rottentomatoes_id string | imdb_id string | video_id string | audio_description_us string | audio_description_uk string | subtitles string | sdh string | screenplay string | movie_duration string | video_start string | video_duration string |
|---|---|---|---|---|---|---|---|---|---|---|
van_helsing | tt0338526 | o_1qLQkTilnU | 1
00:00:17,960 --> 00:00:18,680
You asked
2
00:00:19,040 --> 00:00:21,360
the villagers advance carrying axes.
3
00:00:36,720 --> 00:00:38,600
It's the villager with the Top Hat.
4
00:00:38,800 --> 00:00:39,920
Carl and Van Helsing.
5
00:00:39,960 --> 00:00:44,000
Turn around and face the hostile looking villagers ... | 1
00:00:01,800 --> 00:00:03,960
and walk towards the main village square.
2
00:00:19,230 --> 00:00:19,810
The villagers.
3
00:00:19,810 --> 00:00:21,070
Follow them with axes.
4
00:00:38,210 --> 00:00:39,710
They've reached the main square.
5
00:00:39,920 --> 00:00:42,630
The long haired, gaunt man stands leering a... | 1
00:00:07,680 --> 00:00:10,520
- So, what do you remember?
- Not now, Carl.
2
00:00:10,850 --> 00:00:12,770
There must be something.
3
00:00:13,270 --> 00:00:16,020
I remember fighting the Romans
at Masada.
4
00:00:16,440 --> 00:00:19,030
- That was in 73 A.D.
- You asked.
5
00:00:21,950 --> 00:00:23,530
What are ... | 1
00:00:07,760 --> 00:00:10,590
CARL: So, what do you remember?
VAN HELSING: Not now, Carl.
2
00:00:10,930 --> 00:00:12,840
There must be something.
3
00:00:13,340 --> 00:00:16,100
I remember fighting the Romans
at Masada.
4
00:00:16,510 --> 00:00:19,100
- That was in 73 A.D.
- You asked.
5
00:00:22,020 --> 00:00:2... | {"screenplay_scene_35": "<scene>\n <stage_direction>EXT. VILLAGE SQUARE - DAY</stage_direction>\n <scene_description>Wearing hoods, heads down, Van Helsing and Carl move through the vicious-looking crowd. Carl whispering to Van Helsing.</scene_description>\n <character>CARL</character>\n <dialogue>... so yo... | 7888.03 | 1455.33 | 201.97 |
van_helsing | tt0338526 | hkXCKVOz832c | 1
00:00:00,410 --> 00:00:02,010
Dracula pulls the stake out.
2
00:00:05,610 --> 00:00:06,570
He discards it.
3
00:00:06,570 --> 00:00:06,810
Van.
4
00:00:06,810 --> 00:00:07,890
Helsing backs away.
5
00:00:13,380 --> 00:00:16,940
Van Helsing maintains his distance as Dracula advances.
6
00:00:46,060 --> 00:00:47,7... | 1
00:00:00,390 --> 00:00:02,350
Dracula has pulled out the stake.
2
00:00:13,860 --> 00:00:15,530
Van Helsing doesn't understand.
3
00:00:56,220 --> 00:00:57,470
He walks away from Van.
4
00:00:57,470 --> 00:00:58,050
Helsing.
5
00:01:09,100 --> 00:01:11,230
The hunter starts to slowly follow him.
6
00:01:16,530 -... | 1
00:00:02,890 --> 00:00:05,140
Is this your silver stake?
2
00:00:09,060 --> 00:00:13,060
How long has it been?
300, 400 years?
3
00:00:18,320 --> 00:00:20,150
You don't remember, do you?
4
00:00:21,820 --> 00:00:23,500
Exactly what is it
I should be remembering?
5
00:00:24,120 --> 00:00:26,330
You are the great V... | 1
00:00:02,960 --> 00:00:05,210
Is this your silver stake?
2
00:00:09,130 --> 00:00:13,140
How long has it been?
300, 400 years?
3
00:00:18,390 --> 00:00:20,230
You don't remember, do you?
4
00:00:21,890 --> 00:00:23,570
Exactly what is it
I should be remembering?
5
00:00:24,190 --> 00:00:26,400
You are the great V... | null | 7888.03 | 3726.37 | 144.61 |
van_helsing | tt0338526 | 85frqH7jO_Lc | 1
00:00:00,100 --> 00:00:02,020
In the darkness of the underground cave.
2
00:00:02,060 --> 00:00:03,140
Nothing stirs.
3
00:00:07,060 --> 00:00:08,020
Anna sits up,
4
00:00:08,020 --> 00:00:09,540
pushing debris out of her way.
5
00:00:14,230 --> 00:00:15,670
She climbs over more debris
6
00:00:15,670 --> 00:00:1... | 1
00:00:10,590 --> 00:00:14,090
She pushes off bits of wood and debris that had fallen on top of her
2
00:00:14,300 --> 00:00:15,550
and gets to her feet.
3
00:00:16,760 --> 00:00:18,930
Van Helsing puts his hand over her mouth.
4
00:00:28,690 --> 00:00:29,980
He picks up a Bible.
5
00:00:56,280 --> 00:00:57,660
He... | 1
00:00:22,060 --> 00:00:24,230
There's something down here.
2
00:00:26,560 --> 00:00:28,480
And it's carnivorous.
3
00:00:31,650 --> 00:00:34,820
Whatever it is,
it appears to be human.
4
00:00:39,070 --> 00:00:43,750
I'd say he's a size 17.
Around 360 pounds.
5
00:00:44,580 --> 00:00:46,750
8.5 to 9 feet tall.
6... | 1
00:00:06,320 --> 00:00:07,800
[Anna groaning]
2
00:00:07,820 --> 00:00:08,820
25.000
3
00:00:18,330 --> 00:00:20,000
[Gasps]
4
00:00:21,330 --> 00:00:23,500
There's something down here.
5
00:00:25,840 --> 00:00:27,750
VAN HELSING: And it's carnivorous.
6
00:00:30,920 --> 00:00:34,090
VAN HELSING: Whatever it is,... | {"screenplay_scene_85": "<scene>\n <stage_direction>INT. CAVERN - DAY</stage_direction>\n <scene_description>Anna slowly wakes up on the dark cavern floor, groggy and sore, she rubs her head and groans. A HAND quickly covers her mouth. She looks up. Van Helsing's finger goes to his lips.</scene_description>\n ... | 7888.03 | 4195.36 | 173.64 |
van_helsing | tt0338526 | fek5zgjb_SKm | 1
00:00:01,910 --> 00:00:04,390
The light is low and mist fills the forest,
2
00:00:04,590 --> 00:00:06,390
sitting on the carriage driver's bench.
3
00:00:06,430 --> 00:00:08,430
Van Helsing looks uneasily about.
4
00:00:12,510 --> 00:00:17,070
The airborne entity locates the carriage and horses travelling along th... | 1
00:00:04,360 --> 00:00:06,110
Van Helsing is aware of it too.
2
00:00:06,440 --> 00:00:07,570
The fog is thick,
3
00:00:07,570 --> 00:00:10,530
but he looks out at the trees around the carriage with a frown.
4
00:00:11,490 --> 00:00:13,370
The pursuer has now located them
5
00:00:13,370 --> 00:00:14,490
and swoop... | 1
00:01:48,620 --> 00:01:51,790
We must not let the creature
be destroyed!
2
00:01:58,630 --> 00:02:01,210
Save him! Save the monster!
3
00:02:22,070 --> 00:02:23,230
Stakes!
4
00:02:33,660 --> 00:02:35,370
No!
| 1
00:00:24,230 --> 00:00:25,650
[Eerie screeching]
2
00:00:46,500 --> 00:00:48,000
[Hissing]
3
00:01:01,180 --> 00:01:05,190
[Fast-paced instrumental music continues]
4
00:01:47,890 --> 00:01:51,060
We must not let the creature
be destroyed!
5
00:01:57,900 --> 00:02:00,490
Save him! Save the monster!
6
00:02:13,67... | {"screenplay_scene_89": "<scene>\n <stage_direction>EXT. WOODS - NIGHT</stage_direction>\n <scene_description>The CAMERA is suddenly hurtling through the misty forest at about Mach 1. The BRIDE'S POV quickly closes in on the coach. Van Helsing senses them coming, he looks around, the creepy trees sway in the bree... | 7888.03 | 4506.08 | 155.99 |
van_helsing | tt0338526 | J6LSsoQaFWm6 | 1
00:00:00,340 --> 00:00:03,300
A boat with Igor and the creature on board is launched.
2
00:00:05,900 --> 00:00:07,260
Van Helsing grits his teeth
3
00:00:07,260 --> 00:00:09,380
and starts to swim toward the craft.
4
00:00:09,420 --> 00:00:10,660
Igor to the creature.
5
00:00:14,060 --> 00:00:17,880
The small woo... | 1
00:00:00,920 --> 00:00:03,050
Frankenstein is being carried away on a boat
2
00:00:03,090 --> 00:00:03,800
nearby.
3
00:00:06,220 --> 00:00:09,930
Igor sits behind the poor creature who is tied to the bottom of the mast.
4
00:00:13,890 --> 00:00:15,810
Van Helsing swims towards the boat.
5
00:00:15,850 --> 00:00:... | 1
00:00:11,270 --> 00:00:13,610
Say goodbye to your friends.
2
00:00:33,630 --> 00:00:36,520
I'll find you!
I'll get you back and set you free!
3
00:00:36,550 --> 00:00:38,130
I swear to God!
4
00:00:45,930 --> 00:00:48,060
- I must save him.
- No, you can't.
5
00:00:48,220 --> 00:00:49,310
Why?
6
00:00:49,390 -->... | 1
00:00:10,550 --> 00:00:12,880
Say goodbye to your friends.
2
00:00:15,880 --> 00:00:17,470
[Chuckles sinisterly]
3
00:00:32,900 --> 00:00:35,800
I'll find you!
I'll get you back and set you free!
4
00:00:35,820 --> 00:00:37,400
I swear to God!
5
00:00:38,160 --> 00:00:39,740
[Aleera cackles distantly]
6
00:00:45... | {"screenplay_scene_121": "<scene>\n <stage_direction>INT. CATACOMBS - NIGHT</stage_direction>\n <scene_description>Van Helsing, Anna, and Carl burst to the surface inside a large moldy catacomb filled with skulls and skeletons, the huge EXPLOSION OF LIGHT finishing above them as pieces of melted vampire splash do... | 7888.03 | 5358.37 | 112.18 |
van_helsing | tt0338526 | F5Sp_BRg_4HP | 1
00:00:02,840 --> 00:00:04,920
Van Helsing throws a circular saw blade
2
00:00:04,920 --> 00:00:07,180
and it sticks Igor's jacket to a door.
3
00:00:14,380 --> 00:00:20,700
Van Helsing looks down into a pit where the creature is encased up to its neck in an icy block which hangs from a chain.
4
00:00:25,940 --> 00... | 1
00:00:02,980 --> 00:00:05,980
But Van Helsing throws one of his spinning razor weapons at Igor
2
00:00:05,980 --> 00:00:07,360
and pins him to the wall.
3
00:00:15,530 --> 00:00:18,910
Down below, Frankenstein is being raised up inside a tall tower.
4
00:00:19,030 --> 00:00:20,950
His body is frozen into a block o... | 1
00:00:00,060 --> 00:00:02,730
How did you find...
It's impossible!
2
00:00:07,730 --> 00:00:10,070
- Please don't kill me!
- Why not?
3
00:00:11,230 --> 00:00:12,820
Well, I...
4
00:00:23,580 --> 00:00:25,830
My master has awakened.
5
00:00:46,930 --> 00:00:49,270
- There is a cure.
- What?
6
00:00:49,520 --> 00... | 1
00:00:07,000 --> 00:00:09,340
- Please don't kill me!
- Why not?
2
00:00:10,510 --> 00:00:12,090
Well, I...
3
00:00:12,680 --> 00:00:14,340
[Frankenstein screaming]
4
00:00:18,930 --> 00:00:22,690
[Loud roaring]
5
00:00:22,850 --> 00:00:25,100
My master has awakened.
6
00:00:25,600 --> 00:00:28,110
[Suspenseful ... | {"screenplay_scene_131": "<scene>\n <stage_direction>INT. CASTLE DRACULA - ENTRANCE HALLWAY - NIGHT</stage_direction>\n <scene_description>Van Helsing drops the torch and goes nuts, furiously yanking and pulling on the thick bars with incredible strength, they actually start to twist, but they're never going to g... | 7888.03 | 5836.51 | 188.66 |
van_helsing | tt0338526 | 1kP2ffQURJRp | 1
00:00:00,900 --> 00:00:02,340
In the burning laboratory.
2
00:00:02,380 --> 00:00:05,300
A goggle eyed Dorgi convulses as it perishes.
3
00:00:05,460 --> 00:00:10,700
As Van Helsing staggers away from a raging fire, two flaming Dorgis scuttle past
4
00:00:10,980 --> 00:00:13,620
Dracula, still a winged beast swoop... | 1
00:00:00,240 --> 00:00:01,910
The laboratory is now ablaze.
2
00:00:01,910 --> 00:00:03,790
Some of the Duergar are on fire.
3
00:00:03,960 --> 00:00:06,630
Van Helsing staggers amongst the burning equipment.
4
00:00:08,630 --> 00:00:10,800
Dracula flies down behind him.
5
00:00:32,400 --> 00:00:34,820
He looks r... | 1
00:00:17,700 --> 00:00:19,710
You are too late, my friend.
2
00:00:21,120 --> 00:00:23,040
My children live.
3
00:00:23,710 --> 00:00:27,050
Then the only way to kill them
is to kill you.
4
00:00:27,380 --> 00:00:28,630
Correct.
5
00:00:31,300 --> 00:00:32,630
So be it.
6
00:00:36,890 --> 00:00:37,970
One.
7
00... | 1
00:00:03,320 --> 00:00:05,230
[Screaming in agony]
2
00:00:16,580 --> 00:00:18,580
You are too late, my friend.
3
00:00:20,000 --> 00:00:21,920
My children live.
4
00:00:22,580 --> 00:00:25,920
Then the only way to kill them
is to kill you.
5
00:00:26,250 --> 00:00:27,500
Correct.
6
00:00:30,170 --> 00:00:31,510... | null | 7888.03 | 6620.42 | 96.48 |
van_helsing | tt0338526 | 7m7JDuhLI90X | 1
00:00:11,680 --> 00:00:11,960
Van.
2
00:00:11,960 --> 00:00:14,240
Helsing, wearing only rags, looks at his ring,
3
00:00:14,240 --> 00:00:15,200
then backs away.
4
00:00:28,520 --> 00:00:30,280
Are the clouds part?
5
00:00:30,320 --> 00:00:31,760
Revealing the full moon.
6
00:00:31,960 --> 00:00:32,200
Van.
7
... | 1
00:00:11,730 --> 00:00:14,560
The Count shows off his stump in place of his ring finger.
2
00:00:29,120 --> 00:00:30,830
The clouds part around the moon.
3
00:00:30,990 --> 00:00:31,580
Van Helsing.
4
00:00:31,580 --> 00:00:33,250
As the werewolf leaps at Dracula
5
00:00:33,250 --> 00:00:35,330
and plunges its fa... | 1
00:00:01,960 --> 00:00:04,710
All I want is life, Gabriel.
2
00:00:05,300 --> 00:00:07,470
The continuation of my kind.
3
00:00:08,300 --> 00:00:12,050
And perhaps the return of my ring.
4
00:00:16,230 --> 00:00:19,140
Don't be afraid, Gabriel.
Don't be afraid.
5
00:00:20,650 --> 00:00:25,230
I shall give you bac... | 1
00:00:00,840 --> 00:00:03,590
All I want is life, Gabriel.
2
00:00:04,170 --> 00:00:06,340
The continuation of my kind.
3
00:00:07,170 --> 00:00:10,930
And perhaps the return of my ring.
4
00:00:15,100 --> 00:00:18,020
Don't be afraid, Gabriel.
Don't be afraid.
5
00:00:19,520 --> 00:00:24,110
I shall give you bac... | null | 7888.03 | 6970.05 | 147.61 |
hot_fuzz | tt0425112 | WyCKHxtsTYVL | 1
00:01:02,520 --> 00:01:04,200
A sergeant reads from a file.
2
00:01:10,720 --> 00:01:12,760
The inspector slides in front of Nicholas.
3
00:01:47,360 --> 00:01:49,440
Nicholas gapes at the two smiling men.
4
00:02:05,920 --> 00:02:07,040
A door slides open.
5
00:02:51,400 --> 00:02:52,760
Nicholas walks to the do... | 1
00:01:10,860 --> 00:01:12,190
Sliding in on a chair.
2
00:01:13,030 --> 00:01:13,860
Hello, Nicholas.
3
00:01:13,860 --> 00:01:14,280
How's the.
4
00:01:19,070 --> 00:01:19,870
How's Janine?
| 1
00:00:00,700 --> 00:00:03,370
- Hello, Nicholas.
- Hello, Sergeant.
2
00:00:03,540 --> 00:00:06,960
- How's the hand?
- Still a bit stiff.
3
00:00:07,500 --> 00:00:08,900
It can get awfully hairy out there.
4
00:00:09,250 --> 00:00:12,880
I'm surprised you weren't snapped up
sooner for a nice desk job. That's what... | 1
00:00:01,000 --> 00:00:03,210
- Hello, Nicholas.
- Hello, Sergeant.
2
00:00:03,720 --> 00:00:06,340
- How's the hand?
- Still a bit stiff.
3
00:00:07,390 --> 00:00:08,790
It can get awfully hairy out there.
4
00:00:09,140 --> 00:00:12,770
I'm surprised you weren't snapped up
sooner for a nice desk job. That's what... | {"screenplay_scene_5": "<scene>\n <stage_direction>INT. SERGEANT'S GEEICE - DAY</stage_direction>\n <scene_description>ANGEL sits opposite a jovial SERGEANT of the same age.</scene_description>\n <character>SERGEANT</character>\n <dialogue>Hello Nicholas. How's the hand?</dialogue>\n <character>ANGEL</ch... | 7243.34 | 144.19 | 176.01 |
hot_fuzz | tt0425112 | D7f3ZvaaeYrF | 1
00:00:04,060 --> 00:00:07,300
The shoplifter turns and his eyes widen at the policeman, motionless.
2
00:00:07,300 --> 00:00:08,460
They stare at each other.
3
00:00:10,860 --> 00:00:11,780
The man bolts off
4
00:00:11,780 --> 00:00:12,700
and Nicholas follows
5
00:00:12,700 --> 00:00:13,500
in another aisle.
6
... | 1
00:00:04,350 --> 00:00:05,650
The scallie turns to Nicholas.
2
00:00:05,650 --> 00:00:07,480
A. momentarily freezes with panic.
3
00:00:07,730 --> 00:00:08,940
Nicholas stares him out
4
00:00:08,940 --> 00:00:10,860
and the Scallie makes a run for it.
5
00:00:11,480 --> 00:00:11,820
Danny
6
00:00:11,820 --> 00:0... | 1
00:00:05,240 --> 00:00:06,280
Excuse me.
2
00:00:16,210 --> 00:00:19,290
"Meet the cop that can't be stopped."
3
00:00:36,310 --> 00:00:37,600
Tosser!
4
00:00:39,650 --> 00:00:41,190
Trouble in the high street.
5
00:00:41,270 --> 00:00:42,940
Sergeant Angel's having a spot of bother.
6
00:00:43,020 --> 00:00:44,... | 1
00:00:02,500 --> 00:00:04,040
Excuse me.
2
00:00:14,680 --> 00:00:16,050
[DANNY READING]
3
00:00:16,180 --> 00:00:19,220
"Meet the cop that can't be stopped."
4
00:00:34,950 --> 00:00:36,160
[HORN BLARING]
5
00:00:36,280 --> 00:00:37,530
MAN: Tosser!
6
00:00:39,620 --> 00:00:41,120
Trouble in the high street.
7... | {"screenplay_scene_47": "<scene>\n <stage_direction>INT. SUMMERAISLES - DAY</stage_direction>\n <scene_description>ANGEL strides straight up to the shopper. It is THE MAN IN THE PURPLE SHELL SUIT from the square.</scene_description>\n <character>ANGEL</character>\n <dialogue>Excuse me.</dialogue>\n <scen... | 7243.34 | 1724.32 | 144.34 |
hot_fuzz | tt0425112 | xvzr__kCNGKB | 1
00:00:54,430 --> 00:00:55,990
They take off after the speeding car,
2
00:00:55,990 --> 00:00:57,750
then stop as the car pulls over.
| 1
00:00:55,510 --> 00:00:56,930
Stopping a speeding car.
| 1
00:00:01,360 --> 00:00:02,860
Twenty-seven.
2
00:00:02,940 --> 00:00:06,490
- Have you ever seen Point Break?
- No.
3
00:00:06,570 --> 00:00:08,900
Amazing bit in Point Break
where they jump over fences.
4
00:00:08,990 --> 00:00:10,910
Is there now? Twenty-nine.
5
00:00:10,990 --> 00:00:13,950
Patrick Swayze's ju... | 1
00:00:01,340 --> 00:00:02,800
Twenty-seven.
2
00:00:02,920 --> 00:00:06,420
- DANNY: Have you ever seen Point Break?
- No.
3
00:00:06,550 --> 00:00:08,840
Amazing bit in Point Break
where they jump over fences.
4
00:00:08,930 --> 00:00:10,850
Is there now? Twenty-nine.
5
00:00:10,930 --> 00:00:13,890
Patrick Sway... | {"screenplay_scene_50": "<scene>\n <stage_direction>INT/EXT. SQUAD CAR IN LAYBY - DAY</stage_direction>\n <scene_description>ANGEL sits with a speed gun recording passing cars, DANNY has his feet up and is eating some of the stolen biscuits. Behind is a sign reading 'YOU ARE NOW LEAVING SANDFORD'.</scene_descript... | 7243.34 | 1927.10 | 60.67 |
hot_fuzz | tt0425112 | kr9nuJ9XIG7M | 1
00:00:01,890 --> 00:00:04,450
Walker and Saxon the dog ride in the back seat.
2
00:00:08,930 --> 00:00:09,730
Webley talks.
3
00:00:22,850 --> 00:00:24,610
Nicholas Turner from Walker to Danny.
4
00:00:50,690 --> 00:00:51,850
He does a double take.
5
00:00:54,610 --> 00:00:55,890
Webley opens a barn door,
6
00:0... | 1
00:00:01,550 --> 00:00:04,510
They drive to the farm with PC Walker and his dog.
2
00:00:55,580 --> 00:01:00,710
Farmer Webley leads them into a barn that houses a vast arsenal of assorted weaponry and ammunition.
3
00:01:00,710 --> 00:01:03,260
Enough to sustain a small private war.
4
00:01:28,300 --> 00:01:30,55... | 1
00:00:05,690 --> 00:00:09,030
- Why do we need the dog?
- It's not the dog we need.
2
00:00:16,790 --> 00:00:17,870
Right.
3
00:00:17,960 --> 00:00:19,080
What did he say?
4
00:00:24,960 --> 00:00:26,690
- What did he say?
- He said, "An 'edge is an 'edge.
5
00:00:26,710 --> 00:00:28,360
"He only chopped it down
... | 1
00:00:05,680 --> 00:00:08,980
- Why do we need the dog?
- It's not the dog we need.
2
00:00:10,060 --> 00:00:12,110
[CHATTERING INCOHERENTLY]
3
00:00:16,780 --> 00:00:17,820
Right.
4
00:00:17,950 --> 00:00:19,030
What did he say?
5
00:00:19,110 --> 00:00:21,200
[CHATTERING INCOHERENTLY]
6
00:00:24,950 --> 00:00:... | {"screenplay_scene_60": "<scene>\n <stage_direction>EXT. FARMHQUSE - DAY</stage_direction>\n <scene_description>A White haired Did farmer, ARTHUR WEBLEY stands at his door with a shotgun broken over his arm.</scene_description>\n <character>WEBLEY</character>\n <dialogue>Hedgizuhedgeinnit. loonlychopped etd... | 7243.34 | 2529.86 | 129.38 |
hot_fuzz | tt0425112 | GNtd4_XNiaN0 | 1
00:00:13,540 --> 00:00:15,300
Nicholas hands Danny the stuffed monkey
2
00:00:15,300 --> 00:00:16,140
and heads over.
3
00:00:23,820 --> 00:00:26,020
Wainwright and Cartwright heckle him from the crowd.
4
00:00:31,340 --> 00:00:34,260
Nicholas eyes the clock tower, which reads 259.
5
00:00:34,260 --> 00:00:36,820... | 1
00:00:13,550 --> 00:00:15,380
Nick on stage with Reverend Shooter.
2
00:00:24,310 --> 00:00:25,020
The Andes.
3
00:00:33,180 --> 00:00:39,060
Meanwhile, as Reverend Shooter turns the tombola, Tim Messenger waits impatiently at the base of the church clock tower.
4
00:00:39,310 --> 00:00:41,600
He looks at his watc... | 1
00:00:00,100 --> 00:00:02,020
- Sergeant Angel, hi-hi.
