Equalizer, The OV Final Spot R1

"THE EQUALIZER" REEL 1AB, PAGE 1
OV_FINAL SPOTTING/SUBTITLES (SDI MEDIA)
LABORATORY: 0.00 AT START MARK
152.05 = 1ST SCENE END
238.10 = 2ND SCENE END
243.07 = 3RD SCENE END
246.13 = 4TH SCENE END
(Scope 2.35)
1-1. 124.12 128.15 4.03 NARRATIVE TITLE)

(41)
The two most important days in your life
1-2. 129.03 134.10 5.07 NARRATIVE TITLE)

(54)
are the day were you born and the day you find out why.
(find out why : i.e., 'find your purpose in life')
1-3. 134.14 136.08 1.10 NARRATIVE TITLE)

(16)
-Mark Twain
(Note that this quote is widely attributed to Mark

Twain, though the origin of said quote cannot be
confirmed)
(Robert McCall, a middle-aged African-American
who works at a home improvement store,
effortlessly pushes a cart loaded with 100 pound
bags of cement to where a Laborer is waiting)
1-4. /314.07 316.09/ 2.02 NARRATIVE TITLE) (of bag)

(21)
CEMENT 100LB
(LB : abbreviation for 'pound')

1-5. /316.13 322.04 5.07 MAN ON P.A. SYSTEM

ITAL (54) OVER SPEAKER TO GROUP)
Associate to builder services. Associate to builder services.
(Associate : i.e., 'Employee')
(to : i.e., 'please assist a customer in')
1-6. 333.11 339.00/ 5.05 MCCALL TO LABORER,

(53) THEN LABORER TO MCCALL)
-Thought you finished this job last week.
-The owner wants the driveway wider now.
1-7. 340.05 341.14/ 1.09 MCCALL TO LABORER)

(15) When they pay....
(When they pay, they say : Rhyming adage
meaning that the person funding the project has the
right to dictate how the project is run)
1-8. 342.08 344.08/ 2.00 LABORER TO MCCALL)

(20) They say.
1-9. /344.12 346.04 1.08 LABORER TO MCCALL,

(15) THEN MCCALL TO LABORER)
-Thank you.
-Yeah, later.
(McCall walks off, passing Marcus and Jay, two
young employees)
1-10. 346.08 350.07 3.15 MARCUS TO JAY, THEN JAY TO MARCUS)

(39) -They make the newer guys take tests.
-Like firemen.
(newer guys : i.e., 'recently hired employees [at
this store]')
(tests : i.e., 'physical fitness tests' - to ensure they
can lift items as necessary, cut wood properly, etc.
or in other ways have the necessary physical
stamina)
(Like firemen : Referring to the fact that firemen
also must undergo physical fitness tests to prove
they would be able to carry bodies, climb ladders,
etc.)
1-11. 350.11 355.13/ 5.02 MARCUS TO MCCALL)

(51) Yo, Pops. Bet you didn't have to push no dollies at your old
job, did you?
(Yo : Slang interjection used to gain another
person's attention)
(Pops : slang term used to address a much older
man - note that 'pop' is a shortened form of 'poppa,'
an idiomatic term for 'father')
(at your old job : i.e., 'at your former place of
employment' - note that Marcus and Jay are
intensely curious about McCall's former job, and
are interested in finding out what it was)
1-12. 356.10 358.09/ 1.15 MCCALL TO MARCUS)

(19) Guilty as charged.
(Humorous idiomatic expression of agreement -
i.e., "That is the truth.')
(McCall walks on, and enters the break room,
where various employees are eating lunch)
1-13. 375.04 377.08 2.04 MCCALL TO JENNY)

(22) How you doin', Jenny?
1-14. 379.14 381.13 1.15 JENNY TO MCCALL)

(19) Better now.
(i.e., 'I'm better now that you are here.' - Note
flirtatious tone)
(McCall sits at a table where Ralphie, a heavyset
young man, is eating a sandwich)
1-15. 385.12 388.12 3.00 RALPHIE TO MCCALL,

(30) THEN MCCALL TO RALPHIE)
-How's it going, Mr. McCall?
-All right, Ralphie.
(How's it going : Slang greeting -i.e., 'How are
you')
1-16. 389.00 391.02/ 2.02 MCCALL TO RALPHIE,

(21) THEN RALPHIE TO MCCALL)
-What you got there?
-It's tuna.
(What you got there : Idiomatic for 'What do you
have there' - i.e., 'What are you eating')
1-17. /391.06 394.14 3.08 MCCALL TO RALPHIE,

-Bread?
-Whole-grain, gluten-free.
(Bread : i.e., 'What type of bread')
(gluten-free : note that gluten, a protein composite
found in wheat, barley, rye and triticale, is not
tolerated well by people with celiac disease and
gluten allergies - though only a small percentage of
the population actually suffer from gluten
intolerance, there are health claims, whether
founded or not, that a gluten-less diet benefits
everyone and many adopt this sort of diet as part of
a healthy lifestyle)
1-18. 395.02 400.02/ 5.00 MCCALL TO RALPHIE,

-Okay. Condiments?
-Sprouts, avocado and Vegenaise mayo.
(Sprouts : Alfalfa sprouts)
(Vegenaise : brand name of egg-free mayonnaise
- note a portmanteau of 'Vegan' and 'mayonnaise')
1-19. 401.08 402.09/ 1.01 MCCALL TO RALPHIE)

(10) Okay.
(Ralphie takes a bite and suspicious crunching is
heard)
1-20. 407.03 409.01/ 1.14 RALPHIE TO MCCALL)

