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 |
|---|---|---|---|---|---|---|---|---|---|---|
spider_man_no_way_home | tt10872600 | a6svw4gNzbej | 1
00:00:03,370 --> 00:00:04,930
Peter stands on a lamppost.
2
00:00:08,610 --> 00:00:10,090
MJ stands in the crowd below.
3
00:00:17,250 --> 00:00:19,730
In his Spider-Man suit, Peter leaps off the lamppost.
4
00:00:27,930 --> 00:00:28,810
Grabs for his mask
5
00:00:28,810 --> 00:00:30,330
and Peter swings away wit... | 1
00:00:03,530 --> 00:00:04,570
A photo of Peter.
2
00:00:54,120 --> 00:00:56,720
In his Spider-Man suit, Peter flies MJ onto a girder.
3
00:00:56,760 --> 00:00:57,520
Ned calls.
4
00:01:07,840 --> 00:01:13,160
On top of Queensboro Bridge, Peter and MJ spot people in the Roosevelt Island Tramway taking their photo
... | 1
00:00:00,020 --> 00:00:03,790
Spider-Man's name
is Peter Parker.
2
00:00:04,890 --> 00:00:06,390
What the f...?
3
00:00:06,520 --> 00:00:08,960
That's right, folks.
Peter Parker.
4
00:00:09,090 --> 00:00:11,830
A 17-year-old
high school delinquent...
5
00:00:11,960 --> 00:00:14,630
- She knows him.
- Are you Spid... | 1
00:00:00,010 --> 00:00:03,780
Spider-Man's name
is Peter Parker.
2
00:00:04,880 --> 00:00:06,380
- What the f...?
- [CAR HORN HONKS]
3
00:00:06,520 --> 00:00:08,950
That's right, folks.
Peter Parker.
4
00:00:09,090 --> 00:00:11,820
A 17-year-old
high school delinquent...
5
00:00:11,960 --> 00:00:14,630
- She know... | {"screenplay_scene_2": "<scene>\n <stage_direction>EXT. MADISON SQUARE GARDEN - DAY</stage_direction>\n <scene_description>The last moments of Quentin Beck's broadcast from the end of FAR FROM HOME.</scene_description>\n <character>QUENTIN BECK</character>\n <dialogue>Spider-Man's name is Peter Parker!</dia... | 8889.92 | 69.76 | 241.37 |
spider_man_no_way_home | tt10872600 | 6ThFcY3Hj8fZ | 1
00:00:04,160 --> 00:00:06,640
In his Spider-Man suit, Peter leaps off the lamppost.
2
00:00:14,840 --> 00:00:15,720
Grabs for his mask
3
00:00:15,720 --> 00:00:17,240
and Peter swings away with MJ.
4
00:00:25,480 --> 00:00:26,560
They swing through the city.
5
00:00:40,930 --> 00:00:42,130
I land high up on a bri... | 1
00:00:41,030 --> 00:00:43,630
In his Spider-Man suit, Peter flies MJ onto a girder.
2
00:00:43,670 --> 00:00:44,430
Ned calls.
| 1
00:00:01,680 --> 00:00:02,550
...is, in fact...
2
00:00:02,680 --> 00:00:04,250
Are you Spider-Man's
girlfriend?
3
00:00:04,380 --> 00:00:06,320
...the vile vigilante villain
Spider-Man.
4
00:00:06,450 --> 00:00:08,450
- Yo, it's him.
- Uh, whoa, whoa, whoa.
5
00:00:08,590 --> 00:00:10,620
- Please don't touch he... | 1
00:00:01,670 --> 00:00:02,540
...is, in fact...
2
00:00:02,670 --> 00:00:04,240
Are you Spider-Man's
girlfriend?
3
00:00:04,370 --> 00:00:06,310
...the vile vigilante villain
Spider-Man.
4
00:00:06,440 --> 00:00:08,440
- Yo, it's him.
- Uh, whoa, whoa, whoa.
5
00:00:08,580 --> 00:00:10,610
- Please don't touch he... | {"screenplay_scene_2": "<scene>\n <stage_direction>EXT. MADISON SQUARE GARDEN - DAY</stage_direction>\n <scene_description>The last moments of Quentin Beck's broadcast from the end of FAR FROM HOME.</scene_description>\n <character>QUENTIN BECK</character>\n <dialogue>Spider-Man's name is Peter Parker!</dia... | 8889.92 | 82.85 | 46.63 |
spider_man_no_way_home | tt10872600 | miAwl8PONgKs | 1
00:00:09,050 --> 00:00:10,450
He conjures the second ring.
2
00:00:18,490 --> 00:00:19,770
Strange removes the rune.
3
00:00:24,090 --> 00:00:24,650
Annoyed.
4
00:00:24,690 --> 00:00:26,050
Strange lowers the second ring
5
00:00:26,050 --> 00:00:27,490
and starts conjuring a third.
6
00:00:44,700 --> 00:00:45,98... | 1
00:00:24,770 --> 00:00:28,010
Strange recasts drawing a third fiery circle of runes.
| 1
00:00:00,350 --> 00:00:02,420
So my girlfriend's
gonna forget everything?
2
00:00:02,550 --> 00:00:03,990
Is she even gonna be
my girlfriend?
3
00:00:04,120 --> 00:00:06,460
Was she your girlfriend
because you were Spider-Man?
4
00:00:06,590 --> 00:00:10,090
- I don't know. I really hope not.
- All right, fine.
5... | 1
00:00:00,340 --> 00:00:02,410
So my girlfriend's
gonna forget everything?
2
00:00:02,550 --> 00:00:03,980
Is she even gonna be
my girlfriend?
3
00:00:04,110 --> 00:00:06,450
Was she your girlfriend
because you were Spider-Man?
4
00:00:06,580 --> 00:00:10,090
- I don't know. I really hope not.
- All right, fine.
5... | {"screenplay_scene_35": "<scene>\n <stage_direction>INT. SANCTUM SANCTORUM - ANCIENT CHAMBER - MOMENTS LATER (DAY)</stage_direction>\n <scene_description>Peter follows Dr. Strange downstairs into an ancient sub- level filled with crypts. As Dr. Strange prepares items for the spell, Peter looks around, spooked.</s... | 8889.92 | 1408.77 | 52.29 |
spider_man_no_way_home | tt10872600 | x441lGdBfr05 | 1
00:00:00,100 --> 00:00:02,380
Long mechanical arms reach up through the road,
2
00:00:02,380 --> 00:00:04,790
grabbing cars with their pincers and smashing them.
3
00:00:07,710 --> 00:00:09,110
Emerging from a cloud of debris.
4
00:00:09,150 --> 00:00:09,870
Doctor Otto.
5
00:00:09,870 --> 00:00:13,310
Octavius t... | 1
00:00:02,160 --> 00:00:06,070
Articulated telescopic tentacles with metal pincers thrust underneath cars,
2
00:00:06,070 --> 00:00:08,110
hoisting them up and slamming them down again.
3
00:00:10,470 --> 00:00:16,430
With scruffy dark hair, wearing a black coat and dark glasses, Doc Ock floats in the air, supported... | 1
00:00:17,140 --> 00:00:18,440
Hello, Peter.
2
00:00:19,470 --> 00:00:21,370
Hi? Do we...? Do I know you?
3
00:00:21,510 --> 00:00:23,710
What have you done
with my machine?
4
00:00:23,840 --> 00:00:26,650
I don't know what you're
talking about. What machine?
5
00:00:26,780 --> 00:00:29,680
The power of the sun
in... | 1
00:00:17,130 --> 00:00:18,430
Hello, Peter.
2
00:00:19,460 --> 00:00:21,370
Hi? Do we...? Do I know you?
3
00:00:21,500 --> 00:00:23,700
What have you done
with my machine?
4
00:00:23,830 --> 00:00:26,640
I don't know what you're
talking about. What machine?
5
00:00:26,770 --> 00:00:29,680
The power of the sun
in... | {"screenplay_scene_42": "<scene>\n <stage_direction>EXT. HIGH BRIDGE - INTERCUT - SAME TIME (DAY)</stage_direction>\n <scene_description>Just outside, Peter dodges a taxi--</scene_description>\n <character>TAXI DRIVER</character>\n <dialogue>Hey!</dialogue>\n <scene_description>--And steels himself to ap... | 8889.92 | 1740.06 | 265.59 |
spider_man_no_way_home | tt10872600 | iGMkor3xg4qB | 1
00:00:04,490 --> 00:00:05,090
Peter leaps,
2
00:00:05,090 --> 00:00:06,290
but Otto snatches him.
3
00:00:06,450 --> 00:00:09,610
He uses another arm to pull the chopper's tail rotor toward Peter.
4
00:00:10,890 --> 00:00:13,940
Peter webs the car into the highway side, causing Otto to stumble.
5
00:00:14,420 -->... | 1
00:00:04,190 --> 00:00:05,950
Spider-Man leaps for the teetering car
2
00:00:05,950 --> 00:00:07,790
and is snatched back by tentacles.
3
00:00:07,990 --> 00:00:10,390
A tentacle grips the daily Bugle's helicopter tail
4
00:00:10,390 --> 00:00:12,950
and pulls the whirring rotor blade towards Spider-Man,
5
00:00:... | 1
00:00:01,640 --> 00:00:03,970
Peter! Help!
2
00:00:25,830 --> 00:00:27,930
Don't worry, ma'am! I'm coming!
3
00:00:30,070 --> 00:00:31,270
Peter!
| 1
00:00:01,630 --> 00:00:03,970
CHANCELLOR:
Peter! Help!
2
00:00:25,820 --> 00:00:27,920
Don't worry, ma'am! I'm coming!
3
00:00:28,060 --> 00:00:29,920
[GRUNTS]
4
00:00:30,060 --> 00:00:31,260
Peter!
5
00:00:31,390 --> 00:00:32,430
[GASPS]
| {"screenplay_scene_42": "<scene>\n <stage_direction>EXT. HIGH BRIDGE - INTERCUT - SAME TIME (DAY)</stage_direction>\n <scene_description>Just outside, Peter dodges a taxi--</scene_description>\n <character>TAXI DRIVER</character>\n <dialogue>Hey!</dialogue>\n <scene_description>--And steels himself to ap... | 8889.92 | 1847.49 | 50.25 |
spider_man_no_way_home | tt10872600 | yEUYYMPSU8ro | 1
00:00:00,500 --> 00:00:01,180
Daytime.
2
00:00:01,580 --> 00:00:03,300
The sun rises over New York City.
3
00:00:04,140 --> 00:00:07,580
In an alley, the Green Goblin mask hangs on the corner of a dumpster
4
00:00:07,620 --> 00:00:08,260
nearby.
5
00:00:08,300 --> 00:00:12,340
Norman Osborn frantically covers his... | 1
00:00:00,130 --> 00:00:03,250
The morning sun dazzles between the city's gleaming skyscrapers
2
00:00:03,250 --> 00:00:03,890
in an alley.
3
00:00:03,930 --> 00:00:09,170
Osborn's metallic green Goblin mask with pointy ears and nose, glaring yellow eyes and jagged teeth,
4
00:00:09,170 --> 00:00:10,890
is hooked t... | 1
00:00:16,590 --> 00:00:20,230
Coward.
We have a new world to conquer.
2
00:00:22,400 --> 00:00:23,600
You make me sick.
3
00:00:23,740 --> 00:00:25,670
Leave me alone, please.
4
00:00:25,800 --> 00:00:28,840
Hiding in the shadows.
5
00:00:28,970 --> 00:00:31,210
Hiding from who you truly are.
6
00:00:31,340 --> ... | 1
00:00:04,740 --> 00:00:07,780
[♪♪♪]
2
00:00:16,590 --> 00:00:20,220
GOBLIN: Coward.
We have a new world to conquer.
3
00:00:22,390 --> 00:00:23,590
You make me sick.
4
00:00:23,730 --> 00:00:25,660
Leave me alone, please.
5
00:00:25,800 --> 00:00:28,830
Hiding in the shadows.
6
00:00:28,970 --> 00:00:31,200
Hidi... | null | 8889.92 | 2882.08 | 186.48 |
spider_man_no_way_home | tt10872600 | QxP9dL0SKuZD | 1
00:00:04,850 --> 00:00:06,770
Otto turns, his brow furrowed.
2
00:00:29,570 --> 00:00:30,810
Flint steps forward.
3
00:00:33,610 --> 00:00:34,610
Peter looks to Norman,
4
00:00:34,610 --> 00:00:35,810
who glances back at him.
| 1
00:00:02,990 --> 00:00:03,870
Octavius
2
00:00:04,310 --> 00:00:07,790
Doc Ock turns around with two of the inactive tentacles by his head.
3
00:00:33,910 --> 00:00:36,870
Peter turns from Sandman in his glass chamber to Osborn.
| 1
00:00:02,830 --> 00:00:04,190
Octavius?
2
00:00:08,200 --> 00:00:10,130
Osborn?
3
00:00:10,270 --> 00:00:14,200
- What... What happened to you?
- What happened to...?
4
00:00:14,340 --> 00:00:17,010
- You're the walking corpse.
- What do you mean?
5
00:00:17,140 --> 00:00:19,640
You died, Norman.
6
00:00:19,780 ... | 1
00:00:02,820 --> 00:00:04,190
Octavius?
2
00:00:08,190 --> 00:00:10,130
Osborn?
3
00:00:10,260 --> 00:00:14,200
- What... What happened to you?
- What happened to...?
4
00:00:14,330 --> 00:00:17,000
- You're the walking corpse.
- What do you mean?
5
00:00:17,130 --> 00:00:19,640
You died, Norman.
6
00:00:19,770 ... | null | 8889.92 | 3151.90 | 40.80 |
spider_man_no_way_home | tt10872600 | s2CCPGUJdH6L | 1
00:00:01,220 --> 00:00:02,780
and the air cracks like glass.
2
00:00:05,100 --> 00:00:08,430
Peter plummets into another dimension, with New York City mirrored around him.
3
00:00:09,110 --> 00:00:11,150
Buildings and streets curve and fold.
4
00:00:11,790 --> 00:00:13,750
Strange stands upright on the side of a b... | 1
00:00:05,600 --> 00:00:07,670
As Spider-Man ricochets towards a wall.
2
00:00:07,710 --> 00:00:08,510
Strange appears
3
00:00:08,510 --> 00:00:11,590
and with a twist of his hand, he creates a wall of cracking mirrors.
4
00:00:11,830 --> 00:00:13,230
Spider-Man rebounds off it
5
00:00:13,230 --> 00:00:15,910
and ... | 1
00:00:24,170 --> 00:00:25,440
♪ La, la ♪
2
00:00:25,570 --> 00:00:28,710
♪ Tis the season
To be jolly... ♪
3
00:00:46,400 --> 00:00:48,630
- What is this place?
- The Mirror Dimension,
4
00:00:48,760 --> 00:00:50,400
where I'm in control.
5
00:00:59,510 --> 00:01:01,940
Strange, stop. Can we
please just talk abou... | 1
00:00:00,780 --> 00:00:01,840
[STRAINS]
2
00:00:10,220 --> 00:00:11,650
[WIND WHISTLES]
3
00:00:15,020 --> 00:00:16,060
[SHOUTS]
4
00:00:23,170 --> 00:00:24,030
[HORN HONKS]
5
00:00:24,170 --> 00:00:25,430
♪ La, la ♪
6
00:00:25,570 --> 00:00:28,700
♪ Tis the season
To be jolly... ♪
7
00:00:28,840 --> 00:00:30,3... | {"screenplay_scene_72": "<scene>\n <stage_direction>EXT. THE MIRROR DIMENSION - NEW YORK CITY - CONTINUOUS (DAY)</stage_direction>\n <scene_description>An EXACT REPLICA of the city, but separated from the real one, so they can fight unseen and without hurting anyone. Spider-Man free-falls, tightly gripping The Bo... | 8889.92 | 3422.82 | 168.04 |
spider_man_no_way_home | tt10872600 | 4D2ViUhOmcxN | 1
00:00:03,850 --> 00:00:05,370
He swings out over Central Park.
2
00:00:07,970 --> 00:00:09,370
Strange hurls magic discs,
3
00:00:09,410 --> 00:00:11,130
knocking Peter into a speeding train.
4
00:00:12,290 --> 00:00:13,850
He drops the box on top of it.
5
00:00:14,450 --> 00:00:15,730
Strange reaches for the box... | 1
00:00:03,370 --> 00:00:07,450
Escalators, furniture and display units seemingly multiply and spin around him.
2
00:00:07,450 --> 00:00:08,410
He nimbly leaps up
3
00:00:08,410 --> 00:00:09,650
and out into the open
4
00:00:09,810 --> 00:00:12,050
Strange conjures sparking spinning discs,
5
00:00:12,050 --> 00:00:... | 1
00:00:20,410 --> 00:00:22,650
- What is this place?
- The Mirror Dimension,
2
00:00:22,780 --> 00:00:24,420
where I'm in control.
3
00:00:33,520 --> 00:00:35,960
Strange, stop. Can we
please just talk about this?
4
00:00:36,090 --> 00:00:39,060
Parker, don't you realize
that in the multiverse
5
00:00:39,200 --> 0... | 1
00:00:02,850 --> 00:00:04,390
[GRUNTS]
2
00:00:04,520 --> 00:00:05,790
[♪♪♪]
3
00:00:05,920 --> 00:00:07,260
[YELPS]
4
00:00:12,030 --> 00:00:13,330
[SPIDER-MAN GROANS]
5
00:00:17,800 --> 00:00:18,900
[SIGHS]
6
00:00:20,400 --> 00:00:22,640
- What is this place?
- The Mirror Dimension,
7
00:00:22,770 --> 00:00:... | {"screenplay_scene_73": "<scene>\n <stage_direction>EXT. THE MIRROR DIMENSION - NEW YORK CITY/THE GRAND CANYON -</stage_direction>\n <scene_description>CONTINUOUS (DAY) The subway train careens through the two worlds of New York City and the Grand Canyon, now fused together. Spider-Man and Dr. Strange stand off o... | 8889.92 | 3448.80 | 65.53 |
spider_man_no_way_home | tt10872600 | j4qhAEnZuNlA | 1
00:00:01,880 --> 00:00:04,560
May continues downstairs, shooting two webs.
2
00:00:04,600 --> 00:00:05,760
Peter flips Norman over
3
00:00:05,760 --> 00:00:07,520
and smashes him through the balcony floor.
4
00:00:13,880 --> 00:00:16,160
Norman throws him through a window into another condo,
5
00:00:16,200 --> 00... | 1
00:00:01,440 --> 00:00:03,360
swings Peter through a window onto the balcony
2
00:00:03,360 --> 00:00:04,280
and grabs him.
3
00:00:04,520 --> 00:00:05,880
May runs down the stairs.
4
00:00:06,200 --> 00:00:07,760
Peter fires double web ropes,
5
00:00:07,760 --> 00:00:08,480
flips Goblin,
6
00:00:08,480 --> 00:0... | 1
00:00:12,330 --> 00:00:14,040
No, you don't!
2
00:00:22,810 --> 00:00:25,210
Strong enough to have it all.
3
00:00:28,520 --> 00:00:30,490
Too weak to take it!
4
00:01:05,520 --> 00:01:06,890
Now I got you.
5
00:01:09,120 --> 00:01:11,360
I told you
there'd be consequences.
6
00:01:29,580 --> 00:01:33,450
Your w... | 1
00:00:12,330 --> 00:00:14,030
- No, you don't!
- [GROANS]
2
00:00:22,800 --> 00:00:25,210
Strong enough to have it all.
3
00:00:28,510 --> 00:00:30,480
Too weak to take it!
4
00:00:38,720 --> 00:00:40,020
[CACKLES]
5
00:00:43,990 --> 00:00:46,600
[GROANING]
6
00:00:59,640 --> 00:01:01,440
[GRUNTING, PANTING]
7
... | {"screenplay_scene_116": "<scene>\n <stage_direction>EXT. HAPPY'S CONDO BUILDING - SAME TIME (NIGHT)</stage_direction>\n <scene_description>ROAR! Lizard LEAPS onto Peter from above. They tumble down the side of the building. Lizard clutches Peter by the throat--</scene_description>\n <character>LIZARD</charact... | 8889.92 | 4438.59 | 132.08 |
spider_man_no_way_home | tt10872600 | L7B5MK7h4_si | 1
00:00:01,900 --> 00:00:03,300
Ned opens a magical portal.
2
00:00:03,340 --> 00:00:04,540
His grandmother gasps.
3
00:00:18,420 --> 00:00:19,980
Spider-Man runs toward the portal
4
00:00:19,980 --> 00:00:21,300
and leaps into Ned's home.
5
00:00:32,060 --> 00:00:33,780
Ned's grandmother throws a pillow at him.
6... | 1
00:00:03,550 --> 00:00:06,390
A portal opens on Spider-Man alone in a misty street.
2
00:00:18,710 --> 00:00:20,550
They smile as he runs towards the portal
3
00:00:20,550 --> 00:00:21,830
and jumps into the room.
4
00:00:32,190 --> 00:00:33,310
He tears off his mask.
5
00:00:35,430 --> 00:00:37,060
This Spider-M... | 1
00:00:00,290 --> 00:00:02,660
I just wish we could see Peter.
2
00:00:06,030 --> 00:00:08,800
Whoa.
3
00:00:08,930 --> 00:00:11,870
Lola, you're right. I am magic.
4
00:00:12,000 --> 00:00:13,740
Is that him?
5
00:00:13,870 --> 00:00:16,210
- Yeah, yeah, it has to be.
- Peter. Peter!
6
00:00:16,340 --> 00:00:17,... | 1
00:00:00,280 --> 00:00:02,650
I just wish we could see Peter.
2
00:00:04,650 --> 00:00:05,890
[GASPS]
3
00:00:06,020 --> 00:00:08,790
- Whoa.
- [SPEAKS IN TAGALOG]
4
00:00:08,930 --> 00:00:11,860
Lola, you're right. I am magic.
5
00:00:12,000 --> 00:00:13,730
Is that him?
6
00:00:13,860 --> 00:00:16,200
- Yeah, ... | {"screenplay_scene_129": "<scene>\n <stage_direction>INT. NED'S LOLA'S HOUSE - LATER (NIGHT)</stage_direction>\n <scene_description>Lola is now gone. MJ watches the local news on the living room TV while checking her phone for any updates from Peter.</scene_description>\n <character>LOCAL NEWS REPORTER (ON TV)... | 8889.92 | 5020.64 | 161.66 |
spider_man_no_way_home | tt10872600 | lIvUsiLEL6Pf | 1
00:00:09,820 --> 00:00:11,180
Ned's grandmother smiles.
2
00:00:12,780 --> 00:00:16,110
The older Peter notices the tall Peter staring at him from across the room.
3
00:00:19,830 --> 00:00:21,870
The two Peter's stare at each other tensely.
4
00:00:23,590 --> 00:00:24,550
They both shoot webs
5
00:00:24,550 --> 0... | 1
00:00:06,200 --> 00:00:07,240
MJ nods.
2
00:00:09,760 --> 00:00:11,360
Lola winks and waves at him.
3
00:00:13,640 --> 00:00:14,640
Tall Peter stares
4
00:00:14,640 --> 00:00:16,280
and older Peter's face drops.
5
00:00:19,990 --> 00:00:21,950
MJ looks from one Peter to the other,
6
00:00:21,950 --> 00:00:23,950... | 1
00:00:01,400 --> 00:00:02,600
You're Peter?
2
00:00:02,730 --> 00:00:05,770
Yeah. Peter Parker.
3
00:00:07,840 --> 00:00:09,570
I... I've seen you two...
4
00:00:11,940 --> 00:00:13,310
Hi. Heh.
5
00:00:17,050 --> 00:00:19,750
Wait. He's...
He's not your friend.
6
00:00:32,360 --> 00:00:35,430
Huh.
7
00:00:35,5... | 1
00:00:01,390 --> 00:00:02,590
You're Peter?
2
00:00:02,730 --> 00:00:05,760
Yeah. Peter Parker.
3
00:00:07,830 --> 00:00:09,570
I... I've seen you two...
4
00:00:11,930 --> 00:00:13,300
Hi. Heh.
5
00:00:17,040 --> 00:00:19,740
Wait. He's...
He's not your friend.
6
00:00:32,350 --> 00:00:35,430
- Huh.
- [CHUCKLES... | {"screenplay_scene_129": "<scene>\n <stage_direction>INT. NED'S LOLA'S HOUSE - LATER (NIGHT)</stage_direction>\n <scene_description>Lola is now gone. MJ watches the local news on the living room TV while checking her phone for any updates from Peter.</scene_description>\n <character>LOCAL NEWS REPORTER (ON TV)... | 8889.92 | 5214.56 | 124.92 |
spider_man_no_way_home | tt10872600 | eCXaohGHoF0_ | 1
00:00:11,830 --> 00:00:15,340
My lola's asking if you could
clean up the webs you just shot.