- Mr Messenger.
2
00:00:02,100 --> 00:00:04,730
I need to talk to you
about George Merchant. Alone.
3
00:00:05,190 --> 00:00:07,440
Churchyard. 3:00.
4
00:00:09,110 --> 00:00:10,240
What do you think he wants?
5
00:00:10,320 --> 00:00:13,360
Would
Sergeant An... | 1
00:00:00,120 --> 00:00:01,990
- Sergeant Angel, hi-hi.
- Mr Messenger.
2
00:00:02,120 --> 00:00:04,700
I need to talk to you
about George Merchant. Alone.
3
00:00:05,200 --> 00:00:07,410
Churchyard. 3:00.
4
00:00:09,120 --> 00:00:10,210
What do you think he wants?
5
00:00:10,290 --> 00:00:13,340
REVEREND SHOO TER... | {"screenplay_scene_82": "<scene>\n <stage_direction>EXT. FETE - DAY</stage_direction>\n <scene_description>A distracted ANGEL takes to a makeshift stage where the REV. SHOOTER stands with a tombola and a microphone.</scene_description>\n <character>REV. SHOOTER</character>\n <dialogue>Here to announce the w... | 7243.34 | 3424.90 | 138.72 |
hot_fuzz | tt0425112 | qmTs1MrcG7gt | 1
00:00:01,050 --> 00:00:03,650
Back at the hotel, he walks down the hallway to his door,
2
00:00:03,690 --> 00:00:04,890
then finds it open.
3
00:00:08,330 --> 00:00:10,170
Inside, the hooded figure faces him
4
00:00:10,170 --> 00:00:11,330
and yanks him inside.
5
00:00:13,170 --> 00:00:14,690
Nicholas does a flip... | 1
00:00:02,720 --> 00:00:04,980
He notices that it's open.
2
00:00:08,310 --> 00:00:10,610
Suddenly, the black hooded figure leaps out at him
3
00:00:10,610 --> 00:00:12,110
and throws him onto the floor.
4
00:00:12,270 --> 00:00:13,440
A fight ensues.
5
00:00:15,150 --> 00:00:16,860
Nick tries his best against the... | 1
00:00:47,790 --> 00:00:50,710
Hey, big one, playtime's over.
2
00:00:55,090 --> 00:00:56,460
Michael?
3
00:00:57,340 --> 00:01:00,010
Michael? Are you there?
4
00:01:00,670 --> 00:01:04,720
Michael? Is everything okay?
5
00:01:07,390 --> 00:01:08,560
Yarp.
6
00:01:08,640 --> 00:01:11,390
Sergeant Angel's been ta... | 1
00:00:44,840 --> 00:00:46,680
[LULLABY MUSIC PLAYING]
2
00:00:47,840 --> 00:00:50,720
Hey, big one, playtime's over.
3
00:00:55,140 --> 00:00:56,500
SKINNER ON WALKIE-TALKIE: Michael?
4
00:00:57,400 --> 00:01:00,070
Michael? Are you there?
5
00:01:00,730 --> 00:01:04,780
Michael? Is everything okay?
6
00:01:07,4... | {"screenplay_scene_113": "<scene>\n <stage_direction>INT. SWAN HOTEL BEDROOM - DUSK</stage_direction>\n <scene_description>ANGEL hits the wall with a thud. He gets up and throws several punches at his attacker, but stops, clutching his injured hand. The FIGURE picks ANGEL up in a bear hug. ANGEL struggles, pullin... | 7243.34 | 4629.34 | 123.25 |
hot_fuzz | tt0425112 | qVQ5ZI19t5Za | 1
00:00:04,060 --> 00:00:05,380
Annette peeks out of her shop
2
00:00:05,380 --> 00:00:06,420
from inside a store.
3
00:00:06,420 --> 00:00:09,380
Skinner eyes Angel warily as he passes on horseback.
4
00:00:11,420 --> 00:00:13,940
Mary and Roy set out the pub sign on the sidewalk.
5
00:00:13,980 --> 00:00:15,740
T... | 1
00:00:05,300 --> 00:00:09,680
Suddenly, Sanford begins to feel like an old frontier town in the Wild West.
2
00:00:09,720 --> 00:00:16,350
As frightened village folk peer out from their windows at the lone Horseman through a thin veneer of Middle England respectability.
3
00:00:19,100 --> 00:00:26,900
Everyone stop... | 1
00:00:00,320 --> 00:00:03,330
- It's...
- Angel.
2
00:01:14,600 --> 00:01:15,770
Morning.
| 1
00:00:00,400 --> 00:00:03,410
- It's...
- Angel.
2
00:00:05,410 --> 00:00:07,330
[HORSE HOOVES CLOMPING]
3
00:01:14,690 --> 00:01:15,810
Morning.
4
00:01:53,810 --> 00:01:55,270
[BEEPING]
5
00:01:55,980 --> 00:01:57,020
[SCREAMS]
6
00:02:10,070 --> 00:02:11,530
[EXCLAIMING]
| {"screenplay_scene_136": "<scene>\n <stage_direction>EXT. SQUARE - MORNING</stage_direction>\n <scene_description>The village has come to a stop. The NWA watch as ANGEL dismounts. Beads of sweat glisten. Eyes \\[U+FB02\\]ick this way and that. The ordinary folk are unnerved by the hush.</scene_description>\n <... | 7243.34 | 5532.22 | 154.81 |
hot_fuzz | tt0425112 | nBjL_neN4wEE | 1
00:00:00,460 --> 00:00:03,540
villagers fire from behind the pillars at the hotel entrance.
2
00:00:06,540 --> 00:00:07,500
Danny fires back
3
00:00:07,500 --> 00:00:09,380
as he ducks behind a truck with Nicholas.
4
00:00:09,380 --> 00:00:10,540
Nicholas peeks out at them
5
00:00:10,540 --> 00:00:12,220
and then... | 1
00:00:07,170 --> 00:00:08,000
shooting back.
2
00:00:08,000 --> 00:00:10,530
Nick and Danny take cover behind a delivery van.
3
00:00:16,110 --> 00:00:23,290
Shooting as they go, Nick and Danny close to the couple with covering fire until they can work their way around the market square and try to pick them off.
4... | 1
00:00:12,810 --> 00:00:14,980
Still feel like you're missing out?
2
00:00:41,670 --> 00:00:43,050
Fascist!
3
00:00:59,690 --> 00:01:00,860
Hag!
4
00:01:19,330 --> 00:01:23,040
Stop! Stop this, please!
5
00:01:23,710 --> 00:01:27,090
Let us stop this mindless violence.
6
00:01:28,380 --> 00:01:30,390
Nicholas, my... | 1
00:00:12,890 --> 00:00:15,010
Still feel like you're missing out?
2
00:00:35,080 --> 00:00:36,160
[SCREAMS]
3
00:00:41,750 --> 00:00:43,130
Fascist!
4
00:00:59,770 --> 00:01:00,890
Hag!
5
00:01:01,020 --> 00:01:02,230
[SCREAMS]
6
00:01:19,410 --> 00:01:23,080
Stop! Stop this, please!
7
00:01:23,790 --> 00:01:27... | null | 7243.34 | 5695.62 | 175.50 |
hot_fuzz | tt0425112 | I3Fnhb6nhKF1 | 1
00:00:00,740 --> 00:00:02,020
and motions them on.
2
00:00:06,260 --> 00:00:06,980
They run over
3
00:00:06,980 --> 00:00:10,180
and duck down behind a row of shopping carts near the front entrance.
4
00:00:23,300 --> 00:00:25,420
Skinner watches them on a video monitor.
5
00:00:29,220 --> 00:00:30,460
They stand... | 1
00:00:03,130 --> 00:00:05,090
They hurry across a near empty car park
2
00:00:05,090 --> 00:00:07,880
and take up position behind a bank of shopping trolleys.
3
00:00:38,080 --> 00:00:39,490
Nick is thrown through a window.
4
00:00:50,000 --> 00:00:52,380
Michael starts to fling Nick around the aisles.
5
00:01:04... | 1
00:00:11,150 --> 00:00:12,360
- What you thinking?
- Well...
2
00:00:12,450 --> 00:00:14,510
We should strike now,
while we've got the element of surprise.
3
00:00:14,530 --> 00:00:16,380
Longer we wait,
more time they've got to mobilise.
4
00:00:16,410 --> 00:00:19,260
I say we go in through the front entrance,
t... | 1
00:00:03,150 --> 00:00:04,740
[GUNS COCKING]
2
00:00:11,250 --> 00:00:12,410
- What you thinking?
- Well...
3
00:00:12,540 --> 00:00:14,600
We should strike now,
while we've got the element of surprise.
4
00:00:14,620 --> 00:00:16,480
Longer we wait,
more time they've got to mobilise.
5
00:00:16,500 --> 00:00:19,... | {"screenplay_scene_140": "<scene>\n <stage_direction>EXT. SUMMERAISLES - MORNING</stage_direction>\n <scene_description>The Sandford police gather near the entrance.</scene_description>\n <character>WAINWRIGHT</character>\n <dialogue>Maybe they're not in.</dialogue>\n <character>ANGEL</character>\n <d... | 7243.34 | 6077.60 | 174.24 |
hot_fuzz | tt0425112 | 7bzzUerq_egt | 1
00:00:00,220 --> 00:00:02,380
The inspector's car lies upside down.
2
00:00:02,380 --> 00:00:04,060
Water sprays from underneath.
3
00:00:05,740 --> 00:00:07,580
Skinner pushes himself out of a door.
4
00:00:07,620 --> 00:00:10,380
As Danny and Nicholas drive up, he starts to run.
5
00:00:10,380 --> 00:00:11,940
... | 1
00:00:00,590 --> 00:00:04,680
Meanwhile, Skinner crawls out of the upturned police car at the edge of the model village
2
00:00:04,840 --> 00:00:06,600
and tries to make a run for it.
3
00:00:08,850 --> 00:00:10,560
As Nick and Danny pull up in their car.
4
00:00:10,640 --> 00:00:12,600
He grabs hold of the ginger... | 1
00:00:17,020 --> 00:00:21,190
Stay back! Or the ginger nut gets it!
2
00:00:23,110 --> 00:00:25,700
You little fucker!
3
00:01:01,480 --> 00:01:05,780
Get out of my village!
4
00:01:11,740 --> 00:01:14,240
It's not your village anymore.
5
00:01:31,090 --> 00:01:32,930
- You did good, kid.
- Ta.
6
00:01:33,010 --... | 1
00:00:17,130 --> 00:00:21,250
Stay back! Or the ginger nut gets it!
2
00:00:21,460 --> 00:00:22,760
[SCREAMS]
3
00:00:23,210 --> 00:00:25,760
You little fucker!
4
00:00:29,970 --> 00:00:31,260
[SCREAMS]
5
00:01:01,590 --> 00:01:05,880
Get out of my village!
6
00:01:11,850 --> 00:01:14,310
It's not your village a... | {"screenplay_scene_145": "<scene>\n <stage_direction>EXT. MODEL VILLAGE - DAY</stage_direction>\n <scene_description>The SWAN now sat in the back seat, DANNY takes the SQUAD CAR into the Model Village. Ahead is a scene of devastation. FRANK's SQUAD CAR lies upturned in a water feature, a damaged sprinkler rains w... | 7243.34 | 6435.71 | 179.42 |
bridesmaids_2011 | tt1478338 | 0MSh6j6csJ8f | 1
00:00:02,350 --> 00:00:06,230
As the handsome man's eyes open, his willowy lover immediately pretends to sleep.
2
00:00:06,470 --> 00:00:08,830
Lifting his head off the pillow, he gazes at her,
3
00:00:08,870 --> 00:00:09,750
then moves closer
4
00:00:09,750 --> 00:00:11,350
and runs a finger down her arm.
5
00:0... | 1
00:00:03,010 --> 00:00:05,850
After clearing her throat, she quickly shuts her eyes.
2
00:00:06,140 --> 00:00:06,810
Ted wakes.
3
00:00:06,810 --> 00:00:07,980
He lifts his head and eyes.
4
00:00:08,020 --> 00:00:08,890
Annie lustfully.
5
00:00:09,020 --> 00:00:09,810
He leans over her
6
00:00:09,810 --> 00:00:1... | 1
00:00:00,970 --> 00:00:01,970
(CLEARS THROAT)
2
00:00:07,060 --> 00:00:08,060
(SIGHING)
3
00:00:13,270 --> 00:00:14,270
(GASPS)
4
00:00:14,770 --> 00:00:17,610
l was having a nightmare.
l was so scared.
5
00:00:17,740 --> 00:00:18,740
(CHUCKLING)
6
00:00:19,110 --> 00:00:21,200
Good morning.
7
00:00:22,110 --> ... | 1
00:00:00,940 --> 00:00:01,950
(CLEARS THROAT)
2
00:00:07,030 --> 00:00:08,030
(SIGHING)
3
00:00:13,250 --> 00:00:14,250
(GASPS)
4
00:00:14,750 --> 00:00:17,580
l was having a nightmare.
l was so scared.
5
00:00:17,710 --> 00:00:18,710
(CHUCKLING)
6
00:00:19,090 --> 00:00:21,170
Good morning.
7
00:00:22,090 --> ... | {"screenplay_scene_4": "<scene>\n <stage_direction>INT. CLEAN, UPSCALE MODERN BATHROOM - MORNING</stage_direction>\n <scene_description>Annie stands in front of a mirror in nice lingerie. She puts on lotion, make-up, brushes her hair, mascara, etc. She getting ready to... Creep back into the bed, where Ted is sti... | 7494.53 | 123.49 | 144.52 |
bridesmaids_2011 | tt1478338 | HOQzLG1MfyL0 | 1
00:00:21,530 --> 00:00:23,610
Becca and Kevin rubbed their noses together.
2
00:00:26,490 --> 00:00:28,730
Annie notices a balding man in a turtleneck.
3
00:00:37,810 --> 00:00:39,170
The rejected man leaves.
4
00:00:50,970 --> 00:00:51,730
Inside.
5
00:00:59,290 --> 00:01:01,850
Lillian leaves Annie alone with t... | 1
00:00:22,340 --> 00:00:24,760
Annie watches them rub noses affectionately.
2
00:00:26,590 --> 00:00:27,930
A red faced bald man?
3
00:00:59,960 --> 00:01:01,500
Megan's a large, butch woman.
4
00:02:10,420 --> 00:02:12,500
Helen beautiful honey head.
5
00:02:12,500 --> 00:02:13,210
Helen turns
6
00:02:13,260 -->... | 1
00:00:00,090 --> 00:00:02,550
LlLLlAN: Annie,
this is Becca,
my friend from work.
2
00:00:02,630 --> 00:00:03,690
We are in
the trenches together.
3
00:00:03,710 --> 00:00:05,030
Hey. lt's great
to meet you.
Hey, how are you?
4
00:00:05,050 --> 00:00:06,220
Nice to meet you.
5
00:00:06,340 --> 00:00:07,470
This i... | 1
00:00:00,060 --> 00:00:02,520
LlLLlAN: Annie,
this is Becca,
my friend from work.
2
00:00:02,610 --> 00:00:03,670
We are in
the trenches together.
3
00:00:03,690 --> 00:00:05,000
Hey. lt's great
to meet you.
Hey, how are you?
4
00:00:05,020 --> 00:00:06,190
Nice to meet you.
5
00:00:06,320 --> 00:00:07,440
This i... | {"screenplay_scene_15": "<scene>\n <stage_direction>INT. HUNT CLUB - DAY</stage_direction>\n <scene_description>Annie's eyes go wide as she walks into the elegant dining room. FANCY. A lively cocktail party's underway. Live music. Happy upper-class people, dressed expensively. Annie smooths her dress, self-consci... | 7494.53 | 1090.34 | 155.92 |
bridesmaids_2011 | tt1478338 | L4oejHo_e6RM | 1
00:00:12,110 --> 00:00:14,390
As Annie whips her hair, her car swerves.
2
00:00:23,790 --> 00:00:26,630
Later, Annie walks a white line for a police officer.
3
00:00:40,630 --> 00:00:42,750
The brown haired officer looks up from writing
4
00:00:43,870 --> 00:00:45,630
as Annie steps backward and forward.
5
00:00:... | 1
00:00:11,890 --> 00:00:12,770
Alone in the car.
2
00:00:12,810 --> 00:00:14,350
Annie swooshes her hair around
3
00:00:14,350 --> 00:00:15,480
her car careens.
4
00:00:24,160 --> 00:00:26,450
The cop makes Annie walk in a straight line.
5
00:00:40,630 --> 00:00:44,670
She steps backwards along a white line on the... | 1
00:00:00,200 --> 00:00:02,320
(lMlTATlNG VOlCE)
Oh. Hi, l'm Helen.
2
00:00:02,410 --> 00:00:05,200
You live in Milwaukee?
l'm sorry.
3
00:00:05,450 --> 00:00:07,830
Have you met Lillian?
She's my best friend.
4
00:00:07,910 --> 00:00:09,980
Yeah, l know.
We've only known each other
for five minutes.
5
00:00:10,00... | 1
00:00:00,170 --> 00:00:02,300
(lMlTATlNG VOlCE)
Oh. Hi, l'm Helen.
2
00:00:02,380 --> 00:00:05,180
You live in Milwaukee?
l'm sorry.
3
00:00:05,430 --> 00:00:07,810
Have you met Lillian?
She's my best friend.
4
00:00:07,890 --> 00:00:09,950
Yeah, l know.
We've only known each other
for five minutes.
5
00:00:09,98... | {"screenplay_scene_18": "<scene>\n <stage_direction>INT. ANNIE'S CAR - NIGHT</stage_direction>\n <scene_description>ANGRY ROCK MUSIC BLARES. Annie drives fast, angrily swerving all over the place like a drunk person, but she is only drunk with indignation.</scene_description>\n <character>ANNIE</character>\n ... | 7494.53 | 1634.98 | 188.45 |
bridesmaids_2011 | tt1478338 | _37ErkQzzmgo | 1
00:01:17,080 --> 00:01:20,960
Now, four women step out onto a tennis court wearing a visor.
2
00:01:20,960 --> 00:01:23,320
Annie stares ahead with a focussed gaze.
3
00:01:23,480 --> 00:01:26,240
Helen wears a serious frown under her white headband.
4
00:01:26,640 --> 00:01:28,560
A woman with shoulder length hai... | 1
00:01:12,780 --> 00:01:13,700
The kids leave.
2
00:01:16,450 --> 00:01:19,450
Helen and Annie head out onto a tennis court with two other women.
3
00:01:19,450 --> 00:01:21,450
They play doubles on opposite sides,
4
00:01:21,450 --> 00:01:25,870
and he wears a bright yellow tennis dress and Helen and white Haltern... | 1
00:00:01,450 --> 00:00:03,360
Yeah, l played
a little in
high school.
2
00:00:03,570 --> 00:00:05,240
l'm so glad we
were able to do this.
3
00:00:05,490 --> 00:00:07,760
l'm really glad we
could do this, too.
lt's nice we get to hang out.
4
00:00:07,790 --> 00:00:09,000
l know, right?
Yeah.
5
00:00:09,080 --> 00... | 1
00:00:01,420 --> 00:00:03,340
Yeah, l played
a little in
high school.
2
00:00:03,550 --> 00:00:05,220
l'm so glad we
were able to do this.
3
00:00:05,470 --> 00:00:07,740
l'm really glad we
could do this, too.
lt's nice we get to hang out.
4
00:00:07,760 --> 00:00:08,970
l know, right?
Yeah.
5
00:00:09,060 --> 00... | {"screenplay_scene_21": "<scene>\n <stage_direction>EXT. TENNIS CLUB - DAY</stage_direction>\n <scene_description>Annie and Helen are walking through the tennis club on their way to the courts, chatting before their big game.</scene_description>\n <character>HELEN</character>\n <dialogue>I didn't know you p... | 7494.53 | 1992.54 | 132.24 |
bridesmaids_2011 | tt1478338 | 8w7KYxtMB_g_ | 1
00:00:10,980 --> 00:00:12,020
Annie tears up.
2
00:00:15,500 --> 00:00:16,180
You look
3
00:00:17,140 --> 00:00:18,340
Megan bends over.
4
00:00:20,220 --> 00:00:21,340
She stifles a gag,
5
00:00:21,340 --> 00:00:22,420
then convulses.
6
00:00:35,500 --> 00:00:35,820
Becca.
7
00:00:39,380 --> 00:00:40,380
Rita ... | 1
00:00:10,680 --> 00:00:11,350
Annie eyes.
2
00:00:17,270 --> 00:00:17,900
Megan.
3
00:00:20,070 --> 00:00:20,900
Megan gags.
4
00:00:20,900 --> 00:00:22,530
She holds her hand to her mouth.
5
00:00:24,450 --> 00:00:25,030
Right.
6
00:00:52,670 --> 00:00:54,210
They hurry to the toilet.
7
00:00:56,420 --> 00:00:... | 1
00:00:00,670 --> 00:00:02,010
Beautiful length.
2
00:00:02,170 --> 00:00:03,550
Breathtaking.
3
00:00:03,630 --> 00:00:07,350
Holy shit!
You look amazing.
4
00:00:07,470 --> 00:00:08,990
That's a dress.
That dress is so pretty
5
00:00:09,020 --> 00:00:10,020
it makes my stomach hurt.
6
00:00:12,140 --> 00:00:13,... | 1
00:00:00,650 --> 00:00:01,980
Beautiful length.
2
00:00:02,150 --> 00:00:03,530
Breathtaking.
3
00:00:03,610 --> 00:00:07,320
Holy shit!
You look amazing.
4
00:00:07,450 --> 00:00:08,970
That's a dress.
That dress is so pretty
5
00:00:08,990 --> 00:00:09,990
it makes my stomach hurt.
6
00:00:12,120 --> 00:00:13,... | {"screenplay_scene_29": "<scene>\n <stage_direction>INT. BELLE EN BLANC - MAIN FITTING AREA - LATER</stage_direction>\n <scene_description>The girls are in different dresses. Lillian is not there. They look great, although Megan's face is beet red.</scene_description>\n <character>WHITNEY</character>\n <dia... | 7494.53 | 2644.93 | 200.92 |
bridesmaids_2011 | tt1478338 | QB_WHqj2H_oG | 1
00:00:00,320 --> 00:00:00,640
Annie.
2
00:00:00,680 --> 00:00:01,680
Slap happily parts
3
00:00:01,680 --> 00:00:04,120
the first class curtain shuffles forward to Lillian
4
00:00:04,120 --> 00:00:07,240
and strikes a haughty pose with her hip out like Vegas.
5
00:00:11,560 --> 00:00:13,000
Annie rubs Lillian's h... | 1
00:00:11,580 --> 00:00:11,870
Annie.
2
00:00:11,870 --> 00:00:12,290
Raffles.
3
00:00:12,330 --> 00:00:13,210
Lillian's hair.
4
00:00:57,710 --> 00:00:59,380
She makes a wanking gesture.
5
00:01:07,300 --> 00:01:08,550
The steward is bald.
6
00:01:42,120 --> 00:01:43,420
Lillian's open mouthed.
7
00:01:46,630 -... | 1
00:00:00,090 --> 00:00:01,420
What is it again?
2
00:00:01,500 --> 00:00:03,270
HELEN: There is a bar in
the pool and a tiger.
3
00:00:03,300 --> 00:00:04,970
LlLLlAN: What?
4
00:00:05,130 --> 00:00:06,970
HELEN: lt's crazy.
lt's Vegas at its best.
5
00:00:07,140 --> 00:00:10,680
Wait a minute.
ls this that place... | 1
00:00:00,100 --> 00:00:01,440
What is it again?
2
00:00:01,520 --> 00:00:03,290
HELEN: There is a bar in
the pool and a tiger.
3
00:00:03,310 --> 00:00:04,980
LlLLlAN: What?
4
00:00:05,150 --> 00:00:06,980
HELEN: lt's crazy.
lt's Vegas at its best.
5
00:00:07,150 --> 00:00:10,700
Wait a minute.
ls this that place... | {"screenplay_scene_49": "<scene>\n <stage_direction>INT. FIRST CLASS - DAY</stage_direction>\n <scene_description>Becca and Rita are drinking.</scene_description>\n <character>BECCA</character>\n <dialogue>So you don't even have sex anymore?</dialogue>\n <character>RITA</character>\n <dialogue>Oh no, ... | 7494.53 | 3719.30 | 210.98 |
bridesmaids_2011 | tt1478338 | rzsZDeu8ICAM | 1
00:01:01,040 --> 00:01:02,240
She mimes a blowjob.
2
00:01:09,040 --> 00:01:10,600
Don and a customer gape.
3
00:01:10,760 --> 00:01:12,960
A guilty look washes over Annie's face.
4
00:01:15,080 --> 00:01:17,240
Now she collects her belongings from a locker.
5
00:01:18,640 --> 00:01:19,400
Watching her
| 1
00:01:09,790 --> 00:01:12,050
The manager and another customer gawp at her.
2
00:01:12,090 --> 00:01:13,380
She glances over at them,
3
00:01:13,380 --> 00:01:14,510
then shrinks back.
4
00:01:14,800 --> 00:01:17,130
She takes her coat and bag from a locker.
