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Door in the Floor The 2004

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Dead means they're broken?
Well, their bodies|are broken, yes.
And they're under the ground?|Their bodies are, yes.
Tell me what dead is.
Mmm. When you...
When you look at the photographs|ofThomas and Timothy,
do you remember the stories|of what they're doing?
Yes.|Hmm, well,
Tom and Timmy are alive|in your imagination.
It makes me sad|to think about them.
Makes me sad too, Ruthie.
But Mommy's sadder.
Well, yes.
{y:i}[Rhythmic Clicking]
[Clicking Continues]
[No Audible Dialogue]
Does your son have a driver's license?|Huh! Ooh!
Heh!|You don't have to yell, Minty.
Yeah?|Well, let me consider it, will ya?
All right.|I'll call you back. Bye.
Eh, it still gets cold|in the evening, huh?
Jesus. Look at this yard.
We should clear out some of these|straggly looking flower beds.
I want to put in a swimming pool.
Oh, for Ruth when she gets older.
Something like the one we had|in Providence. They loved it.
And the lawn...|It ought to be more like an athletic field.
No.|{y:i}[Turning Pages]
Look at this picture.|Who is he?
That's Minty O'Hare's son...|the boys' English teacher|from Exeter.
He wants a summer job.
He wants to be a writer.
{y:i}What would he do for you?
It's mainly for the experience,|I suppose.
I mean, if he's thinking about|becoming a writer, he should see|how one works, see what it takes.
What would he actually do for you?
Mmm, well...
I've been thinking.
I want to try separating...|for the summer.
Just temporarily.
{y:i}[Man On TV]|{y:i}So you began your career writing novels?
Yes, but they were terrible novels.|Uh, unfortunately I had to write|three of them...
before I realized|I am not a writer of adult fiction.
I am simply a entertainer of children,|and I like to draw.
{y:i}[Man] Edward, don't be nervous|{y:i}because he's famous.|[Continues, Indistinct]
He's an Exonion.
His sons were charming boys...
but... mediocre students.
Why do cautionary tales for children|come so naturally to you?|{y:i}They were both in my class.
Well, I think I can imagine|their fears and express them.
Um, in my stories,|{y:i}Anyway,
uh, you can see what's coming,|but you don't see everything that's coming.|{y:i}Just pick up what you can.
Note his work habits.|{y:i}[Continues]
See if there's a method|to his madness.
And... above all...
throw yourself in headlong|and just do whatever it is|he wants you to do.
In my opinion, there is no better opening|to any story than the opening of|{y:i}The Mouse Crawling Between the Walls.
I mean, the first lines...|"Tom woke up, but Tim did not."
Daddy, I had a dream.
I heard a sound.
Uh, what sort of sound, Ruth?
It's in the house,|but it's trying to be quiet.
Well, let's go look for it then.
It's a sound that's trying to be quiet?|What did it sound like?
It was a sound like someone|trying not to make a sound.
Your penis looks funny.
My penis is funny.
Come out sound.|Come out sound.
I'll tell you a story|about a different sound.
One night when Thomas|was just your age,
and Timothy was still in diapers,
Tommy heard a sound.|Did they both wake up?
Oh, Tom woke up,
but Tim did not.
{y:i}And Tom woke up his father...
{y:i}and asked him,|{y:i}"Did you hear that sound?
There's the sound again,"|Tom whispered to his Father.
"It's a monster!" he cried.
"It's just a mouse...
crawling between the walls,"
his father said,
and thumped the wall hard|with his hand.
And the mouse...|{y:i}[Fingers Scuffling]
Scurried away.
"It's just a mouse.
That's all," Tom said.
And he quickly fell asleep.
But Tim,
he stayed awake all night long.
And every time that thing|crawling between the walls|came crawling back,
he'd hit the wall,
and he'd listen to the monster...
scurry away,
dragging his thick, wet fur,
and no arms and no legs with it.
- And that...|- Is the end of the story.
Where's Mommy?
Mommy, uh... It's her turn|at the other house, remember?
It's my turn tomorrow night.|But she'll be here in the morning, okay?
- [Smacks Kiss] Okay.|- "Are there any mice in this house?"
Hmm. Everyone has mice.
Mice are everywhere.
See you in the morning, Ruthie.
{y:i}[Electric Typewriter Clacking]
{y:i}[Typewriter Motor Shuts Off]
{y:i}[Turn Signal Clicking]
{y:i}[Ship's Horn Blowing]
[Children Laughing]
Eddie? Eddie?
Mrs. Cole?|Marion.
You can drive, can't you?|Oh, yeah. Yes I can.
I know boys your age.|They love to drive|every chance they get.
Yes, ma'am.|But I don't know|how to drive a stick.
It's an automatic.|Okay.
Yes, ma'am.
Sorry about before. I was...
I was expecting Mr. Cole.
Ted lost his license|three months ago.
You're not at Exeter anymore.|You can call us by our first names.
Okay.|{y:i}[Door Opening]
{y:i}[Doors Shut]
Aren't you coming in?
Not tonight.
{y:i}[Door Shuts, Engine Starts]
[Man Chuckles]|Did it hurt?|Does it hurt much?
No, I'm all right. I'm all right.|Don't worry about me.|Eddie!
It is an honor to meet you, sir.|Ah.
I want to thank you in advance|for this experience.|Ah, well, I hope you find it worthwhile.
Ed, this is Doctor Loomis.|Eddie's my new assistant.|Hi.
Hi.|Yeah. Exeter, '05.
I was class of'61.|Good stuff.
So, Tuesday, yeah?|Right. See you then.|Tuesday, yeah.
Nice to meet you, Eddie. Ciao.
I've read all your novels|and all your children's books...|3:30?
Yeah, 3:30.|Got it.
I've... I read all your novels|and all your children's books,
and my favorite is|{y:i}The Door in the Floor.|Ahh.
Well, you're probably|one of the few people on earth|who have read all my novels.
So, uh, what makes you think|you want to be a writer, Eddie?
Oh, I wrote something,|and I brought it with me.
I'd be extremely honored|if you might read it,|whenever you're not busy, of course.
Well, writing is rigorous work.|I keep myself incredibly busy.
Yeah.|Many of my books contain|500 words or less, so...
every word must be examined|and re-examined thoroughly.|Okay.
You're going to be spending the whole summer|looking for "le motjuste," as Flaubert says.|Oh.
- The right word. The true word.|- "Okay. Well,"
I'm prepared to throw myself in headlong|and do whatever you need me to do.
Yeah, because I'm sure there'll be|many different tasks that will come up.
Oh, all right.|For example, I need squid.
I'm, uh, using squid ink for my new book,
and for all my drawings now.
There's a, uh...
a woman in Montauk,|she's a fishmonger.
She collects the squid ink for me.|Should I go today?
Ah, you can go tomorrow.|You see her husband over there,|don't mention my name.
"Also, I have to tell you"...|"because it's a little complicated"...
you've arrived here during|what is a sad time in a long,|happy marriage.
Uh, Marion and I, we're separating...
temporarily, on a trial basis.
And I've, uh...|I've rented a small apartment in town,
and every other night one of us|will be spending the night there.
Uh, during the day, you'll work there|at the apartment while I'm working here,
but you'll sleep here.
I know it seems|unnecessarily complicated, but...
it's hard to know what's...|what's best for my daughter.
Anyway, your bedroom|is in the main house, upstairs,|second door on the left.
