?</dialogue>\\n    <scene_description>They 're all speechless for a moment . Finally , too loudly :</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>Dr. Woodward! It's Charles Kaznyk! From fourth period! You've been in an accident!</dialogue>\\n    <scene_description>BUT WOODWARD HAS REACHED INTO HIS JACKET AND PULLED OUT A GUN - THE KIDS JUMP BACK , STUNNED -</scene_description>\\n    <character>DR. WOODWARD</character>\\n    <dialogue>They will kill you. Do not speak of this - or you - and your parents - will die.</dialogue>\\n    <scene_description>We 're on Joe 's stunned face - but DISTANT VOICES make him turn his head : hundreds of yards away , through the wreck , FIGURES WITH FLASHLIGHTS APPROACH FAST -</scene_description>\\n    <character>JOE</character>\\n    <dialogue>- guys, look -</dialogue>\\n    <scene_description>The rest turn to look - their minds are racing , all of them :</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( SCARED . )</parenthetical>\\n    <dialogue>- we should n't be here -</dialogue>\\n    <character>DR. WOODWARD</character>\\n    <dialogue>GOOOOOOOOO!</dialogue>\\n    <scene_description>The kids start moving away -</scene_description>\\n    <character>PRESTON CHARLES</character>\\n    <dialogue />\\n    <scene_description>My dad will de - ball me ! Let 's get out of here ! Now they 're SPRINTING - FLASHLIGHT MEN getting closer . Charles arrives on the platform , grabs his camera . Alice hurries past , hunting for her keys in that big purse - she eyes the FLASHLIGHT MEN getting closer :</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>MOVE YOUR ASS, WE GOT TA GO!</dialogue>\\n    <scene_description>Joe grabs his make - up kit - another duffel - runs for the car , past a whining Charles .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>GET IN THE CAR!</dialogue>\\n    <scene_description>As the FLASHLIGHT MEN APPROACH , Joe runs and gets in the front seat , the other boys in back - Alice SLAMS the car into REVERSE , SCREECH - BACKS UP , narrowly avoids debris , then RIDES OFF - the FLASHLIGHT MEN arrive - SOLDIERS - their adrenaline pumping . One man who WALKS UP TO THE CAMERA , eyeing the vanishing car with intense suspicion : COLONEL NELEC . He then looks to the ground in front of him . CLOSE ON A FRESH , EMPTY YELLOW SUPER 8 FILM BOX . Nelec steps to it , picks it up . Looks at it . Then back up at the disappearing car . We PUSH IN ON HIS BURNING EYES AND -</scene_description>\\n  </scene>\"}", "movie_duration": "6697.81", "video_start": "998.46", "video_duration": "134.75"}
{"rottentomatoes_id": "super_8", "imdb_id": "tt1650062", "video_id": "ut_lU7BFS16_", "audio_description_us": "1\n00:00:18,100 --> 00:00:19,980\nAs Alice touches the man, his arm falls\n\n2\n00:00:19,980 --> 00:00:21,770\nand a piece of paper drops from his hand.\n\n3\n00:00:22,150 --> 00:00:22,980\nAlice jumps back,\n\n4\n00:00:22,980 --> 00:00:23,480\nthen stoops\n\n5\n00:00:23,480 --> 00:00:24,570\nand picks up the paper.\n\n6\n00:00:24,860 --> 00:00:25,690\nThe boys walk up\n\n7\n00:00:25,690 --> 00:00:26,820\nas Alice unfolds it.\n\n8\n00:00:43,340 --> 00:00:44,210\nThey all leap back\n\n9\n00:00:44,210 --> 00:00:45,750\nas Dr. Woodward reaches toward them.\n\n10\n00:01:09,740 --> 00:01:11,360\nDr. Woodward takes out a revolver.\n\n11\n00:01:28,170 --> 00:01:31,220\nA group of people holding flashlights\napproaches in the distance.\n\n12\n00:01:35,800 --> 00:01:36,510\nThe children flee\n\n13\n00:01:36,510 --> 00:01:38,100\nas Dr. Woodward points the gun at them.\n\n14\n00:01:45,770 --> 00:01:49,530\nAs Alice runs to the car, Cary and Charles\nretrieve the camera and other equipment.\n\n15\n00:01:49,690 --> 00:01:51,030\nJoe grabs his makeup kit.\n\n16\n00:01:59,580 --> 00:02:01,540\nThe men with flashlights draw nearer.\n\n17\n00:02:01,660 --> 00:02:03,290\nSome carry assault rifles.\n\n18\n00:02:06,040 --> 00:02:07,290\nThe boys pile into the car\n\n19\n00:02:07,290 --> 00:02:08,300\nand Alice backs out\n\n20\n00:02:08,300 --> 00:02:09,210\nand speeds off.\n\n", "audio_description_uk": "1\n00:00:01,130 --> 00:00:03,590\nThe boys watch as Alice draws closer to him.\n\n2\n00:00:18,640 --> 00:00:19,650\nShe touches his arm\n\n3\n00:00:19,650 --> 00:00:20,850\nand it hangs limply.\n\n4\n00:00:21,100 --> 00:00:23,020\nA document spills from his hand.\n\n5\n00:00:23,440 --> 00:00:24,400\nAlice picks it up\n\n6\n00:00:24,400 --> 00:00:25,110\nand opens it\n\n7\n00:00:25,280 --> 00:00:26,940\nas the boys crowd round.\n\n8\n00:00:27,740 --> 00:00:28,650\nIt's a map.\n\n9\n00:00:44,630 --> 00:00:46,340\nDr Woodward grabs the map.\n\n10\n00:00:50,260 --> 00:00:51,550\nHe sits up stiffly.\n\n11\n00:00:53,970 --> 00:00:55,390\nHe looks round at the kids.\n\n12\n00:01:10,450 --> 00:01:12,200\nWoodward pulls out a revolver.\n\n13\n00:01:28,710 --> 00:01:29,760\nPeople are coming.\n\n14\n00:01:41,060 --> 00:01:42,100\nThe kids flee.\n\n15\n00:01:42,140 --> 00:01:43,690\nAlice runs to the coupé.\n\n16\n00:01:48,360 --> 00:01:51,070\nThe boys salvage their\nstuff, including the camera.\n\n17\n00:01:57,030 --> 00:01:58,490\nThe boys run back to the car\n\n18\n00:01:58,490 --> 00:01:59,790\nand they all scramble in.\n\n19\n00:02:00,080 --> 00:02:01,290\nAlice drives them away\n\n20\n00:02:01,290 --> 00:02:06,670\nas a large squad of men in military uniform\nbrandishing guns and torches arrive on the scene.\n\n", "subtitles": "1\n00:00:04,160 --> 00:00:06,840\nRemember when Old Man Woodward\ntook your Electronic Football?\n\n2\n00:00:07,160 --> 00:00:09,790\nYeah. He put it in the dungeon\nand never gave it back.\n\n3\n00:00:10,250 --> 00:00:11,300\nThe dungeon?\n\n4\n00:00:11,500 --> 00:00:14,180\nThat trailer Woodward keeps\nin the school parking lot.\n\n5\n00:00:14,340 --> 00:00:15,890\nDr. Woodward?\n\n6\n00:00:17,010 --> 00:00:18,350\nDr. Woodward?\n\n7\n00:00:32,690 --> 00:00:35,190\n\"Map of the Contiguous United States.\"\n\n8\n00:00:35,400 --> 00:00:36,900\nWhat's the writing?\n\n9\n00:00:37,190 --> 00:00:38,200\nDates and times.\n\n10\n00:00:38,530 --> 00:00:40,080\nGuys, what's this line?\n\n11\n00:00:40,700 --> 00:00:42,750\nIt's a schedule for the train.\n\n12\n00:00:44,120 --> 00:00:45,290\nWhat the...\n\n13\n00:00:45,370 --> 00:00:48,120\nHe's alive. He's alive!\nOh, my God! Oh, my God!\n\n14\n00:00:48,210 --> 00:00:49,550\nHoly shit.\n\n15\n00:00:57,550 --> 00:00:58,970\nWho are you?\n\n16\n00:00:59,880 --> 00:01:02,390\nDr. Woodward, it's me.\n\n17\n00:01:02,720 --> 00:01:05,560\nCharles Kaznyk. From fourth period.\n\n18\n00:01:06,140 --> 00:01:08,190\nYou've been in an accident.\nYou're gonna be okay.\n\n19\n00:01:08,270 --> 00:01:11,440\n- Back!\n- Holy shit! Holy shit!\n\n20\n00:01:14,060 --> 00:01:15,740\nThey will kill you.\n\n21\n00:01:18,150 --> 00:01:20,330\nDo not speak of this.\n\n22\n00:01:20,650 --> 00:01:22,660\nOr else you\n\n23\n00:01:24,830 --> 00:01:26,500\nand your parents\n\n24\n00:01:26,910 --> 00:01:28,250\nwill die.\n\n25\n00:01:32,080 --> 00:01:33,380\nGuys, look.\n\n26\n00:01:33,920 --> 00:01:35,350\n- We shouldn't be here.\n- Oh, my God!\n\n27\n00:01:35,380 --> 00:01:36,850\n- Go!\n- Come on!\n\n28\n00:01:36,920 --> 00:01:40,220\n- Shit! Let's get the hell out of here!\n- Holy shit! Run! Shit!\n\n29\n00:01:40,720 --> 00:01:42,940\nGuys, there are a lot of nails\non the ground. Be careful.\n\n30\n00:01:42,970 --> 00:01:44,310\nHurry, come on, guys!\n\n31\n00:01:44,390 --> 00:01:46,230\nGuys, come on!\n\n32\n00:01:46,430 --> 00:01:47,980\n- Oh, my God! Oh, my God!\n- Holy shit!\n\n33\n00:01:48,310 --> 00:01:49,650\nGrab the film!\n\n34\n00:01:51,730 --> 00:01:53,070\nGuys, come on!\n\n35\n00:01:53,440 --> 00:01:55,660\nMove your ass! Let's go! Let's go!\n\n36\n00:01:56,820 --> 00:01:58,360\n- Who's got the bags?\n- Get in the car!\n\n37\n00:02:00,240 --> 00:02:01,240\nGet in!\n\n38\n00:02:02,150 --> 00:02:04,000\nThey're getting closer!\n\n39\n00:02:09,870 --> 00:02:11,120\nCome on!\n\n", "sdh": "1\n00:00:04,180 --> 00:00:06,850\nRemember when Old Man Woodward\ntook your Electronic Football?\n\n2\n00:00:07,180 --> 00:00:09,780\nYeah. He put it\nin the dungeon and never gave it back.\n\n3\n00:00:10,270 --> 00:00:11,390\nMARTIN: The dungeon?\n\n4\n00:00:11,480 --> 00:00:14,150\nPRESTON: That trailer Woodward keeps\nin the school parking lot.\n\n5\n00:00:14,310 --> 00:00:15,910\nDr. Woodward?\n\n6\n00:00:16,980 --> 00:00:18,330\nDr. Woodward?\n\n7\n00:00:32,670 --> 00:00:35,170\nPRESTON: \"Map\nof the Contiguous United States.\"\n\n8\n00:00:35,420 --> 00:00:36,920\nWhat's the writing?\n\n9\n00:00:37,170 --> 00:00:38,340\nDates and times.\n\n10\n00:00:38,510 --> 00:00:40,100\nGuys, what's\nthis line?\n\n11\n00:00:40,670 --> 00:00:42,720\nJOE: It's a schedule\nfor the train.\n\n12\n00:00:42,800 --> 00:00:43,970\n(ALL SCREAMING)\n\n13\n00:00:44,140 --> 00:00:45,260\nMARTIN: What the...\n\n14\n00:00:45,350 --> 00:00:48,100\nHe's alive. He's alive!\nOh, my God! Oh, my God!\n\n15\n00:00:48,180 --> 00:00:49,560\nHoly shit.\n\n16\n00:00:51,980 --> 00:00:53,070\n(MUTTERING)\n\n17\n00:00:57,520 --> 00:00:58,990\nWho are you?\n\n18\n00:00:59,860 --> 00:01:02,360\nDr. Woodward, it's me.\n\n19\n00:01:02,700 --> 00:01:05,540\nCharles Kaznyk.\nFrom fourth period.\n\n20\n00:01:06,160 --> 00:01:08,210\nYou've been\nin an accident. You're gonna be okay.\n\n21\n00:01:08,290 --> 00:01:11,460\nCARY: Back!\nCHARLES: Holy shit! Holy shit!\n\n22\n00:01:14,080 --> 00:01:15,760\nThey will kill you.\n\n23\n00:01:18,170 --> 00:01:20,340\nDo not speak of this.\n\n24\n00:01:20,670 --> 00:01:22,670\nOr else you\n\n25\n00:01:24,840 --> 00:01:26,520\nand your parents\n\n26\n00:01:26,890 --> 00:01:28,260\nwill die.\n\n27\n00:01:29,640 --> 00:01:31,190\n(FAINT VOICES)\n\n28\n00:01:32,100 --> 00:01:33,350\nJOE: Guys, look.\n\n29\n00:01:33,940 --> 00:01:35,330\nALICE: We shouldn't be here.\nCARY: Oh, my God!\n\n30\n00:01:35,350 --> 00:01:36,860\n- Go!\n- CHARLES: Come on!\n\n31\n00:01:36,940 --> 00:01:38,610\nShit! Let's get\nthe hell out of here!\n\n32\n00:01:38,690 --> 00:01:40,320\nCARY: Holy shit! Run! Shit!\n\n33\n00:01:40,690 --> 00:01:42,960\nMARTIN: Guys, there are\na lot of nails on the ground. Be careful.\n\n34\n00:01:42,990 --> 00:01:44,280\nJOE: Hurry, come on, guys!\n\n35\n00:01:44,360 --> 00:01:46,210\nGuys, come on!\n\n36\n00:01:46,410 --> 00:01:48,300\nPRESTON: Oh, my God! Oh, my God!\nCHARLES: Holy shit!\n\n37\n00:01:48,330 --> 00:01:49,670\nGrab the film!\n\n38\n00:01:51,700 --> 00:01:53,050\nALICE: Guys, come on!\n\n39\n00:01:53,460 --> 00:01:55,670\nMove your ass!\nLet's go! Let's go!\n\n40\n00:01:56,830 --> 00:01:58,830\nCHARLES: Who's got the bags?\nALICE: Get in the car!\n\n41\n00:02:00,210 --> 00:02:01,380\nGet in!\n\n42\n00:02:02,170 --> 00:02:04,020\nMARTIN: They're\ngetting closer!\n\n43\n00:02:09,890 --> 00:02:11,110\nCHARLES: Come on!\n\n", "screenplay": "{\"screenplay_scene_24\": \"<scene>\\n    <stage_direction>EXT. TRAIN DEPOT - PLATFORM - NIGHT</stage_direction>\\n    <scene_description>The lights -LRB- plugged into the car cigarette lighter -RRB- and camera -LRB- a EUMIG -RRB- are set . Alice has been made up , wears a coat with purse . Martin , in his tie , faces her . They both look over their script pages as Charles adjusts the camera . Joe , observing , holds the boom mike -LRB- a condenser mike taped to a broom handle -RRB- , Preston wears an overcoat .</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>Alice : Mrs. Hathaway really does n't want her husband to keep investiga -</dialogue>\\n    <character>ALICE</character>\\n    <dialogue>I know, we read it, we get it.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Okay, I'm just directing. Martin get on your mark. Martin, you're going to have to reassure her. Do you know what `` reassure her'' means?</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>Yeah, I think so.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Okay - we're starting on Alice's side first - Preston : a couple seconds after `` action'' walk to the pay phone, make it look like this place is busy -</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>I know what that looks like.</dialogue>\\n    <scene_description>POP ! Everyone JUMPS - Charles turns - Cary , laughing , has just exploded a firecracker :</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>Asshole, could you stop blowing shit up for two seconds and deal with the camera?</dialogue>\\n    <character>CARY</character>\\n    <dialogue>Sorry man.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Let's rehearse this - save your real performances for when we're filming, though.</dialogue>\\n    <scene_description>Martin and Alice put away their pages - Cary gets behind the camera . Charles stands near the camera , kneeling to camera - height . Joe wears headphones and holds the boom over the actors ' heads . Preston holds a suitcase , ready to walk .</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Ready? Here we go. action!</dialogue>\\n    <scene_description>Martin and Alice now perform as their characters , DETECTIVE JOHN HATHAWAY and MRS. REBECCA HATHAWAY :</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I'm going to stay here and investigate. I think it would be safer if you leave town.</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>John. I do n't like it. This case. These murders.</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>What am I supposed to do, go to Michigan with you?</dialogue>\\n    <scene_description>Preston walks past them , acting in the background .</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>Mackinac Island's beautiful this time of year.</dialogue>\\n    <scene_description>We 're TIGHT ON JOE NOW , watching Alice . Slowly amazed at the unexpected depth and truth she brings to this role -</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>Sweetheart. This is my job.</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>The dead, coming back to life? I think you're in danger -</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I have no choice -</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>You do have a choice. We all do.</dialogue>\\n    <scene_description>And holy shit , Alice actually starts to cry as she performs her lines . Not overdone , not hammy . Just fucking real .</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>John, I've never asked you to stop. I've never asked you to give up or walk away.</dialogue>\\n    <scene_description>Charles watches - in awe - he 's suddenly , giddily transported . But it 's JOE who , as he stares , becomes galvanized ; any vague interest in Alice has just set :</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>But I'm asking you now - please. For me. Do n't go back. Do n't leave me. I need to know this is n't the last time I'll see you.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>I just love you so much.</dialogue>\\n    <scene_description>Martin is thrown by the passion and heart of her performance .</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I. I love you too.</dialogue>\\n    <scene_description>And in the heat of it , Alice looks at Charles , unsure :</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>Was that okay? Or. not really?</dialogue>\\n    <scene_description>Charles is stunned - almost crying - ca n't talk - and as he searches , behind him , a LIGHT -</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>- uh, that was. I'm. that - yeah, good. Just like that.</dialogue>\\n    <scene_description>Then a distant AIRHORN - Charles looks : AN ONCOMING TRAIN . PUSH IN ON CHARLES , TIGHT . He turns to them all :</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>PRODUCTION VALUE! Is there film in the camera?!</dialogue>\\n    <character>CARY</character>\\n    <dialogue>- I did n't put it in -</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>PUT IT IN! PUT IT IN! Joe, get the mike ready. Go, go, Preston, get in position. Costume, costume. Martin, get that tripod set up. Joe, help her with her costume. Hurry, hurry! Go! I hope we do n't miss the train. Preston, get in position! Martin, you know you lines, right?! IS THE FILM IN THE CAMERA YET?!</dialogue>\\n    <scene_description>As Charles runs to Alice , takes her script pages .</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>I love how calm he is.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Yeah, he's a very relaxed guy.</dialogue>\\n    <scene_description>Joe laughs a little as he goes - Cary RIPS OPEN a YELLOW SUPER 8 box - Joe grabs the mike - Cary INSERTS the film : CLICK ! Joe plugs in the mike , Charles grabs the camera :</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>Everyone ready?! Be extra loud when the train passes by! Oh God, I hope it stops! You ready?!</dialogue>\\n    <scene_description>They 're set to film toward Alice , the approaching train in her background - Charles puts on the headphones -</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>And. ACTION!</dialogue>\\n    <scene_description>And they 're shooting :</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I'm going to stay here and investigate. I think it would be safer if you left town for a couple of days.</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>John. I do n't like it. This case. These murders.</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>What am I supposed to do, go to Michigan with you?</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>Mackinac Island's beautiful this time of year.</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>Sweetheart. This is my job.</dialogue>\\n    <scene_description>Charles watches , beaming with excitement . Joe holds the boom , looks to Charles to make sure it sounds okay ; this is when he notices something in the distance . HEADLIGHTS . A quarter mile away , a vehicle drives along the horizon . A beat . But the train is APPROACHING - GETTING LOUDER - which makes Joe turn back toward the train - the thing almost upon them - LOUDER AND LOUDER , so the actors begin to YELL over the</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>THE DEAD, COMING BACK TO LIFE?! I THINK YOU'RE IN DANGER!</dialogue>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I HAVE NO CHOICE!</dialogue>\\n    <character>MRS. HATHAWAY</character>\\n    <dialogue>YOU DO HAVE A CHOICE! WE ALL DO! John, I've never asked you to stop. I've never asked you to give up or walk away.</dialogue>\\n    <scene_description>Joe looks back at the headlights - and sees something very odd : the distant vehicle TURNS ONTO THE TRACKS . PUSH IN ON JOE , unsettled - as the train CROSSES THEM NOW - Joe looks back toward Alice - a BLAST OF AIR , shockingly LOUD !</scene_description>\\n    <character>MRS. HATHAWAY</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>But I'm asking you now - please. For me. Do n't go back. Do n't leave me. I need to know this is n't the last time I'll see you.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>I just love you so much.</dialogue>\\n    <scene_description>Alice and Martin continue to yell their lines - Charles is almost LAUGHING at how good this looks - but Joe LOOKS DESPERATELY BACK toward the headlights - the train LIGHTING UP THE OLD PICK - UP THAT IS ABOUT TO CRASH INTO THE TRAIN !</scene_description>\\n    <character>DETECTIVE HATHAWAY</character>\\n    <dialogue>I love you too!</dialogue>\\n    <scene_description>And Joe finally swings the mike down and YELLS :</scene_description>\\n    <character>JOE CHARLES</character>\\n    <dialogue />\\n    <scene_description>GUYS , WATCH OUT ! Joe what the hell are y - ?! - just then BA - BA - BA - BAM ! THE TRAIN ENGINE , HUNDREDS OF YARDS AWAY , SLAMS INTO THE TRUCK - THE KIDS GASP - REACT - AS THE TRAIN ENGINE DERAILS !</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Run!</dialogue>\\n    <scene_description>THE TRAIN BEGINS TO CRASH - ACCORDION - THE KIDS SCREAM - RUN - ENTIRE 50 - TON CARS JACKNIFE AND CRASH UPWARD - FLYING VERTICAL - CHARLES ' SUPER 8 CAMERA AND TRIPOD SLAM ONTO THE PLATFORM , LANDING SIDEWAYS , STILL FILMING as the CRASH WAVE APPROACHES AND PASSES THEM ! THE KIDS SCATTER , PRESTON AND MARTIN RUN ONE WAY . CHARLES , CARY AND JOE RUN ANOTHER . JOE STOPS AS ALICE RUNS AROUND THE BUILDING .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Alice!</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Joe, we have to go.</dialogue>\\n    <scene_description>They run off .</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I DO N'T WANT TO DIE!</dialogue>\\n    <scene_description>AS NEARBY CARS RIP OFF TRACKS , TUMBLE - CARS FROM FATHER BACK JETTISON TOWARD THEM , SLAMMING INTO THE DEPOT , SHATTERING IT - THE ENTIRE AREA IS DECIMATED IN AN INSTANT ! And then - IT 'S OVER . Just the odd , dying CHUGS and SCREECH - SCREECH - SCREECH of TRAIN WHEELS running out of momentum , HISSES of STEAM , the unnatural bending of steel . In the DUST , JOE lies frightened on the ground , eyes tightly shut . His mind races , his heart pounds - and then : A LOUD METAL BANG ! Joe stands up fast , faces a MOUNTAIN of twisted STEEL - UPSIDE - DOWN TRAIN CARS PILED FRIGHTENINGLY around him . Just another few feet and he would 've been crushed . But what was that sound ? Something metal ? Then again : SLAM ! Joe BACKS UP , afraid - it was almost a LABORED GROAN - MECHANICAL or ANIMAL ?! A crazy SCREECH , another BANG , then AGAIN and AGAIN ! We see Joe TIGHTLY GRIPPING HIS NECKLACE LOCKET IN HIS HAND - THEN : CRASH ! - AWFUL - LOUD - and a TWISTED TEN - FOOT SQUARE SHEET OF METAL EXPLODES FROM BEHIND THE OVERTURNED TRAIN CARS - Joe covers his head as the metal STABS THE GROUND , twenty feet away : a TRAIN SLIDING DOOR . Joe turns to see it - stunned - then back to the direction of the NOISE - but it is GONE . Nothing . TIGHT ON CHARLES ' CAMERA - on its side , FINISHING UP A CARTRIDGE OF FILM .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>Guys?!</dialogue>\\n    <scene_description>Joe finds MARTIN , on his knees , THROWING UP - Martin keeps throwing up , but pumps a THUMBS UP .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Martin, are you okay?! Preston, is that you?</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>I'm okay! Though I think I'm having a heart attack! And I have a scrape!</dialogue>\\n    <scene_description>Joe MOVES FORWARD - up to camera - behind him , Cary appears , smiling . This kid enjoyed the crash :</scene_description>\\n    <character>CARY</character>\\n    <dialogue>Guys, did you see those explosions? That was awesome.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Has anyone seen Alice?!</dialogue>\\n    <character>CHARLES</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>I'm alive! Is anyone dead?</dialogue>\\n    <scene_description>Through the debris , steel and dust . Joe moves forward - Charles , shaken , eyes wide , appears through the thick dust - Joe moves forward , looking at , under a train WHEEL ASSEMBLY . BLOOD . A PUDDLE OF BLOOD and Joe 's heart sinks as he moves toward it - another woman he loves , crushed ?! Charles and Preston and Cary see the blood -</scene_description>\\n    <character>CHARLES</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue />\\n    <scene_description>- oh God - - no - nonono . Martin , still sick , calls out :</scene_description>\\n    <character>MARTIN CARY</character>\\n    <dialogue />\\n    <scene_description>- what ? Guys , what is it ? shit . Joe moves closer to the blood - heartsick - on the verge of DEEP , REAL TEARS - everything stops - but then :</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>- what's all that blood?</dialogue>\\n    <scene_description>Joe WHIPS AROUND - standing in the dusty mess is ALICE - shaken , but absolutely alive . Joe just BEAMS .</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>What's the blood? - did someone get hurt -?</dialogue>\\n    <scene_description>But JOE SUDDENLY KNOWS - he moves to the blood - reaches below the wheels - the others watch , freaked out -</scene_description>\\n    <character>KIDS</character>\\n    <parenthetical>( AD LIB . )</parenthetical>\\n    <dialogue>Joe, wait - maybe you should n't touch - what are you - careful!</dialogue>\\n    <scene_description>Joe pulls out his CRUSHED MAKE - UP KIT . He brightens :</scene_description>\\n    <character>JOE</character>\\n    <dialogue>It's my fake blood. It's fake!</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>What is this stuff?</dialogue>\\n    <scene_description>ALICE NOTICES THAT HE 'S HOLDING THE NECKLACE . Joe notices this and POCKETS IT self - consciously . PRESTON calls out :</scene_description>\\n    <character>PRESTON</character>\\n    <dialogue>Guys, what are these things?</dialogue>\\n    <scene_description>Joe looks - they all move to Preston -LRB- except Cary , who heads off -RRB- : CRATES have spilled from a nearby split car ; many shattered , revealing THOUSANDS OF SMALL WHITE - METAL CUBES which now litter the ground . Joe kneels , picks one up :</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>Hey, do n't touch it, what are you doing?</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>They look like white Rubik's cubes or something. They're heavy like metal or something. There's like a billion of them.</dialogue>\\n    <scene_description>It 's just a few inches per side , an UNUSUAL DESIGN . Behind them , having walked up the ANGLED SIDES of overturned train cars , Cary calls out :</scene_description>\\n    <character>CARY</character>\\n    <dialogue>Guys, get up here. You can see everything from up here.</dialogue>\\n    <scene_description>They move up the mass of metal , revealing a VAST VIEW OF THE WRECK . It seems to stretch on forever . It is SOBERING .</scene_description>\\n    <character>CHARLES CARY</character>\\n    <dialogue />\\n    <scene_description>Oh my God . Look at that .</scene_description>\\n    <character>PRESTON</character>\\n    <dialogue>According to my Uncle Seth, an accident like this is exceptionally rare.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>It was n't an accident.</dialogue>\\n    <parenthetical>( turns away , eyes on the FIELD . )</parenthetical>\\n    <dialogue>There was a truck. On the tracks.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>What? Driving on the tracks?</dialogue>\\n    <scene_description>Joe 's seen it . He points . Chilled .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>There.</dialogue>\\n    <scene_description>Thrown fifty yards from the main wreckage is THE PICK - UP TRUCK . SHEARED IN HALF UPON IMPACT and lying in the overgrown grass .</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>How can a pick - up truck derail a train? That's impossible.</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>Obviously it is n't.</dialogue>\\n    <scene_description>BOOM UP from behind the SHATTERED PICK - UP as the kids approach from the wreckage . PUSH IN ON THEM as they arrive at the truck and STOP ; what they see makes Joe 's heart pound - they 're stunned - all of them . They just stop . Finally :</scene_description>\\n    <character>CARY</character>\\n    <dialogue>holy shit.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>- is that him?</dialogue>\\n    <character>ALICE</character>\\n    <parenthetical>( covers her mouth . )</parenthetical>\\n    <dialogue>. -RRB- - yeah, it's him -</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>- who?</dialogue>\\n    <character>PRESTON CHARLES</character>\\n    <dialogue />\\n    <scene_description>It is , yeah , for sure - Holy shit .</scene_description>\\n    <character>MARTIN</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>What? Who is that?</dialogue>\\n    <scene_description>WE SEE NOW : it 's DR. WOODWARD - 75 , seat - belted , bloody and unconscious , stuck inside the crushed wreckage . Alice moves closer - scared and sad for him -</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>Dr. Woodward?</dialogue>\\n    <scene_description>No one can take their eyes off this as , SOTTO :</scene_description>\\n    <character>MARTIN</character>\\n    <dialogue>That's Dr. Woodward? The science guy?</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>Biology.</dialogue>\\n    <character>CARY</character>\\n    <dialogue>Honors biology.</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>Wow. I'm not in his class.</dialogue>\\n    <character>CARY</character>\\n    <dialogue>We know.</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>Shut up, Cary.</dialogue>\\n    <character>CHARLES</character>\\n    <dialogue>Remember when Old Man Woodward took your Electronic Football?</dialogue>\\n    <character>CARY</character>\\n    <dialogue>Yeah, he put it in the `` dungeon,'' never gave it back.</dialogue>\\n    <character>MARTIN</character>\\n    <dialogue>The dungeon?</dialogue>\\n    <character>PRESTON</character>\\n    <dialogue>That trailer Woodward keeps in the school parking lot.</dialogue>\\n    <scene_description>Joe moves next to Alice , who reaches out and gently NUDGES him - you keep expecting him to suddenly grab her -</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>Dr. Woodward?</dialogue>\\n    <scene_description>But he 's apparently dead ; when she nudges him , he LEANS , his arm drops limp from the steering wheel , where he was HOLDING A PAPER , that has now fallen onto the ground . Joe picks it up . UNFOLDS IT : it 's an OLD MAP - thin , off - white paper . They hold it up , the map now backlit and obscuring Woodward . We see MARKER WRITING ON IT - a BLACK LINE , from Nevada to Dayton - and NUMBERS written along the way .</scene_description>\\n    <character>PRESTON JOE</character>\\n    <dialogue />\\n    <scene_description>Map of the contiguous United States . - what 's the writing ?</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue />\\n    <scene_description>- dates and times . - what 's that line across ?</scene_description>\\n    <character>JOE</character>\\n    <dialogue>It's a schedule for the train.</dialogue>\\n    <scene_description>But a SHADOW has appeared : A TREMBLING HAND - before they can react , it RIPS THE MAP AWAY - THEY ALL SCREAM AS OLD DR. WOODWARD IS REVEALED , BLOODY EYES OPEN , in a DAZE :</scene_description>\\n    <character>DR. WOODWARD</character>\\n    <dialogue>- who - who are you?</dialogue>\\n    <scene_description>They 're all speechless for a moment . Finally , too loudly :</scene_description>\\n    <character>CHARLES</character>\\n    <dialogue>Dr. Woodward! It's Charles Kaznyk! From fourth period! You've been in an accident!</dialogue>\\n    <scene_description>BUT WOODWARD HAS REACHED INTO HIS JACKET AND PULLED OUT A GUN - THE KIDS JUMP BACK , STUNNED -</scene_description>\\n    <character>DR. WOODWARD</character>\\n    <dialogue>They will kill you. Do not speak of this - or you - and your parents - will die.</dialogue>\\n    <scene_description>We 're on Joe 's stunned face - but DISTANT VOICES make him turn his head : hundreds of yards away , through the wreck , FIGURES WITH FLASHLIGHTS APPROACH FAST -</scene_description>\\n    <character>JOE</character>\\n    <dialogue>- guys, look -</dialogue>\\n    <scene_description>The rest turn to look - their minds are racing , all of them :</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( SCARED . )</parenthetical>\\n    <dialogue>- we should n't be here -</dialogue>\\n    <character>DR. WOODWARD</character>\\n    <dialogue>GOOOOOOOOO!</dialogue>\\n    <scene_description>The kids start moving away -</scene_description>\\n    <character>PRESTON CHARLES</character>\\n    <dialogue />\\n    <scene_description>My dad will de - ball me ! Let 's get out of here ! Now they 're SPRINTING - FLASHLIGHT MEN getting closer . Charles arrives on the platform , grabs his camera . Alice hurries past , hunting for her keys in that big purse - she eyes the FLASHLIGHT MEN getting closer :</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>MOVE YOUR ASS, WE GOT TA GO!</dialogue>\\n    <scene_description>Joe grabs his make - up kit - another duffel - runs for the car , past a whining Charles .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>GET IN THE CAR!</dialogue>\\n    <scene_description>As the FLASHLIGHT MEN APPROACH , Joe runs and gets in the front seat , the other boys in back - Alice SLAMS the car into REVERSE , SCREECH - BACKS UP , narrowly avoids debris , then RIDES OFF - the FLASHLIGHT MEN arrive - SOLDIERS - their adrenaline pumping . One man who WALKS UP TO THE CAMERA , eyeing the vanishing car with intense suspicion : COLONEL NELEC . He then looks to the ground in front of him . CLOSE ON A FRESH , EMPTY YELLOW SUPER 8 FILM BOX . Nelec steps to it , picks it up . Looks at it . Then back up at the disappearing car . We PUSH IN ON HIS BURNING EYES AND -</scene_description>\\n  </scene>\"}", "movie_duration": "6697.81", "video_start": "1351.42", "video_duration": "132.73"}
{"rottentomatoes_id": "super_8", "imdb_id": "tt1650062", "video_id": "quHbrSfM_ZTl", "audio_description_us": "1\n00:00:04,460 --> 00:00:05,760\nHe places his hands on his hips\n\n2\n00:00:05,760 --> 00:00:07,550\nas he glances back into the darkness.\n\n3\n00:00:13,760 --> 00:00:14,560\nThe sheriff leaps\n\n4\n00:00:14,560 --> 00:00:16,020\nas the lights on his cruiser flash.\n\n5\n00:00:16,020 --> 00:00:16,890\nHe reaches into the car\n\n6\n00:00:16,890 --> 00:00:17,940\nand turns off the power.\n\n7\n00:00:24,820 --> 00:00:27,610\nThe sheriff turns toward a dumpster\nstanding beside the gas station.\n\n8\n00:00:27,650 --> 00:00:30,070\nPlacing one hand on his gun, he creeps toward it.\n\n9\n00:00:39,460 --> 00:00:40,330\nHe draws his weapon\n\n10\n00:00:40,330 --> 00:00:42,290\nas the dumpster slides across the parking lot.\n\n11\n00:00:42,460 --> 00:00:45,170\nInside, Breen bobs his head as he\nlistens through his headphones.\n\n12\n00:00:45,460 --> 00:00:47,300\nThe sheriff's cruiser bounces violently.\n\n13\n00:00:50,800 --> 00:00:51,800\nThe station lights flicker,\n\n14\n00:00:51,800 --> 00:00:52,850\nthen come back on.\n\n15\n00:00:53,050 --> 00:00:54,100\nBreen glances outside\n\n16\n00:00:54,100 --> 00:00:55,640\nand slowly removes his headphones.\n\n17\n00:00:59,850 --> 00:01:02,690\nLights inside the gas station\ncontinue to flicker on and off\n\n18\n00:01:02,690 --> 00:01:04,060\nas Breen steps outside\n\n19\n00:01:04,150 --> 00:01:05,690\nand walks toward the sheriff's car.\n\n20\n00:01:19,500 --> 00:01:21,420\nThe police cruiser's smoking hood is smashed in,\n\n21\n00:01:21,420 --> 00:01:23,420\nand one of the front tyres lies nearly sideways.\n\n22\n00:01:27,420 --> 00:01:29,210\nBreen walks around the car to the pumps.\n\n23\n00:01:35,100 --> 00:01:37,310\nLeaking oil and other fluid stain the pavement.\n\n24\n00:01:43,650 --> 00:01:46,060\nBreen appears upside down as something stalks him.\n\n25\n00:01:51,570 --> 00:01:53,530\nBreen lifts the gas pump handle off the ground,\n\n26\n00:01:53,530 --> 00:01:53,990\nthen turns\n\n27\n00:01:53,990 --> 00:01:54,780\nand freezes.\n\n28\n00:02:02,160 --> 00:02:03,620\nBreen trips as he lurches away.\n\n29\n00:02:03,670 --> 00:02:04,370\nHe gets to his feet\n\n30\n00:02:04,370 --> 00:02:06,290\nand scrambles back inside the gas station.\n\n31\n00:02:06,380 --> 00:02:08,670\nIn a spray of breaking glass,\nBreen is yanked to the floor\n\n32\n00:02:08,670 --> 00:02:10,300\nand violently pulled down the aisle.\n\n", "audio_description_uk": "1\n00:00:05,300 --> 00:00:07,220\nSurprised, the sheriff looks around.\n\n2\n00:00:09,130 --> 00:00:11,350\nHis patrol car starts malfunctioning.\n\n3\n00:00:18,640 --> 00:00:20,100\nHe goes to check it out.\n\n4\n00:00:22,810 --> 00:00:26,030\nHearing something move nearby,\nthe sheriff goes to investigate.\n\n5\n00:00:26,320 --> 00:00:28,110\nHe keeps a hand on his gun.\n\n6\n00:00:34,490 --> 00:00:36,160\nHe nearly leaps out of his skin\n\n7\n00:00:36,160 --> 00:00:38,040\nas a dumpster flies past him.\n\n8\n00:00:43,090 --> 00:00:47,090\nIn the shop, Breen is oblivious as\nhis Walkman drowns out all the sound.\n\n9\n00:00:47,340 --> 00:00:50,430\nOver his shoulder, the\nsheriff's car jolts violently.\n\n10\n00:00:50,680 --> 00:00:52,180\nSuddenly, the lights flicker,\n\n11\n00:00:52,470 --> 00:00:54,100\nand Breen looks round.\n\n12\n00:00:59,180 --> 00:01:00,560\nHe pulls his headphones off\n\n13\n00:01:00,560 --> 00:01:01,940\nas he looks out of the window.\n\n14\n00:01:02,350 --> 00:01:04,060\nThe lights continue flickering.\n\n15\n00:01:07,940 --> 00:01:11,490\nLooking apprehensive, Breen\nslowly makes his way outside.\n\n16\n00:01:20,290 --> 00:01:24,210\nThe front of the sheriff's car has\nbeen smashed in by a violent impact.\n\n17\n00:01:28,380 --> 00:01:30,840\nBreen walks around the wrecked patrol car.\n\n18\n00:01:31,260 --> 00:01:34,050\nSteam rises from its ruptured radiator.\n\n19\n00:01:43,020 --> 00:01:47,360\nBreen picks the petrol pump's nozzle out\nof a large pool of gasoline on the ground.\n\n20\n00:01:55,950 --> 00:01:58,330\nHearing something behind him, he turns around\n\n21\n00:01:58,580 --> 00:02:00,200\nand looks completely terrified.\n\n22\n00:02:04,960 --> 00:02:05,670\nHe stumbles\n\n23\n00:02:05,670 --> 00:02:06,960\nand runs back into the shop.\n\n24\n00:02:07,290 --> 00:02:08,750\nSomething comes after him.\n\n25\n00:02:08,880 --> 00:02:10,090\nIt smashes the windows,\n\n26\n00:02:10,090 --> 00:02:11,420\nknocking him to the floor,\n\n27\n00:02:11,550 --> 00:02:13,720\nthen grabs him, dragging him back.\n\n", "subtitles": "1\n00:01:19,080 --> 00:01:20,340\nSheriff?\n\n2\n00:01:26,930 --> 00:01:28,180\nSheriff?\n\n", "sdh": "1\n00:00:00,570 --> 00:00:03,790\n(Does BARKING)\n\n2\n00:00:13,080 --> 00:00:14,700\n(SIREN SQUAWKING)\n\n3\n00:00:14,790 --> 00:00:16,540\n(CHATTER ON POLICE RADIO)\n\n4\n00:00:19,960 --> 00:00:21,300\n(RUSTLING)\n\n5\n00:00:22,800 --> 00:00:24,220\n(PUMP DINGING FASTER)\n\n6\n00:00:24,300 --> 00:00:26,470\n(INDISTINCT CHATTERING)\n\n7\n00:00:31,800 --> 00:00:33,430\n(DINGING SLOWING)\n\n8\n00:00:41,810 --> 00:00:43,660\n(HEART OF GLASS\nCONTINUES PLAYING)\n\n9\n00:01:05,500 --> 00:01:06,930\n(MUSIC FADES OUT)\n\n10\n00:01:19,100 --> 00:01:20,350\nSheriff?\n\n11\n00:01:26,940 --> 00:01:28,200\nSheriff?\n\n12\n00:01:58,060 --> 00:02:00,190\n(RUSTLING)\n\n13\n00:02:01,480 --> 00:02:02,570\n(SCREAMING)\n\n14\n00:02:02,690 --> 00:02:04,230\n(CREATURE SHRIEKING)\n\n", "screenplay": "null", "movie_duration": "6697.81", "video_start": "2183.62", "video_duration": "133.68"}
{"rottentomatoes_id": "super_8", "imdb_id": "tt1650062", "video_id": "GnnnJQPjFp4S", "audio_description_us": "1\n00:00:10,260 --> 00:00:13,600\nIn the film, young Joe waves both hands\nas he squirms in his mother's lap.\n\n2\n00:00:25,070 --> 00:00:26,110\nJoe glances at Alice,\n\n3\n00:00:26,110 --> 00:00:27,950\nwho bites her bottom lip as she cries.\n\n4\n00:01:13,990 --> 00:01:17,950\nJoe's mother pushes him on a swing as\nthe screen turns white and the film ends.\n\n5\n00:01:23,630 --> 00:01:24,420\nBoth children turn\n\n6\n00:01:24,420 --> 00:01:26,880\nas the white cube on Joe's desk begins to vibrate.\n\n7\n00:01:29,760 --> 00:01:30,670\nAlice wipes her eyes\n\n8\n00:01:30,670 --> 00:01:32,300\nas she and Joe peer at the cube.\n\n9\n00:01:42,100 --> 00:01:43,310\nJoe picks up a paintbrush\n\n10\n00:01:43,310 --> 00:01:44,650\nand prods the vibrating cube,\n\n11\n00:01:44,650 --> 00:01:45,860\nthen glances at Alice.\n\n12\n00:01:53,410 --> 00:01:54,740\nThe cube flies across the room\n\n13\n00:01:54,740 --> 00:01:57,950\nand punches a hole through a poster of\nthe space shuttle on Joe's bedroom wall.\n\n14\n00:01:59,410 --> 00:02:00,410\nThe children stand\n\n15\n00:02:00,410 --> 00:02:04,420\nand peer through the hole, which frames\nthe town's water tower in the distance.\n\n16\n00:02:08,420 --> 00:02:09,090\nJoe gulps\n\n17\n00:02:09,090 --> 00:02:10,010\nand glances at Alice,\n\n18\n00:02:10,010 --> 00:02:11,590\nthen stares at the hole again.\n\n", "audio_description_uk": "1\n00:00:10,760 --> 00:00:16,520\nCaptured together on the home movie, Joe and his\nmother play together on some distant summer's day.\n\n2\n00:00:16,850 --> 00:00:18,600\nJoe waves at the camera.\n\n3\n00:00:25,940 --> 00:00:27,400\nJoe looks over at Alice.\n\n4\n00:00:27,650 --> 00:00:29,280\nShe's sitting with her back to him.\n\n5\n00:00:29,820 --> 00:00:30,820\nHer shoulders heave\n\n6\n00:00:30,820 --> 00:00:32,780\nand tears roll down her face.\n\n7\n00:00:33,530 --> 00:00:35,540\nShe struggles to find the words.\n\n8\n00:01:04,570 --> 00:01:05,770\nJoe stares at her.\n\n9\n00:01:14,740 --> 00:01:19,410\nAlice watches the last bit of footage, which\nis of Joe's mother pushing him on a swing.\n\n10\n00:01:19,750 --> 00:01:20,620\nThe film runs out\n\n11\n00:01:20,620 --> 00:01:22,250\nand spins around on the reel.\n\n12\n00:01:26,630 --> 00:01:31,380\nJoe and Alice see the rattling noises coming from\nthe strange cube Joe took from the crash site.\n\n13\n00:01:31,590 --> 00:01:33,300\nIt vibrates across the tabletop.\n\n14\n00:01:33,430 --> 00:01:35,510\nAlice wipes the tears from her eyes.\n\n15\n00:01:42,640 --> 00:01:44,100\nJoe picks up a pencil\n\n16\n00:01:44,100 --> 00:01:45,730\nand gently prods the cube.\n\n17\n00:01:45,860 --> 00:01:47,230\nIt continues vibrating.\n\n18\n00:01:47,520 --> 00:01:49,230\nHe and Alice exchange a look.\n\n19\n00:01:53,320 --> 00:01:54,950\nThe cube shoots off the table\n\n20\n00:01:54,950 --> 00:01:56,410\nand smashes through the wall,\n\n21\n00:01:56,410 --> 00:02:00,370\nleaving a hole in the wall and a poster\nof the space shuttle that's pinned to it.\n\n22\n00:02:00,830 --> 00:02:02,620\nJoe and Alice go over to the hole\n\n23\n00:02:02,830 --> 00:02:04,040\nand peer through it.\n\n24\n00:02:06,590 --> 00:02:10,420\nThe lights of the town and the water tower\ncan be seen in the distance through it.\n\n25\n00:02:10,800 --> 00:02:12,220\nThey exchange a look.\n\n", "subtitles": "1\n00:00:00,910 --> 00:00:02,760\nHe drank that morning.\n\n2\n00:00:04,040 --> 00:00:05,260\nMy dad.\n\n3\n00:00:08,760 --> 00:00:10,550\nHe missed his shift.\n\n4\n00:00:20,390 --> 00:00:22,390\nYour mom took it for him,\n\n5\n00:00:22,940 --> 00:00:24,480\nthe day of the accident.\n\n6\n00:00:45,830 --> 00:00:46,960\nHe...\n\n7\n00:00:48,920 --> 00:00:50,010\nHe...\n\n8\n00:00:50,510 --> 00:00:52,260\nHe... He wishes...\n\n9\n00:00:54,010 --> 00:00:56,850\nI know he wishes it was him\ninstead of her.\n\n10\n00:01:02,020 --> 00:01:03,990\nAnd sometimes I do, too.\n\n11\n00:01:08,110 --> 00:01:10,070\nDon't say that.\n\n12\n00:01:12,360 --> 00:01:14,110\nHe's your dad.\n\n13\n00:01:36,380 --> 00:01:38,180\nIs... Is this normal?\n\n14\n00:01:40,010 --> 00:01:41,890\nNo. This is new.\n\n", "sdh": "1\n00:00:00,890 --> 00:00:02,730\nHe drank\nthat morning.\n\n2\n00:00:04,060 --> 00:00:05,230\nMy dad.\n\n3\n00:00:08,730 --> 00:00:10,570\nHe missed\nhis shift.\n\n4\n00:00:16,570 --> 00:00:17,990\n(ALICE CRYING)\n\n5\n00:00:20,410 --> 00:00:22,410\nYour mom took\nit for him,\n\n6\n00:00:22,910 --> 00:00:24,510\nthe day of\nthe accident.\n\n7\n00:00:45,850 --> 00:00:46,940\nHe...\n\n8\n00:00:48,940 --> 00:00:50,030\nHe...\n\n9\n00:00:50,520 --> 00:00:52,280\nHe... He wishes...\n\n10\n00:00:54,030 --> 00:00:56,870\nI know he\nwishes it was him instead of her.\n\n11\n00:01:02,040 --> 00:01:03,960\nAnd sometimes\nI do, too.\n\n12\n00:01:08,120 --> 00:01:10,090\nDon't say that.\n\n13\n00:01:12,380 --> 00:01:14,130\nHe's your dad.\n\n14\n00:01:22,930 --> 00:01:24,060\n(RATTLING)\n\n15\n00:01:36,400 --> 00:01:38,150\nIs... Is this normal?\n\n16\n00:01:39,990 --> 00:01:41,910\nNo. This is new.\n\n17\n00:01:47,120 --> 00:01:48,170\n(WHIRRING)\n\n18\n00:01:50,330 --> 00:01:51,680\n(HIGH-PITCHED SHRIEK)\n\n", "screenplay": "{\"screenplay_scene_79\": \"<scene>\\n    <stage_direction>INT. JOE'S ROOM - NIGHT</stage_direction>\\n    <scene_description>Joe sleeps , power still out . Then , a KNOCK . He wakes up . Another KNOCK . His window . He moves to it . Opens it . It 's Alice . Joe is half asleep , but also stunned . Very quietly :</scene_description>\\n    <character>ALIE</character>\\n    <dialogue>- are you - were you sleeping?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Before, earlier, b - no, you okay?</dialogue>\\n    <character>ALICE</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>Oh, you wan na come in?</dialogue>\\n    <scene_description>And Alice climbs in . Joe sits on the floor . Alice does too . It 's odd and silent for a moment .</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>Power's still out.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Room's still messy.</dialogue>\\n    <character>ALICE</character>\\n    <dialogue>I was in bed, could n't sleep.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>Thinking. I wanted to tell you something, before tomorrow - Do n't let Charles blow up your train.</dialogue>\\n    <scene_description>Joe stares , amazed at her .</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I do n't think it's right, do you? I know he's your friend, but he's so BOSSY -</dialogue>\\n    <character>JOE</character>\\n    <dialogue>He can be sorta li - I've known him since Kindergarten, though -</dialogue>\\n    <character>ALICE</character>\\n    <dialogue>He should n't always get what he wants. I mean, who always gets what they want? - I know I do n't know you at all. Even though. it sort of feels like I do.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>Do you not. feel like that?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>- no, I totally do, I'm just. sort of in shock at this whole CONVERSATION -</dialogue>\\n    <scene_description>And the POWER RETURNS - Joe 's CLOCK LIGHT goes on behind him - but more chilling , the PROJECTOR comes back on ; the SILENT HOME MOVIE OF HIS MOTHER PLAYS . Joe crawls to the projector to stop it - but :</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>- no, keep it - please -</dialogue>\\n    <scene_description>Alice moves closer to the screen . Joe sits behind her . She watches the film . Ca n't take her eyes away .</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>is that her?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>yeah.</dialogue>\\n    <scene_description>And as Alice watches , we GENTLY PUSH IN . as tears start to fill her eyes . Behind her , at a near WHISPER :</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>it's so weird watching her like this, like she's still here.</dialogue>\\n    <parenthetical>( beat , lost in it . )</parenthetical>\\n    <dialogue>. she used to look at me, this way. like really look. And I just. knew I was there. That I existed.</dialogue>\\n    <scene_description>A tear drops down Alice 's face , though Joe ca n't see that . Finally , quietly :</scene_description>\\n    <character>ALICE</character>\\n    <dialogue>He drank that morning. My dad.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>He missed his shift.</dialogue>\\n    <parenthetical>( beat , hard . )</parenthetical>\\n    <dialogue>Your mom took it for him. The day of the accident.</dialogue>\\n    <scene_description>Watching his mother , Joe is quietly stunned . Finally , eyes wet , Alice turns to Joe .</scene_description>\\n    <character>ALICE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I know he wishes it was him. Instead of her.</dialogue>\\n    <parenthetical>( HARD BEAT . )</parenthetical>\\n    <dialogue>. and sometimes I wish it was, too.</dialogue>\\n    <scene_description>Joe just stares at her . heartsick and speechless . Finally :</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Do n't say that.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>He's your dad.</dialogue>\\n    <scene_description>Just then , the SUPER 8 movie ENDS : the film FLIPFLIPFLIPS . Joe turns off the projector - but a SOUND REMAINS . A sort of SHUDDER - HUM . Joe unplugs the projector , but the sound remains . Then they look : THE SHUDDERING IS COMING FROM THE CUBE HE TOOK FROM THE CRASH SITE , sitting on his desk . Joe and Alice move to it . He turns on his desk lamp . The cube VIBRATES , almost imperceptibly .</scene_description>\\n    <character>ALICE JOE</character>\\n    <dialogue />\\n    <scene_description>- has this - ? - no . Joe opens a drawer , grabs a paintbrush - he touches the cube - the thing SHUDDERS ON ITS OWN . They are amazed . They get LOW - eyes at desk level - the SHUDDERING INCREASES IN PITCH AND VOLUME - he reaches out to touch it with his finger , but suddenly the cube BULLETS AWAY - ACROSS THE ROOM - AND BLASTS THROUGH THE WALL , LEAVING A FIVE - INCH HOLE IN THE WALL ! She screams - they both fall to the floor , STUNNED - PUSH IN ON Joe , his heart pounding . He moves to the wall - looks through the hole : in the distance , trees and the TOWN WATER TOWER .</scene_description>\\n  </scene>\"}", "movie_duration": "6697.81", "video_start": "3605.92", "video_duration": "134.56"}
{"rottentomatoes_id": "super_8", "imdb_id": "tt1650062", "video_id": "OyRfCyRbqaQr", "audio_description_us": "1\n00:00:06,260 --> 00:00:07,300\nAlice freezes.\n\n2\n00:00:10,840 --> 00:00:14,100\nShe walks into the living room where\nher father sits in a chair and smokes.\n\n3\n00:00:14,310 --> 00:00:16,560\nA whiskey bottle stands on the chair's armrest.\n\n4\n00:00:40,920 --> 00:00:42,080\nAlice runs outside,\n\n5\n00:00:42,080 --> 00:00:42,790\ngrabs her bike\n\n6\n00:00:42,790 --> 00:00:44,420\nand takes off down the dark street.\n\n7\n00:00:53,850 --> 00:00:55,180\nHer father staggers after her,\n\n8\n00:00:55,180 --> 00:00:56,270\nbut Alice rides on.\n\n9\n00:00:56,390 --> 00:00:58,390\nShe races down a street lined with cars.\n\n10\n00:01:01,400 --> 00:01:04,150\nAlice glances over her shoulder\nas headlights appear behind her.\n\n11\n00:01:04,190 --> 00:01:05,320\nShe pedals faster.\n\n12\n00:01:05,610 --> 00:01:08,820\nDriving the yellow muscle car, her father\nturns down the side street after her.\n\n13\n00:01:10,360 --> 00:01:10,990\nAlice stops\n\n14\n00:01:10,990 --> 00:01:11,740\nand turns around,\n\n15\n00:01:11,740 --> 00:01:12,990\nthen rides back up the street.\n\n16\n00:01:13,200 --> 00:01:15,280\nHer father turns his head as he drives past her.\n\n17\n00:01:20,620 --> 00:01:22,830\nAlice's father smashes into a parked car.\n\n18\n00:01:23,000 --> 00:01:23,630\nAlice stops\n\n19\n00:01:23,630 --> 00:01:25,130\nand looks back at the smoking wreck.\n\n20\n00:01:31,880 --> 00:01:34,680\nCovered in blood, her father\nstirs behind the steering wheel.\n\n21\n00:01:41,600 --> 00:01:43,060\nAlice fights back tears.\n\n22\n00:01:47,610 --> 00:01:49,650\nSomething lifts Alice and her bike into the air.\n\n23\n00:01:50,940 --> 00:01:53,280\nHer father jerks on his door\nhandle, but it doesn't budge.\n\n24\n00:01:54,450 --> 00:01:56,330\nHe throws himself out of the passenger side door,\n\n25\n00:01:56,330 --> 00:01:57,490\nthen scrambles to his feet.\n\n26\n00:02:01,460 --> 00:02:03,750\nHe runs back to Alice's bike,\nwhich lies on the pavement.\n\n27\n00:02:03,790 --> 00:02:04,960\nHe looks around himself.\n\n28\n00:02:05,130 --> 00:02:06,420\nThere's no sign of Alice.\n\n", "audio_description_uk": "1\n00:00:07,090 --> 00:00:09,220\nShe sees Louis sitting in the front room.\n\n2\n00:00:11,930 --> 00:00:13,010\nShe goes into him\n\n3\n00:00:13,010 --> 00:00:15,100\nand finds him smoking and drinking.\n\n4\n00:00:41,920 --> 00:00:43,500\nWounded, she runs outside,\n\n5\n00:00:43,500 --> 00:00:44,500\ngrabs her bicycle\n\n6\n00:00:44,500 --> 00:00:45,340\nand rides off.\n\n7\n00:00:45,420 --> 00:00:47,210\nLouis comes running out after her.\n\n8\n00:00:54,720 --> 00:00:57,350\nFighting back tears, Alice cycles grimly on.\n\n9\n00:00:57,390 --> 00:00:59,770\nLouis comes after her in the yellow coupé.\n\n10\n00:00:59,890 --> 00:01:01,730\nShe glances nervously over her shoulder\n\n11\n00:01:01,730 --> 00:01:03,440\nas the V8 barrels after her.\n\n12\n00:01:03,690 --> 00:01:04,650\nShe rounds a corner\n\n13\n00:01:04,690 --> 00:01:07,480\nand the coupé clips the\nkerb as it takes the corner.\n\n14\n00:01:11,740 --> 00:01:13,120\nAlice jams her brakes on\n\n15\n00:01:13,120 --> 00:01:14,780\nand pulls a U-turn in the road.\n\n16\n00:01:14,910 --> 00:01:16,910\nShe cycles back past Louis.\n\n17\n00:01:21,830 --> 00:01:25,590\nTaking his eye off the road, he\ncareens into the back of a parked car.\n\n18\n00:01:25,750 --> 00:01:27,380\nHearing the impact, Alice stops\n\n19\n00:01:27,380 --> 00:01:28,210\nand looks back.\n\n20\n00:01:28,460 --> 00:01:33,300\nAs she stares at the wreck, she doesn't\nnotice a massive creature moving behind her.\n\n21\n00:01:39,220 --> 00:01:42,060\nHis face bloodied, Louis\nsits up in the driver's seat.\n\n22\n00:01:42,350 --> 00:01:43,650\nAlice turns around\n\n23\n00:01:43,810 --> 00:01:45,190\nand sees the creature.\n\n24\n00:01:48,030 --> 00:01:49,780\nLouis looks in his rearview mirror.\n\n25\n00:01:51,610 --> 00:01:53,110\nHe tries to get out of the car.\n\n26\n00:01:55,320 --> 00:01:57,280\nHe tumbles out of the passenger door.\n\n27\n00:02:02,750 --> 00:02:04,080\nHe runs back up the street\n\n28\n00:02:04,080 --> 00:02:05,750\nand trips over Alice's bike.\n\n29\n00:02:05,920 --> 00:02:07,590\nThere's no sign of her anywhere.\n\n", "subtitles": "1\n00:00:04,770 --> 00:00:07,120\nWant to tell me where you were?\n\n2\n00:00:09,780 --> 00:00:11,580\nOr should I tell you?\n\n3\n00:00:19,950 --> 00:00:21,050\nSit down.\n\n4\n00:00:22,120 --> 00:00:23,550\nI should go to bed.\n\n5\n00:00:23,960 --> 00:00:25,550\nI want to talk to you. I said sit down.\n\n6\n00:00:25,630 --> 00:00:27,170\nI don't want to sit down!\n\n7\n00:00:29,050 --> 00:00:30,300\nThen go.\n\n8\n00:00:31,220 --> 00:00:33,720\nBe just like your mother and leave.\n\n9\n00:00:35,390 --> 00:00:36,560\nDad...\n\n10\n00:00:37,060 --> 00:00:38,270\nGo ahead! Go!\n\n11\n00:00:40,390 --> 00:00:41,390\nGo!\n\n12\n00:00:48,070 --> 00:00:49,070\nAlice!\n\n13\n00:00:49,480 --> 00:00:50,660\nAlice!\n\n14\n00:00:51,030 --> 00:00:52,200\nAlice!\n\n15\n00:00:53,320 --> 00:00:54,320\nWait!\n\n16\n00:01:18,220 --> 00:01:19,470\nAlly, I'm sorry!\n\n17\n00:01:50,130 --> 00:01:51,300\nAlice!\n\n18\n00:01:53,550 --> 00:01:54,600\nAlly!\n\n19\n00:01:59,140 --> 00:02:00,310\nAlice!\n\n20\n00:02:00,640 --> 00:02:01,760\nAlly!\n\n", "sdh": "1\n00:00:04,790 --> 00:00:07,130\nLOUIS: Want to\ntell me where you were?\n\n2\n00:00:09,800 --> 00:00:11,590\nOr should\nI tell you?\n\n3\n00:00:19,970 --> 00:00:21,020\nSit down.\n\n4\n00:00:22,140 --> 00:00:23,520\nI should go to bed.\n\n5\n00:00:24,020 --> 00:00:25,540\nI want to talk to you.\nI said sit down.\n\n6\n00:00:25,640 --> 00:00:27,190\nI don't want\nto sit down!\n\n7\n00:00:29,020 --> 00:00:30,320\nThen go.\n\n8\n00:00:31,190 --> 00:00:33,690\nBe just like your mother and leave.\n\n9\n00:00:35,360 --> 00:00:36,530\nDad...\n\n10\n00:00:37,030 --> 00:00:38,280\nGo ahead! Go!\n\n11\n00:00:40,370 --> 00:00:41,370\nGo!\n\n12\n00:00:48,040 --> 00:00:49,040\nAlice!\n\n13\n00:00:49,500 --> 00:00:50,670\nAlice!\n\n14\n00:00:51,050 --> 00:00:52,220\nAlice!\n\n15\n00:00:53,340 --> 00:00:54,390\nWait!\n\n16\n00:01:00,350 --> 00:01:01,970\n(CAR TIRES SQUEALING)\n\n17\n00:01:18,240 --> 00:01:19,490\nAlly, I'm sorry!\n\n18\n00:01:44,930 --> 00:01:46,610\n(HIGH-PITCHED WHINING)\n(RHYTHMIC CLICKING)\n\n19\n00:01:46,680 --> 00:01:48,030\n(SCREAMING)\n\n20\n00:01:50,100 --> 00:01:51,280\nAlice!\n\n21\n00:01:53,570 --> 00:01:54,610\nAlly!\n\n22\n00:01:59,110 --> 00:02:00,290\nAlice!\n\n23\n00:02:00,610 --> 00:02:01,790\nAlly!\n\n", "screenplay": "null", "movie_duration": "6697.81", "video_start": "3754.46", "video_duration": "132.12"}
{"rottentomatoes_id": "super_8", "imdb_id": "tt1650062", "video_id": "adVWGcc7_J_V", "audio_description_us": "1\n00:00:00,250 --> 00:00:01,290\n...and fire their guns.\n\n2\n00:00:01,290 --> 00:00:03,300\nLeaving Donny in the car, the boys jump out\n\n3\n00:00:03,300 --> 00:00:05,050\nand run through a yard and down a path.\n\n4\n00:00:12,890 --> 00:00:15,600\nOn the street, a helmeted\nsoldier talks into a transceiver.\n\n5\n00:00:23,610 --> 00:00:25,030\nA missile explodes nearby.\n\n6\n00:00:25,030 --> 00:00:28,320\nA few blocks away, the boys run\npast houses and across more lawns.\n\n7\n00:00:30,320 --> 00:00:32,700\nThey jump over a chain fence and into a backyard.\n\n8\n00:00:35,790 --> 00:00:37,540\nAs they run through a back gate, they stop\n\n9\n00:00:37,540 --> 00:00:40,210\nas an exploding tank tumbles\nacross the ground toward them.\n\n10\n00:00:42,420 --> 00:00:43,790\nThe boys change direction.\n\n11\n00:00:43,880 --> 00:00:46,460\nSoldiers run down the street\npast a large two-storey house\n\n12\n00:00:46,460 --> 00:00:47,800\nas missiles zoom around them.\n\n13\n00:00:53,350 --> 00:00:55,850\nThe boys sprint across a\nplayground toward the house.\n\n14\n00:00:56,060 --> 00:00:58,140\nBehind them, tanks roll across the playground,\n\n15\n00:00:58,140 --> 00:00:59,350\ncrushing play equipment.\n\n16\n00:01:05,650 --> 00:01:07,110\nThe boys rush into the house\n\n17\n00:01:07,110 --> 00:01:08,110\nand run upstairs.\n\n18\n00:01:17,660 --> 00:01:19,160\nJoe peers out kitchen windows.\n\n19\n00:01:26,040 --> 00:01:27,130\nCharlie chugs a soda.\n\n20\n00:01:38,770 --> 00:01:40,600\nA blast takes out the wall next to the boys\n\n21\n00:01:40,600 --> 00:01:41,640\nand knocks them to the floor.\n\n22\n00:01:46,230 --> 00:01:47,480\nCharles crawls over to Martin.\n\n23\n00:01:54,530 --> 00:01:55,990\nJoe pulls a tie back off a curtain\n\n24\n00:01:55,990 --> 00:01:57,080\nand hands it to Charles.\n\n25\n00:02:00,160 --> 00:02:01,000\nCharles stands.\n\n26\n00:02:02,500 --> 00:02:03,170\nJoe nods.\n\n27\n00:02:04,330 --> 00:02:05,250\nCary runs over.\n\n28\n00:02:09,670 --> 00:02:10,840\nJoe and Cary run off.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:01,420\nThe boys get out of the car\n\n2\n00:00:01,420 --> 00:00:02,090\nand flee.\n\n3\n00:00:13,470 --> 00:00:15,180\nA soldier into his radio...\n\n4\n00:00:23,440 --> 00:00:24,400\nThe boys run.\n\n5\n00:00:27,360 --> 00:00:28,780\nThey hurry through a back garden,\n\n6\n00:00:28,780 --> 00:00:30,910\nshoving a washing line out of their way.\n\n7\n00:00:31,280 --> 00:00:32,070\nThey leap a fence,\n\n8\n00:00:32,070 --> 00:00:33,950\nthen race through a gate onto the street.\n\n9\n00:00:34,280 --> 00:00:36,250\nThey see a tank being overturned.\n\n10\n00:00:44,380 --> 00:00:47,130\nSoldiers flee from their\nown malfunctioning machines\n\n11\n00:00:47,130 --> 00:00:50,800\nwhich randomly spray shells,\nmissiles and bullets around them.\n\n12\n00:00:55,890 --> 00:00:59,100\nThe boys flee through a playground\nfrom an out-of-control tank.\n\n13\n00:00:59,560 --> 00:01:00,480\nThey hurry up a hill\n\n14\n00:01:00,480 --> 00:01:01,770\nand take refuge in a house,\n\n15\n00:01:01,770 --> 00:01:04,190\nas the tank smashes up the playground.\n\n16\n00:01:09,030 --> 00:01:11,030\nThe boys hurry upstairs in the house.\n\n17\n00:01:18,620 --> 00:01:20,210\nJoe looks out of the windows.\n\n18\n00:01:39,060 --> 00:01:40,350\nA shell strikes the house,\n\n19\n00:01:40,350 --> 00:01:42,520\nand the blast knocks the boys to the ground.\n\n20\n00:01:46,940 --> 00:01:47,900\nThey get back up.\n\n", "subtitles": "1\n00:00:05,330 --> 00:00:07,750\n- Why is everyone firing?\n- We gotta go!\n\n2\n00:00:08,080 --> 00:00:10,080\nGuys, come on, hurry!\n\n3\n00:00:10,170 --> 00:00:12,920\n- This is crazy!\n- What is going on?\n\n4\n00:00:13,840 --> 00:00:15,430\nLook! It just exploded!\n\n5\n00:00:15,760 --> 00:00:19,180\nSir! The weapons are misfiring!\nAll of them!\n\n6\n00:00:19,260 --> 00:00:22,730\nSurface-to-air! Radar!\nIt's a mess out here, sir!\n\n7\n00:00:24,810 --> 00:00:26,850\nGuys! Guys, run!\n\n8\n00:00:27,100 --> 00:00:28,350\nCome on!\n\n9\n00:00:28,690 --> 00:00:30,310\nWhat the hell is this?\n\n10\n00:00:30,480 --> 00:00:32,200\nGo, Cary, go!\n\n11\n00:00:34,610 --> 00:00:36,150\n- Jesus!\n- Go!\n\n12\n00:00:40,450 --> 00:00:42,790\nWhat the hell?\nHoly shit!\n\n13\n00:00:52,710 --> 00:00:54,760\nWhy is everyone firing?\n\n14\n00:00:57,300 --> 00:00:59,300\nGo, come on!\nMove ahead!\n\n15\n00:01:02,470 --> 00:01:03,850\nOh, my God!\n\n16\n00:01:11,770 --> 00:01:13,240\nCome on, guys, move!\n\n17\n00:01:13,310 --> 00:01:16,240\nDid you guys see those explosions?\nThey were... They were huge!\n\n18\n00:01:16,980 --> 00:01:18,360\nOh, my God.\n\n19\n00:01:20,530 --> 00:01:21,750\nWhose house is this?\n\n20\n00:01:21,820 --> 00:01:24,200\nIt's Kathy's. I got it off the fridge.\n\n21\n00:01:24,280 --> 00:01:26,410\nKathy? Yeah, I know her.\n\n22\n00:01:27,160 --> 00:01:29,320\nCharles, what are you thinking, dude?\nThat's not yours!\n\n23\n00:01:29,370 --> 00:01:31,420\nWhat, I'm thirsty. I'm in a war zone!\n\n24\n00:01:31,500 --> 00:01:32,920\n- Clear! Clear!\n- Come on, move!\n\n25\n00:01:33,000 --> 00:01:34,720\nLet's go, move out!\n\n26\n00:01:35,330 --> 00:01:37,150\n- Guys, come on, let's go.\n- Where are we going?\n\n27\n00:01:37,170 --> 00:01:38,550\nTo the cemetery. I'm...\n\n28\n00:01:44,010 --> 00:01:46,730\nGuys, what happened to my leg?\nMan, it hurts!\n\n29\n00:01:48,220 --> 00:01:51,520\nHoly shit, Martin, you've got\na bone sticking out of your leg!\n\n30\n00:01:52,890 --> 00:01:55,110\nJoe, give me that thing off the curtains!\n\n31\n00:01:55,190 --> 00:01:56,360\nGod!\n\n32\n00:01:57,440 --> 00:02:00,360\nI've got to go find Alice.\nYou guys stay here with Martin.\n\n33\n00:02:00,900 --> 00:02:02,580\nYou gonna be okay without me?\n\n34\n00:02:03,360 --> 00:02:04,450\nYeah.\n\n35\n00:02:05,200 --> 00:02:08,620\n- I'm not staying with the girls!\n- God, Cary! Shut up!\n\n36\n00:02:08,700 --> 00:02:10,700\n- Calm down!\n- Come on! Come on!\n\n37\n00:02:10,790 --> 00:02:12,040\nIt hurts, Joe!\n\n", "sdh": "1\n00:00:05,350 --> 00:00:07,720\n- Why is everyone firing?\n- MARTIN: We gotta go!\n\n2\n00:00:08,100 --> 00:00:10,100\nGuys, come on, hurry!\n\n3\n00:00:10,180 --> 00:00:12,940\nMARTIN: This is crazy!\nCARY: What is going on?\n\n4\n00:00:13,850 --> 00:00:15,450\nMARTIN: Look!\nIt just exploded!\n\n5\n00:00:15,730 --> 00:00:19,160\nSir! The weapons\nare misfiring! All of them!\n\n6\n00:00:19,230 --> 00:00:22,700\nSurface-to-air! Radar!\nIt's a mess out here, sir!\n\n7\n00:00:24,820 --> 00:00:26,870\nCARY: Guys! Guys, run!\n\n8\n00:00:27,120 --> 00:00:28,330\nMARTIN: Come on!\n\n9\n00:00:28,660 --> 00:00:30,330\nCHARLES: What\nthe hell is this?\n\n10\n00:00:30,500 --> 00:00:32,170\nMARTIN: Go, Cary, go!\n\n11\n00:00:34,630 --> 00:00:36,170\n- Jesus!\n- Go!\n\n12\n00:00:37,670 --> 00:00:39,510\n(CREATURE GROWLING)\n(LOUD THUD)\n\n13\n00:00:40,420 --> 00:00:42,800\nJOE; what the hen?\nHoly shin\n\n14\n00:00:52,690 --> 00:00:54,730\nCARY: Why is everyone firing?\n\n15\n00:00:57,310 --> 00:00:59,280\nJOE: Go, come on!\nMove ahead!\n\n16\n00:01:02,440 --> 00:01:03,820\nMARTIN: Oh, my God!\n\n17\n00:01:11,750 --> 00:01:13,210\nCome on, guys, move!\n\n18\n00:01:13,290 --> 00:01:14,880\nCARY: Did you guys see\nthose explosions?\n\n19\n00:01:14,960 --> 00:01:16,210\nThey were... They were huge!\n\n20\n00:01:16,960 --> 00:01:18,340\nOh, my God.\n\n21\n00:01:20,500 --> 00:01:21,720\nWhose house is this?\n\n22\n00:01:21,800 --> 00:01:24,180\nCARY: It's Kathy's.\nI got it off the fridge.\n\n23\n00:01:24,260 --> 00:01:26,390\nKathy? Yeah, I know her.\n\n24\n00:01:27,220 --> 00:01:29,360\nCharles, what are\nyou thinking, dude? That's not yours!\n\n25\n00:01:29,390 --> 00:01:31,440\nWhat, I'm thirsty.\nI'm in a war zone!\n\n26\n00:01:31,520 --> 00:01:32,990\nSOLDIER 1: Clear! Clear!\nSOLDIER 2: Come on, move!\n\n27\n00:01:33,020 --> 00:01:34,730\nSOLDIER 3: Let's go, move out!\n\n28\n00:01:35,350 --> 00:01:37,160\n- Guys, come on, let's go.\n- Where are we going?\n\n29\n00:01:37,190 --> 00:01:38,560\nTo the Cemetery I'm...\n\n30\n00:01:40,270 --> 00:01:41,900\n(ALL COUGHING)\n\n31\n00:01:44,030 --> 00:01:46,750\nMARTIN: Guys, what\nhappened to my leg? Man, it hurts!\n\n32\n00:01:48,200 --> 00:01:51,500\nCHARLES: Holy shit, Martin, you've got\na bone sticking out of your leg!\n\n33\n00:01:52,870 --> 00:01:55,090\nJoe, give me that thing\noff the curtains!\n\n34\n00:01:55,160 --> 00:01:56,340\nGod!\n\n35\n00:01:57,460 --> 00:01:58,760\nI've got to\ngo find Alice.\n\n36\n00:01:58,830 --> 00:02:00,340\nYou guys stay\nhere with Martin.\n\n37\n00:02:00,880 --> 00:02:02,550\nYou gonna be okay\nwithout me?\n\n38\n00:02:03,340 --> 00:02:04,460\nYeah.\n\n39\n00:02:05,170 --> 00:02:06,520\nI'm not staying\nwith the girls!\n\n40\n00:02:06,630 --> 00:02:08,600\nGod, Cary! Shut up!\n\n41\n00:02:08,680 --> 00:02:10,680\n- Calm down!\n- Come on! Come on!\n\n42\n00:02:10,800 --> 00:02:12,020\nMARTINI It hurts, Joe!\n\n", "screenplay": "{\"screenplay_scene_137\": \"<scene>\\n    <stage_direction>EXT. NEIGHBORHOOD - NIGHT</stage_direction>\\n    <character>SOLDIER</character>\\n    <dialogue>Sir, the weapons are misfiring! Surface to air, radar - all of them! It's a mess out here, sir.</dialogue>\\n    <scene_description>Soldier hurries off .</scene_description>\\n  </scene>\", \"screenplay_scene_138\": \"<scene>\\n    <stage_direction>EXT. NEIGHBORHOOD STREET - NIGHT</stage_direction>\\n    <scene_description>Joe in the lead - they turn and look back - a massive shot of the neighborhood under fire - houses getting BLOWN TO SHIT in collateral damage . An EXPLOSION HITS TOO CLOSE - the boys SCREAM as they run BETWEEN HOUSES - and WE TRACK WITH THEM - four boys racing through a neighborhood under siege - power GOES OUT - and some explosions are much closer than others - another BIG HIT and they go to a back door of a house - and go inside -</scene_description>\\n  </scene>\"}", "movie_duration": "6697.81", "video_start": "5162.82", "video_duration": "132.42"}
{"rottentomatoes_id": "super_8", "imdb_id": "tt1650062", "video_id": "A6Ld5Ma7Ahjt", "audio_description_us": "1\n00:00:02,840 --> 00:00:05,210\nAcross the chamber, Alice hangs upside down.\n\n2\n00:00:31,780 --> 00:00:34,620\nCarrying a lit sparkler, Joe\nruns into another tunnel.\n\n3\n00:00:36,750 --> 00:00:38,790\nCary pulls fireworks out of his backpack.\n\n4\n00:00:44,210 --> 00:00:46,050\nHe lays out different fireworks on the ground\n\n5\n00:00:46,050 --> 00:00:47,970\nand connects them with a line of gunpowder.\n\n6\n00:00:48,670 --> 00:00:49,470\nHe glances up\n\n7\n00:00:49,470 --> 00:00:52,050\nas the creature pulls down a\nwoman wearing hair rollers.\n\n8\n00:00:52,430 --> 00:00:54,430\nJoe runs around to the other side of the chamber\n\n9\n00:00:54,430 --> 00:00:55,640\nand watches the creature.\n\n10\n00:01:00,060 --> 00:01:01,650\nCary takes out a cigarette red lighter\n\n11\n00:01:01,650 --> 00:01:02,810\nand tries to ignite it.\n\n12\n00:01:03,190 --> 00:01:05,480\nFrom across the chamber, Joe keeps an eye on Cary,\n\n13\n00:01:05,480 --> 00:01:06,940\nwho continues to strike the lighter.\n\n14\n00:01:12,410 --> 00:01:13,990\nThe creature pulls Alice down.\n\n15\n00:01:22,460 --> 00:01:23,750\nCary ignites the lighter.\n\n16\n00:01:25,960 --> 00:01:27,670\nHe lights the fuse on the chain of fireworks,\n\n17\n00:01:27,670 --> 00:01:28,630\ngrabs his backpack\n\n18\n00:01:28,630 --> 00:01:29,460\nand runs off.\n\n19\n00:01:40,180 --> 00:01:41,850\nThe creature leaves Alice on the ground\n\n20\n00:01:41,850 --> 00:01:42,900\nand investigates.\n\n21\n00:01:52,700 --> 00:01:53,950\nJoe runs over to Alice\n\n22\n00:01:53,950 --> 00:01:54,620\nand shakes her.\n\n23\n00:02:03,040 --> 00:02:04,000\nJoe raises his hand\n\n24\n00:02:04,000 --> 00:02:04,630\nand hesitates,\n\n25\n00:02:04,630 --> 00:02:05,540\nthen slaps Alice.\n\n26\n00:02:08,050 --> 00:02:09,170\nAlice opens her eyes.\n\n27\n00:02:11,670 --> 00:02:12,470\nShe sits up.\n\n", "audio_description_uk": "1\n00:00:03,380 --> 00:00:04,460\nIt scuttles off.\n\n2\n00:00:04,460 --> 00:00:06,800\nJoe spots Alice dangling upside down.\n\n3\n00:00:32,660 --> 00:00:36,410\nJoe hurries away back up the tunnel,\nusing a sparkler to light his way.\n\n4\n00:00:36,700 --> 00:00:39,370\nCary empties out his bag of pyrotechnics.\n\n5\n00:00:39,830 --> 00:00:41,830\nJoe arrives at a fork in the tunnel\n\n6\n00:00:42,080 --> 00:00:43,750\nand chooses which way to go.\n\n7\n00:00:45,500 --> 00:00:48,010\nCary selects some suitably noisy fireworks\n\n8\n00:00:48,010 --> 00:00:51,640\nand watches as the alien sets to\nwork on whatever it is it's building.\n\n9\n00:00:51,930 --> 00:00:54,640\nAlice is still dangling\nmotionless upside down.\n\n10\n00:00:54,890 --> 00:00:58,020\nThe fork in the tunnel brings\nJoe out quite close to her.\n\n11\n00:00:58,390 --> 00:01:01,310\nHe watches as the alien\ncontinues with its work.\n\n12\n00:01:01,810 --> 00:01:04,610\nCary tries to get his lighter to spark up.\n\n13\n00:01:08,650 --> 00:01:12,410\nThe alien carries on working,\noblivious to Cary or Joe.\n\n14\n00:01:18,000 --> 00:01:19,200\nIt stops what it's doing\n\n15\n00:01:19,200 --> 00:01:21,460\nand takes Alice down from where she's hanging.\n\n16\n00:01:21,830 --> 00:01:23,830\nJoe watches with mounting alarm.\n\n17\n00:01:24,290 --> 00:01:26,960\nCary finally sparks his Zippo into life.\n\n18\n00:01:27,380 --> 00:01:28,550\nHe lights a firecracker\n\n19\n00:01:28,550 --> 00:01:30,920\nand leaves it beside a pile of other fireworks,\n\n20\n00:01:31,220 --> 00:01:33,340\nthen legs it off back down the tunnel.\n\n21\n00:01:41,270 --> 00:01:42,770\nThe alien puts Alice down\n\n22\n00:01:42,770 --> 00:01:45,190\nand immediately goes to investigate the noise.\n\n23\n00:01:50,650 --> 00:01:51,610\nJoe breaks cover\n\n24\n00:01:51,610 --> 00:01:52,740\nand runs over to Alice,\n\n25\n00:01:52,740 --> 00:01:55,030\nwho lies unmoving on the chamber floor.\n\n26\n00:02:03,460 --> 00:02:05,040\nShe's completely unresponsive.\n\n27\n00:02:05,040 --> 00:02:05,830\nJoe hesitates,\n\n28\n00:02:05,830 --> 00:02:07,130\nthen slaps her hard.\n\n29\n00:02:08,550 --> 00:02:09,460\nShe wakes.\n\n", "subtitles": "1\n00:00:00,470 --> 00:00:02,470\nIt's eating a person.\n\n2\n00:00:06,970 --> 00:00:08,070\nShe's here.\n\n3\n00:00:08,350 --> 00:00:10,100\nOh, my God. I see her.\n\n4\n00:00:10,520 --> 00:00:13,110\nOkay.\nWe're going to use your firecrackers.\n\n5\n00:00:14,020 --> 00:00:16,150\nI don't think that's gonna hurt him, Joe.\n\n6\n00:00:16,230 --> 00:00:18,830\n- There's other tunnels.\n- So?\n\n7\n00:00:18,900 --> 00:00:21,620\nI need you to make noise\nright here in two minutes.\n\n8\n00:00:21,700 --> 00:00:24,920\nMake it loud and make it last.\nGive me some sparklers.\n\n9\n00:00:24,990 --> 00:00:29,340\nMake sure you're gone when it blows.\nYou can't be here. You got to run.\n\n10\n00:00:30,580 --> 00:00:32,330\nWhere are you going?\n\n11\n00:01:06,910 --> 00:01:08,330\nCome on, Cary.\n\n12\n00:01:55,620 --> 00:01:57,670\nAlice. Alice. Please, we have to go.\nCome on.\n\n13\n00:01:57,750 --> 00:01:59,720\nAlice! Alice!\n\n14\n00:02:01,130 --> 00:02:03,100\nPlease, come on.\nWe have to go. Alice!\n\n15\n00:02:10,100 --> 00:02:11,940\nYou're alive! You're alive.\n\n", "sdh": "1\n00:00:00,440 --> 00:00:02,450\nit's eating\na person.\n\n2\n00:00:06,950 --> 00:00:08,040\nShe's here.\n\n3\n00:00:08,370 --> 00:00:10,090\nOh, my God.\nI see her.\n\n4\n00:00:10,540 --> 00:00:13,090\nOkay. We're going to\nuse your firecrackers.\n\n5\n00:00:14,040 --> 00:00:16,090\nI don't think\nthat's gonna hurt him, Joe.\n\n6\n00:00:16,210 --> 00:00:18,760\n- There's other tunnels.\n- So?\n\n7\n00:00:18,880 --> 00:00:21,550\nI need you to make noise\nright here in two minutes.\n\n8\n00:00:21,630 --> 00:00:23,430\nMake it loud\nand make it last.\n\n9\n00:00:23,550 --> 00:00:24,890\nGive me some sparklers.\n\n10\n00:00:24,970 --> 00:00:27,190\nMake sure you're\ngone when it blows.\n\n11\n00:00:27,260 --> 00:00:29,310\nYou can't be here.\nYou got to run.\n\n12\n00:00:30,560 --> 00:00:32,310\nWhere are you going?\n\n13\n00:00:48,450 --> 00:00:49,790\n(METAL CLANGING)\n\n14\n00:01:06,840 --> 00:01:08,310\nCome on, Cary.\n\n15\n00:01:50,550 --> 00:01:51,730\n(CREATURE ROARING)\n\n16\n00:01:55,560 --> 00:01:57,650\nAlice. Alice.\nPlease, we have to go. Come on.\n\n17\n00:01:57,730 --> 00:01:59,700\nAlice! Alice!\n\n18\n00:02:01,060 --> 00:02:03,070\nPlease, come on.\nWe have to go. Alice!\n\n19\n00:02:10,030 --> 00:02:11,870\nYou're alive!\nYou're alive.\n\n", "screenplay": "{\"screenplay_scene_147\": \"<scene>\\n    <stage_direction>INT. TUNNEL #2 - NIGHT</stage_direction>\\n    <scene_description>There 's DIM LIGHT from up ahead , where the tunnel BENDS . The RUMBLING/MECHANICAL SOUND LOUDER now . Joe and Cary slowly move forward - seeing something off - camera that scares and amazes them all at once . IT 'S A HUNDRED - FOOT DIAMETER , FORTY - FOOT TALL UNDERGROUND SPACE , FILLED WITH A MECHANICAL MARVEL - A MASSIVE , BIZARRE CONTRAPTION COMBINING THOUSANDS OF MECHANICAL PIECES , FROM THE MISSING MICROWAVES , CAR ENGINES , ANTENNAS , AND COUNTLESS OTHER DEVICES - WIRES AND CABLES HANG AND CONNECT EVERYWHERE , ALL LEADING TO THE DIRT CEILING , HEADING UP , TO SOMEWHERE ABOVE GROUND . THE THICK - WITH - FUMES SPACE CHUGS AND HUMS WITH A SLOWLY INCREASING PITCH , AS IT IT 'S WARMING UP , GETTING READY TO FINALLY , ACTUALLY WORK . They cross to the other side . Cary bumps into a HANGING SHERIFF PRUITT . Cary is about to scream , but Joe puts a hand on his mouth and leads him away from Pruitt .</scene_description>\\n    <character>CARY</character>\\n    <dialogue>It's Sheriff Pruitt.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I know. Cary look.</dialogue>\\n    <scene_description>Makeshift HANGING BULBS provide some light ; a number of other TUNNELS are visible from here , too . Joe and Cary look at the space in disbelief .</scene_description>\\n    <character>CARY</character>\\n    <dialogue>What is this?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>We're under the water tower.</dialogue>\\n    <scene_description>Then Joe sees something that makes him grab at Cary 's shirt . Cary looks : THROUGH THE MASS OF METAL AND MACHINERY AND DANGLING CABLES , AT THE OTHER END OF THIS UNDERGROUND EXPERIMENT , IS THE CREATURE . HUNCHED OVER . BACK TO THE BOYS . AND IT 'S SAVAGELY EATING SOMETHING . IT MOVES A BIT : WE SEE IT 'S A HUMAN LEG . Joe and Cary would SCREAM if they did n't need to stay quiet . In a panicked WHISPER :</scene_description>\\n    <character>CARY</character>\\n    <dialogue>It's eating a person.</dialogue>\\n    <scene_description>Joe moves away from Cary to get a better view of the other side of the machinery - and there he sees , in an INSET section of the rock - wall , THREE HUMAN BODIES , HANGING LIFELESS FROM THEIR FEET , WRAPPED IN SOME KIND OF THIN SHELLAC . TIGHT ON JOE as he sees , among them , ALICE . His heart POUNDS , his resolve quadruples . Cary sees her too -</scene_description>\\n    <character>JOE</character>\\n    <dialogue>She's here. We're going to use your firecrackers.</dialogue>\\n    <character>CARY</character>\\n    <dialogue>I do n't think it's going to hurt it, Joe.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>There are other tunnels.</dialogue>\\n    <character>CARY</character>\\n    <dialogue>So?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I need you to make noise. Lots of it, right here, in two minutes. Make it loud and make it last - gim me some sparklers.</dialogue>\\n    <character>CARY</character>\\n    <parenthetical>( goes through his bag . )</parenthetical>\\n    <dialogue>- why - what are you gon na do -?</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( takes SPARKLERS and a LIGHTER from Cary . )</parenthetical>\\n    <dialogue>Make sure you're gone by the time it blows : you ca n't be here, you got ta run.</dialogue>\\n    <character>CARY</character>\\n    <dialogue>Where are you going?</dialogue>\\n    <scene_description>But Joe 's already gone . Stay with Cary , who opens his backpack , starts pulling out his amazing array of EXPLOSIVES , glancing up to make sure he 's out of the creature 's view -</scene_description>\\n  </scene>\", \"screenplay_scene_148\": \"<scene>\\n    <stage_direction>INT. TUNNEL #3 - NIGHT</stage_direction>\\n    <scene_description>MOVE FAST with Joe as he races , a LIT SPARKLER giving him his light - the MECHANICAL RUMBLING all but gone now . Joe runs , looking for another way into the creature 's massive space - he finally finds another INTERSECTION - he turns into it - he disappears down the tunnel -</scene_description>\\n  </scene>\", \"screenplay_scene_149\": \"<scene>\\n    <stage_direction>INT. TUNNEL #2 - NIGHT</stage_direction>\\n    <scene_description>Cary 's made a long , insane pile of FIRECRACKERS - he uses an OPEN M - 80 and begins laying a SQUIGGLY , LONG LINE OF GUN POWDER back , away from the firecrackers - away from the entrance to the creature 's CONTRAPTION space .</scene_description>\\n  </scene>\", \"screenplay_scene_150\": \"<scene>\\n    <stage_direction>INT. TUNNEL #4 - NIGHT</stage_direction>\\n    <scene_description>Joe races down the dirt tunnel , the SOUND OF THE MECHANICAL RUMBLING - and its INCREASING PITCH - getting LOUDER . The SPARKLER DIES as LIGHT BEGINS TO REVEAL JOE , who slows - peers around the dirt tunnel bend - he is now on the OTHER SIDE of the space . He sees the creature - then looks across to the lifeless body of Alice . His heart sinks .</scene_description>\\n  </scene>\", \"screenplay_scene_151\": \"<scene>\\n    <stage_direction>INT. TUNNEL #2 - NIGHT</stage_direction>\\n    <scene_description>Cary 's done laying out the charges - he pulls out his lighter - FFFT ! FFFT ! The damn thing wo n't light -</scene_description>\\n    <character>CARY</character>\\n    <dialogue>- come on - damnit!</dialogue>\\n    <scene_description>FFT ! FFT ! No go - he keeps trying .</scene_description>\\n  </scene>\", \"screenplay_scene_152\": \"<scene>\\n    <stage_direction>INT. TUNNEL #4 - NIGHT</stage_direction>\\n    <scene_description>Joe watches as the creature FINISHES WITH ITS MEAL AND HEADS FOR THE OTHER HANGING BODIES - PUSH IN ON JOE , DESPERATE -</scene_description>\\n    <character>JOE</character>\\n    <dialogue>- Cary, come on, come on -</dialogue>\\n  </scene>\", \"screenplay_scene_153\": \"<scene>\\n    <stage_direction>INT. TUNNEL #2 - NIGHT</stage_direction>\\n    <scene_description>Cary frantically trying the lighter - FFT ! FFT ! FFT !</scene_description>\\n    <character>CARY</character>\\n    <dialogue>- damnit!</dialogue>\\n    <scene_description>He looks up - watches the creature GRAB AND PULL ALICE 'S LIFELESS BODY DOWN FROM HER HANGING POSITION - it moves with her to where he was eating the teacher - Cary SHAKES THE LIGHTER , STARTING TO CRY AND HE FLICKS IT AND FFFFFTH ! IT LIGHTS ! HE TOUCHES IT ON THE GUN POWDER AND RUNS OFF -</scene_description>\\n  </scene>\", \"screenplay_scene_154\": \"<scene>\\n    <stage_direction>INT. MECHANICAL CONTRAPTION SPACE - NIGHT</stage_direction>\\n    <scene_description>The creature PULLS AWAY the fibrous covering over Alice - its TENTACLES SLITHER OUT .</scene_description>\\n  </scene>\", \"screenplay_scene_155\": \"<scene>\\n    <stage_direction>INT. TUNNEL #4 - NIGHT</stage_direction>\\n    <scene_description>Watching this is horror , Joe 's about to run in just as BABABABABABABABAM ! The creature JERKS UP from its almost - meal of Alice , looks toward the EXPLOSIVE SOUNDS , then LEAVES HER , quickly moving for the tunnel -</scene_description>\\n  </scene>\", \"screenplay_scene_156\": \"<scene>\\n    <stage_direction>INT. TUNNEL #2 - NIGHT</stage_direction>\\n    <scene_description>The creature arrives in the SMOKE - FILLED TUNNEL , as the FIREWORKS FILL the tunnel with BRIGHT , MULTI - COLORED LIGHTS -</scene_description>\\n  </scene>\"}", "movie_duration": "6697.81", "video_start": "5539.84", "video_duration": "133.84"}
{"rottentomatoes_id": "super_8", "imdb_id": "tt1650062", "video_id": "eFTqT0_Z632j", "audio_description_us": "1\n00:00:00,380 --> 00:00:03,130\nStill hugging his own father,\nJoe gazes up at the ship.\n\n2\n00:00:06,220 --> 00:00:09,510\nThe soldiers watch the fully formed\nship as it prepares to fly away.\n\n3\n00:00:14,390 --> 00:00:16,890\nJoe closes his eyes as he and Jack embrace.\n\n4\n00:00:20,310 --> 00:00:21,440\nJoe opens his eyes\n\n5\n00:00:21,440 --> 00:00:22,440\nand steps back.\n\n6\n00:00:22,980 --> 00:00:25,320\nThe locket necklace rises from his pocket.\n\n7\n00:00:25,530 --> 00:00:26,780\nJoe grips the necklace chain\n\n8\n00:00:26,780 --> 00:00:28,450\nas the locket moves toward the ship.\n\n9\n00:00:38,290 --> 00:00:40,120\nJoe stares at the locket, which opens,\n\n10\n00:00:40,120 --> 00:00:43,500\nrevealing a photograph of Joe's\nbrunette mother holding Joe as a baby.\n\n11\n00:00:48,760 --> 00:00:50,800\nJoe cries as he studies the picture.\n\n12\n00:00:51,180 --> 00:00:53,390\nJack places one hand on Joe's shoulder.\n\n13\n00:00:54,850 --> 00:00:56,220\nJoe lets go of the chain.\n\n14\n00:00:56,720 --> 00:00:58,680\nThe locket sails up toward the tower.\n\n15\n00:01:07,230 --> 00:01:10,650\nLoaded with metallic objects,\nthe water tower implodes.\n\n16\n00:01:11,030 --> 00:01:13,200\nWater showers down on the people in the street.\n\n17\n00:01:17,740 --> 00:01:20,540\nParts of the water tower's\nmetal frame fall to the street.\n\n18\n00:01:34,930 --> 00:01:37,310\nThe creature climbs up the\ntower and into the ship,\n\n19\n00:01:37,310 --> 00:01:38,390\nwhich flies away.\n\n20\n00:01:46,940 --> 00:01:48,980\nOn a sidewalk, Martin hobbles along\n\n21\n00:01:48,980 --> 00:01:51,360\nand holds onto Charles as\nthey gaze up at the ship.\n\n22\n00:01:52,110 --> 00:01:53,700\nIn his car, Donny stirs.\n\n23\n00:01:57,870 --> 00:02:01,330\nJoe and Alice stand side by\nside and watch the ship fly off.\n\n24\n00:02:01,830 --> 00:02:03,830\nJoe closes his hand around Alice's hand\n\n25\n00:02:03,830 --> 00:02:04,710\nand squeezes.\n\n26\n00:02:10,130 --> 00:02:12,340\nStill gazing skyward, they both smile.\n\n", "audio_description_uk": "1\n00:00:00,460 --> 00:00:02,540\n...and sees the alien climbing up it.\n\n2\n00:00:08,970 --> 00:00:13,850\nThe creature steps into the now fully formed\nspaceship it's created on top of the water tower\n\n3\n00:00:14,010 --> 00:00:15,720\nand the door closes behind it.\n\n4\n00:00:16,140 --> 00:00:17,520\nThe spaceship powers up\n\n5\n00:00:17,640 --> 00:00:19,350\nand several arms on it rotate.\n\n6\n00:00:19,730 --> 00:00:21,940\nMany bright lights on the arms shine out.\n\n7\n00:00:22,360 --> 00:00:24,110\nJoe separates from his father\n\n8\n00:00:24,230 --> 00:00:28,570\nand is just in time to grab his mother's\nlocket, which is being drawn towards the tower.\n\n9\n00:00:29,030 --> 00:00:31,780\nIt hangs in the air, pulled by an invisible force.\n\n10\n00:00:32,320 --> 00:00:33,580\nThe locket clicks open,\n\n11\n00:00:33,580 --> 00:00:38,460\nrevealing the picture inside, which is\nof Joe's mother holding him as a baby.\n\n12\n00:00:56,310 --> 00:00:58,230\nJoe lets go of the locket's chain,\n\n13\n00:00:58,230 --> 00:01:00,390\nand it floats up towards the water tower.\n\n14\n00:01:00,850 --> 00:01:02,060\nJoe and the others watch\n\n15\n00:01:02,060 --> 00:01:04,650\nas the locket sticks to the side of the tower.\n\n16\n00:01:09,610 --> 00:01:12,450\nSuddenly, the tower explodes in a shower of water,\n\n17\n00:01:12,490 --> 00:01:14,450\ndeluging the street below.\n\n18\n00:01:18,910 --> 00:01:22,830\nThe spaceship, which resembles the canopy\nof a palm tree, lifts into the air.\n\n19\n00:01:23,380 --> 00:01:24,630\nThe water tower collapses\n\n20\n00:01:24,630 --> 00:01:26,250\nand crashes down into the street,\n\n21\n00:01:26,340 --> 00:01:28,050\nscattering soldiers standing there\n\n22\n00:01:28,260 --> 00:01:29,880\nand crushing their vehicles.\n\n23\n00:01:34,390 --> 00:01:36,260\nCary mouths, \"Holy shit!\"\n\n24\n00:01:36,430 --> 00:01:38,770\nHe, Joe, Alice, Louis and Jack watch as\n\n25\n00:01:38,770 --> 00:01:42,520\nthe spacecraft gains altitude\nin a blaze of bright lights.\n\n26\n00:01:46,150 --> 00:01:50,530\nHobbling through town, Charles and Martin\nsee it sailing up into the night sky.\n\n27\n00:01:50,940 --> 00:01:53,490\nStill stoned in his car, Donny slumbers on\n\n28\n00:01:53,490 --> 00:01:57,660\nas the spaceship flies by, its\nlights reflected in his windshield.\n\n29\n00:02:00,660 --> 00:02:04,790\nAs they watch it recede into the\ndistance, Joe and Alice hold hands.\n\n30\n00:02:08,340 --> 00:02:10,460\nSmiles spread across their faces.\n\n", "subtitles": "1\n00:01:33,670 --> 00:01:35,590\nHoly shit!\n\n", "sdh": "1\n00:01:33,600 --> 00:01:35,570\n(MOUTHING)\n\n", "screenplay": "{\"screenplay_scene_160\": \"<scene>\\n    <stage_direction>EXT. LILLIAN, OHIO - MAIN STREET - NIGHT</stage_direction>\\n    <scene_description>The kids round a corner - ON MAIN STREET , COUNTLESS METALLIC OBJECTS - ANYTHING METAL AND LOOSE - has been INVISIBLY DRAGGED - FLOATING - toward the WATER TOWER - at different speeds and with different personalities , metal objects BULLET TO THE TOP OF THE TOWER AND STICK THERE . Suddenly , THE DINER WINDOW SHATTERS as a STOVE RIPS THROUGH IT - we PAN WITH IT as it TUMBLES TOWARD AND UP THE WATER TOWER ! HUNDREDS OF OBJECTS move past them - from bicycles to silverware and sinks ! DISHWASHERS AND TVS SMASH THROUGH THE TOWN 'S APPLIANCE STORE WINDOW - A TV FLOATS , UNPLUGGED , PAST THE KIDS - AND IT IS ON - AND SHOWS AN EPISODE FROM THE TWILIGHT ZONE - all things eventually SLAMMING into the WATER TOWER , the objects BEGINNING TO CRUSH TOGETHER , FORMING ONE DENSE METALLIC MASS ! BAM ! BAMBAM ! Sounds like GUN BLASTS - the KIDS TURN : behind them are the RED CARGO CONTAINERS - ONE BY ONE those cubes BURST THROUGH THE CONTAINERS : BAM ! BAMBAMBAM ! BAMBAM ! And they SLAM INTO THE WATER TOWER - AND THEY BEGIN TO FORM AN ODD , HUGE CRESCENT SHAPE ABOVE THE TOWER ! Alice is cry - laughing at seeing it work -</scene_description>\\n    <character>CARY</character>\\n    <dialogue>- what's he doing?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>he's making a model.</dialogue>\\n    <scene_description>AGAIN and AGAIN , pieces FLY OVERHEAD , beginning to FORM WHAT IS CLEARLY AN ALIEN CRAFT - LIGHTS BEGINNING TO ILLUMINATE FROM INSIDE as it continues - ONE OF THE SPOTLIGHTS ILLUMINATING A JEEP THAT HAS JUST ARRIVED : JACK GETS OUT . HE SEES JOE . JOE IS SURPRISED TO SEE HIM - ALICE CONCERNED . BUT THEN THE KIDS ARE BOTH INCREDULOUS TO SEE JACK HELP LOUIS OUT OF THE JEEP - THE TWO MEN MOVE THROUGH THE DEBRIS IN THE STREETS , STUNNED AT THE ACTIVITY SURROUNDING THEM , BUT FOCUSED ON THEIR CHILDREN ; A TUMBLING TYPEWRITER ALMOST TAKES OUT JACK , BUT HE AVOIDS IT AS IT SHOOTS UP TO THE WATER TOWER . JACK GETS TO HIS SON - HOLDS HIS SHOULDERS - LOOKS DEEPLY INTO HIS EYES , TOUCHES HIS FACE AND EMBRACES HIM -</scene_description>\\n    <character>JACK</character>\\n    <dialogue>- I got you. I got you.</dialogue>\\n    <scene_description>LOUIS , CRYING , DESPERATELY SORRY - AND SHE SEES THIS IN HIS SAD , WOUNDED FACE - SHE HOLDS OUT A HAND - HE TAKES IT AND PULLS HER INTO AN EMBRACE , HUGGING HIS DAUGHTER DESPERATELY . BEHIND THEM , THE SHIP CONTINUES TO TAKE SHAPE , ALMOST FULLY - FORMED - but here , as he is being hugged by his father , Joe LOOKS DOWN : SOMETHING IN HIS POCKET Is MOVING - he considers it , confused for a moment - but he reaches in and pulls it out . HIS MOTHER 'S NECKLACE - and he holds the chain , but the LOCKET PULLS TOWARD THE WATER TOWER - wanting to go . Joe knows what this means . He looks up at his father , who also understand . AND THIS IS WHEN WE GO INTO SLOW MOTION - FROM HERE UNTIL THE END . After a long beat , Joe HOLDS THE NECKLACE UP , toward the tower - the thing PULLING . TEARS in Joe 's eyes as he looks up at it - not wanting to let go , but knowing he must . Jack , heartsick , watches his son , on the verge of letting go . Alice watches Joe , on the verge of tears - except Joe just ca n't bring himself to do it , not now , not ever . But then something happens . Pulled by the invisible force , THE LOCKET POPS OPEN . And we see what 's inside . A PHOTOGRAPH of Joe 's MOTHER . A young woman , HOLDING HER ONE SMALL BABY . And Joe looks at his mother - and in this moment , she at him and Jack 's eyes suddenly WELL WITH TEARS - Alice , too , tears streaming down her face and finally Jack reaches out - and puts his hand on his son 's shoulder - which was all Joe needed , really . And finally . after all . JOE LETS GO . OUR SCORE SOARS AS , IN SLOW MOTION , the necklace SHOOTS ACROSS THE MAIN STREET UP TO THE WATER TOWER ! AND WHEN IT HITS , THE ENTIRE TOWER IMPLODES FROM PRESSURE - A FIREWORKS - LIKE EXPLOSION OF WATER BURSTS AND SHOWERS THE STREET AS THE MAJESTIC SHIP COMPLETES ITS FORMATION - and that 's when Joe sees the CREATURE , LEAVING - CLIMBING UP THE WATER TOWER AND ENTERS HIS SHIP - AND IT BEGINS TO LIFT . AS IT TAKES OFF , THE WEIGHT OF THE TOWER IS TOO MUCH : IT COLLAPSES INTO MAIN STREET . THE SHIP RISES SLOWLY INTO THE SKY - ITS PURE WHITE SPOTLIGHTS FINALLY SCANNING THE GROUND BENEATH IT - LILLIAN , OHIO - EARTH - A PLANET IT IS FINALLY LEAVING -</scene_description>\\n  </scene>\", \"screenplay_scene_161\": \"<scene>\\n    <stage_direction>INT./EXT. HOUSE - NIGHT</stage_direction>\\n    <scene_description>And we PUSH IN on Charles and Marin , who watch , amazed , as the distant light RISES INTO THE SKY -</scene_description>\\n  </scene>\", \"screenplay_scene_162\": \"<scene>\\n    <stage_direction>EXT. DRIVEWAY - NIGHT</stage_direction>\\n    <scene_description>And we PUSH IN as DONNY SLEEPS , the REFLECTION OF THE RISING SHIP seen in his windshield -</scene_description>\\n  </scene>\", \"screenplay_scene_163\": \"<scene>\\n    <stage_direction>EXT. LILLIAN, OHIO - MAIN STREET - NIGHT</stage_direction>\\n    <scene_description>Joe and Alice , Jack , Louis and Cary watch , amazed , as the ship disappears into the night sky , we are TIGHT ON JOE 'S HAND , as it takes ALICE 'S . And looking skyward , Joe smiles . As our SCORE SWELLS , we finally . FADE TO BLACK . THE END</scene_description>\\n  </scene>\"}", "movie_duration": "6697.81", "video_start": "6054.21", "video_duration": "135.26"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "YjxRBu__KINc", "audio_description_us": "1\n00:01:44,400 --> 00:01:46,060\nThe theorist flourishes his hand.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:00,000\n\n", "subtitles": "1\n00:00:00,220 --> 00:00:02,490\nToby? Who the fuck is Toby?\n\n2\n00:00:02,520 --> 00:00:07,120\n\"Like A Virgin\" is not about some\nsensitive girl who meets a nice fella.\n\n3\n00:00:07,220 --> 00:00:09,820\nThat's what \"True Blue\" is about.\nNo argument about that.\n\n4\n00:00:09,920 --> 00:00:13,790\n- Which one is \"True Blue\"?\n- It was a big-ass hit for Madonna.\n\n5\n00:00:13,820 --> 00:00:17,290\nI don't even follow that top-of-the-pops\nshit, and I've heard of \"True Blue.\"\n\n6\n00:00:17,320 --> 00:00:20,120\nI didn't say I ain't heard of it.\nAll I asked is, how's it go?\n\n7\n00:00:20,220 --> 00:00:22,620\nExcuse me for not being\nthe world's biggest Madonna fan.\n\n8\n00:00:22,720 --> 00:00:25,120\nPersonally, I can do without her.\n\n9\n00:00:25,220 --> 00:00:27,320\nI used to like her early stuff,\n\"Borderline\"...\n\n10\n00:00:27,420 --> 00:00:30,320\nbut once she got off with that\n\"Papa, Don't Preach\" phase, I tuned out.\n\n11\n00:00:30,420 --> 00:00:33,220\nHey, you guys are making me\nlose my train of thought here.\n\n12\n00:00:33,320 --> 00:00:35,420\nI was sayin' something.\nWhat was it?\n\n13\n00:00:35,520 --> 00:00:38,820\nOh, Toby's that\nlittle Chinese girl.\n\n14\n00:00:38,920 --> 00:00:41,520\n- What was her last name?\n- What's that?\n\n15\n00:00:41,620 --> 00:00:46,120\nIt's an old address book I found in\na coat I haven't worn in a coon's age.\n\n16\n00:00:46,220 --> 00:00:49,220\n- What was that name?\n- What the fuck was I talkin' about?\n\n17\n00:00:49,320 --> 00:00:51,520\nYou said \"True Blue\"\nwas about a guy...\n\n18\n00:00:51,620 --> 00:00:53,920\na sensitive girl\nwho meets a nice guy...\n\n19\n00:00:54,020 --> 00:00:56,520\nbut \"Like A Virgin\"\nwas a metaphor for big dicks.\n\n20\n00:00:56,620 --> 00:00:58,920\nLet me tell you what\n\"Like A Virgin\" is about.\n\n21\n00:00:59,020 --> 00:01:01,890\nIt's all about this cooze\nwho's a regular fuck machine.\n\n22\n00:01:01,920 --> 00:01:04,320\nI'm talkin' morning, day,\nnight, afternoon...\n\n23\n00:01:04,420 --> 00:01:07,290\ndick, dick, dick, dick, dick,\ndick, dick, dick, dick!\n\n24\n00:01:07,320 --> 00:01:09,520\n- How many \"dicks\" is that?\n- A lot.\n\n25\n00:01:09,620 --> 00:01:12,890\nThen one day, she meets\nthis John Holmes motherfucker.\n\n26\n00:01:12,920 --> 00:01:16,620\nIt's like, \"Whoa, baby.\" He's like\nCharles Bronson in \"The Great Escape.\"\n\n27\n00:01:16,720 --> 00:01:20,190\nHe's diggin' tunnels.\nNow she's gettin' serious dick action.\n\n28\n00:01:20,220 --> 00:01:24,720\nShe's feelin' somethin' she ain't\nfelt since forever: pain, pain.\n\n29\n00:01:24,820 --> 00:01:26,420\nChew? Toby Chew?\n\n30\n00:01:26,520 --> 00:01:28,720\nIt hurts. It hurts her.\n\n31\n00:01:28,820 --> 00:01:31,290\nIt shouldn't hurt her.\nHer pussy should be Bubble-Yum by now.\n\n32\n00:01:31,320 --> 00:01:34,020\nBut when this cat\nfucks her, it hurts.\n\n33\n00:01:34,120 --> 00:01:37,220\nIt hurts just like it did\nthe first time.\n\n34\n00:01:37,320 --> 00:01:39,920\nYou see, the pain\nis reminding a fuck machine...\n\n35\n00:01:40,020 --> 00:01:42,120\nwhat it was once like\nto be a virgin.\n\n36\n00:01:42,220 --> 00:01:45,020\nHence, \"Like A Virgin.\"\n\n37\n00:01:46,220 --> 00:01:47,720\nWong.\n\n38\n00:01:47,820 --> 00:01:51,920\n- Give me that fuckin' thing.\n- What in hell do you think you're doin'?\n\n39\n00:01:52,020 --> 00:01:55,090\nI'm sick of hearin' it, Joe.\nI'll give it back to you when we leave.\n\n40\n00:01:55,120 --> 00:01:57,720\nWhat do you mean, when we leave?\nGive me it back now!\n\n41\n00:01:57,820 --> 00:02:01,720\nFor the past 15 minutes now,\nyou've been droning on about names.\n\n42\n00:02:01,820 --> 00:02:04,690\n\"Toby. Toby?\n\n43\n00:02:04,720 --> 00:02:07,020\nToby? Toby Wong.\n\n44\n00:02:07,120 --> 00:02:09,220\nToby Wong? Toby Wong.\n\n45\n00:02:09,320 --> 00:02:12,220\nToby Chung fuckin' Charlie Chan.\"\n\n46\n00:02:12,320 --> 00:02:14,820\nI've got Madonna's big dick\ncomin' out of my left ear...\n\n", "sdh": "1\n00:00:00,640 --> 00:00:02,670\nToby? Who the fuck is Toby?\n\n2\n00:00:02,800 --> 00:00:06,630\nLike A Virgin's not about some\nsensitive girl who meets a nice fella.\n\n3\n00:00:06,760 --> 00:00:09,870\nThat's what True Blue's about.\nGranted, no argument about that.\n\n4\n00:00:09,960 --> 00:00:11,150\nWhich one's True Blue?\n\n5\n00:00:11,240 --> 00:00:13,990\nYou ain't heard True Blue? It\nwas a big-ass hit for Madonna.\n\n6\n00:00:14,080 --> 00:00:17,670\nI don't even follow that Tops Of The Pop\nshit and even I've heard of True Blue.\n\n7\n00:00:17,760 --> 00:00:20,670\nI didn't say I hadn't heard of it.\nWhat I asked is how's it go.\n\n8\n00:00:20,760 --> 00:00:22,590\nExcuse me for not being\na big Madonna fan.\n\n9\n00:00:22,680 --> 00:00:24,790\nPersonally, I can\ndo without her.\n\n10\n00:00:24,880 --> 00:00:27,150\nI used to like her early stuff.\nBorderline.\n\n11\n00:00:27,280 --> 00:00:30,510\nBut when she got off with that Papa\nDon't Preach phase, I tuned out.\n\n12\n00:00:30,600 --> 00:00:33,350\nYou guys are like making me\nlose my train of thought here.\n\n13\n00:00:33,440 --> 00:00:35,270\nI was saying something.\nWhat was it?\n\n14\n00:00:35,360 --> 00:00:40,310\nOh, Toby's that little Chinese girl.\nWhat was her last name?\n\n15\n00:00:40,400 --> 00:00:41,910\nWhat's that?\n\n16\n00:00:42,040 --> 00:00:46,350\nIt's an old address book I found in a\ncoat I haven't worn in a coon's age.\n\n17\n00:00:46,440 --> 00:00:49,190\n- What was that name?\n- Look, what the fuck was I talking about?\n\n18\n00:00:49,280 --> 00:00:52,150\nYou said True Blue\nwas about a guy...\n\n19\n00:00:52,240 --> 00:00:56,190\nA sensitive girl who meets a nice guy, but\nLike A Virgin was a metaphor for big dicks.\n\n20\n00:00:56,280 --> 00:00:58,910\nOK, let me tell you what\nLike A Virgin's about.\n\n21\n00:00:59,000 --> 00:01:02,030\nIt's all about this cooze\nwho's a regular fuck machine.\n\n22\n00:01:02,120 --> 00:01:04,270\nI'm talking morning,\nday, night, afternoon.\n\n23\n00:01:04,390 --> 00:01:07,150\nDick, dick, dick, dick, dick,\ndick, dick, dick, dick.\n\n24\n00:01:07,280 --> 00:01:09,550\n- How many dicks is that?\n- A lot.\n\n25\n00:01:09,640 --> 00:01:13,910\nSo, one day she meets this John Holmes\nmotherfucker and it's like, whoa, baby!\n\n26\n00:01:14,000 --> 00:01:18,230\nI mean, this cat is like Charles Bronson\nIn The Great Escape. He's digging tunnels.\n\n27\n00:01:18,320 --> 00:01:20,510\nShe's getting serious\ndick action, and she's\n\n28\n00:01:20,540 --> 00:01:22,750\nfeeling something she\nain't felt since forever.\n\n29\n00:01:22,880 --> 00:01:24,830\nPain. Pain.\n\n30\n00:01:24,960 --> 00:01:26,550\nChew? Toby Chew?\n\n31\n00:01:26,640 --> 00:01:28,950\nIt hurts. It hurts her.\nIt shouldn't hurt her.\n\n32\n00:01:28,980 --> 00:01:31,310\nHer pussy should be\nBubble Yum by now,\n\n33\n00:01:31,400 --> 00:01:37,230\nbut when this cat fucks her, it hurts. It\nhurts just like it did the first time.\n\n34\n00:01:37,320 --> 00:01:39,670\nYou see the pain is\nreminding a fuck machine\n\n35\n00:01:39,700 --> 00:01:42,070\nwhat it was once\nlike to be a virgin,\n\n36\n00:01:42,160 --> 00:01:45,030\nhence... Like A Virgin.\n\n37\n00:01:46,440 --> 00:01:47,630\nWong!\n\n38\n00:01:47,720 --> 00:01:49,590\nGive me that fuckin' thing.\n\n39\n00:01:49,680 --> 00:01:52,030\nWhat the hell are you doing?\nGive me my book back.\n\n40\n00:01:52,160 --> 00:01:55,030\nI'm sick of fuckin' hearin' it, Joe.\nI'll give it back when we leave.\n\n41\n00:01:55,160 --> 00:01:57,630\nWhat do you mean when we leave?\nGive me it back now!\n\n42\n00:01:57,720 --> 00:02:01,750\nFor the past 15 minutes now, you've\nbeen droning on about names.\n\n43\n00:02:01,840 --> 00:02:03,070\n\"Toby...\"\n\n44\n00:02:03,200 --> 00:02:05,830\n\"Toby? Toby?\"\n\n45\n00:02:05,960 --> 00:02:07,150\n\"Toby Wong.\"\n\n46\n00:02:07,240 --> 00:02:08,830\n\"Toby Wong? Toby Wong.\"\n\n47\n00:02:08,960 --> 00:02:12,430\n\"Toby Chung? Fucking\nCharlie Chan!\"\n\n48\n00:02:12,520 --> 00:02:15,030\nI got Madonna's big dick\ncoming out of my left ear,\n\n", "screenplay": "{\"screenplay_scene_1\": \"<scene>\\n    <stage_direction>INT. UNCLE BOB'S PANCAKE HOUSE - MORNING</stage_direction>\\n    <scene_description>Eight men dressed in BLACK SUITS , sit around a table at a breakfast cafe . They are MR. WHITE , MR. PINK , MR. BLUE , MR. BLONDE , MR. ORANGE , MR. BROWN , NICE GUY EDDIE CABOT , and the big boss , JOE CABOT . Most are finished eating and are enjoying coffee and conversation . Joe flips through a small address book . Mr. Pink is telling a long and involved story about Madonna .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>`` Like a Virgin'' is all about a girl who digs a guy with a big dick. The whole song is a metaphor for big dicks.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>No it's not. It's about a girl who is very vulnerable and she's been fucked over a few times. Then she meets some guy who's really sensitive -</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>- Whoa. whoa. time out Greenbay. Tell that bullshit to the tourists.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( looking through his address book . )</parenthetical>\\n    <dialogue>Toby. who the fuck is Toby? Toby. Toby. think. think. think.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>It's not about a nice girl who meets a sensitive boy. Now granted that's what `` True Blue'' is about, no argument about that.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Which one is `` True Blue?''</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>You do n't remember `` True Blue?'' That was a big ass hit for Madonna. Shit, I do n't even follow this Tops In Pops shit, and I've at least heard of `` True Blue.''</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Look, asshole, I did n't say I ai n't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan.</dialogue>\\n    <character>MR. BROWN</character>\\n    <dialogue>I hate Madonna.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>I like her early stuff. You know, `` Lucky Star,'' `` Borderline'' - but once she got into her `` Papa Do n't Preach'' phase, I do n't know, I tuned out.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Hey, fuck all that, I'm making a point here. You're gon na make me lose my train of thought.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Oh fuck, Toby's that little china girl.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>What's that?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I found this old address book in a jacket I ai n't worn in a coon's age. Toby what? What the fuck was her last name?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Where was I?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>You said `` True Blue'' was about a nice girl who finds a sensitive fella. But `` Like a Virgin'' was a metaphor for big dicks.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Let me tell ya what `` Like a Virgin'''s about. It's about some cooze who's a regular fuck machine. I mean all the time, morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>How many dicks was that?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>A lot.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Then one day she meets a John Holmes motherfucker, and it's like, whoa baby. This mother fucker's like Charles Bronson in `` The Great Escape.'' He's diggin tunnels. Now she's gettin this serious dick action, she's feelin something she ai n't felt since forever. Pain.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Chew? Toby Chew? No.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>It hurts. It hurts her. It should n't hurt. Her pussy should be Bubble - Yum by now. But when this cat fucks her, it hurts. It hurts like the first time. The pain is reminding a fuck machine what is was like to be a virgin. Hence, `` Like a Virgin.''</dialogue>\\n    <scene_description>The fellas crack up .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Wong?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Fuck you, wrong. I'm right! What the fuck do you know about it anyway? You're still listening to Jerry - fucking - Vale.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Not wrong, dumb ass, Wong! You know, like the Chinese name?</dialogue>\\n    <scene_description>Mr. White snatches the address book from Joe 's hand . They fight , but they 're not really mad at each other .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Give me this fucking thing.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>What the fuck do you think you're doin? Give me my book back!</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>I'm sick of fuckin hearin it Joe, I'll give it back when we leave.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Whaddaya mean, give it to me when we leave, give it back now.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>For the past fifteen minutes now, you've just been droning on with names. `` Toby. Toby. Toby. Toby Wong. Toby Wong. Toby Chung. fuckin Charlie Chan.'' I got Madonna's big dick outta my right ear, and Toby Jap I - do n't - know - what, outta my left.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>What do you care?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>When you're annoying as hell, I care a lot.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Give me my book.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>You gon na put it away?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I'm gon na do whatever I wan na do with it.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Well, then, I'm afraid I'm gon na have to keep it.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Joe, you want me to shoot him for you?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Shit, you shoot me in a dream, you better wake up and apologize.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Have you guys been listening to K - BILLY's super sounds of the seventies weekend?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Yeah, it's fuckin great is n't it?</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Can you believe the songs they been playin?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>No, I ca n't. You know what I heard the other day? `` Heartbeat - It's Lovebeat,'' by little Tony DeFranco and the DeFranco Family. I have n't heard that since I was in fifth fuckin grade.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>When I was coming down here, I was playin it. And `` The Night the Lights Went Out in Georgia'' came on. Now I ai n't heard that song since it was big, but when it was big, I heard it a million - trillion times. I'm listening to it this morning, and this was the first time I ever realized that the lady singing the song, was the one who killed Andy.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>You did n't know Vicki Lawrence killed the guy?</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>I thought the cheatin wife shot Andy.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>They say it in the song.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>I know, I heard it. I musta zoned out whenever that part came on before. I thought when she said that little sister stuff, she was talkin about her sister - in - law, the cheatin wife.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>No, she did it. She killed the cheatin wife, too.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>You know the part in `` Gypsies, Tramps and Theives,'' when she says `` Poppa woulda shot his if he knew what he'd done?'' I could never figure out what he did.</dialogue>\\n    <scene_description>The table laughs . The WAITRESS comes over to the table . She has the check , and a pot of coffee .</scene_description>\\n    <character>WAITRESS</character>\\n    <dialogue>Can I get anybody more coffee.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>No, we're gon na be hittin it. I'll take care of the check.</dialogue>\\n    <scene_description>She hands the bill to him .</scene_description>\\n    <character>WAITRESS</character>\\n    <dialogue>Here ya go. Please pay at the register, if you would n't mind.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Sure thing.</dialogue>\\n    <character>WAITRESS</character>\\n    <dialogue>You guys have a wonderful day.</dialogue>\\n    <scene_description>They all mutter equivalents . She exits and Joe stands up .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>I'll take care of this, you guys leave the tip.</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>And when I come back, I want my book back.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Sorry, it's my book now.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Blonde, shoot this piece of shit, will ya?</dialogue>\\n    <scene_description>Mr. Blonde shoots Mr. White with his finger . Mr White acts shot . Joe exits .</scene_description>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Okay, everybody cough up green for the little lady.</dialogue>\\n    <scene_description>Everybody whips out a buck , and throws it on the table . Everybody , that is , except Mr. White .</scene_description>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>C'mon, throw in a buck.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Uh - uh. I do n't tip.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Whaddaya mean you do n't tip?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>I do n't believe in it.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>You do n't believe in tipping?</dialogue>\\n    <character>MR. PINK</character>\\n    <parenthetical>( laughing . )</parenthetical>\\n    <dialogue>I love this kid, he's a madman, this guy.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Do you have any idea what these ladies make? They make shit.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Do n't give me that. She do n't make enough money, she can quit.</dialogue>\\n    <scene_description>Everybody laughs .</scene_description>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>I do n't even know a Jew who'd have the balls to say that. So let's get this straight. You never ever tip?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>I do n't tip because society says I got ta. I tip when somebody deserves a tip. When somebody really puts forth an effort, they deserve a little something extra. But this tipping automatically, that shit's for the birds. As far as I'm concerned, they're just doin their job.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>Our girl was nice.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Our girl was okay. She did n't do anything special.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>What's something special, take ya in the kitchen and suck your dick?</dialogue>\\n    <scene_description>They all laugh .</scene_description>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>I'd go over twelve percent for that.</dialogue>\\n    <character>MR. WRITE</character>\\n    <dialogue>Look, I ordered coffee. Now we've been here a long fuckin time, and she's only filled my cup three times. When I order coffee, I want it filled six times.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>What if she's too busy?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>The words `` too busy'' should n't be in a waitress's vocabulary.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Excuse me, Mr. White, but the last thing you need is another cup of coffee.</dialogue>\\n    <scene_description>They all laugh .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>These ladies are n't starvin to death. They make minimum wage. When I worked for minimum wage, I was n't lucky enough to have a job that society deemed tipworthy.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Ahh, now we're getting down to it. It's not just that he's a cheap bastard -</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>- It is that too -</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>- It is that too. But it's also he could n't get a waiter job. You talk like a pissed off dishwasher : `` Fuck those cunts and their fucking tips.''</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>So you do n't care that they're counting on your tip to live?</dialogue>\\n    <scene_description>Mr. White rubs two of his fingers together .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Do you know what this is? It's the world's smallest violin, playing just for the waitresses.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>You do n't have any idea what you're talking about. These people bust their ass. This is a hard job.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>So's working at McDonald's, but you do n't feel the need to tip them. They're servin ya food, you should tip em. But no, society says tip these guys over here, but not those guys over there. That's bullshit.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>They work harder than the kids at McDonald's.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Oh yeah, I do n't see them cleaning fryers.</dialogue>\\n    <character>MR. BROWN</character>\\n    <dialogue>These people are taxed on the tips they make. When you stiff'em, you cost them money.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Waitressing is the number one occupation for female non - college graduates in this country. It's the one jab basically any woman can get, and make a living on. The reason is because of tips.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Fuck all that.</dialogue>\\n    <scene_description>They all laugh .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Hey, I'm very sorry that the government taxes their tips. That's fucked up. But that ai n't my fault. it would appear that waitresses are just one of the many groups the government fucks in the ass on a regular basis. You show me a paper says the government should n't do that, I'll sign it. Put it to a vote, I'll vote for it. But what I wo n't do is play ball. And this non - college bullshit you're telling me, I got two words for that : `` Learn to fuckin type.'' Cause if you're expecting me to help out with the rent, you're in for a big fuckin surprise.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>He's convinced me. Give me my dollar back.</dialogue>\\n    <scene_description>Everybody laughs . Joe 's comes back to the table .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Okay ramblers, let's get to rambling. Wait a minute, who did n't throw in?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Mr. White.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>Mr. White?</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>Why?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>He do n't tip.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>He do n't tip?</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>You do n't tip? Why?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>He do n't believe in it.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>He do n't believe in it?</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>You do n't believe in it?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Nope.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>Shut up!</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>Cough up the buck, ya cheap bastard, I paid for your goddamn breakfast.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Because you paid for the breakfast, I'm gon na tip. Normally I would n't.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Whatever. Just throw in your dollar, and let's move.</dialogue>\\n    <parenthetical>( to Mr. Blonde . )</parenthetical>\\n    <dialogue>See what I'm dealing with here. Infants. I'm fuckin dealin with infants.</dialogue>\\n    <scene_description>The eight men get up to leave . Mr. White 's waist is in the F.G. . As he buttons his coat , for a second we see he 's carrying a gun . They exit Uncle Bob 's Pancake House , talking amongst themselves .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "25.50", "video_duration": "138.67"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "v2gCnXXTSp6W", "audio_description_us": "1\n00:00:41,290 --> 00:00:44,420\nThe funny man wears a mustache\nand stares at the goateed man.\n\n2\n00:01:16,290 --> 00:01:19,200\nMr. Pink, the goateed man,\nrubs his finger and thumb together.\n\n3\n00:01:53,950 --> 00:01:55,530\nThe men look around at each other.\n\n4\n00:02:22,980 --> 00:02:24,390\nThe convinced man scowls,\n\n5\n00:02:25,350 --> 00:02:26,810\nthen tosses a wadded bill.\n\n", "audio_description_uk": "1\n00:01:16,950 --> 00:01:19,080\nMr Pink rubs his thumb and finger together.\n\n", "subtitles": "1\n00:00:00,060 --> 00:00:02,260\nCome on, throw in a buck.\n\n2\n00:00:02,360 --> 00:00:03,960\nI don't tip.\n\n3\n00:00:04,060 --> 00:00:06,760\n- You don't tip?\n- I don't believe in it.\n\n4\n00:00:06,860 --> 00:00:08,960\nYou don't believe in tipping?\n\n5\n00:00:09,060 --> 00:00:12,260\nDo you know what these chicks make?\nThey make shit.\n\n6\n00:00:12,360 --> 00:00:15,060\nIf she don't make enough money,\nshe can quit.\n\n7\n00:00:16,260 --> 00:00:18,860\nI don't even know a fuckin' Jew\nwho'd have the balls to say that.\n\n8\n00:00:18,960 --> 00:00:21,660\nLet me get this straight.\nYou don't ever tip, huh?\n\n9\n00:00:21,760 --> 00:00:24,460\nI don't tip because\nsociety says I have to.\n\n10\n00:00:24,560 --> 00:00:28,960\nIf they really put forth the effort,\nI'll give 'em somethin' extra.\n\n11\n00:00:29,060 --> 00:00:31,560\nBut this tipping automatically,\nit's for the birds.\n\n12\n00:00:33,160 --> 00:00:35,360\nAs far as I'm concerned,\nthey're just doin' their job.\n\n13\n00:00:35,460 --> 00:00:37,340\n- This girl was nice.\n- She was okay.\n\n14\n00:00:37,360 --> 00:00:39,660\n- She wasn't anything special.\n- What's special?\n\n15\n00:00:39,760 --> 00:00:42,360\nTake you in the back\nand suck your dick?\n\n16\n00:00:45,360 --> 00:00:47,960\nI'd go over 12% for that.\n\n17\n00:00:48,060 --> 00:00:51,940\nI ordered coffee, all right?\nShe's only filled my cup three times.\n\n18\n00:00:51,960 --> 00:00:53,960\nI want it filled six times.\n\n19\n00:00:54,060 --> 00:00:57,260\nSix times? Well, what if\nshe's too fuckin' busy?\n\n20\n00:00:57,360 --> 00:01:00,460\nThe words \"too fuckin' busy\"\nshouldn't be in a waitress's vocabulary.\n\n21\n00:01:00,560 --> 00:01:03,240\nExcuse me, Mr. Pink,\nbut the last fuckin' thing you need's...\n\n22\n00:01:03,260 --> 00:01:04,740\nanother cup of coffee.\n\n23\n00:01:04,760 --> 00:01:09,160\nThese ladies aren't starvin' to death.\nThey make minimum wage.\n\n24\n00:01:09,260 --> 00:01:11,360\nI used to work minimum wage,\nand when I did...