5
00:01:18,590 --> 00:01:19,930
Her boss lowers his gaz... | 1
00:00:00,380 --> 00:00:02,210
Excuse me.
Oh. Hi.
2
00:00:02,300 --> 00:00:04,760
l'm looking for a birthday
gift for my best friend.
Oh.
3
00:00:04,840 --> 00:00:07,390
l want to get her
a necklace that says,
"Best Friends Forever."
4
00:00:08,180 --> 00:00:09,680
You sure you want
it to say "Forever"?
5
00:00:10... | 1
00:00:00,400 --> 00:00:02,230
Excuse me.
Oh. Hi.
2
00:00:02,320 --> 00:00:04,770
l'm looking for a birthday
gift for my best friend.
Oh.
3
00:00:04,860 --> 00:00:07,400
l want to get her
a necklace that says,
"Best Friends Forever."
4
00:00:08,200 --> 00:00:09,700
You sure you want
it to say "Forever"?
5
00:00:10... | null | 7494.53 | 4626.37 | 81.34 |
bridesmaids_2011 | tt1478338 | oF4RKqCKCMK1 | 1
00:00:09,610 --> 00:00:11,130
Annie's mouth falls open.
2
00:01:25,690 --> 00:01:27,050
She storms outside.
3
00:01:29,330 --> 00:01:30,130
From the terrorists.
4
00:01:30,130 --> 00:01:32,730
The others watch her grab a handful off the three foot heart.
5
00:01:35,570 --> 00:01:36,970
She punches a hole through ... | 1
00:00:11,420 --> 00:00:12,630
Annie's horrified.
2
00:00:26,270 --> 00:00:27,640
Lillian hugs, Helen.
3
00:00:34,020 --> 00:00:35,360
Lillian go upsets her.
4
00:01:26,350 --> 00:01:27,810
She storms outside.
5
00:01:29,820 --> 00:01:32,070
She snatches at the giant heart shaped cookie
6
00:01:32,070 --> 00:01:3... | 1
00:00:00,320 --> 00:00:01,700
Oh, my God, Helen.
2
00:00:03,660 --> 00:00:05,280
WOMAN: Honey, what is it?
3
00:00:05,990 --> 00:00:08,370
Helen's taking me
to Paris.
4
00:00:08,490 --> 00:00:09,490
(GIRLS LAUGHING)
5
00:00:09,660 --> 00:00:10,750
(GIRLS CHATTERING)
6
00:00:11,160 --> 00:00:12,460
HELEN: Your fa... | 1
00:00:00,340 --> 00:00:01,710
Oh, my God, Helen.
2
00:00:03,670 --> 00:00:05,300
WOMAN: Honey, what is it?
3
00:00:06,010 --> 00:00:08,390
Helen's taking me
to Paris.
4
00:00:08,510 --> 00:00:09,510
(GIRLS LAUGHING)
5
00:00:09,680 --> 00:00:10,760
(GIRLS CHATTERING)
6
00:00:11,180 --> 00:00:12,470
HELEN: Your fa... | {"screenplay_scene_71": "<scene>\n <stage_direction>INT. HELEN'S GREAT ROOM - LATER</stage_direction>\n <scene_description>Lillian is opening presents. She opens a box filled with beautiful towels.</scene_description>\n <character>LILLIAN</character>\n <dialogue>Rita, you got all our towels?</dialogue>\n ... | 7494.53 | 5055.65 | 232.62 |
bridesmaids_2011 | tt1478338 | bLnyHj1nq80o | 1
00:00:10,430 --> 00:00:11,230
She pokes Annie.
2
00:00:16,830 --> 00:00:17,470
She wrestles.
3
00:00:17,510 --> 00:00:17,830
Annie.
4
00:00:28,590 --> 00:00:30,270
Megan bites Annie's rear end.
5
00:00:40,510 --> 00:00:41,870
She makes Annie hit herself.
6
00:00:43,990 --> 00:00:45,030
Annie slaps her.
7
00:00:... | 1
00:00:28,920 --> 00:00:29,290
Oh,
2
00:00:29,540 --> 00:00:31,000
she bites Annie in the ass.
3
00:00:45,130 --> 00:00:46,210
Annie slaps her.
4
00:01:57,890 --> 00:01:58,980
Annie go ups.
5
00:02:28,300 --> 00:02:29,420
Annie sags.
6
00:02:38,510 --> 00:02:39,300
Megan nods.
| 1
00:00:01,400 --> 00:00:02,880
in front of you,
trying to talk to you.
2
00:00:02,900 --> 00:00:04,340
And you choose to
talk about the fact
3
00:00:04,440 --> 00:00:05,860
that you don't
have any friends.
4
00:00:05,940 --> 00:00:07,320
You know what l mean.
5
00:00:07,450 --> 00:00:08,850
No, l don't think
you w... | 1
00:00:01,420 --> 00:00:02,890
in front of you,
trying to talk to you.
2
00:00:02,920 --> 00:00:04,360
And you choose to
talk about the fact
3
00:00:04,460 --> 00:00:05,880
that you don't
have any friends.
4
00:00:05,960 --> 00:00:07,340
You know what l mean.
5
00:00:07,460 --> 00:00:08,860
No, l don't think
you w... | {"screenplay_scene_76": "<scene>\n <stage_direction>INT. ANNIE'S MOM'S LIVING ROOM - MOMENTS LATER.</stage_direction>\n <scene_description>Megan puts the dogs on the porch then closes the door. Then she sits on the couch with Annie.</scene_description>\n <character>MEGAN</character>\n <dialogue>Heel. Heel.<... | 7494.53 | 5686.37 | 172.06 |
bridesmaids_2011 | tt1478338 | b5wIQolcTMSo | 1
00:00:01,070 --> 00:00:02,270
He raises his window.
2
00:00:17,350 --> 00:00:19,750
The heartbroken cop stares at his newspaper.
3
00:00:21,910 --> 00:00:23,190
Annie's gaze hardens
4
00:00:23,190 --> 00:00:24,270
and she pulls away,
5
00:00:25,830 --> 00:00:26,910
lowering his window.
6
00:00:26,910 --> 00:00:2... | 1
00:00:01,500 --> 00:00:02,670
He puts his window up.
2
00:00:18,090 --> 00:00:19,880
Annie frowns and gazes down.
3
00:00:23,720 --> 00:00:25,010
Annie drives away slowly,
4
00:00:25,010 --> 00:00:26,760
and Rhodes lowers his window again,
5
00:00:26,760 --> 00:00:29,060
and he stops and takes a deep breath.
6
0... | 1
00:00:02,710 --> 00:00:04,170
Come on! Rhodes!
2
00:00:04,470 --> 00:00:05,970
He's ignoring you.
Let me.
Yes, he is.
3
00:00:06,050 --> 00:00:08,050
(SHOUTlNG) Officer!
Roll down your window!
4
00:00:08,220 --> 00:00:11,100
(MUFFLED SHOUTlNG)
Excuse me! Please!
5
00:00:12,140 --> 00:00:14,850
Rhodes,
l know you ... | 1
00:00:02,730 --> 00:00:04,190
Come on! Rhodes!
2
00:00:04,480 --> 00:00:05,980
He's ignoring you.
Let me.
Yes, he is.
3
00:00:06,070 --> 00:00:08,070
(SHOUTlNG) Officer!
Roll down your window!
4
00:00:08,240 --> 00:00:11,110
(MUFFLED SHOUTlNG)
Excuse me! Please!
5
00:00:12,160 --> 00:00:14,870
Rhodes,
l know you ... | {"screenplay_scene_86": "<scene>\n <stage_direction>EXT. ROAD - DAY</stage_direction>\n <scene_description>Rhodes sits in his car at his post, reading a newspaper. Annie's car pulls up next to him.</scene_description>\n <character>ANNIE</character>\n <parenthetical>(yelling over Helen)</parenthetical>\n ... | 7494.53 | 6196.90 | 144.57 |
cyrano | tt12889404 | PwhMyFc4JGXX | 1
00:00:12,040 --> 00:00:12,760
From a balcony.
2
00:00:12,800 --> 00:00:15,360
A man of short stature descends to the floor on a rope.
3
00:00:15,400 --> 00:00:17,000
He wears a military uniform.
4
00:00:58,240 --> 00:01:00,480
The Duke's admirers where indignant looks
5
00:01:02,080 --> 00:01:03,320
Roxanne smile... | 1
00:00:12,970 --> 00:00:15,390
Cyrano descends on a weighted rope.
2
00:00:58,650 --> 00:01:00,820
There's disagreement in the crowd.
| 1
00:00:00,190 --> 00:00:03,130
You've made this stage
your personal sty!
2
00:00:03,160 --> 00:00:05,530
The dramatic muse
has fled the building.
3
00:00:05,570 --> 00:00:08,930
She scampered off when you
started gilding the lily
4
00:00:08,970 --> 00:00:11,900
with your great big voice.
5
00:00:17,310 --> 00:00:1... | 1
00:00:00,190 --> 00:00:03,120
You've made this stage
your personal sty!
2
00:00:03,160 --> 00:00:05,530
The dramatic muse
has fled the building.
3
00:00:05,560 --> 00:00:08,930
She scampered off when you
started gilding the lily
4
00:00:08,960 --> 00:00:11,900
with your great big voice.
5
00:00:14,130 --> 00:00:1... | {"screenplay_scene_8": "<scene>\n <stage_direction>INT. THEATER. CONT.</stage_direction>\n <scene_description>We see all the levels of society in the descending tiered boxes and the poor, on the floor, standing. The floor is a dangerous place - jostling and cramped. Christian moves through the crowd. He passes a ... | 7395.26 | 687.78 | 67.27 |
cyrano | tt12889404 | va2LogRJyDfj | 1
00:00:00,860 --> 00:00:01,070
Is.
2
00:00:04,510 --> 00:00:07,230
She opens one eye to peek at Cyrano, who chuckles.
| 1
00:00:05,310 --> 00:00:06,890
She peeks at him with one eye,
2
00:00:07,100 --> 00:00:08,100
then closes it.
| 1
00:00:01,220 --> 00:00:04,360
I feel he is rather proud.
2
00:00:09,330 --> 00:00:11,440
And very charming.
3
00:00:11,470 --> 00:00:15,870
He is mysterious,
but not obscure.
4
00:00:15,910 --> 00:00:19,280
And his face is so bright
with intelligence.
5
00:00:19,310 --> 00:00:20,310
What else?
6
00:00:21,480 -->... | 1
00:00:01,220 --> 00:00:04,360
I feel he is rather proud.
2
00:00:06,690 --> 00:00:07,860
[chuckles softly]
3
00:00:07,890 --> 00:00:09,290
[giggles]
4
00:00:09,330 --> 00:00:11,430
And very charming.
5
00:00:11,460 --> 00:00:15,870
He is mysterious,
but not obscure.
6
00:00:15,900 --> 00:00:19,270
And his face i... | null | 7395.26 | 2036.96 | 64.11 |
cyrano | tt12889404 | 23I1cavPYJB_ | 1
00:00:01,040 --> 00:00:02,520
They reach a private space.
2
00:00:06,890 --> 00:00:09,130
Cyrano pushes Christian back against the wall.
| 1
00:00:02,790 --> 00:00:03,920
Whose brother?
2
00:00:03,950 --> 00:00:05,390
Who do you think?
3
00:00:05,420 --> 00:00:06,960
- Roxanne.
- Roxanne?
4
00:00:09,590 --> 00:00:10,990
Yes.
5
00:00:11,030 --> 00:00:12,360
You don't look
like her brother.
6
00:00:12,400 --> 00:00:14,530
We're old friends,
like siblin... | 1
00:00:00,350 --> 00:00:01,680
[guards chattering]
2
00:00:02,780 --> 00:00:03,920
Whose brother?
3
00:00:03,950 --> 00:00:05,380
Who do you think?
4
00:00:05,420 --> 00:00:06,950
- Roxanne.
- Roxanne?
5
00:00:09,590 --> 00:00:10,990
Yes.
6
00:00:11,020 --> 00:00:12,360
You don't look
like her brother.
7
00:00:1... | {"screenplay_scene_22": "<scene>\n <stage_direction>INT. GUARDS GARRISON. TRAINING YARD. CONT.</stage_direction>\n <scene_description>The Guards have returned to training, Le Bret pulls Cyrano aside:</scene_description>\n <character>LE BRET</character>\n <dialogue>Don't push him too far.</dialogue>\n <ch... | 7395.26 | 2500.86 | 55.68 | |
cyrano | tt12889404 | b1wpkLZFZSe4 | 1
00:00:21,410 --> 00:00:22,570
Cyrano squints.
2
00:00:34,010 --> 00:00:35,330
She nods demurely.
3
00:00:38,090 --> 00:00:39,970
Cyrano offers a tight smile.
4
00:00:46,790 --> 00:00:47,790
He bows formally,
| 1
00:00:34,440 --> 00:00:35,280
She nods.
2
00:00:36,780 --> 00:00:37,530
Everyone
3
00:00:38,700 --> 00:00:40,530
Cyrano forces a smile.
| 1
00:00:00,440 --> 00:00:03,480
First he has too much heart,
and then not enough?
2
00:00:04,650 --> 00:00:05,780
You're jealous.
3
00:00:05,810 --> 00:00:06,950
Me?
4
00:00:06,980 --> 00:00:08,110
It's fascinating.
5
00:00:08,150 --> 00:00:10,380
You're both brilliant,
but exact opposites in style.
6
00:00:11,650... | 1
00:00:00,440 --> 00:00:03,470
First he has too much heart,
and then not enough?
2
00:00:04,640 --> 00:00:05,770
You're jealous.
3
00:00:05,810 --> 00:00:06,940
Me?
4
00:00:06,970 --> 00:00:08,110
It's fascinating.
5
00:00:08,140 --> 00:00:10,380
You're both brilliant,
but exact opposites in style.
6
00:00:11,650... | {"screenplay_scene_34": "<scene>\n <stage_direction>EXT. A PUBLIC GARDEN. DAYS LATER. SPRING.</stage_direction>\n <scene_description>Cyrano and Roxanne walking through a maze, Marie a few paces behind.</scene_description>\n <character>ROXANNE</character>\n <dialogue>Every day I think: 'I couldn't love him m... | 7395.26 | 3156.10 | 48.67 |
cyrano | tt12889404 | P74cTe_fCJuL | 1
00:00:01,630 --> 00:00:03,430
She turns from the balcony railing.
2
00:00:04,710 --> 00:00:06,310
Christian motions to Cyrano.
3
00:01:02,840 --> 00:01:03,880
Cyrano grimaces.
| 1
00:00:00,940 --> 00:00:02,340
Good night.
2
00:00:03,610 --> 00:00:04,640
Wait.
3
00:00:07,240 --> 00:00:08,880
I could no more stop
loving you...
4
00:00:08,910 --> 00:00:10,980
I could no more stop
loving you...
5
00:00:11,010 --> 00:00:12,780
...than I could stop
the sun rising.
6
00:00:12,810 --> 00:00:14,62... | 1
00:00:00,930 --> 00:00:02,330
Good night.
2
00:00:03,600 --> 00:00:04,630
Wait.
3
00:00:07,240 --> 00:00:08,870
I could no more stop
loving you...
4
00:00:08,910 --> 00:00:10,970
I could no more stop
loving you...
5
00:00:11,010 --> 00:00:12,780
...than I could stop
the sun rising.
6
00:00:12,810 --> 00:00:14,61... | {"screenplay_scene_52": "<scene>\n <stage_direction>EXT. STREET/BALCONY. CONT.</stage_direction>\n <scene_description>Roxanne comes back out onto the balcony.</scene_description>\n <character>ROXANNE</character>\n <dialogue>Who's there?</dialogue>\n <character>CHRISTIAN</character>\n <dialogue>Speechl... | 7395.26 | 3995.81 | 64.11 | |
the_lighthouse_2019 | tt7984734 | NAWBxaongswf | 1
00:00:00,270 --> 00:00:03,070
He hobbles up the winding steps within the lighthouse.
2
00:00:10,950 --> 00:00:13,150
Winslow winds, the clockwork mechanism.
3
00:00:19,630 --> 00:00:21,670
Wake locks himself in the lamp room.
4
00:00:38,150 --> 00:00:42,110
Winslow curls up on his bed with the ivory Mermaid beside... | 1
00:00:01,330 --> 00:00:04,450
He struggles as he limps up the spiral staircase to the lantern
2
00:00:04,450 --> 00:00:05,650
and stops for breath.
3
00:00:08,890 --> 00:00:10,530
Winslow oils another machine
4
00:00:10,530 --> 00:00:11,650
and turns a crank.
5
00:00:14,130 --> 00:00:16,330
The old man locks hims... | 1
00:00:52,150 --> 00:00:53,360
Shit.
| 1
00:00:09,550 --> 00:00:11,660
[creaking]
2
00:00:22,640 --> 00:00:24,180
[Ephraim sighs]
3
00:00:33,570 --> 00:00:34,900
[groans]
4
00:00:52,170 --> 00:00:53,460
Shit.
5
00:00:56,430 --> 00:00:58,510
[whirring and clanking]
6
00:01:06,480 --> 00:01:08,560
[Thomas muttering in distance]
7
00:01:24,080 --> 00:01:... | {"screenplay_scene_51": "<scene>\n <stage_direction>INT. LIGHTHOUSE. MACHINE ROOM - NIGHT</stage_direction>\n <scene_description>The POUCH rests on top of the spinning clockwork. YOUNG grabs it and quickly starts to head down stairs, but... Something stops him. A feeling. A question. The clockwork spins, the ligh... | 6542.08 | 2213.57 | 128.89 |
the_lighthouse_2019 | tt7984734 | EukqflZxmxWe | 1
00:00:02,590 --> 00:00:04,390
and pumps some water into a cup.
2
00:00:09,470 --> 00:00:11,070
He dips a finger into the water
3
00:00:11,070 --> 00:00:12,110
and pours it away.
4
00:00:15,830 --> 00:00:16,750
He pumps again
5
00:00:16,750 --> 00:00:18,910
and a thick, dark liquid pours out of the tap.
6
00:00:2... | 1
00:00:05,550 --> 00:00:06,910
He cranks the water pump
2
00:00:06,910 --> 00:00:08,670
and dips his finger into the cup.
3
00:00:09,510 --> 00:00:12,510
He takes it out, coated in a shiny black substance.
4
00:00:13,270 --> 00:00:15,110
He flicks the black goo into the sink
5
00:00:15,150 --> 00:00:16,270
and cra... | 1
00:00:23,230 --> 00:00:25,320
[seagull screeches]
2
00:00:31,990 --> 00:00:34,080
[screeching continues]
3
00:00:47,340 --> 00:00:48,630
[screeching]
4
00:00:58,440 --> 00:01:00,390
[squawking]
5
00:01:04,110 --> 00:01:06,230
- [screeching]
- [grunting]
6
00:01:08,650 --> 00:01:10,740
[grunting]
7
00:01:17,830 ... | {"screenplay_scene_54": "<scene>\n <stage_direction>INT. LIVING QUARTERS. GALLEY - DAY</stage_direction>\n <scene_description>YOUNG pumps water into a cup in the sink. He drinks. Pumps again. Drinks. Goes to pump again, but something stops him... At the bottom of the cup is a dark film. He sweeps it up with a fin... | 6542.08 | 2353.95 | 132.91 | |
the_lighthouse_2019 | tt7984734 | S89NLtw4opRY | 1
00:00:47,850 --> 00:00:50,090
Tom blinks and looks away, upset.
| 1
00:00:01,080 --> 00:00:02,160
What?
2
00:00:04,460 --> 00:00:05,700
What?
3
00:00:06,340 --> 00:00:07,580
What?
4
00:00:07,670 --> 00:00:08,880
- What?
- What?
5
00:00:08,970 --> 00:00:10,080
- What?
- What?
6
00:00:10,180 --> 00:00:11,180
- What?
- What?
7
00:00:11,260 --> 00:00:12,260
- What?
- What?
8
00:00... | 1
00:00:01,070 --> 00:00:02,230
What?
2
00:00:04,440 --> 00:00:05,780
What?
3
00:00:06,320 --> 00:00:07,630
What?
4
00:00:07,660 --> 00:00:14,510
- What?
- What?
5
00:00:14,620 --> 00:00:16,610
[both repeatedly] What?
6
00:00:17,870 --> 00:00:19,410
- That's what I mean!
- What?
7
00:00:20,420 --> 00:00:22,150
Th... | {"screenplay_scene_81": "<scene>\n <stage_direction>INT. LIVING QUARTERS. BUNKROOM - LATER THAT NIGHT</stage_direction>\n <scene_description>OLD sits on Young's bed, staring out the window, fixated on the horrible STORM which is tearing the outbuildings apart. He holds A MOSTLY EMPTY BOTTLE.</scene_description>\n... | 6542.08 | 3544.70 | 227.86 | |
the_lighthouse_2019 | tt7984734 | r5jPbQoTVgQi | 1
00:00:02,980 --> 00:00:07,580
Images run through his head of the lighthouse, the Mermaid and pulling up the lobster pot,
2
00:00:07,580 --> 00:00:12,140
but an obtrusive image of the back of a fair haired man's head by floating logs disturbs him.
3
00:00:19,980 --> 00:00:24,900
As he grips the ivory Mermaid harder,... | 1
00:00:02,410 --> 00:00:04,250
the carving shakes in his hand.
2
00:00:04,250 --> 00:00:06,130
The lighthouse spins upside down.
3
00:00:06,130 --> 00:00:07,730
He masturbates furiously,
4
00:00:07,930 --> 00:00:11,050
the mermaid's lips part showing her perfect white teeth.
5
00:00:13,930 --> 00:00:15,890
The bac... | 1
00:00:41,600 --> 00:00:42,600
[grunts]
2
00:00:47,940 --> 00:00:49,970
[screaming]
3
00:01:01,570 --> 00:01:02,740
[groans]
4
00:01:07,910 --> 00:01:09,580
[gasping]
5
00:01:46,580 --> 00:01:48,690
[grunting]
6
00:01:58,510 --> 00:02:00,500
[bird squawks]
| {"screenplay_scene_88": "<scene>\n <stage_direction>INT. SUPPLY SHED - DAY</stage_direction>\n <scene_description>YOUNG IS MASTURBATING IN THE DARK. FURIOUS. ANGRY. CONFUSED. Shirt off. Oilskin hat on. Shivering. Rain pisses down through the holes in the roof. He is holding the MERMAID CARVING. Staring at it. It'... | 6542.08 | 4058.14 | 120.81 | |
the_lighthouse_2019 | tt7984734 | KO7zgxAecMT5 | 1
00:00:26,220 --> 00:00:28,460
Later, the two men are entwined.
2
00:00:28,500 --> 00:00:29,420
Slow dancing.
3
00:01:20,130 --> 00:01:22,570
They gaze at each other as if about to kiss.
4
00:01:22,570 --> 00:01:24,290
But then Winslow shoves Wake away
5
00:01:24,290 --> 00:01:25,610
and puts up his fists.
| 1
00:00:26,870 --> 00:00:29,110
Now they slow dance in each other's arms.
2
00:01:21,970 --> 00:01:23,410
They move their faces close.
3
00:01:23,410 --> 00:01:24,570
As if about to kiss.
4
00:01:25,370 --> 00:01:26,810
Winslow pushes Tom away
5
00:01:26,810 --> 00:01:28,050
and puts his dukes up.
6
00:01:34,810 -... | 1
00:00:03,200 --> 00:00:07,110
Dance! Dance, winslow! Dance!
2
00:00:12,000 --> 00:00:15,240
J come, all you boys who wish to hear
how we got up to the woods last year &
3
00:00:15,330 --> 00:00:16,810
j into the sleigh we jacked our boots j
4
00:00:16,840 --> 00:00:18,480
j our teamster pointed
to the big blue spr... | 1
00:00:03,220 --> 00:00:07,220
Dance! Dance, Winslow! Dance!
2
00:00:07,520 --> 00:00:09,220
[Thomas continues dancing]
3
00:00:10,850 --> 00:00:12,000
[grunts]
4
00:00:12,020 --> 00:00:15,360
♪ Come, all you boys who wish to hear
How we got up to the woods last year ♪
5
00:00:15,400 --> 00:00:16,840
♪ Into the sl... | {"screenplay_scene_90": "<scene>\n <stage_direction>INT. LIVING QUARTERS. GALLEY - NIGHT</stage_direction>\n <scene_description>THUNDER CLAPS.</scene_description>\n <character>OLD</character>\n <parenthetical>(singing)</parenthetical>\n <dialogue>She swung her hips, she winked her eyes, that sassy little... | 6542.08 | 4215.68 | 217.71 |
the_lighthouse_2019 | tt7984734 | ORNi7M2y7qvy | 1
00:02:17,710 --> 00:02:19,110
There's no sign of Wake.
2
00:02:48,740 --> 00:02:53,100
The imposter Howard is on the lamp room catwalk in the pouring rain.
3
00:03:02,860 --> 00:03:05,780
There's a body face down in front of him.
4
00:03:08,780 --> 00:03:09,900
But it's not Wake.