(18) There's a bone in the tuna.
(McCall gives Ralphie a look. Ralphie hands
McCall his sandwich, and he lifts the top piece of
break to find potato chips inside)

(20) What? Potatoes are a vegetable.
1-22. /422.14 427.06/ 4.08 RALPHIE TO MCCALL,

-I like crunchy things.
-Carrots are crunchy. Dried seaweed is crunchy.
(I like crunchy things : i.e., 'I like crunch food
items' - Note humorous justification)
1-23. /427.10 429.09/ 1.15 RALPHIE TO MCCALL)

(19) I'm a human, not a rabbit.
(Note that rabbits stereotypically love carrots)
1-24. 430.15 435.06 4.07 MCCALL TO RALPHIE)

(44) You wanna make security guard, you gotta lose weight and
you got a test in one week.
(make : i.e., 'become' - 'achieve the position of')
(test : i.e., 'physical fitness test' - part of the
application process for the position)

(51) Now, you asked me to help you, but if you're not willing to
apply yourself....
(apply : work hard or spend a significant amount
of time on something)

(11) Yeah.
(Here said as acknowledgment that McCall is
correct)
1-27. /442.06 443.08/ 1.02 MCCALL TO RALPHIE)

(11) Hey.

(23) Progress, not perfection.
(Adage implying that one should pursue improving
one's life incrementally rather than trying to
immediately attain perfection, as the latter will only
result in disappointment)
(McCall gives the sandwich back to Ralphie, who
starts taking the chips off his sandwich)
1-29. 454.03 457.00/ 2.13 RALPHIE TO MCCALL,

-No more chips.
-No more chips.

(22) Who needs flavor? Right?
(Who needs : Humorous for 'I don't need')
(Who needs flavor : i.e., 'While I love flavorful
food, it's something I will have to sacrifice for my
health.')
(McCall rides the bus home to his home in a lower
middle-class neighborhood. Around 2AM, McCall
leaves his modest, immaculate apartment and goes
to a diner)
1-31. 625.07 627.14 2.07 NARRATIVE TITLE) (of sign)

(24)
BRIDGE DINER
(McCall sits at a corner table with his book,

arranges the items on the table to his preference
and takes out the tea bag he brought with him)
1-32. /660.14 663.03/ 2.05 NARRATIVE TITLE) (of book)

(23)
THE OLD MAN AND THE SEA
(Last major work of fiction to be produced by Ernest

Hemingway and published in his lifetime - Note that
the novel's themes are echoed in this film: a man
finding his place in the world, the honor that can be
found in struggle, and proving one's determination
over and over through the worthiness of the
opponents one chooses to face)
1-33. 681.05 685.09/ 4.04 POWER & ELECTRIC GUY #1 TO COUNTERMAN,

(42) THEN COUNTERMAN
TO POWER & ELECTRIC GUY #1)
-All right, see you later, J.
-Have a good one, Billy.
(see you later : idiomatic farewell)
(J : nickname for Jake, the Counterman, using his
initial)
(Have a good one : Idiomatic farewell - i.e., 'Have
a good night' - 'Have a good day')
(Two Power & Electric Guys pass Teri, a Russian
teenage prostitute sitting at the counter, eating pie.
One makes kissing sounds as he goes by)
1-34. 691.11 694.00 2.05 TERI TO POWER & ELECTRIC GUY #2)
(23) Fuck you.
(Vulgar slang dismissal)
(The Counterman brings McCall a pot of hot water
without his asking)
1-35. 704.09 706.11/ 2.02 MCCALL TO COUNTERMAN,

(21) THEN COUNTERMAN TO MCCALL)
-Thank you.
-You're welcome.
(McCall starts to read)
1-36. 718.04 720.06/ 2.02 TERI TO MCCALL)

(21) He catch that fish yet?
(Referring to the plot of The Old Man and the Sea)
1-37. 724.07 726.03/ 1.12 MCCALL TO TERI)

(17) Just hooked it.
1-38. 726.13 729.00 2.03 TERI TO MCCALL)

(21) It's about damn time.
(Idiomatic expression meaning that someone has
finally arrived or along-awaited event has finally
happened - i.e., 'It is long past the right time.')
1-39. 729.04 732.06/ 3.02 MCCALL TO TERI)

(31) Well, it's a big fish.
1-40. /732.10 735.00/ 2.06 MCCALL TO TERI)

(23) Don't know if he can hang on, though.
(hang on : note double meaning - [1] i.e., 'keep the
fish on the hook,' and [2] i.e., 'persevere')
1-41. 736.14 738.10 1.12 TERI) (exclaiming)

(17) Oh, no.
1-42. /739.12 742.00/ 2.04 MCCALL TO TERI)

(22) Tooth and nail, right now.
(Tooth and nail : Idiomatic for 'Very aggressively
or with every available means - i.e., 'The fisherman
is fighting very hard to keep the fish')
1-43. /742.04 745.15 3.11 TERI TO MCCALL)

(36) Yeah, well, maybe he's just too old.
(Note veiled allusion to McCall, whom many people
underestimate because of his age)
1-44. /752.07 755.00/ 2.09 MCCALL TO TERI)

(25) Thought you were gonna give up that refined sugar.
(give up that refined sugar : i.e., 'stop eating foods
containing sugar made purer by an industrial
refining process')
1-45. 755.11 756.13/ 1.02 TERI TO MCCALL)

