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 |
|---|---|---|---|---|---|---|---|---|---|---|
bourne_ultimatum | tt0440963 | KYPsFYEB1onu | 1
00:00:07,410 --> 00:00:10,250
He aims the gun between Hershe's eyes for them.
2
00:00:39,780 --> 00:00:40,980
In a blurry flashback.
3
00:00:41,020 --> 00:00:44,180
Bourne sits with his head bowed and his lips tightly pursed.
4
00:00:48,980 --> 00:00:50,340
Young Webb breathes heavily
5
00:00:50,340 --> 00:00:53,... | 1
00:00:41,170 --> 00:00:43,590
His gun aimed point blank between Hershey's eyes.
2
00:00:43,630 --> 00:00:45,720
Bourne recalls sitting with his head bowed.
3
00:01:25,790 --> 00:01:26,790
Still in flashback.
4
00:01:26,840 --> 00:01:28,760
Hirsch stalks across the brightly lit room
5
00:01:28,760 --> 00:01:32,260... | 1
00:00:00,480 --> 00:00:03,140
You said I'd be
saving American lives.
2
00:00:03,650 --> 00:00:05,350
You were.
3
00:00:05,420 --> 00:00:07,580
I was killing for you.
4
00:00:09,790 --> 00:00:11,220
For them.
5
00:00:12,090 --> 00:00:16,760
You knew exactly
what it meant for you
if you chose to stay.
6
00:00:17,0... | 1
00:00:00,470 --> 00:00:03,140
You said I'd be
saving American lives.
2
00:00:03,640 --> 00:00:05,340
You were.
3
00:00:05,410 --> 00:00:07,570
I was killing for you.
4
00:00:09,780 --> 00:00:11,220
For them.
5
00:00:12,090 --> 00:00:16,750
You knew exactly
what it meant for you
if you chose to stay.
6
00:00:17,0... | {"screenplay_scene_340": "<scene>\n <stage_direction>INT. ROOM WHERE BOURNE FIRST MET HIRSCH</stage_direction>\n <scene_description>Bourne and Hirsch enter .</scene_description>\n <character>HIRSCH</character>\n <dialogue>You volunteered right here. You did n't even blink, Jason. You just handed me these.</... | 6919.07 | 5909.34 | 180.03 |
bourne_ultimatum | tt0440963 | _i_5fW4kGjWT | 1
00:00:00,180 --> 00:00:01,300
Gun aimed
2
00:00:01,300 --> 00:00:02,180
without flinching.
3
00:00:02,180 --> 00:00:04,260
The ex operative stands his ground.
4
00:00:08,060 --> 00:00:11,420
Sweat glistens on Borne's forehead as he stares at the man.
5
00:00:11,460 --> 00:00:13,180
The sniper blinks rapidly.
6
0... | 1
00:00:00,970 --> 00:00:03,390
Bourne stares down the barrel, open mouthed.
2
00:00:13,610 --> 00:00:14,530
Paz blinks.
3
00:00:14,530 --> 00:00:15,990
Bourne looks lovely at him.
4
00:00:25,130 --> 00:00:28,060
Paz stares, his gun still trained on Bourne.
5
00:00:44,720 --> 00:00:46,720
Two agents burst out of th... | 1
00:00:06,690 --> 00:00:08,920
Why didn't
you take the shot?
2
00:00:17,900 --> 00:00:21,030
Do you even know
why you're supposed
to kill me?
3
00:00:30,450 --> 00:00:31,850
Look at us.
4
00:00:34,850 --> 00:00:37,220
Look at what
they make you give.
5
00:01:28,370 --> 00:01:29,900
Good morning, senators.
6
00:01... | 1
00:00:06,680 --> 00:00:08,910
Why didn't
you take the shot?
2
00:00:17,890 --> 00:00:21,020
Do you even know
why you're supposed
to kill me?
3
00:00:30,440 --> 00:00:31,840
Look at us.
4
00:00:34,840 --> 00:00:37,210
Look at what
they make you give.
5
00:00:40,350 --> 00:00:41,840
(DOOR OPENING)
6
00:01:28,360 -... | null | 6919.07 | 6181.28 | 157.39 |
pitch_perfect | tt1981677 | bmi_7zyIe9f_ | 1
00:00:11,370 --> 00:00:13,250
Her large areolas show through her shirt.
2
00:00:43,450 --> 00:00:44,930
Pass by them without a glance.
3
00:00:53,050 --> 00:00:54,410
A heavyset girl stops.
4
00:01:00,690 --> 00:01:01,970
She gives a winning smile.
5
00:01:08,050 --> 00:01:11,050
Sustaining the note, the student ... | 1
00:00:42,950 --> 00:00:44,270
Girls just walk past.
2
00:01:00,790 --> 00:01:01,950
Chloe looks at Aubrey.
3
00:01:08,790 --> 00:01:12,230
The girl who is quite Fat does a few moves.
4
00:01:41,710 --> 00:01:43,790
Aubrey and Chloe share a thoughtful look.
5
00:01:48,510 --> 00:01:49,470
Fat Amy
6
00:01:49,510 -... | 1
00:00:00,800 --> 00:00:03,430
Hey, Barb. You gonna audition
this year? We have openings.
2
00:00:03,810 --> 00:00:05,620
Now that you've
puked your way to the bottom,
3
00:00:05,650 --> 00:00:06,890
you might actually consider me?
4
00:00:07,230 --> 00:00:09,390
I auditioned for you three
times and never got in
5... | 1
00:00:00,800 --> 00:00:03,430
Hey, Barb. You gonna audition
this year? We have openings.
2
00:00:03,800 --> 00:00:05,280
Now that you've puked your
way to the bottom,
3
00:00:05,310 --> 00:00:06,680
you might actually consider me?
4
00:00:07,220 --> 00:00:09,390
I auditioned for you three
times and never got in
5... | {"screenplay_scene_19": "<scene>\n <stage_direction>EXT. ACTIVITIES FAIR/BELLAS BOOTH - SAME TIME</stage_direction>\n <scene_description>Aubrey and Chloe stand in front of their tiny \"Bellas\" booth handing out flyers. Aubrey scoffs at the Trebles. CONTINUED:</scene_description>\n <character>AUBREY</character... | 6727.23 | 626.27 | 126.06 |
pitch_perfect | tt1981677 | _CdEUsYNgMw3 | 1
00:00:04,270 --> 00:00:07,590
A guy and a girl's feet shuffle beneath a shower curtain as Becca passes
2
00:00:07,590 --> 00:00:09,510
and hangs her bathing supplies on a bar.
3
00:00:17,870 --> 00:00:18,750
She removes her robe
4
00:00:18,750 --> 00:00:20,230
and steps into the shower stall.
5
00:00:31,070 --> 0... | 1
00:00:05,150 --> 00:00:08,790
Two people are standing in one cubicle with the curtain drawn.
2
00:00:08,790 --> 00:00:10,150
Just their feet are visible.
3
00:00:10,670 --> 00:00:12,870
But the sound of Becca walking in, singing.
4
00:00:12,870 --> 00:00:14,470
One of them turns sharply.
5
00:00:15,150 --> 00:00:... | 1
00:00:35,300 --> 00:00:37,500
You can sing! Dude!
2
00:00:38,130 --> 00:00:39,970
How high does your belt go?
My what?
3
00:00:40,340 --> 00:00:42,470
My God! You have to
audition for the Bellas.
4
00:00:42,550 --> 00:00:45,450
I can't concentrate on anything you're
saying until you cover your junk.
5
00:00:45,47... | 1
00:00:35,290 --> 00:00:37,500
You can sing! Dude!
2
00:00:38,130 --> 00:00:39,960
How high does your belt go? My what?
3
00:00:40,340 --> 00:00:42,470
Oh, my God! You have to audition
for the Bellas.
4
00:00:42,550 --> 00:00:45,320
I can't concentrate on anything you're
saying until you cover your junk.
5
00:00:4... | {"screenplay_scene_25": "<scene>\n <stage_direction>INT. BATHROOM/SHOWER AREA - CONTINUOUS</stage_direction>\n <scene_description>In one stall, we see two pairs of feet. There's whispering.</scene_description>\n <character>MALE VOICE</character>\n <dialogue>You said we'd try it.</dialogue>\n <character>F... | 6727.23 | 1187.58 | 151.05 |
pitch_perfect | tt1981677 | OBnx_87GBJlW | 1
00:00:06,760 --> 00:00:08,280
Becca kneels and leans forward.
2
00:00:10,320 --> 00:00:11,520
She grabs a cup of markers
3
00:00:11,520 --> 00:00:13,240
and empties it onto Chloe's table.
4
00:00:13,440 --> 00:00:16,280
Sitting cross-legged, she sets the cup upside down before her.
5
00:00:16,560 --> 00:00:18,240... | 1
00:00:06,870 --> 00:00:07,950
She kneels down.
2
00:00:10,590 --> 00:00:12,030
She reaches for a plastic pot
3
00:00:12,030 --> 00:00:14,030
and tips pens out of it onto a desk.
4
00:00:14,750 --> 00:00:18,870
She sits cross-legged on stage with the pot upside down in front of her.
5
00:00:19,550 --> 00:00:21,150... | 1
00:00:00,020 --> 00:00:01,020
Um...
2
00:00:01,270 --> 00:00:03,310
I didn't know we had
to prepare that song.
3
00:00:03,400 --> 00:00:05,730
That's okay. Sing
anything you want.
4
00:00:08,570 --> 00:00:10,030
May I?
5
00:01:08,090 --> 00:01:09,090
Wow.
6
00:01:09,170 --> 00:01:12,670
The sopranos. Jessica,
Ma... | 1
00:00:00,020 --> 00:00:01,010
BECA: Um...
2
00:00:01,270 --> 00:00:03,310
I didn't know we had to prepare that song.
3
00:00:03,390 --> 00:00:05,730
Oh, that's okay. Sing anything you want.
4
00:00:06,190 --> 00:00:07,190
Uh...
5
00:00:08,570 --> 00:00:10,020
May I? Oh.
6
00:00:23,160 --> 00:00:24,870
(CLAPPING ... | {"screenplay_scene_28": "<scene>\n <stage_direction>INT. THE BELLAS REHEARSAL ROOM - UNVEILING - LATER</stage_direction>\n <scene_description>A series of red hoods are pulled off ten girls. Aubrey reads off the name of each girl as her hood comes off.</scene_description>\n <character>AUBREY (O.C.)</character>\... | 6727.23 | 1598.53 | 147.96 |
pitch_perfect | tt1981677 | K5d5rEs5e091 | 1
00:00:14,250 --> 00:00:15,250
Aubrey takes her hands.
| 1
00:00:02,310 --> 00:00:04,290
so you will never wanna
feel this way again.
2
00:00:04,370 --> 00:00:07,960
Chloe, your voice didn't
sound Aguilerian at all.
3
00:00:08,250 --> 00:00:11,000
Chloe, for serious,
what is wrong with you?
4
00:00:11,090 --> 00:00:12,460
I have nodes.
5
00:00:12,550 --> 00:00:16,010
Wha... | 1
00:00:02,160 --> 00:00:04,290
so you will never wanna feel this way again.
2
00:00:04,370 --> 00:00:07,960
Chloe, your voice didn't
sound Aguilerian at all.
3
00:00:08,250 --> 00:00:11,000
Chloe, for serious, what is wrong with you?
4
00:00:11,080 --> 00:00:12,460
I have nodes.
5
00:00:12,540 --> 00:00:16,000
Wha... | {"screenplay_scene_38": "<scene>\n <stage_direction>C48 EXT. SIGMA BETA THETA HOUSE - STREET - MOMENTS LATER C48</stage_direction>\n <scene_description>An angry Aubrey leads the Bellas down the sidewalk. Chloe's mind is elsewhere.</scene_description>\n <character>AUBREY</character>\n <dialogue>I hope you al... | 6727.23 | 2389.76 | 61.53 | |
pitch_perfect | tt1981677 | j_2mwGLkFAWH | 1
00:00:09,770 --> 00:00:10,930
Aubrey wrings her hands.
2
00:00:10,930 --> 00:00:12,210
Cynthia Rose steps out.
3
00:00:17,330 --> 00:00:19,890
Cynthia Rose grinds her hips against Stacy's backside.
4
00:00:34,850 --> 00:00:35,970
The Treblemakers huddle
5
00:00:35,970 --> 00:00:37,410
and Donald steps to Stacie.
... | 1
00:00:11,610 --> 00:00:13,010
Cynthia, Rose and Stacie.
2
00:00:13,010 --> 00:00:15,170
Step up to Donald and the Treblemakers.
3
00:00:48,210 --> 00:00:49,050
Aubrey walks over
4
00:00:49,050 --> 00:00:50,330
and takes Stacie by the arm,
5
00:00:50,370 --> 00:00:51,250
trying to lead her away,
6
00:00:51,250 --... | 1
00:00:00,200 --> 00:00:02,290
So, we just pick any song that works?
2
00:00:02,370 --> 00:00:06,170
Yeah, any song.
And you just go with it? Nice.
3
00:00:06,330 --> 00:00:07,750
And our next category is...
4
00:00:08,000 --> 00:00:10,050
Songs about sex. Sex?
5
00:00:12,130 --> 00:00:13,590
Na na na Come on.
6
... | 1
00:00:00,200 --> 00:00:02,280
So, we just pick any song that works?
2
00:00:02,370 --> 00:00:06,160
Yeah, any song. And you
just go with it? Nice.
3
00:00:06,330 --> 00:00:07,750
JUSTIN: And our next category is...
4
00:00:08,000 --> 00:00:10,040
Songs about sex. Sex?
5
00:00:12,130 --> 00:00:13,590
Na na na Come... | {"screenplay_scene_40": "<scene>\n <stage_direction>EXT. BARDEN ATHLETIC FACILITY - EMPTY POOL</stage_direction>\n <scene_description>We PAN OVER an empty swimming pool filled with Barden's a cappella groups, partying. The Trebles hold court. A crowd of fans have formed around the pool. STUDENTS scale ladders to ... | 6727.23 | 2755.04 | 183.95 |
pitch_perfect | tt1981677 | uijkebjvo9OR | 1
00:00:43,210 --> 00:00:43,610
Aubrey.
2
00:00:43,610 --> 00:00:45,370
Projectile vomit all over the floor.
3
00:00:48,690 --> 00:00:52,330
As Chloe waves her arms encouragingly, a few girls take cover behind the seats.
4
00:00:52,490 --> 00:00:54,570
Lilly covers her nose with one of her braids.
5
00:00:58,050 --... | 1
00:00:36,340 --> 00:00:38,340
The girls will watch as Aubrey belches,
2
00:00:38,340 --> 00:00:40,180
then projectile vomits everywhere.
3
00:00:58,260 --> 00:00:59,820
Fat Amy grabs Aubrey.
4
00:01:03,180 --> 00:01:03,340
Me!
5
00:01:03,380 --> 00:01:04,020
Fat Amy.
6
00:01:04,020 --> 00:01:07,100
Chloe and Lil... | 1
00:00:03,270 --> 00:00:06,060
What's that smell?
Stinks everywhere.
2
00:00:06,140 --> 00:00:08,690
I don't wanna be like the old Bellas.
3
00:00:08,770 --> 00:00:11,110
Yeah, I wanna be how we are now.
4
00:00:12,780 --> 00:00:13,860
Me, too.
5
00:00:13,940 --> 00:00:15,360
We should have listened to Beca.
6
00... | 1
00:00:03,260 --> 00:00:06,060
What's that smell? Stinks everywhere.
2
00:00:06,140 --> 00:00:08,680
I don't wanna be like the old Bellas.
3
00:00:08,770 --> 00:00:11,100
Yeah, I wanna be how we are now.
4
00:00:12,770 --> 00:00:13,860
(QUIETLY) Me, too.
5
00:00:13,940 --> 00:00:15,360
We should have listened to B... | {"screenplay_scene_78": "<scene>\n <stage_direction>INT. BELLAS REHEARSAL ROOM - LATER</stage_direction>\n <scene_description>The ladies are still in the middle of a heated argument.</scene_description>\n <character>FAT AMY</character>\n <dialogue>I joined this group so I could hang with a bunch of broads I... | 6727.23 | 5091.65 | 178.03 |
pitch_perfect | tt1981677 | M85vZVAmJN8v | 1
00:00:56,100 --> 00:00:57,660
Cynthia Rose rolls her eyes at Fat.
2
00:00:57,660 --> 00:00:58,060
Amy
3
00:00:58,300 --> 00:00:59,980
Denise mouths to Cynthia Rose.
4
00:00:59,980 --> 00:01:01,060
I still love you.
5
00:01:01,220 --> 00:01:02,100
Fat Amy notices,
6
00:01:02,100 --> 00:01:03,940
then looks away w... | 1
00:00:56,080 --> 00:00:58,520
Cynthia Rose looks longingly at Denise.
2
00:01:00,920 --> 00:01:01,920
Denise mouths.
3
00:01:01,920 --> 00:01:05,200
I still love you to Cynthia Rose Fat Amy notices.
4
00:01:07,200 --> 00:01:09,440
Spew covered Lilly puts her hand up.
5
00:01:12,750 --> 00:01:13,830
Everyone stare... | 1
00:00:02,160 --> 00:00:04,440
I guess we don't really know
that much about each other.
2
00:00:04,830 --> 00:00:07,120
About most of you, really.
3
00:00:07,660 --> 00:00:11,420
Well, I'll confess something
that none of you know about me.
4
00:00:13,040 --> 00:00:14,460
I have a lot of sex.
5
00:00:14,550 --> 00:... | 1
00:00:02,160 --> 00:00:04,360
I guess we don't really know
that much about each other.
2
00:00:04,820 --> 00:00:07,120
About most of you, really.
3
00:00:07,660 --> 00:00:11,410
Well, I'll confess something that
none of you know about me.
4
00:00:11,500 --> 00:00:12,960
(INHALES AND EXHALES DEEPLY)
5
00:00:13,040... | {"screenplay_scene_78": "<scene>\n <stage_direction>INT. BELLAS REHEARSAL ROOM - LATER</stage_direction>\n <scene_description>The ladies are still in the middle of a heated argument.</scene_description>\n <character>FAT AMY</character>\n <dialogue>I joined this group so I could hang with a bunch of broads I... | 6727.23 | 5305.76 | 169.55 |
pitch_perfect | tt1981677 | HM9SvtfSBK7j | 1
00:00:17,690 --> 00:00:20,610
The Bellas stand in the drained pool, glancing skyward.
2
00:00:20,650 --> 00:00:22,010
Becca shakes out her hand.
3
00:00:26,730 --> 00:00:27,930
Aubrey joins Beca
4
00:00:27,970 --> 00:00:29,130
Cynthia Rose nods.
5
00:00:33,930 --> 00:00:35,290
Stacie and Lilly join in.
6
00:00:4... | 1
00:00:17,900 --> 00:00:20,700
The girls have moved outside to the empty swimming pool.
2
00:01:57,740 --> 00:01:59,580
They all look pleased with themselves.
3
00:02:04,100 --> 00:02:05,060
Huddled in a circle.
4
00:02:05,060 --> 00:02:06,740
They all touch their hands together.
| 1
00:00:00,860 --> 00:00:03,660
All right. Let's
remix this business.
2
00:00:04,660 --> 00:00:09,240
Aubrey, would you
pick a song for us, please?
3
00:00:09,330 --> 00:00:11,830
Bruno Mars, Just The Way You Are.
4
00:00:13,630 --> 00:00:16,670
Okay. Chloe, are you
okay to take the lead?
5
00:00:16,750 --> 00:00:1... | 1
00:00:00,860 --> 00:00:03,650
All right. Let's remix this business.
2
00:00:04,650 --> 00:00:09,240
Aubrey, would you pick
a song for us, please?
3
00:00:09,330 --> 00:00:11,830
Bruno Mars, Just The Way You Are.
4
00:00:13,620 --> 00:00:16,670
Okay. Chloe, are you okay to take the lead?
5
00:00:16,750 --> 00:00:1... | {"screenplay_scene_79": "<scene>\n <stage_direction>INT. EMPTY SWIMMING POOL - LATER</stage_direction>\n <scene_description>The ladies stand inside the empty swimming pool. Beca leads them.</scene_description>\n <character>BECA</character>\n <dialogue>We're going to remix this shit. Aubrey, pick a song.</di... | 6727.23 | 5475.81 | 146.87 |
pitch_perfect | tt1981677 | cNbBJF7lV9gR | 1
00:00:04,720 --> 00:00:06,280
The guy split into three groups.
2
00:00:06,280 --> 00:00:08,800
One pretends to play keyboards on two others backs,
3
00:00:08,800 --> 00:00:10,760
three guys make up a drummer and his kit.
4
00:00:10,920 --> 00:00:13,240
Another guy plays his friend like an upright bass.
5
00:00:13... | 1
00:00:08,200 --> 00:00:10,080
On cue he marches on stage.
2
00:00:10,200 --> 00:00:12,800
He goes over to a microphone stand, lying on its side
3
00:00:12,800 --> 00:00:14,560
and treads on it to bring it back upright.
4
00:00:43,040 --> 00:00:43,640
Impressed.
5
00:00:43,640 --> 00:00:45,160
The Bellas watch fro... | 1
00:00:00,470 --> 00:00:03,260
(ALL VOCALIZING)
2
00:00:17,030 --> 00:00:19,480
(SINGING FUNKY R&B SONG)
3
00:01:17,540 --> 00:01:19,800
(SINGING POP CHORUS)
4
00:01:47,240 --> 00:01:50,120
(RAPPING HIP-HOP VERSE)
5
00:01:58,460 --> 00:02:00,670
(VOCALIZING)
6
00:02:09,390 --> 00:02:11,300
(SINGING POP CHORUS)
| {"screenplay_scene_81": "<scene>\n <stage_direction>INT. BACKSTAGE - CONTINUOUS</stage_direction>\n <scene_description>The camera PANS ACROSS other a cappella groups warming up. \\[GREEN ENVY, GLISSANDO...\\]. As the Trebles make their way to places, Jesse passes Beca.</scene_description>\n <character>BECA</ch... | 6727.23 | 5732.83 | 154.95 | |
pitch_perfect | tt1981677 | Y9E_d0Kx0bfB | 1
00:00:26,600 --> 00:00:27,680
In a yellow tank top.
2
00:00:27,680 --> 00:00:30,080
Lilly cuts in the money.
3
00:00:48,960 --> 00:00:49,920
Jesse drops his head
4
00:00:49,920 --> 00:00:50,960
and covers his eyes.
5
00:00:57,960 --> 00:00:58,360
He looks.
6
00:01:21,280 --> 00:01:22,320
The girls form a line.
... | 1
00:00:46,830 --> 00:00:47,230
Watching
2
00:00:47,230 --> 00:00:49,070
Jesse puts his hand against his forehead.
3
00:00:49,110 --> 00:00:50,310
Becca takes the lead.
4
00:01:34,350 --> 00:01:35,870
Jesse smiles approvingly.
5
00:01:42,750 --> 00:01:43,510
In the audience?
6
00:01:43,510 --> 00:01:45,350
Jesse r... | 1
00:00:01,300 --> 00:00:04,220
(SINGING HAPPY POP SONG)
2
00:00:28,790 --> 00:00:30,120
(VOCALIZING)
3
00:00:30,200 --> 00:00:32,290
(ALL CONTINUE SINGING)
4
00:00:54,690 --> 00:00:57,810
(SINGING NEW WAVE LOVE SONG)
5
00:01:47,200 --> 00:01:49,070
(VOCALIZING)
6
00:01:54,200 --> 00:01:58,750
(SINGING URBAN DANCE... | {"screenplay_scene_83": "<scene>\n <stage_direction>INT. LINCOLN STAGE - MOMENTS LATER</stage_direction>\n <scene_description>Last to perform, The Bellas are now on stage, looking hot!</scene_description>\n <character>JOHN</character>\n <dialogue>The Bellas are putting on a short skirt and asking for it ton... | 6727.23 | 5961.31 | 216.85 | |
midnight_run | tt0095631 | rgHllAR__btY | 1
00:00:03,570 --> 00:00:06,530
A big man in a suit and sunglasses approaches him.
2
00:00:07,570 --> 00:00:08,730
More men in sunglasses.
3
00:00:08,730 --> 00:00:09,450
Surround him.