\n\n25\n00:01:11,460 --> 00:01:14,340\nI wasn't lucky enough to have a job\nthat society deemed tip-worthy.\n\n26\n00:01:14,360 --> 00:01:16,460\nYou don't care they're\ncountin' on your tips to live?\n\n27\n00:01:18,960 --> 00:01:20,940\nYou know what this is?\n\n28\n00:01:20,960 --> 00:01:23,760\nThe world's smallest violin,\nplayin' just for the waitresses.\n\n29\n00:01:23,860 --> 00:01:27,240\nYou don't have any idea\nwhat you're talkin' about.\n\n30\n00:01:27,260 --> 00:01:30,660\nThese people bust their ass.\nThis is a hard job.\n\n31\n00:01:30,760 --> 00:01:34,060\nSo's working at McDonald's,\nbut you don't feel the need to tip them.\n\n32\n00:01:34,160 --> 00:01:36,660\nThey're servin' you food,\nbut society says...\n\n33\n00:01:36,760 --> 00:01:40,560\n\"Don't tip these guys over here,\nbut tip these guys.\" That's bullshit.\n\n34\n00:01:40,660 --> 00:01:42,760\nWaitressing is\nthe number-one occupation...\n\n35\n00:01:42,860 --> 00:01:45,560\nfor female non-college graduates\nin this country.\n\n36\n00:01:45,660 --> 00:01:49,560\nIt's the one job basically\nany woman can get and make a living on.\n\n37\n00:01:49,660 --> 00:01:51,660\nThe reason is\nbecause of their tips.\n\n38\n00:01:52,960 --> 00:01:54,360\nFuck all that.\n\n39\n00:01:57,160 --> 00:01:59,840\nI'm very sorry the government\ntaxes their tips.\n\n40\n00:01:59,860 --> 00:02:02,160\nThat's fucked up.\nThat ain't my fault.\n\n41\n00:02:02,260 --> 00:02:04,340\nIt would appear that waitresses\nare one of the many groups...\n\n42\n00:02:04,360 --> 00:02:06,660\nthe government fucks in the ass\non a regular basis.\n\n43\n00:02:06,760 --> 00:02:10,260\nShow me a paper that says the government\nshouldn't do that, I'll sign it.\n\n44\n00:02:10,360 --> 00:02:12,960\nI'll vote for it.\nBut what I won't do is play ball.\n\n45\n00:02:13,060 --> 00:02:16,940\nThis non-college bullshit, I got two\nwords for that: Learn to fuckin' type.\n\n46\n00:02:16,960 --> 00:02:20,440\nIf you're expectin' me to help out with\nthe rent, you're in for a big surprise.\n\n47\n00:02:20,460 --> 00:02:22,440\nHe's convinced me.\nGive me my dollar back.\n\n48\n00:02:22,460 --> 00:02:25,860\nHey. Leave the dollars there.\n\n", "sdh": "1\n00:00:00,740 --> 00:00:02,100\nCome on, throw in a buck.\n\n2\n00:00:02,220 --> 00:00:03,940\nUh-uh. I don't tip.\n\n3\n00:00:04,060 --> 00:00:05,300\nYou don't tip?\n\n4\n00:00:05,380 --> 00:00:06,660\nNo, I don't believe in it.\n\n5\n00:00:06,780 --> 00:00:08,980\nYou don't believe in tipping?\n\n6\n00:00:09,060 --> 00:00:12,220\nYou know what these chicks make?\nThey make shit.\n\n7\n00:00:12,300 --> 00:00:15,020\nDon't give me that. She don't\nmake enough, she can quit.\n\n8\n00:00:15,100 --> 00:00:18,860\nI don't even know a fuckin' Jew\nwho'd have the balls to say that.\n\n9\n00:00:18,940 --> 00:00:21,660\nLet me just get this straight.\nYou don't ever tip, huh?\n\n10\n00:00:21,740 --> 00:00:24,300\nI don't tip because\nsociety says I have to.\n\n11\n00:00:24,420 --> 00:00:26,420\nI'll tip if somebody\nreally deserves a tip.\n\n12\n00:00:26,540 --> 00:00:29,380\nIf they really put forth the\neffort, I'll give 'em something,\n\n13\n00:00:29,500 --> 00:00:31,620\nbut tipping automatically\nis for the birds.\n\n14\n00:00:33,140 --> 00:00:35,340\nAs far as I'm concerned,\nthey're doing their job.\n\n15\n00:00:35,420 --> 00:00:37,260\n- Hey, this girl was nice.\n- She was OK.\n\n16\n00:00:37,340 --> 00:00:39,660\n- She wasn't anything special.\n- What's special?\n\n17\n00:00:39,740 --> 00:00:41,620\nTake you in the back\nand suck your dick?\n\n18\n00:00:41,700 --> 00:00:44,180\n(Cackles of laughter)\n\n19\n00:00:45,140 --> 00:00:49,060\n- I'd go over 12 percent for that.\n- Look, I ordered coffee.\n\n20\n00:00:49,140 --> 00:00:51,960\nWe've been here a long fuckin' time.\nShe's only filled my cup three times.\n\n21\n00:00:51,980 --> 00:00:54,540\nWhen I order coffee, I\nwant it filled six times.\n\n22\n00:00:54,660 --> 00:00:57,740\nSix times? What if she's\ntoo fuckin' busy?\n\n23\n00:00:57,820 --> 00:01:00,740\n\"Too fuckin' busy\" shouldn't\nbe in a waitress's vocabulary.\n\n24\n00:01:00,820 --> 00:01:04,900\nExcuse me, Mr Pink, but the last fuckin'\nthing you need is another cup of coffee.\n\n25\n00:01:04,980 --> 00:01:07,200\nJesus Christ, these ladies\naren't starving to death.\n\n26\n00:01:07,220 --> 00:01:09,460\nThey make minimum wage.\n\n27\n00:01:09,580 --> 00:01:11,300\nI used to work minimum wage\n\n28\n00:01:11,420 --> 00:01:14,260\nand I wasn't lucky enough to have\na job society deemed tip-worthy.\n\n29\n00:01:14,340 --> 00:01:16,500\nBut they're counting\non your tips to live.\n\n30\n00:01:19,300 --> 00:01:23,700\nYou know what this is? It's the world's\nsmallest violin playing for the waitresses.\n\n31\n00:01:23,780 --> 00:01:27,220\nYou don't have any idea\nwhat you're talking about.\n\n32\n00:01:27,300 --> 00:01:28,780\nThese people bust their ass.\n\n33\n00:01:28,900 --> 00:01:30,580\nThis is a hard job.\n\n34\n00:01:30,660 --> 00:01:34,340\nSo's working at McDonald's but you don't\nfeel the need to tip them, do you?\n\n35\n00:01:34,420 --> 00:01:35,780\nWhy not? They serve food.\n\n36\n00:01:35,900 --> 00:01:38,160\nBut society says, \"Don't\ntip these guys here\",\n\n37\n00:01:38,180 --> 00:01:40,460\n\"but tip these guys\nhere.\" That's bullshit.\n\n38\n00:01:40,580 --> 00:01:42,420\nWaitressing is the\nnumber-one occupation\n\n39\n00:01:42,540 --> 00:01:45,500\nfor female non-college\ngraduates in this country.\n\n40\n00:01:45,580 --> 00:01:49,780\nIt's the one job basically any woman\ncan get and make a living on.\n\n41\n00:01:49,860 --> 00:01:51,620\nThe reason is because\nof their tips.\n\n42\n00:01:52,780 --> 00:01:54,300\nFuck all that.\n\n43\n00:01:54,420 --> 00:01:57,060\n(Laughs) Jesus Christ!\n\n44\n00:01:57,180 --> 00:01:59,800\nI'm very sorry the\ngovernment taxes their tips.\n\n45\n00:01:59,820 --> 00:02:02,460\nThat's fucked up.\nThat ain't my fault.\n\n46\n00:02:02,540 --> 00:02:04,300\nIt appears waitresses\nare one of the groups\n\n47\n00:02:04,380 --> 00:02:06,980\nthe government fucks in the\nass on a regular basis.\n\n48\n00:02:07,060 --> 00:02:10,380\nShow me a piece of paper that says\nthey shouldn't do that, I'll sign it.\n\n49\n00:02:10,460 --> 00:02:13,260\nPut it to a vote, I'll vote for it.\nWhat I won't do is play ball.\n\n50\n00:02:13,340 --> 00:02:17,180\nAnd this non-college bullshit, I got two\nwords for that - learn to fuckin' type.\n\n51\n00:02:17,260 --> 00:02:20,820\nIf you expect me to help out with the\nrent, you're in for a fuckin' surprise.\n\n52\n00:02:20,900 --> 00:02:22,360\nHe's convinced me. Give\nme my dollar back.\n\n53\n00:02:22,380 --> 00:02:23,860\nHey,\n\n54\n00:02:23,940 --> 00:02:25,860\nleave the dollars there.\n\n", "screenplay": "{\"screenplay_scene_1\": \"<scene>\\n    <stage_direction>INT. UNCLE BOB'S PANCAKE HOUSE - MORNING</stage_direction>\\n    <scene_description>Eight men dressed in BLACK SUITS , sit around a table at a breakfast cafe . They are MR. WHITE , MR. PINK , MR. BLUE , MR. BLONDE , MR. ORANGE , MR. BROWN , NICE GUY EDDIE CABOT , and the big boss , JOE CABOT . Most are finished eating and are enjoying coffee and conversation . Joe flips through a small address book . Mr. Pink is telling a long and involved story about Madonna .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>`` Like a Virgin'' is all about a girl who digs a guy with a big dick. The whole song is a metaphor for big dicks.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>No it's not. It's about a girl who is very vulnerable and she's been fucked over a few times. Then she meets some guy who's really sensitive -</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>- Whoa. whoa. time out Greenbay. Tell that bullshit to the tourists.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( looking through his address book . )</parenthetical>\\n    <dialogue>Toby. who the fuck is Toby? Toby. Toby. think. think. think.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>It's not about a nice girl who meets a sensitive boy. Now granted that's what `` True Blue'' is about, no argument about that.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Which one is `` True Blue?''</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>You do n't remember `` True Blue?'' That was a big ass hit for Madonna. Shit, I do n't even follow this Tops In Pops shit, and I've at least heard of `` True Blue.''</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Look, asshole, I did n't say I ai n't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan.</dialogue>\\n    <character>MR. BROWN</character>\\n    <dialogue>I hate Madonna.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>I like her early stuff. You know, `` Lucky Star,'' `` Borderline'' - but once she got into her `` Papa Do n't Preach'' phase, I do n't know, I tuned out.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Hey, fuck all that, I'm making a point here. You're gon na make me lose my train of thought.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Oh fuck, Toby's that little china girl.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>What's that?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I found this old address book in a jacket I ai n't worn in a coon's age. Toby what? What the fuck was her last name?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Where was I?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>You said `` True Blue'' was about a nice girl who finds a sensitive fella. But `` Like a Virgin'' was a metaphor for big dicks.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Let me tell ya what `` Like a Virgin'''s about. It's about some cooze who's a regular fuck machine. I mean all the time, morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>How many dicks was that?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>A lot.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Then one day she meets a John Holmes motherfucker, and it's like, whoa baby. This mother fucker's like Charles Bronson in `` The Great Escape.'' He's diggin tunnels. Now she's gettin this serious dick action, she's feelin something she ai n't felt since forever. Pain.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Chew? Toby Chew? No.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>It hurts. It hurts her. It should n't hurt. Her pussy should be Bubble - Yum by now. But when this cat fucks her, it hurts. It hurts like the first time. The pain is reminding a fuck machine what is was like to be a virgin. Hence, `` Like a Virgin.''</dialogue>\\n    <scene_description>The fellas crack up .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Wong?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Fuck you, wrong. I'm right! What the fuck do you know about it anyway? You're still listening to Jerry - fucking - Vale.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Not wrong, dumb ass, Wong! You know, like the Chinese name?</dialogue>\\n    <scene_description>Mr. White snatches the address book from Joe 's hand . They fight , but they 're not really mad at each other .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Give me this fucking thing.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>What the fuck do you think you're doin? Give me my book back!</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>I'm sick of fuckin hearin it Joe, I'll give it back when we leave.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Whaddaya mean, give it to me when we leave, give it back now.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>For the past fifteen minutes now, you've just been droning on with names. `` Toby. Toby. Toby. Toby Wong. Toby Wong. Toby Chung. fuckin Charlie Chan.'' I got Madonna's big dick outta my right ear, and Toby Jap I - do n't - know - what, outta my left.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>What do you care?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>When you're annoying as hell, I care a lot.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Give me my book.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>You gon na put it away?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I'm gon na do whatever I wan na do with it.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Well, then, I'm afraid I'm gon na have to keep it.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Joe, you want me to shoot him for you?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Shit, you shoot me in a dream, you better wake up and apologize.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Have you guys been listening to K - BILLY's super sounds of the seventies weekend?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Yeah, it's fuckin great is n't it?</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Can you believe the songs they been playin?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>No, I ca n't. You know what I heard the other day? `` Heartbeat - It's Lovebeat,'' by little Tony DeFranco and the DeFranco Family. I have n't heard that since I was in fifth fuckin grade.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>When I was coming down here, I was playin it. And `` The Night the Lights Went Out in Georgia'' came on. Now I ai n't heard that song since it was big, but when it was big, I heard it a million - trillion times. I'm listening to it this morning, and this was the first time I ever realized that the lady singing the song, was the one who killed Andy.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>You did n't know Vicki Lawrence killed the guy?</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>I thought the cheatin wife shot Andy.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>They say it in the song.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>I know, I heard it. I musta zoned out whenever that part came on before. I thought when she said that little sister stuff, she was talkin about her sister - in - law, the cheatin wife.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>No, she did it. She killed the cheatin wife, too.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>You know the part in `` Gypsies, Tramps and Theives,'' when she says `` Poppa woulda shot his if he knew what he'd done?'' I could never figure out what he did.</dialogue>\\n    <scene_description>The table laughs . The WAITRESS comes over to the table . She has the check , and a pot of coffee .</scene_description>\\n    <character>WAITRESS</character>\\n    <dialogue>Can I get anybody more coffee.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>No, we're gon na be hittin it. I'll take care of the check.</dialogue>\\n    <scene_description>She hands the bill to him .</scene_description>\\n    <character>WAITRESS</character>\\n    <dialogue>Here ya go. Please pay at the register, if you would n't mind.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Sure thing.</dialogue>\\n    <character>WAITRESS</character>\\n    <dialogue>You guys have a wonderful day.</dialogue>\\n    <scene_description>They all mutter equivalents . She exits and Joe stands up .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>I'll take care of this, you guys leave the tip.</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>And when I come back, I want my book back.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Sorry, it's my book now.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Blonde, shoot this piece of shit, will ya?</dialogue>\\n    <scene_description>Mr. Blonde shoots Mr. White with his finger . Mr White acts shot . Joe exits .</scene_description>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Okay, everybody cough up green for the little lady.</dialogue>\\n    <scene_description>Everybody whips out a buck , and throws it on the table . Everybody , that is , except Mr. White .</scene_description>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>C'mon, throw in a buck.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Uh - uh. I do n't tip.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Whaddaya mean you do n't tip?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>I do n't believe in it.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>You do n't believe in tipping?</dialogue>\\n    <character>MR. PINK</character>\\n    <parenthetical>( laughing . )</parenthetical>\\n    <dialogue>I love this kid, he's a madman, this guy.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Do you have any idea what these ladies make? They make shit.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Do n't give me that. She do n't make enough money, she can quit.</dialogue>\\n    <scene_description>Everybody laughs .</scene_description>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>I do n't even know a Jew who'd have the balls to say that. So let's get this straight. You never ever tip?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>I do n't tip because society says I got ta. I tip when somebody deserves a tip. When somebody really puts forth an effort, they deserve a little something extra. But this tipping automatically, that shit's for the birds. As far as I'm concerned, they're just doin their job.</dialogue>\\n    <character>MR. BLUE</character>\\n    <dialogue>Our girl was nice.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Our girl was okay. She did n't do anything special.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>What's something special, take ya in the kitchen and suck your dick?</dialogue>\\n    <scene_description>They all laugh .</scene_description>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>I'd go over twelve percent for that.</dialogue>\\n    <character>MR. WRITE</character>\\n    <dialogue>Look, I ordered coffee. Now we've been here a long fuckin time, and she's only filled my cup three times. When I order coffee, I want it filled six times.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>What if she's too busy?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>The words `` too busy'' should n't be in a waitress's vocabulary.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Excuse me, Mr. White, but the last thing you need is another cup of coffee.</dialogue>\\n    <scene_description>They all laugh .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>These ladies are n't starvin to death. They make minimum wage. When I worked for minimum wage, I was n't lucky enough to have a job that society deemed tipworthy.</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>Ahh, now we're getting down to it. It's not just that he's a cheap bastard -</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>- It is that too -</dialogue>\\n    <character>NICE GUY EDDIE</character>\\n    <dialogue>- It is that too. But it's also he could n't get a waiter job. You talk like a pissed off dishwasher : `` Fuck those cunts and their fucking tips.''</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>So you do n't care that they're counting on your tip to live?</dialogue>\\n    <scene_description>Mr. White rubs two of his fingers together .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Do you know what this is? It's the world's smallest violin, playing just for the waitresses.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>You do n't have any idea what you're talking about. These people bust their ass. This is a hard job.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>So's working at McDonald's, but you do n't feel the need to tip them. They're servin ya food, you should tip em. But no, society says tip these guys over here, but not those guys over there. That's bullshit.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>They work harder than the kids at McDonald's.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Oh yeah, I do n't see them cleaning fryers.</dialogue>\\n    <character>MR. BROWN</character>\\n    <dialogue>These people are taxed on the tips they make. When you stiff'em, you cost them money.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Waitressing is the number one occupation for female non - college graduates in this country. It's the one jab basically any woman can get, and make a living on. The reason is because of tips.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Fuck all that.</dialogue>\\n    <scene_description>They all laugh .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Hey, I'm very sorry that the government taxes their tips. That's fucked up. But that ai n't my fault. it would appear that waitresses are just one of the many groups the government fucks in the ass on a regular basis. You show me a paper says the government should n't do that, I'll sign it. Put it to a vote, I'll vote for it. But what I wo n't do is play ball. And this non - college bullshit you're telling me, I got two words for that : `` Learn to fuckin type.'' Cause if you're expecting me to help out with the rent, you're in for a big fuckin surprise.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>He's convinced me. Give me my dollar back.</dialogue>\\n    <scene_description>Everybody laughs . Joe 's comes back to the table .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Okay ramblers, let's get to rambling. Wait a minute, who did n't throw in?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Mr. White.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>Mr. White?</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>Why?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>He do n't tip.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>He do n't tip?</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>You do n't tip? Why?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>He do n't believe in it.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>He do n't believe in it?</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>You do n't believe in it?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Nope.</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>Shut up!</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>Cough up the buck, ya cheap bastard, I paid for your goddamn breakfast.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Because you paid for the breakfast, I'm gon na tip. Normally I would n't.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Whatever. Just throw in your dollar, and let's move.</dialogue>\\n    <parenthetical>( to Mr. Blonde . )</parenthetical>\\n    <dialogue>See what I'm dealing with here. Infants. I'm fuckin dealin with infants.</dialogue>\\n    <scene_description>The eight men get up to leave . Mr. White 's waist is in the F.G. . As he buttons his coat , for a second we see he 's carrying a gun . They exit Uncle Bob 's Pancake House , talking amongst themselves .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "261.76", "video_duration": "147.24"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "f0Hb_H9O8w19", "audio_description_us": "1\n00:00:35,580 --> 00:00:36,870\nMr. Pink takes a drag,\n\n2\n00:00:36,870 --> 00:00:37,910\nthen wipes his brow.\n\n3\n00:00:52,390 --> 00:00:56,810\nPink hightails it down a city sidewalk, swinging a case\nin his left hand, gun in his right.\n\n4\n00:01:00,940 --> 00:01:02,150\nThree cops tail him.\n\n5\n00:01:03,980 --> 00:01:05,770\nPink barrels between two people.\n\n6\n00:01:07,940 --> 00:01:09,240\nHe collides with two men.\n\n7\n00:01:09,240 --> 00:01:11,070\nThe case lands in the street near a car.\n\n8\n00:01:11,240 --> 00:01:12,740\nPink runs around and grabs it.\n\n9\n00:01:21,830 --> 00:01:23,500\nPink dashes across the street.\n\n10\n00:01:25,170 --> 00:01:27,420\nA car hits him, shattering the windshield.\n\n11\n00:01:27,590 --> 00:01:28,380\nHe gets up.\n\n12\n00:01:32,380 --> 00:01:34,600\nHe breaks the driver's window with the butt of the gun.\n\n13\n00:01:35,640 --> 00:01:38,350\nPink drags the driver, a woman,\nout through the broken window.\n\n14\n00:01:38,430 --> 00:01:39,520\nThe cops round the corner,\n\n15\n00:01:39,520 --> 00:01:41,060\nthen dive back behind the bricks.\n\n16\n00:01:43,400 --> 00:01:44,770\nPink jumps into the car\n\n17\n00:01:44,770 --> 00:01:46,520\nand accelerates through the intersection.\n\n18\n00:01:46,520 --> 00:01:49,030\nA cop chases on foot, firing as Pink ducks.\n\n19\n00:01:59,620 --> 00:02:02,040\nMr. Pink sits up taller in the driver's seat.\n\n", "audio_description_uk": "1\n00:00:42,500 --> 00:00:43,630\nThey both look down.\n\n2\n00:00:43,670 --> 00:00:44,920\nPink rubs his forehead.\n\n3\n00:00:45,170 --> 00:00:46,340\nWhite looks up at him.\n\n4\n00:00:53,350 --> 00:00:55,010\nPink sprints with a bag and gun.\n\n5\n00:00:55,140 --> 00:00:56,810\nThree police officers give chase.\n\n6\n00:01:09,610 --> 00:01:12,030\nPink knocks bystanders over as he runs.\n\n7\n00:01:22,040 --> 00:01:24,000\nCrossing a road, he's hit by a car.\n\n8\n00:01:29,260 --> 00:01:29,920\nHe gets up\n\n9\n00:01:29,920 --> 00:01:31,930\nand points his gun at the woman driving.\n\n10\n00:01:32,090 --> 00:01:33,470\nHe smashes the driver's window,\n\n11\n00:01:33,470 --> 00:01:34,430\nthen drags her through it\n\n12\n00:01:34,430 --> 00:01:35,600\nbefore unlocking the door.\n\n13\n00:01:35,890 --> 00:01:36,720\nThe police arrive\n\n14\n00:01:36,850 --> 00:01:38,020\nand they all begin shooting.\n\n15\n00:01:48,320 --> 00:01:49,820\nOne of the officers falls back\n\n16\n00:01:49,820 --> 00:01:52,200\nand Pink gets into the beige saloon car.\n\n17\n00:01:52,450 --> 00:01:57,700\nAn officer runs after him still shooting as Pink accelerates away,\ntrying to see through the shattered windscreen.\n\n18\n00:02:01,870 --> 00:02:03,040\nBack in the bathroom…\n\n", "subtitles": "1\n00:00:03,180 --> 00:00:06,780\nThe cops didn't show up until after\nMr. Blonde started shootin' everybody.\n\n2\n00:00:06,880 --> 00:00:09,980\n- Soon as I heard the alarm, I saw cops.\n- It wasn't that soon.\n\n3\n00:00:10,080 --> 00:00:13,960\nThey didn't let their presence be known\nuntil after Mr. Blonde became a madman.\n\n4\n00:00:13,980 --> 00:00:16,960\nI'm not sayin' they weren't there.\nI'm sayin' they were there.\n\n5\n00:00:16,980 --> 00:00:20,880\nBut they didn't make a move until after\nMr. Blonde started shootin' everybody.\n\n6\n00:00:20,980 --> 00:00:23,960\nI mean, that's how\nI know we were set up.\n\n7\n00:00:23,980 --> 00:00:27,380\n- Mr. White, you can see that...\n- Enough of this \"Mr. White\" shit.\n\n8\n00:00:27,480 --> 00:00:31,080\nWait! Don't tell me you're fuckin' name!\nI don't wanna know it!\n\n9\n00:00:31,180 --> 00:00:33,780\nJesus Christ,\nI ain't gonna tell you mine.\n\n10\n00:00:39,080 --> 00:00:41,380\nYou're right.\nThis is bad.\n\n11\n00:00:46,680 --> 00:00:50,280\n- How did you get out?\n- I shot my way out.\n\n12\n00:00:50,380 --> 00:00:52,780\nEverybody started shootin',\nso I blasted my way out of there.\n\n13\n00:00:56,980 --> 00:01:00,880\nMove it! Get outta the way!\nGet the fuck outta the way!\n\n14\n00:01:02,780 --> 00:01:04,480\nGet the fuck outta the way!\n\n15\n00:01:06,080 --> 00:01:07,780\nMove it!\nGet outta the way!\n\n16\n00:01:13,480 --> 00:01:16,580\nJesus Christ!\nWhat the fuck is your problem, man?\n\n17\n00:01:16,680 --> 00:01:19,880\n- You fuckin' asshole!\n- Fuck you!\n\n18\n00:01:19,980 --> 00:01:20,980\nMove!\n\n19\n00:01:28,380 --> 00:01:29,580\nJesus!\n\n20\n00:01:29,680 --> 00:01:32,080\nGet outta the car!\nGet the fuck outta the car!\n\n21\n00:01:32,180 --> 00:01:34,380\nMove it!\nMove outta the way!\n\n22\n00:02:03,480 --> 00:02:05,980\nI tagged a couple of cops.\n\n23\n00:02:06,080 --> 00:02:08,160\nDid you kill anybody?\n\n24\n00:02:08,180 --> 00:02:11,360\n- A few cops.\n- No real people?\n\n25\n00:02:11,380 --> 00:02:13,380\nJust cops.\n\n", "sdh": "1\n00:00:03,360 --> 00:00:06,960\nThe cops didn't show up until after\nMr Blonde started shooting everybody.\n\n2\n00:00:07,040 --> 00:00:10,200\n- As soon as I heard the alarm, I saw cops.\n- No, it wasn't that soon, OK?\n\n3\n00:00:10,280 --> 00:00:14,200\nThey didn't let their presence be known\nuntil after Mr Blonde became a madman.\n\n4\n00:00:14,280 --> 00:00:16,160\nI'm not saying they\nweren't there.\n\n5\n00:00:16,240 --> 00:00:20,720\nBut they didn't make their move until after\nMr Blonde started shooting everybody.\n\n6\n00:00:20,840 --> 00:00:22,840\nThat's how I know\nwe were set up.\n\n7\n00:00:24,320 --> 00:00:27,680\n- Come on, Mr White, you can see that.\n- Enough of this Mr White shit!\n\n8\n00:00:27,760 --> 00:00:29,540\nWait, wait. Don't tell\nme your fuckin' name.\n\n9\n00:00:29,560 --> 00:00:31,360\nI don't wanna know it.\n\n10\n00:00:31,480 --> 00:00:33,920\nJesus Christ, I ain't\ngonna tell you mine.\n\n11\n00:00:39,280 --> 00:00:41,240\nYou're right, this is bad.\n\n12\n00:00:46,720 --> 00:00:48,880\nHow did you get out?\n\n13\n00:00:49,000 --> 00:00:52,400\nI shot my way out. Everybody started\nshooting, so I blasted my way out of there.\n\n14\n00:00:53,600 --> 00:00:55,080\n(Alarm ringing)\n\n15\n00:00:56,200 --> 00:00:59,200\n- (Police sirens)\n- Move it! Get out of the way!\n\n16\n00:00:59,280 --> 00:01:04,600\nGet the fuck out of the way!\n\n17\n00:01:06,120 --> 00:01:07,960\nMove it! Get out of the way!\n\n18\n00:01:08,560 --> 00:01:10,000\n(Gunshot)\n\n19\n00:01:13,600 --> 00:01:16,720\nJesus Christ, what the\nfuck is your problem, man?\n\n20\n00:01:16,800 --> 00:01:18,840\n- You fuckin' asshole!\n- Fuck off!\n\n21\n00:01:20,000 --> 00:01:22,480\n- Move!\n- (Woman) Keep down, Ernie!\n\n22\n00:01:23,840 --> 00:01:25,400\n- (Car horn)\n- Oh!\n\n23\n00:01:26,800 --> 00:01:28,360\n(Groans)\n\n24\n00:01:28,440 --> 00:01:30,260\nJesus!\n\n25\n00:01:30,280 --> 00:01:32,160\nGet out of the car! Get\nthe fuck out of the car!\n\n26\n00:01:32,200 --> 00:01:34,440\nMove it! Move out of the way!\n\n27\n00:01:34,920 --> 00:01:36,360\n(Woman screams)\n\n28\n00:01:39,040 --> 00:01:40,480\n(Gunfire)\n\n29\n00:01:42,880 --> 00:01:44,320\nAargh!\n\n30\n00:01:50,520 --> 00:01:52,000\n(Gunfire)\n\n31\n00:01:57,920 --> 00:01:59,880\n(Tires squeal)\n\n32\n00:02:03,520 --> 00:02:05,200\nI tagged a couple of cops.\n\n33\n00:02:06,280 --> 00:02:07,920\nDid you kill anybody?\n\n34\n00:02:08,040 --> 00:02:09,640\nA few cops.\n\n35\n00:02:09,720 --> 00:02:11,400\nNo real people?\n\n36\n00:02:11,480 --> 00:02:12,960\nJust cops.\n\n", "screenplay": "{\"screenplay_scene_5\": \"<scene>\\n    <stage_direction>INT. BATHROOM HALLWAY - DAY</stage_direction>\\n    <scene_description>At the end of the hall is a bathroom . The bathroom door is partially closed , restricting our view . Mr. Pink is obscured , but Mr. White is in view .</scene_description>\\n    <character>MR. PINK</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>What the fuck am I doing here? I felt funny about this job right off. As soon as I felt it I should said `` No thank you'', and walked. But I never fucking listen. Every time I ever got burned buying weed, I always knew the guy was n't right. I just felt it. But I wanted to believe him. If he's not lyin to me, and it really is Thai stick, then whoa baby. But it's never Thai stick. and I always said if I felt that way about a job, I'd walk. And I did, and I did n't, because of fuckin money!</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>What's done is done, I need you cool. Are you cool?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>I'm cool.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Splash some water on your face. Take a breather.</dialogue>\\n    <scene_description>We hear the sink running , and Mr. Pink splashing water on his face .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>I'm gon na get me my smokes.</dialogue>\\n    <scene_description>Mr White opens the bathroom door , walks down the hall , and OUT OF FRAME . We see Mr. Pink , his back turned towards us , bent over the sink . Then he grabs a towels , and dries his face . Mr White ENTERS FRAME with a pack of Chesterfields in his hand .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Want a smoke?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Why not?</dialogue>\\n    <scene_description>The two men light up .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Okay, let's go through what happened. We're in the place, everything's going fine. Then the alarm gets tripped. I turn around and all these cops are outside. You're right, it was like, bam! I blink my eyes are they're there. Everybody starts going apeshit. Then Mr. Blonde starts shootin all the -</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>- That's not correct.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>What's wrong with it?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>The cops did n't show up after the alarm went off. They did n't show till after Mr. Blonde started shooting everyone.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>As soon as I heard the alarm, I saw the cops.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>I'm telling ya, it was n't that soon. They did n't let their presence be known until after Mr. Blonde went off. I'm not sayin they were n't there, I'm sayin they were there. But they did n't move in till Mr. Blonde became a madman. That's how I know we were set up. You can see that, ca n't you, Mr. White?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Look, enough of this `` Mr White'' shit -</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>- Do n't tell me your name, I do n't want to know! I sure as hell ai n't gon na tell ya mine.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>You're right, this is bad.</dialogue>\\n    <parenthetical>( pause . )</parenthetical>\\n    <dialogue>How did you get out?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Shot my way out. Everybody was shooting, so I just blasted my way outta there.</dialogue>\\n  </scene>\", \"screenplay_scene_6\": \"<scene>\\n    <stage_direction>EXT. CROWDED CITY STREET - DAY</stage_direction>\\n    <scene_description>Mr. Pink is hauling ass down a busy city sidewalk . He has a canvas bag with a shoulder strap in one hand , and a .357 MAGNUM in the other . If any BYSTANDERS get in his way , he just knocks them down . We DOLLY at the same speed , right along side of him . FOUR POLICEMEN are running after Mr. Pink . We DOLLY with them . We DOLLY with a young woman on roller skates . ROLLERGIRL is plugged into a walkman . We hear the song she 's listening to LOUD over the SOUNDTRACK . She 's twirling and skating backwards to the beat of the song . Rollergirl turns a corner and COLLIDES with Mr. Pink . The man and woman CRASH to the ground . Mr. Pink rolls into the street , in front of a moving car that SCREECHES to a stop , narrowly avoiding running over him .</scene_description>\\n  </scene>\", \"screenplay_scene_7\": \"<scene>\\n    <stage_direction>INT. CAR (STOPPED) - DAY</stage_direction>\\n    <scene_description>The CAMERA is in the backseat . A SHOCKED WOMAN is the car 's driver . Mr. Pink pulls himself up from the hood , shakes it off , and points his magnum at the driver .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Get outta the car! Get the fuck outta the car!</dialogue>\\n    <scene_description>The Shocked Woman starts screaming . Mr. Pink tries to open the driver 's side door , but it 's locked .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Open the fucking door!</dialogue>\\n    <scene_description>EXTREME C.U. DRIVER 'S SIDE WINDOW Mr. Pink SMASHES it in our face .</scene_description>\\n  </scene>\", \"screenplay_scene_8\": \"<scene>\\n    <stage_direction>EXT. STREET - DAY</stage_direction>\\n    <scene_description>DOLLY with Cops coming up fast . Mr. Pink DRAGS the Shocked Woman out of the car . The Cops reach the corner , guns aimed . Using the car as a shield , Mr. Pink FIRES three shots at the Cops . Everybody HITS the ground , or scatters . Mr. Pink HOPS in the car . Cops FIRE .</scene_description>\\n  </scene>\", \"screenplay_scene_9\": \"<scene>\\n    <stage_direction>INT. CAR (MOVING) - DAY</stage_direction>\\n    <scene_description>CAMERA in the backseat , Mr. Pink FLOORS it . SPEEDING down the street , with the Cops FIRING after him .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "1167.94", "video_duration": "133.75"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "rZ9VFuAaiyaI", "audio_description_us": "1\n00:00:07,970 --> 00:00:09,130\nLarry grabs Pink.\n\n2\n00:00:10,840 --> 00:00:13,010\nLarry nails Pink, sending him on his back.\n\n3\n00:00:13,100 --> 00:00:13,890\nHe kicks him.\n\n4\n00:00:13,970 --> 00:00:15,270\nPink tries to scoot away.\n\n5\n00:00:15,350 --> 00:00:16,480\nThey draw on each other.\n\n6\n00:00:45,340 --> 00:00:46,800\nWe move away from the pair.\n\n7\n00:00:51,010 --> 00:00:52,720\nThe finger gun man leans on a pole.\n\n8\n00:00:53,640 --> 00:00:55,760\nThe man, Mr. Blonde, sips from a straw.\n\n9\n00:00:55,890 --> 00:00:57,520\nLarry and Pink disengage.\n\n10\n00:00:58,770 --> 00:01:00,640\nMr. Pink draws away from Larry.\n\n11\n00:01:07,150 --> 00:01:09,190\nLarry returns his pistol to his waist.\n\n12\n00:01:09,320 --> 00:01:11,320\nBlonde looks over the top of his shades.\n\n13\n00:01:12,990 --> 00:01:14,410\nHe removes his shades.\n\n14\n00:02:08,210 --> 00:02:09,300\nLarry draws his pistol,\n\n15\n00:02:09,300 --> 00:02:10,340\npoints at Mr. Blonde,\n\n16\n00:02:10,340 --> 00:02:11,590\nthen slowly lowers it.\n\n", "audio_description_uk": "1\n00:00:11,970 --> 00:00:12,930\nWhite punches him.\n\n2\n00:00:12,970 --> 00:00:13,810\nPink falls back\n\n3\n00:00:13,810 --> 00:00:15,350\nand White kicks him around the room.\n\n4\n00:00:15,390 --> 00:00:16,600\nThey both pull guns.\n\n5\n00:00:54,220 --> 00:00:57,390\nMr Blonde, in sunglasses, drinks from a takeaway cup.\n\n6\n00:00:59,640 --> 00:01:01,440\nMr Pink gets to his feet.\n\n7\n00:01:08,030 --> 00:01:10,490\nBlonde peers at them over his sunglasses.\n\n8\n00:02:08,550 --> 00:02:09,800\nWhite pulls his gun.\n\n9\n00:02:09,840 --> 00:02:10,800\nBlonde drinks.\n\n10\n00:02:10,840 --> 00:02:11,840\nWhite lowers it again.\n\n", "subtitles": "1\n00:00:00,430 --> 00:00:03,430\nWe ain't takin' him to a hospital.\n\n2\n00:00:03,530 --> 00:00:05,130\nIf we don't, he's gonna die.\n\n3\n00:00:05,230 --> 00:00:08,330\nAnd I'm very sad about that, but\nsome fellas are lucky and some ain't.\n\n4\n00:00:08,430 --> 00:00:11,030\nWhat the fuck are you\ntouchin' me for, man?\n\n5\n00:00:16,430 --> 00:00:18,500\nI'll show you\nwho you're fuckin' with!\n\n6\n00:00:18,530 --> 00:00:20,730\nYou wanna shoot me,\nyou piece of shit?\n\n7\n00:00:20,830 --> 00:00:23,830\nI didn't create this situation,\nI'm dealin' with it!\n\n8\n00:00:23,930 --> 00:00:27,730\nYou're actin' like a first-year thief!\nI'm actin' like a professional!\n\n9\n00:00:27,830 --> 00:00:30,600\nIf they get him, they could get you,\nthey could get closer to me...\n\n10\n00:00:30,630 --> 00:00:32,630\nand that can't happen!\n\n11\n00:00:32,730 --> 00:00:35,430\nYou're lookin' at me like it's my fault?\nI didn't tell him my name!\n\n12\n00:00:35,530 --> 00:00:38,030\nI didn't tell him\nwhere I was from!\n\n13\n00:00:38,130 --> 00:00:40,700\nShit! Fifteen minutes ago\nyou almost told me your name!\n\n14\n00:00:40,730 --> 00:00:42,930\nYou're gonna get stuck\nin a situation you created!\n\n15\n00:00:43,030 --> 00:00:46,500\nSo if you wanna throw bad looks around,\nthrow 'em at a mirror!\n\n16\n00:00:46,530 --> 00:00:49,500\nYou kids shouldn't play so rough.\n\n17\n00:00:49,530 --> 00:00:52,430\nSomebody's gonna start cryin'.\n\n18\n00:00:52,530 --> 00:00:54,130\nMr. Blonde.\n\n19\n00:00:56,230 --> 00:00:58,530\nShit. You're fuckin' kickin' me.\n\n20\n00:01:03,330 --> 00:01:07,130\nWhat happened to you?\nFigured you were dead.\n\n21\n00:01:10,730 --> 00:01:13,430\nHey, you okay?\n\n22\n00:01:14,730 --> 00:01:17,030\nDid you see what happened to Blue?\n\n23\n00:01:17,130 --> 00:01:20,730\nWe didn't know what happened to you.\nThat's what we were wonderin' about.\n\n24\n00:01:22,830 --> 00:01:25,630\nLook, Brown is dead,\nOrange got it in the belly.\n\n25\n00:01:25,730 --> 00:01:27,930\nEnough! Enough!\n\n26\n00:01:28,030 --> 00:01:31,100\nYou better start talkin', asshole.\n\n27\n00:01:31,130 --> 00:01:34,030\n'Cause we got shit\nwe need to talk about.\n\n28\n00:01:34,130 --> 00:01:35,830\nWe're already freaked out.\n\n29\n00:01:35,930 --> 00:01:39,330\nWe need you actin' freaky\nlike we need a fuckin' bag on our hip.\n\n30\n00:01:40,230 --> 00:01:42,130\nOkay, let's talk.\n\n31\n00:01:42,230 --> 00:01:44,630\nWe think we got\na rat in the house.\n\n32\n00:01:44,730 --> 00:01:46,730\nI guarantee we got\na rat in the house.\n\n33\n00:01:46,830 --> 00:01:48,600\nWhat makes you say that?\n\n34\n00:01:48,630 --> 00:01:50,630\nIs that supposed to be funny?\n\n35\n00:01:50,730 --> 00:01:53,430\nLook, we think\nthis place ain't safe.\n\n36\n00:01:53,530 --> 00:01:56,400\nThis place ain't secure anymore.\nWe're leavin' and you should go with us.\n\n37\n00:01:56,430 --> 00:01:58,630\nNobody's goin' anywhere.\n\n38\n00:01:59,530 --> 00:02:02,230\nPiss on this fuckin' turd.\n\n39\n00:02:02,330 --> 00:02:05,430\n- We're outta here.\n- Don't take another step, Mr. White.\n\n40\n00:02:05,530 --> 00:02:08,330\nFuck you, maniac!\n\n", "sdh": "1\n00:00:00,550 --> 00:00:02,390\nWe ain't taking him\nto a hospital.\n\n2\n00:00:03,710 --> 00:00:05,350\nIf we don't, he's gonna die.\n\n3\n00:00:05,470 --> 00:00:08,350\nI'm sad about that but some\nfellas are lucky and some ain't.\n\n4\n00:00:08,470 --> 00:00:11,190\nWhat the fuck are you\ntouching me for, man?\n\n5\n00:00:12,990 --> 00:00:14,430\nAargh!\n\n6\n00:00:15,990 --> 00:00:18,550\nYou wanna fuck with me? I'll show\nyou who you're fucking with.\n\n7\n00:00:18,630 --> 00:00:20,790\nYou wanna shoot me, you\npiece of shit? Go on.\n\n8\n00:00:20,870 --> 00:00:23,990\nFuck you, White, I didn't create\nthis situation, I'm dealing with it!\n\n9\n00:00:24,070 --> 00:00:26,000\nYou're acting like a\nfirst-year fuckin' thief!\n\n10\n00:00:26,030 --> 00:00:27,990\nI'm acting like a professional.\n\n11\n00:00:28,070 --> 00:00:29,670\nThey get him, they\ncould get you.\n\n12\n00:00:29,790 --> 00:00:32,990\nThey get you, they get closer\nto me and that can't happen.\n\n13\n00:00:33,070 --> 00:00:35,420\nYou're looking at me\nlike it's my fault! L\n\n14\n00:00:35,450 --> 00:00:37,830\ndidn't tell him my name\nor where I was from!\n\n15\n00:00:37,910 --> 00:00:40,870\nShit, 15 minutes ago, you\nalmost told me your name!\n\n16\n00:00:40,950 --> 00:00:43,350\nWe're stuck in a\nsituation you created.\n\n17\n00:00:43,470 --> 00:00:46,750\nIf you wanna throw bad looks\nsomewhere, throw 'em at a mirror.\n\n18\n00:00:46,830 --> 00:00:49,710\nYou kids shouldn't\nplay so rough -\n\n19\n00:00:49,790 --> 00:00:52,310\nsomebody's gonna start crying.\n\n20\n00:00:52,430 --> 00:00:53,630\nMr Blonde.\n\n21\n00:00:56,790 --> 00:00:58,630\nShit. Fucking kicking me.\n\n22\n00:01:03,550 --> 00:01:07,310\n(Mr Pink) What happened to you?\nI figured you were dead.\n\n23\n00:01:10,870 --> 00:01:13,430\nHey, are you OK?\n\n24\n00:01:14,990 --> 00:01:17,150\nDid you see what\nhappened to Blue?\n\n25\n00:01:17,230 --> 00:01:19,020\nWe didn't know what\nhappened to you and Blue.\n\n26\n00:01:19,050 --> 00:01:20,870\nThat's what we were\nwondering about.\n\n27\n00:01:23,150 --> 00:01:25,830\nLook, Brown is dead, Orange\ngot it in the belly...\n\n28\n00:01:25,910 --> 00:01:28,190\nEnough! Enough!\n\n29\n00:01:28,270 --> 00:01:30,310\nYou better start\ntalking, asshole...\n\n30\n00:01:31,390 --> 00:01:33,470\ncause we got shit we\nneed to talk about.\n\n31\n00:01:34,350 --> 00:01:36,150\nWe're already freaked out.\n\n32\n00:01:36,270 --> 00:01:39,470\nWe need you acting freaky like we\nneed a fuckin' bag on our hip.\n\n33\n00:01:40,710 --> 00:01:42,270\nOK, let's talk.\n\n34\n00:01:42,350 --> 00:01:46,750\n- We think we got a rat in the house.\n- I guarantee we got a rat in the house.\n\n35\n00:01:46,830 --> 00:01:48,630\nWhat makes you say that?\n\n36\n00:01:48,710 --> 00:01:50,710\nIs that supposed to be funny?\n\n37\n00:01:50,830 --> 00:01:53,310\nLook, we think this\nplace ain't safe.\n\n38\n00:01:53,390 --> 00:01:56,390\nThis place ain't secure. We're leaving.\nYou should go with us.\n\n39\n00:01:56,470 --> 00:01:58,710\nNobody's going anywhere.\n\n40\n00:01:59,830 --> 00:02:02,270\nPiss on this fuckin' turd!\n\n41\n00:02:02,350 --> 00:02:05,510\n- We're out of here.\n- Don't take another step, Mr White.\n\n42\n00:02:05,630 --> 00:02:08,030\nFuck you, maniac!\n\n", "screenplay": "{\"screenplay_scene_11\": \"<scene>\\n    <stage_direction>INT. WAREHOUSE - DAY</stage_direction>\\n    <scene_description>They run over to Mr. Orange , who 's unconscious . The CAMERA hovers over the action . Mr. Pink reaches him first .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Is he dead?</dialogue>\\n    <scene_description>Mr. White pushes him out of the way . He feels the pulse on Mr. Orange 's neck .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>So, is he dead or what?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>He ai n't dead.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>So what is it?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>I think he's just passed out.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>He scared the fuckin shit outta me. I thought he was dead fer sure.</dialogue>\\n    <scene_description>Mr. White stands up and walks over to a table .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>He will be dead fer sure, if we do n't get him to a hospital.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>We ca n't take him to a hospital.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Without medical attention, this man wo n't live through the night. That bullet in his belly is my fault. Now while that might not mean jack shit to you, it means a helluva lot to me. And I'm not gon na just sit around and watch him die.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Well, first things first, staying here's goofy. We got ta book up.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>So what do you suggest, we go to a hotel? We got a guy who's shot in the belly, he ca n't walk, he bleeds like a stuck pig, and when he's awake, he screams in pain.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>You got ta idea, spit it out.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Joe could help him. If we can get in touch with Joe, Joe could get him to a doctor, Joe could get a doctor to come and see him.</dialogue>\\n    <scene_description>During Mr. Pink 's dialog , we slowly ZOOM in to a C.U. of Mr. White .</scene_description>\\n    <character>MR. PINK</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Assuming we can trust Joe, how we gon na get in touch with him? He's supposed to be here, but he ai n't, which is making me nervous about being here. Even if Joe is on the up and up, he's probably not gon na be that happy with us. Joe planned a robbery, but he's got a blood bath on his hands now. Dead cops, dead robbers, dead civilians. Jesus Christ! I tend to doubt he's gon na have a lot of sympathy for our plight. If I was him, I'd try and put as much distance between me and this mess an humanly possible.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Before you got here, Mr. Orange was askin me to take him to a hospital. Now I do n't like turning him over to the cops, but if we do n't, he's dead. He begged me to do it. I told him to hold off till Joe got here.</dialogue>\\n    <character>MR. PINK</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Well Joe ai n't gettin here. We're on our own. Now, I do n't know a goddamn body who can help him, so if you know somebody, call'em.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>I do n't know anybody.</dialogue>\\n    <character>MR. PINK</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Well, I guess we drop him off at the hospital. Since he do n't know nothin about us, I say it's his decision.</dialogue>\\n    <scene_description>MR. WHITE 'S POV : C.U. OF MR. PINK .</scene_description>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Well, he knows a little about me.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>You did n't tell him your name, did ya?</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>I told him my first name, and where I'm from.</dialogue>\\n    <scene_description>There is a long silence and a blank look from Mr. Pink , then he SCREAMS :</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Why!</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>I told him where I was from a few days ago. It was just a casual conversation.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>And what was tellin him your name when you were n't supposed to?</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>He asked.</dialogue>\\n    <scene_description>Mr. Pink looks at Mr. White like he 's retarded .</scene_description>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>We had just gotten away from the cops. He just got shot. It was my fuckin fault he got shot. He's a fuckin bloody mess - he's screaming. I swear to god, I thought we was gon na die right then and there. I'm tryin to comfort him, telling him not to worry, he's gon na be okay, I'm gon na take care of him. And he asked me what my name was. I mean, the man was dyin in my arms. What the fuck was I supposed to tell him, `` Sorry, I ca n't give out that information, it's against the rules. I do n't trust you enough.''? Maybe I shoulda, but I could n't.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Oh, I do n't doubt is was quite beautiful -</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Do n't fuckin patronize me.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>One question : Do they have a sheet on you, where you told him you're from?</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Of course.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Well that's that, then. I mean, I was worried about mug shot possibilities already. But now he knows :.</dialogue>\\n    <parenthetical>( a. ) what you look like .</parenthetical>\\n    <parenthetical>( b. ) what your first name is .</parenthetical>\\n    <parenthetical>( i. ) where you 're from and .</parenthetical>\\n    <parenthetical>( d. ) what your specialty is .</parenthetical>\\n    <parenthetical>They ai n't gon na hafta show him a helluva lot of pictures for him to pick you out .</parenthetical>\\n    <parenthetical>That 's it right , you did n't tell him anything else that could narrow down the selection ?</parenthetical>\\n    <dialogue />\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>If I have to tell you again to back off, me an you are gon na go round and round.</dialogue>\\n    <scene_description>Mr. Pink walks out of the C.U. and turns his back on Mr. White . Mr. White 's POV PANS over to him .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>We ai n't taking him to a hospital.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>If we do n't, he'll die.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>And I'm very sad about that. But some fellas are lucky, and some ai n't.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>That fuckin did it!</dialogue>\\n    <scene_description>Mr. White 's POV CHARGES toward Mr. Pink . Mr. Pink turns toward him in time to get PUNCHED hard in the mouth . END OF POV Mr. White and Mr. Pink have a very ungraceful and realistic fight . They go at each other like a couple of alley cats . As Mr. White SWINGS and PUNCHES , he SCREAMS : MR. WHITE You little motherfucker ! Mr. Pink YELLS as he HITS :</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Ya wan na fuck with me?! You wan na fuck with me?! I'll show you who you're fuckin with!</dialogue>\\n    <scene_description>The two men end up on the floor KICKING and SCRATCHING . Mr. White gets Mr. Pink in a HEADLOCK . Mr. Pink reaches in his jacket for his gun , and pulls it out . Mr. White sees this , immediately lets go of Mr. Pink , and goes for his own weapon . The two men are on the floor , on their knees , with their guns outstretched , aiming at one another .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>You wan na shoot me, you little piece of shit? Take a shot!</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Fuck you, White! I did n't create this situation, I'm just dealin with it. You're acting like a first - year fuckin thief. I'm actin like a professional. They get him, they can get you, they get you, they get closer to me, and that ca n't happen. And you, you motherfucker, are looking at me like it's my fault. I did n't tell him my name. I did n't tell him where I was from. I did n't tell him what I knew better than to tell him. Fuck, fifteen minutes ago, you almost told me your name. You, buddy, are stuck in a situation you created. So if you wan na throw bad looks somewhere, throw'em at a mirror.</dialogue>\\n    <scene_description>Mr. Pink lowers his gun and walks towards White .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>So if you wan na shoot somebody, put that gun in your mouth and shoot yourself.</dialogue>\\n    <scene_description>Then from OFF SCREEN we hear :</scene_description>\\n    <character>VOICE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>You kids do n't play so rough. Somebody's gon na start crying.</dialogue>\\n  </scene>\", \"screenplay_scene_12\": \"<scene>\\n    <stage_direction>INT. WAREHOUSE - DAY - MEDIUM C.U. ON MR. BLONDE</stage_direction>\\n    <scene_description>The Voice belongs to the infamous Mr. Blonde . Mr. Blonde sits on a counter , drinking a fast food coke and eating a hot dog .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Mr. Blonde! You okay? We thought you might've gotten caught. What happened?</dialogue>\\n    <scene_description>Mr. Blonde does n't answer , he just hops off the counter and starts walking around the warehouse , checking the place out . He does n't look at either Mr. Pink or Mr. White , he just eats his hot dog and sips his coke . This is making Pink and White nervous as hell . But Mr. Pink tries to talk through it . We HANDHOLD follow Mr. Blonde around the warehouse .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Really, how did you get away?</dialogue>\\n    <scene_description>Mr. Blonde walks the loft . Silent .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>You saw what happened to me, I found a hole and booked.</dialogue>\\n    <scene_description>Silence .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Where's Mr. Blue?</dialogue>\\n    <scene_description>Blonde looks in the bathroom .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>We were hopin you two would be together.</dialogue>\\n    <scene_description>Blonde looks out the window .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>That was the big question we had, what happened to Mr. Blue and you?</dialogue>\\n    <scene_description>Blonde walks away from the window .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>We were worried the cops got ya.</dialogue>\\n    <scene_description>Blonde bends down over Mr. Orange .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>He got it in the belly. He's still alive, but wo n't be for long.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Enough! You better start talkin to us, asshole, cause we got shit we need to talk about. We're already freaked out, we need you actin freaky like we need a fuckin bag on our hip.</dialogue>\\n    <scene_description>Mr. Blonde looks at his two partners in crime , then moves towards them .</scene_description>\\n    <character>MR. BLONDE</character>\\n    <dialogue>So, talk.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>We think we got a rat in the house.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>I guarantee we got a rat in the house.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>What would ever make you think that?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Is that supposed to be funny?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>We do n't think this place is safe.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>This place just ai n't secure anymore. We're leaving, and you should go with us.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Nobody's going anywhere.</dialogue>\\n    <scene_description>Silence takes over the room . Mr. Blonde stops moving . After a few beats the silence is broken .</scene_description>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Mr. Pink . )</parenthetical>\\n    <dialogue>Piss on this turd, we're outta here.</dialogue>\\n    <scene_description>Mr. White turns to leave .</scene_description>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Do n't take another step, Mr. White.</dialogue>\\n    <scene_description>Mr. White explodes , raising his gun and charging towards Mr. Blonde .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Fuck you, maniac! It's your fuckin fault we're in so much trouble.</dialogue>\\n    <scene_description>Mr. Blonde calmly sits down . He looks to Mr. Pink .</scene_description>\\n    <character>MR. BLONDE</character>\\n    <parenthetical>( referring to Mr. White . )</parenthetical>\\n    <dialogue>What's this guy's problem?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>What's my problem? Yeah, I got ta problem. I got ta big problem with any trigger - happy madman who almost gets me shot!</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>What're you talkin about?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>That fuckin shooting spree in the store.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Fuck'em, they set off the alarm, they deserve what they got.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>You almost killed me, asshole! If I had any idea what type of guy you were, I never would've agreed to work with you.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>You gon na back all day, little doggie, or are you gon na bite?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>What was that? I'm sorry, I did n't catch it. Would you repeat it?</dialogue>\\n    <character>MR. BLONDE</character>\\n    <parenthetical>( slowly . )</parenthetical>\\n    <dialogue>I said : `` Are you gon na bark all day, dog, or are you gon na bite.''</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Both of you two assholes knock it the fuck off and calm down!</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Mr. Blonde . )</parenthetical>\\n    <dialogue>So you wan na git bit, huh?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Cut the bullshit, we ai n't on a fuckin playground!</dialogue>\\n    <parenthetical>( pause . )</parenthetical>\\n    <dialogue>I do n't believe this shit, both of you got ten years on me, and I'm the only one actin like a professional. You guys act like a bunch of fuckin niggers. You ever work a job with a bunch of niggers? They're just like you two, always fightin, always sayin they're gon na kill one another.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Mr. Pink . )</parenthetical>\\n    <dialogue>You said yourself, you thought about takin him out.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Then. That time has passed. Right now, Mr. Blonde is the only one I completely trust. He's too fuckin homicidal to be workin with the cops.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>You takin his side?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Fuck sides! What we need is a little solidarity here. Somebody's stickin a red hot poker up our asses and we got ta find out whose hand's on the handle. Now I know I'm no piece of shit.</dialogue>\\n    <parenthetical>( referring to Mr. White . )</parenthetical>\\n    <dialogue>And I'm pretty sure you're a good boy.</dialogue>\\n    <parenthetical>( referring to Mr. Blonde . )</parenthetical>\\n    <dialogue>And I'm fuckin positive you're on the level. So let's figure out who's the bad guy.</dialogue>\\n    <scene_description>Mr. White calms down and puts his gun away . Mr. Blonde returns to the persona we saw at the beginning , talking about Madonna .</scene_description>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Well, that was sure exciting.</dialogue>\\n    <parenthetical>( to Mr. White . )</parenthetical>\\n    <dialogue>You're a big Lee Marvin fan, are n't you? Me too. I do n't know about the rest of you fellas, but my heart's beatin fast.</dialogue>\\n    <parenthetical>( pause for a beat . )</parenthetical>\\n    <dialogue>Okay you guys, follow me.</dialogue>\\n    <scene_description>Mr. Blonde hops out of his chair and heads for the door . The other two men just follow him with their eyes .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Follow you where?</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Down to my car.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Why?</dialogue>\\n    <character>MR. BLONDE</character>\\n    <dialogue>It's a surprise.</dialogue>\\n    <scene_description>Mr. Blonde walks out .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "1923.39", "video_duration": "131.73"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "Rh7WqzgjeydA", "audio_description_us": "1\n00:00:00,420 --> 00:00:03,050\nBlonde props his black cowboy boot on a table.\n\n2\n00:00:07,300 --> 00:00:09,800\nHe removes a folding straight razor from the boot\n\n3\n00:00:09,800 --> 00:00:10,680\nand opens it.\n\n4\n00:00:12,550 --> 00:00:14,140\nHe squats near the radio.\n\n5\n00:00:37,160 --> 00:00:38,710\nBlonde pretends to shave.\n\n6\n00:00:39,000 --> 00:00:40,080\nHe checks out Orange,\n\n7\n00:00:40,080 --> 00:00:41,420\nthen smiles at the cop.\n\n8\n00:00:41,880 --> 00:00:44,040\nLight reflects off the blade of the razor.\n\n9\n00:00:44,250 --> 00:00:47,340\nStreaks of red flow from the cop's nose\nover the silver tape.\n\n10\n00:00:47,710 --> 00:00:48,970\nBlonde rises to his feet\n\n11\n00:00:48,970 --> 00:00:51,800\nand dances to the beat, heading in the cop's direction.\n\n12\n00:01:14,410 --> 00:01:17,580\nBlonde stops and slashes at the cop, gashing his left cheek.\n\n13\n00:01:18,910 --> 00:01:20,750\nHe grips the cop's face below the cheek,\n\n14\n00:01:20,750 --> 00:01:21,790\nfaces him forward\n\n15\n00:01:21,790 --> 00:01:22,750\nand straddles him.\n\n16\n00:01:22,880 --> 00:01:25,210\nWith the blade, blonde reaches to the other side.\n\n17\n00:01:30,340 --> 00:01:32,760\nThe view shifts away toward the top of the ramp.\n\n18\n00:01:32,930 --> 00:01:35,050\nWritten above a doorway, 'Watch your head'.\n\n19\n00:01:38,060 --> 00:01:43,020\nBlonde rises to his feet with the bloody blade in his right hand\nand the blood soaked ear in his left.\n\n20\n00:01:52,990 --> 00:01:54,160\nHe speaks into the ear.\n\n21\n00:01:58,990 --> 00:02:00,250\nBlonde tosses it away\n\n22\n00:02:00,250 --> 00:02:02,160\nand tries to shake the blood off his hand.\n\n23\n00:02:02,370 --> 00:02:04,080\nHe wipes it on the cop's uniform.\n\n24\n00:02:05,630 --> 00:02:07,290\nThe cop faces away from him.\n\n", "audio_description_uk": "1\n00:00:00,080 --> 00:00:03,420\nFrom his black cowboy boot,\nhe pulls out a cutthroat razor.\n\n2\n00:00:13,810 --> 00:00:15,390\nHe switches on the radio.\n\n3\n00:00:43,290 --> 00:00:46,960\nThe cop looks at Mr Blonde,\nwho begins to move around to the music.\n\n4\n00:00:55,810 --> 00:01:00,600\nHe starts to shuffle back and forward as he dances and sings,\nstill holding the razor blade.\n\n5\n00:01:09,440 --> 00:01:10,320\nHe gives a spin\n\n6\n00:01:10,320 --> 00:01:11,320\nand looks at the cop.\n\n7\n00:01:15,780 --> 00:01:17,240\nHe slashes the cop's cheek,\n\n8\n00:01:17,240 --> 00:01:19,870\nthen grabs him by the jaw, forcing his head back.\n\n9\n00:01:22,370 --> 00:01:25,920\nHe steps in close and reaches around\nthe cop's head with the cutthroat razor.\n\n10\n00:01:38,270 --> 00:01:43,770\nAs he stands and moves away, he holds a blooded ear\nin one hand and the cutthroat razor in the other.\n\n11\n00:01:49,230 --> 00:01:51,070\nHe casually turns back to the cop.\n\n12\n00:01:58,370 --> 00:01:59,580\nHe talks into the ear,\n\n13\n00:01:59,580 --> 00:02:01,080\nthen tosses it to the floor.\n\n14\n00:02:03,620 --> 00:02:06,040\nHe wipes the blood from his hand on the cop's shoulder.\n\n", "subtitles": "1\n00:00:04,250 --> 00:00:08,250\nYou ever listen to K-BILLY's\n\"Super Sounds of the '70s\"?\n\n2\n00:00:11,650 --> 00:00:13,950\nIt's my personal favorite.\n\n3\n00:00:20,150 --> 00:00:24,820\nJoe Egan and Gerry Rafferty\nwere a duo known as Stealer's Wheel...\n\n4\n00:00:24,850 --> 00:00:28,950\nwhen they recorded this Dylanesque,\npop, bubble-gum favorite...\n\n5\n00:00:29,050 --> 00:00:32,150\nfrom April of 1974.\n\n6\n00:00:32,250 --> 00:00:34,150\nThat reached up to number five...\n\n7\n00:00:34,250 --> 00:00:37,650\nas K-BILLY's \"Super Sounds\nof the '70s\" continues.\n\n8\n00:01:26,650 --> 00:01:28,750\nHold still.\n\n9\n00:01:28,850 --> 00:01:30,950\nHold still, you fuck.\n\n10\n00:01:51,450 --> 00:01:53,850\nWas that good for you too?\n\n11\n00:01:54,550 --> 00:01:56,420\nHey, what's goin' on?\n\n12\n00:01:56,450 --> 00:01:57,950\nYou hear that?\n\n13\n00:02:08,450 --> 00:02:10,850\nDon't go anywhere.\nI'll be right back.\n\n", "sdh": "1\n00:00:03,830 --> 00:00:07,670\nYou ever listen to K-Billy's\nSuper Sounds of the '70s?\n\n2\n00:00:11,510 --> 00:00:13,550\nIt's my personal favourite.\n\n3\n00:00:14,590 --> 00:00:16,670\n(Turns on radio and\nscans stations)\n\n4\n00:00:19,750 --> 00:00:24,590\n(Radio) Joe Egan and Gerry Rafferty\nwere a duo known as Stealer's Wheel,\n\n5\n00:00:24,670 --> 00:00:28,670\nwhen they recorded this Dylanesque\npop bubblegum favourite\n\n6\n00:00:28,790 --> 00:00:33,430\nfrom April of 1974. That\nreached up to number five\n\n7\n00:00:33,550 --> 00:00:37,390\nas K-Billy's Super Sounds\nof the '70s continues.\n\n8\n00:00:37,510 --> 00:00:40,270\n(♪ Stealer's Wheel: Stuck\nin The Middle With You)\n\n9\n00:00:52,270 --> 00:00:55,110\n♪ Well, I don't know why\nI came here tonight\n\n10\n00:00:56,190 --> 00:00:58,950\n♪ I got the feeling that\nsomething ain't right\n\n11\n00:01:00,070 --> 00:01:03,750\n♪ I'm so scared in case\nI fall off my chair\n\n12\n00:01:03,870 --> 00:01:07,990\n♪ And I'm wondering how\nI'll get down the stairs\n\n13\n00:01:08,070 --> 00:01:11,470\n♪ Clowns to the left of\nme, jokers to the right\n\n14\n00:01:11,550 --> 00:01:15,390\n♪ Here I am, stuck in\nthe middle with you\n\n15\n00:01:15,470 --> 00:01:17,830\n♪ Yes, I'm stuck in\nthe middle with you\n\n16\n00:01:17,910 --> 00:01:19,350\n(Grunts with pain)\n\n17\n00:01:19,470 --> 00:01:23,070\n♪ And I'm wonderin'\nwhat it is I should do\n\n18\n00:01:23,150 --> 00:01:26,510\n♪ It's so hard to keep the\nsmile from my face...\n\n19\n00:01:26,590 --> 00:01:28,830\n- Hold still!\n- ♪ ..All over the place\n\n20\n00:01:28,910 --> 00:01:31,270\n- Hold still, you fuck!\n- (Grunting)\n\n21\n00:01:31,390 --> 00:01:34,630\n♪ Clowns to the left of\nme, jokers to the right\n\n22\n00:01:34,710 --> 00:01:36,630\n♪ Here I am, stuck in\nthe middle with you\n\n23\n00:01:38,750 --> 00:01:40,630\n♪ Well, you started\nout with nothing\n\n24\n00:01:40,710 --> 00:01:43,670\n♪ And you're proud that\nyou're a self-made man\n\n25\n00:01:43,750 --> 00:01:45,830\n(Cop groans)\n\n26\n00:01:46,630 --> 00:01:48,630\n♪ And your friends\nthey all come crawlin'\n\n27\n00:01:48,750 --> 00:01:51,090\n♪ Slap you on the back\nand say please...\n\n28\n00:01:51,110 --> 00:01:53,470\nWas that as good for\nyou as it was for me?\n\n29\n00:01:54,390 --> 00:01:57,150\nHey! What's going on?\nYou hear that?\n\n30\n00:01:57,230 --> 00:01:59,590\n- (Muffled scream)\n- (Laughs)\n\n31\n00:01:59,710 --> 00:02:01,470\n(Groaning)\n\n32\n00:02:06,590 --> 00:02:09,990\n- ♪ Trying to make some sense of it all.\n- Don't go anywhere. I'll be right back.\n\n", "screenplay": "{\"screenplay_scene_22\": \"<scene>\\n    <stage_direction>INT. WAREHOUSE - DAY - MR. BLONDE AND COP</stage_direction>\\n    <scene_description>Mr. Blonde closes the door after them . He then slowly turns his head towards the cop .</scene_description>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Alone at last.</dialogue>\\n    <scene_description>C.U. COP 'S FACE .</scene_description>\\n    <character>MR. BLONDE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Now where were we?</dialogue>\\n    <character>COP</character>\\n    <dialogue>I told you I do n't know anything about any fucking set up. I've only been on the force eight months, nobody tells me anything! I do n't know anything! You can torture me if you want -</dialogue>\\n    <character>MR. BLONDE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>- Thanks, do n't mind if I do.</dialogue>\\n    <character>COP</character>\\n    <dialogue>Your boss even said there was n't a set up.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>First off, I do n't have a boss. Are you clear about that?</dialogue>\\n    <scene_description>He SLAPS the cop 's face .</scene_description>\\n    <character>MR. BLONDE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>I asked you a question. Are you clear about that?</dialogue>\\n    <character>COP</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>MR. BLONDE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Now I'm not gon na bullshit you. I do n't really care about what you know or do n't know. I'm gon na torture you for awhile regardless. Not to get information, but because torturing a cop amuses me. There's nothing you can say, there's nothing you can do. Except pray for death.</dialogue>\\n    <scene_description>He puts a piece of tape over the cop 's mouth . COP 'S POV Mr. Blonde walks away from the cop .</scene_description>\\n    <character>MR. BLONDE</character>\\n    <dialogue>Let's see what's on K - BILLY'S `` super sounds of the seventies'' weekend.</dialogue>\\n    <scene_description>He turns on the radio . Stealer 's Wheel 's hit `` Stuck in the Middle with You '' PLAYS over the speaker . NOTE : This entire sequence is timed to the music . Mr. Blonde slowly walks toward the cop . He opens a large knife . He grabs a chair , places it in front of the cop and sits in it . Mr. Blonde just stares into the cop 's / our face , holding the knife , singing along with the song . Then , like a cobra , he LASHES out . A SLASH across the face . The cop/camera moves around wildly . Mr. Blonde just stares into the cop 's / our face , singing along with the seventies hit . Then he reaches out and CUTS OFF the cop 's / our ear . The cop/camera moves around wildly . Mr. Blonde holds the ear up to the cop/us to see . Mr. Blonde rises , kicking the chair he was sitting on out of the way .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "3301.47", "video_duration": "131.50"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "GFENuPCg0fTs", "audio_description_us": "1\n00:00:06,840 --> 00:00:09,090\nBlonde pours a thin trail away from him.\n\n2\n00:00:15,100 --> 00:00:16,230\nHe tosses the can.\n\n3\n00:00:30,070 --> 00:00:31,780\nBullets pierce Blonde’s chest.\n\n4\n00:00:31,910 --> 00:00:33,490\nOrange is sitting up, firing.\n\n5\n00:00:34,450 --> 00:00:37,410\nOrange scowls and wobbles, still aiming the empty gun.\n\n6\n00:00:38,580 --> 00:00:39,330\nHe raises it\n\n7\n00:00:39,330 --> 00:00:40,750\nand drops the empty clip.\n\n8\n00:00:48,880 --> 00:00:50,590\nThe view moves behind Orange.\n\n9\n00:00:50,800 --> 00:00:52,970\nBlonde holds himself up near the front door,\n\n10\n00:00:52,970 --> 00:00:54,560\nthen collapses to his back.\n\n11\n00:01:00,940 --> 00:01:02,150\nOrange lowers his gun\n\n12\n00:01:02,150 --> 00:01:03,020\nand looks down.\n\n13\n00:01:04,400 --> 00:01:05,610\nThe cop watches him.\n\n14\n00:01:09,950 --> 00:01:12,320\nOrange plants the barrel of his gun on the ramp’s surface\n\n15\n00:01:12,320 --> 00:01:13,740\nand shifts his weight onto it.\n\n16\n00:01:13,870 --> 00:01:15,240\nHe pushes himself up,\n\n17\n00:01:15,240 --> 00:01:15,990\nbut slips.\n\n18\n00:01:24,380 --> 00:01:25,920\nOrange looks over at the cop.\n\n19\n00:01:57,080 --> 00:02:01,290\nMarvin has a swollen left eye, bruises and blood\ncovering much of his face.\n\n20\n00:02:10,960 --> 00:02:12,470\nOrange lies on his side.\n\n", "audio_description_uk": "1\n00:00:34,370 --> 00:00:36,540\nMr Orange is propped up on his elbow.\n\n2\n00:00:36,750 --> 00:00:38,910\nHe unloads his gun into Mr Blonde.\n\n3\n00:00:45,340 --> 00:00:47,300\nOrange drops the clip from his gun.\n\n4\n00:00:47,510 --> 00:00:49,550\nHe lays in a large pool of blood.\n\n5\n00:00:49,680 --> 00:00:50,680\nHis suit is soaked\n\n6\n00:00:50,680 --> 00:00:51,760\nand his face pale.\n\n7\n00:00:52,220 --> 00:00:55,640\nAt the far end of the warehouse,\nBlonde collapses to the floor.\n\n8\n00:01:02,860 --> 00:01:04,110\nOrange stares down.\n\n9\n00:01:04,310 --> 00:01:06,230\nThe cop looks over his shoulder to him.\n\n10\n00:01:13,410 --> 00:01:16,370\nMr Orange tries to push himself up using the gun,\n\n11\n00:01:16,580 --> 00:01:18,620\nbut collapses back down onto the ramp.\n\n12\n00:01:18,950 --> 00:01:20,210\nThe cop watches him.\n\n13\n00:01:35,470 --> 00:01:36,640\nOrange talks to him.\n\n", "subtitles": "1\n00:00:01,050 --> 00:00:03,250\nJust stop. Stop.\n\n2\n00:00:03,350 --> 00:00:05,250\nJust talk to me.\nDon't. Please.\n\n3\n00:00:05,350 --> 00:00:06,950\nDon't burn me, please.\n\n4\n00:00:10,150 --> 00:00:13,820\nI don't know anything about\nany of you fucking guys.\n\n5\n00:00:13,850 --> 00:00:15,850\nI'm not gonna say anything.\n\n6\n00:00:17,950 --> 00:00:19,150\nNo! Please, no.\n\n7\n00:00:19,250 --> 00:00:20,750\n- You all through?\n- Stop!\n\n8\n00:00:20,850 --> 00:00:21,950\nYou all through?\n\n9\n00:00:22,050 --> 00:00:25,550\nPlease.\nI got a little kid at home.\n\n10\n00:00:26,150 --> 00:00:27,320\nYou all done?\n\n11\n00:00:27,350 --> 00:00:29,350\n- Don't!\n- Have some fire.\n\n12\n00:01:33,450 --> 00:01:35,350\nOh, shit.\n\n13\n00:01:37,450 --> 00:01:38,950\nHey, you.\n\n14\n00:01:41,750 --> 00:01:44,050\nWhat's your name?\n\n15\n00:01:47,250 --> 00:01:48,550\nMarvin.\n\n16\n00:01:50,550 --> 00:01:51,750\nMarvin what?\n\n17\n00:01:56,050 --> 00:01:57,550\nMarvin Nash.\n\n18\n00:02:04,150 --> 00:02:06,050\nListen to me, Marvin.\nI'm a...\n\n19\n00:02:08,850 --> 00:02:11,750\nListen to me, Marvin Nash.\nI'm a cop.\n\n", "sdh": "1\n00:00:00,310 --> 00:00:02,830\nJust stop, just stop. Stop.\nJust talk to me.\n\n2\n00:00:02,910 --> 00:00:04,710\nDon't! Please.\n\n3\n00:00:04,790 --> 00:00:06,550\nDon't. Don't burn me, please!\n\n4\n00:00:06,630 --> 00:00:09,350\nAh! (Coughs) Ah!\n\n5\n00:00:09,430 --> 00:00:13,550\nI'm begging you. I don't know anything\nabout any of you fuckin' guys!\n\n6\n00:00:13,630 --> 00:00:15,670\nI'm not gonna say anything!\n\n7\n00:00:15,790 --> 00:00:17,470\nDon't!\n\n8\n00:00:17,550 --> 00:00:18,790\nDon't! Please don't!\n\n9\n00:00:18,910 --> 00:00:20,230\n- You all through?\n- Stop!\n\n10\n00:00:20,310 --> 00:00:21,550\nAre you all through?\n\n11\n00:00:21,670 --> 00:00:25,190\nPlease. I got a little kid\nat home, now, please.\n\n12\n00:00:25,270 --> 00:00:27,630\n- You all done?\n- Don't! Don't!\n\n13\n00:00:27,750 --> 00:00:29,790\n- Have some fire, scarecrow.\n- Don't!\n\n14\n00:01:11,670 --> 00:01:13,110\n(Groans)\n\n15\n00:01:18,630 --> 00:01:21,030\n(Grunting)\n\n16\n00:01:23,510 --> 00:01:25,310\n(Cop) Ah!\n\n17\n00:01:29,430 --> 00:01:31,470\nFuck!\n\n18\n00:01:31,550 --> 00:01:34,790\n- Hey.\n- Ah... shit!\n\n19\n00:01:37,150 --> 00:01:39,510\nHey.\n\n20\n00:01:41,470 --> 00:01:43,710\nWhat's your name?\n\n21\n00:01:46,910 --> 00:01:48,190\nMarvin.\n\n22\n00:01:50,470 --> 00:01:52,470\nMarvin what?\n\n23\n00:01:55,710 --> 00:01:57,230\nMarvin Nash.\n\n24\n00:02:03,950 --> 00:02:06,550\nListen to me, Marvin, I'm a...\n\n25\n00:02:08,630 --> 00:02:11,350\nListen to me, Marvin\nNash, I'm a cop.\n\n", "screenplay": "{\"screenplay_scene_24\": \"<scene>\\n    <stage_direction>INT. WAREHOUSE - DAY</stage_direction>\\n    <scene_description>carrying the can of gas . Mr. Blonde POURS the gasoline all over the cop , who 's BEGGING him not to do this . Mr. Blonde just sings along with Stealer 's Wheel . Mr. Blonde LIGHTS up a match and , while mouthing :</scene_description>\\n    <character>MR. BLONDE</character>\\n    <dialogue>`` Clowns to the left of me, Jokers to the right. Here I am, stuck in the middle with you.''</dialogue>\\n    <scene_description>He moves the match up to the cop . When a bullet EXPLODES in Mr. Blonde 's chest . The HANDHELD camera WHIPS to the right and we see the bloody Mr. Orange FIRING his gun . We cut back and forth between Mr. Blonde taking BULLET HITS and Mr. Orange emptying his weapon . Mr. Blonde FALLS down dead . Mr. Orange crawls to where the cop is , leaving a bloody trail behind him . When he reaches the cop 's feet he looks up at him .</scene_description>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( feebly . )</parenthetical>\\n    <dialogue>What's your name?</dialogue>\\n    <character>COP</character>\\n    <dialogue>Jeffrey.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Jeffrey what?</dialogue>\\n    <character>COP</character>\\n    <dialogue>Jeffrey Andrews.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Listen to me, Jeffrey Andrews. I'm a cop.</dialogue>\\n    <character>JEFFREY</character>\\n    <dialogue>I know.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( surprised . )</parenthetical>\\n    <dialogue>You do?</dialogue>\\n    <character>JEFFREY</character>\\n    <dialogue>Your name's Freddy something.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Freddy Newendyke.</dialogue>\\n    <character>JEFFREY</character>\\n    <dialogue>Frankie Ferchetti introduced us once, about five months ago.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Shit. I do n't remember that at all.</dialogue>\\n    <character>JEFFREY</character>\\n    <dialogue>I do.</dialogue>\\n    <parenthetical>( pause . )</parenthetical>\\n    <dialogue>How do I look?</dialogue>\\n    <scene_description>The gun - shot Mr. Orange looks at the kid 's GASHED face and the hole in the side of his head where his ear used to be .</scene_description>\\n    <character>MR. ORANGE</character>\\n    <dialogue>I do n't know what to tell you Jeffrey.</dialogue>\\n    <scene_description>Jeffrey starts to weep .</scene_description>\\n    <character>JEFFREY</character>\\n    <dialogue>That fucking bastard! That fucking sick fucking bastard!</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Jeffrey, I need you to hold on. There's officers positioned and waiting to move in a block away.</dialogue>\\n    <character>JEFFREY</character>\\n    <parenthetical>( screaming . )</parenthetical>\\n    <dialogue>What the fuck are they waiting for? That motherfucker cut off my ear! He slashed my face! I'm deformed!</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>And I'm dying. They do n't know that. All they know is they're not to make a move until Joe Cabot shows up. I was sent undercover to get Cabot. You heard'em, they said he's on his way. Do n't pussy out on me now, Jeffrey. We're just gon na sit here and bleed until Joe Cabot sticks his fuckin head through that door.</dialogue>\\n    <scene_description>INSERT : TITLE CARD `` MR. ORANGE &amp; MR. WHITE ''</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "3552.67", "video_duration": "133.59"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "i15vnD3dGwfB", "audio_description_us": "1\n00:00:02,790 --> 00:00:04,510\nHe stops and forces a smile.\n\n2\n00:00:08,550 --> 00:00:09,260\nThey stare.\n\n3\n00:00:30,910 --> 00:00:31,990\nAddressing the cops.\n\n4\n00:00:57,310 --> 00:00:58,850\nOrange steps over to a urinal.\n\n5\n00:01:40,980 --> 00:01:42,850\nOrange finishes and moves to a sink.\n\n6\n00:01:52,490 --> 00:01:53,660\nHe steps past them.\n\n7\n00:02:11,010 --> 00:02:12,840\nOrange pushes the hand dryer button.\n\n", "audio_description_uk": "1\n00:02:11,720 --> 00:02:12,760\nDuring the story,\n\n", "subtitles": "1\n00:00:00,660 --> 00:00:03,560\nSo I walk into the men's room\nand who's standing there?\n\n2\n00:00:05,260 --> 00:00:08,660\nFour Los Angeles County sheriffs\nand a German shepherd.\n\n3\n00:00:10,860 --> 00:00:14,360\n- They're waitin' for you?\n- No, they're just talkin'.\n\n4\n00:00:14,460 --> 00:00:17,460\nWhen I walked in,\nthey all stopped talkin'...\n\n5\n00:00:17,560 --> 00:00:19,860\nand they looked at me.\n\n6\n00:00:19,960 --> 00:00:22,760\nThat's hard.\nThat's a fuckin' hard situation.\n\n7\n00:00:23,860 --> 00:00:25,460\nGerman shepherd starts barking.\n\n8\n00:00:27,260 --> 00:00:28,760\nHe's barkin' at me.\n\n9\n00:00:28,860 --> 00:00:31,460\nI mean, it's obvious\nhe's barkin' at me.\n\n10\n00:00:33,360 --> 00:00:37,160\nEvery nerve ending, all of my senses,\nthe blood in the veins was screamin':\n\n11\n00:00:37,260 --> 00:00:41,240\n\"Take off, man. Just bail.\nGet the fuck outta there.\"\n\n12\n00:00:41,260 --> 00:00:43,760\nPanic hits me\nlike a bucket of water.\n\n13\n00:00:43,860 --> 00:00:45,360\nBam! Right in the face.\n\n14\n00:00:45,460 --> 00:00:50,360\nI'm drenched in panic and these cops\nare lookin' at me and they know it.\n\n15\n00:00:50,460 --> 00:00:53,860\nThey can smell it,\nsure as that fuckin' dog can.\n\n16\n00:00:53,960 --> 00:00:55,860\nThey can smell it on me.\n\n17\n00:00:56,760 --> 00:00:58,360\nShut up.\n\n18\n00:00:59,660 --> 00:01:02,840\nSo anyway,\nI got my gun drawn.\n\n19\n00:01:02,860 --> 00:01:05,840\nI point it at this guy\nand I tell him...\n\n20\n00:01:05,860 --> 00:01:08,340\n\"Freeze.\nDon't fuckin' move.\"\n\n21\n00:01:08,360 --> 00:01:11,360\nThis little idiot's\nlooking right at me and saying...\n\n22\n00:01:11,460 --> 00:01:13,260\n\"I know, I know.\"\n\n23\n00:01:13,360 --> 00:01:16,760\nBut meanwhile his right hand\nis creepin' toward the glove box.\n\n24\n00:01:16,860 --> 00:01:21,660\nI scream at him, \"Asshole!\nI'm gonna blow you away right now!\n\n25\n00:01:21,760 --> 00:01:23,840\nPut your hands on the dash.\"\n\n26\n00:01:23,860 --> 00:01:26,940\nHe's still looking at me,\nnodding his head.\n\n27\n00:01:26,960 --> 00:01:29,340\n\"I know, buddy, I know.\"\n\n28\n00:01:29,360 --> 00:01:33,160\nMeanwhile his hand is still\ngoing for the glove box.\n\n29\n00:01:33,260 --> 00:01:34,860\nAnd I said...\n\n30\n00:01:34,960 --> 00:01:38,840\n\"Buddy, I'm gonna shoot you\nin the face...\n\n31\n00:01:38,860 --> 00:01:41,560\nif you don't put your hands up.\"\n\n32\n00:01:43,060 --> 00:01:47,160\nThen this guy's girlfriend,\nthis real sexy Oriental bitch...\n\n33\n00:01:47,260 --> 00:01:50,540\nshe starts screaming at him:\n\"Chuck, what are you doin'?\n\n34\n00:01:50,560 --> 00:01:53,860\nListen to the officer!\nPut your hands on the dash!\"\n\n35\n00:01:53,960 --> 00:01:58,160\nSo then the guy snaps out of it\nand puts his hands on the dash.\n\n36\n00:01:58,260 --> 00:01:59,640\nWhat was he goin' for?\n\n37\n00:01:59,660 --> 00:02:01,960\nHis fucking registration.\n\n38\n00:02:03,260 --> 00:02:04,860\n- You're kidding.\n- No, man!\n\n39\n00:02:04,960 --> 00:02:08,560\nStupid citizen doesn't know how close\nhe came to gettin' blown away.\n\n40\n00:02:08,660 --> 00:02:10,060\nThat close, man.\n\n", "sdh": "1\n00:00:00,360 --> 00:00:03,400\nSo I walk in the men's room\nand who's standing there?\n\n2\n00:00:04,920 --> 00:00:08,320\nFour Los Angeles County\nsheriffs and a German shepherd.\n\n3\n00:00:08,440 --> 00:00:10,520\n(Barks)\n\n4\n00:00:10,600 --> 00:00:14,000\n- They're waiting for you?\n- No, it's just a bunch of cops talking.\n\n5\n00:00:14,120 --> 00:00:16,340\nWhen I walk through the\ndoor they all stop what\n\n6\n00:00:16,360 --> 00:00:18,600\nthey were talking about\nand they looked at me.\n\n7\n00:00:18,680 --> 00:00:23,440\n(Laughs) That's hard, man.\nThat's a fuckin' hard situation.\n\n8\n00:00:23,520 --> 00:00:25,200\nThe German shepherd\nstarts barking.\n\n9\n00:00:25,280 --> 00:00:26,800\n(Barks)\n\n10\n00:00:26,920 --> 00:00:28,640\nHe's barking at me.\n\n11\n00:00:28,720 --> 00:00:31,160\nI mean, it's obvious\nhe's barking at me.\n\n12\n00:00:31,240 --> 00:00:34,320\n- (Barks)\n- Every nerve ending, all my senses,\n\n13\n00:00:34,400 --> 00:00:37,000\nblood in my veins, everything\nI have is screaming,\n\n14\n00:00:37,080 --> 00:00:40,880\n\"Take off, man. Just bail. Just\nget the fuck out of there!\"\n\n15\n00:00:40,960 --> 00:00:42,640\nPanic hits me like\na bucket of water.\n\n16\n00:00:42,720 --> 00:00:45,000\nFirst there's the shock of it.\nBam, right in the face.\n\n17\n00:00:45,080 --> 00:00:47,160\nI'm just standing there,\ndrenched in panic,\n\n18\n00:00:47,240 --> 00:00:50,080\nand all these sheriffs are looking\nat me, and they know, man.\n\n19\n00:00:50,160 --> 00:00:53,680\nThey can smell it, sure\nas that fuckin' dog can.\n\n20\n00:00:53,760 --> 00:00:55,560\nThey can smell it on me.\n\n21\n00:00:55,640 --> 00:00:57,680\n- (Dog barks)\n- (Cop) Shut up!\n\n22\n00:00:59,160 --> 00:01:00,920\n- (2nd cop) So, anyway...\n- (Dog whimpers)\n\n23\n00:01:01,040 --> 00:01:02,680\nI got my gun drawn, right,\n\n24\n00:01:02,760 --> 00:01:08,080\nand I got it pointed right at this guy and\nI tell him, \"Freeze! Don't fuckin' move!\"\n\n25\n00:01:08,160 --> 00:01:10,880\nAnd this little idiot's\nlooking right at me, nodding,\n\n26\n00:01:11,000 --> 00:01:13,200\nand he's saying, \"I\nknow, I know, I know.\"\n\n27\n00:01:13,280 --> 00:01:16,440\nBut meanwhile, his right hand is\ncreeping towards the glove box.\n\n28\n00:01:16,520 --> 00:01:21,640\nAnd I scream at him. I go, \"Asshole, I'm\ngonna fuckin' blow you away right now!\"\n\n29\n00:01:21,760 --> 00:01:23,600\n\"Put your hands on the dash!\"\n\n30\n00:01:23,680 --> 00:01:26,360\nAnd he's still looking\nat me, nodding his head,\n\n31\n00:01:26,390 --> 00:01:29,080\nyou know, \"I know, buddy.\nI know. I know.\"\n\n32\n00:01:29,160 --> 00:01:32,880\nAnd meanwhile, you know, his hand\nis still going for the glove box.\n\n33\n00:01:32,960 --> 00:01:38,720\nAnd I said, \"Buddy, I'm gonna\nshoot you in the face\",\n\n34\n00:01:38,800 --> 00:01:41,360\n\"if you don't put your hands\non the fuckin' dash!\"\n\n35\n00:01:42,440 --> 00:01:46,960\nAnd then this guy's girlfriend, this\nreal sexy Oriental bitch, you know,\n\n36\n00:01:47,080 --> 00:01:50,240\nshe starts screaming at him, \"Chuck!\nChuck! What are you doing?\"\n\n37\n00:01:50,320 --> 00:01:53,000\n\"Listen to the officer! Put\nyour hands on the dash!\"\n\n38\n00:01:53,080 --> 00:01:56,160\nSo, you know, then like nothing,\nthe guy snaps out of it\n\n39\n00:01:56,240 --> 00:01:58,120\nand casually puts his\nhands on the dash.\n\n40\n00:01:58,200 --> 00:02:01,760\n- (Cop) What was he going for?\n- (2nd cop) His fuckin' registration.\n\n41\n00:02:01,840 --> 00:02:04,120\n(Cop laughs) You're kidding!\n\n42\n00:02:04,200 --> 00:02:08,320\n(2nd cop) No! Stupid citizen doesn't know\nhow close he came to getting blown away.\n\n43\n00:02:08,440 --> 00:02:10,520\nThat close, man.\n\n44\n00:02:10,640 --> 00:02:12,720\n(Dryer drowns out conversation)\n\n", "screenplay": "{\"screenplay_scene_34\": \"<scene>\\n    <stage_direction>BACK TO MEN'S ROOM</stage_direction>\\n    <scene_description>ECU GERMAN SHEPHERD barking his head off .</scene_description>\\n    <character>FREDDY</character>\\n    <parenthetical>( V.O . )</parenthetical>\\n    <dialogue>The German Shepherd starts barkin'. He's barkin' at me. I mean it's obvious he's barkin' at me.</dialogue>\\n    <scene_description>We do a slow 360 around Freddy in the men 's room . We can hear the dog barking .</scene_description>\\n    <character>FREDDY</character>\\n    <parenthetical>( V.O . )</parenthetical>\\n    <dialogue>Every nerve ending, all of my senses, the blood in my veins, everything I has was screaming, `` Take off, man, just take off, get the fuck outta there!'' Panic hit me like a bucket of water. First there was the shock of it - BAM, right in the face! Then I'm just standin there drenched in panic.</dialogue>\\n    <scene_description>SLOW MOTION CAMERA does a PAN from face to face of the sheriffs .</scene_description>\\n    <character>FREDDY</character>\\n    <parenthetical>( V.O . )</parenthetical>\\n    <dialogue>And all those sheriffs are lookin at me and they know. They can smell it. As sure as that fuckin dog cam, they can smell it on me.</dialogue>\\n    <scene_description>FREEZE FRAME Back to the same freeze frame shot of Freddy standing in front of the sheriffs . It suddenly jerks to life , and moves to speed . The dog is barking . Freddy moves to his right , out of frame . We stay on the sheriffs . One sheriff yells at the dog .</scene_description>\\n    <character>SHERIFF #1</character>\\n    <dialogue>Shut up!</dialogue>\\n    <scene_description>The dog quiets down . Sheriff # 2 continues with his story . A couple of the sheriffs look over at Freddy off screen , but as Sheriff # 2 talks , turn their attention to him .</scene_description>\\n    <character>SHERIFF #2</character>\\n    <dialogue>So my gun's drawn, right? I got it aimed right at him. I tell'em, `` Freeze, do n't fuckin move.'' And the little idiot's lookin at me, nodding his head `` Yes,'' sayin `` I know. I know. I know.'' Meanwhile his right hand is creepin towards his glove box. So I scream at him, `` Asshole, you better fuckin freeze right now!'' And he's still lookin right at me, saying `` I know. I know. I know.'' And his right hand's still going for the glove box.</dialogue>\\n    <scene_description>The CAMERA PANS away from the sheriffs to Freddy , up against the urinal , playing possum , pretending to piss .</scene_description>\\n    <character>SHERIFF #2</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>I tell ` im, `` Buddy, I'm gon na shoot you in the face right now if you do n't put your hands on the fuckin dash.'' And the guy's girlfriend, a real sexy Oriental bitch, starts screamin at him, `` Chuck, are you out of your mind? Put your hands on the dash like the officer said.'' And then like nothing, the guy snaps out of it and casually puts his hands on the dash.</dialogue>\\n    <scene_description>Freddy finishes his playing possum piss , and walks past the sheriffs over to the sink . The CAMERA PANS with him . A sheriff is sitting on a sink . He looks down and watches Freddy wash his hands .</scene_description>\\n    <character>SHERIFF #1</character>\\n    <dialogue>What was he goin for?</dialogue>\\n    <character>SHERIFF #2</character>\\n    <dialogue>His registration. Stupid fuckin citizen, does n't have the slightest idea how close he came to gettin shot.</dialogue>\\n    <scene_description>Freddy finishes washing his hands . He goes to dry them , but there 's only those hand drying machines . Freddy turns on the drying machine . He ca n't hear anything the sheriffs say now . The sound of the machine dominates the sound track . These following shots are SLOW MOTION . CU OF FREDDY CU of his HANDS , rubbing each other getting blown dry SHOT OF SHERIFFS talking . We ca n't hear them because of the machine . CU OF MACHINE MEDIUM OF SHERIFF ON SINK , smoking a cigarette , glancing over at Freddy . CU OF GERMAN SHEPHERD Machine turns off .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "4264.26", "video_duration": "133.75"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "PqhL8UMMoOeQ", "audio_description_us": "1\n00:00:33,620 --> 00:00:34,950\nOrange hints at a smile.\n\n2\n00:02:02,250 --> 00:02:03,580\nJoe grips his lapel.\n\n3\n00:02:06,840 --> 00:02:09,090\nIn photos, Karina's Wholesale Diamonds.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:00,000\n\n", "subtitles": "1\n00:00:00,960 --> 00:00:03,840\nwe're gonna be using aliases\non this job.\n\n2\n00:00:03,860 --> 00:00:06,360\nUnder no circumstances...\n\n3\n00:00:06,460 --> 00:00:09,640\ndo we want any one of you\nto relate to each other...\n\n4\n00:00:09,660 --> 00:00:11,960\nby your Christian names.\n\n5\n00:00:12,060 --> 00:00:16,360\nAnd I don't want any talk\nabout yourself personally.\n\n6\n00:00:16,460 --> 00:00:20,360\nThat includes where you been,\nyour wife's name...\n\n7\n00:00:20,460 --> 00:00:22,360\nwhere you might've done time...\n\n8\n00:00:22,460 --> 00:00:26,260\nor a bank maybe you robbed\nin St. Petersburg.\n\n9\n00:00:26,360 --> 00:00:30,260\nAll I want you guys to talk about,\nif you have to...\n\n10\n00:00:30,360 --> 00:00:32,960\nis what you're gonna do.\n\n11\n00:00:33,060 --> 00:00:35,160\nThat should do it.\n\n12\n00:00:35,260 --> 00:00:37,740\nThese are your names...\n\n13\n00:00:37,760 --> 00:00:40,740\nMr. Brown, Mr. White...\n\n14\n00:00:40,760 --> 00:00:43,240\nMr. Blonde, Mr. Blue...\n\n15\n00:00:43,260 --> 00:00:45,460\nMr. Orange and Mr. Pink.\n\n16\n00:00:45,560 --> 00:00:49,160\n- Why am I Mr. Pink?\n- Because you're a faggot! All right?\n\n17\n00:00:51,060 --> 00:00:53,460\n- Why can't we pick our own colors?\n- No way.\n\n18\n00:00:53,560 --> 00:00:56,160\nNo way. Tried it once.\nIt doesn't work.\n\n19\n00:00:56,260 --> 00:00:59,660\nYou get four guys all fightin'\nover who gets to be Mr. Black.\n\n20\n00:00:59,760 --> 00:01:03,160\nThey don't know each other,\nso nobody wants to back down.\n\n21\n00:01:03,260 --> 00:01:05,560\nNo way. I pick.\nYou're Mr. Pink.\n\n22\n00:01:05,660 --> 00:01:07,760\nBe thankful\nyou're not Mr. Yellow.\n\n23\n00:01:08,960 --> 00:01:11,260\nBut Mr. Brown,\nthat's too close to Mr. Shit.\n\n24\n00:01:11,360 --> 00:01:13,260\nMr. Pink\nsounds like Mr. Pussy.\n\n25\n00:01:13,360 --> 00:01:15,160\nHow about Mr. Purple?\n\n26\n00:01:15,260 --> 00:01:17,260\nThat's sounds good.\nI'll be Mr. Purple.\n\n27\n00:01:17,360 --> 00:01:19,760\nYou're not Mr. Purple.\n\n28\n00:01:19,860 --> 00:01:24,060\nSome guy on some other job\nis Mr. Purple. You're Mr. Pink!\n\n29\n00:01:24,160 --> 00:01:25,940\nWho cares what your name is?\n\n30\n00:01:25,960 --> 00:01:29,660\nEasy for you to say. You're Mr. White.\nYou have a cool-sounding name.\n\n31\n00:01:29,760 --> 00:01:33,440\nIf it's no big deal to be Mr. Pink,\nyou wanna trade?\n\n32\n00:01:33,460 --> 00:01:36,260\nNobody's tradin' with anybody.\n\n33\n00:01:36,360 --> 00:01:39,460\nThis ain't a goddamn fuckin'\ncity council meeting, you know.\n\n34\n00:01:41,360 --> 00:01:43,260\nNow listen up, Mr. Pink.\n\n35\n00:01:43,360 --> 00:01:45,860\nThere's two ways you can go\non this job...\n\n36\n00:01:45,960 --> 00:01:48,240\nmy way or the highway.\n\n37\n00:01:48,260 --> 00:01:50,360\nWhat's it gonna be, Mr. Pink?\n\n38\n00:01:51,160 --> 00:01:54,060\nJesus Christ, Joe.\nFuckin' forget about it.\n\n39\n00:01:54,160 --> 00:01:56,760\nIt's beneath me.\nI'm Mr. Pink. Let's move on.\n\n40\n00:01:56,860 --> 00:01:59,760\nI'll move on\nwhen I feel like it.\n\n41\n00:01:59,860 --> 00:02:02,760\nDo all you guys\ngot the goddamn message?\n\n42\n00:02:04,460 --> 00:02:08,460\nI'm so goddamn mad hollerin'\nat you guys, I can hardly talk.\n\n", "sdh": "1\n00:00:00,760 --> 00:00:03,480\nwe're gonna be using\naliases on this job.\n\n2\n00:00:03,600 --> 00:00:06,160\nUnder no circumstances\n\n3\n00:00:06,240 --> 00:00:11,720\ndo I want any one of you to relate to\neach other by your Christian names,\n\n4\n00:00:11,800 --> 00:00:16,000\nand I don't want any talk\nabout yourself personally.\n\n5\n00:00:16,120 --> 00:00:22,080\nThat includes where you been, your wife's\nname, where you might have done time,\n\n6\n00:00:22,160 --> 00:00:26,000\nor a bank that you\nrobbed in St Petersburg.\n\n7\n00:00:26,080 --> 00:00:31,720\nAll I want you guys to talk about if\nyou have to, is what you're gonna do.\n\n8\n00:00:32,600 --> 00:00:34,920\nThat should do it.\n\n9\n00:00:35,000 --> 00:00:36,400\nHere are your names.\n\n10\n00:00:37,400 --> 00:00:38,760\nMr Brown,\n\n11\n00:00:38,880 --> 00:00:40,320\nMr White,\n\n12\n00:00:40,400 --> 00:00:42,040\nMr Blonde,\n\n13\n00:00:42,120 --> 00:00:44,040\nMr Blue, Mr Orange,\n\n14\n00:00:44,120 --> 00:00:46,720\n- and Mr Pink.\n- Why am I Mr Pink?\n\n15\n00:00:46,800 --> 00:00:48,880\nBecause you're a\nfaggot, all right?\n\n16\n00:00:48,960 --> 00:00:50,800\n(Mr Brown laughs)\n\n17\n00:00:50,880 --> 00:00:53,080\n- Why can't we pick our own colors?\n- No way.\n\n18\n00:00:53,200 --> 00:00:55,920\nNo way. Tried it once,\nit doesn't work.\n\n19\n00:00:56,000 --> 00:00:59,520\nYou get four guys all fighting\nover who's gonna be Mr Black.\n\n20\n00:00:59,600 --> 00:01:02,840\nThey don't know each other so\nnobody wants to back down.\n\n21\n00:01:02,960 --> 00:01:05,240\nNo way. I pick. You're Mr Pink.\n\n22\n00:01:05,320 --> 00:01:08,560\nBe thankful you're\nnot Mr Yellow.\n\n23\n00:01:08,640 --> 00:01:11,200\nYeah, but Mr Brown, that's a\nlittle too close to Mr Shit.\n\n24\n00:01:11,280 --> 00:01:13,000\nMr Pink sounds like Mr Pussy.\n\n25\n00:01:13,080 --> 00:01:16,960\nHow about if I'm Mr Purple? That\nsounds good to me. I'll be Mr Purple.\n\n26\n00:01:17,040 --> 00:01:19,520\nYou're not Mr Purple.\n\n27\n00:01:19,640 --> 00:01:23,800\nSome guy on some other job is Mr Purple.\nYou're Mr Pink!\n\n28\n00:01:23,880 --> 00:01:25,600\nWho cares what your name is?\n\n29\n00:01:25,720 --> 00:01:27,640\nYeah, that's easy for you to say.\nYou're Mr White.\n\n30\n00:01:27,670 --> 00:01:29,600\nYou have a cool-sounding name.\n\n31\n00:01:29,680 --> 00:01:33,080\nAll right, look, if it's no big deal\nto be Mr Pink, do you wanna trade?\n\n32\n00:01:33,160 --> 00:01:36,000\nHey, nobody's trading\nwith anybody.\n\n33\n00:01:36,080 --> 00:01:39,200\nThis ain't a goddamn fuckin'\ncity council meeting, you know?\n\n34\n00:01:40,880 --> 00:01:42,960\nNow, listen up, Mr Pink,\n\n35\n00:01:43,080 --> 00:01:45,520\nthere's two ways you\ncan go on this job -\n\n36\n00:01:45,600 --> 00:01:48,080\nmy way or the highway.\n\n37\n00:01:48,200 --> 00:01:50,040\nNow, what's it\ngonna be, Mr Pink?\n\n38\n00:01:50,160 --> 00:01:53,640\nJesus Christ, Joe,\nfuckin' forget about it.\n\n39\n00:01:53,760 --> 00:01:56,440\nIt's beneath me, you know. I'm Mr Pink.\nLet's move on.\n\n40\n00:01:56,520 --> 00:01:58,920\nI'll move on when\nI feel like it.\n\n41\n00:01:59,800 --> 00:02:02,040\nAll you guys got the\ngoddamn message?\n\n42\n00:02:04,160 --> 00:02:07,520\nI'm so goddamn mad hollering at\nyou guys, I can hardly talk.\n\n43\n00:02:09,560 --> 00:02:11,600\nLet's go to work.\n\n", "screenplay": "{\"screenplay_scene_43\": \"<scene>\\n    <stage_direction>INT. WAREHOUSE - DAY</stage_direction>\\n    <scene_description>The four men enter the building . At the other end of the warehouse , sitting in chairs , are Mr. Blonde , Mr. Brown , Mr. Blue and Joe Cabot . We shoot this from OVERHEAD , looking down on the men .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( to everybody . )</parenthetical>\\n    <dialogue>. So they're talkin about how they get their wives off, and the French guys says :.</dialogue>\\n    <parenthetical>( in a bad French accent . )</parenthetical>\\n    <dialogue>`` All I got ta do is take my pinky and tickle my Fifi's little oo la la and she rises a foot off the bed.''</dialogue>\\n    <scene_description>Back to Joe . So the dago says : CU ON JOE</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( in a good Brooklyn accent . )</parenthetical>\\n    <dialogue>`` That's nothin. When I take the tip of my tongue and wiggle it against my Mary Louise's little fun pimple, she rises two feet off da bed.'' Then our friend from Poland says :.</dialogue>\\n    <parenthetical>( in dumb voice . )</parenthetical>\\n    <dialogue>`` You guys ai n't no cocksmen. When I get through fuckin my Sophie, I wipe my dick on the curtains and you know what? She hits the roof!''</dialogue>\\n    <scene_description>Joe laughs like a crazy man .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Ha, ha, ha, ha, ha, ha!</dialogue>\\n    <scene_description>We hear a lot of laughing OFF SCREEN .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Ai n't that a masterpiece? Stupid fuckin Polack, wipes his dick on the drapes.</dialogue>\\n    <scene_description>Joe 's eyes greet the new arrivals .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>You're here, great!</dialogue>\\n    <scene_description>Joe EXITS C.U. . We now have everybody from the Uncle Bob 's Pancake House scene together again . Some sit on folding chairs , some stand . Joe sits in front of them on the edge of a table . A blackboard with a layout of the jewelry store is off to the right . We do a 360 around the men .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>We woulda gotten here sooner, but we got backed up around La Brea and Pico.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>No hurry.</dialogue>\\n    <parenthetical>( to the boys . )</parenthetical>\\n    <dialogue>All right, let's get to know one another. With the exception of Eddie and myself, who you already know, you'll be using aliases. Under no circumstances are you to tell one another your real name or anything else about yourself. That includes where you're from, your wife's name, where you might've done time, about a bank in St. Petersburg you might've robbed. You guys do n't say shit about who you are, where you been or what you've done. Only thing you guys can talk about is what you're going to do. This way the only ones who know who the members of the team are are Eddie and myself. And that's the way I like it. Because in the unlikely event of one of you getting apprehended by the cops, not that I expect that to happen - it most definitely should not happen - it has n't happened, you do n't have anything to deal with. You do n't know any names. You know my name, you know Eddie's name. That I do n't care about. You got ta prove it. I ai n't worried. Besides, this way you got ta trust me. I like that. I set this up and picked the men I wanted for it. None of you came to me, I approached all of you. I know you. I know your work, I know your reputation. I know you as men. Except for this guy.</dialogue>\\n    <scene_description>Joe points a finger at Freddy . Freddy shits a brick .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>But he's OK. If he was n't OK, he would n't be here. Okay, let me introduce everybody to everybody. But once again, at the risk of being redundant, if I even think I hear somebody telling or referring to somebody by their Christian name.</dialogue>\\n    <parenthetical>( Joe searches for the right words . )</parenthetical>\\n    <dialogue>. you wo n't want to be you. Okay, quickly.</dialogue>\\n    <parenthetical>( pointing at the men as he gives them a name . )</parenthetical>\\n    <dialogue>Mr. Brown, Mr. White, Mr. Blonde, Mr. Blue, Mr. Orange, and Mr. Pink.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Why am I Mr. Pink?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Cause you're a faggot.</dialogue>\\n    <scene_description>Everybody laughs .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Why ca n't we pick out our own colors?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I tried that once, it do n't work. You get four guys fighting over who's gon na be Mr. Black. Since nobody knows anybody else, nobody wants to back down. So forget it, I pick. Be thankful you're not Mr. Yellow.</dialogue>\\n    <character>MR. BROWN</character>\\n    <dialogue>Yeah, but Mr. Brown? That's too close to Mr. Shit.</dialogue>\\n    <scene_description>Everybody laughs .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>Yeah, Mr. Pink sounds like Mr. Pussy. Tell you what, let me be Mr. Purple. That sounds good to me, I'm Mr. Purple.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>You're not Mr. Purple, somebody from another job's Mr. Purple. You're Mr. Pink.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Who cares what your name is? Who cares if you're Mr. Pink, Mr. Purple, Mr. Pussy, Mr. Piss.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Oh that's really easy for you to say, you're Mr. White. You got ta cool - sounding name. So tell me, Mr. White, if you think `` Mr. Pink'' is no big deal, you wan na trade?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Nobody's trading with anybody! Look, this ai n't a goddamn fuckin city counsel meeting! Listen up Mr. Pink. We got two ways here, my way or the highway. And you can go down either of'em. So what's it gon na be, Mr. Pink?</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Jesus Christ, Joe. Fuckin forget it. This is beneath me. I'm Mr. Pink, let's move on.</dialogue>\\n    <scene_description>CAMERA leaves the team and goes to the blackboard with the layout of the jewelry store on it .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Okay fellas, let's get into this.</dialogue>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "4839.46", "video_duration": "131.68"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "V4oD_XDsZALP", "audio_description_us": "1\n00:01:37,470 --> 00:01:40,310\nOrange wears a flat expression as he listens attentively.\n\n2\n00:01:40,310 --> 00:01:42,190\nA smile eases onto his face.\n\n", "audio_description_uk": "1\n00:01:38,100 --> 00:01:39,680\nWhite stares ahead, smoking.\n\n2\n00:01:39,850 --> 00:01:41,020\nOrange looks at him.\n\n", "subtitles": "1\n00:00:00,280 --> 00:00:03,080\nLet's go over it.\nWhere are you?\n\n2\n00:00:03,180 --> 00:00:06,780\nI stand outside and guard the door.\nI don't let anybody go in or out.\n\n3\n00:00:07,480 --> 00:00:09,680\n- Mr. Brown.\n- He waits in the car.\n\n4\n00:00:09,780 --> 00:00:13,280\nI give him the signal,\nhe pulls up in front.\n\n5\n00:00:13,380 --> 00:00:15,580\nMr. Blonde and Mr. Blue.\n\n6\n00:00:15,680 --> 00:00:19,260\nCrowd control. They handle\nthe customers and the employees.\n\n7\n00:00:19,280 --> 00:00:22,480\n- That girl's ass.\n- Sittin' right here on my dick.\n\n8\n00:00:24,980 --> 00:00:26,980\nMyself and Mr. Pink?\n\n9\n00:00:27,080 --> 00:00:31,180\nYou two take the manager\nand make him give you the diamonds.\n\n10\n00:00:31,280 --> 00:00:33,380\nWe're there\nfor those stones, period.\n\n11\n00:00:33,480 --> 00:00:36,980\nSince no display cases are being\nfucked with, no alarms should go off.\n\n12\n00:00:38,180 --> 00:00:41,180\nWe're out in two minutes,\nnot one second longer.\n\n13\n00:00:42,380 --> 00:00:45,380\nWhat if the manager\nwon't give you the diamonds?\n\n14\n00:00:46,380 --> 00:00:49,880\nA store like this\nis insured up the ass.\n\n15\n00:00:49,980 --> 00:00:52,880\nThey're not supposed to give you\nany resistance whatsoever.\n\n16\n00:00:52,980 --> 00:00:56,680\nIf you get a customer or an employee\nwho thinks he's Charles Bronson...\n\n17\n00:00:56,780 --> 00:00:59,160\nsmash their nose with your gun.\n\n18\n00:00:59,180 --> 00:01:01,680\nDrops him right to the floor.\nEveryone jumps.\n\n19\n00:01:01,780 --> 00:01:04,760\nHe falls down screaming,\nblood squirts out of his nose.\n\n20\n00:01:04,780 --> 00:01:07,780\nFreaks everybody out.\nNobody says fuckin' shit after that.\n\n21\n00:01:08,880 --> 00:01:11,360\nSome bitch might\ntalk shit to you.\n\n22\n00:01:11,380 --> 00:01:15,380\nGive her a look like she's next.\nWatch her shut the fuck up.\n\n23\n00:01:16,580 --> 00:01:19,180\nIf it's the manager,\nthat's different.\n\n24\n00:01:19,280 --> 00:01:21,560\nThe managers know not\nto fuck around...\n\n25\n00:01:21,580 --> 00:01:23,880\nso if he's giving you static...\n\n26\n00:01:23,980 --> 00:01:28,180\nhe probably thinks he's a real cowboy\nso you gotta that bastard in two.\n\n27\n00:01:28,280 --> 00:01:32,180\nIf he won't tell ya something,\ncut off one of his fingers.\n\n28\n00:01:32,280 --> 00:01:35,560\nThe little one.\nThen tell him his thumb's next.\n\n29\n00:01:35,580 --> 00:01:38,580\nAfter that he'll tell you\nif he wears ladies underwear.\n\n30\n00:01:42,580 --> 00:01:44,480\nI'm hungry.\nLet's get a taco.\n\n", "sdh": "1\n00:00:00,000 --> 00:00:02,440\n(Mr White) Let's go over it.\nWhere are you?\n\n2\n00:00:02,520 --> 00:00:04,460\n(Mr Orange) I stand outside\nand guard the door.\n\n3\n00:00:04,490 --> 00:00:06,440\nI don't let anybody\ngo in or go out.\n\n4\n00:00:06,560 --> 00:00:09,040\n- (Mr White) Mr Brown?\n- (Mr Orange) Mr Brown waits in the car.\n\n5\n00:00:10,160 --> 00:00:13,020\nHe's parked across the street. When I\nsignal he pulls up in front of the store.\n\n6\n00:00:13,040 --> 00:00:15,400\nMr Blonde and Mr Blue?\n\n7\n00:00:15,520 --> 00:00:19,040\nCrowd control. They handle\ncustomers and employees.\n\n8\n00:00:19,120 --> 00:00:22,240\n- That girl's ass?\n- Sitting right here on my dick.\n\n9\n00:00:22,320 --> 00:00:24,040\n(Laughs)\n\n10\n00:00:24,760 --> 00:00:26,680\nMyself and Mr Pink?\n\n11\n00:00:26,760 --> 00:00:30,880\nAh, you two take the manager in the back\nand make him give you the diamonds.\n\n12\n00:00:31,000 --> 00:00:33,120\nWe're there for those\nstones, period.\n\n13\n00:00:33,200 --> 00:00:37,800\nSince no display cases are being\nfucked with, no alarms should go off.\n\n14\n00:00:37,880 --> 00:00:40,600\nWe're out of there in two minutes.\nNot one second longer.\n\n15\n00:00:42,240 --> 00:00:46,080\nWhat happens if the manager\nwon't give you the diamonds?\n\n16\n00:00:46,160 --> 00:00:49,520\nWhen you're dealing with a store like\nthis, they're insured up the ass.\n\n17\n00:00:49,640 --> 00:00:52,480\nThey're not supposed to give\nyou any resistance whatsoever.\n\n18\n00:00:52,600 --> 00:00:56,440\nIf you get a customer or an employee\nwho thinks he's Charles Bronson,\n\n19\n00:00:56,520 --> 00:00:58,800\ntake the butt of your gun\nand smash their nose in.\n\n20\n00:00:58,880 --> 00:01:01,680\nIt drops them right to the floor.\nEveryone jumps.\n\n21\n00:01:01,760 --> 00:01:04,480\nHe falls down screaming, blood\nsquirts out of his nose -\n\n22\n00:01:04,560 --> 00:01:08,520\nfreaks everybody out. Nobody\nsays fuckin' shit after that.\n\n23\n00:01:08,600 --> 00:01:11,000\nYou might get some bitch\ntalk shit to you,\n\n24\n00:01:11,120 --> 00:01:13,720\nbut give her a look like you're\ngonna smash her face next.\n\n25\n00:01:13,800 --> 00:01:16,280\n- Watch her shut the fuck up.\n- (Laughs)\n\n26\n00:01:16,360 --> 00:01:18,520\nNow if it's a manager,\nthat's a different story.\n\n27\n00:01:18,600 --> 00:01:21,320\nThe managers know better\nthan to fuck around.\n\n28\n00:01:21,400 --> 00:01:23,300\nSo, if you get one that's\ngiving you static,\n\n29\n00:01:23,330 --> 00:01:25,240\nhe probably thinks\nhe's a real cowboy,\n\n30\n00:01:25,320 --> 00:01:27,520\nso you got to break that\nson of a bitch in two.\n\n31\n00:01:27,640 --> 00:01:31,960\nIf you wanna know something and he won't\ntell you, cut off one of his fingers.\n\n32\n00:01:32,040 --> 00:01:35,520\nThe little one. Then tell\nhim his thumb's next.\n\n33\n00:01:35,600 --> 00:01:39,080\nAfter that he'll tell you if\nhe wears ladies' underwear.\n\n34\n00:01:42,520 --> 00:01:44,760\nI'm hungry. Let's get a taco.\n\n", "screenplay": "{\"screenplay_scene_45\": \"<scene>\\n    <stage_direction>EXT. KARINA'S FINE JEWELRY - DAY</stage_direction>\\n    <scene_description>We see MOS SHOTS of the outside of the jewelry store . CUSTOMERS coming and going . STORE CLERKS waiting on customers through the windows . While we look at this we HEAR over the soundtrack Mr. White and Freddy talking OFF SCREEN .</scene_description>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( VO . )</parenthetical>\\n    <dialogue>Let's go over it. Where are you?</dialogue>\\n    <character>FREDDY</character>\\n    <parenthetical>( VO . )</parenthetical>\\n    <dialogue>I stand outside and guard the door. I do n't let anybody come in or go out.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( VO . )</parenthetical>\\n    <dialogue>Mr. Brown?</dialogue>\\n    <character>FREDDY</character>\\n    <parenthetical>( VO . )</parenthetical>\\n    <dialogue>Mr. Brown stays in the car. He's parked across the street till I give him the signal, then he pulls up in front of the store.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( VO . )</parenthetical>\\n    <dialogue>Mr. Blonde and Mr. Blue?</dialogue>\\n    <character>FREDDY</character>\\n    <parenthetical>( VO . )</parenthetical>\\n    <dialogue>Crowd control. They handle customers and employees in the display area.</dialogue>\\n  </scene>\", \"screenplay_scene_46\": \"<scene>\\n    <stage_direction>INT. MR. WHITE'S CAR (PARKED) - DAY</stage_direction>\\n    <scene_description>Mr. White and Freddy sit in a car parked across the street from the jewelry store , staking it out .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Myself and Mr. Pink?</dialogue>\\n    <character>FREDDY</character>\\n    <dialogue>You two take the manager in the back and make him give you the diamonds. We're there for those stones, period. Since no display cases are being fucked with, no alarms should go off. We're out of there in two minutes, not one second longer. What if the manager wo n't give up the diamonds?</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>When you're dealing with a store like this, they're insured up the ass. They're not supposed to give you and resistance whatsoever. If you get a customer or an employee who thinks he's Charles Bronson, take the butt of your gun and smash their nose in. Drops'em right to the floor. Everyone jumps, he falls down, screaming, blood squirts out his nose. Freaks everybody out. Nobody says fuckin shit after that. You might get some bitch talk shit to ya. But give her a look, like you're gon na smash her in the face next. Watch her shut the fuck up. Now if it's a manager, that's a different story. The managers know better than to fuck around. So if one's givin you static, he probably thinks he's a real cowboy. So what you got ta do is break that son - of - a - bitch in two. If you wan na know something and he wo n't tell you, cut off one of his fingers. The little one. Then you tell ` im his thumb's next. After that he'll tell ya if he wears ladies underwear. I'm hungry, let's get a taco.</dialogue>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "4971.14", "video_duration": "105.63"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "WLqn4nZLh_tm", "audio_description_us": "1\n00:00:00,210 --> 00:00:02,000\nIt speeds towards a parked car.\n\n2\n00:00:04,300 --> 00:00:05,210\nBrown drives.\n\n3\n00:00:05,210 --> 00:00:06,760\nBlood runs down his forehead.\n\n4\n00:00:06,920 --> 00:00:08,550\nLarry and Orange sit in back.\n\n5\n00:00:11,300 --> 00:00:13,350\nThe car's front ends are locked together.\n\n6\n00:00:15,350 --> 00:00:16,480\nThe car smokes.\n\n7\n00:00:16,560 --> 00:00:17,560\nLarry gets out.\n\n8\n00:00:19,940 --> 00:00:21,860\nHe pulls two pistols from his pockets.\n\n9\n00:00:21,980 --> 00:00:23,900\nBrown continues trying to free the car.\n\n10\n00:00:24,110 --> 00:00:25,070\nOrange gets out.\n\n11\n00:00:28,240 --> 00:00:30,360\nLarry peeks around a chain link fence.\n\n12\n00:00:41,170 --> 00:00:42,920\nA cop car turns facing Larry.\n\n13\n00:00:42,920 --> 00:00:44,500\nHe unloads into the windshield.\n\n14\n00:00:44,500 --> 00:00:46,840\nIn their car, two cops are riddled with bullets.\n\n15\n00:00:47,710 --> 00:00:50,590\nOrange watches, mouth slightly open, hinting at a frown.\n\n16\n00:00:50,760 --> 00:00:51,640\nHe looks down.\n\n17\n00:00:51,800 --> 00:00:53,800\nBrown is motionless in the driver's seat.\n\n18\n00:00:57,350 --> 00:00:58,520\nLarry checks Brown.\n\n19\n00:01:00,100 --> 00:01:01,980\nHe tugs at Orange and guides him ahead.\n\n20\n00:01:02,190 --> 00:01:04,150\nOrange stares as the two walk away.\n\n21\n00:01:04,270 --> 00:01:06,780\nLarry reloads and the pair quickens their pace.\n\n22\n00:01:26,000 --> 00:01:27,380\nThey speed up to a jog.\n\n23\n00:01:27,500 --> 00:01:30,260\nLarry holds his pistol and arm around Orange's shoulder.\n\n24\n00:01:30,420 --> 00:01:33,260\nThey point their guns at an approaching car driven by a lady.\n\n25\n00:01:37,260 --> 00:01:38,890\nShe reaches for the glove box.\n\n26\n00:01:41,190 --> 00:01:42,390\nShe shoots Orange.\n\n27\n00:01:42,560 --> 00:01:43,900\nHe shoots her in the chest.\n\n28\n00:01:43,940 --> 00:01:45,110\nShe falls backward.\n\n29\n00:01:45,230 --> 00:01:47,070\nLarry rushes around to his aid.\n\n30\n00:01:47,150 --> 00:01:49,320\nHe continues pointing the pistol toward the woman.\n\n31\n00:01:49,480 --> 00:01:50,780\nLarry drags him away.\n\n32\n00:01:50,940 --> 00:01:52,610\nOrange squirms in the back seat.\n\n", "audio_description_uk": "1\n00:00:00,790 --> 00:00:02,290\nA car tears round the corner,\n\n2\n00:00:02,290 --> 00:00:03,420\nhitting a parked car.\n\n3\n00:00:03,500 --> 00:00:06,380\nBrown is driving, a bloody wound on his forehead.\n\n4\n00:00:06,630 --> 00:00:08,050\nWhite and Orange are in the back.\n\n5\n00:00:08,130 --> 00:00:09,970\nThe car's bumpers are locked together.\n\n6\n00:00:19,650 --> 00:00:20,480\nWhite gets out\n\n7\n00:00:20,480 --> 00:00:22,690\nand looks back towards the sound of the sirens.\n\n8\n00:00:22,730 --> 00:00:24,110\nOrange gets out as well.\n\n9\n00:00:28,530 --> 00:00:30,160\nWhite pulls out two guns.\n\n10\n00:00:30,240 --> 00:00:31,910\nBrown sits in the driver's seat.\n\n11\n00:00:31,910 --> 00:00:33,450\nOrange stands by his window.\n\n12\n00:00:43,790 --> 00:00:44,960\nThe police car approaches.\n\n13\n00:00:45,050 --> 00:00:47,920\nWhite fires the guns into the car, killing both officers.\n\n14\n00:00:48,010 --> 00:00:49,090\nOrange watches.