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 |
|---|---|---|---|---|---|---|---|---|---|---|
a_man_called_otto | tt7405458 | ogRNzhfK4jjH | 1
00:00:02,180 --> 00:00:08,380
Columbia Pictures presents in association with SF Studios and TSG entertainment.
2
00:00:13,740 --> 00:00:15,540
An SF Studios production.
3
00:00:15,740 --> 00:00:19,180
An older man places a small item in his shopping basket.
4
00:00:19,220 --> 00:00:20,620
He approaches a rope disp... | 1
00:00:01,460 --> 00:00:03,820
A person pushes a trolley in front of a busy beaver.
2
00:00:03,820 --> 00:00:04,260
Store.
3
00:00:13,780 --> 00:00:15,980
A grey haired white man selects a metal ring
4
00:00:15,980 --> 00:00:17,660
and regards a selection of rope.
5
00:00:27,100 --> 00:00:28,540
Reeling off thick ... | 1
00:00:06,780 --> 00:00:08,280
Welcome to the store.
2
00:00:08,360 --> 00:00:10,120
Are you a Busy Beaver?
3
00:00:10,200 --> 00:00:13,200
No, I am not a Busy Beaver.
4
00:00:19,460 --> 00:00:21,500
Are you a Frequent Beaver?
5
00:00:21,590 --> 00:00:23,420
Join our rewards club for savings.
6
00:00:23,500 --> 0... | 1
00:00:00,230 --> 00:00:02,230
[cart wheel squeaking]
2
00:00:06,780 --> 00:00:08,280
[man over PA] Welcome to the store.
3
00:00:08,360 --> 00:00:10,110
Are you a Busy Beaver?
4
00:00:10,200 --> 00:00:13,200
[Otto] No, I am not a Busy Beaver.
5
00:00:13,280 --> 00:00:16,290
[gentle music playing over speakers]
6... | null | 7570.59 | 81.44 | 586.17 |
a_man_called_otto | tt7405458 | 41ErVTCH2tSz | 1
00:00:02,330 --> 00:00:04,650
He backs the trailer onto the sidewalk again.
2
00:00:25,450 --> 00:00:27,010
Otto puts the car in reverse,
3
00:00:27,010 --> 00:00:29,290
then looks around with a confused expression.
4
00:00:36,370 --> 00:00:37,570
Otto rolls up the window
5
00:00:37,570 --> 00:00:38,490
and they ... | 1
00:00:37,810 --> 00:00:39,370
Otto looks over his shoulder.
2
00:00:39,850 --> 00:00:40,290
Hello?
3
00:00:40,810 --> 00:00:42,330
There are two girls in the back.
| 1
00:00:00,160 --> 00:00:02,080
No. No, no. What? No!
2
00:00:03,130 --> 00:00:05,880
No, no, no! Stop! Stop, stop, stop! Stop!
3
00:00:05,960 --> 00:00:08,460
Stop! Stop. Get outta the car.
4
00:00:08,550 --> 00:00:09,920
- Get outta the car.
- I'm sorry.
5
00:00:10,010 --> 00:00:11,690
How you could make it
this ... | 1
00:00:00,160 --> 00:00:02,080
No. No, no. What? No!
2
00:00:03,120 --> 00:00:05,880
- No, no, no! Stop! Stop, stop, stop! Stop!
- [yelling]
3
00:00:05,960 --> 00:00:08,460
- Stop! Stop. Get outta the car.
- [engine turns off]
4
00:00:08,550 --> 00:00:09,920
- Get outta the car.
- I'm sorry.
5
00:00:10,010 --> 00:... | {"screenplay_scene_10": "<scene>\n <stage_direction>EXT. OTTO'S HOUSE - DAY</stage_direction>\n <scene_description>Otto rushes outside and crosses the street, directing his anger at an extremely pregnant woman (MARISOL, 30, Latina) who was apparently trying to direct the parking job.</scene_description>\n <cha... | 7570.59 | 884.77 | 48.09 |
a_man_called_otto | tt7405458 | G2l4dlRPXT7M | 1
00:00:08,890 --> 00:00:09,290
So
2
00:00:09,930 --> 00:00:11,410
she hands Otto the food.
3
00:00:15,890 --> 00:00:17,410
Otto tries to shut his door,
4
00:00:17,410 --> 00:00:18,890
but she stops it with her foot.
5
00:00:19,210 --> 00:00:21,010
Slowly Otto opens the door
6
00:00:21,010 --> 00:00:23,370
and sta... | 1
00:00:10,810 --> 00:00:12,450
Otto takes her food container.
2
00:00:18,810 --> 00:00:22,570
As Otto moves to close the door, the woman jams her booted foot against it.
3
00:00:22,730 --> 00:00:23,850
She smiles at Otto.
| 1
00:00:02,190 --> 00:00:04,490
Anyway, we just, uh...
2
00:00:04,570 --> 00:00:07,280
We wanted
to properly introduce ourselves
3
00:00:07,360 --> 00:00:09,820
because we're gonna be neighbours
and everything, so...
4
00:00:13,490 --> 00:00:14,580
- So...
- Okay.
5
00:00:14,660 --> 00:00:15,710
- Okay.
- Bye.
6
0... | 1
00:00:00,690 --> 00:00:02,110
[Marisol & Tommy chuckle]
2
00:00:02,190 --> 00:00:04,480
Anyway, we just, uh...
3
00:00:04,570 --> 00:00:07,280
We wanted
to properly introduce ourselves
4
00:00:07,360 --> 00:00:09,820
because we're gonna be neighbours
and everything, so...
5
00:00:13,490 --> 00:00:14,580
- So...
-... | {"screenplay_scene_12": "<scene>\n <stage_direction>I/E. OTTO'S HALLWAY, FRONT DOOR - CONTINUOUS</stage_direction>\n <scene_description>... Throwing it open. Marisol and Tommy are outside. Marisol holds a Tupperware container. NOTE: Marisol pronounces Otto's name with a long 'O' (\"Oh- to\") instead of the broad ... | 7570.59 | 1134.37 | 34.88 |
a_man_called_otto | tt7405458 | 6DWEimfMmjAy | 1
00:00:02,210 --> 00:00:03,790
He runs down the platform,
2
00:00:03,790 --> 00:00:06,230
then turns and finds her standing next to him.
3
00:00:09,590 --> 00:00:10,710
She smiles at him.
4
00:00:15,350 --> 00:00:16,190
She nods.
5
00:00:23,830 --> 00:00:25,230
He searches his pockets.
6
00:00:28,390 --> 00:00:28... | 1
00:00:01,730 --> 00:00:03,590
and as he runs towards the carriage.
2
00:00:03,590 --> 00:00:06,070
He stops and turns to find Sonya behind him.
3
00:00:15,310 --> 00:00:17,590
Smiling, Sonya nods and bows her head.
4
00:00:33,110 --> 00:00:34,230
On the platform bench.
5
00:00:34,270 --> 00:00:35,670
Older Otto s... | 1
00:00:05,450 --> 00:00:08,500
Looks like we'll both have
to take the next one.
2
00:00:11,080 --> 00:00:11,920
Otto.
3
00:00:12,000 --> 00:00:13,920
It was your father's name.
4
00:00:14,000 --> 00:00:15,090
You remembered.
5
00:00:18,380 --> 00:00:20,720
Did you have to go back
to the military centre?
6
00:00:2... | 1
00:00:03,200 --> 00:00:04,700
[conductor blows whistle]
2
00:00:05,450 --> 00:00:08,490
[sighs] Looks like we'll both have
to take the next one.
3
00:00:11,080 --> 00:00:11,910
Otto.
4
00:00:12,000 --> 00:00:13,920
It was your father's name.
5
00:00:14,000 --> 00:00:15,080
You remembered.
6
00:00:18,380 --> 00:0... | {"screenplay_scene_31": "<scene>\n <stage_direction>EXT. TRAIN PLATFORM, 1973 - DAY</stage_direction>\n <scene_description>Otto (60s) sits on a train bench, watching people come and go. It's a foggy morning, dreamlike, hard to recognize faces. A train pulls in. Otto catches sight of a woman who looks like Sonya b... | 7570.59 | 2559.33 | 173.38 |
a_man_called_otto | tt7405458 | jhoaq3NzlMdY | 1
00:00:06,520 --> 00:00:09,360
Commuters mill about as they await the next train.
2
00:00:09,760 --> 00:00:11,160
Otto weaves past them.
3
00:00:17,680 --> 00:00:20,000
He cranes his neck looking for the train.
4
00:00:20,600 --> 00:00:22,400
He steps to the edge of the platform.
5
00:00:32,340 --> 00:00:35,700
As... | 1
00:00:04,320 --> 00:00:09,480
He walks along a crowded platform behind a bearded young man, bobbing his head to the music in his headphones.
2
00:00:09,960 --> 00:00:11,560
Otto stops in a clear spot
3
00:00:11,560 --> 00:00:14,040
and takes a measure of things to his left and right.
4
00:00:14,200 --> 00:00:15,56... | 1
00:00:37,020 --> 00:00:38,940
- Oh, my God!
- Someone call 911.
2
00:00:41,810 --> 00:00:42,900
He fell down!
3
00:00:42,980 --> 00:00:45,650
- Somebody help him!
- Get the camera on him. No, take video.
4
00:00:45,740 --> 00:00:46,860
Oh, for God's sake.
5
00:00:46,940 --> 00:00:49,660
- Who's gonna do something... | 1
00:00:00,100 --> 00:00:02,150
[man speaking indistinctly over PA]
2
00:00:02,230 --> 00:00:04,230
[indistinct chatter]
3
00:00:37,010 --> 00:00:38,930
- [man] Oh, my God!
- [woman] Someone call 911.
4
00:00:39,020 --> 00:00:41,730
- [chattering]
- [tense dramatic music playing]
5
00:00:41,810 --> 00:00:42,900
He ... | {"screenplay_scene_52": "<scene>\n <stage_direction>EXT. OTTO'S TRAIN STATION, 2018 - DAY</stage_direction>\n <scene_description>Otto comes up the steps and makes his way through COMMUTERS to the edge of the platform. Another horn. Otto looks up the track. The next train is coming. Otto braces himself to jump. Fu... | 7570.59 | 3354.46 | 124.74 |
a_man_called_otto | tt7405458 | Iby0iRLuNWeS | 1
00:00:03,430 --> 00:00:04,870
Otto gets back in the car.
2
00:00:32,270 --> 00:00:34,350
Tears well up in Marisol's eyes.
3
00:00:34,390 --> 00:00:36,270
She dabs her face with a tissue.
4
00:00:42,670 --> 00:00:45,590
Gas drive
| 1
00:00:04,950 --> 00:00:07,710
As Otto storms off, the guy's arms remain raised.
2
00:00:32,670 --> 00:00:36,110
Choking back tears, Marisol dabs a tissue to her face and brow.
| 1
00:00:00,250 --> 00:00:01,290
¿Comprende?
2
00:00:03,790 --> 00:00:04,790
Oh, shit.
3
00:00:08,630 --> 00:00:09,880
Now you listen to me.
4
00:00:10,720 --> 00:00:14,180
You have given birth to two children.
Soon it'll be three.
5
00:00:14,260 --> 00:00:18,100
You have come here
from a country very far away.
6
0... | 1
00:00:00,240 --> 00:00:01,290
¿Comprende?
2
00:00:03,790 --> 00:00:04,790
Oh, shit.
3
00:00:08,630 --> 00:00:09,880
Now you listen to me.
4
00:00:10,710 --> 00:00:14,170
You have given birth to two children.
Soon it'll be three.
5
00:00:14,260 --> 00:00:18,100
You have come here
from a country very far away.
6
0... | {"screenplay_scene_65": "<scene>\n <stage_direction>I/E. OTTO'S CHEVY MALIBU/LOCAL STREET - DAY</stage_direction>\n <scene_description>The car lurches down the street toward an intersection.</scene_description>\n <character>OTTO</character>\n <dialogue>Okay, the light's red up there, so you need to slow dow... | 7570.59 | 4029.66 | 45.63 |
a_man_called_otto | tt7405458 | 20QXEoLpymDc | 1
00:00:13,610 --> 00:00:15,170
Sonya walks with Anita.
2
00:00:37,170 --> 00:00:39,330
Young Otto frowns at Reuben Ford.
3
00:01:03,710 --> 00:01:04,710
In a flashback.
4
00:01:04,750 --> 00:01:06,510
Young Reuben opens his garage.
5
00:01:06,670 --> 00:01:08,870
He proudly displays his new Ford to Young.
6
00:01... | 1
00:01:05,350 --> 00:01:06,510
Opening his garage.
2
00:01:06,550 --> 00:01:09,910
Young Reuben proudly shows Otto his gleaming new silver Ford.
3
00:01:10,110 --> 00:01:12,710
With a disdainful look, Otto opens his garage
4
00:01:12,710 --> 00:01:15,750
and shows Reuben his shiny new silvery blue Chevrolet.
5
00:... | 1
00:00:01,120 --> 00:00:05,410
We all got along fine, of course,
when we first moved in.
2
00:00:05,500 --> 00:00:06,790
It was like a gift.
3
00:00:06,870 --> 00:00:08,750
Welcome to the neighbourhood.
4
00:00:08,830 --> 00:00:10,840
- Hi, I'm Sonya.
- I'm Anita.
5
00:00:10,920 --> 00:00:13,500
Sonya and Anita we... | 1
00:00:00,030 --> 00:00:01,030
[upbeat music playing]
2
00:00:01,110 --> 00:00:05,410
[Otto] We all got along fine, of course,
when we first moved in.
3
00:00:05,490 --> 00:00:06,790
It was like a gift.
4
00:00:06,870 --> 00:00:08,750
Welcome to the neighbourhood.
5
00:00:08,830 --> 00:00:10,830
- Hi, I'm Sonya.
-... | {"screenplay_scene_68": "<scene>\n <stage_direction>75A EXT. A BIRCHWOOD FOREST - DAY 75A</stage_direction>\n <scene_description>CLOSE on a chainsaw as it cuts through the trunk of a birch tree. PULL BACK to reveal a WORKER cutting down trees, several of which lie on the ground around him. Most of the forest has ... | 7570.59 | 4248.64 | 169.62 |
a_man_called_otto | tt7405458 | yjLbZViCjck9 | 1
00:00:13,790 --> 00:00:14,630
He writes a note.
2
00:00:47,370 --> 00:00:48,610
Otto locks the gate.
3
00:01:08,090 --> 00:01:11,570
The Agent from Dye and Merica drives his car up to the gate.
4
00:02:09,190 --> 00:02:11,550
Marisol closes the gate, blocking the street.
5
00:02:11,910 --> 00:02:14,950
Otto storm... | 1
00:01:06,890 --> 00:01:07,770
I'm something
2
00:01:08,210 --> 00:01:09,810
standing with her hands on her hips.
3
00:01:09,810 --> 00:01:11,050
Marisol shrugs.
4
00:02:09,270 --> 00:02:11,550
Walking ungainly across the central strip.
5
00:02:11,550 --> 00:02:15,110
Grabbing a tree on his way, Otto struggles to ... | 1
00:00:01,830 --> 00:00:04,740
- I wanna do something for you too.
- I don't need anything.
2
00:00:04,830 --> 00:00:08,580
Well, I think you could do
with some decent food. Sometimes. No?
3
00:00:08,670 --> 00:00:09,750
Those cookies...
4
00:00:09,830 --> 00:00:11,380
The what? The "salporanz"?
5
00:00:11,460 -->... | 1
00:00:01,820 --> 00:00:04,740
- I wanna do something for you too.
- I don't need anything.
2
00:00:04,820 --> 00:00:08,580
Well, I think you could do
with some decent food. Sometimes. No?
3
00:00:08,660 --> 00:00:09,750
Those cookies...
4
00:00:09,830 --> 00:00:11,370
The what? The "salporanz"?
5
00:00:11,460 -->... | {"screenplay_scene_87": "<scene>\n <stage_direction>I/E. OTTO'S FRONT DOOR - DAY</stage_direction>\n <scene_description>Marisol knocks on Otto's door. Knocks again.</scene_description>\n <character>MARISOL</character>\n <dialogue>Otto, it's me... She's gone now.</dialogue>\n <scene_description>Otto opens... | 7570.59 | 4861.50 | 210.51 |
a_man_called_otto | tt7405458 | nuZ4KfH1_mMq | 1
00:01:05,530 --> 00:01:06,610
She slams the door,
2
00:01:06,650 --> 00:01:07,490
then reopens it
3
00:01:07,490 --> 00:01:09,370
with tears running down her cheeks.
4
00:01:26,010 --> 00:01:27,130
She wipes a tear.
5
00:01:43,510 --> 00:01:46,070
Marisol purses her lips and nods.
6
00:01:49,350 --> 00:01:50,990... | 1
00:01:08,170 --> 00:01:10,210
Crying, she whips open the door again.
2
00:01:43,870 --> 00:01:45,470
He holds up a bundle of paperwork
3
00:01:45,470 --> 00:01:46,470
and she softens.
| 1
00:00:01,140 --> 00:00:02,310
I need to use your phone.
2
00:00:04,560 --> 00:00:06,230
Why can't you use your own?
3
00:00:07,230 --> 00:00:09,070
Mine is disconnected at the moment.
4
00:00:11,320 --> 00:00:13,740
- Why?
- That doesn't matter.
5
00:00:13,820 --> 00:00:15,870
I just need to use your phone, okay?... | 1
00:00:01,140 --> 00:00:02,310
I need to use your phone.
2
00:00:04,560 --> 00:00:06,230
Why can't you use your own?
3
00:00:07,230 --> 00:00:09,060
Mine is disconnected at the moment.
4
00:00:11,320 --> 00:00:13,730
- Why?
- That doesn't matter.
5
00:00:13,820 --> 00:00:15,860
I just need to use your phone, okay?... | {"screenplay_scene_110": "<scene>\n <stage_direction>I/E. MARISOL AND TOMMY'S HOUSE, FRONT DOOR - DAY</stage_direction>\n <scene_description>Otto knocks on the front door, arms loaded with paper and files. Marisol answers, regards Otto coolly.</scene_description>\n <character>OTTO</character>\n <dialogue>I ... | 7570.59 | 5837.12 | 111.94 |
a_man_called_otto | tt7405458 | aw02jCQ0ejNE | 1
00:00:03,730 --> 00:00:05,410
He meets Marisol's gaze.
2
00:00:16,170 --> 00:00:17,970
Glimpses show Niagara Falls.
3
00:00:33,450 --> 00:00:34,330
In the past.
4
00:00:34,370 --> 00:00:36,950
Young Otto help Sonya out of his car.
5
00:00:53,870 --> 00:00:54,670
At a meeting.
6
00:01:33,850 --> 00:01:34,690
Tear... | 1
00:00:02,970 --> 00:00:05,210
He lifts his saddened gaze to Marisol.
2
00:00:20,570 --> 00:00:21,330
The crash.
3
00:00:33,610 --> 00:00:35,090
Opening the car door for Sonya.
4
00:00:35,130 --> 00:00:36,750
Young Otto lifts her out.
5
00:01:41,250 --> 00:01:43,330
They look at each other with tears in their eyes... | 1
00:00:00,420 --> 00:00:02,300
We had never had a vacation.
2
00:00:06,680 --> 00:00:08,220
Sonya was six months pregnant.
3
00:00:09,510 --> 00:00:13,180
And she wanted to do something special
before the baby came.
4
00:00:13,970 --> 00:00:16,480
So we booked a trip to Niagara Falls.
5
00:00:18,520 --> 00:00:20,4... | 1
00:00:00,410 --> 00:00:02,290
We had never had a vacation.
2
00:00:04,170 --> 00:00:06,590
[poignant music playing]
3
00:00:06,670 --> 00:00:08,210
Sonya was six months pregnant.
4
00:00:09,510 --> 00:00:13,180
And she wanted to do something special
before the baby came.
5
00:00:13,970 --> 00:00:16,470
So we book... | {"screenplay_scene_111": "<scene>\n <stage_direction>INT. MARISOL AND TOMMY'S HOUSE, DINING ROOM/KITCHEN - DAY</stage_direction>\n <scene_description>Marisol crosses into the dining room, still upset. Otto appears in the doorway behind her, paperwork in his arms. Marisol gets her cellphone from the dining room ta... | 7570.59 | 5962.18 | 132.59 |
a_man_called_otto | tt7405458 | L7oOIE0cdQUJ | 1
00:00:00,850 --> 00:00:03,290
Otto sits on Anita's porch with the cat.
2
00:00:03,490 --> 00:00:04,330
The Dye and Merica.
3
00:00:04,370 --> 00:00:05,890
Agent pulls up by the gate,
4
00:00:05,890 --> 00:00:07,490
and a colleague gets out of the car
5
00:00:07,490 --> 00:00:08,330
and opens it.
6
00:00:13,850 -... | 1
00:00:03,210 --> 00:00:06,970
On a wooden seat on Anita and Reuben s front porch with the cat on his lap.
2
00:00:07,010 --> 00:00:09,890
Otto watches the Dye and Merica man pull up to the barrier,
3
00:00:09,890 --> 00:00:11,810
followed by a red transport van.
4
00:00:14,370 --> 00:00:15,710
A woman opens the ba... | 1
00:00:25,000 --> 00:00:26,710
You're wasting your time, Otto.
2
00:00:26,800 --> 00:00:29,260
It's a done deal. Reuben's coming with us.
3
00:00:29,340 --> 00:00:31,380
And if you get in our way,
4
00:00:31,470 --> 00:00:32,720
I'll have you arrested.
5
00:00:33,340 --> 00:00:36,220
- I'm not doing a thing.
- Don... | 1
00:00:04,480 --> 00:00:07,020
[hip-hop music blaring over speakers]
2
00:00:23,960 --> 00:00:24,960
[engine turns off]
3
00:00:25,000 --> 00:00:26,710
You're wasting your time, Otto.
4
00:00:26,790 --> 00:00:29,250
It's a done deal. Reuben's coming with us.
5
00:00:29,340 --> 00:00:31,380
And if you get in our wa... | {"screenplay_scene_118": "<scene>\n <stage_direction>EXT. ANITA AND REUBEN'S HOUSE - DAY</stage_direction>\n <scene_description>The van and the car pull up to Anita's house. Otto sits on the stoop, the Cat in his lap. He taps on Anita's window. Two ELDERCARE TRANSPORT WORKERS get out of the van. The Agent gets ou... | 7570.59 | 6099.30 | 166.98 |
a_man_called_otto | tt7405458 | 6HAoMvPRJq_g | 1
00:00:00,740 --> 00:00:02,060
She enters the bedroom.
2
00:00:04,260 --> 00:00:05,620
Tommy heads upstairs.
3
00:00:05,820 --> 00:00:07,820
Otto lies slumped across the bed.
4
00:00:09,060 --> 00:00:10,820
Marisol stands by him.
5
00:00:12,540 --> 00:00:15,620
The lucky quarter lies on the floor near Otto's hand.... | 1
00:00:00,380 --> 00:00:02,180
Marisol runs into his bedroom.
2
00:00:02,860 --> 00:00:08,540
Mama Otto's hand hangs limply over the edge of Sonya's side of the bed.
3
00:00:11,460 --> 00:00:12,180
In the doorway.
4
00:00:12,220 --> 00:00:15,020
Tommy watches Marisol feel for a pulse in his wrist
5
00:00:15,020 --... | 1
00:00:09,580 --> 00:00:10,580
Otto.
2
00:00:18,380 --> 00:00:19,380
Yeah.
3
00:00:38,110 --> 00:00:39,110
Marisol.
4
00:00:51,540 --> 00:00:52,540
Marisol,
5
00:00:53,290 --> 00:00:55,460
if you're reading this, don't worry.
6
00:00:56,130 --> 00:00:58,210
I haven't done anything stupid.
7
00:01:00,380 --> 00:0... | 1
00:00:02,820 --> 00:00:04,610
[Tommy speaks in Spanish]
2
00:00:04,700 --> 00:00:06,160
[footsteps approaching]
3
00:00:09,580 --> 00:00:10,580
[Marisol] Otto.
4
00:00:15,000 --> 00:00:16,290
[sobs]
5
00:00:18,380 --> 00:00:19,380
Yeah.
6
00:00:38,110 --> 00:00:39,110
Marisol.
7
00:00:46,410 --> 00:00:49,410
[t... | null | 7570.59 | 6890.37 | 182.44 |
dragonheart | tt0116136 | 3CMSiOWlcfkh | 1
00:00:00,780 --> 00:00:02,500
The dragon flies out of the cave.
2
00:00:02,940 --> 00:00:05,270
Bowen charges after the dragon on his horse.
3
00:00:12,110 --> 00:00:13,310
He whips through the forest.
4
00:00:16,710 --> 00:00:18,430
The dragon flies over the trees.
5
00:00:20,390 --> 00:00:23,190
Bowen catches u... | 1
00:00:01,490 --> 00:00:02,410
and flies off.
2
00:00:02,700 --> 00:00:04,000
Bowen is back on his horse
3
00:00:04,000 --> 00:00:05,040
and gallops away.
4
00:00:13,230 --> 00:00:16,160
Bowen rides his horse at full speed through the forest.
5
00:00:16,450 --> 00:00:19,500
The huge dragon flies just above him ove... | 1
00:00:04,190 --> 00:00:07,020
Bowen! Bowen, take care!
