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Knight Rider 1x11

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[Theme music]
NARRATOR: Knight Rider, a flight into the dangerous world of a man...
who does not exist.
Michael Knight, a young loner...
on a crusade to champion the cause of the innocent...
the helpless, the powerless...
in a world of criminals who operate above the law.
[Dramatic instrumental music]
MICHAEL: Hi, guys. BONNIE: Hi.
MICHAEL: What's all this? DEVON: KITT's got a brand new feature.
KITT: I do?
Yes. You can now construct a composite drawing on your screen...
based on a verbal description.
As you see, it really is a remarkable resemblance.
MICHAEL: Yeah. It's pretty good. KITT: I'm impressed.
You should be.
- That's your version? - Yes.
- Frankly, there's not much hope. - I could say the same of your wit.
But I shan't. Instead, let me present you with your next case.
I got a problem.
My dear boy, don't be so modest. You have a wide range of problems.
I got a call from Albuquerque.
- From whom, may I ask? - Cheryl Burns.
She's in jail there. She asked if I could help her out.
MICHAEL: She's a good friend. DEVON: I see.
Remember Wilton Knight saying, "One man can make a difference."
- Yes. Indeed, I do. - Okay. I knew there'd be no objections.
MICHAEL: Thanks a lot. DEVON: Just a minute.
You can have two days, then I want you back on this case.
MICHAEL: You got it. Two days.
'Bye, Bon.
[Country song about endless highways]
[lnmates catcall and whistle]
CHERYL: Michael.
MICHAEL: Hi, baby. CHERYL: Thank God.
CHERYL: Thank you for coming. I'm so glad to see you.
MICHAEL: It's okay now.
MICHAEL: Baby. What happened?
Michael, it's like a nightmare.
The police are convinced that I killed my boss.
Michael, you know me. I'd never do anything like that.
MICHAEL: I know. It's all right.
No, it's not all right. No one will believe me or listen to me.
MICHAEL: I'll listen.
MICHAEL: What happened?
We were working late for the 10th night in a row.
He was always keeping me late for something.
So finally I asked him for a raise.
And he said if I wanted a raise, I'd have to earn it.
Then he started pawing me.
- What'd you do? - I ran out of the office, that's what I did.
The next morning, the janitor found him with a fractured skull...
and my desk lamp next to him.
God. All right.
Where did you go after you left the office?
I walked around for a while and then I went into a bar called the Bent Arm.
The Bent Arm. Can anybody prove you were there?
I talked to this guy named Marty.
He was real nice. He listened to me talk about my problems for hours.
This guy Marty, he have a last name? He tell you anything about himself?
No. Just that he's an accountant and he likes to gamble.
MICHAEL: What's he look like?
He's about 5' 9". He has light brown hair, thinning on top, glasses.
Kind of reminded me of Woody Allen.
MICHAEL: The police can't find him?
So you don't have an alibi.
Michael, I'm so scared. This is an awful place. The people...
Baby, I know. Don't you worry, okay?
What can I do? If my lawyer can't get the trial date pushed back, I'm finished.
You're not finished. I promise you I'm gonna find this guy.
What if you don't?
If I don't, I'll rob a bank and I'll get tossed in here...
and we'll get a beautiful coed cell together.
[Upbeat Country music]
- Hi, there. - Hi.
- What can I get you? - Beer will be fine.
- Draft? - Yeah. That's perfect.
- Looks like fun? - lf you like holding hands with an ape.
No, thanks. You know, a friend of mine told me about this place.
Maybe you know him. He's an accountant. Name's Marty.
- I don't know any Martys. - He's a little guy, brown hair, glasses?
- I said I don't know him. - Well, that's too bad.
I was hoping to find out where he is these days. I owe him some money.
Sounds like a guy who used to come here, but he moved out of town.
- You know where he went? - Sorry, I don't remember.
Did you say you wanna wrestle? Hey, Butch.
KIM: This guy's next.
KITT, there's an outgoing phone call. See if you can get me the number?
How you doing there, Butch?
Yeah. Hello, Marty? It's Kim. There's another guy here looking for you.