2
00:00:15,470 --> 00:00:17,140
- Oh, sorry, Lola.
- Yes, of course.
3
00:00:17,270 --> 00:00:19,510
- I'm going to bed.
- Night, Lola.
4
00:00:19,640 --> 00:00:21,440
Good night, Ned's lola.
5
00:00:21,580 --> 00:00:24,3... | 1
00:00:00,080 --> 00:00:02,010
[SPEAKING IN TAGALOG]
2
00:00:11,830 --> 00:00:15,330
My lola's asking if you could
clean up the webs you just shot.
3
00:00:15,460 --> 00:00:17,130
- Oh, sorry, Lola.
- Yes, of course.
4
00:00:17,260 --> 00:00:19,500
- [IN ENGLISH] I'm going to bed.
- NED: Night, Lola.
5
00:00:19,63... | {"screenplay_scene_129": "<scene>\n <stage_direction>INT. NED'S LOLA'S HOUSE - LATER (NIGHT)</stage_direction>\n <scene_description>Lola is now gone. MJ watches the local news on the living room TV while checking her phone for any updates from Peter.</scene_description>\n <character>LOCAL NEWS REPORTER (ON TV)... | 8889.92 | 5260.42 | 27.54 | ||
spider_man_no_way_home | tt10872600 | 3xBddTPsS8rb | 1
00:00:04,540 --> 00:00:06,020
Each in their Spider-Man suits.
2
00:00:06,020 --> 00:00:07,220
The Peter's stare off.
3
00:00:08,020 --> 00:00:10,020
Lightning flickers through the clouds above.
4
00:00:13,340 --> 00:00:15,660
Max appears with the arc reactor on his suit.
5
00:00:27,740 --> 00:00:28,780
Peter dons... | 1
00:00:07,480 --> 00:00:09,320
The three Peters searched the skies.
2
00:00:12,400 --> 00:00:15,240
Peter Electro appears in a flash of lightning.
3
00:00:28,040 --> 00:00:29,240
Peter Wong pulls on his mask
4
00:00:29,240 --> 00:00:30,040
and backflips.
5
00:00:33,240 --> 00:00:35,680
As Spider-Man one swings pas... | 1
00:00:01,030 --> 00:00:03,400
All right, guys, focus up.
You feel that?
2
00:00:03,530 --> 00:00:04,800
Yeah.
3
00:00:11,940 --> 00:00:13,880
What's up, Peter?
4
00:00:16,180 --> 00:00:18,580
How you like the new-new?
5
00:00:18,710 --> 00:00:22,550
Look, you give it to me,
I'm gonna destroy it.
6
00:00:24,050 -... | 1
00:00:01,020 --> 00:00:03,390
All right, guys, focus up.
You feel that?
2
00:00:03,530 --> 00:00:04,790
Yeah.
3
00:00:04,930 --> 00:00:07,300
[♪♪♪]
4
00:00:07,430 --> 00:00:11,800
[THUNDER RUMBLING]
5
00:00:11,930 --> 00:00:13,870
ELECTRO:
What's up, Peter?
6
00:00:16,170 --> 00:00:18,570
How you like the new-ne... | {"screenplay_scene_143": "<scene>\n <stage_direction>EXT. STATUE OF LIBERTY - VARIOUS - SAME TIME (NIGHT)</stage_direction>\n <scene_description>Electro continues to shoot electric currents at Webb-Verse Spider-Man, who dodges them. Drops down on the crown.</scene_description>\n <character>WEBB-VERSE SPIDER-MA... | 8889.92 | 6169.22 | 228.55 |
spider_man_no_way_home | tt10872600 | c1gfH_kgpvj_ | 1
00:00:00,510 --> 00:00:02,630
then run and leap off the scaffolding together.
2
00:00:06,790 --> 00:00:07,590
Helping each other.
3
00:00:07,590 --> 00:00:09,990
The three Spider-Man swing around the massive statue.
4
00:00:12,350 --> 00:00:15,710
One by one, they land atop the statue's head in different crouching... | 1
00:00:00,810 --> 00:00:02,530
and leap off the end of the platform.
2
00:00:07,290 --> 00:00:12,890
In unison, they fire web ropes, swing around the statue, looping high in the sky in front of a hazy full moon.
3
00:00:12,930 --> 00:00:15,610
Pausing at the top with their knees bent and arms out
4
00:00:15,610 -->... | 1
00:00:05,680 --> 00:00:07,420
Yes!
2
00:00:29,170 --> 00:00:31,110
Okay, Spider-Mans.
3
00:00:31,240 --> 00:00:33,210
Sandman's first.
4
00:00:33,340 --> 00:00:35,410
I'm gonna lead him
inside the statue.
5
00:00:35,550 --> 00:00:38,050
I'll meet you at the top.
6
00:00:39,680 --> 00:00:41,450
- Come on!
- Hey!
... | 1
00:00:00,000 --> 00:00:03,170
[♪♪♪]
2
00:00:03,310 --> 00:00:05,540
[SPIDER-MAN 1 & 2 WHOOPING]
3
00:00:05,680 --> 00:00:07,410
SPIDER-MAN:
Yes!
4
00:00:29,170 --> 00:00:31,100
Okay, Spider-Mans.
5
00:00:31,230 --> 00:00:33,200
Sandman's first.
6
00:00:33,340 --> 00:00:35,410
I'm gonna lead him
inside the statue... | {"screenplay_scene_145": "<scene>\n <stage_direction>EXT. STATUE OF LIBERTY - VARIOUS - CONTINUOUS (NIGHT)</stage_direction>\n <scene_description>THREE SPIDER-MEN SWINGING AS A TEAM! They land, one by one, on the Statue of Liberty's crown. Just as-- Sandman, Electro, and Lizard rise directly across from them. THR... | 8889.92 | 6398.46 | 285.79 |
spider_man_no_way_home | tt10872600 | 8iRiljeRxUgr | 1
00:00:03,690 --> 00:00:06,410
In his Green Goblin Suit Norman glides toward them.
2
00:00:06,410 --> 00:00:07,530
He hurls explosives,
3
00:00:07,530 --> 00:00:08,730
then steals the box.
4
00:00:09,090 --> 00:00:10,510
Otto grabs hold of his glider.
5
00:00:12,550 --> 00:00:15,030
Using a rope of magic, Strange ... | 1
00:00:04,860 --> 00:00:06,780
Green Goblin glides out of the clouds,
2
00:00:06,780 --> 00:00:08,940
launches spinning green bladed bombs,
3
00:00:08,940 --> 00:00:10,780
and snatches the box from Strange.
4
00:00:10,860 --> 00:00:12,930
Octavius destroys them with his tentacles
5
00:00:12,930 --> 00:00:14,410
an... | 1
00:00:00,440 --> 00:00:03,880
Can the Spider-Man
come out to play?
2
00:00:25,740 --> 00:00:27,400
Strange, no!
3
00:00:56,230 --> 00:00:57,530
Are you okay?
4
00:00:58,540 --> 00:00:59,940
Yeah.
5
00:01:00,070 --> 00:01:01,370
I'm okay.
6
00:01:03,670 --> 00:01:04,870
Are you okay?
| 1
00:00:00,440 --> 00:00:03,870
GOBLIN: Can the Spider-Man
come out to play?
2
00:00:10,480 --> 00:00:11,880
[GRUNTS]
3
00:00:19,490 --> 00:00:20,960
[CRIES OUT]
4
00:00:25,730 --> 00:00:27,400
Strange, no!
5
00:00:33,700 --> 00:00:35,240
[SCREAMS]
6
00:00:41,180 --> 00:00:43,710
[GOBLIN CACKLING]
7
00:00:43,850 ... | {"screenplay_scene_153": "<scene>\n <stage_direction>EXT. STATUE OF LIBERTY - CROWN - SAME TIME (NIGHT)</stage_direction>\n <scene_description>Doc Ock examines the arc reactor in his hand.</scene_description>\n <character>DOC OCK</character>\n <dialogue>The power of the sun...</dialogue>\n <character>RAI... | 8889.92 | 6846.11 | 66.78 |
lady_bird | tt4925292 | 0dwPs6AUzpyj | 1
00:00:04,060 --> 00:00:05,380
The two women listen.
2
00:00:14,000 --> 00:00:16,160
Tears well up in both of their eyes.
3
00:00:22,400 --> 00:00:25,480
The girl returns the cassette to a full library case.
4
00:00:32,440 --> 00:00:34,400
The teen reaches for the stereo.
5
00:00:45,120 --> 00:00:46,720
The girl s... | 1
00:00:44,640 --> 00:00:48,440
The teenage girl sits back in sulks as she stares out of the car window.
2
00:01:37,590 --> 00:01:40,230
The teenage girl turns to her mother with a stern look.
3
00:02:26,980 --> 00:02:28,820
Lady Bird jumps from the moving car.
| 1
00:00:01,520 --> 00:00:03,900
Her fingers moved
gently in his hair.
2
00:00:05,400 --> 00:00:07,570
She looked up
and across the barn,
3
00:00:09,070 --> 00:00:16,470
and her lips came together
and smiled mysteriously.
4
00:00:16,500 --> 00:00:18,100
You've been listening to...
5
00:00:18,120 --> 00:00:19,560
...... | 1
00:00:01,520 --> 00:00:03,890
Her fingers moved
gently in his hair.
2
00:00:05,400 --> 00:00:07,560
She looked up
and across the barn,
3
00:00:09,070 --> 00:00:16,470
and her lips came together
and smiled mysteriously.
4
00:00:16,490 --> 00:00:18,090
[man #2 on radio]
You've been listening to...
5
00:00:18,120 --... | {"screenplay_scene_3": "<scene>\n <stage_direction>INT. 1994 TOYOTA COROLLA. CALIFORNIA. DAY.</stage_direction>\n <scene_description>The last sentences of The Grapes of Wrath.</scene_description>\n <character>AUDIOBOOK</character>\n <dialogue>\"Her hand moved behind his head and supported it. Her fingers mo... | 5618.46 | 53.34 | 150.07 |
lady_bird | tt4925292 | A2PwDvTuT8bU | 1
00:00:00,920 --> 00:00:01,960
in a dressing room.
2
00:00:01,960 --> 00:00:03,800
The student performers warm up.
3
00:00:04,720 --> 00:00:06,560
Danny does facial stretches.
4
00:00:07,280 --> 00:00:10,760
The cast and their drama coach Priest join hands backstage.
5
00:00:16,400 --> 00:00:17,320
They perform.
... | 1
00:01:19,680 --> 00:01:23,080
Julie looks dejected as her maths teacher walks off with his pregnant wife.
2
00:01:28,120 --> 00:01:30,240
She slumps down next to Father Leviatch.
3
00:01:36,720 --> 00:01:38,560
Later, the Cast sit in a diner.
4
00:01:38,600 --> 00:01:40,440
They excitedly throw chips at each other... | 1
00:00:12,770 --> 00:00:13,830
Pray for us!
2
00:00:13,860 --> 00:00:15,210
Save Jesus in our heart!
3
00:00:15,230 --> 00:00:16,400
Forever!
4
00:00:19,950 --> 00:00:23,430
Flying through the countryside
5
00:00:23,450 --> 00:00:26,120
Merrily we roll along,
roll along
6
00:00:27,290 --> 00:00:30,350
Catching a ... | 1
00:00:04,130 --> 00:00:05,840
[upbeat music playing]
2
00:00:08,260 --> 00:00:11,080
[all laughing]
3
00:00:11,100 --> 00:00:12,740
[muttering]
4
00:00:12,770 --> 00:00:13,830
Pray for us!
5
00:00:13,850 --> 00:00:15,200
Save Jesus in our heart!
6
00:00:15,230 --> 00:00:16,400
Forever!
7
00:00:19,940 --> 00:00:... | null | 5618.46 | 1939.62 | 152.02 |
lady_bird | tt4925292 | jjRceKpv6f6w | 1
00:00:06,470 --> 00:00:06,750
Miss.
2
00:00:06,790 --> 00:00:08,470
Patty waves for them to sit.
3
00:00:48,660 --> 00:00:51,540
A sign on an SUV reads just Married to Jesus.
4
00:00:52,500 --> 00:00:52,780
Lady.
5
00:00:52,780 --> 00:00:54,420
Bird stops decorating the car
6
00:00:54,420 --> 00:00:56,580
and tu... | 1
00:00:49,640 --> 00:00:51,360
Decorating sister Sarah's car.
| 1
00:00:00,630 --> 00:00:02,400
Oh, where is Father Leviatch?
2
00:00:02,430 --> 00:00:04,570
All right, let's have everyone
take a knee. Huh?
3
00:00:04,600 --> 00:00:06,520
- What?
- Cozy sit.
4
00:00:08,480 --> 00:00:10,500
Now, I know you all miss
Father Leviatch,
5
00:00:10,520 --> 00:00:12,520
and I can tell ... | 1
00:00:00,630 --> 00:00:02,400
- Oh, where is Father Leviatch?
- [whistle blowing]
2
00:00:02,420 --> 00:00:04,570
All right, let's have everyone
take a knee. Huh?
3
00:00:04,590 --> 00:00:06,510
- [male student] What?
- Cozy sit.
4
00:00:08,470 --> 00:00:10,490
Now, I know you all miss
Father Leviatch,
5
00:00:10... | {"screenplay_scene_61": "<scene>\n <stage_direction>INT. XAVIER MULTI-PURPOSE ROOM/THEATRE. DAY.</stage_direction>\n <scene_description>Everyone who has come to audition is greeted by the new director: Father Walther, also the JV football coach.</scene_description>\n <character>GIRL #1</character>\n <dialog... | 5618.46 | 2384.48 | 126.29 |
lady_bird | tt4925292 | HJyG_2F5i2ur | 1
00:00:00,330 --> 00:00:00,610
Lady.
2
00:00:00,610 --> 00:00:02,530
Bird walks into an elegant foyer,
3
00:00:02,570 --> 00:00:04,050
gazing up toward a chandelier.
4
00:00:04,050 --> 00:00:06,890
As she steps past a sweeping, curved staircase
5
00:00:06,890 --> 00:00:09,930
in the crowded kitchen, she finds Jenn... | 1
00:00:01,080 --> 00:00:06,280
Lady Bird walks into a party at Jenna's, her homes decked with marble floors and chandeliers.
2
00:00:18,360 --> 00:00:21,320
Sitting on the kitchen island, Jenna turns back to Jonah.
3
00:00:26,960 --> 00:00:30,000
Lady Bird looks out a window across the swimming pool.
4
00:00:30,040... | 1
00:00:02,300 --> 00:00:03,970
♪ Cry me a river ♪
2
00:00:05,390 --> 00:00:07,350
♪ Cry me a river ♪
3
00:00:08,850 --> 00:00:10,910
- ♪ Cry me a river ♪
- Hey.
4
00:00:10,940 --> 00:00:12,710
Hi.
5
00:00:12,730 --> 00:00:14,670
Um, help yourself to anything
in the fridge.
6
00:00:14,690 --> 00:00:17,170
My paren... | 1
00:00:02,300 --> 00:00:03,970
♪ Cry me a river ♪
2
00:00:05,390 --> 00:00:07,350
♪ Cry me a river ♪
3
00:00:08,850 --> 00:00:10,910
- ♪ Cry me a river ♪
- Hey.
4
00:00:10,930 --> 00:00:12,700
- Hi.
- [chuckles]
5
00:00:12,730 --> 00:00:14,660
Um, help yourself to anything
in the fridge.
6
00:00:14,690 --> 00:00:... | null | 5618.46 | 2826.34 | 118.86 |
lady_bird | tt4925292 | 9vB6K5JaSNGS | 1
00:00:01,010 --> 00:00:05,210
In Gina's pool, Lady, Bird and Gina swim side by side underwater.
2
00:00:27,810 --> 00:00:29,570
Lady Bird splashes her friend.
3
00:00:30,450 --> 00:00:31,770
She splashes back.
4
00:00:43,670 --> 00:00:47,150
In Mr. Bruno's Class Lady Bird notices Julie's desk is empty.
5
00:00:52... | 1
00:00:29,860 --> 00:00:31,300
The girls splash each other.
| 1
00:00:07,210 --> 00:00:09,130
I have to get out of Sacramento.
2
00:00:10,720 --> 00:00:11,900
Why?
3
00:00:11,930 --> 00:00:15,030
Because it's soul killing.
4
00:00:15,050 --> 00:00:16,930
It's the Midwest of California.
5
00:00:18,930 --> 00:00:21,040
Isn't there a thing, like,
6
00:00:21,060 --> 00:00:22,850... | 1
00:00:07,210 --> 00:00:09,120
[Lady Bird]
I have to get out of Sacramento.
2
00:00:10,710 --> 00:00:11,900
Why?
3
00:00:11,920 --> 00:00:15,020
Because it's soul killing.
4
00:00:15,050 --> 00:00:16,920
It's the Midwest of California.
5
00:00:18,930 --> 00:00:21,030
Isn't there a thing, like,
6
00:00:21,050 --> ... | {"screenplay_scene_72": "<scene>\n <stage_direction>EXT. JENNA'S HOUSE. POOL. DAY.</stage_direction>\n <scene_description>Lady Bird and Jenna messing around in her big pool, splashing each other, being teenage ladies-of-leisure. Lady Bird is feeling the weight of her life, the heft of it.</scene_description>\n ... | 5618.46 | 3061.92 | 103.96 |
lady_bird | tt4925292 | E4otIXUKAqCt | 1
00:00:06,230 --> 00:00:08,190
A woman addresses the girls in the gym.
2
00:00:33,310 --> 00:00:34,670
Lady Bird scoffs.
3
00:00:38,630 --> 00:00:40,910
The students passed around a foetal model set.
4
00:00:50,270 --> 00:00:51,950
Lady bird's eyes dart around.
5
00:01:17,970 --> 00:01:19,610
The woman's face fall... | 1
00:02:27,310 --> 00:02:29,510
Lady Bird grabs a pen and a notepad.
2
00:02:54,710 --> 00:02:56,630
She slams the pad down in a strop.
| 1
00:00:03,790 --> 00:00:06,430
She decided that she was going
to get an abortion.
2
00:00:06,460 --> 00:00:10,100
It made sense.
It was the right thing to do.
3
00:00:10,130 --> 00:00:12,980
- She was sitting there...
- Let me guess, she didn't get it.
4
00:00:13,010 --> 00:00:15,900
...and something deep inside of... | 1
00:00:03,780 --> 00:00:06,430
She decided that she was going
to get an abortion.
2
00:00:06,450 --> 00:00:10,100
It made sense.
It was the right thing to do.
3
00:00:10,120 --> 00:00:12,980
- She was sitting there...
- Let me guess, she didn't get it.
4
00:00:13,000 --> 00:00:15,890
...and something deep inside of... | null | 5618.46 | 3166.11 | 177.80 |
lady_bird | tt4925292 | bI5U5Jdpegbr | 1
00:00:12,350 --> 00:00:14,430
He reaches into his bedside table
2
00:00:14,430 --> 00:00:16,350
and Lady Bird leans over his shoulder,
3
00:00:16,390 --> 00:00:18,150
pulling her hair back nervously.
4
00:00:18,150 --> 00:00:20,150
She watches Kyle put a condom on.
5
00:00:23,230 --> 00:00:25,310
She positions he... | 1
00:00:12,880 --> 00:00:14,960
Kyle opens a drawer to retrieve a condom.
2
00:00:44,880 --> 00:00:45,560
How's the couple?
3
00:00:45,560 --> 00:00:46,040
Kiss.
4
00:00:46,080 --> 00:00:47,960
Lady Bird rocks on top of Kyle.
| 1
00:00:00,500 --> 00:00:01,710
I'm ready.
2
00:00:03,080 --> 00:00:04,480
What?
3
00:00:04,500 --> 00:00:07,270
I'm ready to have sex.
4
00:00:07,300 --> 00:00:09,300
Oh. Okay.
5
00:00:10,420 --> 00:00:11,430
Great.
6
00:00:20,060 --> 00:00:22,080
You're so dexterous with that.
7
00:00:22,100 --> 00:00:23,100
Th... | 1
00:00:00,490 --> 00:00:01,700
[Lady Bird] I'm ready.
2
00:00:03,080 --> 00:00:04,470
[Kyle] What?
3
00:00:04,500 --> 00:00:07,270
I'm ready to have sex.
4
00:00:07,290 --> 00:00:09,290
Oh. Okay.
5
00:00:10,420 --> 00:00:11,420
Great.
6
00:00:20,050 --> 00:00:22,070
You're so dexterous with that.
[chuckles]
7
00... | {"screenplay_scene_80": "<scene>\n <stage_direction>INT. KYLE'S ROOM. KYLE'S HOUSE. DAY.</stage_direction>\n <scene_description>They watch the news, not touching but oh man she wants to touch. CUT TO: Kyle and Lady Bird are making out pretty heavily. Lady Bird is on top. She whispers:</scene_description>\n <ch... | 5618.46 | 3461.15 | 178.38 |
lady_bird | tt4925292 | sy68uQ1_V3lQ | 1
00:00:02,210 --> 00:00:05,410
Julie, wearing a large yellow nightshirt, looks up from the couch
2
00:00:05,450 --> 00:00:08,290
as Lady Bird walks in, helping with the groceries.
3
00:00:09,890 --> 00:00:11,930
Lady Bird crosses over to her friend
4
00:00:11,930 --> 00:00:14,650
and sits down beside her on the wor... | 1
00:00:01,810 --> 00:00:03,370
Julie sits on the sofa.
2
00:00:03,410 --> 00:00:06,250
She wears a long yellow t shirt, looking forlorn.
3
00:00:09,770 --> 00:00:12,250
Lady Bird sits on the sofa next to her friend.
4
00:00:36,010 --> 00:00:38,130
Julie leans into Lady Bird for a hug.
5
00:01:08,320 --> 00:01:10,1... | 1
00:00:00,130 --> 00:00:01,630
There's someone here to see you.
2
00:00:15,470 --> 00:00:17,740
- Hey.
- Hey.
3
00:00:17,770 --> 00:00:19,790
- Are you okay?
- Fine. I'm fine.
4
00:00:19,810 --> 00:00:21,790
What happened?
5
00:00:21,810 --> 00:00:23,320
Nothing really. Nothing.
6
00:00:24,520 --> 00:00:26,790
Wh... | 1
00:00:00,120 --> 00:00:01,620
There's someone here to see you.
2
00:00:15,470 --> 00:00:17,740
- Hey.
- Hey.
3
00:00:17,760 --> 00:00:19,780
- Are you okay?
- Fine. I'm fine.
4
00:00:19,810 --> 00:00:21,780
- [sobs]
- What happened?
5
00:00:21,810 --> 00:00:23,310
Nothing really. Nothing.
6
00:00:24,520 --> 00:0... | {"screenplay_scene_96": "<scene>\n <stage_direction>INT. JULIE'S KITCHEN. NIGHT.</stage_direction>\n <scene_description>CUT TO: They laugh really hard. They catch their breath and notice that they are on the last slice of the block of cheese.</scene_description>\n <character>LADY BIRD</character>\n <dialogu... | 5618.46 | 4242.30 | 176.17 |
lady_bird | tt4925292 | Hihw71RzVops | 1
00:00:02,190 --> 00:00:03,990
Larry lifts a suitcase from the trunk
2
00:00:04,030 --> 00:00:05,470
and slips an envelope inside
3
00:00:05,470 --> 00:00:08,790
as the teen peers in the open passenger side door at her mom.
4
00:00:10,590 --> 00:00:12,030
Marion doesn't look at her.
5
00:00:16,390 --> 00:00:18,230... | 1
00:00:00,060 --> 00:00:02,620
Marion drives Larry and Lady Bird to the airport.
2
00:00:03,020 --> 00:00:05,260
Larry lifts Lady Bird suitcase from the boot.
3
00:00:06,140 --> 00:00:08,780
Secretly he places an envelope in the front pocket.
4
00:00:31,530 --> 00:00:35,050
Marion drives away, leaving Larry and Lad... | 1
00:00:08,870 --> 00:00:10,660
- Thank you for driving.
- You're welcome.
2
00:00:12,380 --> 00:00:14,190
You're not coming?
3
00:00:14,210 --> 00:00:16,050
You can't walk up
to the gates anymore, anyway.
4
00:00:18,630 --> 00:00:20,360
Yeah, but I'm going to college.