2
00:00:07,050 --> 00:00:09,720
He went that way!
3
00:00:09,820 --> 00:00:11,950
Take care, Bowen!
4
00:01:02,680 --> 00:01:05,270
You can't fly forever!
5
00:01:05,380 --> 00:01:08,910
- Neither can you!
- Slow down!
6
00:01:08,950 --> 00:01:12,540
Come, v... | 1
00:00:05,480 --> 00:00:07,940
Bowen!
Bowen, take care!
2
00:00:08,020 --> 00:00:09,610
He went that way!
3
00:00:09,690 --> 00:00:11,780
Take care, Bowen!
4
00:00:42,810 --> 00:00:43,810
[EXCLAIMING]
5
00:01:02,740 --> 00:01:04,750
You can't fly forever!
6
00:01:05,000 --> 00:01:06,710
DRAGON: Neither can you!
... | {"screenplay_scene_32": "<scene>\n <stage_direction>EXT. WATERFALL - DAY</stage_direction>\n <scene_description>BOWEN ... dashes out of the falls and onto his horse. Gilbert, just rising, ducks for cover in the water again as the knight gallops past him into the woods after the dragon.</scene_description>\n </sc... | 6168.01 | 1683.46 | 118.59 |
dragonheart | tt0116136 | fUHUnTXkQh_u | 1
00:00:07,580 --> 00:00:08,140
Shut up!
2
00:00:08,140 --> 00:00:09,340
The dragon yanked the rope.
3
00:00:09,340 --> 00:00:11,220
It snaps up between bones legs.
4
00:00:11,220 --> 00:00:13,060
He falls in the dirt holding his crotch.
5
00:00:14,020 --> 00:00:15,620
The dragon opens his mouth.
6
00:00:15,620 --... | 1
00:00:08,880 --> 00:00:10,260
The dragon pulls at the rope.
2
00:00:10,260 --> 00:00:13,700
It shoots up between bones legs, sending him crashing to the ground.
3
00:00:20,390 --> 00:00:22,860
Creature opens its huge jaws to eat Bowen,
4
00:00:22,860 --> 00:00:24,440
but the knight stands on its tongue
5
00:00:24... | 1
00:00:02,300 --> 00:00:05,090
And when there are
no more dragons to slay...
2
00:00:05,200 --> 00:00:07,330
how will you make
a living, Knight?
3
00:00:07,400 --> 00:00:09,160
Shut up!
4
00:00:24,420 --> 00:00:26,780
Whoa!
5
00:00:29,290 --> 00:00:34,130
If your teeth come down, my sword
goes up, right into your ... | 1
00:00:00,060 --> 00:00:01,940
And you'll kill me for sport?
2
00:00:02,020 --> 00:00:05,480
And when there are
no more dragons to slay,
3
00:00:05,570 --> 00:00:07,530
how will you make a living, Knight?
4
00:00:07,610 --> 00:00:08,940
Shut up!
5
00:00:11,740 --> 00:00:12,740
[GROANING]
6
00:00:27,260 --> 00:00:... | {"screenplay_scene_45": "<scene>\n <stage_direction>EXT. WOODS - GILBERT'S POV - NIGHT</stage_direction>\n <scene_description>They're still not moving. Still in the same positions. The dragon's unhinged jaws still stretched to their aching maximum. Bowen tries to discreetly sneak his blade up.</scene_description>... | 6168.01 | 1932.99 | 212.88 |
dragonheart | tt0116136 | y_2IOqH9KFjj | 1
00:00:03,480 --> 00:00:04,880
Workers panic and flee.
2
00:00:13,400 --> 00:00:14,440
The dragon hovers,
3
00:00:14,440 --> 00:00:18,000
then blows a fireball that detonates and completely engulfs the structure.
4
00:00:18,920 --> 00:00:21,200
Workers run out of the fire stricken area.
5
00:00:21,200 --> 00:00:22... | 1
00:00:00,390 --> 00:00:05,410
The monster puffs out a huge jet of fire, creating a long flaming wall across the field.
2
00:00:06,450 --> 00:00:08,210
The dragon flies out of the smoke.
3
00:00:10,630 --> 00:00:11,800
He swoops down low
4
00:00:11,800 --> 00:00:15,270
and blows out another two firebolts, setting a... | 1
00:00:26,380 --> 00:00:29,040
Pesky critters, dragons.
2
00:00:30,820 --> 00:00:32,750
You!
3
00:00:32,820 --> 00:00:36,260
Like big rats.
You never seem to get rid of them.
4
00:00:36,360 --> 00:00:40,090
Unless you pay me
two bags of gold, in advance.
5
00:00:48,770 --> 00:00:50,900
Come on, Dragon.
6
00:00:52... | 1
00:00:27,720 --> 00:00:29,720
Pesky critters, dragons.
2
00:00:31,050 --> 00:00:32,550
You!
3
00:00:32,640 --> 00:00:34,510
Like big rats.
4
00:00:34,640 --> 00:00:36,510
You never seem to get rid of them.
5
00:00:36,600 --> 00:00:39,980
Unless you pay me two
bags of gold in advance.
6
00:00:48,780 --> 00:00:50,... | {"screenplay_scene_63": "<scene>\n <stage_direction>EXT. FELTON'S MILL - SKY - DAY</stage_direction>\n <scene_description>The dragon takes aim at the mill and •.• shoots TWO FIRE BALLS from his nostrils.</scene_description>\n </scene>", "screenplay_scene_64": "<scene>\n <stage_direction>EXT. FELTON'S MILL - M... | 6168.01 | 2168.77 | 147.05 |
dragonheart | tt0116136 | u4aUHItMhHQh | 1
00:00:00,170 --> 00:00:01,410
He whips his sword out.
2
00:00:02,090 --> 00:00:03,250
He swings at Einon.
3
00:00:13,020 --> 00:00:14,820
He presses his sword against Ireland's back.
4
00:00:19,020 --> 00:00:19,420
Einon.
5
00:00:19,420 --> 00:00:19,940
Paris.
6
00:00:25,300 --> 00:00:26,540
The king charges ahe... | 1
00:00:00,630 --> 00:00:02,050
Bowen pulls out his sword
2
00:00:02,050 --> 00:00:04,180
and forces the King onto the defensive.
3
00:00:08,940 --> 00:00:10,910
Einon takes a wild swing at Bowen,
4
00:00:10,910 --> 00:00:13,080
who touches the king's back with his sword.
5
00:00:28,890 --> 00:00:31,390
Einon thrus... | 1
00:00:13,620 --> 00:00:16,490
That's one lesson you never learned!
2
00:00:16,590 --> 00:00:18,990
Only expose your back
to a corpse!
3
00:00:21,260 --> 00:00:23,920
You are a corpse!
4
00:00:24,000 --> 00:00:25,990
You just don't know it!
5
00:00:31,670 --> 00:00:34,000
Lie down, Bowen!
6
00:00:34,110 --> 00:00... | 1
00:00:14,600 --> 00:00:16,850
That's one lesson you never learned!
2
00:00:16,970 --> 00:00:19,270
Only expose your back to a corpse!
3
00:00:21,270 --> 00:00:22,980
You are a corpse!
4
00:00:24,190 --> 00:00:26,150
You just don't know it!
5
00:00:32,660 --> 00:00:34,120
Lie down, Bowen!
6
00:00:34,200 --> 00:00... | {"screenplay_scene_106": "<scene>\n <stage_direction>EXT. WATERFALL - DAY</stage_direction>\n <scene_description>The swordplay is dazzling and Bowen's holding his own. But Einon's younger. And faster.</scene_description>\n <character>EINON</character>\n <dialogue>Lie down, knight. Life has passed you by. Yo... | 6168.01 | 3364.19 | 138.14 |
dragonheart | tt0116136 | SFqM50DfBoy5 | 1
00:00:01,320 --> 00:00:03,520
Bowen swings his sword at the wooden catapult.
2
00:00:04,080 --> 00:00:05,320
Draco grabs the arrow.
3
00:00:06,120 --> 00:00:07,370
He spirals down.
4
00:00:09,970 --> 00:00:11,930
He lands, head first into shallow water.
5
00:00:12,130 --> 00:00:13,890
His whole body sticks out in... | 1
00:00:01,370 --> 00:00:03,170
Bowen cuts the rope on his catapult,
2
00:00:03,170 --> 00:00:05,220
and again the dragon catches the spear.
3
00:00:06,850 --> 00:00:07,230
Again.
4
00:00:07,230 --> 00:00:09,820
Draco tumbles out of the sky and into the lake.
5
00:00:09,860 --> 00:00:12,410
Unfortunately, the water... | 1
00:00:17,870 --> 00:00:20,270
Sink! Sink!
2
00:00:20,340 --> 00:00:22,970
I can't!
It doesn't get any deeper!
3
00:00:23,040 --> 00:00:25,880
Well done, Bowen!
You've done it again!
4
00:00:25,950 --> 00:00:30,040
What a brute!
That's even bigger than the last one!
5
00:00:30,150 --> 00:00:32,380
Actually,
he's a... | 1
00:00:17,860 --> 00:00:20,320
Sink! Sink!
2
00:00:20,450 --> 00:00:22,910
I can't.
It doesn't get any deeper.
3
00:00:22,990 --> 00:00:25,660
Well done, Bowen!
You've done it again!
4
00:00:25,750 --> 00:00:27,080
What a brute!
5
00:00:27,170 --> 00:00:29,830
That's even bigger than the last one.
6
00:00:30,040 ... | {"screenplay_scene_110": "<scene>\n <stage_direction>EXT. SWAMP VILLAGE - EDGE OF SWAMP -DAY</stage_direction>\n <scene_description>Bowen has once again devised \"A WHACKER\". Gilbert gleefully helps out, driving the ballast-cart ox into position until Bowen signals him to stop.</scene_description>\n <characte... | 6168.01 | 3716.86 | 176.22 |
dragonheart | tt0116136 | X0XO3yDCLOqz | 1
00:00:02,230 --> 00:00:04,870
The second line runs out to fight near the flames.
2
00:00:15,030 --> 00:00:15,950
Perched in a tree.
3
00:00:15,990 --> 00:00:17,630
Brother Gilbert aims his bow.
4
00:00:19,070 --> 00:00:20,030
He lowers his bow
5
00:00:20,030 --> 00:00:20,990
and looks around.
6
00:00:22,910 --> ... | 1
00:00:02,910 --> 00:00:04,920
The peasants run towards the king's men
2
00:00:05,050 --> 00:00:06,470
and battle commences.
3
00:00:14,750 --> 00:00:17,960
Up in the treetops, Gilbert is standing with two archers.
4
00:00:18,930 --> 00:00:20,140
He holds up his bow and arrow
5
00:00:20,140 --> 00:00:20,970
and ta... | 1
00:00:00,280 --> 00:00:03,280
Charge!
2
00:00:31,150 --> 00:00:34,710
Scatter or die!
3
00:00:34,790 --> 00:00:37,810
Scatter or die! Go!
4
00:01:24,300 --> 00:01:26,200
Like a pudding.
5
00:01:38,720 --> 00:01:41,050
Pride goeth before the fall.
6
00:01:41,150 --> 00:01:43,380
Help! Help!
7
00:01:45,490 --> 00... | 1
00:00:00,200 --> 00:00:02,030
Charge!
2
00:00:33,150 --> 00:00:34,690
Scatter or die!
3
00:00:34,770 --> 00:00:36,610
Scatter or die!
4
00:00:36,690 --> 00:00:37,770
Go!
5
00:01:24,820 --> 00:01:26,410
Like a pudding.
6
00:01:38,960 --> 00:01:40,880
Pride goeth before the fall.
7
00:01:40,960 --> 00:01:43,670
H... | {"screenplay_scene_133": "<scene>\n <stage_direction>EXT. FOREST BATTLEFIELD - DAY</stage_direction>\n <scene_description>BUT EINON HAS MADE A TACTICAL MISTAKE. As soon as all the king's riders are wheeling admidst the trees, Bowen wheels his horse on a rise.</scene_description>\n <character>BOWEN</character>\... | 6168.01 | 4720.77 | 198.67 |
dragonheart | tt0116136 | o3wlEUvd8hDm | 1
00:00:03,580 --> 00:00:05,220
She flies back into a wooden gate.
2
00:00:06,500 --> 00:00:08,260
Brock's face appears from the dark.
3
00:00:09,140 --> 00:00:10,340
She swings her axe.
4
00:00:11,020 --> 00:00:12,540
He blocks the hit with his sword.
5
00:00:13,140 --> 00:00:13,940
He swings.
6
00:00:14,100 --> ... | 1
00:00:03,320 --> 00:00:04,660
She enters a dark archway
2
00:00:04,660 --> 00:00:06,330
and is pushed backwards by Brok.
3
00:00:07,710 --> 00:00:08,800
He pulls out his sword
4
00:00:08,800 --> 00:00:09,800
and swings at her.
5
00:00:13,860 --> 00:00:15,700
She ducks and weaves out of the way.
6
00:00:18,830 --... | 1
00:00:28,390 --> 00:00:31,220
Let me cut it
down to size for you.
2
00:00:43,570 --> 00:00:45,730
A girl.
3
00:00:47,580 --> 00:00:49,670
A girl!
| 1
00:00:04,360 --> 00:00:05,360
[SCREAMS]
2
00:00:12,960 --> 00:00:14,040
No!
3
00:00:28,390 --> 00:00:30,970
Let me cut it down to size for you.
4
00:00:37,020 --> 00:00:38,020
[GROANING]
5
00:00:43,190 --> 00:00:44,400
A girl.
6
00:00:47,200 --> 00:00:48,700
A girl.
7
00:00:49,530 --> 00:00:50,530
[THUDDING]
| {"screenplay_scene_154": "<scene>\n <stage_direction>EXT. EINON'S CASTLE - BATTLEMENTS - NIGHT</stage_direction>\n <scene_description>Kara, axe in hand, whirls onto a battlement through the wreckage of the dragonslayers' catapults. She turns to get her bearings straight and sees A HUGE SHADOW looming on the wall ... | 6168.01 | 5293.76 | 59.86 |
dragonheart | tt0116136 | DWabGKand65H | 1
00:00:01,240 --> 00:00:02,400
on the top of a tower.
2
00:00:02,440 --> 00:00:04,280
Einon backs up out of a trap door.
3
00:00:07,000 --> 00:00:09,320
Bowen trips Einon, who falls back into a pole.
4
00:00:14,800 --> 00:00:16,120
Bowen falls on his back.
5
00:00:16,520 --> 00:00:18,680
Einon presses his sword do... | 1
00:00:00,030 --> 00:00:05,050
Einon and Bowen are still fighting and have reached the top of the tower, surrounded by the wooden scaffolding.
2
00:00:07,720 --> 00:00:08,940
With a swing of his blade.
3
00:00:08,980 --> 00:00:10,980
Einon cuts Bohan's sword in two.
4
00:00:12,320 --> 00:00:16,670
Bowen retreats un... | 1
00:00:19,740 --> 00:00:22,180
Bowen!
2
00:00:32,420 --> 00:00:35,260
Lo, I'm immortal.
3
00:00:57,380 --> 00:01:00,180
- Yeah!
- Huh?
| 1
00:00:19,530 --> 00:00:20,780
Bowen!
2
00:00:29,250 --> 00:00:30,500
Bowen!
3
00:00:32,670 --> 00:00:35,090
Lo, I'm immortal.
4
00:00:47,060 --> 00:00:48,060
[SCREAMING]
5
00:00:57,650 --> 00:00:58,820
Yeah!
6
00:01:20,550 --> 00:01:22,050
[YELLING IN FOREIGN LANGUAGE]
7
00:01:24,260 --> 00:01:25,260
[SHRIEKING... | {"screenplay_scene_156": "<scene>\n <stage_direction>EXT. CASTLE TOWER - STAIRWELL - NIGHT</stage_direction>\n <scene_description>Bowen and Einon ascend the tower steps, blades flashing furiously. They've heard the alarum. Bowen grins.</scene_description>\n <character>BOWEN</character>\n <dialogue>My rebels... | 6168.01 | 5353.79 | 88.75 |
dragonheart | tt0116136 | m0aIVvf14mQ_ | 1
00:00:39,500 --> 00:00:41,020
Kara hops down the stairs.
2
00:00:42,380 --> 00:00:43,900
Bowen lowers his weapon.
3
00:01:04,780 --> 00:01:06,190
Draco swings his claw.
4
00:01:06,230 --> 00:01:07,870
Bowen ducks and rolls right back.
5
00:01:08,550 --> 00:01:09,470
Kara runs toward them.
6
00:01:10,950 --> 00:0... | 1
00:00:38,450 --> 00:00:39,830
Bowen holds up his axe,
2
00:00:39,950 --> 00:00:42,670
but it's Kara who is standing on a podium above him.
3
00:00:44,850 --> 00:00:45,930
She shrugs her shoulders
4
00:00:45,930 --> 00:00:46,980
and shakes her head.
5
00:01:04,580 --> 00:01:06,210
Draco lunges at Bowen.
6
00:01:1... | 1
00:00:00,330 --> 00:00:02,560
But in my half
beats the life source.
2
00:00:02,630 --> 00:00:04,900
For Einon to die,
I must die!
3
00:00:04,970 --> 00:00:06,960
Einon is dead.
4
00:00:07,010 --> 00:00:10,000
- He lives!
- It doesn't matter.
5
00:00:10,110 --> 00:00:12,840
Don't you hear it?
Our rebels have storm... | 1
00:00:00,120 --> 00:00:02,410
But in my half beats the life source.
2
00:00:02,540 --> 00:00:04,830
For Einon to die, I must die!
3
00:00:04,920 --> 00:00:06,040
Einon is dead.
4
00:00:06,170 --> 00:00:07,330
He lives!
5
00:00:08,460 --> 00:00:11,170
It doesn't matter.
Don't you hear it?
6
00:00:11,260 --> 00:00... | {"screenplay_scene_167": "<scene>\n <stage_direction>EXT. EINON'S CASTLE - NIGHT</stage_direction>\n <scene_description>Bowen pilfers the keys off Odolf's belt and starts to unlock the shackles about Draco's neck. Draco stretches his neck.</scene_description>\n <character>DRACO</character>\n <dialogue>You s... | 6168.01 | 5461.79 | 155.88 |
dragonheart | tt0116136 | iSGFkXAgoDob | 1
00:00:06,840 --> 00:00:07,960
He rubs his face.
2
00:00:16,200 --> 00:00:17,480
Draco disappears.
3
00:00:18,640 --> 00:00:21,240
A bright orange mist appears in place of his body.
4
00:00:22,840 --> 00:00:24,520
Everyone stands and backs up.
5
00:00:34,200 --> 00:00:36,960
Bowen touches his face as the light ill... | 1
00:00:15,620 --> 00:00:18,250
The villagers are assembled around the body of the dragon,
2
00:00:18,420 --> 00:00:19,880
but it suddenly vanishes
3
00:00:19,880 --> 00:00:22,510
and is replaced by a pool of glowing light.
4
00:00:25,400 --> 00:00:26,650
Bowen stares at the light
5
00:00:26,650 --> 00:00:27,950
an... | 1
00:00:01,770 --> 00:00:03,900
What now, Draco?
2
00:00:06,180 --> 00:00:08,340
Without you...
3
00:00:09,650 --> 00:00:12,080
what do we do?
4
00:00:12,150 --> 00:00:14,620
Where do we turn?
5
00:00:30,030 --> 00:00:32,930
To the stars, Bowen.
6
00:00:33,000 --> 00:00:35,440
To the stars.
7
00:02:17,810 --> 00:... | 1
00:00:01,590 --> 00:00:03,210
What now, Draco?
2
00:00:05,960 --> 00:00:10,720
Without you, what do we do?
3
00:00:11,970 --> 00:00:13,640
Where do we turn?
4
00:00:17,430 --> 00:00:18,770
[ALL GASPING]
5
00:00:29,820 --> 00:00:31,660
DRNCO: To the stars, Bowen.
6
00:00:32,820 --> 00:00:34,370
To the stars.
7
0... | {"screenplay_scene_170": "<scene>\n <stage_direction>EXT. STARRY SKY - NIGHT</stage_direction>\n <scene_description>As the Light behind the mountains spins and concentrates into a shimmering STREAK, lancing through the darkness. The stars suddenly DIM, fading from the sky as the strange light shoots across night'... | 6168.01 | 5648.64 | 161.19 |
twilight | tt1099212 | Y8d1werlHSau | 1
00:00:01,810 --> 00:00:03,090
The teacher sees Bella.
2
00:00:06,010 --> 00:00:10,370
A floor fan stirs her hair as she locks eyes with Edward sitting alone at a lab table.
3
00:00:12,370 --> 00:00:14,330
The breeze blows over Edward's papers
4
00:00:14,330 --> 00:00:15,330
and he tenses.
5
00:00:15,330 --> 00:00... | 1
00:00:06,330 --> 00:00:10,340
As Bella walks into the classroom past a fan, her hair blows in the breeze.
2
00:00:10,340 --> 00:00:12,680
She looks over to Edward, who is sitting alone
3
00:00:12,930 --> 00:00:14,310
as her scent reaches him.
4
00:00:14,310 --> 00:00:15,690
He takes in a deep breath,
5
00:00:15,8... | 1
00:00:00,070 --> 00:00:02,040
- Mr. Molina.
- Hey, Mike.
2
00:00:03,210 --> 00:00:05,470
Oh, yes. Miss Swan.
3
00:00:20,020 --> 00:00:22,390
Hi. Can I have the pass? Thank you.
4
00:00:22,460 --> 00:00:24,790
Welcome to the class.
Here. Here's your stuff, okay?
5
00:00:24,860 --> 00:00:27,520
And I got a seat for... | 1
00:00:00,060 --> 00:00:02,030
- Mr. Molina.
- Hey, Mike.
2
00:00:03,200 --> 00:00:05,470
Oh, yes. Miss Swan.
3
00:00:20,020 --> 00:00:22,380
Hi. Can I have the pass? Thank you.
4
00:00:22,450 --> 00:00:24,790
Welcome to the class.
Here. Here's your stuff, okay?
5
00:00:24,860 --> 00:00:27,520
And I got a seat for... | {"screenplay_scene_16": "<scene>\n <stage_direction>INT. BIOLOGY CLASS - DAY</stage_direction>\n <scene_description>A room of black-topped lab tables. Two to a table. Bella and Mike enter. Mike takes his seat and points her toward MR. MOLINA, Birkenstocked, enthusiastic science teacher at the head of the class. A... | 7302.58 | 616.00 | 72.77 |
twilight | tt1099212 | w_lG4HfOFCeg | 1
00:00:01,380 --> 00:00:03,660
She walks to her truck parked along the kerb.
2
00:00:04,620 --> 00:00:06,340
She sets her backpack on the hood,
3
00:00:06,340 --> 00:00:11,060
then looks across the lot at Edward, standing by a sporty silver car with his foster siblings
4
00:00:11,060 --> 00:00:12,420
staring intent... | 1
00:00:08,050 --> 00:00:12,230
Suddenly, a car reversing nearly crashes into a van coming up to the School.
2
00:00:12,230 --> 00:00:14,820
The van swerves with the driver losing control.
3
00:00:14,820 --> 00:00:16,460
He is heading straight for Bella.
4
00:00:16,460 --> 00:00:17,210
From nowhere.
5
00:00:17,210 ... | 1
00:00:45,000 --> 00:00:46,630
- Bella!
- Bella!
2
00:00:47,840 --> 00:00:48,840
Dial 911!
3
00:00:48,910 --> 00:00:50,920
I already called.
They're gonna send somebody over soon.
4
00:00:50,940 --> 00:00:53,470
Bella, I'm so sorry. I panicked.
5
00:00:54,580 --> 00:00:57,380
Bella, I've got 911 on the phone now.
... | 1
00:00:19,010 --> 00:00:20,370
[HORN BLASTING]
2
00:00:22,050 --> 00:00:23,510
[TIRES SCREECHING]
3
00:00:24,250 --> 00:00:25,250
[LOUD THUDS]
4
00:00:25,620 --> 00:00:26,620
[LOUD GRUNT]
5
00:00:29,650 --> 00:00:31,350
[BREATH TREMBLING]
6
00:00:45,000 --> 00:00:46,630
- ALL: Bella!
- Bella!
7
00:00:46,700 --> ... | null | 7302.58 | 1247.84 | 61.28 |
twilight | tt1099212 | ct_a9QJcBkpd | 1
00:00:06,660 --> 00:00:08,940
Two more guys close in, blocking her path.
2
00:00:15,380 --> 00:00:15,660
Come on.
3
00:00:15,700 --> 00:00:16,700
They surround her.
4
00:00:23,620 --> 00:00:24,660
She needs a guy.
5
00:00:24,700 --> 00:00:26,500
A sporty car speeds into the lot,
6
00:00:26,500 --> 00:00:29,380
a... | 1
00:00:24,940 --> 00:00:28,080
As the four guys surround her, she needs one of them in the groyne.
2
00:00:28,120 --> 00:00:30,710
Suddenly, a silver car approaches its Edward.
3
00:00:37,530 --> 00:00:39,450
Edward gives the guys a menacing stare
4
00:00:39,450 --> 00:00:40,500
and they back off.