(11) I am.
1-46. /757.01 758.05/ 1.04 MCCALL TO TERI)

(12) When?
1-47. /758.09 760.05 1.12 TERI TO MCCALL)

(17) Any day now.
(Note humorously evasive answer)
1-48. 760.09 762.03 1.10 MCCALL TO TERI)

(16) Yeah?
1-49. 762.09 765.04 2.11 MCCALL TO TERI)

(26) Bad for your vocal cords.
(Bad for : i.e., 'Refined sugar has a deleterious
effect on')
1-50. /769.00 771.13/ 2.13 MCCALL TO TERI)

(28) Body, mind, spirit, remember?
(Body, mind, spirit : Based on the holistic idea that
in order to live in balance, one must be mindful on
all three levels of body, mind and spirit as they are
all dynamically related)
1-51. 775.00 778.13 3.13 TERI TO MCCALL)

(38) I bought a little machine for making demos.
(demos : recorded samples of music produced for
promotional purposes - note a shortening of
'demonstrations')
1-52. 779.01 782.13/ 3.12 MCCALL TO TERI)

(37) Yeah? I bet you're good.
1-53. 786.01 787.12/ 1.11 TERI TO MCCALL)

(16) What makes you say that?
1-54. 790.04 791.13/ 1.09 MCCALL TO TERI)

(15) Intuition.
(Teri gets up and puts some money on the counter)
1-55. /804.01 809.02/ 5.01 TERI TO COUNTERMAN)

(50) All right, well, I'll see you later, Jake.
1-56. /811.07 814.08/ 3.01 COUNTERMAN TO TERI)

(30) Okay. See you later, honey.
1-57. 815.14 820.12/ 4.14 TERI TO MCCALL)

(48) You let me know what happens with that fish.
1-58. 821.15 824.00/ 2.01 MCCALL TO TERI, THEN TERI TO MCCALL)

(20) -Okay.
-All right, I'll see ya.
(Teri leaves the diner and hails a cab)
1-59. /831.00 832.08 1.08 TERI TO CAB DRIVER)

(15) Hey!
(In Home Mart, McCall sits by himself on his break,
eating sunflower seeds. Marcus and Jay approach
him)
1-60. /861.15 864.11 2.12 MARCUS TO JAY)

(27) You owe me $100. Watch, watch, watch.
(You owe : i.e., 'You will owe')
1-61. 864.15 869.09 4.10 MARCUS TO MCCALL)

(46) Hey, hey, yo, Pops. We bettin' on what you did before got
here.
(you did before got here : i.e., 'line of work you
were in before you started working at Home Mart')
1-62. 869.13 871.06/ 1.09 JAY TO MCCALL)

(15) Like for a livin'.
(livin' : living - means of earning money to live on)
(i.e., 'What you used to do to support yourself.')
1-63. /871.10 874.04 2.10 MARCUS TO MCCALL)

(26) I'm sayin' insurance, claims and shit.
(I'm sayin' : i.e., 'My theory is that you used to
work in')
(claims : official request for money or other
benefits from the state or an organization)
(and shit : vulgar slang for 'and all of the other
details related to that job')
1-64. 874.08 878.04 3.12 JAY TO MARCUS)

(37) No. He was a stock dude, man, who was on Wall Street.
(stock dude : i.e., 'trader' - somebody who deals in
stocks and shares, especially a person who tries to
profit by making frequent deals, each netting a
small profit)
(Wall Street : street in Manhattan, New York City,
where the New York Stock Exchange and many
major financial institutions of the United States are
located - now used as a metonym for the U.S.
financial market, especially as represented by the
publicly traded companies comprising the stock
markets)
1-65. 878.08 880.04/ 1.12 MCCALL TO JAY & MARCUS)

(17) I was a Pip.
(Pip : i.e., 'background singer for Gladys Knight' -
referring to Gladys Knight & The Pips, an R&B
family musical act from Atlanta, Georgia, active
from 1953 to 1989 - the longest-lived incarnation of
the act featured Gladys Knight on lead vocals, with
The Pips, who included her brother Merald "Bubba"
Knight and their cousins Edward Patten and
William Guest, as backup singers)
1-66. /880.08 882.13/ 2.05 JAY TO MCCALL)

(23) Yo, you were a pimp?!
(pimp : man who finds customers for a prostitute
in return for a portion of the prostitute's earnings -
note humorous mishear)
1-67. /883.01 887.03 4.02 MCCALL TO JAY)

(41) No, not a pimp. A Pip. P-I-P. Pip.
1-68. 887.07 889.00 1.09 JAY TO MCCALL)

(15) The fuck is a Pip?
(The fuck : Vulgar slang expression of confusion -
i.e., 'What')
1-69. 889.04 891.05/ 2.01 MCCALL TO JAY)

(20) Why you gotta curse so much?
1-70. /891.09 895.12 4.03 MCCALL TO JAY & MARCUS)

(41) You know, like Gladys Knight & The Pips. Like this:
(McCall starts to dance a facsimile of the Pips
routine for "Midnight Train to Georgia." Other Home
Mart employees gather around)
1-71. 898.03 899.11 1.08 MALE HOME MART EMPLOYEE #1 TO PERSON)

(15) Check this out!
(Slang for 'Look at this')
1-72. 899.15 902.01/ 2.02 MARCUS TO MCCALL, THEN JAY TO MCCALL)