Uh, you want to take|your stuff up there, relax?|Or you wanna take a shower?
{y:i}Okay, well,
{y:i}make yourself comfortable, Eddie.
Thank you, sir.
And... I'm sorry about your marriage.
Me too, Eddie.
I'm sure you're gonna do great here.
It's gonna be a good summer for ya.|I'm glad to have ya.
- [Screaming]|- "[Door Slams]"
[Ruth Humming]
{y:i}[Stereo: : Woman Singing, Indistinct]
Did you see the shrine?
Mm-hmm.|It's kinda creepy, huh?
It's sad.
You go to Exeter, right?|Yeah, I'm an upper.
An "upper"?|Yeah, like, an upperclassman...
like, kind of like a junior.|Your father's|a teacher there, right?
So you get to go for free?|Yeah.
He was their teacher, right?|So that's why you're here?
I guess.
- Did you know them before they died?|- Uh, no, but I heard a lot about them.
When I was in eighth grade|I used to date a senior from Exeter.
Really?|Yeah. He was older than you,|of course. [Laughs]
His name was, like,|Chickie or Chuckie or something.
It was probably a nickname.
You know, it... it's quite common|to have a nickname there.
It is.
{y:i}[Door Opens, Slams]
{y:i}[Bell Rings]|Oh, great, you got it.
Just in time.|Yes, sir.
Uh, here, wait.|Just a second.
[Sniffs]|Here. I want you to, uh,
put it in here|and then freeze it.
What should I do next?
I'm sketching a model.|Why don't you go to the beach, take a swim?
I... I could straighten up|the work room or something else.
No, no. Go ahead.
Anything really.|I just want to help.|{y:i}No, that's all right.
{y:i}Contemplating the waves...
will be a hell of a lot more useful|to you as a young writer|than watching me draw.
Okay.|There'll be, uh,
plenty more rigorous work to do...
at some point in the near future.
Don't spill that stuff.
[Clears Throat]
Take your dress off, please.
{y:i}[Woman Singing Aria]
And your bra.
{y:i}[Marion]|{y:i}Morning, Eddie.
Morning, ma'am.
{y:i}[Car Door Opens, Shuts]
{y:i}[People Chattering]
- "[People Whooping]"|- "[Woman] Bright, yeah.! Colors.!"
{y:i}[Men Speaking Spanish]
Did you just see that movie?|Yes.
Me too.
- Is that your dinner?|- Sort of, yeah.
I... got kind of tired of burgers.|I've had one every night since I got here.
Ted doesn't get you anything?|{y:i}Not really.
I mean, he would.|It's just, I don't think Ruth likes to eat with me.
I don't think your parents|would like it if they thought|we weren't taking care of you.
They wouldn't mind,|really, I don't think.
Eddie, would you like|to go to dinner one night?
{y:i}I'll make sure you get|{y:i}something... decent.
Thanks. Good night.
See you.|Bye.
{y:i}Just one second.!|Uh,
{y:i}Ruth wanted to be sure that one|{y:i}of the photographs was still here.
{y:i}She gets anxious if she can't see them|{y:i}or if they get moved.
Which one was it, sweetie?|There it is.
{y:i}He's just a little broken,|{y:i}but he won't die, right?|{y:i}Right.
Not yet.|No. Ruthie had a dream.
- Where's feet?|- "Hmm? What are you talking about?"
Where are the feet?|[Laughs]
- [Clears Throat]|- Sorry, Eddie.
We've gotten in the habit|of showing Ruth these pictures,|and if we don't she gets very worked up.
That's okay.|You can see them anytime.
{y:i}Ahh, see?|{y:i}See you in the morning, Eddie.
- "[Ruth] What did he do?"|- "[Door Opens, Shuts]"
[Alarm Chirping]
That's Mrs. Vaughn.
Came over to discuss some sketches.|Had some questions about them.
Uh, guess she's an early riser.
Do you want me|to drive you home now, or...|Uh, no.
I'm gonna... I'm gonna walk.|I left the revisions on my desk. Hmm?
Um, after I finish,|what should I do next?|I'll let you know.
{y:i}[Door Closes]
{y:i}Eddie, I should have knocked.
{y:i}It's my fault.|"I- I'm not angry. I"...
I'm just... I'm just embarrassed.
{y:i}[Drawer Slides Open]
Come here, please.
It's funny.|Let's just call it funny and leave it at that.
{y:i}Look at me.
I know boys your age.
{y:i}I know it's what boys your age do,|{y:i}isn't it?
{y:i}Look, Eddie, I am flattered.
It felt good to know that someone|was at least thinking about me.
{y:i}Oh, not to assume that you|"were thinking about me, um"...
Maybe about my clothes.|And I know you probably have|so many girls you think about.
- I didn't...|- I think about what you were wearing|when I first met you.
{y:i}It was a pink sweater,|{y:i}buttons up the front.
That sweater, it's so old.
Because of how it must feel|against your skin.
{y:i}Would you do me a favor?
Take this down with you.
Please?|All right.
Thank you.
I'll probably be about an hour.|Here. Why don't you go over the revisions?
- Hey, do you want your supplies?|- Oh, yeah.
{y:i}[Approaching Footsteps]
You look nice.
The tie or the jacket.|You really don't need both.
{y:i}How's the work going for you?
I just retype "A Sound Like Someone"|{y:i}Trying Not to Make a Sound|every morning.
Sometimes he changes|a comma from a semicolon,
and then the next morning|he changes it back.
He needs a computer.|Ted needs a driver.
That's why he hired you,|because he needs a driver.
I don't get to drive|much at home, so...
Eddie, you're so serious.
Boys your age|shouldn't be so serious.
I know a joke,|[Laughs]|But it's not very good.
Tell me.
There's this battleship out in the ocean,|and the captain of it, Captain Stern,
this captain learns that the mother|of one of his sailors just died.|Mm-hmm.
And the sailor's name|is Midshipman Abernathy.
So the captain thinks and thinks,|and he tries to come up with the best way|to tell Abernathy that his mother died.
And finally after staying up all night,|he comes up with a nice way|of telling him.
So the next morning he calls|the crew up on deck and says,
"Gentlemen, all of you whose mothers|are still living, step forward.
Not so fast, Abernathy."
I-I like that joke, Eddie. I...|No, it's a... it's a dumb joke.
I do. I do.
Why don't you ask Alice|out on a date?
She's not my type.
Well, she's a good nanny anyway.
I think it was wrong of us|to have had Ruth.
When we first moved here,|the idea was,
a new place,
a new child,
a new life, I suppose.
Ted's a good father.
{y:i}But he doesn't really know how|{y:i}to do all the stuff you have to do.
And I can't.
I can't with her.
I picked that one|because they're in silhouette,
and you can almost imagine|what they would look like now.
Timothy looks guilty.
Thomas looks like a wild animal.
This one's funny.
Tommy looks so...
{y:i}[Waves Breaking]
{y:i}[Children Shouting, Indistinct]
I hope I'm not disturbing you.|Oh, no. No, not at all.
You can tell in this picture...
Timothy is more introspective,
like you.
And you know where this is?
What does it say?
{y:i}"Come hither, boys, and become men."
Not pink with lilac.
I wasn't thinking about the colors.
I don't know if they had sex.
Thomas, maybe. He was so popular.
{y:i}But, Timothy, he was so shy.
That's all boys want, isn't it?
Before I die.
Have you had sex, Eddie?
Well, it's too hot in here,
so I hope you'll forgive me|if I don't wear the sweater.