5
00:03:14,140 --> 00:03:18,740
W... | 1
00:01:44,600 --> 00:01:45,880
Tommy stares at us.
2
00:01:46,280 --> 00:01:49,000
He turns his head to the side, looking for the old Wickie.
3
00:01:59,120 --> 00:02:02,840
A wall lamp calmly fades up and down by the open bedroom door.
4
00:02:13,600 --> 00:02:18,520
Hazy light shows the vertical wooden boards tha... | 1
00:00:05,640 --> 00:00:09,010
Seein' the back of his head.
2
00:00:11,190 --> 00:00:14,020
One swipe of the cant hook'd be all.
3
00:00:15,490 --> 00:00:17,020
Uh... it was...
4
00:00:19,240 --> 00:00:20,900
I... 1 didn't...
5
00:00:22,330 --> 00:00:24,690
I didn't... I did not.
6
00:00:27,870 --> 00:00:31,210
T... | 1
00:00:05,670 --> 00:00:09,130
Seein' the back of his head.
2
00:00:11,210 --> 00:00:14,130
One swipe of the cant hook'd be all.
3
00:00:15,550 --> 00:00:17,130
Uh... It was...
4
00:00:19,260 --> 00:00:21,010
I... I didn't...
5
00:00:22,350 --> 00:00:24,810
I didn't... I did not.
6
00:00:27,900 --> 00:00:31,310
T... | {"screenplay_scene_91": "<scene>\n <stage_direction>INT. LIVING QUARTERS. BUNK ROOM - LATER, THAT SAME NIGHT</stage_direction>\n <scene_description>The CLOCK ticks monotonously. Somehow, the sounds of the storm have diminished. CLOSE ON: YOUNG looking feral-eyed. Utterly still.</scene_description>\n <character... | 6542.08 | 4465.15 | 200.99 |
the_lighthouse_2019 | tt7984734 | 6S5jURf21gSO | 1
00:00:08,950 --> 00:00:11,350
Wake comes running after him with a fire axe.
2
00:00:24,510 --> 00:00:26,230
As Wake smashes up the boat.
3
00:00:26,270 --> 00:00:27,430
Howard runs away.
4
00:00:41,470 --> 00:00:44,180
Wake chases after Howard, waving the axe.
5
00:01:01,060 --> 00:01:03,500
Wake staggers through... | 1
00:00:08,610 --> 00:00:10,490
Tom appears behind him with an axe,
2
00:00:10,490 --> 00:00:12,090
getting closer and closer.
3
00:00:18,770 --> 00:00:21,890
He swings it at the boat, splintering the stern in twain.
4
00:00:22,770 --> 00:00:24,930
Tommy runs back towards the lighthouse.
5
00:00:35,770 --> 00:00:39... | 1
00:00:15,490 --> 00:00:16,730
Don't leave me!
2
00:00:53,400 --> 00:00:56,310
You crazy son of a bitch!
You smashed up the lifeboat!
3
00:00:56,900 --> 00:00:58,980
You're abandoning your post!
4
00:01:09,290 --> 00:01:12,080
What're you gonna do?
Send for the lighthouse establishment?
5
00:01:12,170 --> 00:01:17... | 1
00:00:01,200 --> 00:00:02,740
[grunts]
2
00:00:15,550 --> 00:00:16,780
Don't leave me!
3
00:00:16,800 --> 00:00:18,920
- [foghorn blasting]
- [Thomas grunting]
4
00:00:33,480 --> 00:00:35,520
[panting heavily]
5
00:00:37,490 --> 00:00:38,980
[Thomas yells]
6
00:00:39,950 --> 00:00:41,440
[yelling]
7
00:00:43,91... | {"screenplay_scene_98": "<scene>\n <stage_direction>INT. LIVING QUARTERS. GALLEY - CONTINUOUS</stage_direction>\n <scene_description>OLD bursts in and swings the AXE at YOUNG, missing... OLD buries THE AXE deep in the kitchen table. He falls with exhaustion. They are both soaking wet.</scene_description>\n <ch... | 6542.08 | 4688.54 | 168.16 |
the_lighthouse_2019 | tt7984734 | koJhc88C9Icb | 1
00:00:23,440 --> 00:00:24,600
Howard lunges at Wake
2
00:00:24,600 --> 00:00:25,720
and tries to strangle him,
3
00:00:25,720 --> 00:00:27,520
but the old man puts up a fight.
4
00:00:37,680 --> 00:00:38,680
Howard kicks Wake
5
00:00:38,680 --> 00:00:39,920
and he falls to the floor.
6
00:00:46,440 --> 00:00:48,... | 1
00:00:21,830 --> 00:00:23,710
They grab one another around the throats
2
00:00:23,710 --> 00:00:26,110
and gurn into each other's faces as they wrestle.
3
00:00:33,390 --> 00:00:35,150
Tom pushes at Tommy's face.
4
00:00:35,150 --> 00:00:36,510
He kicks him in the crotch.
5
00:00:37,630 --> 00:00:38,830
Tom falls... | 1
00:00:02,040 --> 00:00:07,630
'Twas ye what changed the wind on us.
"Twas ye what damned us, dog. 'Twas ye!"
2
00:00:08,050 --> 00:00:12,040
Will y'do what y'wish
y'done to oi' winslow?
3
00:00:12,130 --> 00:00:15,340
Will ye best me then?
For winslow were right.
4
00:00:15,430 --> 00:00:20,550
Thomas, you're a do... | 1
00:00:02,020 --> 00:00:07,690
'Twas ye what changed the wind on us.
'Twas ye what damned us, dog. 'Twas ye!
2
00:00:08,030 --> 00:00:12,090
Will y'do what y'wish
y'done to Ol' Winslow?
3
00:00:12,120 --> 00:00:15,390
Will ye best me then?
For Winslow were right.
4
00:00:15,410 --> 00:00:20,620
Thomas, you're a dog... | {"screenplay_scene_106": "<scene>\n <stage_direction>INT. LIVING QUARTERS. GALLEY - MOMENTS LATER</stage_direction>\n <scene_description>OLD sits within a heap of trash. He's wearing only his sweaty, baggy, mostly unbuttoned union suit. And his hat. He smokes his PIPE... It goes out.</scene_description>\n <cha... | 6542.08 | 5552.67 | 185.44 |
the_lighthouse_2019 | tt7984734 | AHMTTu0I5BPG | 1
00:00:10,320 --> 00:00:14,160
Wake falls into the hole that the crate was dug from at the foot of the tower.
2
00:01:54,030 --> 00:01:55,550
Wake is covered with earth.
3
00:02:12,070 --> 00:02:13,870
Howard jumps into the makeshift grave
4
00:02:13,870 --> 00:02:15,830
and claws away the earth with his hands.
5
... | 1
00:00:11,600 --> 00:00:14,800
Tom tumbles into the hole where they dug up the crate of bottles.
2
00:00:21,240 --> 00:00:23,520
Tommy starts shovelling dirt over Tom.
3
00:00:26,660 --> 00:00:28,660
He flings the earth over the old man.
4
00:00:29,180 --> 00:00:31,100
It begins to fill his mouth and eyes.
5
00:01... | 1
00:00:00,210 --> 00:00:02,700
Good boy. Good boy.
2
00:00:04,340 --> 00:00:06,330
Now you get in there, where you belong.
3
00:00:08,550 --> 00:00:10,040
You do as I say, dog.
4
00:00:15,270 --> 00:00:16,630
There's my good lad.
5
00:00:31,700 --> 00:00:35,280
Ye wish to see
what's in the lantern?
6
00:00:37,040... | 1
00:00:00,230 --> 00:00:02,770
Good boy. Good boy.
2
00:00:04,320 --> 00:00:06,400
Now you get in there, where you belong.
3
00:00:08,530 --> 00:00:10,120
You do as I say, dog.
4
00:00:15,250 --> 00:00:16,740
There's my good lad.
5
00:00:24,630 --> 00:00:26,000
[Thomas groaning]
6
00:00:31,680 --> 00:00:35,350
[T... | {"screenplay_scene_107": "<scene>\n <stage_direction>EXT. PILOT ROCK. NEAR THE HOLE - AFTERNOON</stage_direction>\n <scene_description>The storm has ended. YOUNG walks OLD on a leash, well, a belt around his neck. OLD crawls on all fours.</scene_description>\n <character>YOUNG</character>\n <dialogue>Good b... | 6542.08 | 5814.72 | 222.05 |
the_lighthouse_2019 | tt7984734 | QDV9yRKz1MUW | 1
00:00:01,210 --> 00:00:03,850
the brighter the glow seeping through the iron grate floor.
2
00:00:07,210 --> 00:00:09,410
He slips the key into the lock of the hatch door
3
00:00:09,410 --> 00:00:10,210
and turns it.
4
00:00:21,610 --> 00:00:23,290
He pushes open the hatch door.
5
00:00:31,210 --> 00:00:33,650
Th... | 1
00:00:02,810 --> 00:00:04,490
he wearily inches on.
2
00:00:12,330 --> 00:00:14,090
He reaches for the lock with the key,
3
00:00:14,730 --> 00:00:15,410
turns it,
4
00:00:15,410 --> 00:00:16,930
and opens the metal grate.
5
00:00:16,970 --> 00:00:17,410
Hatch.
6
00:00:20,290 --> 00:00:21,970
Inside the domed cu... | 1
00:01:46,500 --> 00:01:48,590
[crackling noises]
2
00:02:07,810 --> 00:02:09,900
[inaudible]
3
00:02:11,360 --> 00:02:13,440
[distorted laughter]
4
00:02:15,910 --> 00:02:17,990
[distorted screaming]
5
00:02:31,380 --> 00:02:33,460
[grunting]
6
00:02:42,180 --> 00:02:44,270
[chains clinking softly]
7
00:02:59,1... | {"screenplay_scene_113": "<scene>\n <stage_direction>INT. LIGHTHOUSE. LANTERN ROOM - NIGHT</stage_direction>\n <scene_description>YOUNG looks ahead... There it is: THE FRESNEL LENS. It is a massive, six-foot-tall jewel of indescribable beauty. It seems to sing... He walks toward it... Pause. He marvels at it. Slo... | 6542.08 | 6135.71 | 201.46 | |
1191742_changeling | tt0824747 | 6HEYYm11BcfE | 1
00:00:54,140 --> 00:00:58,780
Men seated to the side of the pastor in front of the congregation join in the applause.
| 1
00:00:02,300 --> 00:00:06,830
Our thoughts go out
again today to Mrs. Christine Collins
2
00:00:06,910 --> 00:00:08,340
of Lincoln Heights,
3
00:00:08,410 --> 00:00:10,570
whose young son,
Walter Collins,
4
00:00:10,650 --> 00:00:13,170
disappeared
nearly two weeks ago.
5
00:00:14,250 --> 00:00:17,710
Though she ... | 1
00:00:02,300 --> 00:00:06,830
BRIEGLEB: Our thoughts go out
again today to Mrs. Christine Collins
2
00:00:06,900 --> 00:00:08,340
of Lincoln Heights,
3
00:00:08,410 --> 00:00:10,570
whose young son,
Walter Collins,
4
00:00:10,640 --> 00:00:13,170
disappeared
nearly two weeks ago.
5
00:00:14,240 --> 00:00:17,700
T... | {"screenplay_scene_30": "<scene>\n <stage_direction>EXT. ST. PAUL'S PRESBYTERIAN CHURCH - DAY</stage_direction>\n <scene_description>Located at 5100 Coliseum Street</scene_description>\n <character>REV. BRIEGLEB</character>\n <parenthetical>( V.O . )</parenthetical>\n <dialogue>- whose young son, Walter ... | 8506.78 | 832.96 | 105.63 | |
1191742_changeling | tt0824747 | L4QlTSUxJsBM | 1
00:00:00,750 --> 00:00:04,590
Now, at Pacific Telephone, Christine skates to the brunette operator
2
00:00:04,590 --> 00:00:07,430
and takes a slip from her Christine.
3
00:00:14,510 --> 00:00:17,070
Christine ice Harris through windows in his office,
4
00:00:17,070 --> 00:00:20,550
talking to Police, she skates t... | 1
00:00:00,290 --> 00:00:03,170
I'm at the telephone exchange.
2
00:00:03,170 --> 00:00:05,050
Christine skates over to Sandy.
3
00:00:13,730 --> 00:00:17,980
Christine sees a suited man and two uniformed cops talking to Mr. Harris in his office.
4
00:00:18,650 --> 00:00:20,360
She stares at them through the glass.
... | 1
00:00:01,880 --> 00:00:03,610
You have
a nice day, too.
2
00:00:06,950 --> 00:00:09,110
Christine, I'm having trouble
with the connection here.
3
00:00:09,190 --> 00:00:11,050
I can't seem
to get through.
4
00:00:11,120 --> 00:00:13,520
I think so.
Yeah, I think that's better.
5
00:00:16,930 --> 00:00:19,900
You ... | 1
00:00:01,870 --> 00:00:03,600
WOMAN 1: You have
a nice day, too.
2
00:00:06,940 --> 00:00:09,110
Christine, I'm having trouble
with the connection here.
3
00:00:09,180 --> 00:00:11,050
I can't seem
to get through.
4
00:00:11,120 --> 00:00:13,520
I think so.
Yeah, I think that's better.
5
00:00:16,920 --> 00:00:19... | {"screenplay_scene_44": "<scene>\n <stage_direction>INT. PACIFIC TELEPHONE COMPANY - SWITCHBOARD ROOM - DAY</stage_direction>\n <scene_description>As before , Christine hurries from one station to another , lost in the barely - managed chaos . She stops at one station , glancing over papers , then looks over at -... | 8506.78 | 1113.60 | 91.86 |
1191742_changeling | tt0824747 | BR5nk0LhnV5V | 1
00:00:06,240 --> 00:00:10,160
She runs toward the boy from the Diner, accompanied by a Police Matron.
2
00:00:10,920 --> 00:00:13,360
Christine stops and stares with wide eyes.
3
00:00:13,680 --> 00:00:15,360
Jones jogs up beside her.
4
00:00:20,160 --> 00:00:22,440
The Matron smile turns to a frown.
5
00:00:41,8... | 1
00:00:01,420 --> 00:00:03,460
A woman dressed in black stands up ahead.
2
00:00:03,920 --> 00:00:05,590
She helps a boy off the train.
3
00:00:05,880 --> 00:00:10,850
He wears dark grey trousers and jacket, a white shirt, a bow tie and a peaked cap.
4
00:00:11,220 --> 00:00:12,140
As Jones runs up
5
00:00:12,140 ... | 1
00:00:15,530 --> 00:00:18,520
Well, aren't you...
Aren't you gonna...
2
00:00:18,600 --> 00:00:19,860
That's not my son.
3
00:00:23,140 --> 00:00:24,300
What?
4
00:00:25,540 --> 00:00:26,870
What are you saying?
5
00:00:27,140 --> 00:00:28,940
It's not my son.
6
00:00:29,010 --> 00:00:31,380
Well, I'm sure
you'r... | 1
00:00:15,530 --> 00:00:18,520
Well, aren't you...
Aren't you gonna...
2
00:00:18,600 --> 00:00:19,860
That's not my son.
3
00:00:23,140 --> 00:00:24,300
What?
4
00:00:25,540 --> 00:00:26,870
What are you saying?
5
00:00:27,140 --> 00:00:28,940
It's not my son.
6
00:00:29,010 --> 00:00:31,370
JONES: Well, I'm sur... | {"screenplay_scene_47": "<scene>\n <stage_direction>INT. UNION STATION - TRAIN PLATFORM - DAY</stage_direction>\n <scene_description>We HEAR the same train whistle from this side as Christine and Jones come to the ramp , POLICE CHIEF DAVIS is waiting . The reporters are held back at the entrance to the platform .... | 8506.78 | 1304.42 | 132.61 |
1191742_changeling | tt0824747 | Tyj2YEuE3KqB | 1
00:00:20,410 --> 00:00:21,930
The boy steps into the room.
2
00:00:57,330 --> 00:00:58,850
Tarr steps close to her.
3
00:01:11,900 --> 00:01:13,580
The three walk to the door frame.
4
00:01:15,900 --> 00:01:17,420
The boy stands under the mark
5
00:01:17,420 --> 00:01:18,860
and she removes his hat.
6
00:01:40,4... | 1
00:00:20,630 --> 00:00:22,210
The boy walks into the living room.
2
00:01:11,940 --> 00:01:13,780
She takes the boy to the door frame.
3
00:01:40,530 --> 00:01:42,070
She glares at Doctor Tarr.
4
00:02:02,680 --> 00:02:03,640
She frowns.
5
00:02:56,290 --> 00:02:58,090
She stares anxiously at the boy.
6
00:02:58... | 1
00:00:02,260 --> 00:00:03,290
- Mrs. Collins?
- Yes?
2
00:00:03,360 --> 00:00:04,990
Dr. Earl W. Tarr.
3
00:00:05,070 --> 00:00:06,090
Captain Jones sent me.
4
00:00:06,170 --> 00:00:08,600
I consult with him from time
to time on juvenile cases.
5
00:00:08,670 --> 00:00:10,030
May I come in?
6
00:00:10,340 --> 0... | 1
00:00:02,260 --> 00:00:03,280
- Mrs. Collins?
- Yes?
2
00:00:03,360 --> 00:00:04,990
Dr. Earl W. Tarr.
3
00:00:05,060 --> 00:00:06,080
Captain Jones sent me.
4
00:00:06,160 --> 00:00:08,600
I consult with him from time
to time on juvenile cases.
5
00:00:08,660 --> 00:00:10,030
May I come in?
6
00:00:10,330 --> 0... | {"screenplay_scene_55": "<scene>\n <stage_direction>INT. COLLINS HOME - DAY</stage_direction>\n <scene_description>Christine is cooking dinner when the doorbell rings . She opens the door to find a police officer and DR. EARL W. TARR , sixties , mildly eccentric in appearance .</scene_description>\n <character... | 8506.78 | 1798.40 | 192.61 |
1191742_changeling | tt0824747 | tUkP53GqD9oD | 1
00:00:56,600 --> 00:00:57,960
She hangs up the receiver
2
00:00:57,960 --> 00:00:59,520
and puts her hand to her mouth,
3
00:00:59,520 --> 00:01:01,040
then knows as she sobs.
4
00:01:01,680 --> 00:01:03,760
The boy looks at her from a dining table.
5
00:01:09,960 --> 00:01:11,400
He gets up from his chair
6
00:... | 1
00:00:57,200 --> 00:00:57,870
She hangs up
2
00:00:57,870 --> 00:00:59,660
and wipes her hand across her nose.
3
00:01:00,620 --> 00:01:02,160
The boy is sitting at the table.
4
00:01:02,580 --> 00:01:03,580
He turns to her.
5
00:01:12,800 --> 00:01:13,390
He gets up
6
00:01:13,390 --> 00:01:14,260
and walks awa... | 1
00:00:00,500 --> 00:00:02,620
It is absolutely outrageous!
2
00:00:02,700 --> 00:00:05,600
Calm yourself, calm yourself
and just listen to me.
3
00:00:05,670 --> 00:00:09,730
No, no, no.
No, you listen to me, please.
4
00:00:10,410 --> 00:00:14,280
This so called doctor paraded
me around my own neighborhood,
5
00... | 1
00:00:00,490 --> 00:00:02,620
CHRISTINE: It is
absolutely outrageous!
2
00:00:02,690 --> 00:00:05,600
Calm yourself, calm yourself
and just listen to me.
3
00:00:05,660 --> 00:00:09,730
No, no, no.
No, you listen to me, please.
4
00:00:10,400 --> 00:00:14,270
This so called doctor paraded
me around my own neighbor... | {"screenplay_scene_58": "<scene>\n <stage_direction>INT. COLLINS HOME - KITCHEN - DAY</stage_direction>\n <scene_description>She is on the phone , `` Walter '' finishing up his dinner in BG .</scene_description>\n <character>CHRISTINE</character>\n <dialogue>Captain, I. no, listen to me, this so - called do... | 8506.78 | 1991.46 | 126.27 |
1191742_changeling | tt0824747 | iKQnrlfNdUMA | 1
00:00:00,890 --> 00:00:03,650
The Matron and an Officer approach his office door.
2
00:00:10,290 --> 00:00:11,970
The officer restrains Christine
3
00:00:11,970 --> 00:00:13,330
as the Matron cuffs her.
4
00:00:35,420 --> 00:00:37,060
They walk her out of the office.
5
00:00:41,380 --> 00:00:44,780
The officer ta... | 1
00:00:00,740 --> 00:00:02,030
The middle aged woman walks up
2
00:00:02,030 --> 00:00:03,580
and Jones faces Christine.
3
00:00:09,960 --> 00:00:12,800
Morelli holds Christine as the Matron handcuffs her.
4
00:00:35,780 --> 00:00:38,160
They take the terrified Christine away.
5
00:00:40,000 --> 00:00:45,420
Jones... | 1
00:00:00,010 --> 00:00:01,210
Matron.
2
00:00:04,720 --> 00:00:09,090
Mrs. Collins, you still insist that
the boy out there is not your son?
3
00:00:09,160 --> 00:00:10,490
Yes, I do.
4
00:00:13,990 --> 00:00:15,290
- Please, don't struggle.
- What?
5
00:00:15,360 --> 00:00:16,570
- No!
- You'll only hurt yoursel... | 1
00:00:00,010 --> 00:00:01,200
Matron.
2
00:00:04,710 --> 00:00:09,080
Mrs. Collins, you still insist that
the boy out there is not your son?
3
00:00:09,150 --> 00:00:10,480
Yes, I do.
4
00:00:13,990 --> 00:00:15,290
- Please, don't struggle.
- What?
5
00:00:15,360 --> 00:00:16,570
- No!
- You'll only hurt yoursel... | {"screenplay_scene_83": "<scene>\n <stage_direction>INT. LA COUNTY GENERAL HOSPITAL - RECEIVING AREA - DAY</stage_direction>\n <scene_description>A sterile , dreary , white - on - white place where in the background , we can HEAR the sounds of the insane crying out . The matron leads a stunned Christine to the fr... | 8506.78 | 2833.28 | 108.74 |
1191742_changeling | tt0824747 | ud_rPt5nUYbO | 1
00:00:16,720 --> 00:00:18,680
He takes a drag on his cigarette.
2
00:00:22,640 --> 00:00:24,680
Sanford looks down and cries.
| 1
00:00:16,470 --> 00:00:18,260
Ybarra puffs on his cigarette.
2
00:00:22,060 --> 00:00:23,480
Arms folded in front of him.
3
00:00:23,480 --> 00:00:24,730
Sanford takes a deep breath
4
00:00:24,730 --> 00:00:25,480
and looks down,
5
00:00:25,480 --> 00:00:26,570
shaking his head.
6
00:00:55,560 --> 00:00:58,020
Y... | 1
00:00:00,760 --> 00:00:04,060
He said that if I tried
to leave, he'd kill me.
2
00:00:04,130 --> 00:00:07,160
Look, you don't understand
what he's like,
3
00:00:07,230 --> 00:00:10,570
what he... What we did,
what he made me do.
4
00:00:13,070 --> 00:00:14,540
All right.
5
00:00:14,610 --> 00:00:17,040
Let's star... | 1
00:00:00,760 --> 00:00:04,050
He said that if I tried
to leave, he'd kill me.
2
00:00:04,130 --> 00:00:07,150
Look, you don't understand
what he's like,
3
00:00:07,230 --> 00:00:10,560
what he... What we did,
what he made me do.
4
00:00:13,070 --> 00:00:14,530
All right.
5
00:00:14,600 --> 00:00:17,040
Let's star... | {"screenplay_scene_108": "<scene>\n <stage_direction>INT. INTERROGATION ROOM - MOMENTS LATER</stage_direction>\n <scene_description>A single table , two chairs . Sanford sits quietly , nervously , as Ybarra hangs his wet coat up on a hook .</scene_description>\n <character>YBARRA</character>\n <dialogue>It'... | 8506.78 | 4042.98 | 110.13 |
1191742_changeling | tt0824747 | tjgGUophpFFo | 1
00:00:04,960 --> 00:00:07,160
He places his hand on Sanford's arm.
2
00:00:21,160 --> 00:00:22,120
Ybarra stands,
3
00:00:22,120 --> 00:00:22,920
grabs photos
4
00:00:22,920 --> 00:00:24,160
and sits back down.
5
00:00:29,880 --> 00:00:31,640
He puts them in front of Sanford.
6
00:00:36,280 --> 00:00:37,840
Sanf... | 1
00:00:21,160 --> 00:00:22,660
He gets some photographs.
2
00:00:28,670 --> 00:00:31,300
He puts the small pile of photographs in front of Sanford,
3
00:00:31,300 --> 00:00:32,180
who picks them up.
4
00:00:35,760 --> 00:00:38,390
Sanford slaps the first picture down, face up.
5
00:00:43,150 --> 00:00:44,780
The n... | 1
00:00:00,960 --> 00:00:01,990
Hey.
2
00:00:02,070 --> 00:00:03,090
Hey.
3
00:00:03,170 --> 00:00:04,260
What?
4
00:00:04,330 --> 00:00:05,700
Look at me.
5
00:00:07,270 --> 00:00:08,640
These kids.