(21) -Oh, come on!
-Stop it.
1-73. /902.05 905.14 3.09 JENNY TO MCCALL,

(35) THEN MARCUS TO MCCALL)
-Break it.
-Don't do that right now. Don't do that.
(break it : break it down - slang for 'dance')
(do that : i.e., 'dance like a Pip')
1-74. 906.02 907.06/ 1.04 MALE HOME MART EMPLOYEE #2) (exclaiming)
(12) A'ight!
(Slang diminutive of 'All right')
(McCall spins around)
1-75. /907.10 909.13/ 2.03 MARCUS TO MCCALL, THEN JAY) (exclaiming)

(21) -Oh, the spin?
-Oh, what?
1-76. /910.01 911.07 1.06 MCCALL TO MARCUS & JAY)

(13) Wait a minute.
(McCall performs a slide step then mimes tugging
on a train whistle)
1-77. 911.11 914.03 2.08 MARCUS TO MCCALL, THEN JAY TO MCCALL)

(25) -Slide.
-You're gonna blow the whistle!
(Slide : Referring to a dance step in which one
foot steps out and plants firmly while the other foot
slides over to join it)
(blow : i.e., 'mime blowing')
(the whistle : i.e., 'the train whistle')
1-78. 914.07 918.08/ 4.01 MARCUS TO MCCALL)

(40) Trickster. Come on, now. I'm gonna look it up right now.
(Trickster : Somebody who deceives, swindles, or
plays tricks - implying that McCall is lying about
being a former Pip)
(Come on : Idiomatic expression of skepticism -
i.e., 'That's ridiculous')
(look it up : i.e., 'find a video clip of Gladys Knight
& The Pips online')
1-79. /918.12 921.11 2.15 MARCUS TO JAY, THEN JAY TO MARCUS)

(29) -Man, I'm looking this up. Look.
-Look that up.
(Marcus finds a video of Gladys Knight and the
Pips on his phone)
1-80. 921.15 923.10/ 1.11 NARRATIVE TITLE) (of monitor)

(16)
SOUL TRAIN
(American musical variety television program,

which aired in syndication from 1971 until 2006)
1-81. /923.14 925.15/ 2.01 MARCUS TO MCCALL)

(20) Yo, so which one were you?!
1-82. /926.03 927.15 1.12 MCCALL TO MARCUS)

(17) The one on the right.
(Marcus and Jay examine the video. The Pip on the
right has a large Afro)
1-83. 928.03 929.12/ 1.09 MALE HOME MART EMPLOYEE #2 TO MCCALL)

(15) Do it again!
(i.e., 'Show us your dance routine!')
1-84. /930.00 932.12/ 2.12 MARCUS TO JAY)

(27) Yo, that's not him right there.
1-85. 933.06 936.02 2.12 JAY TO MARCUS)

(27) Man, that's him with a Afro.
(a : colloquial for 'an')
(Afro : hairstyle with rounded thick curls)
1-86. 936.14 940.02 3.04 MARCUS TO JAY, THEN JAY TO MARCUS)

(32) -He's bald.
-So he had a wig on.
(He's bald : Humorously referring to McCall's head
presently being shaved - Note humor of neither
Marcus or Jay understanding that McCall's head is
shaved or that he might of had hair decades ago
when Gladys Knight & the Pips were at the height
of popularity)
1-87. 940.06 942.13/ 2.07 MARCUS TO JAY, THEN JAY TO MARCUS)

(24) -That's gone, yo.
-That's him.
(That's gone : Slang approval)
(Sometime after 2AM, Teri walks into the diner,
passing some hecklers)
1-88. 967.10 971.10 4.00 MALE HECKLER #2 TO TERI)

(40) Damn, girl! Bring it over here, now!
(Damn : Mildly vulgar slang interjection of sexual
appreciation)
(McCall is already at the diner, seated at his usual
table, reading. Teri goes to the counter)
1-89. /976.01 979.03/ 3.02 TERI TO COUNTERMAN)

(31) Hey, Jake. What a fuckin' night.
(What a fuckin' night : Vulgar slang for 'I've had an
exhausting, stressful night')
1-90. 980.12 984.02 3.06 COUNTERMAN TO TERI)

(33) Yeah, it's tough out there, honey.
(it's tough out there : i.e., 'it's difficult [and
dangerous] to make your living on the streets')
1-91. 992.01 993.13/ 1.12 COUNTERMAN TO TERI)

(17) Here you go, kid.
(Here you go : Idiomatic term of presentation)
(The Counterman brings Teri a cup of coffee and a
piece of pie)
1-92. 994.13 996.08/ 1.11 TERI TO COUNTERMAN)

(16) Thanks.
1-93. 1006.15 1008.08/ 1.09 TERI TO MCCALL)

(15) He ever catch it?
1-94. 1010.14 1012.03/ 1.05 TERI TO MCCALL)

(13) The fish.
1-95. /1012.07 1014.12/ 2.05 MCCALL TO TERI)

(23) Oh, yeah. Yes. Yeah, he did.
1-96. 1017.09 1019.06/ 1.13 TERI TO MCCALL)

(18) It's a happy ending.
1-97. /1019.10 1023.03/ 3.09 MCCALL TO TERI)

(35) Well, not exactly.
1-98. /1023.07 1026.09/ 3.02 MCCALL TO TERI)

(31) Old man tied the fish to the side of the boat...
1-99. 1027.01 1029.12 2.11 MCCALL TO TERI)

(26) ...had to row back to shore...
1-100. 1030.10 1033.06 2.12 MCCALL TO TERI)

(27) ...the fish bled in the water...
1-101. 1034.05 1036.10 2.05 MCCALL TO TERI)