5
00:00:20,380 --> 00:00:22,190
Well, Dad will... | 1
00:00:05,650 --> 00:00:07,360
[song ends]
2
00:00:08,870 --> 00:00:10,660
- Thank you for driving.
- You're welcome.
3
00:00:12,370 --> 00:00:14,180
You're not coming?
4
00:00:14,200 --> 00:00:16,040
You can't walk up
to the gates anymore, anyway.
5
00:00:18,620 --> 00:00:20,350
Yeah, but I'm going to college.
6... | {"screenplay_scene_114": "<scene>\n <stage_direction>INT. 1994 TOYOTA COROLLA. EARLY MORNING.</stage_direction>\n <scene_description>Lady Bird sits in the backseat while Marion drives and Larry sits shotgun. Sacramento goes by.</scene_description>\n </scene>", "screenplay_scene_115": "<scene>\n <stage_directi... | 5618.46 | 4754.50 | 120.58 |
lady_bird | tt4925292 | DB_IR7ahY1AW | 1
00:00:00,650 --> 00:00:03,570
At night, she strolls down a busy New York sidewalk.
2
00:00:03,610 --> 00:00:07,170
Later, at a crowded dorm room party, she pours rum into a paper cup,
3
00:00:07,210 --> 00:00:08,010
takes a sip
4
00:00:08,010 --> 00:00:10,170
and taps a curly haired man on the shoulder.
5
00:00:1... | 1
00:00:07,930 --> 00:00:08,930
At a house party.
2
00:00:08,970 --> 00:00:10,810
Lady Bird nudges a man's shoulder.
3
00:00:57,840 --> 00:00:59,240
Lady Bird sips her drink.
4
00:00:59,880 --> 00:01:00,920
She glances at the man
5
00:01:00,960 --> 00:01:01,920
before grabbing the bottle
6
00:01:01,920 --> 00:01:0... | 1
00:00:01,060 --> 00:00:04,390
♪ Won't somebody please ♪
2
00:00:05,520 --> 00:00:11,880
♪ Help me with my miseries ♪
3
00:00:11,900 --> 00:00:13,690
- Hey.
- Hey.
4
00:00:15,400 --> 00:00:17,050
Do you believe in God?
5
00:00:17,070 --> 00:00:19,300
- Uh, no.
- Why not?
6
00:00:19,320 --> 00:00:21,910
Really?
Uh... | 1
00:00:01,050 --> 00:00:04,390
♪ Won't somebody please ♪
2
00:00:05,510 --> 00:00:11,870
♪ Help me with my miseries ♪
3
00:00:11,890 --> 00:00:13,690
- Hey.
- Hey.
4
00:00:15,400 --> 00:00:17,040
Do you believe in God?
5
00:00:17,070 --> 00:00:19,290
- Uh, no.
- Why not?
6
00:00:19,320 --> 00:00:21,910
[laughs] R... | {"screenplay_scene_117": "<scene>\n <stage_direction>INT. ANOTHER DORM ROOM. NIGHT</stage_direction>\n <scene_description>Lady Bird sits in a dorm room full of college freshman. She stares at a half drunk paper cup of rum in her hand. She looks up, questioning:</scene_description>\n <character>LADY BIRD</chara... | 5618.46 | 4973.86 | 152.21 |
the_king_of_staten_island | tt9686708 | CTQpMzVJUV2Q | 1
00:00:01,190 --> 00:00:03,360
- You okay?
- Fine... Yeah.
2
00:00:03,390 --> 00:00:04,630
Wh-What do you mean?
Yeah, I'm...
3
00:00:04,660 --> 00:00:05,800
You gonna be okay
without me here?
4
00:00:05,830 --> 00:00:08,990
What, you don't think I can
survive here without you?
5
00:00:09,030 --> 00:00:10,500
Okay,... | 1
00:00:01,180 --> 00:00:03,350
- You okay?
- Fine... Yeah.
2
00:00:03,380 --> 00:00:04,620
Wh-What do you mean?
Yeah, I'm...
3
00:00:04,650 --> 00:00:05,790
You gonna be okay
without me here?
4
00:00:05,820 --> 00:00:08,980
What, you don't think I can
survive here without you?
5
00:00:09,020 --> 00:00:10,490
Okay,... | null | 8235.36 | 1156.90 | 67.52 | ||
the_king_of_staten_island | tt9686708 | _s57TTasCRrH | 1
00:00:23,730 --> 00:00:25,330
Richie shows a hideous tattoo.
2
00:00:43,330 --> 00:00:46,050
A tattoo features his belly button as a cat's anus.
| 1
00:00:00,210 --> 00:00:02,150
I love Staten Island.
2
00:00:02,180 --> 00:00:03,120
It's amazing.
3
00:00:03,150 --> 00:00:05,190
And people are gonna
see it soon, trust me.
4
00:00:05,220 --> 00:00:06,790
Well, if you love it so much,
5
00:00:06,820 --> 00:00:08,490
why don't you let me
tattoo it on you?
6
00:0... | 1
00:00:00,200 --> 00:00:02,140
I love Staten Island.
2
00:00:02,170 --> 00:00:03,110
It's amazing.
3
00:00:03,140 --> 00:00:05,180
And people are gonna
see it soon, trust me.
4
00:00:05,210 --> 00:00:06,780
SCOTT:
Well, if you love it so much,
5
00:00:06,810 --> 00:00:08,480
why don't you let me
tattoo it on you?
... | {"screenplay_scene_21": "<scene>\n <stage_direction>EXT. RUN DOWN BLACKTOP COURT - DAY (2:00PM)</stage_direction>\n <scene_description>Scott, Oscar, Richie, Igor, Kelsey and Tara are hanging out. Tara watches Oscar throw knives. A SECURITY GUARD approaches.</scene_description>\n <character>SECURITY GUARD</char... | 8235.36 | 1574.75 | 49.92 | |
the_king_of_staten_island | tt9686708 | P0wmskQOgimm | 1
00:00:02,820 --> 00:00:03,620
Scott tattoos.
2
00:00:03,660 --> 00:00:06,370
A spider web design with words on Igor's bicep.
3
00:00:49,650 --> 00:00:51,370
A boy approaches yo Kid.
4
00:01:13,210 --> 00:01:14,370
The boy fist bumps him.
5
00:01:58,890 --> 00:02:00,210
Harold sits with Scott.
6
00:02:40,720 --> ... | 1
00:00:02,920 --> 00:00:04,840
They go to a beach where Scott tattoos.
2
00:00:04,840 --> 00:00:04,870
Tattoo.
3
00:00:04,910 --> 00:00:05,780
Igor again.
| 1
00:00:01,670 --> 00:00:02,800
Almost.
2
00:00:06,640 --> 00:00:08,040
All right.
3
00:00:08,070 --> 00:00:09,650
- You're all done.
- That looks really good.
4
00:00:09,680 --> 00:00:11,240
Yeah, I mean, I wish
5
00:00:11,280 --> 00:00:13,110
you'd let me do
something cooler, but yeah.
6
00:00:13,140 --> 00:00:1... | 1
00:00:01,660 --> 00:00:02,790
- (Igor groans)
- Almost.
2
00:00:02,830 --> 00:00:04,760
(panting sharply)
3
00:00:04,790 --> 00:00:06,600
(seabirds squawking in distance)
4
00:00:06,630 --> 00:00:08,030
All right.
5
00:00:08,060 --> 00:00:09,640
- You're all done.
- That looks really good.
6
00:00:09,670 --> 00:... | {"screenplay_scene_22": "<scene>\n <stage_direction>EXT. BEACH - LATER</stage_direction>\n <scene_description>Oscar and Richie are drinking. Scott finishes tattooing Igor.</scene_description>\n <character>IGOR</character>\n <dialogue>That looks really good.</dialogue>\n <character>SCOTT</character>\n ... | 8235.36 | 1632.22 | 197.58 |
the_king_of_staten_island | tt9686708 | l0VK_RWHy93x | 1
00:00:02,560 --> 00:00:05,080
At home, Margie chops vegetables in the kitchen.
2
00:00:05,080 --> 00:00:08,640
She answers the door to a middle aged bald man with a large moustache.
3
00:00:08,760 --> 00:00:09,920
He stands with Harold.
4
00:01:59,910 --> 00:02:01,030
Ray looks at Margie.
5
00:02:28,150 --> 00:02... | 1
00:00:07,330 --> 00:00:08,920
Margie goes to the door.
2
00:02:28,620 --> 00:02:30,790
Scott and Kelsey are in a coffee shop.
| 1
00:00:11,010 --> 00:00:12,850
Yeah, hello.
My name's Raymond Bishop.
2
00:00:12,880 --> 00:00:15,150
This is my son, Harold.
Say hello, Harold.
3
00:00:15,180 --> 00:00:16,380
I'm sorry.
4
00:00:16,420 --> 00:00:18,320
What's going on?
5
00:00:18,350 --> 00:00:20,120
Well, it seems your son
was down in the woods
... | 1
00:00:11,000 --> 00:00:12,840
Yeah, hello.
My name's Raymond Bishop.
2
00:00:12,870 --> 00:00:15,140
This is my son, Harold.
Say hello, Harold.
3
00:00:15,170 --> 00:00:16,370
I'm sorry.
4
00:00:16,410 --> 00:00:18,310
What's going on?
5
00:00:18,340 --> 00:00:20,110
Well, it seems your son
was down in the woods
... | null | 8235.36 | 1830.69 | 151.23 |
the_king_of_staten_island | tt9686708 | ZB31Ri4ZZqzl | 1
00:00:00,480 --> 00:00:02,920
Later, employees move tables and sweep the floor.
2
00:00:03,240 --> 00:00:05,080
Scott watches with his short Waitress.
3
00:00:28,270 --> 00:00:30,630
They wear green gloves resembling oversized hands.
4
00:00:54,590 --> 00:00:55,670
Zoots hops around.
5
00:01:09,310 --> 00:01:10,4... | 1
00:00:01,340 --> 00:00:03,800
After work, the tables are moved aside.
| 1
00:00:01,870 --> 00:00:03,540
♪ Send me the addy, I'm
hunting 'em down ♪
2
00:00:03,570 --> 00:00:04,970
♪ Grrt, grrt... ♪
3
00:00:05,010 --> 00:00:06,740
There a dance party
or something?
4
00:00:06,770 --> 00:00:08,840
- It's fight night.
- All right, fight night!
5
00:00:08,880 --> 00:00:10,340
Tournament of c... | 1
00:00:01,860 --> 00:00:03,530
♪ Send me the addy, I'm
hunting 'em down ♪
2
00:00:03,560 --> 00:00:04,960
♪ Grrt, grrt... ♪
3
00:00:05,000 --> 00:00:06,730
There a dance party
or something?
4
00:00:06,760 --> 00:00:08,830
- It's fight night.
- JOE: All right, fight night!
5
00:00:08,870 --> 00:00:10,330
Tournament... | {"screenplay_scene_29": "<scene>\n <stage_direction>INT. DENINO'S RESTAURANT - NIGHT</stage_direction>\n <scene_description>The restaurant is now empty. The staff is clearing the center of the room of tables. Scott sits with Deena.</scene_description>\n <character>SCOTT</character>\n <dialogue>There a dance... | 8235.36 | 2490.85 | 91.51 |
the_king_of_staten_island | tt9686708 | 7kaACJxeXtLL | 1
00:00:03,460 --> 00:00:04,980
The batter reaches second base.
2
00:00:06,500 --> 00:00:08,260
The slender fireman turns to Ray.
3
00:00:21,180 --> 00:00:22,060
Scott nods.
4
00:00:43,730 --> 00:00:45,290
Papa turns back to the game.
5
00:00:48,970 --> 00:00:50,850
Another home team batter gets a hit.
6
00:00:56,... | 1
00:00:01,210 --> 00:00:03,240
All right, there we go.
There we go.
2
00:00:03,280 --> 00:00:05,150
Let's go, baby, let's go.
3
00:00:05,180 --> 00:00:06,280
Look alive!
4
00:00:08,280 --> 00:00:10,580
Think we're gonna take
these pansy Spinners tonight?
5
00:00:10,620 --> 00:00:11,900
Oh, man, we can't
take the S... | 1
00:00:01,200 --> 00:00:03,230
All right, there we go.
There we go.
2
00:00:03,270 --> 00:00:05,140
SAVAGE:
Let's go, baby, let's go.
3
00:00:05,170 --> 00:00:06,270
PAPA:
Look alive!
4
00:00:06,300 --> 00:00:08,240
(women whooping, shouting)
5
00:00:08,270 --> 00:00:10,570
Think we're gonna take
these pansy Spinn... | {"screenplay_scene_47": "<scene>\n <stage_direction>INT. STADIUM - LATER</stage_direction>\n <scene_description>Scott and Ray find their seats next to a few firemen, Papa, Donny, MONTY and RAFAEL.</scene_description>\n <character>PAPA</character>\n <dialogue>We gonna take these pansy Spinners tonight?</dial... | 8235.36 | 3115.23 | 178.33 | |
the_king_of_staten_island | tt9686708 | uERWrqQ0WEXd | 1
00:00:18,810 --> 00:00:21,210
Scott sits across from Ray at the dining table.
2
00:01:03,920 --> 00:01:05,080
Ray glances off.
| 1
00:00:19,110 --> 00:00:20,860
Scott sits down at the table.
| 1
00:00:00,190 --> 00:00:02,160
And just-just
stick to your guns.
2
00:00:02,200 --> 00:00:03,600
All right? It'll be fine.
3
00:00:03,630 --> 00:00:04,700
Hey. Hey!
4
00:00:04,730 --> 00:00:05,730
Come on in.
5
00:00:05,770 --> 00:00:07,400
Come have breakfast with us.
6
00:00:07,430 --> 00:00:10,400
I made panca... | 1
00:00:00,180 --> 00:00:02,150
(quietly): And just-just
stick to your guns.
2
00:00:02,190 --> 00:00:03,590
All right? It'll be fine.
3
00:00:03,620 --> 00:00:04,690
Hey. Hey!
4
00:00:04,720 --> 00:00:05,720
Come on in.
5
00:00:05,760 --> 00:00:07,390
Come have breakfast with us.
6
00:00:07,420 --> 00:00:10,390
I... | {"screenplay_scene_48": "<scene>\n <stage_direction>INT. MARGIE'S HOUSE - MORNING</stage_direction>\n <scene_description>Scott enters, thrown to see Margie serving Ray breakfast.</scene_description>\n <character>MARGIE</character>\n <dialogue>Hey! Come on in. Come have breakfast with us. I made pancakes and... | 8235.36 | 3293.82 | 203.45 |
the_king_of_staten_island | tt9686708 | HMxnN3Z9ly9S | 1
00:00:14,750 --> 00:00:15,670
Scott works nearby.
2
00:00:40,510 --> 00:00:41,710
Scott turns to them.
3
00:00:45,310 --> 00:00:46,950
He and the brunette stare at each other.
4
00:01:08,990 --> 00:01:10,510
Frustrated Kelsey leaves.
5
00:01:10,750 --> 00:01:11,990
The short waitress approaches.
6
00:01:11,990 -... | 1
00:01:11,340 --> 00:01:12,630
Kelsey walks out.
| 1
00:00:03,220 --> 00:00:05,760
You're kind of thicker,
more robust.
2
00:00:05,790 --> 00:00:07,260
Oh, thank you.
3
00:00:07,290 --> 00:00:08,260
- Yeah.
- It's a compliment.
4
00:00:08,290 --> 00:00:11,630
You look a little bit like
Antonio Banderas,
5
00:00:11,660 --> 00:00:12,800
if I squint really hard.
6
00... | 1
00:00:03,210 --> 00:00:05,750
You're kind of thicker,
more robust.
2
00:00:05,780 --> 00:00:07,250
(laughs):
Oh, thank you.
3
00:00:07,280 --> 00:00:08,250
- Yeah.
- It's a compliment.
4
00:00:08,280 --> 00:00:11,620
You look a little bit like
Antonio Banderas,
5
00:00:11,650 --> 00:00:12,790
if I squint really h... | {"screenplay_scene_54": "<scene>\n <stage_direction>INT. DENINO'S RESTAURANT - NIGHT</stage_direction>\n <scene_description>Kelsey is sitting at a table across from a DATE.</scene_description>\n <character>DATE</character>\n <dialogue>I gotta be honest Kelsey, you look exactly like your picture. Or you're t... | 8235.36 | 3872.48 | 133.42 |
the_king_of_staten_island | tt9686708 | dFvqK9HbW1_X | 1
00:00:14,790 --> 00:00:16,110
They conceal their faces.
2
00:00:18,870 --> 00:00:19,990
Scott ducks by the car
3
00:00:19,990 --> 00:00:22,030
and watches his friends approach the Pharmacy.
4
00:00:22,430 --> 00:00:23,950
Richie unlocks the front door.
5
00:00:24,470 --> 00:00:25,230
Oh shit.
6
00:00:27,790 --> ... | 1
00:00:19,950 --> 00:00:22,120
Scott watches them run across the street.
2
00:00:29,210 --> 00:00:33,290
Wearing masks, Oscar, Richie and Igor let themselves into the Pharmacy
3
00:00:33,340 --> 00:00:36,090
spray paint over the lens of the security camera.
4
00:00:36,130 --> 00:00:37,380
Turn off the alarm system
... | 1
00:00:01,710 --> 00:00:05,680
or you hear sirens or anything
bad, you text me, "You up?"
2
00:00:05,720 --> 00:00:06,800
Could I just text you
something else?
3
00:00:06,820 --> 00:00:09,450
That sounds like I'm trying
to bang you, kind of.
4
00:00:09,490 --> 00:00:11,490
- Just do it.
- Fine.
5
00:00:11,520 --> ... | 1
00:00:01,700 --> 00:00:05,670
or you hear sirens or anything
bad, you text me, "You up?"
2
00:00:05,710 --> 00:00:06,790
Could I just text you
something else?
3
00:00:06,810 --> 00:00:09,440
That sounds like I'm trying
to bang you, kind of.
4
00:00:09,480 --> 00:00:11,480
- Just do it.
- Fine.
5
00:00:11,510 --> ... | {"screenplay_scene_72": "<scene>\n <stage_direction>EXT. PHARMACY - NIGHT</stage_direction>\n <scene_description>Scott, Oscar, Igor and Richie park near the pharmacy.</scene_description>\n <character>RICHIE</character>\n <dialogue>Right. If anybody sees us or you hear sirens or anything bad, you text me \"y... | 8235.36 | 4612.99 | 225.40 |
the_king_of_staten_island | tt9686708 | Y2M2yRPwQQN7 | 1
00:01:00,880 --> 00:01:02,120
Scott kisses (Ray's head
2
00:01:02,120 --> 00:01:03,480
and Ray shoves him down.
3
00:01:03,480 --> 00:01:04,200
They tussle.
4
00:01:12,840 --> 00:01:15,160
Ray tosses him into an above ground pool.
5
00:01:34,870 --> 00:01:35,990
Scott climbs out.
6
00:01:38,590 --> 00:01:39,430
... | 1
00:01:40,450 --> 00:01:40,700
Thank
2
00:01:41,150 --> 00:01:43,020
Ray stops Scott's wild attack
3
00:01:43,020 --> 00:01:44,690
and manages to pin him to the ground
4
00:01:44,690 --> 00:01:46,030
after a brief struggle.
5
00:03:27,700 --> 00:03:29,870
She walks away along the side path.
| 1
00:00:01,610 --> 00:00:03,110
- The fuck, Scott?
- What?
2
00:00:03,150 --> 00:00:05,080
Huh? What, are you
spying on me now?
3
00:00:05,120 --> 00:00:06,550
- You Magnum, P.I.?
- What?
4
00:00:06,580 --> 00:00:07,660
Telling your mom
that I'm homeless?
5
00:00:07,680 --> 00:00:09,790
You think it's funny
to tell... | 1
00:00:01,600 --> 00:00:03,100
- The fuck, Scott?
- SCOTT: What?
2
00:00:03,140 --> 00:00:05,070
Huh? What, are you
spying on me now?
3
00:00:05,110 --> 00:00:06,540
- You Magnum, P.I.?
- What?
4
00:00:06,570 --> 00:00:07,650
Telling your mom
that I'm homeless?
5
00:00:07,670 --> 00:00:09,780
You think it's funny
... | {"screenplay_scene_94": "<scene>\n <stage_direction>EXT. MARGIE'S HOUSE - BACKYARD - DAY</stage_direction>\n <scene_description>Scott hangs outside as Ray comes stomping into the backyard.</scene_description>\n <character>RAY</character>\n <dialogue>I knew I smelled you. What the fuck Scott, you spying on m... | 8235.36 | 5111.39 | 225.84 |
the_king_of_staten_island | tt9686708 | in6Q24FCtfxY | 1
00:01:12,600 --> 00:01:14,080
She pulls the covers off him.
2
00:02:10,190 --> 00:02:10,950
Holding his clothes.
3
00:02:10,950 --> 00:02:12,430
Scott goes downstairs.
4
00:02:12,430 --> 00:02:13,590
He looks at a teen.
5
00:02:19,310 --> 00:02:21,350
Wearing only his boxers and socks.
6
00:02:21,390 --> 00:02:2... | 1
00:02:21,770 --> 00:02:24,570
Scott is only wearing his underpants outside.
2
00:02:24,570 --> 00:02:26,360
He pulls on his shorts and t shirt
3
00:02:26,360 --> 00:02:27,900
and steps into his trainers.
| 1
00:00:01,080 --> 00:00:02,980
I'm really glad we did that.
2
00:00:03,010 --> 00:00:04,650
It was really nice.
3
00:00:04,680 --> 00:00:06,020
Me, too.
4
00:00:06,050 --> 00:00:07,890
That was awesome.
5
00:00:07,920 --> 00:00:09,790
Yeah. I missed you.
6
00:00:09,820 --> 00:00:11,890
Oh, yeah? I missed you, too... | 1
00:00:01,070 --> 00:00:02,970
I'm really glad we did that.
2
00:00:03,000 --> 00:00:04,640
It was really nice.
3
00:00:04,670 --> 00:00:06,010
- Me, too.
- (chuckles)
4
00:00:06,040 --> 00:00:07,880
That was awesome.
5
00:00:07,910 --> 00:00:09,780
Yeah. I missed you.
6
00:00:09,810 --> 00:00:11,880
- Oh, yeah? ... | {"screenplay_scene_99": "<scene>\n <stage_direction>INT. KELSEY'S ROOM - LATER</stage_direction>\n <scene_description>Scott and Kelsey are lying in bed after having sex.</scene_description>\n <character>KELSEY</character>\n <dialogue>I'm really glad we did that. That was really nice.</dialogue>\n <charac... | 8235.36 | 5509.82 | 151.74 |
the_king_of_staten_island | tt9686708 | dG8uG0iejyL7 | 1
00:00:18,750 --> 00:00:19,870
They help him to the ER.
2
00:00:21,590 --> 00:00:22,910
Margie spots them.
3
00:00:36,540 --> 00:00:38,500
Margie points for Scott and Ray to leave.
4
00:00:38,540 --> 00:00:39,780
Joy tends to the man.
5
00:00:42,060 --> 00:00:45,180
With blood on their clothes, Scott and Ray wait ... | 1
00:00:44,460 --> 00:00:47,670
Margie hurries to meet Scott and Ray in cubicle six.
2
00:01:00,420 --> 00:01:01,800
They take off their shirts.
3
00:01:18,190 --> 00:01:21,690
Amongst the tattoos are some things that Ray told him not to draw.
4
00:01:36,920 --> 00:01:41,970
On his right shoulder is a family group c... | 1
00:00:01,940 --> 00:00:03,750
Hey, man, we got to
help this guy.
2
00:00:03,780 --> 00:00:04,750
He's bleeding out.
3
00:00:04,780 --> 00:00:06,250
This a cop?
4
00:00:06,280 --> 00:00:07,820
He looks like a cop.
5
00:00:07,850 --> 00:00:09,150
Excuse me, ma'am.
6
00:00:09,190 --> 00:00:10,390
Ray Bishop, Ladder... | 1
00:00:01,930 --> 00:00:03,740
Hey, man, we got to
help this guy.
2
00:00:03,770 --> 00:00:04,740
He's bleeding out.
3
00:00:04,770 --> 00:00:06,240
This a cop?
4
00:00:06,270 --> 00:00:07,810
He looks like a cop.
5
00:00:07,840 --> 00:00:09,140
Excuse me, ma'am.