5
00:00:40,540 -... | 1
00:00:00,620 --> 00:00:04,390
- Saw you in the dress store.
- Hey, where you running to?
2
00:00:04,460 --> 00:00:05,620
There she is.
3
00:00:05,700 --> 00:00:07,560
- What's up?
- It's my girl.
4
00:00:07,630 --> 00:00:09,340
- How you guys doing?
- Look who we just found.
5
00:00:09,370 --> 00:00:12,230
What's... | 1
00:00:00,620 --> 00:00:04,390
- BOY: Saw you in the dress store.
- Hey, where you running to?
2
00:00:04,460 --> 00:00:05,620
BOY: There she is.
3
00:00:05,690 --> 00:00:07,560
- What's up?
- It's my girl.
4
00:00:07,630 --> 00:00:09,340
- BOY 2: How you guys doing?
- Look who we just found.
5
00:00:09,360 --> 00... | {"screenplay_scene_51": "<scene>\n <stage_direction>EXT. WAREHOUSE AT END OF PARKING LOT - NIGHT</stage_direction>\n <scene_description>Isolated. Bella, breath short, scared, turns around just as -- TWO MEN emerge from the shadows, not vampires, but the Frat Boys, really wasted now.</scene_description>\n <char... | 7302.58 | 2339.97 | 92.09 |
twilight | tt1099212 | lHfvhhZtkYNA | 1
00:00:19,650 --> 00:00:20,930
Bella starts to get up.
2
00:00:26,610 --> 00:00:27,930
She sits back down.
3
00:00:38,410 --> 00:00:40,050
She briefly lowers her gaze.
4
00:00:53,650 --> 00:00:55,290
Edward blinks and looks off.
5
00:01:11,170 --> 00:01:12,890
He scans the faces around them.
6
00:01:23,450 --> 00... | 1
00:00:00,890 --> 00:00:03,250
You gotta give me some answers.
2
00:00:04,430 --> 00:00:05,890
Yes, no.
3
00:00:06,660 --> 00:00:09,060
To get to the other side.
4
00:00:09,660 --> 00:00:11,600
1.77245...
5
00:00:11,670 --> 00:00:14,000
I don't want to know
what the square root of pi is.
6
00:00:14,070 --> 00:00:... | 1
00:00:00,890 --> 00:00:03,250
You gotta give me some answers.
2
00:00:04,420 --> 00:00:05,890
Yes, no.
3
00:00:06,660 --> 00:00:09,060
To get to the other side.
4
00:00:09,660 --> 00:00:11,600
1.77245...
5
00:00:11,660 --> 00:00:14,000
I don't want to know
what the square root of pi is.
6
00:00:14,070 --> 00:00:... | {"screenplay_scene_54": "<scene>\n <stage_direction>EXT. WATERFALL RESTAURANT - DINING PATIO - NIGHT</stage_direction>\n <scene_description>Bella and Edward sit on the deck. A dramatic waterfall shimmers behind them. A waitress places a steaming plate of mesquite roasted salmon in front of Bella and nothing in fr... | 7302.58 | 2522.75 | 131.77 | |
twilight | tt1099212 | SmckNFnR3vAz | 1
00:00:01,730 --> 00:00:06,460
She keeps her back to Edward as he walks closer, taking slow, measured steps.
2
00:00:26,860 --> 00:00:28,660
He comes to a stop behind her.
3
00:00:45,700 --> 00:00:47,060
A view circles the two of them
4
00:00:47,060 --> 00:00:49,060
as she remains with her back to him, breathing.
... | 1
00:00:49,360 --> 00:00:51,490
Bella is stunned by the realisation.
| 1
00:00:06,410 --> 00:00:09,210
You're impossibly fast and strong.
2
00:00:10,540 --> 00:00:13,450
Your skin is pale white and ice-cold.
3
00:00:14,420 --> 00:00:16,350
Your eyes change color.
4
00:00:17,280 --> 00:00:21,580
And sometimes you speak
like you're from a different time.
5
00:00:23,220 --> 00:00:27,350
... | 1
00:00:01,100 --> 00:00:03,090
[BREATH TREMBLING]
2
00:00:06,400 --> 00:00:09,200
You're impossibly fast and strong.
3
00:00:10,540 --> 00:00:13,440
Your skin is pale white and ice-cold.
4
00:00:14,410 --> 00:00:16,350
Your eyes change color.
5
00:00:17,280 --> 00:00:21,580
And sometimes you speak
like you're from... | {"screenplay_scene_62": "<scene>\n <stage_direction>EXT. FOREST - DAY</stage_direction>\n <scene_description>Bella stands amid the trees, waiting. Then the SOUNDS OF THE FOREST abruptly drop out. A predator is near. Edward appears behind her. She doesn't turn around. A beat.</scene_description>\n <character>BE... | 7302.58 | 2974.62 | 105.14 |
twilight | tt1099212 | 15MZG_QkqEEP | 1
00:00:00,530 --> 00:00:02,810
Intermittent clouds drift over a mountain top
2
00:00:02,810 --> 00:00:05,410
and sunlight peeks through a mist, veiling the trees.
3
00:00:05,610 --> 00:00:07,370
Edward slides Bella off his back
4
00:00:07,370 --> 00:00:09,450
and strides toward a shaft of light.
5
00:00:13,970 -->... | 1
00:00:16,300 --> 00:00:17,800
He steps into the sunlight.
2
00:00:17,800 --> 00:00:19,980
His skin sparkles in the sun's rays.
| 1
00:00:09,620 --> 00:00:12,180
This is why we don't show
ourselves in sunlight.
2
00:00:12,250 --> 00:00:14,720
People would know we're different.
3
00:00:24,900 --> 00:00:26,660
This is what I am.
4
00:00:32,110 --> 00:00:34,040
It's like diamonds.
5
00:00:42,620 --> 00:00:44,310
You're beautiful.
6
00:00:47,490... | 1
00:00:05,140 --> 00:00:06,540
[BELLA PANTING]
2
00:00:09,610 --> 00:00:12,170
This is why we don't show
ourselves in sunlight.
3
00:00:12,250 --> 00:00:14,720
People would know we're different.
4
00:00:24,900 --> 00:00:26,660
This is what I am.
5
00:00:29,270 --> 00:00:31,460
[GASPING]
6
00:00:32,100 --> 00:00:3... | {"screenplay_scene_64": "<scene>\n <stage_direction>EXT. A MEADOW (CONTINUOUS) - DAY</stage_direction>\n <scene_description>A perfect circle of swaying grass, wildflowers and buttery sunlight. HEAR a stream nearby. Bella looks around and finally sees -- EDWARD, his shirt open, standing nearby in the shade of some... | 7302.58 | 3104.48 | 188.99 |
twilight | tt1099212 | kte7aih9_Emd | 1
00:00:01,230 --> 00:00:02,470
and leaps outside,
2
00:00:02,470 --> 00:00:04,590
landing on a tree and clinging to the trunk.
3
00:00:08,710 --> 00:00:10,950
He speeds up the trunk to a high branch.
4
00:00:10,990 --> 00:00:12,870
Bella tightens her arms around him.
5
00:00:19,070 --> 00:00:20,390
He springs off ... | 1
00:00:00,730 --> 00:00:02,070
He throws her onto his back,
2
00:00:02,070 --> 00:00:03,030
leaps out of the window,
3
00:00:03,030 --> 00:00:04,490
and holds onto a tree trunk.
4
00:00:08,720 --> 00:00:11,310
He leaps higher and higher into the tree tops.
5
00:00:21,380 --> 00:00:22,800
He bounds onto another tre... | 1
00:00:04,920 --> 00:00:07,790
You better hold on tight, spider monkey.
2
00:00:12,900 --> 00:00:14,620
Do you trust me?
3
00:00:15,160 --> 00:00:16,720
In theory.
4
00:00:17,330 --> 00:00:19,270
Then close your eyes.
5
00:00:43,790 --> 00:00:45,060
What?
6
00:00:46,430 --> 00:00:48,060
This isn't real.
7
00:00:... | 1
00:00:00,610 --> 00:00:01,940
[BELLA GASPS]
2
00:00:04,920 --> 00:00:07,790
You better hold on tight, spider monkey.
3
00:00:07,850 --> 00:00:09,190
[BELLA GIGGLES]
4
00:00:12,890 --> 00:00:14,620
Do you trust me?
5
00:00:15,160 --> 00:00:16,720
In theory.
6
00:00:17,330 --> 00:00:19,260
Then close your eyes.
7... | {"screenplay_scene_79": "<scene>\n <stage_direction>EXT. TREE - SAME</stage_direction>\n <scene_description>Edward looks Bella in the eye.</scene_description>\n <character>EDWARD</character>\n <dialogue>Trust me?</dialogue>\n <character>BELLA</character>\n <dialogue>In theory.</dialogue>\n <charact... | 7302.58 | 4157.82 | 91.60 |
twilight | tt1099212 | _suhldk_XKD4 | 1
00:00:00,700 --> 00:00:03,500
then slides across the bed, moving closer to Edward.
2
00:00:24,780 --> 00:00:26,980
She gazes at him with a small smile.
3
00:00:35,990 --> 00:00:37,990
He leans his face close to hers,
4
00:00:38,030 --> 00:00:39,790
his eyes fixed on her lips.
5
00:00:44,830 --> 00:00:48,710
Their... | 1
00:00:00,860 --> 00:00:02,410
Edward appears in her room.
2
00:00:37,270 --> 00:00:39,200
He moves his head closer to hers.
3
00:00:51,870 --> 00:00:54,000
He kisses her again and she responds.
4
00:00:54,000 --> 00:00:56,130
She kisses him a bit more passionately
5
00:00:56,130 --> 00:00:58,430
and takes her han... | 1
00:00:04,300 --> 00:00:06,560
How did you get in here?
2
00:00:06,640 --> 00:00:08,160
The window.
3
00:00:08,640 --> 00:00:10,500
Do you do that a lot?
4
00:00:11,510 --> 00:00:14,170
Well, just the past couple of months.
5
00:00:18,080 --> 00:00:20,240
I like watching you sleep.
6
00:00:22,850 --> 00:00:25,380... | 1
00:00:04,300 --> 00:00:06,560
How did you get in here?
2
00:00:06,630 --> 00:00:08,160
The window.
3
00:00:08,630 --> 00:00:10,500
Do you do that a lot?
4
00:00:11,500 --> 00:00:14,170
Well, just the past couple of months.
5
00:00:18,080 --> 00:00:20,240
I like watching you sleep.
6
00:00:22,850 --> 00:00:25,370... | {"screenplay_scene_83": "<scene>\n <stage_direction>INT. CAFE - NIGHT</stage_direction>\n <scene_description>Rene talks on her cell. Phil is in the background, post-batting practice, chowing down with a couple of teammates.</scene_description>\n <character>RENE</character>\n <dialogue>Phil's working hard. W... | 7302.58 | 4468.29 | 159.08 |
twilight | tt1099212 | 3Hfi0gOnsis9 | 1
00:00:11,650 --> 00:00:14,290
A narrow waterfall cascades down a sheer cliff
2
00:00:14,490 --> 00:00:15,530
in a muddy field.
3
00:00:15,530 --> 00:00:19,650
The jeep leaves tire tracks as it rolls toward the Cullens, gathered near a tree line
4
00:00:20,010 --> 00:00:21,890
wearing a pinstriped baseball shirt.
... | 1
00:00:13,350 --> 00:00:17,110
The Cullens are playing baseball in a deserted field by a tall waterfall.
2
00:00:17,570 --> 00:00:19,200
Lightning flashes in the sky.
3
00:00:57,660 --> 00:01:00,050
The ball is hit really hard out into the woods.
4
00:01:13,930 --> 00:01:15,980
The game is played at super fast spee... | 1
00:00:00,150 --> 00:00:02,880
And since when do vampires like baseball?
2
00:00:02,960 --> 00:00:05,690
Well, it's the American pastime,
3
00:00:05,760 --> 00:00:08,320
and there's a thunderstorm coming.
4
00:00:08,390 --> 00:00:10,990
It's the only time we can play.
You'll see why.
5
00:00:24,380 --> 00:00:25,40... | 1
00:00:00,150 --> 00:00:02,880
And since when do vampires like baseball?
2
00:00:02,950 --> 00:00:05,680
Well, it's the American pastime,
3
00:00:05,760 --> 00:00:08,320
and there's a thunderstorm coming.
4
00:00:08,390 --> 00:00:10,990
It's the only time we can play.
You'll see why.
5
00:00:24,370 --> 00:00:25,40... | {"screenplay_scene_86": "<scene>\n <stage_direction>EXT. CLEARING IN WOODS - TWILIGHT</stage_direction>\n <scene_description>Storm clouds gather in the sky as Bella and Edward pull up in the Jeep. She takes in a rough baseball diamond, set into an enormous field in the lap of the Olympic peaks. Esme and Emmett co... | 7302.58 | 4725.89 | 134.51 |
twilight | tt1099212 | Y8AJ1sWvMXRm | 1
00:00:10,040 --> 00:00:11,920
Edward knocks James across the room,
2
00:00:11,920 --> 00:00:13,800
then sees Bella writhing on the floor,
3
00:00:14,480 --> 00:00:15,480
his eyes narrow
4
00:00:15,480 --> 00:00:17,800
and Bella covers her mouth with her bloody hand.
5
00:00:19,080 --> 00:00:20,800
James shoves Ed... | 1
00:00:11,330 --> 00:00:12,460
James breaks her leg.
2
00:00:12,460 --> 00:00:12,870
Suddenly.
3
00:00:12,870 --> 00:00:13,500
Edward appears
4
00:00:13,500 --> 00:00:14,760
and throws James off her.
5
00:00:14,800 --> 00:00:16,720
The two vampires glare at each other.
6
00:00:35,370 --> 00:00:37,120
Edward throw... | 1
00:00:02,760 --> 00:00:05,090
Tell Edward how much it hurts.
2
00:00:05,160 --> 00:00:06,750
Tell him to avenge you. Tell him!
3
00:00:06,830 --> 00:00:09,630
- No, Edward, don't!
- Tell him! Tell him!
4
00:00:22,380 --> 00:00:25,830
You're alone
'cause you're faster than the others.
5
00:00:28,150 --> 00:00:29,8... | 1
00:00:01,550 --> 00:00:02,680
[SCREAMS]
2
00:00:02,750 --> 00:00:05,090
Tell Edward how much it hurts.
3
00:00:05,160 --> 00:00:06,750
Tell him to avenge you. Tell him!
4
00:00:06,820 --> 00:00:09,620
- No, Edward, don't!
- Tell him! Tell him!
5
00:00:09,690 --> 00:00:11,320
[YELLING]
6
00:00:15,830 --> 00:00:17... | {"screenplay_scene_112": "<scene>\n <stage_direction>INT. MIMI'S SCHOOL OF DANCE - STUDIO - NIGHT</stage_direction>\n <scene_description>Bella cautiously enters this grand, empty room of mirrors. A ballet bar wraps around the walls --</scene_description>\n <character>RENE (O.S.)</character>\n <dialogue>Bell... | 7302.58 | 5875.94 | 229.86 |
twilight | tt1099212 | PJ1FutztBjqC | 1
00:00:01,840 --> 00:00:03,240
where couples slow dance.
2
00:00:11,240 --> 00:00:12,520
He takes her hand
3
00:00:12,640 --> 00:00:13,840
as she glances down.
4
00:00:13,840 --> 00:00:15,440
He wraps an arm around her waist
5
00:00:15,440 --> 00:00:17,000
and lifts her onto his feet.
6
00:00:17,320 --> 00:00:20,... | 1
00:00:17,480 --> 00:00:18,270
He picks her up
2
00:00:18,270 --> 00:00:19,860
and puts her feet onto his.
3
00:00:47,790 --> 00:00:49,800
The other couples leave the bandstand.
4
00:02:08,150 --> 00:02:09,030
He leans her back
5
00:02:09,030 --> 00:02:10,750
and she shows her bare neck to him.
6
00:02:10,870 -->... | 1
00:00:04,180 --> 00:00:05,700
Shall we?
2
00:00:06,850 --> 00:00:08,440
You're serious?
3
00:00:09,580 --> 00:00:11,210
Why not.
4
00:00:11,420 --> 00:00:14,790
Wide on my plastic toys
5
00:00:14,860 --> 00:00:19,620
Then when the cops closed the fair
6
00:00:19,690 --> 00:00:23,860
I cut my long baby hair
7
00... | 1
00:00:04,180 --> 00:00:05,700
Shall we?
2
00:00:06,840 --> 00:00:08,440
You're serious?
3
00:00:09,580 --> 00:00:11,210
Why not.
4
00:00:11,420 --> 00:00:14,780
[SINGING] Wide on my plastic toys
5
00:00:14,850 --> 00:00:19,620
Then when the cops closed the fair
6
00:00:19,690 --> 00:00:23,850
I cut my long baby ... | null | 7302.58 | 6600.64 | 186.64 |
searching_2018 | tt7668870 | Iq1JiZkuF4Uw | 1
00:00:01,740 --> 00:00:04,260
and a close view displays the word relapse.
2
00:00:04,620 --> 00:00:06,620
A video shows David and Pam running.
3
00:00:13,660 --> 00:00:14,860
David goes back to her.
4
00:00:14,900 --> 00:00:15,260
Pam
5
00:00:15,980 --> 00:00:18,830
a calendar event reads eighth Grade Day one.
6... | 1
00:00:00,440 --> 00:00:01,610
Follow up results.
2
00:00:01,650 --> 00:00:02,610
Relapse.
3
00:00:02,650 --> 00:00:04,110
Pam stops running.
4
00:00:16,330 --> 00:00:17,420
Calendar event
5
00:00:17,420 --> 00:00:19,130
eighth grade, day one
6
00:00:19,130 --> 00:00:22,130
David and Margot at Pam's bedside event... | 1
00:00:06,570 --> 00:00:08,430
Video log 6.7.
2
00:00:08,580 --> 00:00:11,090
I think we can, I think we can,
I think we...
3
00:00:12,320 --> 00:00:13,350
Pam?
4
00:00:14,750 --> 00:00:15,780
Pam?
| 1
00:00:06,590 --> 00:00:08,220
[David] Video log 6.7.
2
00:00:08,520 --> 00:00:10,790
I think we can,
I think we can, I think we...
3
00:00:12,360 --> 00:00:13,360
Pam?
4
00:00:14,560 --> 00:00:15,560
Pam.
5
00:00:16,000 --> 00:00:17,000
[alert chime]
6
00:00:27,410 --> 00:00:29,610
[monitor beeping]
7
00:01:00,... | null | 6143.27 | 276.45 | 103.26 |
searching_2018 | tt7668870 | DqiY_4ouwa9X | 1
00:00:29,780 --> 00:00:34,260
The state case breakdown for California shows open cases at about 54%.
2
00:00:34,260 --> 00:00:36,340
And closed cases at roughly 45.
3
00:01:18,710 --> 00:01:20,430
Detective David.
4
00:01:20,430 --> 00:01:22,190
Google's detective Rosemary Vick.
5
00:01:22,190 --> 00:01:24,110
He... | 1
00:00:30,090 --> 00:00:32,300
State case breakdown for missing persons.
2
00:00:32,300 --> 00:00:33,550
Opened 54%.
3
00:00:33,550 --> 00:00:34,930
Closed 45.
4
00:01:20,600 --> 00:01:22,980
He checks her credentials online.
5
00:02:14,240 --> 00:02:16,570
He looks at a photo of Vick with ex-cons.
| 1
00:00:01,100 --> 00:00:02,910
911, what's your emergency?
2
00:00:03,030 --> 00:00:05,630
Hi, I'm calling
about a possible... I...
3
00:00:05,710 --> 00:00:07,600
I'm calling to report
a missing person.
4
00:00:07,710 --> 00:00:09,120
Okay, who is this regarding?
5
00:00:09,150 --> 00:00:10,410
Uh, my daughter.
... | 1
00:00:01,080 --> 00:00:02,590
[man] 911.
What's your emergency?
2
00:00:03,090 --> 00:00:04,900
[David] Hi. I'm calling
about a possible...
3
00:00:04,920 --> 00:00:07,460
I'm calling to report
a missing person.
4
00:00:07,760 --> 00:00:10,340
- [man] Okay, who is this regarding?
- Uh, my daughter.
5
00:00:10,360... | {"screenplay_scene_37": "<scene>\n <stage_direction>INT. DAVID'S BEDROOM - NIGHT (FACETIME VIDEO)</stage_direction>\n <scene_description>We see David move his cursor from the second-to-last name in the \"Sunwood Middle School\" contacts list to the last name. He massages his temples, fear growing in every crease.... | 6143.27 | 1450.11 | 148.72 |
searching_2018 | tt7668870 | aLUYhhy9WXbu | 1
00:00:01,010 --> 00:00:02,210
Margot sits on her bed.
2
00:00:02,370 --> 00:00:04,890
Several comments from Fish and Chips linger on the screen.
3
00:00:07,450 --> 00:00:12,380
I'm Margot fish and chips, replies Hannah with a smiley face emoticon.
4
00:00:15,260 --> 00:00:18,940
Fish and chips, replies 20 student.... | 1
00:00:03,320 --> 00:00:05,240
My parents just love seafood.
2
00:00:05,240 --> 00:00:05,780
Deal.
3
00:00:28,470 --> 00:00:31,560
Fish and chips is Hannah, 20, a waitress in Pittsburgh.
4
00:00:31,600 --> 00:00:33,020
She gives a thumbs down.
5
00:00:46,200 --> 00:00:47,360
A video of a lake,
6
00:00:47,410 --> ... | 1
00:00:07,400 --> 00:00:08,740
I'm Margot.
2
00:00:12,210 --> 00:00:15,060
I'm 15. Almost 16.
3
00:00:18,230 --> 00:00:19,410
Student.
4
00:00:22,360 --> 00:00:23,640
San Jose.
5
00:00:26,250 --> 00:00:27,510
What's that like?
6
00:00:34,880 --> 00:00:36,830
Trust me, it's probably
better than this.
7
00:00:40,4... | 1
00:00:07,450 --> 00:00:08,450
I'm Margot.
2
00:00:12,250 --> 00:00:14,590
I'm 15. Almost 16.
3
00:00:18,260 --> 00:00:19,300
Student.
4
00:00:22,300 --> 00:00:23,330
San Jose.
5
00:00:26,300 --> 00:00:27,300
What's that like?
6
00:00:34,850 --> 00:00:36,880
Trust me,
it's probably better than this.
7
00:00:40,4... | {"screenplay_scene_64": "<scene>\n <stage_direction>INT. MARGOT'S BEDROOM - EVENING (YOUCAST BROADCAST)</stage_direction>\n <scene_description>Margot talks to the CAMERA at her desk.</scene_description>\n <character>MARGOT</character>\n <dialogue>How is it that we don't know each other's names yet?</dialogu... | 6143.27 | 2622.75 | 226.19 |
searching_2018 | tt7668870 | bZMXNyydj4WX | 1
00:00:08,970 --> 00:00:11,610
The video chat window shows Vick in her home office.
2
00:00:13,210 --> 00:00:15,170
The detective shifts her thoughtful gaze.
3
00:02:03,500 --> 00:02:04,620
Vick ends the call.
| 1
00:00:07,980 --> 00:00:09,360
He shakes his head.
2
00:00:09,610 --> 00:00:13,400
Vick, sitting at a desk in her study at home, looks down,
3
00:00:13,400 --> 00:00:14,570
then leans forward.
4
00:01:57,300 --> 00:01:58,890
David nods gravely.
5
00:02:03,600 --> 00:02:04,930
David sits back.
| 1
00:00:01,410 --> 00:00:02,740
I didn't know her.
2
00:00:05,720 --> 00:00:07,390
I didn't know my daughter.
3
00:00:16,650 --> 00:00:18,080
Couple of years ago,
4
00:00:19,260 --> 00:00:21,690
an angry neighbor starts
banging on my door.
5
00:00:22,140 --> 00:00:24,450
When I asked her what the
trouble was, she s... | 1
00:00:01,400 --> 00:00:02,400
I didn't know her.
2
00:00:05,730 --> 00:00:07,000
I didn't know my daughter.
3
00:00:08,800 --> 00:00:09,800
[clicks tongue]
4
00:00:16,640 --> 00:00:17,640
Couple years ago,
5
00:00:19,310 --> 00:00:21,220
an angry neighbor
starts banging on my door.
6
00:00:21,950 --> 00:00:23,76... | {"screenplay_scene_74": "<scene>\n <stage_direction>INT. VICK'S HOME OFFICE - NIGHT (FACETIME VIDEO)</stage_direction>\n <scene_description>On the other end, Vick is still in uniform. She's exhausted. Everyone. None of the YouCast users Margot interacted with have a connection to her disappearance. INTERCUT DAVID... | 6143.27 | 2884.16 | 126.18 |
searching_2018 | tt7668870 | FVrsUQCJna5m | 1
00:00:00,050 --> 00:00:03,570
then moves the cursor to one of Margot's (YouCast) videos featuring the lake.
2
00:00:08,860 --> 00:00:11,540
David selects cancel in the shutdown window.
3
00:00:13,220 --> 00:00:14,820
He clicks on the video of the lake.
4
00:00:24,580 --> 00:00:25,860
David replays the opening.
5
... | 1
00:00:04,690 --> 00:00:06,980
A photo of a lake catches his eye.