(23) ...sharks came...
1-102. 1036.15 1041.12 4.13 MCCALL TO TERI)

(48) ...and ate the whole fish till there was nothing left.
1-103. 1042.06 1045.05 2.15 TERI TO MCCALL)

(29) Well, that's just kind of a waste, isn't it?
(that's : i.e., 'the old man's endeavor was')
1-104. 1045.09 1048.04/ 2.11 MCCALL TO TERI)

(26) No. Depends upon how you look at it.
1-105. 1049.08 1056.02/ 6.10 MCCALL TO TERI)

(66) The old man met his greatest adversary, just when he
thought that part of his life was over.
(that ...over : note double meaning - [1] i.e., 'he
wouldn't have to battle any enemies again' and [2]
i.e., 'he was too old to face such a large challenge')
1-106. /1056.06 1059.05 2.15 MCCALL TO TERI)

(29) And he saw himself in the fish.
(i.e., 'And he recognized his own fighting spirit in
the fish, who fought till the end.')
1-107. 1060.10 1062.10 2.00 MCCALL TO TERI)

(20) Came to...
1-108. 1064.10 1067.08/ 2.14 MCCALL TO TERI)

(28) ...respect it the more it fought.
1-109. 1068.12 1071.09/ 2.13 TERI TO MCCALL)

(28) Why didn't he just let the fish go?
1-110. 1072.01 1076.10 4.09 MCCALL TO TERI)

(45) The old man's gotta be the old man. Fish gotta be the fish.
1-111. 1078.10 1081.10/ 3.00 MCCALL TO TERI)

(30) Gotta be who you are in this world, right?
(i.e., 'We must be truthful about who we truly are
[not just what we do] and the role we play in this
world.')
1-112. 1082.10 1084.09 1.15 MCCALL TO TERI)

(19) No matter what.
(A horn honks outside and Teri reacts. She sees a
limousine outside. Her phone starts to ring, her
caller ID showing it is Slavi, her pimp)
TRANSLATORS: YOU MAY OMIT TITLE #1-113 IF YOU DO NOT HAVE TO TRANSLATE IT FOR
YOUR TERRITORY.
1-113. /1099.12 1101.09 1.13 NARRATIVE TITLE) (of phone)

(18)
Slavi
(Teri answers the phone and the limousine driver

honks the horn again, impatiently)
LABORATORY: IF PRINT IS TEXTED, TITLES #1-114 THROUGH #1-120 WILL DOUBLE PRINT
OVER EXISTING TYPEFACE. PLEASE CHECK PRINT FOR PROPER POSITIONING TO AVOID
DOUBLE PRINTING. ALSO NOTE THAT SOME OF THE TITLES ARE LESS THAN FIVE FRAMES
APART INTENTIONALLY SO THAT THEY IMITATE THE EXISTING SUBTITLES ON THE SCREEN.
RUSSIAN TRANSLATORS: YOU MAY OMIT TITLES #1-114 THROUGH #1-120 IF YOU DO NOT
NEED TO TRANSLATE THEM FOR YOUR TERRITORY.
1-114. 1112.02 1114.00 1.14 SLAVI TO TERI) (subtitle of Russian)

ITAL (18) You've got a client.
1-115. 1114.01 1116.10 2.09 TERI TO SLAVI) (subtitle of Russian)

(25) I don't want to.

ITAL (21) What?

(36) Can't you get someone else?

ITAL (17) He wants you.

(34) But this customer is a pig.
(pig : note double meaning - [1] somebody who is
thought to behave in a coarse, discourteous, or
brutal manner, and [2] somebody who is obese)

ITAL (29) He's waiting outside.
(Slavi hangs up the phone. The horn honks again,
and the driver opens the door revealing an obese
middle-aged man inside)
1-121. /1141.08 1144.06/ 2.14 TERI TO COUNTERMAN,

(28) THEN COUNTERMAN TO TERI)
-How much, Jake?
-Don't worry about it.
(much : i.e., 'much do I owe you for the coffee and
pie')
(Don't worry about it : i.e., 'You don't owe me any
money')
1-122. /1144.10 1147.13/ 3.03 COUNTERMAN TO TERI,

(31) THEN TERI TO COUNTERMAN)
-Go make your livin'.
-Thanks, Jake.
(Teri goes out to the limousine as McCall watches
through the window)
1-123. /1168.02 1174.00 5.14 TERI TO FAT BUSINESSMAN)

(58) Hey, honey! How you doin'? You ready to have a good
time?
(On another day, McCall times Ralphie with a
stopwatch function on his watch as Ralphie tries to
pull a truck tire down a track encircling a baseball
field. Ralphie is not faring well)

(38) Come on. Pull, pull, pull.
(Come on : Idiomatic phrase of encouragement -
Note that McCall checks his watch)

(28) Pull! Pull! Pull! Pull!

(23) Come on, come on.

(71) Eight, seven, six, five...

(48) ...four, four, four.
(Humorously implying that Ralphie is behind and
should have pulled the tire a greater distance in the
allotted time)
(Ralphie, exhausted, falls to the ground in defeat)

(30) Aw, come on, now. Come on.
1-130. /1213.01 1216.04/ 3.03 RALPHIE TO MCCALL,

-I can't.
-You can't?

(22) What if that were me?
(that were me : i.e., 'you had to drag me to safety')

(48) You gonna leave me to die of smoke inhalation? I'm a buck
ninety.
(smoke inhalation : injury due to inhalation or
exposure to hot gaseous products of combustion)
(I'm a buck ninety : i.e., 'I weigh a hundred and
ninety pounds')

(56) How you gonna pull me out of a burnin' building if you can't
pull a tire 20 yards?