4
00:00:22,810 --> 00:00:24,170
The men grabbed Jack's arms.
5
00:00:27,210 --> 00:00:28,650
They put him in the back of a car.
6
... | 1
00:00:02,330 --> 00:00:05,390
He bumps into federal agent Alonzo Mosely.
2
00:00:26,660 --> 00:00:29,090
Federal agents bundle Jack into a car.
3
00:00:31,510 --> 00:00:33,060
Mosely gets in the front.
4
00:01:06,200 --> 00:01:11,050
Jack puts on a pair of sunglasses, mimicking the sunglasses wearing federal agent... | 1
00:00:06,220 --> 00:00:07,390
Are you Jack Walsh?
2
00:00:09,270 --> 00:00:11,150
- Excuse me.
- Are you Jack Walsh?
3
00:00:11,230 --> 00:00:14,190
- Do I know you?
- Alonzo Mosely, FBl.
4
00:00:14,270 --> 00:00:17,400
That's a nice badge.
How can I get one of those?
5
00:00:18,240 --> 00:00:19,240
I wanna talk.... | 1
00:00:06,270 --> 00:00:07,640
Are you Jack Walsh?
2
00:00:09,600 --> 00:00:11,030
- Excuse me.
- Are you Jack Walsh?
3
00:00:11,230 --> 00:00:14,230
- I'm sorry, do I know you?
- Alonzo Mosely, FBI.
4
00:00:14,690 --> 00:00:17,450
That's a nice badge.
How can I get one of those?
5
00:00:17,650 --> 00:00:18,870
I ... | {"screenplay_scene_23": "<scene>\n <stage_direction>INT. PLYMOUTH - DAY</stage_direction>\n <scene_description>One of the men slides in behind the wheel . Mosely gets in the front . Walsh is wedged in the backseat between two men . Each of them wears sunglasses . Walsh sits in the silence as the four men stare hi... | 7572.90 | 550.69 | 179.77 |
midnight_run | tt0095631 | mQ2SSFsu5LPP | 1
00:01:17,560 --> 00:01:19,680
The boarding ramp pulls away from the plane.
2
00:01:20,720 --> 00:01:22,040
Jack wears earphones.
3
00:01:23,560 --> 00:01:24,640
John fidgets.
4
00:01:24,680 --> 00:01:25,400
He shakes his head
5
00:01:25,400 --> 00:01:26,520
and bites his thumbnail.
6
00:02:07,480 --> 00:02:09,12... | 1
00:01:18,580 --> 00:01:21,170
The boarding gate is withdrawn from the aeroplane.
2
00:01:21,170 --> 00:01:26,350
As Jack listens to the entertainment system, Jonathan begins to twitch uncontrollably.
3
00:01:29,860 --> 00:01:34,080
Very Unrelaxed Jonathan indicates the Jack to remove his headphones.
4
00:02:07,950... | 1
00:00:00,570 --> 00:00:02,450
- Can I take your coat?
- No, that's fine. Thanks.
2
00:00:02,530 --> 00:00:06,410
- May I take your coat?
- No.
3
00:00:06,490 --> 00:00:09,450
First class is nice.
I could make a habit out of this.
4
00:00:09,540 --> 00:00:12,460
- Good evening, gentlemen.
- Good evening to you.
5
... | 1
00:00:02,560 --> 00:00:04,280
- May I take your coat?
- No.
2
00:00:05,730 --> 00:00:09,200
First class is nice.
I could make a habit out of this.
3
00:00:09,480 --> 00:00:11,580
- Good evening, gentlemen.
- Good evening to you.
4
00:00:11,780 --> 00:00:14,160
Would either of you like a drink
before we take off?
... | {"screenplay_scene_64": "<scene>\n <stage_direction>INT. 747 - NIGHT</stage_direction>\n <scene_description>The CAPTAIN appears from the cockpit moving down the aisle .</scene_description>\n <character>CAPTAIN</character>\n <dialogue>Alright, everyone. Just calm down.</dialogue>\n <character>WALSH</chara... | 7572.90 | 1347.46 | 176.57 |
midnight_run | tt0095631 | Ncbao9tOWshM | 1
00:00:00,240 --> 00:00:02,720
In the dining car, John stares at Jack,
2
00:00:02,720 --> 00:00:03,920
who eats a chicken wing.
3
00:01:30,760 --> 00:01:32,120
Jack lights a cigarette.
4
00:02:14,320 --> 00:02:15,240
Jack stands.
5
00:02:16,160 --> 00:02:18,320
John stands, his hands cuffed in front.
6
00:02:48,5... | 1
00:00:01,520 --> 00:00:03,060
Dinner in the dining car.
2
00:00:03,110 --> 00:00:05,250
Jack munches a chicken drumstick
3
00:00:05,250 --> 00:00:08,880
as Jonathan sits, watching him with a bored expression.
4
00:00:17,030 --> 00:00:18,210
Jack ignores him.
5
00:01:24,370 --> 00:01:26,090
Jack finishes off a des... | 1
00:00:13,270 --> 00:00:16,390
Familiar with the word
"arteriosclerosis"?
2
00:00:18,270 --> 00:00:20,480
Cholesterol?
3
00:00:21,270 --> 00:00:25,330
If you want, I'll outline
a complete balanced diet for you.
4
00:00:25,360 --> 00:00:27,450
Mail it to me from "C" block.
5
00:00:29,320 --> 00:00:32,350
- Why woul... | 1
00:00:13,510 --> 00:00:16,230
Familiar with the word
"arteriosclerosis"?
2
00:00:18,430 --> 00:00:20,150
"Cholesterol"?
3
00:00:21,770 --> 00:00:24,570
If you want, I'll outline
a complete balanced diet for you.
4
00:00:24,770 --> 00:00:26,700
Mail it to me from C-Block.
5
00:00:29,110 --> 00:00:30,580
Why would ... | {"screenplay_scene_79": "<scene>\n <stage_direction>INT. DINING CAR - NIGHT</stage_direction>\n <scene_description>Walsh eats his fried chicken dinner . The Duke , hand - cuffed , struggles to lay out a row of vitamins .</scene_description>\n <character>THE DUKE</character>\n <dialogue>Jack, this is very di... | 7572.90 | 1937.44 | 171.74 |
midnight_run | tt0095631 | A_5_2544RHkf | 1
00:00:10,340 --> 00:00:12,060
Hanging out the side of the helicopter.
2
00:00:12,100 --> 00:00:13,620
A mobster shoots at their car,
3
00:00:13,660 --> 00:00:14,940
blowing out the rear window.
4
00:00:26,860 --> 00:00:29,100
Marvin drives the helicopter in pursuit.
5
00:00:43,660 --> 00:00:44,620
Of an oncoming ... | 1
00:00:11,740 --> 00:00:13,490
The mobster's machine gunned the car
2
00:00:13,490 --> 00:00:14,710
from the helicopter.
3
00:00:21,310 --> 00:00:22,650
Marvin drives on.
4
00:00:28,580 --> 00:00:29,960
The chopper gives chase.
5
00:00:35,440 --> 00:00:37,400
The gunmen on the chopper shoot again.
6
00:00:42,960 ... | 1
00:00:02,260 --> 00:00:05,390
Yeah, who's talking to you?
He's not yours to take. He's mine.
2
00:00:06,220 --> 00:00:07,390
Hear that?
3
00:00:08,310 --> 00:00:11,440
Who the fuck is this?
4
00:00:15,270 --> 00:00:17,400
Jesus Christ!
5
00:00:19,240 --> 00:00:20,400
Do something!
6
00:00:23,320 --> 00:00:27,410... | 1
00:00:01,980 --> 00:00:05,500
Yeah, who the fuck's talkin' to you? He's not
yours to take anymore, limpdick. He's mine.
2
00:00:05,520 --> 00:00:07,650
[helicopter approaching]
Do you hear that?
3
00:00:08,320 --> 00:00:10,440
Fuck! Now who the fuck is this?
4
00:00:10,940 --> 00:00:12,950
[gunfire]
5
00:00:14,57... | {"screenplay_scene_158": "<scene>\n <stage_direction>INT. MARVIN DORFLER'S CAR - DAY</stage_direction>\n <scene_description>Circling once more , the chopper comes up behind them . M - 16 's open FIRE . BLOW OUT the back window .</scene_description>\n <character>WALSH</character>\n <dialogue>This is bullshit... | 7572.90 | 4004.22 | 175.68 |
midnight_run | tt0095631 | 6QpHboNfZLbW | 1
00:00:03,090 --> 00:00:03,970
They climb out.
2
00:00:04,090 --> 00:00:05,770
They walk toward the trading post.
3
00:00:08,530 --> 00:00:13,330
John notices a single prop biplane parked alongside in front of the trading post.
4
00:00:13,330 --> 00:00:15,050
Three men sit on a couch.
5
00:00:52,890 --> 00:00:55,6... | 1
00:00:04,430 --> 00:00:06,020
They get out and look around.
2
00:00:06,060 --> 00:00:07,230
They're outside the sky.
3
00:00:07,280 --> 00:00:11,960
Trading post, an old crop dusting biplane, is parked nearby.
4
00:00:48,540 --> 00:00:52,050
Hearing the biplane firing up, Jack goes to investigate.
5
00:00:56,780 ... | 1
00:00:01,990 --> 00:00:04,070
What the hell kind of town is this?
2
00:00:14,990 --> 00:00:17,830
Is there someone that can give us
a ride to Channing?
3
00:00:17,910 --> 00:00:21,910
- Is anyone going in that direction?
- No have a ride.
4
00:00:22,000 --> 00:00:26,080
Excuse me. Is there a bathroom
in there I co... | 1
00:00:01,620 --> 00:00:04,040
What the hell kind of town is this?
2
00:00:15,470 --> 00:00:18,100
Is there someone that can give us
a ride to Channing?
3
00:00:18,260 --> 00:00:20,440
Is there anyone going
in that direction?
4
00:00:20,640 --> 00:00:21,860
No, don't have a ride.
5
00:00:22,100 --> 00:00:23,100
Ex... | {"screenplay_scene_187": "<scene>\n <stage_direction>EXT. INDIAN RESERVATION - DAY</stage_direction>\n <scene_description>The middle of nowhere . Chickens scatter avoiding the pickup truck as it pulls up to a dilapidated general store . The Indians pile out . Other Indians sit on indoor furniture that has been le... | 7572.90 | 4517.09 | 180.44 |
midnight_run | tt0095631 | mP4wYXnZJvAw | 1
00:00:00,890 --> 00:00:02,770
Jack and John carry bags of food.
2
00:00:03,410 --> 00:00:05,130
Jack drinks from a milk bottle.
3
00:00:09,490 --> 00:00:11,370
A freight train slowly rolls by.
4
00:00:30,730 --> 00:00:32,250
They run alongside the Train.
5
00:00:32,410 --> 00:00:34,810
Red sees them from a window... | 1
00:00:01,110 --> 00:00:01,400
later.
2
00:00:01,400 --> 00:00:05,120
Jonathan and Jack come out of a grocery store laden with bags of food.
3
00:00:05,120 --> 00:00:06,960
Jack swigs from a milk carton,
4
00:00:07,250 --> 00:00:09,590
then spots a freight train nearby.
5
00:00:28,700 --> 00:00:30,870
In the Bar, ... | 1
00:00:11,940 --> 00:00:14,860
- We're gonna get this train.
- What?
2
00:00:14,950 --> 00:00:17,910
- We're gonna catch this train.
- I can't catch a train.
3
00:00:17,990 --> 00:00:23,830
- You also couldn't fly. Start runnin'.
- Wait! It's a freight train!
4
00:00:23,910 --> 00:00:26,120
I can't do this!
5
00:0... | 1
00:00:12,380 --> 00:00:14,600
- Come on. We're gonna get this train.
- What?
2
00:00:14,800 --> 00:00:16,390
We're gonna catch this train.
Come on.
3
00:00:16,630 --> 00:00:17,980
I can't catch a train.
4
00:00:18,180 --> 00:00:20,020
You also couldn't fly.
Start running. Let's go.
5
00:00:20,180 --> 00:00:22,850... | {"screenplay_scene_194": "<scene>\n <stage_direction>EXT. 7-11 - DAY</stage_direction>\n <scene_description>Walsh and the Duke can be seen through the windows inside of the store . In the middle of a shopping spree . Walsh stuffs his face as he goes for sandwiches , beer , doughnuts , etc. . The Duke goes for fru... | 7572.90 | 4982.59 | 103.75 |
midnight_run | tt0095631 | YHiKWa4egjB9 | 1
00:00:00,090 --> 00:00:00,850
Night time.
2
00:00:04,210 --> 00:00:08,170
In the freight train, Jack warms his hands on a small fire in a pail.
3
00:00:10,170 --> 00:00:12,850
John sits cuffed to a metal bar on the wall.
4
00:00:13,490 --> 00:00:14,490
Jack smiles.
5
00:00:53,080 --> 00:00:54,640
Jack looks at hi... | 1
00:00:00,060 --> 00:00:02,320
Mosely heads off night.
2
00:00:02,360 --> 00:00:04,580
A freight train thunders along the track.
3
00:00:04,580 --> 00:00:05,500
In the boxcar.
4
00:00:05,500 --> 00:00:09,260
Jack and Jonathan have lit a small improvised brazier to keep warm.
5
00:00:09,430 --> 00:00:12,070
Jack si... | 1
00:00:16,630 --> 00:00:19,760
Jack? What?
2
00:00:21,630 --> 00:00:24,550
How much further?
None of your fuckin' business!
3
00:00:24,640 --> 00:00:27,600
Eventually I'll have to go
to the bathroom.
4
00:00:27,680 --> 00:00:30,810
Shut the fuck up!
5
00:00:34,650 --> 00:00:37,820
Did you ever have sex with an ani... | 1
00:00:01,310 --> 00:00:03,730
[horn sounds]
2
00:00:16,950 --> 00:00:18,540
- Jack?
- What?
3
00:00:21,660 --> 00:00:23,380
How much further
do you think we have to go?
4
00:00:23,500 --> 00:00:25,550
[imitating Jack]
None of your fuckin' business!
5
00:00:25,750 --> 00:00:28,190
You know, because eventually
I'm ... | {"screenplay_scene_203": "<scene>\n <stage_direction>INT. BOXCAR - NIGHT</stage_direction>\n <scene_description>Still at opposite ends of the car , Walsh and the Duke are curled up trying to resist the cold .</scene_description>\n <character>THE DUKE</character>\n <dialogue>C'mon, Jack. Do n't be a baby. Ar... | 7572.90 | 5143.07 | 168.88 |
midnight_run | tt0095631 | meMlcKLoDvAg | 1
00:00:08,410 --> 00:00:10,330
Jack veers into oncoming traffic.
2
00:00:14,970 --> 00:00:17,290
Watching from the chopper, Alonzo shakes his head.
3
00:00:23,250 --> 00:00:25,730
Marvin drives behind the line of police cars.
4
00:00:35,930 --> 00:00:37,410
Jack stops the truck.
5
00:00:37,770 --> 00:00:40,090
He ... | 1
00:00:03,060 --> 00:00:06,410
Jonathan grimaces as he sees an oncoming truck.
2
00:00:12,470 --> 00:00:15,100
Jack swerves out of the way just in time.
3
00:00:15,140 --> 00:00:17,150
Unimpressed, Jonathan glares at him.
4
00:00:17,280 --> 00:00:19,910
Mosely and his fleet close in on the chase.
5
00:00:19,910 --... | 1
00:00:09,940 --> 00:00:10,980
Truck!
2
00:00:49,980 --> 00:00:53,110
- Where are we going?
- You'll find out when we get there.
3
00:01:06,960 --> 00:01:10,840
I've come too far.
Too far.
4
00:01:10,920 --> 00:01:14,090
I'm too close.
5
00:02:10,060 --> 00:02:12,150
Okay, I'm coming!
All right.
6
00:02:15,070 --... | 1
00:00:07,090 --> 00:00:09,140
[screams]
2
00:00:09,340 --> 00:00:11,310
[horn honks]
Truck!
3
00:00:50,680 --> 00:00:53,900
- Where are you goin', Jack?
- You'll find out when we get there.
4
00:01:06,950 --> 00:01:08,420
I've come too far.
5
00:01:09,070 --> 00:01:10,540
Too far.
6
00:01:11,540 --> 00:01:13,380... | {"screenplay_scene_219": "<scene>\n <stage_direction>INT. JEEP - DAY</stage_direction>\n <character>THE DUKE</character>\n <dialogue>I know you can do it, Jack!</dialogue>\n <scene_description>Walsh spots the worst sight yet . A slew of Federal cars coming at him from ahead . He 's surrounded . There 's no ... | 7572.90 | 5638.37 | 180.56 |
midnight_run | tt0095631 | imyTSMXNRdj7 | 1
00:01:15,690 --> 00:01:16,810
Jack walks away.
2
00:01:18,770 --> 00:01:20,450
He stops and takes off his watch.
3
00:01:20,650 --> 00:01:22,090
He puts it on John's wrist.
4
00:01:25,650 --> 00:01:27,010
He pats John on the shoulder
5
00:01:27,010 --> 00:01:27,850
and walks away.
6
00:01:29,330 --> 00:01:30,250... | 1
00:00:33,130 --> 00:00:34,000
Jack hangs up
2
00:00:34,000 --> 00:00:35,380
and turns to Jonathan.
3
00:00:35,590 --> 00:00:37,260
He takes a drag on his cigarette,
4
00:00:37,260 --> 00:00:38,560
then stubs it out.
5
00:00:54,320 --> 00:00:54,740
So
6
00:00:55,860 --> 00:00:57,030
he undoes the handcuffs
7
00:... | 1
00:00:03,750 --> 00:00:06,670
- Yeah? What for?
- What's the difference?
2
00:00:06,750 --> 00:00:09,710
I never trusted that guy.
Where the hell are you?
3
00:00:09,800 --> 00:00:11,680
Where am I? I'm at the airport.
4
00:00:11,760 --> 00:00:13,760
Guess who I'm with.
I'm with the Duke.
5
00:00:13,840 --> 00:00... | 1
00:00:00,480 --> 00:00:02,610
Never mind Jerry.
Where the hell are you, Jack?
2
00:00:02,820 --> 00:00:04,690
Feds picked him up 20 minutes ago.
3
00:00:04,940 --> 00:00:06,870
- Yeah, what for?
- What's the difference, man?
4
00:00:07,070 --> 00:00:08,820
I never trusted that guy anyway.
5
00:00:09,030 --> 00:00... | {"screenplay_scene_272": "<scene>\n <stage_direction>INT. MOSCONE'S OFFICE - NIGHT</stage_direction>\n <scene_description>The phone is ringing . Moscone picks it up . He is alone .</scene_description>\n <character>MOSCONE</character>\n <dialogue>Eddie Moscone, bail bondsman.</dialogue>\n <scene_descripti... | 7572.90 | 7092.03 | 180.81 |
coming_to_america | tt0094898 | UAQX0lkj3IvG | 1
00:00:06,750 --> 00:00:08,910
Akeem cocks his brow and smiles faintly.
2
00:00:09,310 --> 00:00:10,950
Semmi spins a wooden staff
3
00:00:11,390 --> 00:00:12,670
holding his own staff.
4
00:00:12,710 --> 00:00:15,030
Akeem wears a calm look as they circle each other.
5
00:00:17,590 --> 00:00:19,550
Semmi jabs, bu... | 1
00:00:00,240 --> 00:00:01,080
In a gym?
2
00:00:15,420 --> 00:00:17,510
Semmi challenges Prince Akeem.
3
00:00:17,510 --> 00:00:20,100
He starts to twirl a long wooden combat pole.
4
00:01:01,060 --> 00:01:04,570
Semmi knocks Akeem's pearl from his hands in a bid to escape.
5
00:01:04,570 --> 00:01:06,580
The Pri... | 1
00:00:03,210 --> 00:00:08,430
Let's see if you can defend yourself,
you sweat from a baboon's balls.
2
00:00:28,910 --> 00:00:32,030
So you can have a woman
who will obey your every command,
3
00:00:32,240 --> 00:00:35,710
but you'd rather have a woman
who has an opinion?
4
00:00:35,910 --> 00:00:40,380
Only dogs ... | 1
00:00:03,220 --> 00:00:08,420
Let's see if you can defend yourself,
you sweat from a baboon's balls.
2
00:00:28,910 --> 00:00:32,030
So you can have a woman
who will obey your every command,
3
00:00:32,240 --> 00:00:35,700
but you'd rather have a woman
who has an opinion?
4
00:00:35,920 --> 00:00:40,380
Only dogs ... | {"screenplay_scene_5": "<scene>\n <stage_direction>INT. FENCING ROOM</stage_direction>\n <scene_description>Akeem and Semmi stand in the middle of the enormous room wearing fencing garb. They taunt each other, feinting with their swords.</scene_description>\n <character>SEMMI</character>\n <dialogue>Now, le... | 7027.27 | 642.11 | 88.35 |
coming_to_america | tt0094898 | Lq3IH4C6ExB3 | 1
00:00:00,470 --> 00:00:03,090
Sugar Ray Robinson's
the greatest fighter that ever lived.
2
00:00:03,300 --> 00:00:06,680
- What about Joe Louis?
- "The Brown Bomber".
3
00:00:06,890 --> 00:00:10,180
- That was a great boxer.
- You're damn right.
4
00:00:10,390 --> 00:00:13,270
I suppose nobody in here
ever heard o... | 1
00:00:00,470 --> 00:00:03,090
Sugar Ray Robinson's
the greatest fighter that ever lived.
2
00:00:03,300 --> 00:00:06,670
- What about Joe Louis?
- "The Brown Bomber".
3
00:00:06,890 --> 00:00:10,180
- That was a great boxer.
- You're damn right.
4
00:00:10,390 --> 00:00:13,260
I suppose nobody in here
ever heard o... | null | 7027.27 | 1587.14 | 62.58 | ||
coming_to_america | tt0094898 | 5LeOj_o2sz5d | 1
00:00:07,410 --> 00:00:08,890
He shows a dirty bathroom.
2
00:00:15,270 --> 00:00:16,030
They move on.
3
00:00:31,510 --> 00:00:33,870
The landlord removes police tape from a door,
4
00:00:33,990 --> 00:00:35,190
then walks inside.
5
00:00:35,790 --> 00:00:37,310
Bloodstains smear one wall
6
00:00:37,310 --> 00:... | 1
00:00:34,380 --> 00:00:38,260
Inside the room, a rat scuttles across the littered wooden floorboards.
2
00:00:38,390 --> 00:00:40,350
Blood is smeared across the walls.
3
00:00:44,240 --> 00:00:48,590
The positions of the murdered man and his dog have been chalked on the floor by the police.
| 1
00:00:00,420 --> 00:00:02,890
Here we are.
2
00:00:03,800 --> 00:00:08,720
There's only one bathroom on this floor,
so you have to share it.
3
00:00:11,350 --> 00:00:16,690
Got a bit of an insect problem, but
you boys from Africa are used to that.
4
00:00:17,940 --> 00:00:22,030
And don't use the elevator.
It's a ... | 1
00:00:00,430 --> 00:00:02,880
Here we are.
2
00:00:03,800 --> 00:00:08,720
There's only one bathroom on this floor,
so you have to share it.
3
00:00:11,350 --> 00:00:16,690
Got a bit of an insect problem, but
you boys from Africa are used to that.
4
00:00:17,940 --> 00:00:22,020
And don't use the elevator.
It's a ... | {"screenplay_scene_17": "<scene>\n <stage_direction>EXT. JACKSON HEIGHTS - NIGHT</stage_direction>\n <scene_description>A graffiti-covered train ROARS overhead on elevated tracks. We CRANE DOWN to reveal the cab, parked in front of a row of dilapidated buildings. The cabbie has stacked all the luggage on the side... | 7027.27 | 1732.45 | 57.73 |
coming_to_america | tt0094898 | HuiBOOEi5ajn | 1
00:00:10,460 --> 00:00:11,780
He steps to another microphone
2
00:00:11,780 --> 00:00:13,100
and takes it from the stand.
3
00:01:12,840 --> 00:01:14,760
Semmi startles as a woman stands.
4
00:01:25,060 --> 00:01:26,700
The three barbers sit in the crowd.
| 1
00:00:00,300 --> 00:00:01,010
in a church.