6
00:00:09,180 --> 00:00:10,380
Ray Bishop, Ladder... | {"screenplay_scene_138": "<scene>\n <stage_direction>INT. EMERGENCY ROOM WAITING AREA - LATER</stage_direction>\n <scene_description>Scott sits next to Max who is slipping in and out of consciousness.</scene_description>\n <character>MAX</character>\n <dialogue>Do me a favor, man. Can we just switch identit... | 8235.36 | 7276.22 | 137.05 |
notting_hill | tt0125439 | KAP_hR6z2Jad | 1
00:00:03,770 --> 00:00:05,130
The woman glances at them.
2
00:00:58,900 --> 00:00:59,700
She smirks.
3
00:01:11,060 --> 00:01:12,340
She signs a piece of paper
4
00:01:12,340 --> 00:01:13,660
and hands it to the Thief.
5
00:01:35,670 --> 00:01:37,750
Awkwardly waving, Rufus leaves.
6
00:02:04,030 --> 00:02:06,75... | 1
00:01:12,550 --> 00:01:14,260
Anna hands him her autograph.
| 1
00:00:00,310 --> 00:00:01,380
So?
2
00:00:01,410 --> 00:00:04,050
So I saw you put that
book down your trousers.
3
00:00:05,750 --> 00:00:07,450
What book?
4
00:00:07,490 --> 00:00:08,930
The one down your trousers.
5
00:00:10,190 --> 00:00:12,460
I don't have a book
down my trousers.
6
00:00:13,860 --> 00:00:17... | 1
00:00:00,320 --> 00:00:01,390
So?
2
00:00:01,420 --> 00:00:04,060
So I saw you put that
book down your trousers.
3
00:00:05,760 --> 00:00:07,470
What book?
4
00:00:07,490 --> 00:00:08,940
The one down your trousers.
5
00:00:10,190 --> 00:00:12,470
I don't have a book
down my trousers.
6
00:00:13,860 --> 00:00:17... | {"screenplay_scene_11": "<scene>\n <stage_direction>INT. THE BOOKSHOP - DAY</stage_direction>\n <scene_description>It is a small shop , slightly chaotic , bookshelves everywhere , with little secret bits round corners with even more books . Martin , William 's sole employee , is waiting enthusiastically . He is v... | 7432.70 | 442.40 | 132.47 |
notting_hill | tt0125439 | wJ_k3DGiQtDn | 1
00:00:01,280 --> 00:00:02,480
and walks down the street.
2
00:00:07,160 --> 00:00:09,480
At a cafe, he buys a drink and a roll.
3
00:00:09,640 --> 00:00:11,800
He strides from the shop, looking off to the side
4
00:00:11,800 --> 00:00:15,160
and runs into Anna Scott orange juice, splashing across her white top.
5... | 1
00:00:00,310 --> 00:00:02,900
Counting his money, William walks to the coffee shop.
2
00:00:07,820 --> 00:00:09,610
Carrying the orange juice and a sandwich,
3
00:00:09,610 --> 00:00:10,650
he bumps into Anna,
4
00:00:10,650 --> 00:00:12,320
spilling the drink over both of them.
5
00:00:54,570 --> 00:00:55,990
Sh... | 1
00:00:05,240 --> 00:00:07,550
Okay, thanks. Bye-bye.
See you later.
2
00:00:15,790 --> 00:00:17,770
Shit! Bugger!
Oh, my God!
3
00:00:17,810 --> 00:00:19,760
I'm so sorry. I'm so sorry.
4
00:00:19,790 --> 00:00:21,230
Here let me...
5
00:00:21,260 --> 00:00:22,460
Get your hands off!
6
00:00:22,500 --> 00:00:25,... | 1
00:00:05,250 --> 00:00:07,560
Okay, thanks. Bye-bye.
See you later.
2
00:00:14,590 --> 00:00:15,770
(BOTH EXCLAIMING)
3
00:00:15,790 --> 00:00:17,740
Shit! Bugger!
Oh, my God!
4
00:00:17,760 --> 00:00:19,740
I'm so sorry. I'm so sorry.
5
00:00:19,770 --> 00:00:21,240
Here let me...
6
00:00:21,270 --> 00:00:22,48... | {"screenplay_scene_14": "<scene>\n <stage_direction>EXT. PORTOBELLO ROAD - DAY</stage_direction>\n <scene_description>William swings out of the little shop - he turns the corner of Portobello Road and bumps straight into Anna . The orange juice , in its foam cup , flies . It soaks Anna .</scene_description>\n ... | 7432.70 | 675.10 | 56.77 |
notting_hill | tt0125439 | Ej9j7vS_WJES | 1
00:00:05,630 --> 00:00:07,350
He puts the jar back in the fridge.
2
00:00:44,010 --> 00:00:46,250
She walks down the stairs towards the front door.
3
00:00:46,250 --> 00:00:47,130
He follows.
4
00:01:08,250 --> 00:01:09,650
He opens the door for her.
5
00:01:20,050 --> 00:01:21,490
He puts a hand to his head.
6
... | 1
00:00:46,270 --> 00:00:47,600
Anna heads for the front door,
2
00:00:47,600 --> 00:00:49,230
and William shuffles after her.
3
00:00:49,440 --> 00:00:51,360
They then stand facing each other.
4
00:01:08,120 --> 00:01:09,330
William opens the door
5
00:01:09,330 --> 00:01:11,210
and, smiling, Anna walks out.
6
00... | 1
00:00:01,010 --> 00:00:04,420
But nevertheless, there we go,
they're yours if you want them.
2
00:00:04,840 --> 00:00:05,840
No.
3
00:00:08,680 --> 00:00:11,060
Do you always say
"no" to everything?
4
00:00:13,790 --> 00:00:14,790
No.
5
00:00:17,290 --> 00:00:21,930
I'd better be going.
Thanks for your... help.
... | 1
00:00:01,010 --> 00:00:04,430
But nevertheless,
there we go, they're
yours if you want them.
2
00:00:04,850 --> 00:00:05,850
No.
3
00:00:08,690 --> 00:00:11,060
Do you always say
"no" to everything?
4
00:00:13,790 --> 00:00:14,790
No.
5
00:00:17,300 --> 00:00:21,940
I'd better be going.
Thanks for your... help.
... | {"screenplay_scene_16": "<scene>\n <stage_direction>INT. KITCHEN - DAY</stage_direction>\n <scene_description>William is tidying up frantically . Then he hears Anna 's feet on the stairs . She walks down , wearing a short , sparkling black top beneath her leather jacket . With her trainers still on . He is dazzle... | 7432.70 | 839.94 | 133.05 |
notting_hill | tt0125439 | tt65BNKyEUPZ | 1
00:00:01,500 --> 00:00:03,700
William slowly takes a seat across from her.
2
00:00:09,440 --> 00:00:11,920
Anna smiles, her eyes darting toward the man.
3
00:00:31,040 --> 00:00:32,360
She glances at the man.
4
00:00:46,600 --> 00:00:47,600
The man leaves.
5
00:01:10,130 --> 00:01:11,210
The man returns.
6
00:01... | 1
00:00:02,180 --> 00:00:03,310
William sits.
2
00:01:23,290 --> 00:01:26,670
The PR man stays in the room working on something on a desk.
3
00:01:58,850 --> 00:02:00,390
The PR man walks out.
4
00:02:46,640 --> 00:02:49,430
Anna stares at William as he begins to lean towards her.
5
00:02:49,680 --> 00:02:51,480
Th... | 1
00:00:00,180 --> 00:00:01,220
So,
2
00:00:06,620 --> 00:00:09,690
I'll just fire away,
then, shall I?
3
00:00:11,930 --> 00:00:13,030
Right.
4
00:00:17,270 --> 00:00:18,670
The film's great,
5
00:00:18,700 --> 00:00:22,380
and I just was
wondering whether
6
00:00:23,610 --> 00:00:29,850
you ever thought of havin... | 1
00:00:00,190 --> 00:00:01,220
So,
2
00:00:06,630 --> 00:00:09,700
I'll just fire away,
then, shall I?
3
00:00:11,930 --> 00:00:13,040
Right.
4
00:00:17,270 --> 00:00:18,680
The film's great,
5
00:00:18,710 --> 00:00:22,380
and I just was
wondering whether
6
00:00:23,610 --> 00:00:29,860
you ever thought of havin... | {"screenplay_scene_32": "<scene>\n <stage_direction>INT. THE TRAFALGAR SUITE SITTING ROOM - DAY</stage_direction>\n <scene_description>There Anna is , framed in the window . Glorious .</scene_description>\n <character>WILLIAM</character>\n <dialogue>Hi.</dialogue>\n <character>ANNA</character>\n <dial... | 7432.70 | 1621.47 | 180.56 |
notting_hill | tt0125439 | 0qnt7YGtqDaX | 1
00:00:02,820 --> 00:00:04,540
Opening the door for William and Anna,
2
00:00:04,540 --> 00:00:05,860
he returns to the kitchen.
3
00:00:30,310 --> 00:00:31,510
Max approaches them.
4
00:00:35,910 --> 00:00:36,870
Max freezes.
5
00:00:49,230 --> 00:00:51,030
In the doorway, a blonde poses.
| 1
00:00:03,760 --> 00:00:05,380
William let's Anna go in first
2
00:00:05,380 --> 00:00:07,090
as Max tends to the oven.
| 1
00:00:00,480 --> 00:00:02,620
Hi, come on in.
Vague food crisis.
2
00:00:09,290 --> 00:00:10,490
Hiya.
3
00:00:10,530 --> 00:00:14,530
Sorry, the guinea-fowl is proving
more complicated than expected.
4
00:00:15,100 --> 00:00:16,400
He's cooking guinea-fowl?
5
00:00:16,440 --> 00:00:17,610
Don't even ask.
6
00:0... | 1
00:00:00,490 --> 00:00:02,630
Hi, come on in.
Vague food crisis.
2
00:00:09,300 --> 00:00:10,510
Hiya.
3
00:00:10,530 --> 00:00:14,540
Sorry, the guinea-fowl
is proving more complicated
than expected.
4
00:00:15,110 --> 00:00:16,380
He's cooking guinea-fowl?
5
00:00:16,410 --> 00:00:17,610
Don't even ask.
6
00:0... | {"screenplay_scene_40": "<scene>\n <stage_direction>INT. MAX AND BELLA'S CORRIDOR - NIGHT</stage_direction>\n <scene_description>Max heads for the door impatiently . He opens it and turns back without looking at William and Anna standing there .</scene_description>\n <character>MAX</character>\n <dialogue>C... | 7432.70 | 2071.49 | 120.51 |
notting_hill | tt0125439 | ykCvj47E9eTd | 1
00:00:01,380 --> 00:00:02,940
Bernie enters, carrying a briefcase.
2
00:00:52,150 --> 00:00:53,590
Bernie sits across from Anna.
3
00:01:50,040 --> 00:01:50,960
Bernie blinks.
| 1
00:00:00,430 --> 00:00:01,840
That'll be Bernie.
2
00:00:04,160 --> 00:00:06,400
Hi.
Hi. Sorry I'm late.
3
00:00:06,430 --> 00:00:08,640
Bollocksed up at work again,
I fear.
4
00:00:09,800 --> 00:00:10,970
Millions down the drain.
5
00:00:11,000 --> 00:00:12,000
Well done.
6
00:00:12,270 --> 00:00:13,570
Bernie,... | 1
00:00:00,430 --> 00:00:01,840
That'll be Bernie.
2
00:00:04,170 --> 00:00:06,420
Hi.
Hi. Sorry I'm late.
3
00:00:06,440 --> 00:00:08,650
Bollocksed up at work again,
I fear.
4
00:00:09,810 --> 00:00:10,950
Millions down the drain.
5
00:00:10,980 --> 00:00:12,010
Well done.
6
00:00:12,280 --> 00:00:13,590
Bernie,... | {"screenplay_scene_46": "<scene>\n <stage_direction>INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT</stage_direction>\n <scene_description>A minute or two later - they are standing , drinking wine before dinner . Bernie with Anna on their own - William helping Max in the kitchen .</scene_description>\n <chara... | 7432.70 | 2192.00 | 115.59 | |
notting_hill | tt0125439 | NpCrYon91t2X | 1
00:00:39,150 --> 00:00:40,280
They all look at Anna.
2
00:01:27,800 --> 00:01:29,560
Anna points to her chin and nose.
3
00:01:52,740 --> 00:01:53,940
Bella puts her cup down
4
00:01:53,940 --> 00:01:55,820
and Max closely examines Anna.
| 1
00:01:49,040 --> 00:01:50,210
All slightly shocked.
2
00:01:50,250 --> 00:01:51,540
Bella, Max and William.
3
00:01:51,540 --> 00:01:52,290
Look at Anna.
| 1
00:00:00,850 --> 00:00:03,420
Still, we're lucky
in lots of ways.
2
00:00:04,320 --> 00:00:06,500
But, surely that's
worth a brownie.
3
00:00:08,930 --> 00:00:10,430
Well, I don't know.
4
00:00:11,900 --> 00:00:13,270
Look at William.
5
00:00:14,400 --> 00:00:15,800
Very unsuccessful
professionally.
6
00:00:15,8... | 1
00:00:00,860 --> 00:00:03,430
Still, we're lucky
in lots of ways.
2
00:00:04,330 --> 00:00:06,500
But, surely that's
worth a brownie.
3
00:00:08,940 --> 00:00:10,440
Well, I don't know.
4
00:00:11,900 --> 00:00:13,280
Look at William.
5
00:00:14,410 --> 00:00:15,780
Very unsuccessful
professionally.
6
00:00:15,8... | {"screenplay_scene_49": "<scene>\n <stage_direction>INT. MAX AND BELLA'S CONSERVATORY - NIGHT</stage_direction>\n <scene_description>Coffee time .</scene_description>\n <character>MAX</character>\n <dialogue>Having you here, Anna, firmly establishes what I've long suspected, that we really are the most desp... | 7432.70 | 2515.30 | 124.92 |
notting_hill | tt0125439 | MHWzjt_W3mm3 | 1
00:00:00,850 --> 00:00:02,090
Five men sit nearby.
2
00:00:06,650 --> 00:00:07,450
She shrugs.
3
00:00:42,850 --> 00:00:44,290
Anna's smile disappears.
4
00:00:50,810 --> 00:00:53,490
William's lowered head rests on his clenched fist.
5
00:01:02,710 --> 00:01:03,950
Anna closes her eyes.
6
00:01:06,830 --> 00:01... | 1
00:01:35,930 --> 00:01:37,980
Anna takes William away by the arm.
2
00:02:10,890 --> 00:02:12,140
The man looks shocked.
| 1
00:00:02,470 --> 00:00:05,350
I didn't like her last film. Fell
asleep as soon as the lights went down.
2
00:00:05,380 --> 00:00:07,830
I don't really care
what the film's like.
3
00:00:07,870 --> 00:00:10,280
Any film with her in,
it's fine by me.
4
00:00:11,680 --> 00:00:14,350
She's not my type at
all. I prefer... | 1
00:00:02,480 --> 00:00:05,330
I didn't like her last film.
Fell asleep as soon as
the lights went down.
2
00:00:05,350 --> 00:00:07,600
I don't really care
what the film's like.
3
00:00:07,620 --> 00:00:10,270
Any film with her in,
it's fine by me.
4
00:00:10,290 --> 00:00:11,670
(ALL LAUGHING)
5
00:00:11,690 -->... | {"screenplay_scene_57": "<scene>\n <stage_direction>INT. RESTAURANT - NIGHT</stage_direction>\n <scene_description>A very smart Japanese restaurant . We see Anna and William sitting , near the end of their meal .</scene_description>\n <character>ANNA</character>\n <dialogue>So who left who?</dialogue>\n ... | 7432.70 | 3079.04 | 133.26 |
notting_hill | tt0125439 | zd5cYcPlDypT | 1
00:02:00,890 --> 00:02:01,450
By
2
00:02:02,930 --> 00:02:04,170
she kisses his cheek.
3
00:02:06,330 --> 00:02:09,210
She makes a half hearted gesture at the wrapped package
4
00:02:09,210 --> 00:02:10,290
and then leaves.
| 1
00:01:52,610 --> 00:01:54,240
Anna has tears in her eyes.
2
00:01:54,400 --> 00:01:55,740
William stares at her.
3
00:02:02,190 --> 00:02:03,570
She kisses him on the cheek
4
00:02:03,570 --> 00:02:06,150
and points at the wrapped up picture on her way out.
5
00:02:06,320 --> 00:02:09,700
William stands frozen wi... | 1
00:00:00,800 --> 00:00:06,150
Can I just say "no" to your kind
request, and leave it at that?
2
00:00:10,780 --> 00:00:11,850
Yes.
3
00:00:14,380 --> 00:00:16,420
Fine. Of course, I...
4
00:00:17,790 --> 00:00:19,160
Of course.
5
00:00:21,760 --> 00:00:25,230
Well, I'll just be going then.
It was nice to see you.... | 1
00:00:00,810 --> 00:00:06,160
Can I just say "no"
to your kind request,
and leave it at that?
2
00:00:10,790 --> 00:00:11,860
Yes.
3
00:00:14,390 --> 00:00:16,430
Fine. Of course, I...
4
00:00:17,790 --> 00:00:19,170
Of course.
5
00:00:21,770 --> 00:00:25,210
Well, I'll just be going then.
It was nice to see you.... | {"screenplay_scene_115": "<scene>\n <stage_direction>INT. BOOKSHOP - DAY</stage_direction>\n <scene_description>William enters - and there stands Anna - in a simple blue skirt and top .</scene_description>\n <character>ANNA</character>\n <dialogue>Hi.</dialogue>\n <character>WILLIAM</character>\n <dia... | 7432.70 | 6279.07 | 133.03 |
notting_hill | tt0125439 | uo1wQGV3sIu6 | 1
00:00:26,510 --> 00:00:27,510
Spike runs in.
2
00:00:49,670 --> 00:00:52,110
He looks at the Chagall painting, still half wrapped.
3
00:01:12,230 --> 00:01:14,150
Bella and Bernie share an awkward look.
4
00:02:08,160 --> 00:02:09,520
Spike firmly nods.
| 1
00:01:13,310 --> 00:01:14,560
Bella looks at Bernie.
2
00:01:48,750 --> 00:01:49,920
Max friends.
3
00:01:49,960 --> 00:01:51,550
Bella looks close to tears.
4
00:01:51,760 --> 00:01:53,930
Honey and Bernie stare into space.
5
00:02:05,730 --> 00:02:06,900
He looks at Spike.
| 1
00:00:01,200 --> 00:00:03,370
Yeah, good move.
2
00:00:03,400 --> 00:00:06,500
I mean, when all's said and
done, she's nothing special.
3
00:00:06,540 --> 00:00:07,900
I saw her taking
her trousers down
4
00:00:07,940 --> 00:00:11,280
and I definitely glimpsed
some cellulite down there.
5
00:00:12,040 --> 00:00:1... | 1
00:00:01,170 --> 00:00:03,380
HONEY: Yeah, good move.
2
00:00:03,410 --> 00:00:06,490
I mean,
when all's said and done,
she's nothing special.
3
00:00:06,510 --> 00:00:07,920
I saw her taking
her trousers down
4
00:00:07,950 --> 00:00:11,290
and I definitely glimpsed
some cellulite down there.
5
00:00:12,050 --> ... | {"screenplay_scene_116": "<scene>\n <stage_direction>INT. TONY'S RESTAURANT - DAY</stage_direction>\n <scene_description>The restaurant is in the middle of being deconstructed . The pictures are gone off the walls - a kettle on a long extension lead is on the bare table behind . They 're all sitting there .</scen... | 7432.70 | 6425.82 | 133.03 |
breakfast_club | tt0088847 | RE0HpbO73Fs_ | 1
00:00:01,260 --> 00:00:04,060
struts in wearing a suit with a wide lapelled shirt.
2
00:00:21,380 --> 00:00:23,340
Eyeing the redhead, he checks his watch.
3
00:00:34,900 --> 00:00:36,260
The delinquent spits into the air
4
00:00:36,260 --> 00:00:37,380
and catches it in his mouth.
5
00:00:38,740 --> 00:00:40,260... | 1
00:00:50,640 --> 00:00:53,190
He pulls the chair from under the boy with the grey coat's legs,
2
00:00:53,190 --> 00:00:54,950
then shuffles some papers in his hands.
3
00:01:40,410 --> 00:01:41,750
The thin boy sits again.
4
00:01:48,860 --> 00:01:50,610
The boy in the blue jacket shakes his head.
5
00:02:05,580... | 1
00:00:05,950 --> 00:00:09,210
Well, well. Here we are.
2
00:00:10,540 --> 00:00:13,440
I wanna congratulate you
for being on time.
3
00:00:13,540 --> 00:00:16,610
Excuse me, sir?
I think there's been a mistake.
4
00:00:16,710 --> 00:00:21,090
I know it's detention,
but I don't think I belong in here.
5
00:00:23,7... | 1
00:00:06,190 --> 00:00:09,380
Well, well.
Here we are.
2
00:00:10,620 --> 00:00:12,890
I want to congratulate you
for being on time.
3
00:00:12,960 --> 00:00:16,760
Excuse me, sir?
I think there's been a mistake.
4
00:00:16,830 --> 00:00:21,200
I know it's detention, but, um,
I don't think I belong in here.
5
00:... | {"screenplay_scene_5": "<scene>\n <character>VERNON</character>\n <dialogue>Well. well. Here we are! I want to congradulate you for being on time. Claire raises her hand.</dialogue>\n <character>CLAIRE</character>\n <dialogue>Excuse me, sir? I think there's been a mistake. I know it's detention, but. um. I ... | 5824.16 | 350.27 | 180.00 |
breakfast_club | tt0088847 | PLc45gtHwkAD | 1
00:00:12,900 --> 00:00:14,540
Bender tosses back his hair.
2
00:00:15,380 --> 00:00:17,060
The redhead turns to glare at him.
3
00:00:19,580 --> 00:00:22,060
The redhead twists her lips and faces forward.
4
00:00:23,820 --> 00:00:25,780
The quiet girl watches with interest.
5
00:00:30,620 --> 00:00:32,260
The red... | 1
00:00:16,160 --> 00:00:17,670
The redhead girl turns to him.
2
00:00:53,410 --> 00:00:55,630
Everyone looks at Bender with shock and contempt.
3
00:01:01,770 --> 00:01:03,030
Bender gets from his seat.
4
00:02:24,270 --> 00:02:25,650
Bender stares at the redhead.
| 1
00:00:00,030 --> 00:00:02,350
Excuse me, fellows, I think
we should just write our papers.
2
00:00:02,370 --> 00:00:05,100
Just because you live in here doesn't
give you the right to be a pain in the ass.
3
00:00:05,120 --> 00:00:06,580
So knock it off!
4
00:00:08,080 --> 00:00:09,610
It's a free country.
5
00:00... | 1
00:00:00,200 --> 00:00:03,040
Excuse me, fellas,
we should just write our papers.
2
00:00:03,110 --> 00:00:05,510
Because you live here
doesn't mean you can be a pain...
3
00:00:05,580 --> 00:00:07,770
so knock it off!
4
00:00:07,840 --> 00:00:09,680
It's a free country.
5
00:00:09,750 --> 00:00:13,580
He's doing... | {"screenplay_scene_7": "<scene>\n <character>ANDREW</character>\n <parenthetical>( to himself . )</parenthetical>\n <dialogue>Scumbag! Bender stands up and walks over to the railing. He sits on it.</dialogue>\n <character>BENDER</character>\n <dialogue>What do you say we close that door. We ca n't have a... | 5824.16 | 663.46 | 178.82 |
breakfast_club | tt0088847 | XqtP00TIaO2J | 1
00:00:00,400 --> 00:00:01,360
then lets go.
2
00:00:01,400 --> 00:00:02,760
The door slams shut.
3
00:00:05,120 --> 00:00:07,120
The geek bites his lips to hide a laugh.
4
00:00:07,360 --> 00:00:09,720
The redhead and Andy both stifle laughter.
5
00:00:09,720 --> 00:00:11,400
Vernon puts his hands on his hips.
6... | 1
00:00:07,670 --> 00:00:08,760
The students chuckle.
2
00:00:29,910 --> 00:00:33,050
Andrew and the teacher try to prop the door open again with a book rack.
3
00:01:01,290 --> 00:01:02,920
Vernon considers angrily.
4
00:01:06,680 --> 00:01:08,810
Vernon's gaze moves from Andrew to Bender.
5
00:01:18,720 --> 00:01... | 1
00:00:04,210 --> 00:00:05,460
Damn it!
2
00:00:12,090 --> 00:00:16,550
Andrew Clark, get up here. Come on.
Front and center. Let's go.
3
00:00:19,010 --> 00:00:20,320
Hey, how come Andrew gets to get up?
4
00:00:20,350 --> 00:00:21,410
That's right.