(21) I'm not strong enough.

(32) Don't doubt yourself, son. Doubt kills. Get up.
(son : affectionate way of addressing a boy or
man)
(Doubt kills : Note double meaning - [1] i.e.,
'Doubting yourself will ensure that your ventures
fail,' and [2] i.e., 'Doubting yourself could get
yourself or someone else killed in your proposed
line of work')
1-136. /1237.05 1239.14 2.09 MCCALL TO RALPHIE)

(25) Come on. Get up. Get up.

(25) Giddyup, giddyup, giddyup!
(Giddyup : Command used to make horses go
faster, here used to humorously encourage Ralphie
to speed up)
(Ralphie gets to his feet)

(34) On your mark, get set...
(For this Title and the next : Note alteration of
commands given before a race: "On your mark [Get
into starting position], get set [get ready to go], go")

(15) ...pull.
(With renewed determination, Ralphie starts pulling
the tire as McCall times him)

(28) Come on. Who's gonna make security guard?
1-141. 1254.13 1256.11 1.14 RALPHIE TO MCCALL)

(18) I am!
1-142. /1257.04 1260.07 3.03 MCCALL TO RALPHIE,

-Who's gonna make security guard?
-I am!

(24) Who's gonna make security guard?
(Ralphie successfully pulls the tire the required
distance)
1-144. 1263.12 1266.01 2.05 MCCALL TO RALPHIE,

-There you go.
-I am!
(There you go : Idiomatic approval)

(23) I like it. Let's do it again.
(I like it : i.e., 'I appreciate your efforts and
tenacity')
(In the middle of the night, McCall again enters the
diner, carrying a book and donut with a candle
stuck on it. He takes the donut over to Teri, who is
seated at her usual place at the counter, listening
to music on headphones. Even though it is dark
outside, Teri is wearing sunglasses and her cheek
is badly bruised)
1-146. 1301.07 1305.03 3.12 MCCALL TO TERI)

(37) Loaded with poison, just like you like it.
(poison : humorous for 'refined sugar [and other
unhealthy ingredients]')
1-147. /1306.02 1308.11 2.09 TERI TO MCCALL)

(25) Is it your birthday?
1-148. /1309.06 1314.01 4.11 MCCALL TO TERI)

(46) No, it was some guy at work. I didn't want to waste it.
(waste it : i.e., 'waste the food by throwing it
away')
(McCall goes to his usual seat at his usual table)
1-149. 1315.09 1319.01 3.08 TERI AS IF TO HOME MART EMPLOYEE)

(35) Happy birthday, Some Guy at Work.
(Some Guy at Work : Teri's humorous nickname
for the unnamed man at work)
1-150. 1320.05 1321.13/ 1.08 TERI TO MCCALL)

(15) How old are you?
(Note implication that talk of birthdays has
prompted Teri to ask McCall his age)
1-151. 1323.04 1324.14/ 1.10 MCCALL TO TERI)

(16) How old are you?
1-152. 1325.08 1327.13 2.05 TERI TO MCCALL)

(23) Doesn't really matter.
(Teri gathers her things and approaches McCall's
table. McCall simply regards her)
1-153. 1358.13 1362.10/ 3.13 TERI TO MCCALL)

(38) I'm sorry, I'm breaking protocol, right?
(breaking protocol : i.e., 'crossing the unspoken,
but agreed-upon, social boundary between us')
1-154. /1362.14 1366.02/ 3.04 MCCALL TO TERI)

(32) No, no. Listen, hey, come on, sit down.
1-155. /1366.06 1368.06/ 2.00 MCCALL TO TERI)

(20) Sit. Sit.
1-156. /1368.10 1370.05 1.11 MCCALL TO TERI)

(16) Sit.
(McCall pushes out a chair for her)
1-157. 1372.09 1373.14/ 1.05 TERI TO MCCALL)

(13) Okay.
(She starts toward the table, then hesitates again)
1-158. 1376.11 1379.08 2.13 MCCALL TO TERI, THEN TERI TO MCCALL)

(28) -Come on, sit down.
-All right.
1-159. 1384.06 1387.09 3.03 TERI TO MCCALL)

(31) Are you sure I'm not interruptin' anything?
1-160. 1387.13 1389.05 1.08 MCCALL TO TERI)

(15) Yeah.
(McCall and Teri stare at each other for a
prolonged period of time)
1-161. 1405.08 1407.04 1.12 MCCALL TO TERI)

(17) So?
(Implying, 'Is there anything you want to talk about')
1-162. 1408.10 1410.07/ 1.13 TERI TO MCCALL)

(18) I don't know.
1-163. 1411.03 1415.05 4.02 TERI TO MCCALL)

(41) You know, I just kinda felt like a quiet voice.
(I just...voice : i.e., 'I wanted to engage in
conversation with a nice, gentle man')
1-164. 1417.11 1420.04 2.09 TERI TO MCCALL)

(25) Before it all goes crazy.
(i.e., 'Before I have to meet and engage with
unsavory men who pay for my services.')
1-165. 1423.00 1424.14/ 1.14 MCCALL TO TERI)

(18) Okay.
1-166. 1425.13 1427.11/ 1.14 TERI TO MCCALL)

(18) I'm Teri.
1-167. /1428.14 1430.08 1.10 MCCALL TO TERI)