You still really haven't had sex,|have you, Eddie?
Not really.
No, not really.
But I feel...
{y:i}[Car Alarm Blaring, Distant]|I feel complete.
{y:i}[Alarm Stops]
Come here.
{y:i}[Projector Clicks]|{y:i}[Ted] "There was a little boy|{y:i}who didn't know ifhe wanted to be born.
{y:i}"His mommy didn't know if|{y:i}she wanted him to be born either.
"They lived in a cabin in the woods|on an island in a lake,
"and there was no one else around.
"And in the cabin|there was a door in the floor.
"The little boy was afraid of what|was under the door in the floor,
"and the mommy was afraid too.
"Once, long ago, other children had come|to visit the cabin for Christmas,
"but the children had opened|the door in the floor...
"and had disappeared down the hole.
"The mommy had tried|to look for the children,
"but when she opened|the door in the floor she heard|such an awful sound...
"that her hair turned|completely white...
"like the hair of a ghost.
"And the mommy had|also seen some things,
"things so horrible|you can't imagine them.
{y:i}"And so the mommy wondered...
{y:i}"if she wanted to have a little boy,
"especially because of everything|that might be under the door in the floor.
"And then she thought, 'Why not?
"I'll just tell him not to open|the door in the floor.'
"Yet the little boy...
"still didn't know|if he wanted to be born...
"into a world where there was|a door in the floor.
{y:i}"But there were some beautiful things|{y:i}in the woods,
{y:i}"on the island and in the lake.
{y:i}"'Why not take a chance? 'he thought.
{y:i}"And so the little boy was born|{y:i}and he was happy,
"and his mommy was happy again too.
"Although she told the boy...
"at least once every day,
"'Don't ever, not ever,
"'never, never, never...
"open the door in the floor.'
"But, of course, he was only a little boy.
{y:i}"If you were that little boy,
{y:i}wouldn't you want to open|{y:i}that door in the floor?"
The publisher thinks|the drawings are too rudimentary|and there are too few of them.
But, um, I'm just|an entertainer of children,
and I like to draw.
Nudes, uh...|Nudes are a requisite fundamental exercise|for anyone who draws,
like... like landscapes.|So you do landscapes too?
No. Long Island's too flat.
You don't prefer to use|professional models?
If nakedness...|I mean, the feeling of nakedness...|is what a nude must convey,
well, there's no nakedness that compares|to what it feels like to be naked|in front of someone for the first time.
Hmm? Right, Eddie?
[Clears Throat]|Yes. Yeah. No.
{y:i}[Car Stereo: :|{y:i}Woman Singing, Indistinct]
I'm grateful to you, Eddie.|Oh, it's my pleasure.|It was very interesting.
No, I mean, uh,
I'm grateful to you for being|such a good friend to Marion.
She's been so unhappy.
It's good to see her smiling again.
[Both Panting]
{y:i}[Phone Ringing]
Hello, Cole residence.
No, he's not here yet.|Should I go look for him?
Excuse me, Mr. Cole.
Um, Patrick called|from Bobby Van's restaurant.
- He said you might want a ride home.|- I have a ride.
Go on home, Eddie.
Sorry, Mr. Cole. Good night.
{y:i}[Turntable Rattling]
Ready, Eddie?|Yup.
I, uh, converted this barn|into a squash court|when I first bought the place.
Not quite regulation|in its dimensions.
Plus, uh, there's a dead spot|in the floor by the back walls.
So, basically, I'm considered|even by the best players on the island...
to be unbeatable on my own court.
You play much?|Um, this is my third time.
Ahh, well, don't expect|mercy from me.
I'm gonna grind you|into a fine powder.
Where those red lines intersect,|that's called the "T."
Whoever controls the "T"|controls the game.
You need to win control of the "T"|if you hope to win the game.
Aah! Jesus!|{y:i}You all right?
{y:i}Yeah, I'm fine.
Yeah, it was a good shot though.|Still made it to the wall.
Isn't that a let?|Aren't you supposed to just|take the let and not hit the guy?
{y:i}Well, technically you're right,|{y:i}but I'll take the point.
Can't just take the "T."|You gotta earn it.
Aah!|9-0, 9-1, 9-0.
{y:i}You look like a boy|{y:i}who'll sleep well tonight.
Maybe you need to catch up|on your sleep anyway, hmm?
{y:i}[Marion Panting]
Stop screaming, honey.|It's okay. It's just Eddie and me.
G-Go back to bed, okay?
- Okay?|- Okay.
Did you get the stamps?|Ah, two rolls.
They still have the ones|with the nocturnal animals?|Mm-hmm.
Anyway, I, uh...|{y:i}[Vehicles Zooming]
I presume it was Marion's mistake,
but surely it was a mistake|for the two of you|to let Ruth see you together.
I'm not threatening you,|Eddie, but I must tell you...
that, uh, you may be|called upon to testify.|Testify?
In the event of a custody dispute,|regarding which one of us is a more fit parent.
I would never have let a child|see me with another woman,|whereas Marion...
has really made no effort|whatsoever to protect Ruth...
from seeing what she saw.
And if you are asked to testify|to what happened,
I trust that you won't lie...|not in a court of law.
From the sound of it,|it was a rear-entry position...
not that I have a personal problem|with that or any other position.
But for a child,
I imagine doing it doggishly...
must seem especially animalistic.
{y:i}[Racket Hitting Squash Ball]
I'll only be about 25 minutes today.
Just a quick sketch.
{y:i}I've never been unfaithful to Ted.
Why didn't you leave him?
Ted understands me.
Ted's the only one that really|knows what happened to me.
You don't need some time?
Aah! What are you doing?|[Giggling]
Okay. Ready?
"He starts with conventional portraits"...
a mother, a child.
Then the mother,|then the mother nude.
Then the nudes go through phases,
like innocence, modesty,
and shame.
Mrs. Vaughn?
Mrs. Vaughn is experiencing the...
degrading phase right now.
{y:i}[Jazz]|Move your head to the light.
"To the"...|{y:i}Evelyn, more to the light.
I want to know more about you.
You know too much already.
Tell me about the accident.
I mean, do you know|how it happened, or...
or was it anybody's fault?
{y:i}[Turn Signal Clicking]
{y:i}[Ruth]|{y:i}It was early in the morning,|{y:i}and Mommy was just waking up.
Thomas and Timothy crawled|under the covers. And Daddy|took the picture in France.
But what did you did|to the feet?
Well, maybe it never happened.
You know, maybe it was|just a dream.|No.
I guess it's just a mystery.|No, it was paper.
Don't you want to go back to bed?|Yes.
Bring the picture.|It's my picture. It's not yours.
That's true.
{y:i}[Ruth Crying]|{y:i}Mommy.! Mommy.!
{y:i}[Water Running From Faucet]
{y:i}[Ruth]|{y:i}Ow. Ow.!
She cut her finger, badly.|Ow.
{y:i}[Marion]|{y:i}Shh. It's okay.|Am I going to die?
No. You're not|going to die.
You're not going to die.
{y:i}You don't understand.|{y:i}I put the picture|{y:i}in her room. It's my fault.
That's not the point. The point is,|you shouldn't have gone into her room|in the first place.
That's her mother's job.|I told you, Marion was asleep.
I doubt it. I doubt "asleep"|would accurately describe|Marion's condition.
I did it to her. I asked her|about the accident.
Ah, it doesn't matter.