\n\n15\n00:00:57,640 --> 00:00:58,600\nBrown is dead.\n\n16\n00:01:01,900 --> 00:01:04,690\nWhite leads Orange away, who walks in a daze.\n\n17\n00:01:05,020 --> 00:01:08,780\nAs White reloads his gun,\nOrange begins to pull himself together.\n\n18\n00:01:15,240 --> 00:01:18,910\nThey march quickly, White looking over his shoulder\nas they leave the cars,\n\n19\n00:01:18,950 --> 00:01:20,080\npassing by a house\n\n20\n00:01:20,080 --> 00:01:22,920\nand heading towards a road, both carrying guns.\n\n21\n00:01:31,340 --> 00:01:32,470\nA car approaches.\n\n22\n00:01:32,510 --> 00:01:34,010\nThey both aim their guns at it.\n\n23\n00:01:37,930 --> 00:01:39,560\nThe female driver has a gun.\n\n24\n00:01:44,020 --> 00:01:46,400\nShe shoots Orange as he opens the driver's door.\n\n25\n00:01:46,400 --> 00:01:47,400\nHe falls to the ground\n\n26\n00:01:47,400 --> 00:01:48,940\nand returns fire, killing her.\n\n27\n00:01:49,150 --> 00:01:50,320\nWhite rushes round\n\n28\n00:01:50,320 --> 00:01:51,200\nand picks him up.\n\n29\n00:01:54,070 --> 00:01:54,870\nWhite drives.\n\n30\n00:01:54,870 --> 00:01:56,240\nOrange is in the back seat.\n\n", "subtitles": "1\n00:00:14,460 --> 00:00:15,460\nFuck.\n\n2\n00:00:33,960 --> 00:00:35,660\nJesus.\n\n3\n00:00:35,760 --> 00:00:37,930\nI'm blind, man.\nI'm fuckin' blind.\n\n4\n00:00:37,960 --> 00:00:40,460\nNo, you just got\nblood in your eyes.\n\n5\n00:00:53,560 --> 00:00:54,960\nIs he dead?\n\n6\n00:00:56,360 --> 00:00:58,260\nDid he die or not?\n\n7\n00:00:59,460 --> 00:01:00,860\nLet's go.\n\n8\n00:01:35,560 --> 00:01:37,860\nHold it! Get out!\n\n9\n00:01:39,460 --> 00:01:41,460\nGet out of the fuckin' car!\n\n10\n00:01:56,960 --> 00:01:59,160\nI'm sorry.\nI'm sorry, Larry.\n\n11\n00:02:00,260 --> 00:02:02,160\nI can't believe she killed me.\n\n12\n00:02:02,260 --> 00:02:03,730\nWho'd have fucking thought that?\n\n13\n00:02:03,760 --> 00:02:06,460\nHey, just cancel that shit\nright now.\n\n14\n00:02:06,560 --> 00:02:09,460\nYou're hurt.\nYou're hurt real fuckin' bad.\n\n15\n00:02:09,560 --> 00:02:11,260\nBut you ain't dying.\n\n", "sdh": "1\n00:00:01,080 --> 00:00:02,680\n(Tires squeal)\n\n2\n00:00:04,160 --> 00:00:05,960\n(Distant sirens)\n\n3\n00:00:10,400 --> 00:00:11,920\nCome on!\n\n4\n00:00:14,520 --> 00:00:16,840\n- Fuck!\n- (Revs engine)\n\n5\n00:00:18,720 --> 00:00:20,600\n(Sirens)\n\n6\n00:00:21,920 --> 00:00:24,280\n(Engine revving)\n\n7\n00:00:26,480 --> 00:00:28,280\nFuck!\n\n8\n00:00:28,360 --> 00:00:30,200\n(Helicopter)\n\n9\n00:00:33,760 --> 00:00:36,600\nJesus! I got blinded, man.\n\n10\n00:00:36,720 --> 00:00:38,430\nI'm fuckin' blind.\n\n11\n00:00:38,460 --> 00:00:40,200\nYou're not. You just got\nblood in your eyes.\n\n12\n00:00:40,760 --> 00:00:42,760\n(Tires squeal)\n\n13\n00:00:45,240 --> 00:00:47,240\nAargh!\n\n14\n00:00:53,400 --> 00:00:54,760\nIs he dead?\n\n15\n00:00:56,160 --> 00:00:59,240\n- Did he die or not?\n- (Sirens and helicopter approach)\n\n16\n00:00:59,320 --> 00:01:00,960\nLet's go.\n\n17\n00:01:35,440 --> 00:01:37,680\n- Hold it!\n- Hold it! Right there!\n\n18\n00:01:39,600 --> 00:01:42,240\n- Get out of the fuckin' car!\n- (Gunshot)\n\n19\n00:01:42,320 --> 00:01:43,920\n(Gunshot)\n\n20\n00:01:53,720 --> 00:01:55,120\n(Squeals in pain)\n\n21\n00:01:56,920 --> 00:01:59,240\nI'm sorry. I'm sorry, Larry.\n\n22\n00:01:59,320 --> 00:02:01,800\nL... l can't believe\nshe killed me.\n\n23\n00:02:01,880 --> 00:02:03,600\nWho'd have fuckin' thought that?\n\n24\n00:02:03,720 --> 00:02:06,160\nHey, just cancel\nthat shit right now.\n\n25\n00:02:06,240 --> 00:02:09,240\nYou're hurt. You're\nhurt real fuckin' bad,\n\n26\n00:02:09,360 --> 00:02:10,840\nbut you ain't dying.\n\n27\n00:02:10,920 --> 00:02:12,320\nOhh!\n\n", "screenplay": "{\"screenplay_scene_47\": \"<scene>\\n    <stage_direction>EXT. ALLEY - DAY</stage_direction>\\n    <scene_description>It 's the moment of the robbery . The alley is empty . In the distance we hear all hell breaking loose . Guns FIRING , people SHOUTING and SCREAMING , sirens WAILING , glass BREAKING . A car whips around the corner , into the alley . The doors BURST open , Freddy and Mr. White hop out . Freddy opens the driver 's side door . A bloody SCREAMING Mr. Brown FALLS out .</scene_description>\\n    <character>MR. BROWN</character>\\n    <parenthetical>( screaming . )</parenthetical>\\n    <dialogue>My eyes! My eyes! I'm blind, I'm fucking blind!</dialogue>\\n    <character>FREDDY</character>\\n    <dialogue>You're not blind, there's just blood in your eyes.</dialogue>\\n    <scene_description>Mr. White loads his two .45 automatics . He RUNS to the end of the alley just as a police car comes into SIGHT . FIRING both .45 's , Mr. White massacres everyone in the patrol car . Freddy , holding the dying Mr. Brown , looks on at Mr. White 's ambush in shock . Mr. Brown lifts his head up , blood in his eyes .</scene_description>\\n    <character>MR. BROWN</character>\\n    <dialogue>Mr. Orange? You're Mr. Orange, are n't you?</dialogue>\\n    <scene_description>By the time Freddy turns his head back to him , Mr. Brown is dead . Mr. White RUNS up to Freddy .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Is he dead?</dialogue>\\n    <scene_description>Freddy does n't answer , he ca n't .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Did he did or not?</dialogue>\\n    <scene_description>Freddy , scared .</scene_description>\\n    <character>FREDDY</character>\\n    <dialogue>I'm sorry.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>What? Snap out of it!</dialogue>\\n    <scene_description>Mr. White GRABS Freddy by the coat and YANKS him along as he RUNS . They EXIT the alley and FLEE down a street . A car with a FEMALE DRIVER comes up on the two men . Mr. White JUMPS in her path , stopping the car . He points his jun at her .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Get us outta here!</dialogue>\\n    <scene_description>Mr. White climbs into the backseat . Freddy starts to climb in . The Female driver comes up with a gun from under her seat .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>The bitch's got a gun!</dialogue>\\n    <scene_description>She SHOOTS Freddy in the stomach . On instinct Freddy brings up his gun and SHOOTS her in the face . C.U. ON FREDDY as he FALLS to the ground he realizes what 's happened to him and what he 's done . SLOW MOTION . Mr White DRAGS the dead female driver out of the car . He SHOVES Freddy in the backseat and DRIVES away .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "5076.86", "video_duration": "132.38"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "Qlq31vNSEYgf", "audio_description_us": "1\n00:00:08,130 --> 00:00:09,260\nJoe passes Blonde\n\n2\n00:00:09,260 --> 00:00:10,510\nand walks to the others.\n\n3\n00:00:12,260 --> 00:00:13,640\nJoe points to Orange.\n\n4\n00:01:14,830 --> 00:01:17,580\nJoe aims at Orange, Larry at Joe, Eddie at Larry.\n\n5\n00:02:09,050 --> 00:02:12,420\nJoe shoots Orange, Larry shoots Joe,\nEddie and Larry shoot each other.\n\n", "audio_description_uk": "1\n00:00:08,930 --> 00:00:10,260\nJoe enters the warehouse.\n\n2\n00:01:15,740 --> 00:01:17,160\nAll three pull guns.\n\n3\n00:02:09,960 --> 00:02:12,380\nEddie, Joe and White all fall to the floor.\n\n4\n00:02:12,630 --> 00:02:13,430\nWhite stirs\n\n", "subtitles": "1\n00:00:00,600 --> 00:00:03,900\nWhy don't you tell me\nwhat really happened.\n\n2\n00:00:04,000 --> 00:00:05,700\nWhat the hell for?\n\n3\n00:00:06,800 --> 00:00:08,700\nIt'd just be more bullshit.\n\n4\n00:00:10,900 --> 00:00:12,900\nThis man set us up.\n\n5\n00:00:14,100 --> 00:00:17,180\nDad, I'm sorry,\nbut I don't know what's happening.\n\n6\n00:00:17,200 --> 00:00:21,000\n- It's all right. I do.\n- What are you talking about?\n\n7\n00:00:21,100 --> 00:00:24,800\nThat lump of shit's workin'\nwith the L.A.P.D.\n\n8\n00:00:26,100 --> 00:00:29,400\nI don't have the slightest\nfucking idea...\n\n9\n00:00:29,500 --> 00:00:30,900\nwhat you're talking about.\n\n10\n00:00:31,000 --> 00:00:34,580\nJoe, I don't know what you think\nyou know, but you're wrong.\n\n11\n00:00:34,600 --> 00:00:36,400\nLike hell I am.\n\n12\n00:00:36,500 --> 00:00:39,600\nTrust me on this.\nYou've made a mistake.\n\n13\n00:00:39,700 --> 00:00:41,380\nHe's a good kid.\n\n14\n00:00:41,400 --> 00:00:44,000\nI understand\nyou're super-fuckin'-pissed.\n\n15\n00:00:44,100 --> 00:00:45,880\nWe're all real emotional.\n\n16\n00:00:45,900 --> 00:00:50,180\nBut you're barking up the wrong tree.\nI know him. He wouldn't do that.\n\n17\n00:00:50,200 --> 00:00:51,800\nYou don't know jack shit!\n\n18\n00:00:51,900 --> 00:00:53,000\nI do.\n\n19\n00:00:53,100 --> 00:00:55,000\nThe cocksucker\ntipped off the cops...\n\n20\n00:00:55,100 --> 00:00:57,200\nand got Mr. Brown\nand Mr. Blue killed.\n\n21\n00:00:57,300 --> 00:01:00,300\n- Mr. Blue is dead?\n- Dead as Dillinger.\n\n22\n00:01:00,400 --> 00:01:02,400\nHow do you know all this?\n\n23\n00:01:02,500 --> 00:01:05,900\nHe was the only one\nI wasn't 100 percent on.\n\n24\n00:01:06,000 --> 00:01:09,200\nI should have my head examined,\ngoing ahead when I wasn't 100 percent.\n\n25\n00:01:09,300 --> 00:01:13,080\n- That's your proof?\n- With instinct, you don't need proof.\n\n26\n00:01:13,100 --> 00:01:15,500\nI ignored it before,\nbut no more.\n\n27\n00:01:17,800 --> 00:01:20,100\nHave you lost your fuckin' mind?\n\n28\n00:01:20,200 --> 00:01:23,000\nI'm not gonna let you make\na terrible mistake.\n\n29\n00:01:23,100 --> 00:01:26,000\nCome on, guys.\nNobody wants this.\n\n30\n00:01:26,100 --> 00:01:28,000\nWe're supposed to be\nfuckin' professionals.\n\n31\n00:01:28,900 --> 00:01:30,780\nLarry, look...\n\n32\n00:01:30,800 --> 00:01:32,800\nit's been quite a long time.\n\n33\n00:01:32,900 --> 00:01:34,300\nA lot of jobs.\n\n34\n00:01:34,400 --> 00:01:37,400\nThere's no need for this, man.\n\n35\n00:01:37,500 --> 00:01:39,900\nLet's just put our guns down...\n\n36\n00:01:41,100 --> 00:01:42,780\nand let's settle this...\n\n37\n00:01:42,800 --> 00:01:44,500\nwith a fucking conversation.\n\n38\n00:01:44,600 --> 00:01:48,000\nJoe, if you kill that man,\nyou die next.\n\n39\n00:01:48,100 --> 00:01:50,300\nRepeat: you kill him,\nyou die next.\n\n40\n00:01:50,400 --> 00:01:53,700\nLarry, we have been friends.\n\n41\n00:01:53,800 --> 00:01:55,900\nYou respect my dad\nand I respect you...\n\n42\n00:01:56,000 --> 00:01:57,900\nbut I'll put bullets\nin you.\n\n43\n00:01:58,000 --> 00:02:00,300\nYou put that fuckin' gun\ndown now.\n\n44\n00:02:01,100 --> 00:02:03,380\nGoddamn you, Joe...\n\n45\n00:02:03,400 --> 00:02:04,880\ndon't make me do this.\n\n46\n00:02:04,900 --> 00:02:07,600\nLarry, you stop pointin' that gun\nat my dad!\n\n", "sdh": "1\n00:00:00,420 --> 00:00:03,740\nWhy don't you tell me\nwhat really happened.\n\n2\n00:00:03,820 --> 00:00:06,300\nWhat the hell for?\n\n3\n00:00:06,380 --> 00:00:08,380\nIt'd just be more bullshit.\n\n4\n00:00:10,980 --> 00:00:12,660\nThis man set us up.\n\n5\n00:00:13,900 --> 00:00:16,900\nDad, I'm sorry, but I don't\nknow what the hell's happening.\n\n6\n00:00:16,980 --> 00:00:18,460\nIt's all right, Eddie, I do.\n\n7\n00:00:18,540 --> 00:00:20,780\nWhat the fuck are\nyou talking about?\n\n8\n00:00:20,860 --> 00:00:24,460\nThat lump of shit's\nworkin' with the LAPD.\n\n9\n00:00:25,900 --> 00:00:30,700\nI don't have the slightest fuckin'\nidea what you're talking about.\n\n10\n00:00:30,780 --> 00:00:34,340\nJoe, I don't know what you think\nyou know, but you're wrong.\n\n11\n00:00:34,420 --> 00:00:36,140\nLike hell I am.\n\n12\n00:00:36,220 --> 00:00:39,140\nJoe, trust me on this,\nyou've made a mistake.\n\n13\n00:00:39,220 --> 00:00:41,060\nHe's a good kid.\n\n14\n00:00:41,140 --> 00:00:43,820\nI understand you're\nsuper-fuckin'-pissed.\n\n15\n00:00:43,900 --> 00:00:45,660\nWe're all real emotional.\n\n16\n00:00:45,780 --> 00:00:50,380\nBut you're barking up the wrong tree.\nI know this man, he wouldn't do that.\n\n17\n00:00:50,500 --> 00:00:52,940\nYou don't know jack shit! I do.\n\n18\n00:00:53,020 --> 00:00:54,820\nThe cocksucker\ntipped off the cops,\n\n19\n00:00:54,900 --> 00:00:56,980\nand got Mr Brown and\nMr Blue killed.\n\n20\n00:00:57,060 --> 00:00:58,540\nMr Blue is dead?\n\n21\n00:00:58,620 --> 00:01:00,020\nDead as Dillinger.\n\n22\n00:01:00,100 --> 00:01:02,100\nHow do you know all this?\n\n23\n00:01:02,220 --> 00:01:04,860\nHe was the only one I\nwasn't 100 percent on.\n\n24\n00:01:05,940 --> 00:01:08,940\nI should have my head examined, going\nahead when I wasn't 100 percent.\n\n25\n00:01:09,060 --> 00:01:10,920\nThat's your proof?\n\n26\n00:01:10,940 --> 00:01:12,820\nYou don't need proof\nwhen you have instinct!\n\n27\n00:01:12,940 --> 00:01:15,220\nI ignored it before,\nbut no more.\n\n28\n00:01:17,700 --> 00:01:19,900\nHave you lost your fuckin' mind?\n\n29\n00:01:19,980 --> 00:01:22,820\nYou're making a terrible mistake.\nI'm not gonna let you make it.\n\n30\n00:01:22,900 --> 00:01:25,180\nCome on, guys.\nNobody wants this.\n\n31\n00:01:25,260 --> 00:01:27,820\nWe're supposed to be\nfuckin' professionals.\n\n32\n00:01:27,900 --> 00:01:30,540\nLarry, look,\n\n33\n00:01:30,660 --> 00:01:32,460\nit's been quite a long time.\n\n34\n00:01:32,580 --> 00:01:34,020\nA lot of jobs.\n\n35\n00:01:34,100 --> 00:01:36,180\nThere's no need for this, man.\n\n36\n00:01:37,220 --> 00:01:39,700\nLet's just put our guns down...\n\n37\n00:01:40,940 --> 00:01:44,220\nand let's settle this with\na fuckin' conversation.\n\n38\n00:01:44,340 --> 00:01:47,940\nJoe, if you kill that\nman, you die next.\n\n39\n00:01:48,060 --> 00:01:50,020\nRepeat - if you kill\nthat man, you die next.\n\n40\n00:01:50,140 --> 00:01:52,740\n(Eddie) Larry, we\nhave been friends...\n\n41\n00:01:53,780 --> 00:01:57,900\nand you respect my dad and I respect you,\nbut I'll put bullets through your heart.\n\n42\n00:01:58,020 --> 00:02:00,020\nYou put that fuckin'\ngun down now!\n\n43\n00:02:00,100 --> 00:02:02,340\nGod damn you, Joe...\n\n44\n00:02:03,420 --> 00:02:04,620\ndon't make me do this.\n\n45\n00:02:04,740 --> 00:02:07,340\nLarry, stop pointin' that\nfuckin' gun at my dad!\n\n", "screenplay": "{\"screenplay_scene_50\": \"<scene>\\n    <stage_direction>INT. WAREHOUSE - DAY</stage_direction>\\n    <scene_description>MEDIUM SHOT on the door . Nice Guy Eddie , Mr. White and Mr. Pink walk through it . They stop in their tracks . We see what they see . Mr. Blonde , lying on the ground , shot full of holes . The cop slumped over in his chair , a bloody mess , Mr. Orange lying at the cop 's feet , holding his wound . Eddie , Mr. White and Mr. Pink walk into the shot .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>What the fuck happened here?</dialogue>\\n    <scene_description>Eddie runs over to his friend Mr. Blonde/Toothpick Vic .</scene_description>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>What happened?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( very weakly . )</parenthetical>\\n    <dialogue>Blonde went crazy. He slashed the cop's face, cut off his ear and was gon na burn him alive.</dialogue>\\n    <character>EDDIE</character>\\n    <parenthetical>( yelling . )</parenthetical>\\n    <dialogue>Who cares what he was gon na do to this fuckin pig?</dialogue>\\n    <scene_description>Eddie whips out his gun and SHOOTS the cop . The cop and the chair tip over . Eddie stands over him and SHOOTS him once more .</scene_description>\\n    <character>EDDIE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>You were saying he went crazy? Something like that? Worse or better?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Look, Eddie, he was pullin a burn. He was gon na kill the cop and me. And when you guys walked through the door, he was gon na blow you to hell and make off with the diamonds.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Eddie . )</parenthetical>\\n    <dialogue>Uhuh, uhuh, what's I tell ya? That sick piece of shit was a stone cold psycho.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( to Eddie . )</parenthetical>\\n    <dialogue>You could've asked the cop, if you did n't just kill him. He talked about what he was going to do when he was slicing him up.</dialogue>\\n    <character>EDDIE</character>\\n    <dialogue>I do n't buy it. It does n't make sense.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>It makes perfect fuckin sense to me. Eddie, you did n't see how he acted during the job, we did.</dialogue>\\n    <scene_description>Mr. Pink walks over to the cop 's body .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>He's right about the ear, it's hacked off.</dialogue>\\n    <character>EDDIE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>Let me say this out loud, just to get it straight in my mind. According to you, Mr. Blonde was gon na kill you. Then when we came back, kill us, grab the diamonds, and scram. That's your story? I'm correct about that, right?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Eddie, you can believe me or not believe me, but it's the truth. I swear on my mother's eternal soul that's what happened.</dialogue>\\n    <scene_description>The CAMERA mover into a C.U. of Nice Guy Eddie . There 's a long pause while he rolls over what Mr. Orange has said . Finally :</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>You're a fuckin liar. Now why do n't you drop the fuckin fairy tale and tell me what really happened?</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>He told you what really happened. You just ca n't deal with it.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Okay, you're right, I'm lying. Even though I'm fuckin dyin I'm not above pullin a fast one. Get rid of Blonde, we share his split - no, scratch that, I shot him'cause I did n't like his hair style. I did n't like his shoes either. If it has just been his hair, I'd've maybe, maybe I said, let him live. But hair and footwear together, he's a goner.</dialogue>\\n    <character>EDDIE</character>\\n    <dialogue>The man you killed was just released from prison. He got caught at a company warehouse full of hot items. He could've walked away. All he had to do was say my dad's name. But instead he shut his mouth and did his time. He did four years for us, and he did'em like a man. And we were very grateful. So, Mr. Orange, you're tellin me this very good friend of mine, who did four years for my father, who in four years never made a deal, no matter what they dangled in front of him, you're telling me that now, that now this man is free, and we're making good on our commitment to him, he's just gon na decide, right out of the fuckin blue, to rip us off?</dialogue>\\n    <scene_description>Silence .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>Mr. Orange, why do n't you tell me what really happened?</dialogue>\\n    <character>VOICE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Why? It'll just be more bullshit.</dialogue>\\n    <scene_description>Eddie steps out of his C.U. and we see Joe Cabot standing in the warehouse doorway . He walks into the room .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( pointing to Mr. Orange . )</parenthetical>\\n    <dialogue>This man set us up.</dialogue>\\n    <scene_description>CAMERA does a 360 around the men .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>Daddy, I'm sorry, I do n't know what's happening.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>That's okay, Eddie, I do.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Joe . )</parenthetical>\\n    <dialogue>What the fuck are you talking about?</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( pointing to Mr. Orange . )</parenthetical>\\n    <dialogue>That piece of shit. Workin with the cops.</dialogue>\\n    <character>MR. WHITE   MR. PINK   EDDIE</character>\\n    <dialogue>What?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I said this lump of shit is workin with the LAPD.</dialogue>\\n    <scene_description>MR. ORANGE 'S POV Looking up from the floor at everybody . Joe looks down at Mr. Orange .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Are n't you?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>I do n't have the slightest fuckin idea what you're talkin about.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( very calmly to Joe . )</parenthetical>\\n    <dialogue>Joe, I do n't know what you think you know, but you're wrong.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Like hell I am.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( very calmly . )</parenthetical>\\n    <dialogue>Joe, trust me on this, you've made a mistake. He's a good kid. I understand you're hot, you're super - fuckin pissed. We're all real emotional. But you're barking up the wrong tree. I know this man, and he would n't do that.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>You do n't know jack shit. I do. This rotten bastard tipped off the cops and got Mr. Brown and Mr. Blue killed.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Mr. Blue's dead?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Dead as Dillinger.</dialogue>\\n    <character>EDDIE</character>\\n    <dialogue>The motherfucker killed Vic.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>How do you know all this?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>He was the only one I was n't a hundred percent on. I should have my fucking head examined for goin forward when I was n't a hundred percent. But he seemed like a good kid, and I was impatient and greedy and all the things that fuck you up.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( screaming . )</parenthetical>\\n    <dialogue>That's your proof?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>You do n't need proof when you got instinct. I ignored it before, but not no more.</dialogue>\\n    <scene_description>He WHIPS out a revolver and aims it at Mr. Orange . Mr. White brings his .45 up at Joe . Eddie and Mr. Pink are shook awake by the flash of firearms . Eddie raises his gun , pointing it at Mr. White .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>Have you lost your fucking mind? Put your gun down!</dialogue>\\n    <scene_description>Mr. Pink fades into the B.G. , wanting no part of this .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Joe, you're making a terrible mistake I ca n't let you make.</dialogue>\\n    <character>EDDIE</character>\\n    <dialogue>Stop pointing your fuckin gun at daddy!</dialogue>\\n    <scene_description>Joe , never taking his eyes off Mr. Orange .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Do n't worry, Eddie. Me and Larry have been friends a long time, he ai n't gon na shoot. We like each other too much.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Joe, if you kill that man, you die next. Repeat, if you kill that man, you die next!</dialogue>\\n    <scene_description>We get many different angles of the Mexican standoff . MEDIUMS ON EVERYBODY Mr. Orange holding his belly , looking from left to right . Joe pointing down on Mr. Orange . Not taking his eyes off him . Mr. White pointing at Joe , looking like he 's ready to start firing any minute . Eddie scared shitless for his father , gun locked on Mr. White . Mr. Pink walking backwards away from the action . Nobody says nothing . FOUR SHOT of guys ready for violence . Mr. Pink in the B.G.</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>C'mon, guys, nobody wants this. We're supposed to me fuckin professionals!</dialogue>\\n    <scene_description>Joe raises his head to Mr. White .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Larry, I'm gon na kill him.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Goddamn you, Joe, do n't make me do this!</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Larry, I'm askin you to trust me on this.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Do n't ask me that.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I'm not askin, I'm betting.</dialogue>\\n    <scene_description>Joe 's eyes go back to Mr. Orange .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>Daddy, do n't!</dialogue>\\n    <scene_description>Joe FIRES three times , HITTING Mr. Orange with every one . Mr. White SHOOTS Joe twice in the face . Joe brings his hands up to his face , screaming , and falls to the ground . Eddie FIRES at Mr. White , HITTING him three times in the chest . Mr. White brings his gun around on Eddie and SHOOTS him . The two men FALL to their knees , FIRING at each other . Eddie COLLAPSES , dead . Joe 's dead . Mr. Orange lies perfectly still , except for his chest heaving . The only SOUND we hear is his loud breathing . Mr. White is SHOT full of holes , but still on his knees , not moving . Mr. Pink is standing motionless . Finally he grabs the satchel of diamonds and RUNS out the door . We hear outside a CAR START . Then the SOUND of a BULLHORN yells out :</scene_description>\\n    <character>POLICE FORCE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Freeze! Get out of the car and lie face down on the ground!</dialogue>\\n    <character>MR. PINK</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Do n't shoot!</dialogue>\\n    <scene_description>We now hear SIRENS , the SOUNDS of more CARS DRIVING UP , MEN RUNNING to the warehouse . While all this noise is going on , Mr. White tries to stand but FALLS DOWN . He somehow makes it to where Mr. Orange lies . He lifts Mr. Orange 's head , cradling it in his lap and stroking his brow .</scene_description>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( with much effort . )</parenthetical>\\n    <dialogue>Sorry, kid. Looks like we're gon na do a little time.</dialogue>\\n    <scene_description>Mr. Orange looks up at him and , with even more of an effort :</scene_description>\\n    <character>MR. ORANGE</character>\\n    <dialogue>I'm a cop.</dialogue>\\n    <scene_description>Mr. White does n't say anything , he keeps stroking Orange 's brow .</scene_description>\\n    <character>MR. ORANGE</character>\\n    <dialogue>I'm sorry, I'm so sorry.</dialogue>\\n    <scene_description>Mr. White lifts his .45 and places the barrel between Mr. Orange 's eyes . The CAMERA MOVES into an EXTREME C.U. of Mr White . The SOUNDS of outside STORM inside . We do n't see anything , but we HEAR a bunch of shotguns COCKING .</scene_description>\\n    <character>POLICE FORCE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Freeze, motherfucker! Drop your fucking gun!</dialogue>\\n    <scene_description>Mr White looks up at them , smiles , PULLS the trigger . BANG We hear a BURST of SHOTGUN FIRE . Mr. White is BLOWN out of frame , leaving it empty .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "5389.12", "video_duration": "133.79"}
{"rottentomatoes_id": "reservoir_dogs", "imdb_id": "tt0105236", "video_id": "qPyuOQUNjItO", "audio_description_us": "1\n00:00:12,140 --> 00:00:14,680\nLarry moves to cradle Orange's head in his lap.\n\n2\n00:00:42,420 --> 00:00:45,130\nOrange reaches his arms behind, hugging Larry.\n\n3\n00:00:49,840 --> 00:00:51,430\nLarry caresses Orange’s head.\n\n4\n00:00:54,220 --> 00:00:55,890\nLarry sits slumped over him.\n\n5\n00:01:25,130 --> 00:01:28,010\nLarry lifts his gun onto Orange's blood-soaked chest.\n\n6\n00:01:40,520 --> 00:01:42,480\nHe places the barrel against Orange's cheek\n\n7\n00:01:42,480 --> 00:01:43,980\nand holds his head firmly.\n\n8\n00:01:52,780 --> 00:01:53,660\nLarry looks up.\n\n9\n00:02:08,960 --> 00:02:11,800\nWith the first shot, Larry's arm shifts, remaining upright.\n\n", "audio_description_uk": "1\n00:00:03,800 --> 00:00:06,880\nWith a huge effort, he pulls himself towards Mr Orange,\n\n2\n00:00:06,880 --> 00:00:09,260\nwho reaches for him with blood covered hands.\n\n3\n00:00:09,720 --> 00:00:13,600\nWhite props himself up on one elbow behind Mr Orange.\n\n4\n00:00:28,860 --> 00:00:31,200\nOrange rests his head in White's lap.\n\n5\n00:00:53,930 --> 00:00:55,260\nThey cling to each other.\n\n6\n00:01:31,680 --> 00:01:33,390\nWhite still holds his gun.\n\n7\n00:01:33,760 --> 00:01:36,470\nHe struggles to lift it onto Orange's chest.\n\n8\n00:01:36,930 --> 00:01:40,230\nHe then manages to pull the gun towards Mr Orange's face\n\n9\n00:01:40,350 --> 00:01:42,020\nand points it to his cheek.\n\n10\n00:01:51,450 --> 00:01:53,990\nHe looks up at the sound of police entering.\n\n11\n00:02:11,920 --> 00:02:12,840\nHe falls back.\n\n", "subtitles": "1\n00:00:41,470 --> 00:00:43,370\nI'm sorry, kid.\n\n2\n00:00:45,770 --> 00:00:47,670\nLooks like we're gonna...\n\n3\n00:00:49,070 --> 00:00:50,970\ndo a little time.\n\n4\n00:00:57,470 --> 00:00:59,470\nI'm a cop.\n\n5\n00:01:01,270 --> 00:01:03,170\nLarry...\n\n6\n00:01:04,470 --> 00:01:06,370\nI'm sorry.\n\n7\n00:01:07,570 --> 00:01:09,350\nI'm...\n\n8\n00:01:09,370 --> 00:01:11,570\nso sorry.\n\n9\n00:01:14,370 --> 00:01:16,870\nI'm a cop.\n\n10\n00:01:33,870 --> 00:01:35,370\nI'm sorry.\n\n11\n00:01:47,070 --> 00:01:48,570\nI'm sorry.\n\n12\n00:01:50,170 --> 00:01:51,770\nI'm...\n\n13\n00:01:51,870 --> 00:01:53,170\nsorr...\n\n14\n00:01:55,870 --> 00:01:56,970\nFreeze!\n\n15\n00:01:57,070 --> 00:01:59,050\nDrop the fucking gun, buddy!\n\n16\n00:01:59,070 --> 00:02:01,050\n- Now!\n- Put the gun down!\n\n17\n00:02:01,070 --> 00:02:03,970\n- Don't do it!\n- Drop the gun, man!\n\n18\n00:02:04,070 --> 00:02:07,270\n- Drop the fucking gun!\n- We're gonna blow you away!\n\n", "sdh": "1\n00:00:10,450 --> 00:00:12,330\n(Freddy whimpers)\n\n2\n00:00:14,170 --> 00:00:15,810\n(Larry moans)\n\n3\n00:00:18,010 --> 00:00:20,570\n(Distant sirens)\n\n4\n00:00:29,090 --> 00:00:30,490\n(Larry coughs)\n\n5\n00:00:41,330 --> 00:00:43,290\nI'm sorry, kid.\n\n6\n00:00:45,610 --> 00:00:48,010\nLooks like we're gonna...\n\n7\n00:00:48,130 --> 00:00:51,050\n- do... do a little time.\n- (Men shouting outside)\n\n8\n00:00:51,130 --> 00:00:53,210\n(Freddy whimpers)\n\n9\n00:00:57,330 --> 00:00:58,810\nI'm a cop.\n\n10\n00:01:01,170 --> 00:01:02,690\nLarry...\n\n11\n00:01:04,450 --> 00:01:06,130\nI'm sorry.\n\n12\n00:01:07,570 --> 00:01:09,170\nI'm...\n\n13\n00:01:09,250 --> 00:01:11,490\nso... sorry.\n\n14\n00:01:14,330 --> 00:01:15,930\nI'm a cop.\n\n15\n00:01:16,010 --> 00:01:17,690\n(Mr White groans)\n\n16\n00:01:20,170 --> 00:01:22,250\n(Coughs and sobs)\n\n17\n00:01:22,330 --> 00:01:23,770\nI'm sorry.\n\n18\n00:01:24,250 --> 00:01:27,090\nOh! Oh!\n\n19\n00:01:27,170 --> 00:01:29,770\n(Shouting continues outside)\n\n20\n00:01:32,850 --> 00:01:34,690\nI'm sorry, I'm sorry.\n\n21\n00:01:46,050 --> 00:01:47,890\nI'm sorry.\n\n22\n00:01:49,130 --> 00:01:50,530\n(Moans)\n\n23\n00:01:51,930 --> 00:01:54,170\n- I'm... sorry...\n- (Door bangs open)\n\n24\n00:01:55,810 --> 00:01:59,010\n(Man) Freeze! Drop the\nfuckin' gun, buddy!\n\n25\n00:01:59,090 --> 00:02:00,810\n- (2nd man) Now!\n- (Man) Put the gun down!\n\n26\n00:02:00,890 --> 00:02:02,650\n- Don't do it!\n- Drop the gun, man!\n\n27\n00:02:02,730 --> 00:02:05,050\n- Drop the gun.\n- Drop the fuckin' gun!\n\n28\n00:02:05,170 --> 00:02:06,890\nWe're gonna blow you away!\n\n29\n00:02:06,970 --> 00:02:08,090\n(Gunshot)\n\n30\n00:02:08,210 --> 00:02:10,610\n(Gunfire)\n\n", "screenplay": "{\"screenplay_scene_50\": \"<scene>\\n    <stage_direction>INT. WAREHOUSE - DAY</stage_direction>\\n    <scene_description>MEDIUM SHOT on the door . Nice Guy Eddie , Mr. White and Mr. Pink walk through it . They stop in their tracks . We see what they see . Mr. Blonde , lying on the ground , shot full of holes . The cop slumped over in his chair , a bloody mess , Mr. Orange lying at the cop 's feet , holding his wound . Eddie , Mr. White and Mr. Pink walk into the shot .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>What the fuck happened here?</dialogue>\\n    <scene_description>Eddie runs over to his friend Mr. Blonde/Toothpick Vic .</scene_description>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>What happened?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( very weakly . )</parenthetical>\\n    <dialogue>Blonde went crazy. He slashed the cop's face, cut off his ear and was gon na burn him alive.</dialogue>\\n    <character>EDDIE</character>\\n    <parenthetical>( yelling . )</parenthetical>\\n    <dialogue>Who cares what he was gon na do to this fuckin pig?</dialogue>\\n    <scene_description>Eddie whips out his gun and SHOOTS the cop . The cop and the chair tip over . Eddie stands over him and SHOOTS him once more .</scene_description>\\n    <character>EDDIE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>You were saying he went crazy? Something like that? Worse or better?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Look, Eddie, he was pullin a burn. He was gon na kill the cop and me. And when you guys walked through the door, he was gon na blow you to hell and make off with the diamonds.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Eddie . )</parenthetical>\\n    <dialogue>Uhuh, uhuh, what's I tell ya? That sick piece of shit was a stone cold psycho.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( to Eddie . )</parenthetical>\\n    <dialogue>You could've asked the cop, if you did n't just kill him. He talked about what he was going to do when he was slicing him up.</dialogue>\\n    <character>EDDIE</character>\\n    <dialogue>I do n't buy it. It does n't make sense.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>It makes perfect fuckin sense to me. Eddie, you did n't see how he acted during the job, we did.</dialogue>\\n    <scene_description>Mr. Pink walks over to the cop 's body .</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>He's right about the ear, it's hacked off.</dialogue>\\n    <character>EDDIE</character>\\n    <parenthetical>( to Mr. Orange . )</parenthetical>\\n    <dialogue>Let me say this out loud, just to get it straight in my mind. According to you, Mr. Blonde was gon na kill you. Then when we came back, kill us, grab the diamonds, and scram. That's your story? I'm correct about that, right?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <dialogue>Eddie, you can believe me or not believe me, but it's the truth. I swear on my mother's eternal soul that's what happened.</dialogue>\\n    <scene_description>The CAMERA mover into a C.U. of Nice Guy Eddie . There 's a long pause while he rolls over what Mr. Orange has said . Finally :</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>You're a fuckin liar. Now why do n't you drop the fuckin fairy tale and tell me what really happened?</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>He told you what really happened. You just ca n't deal with it.</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Okay, you're right, I'm lying. Even though I'm fuckin dyin I'm not above pullin a fast one. Get rid of Blonde, we share his split - no, scratch that, I shot him'cause I did n't like his hair style. I did n't like his shoes either. If it has just been his hair, I'd've maybe, maybe I said, let him live. But hair and footwear together, he's a goner.</dialogue>\\n    <character>EDDIE</character>\\n    <dialogue>The man you killed was just released from prison. He got caught at a company warehouse full of hot items. He could've walked away. All he had to do was say my dad's name. But instead he shut his mouth and did his time. He did four years for us, and he did'em like a man. And we were very grateful. So, Mr. Orange, you're tellin me this very good friend of mine, who did four years for my father, who in four years never made a deal, no matter what they dangled in front of him, you're telling me that now, that now this man is free, and we're making good on our commitment to him, he's just gon na decide, right out of the fuckin blue, to rip us off?</dialogue>\\n    <scene_description>Silence .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>Mr. Orange, why do n't you tell me what really happened?</dialogue>\\n    <character>VOICE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Why? It'll just be more bullshit.</dialogue>\\n    <scene_description>Eddie steps out of his C.U. and we see Joe Cabot standing in the warehouse doorway . He walks into the room .</scene_description>\\n    <character>JOE</character>\\n    <parenthetical>( pointing to Mr. Orange . )</parenthetical>\\n    <dialogue>This man set us up.</dialogue>\\n    <scene_description>CAMERA does a 360 around the men .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>Daddy, I'm sorry, I do n't know what's happening.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>That's okay, Eddie, I do.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( to Joe . )</parenthetical>\\n    <dialogue>What the fuck are you talking about?</dialogue>\\n    <character>JOE</character>\\n    <parenthetical>( pointing to Mr. Orange . )</parenthetical>\\n    <dialogue>That piece of shit. Workin with the cops.</dialogue>\\n    <character>MR. WHITE   MR. PINK   EDDIE</character>\\n    <dialogue>What?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I said this lump of shit is workin with the LAPD.</dialogue>\\n    <scene_description>MR. ORANGE 'S POV Looking up from the floor at everybody . Joe looks down at Mr. Orange .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Are n't you?</dialogue>\\n    <character>MR. ORANGE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>I do n't have the slightest fuckin idea what you're talkin about.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( very calmly to Joe . )</parenthetical>\\n    <dialogue>Joe, I do n't know what you think you know, but you're wrong.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Like hell I am.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( very calmly . )</parenthetical>\\n    <dialogue>Joe, trust me on this, you've made a mistake. He's a good kid. I understand you're hot, you're super - fuckin pissed. We're all real emotional. But you're barking up the wrong tree. I know this man, and he would n't do that.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>You do n't know jack shit. I do. This rotten bastard tipped off the cops and got Mr. Brown and Mr. Blue killed.</dialogue>\\n    <character>MR. PINK</character>\\n    <dialogue>Mr. Blue's dead?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Dead as Dillinger.</dialogue>\\n    <character>EDDIE</character>\\n    <dialogue>The motherfucker killed Vic.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>How do you know all this?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>He was the only one I was n't a hundred percent on. I should have my fucking head examined for goin forward when I was n't a hundred percent. But he seemed like a good kid, and I was impatient and greedy and all the things that fuck you up.</dialogue>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( screaming . )</parenthetical>\\n    <dialogue>That's your proof?</dialogue>\\n    <character>JOE</character>\\n    <dialogue>You do n't need proof when you got instinct. I ignored it before, but not no more.</dialogue>\\n    <scene_description>He WHIPS out a revolver and aims it at Mr. Orange . Mr. White brings his .45 up at Joe . Eddie and Mr. Pink are shook awake by the flash of firearms . Eddie raises his gun , pointing it at Mr. White .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>Have you lost your fucking mind? Put your gun down!</dialogue>\\n    <scene_description>Mr. Pink fades into the B.G. , wanting no part of this .</scene_description>\\n    <character>MR. WHITE</character>\\n    <dialogue>Joe, you're making a terrible mistake I ca n't let you make.</dialogue>\\n    <character>EDDIE</character>\\n    <dialogue>Stop pointing your fuckin gun at daddy!</dialogue>\\n    <scene_description>Joe , never taking his eyes off Mr. Orange .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Do n't worry, Eddie. Me and Larry have been friends a long time, he ai n't gon na shoot. We like each other too much.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Joe, if you kill that man, you die next. Repeat, if you kill that man, you die next!</dialogue>\\n    <scene_description>We get many different angles of the Mexican standoff . MEDIUMS ON EVERYBODY Mr. Orange holding his belly , looking from left to right . Joe pointing down on Mr. Orange . Not taking his eyes off him . Mr. White pointing at Joe , looking like he 's ready to start firing any minute . Eddie scared shitless for his father , gun locked on Mr. White . Mr. Pink walking backwards away from the action . Nobody says nothing . FOUR SHOT of guys ready for violence . Mr. Pink in the B.G.</scene_description>\\n    <character>MR. PINK</character>\\n    <dialogue>C'mon, guys, nobody wants this. We're supposed to me fuckin professionals!</dialogue>\\n    <scene_description>Joe raises his head to Mr. White .</scene_description>\\n    <character>JOE</character>\\n    <dialogue>Larry, I'm gon na kill him.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Goddamn you, Joe, do n't make me do this!</dialogue>\\n    <character>JOE</character>\\n    <dialogue>Larry, I'm askin you to trust me on this.</dialogue>\\n    <character>MR. WHITE</character>\\n    <dialogue>Do n't ask me that.</dialogue>\\n    <character>JOE</character>\\n    <dialogue>I'm not askin, I'm betting.</dialogue>\\n    <scene_description>Joe 's eyes go back to Mr. Orange .</scene_description>\\n    <character>EDDIE</character>\\n    <dialogue>Daddy, do n't!</dialogue>\\n    <scene_description>Joe FIRES three times , HITTING Mr. Orange with every one . Mr. White SHOOTS Joe twice in the face . Joe brings his hands up to his face , screaming , and falls to the ground . Eddie FIRES at Mr. White , HITTING him three times in the chest . Mr. White brings his gun around on Eddie and SHOOTS him . The two men FALL to their knees , FIRING at each other . Eddie COLLAPSES , dead . Joe 's dead . Mr. Orange lies perfectly still , except for his chest heaving . The only SOUND we hear is his loud breathing . Mr. White is SHOT full of holes , but still on his knees , not moving . Mr. Pink is standing motionless . Finally he grabs the satchel of diamonds and RUNS out the door . We hear outside a CAR START . Then the SOUND of a BULLHORN yells out :</scene_description>\\n    <character>POLICE FORCE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Freeze! Get out of the car and lie face down on the ground!</dialogue>\\n    <character>MR. PINK</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Do n't shoot!</dialogue>\\n    <scene_description>We now hear SIRENS , the SOUNDS of more CARS DRIVING UP , MEN RUNNING to the warehouse . While all this noise is going on , Mr. White tries to stand but FALLS DOWN . He somehow makes it to where Mr. Orange lies . He lifts Mr. Orange 's head , cradling it in his lap and stroking his brow .</scene_description>\\n    <character>MR. WHITE</character>\\n    <parenthetical>( with much effort . )</parenthetical>\\n    <dialogue>Sorry, kid. Looks like we're gon na do a little time.</dialogue>\\n    <scene_description>Mr. Orange looks up at him and , with even more of an effort :</scene_description>\\n    <character>MR. ORANGE</character>\\n    <dialogue>I'm a cop.</dialogue>\\n    <scene_description>Mr. White does n't say anything , he keeps stroking Orange 's brow .</scene_description>\\n    <character>MR. ORANGE</character>\\n    <dialogue>I'm sorry, I'm so sorry.</dialogue>\\n    <scene_description>Mr. White lifts his .45 and places the barrel between Mr. Orange 's eyes . The CAMERA MOVES into an EXTREME C.U. of Mr White . The SOUNDS of outside STORM inside . We do n't see anything , but we HEAR a bunch of shotguns COCKING .</scene_description>\\n    <character>POLICE FORCE</character>\\n    <parenthetical>( OS . )</parenthetical>\\n    <dialogue>Freeze, motherfucker! Drop your fucking gun!</dialogue>\\n    <scene_description>Mr White looks up at them , smiles , PULLS the trigger . BANG We hear a BURST of SHOTGUN FIRE . Mr. White is BLOWN out of frame , leaving it empty .</scene_description>\\n  </scene>\"}", "movie_duration": "5947.04", "video_start": "5582.05", "video_duration": "133.59"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "4s1Byt82N9AC", "audio_description_us": "1\n00:00:03,800 --> 00:00:05,460\nHe grabs a hose hanging down.\n\n2\n00:00:05,880 --> 00:00:08,470\nAs it pivots away, Indy kicks the long-haired man.\n\n3\n00:00:08,930 --> 00:00:10,590\nThe hose swings back to the train\n\n4\n00:00:10,590 --> 00:00:12,350\nand he lands facing the rugged man.\n\n5\n00:00:12,640 --> 00:00:14,350\nStartled, Indy falls backward.\n\n6\n00:00:18,140 --> 00:00:19,480\nHe scoots away from the man.\n\n7\n00:00:21,860 --> 00:00:23,980\nIndy breaks through a hatch into a box car.\n\n8\n00:00:26,440 --> 00:00:27,950\nHe lands in an animal pen.\n\n9\n00:00:28,530 --> 00:00:31,910\nMoving his hair away from his eyes,\nIndy stares at an approaching lion.\n\n10\n00:00:35,740 --> 00:00:39,120\nHe frantically backs away\nand spots a lion tamer's whip on the wall.\n\n11\n00:00:40,670 --> 00:00:43,040\nTrying  to crack the whip,\nIndy cuts his chin with it.\n\n12\n00:00:48,050 --> 00:00:50,340\nHe tries again, snapping the whip at the lion.\n\n13\n00:00:50,800 --> 00:00:52,640\nBlinking, the large cat turns away.\n\n14\n00:00:53,100 --> 00:00:55,390\nIndy grabs the decorative cross from the floor.\n\n15\n00:00:56,720 --> 00:00:58,270\nThe treasure hunters look down at him.\n\n16\n00:00:58,430 --> 00:01:00,100\nIndy throws up one end of the whip.\n\n17\n00:01:00,730 --> 00:01:03,310\nThe lion lunges, barely missing him\nas the men pull him up.\n\n18\n00:01:17,120 --> 00:01:19,450\nA snake slides from Indie's sleeve\nto the blond man.\n\n19\n00:01:23,630 --> 00:01:26,300\nEscaping, Indy spots a sign above the caboose door.\n\n20\n00:01:27,170 --> 00:01:28,300\nHe hurries inside.\n\n21\n00:01:32,380 --> 00:01:33,680\nThe rugged man follows.\n\n22\n00:01:34,090 --> 00:01:36,970\nIndy crosses through the caboose\nfilled with magic trick supplies.\n\n23\n00:01:37,350 --> 00:01:40,430\nHe finds the back door locked\nand climbs into a large purple chest.\n\n24\n00:01:43,350 --> 00:01:46,770\nStepping into the caboose, the rugged man\nspots the lid of the box shuddering.\n\n25\n00:01:53,700 --> 00:01:57,080\nThe sides of the box break apart and fall open,\nrevealing Indy gone.\n\n26\n00:01:57,330 --> 00:02:01,410\nForcing his way out the back door, the rugged man\nspots Indy running away down the tracks.\n\n27\n00:02:08,300 --> 00:02:09,130\nHe slowly grins\n\n", "audio_description_uk": "1\n00:00:02,460 --> 00:00:03,210\njump out.\n\n2\n00:00:07,630 --> 00:00:11,300\nIndiana grabs an overhead water filler pipe\nthat the train was passing.\n\n3\n00:00:11,390 --> 00:00:16,600\nUnfortunately he rotates a full circle,\nlanding back on the carriage roof at the feet of the hat-wearing man.\n\n4\n00:00:25,610 --> 00:00:29,610\nBacking away from the man, Indiana then falls\nthrough an open hatch in the carriage roof\n\n5\n00:00:29,660 --> 00:00:32,620\nand finds himself trapped\nwith a fully grown African lion.\n\n6\n00:00:39,410 --> 00:00:41,830\nHanging on the side of the wooden carriage is a bull whip.\n\n7\n00:00:41,880 --> 00:00:43,630\nHe grabs it and lashes at the lion,\n\n8\n00:00:43,630 --> 00:00:45,750\ncutting himself on the chin in the process.\n\n9\n00:00:59,430 --> 00:01:02,400\nThe man in the hat pulls Indiana out of the carriage\nusing the whip\n\n10\n00:01:02,440 --> 00:01:04,650\nas the lion slashes at him with its claws.\n\n11\n00:01:17,540 --> 00:01:19,540\nOne of the men tries to grab\nthe gold cross.\n\n12\n00:01:19,580 --> 00:01:21,830\nA small snake emerges from Indiana's shirt sleeve\n\n13\n00:01:21,870 --> 00:01:22,960\nand bites the man on the hand.\n\n14\n00:01:23,000 --> 00:01:25,750\nIndiana escapes into Doctor Fantasy's Magic Caboose.\n\n15\n00:01:34,140 --> 00:01:36,930\nHe goes to the door at the end of the carriage\nbut finds it locked.\n\n16\n00:01:37,100 --> 00:01:40,640\nHe then hides in a large blue box,\na prop used in the magic show.\n\n17\n00:01:55,620 --> 00:01:58,830\nThe box falls apart on the floor,\nbut Indiana has disappeared.\n\n18\n00:01:58,870 --> 00:02:01,290\nThe man in the hat wrenches open the rear carriage door\n\n19\n00:02:01,290 --> 00:02:04,000\nand watches Indiana running away down the rail tracks.\n\n", "subtitles": "1\n00:00:16,860 --> 00:00:18,920\nCome on, kid.\n\n2\n00:00:20,730 --> 00:00:22,930\nThere's no way out of this.\n\n3\n00:00:37,180 --> 00:00:39,620\nHey!\n\n4\n00:00:55,930 --> 00:00:57,370\nToss up the whip.\n\n5\n00:01:07,210 --> 00:01:09,310\nYou got heart, kid,\nbut that belongs to me.\n\n6\n00:01:09,380 --> 00:01:10,640\nlt belongs to Coronado.\n\n7\n00:01:10,720 --> 00:01:11,980\nCoronado is dead,\n\n8\n00:01:12,050 --> 00:01:14,110\nand so are all\nof his grandchildren.\n\n9\n00:01:14,190 --> 00:01:16,520\nThis should be in a museum.\n\n10\n00:01:16,590 --> 00:01:17,590\nNow give it back!\n\n11\n00:01:20,160 --> 00:01:22,590\nA snake!\n\n12\n00:01:22,660 --> 00:01:23,590\nSnake! Aah!\n\n13\n00:01:23,660 --> 00:01:24,860\nDon't let him get away!\n\n14\n00:01:27,070 --> 00:01:28,120\nMagic?\n\n15\n00:01:30,170 --> 00:01:31,100\nHold it.\n\n16\n00:01:31,170 --> 00:01:32,970\nMake sure he\ndoesn't double back.\n\n17\n00:01:49,320 --> 00:01:52,050\nOkay, kid,\nout of the box, now.\n\n18\n00:01:53,460 --> 00:01:54,820\nSon of a...\n\n19\n00:02:05,570 --> 00:02:07,560\nDamn.\n\n", "sdh": "1\n00:00:17,110 --> 00:00:18,570\nCome on, kid.\n\n2\n00:00:20,950 --> 00:00:23,030\nThere's no way out of this.\n\n3\n00:00:34,590 --> 00:00:36,040\n- (ROARS)\n- Hey!\n\n4\n00:00:55,560 --> 00:00:57,230\nToss up the whip.\n\n5\n00:01:07,160 --> 00:01:09,830\nYou got heart, kid,\nbut that belongs to me.\n\n6\n00:01:09,910 --> 00:01:11,330\nIt belongs to Coronado.\n\n7\n00:01:11,410 --> 00:01:13,750\nCoronado is dead,\nand so are all of his grandchildren.\n\n8\n00:01:13,830 --> 00:01:16,250\nThis should be in a museum.\n\n9\n00:01:16,340 --> 00:01:18,000\nNow give it back!\n\n10\n00:01:18,750 --> 00:01:19,840\n(HISSING)\n\n11\n00:01:21,050 --> 00:01:23,010\nA snake! Snake!\n\n12\n00:01:23,380 --> 00:01:25,340\nFEDORA: Don't let him get away!\n\n13\n00:01:26,680 --> 00:01:27,680\nINDY: Magic?\n\n14\n00:01:29,720 --> 00:01:30,810\nHold it.\n\n15\n00:01:30,890 --> 00:01:32,680\nMake sure he doesn't double back.\n\n16\n00:01:49,030 --> 00:01:51,870\nOkay, kid, out of the box, now.\n\n17\n00:01:53,210 --> 00:01:54,580\nSon of a...\n\n18\n00:02:06,220 --> 00:02:07,390\nDamn.\n\n", "screenplay": "{\"screenplay_scene_7\": \"<scene>\\n    <character>INDY</character>\\n    <dialogue>Ohhh! INDY's eyes take a moment to adjust to the dark. A bit of sunlight leaks in through the cracks between the boards. Then INDY sees it. At the far end of the boxcar. Rising slowly to its feet. an AFRICAN LION. The Lion ROARS. The boxcar walls shake. Indy gasps. Dust swirls up into the shafts of sunlight. And INDY has one more surprise in store : The Cross of Cortes has been dislodged from his belt during the fall. INDY glances around, sees a coiled LION TAMER'S WHIP hanging on a nail. He carefully takes it down by the handle. The Lion sees this and GROWLS SOFTLY. INDY swallows hard and gives the whip a try. It unravels awkwardly, its TIP flying back and HITTING INDY IN THE FACE. CUTTING his chin. The Lion GROWLS LOUDER. Indy quickly gathers up the whip, wets his lips, and tries again. This time -- success! The WHIP CRACKS SHARPLY. The Lion BELLOWS and SWATS the air. and steps back. INDY looks amazed and delighted. He CRACKS the whip again. The Lion backs away even more. Indy inches forward -- bends down.</dialogue>\\n    <parenthetical>( never taking his eyes off the Lion . )</parenthetical>\\n    <dialogue>-- picks up the Cross -- and steps back again, sweat pouring down his face. But now. how to get out? He looks up at the opening through which he fell and sees FEDORA LOOKING DOWN AT HIM. Fedora extends his hand.</dialogue>\\n    <character>FEDORA</character>\\n    <dialogue>Toss up the whip.</dialogue>\\n  </scene>\", \"screenplay_scene_8\": \"<scene>\\n    <character>FEDORA</character>\\n    <dialogue>You've got heart, kid.</dialogue>\\n    <parenthetical>( indicates Cross . )</parenthetical>\\n    <dialogue>But that belongs to me. INDY.</dialogue>\\n    <parenthetical>( takes Cross from his belt . )</parenthetical>\\n    <dialogue>It belongs to Coronado. FEDORA.</dialogue>\\n    <parenthetical>( overlapping . )</parenthetical>\\n    <dialogue>Coronado is dead. And so are all his grandchildren.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>This should be in a museum.</dialogue>\\n    <character>ROSCOE</character>\\n    <dialogue>Now give me thatl ROSCOE makes a grab for the Cross -- but INDY does n't let go. A tug - of - war ensues until a SNAKE WIGGLES OUT FROM INDY'S SHIRTSLEEVE and WRAPS AROUND Roscoe's hand. ROSCOE SCREAMS BLOODY MURDER -- releases his grip on the Cross and tries to shake off the snake. This is all the opportunity Indy needs. He LEAPS ONTO THE NEXT CAR.</dialogue>\\n    <character>FEDORA</character>\\n    <dialogue>Do n't let him get awayl INDY swings down to the caboose. He sees a sign above the caboose door reading `` DR. FANTASY'S MAGIC CABOOSE.''</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Magic? He glances back at the men and quickly opens the door to the caboose, stepping inside. FEDORA puts out his arm, gesturing for the others not to follow INDY.</dialogue>\\n    <character>FEDORA</character>\\n    <dialogue>Hold it. Make sure he does n't double back.</dialogue>\\n  </scene>\", \"screenplay_scene_9\": \"<scene>\\n    <character>FEDORA</character>\\n    <dialogue>Okay, kid. out of the box. Now. FEDORA smiles confidently and advances toward the box. The box unexpectedly collapses ; all four sides flop away. revealing NOTHING. INDY has completely vanished. FEDORA is mystified, frustrated and angered. Then he feels a breeze at his back. He turns and discovers that the caboose door is open. He rushes out onto the balcony and sees : INDY RUNNING along the tracks, turning up a street of modest clapboard houses.</dialogue>\\n    <character>FEDORA</character>\\n    <dialogue>Damn.</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "464.93", "video_duration": "130.08"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "HGqlxBp59puh", "audio_description_us": "1\n00:00:06,630 --> 00:00:08,800\nA boat nudges one ship closer to the other.\n\n2\n00:00:09,010 --> 00:00:10,970\nElsa steers toward the closing gap.\n\n3\n00:00:11,430 --> 00:00:14,220\nPunching his attacker off their boat,\nIndy joins her in the front.\n\n4\n00:00:14,720 --> 00:00:17,020\nOne of the pursuing boats goes around the ships.\n\n5\n00:00:23,690 --> 00:00:25,610\nThe two ships slowly close in on them.\n\n6\n00:00:25,900 --> 00:00:28,900\nThe second boat follows while the service boat pushes one of the ships.\n\n7\n00:00:31,870 --> 00:00:34,160\nIndy and Elsa barely escape out the other end.\n\n8\n00:00:34,490 --> 00:00:36,790\nThe three men following throw their arms up in fear.\n\n9\n00:00:37,080 --> 00:00:39,830\nThe two ships close in on their boat and a fireball erupts.\n\n10\n00:00:41,670 --> 00:00:44,710\nThe tattered remains of the motorboat\nshoot out from between the ships.\n\n11\n00:00:44,880 --> 00:00:46,380\nIndy turns their boat around.\n\n12\n00:00:47,090 --> 00:00:51,010\nFollowing the other boat, the curly-haired man\nfires the submachine gun at Indy and Elsa.\n\n13\n00:00:52,180 --> 00:00:53,140\nThey glance back.\n\n14\n00:00:54,010 --> 00:00:55,350\nIndy pushes Elsa's head down\n\n15\n00:00:55,350 --> 00:00:56,310\nas he turns the boat.\n\n16\n00:00:56,680 --> 00:00:59,850\nRunning out of ammo, the curly-haired man\ngrabs his associate at the wheel.\n\n17\n00:01:00,190 --> 00:01:02,150\nDark smoke rises from Indy's boat.\n\n18\n00:01:02,480 --> 00:01:04,230\nThe curly-haired man steers into them.\n\n19\n00:01:09,320 --> 00:01:12,360\nIndy stares an alarm as they approach\na ship’s spinning propeller.\n\n20\n00:01:12,870 --> 00:01:15,160\nHe jumps to the other boat and attacks the two men.\n\n21\n00:01:15,620 --> 00:01:17,160\nElsa steers their boat away.\n\n22\n00:01:17,580 --> 00:01:19,710\nIndy kicks the man in the back seat overboard.\n\n23\n00:01:20,370 --> 00:01:22,170\nHe flips the curly-haired man down.\n\n24\n00:01:22,580 --> 00:01:24,920\nThe boat rotates closer to the spinning propeller.\n\n25\n00:01:27,050 --> 00:01:28,210\nIndy pins the man.\n\n26\n00:01:28,760 --> 00:01:31,090\nThe propeller starts grinding away\nat the back of the boat.\n\n27\n00:02:01,830 --> 00:02:04,710\nThe propeller looms closer,\nsmashing the boat piece by piece.\n\n28\n00:02:04,960 --> 00:02:06,500\nIndy drags the man away from it.\n\n29\n00:02:06,710 --> 00:02:08,210\nElsa drives the other boat over\n\n30\n00:02:08,210 --> 00:02:09,670\nand the two men jump to safety.\n\n", "audio_description_uk": "1\n00:00:10,970 --> 00:00:12,680\nIndiana knocks the man overboard\n\n2\n00:00:12,680 --> 00:00:14,060\nand quickly gets back to the wheel.\n\n3\n00:00:30,950 --> 00:00:37,080\nThey just make it through the closing gap, but the pursuing boat\ngets crushed between the two ships and blows up in spectacular style.\n\n4\n00:00:45,380 --> 00:00:47,590\nThe second pursuing boat went around the ships\n\n5\n00:00:47,590 --> 00:00:49,010\nand now is close behind them.\n\n6\n00:00:49,220 --> 00:00:52,220\nThe leader of the men is in this boat\nand is armed with a machine gun.\n\n7\n00:01:02,100 --> 00:01:05,020\nBlack smoke begins to pour out\nof the back of Indiana's boat.\n\n8\n00:01:05,150 --> 00:01:06,690\nThe other boat comes alongside.\n\n9\n00:01:06,940 --> 00:01:09,570\nIndiana immediately jumps across into the men's boat\n\n10\n00:01:09,570 --> 00:01:10,820\nand starts fighting with them.\n\n11\n00:01:11,030 --> 00:01:15,330\nThe two boats begin to drift towards\nthe massive spinning propeller of a cargo ship.\n\n12\n00:01:21,460 --> 00:01:23,670\nIndiana kicks one of the men into the water,\n\n13\n00:01:23,670 --> 00:01:25,340\njust leaving the leader to deal with.\n\n14\n00:01:28,340 --> 00:01:31,840\nAs the men fight, the boat is drawn nearer\nto the ship's rotating propeller.\n\n15\n00:02:04,750 --> 00:02:07,130\nAs their boat gets chopped up in the ship's propeller,\n\n16\n00:02:07,130 --> 00:02:09,130\nElsa brings the other boat closer to them.\n\n", "subtitles": "1\n00:00:02,060 --> 00:00:04,080\nAre you crazy?!\nDon't go between them!\n\n2\n00:00:04,160 --> 00:00:07,060\nGo between them?\nAre you crazy?!\n\n3\n00:00:17,970 --> 00:00:19,460\nl said go around!\n\n4\n00:00:19,540 --> 00:00:21,300\nYou said\ngo between them!\n\n5\n00:00:21,410 --> 00:00:23,570\nl said,\ndon't go between them!\n\n6\n00:01:26,540 --> 00:01:27,800\nNo!\n\n7\n00:01:33,080 --> 00:01:35,110\nWhy are you\ntrying to kill us?\n\n8\n00:01:35,180 --> 00:01:36,790\nBecause you're looking\nfor the Holy Grail.\n\n9\n00:01:36,820 --> 00:01:39,050\nMy father was looking\nfor the Holy Grail.\n\n10\n00:01:39,120 --> 00:01:40,250\nDid you kill him too?\n\n11\n00:01:40,320 --> 00:01:41,250\nNo.\n\n12\n00:01:41,320 --> 00:01:43,050\nWhere is he?\n\n13\n00:01:43,120 --> 00:01:45,590\nTalk or you're dead.\n\n14\n00:01:45,660 --> 00:01:47,250\nDamn it, tell me!\n\n15\n00:01:47,330 --> 00:01:48,560\nTell me!\n\n16\n00:01:48,630 --> 00:01:51,260\nlf you don't let go, Dr. Jones,\nwe'll both die.\n\n17\n00:01:51,330 --> 00:01:53,320\nThen we'll die.\n\n18\n00:01:53,470 --> 00:01:56,440\nMy soul is prepared.\nHow's yours?\n\n19\n00:01:58,110 --> 00:01:59,660\nThis is your last chance.\n\n20\n00:01:59,740 --> 00:02:02,730\nNo, Dr. Jones, it's yours.\n\n", "sdh": "1\n00:00:01,790 --> 00:00:03,840\nAre you crazy? Don't go between them!\n\n2\n00:00:04,130 --> 00:00:06,340\nGo between them? Are you crazy?\n\n3\n00:00:17,640 --> 00:00:19,350\nI said go around!\n\n4\n00:00:19,600 --> 00:00:21,480\nYou said go between them!\n\n5\n00:00:21,560 --> 00:00:24,190\nI said, don't go between them!\n\n6\n00:01:26,460 --> 00:01:27,590\nNo!\n\n7\n00:01:32,930 --> 00:01:34,590\nWhy are you trying to kill us?\n\n8\n00:01:34,680 --> 00:01:36,560\nBecause you're looking\nfor the Holy Grail.\n\n9\n00:01:37,060 --> 00:01:40,270\nMy father was looking for the Holy Grail.\nDid you kill him too?\n\n10\n00:01:40,350 --> 00:01:41,350\nKAZIM: No.\n\n11\n00:01:41,440 --> 00:01:43,270\nWhere is he?\n\n12\n00:01:43,730 --> 00:01:45,400\nTalk or you're dead.\n\n13\n00:01:45,480 --> 00:01:47,110\nDamn it, tell me!\n\n14\n00:01:47,690 --> 00:01:48,940\nTell me!\n\n15\n00:01:49,030 --> 00:01:51,570\nIf you don't let go, Dr. Jones,\nwe'll both die.\n\n16\n00:01:51,650 --> 00:01:53,160\nThen we'll die.\n\n17\n00:01:53,320 --> 00:01:56,070\nMy soul is prepared. How's yours?\n\n18\n00:01:57,950 --> 00:01:59,370\nThis is your last chance.\n\n19\n00:01:59,500 --> 00:02:01,710\nNo, Dr. Jones, it's yours.\n\n", "screenplay": "{\"screenplay_scene_32\": \"<scene>\\n    <character>INDY</character>\\n    <parenthetical>( to ELSA . )</parenthetical>\\n    <dialogue>Are you crazy?! You do n't go between them! ELSA can barely hear INDY over the noise of the motor.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>Go between them? Are you crazy?! INDY finally delivers the punch that sends the Turkish Agent flying overboard. Turning, Indy sees that ELSA has committed the speedboat to a course BETWEEN the two Freighters, now being pushed even closer together by a Tugboat.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I said go around!</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>You said go between them!</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I said do n't go between them! It's purely academic at this point since the hulls of the the two Freighters loom up on either side of them like cavern walls.</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "2272.99", "video_duration": "130.50"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "aoSJ6hDZpV5S", "audio_description_us": "1\n00:00:07,130 --> 00:00:09,220\nThey hop their chairs across the flaming room.\n\n2\n00:00:10,510 --> 00:00:13,760\nStopping inside the large fireplace,\nthey struggle at their bindings.\n\n3\n00:00:21,270 --> 00:00:23,820\nIndy bumps a metal ornament shaped like snakes.\n\n4\n00:00:24,110 --> 00:00:26,820\nThe fireplace rotates,\nbringing them to a hidden chamber.\n\n5\n00:00:27,150 --> 00:00:30,200\nMen listen to radios\nwhile a woman plots points on a map.\n\n6\n00:00:30,780 --> 00:00:33,990\nUnnoticed, Indy and Henry\nrotate back into the burning room.\n\n7\n00:00:38,460 --> 00:00:39,830\nIndy bumps the switch again\n\n8\n00:00:39,830 --> 00:00:41,710\nand they rotate back into the radio room.\n\n9\n00:00:42,540 --> 00:00:45,500\nWearing a headset, the woman\nat the map slowly turns to them.\n\n10\n00:00:47,510 --> 00:00:49,260\nIndy and Henry grin sheepishly.\n\n11\n00:00:50,930 --> 00:00:51,840\nShe smiles.\n\n12\n00:00:55,680 --> 00:00:57,060\nThe other Nazis look over.\n\n13\n00:00:57,310 --> 00:00:58,730\nIndy hits the fireplace switch\n\n14\n00:00:58,730 --> 00:01:00,230\nand he rotates away with his dad.\n\n15\n00:01:00,690 --> 00:01:03,190\nThe Nazis fire at him\nas they return to the burning room.\n\n16\n00:01:05,730 --> 00:01:06,730\nIndy breaks free.\n\n17\n00:01:09,650 --> 00:01:12,870\nOn the other side, a man operates\na lever and the fireplace rotates.\n\n18\n00:01:13,280 --> 00:01:16,200\nRushing to the next room,\nthe Nazis cower from the flames.\n\n19\n00:01:16,580 --> 00:01:18,790\nThe empty chairs and ropes lie on the floor.\n\n20\n00:01:19,370 --> 00:01:22,830\nIndy and Henry drop from the chimney\non either side of the fireplace wall.\n\n21\n00:01:23,210 --> 00:01:25,420\nA man attacks Indy, who pushes the switch.\n\n22\n00:01:25,790 --> 00:01:28,590\nThe fireplace rotates, leaving his dad\nin the burning room.\n\n23\n00:01:29,170 --> 00:01:32,090\nIt continues spinning, revealing\nIndy's unconscious opponent.\n\n24\n00:01:32,630 --> 00:01:35,510\nIndy uses a bust of Hitler\nto jam the fireplace wall.\n\n25\n00:01:36,100 --> 00:01:38,770\nIt stops spinning, trapping\nthe Nazis on the other side.\n\n26\n00:01:42,060 --> 00:01:44,440\nThe blue eyed officer leads soldiers\ndown a hallway.\n\n27\n00:01:44,560 --> 00:01:45,560\nIn the radio room…\n\n28\n00:01:47,610 --> 00:01:49,570\nIndy and Henry leave with their belongings.\n\n29\n00:01:49,780 --> 00:01:52,650\nThey enter a dusty room\nwith a circular pattern on the floor.\n\n30\n00:02:04,750 --> 00:02:06,790\nHenry sits in a chair, which tilts backward.\n\n31\n00:02:07,090 --> 00:02:10,300\nThe circular pattern on the floor drops\nto form a spiral staircase.\n\n32\n00:02:10,630 --> 00:02:11,760\nIndy falls down it.\n\n", "audio_description_uk": "1\n00:00:10,090 --> 00:00:14,310\nIndiana and Henry shuffle across the room\non their chairs to the huge open fireplace.\n\n2\n00:00:23,690 --> 00:00:25,360\nIndiana knocks a lever with his leg.\n\n3\n00:00:25,440 --> 00:00:26,690\nThe fireplace spins around\n\n4\n00:00:26,690 --> 00:00:30,160\nand they're transferred into the room\nused as the Nazi operation center\n\n5\n00:00:30,240 --> 00:00:31,910\nand then back into the blazing room.\n\n6\n00:00:40,250 --> 00:00:41,580\nHe hits the lever again.\n\n7\n00:00:41,710 --> 00:00:43,710\nThis time they stop in the operations room.\n\n8\n00:00:43,840 --> 00:00:45,550\nA woman turns and stares at them.\n\n9\n00:00:45,710 --> 00:00:46,340\nThey smile.\n\n10\n00:00:46,340 --> 00:00:47,210\nShe smiles back.\n\n11\n00:00:47,300 --> 00:00:48,300\nThen she screams.\n\n12\n00:00:58,930 --> 00:01:00,270\nIndiana pushes the lever\n\n13\n00:01:00,270 --> 00:01:03,020\nand they return to the blazing room\nunder a hail of bullets.\n\n14\n00:01:11,070 --> 00:01:12,820\nThey free themselves from the ropes.\n\n15\n00:01:12,870 --> 00:01:16,660\nThe men in the operations room operate\nthe revolving fireplace from their side\n\n16\n00:01:16,660 --> 00:01:18,080\nand go into the blazing room.\n\n17\n00:01:18,290 --> 00:01:21,160\nIndiana and Henry drop down\nfrom the chimney behind them.\n\n18\n00:01:21,620 --> 00:01:24,670\nA guard from the operations room\ngrabs Indiana from behind.\n\n19\n00:01:24,670 --> 00:01:27,090\nThe wall spins, leaving Henry in the blazing room.\n\n20\n00:01:27,250 --> 00:01:28,710\nThe fireplace spins again.\n\n21\n00:01:28,800 --> 00:01:30,470\nA dead German guard appears.\n\n22\n00:01:30,880 --> 00:01:33,510\nHenry and Indiana are safely in the operations room.\n\n23\n00:01:33,970 --> 00:01:35,550\nThe fireplace begins to spin,\n\n24\n00:01:35,550 --> 00:01:38,930\nbut Indiana jams it with a bust\nfrom a shelf in the operations room.\n\n25\n00:02:05,540 --> 00:02:09,760\nAs Henry leans back in the chair,\na stone spiral staircase opens up in the room.\n\n26\n00:02:09,840 --> 00:02:11,300\nIndiana tumbles down it.\n\n", "subtitles": "1\n00:00:00,520 --> 00:00:01,450\n- Dad!\n- What?\n\n2\n00:00:01,520 --> 00:00:02,450\nDad!\n\n3\n00:00:02,520 --> 00:00:03,460\nWhat?\n\n4\n00:00:03,520 --> 00:00:04,460\n- Dad!\n- What?\n\n5\n00:00:04,530 --> 00:00:05,720\nHead for the fireplace!\n\n6\n00:00:05,790 --> 00:00:06,790\nOh.\n\n7\n00:00:18,810 --> 00:00:20,870\nl think l can get\nthese ropes off.\n\n8\n00:00:22,080 --> 00:00:23,080\nWhoops.\n\n9\n00:00:33,790 --> 00:00:36,920\nOur situation has not improved.\n\n10\n00:00:36,990 --> 00:00:38,890\nListen, Dad, l'm almost free.\n\n11\n00:00:54,040 --> 00:00:55,370\nAlarm!\n\n12\n00:01:04,450 --> 00:01:06,080\nThis is intolerable.\n\n13\n00:01:07,320 --> 00:01:08,620\nl'm out, Dad.\n\n14\n00:01:08,690 --> 00:01:10,720\nWell done, boy.\n\n15\n00:01:46,330 --> 00:01:47,730\nCome on, Dad.\n\n16\n00:01:54,070 --> 00:01:55,700\nDead end.\n\n17\n00:01:55,770 --> 00:01:57,330\nThere's got to be a...\n\n18\n00:01:57,410 --> 00:01:59,200\na secret door or a...\n\n19\n00:01:59,340 --> 00:02:01,770\npassageway\nor something.\n\n20\n00:02:01,840 --> 00:02:05,110\nl find that if l just\nsit down and think...\n\n21\n00:02:07,750 --> 00:02:09,340\nDad!\n\n", "sdh": "1\n00:00:00,450 --> 00:00:01,620\n- Dad!\n- What?\n\n2\n00:00:01,700 --> 00:00:02,700\n- Dad!\n- What?\n\n3\n00:00:02,790 --> 00:00:04,120\n- Dad!\n- What?\n\n4\n00:00:04,210 --> 00:00:05,830\nHead for the fireplace!\n\n5\n00:00:16,220 --> 00:00:17,340\n(COUGHING)\n\n6\n00:00:18,970 --> 00:00:20,720\nINDY: I think I can get these ropes off.\n\n7\n00:00:20,810 --> 00:00:22,770\n(RUMBLING)\n\n8\n00:00:22,850 --> 00:00:24,140\nWhoops!\n\n9\n00:00:24,310 --> 00:00:26,730\n(SPEAKING GERMAN)\n\n10\n00:00:34,150 --> 00:00:36,240\nOur situation has not improved.\n\n11\n00:00:36,320 --> 00:00:38,570\nListen, Dad, I'm almost free.\n\n12\n00:00:54,210 --> 00:00:56,340\n(SHOUTING) Alarm!\n\n13\n00:00:56,430 --> 00:00:57,680\n(ALARM RINGING)\n\n14\n00:01:04,520 --> 00:01:06,600\nThis is intolerable.\n\n15\n00:01:07,270 --> 00:01:08,350\nI'm out, Dad.\n\n16\n00:01:08,440 --> 00:01:10,190\nWell done, boy.\n\n17\n00:01:19,820 --> 00:01:22,200\n(ALL SHOUTING)\n\n18\n00:01:40,390 --> 00:01:41,640\n(SPEAKS GERMAN)\n\n19\n00:01:46,350 --> 00:01:48,100\nCome on, Dad.\n\n20\n00:01:54,360 --> 00:01:56,150\nDead end.\n\n21\n00:01:56,240 --> 00:01:57,490\nThere's got to be a...\n\n22\n00:01:57,570 --> 00:02:00,200\nA secret door or a...\n\n23\n00:02:00,280 --> 00:02:01,450\nPassageway or something.\n\n24\n00:02:01,660 --> 00:02:04,830\nI find that if I just sit down and think...\n\n25\n00:02:07,410 --> 00:02:10,000\n(SCREAMING) Dad!\n\n", "screenplay": "{\"screenplay_scene_51\": \"<scene>\\n    <character>INDY</character>\\n    <dialogue>Dad!</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>What?</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Dad!</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>What?</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Dad! Finally they turn their heads in the same direction.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>What?</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Head for the fireplace!</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Oh. BANGING, ROCKING and HOPPING their chairs, they work their way INTO THE FIREPLACE -- the only safe place from the now ROARING FIRE.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I think I can get these ropes off. Indy struggles to free his hands. His foot kicks out and accidentally hits a metal grill that operates a Secret Door.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Whoopsl The fireplace floor rotates like a Lazy Susan and Indy and his father find themselves in the :</dialogue>\\n  </scene>\", \"screenplay_scene_52\": \"<scene>\\n    <character>HENRY</character>\\n    <dialogue>Our situation has not improved. INDY glances over his shoulder at HENRY.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Listen Dad. I'm almost free. INDY's foot hits the grill again. and the fireplace rotates to :</dialogue>\\n  </scene>\", \"screenplay_scene_53\": \"<scene>\\n    <character>WOMAN</character>\\n    <dialogue>Alarm! Now the RADIOMEN turn to see HENRY and INDY.</dialogue>\\n    <character>WOMAN</character>\\n    <dialogue>Schnel! TWO NAZIS draw their revolvers and FIRE SEVERAL SHOTS at INDY and HENRY</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "3619.14", "video_duration": "135.26"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "6Bpg1OpYOQWO", "audio_description_us": "1\n00:00:01,590 --> 00:00:03,420\nIndy and his dad glance back at them.\n\n2\n00:00:04,090 --> 00:00:06,220\nThe Nazis lower goggles over their eyes.\n\n3\n00:00:06,760 --> 00:00:08,970\nIndy steers his motorcycle down a dirt path.\n\n4\n00:00:09,720 --> 00:00:12,430\nThree soldiers follow while the fourth one\npicks a higher road.\n\n5\n00:00:17,140 --> 00:00:19,190\nIndy leads the men down the winding path.\n\n6\n00:00:21,060 --> 00:00:23,860\nHe bumps into his dad,\nwho tries to adjust his glasses.\n\n7\n00:00:24,530 --> 00:00:28,070\nLurching over the edge of the sidecar,\nHenry almost drops his bag and umbrella.\n\n8\n00:00:28,450 --> 00:00:30,450\nHe composes himself and glares at his son.\n\n9\n00:00:31,740 --> 00:00:34,200\nIndy swerves on the dirt road, kicking up dust.\n\n10\n00:00:34,700 --> 00:00:36,160\nThe Nazis close in on him.\n\n11\n00:00:40,210 --> 00:00:42,250\nThe approach a barricade and Indy grins.\n\n12\n00:00:42,630 --> 00:00:44,210\nHenry stares ahead, wide-eyed.\n\n13\n00:00:44,750 --> 00:00:47,920\nDriving on the higher road, the lone soldier\nturns down the embankment.\n\n14\n00:00:48,300 --> 00:00:52,140\nHe rides in the opposite direction, approaching\na second barricade from the other side.\n\n15\n00:00:52,640 --> 00:00:56,060\nA guard hurries out of a security booth\nas Indy and Henry drive closer.\n\n16\n00:00:56,720 --> 00:01:00,140\nThey smash through the first barricade\nas the lone soldier breaks through the second one.\n\n17\n00:01:00,730 --> 00:01:03,400\nGrabbing a nearby flagpole. Indy holds it like a lance.\n\n18\n00:01:05,940 --> 00:01:06,860\nHenry grins.\n\n19\n00:01:07,190 --> 00:01:08,900\nThe approaching soldier readies his gun.\n\n20\n00:01:09,280 --> 00:01:11,490\nIndy knocks him off his bike with the flagpole.\n\n21\n00:01:11,910 --> 00:01:14,280\nThe riderless motorcycle falls on its side.\n\n22\n00:01:14,780 --> 00:01:16,160\nTwo soldiers flip over it.\n\n23\n00:01:16,660 --> 00:01:20,500\nThe last Nazi weaves between his fallen comrades\nas he continues the chase.\n\n24\n00:01:20,790 --> 00:01:22,540\nIndy and his dad glance back at him.\n\n25\n00:01:25,130 --> 00:01:27,380\nIndy leans as he drives him around a bend.\n\n26\n00:01:27,880 --> 00:01:31,430\nWith a determined look, the Nazi soldier\npops his motorcycle into a wheelie.\n\n27\n00:01:31,800 --> 00:01:34,720\nThe front wheel lowers\nonto Indy's vehicle, startling Henry.\n\n28\n00:01:36,310 --> 00:01:37,890\nThe Nazi rolls up alongside them\n\n29\n00:01:37,890 --> 00:01:38,770\nand aims his gun.\n\n30\n00:01:39,270 --> 00:01:42,060\nIndy jams the broken flagpole\ninto the soldier's front wheel.\n\n31\n00:01:45,230 --> 00:01:48,070\nA cloud of smoke launches the motorcycle,\nwhich flips in the air.\n\n32\n00:01:48,320 --> 00:01:49,440\nIndy smiles.\n\n33\n00:01:50,280 --> 00:01:53,030\nHis grin fades as he spots\nhis dad’s stern expression.\n\n34\n00:01:53,570 --> 00:01:55,490\nHenry checks his pocket watch and winds it.\n\n", "audio_description_uk": "1\n00:00:02,460 --> 00:00:05,300\nFour guards riding fast motorbikes quickly catch them up.\n\n2\n00:00:13,010 --> 00:00:16,520\nOne of the motorcyclists breaks away\nfrom the others, taking the uphill track\n\n3\n00:00:16,560 --> 00:00:19,060\nwhile the others follow Indiana on the downhill track.\n\n4\n00:00:23,360 --> 00:00:26,860\nIndiana weaves across the narrow track\nto prevent the motorbikes from passing.\n\n5\n00:00:36,370 --> 00:00:39,460\nThey're all speeding towards a checkpoint\nwith barriers across the road.\n\n6\n00:00:39,540 --> 00:00:43,880\nThe rider that took the uphill track is now dropping down\nto the lower track on a muddy path.\n\n7\n00:00:55,720 --> 00:00:57,850\nHe is now on the other side of the checkpoint.\n\n8\n00:00:57,980 --> 00:01:00,270\nIndiana crashes through the checkpoint barrier.\n\n9\n00:01:00,390 --> 00:01:04,440\nThe other rider crashes the barrier at the other end\nand they ride towards each other.\n\n10\n00:01:04,570 --> 00:01:06,150\nIndiana picks up a flagpole\n\n11\n00:01:06,150 --> 00:01:09,150\nand using it like a lance,\nhe knocks the man from his bike.\n\n12\n00:01:09,240 --> 00:01:13,530\nThe bike continues going and crashes\ninto the pursuing riders, knocking two of them off.\n\n13\n00:01:22,790 --> 00:01:25,380\nThe remaining rider wriggles\nthrough the debris in the road\n\n14\n00:01:25,380 --> 00:01:26,750\nand continues with the chase.\n\n15\n00:01:33,340 --> 00:01:35,140\nHe pulls his bike onto the back wheel\n\n16\n00:01:35,140 --> 00:01:37,350\nand drops the front wheel down on the sidecar.\n\n17\n00:01:37,680 --> 00:01:39,850\nHe then comes alongside and pulls out a gun.\n\n18\n00:01:39,890 --> 00:01:46,110\nIndiana, still holding the remains of the flag pole, which he shoves\nthrough the spokes of the motorbike's front wheel, flipping the bike over.\n\n19\n00:01:53,820 --> 00:01:56,780\nHenry sits calmly in the sidecar,\nwinding up his watch.\n\n", "subtitles": "1\n00:00:59,820 --> 00:01:01,160\nHalt! Halt!\n\n", "sdh": "1\n00:00:27,110 --> 00:00:28,440\n(GUNSHOTS)\n\n2\n00:00:59,810 --> 00:01:00,850\nHalt! Halt!\n\n3\n00:01:12,820 --> 00:01:13,900\n(GROANS)\n\n", "screenplay": "{\"screenplay_scene_59\": \"<scene>\\n    <character>INDY</character>\\n    <dialogue>Ha! FOUR NAZI SOLDIERS ON MOTORCYCLES They chase down the road after INDY and HENRY. INDY turns the motorbike down a smaller, dusty tree - lined road. HENRY gasps as he is jostled about in the sidecar. One of the NAZI SOLDIERS gives chase along a higher road running in the same direction.</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "3813.12", "video_duration": "117.84"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "cHVzN4hQbVo4", "audio_description_us": "1\n00:00:04,300 --> 00:00:06,170\nHe joins his dad watching the parade.\n\n2\n00:00:11,090 --> 00:00:13,640\nThe long procession passes the raised platform.\n\n3\n00:00:14,220 --> 00:00:17,100\nHitler holds up one hand as he watches\nfrom the center podium.\n\n4\n00:00:17,810 --> 00:00:20,190\nNazi youths grab books from a large bin.\n\n5\n00:00:20,850 --> 00:00:22,980\nElsa tearfully stares out from the platform.\n\n6\n00:00:23,440 --> 00:00:26,360\nShe watches the young Nazis\nthrow the books onto the fire.\n\n7\n00:00:28,200 --> 00:00:31,280\nThey scramble to grab more books,\ntossing them into the flames.\n\n8\n00:00:32,700 --> 00:00:36,200\nLater, Elsa wears a glum expression\nas she walks past pillars.\n\n9\n00:00:36,450 --> 00:00:38,790\nIndy approaches from behind and grabs her arm.\n\n10\n00:00:46,590 --> 00:00:47,970\nHe pins her against the pillar\n\n11\n00:00:47,970 --> 00:00:49,470\nand takes the diary from her coat.\n\n12\n00:01:05,770 --> 00:01:06,570\nHe chokes her.\n\n13\n00:01:12,780 --> 00:01:14,370\nIndy lets go of her throat.\n\n14\n00:01:14,830 --> 00:01:16,580\nHe hesitates, then walks away.\n\n15\n00:01:16,990 --> 00:01:18,370\nElsa stares after him.\n\n16\n00:01:20,370 --> 00:01:21,750\nIndy rejoins his dad.\n\n17\n00:01:24,210 --> 00:01:25,590\nA crowd pushes them back.\n\n18\n00:01:25,920 --> 00:01:28,300\nSome people hold up notepads and writing utensils.\n\n19\n00:01:28,710 --> 00:01:31,340\nSoldiers keep citizens at bay\nas Hitler walks through.\n\n20\n00:01:31,800 --> 00:01:33,680\nHe autographs a notebook for a little girl.\n\n21\n00:01:37,010 --> 00:01:39,930\nTurning around, Indy comes face to face\nwith the Nazi leader.\n\n22\n00:01:40,520 --> 00:01:42,440\nHitler eyes him with a stony expression\n\n23\n00:01:42,440 --> 00:01:44,060\nand Indy stares back in shock.\n\n24\n00:01:46,020 --> 00:01:48,860\nTaking the diary from Indy's hand,\nHitler locks eyes with him.\n\n25\n00:01:49,530 --> 00:01:51,320\nIndy tries to keep his composure.\n\n26\n00:01:52,650 --> 00:01:54,700\nOpening the book, Hitler holds out his hand.\n\n27\n00:01:55,620 --> 00:01:56,950\nA man gives him a pencil.\n\n28\n00:01:57,660 --> 00:01:59,580\nHe signs a page showing a drawing.\n\n29\n00:02:01,160 --> 00:02:02,040\nIndy watches,\n\n30\n00:02:02,040 --> 00:02:02,830\nthen grins.\n\n31\n00:02:07,750 --> 00:02:09,760\nReturning the diary, Hitler moves on.\n\n32\n00:02:10,420 --> 00:02:12,550\nA man pushes Indy back into the crowd.\n\n", "audio_description_uk": "1\n00:00:11,930 --> 00:00:17,020\nAdolf Hitler stands at a podium saluting proudly\nas the ranks of soldiers file past.\n\n2\n00:00:17,230 --> 00:00:20,940\nThe crowd of mainly young children\ncontinue to hurl books at the huge fire.\n\n3\n00:00:24,320 --> 00:00:27,440\nElsa watches, deeply saddened\nby the wanton destruction.\n\n4\n00:00:34,620 --> 00:00:36,370\nIndiana finds Elsa alone.\n\n5\n00:01:24,630 --> 00:01:28,550\nA surging crowd that's heading towards the Führer\nsweeps Henry and Indiana along.\n\n6\n00:01:38,020 --> 00:01:41,100\nIndiana is pushed backwards\nuntil he bumps into the Führer.\n\n7\n00:01:41,520 --> 00:01:43,440\nHitler looks at him with an icy stare,\n\n8\n00:01:43,440 --> 00:01:46,020\nthen slowly removes the grail diary from his hand.\n\n9\n00:01:46,270 --> 00:01:47,320\nHe opens the book,\n\n10\n00:01:47,360 --> 00:01:48,650\nthen holds out his hand.\n\n11\n00:01:48,820 --> 00:01:51,150\nA pencil is quickly handed to him by an aide.\n\n12\n00:01:51,360 --> 00:01:55,240\nHe signs the book 'Adolf Hitler'\nand hands it back to Indiana.\n\n13\n00:01:55,620 --> 00:01:58,620\nHe then continues with his stroll\namongst his loyal supporters.\n\n", "subtitles": "1\n00:00:07,490 --> 00:00:11,090\nMy boy, we are pilgrims\nin an unholy land.\n\n2\n00:00:40,560 --> 00:00:42,550\nFraulein Doctor.\n\n3\n00:00:42,630 --> 00:00:43,760\nWhere is it?\n\n4\n00:00:43,830 --> 00:00:44,920\nHow did you get here?\n\n5\n00:00:45,000 --> 00:00:46,160\nWhere is it?\n\n6\n00:00:46,230 --> 00:00:48,600\nl want it.\n\n7\n00:00:50,000 --> 00:00:52,940\nYou came back for the book? Why?\n\n8\n00:00:53,070 --> 00:00:54,940\nMy father didn't want\nit incinerated.\n\n9\n00:00:55,010 --> 00:00:57,530\nls that\nwhat you think of me?\n\n10\n00:00:57,610 --> 00:00:59,410\nl believe in the Grail,\nnot the swastika.\n\n11\n00:00:59,480 --> 00:01:00,810\nBut you stood up to be counted\n\n12\n00:01:00,880 --> 00:01:03,370\nwith the enemy of everything\nthat the Grail stands for.\n\n13\n00:01:03,450 --> 00:01:05,380\nWho gives a damn what you think?\n\n14\n00:01:05,450 --> 00:01:06,940\nYou do.\n\n15\n00:01:07,020 --> 00:01:10,750\nAll l have to\ndo is squeeze.\n\n16\n00:01:10,820 --> 00:01:13,090\nAll l have to do is scream.\n\n17\n00:01:22,300 --> 00:01:23,400\nl've got it.\n\n18\n00:01:23,470 --> 00:01:25,440\nLet's get the hell out of here.\n\n", "sdh": "1\n00:00:07,350 --> 00:00:10,680\nMy boy, we are pilgrims\nin an unholy land.\n\n2\n00:00:17,480 --> 00:00:19,480\n(CLAMORING)\n\n3\n00:00:40,460 --> 00:00:42,380\nFräulein Doctor.\n\n4\n00:00:42,880 --> 00:00:44,800\n- Where is it?\n- How did you get here?\n\n5\n00:00:44,890 --> 00:00:46,930\nWhere is it? I want it.\n\n6\n00:00:50,180 --> 00:00:52,730\nYou came back for the book? Why?\n\n7\n00:00:53,480 --> 00:00:55,310\nMy father didn't want it incinerated.\n\n8\n00:00:55,400 --> 00:00:57,020\nIs that what you think of me?\n\n9\n00:00:57,110 --> 00:00:59,480\nI believe in the Grail, not the swastika.\n\n10\n00:00:59,570 --> 00:01:00,900\nBut you stood up to be counted\n\n11\n00:01:00,980 --> 00:01:03,320\nwith the enemy of everything\nthat the Grail stands for.\n\n12\n00:01:03,400 --> 00:01:04,940\nWho gives a damn what you think?\n\n13\n00:01:05,030 --> 00:01:07,070\nYou do.\n\n14\n00:01:07,160 --> 00:01:10,240\nAll I have to do is squeeze.\n\n15\n00:01:10,490 --> 00:01:13,080\nAll I have to do is scream.\n\n16\n00:01:22,590 --> 00:01:25,670\nI've got it.\nLet's get the hell out of here.\n\n", "screenplay": "{\"screenplay_scene_61\": \"<scene>\\n    <character>HENRY</character>\\n    <dialogue>My boy, we are Pilgrims in an unholy land. Then. Indy sees something that makes him stop in his tracks. WE PAN ALONG HIS LINE OF SIGHT to : THE PODIUM where high - ranking Officers of the Third Reich stand flanking ADOLF HITLER as they oversee the rally. ANOTHER ANGLE ELSA is walking away in an open area, background of torches, vehicles, Nazi Officers. one of whom is now none other than INDY, coming up to her before she knows he is there. His voice is quiet and tough, his eyes hard.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Fraulein Doctor. Where is it? Still startled, her reaction makes it clear that Indy is even now a lover in her thoughts.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>How did you get here?</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Where is it? I want it. INDY pushes ELSA against a column and begins to search her clothing for the Diary. He pulls the book from Elsa's pocket.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>You came back for the book? Whv?</dialogue>\\n    <character>INDY</character>\\n    <dialogue>My father did n't want it incinerated. She understands him. It's as though he slapped her.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>Is that what you think of me? I believe in the Grail, not the Swastika.</dialogue>\\n    <character>INDY</character>\\n    <parenthetical>( vicious . )</parenthetical>\\n    <dialogue>Yet you stood up to be counted with the enemy of everything the Grail stands for -- who gives a damn what you think?</dialogue>\\n    <character>ELSA</character>\\n    <parenthetical>( hard and fast . )</parenthetical>\\n    <dialogue>You do. Now it's as though she'd slapped him back. His hands fly to her neck.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>All I have to do is squeeze.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>All I have to do is scream. It's a standoff emotionally. He knows he'd never do it. she knows it too. And the same goes for screaming. INDY releases her and backs away. she looks at him with a lover's pain. He moves over to HENRY.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I've got it. Let's get the hell out of here. They move off and almost run headlong into HITLER and his entire entourage coming down from the Podium. 50 kids push their autograph books for Hitler's signature. HITLER pauses to sign them. Hitler looks Indy's way. They make eye contact. It only lasts a moment but the moment is electric. HITLER breaks the spell by taking the Grail Diary from him, opens it to the first page and signs his autograph. He hands it back and moves on.</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "4108.32", "video_duration": "132.87"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "w8eh5cW9FbzJ", "audio_description_us": "1\n00:00:02,630 --> 00:00:05,300\nOnboard, Indy and his dad\ntake a seat by the window.\n\n2\n00:00:05,920 --> 00:00:09,090\nHenry drapes his jacket over the windowsill\nand reads a newspaper.\n\n3\n00:00:09,840 --> 00:00:10,890\nIndy grins.\n\n4\n00:00:21,810 --> 00:00:24,320\nLooking out the window,\nIndy takes on a concerned look.\n\n5\n00:00:24,730 --> 00:00:27,820\nHe spots the blue eyed officer quickly approaching\nwith another man.\n\n6\n00:00:32,320 --> 00:00:34,660\nA steward sets a bowl of nuts on Indy's table.\n\n7\n00:00:36,330 --> 00:00:39,000\nIndy follows him away\nwhile his dad reads the newspaper.\n\n8\n00:00:39,790 --> 00:00:42,500\nPutting an arm around the steward,\nIndy leads him around a corner.\n\n9\n00:00:44,210 --> 00:00:47,630\nUsing his cane, the blue-eyed officer pushes down\na passenger's newspaper.\n\n10\n00:00:48,260 --> 00:00:51,680\nHe shows the wanted flyer to the people at the table\nand they shake their heads.\n\n11\n00:00:52,260 --> 00:00:54,180\nThe officer steps to another table.\n\n12\n00:00:54,890 --> 00:00:57,640\nWearing the steward's uniform,\nIndy returns and spots him.\n\n13\n00:00:58,060 --> 00:00:59,770\nHe faces a nearby passenger.\n\n14\n00:01:03,230 --> 00:01:06,150\nIndy steps to another table\nas the officer approaches Henry.\n\n15\n00:01:12,610 --> 00:01:16,580\nUsing his cane, the blue-eyed officer\nslowly pushes down Henry's newspaper.\n\n16\n00:01:18,250 --> 00:01:19,500\nHenry squints up at him.\n\n17\n00:01:24,170 --> 00:01:25,540\nIndy steps up behind him.\n\n18\n00:01:31,880 --> 00:01:33,800\nThe officer looks back and his eyes widen.\n\n19\n00:01:33,930 --> 00:01:34,760\nIndy punches him\n\n20\n00:01:34,760 --> 00:01:36,100\nand throws him out the window.\n\n21\n00:01:36,470 --> 00:01:38,430\nThe officer lands on a pile of luggage.\n\n22\n00:01:38,720 --> 00:01:40,390\nHenry wears an impressed look.\n\n23\n00:01:41,310 --> 00:01:42,640\nIndy spots everyone staring\n\n24\n00:01:42,640 --> 00:01:43,940\nand gestures to the window.\n\n25\n00:01:47,270 --> 00:01:49,110\nThe passengers quickly pull out their tickets\n\n26\n00:01:49,110 --> 00:01:49,900\nand hold them up.\n\n27\n00:01:52,530 --> 00:01:56,700\nStanding in the pile of luggage, the blue eyed officer\nshakes his fist at the departing airship.\n\n", "audio_description_uk": "1\n00:00:00,210 --> 00:00:04,000\nThey walk across the grass airfield to get\nonboard the enormous craft.\n\n2\n00:00:24,900 --> 00:00:30,780\nFrom out of the cabin window,\nIndiana spots the SS officer from the castle, and he's about to board the airship.\n\n3\n00:00:31,030 --> 00:00:32,700\nIndiana gets up from the table\n\n4\n00:00:32,700 --> 00:00:34,790\nand leaves his father reading the newspaper.\n\n5\n00:00:35,120 --> 00:00:38,080\nHe follows and starts chatting\nwith one of the flight stewards.\n\n6\n00:00:51,760 --> 00:00:54,850\nThe SS officer shows the passengers the picture of Henry.\n\n7\n00:00:55,220 --> 00:00:58,350\nIndiana returns wearing the steward's white jacket and peaked cap.\n\n8\n00:01:13,620 --> 00:01:17,740\nThe SS officer stands in front of Henry\nand pulls down his newspaper with his cane.\n\n9\n00:01:35,680 --> 00:01:37,600\nIndiana punches the officer in the face,\n\n10\n00:01:37,600 --> 00:01:39,390\nthen throws him out of the open window.\n\n11\n00:01:39,390 --> 00:01:40,850\nHe lands on a pile of luggage.\n\n12\n00:01:47,900 --> 00:01:50,990\nAll the passengers quickly find their tickets\nand wave them at Indiana.\n\n13\n00:01:54,200 --> 00:01:58,370\nThe SS officer gets to his feet and watches\nas the airship climbs up into the sky.\n\n", "subtitles": "1\n00:00:11,220 --> 00:00:14,480\nWell, we made it.\n\n2\n00:00:14,560 --> 00:00:17,890\nWhen we're airborne,\nwith Germany behind us,\n\n3\n00:00:17,960 --> 00:00:20,830\nthen l'll share\nthat sentiment.\n\n4\n00:00:20,900 --> 00:00:22,990\nRelax.\n\n5\n00:01:07,680 --> 00:01:09,970\nTickets, please.\n\n6\n00:01:21,520 --> 00:01:23,180\nGuten Tag...\n\n7\n00:01:23,260 --> 00:01:24,990\nHerr Jones.\n\n8\n00:01:28,560 --> 00:01:29,830\nTickets, please.\n\n9\n00:01:42,410 --> 00:01:44,380\nOh, we should\nget out of here.\n\n10\n00:01:45,910 --> 00:01:47,680\nNo ticket.\n\n11\n00:01:50,390 --> 00:01:51,080\nTicket.\n\n12\n00:01:51,150 --> 00:01:52,550\n- Ticket!\n- Ticket!\n\n13\n00:01:52,620 --> 00:01:54,020\n- Ticket! -Ticket!\n\n", "sdh": "1\n00:00:11,810 --> 00:00:14,140\nWell, we made it.\n\n2\n00:00:15,270 --> 00:00:18,140\nWhen we're airborne,\nwith Germany behind us,\n\n3\n00:00:18,230 --> 00:00:20,560\nthen I'll share that sentiment.\n\n4\n00:00:20,650 --> 00:00:22,270\nRelax.\n\n5\n00:00:29,530 --> 00:00:32,160\n(SHOUTING)\n\n6\n00:00:48,720 --> 00:00:50,680\n(SPEAKS GERMAN)\n\n7\n00:01:08,150 --> 00:01:10,110\nTickets, please.\n\n8\n00:01:10,240 --> 00:01:11,990\n(SPEAKS GERMAN)\n\n9\n00:01:21,250 --> 00:01:24,710\nGuten Tag, Herr Jones.\n\n10\n00:01:25,840 --> 00:01:28,050\n(BOTH SPEAKING GERMAN)\n\n11\n00:01:28,880 --> 00:01:30,630\nTickets, please.\n\n12\n00:01:40,600 --> 00:01:41,770\n(PEOPLE MURMURING)\n\n13\n00:01:41,850 --> 00:01:43,770\nWOMAN: We should get out of here.\n\n14\n00:01:45,860 --> 00:01:47,400\nNo ticket.\n\n15\n00:01:50,320 --> 00:01:51,320\nTicket.\n\n16\n00:01:51,410 --> 00:01:52,530\nMAN 1: Ticket!\nMAN 2: Ticket!\n\n17\n00:01:52,570 --> 00:01:53,700\n- Ticket!\n- Ticket!\n\n18\n00:01:58,910 --> 00:02:00,750\n(SHOUTING IN GERMAN)\n\n", "screenplay": "{\"screenplay_scene_63\": \"<scene>\\n    <character>INDY</character>\\n    <dialogue>Well, we made it. HENRY looks over his newspaper at INDY.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>When we're airborne, with Germany behind us, then I'll share that sentiment.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Relax. But INDY looks out the window and is suddenly concerned when he sees : VOGEL AND A GESTAPO AGENT rushing across the tarmac toward the Zeppelin.</dialogue>\\n    <character>VOGEL</character>\\n    <dialogue>Nicht zumachen! Wir steigen ein! INDY sits back in his chair, looks to HENRY, now reading his newspaper. A STEWARD enters and sets a bowl of nuts on the table in front of INDY and HENRY, then continues down the aisle of passengers. Indy follows after the Steward. He puts his arm around the Steward's shoulder and together they walk up a flight of stairs. VOGEL now walks up the aisle. He approaches a MALE PASSENGER hidden behind a newspaper. VOGEL uses his walking stick to lower the newspaper and show the Passenger the leaflet with Henry's photograph.</dialogue>\\n    <character>VOGEL</character>\\n    <dialogue>Haben sie disen Mann gesehen? The Passengers at the table shake their heads in the negative. VOGEL shows the picture to other Passengers.</dialogue>\\n    <character>FEMALE PASSENGER</character>\\n    <dialogue>Nein.</dialogue>\\n    <character>INDY</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>Fahrscheine, bitte.</dialogue>\\n    <character>MALE PASSENGER</character>\\n    <dialogue>Nein. VOGEL turns to see : INDY WEARING THE HAT AND JACKET OF THE CHIEF STEWARD.</dialogue>\\n    <character>MALE PASSENGER</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>Ich habe ihn night gesehen.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Tickets please. The Passengers do not react to the request, made in English.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Fahrscheine meine Dame. Bitte. VOGEL approaches HENRY, still hidden behind his newspaper. Again, VOGEL uses his walking stick to lower the paper, revealing Henry's face.</dialogue>\\n    <character>VOGEL</character>\\n    <dialogue>Guten Tag, Herr Jones. Now INDY, still playing the role of Steward, asks VOGEL for his ticket.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Fahrscheine meine Herr.</dialogue>\\n    <character>VOGEL</character>\\n    <dialogue>Weg.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Tickets please. HENRY looks confused.</dialogue>\\n    <character>VOGEL</character>\\n    <parenthetical>( in German . )</parenthetical>\\n    <dialogue>Was? VOGEL glances up and recognizes INDY -- who quickly punches Vogel in the face, knocking him toward the window. In another quick move, Indy TOSSES HIM OUT THE WINDOW onto the tarmac below. Shocked Passengers blink in bewilderment.</dialogue>\\n    <character>INDY</character>\\n    <parenthetical>( in German ; with a shrug . )</parenthetical>\\n    <dialogue>No ticket. Everyone else with a ticket quickly produces it and waves it in Indy's face.</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "4285.38", "video_duration": "123.35"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "l5lLQICPOcnb", "audio_description_us": "1\n00:00:04,760 --> 00:00:06,670\nBullets kick up pillars of dust in their wake.\n\n2\n00:00:11,010 --> 00:00:13,390\nIndy drives into a tunnel and the plane follows.\n\n3\n00:00:13,680 --> 00:00:17,060\nThe wings break off and the flaming\ncockpit skids behind the car.\n\n4\n00:00:22,400 --> 00:00:24,530\nThe remains of the aircraft pass them by.\n\n5\n00:00:24,730 --> 00:00:27,530\nIn the enclosed cockpit,\nthe pilot wears a stupefied look.\n\n6\n00:00:27,990 --> 00:00:29,240\nThe plane emerges from the tunnel\n\n7\n00:00:29,240 --> 00:00:30,030\nand explodes.\n\n8\n00:00:31,320 --> 00:00:34,540\nDriving toward the fire,\nIndy crashes the car through scraps of metal.\n\n9\n00:00:40,250 --> 00:00:42,130\nThe other plane drops a bomb in front of them.\n\n10\n00:00:42,460 --> 00:00:45,250\nThe car falls in the resulting crater\nand the plane flies off.\n\n11\n00:00:47,840 --> 00:00:51,800\nClimbing out of the wreck, Indy hurries across\nthe rocky hillside overlooking the ocean.\n\n12\n00:00:52,640 --> 00:00:54,720\nHe reaches behind him and stops and looks back.\n\n13\n00:00:58,810 --> 00:01:00,310\nHenry follows him down the slope.\n\n14\n00:01:00,770 --> 00:01:03,230\nThe German plane makes a wide arc over the mountains.\n\n15\n00:01:04,190 --> 00:01:06,570\nRunning across a beach, Indy stops near the water.\n\n16\n00:01:06,980 --> 00:01:08,440\nHe spots the plane approaching.\n\n17\n00:01:10,280 --> 00:01:12,910\nIndy checks his revolver\nand finds the cylinder empty.\n\n18\n00:01:14,490 --> 00:01:17,910\nWith a thoughtful look, Henry stares between\nthe beach and the approaching plane.\n\n19\n00:01:18,580 --> 00:01:20,790\nHe shoves his back at Indy\nand takes the umbrella.\n\n20\n00:01:21,500 --> 00:01:25,130\nHenry quickly opens and shuts the umbrella\nas he approaches a flock of seagulls.\n\n21\n00:01:29,210 --> 00:01:30,300\nThe birds scatter.\n\n22\n00:01:30,670 --> 00:01:33,800\nThe plane rams into them\nand seagulls shatter the cockpit window.\n\n23\n00:01:34,390 --> 00:01:36,600\nIndy watches the plane fly for the hillside.\n\n24\n00:01:39,100 --> 00:01:40,930\nDark smoke rises from the wreckage.\n\n25\n00:01:41,480 --> 00:01:44,310\nHolding his umbrella, Henry grins as he saunters over.\n\n26\n00:01:53,160 --> 00:01:55,370\nIndy stares after him with a furrowed brow.\n\n27\n00:01:55,820 --> 00:01:58,080\nSmiling faintly, he nods and follows.\n\n28\n00:02:00,700 --> 00:02:04,500\nIn the Republic of Hatay, a dignified man\nstrolls through a palace courtyard.\n\n", "audio_description_uk": "1\n00:00:13,140 --> 00:00:14,970\nThey make a sharp turn into a tunnel.\n\n2\n00:00:14,970 --> 00:00:16,680\nThe fighter plane follows behind them.\n\n3\n00:00:16,730 --> 00:00:18,810\nIt rips its wings off as it enters the tunnel.\n\n4\n00:00:22,690 --> 00:00:26,110\nThe flaming fuselage skids along the road surface,\ncatching up with the car.\n\n5\n00:00:26,110 --> 00:00:30,320\nThe bemused pilot stares out of his cockpit as he slowly\novertakes them in his wrecked plane.\n\n6\n00:00:30,570 --> 00:00:32,820\nAs the plane slides out of the tunnel, it blows up.\n\n7\n00:00:33,240 --> 00:00:35,200\nThe car careers through the burning wreckage.\n\n8\n00:00:43,880 --> 00:00:46,130\nThe second plane drops a bomb onto the road.\n\n9\n00:00:46,260 --> 00:00:49,590\nThe car dives into the crater it made\nand comes to an abrupt halt.\n\n10\n00:00:49,800 --> 00:00:51,680\nIndiana and Henry abandon the car\n\n11\n00:00:51,680 --> 00:00:53,050\nand run to a nearby beach.\n\n12\n00:01:08,490 --> 00:01:10,320\nThe fighter pilot still keeps track of them\n\n13\n00:01:10,320 --> 00:01:11,950\nand dives down for another attack.\n\n14\n00:01:12,070 --> 00:01:14,700\nIndiana checks his handgun,\nbut he's out of ammunition.\n\n15\n00:01:21,080 --> 00:01:26,670\nHenry grabs his umbrella and runs towards a flock of gulls\non the beach while quickly opening and closing the umbrella.\n\n16\n00:01:27,050 --> 00:01:31,050\nThe scared gulls take flight en masse directly\ninto the path of the fighter plane.\n\n17\n00:01:31,340 --> 00:01:32,630\nThe gulls smash into the plane\n\n18\n00:01:32,630 --> 00:01:34,640\nand it crashes head on into a cliff face,\n\n19\n00:01:34,640 --> 00:01:36,180\nexploding in a ball of fire.\n\n20\n00:01:57,080 --> 00:02:00,160\nIndiana stands speechless\nand looks quizzically at his father.\n\n", "subtitles": "1\n00:00:06,730 --> 00:00:08,700\nThis is intolerable!\n\n2\n00:00:10,060 --> 00:00:11,430\nThis could be close.\n\n3\n00:00:19,740 --> 00:00:22,300\nFaster, boy! Faster!\n\n4\n00:00:37,960 --> 00:00:40,330\nWell, they don't come\nany closer than that!\n\n5\n00:00:56,140 --> 00:00:58,980\nDad, he's coming back!\n\n6\n00:01:45,530 --> 00:01:48,090\nl suddenly\nremembered my Charlemagne.\n\n7\n00:01:48,160 --> 00:01:51,060\n\"Let my armies be the rocks\nand the trees\n\n8\n00:01:51,130 --> 00:01:53,290\nand the birds in the sky.\"\n\n", "sdh": "1\n00:00:06,650 --> 00:00:08,360\nThis is intolerable!\n\n2\n00:00:09,730 --> 00:00:11,110\nThis could be close.\n\n3\n00:00:20,330 --> 00:00:22,000\nFaster, boy! Faster!\n\n4\n00:00:37,720 --> 00:00:40,010\nWell, they don't come\nany closer than that!\n\n5\n00:00:55,950 --> 00:00:59,120\nDad, he's coming back!\n\n6\n00:01:25,520 --> 00:01:27,100\n(CLUCKING)\n\n7\n00:01:33,570 --> 00:01:35,820\n(PILOT SCREAMING)\n\n8\n00:01:45,700 --> 00:01:48,330\nI suddenly\nremembered my Charlemagne.\n\n9\n00:01:48,420 --> 00:01:51,250\n\"Let my armies be\nthe rocks and the trees\n\n10\n00:01:51,340 --> 00:01:53,590\n\"and the birds in the sky.\"\n\n", "screenplay": "null", "movie_duration": "7664.29", "video_start": "4753.66", "video_duration": "126.04"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "XgMvWYNAK0MA", "audio_description_us": "1\n00:00:00,330 --> 00:00:02,670\nIndy jumps from his horse onto the armored vehicle.\n\n2\n00:00:03,170 --> 00:00:04,380\nHe looks up with a scowl.\n\n3\n00:00:05,010 --> 00:00:06,760\nThe blue eye colonel rises from the hatch\n\n4\n00:00:06,840 --> 00:00:07,930\nand Indy glares at him.\n\n5\n00:00:10,260 --> 00:00:11,470\nA soldier tackles Indy.\n\n6\n00:00:11,890 --> 00:00:15,640\nAs more jump over from a truck, the colonel\ntakes off decorative parts of his uniform.\n\n7\n00:00:17,480 --> 00:00:18,810\nIndy steals a Nazi's gun\n\n8\n00:00:18,810 --> 00:00:19,560\nand fires.\n\n9\n00:00:19,850 --> 00:00:22,270\nThe bullet pierces through\nthree men standing in a row.\n\n10\n00:00:23,440 --> 00:00:24,900\nIndy wears an amazed look.\n\n11\n00:00:27,900 --> 00:00:30,200\nA soldier wielding a knife\nleaps over from the truck.\n\n12\n00:00:30,660 --> 00:00:31,490\nIndy punches him,\n\n13\n00:00:31,490 --> 00:00:32,700\nthen flips him onto his back.\n\n14\n00:00:34,950 --> 00:00:37,160\nThe colonel chokes Indy from behind with a chain.\n\n15\n00:00:37,830 --> 00:00:39,960\nIndy struggles and leans over the tank's hatch.\n\n16\n00:00:40,290 --> 00:00:41,250\nHe drops the gun.\n\n17\n00:00:46,550 --> 00:00:48,470\nPicking up his hat, Henry eyes the weapon.\n\n18\n00:00:48,920 --> 00:00:50,380\nThe guard holds his aim on him.\n\n19\n00:00:52,550 --> 00:00:54,850\nIndy punches the soldier\nwho lands on the wheel track.\n\n20\n00:00:55,430 --> 00:00:57,220\nThe Nazi drops in front of the tread.\n\n21\n00:00:58,100 --> 00:01:00,440\nIndy falls on the colonel\nwho continues to choke him.\n\n22\n00:01:01,400 --> 00:01:03,060\nHenry spots another truck approaching.\n\n23\n00:01:05,020 --> 00:01:08,610\nA soldier races the tank’s periscope,\nwhich sticks up near Indy and the colonel.\n\n24\n00:01:09,030 --> 00:01:10,320\nHe turns it toward the scuffle.\n\n25\n00:01:13,490 --> 00:01:17,080\nPulling away from his opponent, Indy slams\nhis own face against the periscope lens.\n\n26\n00:01:17,830 --> 00:01:20,620\nThe watching soldier leans away\nfrom the viewfinder in surprise.\n\n27\n00:01:20,830 --> 00:01:21,620\nHe grins.\n\n28\n00:01:21,790 --> 00:01:23,830\nThe colonel yanks Indy away from the periscope.\n\n29\n00:01:24,040 --> 00:01:26,300\nBelow, the soldier smiles at his comrades.\n\n30\n00:01:27,750 --> 00:01:28,920\nIndy kicks the periscope\n\n31\n00:01:28,920 --> 00:01:30,760\nand the handles knock the soldier unconscious.\n\n32\n00:01:32,260 --> 00:01:33,680\nHenry snags the fallen gun\n\n33\n00:01:33,680 --> 00:01:34,930\nand the guard grabs his wrist.\n\n34\n00:01:35,510 --> 00:01:38,100\nThe unconscious soldier\nlies on Marcus, trapping him.\n\n35\n00:01:39,470 --> 00:01:42,270\nThe colonel tries to force Indy's face\ntoward the tank's wheel track.\n\n36\n00:01:42,690 --> 00:01:44,810\nHenry and the guard fight for control of the gun.\n\n37\n00:01:45,190 --> 00:01:47,730\nThe second truck of soldiers\npulls up alongside the tank.\n\n38\n00:01:48,360 --> 00:01:50,740\nThe colonel presses Indy's face to the moving track.\n\n39\n00:01:51,780 --> 00:01:53,660\nAs the soldier tries to aim the gun at Henry,\n\n40\n00:01:53,660 --> 00:01:55,620\nthe older man grabs something from his pocket.\n\n41\n00:01:56,370 --> 00:01:59,240\nHe aims a pen at the guard's face,\nsquirting ink into his eye.\n\n42\n00:02:01,580 --> 00:02:02,790\nThe gun flies away.\n\n43\n00:02:03,710 --> 00:02:05,130\nThe guard slams against the wall\n\n44\n00:02:05,130 --> 00:02:06,380\nand Henry falls against him.\n\n", "audio_description_uk": "1\n00:00:09,220 --> 00:00:12,350\nVogel reappears from the hatch\nas Indiana prepares to attack.\n\n2\n00:00:12,550 --> 00:00:16,770\nA soldier from the back of a truck alongside the tank\nleaps across and knocks him down.\n\n3\n00:00:20,520 --> 00:00:24,320\nIndiana disarms the soldier\nas more from the truck jump onto the tank.\n\n4\n00:00:24,480 --> 00:00:25,780\nIndiana fires the gun.\n\n5\n00:00:25,980 --> 00:00:29,990\nThe bullet passes through the soldier and two\nothers standing behind him, killing all three.\n\n6\n00:00:35,330 --> 00:00:36,790\nHe fights off another soldier,\n\n7\n00:00:36,830 --> 00:00:41,210\nbut from behind him, Vogel wraps a short length of chain\naround his neck and attempts to strangle him.\n\n8\n00:00:50,010 --> 00:00:51,390\nHe drops his gun into the tank.\n\n9\n00:00:51,390 --> 00:00:52,680\nIt lands in front of Henry.\n\n10\n00:00:53,010 --> 00:00:55,350\nWith his fist still free, Indiana punches a man\n\n11\n00:00:55,350 --> 00:00:57,270\nwho falls onto the fast moving tank track,\n\n12\n00:00:57,270 --> 00:00:59,230\nwhich carries him off and runs him over.\n\n13\n00:01:04,820 --> 00:01:08,900\nHenry watches from a small window as another truck\nfull of troops approaches the tank.\n\n14\n00:01:09,320 --> 00:01:14,660\nOne of the tank crew raises a periscope and focuses on\nthe continuing struggle between Indiana and Vogel.\n\n15\n00:01:15,080 --> 00:01:17,950\nIndiana's face is pushed hard up against the periscope.\n\n16\n00:01:18,000 --> 00:01:19,120\nThe crewman smiles.\n\n17\n00:01:30,760 --> 00:01:32,930\nIndiana's foot kicks the periscope around.\n\n18\n00:01:32,970 --> 00:01:37,220\nInside the tank, the spinning handle hits the crewman on\nthe head, sending him crashing into Henry.\n\n19\n00:01:37,470 --> 00:01:40,020\nHenry seizes the opportunity and grabs the gun.\n\n20\n00:01:40,180 --> 00:01:42,900\nThe crewman immediately tries to prize it from his grasp.\n\n21\n00:01:43,100 --> 00:01:48,070\nMeanwhile outside, Vogel tries to push Indiana's face\ninto the flesh ripping tank tracks.\n\n22\n00:01:52,700 --> 00:01:56,990\nHenry, using his fountain pen in his free hand,\nsquirts ink into the face of the crewman.\n\n23\n00:01:57,200 --> 00:01:58,950\nThe man releases his grip on Henry\n\n24\n00:01:58,990 --> 00:02:02,830\nand reels backwards, hitting his head on a steel door\nand knocking himself out.\n\n25\n00:02:02,920 --> 00:02:04,420\nHenry drops the gun on the floor.\n\n", "subtitles": "1\n00:00:41,210 --> 00:00:42,700\nDad!\n\n2\n00:00:44,510 --> 00:00:45,570\nDad!\n\n3\n00:00:45,640 --> 00:00:47,370\nDad! Get out!\n\n4\n00:02:07,430 --> 00:02:09,150\nHenry, the pen...\n\n5\n00:02:09,230 --> 00:02:10,850\n- What?\n- But don't you see?\n\n", "sdh": "1\n00:00:16,020 --> 00:00:18,440\n(SHOUTING)\n\n2\n00:00:41,790 --> 00:00:43,420\nDad!\n\n3\n00:00:44,170 --> 00:00:45,250\nDad!\n\n4\n00:00:45,380 --> 00:00:47,130\nDad! Get out!\n\n5\n00:01:06,530 --> 00:01:08,240\n(SHOUTING)\n\n6\n00:01:22,750 --> 00:01:24,580\n(GRUNTING)\n\n7\n00:01:26,880 --> 00:01:29,340\n(SPEAKING GERMAN)\n\n8\n00:02:07,590 --> 00:02:08,880\nHenry, the pen...\n\n9\n00:02:09,130 --> 00:02:10,550\n- What?\n- But don't you see?\n\n", "screenplay": "{\"screenplay_scene_85\": \"<scene>\\n    <character>HENRY</character>\\n    <dialogue>Junior? Junior? Junior! The NAZI SOLDIER swings his fist, knocking HENRY off his seat.</dialogue>\\n  </scene>\", \"screenplay_scene_86\": \"<scene>\\n    <scene_description>Suddenly , from nowhere a German soldier flies INTO FRAME , tackling Indy .</scene_description>\\n    <character>CUT TO:</character>\\n    <dialogue>SIDE ANGLE One of the two troop carriers is paralleling the tank and like pirates boarding a galleon, Nazi Soldiers leap over the treads and are swarming all over INDY. INDY is struggling with a German's Luger. INDY presses the luger against his assailant and forces the Nazi to squeeze off a shot into himself. The bullet not only passes through the Nazi, but passes through two other Nazis standing directly behind him on the crowded tank top and three bodies fall away, leaving Indy to stare at the gun in disbelief. Another Soldier leaps from the truck onto the tank and raises his knife as he grabs INDY. They struggle and fall. INDY sits up to see VOGEL standing over him. Vogel wraps a chain around Indy's neck.</dialogue>\\n  </scene>\", \"screenplay_scene_87\": \"<scene>\\n    <character>INDY</character>\\n    <dialogue>Dad! He drops the gun down into the tank.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Dad! Dadl Get it! VOGEL pulls INDY from the tank entrance, yanking on the chain wrapped around his neck.</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "5485.95", "video_duration": "133.75"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "sUMchD_JHx5L", "audio_description_us": "1\n00:00:01,290 --> 00:00:03,210\nLooking up, Indy spots the cliff’s edge.\n\n2\n00:00:03,590 --> 00:00:05,670\nHis hat falls off as he stares wide-eyed.\n\n3\n00:00:09,340 --> 00:00:12,470\nLetting go of the colonel, Indy trips\nand tumbles toward the back of the tank.\n\n4\n00:00:13,100 --> 00:00:14,720\nThe armored vehicle rolls off the edge.\n\n5\n00:00:15,310 --> 00:00:18,350\nHanging on, the blue-eyed colonel\nstares in horror as he plummets.\n\n6\n00:00:18,850 --> 00:00:22,020\nThe tank crashes on the rocks below and a piece\nrolls over the colonel.\n\n7\n00:00:23,150 --> 00:00:25,320\nOn the clifftop, Henry stares off in shock.\n\n8\n00:00:25,730 --> 00:00:28,070\nSallah dismounts his horse as Marcus joins them.\n\n9\n00:00:28,650 --> 00:00:31,450\nHenry hurries to the edge and scans the area below.\n\n10\n00:00:31,870 --> 00:00:33,240\nHe runs to another section\n\n11\n00:00:33,240 --> 00:00:34,200\nand the others follow.\n\n12\n00:00:41,880 --> 00:00:44,130\nThey watch the smoking tank roll over the rocks.\n\n13\n00:00:48,510 --> 00:00:49,760\nHenry searches the ground,\n\n14\n00:00:49,760 --> 00:00:50,930\nthen stares in defeat.\n\n15\n00:01:10,450 --> 00:01:12,280\nThe vines near the edge start to move.\n\n16\n00:01:12,700 --> 00:01:16,740\nWith a haggard expression. Indy slowly\nclimbs up the dry, tangled plants.\n\n17\n00:01:17,290 --> 00:01:19,370\nCuts mark the side of his face and bottom lip.\n\n18\n00:01:21,370 --> 00:01:24,000\nUnaware of him, the others stand at the ledge nearby.\n\n19\n00:01:24,420 --> 00:01:25,920\nIndy pauses to rest.\n\n20\n00:01:26,380 --> 00:01:28,670\nHis dad stares sadly down the steep drop.\n\n21\n00:01:28,880 --> 00:01:32,760\nMarcus holds a hand to his chest\nwhile Sallah somberly clutches his fez.\n\n22\n00:01:33,090 --> 00:01:36,560\nStaggering up behind them, Indy looks\nat the others with a confused expression.\n\n23\n00:01:36,850 --> 00:01:39,180\nHe leans between them\nas he peers over the cliff side.\n\n24\n00:01:39,470 --> 00:01:40,810\nHenry briefly glances over,\n\n25\n00:01:40,810 --> 00:01:42,600\nthen returns his gaze to the canyon.\n\n26\n00:01:42,900 --> 00:01:45,190\nHe turns to Indy again and breaks into a smile.\n\n27\n00:01:45,360 --> 00:01:46,690\nHenry hugs his son tightly.\n\n28\n00:01:53,780 --> 00:01:56,280\nIndy smiles as he leans his chin\non Henry's shoulder.\n\n29\n00:01:56,490 --> 00:01:58,790\nSallah watches the reunion with a wide smile.\n\n30\n00:01:59,160 --> 00:02:01,540\nMarcus wears a puzzled look as he mutters to himself.\n\n31\n00:02:01,790 --> 00:02:03,370\nHe points from Indy to the canyon.\n\n32\n00:02:08,380 --> 00:02:10,300\nHenry pulls away and his smile fades.\n\n", "audio_description_uk": "1\n00:00:06,720 --> 00:00:09,260\nIndiana stares wide-eyed\nas they approach the cliff edge.\n\n2\n00:00:09,380 --> 00:00:11,300\nHe desperately rolls to the back of the tank.\n\n3\n00:00:18,390 --> 00:00:22,810\nThe huge tank plummets from the clifftop with a petrified\nVogel standing in the open hatchway.\n\n4\n00:00:28,490 --> 00:00:30,950\nMarcus, Henry and Sallah hurry to the cliff edge.\n\n5\n00:00:45,550 --> 00:00:48,380\nThe smoking tank rolls to a stop at the base of the cliff.\n\n6\n00:01:13,320 --> 00:01:15,490\nA small bush shakes a little on the cliff edge.\n\n7\n00:01:15,580 --> 00:01:18,660\nA dishevelled Indiana hauls himself\nup onto the top of the cliff.\n\n8\n00:01:18,790 --> 00:01:23,080\nA few feet away, Henry, Marcus and Sallah peer down\nat the smouldering wreckage of the tank.\n\n9\n00:01:33,220 --> 00:01:36,220\nIndiana quietly comes and stands with the solemn trio.\n\n10\n00:01:57,030 --> 00:02:01,080\nHenry and Indiana hug\nas Marcus and Sallah try and figure out how he survived.\n\n", "subtitles": "1\n00:00:37,650 --> 00:00:39,380\nJunior!\n\n2\n00:00:41,520 --> 00:00:42,850\nlndy!\n\n3\n00:00:52,060 --> 00:00:54,290\nOh, God.\n\n4\n00:00:54,370 --> 00:00:56,460\nl've lost him.\n\n5\n00:00:59,500 --> 00:01:04,310\nAnd l never told him anything.\n\n6\n00:01:04,380 --> 00:01:08,470\nl just wasn't ready, Marcus.\n\n7\n00:01:08,610 --> 00:01:12,550\nFive minutes\nwould have been enough.\n\n8\n00:01:48,220 --> 00:01:51,250\nl thought\nl'd lost you, boy!\n\n9\n00:01:51,320 --> 00:01:55,090\nl thought\nyou had too, sir.\n\n10\n00:01:55,160 --> 00:01:57,790\nMmm...\n\n11\n00:02:07,670 --> 00:02:11,470\nWell...\n\n", "sdh": "1\n00:00:37,440 --> 00:00:39,240\nJunior!\n\n2\n00:00:39,360 --> 00:00:41,030\n(RUMBLING)\n\n3\n00:00:41,110 --> 00:00:43,200\nIndy!\n\n4\n00:00:51,750 --> 00:00:53,880\nOh, God.\n\n5\n00:00:53,960 --> 00:00:56,090\nI've lost him.\n\n6\n00:00:59,670 --> 00:01:02,300\nAnd I never told him anything.\n\n7\n00:01:04,800 --> 00:01:07,350\nI just wasn't ready, Marcus.\n\n8\n00:01:08,350 --> 00:01:11,020\nFive minutes would have been enough.\n\n9\n00:01:47,970 --> 00:01:50,640\nI thought I'd lost you, boy!\n\n10\n00:01:52,140 --> 00:01:54,310\nI thought you had too, sir.\n\n11\n00:02:07,320 --> 00:02:08,870\nWell...\n\n", "screenplay": "{\"screenplay_scene_94\": \"<scene>\\n    <character>HENRY</character>\\n    <dialogue>Junior?! We HEAR the TANK EXPLODING.</dialogue>\\n    <character>SALLAH</character>\\n    <dialogue>Indy?!</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Oh, God. I've lost him. And I never told him anything. I just was n't ready, Marcus. Five minutes would have been enough. And then. looking dazed and bewildered, INDY STAGGERS UP BEHIND THEM. He joins the others at the edge of the cliff, looking down at the wreckage below with a bewildered expression. Finally, Henry becomes aware of his presence. HENRY says nothing. He just looks at Indy, overcome with emotion. Finally, he throws his arms around him.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>I thought I'd lost you, boy. After a moment, Indy's head clears. And he becomes aware of his father's embrace. Something he has n't felt in a long time -- if ever. And it touches him. He hugs his father back.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I thought you had too, sir. BRODY and SALLAH are moved by this sudden reconciliation.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Well -- well done! Come on! HENRY pats INDY on the back and Indy collapses, sitting hard on the rocky cliff edge. Unaware, HENRY, SALLAH and BRODY start to walk away. Henry turns back to see INDY still sitting on the ground.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Let's go then. why are you sitting there resting when we're so near the end? Come on -- let's go! HENRY turns and walks toward the horse with BRODY and SALLAH. Suddenly the FEDORA, borne on the wind, BLOWS INTO SCENE and lands at INDY's feet.</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "5780.80", "video_duration": "133.12"}