(16) Bob.
(Diminutive of 'Robert')
(McCall offers his fist for Teri to bump. She does
and he reacts as if in pain)
1-168. 1434.08 1436.00 1.08 MCCALL TO TERI)

(15) It's good.
(i.e., 'You have a powerful fist bump.')
1-169. 1436.04 1438.11/ 2.07 TERI TO MCCALL)

(24) You know, you don't look like a Bob.
(Implying the name 'Bob' evokes someone who is
casual and uncomplicated, especially one who
does not pursue intellectual pursuits)
(The Counterman brings McCall his pot of hot
water)
1-170. /1438.15 1441.14 2.15 MCCALL TO TERI, THEN TO COUNTERMAN)

(29) Oh, yeah? Thank you.
(Oh, yeah : i.e., 'Is that so')
1-171. 1442.02 1444.14 2.12 TERI TO MCCALL)

(27) You look like a Robert.
(i.e., 'You seem more formal, precise and
intelligent.')
1-172. 1445.10 1449.01 3.07 TERI TO MCCALL)

(34) Robert reads books like this.
(books like this : i.e., 'classical literature')
1-173. 1449.11 1452.10 2.15 TERI TO MCCALL)

(29) Bob watches TV.
(i.e., 'Someone named Bob would merely watch
television.')
1-174. 1463.04 1465.10/ 2.06 TERI TO MCCALL)

(23) My real name's Alina.
1-175. 1470.02 1471.10/ 1.08 MCCALL TO TERI)

(15) What happened to your face?
(Implying, 'Who hit you?' - 'Who bruised your
face?')
1-176. 1472.14 1475.11 2.13 TERI TO MCCALL)

(28) Something stupid.
(Note double meaning - [1] i.e., 'I hit my face
against some innocuous object that I should have
avoided.' and [2] i.e., 'An ignorant person hit me.' -
Referring to the Russians - Note humor)
(Teri takes a homemade CD out of her purse and
gives it to Robert)
1-177. 1499.08 1505.10/ 6.02 TERI TO MCCALL)

(61) Look, it's not professional. Just tell me what you think,
okay?
(Look : i.e., 'Listen')
(professional : i.e., 'professionally mixed or made')
LABORATORY: TITLES #1-178 AND #1-179 MAY DOUBLE PRINT OVER EXISTING TYPEFACE.
PLEASE CHECK PRINT FOR PROPER POSITIONING TO AVOID DOUBLE PRINTING.
1-178. /1505.14 1507.12 1.14 NARRATIVE TITLE) (of CD)

(18)
My Songs Alina "Teri"
1-179. 1508.00 1511.06/ 3.06 MCCALL TO TERI)

(33) Alina the singer.
1-180. 1514.01 1516.13 2.12 TERI TO MCCALL)

(27) You and I know what I really am.
(what I really am : i.e., 'that I am a prostitute')
1-181. 1521.01 1527.15/ 6.14 MCCALL TO TERI)

(68) I think you can be anything you wanna be.
1-182. 1529.10 1532.02/ 2.08 TERI TO MCCALL)

(25) Maybe in your world, Robert.
1-183. /1532.06 1535.00 2.10 TERI TO MCCALL)

(26) Doesn't really happen that way in mine.
(Implying that Teri has very limited options and
doesn't have the freedom to pursue what she truly
desires)
1-184. 1535.04 1536.15/ 1.11 MCCALL TO TERI)

(16) Change your world.
(Note double meaning - [1] i.e., 'Change your
outlook on life and what you believe you deserve.'
and [2] i.e., 'Leave the world of prostitution.')
1-185. 1547.08 1549.02/ 1.10 TERI TO MCCALL)

(16) There's no ring.
(i.e., 'You don't wear a wedding ring.')
1-186. /1550.12 1553.07/ 2.11 TERI TO MCCALL)

(26) On your wedding finger, there's no ring.
(wedding finger : ring finger - in the United Stated,
the fourth finger on the left hand)
1-187. /1553.11 1555.04/ 1.09 MCCALL TO TERI)

(15) No.
1-188. /1555.08 1558.01/ 2.09 TERI TO MCCALL)

(25) No Mrs. Robert at home?
(i.e., 'You don't have a wife at home?' - Note
humorous naming convention as his wife would be
"Mrs. McCall' after his surname rather than his first
name)
1-189. 1558.10 1560.04/ 1.10 MCCALL TO TERI)

(16) No.
1-190. 1560.14 1562.11/ 1.13 TERI TO MCCALL)

(18) Was there ever?
1-191. 1564.11 1566.10/ 1.15 MCCALL TO TERI)

(19) Once.
1-192. 1567.02 1569.07/ 2.05 TERI TO MCCALL)

(23) Did you break her heart?
(break her heart : idiomatic for 'emotionally
devastate her by ending the relationship')
1-193. 1573.08 1575.08 2.00 MCCALL TO TERI)

(20) She broke mine.
(Note double meaning - [1] i.e., 'She emotionally
devastated me by ending the relationship.' and [2]
i.e., 'She emotionally devastated me by dying.')
1-194. 1581.09 1585.05 3.12 TERI TO MCCALL)

(37) You know, I see a lot of widowed guys.
(I...guys : i.e., 'A lot of widowers seek my
services')
1-195. 1590.13 1593.07 2.10 TERI TO MCCALL)

(26) Something in your eyes.
(i.e., 'I can recognize that you are a widower by
looking into your eyes.')
1-196. 1595.11 1598.05 2.10 TERI TO MCCALL)