6
00:00:09,110 --> 00:00:14,040
You think if you saw them again, you
think you might be able to recognize them?
7
... | 1
00:00:00,960 --> 00:00:01,980
Hey.
2
00:00:02,060 --> 00:00:03,080
Hey.
3
00:00:03,160 --> 00:00:04,250
What?
4
00:00:04,330 --> 00:00:05,690
Look at me.
5
00:00:07,270 --> 00:00:08,630
These kids.
6
00:00:09,100 --> 00:00:14,040
You think if you saw them again, you
think you might be able to recognize them?
7
... | {"screenplay_scene_111": "<scene>\n <stage_direction>EXT. NORTHCOTT RANCH - CHICKEN COOP - NIGHT</stage_direction>\n <scene_description>The boy , crying , is tossed into the chicken coop . There are two other boys there , also crying and screaming .</scene_description>\n <character>SANFORD</character>\n <pa... | 8506.78 | 4331.36 | 120.63 |
1191742_changeling | tt0824747 | xQRpWCJUZw5K | 1
00:00:14,770 --> 00:00:15,890
The orderly grabs her
2
00:00:15,890 --> 00:00:17,370
and pulls her down the hall.
3
00:00:21,500 --> 00:00:22,460
She breaks free.
4
00:00:22,740 --> 00:00:24,500
Orderlies and nurses surround her.
5
00:00:24,820 --> 00:00:26,540
Orderlies restrain her on the floor
6
00:00:26,580 -... | 1
00:00:21,310 --> 00:00:23,640
Several orderlies wrestle Christine to the ground.
2
00:00:27,650 --> 00:00:29,820
As the nurse forces a pill into Christine's mouth,
3
00:00:29,820 --> 00:00:30,860
Carol marches up.
4
00:00:32,450 --> 00:00:33,820
Orderlies hold Carol back,
5
00:00:33,820 --> 00:00:35,490
and Docto... | 1
00:00:01,750 --> 00:00:05,810
Yes, I'm, yes... I'm not signing
that, because he's not my son!
2
00:00:05,890 --> 00:00:06,910
Orderly!
3
00:00:06,990 --> 00:00:08,390
- He's not my son!
- Orderly!
4
00:00:08,460 --> 00:00:09,860
My son is missing!
5
00:00:09,930 --> 00:00:12,420
- The patient is becoming hysteric... | 1
00:00:01,750 --> 00:00:05,810
Yes, I'm, yes... I'm not signing
that, because he's not my son!
2
00:00:05,880 --> 00:00:06,910
Orderly!
3
00:00:06,990 --> 00:00:08,380
- He's not my son!
- Orderly!
4
00:00:08,450 --> 00:00:09,850
My son is missing!
5
00:00:09,920 --> 00:00:12,410
- The patient is becoming hysteric... | {"screenplay_scene_114": "<scene>\n <stage_direction>INT. HOSPITAL - MENTAL WARD - DAY ROOM - AFTERNOON</stage_direction>\n <scene_description>Patients are being corralled into a line that extends to a barred window where a nurse is dispensing pills .</scene_description>\n <character>VOICE ON PA</character>\n ... | 8506.78 | 4642.53 | 118.17 |
1191742_changeling | tt0824747 | LOogrigmL3zc | 1
00:00:05,400 --> 00:00:06,680
Sanford takes off his coat
2
00:00:06,680 --> 00:00:08,170
and throws it to the ground.
3
00:00:08,770 --> 00:00:10,330
He begins digging with the shovel.
4
00:00:10,370 --> 00:00:12,010
As the detectives look on.
5
00:00:16,650 --> 00:00:18,810
Ybarra stands with his hands on his hi... | 1
00:00:02,730 --> 00:00:04,530
Sanford looks down at the ground.
2
00:00:04,860 --> 00:00:05,950
He throws off his jacket
3
00:00:05,950 --> 00:00:08,320
and digs the shovel into the loose brown earth
4
00:00:09,330 --> 00:00:12,040
as he digs, a cloud of dust blows through the air.
5
00:00:19,340 --> 00:00:20,590... | 1
00:00:45,820 --> 00:00:47,150
My God.
2
00:00:49,360 --> 00:00:50,830
Oh, my God.
3
00:01:04,370 --> 00:01:05,740
Call it in.
4
00:01:06,280 --> 00:01:07,420
Get the coroner
and every officer
5
00:01:07,440 --> 00:01:09,640
in a 20-mile radius here
inside the hour.
6
00:01:09,710 --> 00:01:13,010
Then put out an... | 1
00:00:15,620 --> 00:00:16,710
(GRUNTING)
2
00:00:45,820 --> 00:00:47,150
My God.
3
00:00:49,350 --> 00:00:50,820
Oh, my God.
4
00:00:56,090 --> 00:00:57,250
(PANTING)
5
00:01:04,370 --> 00:01:05,730
Call it in.
6
00:01:06,270 --> 00:01:07,420
Get the coroner
and every officer
7
00:01:07,440 --> 00:01:09,630
in ... | null | 8506.78 | 5003.33 | 120.51 |
1191742_changeling | tt0824747 | sF6Ya7inwS45 | 1
00:00:03,600 --> 00:00:05,320
Gordon throws David in the Coop.
2
00:00:09,680 --> 00:00:10,640
David nods.
3
00:01:25,010 --> 00:01:27,170
Walter and Jeffrey run from the coop.
4
00:01:33,090 --> 00:01:34,290
Walter runs back to help.
5
00:01:34,290 --> 00:01:34,890
David.
6
00:01:34,930 --> 00:01:36,810
A light... | 1
00:00:09,520 --> 00:00:10,480
The boy nods.
2
00:01:34,670 --> 00:01:36,340
Walter runs back to help David.
3
00:01:40,590 --> 00:01:42,100
A light comes on outside.
4
00:01:45,890 --> 00:01:47,810
The two boys run from the farmhouse
5
00:01:47,810 --> 00:01:49,150
as the front door opens.
6
00:01:53,190 --> 00:... | 1
00:00:02,110 --> 00:00:03,480
I know you'll make
him feel... Hey!
2
00:00:04,650 --> 00:00:07,980
No. No! Hey! Shut up!
3
00:00:08,050 --> 00:00:09,950
Did you speak to them?
4
00:00:10,720 --> 00:00:13,320
Yeah? You remember
any of their names?
5
00:00:14,190 --> 00:00:16,160
Yeah.
6
00:00:16,230 --> 00:00:17,6... | 1
00:00:02,110 --> 00:00:03,470
I know you'll make
him feel... Hey!
2
00:00:03,540 --> 00:00:04,570
(BOYS SHOUTING)
3
00:00:04,640 --> 00:00:07,980
(SHOUTING) No. No! Hey! Shut up!
4
00:00:08,050 --> 00:00:09,950
Did you speak to them?
5
00:00:10,720 --> 00:00:13,310
Yeah? You remember
any of their names?
6
00:00:... | {"screenplay_scene_184": "<scene>\n <stage_direction>EXT. NORTHCOTT RANCH - FLASHBACK - NIGHT</stage_direction>\n <scene_description>David is shoved into the chicken coop . Several other BOYS are already there , scared , crying . They lunge at the door , trying to get out , but it slams shut in their faces . They... | 8506.78 | 7758.11 | 132.96 |
1191742_changeling | tt0824747 | NZoW25mK7MMG | 1
00:00:06,340 --> 00:00:08,060
They begin descending the steps.
2
00:00:10,900 --> 00:00:12,140
Christine stops.
3
00:00:54,240 --> 00:00:56,640
She smiles and walks down the steps.
4
00:00:59,160 --> 00:01:00,640
She looks back at Ybarra.
5
00:01:00,920 --> 00:01:03,080
He tips his hat to her and smiles.
6
00:01... | 1
00:00:53,220 --> 00:00:56,810
Christine smiles up at Ybarra, who stands on a higher step than hers.
2
00:00:57,270 --> 00:00:59,020
She walks down to street level,
3
00:00:59,020 --> 00:00:59,390
stops
4
00:00:59,390 --> 00:01:00,730
and turns back to face him.
5
00:01:01,270 --> 00:01:02,900
He touches the brim ... | 1
00:00:01,360 --> 00:00:03,120
I still can't believe it.
2
00:00:03,190 --> 00:00:07,100
Five years, case closed, everyone
thinks he's dead, and there he is.
3
00:00:08,600 --> 00:00:11,360
Wouldn't be, if it
wasn't for Walter.
4
00:00:13,040 --> 00:00:15,600
Your son did a brave
thing, Mrs. Collins.
5
00:00:15,67... | 1
00:00:01,350 --> 00:00:03,120
I still can't believe it.
2
00:00:03,190 --> 00:00:07,090
Five years, case closed, everyone
thinks he's dead, and there he is.
3
00:00:08,590 --> 00:00:11,360
Wouldn't be, if it
wasn't for Walter.
4
00:00:13,030 --> 00:00:15,590
Your son did a brave
thing, Mrs. Collins.
5
00:00:15,67... | {"screenplay_scene_189": "<scene>\n <stage_direction>EXT. POLICE STATION - NIGHT</stage_direction>\n <scene_description>Christine and Ybarra watch as Mr. and Mrs. Clay lead their son into their car . As they drive off , Christine finally breaks the silence .</scene_description>\n <character>YBARRA</character>\... | 8506.78 | 8075.58 | 79.51 |
star_trek_generations | tt0111280 | _zZOGpGhpdcw | 1
00:00:02,550 --> 00:00:04,190
Data types at his console
2
00:00:04,190 --> 00:00:06,190
and the lines of text disappear.
3
00:00:06,550 --> 00:00:09,310
A target on the stellar map indicates a location.
4
00:00:09,670 --> 00:00:11,070
Data zooms in on it.
5
00:00:18,310 --> 00:00:19,510
Data shakes his head.
6
0... | 1
00:00:04,740 --> 00:00:08,630
A war screen shows a detailed section of the ribbon's location.
2
00:00:18,040 --> 00:00:20,260
Data is struggling with his emotions.
3
00:01:47,950 --> 00:01:50,040
The star was located near the ribbon.
4
00:02:04,010 --> 00:02:05,680
The trajectory changes.
| 1
00:00:12,210 --> 00:00:16,050
- This is its current position.
- Can you project its course?
2
00:00:21,260 --> 00:00:22,720
Captain.
3
00:00:26,890 --> 00:00:31,350
I cannot continue with this investigation.
I wish to be deactivated
4
00:00:31,440 --> 00:00:34,360
until Dr. Crusher can remove
the emotion chip.
5
... | 1
00:00:12,210 --> 00:00:16,040
- DATA: This is its current position.
- Can you project its course?
2
00:00:21,260 --> 00:00:22,720
Captain.
3
00:00:26,890 --> 00:00:31,350
I cannot continue with this investigation.
I wish to be deactivated
4
00:00:31,430 --> 00:00:34,350
until Dr. Crusher can remove
the emotion chi... | {"screenplay_scene_64": "<scene>\n <stage_direction>INT. STELLAR CARTOGRAPHY (VFX-P)</stage_direction>\n <scene_description>A room filled with exotic - looking devices , sensors and computers which handle the enormous task of tracking the ship 's position in space . The monitors around the room display various di... | 7093.28 | 3240.26 | 130.50 |
star_trek_generations | tt0111280 | j9nZ0no81yFL | 1
00:00:05,360 --> 00:00:08,800
He looks up toward Sauron, who works on a higher platform.
2
00:00:24,640 --> 00:00:26,440
A probe launcher on the platform.
3
00:00:26,440 --> 00:00:27,360
Decloaks
4
00:00:27,360 --> 00:00:30,160
and Sauron ascends its steps to its console.
5
00:00:41,040 --> 00:00:43,520
Sauron lo... | 1
00:00:01,700 --> 00:00:04,920
and watches Soran make preparations on the launch pad.
2
00:00:26,870 --> 00:00:29,590
Soran Decloaks a solar probe launcher.
3
00:00:46,660 --> 00:00:48,500
Soran hesitates for a moment.
| 1
00:00:10,070 --> 00:00:12,410
You don't have to do this, Soran.
2
00:00:12,830 --> 00:00:16,660
I'm sure we can find another way
of getting you into this Nexus.
3
00:00:17,330 --> 00:00:20,750
I've spent 80 years
looking for another way.
4
00:00:21,750 --> 00:00:24,670
Believe me, this is the only one.
5
00:00:31... | 1
00:00:10,070 --> 00:00:12,410
You don't have to do this, Soran.
2
00:00:12,820 --> 00:00:16,660
I'm sure we can find another way
of getting you into this Nexus.
3
00:00:17,330 --> 00:00:20,750
I've spent 80 years
looking for another way.
4
00:00:21,750 --> 00:00:24,670
Believe me, this is the only one.
5
00:00:31... | {"screenplay_scene_76": "<scene>\n <stage_direction>EXT. MOUNTAINTOP - DAY</stage_direction>\n <scene_description>Soran is working intently on the Launcher 's Control Panel . Picard is still walking the perimeter of the Forcefield . he 's also still trying to engage Soran , find some way to get to him .</scene_de... | 7093.28 | 3846.91 | 129.41 |
star_trek_generations | tt0111280 | iTGNAS4K4w17 | 1
00:00:00,280 --> 00:00:02,120
Picard steps into his path
2
00:00:02,120 --> 00:00:03,480
and lunges at Soran.
3
00:00:03,480 --> 00:00:07,360
Before he can fire his phaser, Picard grabs Sauron's arm
4
00:00:07,360 --> 00:00:09,600
and bashes it against the walkway railing.
5
00:00:09,920 --> 00:00:11,480
Sauron d... | 1
00:00:01,270 --> 00:00:02,440
It's Picard.
2
00:00:03,140 --> 00:00:05,440
Soran goes for his disruptor pistol,
3
00:00:05,440 --> 00:00:11,170
but Picard lunges and slams Saurons arm against the railing, causing him to drop the weapon.
4
00:00:13,430 --> 00:00:15,480
Soran knocks Picard onto his back,
5
00:00:15... | 1
00:00:07,060 --> 00:00:08,810
(BOTH GRUNTING)
2
00:00:11,770 --> 00:00:13,140
(GROANING)
3
00:00:31,620 --> 00:00:33,000
(RUMBLING)
4
00:01:31,470 --> 00:01:32,720
(GASPS IN ANTICIPATION)
| {"screenplay_scene_119": "<scene>\n <stage_direction>EXT. MOUNTAINTOP - DAY</stage_direction>\n <scene_description>Soran is climbing up the scaffolding . He gets a couple of levels up , and then suddenly a BOOT kicks him in the face . Picard has made it inside the field . A quick fight ensues , during which Picar... | 7093.28 | 4805.63 | 128.06 | |
star_trek_generations | tt0111280 | BUhU2QOfFS4t | 1
00:00:00,870 --> 00:00:02,150
and slows to a stop.
2
00:00:02,510 --> 00:00:04,230
Kirk points toward the gorge.
3
00:00:10,830 --> 00:00:12,830
Kirk wears a thoughtful expression.
4
00:00:14,590 --> 00:00:16,230
He gazes off solemnly,
5
00:00:16,230 --> 00:00:18,630
then spots a woman on horseback on a hill.
6
... | 1
00:00:15,830 --> 00:00:18,260
A woman on horseback is on the horizon.
2
00:00:47,580 --> 00:00:50,420
Kirk makes his horse sidestep up to Picard.
3
00:01:23,280 --> 00:01:24,450
Kirk considers,
4
00:01:24,830 --> 00:01:27,420
then manoeuvres his horse round to face Picard.
5
00:02:03,000 --> 00:02:06,140
Captain ... | 1
00:00:04,830 --> 00:00:08,500
I must have jumped that 50 times.
Scared the hell out of me each time.
2
00:00:09,330 --> 00:00:11,000
Except this time.
3
00:00:12,840 --> 00:00:14,710
Because it isn't real.
4
00:00:19,180 --> 00:00:20,510
Antonia.
5
00:00:21,600 --> 00:00:23,390
She isn't real either, is she?
6
0... | 1
00:00:04,830 --> 00:00:08,500
I must have jumped that 50 times.
Scared the hell out of me each time.
2
00:00:09,330 --> 00:00:11,000
Except this time.
3
00:00:12,830 --> 00:00:14,710
Because it isn't real.
4
00:00:15,840 --> 00:00:17,340
(HORSE NEIGHS)
5
00:00:19,170 --> 00:00:20,510
Antonia.
6
00:00:21,590 --> ... | {"screenplay_scene_125": "<scene>\n <stage_direction>EXT. COUNTRYSIDE - DAY (VFX-P)</stage_direction>\n <scene_description>Kirk is riding his horse hard over the countryside - and across a stream . through a thicket of trees . and finally out onto a rolling plain . There is a large RAVINE up ahead . Kirk sees it ... | 7093.28 | 5849.57 | 133.40 |
star_trek_generations | tt0111280 | yIDmIlVwgv9E | 1
00:00:03,120 --> 00:00:05,960
Sauron looks up to find Kirk smiling at him.
2
00:00:10,440 --> 00:00:11,560
Sauron turns.
3
00:00:13,400 --> 00:00:15,280
He looks between the two captains,
4
00:00:15,280 --> 00:00:17,080
then ducks under the walkway railing
5
00:00:17,080 --> 00:00:18,970
and drops down onto the r... | 1
00:00:02,020 --> 00:00:03,060
It's Kirk.
2
00:00:15,480 --> 00:00:18,160
Soran jumps from the bridge onto the rocky ledge.
3
00:00:27,650 --> 00:00:30,290
Soran scrambles up the rock face to the top.
4
00:00:35,730 --> 00:00:37,020
He runs across the top
5
00:00:37,020 --> 00:00:38,780
and jumps down onto a ledge... | 1
00:00:06,400 --> 00:00:10,450
- Just who the hell are you?
- He's James T. Kirk.
2
00:00:11,870 --> 00:00:13,870
Don't you read history?
3
00:00:19,120 --> 00:00:21,370
I've gotta get to the launcher.
4
00:00:22,380 --> 00:00:26,250
- The ribbon will be here in a minute.
- I'll take care of Soran.
5
00:01:03,250 ... | 1
00:00:06,400 --> 00:00:10,440
- Just who the hell are you?
- He's James T. Kirk.
2
00:00:11,860 --> 00:00:13,860
Don't you read history?
3
00:00:19,120 --> 00:00:21,370
I've gotta get to the launcher.
4
00:00:22,370 --> 00:00:26,250
- The ribbon will be here in a minute.
- I'll take care of Soran.
5
00:00:59,240 ... | {"screenplay_scene_126": "<scene>\n <stage_direction>EXT. MOUNTAINTOP - DAY (VFX-P)</stage_direction>\n <scene_description>Soran is standing in front of the forcefield , facing Picard .</scene_description>\n <character>SORAN</character>\n <dialogue>Now, if you'll excuse me, Captain, I have an appointment wi... | 7093.28 | 6028.38 | 116.98 |
jurassic_park | tt0107290 | AHEka4jMUdS5 | 1
00:00:02,840 --> 00:00:05,000
Grant gazes across the grassland.
2
00:00:05,120 --> 00:00:06,400
His mouth drops open
3
00:00:06,400 --> 00:00:07,840
and he throws off his hat.
4
00:00:12,360 --> 00:00:12,920
Rising.
5
00:00:12,920 --> 00:00:16,080
He snatches off his shades to reveal his wide eyes.
6
00:00:26,96... | 1
00:00:00,880 --> 00:00:01,470
The jeep.
2
00:00:01,470 --> 00:00:02,180
Stop!
3
00:00:02,220 --> 00:00:04,600
Alan looks out with a shocked expression.
4
00:00:04,640 --> 00:00:06,400
He takes off his wide brimmed hat
5
00:00:06,400 --> 00:00:08,990
and pulls himself up to a standing position.
6
00:00:09,030 -->... | 1
00:00:18,660 --> 00:00:21,500
Alan, this species of veriforman
has been extinct, since...
2
00:00:21,580 --> 00:00:24,330
...the Cretaceous Period.
I mean, this thing...
3
00:00:24,420 --> 00:00:25,740
What?
4
00:00:55,400 --> 00:00:56,650
Look at that.
5
00:01:00,030 --> 00:01:02,240
It's a dinosaur.
6
00:01:06... | 1
00:00:02,670 --> 00:00:05,210
(SUSPENSEFUL
INSTRUMENTAL MUSIC)
2
00:00:18,730 --> 00:00:21,520
Alan, this species of
Veriforman has been extinct
3
00:00:21,600 --> 00:00:24,360
since the Cretaceous Period.
I mean, this thing...
4
00:00:24,440 --> 00:00:25,770
What?
5
00:00:33,450 --> 00:00:35,410
(BELLOWING)
6
0... | {"screenplay_scene_11": "<scene>\n <stage_direction>EXT. HILLTOP DAY</stage_direction>\n <scene_description>Two large , open - top jeeps ROAR down the hilltop away from the landing cross as the helicopter engines WHINE back to life and the rotors start to spin again . ELLIE , GRANT , and MALCOLM hold on ti... | 7593.73 | 1189.60 | 178.24 |
jurassic_park | tt0107290 | Hb27hP0sLC6Y | 1
00:00:01,570 --> 00:00:04,970
Hammond watches Malcolm in the car, lean towards his screen.
2
00:00:20,010 --> 00:00:21,210
The cars roll on.
3
00:01:46,730 --> 00:01:47,130
A
4
00:01:47,450 --> 00:01:48,930
Grant gets out of the car.
| 1
00:00:19,830 --> 00:00:21,460
Alan puts his hat back on.
2
00:01:47,440 --> 00:01:49,450
Allen jumps out of the moving car.
| 1
00:00:05,740 --> 00:00:10,700
Eventually you do plan to have dinosaurs
on your dinosaur tour, right?
2
00:00:14,080 --> 00:00:16,410
Hello. Yes?
3
00:00:17,000 --> 00:00:19,000
I really hate that man.
4
00:00:24,220 --> 00:00:29,010
The Tyrannosaur doesn't obey
any set patterns or park schedules.
5
00:00:29,140 -... | 1
00:00:05,530 --> 00:00:10,450
Eventually you do plan to have dinosaurs
on your dinosaur tour, right?
2
00:00:14,120 --> 00:00:16,460
Hello. Yes?
3
00:00:17,040 --> 00:00:19,040
I really hate that man.
4
00:00:24,260 --> 00:00:29,050
The Tyrannosaur doesn't obey any
set patterns or park schedules.
5
00:00:29,140 -... | {"screenplay_scene_30": "<scene>\n <stage_direction>EXT. PARK DAY</stage_direction>\n <scene_description>GRANT gets into the seat , leaving MALCOLM behind ELLIE . He longingly looks out of the opposite window , while Malcolm rattles on to Ellie .</scene_description>\n <character>MALCOLM</character>\n ... | 7593.73 | 2791.97 | 128.15 |
jurassic_park | tt0107290 | GvJDUwbgdoyF | 1
00:00:01,530 --> 00:00:05,290
A park ranger stands beside a Triceratops on its side.
2
00:00:09,050 --> 00:00:10,130
Grant touches it.
3
00:00:14,050 --> 00:00:14,570
She's sick.
4
00:00:14,610 --> 00:00:16,650
Ellie approaches the rhino like animal
5
00:00:16,690 --> 00:00:19,170
as Grant strokes one of its long... | 1
00:00:02,040 --> 00:00:05,840
Alan shrugs helplessly at the ranger who's watching the creature.
2
00:00:05,890 --> 00:00:08,270
He strokes its horny, frilled neck.
3
00:00:15,880 --> 00:00:19,760
Tim mouth open approaches the dinosaur with Ellie, who's beaming.
4
00:00:19,760 --> 00:00:21,310
She kneels by its hea... | 1
00:00:05,040 --> 00:00:07,240
- Okay?
- Of course.
2
00:00:10,170 --> 00:00:14,000
Don't be scared. Come on, it's okay.
Muldoon tranquillised herfor me.
3
00:00:14,090 --> 00:00:15,370
She's sick.
4
00:00:24,260 --> 00:00:25,680
Oh, my God.
5
00:00:48,290 --> 00:00:50,740
She was always my favourite
when I was a ... | 1
00:00:02,070 --> 00:00:03,240
TIM: Wow.
2
00:00:05,080 --> 00:00:06,080
Okay?
3
00:00:06,160 --> 00:00:07,240
Of course.
4
00:00:08,870 --> 00:00:10,210
(GROANING)
5
00:00:10,290 --> 00:00:12,170
GERRY: Don't be scared.
Come on, it's okay.
6
00:00:12,250 --> 00:00:14,000
Muldoon tranquillized her
for me.
7
00:0... | {"screenplay_scene_32": "<scene>\n <stage_direction>EXT. PARK DAY</stage_direction>\n <scene_description>GRANT , ELLIE , GENNARO , and the KIDS are out in the open field , heading towards a small stand of trees . For the first time , we notice the sky is darken rather early in the day . Tim dogs Grant 's f... | 7593.73 | 2995.04 | 212.25 |
jurassic_park | tt0107290 | H1alIUlV4rcU | 1
00:00:01,000 --> 00:00:01,960
Side on to her.