2
00:00:01,050 --> 00:00:04,980
Miss black awareness contestants line up in bikinis on the stage.
| 1
00:00:05,310 --> 00:00:08,480
I didn't come here
to preach to you today.
2
00:00:13,400 --> 00:00:19,490
But when I look at these contestants
for The Miss Black Awareness pageant,
3
00:00:19,700 --> 00:00:25,410
I feel good, 'cause I know
there's a God somewhere.
4
00:00:25,620 --> 00:00:27,710
There's a God somew... | 1
00:00:05,310 --> 00:00:08,480
I didn't come here
to preach to you today.
2
00:00:13,400 --> 00:00:19,490
But when I look at these contestants
for The Miss Black Awareness pageant,
3
00:00:19,700 --> 00:00:25,410
I feel good, 'cause I know
there's a God somewhere.
4
00:00:25,620 --> 00:00:27,700
There's a God somew... | {"screenplay_scene_21": "<scene>\n <stage_direction>EXT. STREET OUTSIDE THE TENEMENT - NIGHT</stage_direction>\n <scene_description>Akeem and Semmi walk back toward their apartment, dejected.</scene_description>\n <character>AKEEM</character>\n <dialogue>Is it my imagination or does every woman in New York ... | 7027.27 | 2241.54 | 103.59 |
coming_to_america | tt0094898 | 6mNd5Bw9gaSK | 1
00:00:08,640 --> 00:00:09,640
Raising her brow.
2
00:00:09,920 --> 00:00:10,920
Lisa smiles.
3
00:00:36,400 --> 00:00:37,440
She stares at him
4
00:00:37,440 --> 00:00:38,760
and his smile falters.
5
00:00:47,580 --> 00:00:48,540
He starts to go.
6
00:00:51,620 --> 00:00:54,580
The Prince mops his way out to the... | 1
00:00:53,020 --> 00:00:54,440
Akeem continues to mop
2
00:00:54,440 --> 00:00:56,370
as he retreats from Lisa's office.
| 1
00:00:00,800 --> 00:00:03,050
Hello.
2
00:00:04,010 --> 00:00:06,470
Hi...
3
00:00:07,600 --> 00:00:10,060
I am Akeem.
4
00:00:11,690 --> 00:00:14,810
It's nice to meet you, Akeem.
5
00:00:15,020 --> 00:00:20,490
I've been placed in charge of garbage.
Do you have any that needs disposal
6
00:00:20,690 --> 00:00:... | 1
00:00:00,800 --> 00:00:03,040
Hello.
2
00:00:04,010 --> 00:00:06,470
Hi...
3
00:00:07,600 --> 00:00:10,050
I am Akeem.
4
00:00:11,690 --> 00:00:14,810
It's nice to meet you, Akeem.
5
00:00:15,020 --> 00:00:20,480
I've been placed in charge of garbage.
Do you have any that needs disposal?
6
00:00:20,700 --> 00:00... | {"screenplay_scene_26": "<scene>\n <stage_direction>INT. MCDOWELL' S FAST FOOD RESTAURANT, QUEENS - DAY</stage_direction>\n <scene_description>A.Jceem and Semmi are dressed in plain, simple clothes, applying for a job. Lisa's father, Mr. McDowell, is interviewing them in a tiny, crowded employee area in the back ... | 7027.27 | 2803.52 | 59.19 |
coming_to_america | tt0094898 | vC0VGC5d_Y82 | 1
00:00:03,200 --> 00:00:07,160
- Can you make my hair look like this?
- Why would you want that?
2
00:00:07,370 --> 00:00:09,540
I like your hair, it's natural
3
00:00:09,740 --> 00:00:13,660
I wish more children would wear their
hair natural, like Martin Luther King.
4
00:00:13,870 --> 00:00:19,670
You ain't never... | 1
00:00:03,200 --> 00:00:07,150
- Can you make my hair look like this?
- Why would you want that?
2
00:00:07,370 --> 00:00:09,530
I like your hair, it's natural.
3
00:00:09,750 --> 00:00:13,660
I wish more children would wear their
hair natural, like Martin Luther King.
4
00:00:13,870 --> 00:00:19,660
You ain't neve... | {"screenplay_scene_27": "<scene>\n <stage_direction>INT. BARBER SHOP - EVENING</stage_direction>\n <scene_description>An ELDERLY CUSTOMER pays Clarence (Eddie) for his haircut. Morris, the other barber, sits in his chair sopping up his dinner.</scene_description>\n <character>MORRIS</character>\n <parenthet... | 7027.27 | 3030.14 | 79.97 | ||
coming_to_america | tt0094898 | b32VynC5XuPB | 1
00:00:06,320 --> 00:00:07,440
He stops in the doorway.
2
00:00:31,420 --> 00:00:32,940
Cleo removes his glasses.
3
00:00:44,140 --> 00:00:45,220
Akeem mops away.
| 1
00:00:00,460 --> 00:00:01,710
Mop and bucket in hand.
2
00:00:01,750 --> 00:00:02,170
Akeem.
3
00:00:02,170 --> 00:00:02,550
Peaches.
4
00:00:02,550 --> 00:00:02,840
Mr..
5
00:00:02,840 --> 00:00:03,430
McDowell.
6
00:00:03,430 --> 00:00:04,260
In his office.
| 1
00:00:07,960 --> 00:00:10,840
- Mr McDowell.
- What is it?
2
00:00:11,800 --> 00:00:16,760
Sir, did you catch the professional
football contest on television last night?
3
00:00:18,220 --> 00:00:21,230
- No, I didn'.
- It was most exhilarating.
4
00:00:21,430 --> 00:00:24,400
The Giants of New York
took on the Pac... | 1
00:00:07,960 --> 00:00:10,830
- Mr. McDowell.
- What is it?
2
00:00:11,800 --> 00:00:16,760
Sir, did you catch the professional
football contest on television last night?
3
00:00:18,220 --> 00:00:21,230
- No, I didn't.
- It was most exhilarating.
4
00:00:21,440 --> 00:00:24,390
The Giants of New York
took on the P... | null | 7027.27 | 3111.30 | 48.48 |
coming_to_america | tt0094898 | 17aEBVOO7WkV | 1
00:00:00,730 --> 00:00:01,730
A scruffy man enters
2
00:00:01,730 --> 00:00:03,250
and aims a shotgun at the ceiling.
3
00:00:24,110 --> 00:00:25,750
Morris stuffs cash in a bag.
4
00:00:31,390 --> 00:00:32,870
Darryl hides behind a table.
5
00:00:37,670 --> 00:00:39,790
Akeem twists off the handle of his mop.
6... | 1
00:00:00,240 --> 00:00:03,340
A bearded black man menacingly marches into the restaurant.
2
00:00:38,820 --> 00:00:40,830
Akeem slowly reaches for his mob.
3
00:00:45,630 --> 00:00:48,270
Semmi watches Akeem unscrewing the mop handle.
4
00:01:16,480 --> 00:01:19,280
Akeem swipes the gun out of his hand with the mo... | 1
00:00:04,960 --> 00:00:08,290
Everybody shut up and do what I say.
2
00:00:08,500 --> 00:00:13,010
Get the money out!
Stay cool, nobody gets hurt.
3
00:00:13,220 --> 00:00:15,680
Take the money out! All of it.
4
00:00:15,880 --> 00:00:18,970
Don't stall me, fat boy. Let's go.
5
00:00:19,180 --> 00:00:22,770
Come ... | 1
00:00:04,960 --> 00:00:08,290
Everybody shut up and do what I say.
2
00:00:08,500 --> 00:00:13,000
Get the money out!
Stay cool, nobody gets hurt.
3
00:00:13,220 --> 00:00:15,670
Take the money out! All of it.
4
00:00:15,890 --> 00:00:18,970
Don't stall me, fat boy. Let's go.
5
00:00:19,180 --> 00:00:22,760
Come ... | null | 7027.27 | 3643.46 | 95.23 |
coming_to_america | tt0094898 | _9CLFvBfG6zx | 1
00:00:01,430 --> 00:00:04,710
He carries the piece of paper to a clerk who sits behind a window.
2
00:00:07,710 --> 00:00:09,070
Leaning her head on her hand.
3
00:00:09,110 --> 00:00:10,790
She checks the message on the form.
| 1
00:00:13,160 --> 00:00:17,500
- Do you actually want to send this?
- Why? What is wrong?
2
00:00:17,710 --> 00:00:19,340
Read it to me.
3
00:00:19,550 --> 00:00:25,260
"To his Majesty King Jaffe Joffer,
the Royal Palace, Zamunda."
4
00:00:25,470 --> 00:00:29,600
"Sire, Akeem and I
have depleted our funds."
5
00:0... | 1
00:00:13,170 --> 00:00:17,490
- Do you actually want to send this?
- Why? What is wrong?
2
00:00:17,710 --> 00:00:19,340
Read it to me.
3
00:00:19,550 --> 00:00:25,250
"To his Majesty King Jaffe Joffer,
the Royal Palace, Zamunda.
4
00:00:25,470 --> 00:00:29,600
"Sire, Akeem and I
have depleted our funds.
5
00:00:... | {"screenplay_scene_41": "<scene>\n <stage_direction>INT. BUS STATION - NIGHT</stage_direction>\n <scene_description>A sour, pudgy WESTERN UNION EMPLOYEE sits behind the counter reading the telegram Semmi has just handed him.</scene_description>\n <character>SOUR EMPLOYEE</character>\n <dialogue>You actually... | 7027.27 | 4737.18 | 56.77 | |
coming_to_america | tt0094898 | xYK1ALb3f601 | 1
00:00:02,110 --> 00:00:03,510
He stops at the old apartment
2
00:00:03,510 --> 00:00:04,630
and Oha knocks.
3
00:00:05,990 --> 00:00:07,510
The landlord sits in the hot tub.
4
00:00:10,270 --> 00:00:13,190
The king walks in up to his shoulders and bubbles.
5
00:00:13,190 --> 00:00:15,510
The landlord wears a fedo... | 1
00:00:22,450 --> 00:00:28,970
On the wall, the king notices a framed certificate with Akeem's photograph on it for McDowell's employee of the month.
| 1
00:00:08,020 --> 00:00:10,640
You may enter.
2
00:00:17,440 --> 00:00:21,320
- You are not Akeem.
- I know that.
3
00:00:29,870 --> 00:00:33,250
- What is this?
- A photograph.
4
00:00:33,460 --> 00:00:35,540
What is this "McDowell's"?
5
00:00:35,750 --> 00:00:40,920
It's a place over on Queens Boulevard.
I think... | 1
00:00:08,020 --> 00:00:10,640
You may enter.
2
00:00:17,440 --> 00:00:21,310
- You are not Akeem.
- I know that.
3
00:00:29,870 --> 00:00:33,240
- What is this?
- A photograph.
4
00:00:33,460 --> 00:00:35,530
What is this "McDowell's"?
5
00:00:35,750 --> 00:00:40,910
It's a place over on Queens Boulevard.
I think... | {"screenplay_scene_45": "<scene>\n <stage_direction>INT. AKEEM AND SEMMI'S REDONE APARTMENT - SAME TIME</stage_direction>\n <scene_description>The Landlord is living it up, soaking in the jacuzzi, listening to his new stereo which is tuned to Nat King Cole singing Unforgettable. There is a loud RAP at the door.</... | 7027.27 | 5178.14 | 110.13 |
jaws_the_revenge | tt0093300 | 8q0F0UIuFlG7 | 1
00:00:01,290 --> 00:00:03,450
He guides the boat slowly next to it.
2
00:00:09,330 --> 00:00:10,770
Pulling up next to the boy.
3
00:00:10,850 --> 00:00:13,610
He directs the beam of the floodlight down into the water
4
00:00:13,610 --> 00:00:15,050
where the post is caught.
5
00:00:20,930 --> 00:00:22,090
He tur... | 1
00:00:14,310 --> 00:00:17,240
The spotlight picks out a large driftwood log.
2
00:00:19,950 --> 00:00:21,790
Sean switches off the engine.
3
00:00:22,080 --> 00:00:23,340
He grabs a boat hook.
4
00:00:28,100 --> 00:00:30,230
He heaves the marker towards the boat.
5
00:00:30,940 --> 00:00:33,440
He twists the leng... | 1
00:00:22,350 --> 00:00:27,190
Very good, people. Very good.
And now, again, "Noel," everyone.
2
00:01:00,720 --> 00:01:02,200
Oh, God!
3
00:01:05,770 --> 00:01:10,370
Oh, God! Help!
4
00:01:18,830 --> 00:01:20,660
Help me!
5
00:01:20,790 --> 00:01:24,260
Oh, God! Help me!
| 1
00:00:01,530 --> 00:00:02,570
(DINGING CONTINUES)
2
00:00:02,650 --> 00:00:06,070
With angelic host proclaim
3
00:00:06,160 --> 00:00:11,080
"Christ is born in Bethlehem!"
4
00:00:11,160 --> 00:00:15,250
Hark! The herald angels sing
5
00:00:16,170 --> 00:00:20,090
"Glory to the new born King!"
6
00:00:22,090 -->... | {"screenplay_scene_3": "<scene>\n <stage_direction>INT. POLICE STATION - DUSK</stage_direction>\n <scene_description>Sean moves into the front office , taking off his gloves and blowing into his hands . The secretary , Polly , who is close to retirement , is going through a filing cabinet . There 's a framed pict... | 5401.28 | 478.56 | 135.86 |
jaws_the_revenge | tt0093300 | wp_N5Ayzgp4l | 1
00:00:24,860 --> 00:00:27,620
A great white shark stares through the sub's window.
2
00:00:29,180 --> 00:00:31,360
It eyes Jake and nudges the vessel,
3
00:00:31,360 --> 00:00:32,440
then swims on.
4
00:00:38,120 --> 00:00:39,240
The shark surfaces.
5
00:00:39,240 --> 00:00:41,240
Showing its teeth at the festiva... | 1
00:00:24,140 --> 00:00:26,430
The shark cruises next to the submersible.
2
00:00:28,730 --> 00:00:30,740
The shark nudges the submersible.
3
00:00:37,880 --> 00:00:40,850
It launches itself out of the water, its mouth gaping.
4
00:00:40,890 --> 00:00:42,350
Ellen senses danger.
5
00:00:42,390 --> 00:00:44,400
The... | 1
00:00:00,160 --> 00:00:03,630
Yeah, it's OK for you,
but not for me, huh?
2
00:00:03,830 --> 00:00:06,110
Have no fear, Jake is here.
3
00:00:06,250 --> 00:00:09,130
I just struck the mother lode.
I'm counting.
4
00:00:09,300 --> 00:00:13,180
'Watch yourself with
that fancy equipment, buddy.'
5
00:00:13,380 --> 0... | 1
00:00:00,940 --> 00:00:03,440
Yeah, it's okay for you,
but not for me, huh?
2
00:00:03,900 --> 00:00:05,990
Have no fear, Jake is here.
3
00:00:06,110 --> 00:00:09,030
I just struck the mother lode.
I'm counting.
4
00:00:09,360 --> 00:00:11,120
You better watch
yourself with that fancy
5
00:00:11,280 --> 00:00:13... | {"screenplay_scene_24": "<scene>\n <stage_direction>EXT. HOUSE - DAY</stage_direction>\n <scene_description>Ellen watches from the street as Hoagie and Charles Townsend , an islander , black , talk quietly on the porch . She sees Hoagie take a small , bulging envelope from his pocket and give it to Charles , who ... | 5401.28 | 2001.79 | 75.72 |
jaws_the_revenge | tt0093300 | 1oJwmgqmYacc | 1
00:00:03,870 --> 00:00:05,110
Its surfaces to eye.
2
00:00:05,110 --> 00:00:07,470
A work raft attached to the research boat.
3
00:00:07,510 --> 00:00:09,070
Jake stands near the meat.
4
00:00:09,310 --> 00:00:12,410
Clarence spots the shark's dorsal fin moving toward the boat.
5
00:00:14,890 --> 00:00:17,810
Mic... | 1
00:00:01,310 --> 00:00:03,810
and the boat and the platform come closer.
2
00:00:07,450 --> 00:00:09,240
A dorsal fin approaches.
3
00:00:14,050 --> 00:00:17,470
The side of beef hangs over the water as they brace themselves.
4
00:00:24,160 --> 00:00:26,750
The shark's mouth gapes as it breaks the surface,
5
00:0... | 1
00:00:12,160 --> 00:00:14,430
There it is! Comin'! It's comin'!
2
00:00:19,160 --> 00:00:22,400
- You remember how to pull rope, eh?
- Yeah.
3
00:01:02,830 --> 00:01:05,270
Yes! You got him, man!
4
00:01:05,420 --> 00:01:07,450
Ah! Now would be a good time!
5
00:01:09,630 --> 00:01:11,910
Did you see that, man?
... | 1
00:00:12,350 --> 00:00:14,230
There it is!
It's comin'! It's comin'!
2
00:00:19,110 --> 00:00:20,520
You remember how
to pull rope, eh?
3
00:00:21,360 --> 00:00:22,440
Yeah.
4
00:01:01,150 --> 00:01:02,440
(YELLING)
5
00:01:02,770 --> 00:01:04,480
Yes, Jake! You got him, man!
6
00:01:04,570 --> 00:01:07,030
Ah! ... | null | 5401.28 | 2893.95 | 95.11 |
jaws_the_revenge | tt0093300 | 4drytBl_N424 | 1
00:00:00,530 --> 00:00:03,210
and spots the shark approaching with open jaws.
2
00:00:05,410 --> 00:00:08,890
The shark slams into the sub Jake.
3
00:00:09,050 --> 00:00:10,410
It forces the cabin open
4
00:00:10,410 --> 00:00:12,210
as Michael struggles to hang on.
5
00:00:13,250 --> 00:00:15,690
On the boat, Ja... | 1
00:00:00,370 --> 00:00:01,840
Michael looks around.
2
00:00:01,840 --> 00:00:03,720
The shark appears to his left.
3
00:00:05,800 --> 00:00:07,480
It butts into the sub.
4
00:00:09,400 --> 00:00:11,900
The sub rolls and the canopies torn off.
5
00:00:13,910 --> 00:00:16,040
The shark is visible through bubbles.
... | 1
00:00:03,150 --> 00:00:04,500
Shit!
2
00:00:07,990 --> 00:00:10,020
Jake!
3
00:00:12,030 --> 00:00:13,790
Jake!
4
00:00:15,500 --> 00:00:19,730
Michael! Michael!
5
00:00:21,710 --> 00:00:23,620
'Michael! '
6
00:00:28,420 --> 00:00:32,500
Michael, what's goin' on?
Michael, can you hear me?
7
00:00:35,680 --> 00:... | 1
00:00:03,300 --> 00:00:04,510
Shit!
2
00:00:08,180 --> 00:00:09,350
Jake!
3
00:00:12,020 --> 00:00:13,100
Jake!
4
00:00:15,520 --> 00:00:19,480
Michael! Michael!
5
00:00:21,730 --> 00:00:23,320
Michael!
6
00:00:28,320 --> 00:00:29,530
Michael, what's goin' on?
7
00:00:30,660 --> 00:00:32,280
Michael, can you he... | {"screenplay_scene_33": "<scene>\n <stage_direction>INT. WRECK - DAY</stage_direction>\n <scene_description>Michael swims into a corridor which is filled with light coming from one end . He turns and looks back at the hole . The shark is gone . He looks up and down the corridor , then starts swimming away from th... | 5401.28 | 3564.29 | 189.99 |
jaws_the_revenge | tt0093300 | kVmcb8yG1Gp_ | 1
00:00:01,080 --> 00:00:04,000
then spots the shark's dorsal fin approaching rapidly
2
00:00:04,000 --> 00:00:04,800
in the water.
3
00:00:08,560 --> 00:00:11,400
Carla and the crowd all turn to look out at the ocean,
4
00:00:11,400 --> 00:00:15,040
where the shark trails the banana boat and the small motor boat to... | 1
00:00:03,090 --> 00:00:05,800
A dorsal fin juts up out of the water.
2
00:00:08,310 --> 00:00:10,020
The dignitaries leaned forward.
3
00:00:10,020 --> 00:00:11,190
Carla turns
4
00:00:11,230 --> 00:00:12,940
Ellen runs across the sand.
5
00:00:15,120 --> 00:00:15,950
Carla mouths.
6
00:00:15,990 --> 00:00:16,91... | 1
00:00:06,210 --> 00:00:07,960
Thea!
2
00:00:14,840 --> 00:00:16,280
Oh, my God!
3
00:00:18,890 --> 00:00:20,120
Thea!
4
00:00:23,020 --> 00:00:26,090
Stop! Come back! Bring her back!
5
00:00:28,440 --> 00:00:29,710
Oh, my God!
6
00:00:44,620 --> 00:00:47,300
Stop! Thea! Thea!
7
00:00:47,460 --> 00:00:48,730
The... | 1
00:00:06,400 --> 00:00:07,820
Thea!
2
00:00:14,530 --> 00:00:15,950
Oh, my God!
3
00:00:18,830 --> 00:00:19,910
Thea!
4
00:00:20,210 --> 00:00:21,870
MAN: Get out of the water!
5
00:00:21,960 --> 00:00:25,880
Stop!
Come back! Bring her back!
6
00:00:28,380 --> 00:00:29,550
Oh, my God!
7
00:00:32,300 --> 00:00:3... | {"screenplay_scene_35": "<scene>\n <stage_direction>INT. HOUSE - BEDROOM - NIGHT</stage_direction>\n <scene_description>Michael sits bolt upright , as though he 's been discharged from a gun . He 's sweating . Carla sleeps peacefully next to him . He gets himself under control and leaves the bed . THE BATHROOM - ... | 5401.28 | 4038.08 | 93.48 |
jaws_the_revenge | tt0093300 | iiki_WtIPFqG | 1
00:00:03,280 --> 00:00:06,920
Ellen turns and spots the shark's dorsal fin in the water behind her.
2
00:00:07,080 --> 00:00:09,010
She gapes and grips the mast.
3
00:00:14,010 --> 00:00:16,170
She reaches down and shuts off the engine,
4
00:00:16,170 --> 00:00:17,730
then removes her sunglasses
5
00:00:17,730 --... | 1
00:00:04,030 --> 00:00:05,790
She looks out over the stern.
2
00:00:06,250 --> 00:00:10,340
She steadies herself on a boom as she sees the dorsal fin of the shark.
3
00:00:13,350 --> 00:00:14,390
She cuts the motor
4
00:00:14,390 --> 00:00:16,150
and removes her sunglasses.
5
00:00:17,980 --> 00:00:20,120
The sha... | 1
00:00:21,350 --> 00:00:23,660
Come and get me,
you son of a bitch.
2
00:00:29,940 --> 00:00:32,500
There she is.
That's her right there.
3
00:00:35,070 --> 00:00:36,660
Is that what I think it is?
4
00:00:38,910 --> 00:00:41,110
- Mom...
- Hold on!
5
00:00:51,920 --> 00:00:53,600
Oh!
6
00:01:08,610 --> 00:01:12,... | 1
00:00:21,670 --> 00:00:23,540
Come and get me,
you son of a bitch.
2
00:00:30,050 --> 00:00:32,470
There she is.
That's her right there.
3
00:00:35,260 --> 00:00:36,520
Is that what I think it is?
4
00:00:39,230 --> 00:00:40,890
Mom...
Hold on!
5
00:00:52,110 --> 00:00:53,370
(GASPS)
6
00:01:09,130 --> 00:01:10,... | {"screenplay_scene_41": "<scene>\n <stage_direction>INT. PLANE - DAY</stage_direction>\n <scene_description>Hoagie , Michael and Jake fly on in search of Ellen . Michael is raw nerve ends .</scene_description>\n <character>MICHAEL</character>\n <dialogue>Ca n't this thing go any faster?</dialogue>\n <cha... | 5401.28 | 4404.74 | 164.79 |
jaws_the_revenge | tt0093300 | FpkJSl_dKTO5 | 1
00:00:03,780 --> 00:00:05,220
She stares at the shark.
2
00:00:08,980 --> 00:00:11,140
Ellen goes over and flips on the starter.
3
00:00:20,780 --> 00:00:21,860
Hoagie turns the wheel
4
00:00:21,860 --> 00:00:23,460
and the boat swings around.