2
00:00:07,110 --> 00:00:08,740
He cancels the shutdown
3
00:00:08,740 --> 00:00:11,700
and starts the video showing the tree lined lake.
4
00:00:28,670 --> 00:00:30,050
David studies the picture,
5
00:00:30,050 --> 00:00:31,050
then Googles tumbler... | 1
00:00:17,020 --> 00:00:18,210
This is it.
2
00:00:21,380 --> 00:00:23,000
Best place in the world
to do nothing.
3
00:00:25,710 --> 00:00:26,760
This is it.
4
00:01:39,950 --> 00:01:42,190
You've reached Detective
Sergeant Rosemary Vick.
5
00:01:42,210 --> 00:01:43,690
Leave a message.
I'll get back to you.
6
00... | 1
00:00:17,040 --> 00:00:18,040
This is it.
2
00:00:21,380 --> 00:00:23,110
Best place in the world
to do nothing.
3
00:00:25,680 --> 00:00:26,680
This is it.
4
00:01:35,720 --> 00:01:36,720
[keys jingle]
5
00:01:37,950 --> 00:01:40,130
[line ringing]
6
00:01:40,150 --> 00:01:42,160
You've reached Detective
Sergea... | {"screenplay_scene_76": "<scene>\n <stage_direction>EXT. LAKE - EVENING (PHOTO)</stage_direction>\n <scene_description>A very familiar lake. INTERCUT GOOGLE CHROME AND DAVID'S FACETIME WINDOW David compares the Tumblr photo to the YouCast video side-by- side, and it's only then do we realize... Both photos were t... | 6143.27 | 3038.69 | 147.73 |
searching_2018 | tt7668870 | LqqVy5anhTns | 1
00:00:01,500 --> 00:00:03,220
I don't usually post on Facebook.
2
00:00:03,460 --> 00:00:04,620
She was a great friend.
3
00:00:04,860 --> 00:00:05,940
Praying for Margot.
4
00:00:06,260 --> 00:00:08,740
So sad to hear thoughts and prayers.
5
00:00:08,940 --> 00:00:09,780
We miss you.
6
00:00:10,100 --> 00:00:11... | 1
00:00:00,520 --> 00:00:01,180
So proud.
2
00:00:01,180 --> 00:00:04,020
Granda m I don't usually post on Facebook.
3
00:00:04,060 --> 00:00:06,730
A great friend praying for Margot so sad.
4
00:00:06,770 --> 00:00:07,230
Margot.
5
00:00:07,270 --> 00:00:09,360
Wherever you are, we love you and we miss you.
6
00:... | 1
00:00:52,770 --> 00:00:53,870
Don't lie to me.
2
00:00:55,710 --> 00:00:58,250
You can't assist an
investigation anymore.
3
00:00:59,860 --> 00:01:00,860
What?
4
00:01:01,080 --> 00:01:02,430
What does that-
what does that mean?
5
00:01:02,450 --> 00:01:04,180
It means that we
can't have someone
6
00:01:04,200 -... | 1
00:00:45,760 --> 00:00:47,730
[indistinct chatter]
2
00:00:52,760 --> 00:00:55,370
Don't lie to me.
Don't lie to me.
3
00:00:55,670 --> 00:00:57,970
[Vick] You can't assist
in the investigation anymore.
4
00:00:59,970 --> 00:01:02,010
[David] What? What does that...
What does that mean?
5
00:01:02,310 --> 00:01:0... | {"screenplay_scene_101": "<scene>\n <stage_direction>B105 INT. TEEN'S HOUSE - DAY (SNAPCHAT VIDEO) B105</stage_direction>\n <scene_description>A STONER TEEN shakes his head in a snapchat video. His labeled text pops up, and it's simply a : /</scene_description>\n <character>FACEBOOK - GOOGLE CHROME</character>... | 6143.27 | 3511.20 | 211.12 |
searching_2018 | tt7668870 | XU1gO3UWlZi3 | 1
00:00:00,860 --> 00:00:02,180
David grabs his phone.
2
00:00:02,180 --> 00:00:06,870
On his computer desktop shows an incoming call from Detective Vick.
3
00:00:20,550 --> 00:00:22,070
The kitchen cam shows Peter.
4
00:00:43,550 --> 00:00:44,950
David reads off his phone.
5
00:00:45,870 --> 00:00:47,590
He slowly... | 1
00:00:01,820 --> 00:00:04,860
David picks up his phone from the round glass coffee table.
2
00:00:42,530 --> 00:00:43,820
Peter seems rattled
3
00:00:43,820 --> 00:00:46,160
as David reads their messages off his phone.
4
00:01:10,680 --> 00:01:12,600
Peter turns to face David.
5
00:01:16,860 --> 00:01:18,270
Pete... | 1
00:00:08,230 --> 00:00:09,530
Who was that?
2
00:00:11,100 --> 00:00:12,160
Work.
3
00:00:13,160 --> 00:00:15,020
Oh, yeah, uh...
4
00:00:15,850 --> 00:00:17,450
What have they been saying
to you this whole time?
5
00:00:17,480 --> 00:00:18,750
Going back to the
previous question,
6
00:00:18,770 --> 00:00:20,290... | 1
00:00:00,480 --> 00:00:02,710
[ringing continues]
2
00:00:07,920 --> 00:00:09,240
- [end call beeps]
- Who was that?
3
00:00:11,120 --> 00:00:12,120
Work.
4
00:00:13,120 --> 00:00:14,760
Oh, yeah. Uh...
5
00:00:15,790 --> 00:00:17,470
What have they been saying
to you this whole time?
6
00:00:17,490 --> 00:00:18... | {"screenplay_scene_111": "<scene>\n <stage_direction>INT. PETER'S LIVING ROOM - MOMENTS LATER (HIDDEN CAMERAS)</stage_direction>\n <scene_description>David and Peter, seated uncomfortably in the living room. A TV plays in the BG. The brothers sip their tea until-</scene_description>\n <character>PETER</charact... | 6143.27 | 4092.51 | 237.19 |
searching_2018 | tt7668870 | mtRRFJCFvaBM | 1
00:00:00,620 --> 00:00:03,420
David highlights the rest of the files in the Margot folder
2
00:00:03,420 --> 00:00:05,340
and drags them all to the Memorial one.
3
00:00:05,340 --> 00:00:06,100
Dropbox.
4
00:00:08,740 --> 00:00:11,940
Thumbnails for each video file feature Margot and her parents.
5
00:00:12,260 -... | 1
00:00:02,920 --> 00:00:04,290
Thank you for uploading.
2
00:00:04,290 --> 00:00:09,880
Comes up over a picture of a smiling young woman in a sober dark suit and white shirt.
3
00:00:17,970 --> 00:00:20,350
He focuses on the picture of the young woman
4
00:00:20,350 --> 00:00:21,560
and lingers on it.
5
00:00:36,6... | 1
00:01:12,620 --> 00:01:14,030
I'm Margot.
2
00:02:07,160 --> 00:02:08,020
Hello?
3
00:02:08,040 --> 00:02:09,830
Hi, I'm wondering if I
could speak to Hannah?
4
00:02:09,880 --> 00:02:10,880
Speaking.
5
00:02:10,930 --> 00:02:13,820
Hi, I'm calling in regards
to my daughter, Margot Kim.
6
00:02:13,850 --> 00:02:... | 1
00:01:12,990 --> 00:01:13,990
I'm Margot.
2
00:02:05,310 --> 00:02:07,520
- [line ringing]
- [woman] Hello?
3
00:02:07,540 --> 00:02:09,650
[David] Hi. I'm wondering
if I could speak to Hannah?
4
00:02:09,680 --> 00:02:10,680
Speaking.
5
00:02:10,880 --> 00:02:12,220
Hi, I'm calling in regards
6
00:02:12,250 -->... | {"screenplay_scene_115": "<scene>\n <stage_direction>FLASHBACK. INT. DAVID'S BEDROOM - MORNING (HOME VIDEO)</stage_direction>\n <scene_description>Pam RECORDS while YOUNG MARGOT (5) jumps on a sleeping David.</scene_description>\n <character>YOUNG MARGOT</character>\n <dialogue>Wake up! Wake up!</dialogue>\... | 6143.27 | 4695.84 | 175.47 |
searching_2018 | tt7668870 | 3Fydq66NAvth | 1
00:00:12,110 --> 00:00:13,510
Messages from Peter Reed.
2
00:00:13,830 --> 00:00:14,230
Hey.
3
00:00:14,230 --> 00:00:14,630
Called.
4
00:00:14,950 --> 00:00:16,390
Texted you three times.
5
00:00:16,430 --> 00:00:16,790
Trying
6
00:00:16,790 --> 00:00:19,430
Margot's vigil starting soon.
7
00:00:19,670 --> 00:... | 1
00:00:12,770 --> 00:00:13,180
Peter.
2
00:00:13,180 --> 00:00:13,600
Kim.
3
00:00:13,640 --> 00:00:14,600
Hey, Colt.
4
00:00:14,600 --> 00:00:18,690
I texted you three times trying Margot's vigil starting soon.
5
00:01:09,160 --> 00:01:10,910
David rushes over to his computer
6
00:01:10,910 --> 00:01:11,870
and ... | 1
00:00:02,320 --> 00:00:04,370
You've reached Detective
Sergeant Rosemary Vick.
2
00:00:04,390 --> 00:00:06,090
Leave a message.
I'll get back to you.
3
00:00:06,450 --> 00:00:07,660
Vick...
4
00:00:07,750 --> 00:00:09,670
This is David Kim.
Something doesn't add up.
5
00:00:09,700 --> 00:00:11,550
Call me back as... | 1
00:00:02,230 --> 00:00:04,300
You've reached Detective
Sergeant Rosemary Vick.
2
00:00:04,330 --> 00:00:06,540
- Leave a message. I'll get back to you.
- [beep]
3
00:00:06,560 --> 00:00:09,610
Vick, this is David Kim.
Something doesn't add up.
4
00:00:09,630 --> 00:00:11,140
Call me back
as soon as you get this, o... | {"screenplay_scene_118": "<scene>\n <stage_direction>INT. DAVID'S BEDROOM - DAY (FACETIME VIDEO)</stage_direction>\n <scene_description>Through the open FaceTime video display, we see David check \\* his phone and-</scene_description>\n <character>DAVID (V.O.)</character>\n <dialogue>Can you connect me thro... | 6143.27 | 4874.98 | 256.47 |
searching_2018 | tt7668870 | _94N_l5tFyDC | 1
00:00:00,220 --> 00:00:02,220
Robert finds the stock photo of Hannah.
2
00:00:13,940 --> 00:00:15,700
He sends fck cancer.
3
00:00:18,180 --> 00:00:19,980
He comments hospital bills.
4
00:00:51,220 --> 00:00:54,420
The traffic cam footage shows Margot leaving the gas station.
5
00:00:55,820 --> 00:00:57,060
Anoth... | 1
00:01:16,150 --> 00:01:17,980
Flashback to her calling David.
| 1
00:00:02,200 --> 00:00:03,620
Made up a story.
2
00:00:05,350 --> 00:00:06,910
A new identity.
3
00:00:07,010 --> 00:00:09,240
This one, I took at a forest.
4
00:00:09,620 --> 00:00:11,050
For six months,
they were friends.
5
00:00:11,180 --> 00:00:14,140
You work 25 hours
on top of school?
6
00:00:15,670 --> 00... | 1
00:00:02,160 --> 00:00:03,290
[Vick] Made up a story.
2
00:00:05,430 --> 00:00:06,430
A new identity.
3
00:00:07,060 --> 00:00:09,110
[Margot]
This one I took at a forest.
4
00:00:09,130 --> 00:00:11,040
[Vick] For six months,
they were friends.
5
00:00:11,070 --> 00:00:13,740
You work 25 hours
on top of school?
... | {"screenplay_scene_124": "<scene>\n <stage_direction>INT. INTERROGATION ROOM (TAPED INTERVIEW)</stage_direction>\n <character>HOMICIDE AGENT</character>\n <dialogue>Expenses that didn't exist.</dialogue>\n <character>VICK</character>\n <dialogue>She was a good kid.</dialogue>\n <dialogue>And that was ... | 6143.27 | 5301.57 | 112.39 |
the_mummy | tt0120616 | KN80JxBIyIw_ | 1
00:00:25,920 --> 00:00:26,880
Beautiful on Naksu.
2
00:00:26,880 --> 00:00:31,080
Namun parades through the palace virtually naked, her body painted with intricate designs.
3
00:00:31,120 --> 00:00:32,680
Gold painted priests watch.
4
00:00:35,440 --> 00:00:37,520
The priests hastened in the opposite direction.
5... | 1
00:00:25,980 --> 00:00:30,530
The stunning, olive skinned, 20 something brunette walks through a grand looking room
2
00:00:30,570 --> 00:00:34,610
painted onto her virtually naked body as the design of a thin lace dress.
3
00:00:34,860 --> 00:00:41,450
Some bald priests, covered in gold paint and in robes, leave a... | 1
00:00:01,810 --> 00:00:04,020
Thebes: City of the Living.
2
00:00:05,310 --> 00:00:07,850
Crown jewel of Pharaoh Seti the First.
3
00:00:11,110 --> 00:00:14,740
Home of Imhotep, Pharaoh's high priest.
4
00:00:15,570 --> 00:00:17,400
Keeper of the Dead.
5
00:00:19,450 --> 00:00:22,740
Birthplace of Anck-su-namun,
... | 1
00:00:01,820 --> 00:00:05,190
NARRATOR: Thebes,
City of the Living,
2
00:00:05,260 --> 00:00:07,960
crown jewel of Pharaoh Seti
the First.
3
00:00:11,100 --> 00:00:15,130
Home of lmhotep,
Pharaoh's high priest,
4
00:00:15,570 --> 00:00:17,330
keeper of the dead.
5
00:00:19,440 --> 00:00:22,810
Birthplace of Anck-... | {"screenplay_scene_2": "<scene>\n <stage_direction>INT. ANCK-SU-NAMUN'S BALCONY WINDOW - PALACE - DUSK</stage_direction>\n <scene_description>Glaring out over the city at the setting sun is a handsome , muscular MAN with intense , evil eyes . This is IMHOTEP .</scene_description>\n <character>NARRATOR</charact... | 7487.32 | 66.11 | 156.87 |
the_mummy | tt0120616 | 9B7nF5cboUUQ | 1
00:00:35,940 --> 00:00:41,820
Imhotep reads from the book of the dead over his lover's dead body, which is ringed with canopic jars from a black pool.
2
00:00:41,820 --> 00:00:43,780
A wraith like phantasm surges out.
3
00:00:49,700 --> 00:00:55,420
Priests circle the altar, bowing as the smoking liquid form flies ... | 1
00:00:37,090 --> 00:00:38,380
To see
2
00:00:38,630 --> 00:00:41,180
the shape of a body slowly bubbles out of some liquid
3
00:00:41,180 --> 00:00:44,350
and floats upwards towards Enoch's prostrate corpse.
4
00:00:44,470 --> 00:00:47,220
The mist lands on her, suddenly bringing her back to life.
5
00:00:47,270 ... | 1
00:00:00,040 --> 00:00:01,790
They raced into the desert...
2
00:00:01,870 --> 00:00:05,330
taking Anck-su-namun's corpse
to Hamunaptra, City of the Dead...
3
00:00:05,420 --> 00:00:06,670
HAMUNAPTRA - 1290 B.C.
4
00:00:06,750 --> 00:00:09,130
Ancient burial site
for the sons of pharaohs...
5
00:00:09,210 --> 00:... | 1
00:00:00,060 --> 00:00:01,790
They raced
deep into the desert,
2
00:00:01,860 --> 00:00:03,380
taking Anck-Su-Namun's corpse
3
00:00:03,460 --> 00:00:05,930
to Hamunaptra,
City of the Dead,
4
00:00:06,060 --> 00:00:09,030
ancient burial site
for the sons of pharaohs
5
00:00:09,200 --> 00:00:12,130
and resting pla... | null | 7487.32 | 234.88 | 180.07 |
the_mummy | tt0120616 | CLJrElyIaYVQ | 1
00:00:00,310 --> 00:00:02,630
Inmates watch as Rick is led to the gallows.
2
00:00:14,510 --> 00:00:15,750
The noose is tightened.
3
00:00:35,830 --> 00:00:36,670
He touches her leg
4
00:00:36,670 --> 00:00:38,030
and she swats his hand away.
5
00:00:42,050 --> 00:00:43,250
The Hangman pulls a lever,
6
00:00:43,... | 1
00:00:00,860 --> 00:00:02,780
Now the busy gallows courtyard.
2
00:00:35,440 --> 00:00:37,060
She hits his wandering hand.
3
00:00:41,730 --> 00:00:43,190
O'Connell drops through the hole
4
00:00:43,190 --> 00:00:45,320
and the rope pulls tight around his neck.
5
00:01:34,940 --> 00:01:36,700
The rope is cut and ... | 1
00:00:04,730 --> 00:00:07,190
I'll give you £100 to save this man's life.
2
00:00:07,270 --> 00:00:10,570
Madam, I would pay £100
just to see him hang.
3
00:00:10,650 --> 00:00:12,610
£200!
Proceed!
4
00:00:12,950 --> 00:00:14,740
£300!
5
00:00:15,820 --> 00:00:17,530
Any last requests, pig?
6
00:00:18,160 --> 0... | 1
00:00:04,700 --> 00:00:07,200
l will give you £100
to save this man's life.
2
00:00:07,270 --> 00:00:10,730
Madame, l would pay £100
just to see him hang.
3
00:00:10,810 --> 00:00:12,710
£200.
Proceed!
4
00:00:12,850 --> 00:00:14,840
£300.
5
00:00:15,710 --> 00:00:17,880
Any last requests, pig?
6
00:00:18,120 --... | null | 7487.32 | 1295.30 | 103.59 |
the_mummy | tt0120616 | 8aPSyy6cUV_m | 1
00:00:01,070 --> 00:00:03,550
Doctor Chamberlain lies on a mattress in the campsite.
2
00:00:03,590 --> 00:00:06,790
He is asleep clutching one canopic jar in The book of the dead.
3
00:00:15,070 --> 00:00:17,670
Evelyn carefully removes the weighty book from his grasp
4
00:00:17,670 --> 00:00:20,190
and creeps ba... | 1
00:00:03,630 --> 00:00:07,220
The Egyptologist sleeps outside, clutching the book to his chest.
2
00:00:07,640 --> 00:00:10,430
Evie carefully relinquishes it from his grasp.
3
00:01:02,850 --> 00:01:05,230
A gust of wind makes a campfire flicker.
4
00:01:28,870 --> 00:01:30,750
Imhotep's corpse comes to life.
| 1
00:00:30,770 --> 00:00:32,940
That's called stealing, you know.
2
00:00:33,070 --> 00:00:35,150
According to you and my brother...
3
00:00:35,240 --> 00:00:37,110
it's called borrowing.
4
00:00:39,580 --> 00:00:42,160
I thought the Book of Amun-Ra
was made out of gold.
5
00:00:42,240 --> 00:00:45,710
It is made o... | 1
00:00:30,710 --> 00:00:32,940
That's called stealing,
you know.
2
00:00:33,020 --> 00:00:35,140
EVELYN: According to you
and my brother,
3
00:00:35,220 --> 00:00:36,740
it's called borrowing.
4
00:00:39,360 --> 00:00:42,260
RICK: l thought
the Book of Amun-Ra
was made out of gold.
5
00:00:42,390 --> 00:00:44,090
... | {"screenplay_scene_47": "<scene>\n <stage_direction>EXT. CAMP - LATER THAT NIGHT</stage_direction>\n <scene_description>Having just freshened up for bed , Evelyn exits the temple and steps past the sleeping Diggers . She spots the Egyptologist , his jeweled canopic jar snug under one arm , the Book Of The Dead la... | 7487.32 | 3541.86 | 98.06 |
the_mummy | tt0120616 | f9MGJv9M0Vme | 1
00:00:00,260 --> 00:00:03,820
Beni, wielding a flaming torch and a pistol, scurries into a dark cavern.
2
00:00:03,820 --> 00:00:05,300
He whirls around nervously.
3
00:00:13,580 --> 00:00:15,340
Holding the gun out, he backs away.
4
00:00:18,700 --> 00:00:20,060
Behind him, the mummy.
5
00:00:26,020 --> 00:00:27... | 1
00:00:03,280 --> 00:00:06,740
A frightened Beni is alone in a room, pointing his gun at shadows.
2
00:00:06,740 --> 00:00:09,620
Every time he hears a noise, he walks backwards
3
00:00:09,620 --> 00:00:12,470
and turns to see Imhotep inches from his face.
4
00:00:12,470 --> 00:00:15,060
He cars backwards, holding ... | 1
00:00:32,850 --> 00:00:35,640
May the good Lord protect
and watch over me...
2
00:00:36,270 --> 00:00:38,810
as a shepherd watches over his flock.
3
00:00:52,290 --> 00:00:54,370
No? Okay.
4
00:01:13,640 --> 00:01:15,390
The language of the slaves...
5
00:01:17,560 --> 00:01:20,400
I may have use for you.
6
00:0... | 1
00:00:10,370 --> 00:00:11,800
(GROWLING)
2
00:00:22,050 --> 00:00:23,510
(SCREAMS)
3
00:00:27,720 --> 00:00:29,280
(GROWLING)
4
00:00:32,520 --> 00:00:36,080
May the good Lord protect
and watch over me
5
00:00:36,160 --> 00:00:38,650
as a shepherd watches
over his flock.
6
00:00:47,940 --> 00:00:49,800
(CHANTING... | {"screenplay_scene_55": "<scene>\n <stage_direction>INT. ANUBIS' CHAMBER - NIGHT</stage_direction>\n <scene_description>Beni sloway backs up around Anubis , eyes wide , gun up . He turns around , - IMHOTEP IS RIGHT THERE ! Beni SCREAMS , backs away and OPENS FIRE . Six GUNSHOTS perforate Imhotep , but have no eff... | 7487.32 | 4006.08 | 97.85 |
the_mummy | tt0120616 | AKs5Xh0WwOOH | 1
00:00:00,050 --> 00:00:00,730
In his room.
2
00:00:00,730 --> 00:00:02,410
Daniels tenses and grimaces.
3
00:00:17,730 --> 00:00:20,010
Henderson canopic jar lies on a chair.
4
00:00:20,130 --> 00:00:22,450
He limbers up as if for a western gunfight,
5
00:00:22,490 --> 00:00:23,490
drawing his pistol
6
00:00:23,... | 1
00:00:20,150 --> 00:00:22,530
Henderson places his sacred jar on his chair
2
00:00:22,530 --> 00:00:23,780
and points his gun at it,
3
00:00:23,820 --> 00:00:26,100
occasionally spinning the gun in his hand.
4
00:00:30,020 --> 00:00:31,440
He points his gun at the window
5
00:00:31,440 --> 00:00:32,440
and walks ... | 1
00:00:03,250 --> 00:00:04,830
To hell with this.
2
00:00:04,920 --> 00:00:07,840
I'm going downstairs to get a drink.
You want something?
3
00:00:07,920 --> 00:00:10,670
Get me a glass of bourbon.
All right.
4
00:00:10,760 --> 00:00:12,720
A shot of bourbon.
Okay.
5
00:00:12,800 --> 00:00:15,430
A bourbon chaser.... | 1
00:00:00,140 --> 00:00:01,700
SOLDIER: (YELLING)
Guards in place!
2
00:00:01,780 --> 00:00:03,300
Reporting all clear, sir!
3
00:00:03,380 --> 00:00:04,910
To hell with this.
4
00:00:04,980 --> 00:00:07,420
l'm going downstairs,
get me a drink.
You want something?
5
00:00:07,490 --> 00:00:10,680
Yeah. Yeah, get m... | {"screenplay_scene_70": "<scene>\n <stage_direction>EXT. BAZAAR - DAY FOR NIGHT</stage_direction>\n <scene_description>Down in the bazaar , people are SCREAMING and quickly backing away from the SHRIVELLED CORPSE OF THE EGYPTOLOGIST . A partially decayed HAND reaches down and takes the sacred canopic jar out of t... | 7487.32 | 4783.14 | 160.96 |
the_mummy | tt0120616 | xFNXZC6LPHB1 | 1
00:00:14,560 --> 00:00:16,340
They huddle on the sand on all fours.
2
00:00:16,380 --> 00:00:20,860
As the twister rages in front of them, it shrinks and disappears, revealing Imhotep.
3
00:00:27,340 --> 00:00:31,540
Wearing a cape and loincloth, bare chested Imhotep strides past open mouthed Evelyn.
4
00:00:31,54... | 1
00:00:18,700 --> 00:00:21,910
The pair look up as Imhotep's face appears in the sandstorm.
2
00:00:21,950 --> 00:00:22,990
The storm disappears
3
00:00:22,990 --> 00:00:25,990
and out walks Imhotep, who strides forcefully past them.
4
00:00:39,630 --> 00:00:41,040
Imhotep followed by Evie, Eve.
5
00:00:41,080 -->... | 1
00:00:06,480 --> 00:00:09,690
Get off of me! Get off!
2
00:00:11,520 --> 00:00:13,320
I need a new job.
3
00:00:34,260 --> 00:00:35,260
My God.