{"rottentomatoes_id": "indiana_jones_and_the_last_crusade", "imdb_id": "tt0097576", "video_id": "fdFr_ih2IPrU", "audio_description_us": "1\n00:00:14,160 --> 00:00:16,720\nDonovan turns to Elsa and she smiles warmly at him.\n\n2\n00:00:17,200 --> 00:00:19,120\nIndy and the elderly knight share a look.\n\n3\n00:00:21,080 --> 00:00:23,480\nElsa picks up a goblet decorated with jewels.\n\n4\n00:00:23,680 --> 00:00:24,840\nShe hands it to Donovan.\n\n5\n00:00:29,560 --> 00:00:33,600\nHe marvels at the shining gold cup,\nwhich reflects a soft glow onto his face.\n\n6\n00:00:38,280 --> 00:00:40,400\nLooking to Indy, Elsa's smile fades.\n\n7\n00:00:40,640 --> 00:00:42,040\nHe glares back at her.\n\n8\n00:00:44,000 --> 00:00:46,880\nDonovan brings the goblet\nto a stone basin filled with water.\n\n9\n00:00:47,560 --> 00:00:49,760\nHe stares at the cup with a reverent expression.\n\n10\n00:00:53,160 --> 00:00:55,200\nDonovan scoops water into the chalice.\n\n11\n00:00:56,160 --> 00:00:57,720\nHe turns to face the others.\n\n12\n00:01:02,040 --> 00:01:03,640\nElsa watches expectantly.\n\n13\n00:01:04,640 --> 00:01:07,040\nDrinking the water,\nDonovan turns his back to the group.\n\n14\n00:01:11,480 --> 00:01:15,200\nWith his eyes closed, he wears a serene expression\nas he lowers the goblet.\n\n15\n00:01:15,720 --> 00:01:17,040\nHe smiles softly.\n\n16\n00:01:18,600 --> 00:01:20,440\nOpening his eyes, he knits his brow.\n\n17\n00:01:21,880 --> 00:01:23,440\nIndy watches uncertainly.\n\n18\n00:01:27,400 --> 00:01:28,520\nDonovan lurches forward\n\n19\n00:01:28,520 --> 00:01:29,880\nand Elsa wears a smug look.\n\n20\n00:01:31,280 --> 00:01:34,760\nNow with wrinkles lining his gaunt skin,\nDonovan stumbles toward her.\n\n21\n00:01:38,720 --> 00:01:39,560\nHe grabs her.\n\n22\n00:01:39,880 --> 00:01:42,920\nShe watches horrified\nas gray hair rapidly grows from his head.\n\n23\n00:01:46,480 --> 00:01:49,200\nDonovan's eyes decompose\nand fall back into his skull.\n\n24\n00:01:49,520 --> 00:01:51,400\nHis leathery skin contracts.\n\n25\n00:01:51,600 --> 00:01:55,280\nHe maintains his grip on Elsa\nas his rotting flesh crumbles and falls apart.\n\n26\n00:01:55,800 --> 00:01:56,880\nIndy pulls her free,\n\n27\n00:01:56,880 --> 00:01:59,200\nknocking Donovan's skeleton back against a wall.\n\n28\n00:01:59,520 --> 00:02:01,440\nThe bones shatter and fall into a heap.\n\n29\n00:02:04,280 --> 00:02:07,840\nA gust of wind blows the dust away,\nrevealing Donovan's Nazi pin.\n\n", "audio_description_uk": "1\n00:00:20,120 --> 00:00:25,120\nIndiana and the knight watch as Elsa hands\nDonovan a small, beautifully decorated gold grail.\n\n2\n00:00:53,600 --> 00:00:57,000\nDonovan lowers the grail into a stone font\nand fills it with water.\n\n3\n00:00:57,040 --> 00:00:59,040\nHe raises it to his mouth and drinks.\n\n4\n00:01:13,080 --> 00:01:14,160\nHe lowers the grail\n\n5\n00:01:14,160 --> 00:01:16,880\nand with his eyes closed,\nappears to be savouring the moment.\n\n6\n00:01:17,400 --> 00:01:18,480\nHis eyes open.\n\n7\n00:01:18,680 --> 00:01:20,720\nA look of concern then crosses his face.\n\n8\n00:01:39,800 --> 00:01:41,440\nHe begins to age rapidly.\n\n9\n00:01:51,560 --> 00:01:54,560\nHe holds onto Elsa\nas he decomposes in front of her.\n\n10\n00:01:54,720 --> 00:01:57,800\nHis skin peels away,\nquickly turning him to a skeleton.\n\n11\n00:01:58,320 --> 00:02:01,040\nIndiana pushes the skeletal remains away.\n\n12\n00:02:01,160 --> 00:02:04,560\nAs it crashes to the ground,\nit shatters in pieces and turns to dust.\n\n", "subtitles": "1\n00:00:02,480 --> 00:00:05,380\nl'm not a historian.\n\n2\n00:00:05,450 --> 00:00:06,880\nl have no idea\n\n3\n00:00:06,950 --> 00:00:08,710\nwhat it looks like.\n\n4\n00:00:08,790 --> 00:00:10,280\nWhich one is it?\n\n5\n00:00:10,360 --> 00:00:12,350\nLet me choose.\n\n6\n00:00:12,420 --> 00:00:14,860\nThank you, Doctor.\n\n7\n00:00:27,910 --> 00:00:30,070\nOh, yes.\n\n8\n00:00:34,680 --> 00:00:39,170\nlt's more beautiful\nthan l'd ever imagined.\n\n9\n00:00:49,630 --> 00:00:53,460\nThis certainly is the cup\nof the King of Kings.\n\n10\n00:00:59,840 --> 00:01:02,070\nEternal life.\n\n11\n00:01:36,370 --> 00:01:39,140\nWhat is happening to me?\n\n12\n00:01:41,210 --> 00:01:42,540\nOh!\n\n13\n00:01:43,780 --> 00:01:46,150\nTell me, what is happening?\n\n14\n00:02:09,240 --> 00:02:11,170\nHe chose...\n\n", "sdh": "1\n00:00:04,040 --> 00:00:05,790\nDONOVAN: I'm not a historian.\n\n2\n00:00:05,870 --> 00:00:07,910\nI have no idea what it looks like.\n\n3\n00:00:08,000 --> 00:00:10,370\nWhich one is it?\n\n4\n00:00:10,460 --> 00:00:12,080\nLet me choose.\n\n5\n00:00:13,040 --> 00:00:15,000\nThank you, Doctor.\n\n6\n00:00:27,930 --> 00:00:29,890\nOh, yes.\n\n7\n00:00:35,440 --> 00:00:38,900\nIt's more beautiful\nthan I'd ever imagined.\n\n8\n00:00:50,250 --> 00:00:53,580\nThis certainly is the cup of\nthe King of Kings.\n\n9\n00:01:00,050 --> 00:01:02,050\nEternal life.\n\n10\n00:01:26,700 --> 00:01:27,780\n(GASPS)\n\n11\n00:01:37,000 --> 00:01:39,420\nWhat is happening to me?\n\n12\n00:01:42,800 --> 00:01:43,880\n(SCREAMING)\n\n13\n00:01:43,970 --> 00:01:45,840\nDONOVAN: Tell me, what is happening?\n\n14\n00:02:05,490 --> 00:02:07,240\n(WIND BLOWING)\n\n15\n00:02:09,160 --> 00:02:11,330\nHe chose\n\n", "screenplay": "{\"screenplay_scene_97\": \"<scene>\\n    <character>DONOVAN</character>\\n    <dialogue>Helmut, another volunteer! TWO NAZI SOLDIERS force another Turk forward. Suddenly. The SOUND OF RIFLE BOLTS being cocked. Everyone turns to discover INDY and his party surrounded by NAZI SOLDIERS. Indy's group are relieved of their guns. FULL SHOT - THE TEMPLE INDY, HENRY, BRODY and SALLAH are brought forward by the Nazi Soldiers. ELSA's eyes light up : glad Indy's not dead. she controls herself and continues more coldly.</dialogue>\\n    <character>ELSA</character>\\n    <parenthetical>( to INDY . )</parenthetical>\\n    <dialogue>I never expected to see you again.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I'm like a bad penny. I always turn up.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>Step back now, Doctor Schneider. Give Doctor Jones some room. He's going to recover the Grail for us. INDY laughs.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>Impossible? What do you say, Jones? Ready to go down in history?</dialogue>\\n    <character>INDY</character>\\n    <dialogue>As what? A Nazi stooge like you?</dialogue>\\n    <character>DONOVAN</character>\\n    <parenthetical>( scornfully . )</parenthetical>\\n    <dialogue>Nazis?! -- Is that the limit of your vision?! The Nazis want to write themselves into the Grail legend and take on the world. Well, they're welcome. But I want the Grail itself. The cup that gives everlasting life. Hitler can have the world, but he ca n't take it with him. I'm going to be drinking my own health when he's gone the way of the Dodo.</dialogue>\\n    <parenthetical>( he draws his pistol . )</parenthetical>\\n    <dialogue>The Grail is mine, and you're going to get it for me.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Shooting me wo n't get you anywhere.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>You know something, Doctor Jones? you're absolutely right. Then DONOVAN shifts his aim, just a bit, and SHOOTS HENRY. The bullet enters his side below the ribs.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Dad?!</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Junior.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>No!</dialogue>\\n    <character>DONOVAN</character>\\n    <parenthetical>( to ELSA . )</parenthetical>\\n    <dialogue>Get back! HENRY collapses. Blood flowing from the wound. BRODY and SALLAH rush to his assistance. INDY spins toward DONOVAN with murder in his eyes. DONOVAN points the gun at him :</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>You ca n't save him when you're dead. INDY hesitates.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>The healing power of the Grail is the only thing that can save your father now. It's time to ask yourself what you believe. INDY takes in the situation. The two decapitated men lie a few yards in front of him. He walks to the entranceway, flanked by two stone lions. We get silent reaction shots -- ELSA -- SALLAH -- BRODY -- DONOVAN -- registering their different emotions INDY proceeds forward. His hands open the Grail Diary.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>`` The Breath of God. Only the penitent man will pass. Only the penitent man will pass.'' INDY takes a few steps forward.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>`` The penitent man will pass. The penitent man.'' INDY stops. He is about to reach the spot where two men have just died. HENRY looks at INDY. Indy looks at Henry.</dialogue>\\n    <character>HENRY</character>\\n    <parenthetical>( in a raspy voice . )</parenthetical>\\n    <dialogue>`` Only the penitent man will pass. Only the penitent man will pass.''</dialogue>\\n    <character>INDY</character>\\n    <parenthetical>( quietly to himself . )</parenthetical>\\n    <dialogue>The penitent man will pass. The penitent. the penitent. The penitent man.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>The penitent man. The penitent. INDY takes a step forward through the cobwebs.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>The penitent man is humble before God.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Penitent. Penitent.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>The penitent man is humble. The cobwebs begin to move.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>He kneels before God.</dialogue>\\n    <parenthetical>( to himself ; suddenly . )</parenthetical>\\n    <dialogue>Kneel! We hear the awful rush of air -- WHOOSH! Because INDY is in the act of kneeling, only his hat is knocked off and his hair flies in his face. Instinctively he ROLLS FORWARD on the ground out of harm's way and looks up. From his new position he is able to see what is causing all the trouble : A RAZOR SHARP TRIPLE PENDULUM. INDY gets cautiously to his feet. Now he sees the pendulum has been guarding a SMALL CORRIDOR which turns a corner to the left fifty yards ahead. Wooden wheels turn -- the mechanism controlling the spinning blades. INDY loops a rope around the wheels, jamming the mechanism and stopping the blades in mid - swipe.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I'm through! ELSA AND DONOVAN</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>We're through! BRODY and SALLAH smile, relieved.</dialogue>\\n    <character>SALLAH</character>\\n    <parenthetical>( to HENRY . )</parenthetical>\\n    <dialogue>He's all right. HENRY shakes his head.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>No. BACK TO INDY holding the Grail Diary, reading once again, his fedora now covered in cobwebs.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>`` The second challenge is the Word of God. Only in the footsteps of God will he proceed.''</dialogue>\\n    <parenthetical>( to himself . )</parenthetical>\\n    <dialogue>The Word of God. The Word of. INDY pulls away some cobwebs to reveal a cobblestone path. Each cobble is engraved with a letter.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>`` Proceed in the footsteps of the Word.'' HENRY lifts his head painfully.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>The Word of God.</dialogue>\\n    <character>BRODY</character>\\n    <dialogue>No, Henry. Try not to talk.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>The Name of God. BACK TO INDY as he studies the cobblestones before him.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>The Name of God. Jehovahl HENRY still lies in SALLAH's arms. BRODY leans over him.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>But in the Latin alphabet, `` Jehovah'' begins with an `` I.'' BACK TO INDY</dialogue>\\n    <character>INDY</character>\\n    <dialogue>`` J.'' INDY takes a step and immediately a stone breaks away and INDY falls up to his hip - his leg stuck through the hold where the stone once was. HENRY reacts.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Oh dear! BACK TO INDY who grunts as he pulls himself from the hole, the v - rail Diary in his hand.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>In Latin, `` Jehovah'' starts with an `` I.'' `` I''. Now we SEE each letter on the stones as INDY carefully walks forward. DONOVAN and ELSA follow in his footsteps.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>`` E''. `` H''. `` O''. `` V''. `` A''. INDY sighs with relief and steps forward to : THE GREAT ABYSS INDY stands in a small opening, just small enough for his shoulders to squeeze through and beyond that a 100 foot drop to the rocks below and 100 feet across, nothing but a rough, stony cliff wall. BACK TO INDY He can see nowhere to cross. He looks again to the v - rail Diary.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>`` The path of flood. Only in the leap from the lion's head will he prove his worth.'' INDY looks around and then he notices that inscribed into the rock above his head is the head of a lion.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Impossiblel Nobody can jump this! INDY looks down into the Diary and tortures over what it is asking him to do. BRODY rushes forward and calls to INDY.</dialogue>\\n    <character>BRODY</character>\\n    <dialogue>Indy. Indy, you must hurry! Come quickly! BACK TO INDY</dialogue>\\n    <character>INDY</character>\\n    <parenthetical>( realizing . )</parenthetical>\\n    <dialogue>It's. a leap of faith. Oh, God. HENRY calls to his son.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>You must believe, boy. you must. believe. We see him do it. We see him leap into space. We see that he is in midair. We see that he is not going to make it. His hands claw for the opposite wall but he is going to fall 100 feet to his death. And then -- he does n't! He appears to be held up by thin air as he lands on his hands and knees. INDY looks around and down and now he figures it out. Ingeniously, the First Crusaders have painted a pathway to align with the rocks 100 feet below. It is a perfect forced perspective image of the rocks below with lines from a hundred feet continuing six feet below his sight line where his feet are stepping. It's painted to blend in with the rocks below. Highly evolved camouflage. in perfect alignment with everything we see below. When INDY leans out to the left or right. that's when he sees the perfect alignment shift that betrays the trick. Indy throws some dirt on the bridge and he crosses it like the first Crusader from the painting over Henry's desk. Indy crawls through a small opening in the side of the cliff and enters a Temple. A vast array of chalices is displayed on the altar of this small Temple. Perhaps a hundred or more. Many sizes, many shapes, some gold, some silver, but they all glitter and shine. INDY is mesmerized by their number and their beauty. And then he realizes that a man is praying at the altarl He has his back turned to INDY. but he is dressed as what he is! A GRAIL KNIGHT. CLOSE ON THE GRAIL KNIGHT But we ca n't see the Grail Knight's face. The visor of his helmet is down. Perhaps we see his eyes. When the GRAIL KNIGHT sees INDY he gets wearily to his feet and, surprisingly, prepares to give combat. taking up his two - handed broadsword. he comes at Indy, attempting to swing the huge, heavy sword but finding the effort almost too much. Indy dodges two or three clumsy swings of the sword, making no attempt to fight back. until the Knight, exhausted, drops the sword and collapses. Indy approaches him and raises the visor and we see that the Knight is a very ancient man.</dialogue>\\n    <character>KNIGHT</character>\\n    <dialogue>I knew you'd come, but my strength has left me.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Who are you?</dialogue>\\n    <character>KNIGHT</character>\\n    <dialogue>The last of three brothers who swore an oath to find the Grail and to guard it.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>That was seven hundred years ago.</dialogue>\\n    <character>KNIGHT</character>\\n    <dialogue>A long time to wait. The GRAIL KNIGHT reaches forward and fingers Indy's clothing.</dialogue>\\n    <character>KNIGHT</character>\\n    <dialogue>You're strangely dressed. for a knight.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I'm not exactly. a knight. What do you mean?</dialogue>\\n    <character>KNIGHT</character>\\n    <dialogue>I was chosen because I was the bravest and the most worthy. The honor was mine until another came to challenge me to single combat. I pass it to you who vanquished me. The GRAIL KNIGHT holds his sword out to INDY.</dialogue>\\n    <character>INDY</character>\\n    <parenthetical>( gulp . )</parenthetical>\\n    <dialogue>Listen, I do n't have time to explain, but -- At that moment DONOVAN and ELSA appear. Donovan turns to face the display of cups.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>Which one is it?</dialogue>\\n    <character>KNIGHT</character>\\n    <dialogue>You must choose.</dialogue>\\n    <parenthetical>( beat . )</parenthetical>\\n    <dialogue>But choose wisely. For as the True Grail will bring you life -- the False Grail will take it from you.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>I'm not a historian. I have no idea what it looks like. Which one is it?</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>Let me choose.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>Thank you, Doctor. ELSA and INDY exchange looks. He thinks he is seeing her in her true colors. ELSA chooses a cup -- a solid gold, emerald encrusted goblet. DONOVAN instantly takes it from her.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>Oh, yes. It's more beautiful than I'd ever imagined. This certainly is the cup of the King of Kings. DONOVAN rushes to the well and fills the goblet with water.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>Eternal life! DONOVAN drinks from the goblet. Then, DONOVAN'S entire body starts to convulse. His face contorts in agony. He grabs his stomach and turns toward ELSA.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>What. is. happening. to. me? He starts to age -- fast! His hair grows long and gray and brittle. His face sinks. Fingernails curl back on themselves. Milky cataracts coat his eyes. ELSA gasps and screams.</dialogue>\\n    <character>DONOVAN</character>\\n    <dialogue>What. is. happening? His skin turns brown and leathery and stretches across his bones until it splits. His skeletal hands reach for ELSA's throat, choking her. INDY rushes forward and pushes DONOVAN away. As he falls he BODY BREAKS INTO FLAMES, then SHATTERS AGAINST THE WALL.</dialogue>\\n    <character>KNIGHT</character>\\n    <dialogue>He chose. poorly. INDY studies the array of chalices.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>It would not be made out of gold. INDY picks up another cup -- a simple earthenware jug.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>That's the cup of a carpenter. He and ELSA exchange a look.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>There's only one way to find out. INDY goes to the well and fills the earthenware jug with water, then pauses. INDY brings the jug to his lips and takes several large swallows. A strange sensation overcomes him, a feeling of peace and contentment. and we see his wounds begin to heal.</dialogue>\\n    <character>KNIGHT</character>\\n    <dialogue>You have chosen wisely. But the Grail can not pass beyond the Great Seal. That is the boundary and the price of immortality. CUT TO BRODY AND SALLAH who attend to Henry awaiting Indy's return. INDY and ELSA come forward with the Grail. The TWO NAZI SOLDIERS are over - awed by the possessors of the Grail. They put down their guns and kneel. INDY kneels by HENRY's side and tilts his head forward and holds the Grail to his lips. HENRY is too weak to even open his eyes. HENRY swallows some of the water. Much of it runs down the corners of his mouth. Finally INDY pours the water over the wound and everyone watches in astonishment as the wound and the blood stain disappear before their eyes. The color returns to Henry's face. HENRY's eyes open. The first thing he sees is the Grail and they light up. Then they shift to INDY's face -- and they light up even more. NAZI SOLDIERS run forward. SALLAH points a rifle at them.</dialogue>\\n    <character>SALLAH</character>\\n    <dialogue>Drop your guns. Please. The NAZI SOLDIERS drop their weapons at their feet and raise their arms in surrender.</dialogue>\\n    <character>INDY</character>\\n    <parenthetical>( to HENRY . )</parenthetical>\\n    <dialogue>Dad, come on. Get to your feet. ELSA steps forward and picks up the Grail. She turns to INDY, her face alight with possession of the Grail.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>We have got it. Come on. ELSA steps onto the edge of the Great Seal.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Elsa! Elsa, do n't movel</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>It's ours, Indy. Yours and mine.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Elsa, do n't cross the Seal. The Knight warned us not to take the Grail from here. A RUMBLING SOUND IS HEARD and the ground roars and shifts. Dirt falls from the ceiling of the cavern. ELSA falls on the Great Seal. The Grail bounces away from her grasp. She reaches for it and the ground beneath her begins to SPLIT OPEN. ELSA slips into the crevasse. She screams. ELSA is hanging perilously in the abyss, with the Grail almost within her reach. As her hands lose their grip, INDY just manages to one of them, he himself sliding forward across the slanted floor.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Junior! Junior! With her free hand, ELSA is trying to get the Grail. INDY ca n't save her unless she gives him her free hand. She has to choose.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Elsa. Elsa do n't. Elsa. Elsa. Give me your other hand, honey. I ca n't hold you.</dialogue>\\n    <character>ELSA</character>\\n    <dialogue>I can reach it. I can reach it. Her hand begins to slip from Indy's grasp.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Elsa! Give me your hand. Give me your other hand! ELSA just manages to touch the Grail. In doing so, she has tipped the balance too far -- INDY slides down another yard, Elsa loses her grip and falls screaming to her death.</dialogue>\\n    <character>INDY</character>\\n    <parenthetical>( horrified . )</parenthetical>\\n    <dialogue>Elsa! Now the ledge INDY lies upon begins to break apart. HENRY grabs one of his hands as Indy struggles to reach the Grail with the other.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Junior, give me your other hand! I ca n't hold on!</dialogue>\\n    <character>INDY</character>\\n    <dialogue>I can get it -- I can almost reach it, Dad. INDY looks down into the black bottomless pit beneath him from which nothing can ever be retrieved.</dialogue>\\n    <character>HENRY</character>\\n    <dialogue>Indiana. Indiana! INDY snaps his look up to his father. His father has never called him this before.</dialogue>\\n    <character>HENRY</character>\\n    <parenthetical>( very calmly . )</parenthetical>\\n    <dialogue>. let it go. INDY abandons the Grail and grabs onto HENRY with both hands. HENRY pulls him up to safety. THE GRAIL KNIGHT looks through the falling debris to INDY and HENRY. SALLAH and BRODY rush from the crumbling Temple.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Dad. The GRAIL KNIGHT raises his arm to HENRY.</dialogue>\\n    <character>INDY</character>\\n    <dialogue>Please, Dad. INDY and HENRY down the passageway just as a huge stone column tumbles down upon the spot where they stood. The GRAIL KNIGHT lowers his arm as he watches them leave.</dialogue>\\n  </scene>\"}", "movie_duration": "7664.29", "video_start": "6677.70", "video_duration": "133.05"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "q78W0DyIxH79", "audio_description_us": "1\n00:00:23,690 --> 00:00:25,780\nA rotund man flanks Fletcher and Max.\n\n2\n00:00:42,170 --> 00:00:43,840\nFletcher stares at the man's pimple.\n\n3\n00:00:51,340 --> 00:00:52,390\nFletcher grimaces\n\n4\n00:00:52,390 --> 00:00:53,180\nand shudders.\n\n5\n00:01:18,580 --> 00:01:19,910\nMax raises a fist.\n\n6\n00:01:25,630 --> 00:01:26,880\nShe produces a gift.\n\n7\n00:01:30,470 --> 00:01:31,260\nAnother gift.\n\n", "audio_description_uk": "1\n00:00:23,820 --> 00:00:25,230\nAn obese work colleague.\n\n2\n00:00:51,680 --> 00:00:54,560\nBeyond the pimply man, they\napproach his secretary.\n\n", "subtitles": "1\n00:00:01,230 --> 00:00:03,490\n- Hi, Mr. Reede!\n- Whoa!\n\n2\n00:00:03,530 --> 00:00:07,660\nHey. Did you do something\nto your hair?\n\n3\n00:00:07,700 --> 00:00:09,530\nIt's a bit extreme,\nisn't it?\n\n4\n00:00:09,620 --> 00:00:13,330\nNo! That's the thing nowadays, right?\n\n5\n00:00:13,370 --> 00:00:16,830\nHe said it would accent my facial\nfeatures. - That's what it does!\n\n6\n00:00:16,870 --> 00:00:19,670\nIt completely accents\nyour facial features.\n\n7\n00:00:19,710 --> 00:00:24,130\nWe're just gonna go\nto my office-\n\n8\n00:00:26,010 --> 00:00:28,590\n- Hey, Fletcher.\n- Hey, Pete.\n\n9\n00:00:28,680 --> 00:00:31,100\n- You losin' a little weight?\n- I don't know. Maybe.\n\n10\n00:00:31,180 --> 00:00:33,680\nLooks and personality.\nA double-threat guy.\n\n11\n00:00:33,760 --> 00:00:36,180\n- Hey, Mr. Reede.\n- Hey... man.\n\n12\n00:00:36,220 --> 00:00:38,310\n- It's, uh, Randy.\n- Yeah, I know.\n\n13\n00:00:38,350 --> 00:00:41,440\nTakin' lunch orders.\nAnything?\n\n14\n00:00:41,520 --> 00:00:43,560\nNo, thanks.\n\n15\n00:00:43,650 --> 00:00:47,070\nI had so much for breakfast,\nI'm ready to pop.\n\n16\n00:00:47,150 --> 00:00:51,410\n- I mean, I'm full.\n- Okay. Great.\n\n17\n00:00:55,490 --> 00:00:58,330\n- Max!\n- Hi, Greta.\n\n18\n00:00:58,370 --> 00:01:03,120\nHey, what's new? - It's my birthday\ntomorrow, and we're having a party.\n\n19\n00:01:03,210 --> 00:01:06,540\nWow! I am sure your daddy\nhas got you something wonderful.\n\n20\n00:01:06,630 --> 00:01:12,220\n- Yeah?\n- Yeah, you bet! Listen, kiddo.\n\n21\n00:01:12,300 --> 00:01:16,640\nWhy don't you play in my office\nfor a minute. Sue somebody for\neverything they've got.\n\n22\n00:01:16,720 --> 00:01:20,970\nMaybe you can send a fax\nto one of your girlfriends. Hey, sorry.\n\n23\n00:01:21,060 --> 00:01:24,940\nDamn it!\nI completely forgot.\n\n24\n00:01:25,020 --> 00:01:26,980\nOh, what a surprise.\n\n25\n00:01:27,060 --> 00:01:29,730\nYou are a saint.\nI should buy you a gift.\n\n26\n00:01:29,770 --> 00:01:33,820\nYou did. - I always do\nthe classy thing. Any calls?\n\n27\n00:01:33,900 --> 00:01:36,910\n- The Drawlings' clerk needs your filing.\n- Tell him it's in the mail.\n\n28\n00:01:36,950 --> 00:01:41,910\nRight. You'll do it next week. Mr. McKinley\nphoned to confirm your meeting tomorrow.\n\n29\n00:01:41,990 --> 00:01:45,040\nStrep throat. Some kind of virus.\nWhat's goin' around?\n\n30\n00:01:45,080 --> 00:01:47,210\n- Asian flu?\n- Good one.\n\n31\n00:01:47,250 --> 00:01:49,920\n- And your mother called.\n- I'm on vacation.\n\n32\n00:01:49,960 --> 00:01:52,420\n- It's your fifth week.\n- Snowed in. Phones are down.\n\n33\n00:01:52,460 --> 00:01:54,920\nBreak mother's heart.\nDone. That's it.\n\n34\n00:01:55,010 --> 00:01:57,970\nExcept Miranda's looking for you.\n\n35\n00:01:58,050 --> 00:02:02,600\nHow much ass do I have to kiss\nto make partner?\n\n36\n00:02:02,640 --> 00:02:07,270\nTell her I broke my leg and I had to be\nshot. - Tell her yourself.\n\n", "sdh": "1\n00:00:01,260 --> 00:00:03,490\n- Hi, Mr. Reede!\n- Whoa!\n\n2\n00:00:03,560 --> 00:00:07,660\nHey. Did you do something\nto your hair?\n\n3\n00:00:07,730 --> 00:00:09,570\nIt's a bit extreme,\nisn't it?\n\n4\n00:00:09,640 --> 00:00:13,330\nNo! That's the thing nowadays, right?\n\n5\n00:00:13,410 --> 00:00:16,840\n- He said it would accent\nmy facial features.\n- That's what it does!\n\n6\n00:00:16,910 --> 00:00:19,670\nIt completely accents\nyour facial features.\n\n7\n00:00:19,750 --> 00:00:24,150\nWe're just gonna go\nto my office... [Choking]\n\n8\n00:00:26,050 --> 00:00:28,610\n- Hey, Fletcher.\n- Hey, Pete.\n\n9\n00:00:28,690 --> 00:00:31,120\n- You Iosin' a Iittle weight?\n- I don't know. Maybe.\n\n10\n00:00:31,190 --> 00:00:33,720\nLooks and personality.\nA double-threat guy.\n\n11\n00:00:33,790 --> 00:00:36,190\n- Hey, Mr. Reede.\n- Hey... man.\n\n12\n00:00:36,260 --> 00:00:38,320\n- It's, uh, Randy.\n- Yeah, I know.\n\n13\n00:00:38,400 --> 00:00:41,460\nTakin' Iunch orders.\nAnything?\n\n14\n00:00:41,530 --> 00:00:43,590\nNo, thanks.\n\n15\n00:00:43,670 --> 00:00:47,110\nI had so much for breakfast,\nI'm ready to pop.\n\n16\n00:00:47,170 --> 00:00:51,440\n- I mean, I'm full.\n- Okay. Great.\n\n17\n00:00:55,520 --> 00:00:58,350\n- Max!\n- Hi, Greta.\n\n18\n00:00:58,420 --> 00:01:03,150\n- Hey, what's new?\n- It's my birthday tomorrow,\nand we're having a party.\n\n19\n00:01:03,220 --> 00:01:06,590\nWow! I am sure your daddy\nhas got you something wonderful.\n\n20\n00:01:06,660 --> 00:01:12,260\n- Yeah?\n- Yeah, you bet! Listen, kiddo.\n\n21\n00:01:12,330 --> 00:01:16,670\nWhy don't you play in my office\nfor a minute. Sue somebody\nfor everything they've got.\n\n22\n00:01:16,740 --> 00:01:21,070\nMaybe you can send a fax\nto one of your girlfriends. Hey, sorry.\n\n23\n00:01:21,200 --> 00:01:24,960\nDamn it!\nI completely forgot.\n\n24\n00:01:25,040 --> 00:01:27,000\nOh, what a surprise.\n\n25\n00:01:27,070 --> 00:01:29,730\nYou are a saint.\nI should buy you a gift.\n\n26\n00:01:29,810 --> 00:01:33,830\n- You did.\n- I always do the classy thing.\nAny calls?\n\n27\n00:01:33,910 --> 00:01:36,900\n- The Drawlings' clerk\nneeds your filing.\n- Tell him it's in the mail.\n\n28\n00:01:36,980 --> 00:01:41,940\nRight. You'II do it next week.\nMr. McKinley phoned to confirm\nyour meeting tomorrow.\n\n29\n00:01:42,020 --> 00:01:45,050\nStrep throat. Some kind of virus.\nWhat's goin' around?\n\n30\n00:01:45,120 --> 00:01:47,220\n- Asian flu?\n- Good one.\n\n31\n00:01:47,290 --> 00:01:49,920\n- And your mother called.\n- I'm on vacation.\n\n32\n00:01:49,990 --> 00:01:52,430\n- It's your fifth week.\n- Snowed in. Phones are down.\n\n33\n00:01:52,500 --> 00:01:54,960\nBreak mother's heart.\nDone. That's it.\n\n34\n00:01:55,030 --> 00:01:58,000\n- Except Miranda's Iooking for you.\n- [Groans]\n\n35\n00:01:58,070 --> 00:02:02,600\nHow much ass do I have to kiss\nto make partner?\n\n36\n00:02:02,670 --> 00:02:07,270\n- Tell her I broke my Ieg\nand I had to be shot.\n- Tell her yourself.\n\n", "screenplay": "{\"screenplay_scene_13\": \"<scene>\\n    <stage_direction>INT. HALLWAY OF LAW OFFICES -- AFTERNOON</stage_direction>\\n    <scene_description>Fletcher strides through the hallway with Max, calling out GREETINGS to his colleagues.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Hey, Pete! Great tie! • .</dialogue>\\n    <scene_description>Max looks at PETE, -whose fashion-disaster tie startles him.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Thomas--looks like you're losin' weight.</dialogue>\\n    <scene_description>THOMAS glances up from a file. Max notes that he's corpulent.</scene_description>\\n    <character>THOMAS</character>\\n    <dialogue>Gained three pounds.</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(wedging past him)</parenthetical>\\n    <dialogue>On you, it works.</dialogue>\\n    <character>€�</character>\\n    <dialogue>Fletcher arrives at his office. WE MEET his secretary, the fiftyish, .worldly-wise and world-weary GRETA.</dialogue>\\n    <character>GRETA '</character>\\n    <dialogue>Max! What's new?</dialogue>\\n    <character>.MAX</character>\\n    <dialogue>Well. . . it's my birthday tomorrow. We're having a party and everything.</dialogue>\\n    <scene_description>Fletcher's EYES WIDEN. He has clearly forgotten.</scene_description>\\n    <character>GRETA</character>\\n    <dialogue>I'm sure your dad'11 give you something wonderful.</dialogue>\\n    <scene_description>Fletcher tries to wave her off, awkwardly stopping when Max turns to him. .</scene_description>\\n    <character>MAX</character>\\n    <dialogue>Yeah?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Oh, yeah. You're going to love it. Uh, why don't you play in my office for a minute? Fax something, sue someone, have a good time. We'll be leaving in a second.</dialogue>\\n    <scene_description>Max heads into the office. Fletcher closes the door behind him turning it into a silly, two-handed wave.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Damn! I completely forgot.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>Oh, there's a surprise.</dialogue>\\n    <scene_description>Greta produces a wrapped GIFT.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>You're a saint. I should get you something.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>You did.</dialogue>\\n    <scene_description>She holds up another, smaller package.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Ah. Well, I always do the classy thing. Any calls?</dialogue>\\n    <character>€�</character>\\n    <dialogue>She hands him a stack of mail.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>. Let's see.. . •</dialogue>\\n    <parenthetical>(checking messages)</parenthetical>\\n    <dialogue>Judge Patterson's clerk. He needs your filing.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Tell him it's in the mail.</dialogue>\\n    <character>GRETA</character>\\n    <parenthetical>(jotting down a note)</parenthetical>\\n    <dialogue>Right. You'll do it next week. Mr. McKinley phoned, questioning that fourteen hours you billed on Christinas Eve.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Write him a long, explanatory letter. Then bill him for the letter.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>(jotting down a . note). . .</dialogue>\\n    <scene_description>Done. Your mother called.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>I ' m on vacation.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>This is your fifth week. . • .</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>It's a long vacation.</dialogue>\\n    <character>GRETA</character>\\n    <parenthetical>(jotting down a note)</parenthetical>\\n    <dialogue>\\\"Break mother's heart.\\\" Done. And that's it, except Miranda's looking for you.</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(checking watch)</parenthetical>\\n    <dialogue>As if I don't have anything better to do than bow and scrape at her royal perfumed partner feet. Tell her I'm in court.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>Court's closed.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Tell her I broke my leg and had to be shot.</dialogue>\\n    <character>GRETA</character>\\n    <parenthetical>(whispers)</parenthetical>\\n    <dialogue>Why don't you tell her yourself?</dialogue>\\n    <scene_description>As Miranda approaches, Fletcher switches gears in an instant:</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>--And then send out a notice of judgement on my win today!</dialogue>\\n    <character>GRETA</character>\\n    <parenthetical>(dry)</parenthetical>\\n    <dialogue>I'll get right on it.</dialogue>\\n    <scene_description>Fletcher turns -- and pretends to be surprised.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Miranda! I didn't see you. Hey, you look lovely, today. Here, I bought you a gift.</dialogue>\\n    <character>MIRANDA</character>\\n    <dialogue>Thanks. I heard about your victory today. You're making quite an impression on the partnership committee.</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(feigning puzzlement; then)</parenthetical>\\n    <dialogue>Oh, that's right. You folks are meeting again soon. \\\"Allan, Stewart, Konigsberg, and Ried.\\\" There's something about the rhythm of fours. It's like a full measure. Well, anyway, I've got a client waiting in my office--</dialogue>\\n    <character>MIRANDA .</character>\\n    <dialogue>Actually, something important has come up. You're not busy tonight, are you?</dialogue>\\n    <scene_description>Before Fletcher answers, we: CUT TO:</scene_description>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "388.48", "video_duration": "127.80"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "_yXhIiznArCS", "audio_description_us": "1\n00:00:00,380 --> 00:00:01,500\ncrouching beside him.\n\n2\n00:00:25,280 --> 00:00:26,740\nShe kisses the top of his head.\n\n3\n00:00:26,940 --> 00:00:28,280\nJerry puts an arm around her.\n\n4\n00:00:33,450 --> 00:00:35,330\nMax blinks and frowns at his candles.\n\n5\n00:00:35,450 --> 00:00:37,660\nHis lips don't move as he thinks his wish.\n\n6\n00:00:42,420 --> 00:00:43,790\nMax blows out his candles.\n\n7\n00:00:43,920 --> 00:00:45,460\nA breeze blows through the window,\n\n8\n00:00:45,550 --> 00:00:47,300\njostling curtains and streamers.\n\n9\n00:00:51,220 --> 00:00:56,140\nThe smoke from the candles twists upward\ntoward an ornate wall clock that reads 8:15.\n\n10\n00:01:01,190 --> 00:01:04,230\nIn Miranda's office, a\nround clock also reads 8:15.\n\n11\n00:01:04,440 --> 00:01:07,320\nFletcher and Miranda's clothes\nand shoes litter the floor.\n\n12\n00:01:19,370 --> 00:01:20,830\nFletcher gapes in disbelief.\n\n13\n00:01:20,870 --> 00:01:22,620\nMiranda shoves him through the double doors,\n\n14\n00:01:22,710 --> 00:01:24,590\nand he slides across the floor on his back.\n\n15\n00:01:24,920 --> 00:01:26,170\nShe throws his pants at him.\n\n16\n00:01:29,460 --> 00:01:31,300\nLater, an alarm clock strikes six.\n\n17\n00:01:31,340 --> 00:01:32,220\nFletcher sits up.\n\n18\n00:01:35,890 --> 00:01:37,640\nNow Fletcher brushes his teeth.\n\n19\n00:01:37,760 --> 00:01:39,310\nHe catches his gaze in the mirror.\n\n20\n00:01:45,860 --> 00:01:48,440\nIn a hallway, Fletcher presses\nan elevator down button.\n\n21\n00:01:54,030 --> 00:01:55,160\nThe elevator opens,\n\n22\n00:01:55,160 --> 00:01:57,530\nrevealing a busty woman in a low-cut blouse.\n\n23\n00:01:57,620 --> 00:02:00,370\nShe and Fletcher exchange smiles\nas he enters the elevator.\n\n24\n00:02:00,700 --> 00:02:01,710\nThe doors close.\n\n25\n00:02:23,270 --> 00:02:24,310\nThe woman fumes.\n\n26\n00:02:24,350 --> 00:02:25,560\nFletcher's eyes widen.\n\n27\n00:02:29,190 --> 00:02:30,400\nThe elevator doors open\n\n28\n00:02:30,400 --> 00:02:32,150\nand Fletcher exits holding his eye.\n\n29\n00:02:32,400 --> 00:02:33,860\nThe woman glowers after him.\n\n30\n00:02:34,400 --> 00:02:36,370\nFletcher walks outside, shaking his head.\n\n31\n00:02:36,490 --> 00:02:38,120\nA bedraggled man approaches him.\n\n32\n00:02:56,130 --> 00:02:57,050\nHe runs away.\n\n", "audio_description_uk": "1\n00:00:27,360 --> 00:00:28,950\nAudrey rejoins Jerry,\n\n2\n00:00:28,950 --> 00:00:30,990\nwho slips a protective arm around her.\n\n3\n00:00:31,740 --> 00:00:34,700\nMax thinks long and hard before making his wish.\n\n4\n00:00:46,960 --> 00:00:49,470\nAn eerie wind blows through the curtains,\n\n5\n00:00:49,720 --> 00:00:53,930\nas five trails of candle smoke\nreach upwards like swirling incense.\n\n6\n00:00:55,890 --> 00:00:58,430\nA grandfather clock shows 8:15.\n\n7\n00:01:00,480 --> 00:01:03,860\nMeanwhile, across town, Fletcher\nand Miranda recline on an office\n\n8\n00:01:03,860 --> 00:01:06,150\nfloor strewn with discarded clothes.\n\n9\n00:01:20,540 --> 00:01:22,040\nMiranda throws him out of her office\n\n10\n00:01:22,040 --> 00:01:24,380\nand disdainfully pelts him with his clothes.\n\n11\n00:01:29,840 --> 00:01:31,220\nWaking the next morning...\n\n12\n00:01:35,100 --> 00:01:36,890\nBrushing his teeth while looking in the mirror.\n\n13\n00:01:46,480 --> 00:01:50,990\nLater that morning, Fletcher chuckles to himself\nas he waits for the apartment block lift.\n\n14\n00:01:54,820 --> 00:02:00,500\nThe lift doors open to reveal a busty beauty in a\nlow-cut top eagerly clutching at her attaché case.\n\n15\n00:02:27,060 --> 00:02:28,480\nSucking like a baby...\n\n16\n00:02:29,150 --> 00:02:31,690\nHe emerges from the lift clutching a sore eye.\n\n17\n00:02:32,650 --> 00:02:36,110\nLater, outside the court building,\nhe passes a beggar in the street.\n\n", "subtitles": "1\n00:00:02,060 --> 00:00:04,730\nMax.\n\n2\n00:00:04,820 --> 00:00:08,070\nYour father is sorry.\nHe had to work.\n\n3\n00:00:08,150 --> 00:00:10,700\nHe said he was gonna\nbe here. He promised.\n\n4\n00:00:10,780 --> 00:00:15,120\nI know, but he promises that\nhe is gonna see you tomorrow.\n\n5\n00:00:15,160 --> 00:00:19,210\nOkay? He's gonna pick you up\nfrom school. All right?\n\n6\n00:00:22,170 --> 00:00:25,750\nSo come on.\nMake a wish.\n\n7\n00:00:37,890 --> 00:00:40,350\nI wish that for only one day...\n\n8\n00:00:40,390 --> 00:00:44,400\nDad couldn't tell a lie.\n\n9\n00:01:10,290 --> 00:01:14,800\nMmm. That was incredible.\n\n10\n00:01:14,880 --> 00:01:18,180\nWas it good for you?\n\n11\n00:01:18,220 --> 00:01:20,390\nI've had better.\n\n12\n00:01:27,810 --> 00:01:29,730\nl've had better?\n\n13\n00:01:33,230 --> 00:01:35,730\nl've had better?\n\n14\n00:01:40,240 --> 00:01:42,160\nl've had better.\n\n15\n00:02:05,720 --> 00:02:08,140\n- Hi.\n- Hi.\n\n16\n00:02:08,220 --> 00:02:11,430\n- New in the building?\n- Yeah, I just moved in Monday.\n\n17\n00:02:11,520 --> 00:02:15,770\n- Oh! You like it so far?\n- Everybody's been real nice.\n\n18\n00:02:15,850 --> 00:02:18,440\nWell, that's because\nyou have big jugs.\n\n19\n00:02:18,520 --> 00:02:21,110\nI mean, your boobs\nare huge.\n\n20\n00:02:21,190 --> 00:02:24,820\nI mean, l wanna\nsqueeze 'em.\n\n21\n00:02:24,900 --> 00:02:28,740\nMama.\n\n22\n00:02:39,170 --> 00:02:41,670\n- Any change, mister?\n- Absolutely.\n\n23\n00:02:41,750 --> 00:02:44,090\n- Could you spare some?\n- Yes, I could.\n\n24\n00:02:44,130 --> 00:02:46,720\n- Will ya? How come?\n- Mm-mm.\n\n25\n00:02:46,800 --> 00:02:49,300\nBecause I believe\nyou will buy booze with it!\n\n26\n00:02:49,340 --> 00:02:54,220\nI just wanna get to the office\nwithout being confronted by\nthe decay of Western society!\n\n27\n00:02:54,310 --> 00:02:56,560\nPlus, I'm cheap!\n\n28\n00:02:57,640 --> 00:02:59,600\nJerk off!\n\n", "sdh": "1\n00:00:02,090 --> 00:00:04,750\nMax.\n\n2\n00:00:04,820 --> 00:00:08,090\nYour father is sorry.\nHe had to work.\n\n3\n00:00:08,160 --> 00:00:10,720\nHe said he was gonna\nbe here. He promised.\n\n4\n00:00:10,800 --> 00:00:15,130\nI know, but he promises that\nhe is gonna see you tomorrow.\n\n5\n00:00:15,200 --> 00:00:19,230\nOkay? He's gonna pick you up\nfrom school. AII right?\n\n6\n00:00:22,170 --> 00:00:25,770\nSo come on.\nMake a wish.\n\n7\n00:00:37,920 --> 00:00:40,360\n[Thinking]\nI wish that for only one day...\n\n8\n00:00:40,430 --> 00:00:44,460\nDad couldn't tell a Iie.\n\n9\n00:00:44,590 --> 00:00:46,890\n[Everyone Cheering]\n\n10\n00:01:10,280 --> 00:01:14,780\nMmm. That was incredible.\n\n11\n00:01:14,850 --> 00:01:18,150\nWas it good for you?\n\n12\n00:01:18,220 --> 00:01:20,350\nI've had better.\n\n13\n00:01:21,690 --> 00:01:23,660\n[Gasping]\n\n14\n00:01:27,800 --> 00:01:29,730\n\"I've had better\"?\n\n15\n00:01:29,800 --> 00:01:33,170\n[Buzzing]\n\n16\n00:01:33,240 --> 00:01:35,730\n\"I've had better\"?\n\n17\n00:01:40,210 --> 00:01:42,140\n\"I've had better.\"\n\n18\n00:01:42,210 --> 00:01:44,150\n[Chuckles]\n\n19\n00:01:49,150 --> 00:01:53,060\n[Laughing]\n\n20\n00:01:53,120 --> 00:01:55,520\n- [Sighs]\n- [Elevator Bell Dings]\n\n21\n00:02:05,700 --> 00:02:08,140\n- Hi.\n- Hi.\n\n22\n00:02:08,210 --> 00:02:11,440\n- New in the building?\n- Yeah, I just moved in Monday.\n\n23\n00:02:11,510 --> 00:02:15,770\n- Oh! You Iike it so far?\n- Everybody's been real nice.\n\n24\n00:02:15,850 --> 00:02:18,440\nWell, that's because\nyou have big jugs.\n\n25\n00:02:18,520 --> 00:02:21,110\nI mean, your boobs\nare huge.\n\n26\n00:02:21,190 --> 00:02:24,810\nI mean, I wanna\nsqueeze 'em. [Gasps]\n\n27\n00:02:24,890 --> 00:02:28,720\nMama.\n[Sucking Sounds]\n\n28\n00:02:28,790 --> 00:02:32,160\n- [Slap]\n- [Elevator Bell Dings]\n\n29\n00:02:39,170 --> 00:02:41,660\n- Any change, mister?\n- Absolutely.\n\n30\n00:02:41,740 --> 00:02:44,070\n- Could you spare some?\n- Yes, I could.\n\n31\n00:02:44,140 --> 00:02:46,700\n- Will ya? How come?\n- Mm-mm.\n\n32\n00:02:46,780 --> 00:02:49,270\nBecause I believe\nyou will buy booze with it!\n\n33\n00:02:49,350 --> 00:02:54,220\nI just wanna get to the office\nwithout being confronted by the\ndecay of Western society!\n\n34\n00:02:54,280 --> 00:02:56,550\nPlus, I'm cheap!\n[Gasps]\n\n35\n00:02:57,650 --> 00:02:59,590\nJerk off!\n\n", "screenplay": "{\"screenplay_scene_22\": \"<scene>\\n    <stage_direction>INT. AUDREY AND MAX'S DINING ROOM - NIGHT</stage_direction>\\n    <scene_description>WE PAN DOWN from banners reading HAPPY BIRTHDAY, MAX!. . . to a room full of guests... to a desultory five-year-old. Audrey finishes lighting the candles on the homemade cake.</scene_description>\\n    <character>AUDREY</character>\\n    <dialogue>All right, birthday boy, make a wish.</dialogue>\\n    <scene_description>Max doesn't respond.</scene_description>\\n    <character>AUDREY</character>\\n    <dialogue>C'mon, honey. It can be anything-- whatever you want most in the world.</dialogue>\\n    <scene_description>When he .doesn't respond, she leans down to him..</scene_description>\\n    <character>AUDREY</character>\\n    <dialogue>Max, your dad is sorry. He had to work.</dialogue>\\n    <character>MAX</character>\\n    <dialogue>He said he was coming. He promised.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>Yes, well, he... promises he'll see you tomorrow.</dialogue>\\n    <scene_description>Max doesn't believe it. &lt; He turns his full attention to the candles on the cake. In VOICE OVER we hear what she does not.</scene_description>\\n    <character>MAX (V.O.)</character>\\n    <dialogue>I wish, for just one day, Dad couldn't tell a lie.</dialogue>\\n    <scene_description>He takes a breath --and blows out all the candles. A strange WIND blows the drapes and the wisp of smoke up, up, up... to the clock on the wall. It's 9:15. CUT TO: A clock on a wall. It's 9:15'. We are--</scene_description>\\n  </scene>\", \"screenplay_scene_23\": \"<scene>\\n    <stage_direction>INT. MIRANDA'S OFFICE - NIGHT</stage_direction>\\n    <scene_description>PAN around Miranda's office, where the displaced sofa is adorned with Fletcher's shoes... To the credenza, where Fletcher's pants hang... To the lamp, where Fletcher's shorts swing... To the desk, where a ravished Miranda lies next to Fletcher. Superbly confident of the answer, she asks--</scene_description>\\n    <character>MIRANDA</character>\\n    <dialogue>S o . . . was it good for you?</dialogue>\\n    <scene_description>Without thinking, Fletcher responds in the most astonishing way possible-- he TELLS THE TRUTH.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>I've had better.</dialogue>\\n    <scene_description>Miranda turns to him in disbelief -- but it's nothing compared to the LOOK OF SHOCK on Fletcher's face.</scene_description>\\n  </scene>\", \"screenplay_scene_24\": \"<scene>\\n    <stage_direction>INT. HALLWAY OUTSIDE MIRANDA'S OFFICE - NIGHT</stage_direction>\\n    <scene_description>The door opens -- and the naked Fletcher is forcefully kicked out. He goes TUMBLING over a desk as a RAIN OF CLOTHES follow. The door SLAMS SHUT again, leaving him without his pants. A CLEANING LADY stares at him in shock, then takes her broom, aims for his crotch, SWINGS.and. . .</scene_description>\\n  </scene>\", \"screenplay_scene_25\": \"<scene>\\n    <stage_direction>INT. BEDROOM - FRIDAY MORNING</stage_direction>\\n    <scene_description>An alarm CLOCK RINGS. Fletcher BOLTS UP in bed. With regret and wonder he remembers:</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>\\\"I've had better?\\\"</dialogue>\\n  </scene>\", \"screenplay_scene_26\": \"<scene>\\n    <stage_direction>INT. FLETCHER'S BATHROOM - MORNING</stage_direction>\\n    <scene_description>Fletcher brushes his teeth, looks up at his reflection in the mirror, mouth foaming.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>\\\"I've had better?!\\\"</dialogue>\\n  </scene>\", \"screenplay_scene_27\": \"<scene>\\n    <stage_direction>INT. HALLWAY OF FLETCHER'S APARTMENT BUILDING - MORNING</stage_direction>\\n    <scene_description>Dressed for work, Fletcher waits for the elevator.</scene_description>\\n    <character>FLETCHER</character>\\n    <parenthetical>(laughing it off)</parenthetical>\\n    <dialogue>\\\"I've had better?\\\"</dialogue>\\n    <scene_description>It arrives. He steps in.</scene_description>\\n  </scene>\", \"screenplay_scene_28\": \"<scene>\\n    <stage_direction>INT. APARTMENT ELEVATOR - MORNING</stage_direction>\\n    <scene_description>The elevator is empty, except for Fletcher... and a beautiful young WOMAN.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>New in the building?</dialogue>\\n    <character>MODEL</character>\\n    <dialogue>I just moved in Monday.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Ah. Well, you must allow me to give you the grand tour.</dialogue>\\n    <character>MODEL</character>\\n    <parenthetical>(she's interested)</parenthetical>\\n    <dialogue>Oh? Do you do that for all the new tenants?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>No. Just the ones I want to bang like a drum.</dialogue>\\n    <scene_description>Fletcher's face REGISTERS extreme SHOCK and...</scene_description>\\n  </scene>\", \"screenplay_scene_29\": \"<scene>\\n    <stage_direction>INT. LOBBY OF APARTMENT BUILDING - MORNING</stage_direction>\\n    <scene_description>We HEAR a SMACK off camera and a PING as the elevator door opens. The model storms off and A STUNNED Fletcher steps out, rubbing his freshly slapped face.</scene_description>\\n  </scene>\", \"screenplay_scene_30\": \"<scene>\\n    <stage_direction>EXT. COURTROOM -, MORNING</stage_direction>\\n    <scene_description>A SHAKY Fletcher strides toward the courthouse... when he is accosted by a BEGGAR.</scene_description>\\n    <character>BEGGAR</character>\\n    <dialogue>Any change, Mister?</dialogue>\\n    <character>.FLETCHER</character>\\n    <dialogue>Absolutely.</dialogue>\\n    <scene_description>But he continues walking.</scene_description>\\n    <character>BEGGAR</character>\\n    <dialogue>Could you spare some?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Unquestionably.</dialogue>\\n    <scene_description>Fletcher walks faster, PUZZLED that he has answered truthfully. The beggar is even more puzzled.</scene_description>\\n    <character>BEGGAR</character>\\n    <dialogue>Will you?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>No.</dialogue>\\n    <character>BEGGAR</character>\\n    <dialogue>How come?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Because I resent your presence. You fill me with an unpleasant mixture of disgust and guilt. Further, I don't believe you'll use the money for food, but I believe you'll use it for, at worst, drugs, or, at best, whiskey, or</dialogue>\\n    <scene_description>. cigarettes. Also, I'm cheap. As Fletcher heads up the stairs...</scene_description>\\n    <character>BEGGAR</character>\\n    <dialogue>Jerkoff.</dialogue>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "1165.70", "video_duration": "180.40"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "_lF5fsJVEJTo", "audio_description_us": "1\n00:00:11,260 --> 00:00:14,310\nFletcher points repeatedly,\npursing his lips and blinking.\n\n2\n00:00:17,730 --> 00:00:20,310\nDana watches him calmly, narrowing her eyes.\n\n3\n00:00:20,350 --> 00:00:21,150\nHe struggles.\n\n4\n00:00:24,360 --> 00:00:26,030\nDana looks around in confusion.\n\n5\n00:00:26,070 --> 00:00:28,200\nMr. Cole leans toward Fletcher, eyes narrowed.\n\n6\n00:00:37,120 --> 00:00:39,750\nMrs. Cole looks back and\nforth from Fletcher to Dana.\n\n7\n00:00:41,710 --> 00:00:45,050\nFletcher pulls his lips back from his\nteeth, preventing himself from speaking.\n\n8\n00:00:45,250 --> 00:00:47,670\nHis tongue flaps out of his\nmouth as he makes sounds.\n\n9\n00:00:50,760 --> 00:00:51,800\nHe wipes his brow,\n\n10\n00:00:51,800 --> 00:00:53,140\nthen sighs, slumping.\n\n11\n00:00:59,020 --> 00:01:00,020\nShe stalks away.\n\n12\n00:01:10,820 --> 00:01:12,160\nThe stenographer turns.\n\n13\n00:01:12,200 --> 00:01:13,280\nHe gestures no.\n\n14\n00:01:30,050 --> 00:01:31,130\nJudge Stevens looks up.\n\n15\n00:01:31,260 --> 00:01:32,720\nFletcher gapes, wide-eyed.\n\n16\n00:01:40,930 --> 00:01:41,810\nFletcher nods.\n\n17\n00:02:00,750 --> 00:02:02,500\nFletcher tilts his head, grimacing.\n\n18\n00:02:02,620 --> 00:02:03,960\nDana puts a hand on her hip.\n\n19\n00:02:06,500 --> 00:02:08,840\nFletcher mouths the air, gesticulating.\n\n", "audio_description_uk": "1\n00:00:12,350 --> 00:00:14,430\nFletcher struggles to get his words out.\n\n2\n00:01:30,590 --> 00:01:32,680\nJudge Stevens looks unamused.\n\n3\n00:02:02,000 --> 00:02:06,250\nAll eyes on Fletcher as he contorts\nhis mouth in the fight for expression.\n\n", "subtitles": "1\n00:00:02,300 --> 00:00:06,390\n- Fifty percent of your estate.\n- Fifty percent?\n\n2\n00:00:06,470 --> 00:00:09,850\nWith a pre-nup and proof of adultery?\nWhat's your case?\n\n3\n00:00:09,930 --> 00:00:12,220\nOur case is simply this.\n\n4\n00:00:54,260 --> 00:00:56,430\nVery funny, Fletcher!\n\n5\n00:00:56,520 --> 00:01:00,310\nYou wanna play hardball?\nI'm game.\n\n6\n00:01:00,390 --> 00:01:03,150\nYou wanna play hardball? I'm game.\n\n7\n00:01:03,230 --> 00:01:05,900\nWhat are you doing?\nWhat is wrong with you?\n\n8\n00:01:05,940 --> 00:01:10,280\nAll rise for the Honorable\nJudge Marshall Stevens.\n\n9\n00:01:10,360 --> 00:01:12,360\nHonorable?\n\n10\n00:01:13,530 --> 00:01:19,040\nGood morning.\nCall case number BD-09395.\n\n11\n00:01:19,080 --> 00:01:21,960\nSamantha Cole vs. Richard Cole.\n\n12\n00:01:22,040 --> 00:01:24,960\nHow are we doing this morning,\nCounsel? - Fine. Thank you.\n\n13\n00:01:25,040 --> 00:01:30,250\nAnd you, Mr. Reede? - I'm a little upset\nabout a bad sexual episode last night.\n\n14\n00:01:33,880 --> 00:01:37,430\nWell, you're still young.\nIt'll happen more and more.\n\n15\n00:01:37,470 --> 00:01:41,970\nIn the meantime, what do you say\nwe get down to business?\n\n16\n00:01:42,060 --> 00:01:46,770\nFirst, Mr. Reede, I see-\nI would like a continuance!\n\n17\n00:01:46,810 --> 00:01:51,020\nThis case has been delayed\nseveral times, Mr. Reede.\n\n18\n00:01:51,110 --> 00:01:56,450\nI realize that, Your Honor, but l would\nreally, really like a continuance.\n\n19\n00:01:56,490 --> 00:01:59,160\nI'll have to hear\ngood cause, Counsel.\n\n20\n00:01:59,240 --> 00:02:01,160\nWhat's the problem?\n\n21\n00:02:10,620 --> 00:02:13,630\nI can't lie!\n\n22\n00:02:13,710 --> 00:02:18,470\nCommendable, Mr. Reede, but I'm waiting\nto hear good cause. Do you have one or not?\n\n23\n00:02:18,510 --> 00:02:21,680\n- Not.\n- Motion for continuance denied.\n\n24\n00:02:21,760 --> 00:02:24,640\nIs there any chance\nof a settlement in this case?\n\n25\n00:02:24,720 --> 00:02:29,640\nI don't think so, Your Honor.\nMy client has already offered\nMrs Cole 2.4 million dollars.\n\n26\n00:02:29,680 --> 00:02:34,520\nBut Mr. Reede has made it clear\nhe has no desire... - Settle!\n\n27\n00:02:34,610 --> 00:02:37,980\n- Settle, settle, settle, settle!\n- I don't want to settle.\n\n28\n00:02:38,070 --> 00:02:42,320\nMr. Reede. You convinced me\nyesterday, I'm the victim!\n\n29\n00:02:42,360 --> 00:02:46,490\nI'm starved for affection.\nI'm driven into the arms of another man.\n\n30\n00:02:46,530 --> 00:02:48,620\n- Seven!\n- Yeah, whatever.\n\n31\n00:02:48,660 --> 00:02:51,750\nWith the story you came up with,\nI don't think we can lose.\n\n32\n00:02:51,830 --> 00:02:56,170\n- I want to proceed.\n- Mrs. Cole, you don't understand.\n\n33\n00:02:56,210 --> 00:02:58,670\nMr. Reede.\nDo we have a settlement?\n\n", "sdh": "1\n00:00:02,290 --> 00:00:06,390\n- Fifty percent of your estate.\n- [Scoffs] Fifty percent?\n\n2\n00:00:06,460 --> 00:00:09,860\nWith a pre-nup and proof of adultery?\nWhat's your case?\n\n3\n00:00:09,930 --> 00:00:12,230\nOur case is simply this.\n\n4\n00:00:17,310 --> 00:00:20,040\n[Unable To Speak]\nB... M...\n\n5\n00:00:20,110 --> 00:00:22,040\nN-n-n-n...\n\n6\n00:00:23,910 --> 00:00:26,240\nH-h-h-h...\n\n7\n00:00:26,310 --> 00:00:29,080\nI-I-I-I-I...\n[Clears Throat, Spits]\n\n8\n00:00:29,150 --> 00:00:31,180\nMmm.\n[Roars]\n\n9\n00:00:31,250 --> 00:00:33,190\nUh...\n\n10\n00:00:33,250 --> 00:00:37,420\n[Sputtering\nNonsense Syllables]\n\n11\n00:00:44,730 --> 00:00:47,600\n[Nonsense Continues]\n\n12\n00:00:54,280 --> 00:00:56,440\nVery funny, Fletcher!\n\n13\n00:00:56,510 --> 00:01:00,310\nYou wanna play hardball?\nI'm game.\n\n14\n00:01:00,380 --> 00:01:03,150\n[Imitating Dana]\nYou wanna play hardball? I'm game.\n\n15\n00:01:03,220 --> 00:01:05,880\nWhat are you doing?\nWhat is wrong with you?\n\n16\n00:01:05,950 --> 00:01:10,290\n[Bailiff]\nAII rise for the Honorable\nJudge Marshall Stevens.\n\n17\n00:01:10,360 --> 00:01:12,350\nHonorable?\n[Blows Raspberry]\n\n18\n00:01:13,530 --> 00:01:19,020\nGood morning.\nCall case number BD-09395.\n\n19\n00:01:19,100 --> 00:01:21,970\nSamantha Cole vs. Richard Cole.\n\n20\n00:01:22,040 --> 00:01:24,970\n- How are we doing\nthis morning, Counsel?\n- Fine. Thank you.\n\n21\n00:01:25,040 --> 00:01:30,270\n- And you, Mr. Reede?\n- I'm a Iittle upset about a bad\nsexual episode Iast night.\n\n22\n00:01:30,340 --> 00:01:33,800\n[Spectators Tittering]\n\n23\n00:01:33,880 --> 00:01:37,410\nWell, you're still young.\nIt'II happen more and more.\n\n24\n00:01:37,490 --> 00:01:41,980\nIn the meantime, what do you say\nwe get down to business?\n\n25\n00:01:42,060 --> 00:01:46,760\n- First, Mr. Reede, I see...\n- I would Iike a continuance!\n\n26\n00:01:46,830 --> 00:01:51,030\nThis case has been delayed\nseveral times, Mr. Reede.\n\n27\n00:01:51,100 --> 00:01:56,430\nI realize that, Your Honor, but I would\nreally, really Iike a continuance.\n\n28\n00:01:56,500 --> 00:01:59,170\nI'II have to hear\ngood cause, Counsel.\n\n29\n00:01:59,240 --> 00:02:01,170\nWhat's the problem?\n\n30\n00:02:10,650 --> 00:02:13,640\nI can't Iie!\n\n31\n00:02:13,720 --> 00:02:18,450\nCommendable, Mr. Reede, but\nI'm waiting to hear good cause.\nDo you have one or not?\n\n32\n00:02:18,530 --> 00:02:21,690\n- Not.\n- Motion for continuance denied.\n\n33\n00:02:21,760 --> 00:02:24,660\nIs there any chance\nof a settlement in this case?\n\n34\n00:02:24,730 --> 00:02:29,640\nI don't think so, Your Honor.\nMy client has already offered\nMrs. Cole $2.4 million.\n\n35\n00:02:29,700 --> 00:02:34,540\n- But Mr. Reede has made it\nclear he has no desire...\n- Settle!\n\n36\n00:02:34,610 --> 00:02:38,010\n- Settle, settle, settle, settle!\n- I don't want to settle.\n\n37\n00:02:38,080 --> 00:02:42,310\nMr. Reede. You convinced me\nyesterday, I'm the victim!\n\n38\n00:02:42,380 --> 00:02:46,480\nI'm starved for affection.\nI'm driven into the arms of another man.\n\n39\n00:02:46,550 --> 00:02:48,610\n- Seven!\n- Yeah, whatever.\n\n40\n00:02:48,690 --> 00:02:51,750\nWith the story you came up with,\nI don't think we can Iose.\n\n41\n00:02:51,830 --> 00:02:56,160\n- I want to proceed.\n- Mrs. Cole, you don't understand.\n\n42\n00:02:56,230 --> 00:02:58,700\nMr. Reede.\nDo we have a settlement?\n\n", "screenplay": "{\"screenplay_scene_31\": \"<scene>\\n    <stage_direction>INT. COURTROOM - MORNING</stage_direction>\\n    <scene_description>A winded Fletcher joins Virginia at the respondent's table,</scene_description>\\n    <character>VIRGINIA</character>\\n    <dialogue>You look like you're having a rough morning.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I've had better.</dialogue>\\n    <scene_description>He WINCES as he recognizes the words. Then, an extremely wealthy, respectable industrialist, RICHARD COLE enters with his attorney, DANA APPLETON, young, brisk, confident.</scene_description>\\n    <character>DANA</character>\\n    <dialogue>Good morning, Fletcher.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Dana. \\\"</dialogue>\\n    <scene_description>All right, Virginia, how much will it take to put an end to this?</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Fifty per cent of your estate.</dialogue>\\n    <scene_description>Richard is SHOCKED.</scene_description>\\n    <character>DANA</character>\\n    <dialogue>Fifty per cent? With a pre- nup and proof of adultery? What's your case?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Our case is simply this. . .</dialogue>\\n    <scene_description>Fletcher opens his mouth to enlighten her -- but he CAN'T GET THE WORDS OUT. He tries to FORCE OUT SOUNDS, but succeeds only in looking like a fish gasping on dry land.</scene_description>\\n    <character>DANA .</character>\\n    <dialogue>Interesting, though based on your track record, I expected a little more.</dialogue>\\n    <scene_description>Nearing panic, Fletcher whirls to his BRIEFCASE and grabs the brief.</scene_description>\\n    <character>FLETCHER ..</character>\\n    <dialogue>Wait! Wait! I've got it in writing!</dialogue>\\n    <scene_description>But when Dana tries to take the document, the astonished Fletcher finds himself PHYSICALLY UNABLE TO RELEASE IT.</scene_description>\\n    <character>DANA</character>\\n    <dialogue>Let go!</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I'm trying!</dialogue>\\n    <scene_description>He INVOLUNTARILY snatches the document away and IT PULLS HIM to a nearby TRASH CAN where he throws it out. At this moment the BAILIFF calls.</scene_description>\\n    <character>BAILIFF</character>\\n    <dialogue>All rise for the Honorable Judge William Stevens.</dialogue>\\n    <scene_description>Very funny, Fletcher. You want to play hardball, I'm game. JUDGE STEVENS takes the bench.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Calling case BA 09395, Richard Cole versus Virginia Cole. How're we doing this morning, counsel?</dialogue>\\n    <character>DANA</character>\\n    <dialogue>Fine, thank you.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>And you, Mr. Reid?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Well, I'm a little upset about a bad sexual episode I had last night--</dialogue>\\n    <scene_description>Fletcher screeches to a standstill, suddenly aware of what he just said. After an awkward silence--</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <parenthetical>(dryly)</parenthetical>\\n    <dialogue>Well, you're still young. It'll happen more and more. In the meantime, what do you say we get. down to business? First, Mr. Reid, I see that your client was previously represented by Mr. Rand of your office.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Yes, Your Honor.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>I take it you're seeking to substitute in as counsel?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Yes, Your Honor.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Fine, fine. And for the record, the reason is?</dialogue>\\n    <scene_description>Mr. Rand had severe ethical objections to my client's case. Fletcher is incredulous. Somehow his greatest asset in the world, his mouth, has become his worst enemy.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>I take it you don't share the same ethical objections, Mr. Reid?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I have lower standards, Your Honor.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>I see. Well, if Mrs. Cole wants the substitution of counsel, I'll allow it. Is that what you want, Mrs. Cole?</dialogue>\\n    <scene_description>Virginia looks to the judge, then to Fletcher, whose unorthodox syle seemed so brilliant earlier.</scene_description>\\n    <character>VIRGINIA</character>\\n    <parenthetical>(unsure)</parenthetical>\\n    <dialogue>Yes?</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Fine.</dialogue>\\n    <character>VIRGINIA</character>\\n    <parenthetical>(aside, to Fletcher)</parenthetical>\\n    <dialogue>What are you doing?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(worried)</parenthetical>\\n    <dialogue>I don't know. .</dialogue>\\n    <parenthetical>(to judge, with some desperation)</parenthetical>\\n    <dialogue>Your Honor, I ' d like a continuance!</dialogue>\\n    <character>JUDGE STEVENS \\\"</character>\\n    <dialogue>This case has already been delayed several times, Mr. Reid.</dialogue>\\n    <scene_description>I realize that, Your Honor, but I ' d really, really, really like a continuance.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>I'll have to hear good cause, counselor. What's the problem?</dialogue>\\n    <scene_description>FLETCHER'S P.O.V. The ROOM begins to SPIN slowly -- then faster -- then faster -- until we wind up squarely on -- FLETCHER'S FACE</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>I can't lie!</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <parenthetical>(impatient)</parenthetical>\\n    <dialogue>Commendable, Mr. Reid, but I'm still waiting for the good cause. Now, do you have it or</dialogue>\\n    <scene_description>. not?</scene_description>\\n    <character>' FLETCHER</character>\\n    <parenthetical>(truthful)</parenthetical>\\n    <dialogue>Not.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Motion for a continuance denied. Is there any chance of a settlement in this case?</dialogue>\\n    <character>DANA</character>\\n    <dialogue>I don't think so, Your Honor. Mr. Reid made it abundantly clear that the last thing in the world he wanted was to --</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(desperate)</parenthetical>\\n    <character>SETTLE! SETTLE! SETTLE!</character>\\n    <dialogue>Dana and Mr. Cole look at Fletcher with surprise.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>There appears to have been a change in strategy. Let's go to my chambers and negotiate.</dialogue>\\n    <scene_description>He BANGS the gavel. Dana and an apprehensive Fletcher sit before the judge</scene_description>\\n    <character>DANA</character>\\n    <dialogue>Your Honor, under the terms of the prenuptual agreement, if Mrs. Cole commits adultery, she is entitled to nothing. We have in our possession an audiotape made by a licensed private investigator of an explicit act of sexual congress with a man who is not her husband.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Sounds pretty damning, Mr. Reid.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>It certainly does.</dialogue>\\n    <character>DANA</character>\\n    <dialogue>However, my client has no desire to see his ex-wife destitute. Against my advice, he's willing to offer her a cash settlement of.two point four million dollars.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Two four seems like a pretty fair offer, Mr. Reid.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Fantastically fair. Phenominally fair. In fact, I'd say beyond fair, bordering on stupid.</dialogue>\\n    <scene_description>Dana fumes. The judge finds Fletcher's boldness refreshing.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>What are you suggesting, Mr. Reid? That Ms. Appleton's willingness to proffer such an offer betrays a lack of faith in her position?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(utterly sincere)</parenthetical>\\n    <dialogue>No, not at all. She's got my client dead to rights. When</dialogue>\\n    <scene_description>night, they dream of having a case as strong as hers.</scene_description>\\n    <character>DANA</character>\\n    <dialogue>Can the sarcasm, Reid. All right, I admit it -- I've seen you make even the lamest case fly. But this time I have you. Even Clarence Darrow couldn't explain this away.</dialogue>\\n    <scene_description>She brandishes the audiotape.</scene_description>\\n    <character>JUDGE SAMIOAN</character>\\n    <dialogue>Well, Mr. Reid? without a dynamite explanation, I'd say you're dead in the water. How's you client's story?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>The best that money can buy, Your Honor. •</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Strong corroborating evidence?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>We have evidence that you are not going to-believe.</dialogue>\\n    <scene_description>Despite herself, Dana is beginning to look worried.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>You're pretty confident how this trial is going to come out, eh, Mr. Reid?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>(hopeless) .</dialogue>\\n    <scene_description>\\\"Confident\\\" is too weak a word, Your Honor. I am certain what will happen if I take this puppy to trial. The verdict will be a stunning, humiliating defeat that will cut a spectacularly promising legal career off at the knees. Fletcher is referring to himself, of course, but Dana thinks he's speaking about her. She buckles. All right! Double the offer! Four point eight! And not a penny more. (venomous, to Fletcher) Bastard! She storms out, leaving an astounded Fletcher behind.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>You are some negotiator, Mr. Reid. If your client has half a brain, she'll jump at the offer.</dialogue>\\n    <scene_description>CUT TO:</scene_description>\\n    <character>VIRGINIA</character>\\n    <dialogue>No!</dialogue>\\n    <scene_description>We are --</scene_description>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "1387.04", "video_duration": "179.72"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "SZ3nNJlVXIh6", "audio_description_us": "1\n00:00:01,790 --> 00:00:02,750\nFletcher exits,\n\n2\n00:00:02,840 --> 00:00:03,590\nthen turns back.\n\n3\n00:00:05,840 --> 00:00:07,510\nHe heads toward the reception desk.\n\n4\n00:00:13,430 --> 00:00:14,220\nShe gawks.\n\n5\n00:00:14,600 --> 00:00:15,560\nPete walks past.\n\n6\n00:00:28,570 --> 00:00:30,610\nHe rushes past Greta into his office.\n\n7\n00:00:38,620 --> 00:00:40,210\nHe spots a blue pen on his desk\n\n8\n00:00:40,210 --> 00:00:41,000\nand points at it.\n\n9\n00:00:41,830 --> 00:00:42,710\nHe picks the pen up\n\n10\n00:00:42,710 --> 00:00:43,840\nand holds it behind him.\n\n11\n00:01:17,830 --> 00:01:19,710\nHe collapses backward into his chair.\n\n12\n00:01:25,380 --> 00:01:27,300\nHe dives towards some blank paper on his desk\n\n13\n00:01:27,300 --> 00:01:29,210\nand starts writing, \"This pen is...\"\n\n14\n00:01:29,420 --> 00:01:30,880\nHe begins to write the next letter.\n\n15\n00:01:31,130 --> 00:01:31,970\nThe pen stops,\n\n16\n00:01:31,970 --> 00:01:32,890\nthen scribbles it out.\n\n17\n00:01:33,340 --> 00:01:34,090\nHe grimaces.\n\n18\n00:01:37,430 --> 00:01:41,230\nHis right arm, seemingly guided by the\npen in his hand, sweeps across his desk,\n\n19\n00:01:41,390 --> 00:01:43,060\nknocking its contents to the floor.\n\n20\n00:01:43,440 --> 00:01:45,360\nThe arm snakes wildly into the air.\n\n21\n00:01:45,400 --> 00:01:46,940\nFletcher catches it with his left hand\n\n22\n00:01:46,940 --> 00:01:48,320\nand wrangles it onto the desk.\n\n23\n00:01:48,360 --> 00:01:50,400\nThe arm thrashes, trying to escape.\n\n24\n00:01:50,490 --> 00:01:52,910\nUsing his left knee, Fletcher pins his right arm.\n\n25\n00:01:56,620 --> 00:01:58,450\nThe hand fluidly begins writing.\n\n26\n00:02:01,000 --> 00:02:01,960\nFletcher peeks.\n\n27\n00:02:02,040 --> 00:02:05,000\nThe hand is written blue with\nexclamation points on the desk.\n\n28\n00:02:07,130 --> 00:02:08,840\nThe hand points the pen back at Fletcher.\n\n29\n00:02:08,880 --> 00:02:09,760\nHis eyes widen.\n\n30\n00:02:09,840 --> 00:02:11,510\nThe hand reaches the pen toward his face,\n\n31\n00:02:11,550 --> 00:02:13,550\nwhile Fletcher struggles to fend it off.\n\n32\n00:02:14,760 --> 00:02:15,720\nGreta rushes in.\n\n33\n00:02:18,390 --> 00:02:20,140\nFletcher rises from behind the desk.\n\n34\n00:02:20,180 --> 00:02:22,640\nThe word 'blue' is written many times on his face.\n\n35\n00:02:31,190 --> 00:02:32,440\nHe slams the pen down.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:02,090\n...waving newspapers and holding their noses.\n\n2\n00:00:07,050 --> 00:00:08,340\nThe goofy receptionist.\n\n3\n00:00:14,350 --> 00:00:15,850\nThe obese work colleague.\n\n4\n00:00:41,500 --> 00:00:43,250\nA blue pen sits on his desk.\n\n5\n00:01:17,450 --> 00:01:18,910\nFlopping back in his chair.\n\n6\n00:01:26,880 --> 00:01:30,300\nFletcher scribbles on a notepad, \"This pen is…\",\n\n7\n00:01:30,510 --> 00:01:32,220\nbut falters on the next word.\n\n8\n00:01:35,300 --> 00:01:37,510\nThe ensuing fight with his writing hand causes\n\n9\n00:01:37,510 --> 00:01:40,350\nhim to push everything from the\ntop of his desk onto the floor.\n\n10\n00:01:40,390 --> 00:01:42,190\nHis hand snakes wildly in the air\n\n11\n00:01:42,190 --> 00:01:43,810\nbefore he grabs it with his other hand\n\n12\n00:01:43,850 --> 00:01:45,560\nand forces it down on the desk.\n\n13\n00:01:47,400 --> 00:01:49,400\nIt flaps around like a live fish,\n\n14\n00:01:49,650 --> 00:01:51,820\nuntil he kneels on it with all his weight.\n\n15\n00:01:56,990 --> 00:01:59,750\nThe hand writes the word blue on the desktop.\n\n16\n00:02:07,750 --> 00:02:08,800\nThe hand turns on him\n\n17\n00:02:08,880 --> 00:02:10,590\nand points the pen towards his face.\n\n18\n00:02:10,630 --> 00:02:12,260\nFletcher grabs it with his other hand,\n\n19\n00:02:12,300 --> 00:02:14,430\nas the rogue hand pushes closer and closer.\n\n20\n00:02:14,550 --> 00:02:16,220\nFletcher's secretary bursts in.\n\n21\n00:02:18,720 --> 00:02:21,730\nFletcher's face emerges,\ngraffitied with the word 'blue'.\n\n", "subtitles": "1\n00:00:03,830 --> 00:00:05,750\nIt was me!\n\n2\n00:00:09,290 --> 00:00:11,750\nHi, Mr. Reede!\nLike the new dress?\n\n3\n00:00:11,790 --> 00:00:16,550\nWhatever takes the focus\noff your head.\n\n4\n00:00:16,590 --> 00:00:21,640\nWhat's up, Fletcher? - Your\ncholesterol, fatty! Dead man walkin'.\n\n5\n00:00:21,720 --> 00:00:23,990\nHey, Fletcher. - Hey! You're\nnot important enough to remember.\n\n6\n00:00:24,010 --> 00:00:26,930\n- What's it gonna be, Mr. Reede?\n- A pockmark, eventually!\n\n7\n00:00:26,980 --> 00:00:30,440\nDon't ask!\nFor God's sakes, don't ask.\n\n8\n00:00:30,480 --> 00:00:33,270\nAll right.\nYou can beat this.\n\n9\n00:00:33,360 --> 00:00:36,230\nIt's all a matter\nof willpower!\n\n10\n00:00:36,280 --> 00:00:39,780\nA test. Something small.\n\n11\n00:00:45,530 --> 00:00:50,250\nRed. Red. All right?\nNow focus.\n\n12\n00:00:50,290 --> 00:00:53,830\nThe color of this pen\nis r-r-r-\n\n13\n00:00:56,790 --> 00:00:59,130\nThe color of this pen...\n\n14\n00:00:59,210 --> 00:01:02,130\nis re-e-e-e-e-\n\n15\n00:01:02,170 --> 00:01:04,260\nRe-e-e-e-\n\n16\n00:01:07,510 --> 00:01:11,640\nThe color of the pen\nthat I hold in my hand...\n\n17\n00:01:11,680 --> 00:01:14,640\nis r-r-r-r-\n\n18\n00:01:14,690 --> 00:01:16,650\nr-r-royal blue!\n\n19\n00:01:20,150 --> 00:01:23,150\nOne lie, and I can't say it!\n\n20\n00:01:24,320 --> 00:01:26,240\nI'll write it.\n\n21\n00:01:53,680 --> 00:01:56,890\nWrite it! Write it,\nor I'll break it off!\n\n22\n00:02:02,310 --> 00:02:06,360\nAgh! No!\nCome on! Stop it.\n\n23\n00:02:16,990 --> 00:02:19,450\nBoss? What happened?\n\n24\n00:02:24,000 --> 00:02:27,420\nThe pen is blue.\nThe pen is blue!\n\n25\n00:02:27,500 --> 00:02:31,170\nThe goddamn pen is blue!\n\n", "sdh": "1\n00:00:00,650 --> 00:00:02,140\n[Elevator Bell Dings]\n\n2\n00:00:03,790 --> 00:00:05,690\nIt was me!\n\n3\n00:00:09,260 --> 00:00:11,700\nHi, Mr. Reede!\nLike the new dress?\n\n4\n00:00:11,760 --> 00:00:16,500\nWhatever takes the focus\noff your head.\n\n5\n00:00:16,570 --> 00:00:21,600\n- What's up, Fletcher?\n- Your cholesterol, fatty!\nDead man walkin'.\n\n6\n00:00:21,670 --> 00:00:23,950\n- Hey, Fletcher.\n- Hey! You're not important\nenough to remember.\n\n7\n00:00:23,980 --> 00:00:26,880\n- What's it gonna be, Mr. Reede?\n- A pockmark, eventually!\n\n8\n00:00:26,950 --> 00:00:30,380\nDon't ask!\nFor God's sakes, don't ask.\n\n9\n00:00:30,450 --> 00:00:33,250\nAII right.\nYou can beat this.\n\n10\n00:00:33,320 --> 00:00:36,190\nIt's all a matter\nof willpower!\n\n11\n00:00:36,260 --> 00:00:39,710\nA test. Something small.\n\n12\n00:00:45,500 --> 00:00:50,200\nRed. Red. AII right?\nNow focus.\n\n13\n00:00:50,270 --> 00:00:53,800\nThe color of this pen\nis r-r-r...\n\n14\n00:00:56,780 --> 00:00:59,110\nThe color of this pen...\n\n15\n00:00:59,180 --> 00:01:02,080\nis re-e-e-e-e...\n\n16\n00:01:02,150 --> 00:01:04,210\nRe-e-e-e...\n\n17\n00:01:07,490 --> 00:01:11,580\nThe color of the pen\nthat I hold in my hand...\n\n18\n00:01:11,660 --> 00:01:14,590\nis r-r-r-r...\n\n19\n00:01:14,660 --> 00:01:16,590\nr-r-royal blue!\n\n20\n00:01:16,660 --> 00:01:20,060\n[Yelps]\n\n21\n00:01:20,130 --> 00:01:23,120\nOne Iie, and I can't say it!\n\n22\n00:01:24,270 --> 00:01:26,200\nI'II write it.\n\n23\n00:01:37,180 --> 00:01:39,340\n[Yelling]\n\n24\n00:01:53,670 --> 00:01:56,860\nWrite it! Write it,\nor I'II break it off!\n\n25\n00:01:59,810 --> 00:02:02,210\n[Chuckling Victoriously]\n\n26\n00:02:02,270 --> 00:02:06,340\nAgh! No!\nCome on! Stop it.\n\n27\n00:02:11,180 --> 00:02:13,910\n[Screaming]\n\n28\n00:02:16,960 --> 00:02:19,420\nBoss? What happened?\n\n29\n00:02:23,960 --> 00:02:27,400\nThe pen is blue.\nThe pen is blue!\n\n30\n00:02:27,470 --> 00:02:31,130\nThe goddamn pen is blue!\n\n", "screenplay": "{\"screenplay_scene_34\": \"<scene>\\n    <stage_direction>INT. FLETCHER'S OFFICE - MORNING</stage_direction>\\n    <scene_description>He leans against the door, trying to catch his breath. €�:</scene_description>\\n    <character>FLETCHER,</character>\\n    <parenthetical>(pacing)</parenthetical>\\n    <dialogue>Don't panic. You can beat this - it's all a matter of willpower.</dialogue>\\n    <scene_description>He dives for his desk and rifles through it.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>A test. . . Something small... Aha!</dialogue>\\n    <scene_description>He holds up a BLUE PEN.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Red. Red. All right. Focus,</dialogue>\\n    <parenthetical>(with great deliberation)</parenthetical>\\n    <dialogue>The color of this pen is • r--. R--. R--! The color of this pen is--blue! AAAAHH!</dialogue>\\n    <parenthetical>(burying his head)</parenthetical>\\n    <dialogue>Ahhhh! One' tiny lie and I can't say it!!</dialogue>\\n    <scene_description>up) ' I'll write.it! He takes a sheet of PAPER, his pen and writes \\\"This pen i s . . . \\\" He tries to write an \\\"R\\\" but can't. He STRAINS. STRAINS HARDER. He's out of his chair, on the desk. His feet KICK OVER OBJECTS on the shelves'behind him. He finally forces pen to paper. He looks down where he wrote inadvertently: \\\"This pen is blue.\\\"</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>NO, NO, NO, NO, NO! ! ! !</dialogue>\\n    <scene_description>Greta enters to find-- FLETCHER running around the office, shaking the blue pen in the air.</scene_description>\\n    <character>GRETA</character>\\n    <dialogue>Boss, what's wrong?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>. The pen is blue!! The pen is .</dialogue>\\n    <scene_description>blue!! The GODDAMN PEN IS BLUE!!! Almost weeping, he collapses into a chair. A moment -- then Greta tentatively offers him a red pen.</scene_description>\\n    <character>GRETA</character>\\n    <dialogue>Red?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(bitter)</parenthetical>\\n    <dialogue>Oh, that's easy for you to say?!</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>Are you all right?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(getting up)</parenthetical>\\n    <dialogue>I have to go home.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>Home? Was the case settled?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>No. I have to be in court at one-thirty.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>Well, then how can you.go home?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I don't know, I don't know!!!</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>Okay.</dialogue>\\n    <parenthetical>(walking on eggshells)</parenthetical>\\n    <dialogue>Before I forget -- Rubin and Dunn called. They want to know where the Darvis settlement offer stands.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I only proposed a settlement to dick with them. I never had any intention of going through with it. .</dialogue>\\n    <scene_description>Not certain why her boss would .shoot himself in the foot, Greta nonetheless jots down his remarks.</scene_description>\\n    <character>GRETA</character>\\n    <dialogue>'•...dick with them.\\\" Okay. Your accountant, Philip, called to remind you about getting together. .</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I'd rather shave my ass and sit in vinegar..</dialogue>\\n    <character>GRETA</character>\\n    <parenthetical>(jotting down a note)</parenthetical>\\n    <dialogue>Got it. And your mother called again. Are you still on vacation?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(emphatically nodding \\\"yes\\\")</parenthetical>\\n    <dialogue>No.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>So then you're here?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(emphatically shaking his head \\\"no\\\")</parenthetical>\\n    <dialogue>Yes.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>I ' m having a little trouble following you. what do I say to your mom?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(resigned)</parenthetical>\\n    <dialogue>Tell her I'm a thoughtless son who'd rather spend ten hours clogging the wheels of justice than five minutes talking to her-- but only if she asks. You.might also add that she deserves better, though I hope to God you don't.</dialogue>\\n    <character>GRETA</character>\\n    <dialogue>Thanks for clearing that up. And that's it, except your ex called and asked when you were cowing over to see your son.</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(remembers)</parenthetical>\\n    <character>OHH! I'M SUCH A SHIT!!</character>\\n    <dialogue>He reacts, particularly stunned by this truth.</dialogue>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "1592.99", "video_duration": "153.00"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "rTo8_3qo6H75", "audio_description_us": "1\n00:00:15,100 --> 00:00:16,270\nHe furrows his brow.\n\n2\n00:00:16,310 --> 00:00:19,600\nIn the suburbs, Audrey drives a\nJeep with Max in the passenger seat.\n\n3\n00:00:19,730 --> 00:00:20,940\nShe picks up her car phone.\n\n4\n00:00:49,470 --> 00:00:50,300\nHe winces.\n\n5\n00:00:59,640 --> 00:01:01,190\nHe throws the phone across his office\n\n6\n00:01:01,190 --> 00:01:02,230\nand it falls on the floor.\n\n7\n00:01:02,440 --> 00:01:03,860\nAudrey slams her phone down.\n\n8\n00:01:10,570 --> 00:01:12,070\nHe clamps his hands over his mouth.\n\n9\n00:01:12,360 --> 00:01:14,740\nHis face turns red as he struggles to speak.\n\n10\n00:01:15,620 --> 00:01:19,000\nOutside an elementary school, kids\nfile off buses toward the building.\n\n11\n00:01:19,290 --> 00:01:22,120\nAudrey crouches in front of\nMax, preparing his backpack.\n\n12\n00:01:38,890 --> 00:01:40,980\nMax turns and walks toward the school building.\n\n13\n00:01:41,350 --> 00:01:43,940\nAudrey watches him, a glum expression on her face.\n\n14\n00:01:46,520 --> 00:01:47,230\nShe rises\n\n15\n00:01:47,230 --> 00:01:48,070\nand goes to him.\n\n16\n00:01:54,820 --> 00:01:55,740\nShe strokes his hair\n\n17\n00:01:55,740 --> 00:01:57,080\nand walks him toward the building.\n\n18\n00:01:57,240 --> 00:01:58,740\nLater, Audrey drives the Jeep.\n\n19\n00:01:58,830 --> 00:02:00,160\nShe glances down at the phone,\n\n20\n00:02:00,450 --> 00:02:01,250\nthen answers.\n\n21\n00:02:34,910 --> 00:02:36,990\nHe fumbles to hang up a decimated phone.\n\n22\n00:02:37,200 --> 00:02:37,910\nHe runs out.\n\n23\n00:02:39,990 --> 00:02:43,000\nHe runs down the hall, past coworkers\nwith his fingers in his ears.\n\n24\n00:02:43,250 --> 00:02:45,460\nHe jabs frantically at the elevator down button.\n\n25\n00:02:46,330 --> 00:02:48,210\nThe doors open, revealing Miranda.\n\n26\n00:02:51,840 --> 00:02:52,550\nHe stumbles,\n\n27\n00:02:52,550 --> 00:02:53,340\nthen runs away.\n\n28\n00:02:53,380 --> 00:02:54,380\nHe leaps into the air,\n\n29\n00:02:54,380 --> 00:02:55,760\nkicking open an exit door.\n\n", "audio_description_uk": "1\n00:00:16,430 --> 00:00:19,230\nAudrey takes a call while driving Max to school.\n\n2\n00:01:00,520 --> 00:01:01,980\nHe throws away the phone.\n\n3\n00:01:11,570 --> 00:01:13,740\nStopping his mouth with his hands...\n\n4\n00:01:15,240 --> 00:01:17,200\nAudrey drops off Max at school.\n\n5\n00:01:39,810 --> 00:01:42,310\nMax heads glumly towards the school gate.\n\n6\n00:01:42,480 --> 00:01:43,850\nAudrey walks after him.\n\n7\n00:01:55,780 --> 00:02:00,540\nLater, as Audrey drives home in her car,\nFletcher rings her from his smashed office phone.\n\n8\n00:02:35,240 --> 00:02:38,080\nFletcher runs down the corridor\nwith his fingers in his ears.\n\n9\n00:02:45,500 --> 00:02:47,580\nAs the lift doors open, he sees Miranda.\n\n10\n00:02:51,420 --> 00:02:54,170\nHe dashes off down a 21st floor fire escape.\n\n", "subtitles": "1\n00:00:00,020 --> 00:00:04,190\nAnd your mother called. Are you\nstill on vacation? - No.\n\n2\n00:00:04,230 --> 00:00:06,530\n- Then you're here?\n- Yes.\n\n3\n00:00:06,570 --> 00:00:09,030\nThank you for clearing\nthat up, sir.\n\n4\n00:00:09,070 --> 00:00:12,410\nAnd your ex-wife called.\nShe wants to know when you're\ncoming to pick up your son.\n\n5\n00:00:12,490 --> 00:00:16,790\nOh, I'm such a shit!\n\n6\n00:00:20,660 --> 00:00:23,130\n- Hello.\n- Audrey?\n\n7\n00:00:23,210 --> 00:00:26,040\nFletcher, hi. Are you still picking\nMax up from school today?\n\n8\n00:00:26,090 --> 00:00:28,170\nHere's the thing.\nI really can't!\n\n9\n00:00:28,210 --> 00:00:32,130\nI had a case l was certain would settle,\nand it didn't, and I have to go to court.\n\n10\n00:00:32,220 --> 00:00:35,720\nRight. - It's true! I really\nwant to see Max today!\n\n11\n00:00:35,800 --> 00:00:37,720\nI really do.\n\n12\n00:00:37,810 --> 00:00:40,600\nUh-huh, but things just keep coming up\nat the last minute.\n\n13\n00:00:40,680 --> 00:00:43,730\n- Yes, but this time it's different.\n- I see. How is that?\n\n14\n00:00:43,770 --> 00:00:47,730\nNow I'm telling the truth.\n- And last night you weren't.\nWell, what were you doing?\n\n15\n00:00:47,810 --> 00:00:50,780\nHaving sex!\n\n16\n00:00:50,860 --> 00:00:53,950\nWell, I hope that it was\nwith someone very special.\n\n17\n00:00:54,030 --> 00:00:57,200\nNo! That's the thing. I don't even\nlike her, but she's a partner.\n\n18\n00:00:57,240 --> 00:01:01,950\nI thought l could help my career\nby makin' her squeal.\n\n19\n00:01:05,620 --> 00:01:08,750\nWhat's wrong with me?\n\n20\n00:01:08,830 --> 00:01:11,130\nI'm getting what I deserve.\nI'm reaping what I sow. I'm-\n\n21\n00:01:22,850 --> 00:01:26,100\n- ls Dad still picking me up?\n- No, Max, he's not.\n\n22\n00:01:27,390 --> 00:01:30,310\nI'm sorry, but l'm gonna\npick you up, okay?\n\n23\n00:01:30,400 --> 00:01:32,310\nI'll work it out.\n\n24\n00:01:32,400 --> 00:01:34,360\nI guess my wish\ndidn't come true.\n\n25\n00:01:34,440 --> 00:01:39,320\nWhat wish? - I wished that for just\none day Dad couldn't tell a lie.\n\n26\n00:01:45,580 --> 00:01:47,490\nMax?\n\n27\n00:01:50,120 --> 00:01:54,080\nI have something important\nto talk to you about, okay?\n\n28\n00:01:54,130 --> 00:01:56,420\n- Okay.\n- Okay.\n\n29\n00:02:03,930 --> 00:02:08,180\nHello? - Audrey! Let me explain.\nSomething has happened to me.\n\n30\n00:02:08,260 --> 00:02:12,180\nWell, something else is about to happen\nto you. Max and I are moving to Boston.\n\n31\n00:02:12,270 --> 00:02:14,480\n- What?\n- Jerry has asked me to marry him,\n\n32\n00:02:14,520 --> 00:02:17,190\nand Max and I are going\nthis weekend to look at houses.\n\n33\n00:02:17,270 --> 00:02:19,150\nI thought it was semiserious!\n\n34\n00:02:19,190 --> 00:02:21,980\nIt's just been given\na violent shove into serious.\n\n35\n00:02:22,070 --> 00:02:24,570\nYou can't move to Boston;\nI'll never see Max!\n\n36\n00:02:24,650 --> 00:02:28,070\nYou'll have the same relationship\nyou have with him now, won't you?\n\n37\n00:02:28,160 --> 00:02:29,910\n- Where are you?\n- I'm going home.\n\n38\n00:02:29,990 --> 00:02:33,240\nWhen you get there, just stay there.\nI'm comin' over. We have to talk.\n\n39\n00:02:33,330 --> 00:02:37,580\n- Fletcher!\n- I'll be right there.\n\n40\n00:02:37,670 --> 00:02:40,960\nHey, Mr. Reede-\n\n41\n00:02:49,430 --> 00:02:52,550\n- Fletcher.\n- Holy hell!\n\n", "sdh": "1\n00:00:04,220 --> 00:00:06,480\n- Then you're here?\n- Yes.\n\n2\n00:00:06,550 --> 00:00:08,990\nThank you for clearing\nthat up, sir.\n\n3\n00:00:09,060 --> 00:00:12,390\nAnd your ex-wife called.\nShe wants to know when you're\ncoming to pick up your son.\n\n4\n00:00:12,460 --> 00:00:16,760\nOh, I'm such a shit!\n\n5\n00:00:17,830 --> 00:00:20,560\n[Phone Ringing]\n\n6\n00:00:20,630 --> 00:00:23,100\n- Hello.\n- Audrey?\n\n7\n00:00:23,170 --> 00:00:26,000\nFletcher, hi. Are you still picking\nMax up from school today?\n\n8\n00:00:26,070 --> 00:00:28,130\nHere's the thing.\nI really can't!\n\n9\n00:00:28,210 --> 00:00:32,110\nI had a case I was certain\nwould settle, and it didn't,\nand I have to go to court.\n\n10\n00:00:32,180 --> 00:00:35,710\n- Right.\n- It's true! I really\nwant to see Max today!\n\n11\n00:00:35,780 --> 00:00:37,720\n[Softly]\nI really do.\n\n12\n00:00:37,780 --> 00:00:40,580\nUh-huh, but things just keep coming up\nat the Iast minute.\n\n13\n00:00:40,650 --> 00:00:43,680\n- Yes, but this time it's different.\n- I see. How is that?\n\n14\n00:00:43,760 --> 00:00:47,720\n- Now I'm telling the truth.\n- And Iast night you weren't.\nWell, what were you doing?\n\n15\n00:00:47,790 --> 00:00:50,760\nHaving sex!\n\n16\n00:00:50,830 --> 00:00:53,920\nWell, I hope that it was\nwith someone very special.\n\n17\n00:00:54,000 --> 00:00:57,160\nNo! That's the thing. I don't even\nIike her, but she's a partner.\n\n18\n00:00:57,240 --> 00:01:01,940\nI thought I could help my career\nby makin' her squeal. [Screams]\n\n19\n00:01:02,010 --> 00:01:05,530\nAah!\n\n20\n00:01:05,610 --> 00:01:08,740\nWhat's wrong with me?\n\n21\n00:01:08,810 --> 00:01:11,110\nI'm getting what I deserve.\nI'm reaping what I sow. I'm...\n\n22\n00:01:17,590 --> 00:01:20,530\n[Children Chattering]\n\n23\n00:01:22,830 --> 00:01:26,090\n- Is Dad still picking me up?\n- No, Max, he's not.\n\n24\n00:01:27,370 --> 00:01:30,300\nI'm sorry, but I'm gonna\npick you up, okay?\n\n25\n00:01:30,370 --> 00:01:32,300\nI'II work it out.\n\n26\n00:01:32,370 --> 00:01:34,340\nI guess my wish\ndidn't come true.\n\n27\n00:01:34,410 --> 00:01:39,310\n- What wish?\n- I wished that for just one day\nDad couldn't tell a Iie.\n\n28\n00:01:39,380 --> 00:01:41,710\n[Bell Ringing]\n\n29\n00:01:45,550 --> 00:01:47,490\nMax?\n\n30\n00:01:50,090 --> 00:01:54,050\nI have something important\nto talk to you about, okay?\n\n31\n00:01:54,130 --> 00:01:56,390\n- Okay.\n- Okay.\n\n32\n00:01:57,930 --> 00:01:59,860\n[Phone Ringing]\n\n33\n00:02:03,900 --> 00:02:08,170\n- Hello?\n- Audrey! Let me explain.\nSomething has happened to me.\n\n34\n00:02:08,240 --> 00:02:12,180\nWell, something else\nis about to happen to you.\nMax and I are moving to Boston.\n\n35\n00:02:12,240 --> 00:02:14,440\n- What?\n- Jerry has asked me to marry him,\n\n36\n00:02:14,510 --> 00:02:17,180\nand Max and I are going\nthis weekend to Iook at houses.\n\n37\n00:02:17,250 --> 00:02:19,110\nI thought it was semiserious!\n\n38\n00:02:19,190 --> 00:02:21,980\nIt's just been given\na violent shove into serious.\n\n39\n00:02:22,050 --> 00:02:24,550\nYou can't move to Boston;\nI'II never see Max!\n\n40\n00:02:24,620 --> 00:02:28,060\nYou'II have the same relationship\nyou have with him now, won't you?\n\n41\n00:02:28,130 --> 00:02:29,890\n- Where are you?\n- I'm going home.\n\n42\n00:02:29,960 --> 00:02:33,230\nWhen you get there, just stay there.\nI'm comin' over. We have to talk.\n\n43\n00:02:33,300 --> 00:02:37,570\n- Fletcher!\n- I'II be right there.\n\n44\n00:02:37,640 --> 00:02:40,940\n- Hey, Mr. Reede...\n- La, Ia, Ia, Ia\n\n45\n00:02:41,010 --> 00:02:42,940\nLa, Ia, Ia, Ia\n\n46\n00:02:43,010 --> 00:02:45,410\n[Singing Nonsense]\n\n47\n00:02:45,480 --> 00:02:47,470\n[Bell Dings]\n\n48\n00:02:49,420 --> 00:02:52,540\n- Fletcher.\n- Holy hell!\n\n", "screenplay": "{\"screenplay_scene_35\": \"<scene>\\n    <stage_direction>INT. VOLVO - MOVING / FLETCHER'S OFFICE - MORNING</stage_direction>\\n    <scene_description>Audrey is driving Max, who wears his new baseball uniform when her cellular PHONE RINGS. She picks it up. We INTERCUT between car and office.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Audrey--</dialogue>\\n    <character>AUDREY'</character>\\n    <dialogue>Hey, Fletcher. T was wondering if you were going to still pick up Max after school today.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I don't think I can. I had a case I was certain would settle and it didn't. I have to go to trial this afternoon, God help me.</dialogue>\\n    <parenthetical>(not believing him)</parenthetical>\\n    <dialogue>Right.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>It's true... I really do want to see Max, today.</dialogue>\\n    <scene_description>Fletcher considers what he just said, realizes it is true.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>How about that. I really do.</dialogue>\\n    <character>AUDREY</character>\\n    <parenthetical>(cynically)</parenthetical>\\n    <dialogue>But things keep coming up at the last minute.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Yes, but-this time it's different.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>I see. And how is that?</dialogue>\\n    <scene_description>. €�:</scene_description>\\n    <character>FLETCHER</character>\\n    <parenthetical>(he walked into it)</parenthetical>\\n    <dialogue>This time I'm telling the truth.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>But last night you weren't?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>No.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>What were you doing?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Having sex.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>(barely holding her temper),</dialogue>\\n    <scene_description>It must have been with someone very \\\"special.\\\"</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>No. It was with someone I don't even like. But I thought it would help my career and at the moment that</dialogue>\\n    <dialogue>seemed more important than attending my son's birthday!</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>My God!!</dialogue>\\n    <scene_description>She SLAMS DOWN the phone.</scene_description>\\n  </scene>\", \"screenplay_scene_37\": \"<scene>\\n    <stage_direction>EXT. FULGHAM KINDERGARTEN - MORNING</stage_direction>\\n    <scene_description>The Volvo parks. Audrey gets out. She leans over to say good-bye to her son. , .</scene_description>\\n    <character>MAX</character>\\n    <dialogue>Is dad picking me up?</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>No, I'm sorry, Max. He can't make it. I will. I'll work it out.</dialogue>\\n    <scene_description>Max is disappointed.</scene_description>\\n    <character>MAX</character>\\n    <dialogue>I guess my wish didn't come • true.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>What wish?</dialogue>\\n    <character>MAX</character>\\n    <dialogue>I wished that, for just one day, Dad couldn't tell a lie.</dialogue>\\n    <scene_description>Max heads toward his teacher. Audrey is deeply moved. INT. FLETCHER'S OFFICE He's dialing the phone.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Answer, answer, answer...</dialogue>\\n    <character>INTERCUT WITH AUDREY'S CAR</character>\\n    <dialogue>Hello.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Audrey, let me explain. Something has happened to me--</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>Fletcher, something else is about to happen to you.</dialogue>\\n    <character>FLETCHER.</character>\\n    <dialogue>What do you mean?</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>Max and I are moving to Boston.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>What?!</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>Jerry asked me to marry him. He wants Max and I to fly with him this weekend to pick out a house. And I'm going to go. God knows I don't have any reason to stay here.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>(panicking) .</dialogue>\\n    <scene_description>Wait, you can't move! If you take Max away... I'll practically never see him.</scene_description>\\n    <character>AUDREY</character>\\n    <dialogue>Well then you'll have pretty much the same relationship you have with him now.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Audrey, please.... Is this because of what I just said on the phone?</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>That was the straw and this is the camel's back saying goodbye.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Where are you?</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>Heading home.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>When you gee there, stay there. I'll be right over. We have to talk.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>Fletcher--</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I'll be right- there!</dialogue>\\n    <scene_description>He hangs up and heads for the door. It opens and Miranda enters.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Aaaah!</dialogue>\\n    <character>MIRANDA</character>\\n    <dialogue>Fletcher. Fletcher, Fletcher, Fletcher. I must confess-- after last night's incident, I was. . . hurt. So hurt. I was tempted to do whatever little things lie in my power to scuttle your chances of making partner.</dialogue>\\n    <scene_description>Fletcher is FRIGHTENED.</scene_description>\\n    <character>MIRANDA</character>\\n    <dialogue>But then I thought, \\\"No, that's not fair. Fletcher didn't mean to insult me.\\\"</dialogue>\\n    <parenthetical>(straightening his tie)</parenthetical>\\n    <dialogue>\\\"It was just some massive, boneheaded misunderstanding, and Fletcher is very, very sorry.\\\"</dialogue>\\n    <scene_description>Fletcher smiles. It looks like he's off the hook, until--</scene_description>\\n    <character>MIRANDA</character>\\n    <dialogue>Isn't that right, Fletcher?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(in agony)</parenthetical>\\n    <dialogue>Uh -- not really, no.</dialogue>\\n    <character>MIRANDA</character>\\n    <parenthetical>(stunned, angry)</parenthetical>\\n    <dialogue>No? No?! What are you saying? Have you no respect for me?!</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>None, whatsoever. I mean, I ' d like to respect you, and if it weren't for your mistreatment of the associates, your rudeness to the staff, and the fact that your work sucks, I would.</dialogue>\\n    <character>MIRANDA</character>\\n    <dialogue>But -- what about last night?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I was afraid you wouldn't support my partnership if I turned you down. Plus, I have an immature need for sexual conquests.</dialogue>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "1774.88", "video_duration": "179.56"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "Y9co5wrrLEfd", "audio_description_us": "1\n00:00:00,830 --> 00:00:03,250\nOther vehicles\nscatter to avoid him and brake.\n\n2\n00:00:09,090 --> 00:00:10,800\nThe other driver waves dismissively.\n\n3\n00:00:10,930 --> 00:00:12,350\nFletcher swerves through traffic.\n\n4\n00:00:14,310 --> 00:00:15,310\nHe checks his watch.\n\n5\n00:00:17,560 --> 00:00:18,390\nHe accelerates\n\n6\n00:00:18,390 --> 00:00:19,350\nand switches lanes,\n\n7\n00:00:19,350 --> 00:00:20,400\nthen runs a red light.\n\n8\n00:00:20,520 --> 00:00:21,940\nTwo cars narrowly miss him.\n\n9\n00:00:23,730 --> 00:00:28,200\nOn the side of the road, a cop finishing a\ntraffic stop spots Fletcher speeding past.\n\n10\n00:00:29,200 --> 00:00:31,320\nFletcher spots the cop in his rearview mirror.\n\n11\n00:00:34,080 --> 00:00:35,620\nFletcher pulls over to a kerb.\n\n12\n00:00:35,830 --> 00:00:37,160\nThe cop pulls up behind him.\n\n13\n00:00:40,460 --> 00:00:42,000\nThe cop walks over to Fletcher,\n\n14\n00:00:42,040 --> 00:00:43,340\nremoving his sunglasses.\n\n15\n00:00:52,050 --> 00:00:52,970\nFletcher winces.\n\n16\n00:01:09,610 --> 00:01:10,570\nFletcher grimaces\n\n17\n00:01:10,570 --> 00:01:11,820\nand gestures with his head.\n\n18\n00:01:13,990 --> 00:01:15,200\nHe opens his glove box.\n\n19\n00:01:15,410 --> 00:01:17,410\nA sizable stack of papers falls out.\n\n20\n00:01:19,080 --> 00:01:22,080\nA taxi pulls up to Audrey's house\nwith Fletcher in the backseat.\n\n21\n00:01:24,250 --> 00:01:26,500\nAt the front door, Audrey turns to the cab.\n\n22\n00:01:26,550 --> 00:01:28,170\nFletcher shoves cash at the driver.\n\n23\n00:01:28,260 --> 00:01:29,880\nRolling her eyes, Audrey turns away.\n\n24\n00:01:30,090 --> 00:01:31,010\nFletcher hurries over\n\n25\n00:01:31,010 --> 00:01:31,720\nand stumbles.\n\n26\n00:01:49,570 --> 00:01:50,360\nHe frowns.\n\n27\n00:01:50,440 --> 00:01:51,700\nLater, at an impound...\n\n28\n00:02:00,830 --> 00:02:02,080\nThe cashier glances at him.\n\n29\n00:02:02,120 --> 00:02:03,790\nFletcher snatches an air freshener.\n\n30\n00:02:05,540 --> 00:02:07,540\nFletcher sniffs the air freshener, smiling.\n\n31\n00:02:07,670 --> 00:02:09,090\nHis car whips around the corner.\n\n32\n00:02:09,170 --> 00:02:10,760\nAgape, Fletcher runs toward it\n\n33\n00:02:10,840 --> 00:02:12,090\nand examines the side.\n\n34\n00:02:17,510 --> 00:02:18,890\nAn impound employee eyes it.\n\n35\n00:02:19,350 --> 00:02:20,890\nFletcher gestures to a scratch.\n\n36\n00:02:53,010 --> 00:02:54,420\nHe tosses the keys to Fletcher.\n\n", "audio_description_uk": "1\n00:00:00,790 --> 00:00:02,750\n...throwing a busy street into turmoil.\n\n2\n00:00:09,640 --> 00:00:10,890\nHe accelerates away,\n\n3\n00:00:10,890 --> 00:00:13,970\nsnaking in and out of cars\nlike a crazed rally driver.\n\n4\n00:00:14,720 --> 00:00:17,480\nAfter checking his watch, he drives even faster.\n\n5\n00:00:18,350 --> 00:00:20,350\nAt a red light, he carries on over the crossing,\n\n6\n00:00:20,350 --> 00:00:22,230\nnarrowly missing several other cars.\n\n7\n00:00:22,520 --> 00:00:23,820\nA traffic cop sees him\n\n8\n00:00:23,940 --> 00:00:25,650\nand gives chase on his motorbike.\n\n9\n00:00:34,700 --> 00:00:37,830\nFletcher pulls into the side of the\nroad, the traffic cop close behind.\n\n10\n00:00:40,120 --> 00:00:42,170\nFletcher hands the cop his driver's licence\n\n11\n00:00:42,170 --> 00:00:44,090\nand fights to keep control of his mouth.\n\n12\n00:01:14,200 --> 00:01:15,950\nHe pops open the glove compartment.\n\n13\n00:01:19,200 --> 00:01:21,920\nLater, Fletcher arrives at\nAudrey's house in a taxi.\n\n14\n00:01:24,880 --> 00:01:26,590\nThrowing notes at the cab driver.\n\n15\n00:01:49,480 --> 00:01:50,780\nAt the county impound...\n\n16\n00:02:00,500 --> 00:02:02,410\nStealing the official's pine freshener.\n\n17\n00:02:08,960 --> 00:02:12,420\nAnother official burns up to the office\nin Fletcher's silver convertible.\n\n", "subtitles": "1\n00:00:03,860 --> 00:00:06,030\nWhat's your problem, schmuck?\n\n2\n00:00:06,070 --> 00:00:09,450\nI'm an inconsiderate prick!\n\n3\n00:00:32,510 --> 00:00:34,430\nOh, shit!\n\n4\n00:00:39,100 --> 00:00:41,230\nShit!\n\n5\n00:00:48,480 --> 00:00:52,150\nYou know why I pulled you over? - Depends\non how long you were following me!\n\n6\n00:00:53,400 --> 00:00:56,660\n- Why don't we take it from the top?\n- Here goes.\n\n7\n00:00:56,740 --> 00:00:58,740\nI sped, l followed too closely,\nI ran a stop sign,\n\n8\n00:00:58,830 --> 00:01:02,830\nI almost hit a Chevy, l sped\nsome more, I failed to yield,\n\n9\n00:01:02,910 --> 00:01:06,920\nI changed lanes without\nsignaling while speeding!\n\n10\n00:01:07,000 --> 00:01:10,420\n- Is that all?\n- No.\n\n11\n00:01:12,550 --> 00:01:15,380\nI have unpaid parking tickets.\n\n12\n00:01:17,470 --> 00:01:19,430\nBe gentle.\n\n13\n00:01:23,140 --> 00:01:25,140\nAudrey! Wait!\n\n14\n00:01:28,230 --> 00:01:31,770\nWait, Audrey. Ooh!\nHold on. Wait!\n\n15\n00:01:31,810 --> 00:01:36,150\nWait. I just had an insight\ninto myself. I'm crazy.\n\n16\n00:01:36,230 --> 00:01:39,780\nYou call and say,\nWait, I'll be right over,\n\n17\n00:01:39,860 --> 00:01:42,450\nand here's the crazy part-\nI actually wait.\n\n18\n00:01:42,490 --> 00:01:46,540\n- I can explain this.\n- I have missed a department meeting.\n\n19\n00:01:46,620 --> 00:01:48,580\n- Did you come in a cab?\n- Yes!\n\n20\n00:01:48,620 --> 00:01:51,750\nWhere's your car?\n\n21\n00:01:51,790 --> 00:01:55,290\nThank you! I can't tell you\nhow much this means to me.\n\n22\n00:01:55,380 --> 00:02:00,720\n- I can. $1,654.11.\n- How do you sleep at night?\n\n23\n00:02:04,300 --> 00:02:07,390\nI'm takin' this.\n\n24\n00:02:16,230 --> 00:02:18,520\nYou scratched my car!\n\n25\n00:02:18,610 --> 00:02:22,990\n- Where?\n- Right there!\n\n26\n00:02:24,070 --> 00:02:27,530\nOh, there.\nThat was already there.\n\n27\n00:02:27,610 --> 00:02:30,660\nWhy, you!\n\n28\n00:02:30,700 --> 00:02:32,660\nYou liar!\n\n29\n00:02:33,910 --> 00:02:36,040\nYou know what I'm gonna\ndo about this? -What?\n\n30\n00:02:36,120 --> 00:02:39,880\nNothing! Because if I take you to court,\nit'll drain eight hours out of my life,\n\n31\n00:02:39,960 --> 00:02:43,590\nand you won't show up, and if I got\nthe judgement, you'd just stiff me anyway!\n\n32\n00:02:43,670 --> 00:02:47,840\nSo I'm gonna piss and moan\nlike an impotent jerk...\n\n33\n00:02:47,880 --> 00:02:51,340\nand then bend over and\ntake it up the tailpipe!\n\n34\n00:02:51,430 --> 00:02:54,510\nYou been here before,\nhaven't ya?\n\n", "sdh": "1\n00:00:00,530 --> 00:00:02,660\n[Tires Squealing]\n\n2\n00:00:03,830 --> 00:00:05,990\nWhat's your problem, schmuck?\n\n3\n00:00:06,070 --> 00:00:09,430\nI'm an inconsiderate prick!\n\n4\n00:00:28,060 --> 00:00:29,990\n[Siren Wailing]\n\n5\n00:00:32,490 --> 00:00:34,430\nOh, shit!\n\n6\n00:00:39,100 --> 00:00:41,190\nShit!\n\n7\n00:00:48,480 --> 00:00:52,140\n- You know why I pulled you over?\n- Depends on how Iong\nyou were following me!\n\n8\n00:00:53,410 --> 00:00:56,650\n- Why don't we take it from the top?\n- Here goes.\n\n9\n00:00:56,720 --> 00:00:58,740\nI sped, I followed too closely,\nI ran a stop sign,\n\n10\n00:00:58,820 --> 00:01:02,810\nI almost hit a Chevy, I sped\nsome more, I failed to yield,\n\n11\n00:01:02,890 --> 00:01:06,920\nI changed Ianes without\nsignaling while speeding!\n\n12\n00:01:06,990 --> 00:01:10,430\n- Is that all?\n- No.\n\n13\n00:01:12,530 --> 00:01:15,370\nI have unpaid parking tickets.\n\n14\n00:01:15,440 --> 00:01:17,400\n[Groans]\n\n15\n00:01:17,470 --> 00:01:19,410\nBe gentle.\n\n16\n00:01:23,140 --> 00:01:25,190\nAudrey! Wait!\n\n17\n00:01:28,190 --> 00:01:31,720\nWait, Audrey. Ooh!\nHold on. Wait!\n\n18\n00:01:31,790 --> 00:01:36,130\nWait. I just had an insight\ninto myself. I'm crazy.\n\n19\n00:01:36,200 --> 00:01:39,760\nYou call and say,\n\"Wait, I'II be right over, \"\n\n20\n00:01:39,830 --> 00:01:42,390\nand here's the crazy part...\nI actually wait.\n\n21\n00:01:42,470 --> 00:01:46,500\n- I can explain this.\n- I have missed a department meeting.\n\n22\n00:01:46,570 --> 00:01:48,540\n- Did you come in a cab?\n- Yes!\n\n23\n00:01:48,610 --> 00:01:51,700\nWhere's your car?\n\n24\n00:01:51,780 --> 00:01:55,270\nThank you! I can't tell you\nhow much this means to me.\n\n25\n00:01:55,350 --> 00:02:00,690\n- I can. $1,654.11.\n- How do you sleep at night?\n\n26\n00:02:04,260 --> 00:02:07,350\nI'm takin' this.\n[Inhales Loudly]\n\n27\n00:02:07,430 --> 00:02:09,360\n[Loud Crunch]\n\n28\n00:02:09,430 --> 00:02:12,090\n[Tires Squealing]\n\n29\n00:02:16,200 --> 00:02:18,500\nYou scratched my car!\n\n30\n00:02:18,570 --> 00:02:22,940\n- Where?\n- Right there!\n\n31\n00:02:24,040 --> 00:02:27,500\nOh, there.\nThat was already there.\n\n32\n00:02:27,580 --> 00:02:30,610\nWhy, you!\n\n33\n00:02:30,680 --> 00:02:32,620\nYou Iiar!\n\n34\n00:02:33,890 --> 00:02:36,020\n- You know what I'm gonna do about this?\n- What?\n\n35\n00:02:36,090 --> 00:02:39,860\nNothing! Because if I take\nyou to court, it'II drain\neight hours out of my Iife,\n\n36\n00:02:39,930 --> 00:02:43,560\nand you won't show up,\nand if I got the judgement,\nyou'd just stiff me anyway!\n\n37\n00:02:43,630 --> 00:02:47,800\nSo I'm gonna piss and moan\nIike an impotent jerk...\n\n38\n00:02:47,870 --> 00:02:51,330\nand then bend over and\ntake it up the tailpipe!\n\n39\n00:02:51,410 --> 00:02:54,470\nYou been here before,\nhaven't ya?\n\n", "screenplay": "{\"screenplay_scene_40\": \"<scene>\\n    <stage_direction>INT. BMW - MOVING / EXT, STREET - MORNING</stage_direction>\\n    <scene_description>Fletcher speeds away. He pulls the blue pen from his pocket.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Gotta focus. . . gotta focus.</dialogue>\\n    <scene_description>He's so preoccupied that he speeds through a crosswalk and almost hits an OLD MAN.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>The color of the pen is -- red! .</dialogue>\\n    <scene_description>But he hasn't regained the ability to lie -- he's referring to the RED LIGHT he just ran, nearly colliding with a truck. The DRIVER screams:</scene_description>\\n    <character>DRIVER</character>\\n    <dialogue>What's your problem, schmuck?!</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(the truth)</parenthetical>\\n    <dialogue>I ' m an inconsiderate prick!</dialogue>\\n    <scene_description>Fletcher once again focuses on the blue pen.</scene_description>\\n    <character>FLETCHER (CON \\\"ID)</character>\\n    <dialogue>C'mon, you can do this! The color of the pen is -- RED!</dialogue>\\n    <scene_description>This time he's referring to the flashing red light of a POLICE CAR in his rearview mirror.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Shit!!</dialogue>\\n    <scene_description>Fletcher pulls over. A POLICE OFFICER strolls up.</scene_description>\\n    <character>POLICE OFFICER</character>\\n    <dialogue>Do you know why I stopped you?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Depends on how long you were following me.</dialogue>\\n    <character>POLICE OFFICER</character>\\n    <dialogue>Why don't we take it from the top.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>• (in agony)</dialogue>\\n    <scene_description>Here goes -- I didn't fasten my seatbelt, I didn't glance in my rearview mirror, I didn't signal when I pulled away from the curb, I sped, I followed too closely, I ran a stop sign, I almost hit :a Chevy Camaro, I almost hit a geezer, I sped some more, I failed to yield at a crosswalk, I changed lanes in the intersection, I changed lanes without signalling, and I changed lanes in the intersection-without signalling while running a red light and speeding. A long moment.</scene_description>\\n    <character>POLICE OFFICER</character>\\n    <dialogue>May I see your driver's license?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>No.</dialogue>\\n    <scene_description>And why is that?</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>It's in my other pants.</dialogue>\\n    <character>POLICE OFFICER</character>\\n    <dialogue>I see. And where are your • other pants?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Hanging from my boss's credenza.</dialogue>\\n    <character>POLICE OFFICER</character>\\n    <dialogue>Do you expect me to believe that?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>No.</dialogue>\\n    <character>POLICE OFFICER</character>\\n    <dialogue>Do you think I'm an idiot?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Yes -- but that's beside the point! My license actually is in my other pants, and they actually were hanging from a credenzaJ I wouldn't lie to you! I mean, I would if I could, but I can't!</dialogue>\\n    <character>POLICE OFFICER</character>\\n    <dialogue>I see. So you ..have no reason to try and hide your license from me?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I didn't say that. I have other reasons. Seventeen reasons, to be precise.</dialogue>\\n    <parenthetical>(begrudgingly, off the officer's look)</parenthetical>\\n    <dialogue>Unpaid parking tickets.</dialogue>\\n    <parenthetical>(beseechingly)</parenthetical>\\n    <dialogue>Be gentle.</dialogue>\\n  </scene>\", \"screenplay_scene_41\": \"<scene>\\n    <stage_direction>EXT. AUDREY'S HOUSE - MORNING</stage_direction>\\n    <scene_description>A cab speeds up to the house. Fletcher runs out. Audrey is headed to her car.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Audrey, wait!</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>Wait? You know, I just had an insight into myself. I ' m crazy. You call me up and . tell me to wait here because you'll be right over and -- here's the crazy part -- I actually wait.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I can explain--</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>I missed a department meeting. I. . . Did you come in a cab?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>Where's your car?</dialogue>\\n    <scene_description>EXT, POLICE IMPOUND YARD - MORNING Audrey finishes paying the impound-yard CASHIER and joins Fletcher, who is waiting alongside hundreds of towed cars.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Thank you. . I can't tell you how much this means to me.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>I can. One thousand, six hundred, and fifty-four dollars and eleven cents.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Ow.</dialogue>\\n    <scene_description>At this moment WE HEAR a hideous scraping noise -- and a TOW-YARD EMPLOYEE whips Fletcher's BMW into view and. parks... revealing a prominent new scrape on the door.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>You scratched my car!</dialogue>\\n    <character>TOW-YARD EMPLOYEE</character>\\n    <dialogue>Where? .</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Right there!</dialogue>\\n    <scene_description>Oh that? That was already there.</scene_description>\\n    <character>FLETCHER</character>\\n    <parenthetical>(outraged)</parenthetical>\\n    <dialogue>Why, you -- you liar! Do you know what I ' m going to do about this?</dialogue>\\n    <character>TOW-YARD EMPLOYEE</character>\\n    <dialogue>What?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(angrier and angrier)</parenthetical>\\n    <dialogue>...Nothing! Because if I take</dialogue>\\n    <scene_description>you to small-claims court, it will just drain eight hours out of my life, and you probably won't show up, and if I finally got the judgment you'd just stiff me anyway, so what I'm gonna do is piss and moan like an impotent jerk and . then bend over and take it up the tail pipe!</scene_description>\\n    <character>TOW-YARD EMPLOYEE</character>\\n    <dialogue>You've been here before, haven't you?</dialogue>\\n    <scene_description>He flips Fletcher the keys and goes.</scene_description>\\n    <character>AUDREY</character>\\n    <dialogue>Well I can't remember when I've had more fun, now if you'll excuse me, I have a class.</dialogue>\\n    <scene_description>She starts out.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Audrey, wait. I want to talk to you about this Boston situation.</dialogue>\\n    <character>. AUDREY</character>\\n    <dialogue>What do you want to say?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>You can't go. It's not fair. Taking Max three thousand miles away is not fair.</dialogue>\\n    <scene_description>Let's define \\\"fair.\\\" Last • night a five-year old boy was crushed because his father lied to him about coming to his birthday party. Fair?</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Last night--</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>-- Was none of my business. When it happened two years ago it was my business, but now I don't have to care anymore. See, that's the magic of divorce. But it does matter to Max. Everything you do matters to him... and everything you don't do.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>All right-- now let me tell you something...you're absolutely right. I'm guilty of all charges. I'm throwing myself on the mercy of your -court.</dialogue>\\n    <scene_description>Audrey doesn't know what to say. Fletcher seems very sincere, but she can't trust him.</scene_description>\\n    <character>FLETCHER {</character>\\n    <dialogue>I have an idea. I'll come over tonight, right after court lets out and play with Max. Have him invite some friends over. We'll have a game and everything. Then, you and I can sit down and talk.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>We're suppose to be on a plane tonight--</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>No, Audrey. Just talk to me about this first. Please. Audrey, I've lost you. Don't make me lose Max, too.</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>You're really coming?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>This is iron-clad. This is the mother of all promises. What time?</dialogue>\\n    <character>AUDREY</character>\\n    <dialogue>...Six?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Ten-to-six.</dialogue>\\n    <character>AUDREY</character>\\n    <parenthetical>(unsure)</parenthetical>\\n    <dialogue>All right... only if I tell Max you're coming and you don't show up and I have to see that look on Max's face -- that heartbreaking look-- it's Boston, Fletcher.</dialogue>\\n    <character>FLETCHER.</character>\\n    <dialogue>I will be there.</dialogue>\\n    <scene_description>As Audrey gets in her car -- .</scene_description>\\n    <character>AUDREY</character>\\n    <dialogue>I hope so. Do you know what your son was doing at nine- fif teen las t ni ght? He was making a wish on his birthday cake. He was wishing that, for just one day, his dad couldn't tell a lie.</dialogue>\\n    <scene_description>She drives away. Fletcher starts for his car, pensive, when a new thought strikes him.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Oh my God! That-'s it! An innocent kid - - a heartfelt plea-- a birthday wish! Sure, it's impossible --but it 'makes sense!..! If he can wish it, he can unwish it!</dialogue>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "1955.71", "video_duration": "175.01"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "JxcIFs5WBIbA", "audio_description_us": "1\n00:00:25,110 --> 00:00:26,820\nFletcher scrunches his face,\n\n2\n00:00:26,900 --> 00:00:28,360\nturns slowly to Mr. Allan\n\n3\n00:00:28,400 --> 00:00:29,150\nand shrugs.