5
00:00:21,510 --> 00:00:25,310
If he gets up, we'll all get up.... | 1
00:00:04,210 --> 00:00:05,270
Damn it!
2
00:00:12,360 --> 00:00:15,150
Andrew Clark, get up here.
3
00:00:15,220 --> 00:00:17,690
Front and center.
Let's go.
4
00:00:19,130 --> 00:00:21,890
- How come Andrew gets to get up?
- [Vernon] That's right.
5
00:00:21,960 --> 00:00:25,230
If he gets up, we'll all get up.
... | {"screenplay_scene_10": "<scene>\n <character>VERNON</character>\n <parenthetical>( OS . )</parenthetical>\n <dialogue>God damnit! He opens the door and storms in.</dialogue>\n <character>VERNON</character>\n <dialogue>Why is that door closed? For a few seconds no one says anything, they just stare at Ve... | 5824.16 | 1060.35 | 180.40 |
breakfast_club | tt0088847 | NuGFT2djQsaE | 1
00:00:05,690 --> 00:00:08,130
The redhead whips around to glare at the quiet girl.
2
00:00:08,210 --> 00:00:09,690
Bender looks over at her too.
3
00:00:09,810 --> 00:00:10,570
Andy smirks
4
00:00:10,570 --> 00:00:12,410
and the geek eyes her with a troubled brow.
5
00:00:12,610 --> 00:00:14,490
She blows her ban... | 1
00:00:05,760 --> 00:00:08,220
Everyone turns with surprise to look at the girl in black.
2
00:00:08,430 --> 00:00:09,520
Andrew smiles.
3
00:00:09,520 --> 00:00:10,940
She nonchalantly shrugs.
4
00:00:40,080 --> 00:00:41,080
Bender walks away.
5
00:00:41,400 --> 00:00:42,520
Andrew considers,
6
00:00:42,520 --> ... | 1
00:00:00,060 --> 00:00:02,500
I mean, I don't think either one of them
gives a shit about me.
2
00:00:02,520 --> 00:00:04,760
It's like they use me
to get back at each other.
3
00:00:04,860 --> 00:00:06,020
Ha!
4
00:00:15,160 --> 00:00:16,410
Shut up!
5
00:00:16,740 --> 00:00:18,940
You're just feeling sorry for ... | 1
00:00:00,190 --> 00:00:02,560
I don't think either one
gives a shit about me.
2
00:00:02,630 --> 00:00:04,690
They use me to get back
at each other.
3
00:00:04,760 --> 00:00:06,090
Ha!
4
00:00:15,010 --> 00:00:16,470
Shut up!
5
00:00:16,540 --> 00:00:21,100
- You're feeling sorry for yourself.
- If I didn't, nobo... | {"screenplay_scene_12": "<scene>\n <character>ANDREW</character>\n <dialogue>That's real intelligent.</dialogue>\n <character>BENDER</character>\n <dialogue>You're right. it's wrong to destroy literature. He continues to tear pages out.</dialogue>\n <character>BENDER</character>\n <dialogue>It's such ... | 5824.16 | 1488.13 | 179.24 |
breakfast_club | tt0088847 | rH9844zpj_zt | 1
00:00:32,650 --> 00:00:34,330
His gaze shifts to her shirt.
2
00:00:48,730 --> 00:00:50,530
Claire briefly averts her gaze.
3
00:00:50,570 --> 00:00:53,530
Bender shifts his body to keep his gaze locked on hers.
4
00:00:53,530 --> 00:00:54,930
She stares back at him.
5
00:00:55,170 --> 00:00:56,730
Andy strides f... | 1
00:00:10,500 --> 00:00:11,630
Claire looks rattled.
2
00:00:48,400 --> 00:00:50,450
Bender holds Claire's gaze menacingly.
3
00:00:50,570 --> 00:00:52,200
She stares back, dumbstruck.
4
00:00:53,540 --> 00:00:54,540
Andrew gets up.
5
00:01:00,940 --> 00:01:02,280
Bender finally looks up.
6
00:01:07,840 --> 00:01... | 1
00:00:00,290 --> 00:00:02,250
Let's end the suspense.
2
00:00:03,380 --> 00:00:06,090
Is it going to be a white wedding?
3
00:00:06,800 --> 00:00:07,880
Why don't you just shut up?
4
00:00:07,920 --> 00:00:10,630
Have you ever kissed a boy on the mouth?
5
00:00:13,350 --> 00:00:15,920
Have you ever been felt up
... | 1
00:00:00,360 --> 00:00:02,190
Let's end the suspense.
2
00:00:02,900 --> 00:00:06,230
Is it gonna to be
a white wedding?
3
00:00:06,300 --> 00:00:08,390
Why don't you just shut up?
4
00:00:08,470 --> 00:00:10,440
Have you kissed
a boy on the mouth?
5
00:00:13,610 --> 00:00:15,670
Have you ever been felt up...
6
... | {"screenplay_scene_12": "<scene>\n <character>ANDREW</character>\n <dialogue>That's real intelligent.</dialogue>\n <character>BENDER</character>\n <dialogue>You're right. it's wrong to destroy literature. He continues to tear pages out.</dialogue>\n <character>BENDER</character>\n <dialogue>It's such ... | 5824.16 | 1667.74 | 148.00 |
breakfast_club | tt0088847 | 31dMPFeUriM4 | 1
00:00:10,730 --> 00:00:12,930
Bender grabs one of several sodas on the table
2
00:00:12,930 --> 00:00:15,210
and tosses it to the quiet girl's raised hand.
3
00:00:15,250 --> 00:00:18,890
She catches it without taking her eyes off a Prince album in her other hand.
4
00:00:20,250 --> 00:00:22,250
Claire takes out a... | 1
00:00:11,250 --> 00:00:12,340
Bender grabs a Coke,
2
00:00:12,340 --> 00:00:13,800
then hurls it over his shoulder.
3
00:00:14,260 --> 00:00:16,180
The girl in black catches it without looking.
4
00:00:16,560 --> 00:00:17,940
Claire reveals her lunch.
5
00:00:17,980 --> 00:00:19,490
A small black box of food.
6
... | 1
00:00:01,920 --> 00:00:03,280
What's in there?
2
00:00:03,380 --> 00:00:05,960
Guess. Where's your lunch?
3
00:00:07,210 --> 00:00:08,670
You're wearing it.
4
00:00:09,300 --> 00:00:10,920
You're nauseating.
5
00:00:25,810 --> 00:00:27,320
What's that?
6
00:00:27,900 --> 00:00:29,150
Sushi.
7
00:00:30,280 --> 0... | 1
00:00:02,130 --> 00:00:04,790
- What's in there?
- guess.
2
00:00:05,130 --> 00:00:07,120
Where's your lunch?
3
00:00:07,400 --> 00:00:09,390
You're wearing it.
4
00:00:09,470 --> 00:00:11,460
You're nauseating.
5
00:00:25,050 --> 00:00:26,580
What's that?
6
00:00:28,120 --> 00:00:31,280
- Sushi.
- Sushi?
7
00:... | {"screenplay_scene_16": "<scene>\n <character>BENDER</character>\n <dialogue>What's in there?</dialogue>\n <character>CLAIRE</character>\n <dialogue>Guess, where's your lunch?</dialogue>\n <character>BENDER</character>\n <dialogue>You're wearing it.</dialogue>\n <character>CLAIRE</character>\n <... | 5824.16 | 2224.93 | 179.44 |
breakfast_club | tt0088847 | Ct5MNAYeDHWv | 1
00:00:01,430 --> 00:00:05,710
He takes a paper toilet seat cover from his dispenser in the closet.
2
00:00:05,710 --> 00:00:10,830
John's overcoat and jean jacket lie in a heap on the floor beside a pile of hastily stacked chairs.
3
00:00:11,230 --> 00:00:14,670
Above the chairs, an open ceiling panel slides back i... | 1
00:00:06,430 --> 00:00:09,190
Bender has used boxes and chairs to climb up to the air vent,
2
00:00:09,190 --> 00:00:11,110
and is now carefully crawling through it.
3
00:00:47,650 --> 00:00:49,030
Bender falls through the roof.
4
00:00:52,500 --> 00:00:54,420
He stumbles into the library casually.
5
00:00:58,680... | 1
00:00:26,890 --> 00:00:31,060
A naked blond walks into a bar
with a poodle under one arm
2
00:00:31,400 --> 00:00:34,190
and a two-foot salami under the other.
3
00:00:35,530 --> 00:00:37,950
She lays the poodle on the table.
4
00:00:38,740 --> 00:00:42,570
Bartender says, "I suppose
you won't be needing a drink."... | 1
00:00:26,430 --> 00:00:29,870
A naked blonde walks into a bar...
2
00:00:29,940 --> 00:00:32,870
with a poodle under one arm...
3
00:00:32,940 --> 00:00:35,880
and a salami under the other.
4
00:00:35,940 --> 00:00:39,380
She lays the poodle on the table.
5
00:00:39,450 --> 00:00:43,320
Bartender says,
"You won't... | {"screenplay_scene_21": "<scene>\n <character>BENDER</character>\n <parenthetical>( to himself . )</parenthetical>\n <dialogue>A naked blond walks into a bar, with a poodle under one arm and a two foot salami under the other. She lays the poodle on the table. Bar - tender says : `` I suppose you wo n't be need... | 5824.16 | 3107.23 | 180.19 |
breakfast_club | tt0088847 | 26fLHcYA6ayt | 1
00:00:02,600 --> 00:00:04,760
Claire takes a slender lipstick from her purse.
2
00:00:07,600 --> 00:00:09,880
She twists the tube to bring the lipstick higher,
3
00:00:09,880 --> 00:00:11,520
then tucks it into her cleavage
4
00:00:11,520 --> 00:00:13,120
as she bows her head into her shirt.
5
00:00:13,120 --> 00... | 1
00:00:08,440 --> 00:00:12,540
Claire puts a tube of lipstick between her breasts, much to Brian and Andrew's interest.
2
00:00:12,830 --> 00:00:14,250
She bends her face down to it,
3
00:00:14,290 --> 00:00:15,550
moves it around a little,
4
00:00:15,550 --> 00:00:17,680
then reappears with smiling, glossy lips.
... | 1
00:00:01,260 --> 00:00:02,760
Okay.
2
00:00:04,930 --> 00:00:07,930
I can't believe I'm actually doing this.
3
00:00:22,580 --> 00:00:27,290
All right. That's great!
Where'd you learn to do that?
4
00:00:27,790 --> 00:00:29,830
Camp. Seventh grade.
5
00:00:35,130 --> 00:00:37,090
That was great, Claire.
6
00:00:... | 1
00:00:01,240 --> 00:00:02,900
Okay.
2
00:00:04,970 --> 00:00:08,470
I can't believe
I'm actually doing this.
3
00:00:22,990 --> 00:00:24,420
That's great!
4
00:00:24,490 --> 00:00:27,460
Where'd you learn to do that?
5
00:00:27,530 --> 00:00:29,330
Camp, seventh grade.
6
00:00:35,140 --> 00:00:37,260
That was gr... | {"screenplay_scene_28": "<scene>\n <character>ANDREW</character>\n <dialogue>What would I do for a million bucks? Well, I guess I'd do as little as I had to.</dialogue>\n <character>CLAIRE</character>\n <dialogue>That's boring.</dialogue>\n <character>ANDREW</character>\n <dialogue>Well, how'm I s ` p... | 5824.16 | 4616.51 | 177.10 |
belfast | tt12789558 | 3WKvoiWFfdwc | 1
00:00:06,700 --> 00:00:08,740
Neighbours stare at the large group.
2
00:00:08,900 --> 00:00:10,940
Buddy's expression grows worried.
3
00:00:20,500 --> 00:00:23,700
The neighbours stand behind him as he watches with trepidation.
4
00:00:23,860 --> 00:00:26,220
Our view swivels to show the rowdy mob.
5
00:00:29,06... | 1
00:00:05,980 --> 00:00:08,710
As fighting breaks out, his world spins around him.
2
00:00:33,830 --> 00:00:35,830
A molotov cocktail explodes in front of him
3
00:00:35,830 --> 00:00:37,070
and his panic rises.
4
00:00:43,990 --> 00:00:45,550
Flames curl up people's front doors
5
00:00:45,590 --> 00:00:46,910
as ... | 1
00:00:12,940 --> 00:00:15,710
Please, please,
we've done nothing.
2
00:00:15,740 --> 00:00:18,150
Get the kids inside!
3
00:00:18,680 --> 00:00:21,820
Get away from here! Go!
4
00:00:21,850 --> 00:00:23,780
We don't want any trouble!
5
00:00:23,820 --> 00:00:26,620
Come on! Get inside!
6
00:00:38,130 --> 00:00:3... | 1
00:00:07,530 --> 00:00:09,860
(muffled clamoring continues)
2
00:00:10,870 --> 00:00:12,900
(trembling breaths)
3
00:00:12,930 --> 00:00:15,700
MAN (distantly): Please, please,
we've done nothing.
4
00:00:15,740 --> 00:00:18,140
MAN 2:
Get the kids inside!
5
00:00:18,670 --> 00:00:21,810
WOMAN:
Get away from here... | {"screenplay_scene_6": "<scene>\n <stage_direction>EXT. BUDDY'S STREET DAY</stage_direction>\n <scene_description>BUDDY rounds the top of the street. Houses, and sops and a whole lotta people on the street or on the pavement, still playing or about to finish, as dinnertime approaches. These are the dog days of Au... | 5861.73 | 261.41 | 179.82 |
belfast | tt12789558 | 3OxA0UiUfGWe | 1
00:00:00,060 --> 00:00:00,980
At a church.
2
00:00:05,020 --> 00:00:06,420
A Minister glares.
3
00:00:18,380 --> 00:00:18,940
Where
4
00:00:19,260 --> 00:00:21,420
Buddy stares at the sweating Minister?
5
00:01:23,170 --> 00:01:23,530
Well.
| 1
00:00:19,940 --> 00:00:21,860
Sweat runs down the minister's cheeks?
| 1
00:00:01,440 --> 00:00:03,740
I've nothing against Catholics.
2
00:00:03,780 --> 00:00:05,810
But it's a religion of fear.
3
00:00:06,950 --> 00:00:10,250
Protestants, you will die!
4
00:00:10,890 --> 00:00:12,290
Agonizingly!
5
00:00:12,320 --> 00:00:15,560
And where will you go
6
00:00:15,590 --> 00:00:18,590
... | 1
00:00:00,040 --> 00:00:01,400
(church bell tolling)
2
00:00:01,440 --> 00:00:03,740
PA:
I've nothing against Catholics.
3
00:00:03,770 --> 00:00:05,810
But it's a religion of fear.
4
00:00:06,940 --> 00:00:10,240
Protestants, you will die!
5
00:00:10,880 --> 00:00:12,280
Agonizingly!
6
00:00:12,310 --> 00:00:15,... | {"screenplay_scene_31": "<scene>\n <stage_direction>INT. PROTESTANT CHURCH EVENING</stage_direction>\n <character>MINISTER</character>\n <dialogue>PROTESTANTS, YOU WILL DIE! AGONISINGLY.</dialogue>\n <scene_description>BUDDY looks to WILL, very concerned. The Minister drops his voice, to begin a slow cresce... | 5861.73 | 849.22 | 84.13 |
belfast | tt12789558 | i8CZRmqNj1AM | 1
00:00:34,420 --> 00:00:36,580
Buddy moves to a desk closer to the front.
2
00:00:43,220 --> 00:00:44,980
Buddy smiles at Catherine
3
00:00:45,220 --> 00:00:46,420
at his grandparents house.
4
00:00:46,420 --> 00:00:47,820
He sits on the outdoor toilet
5
00:00:47,820 --> 00:00:49,620
while Pop polishes a saddle.
... | 1
00:00:43,860 --> 00:00:44,980
Buddy sits behind Ron,
2
00:00:44,980 --> 00:00:46,780
who turns to glance at him smugly.
3
00:00:46,780 --> 00:00:48,940
Then Buddy gives Catherine a dreamy smile.
4
00:02:23,680 --> 00:02:24,880
Pop polishes, saddles
5
00:02:24,880 --> 00:02:26,000
and Granny chuckles.
6
00:02:26,... | 1
00:00:01,970 --> 00:00:03,470
were a lot more impressive
to hear
2
00:00:03,500 --> 00:00:04,970
than your test scores
were to read.
3
00:00:05,010 --> 00:00:06,350
The whole point
of these weekly tests
4
00:00:06,370 --> 00:00:07,910
is to monitor your progress.
5
00:00:07,940 --> 00:00:11,610
The best will sit ... | 1
00:00:01,960 --> 00:00:03,460
were a lot more impressive
to hear
2
00:00:03,500 --> 00:00:04,970
than your test scores
were to read.
3
00:00:05,000 --> 00:00:06,340
The whole point
of these weekly tests
4
00:00:06,370 --> 00:00:07,900
is to monitor your progress.
5
00:00:07,940 --> 00:00:11,610
The best will sit ... | {"screenplay_scene_56": "<scene>\n <stage_direction>INT. SCHOOL CLASSROOM DAY</stage_direction>\n <scene_description>The whole class are stood up, reciting in unison. BUDDY's eyes are mainly fixed on a blonde headed GIRL in the next row. She casts glances back at BUDDY.</scene_description>\n <character>CHILDRE... | 5861.73 | 1552.96 | 170.39 |
belfast | tt12789558 | bAHaTioUxL1H | 1
00:00:06,310 --> 00:00:07,910
Granny reads a newspaper.
| 1
00:00:01,860 --> 00:00:04,170
Be careful what you wish for.
2
00:00:04,200 --> 00:00:07,030
That's what the minister
at the wee mission says.
3
00:00:08,340 --> 00:00:09,970
When is your next chance?
4
00:00:10,000 --> 00:00:13,010
We have to do a project
about the moon landing.
5
00:00:13,040 --> 00:00:15,140
Wh... | 1
00:00:01,860 --> 00:00:04,160
GRANNY:
Be careful what you wish for.
2
00:00:04,190 --> 00:00:07,030
That's what the minister
at the wee mission says.
3
00:00:08,330 --> 00:00:09,960
When is your next chance?
4
00:00:10,000 --> 00:00:13,000
We have to do a project
about the moon landing.
5
00:00:13,030 --> 00:00:1... | {"screenplay_scene_85": "<scene>\n <stage_direction>INT. GRANNY'S HOUSE DAY</stage_direction>\n <scene_description>GRANNY is reading 'The Peoples Friend\", a popular religious-y journal. POP is reading the newspaper.</scene_description>\n <character>POP</character>\n <dialogue>When's yer next chance?</dialo... | 5861.73 | 2237.18 | 84.66 | |
belfast | tt12789558 | 6FFW8t8xypOi | 1
00:00:35,920 --> 00:00:40,260
A view from outside the candy shop shows Buddy Moira and her friend entering.
2
00:00:48,700 --> 00:00:48,940
Hey,
3
00:00:48,980 --> 00:00:50,260
the kids race outside.
4
00:00:52,980 --> 00:00:53,740
Chasing them.
5
00:00:53,740 --> 00:00:55,140
Singh catches Moira's Friend
6
00:0... | 1
00:00:36,600 --> 00:00:39,490
Moira leads another girl and Buddy into Mr. Singh's shop.
2
00:01:09,890 --> 00:01:12,410
Only Moira and Buddy escape from Mr. Singh.
| 1
00:00:00,080 --> 00:00:02,150
Operation Steal The Chocolate.
2
00:00:02,180 --> 00:00:03,920
It's simple.
We go into the shop
3
00:00:03,950 --> 00:00:05,790
and keep Mr. Singh talking
down by the fridge.
4
00:00:05,820 --> 00:00:07,890
He has to move the boxes
round at the bottom
5
00:00:07,920 --> 00:00:09,190
... | 1
00:00:00,080 --> 00:00:02,140
Operation Steal The Chocolate.
2
00:00:02,180 --> 00:00:03,910
It's simple.
We go into the shop
3
00:00:03,950 --> 00:00:05,780
and keep Mr. Singh talking
down by the fridge.
4
00:00:05,820 --> 00:00:07,880
He has to move the boxes
round at the bottom
5
00:00:07,920 --> 00:00:09,190
... | {"screenplay_scene_88": "<scene>\n <stage_direction>EXT. SWEET SHOP STREET DAY</stage_direction>\n <scene_description>BUDDY and MOIRA hiding behind some railings.</scene_description>\n <character>MOIRA</character>\n <dialogue>Operation steal the chocolate. It's simple. We go into the shop and keep Mister Si... | 5861.73 | 2398.62 | 103.91 |
belfast | tt12789558 | lbxwB9tVhA7a | 1
00:01:16,240 --> 00:01:17,320
He gapes at her.
2
00:01:34,360 --> 00:01:35,640
He leans toward her.
3
00:01:38,440 --> 00:01:39,640
Pop walks away.
4
00:01:40,000 --> 00:01:42,880
Granny glances after him with a worried expression.
5
00:01:47,760 --> 00:01:51,640
Ma and PA sit on a parked bus, which bears a sign ... | 1
00:00:04,290 --> 00:00:07,970
Pop and Granny sit by their open window too long.
2
00:01:38,870 --> 00:01:39,950
He looms over her,
3
00:01:39,990 --> 00:01:40,790
takes their cups
4
00:01:40,790 --> 00:01:42,230
and plods towards the kitchen,
5
00:01:42,230 --> 00:01:44,070
then stops and steadies himself.
6
00:... | 1
00:00:00,150 --> 00:00:02,590
Everybody's leaving home.
2
00:00:02,620 --> 00:00:04,790
People have to move on.
3
00:00:06,920 --> 00:00:11,690
"Too long a sacrifice can make
a stone of the heart."
4
00:00:11,730 --> 00:00:13,630
Oh, is that what does it?
5
00:00:13,660 --> 00:00:15,660
Yeah, well, you don't usua... | 1
00:00:00,140 --> 00:00:02,580
Everybody's leaving home.
2
00:00:02,610 --> 00:00:04,780
People have to move on.
3
00:00:06,920 --> 00:00:11,690
"Too long a sacrifice can make
a stone of the heart."
4
00:00:11,720 --> 00:00:13,620
Oh, is that what does it?
5
00:00:13,660 --> 00:00:15,660
Yeah, well, you don't usua... | {"screenplay_scene_110": "<scene>\n <stage_direction>INT. GRANNY'S HOUSE END OF DAY</stage_direction>\n <scene_description>GRANNY and POP sit by the window. Cup of tea.</scene_description>\n <character>POP</character>\n <dialogue>Everybody's leavin' home.</dialogue>\n <character>GRANNY</character>\n <... | 5861.73 | 3253.34 | 112.90 |
belfast | tt12789558 | 17_VoP_bP6WV | 1
00:00:40,030 --> 00:00:41,750
Ma calls through the window.
2
00:00:47,710 --> 00:00:50,430
She regards her husband with tear filled eyes.
3
00:01:11,970 --> 00:01:13,770
They share an emotional gaze.
4
00:01:41,490 --> 00:01:42,690
She shakes her head.
5
00:03:04,360 --> 00:03:06,040
The driver gets into his seat... | 1
00:00:51,260 --> 00:00:52,540
Side by side on the bus.
2
00:00:52,540 --> 00:00:54,220
Ma's eyes brim with lonely tears.
3
00:00:54,220 --> 00:00:55,380
And she looks at PA.
4
00:02:30,240 --> 00:02:32,640
Her tears rolled down her cheeks and dripped from her chin.
5
00:03:09,290 --> 00:03:10,210
Looking distraug... | 1
00:00:01,560 --> 00:00:02,800
Aldergrove bus going
in three minutes.
2
00:00:02,820 --> 00:00:03,990
Last tickets now.
3
00:00:04,020 --> 00:00:05,760
The boss has been in touch.
4
00:00:05,790 --> 00:00:07,500
They want me to stay on.
5
00:00:07,530 --> 00:00:09,900
A permanent job in England.
6
00:00:09,930 --... | 1
00:00:00,050 --> 00:00:01,520
(dog barking)
2
00:00:01,550 --> 00:00:02,790
DRIVER: Aldergrove bus going
in three minutes.
3
00:00:02,820 --> 00:00:03,990
Last tickets now.
4
00:00:04,020 --> 00:00:05,750
PA:
The boss has been in touch.
5
00:00:05,790 --> 00:00:07,490
They want me to stay on.
6
00:00:07,520 --> ... | {"screenplay_scene_111": "<scene>\n <stage_direction>EXT. BUS STOP SUNSET</stage_direction>\n <scene_description>BUDDY waiting outside the bus. He is aware that MA and PA are having a moment in the parked number 42 Bus</scene_description>\n <character>BUS DRIVER (O.S.)</character>\n <dialogue>Aldergrove bus... | 5861.73 | 3366.72 | 232.94 |
belfast | tt12789558 | FVrBRXaJJUxN | 1
00:00:34,720 --> 00:00:35,960
Ma and Granny leave.