4
00:00:36,260 --> 00:00:37,630
We're back.
5
00:00:50,270 --> 00:00:51,610
O'Connell.
6
00:01:04,620 --> 00:01:06,040
My God.
7
00:01:08,160 --> 00:01:10,000
Winston!
... | 1
00:00:06,620 --> 00:00:09,750
Get off me! Get off!
2
00:00:11,500 --> 00:00:13,360
l need a newjob.
3
00:00:34,250 --> 00:00:35,810
EVELYN: Oh, my God.
4
00:00:36,250 --> 00:00:37,690
We're back.
5
00:00:39,590 --> 00:00:41,320
(AIRCRAFT HOVERING)
6
00:00:50,200 --> 00:00:51,760
O'Connell.
7
00:00:55,140 --> 00... | {"screenplay_scene_85": "<scene>\n <stage_direction>EXT. SAHARA - DAY</stage_direction>\n <scene_description>Imhotep 's jaw UNHINGES , his mouth opens to an inhuman size , he lets fly with another one of his horrible SHRIEKS . - And a massive WALL OF SAND rises up out of the desert BIPLANE - DAY O'Connell watches... | 7487.32 | 5497.38 | 166.77 |
the_mummy | tt0120616 | Ktph2jT6_xdi | 1
00:00:10,090 --> 00:00:11,110
They glare at him.
2
00:00:15,830 --> 00:00:19,150
Jonathan stands holding a torch as they try to clear the blocked passageway.
3
00:00:19,310 --> 00:00:21,470
He examines scarab ornaments in the wall.
4
00:00:26,110 --> 00:00:27,150
He pops one out.
5
00:00:31,310 --> 00:00:34,270
H... | 1
00:00:09,850 --> 00:00:11,310
They stop and look at Jonathan.
2
00:00:17,030 --> 00:00:20,160
Jonathan spots the scarabs in the wall and the empty holes.
3
00:00:20,160 --> 00:00:21,030
He picks one.
4
00:00:32,630 --> 00:00:34,460
The scarab breaks out of its shell
5
00:00:34,460 --> 00:00:35,670
and enters Jona... | 1
00:00:01,830 --> 00:00:04,120
Take those bigger stones first.
2
00:00:04,920 --> 00:00:07,880
Take them from the top,
or everything will cave in on us.
3
00:00:07,960 --> 00:00:10,300
Come on. Put your backs into it.
4
00:00:12,880 --> 00:00:14,970
You've got the idea. Chop-chop.
5
00:00:23,680 --> 00:00:24,850
I... | 1
00:00:01,800 --> 00:00:04,360
JONATHAN: l'd take
those bigger stones first.
2
00:00:04,840 --> 00:00:07,970
Take them from the top,
otherwise the whole thing
will cave in on us.
3
00:00:08,040 --> 00:00:10,510
Come on.
Put your backs into it.
4
00:00:12,040 --> 00:00:14,950
Yes, well, you've got
the idea. Chop, ch... | {"screenplay_scene_87": "<scene>\n <stage_direction>INT. PASSAGEWAY - DAY</stage_direction>\n <scene_description>O'Connell and Ardeth Bay are busy digging out a collapsed doorway . Jonathan notices an AMETHYST SCARAB on the far wall .</scene_description>\n <character>JONATHAN</character>\n <dialogue>I say, ... | 7487.32 | 5793.02 | 60.28 |
the_mummy | tt0120616 | 4GNGEvfxk7WT | 1
00:00:02,490 --> 00:00:03,210
O'Connell
2
00:00:04,330 --> 00:00:06,610
Imhotep blows dust off the palm of his hand.
3
00:00:15,280 --> 00:00:18,360
He stares at a stone wall with ancient figures carved on it.
4
00:00:18,400 --> 00:00:21,320
Man sized stone figures break themselves free of the wall.
5
00:00:25,68... | 1
00:00:02,490 --> 00:00:03,240
O'Connell
2
00:00:04,320 --> 00:00:06,200
Imhotep takes some dust from a jar
3
00:00:06,200 --> 00:00:07,660
and blows it against a wall.
4
00:00:16,580 --> 00:00:22,510
And Evie and Beni walk closer as two figures etched in the wall come to life as mummies.
5
00:00:32,810 --> 00:00:... | 1
00:00:02,270 --> 00:00:03,610
O'Connell.
2
00:00:29,680 --> 00:00:32,390
The Bembridge scholars
never wrote about this.
3
00:00:37,470 --> 00:00:38,810
Let go of me.
4
00:00:40,640 --> 00:00:42,520
Kill them...
5
00:00:43,060 --> 00:00:46,400
...and wake the others.
6
00:01:49,210 --> 00:01:50,800
- Can you see.... | 1
00:00:02,240 --> 00:00:03,770
O'Connell.
2
00:00:08,820 --> 00:00:11,380
(CHANTING IN ANCIENT EGYPTIAN)
3
00:00:12,860 --> 00:00:14,450
(GROANING)
4
00:00:24,270 --> 00:00:25,700
(BOTH GROANING)
5
00:00:29,640 --> 00:00:32,510
Bembridge scholars
never wrote about this.
6
00:00:37,550 --> 00:00:39,950
Get off me.... | null | 7487.32 | 5852.64 | 159.92 |
the_mummy | tt0120616 | HxSxXwxZTCYw | 1
00:00:00,140 --> 00:00:02,940
Beni, laden with loot, stumbles down a sandy corridor.
2
00:00:08,700 --> 00:00:10,060
He lurches up against a wall
3
00:00:10,060 --> 00:00:13,020
and dumps his bulging sack of treasure down on a stone beam.
4
00:00:13,020 --> 00:00:14,620
He slumps exhausted.
5
00:00:19,700 --> 00:... | 1
00:00:00,440 --> 00:00:03,150
Beni struggles through a tunnel with a bag of treasures.
2
00:00:17,290 --> 00:00:21,620
Exhausted, he drops his bag onto a small staff with Anubis head on the end.
3
00:00:21,670 --> 00:00:22,460
It is a lever.
4
00:00:22,460 --> 00:00:23,920
The weight of the bag pulls it down
5
00... | 1
00:00:29,250 --> 00:00:30,420
Time to go.
2
00:00:41,140 --> 00:00:42,930
You've lost the book!
3
00:00:43,180 --> 00:00:45,310
- I can't believe...
- Come on!
4
00:01:14,090 --> 00:01:16,510
Couldn't we just...
No, Jonathan!
5
00:01:23,310 --> 00:01:24,640
O'Connell!
6
00:01:28,940 --> 00:01:31,060
Wait!
Come o... | 1
00:00:20,590 --> 00:00:22,450
(CREAKING)
2
00:00:25,590 --> 00:00:27,120
(RUMBLING)
3
00:00:29,130 --> 00:00:30,560
Time to go.
4
00:00:41,240 --> 00:00:44,080
You've lost the book!
Jonathan, l can't believe...
5
00:00:44,150 --> 00:00:45,640
Hurry!
Come on!
6
00:01:14,140 --> 00:01:16,940
Couldn't we just...
No... | null | 7487.32 | 6709.50 | 166.46 |
bridget_joness_baby_2016 | tt1473832 | v_pYZGVfziYI | 1
00:00:19,330 --> 00:00:20,330
The anchor smirks.
2
00:00:23,690 --> 00:00:24,730
They flip Richard off.
3
00:00:50,360 --> 00:00:51,320
Bridget grins.
4
00:01:04,960 --> 00:01:06,640
Bridget reads Tom.
5
00:01:21,400 --> 00:01:23,280
Miranda and Richard stare at Bridget.
6
00:01:38,280 --> 00:01:39,630
Bridget t... | 1
00:01:05,240 --> 00:01:06,560
Bridget phone rings.
2
00:01:21,480 --> 00:01:23,200
Miranda glances up at Bridget
3
00:01:23,200 --> 00:01:23,960
in the gallery.
4
00:01:38,440 --> 00:01:39,840
Miranda looks dubious.
5
00:02:02,250 --> 00:02:04,010
The minister looks incredulous.
6
00:02:04,130 --> 00:02:05,330
B... | 1
00:00:00,310 --> 00:00:03,080
- It's me, checking talk-back.
- Yep.
2
00:00:03,100 --> 00:00:05,680
You didn't freeze your eggs
by any chance, did you?
3
00:00:05,700 --> 00:00:08,290
No, I imagine they're
hard boiled by now.
4
00:00:08,320 --> 00:00:10,330
You know what, Bridge? This weekend...
5
00:00:10,350 --... | 1
00:00:00,330 --> 00:00:02,730
It's me. Checking talkback.
MIRANDA: Yep.
2
00:00:02,890 --> 00:00:04,630
You didn't freeze your eggs
by any chance, did you?
3
00:00:04,650 --> 00:00:07,890
No. I imagine
they're hard-boiled by now.
4
00:00:08,050 --> 00:00:09,970
You know what, Bridge?
This weekend,
5
00:00:10,130 ... | {"screenplay_scene_16": "<scene>\n <stage_direction>INT. HARD NEWS STUDIO. FLOOR. DAY</stage_direction>\n <scene_description>Miranda takes her place on set, slips in her ear-piece.</scene_description>\n <character>FLOOR MANAGER</character>\n <dialogue>Twenty seconds to air.</dialogue>\n <scene_descriptio... | 7358.72 | 660.96 | 153.53 |
bridget_joness_baby_2016 | tt1473832 | 13GxbBx3nikZ | 1
00:00:01,660 --> 00:00:02,940
She starts to undress.
2
00:00:26,700 --> 00:00:27,740
Jack grins.
3
00:00:30,320 --> 00:00:31,320
She looks around.
4
00:01:00,960 --> 00:01:01,760
Outside.
5
00:01:15,440 --> 00:01:17,320
Rolling in a giant inflatable ball.
6
00:01:17,320 --> 00:01:20,000
Miranda spots Ed performi... | 1
00:00:02,270 --> 00:00:03,790
She undresses in the dark.
2
00:00:24,070 --> 00:00:24,750
It's Jack.
3
00:01:02,920 --> 00:01:05,920
Miranda is wandering about in an inflatable orb.
4
00:01:13,240 --> 00:01:17,520
She rolls into an acoustic tent where Ed Sheeran is playing for a small crowd.
5
00:01:21,680 --> 00:... | 1
00:00:00,270 --> 00:00:02,260
Oh, God.
2
00:00:04,410 --> 00:00:07,810
I have to admit, that was fun.
3
00:00:08,650 --> 00:00:10,270
And you're right...
4
00:00:10,450 --> 00:00:14,730
What I need is a good shafting...
5
00:00:15,410 --> 00:00:20,440
some good old-fashioned,
lie back and-think-of-England...
6
0... | 1
00:00:00,200 --> 00:00:02,040
Oh, God!
2
00:00:02,920 --> 00:00:03,920
(EXHALES DEEPLY)
3
00:00:04,400 --> 00:00:07,610
I have to admit that was fun.
4
00:00:08,560 --> 00:00:10,210
And you're right.
5
00:00:10,440 --> 00:00:14,290
What I need is
a good shafting.
6
00:00:14,960 --> 00:00:19,890
Some good old-fas... | {"screenplay_scene_36": "<scene>\n <stage_direction>INT. YURT. NIGHT. LATER.</stage_direction>\n <scene_description>Bridget crashes into the pitch black yurt, laughing. She rips off her dress, flops into bed, exhausted.</scene_description>\n <character>BRIDGET</character>\n <dialogue>I've got to admit, that... | 7358.72 | 1316.13 | 179.33 |
bridget_joness_baby_2016 | tt1473832 | PqnuwtP3cEV7 | 1
00:00:01,340 --> 00:00:02,860
They kiss deeply.
2
00:00:12,620 --> 00:00:14,060
A large group dances.
3
00:00:14,260 --> 00:00:17,980
Stepping inside, Mark discreetly hands a small item to Bridget,
4
00:00:17,980 --> 00:00:19,260
and they part ways.
5
00:00:21,740 --> 00:00:23,620
On opposite sides of the dance f... | 1
00:00:13,680 --> 00:00:15,280
They make their way inside.
2
00:00:15,680 --> 00:00:17,080
Mark discreetly passes.
3
00:00:17,080 --> 00:00:18,000
Bridget a key
4
00:00:18,160 --> 00:00:19,280
and they separate.
5
00:00:19,520 --> 00:00:21,480
Moving across the indoor dance floor.
6
00:00:21,600 --> 00:00:23,360
... | 1
00:01:12,960 --> 00:01:15,190
How the fuck am I supposed to get in here?
2
00:01:26,490 --> 00:01:28,000
Again?
3
00:01:28,750 --> 00:01:31,420
Mr. Darcy, wow.
4
00:01:34,420 --> 00:01:35,630
Bridget?
5
00:01:39,170 --> 00:01:40,710
God, I've missed you.
6
00:01:47,400 --> 00:01:49,290
Are we on schedule?
7
00:... | 1
00:00:10,780 --> 00:00:12,460
(ROMANTIC SONG PLAYS)
2
00:01:12,980 --> 00:01:14,980
How the fuck am I supposed
to get in here?
3
00:01:15,060 --> 00:01:17,190
(BOTH LAUGH)
4
00:01:26,580 --> 00:01:27,860
Again?
5
00:01:28,500 --> 00:01:30,180
Mr. Darcy.
6
00:01:30,260 --> 00:01:31,260
Wow.
7
00:01:34,380 --> 00... | {"screenplay_scene_57": "<scene>\n <stage_direction>INT. PARTY ROOM & HOTEL RECEPTION. HOTEL. SAME TIME. NIGHT</stage_direction>\n <scene_description>The dance floor is crowded with Mums, Dads and children miming the actions to YMCA. Bridget and Darcy leave the party, their eyes locked on each other.</scene_d... | 7358.72 | 1881.31 | 129.06 |
bridget_joness_baby_2016 | tt1473832 | G8TvvKRWvMXs | 1
00:01:52,820 --> 00:01:55,100
Alice grins and holds up her index finger.
2
00:02:35,370 --> 00:02:36,130
Jack spots.
3
00:02:36,130 --> 00:02:36,730
Bridget.
4
00:02:44,690 --> 00:02:45,890
She struggles to hide.
| 1
00:01:53,260 --> 00:01:55,580
Gleeful Alice holds up her index finger.
2
00:02:36,420 --> 00:02:37,100
Jack spots.
3
00:02:37,100 --> 00:02:39,020
Bridget who ducks behind her desk.
4
00:02:54,620 --> 00:02:56,220
Bridget's bum sticks out.
| 1
00:00:03,030 --> 00:00:08,180
Raised by a single mother in Baltimore,
he created the matchmaking website Qwantify...
2
00:00:08,220 --> 00:00:11,590
and he claims to have found
an algorithm for love.
3
00:00:11,610 --> 00:00:16,490
And he's here today to tell us all about his
number one bestseller Qwantum Leap '.
... | 1
00:00:00,140 --> 00:00:02,660
But now, though,
I'm joined by Jack Quant.
2
00:00:02,820 --> 00:00:04,580
Raised by a single
mother in Baltimore,
3
00:00:05,140 --> 00:00:07,790
he created the matchmaking
website, Qwantify,
4
00:00:07,940 --> 00:00:11,260
and he claims to have
found an algorithm for love.
5
00:00:... | {"screenplay_scene_89": "<scene>\n <stage_direction>93B INT. HARD NEWS. STUDIO FLOOR. NIGHT. 93B</stage_direction>\n <scene_description>Jack is a little bit rattled.</scene_description>\n <character>JACK</character>\n <dialogue>Look, I love kids, but I always found the idea of being a father myself kind of ... | 7358.72 | 2663.71 | 198.53 |
bridget_joness_baby_2016 | tt1473832 | QKs9XT_LhhKd | 1
00:00:08,020 --> 00:00:10,340
Suppressing a grin, Bridget steps away.
2
00:00:13,010 --> 00:00:14,730
Carrying a large paper bag.
3
00:00:14,730 --> 00:00:16,890
Jack admires Bridget's apartment.
4
00:01:05,370 --> 00:01:08,610
Wearing a flirty grin, Bridget checks her cell phone.
5
00:01:25,310 --> 00:01:26,350
... | 1
00:00:08,000 --> 00:00:09,680
She beckons him to follow her.
2
00:00:13,490 --> 00:00:15,730
He's carrying a large white paper bag.
3
00:00:16,170 --> 00:00:18,090
Jack admires her cosy flat.
4
00:01:00,690 --> 00:01:01,810
He sends her one.
5
00:01:04,610 --> 00:01:06,570
She flashes him an intrigued smile
6
00... | 1
00:00:00,060 --> 00:00:04,020
- I didn't expect to see you.
- I wasn't expecting to come.
2
00:00:04,340 --> 00:00:08,040
I'm not used to being rejected. Twice.
3
00:00:10,220 --> 00:00:13,040
I hope you've got cake in that bag.
4
00:00:19,570 --> 00:00:21,470
Yeah, I've been doing a lot of thinking.
5
00:00:23,3... | 1
00:00:00,030 --> 00:00:01,950
I didn't expect to see you.
2
00:00:02,110 --> 00:00:06,160
I wasn't expecting to come.
I'm not used to
being rejected.
3
00:00:06,630 --> 00:00:07,630
Twice.
4
00:00:10,430 --> 00:00:12,790
I hope you've got
cake in that bag.
5
00:00:18,390 --> 00:00:19,550
(CHUCKLES)
6
00:00:19,63... | {"screenplay_scene_108": "<scene>\n <stage_direction>110A INT. BRIDGET'S FLAT. NIGHT. 110A</stage_direction>\n <scene_description>Bridget is sitting preparing her presentation on her Laptop.</scene_description>\n <character>BRIDGET (V.O.)</character>\n <dialogue>Hard to concentrate on impending big presenta... | 7358.72 | 3549.50 | 174.01 |
bridget_joness_baby_2016 | tt1473832 | O1ont_JySVZn | 1
00:00:19,900 --> 00:00:20,980
He looks at Mark.
2
00:01:25,160 --> 00:01:28,160
Overhearing the conversation, Gianni pretends to work
3
00:01:28,160 --> 00:01:29,920
and ducks behind the counter.
4
00:01:48,000 --> 00:01:49,200
Gianni looks Up.
5
00:01:49,560 --> 00:01:50,600
Bridget nods.
6
00:02:19,070 --> 00:... | 1
00:00:19,970 --> 00:00:21,250
Jack asks Mark.
2
00:01:24,050 --> 00:01:27,810
Overhearing their conversation, Gianni tries to busy himself.
3
00:01:28,170 --> 00:01:30,690
He ducks behind the counter close to their table.
4
00:01:48,010 --> 00:01:49,450
Johnny's head pops up.
5
00:01:49,890 --> 00:01:50,890
Bridg... | 1
00:00:03,110 --> 00:00:07,410
So do you actually believe that mathematics can...
how did you put it in your book?
2
00:00:07,430 --> 00:00:10,560
help us analyze behavior
previously invisible to science?
3
00:00:10,580 --> 00:00:15,440
Well, my dating algorithm is to help people
find love, not necessarily replace i... | 1
00:00:03,240 --> 00:00:05,810
MARK: So, do you
actually believe that
mathematics can...
2
00:00:05,960 --> 00:00:07,570
How did you put it
in your book?
3
00:00:07,720 --> 00:00:10,450
"Help us analyze behavior
previously invisible
to science"?
4
00:00:10,920 --> 00:00:12,840
Well, my dating
algorithm is to help p... | {"screenplay_scene_114": "<scene>\n <stage_direction>INT. GIANNI'S RESTAURANT. NIGHT</stage_direction>\n <scene_description>Mark, Jack and a shell-shocked, silent Bridget are sitting at a table. Mark and Jack are getting on like a house on fire. GIANNI, laying the table, is enjoying the conversation too.</scene_d... | 7358.72 | 4092.77 | 185.69 |
bridget_joness_baby_2016 | tt1473832 | jZmLnVUspk61 | 1
00:00:35,120 --> 00:00:38,240
Bridget notices Mark walking down the street toward her.
2
00:00:41,840 --> 00:00:43,640
She stares at him in shock.
3
00:00:46,400 --> 00:00:47,480
She sits upright
4
00:00:47,480 --> 00:00:49,230
as he heads for the apartment door.
5
00:00:50,990 --> 00:00:51,910
He spots her.
6
0... | 1
00:00:35,320 --> 00:00:38,360
She looks up and spots Mark walking down her road.
2
00:00:38,640 --> 00:00:42,040
He doesn't notice her sitting amongst the rubbish by her front door.
3
00:01:17,430 --> 00:01:19,430
He puts his coat around her shoulders
4
00:01:19,590 --> 00:01:21,270
and they share a lingering look... | 1
00:00:02,260 --> 00:00:06,930
I, Bridget Jones,
am going to be the best mother in the world.
2
00:00:07,800 --> 00:00:10,100
I'm going to try not to
leave you in a shop...
3
00:00:10,220 --> 00:00:15,100
or put you in the washing machine like the
woman in the newspaper with her cat.
4
00:00:15,220 --> 00:00:20,370... | 1
00:00:02,480 --> 00:00:07,250
I, Bridget Jones,
am going to be the best mother
in the world.
2
00:00:07,960 --> 00:00:10,280
I'm going to try not
to leave you in a shop
3
00:00:10,440 --> 00:00:11,720
or put you in
the washing machine
4
00:00:11,760 --> 00:00:14,850
like that woman in
the newspaper with her cat.
... | {"screenplay_scene_169": "<scene>\n <stage_direction>162A INT. AIRPORT. SAME TIME. DAY. 162A</stage_direction>\n <scene_description>Mark is helping Camilla at the check-in desk. He turns around, just in time to see: Tom and Eduardo, emerging into arrivals carrying their little boy. Tom strokes his head. Eduardo f... | 7358.72 | 5733.25 | 205.96 |
bridget_joness_baby_2016 | tt1473832 | yLsRI6rA5GwV | 1
00:00:10,710 --> 00:00:12,990
Mark scoops Bridget up into his arms
2
00:00:14,030 --> 00:00:15,590
as protesters pass by.
3
00:00:15,630 --> 00:00:18,750
He carries her down the sidewalk with a steady expression.
4
00:00:27,150 --> 00:00:28,830
Later he struggles.
5
00:00:48,770 --> 00:00:49,970
Mark stumbles bac... | 1
00:00:07,980 --> 00:00:09,260
Protesters pass by
2
00:00:09,300 --> 00:00:11,820
as Mark scoops Bridget up into his arms
3
00:00:11,940 --> 00:00:14,580
and walks off up the road away from the march.
4
00:00:28,180 --> 00:00:30,180
Later Mark begins to stagger.
5
00:00:50,910 --> 00:00:54,030
Mark stops for a mom... | 1
00:00:00,380 --> 00:00:03,980
- It's all right, Bridget. We'll find a way.
- I don't think I can walk.
2
00:00:04,880 --> 00:00:06,920
It's alright.
I'll carry you.
3
00:00:31,040 --> 00:00:34,510
- Good God, Bridget. You're immense.
- I can't help it.
4
00:00:35,710 --> 00:00:39,450
I think my lungs collapsed,
bu... | 1
00:00:00,410 --> 00:00:01,670
It's all right, Bridget.
We'll find a way.
2
00:00:01,690 --> 00:00:03,420
I don't think I can walk.
3
00:00:04,770 --> 00:00:06,580
All right. I'll carry you.
(WHOOPS)
4
00:00:28,930 --> 00:00:30,690
(PANTING)
5
00:00:30,770 --> 00:00:32,660
Good God, Bridget.
You're immense!
6
00:... | null | 7358.72 | 6038.88 | 157.99 |
bridget_joness_baby_2016 | tt1473832 | OIa7cuOL4W6A | 1
00:00:00,530 --> 00:00:05,650
A close view slowly moves across a corkboard filled with photos of newborn babies.
2
00:00:05,850 --> 00:00:09,770
In Bridget's room, Mark and Jack stand on either side of her bed.
3
00:00:15,690 --> 00:00:18,250
A wad of tissue hangs from Jack's nose.
4
00:00:18,250 --> 00:00:20,290
... | 1
00:00:01,130 --> 00:00:01,650
Thank you.
2
00:00:01,690 --> 00:00:05,570
Letters and baby photos cover a noticeboard outside Bridget's room.
3
00:00:06,210 --> 00:00:09,610
Inside her room, Mark and Jack stand either side of her bed.
4
00:00:12,890 --> 00:00:16,370
Jack has a piece of tissue stuffed up his nose to... | 1
00:00:54,910 --> 00:00:56,720
You can do this.
2
00:00:58,740 --> 00:01:00,450
You can. We can do it together.
3
00:01:00,570 --> 00:01:03,370
Just think what lifes thrown at you already.
4
00:01:07,120 --> 00:01:09,470
You've turned disasters into triumphs...