\n\n4\n00:00:43,790 --> 00:00:46,300\nThe people seated at the table react in surprise\n\n5\n00:00:46,380 --> 00:00:48,920\nand turn to look at Mr. Allan, whose hands tremor.\n\n6\n00:00:49,630 --> 00:00:52,180\nFletcher watches Mr. Allan\nwith a worried expression.\n\n7\n00:00:52,470 --> 00:00:54,640\nMr. Allan regards him with a straight face.\n\n8\n00:01:12,610 --> 00:01:13,320\nHe points.\n\n9\n00:01:55,820 --> 00:01:57,120\nFletcher points to others.\n\n10\n00:02:03,080 --> 00:02:04,670\nMiranda reacts with a face.\n\n11\n00:02:15,340 --> 00:02:17,100\nFletcher rips off a man's toupee\n\n12\n00:02:17,220 --> 00:02:18,350\nand sticks it to the wall.\n\n13\n00:02:21,180 --> 00:02:23,600\nMiranda stands angrily with arms folded.\n\n14\n00:02:26,360 --> 00:02:29,650\nFletcher laughs in an exaggerated\nfashion to Miranda's ear.\n\n15\n00:02:40,410 --> 00:02:42,040\nFletcher exits into the hallway.\n\n16\n00:02:45,040 --> 00:02:46,330\nHe puts a hand to his face,\n\n17\n00:02:46,420 --> 00:02:47,080\nthen faints.\n\n", "audio_description_uk": "1\n00:00:25,070 --> 00:00:29,740\nAs Mr Allan watches with expectation,\nFletcher shrugs helplessly.\n\n2\n00:00:44,210 --> 00:00:47,670\nA tense silence as all eyes turn to Mr Allan.\n\n3\n00:02:03,040 --> 00:02:04,580\nMiranda's jaw drops.\n\n4\n00:02:20,430 --> 00:02:22,520\nFletcher rips off the executive's toupee\n\n5\n00:02:22,520 --> 00:02:24,810\nand sticks it on the wall like an Indian scalp.\n\n6\n00:02:25,230 --> 00:02:29,110\nIn the uproar, he laughs as loud as\nhe can into Miranda's unamused ear\n\n7\n00:02:29,320 --> 00:02:30,780\nbefore taking his leave.\n\n8\n00:02:44,920 --> 00:02:46,750\nFletcher faints on the corridor floor.\n\n", "subtitles": "1\n00:00:00,170 --> 00:00:05,800\nPardon me for interrupting.\nMr. Allan, you remember Fletcher Reede?\n\n2\n00:00:05,880 --> 00:00:08,970\nOh, yes! Nice to\nsee you again, Fletcher.\n\n3\n00:00:09,010 --> 00:00:12,050\nI'll be observing you\nin court this afternoon.\n\n4\n00:00:12,140 --> 00:00:15,020\nI've been hearing\nsome good things about you.\n\n5\n00:00:15,100 --> 00:00:20,020\nWell, Fletcher has just been telling me\nhow much he thinks of you.\n\n6\n00:00:20,100 --> 00:00:24,480\nWhy don't you tell Mr. Allan?\nWell, what do you think of him?\n\n7\n00:00:31,110 --> 00:00:35,490\nHe's a pedantic, pontificating,\npretentious bastard.\n\n8\n00:00:35,530 --> 00:00:40,750\nA belligerent old fart.\nA worthless, steaming pile of cow dung.\n\n9\n00:00:40,830 --> 00:00:44,130\nFiguratively speaking.\n\n10\n00:01:04,890 --> 00:01:07,270\nThat's the funniest damn thing\nI've ever heard!\n\n11\n00:01:07,360 --> 00:01:10,190\nYou're a real card, Reede!\n\n12\n00:01:10,270 --> 00:01:12,650\nI love a good roast!\n\n13\n00:01:13,690 --> 00:01:16,160\nDo Simmons!\n\n14\n00:01:16,200 --> 00:01:18,370\nSimmons is old!\n\n15\n00:01:18,410 --> 00:01:23,120\nHe should have been out years ago, but\nhe can't stay home 'cause he hates his wife!\n\n16\n00:01:24,910 --> 00:01:27,460\nYou've met her\nat the Christmas parties.\n\n17\n00:01:27,540 --> 00:01:30,880\nShe's the one that gets plastered\nand calls him a retard.\n\n18\n00:01:30,920 --> 00:01:35,130\nAnd you, Tom. You're the biggest\nbrownnose I've ever seen!\n\n19\n00:01:35,210 --> 00:01:40,050\nYou've got your head so far up\nMr. Allan's ass, I can't tell\nwhere you end and he begins!\n\n20\n00:01:40,090 --> 00:01:42,300\nPriceless!\n\n21\n00:01:44,010 --> 00:01:47,270\nYou have bad breath\ncaused by gingivitis.\n\n22\n00:01:47,350 --> 00:01:51,940\nYou couldn't get a porn star\noff. Your hairpiece looks like\nsomething that was killed.\n\n23\n00:01:52,020 --> 00:01:56,780\nI don't know whether to comb it\nor scrape it off and bury it in lime!\n\n24\n00:01:56,860 --> 00:02:01,280\nLoser! Idiot!\nWimp! Degenerate!\n\n25\n00:02:01,360 --> 00:02:04,240\nSlut!\n\n26\n00:02:05,910 --> 00:02:10,330\nI like your style, Reede!\nThat's what this stuffy company needs!\n\n27\n00:02:10,410 --> 00:02:14,790\n- A little irreverence!\n- Good! I'll see you later, dick-head!\n\n28\n00:02:15,830 --> 00:02:18,420\nDick-head!\nPriceless!\n\n29\n00:02:35,270 --> 00:02:38,270\nKeep your eye on that boy.\n\n30\n00:02:38,360 --> 00:02:40,940\nDick-head!\n\n", "sdh": "1\n00:00:00,190 --> 00:00:05,820\nPardon me for interrupting.\nMr. AIlan, you remember Fletcher Reede?\n\n2\n00:00:05,890 --> 00:00:08,950\nOh, yes! Nice to\nsee you again, Fletcher.\n\n3\n00:00:09,030 --> 00:00:12,050\nI'II be observing you\nin court this afternoon.\n\n4\n00:00:12,130 --> 00:00:15,030\nI've been hearing\nsome good things about you.\n\n5\n00:00:15,100 --> 00:00:20,040\nWell, Fletcher has just been telling me\nhow much he thinks of you.\n\n6\n00:00:20,110 --> 00:00:24,510\nWhy don't you tell Mr. AIlan?\nWell, what do you think of him?\n\n7\n00:00:31,120 --> 00:00:35,490\nHe's a pedantic, pontificating,\npretentious bastard.\n\n8\n00:00:35,550 --> 00:00:40,750\nA belligerent old fart.\nA worthless, steaming pile of cow dung.\n\n9\n00:00:40,830 --> 00:00:44,130\n[Sighs]\nFiguratively speaking.\n\n10\n00:00:56,840 --> 00:00:59,780\n[Laughs]\n\n11\n00:01:01,010 --> 00:01:03,070\n[AII Laughing]\n\n12\n00:01:04,920 --> 00:01:07,280\nThat's the funniest damn thing\nI've ever heard!\n\n13\n00:01:07,350 --> 00:01:10,220\nYou're a real card, Reede!\n\n14\n00:01:10,290 --> 00:01:12,650\nI Iove a good roast!\n\n15\n00:01:13,730 --> 00:01:16,160\nDo Simmons!\n\n16\n00:01:16,230 --> 00:01:18,360\n- Simmons is old!\n- [Everyone Laughs]\n\n17\n00:01:18,430 --> 00:01:23,130\nHe should have been out years\nago, but he can't stay home\n'cause he hates his wife!\n\n18\n00:01:24,940 --> 00:01:27,460\nYou've met her\nat the Christmas parties.\n\n19\n00:01:27,540 --> 00:01:30,870\nShe's the one that gets plastered\nand calls him a retard.\n\n20\n00:01:30,940 --> 00:01:35,140\nAnd you, Tom. You're the biggest\nbrownnose I've ever seen!\n\n21\n00:01:35,210 --> 00:01:40,050\nYou've got your head so far up\nMr. AIlan's ass, I can't tell\nwhere you end and he begins!\n\n22\n00:01:40,120 --> 00:01:42,310\nPriceless!\n\n23\n00:01:44,020 --> 00:01:47,290\nYou have bad breath\ncaused by gingivitis.\n\n24\n00:01:47,360 --> 00:01:51,960\nYou couldn't get a porn star\noff. Your hairpiece Iooks Iike\nsomething that was killed.\n\n25\n00:01:52,030 --> 00:01:56,800\nI don't know whether to comb it\nor scrape it off and bury it in Iime!\n\n26\n00:01:56,870 --> 00:02:01,310\nLoser! Idiot!\nWimp! Degenerate!\n\n27\n00:02:01,370 --> 00:02:04,240\nSlut!\n\n28\n00:02:05,940 --> 00:02:10,350\nI Iike your style, Reede!\nThat's what this stuffy company needs!\n\n29\n00:02:10,410 --> 00:02:14,820\n- A Iittle irreverence!\n- Good! I'II see you Iater, dick-head!\n\n30\n00:02:15,850 --> 00:02:18,450\nDick-head!\nPriceless!\n\n31\n00:02:18,520 --> 00:02:21,520\nWhoo, whoo, whoo, whoo!\n\n32\n00:02:21,590 --> 00:02:24,560\n[Laughing Continues]\n\n33\n00:02:35,270 --> 00:02:38,300\n[Moans]\nKeep your eye on that boy.\n\n34\n00:02:38,380 --> 00:02:40,940\nDick-head!\n\n35\n00:02:41,010 --> 00:02:45,570\n[Laughing Loudly]\n\n", "screenplay": "{\"screenplay_scene_51\": \"<scene>\\n    <stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>\\n    <scene_description>The room is filled with ATTORNEYS, including MR. ALLAN, the founder himself. Fletcher freezes.</scene_description>\\n    <character>MIRANDA</character>\\n    <dialogue>Pardon me for interrupting your, meeting. Mr. Allan, you remember Fletcher Reid.</dialogue>\\n    <character>€�</character>\\n    <dialogue>MR. ALLAN</dialogue>\\n    <scene_description>•It's good to see you again, Fletcher. '. An involuntary WHIMPER from Fletcher.</scene_description>\\n    <character>MIRANDA</character>\\n    <dialogue>Oh, that's right. You used to work together. .Tell me, what do you think of Mr. Allah?</dialogue>\\n    <scene_description>Fletcher gulps. This is it. His career is history. He's trying to hold it back, but--</scene_description>\\n    <character>MIRANDA</character>\\n    <dialogue>I said... What do you think of Mr. Allan?</dialogue>\\n    <character>FLETCHER .</character>\\n    <dialogue>He's a pedantic, pontificating, pretentious bastard, a belligerent old fart, a worthless, steaming pile of cow dung.</dialogue>\\n    <scene_description>DEAN SILENCE. Then --Mr. Allan bursts into raucous LAUGHTER. He is joined by everyone except Miranda, who looks on, STUNNED. Everyone pounds the table in hysterics.</scene_description>\\n    <character>MR. ALLAN</character>\\n    <dialogue>Marvelous! Marvelous! That's what I love most about this firm-- the collegial atmosphere, the hearty good- fellowship!</dialogue>\\n    <scene_description>Miranda is incensed.</scene_description>\\n    <character>MR. ALLAN</character>\\n    <dialogue>And thanks for those flowers for my anniversary. My wife loved them.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Well, I'm due in court... bye- bye.</dialogue>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "2794.21", "video_duration": "167.05"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "UMBOdTivgjBj", "audio_description_us": "1\n00:00:25,400 --> 00:00:26,070\nHe grins,\n\n2\n00:00:26,070 --> 00:00:26,990\nleaps over the bar\n\n3\n00:00:27,070 --> 00:00:28,450\nand scurries out of the courtroom.\n\n4\n00:00:31,820 --> 00:00:32,620\nDana leans over\n\n5\n00:00:32,620 --> 00:00:33,990\nand whispers to Mr. Cole.\n\n6\n00:00:37,870 --> 00:00:40,040\nIn a bathroom, Fletcher uses a urinal.\n\n7\n00:00:48,880 --> 00:00:50,680\nHe bangs his forehead against the wall.\n\n8\n00:00:54,810 --> 00:00:55,390\nHe turns\n\n9\n00:00:55,390 --> 00:00:57,220\nand addresses his reflection in a mirror.\n\n10\n00:00:58,930 --> 00:00:59,810\nHe zips his pants\n\n11\n00:00:59,810 --> 00:01:00,810\nand runs to the mirror.\n\n12\n00:01:00,980 --> 00:01:02,480\nHe punches himself in the face.\n\n13\n00:01:04,980 --> 00:01:06,730\nHe pumps liquid soap into his hands,\n\n14\n00:01:06,900 --> 00:01:08,360\nthen dabs it into his eyes.\n\n15\n00:01:11,820 --> 00:01:12,950\nA man enters the restroom\n\n16\n00:01:12,950 --> 00:01:14,410\nand jumps at the sight of Fletcher.\n\n17\n00:01:14,620 --> 00:01:15,990\nFletcher tears at his clothes,\n\n18\n00:01:16,240 --> 00:01:17,290\nthen wriggles around,\n\n19\n00:01:17,370 --> 00:01:18,290\npulling his hair.\n\n20\n00:01:19,750 --> 00:01:20,620\nFletcher kicks out\n\n21\n00:01:20,620 --> 00:01:22,330\nand slams his knee into a radiator.\n\n22\n00:01:22,460 --> 00:01:23,580\nThe man's jaw drops.\n\n23\n00:01:23,710 --> 00:01:24,960\nFletcher falls to the ground.\n\n24\n00:01:25,670 --> 00:01:27,710\nFletcher smacks the top off a garbage can\n\n25\n00:01:27,840 --> 00:01:29,130\nand turns it upside down,\n\n26\n00:01:29,300 --> 00:01:31,090\ndumping the trash all over himself.\n\n27\n00:01:31,680 --> 00:01:34,090\nWith a bloody nose, Fletcher\nrolls across the floor\n\n28\n00:01:34,090 --> 00:01:35,550\nand hits his head inside of a toilet.\n\n29\n00:01:35,760 --> 00:01:36,470\nHe lifts the lid\n\n30\n00:01:36,470 --> 00:01:37,760\nand places his head beneath it.\n\n31\n00:01:37,930 --> 00:01:40,270\nHe slams the lid into his head over and over.\n\n32\n00:01:41,100 --> 00:01:42,690\nHe squishes his head beneath the lid.\n\n33\n00:01:42,900 --> 00:01:44,770\nThe man continues watching, startled.\n\n34\n00:01:45,560 --> 00:01:46,610\nFletcher stumbles up\n\n35\n00:01:46,610 --> 00:01:47,900\nand stomps on his own foot.\n\n36\n00:01:48,110 --> 00:01:49,320\nHe staggers toward the man.\n\n37\n00:01:58,620 --> 00:02:00,540\nThe man staggers backward toward the door\n\n38\n00:02:00,540 --> 00:02:01,410\nand shakes his head.\n\n39\n00:02:01,500 --> 00:02:03,330\nFletcher slams himself into the wall,\n\n40\n00:02:03,420 --> 00:02:05,130\nas the man stumbles out of the room.\n\n41\n00:02:06,250 --> 00:02:08,300\nFletcher launches his whole body at the wall,\n\n42\n00:02:08,500 --> 00:02:10,590\nthen falls onto his back, unconscious.\n\n43\n00:02:12,380 --> 00:02:14,840\nIn the courtroom, Mrs. Cole powders her face.\n\n44\n00:02:14,930 --> 00:02:16,930\nJudge Stevens and Dana check their watches.\n\n45\n00:02:17,140 --> 00:02:18,220\nMr. Cole yawns.\n\n46\n00:02:18,470 --> 00:02:21,730\nA court officer enters, supporting\na bloodied and bedraggled Fletcher.\n\n", "audio_description_uk": "1\n00:00:26,240 --> 00:00:28,450\nFletcher leaps over a low-lying wooden gate\n\n2\n00:00:28,570 --> 00:00:32,240\nand dashes out of the courtroom to the\nbemused muttering of the assembled public.\n\n3\n00:00:33,580 --> 00:00:36,200\nIn the bathroom, he leans forward against a urinal\n\n4\n00:00:36,290 --> 00:00:38,210\nand stares up at the high ceiling.\n\n5\n00:00:45,960 --> 00:00:47,970\nBanging his head on the marbled wall.\n\n6\n00:01:00,020 --> 00:01:01,440\nFletcher zips up his fly,\n\n7\n00:01:01,440 --> 00:01:02,560\nhurries across to the mirror\n\n8\n00:01:02,560 --> 00:01:04,570\nand starts hitting himself around the face.\n\n9\n00:01:05,570 --> 00:01:08,740\nNext, he rubs liquid soap from\na dispenser into both his eyes.\n\n10\n00:01:12,870 --> 00:01:14,450\nA flabbergasted man watches\n\n11\n00:01:14,450 --> 00:01:16,660\nas Fletcher tears at the sleeves of his suit,\n\n12\n00:01:16,740 --> 00:01:17,830\nwrithes at his hair\n\n13\n00:01:17,830 --> 00:01:19,790\nand smacks his knee against a radiator.\n\n14\n00:01:25,710 --> 00:01:27,840\nNext, he knocks the swivel top off a bin\n\n15\n00:01:27,840 --> 00:01:30,720\nand empties all the used paper\nhand towels over his head.\n\n16\n00:01:31,130 --> 00:01:32,300\nHe rolls across the floor\n\n17\n00:01:32,300 --> 00:01:34,180\nand hits his head against a toilet bowl,\n\n18\n00:01:34,510 --> 00:01:39,270\nbefore slamming down the wooden toilet seat\nagain and again on the side of his rubbery face.\n\n19\n00:01:40,810 --> 00:01:45,400\nFinally, to the astonishment of the transfixed\nonlooker, he emerges from the cubicle\n\n20\n00:01:45,400 --> 00:01:47,150\nand stamps on his own foot.\n\n21\n00:01:59,330 --> 00:02:03,210\nAs the man makes a speedy exit,\nFletcher drags himself by the tie\n\n22\n00:02:03,210 --> 00:02:05,580\nand hurls himself repeatedly against the wall.\n\n23\n00:02:07,210 --> 00:02:11,300\nWith one final thwack, he\nfalls unconscious on the floor.\n\n24\n00:02:12,010 --> 00:02:14,970\nBack in the courtroom, Mrs.\nCole sits powdering her nose\n\n25\n00:02:14,970 --> 00:02:18,350\nwhile the judge and Counsel Appleton\nimpatiently look at their watches.\n\n26\n00:02:18,930 --> 00:02:22,100\nSuddenly, a security guard drags\nin a battered looking Fletcher.\n\n", "subtitles": "1\n00:00:03,590 --> 00:00:07,090\nYour Honor, would the court be willing\nto grant me a short bathroom break?\n\n2\n00:00:07,170 --> 00:00:10,010\n- Can't it wait?\n- Yes, it can.\n\n3\n00:00:10,090 --> 00:00:13,470\nBut I've heard that if you hold it,\nit can damage the prostate gland,\n\n4\n00:00:13,510 --> 00:00:16,100\nmaking it very difficult\nto get an erection!\n\n5\n00:00:16,180 --> 00:00:18,980\n- Is that true?\n- It has to be.\n\n6\n00:00:19,020 --> 00:00:21,980\nWell, in that case, I better\ntake a little break myself.\n\n7\n00:00:22,020 --> 00:00:25,360\nBut you get back here immediately\nso we can finish this.\n\n8\n00:00:42,040 --> 00:00:46,250\nHow am I going\nto get out of this?\n\n9\n00:00:47,540 --> 00:00:51,050\nThink. Think.\n\n10\n00:00:51,090 --> 00:00:55,050\nThink!\n\n11\n00:01:50,770 --> 00:01:53,190\nWhat the hell\nare you doing?\n\n12\n00:01:54,360 --> 00:01:58,230\nI'm kicking my ass!\nDo you mind?\n\n13\n00:02:23,010 --> 00:02:26,010\nI found him like this\nin the bathroom, Your Honor.\n\n14\n00:02:26,090 --> 00:02:28,050\nSomebody beat the hell out of him.\n\n15\n00:02:28,140 --> 00:02:31,060\n- Who did this?\n- A madman, Your Honor!\n\n", "sdh": "1\n00:00:03,610 --> 00:00:07,100\nYour Honor, would the court be willing\nto grant me a short bathroom break?\n\n2\n00:00:07,180 --> 00:00:10,050\n- Can't it wait?\n- Yes, it can.\n\n3\n00:00:10,120 --> 00:00:13,490\nBut I've heard that if you hold it,\nit can damage the prostate gland,\n\n4\n00:00:13,560 --> 00:00:16,120\nmaking it very difficult\nto get an erection!\n\n5\n00:00:16,190 --> 00:00:18,990\n- Is that true?\n- It has to be.\n\n6\n00:00:19,060 --> 00:00:22,000\nWell, in that case, I better\ntake a Iittle break myself.\n\n7\n00:00:22,060 --> 00:00:25,360\nBut you get back here immediately\nso we can finish this.\n\n8\n00:00:28,300 --> 00:00:31,470\n[Murmuring]\n\n9\n00:00:37,250 --> 00:00:40,150\n[Groaning]\n\n10\n00:00:42,080 --> 00:00:46,280\nHow am I going\nto get out of this?\n\n11\n00:00:47,590 --> 00:00:51,050\nThink. Think.\n\n12\n00:00:51,130 --> 00:00:55,060\nThink! Owie!\n\n13\n00:00:57,730 --> 00:00:59,860\nOwie!\n\n14\n00:01:03,040 --> 00:01:06,010\n[Grunting]\n\n15\n00:01:09,480 --> 00:01:14,350\n[Screaming]\n\n16\n00:01:16,990 --> 00:01:19,980\n[Yelling, Groaning]\n\n17\n00:01:22,220 --> 00:01:25,350\nOhh! Ohh! Ohh!\n\n18\n00:01:25,430 --> 00:01:28,830\n[Groaning Continues]\n\n19\n00:01:32,070 --> 00:01:34,430\n[Crash]\n\n20\n00:01:37,310 --> 00:01:41,240\n[Grunting]\n\n21\n00:01:41,310 --> 00:01:44,280\n[Groaning]\n\n22\n00:01:46,180 --> 00:01:50,710\n[Screaming, Crying]\n\n23\n00:01:50,790 --> 00:01:53,220\nWhat the hell\nare you doing?\n\n24\n00:01:54,390 --> 00:01:58,260\nI'm kicking my ass!\nDo you mind?\n\n25\n00:02:00,530 --> 00:02:03,050\n[Screams]\n\n26\n00:02:12,210 --> 00:02:14,440\n[Murmuring]\n\n27\n00:02:19,050 --> 00:02:22,980\n[Groaning, Gasping]\n\n28\n00:02:23,050 --> 00:02:26,040\n[Bailiff] I found him Iike this\nin the bathroom, Your Honor.\n\n29\n00:02:26,120 --> 00:02:28,090\nSomebody beat the hell out of him.\n\n30\n00:02:28,160 --> 00:02:31,090\n- Who did this?\n- A madman, Your Honor!\n\n", "screenplay": "{\"screenplay_scene_55\": \"<scene>\\n    <stage_direction>INT. REST ROOM - DAY</stage_direction>\\n    <scene_description>Fletcher stands before the urinal, taking the longest leak in legal history. Relief. Then, he looks at his watch. It's only 4:15. '</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>What did I think? That I could piss for forty-five minutes?!</dialogue>\\n    <scene_description>He HITS HIS FOREHEAD in frustration... and gets an idea. He HITS HIMSELF AGAIN and AGAIN, SMASHES HIS HEAD INTO THE WALL, POKES HIMSELF IN THE EYES, YANKS ON HIS EARS, finally KNOCKS HIMSELF IN THE STALL, where he continues his attack. A MAN enters, hears a commotion from behind the stall door.</scene_description>\\n    <character>MAN</character>\\n    <dialogue>What's going on in-there?</dialogue>\\n    <character>FLETCHER (O .S .)</character>\\n    <dialogue>I 'm abusing myself! Do you mind?!</dialogue>\\n    <scene_description>The man looks disgusted. He carefully leaves the room.</scene_description>\\n  </scene>\", \"screenplay_scene_56\": \"<scene>\\n    <stage_direction>INT. COURTROOM - DAY</stage_direction>\\n    <scene_description>The judge is PISSED. Suddenly the bailiff helps in the severly beaten Fletcher. The entire courtroom is SHOCKED.</scene_description>\\n    <character>BAILIFF</character>\\n    <dialogue>I found him like this in the bathroom. Somebody beat the hell out of him.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Who did this?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(truthfully)</parenthetical>\\n    <dialogue>A madman, Your Honor.. A desperate fool at the end of his pitiful.rope.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>-What did he look like?</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(describing himself)</parenthetical>\\n    <dialogue>About five eleven, hundred eighty-five pounds, crazed look in his eye.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Bailiff, have the deputies search the building.</dialogue>\\n    <scene_description>A HUBBUB rises. He bangs the gavel.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Under the circumstances, I have no choice but to recess this case until tomorrow morning at nine.</dialogue>\\n    <scene_description>Fletcher smiles serenly -- until --</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>-- Unless, of course, you think you can still proceed?</dialogue>\\n    <scene_description>Fletcher covers his mouth in a desperate attempt to avoid answering, but he can't repress the truth.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Can you?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Yes, I can.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Splendid. I admire your courage, Mr. Reid. I'll give you a few minutes to compose yourself, and then we'll get started.</dialogue>\\n    <scene_description>Fletcher looks as if he has just been sentenced to death.</scene_description>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "3152.70", "video_duration": "154.16"}
{"rottentomatoes_id": "liar_liar", "imdb_id": "tt0119528", "video_id": "SjxEVU6agBbA", "audio_description_us": "1\n00:00:05,670 --> 00:00:06,670\nFletcher nods.\n\n2\n00:00:11,680 --> 00:00:12,760\nMrs. Cole rises\n\n3\n00:00:12,760 --> 00:00:14,600\nand sashays toward the witness stand,\n\n4\n00:00:14,720 --> 00:00:16,730\ncasting Fletcher a defiant glance.\n\n5\n00:00:19,060 --> 00:00:21,560\nFletcher focuses on the sheet\nof paper in front of him\n\n6\n00:00:21,610 --> 00:00:22,400\nand rises.\n\n7\n00:00:33,160 --> 00:00:34,490\nShe examines the paper.\n\n8\n00:02:23,390 --> 00:02:25,270\nFletcher makes a gloating gesture at Dana.\n\n9\n00:02:25,400 --> 00:02:27,060\nShe snaps her pencil in frustration.\n\n10\n00:02:27,270 --> 00:02:28,980\nFletcher grins goofily as he sits.\n\n11\n00:02:29,230 --> 00:02:31,400\nMr. Allan punches the air in celebration.\n\n12\n00:02:53,130 --> 00:02:54,630\nMrs. Cole leans over Fletcher\n\n13\n00:02:54,720 --> 00:02:56,090\nand kisses him passionately.\n\n14\n00:02:56,220 --> 00:02:57,050\nHe flails.\n\n", "audio_description_uk": "1\n00:00:13,390 --> 00:00:16,430\nMrs Cole swings her generous mini-skirted hips\n\n2\n00:00:16,560 --> 00:00:18,560\nas she slinks her way to the stand.\n\n3\n00:00:18,890 --> 00:00:22,860\nMr Cole and Appleton brace\nthemselves for whatever comes next.\n\n4\n00:00:23,320 --> 00:00:25,360\nFletcher waves a piece of paper in the air.\n\n5\n00:02:24,850 --> 00:02:26,860\nAppleton snaps her pencil in anger\n\n6\n00:02:26,900 --> 00:02:29,530\nas Fletcher smugly soaks up the applause.\n\n", "subtitles": "1\n00:00:00,060 --> 00:00:02,650\nMr. Reede, it is out of\nsheer morbid curiosity...\n\n2\n00:00:02,730 --> 00:00:05,440\nI'm allowing this...\nfreak show to continue.\n\n3\n00:00:08,570 --> 00:00:11,820\nMrs. Cole...\nif you dare.\n\n4\n00:00:27,170 --> 00:00:29,880\nMrs. Cole...\n\n5\n00:00:29,920 --> 00:00:33,430\nis this a copy\nof your driver's license?\n\n6\n00:00:35,180 --> 00:00:38,430\nYes. - It says here\nyou're a blonde. Are you?\n\n7\n00:00:38,470 --> 00:00:41,390\nIf you don't remember,\nperhaps Mr. Falk will.\n\n8\n00:00:41,430 --> 00:00:44,140\nBrunette. - We can play the tape\nagain. Maybe it's on there.\n\n9\n00:00:44,230 --> 00:00:46,270\nI'm a brunette!\n\n10\n00:00:46,310 --> 00:00:49,610\nThank you.\nNow let's see.\n\n11\n00:00:49,690 --> 00:00:52,740\nWeight: 105.\nYeah! In your bra.\n\n12\n00:00:52,780 --> 00:00:54,740\n- Your Honor, I object!\n- You would!\n\n13\n00:00:54,780 --> 00:00:56,740\n- Bastard!\n- Hag!\n\n14\n00:00:56,780 --> 00:00:59,740\nQuiet! Overruled! Weight?\n\n15\n00:01:01,410 --> 00:01:03,580\nOne-eighteen.\n\n16\n00:01:03,620 --> 00:01:06,620\nAll right, fine, fine.\nI'm 127.\n\n17\n00:01:06,660 --> 00:01:09,790\nUh-huh. And it says here\nyou were born in 1964,\n\n18\n00:01:09,830 --> 00:01:12,170\nbut that's not true\neither, is it?\n\n19\n00:01:12,250 --> 00:01:14,170\n- Is it!\n- No.\n\n20\n00:01:14,250 --> 00:01:18,130\nWill you tell me what it says here on your\nbirth certificate under \"date of birth\"?\n\n21\n00:01:18,180 --> 00:01:20,760\nYour Honor, what does this\nhave to do with anything?\n\n22\n00:01:20,800 --> 00:01:23,760\nOverruled. Mrs. Cole,\nanswer the question.\n\n23\n00:01:23,810 --> 00:01:27,100\n1965.\n\n24\n00:01:27,140 --> 00:01:30,640\nNow let me get this straight.\n\n25\n00:01:30,690 --> 00:01:35,440\nThat would mean that you lied\nabout your age to make yourself older.\n\n26\n00:01:35,480 --> 00:01:39,860\nBut why would any woman\nwant to do that?\n\n27\n00:01:39,950 --> 00:01:42,490\nI changed it\nso I could get married.\n\n28\n00:01:42,530 --> 00:01:47,120\nAnd the truth\nshall set you free!\n\n29\n00:01:47,160 --> 00:01:49,910\nMy client lied about her age!\n\n30\n00:01:50,000 --> 00:01:53,370\nShe was only 17 when she got married,\nwhich makes her a minor,\n\n31\n00:01:53,460 --> 00:01:55,830\nand in the great\nstate of California,\n\n32\n00:01:55,920 --> 00:01:58,210\nno minor can enter\ninto any legal contract...\n\n33\n00:01:58,300 --> 00:02:00,510\nwithout parental consent,\nincluding-\n\n34\n00:02:00,550 --> 00:02:02,510\nPrenuptial agreements.\n\n35\n00:02:02,550 --> 00:02:05,550\nPrenuptial agreements!\nThis contract is void!\n\n36\n00:02:05,640 --> 00:02:09,350\nThe fact that my client has been ridden\nmore than Seattle Slew is irrelevant.\n\n37\n00:02:09,390 --> 00:02:13,480\nStandard Community Property applies, and she\nis entitled to half of the marital assets,\n\n38\n00:02:13,520 --> 00:02:16,060\nor $11.395 million!\n\n39\n00:02:16,140 --> 00:02:20,440\nJordan fades back. Swoosh!\nAnd that's the game!\n\n40\n00:02:20,520 --> 00:02:23,650\nNothing further, Your Honor.\n\n41\n00:02:31,490 --> 00:02:34,750\nOrder. Order. Order!\n\n42\n00:02:37,160 --> 00:02:39,210\nIn light of this new evidence,\n\n43\n00:02:39,290 --> 00:02:41,840\nthe court must rule\nin favor of Mrs. Cole.\n\n44\n00:02:41,880 --> 00:02:45,960\nYes! - She is hereby awarded\nhalf the marital assets.\n\n45\n00:02:46,050 --> 00:02:50,010\nThe son of a bitch pulled it off!\n\n46\n00:02:50,050 --> 00:02:54,430\nI didn't know! - It doesn't\nmatter. The contract's void.\n\n", "sdh": "1\n00:00:00,060 --> 00:00:02,650\nMr. Reede, it is out of\nsheer morbid curiosity...\n\n2\n00:00:02,730 --> 00:00:05,460\nI'm allowing this...\nfreak show to continue.\n\n3\n00:00:08,570 --> 00:00:11,830\nMrs. Cole...\nif you dare.\n\n4\n00:00:27,190 --> 00:00:29,880\nMrs. Cole...\n\n5\n00:00:29,960 --> 00:00:33,450\nis this a copy\nof your driver's Iicense?\n\n6\n00:00:35,190 --> 00:00:38,430\n- Yes.\n- It says here you're\na blonde. Are you?\n\n7\n00:00:38,500 --> 00:00:41,400\n- [Scoffs]\n- If you don't remember,\nperhaps Mr. Falk will.\n\n8\n00:00:41,470 --> 00:00:44,160\n- Brunette.\n- We can play the tape again.\nMaybe it's on there.\n\n9\n00:00:44,240 --> 00:00:46,260\nI'm a brunette!\n\n10\n00:00:46,340 --> 00:00:49,640\nThank you.\nNow Iet's see.\n\n11\n00:00:49,710 --> 00:00:52,740\n\"Weight: 105.\"\nYeah! In your bra.\n\n12\n00:00:52,810 --> 00:00:54,750\n- Your Honor, I object!\n- You would!\n\n13\n00:00:54,810 --> 00:00:56,750\n- Bastard!\n- Hag!\n\n14\n00:00:56,820 --> 00:00:59,750\nQuiet! Overruled! Weight?\n\n15\n00:01:01,420 --> 00:01:03,580\nOne-eighteen.\n\n16\n00:01:03,660 --> 00:01:06,630\nAII right, fine, fine.\nI'm 127.\n\n17\n00:01:06,690 --> 00:01:09,790\nUh-huh. And it says here\nyou were born in 1964,\n\n18\n00:01:09,860 --> 00:01:12,190\nbut that's not true\neither, is it?\n\n19\n00:01:12,270 --> 00:01:14,200\n- Is it!\n- No.\n\n20\n00:01:14,270 --> 00:01:18,140\nWill you tell me what it says\nhere on your birth certificate\nunder \"date of birth\"?\n\n21\n00:01:18,200 --> 00:01:20,760\nYour Honor, what does this\nhave to do with anything?\n\n22\n00:01:20,840 --> 00:01:23,780\nOverruled. Mrs. Cole,\nanswer the question.\n\n23\n00:01:23,840 --> 00:01:27,110\n[Blows Air]\n\"1965.\"\n\n24\n00:01:27,180 --> 00:01:30,640\nNow Iet me get this straight.\n\n25\n00:01:30,720 --> 00:01:35,450\nThat would mean that you Iied\nabout your age to make yourself older.\n\n26\n00:01:35,520 --> 00:01:39,890\nBut why would any woman\nwant to do that?\n\n27\n00:01:39,960 --> 00:01:42,480\nI changed it\nso I could get married.\n\n28\n00:01:42,560 --> 00:01:47,120\nAnd the truth\nshall set you free!\n\n29\n00:01:47,200 --> 00:01:49,930\nMy client Iied about her age!\n\n30\n00:01:50,000 --> 00:01:53,400\nShe was only 17 when she got married,\nwhich makes her a minor,\n\n31\n00:01:53,470 --> 00:01:55,870\nand in the great\nstate of California,\n\n32\n00:01:55,940 --> 00:01:58,240\nno minor can enter\ninto any Iegal contract...\n\n33\n00:01:58,310 --> 00:02:00,510\nwithout parental consent,\nincluding...\n\n34\n00:02:00,580 --> 00:02:02,510\nPrenuptial agreements.\n\n35\n00:02:02,580 --> 00:02:05,570\nPrenuptial agreements!\nThis contract is void!\n\n36\n00:02:05,650 --> 00:02:09,360\nThe fact that my client has been ridden\nmore than Seattle Slew is irrelevant.\n\n37\n00:02:09,500 --> 00:02:13,430\nStandard Community Property\napplies, and she is entitled\nto half of the marital assets,\n\n38\n00:02:13,500 --> 00:02:16,020\nor $11.395 million!\n\n39\n00:02:16,100 --> 00:02:20,400\nJordan fades back. Swoosh!\nAnd that's the game!\n\n40\n00:02:20,470 --> 00:02:23,600\nNothing further, Your Honor.\n\n41\n00:02:23,680 --> 00:02:26,650\n[Applause]\n\n42\n00:02:28,920 --> 00:02:31,380\n[Judge Pounding Gavel]\n\n43\n00:02:31,450 --> 00:02:34,720\nOrder. Order. Order!\n\n44\n00:02:37,120 --> 00:02:39,180\nIn Iight of this new evidence,\n\n45\n00:02:39,260 --> 00:02:41,780\nthe court must rule\nin favor of Mrs. Cole.\n\n46\n00:02:41,860 --> 00:02:45,920\n- Yes!\n- She is hereby awarded\nhalf the marital assets.\n\n47\n00:02:46,000 --> 00:02:49,960\n- [Screams]\n- The son of a bitch pulled it off!\n\n48\n00:02:50,040 --> 00:02:54,410\n- I didn't know!\n- [Dana] It doesn't matter.\nThe contract's void.\n\n", "screenplay": "{\"screenplay_scene_57\": \"<scene>\\n    <stage_direction>EXT. COURTHOUSE STEPS - DAY</stage_direction>\\n    <scene_description>Fletcher sits on the courthouse steps, miserable. PHONE RINGS.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Hello.</dialogue>\\n    <scene_description>INTERCUT WITH MAX AT HOME. AUDREY IS THERE.</scene_description>\\n    <character>MAX</character>\\n    <dialogue>Dad...</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(summoning up enthusiasm)</parenthetical>\\n    <dialogue>Maxi-pad. How's it going?</dialogue>\\n    <character>MAX</character>\\n    <dialogue>Great. You know Paul and Emanuel from across the street?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>The twins.</dialogue>\\n    <character>MAX .</character>\\n    <parenthetical>(excitedly)</parenthetical>\\n    <dialogue>Well, they never want to play baseball with me, but I told them I was gonna play tonight with my Dad, so now they want to play with us. Is it okay?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Sure.</dialogue>\\n    <character>MAX</character>\\n    <dialogue>Oh boy. We're setting up a whole field in the yard. Where we buried Petey the hamster is second base.</dialogue>\\n    <parenthetical>(Fletcher sighs)</parenthetical>\\n    <dialogue>You're still coming right?'</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(sees Virginia approaching)</parenthetical>\\n    <dialogue>I'11 be there. I gotta go now, Max. I'll see you in two hours.</dialogue>\\n    <scene_description>Max hangs up.</scene_description>\\n    <character>MAX</character>\\n    <parenthetical>(to Audrey)</parenthetical>\\n    <dialogue>He's really coming.</dialogue>\\n    <scene_description>She smiles, but she's worried. . COURTHOUSE STEPS</scene_description>\\n    <character>€�</character>\\n    <dialogue>Virginia approaches with her handsome lover, LAURENCE FALK.</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>Mr. Reid, you remember Laurence Falk, the man from the tape.</dialogue>\\n    <character>FALK</character>\\n    <dialogue>How are you?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I've slipped into the seventh circle of Hell, thank you, and you?</dialogue>\\n    <scene_description>Virginia exchanges an anxious look with Falk.</scene_description>\\n    <character>VIRGINIA</character>\\n    <dialogue>Shouldn't we go over our testimony?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Well, basically the plan is I walk you through the tape step by step, I ask you questions--</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>And we give the explanation you came up with.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Exactly.</dialogue>\\n    <character>FALK</character>\\n    <dialogue>So all we have to do is lie. Sounds simple enough.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Doesn't it? And I'll finish up with a dramatic series of questions, something like... \\\"Mr. Falk, isn't it true that you and Mrs. Cole have never made lo--\\\"</dialogue>\\n    <scene_description>But Fletcher GAGS. He CAN'T GET THE QUESTION OUT. The others look concerned, but he waves them off.</scene_description>\\n    <character>FLETHCER</character>\\n    <dialogue>Sorry. I'm fine. \\\"Mr. Falk, isn't it true that you and Mrs. Cole have never made lo-- IO-.H</dialogue>\\n    <scene_description>To his horror, he GAGS AGAIN, .unable to form the word.</scene_description>\\n    <character>FLETCHER</character>\\n    <parenthetical>(to himself)</parenthetical>\\n    <dialogue>Oh my God! I can't do it! I can't finish the question if I know the answer is a lie!</dialogue>\\n    <scene_description>At this moment Miranda and Mr. Allan come up the steps.</scene_description>\\n    <character>MR. ALLAN</character>\\n    <dialogue>Don't let me interrupt, Fletcher. I just want you to know I'll be observing this afternoon. Miranda insisted I see you in action.</dialogue>\\n    <scene_description>Fletcher shoots a hateful look at Miranda. She smiles.</scene_description>\\n    <character>MR. ALLAN</character>\\n    <dialogue>I'm looking forward to it. Go get 'em!</dialogue>\\n    <scene_description>Mr. Allan and Miranda head into the building, leaving Fletcher more desperate than before.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>C'mon! Gotta rephrase the question!</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Respondent calls... Lawrence Falk.</dialogue>\\n    <scene_description>Fletcher's clears his throat. Here goes...</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Mr. Falk, do you know my client, Virginia Cole?</dialogue>\\n    <character>FALK</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Isn't it true that your relationship with my client is entirely platonic, not?</dialogue>\\n    <scene_description>The \\\"not\\\" was INVOLUNTARY. It takes everyone by surprise.</scene_description>\\n    <character>FALK</character>\\n    <dialogue>Excuse me?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>If I might rephrase your Honor.</dialogue>\\n    <parenthetical>(trying again)</parenthetical>\\n    <dialogue>Is your relationship with my</dialogue>\\n    <scene_description>x\\\\ client entirely patonic, not? Is your relationship with my client not entirely platonic? Is not your relationship with my client entirely platonic? (thinks he's got it, beams with confidence) Mr. Falk, is not your relationship with my client entirely platonic?</scene_description>\\n    <character>FALK</character>\\n    <parenthetical>(confused)</parenthetical>\\n    <dialogue>No. I mean, yes. I think.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Yes, is your relationship with my client not entirely platonic, or yes, is not your relationship with my client entirely platonic?</dialogue>\\n    <character>FALK</character>\\n    <dialogue>What?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>How 'bout just answering the question you think I'm asking? '</dialogue>\\n    <character>DANA</character>\\n    <dialogue>Your Honor, he's badgering the wintness!</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>It's hig witness!</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Did you ever not make lo-- Did you not ever make lo--</dialogue>\\n    <parenthetical>(losing it)</parenthetical>\\n    <character>YOU HAD SEX WITH HER EVERYTIME</character>\\n    <dialogue>YOU MET, DIDN'T YOU? DIDN'T</dialogue>\\n    <character>YOU?!!</character>\\n    <dialogue>Falk looks shaken as Fletcher barrels on, unable to stop</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(screaming at him)</parenthetical>\\n    <character>ADMIT IT! YOU .SLAMMED HER!!</character>\\n    <dialogue>YOU STOKED THE FUR FIRE! YOU</dialogue>\\n    <character>-DID THE YAM DANCE! !</character>\\n    <dialogue>FALK</dialogue>\\n    <parenthetical>(breaking down)</parenthetical>\\n    <character>YES, YES,-- IT'S TRUE! I</character>\\n    <dialogue>HUMPED HER. BRAINS OUT! !</dialogue>\\n    <scene_description>A GASP from the audience. All eyes are on Fletcher.</scene_description>\\n    <character>FLETCHER</character>\\n    <parenthetical>(weakly)</parenthetical>\\n    <dialogue>No further questions.</dialogue>\\n    <character>DANA</character>\\n    <dialogue>Uh...no questions.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <parenthetical>(to Fletcher)</parenthetical>\\n    <dialogue>Call your next witness.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I have no further witnesses, your Honor.</dialogue>\\n    <scene_description>A MURMUR erupts from the crowd.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>You have no further witnesses?!</dialogue>\\n    <scene_description>Fletcher meekly shakes his head, no.</scene_description>\\n    <character>VIRGINIA</character>\\n    <parenthetical>(whispers, to Fletcher)</parenthetical>\\n    <dialogue>What are you doing? Call me.</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(to Virginia)</parenthetical>\\n    <dialogue>I can't.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Mr. Reid?</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>Call me, damn it!</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>You don't understand. I can't lie. Until nine-sixteen tonight, I can't even.ask a question that calls for a lie!</dialogue>\\n    <scene_description>Virginia GRABS HIM BY THE TIE, pulls him CLOSE to her face.</scene_description>\\n    <character>VIRGINIA</character>\\n    <dialogue>Listen, you bastard. I want my money. I am not gonna wind up a 31 year old divorce on welfare because my scum bag attorney had a sudden attack of conscience!</dialogue>\\n    <scene_description>Fletcher suddenly stops -- focused on something Virginia said.</scene_description>\\n    <character>FLETCHER</character>\\n    <parenthetical>(to himself)</parenthetical>\\n    <dialogue>Thirty-one?</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Mr. Reid, we're not getting any younger...</dialogue>\\n    <scene_description>Fletcher quickly looks at the blowup of Virginia's prenup and her passport.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <parenthetical>(he's had it)</parenthetical>\\n    <dialogue>Mr. Reid you have presented virtually nothing in the way of evidence and as such I have no choice but to rule in favor of --</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>WAIT!</dialogue>\\n    <scene_description>Silence.</scene_description>\\n    <character>FLETCHER €� .</character>\\n    <parenthetical>(dramatically)</parenthetical>\\n    <dialogue>Your Honor, I call Virginia Cole to the stand.</dialogue>\\n    <scene_description>Stunned, Virginia nervously makes her way up,</scene_description>\\n    <character>MR. ALLAN</character>\\n    <parenthetical>(in the gallery)</parenthetical>\\n    <dialogue>What the hell is he doing?</dialogue>\\n    <character>MIRANDA</character>\\n    <dialogue>Kissing his career goodbye.</dialogue>\\n    <scene_description>The Baliff stands before the witness.</scene_description>\\n    <character>BALIFP</character>\\n    <dialogue>Do you swear to tell the</dialogue>\\n    <scene_description>truth, the whole truth and nothing but the truth, so help -you God?</scene_description>\\n    <character>VIRGINIA</character>\\n    <dialogue>I do.</dialogue>\\n    <scene_description>Fletcher approaches,. CONFIDENT NOW, COCKY.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Mrs. Cole -- may I call you Virginia?</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>Yes.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>But that would be a lie, wouldn't it?</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>What do you mean?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Isn't your true name...</dialogue>\\n    <parenthetical>(brandishing passport)</parenthetical>\\n    <dialogue>Carlotta?!</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>Well, yes. But it wasn't me so I started using Virginia. Is there anything wrong with that?</dialogue>\\n    <character>FLETCHER €� .</character>\\n    <dialogue>Not really. It's just the first and smallest in the tissue of lies that is the Kleenex of your life. Let's take one simple document as a sample of your veracity, shall we, Carlotta?</dialogue>\\n    <scene_description>He grabs her purse from the desk, rifles through it,</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>Your driver's license. What color are your eyes?</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>Blue.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>True blue? What if I asked you to remove your contact lenses? What color would they be then?</dialogue>\\n    <character>VIRGINIA</character>\\n    <parenthetical>(reluctantly)</parenthetical>\\n    <dialogue>Brown.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>And here it says you're a blonde. Are you?</dialogue>\\n    <parenthetical>(off her silence)</parenthetical>\\n    <dialogue>C'mon, Carlotta, there's a very easy way for us to check. If you don't remember, perhaps Mr. Falk will.</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>Brunette.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>More like a dirty brown, isn't it?</dialogue>\\n    <parenthetical>(she nods)</parenthetical>\\n    <dialogue>Let's see - . - \\\" Weight: one-o- five\\\"? Please...</dialogue>\\n    <character>VIRGINIA .</character>\\n    <dialogue>One-eighteen.</dialogue>\\n    <parenthetical>(off his look)</parenthetical>\\n    <dialogue>One-twenty-six. I swear!</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>So on this single document, you basically lied at every opportunity. I'm sure a woman as vain as you would also lie about her age. It says you were born in 1964. What's the truth? 1962? '60? How young did you try to make yourself?</dialogue>\\n    <character>VIRGINIA</character>\\n    <parenthetical>(joyfully)</parenthetical>\\n    <dialogue>Wrong! I didn't lie to make myself younger. I made myself older. I was born in 1965!\\\"</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(feigning surprise)</parenthetical>\\n    <dialogue>What? You're trying to tell us you lied to make yourself older?</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>Yes! \\\"\\\\* lied so I could get married! So .there Mister 'I got-all-the-answers-because-I- went-to-law-school'!</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Mr. Reid, does this have a point?</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Oh, you bet it does, your Honor!</dialogue>\\n    <parenthetical>(on a roll)</parenthetical>\\n    <dialogue>My client lied about her age because she was only 17 when she got married. Which makes her a minor. And in the great state of California, NO MINOR CAN ENTER INTO A LEGAL CONTRACT WITHOUT PARENTAL CONSENT INCLUDING--</dialogue>\\n    <character>DANA</character>\\n    <parenthetical>(defeated, to herself)</parenthetical>\\n    <dialogue>Prenuptual agreements.</dialogue>\\n    <parenthetical>(knows he has them)</parenthetical>\\n    <character>PRENUPTUAL AGREEMENTS! THANK</character>\\n    <dialogue>YOU VERY LITTLE! This contract is void!!! The fact that my client gets nailed • more often than a two-by-four is irrelevant. Standard community property applies and this woman is entitled to half of the marital assets or thirty-seven point three-nine- five million dollars!!</dialogue>\\n    <parenthetical>(to Dana)</parenthetical>\\n    <dialogue>You. . . . are . . . . TOASTTTTT! ! !</dialogue>\\n    <parenthetical>(dramatically)</parenthetical>\\n    <dialogue>Nothing further, your Honor!</dialogue>\\n    <scene_description>A MURMUR OVERTAKES THE ROOM!</scene_description>\\n    <character>/</character>\\n    <dialogue>JUDGE STEVENS</dialogue>\\n    <parenthetical>(banging his gavel)</parenthetical>\\n    <dialogue>Quiet! Let me see-the license and birth certificate.</dialogue>\\n    <scene_description>All is quiet while the Judge reviews the documents. Then:</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>In light of this new evidence, the court must rule in favor of the defense. Mrs. Cole is hereby awarded half of the marital assets -or thirtyrseven million three hundred and ninety-five thousand dollars.</dialogue>\\n    <scene_description>The courtroom ERUPTS. FLETCHER'S WON! Dana, Mr. Cole are devastated. '</scene_description>\\n    <character>MR. ALLAN</character>\\n    <dialogue>That son of bitch pulled it off!</dialogue>\\n    <scene_description>Mr. Allan gives Fletcher a thumbs-up; simultaneously, Miranda gives him the finger.</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Order! Order!! Now i understand both parties have agreed to joint custody. Is that correct?</dialogue>\\n    <character>FLETCHER AND DANA</character>\\n    <dialogue>Yes--</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>No! I'm contesting custody.</dialogue>\\n    <scene_description>Fletcher freezes.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>What?</dialogue>\\n    <character>VIRGINIA</character>\\n    <parenthetical>(re: her husband)</parenthetical>\\n    <dialogue>Payback. For him trying to prevent me from collecting my thirty-seven million.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>He was entitled to prevent you. You committed adultery.' You only won because you're a liar, remember? .</dialogue>\\n    <character>VIRGINIA</character>\\n    <dialogue>No. You pointed out that my husband took advantage of a poor underage girl. I was the victim here. And now I'm going to hit him where it hurts.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>But -- but -- you said he was a good father.</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Mr. Reid? Do we have an agreement on custody or not?</dialogue>\\n    <scene_description>Fletcher takes a distressed look at the children.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>No. .</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>In that case, there will be a custody hearing tomorrow morning at nine. Court is adj ourned!</dialogue>\\n    <scene_description>He BANGS THE GAVEL. Everyone gets up, but Fletcher's attention is drawn to a commotion between Virginia and her kids.</scene_description>\\n    <character>VIRGINIA</character>\\n    <dialogue>Stop that! We're leaving now!</dialogue>\\n    <character>CHILD</character>\\n    <dialogue>I want to go with Daddy.</dialogue>\\n    <scene_description>V ,. ,-</scene_description>\\n    <character>-'</character>\\n    <dialogue>Fletcher watches, horrified, as she drags the kids away from their tearful father.</dialogue>\\n    <character>MR. COLE</character>\\n    <dialogue>Don't worry. I'll see you no matter what. I promise.</dialogue>\\n    <scene_description>Mr. Allan has made his way up to Fletcher.</scene_description>\\n    <character>MR. ALLAN</character>\\n    <parenthetical>(re: the commotion)</parenthetical>\\n    <dialogue>I love kids. They give you so much leverage in a case like this.</dialogue>\\n    <parenthetical>(pats Fletcher on back)</parenthetical>\\n    <dialogue>Congratulations, partner. how does it feel?</dialogue>\\n    <scene_description>And with that question asked, as he watches poor Mr. Cole and his kids, the truth dawns on Fletcher like a sledgehammer!</scene_description>\\n    <character>FLETCHER '</character>\\n    <dialogue>Excuse me. Just a second.</dialogue>\\n    <parenthetical>(to the Judge)</parenthetical>\\n    <dialogue>Your Honor? Your Honor? Wait!</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>We',re adjourned, Mr. Reid.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>Screw that!! She lies and she wins?! What are we, nuts?</dialogue>\\n    <scene_description>Everyone stops, watches Fletcher.</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>This woman --my client -- goes down with the frequency of a nuclear submarine and we just gave her thirty seven million dollars because she's a liar! And now as an extra added little bonus, we're going to let her steal, the kids, too?</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Mr. Reid, you are out of order!</dialogue>\\n    <character>FLETCHER</character>\\n    <parenthetical>(screaming)</parenthetical>\\n    <character>€� SO'S THE HAND DRYER IN THE</character>\\n    <dialogue>MEN'S ROOM!! Do you ever stop to ask yourself, why do people hate us? Could it be because what we did here today sucks?! We don't care about the truth! We don't want to find the truth! We want to win! We want to win at all costs...and you know what the worst thing about wanting to win so badly is? WINNING! Winning and finding out you're left with nothing!</dialogue>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>That's enough, Mr. Reid --</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>-Let' s see what I' ve done today. I've helped a gold digging slut get richer. I'm taking this guy's kids away.</dialogue>\\n    <parenthetical>(to Mr. Allan)</parenthetical>\\n    <dialogue>I don't like you in the least, now I'm one of your partners! YOU WANNA KNOW WHAT IT FEELS LIKE MR. ALLAN? IT FEELS LIKE SHIT! BUT TO TELL YOU IT FEELS LIKE SHIT, FEELS FUCKING GREAT 1 I</dialogue>\\n    <scene_description>Fletcher does feel strangely fantastic. Free,</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>That's it, Mr..Reid. I find you in contempt!</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>GOOD! I'M CONTEMPTIBLE! MY</dialogue>\\n    <character>WHOLE GODDAMN LIFE IS JUST ONE</character>\\n    <dialogue>BIG FAT FIB! YOU LIKE MY</dialogue>\\n    <character>HAIR? --</character>\\n    <parenthetical>(mussing hair)</parenthetical>\\n    <character>MOUSSED! SHOULDERS --</character>\\n    <parenthetical>(ripping out pads)</parenthetical>\\n    <character>PADDED! SHOES --</character>\\n    <dialogue>off)</dialogue>\\n    <character>LIFTED! TEETH --</character>\\n    <parenthetical>(pulling out caps)</parenthetical>\\n    <character>CAP PED! FIV E-NIN ETY A</character>\\n    <dialogue>CHICKLET!!</dialogue>\\n    <scene_description>COMMOTION in the court. The judge BANGS HIS GAVEL!!!</scene_description>\\n    <character>JUDGE STEVENS</character>\\n    <dialogue>Bailiff! Remove Mr. Reid from the courtroom!</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>You wanna know the truth? Oh yeah, let's let it rain... The truth is is that I've traded my life...a beautiful wife, an incredible son for THIS PISS POT OF BIG DOUBLE O'S!</dialogue>\\n    <scene_description>The bailiff grabs Fletcher, forces him out...</scene_description>\\n    <character>FLETCHER</character>\\n    <dialogue>GO AHEAD, YOUR HONOR, BANG</dialogue>\\n    <character>YOUR GAVEL .-- KEEP TELLING</character>\\n    <dialogue>YOURSELF YOU'RE A BIG SHOT! DO</dialogue>\\n    <character>I SENSE A CASE OF GAVEL ENVY!!</character>\\n    <dialogue>WHAT'S THAT UNDER YOUR ROBE --</dialogue>\\n    <character>INSUFFICIENT EVIDENCE?!!</character>\\n    <parenthetical>(the judge is turning beet red)</parenthetical>\\n    <character>. I TOUCHED A NERVE DIDN'T I?</character>\\n    <dialogue>WE'RE ALL A BUNCH OF BULLSHIT</dialogue>\\n    <character>ARTISTS!! IS THAT THE TRUTH</character>\\n    <dialogue>IN YOUR PANTS OR ARE YOU JUST</dialogue>\\n    <character>HAPPY TO SEE ME??</character>\\n    <dialogue>Fletcher is pushed passed Mr. Allan.</dialogue>\\n    <character>MR. ALLAN</character>\\n    <dialogue>You just killed your career. I hope you're happy.</dialogue>\\n    <character>FLETCHER</character>\\n    <dialogue>I'M BEYOND HAPPY MY BUTT FACED</dialogue>\\n  </scene>\"}", "movie_duration": "5191.33", "video_start": "3746.69", "video_duration": "178.31"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "D8h_90GtfzRW", "audio_description_us": "1\n00:00:00,580 --> 00:00:02,290\nKate grabs packages of diapers.\n\n2\n00:00:02,290 --> 00:00:03,380\nGordon embraces her.\n\n3\n00:00:09,800 --> 00:00:10,550\nHe gropes her.\n\n4\n00:00:20,810 --> 00:00:23,270\nIn the parking lot, a crack\nappears in the asphalt.\n\n5\n00:00:23,570 --> 00:00:26,740\nAs it elongates, smaller cracks\nbranch out from either side.\n\n6\n00:00:26,940 --> 00:00:29,030\nThe crevice stretches underneath a car.\n\n7\n00:00:31,660 --> 00:00:35,990\nAs the crack extends toward the supermarket,\nthe ground around it shifts threateningly.\n\n8\n00:00:37,040 --> 00:00:37,910\nBack in the store...\n\n9\n00:00:44,500 --> 00:00:47,840\nGordon grabs a bag of macaroni\nfrom a shelf right in front of her.\n\n10\n00:01:08,400 --> 00:01:09,490\nHe raises his brow\n\n11\n00:01:09,490 --> 00:01:10,570\nand shakes his head.\n\n12\n00:01:10,780 --> 00:01:13,450\nIn the checkout area, a woman's cart drifts away.\n\n13\n00:01:13,740 --> 00:01:15,160\nA crack appears in the floor,\n\n14\n00:01:15,160 --> 00:01:17,370\nstretching menacingly toward a shelving unit.\n\n15\n00:01:17,660 --> 00:01:21,620\nIn another aisle, cereal boxes tremble\nin front of Kate's outstretched hand.\n\n16\n00:01:36,310 --> 00:01:39,100\nAs he holds her hands, the\ncrevice expands between them.\n\n17\n00:01:42,560 --> 00:01:45,400\nThey cling to poles on opposite\nsides of the growing chasm.\n\n18\n00:01:45,690 --> 00:01:47,110\nNow, at a store in Yellowstone...\n\n19\n00:01:52,490 --> 00:01:54,240\nLilly frantically scratches her arm.\n\n20\n00:02:04,790 --> 00:02:06,460\nJackson turns up the volume.\n\n21\n00:02:08,920 --> 00:02:11,590\nThe news shows the store,\nsplit in two by the fissure.\n\n22\n00:02:20,140 --> 00:02:22,140\nNoah gives his father a frightened look.\n\n", "audio_description_uk": "1\n00:00:00,750 --> 00:00:03,090\nKate and Gordon in the supermarket.\n\n2\n00:00:22,110 --> 00:00:25,280\nA crack appears in the\nsupermarket car park tarmac.\n\n3\n00:00:25,280 --> 00:00:26,610\nIt sets off car alarms\n\n4\n00:00:26,610 --> 00:00:28,780\nas it grows longer towards the shop.\n\n5\n00:00:45,840 --> 00:00:47,590\nGordon hands Kate the macaroni.\n\n6\n00:01:10,070 --> 00:01:12,570\nA woman's shopping trolley rolls off on its own\n\n7\n00:01:12,570 --> 00:01:15,120\nas the supermarket's floor starts to crack.\n\n8\n00:01:15,240 --> 00:01:16,830\nKate reaches for some cereal\n\n9\n00:01:16,830 --> 00:01:17,790\nand it wobbles.\n\n10\n00:01:18,000 --> 00:01:19,830\nBewildered, she turns to Gordon.\n\n11\n00:01:37,470 --> 00:01:40,270\nThe floor splits between\nthem, creating a huge gorge.\n\n", "subtitles": "1\n00:00:04,260 --> 00:00:05,430\nWhy don't we make a baby?\n\n2\n00:00:08,200 --> 00:00:10,300\nWe're not making a baby at the supermarket.\n\n3\n00:00:12,200 --> 00:00:14,110\nHands off the merchandise.\n\n4\n00:00:16,220 --> 00:00:18,570\nHoney, woman give me thousands of dollars\n\n5\n00:00:18,590 --> 00:00:19,650\nTo handle their boobs.\n\n6\n00:00:19,830 --> 00:00:20,960\nYou get it for free.\n\n7\n00:00:40,150 --> 00:00:42,220\nYou always act strange after he shows up.\n\n8\n00:00:42,240 --> 00:00:44,770\nI'm not acting strange, I'm looking for macaroni.\n\n9\n00:00:48,970 --> 00:00:50,620\nSo why did you stick with him so long anyways?\n\n10\n00:00:50,650 --> 00:00:52,130\nCan we just give it a rest, please?\n\n11\n00:00:52,160 --> 00:00:53,820\nHe's the father of my children.\n\n12\n00:00:54,240 --> 00:00:55,670\nOh, come on, Kate.\n\n13\n00:00:55,690 --> 00:00:58,110\nYou gave up med school so you could have Noah.\n\n14\n00:00:58,220 --> 00:01:00,360\nYou practically raised him and Lilly by yourself\n\n15\n00:01:00,390 --> 00:01:02,600\nWhile he sat glued to a laptop writing that junk.\n\n16\n00:01:02,630 --> 00:01:04,750\nIt's not junk! He's published.\n\n17\n00:01:04,770 --> 00:01:06,630\nOh, published. Right, I forgot.\n\n18\n00:01:06,910 --> 00:01:08,730\n422 copies.\n\n19\n00:01:24,170 --> 00:01:25,170\nDid you see that?\n\n20\n00:01:25,450 --> 00:01:26,450\nSee what?\n\n21\n00:01:26,620 --> 00:01:29,980\nKate, listen, we have to keep working at this.\n\n22\n00:01:30,160 --> 00:01:31,270\nOur relationship.\n\n23\n00:01:32,090 --> 00:01:32,920\nI meanl don't know, honey.\n\n24\n00:01:32,950 --> 00:01:36,520\nI just feel like there's something pulling us apart.\n\n25\n00:01:41,850 --> 00:01:45,310\nGrab the pole! Kate, don't let go!\n\n26\n00:01:49,270 --> 00:01:51,020\nDo you have anything for mosquito bites?\n\n27\n00:01:51,680 --> 00:01:52,730\nBefore or after?\n\n28\n00:01:54,870 --> 00:01:56,420\nI'll get before and after.\n\n29\n00:01:56,460 --> 00:01:58,720\nStop scratching or you're gonna get it all infected.\n\n30\n00:01:58,870 --> 00:02:00,860\nand I had to make a quick stop at the grocery store\n\n31\n00:02:00,880 --> 00:02:03,610\nLook, it's Mrs. Birnbaum, she's my teacher.\n\n32\n00:02:03,640 --> 00:02:04,960\nShe's on TV!\n\n33\n00:02:05,940 --> 00:02:07,330\nRight here I'm in the Market\n\n34\n00:02:07,360 --> 00:02:09,240\nwhich was open for business at the time\n\n35\n00:02:09,270 --> 00:02:12,290\nBut fortunately there are no fatalities or injuries reported.\n\n36\n00:02:12,310 --> 00:02:14,820\nIt really is a miracle that no one got hurt.\n\n37\n00:02:15,670 --> 00:02:17,720\nHello? Hi Mom.\n\n38\n00:02:18,570 --> 00:02:20,650\nDid you see what happened to our supermarket?\n\n39\n00:02:23,530 --> 00:02:24,980\nShe wants us to come home.\n\n", "sdh": "1\n00:00:04,000 --> 00:00:06,170\nWhy don't we make a baby?\n\n2\n00:00:08,090 --> 00:00:10,710\nWe're not making a baby\nin the supermarket.\n\n3\n00:00:11,300 --> 00:00:14,800\nHey, hands off the merchandise.\n\n4\n00:00:16,010 --> 00:00:19,470\nHoney, women pay me thousands\nof dollars to handle their boobs.\n\n5\n00:00:19,640 --> 00:00:20,850\nYou get it for free.\n\n6\n00:00:21,020 --> 00:00:23,390\n(CRACKING)\n\n7\n00:00:30,860 --> 00:00:33,110\n(CAR ALARMS WAILING)\n\n8\n00:00:39,830 --> 00:00:42,000\nYou always act strange\nafter he shows up.\n\n9\n00:00:42,160 --> 00:00:45,370\nI'm not acting strange.\nI'm looking for the macaroni.\n\n10\n00:00:48,880 --> 00:00:50,670\nSo why did you\nstick with him so long anyway?\n\n11\n00:00:50,840 --> 00:00:53,970\nCan we just give it a rest, please?\nHe's the father of my children.\n\n12\n00:00:54,130 --> 00:00:55,630\nOh, come on, Kate.\n\n13\n00:00:55,800 --> 00:00:57,970\nYou gave up med school\nso you could have Noah.\n\n14\n00:00:58,140 --> 00:01:00,140\nYou practically raised\nhim and Lilly by yourself\n\n15\n00:01:00,310 --> 00:01:02,520\nwhile he sat glued to a laptop\nwriting that junk.\n\n16\n00:01:02,680 --> 00:01:04,980\nIt's not junk.\nHe's published.\n\n17\n00:01:05,140 --> 00:01:06,770\nOh, published, right, I forgot.\n\n18\n00:01:06,940 --> 00:01:09,400\nFour hundred\nand twenty-two copies.\n\n19\n00:01:13,570 --> 00:01:17,450\n(♪ ♪ ♪)\n\n20\n00:01:23,790 --> 00:01:25,080\nDid you see that?\n\n21\n00:01:25,250 --> 00:01:27,580\nSee what? Hey, Kate.\n\n22\n00:01:27,750 --> 00:01:31,670\nListen, we have to keep\nworking at this, our relationship.\n\n23\n00:01:31,840 --> 00:01:36,090\nI mean, I don't know, honey. I just feel\nlike there's something pulling us apart.\n\n24\n00:01:36,260 --> 00:01:37,380\n(CRACKING)\n\n25\n00:01:39,760 --> 00:01:40,800\nGordon!\n\n26\n00:01:40,970 --> 00:01:42,600\nHang on! Hang onto the pole!\n\n27\n00:01:43,430 --> 00:01:44,680\nKate. Don't let go.\n\n28\n00:01:44,850 --> 00:01:46,100\n- Hang on!\n- Oh, my God.\n\n29\n00:01:46,270 --> 00:01:47,270\nGordon!\n\n30\n00:01:49,020 --> 00:01:51,110\nDo you have anything\nfor mosquito bites?\n\n31\n00:01:51,270 --> 00:01:53,110\nUh, before or after?\n\n32\n00:01:54,690 --> 00:01:56,030\nI'd get before and after.\n\n33\n00:01:56,190 --> 00:01:58,950\nJACKSON: Stop scratching.\nYou're gonna get it all infected.\n\n34\n00:01:59,110 --> 00:02:00,750\nI had to make a stop\nat the grocery store.\n\n35\n00:02:00,910 --> 00:02:04,330\nLook! It's Mrs. Birnbaum.\nShe's my teacher, she's on TV.\n\n36\n00:02:05,370 --> 00:02:08,540\nMAN (ON TV): Here is Grayson's Market,\nwhich was open for business at the time,\n\n37\n00:02:08,710 --> 00:02:12,130\nbut fortunately, there were\nno fatalities or injuries reported.\n\n38\n00:02:12,290 --> 00:02:14,010\nIt really is a miracle\nthat no one got hurt.\n\n39\n00:02:14,050 --> 00:02:15,250\n(PHONE RINGS)\n\n40\n00:02:15,420 --> 00:02:18,130\nHello? Oh, hi, Mom.\n\n41\n00:02:18,300 --> 00:02:21,050\nDid you see what happened\nto our supermarket?\n\n", "screenplay": "null", "movie_duration": "9470.43", "video_start": "2079.10", "video_duration": "145.22"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "nhzM_vBuMrVq", "audio_description_us": "1\n00:00:44,460 --> 00:00:45,630\nLilly wears a fedora.\n\n2\n00:00:45,710 --> 00:00:47,300\nGordon and Kate swap a look.\n\n3\n00:00:54,850 --> 00:00:56,390\nThe house lurches violently.\n\n4\n00:00:56,640 --> 00:00:59,060\nKate, Gordon and the kids\ntake cover under the table.\n\n5\n00:00:59,350 --> 00:01:02,940\nOn TV, the Governor ducks\ndown as the TV studio shakes.\n\n6\n00:01:03,150 --> 00:01:04,940\nNow Jackson arrives outside.\n\n7\n00:01:05,110 --> 00:01:07,820\nInside, Lilly tries to crawl\nout from under the table.\n\n8\n00:01:12,110 --> 00:01:14,370\nJackson bursts in and scrambles to the kitchen.\n\n9\n00:01:27,920 --> 00:01:30,630\nAs the family leaves, the\nceiling caves in behind them.\n\n10\n00:01:30,760 --> 00:01:32,680\nKate, Gordon and Noah run to the limo,\n\n11\n00:01:32,680 --> 00:01:34,600\nwhile Jackson carries a hatless Lilly.\n\n12\n00:01:34,800 --> 00:01:36,930\nAs he sets her down, she faces her home.\n\n13\n00:01:39,520 --> 00:01:40,810\nThe house collapses.\n\n14\n00:01:40,930 --> 00:01:42,770\nJackson races through the driver's door\n\n15\n00:01:42,770 --> 00:01:44,520\nas the whole neighbourhood crumbles.\n\n16\n00:01:47,270 --> 00:01:48,530\nKate yanks her daughter in.\n\n17\n00:01:48,530 --> 00:01:49,440\nJackson reverses\n\n18\n00:01:49,440 --> 00:01:51,860\nand the brick post shears\noff the still-open door.\n\n19\n00:01:52,030 --> 00:01:54,530\nThe limo knocks Gordon's Porsche into a sinkhole.\n\n20\n00:01:56,330 --> 00:01:58,080\nJackson peels out down the street,\n\n21\n00:01:58,080 --> 00:02:00,040\nthe pavement cracking apart beneath them.\n\n22\n00:02:00,250 --> 00:02:03,580\nHolding Lilly close, Kate watches\nneighbourhood houses cave in.\n\n23\n00:02:03,790 --> 00:02:06,380\nThe land behind them swells in a fast-rolling wave\n\n24\n00:02:06,380 --> 00:02:08,550\nthat obliterates the palm tree-lined street.\n\n25\n00:02:12,260 --> 00:02:13,680\nThe juggernaut chases them.\n\n26\n00:02:15,970 --> 00:02:18,510\nUp ahead, a slow-moving old car blocks their way.\n\n27\n00:02:21,600 --> 00:02:22,890\nTwo old women riding.\n\n28\n00:02:26,730 --> 00:02:29,150\nJackson cuts across several front yards.\n\n29\n00:02:30,900 --> 00:02:33,320\nThe limo ploughs through fences and shrubs.\n\n30\n00:02:34,530 --> 00:02:36,240\nAhead, the road cleaves upward.\n\n31\n00:02:37,320 --> 00:02:38,950\nThe old women crash into it.\n\n32\n00:02:39,910 --> 00:02:42,500\nThe limo takes a jump off\nan angled slab of pavement\n\n33\n00:02:42,500 --> 00:02:43,540\nand lands safely.\n\n34\n00:02:43,790 --> 00:02:46,330\nNow a building ahead rises and breaks apart.\n\n35\n00:02:46,420 --> 00:02:49,420\nJackson veers right and\npasses through leaking sewage.\n\n36\n00:02:52,340 --> 00:02:54,050\nA giant donut sign rolls by.\n\n37\n00:02:54,550 --> 00:02:55,970\nIt reads Randy's Donuts.\n\n38\n00:02:55,970 --> 00:02:57,220\nThe limo veers around it.\n\n", "audio_description_uk": "1\n00:00:57,140 --> 00:01:00,810\nA large tremor shakes Kate's house\nand the Governor's press conference.\n\n2\n00:01:00,810 --> 00:01:02,480\nJackson stops outside the house\n\n3\n00:01:02,480 --> 00:01:03,270\nand runs in.\n\n4\n00:01:03,270 --> 00:01:05,190\nInside, they all hide under a table.\n\n5\n00:01:47,940 --> 00:01:50,070\nJackson reverses into Gordon's Porsche,\n\n6\n00:01:50,070 --> 00:01:51,990\nknocking it into the hole in the ground.\n\n7\n00:01:51,990 --> 00:01:53,360\nGordon glares at Jackson.\n\n8\n00:01:59,830 --> 00:02:03,040\nThe tremor with its trail of\ndestruction follows the limo.\n\n9\n00:02:03,420 --> 00:02:06,500\nThe ripples in the ground throw cars and trees into the air\n\n10\n00:02:06,500 --> 00:02:08,000\nwhilst destroying buildings.\n\n11\n00:02:08,170 --> 00:02:09,420\nJackson floors it.\n\n12\n00:02:17,010 --> 00:02:19,470\nThey get stuck behind two old ladies in a car.\n\n13\n00:02:33,150 --> 00:02:34,700\nThey drive through some gardens.\n\n14\n00:02:34,740 --> 00:02:37,240\nLilly looks upset as the old ladies crash.\n\n15\n00:02:40,910 --> 00:02:42,700\nThey take off, but land safely.\n\n16\n00:02:46,170 --> 00:02:48,790\nA broken pipe covers the limo in sewage.\n\n17\n00:02:55,590 --> 00:02:57,850\nA massive donut sign rolls past.\n\n", "subtitles": "1\n00:00:01,360 --> 00:00:05,250\nEarthquake activity in southern California, which is very rare.\n\n2\n00:00:05,590 --> 00:00:08,660\nUnlike the tough characters I have portrayed in my films\n\n3\n00:00:08,690 --> 00:00:09,690\nHello?\n\n4\n00:00:10,590 --> 00:00:12,010\nKate. Stop what you're doing. Jackson?\n\n5\n00:00:12,040 --> 00:00:12,970\nListen to me.\n\n6\n00:00:12,990 --> 00:00:15,130\nI've rented a plane, pack up the kids,\n\n7\n00:00:15,150 --> 00:00:16,590\nI'm gonna be there in 5 minutes.\n\n8\n00:00:17,040 --> 00:00:17,790\nWhat are you talking about?\n\n9\n00:00:17,810 --> 00:00:19,260\nWe're gonna have a regular Saturday.\n\n10\n00:00:19,280 --> 00:00:21,300\nNoah has music at 2:00 and Lilly has karate.\n\n11\n00:00:21,330 --> 00:00:22,770\nYou expect him to remember?\n\n12\n00:00:22,830 --> 00:00:25,420\nKate, California is going down.\n\n13\n00:00:25,470 --> 00:00:28,240\nPack up the kids now! They just got back.\n\n14\n00:00:28,580 --> 00:00:30,070\nGod, you sound like a crazy person.\n\n15\n00:00:30,090 --> 00:00:32,090\nThe governor just said we're fine now.\n\n16\n00:00:32,150 --> 00:00:34,760\nThe guy's an actor, he's reading a script!\n\n17\n00:00:35,030 --> 00:00:38,640\nWhen they tell you not to panic that's when you run!\n\n18\n00:00:38,830 --> 00:00:41,170\nWill you call me back when you calm down?\n\n19\n00:00:42,530 --> 00:00:44,860\nMommy, why are you acting so crazy?\n\n20\n00:00:47,690 --> 00:00:49,310\nFinish your pancakes, Al Capone.\n\n21\n00:00:50,330 --> 00:00:54,210\nIt seems to me that the worst is over.\n\n22\n00:01:10,960 --> 00:01:11,960\nHold Mommy's hands!\n\n23\n00:01:16,340 --> 00:01:19,590\nLet's go! Let's go! I think it's safer under here!\n\n24\n00:01:19,690 --> 00:01:22,240\nGet in the fucking car!\n\n25\n00:01:22,370 --> 00:01:23,000\nRigh now!\n\n26\n00:01:23,020 --> 00:01:25,170\nLet's go! Let's go! Let's let's go!\n\n27\n00:01:25,590 --> 00:01:26,470\nCome on, kids!\n\n28\n00:01:26,600 --> 00:01:27,740\nMove, quick, qiuck!\n\n29\n00:01:35,680 --> 00:01:37,640\nGet in. Get in.\n\n30\n00:01:38,650 --> 00:01:39,650\nMy hats!\n\n31\n00:01:45,800 --> 00:01:46,610\nBuckle up!\n\n32\n00:01:46,630 --> 00:01:47,630\nLilly!\n\n33\n00:01:56,000 --> 00:01:57,000\nSorry.\n\n34\n00:02:10,680 --> 00:02:12,980\nJackson. Hurry up! Look behind you!\n\n35\n00:02:15,410 --> 00:02:16,410\nOh God.\n\n36\n00:02:21,190 --> 00:02:23,600\nGet out of the way! Move it!\n\n37\n00:02:23,730 --> 00:02:25,430\nHold on, dear.\n\n38\n00:02:25,450 --> 00:02:27,210\nCome on, you old bags!\n\n39\n00:02:30,690 --> 00:02:31,690\nTree, tree!\n\n40\n00:02:33,780 --> 00:02:34,780\nGod! Damn!\n\n41\n00:02:44,150 --> 00:02:45,310\nOh! My God!\n\n42\n00:02:52,060 --> 00:02:53,060\nGee\n\n", "sdh": "1\n00:00:00,060 --> 00:00:03,980\nwe had basically zero earthquake\nactivity in Southern California,\n\n2\n00:00:04,140 --> 00:00:06,000\nwhich is very rare.\nUnlike many of the tough characters\n\n3\n00:00:06,020 --> 00:00:07,150\n(PHONE RINGING)\n\n4\n00:00:07,310 --> 00:00:09,440\n- I've portrayed in my film career...\n- Hello?\n\n5\n00:00:10,230 --> 00:00:11,420\nJACKSON: Kate, stop what you're doing.\n\n6\n00:00:11,440 --> 00:00:12,490\nKATE: Jackson?\n\n7\n00:00:12,650 --> 00:00:14,690\nListen to me. I've rented a plane.\nPack up the kids.\n\n8\n00:00:14,740 --> 00:00:17,550\n- I'm gonna be there in five minutes.\n- Plane? What are you talking about?\n\n9\n00:00:17,570 --> 00:00:21,080\nWe were gonna do our regular Saturday.\nNoah has music at 2 and Lil has karate.\n\n10\n00:00:21,240 --> 00:00:22,910\nNot that we'd expect him\nto remember.\n\n11\n00:00:23,080 --> 00:00:26,250\nKate, California is going down.\nPack up the kids now!\n\n12\n00:00:26,420 --> 00:00:28,090\nThey just got back.\n\n13\n00:00:28,250 --> 00:00:31,920\nGod, you sound like a crazy person.\nThe governor just said we're fine now.\n\n14\n00:00:32,090 --> 00:00:34,930\nThe guy's an actor.\nHe's reading a script.\n\n15\n00:00:35,090 --> 00:00:36,840\nWhen they tell you not to panic,\n\n16\n00:00:37,010 --> 00:00:38,680\nthat's when you run!\n\n17\n00:00:38,850 --> 00:00:41,720\nOkay, could you call me back\nwhen you calm down?\n\n18\n00:00:42,270 --> 00:00:44,600\nMommy, why is Daddy so crazy?\n\n19\n00:00:44,770 --> 00:00:47,270\nGOVERNOR: ... taking the\nmost severe hit in Los Angeles.\n\n20\n00:00:47,440 --> 00:00:49,820\nFinish your pancakes, Al Capone.\n\n21\n00:00:49,980 --> 00:00:53,860\nIt seems to me\nthat the worst is over.\n\n22\n00:00:54,030 --> 00:00:55,740\n(RUMBLING)\n\n23\n00:00:55,900 --> 00:00:57,240\nMommy!\n\n24\n00:01:03,500 --> 00:01:06,160\n(CAR ALARMS WAILING)\n\n25\n00:01:07,330 --> 00:01:09,330\nGORDON: Everyone hold on to each other.\n\n26\n00:01:09,500 --> 00:01:12,460\n- KATE: No, Lilly!\n- Hold Mommy's hand and stay close.\n\n27\n00:01:14,800 --> 00:01:15,880\nLILLY: Daddy!\n\n28\n00:01:16,050 --> 00:01:17,340\nJACKSON: Let's go! Let's go!\n\n29\n00:01:17,510 --> 00:01:19,340\nKATE: I think it's safer under here!\n\n30\n00:01:19,890 --> 00:01:23,470\nGet in the fucking car right now!\n\n31\n00:01:23,640 --> 00:01:25,140\nMove your ass! Move!\n\n32\n00:01:25,310 --> 00:01:26,740\nKATE: Come on, kids.\nJACKSON: Get up!\n\n33\n00:01:26,770 --> 00:01:28,480\nGORDON: Move. Quick, quick!\nJACKSON: Move!\n\n34\n00:01:29,100 --> 00:01:31,310\nGo! Now!\n\n35\n00:01:32,320 --> 00:01:34,480\n- Come on, let's go.\n- NOAH: Run! Don't look back!\n\n36\n00:01:34,650 --> 00:01:35,650\nGORDON: Come on!\n\n37\n00:01:35,820 --> 00:01:38,280\nJACKSON: Take her!\nGet in, honey, get in.\n\n38\n00:01:38,450 --> 00:01:39,950\nMy hats.\n\n39\n00:01:41,530 --> 00:01:43,200\nJACKSON: Lilly, get in!\n\n40\n00:01:44,290 --> 00:01:45,330\nNOAH: Get in!\n\n41\n00:01:45,500 --> 00:01:47,750\n- Buckle up!\n- Lilly.\n\n42\n00:01:55,800 --> 00:01:57,170\nSorry.\n\n43\n00:02:10,520 --> 00:02:12,560\nJackson, hurry up. Look behind you.\n\n44\n00:02:14,070 --> 00:02:15,940\n- Holy...!\n- Oh, God.\n\n45\n00:02:20,700 --> 00:02:22,450\nGet out of here!\nGet out of the way!\n\n46\n00:02:22,620 --> 00:02:25,200\n- Move it!\n- Hold on to those eggs, dear.\n\n47\n00:02:25,370 --> 00:02:27,370\n- Come on!\n- Come on, you old bags!\n\n48\n00:02:29,460 --> 00:02:31,210\nSidewalk, sidewalk!\nTree! Tree!\n\n49\n00:02:33,380 --> 00:02:35,380\nGod. Careful.\n\n50\n00:02:36,840 --> 00:02:38,260\n(SCREAMS)\n\n51\n00:02:38,880 --> 00:02:40,260\nJACKSON: Everybody, hang on.\n\n52\n00:02:40,970 --> 00:02:42,760\n(SCREAMING)\n\n53\n00:02:43,800 --> 00:02:44,970\nNOAH: Oh, my God.\n\n54\n00:02:45,140 --> 00:02:46,600\nGORDON: Careful, careful.\n\n55\n00:02:48,810 --> 00:02:50,890\n(SCREAMING)\n\n56\n00:02:51,060 --> 00:02:52,400\nYikes. That stinks.\n\n57\n00:02:52,560 --> 00:02:54,730\n(CAR HORNS HONKING)\n\n", "screenplay": "{\"screenplay_scene_48\": \"<scene>\\n    <stage_direction>INT. KITCHEN/LOS ANGELES - MORNING</stage_direction>\\n    <scene_description>Kate is in her kitchen cooking breakfast for the kids . Gordon watches the Governor on the news .</scene_description>\\n    <character>GOVERNOR</character>\\n    <parenthetical>( with Austrian ACCENT . )</parenthetical>\\n    <dialogue>. just this morning my people at Caltech told me that in the last 36 hours we had basically zero earthquake activity in Southern California, which is very rare.</dialogue>\\n    <scene_description>The phone rings . Kate picks up .</scene_description>\\n  </scene>\", \"screenplay_scene_49\": \"<scene>\\n    <stage_direction>EXT. STREETS/LOS ANGELES - MORNING</stage_direction>\\n    <scene_description>Jackson drives like crazy .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>Kate, we have to get out of LA! I've rented a plane for us. Get the kids ready! I'll be there in five.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>The kids have plans today.</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>Are you kidding me!</dialogue>\\n    <character>KATE</character>\\n    <dialogue>No I'm not! Noah has music at 2 and Lil' has Karate.</dialogue>\\n    <scene_description>Gordon rolls his eyes and mutters .</scene_description>\\n    <character>GORDON</character>\\n    <dialogue>Not that we'd expect him to remember.</dialogue>\\n    <character>JACKSON</character>\\n    <parenthetical>( SCREAMING . )</parenthetical>\\n    <dialogue>California is going down! Pack up the kids!</dialogue>\\n    <character>KATE</character>\\n    <dialogue>You're crazy! The Governor just said we're fine now.</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>The Governor's a meathead, how would he know anything? Kate listen! You got ta trust me over some politician. Come on.</dialogue>\\n  </scene>\", \"screenplay_scene_50\": \"<scene>\\n    <stage_direction>INT. KATE'S HOUSE/LOS ANGELES - MORNING</stage_direction>\\n    <scene_description>Kate slams the phone down . Lilly stops eating .</scene_description>\\n    <character>LILLY</character>\\n    <dialogue>Mommy, why are you so angry with Daddy?</dialogue>\\n    <character>LAURA</character>\\n    <dialogue>Because your daddy is a lunatic, darling.</dialogue>\\n    <scene_description>On the TV , the interview comes to an end .</scene_description>\\n    <character>GOVERNOR</character>\\n    <dialogue>it looks to me, like the worst is over.</dialogue>\\n    <scene_description>That moment a MASSIVE QUAKE hits Los Angeles . Everybody dives under the table . ON TV : The news casters and the Governor do the same . A few seconds later the signal cuts out . Gordon pulls Kate and the kids close as the earth shakes violently for 20 seconds .</scene_description>\\n  </scene>\", \"screenplay_scene_51\": \"<scene>\\n    <stage_direction>EXT. KATE'S HOUSE/LOS ANGELES - MORNING</stage_direction>\\n    <scene_description>Jackson flies into the driveway and runs into the house .</scene_description>\\n  </scene>\", \"screenplay_scene_52\": \"<scene>\\n    <stage_direction>INT. KATE'S HOUSE/LOS ANGELES - MORNING</stage_direction>\\n    <scene_description>When he enters , Lilly immediately runs into his arms . The next tremor hits . Cracks form on the kitchen floor .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>We have to leave! Noah, let's go!</dialogue>\\n    <character>KATE</character>\\n    <dialogue>I think we're safer here!</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>Noah, now! Kate please.</dialogue>\\n    <scene_description>The whole house rides up and down like on a wave .</scene_description>\\n    <character>GORDON</character>\\n    <dialogue>I think he's right.</dialogue>\\n    <scene_description>Finally Kate pushes her son out from under the table . They all scramble out of the house in a panic . Kate is cut on the shoulder by falling glass but she hardly notices .</scene_description>\\n  </scene>\", \"screenplay_scene_53\": \"<scene>\\n    <stage_direction>EXT. KATE'S HOUSE/LOS ANGELES - MORNING</stage_direction>\\n    <scene_description>As they storm out of their front door the house crumbles behind them .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>Get in the car!</dialogue>\\n    <scene_description>The whole street starts to buckle . Left and right the houses are shaken and smashed like toys . Just before the wave of destruction can reach them , Jackson tears out of the driveway .</scene_description>\\n  </scene>\", \"screenplay_scene_54\": \"<scene>\\n    <stage_direction>EXT. STREETS/LOS ANGELES - MORNING</stage_direction>\\n    <scene_description>Jackson maneuver 's the limo through the crumbling neighborhood . Right in front of their eyes , streets disappear , trees fall , electrical lines snap . Sewer pipes burst in front of the car .</scene_description>\\n    <character>NOAH</character>\\n    <dialogue>Holy shit!</dialogue>\\n    <scene_description>Jackson has to turn on the windshield wipers .</scene_description>\\n  </scene>\"}", "movie_duration": "9470.43", "video_start": "2635.26", "video_duration": "178.01"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "UJtgPUH_IolO", "audio_description_us": "1\n00:00:00,000 --> 00:00:01,710\nBuildings and debris skirt its path.\n\n2\n00:00:04,590 --> 00:00:06,630\nA freeway overpass collapses ahead,\n\n3\n00:00:06,630 --> 00:00:07,970\nspilling cars and people.\n\n4\n00:00:08,260 --> 00:00:10,840\nThe plane banks, escaping the broken sections.\n\n5\n00:00:11,010 --> 00:00:11,970\nNow it levels off\n\n6\n00:00:11,970 --> 00:00:14,890\nand passes a city block that\ntilts atop a column of earth.\n\n7\n00:00:15,140 --> 00:00:17,730\nThe plane soars low over shattered intersections\n\n8\n00:00:17,810 --> 00:00:19,770\nand narrowly avoids a surge of fire.\n\n9\n00:00:20,100 --> 00:00:22,610\nFrightened citizens duck\nout of the airplane's way.\n\n10\n00:00:22,900 --> 00:00:25,190\nNow Jackson's horrified son grimaces,\n\n11\n00:00:25,280 --> 00:00:27,240\nwatching cars drop over a cliff.\n\n12\n00:00:27,440 --> 00:00:28,740\nLilly cries.\n\n13\n00:00:29,860 --> 00:00:30,780\nKate holds her.\n\n14\n00:00:31,160 --> 00:00:34,280\nNow, ahead of the plane, a subway train\narcs from the chasm wall\n\n15\n00:00:34,280 --> 00:00:36,410\nand noses into a descending refinery.\n\n16\n00:00:36,660 --> 00:00:39,120\nThe fiery blast boosts the aircraft upward.\n\n17\n00:00:39,460 --> 00:00:43,380\nGordon and Jackson gawk ahead\nat two high-rises tipping into each other.\n\n18\n00:00:48,340 --> 00:00:51,550\nWith a wide-eyed grimace,\nGordon pilots the plane between them.\n\n19\n00:00:51,720 --> 00:00:54,850\nThey pass doomed people\nfalling from exposed offices.\n\n20\n00:00:55,140 --> 00:00:56,270\nNow the plane ascends\n\n21\n00:00:56,270 --> 00:00:59,520\nand just barely escapes a\nskyscraper tipping behind them.\n\n22\n00:00:59,770 --> 00:01:03,150\nJackson gapes as the plane leaves\nthe devastated city behind.\n\n23\n00:01:03,440 --> 00:01:06,150\nIts pockmarked grid sparks and smokes.\n\n24\n00:01:12,660 --> 00:01:14,990\nThe weeping girl joins her\nolder brother in the back\n\n25\n00:01:14,990 --> 00:01:16,030\nand he hugs her.\n\n26\n00:01:47,110 --> 00:01:49,480\nJackson and Kate follow Gordon's gaze.\n\n27\n00:01:49,610 --> 00:01:51,900\nIn the back, the kids look out a window too.\n\n28\n00:01:52,360 --> 00:01:55,990\nBeneath the plane, the California\ncoastline sinks into the Pacific.\n\n29\n00:01:56,660 --> 00:02:00,290\nA miles wide chunk of land\ntilts, fires dotting its surface,\n\n30\n00:02:00,290 --> 00:02:01,660\nas it dips into the sea.\n\n31\n00:02:02,250 --> 00:02:02,960\nDusk...\n\n32\n00:02:03,040 --> 00:02:06,000\nOn the open sea, the cruise\nship carves through the water.\n\n33\n00:02:06,340 --> 00:02:08,590\nIn a club on board, Harry plays a piano\n\n", "audio_description_uk": "1\n00:00:05,010 --> 00:00:08,220\nJackson is open-mouthed as\nvarious freeways collapse.\n\n2\n00:00:08,470 --> 00:00:09,680\nGordon rolls the plane,\n\n3\n00:00:09,680 --> 00:00:12,180\nraising one wing to avoid any collisions.\n\n4\n00:00:20,520 --> 00:00:22,730\nThe plane now flies low above the street\n\n5\n00:00:22,730 --> 00:00:24,360\nand people duck out of its way.\n\n6\n00:00:24,440 --> 00:00:25,690\nAgain, Noah looks out\n\n7\n00:00:25,690 --> 00:00:28,030\nand Kate covers the crying Lilly's face.\n\n8\n00:00:31,030 --> 00:00:32,410\nThey fly under a train\n\n9\n00:00:32,410 --> 00:00:34,370\nas it falls out of a tunnel to its doom.\n\n10\n00:00:37,200 --> 00:00:40,290\nNow they head straight for\ntwo falling skyscrapers.\n\n11\n00:00:49,760 --> 00:00:53,720\nAgain, Gordon rolls the plane\nand flies between the gap in the buildings.\n\n12\n00:00:53,930 --> 00:00:55,260\nHe then takes it upwards\n\n13\n00:00:55,260 --> 00:00:56,810\nand Jackson looks relieved.\n\n14\n00:01:15,030 --> 00:01:16,620\nLilly and Noah hug.\n\n15\n00:01:48,570 --> 00:01:50,690\nDumbstruck, the three adults look out\n\n16\n00:01:50,690 --> 00:01:52,150\nfollowed by the two kids.\n\n17\n00:01:52,360 --> 00:01:54,200\nLarge chunks of the earth's surface,\n\n18\n00:01:54,200 --> 00:01:57,740\nincluding buildings and streets,\nare rapidly falling into the sea.\n\n19\n00:01:58,240 --> 00:02:02,160\nTheir plane zooms off as more and more\nof the city sinks into the water.\n\n20\n00:02:02,660 --> 00:02:06,670\nElsewhere, Tony and Harry are playing\nin the bar of their luxury cruise ship.\n\n21\n00:02:07,090 --> 00:02:08,170\nTony plays bass\n\n22\n00:02:08,170 --> 00:02:09,760\nwhilst Harry sings on the piano.\n\n", "subtitles": "1\n00:00:04,140 --> 00:00:05,260\nHigher, higher!\n\n2\n00:01:11,670 --> 00:01:12,950\nLilly, go sit with your brother.\n\n3\n00:01:18,450 --> 00:01:20,610\nI don't understand how did you know this would happen?\n\n4\n00:01:21,890 --> 00:01:23,520\nIt's not just California.\n\n5\n00:01:24,080 --> 00:01:26,360\nThe whole damn world is going to shit.\n\n6\n00:01:27,110 --> 00:01:29,510\nI met this crazy guy in Yellowstone\n\n7\n00:01:29,540 --> 00:01:31,610\nBut he's been right about everything so far\n\n8\n00:01:32,090 --> 00:01:34,050\nHe said the Government is building these ships,\n\n9\n00:01:34,070 --> 00:01:35,340\nSpace ships, I don't know what,\n\n10\n00:01:35,370 --> 00:01:36,940\nBut something Space ships?\n\n11\n00:01:37,200 --> 00:01:38,870\nYeah. Places where we could be safe.\n\n12\n00:01:39,240 --> 00:01:41,510\nHe knows where they are. He's got a map.\n\n13\n00:01:42,060 --> 00:01:43,060\nJackson\n\n14\n00:01:43,460 --> 00:01:44,880\nKate, trust me on this,\n\n15\n00:01:44,910 --> 00:01:47,620\nokay, Guys. Look.\n\n", "sdh": "1\n00:00:04,020 --> 00:00:05,730\nKATE: Higher, higher!\n\n2\n00:00:06,640 --> 00:00:08,940\n(CAR HORNS HONKING)\n\n3\n00:00:17,660 --> 00:00:20,660\n(SIREN WAILING)\n\n4\n00:00:42,560 --> 00:00:44,350\nOh, my God.\n\n5\n00:00:47,520 --> 00:00:49,520\n(SCREAMING)\n\n6\n00:01:02,080 --> 00:01:04,330\n(♪ ♪ ♪)\n\n7\n00:01:11,630 --> 00:01:13,550\nLilly, go sit with your brother.\n\n8\n00:01:13,710 --> 00:01:16,380\n(CRYING)\n\n9\n00:01:18,380 --> 00:01:21,220\nI don't understand. How did\nyou know this was gonna happen?\n\n10\n00:01:21,890 --> 00:01:23,930\nIt is not just California.\n\n11\n00:01:24,100 --> 00:01:26,810\nIt's the whole goddamn world\nthat's going to shit.\n\n12\n00:01:26,980 --> 00:01:29,100\nI met this guy in Yellowstone,\nthis crazy guy.\n\n13\n00:01:29,270 --> 00:01:31,940\nBut he's been right about everything\nthat's happened so far.\n\n14\n00:01:32,110 --> 00:01:34,540\nAnd he said the government is\nbuilding these ships, spaceships.\n\n15\n00:01:34,570 --> 00:01:36,730\n- I don't know what, but something.\n- Ships?\n\n16\n00:01:36,900 --> 00:01:38,740\nJACKSON: Yeah, places where we can be safe.\n\n17\n00:01:39,200 --> 00:01:41,740\nHe knows where they are.\nHe's got a map.\n\n18\n00:01:41,910 --> 00:01:43,240\nJackson.\n\n19\n00:01:43,410 --> 00:01:45,540\nJACKSON: Kate, you gotta\njust trust me on this, okay?\n\n20\n00:01:45,700 --> 00:01:48,250\nGuys, look.\n\n21\n00:01:48,410 --> 00:01:53,210\n(♪ ♪ ♪)\n\n", "screenplay": "{\"screenplay_scene_55\": \"<scene>\\n    <stage_direction>EXT. SANTA MONICA AIRPORT/LOS ANGELES - MORNING</stage_direction>\\n    <scene_description>The limo crashes through a gate onto the tarmac , coming to a stop in front of a twin engine Cessna .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>Damn it! Where's the pilot?</dialogue>\\n    <scene_description>Kate turns to Gordon .</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Gordon, you know how to fly.</dialogue>\\n    <character>GORDON</character>\\n    <dialogue>I. had a couple lessons.</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>Did you cover taking off?</dialogue>\\n    <character>GORDON</character>\\n    <dialogue>Yeah.</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>That's good enough for me.</dialogue>\\n    <scene_description>They start running , when Jackson remembers something and heads back to the Limo . He grabs his knapsack from the front seat fumbling to zip his laptop back inside it . Kate shouts .</scene_description>\\n    <character>KATE</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>Jackson, what are you doing?</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>I'm coming.</dialogue>\\n    <scene_description>He jumps out of the car and races back after them . Behind Jackson the hangar starts to disintegrate . IN THE DISTANCE A gigantic fissure forms in the earth , shooting towards Santa Monica airport . Gordon fumbles with the controls , Jackson yells from the copilot seat .</scene_description>\\n    <character>JACKSON</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Come on, come on.</dialogue>\\n    <character>GORDON</character>\\n    <parenthetical>( pointing at the INSTRUMENTS . )</parenthetical>\\n    <dialogue>But I'm supposed to check all these first.</dialogue>\\n    <scene_description>Jackson reaches over and slams Gordon 's hand down and the plane lurches forward . As the Cessna speeds onto the tarmac the control tower goes down and explodes . Noah discovers the giant crevasse forming behind them .</scene_description>\\n    <character>NOAH</character>\\n    <dialogue>Guys, behind us!</dialogue>\\n    <scene_description>As the plane accelerates , the giant crack closes in on them . Gordon 's hand trembles on the throttle control . Everybody screams on top of each other .</scene_description>\\n    <character>EVERYBODY</character>\\n    <dialogue>Gordon! Damn it! Lift off!</dialogue>\\n    <scene_description>Gordon gathers his courage and pulls the lever . The plane almost rockets into the air just as the ground beneath them gives way . They hover for a moment , almost caught in mid - air as the widening crevasse beneath them fights to suck them into the bowels of the earth . Gordon fights to maintain control but they begin to be pulled down . The daylight vanishes . Debris and mud smashes into the plane from all sides . The canyon walls erupt .</scene_description>\\n    <character>GORDON</character>\\n    <dialogue>I ca n't get it up!</dialogue>\\n    <scene_description>Taking desperate measures , Gordon nearly rips the control stick out of its joint - with a lurch the Cessna lifts out of the abyss . They all take a deep breath only to realize that now they are flying directly into the collapsing towers of downtown Los Angeles ! Like a roller coaster , Gordon manages to weave the little plane through the tumbling high rises . They dive one last time to evade the plummeting US BANK TOWER , the tallest building on the west coast . All are dead silent as they watch the whole of Los Angeles crumble beneath them . Kate covers Lilly 's eyes .</scene_description>\\n    <character>NOAH</character>\\n    <parenthetical>( in total shock . )</parenthetical>\\n    <dialogue>That was amazing, Gordon!</dialogue>\\n    <scene_description>Jackson looks at Kate and notices her cut . JACKSON Are you okay ?</scene_description>\\n    <character>KATE</character>\\n    <parenthetical>( brushing it off . )</parenthetical>\\n    <dialogue>I'm fine. How did you know this was gon na happen?</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>I did n't.</dialogue>\\n    <parenthetical>( To Gordon . )</parenthetical>\\n    <dialogue>Do we have enough fuel to make it to Yellowstone?</dialogue>\\n    <scene_description>The plane veers off in a northeasterly direction . Behind them the destruction of Los Angeles continues .</scene_description>\\n  </scene>\", \"screenplay_scene_56\": \"<scene>\\n    <stage_direction>EXT. FREEDOM OF THE SEAS/PACIFIC - DAY</stage_direction>\\n    <scene_description>The gigantic cruise ship plows through the Pacific . We hear lounge music .</scene_description>\\n  </scene>\"}", "movie_duration": "9470.43", "video_start": "2994.21", "video_duration": "129.68"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "TkVtasBICkDs", "audio_description_us": "1\n00:00:00,420 --> 00:00:02,750\nThe men turn in unison, facing the valley.\n\n2\n00:00:02,920 --> 00:00:04,050\nCharlie's jaw drops\n\n3\n00:00:04,050 --> 00:00:06,420\nas the verdant basin swells upward.\n\n4\n00:00:08,840 --> 00:00:11,050\nStaring, Lilly takes a few steps back.\n\n5\n00:00:11,220 --> 00:00:12,600\nA chasm yawns open\n\n6\n00:00:12,600 --> 00:00:14,350\nand a geyser erupts beyond it.\n\n7\n00:00:14,520 --> 00:00:17,060\nCharlie watches with a broad, delighted grin.\n\n8\n00:00:23,110 --> 00:00:24,610\nJackson nods fearfully.\n\n9\n00:00:25,400 --> 00:00:26,610\nHe grabs Lilly's hand\n\n10\n00:00:26,610 --> 00:00:28,280\nand hurries toward the RV.\n\n11\n00:00:44,880 --> 00:00:46,340\nJackson starts the engine.\n\n12\n00:00:49,260 --> 00:00:50,340\nHe speeds away.\n\n13\n00:01:00,940 --> 00:01:03,690\nLava spouts from the valley in multiple places.\n\n14\n00:01:13,370 --> 00:01:16,330\nNow Gordon steps off the\nplane as birds fly overhead.\n\n15\n00:01:23,880 --> 00:01:28,090\nNow a super volcano several miles wide\nblossoms in a massive fireball.\n\n16\n00:01:28,210 --> 00:01:30,050\nIts glow illuminates Charlie.\n\n17\n00:01:32,470 --> 00:01:36,310\nOn the airstrip, the huge fire cloud\nsilhouettes Noah, Gordon and Kate.\n\n18\n00:01:38,850 --> 00:01:40,140\nGordon and Kate gape.\n\n19\n00:01:40,230 --> 00:01:41,520\nNoah's chin trembles.\n\n20\n00:01:42,440 --> 00:01:45,610\nAn immense plume of fiery\nsmoke barrels toward the RV.\n\n21\n00:01:45,690 --> 00:01:46,610\nInside...\n\n22\n00:01:51,740 --> 00:01:52,700\nOn the mountain peak...\n\n23\n00:01:55,280 --> 00:01:56,700\nThe explosion flares.\n\n24\n00:01:56,830 --> 00:01:58,660\nA shockwave sweeps over the mountains,\n\n25\n00:01:58,660 --> 00:02:00,450\ntoppling trees like dominoes.\n\n26\n00:02:00,540 --> 00:02:02,330\nIt blasts Charlie off the peak.\n\n27\n00:02:02,620 --> 00:02:05,210\nAt the airstrip, the shockwave whips Kate's hair.\n\n28\n00:02:05,420 --> 00:02:06,880\nShe hugs Noah closer\n\n29\n00:02:07,000 --> 00:02:12,170\nAs they watch, pyroclasts, flaming airborne\nrock fragments, shoot out from the ash cloud\n\n30\n00:02:12,170 --> 00:02:13,510\nand land like missiles.\n\n31\n00:02:13,720 --> 00:02:18,100\nCharlie crawls back up to the mountain peak,\nhis low-slung pants exposing his butt crack.\n\n32\n00:02:35,700 --> 00:02:39,490\nA pyroclast the size of a house\nslams into the peak, obliterating it.\n\n33\n00:02:39,830 --> 00:02:43,750\nIn the valley, more flaming boulders splash\ninto a lake and bombard the hills.\n\n34\n00:02:43,870 --> 00:02:47,710\nA pyroclast the size of an office\nbuilding crashes onto a ridge.\n\n35\n00:02:47,880 --> 00:02:50,460\nOn the other side, the RV speeds down a road.\n\n36\n00:03:00,140 --> 00:03:02,810\nA flaming boulder smashes onto\nthe road in front of them.\n\n37\n00:03:02,890 --> 00:03:04,480\nJackson swerves around it.\n\n38\n00:03:07,150 --> 00:03:11,190\nAs he ducks his head, a pyroclast ploughs\ninto the back of the RV, shearing it off.\n\n39\n00:03:11,570 --> 00:03:13,530\nFlames roil around its open end.\n\n40\n00:03:16,200 --> 00:03:19,830\nAt the airstrip, Noah and Kate gaze off\nas their plane's propeller spins.\n\n41\n00:03:19,950 --> 00:03:24,250\nFrom a winding road, the RV speeds down\ntoward them through a barrage of pyroclasts.\n\n42\n00:03:26,160 --> 00:03:28,250\nLilly beams as they race to the airstrip.\n\n43\n00:03:28,290 --> 00:03:29,420\nJackson honks.\n\n44\n00:03:35,090 --> 00:03:36,550\nKate waves ecstatically.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:04,090\nThey both turn their heads to see the ground\nbegin to undulate in the distance.\n\n2\n00:00:10,550 --> 00:00:12,640\nThe nervous Lilly steps backwards.\n\n3\n00:00:12,680 --> 00:00:14,010\nJackson is wide-eyed\n\n4\n00:00:14,010 --> 00:00:15,640\nand Charlie is awestruck.\n\n5\n00:00:26,530 --> 00:00:28,150\nJackson runs off with Lilly.\n\n6\n00:01:14,780 --> 00:01:15,950\nBack on the airstrip...\n\n7\n00:01:25,630 --> 00:01:29,300\nA vast lava explosion spews\nupwards out of the ground.\n\n8\n00:01:29,340 --> 00:01:31,130\nCharlie looks totally stunned.\n\n9\n00:01:34,390 --> 00:01:36,810\nGordon, Kate and Noah stand and stare\n\n10\n00:01:36,810 --> 00:01:39,730\nat the explosion that resembles\nthat of an atomic bomb.\n\n11\n00:01:42,270 --> 00:01:44,730\nJackson sees the eruption in the van's mirror.\n\n12\n00:02:00,410 --> 00:02:01,460\nTrees are blown down\n\n13\n00:02:01,460 --> 00:02:04,580\nand Charlie is sent flying\nby the explosion's shockwave.\n\n14\n00:02:04,750 --> 00:02:07,630\nA gust of wind reaches Gordon, Kate and Noah.\n\n15\n00:02:07,840 --> 00:02:09,590\nKate holds her son close to her.\n\n16\n00:02:10,050 --> 00:02:13,220\nFireballs fall out of the grey smoke\nand hit the ground around\n\n17\n00:02:13,220 --> 00:02:14,510\nwhere Charlie is crawling.\n\n18\n00:02:37,820 --> 00:02:40,290\nCharlie is hit by a large piece of falling rock\n\n19\n00:02:40,290 --> 00:02:42,410\nwhich then crashes into the ground below.\n\n20\n00:02:42,450 --> 00:02:44,920\nThe numerous fireballs continue to rain down.\n\n21\n00:02:44,920 --> 00:02:46,330\nSome of them land in a lake\n\n22\n00:02:46,330 --> 00:02:49,840\nas others narrowly miss\nJackson and Lilly in Charlie's camper.\n\n23\n00:03:00,810 --> 00:03:01,600\nLilly nods\n\n24\n00:03:01,600 --> 00:03:04,560\nand Jackson swerves the\ncamper avoiding a fireball.\n\n25\n00:03:09,190 --> 00:03:12,730\nJackson cowers as a fireball\nstrikes the back of the camper van.\n\n26\n00:03:17,450 --> 00:03:21,290\nKate and Noah stare in shock\nat the fireballs crashing into the ground.\n\n27\n00:03:21,370 --> 00:03:23,160\nThen back with Jackson and Lilly...\n\n", "subtitles": "1\n00:00:08,180 --> 00:00:09,340\nIt's starting.\n\n2\n00:00:18,250 --> 00:00:19,770\nYou sure you don't wanna come with me?\n\n3\n00:00:20,810 --> 00:00:23,380\nSo beautiful, I'm gonna stay.\n\n4\n00:00:25,300 --> 00:00:26,300\nGood luck.\n\n5\n00:00:29,770 --> 00:00:35,320\nThis marks the last day of the United States of America\n\n6\n00:00:36,600 --> 00:00:39,630\nfinal hour of all mankind.\n\n7\n00:00:40,190 --> 00:00:45,910\nAs we will be visible from the milky way as a tiny little puff of smoke.\n\n8\n00:00:45,930 --> 00:00:50,340\nI'm watching the earth crumble before my eyes.\n\n9\n00:00:52,010 --> 00:00:57,310\nThe giant ash cloud created by this super volcano\n\n10\n00:00:57,340 --> 00:01:01,930\nWill first envelop Vegas, and then St. Louis\n\n11\n00:01:02,200 --> 00:01:08,420\nAnd then Chicago, and then at long last, Washington D.C.\n\n12\n00:01:08,440 --> 00:01:11,180\nWill have its lights go out.\n\n13\n00:01:11,340 --> 00:01:12,780\nThat guy is crazy, right Daddy?\n\n14\n00:01:12,970 --> 00:01:13,970\nDon't think so.\n\n15\n00:01:17,400 --> 00:01:18,410\nThis is ridiculous.\n\n16\n00:01:18,870 --> 00:01:19,990\nIt's been over half an hour.\n\n17\n00:01:20,420 --> 00:01:22,490\nThe guy is a nut job. Stop it.\n\n18\n00:01:23,240 --> 00:01:24,460\nNoah, give me the phone again.\n\n19\n00:01:47,230 --> 00:01:49,010\nDaddy. What was that?\n\n20\n00:01:50,180 --> 00:01:51,960\nNothing. Nothing.\n\n21\n00:01:53,170 --> 00:01:55,860\nI have goosebumps, people!\n\n22\n00:02:18,240 --> 00:02:20,910\nI wish you could see what I'm seeing, people.\n\n23\n00:02:21,160 --> 00:02:24,000\nI wish you could be here with me!\n\n24\n00:02:24,490 --> 00:02:26,030\nOh, baby!\n\n25\n00:02:27,760 --> 00:02:29,390\nBring it on!\n\n26\n00:02:29,940 --> 00:02:36,970\nYou heard it first from Charlie!\n\n27\n00:02:51,680 --> 00:02:53,170\nDaddy, it's following us!\n\n28\n00:02:53,190 --> 00:02:56,140\nGet down on the ground and hold on.\n\n29\n00:02:56,160 --> 00:02:58,870\nDon't look back. Just look at me.\n\n30\n00:02:58,900 --> 00:03:00,380\nDo I look scared? Uhum.\n\n31\n00:03:05,770 --> 00:03:07,580\nHold on baby. Hold on tight.\n\n32\n00:03:14,930 --> 00:03:16,300\nDaddy, we're on fire!\n\n33\n00:03:25,260 --> 00:03:26,500\nThere they are!\n\n34\n00:03:32,730 --> 00:03:35,560\nIt's them. It's them!\n\n", "sdh": "1\n00:00:00,050 --> 00:00:02,470\n(RUMBLING)\n\n2\n00:00:07,770 --> 00:00:09,810\nIt's starting.\n\n3\n00:00:17,780 --> 00:00:20,280\nYou sure you don't wanna\ncome with, man?\n\n4\n00:00:20,450 --> 00:00:23,910\nIt's so beautiful.\nI'm gonna stay.\n\n5\n00:00:24,830 --> 00:00:26,410\nGood luck.\n\n6\n00:00:29,620 --> 00:00:35,130\nThis marks the last day\nof the United States of America.\n\n7\n00:00:36,460 --> 00:00:39,800\nAnd, by tomorrow, all of mankind.\n\n8\n00:00:39,970 --> 00:00:42,470\nAnd we will be visible\nfrom the Milky Way\n\n9\n00:00:42,640 --> 00:00:45,350\nas a tiny little puff of smoke.\n\n10\n00:00:45,970 --> 00:00:50,520\n(CONTINUING ON RADIO) I'm\nwatching the earth crumble before my eyes.\n\n11\n00:00:51,480 --> 00:00:57,070\nThe giant ash cloud\ncreated by this super-volcano\n\n12\n00:00:57,230 --> 00:00:59,320\nwill first envelop Vegas\n\n13\n00:00:59,820 --> 00:01:01,320\nand then St. Louis\n\n14\n00:01:01,990 --> 00:01:03,990\nand then Chicago\n\n15\n00:01:04,160 --> 00:01:06,200\nand then, at long last,\n\n16\n00:01:06,370 --> 00:01:10,830\nWashington, DC.\nWill have its lights go out!\n\n17\n00:01:11,000 --> 00:01:14,000\n- That guy's crazy, right, Daddy?\n- I don't think so.\n\n18\n00:01:16,880 --> 00:01:18,340\nThis is ridiculous.\n\n19\n00:01:18,510 --> 00:01:21,090\nBeen over half an hour.\nI tell you, the guy's a nut job.\n\n20\n00:01:21,260 --> 00:01:22,840\nStop it, Gordon.\n\n21\n00:01:23,010 --> 00:01:24,930\nNoah, hand me the phone again.\n\n22\n00:01:42,150 --> 00:01:46,160\n(♪ ♪ ♪)\n\n23\n00:01:47,030 --> 00:01:49,080\nDaddy, what was that?\n\n24\n00:01:50,080 --> 00:01:52,540\nNothing. Nothing.\n\n25\n00:01:53,000 --> 00:01:55,880\nI have goose bumps, people.\n\n26\n00:02:18,060 --> 00:02:20,940\nI wish you could see\nwhat I'm seeing, people.\n\n27\n00:02:21,110 --> 00:02:23,650\nI wish you could be here with me!\n\n28\n00:02:24,360 --> 00:02:25,820\nOh, baby.\n\n29\n00:02:25,990 --> 00:02:27,570\n(LAUGHS)\n\n30\n00:02:27,740 --> 00:02:29,740\nBring it on!\n\n31\n00:02:29,910 --> 00:02:31,580\nAlways remember, folks,\n\n32\n00:02:32,410 --> 00:02:35,620\nyou heard it first from Charlie!\n\n33\n00:02:41,420 --> 00:02:44,420\n(♪ ♪ ♪)\n\n34\n00:02:51,560 --> 00:02:52,930\nDaddy, it's following us.\n\n35\n00:02:53,100 --> 00:02:54,700\nDon't look at it!\nGet down on the ground.\n\n36\n00:02:54,770 --> 00:02:56,940\nGet on the ground and hold on.\nDon't look back.\n\n37\n00:02:57,100 --> 00:02:58,370\nDon't look back.\nJust look at me.\n\n38\n00:02:58,400 --> 00:03:01,480\n- Look at me. Do I look scared?\n- Uh-huh.\n\n39\n00:03:05,360 --> 00:03:07,490\nNow, hold on, baby. Hold on tight.\n\n40\n00:03:13,450 --> 00:03:14,660\n(LILLY SCREAMS)\n\n41\n00:03:14,830 --> 00:03:16,290\nDaddy, we're on fire.\n\n42\n00:03:24,960 --> 00:03:26,800\nThere it is! There they are.\n\n43\n00:03:30,930 --> 00:03:32,060\n(HONKING HORN)\n\n44\n00:03:32,220 --> 00:03:33,520\nIt's them.\n\n45\n00:03:33,680 --> 00:03:35,730\nIt's them. It's them.\n\n", "screenplay": "{\"screenplay_scene_73\": \"<scene>\\n    <stage_direction>EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>Charlie has his broadcasting equipment strapped to his body . The antenna 's flag is whipping in the wind .</scene_description>\\n    <character>CHARLIE FROST</character>\\n    <parenthetical>( into his mic . )</parenthetical>\\n    <dialogue>. I wish you guys at home could see this on TV.</dialogue>\\n    <scene_description>He notices Jackson and muffles the microphone .</scene_description>\\n    <character>CHARLIE FROST</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>How did you make it up here? Thought you were toast.</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>The spaceships Charlie, where are they?</dialogue>\\n    <character>CHARLIE FROST</character>\\n    <dialogue>You ca n't make it there.</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>We have a plane. We can get you out of here too. Let's go Charlie!</dialogue>\\n    <scene_description>All around the landscape begins to collapse . A three mile crater forms , revealing the awe - inspiring sight of the super - volcano .</scene_description>\\n    <character>CHARLIE FROST</character>\\n    <dialogue>You'll never make it out in time. Just stay and enjoy the big bang. That your kid?</dialogue>\\n    <scene_description>Jackson discovers Lilly standing behind him , staring at Charlie with her big brown eyes . Jackson grabs Charlie lifting him off the ground .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>Where is that god damn map!</dialogue>\\n    <character>CHARLIE FROST</character>\\n    <dialogue>Easy, easy. Watch the mic. I do n't know. Somewhere in my camper.</dialogue>\\n    <scene_description>A low rumble builds to a rapturous thunder as MILLIONS OF BIRDS tear into flight .</scene_description>\\n    <character>CHARLIE FROST</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Wow! Look at that!</dialogue>\\n    <parenthetical>( into his mic . )</parenthetical>\\n    <dialogue>Fly birdies fly! This marks the last day of the United States of America folks and by tomorrow.</dialogue>\\n    <scene_description>The mouth of the volcano starts to break apart revealing molten lava underneath .</scene_description>\\n    <character>CHARLIE FROST</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>the last of mankind. Soon they'll see us from a million miles away, out there in the milky way.</dialogue>\\n    <scene_description>Jackson grabs his wide eyed daughter and races down the mountain .</scene_description>\\n  </scene>\", \"screenplay_scene_74\": \"<scene>\\n    <stage_direction>EXT. BELOW MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>Jackson and Lilly jump into the RV and races off , with Charlie 's broadcast still playing .</scene_description>\\n    <character>CHARLIE'S VOICE</character>\\n    <dialogue>The ash cloud will travel everywhere. First the lights will go out in Vegas, then Dallas, St. Louis and then Washington DC.</dialogue>\\n    <scene_description>Jackson 's cell phone rings and he picks up .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>We're on our way.</dialogue>\\n  </scene>\", \"screenplay_scene_75\": \"<scene>\\n    <stage_direction>EXT. RESEARCH FACILITY/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <character>KATE</character>\\n    <dialogue>Jackson, things are really looking bad here!</dialogue>\\n    <scene_description>In that instant , the air around them vanishes , as if sucked from the landscape into a vacuum . THE BIGGEST EXPLOSION THE WORLD HAS EVER SEEN . At least in the last 640,000 years . To them , all this occurs in total silence . The sound of the eruption has not reached them yet . They are frozen , unable to comprehend what is happening .</scene_description>\\n  </scene>\", \"screenplay_scene_76\": \"<scene>\\n    <stage_direction>EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>The explosion begins to resembles an atomic mushroom .</scene_description>\\n    <character>CHARLIE FROST</character>\\n    <dialogue>it's beautiful, kids! Just beautiful!</dialogue>\\n    <scene_description>The sound waves reach Charlie , throwing him to the ground .</scene_description>\\n  </scene>\", \"screenplay_scene_77\": \"<scene>\\n    <stage_direction>EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>The RV flies over the rugged terrain . Everywhere the earth is cracking , falling apart . Jackson struggles to swerve around the disappearing landscape .</scene_description>\\n    <character>LILLY</character>\\n    <parenthetical>( SCREAMING . )</parenthetical>\\n    <dialogue>It's following us!</dialogue>\\n    <scene_description>Lilly has discovered the expanding ASH CLOUD behind them .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>Just do n't look back, Lil ` bee!</dialogue>\\n    <scene_description>The THUNDERING sound envelopes them ! On the radio , the voice of Charlie is getting shrill .</scene_description>\\n    <character>CHARLIE'S VOICE</character>\\n    <dialogue>Majestic! Oh yeah!</dialogue>\\n  </scene>\", \"screenplay_scene_78\": \"<scene>\\n    <stage_direction>EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>Charlie slowly tries to stand again , silhouetted against the cloud of dust and fire towering above him . Flaming rocks fly towards him . When they hit the ground , they detonate like fire bombs .</scene_description>\\n    <character>CHARLIE'S VOICE</character>\\n    <dialogue>Oh baby! It's coming!</dialogue>\\n  </scene>\", \"screenplay_scene_79\": \"<scene>\\n    <stage_direction>EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>Rocks plummet like comets around the RV as Jackson races over a collapsing bridge . On the radio , in his delirious state , Charlie begins to sing .</scene_description>\\n    <character>CHARLIE'S VOICE</character>\\n    <dialogue>` This is the end, my friend'.</dialogue>\\n    <scene_description>Yellowstone looks like a war zone . The RV dodges the bombardment of fire and rock .</scene_description>\\n  </scene>\", \"screenplay_scene_80\": \"<scene>\\n    <stage_direction>EXT. MOUNTAIN PEAK/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>Huge tree trunks and glowing boulders fly at Charlie through the ashes . He screams at the top of his lungs .</scene_description>\\n    <character>CHARLIE FROST</character>\\n    <dialogue>Folks, always remember, you heard it first from Charlie.</dialogue>\\n    <scene_description>A second later , Charlie 's radio antenna comes spinning like a scythe through the air . It decapitates Charlie in an instant .</scene_description>\\n  </scene>\", \"screenplay_scene_81\": \"<scene>\\n    <stage_direction>EXT. DIRT ROAD/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>The radio cuts out . The forest and the camp grounds are mown flat by the extreme force of the ASH CLOUD . In the rear view mirror Jackson sees it gaining on them . JACKSON LILLY ! DOWN ! A firebomb hits the RV , ripping half the roof off . Lilly barely makes it under the dashboard .</scene_description>\\n    <character>JACKSON</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Stay down there, Lil'! We're almost there! Just keep looking at daddy.</dialogue>\\n    <scene_description>Jackson spots the little Cessna in the distance .</scene_description>\\n  </scene>\"}", "movie_duration": "9470.43", "video_start": "3484.58", "video_duration": "218.01"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "H__1sSCrb6JX", "audio_description_us": "1\n00:00:01,340 --> 00:00:03,750\nAs Kate gawks, Jackson drives right toward it.\n\n2\n00:00:06,970 --> 00:00:07,970\nHe stomps the gas\n\n3\n00:00:07,970 --> 00:00:09,840\nand the RV flies off the edge.\n\n4\n00:00:11,430 --> 00:00:13,260\nIt sails airborne over the fissure,\n\n5\n00:00:13,260 --> 00:00:16,100\nthen crashes down onto the\nairstrip in a cloud of dust.\n\n6\n00:00:16,310 --> 00:00:17,350\nKate dashes up to it\n\n7\n00:00:17,350 --> 00:00:18,940\nas Jackson kicks the door open.\n\n8\n00:00:18,980 --> 00:00:20,150\nHe hands her Lilly.\n\n9\n00:00:24,270 --> 00:00:25,900\nAs Kate and Lilly dart toward the plane,\n\n10\n00:00:25,900 --> 00:00:27,740\nJackson leaps back into the RV.\n\n11\n00:00:27,950 --> 00:00:28,990\nThe tarmac bulges\n\n12\n00:00:28,990 --> 00:00:30,030\nand cracks beneath it.\n\n13\n00:00:30,110 --> 00:00:30,910\nAt the plane...\n\n14\n00:00:32,740 --> 00:00:35,040\nMeanwhile, Jackson searches labelled shelves.\n\n15\n00:00:37,750 --> 00:00:38,500\nAt the plane...\n\n16\n00:00:41,710 --> 00:00:44,550\nIn the RV, he finds a map,\nand it's for the London Tube.\n\n17\n00:00:44,630 --> 00:00:45,630\nBack on the plane...\n\n18\n00:00:47,340 --> 00:00:49,550\nIn the RV, Jackson finds the right map.\n\n19\n00:00:49,680 --> 00:00:51,800\nA pyroclast hits the crack in the tarmac\n\n20\n00:00:51,800 --> 00:00:53,720\nand it opens wide into a chasm.\n\n21\n00:00:53,930 --> 00:00:55,720\nThe RV tips over its edge.\n\n22\n00:00:55,850 --> 00:00:58,520\nJackson slides down the floor\nto the vehicle's open rear\n\n23\n00:00:58,520 --> 00:01:00,640\nand dangles over a river of magma.\n\n24\n00:01:00,810 --> 00:01:02,230\nThe RV plummets.\n\n25\n00:01:14,580 --> 00:01:16,370\nPouting, Gordon pushes the throttle.\n\n26\n00:01:16,490 --> 00:01:18,120\nThe plane moves down the airstrip.\n\n27\n00:01:22,880 --> 00:01:25,040\nJackson's hand grips the edge of the chasm.\n\n28\n00:01:25,090 --> 00:01:26,090\nKate spots it.\n\n29\n00:01:30,920 --> 00:01:33,010\nHis other hand appears, clutching the map.\n\n30\n00:01:33,090 --> 00:01:34,510\nJackson pulls himself up\n\n31\n00:01:34,510 --> 00:01:35,970\nand runs after the plane.\n\n32\n00:01:37,470 --> 00:01:40,140\nA cloud of ash and debris\nblasts through a radio tower\n\n33\n00:01:40,140 --> 00:01:41,600\nand closes in on Jackson.\n\n34\n00:01:44,770 --> 00:01:46,520\nHe tries to catch up to the plane.\n\n35\n00:01:59,540 --> 00:02:01,080\nJackson seizes Kate's arm.\n\n36\n00:02:01,210 --> 00:02:02,750\nHe fumbles at the plane's doorway,\n\n37\n00:02:02,750 --> 00:02:04,080\nbut she hauls him inside.\n\n38\n00:02:08,920 --> 00:02:10,960\nThe plane speeds toward the edge of the airstrip\n\n39\n00:02:10,960 --> 00:02:12,170\nand glides off a cliff.\n\n40\n00:02:12,340 --> 00:02:16,180\nAs it soars toward a rocky ridge,\nsmoking pyroclasts ring down around it.\n\n41\n00:02:16,430 --> 00:02:17,220\nGordon swerves\n\n42\n00:02:17,220 --> 00:02:19,140\nand the plane flies out over a valley.\n\n43\n00:02:19,390 --> 00:02:21,270\nThe cloud of ash chases after it.\n\n44\n00:02:21,390 --> 00:02:23,270\nIn the cabin, Kate clutches Lilly.\n\n45\n00:02:23,440 --> 00:02:25,270\nGordon hazards a glance at the cloud.\n\n46\n00:02:29,320 --> 00:02:32,150\nThe plane ascends with the\nash cloud right on its tail.\n\n47\n00:02:34,360 --> 00:02:35,820\nThe black cloud roils forward\n\n48\n00:02:35,820 --> 00:02:37,490\nand engulfs the small plane.\n\n49\n00:02:37,780 --> 00:02:41,450\nInside, the shadowy ash covers the windows\nand darkens the interior.\n\n50\n00:02:41,700 --> 00:02:44,710\nKate hugs her daughter close\nas Jackson gapes anxiously.\n\n51\n00:02:44,960 --> 00:02:48,290\nThe plane bursts out of the cloud\nand zooms away over the valley.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:02,460\n...in the ground between Jackson and the runway.\n\n2\n00:00:08,550 --> 00:00:09,840\nJackson accelerates.\n\n3\n00:00:12,470 --> 00:00:13,680\nThe van clears the gap.\n\n4\n00:00:13,810 --> 00:00:16,850\nThe frantic Kate races towards Lilly and Jackson.\n\n5\n00:00:26,070 --> 00:00:28,320\nThe airstrip below the van starts to crack\n\n6\n00:00:28,320 --> 00:00:29,740\nas Jackson gets back in.\n\n7\n00:00:43,090 --> 00:00:44,590\nJackson finds a Tube map.\n\n8\n00:00:53,260 --> 00:00:55,260\nA fireball lands next to the van.\n\n9\n00:00:55,310 --> 00:00:59,520\nJackson manages to hold on with his feet\ndangling out above a flaming chasm.\n\n10\n00:00:59,690 --> 00:01:00,730\nThe van sinks.\n\n11\n00:01:15,990 --> 00:01:18,660\nThe stony-faced Gordon drives the plane forward.\n\n12\n00:01:24,000 --> 00:01:25,170\nJackson's hand appears\n\n13\n00:01:25,170 --> 00:01:26,590\nand grabs onto the runway.\n\n14\n00:01:32,180 --> 00:01:34,300\nJackson's other hand appears holding the map.\n\n15\n00:01:34,470 --> 00:01:35,390\nHe starts running.\n\n16\n00:01:39,470 --> 00:01:41,140\nJackson runs towards the plane.\n\n17\n00:02:00,410 --> 00:02:02,040\nJackson grabs Kate's hand\n\n18\n00:02:02,040 --> 00:02:03,290\nand jumps on board.\n\n19\n00:02:10,300 --> 00:02:12,380\nThe plane drops off the end of the runway.\n\n20\n00:02:12,420 --> 00:02:15,930\nKate looks relieved but can't see\nthat they are heading straight for a mound.\n\n21\n00:02:19,520 --> 00:02:21,640\nGordon pulls the plane up just in time.\n\n22\n00:02:23,270 --> 00:02:24,900\nWith the ash cloud gaining on them,\n\n23\n00:02:24,900 --> 00:02:27,310\nGordon nervously turns around and looks out.\n\n24\n00:02:36,160 --> 00:02:39,160\nThe plane is engulfed by the\nash cloud and disappears.\n\n25\n00:02:39,240 --> 00:02:40,950\nThe passengers all look concerned\n\n26\n00:02:40,950 --> 00:02:43,000\nbut then suddenly the plane reappears.\n\n27\n00:02:43,330 --> 00:02:44,370\nGordon looks back.\n\n", "subtitles": "1\n00:00:05,300 --> 00:00:06,000\nOh, Dady\n\n2\n00:00:06,020 --> 00:00:07,700\nHang on baby. Hang on.\n\n3\n00:00:31,800 --> 00:00:33,960\nLil, grab my hand. Come on, Noah.\n\n4\n00:00:34,310 --> 00:00:35,310\nLilly, you okay?\n\n5\n00:00:39,900 --> 00:00:42,220\nEverybody on? Ready? Jackson!\n\n6\n00:00:45,700 --> 00:00:46,920\nWhere is he? What's he doing?\n\n7\n00:00:46,940 --> 00:00:47,940\nNo!\n\n8\n00:01:01,600 --> 00:01:03,740\nDaddy! No!\n\n9\n00:01:08,260 --> 00:01:10,020\nHey. We have to go.\n\n10\n00:01:10,130 --> 00:01:11,490\nNo, we're not going anywhere!\n\n11\n00:01:11,520 --> 00:01:12,730\nKids, buckle up. We're leaving.\n\n12\n00:01:12,760 --> 00:01:15,060\nHe's my Dad. We're gonna wait!\n\n13\n00:01:20,620 --> 00:01:21,620\nNo!\n\n14\n00:01:22,540 --> 00:01:23,800\nDaddy!\n\n15\n00:01:27,910 --> 00:01:30,750\nWait! Wait. Roland, I see something.\n\n16\n00:01:30,770 --> 00:01:31,770\nDad!\n\n17\n00:01:36,750 --> 00:01:38,220\nIt's Daddy!\n\n18\n00:01:42,570 --> 00:01:43,570\nSlow down!\n\n19\n00:01:46,010 --> 00:01:47,710\nJackson, Reach for my hand!\n\n20\n00:01:47,780 --> 00:01:49,270\nJackson! Dad!\n\n21\n00:01:51,550 --> 00:01:52,650\nWe're running out of runway.\n\n22\n00:01:52,670 --> 00:01:54,520\nFor God's sakes, Kate, pull him up.\n\n23\n00:01:54,580 --> 00:01:56,150\nReach for my hand!\n\n24\n00:01:56,280 --> 00:01:58,250\nDaddy! Come on!\n\n25\n00:01:58,750 --> 00:01:59,950\nDaddy!\n\n26\n00:02:04,310 --> 00:02:05,730\nRight. Here we go!\n\n27\n00:02:07,780 --> 00:02:09,280\nFaster. Faster.\n\n28\n00:02:29,230 --> 00:02:30,230\nHang on\n\n29\n00:02:51,440 --> 00:02:54,360\nOkay. We're good. We're good.\n\n", "sdh": "1\n00:00:05,220 --> 00:00:07,560\n- No, Daddy.\n- Hang on, baby. Hang on!\n\n2\n00:00:10,600 --> 00:00:11,770\nNo, Daddy!\n\n3\n00:00:20,900 --> 00:00:22,240\nOh, my Go...\n\n4\n00:00:22,570 --> 00:00:25,120\n- LILLY: Mommy.\n- Take her, take her. I'll be right back.\n\n5\n00:00:31,750 --> 00:00:34,790\n- Come here, Lil. Grab my hand.\n- Come on, Lil. Lilly, you okay?\n\n6\n00:00:34,960 --> 00:00:37,300\nAliens, Roswell\nand Marilyn Monroe...\n\n7\n00:00:37,460 --> 00:00:39,010\nMaps! Maps!\n\n8\n00:00:39,460 --> 00:00:40,860\nGORDON: Everybody on? Are we ready?\n\n9\n00:00:40,920 --> 00:00:42,340\nJackson!\n\n10\n00:00:45,470 --> 00:00:48,430\n- Kate, where is he? What's he doing?\n- I don't know.\n\n11\n00:00:48,720 --> 00:00:50,270\n(LAUGHING)\n\n12\n00:00:51,600 --> 00:00:53,190\nKATE: No!\n\n13\n00:00:55,610 --> 00:00:57,190\n(YELLING)\n\n14\n00:01:01,530 --> 00:01:03,360\n- Daddy!\n- No!\n\n15\n00:01:06,620 --> 00:01:09,790\n- Oh, my God.\n- Kate, we have to go.\n\n16\n00:01:09,950 --> 00:01:11,540\nNo. We're not\ngoing anywhere.\n\n17\n00:01:11,710 --> 00:01:15,580\n- Kids, buckle up, we're leaving.\n- This is my dad. We're gonna wait.\n\n18\n00:01:20,460 --> 00:01:22,220\nNo!\n\n19\n00:01:22,380 --> 00:01:23,970\nDaddy!\n\n20\n00:01:27,470 --> 00:01:30,390\nWait! Wait, Gordon, I see something.\n\n21\n00:01:30,560 --> 00:01:32,140\nDad!\n\n22\n00:01:32,310 --> 00:01:35,480\n(♪ ♪ ♪)\n\n23\n00:01:36,690 --> 00:01:37,900\nIt's Daddy!\n\n24\n00:01:42,320 --> 00:01:43,650\nSlow down!\n\n25\n00:01:43,820 --> 00:01:44,820\nJackson, run!\n\n26\n00:01:45,820 --> 00:01:48,320\nJackson, take my hand. Jackson.\n\n27\n00:01:48,490 --> 00:01:50,700\n- NOAH: Dad, hurry!\n- Run!\n\n28\n00:01:51,580 --> 00:01:54,660\nWe're running out of runway.\nFor God's sakes, Kate, pull him up.\n\n29\n00:01:54,830 --> 00:01:58,380\n- Jackson, reach for my hand.\n- Dad, you can make it, come on.\n\n30\n00:01:58,540 --> 00:02:00,210\nDaddy!\n\n31\n00:02:04,340 --> 00:02:06,340\nAll right, buckle in. Here we go!\n\n32\n00:02:07,430 --> 00:02:09,100\nCome on, faster. Faster.\n\n33\n00:02:11,770 --> 00:02:15,520\n(♪ ♪ ♪)\n\n34\n00:02:29,030 --> 00:02:30,580\nHang on.\n\n35\n00:02:32,910 --> 00:02:34,750\n- Go faster.\n- GORDON: I'm trying.