5
00:00:23,460 --> 00:00:25,940
Jake climbs onto the bowsprit with the... | 1
00:00:01,310 --> 00:00:01,770
Ellen.
2
00:00:01,770 --> 00:00:02,480
Stairs.
3
00:00:08,450 --> 00:00:10,330
Ellen goes and presses the starter.
4
00:00:21,070 --> 00:00:22,530
Hoagie spins the wheel.
5
00:00:29,090 --> 00:00:31,180
Jake climbs out along the bowsprit.
6
00:00:35,690 --> 00:00:38,110
Jake stands ... | 1
00:00:01,690 --> 00:00:04,160
Ellen, try the engine.
2
00:00:05,650 --> 00:00:07,960
Ellen! Try to start the engine!
3
00:00:12,910 --> 00:00:15,910
Son of a bitch.
Let's get out of here.
4
00:00:16,080 --> 00:00:20,120
No, it's too late, Hoagie.
Give me a hard port.
5
00:00:20,340 --> 00:00:22,060
Right!
6
00:0... | 1
00:00:02,050 --> 00:00:03,930
Ellen, try the engine.
2
00:00:05,800 --> 00:00:08,140
Ellen,
try to start the engine!
3
00:00:10,560 --> 00:00:11,560
Come on!
4
00:00:11,640 --> 00:00:12,980
(ENGINE STARTS)
5
00:00:13,060 --> 00:00:15,480
Son of a bitch.
Let's get out of here.
6
00:00:16,900 --> 00:00:19,040
JAKE... | {"screenplay_scene_45": "<scene>\n <stage_direction>INT. PLANE - DAY</stage_direction>\n <character>HOAGIE</character>\n <parenthetical>( still on the horn . )</parenthetical>\n <dialogue>A couple of boats, fast, and someone who knows how to kill a shark. A big one.</dialogue>\n <scene_description>He put... | 5401.28 | 4761.44 | 120.84 |
jaws_the_revenge | tt0093300 | X1ccWkflPSeY | 1
00:00:01,480 --> 00:00:02,920
Hoagie bails out more water
2
00:00:02,920 --> 00:00:04,840
as Michael aims the transmitter.
3
00:00:09,480 --> 00:00:11,360
The shark writhes in the water.
4
00:00:16,120 --> 00:00:19,160
Michael taps the transmitter as the shark approaches.
5
00:00:23,440 --> 00:00:25,160
He contin... | 1
00:00:03,630 --> 00:00:06,470
Michael fires the transmitter strobe link up
2
00:00:08,060 --> 00:00:08,930
as it flashes.
3
00:00:08,930 --> 00:00:11,060
The shark rises up out of the water.
4
00:00:11,360 --> 00:00:12,780
Michael fires again.
5
00:00:13,110 --> 00:00:14,280
The shark sinks.
6
00:00:17,120 --> 0... | 1
00:00:27,310 --> 00:00:30,380
Sweet Jesus,
we're headed straight for it!
2
00:00:30,570 --> 00:00:32,960
Ellen, come about!
3
00:00:39,120 --> 00:00:42,710
We're gonna hit it!
Hold on!
4
00:00:42,910 --> 00:00:44,390
Hold on!
5
00:00:45,670 --> 00:00:47,860
Smile, you son of a bitch!
6
00:01:14,480 --> 00:01:15,... | 1
00:00:05,520 --> 00:00:06,980
(HIGH-PITCHED WHINE)
2
00:00:08,230 --> 00:00:09,530
(GROWLING)
3
00:00:12,360 --> 00:00:13,780
(ROARING)
4
00:00:15,870 --> 00:00:17,120
(TAPPING)
5
00:00:27,380 --> 00:00:29,420
Sweet Jesus,
we're headed straight for it!
6
00:00:29,510 --> 00:00:30,970
Come about, Ellen!
7
00:00:... | {"screenplay_scene_45": "<scene>\n <stage_direction>INT. PLANE - DAY</stage_direction>\n <character>HOAGIE</character>\n <parenthetical>( still on the horn . )</parenthetical>\n <dialogue>A couple of boats, fast, and someone who knows how to kill a shark. A big one.</dialogue>\n <scene_description>He put... | 5401.28 | 4956.83 | 155.57 |
good_will_hunting | tt0119217 | mkIBPC824TIs | 1
00:00:18,580 --> 00:00:19,460
Will steps forward.
2
00:01:17,640 --> 00:01:17,840
Friend.
3
00:01:17,880 --> 00:01:19,400
The dark haired woman snickers to herself
4
00:01:19,400 --> 00:01:20,560
as the blonde man looks down.
5
00:01:43,920 --> 00:01:45,240
Will laughs to himself.
6
00:01:59,080 --> 00:02:00,120... | 1
00:00:01,080 --> 00:00:04,550
I was just hoping you might give me
some insight into the evolution...
2
00:00:04,630 --> 00:00:07,800
of the market economy
in the southern colonies.
3
00:00:07,880 --> 00:00:13,350
My contention is that prior to the
Revolutionary War, the economic modalities-
4
00:00:13,430 --> 00:0... | 1
00:00:01,240 --> 00:00:04,710
I was just hoping you might give me
some insight into the evolution...
2
00:00:04,780 --> 00:00:07,950
of the market economy
in the southern colonies.
3
00:00:08,020 --> 00:00:13,490
My contention is that
prior to the Revolutionary War,
the economic modalities...
4
00:00:13,550 --> 00... | {"screenplay_scene_20": "<scene>\n <stage_direction>INT. BACK SECTION, BOW AND ARROW -- MOMENTS LATER</stage_direction>\n <scene_description>Chuckie returns to a table where Will , Morgan and Billy have made themselves comfortable . He -LSB- Chuckie -RSB- spots two ATTRACTIVE YOUNG HARVARD WOMEN sitting together ... | 7606.78 | 1089.28 | 130.73 | |
good_will_hunting | tt0119217 | JJtuHONwLpEX | 1
00:00:04,990 --> 00:00:07,270
The two women walk across the bar and over to them.
2
00:00:14,990 --> 00:00:15,830
The blonde woman leaves,
3
00:00:15,830 --> 00:00:17,630
is the dark haired woman smiles at Will.
4
00:00:19,870 --> 00:00:21,550
Morgan leaves his Will smiles.
5
00:00:37,350 --> 00:00:38,190
They sh... | 1
00:00:01,380 --> 00:00:04,260
Later, Chuck and Billy are playing bar basketball.
2
00:00:04,470 --> 00:00:07,190
When the dark haired girl approaches Will and Morgan.
3
00:01:18,260 --> 00:01:19,180
The boys leave
4
00:01:19,230 --> 00:01:19,770
later.
5
00:01:31,560 --> 00:01:33,320
The uni boys are in a diner.
... | 1
00:00:02,130 --> 00:00:04,010
There it is.
2
00:00:04,130 --> 00:00:06,050
- Nice to meet you.
- They were fine, man.
3
00:00:06,090 --> 00:00:10,970
I was gonna close the deal, but then
Chuck-Billy insulted one of 'em-
4
00:00:11,060 --> 00:00:14,600
The heavyset girl said I had a receding
hairline, and I was a f... | 1
00:00:02,270 --> 00:00:04,140
There it is.
2
00:00:04,270 --> 00:00:06,170
- Nice to meet you.
- They were fine, man.
3
00:00:06,240 --> 00:00:11,110
I was gonna close the deal, but then
Chuck... Billy insulted one of ´em...
4
00:00:11,180 --> 00:00:14,750
The heavyset girl said I had
a receding hairline, and I wa... | {"screenplay_scene_21": "<scene>\n <stage_direction>INT. BOW AND ARROW, AT THE BAR -- LATER</stage_direction>\n <scene_description>Will sits with Morgan at the bar watching with some amusement as Chuckie and Billy play bar basketball game where the players shoot miniature balls at a small basket . In the B.G. occ... | 7606.78 | 1223.42 | 118.14 |
good_will_hunting | tt0119217 | Bno6xpyZ_a38 | 1
00:00:02,560 --> 00:00:05,040
Then walks to a painting of a small boat in choppy water.
2
00:00:18,200 --> 00:00:19,520
Sean walks over to him.
3
00:00:44,610 --> 00:00:46,650
Will turns to Sean, who shoots him a level stare.
4
00:01:28,650 --> 00:01:30,250
Will smokes and peers at the painting,
5
00:01:30,250 --... | 1
00:01:27,910 --> 00:01:29,790
We'll peers at the painting again.
2
00:01:30,460 --> 00:01:33,090
It depicts a lone sailor in rough seas.
3
00:02:04,070 --> 00:02:06,710
He slowly releases his grip on Will's throat.
4
00:02:07,670 --> 00:02:10,470
Will brushes past the downcast Psychologist
5
00:02:10,470 --> 00:0... | 1
00:00:01,500 --> 00:00:03,710
You paint that?
2
00:00:03,800 --> 00:00:05,720
- Yeah. Do you paint?
- Uh-uh.
3
00:00:05,800 --> 00:00:09,260
- Do you sculpt?
- No.
4
00:00:09,340 --> 00:00:11,680
Do you like art?
5
00:00:11,760 --> 00:00:16,060
- Do you like music?
- This is a real piece of shit.
6
00:00:16,140 ... | 1
00:00:01,580 --> 00:00:03,780
You paint that?
2
00:00:03,850 --> 00:00:05,790
- Yeah. Do you paint?
- Uh-uh.
3
00:00:05,850 --> 00:00:09,360
- Do you sculpt?
- No.
4
00:00:09,420 --> 00:00:11,760
Do you like art?
5
00:00:11,830 --> 00:00:16,130
- Do you like music?
- This is a real piece of shit.
6
00:00:16,200 ... | {"screenplay_scene_46": "<scene>\n <stage_direction>INT. SEAN'S OFFICE -- DAY</stage_direction>\n <scene_description>Sean 's office is comfortable . Books are stacked against the wall . There is a PAINTING on the wall behind Sean . Sean is seated behind a desk . Lambeau sits in a chair in the back of the room , n... | 7606.78 | 2397.44 | 135.26 |
good_will_hunting | tt0119217 | GF1nuLf0xgVw | 1
00:00:57,830 --> 00:00:59,350
Sean smiles knowingly.
2
00:02:16,410 --> 00:02:18,050
Will stares ahead intently.
3
00:02:30,690 --> 00:02:31,730
Will looks down.
| 1
00:00:00,080 --> 00:00:04,590
You're just a kid. You don't have the
faintest idea what you're talking about.
2
00:00:04,670 --> 00:00:07,760
- Why, thank you.
- It's all right.
3
00:00:07,840 --> 00:00:10,260
You've never been
out of Boston.
4
00:00:12,430 --> 00:00:14,390
Nope.
5
00:00:14,430 --> 00:00:16,660
So... | 1
00:00:00,170 --> 00:00:04,640
You´re just a kid. You don´t have the
faintest idea what you´re talking about.
2
00:00:04,740 --> 00:00:07,850
- Why, thank you.
- It´s all right.
3
00:00:07,910 --> 00:00:10,350
You´ve never been
out of Boston.
4
00:00:12,520 --> 00:00:14,450
Nope.
5
00:00:14,520 --> 00:00:16,730
So... | {"screenplay_scene_52": "<scene>\n <stage_direction>EXT. BOSTON COMMON -- MINUTES LATER</stage_direction>\n <scene_description>Sean and Will sit in the bleachers at the mostly empty park . They look out over a small pond , in which a group of schoolchildren on a field trip ride the famous Swan Boats .</scene_desc... | 7606.78 | 2831.39 | 179.82 | |
good_will_hunting | tt0119217 | O25GfZ3qOqBt | 1
00:00:29,580 --> 00:00:30,300
Well, looks down
2
00:00:30,300 --> 00:00:31,260
as Sean smirks.
3
00:00:59,710 --> 00:01:01,670
Will laughs hysterically and grimaces.
4
00:01:24,590 --> 00:01:25,550
Will looks to the side.
| 1
00:00:00,370 --> 00:00:02,870
Yeah, but this girl was, like,
you know, beautiful.
2
00:00:02,920 --> 00:00:07,340
She's smart. She's fun. She's different
from most of the girls I've been with.
3
00:00:07,380 --> 00:00:11,220
- So call her up, Romeo.
- Why, so I can realize she's not that smart.
4
00:00:11,300 --> ... | 1
00:00:00,430 --> 00:00:02,890
Yeah, but this girl was, like,
you know, beautiful.
2
00:00:02,960 --> 00:00:07,370
She´s smart. She´s fun. She´s different
from most of the girls l´ve been with.
3
00:00:07,430 --> 00:00:11,270
- So call her up, Romeo.
- Why, so I can realize
she´s not that smart.
4
00:00:11,340 --> ... | {"screenplay_scene_63": "<scene>\n <stage_direction>INT. SEAN'S OFFICE -- DAY</stage_direction>\n <scene_description>Will and Sean sit in silence . A long moment passes . Sean casually reclines in his chair , disinterested . Will restlessly looks around the room and then back to Sean . An odd half smile crosses S... | 7606.78 | 3378.50 | 125.53 | |
good_will_hunting | tt0119217 | KaMU2XQSmUoU | 1
00:00:37,920 --> 00:00:39,520
Sean stands and pretends to bat.
2
00:00:49,770 --> 00:00:50,890
Sean waves his arms.
3
00:00:52,250 --> 00:00:53,570
Will stands with a smile.
4
00:01:00,530 --> 00:01:03,050
Sean runs around the office as if he were rounding bases.
| 1
00:00:00,200 --> 00:00:03,580
So when did you know, like,
that she was the one for you?
2
00:00:03,660 --> 00:00:06,380
October 21, 1975.
3
00:00:06,460 --> 00:00:08,540
Jesus Christ.
You know the fuckin' day?
4
00:00:08,630 --> 00:00:13,630
Oh, yeah, 'cause it was game six of the
World Series, biggest game in Red... | 1
00:00:00,220 --> 00:00:03,590
So when did you know, like,
that she was the one for you?
2
00:00:03,660 --> 00:00:06,390
October 21, 1975.
3
00:00:06,460 --> 00:00:08,560
Jesus Christ.
You know the fuckin´ day?
4
00:00:08,630 --> 00:00:13,640
Oh, yeah, ´cause it was game six
of the World Series, biggest
game in Red... | {"screenplay_scene_69": "<scene>\n <stage_direction>INT. SEAN'S OFFICE -- DAY</stage_direction>\n <scene_description>Sean and Will in session .</scene_description>\n <character>SEAN</character>\n <dialogue>Really? How'd the date go?</dialogue>\n <character>WILL</character>\n <dialogue>Do you still cou... | 7606.78 | 3846.94 | 128.71 | |
good_will_hunting | tt0119217 | FLe1OGpPr5Oi | 1
00:01:23,010 --> 00:01:24,220
She takes a swig of beer,
2
00:01:25,540 --> 00:01:27,100
then lets it dribble down her chin.
3
00:01:29,980 --> 00:01:32,420
Will smiles at her with appreciation as she cracks up.
| 1
00:01:33,550 --> 00:01:35,470
She's giggling uncontrollably.
| 1
00:00:04,120 --> 00:00:06,330
He got away.
That's the point.
2
00:00:06,410 --> 00:00:09,580
- Well, question-
- Come on. Stop.
3
00:00:09,670 --> 00:00:12,460
- I'm tryin' to clarify somethin'.
- You're embarrassing him.
4
00:00:12,500 --> 00:00:15,000
- It doesn't make any sense.
- It does make sense,
5
00:00:1... | 1
00:00:04,090 --> 00:00:06,320
He got away.
That´s the point.
2
00:00:06,390 --> 00:00:09,560
- Well, question...
- Come on. Stop.
3
00:00:09,620 --> 00:00:12,430
- I´m tryin´ to clarify somethin´.
- You´re embarrassing him.
4
00:00:12,490 --> 00:00:15,000
- It doesn´t make any sense.
- It does make sense,
5
00:00... | null | 7606.78 | 4271.58 | 96.02 |
good_will_hunting | tt0119217 | GuyI4doU5fdx | 1
00:00:01,100 --> 00:00:01,980
then walks off.
2
00:00:10,140 --> 00:00:11,540
Jemmy returns to the table.
3
00:00:31,220 --> 00:00:31,900
Timmy chuckles
4
00:00:31,900 --> 00:00:32,740
and walks off.
5
00:00:38,060 --> 00:00:39,340
Young Timmy steps behind the bar
6
00:00:39,340 --> 00:00:40,780
and leans in to ... | 1
00:00:40,210 --> 00:00:40,540
Tim.
2
00:00:40,540 --> 00:00:41,510
Back at the bar.
| 1
00:00:03,170 --> 00:00:05,500
Just so you don't
get sticky fingers.
2
00:00:05,590 --> 00:00:08,050
Tim, can you help us?
3
00:00:08,090 --> 00:00:10,550
We're tryin'
to settle a bet.
4
00:00:10,590 --> 00:00:12,010
Uh-oh.
5
00:00:12,100 --> 00:00:15,520
- Ever heard of Jonas Salk?
- Sure. Cured polio.
6
00:00:1... | 1
00:00:03,140 --> 00:00:05,480
Just so you don´t
get sticky fingers.
2
00:00:05,550 --> 00:00:08,020
Tim, can you help us?
3
00:00:08,080 --> 00:00:10,520
We´re tryin´
to settle a bet.
4
00:00:10,580 --> 00:00:11,990
Uh-oh.
5
00:00:12,050 --> 00:00:15,490
- Ever heard of Jonas Salk?
- Sure. Cured polio.
6
00:00:1... | {"screenplay_scene_75": "<scene>\n <stage_direction>INT. TIMMY'S TAP -- DAY</stage_direction>\n <scene_description>Timmy 's Tap is a local watering hole , not unlike the L Street Bar . Sean is at the bar , telling a joke to TIMMY -LRB- 45 -RRB- the owner of the place , and several other REGULARS .</scene_descript... | 7606.78 | 4531.46 | 133.21 |
good_will_hunting | tt0119217 | 47vN2Xgk_RYB | 1
00:00:04,990 --> 00:00:06,230
He stands, looking offended.
2
00:00:20,470 --> 00:00:21,910
She stands and faces him.
3
00:00:59,280 --> 00:01:00,200
He purses his lips,
4
00:01:00,200 --> 00:01:01,640
then starts dressing himself.
5
00:01:12,840 --> 00:01:13,800
She turns tearful.
6
00:01:32,980 --> 00:01:34,020... | 1
00:01:57,400 --> 00:01:59,320
She gently kisses his forehead.
2
00:02:07,050 --> 00:02:09,060
He grabs his clothes and leaves.
3
00:02:09,520 --> 00:02:12,030
She doubles over, sobbing in agony.
| 1
00:00:00,650 --> 00:00:03,620
You live in this safe little world
where no one challenges you-
2
00:00:03,700 --> 00:00:07,620
Don't tell me about my world.
Don't tell me about my world.
3
00:00:07,660 --> 00:00:10,270
You just want to have your little fling
with the guy from the other side of town.
4
00:00:10,290 ... | 1
00:00:00,610 --> 00:00:03,580
You live in this safe little world
where no one challenges you...
2
00:00:03,650 --> 00:00:07,550
Don´t tell me about my world.
Don´t tell me about my world.
3
00:00:07,620 --> 00:00:10,230
You just want to have
your little fling with the guy
from the other side of town.
4
00:00:10,25... | {"screenplay_scene_81": "<scene>\n <stage_direction>INT. SKYLAR'S ROOM -- NIGHT</stage_direction>\n <scene_description>Will and Skylar lie in bed . Skylar watches Will sleep . She gets up and goes to the fridge . Returning to the bed :</scene_description>\n <character>SKYLAR</character>\n <dialogue>Will? Ar... | 7606.78 | 5085.95 | 137.81 |
good_will_hunting | tt0119217 | jRdDj5z0itrm | 1
00:00:26,440 --> 00:00:27,720
Now, in Sean's office.
| 1
00:00:01,070 --> 00:00:04,950
So the way I see it,
the question isn't:
2
00:00:05,040 --> 00:00:07,670
"Why should you work
for the N.S.A.?"
3
00:00:07,750 --> 00:00:10,210
The question is:
"Why shouldn't you?"
4
00:00:10,290 --> 00:00:14,170
Why shouldn't
I work for the N.S.A.?
5
00:00:14,260 --> 00:00:18,180
Th... | 1
00:00:01,020 --> 00:00:04,890
So the way I see it,
the question isn´t:
2
00:00:04,960 --> 00:00:07,630
"Why should you work
for the N.S.A.?"
3
00:00:07,690 --> 00:00:10,160
The question is:
"Why shouldn´t you?"
4
00:00:10,230 --> 00:00:14,130
Why shouldn´t
I work for the N.S.A.?
5
00:00:14,200 --> 00:00:18,140
Th... | {"screenplay_scene_92": "<scene>\n <stage_direction>INT. SEAN'S OFFICE -- NIGHT</stage_direction>\n <scene_description>Will sits across from Sean .</scene_description>\n <character>SEAN</character>\n <dialogue>So you might be working for Uncle Sam.</dialogue>\n <character>WILL</character>\n <dialogue>... | 7606.78 | 5574.21 | 121.16 | |
good_will_hunting | tt0119217 | TlTNl0i1KV80 | 1
00:02:03,110 --> 00:02:04,750
Chuckie swigs his beer and looks serious
2
00:02:04,750 --> 00:02:06,350
as Will stares at him with a frown.
| 1
00:02:02,960 --> 00:02:04,210
Chuck swigs his beer
2
00:02:04,210 --> 00:02:06,130
and tosses his cigarette butt.
3
00:02:06,130 --> 00:02:08,520
Will just stares at him, open mouthed.
4
00:02:09,140 --> 00:02:10,650
Chuck spits on the ground
5
00:02:10,650 --> 00:02:12,740
and picks up his hard hat and gloves.
| 1
00:00:00,500 --> 00:00:03,210
They gonna hook ya up
with a job or what?
2
00:00:03,300 --> 00:00:07,510
Yeah, fuckin' sit in a room and do
long division for the next 50 years.
3
00:00:07,590 --> 00:00:11,010
Nah, probably make
some nice bank though.
4
00:00:11,050 --> 00:00:13,060
I'm gonna be
a fuckin' lab rat.
... | 1
00:00:00,380 --> 00:00:03,110
They gonna hook ya up
with a job or what?
2
00:00:03,180 --> 00:00:07,420
Yeah, fuckin´ sit in a room and do
long division for the next 50 years.
3
00:00:07,490 --> 00:00:10,890
Nah, probably make
some nice bank though.
4
00:00:10,960 --> 00:00:12,920
I´m gonna be
a fuckin´ lab rat.
... | {"screenplay_scene_96": "<scene>\n <stage_direction>EXT. MAGGIORE BUILDER'S CONSTRUCTION SITE -- PARKING LOT</stage_direction>\n <scene_description>Chuckie is sitting on the hood of his Cadillac , watching Will across the street . Chuckie is covered in grime as well . Will starts walking towards Chuckie . As he d... | 7606.78 | 6112.83 | 132.80 |
good_will_hunting | tt0119217 | YDQJPzqjn50t | 1
00:00:00,360 --> 00:00:01,360
Sean looks down.
2
00:00:07,200 --> 00:00:09,480
In a flashback, a man stands on some steps.
3
00:01:01,660 --> 00:01:03,300
Sean steps to Will with the file.
4
00:01:21,310 --> 00:01:22,390
Well, looks at Sean.
5
00:01:42,510 --> 00:01:43,870
Sean steps closer to Will.
6
00:01:47,2... | 1
00:01:16,440 --> 00:01:18,030
He puts the file aside.
2
00:01:36,640 --> 00:01:38,140
Will look surprised.
3
00:01:50,890 --> 00:01:52,190
Sean moves closer.
4
00:02:08,240 --> 00:02:10,630
Will starts to sob into his hands.
5
00:02:18,950 --> 00:02:20,700
We'll hug Sean tightly.
6
00:02:31,200 --> 00:02:33,370
... | 1
00:00:02,930 --> 00:00:05,060
My father was an alcoholic.
2
00:00:05,100 --> 00:00:07,940
Mean fuckin' drunk.
3
00:00:09,570 --> 00:00:12,570
He'd come home hammered,
lookin' to whale on somebody.