He says he owes you money.
No. I didn't tell him anything.
Okay, Marty.
You take care of yourself, okay? Bye-bye.
You're gonna go, pally. You got nothing left.
KITT, ON WRIST-RADIO: I've traced the number.
His watch was talking. I heard it.
Better luck next time, Butch.
KIM: I'll keep an eye out for your friend. MICHAEL: Never mind.
MICHAEL: Excuse me.
Excuse me.
KITT: Not a very cooperative fellow, is he? MICHAEL: No, he isn't.
I hate to bother you, but could you move your truck so I can get out?
Sorry, buddy. The city only gives me 45 minutes for lunch...
and I am not getting back in that truck until then, you understand?
Yeah, I understand.
MICHAEL: Yeah, KITT? KITT: Michael, can I be of assistance?
Yeah, buddy. As a matter of fact, you can. Go for it.
GARBAGE MAN: Hey! What's the big idea?
Holy mackerel!
That's city property. You can't do that to city property.
What about that phone number?
KITT: I traced it to an apartment building on Mayfield Road.
MICHAEL: Mayfield Road. Where's that? KITT: Claremont Bay...
which is approximately 474 miles north-northwest of our current location.
Then set a course for Claremont Bay.
KITT: Michael, I'm not certain who the call was made to.
There's no guarantee we'll find Marty at that address.
I know. There's an old expression I learned when I was a cop.
KITT: What's that? MICHAEL: "A lead is a lead."
Besides, it's a beautiful day for a drive.
MICHAEL: We can cut 100 miles off this trip by going through the desert.
Let's hit it.
[Adventurous instrumental music]
KITT: Is there any further information you can provide?
Sorry, buddy. That's all I know.
KITT: Although the data is relatively sketchy, the composite can be computed.
Let's see it.
KITT: VoilÓ!
- Can I go home now? - No.
I'd really like to be of some assistance to you. Honest.
But I really don't think I can be of any use to you.
I'll be the judge of that.
Look, Marty, we know all about your work at Falcon Enterprises.
We'd like a firsthand glance...
at some of that creative bookkeeping you're so famous for.
I don't know what you're talking about.
DICKERSON: About selling hot merchandise.
Of sending stolen goods across state lines and lots of other good things.
COP: Including illegal accounting. MARTY: No.
I don't know anything about that. Honest.
You do. On a stack of bibles, right?
Listen, Marty, I'm giving you a chance to help me and to help yourself.
Now, I need those books to make a case against your boss.
Now, if you get them for me, maybe, just maybe, we can cut a deal.
- I don't know what you're talking about. l... - Wait. Just think about it.
DICKERSON: We'll keep in touch.
Can I go now?
Sure. But if I were you, I wouldn't leave by the front way.
I go out the back door, you know what I mean?
What are you waiting for? Go on, before I change my mind.
DICKERSON: Yeah. Go on.
- What do we do now? - We watch him like a hawk.
All we gotta do is keep the pressure on him.
He's almost ready to crack right now.
He better, or we'll never get this case to the grand jury on time.
KITT: We're here.
MICHAEL: You sure this is the place?
KITT: Michael, are you questioning my navigating capabilities?
I was just asking.
KITT: You want apartment number 247.
Okay, buddy. Thanks a lot. Hang in here. This shouldn't take too long.
KITT: I've heard that before.
[Ominous instrumental music]
COP: Don't make a move. Now just turn around and start walking.
[Siren wails]
What were you doing at Marty Keene's apartment?
That's the sixth time you've asked me that question.
There's gonna be a seventh time until I get the right answer.
I got a friend on trial for murder. I need Marty to testify.
I heard all about that.
What I want you to tell me about is Falcon Enterprises.
I've never heard of Falcon Enterprises.
MICHAEL: I'm not trying to cause you trouble, believe me.
You are causing trouble, whether you want to or not.
- What's going on here, anyway? - That's on a need-to-know basis.
All I need is to get Marty Keene to Albuquerque to testify.
Then he's all yours. I'm out of your hair.
I really wish I could help you, but you and I want the same man.