\n\n36\n00:02:46,010 --> 00:02:50,050\n(♪ ♪ ♪)\n\n37\n00:02:51,550 --> 00:02:53,560\nOkay. We're good!\n\n", "screenplay": "{\"screenplay_scene_82\": \"<scene>\\n    <stage_direction>EXT. EMPTY ARMY BASE/YELLOWSTONE NATIONAL PARK - DAY</stage_direction>\\n    <scene_description>At the entrance to the airstrip a huge crevasse forms , cutting the RV off from reaching the plane . Lilly sticks out her head .</scene_description>\\n    <character>LILLY</character>\\n    <dialogue>Mommy!</dialogue>\\n    <scene_description>Jackson swerves wildly to miss the crack , sending Lilly flying out . Without thinking , he lets go of the wheel , lunging after her and pulling her back inside .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>Stay down darling.</dialogue>\\n    <scene_description>Jackson races the RV alongside the forming crack . Spotting a narrow point in the crevasse , he makes a decision . Slamming the accelerator down , he races towards it at full speed . Moments later the RV is airborne ! Kate watches , too shocked to scream . A few drawn out seconds . Then the RV touches down , crashing 200 feet from the plane . Kate runs towards the wreckage of the camper . Lilly jumps out , racing into her mom 's arms . Jackson turns and sees the cloud approaching .</scene_description>\\n    <character>JACKSON</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>You guys go! I'll be right there!</dialogue>\\n    <scene_description>Kate pulls Lilly back to the plane . Jackson jumps into the back of the RV scavenging through the shelves , looking for Charlie 's map . Kate lifts Lilly onto the wing of the plane . Gordon revs up the engines .</scene_description>\\n    <character>NOAH</character>\\n    <dialogue>Give me your hand, Lil'.</dialogue>\\n    <scene_description>Noah pulls his little sister into the cockpit . Fiery rocks rain from the sky , detonating to the right and left of their plane as Kate climbs in .</scene_description>\\n    <character>GORDON</character>\\n    <dialogue>We have to take off!</dialogue>\\n    <character>NOAH</character>\\n    <dialogue>No!</dialogue>\\n    <character>LILLY</character>\\n    <dialogue>Where's daddy?!</dialogue>\\n    <character>GORDON</character>\\n    <dialogue>Kate, I'm sorry but if we wait we'll all die!</dialogue>\\n    <scene_description>Gordon pushes the throttle . The plane starts to move . Kate screams .</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Gordon! Wait!</dialogue>\\n    <scene_description>Back in the RV , Jackson is frantically going through the masses of books and papers on the shelves . Finally , a map . He unfolds it . But it 's only of the London underground system . He throws it to the ground and finds another . This time he 's lucky ! There are markings everywhere . As he races to the door , the ground gives way beneath the RV . Kate and the kids watch it disappear from sight .</scene_description>\\n    <character>KATE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>JACKSON! NO!</dialogue>\\n    <scene_description>Noah begins to cry and Lilly clings to her mom . Gordon just stares , paralyzed . The ASH CLOUD is almost upon them ! Gordon takes action and accelerates the plane . Kate turns back . A hand emerges from the crevasse . Then another , holding a map . Her face lights up .</scene_description>\\n    <character>LILLY</character>\\n    <dialogue>It's daddy!</dialogue>\\n    <scene_description>Jackson pulls himself up and sprints towards them , the map in his hand .</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Jackson! Here!</dialogue>\\n    <scene_description>Kate leans out of the cockpit reaching for him .</scene_description>\\n    <character>NOAH</character>\\n    <dialogue>Faster Dad. You can make it!</dialogue>\\n    <character>GORDON</character>\\n    <dialogue>Kate, grab him for god sake. We're almost out of runway.</dialogue>\\n    <scene_description>Using every last ounce of energy , Jackson leaps onto the wing and is yanked into the plane by Kate . Just at that moment , the plane lifts off . Jackson falls into the cockpit , completely out of breath . Lilly crawls over and hugs him .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>Thanks for waiting guys.</dialogue>\\n    <scene_description>Now all eyes are glued to the speedometer . 180 . 190 . The violent ASH CLOUD is hitting their tail rudder . The plane swerves wildly ! Gordon gets it back under control . The speedometer finally creeps towards 200 mph and the CLOUD slowly falls back . Everybody breathes a sigh of relief .</scene_description>\\n    <character>KATE</character>\\n    <dialogue>So, now that you got your map, where are we going?</dialogue>\\n    <scene_description>Jackson unfolds it and takes a look . Hundreds of markings clutter the map . In the left corner he discovers a large letter C followed by H - I - N - A . He looks up .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>We're gon na need a bigger plane.</dialogue>\\n  </scene>\"}", "movie_duration": "9470.43", "video_start": "3709.34", "video_duration": "174.92"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "RiCreDyuEkgn", "audio_description_us": "1\n00:00:01,960 --> 00:00:06,170\nIn the White House, the President\nwalks a hall filled with ash covered refugees.\n\n2\n00:00:06,260 --> 00:00:07,550\nA soldier salutes him.\n\n3\n00:00:09,760 --> 00:00:10,640\nHe reciprocates,\n\n4\n00:00:10,640 --> 00:00:12,140\nthen continues down the hall.\n\n5\n00:00:12,390 --> 00:00:15,770\nHe reaches a middle-aged woman\nhugging a little girl in her arms.\n\n6\n00:00:20,310 --> 00:00:22,730\nSquatting, he smiles kindly at the child.\n\n7\n00:00:27,400 --> 00:00:28,820\nThe President stands.\n\n8\n00:00:30,280 --> 00:00:32,870\nNow he wanders through the crowd\noutside the White House,\n\n9\n00:00:32,870 --> 00:00:36,620\nstopping by a paramedic who busily\ntends to patients on gurneys.\n\n10\n00:00:42,170 --> 00:00:43,710\nThe medic looks up from his work.\n\n11\n00:00:50,680 --> 00:00:53,180\nA dangling IV bag trembles on its pole.\n\n12\n00:00:53,260 --> 00:00:54,560\nThe ground lurches.\n\n13\n00:00:55,760 --> 00:00:58,230\nA violent tremor knocks President Wilson over.\n\n14\n00:00:58,310 --> 00:01:00,140\nHe grabs a gurney for support.\n\n15\n00:01:02,190 --> 00:01:04,820\nClinging to the gurney's IV pole, his eyes widen\n\n16\n00:01:04,940 --> 00:01:07,110\nas the Washington Monument pitches forward.\n\n17\n00:01:07,440 --> 00:01:09,030\nIts pointed top breaks off\n\n18\n00:01:09,070 --> 00:01:11,610\nand the towering obelisk crashes to the ground.\n\n19\n00:01:12,910 --> 00:01:14,450\nMeanwhile, on Air Force One...\n\n20\n00:01:23,000 --> 00:01:24,210\nAll eyes turn on Laura,\n\n21\n00:01:24,210 --> 00:01:26,460\nwho averts her heartbroken gaze.\n\n22\n00:01:34,340 --> 00:01:36,890\nAs the aide takes the call, Adrian comforts Laura.\n\n23\n00:01:54,820 --> 00:01:57,080\nAdrian regards Anheuser sceptically.\n\n24\n00:01:57,280 --> 00:02:01,620\nNow in Vatican City, warm light bathes\nthe people crowding into St. Peter's Square\n\n25\n00:02:01,620 --> 00:02:03,790\nas the Pope holds Mass from a balcony.\n\n26\n00:02:08,880 --> 00:02:10,920\nAmong the devout, the Prime Minister,\n\n27\n00:02:10,920 --> 00:02:14,220\nhis wife and their two boys hold\ncandles and cross themselves.\n\n28\n00:02:14,510 --> 00:02:18,760\nIn the Sistine Chapel, several dozen\ncardinals kneel in a circle and pray.\n\n29\n00:02:19,100 --> 00:02:22,940\nOne red capped man looks up as dust\nand plaster fall from the ceiling.\n\n30\n00:02:23,140 --> 00:02:26,400\nOur view glides to Michelangelo's painting\nof the creation of Adam.\n\n31\n00:02:28,020 --> 00:02:32,240\nA crack appears in the vaulted ceiling\nand forks between the fingertips of Adam and God.\n\n32\n00:02:32,360 --> 00:02:33,820\nThe ceiling caves in.\n\n33\n00:02:34,070 --> 00:02:37,950\nIn St Peter's Square, onlookers\npanic as the basilica collapses.\n\n34\n00:02:38,120 --> 00:02:40,870\nThe Prime Minister stands still\nwith his frightened family.\n\n35\n00:02:41,330 --> 00:02:43,410\nThe basilica stone facade crumbles\n\n36\n00:02:43,460 --> 00:02:44,960\nand the building tips forward,\n\n37\n00:02:45,000 --> 00:02:48,340\nits Renaissance-era dome lurching\ntoward the fleeing crowd below.\n\n38\n00:02:48,750 --> 00:02:50,960\nPeople trip on each other as they scramble.\n\n39\n00:02:51,210 --> 00:02:52,880\nThe dome crashes to the ground.\n\n40\n00:02:54,800 --> 00:02:57,010\nIt skids, fragmenting across the square\n\n41\n00:02:57,010 --> 00:02:58,390\nas it rolls over the crowd.\n\n", "audio_description_uk": "1\n00:00:10,590 --> 00:00:12,550\nHe returns the soldier's salute.\n\n2\n00:00:31,530 --> 00:00:33,780\nNow outside amongst various stretchers,\n\n3\n00:00:33,780 --> 00:00:35,580\nthe President speaks to a medic.\n\n4\n00:00:50,800 --> 00:00:53,850\nThe President looks worried as a drip bag starts to wobble\n\n5\n00:00:53,850 --> 00:00:55,390\ncaused by a huge earthquake\n\n6\n00:00:55,390 --> 00:00:57,140\nthat then shakes the ground fiercely.\n\n7\n00:00:57,390 --> 00:00:59,430\nThe President is knocked onto his knees.\n\n8\n00:00:59,810 --> 00:01:01,850\nClutching onto the drip stand, he looks up\n\n9\n00:01:01,850 --> 00:01:04,860\nand sees the Washington Monument\nstart to crumble and fall.\n\n10\n00:01:04,980 --> 00:01:06,530\nThen back on Air Force One...\n\n11\n00:01:24,000 --> 00:01:25,380\nEveryone looks at Scotty.\n\n12\n00:01:25,380 --> 00:01:26,500\nLaura looks upset.\n\n13\n00:01:56,660 --> 00:01:59,700\nA huge crowd gathered for\nMass in St Peter's Square\n\n14\n00:01:59,700 --> 00:02:01,080\nare addressed by the Pope.\n\n15\n00:02:01,410 --> 00:02:04,290\nHolding candles, people of\nall ages cross themselves,\n\n16\n00:02:04,290 --> 00:02:07,540\nincluding the Italian Prime\nMinister with his wife and son.\n\n17\n00:02:13,470 --> 00:02:17,760\nInside the Sistine Chapel,\nnumerous cardinals in red caps are praying.\n\n18\n00:02:17,970 --> 00:02:20,220\nOne of them looks up on hearing the rumbling.\n\n19\n00:02:20,470 --> 00:02:23,770\nHe sees a crack appear in Michelangelo's\npainting on the ceiling.\n\n20\n00:02:24,020 --> 00:02:27,400\nThe crack runs right between\nAdam and God's fingertips.\n\n21\n00:02:27,610 --> 00:02:28,940\nThe ceiling collapses.\n\n22\n00:02:35,490 --> 00:02:37,530\nThe light goes out in the basilica's dome\n\n23\n00:02:37,530 --> 00:02:38,950\nand it begins to collapse.\n\n24\n00:02:39,450 --> 00:02:42,000\nThe Italian Prime Minister stares open-mouthed.\n\n25\n00:02:42,250 --> 00:02:44,080\nThe huge crowd members start to flee\n\n26\n00:02:44,080 --> 00:02:45,710\nas the large basilica falls,\n\n27\n00:02:45,710 --> 00:02:46,710\ncrushing many of them.\n\n28\n00:02:56,340 --> 00:02:57,590\nBack on Air Force One,\n\n29\n00:02:57,590 --> 00:02:59,100\nstaring at the computer screen,\n\n", "subtitles": "1\n00:00:08,390 --> 00:00:09,670\nMr President, Sir.\n\n2\n00:00:17,410 --> 00:00:20,050\nWhat's the matter, sweety? She can't find her Daddy.\n\n3\n00:00:22,830 --> 00:00:25,500\nWhy don't you two get comfy on that couch?\n\n4\n00:00:25,790 --> 00:00:27,220\nSally, come here\n\n5\n00:00:28,990 --> 00:00:30,420\nI'll find your Daddy.\n\n6\n00:00:38,860 --> 00:00:40,220\nWho can help me with missing persons?\n\n7\n00:00:40,240 --> 00:00:42,000\nSorry, man, I'm really busy right now.\n\n8\n00:00:43,790 --> 00:00:47,480\nI mean of course, sir. Sorry, Mr President.\n\n9\n00:00:47,510 --> 00:00:49,720\nDon't worry about it, you're doing a great job, son.\n\n10\n00:01:16,660 --> 00:01:18,910\nWhat's happening? The capital has been hit by a 9.4\n\n11\n00:01:18,930 --> 00:01:20,510\nLost communication with the White House, sir.\n\n12\n00:01:20,530 --> 00:01:22,740\nWhere is it centered? North Chesapeake bay.\n\n13\n00:01:27,370 --> 00:01:30,600\nMr Anheuser, Russian president on the line, sir.\n\n14\n00:01:31,220 --> 00:01:32,220\nExcuse me.\n\n15\n00:01:33,030 --> 00:01:34,680\nWe just entered Chinese air space.\n\n16\n00:01:36,870 --> 00:01:38,260\nThat's affirmative, Mr President.\n\n17\n00:01:38,800 --> 00:01:43,760\nUntil communication is restored, I suppose I am in command.\n\n18\n00:01:44,670 --> 00:01:47,000\nIt appears that all other heads of state are en route,\n\n19\n00:01:47,020 --> 00:01:49,500\nWith the exception of the Italian Prime Minister,\n\n20\n00:01:50,400 --> 00:01:55,040\nWho has also decided to stay behind and trust in prayer.\n\n", "sdh": "1\n00:00:08,300 --> 00:00:09,390\nMr. President, sir.\n\n2\n00:00:14,270 --> 00:00:15,890\nMr. President.\n\n3\n00:00:17,390 --> 00:00:20,150\n- WILSON: What's the matter, sweetie?\n- She can't find her daddy.\n\n4\n00:00:22,860 --> 00:00:24,820\nWhy don't you two\nget comfy on that couch?\n\n5\n00:00:24,980 --> 00:00:27,780\nSally, come help them out, okay?\n\n6\n00:00:29,070 --> 00:00:31,070\nI'll find your daddy.\n\n7\n00:00:32,990 --> 00:00:34,870\n(SIREN WAILING)\n\n8\n00:00:38,830 --> 00:00:40,500\nWho can help me\nwith missing persons?\n\n9\n00:00:40,670 --> 00:00:43,210\nSorry, man.\nI'm really busy right now.\n\n10\n00:00:44,420 --> 00:00:47,340\nI mean... Of course, sir.\nSorry, Mr. President.\n\n11\n00:00:47,510 --> 00:00:50,300\nDon't worry about it.\nYou're doing a great job, son.\n\n12\n00:00:54,310 --> 00:00:55,510\n(CRACKING AND SCREECHING)\n\n13\n00:00:55,680 --> 00:00:57,430\n(PEOPLE YELLING INDISTINCTLY)\n\n14\n00:01:15,120 --> 00:01:16,200\n(ALARM BEEPING)\n\n15\n00:01:16,370 --> 00:01:17,410\nWhat's happening?\n\n16\n00:01:17,580 --> 00:01:19,210\nMAN 1: The capital's been hit by a 9.4.\n\n17\n00:01:19,370 --> 00:01:20,970\nMAN 2: We've lost communication\nwith the White House, sir.\n\n18\n00:01:21,000 --> 00:01:23,580\n- Where's it centered?\n- North Chesapeake Bay.\n\n19\n00:01:27,300 --> 00:01:30,970\nMr. Anheuser, the Russian\npresident's on the line, sir.\n\n20\n00:01:31,130 --> 00:01:32,180\nExcuse me.\n\n21\n00:01:33,090 --> 00:01:35,550\nOFFICER: We just entered Chinese airspace.\n\n22\n00:01:36,850 --> 00:01:38,720\nANHEUSER: That's\naffirmative, Mr. President.\n\n23\n00:01:38,890 --> 00:01:43,600\nUntil communication is restored,\nI suppose I am in command.\n\n24\n00:01:44,560 --> 00:01:47,150\nIt appears that all other\nheads of state are en route,\n\n25\n00:01:47,320 --> 00:01:49,940\nwith the exception\nof the Italian prime minister,\n\n26\n00:01:50,360 --> 00:01:54,990\nwho has also decided\nto stay behind and trust in prayer.\n\n27\n00:01:55,830 --> 00:01:59,120\n(♪ ♪ ♪)\n\n28\n00:01:59,290 --> 00:02:02,080\n(POPE SPEAKING IN ITALIAN\nOVER SPEAKERS)\n\n29\n00:02:34,780 --> 00:02:37,620\n(PEOPLE SCREAMING)\n\n", "screenplay": "null", "movie_duration": "9470.43", "video_start": "5290.85", "video_duration": "179.82"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "IG5mGUxlEyym", "audio_description_us": "1\n00:00:00,040 --> 00:00:02,500\nAt sea, moonlight shows the distant cruise ship,\n\n2\n00:00:02,500 --> 00:00:05,050\nthen a rising wave which eclipses our view.\n\n3\n00:00:05,300 --> 00:00:07,420\nOn board, Harry plays a piano.\n\n4\n00:00:09,430 --> 00:00:11,050\nHe solemnly sips his drink.\n\n5\n00:00:11,350 --> 00:00:13,930\nIn the galley, Tony watches a fuzzy news report.\n\n6\n00:00:26,440 --> 00:00:28,240\nThe newscast turns to static.\n\n7\n00:00:28,400 --> 00:00:30,700\nHarry hangs back at the edge\nof the galley and watches\n\n8\n00:00:30,700 --> 00:00:32,910\nas his friend rises sadly from his seat.\n\n9\n00:00:33,200 --> 00:00:35,040\nHe gives Tony a concerned look.\n\n10\n00:00:39,960 --> 00:00:43,710\nWith a creased brow, Tony ruefully\nshifts his gaze from Harry's face.\n\n11\n00:00:45,460 --> 00:00:47,090\nHarry averts his eyes.\n\n12\n00:00:48,880 --> 00:00:50,380\nHe regards his friend.\n\n13\n00:00:55,680 --> 00:00:58,560\nHarry's face falls as he sees the TV cart rolling.\n\n14\n00:00:58,810 --> 00:00:59,890\nThe lights flicker.\n\n15\n00:01:00,020 --> 00:01:02,560\nA chef halts a gliding rack of bread and rolls.\n\n16\n00:01:02,770 --> 00:01:05,270\nBuckets of soaking silverware shimmy down a table.\n\n17\n00:01:05,610 --> 00:01:07,690\nAs the kitchen staff struggle to hold on,\n\n18\n00:01:07,820 --> 00:01:10,490\nHarry moves to an exterior\ndoor and grabs its handle.\n\n19\n00:01:10,860 --> 00:01:13,620\nTony desperately clings to a bolted down table.\n\n20\n00:01:13,910 --> 00:01:15,830\nHarry carefully plants a foot outside,\n\n21\n00:01:15,830 --> 00:01:18,830\nthen glances at Tony, who\nstruggles to hold the table's leg.\n\n22\n00:01:25,840 --> 00:01:28,050\nTony loses his grip and slides away,\n\n23\n00:01:28,130 --> 00:01:30,010\nas do numerous waiters and cooks.\n\n24\n00:01:30,260 --> 00:01:34,220\nHarry forces himself out the door\nand stands with his back to a galley window.\n\n25\n00:01:34,510 --> 00:01:36,600\nThe ship lists 45 degrees.\n\n26\n00:01:36,810 --> 00:01:39,560\nHarry stares determinedly\nat the wall of dark water.\n\n27\n00:01:39,850 --> 00:01:42,520\nAs the ship rolls, a sleek\nbank of windows at the bow\n\n28\n00:01:42,520 --> 00:01:46,230\nshows passengers and furnishings tumbling\nto starboard and falling into the sea.\n\n29\n00:01:46,570 --> 00:01:49,150\nThe wave capsizes the vessel. Fade out.\n\n30\n00:01:50,110 --> 00:01:54,240\nIn Washington D.C., ash blankets bodies\nand toppled emergency equipment.\n\n31\n00:01:54,450 --> 00:01:55,700\nOne man stirs.\n\n32\n00:01:55,740 --> 00:01:56,950\nIt's President Wilson.\n\n33\n00:01:57,160 --> 00:02:01,000\nHe props himself up on some debris\nand stares into the murky distance.\n\n34\n00:02:01,120 --> 00:02:04,960\nAn aircraft carrier emerges in the haze\natop an incoming tsunami.\n\n35\n00:02:05,290 --> 00:02:08,800\nAwestruck, the President watches\nthe wave-borne ship lean severely,\n\n36\n00:02:08,880 --> 00:02:10,710\ndumping aircraft from its flight deck.\n\n37\n00:02:10,880 --> 00:02:15,470\nThe White House, one of the last structures\nwith electricity, lies directly in its path.\n\n38\n00:02:16,390 --> 00:02:18,220\nThe President stares at the sight.\n\n39\n00:02:25,520 --> 00:02:27,520\nAs the ship rolls ashore, white lettering\n\n40\n00:02:27,520 --> 00:02:31,240\non its deck comes into plain\nview: USS John F. Kennedy.\n\n41\n00:02:31,570 --> 00:02:33,700\nThe watering force turns the ship slowly.\n\n42\n00:02:33,780 --> 00:02:36,160\nAnd fighter jets tumble away like toys.\n\n43\n00:02:36,320 --> 00:02:39,160\nThe rolling ship barrels over\nthe White House, crushing it.\n\n", "audio_description_uk": "1\n00:00:01,840 --> 00:00:03,710\nMeanwhile, large waves are brewing\n\n2\n00:00:03,710 --> 00:00:05,510\nin the partially moonlit ocean.\n\n3\n00:00:05,840 --> 00:00:08,380\nHarry sits at the piano alone in the bar.\n\n4\n00:00:08,590 --> 00:00:09,760\nHe sips his whiskey.\n\n5\n00:00:10,140 --> 00:00:13,010\nTony watches a TV in the kitchen with the staff.\n\n6\n00:00:28,070 --> 00:00:30,990\nHarry walks into the kitchen\nlooking deeply troubled.\n\n7\n00:00:31,030 --> 00:00:33,830\nTony walks over to his\nfriend who is close to tears.\n\n8\n00:00:57,140 --> 00:00:58,100\nHarry freezes\n\n9\n00:00:58,100 --> 00:01:00,940\nas the trolley holding the TV starts to roll off.\n\n10\n00:01:01,350 --> 00:01:02,940\nAnother trolley begins to roll\n\n11\n00:01:02,940 --> 00:01:04,110\nand the chef stops it.\n\n12\n00:01:04,520 --> 00:01:06,070\nTony reaches out to get a grip\n\n13\n00:01:06,070 --> 00:01:07,320\nas the ship shakes.\n\n14\n00:01:07,570 --> 00:01:09,030\nThe kitchen staff do the same\n\n15\n00:01:09,030 --> 00:01:10,360\nbut Harry heads for the door\n\n16\n00:01:10,360 --> 00:01:12,110\nand steps one foot out on deck\n\n17\n00:01:12,110 --> 00:01:13,660\nwhilst clutching the door handle.\n\n18\n00:01:15,700 --> 00:01:16,580\nTony falls\n\n19\n00:01:16,580 --> 00:01:18,790\nand holds on to a table leg for dear life.\n\n20\n00:01:18,910 --> 00:01:22,670\nNumerous trolleys, bins and kitchen\nstaff go flying across the floor.\n\n21\n00:01:27,630 --> 00:01:28,800\nTony loses his grip\n\n22\n00:01:28,800 --> 00:01:29,880\nand slides at speed,\n\n23\n00:01:29,880 --> 00:01:31,510\ncrashing into a kitchen trolley.\n\n24\n00:01:31,760 --> 00:01:33,720\nHarry steps out fully onto the deck,\n\n25\n00:01:33,720 --> 00:01:36,560\nwith a relaxed look of\nacceptance appearing on his face.\n\n26\n00:01:36,810 --> 00:01:39,520\nHe stares at the huge, dark\nwave heading towards them.\n\n27\n00:01:41,190 --> 00:01:43,150\nTheir ship has now been tipped sideways\n\n28\n00:01:43,150 --> 00:01:45,980\nand falls into the ocean with\nthe wave crashing over it.\n\n29\n00:01:51,030 --> 00:01:53,820\nAmid the wreckage of upturned\nstretchers from the quake,\n\n30\n00:01:53,860 --> 00:01:56,120\nthe American President regains consciousness\n\n31\n00:01:56,120 --> 00:01:56,990\nand sits up.\n\n32\n00:01:57,330 --> 00:02:00,080\nIn the distance, he sees\na massive aircraft carrier\n\n33\n00:02:00,080 --> 00:02:02,000\nwarship tipped onto its side\n\n34\n00:02:02,000 --> 00:02:04,420\nheading towards him on an enormous wave.\n\n35\n00:02:27,230 --> 00:02:30,980\nAs the aircraft carrier comes\ncloser, its name comes into view.\n\n36\n00:02:31,070 --> 00:02:33,400\nIt's the USS John F. Kennedy.\n\n37\n00:02:33,740 --> 00:02:35,950\nThe wave pushes the ship into the White House\n\n38\n00:02:35,950 --> 00:02:37,740\nand decimates it in an instant.\n\n39\n00:02:38,080 --> 00:02:40,120\nThe huge wave then crashes over the top.\n\n", "subtitles": "1\n00:00:14,750 --> 00:00:16,080\nFrom what we have just learned,\n\n2\n00:00:16,100 --> 00:00:19,570\nTokyo seems to have taken the full force of the earthquake.\n\n3\n00:00:19,720 --> 00:00:21,860\nAt this point unconfirmed reports Indicate that\n\n4\n00:00:21,880 --> 00:00:24,620\nLarge areas of land are under water.\n\n5\n00:00:24,940 --> 00:00:26,530\nPlease stay tuned for further\n\n6\n00:00:36,830 --> 00:00:40,130\nTony I called.\n\n7\n00:00:44,300 --> 00:00:45,530\nI was too late.\n\n8\n00:00:50,400 --> 00:00:52,850\nMaybe they got out of town.\n\n9\n00:00:53,840 --> 00:00:55,260\nYou never know.\n\n10\n00:02:23,340 --> 00:02:25,290\nI'm coming home, Dorothy.\n\n", "sdh": "1\n00:00:06,340 --> 00:00:08,640\n(PLAYING PIANO)\n\n2\n00:00:14,560 --> 00:00:16,250\nWOMAN (ON TV): From\nwhat we have just learned,\n\n3\n00:00:16,270 --> 00:00:19,320\nTokyo seems to have taken\nthe full force of the earthquake.\n\n4\n00:00:19,480 --> 00:00:21,730\nAt this point,\nunconfirmed reports indicate\n\n5\n00:00:21,900 --> 00:00:24,820\nthat large areas of land\nare underwater.\n\n6\n00:00:24,990 --> 00:00:26,530\nPlease stay tuned for further...\n\n7\n00:00:26,700 --> 00:00:28,570\n(STATIC BUZZING ON TV)\n\n8\n00:00:36,870 --> 00:00:38,540\nTony...\n\n9\n00:00:39,090 --> 00:00:40,670\nI called.\n\n10\n00:00:44,260 --> 00:00:46,050\nI was too late.\n\n11\n00:00:50,470 --> 00:00:53,770\nMaybe they got out in time.\n\n12\n00:00:53,930 --> 00:00:55,940\nYou never know. They...\n\n13\n00:00:57,100 --> 00:01:00,060\n(CREAKING)\n\n14\n00:01:06,150 --> 00:01:08,870\n(PEOPLE SCREAMING)\n\n15\n00:01:10,580 --> 00:01:13,580\n(♪ ♪ ♪)\n\n16\n00:01:24,210 --> 00:01:25,590\nHarry!\n\n17\n00:02:23,190 --> 00:02:25,860\nI'm coming home, Dorothy.\n\n", "screenplay": "null", "movie_duration": "9470.43", "video_start": "5513.98", "video_duration": "161.29"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "L6jmcLZ8BeGz", "audio_description_us": "1\n00:00:02,090 --> 00:00:04,090\nSasha tensely works the controls.\n\n2\n00:00:04,210 --> 00:00:05,630\nThe plane plummets rapidly,\n\n3\n00:00:05,630 --> 00:00:07,170\nall of its engines smoking.\n\n4\n00:00:07,300 --> 00:00:09,340\nAs its underside skims a mountain ridge.\n\n5\n00:00:09,380 --> 00:00:11,510\nJackson exhales through pursed lips.\n\n6\n00:00:11,640 --> 00:00:14,470\nWith a determined scowl,\nSasha pulls back on the yoke.\n\n7\n00:00:14,810 --> 00:00:16,810\nThe plane skids across another ridge.\n\n8\n00:00:16,890 --> 00:00:18,020\nIn the cargo hold...\n\n9\n00:00:19,060 --> 00:00:20,310\nThe twins cling to each other.\n\n10\n00:00:20,400 --> 00:00:21,310\nIn the cockpit...\n\n11\n00:00:27,950 --> 00:00:31,320\nAs the plane sinks lower,\nJackson and Yuri rush into the cargo hold.\n\n12\n00:00:40,500 --> 00:00:41,920\nNow, Gordon grabs a lever.\n\n13\n00:00:47,510 --> 00:00:48,260\nMeanwhile...\n\n14\n00:00:49,930 --> 00:00:53,050\nReaching a silver Bentley in the rear,\nJackson opens the back door,\n\n15\n00:00:53,140 --> 00:00:54,430\nunstraps one of the tires\n\n16\n00:00:54,430 --> 00:00:56,060\nand tears off a sales sticker.\n\n17\n00:00:56,270 --> 00:00:58,980\nThe plane flies low over a smooth stretch of snow.\n\n18\n00:00:59,140 --> 00:00:59,890\nWith Sasha...\n\n19\n00:01:03,360 --> 00:01:05,570\nGrimacing with effort, Gordon pulls the lever up.\n\n20\n00:01:05,690 --> 00:01:07,530\nThe plane's cargo door opens.\n\n21\n00:01:10,570 --> 00:01:13,200\nIt straightens into a ramp\nand briefly touches down.\n\n22\n00:01:13,240 --> 00:01:14,070\nIn the Bentley...\n\n23\n00:01:16,830 --> 00:01:17,660\nIn the cockpit...\n\n24\n00:01:26,880 --> 00:01:28,050\nGordon hesitates.\n\n25\n00:01:32,300 --> 00:01:34,470\nGordon leaves the grim-faced pilot behind.\n\n26\n00:01:34,550 --> 00:01:36,890\nThe plane touches down, skidding along the ice.\n\n27\n00:01:37,100 --> 00:01:41,270\nReaching the cargo hold, Gordon makes his way\npast the violently rocking cars.\n\n28\n00:01:41,440 --> 00:01:43,060\nIn the Bentley, Jackson finds the key\n\n29\n00:01:43,060 --> 00:01:44,350\nand fits it in the ignition.\n\n30\n00:01:44,560 --> 00:01:46,060\nNoah looks over his shoulder.\n\n31\n00:01:51,030 --> 00:01:51,780\nHe gets in.\n\n32\n00:01:59,370 --> 00:02:01,160\nJackson repeatedly turns the key.\n\n33\n00:02:11,220 --> 00:02:12,470\nA monitor lights up.\n\n34\n00:02:17,180 --> 00:02:18,810\nJackson yanks the gearshift back\n\n35\n00:02:18,810 --> 00:02:20,180\nand floors the accelerator.\n\n36\n00:02:20,390 --> 00:02:22,520\nThe Bentley peels out down the cargo ramp.\n\n37\n00:02:22,810 --> 00:02:24,900\nThe plane bounces and the car vaults.\n\n38\n00:02:25,020 --> 00:02:27,480\nAirbags deploy as it lands on the snowy ice.\n\n39\n00:02:27,690 --> 00:02:32,440\nAs the plane skips across the glacier's surface,\nthe other cars shake loose from their moorings,\n\n40\n00:02:32,490 --> 00:02:34,570\nbounce wildly and tumble down the ramp.\n\n41\n00:02:34,860 --> 00:02:37,990\nPeering around his airbag,\nJackson sees them flying past.\n\n42\n00:02:38,160 --> 00:02:39,540\nThe Bentley comes to a stop.\n\n43\n00:02:39,740 --> 00:02:42,250\nAhead, the plane cuts through\nthe glacier's surface.\n\n44\n00:02:47,580 --> 00:02:50,250\nAs it slides out of Sasha's control, he gawks.\n\n45\n00:02:50,380 --> 00:02:52,010\nA steep drop looms ahead.\n\n46\n00:02:52,260 --> 00:02:54,260\nThe pilot makes the sign of the cross.\n\n47\n00:02:56,890 --> 00:02:59,050\nKissing his knuckle, he closes his eyes.\n\n48\n00:02:59,220 --> 00:03:00,760\nThe plane reaches the cliffside.\n\n49\n00:03:01,010 --> 00:03:04,180\nIts nose dips over the edge,\nfollowed by the fuselage.\n\n50\n00:03:06,690 --> 00:03:08,560\nAbout halfway out, it stops.\n\n51\n00:03:08,650 --> 00:03:09,610\nSasha gapes,\n\n52\n00:03:09,610 --> 00:03:11,190\nthen grins joyfully.\n\n53\n00:03:14,610 --> 00:03:16,280\nHis smile vanishes\n\n54\n00:03:16,410 --> 00:03:18,370\nas ice crumbles beneath its weight.\n\n55\n00:03:18,410 --> 00:03:20,450\nThe enormous aircraft pitches forward.\n\n56\n00:03:20,660 --> 00:03:22,490\nIts right engines burst into flames\n\n57\n00:03:22,490 --> 00:03:25,580\nas the plane slides down the steep,\nrocky face of the mountain.\n\n58\n00:03:25,870 --> 00:03:27,620\nIt crashes onto its nose,\n\n59\n00:03:27,620 --> 00:03:29,500\nsetting off a fiery explosion.\n\n60\n00:03:29,920 --> 00:03:32,800\nFrom the glacier, Tamara\nstares tearfully after Sasha.\n\n61\n00:03:36,590 --> 00:03:38,510\nBlack smoke rises from below.\n\n62\n00:03:39,600 --> 00:03:40,850\nJackson turns.\n\n", "audio_description_uk": "1\n00:00:03,710 --> 00:00:05,260\nThe plane loses altitude\n\n2\n00:00:05,260 --> 00:00:07,970\nand just misses a snow-covered mountain ridge.\n\n3\n00:00:08,300 --> 00:00:09,720\nJackson puffs out his cheeks\n\n4\n00:00:09,720 --> 00:00:10,800\nand stares at Sasha\n\n5\n00:00:10,800 --> 00:00:12,550\nwho tries to bring them down safely.\n\n6\n00:00:12,720 --> 00:00:15,470\nThe plane's belly brushes against a snowy hilltop.\n\n7\n00:00:29,530 --> 00:00:31,240\nThe plane's wing clips a mountain.\n\n8\n00:00:51,680 --> 00:00:54,100\nBefore getting in, Jackson unhooks the Bentley\n\n9\n00:00:54,100 --> 00:00:56,470\nand takes the motor show\nticket off the windscreen.\n\n10\n00:01:04,520 --> 00:01:05,690\nGordon pulls the lever,\n\n11\n00:01:05,690 --> 00:01:07,860\nopening the ramped cargo hold hatch.\n\n12\n00:01:33,890 --> 00:01:35,970\nSasha is the picture of concentration\n\n13\n00:01:35,970 --> 00:01:37,510\nas Gordon returns to the hold\n\n14\n00:01:37,510 --> 00:01:38,930\nand runs towards the Bentley.\n\n15\n00:01:39,140 --> 00:01:41,230\nJackson finds the key in the sun visor\n\n16\n00:01:41,230 --> 00:01:42,100\nand sticks it in.\n\n17\n00:02:19,390 --> 00:02:21,020\nJackson slams into drive\n\n18\n00:02:21,020 --> 00:02:21,890\nand floors it.\n\n19\n00:02:21,930 --> 00:02:23,230\nThey go flying off the ramp\n\n20\n00:02:23,230 --> 00:02:24,560\nand land on the snow.\n\n21\n00:02:24,690 --> 00:02:26,980\nThe other sports cars bounce around the holes.\n\n22\n00:02:27,020 --> 00:02:29,570\nThe force of the landing causes them to spew out\n\n23\n00:02:29,570 --> 00:02:30,400\nand hit the snow,\n\n24\n00:02:30,400 --> 00:02:32,030\nwith some just missing the Bentley.\n\n25\n00:02:32,610 --> 00:02:35,450\nThe car stops in the snow\nwith its airbags engaged.\n\n26\n00:02:35,530 --> 00:02:36,870\nThe plane starts to slow\n\n27\n00:02:36,870 --> 00:02:39,080\nand the steely-eyed Sasha grits his teeth.\n\n28\n00:02:48,460 --> 00:02:50,550\nThe plane is heading for the edge of a cliff.\n\n29\n00:02:50,840 --> 00:02:52,340\nSasha closes his eyes,\n\n30\n00:02:52,340 --> 00:02:53,260\ncrosses himself\n\n31\n00:02:53,260 --> 00:02:54,420\nand kisses his hand.\n\n32\n00:02:54,760 --> 00:02:56,470\nThe plane teeters over the edge\n\n33\n00:02:56,470 --> 00:02:58,100\nand Sasha opens his eyes.\n\n34\n00:03:14,530 --> 00:03:15,490\nSasha smiles\n\n35\n00:03:15,490 --> 00:03:16,740\nbut this soon disappears\n\n36\n00:03:16,740 --> 00:03:19,450\nas the cliff edge holding the flame starts to crumble.\n\n37\n00:03:19,660 --> 00:03:21,120\nThe plane falls straight down\n\n38\n00:03:21,120 --> 00:03:23,160\nand crashes, bursting into flames.\n\n39\n00:03:23,330 --> 00:03:25,250\nHaving seen this, Tamara is crying\n\n40\n00:03:25,250 --> 00:03:26,920\nand covering her mouth in shock.\n\n", "subtitles": "1\n00:00:00,140 --> 00:00:02,310\nWe just lost our last two engines.\n\n2\n00:00:21,310 --> 00:00:24,100\nI'll shoot for that glacier. It's going to get rocky.\n\n3\n00:00:24,360 --> 00:00:27,980\nListen, it's gonna sound crazy, but here's what you have to do.\n\n4\n00:00:32,240 --> 00:00:35,760\nGet up! Follow me!\n\n5\n00:00:35,830 --> 00:00:38,040\nYuri, what are you doing?\n\n6\n00:00:38,290 --> 00:00:40,710\nWe are taking the Bentley!\n\n7\n00:00:42,070 --> 00:00:44,520\nNot yet! Not yet.\n\n8\n00:00:45,010 --> 00:00:47,730\nAlmost there.\n\n9\n00:00:49,130 --> 00:00:50,130\nGet in the car.\n\n10\n00:01:00,840 --> 00:01:03,340\nOkay, go now! Pull!\n\n11\n00:01:08,080 --> 00:01:10,400\nNo no no no no\n\n12\n00:01:14,330 --> 00:01:15,120\nGo, Jackson.\n\n13\n00:01:15,140 --> 00:01:17,020\nWe gotta wait for Sasha and Gordon.\n\n14\n00:01:18,400 --> 00:01:22,090\nGo! Make sure everybody gets off the plane before I touch down.\n\n15\n00:01:22,150 --> 00:01:23,150\nWhat about you?\n\n16\n00:01:23,610 --> 00:01:26,980\nI'll be fine. I have to touch this plane down.\n\n17\n00:01:28,500 --> 00:01:32,720\nWhat are you waiting for? Go!\n\n18\n00:01:47,550 --> 00:01:48,900\nThere he is. I see him!\n\n19\n00:01:49,820 --> 00:01:51,030\nCome on lets go.\n\n20\n00:01:51,080 --> 00:01:51,810\nWhere is Sasha?\n\n21\n00:01:51,840 --> 00:01:52,920\nHe said he's fine.\n\n22\n00:01:53,120 --> 00:01:54,690\nWe should get out of here before he touches down.\n\n23\n00:01:54,710 --> 00:01:57,730\nNo, don't go! We should wait for him No no no no\n\n24\n00:01:57,750 --> 00:01:59,430\nGo Jackson, go.\n\n25\n00:02:01,370 --> 00:02:02,370\nIt won't start.\n\n26\n00:02:04,260 --> 00:02:06,420\nShut up everybody!\n\n27\n00:02:08,140 --> 00:02:11,820\nEngine start.\n\n28\n00:02:14,930 --> 00:02:17,510\nVoice control. Sold me on it.\n\n", "sdh": "1\n00:00:00,280 --> 00:00:02,360\nWe just lost our last two engines.\n\n2\n00:00:18,800 --> 00:00:20,420\n(SCREAMING)\n\n3\n00:00:21,130 --> 00:00:24,260\nI'm gonna shoot for that\nglacier. It's gonna get rocky.\n\n4\n00:00:24,430 --> 00:00:28,680\nListen, this is gonna sound crazy,\nbut here's what you have to do.\n\n5\n00:00:32,310 --> 00:00:34,480\nUnbuckle.\nCome on, come on, come on.\n\n6\n00:00:36,020 --> 00:00:37,900\nYuri! What are we doing?\n\n7\n00:00:38,060 --> 00:00:40,570\nWe are taking the Bentley.\n\n8\n00:00:42,150 --> 00:00:44,700\nNot yet. Not yet.\n\n9\n00:00:44,860 --> 00:00:46,410\nIt has to be perfect.\n\n10\n00:00:46,570 --> 00:00:48,160\nAlmost there.\n\n11\n00:00:48,320 --> 00:00:50,870\nKATE: Come on.\nJACKSON: Get in the car.\n\n12\n00:01:00,880 --> 00:01:03,630\nOkay, go. Now. Pull.\n\n13\n00:01:08,550 --> 00:01:11,060\nNo, no, no!\n\n14\n00:01:14,060 --> 00:01:15,480\nGo. Go, Jackson.\n\n15\n00:01:15,640 --> 00:01:18,150\nNo, we gotta wait\nfor Sasha and Gordon.\n\n16\n00:01:18,310 --> 00:01:21,940\nGo. Make sure everybody gets out\nof the plane before I touch down.\n\n17\n00:01:22,110 --> 00:01:23,150\nWhat about you?\n\n18\n00:01:23,320 --> 00:01:27,820\nI'll be fine.\nI have to touch this baby down.\n\n19\n00:01:28,530 --> 00:01:30,240\nWhat are you waiting for?\n\n20\n00:01:30,410 --> 00:01:33,160\nGo! Go!\n\n21\n00:01:38,960 --> 00:01:41,090\n(CAR ALARMS WAILING)\n\n22\n00:01:47,590 --> 00:01:48,970\nThere he is. I see him.\n\n23\n00:01:49,140 --> 00:01:50,780\n- TAMARA: Where is Sasha?\n- Come on. Let's go.\n\n24\n00:01:50,800 --> 00:01:51,970\nTAMARA: Where is Sasha?\n\n25\n00:01:52,140 --> 00:01:55,020\nHe said he's fine. We should get\nout of here before he touches down.\n\n26\n00:01:55,180 --> 00:01:57,350\nNo, no, no. Don't go.\nWe have to wait for him.\n\n27\n00:01:57,890 --> 00:01:59,810\nGo, Jackson. Go.\n\n28\n00:01:59,980 --> 00:02:03,650\nTAMARA: Don't go!\nIt won't start. It won't start.\n\n29\n00:02:03,820 --> 00:02:07,320\nYURI: Just shut up, everybody!\n\n30\n00:02:08,280 --> 00:02:09,740\nEngine...\n\n31\n00:02:10,490 --> 00:02:11,530\n...start.\n\n32\n00:02:12,240 --> 00:02:14,620\n(ENGINE STARTS)\n\n33\n00:02:14,790 --> 00:02:17,370\nVoice control. Sold me on it.\n\n34\n00:02:21,330 --> 00:02:24,000\n(SCREAMING)\n\n35\n00:03:13,430 --> 00:03:15,680\n(CREAKING)\n\n36\n00:03:15,850 --> 00:03:17,310\n(RUMBLING)\n\n37\n00:03:22,310 --> 00:03:24,560\n(♪ ♪ ♪)\n\n38\n00:03:34,030 --> 00:03:36,620\n(SOBBING)\n\n39\n00:03:37,870 --> 00:03:40,620\n(HELICOPTER BLADES WHIRRING)\n\n", "screenplay": "{\"screenplay_scene_140\": \"<scene>\\n    <stage_direction>EXT. ANTONOV - DAWN</stage_direction>\\n    <scene_description>The remaining two engines barely hold the plane in the air as it dives into the clouds .</scene_description>\\n  </scene>\", \"screenplay_scene_141\": \"<scene>\\n    <stage_direction>INT. CARGO HOLD/ANTONOV - DAWN</stage_direction>\\n    <scene_description>Jackson and his family huddle together . He puts his arms around Lilly and Noah .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>Your daddy has to tell you something.</dialogue>\\n    <scene_description>In the background , Gordon climbs down from the cockpit . He is about to speak when he hears Jackson 's voice .</scene_description>\\n    <character>JACKSON</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I know that with my writing and work I did n't have a lot of time for you both.</dialogue>\\n    <scene_description>Jackson glances at Kate .</scene_description>\\n    <character>JACKSON</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I was n't there for you, the way I should have been.</dialogue>\\n    <scene_description>Jackson looks Kate directly in the eyes .</scene_description>\\n    <character>JACKSON</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>And I am so very sorry for that.</dialogue>\\n    <scene_description>Gordon watches as Kate pulls the kids and Jackson tight . For the first time , they seem a little like the family they once were .</scene_description>\\n    <character>GORDON</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>Jackson, Yuri. I think you guys should come back up here.</dialogue>\\n  </scene>\", \"screenplay_scene_142\": \"<scene>\\n    <stage_direction>INT. COCKPIT/ANTONOV - DAWN</stage_direction>\\n    <scene_description>First Jackson and then Yuri enter the cockpit . Sasha points out of the window .</scene_description>\\n    <character>SASHA</character>\\n    <dialogue>Do n't ask me how that happened.</dialogue>\\n    <scene_description>Behind them Yuri and Jackson stare at the snow covered mountains of the Himalayas .</scene_description>\\n    <character>SASHA</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>There's no more ocean, and it looks like we're pretty close to where we wanted to go.</dialogue>\\n    <character>GORDON</character>\\n    <dialogue>It's as if the whole earth shifted by 1500 miles.</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>No shit.</dialogue>\\n    <parenthetical>( BEAT . )</parenthetical>\\n    <dialogue>It's called ` Earth Crust Displacement' Gordon. Prof. Hapgood, 1958.</dialogue>\\n    <scene_description>Jackson brims with joy .</scene_description>\\n    <character>JACKSON</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Way to go Charlie!</dialogue>\\n    <scene_description>A JOLT !</scene_description>\\n    <character>SASHA</character>\\n    <dialogue>We lost our last two engines.</dialogue>\\n    <scene_description>The plane drops rapidly , nearly scraping the tip of a mountain . Sasha and Gordon are doing all they can to keep the Antonov in the air . A vast glacier spreads out in front of them .</scene_description>\\n    <character>SASHA</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I'll shoot for that glacier. Drain the brake fluids. It's going to get rocky. There, the blue levers!</dialogue>\\n    <scene_description>The plane plummets , loosing altitude fast .</scene_description>\\n    <character>SASHA</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Listen up guys! This may sound a little crazy, but here's what you got to do.</dialogue>\\n  </scene>\", \"screenplay_scene_143\": \"<scene>\\n    <stage_direction>INT. CARGO HOLD/ANTONOV - DAWN</stage_direction>\\n    <scene_description>Jackson and Yuri come running . Yuri yells at his boys .</scene_description>\\n    <character>YURI</character>\\n    <parenthetical>( in Russian . )</parenthetical>\\n    <dialogue>Get up! Follow me!</dialogue>\\n    <character>TAMARA</character>\\n    <dialogue>Yuri bear, what are we doing?</dialogue>\\n    <character>YURI</character>\\n    <dialogue>We're taking the Bentley!</dialogue>\\n  </scene>\", \"screenplay_scene_144\": \"<scene>\\n    <stage_direction>INT. COCKPIT/ANTONOV - DAWN</stage_direction>\\n    <scene_description>Sasha is struggling with the gyrating wheel . The glittering snow field comes flying towards them .</scene_description>\\n    <character>SASHA</character>\\n    <dialogue>CHTO ZA. Gordon! We're still too fast!</dialogue>\\n    <scene_description>Sasha pulls the Antonov back up .</scene_description>\\n    <character>SASHA</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Now! Open it!</dialogue>\\n    <scene_description>Gordon yanks with all his might . A loud NOISE .</scene_description>\\n  </scene>\", \"screenplay_scene_145\": \"<scene>\\n    <stage_direction>INT. CARGO HOLD/ANTONOV - DAWN</stage_direction>\\n    <scene_description>The cargo door drops open . The Antonov is extremely close to the glacier 's surface . Jackson tries to start the Bentley , but nothing happens . Everyone screams in panic .</scene_description>\\n    <character>YURI</character>\\n    <dialogue>SHUT UP EVERY ONE!</dialogue>\\n    <scene_description>They all go quiet , except for a few muffled barks from Caesar . Yuri speaks towards the dashboard , slowly and clearly .</scene_description>\\n    <character>YURI</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Engine. start.</dialogue>\\n    <scene_description>The motor revs to life . Yuri looks at Jackson .</scene_description>\\n    <character>YURI</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Voice control. Sold me on it.</dialogue>\\n  </scene>\", \"screenplay_scene_146\": \"<scene>\\n    <stage_direction>INT. COCKPIT/ANTONOV - DAWN</stage_direction>\\n    <scene_description>Sasha barely holds on . He yells at Gordon .</scene_description>\\n    <character>SASHA</character>\\n    <dialogue>Your turn Gordon! Go! Make sure that they make it out of here before I touch down!</dialogue>\\n    <character>GORDON</character>\\n    <dialogue>What about you?!</dialogue>\\n    <character>SASHA</character>\\n    <dialogue>I'll be fine! I have to land this thing!</dialogue>\\n    <scene_description>Gordon hesitates .</scene_description>\\n    <character>SASHA</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>What are you waiting for!</dialogue>\\n    <scene_description>Sasha nods at him reassuringly . Gordon bolts out .</scene_description>\\n  </scene>\", \"screenplay_scene_147\": \"<scene>\\n    <stage_direction>INT. CARGO HOLD/ANTONOV - DAWN</stage_direction>\\n    <scene_description>The cargo door scrapes against the glacier , hurling ice everywhere . The Bentley roars .</scene_description>\\n    <character>YURI</character>\\n    <parenthetical>( O.S . )</parenthetical>\\n    <dialogue>Push it Curtis!</dialogue>\\n    <character>JACKSON</character>\\n    <dialogue>We're waiting for Sasha and Gordon.</dialogue>\\n    <scene_description>Noah turns and sees Gordon .</scene_description>\\n    <character>NOAH</character>\\n    <dialogue>Tamara! Open the door!</dialogue>\\n    <scene_description>Gordon jumps in . Tamara yells at him in desperation .</scene_description>\\n    <character>TAMARA</character>\\n    <dialogue>Where's Sasha?</dialogue>\\n    <character>GORDON</character>\\n    <dialogue>He said he'll be fine and we should get out of here before he touches down.</dialogue>\\n    <scene_description>Yuri notices Tamara 's distress as she keeps looking back to the cockpit . Jackson slams the pedal down trying to gain as much speed as possible to soften their landing .</scene_description>\\n    <character>LILLY</character>\\n    <dialogue>Daaadddy!</dialogue>\\n    <scene_description>The Bentley shoots out the back of the plane . As it hits the snow , the air bags deploy cushioning the passengers . The Antonov hits the ice and catapults the rest of the luxury cars out of the back cargo hold . They barrel past the Bentley like skittles , narrowly missing it as they fly off in opposite directions . The plane skids across the glacier , clipping its wing and causing the aircraft to break apart . Sasha has no control anymore and watches helplessly as he shoots towards the ledge in the Antonov , plunging into the deep . The plane crashes and explodes .</scene_description>\\n  </scene>\"}", "movie_duration": "9470.43", "video_start": "6089.12", "video_duration": "220.99"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "nj1R0itm2vCs", "audio_description_us": "1\n00:00:00,000 --> 00:00:04,210\nTenzin's group climbs numerous service stairs,\nNima speaks, \"Tenzin, wait!\"\n\n2\n00:00:04,460 --> 00:00:07,300\nTenzin answers, \"Grandma, we're almost there.\"\n\n3\n00:00:07,510 --> 00:00:08,800\nNow on Ark 4...\n\n4\n00:00:12,390 --> 00:00:17,100\nOutside Ark 4's nose, which bears a US flag,\ninches out of the open bay.\n\n5\n00:00:17,390 --> 00:00:19,810\nMeanwhile, Tenzin's group emerges from a hatch.\n\n6\n00:00:20,020 --> 00:00:23,980\nNoah and Jackson stare up at the slowly\nadvancing bow of the giant ship.\n\n7\n00:00:30,700 --> 00:00:31,990\nHe pulls the boy to a ladder\n\n8\n00:00:31,990 --> 00:00:34,240\nwhere the rest of the group\nclimbs to another level.\n\n9\n00:00:34,580 --> 00:00:36,750\nArk 4 continues forward from the bay.\n\n10\n00:00:36,950 --> 00:00:40,250\nNow on an Ark's bridge, Makarenko\nenters with his interpreter.\n\n11\n00:00:43,960 --> 00:00:46,050\n\"Mr. President, you've got to see this.\"\n\n12\n00:00:46,460 --> 00:00:50,130\nOutside, a helicopter flies\npast two arks numbered 6 and 7.\n\n13\n00:00:50,470 --> 00:00:53,930\nEach protrudes almost entirely\nfrom its corresponding bay.\n\n14\n00:00:54,100 --> 00:00:57,560\nIn Ark 4's bay, Yuri leads his\ngroup of abandoned passengers\n\n15\n00:00:57,560 --> 00:01:00,850\nacross the open floor toward the\nvessel's sealed boarding bridge door.\n\n16\n00:01:01,310 --> 00:01:04,020\nOn a platform, Jackson stands with his group.\n\n17\n00:01:04,190 --> 00:01:07,440\nStepping back on the ledge,\nNima's grandfather loses his balance,\n\n18\n00:01:07,480 --> 00:01:08,900\nbut Jackson grabs him.\n\n19\n00:01:09,240 --> 00:01:11,360\nThe man's satchel plummets out of sight.\n\n20\n00:01:11,610 --> 00:01:13,530\nJackson and Tenzin share a nod.\n\n21\n00:01:13,820 --> 00:01:16,540\nNow Yuri's mob comes to a\nstop at a twenty-foot gap\n\n22\n00:01:16,540 --> 00:01:18,450\nbetween the bay threshold and the ark.\n\n23\n00:01:18,830 --> 00:01:21,120\nA man beside Yuri totters over the edge,\n\n24\n00:01:21,120 --> 00:01:22,330\ntaking a worker with him.\n\n25\n00:01:22,580 --> 00:01:25,420\nOn the Ark 4 bridge, Anheuser\napproaches the captain.\n\n26\n00:01:38,270 --> 00:01:43,060\nAs Y-shaped supports cradle the ark's keel,\nhuge mechanical arms clamp the vessel's sides.\n\n27\n00:01:43,270 --> 00:01:46,770\nAt the stern, a flap slowly swings toward\na recessed notch in the hull\n\n28\n00:01:46,900 --> 00:01:49,280\nwhere Tenzin leads his group to an access duct.\n\n29\n00:01:49,440 --> 00:01:52,320\nLast in line, Gordon and\nTamara watch the mob below\n\n30\n00:01:52,400 --> 00:01:54,570\nand the many people falling off the mountain.\n\n31\n00:01:54,780 --> 00:01:58,620\nYuri directs his boys to a lower ledge,\nsafe from the pushing crowd.\n\n32\n00:01:58,950 --> 00:02:00,700\n\"Down there, Oleg, you go first!\"\n\n33\n00:02:01,160 --> 00:02:03,000\nIn Alec's arms, Caesar barks.\n\n34\n00:02:03,580 --> 00:02:04,960\nAlec puts the dog down.\n\n35\n00:02:04,960 --> 00:02:06,040\nTamara whistles.\n\n36\n00:02:08,380 --> 00:02:10,300\nThe dog scurries along the ledge.\n\n37\n00:02:13,840 --> 00:02:18,890\nInside the access duct, Jackson reaches into a bag\nand hands one of many flashlights to Gordon.\n\n38\n00:02:19,180 --> 00:02:20,720\nTenzin opens a wall hatch.\n\n39\n00:02:20,890 --> 00:02:24,350\nOutside, right next to the huge\nhinging flap, Tamara kneels,\n\n40\n00:02:24,350 --> 00:02:27,360\nwaiting for Caesar to walk\nacross a thick suspension cable.\n\n41\n00:02:27,650 --> 00:02:29,690\nInside the duct, Lilly glances back,\n\n42\n00:02:29,730 --> 00:02:30,730\nthen looks at Kate.\n\n43\n00:02:33,990 --> 00:02:36,740\nNow on the lower bay ledge, Yuri stands with his boys.\n\n44\n00:02:36,780 --> 00:02:37,700\n\"Daddy, look!\"\n\n45\n00:02:38,120 --> 00:02:39,410\nOleg points at Tamara.\n\n46\n00:02:39,660 --> 00:02:41,120\nKate peers out from the duct.\n\n47\n00:02:42,790 --> 00:02:44,460\nHer dog leaps into her arms.\n\n48\n00:02:44,540 --> 00:02:47,250\nAs the huge swinging flap\ndraws closer to the recess,\n\n49\n00:02:47,380 --> 00:02:50,670\nYuri watches Tamara hand the dog\nto Kate and climb into the duct.\n\n50\n00:02:51,090 --> 00:02:54,550\nJust before it seals shut, Tamara\npeeks out and glares at Yuri.\n\n51\n00:02:55,050 --> 00:02:57,640\nShe gives him the finger\nbetween two metal slab doors\n\n52\n00:02:57,640 --> 00:02:58,600\nthat slam together.\n\n", "audio_description_uk": "1\n00:00:01,170 --> 00:00:04,050\nClimbing a staircase, Nima shouts, \"Tenzin, wait!\"\n\n2\n00:00:04,090 --> 00:00:06,760\nTenzin shouts, \"Grandma, we are almost there.\"\n\n3\n00:00:14,010 --> 00:00:16,810\nArk number 4 starts moving out of its gate.\n\n4\n00:00:16,890 --> 00:00:18,230\nHaving climbed the stairs,\n\n5\n00:00:18,230 --> 00:00:21,730\nNoah and Jackson stare up in wonderment at the vast ship.\n\n6\n00:00:32,320 --> 00:00:33,080\nThey run off.\n\n7\n00:00:33,280 --> 00:00:37,290\nThe Russian President and his aide\nwalk onto one of the arks' bridges.\n\n8\n00:00:37,580 --> 00:00:40,370\nThe aide says, \"Mr. President,\nyou've got to see this.\"\n\n9\n00:00:40,540 --> 00:00:43,540\nMeanwhile, a helicopter\nzooms between the large arks.\n\n10\n00:00:45,960 --> 00:00:49,880\nNumerous international heads of state\nstand together on an ark's bridge.\n\n11\n00:00:50,010 --> 00:00:51,470\nThey see thousands of people\n\n12\n00:00:51,470 --> 00:00:54,720\nwith Yuri at the front rush\ntowards the back of Ark number 4.\n\n13\n00:00:54,850 --> 00:00:56,720\nThe ship pulls away from the platform,\n\n14\n00:00:56,720 --> 00:00:57,810\nleaving a large gap.\n\n15\n00:01:02,150 --> 00:01:03,770\nStanding on another platform,\n\n16\n00:01:03,770 --> 00:01:05,980\nNima's grandfather starts to fall backwards\n\n17\n00:01:05,980 --> 00:01:07,320\nbut Jackson grabs him.\n\n18\n00:01:10,570 --> 00:01:13,530\nThe gap between Yuri's crowd and the ark widens\n\n19\n00:01:13,530 --> 00:01:15,330\nas they reach the end of the platform.\n\n20\n00:01:22,620 --> 00:01:24,250\nSome people fall to their death.\n\n21\n00:01:24,330 --> 00:01:25,840\nThe ark jolts to a halt.\n\n22\n00:01:39,930 --> 00:01:43,100\nThe large steel supports clamp\nonto the side of the ark.\n\n23\n00:01:43,350 --> 00:01:45,810\nMore and more people drop off the platform.\n\n24\n00:01:46,190 --> 00:01:48,570\nTenzin leads the others along the edge of the ark\n\n25\n00:01:48,570 --> 00:01:49,860\nand they climb inside it.\n\n26\n00:01:50,030 --> 00:01:53,780\nStill at the front, Yuri shouts,\n\"Down there, Oleg. You go first!\"\n\n27\n00:01:54,070 --> 00:01:55,740\nYoung Oleg looks up at his dad\n\n28\n00:01:55,740 --> 00:01:56,950\nand lets go of Caesar\n\n29\n00:01:56,950 --> 00:01:58,450\nbefore climbing down a ladder.\n\n30\n00:01:58,950 --> 00:02:01,080\nWith the others having gone inside the ark,\n\n31\n00:02:01,080 --> 00:02:02,500\nTamara spots her dog.\n\n32\n00:02:10,090 --> 00:02:11,470\nCaesar starts running.\n\n33\n00:02:16,930 --> 00:02:18,600\nJackson hands out torches.\n\n34\n00:02:18,640 --> 00:02:19,850\nTenzin opens a door\n\n35\n00:02:19,850 --> 00:02:21,270\nand nods to the others.\n\n36\n00:02:35,280 --> 00:02:37,870\nOleg shouts, \"Daddy, look!\" as he spots Caesar.\n\n37\n00:02:47,210 --> 00:02:48,750\nTamara grabs her little dog.\n\n38\n00:02:48,880 --> 00:02:50,550\nYuri looks up at her angrily.\n\n39\n00:02:53,590 --> 00:02:55,470\nDisappearing into the closing hatch,\n\n40\n00:02:55,470 --> 00:02:57,970\nTamara sticks up her middle finger at Yuri.\n\n", "subtitles": "1\n00:00:04,070 --> 00:00:05,070\nTenzin wait!\n\n2\n00:00:07,970 --> 00:00:08,760\nGrandma, we're almost there.\n\n3\n00:00:08,780 --> 00:00:10,880\nGreen lights on pressure, Mr. Anton?\n\n4\n00:00:11,130 --> 00:00:12,690\nGreen lights across the board, captain.\n\n5\n00:00:25,070 --> 00:00:26,350\nWhy do they have anchors?\n\n6\n00:00:26,440 --> 00:00:29,260\nBecause they're not space ships. They're arcs.\n\n7\n00:00:30,030 --> 00:00:31,030\nLet's go.\n\n8\n00:00:43,780 --> 00:00:44,780\nMr president.\n\n9\n00:00:45,840 --> 00:00:46,840\nYou've got to see this.\n\n10\n00:01:17,950 --> 00:01:21,610\nStop.Stop.Stop.\n\n11\n00:01:28,300 --> 00:01:30,090\nEngage the support mechanisms.\n\n12\n00:01:30,120 --> 00:01:32,250\nAye-aye, captain. Engaging supports.\n\n13\n00:01:32,270 --> 00:01:35,240\nJust exactly how long are these things expected To hold us in place, Captain?\n\n14\n00:01:35,260 --> 00:01:37,840\nThey're just meant to withstand the first impact of the waves,\n\n15\n00:01:37,880 --> 00:01:38,880\nMr Anheuser.\n\n16\n00:01:56,410 --> 00:01:59,370\nDown there Oleg, you go first.\n\n17\n00:02:05,190 --> 00:02:06,190\nCaesar!\n\n18\n00:02:12,710 --> 00:02:13,710\nCaesar!\n\n19\n00:02:13,980 --> 00:02:15,250\nCaesar!\n\n20\n00:02:23,320 --> 00:02:25,860\nCaesar! Caesar!\n\n21\n00:02:26,990 --> 00:02:29,970\nGood boy. Come to Mommy.\n\n22\n00:02:30,550 --> 00:02:31,550\nCaesar!\n\n23\n00:02:32,420 --> 00:02:34,120\nMommy, where's Tamara?\n\n24\n00:02:36,390 --> 00:02:37,690\nDaddy look!\n\n25\n00:02:41,390 --> 00:02:42,400\nTamara!\n\n", "sdh": "1\n00:00:04,280 --> 00:00:05,560\nNIMA (IN TIBETAN): Tenzin, wait!\n\n2\n00:00:06,870 --> 00:00:08,870\n(IN TIBETAN) Grandma, we're almost there.\n\n3\n00:00:09,040 --> 00:00:10,960\nMICHAELS: Green lights\non pressure, Mr. Anton?\n\n4\n00:00:11,130 --> 00:00:13,170\nMAN: Green lights\nacross the board, captain.\n\n5\n00:00:24,930 --> 00:00:26,310\nWhy do they have anchors?\n\n6\n00:00:26,470 --> 00:00:29,770\nBecause they're not spaceships,\nbuddy. They're arks.\n\n7\n00:00:29,940 --> 00:00:31,520\nLet's go.\n\n8\n00:00:31,690 --> 00:00:34,480\n(♪ ♪ ♪)\n\n9\n00:00:43,820 --> 00:00:44,900\n(IN RUSSIAN) Mr. President.\n\n10\n00:00:45,830 --> 00:00:46,910\nYou've got to see this.\n\n11\n00:00:56,800 --> 00:00:59,170\n(CHATTERING)\n\n12\n00:01:08,890 --> 00:01:10,350\n(TENZIN YELLS)\n\n13\n00:01:16,520 --> 00:01:17,570\nYURI: Stop.\n\n14\n00:01:17,730 --> 00:01:19,360\nStop! Stop!\n\n15\n00:01:20,780 --> 00:01:21,780\nStop!\n\n16\n00:01:21,950 --> 00:01:22,950\n(MAN SCREAMS)\n\n17\n00:01:28,410 --> 00:01:29,910\nEngage the support mechanisms.\n\n18\n00:01:30,080 --> 00:01:32,290\nWOMAN: Aye, aye, captain.\nEngaging bow-anchor supports.\n\n19\n00:01:32,460 --> 00:01:35,390\nJust exactly how long are these things\nexpecting to hold us in place, captain?\n\n20\n00:01:35,420 --> 00:01:39,590\nThey're just meant to withstand the\nfirst impact of the waves, Mr. Anheuser.\n\n21\n00:01:39,760 --> 00:01:42,720\n(♪ ♪ ♪)\n\n22\n00:01:48,850 --> 00:01:50,970\n(PEOPLE SCREAMING)\n\n23\n00:01:58,110 --> 00:02:00,440\n(IN RUSSIAN) Down\nthere, Oleg, you go first!\n\n24\n00:02:04,950 --> 00:02:06,530\nCaesar.\n\n25\n00:02:07,830 --> 00:02:09,990\n(WHISTLES)\n\n26\n00:02:12,660 --> 00:02:14,000\nCaesar.\n\n27\n00:02:14,160 --> 00:02:15,750\n(SPEAKING IN RUSSIAN)\n\n28\n00:02:23,010 --> 00:02:24,170\nCaesar.\n\n29\n00:02:27,010 --> 00:02:28,470\nGood. Good boy.\n\n30\n00:02:28,930 --> 00:02:31,100\nCome to Mommy. Caesar!\n\n31\n00:02:32,390 --> 00:02:34,270\nMom, where's Tamara?\n\n32\n00:02:36,560 --> 00:02:37,810\n(IN RUSSIAN) Daddy, look!\n\n33\n00:02:39,230 --> 00:02:41,320\nTAMARA: Come on.\nCaesar, come on.\n\n34\n00:02:41,480 --> 00:02:43,190\n- Tamara!\n- I'm coming.\n\n35\n00:02:51,160 --> 00:02:52,790\nTake him.\n\n", "screenplay": "null", "movie_duration": "9470.43", "video_start": "7072.64", "video_duration": "178.54"}
{"rottentomatoes_id": "2012", "imdb_id": "tt1190080", "video_id": "b7q123mpYWnG", "audio_description_us": "1\n00:00:00,960 --> 00:00:02,920\nArk 4's gate remains partially open,\n\n2\n00:00:03,000 --> 00:00:04,920\nallowing a huge wave to seep in.\n\n3\n00:00:05,170 --> 00:00:08,840\nIn the boarding area, the officer leads the twins\naway from the torrent of water.\n\n4\n00:00:11,890 --> 00:00:13,560\nThey charge through the crowded corridor,\n\n5\n00:00:13,560 --> 00:00:16,770\nchased by a rush of water that\nsoaks the panicking passengers.\n\n6\n00:00:16,980 --> 00:00:20,650\nOn the bridge, Scotty climbs up from the floor\nnear the bespectacled scientist.\n\n7\n00:00:31,280 --> 00:00:34,030\nAdrian follows the surveillance\nofficer through the corridor.\n\n8\n00:00:38,500 --> 00:00:39,370\nIn the air duct...\n\n9\n00:00:41,080 --> 00:00:42,330\n\"Tenzin...almost there.\"\n\n10\n00:00:43,420 --> 00:00:44,500\n\"Nima, what happened?\"\n\n11\n00:00:51,300 --> 00:00:52,220\nIn the corridor...\n\n12\n00:00:59,810 --> 00:01:00,520\nIn the duct...\n\n13\n00:01:01,480 --> 00:01:02,730\nJackson shakes his head.\n\n14\n00:01:03,690 --> 00:01:05,570\nIn a panic, she pushes him away.\n\n15\n00:01:09,820 --> 00:01:11,360\nA barrier rises from the floor,\n\n16\n00:01:11,360 --> 00:01:13,570\nsealing off Lilly and Tamara from the others.\n\n17\n00:01:16,950 --> 00:01:18,700\nShe sees another barrier rising.\n\n18\n00:01:20,790 --> 00:01:22,080\nShe leads the girl over.\n\n19\n00:01:23,420 --> 00:01:25,290\nShe drops Caesar in the waist-high water\n\n20\n00:01:25,290 --> 00:01:26,750\nand helps the girl climb over.\n\n21\n00:01:27,880 --> 00:01:29,260\nTamara grabs her dog.\n\n22\n00:01:32,760 --> 00:01:35,510\nShe hands him to the girl\njust before the barrier shuts.\n\n23\n00:01:36,720 --> 00:01:39,980\nNow trapped, Tamara turns around\nto find water filling the chamber.\n\n24\n00:01:40,270 --> 00:01:42,690\nIn the corridor, Adrian grabs a boarding officer.\n\n25\n00:01:51,110 --> 00:01:52,820\nThe officer leads them through a door.\n\n26\n00:01:52,950 --> 00:01:56,280\nOn the bridge, Scotty sees another oncoming wave\ncarrying an airplane.\n\n27\n00:02:00,870 --> 00:02:04,460\nOutside, Air Force One rides the way toward\nthe mostly submerged ark.\n\n28\n00:02:04,790 --> 00:02:07,170\nThe plane nose dives into the side of ship,\n\n29\n00:02:07,250 --> 00:02:09,340\nrocking Scotty and the rest of the crew.\n\n30\n00:02:09,590 --> 00:02:13,430\nOutside, the battered plane sinks away,\nalong with an anchor support.\n\n31\n00:02:13,680 --> 00:02:15,680\nOn the bridge, a crewman reads an alert.\n\n32\n00:02:22,640 --> 00:02:25,730\nAn underwater view shows the ark\nlifting off a support beam.\n\n33\n00:02:25,900 --> 00:02:29,610\nFrom above, we watch Ark 4 twist\ninto the next of the three ships.\n\n34\n00:02:31,190 --> 00:02:34,740\nArk 4's stem bulb scrapes along\nthe entire length of the next ark.\n\n35\n00:02:34,950 --> 00:02:37,120\nOn the bridge, the crew brace themselves.\n\n36\n00:02:37,200 --> 00:02:39,950\nA monitor shows a computer\nrendering of the contact.\n\n37\n00:02:49,250 --> 00:02:51,130\nArk 4 floats along with the flood.\n\n38\n00:02:51,420 --> 00:02:54,420\nAnheuser sways from side to\nside to keep his balance.\n\n39\n00:02:54,630 --> 00:02:57,970\nCresting the top of the mountain,\nthe ark tips forward into a waterfall.\n\n40\n00:02:58,180 --> 00:03:01,560\nAs it plunges, the nose of the\nship penetrates a violent sea.\n\n41\n00:03:01,970 --> 00:03:04,060\nInside, passengers get thrown around.\n\n42\n00:03:04,390 --> 00:03:06,980\nTrapped in the chamber, Tamara\nstruggles to stay afloat.\n\n43\n00:03:09,820 --> 00:03:12,320\nOutside, the left wall of the\nship crashes into a mountain.\n\n", "audio_description_uk": "1\n00:00:13,850 --> 00:00:16,430\nThe relentless water makes\nits way through the ark,\n\n2\n00:00:16,430 --> 00:00:18,850\nknocking the twins and others off their feet.\n\n3\n00:00:21,310 --> 00:00:22,440\nBack on the bridge...\n\n4\n00:00:40,210 --> 00:00:42,250\nNima says, \"Tenzin... almost there.\"\n\n5\n00:00:42,290 --> 00:00:44,380\nThe grandmother says, \"Nima, what happened?\"\n\n6\n00:01:40,480 --> 00:01:43,520\nTamara is now stuck alone\nbetween two closed doors.\n\n7\n00:01:52,070 --> 00:01:55,700\nBack on the bridge, the open-mouthed Carl\nstares at the massive waves.\n\n8\n00:02:03,460 --> 00:02:06,080\nThe water carries Air Force One into the ark,\n\n9\n00:02:06,170 --> 00:02:08,630\ncausing one of the support arms to break off.\n\n10\n00:02:10,420 --> 00:02:12,550\nSome of the crew fall over on the bridge.\n\n11\n00:02:25,350 --> 00:02:27,730\nThe ark is pushed sideways by the water.\n\n12\n00:02:27,810 --> 00:02:30,480\nThe front of it scrapes along\nthe side of another ark.\n\n13\n00:02:30,730 --> 00:02:32,400\nCarl is now wide-eyed with fear\n\n14\n00:02:32,400 --> 00:02:34,150\nas he sees the collision on the screen.\n\n15\n00:02:50,250 --> 00:02:52,300\nCarl stares almost in disbelief\n\n16\n00:02:52,300 --> 00:02:53,630\nas the ark tips forward\n\n17\n00:02:53,630 --> 00:02:55,340\nand falls down the face of the wave.\n\n18\n00:02:56,220 --> 00:02:57,550\nAs it hits the water below,\n\n19\n00:02:57,550 --> 00:02:59,640\npeople on the bridge are knocked off their feet.\n\n20\n00:02:59,720 --> 00:03:01,640\nThe twins struggle to keep above water,\n\n21\n00:03:01,640 --> 00:03:02,770\nas does Tamara.\n\n22\n00:03:11,570 --> 00:03:13,440\nThe ark now hits against a mountain.\n\n", "subtitles": "1\n00:00:23,690 --> 00:00:25,960\nPressure just climbed 80 Pascal.\n\n2\n00:00:26,060 --> 00:00:28,760\nSurface compression of valve sensors, Captain.\n\n3\n00:00:28,790 --> 00:00:30,100\nTrack Dr Helmsley.\n\n4\n00:00:30,600 --> 00:00:31,600\nThere.\n\n5\n00:00:36,260 --> 00:00:38,250\nOut of the way! Excuse me.\n\n6\n00:00:39,710 --> 00:00:41,970\nTenzin. Almost there.\n\n7\n00:00:42,840 --> 00:00:44,250\nNima. What happened?\n\n8\n00:00:46,820 --> 00:00:47,560\nTamara!\n\n9\n00:00:47,830 --> 00:00:50,000\nWill you take the kids please?\n\n10\n00:00:50,380 --> 00:00:51,380\nWhich way?\n\n11\n00:00:51,830 --> 00:00:55,480\nWe can't get there! Water is entering the stern.\n\n12\n00:00:56,100 --> 00:00:59,780\nThe rear of this ship is flooded and Will seal up one compartment at a time.\n\n13\n00:01:00,490 --> 00:01:01,490\nWhere's Gordon?\n\n14\n00:01:02,990 --> 00:01:03,990\nNo?\n\n15\n00:01:06,010 --> 00:01:07,010\nWe gotta go back!\n\n16\n00:01:07,690 --> 00:01:09,700\nWe have to go back!\n\n17\n00:01:13,360 --> 00:01:14,750\nMommy!\n\n18\n00:01:15,080 --> 00:01:17,390\nHelp! Mommy!\n\n19\n00:01:19,190 --> 00:01:20,940\nRun!\n\n20\n00:01:22,330 --> 00:01:23,350\nLilly run!\n\n21\n00:01:26,500 --> 00:01:27,770\nGo over, Lilly!\n\n22\n00:01:30,790 --> 00:01:32,820\nCaesar! Lilly, take him!\n\n23\n00:01:35,520 --> 00:01:37,080\nMommy!\n\n24\n00:01:44,180 --> 00:01:46,880\nIs there another way to the hydraulics chamber?\n\n25\n00:01:46,910 --> 00:01:47,840\nWhere does this ladder go?\n\n26\n00:01:47,870 --> 00:01:50,920\nTo the zoological pens Okay, let's go!\n\n27\n00:01:57,180 --> 00:01:59,910\nProfessor? It's Air Force One.\n\n28\n00:02:18,040 --> 00:02:19,350\nThe mid-ship anchor support is hit.\n\n29\n00:02:19,380 --> 00:02:20,720\nCan you stabilize it?\n\n30\n00:02:20,740 --> 00:02:22,350\nThe bow anchor is giving in.\n\n31\n00:02:42,180 --> 00:02:43,990\nCaptain, the turbines aren't responding.\n\n32\n00:02:44,020 --> 00:02:46,860\nSo override it. Hit the override. Start the engine.\n\n33\n00:02:46,890 --> 00:02:49,180\nWe can't start the engine until we close that gate.\n\n34\n00:03:07,730 --> 00:03:09,740\nHelp me! Help!\n\n", "sdh": "1\n00:00:08,020 --> 00:00:09,480\nCome on, boys. Go, go, go!\n\n2\n00:00:09,640 --> 00:00:12,100\nThis way! Let's go! Go, go!\n\n3\n00:00:23,530 --> 00:00:25,780\nCollision pressure\njust below 80 pascal, captain.\n\n4\n00:00:25,950 --> 00:00:28,490\n0.2 mil surface compression\non bow sensors, captain.\n\n5\n00:00:28,660 --> 00:00:32,000\nWEST: All right, track Dr. Helmsley.\nMAN: There.\n\n6\n00:00:34,120 --> 00:00:35,170\nLaura.\n\n7\n00:00:35,330 --> 00:00:36,630\nI got you!\nGet out of the way!\n\n8\n00:00:36,790 --> 00:00:38,100\nADRIAN:\nWe have to get through here.\n\n9\n00:00:38,130 --> 00:00:39,630\nExcuse me.\n\n10\n00:00:40,050 --> 00:00:41,920\nNIMA (IN TIBETAN): Tenzin, almost there.\n\n11\n00:00:43,050 --> 00:00:44,740\nGRANDMOTHER (IN TIBETAN):\nNima, what happened?\n\n12\n00:00:44,760 --> 00:00:46,510\n(ALARM WAILING)\n\n13\n00:00:46,680 --> 00:00:49,720\nTamara. Will you take the kids\nto the stairs, please?\n\n14\n00:00:50,430 --> 00:00:53,440\n- Which way?\n- We can't get there.\n\n15\n00:00:53,600 --> 00:00:55,900\nWater has penetrated the stern.\n\n16\n00:00:56,060 --> 00:00:59,650\nThe rear of the ship is starting to seal\nitself up one compartment at a time!\n\n17\n00:01:00,480 --> 00:01:02,240\nKATE: Where's Gordon?\n\n18\n00:01:03,070 --> 00:01:04,150\nNo?\n\n19\n00:01:04,700 --> 00:01:06,070\nNo.\n\n20\n00:01:06,240 --> 00:01:10,290\nWe gotta go back. We gotta\ngo back! We need to go back!\n\n21\n00:01:11,370 --> 00:01:14,250\n- No! Lilly!\n- LILLY: Mommy!\n\n22\n00:01:14,710 --> 00:01:17,670\nKATE: Lilly!\nLILLY: Help, Daddy!\n\n23\n00:01:19,210 --> 00:01:21,670\nRun, Lilly! Run!\n\n24\n00:01:22,210 --> 00:01:25,380\nLilly, run! Go, go!\n\n25\n00:01:26,390 --> 00:01:27,930\nGo over, Lilly.\n\n26\n00:01:30,890 --> 00:01:32,520\nCaesar. Lilly, take him.\n\n27\n00:01:35,560 --> 00:01:36,810\nLILLY: Mommy!\n\n28\n00:01:38,770 --> 00:01:40,820\nOh, no.\n\n29\n00:01:40,980 --> 00:01:43,110\n(♪ ♪ ♪)\n\n30\n00:01:43,990 --> 00:01:46,740\nSir, is there another way\nto the hydraulics chamber?\n\n31\n00:01:46,910 --> 00:01:49,580\n- Where does this ladder 90?\n- To the zoological bay!\n\n32\n00:01:49,740 --> 00:01:51,580\nOkay, okay, let's go.\n\n33\n00:01:51,740 --> 00:01:53,750\n(SHIP CREAKING)\n\n34\n00:01:57,080 --> 00:02:00,790\nProfessor, it's Air Force One.\n\n35\n00:02:17,730 --> 00:02:20,900\n- The mid-ship anchor support is hit.\n- MAN 1: We're destabilizing.\n\n36\n00:02:21,070 --> 00:02:22,430\nMAN 2: The bow anchor's giving in.\n\n37\n00:02:41,960 --> 00:02:43,840\nCaptain,\nthe turbine's not responding.\n\n38\n00:02:44,000 --> 00:02:46,840\nSo override it. Hit the override\nbutton and start the engines.\n\n39\n00:02:47,010 --> 00:02:50,140\nWe can't start the engine\nuntil we close that gate.\n\n40\n00:03:05,570 --> 00:03:07,570\n(SCREAMING)\n\n41\n00:03:07,740 --> 00:03:09,780\nHelp me! Help!\n\n", "screenplay": "{\"screenplay_scene_208\": \"<scene>\\n    <stage_direction>EXT. LAUNCH SITE/CHO MING VALLEY - DAY</stage_direction>\\n    <scene_description>THE WAVE FINALLY HITS ! All three vessels are now engulfed in churning water . They rock back and forth . Only the huge support towers they 're resting on , keep them anchored .</scene_description>\\n  </scene>\", \"screenplay_scene_209\": \"<scene>\\n    <stage_direction>INT. INSIDE LOADING GATE/AMERICAN SHIP - DAY</stage_direction>\\n    <scene_description>A new ALARM sounds as water begins to shoot through the open stern gate of the American ship . The people on the loading bay panic , among them we see Alec and Oleg .</scene_description>\\n  </scene>\", \"screenplay_scene_210\": \"<scene>\\n    <stage_direction>INT. HALLWAY/AMERICAN SHIP - DAY</stage_direction>\\n    <scene_description>The same ALARM rings out in the hallways of the ship . Laura , Adrian and their party are all braced against the corridor , as the vessel undulates back and forth .</scene_description>\\n    <character>SURVEILLANCE OFFICER</character>\\n    <dialogue>Water has penetrated the stern!</dialogue>\\n    <scene_description>Laura looks unsure .</scene_description>\\n    <character>LAURA</character>\\n    <dialogue>What now?</dialogue>\\n    <character>SURVEILLANCE OFFICER</character>\\n    <dialogue>The rear of the ship will start sealing itself up one compartment at a time.</dialogue>\\n    <scene_description>Adrian looks at him .</scene_description>\\n    <character>ADRIAN</character>\\n    <dialogue>Then how will we get to the hydraulic chamber?</dialogue>\\n    <character>SURVEILLANCE OFFICER</character>\\n    <dialogue>If we do n't hurry, we wo n't be able to.</dialogue>\\n    <scene_description>Despite the violent movement of the ship , Adrian pushes on down the corridor towards the back of the boat . They follow .</scene_description>\\n  </scene>\", \"screenplay_scene_211\": \"<scene>\\n    <stage_direction>INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY</stage_direction>\\n    <scene_description>Water is also now rushing into the Zoological Bay and only the giraffe can manage to keep her head dry . Jackson is not yet out of the tunnel with an unconscious Lin . Kate shouts across to Tamara .</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Tamara! Take Lilly and Noah.</dialogue>\\n    <scene_description>Kate reaches in to help Jackson as Tamara begins to move with Lilly . Noah remains back with his mother . Jackson finally makes it through with Lin . Kate is almost tearful with relief to see him .</scene_description>\\n    <character>KATE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I was so worried about you.</dialogue>\\n    <scene_description>Suddenly the Zoological bay begins to seal itself off . Lilly , already in the next compartment with Tamara and her dog , screams out as a chamber door quickly slides up , from the floor to the ceiling . It separates Lilly from her family .</scene_description>\\n    <character>LILLY</character>\\n    <dialogue>Mummy!</dialogue>\\n    <scene_description>Jackson and Kate turn but it 's too late . They only catch a glimpse of Lilly before they are sealed in . The water level continues to rise .</scene_description>\\n  </scene>\", \"screenplay_scene_212\": \"<scene>\\n    <stage_direction>INT. ANTE-CHAMBER ZOOLOGICAL BAY/AMERICAN SHIP - DAY</stage_direction>\\n    <scene_description>Panicked , Tamara turns and looks around . Down the corridor , in the distance , she sees Adrian , Laura and the rescue crew approaching . But between them she spots the next chamber door rising quickly .</scene_description>\\n    <character>TAMARA</character>\\n    <dialogue>Lilly run!</dialogue>\\n    <scene_description>Lilly starts moving as Tamara turns and picks up Caesar . Moving quickly , Lilly is able to climb up and over the fast rising door . But as she dangles from the other side , she looks down and is too scared to jump .</scene_description>\\n    <character>TAMARA</character>\\n    <parenthetical>( O.S ; CONT 'D . )</parenthetical>\\n    <dialogue>Lilly! Take him.</dialogue>\\n    <scene_description>Lilly looks up and sees two hands straining to hold Caesar above the quickly narrowing gap . In a courageous move , Lilly grabs the little dog before he gets crushed and together they fall to the ground . Back on the other side of the chamber door , Tamara looks around . She is trapped now as the water continues to rush in .</scene_description>\\n  </scene>\", \"screenplay_scene_213\": \"<scene>\\n    <stage_direction>INT. CONNECTING CORRIDOR/ZOOLOGICAL BAY - DAY</stage_direction>\\n    <scene_description>Laura picks Lilly up and comforts her . Adrian realizes they are too late . He turns to the rescue crew .</scene_description>\\n    <character>ADRIAN</character>\\n    <dialogue>Is there any way to talk to them?</dialogue>\\n    <scene_description>Lilly is close to tears .</scene_description>\\n  </scene>\", \"screenplay_scene_214\": \"<scene>\\n    <stage_direction>INT. ZOOLOGICAL BAY/AMERICAN SHIP - DAY</stage_direction>\\n    <scene_description>The water continues to flood in as Jackson helps Neng with his unconscious brother .</scene_description>\\n    <character>JACKSON</character>\\n    <dialogue>We have to move him higher.</dialogue>\\n    <parenthetical>( looks around . )</parenthetical>\\n    <dialogue>Over there!</dialogue>\\n    <scene_description>Suddenly , a VIOLENT SHAKE throws them all off balance , pitching them into the water .</scene_description>\\n  </scene>\", \"screenplay_scene_215\": \"<scene>\\n    <stage_direction>EXT. LAUNCH PILLAR/UNDER WATER - DAY</stage_direction>\\n    <scene_description>In the debris - filled , murky waters we see that the fuselage of Air Force One has slammed against the first of the ship 's launch towers . Slowly it begins to bend , finally giving way . The other launch towers follow like dominos . The ship is ripped from its anchorage and sent drifting sideways , rudderless .</scene_description>\\n  </scene>\", \"screenplay_scene_217\": \"<scene>\\n    <stage_direction>EXT. LAUNCH SITE/CHO MING VALLEY - DAY</stage_direction>\\n    <scene_description>The vessel is swept away , over the mountain ridge .</scene_description>\\n  </scene>\"}", "movie_duration": "9470.43", "video_start": "7820.16", "video_duration": "194.05"}
{"rottentomatoes_id": "easy-a", "imdb_id": "tt1282140", "video_id": "lInkGcvpHUYA", "audio_description_us": "1\n00:00:26,400 --> 00:00:27,490\nShe ends the call.\n\n2\n00:00:33,950 --> 00:00:35,870\nShe flings all the clothes out of her closet\n\n3\n00:00:35,870 --> 00:00:36,910\nand storms out.\n\n4\n00:00:37,080 --> 00:00:40,040\nLater, she returns toting a half dozen shopping bags.\n\n5\n00:00:40,170 --> 00:00:43,210\nOne reads, 'Guillaume's of Ojai, Fine Lingerie'.\n\n6\n00:00:43,420 --> 00:00:45,670\nNow Olive tears red fabric into scraps,\n\n7\n00:00:45,670 --> 00:00:47,880\nthen meticulously cuts them up with scissors\n\n8\n00:00:47,880 --> 00:00:49,260\nas her dog looks on.\n\n9\n00:00:50,510 --> 00:00:52,550\nPulling bustiers from the shopping bags,\n\n10\n00:00:52,590 --> 00:00:54,510\nshe sets to work with a needle and thread.\n\n11\n00:00:55,470 --> 00:00:56,720\nShe pricks herself.\n\n12\n00:00:57,810 --> 00:00:59,690\nShe sucks her thumb but keeps working,\n\n13\n00:00:59,690 --> 00:01:00,940\ncutting the thread with her teeth.\n\n14\n00:01:01,140 --> 00:01:02,400\nHer father steps in.\n\n15\n00:01:32,090 --> 00:01:33,050\nThey share a grin\n\n16\n00:01:33,050 --> 00:01:34,140\nand he heads out.\n\n17\n00:01:34,340 --> 00:01:36,260\nLater, Olive sews with a smile.\n\n18\n00:01:36,430 --> 00:01:37,640\nShe bites off the thread,\n\n19\n00:01:37,640 --> 00:01:39,060\nthen studies her handiwork.\n\n20\n00:01:41,390 --> 00:01:42,190\nDaytime.\n\n21\n00:01:42,270 --> 00:01:43,560\nIn an outdoor breezeway,\n\n22\n00:01:43,560 --> 00:01:45,400\nOlive struts into a crowd of students\n\n23\n00:01:45,400 --> 00:01:48,780\nwearing a black bustier with a red letter A\nsewn to the bust.\n\n24\n00:01:48,980 --> 00:01:51,070\nA double strand of pearls rings her neck\n\n25\n00:01:51,070 --> 00:01:54,280\nand her auburn hair falls in soft curls around her face.\n\n26\n00:01:54,570 --> 00:01:57,780\nDark sunglasses hide her eyes above her coy smile.\n\n27\n00:01:58,160 --> 00:01:59,540\nAs she sashays onward,\n\n28\n00:01:59,580 --> 00:02:00,910\nthe students stare at her.\n\n29\n00:02:01,040 --> 00:02:02,580\nShe makes a kissy face.\n\n30\n00:02:02,790 --> 00:02:05,040\nA girl and guy watch, slack-jawed.\n\n31\n00:02:05,170 --> 00:02:06,710\nOlive smirks to herself.\n\n32\n00:02:06,920 --> 00:02:09,170\nWith the bustier showing off her narrow waist,\n\n33\n00:02:09,170 --> 00:02:11,420\nshe halts, facing Rhiannon and Anson.\n\n34\n00:02:11,590 --> 00:02:13,840\nThe blonde eyes her friend's scandalous outfit\n\n35\n00:02:13,840 --> 00:02:15,090\nand shakes her head.\n\n36\n00:02:30,030 --> 00:02:31,360\nRhiannon frowns.\n\n37\n00:02:49,550 --> 00:02:51,050\nRhiannon smacks Anson.\n\n", "audio_description_uk": "1\n00:00:27,150 --> 00:00:28,700\nShe throws down her cell phone.\n\n2\n00:00:37,620 --> 00:00:38,750\nShe empties her closet.\n\n3\n00:00:39,120 --> 00:00:42,460\nShe's been shopping at Guillaume's\nof Ojai, Fine Lingerie.\n\n4\n00:00:42,670 --> 00:00:43,170\nShe rips\n\n5\n00:00:43,170 --> 00:00:43,920\nand cuts clothes\n\n6\n00:00:44,040 --> 00:00:45,550\nand spreads them out on the floor.\n\n7\n00:00:45,960 --> 00:00:46,510\nShe sews\n\n8\n00:00:46,510 --> 00:00:47,760\nand pricks herself with the needle.\n\n9\n00:01:01,270 --> 00:01:02,810\nHer father walks into her room.\n\n10\n00:01:26,840 --> 00:01:28,550\nShe looks up, her teeth gritted.\n\n11\n00:01:34,390 --> 00:01:35,220\nHe smiles at her\n\n12\n00:01:35,220 --> 00:01:35,930\nand she grins\n\n13\n00:01:35,930 --> 00:01:38,020\nas he leaves the room, closing the door.\n\n14\n00:01:40,850 --> 00:01:45,860\nAt school, she walks in wearing jeans and a\nblack corset top with a red 'A' sewn onto it.\n\n15\n00:02:01,580 --> 00:02:04,630\nWearing shades, she smiles\nas she sashays along.\n\n16\n00:02:04,920 --> 00:02:06,540\nShe puckers her lips into a kiss.\n\n17\n00:02:06,710 --> 00:02:07,920\nThe guys gawp at her.\n\n18\n00:02:08,000 --> 00:02:09,510\nOne student's mouth falls open.\n\n19\n00:02:09,920 --> 00:02:12,800\nOlive stops in front of Rhi\nand the male student, Anson.\n\n20\n00:02:30,530 --> 00:02:31,190\nTo Rhi...\n\n", "subtitles": "1\n00:00:03,400 --> 00:00:05,110\nYou're pissing me off\nmore than usual.\n\n2\n00:00:05,280 --> 00:00:07,240\nI think it's a best friend's duty...\n\n3\n00:00:07,400 --> 00:00:11,740\n...to let her know that everyone, and\nI do mean everyone, is calling her...\n\n4\n00:00:11,910 --> 00:00:13,490\n...a dirty skank.\n\n5\n00:00:14,040 --> 00:00:17,410\nWell, do you think I'm a dirty skank?\n\n6\n00:00:17,580 --> 00:00:20,500\nYou know, I didn't wanna believe it,\nbut I guess it's true.\n\n7\n00:00:20,670 --> 00:00:23,420\nThat is your identifier.\n\n8\n00:00:23,590 --> 00:00:26,000\nAnd you're a jealous virgin.\n\n9\n00:00:26,170 --> 00:00:27,340\nSo...\n\n10\n00:00:29,220 --> 00:00:31,260\nPeople thought I was a dirty skank?\n\n11\n00:00:31,430 --> 00:00:34,600\nFine, I'd be the dirtiest skank\nthey'd ever seen.\n\n12\n00:00:56,950 --> 00:00:58,620\nShit.\n\n13\n00:01:03,460 --> 00:01:06,710\nIs everything all right? It sounds like\nyou're having sex in here...\n\n14\n00:01:06,880 --> 00:01:10,470\n...which can't be true, due to the fact\nthat you have a homosexual boyfriend.\n\n15\n00:01:10,630 --> 00:01:13,050\nHe's not my boyfriend.\n\n16\n00:01:13,220 --> 00:01:16,930\nHey, no judgment.\nAll God's children. It's fine.\n\n17\n00:01:17,100 --> 00:01:19,810\nI was gay once for a while.\n\n18\n00:01:19,980 --> 00:01:23,150\nNo big deal. We all do it. It's okay.\n\n19\n00:01:23,310 --> 00:01:25,230\nDad, can you just\nshut the door, please?\n\n20\n00:01:25,400 --> 00:01:26,480\nYou all right, buddy?\n\n21\n00:01:28,780 --> 00:01:30,320\nYeah.\n\n22\n00:01:31,320 --> 00:01:32,900\nGive them hell.\n\n23\n00:02:18,200 --> 00:02:20,040\n- Hey, Anson.\n- Hey.\n\n24\n00:02:20,200 --> 00:02:25,710\nI just realized the funniest thing.\nMy name is an anagram for \"I love.\"\n\n25\n00:02:26,330 --> 00:02:28,710\nWhat's a...? What's an anagram?\n\n26\n00:02:29,050 --> 00:02:30,170\nLook it up, big boy.\n\n27\n00:02:31,380 --> 00:02:32,710\nWhat's your problem?\n\n28\n00:02:32,880 --> 00:02:34,470\nYou wanna know\nwhat my problem is?\n\n29\n00:02:34,630 --> 00:02:38,470\nNo. That was a rhetorical question.\nI don't wanna know anything from you.\n\n30\n00:02:38,640 --> 00:02:40,640\nWe are not friends anymore.\n\n31\n00:02:40,810 --> 00:02:42,600\nWe are officially over.\n\n32\n00:02:42,770 --> 00:02:44,230\nOh, rats.\n\n33\n00:02:44,390 --> 00:02:48,610\nI want my Juicy sweatshirt back. It was\ntoo loose around your chest anyway.\n\n34\n00:02:48,770 --> 00:02:50,820\nBurn.\n\n", "sdh": "1\n00:00:03,380 --> 00:00:05,240\nYou're kinda pissing me off\na little more than usual.\n\n2\n00:00:05,260 --> 00:00:07,260\nRhi: I'm sorry if I think it's\na best friend's duty\n\n3\n00:00:07,390 --> 00:00:11,720\nto let her know that everyone, and\nI do mean everyone, is calling her\n\n4\n00:00:11,890 --> 00:00:13,480\na dirty skank.\n\n5\n00:00:14,020 --> 00:00:17,400\nWell, do you think I'm a dirty skank?\n\n6\n00:00:17,560 --> 00:00:20,480\nYou know, I didn't wanna believe it,\nbut I guess it's true.\n\n7\n00:00:20,650 --> 00:00:23,400\nRhi: That is your identifier.\n\n8\n00:00:23,570 --> 00:00:25,990\nAnd you're a jealous virgin.\n\n9\n00:00:26,160 --> 00:00:27,320\nSo...\n\n10\n00:00:29,200 --> 00:00:31,240\nOlive: People thought\nI was a dirty skank?\n\n11\n00:00:31,410 --> 00:00:34,560\nFine, I'd be the dirtiest skank\nthey'd ever seen.\n\n12\n00:00:34,580 --> 00:00:37,000\n♪ I don't give a damn\nabout my reputation. ♪\n\n13\n00:00:38,870 --> 00:00:42,070\n♪ You're living in the past,\nit's a new generation. ♪\n\n14\n00:00:43,720 --> 00:00:48,630\n♪ A girl can do what she wants to do,\nand that's what I'm gonna do. ♪\n\n15\n00:00:48,650 --> 00:00:50,830\n♪ I don't give a damn about\nmy bad reputation. ♪\n\n16\n00:00:52,620 --> 00:00:55,580\n♪ And I don't give a damn about\nmy reputation. ♪\n\n17\n00:00:56,920 --> 00:00:58,080\nShit.\n\n18\n00:00:58,100 --> 00:01:00,600\n- ♪ I never said I wanted to improve my station ♪\n- (Howls in pain)\n\n19\n00:01:00,630 --> 00:01:02,130\n(Grunts in anger)\n\n20\n00:01:03,440 --> 00:01:06,700\nIs everything all right? It sounds\nlike you're having sex in here.\n\n21\n00:01:06,860 --> 00:01:08,010\nWhich I know can't be true,\n\n22\n00:01:08,040 --> 00:01:10,450\ndue to the fact\nthat you have a homosexual boyfriend.\n\n23\n00:01:10,620 --> 00:01:13,030\nHe is not my boyfriend.\n\n24\n00:01:13,200 --> 00:01:16,910\nHey, no judgment.\nAll God's children. It's fine.\n\n25\n00:01:17,080 --> 00:01:19,790\nI was gay once, for a while.\n\n26\n00:01:19,960 --> 00:01:23,130\nNo big deal. We all do it.\nIt's okay.\n\n27\n00:01:23,300 --> 00:01:25,210\nDad, please shut the door, please?\n\n28\n00:01:25,380 --> 00:01:26,450\nYou all right, buddy?\n\n29\n00:01:26,470 --> 00:01:28,040\n(Deep breath)\n\n30\n00:01:28,760 --> 00:01:30,300\nYeah.\n\n31\n00:01:31,300 --> 00:01:32,890\nGive them hell.\n\n32\n00:01:42,520 --> 00:01:45,670\n♪ (\"Sexy Silk\" by Jessica Cornish) ♪\n\n33\n00:01:46,310 --> 00:01:50,630\n♪ Boy I will be your sexy silk. ♪\n\n34\n00:01:50,650 --> 00:01:54,100\n♪ Wrap me around,\nround, round, round. ♪\n\n35\n00:01:54,130 --> 00:01:58,210\n♪ I'll be your pussycat\nlicking your milk ♪\n\n36\n00:01:58,230 --> 00:02:01,420\n♪ right now, down, down, down. ♪\n\n37\n00:02:01,450 --> 00:02:05,390\n♪ Whoa, whoa, whoa, whoa, whoa\nboy you're gonna win! ♪\n\n38\n00:02:05,410 --> 00:02:09,540\n♪ Say ya, ya, ya, ya\nyou're under my skin. ♪\n\n39\n00:02:09,560 --> 00:02:13,260\n♪ Ya, ya, ya, ya\nstay's within. ♪\n\n40\n00:02:13,280 --> 00:02:17,620\n♪ Ohhhhh!\nI think I love you. ♪\n\n41\n00:02:18,180 --> 00:02:20,020\n- Hey, Anson.\n- Hey.\n\n42\n00:02:20,190 --> 00:02:25,690\nI just realized the funniest thing.\nMy name is an anagram for \"I love.\"\n\n43\n00:02:26,320 --> 00:02:28,690\nWhat's a...? What's an anagram?\n\n44\n00:02:29,030 --> 00:02:30,150\nLook it up, big boy.\n\n45\n00:02:31,360 --> 00:02:32,700\nWhat's your problem?\n\n46\n00:02:32,870 --> 00:02:34,470\nYou really wanna know\nwhat my problem is?\n\n47\n00:02:34,620 --> 00:02:38,450\nNo, that was a rhetorical question.\nI don't wanna know anything from you.\n\n48\n00:02:38,620 --> 00:02:40,620\nWe are not friends anymore.\n\n49\n00:02:40,790 --> 00:02:42,580\nWe are officially over.\n\n50\n00:02:42,750 --> 00:02:44,210\nOh, rats.\n\n51\n00:02:44,380 --> 00:02:46,080\nHey, I want my Juicy sweatshirt back.\n\n52\n00:02:46,100 --> 00:02:47,950\nIt was way to loose around\nyour chest anyway.\n\n53\n00:02:47,980 --> 00:02:50,800\nOooo, burn.\n\n", "screenplay": "null", "movie_duration": "5549.98", "video_start": "2254.46", "video_duration": "172.71"}
{"rottentomatoes_id": "easy-a", "imdb_id": "tt1282140", "video_id": "4BQnj4H0bMwX", "audio_description_us": "1\n00:00:59,980 --> 00:01:01,230\nShe points at everyone.\n\n2\n00:01:07,530 --> 00:01:09,190\nA hunky guy with a cross necklace\n\n3\n00:01:09,190 --> 00:01:10,740\naccompanies a boy on guitar.\n\n", "audio_description_uk": "1\n00:00:25,900 --> 00:00:27,900\nMicah, the student next to her, takes her hand.\n\n2\n00:00:27,950 --> 00:00:28,950\nNina leans forward.\n\n3\n00:01:07,610 --> 00:01:08,780\nMicah has the guitar.\n\n4\n00:01:08,820 --> 00:01:10,360\nAnother guy, Pontius, sings.\n\n", "subtitles": "1\n00:00:02,970 --> 00:00:04,640\n- We need to pray for her.\n- Amen.\n\n2\n00:00:04,810 --> 00:00:07,390\nBut we also need to\nget her the hell out of here.\n\n3\n00:00:07,560 --> 00:00:08,600\nAmen.\n\n4\n00:00:08,770 --> 00:00:10,980\nYou heard what happened\nat Melody Bostic's.\n\n5\n00:00:11,150 --> 00:00:14,020\n- I was there. I heard the whole thing.\n- That's not something...\n\n6\n00:00:14,190 --> 00:00:17,150\n- ...you need to advertise, Kurt.\n- Sorry. But I was.\n\n7\n00:00:17,320 --> 00:00:21,490\nI tried to witness to her, but this girl\nis defiant to any type of help.\n\n8\n00:00:21,660 --> 00:00:24,320\nAnybody here think they can\ntalk to her, get her to see...\n\n9\n00:00:24,490 --> 00:00:26,530\n...what she's doing is wrong?\n\n10\n00:00:29,160 --> 00:00:32,420\n- It's okay.\n- I'm sorry, you guys. This is so stupid.\n\n11\n00:00:32,580 --> 00:00:35,920\nNo, it's not, Marianne. It's real.\n\n12\n00:00:36,090 --> 00:00:37,170\n- It's real.\n- Yeah, it is.\n\n13\n00:00:37,340 --> 00:00:39,210\nJesus tells us to love everyone.\n\n14\n00:00:39,380 --> 00:00:43,970\nI mean, even the whores and\nthe homosexuals, but it's just so hard.\n\n15\n00:00:44,140 --> 00:00:48,680\nIt's so hard because they keep\ndoing it over and over again.\n\n16\n00:00:50,060 --> 00:00:51,430\nMake me a promise.\n\n17\n00:00:51,600 --> 00:00:54,190\nMake God a promise,\nright here and right now...\n\n18\n00:00:54,360 --> 00:00:57,320\n...that we will remain\npure and chaste until marriage.\n\n19\n00:00:57,480 --> 00:00:58,530\nWe promise.\n\n20\n00:00:58,690 --> 00:01:02,030\nAwesome, awesome, awesome.\n\n21\n00:01:02,200 --> 00:01:06,570\nI love you guys. God loves you guys.\nNow, let's change lives today.\n\n22\n00:01:06,740 --> 00:01:08,790\n- Micah?\n- Let's do it.\n\n", "sdh": "1\n00:00:02,950 --> 00:00:04,620\n- We need to pray for her.\n- (All) Amen.\n\n2\n00:00:04,790 --> 00:00:07,370\nBut we also need to\nget her the hell out of here.\n\n3\n00:00:07,540 --> 00:00:08,580\n(All) Amen.\n\n4\n00:00:08,750 --> 00:00:11,100\nI'm sure you guys heard what happened\nat Melody Bostic's party.\n\n5\n00:00:11,130 --> 00:00:13,100\nI was there.\nI heard the whole thing.\n\n6\n00:00:13,130 --> 00:00:14,980\nThat's not something you\nneed to advertise, Kurt.\n\n7\n00:00:15,010 --> 00:00:17,260\nSorry, but I was.\n\n8\n00:00:17,300 --> 00:00:18,740\nMarianne: I tried to witness to her,\n\n9\n00:00:18,760 --> 00:00:21,470\nbut this girl is defiant\nto any type of help.\n\n10\n00:00:21,640 --> 00:00:23,810\nDoes anybody here think they can\ntalk to her in a way,\n\n11\n00:00:23,840 --> 00:00:26,520\nthat might get her to see that\nwhat she's doing is wrong?\n\n12\n00:00:27,850 --> 00:00:28,880\n(Sobbing)\n\n13\n00:00:29,150 --> 00:00:32,400\n- It's okay.\n- I'm sorry, you guys. This is so stupid.\n\n14\n00:00:32,570 --> 00:00:35,900\nNo, it's not, Marianne. It's real.\n\n15\n00:00:36,070 --> 00:00:37,300\n- It's real.\n- (The others) Yeah, it is.\n\n16\n00:00:37,320 --> 00:00:39,200\nMarianne: Jesus tells us to love everyone.\n\n17\n00:00:39,370 --> 00:00:43,950\nI mean, even the whores and\nthe homosexuals, but it's just so hard.\n\n18\n00:00:44,120 --> 00:00:48,670\nIt's so hard because they keep\ndoing it over and over again.\n\n19\n00:00:50,040 --> 00:00:51,420\nMarianne: Make me a promise.\n\n20\n00:00:51,590 --> 00:00:54,170\nMake God a promise,\nright here and right now,\n\n21\n00:00:54,340 --> 00:00:57,300\nthat we will remain\npure and chaste until marriage.\n\n22\n00:00:57,470 --> 00:00:58,510\n(All) We promise.\n\n23\n00:00:58,680 --> 00:01:02,010\nAwesome, awesome, awesome.\n\n24\n00:01:02,180 --> 00:01:06,560\nI love you guys. God loves you guys.\nNow, let's change lives today.\n\n25\n00:01:06,730 --> 00:01:08,770\nMicah.\n\n26\n00:01:10,580 --> 00:01:14,630\n♪ When Israel was in Egypt’s land,\nlet my people go. ♪\n\n27\n00:01:14,650 --> 00:01:17,420\n♪ Oppressed so hard,\nthey could not stand ♪\n\n28\n00:01:17,440 --> 00:01:19,420\n♪ Let my people go ♪\n\n29\n00:01:19,440 --> 00:01:23,360\n♪ Go down, Moses,\nWay down in Egypt's Land. ♪\n\n30\n00:01:23,390 --> 00:01:27,160\n♪ Tell ol' Pharaoh,\nto let my people go. ♪\n\n31\n00:01:27,190 --> 00:01:30,040\n♪ To let my people go.\nTo let my people, ♪\n\n", "screenplay": "null", "movie_duration": "5549.98", "video_start": "2459.26", "video_duration": "93.00"}
{"rottentomatoes_id": "easy-a", "imdb_id": "tt1282140", "video_id": "0uugA3DORcvR", "audio_description_us": "1\n00:00:00,920 --> 00:00:02,710\nTodd climbs out of a lap pool.\n\n2\n00:00:23,480 --> 00:00:24,980\nHe gives her a playful shove.\n\n3\n00:00:25,030 --> 00:00:27,030\nA chubby guy dries off behind her.\n\n4\n00:00:57,140 --> 00:00:57,890\nShe stutters\n\n5\n00:00:57,890 --> 00:00:58,890\nand stalks off.\n\n6\n00:01:00,770 --> 00:01:02,350\nShe gives him an angry gape.\n\n7\n00:01:02,440 --> 00:01:03,860\nEvan blinks shamefully.\n\n8\n00:01:16,330 --> 00:01:18,330\nHe gestures at his chunky build.\n\n9\n00:01:21,710 --> 00:01:22,920\nHe plods away.\n\n10\n00:01:23,130 --> 00:01:25,250\nOlive lingers, brushing her hair back.\n\n11\n00:01:25,420 --> 00:01:28,050\nShe watches as Evan plops down on a bench.\n\n12\n00:01:36,640 --> 00:01:38,180\nHe glumly eats a snack.\n\n13\n00:01:38,390 --> 00:01:40,600\nOlive bobs her head equivocatingly.\n\n", "audio_description_uk": "1\n00:00:01,000 --> 00:00:02,750\nTodd clambers out of the swimming pool.\n\n2\n00:00:25,030 --> 00:00:26,150\nHe taps her on the shoulder\n\n3\n00:00:26,150 --> 00:00:27,030\nand walks away.\n\n4\n00:00:33,910 --> 00:00:34,700\nHe's heavy.\n\n5\n00:01:01,600 --> 00:01:04,150\nOlive walks back to the guy who has man boobs.\n\n6\n00:01:24,080 --> 00:01:25,670\nThe big guy about-turns\n\n7\n00:01:25,750 --> 00:01:28,380\nand walks over to a seat\non the poolside bleachers.\n\n8\n00:01:38,220 --> 00:01:39,730\nHe bites into a chocolate bar.\n\n9\n00:01:39,810 --> 00:01:40,600\nOlive watches him,\n\n10\n00:01:40,600 --> 00:01:41,850\nthen screws up her face.\n\n", "subtitles": "1\n00:00:00,440 --> 00:00:01,780\nHey, Olive!\n\n2\n00:00:03,990 --> 00:00:06,660\nYou left your glass slipper\nat the party the other night.\n\n3\n00:00:06,830 --> 00:00:10,080\nYeah, and I got pumpkin\nall over my dress too.\n\n4\n00:00:11,080 --> 00:00:13,460\nNice. Solid joke.\n\n5\n00:00:13,620 --> 00:00:16,170\nIt sucks because we could've\nrevisited Melody's bedroom.\n\n6\n00:00:16,340 --> 00:00:18,420\nOh, my God,\nthat was Melody Bostic's house.\n\n7\n00:00:18,590 --> 00:00:21,300\n- Yeah.\n- I can't believe you remember that.\n\n8\n00:00:21,470 --> 00:00:24,970\nWell, yeah, come on. Who doesn't\nremember their first almost-kiss?\n\n9\n00:00:27,640 --> 00:00:29,100\nHey, Olive.\n\n10\n00:00:29,270 --> 00:00:30,970\nEvan. Hey, what's rocking?\n\n11\n00:00:31,140 --> 00:00:32,640\nCan I talk to you for a second?\n\n12\n00:00:32,810 --> 00:00:34,520\nYeah, what's up?\n\n13\n00:00:34,980 --> 00:00:37,520\nDon't get mad, but Brandon told me\nwhat you did for him.\n\n14\n00:00:37,690 --> 00:00:41,480\nOh, well, rest assured,\nit was equally as thrilling for me.\n\n15\n00:00:41,650 --> 00:00:43,440\nNo, he told me the truth.\n\n16\n00:00:44,570 --> 00:00:46,700\nI was just hoping\nyou could do the same for me?\n\n17\n00:00:47,200 --> 00:00:48,620\nGoodbye, Evan.\n\n18\n00:00:48,780 --> 00:00:51,580\nWait, wait. I can pay you.\n\n19\n00:00:51,750 --> 00:00:54,540\nI am about six seconds away\nfrom slapping you so hard...\n\n20\n00:00:54,710 --> 00:00:57,750\n- ...your teeth will bleed.\n- Can you do it in front of everyone?\n\n21\n00:00:59,550 --> 00:01:02,050\nI don't need your permission,\nyou know.\n\n22\n00:01:04,300 --> 00:01:05,510\nWhat?\n\n23\n00:01:05,680 --> 00:01:08,300\nI mean, at the rate you're going...\n\n24\n00:01:08,470 --> 00:01:10,640\n...I don't see how people\nwon't believe it.\n\n25\n00:01:10,810 --> 00:01:13,220\n- Are you threatening me?\n- I'll give you 100 bucks.\n\n26\n00:01:13,390 --> 00:01:14,810\nYou are repugnant.\n\n27\n00:01:15,690 --> 00:01:17,060\nThat's the problem.\n\n28\n00:01:18,690 --> 00:01:19,690\nNever mind.\n\n29\n00:01:20,860 --> 00:01:22,860\nI'm sorry I asked.\n\n30\n00:01:29,660 --> 00:01:31,740\nI knew it wouldn't work.\n\n31\n00:01:32,290 --> 00:01:33,620\nI'm just a fat piece of shit.\n\n32\n00:01:35,160 --> 00:01:37,120\nWhen will high school end already?\n\n33\n00:01:42,710 --> 00:01:44,550\nShit.\n\n34\n00:01:44,720 --> 00:01:49,180\nI want a $100 gift card deposited\ninto my locker by noon tomorrow.\n\n35\n00:01:49,350 --> 00:01:52,560\nPreferably to the Gap, but I will\nalso take Amazon.com or OfficeMax.\n\n36\n00:01:52,720 --> 00:01:56,730\nActually, make it OfficeMax.\nI have my eye on a label maker.\n\n37\n00:01:56,890 --> 00:01:59,520\nWe did not have sex, okay?\n\n38\n00:01:59,690 --> 00:02:02,730\nI let you fondle my chest,\nand it was a glorious moment for you...\n\n39\n00:02:02,900 --> 00:02:06,070\n...unmatched by anything\nyou've experienced, including cake.\n\n40\n00:02:06,240 --> 00:02:07,280\nGot it?\n\n41\n00:02:07,990 --> 00:02:10,410\nWait a minute.\nA hundred bucks for second base?\n\n42\n00:02:10,570 --> 00:02:13,030\n- Yeah.\n- Doesn't that seem a little steep?\n\n43\n00:02:13,200 --> 00:02:16,910\nCan we throw in, like, some\nbutt action or some pants rubbing?\n\n44\n00:02:17,080 --> 00:02:19,670\n- What are you, 9?\n- Whatever. Are you in?\n\n45\n00:02:21,710 --> 00:02:23,880\n- Whatever.\n- Deal, then.\n\n46\n00:02:24,670 --> 00:02:26,170\nThanks, Olive.\n\n47\n00:02:26,340 --> 00:02:27,970\nYou know, the sad thing is, Evan...\n\n48\n00:02:28,130 --> 00:02:32,600\n...if you'd been a gentleman\nand maybe asked me on a date...\n\n49\n00:02:32,760 --> 00:02:33,970\n...I might've said yes.\n\n50\n00:02:34,140 --> 00:02:36,770\nReally?\nDo you wanna go out with me?\n\n", "sdh": "1\n00:00:00,430 --> 00:00:01,760\nTodd: Hey, Olive!\n\n2\n00:00:03,970 --> 00:00:06,640\nYou uh, left your glass slipper\nat the party the other night.\n\n3\n00:00:06,810 --> 00:00:10,720\nYeah, and I got pumpkin all\nover my dress too, c'est la vie.\n\n4\n00:00:10,740 --> 00:00:13,440\n- La vie\n- Nice, solid joke.\n\n5\n00:00:13,610 --> 00:00:16,150\nIt sucks because we could've\nrevisited Melody's bedroom.\n\n6\n00:00:16,320 --> 00:00:18,400\nOh, my God,\nthat was Melody Bostic's house.\n\n7\n00:00:18,570 --> 00:00:21,280\n- Yeah.\n- I can't believe you remember that.\n\n8\n00:00:21,450 --> 00:00:24,950\nYeah, come on. Who doesn't\nremember their first almost-kiss?\n\n9\n00:00:27,620 --> 00:00:29,080\nEvan: Hey, Olive.\n\n10\n00:00:29,250 --> 00:00:30,960\nEvan, hi, what's rocking?\n\n11\n00:00:31,120 --> 00:00:32,630\nCan I talk to you for a second?\n\n12\n00:00:32,790 --> 00:00:34,500\nYeah, what's up?\n\n13\n00:00:34,960 --> 00:00:37,510\nDon't get mad, but Brandon told me\nwhat you did for him.\n\n14\n00:00:37,670 --> 00:00:41,470\nOh, well, rest assured, it was equally\nas thrilling for me. (Purrs)\n\n15\n00:00:41,640 --> 00:00:43,430\nNo, he told me the truth.\n\n16\n00:00:44,550 --> 00:00:46,830\nI was just hoping that maybe\nyou could do the same for me?\n\n17\n00:00:47,180 --> 00:00:48,600\nGoodbye, Evan.\n\n18\n00:00:48,770 --> 00:00:51,560\nWait, wait, I... I can pay you.\n\n19\n00:00:51,730 --> 00:00:54,520\nI am about six seconds away\nfrom slapping you so hard\n\n20\n00:00:54,690 --> 00:00:57,730\n- your teeth will bleed.\n- Can you do it in front of everyone?\n\n21\n00:00:59,530 --> 00:01:02,030\nI don't need your permission, you know.\n\n22\n00:01:04,280 --> 00:01:05,490\nWhat?\n\n23\n00:01:05,660 --> 00:01:08,290\nI mean, at the rate you're going.\n\n24\n00:01:08,450 --> 00:01:10,620\nI just don't see how people\nwill not believe it.\n\n25\n00:01:10,790 --> 00:01:13,210\n- Are you threatening me?\n- I'll give you 100 bucks.\n\n26\n00:01:13,380 --> 00:01:14,770\nYou are repugnant.\n\n27\n00:01:14,790 --> 00:01:17,040\nUh, duh! That's the problem.\n\n28\n00:01:18,670 --> 00:01:19,670\nEvan: Never mind.\n\n29\n00:01:20,840 --> 00:01:22,840\nI'm sorry I asked.\n\n30\n00:01:29,640 --> 00:01:31,730\nI knew it wouldn't work.\n\n31\n00:01:32,270 --> 00:01:33,600\nI'm just a fat piece of shit.\n\n32\n00:01:35,150 --> 00:01:37,110\nEvan: When will high school end already?\n\n33\n00:01:42,700 --> 00:01:44,530\nShit.\n\n34\n00:01:44,700 --> 00:01:49,160\nI want a $100 gift card deposited\ninto my locker by noon tomorrow.\n\n35\n00:01:49,330 --> 00:01:52,540\nPreferably to the Gap, but I will\nalso take Amazon.com or OfficeMax.\n\n36\n00:01:52,710 --> 00:01:56,710\nActually, make it OfficeMax.\nI have my eye on a label maker.\n\n37\n00:01:56,880 --> 00:01:59,500\nWe did not have sex, okay?\n\n38\n00:01:59,670 --> 00:02:02,720\nI let you fondle my chest,\nand it was a glorious moment for you.\n\n39\n00:02:02,880 --> 00:02:06,050\nUnmatched by anything you've her\nto fore experienced, including cake.\n\n40\n00:02:06,220 --> 00:02:07,260\nGot it?\n\n41\n00:02:07,970 --> 00:02:10,390\nWait a minute.\nA hundred bucks for second base?\n\n42\n00:02:10,560 --> 00:02:13,020\n- Yeah.\n- Doesn't that seem a little steep?\n\n43\n00:02:13,190 --> 00:02:16,900\nCan we throw in, like, some\nbutt action or some pants rubbing?\n\n44\n00:02:17,060 --> 00:02:19,650\n- What are you, 9?\n- Whatever, are you in?\n\n45\n00:02:21,690 --> 00:02:23,860\n- Whatever.\n- Deal, then.\n\n46\n00:02:24,650 --> 00:02:26,160\nThanks, Olive.\n\n47\n00:02:26,320 --> 00:02:27,950\nYou know, the sad thing is, Evan?\n\n48\n00:02:28,120 --> 00:02:32,580\nIf you'd been a gentleman\nand maybe asked me on a date,\n\n49\n00:02:32,750 --> 00:02:33,950\nI might've said yes.\n\n50\n00:02:34,120 --> 00:02:36,730\nReally?\nDo you wanna go out with me?\n\n", "screenplay": "{\"screenplay_scene_57\": \"<scene>\\n    <stage_direction>INT. GYMNASIUM - DAY</stage_direction>\\n    <scene_description>Olive emerges from the GIRLS ' LOCKER ROOM , dressed for gym class . A TERRIFIED FAT KID named EVAN nervously approaches her .</scene_description>\\n    <character>EVAN</character>\\n    <dialogue>Hey Olive.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>Hi Evan.</dialogue>\\n    <character>EVAN</character>\\n    <dialogue>Can I talk to you for a second?</dialogue>\\n    <scene_description>He gestures for her to follow him underneath the bleachers . She reluctantly does so .</scene_description>\\n    <character>EVAN</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <parenthetical>( WHISPERING . )</parenthetical>\\n    <dialogue>Do n't get mad, but Brandon told me what you did for him.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>Well, rest assured, it was equally as thrilling for me.</dialogue>\\n    <character>EVAN</character>\\n    <dialogue>No, he told me the truth.</dialogue>\\n    <scene_description>She 's pissed . She silently seethes .</scene_description>\\n    <character>EVAN</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>And I was just hoping that maybe you could do the same for me?</dialogue>\\n    <character>OLIVE</character>\\n    <parenthetical>( Through clenched teeth . )</parenthetical>\\n    <dialogue>Walk away, Evan.</dialogue>\\n    <scene_description>Evan starts to talk , but she raises her hand to silence him .</scene_description>\\n    <character>OLIVE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>RUN away, Evan.</dialogue>\\n    <character>EVAN</character>\\n    <dialogue>I can pay you, too.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>I'm about six seconds away from slapping you so hard that your unborn grandchildren will feel it.</dialogue>\\n    <character>EVAN</character>\\n    <parenthetical>( Excited at the prospect . )</parenthetical>\\n    <dialogue>Can you do it in front of everyone?</dialogue>\\n    <scene_description>Olive turns and starts to leave . Evan summons up his courage and meekly states to her back .</scene_description>\\n    <character>EVAN</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I do n't need your permission, you know.</dialogue>\\n    <scene_description>She turns around and gives him a look of death . He ca n't look at her .</scene_description>\\n    <character>EVAN</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I mean, at the rate you're going, I'm just saying I do n't think anyone would not believe it.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>Are you threatening me?</dialogue>\\n    <character>EVAN</character>\\n    <dialogue>I'll give you $ 500.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>You're repugnant.</dialogue>\\n    <character>EVAN</character>\\n    <parenthetical>( Indicating his body . )</parenthetical>\\n    <dialogue>That's the problem.</dialogue>\\n    <scene_description>And once again Olive feels too sorry for him to say no .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>I want five hundred dollars in gift certificate form deposited in my locker before noon tomorrow. Preferably ` The Gap,' but I'll also take Amazon.com. We did NOT have sex. I was piss - ass drunk and I let you fondle my chest and it was a glorious moment for you, unmatched by anything you've heretofore experienced, including cake. Got it?</dialogue>\\n    <character>EVAN</character>\\n    <dialogue>Five hundred bucks for just feeling you up? Does n't that seem a little steep to you? Can you throw in</dialogue>\\n    <character>SOME</character>\\n    <parenthetical>( Mispronouncing it ; as if it rhymed with ` cottage ' . )</parenthetical>\\n    <dialogue>frottage?</dialogue>\\n    <character>OLIVE</character>\\n    <parenthetical>( CORRECTING HIM . )</parenthetical>\\n    <dialogue>It's fraw - TAHZH, dumbass.</dialogue>\\n    <parenthetical>( BUCKLING . )</parenthetical>\\n    <dialogue>Fine. But it was so good, you lasted only twelve seconds and I better not find out that little pecker of yours EVER came out of your pants. Take it or leave it.</dialogue>\\n    <character>EVAN</character>\\n    <dialogue>Little pecker? Nuh - uh. For five hundred dollars, it was ungodly huge. You even commented on the unusual girth for a guy my age.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>I was too drunk to remember.</dialogue>\\n    <character>EVAN</character>\\n    <dialogue>Three minutes.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>Two.</dialogue>\\n    <scene_description>He extends his hand .</scene_description>\\n    <character>EVAN</character>\\n    <dialogue>Deal.</dialogue>\\n    <scene_description>She , repulsed by it , shakes his hand . Evan 's ecstatic .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>The sad thing is, Evan, if you had been a gentleman and asked me out on a date, I probably would have said yes.</dialogue>\\n    <character>EVAN</character>\\n    <dialogue>Really? Do you want to go on a date?</dialogue>\\n    <scene_description>With zero vitriol -</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>Not now, I do n't.</dialogue>\\n    <scene_description>Sad for him , she walks away .</scene_description>\\n  </scene>\"}", "movie_duration": "5549.98", "video_start": "2561.06", "video_duration": "157.94"}
{"rottentomatoes_id": "easy-a", "imdb_id": "tt1282140", "video_id": "LKwIuAitIDRV", "audio_description_us": "1\n00:00:13,680 --> 00:00:14,890\nMarianne grabs her.\n\n2\n00:00:19,390 --> 00:00:20,980\nShe yanks her into a hug.\n\n3\n00:00:42,460 --> 00:00:44,630\nMarianne seizes her in another hug.\n\n4\n00:00:50,430 --> 00:00:51,800\nOlive shakes her head.\n\n5\n00:01:09,440 --> 00:01:10,400\nAs they hug again,\n\n6\n00:01:10,400 --> 00:01:11,950\nMarianne sniffs her hair.\n\n7\n00:01:18,660 --> 00:01:20,370\nThe next day, they hug again.\n\n8\n00:01:28,760 --> 00:01:30,170\nMarianne points at her phone.\n\n9\n00:01:30,220 --> 00:01:36,010\nOlive reads her text, \"Hey, girlie!\nHang after skl 2day? XOXOX, WWJD?\"\n\n10\n00:01:39,640 --> 00:01:41,560\nMarianne points at her ceramics partner\n\n11\n00:01:41,560 --> 00:01:42,770\nand mimes gagging.\n\n12\n00:01:42,900 --> 00:01:44,900\nOlive gives a sarcastic thumbs up.\n\n13\n00:01:58,620 --> 00:02:02,040\nAs they hug, Marianne rests her hand\nnear a spinning table saw.\n\n14\n00:02:03,080 --> 00:02:05,630\nOlive uses a wooden cross to edge it away.\n\n15\n00:02:05,630 --> 00:02:07,000\nNow, in a hospital room...\n\n16\n00:02:20,720 --> 00:02:21,980\nHis mother swats him.\n\n17\n00:02:24,100 --> 00:02:25,310\nShe smacks him again.\n\n18\n00:02:25,310 --> 00:02:27,020\nLater, she uses her cell phone.\n\n", "audio_description_uk": "1\n00:00:21,520 --> 00:00:23,480\nMarianne wraps Olive in a bear hug.\n\n2\n00:00:43,290 --> 00:00:44,710\nMarianne hauls Olive back.\n\n3\n00:00:44,920 --> 00:00:46,090\nand hugs her again.\n\n4\n00:00:51,300 --> 00:00:52,680\nOlive shakes her head.\n\n5\n00:01:28,510 --> 00:01:29,720\nOlive checks her cellphone.\n\n6\n00:01:29,840 --> 00:01:31,760\nRhi, having seen them earlier, notices.\n\n7\n00:01:31,930 --> 00:01:35,300\nThe text, \"Hey girlie!\nHang after school today? Hugs and kisses\"\n\n8\n00:01:40,350 --> 00:01:42,520\nMarianne mocks a guy at a potter's wheel.\n\n9\n00:02:00,290 --> 00:02:01,660\nOlive uses a wooden cross\n\n10\n00:02:01,660 --> 00:02:04,040\nto ease Marianne's hand\naway from a circular saw.\n\n11\n00:02:04,500 --> 00:02:05,500\nAt the hospital...\n\n12\n00:02:24,940 --> 00:02:26,610\nHe takes his hands from his head.\n\n", "subtitles": "1\n00:00:02,040 --> 00:00:06,800\nYou know,\nsometimes our boyfriend's parents...\n\n2\n00:00:06,960 --> 00:00:08,420\n...they get divorced, you know?\n\n3\n00:00:08,590 --> 00:00:12,550\nAnd it's important to remember\nit's not your fault.\n\n4\n00:00:12,720 --> 00:00:13,760\nSo I gotta go.\n\n5\n00:00:15,140 --> 00:00:19,680\nBut they go to our church.\nWhat will people say?\n\n6\n00:00:23,980 --> 00:00:28,320\nHow long do these embraces usually\nlast? Because I gotta go, but l...\n\n7\n00:00:28,480 --> 00:00:31,150\n- Are you gonna be okay?\n- Yes, I'm gonna be okay.\n\n8\n00:00:31,320 --> 00:00:33,030\nMrs. Griffith is amazing...\n\n9\n00:00:33,200 --> 00:00:36,950\n...and she's gonna help Micah,\nand everything's gonna be okay.\n\n10\n00:00:38,080 --> 00:00:41,790\nSee? All right, that's the spirit.\nEverything's gonna be okay.\n\n11\n00:00:41,960 --> 00:00:43,620\nOkay.\n\n12\n00:00:48,050 --> 00:00:50,960\nWait. Why are you even\nbeing so nice to me?\n\n13\n00:00:53,050 --> 00:00:54,970\nI did it.\n\n14\n00:00:56,010 --> 00:00:57,100\nI got through to you.\n\n15\n00:01:00,180 --> 00:01:03,100\nI'm so sorry about everything I said.\nI am so, so sorry.\n\n16\n00:01:03,270 --> 00:01:07,480\nI mean, I really want us to be friends.\nCan we please be friends?\n\n17\n00:01:08,320 --> 00:01:09,440\nAbsolutely.\n\n18\n00:01:12,610 --> 00:01:15,860\nAnd for a day,\nwe were actually really good friends.\n\n19\n00:01:16,030 --> 00:01:18,950\nI was kind of starting to think\nthings were gonna turn around.\n\n20\n00:01:19,120 --> 00:01:20,910\nOlive!\n\n21\n00:01:21,080 --> 00:01:23,500\n- Friend.\n- Hey, friend.\n\n22\n00:01:23,660 --> 00:01:25,370\n- I missed you.\n- Oh, I missed you more.\n\n23\n00:01:25,540 --> 00:01:28,710\nShe texted me in first period.\n\n24\n00:01:36,090 --> 00:01:38,800\nBy second period,\nwe apparently had private jokes.\n\n25\n00:01:38,970 --> 00:01:41,180\nOlive. Olive.\n\n26\n00:01:44,850 --> 00:01:47,100\nTragedy struck in Wood Shop.\n\n27\n00:01:47,270 --> 00:01:49,400\nIt wasn't because\nsomeone sawed off a thumb...\n\n28\n00:01:49,570 --> 00:01:51,070\n...which has happened.\n\n29\n00:01:51,230 --> 00:01:54,110\nMicah is in the hospital.\nHe is in so much pain.\n\n30\n00:01:54,280 --> 00:01:57,410\nThe nurse didn't know\nwhat was wrong.\n\n31\n00:01:58,070 --> 00:02:00,080\nThere, there.\n\n32\n00:02:07,210 --> 00:02:09,460\nIt hurts so bad, Mommy.\n\n33\n00:02:09,630 --> 00:02:12,210\nWell, it's just what I thought.\nChlamydia.\n\n34\n00:02:12,510 --> 00:02:13,840\nNo.\n\n35\n00:02:14,010 --> 00:02:17,590\nWho have you been screwing?\nTell me.\n\n36\n00:02:17,760 --> 00:02:21,760\nTell me now\nor I will kill you right here.\n\n37\n00:02:22,140 --> 00:02:25,270\nOlive. Olive Penderghast!\n\n38\n00:02:28,560 --> 00:02:31,190\nOlive. Olive Penderghast.\n\n39\n00:02:31,360 --> 00:02:33,690\nI have to call you back.\nOkay. Bye-bye.\n\n", "sdh": "1\n00:00:02,020 --> 00:00:06,780\nYou know,\nsometimes our boyfriend's parents,\n\n2\n00:00:06,950 --> 00:00:08,400\nthey get divorced, you know?\n\n3\n00:00:08,570 --> 00:00:12,530\nAnd it's important to remember\nit's not your fault.\n\n4\n00:00:12,700 --> 00:00:13,740\nSo I gotta go.\n\n5\n00:00:15,120 --> 00:00:19,670\nBut they go to our church.\nWhat will people say?\n\n6\n00:00:23,960 --> 00:00:28,300\nHow long do these embraces usually\nlast? Because I gotta go, but l...\n\n7\n00:00:28,470 --> 00:00:31,140\n- Are you gonna be okay?\n- Yes, I'm gonna be okay.\n\n8\n00:00:31,300 --> 00:00:33,010\nMrs. Griffith is amazing,\n\n9\n00:00:33,180 --> 00:00:36,910\nand she's gonna help Micah,\nand everything's gonna be okay.\n\n10\n00:00:36,940 --> 00:00:41,770\nYay! See? All right, that's the spirit.\nEverything's gonna be okay.\n\n11\n00:00:41,940 --> 00:00:43,610\nOkay.\n\n12\n00:00:48,030 --> 00:00:50,950\nWait. Why are you even\nbeing so nice to me?\n\n13\n00:00:53,030 --> 00:00:54,950\nI did it.\n\n14\n00:00:56,000 --> 00:00:57,880\nI got through to you.\n\n15\n00:00:58,910 --> 00:01:00,110\n(Squeals) Yeee!\n\n16\n00:01:00,170 --> 00:01:03,080\nI'm so sorry about everything I said.\nI am so, so sorry.\n\n17\n00:01:03,250 --> 00:01:07,460\nI mean, I really want us to be friends.\nCan we please be friends?\n\n18\n00:01:08,300 --> 00:01:09,420\nAbsolutely.\n\n19\n00:01:09,790 --> 00:01:11,920\n- Yay!\n- Yay!\n\n20\n00:01:12,590 --> 00:01:15,850\nOlive: And for a day, we were\nactually really good friends.\n\n21\n00:01:16,020 --> 00:01:18,930\nI was kind of starting to think\nthings were gonna turn around.\n\n22\n00:01:19,100 --> 00:01:20,890\nOlive!\n\n23\n00:01:21,060 --> 00:01:23,480\n- Friend.\n- Hey, friend.\n\n24\n00:01:23,650 --> 00:01:25,360\n- I missed you.\n- Oh, I missed you more.\n\n25\n00:01:25,520 --> 00:01:28,690\nOlive: She texted me in first period.\n\n26\n00:01:36,080 --> 00:01:38,790\nBy second period,\nwe apparently had private jokes.\n\n27\n00:01:38,950 --> 00:01:41,160\nOlive, Olive.\n\n28\n00:01:44,840 --> 00:01:47,090\nTragedy struck in Wood Shop.\n\n29\n00:01:47,250 --> 00:01:49,380\nAnd it wasn't because\nsomeone sawed off a thumb.\n\n30\n00:01:49,550 --> 00:01:51,050\nWhich has happened, by the way.\n\n31\n00:01:51,220 --> 00:01:54,090\nMicah is in the hospital.\nHe is in so much pain.\n\n32\n00:01:54,260 --> 00:01:57,390\nThe nurse didn't know\nwhat was wrong.\n\n33\n00:01:58,060 --> 00:02:00,060\n- (Marianne cries)\n- There, there.\n\n34\n00:02:07,190 --> 00:02:09,440\n(Moans) It hurts so bad, Mommy.\n\n35\n00:02:09,610 --> 00:02:12,200\nWell, it's just what I thought.\nChlamydia.\n\n36\n00:02:12,490 --> 00:02:13,820\nNo.\n\n37\n00:02:13,990 --> 00:02:17,580\nWho have you been screwing?\nTell me.\n\n38\n00:02:17,740 --> 00:02:21,750\nTell me now\nor I will kill you right here.\n\n39\n00:02:22,120 --> 00:02:25,250\nOlive, Olive Penderghast!\n\n40\n00:02:28,550 --> 00:02:31,170\nOlive, Olive Penderghast.\n\n41\n00:02:31,340 --> 00:02:33,670\nI have to call you back.\nOkay, bye-bye.\n\n", "screenplay": "{\"screenplay_scene_79\": \"<scene>\\n    <stage_direction>INT. HOME EC CLASSROOM - LATER</stage_direction>\\n    <scene_description>Olive sees Marianne come into class , tear - streaked . She runs over to Olive and again throws her arms around her .</scene_description>\\n    <character>OLIVE</character>\\n    <parenthetical>( V.O . )</parenthetical>\\n    <dialogue>Tragedy struck in third period.</dialogue>\\n    <character>MARIANNE</character>\\n    <dialogue>Micah's in the hospital. He's in so much pain! The nurse did n't know what was wrong.</dialogue>\\n    <scene_description>Olive just holds her new friend , as she had the day before .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>He'll be okay.</dialogue>\\n    <character>MARIANNE</character>\\n    <parenthetical>( Tears glistening in her EYES . )</parenthetical>\\n    <dialogue>Really?</dialogue>\\n    <scene_description>Olive guides Marianne 's head back to her shoulder .</scene_description>\\n  </scene>\", \"screenplay_scene_80\": \"<scene>\\n    <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction>\\n    <scene_description>Marianne 's boyfriend , Micah , writhes in pain on a hospital bed , clutching his crotch . His worried MOTHER -LRB- 40 's -RRB- is beside him , clutching her chest with one hand and trying to soothe him with the other .</scene_description>\\n    <character>MICAH</character>\\n    <dialogue>It hurts so bad.</dialogue>\\n    <scene_description>A DOCTOR enters , with a satisfied smile and a diagnosis .</scene_description>\\n    <character>DOCTOR</character>\\n    <dialogue>Chlamydia.</dialogue>\\n    <scene_description>Micah and his mother both look up in shock . His mother takes both of her hands and begins slapping him , uncontrollably .</scene_description>\\n    <character>MICAH'S MOTHER</character>\\n    <dialogue>How did you get chlamydia? Who have you been sleeping with? Tell me! TELL ME!</dialogue>\\n    <scene_description>Micah , in pain from the burning sensation and his mother 's hands flying at astonishing speed shouts out :</scene_description>\\n    <character>MICAH</character>\\n    <dialogue>Olive! Olive Penderghast!</dialogue>\\n    <scene_description>His mother 's face fills with satisfaction .</scene_description>\\n  </scene>\"}", "movie_duration": "5549.98", "video_start": "3277.76", "video_duration": "154.04"}