2
00:00:47,560 --> 00:00:48,200
At home.
3
00:00:50,880 --> 00:00:52,480
Ma covers buddy's mouth.
4
00:00:52,480 --> 00:00:55,160
Nobody's here at the hospital.
5
00:03:20,310 --> 00:03:21,830
They share a sad look.
6
00:03:22,150 --> 00:03:22,910
Buddy hugs.
7... | 1
00:03:20,660 --> 00:03:22,220
But his eyes search his pops.
2
00:03:22,260 --> 00:03:24,300
Tired face blurred by the window.
3
00:03:24,300 --> 00:03:25,580
Buddy puts his arm around his
4
00:03:25,580 --> 00:03:27,460
Pop rests his head on his shoulder
5
00:03:27,460 --> 00:03:28,780
and closes his eyes.
6
00:... | 1
00:00:01,710 --> 00:00:03,480
Oh, he has,
but Santa's explained
2
00:00:03,520 --> 00:00:05,080
that money's
a bit tight this year,
3
00:00:05,120 --> 00:00:07,020
so he's not to expect too much.
4
00:00:07,050 --> 00:00:08,820
Sure, Santa has plenty
of surplus
5
00:00:08,860 --> 00:00:11,090
if you talk to
the p... | 1
00:00:01,710 --> 00:00:03,480
MA: Oh, he has,
but Santa's explained
2
00:00:03,510 --> 00:00:05,080
that money's
a bit tight this year,
3
00:00:05,110 --> 00:00:07,010
so he's not to expect too much.
4
00:00:07,050 --> 00:00:08,820
Sure, Santa has plenty
of surplus
5
00:00:08,850 --> 00:00:11,080
if you talk to
t... | {"screenplay_scene_114": "<scene>\n <stage_direction>INT. WHITEABBEY HOSPITAL DAY</stage_direction>\n <scene_description>POP, GRANNY, MA and BUDDY around a table. POP in his dressing room and pyjamas BUDDY doing a jigsaw.</scene_description>\n <character>POP</character>\n <dialogue>Have y' wrote d' Santa?</... | 5861.73 | 3625.92 | 217.06 |
belfast | tt12789558 | rdoMeZmZLRKW | 1
00:00:08,760 --> 00:00:09,040
War.
2
00:00:09,080 --> 00:00:10,800
They turn a corner with a group.
3
00:00:10,840 --> 00:00:13,480
Many young men hold blunt force weapons.
4
00:00:16,800 --> 00:00:19,400
Shop TV's show footage of large crowds.
5
00:00:31,780 --> 00:00:33,340
Shoppers rush from a market.
6
00:00... | 1
00:00:36,690 --> 00:00:38,650
A shopkeeper watches customers leave.
2
00:00:54,540 --> 00:00:57,100
The rioters ram a street lamp into the supermarket window
3
00:00:57,100 --> 00:00:58,180
and storm inside.
4
00:00:58,180 --> 00:01:00,060
The shopkeeper crawls behind the counter.
5
00:01:20,340 --> 00:01:24,740
... | 1
00:00:00,670 --> 00:00:02,240
Right, wee fella,
you did well for not
2
00:00:02,270 --> 00:00:04,340
grassing us to the police,
so you're in.
3
00:00:04,370 --> 00:00:05,580
What do you mean?
4
00:00:05,610 --> 00:00:07,440
You're one of us now,
and this is it.
5
00:00:07,480 --> 00:00:10,250
- This is what?
- Th... | 1
00:00:00,660 --> 00:00:02,230
Right, wee fella,
you did well for not
2
00:00:02,270 --> 00:00:04,330
grassing us to the police,
so you're in.
3
00:00:04,370 --> 00:00:05,570
What do you mean?
4
00:00:05,600 --> 00:00:07,440
You're one of us now,
and this is it.
5
00:00:07,470 --> 00:00:10,240
- This is what?
- Th... | {"screenplay_scene_139": "<scene>\n <stage_direction>EXT./INT SUPERMARKET STREET DAY</stage_direction>\n <scene_description>The crowd has swollen now, occupying the width of the street, and many people deep. They are picking up speed now, as they start to target the supermarket we saw earlier And upturned street ... | 5861.73 | 4438.18 | 147.35 |
belfast | tt12789558 | J2tPndPtbOY3 | 1
00:00:03,010 --> 00:00:05,250
Billy and McLaury escort Buddy and Ma.
2
00:00:13,730 --> 00:00:16,210
Billy keeps a gun tucked in his waistband.
3
00:00:16,250 --> 00:00:18,450
He and McLaury escort Buddy and Ma.
4
00:00:18,490 --> 00:00:20,850
Pa and Will run to the other side of the street.
5
00:00:23,850 --> 00... | 1
00:00:44,040 --> 00:00:48,680
PA looks from Billy's angry face to Buddy, clutching the box of ammo, his eyes full of fear.
2
00:01:10,730 --> 00:01:13,810
PA looks at his frightened, tearful wife from above.
3
00:01:13,850 --> 00:01:17,290
Each end of the street is blocked by armed soldiers and riot police.
4
00:0... | 1
00:00:00,560 --> 00:00:03,530
Tear gas and rubber bullets
will be used!
2
00:00:03,560 --> 00:00:05,760
We're clearing this area!
Move out the way now!
3
00:00:05,800 --> 00:00:07,670
- Time to get out of here.
- Don't try anything.
4
00:00:07,700 --> 00:00:09,630
So you two are going
to guarantee safe passage
5
... | 1
00:00:00,550 --> 00:00:03,520
Tear gas and rubber bullets
will be used!
2
00:00:03,550 --> 00:00:05,760
We're clearing this area!
Move out the way now!
3
00:00:05,790 --> 00:00:07,670
- BILLY: Time to get out of here.
- McLAURY: Don't try anything.
4
00:00:07,690 --> 00:00:09,640
BILLY: So you two are going
to gua... | {"screenplay_scene_142": "<scene>\n <stage_direction>EXT. SUPERMARKET / MAIN STREET DAY</stage_direction>\n <scene_description>BILLY CLANTON directs the party of three onto the main street. There are far fewer rioters now, as the army with riot-shields lines up at each end of the street. BILLY CLANTON has a hand ... | 5861.73 | 4605.06 | 153.11 |
belfast | tt12789558 | Ap38HPmx5mAk | 1
00:00:06,870 --> 00:00:08,350
Watches PA from the dance floor
2
00:00:08,350 --> 00:00:09,870
and puts her hands on her hips.
3
00:00:10,190 --> 00:00:12,750
He makes a reaching gesture in her direction.
4
00:00:13,390 --> 00:00:14,950
Ma smiles faintly.
5
00:00:22,670 --> 00:00:25,590
Pauline's to his side, grip... | 1
00:00:16,280 --> 00:00:19,160
Ma stands in the middle of the dance floor with her hands on her hips,
2
00:00:19,160 --> 00:00:20,960
smiling at him with misty eyes
3
00:00:21,240 --> 00:00:22,600
looking directly at her.
4
00:00:22,640 --> 00:00:24,400
He tips the microphone to one side
5
00:00:24,400 --> 00:00:2... | 1
00:00:00,360 --> 00:00:02,800
♪ Hearts gone astray ♪
2
00:00:02,830 --> 00:00:07,200
♪ Leaving hurt when they go ♪
3
00:00:08,700 --> 00:00:11,270
♪ I went away ♪
4
00:00:11,310 --> 00:00:15,040
♪ Just when you need me so ♪
5
00:00:16,680 --> 00:00:19,080
♪ You won't regret ♪
6
00:00:19,110 --> 00:00:23,220
♪ I ... | 1
00:00:00,360 --> 00:00:02,790
(singing along):
♪ Hearts gone astray ♪
2
00:00:02,830 --> 00:00:07,200
♪ Leaving hurt when they go ♪
3
00:00:08,700 --> 00:00:11,270
♪ I went away ♪
4
00:00:11,300 --> 00:00:15,040
♪ Just when you need me so ♪
5
00:00:16,670 --> 00:00:19,070
♪ You won't regret ♪
6
00:00:19,110 --> ... | {"screenplay_scene_158": "<scene>\n <stage_direction>INT. WEE CLUB EVENING</stage_direction>\n <scene_description>The wake, the farewell party, the last family 'do'. Dancing, singing, children running everywhere, drink and sandwiches. LOVE AFFAIR kicks in with the stirring intro to EVERLASTING LOVE. PA grabs the ... | 5861.73 | 5252.83 | 42.21 |
belfast | tt12789558 | NGhn11plQBxz | 1
00:00:00,240 --> 00:00:02,160
They stand waiting at a bus stop.
2
00:00:02,200 --> 00:00:04,800
Ma hands Pa a bouquet of wildflowers
3
00:00:04,800 --> 00:00:06,040
and he turns to Buddy.
4
00:00:07,960 --> 00:00:09,640
The father and son walk off.
5
00:00:09,880 --> 00:00:11,840
Ma and Will smile after them.
6
... | 1
00:00:00,310 --> 00:00:02,430
At the bus stop, Ma looks at her watch,
2
00:00:02,470 --> 00:00:03,310
nods at PA,
3
00:00:03,310 --> 00:00:05,550
and gives him a bunch of the daisy like flowers.
4
00:00:07,390 --> 00:00:07,950
Follow me
5
00:00:08,790 --> 00:00:11,430
as Buddy hands his case of Matchbox cars to W... | 1
00:00:05,670 --> 00:00:09,570
Buddy. Follow me.
2
00:00:16,820 --> 00:00:19,220
- Hi, Buddy.
- Hello.
3
00:00:29,160 --> 00:00:31,360
- Thanks.
- Thanks.
4
00:00:34,170 --> 00:00:35,700
I'll come back.
5
00:00:35,730 --> 00:00:38,140
Make sure you do.
6
00:00:39,570 --> 00:00:42,170
- Cheerio.
- Cheerio.
7
00:0... | 1
00:00:05,660 --> 00:00:09,570
PA:
Buddy. Follow me.
2
00:00:16,810 --> 00:00:19,210
- Hi, Buddy.
- Hello.
3
00:00:29,150 --> 00:00:31,360
- Thanks.
- Thanks.
4
00:00:34,160 --> 00:00:35,690
I'll come back.
5
00:00:35,730 --> 00:00:38,130
Make sure you do.
6
00:00:39,570 --> 00:00:42,170
- Cheerio.
- Cheerio.
7
... | {"screenplay_scene_162": "<scene>\n <stage_direction>EXT. BUS STOP EARLY MORNING</stage_direction>\n <scene_description>They're waiting for the bus at the end of GRANNY's street. MA looks at her watch. There's time. Nods to PA and gives him a bunch of flowers. He signals to BUDDY and they walk off.</scene_descrip... | 5861.73 | 5366.98 | 97.66 |
star_trek_v_the_final_frontier | tt0098382 | pMARGg1kAQxa | 1
00:00:00,340 --> 00:00:01,580
pausing in his ascent.
2
00:00:01,620 --> 00:00:04,020
Kirk looks around with a satisfied smile.
3
00:00:09,180 --> 00:00:10,580
Wearing rocket boots.
4
00:00:10,620 --> 00:00:13,060
Spock hovers into view behind Kirk.
5
00:00:14,580 --> 00:00:17,540
Captain Kirk startles Spock.
6
0... | 1
00:00:00,350 --> 00:00:02,780
Kirk heads a little further up the mountain
2
00:00:02,780 --> 00:00:04,660
and pauses to catch his breath
3
00:00:05,370 --> 00:00:08,050
as he turns to take in the stunning scenery.
4
00:00:08,340 --> 00:00:12,150
Spock suddenly appears before him, wearing jet powered boots.
5
00:0... | 1
00:00:14,740 --> 00:00:17,210
Greetings, Captain.
2
00:00:17,460 --> 00:00:23,460
- Spock, what are you doing here?
- I'm monitoring your progress.
3
00:00:23,710 --> 00:00:28,430
I'm flattered, but of all the
points of interest here why pick me?
4
00:00:28,680 --> 00:00:34,680
The record for climbing El Capitan
i... | 1
00:00:13,060 --> 00:00:14,140
(WHOOSHING)
2
00:00:14,230 --> 00:00:15,230
Greetings, Captain.
3
00:00:15,270 --> 00:00:16,400
(GASPS)
4
00:00:16,940 --> 00:00:20,900
Spock! What are you doing
in this neck of the woods?
5
00:00:21,270 --> 00:00:24,740
- I have been monitoring your progress.
- I'm flattered.
6
00:... | {"screenplay_scene_3": "<scene>\n <stage_direction>EXT. YOSEMITE NATIONAL PARK - CLOSE UP - A HAND - DAY</stage_direction>\n <scene_description>TITLES CONTINUE OVER The hand clutches at a sheer rock , groping for purchase . CAMERA PULLS BACK to reveal CAPTAIN JAMES T. KIRK eight hundred feet above the surrounding... | 6396.70 | 556.06 | 122.14 |
star_trek_v_the_final_frontier | tt0098382 | yHxVfEwvFmhD | 1
00:00:36,170 --> 00:00:37,570
Spock shakes his head.
2
00:00:45,590 --> 00:00:48,030
Spock wears an inscrutable expression.
3
00:00:48,390 --> 00:00:50,030
Bones turns to Kirk.
4
00:00:55,630 --> 00:00:58,470
Kirk smiles and nods at his friend and crewmate.
5
00:01:17,430 --> 00:01:18,790
Kirk sips his whisky.
6... | 1
00:01:19,810 --> 00:01:21,990
Spock picks up a handheld instrument.
| 1
00:00:02,870 --> 00:00:08,370
- You two could drive a man to drink.
- What did I do?
2
00:00:08,620 --> 00:00:15,720
Human life is far too precious
to risk on crazy stunts.
3
00:00:15,970 --> 00:00:21,430
You should have been killed
when you fell off that mountain.
4
00:00:21,680 --> 00:00:24,520
It did cross my m... | 1
00:00:02,260 --> 00:00:05,140
You know, you two
could drive a man to drink.
2
00:00:05,390 --> 00:00:06,720
Me? What did I do?
3
00:00:06,800 --> 00:00:08,180
What did you do?
4
00:00:08,260 --> 00:00:10,060
You really piss me off, Jim.
5
00:00:10,930 --> 00:00:14,480
Human life is far too precious
to risk on cra... | {"screenplay_scene_17": "<scene>\n <stage_direction>EXT. YOSEMITE - CAMPSITE - NIGHT</stage_direction>\n <scene_description>McCoy stands over a blazing campfire . A covered pot simmers on the coals . McCoy rings a TRIANGLE . He 's slightly tipsy .</scene_description>\n <character>McCoy</character>\n <parent... | 6396.70 | 1179.94 | 105.28 |
star_trek_v_the_final_frontier | tt0098382 | 8IwwRQVbM52M | 1
00:00:01,080 --> 00:00:03,080
The bald man spots them approaching.
2
00:00:06,840 --> 00:00:08,200
Someone opens the gate.
3
00:00:12,040 --> 00:00:15,760
Kirk and his crew ride through the open gate atop the battlement.
4
00:00:15,840 --> 00:00:19,400
The bald man and his cohorts watch them head further into the ... | 1
00:00:00,170 --> 00:00:02,510
The bold humanoid sees them approaching.
2
00:00:13,170 --> 00:00:15,850
As Kirk and his men ride into the settlement.
3
00:00:15,890 --> 00:00:18,240
A couple of them jump off and spread out.
4
00:00:50,900 --> 00:00:53,280
As Sulu rides up to the large light.
5
00:00:53,330 --> 00:... | 1
00:00:03,940 --> 00:00:07,320
Open the gate.
It's our lookout party.
2
00:00:08,940 --> 00:00:12,530
Federation soldiers are right behind us.
Close the gate.
3
00:00:21,960 --> 00:00:24,000
Where are they going?
4
00:00:24,250 --> 00:00:27,710
- Spock...
- Hold your horse, I'm scanning.
5
00:00:33,300 --> 00:00:3... | 1
00:00:03,730 --> 00:00:06,310
Open the gate. It's our lookout party.
2
00:00:08,810 --> 00:00:12,400
KIRK: Federation soldiers
right behind us. Close the gate!
3
00:00:17,410 --> 00:00:19,120
(HORSES SNORTING)
4
00:00:20,240 --> 00:00:21,740
(NEIGHING)
5
00:00:21,990 --> 00:00:23,750
Where are they going?
6
00:0... | {"screenplay_scene_45": "<scene>\n <stage_direction>EXT. PARADISE CITY GATE</stage_direction>\n <scene_description>Armed sentries watch from the walls as the scruffy band of horsemen crosses the desert . J'onn , Sybok 's first convert , appears looking concerned .</scene_description>\n <character>J'ONN</charac... | 6396.70 | 2410.24 | 132.75 |
star_trek_v_the_final_frontier | tt0098382 | qNXFh8jdSQue | 1
00:00:00,140 --> 00:00:02,340
As they step out, Kirk wheels around
2
00:00:02,340 --> 00:00:03,540
and slaps Sybok.
3
00:00:03,940 --> 00:00:05,780
They wrestle for control of the rifle.
4
00:00:08,740 --> 00:00:12,340
Sybok repeatedly tosses Kirk up against the sides of shuttles,
5
00:00:12,500 --> 00:00:14,660
... | 1
00:00:00,520 --> 00:00:01,940
He opens the rear door.
2
00:00:02,190 --> 00:00:04,960
Then as he steps down, he turns on Sybok,
3
00:00:04,960 --> 00:00:06,170
grabbing at the weapon.
4
00:00:09,300 --> 00:00:15,240
Lifting both him and the weapon, Sybok hurls him against the outside of the Galileo, then to the fl... | 1
00:00:24,530 --> 00:00:26,950
Pick it up.
2
00:00:33,160 --> 00:00:34,670
Sybok...
3
00:00:37,290 --> 00:00:40,340
You must surrender.
4
00:00:43,380 --> 00:00:45,050
No!
5
00:00:47,430 --> 00:00:51,390
- You must kill me.
- Shoot him!
6
00:01:02,780 --> 00:01:06,820
For a moment...
I thought you might actually ... | 1
00:00:03,490 --> 00:00:05,030
(KIRK GRUNTING)
2
00:00:24,380 --> 00:00:26,130
(GRUNTING) Pick it up.
3
00:00:33,140 --> 00:00:34,270
Sybok.
4
00:00:37,270 --> 00:00:38,980
You must surrender.
5
00:00:43,320 --> 00:00:44,320
No.
6
00:00:47,320 --> 00:00:50,780
- You must kill me.
- Shoot him!
7
00:01:02,710 --> ... | {"screenplay_scene_85": "<scene>\n <stage_direction>INT. LANDING BAY</stage_direction>\n <scene_description>The Galileo 's back hatch blows open emitting a cloud of smoke along with Kirk and Sybok . As Sybok steps down behind him , Kirk whirls and grabs for the weapon . The two men struggle and tumble across the ... | 6396.70 | 3113.06 | 121.51 |
star_trek_v_the_final_frontier | tt0098382 | 722wo_RPlzE7 | 1
00:00:28,390 --> 00:00:30,750
An explosion bursts a hole in the wall
2
00:00:30,750 --> 00:00:33,190
and Scotty peers through from the other side.
3
00:00:36,870 --> 00:00:37,230
In a.
4
00:00:42,910 --> 00:00:44,870
Sybok finds the cell empty.
5
00:00:46,670 --> 00:00:47,350
In a tunnel.
| 1
00:00:29,820 --> 00:00:32,200
An explosion bursts a hole in the wall.
2
00:01:21,550 --> 00:01:23,310
A ceiling beam knocks him out.
| 1
00:00:04,990 --> 00:00:08,820
You're right. I'm out of practice.
That's an S.
2
00:00:09,070 --> 00:00:12,240
- T...
- A...
3
00:00:12,490 --> 00:00:15,290
N... D... End of word.
4
00:00:15,540 --> 00:00:17,540
- Stand.
- New word.
5
00:00:17,790 --> 00:00:20,670
B... A...
6
00:00:21,960 --> 00:00:24,920
C... K.... | 1
00:00:00,050 --> 00:00:03,510
SPOCK: I believe it is a primitive form
of communication
2
00:00:03,590 --> 00:00:05,470
- known as Morse code.
- You're right.
3
00:00:05,550 --> 00:00:07,720
I'm a little out of practise. That's an “S.”
4
00:00:07,800 --> 00:00:08,850
(TAPPING CONTINUES)
5
00:00:08,930 --> 00:00:15... | {"screenplay_scene_97": "<scene>\n <stage_direction>INT. BOWELS OF ENTERPRISE</stage_direction>\n <scene_description>Scotty leads Kirk , Spock and McCoy through the labyrinth innards of the ship .</scene_description>\n <character>SCOTTY</character>\n <dialogue>Captain, we ca n't trust anyone now.</dialogue>... | 6396.70 | 3607.90 | 83.50 |
star_trek_v_the_final_frontier | tt0098382 | 6_kx5vK46z7o | 1
00:00:02,640 --> 00:00:04,720
Kirk and Bones continue their ascent.
2
00:00:11,080 --> 00:00:13,600
They climb past a sign for deck 12.
3
00:00:20,400 --> 00:00:21,400
Looking winded.
4
00:00:21,560 --> 00:00:23,680
Bones gazes up at Kirk above him.
5
00:00:26,880 --> 00:00:28,880
Kirk pauses at deck 13.
6
00:00... | 1
00:00:00,570 --> 00:00:03,670
Kirk and Bones continue their climb up the long ladder.
2
00:00:06,640 --> 00:00:08,650
They pass a sign for deck 12,
3
00:00:08,690 --> 00:00:10,190
but carry on climbing.
4
00:00:13,660 --> 00:00:16,090
Bones is just a few feet behind Kirk.
5
00:00:27,970 --> 00:00:30,690
Kirk paus... | 1
00:00:24,640 --> 00:00:27,980
This is going to take me forever.
2
00:00:33,610 --> 00:00:36,150
Where's Spock?
3
00:00:38,900 --> 00:00:41,780
I believe I've found a faster way.
4
00:00:53,920 --> 00:00:58,680
- Bones?
- I'll wait for the next car.
5
00:00:58,930 --> 00:01:01,760
We're not splitting up.
6
00:01:... | 1
00:00:24,610 --> 00:00:27,150
Jim, this is going to take me forever.
2
00:00:29,570 --> 00:00:31,200
(PANTING)
3
00:00:33,370 --> 00:00:35,160
Where's Spock?
4
00:00:38,870 --> 00:00:41,580
I believe I have found a faster way.
5
00:00:53,850 --> 00:00:55,680
KIRK: Bones?
6
00:00:55,760 --> 00:00:58,640
You two g... | {"screenplay_scene_101": "<scene>\n <stage_direction>INT. TURBO SHAFT - MIDWAY - MINUTES LATER</stage_direction>\n <scene_description>Kirk climbs hand over hand , followed by a huffing and puffing McCoy .</scene_description>\n <character>McCOY</character>\n <parenthetical>( breathless . )</parenthetical>\n ... | 6396.70 | 3731.07 | 103.86 |
star_trek_v_the_final_frontier | tt0098382 | tM9BmCb3cIUG | 1
00:00:00,410 --> 00:00:01,330
Kirk turns,
2
00:00:01,330 --> 00:00:04,010
and the bird of prey rises into view before him.
3
00:00:04,450 --> 00:00:09,490
It fires its disruptor cannon at the manifestation, blasting it into a shower of sparks.
4
00:00:12,940 --> 00:00:15,900
The sparks dissipate, revealing the man... | 1
00:00:02,420 --> 00:00:04,090
It aims one of its weapons
2
00:00:04,090 --> 00:00:05,640
and fires at the being.
3
00:00:08,480 --> 00:00:12,450
The glowing face disappears in a violent shower of sparks.
4
00:00:16,930 --> 00:00:19,440
Now the weapon trains itself on Kirk.
5
00:00:27,340 --> 00:00:29,980
Kirk is ... | 1
00:00:20,290 --> 00:00:23,460
So it's me you want, you bastards.
2
00:00:23,710 --> 00:00:26,380
What are you waiting for?
3
00:00:51,030 --> 00:00:53,570
Release him.
4
00:00:53,820 --> 00:00:59,160
Myjunior officer has something
he wants to say to you.
5
00:01:02,960 --> 00:01:06,800
I... apologise.
6
00:01:14... | 1
00:00:10,830 --> 00:00:12,870
(WAILING)
2
00:00:17,130 --> 00:00:18,500
(WHIRRING)
3
00:00:20,420 --> 00:00:22,710
So it's me you want,
you Klingon bastards.