In this town, I'm bigger than you are, so guess who gets what he wants?
You're making a real big mistake.
No. You're making a big mistake...
when you think you can waltz in here and do as you please.
You got it?
Look at me.
Now, I hope that look means "yes."
- Get him out of here. - Come on.
Hello, Marty.
MARTY: Hi, Mr. Farlan. FARLAN: What is with the "Mr. Farlan"?
FARLAN: I told you to call me Al. MARTY: Right, Al.
They said you wanted to talk to me. What can I do for you?
Well, as you know...
I've been working here for some time, Mr. Farlan...
and I think I've done a pretty good job of making this operation look legit.
Are you serious? You've been a genius.
Tell you what, to appreciate your services, I'm gonna give you a 10% raise.
That's very generous of you, Mr...
But I was thinking more along the lines of a little time off.
How much time would you like?
How about the rest of my life?
Marty, don't make jokes with me.
I need you to do those books. You know that.
Mr. Farlan, I think the pressure's getting to me.
My nerves can't handle it. What if I make a mistake?
- Then we're all gonna be in a fix. - Marty, you underestimate yourself.
You're just under a little too much pressure, that's all.
As soon as we clear out this inventory, I'll send you to Acapulco...
all expenses paid. Until then, you just relax.
Everything's gonna be fine.
MICHAEL: Picking up any sign of him yet? KITT: Not as yet.
Perhaps we're barking up the wrong tree, as they say.
No. Lt. Dickerson mentioned Falcon Enterprises.
There's gotta be some connection between here and Marty Keene.
KITT: Michael, I think I've made a positive identification.
MICHAEL: Where do you see him? KITT: Coming out the side door.
I think we found our man.
Wonder where he's going. I'll be right back.
[Suspenseful instrumental music]
[Upbeat disco music]
INSTRUCTOR: You're looking good. All right.
MICHAEL: Excuse me. You're Marty Keene, aren't you?
Will you guys leave me alone?
I'm just a little guy. I don't know a thing.
- I just wanna talk to you for a minute. - I don't want to talk to you.
Marty, just a minute. Come on. I just want to talk to you.
Nice catch.
You know, I have a really hard time understanding people like you.
Why? I'm just trying to keep an innocent lady out of jail.
I told you to stay away from Marty Keene.
- You never gave me a very good reason. - I don't have to give you a reason.
Let's just say that my department...
has put too much time and effort into this investigation...
to have it all go down the tubes because of some self-appointed hero.
Now, are you getting my drift, Mr. Knight?
I get your drift. You do what you have to do, I'll do what I have to do.
Fine. Because from this moment on...
my men have orders to lock you up if you interfere.
- Yeah, I'll remember that. - Yeah. You see you do.
MICHAEL: Nice catch.
[Suspenseful instrumental music]
KITT: Wouldn't it better to see the local DA and arrange for extradition?
It would take too long, KITT.
KITT: But perhaps he'd overrule Lt. Dickerson...
and allow us to transport Marty back to Albuquerque.
Remember what Dickerson said? This is his turf, he calls the shots.
I don't see that man giving us any help at all.
KITT: In that case, my microwave jammers are ready.
All right.
MICHAEL: Showtime.
Dink, call somebody to come down and check this out. This is ridiculous.
[Phone dialling]
KITT: Here comes our call, Michael.
Standard Power Company.
DINK, ON PHONE: Could you get a guy over to Falcon Enterprises...
1322, Crescent as soon as possible?
DINK: We got some kind of a power foul-up. MICHAEL: Be right there.
Keep your micro-jam going, okay, KITT?
Be back soon. Don't blow a fuse?
KITT: On the contrary, the sensation is quite intoxicating.
Well, try and stay sober until I get back.
[Suspenseful instrumental music]
The outlet's on the wall over there.
MARTY: Wait a minute. You're the guy from the gym.
- What do you want with me? - Sit. I wanna ask you some questions.
Marty, you met a girl in Albuquerque.
A bar called the Bent Arm. Her name was Cheryl.
Right? Pretty smile. Brunette.