2
00:00:02,000 --> 00:00:06,320
The beast lowers its massive head down level with Lex window to look inside.
3
00:00:06,600 --> 00:00:10,720
The circular pupil of its beady eyes contracts in the flashlight beam.
4
00:00:16,440 --> 00:00:17,680
The kids cover their ears... | 1
00:00:03,140 --> 00:00:04,810
Lex's trembling with fear.
2
00:00:04,940 --> 00:00:08,030
The dinosaur lifts its head to look at them through the clear roof,
3
00:00:08,030 --> 00:00:11,330
then opens its mouth, revealing huge, pointed teeth.
4
00:00:17,730 --> 00:00:20,610
The children clap their hands over their ... | 1
00:00:32,050 --> 00:00:34,920
- Hurry! Turn it off!
- I'm sorry!
2
00:00:39,100 --> 00:00:41,090
You're the one who turned it...
3
00:02:00,090 --> 00:02:01,420
Ian, freeze!
4
00:02:01,930 --> 00:02:03,340
Get the kids!
5
00:02:04,310 --> 00:02:06,630
- Get rid of the flare!
- Get the kids!
6
00:02:07,640 --> 00... | 1
00:00:11,950 --> 00:00:13,870
(ROARING DEAFENINGLY)
2
00:00:27,050 --> 00:00:28,420
(SCREAMING)
3
00:00:32,220 --> 00:00:33,680
Hurry! Turn it off!
4
00:00:33,760 --> 00:00:35,100
I'm sorry!
5
00:00:39,270 --> 00:00:41,270
You're the one
who turned it...
6
00:00:41,400 --> 00:00:43,100
(BOTH SCREAMING)
7
00:01:... | {"screenplay_scene_47": "<scene>\n <stage_direction>EXT. TYRANNOSAUR PADDOCK NIGHT</stage_direction>\n <scene_description>BAAA ! The goat that was brought up from the underground earlier is still tethered in the same place , BLEATING in the pouring rain The two explorers sit still in the middle of the road... | 7593.73 | 3918.30 | 269.65 |
jurassic_park | tt0107290 | Kbwmreu9CVG7 | 1
00:00:05,110 --> 00:00:09,110
Gushing down the rocks sweeps him off his feet, down onto the road below.
2
00:00:19,270 --> 00:00:19,910
Better face.
3
00:00:19,950 --> 00:00:22,150
Nedry fumbles for the Jeep's winch cable,
4
00:00:22,390 --> 00:00:23,990
then runs into the forest
5
00:00:23,990 --> 00:00:27,670
a... | 1
00:00:07,420 --> 00:00:08,510
He loses his footing
2
00:00:08,510 --> 00:00:10,390
and falls into the water down the bank.
3
00:00:10,430 --> 00:00:12,520
He rolls onto his knees on the road.
4
00:00:18,750 --> 00:00:19,590
He stands up,
5
00:00:19,590 --> 00:00:21,090
picks up the end of the winch cable
6
00:00... | 1
00:00:02,790 --> 00:00:06,210
I'll pull down this thing here,
and pull it back up again.
2
00:00:14,510 --> 00:00:17,960
My glasses. I can afford more glasses!
3
00:00:47,170 --> 00:00:50,500
You've got time. You can do it.
Do it. Come on, Dennis.
4
00:00:57,930 --> 00:00:58,960
Hello.
5
00:01:04,100 --> 00:01:06... | 1
00:00:02,760 --> 00:00:06,180
I'll pull down this thing here,
and pull it back up again.
2
00:00:14,520 --> 00:00:17,940
My glasses. I can
afford more glasses!
3
00:00:36,880 --> 00:00:38,670
(SOFT SQUEALING)
4
00:00:47,140 --> 00:00:50,470
You've got time. You can do it.
Do it. Come on, Dennis.
5
00:00:52,430 --... | null | 7593.73 | 4281.06 | 186.23 |
jurassic_park | tt0107290 | YXWtlj_vRlor | 1
00:00:02,450 --> 00:00:03,330
On the plane.
2
00:00:08,810 --> 00:00:12,650
Just keep a stampeding herd.
3
00:00:34,130 --> 00:00:37,770
The long legged, ostrich like dinosaurs swarm over the hill.
4
00:00:59,170 --> 00:00:59,770
Head high.
5
00:00:59,770 --> 00:01:03,170
Animals stream past as Grant, and the kid... | 1
00:00:00,550 --> 00:00:03,010
Alan and the children walk in the sunshine.
2
00:00:11,920 --> 00:00:15,720
They stop as a herd of small dinosaurs thunder across the grass.
3
00:00:33,860 --> 00:00:37,330
Alan walks forward as the dinosaurs swerve around in a curve.
4
00:00:49,630 --> 00:00:51,590
Alan and the child... | 1
00:00:02,930 --> 00:00:06,600
Looking at the map,
I'd say the visitor's centre is just a mile...
2
00:00:07,350 --> 00:00:09,060
...over that rise there.
3
00:00:13,530 --> 00:00:14,560
What is that?
4
00:00:17,320 --> 00:00:19,530
Tim, can you tell me what they are?
5
00:00:26,580 --> 00:00:27,830
Gallimimus.
6... | 1
00:00:01,240 --> 00:00:02,620
I'm hot.
2
00:00:02,830 --> 00:00:06,580
Looking at the map, I'd say the
visitor's center is just a mile
3
00:00:07,250 --> 00:00:10,540
over that rise there.
Just keep...
4
00:00:13,420 --> 00:00:14,920
What is that?
5
00:00:17,210 --> 00:00:19,420
Tim, can you tell me
what they are... | {"screenplay_scene_65": "<scene>\n <stage_direction>EXT. PARK GROUNDS DAY</stage_direction>\n <scene_description>GRANT , TIM , and LEX walk through the park grounds , heading across a relatively open area . Grant consults the map .</scene_description>\n <character>TIM & LEX</character>\n <dialogu... | 7593.73 | 5644.35 | 110.16 |
jurassic_park | tt0107290 | 57CUskz3sZ7f | 1
00:00:52,080 --> 00:00:55,480
Grant jumps down off the fence as the blue light flashes.
2
00:00:57,520 --> 00:01:00,080
Tim slips, catching the next cable down.
3
00:01:10,880 --> 00:01:13,200
Red signs light up beside the switches
4
00:01:13,200 --> 00:01:15,320
as Ellie presses each one in turn
5
00:01:15,320 -... | 1
00:00:01,120 --> 00:00:02,330
and climb over.
2
00:00:02,330 --> 00:00:03,420
Tim is slower.
3
00:00:47,970 --> 00:00:49,180
She presses the button.
4
00:00:49,180 --> 00:00:50,900
The lights on the fence flash.
5
00:00:54,200 --> 00:00:55,620
Allen jumps to the ground.
6
00:00:55,620 --> 00:00:57,670
Tim, still... | 1
00:00:00,110 --> 00:00:02,780
Good. Here we go.
2
00:00:03,450 --> 00:00:04,640
Over the top.
3
00:00:05,280 --> 00:00:06,910
Take your time.
4
00:00:07,910 --> 00:00:08,910
Good. Come on.
5
00:00:09,660 --> 00:00:11,570
Find yourfooting.
6
00:00:13,830 --> 00:00:16,540
You can't throw the main switch by hand.
... | 1
00:00:00,010 --> 00:00:02,670
Good. Here we go.
2
00:00:03,340 --> 00:00:04,510
Over the top.
3
00:00:05,180 --> 00:00:06,800
Take your time.
4
00:00:07,810 --> 00:00:09,350
Good. Come on.
5
00:00:09,520 --> 00:00:11,480
Find your footing.
6
00:00:13,690 --> 00:00:16,400
You can't throw
the main switch by hand.
... | {"screenplay_scene_74": "<scene>\n <stage_direction>INT. SHED DAY</stage_direction>\n <scene_description>ELLIE pumps the gray handle , which is sluggish . Above it , a small white indicator CHINGS over the `` discharged '' to `` charged '' . Ellie SLAMS the gray lever back into positions .</scene_descripti... | 7593.73 | 6104.54 | 174.43 |
jurassic_park | tt0107290 | IFlWU4_C_7Ft | 1
00:00:01,570 --> 00:00:04,650
Muldoon stalks through the dense jungle, clutching his gun.
2
00:00:04,650 --> 00:00:07,130
Crouching, he crawls under low branches.
3
00:00:18,530 --> 00:00:21,290
Peering into the undergrowth, he takes off his hat.
4
00:00:28,530 --> 00:00:32,850
Ahead, the scaly profile of a Veloci... | 1
00:00:01,450 --> 00:00:03,370
The game warden squats with his gun,
2
00:00:03,370 --> 00:00:06,680
then climbs into a hollow amongst the tropical vegetation.
3
00:00:06,840 --> 00:00:08,310
He creeps forward.
4
00:00:20,180 --> 00:00:21,560
He takes off his hat.
5
00:00:21,600 --> 00:00:23,980
The foliage ahead o... | 1
00:00:51,260 --> 00:00:52,500
Clever girl.
| 1
00:00:18,750 --> 00:00:21,290
(SUSPENSEFUL
INSTRUMENTAL MUSIC)
2
00:00:51,110 --> 00:00:52,370
Clever girl.
3
00:00:54,120 --> 00:00:55,700
(SCREAMING)
| {"screenplay_scene_86": "<scene>\n <stage_direction>EXT. JUNGLE DAY</stage_direction>\n <scene_description>ROBERT MULDOON creeps slowly through the jungle foliage , tracking his prey . He ducks and walks through a hollow log , underneath a fallen tree , following the RUSTLING sound up ahead of him . He can... | 7593.73 | 6279.33 | 65.13 |
jurassic_park | tt0107290 | iy56ZvZBAsoa | 1
00:00:00,870 --> 00:00:02,830
The kitchen door handle moves.
2
00:00:06,950 --> 00:00:09,230
The raptors claw lifts off the lever.
3
00:00:09,430 --> 00:00:11,550
It nudges the door open with its head.
4
00:00:33,030 --> 00:00:37,710
Standing upright on muscular hind legs, the animal stretches its snout into the a... | 1
00:00:06,450 --> 00:00:08,460
A clawed foot pushes the door ajar.
2
00:00:08,500 --> 00:00:10,210
The raptor looks through the crack.
3
00:00:12,550 --> 00:00:14,440
It pushes the door with its snout.
4
00:00:14,440 --> 00:00:16,110
The door swings back to shut.
5
00:00:16,110 --> 00:00:17,280
It tries it again.
... | 1
00:00:23,610 --> 00:00:26,780
- What is it?
- It's a Velociraptor.
2
00:00:29,580 --> 00:00:31,070
It's inside.
3
00:00:56,650 --> 00:00:57,720
Follow me.
| 1
00:00:01,200 --> 00:00:03,700
(TENSE INSTRUMENTAL MUSIC)
2
00:00:23,470 --> 00:00:25,310
LEX: What is it?
3
00:00:25,390 --> 00:00:26,770
TIM: It's a Velociraptor.
4
00:00:29,440 --> 00:00:30,940
It's inside.
5
00:00:37,570 --> 00:00:39,240
(ROARING)
6
00:00:56,500 --> 00:00:57,590
Follow me.
7
00:01:18,030 -->... | {"screenplay_scene_92": "<scene>\n <stage_direction>INT. KITCHEN DAY</stage_direction>\n <scene_description>OUTSIDE THE DOOR TO THE KITCHEN , the raptor stares down at the door handle , cocking its head curiously . It SNARLS and bumps the door handle with its head , but that does n't do anything . It reach... | 7593.73 | 6526.82 | 208.73 |
jurassic_park | tt0107290 | I7PTMMjNs6nd | 1
00:00:08,550 --> 00:00:10,750
The Raptors head pops up beneath the panel,
2
00:00:10,750 --> 00:00:12,830
lifting Lex as she crawls over it.
3
00:00:14,230 --> 00:00:15,990
Grant kicks at the creature's head.
4
00:00:15,990 --> 00:00:17,070
The animal tumbles.
5
00:00:17,070 --> 00:00:18,150
Lex drops with it,
6... | 1
00:00:03,920 --> 00:00:05,210
Lex is lifted in the air
2
00:00:05,250 --> 00:00:07,720
as the Raptor pokes its head up under a panel,
3
00:00:08,130 --> 00:00:12,810
Alan, lying on his side in the confined space, kicks out at the Raptors head.
4
00:00:15,900 --> 00:00:17,410
Lex falls through the ceiling,
5
00:00... | 1
00:00:25,900 --> 00:00:26,900
Move!
2
00:02:30,190 --> 00:02:34,490
After careful consideration,
I've decided not to endorse your park.
3
00:02:35,280 --> 00:02:36,480
So have I.
| 1
00:00:09,630 --> 00:00:11,380
(SCREAMING)
2
00:00:23,430 --> 00:00:24,600
Move!
3
00:00:36,240 --> 00:00:39,030
(DRAMATIC INSTRUMENTAL
MUSIC CONTINUES)
4
00:00:47,370 --> 00:00:49,330
(ROARING)
5
00:01:10,140 --> 00:01:12,690
Tim, let go. Yeah!
6
00:01:14,900 --> 00:01:16,570
(CEILING CREAKING)
7
00:01:43,260 -... | {"screenplay_scene_99": "<scene>\n <stage_direction>INT. ROTUNDA DAY</stage_direction>\n <scene_description>Grant and the others climb down out of the air duct and onto a platform of the scaffolding that stands alongside the skeletons . They continue down to the second platform , then the third . They sudd... | 7593.73 | 6910.24 | 174.22 |
star_trek_vi_the_undiscovered_country | tt0102975 | 0k7ErgdfIN_6 | 1
00:00:00,410 --> 00:00:01,410
They Man their station.
2
00:00:08,770 --> 00:00:14,530
The enterprise launches another torpedo at the battlecruiser on Kronos one.
3
00:00:14,570 --> 00:00:16,690
Gorkon's Cain rises off the floor.
4
00:00:18,570 --> 00:00:19,810
Subtitles appear.
5
00:00:19,810 --> 00:00:21,010
We'... | 1
00:00:08,910 --> 00:00:11,670
Another torpedo slams into the ship's hull.
2
00:00:15,810 --> 00:00:17,320
On board the battlecruiser?
3
00:00:17,320 --> 00:00:19,990
One Klingon shouts we've lost gravity!
4
00:00:20,540 --> 00:00:22,460
Loose objects start to float.
5
00:00:22,630 --> 00:00:26,240
Then the Klingo... | 1
00:00:00,080 --> 00:00:01,290
...0-6...
2
00:00:01,370 --> 00:00:03,620
- Uhura, monitor.
- Aye, sir.
3
00:00:03,710 --> 00:00:05,080
Direct hit.
4
00:00:06,050 --> 00:00:07,590
Confirmed, sir.
5
00:00:18,970 --> 00:00:20,730
We've lost gravity!
6
00:00:35,240 --> 00:00:36,950
We are betrayed!
7
00:00:37,660 --... | 1
00:00:00,140 --> 00:00:01,350
MAN: ...0-6...
2
00:00:01,440 --> 00:00:03,690
- Uhura, monitor.
- UHURA: Aye, sir.
3
00:00:03,770 --> 00:00:05,150
Direct hit.
4
00:00:06,110 --> 00:00:07,610
Confirmed, sir.
5
00:00:07,690 --> 00:00:09,070
[TORPEDO FIRING]
6
00:00:13,990 --> 00:00:16,530
[KLINGONS CHATTERING]
7
0... | {"screenplay_scene_28": "<scene>\n <stage_direction>INT. Gorkons stateroom, Flagship</stage_direction>\n <scene_description>Where they blast a guard at the door , severing his arm and enter . The Klingons have weapons , but are floating and unable to aim . They are quickly shot as the two hit men make their way t... | 6600.99 | 1691.30 | 132.68 |
star_trek_vi_the_undiscovered_country | tt0102975 | QEEXOlUMOopl | 1
00:00:09,230 --> 00:00:10,510
Kirk looks thoughtful.
2
00:00:26,670 --> 00:00:30,390
Kirk gazes up at Azetbur, who wears a smug expression.
3
00:00:30,750 --> 00:00:32,350
He watches her intently.
4
00:00:41,270 --> 00:00:42,870
On the Enterprise's bridge.
5
00:00:42,910 --> 00:00:43,950
Spock looks up.
6
00:00:... | 1
00:00:30,820 --> 00:00:34,960
Azetbur observes Kirk closely as captain.
2
00:00:41,610 --> 00:00:43,530
Spock pays close attention.
3
00:01:05,240 --> 00:01:08,040
Ambassador Sarek slowly closes his eyes.
4
00:01:08,710 --> 00:01:10,680
An enterprise crew member weeps
5
00:01:11,140 --> 00:01:14,780
and Cartwrigh... | 1
00:00:00,920 --> 00:00:04,220
are you aware
that as the captain of a starship,
2
00:00:04,300 --> 00:00:08,470
you are required to be responsible
for the actions of your men?
3
00:00:11,100 --> 00:00:12,390
I am.
4
00:00:12,480 --> 00:00:15,730
And if it should be proved
that members of your crew
5
00:00:15,810 -... | 1
00:00:00,920 --> 00:00:04,220
are you aware
that as the captain of a starship,
2
00:00:04,300 --> 00:00:08,470
you are required to be responsible
for the actions of your men?
3
00:00:11,100 --> 00:00:12,390
l am.
4
00:00:12,470 --> 00:00:15,730
And if it should be proved
that members of your crew
5
00:00:15,810 -... | {"screenplay_scene_55": "<scene>\n <stage_direction>INT. Enterprise Bridge</stage_direction>\n <scene_description>The trial is on several monitor BG . Spock , next to Uhura .</scene_description>\n <character>Uhura</character>\n <dialogue>Sulu's giving us his position and telling us he's standing by.</dialog... | 6600.99 | 2854.24 | 133.98 |
star_trek_vi_the_undiscovered_country | tt0102975 | flodzr_aSFnE | 1
00:00:09,670 --> 00:00:11,070
A cook stirs a pot.
2
00:00:27,670 --> 00:00:30,070
Valeris grabs a phaser from a wall panel.
3
00:00:31,830 --> 00:00:33,230
She fires it at the pot
4
00:00:33,230 --> 00:00:36,310
and it vanishes, leaving the contents frozen on the counter.
5
00:00:36,670 --> 00:00:38,150
She turns... | 1
00:00:28,130 --> 00:00:29,840
Valeris grabs her phaser.
2
00:00:32,230 --> 00:00:34,150
She vaporises a cooking pot,
3
00:00:34,400 --> 00:00:36,790
leaving just the contents on the worktop.
| 1
00:00:00,690 --> 00:00:02,150
- Any progress?
- None.
2
00:00:02,230 --> 00:00:05,360
We have a crew of 300
turning their own quarters inside out,
3
00:00:05,440 --> 00:00:07,820
but the killers may still be among them.
4
00:00:07,900 --> 00:00:10,990
Surely they have disposed
of these boots by now.
5
00:00:11,53... | 1
00:00:00,660 --> 00:00:02,120
- Any progress?
- None.
2
00:00:02,200 --> 00:00:05,330
We have a crew of 300
turning their own quarters inside out,
3
00:00:05,410 --> 00:00:07,790
but the killers may still be among them.
4
00:00:07,870 --> 00:00:10,960
Surely they have disposed
of these boots by now.
5
00:00:11,50... | null | 6600.99 | 3466.46 | 130.24 |
star_trek_vi_the_undiscovered_country | tt0102975 | yISr5us0DnA_ | 1
00:00:03,530 --> 00:00:04,970
Kirk's nose bleeds.
2
00:00:07,530 --> 00:00:10,090
The one eyed Klingon points a spotlight at them
3
00:00:10,090 --> 00:00:13,530
as the lizard like alien holds Kirk in a crushing embrace.
4
00:00:13,770 --> 00:00:16,130
Kirk evades the lizard like alien.
5
00:00:21,090 --> 00:00:2... | 1
00:00:03,150 --> 00:00:05,620
A guard turns his spotlight onto the fight,
2
00:00:05,820 --> 00:00:09,170
and the warden laughs as he watches from a raised platform.
3
00:00:12,310 --> 00:00:16,000
Martia calmly smokes a cigar and observes the fight.
4
00:00:21,480 --> 00:00:23,450
Kirk's thrown on top of a fire p... | 1
00:00:16,520 --> 00:00:19,770
You got him, Jim!
You got him where you want him!
2
00:01:12,240 --> 00:01:14,320
- You all right, Jim?
- I think so.
3
00:01:14,450 --> 00:01:16,830
- They'll respect you now.
- That's a comfort.
4
00:01:16,910 --> 00:01:20,540
- I was lucky that thing had knees.
- That was not his k... | 1
00:00:05,010 --> 00:00:06,340
[GROWLING]
2
00:00:09,340 --> 00:00:10,680
[LAUGHING]
3
00:00:16,480 --> 00:00:19,730
You got him, Jim!
You got him where you want him!
4
00:00:19,810 --> 00:00:21,400
[KIRK SCREAMING]
5
00:00:22,440 --> 00:00:24,520
[PRISONERS CHEERING]
6
00:00:24,780 --> 00:00:26,530
[WARDEN LAUGH... | {"screenplay_scene_63": "<scene>\n <stage_direction>INT. Rura Penthe penal colony.</stage_direction>\n <scene_description>Kirk gets hit in the face . It 's already bloody . It 's a prison fight . Kirk and an alien are surrounded by prisoners who are sneering and jeering . Kirk and McCoy are distinctly grubbier . ... | 6600.99 | 3597.28 | 88.86 |
star_trek_vi_the_undiscovered_country | tt0102975 | Cx_Lti9VUuDT | 1
00:00:03,690 --> 00:00:06,370
Now, a triangle on a screen blinks.
2
00:00:06,530 --> 00:00:10,010
Noticing it, a Klingon sits up with an irritated expression.
3
00:00:12,370 --> 00:00:14,370
He gazes at the icon on the screen
4
00:00:14,370 --> 00:00:16,050
and speaks into a microphone,
5
00:00:16,410 --> 00:00:1... | 1
00:00:01,910 --> 00:00:08,570
The enterprise travels at warp speed and crosses the Klingon frontier, causing an alert at a control post.
2
00:00:09,280 --> 00:00:12,620
The guard on duty lazily puts down his bottle of alcohol
3
00:00:12,620 --> 00:00:14,460
and speaks into a microphone.
4
00:00:18,650 --> 00:00:20... | 1
00:00:16,770 --> 00:00:19,390
This is listening post Morska.
2
00:00:20,770 --> 00:00:22,940
What ship is that? Over.
3
00:00:34,620 --> 00:00:36,200
We must respond personally.
4
00:00:36,280 --> 00:00:39,040
A universal translator
would be recognized.
5
00:00:48,130 --> 00:00:50,920
We am thy freighter Ursva.
... | 1
00:00:02,850 --> 00:00:05,350
[BEEPING]
2
00:00:34,550 --> 00:00:36,130
CHEKOV: We must respond personally.
3
00:00:36,210 --> 00:00:38,970
A universal translator
would be recognized.
4
00:00:39,050 --> 00:00:41,430
[REPEATING QUESTION]
5
00:00:58,650 --> 00:01:01,070
[QUESTIONING IN KLINGONESE]
6
00:01:08,070 -... | {"screenplay_scene_76": "<scene>\n <stage_direction>INT. Klingon listening post</stage_direction>\n <scene_description>Grimy , underfunded and undermanned . God knows what forsaken place this is . Rocks and lit by scopes . A sleepy Klingon dozes before his scanners . A bottle in front of him tells the story . Sud... | 6600.99 | 4425.57 | 107.58 |
star_trek_vi_the_undiscovered_country | tt0102975 | 1vkTGTF4_Pfr | 1
00:00:13,350 --> 00:00:15,310
She transforms herself into Kirk.
2
00:00:19,270 --> 00:00:21,470
She headbutts bones, knocking him out.
3
00:00:21,830 --> 00:00:23,190
Martia gets to her feet
4
00:00:23,190 --> 00:00:25,670
and faces the real Kirk, who backs away.
5
00:00:26,150 --> 00:00:27,430
She advances on hi... | 1
00:00:14,340 --> 00:00:16,100
Now she looks like Kirk.
2
00:00:20,070 --> 00:00:22,960
She knocks McCoy unconscious with a swift headbutt.
3
00:00:23,330 --> 00:00:25,300
Then she squares up to Kirk.
4
00:00:42,420 --> 00:00:44,590
Kirk throws a punch at his doppelganger.
5
00:00:44,590 --> 00:00:46,180
Then they... | 1
00:00:00,030 --> 00:00:03,120
An accident wasn't good enough.
Come on, Spock.
2
00:00:03,830 --> 00:00:07,250
Good enough for one.
Two would have looked suspicious.
3
00:00:08,330 --> 00:00:12,960
Killed while attempting escape.
Now that's convincing for both.
4
00:00:17,670 --> 00:00:18,930
Surprise!
5
00:00:30,... | 1
00:00:03,750 --> 00:00:07,170
Good enough for one.
Two would have looked suspicious.
2
00:00:08,250 --> 00:00:12,880
Killed while attempting escape.
Now that's convincing for both.