4
00:00:23,760 --> 00:00:25,760
What are you waiting for?
5
00:00:51,200 --> 00:00:52,830
Release him!
6
00:00:52,910 --> 00:00:56,790
Kirk, my junior offi... | {"screenplay_scene_154": "<scene>\n <stage_direction>EXT. SPACE</stage_direction>\n <scene_description>The Bird of Prey flies toward the Enterprise .</scene_description>\n <character>SPOCK'S VOICE</character>\n <dialogue>Klingon Commander, someone wishes to speak with you.</dialogue>\n </scene>", "screenpl... | 6396.70 | 5802.78 | 132.77 |
tar_2022 | tt14444726 | DWwMyUgoEeY0 | 1
00:00:00,210 --> 00:00:03,010
- But time is the thing.
- Uh-huh.
2
00:00:03,040 --> 00:00:07,180
Time is-is the essential piece
of, uh, interpretation.
3
00:00:07,210 --> 00:00:09,020
You cannot start without me.
4
00:00:09,050 --> 00:00:11,080
See, I start the clock.
5
00:00:11,120 --> 00:00:14,420
Now, my left ... | 1
00:00:00,200 --> 00:00:03,000
- But time is the thing.
- Uh-huh.
2
00:00:03,030 --> 00:00:07,170
Time is-is the essential piece
of, uh, interpretation.
3
00:00:07,200 --> 00:00:09,010
You cannot start without me.
4
00:00:09,040 --> 00:00:11,070
See, I start the clock.
5
00:00:11,110 --> 00:00:14,410
Now, my left ... | {"screenplay_scene_1": "<scene>\n <character>TÁR</character>\n <dialogue>Written by Todd Field</dialogue>\n <scene_description>NOTICE: This material is the property of Box Hill Films LTD (a subsidiary of FOCUS FEATURES), and is intended and restricted solely for studio use by studio personnel. Distribution or ... | 9492.51 | 700.45 | 48.23 | ||
tar_2022 | tt14444726 | oUnkHUvrCblP | 1
00:00:44,190 --> 00:00:45,590
Lydia takes off her jacket
2
00:00:45,590 --> 00:00:47,150
and sits down at a piano.
3
00:00:47,190 --> 00:00:48,990
Max walks up to the stage.
4
00:00:50,150 --> 00:00:51,050
He joins her.
5
00:00:59,530 --> 00:01:01,330
He smiles, his leg shakes.
6
00:01:56,400 --> 00:01:57,440
Th... | 1
00:00:35,550 --> 00:00:36,950
She walks over to the piano.
2
00:03:23,370 --> 00:03:24,290
From the auditorium.
3
00:03:24,290 --> 00:03:25,210
She stares at Max
4
00:03:25,210 --> 00:03:26,130
down at the piano.
5
00:04:01,780 --> 00:04:03,260
Max slams the lid of the piano,
6
00:04:03,260 --> 00:04:04,260
coll... | 1
00:00:00,210 --> 00:00:03,380
Can classical music
written by a bunch of straight,
2
00:00:03,410 --> 00:00:06,720
Austro-German, churchgoing
white guys exalt us,
3
00:00:06,750 --> 00:00:09,220
individually
as-as well as collectively,
4
00:00:09,250 --> 00:00:13,250
and who, may I ask,
gets to decide that?
5
00:0... | 1
00:00:00,200 --> 00:00:03,370
Can classical music
written by a bunch of straight,
2
00:00:03,400 --> 00:00:06,710
Austro-German, churchgoing
white guys exalt us,
3
00:00:06,740 --> 00:00:09,210
individually
as-as well as collectively,
4
00:00:09,240 --> 00:00:13,240
and who, may I ask,
gets to decide that?
5
00:0... | {"screenplay_scene_1": "<scene>\n <character>TÁR</character>\n <dialogue>Written by Todd Field</dialogue>\n <scene_description>NOTICE: This material is the property of Box Hill Films LTD (a subsidiary of FOCUS FEATURES), and is intended and restricted solely for studio use by studio personnel. Distribution or ... | 9492.51 | 1871.58 | 273.65 |
tar_2022 | tt14444726 | mHx4tRdpvA_x | 1
00:00:03,380 --> 00:00:05,740
In her pyjamas Sharon paces.
2
00:00:11,580 --> 00:00:13,140
Lydia sets down her bags
3
00:00:13,140 --> 00:00:14,740
and steps into the bathroom.
4
00:00:14,980 --> 00:00:16,660
She removes a bottle from her pocket
5
00:00:16,660 --> 00:00:17,860
and takes out a pill.
6
00:00:24,58... | 1
00:00:10,790 --> 00:00:11,870
Lydia puts her bag down
2
00:00:11,870 --> 00:00:13,710
and strides purposefully to the bathroom.
3
00:00:16,350 --> 00:00:18,750
She hastily takes a pill from the bottle in her pocket
4
00:00:18,750 --> 00:00:20,350
and pours a glass of water
5
00:00:20,710 --> 00:00:21,310
in the l... | 1
00:00:01,900 --> 00:00:04,530
The flutter's back.
2
00:00:04,560 --> 00:00:07,830
It's... It's racing.
3
00:00:07,870 --> 00:00:10,270
I can't find my Metoprolol
anywhere.
4
00:00:14,640 --> 00:00:16,310
Oh, fuck.
5
00:00:27,990 --> 00:00:31,730
Uh, I found this
lying loose in the drawer.
6
00:00:34,260 --> 00:0... | 1
00:00:01,890 --> 00:00:04,520
The flutter's back.
2
00:00:04,550 --> 00:00:07,820
It's... It's racing.
3
00:00:07,860 --> 00:00:10,260
I can't find my Metoprolol
anywhere.
4
00:00:10,290 --> 00:00:12,660
(breath trembling)
5
00:00:14,630 --> 00:00:16,300
(whispers):
Oh, fuck.
6
00:00:17,570 --> 00:00:19,940
(ope... | null | 9492.51 | 2586.08 | 206.01 |
tar_2022 | tt14444726 | qcEQnJ_u81bZ | 1
00:00:01,370 --> 00:00:04,610
Lydia looks in the rear view mirror at the dark haired little girl.
2
00:00:46,990 --> 00:00:48,630
Lydia smiles at Petra
3
00:00:49,750 --> 00:00:52,590
outside school, kids hang out on the campus.
4
00:00:55,110 --> 00:00:56,590
Lydia walks with Petra.
5
00:00:59,030 --> 00:00:59,8... | 1
00:00:00,310 --> 00:00:02,350
Glancing at Petra in the rear view mirror,
2
00:00:02,350 --> 00:00:04,910
Lydia notices the little girl's downcast demeanour.
3
00:00:47,970 --> 00:00:49,490
Lydia smiles warmly.
4
00:00:50,010 --> 00:00:52,650
Lydia and Petra stroll across the school playground.
5
00:00:56,970 --> ... | 1
00:00:06,520 --> 00:00:09,420
Who'll bear the pall?
2
00:00:09,450 --> 00:00:11,120
"We," said the wren,
3
00:00:11,160 --> 00:00:14,130
- "both the cock and the hen."
- The hen.
4
00:00:14,160 --> 00:00:16,060
"I'll..."
5
00:00:16,090 --> 00:00:18,530
"We'll bear the pall."
6
00:00:18,560 --> 00:00:20,400
And w... | 1
00:00:06,510 --> 00:00:09,410
TÁR:
Who'll bear the pall?
2
00:00:09,440 --> 00:00:11,110
"We," said the wren,
3
00:00:11,150 --> 00:00:14,120
- "both the cock and the hen."
- The hen.
4
00:00:14,150 --> 00:00:16,050
"I'll..." (sputters)
5
00:00:16,090 --> 00:00:18,520
BOTH:
"We'll bear the pall."
6
00:00:18,550 ... | null | 9492.51 | 2866.21 | 141.85 |
tar_2022 | tt14444726 | PXOFJrR5bl2w | 1
00:00:09,620 --> 00:00:14,980
A view from behind Lydia shows rows of performers sitting at music stands playing their instruments.
2
00:00:16,500 --> 00:00:18,540
A bald man plays a French horn.
3
00:00:18,580 --> 00:00:20,820
A trumpeter raises his brow and nods.
4
00:00:21,340 --> 00:00:24,260
Lydia makes small ... | 1
00:02:42,770 --> 00:02:44,610
Lydia grips her baton in both hands.
2
00:02:44,610 --> 00:02:45,490
Then begins.
3
00:02:50,850 --> 00:02:52,570
Sharon plays first violin.
| 1
00:00:33,430 --> 00:00:35,860
Okay. Uh...
2
00:00:37,260 --> 00:00:38,660
Gut, gut.
3
00:00:41,730 --> 00:00:43,900
...Christian...
4
00:00:47,970 --> 00:00:49,340
Okay?
5
00:00:49,370 --> 00:00:51,640
Uh, but it's also...
6
00:00:51,680 --> 00:00:52,810
It's like we're hearing it
7
00:00:52,850 --> 00:00:55,31... | 1
00:00:17,000 --> 00:00:19,640
(tempo slows)
2
00:00:33,420 --> 00:00:35,850
Okay. Uh...
3
00:00:37,250 --> 00:00:38,650
Gut, gut.
4
00:00:38,690 --> 00:00:40,790
(speaking German)
5
00:00:41,720 --> 00:00:43,890
...Christian...
(continues speaking German)
6
00:00:47,960 --> 00:00:49,330
Okay?
7
00:00:49,360 -->... | null | 9492.51 | 3544.64 | 196.44 |
tar_2022 | tt14444726 | JL1uQXJ3cI0o | 1
00:00:12,330 --> 00:00:13,650
Francesca enters.
2
00:00:28,330 --> 00:00:30,570
Looking shaken, Francesca sits.
3
00:00:34,970 --> 00:00:36,450
Lydia sits at her desk.
4
00:00:46,290 --> 00:00:48,130
Lydia glances over her shoulder.
5
00:01:02,890 --> 00:01:04,470
Lydia holds her hand out.
6
00:01:04,630 --> 00:... | 1
00:00:28,150 --> 00:00:29,790
Confounded Francesca sits.
2
00:01:01,910 --> 00:01:04,080
Francesca finds something on her phone.
3
00:01:04,120 --> 00:01:05,600
Lydia holds out her hand.
4
00:01:05,640 --> 00:01:07,160
She goes over to Lydia's desk
5
00:01:07,160 --> 00:01:08,400
and hands the phone to her.
6
00... | 1
00:00:04,720 --> 00:00:10,620
♪ Changing major to minor. ♪
2
00:00:13,690 --> 00:00:15,890
Uh, I'm sorry, I knocked.
3
00:00:17,160 --> 00:00:20,200
I knew you wanted your keys
back as quickly as possible.
4
00:00:20,230 --> 00:00:21,630
Yes, thanks.
5
00:00:21,670 --> 00:00:23,240
Did you use the company card?
... | 1
00:00:02,000 --> 00:00:03,770
(light knocking)
2
00:00:04,710 --> 00:00:10,610
♪ Changing major to minor. ♪
3
00:00:11,650 --> 00:00:13,650
(Francesca clears her throat)
4
00:00:13,680 --> 00:00:15,880
Uh, I'm sorry, I knocked.
5
00:00:17,150 --> 00:00:20,190
I knew you wanted your keys
back as quickly as possibl... | null | 9492.51 | 4013.09 | 189.41 |
tar_2022 | tt14444726 | HSJoWWOK229i | 1
00:00:00,790 --> 00:00:04,190
Lydia sits with Andris Todd.
2
00:00:36,870 --> 00:00:38,190
Lydia studies him.
3
00:01:33,980 --> 00:01:35,140
Lydia smiles.
4
00:02:42,800 --> 00:02:45,040
Lydia and Andris stare at each other.
| 1
00:00:00,390 --> 00:00:02,550
She stares off in thought and sighs.
2
00:00:35,550 --> 00:00:38,710
They lock eyes across the table, taking him in.
3
00:00:38,710 --> 00:00:39,990
Lydia considers.
4
00:01:33,410 --> 00:01:34,650
Lydia smiles.
5
00:02:43,550 --> 00:02:45,430
Lydia stares at him incredulously.
| 1
00:00:03,450 --> 00:00:05,680
Tired?
2
00:00:08,720 --> 00:00:11,120
Sleep's elusive.
3
00:00:12,020 --> 00:00:14,660
I was the same
before a recording date.
4
00:00:16,220 --> 00:00:18,030
Lydia...
5
00:00:18,060 --> 00:00:21,830
are-are you absolutely
certain about Sebastian?
6
00:00:21,860 --> 00:00:24,200
Mm... | 1
00:00:03,440 --> 00:00:05,670
Tired?
2
00:00:08,710 --> 00:00:11,110
Sleep's elusive.
3
00:00:12,010 --> 00:00:14,650
I was the same
before a recording date.
4
00:00:16,210 --> 00:00:18,020
Lydia...
5
00:00:18,050 --> 00:00:21,820
are-are you absolutely
certain about Sebastian?
6
00:00:21,850 --> 00:00:24,190
TÁ... | null | 9492.51 | 5770.78 | 166.09 |
tar_2022 | tt14444726 | Ez0f1dgT4Bq_ | 1
00:00:04,960 --> 00:00:06,960
She swings her arm toward Max.
2
00:00:11,560 --> 00:00:13,400
A glimpse shows a female student.
3
00:00:21,240 --> 00:00:23,320
She stops Max's leg from shaking.
4
00:00:23,680 --> 00:00:25,240
Lydia answers her phone.
5
00:00:39,400 --> 00:00:40,240
In the hall.
6
00:00:40,360 -->... | 1
00:00:39,360 --> 00:00:41,440
Lydia locks the front door of her other apartment
2
00:00:41,440 --> 00:00:43,040
and begins to descend the stairs.
3
00:00:43,360 --> 00:00:46,240
Two men carrying a body bag on a stretcher appear behind her.
4
00:00:46,960 --> 00:00:49,900
Lydia retreats to a corner to let them thro... | 1
00:00:00,160 --> 00:00:02,130
Oh, well, then you must be
2
00:00:02,170 --> 00:00:05,500
a Negro product
exploited by the Jews.
3
00:00:07,070 --> 00:00:10,010
Now let's turn our gaze back
to the piano bench up there
4
00:00:10,040 --> 00:00:12,240
to a superhot young woman.
5
00:00:13,310 --> 00:00:15,410
That's... | 1
00:00:00,150 --> 00:00:02,120
TÁR (over video):
Oh, well, then you must be
2
00:00:02,160 --> 00:00:05,490
a Negro product
exploited by the Jews.
3
00:00:07,060 --> 00:00:10,000
Now let's turn our gaze back
to the piano bench up there
4
00:00:10,030 --> 00:00:12,230
to a superhot young woman.
5
00:00:13,300 --> 0... | null | 9492.51 | 7347.10 | 214.09 |
tar_2022 | tt14444726 | OZURcV_UpowH | 1
00:00:07,530 --> 00:00:09,570
Sharon gazes sombrely at her.
2
00:00:13,930 --> 00:00:15,210
They stare at each other.
3
00:00:20,210 --> 00:00:21,690
She heads to her study.
4
00:00:58,600 --> 00:00:59,880
Lydia turns around.
5
00:01:14,000 --> 00:01:15,400
She heads to another room.
6
00:01:15,400 --> 00:01:16,... | 1
00:00:07,350 --> 00:00:09,270
Sharon stares solemnly at her.
2
00:00:13,230 --> 00:00:15,430
Lydia read Sharon's cold glare.
3
00:01:13,600 --> 00:01:15,600
Knut Sharon follows.
4
00:01:15,600 --> 00:01:16,200
Lydia.
5
00:01:27,320 --> 00:01:29,080
Lydia sanitises her hands.
6
00:01:34,960 --> 00:01:36,520
Lydia... | 1
00:00:01,360 --> 00:00:04,300
Oh, Jesus.
2
00:00:16,480 --> 00:00:19,080
It was Britta.
3
00:00:19,750 --> 00:00:21,650
Right?
4
00:00:21,680 --> 00:00:23,620
I mean, that is
how you heard about
5
00:00:23,650 --> 00:00:26,350
these millennial robots
trading in lies.
6
00:00:26,390 --> 00:00:29,190
I couldn't ca... | 1
00:00:01,350 --> 00:00:04,290
(gasps) Oh, Jesus.
2
00:00:04,320 --> 00:00:06,360
(Tár panting)
3
00:00:11,330 --> 00:00:13,060
(shudders)
4
00:00:16,470 --> 00:00:19,070
(sighs) It was Britta.
5
00:00:19,740 --> 00:00:21,640
Right?
6
00:00:21,670 --> 00:00:23,610
I mean, that is
how you heard about
7
00:00:23,6... | null | 9492.51 | 7919.65 | 194.54 |
tar_2022 | tt14444726 | eCCvFg3ASg0o | 1
00:00:00,590 --> 00:00:03,310
the formally dressed musicians file on stage.
2
00:00:03,550 --> 00:00:06,950
A glimpse shows Harald and his colleague in the production booth.
3
00:00:07,310 --> 00:00:08,510
The house lights dimmed.
4
00:00:11,830 --> 00:00:12,990
In a ladies room.
5
00:00:13,030 --> 00:00:16,510
A... | 1
00:00:00,120 --> 00:00:02,440
The orchestra make their way on stage.
2
00:00:04,400 --> 00:00:06,360
They take their seats at their music stands
3
00:00:06,360 --> 00:00:07,760
and the house lights dim.
4
00:00:12,320 --> 00:00:13,480
In a toilet cubicle.
5
00:00:13,480 --> 00:00:17,280
Feet wearing black dress s... | 1
00:01:07,290 --> 00:01:08,290
Okay.
2
00:01:09,760 --> 00:01:11,390
Give me some eyes.
3
00:01:16,300 --> 00:01:18,170
Come on, give me some eyes!
4
00:01:22,300 --> 00:01:24,070
Lydia.
5
00:01:24,740 --> 00:01:27,610
This is my score.
6
00:01:27,640 --> 00:01:30,080
Lydia, you're confused.
7
00:01:30,110 --> 0... | 1
00:00:00,910 --> 00:00:02,880
(applause)
2
00:00:11,390 --> 00:00:13,460
(applause continues in distance)
3
00:00:16,530 --> 00:00:19,000
(applause fades)
4
00:00:19,030 --> 00:00:21,270
(Tár breathes sharply)
5
00:00:24,040 --> 00:00:26,240
(playing slow classical fanfare)
6
00:00:47,530 --> 00:00:49,930
(orche... | null | 9492.51 | 8424.22 | 121.65 |
tar_2022 | tt14444726 | qlOJc1NrIrIy | 1
00:00:00,190 --> 00:00:01,630
Lydia greets her orchestra.
2
00:00:15,110 --> 00:00:17,630
A motorbike drives past an outdoor cafe.
3
00:00:18,030 --> 00:00:19,470
Lydia sits at a table.
4
00:00:19,630 --> 00:00:22,110
She reads sheet music with a pencil in her hand.
5
00:00:25,510 --> 00:00:28,590
At a dressing r... | 1
00:00:15,270 --> 00:00:18,190
Lydia works on her score at an indoor markets cafe.
2
00:00:22,950 --> 00:00:27,070
In a basic dressing room, a small vase of yellow flowers decorates a counter table
3
00:00:27,070 --> 00:00:29,030
where Lydia sits working on her school.
4
00:00:30,430 --> 00:00:34,130
A technician i... | 1
00:00:01,560 --> 00:00:03,400
Good morning.
2
00:00:03,430 --> 00:00:05,000
Good morning.
3
00:00:05,030 --> 00:00:07,530
Now, before we begin,
let's-let's talk a bit about
4
00:00:07,570 --> 00:00:11,170
the composer's intent
with this piece.
5
00:00:12,440 --> 00:00:14,440
And what she might be after.
6
00:00:... | 1
00:00:01,550 --> 00:00:03,390
Good morning.
2
00:00:03,420 --> 00:00:04,990
MUSICIANS:
Good morning.
3
00:00:05,020 --> 00:00:07,520
Now, before we begin,
let's-let's talk a bit about
4
00:00:07,560 --> 00:00:11,160
the composer's intent
with this piece.
5
00:00:12,430 --> 00:00:14,430
And what she might be after... | null | 9492.51 | 9168.06 | 122.37 |
a_beautiful_day_in_the_neighborhood | tt3224458 | ctYPskn6UMsg | 1
00:00:02,460 --> 00:00:05,420
a red model trolley travels along a suburban street.
2
00:00:05,580 --> 00:00:08,500
It passes colourfully painted homes and buildings.
3
00:00:11,700 --> 00:00:15,340
Our view closes in on a yellow Cape Cod house with a side porch.
4
00:00:18,180 --> 00:00:20,780
The house gives way ... | 1
00:00:02,030 --> 00:00:03,190
Above a toy town.
2
00:00:03,230 --> 00:00:04,270
A red and yellow trolley.
3
00:00:04,270 --> 00:00:05,950
Tootles along tracks in a main road.
4
00:00:05,950 --> 00:00:10,260
Past buildings and houses brightly painted in blues, reds, yellows and greens.
5
00:00:10,780 --> 00:00:12,... | 1
00:00:32,260 --> 00:00:34,820
♪ It's a beautiful day
in this neighborhood ♪
2
00:00:35,020 --> 00:00:37,090
♪ A beautiful day for a neighbor ♪
3
00:00:37,210 --> 00:00:41,310
♪ Would you be mine?
Could you be mine? ♪
4
00:00:41,520 --> 00:00:44,300
♪ It's a neighborly day
in this beauty wood ♪
5
00:00:44,320 --> ... | 1
00:00:32,280 --> 00:00:34,870
♪ It's a beautiful day
In this neighborhood ♪
2
00:00:34,960 --> 00:00:37,190
♪ A beautiful day for a neighbor ♪
3
00:00:37,280 --> 00:00:39,110
♪ Would you be mine? ♪
4
00:00:39,200 --> 00:00:41,550
♪ Could you be mine? ♪
5
00:00:41,640 --> 00:00:44,360
♪ It's a neighborly day
In th... | {"screenplay_scene_1": "<scene>\n <scene_description>A BEAUTIFUL DAY IN THE NEIGHBORHOOD Written by Micah Fitzerman-Blue & Noah Harpster Inspired by the article \"Can You Say... Hero?\" by Tom Junod A MINIATURE RESIDENTIAL STREET - DAY Colorful BALSAWOOD HOUSES and PLASTIC TREES pepper the boulevards. MODEL CARS... | 6524.48 | 50.94 | 221.68 |
a_beautiful_day_in_the_neighborhood | tt3224458 | bQAqLuKlMEGW | 1
00:00:03,200 --> 00:00:05,240
He awkwardly places his hands on the tent
2
00:00:05,240 --> 00:00:06,520
and smiles at the camera.
3
00:00:12,560 --> 00:00:14,200
Lloyd looks confused.
4
00:00:14,200 --> 00:00:15,600
Fred steps off the set.
| 1
00:00:03,880 --> 00:00:04,160
Mr..
2
00:00:04,160 --> 00:00:06,720
Rogers stands by a partially erected tent.
3
00:00:13,000 --> 00:00:14,400
He smiles and walks off.
4
00:00:14,400 --> 00:00:14,840
Set.
| 1
00:00:00,830 --> 00:00:03,960
And, action.
2
00:00:07,740 --> 00:00:09,800
Do you know what this is?
3
00:00:11,110 --> 00:00:12,840
It's... Lloyd!
4
00:00:17,260 --> 00:00:18,340
Lloyd!
5
00:00:18,360 --> 00:00:19,770
Hold please!
6
00:00:19,800 --> 00:00:21,570
We can't fire him, can we?
7
00:00:21,900 --> 00... | 1
00:00:00,560 --> 00:00:03,280
And... action.
ROGERS: Ahem.
2
00:00:07,600 --> 00:00:09,120
Do you know what this is?
3
00:00:09,200 --> 00:00:11,080
[♪♪♪]
4
00:00:11,160 --> 00:00:12,390
It's Lloyd.
5
00:00:17,120 --> 00:00:18,100
Lloyd.
6
00:00:18,120 --> 00:00:19,560
Hold, please!
7
00:00:19,640 --> 00:00:21,... | null | 6524.48 | 1641.70 | 55.31 |
a_beautiful_day_in_the_neighborhood | tt3224458 | xFFuhqdVZPIO | 1
00:00:01,320 --> 00:00:03,360
He awkwardly places his hands on the tent
2
00:00:03,360 --> 00:00:04,640
and smiles at the camera.
3
00:00:10,680 --> 00:00:12,320
Lloyd looks confused.