4
00:00:12,610 --> 00:00:17,160
So I'd provoke him so he wouldn't go
after my mother and little brother.
5
00:00:17,2... | 1
00:00:02,790 --> 00:00:04,890
My father was an alcoholic.
2
00:00:04,990 --> 00:00:07,800
Mean fuckin´ drunk.
3
00:00:09,430 --> 00:00:12,400
He´d come home hammered,
lookin´ to whale on somebody.
4
00:00:12,500 --> 00:00:17,000
So l´d provoke him so he wouldn´t go
after my mother and little brother.
5
00:00:17,1... | {"screenplay_scene_101": "<scene>\n <stage_direction>INT. SEAN'S OFFICE -- DAY</stage_direction>\n <character>SEAN</character>\n <dialogue>Got ta go with the belt there.</dialogue>\n <character>WILL</character>\n <dialogue>I used to go with the wrench.</dialogue>\n <character>SEAN</character>\n <di... | 7606.78 | 6487.10 | 173.04 |
being_john_malkovich | tt0120601 | Ifl0woGeo36Z | 1
00:00:08,700 --> 00:00:10,020
A lift opens by Craig
2
00:00:10,020 --> 00:00:10,660
and he enters.
3
00:00:10,660 --> 00:00:13,500
He frowns at the number seven on a chart of numbers over the door.
4
00:00:13,540 --> 00:00:15,380
A woman presses a button for number 11
5
00:00:15,380 --> 00:00:16,300
and the lift ... | 1
00:00:11,610 --> 00:00:12,610
He gets in the lift
2
00:00:12,610 --> 00:00:14,450
and studies the panel of numbers.
3
00:00:14,450 --> 00:00:16,040
There is no seven and a half.
4
00:00:16,290 --> 00:00:17,630
He looks confused.
5
00:00:17,670 --> 00:00:18,380
A lady walks in
6
00:00:18,380 --> 00:00:20,260
and ... | 1
00:00:26,540 --> 00:00:28,250
Seven and a half, right?
2
00:00:28,340 --> 00:00:29,420
Uh, yeah.
3
00:00:29,500 --> 00:00:31,630
I'll take you through it.
4
00:00:50,230 --> 00:00:51,980
Seven and a half.
5
00:00:52,570 --> 00:00:54,150
Thank you.
6
00:01:26,940 --> 00:01:29,860
Welcome to Lestercorp.
How may we... | 1
00:00:06,190 --> 00:00:08,110
(ELEVATOR BELL DINGS)
2
00:00:26,540 --> 00:00:28,250
Seven and a half, right?
3
00:00:28,340 --> 00:00:29,420
Uh, yeah.
4
00:00:29,500 --> 00:00:31,630
I'll take you through it.
5
00:00:41,930 --> 00:00:43,640
(ALARM RINGING)
6
00:00:50,230 --> 00:00:51,980
Seven and a half.
7
00:... | {"screenplay_scene_28": "<scene>\n <stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction>\n <scene_description>The other man presses `` 9 . '' Craig studies the buttons . There is no `` 7 1/2 . ''</scene_description>\n <character>WOMAN #1</character>\n <dialogue>Seven and a half, right?</dialogue>\n ... | 6767.00 | 461.57 | 133.98 |
being_john_malkovich | tt0120601 | gYsKEyUgWg5B | 1
00:00:27,820 --> 00:00:29,980
White haired Lester stares at Craig for a moment,
2
00:00:29,980 --> 00:00:31,340
then smiles and nods.
3
00:00:49,980 --> 00:00:53,620
Lester draws the letter R on one piece of paper and a squiggle on another.
4
00:00:59,900 --> 00:01:01,300
Craig points at the squiggle.
5
00:01:15,... | 1
00:00:27,620 --> 00:00:35,480
Doctor Lester, an older man with greying hair, sits in an ordinary sized leather chair staring at Craig, who looks uncomfortable in his tiny seat.
2
00:00:50,940 --> 00:00:52,530
He scribbles on two pieces of paper
3
00:00:52,530 --> 00:00:53,490
and holds them up.
4
00:00:59,180 --> ... | 1
00:00:01,050 --> 00:00:03,470
Come in, Mr. Juarez.
2
00:00:04,930 --> 00:00:07,850
Actually, my name
is Craig Schwartz, Dr. Lester.
3
00:00:08,810 --> 00:00:11,140
- Security!
- No, sir, it's...
4
00:00:11,230 --> 00:00:14,110
It's just a little mix-up with your secretary.
My name is Craig Schwartz.
5
00:00:14,15... | 1
00:00:01,050 --> 00:00:03,470
Come in, Mr. Juarez.
2
00:00:04,930 --> 00:00:07,850
Actually, my name
is Craig Schwartz, Dr. Lester.
3
00:00:08,810 --> 00:00:11,140
- Security!
- No, sir, it's...
4
00:00:11,230 --> 00:00:14,110
It's just a little mix-up with your secretary.
My name is Craig Schwartz.
5
00:00:14,15... | {"screenplay_scene_31": "<scene>\n <stage_direction>INT. LESTER'S OFFICE - CONTINUOUS</stage_direction>\n <scene_description>Craig enters . Lester , a giant of an old man , sits hunched behind his tiny desk .</scene_description>\n <character>LESTER</character>\n <dialogue>Come in, Mr. Juarez. I'd stand, but... | 6767.00 | 597.09 | 143.57 |
being_john_malkovich | tt0120601 | en9WbmPNjka7 | 1
00:00:03,780 --> 00:00:04,740
The lights go off.
2
00:00:07,580 --> 00:00:08,340
The TV plays,
3
00:00:08,340 --> 00:00:09,740
a video text appears.
4
00:00:11,700 --> 00:00:13,220
The seventh and a half floor.
5
00:00:15,540 --> 00:00:16,740
Images of New York.
| 1
00:00:00,890 --> 00:00:02,060
the television switches on,
2
00:00:02,060 --> 00:00:06,200
and an old, grainy film plays, the title of which is the seven and a Half floor.
| 1
00:00:17,580 --> 00:00:20,460
Welcome to the seven and a half
floor of the Mertin Flemmer Building.
2
00:00:20,550 --> 00:00:22,670
As you'll now be spending
your work day here,
3
00:00:22,760 --> 00:00:26,800
it is important that you learn a bit
about the history of this famous floor.
4
00:00:26,890 --> 00:00:28,... | 1
00:00:05,780 --> 00:00:07,160
(SIGHS)
2
00:00:07,410 --> 00:00:09,200
(MUSIC PLAYING ON TV)
3
00:00:17,580 --> 00:00:20,500
MAN: Welcome to the seven and a half
floor of the Mertin Flemmer Building.
4
00:00:20,550 --> 00:00:22,670
As you'll now be spending
your work day here,
5
00:00:22,760 --> 00:00:26,800
it is... | {"screenplay_scene_33": "<scene>\n <stage_direction>EXT. OFFICE BUILDING - DAY</stage_direction>\n <scene_description>We tilt up the building . MUSIC : Perky Industrial Film Music . TITLE : The 7 1/2 Floor</scene_description>\n <character>NARRATOR</character>\n <parenthetical>( 0 .</parenthetical>\n <par... | 6767.00 | 751.81 | 133.03 |
being_john_malkovich | tt0120601 | kvtvYtDYiy72 | 1
00:00:32,610 --> 00:00:33,690
Craig's on a call.
2
00:00:43,290 --> 00:00:45,290
He holds a finger up to the beautiful woman.
3
00:01:00,970 --> 00:01:02,090
His smile falls.
4
00:01:18,850 --> 00:01:19,850
He frowns at her.
5
00:02:09,610 --> 00:02:10,370
The juice bar.
| 1
00:00:32,040 --> 00:00:34,540
Hunched over, Craig speaks on a payphone in the corridor.
2
00:00:42,910 --> 00:00:44,240
The attractive woman walks past
3
00:00:44,240 --> 00:00:45,960
and Craig signals for her to wait.
4
00:01:00,290 --> 00:01:01,670
He looks at her flummoxed.
5
00:01:17,850 --> 00:01:19,520
He s... | 1
00:00:00,380 --> 00:00:03,880
I want to feel Florie's
naked thighs next to mine.
2
00:00:04,500 --> 00:00:09,130
I want my body to inspire lust in
that beautiful, complex woman.
3
00:00:09,590 --> 00:00:14,810
I want her to shiver with a spasm of ecstasy,
Schwartz, as I penetrate her wet...
4
00:00:14,890 --> 00:0... | 1
00:00:00,380 --> 00:00:03,880
I want to feel Florie's
naked thighs next to mine.
2
00:00:04,500 --> 00:00:09,130
I want my body to inspire lust in
that beautiful, complex woman.
3
00:00:09,590 --> 00:00:14,810
I want her to shiver with a spasm of ecstasy,
Schwartz, as I penetrate her wet...
4
00:00:14,890 --> 00:0... | {"screenplay_scene_47": "<scene>\n <stage_direction>INT. FILE ROOM - MORNING</stage_direction>\n <scene_description>Craig files . Floris watches him from the doorway . Dr. Lester watches Floris from behind a cabinet .</scene_description>\n <character>FLORIS</character>\n <dialogue>Oh, what magic those finge... | 6767.00 | 1105.73 | 130.40 |
being_john_malkovich | tt0120601 | JgeAJ57gXWV7 | 1
00:00:27,730 --> 00:00:28,010
It's
2
00:00:29,410 --> 00:00:30,410
the man shrugs.
3
00:00:40,010 --> 00:00:42,530
The large, bespectacled man hands Hans Maxine the cash.
4
00:00:42,530 --> 00:00:43,290
Then she counts it
5
00:00:43,290 --> 00:00:44,890
as Craig opens the small door.
6
00:00:56,330 --> 00:00:58,... | 1
00:00:29,770 --> 00:00:31,520
The man is struggling not to cry.
2
00:00:41,640 --> 00:00:42,560
He hands over the money
3
00:00:42,560 --> 00:00:43,940
and Maxine counts it.
4
00:00:44,230 --> 00:00:45,910
Craig opens the portal door.
5
00:00:55,850 --> 00:00:58,520
Craig and Maxine watch as he slowly crawls insi... | 1
00:00:00,310 --> 00:00:04,690
Now, when you say that I can be somebody
else, what do you mean exactly?
2
00:00:05,110 --> 00:00:07,690
Well, we mean exactly that.
3
00:00:08,690 --> 00:00:12,700
We can put you inside someone
else's body for 15 minutes.
4
00:00:13,660 --> 00:00:16,030
Can I be anybody
that I wanna ... | 1
00:00:00,310 --> 00:00:04,690
Now, when you say that I can be somebody
else, what do you mean exactly?
2
00:00:05,110 --> 00:00:07,690
Well, we mean exactly that.
3
00:00:08,690 --> 00:00:12,700
We can put you inside someone
else's body for 15 minutes.
4
00:00:13,660 --> 00:00:16,030
Can I be anybody
that I wanna ... | null | 6767.00 | 2933.54 | 131.89 |
being_john_malkovich | tt0120601 | wYzLhczNWhiO | 1
00:00:31,080 --> 00:00:32,520
Malkovich shuts a curtain.
| 1
00:00:00,010 --> 00:00:01,970
No, man, I'm sorry to...
2
00:00:02,050 --> 00:00:04,470
I'm sorry to have
called you like that,
3
00:00:04,560 --> 00:00:07,220
but I was just really,
really scared.
4
00:00:07,480 --> 00:00:09,140
I was so freaked out.
5
00:00:09,230 --> 00:00:14,320
I mean, it was like somebody wa... | 1
00:00:00,010 --> 00:00:01,970
No, man, I'm sorry to...
2
00:00:02,050 --> 00:00:04,470
I'm sorry to have
called you like that,
3
00:00:04,560 --> 00:00:07,220
but I was just really,
really scared.
4
00:00:07,480 --> 00:00:09,140
I was so freaked out.
5
00:00:09,230 --> 00:00:14,320
I mean, it was like somebody wa... | {"screenplay_scene_114": "<scene>\n <stage_direction>INT. MALKOVICH'S APARTMENT - NIGHT</stage_direction>\n <scene_description>Malkovich paces nervously , a glass of whisky in his hand . Kevin Bacon sits on the couch and fiddles with a Rubic 's Cube .</scene_description>\n <character>MALKOVICH</character>\n ... | 6767.00 | 3853.09 | 98.66 | |
being_john_malkovich | tt0120601 | IaENeSemxmSp | 1
00:00:07,240 --> 00:00:08,200
He opens the door
2
00:00:08,200 --> 00:00:10,200
and hurries through the office after the crowd.
3
00:00:14,760 --> 00:00:17,360
He approaches a man at the back of a line in a corridor.
4
00:00:29,920 --> 00:00:31,320
Malkovich turns his head.
5
00:00:39,080 --> 00:00:41,560
Malkovi... | 1
00:00:00,300 --> 00:00:04,060
and comes across a door with a handwritten J.M. ink sign attached to the front.
2
00:00:10,080 --> 00:00:10,960
He heads inside
3
00:00:10,960 --> 00:00:13,130
and scurries to catch up with the line of men.
4
00:00:13,340 --> 00:00:14,930
With a look of concern, he approaches.
5
00:0... | 1
00:00:19,050 --> 00:00:20,170
Excuse me, sir.
2
00:00:20,260 --> 00:00:24,300
Exactly what, uh, type of service
does this company provide?
3
00:00:24,550 --> 00:00:27,430
You get to be John Malkovich
for 15 minutes.
4
00:00:27,930 --> 00:00:29,890
Two hundred clams.
5
00:00:32,140 --> 00:00:33,520
I see.
6
00:00... | 1
00:00:19,050 --> 00:00:20,170
Excuse me, sir.
2
00:00:20,260 --> 00:00:24,300
Exactly what, uh, type of service
does this company provide?
3
00:00:24,550 --> 00:00:27,430
You get to be John Malkovich
for 15 minutes.
4
00:00:27,930 --> 00:00:29,890
Two hundred clams.
5
00:00:32,140 --> 00:00:33,520
I see.
6
00:00... | {"screenplay_scene_116": "<scene>\n <stage_direction>INT. 7 1/2 FLOOR - MORNING</stage_direction>\n <scene_description>The elevator doors are pried open . It 's packed . Maxine and a few other people climb out . The last to emerge is Malkovich . He is astounded by the dimensions of the floor . He turns the corner... | 6767.00 | 4025.41 | 133.35 |
being_john_malkovich | tt0120601 | eCsDlZKZYRQC | 1
00:00:07,520 --> 00:00:08,600
He stares ahead.
2
00:00:16,720 --> 00:00:18,040
And watches the door slam shut,
3
00:00:18,040 --> 00:00:19,360
then slides along the tunnel.
4
00:00:19,400 --> 00:00:22,920
He's sitting at a table in a restaurant opposite a woman in a low cut dress.
5
00:00:22,920 --> 00:00:24,360
... | 1
00:00:06,560 --> 00:00:10,070
As the door slams shut, he sucked through the portal into his own body.
2
00:00:10,070 --> 00:00:11,740
SAT at a table in a restaurant.
3
00:00:17,380 --> 00:00:19,220
We see through Malkovich's eyes.
4
00:00:19,260 --> 00:00:21,520
A sexy woman sat in front of him.
5
00:00:21,520 --... | 1
00:00:24,400 --> 00:00:26,280
Malkovich.
2
00:00:27,070 --> 00:00:28,990
Malkovich, Malkovich.
3
00:00:30,490 --> 00:00:32,450
Malkovich, Malkovich.
4
00:00:32,580 --> 00:00:34,950
Malkovich, Malkovich,
Malkovich?
5
00:00:35,040 --> 00:00:36,910
Malkovich, Malkovich.
6
00:00:37,250 --> 00:00:38,660
Malkovich?
7... | 1
00:00:03,590 --> 00:00:05,050
(SQUISHING)
2
00:00:05,170 --> 00:00:06,510
(WHIMPERING)
3
00:00:11,050 --> 00:00:12,510
(WIND RUSHING)
4
00:00:12,600 --> 00:00:14,060
(GASPS)
5
00:00:17,480 --> 00:00:19,270
(PEOPLE CHATTERING)
6
00:00:20,560 --> 00:00:22,150
(PIANO PLAYING)
7
00:00:24,400 --> 00:00:26,280
Malkov... | null | 6767.00 | 4165.41 | 134.03 |
being_john_malkovich | tt0120601 | ZFY3ZGBJL_KW | 1
00:00:16,550 --> 00:00:18,510
He loads a CD into a stereo.
2
00:00:28,350 --> 00:00:31,030
She watches him stand with a blanket wrapped around his waist
3
00:00:31,030 --> 00:00:32,030
and lifting an arm.
4
00:00:38,230 --> 00:00:39,950
Malkovich walks away from Maxine,
5
00:00:39,950 --> 00:00:40,710
rubbing his... | 1
00:00:14,190 --> 00:00:15,570
He wraps a sheet around his middle
2
00:00:15,570 --> 00:00:16,450
and grabs a CD
3
00:00:16,450 --> 00:00:17,790
and puts it on a stereo.
4
00:00:29,060 --> 00:00:31,280
He walks eagerly into the middle of the bedroom.
5
00:00:38,300 --> 00:00:39,770
He stands with his back to her
... | 1
00:00:02,250 --> 00:00:04,340
You mean, with Malkovich?
2
00:00:04,880 --> 00:00:07,050
- I'd love to see your work.
- Really?
3
00:00:07,130 --> 00:00:08,760
- Uh-huh.
- Yeah?
4
00:00:10,800 --> 00:00:12,100
Okay.
5
00:00:21,230 --> 00:00:27,240
This is something that I call "Craig's
Dance of Despair and Disillu... | 1
00:00:02,250 --> 00:00:04,340
You mean, with Malkovich?
2
00:00:04,880 --> 00:00:07,050
- I'd love to see your work.
- Really?
3
00:00:07,130 --> 00:00:08,760
- Uh-huh.
- Yeah?
4
00:00:10,800 --> 00:00:12,100
Okay.
5
00:00:21,230 --> 00:00:27,240
This is something that I call "Craig's
Dance of Despair and Disillu... | {"screenplay_scene_127": "<scene>\n <stage_direction>INT. MALKOVICH'S BEDROOM - NIGHT</stage_direction>\n <scene_description>Malkovich and Maxine lie naked on the bed , looking quite relaxed .</scene_description>\n <character>MAXINE</character>\n <dialogue>You still there, sweets?</dialogue>\n <character... | 6767.00 | 4971.84 | 134.19 |
being_john_malkovich | tt0120601 | iPMLpBVk3i2y | 1
00:00:00,020 --> 00:00:02,610
And so it was that just
eight short months ago,
2
00:00:02,690 --> 00:00:04,780
John Malkovich
dropped the bombshell
3
00:00:04,860 --> 00:00:07,820
that sent shock waves through
the entertainment community.
4
00:00:07,900 --> 00:00:10,280
Turning his back on
his former profession,
5... | 1
00:00:00,020 --> 00:00:02,610
And so it was that just
eight short months ago,
2
00:00:02,690 --> 00:00:04,780
John Malkovich
dropped the bombshell
3
00:00:04,860 --> 00:00:07,820
that sent shock waves through
the entertainment community.
4
00:00:07,900 --> 00:00:10,280
Turning his back on
his former profession,
5... | {"screenplay_scene_130": "<scene>\n <stage_direction>INT. AGENT'S OFFICE - DAY</stage_direction>\n <scene_description>A slick - looking agent answers a buzzing phone .</scene_description>\n <character>AGENT</character>\n <dialogue>Of course, send him right in. Do n't ever keep him waiting again. Do you unde... | 6767.00 | 5359.46 | 131.10 | ||
being_john_malkovich | tt0120601 | AlZNQoUW_3EL | 1
00:00:18,400 --> 00:00:20,280
Malkovich breathes into the receiver.
2
00:00:23,560 --> 00:00:24,720
His head lolls back.
3
00:00:24,720 --> 00:00:26,080
Craig falls into the ditch.
4
00:00:26,080 --> 00:00:27,080
Back with Lester.
5
00:00:33,280 --> 00:00:34,800
Lester smiles at his friends.
6
00:00:34,800 --> 0... | 1
00:00:19,250 --> 00:00:22,600
He falls from out of nowhere into the ditch at the side of the road.
2
00:00:26,990 --> 00:00:27,820
At the office.
3
00:00:34,260 --> 00:00:36,480
Craig lies in the ditch, covered in mud,
4
00:00:36,480 --> 00:00:39,990
clutching hold of the piece of wood he first entered the portal ... | 1
00:00:02,040 --> 00:00:03,660
Please don't kill Maxine.
2
00:00:03,750 --> 00:00:04,790
So you'll leave?
3
00:00:04,880 --> 00:00:07,040
Yes, I said...
I, uh... I am leaving.
4
00:00:07,130 --> 00:00:10,840
All right. Do it now while I'm
on the phone so I can hear
5
00:00:11,220 --> 00:00:12,880
and your lovely b... | 1
00:00:02,040 --> 00:00:03,660
Please don't kill Maxine.
2
00:00:03,750 --> 00:00:04,790
So you'll leave?
3
00:00:04,880 --> 00:00:07,040
Yes, I said...
I, uh... I am leaving.
4
00:00:07,130 --> 00:00:10,840
All right. Do it now while I'm
on the phone so I can hear
5
00:00:11,220 --> 00:00:12,880
and your lovely b... | {"screenplay_scene_162": "<scene>\n <stage_direction>INT. CRAIG AND MAXINE'S OFFICE - CONTINUOUS</stage_direction>\n <scene_description>Lester is surrounded by all the Malkovichians . He holds the walkie - talkie , has just received word . He nods , and the Malkovichians crawl in single file into the portal , whi... | 6767.00 | 6077.41 | 133.45 |
fletch | tt0089155 | i8VwIsseklLh | 1
00:00:04,380 --> 00:00:05,740
Larry scratches his shoulder.
2
00:00:37,340 --> 00:00:38,660
Larry advances the view.
3
00:00:52,180 --> 00:00:54,300
Later, Fletch sits on an exam table.
| 1
00:00:00,170 --> 00:00:01,840
OK. A little lighter.
2
00:00:01,930 --> 00:00:03,840
Can you go higher?
3
00:00:03,930 --> 00:00:06,930
Over to the right.
Higher. Perfect.
4
00:00:07,010 --> 00:00:10,020
Nice and hard.
That's good. Thank you.
5
00:00:10,100 --> 00:00:12,100
- That it?
- Perfect.
6
00:00:12,190 --... | 1
00:00:01,710 --> 00:00:03,380
Okay. Can you go higher?
2
00:00:03,450 --> 00:00:04,750
That's good.
Over to the right.
3
00:00:04,920 --> 00:00:06,720
Higher. Higher. Perfect.
4
00:00:06,790 --> 00:00:08,650
Perfect. Nice and hard.
Yeah, yeah, yeah.
5
00:00:08,990 --> 00:00:10,100
Okay, that's good.
Thank you.
6... | {"screenplay_scene_15": "<scene>\n <stage_direction>INT. DOCTOR'S EXAMINING ROOM - DAY</stage_direction>\n <scene_description>Fletch, stripped to the waist. is being examined by Dr. Joseph Dolen, a rather imperious physician.</scene_description>\n <character>DR. DOLEN</character>\n <dialogue>So where do you... | 5890.21 | 819.01 | 54.31 | |
fletch | tt0089155 | IwjGXASRbVHT | 1
00:00:14,240 --> 00:00:15,840
The doctor sets down a clipboard.
2
00:01:00,180 --> 00:01:03,380
I bet he puts a blood pressure cuff on Fletcher's arm.
3
00:01:48,830 --> 00:01:50,190
Dolan dons a rubber glove.
4
00:01:59,550 --> 00:02:02,150
As Fletch bends over, the doctor steps behind him.
| 1
00:00:03,240 --> 00:00:04,820
No, that's Babar.
2
00:00:06,320 --> 00:00:07,410
Two B's?
3
00:00:08,410 --> 00:00:10,240
One "B."
B-A-B-A-R.
4
00:00:10,330 --> 00:00:12,580
- That's two.
- Yeah, but not together.
5
00:00:12,660 --> 00:00:14,580
I thought
that's what you meant.