She was a great mother to the boys,|but she's for shits now.
It's my fault.|No. It's Marion's fault.
{y:i}[Ted]|{y:i}Ruthie, please.|{y:i}[Ruth]|{y:i}Mommy.!
- "Come on now."|{y:i}Go to sleep now. Please.|- Mommy!
I'm here, sweetie.|Come on.|Mommy!
Mommy!|Come on.|Now, please, Ruth.
Mommy!|Come on now, honey.
Mommy!|Mommy!|Come on.
[Sighs]|She had a bad dream.|She heard bangs. Heard banging noise.
What kind of banging noise?|I... I don't know.
What difference does it make?
Come on, honey.
[Sighs]|It's okay.
It's okay. Shh. Shh.|[Whimpering]
[Quietly]|It's okay.
It's okay. It's okay.
[Crying Softly]
It's okay.|It's okay. Come on.
{y:i}[Departing Footsteps]
Take me back.
{y:i}[Car Stereo: : Woman Singing Hip-hop]|{y:i}Like you should|{y:i}Right now, lick it good
{y:i}Lick this just like you should
{y:i}My neck, my back|{y:i}Lick my pussy and my crack
{y:i}My neck, my back|{y:i}Lick my pussy and my crack|{y:i}[Stops]
Leave it! Goddamn it.|{y:i}[Resumes]
{y:i}That nigga, get on your knees|{y:i}A bitch like me moans and screams|Love this song.
{y:i}Thug misses know what I mean|{y:i}At the club, so fresh, so clean
{y:i}Hos hatin'niggas watchin'me
{y:i}[Continues, Indistinct]
[Switch Clicks]
[Switch Clicking]
Why now?
I've stayed too long already.
You want me|to do what?
I want you to give her these,|but not the portfolio.
Just the drawings...|I want the portfolio back.
Isn't she expecting you?
Tell her I'm not coming,
but I wanted her to have the drawings.
It... It might be, um, awkward...
to ask for the portfolio back.
It won't be a problem.
{y:i}I- I don't really understand.|"He"... "He wants to give them to me."|{y:i}He doesn't want them?
He said he wanted you|to have them.
Uh, but when is he coming?|He's coming Friday, isn't he?
I have the whole day for him on Friday.|He knows I have the day.
Will you stop?|Is he coming on Friday?
I-I don't know.|Yes, you do know.
- Uh...|- "Did you look at those drawings?"|{y:i}Did he show you?
My God, I'm locked out.
{y:i}You're gonna have to break in.|Me?
You're gonna have to carry me|over the glass. I have bare feet.
How dare you?|How dare you detest me?|Ow!
You're not exactly living|an "un-sordid" life yourself, are you?|Just... Please, I wanna go home.
Oh, go!
- Why did she think you looked|at the drawings? Did you?|- No.
Oh, Christ. Of course you did.|{y:i}No. I didn't.|{y:i}She exposed herself to me.
Jesus. She did what?|{y:i}She didn't mean to, but she exposed herself.|{y:i}The wind, it b-blew her robe open.
- "Jesus Christ.!"|- And she locked herself out because of you.
She said you liked all the doors|to be locked, and you didn't like|the gardener to be around.
She told you that?|Yes.
She said she had the whole day|for you Friday.|[Sighs]
I can't spend the whole day|with her Friday.
You're gonna have to come|and pick me up in 45 minutes.|Make that a half an hour.
{y:i}[Marion]|{y:i}On Friday morning,|{y:i}you're going to leave him at Mrs. Vaughn's.
"I know"... "for half an hour."
{y:i}No. You're never going back,
{y:i}and it'll take him all day|{y:i}to make his way back home by himself.
Mrs. Vaughn won't offer him a ride.
I don't expect him back before dark.
Ted's gonna be really pissed off.
I read your, um... your story.
Oh. I thought you forgot.|No. I just didn't have a chance|to get to it before.
It's not very good, is it?|Oh, it's, uh... it's very heartfelt,
very... very personal.
It's, um...
Well, it's just a collection|of personal anecdotes|that don't really add up to much.
It's, uh...|I was just tryin' to see if I could|write something that seemed true.
Oh, it seems true. It, uh,|just isn't very interesting.
Sort of a...|an emotional outburst, but, uh,
it isn't really a story.
And that, uh... the guy, Hank...|you know, the one who dies at the end?|Yeah.
You need to prepare a reader|for something like that. Uh...
It just... It didn't seem like|the way things happened.|Well,
you need to let your audience|guess what's gonna happen...
you know, anticipate|what's gonna happen...|and then you surprise them.
But, um, you have to guide them through it.|You know what I mean?|Yeah.
There's a part of writing that, uh,
involves a certain manipulation.
That may seem cold to you,|but it is, you know, sort of cold.|I-I guess.
Everything in fiction is a tool:|Pain, betrayal,
even death.
These are, you know...
These are like, uh, different colors|on a painter's palette.|You need to use them.
Also, the details...|they could be more specific, you know?
Specific details, they...|they create whole scenes in a reader's mind.
Not being specific, that's just sloppy.|It's sloppy thinking.
S-Specific details?|Yeah...
smells, taste... details.
But I'll tell ya, for a, uh...
for a first effort, it's not that bad.
You know, the, uh...|Thanks.
The prose is a little purple,|a little pretentious.|Thanks. Thanks anyway for reading it.
You're welcome.
{y:i}[Car Stereo: : Hip-hop, Indistinct]
You ever think about|getting a computer?|{y:i}[Continues]
Be easier to do|your own revisions that way,|so you wouldn't need an assistant.
Maybe the next book.|Yeah.
{y:i}[Continues, Faint]|Oh, boy.|Uh, you better wait for me.
I'm not gonna last|a half hour with this woman.
Twenty minutes tops,|maybe 10.
{y:i}Ifhe hits you, hit him back.|{y:i}He won't make a fist.
At worst, he'll slap you.
You should make a fist,|and punch him in the nose.
If you punch him in the nose,|he'll stop.
You can call Alice|to help you with Ruth.|{y:i}Screw Alice.
You better start to like her a little.
When Ted kicks you out,|you're going to need a ride|to the ferry at Orient Point.
And who's gonna|explain this to Ruth?
I won't be a bad mother to her.
I'd rather be no mother|than to be a bad mother to her.
That doesn't|make any sense.
I don't want her|to be like me.
Remember, honey, don't cry|when the doctor takes the stitches out.
I promise you, it won't hurt.
Can I keep the stitches|to show you?
[Buckle Snaps]
You can take her anywhere for lunch.|All she ever eats is grilled cheese|and french fries.
And ketchup.|And ketchup.
I have money.
[Whispers]|I love you.
So long, Eddie.
Evelyn. Evelyn, wait! Wait now!|Come here,|you son of a bitch!
Come here, goddamn it!|I'll kill you, you fucking fraud!
Evelyn, Evelyn, Evelyn.
[Quietly]|Why the hell did he...|[Grunts]
{y:i}[Vehicle Engine Starts, Distant]
- Oh-oh.|- "[Vehicle Approaching]"
- Run!|- [Tires Squealing]
[Tires Screech]
[Breathing Heavily]
{y:i}[Classical, On Speaker, Faint]
All right.|And one more.
Did we get the picture?|What picture?
Feet.|Oh, the photograph.|No, it's not ready yet.
That's not very nice.|My stitches are ready.|My cut's all fixed up.
Yeah. You know what? You're right.|Let's go to the frame shop and tell 'em|to give us the picture. Good idea.