4
00:00:12,320 --> 00:00:13,720
Fred steps off the set.
5
00:00:59,080 --> 00:01:02,000
Lloyd stands by a monitor showing the live... | 1
00:00:02,000 --> 00:00:02,280
Mr..
2
00:00:02,280 --> 00:00:04,840
Rogers stands by a partially erected tent.
3
00:00:11,120 --> 00:00:12,520
He smiles and walks off.
4
00:00:12,520 --> 00:00:12,960
Set.
5
00:00:59,550 --> 00:01:01,670
Lloyd watches Mr. Rogers on a monitor.
6
00:01:24,830 --> 00:01:28,190
Wearin... | 1
00:00:05,850 --> 00:00:07,910
Do you know what this is?
2
00:00:09,220 --> 00:00:10,950
It's... Lloyd!
3
00:00:15,370 --> 00:00:16,450
Lloyd!
4
00:00:16,470 --> 00:00:17,880
Hold please!
5
00:00:17,910 --> 00:00:19,680
We can't fire him, can we?
6
00:00:20,010 --> 00:00:23,030
Hello, Lloyd.
It's nice to meet you... | 1
00:00:05,720 --> 00:00:07,230
Do you know what this is?
2
00:00:07,320 --> 00:00:09,190
[♪♪♪]
3
00:00:09,280 --> 00:00:10,500
It's Lloyd.
4
00:00:15,240 --> 00:00:16,210
Lloyd.
5
00:00:16,240 --> 00:00:17,670
Hold, please!
6
00:00:17,760 --> 00:00:19,830
We can't fire him, can we?
7
00:00:19,920 --> 00:00:23,83... | {"screenplay_scene_26": "<scene>\n <stage_direction>INT. WQED - MISTER ROGERS' NEIGHBORHOOD SET - CONTINUOUS</stage_direction>\n <scene_description>The fish tank, the stop light, the closet full of cardigans, the boat shoes, and the magical Trolley that bridges Mister Rogers' house with the \"Neighborhood of Make... | 6524.48 | 1643.58 | 203.08 |
a_beautiful_day_in_the_neighborhood | tt3224458 | v9TYuzwKuBGk | 1
00:00:22,380 --> 00:00:24,340
Fred stares intently at Lloyd.
2
00:00:28,620 --> 00:00:30,100
He points at Lloyd's face.
3
00:00:37,180 --> 00:00:39,980
Lloyd smiles nervously as he holds Fred's gaze.
| 1
00:00:23,220 --> 00:00:24,860
Fred contemplates Lloyd.
2
00:00:36,580 --> 00:00:39,860
Lloyd Lloyd gazes at Fred's kind face.
3
00:00:39,860 --> 00:00:40,740
His throat wobbles
4
00:00:40,740 --> 00:00:42,660
and he opens and closes his mouth.
| 1
00:00:00,560 --> 00:00:03,460
This piece will be for an issue
about heroes.
2
00:00:03,490 --> 00:00:06,220
Do you consider yourself a hero?
3
00:00:06,380 --> 00:00:09,890
I don't think of myself as a hero.
No, not at all.
4
00:00:11,730 --> 00:00:14,600
What about "Mister Rogers"?
Is he a hero?
5
00:00:15,340 -... | 1
00:00:00,520 --> 00:00:03,400
This piece will be
for an issue about heroes.
2
00:00:03,480 --> 00:00:05,840
Do you consider yourself a hero?
3
00:00:06,360 --> 00:00:08,640
I don't think of myself as a hero.
4
00:00:08,720 --> 00:00:10,000
No, not at all.
5
00:00:11,800 --> 00:00:13,920
What about Mister Rogers? ... | {"screenplay_scene_27": "<scene>\n <stage_direction>INT. FRED'S OFFICE - LATER - DAY</stage_direction>\n <scene_description>Small and cluttered, with bamboo wallpaper. No desk. The walls are filled with art and children's drawings sent from all over the world. Fred settles into his chair as Lloyd flips on his tap... | 6524.48 | 1924.10 | 43.31 |
a_beautiful_day_in_the_neighborhood | tt3224458 | dy2e396A_0jA | 1
00:00:22,510 --> 00:00:24,350
Lady Aberlin stands on set.
2
00:00:28,270 --> 00:00:29,950
Smiling, she sprays perfume
3
00:00:29,950 --> 00:00:30,950
and sniffs the air.
4
00:00:31,310 --> 00:00:34,790
She ducks under the track as the small red trolley rides past.
5
00:00:36,350 --> 00:00:39,270
Lloyd glances aro... | 1
00:00:28,340 --> 00:00:31,260
Lady Aberlin in a dark blue dress with puffed sleeves,
2
00:00:31,260 --> 00:00:34,380
mists the air with perfume from a glass atomiser bottle.
3
00:00:34,700 --> 00:00:36,140
She steps away from a turret
4
00:00:36,140 --> 00:00:39,100
and ducks under the trolley track in between its... | 1
00:00:00,250 --> 00:00:01,560
Daniel, are you set?
2
00:00:01,580 --> 00:00:02,780
I'm set.
3
00:00:02,810 --> 00:00:04,190
Thank you, Daniel.
4
00:00:05,840 --> 00:00:07,840
Did she just talk to the puppet?
5
00:00:08,460 --> 00:00:13,350
Daniel isn't just a puppet.
Daniel is Fred, and Fred is Daniel.
6
00:00:1... | 1
00:00:00,180 --> 00:00:01,500
Daniel, you set?
2
00:00:01,620 --> 00:00:02,880
ROGERS [IN HIGH PITCHED VOICE]:
I'm set!
3
00:00:02,900 --> 00:00:04,130
Thank you, Daniel.
4
00:00:05,780 --> 00:00:08,340
Did she just talk to the puppet?
5
00:00:08,460 --> 00:00:10,690
Daniel isn't just a puppet.
6
00:00:10,780 --... | {"screenplay_scene_28": "<scene>\n <stage_direction>INT. WQED - STUDIO - NEIGHBORHOOD OF MAKE BELIEVE - LATER</stage_direction>\n <scene_description>The whimsical fantasy land, crafted in cardboard around a flimsy looking CASTLE. DANIEL STRIPED TIGER sits on the ledge of a large Grandfather CLOCK. Lady Aberlin pr... | 6524.48 | 2074.24 | 185.37 |
a_beautiful_day_in_the_neighborhood | tt3224458 | jDEOWmTzknQF | 1
00:00:24,160 --> 00:00:25,400
She covers the phone.
| 1
00:00:01,610 --> 00:00:02,570
Yes?
2
00:00:02,590 --> 00:00:04,700
This is Fred Rogers.
3
00:00:05,180 --> 00:00:07,280
- Oh hi!
- Who is it?
4
00:00:07,310 --> 00:00:08,780
Uh, Lloyd's right here.
5
00:00:09,050 --> 00:00:14,760
Andrea, while I have you, I just want to
thank you so much for sharing Lloyd with us... | 1
00:00:01,260 --> 00:00:02,330
Yes.
2
00:00:02,420 --> 00:00:04,170
This is Fred Rogers.
3
00:00:04,940 --> 00:00:07,220
- Oh. Hi.
- Who is it?
4
00:00:07,300 --> 00:00:08,700
Lloyd's right here.
5
00:00:08,780 --> 00:00:10,290
No, Andrea, while I have you,
6
00:00:10,380 --> 00:00:15,090
I just want to thank you... | {"screenplay_scene_33": "<scene>\n <stage_direction>INT. LLOYD'S LOFT - EARLY MORNING</stage_direction>\n <scene_description>Lloyd and Andrea are asleep. The house phone RINGS, waking them. Andrea answers.</scene_description>\n <character>ANDREA</character>\n <dialogue>Hello?</dialogue>\n <character>FRED... | 6524.48 | 2568.64 | 28.40 | |
a_beautiful_day_in_the_neighborhood | tt3224458 | PvQHgSHdu5DB | 1
00:00:05,100 --> 00:00:05,940
Lloyd stands
2
00:00:05,940 --> 00:00:07,500
as Fred settles into a seat.
3
00:00:07,820 --> 00:00:10,540
A group of children stands further down the car.
4
00:00:27,610 --> 00:00:30,090
Gazing up at him, Fred wears a thoughtful look.
5
00:00:39,810 --> 00:00:41,290
He interlocks two... | 1
00:00:04,820 --> 00:00:05,740
Fred takes a seat
2
00:00:05,740 --> 00:00:07,820
while Lloyd stands in the full carriage.
3
00:00:08,020 --> 00:00:09,900
People turn their heads to look at Fred.
4
00:00:27,980 --> 00:00:29,700
Fred gazes softly up at Lloyd
5
00:00:29,700 --> 00:00:30,820
and nods gently.
6
00:00:... | 1
00:00:01,350 --> 00:00:03,960
It's the easiest way
to get around sometimes.
2
00:00:13,810 --> 00:00:19,470
You've covered some heavy stuff,
especially for a show aimed at children.
3
00:00:20,790 --> 00:00:23,950
I'm glad you had a chance
to view the program.
4
00:00:24,250 --> 00:00:27,520
Death, divorce, war. I... | 1
00:00:00,210 --> 00:00:03,890
and it's... It's the easiest way
to get around sometimes.
2
00:00:11,050 --> 00:00:12,050
So...
3
00:00:13,690 --> 00:00:16,210
you've covered some heavy stuff,
4
00:00:17,250 --> 00:00:20,210
especially for a show aimed at children.
5
00:00:20,290 --> 00:00:23,410
I'm glad you've ha... | {"screenplay_scene_37": "<scene>\n <stage_direction>INT. SUBWAY CAR - DAY</stage_direction>\n <scene_description>The doors slide open. The car is filled with SCHOOL KIDS of all kinds. Fred gets on. Lloyd follows.</scene_description>\n <character>LLOYD</character>\n <dialogue>Do you always take the subway?</... | 6524.48 | 2890.69 | 116.01 |
a_beautiful_day_in_the_neighborhood | tt3224458 | 3BWn0vzEEc6R | 1
00:00:05,390 --> 00:00:09,150
Fred opens a suitcase, revealing the puppets of Daniel and King Friday.
2
00:00:21,670 --> 00:00:23,510
Fred regards him sincerely.
3
00:00:57,830 --> 00:00:59,430
Fred nods at him softly.
4
00:01:11,470 --> 00:01:13,750
Lloyd smiles faintly as he gazes off.
5
00:01:33,390 --> 00:01:... | 1
00:00:06,750 --> 00:00:11,430
Fred unzips a suitcase to reveal Daniel, striped Tiger and King Friday the 13th.
2
00:00:58,310 --> 00:00:59,950
Lloyd gazes into the distance,
3
00:00:59,950 --> 00:01:01,750
then nods and glances at Fred.
4
00:01:34,350 --> 00:01:38,670
With his cheek resting on his bent fingers, Fr... | 1
00:00:00,340 --> 00:00:02,830
Would you like to meet
my special puppet friends
2
00:00:02,860 --> 00:00:05,400
from The Neighborhood of Make Believe?
3
00:00:11,970 --> 00:00:14,750
They look like they've seen
better days.
4
00:00:15,100 --> 00:00:18,020
They've been with me
for quite a while.
5
00:00:18,520 --> ... | 1
00:00:00,520 --> 00:00:03,120
Would you like to meet
my special puppet friends
2
00:00:03,200 --> 00:00:05,240
from the Neighborhood of Make-Believe?
3
00:00:12,000 --> 00:00:13,880
They look like they've seen better days.
4
00:00:14,600 --> 00:00:17,760
Well, they...
They've been with me for quite a while.
5
00:... | {"screenplay_scene_38": "<scene>\n <stage_direction>INT. FRED'S NYC APARTMENT - DAY</stage_direction>\n <scene_description>Cramped and dusty. Fred and Lloyd sit uncomfortably close together -- for Lloyd. Lloyd's recorder is out and running. A suitcase rests at Fred's feet. Fred smiles.</scene_description>\n <c... | 6524.48 | 3098.82 | 202.57 |
a_beautiful_day_in_the_neighborhood | tt3224458 | KS5kLuDvxKVj | 1
00:00:05,460 --> 00:00:06,820
Lloyd looks baffled.
2
00:00:06,820 --> 00:00:09,100
The AD gestures for him to knock on the door.
3
00:00:37,660 --> 00:00:38,780
Lloyd eyes the crew.
4
00:00:47,460 --> 00:00:49,980
Lloyds view of Fred goes black now.
5
00:00:50,020 --> 00:00:52,220
Miniature Lloyd steps out from b... | 1
00:00:05,600 --> 00:00:08,520
She gestures for Lloyd to knock on Mr. Roger's door.
2
00:00:47,390 --> 00:00:49,790
Lloyd's vision narrows into nothing now.
3
00:00:49,790 --> 00:00:50,590
Puppet size.
4
00:00:50,630 --> 00:00:55,070
Lloyd stands in the curtained arch of King Friday the 13th castellated turret.
5
... | 1
00:00:00,410 --> 00:00:02,060
- Roll sound.
- Sound speeds.
2
00:00:02,080 --> 00:00:03,450
And slate.
3
00:00:03,940 --> 00:00:05,830
And... Action.
4
00:00:11,590 --> 00:00:15,820
Oh, it's my good friend, Lloyd.
Lloyd Vogel.
5
00:00:16,000 --> 00:00:19,000
- You remember Lloyd?
- Fred, I don't understand what's... | 1
00:00:00,480 --> 00:00:01,910
Roll sound.
MAN 2: Sound speeds.
2
00:00:02,000 --> 00:00:03,750
- What...?
- And slate.
3
00:00:03,840 --> 00:00:05,510
And action!
4
00:00:06,440 --> 00:00:08,190
[♪♪♪]
5
00:00:11,520 --> 00:00:14,390
Oh, it's my good friend, Lloyd.
6
00:00:14,480 --> 00:00:17,390
Lloyd Vogel. You... | {"screenplay_scene_48": "<scene>\n <stage_direction>INT. WQED - STAGE - DAY</stage_direction>\n <scene_description>Lloyd rushes into the stage to find Margy and the rest of the crew setting up for an episode.</scene_description>\n <character>MARGY</character>\n <dialogue>Lloyd. There you are.</dialogue>\n ... | 6524.48 | 3888.22 | 249.59 |
a_beautiful_day_in_the_neighborhood | tt3224458 | aTiA8w_sTS2y | 1
00:00:12,670 --> 00:00:14,190
Lloyd cracks a half smile,
2
00:00:14,190 --> 00:00:14,990
then nods.
3
00:00:17,110 --> 00:00:18,270
Fred stares at him.
4
00:00:25,030 --> 00:00:26,350
Lloyd meets his gaze.
5
00:00:56,950 --> 00:00:58,590
Lloyd looks off pensively.
6
00:01:01,430 --> 00:01:02,230
He nods.
7
00:0... | 1
00:00:12,990 --> 00:00:14,550
Lloyd smiles and nods.
2
00:00:23,030 --> 00:00:23,830
Full of sorrow.
3
00:00:23,870 --> 00:00:25,750
Lloyd shifts his gaze to Fred
4
00:00:25,870 --> 00:00:27,150
with his elbow on the table.
5
00:00:27,150 --> 00:00:29,110
Fred rests his chin in his hand.
6
00:00:57,510 --> 00:00... | 1
00:00:00,470 --> 00:00:05,190
Bill was right.
You love people like me.
2
00:00:06,450 --> 00:00:08,620
What are people like you?
3
00:00:09,360 --> 00:00:13,100
I've never met anyone
like you in my entire life.
4
00:00:15,980 --> 00:00:17,950
Broken people.
5
00:00:20,840 --> 00:00:23,020
I don't think you are br... | 1
00:00:00,390 --> 00:00:01,420
Bill was right.
2
00:00:01,550 --> 00:00:03,030
You...
3
00:00:03,110 --> 00:00:04,940
love people like me.
4
00:00:06,510 --> 00:00:08,150
What are people like you?
5
00:00:09,350 --> 00:00:12,780
I've never met anyone like you
in my entire life.
6
00:00:15,990 --> 00:00:17,180
Bro... | {"screenplay_scene_55": "<scene>\n <stage_direction>INT. CHINESE RESTAURANT - LATER - DAY</stage_direction>\n <scene_description>A hole in the wall. TWO COUPLES and a SMALL FAMILY eat beside Fred and Lloyd. The WAITRESS sets down their food. Fred's plate is piled high with vegetables.</scene_description>\n <ch... | 6524.48 | 4259.87 | 194.03 |
a_beautiful_day_in_the_neighborhood | tt3224458 | ZudCvy_AyWqo | 1
00:00:03,250 --> 00:00:05,370
They both lift their glasses to their lips.
2
00:00:05,930 --> 00:00:07,250
Lloyd takes a quick sip.
3
00:00:07,770 --> 00:00:08,890
Jerry takes a drink,
4
00:00:08,930 --> 00:00:09,890
leans his head back
5
00:00:09,890 --> 00:00:11,050
and shuts his eyes.
6
00:00:17,930 --> 00:00:... | 1
00:00:04,350 --> 00:00:05,510
Jerry lifts his head
2
00:00:05,510 --> 00:00:07,030
and puts his lips to the glass.
3
00:00:07,350 --> 00:00:08,630
Lloyd sniffs the bourbon,
4
00:00:08,630 --> 00:00:09,990
then takes a small sip.
5
00:00:10,350 --> 00:00:12,870
Jerry lets his head slump back onto his pillow.
6
00... | 1
00:00:02,320 --> 00:00:04,020
Cheers.
2
00:00:22,390 --> 00:00:24,710
Lloyd.
3
00:00:28,080 --> 00:00:31,470
I am sorry for leaving
you and your sister.
4
00:00:38,330 --> 00:00:43,530
It was selfish. And it was cruel.
5
00:00:49,310 --> 00:00:52,220
Will you look at me?
6
00:01:06,380 --> 00:01:10,420
I am so s... | 1
00:00:02,350 --> 00:00:03,350
Cheers.
2
00:00:14,910 --> 00:00:16,470
[SIGHS]
3
00:00:22,430 --> 00:00:23,430
Lloyd...
4
00:00:28,070 --> 00:00:31,110
I am sorry for leaving you and your sister.
5
00:00:36,470 --> 00:00:37,470
It was...
6
00:00:38,430 --> 00:00:39,940
It was selfish.
7
00:00:41,790 --> 00:00:43... | null | 6524.48 | 5182.59 | 149.12 |
a_beautiful_day_in_the_neighborhood | tt3224458 | sRiF32VOUPeN | 1
00:00:06,600 --> 00:00:08,560
Fred steps inside, holding a pie.
2
00:00:08,840 --> 00:00:10,160
Everyone stares at him.
3
00:00:23,960 --> 00:00:24,400
Lorraine.
4
00:00:24,560 --> 00:00:25,080
Todd.
5
00:00:32,680 --> 00:00:34,720
Fred smiles at Andrea and Lloyd.
6
00:00:34,840 --> 00:00:36,480
He walks to Gerr... | 1
00:00:05,100 --> 00:00:05,740
Lloyd
2
00:00:06,500 --> 00:00:08,740
Fred steps in with a pie in his hands.
3
00:00:08,940 --> 00:00:11,140
Everyone falls into stunned silence.
4
00:00:33,420 --> 00:00:35,300
Fred beams at Andrea and Lloyd,
5
00:00:35,300 --> 00:00:37,060
then walks to Jerry's bedside.
6
00:00:38... | 1
00:00:01,490 --> 00:00:03,490
Ah, I'm in the right place.
2
00:00:03,920 --> 00:00:05,920
- Come on in.
- Lloyd.
3
00:00:11,620 --> 00:00:13,850
Holy crap.
4
00:00:15,270 --> 00:00:16,170
Andrea?
5
00:00:16,190 --> 00:00:17,960
Hi Fred.
6
00:00:17,980 --> 00:00:20,080
Such a pleasure
to finally see you.
7
00:00... | 1
00:00:01,640 --> 00:00:04,110
ROGERS:
Ah. I'm in the right place.
2
00:00:04,200 --> 00:00:05,720
- Come on in.
- Lloyd.
3
00:00:11,720 --> 00:00:13,560
Holy crap.
4
00:00:15,320 --> 00:00:17,920
- Andrea.
- Hi, Fred.
5
00:00:18,000 --> 00:00:20,360
Such a pleasure to finally see you.
6
00:00:20,440 --> 00:00:22... | {"screenplay_scene_74": "<scene>\n <stage_direction>INT. JERRY AND DOROTHY'S HOUSE - DAY</stage_direction>\n <scene_description>Lloyd, Andrea, Lorraine, Todd, and Dorothy have gathered around Jerry's bed. He's more gaunt now, and his color has changed. He's not eating anymore.</scene_description>\n <character>... | 6524.48 | 5470.82 | 248.41 |
a_beautiful_day_in_the_neighborhood | tt3224458 | BJjvRlf3szR2 | 1
00:00:13,420 --> 00:00:14,900
He takes off his sneakers.
2
00:00:19,340 --> 00:00:20,900
He slips on his dress shoes.
3
00:00:32,260 --> 00:00:34,140
He hangs up his cardigan in the closet,
4
00:00:34,140 --> 00:00:35,460
then puts on his blazer.
5
00:01:00,620 --> 00:01:01,860
He exits the house.
6
00:01:02,140... | 1
00:01:08,930 --> 00:01:12,490
Having changed into his jacket and swapped Plimsolls for leather shoes,
2
00:01:12,490 --> 00:01:14,970
Fred wanders towards Margy, Bill and the crew.
3
00:01:15,210 --> 00:01:17,850
He walks slowly with one hand pressed into his back.
4
00:01:18,250 --> 00:01:21,410
He glances at the... | 1
00:00:01,080 --> 00:00:05,260
I hope you know that you made
today a very special day
2
00:00:05,810 --> 00:00:08,520
by just your being you.
3
00:00:08,690 --> 00:00:14,130
There's no one in the whole world like you,
and I like you just the way you are.
4
00:00:14,910 --> 00:00:19,260
♪ It's such a good feeling
to... | 1
00:00:01,120 --> 00:00:05,790
I hope you know
that you made today a very special day
2
00:00:05,880 --> 00:00:08,630
by just your being you.
3
00:00:08,720 --> 00:00:13,670
There's no one in the whole world like you,
and I like you just the way you are.
4
00:00:15,040 --> 00:00:19,390
♪ It's such a good feeling
To... | {"screenplay_scene_81": "<scene>\n <stage_direction>INT. WQED - MISTER ROGERS' NEIGHBORHOOD SET - DAY</stage_direction>\n <scene_description>Fred sits with his wooden board with a patterned door for each of his friends. 8FLiX.com SCREENPLAY DATABASE</scene_description>\n <character>FOR EDUCATIONAL USE ONLY</ch... | 6524.48 | 5882.94 | 221.33 |
van_helsing | tt0338526 | UIT7ToZND3_r | 1
00:00:00,200 --> 00:00:02,000
He stares into the forest
2
00:00:02,000 --> 00:00:03,320
deep amongst the foliage.
3
00:00:03,360 --> 00:00:06,240
A pair of savage lupine eyes stare out at Velkan.
4
00:00:06,440 --> 00:00:08,160
Suddenly, the werewolf snarls
5
00:00:08,160 --> 00:00:10,240
and leaps out of the tre... | 1
00:00:01,070 --> 00:00:03,940
Just behind the trees, a wolf's face appears.
2
00:00:06,240 --> 00:00:09,070
Suddenly, the terrifying werewolf charges at the man.
3
00:00:09,070 --> 00:00:11,240
Velkan flips himself up onto the top of the pole
4
00:00:11,240 --> 00:00:12,540
as the wolf leaps at him.
5
00:00:12,54... | 1
00:00:22,810 --> 00:00:24,270
Pull me up!
2
00:00:24,320 --> 00:00:25,730
It's stuck!
3
00:00:34,160 --> 00:00:37,410
- No, Anna, it will kill you!
- That's my brother out there.
4
00:00:40,160 --> 00:00:42,330
Cut the rope! Cut it now!
5
00:00:56,180 --> 00:00:57,350
Velkan!
6
00:01:08,270 --> 00:01:10,150
My g... | 1
00:00:05,960 --> 00:00:07,460
[Ferocious snarling]
2
00:00:17,300 --> 00:00:20,800
[lntense instrumental music]
3
00:00:22,890 --> 00:00:24,350
Pull me up!
4
00:00:24,390 --> 00:00:25,810
It's stuck!
5
00:00:27,980 --> 00:00:31,650
[Heroic instrumental music]
6
00:00:34,230 --> 00:00:37,480
- No, Anna, it will k... | null | 7888.03 | 1260.03 | 131.89 |
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