- Yeah. What's this all about? - Murder.
Dink, what has that repairman got to do in Marty's office?
Beats the hell out of me.
MARTY: I'd like to help, but I don't think Mr. Farlan would let me go with you.
MICHAEL: Why not?
MARTY: Well, because...
What kind of business is Falcon Enterprises, anyway?
- Hey, you can't look at that. - Why not, Marty?
Is that why the cops are onto you?
We better take care of them while we have the chance.
[Suspenseful instrumental music]
I don't think this is such a good idea.
It's all right. Trust me. Come on.
[Dramatic instrumental music]
Shut the door.
MICHAEL: KITT, get in here fast. We need your help.
MICHAEL: Get in here on the double, buddy. I need you.
[Triumphant instrumental music]
MICHAEL: What took you so long? KITT: I came as quickly as I could.
MICHAEL: KITT, Marty's gone. Let's get out of here.
Look at this place. It's a disaster area.
- There's no sign of Marty. - What about the other guy?
There's no way I was gonna catch him.
Find Marty before he gets to the cops and spills his guts.
DICKERSON: Look, nobody disappears into thin air.
I don't care.
It's imperative that neither of them gets across the state line...
under any circumstances.
All right. Okay. You keep me posted.
What happens now?
We gotta find Marty before Farlan does.
Come on.
INSTRUCTOR: So you wanna sign up?
To be honest, no, not really.
Then what do you want?
Maybe you can help me. I'm looking for a friend.
Maybe you know him. Marty Keene.
Sure. Marty's my special project.
In a couple of months, that pussycat's gonna be a real tiger.
Any idea where I might find him?
Sorry. He was here, but he left.
Is there some special place he goes to?
- I really wouldn't know. We're not that close. - All right. Thanks a lot.
INSTRUCTOR: You can come out now. I don't want you to get too sunburned.
INSTRUCTOR: You poor thing.
MICHAEL: Devon, things aren't going as well as I expected.
I need an extra day or two.
It's perfectly all right with me...
although at this point, time is a luxury you can't afford.
MICHAEL: What do you mean? DEVON: I spoke to Cheryl's attorney.
The judge has refused them a continuance.
- I'm afraid Cheryl goes on trial tomorrow. - No.
Come on, KITT. We gotta find him.
He ain't here, boss.
No-good, little twerp.
I give him a chance to earn big money and this is how he thanks me.
You want me to trash this place?
No. We better leave. He may have the cops on us already. No-good fink.
[Brakes screeching]
MICHAEL: Boy, am I dumb. KITT: Where are we going?
Back to Marty's apartment.
KITT: My analysis of human behaviour suggests that the last place...
Marty would hide is his own residence.
Perhaps you'd care to explain the logic behind your decision.
It's more like reverse logic.
Nobody would expect Marty to hole up in his own apartment.
So maybe Marty figures nobody will bother checking there.
KITT: I'd have to say that's a long shot.
Maybe, but right about now, it's the only shot we got.
There goes our case, right down the toilet.
Maybe the blues turned up something. Knight's car is awfully hard to miss.
Yeah. I hope so.
[Suspenseful instrumental music]
MICHAEL: Okay, KITT. I'm gonna need a boost about 25 feet up.
KITT: Certainly, Michael.
MICHAEL: Thanks, KITT. KITT: Don't mention it.
Sorry. I forgot my key.
MICHAEL: Wait a minute. You're not getting away this time.
You okay?
You sure?
All right. I just wanna ask you a few questions.
Marty, how'd you get involved with Falcon Enterprises in the first place?
I took the job 'cause I owed a lot of money.
I didn't know it was a fencing operation.
When I found out, I tried to quit, but Mr. Farlan wouldn't let me.
It's okay. Come here. Calm down. Just sit down, relax.
I'll get you out of this mess...
but you've gotta come back to Albuquerque with me and testify.
I'll do anything to get out of this jam.
Great. Soon as we steal your accounting books, we'll go.
Are you crazy? Not me. No way.
MICHAEL: You got no choice, Marty.
We gotta get the evidence on your boss or the police will not let us leave town.