{y:i}[Man]|{y:i}Ted Cole?|[Breathing Heavily]
Yes. It is. It is Ted Cole.|Good morning, Mendelssohn.
It "is" Ted Cole.|It is.|Forgive me for bleeding.
Don't be silly. It's nothing|you need be forgiven for.|Uh...
Could you...|Ah!|Get Mr. Cole a chair.
Can't you see he's bleeding?|[Snapping Fingers]
Look, I...|No, you look. If there's no manager here,|there must be someone else.
There must be someone else here besides you,|and I'm not leaving without that photograph.
Did you got mad at her?|Yes, I did.
To put it simply,|I need a ride home.|{y:i}A ride? Yes.
I'll take you myself.
{y:i}Of course, um,|{y:i}I'm going to have|{y:i}to call the wife.
She's probably out shopping,|but not for too long.
You see, my car,|it's in the shop.|Mm.
I use a bicycle,|else I'd take you home.
Mm. Too bad.
{y:i}You warned him, you disgusting cretin.
{y:i}If you have killed him, Mrs. Vaughn,|{y:i}you would have gone tojail.
You want this? Hmm?|It's your last paycheck. You're fired.
I understand that you're angry.|I'm very sorry about that.
When my customers are angry,|I ask them to voice their complaints|in writing, if you don't mind.
I work for Ted Cole.|I'm a writer's assistant.|Then you won't mind writing, will you?
{y:i}[Pen Scratching On Paper]
"60 times." Really?
{y:i}[Tears Sheet Off Pad]
The Vaughns of Gin Lane?
We framed a painting|by Sibley for them called|{y:i}The Epitome of Diabolism.
Please go on.
{y:i}[Mendelssohn]|{y:i}Your signature is very, very beautiful.
I need a pen with a broader nib.|Also, some red ink, hmm?
Red like blood,|not like a fire engine.
Yes. Of course.
{y:i}[Eddie]|{y:i}This is Ruth. She's four.
What do you want from me?|Just the photograph.
It's of Ruth's mother.|She's in a bed in a hotel room in Paris.
It's not a good picture of the boys.|It's only their feet.
- Yes, I know. Ruth likes the feet.|- Are the feet ready?
Yes, dear.
I'll go check.|Should be almost ready.|Excuse me, ma'am.
Can I have my writing back, please?
It's really not out of my way.|I'd be honored to take you. Really.
No. That's all right.|Someone else will come along soon.
It's not trouble.|Really, I don't mind.
No. Really. There you are.|If you need a few minutes,|I can run a few errands.
I-I'd be thrilled|to take you. Really.|No.
There's no charge for the photograph.|Thank you.
{y:i}[Paper Rustles]
[Quietly]|Yes.|I'm sorry.
- Is the blood all gone?|- Yes, dear. See?
{y:i}As good as new.
- Okay. Thanks.|- Young man, if you're ever interested in a job,
perhaps next summer.
I can always use an extra hand|in the summer.|Thank you.
She wrote her freshman English|term paper on you.|Shut up.
Mmm.|What was the title of your term paper?
Uh, "An Analysis of|the Atavistic Symbols of Fear|in "The Door in the Floor. "
As you know, um, myths|and fairy tales of tribal peoples|are full of images...
like magic doors|and children disappearing...
and people being so frightened|their hair turns white overnight.
And the vagina?|When the, uh, little boy's in the womb,|the door in the floor is a... vagina.
How long was this paper?|"Twenty-eight pages"...
{y:i}not counting the footnotes|{y:i}and bibliography.|[Laughs]
I don't suppose you girls have a car?|Believe it or not, I need a ride.
Oh. Is this sandwich for me?|Yes.
These slippers are just wonderful.
They were a Christmas gift|from me to my late husband.
Ah. May I?|Please.
I'll get these clothes right back to you.|I was just gonna give them|to the Goodwill anyway.
Look at that.
Phil was almost exactly your size.
{y:i}You know,|{y:i}this is rather serendipitous.
{y:i}I've been looking|{y:i}for two suitable subjects|{y:i}for a mother and daughter portrait.
Something I'm thinking about for my book.|[Chewing]
At first I would want to draw|you and your daughter together.
That way, when I draw|each one of you separately,
uh, the presence of the other one is...|is, uh, somehow there.
How long would it take, and...
Uh...|which one of us would you|want to draw first... separately?
I should do Glorie first.|[No Audible Dialogue]
First, uh...|Well, first, the two of you together,|and then, uh...
then Glorie alone,|and then when Glorie's|back at college, you alone.
Mr. Cole,|you really are an enigma.
So which are you,|and artist or a writer?
Oh, Glorie, I'm...
I'm neither, really. I'm...|I'm just an entertainer of children,
and I like to draw.
What sort of drawings|did you have in mind?
- "[Mother Gasps]"|- "[Ted]"|"Don't"... "No, no, no.! Don't"... "Don't stop."
My goodness.|Wiper! Wiper.
Uh, yeah. Why don't you, uh,|just come in and wait on the porch.
I'll be right there.
[Kisses Softly]
{y:i}[Keys Jingle]
{y:i}[Engine Starts]
{y:i}[Car Departs]
Would you like, uh,|some refreshments,|some water or some tea?
For the whole rest of your life,|whenever you need to feel brave,|just look at your scar.
Your hand will grow bigger,|and your finger will grow bigger,|but your scar will always stay the same size.
And it will always show up|in your fingerprint.|What's a fingerprint?
I'll show you.
{y:i}[Vehicle Approaching]
[Engine Stops]
- "Those are my fingerprints."|- Ooh. That's really neat, Ruthie.
- So you were at the doctor's office|getting the stitches taken out?|- Uh-huh.
And we went to the beach.|And we had lunch.
{y:i}And Eddie showed me|{y:i}my fingerprint.|Oh, that's really neat, Ruth.
- I see the photograph was ready finally.|- We got the feet back!
Look at all this sand in your hair, Ruth.|You're gonna need a bath.
Well, I was waiting quite a while|for you this morning. Where were ya?
{y:i}Where's Marion going?|I'll give her the bath.|Better read that.
- Answer me.|- Read that first.
What's this?|It's the only good writing|I've done all summer.
"60 times"?
{y:i}[Door Slams]
Okay. Let's run.
{y:i}Did you saw that?
Where are all the other pictures?|Uh, I don't know.|Maybe Mommy moved them.
Look at you. You've got sand in your toes|and in your hair and in your ears.|I got it in my crack too.
Well, I guess it's a good time|for a bath then.
But Mommy didn't move those things.|What are those things?
They're picture hooks.|{y:i}[Water Running From Faucet]
- Mommy moved all the pictures|but not the picture hooks.|- I'll give Ruth the bath.
I'll take a quick shower.|Yeah. Make it quick.
Why would Mommy do that?
I don't know, sweetie.
{y:i}Hi. This is Ted.|{y:i}I can't play today, Dave.
Yeah, my wife's left me.
No, no. I'm okay.
Yeah. All right. Yeah.
I'll see you then. Bye.|{y:i}[Hangs Up Phone]
Aah!|Where the fuck is my wife?
I don't know.|Don't lie to me.
I hit you with an open hand...|with the flat of my hand!
You clench your fist,|you punch me in the nose?|{y:i}I'm sorry.
{y:i}Jesus Christ.!|I'm sorry. Marion said|it was gonna make you stop.