6
00:00:17,580 --> 00:00:19,000
Arn... | 1
00:00:00,290 --> 00:00:03,050
Now, how long have you had
these pains, Mr. Barber?
2
00:00:03,120 --> 00:00:04,490
No, that's Babar.
3
00:00:06,360 --> 00:00:07,450
Two "B's"?
4
00:00:08,130 --> 00:00:10,030
One "B." B-A-B-A-R.
5
00:00:10,100 --> 00:00:11,150
That's two.
6
00:00:11,230 --> 00:00:15,170
Yeah, but ... | {"screenplay_scene_15": "<scene>\n <stage_direction>INT. DOCTOR'S EXAMINING ROOM - DAY</stage_direction>\n <scene_description>Fletch, stripped to the waist. is being examined by Dr. Joseph Dolen, a rather imperious physician.</scene_description>\n <character>DR. DOLEN</character>\n <dialogue>So where do you... | 5890.21 | 892.61 | 159.17 | |
fletch | tt0089155 | zW_dOFfQ_tYl | 1
00:00:08,180 --> 00:00:10,660
In the next room, a pathologist stands over a body
2
00:00:10,660 --> 00:00:11,740
and gestures to Fletch,
3
00:00:11,740 --> 00:00:13,620
who walks over as he begins sawing.
4
00:00:36,880 --> 00:00:37,600
Fletch twitches.
5
00:00:37,600 --> 00:00:38,360
Queasily.
6
00:00:38,360 --... | 1
00:00:58,280 --> 00:01:00,650
Fletch wakes up on a brown striped couch.
| 1
00:00:02,050 --> 00:00:04,970
Give me a hand, Doctor.
2
00:00:05,050 --> 00:00:06,860
Me?
3
00:00:06,880 --> 00:00:08,510
Come on!
4
00:00:14,020 --> 00:00:15,230
Yeah.
5
00:00:19,230 --> 00:00:21,650
Have you ever seen a spleen
that large?
6
00:00:21,730 --> 00:00:24,950
No, not since breakfast.
7
00:00:25,070... | 1
00:00:02,210 --> 00:00:05,340
Hey, you. Give me a hand
for a second,
will you, Doctor?
2
00:00:05,850 --> 00:00:06,940
Me?
3
00:00:07,010 --> 00:00:08,170
Come on! Come on!
4
00:00:08,250 --> 00:00:09,610
(LOUD WHIRRING)
5
00:00:14,090 --> 00:00:15,350
Yeah.
6
00:00:19,460 --> 00:00:21,620
Have you ever seen
a s... | {"screenplay_scene_18": "<scene>\n <stage_direction>INT. PATHOLOGY DEPARTMENT - DAY</stage_direction>\n <scene_description>It's at the end of a long hall, and adjacent to the Autopsy Room and the Pathology Records Room. Over his shoulder we can see into the autopsy room where a gowned doctor is happily performing... | 5890.21 | 1135.30 | 105.23 |
fletch | tt0089155 | gW44zSEi_UD4 | 1
00:00:01,400 --> 00:00:04,920
As Fletch approaches the gate, the dog bounces on the other side of the fence.
2
00:00:21,000 --> 00:00:22,520
The dog jumps against the fence
3
00:00:22,520 --> 00:00:25,010
as Fletch moves slowly toward the side of the yard.
4
00:00:28,730 --> 00:00:32,130
He looks up and spots a tr... | 1
00:00:28,290 --> 00:00:33,670
Fletch looks at a rotating wind turbine above the wire fence and a tall tree nearby.
2
00:00:37,470 --> 00:00:40,140
He climbs up the fence onto the tree,
3
00:00:40,140 --> 00:00:41,930
then onto the roof of the house.
4
00:00:55,610 --> 00:00:56,990
Keeping an eye on the dog.
5
00:... | 1
00:00:07,330 --> 00:00:08,870
Hello!
2
00:00:08,960 --> 00:00:10,710
Anybody home?
3
00:00:11,790 --> 00:00:15,800
Hey, fella, what's your name?
Fluff? Fifi?
4
00:00:16,960 --> 00:00:18,260
All right.
5
00:00:19,550 --> 00:00:20,720
Bad dog.
6
00:01:44,550 --> 00:01:45,970
Sit.
7
00:02:15,000 --> 00:02:16,420
S... | 1
00:00:07,330 --> 00:00:09,890
Hello. Anybody home?
2
00:00:12,200 --> 00:00:15,690
Hey there, fella,
what's your name?
Fluff? Fifi?
3
00:00:16,910 --> 00:00:18,070
All right.
4
00:00:19,510 --> 00:00:20,700
Bad dog.
5
00:00:54,780 --> 00:00:56,800
(DOG GROWLING)
6
00:01:44,490 --> 00:01:45,590
Sit.
7
00:02:08,5... | {"screenplay_scene_35": "<scene>\n <stage_direction>EXT. SWARTHOUT REALTY - NIGHT</stage_direction>\n <scene_description>Fletch stops his car in front of the ranch-style house. A lighted sign in the yard indicate that this is indeed Swarthout Realty, but the house is dark; no one appears to be home. Somewhere in ... | 5890.21 | 2308.35 | 180.07 |
fletch | tt0089155 | CfveTOL9TVWa | 1
00:00:05,320 --> 00:00:06,960
Two men shove him against a wall.
2
00:00:09,480 --> 00:00:09,680
One.
3
00:00:09,680 --> 00:00:10,920
Detective Frisks him.
4
00:00:15,840 --> 00:00:16,840
He drops a baggie.
5
00:00:33,880 --> 00:00:37,120
Later, Gene and his partner haul Fletch into a police station.
6
00:00:37,2... | 1
00:00:34,200 --> 00:00:37,910
A detective holding each arm Fletch is led into a police station.
2
00:01:14,280 --> 00:01:15,490
Fletch sits in a chair,
3
00:01:15,490 --> 00:01:17,620
the two detectives standing behind him.
4
00:01:18,120 --> 00:01:20,410
The chief continues writing at his desk.
5
00:01:20,910 --... | 1
00:00:00,980 --> 00:00:02,490
Surprise!
2
00:00:02,570 --> 00:00:04,900
- What the hell's...
- Police. Spread 'em!
3
00:00:07,160 --> 00:00:09,490
- Got a gun?
- Shamu's got one. Borrow his.
4
00:00:10,660 --> 00:00:12,830
- What have we here?
- That's my dick.
5
00:00:12,910 --> 00:00:14,830
Oh, funny boy.
6
00... | 1
00:00:00,920 --> 00:00:02,410
MAN: Surprise!
2
00:00:02,490 --> 00:00:04,220
What the hell's...
Move!
3
00:00:04,390 --> 00:00:05,860
Police. Spread 'em!
4
00:00:06,990 --> 00:00:07,990
Got a gun, creep?
5
00:00:08,060 --> 00:00:09,760
Shamu's got one.
Borrow his.
6
00:00:10,930 --> 00:00:12,730
What have we her... | {"screenplay_scene_44": "<scene>\n <stage_direction>INT. APARTMENT</stage_direction>\n <scene_description>Fletch is spread-eagled on the floor. Two huge Cops are over him, one holding a gun to his head, the other going through his clothes.</scene_description>\n <character>COP #1</character>\n <parenthetical... | 5890.21 | 2521.54 | 127.90 |
fletch | tt0089155 | LlmVM_ty9f9d | 1
00:00:00,410 --> 00:00:01,970
He moves around a private jet
2
00:00:01,970 --> 00:00:05,530
as two men wearing Boyd aviation jumpsuits work on a plane next to it.
3
00:00:06,290 --> 00:00:07,370
He turns around.
4
00:00:45,370 --> 00:00:47,180
Fletch moves to the jet's open door
5
00:00:47,180 --> 00:00:48,020
an... | 1
00:00:45,390 --> 00:00:45,770
Fletch.
2
00:00:45,810 --> 00:00:46,930
Looks into the plane.
3
00:01:11,380 --> 00:01:13,630
The mechanic looks at Fletch suspiciously.
| 1
00:00:05,910 --> 00:00:07,910
Hey!
2
00:00:08,000 --> 00:00:10,920
- You the guy from Ajax?
- Yeah, you bet.
3
00:00:11,000 --> 00:00:12,080
All right.
4
00:00:12,170 --> 00:00:14,150
- Thought you were bringing the eight?
- They're coming.
5
00:00:14,170 --> 00:00:17,920
I'm the supervisor.
I don't carry the stu... | 1
00:00:05,700 --> 00:00:06,790
Hey!
2
00:00:07,900 --> 00:00:09,000
You the guy from Ajax?
3
00:00:09,070 --> 00:00:10,230
Yeah, you bet.
4
00:00:10,940 --> 00:00:12,000
All right.
5
00:00:12,070 --> 00:00:13,420
I thought you were bringing
the eighth.
6
00:00:13,440 --> 00:00:15,640
Yeah. They're on their way.
I... | null | 5890.21 | 2928.03 | 126.76 |
fletch | tt0089155 | QWyPzOyVoZpk | 1
00:00:00,110 --> 00:00:01,370
Now at the tennis club.
2
00:00:34,930 --> 00:00:37,610
Fletch walks along a path through a neatly manicured lawn,
3
00:00:37,610 --> 00:00:38,970
reaches a cabanas porch
4
00:00:38,970 --> 00:00:40,170
and knocks on the door.
5
00:00:41,450 --> 00:00:42,890
Gail appears in a towel.
... | 1
00:00:32,380 --> 00:00:33,220
Nicest place
2
00:00:34,340 --> 00:00:35,600
wearing tennis whites.
3
00:00:35,640 --> 00:00:37,890
Fletch knocks at the door of a small bungalow.
4
00:01:43,370 --> 00:01:44,710
Fletch walks towards the door
5
00:01:44,790 --> 00:01:45,710
and opens it.
| 1
00:00:00,340 --> 00:00:01,650
Buenos dias, senor.
2
00:00:01,670 --> 00:00:03,480
Hi. Where's
Mrs. Stanwyk?
3
00:00:03,510 --> 00:00:04,930
In her cabana.
4
00:00:05,010 --> 00:00:07,350
I'm supposed to meet her.
Cabana six?
5
00:00:07,430 --> 00:00:10,520
Cabana one. You would like
something to eat or drink?
6
... | 1
00:00:00,240 --> 00:00:01,470
(GREETING IN SPANISH)
2
00:00:01,640 --> 00:00:03,400
Oh, hi.
Where's Mrs. Stanwyk?
3
00:00:03,480 --> 00:00:04,870
In her cabana, senor.
4
00:00:04,940 --> 00:00:07,210
Oh, yeah. I'm supposed
to meet her in the cabana 6,
right?
5
00:00:07,280 --> 00:00:08,750
Cabana 1.
One. Right.
... | {"screenplay_scene_48": "<scene>\n <stage_direction>EXT. RACQUET CLUB</stage_direction>\n <scene_description>Fletch again appears in his tennis whites and walks familiarly toward the patio. Rich people are having lunch. Fletch stops the waiter.</scene_description>\n <character>FLETCH</character>\n <dialogue... | 5890.21 | 3148.58 | 128.01 |
fletch | tt0089155 | QPtOWWbrsOCU | 1
00:00:10,970 --> 00:00:14,050
Fletch stands in a field service cap as the police move in closer.
2
00:01:06,150 --> 00:01:07,470
Fletch takes the microphone.
3
00:01:18,790 --> 00:01:21,190
The policemen moved between tables toward the podium.
4
00:01:49,510 --> 00:01:52,510
Men and women rise from their seats sur... | 1
00:00:00,560 --> 00:00:03,150
our very own
and beloved leader...
2
00:00:03,230 --> 00:00:05,740
A man who needs
no introduction!
3
00:00:05,820 --> 00:00:06,900
Thank you very much, Sammy.
4
00:00:06,990 --> 00:00:08,460
I couldn't wait.
5
00:00:08,490 --> 00:00:11,320
That was a very nice introduction,
and I am... | 1
00:00:00,360 --> 00:00:02,950
our very own
and beloved leader.
2
00:00:03,030 --> 00:00:05,490
A man who needs
no introduction!
3
00:00:05,560 --> 00:00:07,550
Thank you very much, Sammy.
Thank you!
4
00:00:07,630 --> 00:00:09,220
I couldn't wait.
5
00:00:09,300 --> 00:00:10,630
That was
a very nice introduction,... | {"screenplay_scene_73": "<scene>\n <stage_direction>INT. HOLIDAY INN - BANQUET ROOM</stage_direction>\n <scene_description>A testimonial dinner is in progress. A sign on the wall reads:</scene_description>\n <character>TRB SYSTEMS SALUTES</character>\n <character>FRED DORFMAN</character>\n <character>40 ... | 5890.21 | 3964.61 | 130.98 | |
fletch | tt0089155 | ta4v_mCzuFfe | 1
00:00:00,120 --> 00:00:02,240
looking into a bedroom at an empty bookshelf.
2
00:00:02,560 --> 00:00:04,160
Fletch takes a drag from his cigarette
3
00:00:04,160 --> 00:00:05,800
and enters another room ahead.
4
00:00:09,800 --> 00:00:11,720
Surveying the room, Fletch turns around
5
00:00:11,720 --> 00:00:13,600
... | 1
00:00:03,980 --> 00:00:07,490
Fletch puts down his cigarette on a small bedside cabinet
2
00:00:07,490 --> 00:00:09,610
and bends down to look inside.
3
00:00:19,660 --> 00:00:22,540
A man carrying a rifle creeps around the stairs
4
00:00:22,710 --> 00:00:25,960
and stands in the doorway, pointing the rifle at Fle... | 1
00:00:33,440 --> 00:00:35,860
Who the hell are you?
2
00:00:35,900 --> 00:00:37,490
Get up!
3
00:00:37,610 --> 00:00:39,200
I'm up.
4
00:00:40,950 --> 00:00:43,280
- Door was unlocked.
- Lock's busted.
5
00:00:43,370 --> 00:00:44,700
There you have it.
6
00:00:45,950 --> 00:00:48,370
I work for the landlord.
7
... | 1
00:00:33,650 --> 00:00:35,710
Who the hell are you?
2
00:00:35,790 --> 00:00:37,050
Get up!
3
00:00:37,960 --> 00:00:39,220
I'm up.
4
00:00:40,590 --> 00:00:41,690
Door was unlocked.
5
00:00:41,760 --> 00:00:43,090
Lock's busted.
6
00:00:43,160 --> 00:00:44,860
Well, there you have it.
7
00:00:45,970 --> 00:00:... | {"screenplay_scene_78": "<scene>\n <stage_direction>INT. BEDROOM</stage_direction>\n <scene_description>Fletch opens the closet. It's bare. He pulls open the drawers. Nothing. Fletch gets down and looks under the bed.</scene_description>\n <character>VOICE</character>\n <dialogue>Who the hell are you?</dial... | 5890.21 | 4335.65 | 132.98 |
the_cabin_in_the_woods | tt1259521 | nbFQU1jZaUan | 1
00:00:01,220 --> 00:00:02,780
The redhead scans the street.
2
00:00:07,340 --> 00:00:09,780
A smoke filled station wagon pulls to a stop.
3
00:00:10,620 --> 00:00:13,540
The driver has a bong shaped like a tall commuter mug.
4
00:00:17,500 --> 00:00:19,460
The scruffy driver exhales.
5
00:00:46,780 --> 00:00:49,0... | 1
00:00:00,850 --> 00:00:02,730
They load up a large motorhome.
2
00:00:06,580 --> 00:00:10,770
A young guy pulls up in an old Volvo Marty.
3
00:00:15,880 --> 00:00:18,690
He's smoking a huge bong made from a travel cup.
| 1
00:00:02,540 --> 00:00:03,540
Oh, my god.
2
00:00:04,410 --> 00:00:07,360
♪ In the backseat
screaming out loud ♪
3
00:00:07,380 --> 00:00:09,130
♪ In the backseat
screaming out... ♪
4
00:00:09,150 --> 00:00:11,150
Marty.
5
00:00:13,150 --> 00:00:15,330
What the fuck is wrong
with you, bro?
6
00:00:19,330 --> 00:... | 1
00:00:02,540 --> 00:00:03,820
- Oh, my god.
- (Radio blaring)
2
00:00:04,400 --> 00:00:07,350
♪ In the backseat
screaming out loud ♪
3
00:00:07,370 --> 00:00:09,120
♪ In the backseat
screaming out... ♪
4
00:00:09,140 --> 00:00:11,150
Marty.
5
00:00:13,150 --> 00:00:15,320
What the fuck is wrong
with you, bro?
6
... | {"screenplay_scene_9": "<scene>\n <stage_direction>INT. LIVING ROOM- CONTINUOUS</stage_direction>\n <scene_description>Julee is opening the door for Holden, and he's even better looking up close. Less of a wild man than Curt.</scene_description>\n <character>HOLDEN</character>\n <dialogue>You laid it in my ... | 5701.66 | 357.38 | 69.34 |
the_cabin_in_the_woods | tt1259521 | UDxvKGmT1UuO | 1
00:00:00,300 --> 00:00:00,940
He signs
2
00:00:00,940 --> 00:00:01,940
Jules fluffs her hair.
3
00:00:26,140 --> 00:00:26,700
Sitterson.
4
00:00:26,700 --> 00:00:27,140
Miles.
5
00:00:34,580 --> 00:00:35,420
At the gas station?
| 1
00:00:00,810 --> 00:00:01,980
Jules on a screen.
| 1
00:00:01,850 --> 00:00:03,900
- The hair dye.
- Dumb blonde.
2
00:00:03,920 --> 00:00:06,830
- Very artistic.
- Works its way into the blood
3
00:00:06,860 --> 00:00:09,770
through the scalp...
Very gradual.
4
00:00:09,790 --> 00:00:12,570
The Chem Department
keeps their end up.
5
00:00:12,600 --> 00:00:14,010
I'... | 1
00:00:01,840 --> 00:00:03,890
- The hair dye.
- Dumb blonde.
2
00:00:03,910 --> 00:00:06,830
- Very artistic.
- Works its way into the blood
3
00:00:06,850 --> 00:00:09,760
through the scalp...
Very gradual.
4
00:00:09,790 --> 00:00:12,560
The Chem Department
keeps their end up.
5
00:00:12,590 --> 00:00:14,000
I'... | {"screenplay_scene_23": "<scene>\n <stage_direction>•</stage_direction>\n <scene_description>Go ahead •</scene_description>\n <character>SECONDVOICB</character>\n <dialogue>I have the Harbinger on line two •••</dialogue>\n <scene_description>Hadley and Sitterson share a glance. Sitterson holds up his han... | 5701.66 | 1175.58 | 111.67 |
the_cabin_in_the_woods | tt1259521 | ADIX_QTXiUwM | 1
00:00:38,350 --> 00:00:39,630
She sets her mug down
2
00:00:39,630 --> 00:00:40,910
and hops over the sofa.
3
00:00:41,230 --> 00:00:44,870
She wears flat soled silver shoes and an anklet on her left ankle.
4
00:00:47,070 --> 00:00:50,670
Carefully placing one foot in front of the other, she struts across the room... | 1
00:00:36,500 --> 00:00:38,260
Jules puts down her steel tankard
2
00:00:38,260 --> 00:00:39,480
and gets up from the couch,
3
00:00:39,480 --> 00:00:40,860
hopping over the backrest,
4
00:00:41,320 --> 00:00:44,790
wearing short cut down jeans and a short sleeved patterned shirt.
5
00:00:45,000 --> 00:00:48,310
S... | 1
00:00:01,410 --> 00:00:02,690
Truth or dare?
2
00:00:02,720 --> 00:00:05,830
- Let's go dare.
- All right.
3
00:00:05,850 --> 00:00:09,030
I dare you to make out with...
4
00:00:09,050 --> 00:00:11,070
Please say Dana. Please say Dana.
Please say Dana.
5
00:00:11,090 --> 00:00:13,460
...that moose over there.
6
... | 1
00:00:01,410 --> 00:00:02,680
Truth or dare?
2
00:00:02,710 --> 00:00:05,820
- Let's go dare.
- All right.
3
00:00:05,840 --> 00:00:09,020
I dare you to make out with...
4
00:00:09,050 --> 00:00:11,060
Please say Dana. Please say Dana.
Please say Dana.
5
00:00:11,080 --> 00:00:13,450
...that moose over there.
6
... | {"screenplay_scene_31": "<scene>\n <stage_direction>JJ</stage_direction>\n <character>MARTY</character>\n <dialogue>-- that moose over there.</dialogue>\n <scene_description>Everyone turns, looks to where he's pointing. MOUNTEDON THB WALLis the large, snarling WOLF'S HEAD. For the record, it couldn't look l... | 5701.66 | 1480.96 | 132.94 |
the_cabin_in_the_woods | tt1259521 | LmhKFAbx5Rb7 | 1
00:00:00,530 --> 00:00:01,250
Outside.
2
00:00:15,690 --> 00:00:16,290
He drinks,
3
00:00:16,290 --> 00:00:17,530
then tosses the mug.
4
00:00:30,450 --> 00:00:30,890
Tick.
5
00:00:30,890 --> 00:00:32,970
Stand transfixed before the monitor.
6
00:00:51,650 --> 00:00:53,170
Sitterson touches the screen.
7
00:00:... | 1
00:00:00,710 --> 00:00:02,300
Jules and Curt in the woods.
2
00:00:05,950 --> 00:00:08,080
Curt chases Jules through the trees,
3
00:00:08,130 --> 00:00:08,750
grabs her
4
00:00:08,750 --> 00:00:10,050
and swings her around.
5
00:00:20,010 --> 00:00:21,180
They're being watched.
6
00:00:28,380 --> 00:00:33,190
A... | 1
00:00:03,170 --> 00:00:06,270
What are you running away for?
2
00:00:10,040 --> 00:00:11,980
Ah!
3
00:00:12,010 --> 00:00:13,590
Don't spill on me.
4
00:00:13,610 --> 00:00:16,380
Oh, did I get a little
beer on your shirt?
5
00:00:17,380 --> 00:00:19,180
I guess it'll have to
come off, huh?
6
00:00:22,180 --> 00... | 1
00:00:03,160 --> 00:00:06,260
What are you running away for?
2
00:00:07,260 --> 00:00:10,010
(Giggling)
3
00:00:10,030 --> 00:00:11,980
Ah!
4
00:00:12,000 --> 00:00:13,580
Don't spill on me.
5
00:00:13,600 --> 00:00:16,370
Oh, did I get a little
beer on your shirt?
6
00:00:17,370 --> 00:00:19,180
I guess it'll h... | {"screenplay_scene_35": "<scene>\n <stage_direction>EXT. WOODS- NIGHT</stage_direction>\n <scene_description>Jules is laughing, running through the woods, Curt in hot pursuit. He catches her around the waist with one hand, beer still held in the other.</scene_description>\n <character>CURT</character>\n <di... | 5701.66 | 2321.22 | 150.91 |
the_cabin_in_the_woods | tt1259521 | eH7Pz9_AUIV3 | 1
00:00:15,410 --> 00:00:16,890
Marty closes his window.
2
00:00:18,530 --> 00:00:19,730
He knocks over a lamp.
3
00:00:21,970 --> 00:00:23,290
His eyes widen.
4
00:00:25,090 --> 00:00:27,410
From the base, he extracts a tiny probe.
5
00:00:52,810 --> 00:00:54,810
Marty follows the cable from the probe.
6
00:00:55... | 1
00:00:03,260 --> 00:00:04,770
Sitterson presses a button,
2
00:00:04,770 --> 00:00:08,030
and just as they all get into their rooms, the doors slam shut.
3
00:00:08,080 --> 00:00:09,330
Marty looks worried.
4
00:00:14,900 --> 00:00:16,150
He runs over to the window
5
00:00:16,150 --> 00:00:17,070
and pulls it shu... | 1
00:00:00,300 --> 00:00:02,510
Lock 'em in.
2
00:00:06,680 --> 00:00:11,120
Huh? What...
What the fuck?
3
00:00:11,150 --> 00:00:13,690
Ah!
4
00:00:13,720 --> 00:00:16,520
Shit. Oh.
5
00:00:22,630 --> 00:00:24,400
What the...
6
00:00:32,400 --> 00:00:35,180
What the fuck?