{"rottentomatoes_id": "easy-a", "imdb_id": "tt1282140", "video_id": "CxWby8RuUwU6", "audio_description_us": "1\n00:00:37,410 --> 00:00:38,870\nOlive shows her scarf.\n\n2\n00:01:06,020 --> 00:01:08,110\nThe mother kisses her daughter's head.\n\n3\n00:01:10,450 --> 00:01:11,820\nShe cradles Olive.\n\n", "audio_description_uk": "1\n00:01:07,530 --> 00:01:09,070\nSitting on the bonnet of a car,\n\n2\n00:01:09,110 --> 00:01:10,610\nRosemary hugs her daughter.\n\n", "subtitles": "1\n00:00:00,450 --> 00:00:05,830\nSo now everyone that knows the truth\nis either gone or they won't fess up.\n\n2\n00:00:06,000 --> 00:00:11,000\nAnd Marianne Bryant and her\ndisciples are demanding my head.\n\n3\n00:00:11,170 --> 00:00:14,760\nThe messed-up thing is I would not put\nit past Principal Gibbons to expel me.\n\n4\n00:00:14,920 --> 00:00:17,090\nI had a similar situation\nwhen I was your age.\n\n5\n00:00:17,260 --> 00:00:18,930\nWhat? Everyone called you a slut?\n\n6\n00:00:19,090 --> 00:00:22,180\nI had a horrible reputation and\npeople said awful things about me.\n\n7\n00:00:22,680 --> 00:00:24,600\n- Why?\n- Because I was a slut.\n\n8\n00:00:24,770 --> 00:00:29,190\nI slept with a whole bunch of people.\nA slew, a heap, a peck. Mostly guys.\n\n9\n00:00:29,350 --> 00:00:31,650\n- Mom.\n- Sorry, I got around.\n\n10\n00:00:31,820 --> 00:00:34,820\nBefore I met Dad,\nI had incredibly low self-worth.\n\n11\n00:00:34,990 --> 00:00:38,570\nDo me a favor and just stuff this down\nmy throat until I asphyxiate to death.\n\n12\n00:00:38,740 --> 00:00:41,240\n- It's true. It is.\n- I want to die.\n\n13\n00:00:41,410 --> 00:00:43,740\nIt's true.\nI was quite the contortionist.\n\n14\n00:00:43,910 --> 00:00:46,950\nI could do this thing. I could go...\nI mean, my leg all the way...\n\n15\n00:00:47,120 --> 00:00:49,420\nStop. Can you stop?\nDon't show me.\n\n16\n00:00:49,580 --> 00:00:52,670\n- Can you not see that I'm a mess?\n- No, you're not, Olive.\n\n17\n00:00:52,840 --> 00:00:54,590\nYou're wonderful.\n\n18\n00:00:55,130 --> 00:00:57,300\nAnd you'll handle this\nthe same way I did.\n\n19\n00:00:57,470 --> 00:00:59,930\nWith an incontrovertible\nsense of humor.\n\n20\n00:01:01,220 --> 00:01:03,640\nBut you're much smarter than I am...\n\n21\n00:01:03,810 --> 00:01:06,890\n...so you'll come out of this\nmuch better than I did.\n\n22\n00:01:09,650 --> 00:01:10,810\nThank you, Mom.\n\n", "sdh": "1\n00:00:00,430 --> 00:00:05,810\nOlive: So now everyone that knows the truth\nis either gone or they won't fess up.\n\n2\n00:00:05,980 --> 00:00:10,990\nAnd Marianne Bryant and her\ndisciples are demanding my head.\n\n3\n00:00:11,150 --> 00:00:14,740\nThe messed-up thing is I would not put\nit past Principal Gibbons to expel me.\n\n4\n00:00:14,910 --> 00:00:17,070\nI had a similar situation\nwhen I was your age.\n\n5\n00:00:17,240 --> 00:00:18,910\nWhat? Everyone called you a slut?\n\n6\n00:00:19,080 --> 00:00:22,160\nI had a horrible reputation and\npeople said awful things about me.\n\n7\n00:00:22,660 --> 00:00:24,580\n- Why?\n- Because I was a slut.\n\n8\n00:00:24,750 --> 00:00:29,170\nI slept with a whole bunch of people.\nA slew, a heap, a peck. Mostly guys.\n\n9\n00:00:29,340 --> 00:00:31,630\n- Mom.\n- Sorry, I got around.\n\n10\n00:00:31,800 --> 00:00:34,800\nBefore I met Dad,\nI had incredibly low self-worth.\n\n11\n00:00:34,970 --> 00:00:38,550\nDo me a favor and just stuff this down\nmy throat until I asphyxiate to death.\n\n12\n00:00:38,720 --> 00:00:41,220\n- It's true. It is.\n- I want to die. (Gags)\n\n13\n00:00:41,390 --> 00:00:43,730\nIt's true.\nI was quite the contortionist.\n\n14\n00:00:43,890 --> 00:00:46,940\nI could do this thing. I could go...\nI mean, my leg all the way...\n\n15\n00:00:47,110 --> 00:00:49,400\nStop. Can you stop?\nDon't show me.\n\n16\n00:00:49,570 --> 00:00:52,650\n- Can you not see that I'm a mess?\n- No, you're not, Olive.\n\n17\n00:00:52,820 --> 00:00:54,570\nYou're wonderful.\n\n18\n00:00:55,110 --> 00:00:57,280\nAnd you'll handle this\nthe same way I did.\n\n19\n00:00:57,450 --> 00:00:59,910\nWith an incontrovertible\nsense of humor.\n\n20\n00:01:01,200 --> 00:01:03,620\nBut you're much smarter than I am.\n\n21\n00:01:03,790 --> 00:01:06,870\nSo you'll come out of this\nmuch better than I did.\n\n22\n00:01:09,630 --> 00:01:10,800\nThank you, Mom.\n\n", "screenplay": "{\"screenplay_scene_103\": \"<scene>\\n    <stage_direction>INT. OLIVE'S BEDROOM - NIGHT</stage_direction>\\n    <scene_description>Olive cries on her bed , clutching her teddy bear . Rosemary listens , as a good mother does .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>So, now everyone who knows the truth is either gone or wo n't fess up. The Cross Your Legs Club is demanding my head. And the messed up thing is that I would n't put it past Gibbons to expel me.</dialogue>\\n    <character>ROSEMARY</character>\\n    <dialogue>I had a similar situation when I was your age.</dialogue>\\n    <character>OLIVE</character>\\n    <parenthetical>( IN DISBELIEF . )</parenthetical>\\n    <dialogue>Everyone called you a whore?</dialogue>\\n    <character>ROSEMARY</character>\\n    <dialogue>Yes. I had a horrible reputation and people said awful things about me. But it was true. I was a slut.</dialogue>\\n    <scene_description>Olive gives her a suspicious look .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>I'm waiting for you to say.</dialogue>\\n    <parenthetical>( Imitating her mother . )</parenthetical>\\n    <dialogue>` Just kidding!'</dialogue>\\n    <character>ROSEMARY</character>\\n    <parenthetical>( EARNESTLY . )</parenthetical>\\n    <dialogue>No, it's true. I slept with a whole bunch of people.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>Mom!</dialogue>\\n    <character>ROSEMARY</character>\\n    <dialogue>Well! It was a different time.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue />\\n    <scene_description>Ewwww !</scene_description>\\n    <character>ROSEMARY</character>\\n    <dialogue />\\n    <scene_description>I did . I got around . Before I met your father , I was a garden variety floozy .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue />\\n    <scene_description>Why are you telling me this ?</scene_description>\\n    <character>ROSEMARY</character>\\n    <dialogue />\\n    <scene_description>Because I endured a similar lynching because of a certain dalliance .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue />\\n    <scene_description>I promise that it was no worse than Marianne Bryant 's attack on me .</scene_description>\\n    <character>ROSEMARY</character>\\n    <dialogue />\\n    <scene_description>Wan na bet ? It was her mother .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue />\\n    <scene_description>Wait , what ?</scene_description>\\n    <character>ROSEMARY</character>\\n    <dialogue />\\n    <scene_description>Yep . Don Bryant and I got caught in a very compromising position in the locker room during a basketball game .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue />\\n    <scene_description>That 's disgusting ! He 's disgusting !</scene_description>\\n    <character>ROSEMARY</character>\\n    <dialogue />\\n    <scene_description>He was n't back then . He was actually pretty handsome . All I 'm saying is that MAYBE the reason that Bryant girl is going after you is because her mother told her about me .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue />\\n    <scene_description>So , the sins of the mother are revisited on the daughter .</scene_description>\\n    <character>ROSEMARY</character>\\n    <dialogue />\\n    <scene_description>There 's something else you should know . This is hard to say but - Don Bryant is your father . Marianne is your sister . Olive turns white .</scene_description>\\n    <character>ROSEMARY</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Kidding! Well, about the sister thing, but not about the Don thing. That happened. Actually that happened a couple of times before we got caught.</dialogue>\\n    <scene_description>Olive punches her mother on the arm , who 's laughing hysterically .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>I hate you so much right now. Ca n't you see I'm a mess!</dialogue>\\n    <character>ROSEMARY</character>\\n    <dialogue>No, you're not, Olive. You're wonderful. And you're going to handle this the same way that I did. With an incontrovertible sense of humor.</dialogue>\\n    <scene_description>They embrace and Olive gets an idea .</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>Thanks for the pep talk, Mom. Now get out. I need to make some phone calls.</dialogue>\\n    <scene_description>Rosemary looks slightly concerned by the grin on Olive 's face .</scene_description>\\n  </scene>\"}", "movie_duration": "5549.98", "video_start": "4841.54", "video_duration": "73.17"}
{"rottentomatoes_id": "easy-a", "imdb_id": "tt1282140", "video_id": "HUgrQ3A_eGu_", "audio_description_us": "1\n00:00:19,270 --> 00:00:20,270\nNow in the packed gym,\n\n2\n00:00:20,270 --> 00:00:21,810\nTodd rolls out the wheelbarrow.\n\n3\n00:00:21,860 --> 00:00:24,070\nOlive climbs out of the wood in a feather boa.\n\n4\n00:00:50,760 --> 00:00:52,590\nShe rips off Todd's woodchuck costume,\n\n5\n00:00:52,590 --> 00:00:54,430\nrevealing his blue devil costume.\n\n6\n00:00:58,140 --> 00:00:59,230\nThey share a grin.\n\n7\n00:01:04,230 --> 00:01:06,230\nIn the stands, the fundamentalists stare\n\n8\n00:01:06,230 --> 00:01:08,070\nas other students smile and clap.\n\n9\n00:01:11,990 --> 00:01:13,280\nTodd pumps his fist.\n\n10\n00:01:19,910 --> 00:01:21,370\nOlive kisses Rhiannon's cheek\n\n11\n00:01:21,370 --> 00:01:22,790\nand gives her the feather boa.\n\n12\n00:01:30,630 --> 00:01:32,430\nIn a black corset with red stripes,\n\n13\n00:01:32,430 --> 00:01:35,140\nOlive bumps her hip at a gawking basketball player,\n\n14\n00:01:35,140 --> 00:01:36,850\nthen smack a dancer's rear.\n\n15\n00:01:37,140 --> 00:01:38,720\nMarianne's jaw drops.\n\n16\n00:01:38,890 --> 00:01:41,520\nOlive pulls the slide of a band member's trombone,\n\n17\n00:01:41,520 --> 00:01:42,940\nthen poses with Todd.\n\n18\n00:01:48,480 --> 00:01:50,360\nMarianne narrows her eyes.\n\n19\n00:02:05,920 --> 00:02:07,460\nPrincipal Gibbons storms over.\n\n20\n00:02:22,430 --> 00:02:24,900\nMarianne and Nina swap disgusted looks.\n\n21\n00:02:25,100 --> 00:02:26,230\nOlive takes Todd's arm\n\n22\n00:02:26,230 --> 00:02:27,480\nand scampers out with him.\n\n23\n00:02:27,770 --> 00:02:29,270\nLater, she faces her webcam\n\n", "audio_description_uk": "1\n00:00:20,650 --> 00:00:22,560\nOlive rises from the woodchuck pile\n\n2\n00:00:22,560 --> 00:00:24,270\nwearing a basque and a feather boa.\n\n3\n00:00:39,290 --> 00:00:41,040\nTodd lifts her down onto the floor.\n\n4\n00:00:49,720 --> 00:00:51,470\nShe rips off Todd's woodchucker outfit\n\n5\n00:00:51,470 --> 00:00:53,800\nto reveal his blue devil costume and bare blue chest.\n\n6\n00:00:56,850 --> 00:00:59,100\nThe gymnasium audience members\nrise to their feet.\n\n7\n00:00:59,230 --> 00:01:00,480\nTodd dances with Olive.\n\n8\n00:01:00,600 --> 00:01:03,560\nMarianne, Rhi,\nand Nina sit, po-faced.\n\n9\n00:01:12,490 --> 00:01:13,530\nInto the crowd...\n\n10\n00:01:21,920 --> 00:01:22,750\nShe kisses Rhi\n\n11\n00:01:22,750 --> 00:01:24,750\nand drapes her boa\nover her best friend's neck,\n\n12\n00:01:24,920 --> 00:01:26,880\nthen slinks down to rejoin Todd.\n\n13\n00:01:38,850 --> 00:01:40,600\nShe pulls on a trombonist's slide.\n\n14\n00:01:45,310 --> 00:01:47,440\nShe finishes with an arm\nround Todd's shoulder.\n\n15\n00:01:47,440 --> 00:01:48,860\nHis right arm is raised.\n\n16\n00:02:05,790 --> 00:02:07,290\nThe gymnasium lights go on.\n\n17\n00:02:23,940 --> 00:02:25,690\nMarianne and her colleagues are dumbstruck.\n\n18\n00:02:26,020 --> 00:02:27,400\nOlive gets over to Todd\n\n19\n00:02:27,560 --> 00:02:30,150\nand the two of them run out\nof the gymnasium arm in arm.\n\n20\n00:02:30,650 --> 00:02:31,240\nAt home,\n\n", "subtitles": "1\n00:00:00,060 --> 00:00:03,930\nToday we had yet another\none of our ridiculous pep rallies.\n\n2\n00:00:04,100 --> 00:00:07,270\nTodd convinced the band to play\nthe sexiest song in their repertoire.\n\n3\n00:00:07,440 --> 00:00:11,020\nI needed to pique everyone's interest\nto get them to go home and log on.\n\n4\n00:00:11,190 --> 00:00:14,570\nI had one outfit left and I figured\nabout 30 seconds to do it.\n\n5\n00:00:14,740 --> 00:00:17,490\nPlus I really wanted\nmy own awesome musical number...\n\n6\n00:00:18,110 --> 00:00:20,160\n...for no apparent reason.\n\n7\n00:00:24,870 --> 00:00:26,120\nIs that Olive?\n\n8\n00:01:50,710 --> 00:01:52,580\nThis was just a free preview.\n\n9\n00:01:52,750 --> 00:01:58,380\nFor the main event, log on to\nwww.FreeOlive.com tonight at 6 p.m.\n\n10\n00:01:58,550 --> 00:02:01,800\nAnd I know it interferes with\nthe basketball game but, come on...\n\n11\n00:02:01,970 --> 00:02:04,050\n...would you rather cheer on\nthe Woodchucks...\n\n12\n00:02:04,220 --> 00:02:06,430\n...or watch me do one?\n\n13\n00:02:07,930 --> 00:02:11,190\nWhat do you think you're doing?\nGet to my office right now.\n\n14\n00:02:11,350 --> 00:02:14,980\nI can't, because I have a date with the\nguy I like and the rest of the school.\n\n15\n00:02:15,150 --> 00:02:18,360\nI think before you expel me,\nyou might wanna talk to Mrs. Griffith...\n\n16\n00:02:18,530 --> 00:02:21,240\n...because I think she might\ntalk you into letting me stay.\n\n17\n00:02:21,400 --> 00:02:23,910\nGo, Woodchucks!\n\n", "sdh": "1\n00:00:00,040 --> 00:00:03,920\nOlive: Today we had yet another\none of our ridiculous pep rallies.\n\n2\n00:00:04,080 --> 00:00:07,250\nTodd convinced the band to play\nthe sexiest song in their repertoire.\n\n3\n00:00:07,420 --> 00:00:11,010\nI needed to pique everyone's interest enough\nto get them to go home and log on.\n\n4\n00:00:11,170 --> 00:00:14,550\nI had one outfit left and I figured\nabout 30 seconds to do it.\n\n5\n00:00:14,720 --> 00:00:17,470\nPlus I really wanted\nmy own awesome musical number...\n\n6\n00:00:18,100 --> 00:00:20,140\n...for no apparent reason.\n\n7\n00:00:20,880 --> 00:00:22,880\n♪ (\"Knock On Wood\" by Amii Stewart) ♪\n\n8\n00:00:24,850 --> 00:00:26,100\nIs that Olive?\n\n9\n00:00:26,250 --> 00:00:30,590\n♪ I don't want to lose you,\nThis good thing ♪\n\n10\n00:00:30,620 --> 00:00:35,660\n♪ That I got 'Cause if I do ♪\n\n11\n00:00:35,680 --> 00:00:41,630\n♪ I will surely, surely lose a lot ♪\n\n12\n00:00:41,660 --> 00:00:48,990\n♪ 'Cause your love is better\nThan any love I know ♪\n\n13\n00:00:49,010 --> 00:00:53,390\n♪ It's like thunder, lightning ♪\n\n14\n00:00:53,420 --> 00:00:57,260\n- ♪ The way you love me is frightening ♪\n- (Crowd cheers)\n\n15\n00:00:57,280 --> 00:01:05,280\n♪ You better knock, on wood, baby ♪\n\n16\n00:01:08,930 --> 00:01:12,610\n♪ It's like thunder, lightening ♪\n\n17\n00:01:13,440 --> 00:01:16,530\n♪ The way you love me is frightening ♪\n\n18\n00:01:16,560 --> 00:01:20,500\n♪ You better knock, baby ♪\n\n19\n00:01:23,990 --> 00:01:27,390\n♪ Baby, better knock, knock,\nknock on wood. ♪\n\n20\n00:01:27,420 --> 00:01:31,600\n♪ Baby, better knock, knock,\nknock on wood. ♪\n\n21\n00:01:31,620 --> 00:01:35,140\n♪ Baby, better knock, knock,\nknock on wood. ♪\n\n22\n00:01:35,170 --> 00:01:38,890\n♪ Baby, better knock, knock,\nknock on wood. ♪\n\n23\n00:01:38,910 --> 00:01:42,760\n♪ Baby, better knock, knock,\nknock on wood. ♪\n\n24\n00:01:42,780 --> 00:01:45,280\n♪ Baby, better knock. ♪\n\n25\n00:01:45,330 --> 00:01:48,330\n(Crowd cheers)\n\n26\n00:01:50,690 --> 00:01:52,570\nThis was just a free preview.\n\n27\n00:01:52,730 --> 00:01:58,360\nOlive: For the main event, log on to\nwww.FreeOlive.com tonight at 6 p.m.\n\n28\n00:01:58,530 --> 00:02:01,780\nAnd I know it interferes with\nthe basketball game but, come on.\n\n29\n00:02:01,950 --> 00:02:04,040\nWould you rather be here cheering on\nthe Woodchucks,\n\n30\n00:02:04,200 --> 00:02:06,410\nor watch me do one?\n\n31\n00:02:07,920 --> 00:02:11,310\nPrincipal Gibbons: What do you think you're doing\nyoung lady? Get to my office right now.\n\n32\n00:02:11,340 --> 00:02:14,960\nYou know, I can't, because I have a date with\nthe guy I like and the rest of the school.\n\n33\n00:02:15,130 --> 00:02:18,340\nI think that before you expel me,\nyou might wanna talk to Mrs. Griffith,\n\n34\n00:02:18,510 --> 00:02:21,220\nbecause I think she might\ntalk you into letting me stay.\n\n35\n00:02:21,390 --> 00:02:23,890\nGo, Blue Devils!\n\n36\n00:02:24,780 --> 00:02:27,780\n(Crowd cheers)\n\n", "screenplay": "{\"screenplay_scene_104\": \"<scene>\\n    <stage_direction>INT. GYM - DAY</stage_direction>\\n    <scene_description>We join a pep rally , already in progress . The DANCE TEAM attempts to rile up the school with a rousing rendition of Michael Jackson 's ` BAD . ' In the stands , Rhi sits with Marianne and Nina .</scene_description>\\n    <character>MARIANNE</character>\\n    <dialogue>So, Olive was n't at school today.</dialogue>\\n    <scene_description>She extends her palms to Nina and Rhi , who both slap them . Marianne puts her arm around Rhi .</scene_description>\\n    <character>MARIANNE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I'm so glad you're with us now.</dialogue>\\n    <character>RHIANNON</character>\\n    <dialogue>Me too. You guys fucking rock.</dialogue>\\n    <character>MARIANNE</character>\\n    <dialogue>We do n't say that word, Rhiannon.</dialogue>\\n    <character>NINA</character>\\n    <parenthetical>( HELPFULLY . )</parenthetical>\\n    <dialogue>Just say ` effing' instead. We effing rock.</dialogue>\\n    <scene_description>Marianne nods in agreement , however Rhi is confused .</scene_description>\\n    <character>RHIANNON</character>\\n    <dialogue>But is n't that just implying the same word?</dialogue>\\n    <character>MARIANNE</character>\\n    <dialogue>Oh, Rhiannon. We have so much to teach you. It's okay to imply things.</dialogue>\\n    <scene_description>Rhiannon looks at her new best friends , who just smile at her . The song ends and there 's a drum roll .</scene_description>\\n    <character>RHIANNON</character>\\n    <dialogue>Yay! It's time for Meerkat Todd.</dialogue>\\n    <parenthetical>( SEXUALLY . )</parenthetical>\\n    <dialogue>I just want to rip that costume off him and -</dialogue>\\n    <scene_description>Marianne puts her hand firmly on Rhi 's knee .</scene_description>\\n    <character>MARIANNE</character>\\n    <dialogue>Why do n't you just not talk for a while, okay hon?</dialogue>\\n    <scene_description>Rhi puts her head down . The drum roll ends and Meerkat Todd bounces out in costume . He jumps around enthusing the student body - But then he goes out of the gym and reenters pushing a DUMPSTER . The familiar chords of the James Bond theme ` Nobody Does It Better ' plays from the band . Meerkat Todd opens the lid of the dumpster and Olive , dressed in a glittery and slinky RED DRESS , with a BOA draped around her bare shoulder , pops up and croons with a handheld mic and slightly different lyrics :</scene_description>\\n    <character>OLIVE</character>\\n    <dialogue>Nobody does it better. Makes me feel sad for the rest. Nobody does it half as good as me. Baby, I'm the best.</dialogue>\\n    <scene_description>Todd lifts Olive out of the dumpster and she sings her ass off - and she 's quite good .</scene_description>\\n    <character>OLIVE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>I was n't lookin,' But somehow they found me. I tried to hide from Your love light. But like heaven above me The guys who loved me Are keepin' all my secrets safe tonight.</dialogue>\\n    <scene_description>She winks at the audience . The guys begin to wolf whistle and howl at her sheer brilliance . She begins to rub her hands seductively over Meerkat Todd 's furry costume , eventually unzipping it and taking off the head to reveal : BLUE DEVIL TODD ! The crowd goes wild .</scene_description>\\n    <character>OLIVE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>And nobody does it better Though sometimes I wish someone could. Nobody does it quite the way I do. Why'd I have to be so good?</dialogue>\\n    <scene_description>She saunters over to Rhi and kisses her on the cheek , leaving a big , red lip mark .</scene_description>\\n    <character>OLIVE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>The way that they hold me Whenever they hold me There's some kind of magic inside you. That keeps me from runnin', But just keep it comin'! How'd you learn to do the things you do?</dialogue>\\n    <scene_description>She sees that Gibbons is not amused , but that does n't stop her .</scene_description>\\n    <character>OLIVE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Oh, and nobody does it better. Makes me feel sad for the rest. Nobody does it half as good as me. Baby, baby! Darlin', I'm the best!</dialogue>\\n    <scene_description>She walks over to a couple of HORN PLAYERS , and runs her fingers seductively over their -LRB- uh -RRB- instruments . The crowd goes wild - some appalled , but most enthused . Olive sashays through the crowd as the MALE TEENS scream and stuff money down her bodice .</scene_description>\\n    <character>OLIVE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <dialogue>Baby you're the best! Darlin', you're the best! Baby, you're the best!</dialogue>\\n    <scene_description>The song ends and Olive takes Blue Devil Todd 's hand .</scene_description>\\n    <character>OLIVE</character>\\n    <parenthetical>( CONT 'D . )</parenthetical>\\n    <parenthetical>( To the student body . )</parenthetical>\\n    <dialogue>This is just a free preview. For the main event log on to www.freeolivep.com tonight at 6 p.m. Now, I know this conflicts with tonight's basketball game, but c'mon would you rather be here cheering on the Meerkats.</dialogue>\\n    <parenthetical>( Looking at Todd , LASCIVIOUSLY . )</parenthetical>\\n    <dialogue>or watch me do one.</dialogue>\\n    <scene_description>There are audible gasps , but excitement nonetheless . Gibbons angrily storms over and takes the microphone .</scene_description>\\n    <character>PRINCIPAL GIBBONS</character>\\n    <parenthetical>( Through gritted teeth . )</parenthetical>\\n    <dialogue>Young lady, to my office. NOW.</dialogue>\\n    <character>OLIVE</character>\\n    <dialogue>Yeah, I ca n't. I'm gon na go bang my boyfriend while the whole school watches. But good luck with the game - thing. Go Meerkats.</dialogue>\\n    <scene_description>She plods out , triumphantly .</scene_description>\\n  </scene>\"}", "movie_duration": "5549.98", "video_start": "4933.44", "video_duration": "151.65"}
{"rottentomatoes_id": "easy-a", "imdb_id": "tt1282140", "video_id": "tK4YWDe_CUBT", "audio_description_us": "1\n00:00:28,240 --> 00:00:29,450\nOlive peeks outside\n\n2\n00:00:29,450 --> 00:00:32,990\nand finds Todd standing on a lawnmower\nholding a pair of speakers.\n\n3\n00:00:51,720 --> 00:00:54,050\nShe faces her webcam once again.\n\n4\n00:01:04,900 --> 00:01:06,690\nHer brother stares, listening in.\n\n5\n00:01:20,250 --> 00:01:21,710\nThe webcast shows her grin\n\n6\n00:01:21,710 --> 00:01:22,880\nand trot out the door.\n\n7\n00:01:29,510 --> 00:01:31,340\nThe pastor frowns at his laptop.\n\n8\n00:01:32,800 --> 00:01:34,140\nEvan watches on a cell phone\n\n9\n00:01:34,140 --> 00:01:35,430\nand a truck almost hits him.\n\n10\n00:01:35,970 --> 00:01:37,260\nHe hurls ice cream at it.\n\n11\n00:01:38,470 --> 00:01:41,100\nNow Mr. Griffith stares steadily at his laptop.\n\n12\n00:01:42,270 --> 00:01:43,520\nHis wife smiles at him,\n\n13\n00:01:43,520 --> 00:01:44,610\nbut he ignores her.\n\n14\n00:01:44,900 --> 00:01:46,440\nShe sheepishly sucks her lips\n\n15\n00:01:46,440 --> 00:01:47,400\nand heads off.\n\n16\n00:01:47,610 --> 00:01:49,320\nMr. Griffith watches her go.\n\n17\n00:01:49,650 --> 00:01:52,950\nIn the gazebo, Marianne soberly\ntouches her cross necklace.\n\n18\n00:01:53,240 --> 00:01:54,570\nRhiannon sits at a fountain,\n\n19\n00:01:54,570 --> 00:01:57,740\nstaring at a text that reads, \"Rhi, sorry I lied to you.\"\n\n20\n00:01:58,040 --> 00:02:00,160\nThe busty blonde gazes off tearfully.\n\n21\n00:02:00,540 --> 00:02:01,660\nNow in hotel room,\n\n", "audio_description_uk": "1\n00:00:25,570 --> 00:00:27,610\nHearing music, she looks out of her bedroom window\n\n2\n00:00:27,610 --> 00:00:28,990\nand sees Todd on the lawn.\n\n3\n00:00:31,320 --> 00:00:32,530\nHe stands on a mower.\n\n4\n00:00:52,510 --> 00:00:53,970\nShe returns to the laptop.\n\n5\n00:01:21,080 --> 00:01:22,370\nShe runs out of her room.\n\n6\n00:01:32,930 --> 00:01:33,930\nMarianne's dad...\n\n7\n00:01:34,010 --> 00:01:35,100\nEvan throws an ice cream.\n\n8\n00:01:38,350 --> 00:01:40,600\nMrs. Griffth to her husband\nwatching the laptop...\n\n9\n00:01:43,350 --> 00:01:44,440\nHe doesn't look at her.\n\n10\n00:01:44,940 --> 00:01:46,690\nShe stands staring at him for a moment,\n\n11\n00:01:47,150 --> 00:01:48,110\nthen walks away.\n\n12\n00:01:52,280 --> 00:01:53,950\nHe glances up after she's gone.\n\n13\n00:01:54,570 --> 00:01:56,700\nMarianne sits toying with a cross\naround her neck.\n\n14\n00:01:57,200 --> 00:01:58,290\nRhi is by a pond.\n\n15\n00:01:58,410 --> 00:02:01,330\nShe reads a text message from\nOlive: 'Sorry, I lied to you'.\n\n", "subtitles": "1\n00:00:00,120 --> 00:00:02,620\nAnd here you all are...\n\n2\n00:00:02,780 --> 00:00:05,660\n...waiting outside the bedroom door\nfor me to kiss Todd...\n\n3\n00:00:05,830 --> 00:00:08,370\n...listening to me pretend\nto have sex with Brandon...\n\n4\n00:00:08,540 --> 00:00:10,750\n...paying me to lie for you...\n\n5\n00:00:10,920 --> 00:00:12,960\n...and calling me\nevery name in the book.\n\n6\n00:00:13,170 --> 00:00:15,920\nYou know, it was just like Hester\nin The Scarlet Letter.\n\n7\n00:00:16,090 --> 00:00:18,590\nExcept that's the one thing\nthe movies don't tell you:\n\n8\n00:00:18,760 --> 00:00:23,970\nHow shitty it feels to be an outcast.\nWarranted or not.\n\n9\n00:00:33,320 --> 00:00:35,230\nHow did you know I love this song?\n\n10\n00:00:35,400 --> 00:00:36,690\nI guessed.\n\n11\n00:00:36,860 --> 00:00:40,280\nI see you've been watching my live\nwebcast. It's still going on, you know.\n\n12\n00:00:40,450 --> 00:00:43,820\nScrew them. They've had\nenough of you. Figuratively speaking.\n\n13\n00:00:43,990 --> 00:00:46,990\nI borrowed my neighbor's mower.\nI came right over.\n\n14\n00:00:47,160 --> 00:00:48,200\nThat almost rhymed.\n\n15\n00:00:48,370 --> 00:00:50,920\nI know. I spent a minute on it.\n\n16\n00:00:51,080 --> 00:00:53,080\nI'll be right down.\n\n17\n00:00:54,750 --> 00:00:56,550\nThat's Todd.\n\n18\n00:00:56,710 --> 00:01:01,680\nNot that I owe you guys any more\nconfessions, but I really like this guy...\n\n19\n00:01:01,840 --> 00:01:06,100\n...and I might even lose my virginity\nto him.\n\n20\n00:01:06,770 --> 00:01:08,680\nI don't know when it'II happen.\n\n21\n00:01:08,850 --> 00:01:11,890\nYou know, it might be five minutes\nfrom now or tonight...\n\n22\n00:01:12,480 --> 00:01:15,980\n...or six months from now\nor maybe on our wedding night.\n\n23\n00:01:16,150 --> 00:01:21,030\nBut the really amazing thing is,\nit is nobody's goddamn business.\n\n24\n00:01:23,410 --> 00:01:24,780\nCome on, where's she going?\n\n25\n00:01:24,950 --> 00:01:27,160\nI thought she was going\nto take her clothes off.\n\n26\n00:01:27,330 --> 00:01:29,870\nDemi Moore took her clothes off.\nThis is bullshit.\n\n27\n00:01:30,040 --> 00:01:33,500\nCome on. Are you kidding me?\n\n28\n00:01:35,460 --> 00:01:38,210\n- Piss off.\n- Come here, you punk.\n\n29\n00:01:41,260 --> 00:01:42,760\nJack?\n\n", "sdh": "1\n00:00:00,100 --> 00:00:02,600\nAnd here you all are,\n\n2\n00:00:02,770 --> 00:00:05,640\nwaiting outside the bedroom door\nfor me to kiss, Todd.\n\n3\n00:00:05,810 --> 00:00:08,360\nOlive: Listening to me pretend\nto have sex with, Brandon.\n\n4\n00:00:08,520 --> 00:00:10,730\nPaying me to lie for you.\n\n5\n00:00:10,900 --> 00:00:12,940\nAnd calling me\nevery name in the book.\n\n6\n00:00:13,150 --> 00:00:15,900\nAnd you know, it was just like Hester\nin The Scarlet Letter.\n\n7\n00:00:16,070 --> 00:00:18,570\nExcept that's the one thing\nthe movies don't tell you:\n\n8\n00:00:18,740 --> 00:00:23,930\nHow shitty it feels to be an outcast.\nWarranted or not.\n\n9\n00:00:23,960 --> 00:00:26,190\n♪ (Don't you forget about me\" by Simple Minds\nplaying outside Olive's window) ♪\n\n10\n00:00:26,210 --> 00:00:28,480\n♪ Hey, hey, hey hey. ♪\n\n11\n00:00:28,500 --> 00:00:31,180\n♪ Oooohhh.. ♪\n\n12\n00:00:33,300 --> 00:00:35,220\nHow did you know I love this song?\n\n13\n00:00:35,380 --> 00:00:36,680\nI guessed.\n\n14\n00:00:36,840 --> 00:00:40,260\nI see you've been watching my live\nweb cast. It's still going on, you know.\n\n15\n00:00:40,430 --> 00:00:43,810\nScrew them. They've had\nenough of you. Figuratively speaking.\n\n16\n00:00:43,980 --> 00:00:46,980\nI borrowed my neighbor's mower.\nI came right over.\n\n17\n00:00:47,150 --> 00:00:48,190\nThat almost rhymed.\n\n18\n00:00:48,360 --> 00:00:50,900\nI know. I spent a minute on it.\n\n19\n00:00:51,070 --> 00:00:53,070\nI'll be right down.\n\n20\n00:00:54,740 --> 00:00:56,530\nThat's Todd.\n\n21\n00:00:56,700 --> 00:01:01,660\nNot that I owe you guys any more confessions,\nbut um, I really like this guy.\n\n22\n00:01:01,830 --> 00:01:06,650\n- Olive: And I might even lose my virginity to him.\n- Chip: Hmm?\n\n23\n00:01:06,750 --> 00:01:08,670\nI don't know when it'll happen.\n\n24\n00:01:08,830 --> 00:01:11,880\nYou know, it might be five minutes\nfrom now or tonight,\n\n25\n00:01:12,460 --> 00:01:15,960\nor six months from now\nor maybe on our wedding night.\n\n26\n00:01:16,130 --> 00:01:21,010\nBut the really amazing thing is,\nit is nobody's goddamn business.\n\n27\n00:01:23,390 --> 00:01:24,770\nCome on, where's she going?\n\n28\n00:01:24,930 --> 00:01:27,140\nI thought she was going\nto take her clothes off.\n\n29\n00:01:27,310 --> 00:01:29,850\nDemi Moore took her clothes off.\nThis is bullshit.\n\n30\n00:01:30,020 --> 00:01:33,480\nCome on. Are you kidding me?\n\n31\n00:01:35,440 --> 00:01:38,060\n- Piss off.\n- Come here, you punk.\n\n32\n00:01:38,090 --> 00:01:41,830\n- ♪ Don't you, forget about me ♪\n- Mrs. Griffith: Jack?\n\n33\n00:01:41,850 --> 00:01:49,450\n♪ Will you stand above me? ♪\n\n34\n00:01:49,480 --> 00:01:54,250\n♪ Look my way, never love me ♪\n\n35\n00:01:54,280 --> 00:02:02,280\n♪ Rain keeps falling, rain keeps falling\nDown, down, down ♪\n\n", "screenplay": "null", "movie_duration": "5549.98", "video_start": "5087.20", "video_duration": "122.37"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "D4PeSSTP21X_", "audio_description_us": "1\n00:00:04,550 --> 00:00:05,670\nHis smile fades\n\n2\n00:00:05,670 --> 00:00:06,800\nand he sniffs the air.\n\n3\n00:00:07,010 --> 00:00:11,930\nAs smoke wafts around his head, he glances over his shoulder\npast the vacant backseat.\n\n4\n00:00:13,890 --> 00:00:15,390\nMore smoke billows in.\n\n5\n00:00:18,730 --> 00:00:21,730\nIt fills the car and pours out both open windows.\n\n6\n00:00:23,150 --> 00:00:25,030\nCoughing, the rugged man pulls over\n\n7\n00:00:25,030 --> 00:00:26,440\nand jumps out of the car.\n\n8\n00:00:29,740 --> 00:00:33,490\nAs he opens its trunk, a woman with long,\nhoney-brown hair emerges,\n\n9\n00:00:33,660 --> 00:00:35,200\nhurls aside a lit flare\n\n10\n00:00:35,200 --> 00:00:37,080\nand punches the man in the crotch.\n\n11\n00:00:40,080 --> 00:00:41,420\nShe shoves him to the ground,\n\n12\n00:00:41,420 --> 00:00:42,540\nthen runs away.\n\n13\n00:00:42,670 --> 00:00:45,960\nAn arrow labels her, ‘Nicole Hurley, Wanted Felon’.\n\n14\n00:00:46,420 --> 00:00:50,930\nAs the man gives chase,\nan arrow labels him, ‘Milo Boyd, Bounty Hunter’.\n\n15\n00:00:53,350 --> 00:00:56,470\nAs Nicole swerves toward the woods,\nMilo catches up.\n\n16\n00:00:57,220 --> 00:00:58,810\nHe tackles her into the grass.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:01,710\nThe convertible cruises down a quiet highway.\n\n2\n00:00:02,290 --> 00:00:08,090\nAt the wheel is a stubbly, ruggedly handsome man\nin a blue plaid short sleeved shirt and a pair of large sunglasses.\n\n3\n00:00:08,430 --> 00:00:10,050\nHe frown and looks over his shoulder.\n\n4\n00:00:10,510 --> 00:00:12,220\nThe car is filling with smoke.\n\n5\n00:00:14,140 --> 00:00:15,020\nHe looks around.\n\n6\n00:00:19,560 --> 00:00:21,730\nSmoke funnels out of the open windows.\n\n7\n00:00:26,190 --> 00:00:27,860\nHe pulls over on the hard shoulder,\n\n8\n00:00:28,110 --> 00:00:30,360\nmarches round the empty, smoke-filled car,\n\n9\n00:00:30,490 --> 00:00:34,740\nand springs the boot open to reveal a slender,\nmousey-haired woman clutching a lit flare.\n\n10\n00:00:35,410 --> 00:00:36,700\nShe thumps him in the groin.\n\n11\n00:00:40,710 --> 00:00:45,960\nAs the woman runs for it, the image freezes\nand a caption appears, ‘Nicole Hurley, Wanted Felon’.\n\n12\n00:00:46,380 --> 00:00:51,180\nAs the man sprints after her, another caption appears,\n‘Milo Boyd, Bounty Hunter’.\n\n13\n00:00:54,260 --> 00:00:55,310\nMilo pounces on her\n\n14\n00:00:55,430 --> 00:00:58,020\nand they tumble head over heels onto a grass verge.\n\n", "subtitles": "1\n00:00:13,130 --> 00:00:14,490\nNic?\n\n2\n00:00:15,500 --> 00:00:17,120\nNicole!\n\n3\n00:00:17,500 --> 00:00:18,590\nHoly shit.\n\n4\n00:00:37,120 --> 00:00:41,080\nDid you really think l was gonna stay\nin there the whole time?\n\n5\n00:00:52,100 --> 00:00:54,090\nCome back here.\n\n", "sdh": "1\n00:00:04,820 --> 00:00:06,990\n[MOUTHING]\n\n2\n00:00:13,290 --> 00:00:14,670\nNic?\n\n3\n00:00:15,670 --> 00:00:17,290\nNicole!\n\n4\n00:00:17,670 --> 00:00:18,750\nHoly shit.\n\n5\n00:00:23,300 --> 00:00:25,010\n[CAR HORN HONKING]\n\n6\n00:00:36,310 --> 00:00:37,560\n[GRUNTS]\n\n7\n00:00:37,730 --> 00:00:41,270\nDid you really think I was gonna stay\nin there the whole time?\n\n8\n00:00:52,290 --> 00:00:54,290\nMILO:\nCome back here.\n\n9\n00:00:56,250 --> 00:00:57,620\n[MILO GRUNTS]\n\n10\n00:00:57,790 --> 00:00:59,500\n[NICOLE SCREAMS]\n\n", "screenplay": "null", "movie_duration": "6384.69", "video_start": "34.56", "video_duration": "60.65"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "48MOrym8iPKv", "audio_description_us": "1\n00:00:01,380 --> 00:00:03,340\nand intently watches the parade.\n\n2\n00:00:03,590 --> 00:00:06,340\nHis mouth lifts in a smile\nas he spots Uncle Sam.\n\n3\n00:00:06,510 --> 00:00:08,260\nAs Milo steps off the sidewalk,\n\n4\n00:00:08,260 --> 00:00:09,800\nthe hefty man sees him.\n\n5\n00:00:13,850 --> 00:00:15,140\nUncle Sam waves.\n\n6\n00:00:16,640 --> 00:00:17,680\nHe flees.\n\n7\n00:00:24,820 --> 00:00:26,780\nThe hefty Dwight gut punches Milo,\n\n8\n00:00:26,780 --> 00:00:27,820\nwho doubles over.\n\n9\n00:00:27,950 --> 00:00:29,610\nMilo punches Dwight in the crotch,\n\n10\n00:00:29,660 --> 00:00:30,320\nheadbutts him,\n\n11\n00:00:30,320 --> 00:00:31,620\nthen tosses him aside.\n\n12\n00:00:31,740 --> 00:00:33,370\nHe stares after Uncle Sam.\n\n13\n00:00:35,490 --> 00:00:38,040\nMilo jogs after the hurrying stilt walker.\n\n14\n00:00:38,370 --> 00:00:40,250\nMore titles: Jason Sudeikis,\n\n15\n00:00:40,290 --> 00:00:40,960\nJeff Garlin,\n\n16\n00:00:40,960 --> 00:00:41,790\nRitchie Coster,\n\n17\n00:00:41,830 --> 00:00:43,000\nCathy Moriarty.\n\n18\n00:00:43,250 --> 00:00:44,880\nPushing past parade walkers,\n\n19\n00:00:44,880 --> 00:00:47,170\nMilo knocks a man's sparkler into a float,\n\n20\n00:00:47,170 --> 00:00:48,170\nwhich ignites.\n\n21\n00:00:48,380 --> 00:00:49,260\nPeter Greene,\n\n22\n00:00:49,260 --> 00:00:50,340\nJoel Marsh Garland.\n\n23\n00:00:50,590 --> 00:00:52,720\nNow Milo grabs Uncle Sam's stilts,\n\n24\n00:00:52,720 --> 00:00:55,930\nand the performer tumbles into\nan open second storey window.\n\n25\n00:00:56,100 --> 00:00:57,430\nMilo drops the stilts\n\n26\n00:00:57,430 --> 00:00:58,600\nand runs indoors.\n\n27\n00:00:58,810 --> 00:00:59,730\nDorian Missick,\n\n28\n00:00:59,890 --> 00:01:01,230\nSiobhan Fallon Hogan,\n\n29\n00:01:01,440 --> 00:01:02,310\nCarol Kane,\n\n30\n00:01:02,310 --> 00:01:03,150\nAdam Rose,\n\n31\n00:01:03,150 --> 00:01:04,480\nand Christine Baranski.\n\n32\n00:01:04,860 --> 00:01:06,900\nStill in his Uncle Sam jacket and beard,\n\n33\n00:01:06,900 --> 00:01:09,280\nthe young man races across a building's roof.\n\n34\n00:01:09,400 --> 00:01:10,610\nHe halts at its edge\n\n35\n00:01:10,610 --> 00:01:12,570\nand eyes a policeman below.\n\n36\n00:01:12,700 --> 00:01:15,830\nAt ground level, Milo sprints\npast the burning parade float.\n\n37\n00:01:15,990 --> 00:01:18,250\nOn the roof, the young man\nscampers one way,\n\n38\n00:01:18,250 --> 00:01:21,210\nthen races back the other\nway with Milo on his tail.\n\n39\n00:01:21,460 --> 00:01:24,040\nThe rugged man chases his\ntarget to the roof's edge,\n\n40\n00:01:24,130 --> 00:01:25,920\nwhere the young man leaps off.\n\n41\n00:01:25,960 --> 00:01:27,090\nMilo follows.\n\n42\n00:01:27,170 --> 00:01:28,510\nThey land on the police van,\n\n43\n00:01:28,510 --> 00:01:29,920\nthen hit the ground hard.\n\n44\n00:01:30,090 --> 00:01:31,260\nPolice surround them.\n\n45\n00:01:40,230 --> 00:01:42,810\nMilo hands an officer his badge and ID.\n\n46\n00:01:49,860 --> 00:01:51,820\nMilo gingerly gets to his feet.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:02,340\nUncle Sam waves goofily at the spectators.\n\n2\n00:00:02,750 --> 00:00:05,760\nLicking his fingers, a fat man, Dwight, narrows his eyes.\n\n3\n00:00:06,260 --> 00:00:08,680\nMilo steps out from behind the post box.\n\n4\n00:00:25,230 --> 00:00:26,490\nDwight socks him in the gut.\n\n5\n00:00:26,820 --> 00:00:28,360\nMilo punctures Dwight in the nuts,\n\n6\n00:00:28,360 --> 00:00:29,360\nthen headbutts him over.\n\n7\n00:00:29,820 --> 00:00:33,240\nMilo clutches his stomach\nas Uncle Sam runs away on the stilts.\n\n8\n00:00:37,120 --> 00:00:42,380\nMilo breaks into run as the man scarpers, his stilts\nconcealed by his red and white striped trousers.\n\n9\n00:00:43,000 --> 00:00:47,800\nMilo barges into a guy causing him to drop a lit sparkler\nonto a cardboard float decoration\n\n10\n00:00:47,920 --> 00:00:49,380\nwhich promptly catches fire.\n\n11\n00:00:50,090 --> 00:00:51,930\nMilo grabs Uncle Sam's legs,\n\n12\n00:00:52,010 --> 00:00:56,140\nbut they come away in his hands as the fleeing suspect\ndives through a first floor window.\n\n13\n00:00:59,560 --> 00:01:01,310\nThe suspect races through an apartment\n\n14\n00:01:01,310 --> 00:01:03,940\nand climbs out onto a flat roof in his boxer shorts.\n\n15\n00:01:04,360 --> 00:01:06,480\nMilo tries to shoulder the apartment door open\n\n16\n00:01:06,480 --> 00:01:09,990\nas the suspect looks down at an NYPD squad car\nand police van.\n\n17\n00:01:10,740 --> 00:01:12,570\nMilo races back out onto the street\n\n18\n00:01:12,740 --> 00:01:15,660\nas men quell the blazing parade float\nwith fire extinguishers.\n\n19\n00:01:16,290 --> 00:01:18,120\nThe suspect runs back across the roof,\n\n20\n00:01:18,540 --> 00:01:19,710\nbut meets with Milo.\n\n21\n00:01:22,170 --> 00:01:24,420\nMilo pursues the suspect across the rooftop\n\n22\n00:01:24,420 --> 00:01:26,130\nand follows him blindly over the edge.\n\n23\n00:01:26,420 --> 00:01:27,750\nThey land on the van's roof\n\n24\n00:01:27,750 --> 00:01:29,420\nand fall in a heap on the tarmac.\n\n25\n00:01:29,880 --> 00:01:31,760\nArmed police officers surround them.\n\n26\n00:01:40,770 --> 00:01:42,440\nMilo hands the officer ID.\n\n27\n00:01:50,190 --> 00:01:51,650\nMilo limps to his feet.\n\n", "subtitles": "1\n00:00:09,670 --> 00:00:12,000\n- Bingo.\n- Jackpot.\n\n2\n00:00:12,500 --> 00:00:13,660\nHey, Sam!\n\n3\n00:00:14,540 --> 00:00:16,900\n- Hey!\n- Yeah, you, you ding-dong.\n\n4\n00:00:17,110 --> 00:00:18,970\n- Come here.\n- Surprise.\n\n5\n00:00:19,410 --> 00:00:22,640\n- Not now, Dwight. l'm kind of busy.\n- You owe my boss money.\n\n6\n00:00:22,810 --> 00:00:24,640\nHey, l owe everybody money.\n\n7\n00:00:26,920 --> 00:00:28,210\nHey!\n\n8\n00:00:29,720 --> 00:00:31,150\nHey!\n\n9\n00:00:31,720 --> 00:00:33,420\nYou hit my leg, you dummy.\n\n10\n00:00:34,060 --> 00:00:36,120\nYou really gonna\nmake me chase you?\n\n11\n00:00:56,850 --> 00:00:57,910\nExcuse me.\n\n12\n00:01:20,770 --> 00:01:22,200\nGet back here!\n\n13\n00:01:34,250 --> 00:01:35,950\nHands behind your head. Now.\n\n14\n00:01:36,120 --> 00:01:38,610\nTake it easy, skippy.\n\n15\n00:01:39,260 --> 00:01:41,420\nl'm on the job.\n\n16\n00:01:43,290 --> 00:01:46,130\nOh, wow, look at this. Bounty hunter.\n\n17\n00:01:47,200 --> 00:01:49,890\nFigures. Why don't you get\na real job?\n\n", "sdh": "1\n00:00:09,830 --> 00:00:12,160\n- Bingo.\n- Jackpot.\n\n2\n00:00:12,660 --> 00:00:13,830\nHey, Sam!\n\n3\n00:00:14,710 --> 00:00:17,080\n- Hey!\n- Yeah, you, you ding-dong.\n\n4\n00:00:17,290 --> 00:00:19,130\n- Come here.\n- Surprise.\n\n5\n00:00:19,590 --> 00:00:22,800\n- Not now, Dwight. I'm kind of busy.\n- You owe my boss money.\n\n6\n00:00:23,010 --> 00:00:24,840\nHey, I owe everybody money.\n\n7\n00:00:25,010 --> 00:00:26,970\n[GRUNTING]\n\n8\n00:00:27,140 --> 00:00:28,390\nMAN:\nHey!\n\n9\n00:00:29,890 --> 00:00:31,350\nHey!\n\n10\n00:00:31,890 --> 00:00:33,600\nYou hit my leg, you dummy.\n\n11\n00:00:34,230 --> 00:00:36,310\nYou really gonna\nmake me chase you?\n\n12\n00:00:36,480 --> 00:00:39,480\n[SEAN KINGSTON'S \"FIRE BURNING\" PLAYING]\n\n13\n00:00:52,700 --> 00:00:54,250\n[CAT CATERWAULS]\n\n14\n00:00:57,040 --> 00:00:58,080\nExcuse me.\n\n15\n00:01:20,940 --> 00:01:22,400\nGet back here!\n\n16\n00:01:34,410 --> 00:01:36,120\nOFFICER:\nHands behind your head. Now.\n\n17\n00:01:36,290 --> 00:01:38,790\nTake it easy, skippy.\n\n18\n00:01:39,410 --> 00:01:41,580\nI'm on the job.\n\n19\n00:01:43,460 --> 00:01:46,300\nOh, wow, look at this.\nBounty hunter.\n\n20\n00:01:47,380 --> 00:01:50,050\nFigures. Why don't you get\na real job?\n\n", "screenplay": "{\"screenplay_scene_17\": \"<scene>\\n    <stage_direction>EXT. JERSEY CITY- LATE AFTERNOON</stage_direction>\\n    <scene_description>MOVE IN ON - the parade we just saw on TV . Baton twirlers in Santa Hats . Men dressed like reindeer , pulling a sleigh . A boys choir singing `` Joy to the World '' , the kids dressed like orphans that escaped a Broadway musical . A beautiful scene , if you like that sort of thing . RACK TO - the Cadillac , half a block away , cruising sideways into a spot just beneath a `` TEMPORARY TOW - AWAY '' sign . MILO climbs out of the car . Shoves his way through the crowd to the curb , cracking open a can of Pabst . Milo does not like this sort of thing . He scans the crowd impatiently . Meanwhile , THE CAR THAT WAS FOLLOWING HIM parks half a block away . DWIGHT emerges and heads for : MILO , who has just found what he 's looking for . The reindeer are passing him and he makes eye contact with RUDOLPH , who does a double - take .</scene_description>\\n    <character>MILO</character>\\n    <dialogue>Yeah, you. Rudolph. Come here, you fucking ding - dong.</dialogue>\\n    <scene_description>Milo takes a step towards Rudolph and DWIGHT APPEARS IN MILO 'S PATH , BLOCKING HIM .</scene_description>\\n    <character>DWIGHT</character>\\n    <dialogue>We have to stop meeting this way.</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Not now, Dwight.</dialogue>\\n    <character>DWIGHT</character>\\n    <dialogue>You owe my boss money.</dialogue>\\n    <character>MILO</character>\\n    <parenthetical>( LAUGHING . )</parenthetical>\\n    <dialogue>Hey, I owe everybody money.</dialogue>\\n    <scene_description>Suddenly , DWIGHT PUNCHES MILO IN THE GUT . Milo doubles - up , gasping , then BRINGS HIS HEAD UP QUICK , CATCHING DWIGHT ON THE CHIN . Dwight goes flying sideways and MEETS A POLICE BARRIER FACE - FIRST . Ouch . The barrier tips over , knocking over the one next to it . THE REST GO LIKE DOMINOS . Milo turns to see that RUDOLPH HAS DISAPPEARED . Then he catches sight of the ANTLERS , working their way through the crowd . Milo lunges after him and Rudolph drags other reindeer with him as he tries to avoid Milo . THE SLEIGH FLIPS . Santa tumbles from the sled . PACKAGES RAIN DOWN ON REINDEER LIKE SHRAPNEL . All of a sudden , IT 'S THE XMAS FROM HELL : BLOODY REINDEER STUMBLING AROUND , SANTA UNCONSCIOUS IN THE GUTTER , KIDS SCREAMING , PARENTS PANICKING . Meanwhile , MILO IS GAINING ON RUDOLPH , who picks up one of the packages and throws it . IT CRACKS MILO IN THE HEAD . Just what Milo has been waiting for :</scene_description>\\n    <character>MILO</character>\\n    <parenthetical>( BEAMING . )</parenthetical>\\n    <dialogue>I am so happy you did that.</dialogue>\\n    <scene_description>Milo TACKLES RUDOLPH TO THE GROUND . Around them , people scream and scatter . One boy bursts into tears :</scene_description>\\n    <character>BOY</character>\\n    <dialogue>That man is killing Rudolph!</dialogue>\\n    <scene_description>SIRENS . Uh - oh . Cops SWARM the scene , surrounding Milo and Rudolph , GUNS DRAWN . The LEAD COP -LRB- GELMAN , short , over - zealous -RRB- steps forward :</scene_description>\\n    <character>GELMAN</character>\\n    <dialogue>Release the reindeer!</dialogue>\\n    <scene_description>Release the reindeer ? Milo looks around . He 's got 8 or so guns pointed his way and Rudolph gasping at his feet . MILO STARTS TO LAUGH . Gelman bristles :</scene_description>\\n    <character>GELMAN</character>\\n    <dialogue>Hands behind your head, asshole!</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Take it easy, skippy, I'm just doing my job.</dialogue>\\n    <scene_description>Milo flashes his ID . Gelman inspects it , rolls his eyes .</scene_description>\\n    <character>GELMAN</character>\\n    <dialogue>Bounty hunter. Figures. Why do n't you get a real job?</dialogue>\\n    <character>MILO</character>\\n    <dialogue>So I can be like you patrol boys and sit around all day with my thumb up my ass?</dialogue>\\n    <scene_description>Gelman turns bright red .</scene_description>\\n    <character>GELMAN</character>\\n    <dialogue>What did you just say?</dialogue>\\n    <scene_description>Suddenly , a sergeant -LRB- BOBBY , late 30 's , obnoxious but likeable , Milo 's ex - partner -RRB- marches onto the scene , takes one look at Milo and laughs .</scene_description>\\n    <character>BOBBY</character>\\n    <dialogue>Milo Boyd. I shoulda known.</dialogue>\\n    <character>GELMAN</character>\\n    <dialogue>Sarg, you know this asshole?</dialogue>\\n    <character>BOBBY</character>\\n    <dialogue>Yeah. I know this asshole. Guy used to be one of us.</dialogue>\\n    <scene_description>RACK TO - DWIGHT , NOSE BLEEDING , MELTING BACK INTO SHADOW .</scene_description>\\n  </scene>\"}", "movie_duration": "6384.69", "video_start": "130.11", "video_duration": "113.78"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "q6Y7dRkuXm45", "audio_description_us": "1\n00:00:00,000 --> 00:00:01,340\n...takes the incoming call.\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:00,000\n\n", "subtitles": "1\n00:00:01,520 --> 00:00:04,980\nThis is Milo. l'm sorry, but l'm not in\nat the moment to take your call.\n\n2\n00:00:05,160 --> 00:00:08,920\nMilo, get me out of the trunk. Please.\n\n3\n00:00:10,530 --> 00:00:14,220\nNope. Oh, by the way, your boyfriend\nStewart's been following me.\n\n4\n00:00:14,930 --> 00:00:18,420\n- He is not my boyfriend.\n- Well, he seems to think he is.\n\n5\n00:00:18,600 --> 00:00:21,660\nWell, l remember a time\nl thought you were quite the catch...\n\n6\n00:00:21,840 --> 00:00:25,210\n- ...and that didn't pan out, either.\n- He doesn't really seem your type.\n\n7\n00:00:25,380 --> 00:00:29,370\nListen. Okay, Milo, please. Please.\n\n8\n00:00:29,550 --> 00:00:32,240\nl shouldn't have run. That was...\n\n9\n00:00:32,420 --> 00:00:33,940\nLook, you caught me off-guard.\n\n10\n00:00:34,120 --> 00:00:37,610\nTo tell you the truth, l think l really\nneed your advice about something.\n\n11\n00:00:37,820 --> 00:00:38,880\nThat's a real shame...\n\n12\n00:00:39,060 --> 00:00:42,790\n...because l wouldn't help you\nif you were the last baby sea turtle...\n\n13\n00:00:42,960 --> 00:00:46,790\n...dragging your tiny little body\nacross the burning sand...\n\n14\n00:00:46,960 --> 00:00:49,730\n...whilst hungry seagulls\ncircled overhead.\n\n15\n00:00:49,900 --> 00:00:52,370\nNope, l'd just pull up a chair...\n\n16\n00:00:52,540 --> 00:00:56,700\n...sip a piña colada,\nand watch nature take its course.\n\n17\n00:00:58,540 --> 00:01:03,280\n- Hello?\n- You stop.\n\n18\n00:01:03,450 --> 00:01:04,880\nHello?\n\n19\n00:01:06,050 --> 00:01:07,710\nNic?\n\n20\n00:01:08,420 --> 00:01:09,540\nNicole?\n\n21\n00:01:10,990 --> 00:01:12,080\nWhat?\n\n22\n00:01:13,990 --> 00:01:15,960\nHey, remember\nhow we used to be in love?\n\n23\n00:01:17,860 --> 00:01:19,120\nYeah.\n\n24\n00:01:19,300 --> 00:01:21,890\nWell, that means l know\nwhen you're crying for real...\n\n25\n00:01:22,070 --> 00:01:26,470\n...and when you're faking it. Bye-bye.\n\n26\n00:01:26,670 --> 00:01:28,100\nWhat?\n\n27\n00:01:28,270 --> 00:01:29,830\nGod, Milo!\n\n28\n00:01:30,010 --> 00:01:32,840\n- Do you hear the tone of my voice?\n- Oh, God. So good.\n\n", "sdh": "1\n00:00:01,640 --> 00:00:05,100\nThis is Milo. I'm sorry, but I'm not in\nat the moment to take your call.\n\n2\n00:00:05,310 --> 00:00:09,060\nMilo, get me out of the trunk. Please.\n\n3\n00:00:09,230 --> 00:00:14,400\nMm. Nope. Oh, by the way, your\nboyfriend Stewart's been following me.\n\n4\n00:00:15,070 --> 00:00:18,570\n- He is not my boyfriend.\n- Well, he seems to think he is.\n\n5\n00:00:18,740 --> 00:00:21,780\nWell, I seem to remember a time that\nI thought you were quite the catch,\n\n6\n00:00:21,990 --> 00:00:25,330\n- ...and that didn't pan out, either.\n- He doesn't really seem your type.\n\n7\n00:00:25,500 --> 00:00:29,500\nListen. Okay, Milo, please. Please.\n\n8\n00:00:29,670 --> 00:00:32,380\nI shouldn't have run. That was...\n\n9\n00:00:32,540 --> 00:00:34,140\nLook, you caught me off-guard.\nAll right?\n\n10\n00:00:34,250 --> 00:00:37,760\nTo tell you the truth, I think I really\nneed your advice about something.\n\n11\n00:00:37,970 --> 00:00:39,010\nWell, that's a real shame\n\n12\n00:00:39,180 --> 00:00:42,930\nbecause I wouldn't help you\nif you were the last baby sea turtle\n\n13\n00:00:43,100 --> 00:00:46,930\ndragging your tiny little body\nacross the burning sand\n\n14\n00:00:47,100 --> 00:00:49,850\nwhilst hungry seagulls\ncircled overhead.\n\n15\n00:00:50,020 --> 00:00:52,520\nNope, I'd just pull up a chair,\n\n16\n00:00:52,690 --> 00:00:56,820\nsip a piña colada,\nand watch nature take its course.\n\n17\n00:00:58,690 --> 00:01:01,490\n- Hello?\n- You stop.\n\n18\n00:01:01,660 --> 00:01:03,410\n[SOBBING]\n\n19\n00:01:03,570 --> 00:01:04,990\nHello?\n\n20\n00:01:06,200 --> 00:01:07,830\nNic?\n\n21\n00:01:08,540 --> 00:01:09,660\nNicole?\n\n22\n00:01:11,120 --> 00:01:12,210\nWhat?\n\n23\n00:01:14,130 --> 00:01:16,090\nHey, remember\nhow we used to be in love?\n\n24\n00:01:18,000 --> 00:01:19,260\nYeah.\n\n25\n00:01:19,420 --> 00:01:22,010\nWell, that means I know\nwhen you're crying for real\n\n26\n00:01:22,220 --> 00:01:24,800\nand when you're faking it. Bye-bye.\n\n27\n00:01:24,970 --> 00:01:26,640\n[LAUGHS]\n\n28\n00:01:26,800 --> 00:01:28,220\nWhat? Oh!\n\n29\n00:01:28,390 --> 00:01:29,970\nGod, Milo!\n\n30\n00:01:30,140 --> 00:01:32,980\n- Do you hear the tone of my voice?\n- Oh, God. So good.\n\n", "screenplay": "{\"screenplay_scene_64\": \"<scene>\\n    <stage_direction>INT. CADILLAC- AFTERNOON</stage_direction>\\n    <scene_description>Now Milo really is the happiest man alive . He pulls out his cell phone , dials : Teresa removes her gum , sticks it on her mouse - pad , answers :</scene_description>\\n    <character>TERESA</character>\\n    <dialogue>Sid's Bail Bonds.</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Guess who's in my trunk?</dialogue>\\n    <character>TERESA</character>\\n    <dialogue>Is that some sort of perverted innuendo? Who is this?</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Aw, come on, Teresa, you know it's me. Put Sid on.</dialogue>\\n    <character>TERESA</character>\\n    <dialogue>Sid's busy shopping.</dialogue>\\n    <parenthetical>( snorts . )</parenthetical>\\n    <dialogue>He thinks he can handle Xmas.</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Ok, just tell him I got her and I'll be back in 2 hours. I want a bonus for bringing her in so quick.</dialogue>\\n    <character>TERESA</character>\\n    <dialogue>Yeah? I want a bonus for getting through the holidays without stabbing anyone with a fork.</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Do n't be such a pessimist. You still have time.</dialogue>\\n    <scene_description>His phone beeps . IT 'S CASS CALLING FROM THE TRUNK .</scene_description>\\n    <character>MILO</character>\\n    <dialogue>Got ta go. I got another call.</dialogue>\\n    <scene_description>He clicks over .</scene_description>\\n    <character>MILO</character>\\n    <dialogue>Tina's Thai massage! Where every ending is a happy one!</dialogue>\\n    <scene_description>Cass rolls her eyes .</scene_description>\\n    <character>CASS</character>\\n    <dialogue>You're disgusting. Let me out of the trunk.</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Hmm. Nope. By the way, your boyfriend Stewart's been following me. Unfortunately, I had to ditch him at the track.</dialogue>\\n    <character>CASS</character>\\n    <dialogue>Why is Stewart?</dialogue>\\n    <parenthetical>( realizing . )</parenthetical>\\n    <dialogue>And wait : who said he's my boyfriend?</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Aw, do n't be embarrassed. These things happen. You were drunk when you guys hooked up, right?</dialogue>\\n    <scene_description>Cass turns bright red . She was drunk when they hooked up . Changing tactics , she tries to flatter him :</scene_description>\\n    <character>CASS</character>\\n    <dialogue>You know what, Milo? I should n't have run from you like that. I was. I do n't know. You caught me off - guard. The truth is, I'm kind of in some trouble and I could really use your help.</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Bad news for you, then. I would n't help you if you were the very last baby sea turtle in the world, dragging its tiny weak body across the burning hot sand while sea gulls circled overhead. I'd just pull up a chair, sip a pina colada, and let nature take its course.</dialogue>\\n    <scene_description>Long beat . Suddenly , CASS STARTS TO SOB . LOUD , HYSTERICAL SOBS . Milo listens for a moment , out of a purely clinical interest , then :</scene_description>\\n    <character>MILO</character>\\n    <dialogue>Hey, I used to be a sucker, but no more. You can cry til the cows come home, for all I care.</dialogue>\\n    <scene_description>Cass instantly stops crying and slams her phone shut . CUT TO BLACK . Then , the sound of a trunk opening , and WE ARE INSIDE A CAR TRUNK , LOOKING UP AT : MAHLER .</scene_description>\\n  </scene>\"}", "movie_duration": "6384.69", "video_start": "1788.58", "video_duration": "93.97"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "_Hz44A2ZjE2V", "audio_description_us": "1\n00:00:00,000 --> 00:00:01,840\nIn the bedroom, Nicole lies asleep,\n\n2\n00:00:01,840 --> 00:00:04,880\nher handcuffed arm leaning\nvertically against the headboard.\n\n3\n00:00:05,090 --> 00:00:06,800\nMilo eyes her, swaying,\n\n4\n00:00:06,800 --> 00:00:08,550\nthen sets his gun on the nightstand.\n\n5\n00:00:08,880 --> 00:00:11,140\nLater, on his side, he turns off the light.\n\n6\n00:00:11,680 --> 00:00:14,680\nHe flops onto his back, fully\ndressed and in his shoes,\n\n7\n00:00:14,680 --> 00:00:16,980\nand scooches around, getting comfy.\n\n8\n00:00:21,360 --> 00:00:23,820\nLater, Nicole's eyes spring open.\n\n9\n00:00:26,610 --> 00:00:29,110\nRaising her brow, she looks around thoughtfully,\n\n10\n00:00:29,150 --> 00:00:31,280\nthen sits up and peeks over at Milo.\n\n11\n00:00:31,570 --> 00:00:34,410\nJust past him, she spots\nhis gun on the nightstand.\n\n12\n00:00:34,580 --> 00:00:35,950\nNicole lies on her back,\n\n13\n00:00:35,950 --> 00:00:37,330\nthen rolls toward him,\n\n14\n00:00:37,540 --> 00:00:41,000\nsliding the handcuff along\nthe top rail of the headboard.\n\n15\n00:00:45,960 --> 00:00:48,130\nShe props herself up on her hands and knees,\n\n16\n00:00:48,130 --> 00:00:49,130\nthen inches closer\n\n17\n00:00:49,130 --> 00:00:51,300\nand reaches for the gun with her free hand.\n\n18\n00:00:51,550 --> 00:00:53,010\nHer fingers fall short.\n\n19\n00:00:53,140 --> 00:00:54,350\nShe tips off balance,\n\n20\n00:00:54,350 --> 00:00:57,180\nbut catches herself before landing on top of Milo.\n\n21\n00:00:57,640 --> 00:00:59,810\nNicole braces herself on the headboard,\n\n22\n00:00:59,940 --> 00:01:01,560\ndigs her feet into the comforter\n\n23\n00:01:01,650 --> 00:01:04,730\nand makes her downward facing\nbody as stiff as a board.\n\n24\n00:01:04,820 --> 00:01:07,070\nShe carefully straddles Milo.\n\n25\n00:01:10,030 --> 00:01:12,110\nHe drowsily opens his eyes.\n\n26\n00:01:17,160 --> 00:01:18,750\nShe musters a smile.\n\n27\n00:01:22,290 --> 00:01:24,460\nShe playfully smacks the headboard.\n\n28\n00:01:58,290 --> 00:02:00,500\nShe cranes her lips close to his.\n\n29\n00:02:13,180 --> 00:02:15,470\nHe raises his gun in front of her face.\n\n30\n00:02:16,930 --> 00:02:18,140\nShe rears back.\n\n31\n00:02:19,970 --> 00:02:21,270\nShe climbs off.\n\n32\n00:02:26,400 --> 00:02:27,560\nShe turns her back to him\n\n33\n00:02:27,560 --> 00:02:28,690\nand punches her pillow.\n\n34\n00:02:29,070 --> 00:02:30,610\nHe eyes her, smiling.\n\n35\n00:02:31,490 --> 00:02:32,280\nDaytime.\n\n", "audio_description_uk": "1\n00:00:01,040 --> 00:00:02,920\ncuffed the wrought iron bed stand.\n\n2\n00:00:09,760 --> 00:00:11,300\nMilo comes into the bedroom\n\n3\n00:00:11,300 --> 00:00:13,140\nand puts his gun on the bedside table.\n\n4\n00:00:13,680 --> 00:00:17,680\nHe turns off the lamp as he settles down\non the other side of the bed from Nicole.\n\n5\n00:00:27,610 --> 00:00:29,950\nNicole's eyes flicker open in the darkness.\n\n6\n00:00:30,360 --> 00:00:32,910\nShe looks round over her shoulder at snoring Milo.\n\n7\n00:00:36,950 --> 00:00:40,040\nNicole spots the gun on the bedside table beyond Milo.\n\n8\n00:00:40,290 --> 00:00:42,750\nShe surreptitiously manoeuvres herself onto her back\n\n9\n00:00:42,920 --> 00:00:44,840\nand slides the cuffs along the bedstead.\n\n10\n00:00:48,880 --> 00:00:52,470\nShe gets herself into a kneeling position\nwith her right hand cuffed to the railing.\n\n11\n00:00:52,720 --> 00:00:56,310\nShe reaches out with her left hand\nacross Milo towards the gun.\n\n12\n00:00:58,680 --> 00:00:59,520\nShe slips a bit,\n\n13\n00:00:59,560 --> 00:01:01,020\nand nearly falls onto Milo.\n\n14\n00:01:01,560 --> 00:01:04,570\nShe regains her balance\nand grips the bedstead with her left hand,\n\n15\n00:01:04,770 --> 00:01:07,230\nthen straddles Milo to get closer to the gun.\n\n16\n00:01:11,030 --> 00:01:12,870\nMilo wakes up, bleary eyed.\n\n17\n00:01:16,790 --> 00:01:19,500\nShe looks down at him between her outstretched arms.\n\n18\n00:01:58,740 --> 00:02:00,120\nShe leans in closer.\n\n", "subtitles": "1\n00:01:08,700 --> 00:01:10,530\n- What are you doing?\n- What?\n\n2\n00:01:13,940 --> 00:01:15,430\nAre you trying to seduce me?\n\n3\n00:01:20,510 --> 00:01:22,710\nYeah. l am.\n\n4\n00:01:31,550 --> 00:01:34,020\nWhat would you like to touch first?\n\n5\n00:01:34,890 --> 00:01:36,450\nYou always loved my shoulders.\n\n6\n00:01:36,630 --> 00:01:38,890\nOh, yes, your shoulders.\n\n7\n00:01:39,060 --> 00:01:43,760\nAnd especially in the right jacket?\nSo impressive.\n\n8\n00:01:43,930 --> 00:01:44,960\nMy chest.\n\n9\n00:01:47,040 --> 00:01:49,940\nSo strong, so solid.\n\n10\n00:01:50,940 --> 00:01:54,930\n- My lips.\n- Your lips.\n\n11\n00:01:55,110 --> 00:01:59,340\nA perfect match for mine.\n\n12\n00:02:00,680 --> 00:02:04,080\nWhat you'd really like\nto touch first...\n\n13\n00:02:05,350 --> 00:02:07,290\n...is powerful.\n\n14\n00:02:08,090 --> 00:02:10,320\nSometimes dangerous.\n\n15\n00:02:11,430 --> 00:02:14,060\n- lt's hard.\n- Yes.\n\n16\n00:02:15,600 --> 00:02:17,930\nAnd that would be my gun.\n\n17\n00:02:18,770 --> 00:02:23,760\nOh, you're such a dick.\nYou are such a dick.\n\n18\n00:02:23,940 --> 00:02:26,600\nYeah. But in the right jacket...\n\n", "sdh": "1\n00:00:24,490 --> 00:00:28,420\n[MILO SNORING]\n\n2\n00:01:08,830 --> 00:01:10,620\n- What are you doing?\n- What?\n\n3\n00:01:14,040 --> 00:01:15,540\nAre you trying to seduce me?\n\n4\n00:01:20,630 --> 00:01:22,800\nYeah. I am.\n\n5\n00:01:25,640 --> 00:01:27,760\n[BOTH CHUCKLING]\n\n6\n00:01:28,220 --> 00:01:30,310\nWow.\n\n7\n00:01:31,690 --> 00:01:34,150\nWhat would you like to touch first?\n\n8\n00:01:35,020 --> 00:01:36,570\nYou always loved my shoulders.\n\n9\n00:01:36,730 --> 00:01:38,980\nOh, yes, your shoulders.\n\n10\n00:01:39,190 --> 00:01:43,860\nAnd especially in the right jacket?\nSo impressive.\n\n11\n00:01:44,030 --> 00:01:46,280\n- My chest.\n- Oh.\n\n12\n00:01:47,160 --> 00:01:50,040\nSo strong, so solid.\n\n13\n00:01:51,040 --> 00:01:55,040\n- My lips.\n- Your lips.\n\n14\n00:01:55,210 --> 00:01:59,460\nA perfect match for mine.\n\n15\n00:02:00,800 --> 00:02:04,180\nWhat you'd really like\nto touch first\n\n16\n00:02:05,470 --> 00:02:07,390\nis powerful.\n\n17\n00:02:08,220 --> 00:02:10,430\nSometimes dangerous.\n\n18\n00:02:11,560 --> 00:02:14,190\n- It's hard.\n- Yes.\n\n19\n00:02:15,730 --> 00:02:18,020\nAnd that would be my gun.\n\n20\n00:02:18,900 --> 00:02:23,860\nOh, you're such a dick.\nYou are such a dick.\n\n21\n00:02:24,070 --> 00:02:26,700\nYeah. But in the right jacket...\n\n22\n00:02:31,120 --> 00:02:33,080\n[MILO IMITATES SNORING]\n\n", "screenplay": "null", "movie_duration": "6384.69", "video_start": "2623.26", "video_duration": "153.79"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "oklxxsedTRZN", "audio_description_us": "1\n00:00:01,080 --> 00:00:02,290\nMilo backs up.\n\n2\n00:00:12,100 --> 00:00:13,180\nHe shifts into park\n\n3\n00:00:13,180 --> 00:00:15,100\nand raises both hands innocently.\n\n4\n00:00:15,140 --> 00:00:16,640\nNicole glances around.\n\n5\n00:00:16,850 --> 00:00:19,850\nShe treads back to the door,\nher eyes locked on Milo's.\n\n6\n00:00:20,310 --> 00:00:21,690\nAs she reaches for the handle,\n\n7\n00:00:21,690 --> 00:00:23,650\nthe car lurches forward.\n\n8\n00:00:32,570 --> 00:00:33,740\nNicole winces,\n\n9\n00:00:33,740 --> 00:00:35,700\nstifling tears and stares off.\n\n10\n00:00:35,910 --> 00:00:37,700\nMilo eyes her churlishly.\n\n11\n00:00:40,000 --> 00:00:40,870\nHer lips tighten\n\n12\n00:00:40,870 --> 00:00:42,960\nand she shakes her head, looking skyward.\n\n13\n00:00:45,630 --> 00:00:47,460\nShe claps a hand to her mouth.\n\n14\n00:00:52,340 --> 00:00:53,800\nMilo glances away.\n\n15\n00:00:54,100 --> 00:00:56,180\nNicole brushes her hair out of her face,\n\n16\n00:00:56,220 --> 00:00:57,810\nthen sobs into her hand.\n\n17\n00:01:01,900 --> 00:01:03,310\nHe shifts the car into park,\n\n18\n00:01:03,310 --> 00:01:03,810\ngets out\n\n19\n00:01:03,810 --> 00:01:05,320\nand faces his ex-wife.\n\n20\n00:01:10,030 --> 00:01:13,410\nShe stays put, her posture wounded and childlike.\n\n21\n00:01:18,200 --> 00:01:19,410\nHe knits his brow.\n\n22\n00:01:19,580 --> 00:01:21,290\nNicole tugs on the door handle,\n\n23\n00:01:21,290 --> 00:01:22,170\nwhich sticks,\n\n24\n00:01:22,210 --> 00:01:23,170\nthen gives.\n\n25\n00:01:23,460 --> 00:01:24,710\nShe climbs into the seat\n\n26\n00:01:24,710 --> 00:01:26,130\nand slams the door shut.\n\n27\n00:01:26,460 --> 00:01:27,840\nMilo looks over his shoulder\n\n28\n00:01:27,840 --> 00:01:29,670\nand spots a billboard in a field.\n\n29\n00:01:30,050 --> 00:01:31,840\nIt reads: Cupid's Cabin,\n\n30\n00:01:31,930 --> 00:01:35,720\nand shows a picture of a bed and\nbreakfast in a Victorian style mansion.\n\n31\n00:01:36,010 --> 00:01:37,970\nThe bounty hunter purses his lips.\n\n32\n00:01:41,940 --> 00:01:44,020\nHe shuffles back alongside the car.\n\n33\n00:01:44,310 --> 00:01:46,940\nIn the passenger seat, Nicole wipes her eyes,\n\n34\n00:01:46,940 --> 00:01:50,740\nthen rests her forehead against the\nback of her hand, hiding her face.\n\n35\n00:01:51,150 --> 00:01:53,030\nMilo sheepishly opens his door\n\n36\n00:01:53,030 --> 00:01:54,570\nand takes a seat at the wheel.\n\n37\n00:01:54,780 --> 00:01:56,240\nHe glances at Nicole.\n\n", "audio_description_uk": "1\n00:00:13,600 --> 00:00:14,810\nHe puts the handbrake on\n\n2\n00:00:14,810 --> 00:00:15,890\nand holds his hands up.\n\n3\n00:00:16,480 --> 00:00:17,480\nNicole looks around,\n\n4\n00:00:17,480 --> 00:00:20,150\nthen glowers at Milo as she approaches the car again.\n\n5\n00:00:20,600 --> 00:00:22,900\nAs she reaches out, he drives forward.\n\n6\n00:00:34,280 --> 00:00:37,000\nShe looks wistfully across the road\nwearing a sad smile.\n\n7\n00:00:37,040 --> 00:00:38,660\nMilo fidgets, unimpressed.\n\n8\n00:00:40,670 --> 00:00:41,830\nNicole shakes her head\n\n9\n00:00:42,000 --> 00:00:43,670\nand looks on the verge of tears.\n\n10\n00:00:46,460 --> 00:00:47,590\nShe covers her mouth.\n\n11\n00:00:53,890 --> 00:00:56,310\nShe sniffs and whimpers at the side of the road.\n\n12\n00:00:56,470 --> 00:00:58,350\nMilo's expression softens.\n\n13\n00:01:04,860 --> 00:01:06,070\nHe gets out of the car.\n\n14\n00:01:12,110 --> 00:01:13,660\nHe steps over towards her.\n\n15\n00:01:20,120 --> 00:01:21,500\nShe opens the passenger door\n\n16\n00:01:21,500 --> 00:01:22,580\nand gets in the car.\n\n17\n00:01:23,000 --> 00:01:25,040\nMilo turns to look across the road.\n\n18\n00:01:28,590 --> 00:01:30,720\nHe spots a billboard on the grass verge.\n\n19\n00:01:31,090 --> 00:01:35,510\nThere's a picture of a nice house on it\nwith ‘Cupid's Cabin’ written in flowery red letters.\n\n20\n00:01:36,260 --> 00:01:39,470\nMilo shuts his eyes and looks down\nwith a melancholy expression.\n\n21\n00:01:47,570 --> 00:01:49,860\nAs Nicole wipes a few tears away from her eyes,\n\n22\n00:01:49,860 --> 00:01:51,570\nMilo gets in behind the wheel.\n\n", "subtitles": "1\n00:00:03,010 --> 00:00:06,210\nAre you serious? Really?\nRight now, you're gonna do this?\n\n2\n00:00:06,380 --> 00:00:10,340\nl promise,\nl promise l won't do it again.\n\n3\n00:00:11,120 --> 00:00:12,550\nCome on.\n\n4\n00:00:25,530 --> 00:00:27,620\nCannot believe\nl was ever married to you.\n\n5\n00:00:27,800 --> 00:00:31,330\nl don't know why you keep falling\nfor that old \"get in the car\" trick.\n\n6\n00:00:39,410 --> 00:00:40,880\nWhat?\n\n7\n00:00:44,880 --> 00:00:46,580\nOh, what are you doing?\n\n8\n00:00:48,820 --> 00:00:53,160\nNo. No, no, no.\nNo, l'm not buying it. No...\n\n9\n00:00:59,430 --> 00:01:01,870\nOh, shit. That's real.\n\n10\n00:01:07,610 --> 00:01:10,010\nNicole, come on, let's go.\n\n11\n00:01:15,410 --> 00:01:18,940\n- Look, l was just fooling around.\n- Not because of you, jerk.\n\n12\n00:01:40,970 --> 00:01:42,910\nShit.\n\n", "sdh": "1\n00:00:03,100 --> 00:00:06,320\nAre you serious? Really?\nRight now, you're gonna do this?\n\n2\n00:00:06,480 --> 00:00:10,440\nI promise,\nI promise I won't do it again.\n\n3\n00:00:11,240 --> 00:00:12,650\nCome on.\n\n4\n00:00:25,630 --> 00:00:27,710\nCannot believe\nI was ever married to you.\n\n5\n00:00:27,920 --> 00:00:31,420\nI don't know why you keep falling\nfor that old \"get in the car\" trick.\n\n6\n00:00:39,510 --> 00:00:40,970\nWhat?\n\n7\n00:00:44,980 --> 00:00:46,690\nOh, what are you doing?\n\n8\n00:00:48,940 --> 00:00:53,240\nNo. No, no, no.\nNo, I'm not buying it. No...\n\n9\n00:00:59,530 --> 00:01:01,950\nOh, shit. That's real.\n\n10\n00:01:07,850 --> 00:01:10,230\nNicole, come on, let's go.\n\n11\n00:01:15,650 --> 00:01:19,200\n- Look, I was just fooling around.\n- Not because of you, jerk.\n\n12\n00:01:41,220 --> 00:01:43,140\nShit.\n\n", "screenplay": "{\"screenplay_scene_94\": \"<scene>\\n    <stage_direction>EXT. CADILLAC- EARLY EVENING</stage_direction>\\n    <scene_description>Milo is making this up as he goes along :</scene_description>\\n    <character>MILO</character>\\n    <dialogue>I'll tell you what I'm doing : I'm gon na crack this case first, and I'm gon na take all the credit. Who knows, maybe I'll even get my job back.</dialogue>\\n    <character>SID</character>\\n    <dialogue>You are so full of shit. You do n't want your job back. You just want to prove you're smarter than she is.</dialogue>\\n    <character>MILO</character>\\n    <parenthetical>( instantly heated . )</parenthetical>\\n    <dialogue>I am smarter than she is. I would have cracked that 13th Street case way before she did if she had n't.</dialogue>\\n    <character>SID</character>\\n    <dialogue>cheated, right, I know, you've told me a million times. Did it ever occur to you that a normal couple would n't compete the way you guys do in the first place?</dialogue>\\n    <scene_description>Sid spots what he is looking for . So does another last - minute shopper . They both reach for the toy .</scene_description>\\n    <character>MILO</character>\\n    <dialogue>This from the man currently trying to prove to his wife he can handle Xmas.</dialogue>\\n    <character>SID</character>\\n    <parenthetical>( instantly heated . )</parenthetical>\\n    <dialogue>I can handle Xmas!</dialogue>\\n    <scene_description>Sid WRENCHES the toy from the other shopper .</scene_description>\\n    <character>MILO</character>\\n    <dialogue>Just. trust me, Ok?</dialogue>\\n    <character>SID</character>\\n    <dialogue>Do I have a choice?</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Nope.</dialogue>\\n    <scene_description>Milo hangs up and gets in the car .</scene_description>\\n  </scene>\"}", "movie_duration": "6384.69", "video_start": "3173.50", "video_duration": "117.24"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "LsS7vKJQD2ij", "audio_description_us": "1\n00:00:06,800 --> 00:00:08,430\nThe pickup pulls up beside them.\n\n2\n00:00:09,800 --> 00:00:12,600\nAs the chiselled thug aims a gun\nat them from behind the wheel,\n\n3\n00:00:12,600 --> 00:00:14,560\nNicole jams her foot on the gas pedal.\n\n4\n00:00:14,720 --> 00:00:16,270\nMilo veers onto the shoulder,\n\n5\n00:00:16,350 --> 00:00:18,810\nthen into oncoming traffic on a one-way street.\n\n6\n00:00:19,060 --> 00:00:21,690\nThe thug shoots at them from\nthe parallel two-way road.\n\n7\n00:00:22,900 --> 00:00:25,150\nDrawing his gun, Milo returns fire.\n\n8\n00:00:25,360 --> 00:00:26,530\nNicole cowers.\n\n9\n00:00:26,610 --> 00:00:28,490\nThe pickup swerves onto the one-way street\n\n10\n00:00:28,490 --> 00:00:30,530\nand jams itself alongside the Delta,\n\n11\n00:00:30,660 --> 00:00:32,910\nmangling the convertible's headlight and fender.\n\n12\n00:00:33,030 --> 00:00:34,410\nThe vehicles separate.\n\n13\n00:00:34,490 --> 00:00:35,790\nMilo bashes the pickup\n\n14\n00:00:35,790 --> 00:00:36,660\nand takes aim.\n\n15\n00:00:39,080 --> 00:00:41,580\nAs they speed forward, shoving against each other,\n\n16\n00:00:41,670 --> 00:00:45,090\nNicole spots an SUV headed\nstraight for the thug's vehicle.\n\n17\n00:00:46,130 --> 00:00:49,420\nSwerving, the chiselled man goes\nthrough construction barricades,\n\n18\n00:00:49,550 --> 00:00:51,390\nthen ramps up a stack of barricades\n\n19\n00:00:51,390 --> 00:00:52,930\nand launches into mid-air.\n\n20\n00:00:53,140 --> 00:00:54,720\nThe pickup lands on its roof\n\n21\n00:00:54,720 --> 00:00:56,850\nand skids across the two-lane road.\n\n22\n00:00:57,180 --> 00:01:00,020\nReaching a grassy field, it tumbles onto its side.\n\n23\n00:01:00,100 --> 00:01:01,400\nMilo pulls over.\n\n24\n00:01:03,860 --> 00:01:05,480\nShe wrenches her cuffed arm.\n\n25\n00:01:10,490 --> 00:01:11,150\nHe gets out\n\n26\n00:01:11,150 --> 00:01:12,570\nand surveys the damage.\n\n27\n00:01:13,240 --> 00:01:15,490\nAs Milo jogs toward the luxury pickup,\n\n28\n00:01:15,580 --> 00:01:18,370\nthe thug wriggles out through\na window on the other side.\n\n29\n00:01:18,660 --> 00:01:20,370\nNearing the vehicle, Milo slows\n\n30\n00:01:20,370 --> 00:01:21,500\nand aims his gun.\n\n31\n00:01:21,790 --> 00:01:24,790\nHis assailant gets to his feet,\nusing the pickup as cover.\n\n32\n00:01:25,130 --> 00:01:28,010\nThe bounty hunter ventures\ntoward the vehicle's tail end,\n\n33\n00:01:28,010 --> 00:01:30,130\nand the thug edges around its front.\n\n34\n00:01:30,420 --> 00:01:32,090\nMilo arrives on the other side\n\n35\n00:01:32,090 --> 00:01:34,010\nand finds no sign of the gunman.\n\n36\n00:01:34,140 --> 00:01:37,140\nTurning back, he finds himself aiming at Nicole.\n\n37\n00:01:37,310 --> 00:01:40,020\nShe clutches her door's broken off inner panel.\n\n38\n00:01:49,440 --> 00:01:52,570\nOn the one-way street, the thug\nyanks a woman from her minivan,\n\n39\n00:01:52,570 --> 00:01:53,070\ngets in\n\n40\n00:01:53,070 --> 00:01:54,200\nand speeds off.\n\n", "audio_description_uk": "1\n00:00:09,220 --> 00:00:12,100\nThe SUV pulls alongside\nand its driver Mahler shoots at them.\n\n2\n00:00:12,220 --> 00:00:15,680\nNicole stamps on Milo's foot,\nforcing the car to sideswipe the SUV.\n\n3\n00:00:15,810 --> 00:00:18,060\nThe Delta swerves beneath raised railway tracks.\n\n4\n00:00:22,980 --> 00:00:25,610\nAs Nicole ducks for cover, Milo returns fire.\n\n5\n00:00:25,900 --> 00:00:28,610\nMahler swerves into the one way\nsystem beneath the rail tracks.\n\n6\n00:00:28,610 --> 00:00:30,360\nThe SUV bumps the Delta.\n\n7\n00:00:33,080 --> 00:00:35,740\nThe Delta loses a headlight\nas the speeding vehicles jostle.\n\n8\n00:00:35,830 --> 00:00:37,500\nMahler swerves into the Delta again.\n\n9\n00:00:42,840 --> 00:00:44,710\nNicole points at an oncoming car.\n\n10\n00:00:48,380 --> 00:00:49,930\nMahler veers off at the last minute\n\n11\n00:00:49,930 --> 00:00:51,590\nand crashes through a wooden siding.\n\n12\n00:00:51,890 --> 00:00:53,600\nThe SUV flips onto its roof\n\n13\n00:00:53,720 --> 00:00:55,760\nand ends up lurching onto its side.\n\n14\n00:01:14,580 --> 00:01:16,620\nMilo looks at the damage to his car,\n\n15\n00:01:16,660 --> 00:01:20,000\nthen hurries across the road\nwhich runs alongside the raised rail track.\n\n16\n00:01:20,580 --> 00:01:25,340\nMahler hauls himself out of the gap between\nthe driver's window and the road beneath the stricken SUV.\n\n17\n00:01:25,790 --> 00:01:28,300\nHe creeps around the SUV as Milo approaches.\n\n18\n00:01:28,550 --> 00:01:31,590\nMilo, gun drawn, arrives to find Mahler gone.\n\n19\n00:01:34,970 --> 00:01:35,850\nHe spins round\n\n20\n00:01:35,890 --> 00:01:39,180\nand sees Nicole holding the panel\nfrom the inside of the car door.\n\n21\n00:01:52,860 --> 00:01:54,450\nMahler steals a woman's car.\n\n", "subtitles": "1\n00:00:00,650 --> 00:00:03,250\n- They may wanna kill me.\n- You think you're hot shit...\n\n2\n00:00:03,420 --> 00:00:06,590\n...but l'm sure the only person\nthat wants to kill you is me.\n\n3\n00:00:06,760 --> 00:00:09,230\n- God! Look out. Go.\n- What the hell are you doing?\n\n4\n00:00:14,830 --> 00:00:15,890\nGod. Shit.\n\n5\n00:00:19,240 --> 00:00:21,000\nWhy don't you ever listen to me?\n\n6\n00:00:21,170 --> 00:00:22,900\n- l do listen, but...\n- No, you don't.\n\n7\n00:00:31,920 --> 00:00:33,580\nLook out.\n\n8\n00:00:41,690 --> 00:00:43,420\nDon't stop.\n\n9\n00:00:45,000 --> 00:00:46,290\nMilo!\n\n10\n00:01:02,110 --> 00:01:06,950\n- Yes. l am so onto some...\n- Only you could be happy right now.\n\n11\n00:01:07,120 --> 00:01:08,140\n- Milo...\n- Stay here.\n\n12\n00:01:08,320 --> 00:01:11,380\nNo, don't you leave me here, Milo.\nGet me out of here. Milo.\n\n13\n00:01:12,790 --> 00:01:14,380\nShit.\n\n14\n00:01:39,990 --> 00:01:42,220\n- Jesus.\n- Christ.\n\n15\n00:01:42,390 --> 00:01:44,050\nl told you to stay in the car.\n\n16\n00:01:44,220 --> 00:01:46,210\nSo, what?\nYou are not the boss of me.\n\n17\n00:01:46,390 --> 00:01:48,880\n- You're gonna pay for that.\n- l owe you a nickel.\n\n18\n00:01:49,060 --> 00:01:52,190\nStop the car. Get out.\nGet out of there.\n\n19\n00:01:52,360 --> 00:01:53,630\nShit.\n\n20\n00:01:55,000 --> 00:01:57,090\nWhat the hell\nhave you gotten yourself into?\n\n21\n00:01:57,270 --> 00:02:00,670\n- Really? Now you're interested?\n- Yeah, hell, yeah. He shot up my car.\n\n22\n00:02:01,510 --> 00:02:03,440\nl told you\nsomeone was following me.\n\n", "sdh": "1\n00:00:00,730 --> 00:00:02,620\n- They may wanna kill me.\n- You might think you're hot shit\n\n2\n00:00:02,650 --> 00:00:06,820\nand everything, but I'm pretty sure the only\nperson around here that wants to kill you is me.\n\n3\n00:00:06,990 --> 00:00:09,390\nNICOLE: God! Look out. Go.\nMILO: What the hell are you doing?\n\n4\n00:00:10,780 --> 00:00:12,700\n[GUNSHOTS]\n\n5\n00:00:15,080 --> 00:00:16,120\nNICOLE:\nGod. Shit.\n\n6\n00:00:19,460 --> 00:00:21,250\nWhy don't you ever listen to me?\n\n7\n00:00:21,420 --> 00:00:23,300\nMILO: I do listen, but...\nNICOLE: No, you don't.\n\n8\n00:00:32,130 --> 00:00:33,800\nLook out.\n\n9\n00:00:41,940 --> 00:00:43,650\nDon't stop.\n\n10\n00:00:45,230 --> 00:00:46,520\nMilo!\n\n11\n00:00:46,690 --> 00:00:47,940\n[CAR HORN HONKING]\n\n12\n00:01:02,330 --> 00:01:07,170\n- Yes! I am so onto some...\n- Only you could be happy right now.\n\n13\n00:01:07,340 --> 00:01:08,380\n- Milo...\n- Stay here.\n\n14\n00:01:08,550 --> 00:01:11,630\nNo, don't you leave me here, Milo.\nGet me out of here. Milo.\n\n15\n00:01:13,010 --> 00:01:14,630\nShit.\n\n16\n00:01:40,200 --> 00:01:42,450\n- Ah! Jesus.\n- Christ.\n\n17\n00:01:42,620 --> 00:01:44,290\nI told you to stay in the car.\n\n18\n00:01:44,460 --> 00:01:46,460\nSo, what?\nYou are not the boss of me.\n\n19\n00:01:46,620 --> 00:01:49,130\n- You're gonna pay for that.\n- Okay, great. I owe you a nickel.\n\n20\n00:01:49,290 --> 00:01:52,420\nStop the car. Get out.\nGet out of there.\n\n21\n00:01:52,590 --> 00:01:53,880\nShit.\n\n22\n00:01:55,220 --> 00:01:57,340\nWhat the hell\nhave you gotten yourself into?\n\n23\n00:01:57,510 --> 00:02:00,890\n- Really? Now you're interested?\n- Yeah, hell, yeah. He shot up my car.\n\n24\n00:02:01,720 --> 00:02:03,680\nI told you\nsomeone was following me.\n\n", "screenplay": "{\"screenplay_scene_98\": \"<scene>\\n    <stage_direction>EXT. GARAGE- EVENING</stage_direction>\\n    <scene_description>A tow truck is pulling up , towing Mahler 's car . The tow truck driver turns to Mahler , who is in the passenger seat :</scene_description>\\n    <character>TOW TRUCK DRIVER</character>\\n    <dialogue>The garage is closed for the night. Guess you'll have to wait til tomorrow.</dialogue>\\n    <scene_description>Mahler thinks this over , then SMACKS THE DRIVER ACROSS THE FACE WITH THE BUTT OF HIS GUN . The driver crumples in his seat .</scene_description>\\n    <character>MAHLER</character>\\n    <dialogue>Guess not.</dialogue>\\n    <scene_description>Mahler leans across him , opens the driver 's side door , and BOOTS him out of the cab .</scene_description>\\n  </scene>\"}", "movie_duration": "6384.69", "video_start": "3408.96", "video_duration": "124.48"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "w0kenrhZOI0f", "audio_description_us": "1\n00:00:10,800 --> 00:00:12,140\nShe shrugs a hand.\n\n2\n00:00:13,680 --> 00:00:15,180\nMilo lifts his brow.\n\n3\n00:00:18,190 --> 00:00:20,310\nLooking away, she shrugs again.\n\n4\n00:00:37,540 --> 00:00:38,960\nMilo blinks at her.\n\n5\n00:00:51,130 --> 00:00:53,100\nNicole regards him thoughtfully.\n\n6\n00:00:54,890 --> 00:00:56,850\nHe gives a boyish half-smile.\n\n7\n00:01:05,690 --> 00:01:07,570\nShe raises her champagne glass.\n\n8\n00:01:08,110 --> 00:01:09,400\nMilo follows suit.\n\n9\n00:01:20,210 --> 00:01:21,500\nThey tap glasses.\n\n10\n00:01:21,670 --> 00:01:24,630\nMilo sips his sparkling wine\nwith a knitted brow.\n\n11\n00:01:26,130 --> 00:01:28,590\nNicole's smile fades to a tight smirk.\n\n12\n00:02:17,350 --> 00:02:19,260\nMilo gives a sad shrug.\n\n13\n00:02:19,520 --> 00:02:22,560\nResting her cheek against her\nhand, Nicole shakes her head\n\n14\n00:02:22,560 --> 00:02:23,850\nand gazes skyward.\n\n15\n00:02:51,420 --> 00:02:52,840\nNicole looks away,\n\n16\n00:02:52,970 --> 00:02:55,090\nthen faces him defencelessly.\n\n17\n00:03:03,230 --> 00:03:05,640\nNicole tearfully tightens her lips.\n\n", "audio_description_uk": "1\n00:01:22,750 --> 00:01:23,380\nThey toast\n\n2\n00:01:23,380 --> 00:01:24,750\nand sip their champagne.\n\n3\n00:01:44,520 --> 00:01:45,770\nThey stare at each other.\n\n4\n00:02:18,810 --> 00:02:19,470\nHe shrugs\n\n5\n00:02:19,470 --> 00:02:20,270\nand looks down.\n\n6\n00:02:20,470 --> 00:02:21,640\nNicole shakes her head\n\n7\n00:02:21,640 --> 00:02:22,980\nand looks up into the night.\n\n8\n00:02:52,170 --> 00:02:53,800\nShe looks away ruefully.\n\n9\n00:03:04,060 --> 00:03:06,850\nHe looks into Nicole's eyes as her lip quivers.\n\n", "subtitles": "1\n00:00:02,770 --> 00:00:03,790\nWhy do people do what?\n\n2\n00:00:03,970 --> 00:00:07,300\nDeny that they've ever done\nanything wrong in the relationship.\n\n3\n00:00:07,470 --> 00:00:11,960\nWhy can't people take responsibility\nfor their shit and move on?\n\n4\n00:00:12,580 --> 00:00:14,770\nWhich people are you talking about?\n\n5\n00:00:16,650 --> 00:00:17,670\n- l don't know.\n- What?\n\n6\n00:00:17,880 --> 00:00:19,370\nl don't know.\n\n7\n00:00:20,620 --> 00:00:23,250\nYou. Me.\n\n8\n00:00:23,920 --> 00:00:25,480\nEverybody.\n\n9\n00:00:25,660 --> 00:00:27,780\nWell, maybe everybody's afraid...\n\n10\n00:00:27,960 --> 00:00:31,830\n...that any admission of guilt\nwould be seen as a sign of weakness.\n\n11\n00:00:32,000 --> 00:00:34,490\nYou know,\nthat's where everybody's wrong.\n\n12\n00:00:34,660 --> 00:00:36,860\nl see it as a sign of maturity.\n\n13\n00:00:37,030 --> 00:00:38,760\nDon't you think?\n\n14\n00:00:39,700 --> 00:00:41,830\n- Absolutely.\n- l mean, life...\n\n15\n00:00:42,010 --> 00:00:45,960\nLife is about making mistakes.\n\n16\n00:00:46,140 --> 00:00:47,700\nRight?\n\n17\n00:00:48,410 --> 00:00:51,440\nAnd death is about\nwishing you made a whole lot more.\n\n18\n00:00:56,620 --> 00:00:57,810\nHey, l just made that up.\n\n19\n00:00:59,020 --> 00:01:01,510\nLook at you, Milo Boyd.\n\n20\n00:01:02,630 --> 00:01:04,220\nWell...\n\n21\n00:01:05,160 --> 00:01:06,860\nWell, then.\n\n22\n00:01:07,530 --> 00:01:09,000\nHere...\n\n23\n00:01:09,530 --> 00:01:13,730\n...is to our big, fat, ugly mistake.\n\n24\n00:01:13,940 --> 00:01:16,300\nThe kind\nthat knocks you on your ass.\n\n25\n00:01:17,370 --> 00:01:20,540\nAnd makes you wanna\ndo them all over again.\n\n26\n00:01:25,520 --> 00:01:27,070\nWhat do you mean?\n\n27\n00:01:28,550 --> 00:01:30,210\nWell, l...\n\n28\n00:01:31,890 --> 00:01:35,150\nWell, wait, wait.\nWhat mistake were you talking about?\n\n29\n00:01:35,330 --> 00:01:38,490\nNo, you just said\nyou had made a mistake.\n\n30\n00:01:39,730 --> 00:01:40,750\nl did.\n\n31\n00:01:41,560 --> 00:01:43,660\nSo we're in agreement?\n\n32\n00:01:47,200 --> 00:01:48,470\nBut so did you.\n\n33\n00:01:51,040 --> 00:01:55,570\nYeah, so we both\nmade a huge mistake.\n\n34\n00:01:59,420 --> 00:02:01,280\nBy getting married.\n\n35\n00:02:02,990 --> 00:02:04,250\nOh, yeah, that. Yeah.\n\n36\n00:02:07,360 --> 00:02:08,480\nAnd getting divorced.\n\n37\n00:02:11,590 --> 00:02:13,720\nBut you know what?\nHey, l screwed up.\n\n38\n00:02:14,400 --> 00:02:18,490\nl screwed up, and l'm sorry.\n\n39\n00:02:24,440 --> 00:02:26,370\nSometimes l...\n\n40\n00:02:29,010 --> 00:02:31,950\nSometimes l really think\nit was all me.\n\n41\n00:02:36,150 --> 00:02:37,210\nThis is crazy.\n\n42\n00:02:37,390 --> 00:02:38,910\nl know.\n\n43\n00:02:40,160 --> 00:02:41,920\nBut l kind of...\n\n44\n00:02:42,590 --> 00:02:44,420\nl kind of miss it.\n\n45\n00:02:46,060 --> 00:02:48,660\n- What?\n- This.\n\n46\n00:02:49,630 --> 00:02:51,660\nUs. You know, you.\n\n47\n00:02:55,270 --> 00:02:57,100\nBut you don't even like me.\n\n48\n00:02:59,180 --> 00:03:01,270\nAre you kidding me?\n\n49\n00:03:01,640 --> 00:03:03,980\nOf course l like you.\n\n", "sdh": "1\n00:00:02,970 --> 00:00:04,010\nWhy do people do what?\n\n2\n00:00:04,180 --> 00:00:07,520\nDeny that they've ever done\nanything wrong in the relationship.\n\n3\n00:00:07,680 --> 00:00:12,190\nWhy can't people just take\nresponsibility for their shit and move on?\n\n4\n00:00:12,770 --> 00:00:14,980\nWhich people are you talking about?\n\n5\n00:00:16,860 --> 00:00:17,900\n- I don't know.\n- What?\n\n6\n00:00:18,110 --> 00:00:19,570\nI don't know.\n\n7\n00:00:20,820 --> 00:00:23,450\nYou. Me.\n\n8\n00:00:24,120 --> 00:00:25,700\nEverybody.\n\n9\n00:00:25,870 --> 00:00:28,000\nWell, maybe everybody's afraid\n\n10\n00:00:28,160 --> 00:00:32,040\nthat any admission of guilt would\nbe seen as a sign of weakness.\n\n11\n00:00:32,210 --> 00:00:34,710\nYou know,\nthat's where everybody's wrong.\n\n12\n00:00:34,880 --> 00:00:37,090\nI see it as a sign of maturity.\n\n13\n00:00:37,250 --> 00:00:38,960\nDon't you think?\n\n14\n00:00:39,920 --> 00:00:42,050\n- Absolutely.\n- I mean, life...\n\n15\n00:00:42,220 --> 00:00:46,180\nLife is about making mistakes.\n\n16\n00:00:46,350 --> 00:00:47,930\nRight?\n\n17\n00:00:48,640 --> 00:00:51,640\nAnd death is about\nwishing you made a whole lot more.\n\n18\n00:00:54,310 --> 00:00:56,650\nHuh.\n\n19\n00:00:56,820 --> 00:00:58,020\nHey, I just made that up.\n\n20\n00:00:59,230 --> 00:01:01,740\nLook at you, Milo Boyd.\n\n21\n00:01:02,820 --> 00:01:04,450\nWell...\n\n22\n00:01:05,360 --> 00:01:07,080\nWell, then.\n\n23\n00:01:07,740 --> 00:01:09,200\nHere\n\n24\n00:01:09,740 --> 00:01:13,960\nis to our big, fat, ugly mistake.\n\n25\n00:01:14,170 --> 00:01:16,500\nThe kind\nthat knocks you on your ass.\n\n26\n00:01:17,590 --> 00:01:20,760\nAnd makes you wanna\ndo them all over again.\n\n27\n00:01:25,720 --> 00:01:27,300\nWhat do you mean?\n\n28\n00:01:28,760 --> 00:01:30,430\nWell, I...\n\n29\n00:01:32,100 --> 00:01:35,350\nWell, wait, wait. What mistake\nwere you talking about?\n\n30\n00:01:35,520 --> 00:01:38,690\nNo, you just said\nyou had made a mistake.\n\n31\n00:01:39,940 --> 00:01:40,980\nI did.\n\n32\n00:01:41,780 --> 00:01:43,860\nSo we're in agreement?\n\n33\n00:01:47,410 --> 00:01:48,700\nBut so did you.\n\n34\n00:01:51,240 --> 00:01:55,790\nYeah, so we both\nmade a huge mistake.\n\n35\n00:01:59,630 --> 00:02:01,500\nBy getting married.\n\n36\n00:02:03,210 --> 00:02:04,460\nOh, yeah, that. Yeah.\n\n37\n00:02:07,550 --> 00:02:08,680\nAnd getting divorced.\n\n38\n00:02:11,800 --> 00:02:13,930\nBut you know what?\nHey, I screwed up.\n\n39\n00:02:14,600 --> 00:02:18,690\nI screwed up, and I'm sorry.\n\n40\n00:02:24,650 --> 00:02:26,570\nSometimes I...\n\n41\n00:02:29,240 --> 00:02:32,160\nSometimes I really think\nit was all me.\n\n42\n00:02:36,370 --> 00:02:37,410\nThis is crazy.\n\n43\n00:02:37,580 --> 00:02:39,120\nI know.\n\n44\n00:02:40,370 --> 00:02:42,130\nBut I kind of...\n\n45\n00:02:42,790 --> 00:02:44,630\nI kind of miss it.\n\n46\n00:02:46,260 --> 00:02:48,880\n- What?\n- This.\n\n47\n00:02:49,840 --> 00:02:51,890\nUs. You know, you.\n\n48\n00:02:55,470 --> 00:02:57,310\nBut you don't even like me.\n\n49\n00:02:59,390 --> 00:03:01,480\nAre you kidding me?\n\n50\n00:03:01,850 --> 00:03:04,190\nOf course I like you.\n\n", "screenplay": "null", "movie_duration": "6384.69", "video_start": "4322.53", "video_duration": "188.25"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "nqDlpxBAZCCM", "audio_description_us": "1\n00:00:02,000 --> 00:00:03,750\nShe avoids Milo's gaze.\n\n2\n00:00:04,130 --> 00:00:07,340\nMarching to the bed, she blows\nout a candle on a bedside table,\n\n3\n00:00:07,510 --> 00:00:08,970\nturns off the CD player\n\n4\n00:00:09,050 --> 00:00:10,930\nand hurls some pillows to the floor.\n\n5\n00:00:16,480 --> 00:00:19,730\nShe throws down more pillows\nuntil only a few remain.\n\n6\n00:00:23,900 --> 00:00:25,360\nShe blows out another candle\n\n7\n00:00:25,360 --> 00:00:26,740\nand climbs under the covers.\n\n8\n00:00:43,170 --> 00:00:45,630\nLying on her back, Nicole closes her eyes,\n\n9\n00:00:45,670 --> 00:00:47,550\nthen sneakily peeks one open.\n\n10\n00:00:47,710 --> 00:00:50,340\nShe watches as Milo blows out more candles.\n\n11\n00:00:50,510 --> 00:00:52,470\nHe snuffs the last one with his hand.\n\n12\n00:00:58,560 --> 00:01:00,060\nHe pops a candy into his mouth\n\n13\n00:01:00,060 --> 00:01:01,980\nand climbs into bed fully clothed.\n\n14\n00:01:02,100 --> 00:01:03,520\nHe scoots up against Nicole\n\n15\n00:01:03,520 --> 00:01:04,770\nand folds his arms.\n\n16\n00:01:09,030 --> 00:01:10,860\nNicole eyes him as he chews.\n\n17\n00:01:10,950 --> 00:01:11,860\nHe glances over\n\n18\n00:01:11,860 --> 00:01:12,990\nand she looks away.\n\n19\n00:01:13,120 --> 00:01:14,580\nHe closes his eyes.\n\n20\n00:01:26,170 --> 00:01:27,210\nShe climbs out of bed\n\n21\n00:01:27,210 --> 00:01:28,260\nand grabs a blanket,\n\n22\n00:01:28,260 --> 00:01:31,050\nthen swipes the pillow out\nfrom behind Milo's head.\n\n23\n00:01:31,840 --> 00:01:33,140\nHe bumps the headboard.\n\n24\n00:01:33,340 --> 00:01:34,340\nAs he winces,\n\n25\n00:01:34,470 --> 00:01:36,470\nNicole throws the pillow at his face.\n\n26\n00:01:36,510 --> 00:01:38,520\nShe settles onto a window bench.\n\n27\n00:01:44,610 --> 00:01:47,610\nClosing his eyes, Milo folds\nhis hands behind his head.\n\n28\n00:01:47,770 --> 00:01:49,230\nFrom the bench, Nicole turns\n\n29\n00:01:49,230 --> 00:01:50,360\nand glares at him.\n\n30\n00:01:50,570 --> 00:01:54,160\nLater, she wears her own clothes\nas she slams the suite's door.\n\n31\n00:01:55,120 --> 00:01:56,070\nMilo stirs.\n\n32\n00:01:56,070 --> 00:01:57,910\nHe finds himself cuffed to the bed.\n\n33\n00:02:04,830 --> 00:02:07,130\nNicole jingles the handcuff keys.\n\n34\n00:02:09,420 --> 00:02:10,420\nShe leaves.\n\n35\n00:02:11,510 --> 00:02:14,640\nMilo yanks on his cuff, secured\ntightly to the headboard.\n\n36\n00:02:16,430 --> 00:02:18,060\nAs Nicole races out the door,\n\n37\n00:02:18,060 --> 00:02:20,060\nMilo frantically yanks on the headboard.\n\n38\n00:02:20,220 --> 00:02:21,350\nHe breaks off the top\n\n39\n00:02:21,350 --> 00:02:22,730\nand falls back onto the bed.\n\n40\n00:02:23,350 --> 00:02:25,150\nNow, as he rushes outside,\n\n41\n00:02:25,230 --> 00:02:27,690\nNicole pulls his car out of the drive.\n\n42\n00:02:29,360 --> 00:02:32,070\nStill attached to the\nheadboard, he chases after her.\n\n43\n00:02:32,240 --> 00:02:33,990\nThe convertible speeds away.\n\n44\n00:02:34,780 --> 00:02:37,280\nHe watches as it disappears around a corner.\n\n", "audio_description_uk": "1\n00:00:05,340 --> 00:00:06,720\nShe marches over to the bed,\n\n2\n00:00:06,760 --> 00:00:07,880\nturns the music off,\n\n3\n00:00:08,050 --> 00:00:10,010\nthen dumps scatter cushions on the floor.\n\n4\n00:00:17,350 --> 00:00:20,060\nHe shrugs as she angrily dumps more cushions.\n\n5\n00:00:24,400 --> 00:00:25,530\nShe blows out a candle\n\n6\n00:00:25,530 --> 00:00:26,570\nand gets into bed.\n\n7\n00:00:44,800 --> 00:00:45,840\nHe turns off a lamp\n\n8\n00:00:45,840 --> 00:00:47,670\nand snuffs out the rest of the candles\n\n9\n00:00:47,800 --> 00:00:50,220\nas Nicole glares at him from under the covers.\n\n10\n00:00:59,270 --> 00:01:01,140\nChewing on something, he climbs into bed\n\n11\n00:01:01,140 --> 00:01:02,730\nand pushes up next to Nicole.\n\n12\n00:01:03,360 --> 00:01:04,820\nThey both have their arms folded.\n\n13\n00:01:08,150 --> 00:01:09,650\nNicole looks round at Milo,\n\n14\n00:01:09,860 --> 00:01:12,530\nthen quickly looks away as he glances testily at her.\n\n15\n00:01:12,990 --> 00:01:14,490\nHe keeps chewing ostentatiously.\n\n16\n00:01:14,580 --> 00:01:15,740\nNicole looks round again.\n\n17\n00:01:27,300 --> 00:01:28,340\nShe jumps out of bed\n\n18\n00:01:28,510 --> 00:01:31,590\nand grabs a blanket and the pillow\nfrom beneath Milo's head.\n\n19\n00:01:34,010 --> 00:01:35,640\nHe cracks his skull on the headboard.\n\n20\n00:01:35,850 --> 00:01:37,930\nNicole lobs the pillow back in his face,\n\n21\n00:01:38,020 --> 00:01:39,180\nthen gets on the couch.\n\n22\n00:01:45,980 --> 00:01:48,860\nAs Milo settles back smugly with his arms behind his head,\n\n23\n00:01:49,150 --> 00:01:51,240\nNicole peers sideways through the darkness.\n\n24\n00:01:51,700 --> 00:01:54,110\nWetting her short black dress,\nshe slams the room door.\n\n25\n00:01:55,950 --> 00:01:57,660\nMilo wakes, cuffed to the bed.\n\n26\n00:02:05,130 --> 00:02:06,960\nShe dangles the key to the cuffs.\n\n27\n00:02:17,050 --> 00:02:20,060\nShe hurries downstairs as Milo\nstruggles with the handcuffs.\n\n28\n00:02:24,230 --> 00:02:25,650\nHe pulls the headboard loose.\n\n29\n00:02:25,770 --> 00:02:27,560\nOutside, Nicole reverses the Delta.\n\n30\n00:02:32,690 --> 00:02:37,030\nMilo staggers outside dragging the headboard\nas Nicole drives away from Cupid's Cabin.\n\n", "subtitles": "1\n00:00:01,280 --> 00:00:02,750\nHey.\n\n2\n00:00:03,420 --> 00:00:05,010\nHey.\n\n3\n00:00:12,790 --> 00:00:14,090\nls everything okay?\n\n4\n00:00:15,230 --> 00:00:17,090\nWhy wouldn't it be?\n\n5\n00:00:20,830 --> 00:00:22,160\nThey brought champagne.\n\n6\n00:00:22,330 --> 00:00:25,170\n- l thought maybe you and l...\n- Well, you thought wrong.\n\n7\n00:00:27,110 --> 00:00:28,270\nWhat are you doing?\n\n8\n00:00:29,580 --> 00:00:31,540\nl'm going to bed.\nWhat does it look like?\n\n9\n00:00:34,050 --> 00:00:36,640\nA great big blast from the past,\nthat's what.\n\n10\n00:00:36,820 --> 00:00:41,980\nOh, Nic shuts down again.\nOh, boy, does this take me back.\n\n11\n00:00:42,150 --> 00:00:43,180\nGoddamn it.\n\n12\n00:00:52,700 --> 00:00:55,500\nlf it's so familiar, you know\nyou're sleeping on the couch.\n\n13\n00:00:55,670 --> 00:00:57,530\n- Yeah?\n- Yeah.\n\n14\n00:00:57,700 --> 00:00:59,500\nThe hell l am.\n\n15\n00:01:19,730 --> 00:01:22,790\nAre you gonna swallow that\nany time soon?\n\n16\n00:01:22,960 --> 00:01:26,400\n- Tastes great.\n- Oh, God, you are so... That's it.\n\n17\n00:01:28,330 --> 00:01:30,200\nThat is it.\n\n18\n00:01:39,850 --> 00:01:40,870\nAre you happy now?\n\n19\n00:01:43,520 --> 00:01:45,180\nOverjoyed.\n\n20\n00:01:57,900 --> 00:01:59,590\nOh, sorry, did l wake you?\n\n21\n00:01:59,770 --> 00:02:01,390\nl just wanna say thank you...\n\n22\n00:02:01,570 --> 00:02:04,730\n- ...for a really lovely, lovely evening.\n- No, Nic.\n\n23\n00:02:06,000 --> 00:02:09,940\n- What? No, Nic. Wait.\n- Tickles, huh?\n\n24\n00:02:10,440 --> 00:02:12,270\nHey, come back here.\n\n25\n00:02:12,440 --> 00:02:14,670\nNic. l swear to God.\n\n26\n00:02:15,450 --> 00:02:16,540\nShit.\n\n27\n00:02:22,750 --> 00:02:24,090\nShit.\n\n28\n00:02:28,060 --> 00:02:32,720\nHey. No. Wait. Nic.\nNic, get back here.\n\n29\n00:02:32,900 --> 00:02:35,030\nDon't you dare, you...\n\n", "sdh": "1\n00:00:01,480 --> 00:00:02,940\nHey.\n\n2\n00:00:03,610 --> 00:00:05,190\nHey.\n\n3\n00:00:08,240 --> 00:00:10,320\n[MUSIC STOPS]\n\n4\n00:00:11,870 --> 00:00:14,290\nUh, is everything okay?\n\n5\n00:00:15,410 --> 00:00:17,290\nWhy wouldn't it be?\n\n6\n00:00:21,040 --> 00:00:22,380\nThey brought champagne.\n\n7\n00:00:22,540 --> 00:00:25,380\n- I thought maybe you and I...\n- Well, you thought wrong.\n\n8\n00:00:27,300 --> 00:00:28,470\nWhat are you doing?\n\n9\n00:00:29,760 --> 00:00:31,760\nI'm going to bed.\nWhat does it look like?\n\n10\n00:00:34,260 --> 00:00:36,850\nA great big blast from the past,\nthat's what.\n\n11\n00:00:37,020 --> 00:00:42,190\nOh, Nic shuts down again.\nOh, boy, does this take me back.\n\n12\n00:00:42,350 --> 00:00:43,400\nGoddamn it.\n\n13\n00:00:52,910 --> 00:00:55,840\nWell, if it's so damn familiar, you already\nknow that you're sleeping on the couch.\n\n14\n00:00:55,870 --> 00:00:57,740\n- Oh, yeah?\n- Yeah.\n\n15\n00:00:57,910 --> 00:00:59,700\nThe hell I am.\n\n16\n00:01:19,930 --> 00:01:22,140\nAre you gonna swallow that\nany time soon?\n\n17\n00:01:22,310 --> 00:01:26,610\n- Mm-mm. Tastes great.\n- Oh, God, you are so... That's it.\n\n18\n00:01:28,520 --> 00:01:30,400\nThat is it.\n\n19\n00:01:40,040 --> 00:01:41,080\nAre you happy now?\n\n20\n00:01:43,710 --> 00:01:45,370\nOverjoyed.\n\n21\n00:01:58,100 --> 00:01:59,810\nOh, sorry, did I wake you?\n\n22\n00:01:59,970 --> 00:02:01,600\nI just wanna say thank you\n\n23\n00:02:01,770 --> 00:02:04,940\n- ...for a really lovely, lovely evening.\n- No, Nic.\n\n24\n00:02:06,190 --> 00:02:10,150\n- What? No, Nic. Wait.\n- Tickles, huh?\n\n25\n00:02:10,650 --> 00:02:12,480\nHey, come back here.\n\n26\n00:02:12,650 --> 00:02:14,860\nNic. I swear to God.\n\n27\n00:02:15,650 --> 00:02:16,740\nShit.\n\n28\n00:02:20,450 --> 00:02:22,790\n[GRUNTING]\n\n29\n00:02:22,950 --> 00:02:24,290\nShit.\n\n30\n00:02:28,250 --> 00:02:32,920\nHey. No. Wait. Nic.\nNic, get back here.\n\n31\n00:02:33,090 --> 00:02:35,210\nDon't you dare, you...\n\n", "screenplay": "null", "movie_duration": "6384.69", "video_start": "4815.87", "video_duration": "158.50"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "QP7CsuF86J2V", "audio_description_us": "1\n00:00:00,750 --> 00:00:03,300\nBack in the elevator, Bobby looks to Nicole.\n\n2\n00:00:14,140 --> 00:00:15,520\nNicole glares at him.\n\n3\n00:00:15,850 --> 00:00:19,350\nOut among the industrial\nshelves, Milo creeps past aisles.\n\n4\n00:00:19,650 --> 00:00:21,560\nEarl hides at the end of one unit\n\n5\n00:00:21,610 --> 00:00:23,520\nand watches Milo creeping by.\n\n6\n00:00:26,740 --> 00:00:27,820\nBack in the elevator...\n\n7\n00:00:30,450 --> 00:00:32,620\nNicole points at Bobby insistently,\n\n8\n00:00:32,740 --> 00:00:33,830\nthen creeps out.\n\n9\n00:00:34,080 --> 00:00:37,000\nIn the depository, Milo prowls down an aisle.\n\n10\n00:00:37,120 --> 00:00:38,960\nHe aims his gun around a corner\n\n11\n00:00:39,000 --> 00:00:40,870\nand scans the vacant shadows.\n\n12\n00:00:41,120 --> 00:00:43,340\nNicole minces up to a shelving unit\n\n13\n00:00:43,380 --> 00:00:44,710\nand peeks around it.\n\n14\n00:00:44,880 --> 00:00:46,630\nElsewhere, Milo ducks low,\n\n15\n00:00:46,670 --> 00:00:48,130\nthen skulks forward.\n\n16\n00:00:48,920 --> 00:00:50,720\nEarl sidles down an aisle,\n\n17\n00:00:50,800 --> 00:00:52,140\ngrabs Milo's shoulder\n\n18\n00:00:52,220 --> 00:00:55,010\nand jabs his gun against the bounty hunter's neck.\n\n19\n00:00:56,310 --> 00:00:58,020\nHidden, Nicole spots them.\n\n20\n00:00:58,100 --> 00:00:59,520\nMilo drops his gun.\n\n21\n00:01:01,650 --> 00:01:03,360\nNicole mouths, \"Oh God,\"\n\n22\n00:01:03,400 --> 00:01:05,230\nand searches the shelves around her.\n\n23\n00:01:24,380 --> 00:01:30,510\nNicole spots a pair of evidence boxes, one\nlabelled 'Gotti, K' and the other 'Gotti, V'.\n\n24\n00:01:30,720 --> 00:01:33,640\nA long flat box beneath them\nreads: Handle with care.\n\n25\n00:01:33,840 --> 00:01:37,720\nAs Milo kneels, Nicole finds an\noutline of a shotgun printed on top.\n\n26\n00:01:40,390 --> 00:01:41,600\nNicole takes aim.\n\n27\n00:01:45,730 --> 00:01:46,860\nMilo grins.\n\n28\n00:01:46,940 --> 00:01:48,230\nEarl fumes.\n\n29\n00:01:50,150 --> 00:01:52,110\nShe blows a box to pieces.\n\n30\n00:01:54,780 --> 00:01:55,990\nAs Earl turns to shoot,\n\n31\n00:01:55,990 --> 00:01:57,410\nMilo sweeps his legs.\n\n32\n00:01:57,410 --> 00:01:58,450\nEarl misses.\n\n33\n00:02:01,460 --> 00:02:03,710\nPunched repeatedly, Earl collapses.\n\n34\n00:02:03,870 --> 00:02:05,580\nMilo kicks his weapon away from him,\n\n35\n00:02:05,580 --> 00:02:07,040\nthen glances at Nicole.\n\n36\n00:02:07,340 --> 00:02:08,800\nDaytime, outside.\n\n37\n00:02:08,880 --> 00:02:11,840\nDozens of police cruisers\nsurround the depository.\n\n", "audio_description_uk": "1\n00:00:00,420 --> 00:00:02,420\nand heads out the lift, aiming his gun.\n\n2\n00:00:15,180 --> 00:00:17,310\nBobby glances down at his wounded shoulder.\n\n3\n00:00:17,940 --> 00:00:21,440\nMilo treads carefully passed the storage shelves\nwhich are packed with boxes.\n\n4\n00:00:22,020 --> 00:00:24,860\nMahler lurks at the end of a unit,\nwatching Milo's progress.\n\n5\n00:00:25,440 --> 00:00:27,490\nBobby frowns as Nicole heads out of the lift.\n\n6\n00:00:31,820 --> 00:00:33,910\nShe points stridently at Bobby to be quiet.\n\n7\n00:00:34,580 --> 00:00:38,540\nMilo holds his gun in one hand and points it ahead of him\nas he proceeds through the storage room.\n\n8\n00:00:39,120 --> 00:00:42,210\nNicole totters up to a shelving unit\noutside the lift entrance.\n\n9\n00:00:42,670 --> 00:00:45,550\nMilo carefully steps past more units\nholding evidence boxes.\n\n10\n00:00:46,130 --> 00:00:48,670\nMahler ducks down low as he stalks through the shadows.\n\n11\n00:00:50,510 --> 00:00:51,590\nNicole scans around.\n\n12\n00:00:51,680 --> 00:00:53,140\nMahler nips up behind Milo\n\n13\n00:00:53,140 --> 00:00:54,350\nand puts a gun to his head.\n\n14\n00:00:56,850 --> 00:00:57,600\nNicole hears them.\n\n15\n00:00:57,890 --> 00:00:59,100\nMilo drops his gun.\n\n16\n00:01:05,440 --> 00:01:07,400\nNicole nervously checks her surroundings.\n\n17\n00:01:28,130 --> 00:01:29,130\nMilo complies.\n\n18\n00:01:29,170 --> 00:01:30,840\nNicole spots boxes marked ‘Gotti’.\n\n19\n00:01:30,880 --> 00:01:31,970\nOne contains a shotgun.\n\n20\n00:01:46,320 --> 00:01:47,940\nAt gunpoint, Milo smirks.\n\n21\n00:01:50,820 --> 00:01:52,780\nMahler ducks as the blast just misses.\n\n22\n00:01:55,320 --> 00:01:56,070\nMahler spins\n\n23\n00:01:56,070 --> 00:01:56,580\nand fires.\n\n24\n00:01:56,580 --> 00:01:57,740\nMilo shoves and punches him.\n\n25\n00:02:02,080 --> 00:02:03,250\nMahler slumps to the floor\n\n26\n00:02:03,250 --> 00:02:04,830\nand Milo kicks his gun out of reach.\n\n27\n00:02:04,960 --> 00:02:07,130\nHe looks over at Nicole, who's hunkered on the floor.\n\n28\n00:02:07,920 --> 00:02:08,380\nDay.\n\n29\n00:02:08,670 --> 00:02:11,260\nBobby sits on the tailgate of an ambulance outside.\n\n", "subtitles": "1\n00:00:03,720 --> 00:00:06,960\nHey, he's gonna be all right.\nHe's a good cop.\n\n2\n00:00:07,630 --> 00:00:10,220\nYou're a good cop.\nLook what happened to you.\n\n3\n00:00:11,970 --> 00:00:14,200\nOh, yeah. You got a point.\n\n4\n00:00:27,950 --> 00:00:29,470\nHey. Hey, where you going?\n\n5\n00:00:55,640 --> 00:00:56,670\nDrop it.\n\n6\n00:01:00,680 --> 00:01:02,480\nYou were easy.\n\n7\n00:01:04,080 --> 00:01:05,450\nOh, God.\n\n8\n00:01:07,520 --> 00:01:10,420\nYou already shot one cop.\nShooting another one's...\n\n9\n00:01:10,590 --> 00:01:14,430\n- ...not gonna help things with the jury.\n- You're not a cop.\n\n10\n00:01:15,000 --> 00:01:17,990\n- Well, that's just hurtful.\n- Get down on your knees.\n\n11\n00:01:18,700 --> 00:01:21,830\nMy knees, they're not so great,\nyou know. Took a jump off a roof.\n\n12\n00:01:22,000 --> 00:01:25,030\nThe last thing l care about\nis your knees, your health.\n\n13\n00:01:25,670 --> 00:01:28,340\nNow get down on your knees.\n\n14\n00:01:32,310 --> 00:01:33,800\nNow what?\n\n15\n00:01:33,980 --> 00:01:35,640\nShould have minded\nyour own business.\n\n16\n00:01:36,650 --> 00:01:41,490\n- Not concerned about your future?\n- lt's time for you to go, asshole.\n\n17\n00:01:42,720 --> 00:01:45,820\nDrop it. And l'm the only one\nwho gets to call him \"asshole.\"\n\n18\n00:01:48,800 --> 00:01:50,130\nYou better tell your girl...\n\n19\n00:01:53,500 --> 00:01:55,130\nThat's for calling me a girl.\n\n20\n00:01:57,970 --> 00:02:01,840\nThat's for shooting at my wife.\n\n", "sdh": "1\n00:00:03,890 --> 00:00:07,140\nHey, he's gonna be all right.\nHe's a good cop.\n\n2\n00:00:07,810 --> 00:00:10,400\nYou're a good cop.\nLook what happened to you.\n\n3\n00:00:12,150 --> 00:00:14,360\nOh, yeah. You got a point.\n\n4\n00:00:28,120 --> 00:00:29,670\nHey. Hey, where you going?\n\n5\n00:00:29,870 --> 00:00:31,210\nDa-da-da. Shh!\n\n6\n00:00:55,820 --> 00:00:56,860\nDrop it.\n\n7\n00:01:00,860 --> 00:01:02,660\nYou were easy.\n\n8\n00:01:04,240 --> 00:01:05,620\nOh, God.\n\n9\n00:01:07,700 --> 00:01:10,580\nYou already shot one cop.\nShooting another one's\n\n10\n00:01:10,750 --> 00:01:14,580\n- ...not gonna help things with the jury.\n- You're not a cop.\n\n11\n00:01:15,170 --> 00:01:18,170\n- Well, that's just hurtful.\n- Get down on your knees.\n\n12\n00:01:18,880 --> 00:01:22,010\nMILO: My knees, they're not so great,\nyou know. Took a jump off a roof.\n\n13\n00:01:22,180 --> 00:01:25,220\nMAHLER: The last thing I care\nabout is your knees, your health.\n\n14\n00:01:25,850 --> 00:01:28,520\nNow get down on your knees.\n\n15\n00:01:32,480 --> 00:01:33,980\nMILO:\nNow what?\n\n16\n00:01:34,150 --> 00:01:35,910\nMAHLER: Should have\nminded your own business.\n\n17\n00:01:36,810 --> 00:01:38,290\nMILO:\nNot concerned about your future?\n\n18\n00:01:39,150 --> 00:01:41,650\nYou know, it's time for\nyou to go, asshole.\n\n19\n00:01:42,900 --> 00:01:45,990\nDrop it. And I'm the only one\nwho gets to call him \"asshole.\"\n\n20\n00:01:48,950 --> 00:01:50,290\nYou better tell your girl...\n\n21\n00:01:53,660 --> 00:01:55,290\nThat's for calling me a girl.\n\n22\n00:01:58,130 --> 00:02:02,010\nMILO:\nThat's for shooting at my wife.\n\n", "screenplay": "null", "movie_duration": "6384.69", "video_start": "5917.66", "video_duration": "131.80"}