{y:i}[Ice Cubes Clinking]|{y:i}"Marion said"?|{y:i}If she thinks she's got a rat's ass of a chance...
to get custody of Ruth,|she's got another think coming.
{y:i}She doesn't expect to get custody of Ruth.|{y:i}She has no intention of trying.
- [Exhales] She told you that?|- "She told me everything I'm telling you."
[Scoffs]|What kind of mother doesn't even try|to get custody of her daughter?
{y:i}I don't know.|{y:i}She didn't tell me that.
Okay. Okay.
Christ.|{y:i}[Ice Cubes Clatter]
Why... Why did she have to take all|of the photographs? There're negatives.
{y:i}She could have taken the negatives|{y:i}and had prints ofher own made.|She took the negatives too.
The hell she did.|Go look for yourself.
{y:i}[Drawer Opening, Clattering]|{y:i}She can't have the photographs|{y:i}and the negatives.
They were my sons too.|I should have half the photographs,|for Chrissake. What about Ruth?
Ruth should have some of the photographs.|Marion said you'd say that.|But she said no.
Oh. Well, obviously,|she went to New York.
{y:i}I doubt it.|What do you know, Eddie?
That's the only place she could go.|I even know where in the city she is.|{y:i}I just can't imagine her goin'to New York.
You don't have an imagination, Eddie.
{y:i}[Sighs] Christ.|Aren't you planning on getting|a divorce with her anyway?
That Marion's question,|or is that your question?
- It's mine.|- Eddie, just stick to what Marion|told you to say, okay?
- She didn't tell me to get the photograph.|That was my idea.|- Well, that was a good idea.
- "I was thinking of Ruth."|- Yeah. I know you were.
Thank you.|You want a drink?
{y:i}[Ice Cubes Clinking]|No.
What day is tomorrow,|Saturday?|Yeah.
I want you out of here by tomorrow.|Sunday at the latest.|That's fine. I just need a ride to the ferry.
Alice can take you.|[Sighs]
What about this one?|Tell it!
I'm sorry, Ruth.|I don't know. Okay?|I just...
This is the one with Thomas in the tall hat.|Timothy is trying to reach Thomas's hat.
Timothy can't reach Thomas's hat,|'cause Thomas is standing on a ball.|Timothy got mad and started a fight.
Was the fight in the picture?|No. The fight was after|the picture, you dummy!
Okay. We're gonna go watch a movie.|Yes. We're gonna go.|No! No!
We're gonna go pick a video.|Yes, we are.|No!
Ruthie, stop it!|No! No!
Stop it!|No!
[Sobbing]|{y:i}[Ice Cubes Clinking]|{y:i}Oh, Alice.
What?|What have you done|to Alice, Eddie?
I didn't do anything.|She was crying|when I first got here.
I've been asking her|what's wrong, and she|won't even talk to me.
[Sighs]|Where's Ruthie?
Uh, she's asleep.|She was crying.|[Sniffles]
I'm sorry, Alice,|for springing|all of this on you.
Fuck you, Ted.|I appreciate you|pickin' up the slack.
I've spent years trying to get over|my own fucked-up family.
And I've done|the best I could with Ruth.
{y:i}No. I just can't anymore.|{y:i}[Sniffling]|{y:i}I'm gonna quit. I quit.
And you should have|the decency to quit too.
It's... It's too late for me to quit, Alice.|I just got fired.
{y:i}I never knew you were such|{y:i}a superior person, Alice.
[Scoffs]|Alice has been superior to me|all summer. Haven't you Alice?
I "am" morally superior to you, Eddie.|I know that much.
"Morally superior."|What a concept.
Don't you ever feel|morally superior, Eddie? Hmm?|To you I do.
{y:i}Yeah. You see? Everyone feels|{y:i}morally superior to someone.
Fuck you guys.
There goes my ride|to the ferry.
Oh, you're a smart boy, Eddie.|You'll think of someone to give you a ride.
{y:i}[Ice Cubes Clinking]|{y:i}[Ted]|{y:i}You want a drink?
No, thanks.
Oh, for Chrissake.|Have a beer.|{y:i}[Bottle Cap Twists Off]
Jesus. Look at this yard.
Cannot believe she doesn't want|custody of her own daughter.
What kind of mother|leaves her daughter?
I don't know her well enough|to judge her.|{y:i}[Sighs]
{y:i}Let me tell you something, Eddie.
I don't know her well enough|to judge her either.
{y:i}Yeah, well, don't forget,|{y:i}it's you she's really leaving.
Guess she knew you pretty well.|{y:i}[Chewing]
Well enough to judge me,|you mean? Certainly.
But then, she's leaving you too,|isn't she, Eddie?
{y:i}You don't expect her to call you up|{y:i}for a secret rendezvous, do you?
No. I don't expect to hear from her.|{y:i}No, me neither.
[Chewing]|Hmm. I have drawings of her.
I drew her long ago,|before the accident.
[Sighs]|She was so... so incredible.|So fucking beautiful. Amazing.
{y:i}You should have known her then.
{y:i}[Sighs]|{y:i}Oh, Marion.
She hated to pose for me.
These are the only drawings I kept.
I was never good enough|to draw Marion.
I didn't know how to.|I didn't have the ability, I guess.
You want one?|You can have one.
No. Ruth should have them.
Mmm.|That's a good idea.
You're full|of good ideas, Eddie.|[Sighs]
Wrong cubes.
[Gagging, Spitting]
{y:i}[Gagging Continues, Distant]
Jesus, aren't you the optimist?
Forget the light, Eddie.
This story's better in the dark.
What story?|You told me you asked Marion|to tell it to you,
but Marion can't handle this story.
Turns her to stone just thinking about it.
Remember, you turned her to stone|just asking her about it.
{y:i}I remember.
{y:i}Go on.
Well, here's the deal.
Thomas had his driver's license,|but Timothy did not.
Tommy was 17 and...|been driving for a year.
Timmy was 15. He had only started|to take driving lessons.
It was Ted's opinion that Timmy,|who was only learning,
was already a more attentive student|than Thomas ever had been.
Timmy studied the driving manual diligently.|[Sniffles]
He was a more patient driver than Thomas.
Not that Tommy was a bad driver.|Tommy was a good driver.
He was alert, confident.
He had excellent reflexes.
And he was cynical enough to assume...|as Ted had instructed him...
that every other driver is a bad driver.
Who taught to you drive, Eddie?
{y:i}Um, my dad.
Well, good for him.
Tell him for me,|he did an excellent job, would you?
Keep... Keep going.
{y:i}We were out west, actually,|{y:i}and it was after a long day of skiing.
"It was snowing"...|{y:i}a wet, thick snow.
At 17 and 15, respectively,
Thomas and Timothy|could ski the pants off their parents.
That day, in fact, Ted and Marion|had retired to the bar at the ski resort...
where they were waiting|for a very long time...
for Thomas and Timothy|to finish their last run...
and the last run after that.
{y:i}I get the picture.|{y:i}You were drunk.
Well, that, uh...
that was one aspect|of what would become trivial...
in the... area of the ongoing argument|between Marion and Ted.
I mean, Marion said that Ted was drunk,|although in his view, he wasn't.
Marion, while not drunk,|certainly had had more to drink|than she was accustomed to.
Besides, Tommy had not been drinking.|He had his license.
There was no disagreement|as to who among them should be the driver.
{y:i}And, brothers being brothers,
Timmy sat beside him in the passenger seat.