3
00:00:17,590 --> 00:00:18,850
Surprise!
4
00:00:30,860 --> 00:00:33,690
- Your friends are late.
- They'll be along.
5
00:00:37,240... | {"screenplay_scene_80": "<scene>\n <stage_direction>INT. Enterprise corridors</stage_direction>\n <scene_description>The crewmen follow surreptitiously , camer tracking after Scotty through the labyrinthine corridors . Ext Rura Penthe campsite - Night The two kirks are still slugging it out as McCoy starts to com... | 6600.99 | 4617.18 | 128.36 |
star_trek_vi_the_undiscovered_country | tt0102975 | 4q5dUCk23ePT | 1
00:00:00,640 --> 00:00:01,880
Kirk looks at Spock.
2
00:00:04,560 --> 00:00:06,240
Spock approaches Valeris
3
00:00:07,960 --> 00:00:09,640
Kirk bones, Chekov
4
00:00:09,680 --> 00:00:13,640
Uhura and Scotty watch Spock slowly step toward Valeris.
5
00:00:14,200 --> 00:00:15,680
She keeps her back to him
6
00:00... | 1
00:00:05,100 --> 00:00:09,200
All eyes follow Spock as he slowly walks across the bridge to Valeris.
2
00:00:14,390 --> 00:00:15,600
He grabs her arm
3
00:00:15,600 --> 00:00:18,150
and violently pulls her round to face him.
4
00:00:22,460 --> 00:00:24,340
They stare at each other closely,
5
00:00:24,640 --> 00:0... | 1
00:00:02,780 --> 00:00:03,950
Spock?
2
00:00:48,330 --> 00:00:51,290
Admiral Cartwright.
3
00:00:52,540 --> 00:00:54,040
From Starfleet?
4
00:01:02,050 --> 00:01:03,300
Who else?
5
00:01:08,140 --> 00:01:10,020
- General...
- General...
6
00:01:11,230 --> 00:01:12,730
- ...Chang.
- ...Chang.
7
00:01:18,570 --> ... | 1
00:00:02,680 --> 00:00:03,850
Spock?
2
00:00:41,560 --> 00:00:43,270
[HEART BEATING]
3
00:00:48,230 --> 00:00:51,190
Admiral Cartwright.
4
00:00:52,440 --> 00:00:53,940
CHEKOV: From Starfleet?
5
00:01:01,950 --> 00:01:03,200
Who else?
6
00:01:08,040 --> 00:01:09,910
- General...
- General...
7
00:01:11,120 --> ... | {"screenplay_scene_85": "<scene>\n <stage_direction>INT. Sick bay</stage_direction>\n <scene_description>All the lights are out . A figure enters , looks around . Figure 's POV Two bodies stretched out in darkness . The figure approaches the first body , looks down . Suddenly the light goes on , revealing Spock</... | 6600.99 | 5092.16 | 133.75 |
star_trek_vi_the_undiscovered_country | tt0102975 | 6byZByDFnAzV | 1
00:00:00,140 --> 00:00:01,340
On the bird of prey.
2
00:00:01,380 --> 00:00:03,860
Chang views the Excelsior on a monitor.
3
00:00:05,340 --> 00:00:07,060
The bird of prey targets it.
4
00:00:10,100 --> 00:00:11,220
Chang gestures.
5
00:00:11,780 --> 00:00:16,660
The Bird of Prey fires a torpedo at the Excelsior ... | 1
00:00:02,200 --> 00:00:06,380
Chang sees the Second Federation ship being tracked on a computer screen.
2
00:00:10,690 --> 00:00:13,830
That is signal A torpedoes fired at the newcomer
3
00:00:13,830 --> 00:00:16,800
and it slams into Excelsior's saucer section.
4
00:00:23,570 --> 00:00:26,170
Excelsior's crew mem... | 1
00:00:06,960 --> 00:00:08,830
The game's afoot, huh?
2
00:00:17,130 --> 00:00:21,140
- Excelsior's been hit.
- "Our revels now are ended," Kirk.
3
00:00:30,060 --> 00:00:34,990
"Cry 'Havoc!'
and let slip the dogs of war."
4
00:00:36,110 --> 00:00:38,150
Bones, where's my torpedo?
5
00:00:38,240 --> 00:00:39,910
B... | 1
00:00:03,980 --> 00:00:06,190
[CHANG EXCLAIMS DELIGHTEDLY]
2
00:00:06,820 --> 00:00:08,690
The game's afoot, huh?
3
00:00:16,990 --> 00:00:18,250
Excelsior's been hit.
4
00:00:18,330 --> 00:00:21,000
CHANG:
"Our revels now are ended," Kirk.
5
00:00:29,920 --> 00:00:34,840
"Cry ‘Havoc!’
and let slip the dogs of wa... | {"screenplay_scene_137": "<scene>\n <stage_direction>EXT. Space</stage_direction>\n <scene_description>Excelsior and Enterprise , having trapped the `` Black hole '' in a triangle between them , fire . The Bird of Prey suddenly blows apart . As she explodes , she decloaks .</scene_description>\n </scene>"} | 6600.99 | 5774.88 | 129.20 |
blade_runner_2049 | tt1856101 | V7kkKSRbxePo | 1
00:00:07,250 --> 00:00:10,330
He indicates a pouch attached to sappers coveralls.
2
00:00:31,290 --> 00:00:33,390
The detective takes out his high tech gun
3
00:00:33,390 --> 00:00:34,750
and puts it on the table.
4
00:00:42,430 --> 00:00:44,230
Sapper removes his glasses.
5
00:00:46,750 --> 00:00:48,790
The dete... | 1
00:00:32,830 --> 00:00:34,830
K puts a heavy hand gun down.
2
00:00:47,880 --> 00:00:49,640
Morton has equipped himself.
3
00:00:53,100 --> 00:00:54,350
With a scalpel.
4
00:01:04,610 --> 00:01:07,070
Morton tries to stab K with the scalpel,
5
00:01:07,070 --> 00:01:11,200
but K blocks him, only to be smashed rep... | 1
00:00:02,140 --> 00:00:03,480
Your bag.
2
00:00:03,970 --> 00:00:05,760
It's colonial medical use.
3
00:00:06,270 --> 00:00:08,190
Military issue.
4
00:00:10,350 --> 00:00:13,810
Where were you? Calantha?
5
00:00:17,530 --> 00:00:19,580
Must have been brutal.
6
00:00:19,740 --> 00:00:22,040
Plan on taking me in?... | 1
00:00:01,990 --> 00:00:03,830
Your bag.
2
00:00:03,860 --> 00:00:06,030
It's colonial medical use.
3
00:00:06,060 --> 00:00:07,660
Military issue.
4
00:00:10,130 --> 00:00:13,400
Where were you? Calantha?
5
00:00:17,470 --> 00:00:19,440
Must have been brutal.
6
00:00:20,140 --> 00:00:21,840
Plan on taking me in?... | {"screenplay_scene_11": "<scene>\n <stage_direction>INT. FARMHOUSE. CONTINUOUS</stage_direction>\n <scene_description>THE DOOR OPENS. Sapper steps in. The floor creaks under his weight. He scans the room. Empty. Sapper moves to a sink where he violently scrubs his hands. He does not yet see K. K leans from a shad... | 9827.84 | 433.34 | 178.14 |
blade_runner_2049 | tt1856101 | yp_8gV89nEaG | 1
00:00:05,000 --> 00:00:08,480
A sign of Asian lettering stands at the edge of the rooftop in front of him,
2
00:00:08,480 --> 00:00:10,400
overlooking the cityscape of ads.
3
00:00:10,560 --> 00:00:14,000
Fogged by the rainy mist, Joi silhouette slowly follows him out.
4
00:00:15,240 --> 00:00:18,480
Bars of fluor... | 1
00:00:04,110 --> 00:00:06,870
It's raining outside and hands in his pockets.
2
00:00:06,870 --> 00:00:09,490
He walks across the top of the building to the roof's edge.
3
00:00:09,740 --> 00:00:11,330
It's dark and smoggy,
4
00:00:11,330 --> 00:00:16,500
the gloomy shape of adjacent buildings occasionally illumina... | 1
00:02:05,450 --> 00:02:07,700
I'm so happy when I'm with you.
2
00:02:10,070 --> 00:02:11,340
You don't have to say that.
3
00:02:43,480 --> 00:02:46,740
The dig's come through.
We have a new lead.
4
00:02:46,900 --> 00:02:48,240
Get down here.
| 1
00:01:08,610 --> 00:01:10,410
(JOI CHUCKLES)
2
00:01:12,280 --> 00:01:14,550
(BREATHES HEAVILY)
3
00:01:15,920 --> 00:01:17,890
(THUNDER RUMBLING)
4
00:02:05,340 --> 00:02:07,610
I'm so happy
when I'm with you.
5
00:02:10,040 --> 00:02:11,310
You don't have to say that.
6
00:02:25,920 --> 00:02:27,460
(DEVICE BE... | {"screenplay_scene_29": "<scene>\n <stage_direction>EXT. ROOFTOP. STORMING. NIGHT.</stage_direction>\n <scene_description>ON JOI. Rapt, eyes fixed on the gorgeous fractal skyline. The rain passes through her projection. In a well-programmed nod to physics her clothes get \"wet,\" stick to her skin. LIGHTNING FIRE... | 9827.84 | 1241.76 | 181.05 |
blade_runner_2049 | tt1856101 | a83VK_e_aaPN | 1
00:00:02,140 --> 00:00:03,940
The torque pins him to his door,
2
00:00:04,940 --> 00:00:06,420
levelling out at the last moment,
3
00:00:06,420 --> 00:00:09,340
the vehicle fires its under wheel thrusters to slow its descent
4
00:00:09,340 --> 00:00:11,980
before crash landing through a pile of garbage.
5
00:00:1... | 1
00:00:00,500 --> 00:00:01,660
as trailing smoke
2
00:00:01,710 --> 00:00:03,080
the spinner plummets
3
00:00:03,080 --> 00:00:08,500
at the last moment it writes itself and releases a vertical jet at the ground, cushioning its fall,
4
00:00:08,500 --> 00:00:12,300
and the flying car then slides through a thick car... | 1
00:00:37,650 --> 00:00:41,030
K? K?
2
00:00:41,200 --> 00:00:44,450
K? K? K?
3
00:01:36,380 --> 00:01:37,500
Stay back.
4
00:01:52,980 --> 00:01:54,440
Fire again.
5
00:01:54,600 --> 00:01:56,560
Fire again.
6
00:01:57,900 --> 00:01:58,940
Fire.
7
00:02:10,580 --> 00:02:13,040
Two hundred feet to the east.
8
0... | 1
00:00:13,900 --> 00:00:15,500
(CRASHES)
2
00:00:34,450 --> 00:00:36,450
(DISTORTED WALLACE JINGLE
PLAYS)
3
00:00:37,720 --> 00:00:41,030
"K"? "K"?
4
00:00:41,060 --> 00:00:44,460
(DISTORTED)
"K"? "K"? "K"? "K"? "K"?
5
00:01:03,950 --> 00:01:05,680
(INDISTINCT CHATTER)
6
00:01:09,390 --> 00:01:11,360
(WHIRRING)
... | {"screenplay_scene_76": "<scene>\n <stage_direction>INT. K'S SPINNER. DAY.</stage_direction>\n <scene_description>POWER goes out inside, just as -- JOI FLICKERS AND DISAPPEARS. K sees SMOKE coming off the engine, slaps an emergency system to activate it, as -- THE SPINNER'S NOSE DROPS. BEGINS TO SPIRAL DOWN! K tr... | 9827.84 | 3696.67 | 167.42 |
blade_runner_2049 | tt1856101 | TF6wVxi2QKHF | 1
00:00:17,760 --> 00:00:21,680
As both she and the Birthday Girl blow out the candles, the memory disappears.
2
00:00:26,240 --> 00:00:28,840
Doctor Stelline returns to the glass partition.
3
00:00:33,160 --> 00:00:34,560
The lights come back up.
4
00:01:02,560 --> 00:01:04,560
She motions to a chair with a smile,
... | 1
00:00:15,110 --> 00:00:16,150
Anna inhales
2
00:00:16,150 --> 00:00:19,150
and a holographic Child blows out some candles.
3
00:00:27,330 --> 00:00:28,660
She gets to her feet.
4
00:01:06,530 --> 00:01:10,620
Smiling kindly, she beckons him over to a stall next to a wall of glass.
5
00:01:10,830 --> 00:01:12,250
... | 1
00:00:00,650 --> 00:00:01,690
It's nice.
2
00:00:02,110 --> 00:00:05,450
It's better than nice.
It feels authentic.
3
00:00:05,620 --> 00:00:11,340
And if you have authentic memories,
you have real human responses.
4
00:00:11,790 --> 00:00:14,000
Wouldn't you agree?
5
00:00:21,800 --> 00:00:25,880
Are they all co... | 1
00:00:00,760 --> 00:00:02,170
It's nice.
2
00:00:02,200 --> 00:00:05,610
It's better than nice.
It feels authentic.
3
00:00:05,630 --> 00:00:06,980
And if you have
authentic memories,
4
00:00:07,000 --> 00:00:10,910
you have real human responses.
5
00:00:11,840 --> 00:00:13,710
Wouldn't you agree?
6
00:00:14,280... | {"screenplay_scene_99": "<scene>\n <stage_direction>INT. MEMORY LAB. CONTINUOUS.</stage_direction>\n <scene_description>A gentle VISITOR ALARM CHIMES and BLINKS, catching Ana's attention which was until now fixed hypnotically on the delicate minutia of her creation. Her eyes flick to the DOOR, which suddenly appe... | 9827.84 | 4759.49 | 195.86 |
blade_runner_2049 | tt1856101 | 2PQ0FVit64Kb | 1
00:00:02,950 --> 00:00:04,430
She flips on the lights.
2
00:00:05,990 --> 00:00:09,710
Joshi looks up from her desk, her eyes betraying a hint of panic.
3
00:00:15,750 --> 00:00:20,030
Sitting back in her chair, the lieutenant surreptitiously presses a button under her desk,
4
00:00:20,030 --> 00:00:21,750
shuttin... | 1
00:00:00,910 --> 00:00:02,070
and puts a light on.
2
00:00:19,340 --> 00:00:20,680
Joshi shrugs.
3
00:01:02,220 --> 00:01:04,090
Luv grabs Josh's hands,
4
00:01:04,090 --> 00:01:05,850
smashing the glass it was holding.
5
00:01:30,330 --> 00:01:31,870
She keeps squeezing.
6
00:01:59,540 --> 00:02:01,000
Luv prod... | 1
00:00:05,030 --> 00:00:06,700
Too dark in here.
2
00:00:09,700 --> 00:00:11,450
I like him.
3
00:00:12,200 --> 00:00:14,000
He's a good boy.
4
00:00:15,000 --> 00:00:16,750
Where is he?
5
00:00:22,840 --> 00:00:26,340
I have no idea. He's off-duty.
6
00:00:27,180 --> 00:00:28,430
Check around.
7
00:00:28,590 --... | 1
00:00:03,040 --> 00:00:04,250
(SWITCH CLICKS)
2
00:00:04,980 --> 00:00:06,710
Too dark in here.
3
00:00:08,350 --> 00:00:09,690
(DOOR CLOSES)
4
00:00:09,720 --> 00:00:11,390
I like him.
5
00:00:12,090 --> 00:00:13,690
He's a good boy.
6
00:00:14,820 --> 00:00:16,420
Where is he?
7
00:00:20,530 --> 00:00:21,760
... | null | 9827.84 | 5880.86 | 166.53 |
blade_runner_2049 | tt1856101 | 7FHYX6FOkmxC | 1
00:00:05,580 --> 00:00:09,420
His fingers reach out and press down on one of the ivory keys.
2
00:00:13,780 --> 00:00:15,060
He looks around.
3
00:00:20,700 --> 00:00:24,340
Noticing the shape of a dog standing in one of the open doorways.
4
00:00:24,620 --> 00:00:26,860
He steps down from the raised level.
5
00:... | 1
00:00:01,340 --> 00:00:03,710
Lifting his hand to the dusty keyboard,
2
00:00:03,710 --> 00:00:05,800
he presses down on one of the notes.
3
00:00:13,560 --> 00:00:16,770
Kay turns his head, listening carefully.
4
00:00:23,150 --> 00:00:25,690
Hearing a noise coming from an adjoining hallway.
5
00:00:25,740 --> 0... | 1
00:00:38,440 --> 00:00:43,700
Mightn't happen to have
a piece of cheese about you, now?
2
00:00:44,280 --> 00:00:46,200
Would you, boy?
3
00:01:00,840 --> 00:01:02,130
Treasure Island?
4
00:01:09,220 --> 00:01:11,100
He reads.
5
00:01:11,970 --> 00:01:13,690
That's good.
6
00:01:14,470 --> 00:01:16,180
Me too.
... | 1
00:00:09,890 --> 00:00:12,490
(PLAYS NOTE)
2
00:00:38,550 --> 00:00:41,060
DECKARD:
"Mightn't happen to have
3
00:00:41,080 --> 00:00:43,520
"a piece of cheese
about you, now?"
4
00:00:44,390 --> 00:00:45,820
Would you, boy?
5
00:01:00,840 --> 00:01:02,070
Treasure Island?
6
00:01:09,380 --> 00:01:10,750
He read... | {"screenplay_scene_119": "<scene>\n <stage_direction>INT. CIRCULAR BAR.</stage_direction>\n <scene_description>A balcony on the third floor MEZZANINE. STACKS of priceless paintings against the bar. There K finds -- A PIANO The keys open. K taps a KEY. The note rings through the airy space. Makes the current of fl... | 9827.84 | 6283.26 | 190.15 |
blade_runner_2049 | tt1856101 | x1GQtlAzEYmx | 1
00:00:00,150 --> 00:00:01,950
Deckard looks sharply decay.
2
00:00:07,070 --> 00:00:08,030
Deckard runs off
3
00:00:08,030 --> 00:00:09,590
as K picks up the binoculars
4
00:00:09,590 --> 00:00:11,390
and searches the surrounding area.
5
00:00:11,430 --> 00:00:14,030
A light glints off a flying object in the dist... | 1
00:00:07,870 --> 00:00:09,660
Kay Pierce through the binoculars
2
00:00:09,660 --> 00:00:11,290
and spots a distant light.
3
00:00:13,450 --> 00:00:15,250
Deckert's hurrying down some stairs
4
00:00:15,250 --> 00:00:17,210
when he stops to listen to a noise.
5
00:00:19,540 --> 00:00:20,750
Kay hears it too.
6
00... | 1
00:00:02,410 --> 00:00:03,530
They know you're here.
2
00:00:05,580 --> 00:00:07,500
I came alone.
3
00:02:14,170 --> 00:02:15,260
Bad dog.
4
00:02:33,150 --> 00:02:34,570
Stop.
5
00:02:50,580 --> 00:02:52,740
I do hope you're satisfied
with our product.
6
00:02:53,830 --> 00:02:55,540
I love...
| 1
00:00:02,560 --> 00:00:03,630
They know you're here.
2
00:00:05,570 --> 00:00:06,900
I came alone.
3
00:00:18,880 --> 00:00:20,850
(RUMBLING)
4
00:01:35,020 --> 00:01:36,560
(GROANS SOFTLY)
5
00:01:39,060 --> 00:01:41,130
(GROANING)
6
00:01:45,870 --> 00:01:47,200
(GRUNTING)
7
00:02:14,160 --> 00:02:15,230
Bad ... | {"screenplay_scene_142": "<scene>\n <stage_direction>INT. PENTHOUSE SUITE. FLOOR BELOW.</stage_direction>\n <scene_description>K throws himself in front of Deckard as -- BOOM! DECKARD'S SPINNER EXPLODES! The world BLURS. K is ROCKED by the blast -- K SMASHES into the wall. K manages to sit up. Wind and soot in hi... | 9827.84 | 7093.86 | 191.52 |
blade_runner_2049 | tt1856101 | LibkcjXY4Y6s | 1
00:00:01,320 --> 00:00:02,880
The dam appears up ahead,
2
00:00:02,880 --> 00:00:04,040
veering parallel to it.
3
00:00:04,040 --> 00:00:06,000
The car crash lands in the water.
4
00:00:06,680 --> 00:00:10,520
Its passengers jolt from the impact as it slides across the shallow surface,
5
00:00:10,520 --> 00:00:14... | 1
00:00:00,460 --> 00:00:02,550
But the pilot can't maintain altitude,
2
00:00:02,550 --> 00:00:07,260
and the flyer crash lands into the watery channel that runs along the base of the sea wall.
3
00:00:09,720 --> 00:00:11,100
The water is very shallow.
4
00:00:11,140 --> 00:00:13,270
It rushes over the top of the t... | 1
00:00:39,660 --> 00:00:40,710
Get us up.
2
00:01:05,850 --> 00:01:07,100
Open the door.
3
00:03:00,300 --> 00:03:02,390
I'm the best one.
| 1
00:00:39,810 --> 00:00:40,820
Get us up.
2
00:01:05,940 --> 00:01:07,070
LUV: Open the door.
3
00:01:11,080 --> 00:01:12,110
(GUNSHOT)
4
00:01:55,290 --> 00:01:56,890
(BOTH GRUNTING)
5
00:02:42,170 --> 00:02:43,170
(LUV GRUNTS)
6
00:03:00,290 --> 00:03:02,020
I'm the best one.
| {"screenplay_scene_154": "<scene>\n <stage_direction>INT. TRANSPORT VAN.</stage_direction>\n <character>LUV</character>\n <dialogue>Get us up.</dialogue>\n <scene_description>Co-Pilot works the controls. With effort the Transport engines come alive, threatening to LIFT, when -- WAVES COME SMASHING DOWN OVER... | 9827.84 | 8440.29 | 187.85 |
blade_runner_2049 | tt1856101 | GKWWNCGQ53i0 | 1
00:00:03,580 --> 00:00:06,420
his hands kept apart by a steel bar in his cuffs.
2
00:00:06,420 --> 00:00:07,940
He fumbles for his seatbelt,
3
00:00:07,940 --> 00:00:11,500
coming up every so often for a breath in the shrinking pocket of air.
4
00:00:11,980 --> 00:00:14,540
Finally, he manages to unbuckle the seat... | 1
00:00:01,550 --> 00:00:05,050
Trapped inside the ship, Dechert's head's nearly underwater.
2
00:00:08,140 --> 00:00:09,310
He ducks it under,
3
00:00:09,310 --> 00:00:10,940
struggling with the handcuffs.
4
00:00:13,850 --> 00:00:17,820
When he comes back up, he sees someone swimming towards him through the door.
... | 1
00:00:33,310 --> 00:00:35,440
Off-world is waiting.
2
00:02:48,530 --> 00:02:51,570
Joe. Joe!
3
00:03:01,210 --> 00:03:02,920
Joe!
| 1
00:00:05,200 --> 00:00:06,700
(GASPING)
2
00:00:13,410 --> 00:00:15,440
(PANTING)
3
00:00:33,400 --> 00:00:35,770
Off-world is waiting.
4
00:00:38,700 --> 00:00:40,270
(CHOKING)
5
00:00:44,870 --> 00:00:46,070
(GROANS)
6
00:01:06,760 --> 00:01:08,400
(YELLING)
7
00:01:15,500 --> 00:01:17,410
(GROWLING)
8
00:02... | {"screenplay_scene_155": "<scene>\n <stage_direction>EXT. SEPULVEDA SEA WALL.</stage_direction>\n <scene_description>K and Luv struggle to their feet, battered by savage waves -- the same waves that carry the Transport further out into the water with each impact. Luv focuses her rage to a single point: K. She thr... | 9827.84 | 8629.86 | 195.14 |
blade_runner_2049 | tt1856101 | aV_P1AZ1GFtr | 1
00:00:00,630 --> 00:00:03,310
and stare at the stencilling above the glass entrance.
2
00:00:03,350 --> 00:00:04,750
Stelline laboratory.
3
00:00:05,630 --> 00:00:09,510
K's bandaged left hand removes the wooden horse from his jacket pocket,
4
00:00:09,830 --> 00:00:11,390
and he rubs it with his thumb.
5
00:00:1... | 1
00:00:05,440 --> 00:00:06,860
Deckard looks hesitant
2
00:00:06,860 --> 00:00:09,400
and he stops with his hands in his pockets.
3
00:00:13,900 --> 00:00:15,450
Kay stands next to him
4
00:00:15,780 --> 00:00:17,660
and he takes out the wooden horse.
5
00:00:20,580 --> 00:00:22,160
He offers it to Deckard.
6
00:... | 1
00:00:43,830 --> 00:00:46,500
All the best memories are hers.
2
00:00:55,420 --> 00:00:56,840
Why?
3
00:00:59,380 --> 00:01:01,300
Who am I to you?
4
00:01:10,560 --> 00:01:12,560
Go meet your daughter.
5
00:01:18,490 --> 00:01:19,950
You okay?
| 1
00:00:43,860 --> 00:00:46,060
All the best memories
are hers.
2
00:00:55,340 --> 00:00:56,640
Why?
3
00:00:59,310 --> 00:01:01,040
Who am I to you?