{"rottentomatoes_id": "1220551-bounty_hunter", "imdb_id": "tt1038919", "video_id": "Frnj7HVAdk7d", "audio_description_us": "1\n00:00:06,670 --> 00:00:09,430\nA sly grin spreads across Milo's lips.\n\n2\n00:00:42,040 --> 00:00:44,340\nShe and Milo swap warm smiles.\n\n3\n00:00:44,380 --> 00:00:46,050\nSunlight bathes her face.\n\n4\n00:00:50,760 --> 00:00:52,010\nNicole beams.\n\n5\n00:00:52,090 --> 00:00:53,680\nMilo skids around a corner,\n\n6\n00:00:53,680 --> 00:00:55,220\npulls into a kerbside spot\n\n7\n00:00:55,220 --> 00:00:56,430\nand brakes hard.\n\n8\n00:01:00,100 --> 00:01:02,770\nShe notices the police station\nacross the street.\n\n9\n00:01:03,860 --> 00:01:05,150\nMilo gets out.\n\n10\n00:01:10,530 --> 00:01:11,490\nIn the station...\n\n11\n00:01:16,290 --> 00:01:17,910\nNicole wears handcuffs.\n\n12\n00:01:30,340 --> 00:01:33,890\nA female officer leads Nicole\naway as she glares at Milo.\n\n13\n00:01:34,140 --> 00:01:35,930\nThe bounty hunter signs a form,\n\n14\n00:01:36,010 --> 00:01:38,890\nand the cop at the desk\nshakes his head incredulously.\n\n15\n00:01:43,270 --> 00:01:45,020\nPursing his mouth regretfully,\n\n16\n00:01:45,060 --> 00:01:46,900\nMilo waves goodbye to the cop\n\n17\n00:01:46,900 --> 00:01:48,110\nand ambles out.\n\n18\n00:01:55,660 --> 00:01:57,490\nNow, Milo strolls outside,\n\n19\n00:01:57,490 --> 00:02:00,450\npassing an officer and\nhandcuffed teen on their way in.\n\n20\n00:02:00,540 --> 00:02:02,540\nAs the bounty hunter descends the stoop,\n\n21\n00:02:02,660 --> 00:02:05,420\nthe arresting officer\nfrom the parade swaggers up.\n\n22\n00:02:11,720 --> 00:02:13,840\nMilo eyes him with a half-smile.\n\n23\n00:02:19,770 --> 00:02:20,890\nMilo punches him.\n\n24\n00:02:21,060 --> 00:02:22,980\nInside, Nicole uses a phone.\n\n25\n00:02:30,650 --> 00:02:33,320\nGelman shoves a cuffed Milo\ntoward a holding cell.\n\n26\n00:02:48,460 --> 00:02:51,510\nThe officers place the\ncouple in side-by-side cells.\n\n27\n00:02:51,630 --> 00:02:52,510\nMilo shrugs\n\n28\n00:02:52,510 --> 00:02:54,800\nand faces his ex-wife through the bars.\n\n29\n00:02:54,930 --> 00:02:56,090\nNicole beams at him\n\n30\n00:02:56,090 --> 00:02:57,140\nand shakes her head.\n\n31\n00:03:01,270 --> 00:03:02,720\nThey share a smile.\n\n32\n00:03:04,940 --> 00:03:06,520\nThey step up to the bars.\n\n33\n00:03:06,650 --> 00:03:07,940\nNicole reaches through them\n\n34\n00:03:07,940 --> 00:03:09,980\nand wraps her arms around Milo's neck.\n\n35\n00:03:10,190 --> 00:03:11,690\nThey kiss passionately.\n\n36\n00:03:11,940 --> 00:03:14,030\nNicole strokes her ex-husband's hair,\n\n37\n00:03:14,190 --> 00:03:16,820\nthen cups the back\nof his head in both her hands.\n\n38\n00:03:17,070 --> 00:03:20,080\nSeparating, they gaze\ninto each other's eyes.\n\n", "audio_description_uk": "1\n00:00:07,510 --> 00:00:09,510\nBehind the wheel, Milo beams.\n\n2\n00:00:42,580 --> 00:00:44,290\nThey share a smile in the sunlight.\n\n3\n00:00:51,590 --> 00:00:52,430\nShe smiles.\n\n4\n00:00:52,760 --> 00:00:55,310\nMilo spins the knackered looking Delta around the corner\n\n5\n00:00:55,390 --> 00:00:57,100\nand brakes sharply by the curb.\n\n6\n00:01:00,600 --> 00:01:02,270\nShe spots the police precinct.\n\n7\n00:01:31,630 --> 00:01:36,430\nWith her hands cuffed behind her back, Nicole is led over\nto a nearby workstation in the busy precinct.\n\n8\n00:01:37,100 --> 00:01:39,520\nMilo signs a form for the white-haired desk sergeant,\n\n9\n00:01:39,770 --> 00:01:41,560\nthen briefly glances over at Nicole\n\n10\n00:01:41,730 --> 00:01:44,980\nand strolls away from the reception\nwith a little wave to the desk sergeant.\n\n11\n00:01:57,030 --> 00:01:59,200\nMilo walks out of the precinct's front door\n\n12\n00:01:59,200 --> 00:02:01,710\nand steps down onto the pavement,\npuffing his cheeks out.\n\n13\n00:02:02,080 --> 00:02:04,120\nIn uniform, Gelman wanders over.\n\n14\n00:02:12,010 --> 00:02:13,180\nMilo grins.\n\n15\n00:02:20,390 --> 00:02:21,850\nHe thumps Gelman out cold.\n\n16\n00:02:51,630 --> 00:02:54,720\nLocked in adjoining cells,\nthe pair face each other through the bars.\n\n17\n00:02:54,930 --> 00:02:55,880\nMilo shrugs.\n\n18\n00:02:55,880 --> 00:02:57,470\nNicole smiles sweetly at him.\n\n19\n00:03:06,270 --> 00:03:10,190\nWith wide smiles and looking into each other's eyes,\nthey step towards the bars.\n\n20\n00:03:10,610 --> 00:03:12,360\nNicole puts her arms between the bars\n\n21\n00:03:12,360 --> 00:03:14,440\nand wraps them gently around Milo’s shoulders.\n\n22\n00:03:14,780 --> 00:03:16,660\nThey kiss through a gap in the bars.\n\n23\n00:03:18,660 --> 00:03:19,910\nShe strokes his hair.\n\n", "subtitles": "1\n00:00:00,440 --> 00:00:03,610\n- Do you know what l really wanna do?\n- What?\n\n2\n00:00:03,810 --> 00:00:07,050\nl wanna blow off this story,\nand l wanna take you home.\n\n3\n00:00:10,050 --> 00:00:11,950\n- Yeah?\n- Oh, yeah.\n\n4\n00:00:12,120 --> 00:00:13,750\nYeah.\n\n5\n00:00:13,920 --> 00:00:18,590\nBut l gotta get this story in before\nanybody gets wind of it. l just have to.\n\n6\n00:00:18,760 --> 00:00:21,700\n- You understand that, right?\n- Oh, totally. Don't...\n\n7\n00:00:21,870 --> 00:00:23,030\n- Listen, l get it.\n- Yeah?\n\n8\n00:00:23,200 --> 00:00:24,960\nl get it. You're just doing your job.\n\n9\n00:00:25,900 --> 00:00:27,800\n- Yeah.\n- Yeah.\n\n10\n00:00:27,970 --> 00:00:29,270\nThank you.\n\n11\n00:00:29,440 --> 00:00:31,270\nThat's not gonna be\nan issue this time.\n\n12\n00:00:31,440 --> 00:00:35,540\nWe both will sometimes\nhave to put our job first.\n\n13\n00:00:35,710 --> 00:00:37,770\nlt's like that, right?\n\n14\n00:00:37,950 --> 00:00:39,540\nYeah.\n\n15\n00:00:39,880 --> 00:00:42,780\nYep. But after...\n\n16\n00:00:47,990 --> 00:00:49,580\nWe're actually doing this.\n\n17\n00:00:50,090 --> 00:00:51,560\nYes, we are.\n\n18\n00:00:58,170 --> 00:01:00,300\nWhy are we pulling over here?\n\n19\n00:01:03,170 --> 00:01:04,440\nHere?\n\n20\n00:01:06,940 --> 00:01:08,640\nNo.\n\n21\n00:01:09,150 --> 00:01:10,740\nYou wouldn't.\n\n22\n00:01:11,750 --> 00:01:13,810\nl told you l was bringing you in.\n\n23\n00:01:13,980 --> 00:01:17,510\nAnd we have, oh,\nfive minutes to spare.\n\n24\n00:01:18,290 --> 00:01:20,690\nNow, don't be mad, babe...\n\n25\n00:01:20,890 --> 00:01:23,790\n...because we're never gonna get this\nmarriage going again...\n\n26\n00:01:23,960 --> 00:01:26,430\n...if you come into it\nwith anger and resentment.\n\n27\n00:01:26,600 --> 00:01:28,790\nl would like to be\ntaken into custody, please.\n\n28\n00:01:29,500 --> 00:01:31,090\nOfficer?\n\n29\n00:01:32,000 --> 00:01:33,470\nLet's go.\n\n30\n00:01:46,680 --> 00:01:50,210\nThis is ridiculous. Unbelievable.\n\n31\n00:01:51,120 --> 00:01:52,850\nWhere did you...?\n\n32\n00:01:53,920 --> 00:01:56,150\nAren't l entitled to a phone call?\n\n33\n00:02:05,540 --> 00:02:07,500\nlt's the bounty hunter.\n\n34\n00:02:07,670 --> 00:02:12,040\nHow was your weekend, asshole?\nDid you set any more parades on fire?\n\n35\n00:02:14,380 --> 00:02:17,640\nActually, Gelman, the rest\nof my weekend was pretty quiet.\n\n36\n00:02:17,810 --> 00:02:20,440\n- Yeah?\n- Until now.\n\n37\n00:02:22,750 --> 00:02:24,580\nlt'll go to the lnternet edition...\n\n38\n00:02:24,750 --> 00:02:28,990\n...and then all media outlets will have\nto come through us directly for details.\n\n39\n00:02:29,160 --> 00:02:31,650\nGreat. Thanks.\n\n40\n00:02:33,160 --> 00:02:37,600\nUsing your one call\nto phone in a story. That is so you.\n\n41\n00:02:37,770 --> 00:02:39,100\nWhat are you doing here?\n\n42\n00:02:39,270 --> 00:02:40,860\nlt's a special night, remember?\n\n43\n00:02:41,470 --> 00:02:43,230\nNo way we're not\nspending it together.\n\n44\n00:02:43,410 --> 00:02:45,700\nHey, can we go\nin the same cell together?\n\n45\n00:02:45,880 --> 00:02:47,100\nGet in the cell, dickhead.\n\n46\n00:02:47,280 --> 00:02:49,270\n- Let's go.\n- l'm going.\n\n47\n00:02:58,260 --> 00:02:59,720\nYou're crazy.\n\n48\n00:03:00,420 --> 00:03:01,520\nMaybe l am.\n\n49\n00:03:03,890 --> 00:03:05,050\nCome here.\n\n50\n00:03:21,280 --> 00:03:23,140\nHappy anniversary, sweetheart.\n\n51\n00:03:24,110 --> 00:03:26,950\nHappy anniversary, sweetheart.\n\n", "sdh": "1\n00:00:00,620 --> 00:00:02,220\nNICOLE:\nDo you know what I really wanna do?\n\n2\n00:00:02,250 --> 00:00:03,790\nWhat?\n\n3\n00:00:04,000 --> 00:00:07,210\nI wanna blow off this story,\nand I wanna take you home.\n\n4\n00:00:10,210 --> 00:00:12,130\n- Yeah?\n- Oh, yeah.\n\n5\n00:00:12,300 --> 00:00:13,930\nYeah.\n\n6\n00:00:14,090 --> 00:00:18,760\nBut I gotta get this story in before\nanybody gets wind of it. I just have to.\n\n7\n00:00:18,930 --> 00:00:21,850\n- You understand that, right?\n- Oh, totally. Don't...\n\n8\n00:00:22,020 --> 00:00:23,180\n- Listen, I get it.\n- Yeah?\n\n9\n00:00:23,350 --> 00:00:25,150\nI get it. You're just doing your job.\n\n10\n00:00:26,060 --> 00:00:27,980\n- Yeah.\n- Yeah.\n\n11\n00:00:28,150 --> 00:00:29,440\nThank you.\n\n12\n00:00:29,610 --> 00:00:31,440\nThat's not gonna be\nan issue this time around.\n\n13\n00:00:31,610 --> 00:00:35,700\nWe both will sometimes\nhave to put our job first.\n\n14\n00:00:35,860 --> 00:00:37,950\nIt's like that, right?\n\n15\n00:00:38,120 --> 00:00:39,700\nYeah.\n\n16\n00:00:40,030 --> 00:00:42,950\nYep. But after...\n\n17\n00:00:46,210 --> 00:00:47,540\nWow.\n\n18\n00:00:48,170 --> 00:00:49,750\nWe're actually doing this.\n\n19\n00:00:50,250 --> 00:00:51,710\nYes, we are.\n\n20\n00:00:54,340 --> 00:00:56,010\n[CAR HORN HONKING]\n\n21\n00:00:58,340 --> 00:01:00,470\nWhy are we pulling over here?\n\n22\n00:01:03,350 --> 00:01:04,600\nHere?\n\n23\n00:01:05,640 --> 00:01:06,940\n[GASPS]\n\n24\n00:01:07,100 --> 00:01:08,810\nNo.\n\n25\n00:01:09,310 --> 00:01:10,900\nYou wouldn't.\n\n26\n00:01:11,900 --> 00:01:13,980\nI told you I was bringing you in.\n\n27\n00:01:14,150 --> 00:01:17,700\nAnd we have, oh,\nfive minutes to spare.\n\n28\n00:01:18,450 --> 00:01:20,870\nNow, don't be mad, babe,\n\n29\n00:01:21,070 --> 00:01:23,950\nbecause we're never gonna get this\nmarriage thing going again\n\n30\n00:01:24,120 --> 00:01:26,580\nif you come into it\nwith a lot of anger and resentment.\n\n31\n00:01:26,750 --> 00:01:28,960\nI would like to be\ntaken into custody, please.\n\n32\n00:01:29,670 --> 00:01:31,250\nOfficer?\n\n33\n00:01:32,170 --> 00:01:33,630\nLet's go.\n\n34\n00:01:46,850 --> 00:01:50,400\nThis is ridiculous. Unbelievable.\n\n35\n00:01:51,270 --> 00:01:53,020\nWhere did you...?\n\n36\n00:01:54,110 --> 00:01:56,320\nAren't I entitled to a phone call?\n\n37\n00:02:04,780 --> 00:02:07,660\nOoh. It's the bounty hunter.\n\n38\n00:02:07,830 --> 00:02:09,500\nHow was your weekend, asshole?\n\n39\n00:02:09,660 --> 00:02:12,210\nDid you set any more\nparades on fire?\n\n40\n00:02:14,540 --> 00:02:17,800\nActually, Gelman, the rest\nof my weekend was pretty quiet.\n\n41\n00:02:17,960 --> 00:02:20,590\n- Yeah?\n- Until now.\n\n42\n00:02:22,930 --> 00:02:24,760\nIt'll go to the Internet edition\nimmediately,\n\n43\n00:02:24,930 --> 00:02:29,140\nand then all media outlets will have to\ncome through us directly for the details.\n\n44\n00:02:29,310 --> 00:02:31,810\nGreat. Thanks.\n\n45\n00:02:33,310 --> 00:02:37,770\nUsing your one call\nto phone in a story. That is so you.\n\n46\n00:02:37,940 --> 00:02:39,280\nWhat are you doing here?\n\n47\n00:02:39,440 --> 00:02:41,030\nIt's a special night, remember?\n\n48\n00:02:41,650 --> 00:02:43,450\nThere's no way we're not\nspending it together.\n\n49\n00:02:43,570 --> 00:02:45,870\nHey, can we go\nin the same cell together?\n\n50\n00:02:46,030 --> 00:02:47,280\nGet in the cell, dickhead.\n\n51\n00:02:47,450 --> 00:02:49,450\n- OFFICER: Let's go.\n- I'm going.\n\n52\n00:02:58,420 --> 00:02:59,880\nYou're crazy.\n\n53\n00:03:00,590 --> 00:03:01,670\nMaybe I am.\n\n54\n00:03:04,050 --> 00:03:05,220\nCome here.\n\n55\n00:03:21,440 --> 00:03:23,320\nHappy anniversary, sweetheart.\n\n56\n00:03:24,030 --> 00:03:27,110\nHappy anniversary, sweetheart.\n\n", "screenplay": "{\"screenplay_scene_172\": \"<scene>\\n    <stage_direction>INT. JERSEY CITY POLICE STATION- MORNING</stage_direction>\\n    <scene_description>Milo leads Cass up to the clerk , both of them looking like a mess . He checks his watch :</scene_description>\\n    <character>MILO</character>\\n    <dialogue>9am. See? Easy as pie.</dialogue>\\n    <parenthetical>( nudging Cass . )</parenthetical>\\n    <dialogue>Go on, say it.</dialogue>\\n    <character>CASS</character>\\n    <parenthetical>( to the clerk . )</parenthetical>\\n    <dialogue>I'd like to turn myself in.</dialogue>\\n    <parenthetical>( ca n't resist . )</parenthetical>\\n    <dialogue>Though I did n't do anything wrong.</dialogue>\\n    <character>MILO</character>\\n    <dialogue>Stop talking.</dialogue>\\n    <character>CASS</character>\\n    <dialogue>and I was unjustly arrested.</dialogue>\\n    <scene_description>To shut her up , Milo GRABS HER AND KISSES HER . THEN SHE IS KISSING HIM BACK . TIME STOPS FOR A MOMENT . Then Milo hands her over to the clerk .</scene_description>\\n    <character>MILO</character>\\n    <parenthetical>( to Cass . )</parenthetical>\\n    <dialogue>See ya.</dialogue>\\n    <character>CASS</character>\\n    <parenthetical>( a little disoriented . )</parenthetical>\\n    <dialogue>Oh. Ok.</dialogue>\\n    <scene_description>The clerk leads her into the jail .</scene_description>\\n  </scene>\", \"screenplay_scene_173\": \"<scene>\\n    <stage_direction>EXT. POLICE STATION- MORNING</stage_direction>\\n    <scene_description>Milo exits . He passes some cops on their way in . ONE GELMAN , THE COP HE INSULTED IN THE BEGINNING .</scene_description>\\n    <character>GELMAN</character>\\n    <dialogue>Hey. It's that jerk - off bounty hunter.</dialogue>\\n    <scene_description>Milo stops in his tracks . Mentally weighs the pros and cons .</scene_description>\\n    <character>MILO</character>\\n    <dialogue>Ah, what the hell.</dialogue>\\n    <scene_description>He turns around , walks back to Gelman , AND SMASHES HIM IN THE FACE WITH HIS FIST .</scene_description>\\n  </scene>\"}", "movie_duration": "6384.69", "video_start": "6167.42", "video_duration": "207.80"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "kW5vvqPRg0mW", "audio_description_us": "1\n00:00:00,130 --> 00:00:04,210\nLater, Henrik's smouldering legs protrude\nfrom the alien's spider-like body,\n\n2\n00:00:04,380 --> 00:00:06,670\nwhich lies upside down on a lab table.\n\n3\n00:00:07,220 --> 00:00:09,470\nAdam wheels over a cart of surgical tools\n\n4\n00:00:09,470 --> 00:00:11,800\nas Edvard and Karl amble around the room.\n\n5\n00:00:12,220 --> 00:00:16,140\nWearing a black apron, Sander circles\nthe table past Kate and the others\n\n6\n00:00:16,140 --> 00:00:19,100\nas he studies the creature's charred exoskeleton.\n\n7\n00:00:19,350 --> 00:00:21,730\nIt contains roughly a dozen jointed limbs,\n\n8\n00:00:21,730 --> 00:00:23,650\nvarying in size like a crab's,\n\n9\n00:00:23,650 --> 00:00:26,280\nmost of which end in claws or pincers.\n\n10\n00:00:29,110 --> 00:00:32,570\nSander's gloved hand picks up\na pair of surgical shears.\n\n11\n00:00:32,820 --> 00:00:34,200\nHe leans over the subject\n\n12\n00:00:34,200 --> 00:00:35,870\nand begins to make an incision,\n\n13\n00:00:36,040 --> 00:00:38,790\nwhile Juliette looms in the background behind him.\n\n14\n00:00:39,160 --> 00:00:43,750\nKate flinches as she watches him cut his\nway into the creature's hard-shelled torso.\n\n15\n00:00:43,960 --> 00:00:46,460\nEdvard looks on with curious eyes.\n\n16\n00:00:46,920 --> 00:00:48,260\nSander cuts a ligament,\n\n17\n00:00:48,260 --> 00:00:50,970\nand the torso opens, releasing a faint mist.\n\n18\n00:00:54,010 --> 00:00:58,980\nAdam shifts his tense gaze from his boss to\nthe young palaeontologist, who stands frozen.\n\n19\n00:01:00,940 --> 00:01:03,810\nKate hesitantly reaches out\nto the blackened creature.\n\n20\n00:01:06,900 --> 00:01:09,150\nThey each grab hold of the charred torso\n\n21\n00:01:09,190 --> 00:01:14,490\nand pull the chest cavity open to reveal a\nlong fleshy membrane among the alien's innards.\n\n22\n00:01:14,620 --> 00:01:15,990\nKate breathes heavily.\n\n23\n00:01:16,120 --> 00:01:17,660\nAdam covers his mouth.\n\n24\n00:01:17,910 --> 00:01:18,950\nSander reaches in\n\n25\n00:01:18,950 --> 00:01:21,620\nand digs around the guts with his gloved hands.\n\n26\n00:01:21,920 --> 00:01:24,250\nWatching with Karl, Juliette averts her gaze\n\n27\n00:01:24,250 --> 00:01:25,380\nand gags.\n\n28\n00:01:27,710 --> 00:01:30,510\nSander moves some intestinal\norgans aside to reveal\n\n29\n00:01:30,510 --> 00:01:33,680\nthe contours of Henrik's head\nbeneath the membrane.\n\n30\n00:01:37,100 --> 00:01:38,600\nHe picks up a pair of scissors\n\n31\n00:01:38,600 --> 00:01:41,890\nand cuts the sac open from\nHenrik's chin to his forehead.\n\n32\n00:01:42,560 --> 00:01:43,980\nHe glances at the others,\n\n33\n00:01:44,060 --> 00:01:47,730\nthen peels back the membrane,\nexposing Henrik's horrified face.\n\n34\n00:01:47,770 --> 00:01:50,070\nThe dead man's eyes and mouth remain open,\n\n35\n00:01:50,240 --> 00:01:54,240\nand his teeth show through the thin\ntranslucent flesh around his jawline.\n\n36\n00:01:54,320 --> 00:01:55,660\nKate recoils.\n\n37\n00:01:55,910 --> 00:01:58,660\nCovering her mouth, Juliette\nhurries out of the room.\n\n38\n00:01:59,370 --> 00:02:01,000\nSander peeks over his shoulder,\n\n39\n00:02:01,000 --> 00:02:02,830\nthen glances at the others.\n\n40\n00:02:08,210 --> 00:02:10,840\nSlimy mucus coats Henrik's corpse.\n\n41\n00:02:22,390 --> 00:02:24,480\nSander looks up at the others.\n\n42\n00:02:26,980 --> 00:02:28,520\nEdvard shifts his eyes.\n\n43\n00:02:28,730 --> 00:02:31,820\nKate remains mesmerised by Henrik's ghastly face,\n\n44\n00:02:32,030 --> 00:02:35,660\nits lifeless gaze frozen in a\npermanent expression of terror.\n\n", "audio_description_uk": "1\n00:00:00,630 --> 00:00:04,340\nLater, the still-smoking creature\nis lying on the laboratory table.\n\n2\n00:00:04,840 --> 00:00:09,680\nHenrik's legs still protrude from its charred\nbody, which resembles a giant cockroach.\n\n3\n00:00:09,840 --> 00:00:13,890\nA tangle of blackened, insect-like\nlegs stick up into the air.\n\n4\n00:00:14,220 --> 00:00:18,270\nKate looks on as Sander approaches the\nbody, wearing an apron and surgical gloves.\n\n5\n00:00:20,400 --> 00:00:23,110\nFine hairs grow from the\nspindly articulated limbs.\n\n6\n00:00:23,400 --> 00:00:26,780\nThe seemingly hard outer shell of the\ncreature's body is cracked in places,\n\n7\n00:00:26,900 --> 00:00:28,570\nexposing moist pink flesh.\n\n8\n00:00:28,950 --> 00:00:32,530\nSander picks up a surgical cutting\nimplement, resembling secateurs.\n\n9\n00:00:38,660 --> 00:00:40,000\nHe parts the scissored blades\n\n10\n00:00:40,000 --> 00:00:40,960\nand starts cutting.\n\n11\n00:00:47,800 --> 00:00:50,880\nHe severs the hard outer shell\nfrom the soft flesh beneath.\n\n12\n00:00:54,680 --> 00:00:59,270\nAdam glances at Kate, who stares at Sander\nfrom the other side of the operating table.\n\n13\n00:01:02,810 --> 00:01:05,360\nShe reluctantly grips her side of the shell.\n\n14\n00:01:09,280 --> 00:01:13,570\nThey each peel back the sides of the\nshell to expose a large pale pink sac,\n\n15\n00:01:13,990 --> 00:01:16,700\nnestled among slimy intestinal tubes.\n\n16\n00:01:19,620 --> 00:01:20,830\nAdam covers his mouth.\n\n17\n00:01:21,160 --> 00:01:22,540\nSander reaches into the alien\n\n18\n00:01:22,540 --> 00:01:24,710\nand rummages around amongst\nthe glistening viscera.\n\n19\n00:01:24,920 --> 00:01:25,630\nSteam rises,\n\n20\n00:01:25,630 --> 00:01:27,710\nand Juliette covers her mouth with a grimace.\n\n21\n00:01:30,050 --> 00:01:32,300\nSander moves a rubbery intestinal tube\n\n22\n00:01:32,300 --> 00:01:34,510\nand Kate stares down, slack-jawed.\n\n23\n00:01:38,810 --> 00:01:41,980\nIt's Henrik, his face visible\nthrough the translucent membrane.\n\n24\n00:01:47,320 --> 00:01:50,070\nSander snips the sac open\nto reveal Henrik's head.\n\n25\n00:01:50,240 --> 00:01:53,660\nHis eyes are wide open and his\nteeth can be seen through his skin.\n\n26\n00:01:56,410 --> 00:01:58,160\nRetching, Juliette flees the room.\n\n27\n00:02:01,370 --> 00:02:03,250\nSander looks surprised she's gone,\n\n28\n00:02:03,370 --> 00:02:05,130\nthen glances around at the others.\n\n29\n00:02:10,590 --> 00:02:11,760\nAdam frowns.\n\n30\n00:02:22,430 --> 00:02:24,350\nHe lifts his gaze from the body.\n\n31\n00:02:26,980 --> 00:02:28,730\nEdvard looks on without expression.\n\n32\n00:02:29,320 --> 00:02:31,490\nKate stares down at Henrik, whose facial hair\n\n33\n00:02:31,490 --> 00:02:32,860\nappears to have been eaten away\n\n34\n00:02:32,860 --> 00:02:35,110\nand his mouth hangs open as if in terror.\n\n", "subtitles": "1\n00:00:53,690 --> 00:00:56,440\nKate?\nCan you help here?\n\n2\n00:01:02,160 --> 00:01:03,660\nCome on.\n\n3\n00:01:07,870 --> 00:01:09,620\nPull that side up.\n\n4\n00:01:35,900 --> 00:01:39,780\nHis face is encased in some type\nof amniotic sac.\n\n5\n00:02:06,930 --> 00:02:10,560\nThe tissue. Looks almost new.\n\n6\n00:02:13,440 --> 00:02:15,650\nWhat was it doing to him?\n\n7\n00:02:16,480 --> 00:02:19,230\nIt appears that it was absorbing him.\n\n8\n00:02:19,860 --> 00:02:22,240\nSome type of digestion.\n\n9\n00:02:23,110 --> 00:02:24,740\nIt's fascinating.\n\n10\n00:02:27,160 --> 00:02:28,990\nIt is fascinating.\n\n", "sdh": "1\n00:00:43,200 --> 00:00:44,530\n(CRACKING)\n\n2\n00:00:47,830 --> 00:00:49,160\n(AIR HISSING)\n\n3\n00:00:51,620 --> 00:00:52,750\nSANDER: Kate.\n\n4\n00:00:53,290 --> 00:00:54,380\nCan you help here?\n\n5\n00:00:59,920 --> 00:01:01,010\nCome on.\n\n6\n00:01:05,810 --> 00:01:07,140\nPull that side open.\n\n7\n00:01:26,990 --> 00:01:27,990\n(GAGGING)\n\n8\n00:01:34,210 --> 00:01:38,000\nHis face is encased\nin some type of amniotic sac.\n\n9\n00:01:58,900 --> 00:02:00,570\n(DOOR BANGS SHUT)\n\n10\n00:02:05,280 --> 00:02:06,780\nAnd the tissue\n\n11\n00:02:07,330 --> 00:02:08,870\nlooks almost new.\n\n12\n00:02:11,870 --> 00:02:13,540\nWhat was it doing to him?\n\n13\n00:02:15,040 --> 00:02:17,380\nIt appears it was absorbing him.\n\n14\n00:02:18,210 --> 00:02:20,460\nSome type of digestion.\n\n15\n00:02:21,630 --> 00:02:23,050\nIt's fascinating.\n\n16\n00:02:25,800 --> 00:02:27,220\nIt is fascinating.\n\n", "screenplay": "{\"screenplay_scene_48\": \"<scene>\\n    <stage_direction>INT. THULE STATION MED LAB - NIGHT</stage_direction>\\n    <scene_description>Close on: A tarp, being unveiled to reveal the corpse of the DOG-THING on the exam table. He looks for a way to approach it. Adam stands nearby with a legal pad and pen, ready to annotate Sander's autopsy. The corpse resembles a pile of charred leather with plate- like segments of sealskin over its torso and head. The dogs are still conjoined and fused to the creature, as if its own arms were leashes. One dog is unrecognizable.</scene_description>\\n    <character>SANDER</character>\\n    <dialogue>Is this all of it?</dialogue>\\n    <character>ADAM</character>\\n    <dialogue>The dogs, too. They're, uh, attached. Somehow.</dialogue>\\n    <scene_description>Kate watches from the other side of the lab. Prepping various surgical tools for Sander to use, wearing surgical gloves herself. She glances over at the body.</scene_description>\\n    <character>SANDER</character>\\n    <dialogue>Kate, join in. Take a look at these fused ligaments between the husky and the creature. The bone structure is... unique.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>They're fused together?</dialogue>\\n    <scene_description>She approaches. Begins to cautiously examine some exposed bone on the burnt corpse. Kate was Sander's \\\"canary\\\" as it were; now that she's touched it, he ventures in with his scalpel.</scene_description>\\n    <character>SANDER</character>\\n    <dialogue>Incredible.</dialogue>\\n    <character>ADAM</character>\\n    <dialogue>What?</dialogue>\\n    <character>SANDER</character>\\n    <dialogue>It seems it wasn't consuming the dogs, it was absorbing them.</dialogue>\\n    <scene_description>Kate exposes more bone from the alien creature.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Sander... Look at this.</dialogue>\\n    <scene_description>Sander joins Kate.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>This is alien bone structure, and over here-- that's canine. But these here? In between? Hybrid. Like it was learning what the huskies were. On a genetic level.</dialogue>\\n    <character>ADAM</character>\\n    <dialogue>For what purpose?</dialogue>\\n    <character>KATE</character>\\n    <dialogue>I don't know. Maybe to copy them?</dialogue>\\n    <character>SANDER</character>\\n    <dialogue>Or just to better adapt to its new environment. We can't tell much from just a corpse.</dialogue>\\n    <scene_description>Close on the malformed face of the dog. Kate shakes her head at the sight of it. She's beginning to get very concerned about something.</scene_description>\\n  </scene>\", \"screenplay_scene_49\": \"<scene>\\n    <stage_direction>EXT. THULE STATION - PRE-DAWN</stage_direction>\\n    <scene_description>Peder and Lars carry Henrik's body in a body-bag. Carter leads the way for them. Opens the rear door to the Sea King. The men carry it inside and set it gently on the floor by the paramedic gear.</scene_description>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "1967.36", "video_duration": "155.78"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "pmdUUpTdfgR_", "audio_description_us": "1\n00:00:01,880 --> 00:00:03,670\n...and on the floor around the drain.\n\n2\n00:00:05,130 --> 00:00:07,050\nThe helicopter's rotor spins,\n\n3\n00:00:07,220 --> 00:00:08,180\nkicking up snow\n\n4\n00:00:08,180 --> 00:00:09,800\nas the aircraft takes off.\n\n5\n00:00:10,340 --> 00:00:12,640\nIn the bathroom, Kate shifts her worried gaze,\n\n6\n00:00:12,640 --> 00:00:14,060\nthen runs out to the hall.\n\n7\n00:00:14,350 --> 00:00:16,480\nAs the helicopter ascends over the base,\n\n8\n00:00:16,520 --> 00:00:18,730\nshe races frantically down the corridor.\n\n9\n00:00:18,980 --> 00:00:20,770\nShe turns left, down another hall,\n\n10\n00:00:20,940 --> 00:00:23,860\nthen opens a door to find the\nchopper hovering in the sky.\n\n11\n00:00:26,610 --> 00:00:28,030\nShe runs outside.\n\n12\n00:00:31,570 --> 00:00:32,910\nShe waves her arms.\n\n13\n00:00:33,030 --> 00:00:35,080\nIn the cockpit, Carter looks around.\n\n14\n00:00:35,330 --> 00:00:37,910\nHe glimpses the palaeontologist waving her arms\n\n15\n00:00:37,910 --> 00:00:40,040\nas another team member heads over to her.\n\n16\n00:00:43,250 --> 00:00:44,590\nEdvard joins Kate.\n\n17\n00:00:47,550 --> 00:00:49,340\nThe chopper circles the base.\n\n18\n00:00:53,720 --> 00:00:56,470\nThe white pilot returns his\ngaze to Kate and Edvard,\n\n19\n00:00:56,560 --> 00:01:00,140\nwho stand by a snowcat in the middle\nof a snow-covered square below.\n\n20\n00:01:05,900 --> 00:01:07,280\nOlav eyes the pilots,\n\n21\n00:01:07,280 --> 00:01:08,780\nthen looks at Griggs.\n\n22\n00:01:14,280 --> 00:01:15,910\nSeeing the helicopter descend,\n\n23\n00:01:15,910 --> 00:01:17,740\nKate heaves a sigh of relief.\n\n24\n00:01:18,080 --> 00:01:19,250\nOlav hunches forward\n\n25\n00:01:19,250 --> 00:01:20,750\nand covers his face.\n\n26\n00:01:31,090 --> 00:01:35,100\nAs Griggs watches his sick crewmate\ntremble, his own face suddenly contorts.\n\n27\n00:01:36,890 --> 00:01:37,810\nOlav looks up\n\n28\n00:01:37,810 --> 00:01:41,480\nand watches Griggs' face crack\nopen to reveal its bloody innards.\n\n29\n00:01:43,020 --> 00:01:44,100\nGriggs stands.\n\n30\n00:01:44,270 --> 00:01:45,610\nHis chest rips apart,\n\n31\n00:01:45,730 --> 00:01:48,360\nletting loose a barrage of ropey pink tentacles.\n\n32\n00:01:48,610 --> 00:01:50,820\nKate watches the helicopter careen.\n\n33\n00:01:53,860 --> 00:01:55,030\nIt passes overhead,\n\n34\n00:01:55,030 --> 00:01:56,740\ncausing her and Edvard to duck.\n\n35\n00:01:58,620 --> 00:02:01,750\nThe helicopter spins out of\ncontrol over the research centre.\n\n36\n00:02:02,920 --> 00:02:04,370\nKate and Edvard straighten.\n\n37\n00:02:05,290 --> 00:02:09,590\nThey watch the helicopter spin off course\ntoward a mountain range a few miles away.\n\n38\n00:02:10,840 --> 00:02:13,340\nIt eventually disappears over a ridge.\n\n39\n00:02:16,390 --> 00:02:17,510\nKate covers her mouth\n\n40\n00:02:17,510 --> 00:02:19,390\nand Edvard shuts his eyes.\n\n", "audio_description_uk": "1\n00:00:00,330 --> 00:00:01,710\nShe draws back the curtain.\n\n2\n00:00:01,710 --> 00:00:03,460\nThe cubicle is covered in blood.\n\n3\n00:00:06,920 --> 00:00:10,220\nThe helicopter's spinning rotors\nstir a cloud of snow up from the ground\n\n4\n00:00:10,220 --> 00:00:11,220\nas it takes off.\n\n5\n00:00:13,760 --> 00:00:15,310\nKate runs out of the bathroom.\n\n6\n00:00:18,890 --> 00:00:20,980\nThe helicopter hovers just above the ground.\n\n7\n00:00:21,400 --> 00:00:22,690\nKate races down a corridor\n\n8\n00:00:22,690 --> 00:00:23,480\nand turns left.\n\n9\n00:00:23,690 --> 00:00:24,610\nShe throws a door open\n\n10\n00:00:24,610 --> 00:00:26,320\nand sees a helicopter in mid-air.\n\n11\n00:00:34,160 --> 00:00:35,660\nShe frantically waves her arms.\n\n12\n00:00:36,040 --> 00:00:38,040\nCo-piloting the chopper, Carter sees her.\n\n13\n00:00:38,540 --> 00:00:41,120\nAnother figure heads across the snow towards her.\n\n14\n00:00:44,800 --> 00:00:45,590\nIt's Edvard.\n\n15\n00:00:48,590 --> 00:00:50,050\nCarter stares down at them.\n\n16\n00:00:54,850 --> 00:00:56,060\nCarter looks at Jameson,\n\n17\n00:00:56,060 --> 00:00:57,930\nthen at Kate, who seems to despair,\n\n18\n00:00:57,930 --> 00:00:59,560\nstanding with her hands on her head.\n\n19\n00:01:07,230 --> 00:01:08,360\nOlav stops shaking\n\n20\n00:01:08,360 --> 00:01:09,240\nand glowers.\n\n21\n00:01:14,950 --> 00:01:16,240\nThe helicopter descends.\n\n22\n00:01:16,450 --> 00:01:18,330\nKate looks up as it comes in to land.\n\n23\n00:01:18,500 --> 00:01:19,500\nOlav starts to shake,\n\n24\n00:01:19,500 --> 00:01:20,830\nand Griggs looks concerned.\n\n25\n00:01:32,550 --> 00:01:35,010\nGriggs's face suddenly shifts\nout of alignment.\n\n26\n00:01:36,930 --> 00:01:37,970\nOlav looks at Griggs\n\n27\n00:01:37,970 --> 00:01:41,480\nto see his face suddenly split in two\nas it's torn open from the inside.\n\n28\n00:01:47,400 --> 00:01:48,190\nGriggs rises\n\n29\n00:01:48,190 --> 00:01:50,240\nand his chest opens like a Venus flytrap,\n\n30\n00:01:50,360 --> 00:01:52,650\nshooting long spaghetti-like tentacles at Olav.\n\n31\n00:01:55,240 --> 00:01:58,120\nKate watches as the helicopter\nswoops down out of control.\n\n32\n00:02:00,410 --> 00:02:03,250\nInstinctively, she ducks, though\nthe helicopter is still high up.\n\n33\n00:02:03,830 --> 00:02:05,960\nStabilising, the chopper spins in the air\n\n34\n00:02:06,040 --> 00:02:08,630\nas it drifts away towards\nthe snowy mountains.\n\n35\n00:02:13,380 --> 00:02:14,760\nThey watch as it vanishes.\n\n36\n00:02:15,260 --> 00:02:17,260\nKate covers her mouth in horror.\n\n37\n00:02:20,640 --> 00:02:23,060\nThe Englishman, Colin,\nputs a call out on the radio.\n\n", "subtitles": "1\n00:00:28,180 --> 00:00:30,600\nCarter!\nCarter, wait!\n\n2\n00:00:42,070 --> 00:00:44,450\nShe's flagging us down.\n\n3\n00:00:44,990 --> 00:00:48,030\n- What's wrong?\n- They shouldn't leave.\n\n4\n00:00:50,030 --> 00:00:51,540\nCarter.\n\n5\n00:00:51,870 --> 00:00:53,710\nLet's just get out of here, man.\n\n6\n00:01:01,170 --> 00:01:02,960\nAlright, fuck it, we're landing.\n\n7\n00:01:03,050 --> 00:01:04,420\nShit.\n\n8\n00:01:04,510 --> 00:01:06,180\nLet's take her down.\n\n9\n00:01:09,050 --> 00:01:10,760\nIs there something wrong?\n\n10\n00:01:12,220 --> 00:01:14,060\nNo, everything's fine.\n\n11\n00:01:20,980 --> 00:01:22,780\nProbably just forgot something.\n\n12\n00:01:23,820 --> 00:01:26,490\nWe'll be in the air in no time, okay?\n\n13\n00:01:27,780 --> 00:01:29,660\nDon't worry.\n\n14\n00:01:29,910 --> 00:01:31,740\nHang in there.\n\n15\n00:01:52,100 --> 00:01:53,770\nSomething's wrong.\n\n", "sdh": "1\n00:00:10,600 --> 00:00:12,510\n(HELICOPTER RETREATING)\n\n2\n00:00:28,200 --> 00:00:29,240\nCarter!\n\n3\n00:00:29,620 --> 00:00:32,120\nCarter, wait! Come on!\n\n4\n00:00:42,300 --> 00:00:44,050\nShe's flagging us down.\n\n5\n00:00:45,380 --> 00:00:46,720\nWhat's wrong?\n\n6\n00:00:46,800 --> 00:00:48,130\nThey shouldn't leave.\n\n7\n00:00:50,470 --> 00:00:51,640\nJAMESON: Carter.\n\n8\n00:00:52,060 --> 00:00:54,140\nLet's just get\nout of here, man.\n\n9\n00:01:01,560 --> 00:01:03,270\nAll right, fuck it.\nWe're landing.\n\n10\n00:01:03,360 --> 00:01:04,400\nShit.\n\n11\n00:01:04,940 --> 00:01:06,440\nLet's take her down.\n\n12\n00:01:09,570 --> 00:01:10,780\nIs there something wrong?\n\n13\n00:01:11,780 --> 00:01:14,120\nUh...\nNo, no, everything's fine.\n\n14\n00:01:21,080 --> 00:01:23,750\nThey probably just forgot something.\n\n15\n00:01:24,340 --> 00:01:27,460\nWe'll be in the air\nin no time. Okay?\n\n16\n00:01:28,470 --> 00:01:29,760\nDon't worry.\n\n17\n00:01:30,640 --> 00:01:31,890\nHang in there.\n\n18\n00:01:31,970 --> 00:01:33,470\n(SHIVERING)\n\n19\n00:01:35,100 --> 00:01:36,430\n(CRACKING)\n\n20\n00:01:42,360 --> 00:01:43,650\n(SCREECHING)\n\n21\n00:01:44,650 --> 00:01:45,900\n(SCREAMING)\n\n22\n00:01:52,950 --> 00:01:53,950\nLLOYD: Something's wrong.\n\n23\n00:02:15,470 --> 00:02:16,850\n(EXPLOSION)\n\n", "screenplay": "{\"screenplay_scene_62\": \"<scene>\\n    <stage_direction>INT. COCKPIT - CONTINUOUS</stage_direction>\\n    <scene_description>Carter makes a snap decision.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Fuck it. We're landing.</dialogue>\\n    <scene_description>He begins to descend. IN THE REAR COMPARTMENT, Griggs grabs a stirrup to hold steady as the helicopter drops. The sound of the rotors vibrate the benches and the gear strapped to the wall. Olan looks confused, approaching scared.</scene_description>\\n    <character>OLAN</character>\\n    <dialogue>Why are we landing? I need to get to hospital right away, yes?</dialogue>\\n    <scene_description>ON GRIGGS again, as a trickle of blood runs down from his forehead along the bridge of his nose. His eyes roll up into his head. His mouth opens... OLAN stares in shock and panic-- GRIGGS seems to vibrate in his seat as his flesh DISSOLVES, starting at his mouth and disintegrating in all directions. It has the effect of his mouth opening wider and wider to reveal muscle and bone underneath-- OLAN starts screaming-- LAND NOW! LAND, LAND-- Griggs's arms DEFLATE and his exposed skull SPLITS OPEN to reveal exposed brain tissue beneath-- HEY! HELP! BACK HERE! But the sound of the helo drowns out his shouts. Griggs's loose brain THROBS and then UNCOILS, the end of the gray-matter rope LASHING OUT at Olan like a thick electrical cable-- Olan ducks out of the way and starts unbuckling himself-- The brain-tentacle lassoes Olan's leg as he's freed from his seatbelt-- GRIGGS suddenly stands up-- OLAN gets up and goes for a FLARE GUN strapped to one wall of the Sea King-- Tears it free and turns to aim it at Griggs-- Griggs-Thing YANKS on Olan's leg, causing him to drop the flare gun-- And Griggs-Thing bows its head as it births a GIANT WORM- LIKE THING from the top of its skull, with a remora or suckerfish mouth at its end, the brain-tentacle spooling back inside its mouth like a gray frog's tongue, reeling Olan in (ref: concept images from Matthijs)-- CAAAARTERRRRR! Carter finally looks behind him into the compartment-- GRIGGS-THING strikes out at Olan, DEVOURING Olan's head and picking him up off the floor--</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Shit!</dialogue>\\n    <scene_description>VOICES all shouting simultaneously in the compartment-- The muted screams of Olan, Jameson freaking at sight of Griggs, and Carter yelling to focus-- Griggs-Thing tosses Olan around like a puppet-- Blood spurting everywhere in the rear compartment-- GRIGGS HOLY SHIT--</scene_description>\\n  </scene>\", \"screenplay_scene_63\": \"<scene>\\n    <stage_direction>EXT. THULE STATION - CONTINUOUS</stage_direction>\\n    <scene_description>On Kate and Edvard, watching the helicopter-- It lists and spins lazily, veering away from camp--</scene_description>\\n    <character>EDVARD</character>\\n    <dialogue>Something's wrong.</dialogue>\\n    <character>KATE</character>\\n    <parenthetical>(sotto)</parenthetical>\\n    <dialogue>Oh no... Please no...</dialogue>\\n  </scene>\", \"screenplay_scene_64\": \"<scene>\\n    <stage_direction>INT. SEA KING HELICOPTER - CONTINUOUS</stage_direction>\\n    <scene_description>On Carter in the cockpit, trying to land-- Griggs-Thing throws Olan against the cockpit seats-- Olan's body slamming into Jameson-- Jameson pushed onto the stick--</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Get off the stick!</dialogue>\\n    <scene_description>The flare gun slides up against the cockpit floor-- Carter stamps a foot on it to keep it by him-- Olan, still connected to Griggs-Thing, flops against Jameson-- Jameson screams as one of Olan's arms begins to MUTATE, his fingers acting like snakes-- Carter yanks the stick, pulling up hard-- Griggs-Thing tumbles to the back of the Sea King-- Carter grabs the flare gun under his boot-- HOLD US STEADY! As Jameson struggles to keep the helo from overspinning-- Carter aims the flare gun at Griggs-Thing-- Griggs-Thing forms a new mouth on the end of one arm-- Carter FIRES-- The flare punches into the newly-formed mouth-- Griggs-Thing catches fire instantly-- Jameson still struggles with the stick--</scene_description>\\n  </scene>\", \"screenplay_scene_65\": \"<scene>\\n    <stage_direction>EXT. ROCKY OUTCROPPING NEAR THULE - CONTINUOUS</stage_direction>\\n    <scene_description>An aerial view of the Sea King as it spins and veers wildly from the Thule Station. Arcing over a rocky set of hills-- The helicopter's tail smashes hard against rock--</scene_description>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "2440.74", "video_duration": "142.99"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "HfOMXYYPG5nx", "audio_description_us": "1\n00:00:00,670 --> 00:00:03,340\nJuliette leads Kate into a storage room.\n\n2\n00:00:09,550 --> 00:00:10,890\nKate pulls open the drawer\n\n3\n00:00:10,890 --> 00:00:12,220\nand rummages through it.\n\n4\n00:00:23,270 --> 00:00:24,820\nKate stops and listens.\n\n5\n00:00:25,030 --> 00:00:29,860\nBehind her, Juliette's shirt falls away as\nan alien shape bulges beneath her chest.\n\n6\n00:00:32,410 --> 00:00:35,290\nA claw like a crab juts from her lower abdomen.\n\n7\n00:00:35,370 --> 00:00:37,040\nKate slowly turns.\n\n8\n00:00:37,450 --> 00:00:38,870\nJuliette's head tilts back\n\n9\n00:00:38,870 --> 00:00:41,330\nas sprouting tentacles rip away at her flesh\n\n10\n00:00:41,420 --> 00:00:44,420\nand uncover rows of fang-like teeth in her torso.\n\n11\n00:00:45,340 --> 00:00:46,880\nThe Thing lunges at Kate,\n\n12\n00:00:46,960 --> 00:00:48,220\nwho darts out of its path\n\n13\n00:00:48,220 --> 00:00:50,430\nand pushes a rack of shelves on top of it.\n\n14\n00:00:50,680 --> 00:00:52,470\nThe alien knocks them back at her.\n\n15\n00:00:52,760 --> 00:00:54,100\nKate ducks under the shelves\n\n16\n00:00:54,100 --> 00:00:55,680\nand scrambles out of the room.\n\n17\n00:00:57,930 --> 00:01:00,060\nUp ahead, Karl steps into the hallway.\n\n18\n00:01:02,230 --> 00:01:03,610\nKate dashes past him.\n\n19\n00:01:03,770 --> 00:01:04,650\nThe Thing emerges\n\n20\n00:01:04,650 --> 00:01:06,610\nand impales Karl on its pincer.\n\n21\n00:01:06,940 --> 00:01:08,940\nRushing through a doorway, Kate turns back\n\n22\n00:01:08,940 --> 00:01:11,860\nand finds him convulsing\namong the flailing tentacles.\n\n23\n00:01:11,910 --> 00:01:13,490\nShe slams the door shut.\n\n24\n00:01:19,710 --> 00:01:21,790\nAdam and Jonas recoil from the door.\n\n25\n00:01:22,500 --> 00:01:26,420\nNow a tall figure hurries down the hall\nwith gas tank strapped to his back.\n\n26\n00:01:26,840 --> 00:01:30,510\nReaching the others, Lars aims a\nflamethrower at the closed door,\n\n27\n00:01:30,510 --> 00:01:31,470\nglances to Kate\n\n28\n00:01:31,470 --> 00:01:32,550\nand nods.\n\n29\n00:01:33,890 --> 00:01:36,810\nShe edges closer to the door\nas he holds the weapon ready.\n\n30\n00:01:39,980 --> 00:01:41,060\nShe yanks it open.\n\n31\n00:01:41,480 --> 00:01:44,270\nIn the hallway, the alien\ncrouches over Karl's body,\n\n32\n00:01:44,440 --> 00:01:46,400\nits tentacles digging into his back.\n\n33\n00:01:46,610 --> 00:01:49,190\nJuliette's head limply faces the others.\n\n34\n00:01:49,940 --> 00:01:52,650\nLars stands frozen with a horrified stare.\n\n35\n00:01:54,620 --> 00:01:56,490\nThe Thing rips its tentacles from Karl\n\n36\n00:01:56,490 --> 00:01:57,330\nand charges.\n\n37\n00:01:57,490 --> 00:01:58,790\nLars fires his weapon.\n\n38\n00:01:59,160 --> 00:02:00,950\nFlames quickly engulf the alien.\n\n39\n00:02:01,290 --> 00:02:03,040\nThe three humans duck out of the way\n\n40\n00:02:03,040 --> 00:02:05,380\nas the flailing creature scrambles past them.\n\n41\n00:02:05,710 --> 00:02:09,920\nIt lunges through a pair of swinging\ndoors, which smoulder and burn in its wake.\n\n42\n00:02:10,300 --> 00:02:12,590\nThe three humans stare through the windows.\n\n43\n00:02:12,840 --> 00:02:14,890\nIn a kitchen, The Thing tumbles to a sink\n\n44\n00:02:14,890 --> 00:02:17,300\nand activates the emergency sprinklers.\n\n45\n00:02:18,600 --> 00:02:19,970\nThe three humans enter the room\n\n46\n00:02:19,970 --> 00:02:22,940\nand find smoke billowing\naround the still burning alien.\n\n47\n00:02:23,230 --> 00:02:25,560\nLars gives it an extra blast of fire.\n\n48\n00:02:25,850 --> 00:02:28,270\nKate and Jonas look on with wide eyes,\n\n49\n00:02:28,440 --> 00:02:30,650\nthe orange glow flickering on their skin.\n\n50\n00:02:31,110 --> 00:02:35,360\nThe heavy flames lick at our view of\nLars as he continues firing his weapon.\n\n51\n00:02:35,700 --> 00:02:37,160\nThe Thing drops to its knees,\n\n52\n00:02:37,160 --> 00:02:38,870\nthen crumples onto its belly.\n\n", "audio_description_uk": "1\n00:00:01,500 --> 00:00:03,750\nKate and Juliette enter a storage room.\n\n2\n00:00:11,140 --> 00:00:12,180\nKate turns her back\n\n3\n00:00:12,180 --> 00:00:13,760\nand roots around in a desk drawer.\n\n4\n00:00:25,030 --> 00:00:27,110\nKate freezes, too scared to turn around.\n\n5\n00:00:27,740 --> 00:00:29,700\nBehind her, Juliette is changing shape.\n\n6\n00:00:30,160 --> 00:00:31,780\nA clawed arm tears through her clothes\n\n7\n00:00:31,780 --> 00:00:33,030\nand her head lolls back.\n\n8\n00:00:33,330 --> 00:00:36,290\nHer rippling chest splits\nopen to become a gaping maw,\n\n9\n00:00:36,620 --> 00:00:38,710\nspewing tentacles which rise frantically\n\n10\n00:00:38,710 --> 00:00:40,670\nas her chest cracks and mutates.\n\n11\n00:00:45,460 --> 00:00:46,420\nKate turns to look.\n\n12\n00:00:46,460 --> 00:00:47,460\nThe creature runs at her.\n\n13\n00:00:50,510 --> 00:00:52,260\nKate topples a shelving unit onto it,\n\n14\n00:00:52,470 --> 00:00:54,300\nbut the creature bats it back in her direction\n\n15\n00:00:54,300 --> 00:00:55,760\nand she scurries along the floor.\n\n16\n00:00:56,100 --> 00:00:58,230\nVaulting over a desk, she bolts out of the door\n\n17\n00:00:58,270 --> 00:00:59,730\nand runs past Karl.\n\n18\n00:01:03,480 --> 00:01:05,610\nThe Thing runs Karl through with its claw.\n\n19\n00:01:07,730 --> 00:01:10,570\nKate looks back from the doorway\nas the creature holds Karl aloft,\n\n20\n00:01:10,700 --> 00:01:12,570\nthe bloody claw protruding from his back.\n\n21\n00:01:12,740 --> 00:01:13,780\nShe slams the door.\n\n22\n00:01:22,370 --> 00:01:25,420\nAdam and Jonas gawp in horror\nin the direction of the noises.\n\n23\n00:01:25,840 --> 00:01:27,800\nLars jogs up, carrying a flamethrower.\n\n24\n00:01:27,920 --> 00:01:29,210\nHe shares a look with Kate\n\n25\n00:01:29,340 --> 00:01:31,380\nand stands at the ready by the door.\n\n26\n00:01:35,930 --> 00:01:37,350\nKate edges towards the door\n\n27\n00:01:37,350 --> 00:01:38,890\nand reaches for the doorknob.\n\n28\n00:01:41,770 --> 00:01:42,770\nShe grips it tightly\n\n29\n00:01:42,770 --> 00:01:43,650\nand opens the door.\n\n30\n00:01:45,690 --> 00:01:49,530\nThe creature's twisted half human\nform kneels over Karl's body, feeding.\n\n31\n00:01:50,030 --> 00:01:53,070\nJuliette's eyes gawp back at them\nfrom her helplessly lolling head.\n\n32\n00:01:55,620 --> 00:01:56,950\nThe creature spins to face them,\n\n33\n00:01:56,990 --> 00:01:59,750\nand Lars snaps to, blasting\nit with the flamethrower.\n\n34\n00:02:07,000 --> 00:02:10,050\nThey step aside as the blazing creature\nstaggers out through the doorway.\n\n35\n00:02:10,420 --> 00:02:12,760\nIt continues through double doors into a kitchen,\n\n36\n00:02:12,880 --> 00:02:14,340\nwhere it collapses over a stove,\n\n37\n00:02:14,340 --> 00:02:16,140\nactivating the overhead sprinklers.\n\n38\n00:02:16,640 --> 00:02:18,930\nLars races in with the others close behind\n\n39\n00:02:19,100 --> 00:02:21,230\nas the sprinklers begin to quell the flames.\n\n40\n00:02:21,890 --> 00:02:23,190\nHe opens fire again.\n\n41\n00:02:28,320 --> 00:02:31,900\nIt contorts an agony, held at bay by the fiery jet.\n\n42\n00:02:38,490 --> 00:02:39,330\nLars holds off,\n\n", "subtitles": "1\n00:00:04,080 --> 00:00:06,710\n- Where are they?\n- In that drawer.\n\n2\n00:00:08,040 --> 00:00:09,800\n- This one?\n- Yes.\n\n3\n00:00:13,760 --> 00:00:17,180\n- How many am I looking for?\n- Five.\n\n4\n00:00:19,010 --> 00:00:20,520\nThree and four.\n\n5\n00:00:22,180 --> 00:00:23,560\nYou said there were five?\n\n6\n00:01:01,220 --> 00:01:02,560\nRun!\n\n7\n00:01:13,480 --> 00:01:14,820\nKate, what happened?\n\n8\n00:01:15,740 --> 00:01:19,160\nKarl. It got Karl.\nIt got... Karl.\n\n9\n00:01:39,010 --> 00:01:40,350\nKate.\n\n10\n00:01:53,520 --> 00:01:54,940\nBurn it!\n\n", "sdh": "1\n00:00:04,020 --> 00:00:05,180\nWhere are they?\n\n2\n00:00:05,270 --> 00:00:06,390\nIn that drawer.\n\n3\n00:00:08,060 --> 00:00:09,770\nThis one?\nYes.\n\n4\n00:00:13,780 --> 00:00:15,530\nHow many am I looking for?\n\n5\n00:00:15,950 --> 00:00:17,530\nFive.\n\n6\n00:00:17,610 --> 00:00:20,110\nThere's three and four.\n\n7\n00:00:22,280 --> 00:00:24,080\nYou said there were five?\n\n8\n00:00:37,260 --> 00:00:39,050\n(CREATURE SQUEALING)\n\n9\n00:01:01,120 --> 00:01:02,410\nRun!\n\n10\n00:01:05,870 --> 00:01:07,250\n(SCREAMING)\n\n11\n00:01:13,790 --> 00:01:15,630\nKate, what happened?\n\n12\n00:01:15,750 --> 00:01:18,800\nKarl!\nIt got Karl! lt got Karl!\n\n13\n00:01:19,010 --> 00:01:20,760\n(CREATURE GROWLING)\n\n14\n00:01:38,820 --> 00:01:39,820\nKate...\n\n15\n00:01:53,170 --> 00:01:54,170\nBurn it!\n\n16\n00:01:57,630 --> 00:01:59,010\n(SQUEALING)\n\n17\n00:02:24,950 --> 00:02:26,320\n(SCREAMING)\n\n", "screenplay": "{\"screenplay_scene_86\": \"<scene>\\n    <stage_direction>INT. BUNK BED ROOM - CONTINUOUS</stage_direction>\\n    <scene_description>This common housing room is like a crew quarters with three sets of bunk beds on either side, and dressers along the back wall where a small window peeks out into the below-freezing tundra. Kate shuts the door behind them.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>We can't let Lars leave.</dialogue>\\n    <character>JULIETTE</character>\\n    <dialogue>I know. I thought the same thing. But how can we stop him?</dialogue>\\n    <scene_description>Kate begins pacing, collecting her thoughts.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Maybe we go to Edvard in private. I'll show him the gloves.</dialogue>\\n    <scene_description>Juliette is already shaking her head 'No.'</scene_description>\\n    <character>JULIETTE</character>\\n    <dialogue>I just talked to him. He didn't believe me. He wants proof, like your friend Sander said.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>Then we have to do something.</dialogue>\\n    <parenthetical>(right at Juliette)</parenthetical>\\n    <dialogue>We have to disable all the vehicles.</dialogue>\\n    <scene_description>Juliette reacts for a quick moment, but starts to nod.</scene_description>\\n    <character>JULIETTE</character>\\n    <dialogue>Hmmm. That could be complicated.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>I know a little about mechanics. It won't be that hard. Are the Sprytes locked?</dialogue>\\n    <character>JULIETTE</character>\\n    <dialogue>Yes... But! Peder keeps a spare set of keys in his drawer.</dialogue>\\n    <scene_description>Juliette points at-- A SMALL DRESSER against the wall by Peder's bunk. Kate puts a reassuring hand on Juliette's shoulder, then moves to the dresser and starts opening drawers.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Nobody can leave, you get that, right?</dialogue>\\n    <scene_description>Kate opens her third drawer when she notices-- KATE'S POV: blood spilling across the floor like a tiny flood, past her boots. From behind her. Kate whirls around-- Juliette's body has ERUPTED with blood as bone segments PUSH out of her skin and clothes, sliding into place like bony armor outside her blouse. Juliette's HEAD has peeled back to reveal a wide mouth, the jawline widening and distended like a great white shark's maw, Juliette's eyes displaced and black, like a doll's eyes. HELP! Juliette's body blocks the door to the hall. Kate backs up and then runs to the other end of the room, where a small window looks out into the night. As she gets there-- BZZT! The lights in the room snap off. Now, near-darkness. Kate grabs a floor lamp and grips it as a weapon-- THE BUNK BEDS lurch up and over, row at a time, as something pushes them over on its way to Kate-- Kate readies the lamp-- SOMEBODY! Juliette-Thing appears now with a BONY EXO-SKELETON like some hybrid of human and beetle. Two sets of legs and smaller limbs by her oversized mouth. Kate stabs at it with the bulb end of the lamp, smashing the bulb into it, but she's about to lose this fight-- Someone BASHES against the door-- Juliette-Thing turns and scurries back for the door as-- Leon bursts through, stumbling inward, right in front of Juliette-Thing--</scene_description>\\n    <character>LEON</character>\\n    <dialogue>Holy shi--</dialogue>\\n    <scene_description>Juliette-Thing STRIKES and her mouth envelops his face-- Leon's muted SCREAMS can be heard inside as he struggles against the creature-- Kate chooses this moment to rush past for the door-- Kate gets into the hall and tries to close the door-- One of the bony limbs jams between the door and the frame, clawing at her-- Kate SLAMS the door shut, flattening the appendage-- Inside, Juliette-Thing SCREECHES and retracts the limb-- Kate gets the door shut-- Others approach her in the hall: ADAM and COLIN. Kate waves them away from the door--</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Stay back!</dialogue>\\n    <scene_description>From the other side, Juliette-Thing can be heard banging against the door, the wood rattling in its frame with every strike. Leon's muffled screams are suddenly silenced.</scene_description>\\n    <character>ADAM</character>\\n    <dialogue>Jesus Christ what happened!?</dialogue>\\n    <scene_description>Colin runs for help, disappearing around the corner.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Help me brace the door!</dialogue>\\n    <scene_description>Adam tentatively steps for Kate and the door-- A bony claw-tipped hand PUNCHES THROUGH the door at face level, splintering wood-- Adam turns away and runs--</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Adam!</dialogue>\\n    <scene_description>Kate holds fast, trying to keep Juliette-Thing trapped inside. TIGHT ON a flamethrower held in a man's arms, stepping around the corner. REVEAL the man holding the weapon: LARS. Lars stares at Kate. Kate sees Lars and her eyes go wide. Lars steps toward her-- Kate suddenly surrenders her position at the door and retreats two steps-- Lars activates the pilot light on the torch at the head of the flamethrower's nozzle, and then-- He KICKS open the bunk room door-- Juliette-Thing is RIGHT THERE, beetle-mouth and small antennae-limbs ready to strike at Lars-- Lars points the flamethrower and FIRES-- Juliette-Thing is engulfed in flame-- It screeches in agony, flailing madly-- It strikes feebly at Lars but misses-- Juliette-Thing comes charging out into the hallway-- Lars dives out of the way as it runs past him-- It manages to stumble into the kitchen, still dressed in fire, burning alive, catching fire to the ceiling as it flees-- Kate helps Lars up and the two pursue it into--</scene_description>\\n  </scene>\", \"screenplay_scene_87\": \"<scene>\\n    <stage_direction>INT. THULE STATION KITCHEN - CONTINUOUS</stage_direction>\\n    <scene_description>They arrive to find Juliette-Thing, still burning, now yanking at the exposed water pipes to the kitchen sink-- The creature is powerfully strong, and the pipe SNAPS, spewing water on the burning form-- It is putting the fire out.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Don't let it--</dialogue>\\n    <scene_description>Lars holds up his hand to say: I know, I know. He torches the creature again. It stumbles from the gushing water pipe. Falls. Lars approaches and gives it one more squeeze from the flamethrower. Juliette-Thing finally stops flailing. Its bony, armored form crashes to the floor. The water keeps spraying everywhere. And fire starts to spread beyond the reach of the leaky pipe. Jonas and Colin enter carrying fire extinguishers. They start choking the fire before it gets out of control. Kate grabs Lars's collar and shouts over the sound of the extinguishers:</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Leon!</dialogue>\\n    <scene_description>Lars looks back at her, confused.</scene_description>\\n    <character>LARS</character>\\n    <dialogue>Leon?</dialogue>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "2902.69", "video_duration": "159.80"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "ug881vFqUOYe", "audio_description_us": "1\n00:00:00,460 --> 00:00:01,290\nwho nods.\n\n2\n00:00:01,380 --> 00:00:02,540\nHe opens his mouth.\n\n3\n00:00:02,670 --> 00:00:06,420\nAs Kate shines the light inside,\nwe spy dark fillings in his teeth.\n\n4\n00:00:16,350 --> 00:00:18,310\nShe shows Lars her own fillings.\n\n5\n00:00:19,230 --> 00:00:20,480\nShe lowers the flashlight\n\n6\n00:00:20,480 --> 00:00:21,480\nand looks to Peder.\n\n7\n00:00:21,730 --> 00:00:23,480\nLars aims his flamethrower at him.\n\n8\n00:00:23,860 --> 00:00:25,940\nKate gives Peder an encouraging nod.\n\n9\n00:00:26,150 --> 00:00:27,030\nHe opens his mouth,\n\n10\n00:00:27,030 --> 00:00:29,610\nand her flashlight finds\nfillings in a few of his teeth.\n\n11\n00:00:31,370 --> 00:00:32,570\nShe moves on to Jonas\n\n12\n00:00:32,570 --> 00:00:33,660\nand raises the light.\n\n13\n00:00:36,660 --> 00:00:37,750\nHe hesitates.\n\n14\n00:00:38,410 --> 00:00:39,080\n\"C'mon.\"\n\n15\n00:00:40,870 --> 00:00:41,790\n\"You're next.\"\n\n16\n00:00:43,380 --> 00:00:45,250\nThe burly redhead shifts on his feet\n\n17\n00:00:45,250 --> 00:00:46,880\nand heaves a worried sigh.\n\n18\n00:00:47,130 --> 00:00:48,050\nHis jaw opens\n\n19\n00:00:48,050 --> 00:00:48,800\nand closes,\n\n20\n00:00:48,920 --> 00:00:51,640\nthen stretches wide, giving\nKate a view of his teeth.\n\n21\n00:00:52,640 --> 00:00:54,050\nShe lowers the flashlight.\n\n22\n00:00:55,720 --> 00:00:58,020\nLars nudges Peder aside with Jonas.\n\n23\n00:00:58,180 --> 00:00:59,770\nKate addresses the others.\n\n24\n00:01:01,940 --> 00:01:03,610\nSander and Edvard share a look.\n\n25\n00:01:12,280 --> 00:01:13,660\n\"Open up, you weasel.\"\n\n26\n00:01:26,420 --> 00:01:30,630\nAdam keeps his woeful gaze fixed\non her as he opens his mouth wide.\n\n27\n00:01:31,470 --> 00:01:33,890\nKate peers in carefully with the flashlight.\n\n28\n00:01:35,760 --> 00:01:36,560\nShe lowers it\n\n29\n00:01:36,560 --> 00:01:38,390\nand looks up at Adam sorrowfully.\n\n30\n00:01:38,770 --> 00:01:41,020\nAverting her gaze, she blinks away tears\n\n31\n00:01:41,020 --> 00:01:42,440\nand takes a step back.\n\n32\n00:01:44,350 --> 00:01:45,190\nAdam swallows,\n\n33\n00:01:45,190 --> 00:01:47,110\nthen morosely turns away.\n\n34\n00:01:48,190 --> 00:01:51,150\nLars gives him a small shove\nwith the flamethrower nozzle,\n\n35\n00:01:51,200 --> 00:01:54,450\nand he crosses the room to a\nstation of plates and utensils.\n\n36\n00:01:54,740 --> 00:01:55,820\nKate faces Sander\n\n37\n00:01:55,820 --> 00:01:57,370\nand raises her flashlight.\n\n38\n00:02:04,540 --> 00:02:07,540\nWith a cold gaze, Sander keeps his lips pursed.\n\n39\n00:02:07,750 --> 00:02:09,420\nKate takes a step closer.\n\n40\n00:02:15,220 --> 00:02:16,550\nShe lowers the flashlight\n\n41\n00:02:16,550 --> 00:02:18,060\nand regards him harshly.\n\n42\n00:02:21,390 --> 00:02:22,640\nSander looks to Lars,\n\n43\n00:02:22,640 --> 00:02:25,690\nwho thrusts the flamethrower\nat him, forcing him to obey.\n\n44\n00:02:29,780 --> 00:02:31,650\nKate and Lars face Colin next.\n\n45\n00:02:31,650 --> 00:02:32,990\nHe scowls at them.\n\n46\n00:02:35,990 --> 00:02:37,780\n\"Open your mouth, for God's sake!\"\n\n47\n00:02:40,080 --> 00:02:44,000\nLars backs him against the wall, his\nflamethrower pressed to his chest.\n\n48\n00:02:44,330 --> 00:02:45,120\nKate approaches\n\n49\n00:02:45,120 --> 00:02:46,460\nand readies the flashlight.\n\n50\n00:02:46,750 --> 00:02:49,710\nColin's eyes roll up to the\nceiling as he opens his mouth.\n\n51\n00:02:49,920 --> 00:02:52,050\nHis teeth show no sign of fillings.\n\n52\n00:02:52,260 --> 00:02:53,720\nKate and Lars back away.\n\n53\n00:02:53,760 --> 00:02:55,220\nColin sneers.\n\n54\n00:02:56,590 --> 00:02:58,890\nLars shoves him toward the other side of the room.\n\n", "audio_description_uk": "1\n00:00:00,710 --> 00:00:02,500\n...and Kate shines a torch into his mouth,\n\n2\n00:00:02,500 --> 00:00:04,800\nilluminating a row of dark fillings.\n\n3\n00:00:16,730 --> 00:00:17,770\nShe opens her mouth.\n\n4\n00:00:21,060 --> 00:00:22,980\nLars points the flamethrower at Peder,\n\n5\n00:00:23,190 --> 00:00:25,070\nand Kate steps closer with her torch.\n\n6\n00:00:26,280 --> 00:00:27,320\nHe opens wide.\n\n7\n00:00:33,780 --> 00:00:35,200\nNext up is Jonas.\n\n8\n00:00:38,960 --> 00:00:39,540\n\"C'mon.\"\n\n9\n00:00:41,630 --> 00:00:42,880\n\"You're next,\" says Lars,\n\n10\n00:00:43,250 --> 00:00:45,300\nand Jonas fearfully opens his mouth.\n\n11\n00:00:48,300 --> 00:00:49,590\nKate shines her torch in\n\n12\n00:00:49,590 --> 00:00:51,010\nand discovers fillings.\n\n13\n00:00:56,270 --> 00:00:59,350\nJonas joins the other bona\nfide humans behind Kate.\n\n14\n00:01:12,570 --> 00:01:14,740\n\"Open up, you weasel,\" says Lars.\n\n15\n00:01:22,500 --> 00:01:24,130\nShe shoots him a firm look.\n\n16\n00:01:28,420 --> 00:01:30,130\nHe opens his mouth wide.\n\n17\n00:01:32,090 --> 00:01:33,390\nKate peers into his mouth,\n\n18\n00:01:33,390 --> 00:01:35,140\nand sadly lowers the torch.\n\n19\n00:01:39,350 --> 00:01:40,480\nShe hangs her head\n\n20\n00:01:40,480 --> 00:01:41,440\nand looks away.\n\n21\n00:01:45,110 --> 00:01:46,900\nLars pushes him with a flamethrower,\n\n22\n00:01:46,940 --> 00:01:49,320\nand Adam skulks to the other side of the room.\n\n23\n00:01:54,320 --> 00:01:56,870\nJonas, Kate and Lars turn to Sander.\n\n24\n00:02:05,540 --> 00:02:08,960\nSander stares at her indignantly,\nhis mouth firmly closed.\n\n25\n00:02:15,470 --> 00:02:16,430\nShe lowers the torch\n\n26\n00:02:16,430 --> 00:02:18,310\nand gives him an uncompromising look.\n\n27\n00:02:21,930 --> 00:02:23,850\nLars waves the flamethrower at him\n\n28\n00:02:23,850 --> 00:02:25,150\nand he does as he's told.\n\n29\n00:02:31,110 --> 00:02:32,360\nThey turn to Colin.\n\n30\n00:02:36,870 --> 00:02:38,660\n\"Open your mouth, for God's sake.\"\n\n31\n00:02:38,950 --> 00:02:40,990\nLars points the flamethrower at him.\n\n32\n00:02:45,830 --> 00:02:46,630\nHe opens his mouth\n\n33\n00:02:46,630 --> 00:02:48,380\nand Kate shines the torch in.\n\n34\n00:02:50,800 --> 00:02:53,380\nFinding no fillings, Kate steps away worriedly.\n\n35\n00:02:53,550 --> 00:02:54,550\nColin frowns.\n\n", "subtitles": "1\n00:00:06,900 --> 00:00:08,610\nThat's good.\n\n2\n00:00:09,070 --> 00:00:12,240\nLars has fillings.\nSo he's human.\n\n3\n00:00:12,330 --> 00:00:14,540\nIt can't imitate\ninorganic material.\n\n4\n00:00:15,830 --> 00:00:17,250\nSee?\n\n5\n00:00:18,750 --> 00:00:20,120\nYes.\n\n6\n00:00:30,180 --> 00:00:31,550\nGood.\n\n7\n00:00:32,600 --> 00:00:34,180\nGood.\n\n8\n00:00:36,060 --> 00:00:37,520\nOpen.\n\n9\n00:00:38,140 --> 00:00:39,600\nCome on!\n\n10\n00:00:40,650 --> 00:00:42,360\nYou're next!\n\n11\n00:00:42,440 --> 00:00:44,230\nOpen your mouth!\n\n12\n00:00:51,990 --> 00:00:53,200\nOkay.\n\n13\n00:00:54,780 --> 00:00:56,490\nGood.\n\n14\n00:01:00,410 --> 00:01:02,630\nRight now, it's at least something.\n\n15\n00:01:03,710 --> 00:01:05,550\nA way to eliminate\nsome of us.\n\n16\n00:01:05,630 --> 00:01:08,010\nSo I'm gonna get killed because\nI floss?\n\n17\n00:01:08,130 --> 00:01:10,090\nNobody's getting killed.\n\n18\n00:01:10,420 --> 00:01:11,760\nKate?\n\n19\n00:01:11,880 --> 00:01:14,760\nKate, come on.\n\n20\n00:01:15,140 --> 00:01:16,600\nKate.\n\n21\n00:01:18,470 --> 00:01:19,980\nJust do it.\n\n22\n00:01:20,600 --> 00:01:21,890\nKate.\n\n23\n00:01:25,110 --> 00:01:26,270\nOpen.\n\n24\n00:01:42,920 --> 00:01:44,630\nJust go stand over there.\n\n25\n00:01:58,350 --> 00:02:01,060\nYou know as well as I do,\nthere are too many variables.\n\n26\n00:02:03,770 --> 00:02:05,060\nOpen your mouth.\n\n27\n00:02:10,690 --> 00:02:11,900\nOpen your mouth!\n\n28\n00:02:14,030 --> 00:02:15,160\nTheyre porcelain.\n\n29\n00:02:19,950 --> 00:02:21,330\nGo stand with Adam.\n\n30\n00:02:26,250 --> 00:02:27,960\nAnyone else with porcelain fillings?\n\n31\n00:02:28,800 --> 00:02:30,130\nOr clean teeth?\n\n32\n00:02:34,090 --> 00:02:35,380\nIt's bloody absurd.\n\n33\n00:02:55,530 --> 00:02:56,780\nThis is wrong.\n\n", "sdh": "1\n00:00:07,050 --> 00:00:08,170\nGood.\n\n2\n00:00:09,050 --> 00:00:10,710\nLars has fillings.\n\n3\n00:00:11,220 --> 00:00:15,220\nSo he's human.\nIt can't imitate inorganic material.\n\n4\n00:00:15,600 --> 00:00:17,260\nSee?\n\n5\n00:00:29,940 --> 00:00:31,030\nGood.\n\n6\n00:00:32,490 --> 00:00:33,610\nGood.\n\n7\n00:00:35,660 --> 00:00:36,740\nOpen.\n\n8\n00:00:38,120 --> 00:00:39,120\n(LARS SPEAKING NORWEGIAN)\n\n9\n00:00:51,590 --> 00:00:52,630\nOkay.\n\n10\n00:00:54,630 --> 00:00:55,800\nOkay. Good.\n\n11\n00:01:00,560 --> 00:01:02,770\nRight now it's at least something.\n\n12\n00:01:04,190 --> 00:01:05,440\nA way to eliminate some of us.\n\n13\n00:01:05,520 --> 00:01:07,520\nSo I'm gonna get killed\nbecause I floss?\n\n14\n00:01:08,150 --> 00:01:09,940\nNobody's getting killed.\n\n15\n00:01:10,530 --> 00:01:11,820\nKate.\n\n16\n00:01:11,940 --> 00:01:13,070\n(SPEAKING NORWEGIAN)\n\n17\n00:01:13,150 --> 00:01:14,610\nKate, come on.\n\n18\n00:01:15,160 --> 00:01:16,320\nKate.\n\n19\n00:01:18,410 --> 00:01:19,490\nJust do it.\n\n20\n00:01:20,830 --> 00:01:21,990\nKate.\n\n21\n00:01:24,830 --> 00:01:25,870\nOpen.\n\n22\n00:01:43,060 --> 00:01:44,890\nJust go stand over there.\n\n23\n00:01:58,320 --> 00:02:01,870\nYou know as well as I do,\nthere are too many variables.\n\n24\n00:02:03,500 --> 00:02:04,540\nOpen your mouth.\n\n25\n00:02:10,420 --> 00:02:11,710\nOpen your mouth!\n\n26\n00:02:13,880 --> 00:02:14,920\nThey're porcelain.\n\n27\n00:02:19,890 --> 00:02:21,350\nGo stand by Adam.\n\n28\n00:02:26,230 --> 00:02:28,480\nAnyone else with porcelain fillings?\n\n29\n00:02:28,900 --> 00:02:30,440\nOr clean teeth?\n\n30\n00:02:34,030 --> 00:02:35,190\nThis is bloody absurd.\n\n31\n00:02:35,280 --> 00:02:37,530\n(SPEAKING NORWEGIAN)\n\n32\n00:02:55,590 --> 00:02:57,260\nThis is wrong.\n\n", "screenplay": "{\"screenplay_scene_103\": \"<scene>\\n    <stage_direction>INT. THULE STATION REC ROOM - EVENING</stage_direction>\\n    <scene_description>Adam and Jonas sit slumped at the poker table. Exhausted, smeared with soot, and numb with shock. Pulling back as we hear/see the scene around them: Peder and Edvard arguing with Sander and Colin. Kate and Lars stand so as to avoid looking like they've chosen sides with either group.</scene_description>\\n    <character>SANDER</character>\\n    <dialogue>Who do you think? Maybe the man with the flamethrower!</dialogue>\\n    <character>PEDER</character>\\n    <dialogue>I was nowhere near the lab--</dialogue>\\n    <character>EDVARD</character>\\n    <dialogue>That was some homemade explosive, not a flamethrower--</dialogue>\\n    <character>COLIN</character>\\n    <dialogue>How do you know?</dialogue>\\n    <scene_description>Kate puts her hands to her temples, tired of all the arguing around her. Knowing this is what the Thing wants.</scene_description>\\n    <character>EDVARD</character>\\n    <dialogue>What are you implying?</dialogue>\\n    <character>COLIN</character>\\n    <dialogue>Who said I was implying--</dialogue>\\n    <character>SANDER</character>\\n    <dialogue>--don't have any other way to test the group, and it was my idea--</dialogue>\\n    <scene_description>The SHOUTING continues, but Kate touches Sander's arm to get his attention.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>There's another way.</dialogue>\\n    <scene_description>Sander questions her for just a moment before shouting over the angry Norwegians.</scene_description>\\n    <character>SANDER</character>\\n    <dialogue>Shut up! There may be another way.</dialogue>\\n    <scene_description>This quiets everyone. Sander gestures at Kate, to give her the floor. Kate wasn't ready for this. She thought Sander would pull her aside instead of putting her in the spotlight. After a beat of uncertainty, she steps in. The look on her face is like a poker player going \\\"all in.\\\"</scene_description>\\n    <character>KATE</character>\\n    <dialogue>We can't know for sure which of us is one of those Things... But at least we can tell who isn't.</dialogue>\\n    <character>ADAM</character>\\n    <dialogue>What?</dialogue>\\n    <character>JONAS</character>\\n    <dialogue>How?</dialogue>\\n    <character>KATE</character>\\n    <parenthetical>(to Jonas)</parenthetical>\\n    <dialogue>Hand me your flashlight.</dialogue>\\n    <scene_description>Jonas pulls his small pen-sized flashlight from his breast pocket and hands it to Kate.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>This creature can't imitate inorganic material. Like silver.</dialogue>\\n    <scene_description>Kate opens her mouth, pulls one cheek aside to expose a molar where a SILVER FILLING shines in the light. Lars seems to instantly get it. Fillings, yes. He snaps his fingers at Kate and declares something in Norwegian, as if to say \\\"Of course, the teeth.\\\" He lowers his own jaw to expose a silver crown on one tooth.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>So you know Lars and I are human. Jonas, open up.</dialogue>\\n    <scene_description>Sander approaches Kate, suddenly imploring--</scene_description>\\n    <character>SANDER</character>\\n    <dialogue>Kate, this is ridiculous--</dialogue>\\n    <scene_description>But Kate takes two steps back, behind Lars. Lars levels the flamethrower right at Sander. Sander lowers his hands.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>This is just a precaution. So we know who we can eliminate right here and now. Okay?</dialogue>\\n    <scene_description>Adam chuckles. It's that nervous, insomniac's laugh that suggests Adam has lost as much sanity as he has sleep. Jonas opens his mouth. Flashlight reveals: metal fillings. Kate steps to Adam next.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Adam...</dialogue>\\n    <character>ADAM</character>\\n    <dialogue>I'm going to get killed because I flossed.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>Nobody's getting killed. Open.</dialogue>\\n    <scene_description>He does so. No cavities.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Okay. Just, stand over there.</dialogue>\\n    <character>SANDER</character>\\n    <dialogue>You don't know if this works.</dialogue>\\n    <parenthetical>(to others)</parenthetical>\\n    <dialogue>She's operating on a hunch, not scientific theory.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>A hunch is better than nothing.</dialogue>\\n    <scene_description>She clicks on the pen light at his mouth, waiting for Sander to open up for her.</scene_description>\\n    <character>SANDER</character>\\n    <dialogue>They're porcelain.</dialogue>\\n    <scene_description>Beat. Sander feels he's stumped the test.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Go stand by Adam.</dialogue>\\n    <parenthetical>(to rest)</parenthetical>\\n    <dialogue>Anyone else with porcelain fillings? Or clean teeth?</dialogue>\\n    <scene_description>Colin turns to Edvard to appeal.</scene_description>\\n    <character>COLIN</character>\\n    <dialogue>You need me on the radio. Tell her she can't tie me up for having healthy teeth, boss. Tell her.</dialogue>\\n    <scene_description>Edvard lets out a breath, shakes his head, and moves next to Sander. Colin stares on in shock.</scene_description>\\n    <character>EDVARD</character>\\n    <dialogue>Mine are porcelain too.</dialogue>\\n    <character>SANDER</character>\\n    <dialogue>Edvard, you're still in charge.</dialogue>\\n    <parenthetical>(in Norwegian)</parenthetical>\\n    <dialogue>We can't let paranoia rule this camp!</dialogue>\\n    <scene_description>Kate ignores Sander. To Peder and Jonas:</scene_description>\\n    <character>KATE</character>\\n    <dialogue>This is just a safety precaution. Okay? Temporary.</dialogue>\\n    <character>JONAS</character>\\n    <dialogue>What now?</dialogue>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "3634.56", "video_duration": "178.82"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "_caNP6_xeuR1", "audio_description_us": "1\n00:00:00,000 --> 00:00:01,670\n...lights the tip of his flamethrower.\n\n2\n00:00:02,040 --> 00:00:05,260\nSlowing his pace, he rounds a\ncorner to find Jameson with Carter,\n\n3\n00:00:05,260 --> 00:00:07,260\nwho wields a flamethrower of his own.\n\n4\n00:00:09,380 --> 00:00:10,430\n\"Where is Lars?\"\n\n5\n00:00:20,770 --> 00:00:22,230\n\"Peder, don’t listen to him.\"\n\n6\n00:00:24,440 --> 00:00:25,610\n\"They killed Lars.\"\n\n7\n00:00:26,070 --> 00:00:26,740\n\"Burn them!\"\n\n8\n00:00:27,820 --> 00:00:30,530\nAs Peder takes aim, Jameson\nshoots him with a pistol.\n\n9\n00:00:30,820 --> 00:00:34,120\nA stray shot punctures one of\nhis three flamethrower tanks.\n\n10\n00:00:34,280 --> 00:00:37,330\nThe pilots watch the Norwegian\ncollapse to the floor.\n\n11\n00:00:37,540 --> 00:00:39,460\nAround the corner, the others listen.\n\n12\n00:00:44,920 --> 00:00:47,970\nAs Edvard peeks around the\ncorner, the pilots take aim.\n\n13\n00:00:58,100 --> 00:01:00,190\nEdvard steps out with his hands up.\n\n14\n00:01:03,860 --> 00:01:05,610\nHe leans over Peder's body.\n\n15\n00:01:05,900 --> 00:01:10,320\nFuel leaking from the punctured gas tank puddles\nnear the ignited tip of his flamethrower.\n\n16\n00:01:12,070 --> 00:01:13,280\n\"It's going to ignite!\"\n\n17\n00:01:14,280 --> 00:01:17,950\nAs Edvard starts to flee, a fiery\nexplosion knocks him to the floor.\n\n18\n00:01:19,080 --> 00:01:20,750\nThe others duck around a corner.\n\n19\n00:01:20,830 --> 00:01:23,460\nJonas spots Edvard lying\non his back down the hall,\n\n20\n00:01:23,460 --> 00:01:24,960\nthen trades a look with Colin.\n\n21\n00:01:26,000 --> 00:01:27,670\nWith Carter not far behind,\n\n22\n00:01:27,670 --> 00:01:29,170\nJameson re-enters the hall\n\n23\n00:01:29,170 --> 00:01:31,220\nand steps toward Peder's burning body.\n\n24\n00:01:31,380 --> 00:01:33,090\nNearby, Edvard stirs.\n\n", "audio_description_uk": "1\n00:00:01,290 --> 00:00:02,290\nEveryone follows him.\n\n2\n00:00:02,840 --> 00:00:04,880\nHe sparks up the flamethrower's pilot light.\n\n3\n00:00:05,340 --> 00:00:09,640\nRounding a corner, he comes face to face with\nCarter and Jameson who also have a flamethrower.\n\n4\n00:00:23,320 --> 00:00:25,440\nEdvard: \"Peder, don't listen to him.\"\n\n5\n00:00:27,110 --> 00:00:28,070\n\"They killed Lars.\"\n\n6\n00:00:28,150 --> 00:00:28,820\n\" Burn them!\"\n\n7\n00:00:34,580 --> 00:00:36,200\nAs Peder makes to incinerate them,\n\n8\n00:00:36,290 --> 00:00:38,000\nJameson shoots him dead with a pistol.\n\n9\n00:00:38,290 --> 00:00:39,460\nHe slumps to the floor.\n\n10\n00:00:40,750 --> 00:00:42,210\nEveryone looks stunned.\n\n11\n00:00:48,340 --> 00:00:49,970\nEdvard peeps around the corner,\n\n12\n00:00:50,130 --> 00:00:51,970\nand the Americans aim their weapons at him.\n\n13\n00:01:01,730 --> 00:01:04,570\nWith his hands up, Edvard\nsteps out into the corridor.\n\n14\n00:01:05,190 --> 00:01:06,610\nAs he crouches beside Peder,\n\n15\n00:01:06,820 --> 00:01:08,940\nJonah sees fuel from the flamethrower's ruptured\n\n16\n00:01:08,940 --> 00:01:11,660\ntank seeping towards its\nstill burning pilot light.\n\n17\n00:01:12,740 --> 00:01:14,070\n\"It's going to ignite!\"\n\n18\n00:01:20,040 --> 00:01:21,000\nEveryone flees,\n\n19\n00:01:21,000 --> 00:01:22,540\nand the fuel tanks explode.\n\n20\n00:01:22,880 --> 00:01:24,380\nEdvard is thrown against a wall,\n\n21\n00:01:24,380 --> 00:01:25,960\nthen lies motionless on the floor.\n\n22\n00:01:26,590 --> 00:01:28,800\nColin and Jonas exchange worried looks.\n\n23\n00:01:29,420 --> 00:01:32,630\nCarter and Jameson examine\nPeder's still burning remains.\n\n", "subtitles": "1\n00:00:08,190 --> 00:00:09,500\nWhere is Lars?\n\n2\n00:00:09,520 --> 00:00:10,770\nWe haven't got Lars.\n\n3\n00:00:11,020 --> 00:00:12,770\n- Calm down!\n- Where is Lars?\n\n4\n00:00:12,940 --> 00:00:14,360\nI said calm down!\n\n5\n00:00:14,440 --> 00:00:16,990\n- Where the fuck is Lars?\n- Drop it!\n\n6\n00:00:18,530 --> 00:00:21,780\n- Somebody tell him.\n- Peder, don't listen to them.\n\n7\n00:00:22,660 --> 00:00:24,740\n- Put it down!\n- They killed Lars!\n\n8\n00:00:25,080 --> 00:00:28,750\nLars is killed.\nBurn them! Burn them!\n\n9\n00:00:43,010 --> 00:00:45,060\nPeder? Peder?\n\n10\n00:00:49,060 --> 00:00:50,310\nOkay!\n\n11\n00:00:51,310 --> 00:00:53,150\nI just wanna check my friend, okay?\n\n12\n00:00:54,320 --> 00:00:55,400\nIt's okay.\n\n13\n00:00:56,900 --> 00:00:58,150\nHe was gonna fire.\n\n14\n00:01:11,460 --> 00:01:12,810\nIt's gonna catch fire!\nIt will explode!\n\n15\n00:01:12,830 --> 00:01:13,960\nCome on! Let's go!\n\n", "sdh": "1\n00:00:08,830 --> 00:00:09,870\nHey!\n\n2\n00:00:11,120 --> 00:00:12,870\nCalm down!\nWhat have you done with Lars?\n\n3\n00:00:12,960 --> 00:00:14,460\nI said calm down!\n\n4\n00:00:14,540 --> 00:00:15,830\nWhere the fuck is Lars?\n\n5\n00:00:16,040 --> 00:00:17,090\nDrop it.\n\n6\n00:00:18,750 --> 00:00:19,920\nSomebody tell him!\n\n7\n00:00:20,050 --> 00:00:21,050\n(SPEAKING NORWEGIAN)\n\n8\n00:00:22,590 --> 00:00:23,590\nPut it down!\n\n9\n00:00:43,280 --> 00:00:44,990\nPeder. Peder.\n\n10\n00:00:49,240 --> 00:00:50,370\nOkay.\n\n11\n00:00:51,330 --> 00:00:53,250\nI just want to\ncheck my friend, okay?\n\n12\n00:00:54,170 --> 00:00:55,500\nIt's okay.\n\n13\n00:00:56,750 --> 00:00:58,750\nJAMESON: He was gonna fire.\n\n14\n00:01:08,800 --> 00:01:10,180\n(TRICKLING)\n\n15\n00:01:13,060 --> 00:01:14,640\nIt's gonna blow!\nWatch out!\n\n16\n00:01:16,310 --> 00:01:17,560\n(GRUNTS)\n\n", "screenplay": "{\"screenplay_scene_112\": \"<scene>\\n    <stage_direction>INT. THULE STATION REAR ENTRANCE - CONTINUOUS</stage_direction>\\n    <scene_description>Peder slides into the small room-- The door here BULGES from being kicked on the other side-- BOOM-- Peder puts his weight against it and slams a 2-by-4 against the doorway--</scene_description>\\n    <character>PEDER</character>\\n    <dialogue>Edvard!</dialogue>\\n    <scene_description>Edvard rushes in and sets the toolbox down--</scene_description>\\n    <character>EDVARD</character>\\n    <dialogue>Hold on!</dialogue>\\n    <scene_description>BOOM. The door budges again-- Edvard approaches with a hammer and nail-- The others pour into the room from the hall as-- A FLAMETHROWER NOZZLE pokes in the small crack that has formed between the door and the frame--</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Get back!</dialogue>\\n    <scene_description>WHOOSH. Flames spew into the room along the wall. The angle isn't enough to torch anyone but it forces Peder to jump back and aim his own flamethrower at the door. Fire spreads on the wall in the corner. Edvard grabs Jonas by the shoulder--</scene_description>\\n    <character>EDVARD</character>\\n    <dialogue>Put it out!</dialogue>\\n    <scene_description>Jonas rushes back down the hall, out of sight-- The door BUCKLES as another heavy kick hits it from the other side.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Carter! Stand back!</dialogue>\\n    <scene_description>It swings open-- Peder squeezes the trigger on his flamethrower-- A stream of fire launches through the open door-- But no one is there. Sander turns on Kate with a ferocity--</scene_description>\\n    <character>SANDER</character>\\n    <dialogue>You warned them?! Whose side are you on?</dialogue>\\n    <scene_description>Peder steps outside, just one step to peer around a corner-- PEDER POV: The glimpse of someone running away, around the corner of the building, twenty meters off. Whipping around to take a look at the other side-- Where CARTER stands with his flamethrower and WHOOSH-- THE OTHERS inside the building see Peder engulfed in flames-- He flails and screams-- Falling back into the room, still on fire-- Knocking into Edvard as Edvard steps to push the door closed first-- Edvard falls to the floor, dazed-- Jonas arrives with a fire extinguisher-- Kate points at Peder and the burning flamethrower--</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Peder!</dialogue>\\n    <scene_description>Immediately Jonas sprays down Peder-- The foam puts out the fire but Peder is already dead or unconscious-- His flame unit is at least partially damaged. Carter steps in at the door. Lars's flamethrower leveled. Kate, Jonas, Sander, Adam, and Edvard all back up. Beat. Carter stares them down.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Put out the rest of that fire.</dialogue>\\n    <scene_description>Jonas steps forward again and snuffs out the fire on the wall with two short bursts of CO2. A moment later, Jameson enters and goes for Peder's body. Pulling off the (damaged) flamethrower and standing up next to Carter. The two American Navy men regard the rest of the group as officers would a mutinous crew.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Give me one good reason why I shouldn't just burn you all.</dialogue>\\n    <scene_description>Jameson struggles to make the damaged flamethrower operable.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>You have until the time Jameson here gets his torch working.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>Carter, just wait. I can prove some of us are human.</dialogue>\\n    <character>CARTER</character>\\n    <dialogue>I don't think I care.</dialogue>\\n    <scene_description>Behind Kate, Edvard groans. He hit his head hard.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Get his ass up.</dialogue>\\n    <scene_description>Jonas sets down the fire extinguisher unit. He and Adam grab hold of Edvard to lift him up. Jonas pulls Edvard by the arm, to \\\"fireman-carry\\\" him to a bench seat. But Edvard doesn't get up-- Instead, Edvard's arm SLIDES out of its sleeve and Jonas is left holding the detached arm.</scene_description>\\n    <character>JONAS</character>\\n    <dialogue>Holy--</dialogue>\\n    <scene_description>From various parts of the severed arm, INSECTOID LEGS stab outward, turning the limb into a kind of ARM CENTIPEDE. Jonas screams and tries to drop it-- The Arm Centipede grabs hold with its hand-- Edvard's mouth opens and a FROG-LIKE TONGUE lashes out and wraps around Adam's ankle-- Adam TRIPS and FALLS to the floor-- OH GOD-- Kate backs up to a wall, cornered-- Sander turns and FLEES down the hallway--</scene_description>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "4044.48", "video_duration": "93.81"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "T9bfm2XbXjx_", "audio_description_us": "1\n00:00:07,840 --> 00:00:08,970\nKate takes a seat.\n\n2\n00:00:09,930 --> 00:00:14,930\nAs Jonas and Colin help Edvard around the pool\ntable, the wounded man's left arm detaches\n\n3\n00:00:14,930 --> 00:00:17,480\nand slides out his sleeve to reveal tentacles.\n\n4\n00:00:17,850 --> 00:00:19,600\nIt crawls up Jonas's shoulder.\n\n5\n00:00:19,900 --> 00:00:22,940\nHe grabs at the alien limb\nas it reaches for his face.\n\n6\n00:00:23,110 --> 00:00:24,320\nThe others recoil.\n\n7\n00:00:26,320 --> 00:00:27,820\nJonas backs into a shelf.\n\n8\n00:00:30,030 --> 00:00:33,580\nA mouth within the bloody stump\nattaches itself to Jonas's mouth,\n\n9\n00:00:33,620 --> 00:00:35,790\nand the forearm ripples as if feeding him.\n\n10\n00:00:36,250 --> 00:00:38,710\nA bulge pokes up from underneath Edvard's sweater\n\n11\n00:00:38,710 --> 00:00:40,710\nas his body convulses on the floor.\n\n12\n00:00:41,040 --> 00:00:43,000\nCarter struggles with his flamethrower.\n\n13\n00:00:48,970 --> 00:00:51,300\nA long tentacle emerges from Edvard's chest,\n\n14\n00:00:51,430 --> 00:00:53,470\nsnaps at the blond research assistant,\n\n15\n00:00:53,600 --> 00:00:55,180\nthen whips past Kate and Carter\n\n16\n00:00:55,180 --> 00:00:57,060\nand takes out the pool table lamp.\n\n17\n00:00:57,980 --> 00:00:59,480\nHe dodges toward an open door,\n\n18\n00:00:59,480 --> 00:01:00,440\nbut stumbles.\n\n19\n00:01:00,560 --> 00:01:02,230\nThe tentacle pierces his chest,\n\n20\n00:01:02,310 --> 00:01:04,570\nthen retracts, spilling a gush of blood.\n\n21\n00:01:04,730 --> 00:01:05,980\nSander escapes.\n\n22\n00:01:07,530 --> 00:01:10,030\nThe two pilots flip the pool table on its side.\n\n23\n00:01:14,490 --> 00:01:16,290\nThe tentacle whips around the room.\n\n24\n00:01:17,870 --> 00:01:19,580\nIt breaks through the pool table.\n\n25\n00:01:20,870 --> 00:01:21,960\nJameson stands up\n\n26\n00:01:21,960 --> 00:01:22,880\nand shoots Edvard,\n\n27\n00:01:22,960 --> 00:01:25,040\nbut the tentacle pierces his chest.\n\n28\n00:01:25,380 --> 00:01:26,960\nKate and his copilot look on\n\n29\n00:01:26,960 --> 00:01:28,760\nas he slides down to the floor.\n\n30\n00:01:28,960 --> 00:01:30,970\nCarter takes off his flamethrower tank.\n\n31\n00:01:34,010 --> 00:01:35,100\nHe tends to Jameson\n\n32\n00:01:35,100 --> 00:01:36,930\nwhile Kate works on the flamethrower.\n\n33\n00:01:37,180 --> 00:01:39,600\nEdvard's face tilts backwards, eyeing Adam.\n\n34\n00:01:42,020 --> 00:01:43,520\nThe Norwegian's body arches\n\n35\n00:01:43,520 --> 00:01:44,940\nand his sweater rips open.\n\n36\n00:01:45,190 --> 00:01:47,230\nHis right arm wrenches free from his sleeve\n\n37\n00:01:47,230 --> 00:01:49,740\nand skitters off on eight legs like a crab.\n\n38\n00:01:50,150 --> 00:01:53,780\nThick, sinewy limbs, slick with\nblood, grow from Edvard's bare chest\n\n39\n00:01:53,990 --> 00:01:56,120\nand lift his back up off the floor.\n\n40\n00:01:57,660 --> 00:01:59,200\nAdam tries to scoot away,\n\n41\n00:01:59,290 --> 00:02:02,410\nbut the spider-like monstrosity\ncrawls on top of him.\n\n42\n00:02:03,670 --> 00:02:05,540\nKate releases pressure from a valve.\n\n43\n00:02:05,580 --> 00:02:07,210\nThe creature pins Adam down.\n\n44\n00:02:09,300 --> 00:02:12,220\nHe watches in horror as\nthe alien's neck elongates.\n\n45\n00:02:12,470 --> 00:02:14,590\nEdvard's bearded face rolls against Adam's\n\n46\n00:02:14,590 --> 00:02:16,390\nand their flesh fuses together.\n\n47\n00:02:16,720 --> 00:02:20,220\nNow conjoined at the cheek,\nthey share an agonised scream.\n\n48\n00:02:22,230 --> 00:02:25,150\nWith the flamethrower on her\nback, Kate rises to her feet.\n\n49\n00:02:25,350 --> 00:02:26,940\nShe shoots a blast at the creature\n\n50\n00:02:26,940 --> 00:02:28,770\nas it drags Adam out of the room.\n\n51\n00:02:30,780 --> 00:02:32,440\nShe follows it through the doorway,\n\n52\n00:02:32,440 --> 00:02:33,650\nthen searches the hall.\n\n", "audio_description_uk": "1\n00:00:01,630 --> 00:00:03,130\nKate turns to Carter.\n\n2\n00:00:09,890 --> 00:00:10,890\nKate takes a seat\n\n3\n00:00:10,890 --> 00:00:13,100\nas Colin and Jonas help Edvard to the couch.\n\n4\n00:00:13,680 --> 00:00:16,640\nSuddenly, his left arm\ndetaches itself from the body.\n\n5\n00:00:16,980 --> 00:00:19,900\nSprouting legs and tentacles,\nthe arm clings to Jonas\n\n6\n00:00:19,940 --> 00:00:21,610\nand tries to attack his face.\n\n7\n00:00:21,860 --> 00:00:23,860\nJonas grapples with a mutating limb.\n\n8\n00:00:29,450 --> 00:00:31,240\nJonas backs over to a bookcase.\n\n9\n00:00:31,410 --> 00:00:33,330\nA mouth opens within the severed stump\n\n10\n00:00:33,530 --> 00:00:36,500\nand using tentacles, it clamps\nitself over Jonas's mouth.\n\n11\n00:00:36,660 --> 00:00:38,370\nIt forces something down his gullet.\n\n12\n00:00:38,620 --> 00:00:40,250\nEdvard's body begins to convulse.\n\n13\n00:00:40,420 --> 00:00:41,710\nCarter makes to torch it,\n\n14\n00:00:41,830 --> 00:00:43,710\nbut the flamethrower fails.\n\n15\n00:00:52,970 --> 00:00:55,680\nA large pink tentacle erupts out of Edvard's chest\n\n16\n00:00:55,680 --> 00:00:57,020\nand flares around the room.\n\n17\n00:00:57,140 --> 00:00:57,770\nAdam ducks,\n\n18\n00:00:57,770 --> 00:00:59,310\nthen picks himself up off the floor\n\n19\n00:00:59,310 --> 00:01:00,190\nand makes a run for it.\n\n20\n00:01:00,270 --> 00:01:01,400\nHe trips and falls.\n\n21\n00:01:01,520 --> 00:01:03,900\nThe tentacle rips a hole in his abdomen.\n\n22\n00:01:10,530 --> 00:01:13,280\nCarter and Jameson overturn\nthe pool table for cover.\n\n23\n00:01:15,620 --> 00:01:17,200\nThe tentacle punches through the table,\n\n24\n00:01:17,200 --> 00:01:18,410\nknocking Carter over.\n\n25\n00:01:23,880 --> 00:01:24,670\nJameson jumps up\n\n26\n00:01:24,670 --> 00:01:25,710\nand shoots at Edvard.\n\n27\n00:01:28,670 --> 00:01:29,920\nThe tentacle whips at Jameson\n\n28\n00:01:29,920 --> 00:01:31,470\nand punches a hole in his chest.\n\n29\n00:01:32,260 --> 00:01:33,180\nHe collapses.\n\n30\n00:01:37,890 --> 00:01:39,470\nAs Carter tends to Jameson,\n\n31\n00:01:39,470 --> 00:01:41,640\nKate tries to get the flamethrower going again.\n\n32\n00:01:42,230 --> 00:01:44,440\nThe alien turns its attention back to Adam,\n\n33\n00:01:44,520 --> 00:01:46,820\nwho's severely wounded and\ntrying to back away from it.\n\n34\n00:01:47,570 --> 00:01:49,150\nEdvard's right arm breaks off\n\n35\n00:01:49,230 --> 00:01:51,070\nand runs away on spindly legs.\n\n36\n00:01:51,490 --> 00:01:53,570\nThe rest of the body continues to mutate,\n\n37\n00:01:53,660 --> 00:01:56,870\nsprouting pink and glistening insect-like limbs.\n\n38\n00:01:57,240 --> 00:01:58,620\nIt crawls towards Adam.\n\n39\n00:01:58,990 --> 00:02:01,460\nThe nightmare creature\nlowers itself on top of him,\n\n40\n00:02:01,620 --> 00:02:05,000\nand pushes Edvard's pulsating face towards his.\n\n41\n00:02:16,390 --> 00:02:18,350\nIt rubs Edvard's face against Adam's,\n\n42\n00:02:18,350 --> 00:02:21,980\nand the two fuse together\nlike conjoined Siamese twins.\n\n43\n00:02:27,230 --> 00:02:28,650\nKate gets the flamethrower going\n\n44\n00:02:28,650 --> 00:02:29,360\nand breaks cover\n\n45\n00:02:29,360 --> 00:02:32,950\njust as the now combined alien\nand Adam scuttles out of the room.\n\n", "subtitles": "1\n00:00:01,200 --> 00:00:02,990\nNot all of us are human.\n\n2\n00:00:05,030 --> 00:00:06,540\nJust put him over there\non the couch.\n\n3\n00:00:22,760 --> 00:00:24,760\nHelp! Help me!\n\n4\n00:00:24,800 --> 00:00:26,640\n- My God!\n- Get it off him!\n\n5\n00:00:28,140 --> 00:00:30,180\nWhat the fuck is this shit, man?\n\n6\n00:00:40,860 --> 00:00:42,320\nCarter, Carter!\n\n7\n00:00:42,450 --> 00:00:43,660\nCarter, burn it, man!\n\n8\n00:00:44,950 --> 00:00:46,990\nThere's something wrong with it!\nHold on!\n\n9\n00:00:47,080 --> 00:00:49,290\nGoddamn it, Carter, burn it!\n\n10\n00:00:54,580 --> 00:00:56,080\nLook out!\nFuck!\n\n11\n00:00:57,090 --> 00:00:58,090\nAdam!\n\n12\n00:01:05,300 --> 00:01:07,260\n- Shit!\n- Carter, take it!\n\n13\n00:01:09,850 --> 00:01:10,890\nCarter!\n\n14\n00:01:10,970 --> 00:01:12,610\nThere's something wrong\nwith the pressure.\n\n15\n00:01:13,230 --> 00:01:14,480\nPut some air in the pipe.\n\n16\n00:01:17,020 --> 00:01:18,020\nWatch out!\n\n17\n00:01:19,940 --> 00:01:20,940\nCarter!\n\n18\n00:01:32,580 --> 00:01:33,830\nWe gotta get the air up.\n\n19\n00:01:40,920 --> 00:01:41,920\nNo.\n\n20\n00:01:57,020 --> 00:01:58,020\nNo.\n\n21\n00:01:58,270 --> 00:01:59,770\nNo.\n\n22\n00:02:00,650 --> 00:02:01,650\nGod!\n\n23\n00:02:02,480 --> 00:02:03,740\nNo, God!\n\n24\n00:02:04,990 --> 00:02:06,110\nCarter!\n\n25\n00:02:08,700 --> 00:02:09,910\nNo! No!\n\n", "sdh": "1\n00:00:01,170 --> 00:00:02,460\nNot all of us are human.\n\n2\n00:00:05,090 --> 00:00:07,300\nJust put him over\nthere on the couch.\n\n3\n00:00:14,350 --> 00:00:15,480\n(CREATURE SQUEALING)\n\n4\n00:00:17,230 --> 00:00:18,230\n(SCREAMING)\n\n5\n00:00:25,450 --> 00:00:26,780\nGet it off!\n\n6\n00:00:27,990 --> 00:00:30,240\nWhat the fuck is this shit, man?\n\n7\n00:00:41,960 --> 00:00:42,960\nCarter!\n\n8\n00:00:43,050 --> 00:00:44,130\nCarter, burn it, man!\n\n9\n00:00:44,920 --> 00:00:47,090\nThere's something wrong with it! Fuck!\n\n10\n00:00:47,180 --> 00:00:48,970\nGod damn it, Carter, burn it!\n\n11\n00:01:02,650 --> 00:01:03,980\n(SCREAMS)\n\n12\n00:01:05,280 --> 00:01:07,360\nShit! Carter, table!\n\n13\n00:01:09,610 --> 00:01:10,610\nCarter!\n\n14\n00:01:11,530 --> 00:01:13,250\nCARTER: Something's wrong\nwith the pressure.\n\n15\n00:01:13,450 --> 00:01:14,870\nIt's got air in the pipe!\n\n16\n00:01:17,370 --> 00:01:18,620\nWatch out!\n\n17\n00:01:32,890 --> 00:01:34,220\nWe gotta get\nthe air out!\n\n18\n00:01:35,520 --> 00:01:36,890\n(SCREAMING)\n\n19\n00:01:38,980 --> 00:01:40,310\n(GROWLING)\n\n20\n00:01:40,730 --> 00:01:41,900\nNo! No!\n\n21\n00:01:57,250 --> 00:01:58,620\nNo! No!\n\n22\n00:02:02,630 --> 00:02:03,630\nBurn it!\n\n23\n00:02:03,710 --> 00:02:04,710\n(HISSING)\n\n24\n00:02:08,670 --> 00:02:10,050\n(YELLING)\n\n", "screenplay": "null", "movie_duration": "6178.34", "video_start": "4207.58", "video_duration": "153.62"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "u5vBn5QyUiTo", "audio_description_us": "1\n00:00:02,960 --> 00:00:04,880\nNow, Kate enters the hallway.\n\n2\n00:00:06,050 --> 00:00:08,840\nHe steps out from a doorway, wielding an axe.\n\n3\n00:00:14,810 --> 00:00:17,600\nThey start down the hall,\nheading away from the fire.\n\n4\n00:00:27,150 --> 00:00:30,530\nIn the darkened radio room,\nSander crouches behind a desk.\n\n5\n00:00:30,660 --> 00:00:32,910\nHe peeks through the doorway into the hall.\n\n6\n00:00:33,910 --> 00:00:37,500\nMeanwhile, Kate and Carter walk\nside by side down the corridor.\n\n7\n00:00:38,460 --> 00:00:40,120\nThe pilot looks to his right.\n\n8\n00:00:41,040 --> 00:00:44,840\nHe and Kate peek through the doorway\nas they tiptoe past the radio room.\n\n9\n00:00:46,170 --> 00:00:48,800\nSander shifts his relieved gaze.\n\n10\n00:00:51,720 --> 00:00:54,930\nResting his fingertips on the\ndesktop, he lifts his head.\n\n11\n00:00:58,020 --> 00:01:02,600\nRising to see over the radio console, he\nspots the creature's shadow in the hallway.\n\n12\n00:01:04,980 --> 00:01:07,400\nMeanwhile, standing alone in a communications\n\n13\n00:01:07,400 --> 00:01:09,030\nroom with a lantern in his hand,\n\n14\n00:01:09,190 --> 00:01:10,900\nColin looks over his shoulder.\n\n15\n00:01:13,070 --> 00:01:15,990\nAs Carter and Kate reach the\ndoorway to the dining room,\n\n16\n00:01:16,120 --> 00:01:18,790\nthe overhead lights turn off one after another.\n\n17\n00:01:19,080 --> 00:01:21,540\nDown the hall, emergency lights switch on.\n\n18\n00:01:27,590 --> 00:01:30,420\nIn the radio room, Sander\nfrantically scurries backward.\n\n19\n00:01:30,550 --> 00:01:31,880\nThe creature mauls him.\n\n20\n00:01:32,090 --> 00:01:33,050\nBack in the hall...\n\n21\n00:01:35,100 --> 00:01:36,600\nKate and Carter press on.\n\n22\n00:01:41,350 --> 00:01:42,940\nThey enter another darkened room\n\n23\n00:01:42,940 --> 00:01:44,730\nand step past a storage shelf.\n\n24\n00:01:50,030 --> 00:01:52,910\nCarter shines a flashlight over\nthe walls from left to right\n\n25\n00:01:52,910 --> 00:01:54,410\nand finds a closed door.\n\n26\n00:01:54,620 --> 00:01:57,240\nHe and Kate amble forward, scanning the room.\n\n27\n00:01:58,910 --> 00:02:01,790\nThe loose alien limb falls toward\nthem, clinging to the wall.\n\n28\n00:02:01,790 --> 00:02:03,960\nBut Carter chops it in two with his axe.\n\n29\n00:02:04,040 --> 00:02:07,170\nBoth halves scurry across the\nfloor, disappearing from view.\n\n30\n00:02:09,460 --> 00:02:11,050\nCarter's flashlight locates them.\n\n31\n00:02:11,840 --> 00:02:13,340\nThey entwine their tentacles.\n\n32\n00:02:14,590 --> 00:02:17,300\nAs they form back into one, Kate torches them.\n\n33\n00:02:17,640 --> 00:02:21,350\nThe multi-legged creature falls\nto the floor, consumed in flames.\n\n34\n00:02:21,560 --> 00:02:24,560\nCarter reaches for his bloody\naxe, still lodged in the wall.\n\n35\n00:02:26,560 --> 00:02:28,480\nThey share an uneasy gaze.\n\n", "audio_description_uk": "1\n00:00:01,290 --> 00:00:03,340\nOutside, the blizzard is still blowing.\n\n2\n00:00:03,920 --> 00:00:07,050\nKate steps into the corridor\nwhere Sander had fled earlier.\n\n3\n00:00:08,720 --> 00:00:10,800\nCarter appears, clutching a fire axe.\n\n4\n00:00:15,560 --> 00:00:18,390\nThey walk on together, away\nfrom the blazing rec room.\n\n5\n00:00:29,150 --> 00:00:32,490\nIn a darkened room, Sander\nis crouching behind a desk.\n\n6\n00:00:38,500 --> 00:00:40,620\nCarter and Kate walk on down the corridor.\n\n7\n00:00:41,170 --> 00:00:42,130\nThey round a corner\n\n8\n00:00:42,130 --> 00:00:43,790\nand look into a darkened room.\n\n9\n00:00:50,380 --> 00:00:53,510\nStill crouching behind the\ndesk, Sandler hears a noise.\n\n10\n00:00:53,930 --> 00:00:54,560\nHe looks up\n\n11\n00:00:54,560 --> 00:00:57,100\nand tentatively peeps over the top of the desk.\n\n12\n00:01:03,730 --> 00:01:06,570\nHe sees the alien's shadow on the corridor wall.\n\n13\n00:01:10,780 --> 00:01:13,320\nIn the dark comms room, Colin hears it too.\n\n14\n00:01:13,780 --> 00:01:15,120\nHe looks around fearfully.\n\n15\n00:01:19,410 --> 00:01:22,790\nAs Kate and Carter peer into the\ndining room, the lights fail.\n\n16\n00:01:23,000 --> 00:01:25,170\nDim emergency lights take their place.\n\n17\n00:01:30,630 --> 00:01:32,220\nSander backs frantically away,\n\n18\n00:01:32,220 --> 00:01:33,800\nbut the alien lunges forward\n\n19\n00:01:33,840 --> 00:01:34,760\nand attacks him.\n\n20\n00:01:43,520 --> 00:01:45,400\nThey head in the direction of the noise\n\n21\n00:01:45,730 --> 00:01:48,780\nand tentatively make their way\ninto the room Sander was in.\n\n22\n00:01:49,610 --> 00:01:53,450\nCarter shines a flashlight above, but\nthere's no sign of Sander or the creature.\n\n23\n00:01:54,530 --> 00:01:56,830\nThey cautiously step further into the room.\n\n24\n00:02:02,120 --> 00:02:03,960\nThe crawling severed arm appears.\n\n25\n00:02:04,040 --> 00:02:05,500\nCarter whacks it with the fire axe,\n\n26\n00:02:05,500 --> 00:02:06,460\nchopping it in two.\n\n27\n00:02:06,590 --> 00:02:09,170\nBoth pieces scuttle off\nbefore Kate can torch them.\n\n28\n00:02:14,220 --> 00:02:15,640\nThe pieces fuse together.\n\n29\n00:02:20,270 --> 00:02:22,560\nKate incinerates the rejoined limb creature.\n\n30\n00:02:22,600 --> 00:02:23,850\nIt plops onto the floor.\n\n31\n00:02:24,480 --> 00:02:26,310\nCarter reaches for the axe.\n\n", "subtitles": "1\n00:00:05,050 --> 00:00:06,050\nCarter.\n\n2\n00:00:11,600 --> 00:00:12,640\nYou're okay?\n\n3\n00:00:13,930 --> 00:00:14,930\nYeah.\n\n4\n00:00:18,650 --> 00:00:19,770\nAnd you?\n\n5\n00:00:20,770 --> 00:00:22,400\nNot yet, no.\n\n6\n00:00:22,980 --> 00:00:25,940\nWe find it and then we kill it.\n\n7\n00:01:36,680 --> 00:01:38,310\nI think that was Sander.\n\n8\n00:01:39,680 --> 00:01:40,690\nYeah.\n\n9\n00:02:01,210 --> 00:02:03,750\n- Shit!\n- Watch out! God!\n\n10\n00:02:05,880 --> 00:02:07,880\nKate, do you see it?\n\n11\n00:02:08,300 --> 00:02:09,300\nWhere'd it go?\n\n12\n00:02:10,970 --> 00:02:12,010\nThere!\n\n13\n00:02:13,590 --> 00:02:14,590\nGet back!\n\n14\n00:02:24,980 --> 00:02:26,480\nDon't.\nDon't touch it.\n\n", "sdh": "1\n00:00:05,360 --> 00:00:06,650\nCarter?\n\n2\n00:00:09,280 --> 00:00:10,400\nHey.\n\n3\n00:00:11,900 --> 00:00:13,490\nAre you okay?\n\n4\n00:00:14,320 --> 00:00:15,490\nYeah.\n\n5\n00:00:18,910 --> 00:00:20,080\nAre you?\n\n6\n00:00:21,080 --> 00:00:22,500\nNot yet I'm not.\n\n7\n00:00:23,500 --> 00:00:26,710\nWe find it\nand we kill it.\n\n8\n00:00:50,320 --> 00:00:51,650\n(CREAKING)\n\n9\n00:01:05,420 --> 00:01:06,580\n(GROWLS)\n\n10\n00:01:07,130 --> 00:01:08,500\n(CLANKING)\n\n11\n00:01:18,720 --> 00:01:19,760\n(ELECTRICITY CRACKLING)\n\n12\n00:01:24,810 --> 00:01:26,650\n(INDISTINCT SHOUTING)\n\n13\n00:01:27,610 --> 00:01:29,270\n(CREATURE ROARING)\n\n14\n00:01:32,900 --> 00:01:34,740\n(SANDER YELLING)\n\n15\n00:01:37,160 --> 00:01:39,160\nI think that was Sander.\n\n16\n00:01:39,950 --> 00:01:41,080\nYeah.\n\n17\n00:01:58,180 --> 00:01:59,890\n(SCREECHING)\n(GASPS)\n\n18\n00:02:01,390 --> 00:02:02,930\nGross.\nOh, no!\n\n19\n00:02:03,020 --> 00:02:04,020\nGet it!\n\n20\n00:02:07,230 --> 00:02:08,270\nYou see it?\n\n21\n00:02:08,350 --> 00:02:09,440\nWhere'd it go?\n\n22\n00:02:11,360 --> 00:02:12,440\nThere!\n\n23\n00:02:13,610 --> 00:02:14,690\nGet back!\n\n24\n00:02:16,610 --> 00:02:17,990\n(SQUEALING)\n\n25\n00:02:25,040 --> 00:02:26,960\nDon't. Don't touch it.\n\n", "screenplay": "{\"screenplay_scene_116\": \"<scene>\\n    <stage_direction>INT. THULE STATION HALLWAY - MOMENTS LATER</stage_direction>\\n    <scene_description>Kate and Carter move cautiously down the hall. Carter carries his flamethrower over his shoulder. The lights wink off and they are plunged into darkness. Behind them, the crackling fire in the rear entrance offers wan light into the hallway. They pause.</scene_description>\\n  </scene>\", \"screenplay_scene_117\": \"<scene>\\n    <stage_direction>INT. THULE STATION RADIO ROOM - CONTINUOUS</stage_direction>\\n    <scene_description>Sander enters the radio room, shuts the door, and looks around for anything to use as a weapon. He zeroes in on the large radio DESK with a toolbox full of hard metal tools. Potential weapons. He moves for it when the lights go out. Sander trips on something in the dark. Tools spill to the floor loudly and Sander curses. Emergency lights kick in, but half of them don't work. Amber bulbs cast the room in a sickly glow, revealing... The door has opened again, behind Sander. EDVARD-THING enters behind him. It makes a gurgling noise-- Sander wheels around in fear, holding a wrench-- Edvard-Thing GRABS Sander and YANKS him in, like a giant spider giving him a hug-- Sander loses his breath in the attack, his body pressed against Edvard-Thing's exposed flesh-- Sander opens his mouth to scream and we see that his skin is STUCK TO EDVARD-THING, the absorption already happening as more of Edvard-Thing engulfs Sander-- Before his face melds completely with the monster he finally finds his voice and--</scene_description>\\n  </scene>\", \"screenplay_scene_118\": \"<scene>\\n    <stage_direction>INT. THULE STATION HALLWAY - CONTINUOUS</stage_direction>\\n    <scene_description>From somewhere in the belly of the facility, the sound of Sander SCREAMING. Kate and Carter react, amid more emergency bulbs in the hall.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Sander!</dialogue>\\n  </scene>\", \"screenplay_scene_119\": \"<scene>\\n    <stage_direction>INT. THULE STATION MED LAB - CONTINUOUS</stage_direction>\\n    <scene_description>The SCREAM sounds slightly more muted here. Colin leans against the scorched door to the lab. He's still bound at the wrists. Sweaty. Panicked. Trying to get his own breathing under control. Thinking quickly, he pushes some equipment in front of the door to barricade it. (Reference: JC movie) On the counter nearby: A STRAIGHT RAZOR. Glinting in the dim light. Colin grabs it and sits in a chair that still has its upholstery intact. He starts to work on the ropes around his wrists, cutting into them at awkward angles.</scene_description>\\n  </scene>\", \"screenplay_scene_120\": \"<scene>\\n    <stage_direction>INT. THULE STATION HALLWAY - CONTINUOUS</stage_direction>\\n    <scene_description>Kate and Carter prowl the hall. Carter gets to a closet door. Tries it. Locked. Shoulders into it. It won't budge. He spies the broken firehose rack on the wall, the fire axe still in place.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Hand me that axe.</dialogue>\\n    <scene_description>Kate does so.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>What's in there?</dialogue>\\n    <scene_description>Carter severs the doorknob in one clean stroke, and yanks out the deadbolt. Opening the door to reveal a JANITORIAL CLOSET of cleaning supplies. Carter finds two FLASHLIGHTS and hands one to Kate.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Damnit. No kerosene.</dialogue>\\n    <scene_description>He steps out and moves down the hall to the next door. This is the LAB. He reaches for the knob... Something in the darkness skitters. He stops. Carter and Kate for signs of movement.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>It broke off into several creatures.</dialogue>\\n    <character>CARTER</character>\\n    <dialogue>I saw that.</dialogue>\\n    <scene_description>Kate turns to face Carter--</scene_description>\\n    <character>KATE</character>\\n    <dialogue>If any of those-- Carter!</dialogue>\\n    <scene_description>Her attention drawn behind him as she sees-- An ARM CENTIPEDE crawling down the door from the ceiling-- CARTER whirls around as the Centipede braces itself against the frame to lash out-- THE PALM of its hand is now an alien MOUTH, the thing itself only vaguely resembling Edvard's arm now-- Carter raises the axe and CHOPS at the creature-- SPLITTING IT in half, both halves dropping to the floor--</scene_description>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "4449.73", "video_duration": "150.03"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "chdXenRviNB_", "audio_description_us": "1\n00:00:00,790 --> 00:00:02,590\n...to the rolled-up maps on the counter.\n\n2\n00:00:02,710 --> 00:00:05,340\nWe glimpse him through the window across the room.\n\n3\n00:00:08,300 --> 00:00:10,590\nThe two-headed alien crashes through the glass,\n\n4\n00:00:10,590 --> 00:00:11,890\nknocking him to the floor.\n\n5\n00:00:12,180 --> 00:00:14,470\nAs it crawls near, he scrambles to his feet,\n\n6\n00:00:14,720 --> 00:00:15,890\nruns out through the map room\n\n7\n00:00:15,890 --> 00:00:17,350\nand hurries down the hall.\n\n8\n00:00:18,140 --> 00:00:20,150\nHe barges through the doors into the kitchen\n\n9\n00:00:20,150 --> 00:00:22,150\nand quickly stops them from swinging.\n\n10\n00:00:24,070 --> 00:00:25,440\nHe peers through the windows,\n\n11\n00:00:25,440 --> 00:00:29,070\nthen steps back, keeping his\ngaze fixed on the entryway.\n\n12\n00:00:31,070 --> 00:00:34,370\nThe light of a fire in the\nhall glows orange on his face.\n\n13\n00:00:35,830 --> 00:00:37,120\nHe scans the kitchen.\n\n14\n00:00:43,750 --> 00:00:45,750\nHe returns his gaze to the double doors\n\n15\n00:00:45,750 --> 00:00:48,380\nas he retreats past a pot hanging from a rack.\n\n16\n00:00:52,260 --> 00:00:56,600\nWith another nervous glance around, he\ngrabs a knife from a rack on a counter.\n\n17\n00:00:56,890 --> 00:01:01,520\nHe backs around a corner, his attention\nfixed on the double doors across the room.\n\n18\n00:01:05,110 --> 00:01:07,610\nThe alien pokes its two heads into the kitchen.\n\n19\n00:01:07,940 --> 00:01:11,240\nCarter retreats into a pantry,\nholding his knife poised.\n\n20\n00:01:12,240 --> 00:01:15,620\nThe rest of the alien's long\nbody creeps inside the kitchen,\n\n21\n00:01:15,700 --> 00:01:18,080\nand the double doors swing shut behind it.\n\n22\n00:01:19,910 --> 00:01:22,250\nCarter remains in hiding around the corner.\n\n23\n00:01:24,250 --> 00:01:26,880\nThe kitchen knife trembles in his gloved hand.\n\n24\n00:01:31,840 --> 00:01:34,340\nCarter backs up alongside a shelving unit.\n\n25\n00:01:34,550 --> 00:01:38,600\nThe creature's upside-down conjoined\nheads peek around an island counter,\n\n26\n00:01:38,810 --> 00:01:42,480\nbearing the distorted but familiar\nfaces of both Edvard and Adam.\n\n27\n00:01:42,850 --> 00:01:45,520\nCarter backs all the way into a darkened corner.\n\n28\n00:01:49,610 --> 00:01:51,360\nBeyond his trembling blade,\n\n29\n00:01:51,530 --> 00:01:55,160\nwe see the creature step into view\nat the other end of the dark kitchen.\n\n30\n00:01:58,870 --> 00:02:01,250\nCarter shivers as the alien turns around,\n\n31\n00:02:01,460 --> 00:02:04,920\ngiving him a good look at its\ndeformed upside-down heads.\n\n32\n00:02:05,210 --> 00:02:10,510\nA gnarled human arm dangles from one of its\nlimbs, connected by a string of exposed muscle.\n\n33\n00:02:11,050 --> 00:02:13,010\nThe American holds perfectly still,\n\n34\n00:02:13,130 --> 00:02:15,220\nbut the grimacing twin heads spot him.\n\n35\n00:02:15,510 --> 00:02:18,810\nThe alien crawls toward him\non its outwardly bent legs.\n\n36\n00:02:19,680 --> 00:02:22,680\nKate torches the creature from\nbehind the island counter.\n\n37\n00:02:23,020 --> 00:02:26,360\nAs it charges ahead, Carter leaps\nout of the way onto a shelf.\n\n38\n00:02:26,810 --> 00:02:30,230\nEngulfed in flames, the alien\ncrashes through the back wall\n\n39\n00:02:30,230 --> 00:02:32,570\nand lands writhing in the snow outside.\n\n40\n00:02:32,950 --> 00:02:34,400\nKate and Carter head after it.\n\n41\n00:02:34,820 --> 00:02:37,660\nAs the burning creature struggles to\nrise from the ground,\n\n42\n00:02:37,740 --> 00:02:38,870\nshe steps outside\n\n43\n00:02:38,870 --> 00:02:40,200\nand torches it again.\n\n44\n00:02:40,580 --> 00:02:44,790\nThe weakened alien collapses, its\nscreaming twin heads overcome with fire.\n\n45\n00:02:48,170 --> 00:02:49,170\nKate grits her teeth\n\n", "audio_description_uk": "1\n00:00:03,550 --> 00:00:07,090\nCarter walks on, passing the\nwindow into the adjacent room.\n\n2\n00:00:07,550 --> 00:00:11,760\nAs he does so, the alien, which now\nhas both Edvard and Adam's heads,\n\n3\n00:00:11,760 --> 00:00:12,850\nbursts through the window.\n\n4\n00:00:13,060 --> 00:00:14,060\nCarter falls back.\n\n5\n00:00:14,140 --> 00:00:16,060\nBut as the creature comes\nfor him, he gets to his feet\n\n6\n00:00:16,060 --> 00:00:17,520\nand flees out into the corridor.\n\n7\n00:00:18,270 --> 00:00:19,140\nHe rounds a corner\n\n8\n00:00:19,140 --> 00:00:21,440\nand dashes through double doors into the kitchen.\n\n9\n00:00:22,690 --> 00:00:24,320\nThe doors swing closed behind him\n\n10\n00:00:24,320 --> 00:00:27,190\nand he steadies them so they\ndon't give his position away.\n\n11\n00:00:28,280 --> 00:00:29,990\nHe steps back from the doors,\n\n12\n00:00:30,490 --> 00:00:32,660\nand stands staring at them.\n\n13\n00:00:41,290 --> 00:00:44,460\nSatisfied the creature isn't\ncoming, he looks around the room.\n\n14\n00:00:48,090 --> 00:00:50,720\nHearing the noise, he turns\nhis attention back to the doors\n\n15\n00:00:50,720 --> 00:00:51,640\nand keeps backing up.\n\n16\n00:00:52,510 --> 00:00:53,680\nHe looks around for a weapon\n\n17\n00:00:53,680 --> 00:00:55,640\nand grabs a large kitchen knife.\n\n18\n00:01:00,850 --> 00:01:03,860\nStill watching the doors, he\nbacks over to shelves of food\n\n19\n00:01:03,860 --> 00:01:04,940\nand hides behind them.\n\n20\n00:01:05,940 --> 00:01:08,490\nHe watches as the alien\npushes the kitchen door open\n\n21\n00:01:08,490 --> 00:01:09,610\nand steps inside.\n\n22\n00:01:10,900 --> 00:01:13,910\nBrandishing the knife, Carter\nis hidden by the shelves\n\n23\n00:01:13,910 --> 00:01:18,120\nas the alien stalks around an island\nworkstation on its misshapen legs.\n\n24\n00:01:34,510 --> 00:01:37,720\nCarter backs into the darkest corner he can find.\n\n25\n00:01:40,680 --> 00:01:45,020\nThe misshapen conjoined heads\nof the beast snarl as it prowls.\n\n26\n00:01:55,160 --> 00:01:57,490\nThe alien emerges from behind the workstation\n\n27\n00:01:57,780 --> 00:01:58,790\nand looks around.\n\n28\n00:02:07,170 --> 00:02:09,250\nIt spots Carter cowering in the corner\n\n29\n00:02:09,250 --> 00:02:11,670\nand roars at him with its two fused mouths,\n\n30\n00:02:11,840 --> 00:02:12,840\nthen comes for him.\n\n31\n00:02:21,270 --> 00:02:22,230\nSuddenly, Kate appears\n\n32\n00:02:22,230 --> 00:02:24,940\nand douses the hideous creature\nwith flames from the flamethrower.\n\n33\n00:02:25,310 --> 00:02:28,570\nAblaze, the creature flees,\nsmashing its way out through a wall.\n\n34\n00:02:28,940 --> 00:02:30,730\nIt writhes in the snow outside,\n\n35\n00:02:30,780 --> 00:02:32,440\nfloundering about as it burns.\n\n36\n00:02:33,280 --> 00:02:35,160\nKate and Carter pursue it.\n\n37\n00:02:41,830 --> 00:02:44,080\nKate gives it another blast from the flamethrower,\n\n38\n00:02:44,080 --> 00:02:45,250\nand the beast collapses,\n\n39\n00:02:45,670 --> 00:02:48,170\nits twin conjoined heads screaming in agony.\n\n", "subtitles": "", "sdh": "1\n00:00:08,150 --> 00:00:09,570\n(SCREECHING)\n\n2\n00:00:28,260 --> 00:00:29,970\n(BREATHING HEAVILY)\n\n3\n00:00:43,400 --> 00:00:45,270\n(GROWLING IN DISTANCE)\n\n4\n00:00:51,160 --> 00:00:52,450\n(GROWLING GETS LOUDER)\n\n5\n00:01:29,360 --> 00:01:31,320\n(ROARS)\n\n6\n00:02:06,060 --> 00:02:07,400\n(GROWLING)\n\n7\n00:02:19,870 --> 00:02:21,240\n(SCREECHING)\n\n8\n00:02:45,390 --> 00:02:46,770\n(SCREAMING)\n\n", "screenplay": "{\"screenplay_scene_122\": \"<scene>\\n    <stage_direction>INT. HALLWAY - CONTINUOUS</stage_direction>\\n    <scene_description>Carter pins one of the Centipede-segments while Kate burns the other one. The half under Carter's axe begins altering its shape to allow it to climb up the axe toward Carter's arm--</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Kate! Hurry hurry--</dialogue>\\n    <character>KATE</character>\\n    <dialogue>Back off!</dialogue>\\n    <scene_description>Carter drops the axe and stands back as Kate lets out a spray of fire from her flame unit. WHOOSH. Now small sections of the hallway are burning. Kate picks up the pace and gets to the corner. Carter follows.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Jesus that was close...</dialogue>\\n    <scene_description>From the radio room door behind Kate, EDVARD-THING busts through in an ambush of splintered wood and spider-like limbs. The door bashes Kate hard and sends her to the floor out of sight, around the corner. Edvard-Thing sees Carter. Its head is now a twisted merging of Edvard and Adam, sharing one mouth. It HOWLS and starts toward him. Carter looks for an escape and dashes into the kitchen. Edvard-Thing advances down the hall in pursuit. Arriving at the open doorway to the kitchen/dining area. The place is still damaged from where Juliette was burned. Edvard-Thing takes a step inside.</scene_description>\\n  </scene>\", \"screenplay_scene_123\": \"<scene>\\n    <stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction>\\n    <scene_description>Another open door at the far end leads to a food stock room. Edvard-Thing regards it cautiously. But does not move. ANGLE ON the kitchen counter nearby. Carter hides here, his flamethrower back in his grip. Checks the fuel level. Nearly empty.</scene_description>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "4670.11", "video_duration": "169.81"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "q2qwjkeGrrwE", "audio_description_us": "1\n00:00:01,750 --> 00:00:03,960\nAn oversized arm knocks Kate down,\n\n2\n00:00:04,090 --> 00:00:05,800\nand the grenade flies from her grip.\n\n3\n00:00:06,130 --> 00:00:07,840\nKate watches it roll out of view,\n\n4\n00:00:07,840 --> 00:00:09,180\nthen faces The Thing\n\n5\n00:00:09,180 --> 00:00:10,590\nas it stalks toward her.\n\n6\n00:00:11,800 --> 00:00:14,640\nWalking bipedally with its mutated human body,\n\n7\n00:00:14,850 --> 00:00:19,850\nits red, skinless back sports three enormous\narms that end in talon-like fingers.\n\n8\n00:00:20,190 --> 00:00:24,900\nAs Kate scrambles back, a mass churns\nbeneath the surface of Sander's face.\n\n9\n00:00:25,230 --> 00:00:26,280\nThe skin ripples,\n\n10\n00:00:26,400 --> 00:00:27,400\nthen bursts open,\n\n11\n00:00:27,400 --> 00:00:32,660\nrevealing a fang-vertical slit of a\nmouth fringed on all sides by writhing tentacles.\n\n12\n00:00:32,910 --> 00:00:34,200\nFleeing, Kate trips.\n\n13\n00:00:34,410 --> 00:00:37,290\nAs The Thing lunges after her,\nshe crawls into a low tunnel.\n\n14\n00:00:37,750 --> 00:00:39,410\nThe Thing crashes through the entrance,\n\n15\n00:00:39,410 --> 00:00:41,380\nbut gets lodged in the narrow opening.\n\n16\n00:00:41,630 --> 00:00:44,670\nFollowing the crawlspace, Kate\narrives at a grated dead end.\n\n17\n00:00:45,920 --> 00:00:47,670\nShe puts her back to the wall.\n\n18\n00:00:47,760 --> 00:00:50,340\nThe Thing's tentacles burst through a nearby gap.\n\n19\n00:00:50,550 --> 00:00:52,590\nThe writhing mass crawls toward her.\n\n20\n00:00:52,890 --> 00:00:55,680\nCornered, Kate fearfully\npresses her back to the wall\n\n21\n00:00:55,760 --> 00:00:59,310\nas the red glistening appendages\nslap their way closer to her.\n\n22\n00:00:59,690 --> 00:01:02,520\nAs their clawed tips arrive within\ninches of her face,\n\n23\n00:01:02,600 --> 00:01:03,610\nshe looks past them\n\n24\n00:01:03,610 --> 00:01:06,110\nand finds her grenade lying several feet away.\n\n25\n00:01:06,570 --> 00:01:09,650\nIt jiggles on the floor as the\ntentacles beat at the wall.\n\n26\n00:01:10,070 --> 00:01:12,240\nKate shuts her eyes and braces herself.\n\n27\n00:01:12,410 --> 00:01:14,660\nBut the stretching tentacles abruptly withdraw\n\n28\n00:01:14,660 --> 00:01:16,160\nand vanish through the gap.\n\n29\n00:01:16,490 --> 00:01:20,080\nA wind blows Kate's dark brown\nhair around her fair-skinned face\n\n30\n00:01:20,080 --> 00:01:22,040\nas she shakily catches her breath.\n\n31\n00:01:23,130 --> 00:01:26,300\nShe peers cautiously down the\ntunnel with a furrowed brow.\n\n32\n00:01:26,550 --> 00:01:28,960\nTurning her head, she ventures\na look through the grate.\n\n33\n00:01:29,130 --> 00:01:31,680\nIt shows no sign of life on the other side.\n\n34\n00:01:32,090 --> 00:01:35,470\nKate's gaze roves back to the\ngrenade lying ten feet away.\n\n35\n00:01:35,680 --> 00:01:38,470\nAn occasional puff of vapour\nwafts around the weapon.\n\n36\n00:01:39,520 --> 00:01:43,810\nSteeling herself, Kate creeps along the\nedge of the wall, approaching the grenade.\n\n37\n00:01:45,440 --> 00:01:46,570\nShe swallows hard\n\n38\n00:01:46,570 --> 00:01:49,320\nand hesitates, her eyes wide in the dim light.\n\n39\n00:01:50,360 --> 00:01:51,740\nShe peers toward the gap\n\n40\n00:01:51,740 --> 00:01:53,490\nand her brow furrows fearfully.\n\n41\n00:01:53,780 --> 00:01:57,370\nAs her gaze falls on the grenade\nagain, she draws herself up\n\n42\n00:01:57,370 --> 00:02:02,370\nand forces herself along, her back to\nthe smooth wall's organic contours.\n\n43\n00:02:03,210 --> 00:02:06,710\nHer face glistens with sweat as\nshe inches closer and closer.\n\n44\n00:02:10,130 --> 00:02:12,220\nAn alien arm punches through the wall.\n\n45\n00:02:12,510 --> 00:02:14,380\nKate belly crawls for the grenade.\n\n46\n00:02:14,550 --> 00:02:16,640\nAn alien hand grabs her ankle.\n\n47\n00:02:19,350 --> 00:02:20,810\nIt drags her backward.\n\n48\n00:02:20,970 --> 00:02:24,730\nKate finds no handhold on the floor as\nThe Thing yanks her from the tunnel.\n\n49\n00:02:25,020 --> 00:02:27,360\nReleasing her, it rises to its full height\n\n50\n00:02:27,360 --> 00:02:28,820\nand looms over her.\n\n51\n00:02:29,150 --> 00:02:33,360\nLying face down with her back to the\ncreature, Kate pulls the pin on the grenade,\n\n52\n00:02:33,400 --> 00:02:34,150\nrolls over\n\n53\n00:02:34,150 --> 00:02:37,200\nand throws the explosive\ninto The Thing's gaping maw.\n\n54\n00:02:37,570 --> 00:02:39,830\nCarter arrives, his flamethrower ready.\n\n55\n00:02:41,660 --> 00:02:42,660\nShe sprints to him\n\n56\n00:02:42,660 --> 00:02:43,750\nand he leads her up.\n\n57\n00:02:44,120 --> 00:02:47,840\nLeft behind, the thrashing\nthing explodes in a fiery blast.\n\n58\n00:02:48,040 --> 00:02:51,420\nThe humans stumble as a second\nexplosion erupts behind them.\n\n", "audio_description_uk": "1\n00:00:05,880 --> 00:00:07,220\nIt bats her to the floor,\n\n2\n00:00:07,380 --> 00:00:10,260\nand her grenade rolls off\ninto a low, narrow tunnel.\n\n3\n00:00:10,760 --> 00:00:12,470\nShe looks up at the monstrous alien,\n\n4\n00:00:13,220 --> 00:00:17,810\nSander's inscrutable face leering down from\nthe lumbering composite of twisted flesh.\n\n5\n00:00:18,020 --> 00:00:18,980\nIt lopes towards her.\n\n6\n00:00:21,270 --> 00:00:21,900\nShe retreats,\n\n7\n00:00:21,900 --> 00:00:23,520\nand Sander's face is torn to shreds\n\n8\n00:00:23,520 --> 00:00:26,440\nas the fangs of the alien's\nghastly mouth rupture the surface.\n\n9\n00:00:26,900 --> 00:00:30,780\nTalon-tipped tentacles reach out from around\nrazor-sharp teeth in its central orifice.\n\n10\n00:00:31,160 --> 00:00:32,070\nKate starts to run,\n\n11\n00:00:32,070 --> 00:00:32,990\nbut immediately trips.\n\n12\n00:00:33,240 --> 00:00:35,580\nThe alien gathers pace,\nchasing her into the tunnel.\n\n13\n00:00:35,910 --> 00:00:36,750\nShe scurries on\n\n14\n00:00:36,750 --> 00:00:38,830\nas the alien gets jammed in the narrow passage,\n\n15\n00:00:39,080 --> 00:00:41,630\nthe glistening sphincter of its\nmouth trembling as it bellows.\n\n16\n00:00:42,210 --> 00:00:43,290\nKate turns a corner\n\n17\n00:00:43,670 --> 00:00:45,130\nand reaches a dead end.\n\n18\n00:00:51,090 --> 00:00:52,590\nTentacles reach round the corner\n\n19\n00:00:52,590 --> 00:00:54,220\nand thrash at thin air.\n\n20\n00:00:58,730 --> 00:01:01,310\nKate remains still, just out of the alien's reach.\n\n21\n00:01:01,480 --> 00:01:05,070\nShe spots her grenade lying on the floor\nbeneath the alien's writhing tendrils.\n\n22\n00:01:12,950 --> 00:01:15,280\nThe alien withdraws its tentacles.\n\n23\n00:01:20,290 --> 00:01:22,540\nGasping for breath, Kate trembles.\n\n24\n00:01:26,800 --> 00:01:30,170\nThe path to her right is blocked\nby a grille with elliptical holes.\n\n25\n00:01:35,350 --> 00:01:38,560\nShe looks left towards the tunnel\nand the dropped grenade canister.\n\n26\n00:01:44,060 --> 00:01:46,820\nShe begins to edge along the\nwall towards the grenade.\n\n27\n00:01:51,490 --> 00:01:53,240\nVapour clouds waft by her\n\n28\n00:01:53,360 --> 00:01:57,160\nas she inches crabwise along the\nshiny irregular surface of the wall.\n\n29\n00:02:08,210 --> 00:02:09,510\nShe nears the corner.\n\n30\n00:02:12,930 --> 00:02:14,760\nA tentacle smashes through the wall.\n\n31\n00:02:15,050 --> 00:02:16,760\nPanicked, she crawls towards the grenade\n\n32\n00:02:16,850 --> 00:02:17,760\nand reaches out for it,\n\n33\n00:02:17,760 --> 00:02:20,140\nbut the creature's deathly\nhand clutches her ankle.\n\n34\n00:02:20,810 --> 00:02:23,480\nKate is dragged through the\ntunnel and out into the chamber.\n\n35\n00:02:24,190 --> 00:02:27,440\nThe creature rears up, flailing\nits gnarled, cadaverous limbs.\n\n36\n00:02:27,730 --> 00:02:28,900\nKate has the grenade.\n\n37\n00:02:29,360 --> 00:02:30,780\nShe pulls the pin out.\n\n38\n00:02:33,740 --> 00:02:37,870\nAs the creature advances, Kate hurls\nthe grenade into its wide, gaping mouth.\n\n39\n00:02:37,950 --> 00:02:40,830\nThe creature recoils,\ntentacles swiping at the air.\n\n40\n00:02:41,250 --> 00:02:42,330\nCarter runs in.\n\n41\n00:02:44,460 --> 00:02:45,000\nThey flee\n\n42\n00:02:45,000 --> 00:02:46,420\nas the creature explodes.\n\n43\n00:02:50,380 --> 00:02:51,420\nThey sprint to safety\n\n", "subtitles": "1\n00:02:40,320 --> 00:02:41,400\nKate!\n\n", "sdh": "1\n00:00:02,840 --> 00:00:04,010\n(GRUNTS)\n\n2\n00:00:19,280 --> 00:00:20,650\n(SCREAMING)\n\n3\n00:00:43,840 --> 00:00:46,050\n(YELLING)\n\n4\n00:01:11,910 --> 00:01:13,160\n(PANTING)\n\n5\n00:02:10,850 --> 00:02:12,260\n(SCREECHING)\n\n6\n00:02:15,600 --> 00:02:16,810\n(GRUNTING)\n\n7\n00:02:40,830 --> 00:02:42,170\nKate!\n\n", "screenplay": "{\"screenplay_scene_138\": \"<scene>\\n    <stage_direction>INT. ALIEN SHIP CONTROL ROOM - CONTINUOUS</stage_direction>\\n    <scene_description>Bulbous metal consoles furnish this small room. THE THING has transformed now into something at least partially ALIEN. Attempting to make a console respond. It continues to deny access. Kate enters and sucks in a breath of surprise. The Thing notices and takes a step toward her. Kate holds up the dynamite.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Get. Back.</dialogue>\\n    <scene_description>It watches her. One head tilting. Kate spies something on the floor, against one wall: Jameson's flamethrower. She starts to step toward it. It steps in her way. She holds up the dynamite threateningly again. At the door, CARTER appears, his flamethrower ready. Kate looks to him, unsure if he's friend or foe.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Kate! Get out of there!</dialogue>\\n    <character>KATE</character>\\n    <dialogue>Burn it!</dialogue>\\n    <scene_description>The creature moves to place itself between Kate and Carter. Trapping Kate in the room. Kate sees her escape route closing off... And lights the stack of dynamite.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>No, no--</dialogue>\\n    <character>KATE</character>\\n    <dialogue>Run!</dialogue>\\n    <scene_description>The Thing SCREECHES at Kate. Carter TORCHES it. The creature flails and spasms, retreating... Kate has a chance to get past--</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Hurry!</dialogue>\\n    <scene_description>She runs for Carter at the door. Reaching him.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Stop the fuse!</dialogue>\\n    <scene_description>But Kate instead THROWS the bundle at the monster in the room, and grabs Carter by the arm.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Wait that's too much--</dialogue>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "5254.75", "video_duration": "172.43"}
{"rottentomatoes_id": "the_thing_2011", "imdb_id": "tt0905372", "video_id": "rsBwiMHAkv_T", "audio_description_us": "1\n00:00:00,290 --> 00:00:02,250\n...he briefly squeezes her shoulder.\n\n2\n00:00:09,930 --> 00:00:11,680\nKate allows a faint, weary smile\n\n3\n00:00:11,680 --> 00:00:12,930\nand picks up her pace.\n\n4\n00:00:13,060 --> 00:00:17,100\nAs they arrive at the snowcats, Carter\ntakes the flamethrower tanks off his back.\n\n5\n00:00:17,350 --> 00:00:18,230\nHe opens the door\n\n6\n00:00:18,230 --> 00:00:19,650\nand hefts them up into the seat.\n\n7\n00:00:20,020 --> 00:00:22,020\nKate opens the door on the other side.\n\n8\n00:00:22,400 --> 00:00:23,520\nClimbing in, she halts\n\n9\n00:00:23,520 --> 00:00:26,900\nand stares at the left side of\nCarter's face and his bare ear.\n\n10\n00:00:27,030 --> 00:00:28,650\nHe notices her watching him.\n\n11\n00:00:30,910 --> 00:00:31,870\nHe settles in.\n\n12\n00:00:31,910 --> 00:00:33,490\nKate eyes the flamethrower.\n\n13\n00:00:35,080 --> 00:00:35,910\nShe takes it out\n\n14\n00:00:35,910 --> 00:00:37,200\nand steps out of sight.\n\n15\n00:00:38,330 --> 00:00:40,870\nAt the wheel, Carter activates\nthe windshield wipers\n\n16\n00:00:40,870 --> 00:00:43,500\nand scans the controls with a knitted brow.\n\n17\n00:00:44,420 --> 00:00:45,210\nKate returns\n\n18\n00:00:45,210 --> 00:00:47,130\nand lingers outside her open door.\n\n19\n00:00:47,630 --> 00:00:49,630\nAs Carter meets her gaze, she smirks\n\n20\n00:00:49,630 --> 00:00:50,840\nand tilts her head.\n\n21\n00:01:05,770 --> 00:01:07,780\nKate gives a fond, sad smile.\n\n22\n00:01:08,110 --> 00:01:09,320\nCarter blinks at her.\n\n23\n00:01:09,530 --> 00:01:11,150\nHe narrows his eyes quizzically\n\n24\n00:01:11,150 --> 00:01:13,740\nand raises a gloved hand to his right earlobe.\n\n25\n00:01:13,870 --> 00:01:15,120\nKate's eyes glisten.\n\n26\n00:01:16,660 --> 00:01:18,250\nCarter slowly lowers his hand\n\n27\n00:01:18,250 --> 00:01:19,620\nand eyes her warily.\n\n28\n00:01:19,830 --> 00:01:21,750\nKate raises the flamethrower nozzle\n\n29\n00:01:21,750 --> 00:01:22,750\nand points it at him.\n\n30\n00:01:23,130 --> 00:01:25,210\nA flame dances to life at its tip.\n\n31\n00:01:25,590 --> 00:01:27,840\nCarter holds a hand up imploringly.\n\n32\n00:01:41,890 --> 00:01:44,150\nLooking him in the eye, she holds her position.\n\n33\n00:01:46,320 --> 00:01:48,150\nFire engulfs him in the cab.\n\n34\n00:01:54,410 --> 00:01:57,200\nThe blaze roils out the open driver's side door\n\n35\n00:01:57,200 --> 00:01:59,160\nas The Thing thrashes helplessly.\n\n36\n00:01:59,450 --> 00:02:01,370\nGloved hands emerge from the flames\n\n37\n00:02:01,460 --> 00:02:03,580\nand beat futilely against the windshield.\n\n38\n00:02:03,830 --> 00:02:05,130\nKate ceases fire.\n\n39\n00:02:05,460 --> 00:02:10,840\nThe flames cast a warm glow on her skin as she\nstares with a knitted brow and parted lips.\n\n40\n00:02:11,720 --> 00:02:12,760\nIn slow motion,\n\n", "audio_description_uk": "1\n00:00:00,000 --> 00:00:01,710\n...throws gas canisters on his back.\n\n2\n00:00:01,920 --> 00:00:03,710\nHe frees an arm from one of the straps.\n\n3\n00:00:13,890 --> 00:00:17,730\nAs they approach a snowcat, Carter\nremoves the flamethrower completely.\n\n4\n00:00:17,980 --> 00:00:19,690\nHe heaves the canisters into the vehicle\n\n5\n00:00:19,690 --> 00:00:20,730\nas he climbs aboard.\n\n6\n00:00:21,230 --> 00:00:23,650\nOpening the opposite door,\nKate goes to climb in too,\n\n7\n00:00:23,820 --> 00:00:25,730\nbut hesitates as she notices something.\n\n8\n00:00:26,150 --> 00:00:29,910\nCarter fumbles with the flamethrower, the\nleft side of his face turned towards her.\n\n9\n00:00:31,030 --> 00:00:31,990\nHe glances at her,\n\n10\n00:00:32,620 --> 00:00:33,740\nthen sits down.\n\n11\n00:00:37,700 --> 00:00:39,540\nShe pulls the flamethrower from the cab\n\n12\n00:00:39,540 --> 00:00:40,670\nand steps out of sight.\n\n13\n00:00:41,330 --> 00:00:42,790\nCarter flicks the wipers on,\n\n14\n00:00:42,790 --> 00:00:44,290\nbrushing snow from the windscreen.\n\n15\n00:00:45,170 --> 00:00:49,010\nAs he prepares to drive the vehicle,\nKate steps up beside the passenger door.\n\n16\n00:00:49,380 --> 00:00:50,680\nHe looks at her with a frown,\n\n17\n00:00:51,220 --> 00:00:52,590\nand she cocks her head.\n\n18\n00:01:02,270 --> 00:01:04,440\nA look of sadness passes over her.\n\n19\n00:01:08,110 --> 00:01:10,030\nFurrowing his brow, Carter holds her gaze\n\n20\n00:01:10,030 --> 00:01:12,160\nas he brings a gloved hand to his right ear.\n\n21\n00:01:12,820 --> 00:01:14,240\nKate shakes her head.\n\n22\n00:01:20,790 --> 00:01:21,750\nHe lowers his hand\n\n23\n00:01:21,750 --> 00:01:23,420\nas Kate reveals a flamethrower.\n\n24\n00:01:26,960 --> 00:01:27,800\nShe readies it,\n\n25\n00:01:27,800 --> 00:01:29,970\nand he holds his palms out imploringly.\n\n26\n00:01:43,560 --> 00:01:44,650\nShe glares at him.\n\n27\n00:01:50,740 --> 00:01:53,280\nFlames fill the cab as she incinerates him.\n\n28\n00:02:03,330 --> 00:02:05,880\nShe finally releases the\ntrigger and stands watching\n\n29\n00:02:05,880 --> 00:02:08,460\nas he flounders helplessly in the driver's seat.\n\n", "subtitles": "1\n00:00:03,660 --> 00:00:05,570\nWe're gonna make it back, okay?\n\n2\n00:00:09,120 --> 00:00:10,120\nOkay.\n\n3\n00:00:29,970 --> 00:00:31,100\nLet's go.\n\n4\n00:00:33,730 --> 00:00:34,980\nI'm ganna put this in the back.\n\n5\n00:00:52,830 --> 00:00:54,580\nYou know how I knew\nyou weren't human...\n\n6\n00:00:56,540 --> 00:00:58,080\nwhen you showed up back at base?\n\n7\n00:01:00,550 --> 00:01:01,550\nNo.\n\n8\n00:01:04,800 --> 00:01:06,050\nYour earring.\n\n9\n00:01:15,140 --> 00:01:16,640\nIt was on your other ear.\n\n10\n00:01:28,530 --> 00:01:29,620\nKate?\n\n11\n00:01:30,240 --> 00:01:32,330\nKate, what're you doing?\n\n12\n00:01:33,580 --> 00:01:34,870\nLet's talk about it.\n\n13\n00:01:35,960 --> 00:01:36,960\nTalk to me.\n\n14\n00:01:37,460 --> 00:01:38,460\nKate?\n\n15\n00:01:38,880 --> 00:01:39,880\nKate!\n\n16\n00:01:41,210 --> 00:01:42,210\nKate!\n\n17\n00:01:44,840 --> 00:01:46,840\nNo!\n\n", "sdh": "1\n00:00:04,550 --> 00:00:06,710\nWe're gonna make it back, okay?\n\n2\n00:00:09,380 --> 00:00:10,720\nOkay.\n\n3\n00:00:30,280 --> 00:00:31,860\nLet's go.\n\n4\n00:00:34,080 --> 00:00:35,410\nI'll put this in the back.\n\n5\n00:00:53,220 --> 00:00:56,140\nYou know how I knew you were human\n\n6\n00:00:56,220 --> 00:00:58,020\nwhen you showed up back at base?\n\n7\n00:01:00,770 --> 00:01:02,190\nNo.\n\n8\n00:01:04,940 --> 00:01:06,400\nYour earring.\n\n9\n00:01:15,450 --> 00:01:17,120\nIt was your other ear.\n\n10\n00:01:28,840 --> 00:01:32,470\nKate...\nKate, what are you doing?\n\n11\n00:01:33,800 --> 00:01:35,430\nLet's talk about this.\n\n12\n00:01:36,260 --> 00:01:37,350\nTalk to me.\n\n13\n00:01:37,470 --> 00:01:38,640\nKate.\n\n14\n00:01:39,020 --> 00:01:40,180\nKate!\n\n15\n00:01:41,350 --> 00:01:42,520\nKate!\n\n16\n00:01:45,020 --> 00:01:46,480\nNo!\n\n", "screenplay": "{\"screenplay_scene_143\": \"<scene>\\n    <stage_direction>INT. SPRYTE - CONTINUOUS</stage_direction>\\n    <scene_description>Kate gets in behind the wheel. She tries getting it started as Carter climbs in on the passenger side. The fuel light blinks at her. The needle past the 'E'.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Empty.</dialogue>\\n    <scene_description>Carter holds up his flamethrower and shakes it. The fuel he siphoned earlier sloshes around inside.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Oh thank God.</dialogue>\\n    <scene_description>Carter smiles at her. It's the first time in two days either of them can breathe a sigh of relief.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Hey. We made it.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>We're not out of it yet.</dialogue>\\n    <character>CARTER</character>\\n    <dialogue>Yeah, but now it gets easier.</dialogue>\\n    <scene_description>Kate meets his gaze and smiles back. Nods. And takes the flame unit from Carter.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Yeah. I guess it does.</dialogue>\\n    <scene_description>Then her smile fades. She sees something. And it causes her smile to vanish.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>What... What is it?</dialogue>\\n    <scene_description>CLOSE ON Carter's ear. Nothing seems out of the ordinary. It's a normal, healthy ear. ON KATE, shaking her head.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Nothing. I'll fuel us up.</dialogue>\\n    <scene_description>She starts to climb back out of the Spryte, then reaches back for the flamethrower. Carter watches her carefully.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>Kate... Talk to me.</dialogue>\\n    <scene_description>At the door, she looks back in at Carter.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>Did I tell you how I knew you were human, when you showed up at base?</dialogue>\\n    <character>CARTER</character>\\n    <dialogue>No.</dialogue>\\n    <character>KATE</character>\\n    <dialogue>Your earring. Metal in a piercing.</dialogue>\\n    <scene_description>Carter stops. Puts a hand to his ear.</scene_description>\\n    <character>CARTER</character>\\n    <dialogue>I must've lost it. In the ship.</dialogue>\\n    <scene_description>Beat. She notices which ear he's holding.</scene_description>\\n    <character>KATE</character>\\n    <dialogue>It was your other ear.</dialogue>\\n    <character>CARTER</character>\\n    <dialogue>Kate-- hang on, let me explain--</dialogue>\\n    <scene_description>Carter's FACE starts to ELONGATE-- Kate squeezes the trigger on the flamethrower-- WIDE ANGLE A roar of gas, and the fierce blaze engulfs Carter and the interior of the Spryte at the same time. The burning Carter-Thing SCREECHES in agony, claws at the flames, and struggles to get out; to get to Kate. The sound echoes a dozen times across the open tundra. She kicks the door closed in his burning face. ON KATE, staring down at the burning Spryte and the mangled, destroyed remainder of Carter. Now she is truly alone. And truly hopeless. Kate looks around, at the miles of tundra... The smoking alien craft in its giant grave... And nothing else. Kate begins marching back toward Thule Station. RISING to the sky and the morning sun, and-- FADE OUT.:</scene_description>\\n  </scene>\"}", "movie_duration": "6178.34", "video_start": "5504.80", "video_duration": "135.40"}