And as for the parents,
Ted and Marion... sat in the backseat.
{y:i}Ted and Marion|{y:i}began to quarrel...
{y:i}about the best route|{y:i}back to the hotel.
{y:i}There was gonna have to be a left turn|{y:i}no matter how Tommy did it.
{y:i}So, Tommy moves into the center lane.
It's, um, a turning lane.|It's not a passing lane.
He puts on his blinker,
not knowing that both lights|are covered with wet, sticky snow...
that his father failed to clear off|at the same time his father...
failed to clear off the rear window.
Any cars coming up from behind Tommy's car|can't see the directional signals or...
the brake lights or the tail lights.
The car is not visible,
or it's visible only at the last second to any...
anyone approaching from behind.
{y:i}[Turn Signal Clicking]
{y:i}[Ted Narrating]|{y:i}And then, the interior of the car|{y:i}is filled with light.
- "It's the headlights from the car"|{y:i}coming up from behind.|- "[No Audible Crash]"
[Exhaling Quietly]
[Exhales Louder]
The snowplow cut the car|almost perfectly in half.
[Metal Scraping, Crashing]
Tommy was killed by the steering column.|Crushed his chest. Died instantly.
And Ted...
was trapped in the backseat|for all of 20 minutes.
- He couldn't see Tommy, but he knew|he was dead because Marion could see him.|- [Turn Signal Clicking]
{y:i}[Continues Narrating]|{y:i}She couldn't see Timmy.|{y:i}He was directly in front ofher.
{y:i}Ted, however, could see|{y:i}that Timmy was still breathing.
{y:i}Ted could also see that the snowplow,|{y:i}as it cut the car in half,
{y:i}also cut Timmy's left leg off|{y:i}at the thigh.
Timothy Cole bled to death|of a severed femoral artery.
[Exhales]|Marion knew that Tommy was dead,
but only that Timmy|had been carried from the wreckage,
hopefully... to the hospital.
{y:i}And then Marion,
{y:i}she sees Timmy's shoe in the wreckage.
{y:i}"Oh, look. Timmy's shoe.|{y:i}He's gonna need his shoe. "
{y:i}And she walks over to it,|{y:i}reaches down to pick it up.
Ted... Ted wanted to stop her.
[Chuckles]|Talk about turned to stone.
I couldn't move.|I couldn't even speak.
And that was when Ted|allowed his wife to discover...
that her younger son's shoe|was attached...
to a leg.
And that was when Marion realized|that Timmy was gone... too.
And that...
that is the end of the story.
I hired you, Eddie,|because you look like Thomas.
{y:i}I gave her you.
See you in the morning, Eddie.
{y:i}[Door Closes]
It's Eduardo.|What's Eduardo doing here?
I don't know.|Maybe Mrs. Vaughn|hired him to kill you.
No, no.|Not... Not Eduardo.
{y:i}You don't see her|{y:i}out there anywhere, do you?|{y:i}She's not in the cab or in the back.
{y:i}Maybe she's lying|{y:i}underneath the truck.|{y:i}[Pop-top Cracks Open]
- I'm being serious, for Chrissake.|- So am I.
Why... Why don't you go out there|and, um, see what he wants?
Not me.|I've been fired.
Oh, for Chrissake.|What?
At least go with me then.|I can't go out there alone.
Mrs. Vaughn fired me.|Eduardo, Eduardo, Eduardo.
Let me make sure I understand you.
You think you saved my life,|and this cost you your job?
Yes, I did save your life,|and it did cost me my job.|Well, Eduardo,
I play squash regularly,|and I'm pretty fleet of foot, um,
but I do... I do appreciate|your brave warning.
How much money|are we talking about exactly?|I'm not here for a "hand-down," Mr. Cole.
I was hoping you might|have some work for me.
Let me... Let me show you|where I want to put a pool.
I want, uh, more lawn,|like an athletic field, you know?
Just, uh, pretty big.|You want some lines|painted on it?
No, no.|Just the size of an athletic field.
Wow. That's a lotta lawn.|A lotta mowin'.|All right.
And a lot of fertilizers.|Yeah.
Well, whatever you say.|I'm putting you in charge.|Thank you, Mr. Cole.
What about your wife?
What about her?|Oh, uh, does she work,|or what does she do?
Yeah, sure.|Sure, she works.
She cooks,|she look after our children.|Mmm.
Maybe, uh...|Maybe she'd like to clean my house.
Or maybe she'd like|to cook for me and, uh,
look after my daughter, Ruth.
Sure. I'll ask her.|Yeah?
Good. Good. Excellent.
Gotta do something about|these straggly flower beds too.
{y:i}[Eduardo] Oh.|{y:i}You can start today, Eduardo.
You can begin by taking my former assistant|to Orient Point, hmm?|Sure. I can do that.
Uh, immediately.|Before breakfast, huh?|Yes, sir. Yes, sir.
{y:i}Well, you're a fairly good driver, Eddie.
About Marion,|there's another thing you should know.
Even before the accident...|I mean, even...
even if there had never been|an accident,
she still would be difficult.
I don't believe it.
About the shoe,|it was a basketball shoe...
an "AirJordan," I think he called it.
Specific details, Eddie.
Specific details.
- "[Slapping Door]"|- [Engine Starts]
{y:i}[Racket Hitting Squash Ball, Distant]
{y:i}[Hitting Ball Continues, Distant]
[Breathing Heavily]
{y:i}[Racket Clatters On Floor]
DC Sniper 23 Days of Fear
D A R Y L 1985
Daddy Day Care
Daffy Duck - Drip Along Daffy (1951)
Daffy Duck - Duck Amuck (1953)
Daffy Duck - Duck Dodgers in the 245 Century (1953)
Daffy Duck and Porky - Boobs in the Woods (1950)
Daffy Duck and Porky - Daffy Duck Hunt (1949)
Daffy Duck and Porky - Deduce You Say (1956)
Daffy Duck and Porky - Golden Yeggs (1950)
Daffy Duck and Porky - The Ducksters (1950)
Daffy Duck and Porky - Yankee Doodle Daffy (1943)
Daffy Duck and Sylvester - The Scarlet Pumpernickel (1950)
Damien Omen II
Damnation (1988) CD1
Damnation (1988) CD2
Damnation de Faust La CD1
Damnation de Faust La CD2
Dance With Me
Dancer in the Dark (2001) CD1
Dancer in the Dark (2001) CD2
Dances With Wolves (Extended Cut) 1990 CD1
Dances With Wolves (Extended Cut) 1990 CD2
Dances With Wolves (Extended Cut) 1990 CD3
Dances With Wolves 1990 CD1
Dances With Wolves 1990 CD2
Dangerous Beauty
Dangerous Minds
Dantes Peak 1997