5
00:01:09,490 --> 00:01:14,400
with your sheer, joyf... | 1
00:00:01,620 --> 00:00:03,750
(BRIDGET MOANING LOUDLY)
2
00:00:25,220 --> 00:00:26,580
(SOBS)
3
00:00:28,540 --> 00:00:30,620
(BREATHING HEAVILY)
4
00:00:47,580 --> 00:00:48,780
(COUGHS)
5
00:00:48,860 --> 00:00:51,020
(CONTINUES BREATHING HEAVILY)
6
00:00:51,820 --> 00:00:53,150
(GROANING)
7
00:00:55,180 --> 0... | {"screenplay_scene_178": "<scene>\n <stage_direction>INT. HOSPITAL. BIRTHING ROOM. NIGHT.</stage_direction>\n <scene_description>Bridget is on her hands and knees on the birthing bed. Mark and Jack simultaneously rub her back. Two midwives busy themselves preparing the equipment. DR RAWLINGS enters the room and l... | 7358.72 | 6310.43 | 127.71 |
bridget_joness_baby_2016 | tt1473832 | _U9RCY9jx3Km | 1
00:00:03,170 --> 00:00:04,890
A minister stands at the altar.
2
00:00:09,250 --> 00:00:12,530
Bridget steps through the open doorway, joining her father.
3
00:00:13,050 --> 00:00:14,210
He kisses her cheek.
4
00:00:17,130 --> 00:00:17,970
They link arms
5
00:00:17,970 --> 00:00:20,170
and begin their slow walk do... | 1
00:00:05,280 --> 00:00:08,080
She stands alone and beams at her guests.
2
00:00:12,840 --> 00:00:15,920
She steps inside and her father greets her with a kiss.
3
00:00:16,480 --> 00:00:17,560
She takes his arm
4
00:00:17,560 --> 00:00:19,480
and he accompanies her down the aisle.
5
00:00:21,880 --> 00:00:23,880
T... | 1
00:00:53,800 --> 00:00:56,570
- You look beautiful.
- Thank you.
2
00:00:57,170 --> 00:00:59,910
Hello darling. Hello.
3
00:01:00,460 --> 00:01:02,130
Hello.
4
00:01:11,920 --> 00:01:14,910
- Hello.
- Hi.
5
00:01:18,380 --> 00:01:22,470
- We're really doing this.
- No going back now.
6
00:01:23,040 --> 00:01:28,... | 1
00:00:19,670 --> 00:00:20,880
(SIGHS)
2
00:00:53,870 --> 00:00:55,110
You look beautiful.
3
00:00:55,350 --> 00:00:56,440
Thank you.
4
00:00:57,110 --> 00:00:58,920
Hello, darling! Hello.
5
00:00:59,990 --> 00:01:01,160
Hello.
6
00:01:11,870 --> 00:01:13,080
Hello.
7
00:01:13,630 --> 00:01:14,680
Hi.
8
00:01:1... | {"screenplay_scene_184": "<scene>\n <stage_direction>INT. CHURCH. DAY.</stage_direction>\n <scene_description>Bridget Jones, finally a bride, enters at the back of the church on dad's arm, smiling, nervous. She walks down the aisle passing Miranda, Richard, the friends, Una, Mum, Dad and other friends and relativ... | 7358.72 | 6729.22 | 188.48 |
red_dragon | tt0289765 | jhQuH8Hs4qtI | 1
00:00:06,650 --> 00:00:08,290
The doctor's eyes widen.
2
00:00:43,260 --> 00:00:44,340
Graham leans back.
3
00:01:43,420 --> 00:01:44,820
The agent shakes his head.
4
00:01:49,260 --> 00:01:50,540
Graham tightens his lips.
5
00:01:50,540 --> 00:01:52,620
His face darkens and his brow furrows.
6
00:02:08,980 --> ... | 1
00:01:15,110 --> 00:01:16,280
The agent smiles.
2
00:01:43,180 --> 00:01:44,270
He shakes his head.
3
00:01:49,350 --> 00:01:51,820
Special Agent Will Graham looks into space,
4
00:01:51,820 --> 00:01:52,740
then frowns.
5
00:02:09,140 --> 00:02:10,190
Lecter stands up.
6
00:02:11,990 --> 00:02:13,540
Lecter tap... | 1
00:00:00,160 --> 00:00:02,370
He's not collecting body parts.
2
00:00:02,460 --> 00:00:06,550
- Then why keep them?
- He's not. He's eating them.
3
00:00:08,260 --> 00:00:10,970
No, listen. We were at
Molly's parents' for New Year's...
4
00:00:11,090 --> 00:00:12,970
and her dad was showing
my son, Josh...
5
00:0... | 1
00:00:00,160 --> 00:00:02,370
He's not collecting body parts.
2
00:00:02,460 --> 00:00:06,540
- Then why keep them?
- He's not. He's eating them.
3
00:00:08,250 --> 00:00:10,960
No, listen. We were at
Molly's parents' for New Year's...
4
00:00:11,090 --> 00:00:12,970
and her dad was showing
my son, Josh...
5
00:0... | {"screenplay_scene_4": "<scene>\n <stage_direction>INT./EXT. FRONT DOOR. NIGHT.</stage_direction>\n <scene_description>His opening front door reveals a~ in a dark overcoat and scarf. his breath steami n g in the cold. WILL GRAHAM is pale , with dark watchful eyes. He's exhausted and never got a chance to shave th... | 7467.68 | 263.33 | 262.18 |
red_dragon | tt0289765 | qnt32YWKcnG6 | 1
00:00:00,510 --> 00:00:02,830
The former agent casts a wary look at the killer
2
00:00:02,830 --> 00:00:05,790
and sits in the chair, clutching a few files in one hand.
3
00:00:40,200 --> 00:00:43,000
Lecter sits up his back ramrod straight.
4
00:00:47,520 --> 00:00:48,920
He turns to face Graham,
5
00:00:48,920 ... | 1
00:00:01,340 --> 00:00:03,050
He wears a blue boiler suit and deck shoes
2
00:00:03,050 --> 00:00:04,360
and appears to be asleep.
3
00:00:04,780 --> 00:00:06,660
Will sits on the metal chair.
4
00:00:11,220 --> 00:00:12,770
Will holds a brown file.
5
00:00:40,850 --> 00:00:42,640
Lecter swings his feet off his b... | 1
00:00:06,620 --> 00:00:10,210
That's the same atrocious
aftershave you wore in court.
2
00:00:12,130 --> 00:00:13,840
I keep getting it for Christmas.
3
00:00:13,920 --> 00:00:18,090
Christmas, yes.
Did you get my card?
4
00:00:19,510 --> 00:00:20,800
I got it, thank you.
5
00:00:20,890 --> 00:00:24,230
So nice o... | 1
00:00:06,620 --> 00:00:10,210
LECTER: That's the same atrocious
aftershave you wore in court.
2
00:00:12,130 --> 00:00:13,840
I keep getting it for Christmas.
3
00:00:13,920 --> 00:00:18,090
LECTER: Christmas, yes.
Did you get my card?
4
00:00:19,510 --> 00:00:20,800
I got it, thank you.
5
00:00:20,890 --> 00:00:... | {"screenplay_scene_22": "<scene>\n <stage_direction>INT. LECTER' S CORRIDOR, THEN CELL. DAY.</stage_direction>\n <scene_description>Graham t urns , l ooks down the corridor. The cells to either side are da rk; only at t h e fa r end is one lit . PINK Revision 1-2-02 27. Graham takes a breath, gathers himself. Thi... | 7467.68 | 1831.78 | 218.27 |
red_dragon | tt0289765 | PDHNVmz_RVLQ | 1
00:00:00,500 --> 00:00:02,700
Inside, the view moves through deserted rooms,
2
00:00:02,700 --> 00:00:05,100
past a painting of a severe looking grey haired woman,
3
00:00:05,100 --> 00:00:06,140
and up the stairs.
4
00:00:39,940 --> 00:00:41,140
A man lifts weights.
5
00:01:07,820 --> 00:01:10,980
He sits up, a ... | 1
00:00:01,580 --> 00:00:04,920
and on the wall hangs a portrait of a stern looking old woman.
2
00:00:05,090 --> 00:00:06,600
Voices from the past.
3
00:00:30,960 --> 00:00:32,880
A simply furnished attic bedroom.
4
00:01:08,070 --> 00:01:11,210
In one corner of the attic room, repeating the boy's words is
5
00:01... | 1
00:00:07,020 --> 00:00:09,560
Grandma? Grandma?
2
00:00:10,640 --> 00:00:12,020
I'm sorry.
3
00:00:12,100 --> 00:00:16,770
I've never seen a child
as dirty and disgusting as you.
4
00:00:16,860 --> 00:00:19,780
Look at you! You're soaking wet.
Get out of my bed.
5
00:00:19,860 --> 00:00:22,160
No.
Go back to your... | 1
00:00:07,010 --> 00:00:09,560
YOUNG DOLARHYDE: Grandma? Grandma?
2
00:00:10,640 --> 00:00:12,020
I'm sorry.
3
00:00:12,100 --> 00:00:16,770
GRANDMA: I've never seen a child
as dirty and disgusting as you.
4
00:00:16,860 --> 00:00:19,780
Look at you! You're soaking wet.
Get out of my bed.
5
00:00:19,860 --> 00:00:... | {"screenplay_scene_32": "<scene>\n <stage_direction>EXT. DOLARHYDE'</stage_direction>\n <scene_description>S ROOSE. VERANDAH:</scene_description>\n <character>. DAY. 45</character>\n <dialogue>A verandah surrounds the tall , once-grand house. Down its crumbling length , ancient rocking chairs stir in the br... | 7467.68 | 2495.42 | 152.00 |
red_dragon | tt0289765 | eDwLEVgwQoKh | 1
00:00:14,240 --> 00:00:15,040
An FBI lab.
2
00:00:15,080 --> 00:00:16,280
Tech studies the note.
3
00:00:47,560 --> 00:00:48,880
The prison lights go out.
4
00:01:08,170 --> 00:01:09,730
Now, with the young analysts.
5
00:01:22,570 --> 00:01:24,730
The analyst positions the toilet paper note
6
00:01:24,730 --> 0... | 1
00:00:13,730 --> 00:00:15,860
Forensic scientists examine the note.
2
00:01:05,880 --> 00:01:09,060
Lecter watches the caretaker walk past his dock and holding cell.
3
00:01:22,700 --> 00:01:26,090
Agent Bowman puts the two halves of the note on a viewing machine.
4
00:02:33,960 --> 00:02:35,220
It's toilet paper.... | 1
00:00:00,080 --> 00:00:03,090
DOLARHYDE My dear Dr. Lecter:
I wanted to tell you...
2
00:00:03,170 --> 00:00:04,170
I'm delighted...
3
00:00:04,250 --> 00:00:06,300
that you've taken an interest in me.
4
00:00:06,380 --> 00:00:10,680
And when I learned of your vast
correspondence, I thought:
5
00:00:11,300 --> 00... | 1
00:00:00,080 --> 00:00:03,080
DOLARHYDE [Voiceover]: My dear Dr. Lecter:
I wanted to tell you...
2
00:00:03,170 --> 00:00:04,170
I'm delighted...
3
00:00:04,250 --> 00:00:06,290
that you've taken an interest in me.
4
00:00:06,380 --> 00:00:10,670
And when I learned of your vast
correspondence, I thought:
5
00:00:... | {"screenplay_scene_42": "<scene>\n <stage_direction>INT. DOCUMENT</stage_direction>\n <character>LAB. DAY.</character>\n <dialogue>A text analyst, man, places the pieces of glass.</dialogue>\n <character>76</character>\n <dialogue>LLOYDBOWMAN,a thin, two parts of the note, with tveezers, Crawford and Gra... | 7467.68 | 3564.54 | 167.72 |
red_dragon | tt0289765 | HZUsGhP75qgL | 1
00:00:03,790 --> 00:00:04,750
He straightens,
2
00:00:04,950 --> 00:00:06,270
then drops his robe.
3
00:00:11,430 --> 00:00:15,110
In black ink a tattoo of Blake's red dragon covers Dollarhyde's entire back.
4
00:00:15,110 --> 00:00:16,230
His body flexes.
5
00:00:25,350 --> 00:00:26,110
Fully nude.
6
00:00:26,1... | 1
00:00:00,030 --> 00:00:01,960
Dolarhyde turns his back to Lounds
2
00:00:01,960 --> 00:00:04,050
and lowers the dark robe he's wearing.
3
00:00:11,250 --> 00:00:17,400
Dolarhyde muscular back is tattooed with the curled, ram like horns and open wings of Blake's red dragon.
4
00:00:17,400 --> 00:00:18,990
He stretc... | 1
00:00:09,060 --> 00:00:10,980
Oh, my dear God Jesus!
2
00:00:18,990 --> 00:00:20,280
Oh, God!
3
00:00:34,340 --> 00:00:36,670
Do you want to know what I am?
4
00:00:37,590 --> 00:00:39,340
More than anything.
5
00:00:39,800 --> 00:00:41,640
I was afraid to ask.
6
00:00:52,600 --> 00:00:53,940
Do you see now?
7
... | 1
00:00:09,060 --> 00:00:10,980
Oh, my dear God Jesus!
2
00:00:18,990 --> 00:00:20,280
Oh, God!
3
00:00:20,360 --> 00:00:23,820
[Dolarhyde grunts loudly]
4
00:00:34,330 --> 00:00:36,670
Do you want to know what I am?
5
00:00:37,590 --> 00:00:39,340
More than anything.
6
00:00:39,800 --> 00:00:41,630
I was afraid t... | null | 7467.68 | 4485.12 | 225.54 |
red_dragon | tt0289765 | hnJ6h5y2ObyM | 1
00:00:01,260 --> 00:00:02,060
In the living room.
2
00:00:02,100 --> 00:00:04,740
Dolarhyde puts a tape into a VHS player.
3
00:00:04,740 --> 00:00:06,180
Reba enters a few feet away.
4
00:00:06,180 --> 00:00:07,020
He stands.
5
00:00:27,340 --> 00:00:28,500
She moves toward him,
6
00:00:28,500 --> 00:00:30,100
... | 1
00:00:01,810 --> 00:00:04,070
Dolarhyde takes a videotape out of a box
2
00:00:04,070 --> 00:00:06,120
and inserts it into a video recorder.
3
00:00:06,250 --> 00:00:09,050
He turns to see Reba walking back from the bathroom.
4
00:00:24,860 --> 00:00:28,000
Dolarhyde watches Reba as she feels her way to the sofa
... | 1
00:00:10,370 --> 00:00:12,540
I have to do a little work.
2
00:00:13,620 --> 00:00:16,500
- If I'm keeping you from work...
- No.
3
00:00:16,590 --> 00:00:19,000
- ...l'll go.
- I want you to be here.
4
00:00:19,300 --> 00:00:22,090
I do. It's just a tape
I need to watch.
5
00:00:22,920 --> 00:00:24,720
It won't ... | 1
00:00:00,150 --> 00:00:03,650
[Seductive jazz music plays]
2
00:00:10,370 --> 00:00:12,540
I have to do a little work.
3
00:00:13,620 --> 00:00:16,500
- If I'm keeping you from work...
- No.
4
00:00:16,580 --> 00:00:19,000
- ...l'll go.
- I want you to be here.
5
00:00:19,290 --> 00:00:22,090
I do. It's just a ta... | null | 7467.68 | 5394.30 | 168.81 |
red_dragon | tt0289765 | yhEhR5czbQAB | 1
00:00:04,350 --> 00:00:06,070
He turns over and opens his eyes.
2
00:00:06,070 --> 00:00:07,310
He stays curled up,
3
00:00:07,310 --> 00:00:09,150
shifting his contemplative gaze.
4
00:00:10,350 --> 00:00:12,470
He glances up, lifting his head.
5
00:00:12,470 --> 00:00:14,750
He notices the empty mattress beside... | 1
00:00:06,660 --> 00:00:07,870
Dolarhyde opens his eyes
2
00:00:07,870 --> 00:00:11,220
and notices the empty space beside him, looking panicked.
3
00:00:11,260 --> 00:00:12,600
He raises himself up
4
00:00:12,600 --> 00:00:13,900
and throws the sheets off.
5
00:00:23,520 --> 00:00:25,070
Dolarhyde gets out of bed... | 1
00:01:07,170 --> 00:01:10,050
No. I won't give her to you. No.
2
00:01:21,060 --> 00:01:24,900
Please, just for a little while.
3
00:01:32,570 --> 00:01:34,570
No! You're hurting me!
4
00:01:56,470 --> 00:01:57,600
No...
5
00:01:58,850 --> 00:02:00,270
she's nice.
6
00:02:01,770 --> 00:02:03,140
She's okay.
| 1
00:00:21,580 --> 00:00:25,090
[Tense instrumental music]
2
00:00:57,410 --> 00:01:00,910
[Dolarhyde whimpers in panic]
3
00:01:07,170 --> 00:01:10,050
DOLARHYDE: No. I won't give her to you. No.
4
00:01:10,130 --> 00:01:13,630
[Suspenseful instrumental music]
5
00:01:21,060 --> 00:01:24,900
Please, just for a lit... | {"screenplay_scene_61": "<scene>\n <stage_direction>INT. FRONT HALL . DAY .</stage_direction>\n <scene_description>I n a rising panic, wearing only underpants, Dolarhyde rushes out into the hall, looks up and down it. No Reba .</scene_description>\n <character>DRAGON</character>\n <dialogue>'S VOICE</dialog... | 7467.68 | 5571.90 | 157.71 |
red_dragon | tt0289765 | 1CL3fNVTmZJZ | 1
00:00:01,400 --> 00:00:05,520
At the Museum, Dolarhyde bends down, closely examining the painting.
2
00:00:07,560 --> 00:00:11,280
His eyes scan the dragon's curving horns and powerful muscled back.
3
00:00:11,320 --> 00:00:13,280
The docent leans down next to him.
4
00:00:19,360 --> 00:00:23,400
As the docent pee... | 1
00:00:02,970 --> 00:00:04,680
He leans down towards it.
2
00:00:04,980 --> 00:00:09,200
Traceries of lines and shading describe the creature's impressive muscular form,
3
00:00:09,540 --> 00:00:11,420
arms raised as if in victory.
4
00:00:11,710 --> 00:00:13,930
The curator leans down next to Dolarhyde.
5
00:00:1... | 1
00:00:14,730 --> 00:00:17,240
He almost looks alive,
doesn't he?
2
00:01:04,320 --> 00:01:07,450
We've just gotten
a report here from the...
| 1
00:00:01,880 --> 00:00:05,390
[Suspenseful instrumental music]
2
00:00:14,730 --> 00:00:17,230
He almost looks alive,
doesn't he?
3
00:00:36,340 --> 00:00:39,840
[Dramatic instrumental music]
4
00:00:53,940 --> 00:00:57,440
[Harrowing instrumental music]
5
00:01:04,320 --> 00:01:07,450
We've just gotten
a report ... | {"screenplay_scene_70": "<scene>\n <stage_direction>INT. SECURITY STRONGHOLD.DAY.</stage_direction>\n <scene_description>ON A MONITOR.in the security stronghold , Chilton watches as Lecter smilingly mocks him. He turns away, furious, · then storms out , as the gµards try to stifle their smiles . The BACH SOARS LO... | 7467.68 | 5962.85 | 78.07 |
red_dragon | tt0289765 | Ct4P6_dCZhUD | 1
00:00:10,230 --> 00:00:12,030
His eyes dart back and forth.
2
00:00:40,520 --> 00:00:44,680
A fleet of police cruisers flies down a street in one Car hands load a gun
3
00:00:44,680 --> 00:00:45,800
riding beside Crawford.
4
00:00:45,800 --> 00:00:48,120
Graham looks up from the weapon with a grim stare.
5
00:00:... | 1
00:00:09,600 --> 00:00:11,190
Dollarhyde's eyes dart about.
2
00:00:21,580 --> 00:00:22,750
He covers her mouth.
3
00:00:38,770 --> 00:00:40,740
A fleet of squad cars raced through town.
4
00:00:40,780 --> 00:00:42,410
Woman Jack are in the back of one.
5
00:00:42,410 --> 00:00:43,710
Jack loads a pistol
6
00:00... | 1
00:00:00,610 --> 00:00:02,980
D? What is it?
2
00:00:03,280 --> 00:00:04,940
What's happening?
3
00:00:05,780 --> 00:00:08,450
- Sit still or he'll hear us!
- Who will?
4
00:00:08,530 --> 00:00:10,120
He's upstairs.
5
00:00:13,290 --> 00:00:15,120
He wants you, Reba.
6
00:00:17,290 --> 00:00:19,790
I thought he ... | 1
00:00:00,600 --> 00:00:02,980
D? What is it?
2
00:00:03,270 --> 00:00:04,940
What's happening?
3
00:00:05,780 --> 00:00:08,450
- Sit still or he'll hear us!
- Who will?
4
00:00:08,530 --> 00:00:10,110
He's upstairs.
5
00:00:13,280 --> 00:00:15,120
He wants you, Reba.
6
00:00:17,290 --> 00:00:19,790
I thought he ... | {"screenplay_scene_80": "<scene>\n <stage_direction>INT. LEADCAR,POLIC DRIVING</stage_direction>\n <character>E CARAVAN. . NIGHT</character>\n <dialogue>. 152</dialogue>\n <scene_description>In the lead car, TWODEPUTIES are in the front seat; one driving and one consulting a map. The radio CRACKLESwith low,... | 7467.68 | 6404.74 | 186.62 |
red_dragon | tt0289765 | oXVeMETLYXBl | 1
00:00:06,900 --> 00:00:08,940
He presses the shard to Josh's cheek.
2
00:00:08,940 --> 00:00:10,300
Graham drops the knife.
3
00:00:21,060 --> 00:00:23,740
Graham notices that Josh has wet his pants.
4
00:00:33,260 --> 00:00:34,620
Dolarhyde tenses.
5
00:01:04,590 --> 00:01:06,190
Dolarhyde throws Josh aside
6
0... | 1
00:00:07,430 --> 00:00:08,720
Will holds the knife out
2
00:00:08,720 --> 00:00:09,900
and drops it on the floor.
3
00:00:21,400 --> 00:00:23,370
Will notices Josh has wet himself.
4
00:00:33,290 --> 00:00:34,510
Dolarhyde is unsettled.
5
00:01:05,640 --> 00:01:07,060
Dolarhyde runs at Will.
6
00:01:08,770 --> 0... | 1
00:00:03,150 --> 00:00:06,070
Drop it. Do it now, gumshoe.
2
00:00:11,070 --> 00:00:13,320
Your son is about to change.
3
00:00:14,530 --> 00:00:16,120
Then your wife.
4
00:00:17,120 --> 00:00:18,660
You can watch.
5
00:00:19,500 --> 00:00:21,420
Then I'll take care of you.
6
00:00:24,540 --> 00:00:26,000
Look a... | 1
00:00:03,150 --> 00:00:06,070
Drop it. Do it now, gumshoe.
2
00:00:11,070 --> 00:00:13,320
Your son is about to change.
3
00:00:14,530 --> 00:00:16,120
Then your wife.
4
00:00:17,120 --> 00:00:18,660
You can watch.
5
00:00:19,500 --> 00:00:21,410
Then I'll take care of you.
6
00:00:24,540 --> 00:00:26,000
Look a... | {"screenplay_scene_90": "<scene>\n <stage_direction>INT. JOSH' S ROOM.NIGHT.</stage_direction>\n <scene_description>Dolarhyde stands by the bed, gripping Josh by one powerful forearm. His knapsack lies on the bed . The shard of mirror is poised by the boy's right eye. The handle end ia wrapped with a dish towel. ... | 7467.68 | 6940.61 | 181.77 |
parenthood | tt0098067 | y4rLaqtRHMi6 | 1
00:00:02,490 --> 00:00:05,490
Story by Lowell Ganz and Babaloo Mandel and Ron Howard,
2
00:00:05,490 --> 00:00:07,770
screenplay by Lowell Ganz and Babaloo Mandel.
3
00:00:07,810 --> 00:00:09,170
Produced by Brian Grazer.
4
00:00:09,290 --> 00:00:10,810
directed by Ron Howard.
5
00:00:16,610 --> 00:00:17,690
Gil ... | 1
00:00:31,530 --> 00:00:34,120
Day turns to night as Gil drives on the highway.
2
00:00:34,460 --> 00:00:36,040
Gil turns on the car lights.
3
00:00:36,420 --> 00:00:38,050
Directed by Ron Howard.
| 1
00:00:00,740 --> 00:00:02,330
When you're sliding into first
2
00:00:02,440 --> 00:00:04,000
And you're feeling
something burst
3
00:00:04,070 --> 00:00:06,040
Diarrhea
Diarrhea
4
00:00:07,340 --> 00:00:10,370
When you're sliding into third
And you lay a juicy turd
5
00:00:10,450 --> 00:00:12,880
Diarrhea
Diarrhe... | 1
00:00:00,770 --> 00:00:02,460
KEVIN: (SINGING)
When you're sliding into first
2
00:00:02,480 --> 00:00:04,020
And you're feeling
something burst
3
00:00:04,110 --> 00:00:06,070
Diarrhea
Diarrhea
4
00:00:06,150 --> 00:00:07,280
(LAUGHING)
5
00:00:07,360 --> 00:00:10,410
When you're sliding into third
And you lay a... | {"screenplay_scene_1": "<scene>\n <scene_description>,-'/^S</scene_description>\n <character>TB</character>\n <dialogue>UNTITLED COMEDY</dialogue>\n <scene_description>by Lowell Ganz & Babaloo Mandel</scene_description>\n <character>FINAL SHOOTING SCRIPT</character>\n <parenthetical>(with all revi... | 7413.54 | 341.82 | 40.47 |
parenthood | tt0098067 | V_icRgqIPN7W | 1
00:00:10,890 --> 00:00:14,410
Inside their home, Gil places a sleeping Kevin in a bunk bed.