MICHAEL: Cheryl's trial starts tomorrow. MARTY: But that's illegal.
That's why the police can't break in and steal them. But we can.
There's one thing you still don't seem to understand.
- What? - I'm a coward.
We'll never make it. It's gonna be daylight pretty soon.
You're right. Better get cracking.
KITT, when we go in, if we're not back in one hour, call the police.
KITT: Be careful, Michael. MICHAEL: Aren't I always?
KITT: You don't want me to answer that question.
Who you talking to?
I'll explain later.
Are you a ventriloquist?
[Suspenseful instrumental music]
MICHAEL: Okay. Come on.
MARTY: I got it. It's all right. Okay.
MARTY: I'm up. Okay. Here I go.
Come on, Marty.
- KITT. - Is everything all right?
MARTY: I'm sorry. MICHAEL: It's all right. Forget it.
KITT: Michael, I've been spotted by one of the guards.
What the...
GUARD: How did it do that?
Mr. Farlan, you better get over here. Something funny's going on.
No. I can't go through with it.
- Sure you can. - No. I'm too nervous.
- Come here. Calm down, Marty. - What are we doing here?
Sit down here, okay?
- Close your eyes. - What for?
I'm gonna take you out of this environment. Close your eyes.
Now picture yourself on a sailboat off the coast of...
No, not a sailboat. I'd get seasick.
Don't be negative. You're not getting seasick.
You're on a sailboat off the coast of a tropical island.
You're with the girl of your dreams. Who's that?
- Alice Melkin. - Alice Melkin.
She's lying on the bow of the boat, swaying to and fro.
- She's beautiful. - Yeah.
You're rubbing hot oil all over her shoulders, back and forth.
It's a beautiful day. The hot sun makes everything romantic.
- Yeah. - She turns to you. She says, "I love you."
[KITT humming]
MARTY: Here. This is all we need.
MICHAEL: Grab them. MARTY: Okay.
- Are we going now? Okay. - Let's go. Come on.
Get going, pal. It's light outside.
Stay low and don't trip over anything.
Well, well. How very nice of you to drop by.
Mr. Farlan, this isn't what it looks like.
Knock it off, Marty. You're not gonna weasel your way out of it this time.
The cops will give you a nice bonus for those books.
I'm not working for the police.
No? That's too bad. I hear they give very good funerals.
Now, if you don't mind, I believe you have my property.
KITT, ON LOUDSPEAKER: Police! You are surrounded.
Throw down your weapons and put your hands over your heads.
MICHAEL: Okay, go.
GUARD: I told you it moved by itself. MICHAEL: Get in, Marty. Great timing, KITT.
[Dramatic instrumental music]
FARLAN: Get the guards on the phone. Quick.
MICHAEL: Can I buckle your seat belt?
- Wait a minute. Who's driving the car? - KITT.
- Who's KITT? - Don't worry about it.
I am worried about it. Drive the car.
- What is all this stuff? - It's a computer, Marty.
Yeah, but how does it manage to drive itself?
It just does.
Yeah. And I suppose it talks, too.
KITT: On a variety of subjects. What do you care to discuss, Mr. Keene?
- You're not a ventriloquist. - Never said I was.
What are you doing?
Punching up radar scan. What's their distance, KITT?
KITT: Approximately, 400 yards.
Shouldn't we accelerate or do you want them to catch us?
No, buddy. I just want them to think they can catch us.
KITT: Michael, I'm not sure I understand.
We've got the books. Why don't we go to the police?
That's the next step.
See if you can pick up police frequency. I wanna talk to Lt. Dickerson.
Yeah. This is Dickerson?
MICHAEL, ON RADIO: This is Michael Knight.
Knight? How did you get a police frequency?
I'll explain later. I got Marty Keene and the books from Falcon Enterprises.
Where do you want them delivered?
All right, Knight. What kind of stunt are you up to now?
I'm not trying to pull any stunt, Lieutenant. I'm just trying to help.
I'll be at the end of Highland Road.
You got it.
You think he's on the level?
There's only one way to find out.