Dark Angel 1x15 Haven
Dark Angel 1x16 Shorties In Love
Dark Angel 1x17 Pollo Loco
Dark Angel 1x18 I Am I Am A Camera
Dark Angel 1x19 Hit A Sista Back
Dark Angel 1x20 Meow
Dark Angel 1x21 And Jesus Bought A Casserole
Dark Blue
Dark Blue World (2001)
Dark City
Dark Passage
Dark Water
Dark Wolf
Dark Woods (2003)
Darkness 2002 CD1
Darkness 2002 CD2
Darling 1965 CD1
Darling 1965 CD2
Das Boot - The Directors Cut
Dauria 1971 - Part 1 23976fps
Dauria 1971 - Part 2 23976fps
David Copperfield - Illusion CD1
David Copperfield - Illusion CD2
Dawn Of The Dead (2004)
Dawns Here Are Quiet The CD1
Dawns Here Are Quiet The CD2
Day A (2001)
Day After The 1983 23976fps
Day For Night CD1
Day For Night CD2
Day I Became A Woman The 2000 CD1
Day I Became A Woman The 2000 CD2
Day The World Ended The
Day after tomorrow The
Day of The Jackal [1973] CD1
Day of The Jackal [1973] CD2
Day the Earth Stood Still The
Days Of Heaven
Days Of Wine And Roses 1962 CD1
Days Of Wine And Roses 1962 CD2
Days of Thunder
De LAmour
De Vierde Man (23976)
Dead End 2003
Dead Friend
Dead Men Dont Wear Plaid (1982)
Dead Or Alive 2
Dead Presidents CD1
Dead Presidents CD2
Dead Reckoning
Dead Ringers
Dead Zone The
Dead again (1991)
Dead again (1991) Commentary
Dead man walking 1995 CD1
Dead man walking 1995 CD2
Dead or alive
Dear Diary 1994
Death To Smoochy
Death Warrant
Death Wish
Death in Venice 1971
Deathwatch 2002
Debut The
Decalage Horaire
Decalogue 06 1988
Decalogue 07 1988
Decalogue 08 1988
Decalogue 09 1988
Decalogue 10 1988
Decline of the American Empire The 1986
Deconstructing Harry
Deep Blue CD1
Deep Blue CD2
Deep Impact
Deep Loves CD1
Deep Loves CD2
Deep Rising
Deep Space 9 1x01 and 1x02 Emissary
Deep Space 9 1x03 Past Prologue
Deep Space 9 1x04 A Man Alone
Deep Space 9 1x05 Babel
Deep Space 9 1x06 Captive Pursuit
Deep Space 9 1x07 Q-Less
Deep Space 9 1x08 Dax
Deep Space 9 1x09 The Passenger
Deep Space 9 1x10 Move Along Home
Deep Space 9 1x11 The Nagus
Deep Space 9 1x12 Vortex
Deep Space 9 1x13 Battle Lines
Deep Space 9 1x14 The Storyteller
Deep Space 9 1x15 Progress
Deep Space 9 1x16 If Wishes Were Horses
Deep Space 9 1x17 The Forsaken
Deep Space 9 1x18 Dramatis Personae
Deep Space 9 1x19 Duet
Deep Space 9 1x20 In The Hands Of The Prophets
Deep blue sea
Defiant Ones The
Delicatessen (1991)
Delirium (Delirio Caldo)(23.976)
Deliv and Daniel Webster The
Deliver Us from Eva
Demetrius And The Gladiators 1954
Demoiselles de Rochefort Les CD1
Demoiselles de Rochefort Les CD2
Demon Baby
Demonic Beauty (2002)
Demonlover CD1
Demonlover CD2
Dentist 2 The 1998
Derrick 2004
Dersu Uzala (Akira Kurosawa) CD1
Dersu Uzala (Akira Kurosawa) CD2
Desert Fox - The Story of Rommel
Desert Rats The
Desk Set
Desperate Hours The
Desperate Living
Destination Tokyo CD1
Destination Tokyo CD2
Destry Rides Again
Detroit 9000
Devdas (2002) CD1
Devdas (2002) CD2
Devil Probable The
Devil Rides Out The 1968
Devil is a Woman The
Devils Advocate The CD1
Devils Advocate The CD2
Devils Backbone The
Devils Brigade The
Devils Own The
Dial M for Murder 1954
Diamonds Are Forever
Diana Krall Live in Paris
Diarios De Motocicleta
Diary of a Chambermaid
Diary of a Country Priest (1951 Bresson Robert)
Dias de Nietzsche em Turim
Dickie Roberts Former Child Star
Die Another Day (2002) CD1
Die Another Day (2002) CD2
Die Hard 1988 Extended Version CD1
Die Hard 1988 Extended Version CD2
Die Hard With a Vengeance
Die Nibelungen - Die Kriemhilds Rache CD1
Die Nibelungen - Die Kriemhilds Rache CD2
Diez de hollywood Los 1951
Dil Ka Kya Kasoor
Dil Ka Rishta
Dirty Dancing
Dirty Dancing - Havana Nights
Dirty Harry
Dirty Tiger Crazy Frog 1978
Discovery Air Jaws Sharks of South Africa
Discovery Channel - Raising The Mammoth
Dish The
Disorderly Orderly The
Distant Lights
Distant Thunder
Django spara per primo
Do Raaste
Do The Right Thing CD1
Do The Right Thing CD2
Dobry vojak Svejk
Dodeskaden (Akira Kurosawa)
Dodgeball - A True Underdog Story
Dog Nail Clipper
Dog Soldiers (2002)
Dogs Of War The 1981
Dogville CD1
Dogville CD2
Doing Hard Time CD1
Doing Hard Time CD2
Dois Perdidos Numa Noite Suja 2002
Dokument Fanny och Alexander CD1
Dokument Fanny och Alexander CD2
Dolce Vita La 1960 CD1
Dolce Vita La 1960 CD2
Dolores Claiborne (1995)
Domicile conjugal
Don Giovanni CD1
Don Giovanni CD2
Dong (The Hole) 1998
Donggam (2000) - Ditto
Donnie Brasco
Donnie Darko
Dont Be A Menace To South Central While Drinking Your Juice In The Hood
Dont Bother to Knock
Dont look now
Dont say a word
Donzoko 1957
Door in the Floor The 2004
Doors The CD1
Doors The CD2
Dora-Heita 2000
Double Jeopardy
Double Team
Double Vision (Shuang Tong)
Doulos Le
Down By Law 1986
Down Periscope
Down Time
Down With Love
Down and Out in Beverly Hills
Dr Dolittle
Dr Jekyll and Mr Hyde
Dr No
Dr Strangelove
Dracula - Dead and Loving It
Dracula 1931
Dracula 1979
Dracula Has Risen From The Grave 1968
Dragon Head CD1
Dragon Head CD2
Dragonball Z
Dragonheart (1996)
Dragonheart - Collectors Edition
Dragons Forever (Jackie Chan)
Dragstrip Girl
DreamKeeper 2003 CD1
DreamKeeper 2003 CD2
Dream Master The
Dream Of A Warrior (Cheonsamong)
Dreamers The
Dreamlife of Angels The
Dressed to Kill 1980
Drifting Clouds
Driving Miss Daisy
Driving miss Wealthy (2004)
Drop Dead Gorgeous 1999
Drowning Mona CD1
Drowning Mona CD2
Drums Along the Mohawk
Drunken Master (Yuen Woo-Ping 1978)
Du rififi chez les hommes (Jules Dassin 1955) CD1
Du rififi chez les hommes (Jules Dassin 1955) CD2
Duck Soup (1933 Marx Brothers)
Dude Wheres My Car
Duel The
Duel in the Sun CD1
Duel in the Sun CD2
Duel to the Death
Duellists The
Dumb And Dumberer When Harry Met Lloyd 2003
Dumb and Dumber
Dune 2000 - 1 of 3
Dune 2000 - 2 of 3
Dune 2000 - 3 of 3
Dungeons And Dragons
Dunken Monkey 2002
Dust in the Wind (Hsiao-hsien Hou 1986)
Dying td CD1
Dying td CD2
The Dawns Here Are Quiet The CD2