2
00:00:14,450 --> 00:00:15,570
He turns to leave,
3
00:00:15,610 --> 00:00:17,410
then stops with a bemused look.
4
00:00:21,010 --> 00:00:25,130
And naked, Justin, clad only in a belt with toy guns and holsters, dons a co... | 1
00:00:01,280 --> 00:00:02,950
Girl carries an out for the count.
2
00:00:02,990 --> 00:00:04,410
Kevin up the stairs
3
00:00:04,620 --> 00:00:07,720
and lays him out on the top bed of a bunk bed.
4
00:00:10,390 --> 00:00:17,370
He turns to face Justin, who is in the buff bar, a cowboy holster, gun and hat which is... | 1
00:00:18,280 --> 00:00:21,140
That's what you're gonna
sleep in? You'll get cold
2
00:00:25,350 --> 00:00:26,680
Perfect
3
00:00:26,990 --> 00:00:29,680
Gil, Taylor isn't
feeling well She wants you
4
00:00:30,020 --> 00:00:33,220
It's those hot dogs I'll
deal with Kevin and Justin
5
00:00:33,890 --> 00:00:37,690
... | 1
00:00:18,290 --> 00:00:21,170
That's what you're
gonna sleep in?
You'll get cold.
2
00:00:25,380 --> 00:00:26,720
Perfect.
3
00:00:27,010 --> 00:00:29,720
Gil, Taylor isn't feeling well.
She wants you.
4
00:00:30,060 --> 00:00:33,270
- It's those hot dogs.
- I'll deal with Kevin and Justin.
5
00:00:33,930 --> 00:... | {"screenplay_scene_3": "<scene>\n <stage_direction>INT. BLAYLOCK BOY'S BEDROOM - NIGHT</stage_direction>\n <scene_description>WE SEE Gil STRUGGLING to place a sleeping Kevin in an upper bunk. He succeeds then turns to Justin. Justin is NAKED, wearing a GUN BELT with two GUNS.</scene_description>\n <character>G... | 7413.54 | 382.94 | 68.45 |
parenthood | tt0098067 | MR1xa0jZzufm | 1
00:00:00,180 --> 00:00:02,940
Gil gives a small punch in the air as he beams at his son,
2
00:00:02,940 --> 00:00:04,460
then looks up toward the sky.
3
00:00:04,460 --> 00:00:08,980
In a daydream, a bespectacled man stands at a microphone outside a stately brick building.
4
00:00:27,140 --> 00:00:33,540
Nicely dr... | 1
00:00:02,450 --> 00:00:04,210
A proud Girl watches his son.
2
00:00:04,250 --> 00:00:06,010
He smiles and looks upward
3
00:00:06,300 --> 00:00:07,390
in his mind's eye.
4
00:00:07,600 --> 00:00:09,480
An imposing school for Cade,
5
00:00:09,520 --> 00:00:13,490
a man in a cap and gown called students up onto the... | 1
00:00:14,930 --> 00:00:19,360
And now it is my great pleasure
to introduce our valedictorian,
2
00:00:20,170 --> 00:00:22,130
Kevin Buckman
3
00:00:38,850 --> 00:00:40,380
Thank you
4
00:00:40,790 --> 00:00:44,310
You know, when I was nine years
old, I had kind of a rough time
5
00:00:45,160 --> 00:00:47,790
A lo... | 1
00:00:14,970 --> 00:00:19,390
And now it is my great pleasure
to introduce our valedictorian,
2
00:00:20,180 --> 00:00:22,140
Kevin Buckman.
3
00:00:38,870 --> 00:00:40,410
Thank you.
4
00:00:40,830 --> 00:00:44,330
You know, when I was nine years old,
I had kind of a rough time.
5
00:00:45,170 --> 00:00:47,840
A... | null | 7413.54 | 2609.28 | 100.87 |
parenthood | tt0098067 | iatXRa99Deik | 1
00:00:00,570 --> 00:00:01,650
He lifts his mitt.
2
00:00:01,690 --> 00:00:02,770
He drops the ball.
3
00:00:02,810 --> 00:00:03,930
Lou hunches over.
4
00:00:06,330 --> 00:00:07,770
Two base runners make it home.
5
00:00:07,770 --> 00:00:09,010
Matt throws his mitt.
6
00:00:12,050 --> 00:00:13,290
Kevin lowers h... | 1
00:00:03,360 --> 00:00:04,570
It lands in his glove
2
00:00:04,570 --> 00:00:05,870
and bounces to the floor.
3
00:00:06,030 --> 00:00:07,910
The opposing team celebrates.
4
00:00:08,080 --> 00:00:10,380
Matt slams his glove into the dirt.
5
00:00:12,680 --> 00:00:14,600
Kevin lowers his head in shame.
6
00:00:2... | 1
00:00:04,900 --> 00:00:06,130
No!
2
00:00:10,170 --> 00:00:11,870
You stink, Buckman!
3
00:00:15,740 --> 00:00:17,640
He had no business
being out there!
4
00:00:17,710 --> 00:00:19,610
What's the matter with you?
No business!
5
00:00:20,480 --> 00:00:21,510
No!
6
00:00:22,080 --> 00:00:26,820
He had no business... | 1
00:00:04,930 --> 00:00:06,180
No!
2
00:00:10,180 --> 00:00:11,890
You stink, Buckman!
3
00:00:15,770 --> 00:00:17,650
He had no business being out there!
4
00:00:17,730 --> 00:00:19,650
What's the matter with you?
No business!
5
00:00:20,520 --> 00:00:21,520
No!
6
00:00:22,110 --> 00:00:26,860
He had no business... | {"screenplay_scene_8": "<scene>\n <stage_direction>EXT. FIELD - A FEW MINUTES LATER</stage_direction>\n <scene_description>Gil is hitting grounders.</scene_description>\n <character>GIL</character>\n <parenthetical>(yells)</parenthetical>\n <dialogue>Come on, Ben, get in front of the ball, it can't hurt ... | 7413.54 | 2751.04 | 108.11 |
parenthood | tt0098067 | iTCS5chHCO_T | 1
00:00:03,980 --> 00:00:06,260
He appears to remove his thumb from his hand.
2
00:00:08,500 --> 00:00:09,260
Patty joins.
3
00:00:17,660 --> 00:00:19,660
He appears to remove his thumb.
4
00:00:23,500 --> 00:00:24,380
Patty runs away,
5
00:00:24,380 --> 00:00:25,780
then hugs Nathan's leg.
6
00:00:26,100 --> 00:0... | 1
00:00:02,680 --> 00:00:04,980
Gil covers his left thumb with his right hand.
2
00:00:05,020 --> 00:00:06,240
He slides his hand along
3
00:00:06,240 --> 00:00:09,120
and a gap appears between the tip and middle of the thumb.
4
00:00:18,230 --> 00:00:19,490
He repeats the trick.
5
00:00:19,490 --> 00:00:19,950
Pat... | 1
00:00:00,150 --> 00:00:01,360
Here we go
The thumb trick Ready?
2
00:00:01,380 --> 00:00:02,540
Thumb trick
Do the thumb trick
3
00:00:02,620 --> 00:00:04,910
Look at my thumb Ready?
Here we go Watch it Watch it
4
00:00:09,990 --> 00:00:11,080
What are you doing?
5
00:00:11,160 --> 00:00:12,750
Thumb trick
Show h... | 1
00:00:00,190 --> 00:00:01,370
Here we go.
The thumb trick. Ready?
2
00:00:01,400 --> 00:00:02,630
Thumb trick.
Do the thumb trick.
3
00:00:02,650 --> 00:00:04,940
Look at my thumb. Ready?
Here we go.
Watch it. Watch it.
4
00:00:06,030 --> 00:00:07,490
(ALL EXCLAIMING)
5
00:00:10,030 --> 00:00:11,120
What are you ... | null | 7413.54 | 3233.50 | 180.44 |
parenthood | tt0098067 | VhhEFG0YHWzx | 1
00:00:04,540 --> 00:00:06,580
Kids take turns hitting the pinata.
2
00:00:06,620 --> 00:00:09,700
The pinata swings from a tree branch without breaking open.
3
00:00:11,380 --> 00:00:12,900
Gil films with a video camera,
4
00:00:12,900 --> 00:00:15,380
then grimaces as the pinata stays intact.
5
00:00:15,420 --> ... | 1
00:00:05,080 --> 00:00:08,430
Meanwhile, children with a paper mache donkey hanging from a tree.
2
00:00:08,550 --> 00:00:11,810
The blindfolded boys whack it with a stick, but to no avail.
3
00:00:12,150 --> 00:00:13,690
The donkey stays intact.
4
00:00:21,970 --> 00:00:24,390
Gil encourages the boy to bash the d... | 1
00:00:02,290 --> 00:00:03,880
Okay Careful now
Careful
2
00:00:03,960 --> 00:00:05,120
Yeah!
3
00:00:14,570 --> 00:00:15,830
Here,
take this off
4
00:00:17,610 --> 00:00:19,510
Now really try
and hit it
5
00:00:20,280 --> 00:00:22,370
Yeah Really give it
a good shot
6
00:00:22,680 --> 00:00:23,840
Yeah Give it
a... | 1
00:00:02,320 --> 00:00:03,900
Okay. Careful now.
Careful.
2
00:00:03,990 --> 00:00:05,150
Yeah!
3
00:00:14,580 --> 00:00:15,870
Here, take this off.
4
00:00:17,620 --> 00:00:19,540
Now really try and hit it.
5
00:00:20,290 --> 00:00:22,420
Yeah. Really give it
a good shot.
6
00:00:22,710 --> 00:00:23,880
Yeah. G... | null | 7413.54 | 3414.98 | 72.54 |
parenthood | tt0098067 | I_vCQWEGotNE | 1
00:00:01,960 --> 00:00:03,720
Taylor runs up to her parents at a table.
2
00:00:03,760 --> 00:00:04,840
Cool follows her.
3
00:00:54,190 --> 00:00:54,790
People stare
4
00:00:54,790 --> 00:00:56,350
as Kevin frantically moves aside,
5
00:00:56,390 --> 00:00:57,350
trash on the table.
6
00:00:57,390 --> 00:00:59,... | 1
00:00:56,850 --> 00:00:57,940
Karen hugs Kevin
2
00:00:57,940 --> 00:00:59,570
as Gil watches helplessly.
3
00:01:04,290 --> 00:01:07,050
Gil scrambles through the bins outside the restaurant.
4
00:01:11,480 --> 00:01:16,410
His hands are covered in goo as he picks through cartons, paper plates and bits of old piz... | 1
00:00:05,300 --> 00:00:07,260
Kevin wants to goe
2
00:00:07,330 --> 00:00:08,880
How did you go through
those quarters so fast?
3
00:00:08,900 --> 00:00:11,500
Another kid took Kevin's money Shut up!
4
00:00:12,040 --> 00:00:15,530
What kid? Never mind
Never mind Can we just go?
5
00:00:15,610 --> 00:00:17,910
It... | 1
00:00:05,240 --> 00:00:07,200
Kevin wants to go.
2
00:00:07,280 --> 00:00:08,800
How did you go through
those quarters so fast?
3
00:00:08,830 --> 00:00:11,450
- Another kid took Kevin's money.
- Shut up!
4
00:00:11,960 --> 00:00:15,460
- What kid?
- Never mind. Can we just go?
5
00:00:15,540 --> 00:00:17,840
- I... | null | 7413.54 | 4361.38 | 178.86 |
parenthood | tt0098067 | WaIRxGI2Jj4K | 1
00:00:30,760 --> 00:00:32,520
She looks over with wide eyes.
2
00:00:50,880 --> 00:00:52,800
Smiling, she unclips her seatbelt.
3
00:00:56,080 --> 00:00:58,040
She lowers her face into his lap.
4
00:00:58,040 --> 00:01:00,560
He looks left, then right, then straight ahead.
5
00:01:02,240 --> 00:01:04,960
Now a to... | 1
00:00:51,510 --> 00:00:52,930
She smiles coyly
2
00:00:52,930 --> 00:00:54,480
and undoes her seat belt.
3
00:00:54,480 --> 00:00:56,520
Then she lowers her head onto his lap.
4
00:00:56,690 --> 00:00:58,280
He grips the steering wheel
5
00:00:58,490 --> 00:01:00,750
and glances round through the windows.
6
00:0... | 1
00:00:02,730 --> 00:00:06,360
Oh, I'm gonna be home
late tomorrow How come?
2
00:00:07,070 --> 00:00:09,500
I'm attempting
to dazzle Dave
3
00:00:10,170 --> 00:00:14,170
I'm trying to put together
a major income-property thing
4
00:00:14,240 --> 00:00:16,370
for one of our
bigger clients
5
00:00:16,450 --> 00:00:... | 1
00:00:02,680 --> 00:00:06,300
- Oh, I'm gonna be home late tomorrow.
- How come?
2
00:00:07,010 --> 00:00:09,430
I'm attempting to dazzle Dave.
3
00:00:10,100 --> 00:00:14,100
I'm trying to put together
a major income-property thing
4
00:00:14,190 --> 00:00:16,310
for one of our bigger clients.
5
00:00:16,400 -->... | null | 7413.54 | 4544.29 | 92.65 |
parenthood | tt0098067 | dyUczAJOCaHI | 1
00:00:08,180 --> 00:00:09,180
Gil rolls his eyes
2
00:00:09,180 --> 00:00:11,180
and leans forward with a livid glare.
3
00:01:15,740 --> 00:01:16,820
He glares at his boss
4
00:01:16,820 --> 00:01:17,460
and leaves.
| 1
00:00:10,030 --> 00:00:12,210
Gil barely contains his annoyance.
| 1
00:00:03,280 --> 00:00:08,550
and we have decided to
make Phil Richards a partner
2
00:00:12,190 --> 00:00:14,160
Holy shit! d
3
00:00:14,230 --> 00:00:16,320
Now, I know you're upset
Upset? y
4
00:00:17,100 --> 00:00:19,290
Haven't you seen the deals
I've been putting together? z
5
00:00:19,370 --> 00:00:23,390
... | 1
00:00:03,240 --> 00:00:08,540
and we have decided
to make Phil Richards
a partner.
2
00:00:12,170 --> 00:00:14,130
Holy shit!
3
00:00:14,210 --> 00:00:16,300
- Now, I know you're upset.
- Upset?
4
00:00:17,050 --> 00:00:19,220
Haven't you seen the deals
I've been putting together?
5
00:00:19,300 --> 00:00:23,350
... | {"screenplay_scene_20": "<scene>\n <stage_direction>.-\\*</stage_direction>\n <character>91</character>\n <dialogue>CONTINUED:</dialogue>\n <scene_description>She pulls a RACING HELMET OUT OF the bag. Tod lets go of Garry,</scene_description>\n <character>JULIE</character>\n <dialogue>You're racing ag... | 7413.54 | 5097.02 | 78.30 |
parenthood | tt0098067 | xkQZlx2ZXSzF | 1
00:00:01,610 --> 00:00:02,890
Frank faces him.
2
00:00:02,890 --> 00:00:04,450
Gil slowly meets his gaze.
3
00:01:29,560 --> 00:01:30,640
Gil smiles.
4
00:02:08,640 --> 00:02:10,480
Frank shifts his troubled gaze.
5
00:02:11,760 --> 00:02:14,120
Gil awkwardly pats his dad's shoulders.
6
00:02:16,440 --> 00:02:19... | 1
00:02:10,280 --> 00:02:11,110
Frank gets up
2
00:02:11,110 --> 00:02:13,450
and stares through the wire netting onto the pitch.
3
00:02:13,790 --> 00:02:15,380
Girl comes up behind him.
4
00:02:17,430 --> 00:02:19,470
He pats Frank's shoulders awkwardly.
5
00:02:19,640 --> 00:02:21,810
Frank tries to respond in k... | 1
00:00:05,390 --> 00:00:07,290
Thank you
for not arguingh
2
00:00:08,100 --> 00:00:10,590
And I know you're a
good father, so, tell me,
3
00:00:11,430 --> 00:00:12,760
what would you do?
4
00:00:16,970 --> 00:00:18,200
You got
that kind of money? n
5
00:00:18,410 --> 00:00:19,410
I got it, h
6
00:00:20,740 --> 00... | 1
00:00:05,360 --> 00:00:07,280
Thank you for not arguing.
2
00:00:08,070 --> 00:00:10,570
And I know
you're a good father,
so, tell me,
3
00:00:11,410 --> 00:00:12,740
what would you do?
4
00:00:16,960 --> 00:00:18,160
You got that kind of money?
5
00:00:18,370 --> 00:00:19,370
I got it,
6
00:00:20,710 --> 00:00:... | {"screenplay_scene_22": "<scene>\n <stage_direction>INT. GIL'S BEDROOM - DAY</stage_direction>\n <scene_description>All five kids are in there. Justin is on the floor, CRYING.</scene_description>\n <character>GIL</character>\n <dialogue>What happened?</dialogue>\n <scene_description>/T^v ^ \\</scene_desc... | 7413.54 | 5532.38 | 178.03 |
parenthood | tt0098067 | isORaG0PfDjt | 1
00:00:13,570 --> 00:00:15,170
The batter hits a ground ball.
2
00:00:17,250 --> 00:00:19,250
A player tries to catch it but fumbles.
3
00:00:19,530 --> 00:00:22,090
Matt shouts from his position, his face livid.
4
00:00:42,610 --> 00:00:44,010
Matt gives a thumbs up.
5
00:00:51,970 --> 00:00:53,530
The pitcher wi... | 1
00:00:12,760 --> 00:00:13,890
Kevin's fielding.
2
00:00:13,890 --> 00:00:15,180
The pitcher pitches the ball
3
00:00:15,180 --> 00:00:16,560
and the batter strikes.
4
00:00:16,810 --> 00:00:19,860
Kevin fails to stop the ball as it runs along the ground.
5
00:00:20,240 --> 00:00:22,620
His team-mate Matt shouts a... | 1
00:00:05,600 --> 00:00:07,570
Okay, let's go
Let's get themn
2
00:00:08,570 --> 00:00:11,270
Let's get this one
Come on, you can do it!
3
00:00:22,890 --> 00:00:27,190
We only need one more out! Can't
you even field a ground ball?
4
00:00:27,260 --> 00:00:30,070
Matt, I'm not gonna warn you again One
more comment,... | 1
00:00:01,520 --> 00:00:03,730
(PEOPLE CHEERING)
2
00:00:05,520 --> 00:00:07,520
GIL: Okay, let's go.
Let's get them.
3
00:00:08,520 --> 00:00:11,190
Let's get this one.
Come on, you can do it!
4
00:00:22,870 --> 00:00:27,130
We only need one more out!
Can't you even field
a ground ball?
5
00:00:27,210 --> 00:00:3... | {"screenplay_scene_22": "<scene>\n <stage_direction>INT. GIL'S BEDROOM - DAY</stage_direction>\n <scene_description>All five kids are in there. Justin is on the floor, CRYING.</scene_description>\n <character>GIL</character>\n <dialogue>What happened?</dialogue>\n <scene_description>/T^v ^ \\</scene_desc... | 7413.54 | 5719.33 | 152.63 |
parenthood | tt0098067 | dvhUQtiU_WxJ | 1
00:00:14,380 --> 00:00:17,100
One dwarf nudges the tiniest dwarf with their elbow.
2
00:00:29,220 --> 00:00:31,100
In the Audience Grandma smiles.
3
00:00:31,100 --> 00:00:32,380
Kevin rolls his eyes.
4
00:00:32,580 --> 00:00:34,420
Gil sits with his lips pressed tight.
5
00:00:34,460 --> 00:00:36,740
Karen smile... | 1
00:00:11,940 --> 00:00:15,280
They all look around at the smallest girl on stage.
2
00:00:50,810 --> 00:00:52,860
Dopey in the crowd.
3
00:00:52,860 --> 00:00:54,120
Justin shakes his head
4
00:00:54,120 --> 00:00:55,660
as the actors push Taylor.
5
00:00:58,340 --> 00:00:59,840
Justin runs up the aisle.
6
00:01... | 1
00:00:06,850 --> 00:00:11,120
It's good to be home
It sure isr
2
00:00:11,390 --> 00:00:14,160
Somebody stole our dishese
3
00:00:18,570 --> 00:00:21,590
"They're not stolen
They're put away"n
4
00:00:22,600 --> 00:00:25,130
They're not stolenu
5
00:00:27,270 --> 00:00:30,800
"They're not stolen
They're put away"... | 1
00:00:03,710 --> 00:00:05,300
(PEOPLE APPLAUDING)
2
00:00:06,760 --> 00:00:11,010
- It's good to be home.
- It sure is.
3
00:00:11,300 --> 00:00:14,050
Somebody stole our dishes.
4
00:00:18,480 --> 00:00:21,520
"They're not stolen.
They're put away."
5
00:00:22,520 --> 00:00:25,020
(SHOUTING)
They're not stolen.
... | null | 7413.54 | 6760.38 | 179.44 |
mission_impossible_3 | tt0317919 | _sINTt4Tsc8U | 1
00:00:22,640 --> 00:00:24,040
Ethan struggles wildly,
2
00:00:24,040 --> 00:00:24,880
then calms.
3
00:00:25,520 --> 00:00:27,640
He's tied up in a dingy barber shop.
4
00:00:29,040 --> 00:00:29,440
Okay.
5
00:01:10,050 --> 00:01:11,050
He shoots her leg.
6
00:01:26,970 --> 00:01:28,170
Ethan clenches his eyes
... | 1
00:00:00,120 --> 00:00:01,250
One.
2
00:00:01,500 --> 00:00:04,630
You listen to me.
I got exactly what you asked for.
3
00:00:04,750 --> 00:00:07,010
Did you want something else?
4
00:00:07,550 --> 00:00:09,360
If there was a misunderstanding,
I will fix it.
5
00:00:09,380 --> 00:00:11,260
I can get it, whatever... | 1
00:00:00,220 --> 00:00:01,390
One.
2
00:00:01,640 --> 00:00:04,810
You listen to me.
I got exactly what you asked for.
3
00:00:04,890 --> 00:00:07,180
Did you want something else?
4
00:00:07,680 --> 00:00:09,500
If there was a misunderstanding,
I will fix it.
5
00:00:09,520 --> 00:00:11,440
I can get it, whatever... | {"screenplay_scene_1": "<scene>\n <character>MISSION: IMPOSSIBLE III</character>\n <dialogue>Written by</dialogue>\n <scene_description>Alex Kurtzman, Robert Orci, and J.J. Abrams FADE IN: THE FIRST IMAGE WE SEE IS THAT OF A MAN. EXTREMELY TIGHT ON HIS BRUTALIZED FACE. BREATHING HEAVY, BRUISES FRESH;: THE WOUN... | 7564.06 | 77.89 | 133.05 | |
mission_impossible_3 | tt0317919 | bHHzmLtN3VTH | 1
00:00:01,950 --> 00:00:02,630
She catches it
2
00:00:02,630 --> 00:00:03,670
and shoots the thug.
3
00:00:03,870 --> 00:00:05,190
Ethan steps out of cover.
4
00:00:10,150 --> 00:00:12,350
They move through the room, shooting gunmen as they go.
5
00:00:17,310 --> 00:00:19,190
Lindsey and Ethan crouch among desks.
... | 1
00:00:09,210 --> 00:00:12,370
The pair break cover and move ahead in deadly Synchronisation.
2
00:00:28,260 --> 00:00:29,680
They renew their onslaught.
3
00:00:30,350 --> 00:00:35,100
Zhen, having survived the grenade blast, returns to retrieve the now badly damaged computers.
4
00:00:39,820 --> 00:00:42,570
She ... | 1
00:00:07,540 --> 00:00:09,830
- Lindsey! Moving!
- Moving!
2
00:00:22,100 --> 00:00:23,180
Mag!
3
00:00:24,640 --> 00:00:26,140
Ready to move.
4
00:00:50,710 --> 00:00:52,000
We evac from here.
5
00:00:52,250 --> 00:00:53,590
Get down!
6
00:00:59,970 --> 00:01:02,470
I'm out. How many rounds you got?
7
00:01:04... | 1
00:00:07,590 --> 00:00:09,930
- Lindsey! Moving!
- LINDSEY: Moving!
2
00:00:22,110 --> 00:00:23,270
Mag!
3
00:00:24,690 --> 00:00:26,230
Ready to move.
4
00:00:50,760 --> 00:00:52,140
We evac from here.
5
00:00:52,300 --> 00:00:53,640
Get down!
6
00:00:59,980 --> 00:01:02,560
I'm out. How many rounds you got?
7... | {"screenplay_scene_66": "<scene>\n <stage_direction>INT. FACTORY CUBICLES - NIGHT</stage_direction>\n <scene_description>Ethan ushers Lindsey through the light-sparking factory as fast as possible --</scene_description>\n <character>ETHAN</character>\n <dialogue>Hold onto me -- keep moving--</dialogue>\n ... | 7564.06 | 1143.71 | 133.10 |
mission_impossible_3 | tt0317919 | uLotfUaiqylY | 1
00:00:25,950 --> 00:00:27,670
Benji points at his computer screen.
| 1
00:00:00,060 --> 00:00:01,480
Benji, what have you got?