7
00:00:35,210 --> 00:00:36,480
Uh-Oh, t... | 1
00:00:00,300 --> 00:00:02,500
Lock 'em in.
2
00:00:04,500 --> 00:00:06,640
(Doors slam)
3
00:00:06,670 --> 00:00:11,120
Huh? What...
What the fuck?
4
00:00:11,140 --> 00:00:13,680
- (Banging)
- Ah!
5
00:00:13,710 --> 00:00:16,490
Shit. Oh.
6
00:00:16,510 --> 00:00:19,620
(Lamp shatters)
7
00:00:22,620 --> 00:00... | {"screenplay_scene_48": "<scene>\n <stage_direction>INT. CABIN - HALLWAY</stage_direction>\n <scene_description>-- and as Dana, Holden, and Marty all split off into their separate rooms -- All the doors SLAMSHUT behind them, and: WH-CHUNK1 We hear vault-worthy locks slamming home.</scene_description>\n </scene>"... | 5701.66 | 2923.74 | 132.89 |
the_cabin_in_the_woods | tt1259521 | T9LOaxSnOpoC | 1
00:00:48,720 --> 00:00:50,480
A blade sticks out of Holden's throat.
2
00:00:50,800 --> 00:00:52,960
A zombie extracts a sickle from Holden.
3
00:00:53,120 --> 00:00:55,560
Blood spurts from the wound, splattering Dana.
4
00:00:57,200 --> 00:00:59,000
Holden slumps over the steering wheel.
5
00:01:05,920 --> 00:0... | 1
00:00:02,400 --> 00:00:04,830
with Dana beside him in the passenger seat.
2
00:00:46,860 --> 00:00:49,870
The point of a side suddenly bursts out of his throat.
3
00:00:50,210 --> 00:00:53,470
Father Buckner behind him, pulls the side out of Holden's neck,
4
00:00:53,470 --> 00:00:55,060
spraying Dana with blood.
... | 1
00:00:06,770 --> 00:00:08,340
You're going back.
2
00:00:08,370 --> 00:00:10,010
I'm going through.
3
00:00:10,040 --> 00:00:11,750
We'll just drive.
4
00:00:11,770 --> 00:00:13,850
There's got to be another road,
another way out of here.
5
00:00:13,870 --> 00:00:16,280
That won't work.
6
00:00:16,310 --> 00:00:... | 1
00:00:06,760 --> 00:00:08,340
You're going back.
2
00:00:08,360 --> 00:00:10,000
I'm going through.
3
00:00:10,030 --> 00:00:11,740
We'll just drive.
4
00:00:11,760 --> 00:00:13,840
There's got to be another road,
another way out of here.
5
00:00:13,870 --> 00:00:16,280
That won't work.
6
00:00:16,300 --> 00:00:... | {"screenplay_scene_74": "<scene>\n <stage_direction>INT. RAMBLER</stage_direction>\n <scene_description>Holden guns the engine, swinging the Rambler back down the dirt road, away from the tunnel. Dana is oddly calm.</scene_description>\n <character>DANA</character>\n <dialogue>You're going back.</dialogue>\... | 5701.66 | 3628.19 | 103.61 |
the_cabin_in_the_woods | tt1259521 | Cvy2l41Qcj8e | 1
00:00:00,350 --> 00:00:02,520
God damn, that was close!
2
00:00:02,550 --> 00:00:04,530
Yeah, photo fuckin' finish.
3
00:00:04,550 --> 00:00:07,400
I don't understand.
You're celebrating?
4
00:00:07,420 --> 00:00:10,330
They're celebrating.
I'm drinking.
5
00:00:10,360 --> 00:00:13,540
But she's still alive. How
... | 1
00:00:00,340 --> 00:00:02,520
God damn, that was close!
2
00:00:02,540 --> 00:00:04,520
Yeah, photo fuckin' finish.
3
00:00:04,540 --> 00:00:07,390
I don't understand.
You're celebrating?
4
00:00:07,410 --> 00:00:10,320
They're celebrating.
I'm drinking.
5
00:00:10,350 --> 00:00:13,530
But she's still alive. How
... | {"screenplay_scene_76": "<scene>\n <stage_direction>INT. CONTROLROOM- CONTINUOUS</stage_direction>\n <scene_description>And a beer break• through the surface of the ice-water of the little cooler the boys had stashed by the console. Sitterson tosses it to Hadley, pulls out two more for Lin and himself.</scene_des... | 5701.66 | 3731.78 | 44.56 | ||
the_cabin_in_the_woods | tt1259521 | fu_Jw63IJQaU | 1
00:00:05,890 --> 00:00:09,090
Dana takes tentative steps toward the translucent side.
2
00:00:12,250 --> 00:00:13,890
Her image is reflected in it.
3
00:00:18,410 --> 00:00:20,170
A Werewolf leaps at the surface.
4
00:00:28,570 --> 00:00:29,570
They move on.
5
00:00:39,850 --> 00:00:43,530
Behind them, an apparit... | 1
00:00:00,770 --> 00:00:03,110
Marty and Dana wait nervously.
2
00:00:06,250 --> 00:00:09,140
Dana cautiously steps closer to the glass panel
3
00:00:09,140 --> 00:00:10,770
and looks out at darkness.
4
00:00:13,490 --> 00:00:15,750
She sees her reflection in the glass.
5
00:00:20,560 --> 00:00:25,250
On the other... | 1
00:00:22,510 --> 00:00:24,420
Shit.
2
00:00:30,420 --> 00:00:31,420
Oh, my god.
3
00:00:33,250 --> 00:00:35,530
What the...
4
00:01:34,710 --> 00:01:37,030
We chose.
5
00:01:37,050 --> 00:01:39,630
What? What?
6
00:01:39,650 --> 00:01:41,660
What? Oh.
7
00:01:41,690 --> 00:01:43,330
Fuck.
8
00:01:49,330 --> 00... | 1
00:00:17,460 --> 00:00:20,500
- (Roaring)
- (Screaming)
2
00:00:22,500 --> 00:00:24,410
Shit.
3
00:00:30,410 --> 00:00:31,410
Oh, my god.
4
00:00:33,240 --> 00:00:35,520
What the...
5
00:00:43,520 --> 00:00:45,530
(Screaming)
6
00:00:45,560 --> 00:00:50,360
(Ghostly voice moaning)
7
00:01:26,360 --> 00:01:29,71... | {"screenplay_scene_86": "<scene>\n <stage_direction>INT. ELEVATOR- CONTINUOUS</stage_direction>\n <scene_description>It seems to go down a good long while -- then joltingly stops. They look at each other -- nothing opens -- then it starts moving again •••</scene_description>\n <character>MARTY</character>\n ... | 5701.66 | 4171.78 | 158.76 |
the_cabin_in_the_woods | tt1259521 | rWO_ICpKGoT5 | 1
00:00:01,280 --> 00:00:03,640
Marty and Dana take cover under the console
2
00:00:04,280 --> 00:00:10,680
on the console, surrounded by yellow dashed lines, or a red switch and flat red button labelled System Purge.
3
00:00:11,280 --> 00:00:11,840
Dana eyes.
4
00:00:11,840 --> 00:00:13,120
The monitors of creature... | 1
00:00:01,740 --> 00:00:03,200
The Swat team approached the office
2
00:00:03,200 --> 00:00:05,800
and Dana looks up at a control bank in front of her.
3
00:00:05,960 --> 00:00:08,940
A large red button is marked System Purge.
4
00:00:09,440 --> 00:00:13,330
Dana looks at video screens, each showing a monster in a ... | 1
00:00:14,730 --> 00:00:17,410
Army of nightmares, huh?
2
00:00:25,410 --> 00:00:28,360
Let's get this party started.
3
00:00:28,380 --> 00:00:31,480
Hold your fire!
4
00:00:44,430 --> 00:00:46,000
Oh, shit.
5
00:01:01,310 --> 00:01:03,380
Go, go, go!
6
00:01:09,790 --> 00:01:12,030
Out there! Spread out!
7
00:0... | 1
00:00:14,730 --> 00:00:17,400
Army of nightmares, huh?
2
00:00:25,400 --> 00:00:28,350
- (Switch clicking)
- Let's get this party started.
3
00:00:28,370 --> 00:00:31,450
- (Alarm sounding)
- Hold your fire!
4
00:00:31,480 --> 00:00:35,420
(Humming, clanking)
5
00:00:44,420 --> 00:00:45,970
Oh, shit.
6
00:00:45,... | null | 5701.66 | 4485.06 | 158.36 |
the_cabin_in_the_woods | tt1259521 | t1BisEwjenV7 | 1
00:00:02,890 --> 00:00:04,610
The bat breaks into the office.
2
00:00:11,130 --> 00:00:12,450
Marty and Dana flee.
3
00:00:14,570 --> 00:00:16,810
Marty shoots a man in a hospital gown.
4
00:00:17,490 --> 00:00:19,450
Green goo spews from his head.
5
00:00:22,650 --> 00:00:24,770
Dana collides with a man in a lab... | 1
00:00:03,040 --> 00:00:06,130
In the lift hallway, the giant bat smashes through the office window
2
00:00:06,130 --> 00:00:08,270
and snarls at Marty and Dana.
3
00:00:11,280 --> 00:00:14,210
Marty and Dana run out into the blood soaked hallway.
4
00:00:14,540 --> 00:00:16,300
Marty shoots a mutant in the head
5... | 1
00:00:25,680 --> 00:00:28,710
The north exit is blocked.
You can't go there!
2
00:00:29,710 --> 00:00:31,660
Where are you going?
3
00:00:31,680 --> 00:00:36,250
♪ Hush, little baby,
don't say a word... ♪
4
00:00:51,400 --> 00:00:52,840
Go, go, go. Go.
5
00:01:03,150 --> 00:01:04,420
Ooh.
6
00:01:43,150 --> 00:0... | 1
00:00:00,280 --> 00:00:04,650
- (Dings)
- (Shrieking)
2
00:00:08,650 --> 00:00:11,060
(Hissing)
3
00:00:11,090 --> 00:00:13,820
- (Saw buzzing)
- (Commotion)
4
00:00:14,820 --> 00:00:16,590
(Girl screaming)
5
00:00:18,590 --> 00:00:20,670
(Shrieking)
6
00:00:25,670 --> 00:00:28,710
The north exit is blocked.
You... | null | 5701.66 | 4649.89 | 164.51 |
the_cabin_in_the_woods | tt1259521 | FumnX9M7iaus | 1
00:00:00,960 --> 00:00:02,440
He shuffles over to Dana
2
00:00:02,440 --> 00:00:03,680
and sits beside her.
3
00:01:04,480 --> 00:01:05,720
He lights a joint.
4
00:01:24,160 --> 00:01:25,240
She takes a hit.
5
00:02:03,200 --> 00:02:04,240
She smiles.
6
00:02:11,040 --> 00:02:12,120
They clasp hands.
7
00:02:18... | 1
00:00:01,920 --> 00:00:04,640
He sits down beside her wearily.
2
00:00:59,560 --> 00:01:01,610
Marty puts a joint in his mouth,
3
00:01:01,610 --> 00:01:03,540
strikes a match, and lights it.
4
00:01:04,370 --> 00:01:06,000
He takes a deep draw.
5
00:01:25,350 --> 00:01:27,230
Dana takes the joint from him
6
00:... | 1
00:00:10,470 --> 00:00:11,640
Hey.
2
00:00:15,640 --> 00:00:17,640
You know...
3
00:00:20,640 --> 00:00:24,020
I don't think Curt
even has a cousin.
4
00:00:26,020 --> 00:00:27,120
Huh.
5
00:00:31,120 --> 00:00:33,130
How are you?
6
00:00:36,130 --> 00:00:38,700
Going away.
7
00:00:41,700 --> 00:00:43,400
I'm s... | 1
00:00:10,460 --> 00:00:11,630
Hey.
2
00:00:15,630 --> 00:00:17,640
You know...
3
00:00:20,640 --> 00:00:24,010
I don't think Curt
even has a cousin.
4
00:00:26,010 --> 00:00:27,110
Huh.
5
00:00:31,110 --> 00:00:33,120
How are you?
6
00:00:36,120 --> 00:00:38,690
Going away.
7
00:00:41,690 --> 00:00:43,400
I'm s... | null | 5701.66 | 5240.70 | 153.83 |
schindlers_list | tt0108052 | hsWma_ik101Y | 1
00:00:05,310 --> 00:00:06,910
A view follows the maitre d,
2
00:00:06,950 --> 00:00:09,990
then settles on the tall man's handsome, clean shaven face.
3
00:00:10,270 --> 00:00:13,030
His eye twinkles and he wears a confident smile.
4
00:00:14,110 --> 00:00:15,630
The maitre d joins a waiter,
5
00:00:15,630 --> 00... | 1
00:00:05,500 --> 00:00:08,580
We see the gentleman's handsome features for the first time.
2
00:00:08,780 --> 00:00:12,420
A firm chin, strong Roman nose and high forehead.
3
00:00:13,380 --> 00:00:15,740
The maitre d confers with two waiters.
4
00:00:19,690 --> 00:00:22,850
The debonair gentleman holds a cigarett... | 1
00:00:17,380 --> 00:00:20,180
Jerzy, you know who that man is?
I don't know.
2
00:00:39,030 --> 00:00:41,450
Let's get together, please.
3
00:00:42,110 --> 00:00:43,370
Smile. Good.
4
00:01:15,150 --> 00:01:16,520
Yes, sir.
5
00:01:18,480 --> 00:01:20,740
Bring them over
a round of drinks.
6
00:01:22,070 --> 00:... | 1
00:00:17,380 --> 00:00:20,180
MAITRE'D: Jerzy, you know who that man is?
I don't know.
2
00:00:21,920 --> 00:00:23,220
(WOMAN LAUGHING)
3
00:00:23,430 --> 00:00:25,470
(ORCHESTRA CONTINUES)
4
00:00:39,020 --> 00:00:41,450
Let's get together, please.
5
00:00:42,110 --> 00:00:43,360
Smile. Good.
6
00:01:15,140 -->... | null | 11713.95 | 291.71 | 180.61 |
schindlers_list | tt0108052 | ynIIKyDIYF7V | 1
00:00:00,090 --> 00:00:02,250
A group of young Jewish women run past Goeth
2
00:00:02,250 --> 00:00:03,010
and line up.
3
00:00:04,490 --> 00:00:06,130
Holding a handkerchief to his face.
4
00:00:06,250 --> 00:00:07,490
Goethe looks at the women.
5
00:00:07,650 --> 00:00:08,930
He walks down the line.
6
00:00:23... | 1
00:00:04,270 --> 00:00:07,030
Gert dabs his nose with a white handkerchief.
2
00:00:32,300 --> 00:00:35,620
He watches a delicate girl who doesn't raise her hand.
3
00:00:42,570 --> 00:00:43,850
He steps in front of her
4
00:00:43,850 --> 00:00:44,690
and beckons her.
5
00:00:45,010 --> 00:00:46,770
She steps mee... | 1
00:00:02,790 --> 00:00:04,540
There they are, sir.
2
00:00:06,080 --> 00:00:08,090
Hmm.
3
00:00:10,050 --> 00:00:13,270
One of you is
a very lucky girl.
4
00:00:14,050 --> 00:00:18,730
There is an opening
for a job away from all
5
00:00:19,510 --> 00:00:23,020
this backbreaking
work at my new villa.
6
00:00:25,2... | 1
00:00:02,790 --> 00:00:04,540
There they are, sir.
2
00:00:06,080 --> 00:00:08,080
(SNIFFS) Hmm.
3
00:00:10,050 --> 00:00:13,270
One of you is
a very lucky girl.
4
00:00:14,050 --> 00:00:18,730
There is an opening
for a job away from all
5
00:00:19,510 --> 00:00:23,020
this backbreaking
work at my new villa.
6
0... | {"screenplay_scene_74": "<scene>\n <stage_direction>EXT. PLASZOW FORCED LABOR SITE - DAY</stage_direction>\n <scene_description>Outside of town , a previously abandoned limestone quarry lies nestled between two hills . The stone and brick buildings look like they 've been here forever ; the wooden structures , th... | 11713.95 | 3116.74 | 180.23 |
schindlers_list | tt0108052 | m8woJpFs6E1C | 1
00:00:01,950 --> 00:00:02,790
From the hilltop.
2
00:00:02,790 --> 00:00:05,350
Schindler stares down at the Ghetto, his brow furrowed.
3
00:00:06,390 --> 00:00:10,630
He watches curiously as a little girl wanders through a chaotic Ghetto street alone.
4
00:00:10,670 --> 00:00:13,390
Her red coat stands out agains... | 1
00:00:00,790 --> 00:00:04,990
The scene changes to Oskar Schindler on his horse atop the grassy bluff
2
00:00:05,350 --> 00:00:06,430
with a taut brow.
3
00:00:06,470 --> 00:00:08,990
He gazes down at the frenzied streets.
4
00:00:11,670 --> 00:00:13,830
In the middle of the black and white scene.
5
00:00:13,870 ... | 1
00:00:11,350 --> 00:00:12,940
Oyfn pripetshok brent a fayerl
2
00:00:13,010 --> 00:00:15,770
Un in shtub iz heys
3
00:00:16,770 --> 00:00:22,030
Un der rebe lerent
kleyne kinderlech
4
00:00:22,480 --> 00:00:25,410
Dem alefbeys
5
00:00:27,240 --> 00:00:31,870
Un der rebe lerent
kleyne kinderlech
6
00:00:32,370 --... | 1
00:00:01,130 --> 00:00:04,220
(PEOPLE SHOUTING)
(MACHINE GUNS FIRING)
2
00:00:08,840 --> 00:00:11,190
(CHILDREN'S CHOIR SINGING
OYF 'N PRIPETSHOK)
3
00:00:11,340 --> 00:00:12,940
Oyfn pripetshok brent a fayerl
4
00:00:13,010 --> 00:00:15,770
Un in shtub iz heys
5
00:00:16,770 --> 00:00:22,020
Un der rebe lerent
k... | {"screenplay_scene_90": "<scene>\n <stage_direction>EXT. STREET - DAWN</stage_direction>\n <scene_description>Small red shoes against a forest of gleaming black boots . A Waffen SS man occasionally corrects the little girl 's drift , fraternally it seems , nudging her gently back in line with the barrel of his ri... | 11713.95 | 4086.24 | 148.70 |
schindlers_list | tt0108052 | tuuFwGY9aL9Q | 1
00:00:01,030 --> 00:00:03,030
and covers her ears with her hands.
2
00:00:05,670 --> 00:00:08,990
At night, a large squad of soldiers jogs through the Ghetto streets.
3
00:00:13,190 --> 00:00:13,870
Indoors.
4
00:00:13,910 --> 00:00:16,070
A man holds a stethoscope to a ceiling.
5
00:00:17,150 --> 00:00:18,670
An... | 1
00:00:00,610 --> 00:00:01,410
Night-Time.
2
00:00:01,770 --> 00:00:05,330
The dark shapes of a squad of soldiers jog down the street.
3
00:00:05,330 --> 00:00:09,890
Moonlight glints off their sharply notched helmets and long leather SS coats.
4
00:00:13,480 --> 00:00:16,600
In a building, two SS men wearing steth... | 1
00:00:20,640 --> 00:00:23,190
Markieren.
Markieren.
2
00:01:17,280 --> 00:01:18,480
Nie! Prosze pana, niech pan...
3
00:01:25,040 --> 00:01:26,410
...nie znajdziemy!
4
00:01:51,900 --> 00:01:56,070
Was ist das? Ist das Bach?
Nein, nein. Mozart.
5
00:01:56,360 --> 00:01:57,830
Mozart?
Ja.
6
00:02:18,050 --> 00:02... | 1
00:00:20,640 --> 00:00:23,190
Markieren.
Markieren.
2
00:00:42,740 --> 00:00:44,170
(SPEAKING POLISH)
3
00:01:17,280 --> 00:01:18,480
Nie! Prosze pana, niech pan...
4
00:01:19,280 --> 00:01:20,700
(HITS PIANO KEYS)
5
00:01:25,040 --> 00:01:26,410
GIRL: ...nie znajdziemy!
6
00:01:27,040 --> 00:01:28,760
(MACHINE ... | null | 11713.95 | 4235.10 | 161.64 |
schindlers_list | tt0108052 | mLgrWJdzpX_F | 1
00:00:01,870 --> 00:00:02,750
noticing Goeth.
2
00:00:02,790 --> 00:00:04,710
He stops and removes his cap.
3
00:00:10,590 --> 00:00:11,990
He hands Gert a hinge.
4
00:00:19,990 --> 00:00:21,430
He takes out a stopwatch.
5
00:00:27,950 --> 00:00:29,590
The hinge maker gestures politely,
6
00:00:29,590 --> 00:00:... | 1
00:00:00,850 --> 00:00:02,930
The Rabbi quickly removes his cap
2
00:00:02,930 --> 00:00:04,770
and looks obediently at the floor.
3
00:00:08,290 --> 00:00:10,200
He quickly pulls one out of a box
4
00:00:10,200 --> 00:00:11,400
and hands it to Goeth.
5
00:00:19,600 --> 00:00:21,160
He takes out a stopwatch.
6
0... | 1
00:00:05,690 --> 00:00:07,410
What are you making?
2
00:00:07,480 --> 00:00:08,910
Hinges, sir.
3
00:00:12,410 --> 00:00:14,330
I've got some
workers coming in tomorrow.
4
00:00:14,410 --> 00:00:16,130
Where the hell they from again?
5
00:00:16,200 --> 00:00:18,300
Yugoslavia, Herr Kommandant.
6
00:00:18,370 -->... | 1
00:00:05,690 --> 00:00:07,410
What are you making?
2
00:00:07,480 --> 00:00:08,900
Hinges, sir.
3
00:00:12,400 --> 00:00:14,330
I've got some
workers coming in tomorrow.
4
00:00:14,410 --> 00:00:16,120
Where the hell they from again?
5
00:00:16,200 --> 00:00:18,290
Yugoslavia, Herr Kommandant.
6
00:00:18,370 -->... | null | 11713.95 | 5185.70 | 180.23 |
schindlers_list | tt0108052 | p5ZcnupnQRU9 | 1
00:00:13,180 --> 00:00:15,140
Schindler stops and stands next to her.
2
00:00:28,660 --> 00:00:30,300
She shakes her head stoically.
3
00:01:30,600 --> 00:01:32,680
Schindler crouches at Helen's side.
4
00:01:49,350 --> 00:01:51,310
Schindler gazes at Helen tenderly.
5
00:02:27,550 --> 00:02:28,670
He leans towar... | 1
00:02:28,170 --> 00:02:30,410
He leans forward and puckers his lips.
2
00:02:35,490 --> 00:02:36,930
He kisses her forehead.
3
00:02:37,330 --> 00:02:39,170
She squeezes her eyes shut.
4
00:02:46,280 --> 00:02:47,720
He gives her his handkerchief.
5
00:02:58,550 --> 00:02:59,270
After the party.
| 1
00:00:02,340 --> 00:00:06,260
I said to him,
I don't know how I say this.
2
00:00:06,340 --> 00:00:10,100
I never could say it now,
I said to him,
3
00:00:10,180 --> 00:00:12,430
"Why are you beating me?"
4
00:00:16,020 --> 00:00:19,610
He said, "The reason
I beat you now
5
00:00:19,690 --> 00:00:23,320
is becaus... | 1
00:00:02,340 --> 00:00:06,260
I said to him,
I don't know how I say this.
2
00:00:06,340 --> 00:00:10,100
I never could say it now,
I said to him,
3
00:00:10,180 --> 00:00:12,430
"Why are you beating me?"
4
00:00:16,020 --> 00:00:19,610
He said, "The reason
I beat you now
5
00:00:19,690 --> 00:00:23,320
is becaus... | null | 11713.95 | 6019.71 | 179.65 |
schindlers_list | tt0108052 | iq905C8Hv9sH | 1
00:00:00,850 --> 00:00:01,490
Stern types.
2
00:00:01,490 --> 00:00:01,930
The name.
3
00:00:01,970 --> 00:00:02,850
Levartov.
4
00:00:23,290 --> 00:00:24,010
Stern rifles?
5
00:00:24,010 --> 00:00:25,370
Through a stack of pages.
6
00:00:28,450 --> 00:00:28,770
Now.