DISPATCHER: Unit 17 respond to a 4-16 east end of Highland Road by the docks.
Repeat. East end of Highland Road by the docks.
[Dramatic instrumental music]
Hang on, Marty.
- They're shooting at us. - It's okay, Marty. KITT's bulletproof.
DINK: Hold on.
[Farlan yells]
Will you keep this thing steady so I can hit him?
All the bullets in the world aren't gonna stop that car.
- What's the matter now? - There's something I gotta tell you.
MARTY: I get carsick. KITT: What do you mean you get carsick?
Well, sometimes...
if you know the car is moving and there's a lot of motion...
Just hang in there, Marty.
Pretty great?
Here he comes.
KITT: Michael, I'm picking up an obstruction a half a mile ahead.
That should be Dickerson.
- What are you doing? - Just sit tight. You'll see.
Look. That truck up ahead.
- When I count to three, hold your breath. - What are you doing? Wait a minute.
One, two...
DICKERSON: All right. Let's go. Come on. COP: And spread them.
DICKERSON: Okay. You're under arrest. FARLAN: For what? You've got nothing.
Not true. We've got all the evidence we need to put you away.
You got all the evidence you need, Lieutenant, right there.
Thanks, Knight.
- I guess I was a little rough on you? - Well, maybe a little.
I'm sorry, kid.
I guess it's just part of my style.
I just wanted to thank you for everything you did.
Let's go, Marty. Come on. You're part of this package, too.
Wait a minute. This was all Marty's idea.
If it weren't for him, you wouldn't have the books.
He's willing to help put your boss away, aren't you, Marty?
Yeah. Absolutely.
- Really? - On one condition, that is.
- And what might that condition be? - Let him go to Albuquerque to testify.
- I can live with that. - Thank you.
MICHAEL: Let's go, Marty.
MICHAEL: He'll be back before you know it. DICKERSON: Okay.
MICHAEL: You look beautiful. CHERYL: Thank you.
MICHAEL: How's it feel to be free? CHERYL: Absolutely wonderful.
This had to be the most frightening experience of my life.
Well, it's okay now. Besides, they found the real murderer.
I'll never be able to thank you for believing in me.
It's okay.
Hey. What about me?
Thank you, too, Marty.
- I hope you learned a lesson. - Boy. You better believe it.
From now on, I'm sticking to the track. I have better luck with the ponies.
MARTY: Do you know who's running tomorrow?
BUTCH: I want you. MICHAEL: Hi there, Butch.
- Let's go. Right up here. - Yeah. KITT.
You can talk to your watch all you want this time.
I know you're a ventriloquist. You ready now?
You ready? Go!
[Theme music]
NARRATOR: Michael Knight, a lone crusader in a dangerous world...
the world of the Knight Rider.
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King The (2003) CD1
King The (2003) CD2
King of Comedy The (1983)
King of marvin gardens The
Kings Go Forth (Delmer Daves 1958)
Kinjite Forbidden Subjects (J Lee Thompson 1989)
Kiss Me Kate 1953
Kiss Me Stupid - Billy Wilder 1964
Kiss Of Death
Kiss of the Dragon
Kiss the Girls
Kitchen Stories
Kites Over Helsinki
Kitne Door Kitne Paas (1999)
Kjrlighetens Kjtere
Klumps The
Klute 1971
Knafaim Shvurot
Knife In The Water 1962
Knight Rider 1x03
Knight Rider 1x04
Knight Rider 1x05
Knight Rider 1x06
Knight Rider 1x07
Knight Rider 1x08
Knight Rider 1x09
Knight Rider 1x10
Knight Rider 1x11
Knight Rider 1x12
Knights Of The Round Table
Knights Tale A
Knockin On Heavens Door
Koi mil Gaya (2003 Hindi)
Kral Sokolu
Krull 1983 CD1
Krull 1983 CD2
Kuch Naa Kaho 2003
Kukushka 2002
Kumokiri Nizaemon (1978) CD1
Kumokiri Nizaemon (1978) CD2
Kung Fu Hustle 2004
Kushi 2003
Kyun Ho Gaya na