4
00:01:10,450 --> 00:01:12,350
Go meet your daughter.
5
00:01:18,390 --> 00:01:19,930
You okay?
| {"screenplay_scene_166": "<scene>\n <stage_direction>EXT. LAB BUILDING. DAWN.</stage_direction>\n <scene_description>K's hand slips into his pocket. Takes out... THE WOODEN HORSE. He holds it out to Deckard. Deckard sees it. Takes it. Can't believe it still exists. Something made for a child he never met all thos... | 9827.84 | 8911.55 | 176.01 |
1074316-scream | tt0117571 | 10RLqOpvxmHP | 1
00:00:04,740 --> 00:00:05,860
She answers the phone.
2
00:01:27,480 --> 00:01:28,680
She flips on the patio light
3
00:01:28,680 --> 00:01:29,760
and looks outside.
4
00:01:31,680 --> 00:01:32,520
No one's there.
| 1
00:01:28,800 --> 00:01:31,010
She turns on an outside patio light
2
00:01:31,010 --> 00:01:32,520
and peers through a window.
| 1
00:00:08,970 --> 00:00:11,680
- Hello.
- Why don't you want to talk to me?
2
00:00:11,760 --> 00:00:15,810
- Who is this?
- You tell me your name,
I'll tell you mine.
3
00:00:15,890 --> 00:00:18,810
I don't think so.
4
00:00:18,890 --> 00:00:21,140
- What's that noise?
- Popcorn.
5
00:00:21,230 --> 00:00:23,150
-... | 1
00:00:04,020 --> 00:00:06,140
[Telephone Rings]
2
00:00:06,230 --> 00:00:07,600
[Groans]
3
00:00:07,690 --> 00:00:08,730
[Beeps]
4
00:00:08,810 --> 00:00:11,480
- Hello?
- Why don't you want to talk to me?
5
00:00:11,570 --> 00:00:15,240
- Who is this?
- You tell me your name, I'll tell you mine.
6
00:00:15,320 ... | {"screenplay_scene_4": "<scene>\n <stage_direction>INT. KITCHEN</stage_direction>\n <scene_description>Popcorn sizzles in a pot on the stove . Casey covers it with a lid , reaching for the portable phone .</scene_description>\n <character>CASEY</character>\n <dialogue>Hello.</dialogue>\n <character>MAN<... | 6688.11 | 73.44 | 104.56 |
1074316-scream | tt0117571 | n19tjt3q_vjp | 1
00:01:29,900 --> 00:01:30,780
In the darkness.
2
00:01:33,700 --> 00:01:36,220
Casey switches on the lights in his chair.
3
00:01:36,220 --> 00:01:40,060
Steve's head slumps backward, dark red, blood soaked through his T-shirt,
4
00:01:40,100 --> 00:01:42,140
oozing from his sliced open gut.
5
00:01:42,980 --> 00... | 1
00:01:34,040 --> 00:01:37,670
She turns on the patio light to see Steve's head flop back.
2
00:01:37,840 --> 00:01:41,720
His abdomen opened up and his entrails spilling out onto his lap.
3
00:01:42,390 --> 00:01:43,390
Sinking down.
4
00:01:43,430 --> 00:01:44,930
Paralysed with fear.
5
00:01:45,180 --> 00:01:46... | 1
00:00:01,260 --> 00:00:03,180
Here's how we play.
2
00:00:03,260 --> 00:00:07,600
I ask a question.
If you get it right, Steve lives.
3
00:00:07,640 --> 00:00:09,970
- Please don't do this.
- Come on. It'll be fun.
4
00:00:10,020 --> 00:00:12,060
- Please...
- It's an easy category.
5
00:00:12,140 --> 00:00:14,06... | 1
00:00:01,060 --> 00:00:03,480
Here's how we play.
2
00:00:03,570 --> 00:00:07,400
I ask a question.
If you get it right, Steve lives.
3
00:00:07,490 --> 00:00:09,820
- Please don't do this.
- Come on. It'll be fun.
4
00:00:09,910 --> 00:00:11,700
- Please.
- It's an easy category.
5
00:00:11,780 --> 00:00:13,740
... | {"screenplay_scene_4": "<scene>\n <stage_direction>INT. KITCHEN</stage_direction>\n <scene_description>Popcorn sizzles in a pot on the stove . Casey covers it with a lid , reaching for the portable phone .</scene_description>\n <character>CASEY</character>\n <dialogue>Hello.</dialogue>\n <character>MAN<... | 6688.11 | 380.86 | 118.00 |
1074316-scream | tt0117571 | 0vAOyGgdjWAZ | 1
00:00:01,940 --> 00:00:03,340
he raises a Bowie knife
2
00:00:03,980 --> 00:00:06,180
and drives the blade between her breasts.
3
00:00:06,900 --> 00:00:07,660
Casey collapses
4
00:00:07,660 --> 00:00:10,180
and the attacker wraps his gloved hands around her throat.
5
00:00:10,500 --> 00:00:13,060
The eyes of his... | 1
00:00:01,630 --> 00:00:02,550
catching her.
2
00:00:02,590 --> 00:00:04,380
He puts his hand over her mouth
3
00:00:04,380 --> 00:00:07,050
and plunges his knife deep into her chest.
4
00:00:10,180 --> 00:00:12,770
She falls onto her back, clutching her wound.
5
00:00:12,980 --> 00:00:14,520
Her attacker straddle... | 1
00:00:32,350 --> 00:00:35,650
Did you water over here today?
2
00:00:35,690 --> 00:00:38,250
- It was just that water from the rain.
- They look great, don't they?
3
00:00:38,280 --> 00:00:41,200
- Don't they smell strong?
- I told you you could send it back.
4
00:00:44,280 --> 00:00:46,830
Mom!
5
00:00:46,870 --... | 1
00:00:01,800 --> 00:00:04,300
[Muffled Whimpering, Screaming]
2
00:00:06,260 --> 00:00:07,760
- [Yelps]
- [Grunts]
3
00:00:12,430 --> 00:00:14,890
[Breathing Heavily, Whimpering]
4
00:00:23,570 --> 00:00:24,570
- [Grunts]
- [Groans]
5
00:00:25,780 --> 00:00:28,030
[Car Doors Open, Close]
6
00:00:28,120 --> 00:00... | {"screenplay_scene_6": "<scene>\n <stage_direction>EXT. CORNER OF HOUSE</stage_direction>\n <scene_description>Casey sails around the corner of the house , eyeing the front door . It remains closed . Her eyes cover the sprawling country yard when suddenly . HEADLIGHTS APPEAR in the distance , coming down the roa... | 6688.11 | 641.60 | 132.94 |
1074316-scream | tt0117571 | Z3tHZSwLwfYR | 1
00:00:05,470 --> 00:00:06,870
Two other guys sit with him.
2
00:01:23,890 --> 00:01:24,930
Stu swallows.
3
00:01:56,070 --> 00:01:58,110
Stu grins and sticks out his tongue.
4
00:01:58,510 --> 00:01:59,870
Billy slaps him in the ribs.
| 1
00:00:05,240 --> 00:00:07,820
Sidney and her friends are sitting by a fountain.
2
00:00:41,040 --> 00:00:42,510
They all look at Sidney.
| 1
00:00:01,040 --> 00:00:04,710
All students are encouraged to return
home promptly from school grounds.
2
00:00:04,760 --> 00:00:06,800
Avoid strangers;
walk in twos and threes.
3
00:00:06,880 --> 00:00:08,800
What kind of questions
did they ask you, Sidney?
4
00:00:08,890 --> 00:00:11,050
- They asked if I knew Ca... | 1
00:00:00,930 --> 00:00:04,480
All students are encouraged to return
to their homes promptly from school grounds.
2
00:00:04,560 --> 00:00:06,360
Avoid strangers. Walk in twos and threes.
3
00:00:06,480 --> 00:00:08,380
[Tatum] What kind of questions
did they ask you, Sidney?
4
00:00:08,400 --> 00:00:09,480
They as... | {"screenplay_scene_22": "<scene>\n <stage_direction>EXT. SCHOOL COURTYARD - LATER</stage_direction>\n <scene_description>Students sit at outdoor tables eating lunch . Crowded at one table is the `` gang '' . This consists of Sidney , Billy and Tatum . Next to Tatum , sits her boyfriend STUART , with his arm drap... | 6688.11 | 1178.21 | 123.72 |
1074316-scream | tt0117571 | DLA3mojsw4iR | 1
00:00:08,530 --> 00:00:09,650
She dashes inside
2
00:00:09,650 --> 00:00:11,770
and locks the door behind her.
3
00:00:11,810 --> 00:00:13,490
The closet door swings open.
4
00:00:14,130 --> 00:00:16,250
The ghost masked killer lunges with a knife.
5
00:00:17,210 --> 00:00:18,130
Sidney dodges,
6
00:00:18,290 --... | 1
00:00:09,830 --> 00:00:11,040
She runs into the house
2
00:00:11,040 --> 00:00:12,160
and locks the door.
3
00:00:14,460 --> 00:00:17,710
Suddenly, the Ghostface killer bursts out of the hall cupboard
4
00:00:17,710 --> 00:00:20,510
and swings a knife at her, knocking her down.
5
00:00:20,720 --> 00:00:22,640
She... | 1
00:00:00,420 --> 00:00:05,890
Do you wanna die, Sidney?
Your mother sure didn't.
2
00:00:07,050 --> 00:00:09,060
Fuck you, you cretin!
3
00:00:38,750 --> 00:00:40,090
No!
4
00:01:09,990 --> 00:01:11,950
Shit!
5
00:01:26,260 --> 00:01:28,840
Billy!
6
00:01:28,930 --> 00:01:31,100
The door's locked.
I heard scream... | 1
00:00:00,690 --> 00:00:05,570
Do you wanna die, Sidney?
Your mother sure didn't.
2
00:00:07,110 --> 00:00:08,860
Fuck you, you cretin!
3
00:00:15,200 --> 00:00:17,540
[Screams, Grunts]
4
00:00:21,000 --> 00:00:22,040
No!
5
00:00:27,420 --> 00:00:28,550
[Grunts]
6
00:00:38,560 --> 00:00:39,890
No!
7
00:00:43,230... | {"screenplay_scene_28": "<scene>\n <stage_direction>INT. BEDROOM</stage_direction>\n <scene_description>She locks the door shut , the pulls her closet door open , placing the edge right at the door knob just as . THE FIGURE POUNDS AGAINST THE BEDROOM DOOR . ramming it , it rips open , but the closet door catches... | 6688.11 | 1701.73 | 131.68 |
1074316-scream | tt0117571 | dM_bKDTQBZ6H | 1
00:00:06,770 --> 00:00:08,150
The man rips off his mask.
2
00:00:08,190 --> 00:00:09,510
Its principal himbry.
3
00:00:11,830 --> 00:00:13,310
He opens his office door
4
00:00:13,470 --> 00:00:14,830
and peers into the hall.
5
00:00:19,710 --> 00:00:22,470
He steps back into the office with a mask in his hand.
6... | 1
00:00:04,020 --> 00:00:06,730
quickly whipping it off again when there's a knock on his door.
2
00:00:09,190 --> 00:00:11,980
Having been looking at himself in a wardrobe mirror,
3
00:00:11,980 --> 00:00:14,700
he opens the door but finds nobody there.
4
00:00:21,620 --> 00:00:24,590
Closing it again, he turns bac... | 1
00:00:15,630 --> 00:00:17,590
Yes?
2
00:00:17,640 --> 00:00:19,600
Hello?
3
00:00:54,090 --> 00:00:57,300
- Damn little shits.
- What'd you call me? Huh?
4
00:00:57,380 --> 00:01:00,140
- Not you, Fred.
- You prick.
5
00:01:50,730 --> 00:01:54,150
Aaaah! Aaah!
6
00:01:54,230 --> 00:01:56,360
Ohhhhh!
| 1
00:00:02,380 --> 00:00:03,880
[Growls]
2
00:00:04,470 --> 00:00:05,470
[Laughs]
3
00:00:05,550 --> 00:00:06,760
[Knocking]
4
00:00:15,480 --> 00:00:16,690
Yes?
5
00:00:17,770 --> 00:00:18,900
Hello?
6
00:00:33,250 --> 00:00:34,580
[Knocking]
7
00:00:35,080 --> 00:00:36,080
Damn it.
8
00:00:53,980 --> 00:00:55,... | {"screenplay_scene_54": "<scene>\n <stage_direction>INT. PRINCIPAL'S OFFICE - LATER</stage_direction>\n <scene_description>Mr. Himbry sits at his desk staring at the ghosts masks before him . He picks one of them up , snickering .</scene_description>\n <character>MR. HIMBRY</character>\n <dialogue>Damn.</d... | 6688.11 | 3075.07 | 126.04 |
1074316-scream | tt0117571 | wECgirGoNQyo | 1
00:00:09,600 --> 00:00:11,400
She presses the garage door switch.
2
00:00:11,800 --> 00:00:14,400
The light returns as the automatic door rolls up.
3
00:00:14,920 --> 00:00:17,360
She strides toward it, still carrying the beers.
4
00:00:18,360 --> 00:00:20,840
Before she can duck under, it closes again.
5
00:00:2... | 1
00:00:11,220 --> 00:00:13,600
Pressing the button to open the electric door.
2
00:00:13,770 --> 00:00:18,070
She walks towards it as it rises, only for it to stop halfway,
3
00:00:18,230 --> 00:00:19,700
then lower back down again.
4
00:00:23,580 --> 00:00:25,200
Turning towards the switch.
5
00:00:25,240 --> 00:... | 1
00:00:01,090 --> 00:00:03,050
Hey, shitheads!
2
00:00:04,600 --> 00:00:06,560
Hello!
3
00:00:07,890 --> 00:00:10,850
Shit. Piss.
4
00:00:28,120 --> 00:00:29,750
Is that you, Randy?
5
00:00:32,330 --> 00:00:35,790
Cute. What movie is this from?
"I Spit On Your Garage"?
6
00:00:37,800 --> 00:00:41,090
Lose the out... | 1
00:00:01,310 --> 00:00:02,810
Hey, shitheads!
2
00:00:04,690 --> 00:00:05,860
Hello!
3
00:00:08,030 --> 00:00:09,650
Shit. Piss.
4
00:00:28,000 --> 00:00:29,670
Is that you, Randy?
5
00:00:31,550 --> 00:00:32,840
[Scoffs]
Cute.
6
00:00:32,930 --> 00:00:35,680
And what movie is this from?
I Spit On Your Garage?
... | {"screenplay_scene_74": "<scene>\n <stage_direction>EXT. GARAGE DOOR</stage_direction>\n <scene_description>Tatum is half in/half out of the pet door . She BEATS and JERKS wildly , unable to see the FIGURE on the other side . A true fighter , Tatum kicks hard , making direct contact with the FIGURE , knocking hi... | 6688.11 | 3926.78 | 131.91 |
1074316-scream | tt0117571 | TFjoCSze4qiX | 1
00:00:10,380 --> 00:00:12,060
The movie slasher strikes.
2
00:00:41,800 --> 00:00:43,280
Randy snatches up the remote
3
00:00:43,280 --> 00:00:43,800
and pauses.
4
00:00:43,800 --> 00:00:44,360
The movie.
5
00:00:59,520 --> 00:01:01,000
They stoned him with popcorn.
6
00:01:11,040 --> 00:01:12,560
They all clink... | 1
00:00:59,810 --> 00:01:00,980
They throw popcorn.
2
00:01:11,410 --> 00:01:12,660
They clink bottles.
| 1
00:00:01,970 --> 00:00:03,930
- Whoa!
- Ohh!
2
00:00:03,970 --> 00:00:07,940
The blood is all wrong!
Why do they do that? It's too red!
3
00:00:07,980 --> 00:00:09,940
Wait. Here comes another.
4
00:00:11,860 --> 00:00:13,770
- Oooh! Oooh!
- Yes! Yes!
5
00:00:13,860 --> 00:00:16,280
Predictable.
I knew he was gon... | 1
00:00:01,860 --> 00:00:03,690
- Blam!
- Ohh!
2
00:00:04,480 --> 00:00:08,070
The blood is all wrong!
Why do they do that? It's too red!
3
00:00:08,150 --> 00:00:09,820
Wait. Here comes another.
4
00:00:09,910 --> 00:00:11,660
[Muttering]
5
00:00:11,740 --> 00:00:13,950
- Ooh! Ooh!
- Yes! Yes!
6
00:00:14,040 --> ... | {"screenplay_scene_78": "<scene>\n <stage_direction>INT. LIVING ROOM - MINUTES LATER</stage_direction>\n <scene_description>The camera sits on the book shelf lodged between two knickknacks , completely inconspicuous . The CAMERA WIDENS to reveal several TEENS watching the TV - the horror diehards .</scene_descri... | 6688.11 | 4341.70 | 95.67 |
1074316-scream | tt0117571 | C0WufH_U_Dmx | 1
00:00:01,390 --> 00:00:03,470
He watches Halloween alone on the couch.
2
00:00:12,270 --> 00:00:14,710
Behind Randy, the killer saunters in
3
00:00:15,230 --> 00:00:17,510
Randy stares, glassy eyed at the TV.
4
00:00:23,710 --> 00:00:26,030
The black cloaked killer lifts his knife.
5
00:00:33,750 --> 00:00:34,670... | 1
00:00:15,050 --> 00:00:17,720
Ghostfaces creeping up behind Randy.
2
00:00:30,030 --> 00:00:32,820
Ghostface raises his knife above his head.
3
00:00:38,710 --> 00:00:41,840
Ghostface hesitates when he hears Sidney calling for help.
4
00:00:41,840 --> 00:00:44,090
Outside, reaching a fence,
5
00:00:44,090 --> 00:... | 1
00:00:03,320 --> 00:00:06,570
Watch out, Jamie.
You know he's around.
2
00:00:06,650 --> 00:00:09,610
You... You know...
3
00:00:09,660 --> 00:00:12,160
Look, there he is.
I told you.
4
00:00:12,240 --> 00:00:14,910
I told you he was
right around the corner.
5
00:00:14,990 --> 00:00:16,950
Jamie. Jamie.
6
00:00:... | 1
00:00:04,280 --> 00:00:06,450
Watch out, Jamie. You know he's around.
2
00:00:06,540 --> 00:00:08,040
You— You know...
3
00:00:08,750 --> 00:00:11,670
Look, there he is. I told you.
4
00:00:11,750 --> 00:00:13,430
I told you he was right around the corner.
5
00:00:14,750 --> 00:00:16,880
Jamie. Jamie.
6
00:00:18... | null | 6688.11 | 4942.91 | 119.68 |
1074316-scream | tt0117571 | Px_VvXe6LPrX | 1
00:00:05,480 --> 00:00:07,640
Sidney turns and slams right into Stu
2
00:00:07,640 --> 00:00:08,640
in the kitchen doorway.
3
00:00:10,120 --> 00:00:12,520
He lifts an electronic box to his lips.
4
00:00:15,400 --> 00:00:16,000
Sidney
5
00:00:17,080 --> 00:00:19,140
Billy raises his pointed eyebrows.
6
00:00:19,... | 1
00:00:05,900 --> 00:00:07,490
Stu appears in a doorway
2
00:00:07,490 --> 00:00:09,360
and speaks into a voice changer.
3
00:00:15,410 --> 00:00:18,500
Sidney pushing him aside.
4
00:00:18,540 --> 00:00:19,920
Sidney tries to run away,
5
00:00:19,920 --> 00:00:21,420
but Billy heads her off.
6
00:00:25,010 --> 0... | 1
00:00:07,000 --> 00:00:09,250
Stu.
2
00:00:09,330 --> 00:00:13,130
Help me, please.
3
00:00:13,210 --> 00:00:16,260
Surprise, Sidney.
4
00:00:19,430 --> 00:00:22,100
- No!
- Ooh!
5
00:00:22,180 --> 00:00:24,810
Oh, now. Whoa.
6
00:00:26,520 --> 00:00:30,020
What's the matter, Sidney?
You look like you've seen a ... | 1
00:00:04,920 --> 00:00:06,380
No.
2
00:00:06,470 --> 00:00:08,760
[Gasps]
Stu.
3
00:00:09,260 --> 00:00:10,760
Help me, please.
4
00:00:13,060 --> 00:00:16,100
[Male Voice]
Surprise, Sidney.
5
00:00:19,310 --> 00:00:21,940
- No!
- [Stu] Ooh!
6
00:00:22,020 --> 00:00:23,530
Oh, now. Whoa.
7
00:00:27,280 --> 00:0... | {"screenplay_scene_104": "<scene>\n <stage_direction>INT. LIVING ROOM / FOYER</stage_direction>\n <scene_description>Sid locks and bolts the door . From the other side she can hear Randy SCREAMING .</scene_description>\n <character>RANDY</character>\n <dialogue>NO, SID. OPEN UP. PLEASE. HE'S GONE CRAZY.</d... | 6688.11 | 5447.90 | 122.97 |
1074316-scream | tt0117571 | 1BryjwpiXDBe | 1
00:00:24,700 --> 00:00:26,060
Billy pushes Sidney aside
2
00:00:26,060 --> 00:00:27,180
and approaches Stu.
3
00:00:34,140 --> 00:00:36,300
Stu braces his hands behind his head
4
00:00:36,500 --> 00:00:37,900
and Billy stabs him.
5
00:00:39,300 --> 00:00:41,340
Stu doubles over, clutching his belly.
6
00:00:48,1... | 1
00:00:25,280 --> 00:00:26,830
He walks over to Stu.
2
00:00:38,510 --> 00:00:40,180
Billy stabs him in the side.
3
00:00:58,830 --> 00:01:00,460
He sticks Billy in the side.
4
00:01:14,270 --> 00:01:17,650
Sidney glances at her dad now.
5
00:01:18,700 --> 00:01:20,210
Stu hands it over.
6
00:01:54,300 --> 00:01:... | 1
00:00:00,860 --> 00:00:03,620
Your daddy's the chief suspect.
We cloned his cellular.
2
00:00:03,700 --> 00:00:07,080
- The evidence is all right there, baby!
- What if your father snapped?
3
00:00:07,160 --> 00:00:10,390
Your mother's anniversary
set him off, and he went on
a murder spree, killing everyone.
4
00:... | 1
00:00:00,370 --> 00:00:03,420
Your daddy's the chief suspect.
We cloned his cellular.
2
00:00:03,500 --> 00:00:05,460
Evidence is all right there, baby!
3
00:00:05,540 --> 00:00:07,940
What if your father snapped?
Your mother's anniversary set him off,
4
00:00:07,960 --> 00:00:10,210
and he went on a murder spree,... | {"screenplay_scene_104": "<scene>\n <stage_direction>INT. LIVING ROOM / FOYER</stage_direction>\n <scene_description>Sid locks and bolts the door . From the other side she can hear Randy SCREAMING .</scene_description>\n <character>RANDY</character>\n <dialogue>NO, SID. OPEN UP. PLEASE. HE'S GONE CRAZY.</d... | 6688.11 | 5655.20 | 133.10 |
1074316-scream | tt0117571 | ER832YUa_f4V | 1
00:00:09,800 --> 00:00:10,880
Billy picks it up.
2
00:00:31,240 --> 00:00:34,080
Slumped in a chair, Stu lays his head down on the counter.
3
00:00:34,600 --> 00:00:36,440
Billy hangs the phone over Stu's shoulder
4
00:00:36,440 --> 00:00:39,560
and leaves the kitchen in a daze.
5
00:00:39,720 --> 00:00:41,040
St... | 1
00:00:36,330 --> 00:00:37,920
Leaving the phone with Stu
2
00:00:38,080 --> 00:00:40,250
Billy goes off in search of Sidney.
3
00:01:06,710 --> 00:01:08,710
Billy starts tearing up the sofa.
4
00:01:22,480 --> 00:01:27,110
Walking through the hall, clutching the gun in one hand and the knife in the other,
5
00:01... | 1
00:00:01,480 --> 00:00:03,480
I don't know,
but I'm hurtin', man.
2
00:00:03,560 --> 00:00:05,980
Fuck!
3
00:00:06,060 --> 00:00:10,480
Shall I let the machine get it?
4
00:00:10,570 --> 00:00:13,360
- Hello?
- Are you alone in the house?
5
00:00:13,400 --> 00:00:15,700
Bitch! You bitch!
Where the fuck are you?
... | 1
00:00:00,650 --> 00:00:02,900
[Coughs]
I don't know, but I'm hurtin', man.
2
00:00:02,990 --> 00:00:04,490
[Phone Ringing]
Fuck!
3
00:00:06,780 --> 00:00:08,820
Should I let the machine get it?
[Ringing Continues]
4
00:00:10,410 --> 00:00:12,500
- Hello?
- [Male Voice] Are you alone in the house?
5
00:00:13,250 -... | {"screenplay_scene_104": "<scene>\n <stage_direction>INT. LIVING ROOM / FOYER</stage_direction>\n <scene_description>Sid locks and bolts the door . From the other side she can hear Randy SCREAMING .</scene_description>\n <character>RANDY</character>\n <dialogue>NO, SID. OPEN UP. PLEASE. HE'S GONE CRAZY.</d... | 6688.11 | 5886.94 | 121.14 |
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