7
00:00:28,810 --> 00:00:30,650
Jewish women... | 1
00:00:00,510 --> 00:00:02,070
Back in Stern's office.
2
00:00:09,670 --> 00:00:10,790
The typewriter keys.
3
00:00:10,830 --> 00:00:11,870
Punch out the name.
4
00:00:11,910 --> 00:00:12,830
Feigenbaum.
5
00:00:22,460 --> 00:00:22,980
Stern.
6
00:00:23,020 --> 00:00:24,340
Thumbs through the pages.
7
00:00:25,6... | 1
00:00:03,610 --> 00:00:06,910
Feigenbaum, Jakob.
Wolf. Wolf Wein.
2
00:00:13,120 --> 00:00:17,370
Feigenbaum, Lutek, Jakob...
Nacha. Yes? Nacha.
3
00:00:17,460 --> 00:00:19,210
Nacha, that's right.
4
00:00:19,620 --> 00:00:20,630
And Wolf.
5
00:00:21,790 --> 00:00:23,050
How many?
6
00:00:25,590 --> 00:00:28,260... | 1
00:00:03,610 --> 00:00:06,910
Feigenbaum, Jakob.
Wolf. Wolf Wein.
2
00:00:13,120 --> 00:00:17,370
Feigenbaum, Lutek, Jakob...
Nacha. Yes? Nacha.
3
00:00:17,450 --> 00:00:19,210
Nacha, that's right.
4
00:00:19,620 --> 00:00:20,620
SCHINDLER: And Wolf.
5
00:00:21,790 --> 00:00:23,040
How many?
6
00:00:25,590 --> 0... | {"screenplay_scene_179": "<scene>\n <stage_direction>EXT. BALCONY, GOETH'S VILLA - PLASZOW - DAY</stage_direction>\n <scene_description>Schindler and Goeth on the balcony of the villa , drinking .</scene_description>\n <character>GOETH</character>\n <dialogue>You want these people.</dialogue>\n <characte... | 11713.95 | 8531.74 | 177.19 |
schindlers_list | tt0108052 | oKThSJGc27xz | 1
00:00:00,790 --> 00:00:06,030
They join the rest of the workers who stand gathered on either side of the train tracks that lead in and out of the camp.
2
00:00:06,030 --> 00:00:08,470
Schindler's car sits between the two tracks.
3
00:00:13,230 --> 00:00:14,750
Schindler stops near the car
4
00:00:14,750 --> 00:00:... | 1
00:00:00,410 --> 00:00:02,880
Schindler's workers wait for him at the depot.
2
00:00:03,320 --> 00:00:05,280
A few women kiss his hand.
3
00:00:05,520 --> 00:00:07,280
The men remove their caps.
4
00:00:07,720 --> 00:00:11,200
Schindler and his wife moved slowly toward the waiting limousine.
5
00:00:11,720 --> 00... | 1
00:00:21,030 --> 00:00:24,000
We've written a letter,
trying to explain things
2
00:00:25,530 --> 00:00:26,710
in case you are captured.
3
00:00:29,790 --> 00:00:31,920
Every worker has signed it.
4
00:00:43,050 --> 00:00:44,470
Thank you.
5
00:01:12,120 --> 00:01:14,120
It is Hebrew, from the Talmud.
6
00:01:14... | 1
00:00:21,030 --> 00:00:24,000
We've written a letter,
trying to explain things
2
00:00:25,530 --> 00:00:26,700
in case you are captured.
3
00:00:29,790 --> 00:00:31,910
Every worker has signed it.
4
00:00:43,050 --> 00:00:44,470
Thank you.
5
00:01:12,120 --> 00:01:14,120
It is Hebrew, from the Talmud.
6
00:01:14... | {"screenplay_scene_249": "<scene>\n <stage_direction>EXT. COURTYARD - BRINNLITZ CAMP - NIGHT</stage_direction>\n <scene_description>Schindler and Emilie emerge from his quarters , each carrying a small suitcase . In the dark , some distance away from his Mercedes , stand all twelve hundred workers . As Schindler ... | 11713.95 | 10608.42 | 165.09 |
schindlers_list | tt0108052 | W8q6GGyaxFES | 1
00:00:02,650 --> 00:00:05,490
The workers wake up and look at the Russian officer.
2
00:00:05,530 --> 00:00:07,610
Stern raises a hand and approaches him.
3
00:00:12,810 --> 00:00:14,170
Stern nods and looks at him.
4
00:00:14,170 --> 00:00:14,810
Hopefully.
5
00:00:18,770 --> 00:00:20,570
The Russian officer sta... | 1
00:00:00,990 --> 00:00:02,390
They rise to their feet.
2
00:00:04,940 --> 00:00:06,420
Stern steps forward.
3
00:00:19,100 --> 00:00:21,220
The man stares blankly at him.
4
00:00:46,400 --> 00:00:46,960
Later.
5
00:00:47,000 --> 00:00:50,920
Shoulder to shoulder, they head across a wide, grassy field.
6
00:01:09... | 1
00:00:09,100 --> 00:00:10,770
Have you been in Poland?
2
00:00:10,930 --> 00:00:12,180
I just came from Poland.
3
00:00:15,650 --> 00:00:17,400
Are there any Jews left?
4
00:00:23,530 --> 00:00:25,030
Where should we go?
5
00:00:25,910 --> 00:00:28,280
Don't go east, that's for sure.
6
00:00:28,370 --> 00:00:29,... | 1
00:00:09,090 --> 00:00:10,770
Have you been in Poland?
2
00:00:10,930 --> 00:00:12,180
I just came from Poland.
3
00:00:15,640 --> 00:00:17,400
Are there any Jews left?
4
00:00:23,530 --> 00:00:25,030
Where should we go?
5
00:00:25,900 --> 00:00:28,280
RUSSIAN OFFICER: Don't go
east, that's for sure.
6
00:00:28,... | {"screenplay_scene_255": "<scene>\n <stage_direction>EXT. BRINNLITZ CAMP - DAWN</stage_direction>\n <scene_description>A lone Russian officer on horseback , tattered coat , rope for reins , emerges from the forest . As he draws nearer , it becomes apparent to the workers assembling on the camp yard , that the hor... | 11713.95 | 10933.54 | 180.23 |
happy_death_day | tt5308322 | M_AVr_36eFJ5 | 1
00:00:00,650 --> 00:00:03,970
an overhead light illuminates something in the centre of the tunnel.
2
00:00:04,210 --> 00:00:05,850
Tree slowly approaches.
3
00:00:12,930 --> 00:00:16,250
Smirking, she shakes her head at the small musical trinket.
4
00:00:16,450 --> 00:00:18,050
She looks over her shoulder.
5
00:0... | 1
00:00:01,020 --> 00:00:01,560
Roadwork.
2
00:00:01,560 --> 00:00:03,980
Lights flash at the entrance of a pedestrian tunnel
3
00:00:05,150 --> 00:00:08,700
at the centre of the tunnel, a music box rotates beneath a spotlight.
4
00:00:09,200 --> 00:00:10,360
Tree moves closer.
5
00:00:12,910 --> 00:00:14,490
She s... | 1
00:00:19,790 --> 00:00:22,730
Okay, you guys are hilarious.
2
00:00:22,760 --> 00:00:25,130
You can come out now.
3
00:00:27,290 --> 00:00:29,190
Losers.
4
00:00:51,250 --> 00:00:53,760
Yo, I think your friends
5
00:00:53,790 --> 00:00:55,490
went the other way.
6
00:01:01,100 --> 00:01:03,700
Can I help you?
7... | 1
00:00:00,300 --> 00:00:04,200
(music box playing
"Happy Birthday to You")
2
00:00:12,440 --> 00:00:14,250
(chuckles softly)
3
00:00:14,280 --> 00:00:17,150
(continues playing
"Happy Birthday to You")
4
00:00:19,780 --> 00:00:22,730
Okay, you guys are hilarious.
5
00:00:22,750 --> 00:00:25,120
You can come out now... | {"screenplay_scene_16": "<scene>\n <stage_direction>EXT. THE PATH - NIGHT</stage_direction>\n <scene_description>Tree walks along the path, suddenly aware of... what? Something? Someone?</scene_description>\n <character>TREE</character>\n <dialogue>Hello?</dialogue>\n <scene_description>She comes across ... | 5771.39 | 717.31 | 141.18 |
happy_death_day | tt5308322 | Tt0NxZEpAEpK | 1
00:00:06,280 --> 00:00:07,480
She strikes a pose,
2
00:00:07,480 --> 00:00:09,720
then fixes her lipstick and checks her teeth.
3
00:00:12,480 --> 00:00:14,240
A person wears a baby mask.
4
00:00:22,320 --> 00:00:25,000
Tree steps closer as the person remains still.
5
00:00:30,360 --> 00:00:33,960
She pulls off t... | 1
00:00:01,770 --> 00:00:04,190
She pushes up her hair, separating the curls.
2
00:00:08,620 --> 00:00:09,960
She presses her lips together
3
00:00:09,960 --> 00:00:10,920
and checks her teeth.
4
00:00:12,130 --> 00:00:14,290
The guy in the baby mask is standing behind her.
5
00:00:25,310 --> 00:00:26,720
Smiling, ... | 1
00:00:13,190 --> 00:00:15,230
Je...
2
00:00:15,260 --> 00:00:17,230
Oh, shit, Nick, you scared me.
3
00:00:19,430 --> 00:00:22,230
You want me to punch you
in the face again?
4
00:00:36,310 --> 00:00:39,290
Welcome...
5
00:00:39,310 --> 00:00:41,210
to the Pleasure Dome.
6
00:00:55,800 --> 00:00:58,400
It's a li... | 1
00:00:06,350 --> 00:00:08,110
(exhales)
2
00:00:13,190 --> 00:00:15,230
Je...
3
00:00:15,260 --> 00:00:17,220
Oh, shit, Nick, you scared me.
4
00:00:19,430 --> 00:00:22,230
You want me to punch you
in the face again?
5
00:00:24,330 --> 00:00:26,600
(chuckles)
6
00:00:36,310 --> 00:00:39,290
Welcome...
7
00:00:3... | {"screenplay_scene_30": "<scene>\n <stage_direction>INT. FRAT HOUSE - EVENING</stage_direction>\n <scene_description>The party is in full swing. Empty plastic cups shake on the speakers pumping out some old school party anthem. Pushing through the throngs of REVELERS we find Tree in the corner with Danielle and s... | 5771.39 | 1633.15 | 147.35 |
happy_death_day | tt5308322 | xZApm_GqXbpS | 1
00:00:09,450 --> 00:00:11,730
With a thoughtful look, she raises her brow.
2
00:00:12,610 --> 00:00:14,210
Outside the sorority house.
3
00:00:14,210 --> 00:00:16,210
Books land in front of the Kappa sister,
4
00:00:16,210 --> 00:00:17,850
wearing headphones above
5
00:00:17,890 --> 00:00:20,170
Tree throws thing... | 1
00:00:09,350 --> 00:00:13,070
Raising her eyebrows and tilting her head, Tree concedes.
2
00:00:14,320 --> 00:00:16,240
She throws books out of her bedroom window,
3
00:00:16,240 --> 00:00:17,150
then clears her desk
4
00:00:17,150 --> 00:00:18,320
and opens a notebook.
5
00:00:23,620 --> 00:00:24,700
In red mark... | 1
00:00:03,080 --> 00:00:05,890
until I figure out
who my killer is?
2
00:00:05,920 --> 00:00:09,250
- That's your genius plan?
- Do you have a better idea?
3
00:00:22,300 --> 00:00:24,080
♪ Are you ready? ♪
4
00:00:24,100 --> 00:00:25,140
♪ Ha ♪
5
00:00:26,470 --> 00:00:29,250
♪ It's time for me to take it ♪
6
00... | 1
00:00:03,080 --> 00:00:05,890
until I figure out
who my killer is?
2
00:00:05,920 --> 00:00:09,250
- That's your genius plan?
- Do you have a better idea?
3
00:00:11,890 --> 00:00:15,690
(intro to Demi Lovato's
"Confident" plays)
4
00:00:22,300 --> 00:00:24,080
♪ Are you ready? ♪
5
00:00:24,100 --> 00:00:25,140
♪... | null | 5771.39 | 2493.41 | 198.49 |
happy_death_day | tt5308322 | tSsYV9VNHHkW | 1
00:00:15,060 --> 00:00:16,860
He gently strokes her face.
2
00:00:18,780 --> 00:00:19,700
Tree nods.
3
00:00:23,500 --> 00:00:24,660
She smiles weakly
4
00:00:24,660 --> 00:00:25,780
and nods again.
5
00:00:37,930 --> 00:00:38,850
Walking to the door.
6
00:00:38,890 --> 00:00:41,210
Gregory looks back with a gen... | 1
00:00:15,720 --> 00:00:16,800
He caresses her face
2
00:00:16,800 --> 00:00:17,680
and she nods.
3
00:00:24,770 --> 00:00:26,020
She smiles weakly
4
00:00:26,020 --> 00:00:27,020
and nods again.
5
00:00:41,490 --> 00:00:44,200
She flashes Gregory a grateful smile as he leaves.
6
00:00:47,710 --> 00:00:49,580
Her... | 1
00:00:01,120 --> 00:00:03,400
Hey. Hey, hey, hey, hey.
What are you doing?
2
00:00:03,420 --> 00:00:05,300
- I need to get out of here.
- No way.
3
00:00:05,320 --> 00:00:06,800
No, you need to stay here
for observation.
4
00:00:06,820 --> 00:00:08,730
If I don't get out of here,
I'm gonna die.
5
00:00:08,760 -->... | 1
00:00:01,120 --> 00:00:03,390
Hey. Hey, hey, hey, hey.
What are you doing?
2
00:00:03,420 --> 00:00:05,290
- I need to get out of here.
- No way.
3
00:00:05,320 --> 00:00:06,800
No, you need to stay here
for observation.
4
00:00:06,820 --> 00:00:08,730
If I don't get out of here,
I'm gonna die.
5
00:00:08,760 -->... | null | 5771.39 | 2879.46 | 191.82 |
happy_death_day | tt5308322 | Xmr5qn9hHP_1 | 1
00:00:04,930 --> 00:00:06,130
The killer follows.
2
00:00:08,610 --> 00:00:10,930
Tree jogs down a ramp to a lower level.
3
00:00:10,930 --> 00:00:13,680
As the killer arrives, she hides behind a column.
4
00:00:15,240 --> 00:00:17,840
The masked killer walks past the top of the ramp,
5
00:00:17,840 --> 00:00:19,... | 1
00:00:01,190 --> 00:00:03,780
She frantically presses the button on Gregory's car key.
2
00:00:07,200 --> 00:00:08,490
Hearing the car unlock.
3
00:00:08,530 --> 00:00:09,780
She runs down a level.
4
00:00:10,700 --> 00:00:12,330
The killer enters the car park.
5
00:00:13,870 --> 00:00:15,450
Tree hides behind a ... | 1
00:00:02,780 --> 00:00:04,160
Oh, my God. Come on.
2
00:00:04,180 --> 00:00:05,180
Come on, no.
3
00:01:18,160 --> 00:01:19,770
Oh...
4
00:01:19,790 --> 00:01:21,820
No.
| 1
00:00:02,780 --> 00:00:04,160
(panting):
Oh, my God. Come on.
2
00:00:04,180 --> 00:00:05,180
Come on, no.
3
00:00:06,550 --> 00:00:07,850
(car alarm chirps)
4
00:00:13,620 --> 00:00:15,430
(door closes)
5
00:00:21,730 --> 00:00:23,700
♪ ♪
6
00:00:39,620 --> 00:00:40,880
(clacks)
7
00:00:46,990 --> 00:00:49,530... | {"screenplay_scene_50": "<scene>\n <stage_direction>INT. STAIRWELL - CONTINUOUS</stage_direction>\n <scene_description>Hobbling down the stairs, Tree looks up as the killer pursues! Using everything she's got, Tree runs down four more floors until she reaches the FIRST PARKING LEVEL.</scene_description>\n </scen... | 5771.39 | 3076.22 | 111.60 |
happy_death_day | tt5308322 | j9b_YdP44yGC | 1
00:00:21,910 --> 00:00:24,310
The trooper shines a flashlight at her face.
2
00:00:30,750 --> 00:00:32,310
She wears a thoughtful look.
3
00:01:00,550 --> 00:01:01,670
Tree smiled.
4
00:01:03,990 --> 00:01:05,270
She gets out of the car.
5
00:01:05,950 --> 00:01:07,790
She holds her hands behind her back.
6
00:0... | 1
00:00:21,880 --> 00:00:23,510
He shines a torch in her eyes.
2
00:01:06,300 --> 00:01:07,010
She climbs out
3
00:01:07,010 --> 00:01:08,760
and holds her hands behind her back.
4
00:01:15,310 --> 00:01:16,940
He secures a pair of handcuffs
5
00:01:16,940 --> 00:01:18,690
and lowers her into the back of his car.
... | 1
00:00:02,970 --> 00:00:04,500
I, um...
2
00:00:07,570 --> 00:00:09,110
I don't have it.
3
00:00:10,180 --> 00:00:11,690
Pardon me?
4
00:00:11,710 --> 00:00:12,960
He's trying to kill me again.
5
00:00:12,980 --> 00:00:14,920
- Again?
- Yes.
6
00:00:14,950 --> 00:00:15,990
I mean, no, I me...
7
00:00:16,020 --> ... | 1
00:00:02,970 --> 00:00:04,500
I, um...
2
00:00:07,570 --> 00:00:09,110
I don't have it.
3
00:00:10,170 --> 00:00:11,690
Pardon me?
4
00:00:11,710 --> 00:00:12,950
He's trying to kill me again.
5
00:00:12,980 --> 00:00:14,920
- Again?
- Yes.
6
00:00:14,950 --> 00:00:15,990
I mean, no, I me...
7
00:00:16,010 --> ... | {"screenplay_scene_57": "<scene>\n <stage_direction>INT. POLICE CAR - NIGHT</stage_direction>\n <scene_description>Tree has just been placed into the backseat by Officer Santora. A split-second after he closes the car door... WHAM! Santora is struck by a speeding car as it broad-sides the police car in a flash of... | 5771.39 | 3250.94 | 198.42 |
happy_death_day | tt5308322 | 4qRybsb6sJby | 1
00:00:01,400 --> 00:00:02,240
Behind the door.
2
00:00:02,280 --> 00:00:04,880
The killer with the baby face mask watches her
3
00:00:06,560 --> 00:00:09,200
Tree walks through the hospital room, unhooked.
4
00:00:09,200 --> 00:00:11,280
Restraints lie on the empty bed.
5
00:00:14,400 --> 00:00:17,920
The officer... | 1
00:00:04,560 --> 00:00:08,100
Tombs, wearing the Bayfield baby mask, watches her from behind the door.
2
00:00:09,060 --> 00:00:10,940
Tree moves further into the room.
3
00:00:16,530 --> 00:00:22,870
At the foot of the bed, she glances down and sees the police officer prostrate on the floor, a kitchen knife lodged... | 1
00:00:25,750 --> 00:00:28,750
He has a gun!
He has a gun, run!
2
00:00:34,660 --> 00:00:36,460
Come on, come on.
3
00:00:48,940 --> 00:00:49,850
Hey!
4
00:00:49,870 --> 00:00:52,110
Carter!
5
00:00:55,280 --> 00:00:57,190
Stop!
6
00:00:57,220 --> 00:00:58,460
Stop it right now!
7
00:00:58,480 --> 00:01:00,450
H... | 1
00:00:12,470 --> 00:00:14,410
♪ ♪
2
00:00:22,380 --> 00:00:23,720
(gun hammer clicks)
3
00:00:23,750 --> 00:00:25,730
(yelps, screams)
4
00:00:25,750 --> 00:00:28,730
He has a gun!
He has a gun, run!
5
00:00:28,750 --> 00:00:30,190
(grunts)
6
00:00:32,890 --> 00:00:34,630
(panting)
7
00:00:34,660 --> 00:00:36,4... | null | 5771.39 | 3884.38 | 185.62 |
happy_death_day | tt5308322 | pmGIzcY3m00k | 1
00:00:12,400 --> 00:00:14,080
Becky sits with her food tray.
2
00:00:19,320 --> 00:00:22,720
I skipped Tree brings a tray of junk food.
3
00:00:22,720 --> 00:00:24,600
She eats a handful of French fries.
4
00:00:40,800 --> 00:00:41,960
Becky starts to leave,
5
00:00:42,000 --> 00:00:43,240
but Tree stops her.
6
... | 1
00:00:20,910 --> 00:00:22,490
Tree arrives with a tray of fast food
2
00:00:22,490 --> 00:00:24,240
and shovels fries into her mouth.
3
00:00:41,480 --> 00:00:42,770
Becky gets to her feet.
4
00:00:44,110 --> 00:00:44,860
Tree stands
5
00:00:44,860 --> 00:00:46,690
and places a hand on Becky's shoulder.
6
00:00:... | 1
00:00:00,240 --> 00:00:01,890
I just have to say
2
00:00:01,910 --> 00:00:05,320
how totally sad
and disappointing it is
3
00:00:05,350 --> 00:00:08,190
when certain people
can't be bothered to make it
4
00:00:08,220 --> 00:00:10,190
to a mandatory house meeting.
5
00:00:10,220 --> 00:00:13,020
We were supposed t... | 1
00:00:00,240 --> 00:00:01,880
I just have to say
2
00:00:01,910 --> 00:00:05,320
how totally sad
and disappointing it is
3
00:00:05,350 --> 00:00:08,190
when certain people
can't be bothered to make it
4
00:00:08,220 --> 00:00:10,190
to a mandatory house meeting.
5
00:00:10,220 --> 00:00:13,020
We were supposed t... | {"screenplay_scene_92": "<scene>\n <stage_direction>EXT. LUNCH PATIO - AFTERNOON</stage_direction>\n <scene_description>The Kappa lunch meeting is in full swing. Danielle is holding court when she sees Tree approach the table with a tray FULL of junk food. She sets it down and instantly dives-into a wedge of chee... | 5771.39 | 4336.35 | 113.78 |
happy_death_day | tt5308322 | ARzsTqYph5mo | 1
00:00:02,900 --> 00:00:04,820
Tree opens the door and enters.
2
00:00:12,780 --> 00:00:16,380
She cautiously steps up to the bed with a gun pointed at Tombs.
3
00:00:23,340 --> 00:00:28,060
Glancing down, she spots the unfastened leather restraint around his wrist.
4
00:00:28,540 --> 00:00:32,260
The scruffy man w... | 1
00:00:00,950 --> 00:00:02,290
He's asleep in his bed.
2
00:00:05,500 --> 00:00:06,660
Gun trained on him.
3
00:00:06,660 --> 00:00:07,670
She opens the door
4
00:00:07,670 --> 00:00:10,670
and inches into the room, keeping her eyes fixed on him.
5
00:00:24,390 --> 00:00:27,850
Her eyes flicker to the leather cuff... | 1
00:00:32,740 --> 00:00:34,890
I know you're not asleep.
2
00:00:34,910 --> 00:00:36,550
Open your eyes.
3
00:00:43,950 --> 00:00:46,020
Safety's on, little girl.
4
00:00:52,630 --> 00:00:55,410
Ah, ah, what do we have here?
5
00:00:55,430 --> 00:00:56,900
Hmm?
6
00:01:00,640 --> 00:01:04,020
You know, real nice ... | 1
00:00:00,310 --> 00:00:02,280
♪ ♪
2
00:00:05,480 --> 00:00:06,950
(door creaks)
3
00:00:25,530 --> 00:00:27,500
♪ ♪
4
00:00:32,740 --> 00:00:34,890
I know you're not asleep.
5
00:00:34,910 --> 00:00:36,540
Open your eyes.
6
00:00:38,650 --> 00:00:39,860
(gun clicks)
7
00:00:39,880 --> 00:00:42,630
(clicking con... | {"screenplay_scene_96": "<scene>\n <stage_direction>INT. HOSPITAL ROOM - CONTINUOUS</stage_direction>\n <scene_description>Guiding the officer into the room, Tree's relieved to find Tomb's still asleep in his bed.</scene_description>\n <character>POLICE OFFICER</character>\n <dialogue>See? Safe and sound.</... | 5771.39 | 4676.99 | 129.71 |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.