2
00:00:01,600 --> 00:00:03,810
Well, these hard drive platters
are just fried.
3
00:00:03,940 --> 00:00:05,700
- Yeah.
- You know, they made a mess of them.
4
00:00:05,820 --> 00:00:07,290
It's just like...
There's holes in them and stuff.
5
00:00:07,320 --... | 1
00:00:00,150 --> 00:00:01,610
Benji, what have you got?
2
00:00:01,690 --> 00:00:03,950
Well, these hard drive platters
are just fried.
3
00:00:04,030 --> 00:00:05,820
- Yeah.
- You know, they made a mess of them.
4
00:00:05,910 --> 00:00:07,380
It's just like...
There's holes in them and stuff.
5
00:00:07,410 --... | {"screenplay_scene_100": "<scene>\n <stage_direction>INT. TECH SERVICES LAB - DAY</stage_direction>\n <scene_description>BENJI, our IMF tech, talks to Ethan and Luther. Benji reviews PHOTOS of the destroyed drives:</scene_description>\n <character>BENJI</character>\n <dialogue>Despite the truly -- and look ... | 7564.06 | 1997.66 | 128.52 | |
mission_impossible_3 | tt0317919 | mVn3XLT_eNo4 | 1
00:00:00,630 --> 00:00:01,950
Ethan walks up the street.
2
00:00:06,230 --> 00:00:07,310
He pulls out a gun
3
00:00:07,750 --> 00:00:09,630
standing outside the Vatican City wall.
4
00:00:09,670 --> 00:00:11,470
Ethan fires a magnetic device.
5
00:00:11,670 --> 00:00:14,110
It sticks to a security camera atop the... | 1
00:00:00,930 --> 00:00:03,900
Ethan marches away from the scene of the staged breakdown.
2
00:00:04,400 --> 00:00:06,980
He walks parallel to the high Vatican wall.
3
00:00:08,150 --> 00:00:09,360
He pulls out a gun.
4
00:00:09,900 --> 00:00:10,780
He aims upwards
5
00:00:10,780 --> 00:00:15,160
and shoots what a... | 1
00:00:36,990 --> 00:00:38,280
"Humpty Dumpty sat on a wall."
| 1
00:00:19,520 --> 00:00:21,270
(SPEAKING ITALIAN)
2
00:00:37,000 --> 00:00:38,330
"Humpty Dumpty sat on a wall."
3
00:00:39,080 --> 00:00:40,630
(PEOPLE CHATTERING)
4
00:00:41,330 --> 00:00:44,590
(SPEAKING ITALIAN)
5
00:00:56,220 --> 00:00:57,220
(CLICKING)
6
00:01:10,070 --> 00:01:11,860
(SPEAKING ITALIAN)
7
0... | {"screenplay_scene_108": "<scene>\n <stage_direction>EXT. THE VATICAN - VATICAN CITY</stage_direction>\n <scene_description>Ethan removes a plug from the end of the gun and inserts a next-gen silenced GRAPPLING hook into the gun and FIRES -- the thing shoots an EXPANDING BOLT AND LINE INTO TOP OF THE WALL -- ETHA... | 7564.06 | 2470.50 | 102.35 |
mission_impossible_3 | tt0317919 | Xw5QSXBMNr4x | 1
00:00:04,740 --> 00:00:07,260
Bending down, Davian wets napkins over the sink.
2
00:00:10,580 --> 00:00:11,780
He looks up at the mirror,
3
00:00:11,780 --> 00:00:13,580
finding a replica of himself.
4
00:00:13,940 --> 00:00:15,300
Ethan hits Davian in the face
5
00:00:15,300 --> 00:00:16,140
and he drops.
6
00:... | 1
00:00:00,240 --> 00:00:01,620
He removes his jacket,
2
00:00:02,540 --> 00:00:03,370
turning on the tap,
3
00:00:03,370 --> 00:00:06,920
he bends to soak a pad with which to scrub his wine stained shirt.
4
00:00:07,240 --> 00:00:12,790
As he straightens up, he sees reflected in the mirror Ethan indistinguishable f... | 1
00:00:19,270 --> 00:00:21,820
Quiet. Read this.
2
00:00:21,980 --> 00:00:23,240
Slowly.
3
00:00:25,200 --> 00:00:26,450
Read it.
4
00:00:28,280 --> 00:00:31,620
"The pleasure of Buzby's company
5
00:00:32,120 --> 00:00:34,000
"is what I most enjoy.
6
00:00:35,210 --> 00:00:37,920
"He put a tack on Miss Yancy's c... | 1
00:00:16,650 --> 00:00:18,110
(DAVIAN GRUNTING)
2
00:00:19,240 --> 00:00:21,830
Quiet. Read this.
3
00:00:21,950 --> 00:00:23,240
Slowly.
4
00:00:25,160 --> 00:00:26,460
Read it.
5
00:00:28,250 --> 00:00:31,630
"The pleasure of Buzby's company
6
00:00:32,090 --> 00:00:34,000
"is what I most enjoy.
7
00:00:35,17... | {"screenplay_scene_151": "<scene>\n <stage_direction>A176 INT. BETWEEN VATICAN WALLS - DAY A176</stage_direction>\n <scene_description>Ethan/Davian climbs up the space at impressive speed -- toward Declan, who looks down on him from forty feet up:</scene_description>\n <character>DECLAN</character>\n <dialo... | 7564.06 | 3148.70 | 132.68 |
mission_impossible_3 | tt0317919 | q_y6Ceu7wZqG | 1
00:00:03,870 --> 00:00:05,510
Ethan stares at him intently.
2
00:00:13,670 --> 00:00:14,790
The agent glares.
3
00:00:19,270 --> 00:00:20,750
He kicks the case across the floor,
4
00:00:20,790 --> 00:00:22,910
then goes behind Davian and grabs the seat.
5
00:00:23,390 --> 00:00:25,590
Ethan drags the seat toward ... | 1
00:00:21,080 --> 00:00:23,380
Ethan pushed to the limit, now pushes back.
2
00:00:24,290 --> 00:00:28,080
He hauls Davian in the metal seat, to which he is tied to the rear of the hold.
3
00:00:28,580 --> 00:00:30,660
Davian glances nervously around.
4
00:00:32,960 --> 00:00:35,920
Ethan kicks the mechanism which ... | 1
00:00:00,310 --> 00:00:04,730
I mean, you saw what I did to your
little blonde friend at the factory, right?
2
00:00:07,820 --> 00:00:10,240
Well, that was nothing. That was
3
00:00:12,360 --> 00:00:13,490
fun.
4
00:00:17,540 --> 00:00:19,000
That was fun.
5
00:00:50,030 --> 00:00:52,110
What is the Rabbit's Foot... | 1
00:00:00,280 --> 00:00:04,740
I mean, you saw what I did to your little
blonde friend at the factory, right?
2
00:00:07,780 --> 00:00:10,250
Well, that was nothing. That was
3
00:00:12,330 --> 00:00:13,500
fun.
4
00:00:17,500 --> 00:00:19,000
That was fun.
5
00:00:34,730 --> 00:00:36,190
(ALARM BEEPING)
6
00:00:... | {"screenplay_scene_175": "<scene>\n <stage_direction>INT. C-5B - CARGO HOLD - NIGHT</stage_direction>\n <scene_description>CLOSE ON OWEN DAVIAN, sitting, strapped to a chair, just as he starts to regain consciousness. Then REVERSE: Ethan sits across from him, staring steely-eyed. Takes a beat for Davian to focus.... | 7564.06 | 3554.72 | 133.19 |
mission_impossible_3 | tt0317919 | jaCvbKSZVfP6 | 1
00:00:00,830 --> 00:00:02,190
turning back toward the bridge.
2
00:00:02,190 --> 00:00:03,350
It fires a missile.
3
00:00:07,110 --> 00:00:09,550
Ethan stares at the incoming missile with wide eyes.
4
00:00:09,670 --> 00:00:11,470
He pulls a case from the compartment.
5
00:00:16,200 --> 00:00:17,880
He slides the... | 1
00:00:01,110 --> 00:00:02,900
and launches a missile towards Ethan.
2
00:00:02,900 --> 00:00:04,220
Luther spots this.
3
00:00:10,900 --> 00:00:13,280
Ethan's eyes widen at the approaching missile.
4
00:00:16,110 --> 00:00:17,860
Ethan slides a case out from the truck
5
00:00:17,860 --> 00:00:19,280
and then runs... | 1
00:00:05,260 --> 00:00:07,470
Ethan! Get out of the truck!
2
00:00:14,940 --> 00:00:16,360
Ethan, move!
| 1
00:00:05,230 --> 00:00:07,480
Ethan! Get out of the truck!
2
00:00:14,900 --> 00:00:16,360
Ethan, move!
3
00:00:45,520 --> 00:00:47,560
(RADIO CHATTERING)
4
00:00:55,190 --> 00:00:56,900
(COMMANDO SPEAKING GERMAN)
5
00:01:43,450 --> 00:01:44,830
(GRUNTING)
6
00:02:00,340 --> 00:02:01,720
(COCKING GUN)
7
00:02:1... | {"screenplay_scene_179": "<scene>\n <stage_direction>EXT. CHESAPEAKE BAY BRIDGE - DAY</stage_direction>\n <scene_description>-- another MISSILE SLAMS INTO THE ROAD AHEAD OF THEM, BLOWING A HOLE IN THE ROAD! The TIRES RIP as the Driver hits the brakes but their vehicle TUMBLES as ANOTHER MISSILE hits at the other ... | 7564.06 | 4000.51 | 131.73 |
mission_impossible_3 | tt0317919 | 8aUlgSM1QKv3 | 1
00:00:00,410 --> 00:00:02,330
A baseball launches from the skyscraper
2
00:00:02,330 --> 00:00:03,570
behind the towers.
3
00:00:03,570 --> 00:00:06,210
It bounces down one of the steep, slanted rooftops.
4
00:00:09,690 --> 00:00:11,090
The guards turn their heads.
5
00:00:11,290 --> 00:00:13,330
More baseballs f... | 1
00:00:00,210 --> 00:00:02,340
Fly a volley of small balls.
2
00:00:04,970 --> 00:00:10,100
They land, bounce and roll down the steep glass pent roof of the target building.
3
00:00:10,560 --> 00:00:12,600
The guards look around, confused.
4
00:00:22,440 --> 00:00:24,900
Zhen loads baseballs into the launcher.
5
0... | 1
00:00:25,520 --> 00:00:28,560
Oh, yeah. They're freaking out.
Hit them again.
2
00:02:03,450 --> 00:02:04,580
Okay.
3
00:02:06,120 --> 00:02:07,120
He made it.
4
00:02:07,330 --> 00:02:08,710
He made it.
| 1
00:00:14,270 --> 00:00:15,980
(GUARD SHOUTING)
2
00:00:17,770 --> 00:00:19,940
(SHOUTING IN MANDARIN)
3
00:00:25,440 --> 00:00:28,490
Oh, yeah. They're freaking out.
Hit them again.
4
00:01:39,230 --> 00:01:40,690
(GRUNTS)
5
00:02:03,370 --> 00:02:04,540
Okay.
6
00:02:06,040 --> 00:02:07,160
LUTHER ON RADIO: He ... | {"screenplay_scene_218": "<scene>\n <stage_direction>A261 EXT. HENGSHAN LU BUILDING ROOF - NIGHT A261</stage_direction>\n <scene_description>ANGLE ON THE GUARDS as suddenly, from nowhere, a BASEBALL FALLS, lands on the angled roof and ROLLS OFF, dropping off the edge. The Guards turn to each other -- YELL somethi... | 7564.06 | 5100.83 | 133.05 |
bourne_ultimatum | tt0440963 | K7THmGfjH_s_ | 1
00:00:02,790 --> 00:00:04,470
He boards an arriving train.
2
00:00:04,630 --> 00:00:06,110
Some policemen board as well,
3
00:00:06,110 --> 00:00:08,870
while others shine flashlights into the train windows.
4
00:00:09,040 --> 00:00:09,760
Inside.
5
00:00:09,800 --> 00:00:14,320
Bourne finds the police blocking h... | 1
00:00:03,880 --> 00:00:05,050
He boards a train.
2
00:00:05,090 --> 00:00:06,890
The cops hurry onto the platform
3
00:00:06,890 --> 00:00:08,260
and board the same train.
4
00:00:12,520 --> 00:00:14,170
Heading through the darkened carriage.
5
00:00:14,170 --> 00:00:15,960
Bourne spots the cops up ahead.
6
00:0... | 1
00:01:29,490 --> 00:01:30,960
Send him in.
2
00:01:43,140 --> 00:01:45,510
Will you
commit to this program?
3
00:01:47,440 --> 00:01:48,710
I can't.
4
00:01:59,320 --> 00:02:01,690
Will you
commit to this program?
5
00:02:10,830 --> 00:02:13,200
Will you commit
to this program?
6
00:02:15,040 --> 00:02:16,270
I ... | 1
00:00:22,500 --> 00:00:23,500
(BOURNE GROANING)
2
00:00:28,970 --> 00:00:30,940
(WOMAN SPEAKING IN RUSSIAN
ON POLICE RADIO)
3
00:00:59,670 --> 00:01:00,800
(GRUNTING)
4
00:01:09,950 --> 00:01:11,810
(BREATHING HEAVILY)
5
00:01:29,500 --> 00:01:30,970
DR. HIRSCH: Send him in.
6
00:01:33,000 --> 00:01:36,230
(SPEA... | null | 6919.07 | 49.57 | 178.82 |
bourne_ultimatum | tt0440963 | it3xfXChBcNz | 1
00:00:04,190 --> 00:00:06,950
Simon drops into a crouch as he stays on the phone.
2
00:00:07,070 --> 00:00:08,390
An agent scans the crowd
3
00:00:08,390 --> 00:00:10,910
and sees only dozens of nondescript heads.
4
00:00:11,550 --> 00:00:11,830
Wait.
5
00:00:11,870 --> 00:00:13,470
Other agents scan the area.
6... | 1
00:00:06,020 --> 00:00:06,940
Ross hunkers down
2
00:00:06,940 --> 00:00:08,190
and fiddles with his shoe.
3
00:00:08,240 --> 00:00:10,200
He scans around amongst the crowd.
4
00:00:16,500 --> 00:00:18,710
The two spies head away from the escalator.
5
00:00:45,880 --> 00:00:47,180
A binman approaches.
6
00:01:00... | 1
00:00:00,960 --> 00:00:04,460
Tie your shoe. Tie your shoe
right now. Tie your shoe.
2
00:00:11,510 --> 00:00:12,600
Wait.
3
00:00:13,680 --> 00:00:14,800
Wait.
4
00:00:19,580 --> 00:00:22,280
I'm gonna walk by you.
I want you to move along
the far wall
5
00:00:22,350 --> 00:00:26,350
to your left in four,
three,... | 1
00:00:00,970 --> 00:00:04,460
Tie your shoe. Tie your shoe
right now. Tie your shoe.
2
00:00:11,510 --> 00:00:12,610
Wait.
3
00:00:13,680 --> 00:00:14,810
Wait.
4
00:00:19,590 --> 00:00:22,280
I'm gonna walk by you.
I want you to move along
the far wall
5
00:00:22,360 --> 00:00:26,350
to your left in four,
three,... | {"screenplay_scene_72": "<scene>\n <stage_direction>EXT. DAY. CONCOURSE</stage_direction>\n <scene_description>BOURNE realizes ROSS has been seen . Sees the AGENTS starting to form the box .</scene_description>\n <character>BOURNE</character>\n <dialogue>Get into cover. Now!</dialogue>\n <scene_descripti... | 6919.07 | 1295.52 | 175.36 |
bourne_ultimatum | tt0440963 | rXyr3xg1UAqi | 1
00:00:02,730 --> 00:00:06,290
He frowns and checks his cell phone, which displays both headshots.
2
00:00:07,490 --> 00:00:10,570
Now, Bourne rides by eight car lengths behind Desh
3
00:00:10,850 --> 00:00:12,970
as the assassin folds his cell phone shut.
4
00:00:13,010 --> 00:00:15,170
He spots Bourne in his side... | 1
00:00:01,660 --> 00:00:03,080
On a street in Tangiers.
2
00:00:03,080 --> 00:00:04,040
He gets a text.
3
00:00:04,080 --> 00:00:05,290
He takes out his mobile
4
00:00:05,290 --> 00:00:06,080
and opens it.
5
00:00:06,130 --> 00:00:07,090
Two photos.
6
00:00:07,090 --> 00:00:08,710
One of Bourne, one of Nicky.
7
... | 1
00:00:16,460 --> 00:00:17,890
Two minutes, sir.
Two minutes.
2
00:00:17,960 --> 00:00:20,690
Tell the bank
to release the funds.
3
00:00:36,010 --> 00:00:37,170
Hello?
4
00:00:45,350 --> 00:00:47,010
He's on the move.
5
00:01:25,060 --> 00:01:26,150
On it, sir.
6
00:01:26,220 --> 00:01:27,380
Two hundred meters.... | 1
00:00:01,450 --> 00:00:02,450
(PHONE RINGING)
2
00:00:16,460 --> 00:00:17,900
Two minutes, sir.
Two minutes.
3
00:00:17,960 --> 00:00:20,690
Tell the bank
to release the funds.
4
00:00:25,300 --> 00:00:27,670
(PHONE RINGING)
5
00:00:36,010 --> 00:00:37,170
Hello?
6
00:00:37,320 --> 00:00:39,080
(WOMAN SPEAKING F... | null | 6919.07 | 3354.37 | 160.29 |
bourne_ultimatum | tt0440963 | kbUdGwDi8LjS | 1
00:00:06,310 --> 00:00:07,870
Nicky stays on the second floor
2
00:00:07,870 --> 00:00:11,110
and chooses a shadowy passage leading away from the stairwell.
3
00:00:11,230 --> 00:00:12,750
She hastens past one window
4
00:00:12,750 --> 00:00:14,030
and halts by another.
5
00:00:14,310 --> 00:00:17,430
Nicky glanc... | 1
00:00:00,200 --> 00:00:00,910
down below.
2
00:00:13,910 --> 00:00:15,670
She scans around on the landing,
3
00:00:15,670 --> 00:00:17,170
then nips past a window.
4
00:00:17,210 --> 00:00:20,510
A shadow appears on the wall inside a building across the street.
5
00:00:23,890 --> 00:00:25,270
Bourne sprints throu... | 1
00:01:19,290 --> 00:01:20,620
(GRUNTING)
2
00:01:20,690 --> 00:01:22,160
(DOG BARKING)
3
00:01:33,740 --> 00:01:35,070
(GRUNTING)
4
00:02:04,700 --> 00:02:05,930
(SCREAMS)
5
00:02:51,950 --> 00:02:53,210
(GASPING)
| {"screenplay_scene_205": "<scene>\n <stage_direction>INT./EXT. -- NARROW STAIRWELL</stage_direction>\n <scene_description>BOURNE and NICKY creeping up the steps . Then - suddenly NICKY spinning round as two silenced bullets speed past her - And DESH bursting out of a landing toilet . On to Bourne . Full on Treads... | 6919.07 | 3956.26 | 179.14 | |
bourne_ultimatum | tt0440963 | koHfxqEfRENH | 1
00:00:01,310 --> 00:00:02,790
and reaches inside.
2
00:00:04,430 --> 00:00:06,350
Meanwhile, Pam leaves Cronin's office
3
00:00:06,350 --> 00:00:08,070
and walks back into her own.
4
00:00:11,910 --> 00:00:13,390
Bourne lifts a scope to one eye
5
00:00:13,390 --> 00:00:14,470
and focuses it.
6
00:00:16,230 --> 0... | 1
00:00:09,560 --> 00:00:10,900
Bourne reaches into his bag
2
00:00:10,900 --> 00:00:12,610
as Landy goes back into her office.
3
00:00:12,610 --> 00:00:13,610
Across the street.
4
00:00:13,650 --> 00:00:15,070
He pulls out a monoscope
5
00:00:15,160 --> 00:00:16,460
and puts it up to his eye.
6
00:00:17,040 --> 0... | 1
00:00:52,710 --> 00:00:54,200
Pamela Landy.
2
00:00:54,280 --> 00:00:56,210
I hear you're still
looking for me.
3
00:00:59,680 --> 00:01:00,840
Bourne?
4
00:01:00,920 --> 00:01:02,580
What do you want?
5
00:01:06,120 --> 00:01:07,140
Yeah?
6
00:01:07,220 --> 00:01:09,580
WILLS O VER INTERCOM:
Better get in here.... | 1
00:00:45,890 --> 00:00:47,760
(CELL PHONE VIBRATING)
2
00:00:52,700 --> 00:00:54,190
Pamela Landy.
3
00:00:54,270 --> 00:00:56,200
I hear you're still
looking for me.
4
00:00:59,670 --> 00:01:00,830
Bourne?
5
00:01:00,910 --> 00:01:02,570
What do you want?
6
00:01:02,640 --> 00:01:04,370
(TELEPHONE BEEPING)
7
0... | {"screenplay_scene_228": "<scene>\n <stage_direction>INT. OFFICE BUILDING ACROSS FROM CRI -- DAY</stage_direction>\n <scene_description>Bourne uses his monocular to zoom in on a file Vosen is looking at - he sees the word `` Blackbriar . '' Vosen puts the file back in the safe .</scene_description>\n </scene>", ... | 6919.07 | 4680.54 | 125.97 |
bourne_ultimatum | tt0440963 | UCiMbRfx6xeb | 1
00:00:02,560 --> 00:00:03,840
He looks at his cell.
2
00:00:10,170 --> 00:00:11,690
A hand stops a tape recorder.
3
00:00:21,610 --> 00:00:24,010
Bourne lifts a piece of tape off a computer mouse.
4
00:00:44,370 --> 00:00:45,170
He hangs up.
5
00:00:45,690 --> 00:00:47,770
In the SUV, Vosen sneers.
6
00:00:47,93... | 1
00:00:45,990 --> 00:00:47,790
He takes a fingerprint off the handset,
2
00:00:47,790 --> 00:00:50,080
puts a tape recorder to the safe mic,
3
00:00:50,080 --> 00:00:51,130
and opens it up.
4
00:00:54,380 --> 00:00:55,760
He takes some files out.
5
00:01:05,610 --> 00:01:08,780
Landy spots the agents bolting acros... | 1
00:00:09,280 --> 00:00:10,680
Noah Vosen.
2
00:00:11,750 --> 00:00:13,240
This is Jason Bourne.
3
00:00:14,560 --> 00:00:17,250
I was wondering
when you were going to
make this call.
4
00:00:17,330 --> 00:00:18,880
How did you
get this number?
5
00:00:18,960 --> 00:00:22,860
You didn't actually think
I was coming... | 1
00:00:00,930 --> 00:00:02,700
(CELL PHONE BEEPING)
2
00:00:09,280 --> 00:00:10,670
Noah Vosen.
3
00:00:11,740 --> 00:00:13,230
This is Jason Bourne.
4
00:00:14,550 --> 00:00:17,240
I was wondering
when you were going to
make this call.
5
00:00:17,320 --> 00:00:18,880
How did you
get this number?
6
00:00:18,950 -... | {"screenplay_scene_270": "<scene>\n <stage_direction>INT. VOSEN'S SUV -- DAY</stage_direction>\n <scene_description>Vosen 's cell phone rings .</scene_description>\n <character>VOSEN</character>\n <dialogue>Noah Vosen.</dialogue>\n <character>BOURNE</character>\n <parenthetical>( V.O . )</parenthetica... | 6919.07 | 4991.20 | 103.70 |
bourne_ultimatum | tt0440963 | muygZ_BZ3jV6 | 1
00:00:00,820 --> 00:00:03,700
as Bourne weaves the police cruiser through city streets.
2
00:00:03,740 --> 00:00:06,660
Lights flashing, two nondescript sedans follow.
3
00:00:06,860 --> 00:00:09,750
Bourne checks over his shoulder as one pulls up beside him.
4
00:00:09,950 --> 00:00:13,230
Looking ahead, he manag... | 1
00:00:01,280 --> 00:00:05,040
Paz leads the pack of CIA cars chasing Bourne through the streets.
2
00:00:05,330 --> 00:00:09,010
Bourne swerves to avoid a car that's been parked in the middle of the road.
3
00:00:14,850 --> 00:00:16,350
Eclipsed the car which spins.
4
00:00:16,350 --> 00:00:17,980
Taking out one o... | 1
00:01:57,450 --> 00:01:59,150
Hurry up!
Somebody call 911!
2
00:01:59,220 --> 00:02:00,240
Help him!
| 1
00:00:03,030 --> 00:00:04,650
(SIREN WAILING)
2
00:01:57,440 --> 00:01:59,140
Hurry up!
Somebody call 911!
3
00:01:59,210 --> 00:02:00,230
WOMAN: Help him!
4
00:02:05,720 --> 00:02:07,310
(SIRENS WAILING)
| {"screenplay_scene_306": "<scene>\n <stage_direction>EXT. CROSSTOWN STREET -- DAY</stage_direction>\n <scene_description>Bourne struggles to keep his over - matched vehicle ahead of the more powerful CRI Sedan which tries to spin Bourne out by hitting his bumper . Bourne tacks right quickly and barely avoids a st... | 6919.07 | 5339.46 | 144.94 |
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