(26) You know, it's not sad.
(sad : i.e., 'merely sad')
1-197. /1599.09 1601.10 2.01 TERI TO MCCALL)

(20) It's just kinda...
1-198. 1603.00 1605.03 2.03 TERI TO MCCALL)

(21) ...lost, you know?
1-199. 1618.10 1620.12/ 2.02 TERI TO MCCALL)

(21) You always read books?
1-200. 1622.04 1625.02 2.14 MCCALL TO TERI)

(28) My wife did.
1-201. 1626.13 1631.03 4.06 MCCALL TO TERI)

(43) She was working her way through the 100 Books
Everybody Should Read.
(working her way through : i.e., 'reading every
book on')
(One Hundred Books Everybody Should Read :
McCall's misnomer for "100 Books to Read in a
Lifetime," a list put out by Amazon book editors to
create a well-read life)
1-202. 1631.07 1635.08 4.01 MCCALL TO TERI)

(40) She made it to 97, so I figured...
1-203. 1637.09 1639.10 2.01 MCCALL TO TERI)

(20) ...I'd give it a shot.
(give it a shot : i.e., 'try to read all the books
myself')
1-204. 1645.10 1652.07 6.13 MCCALL TO TERI)

(68) And, you know, one day we'd have somethin' to talk about
when we get together.
(Referring to McCall's belief [or wish] that he and
his wife will someday be reunited in the afterlife)
1-205. 1659.11 1662.03/ 2.08 TERI TO MCCALL)

(25) Wow, 100 books!
1-206. /1662.07 1663.15 1.08 MCCALL TO TERI)

(15) Yeah.
1-207. 1664.03 1665.11/ 1.08 TERI TO MCCALL)

(15) Holy moly.
(Rhyming idiomatic expression of astonishment)
1-208. 1668.10 1671.03/ 2.09 TERI TO MCCALL)

(25) How many have you read, Robert?
1-209. /1671.09 1672.13/ 1.04 MCCALL TO TERI)

(12) 91.
(Teri's phone rings)
1-210. 1676.01 1678.10 2.09 TERI TO MCCALL)

(25) Sorry, this damn thing.
(i.e., 'I apologize for the interruption to our
conversation made by the phone ringing.' - Note
that 'damn thing' is mildly vulgar for 'annoying
object')
(Teri declines the call)
1-211. 1679.02 1681.07/ 2.05 TERI TO MCCALL)

(23) 91 books, though.
1-212. 1682.11 1684.06 1.11 TERI TO MCCALL)

(16) You're almost done.
(i.e., 'You've almost finished the entire list.')
1-213. 1684.10 1686.03/ 1.09 MCCALL TO TERI)

(15) Almost.
1-214. /1686.07 1688.13/ 2.06 TERI TO MCCALL)

(23) What are you gonna do after that?
1-215. /1689.01 1690.15/ 1.14 MCCALL TO TERI)

(18) Take singing lessons.
(For this Title and the next : Note humor, as these
would be endeavors Teri might like to undertake)
1-216. /1693.09 1696.13/ 3.04 MCCALL TO TERI)

(32) And then I'm gonna open a donut factory.
(Teri laughs)
1-217. 1697.12 1699.09 1.13 MCCALL TO TERI)

(18) I am.
1-218. 1699.13 1702.01/ 2.04 MCCALL TO TERI)

(22) What? Why you laughin'?
(Teri and McCall walk down the street)
1-219. 1716.12 1719.08 2.12 TERI TO MCCALL)

(27) You know, I love bein' up at this hour.
(up at this hour : i.e., 'awake in the middle of the
night' - 'awake this early in the morning')
1-220. 1719.12 1721.05 1.09 MCCALL TO TERI)

(15) Yeah?
1-221. 1721.09 1725.02/ 3.09 TERI TO MCCALL)

(35) Yeah. You know, everything's so dark.
(dark : note double meaning - [1] i.e., 'without light
and [2] i.e., 'mysterious' - 'nebulous')
1-222. /1725.06 1729.06 4.00 TERI TO MCCALL)

(40) It makes everything seem possible again.
1-223. 1731.13 1735.03/ 3.06 MCCALL TO TERI)

(33) Yeah, me, I can't sleep at night.
(me : i.e., 'I'm awake at this hour because')
1-224. 1736.15 1740.09 3.10 TERI TO MCCALL)

(36) Yeah, well, I get to hear your stories.
(hear your stories : i.e., 'hear you talk about the
books you're reading')
1-225. 1741.11 1743.10/ 1.15 TERI TO MCCALL)

(19) What's your new one about?
(one : i.e., 'book')
1-226. 1744.06 1749.04 4.14 MCCALL TO TERI)

(48) Oh, it's about a guy who thinks he's a knight in shining
armor.
(knight in shining armor : idealized or chivalrous
man who comes to the rescue of a woman in a
difficult situation - i.e., 'hero')
1-227. 1749.08 1756.06 6.14 MCCALL TO TERI)

(68) The only thing is, he lives in a world where knights don't
exist anymore.
(thing : i.e., 'problem')
(Note allusion to Don Quixote de la Mancha, a
Spanish novel by Cervantes. It follows the
adventures of Alonso Quixano, a naively idealistic
hero who reads so many chivalric novels that he
decides to set out to revive chivalry under the name
Don Quixote - Note parallel with McCall and his
quest in this film to rescue Teri and right wrongs)
1-228. 1758.00 1761.00 3.00 TERI TO MCCALL)

(30) Kinda sounds like my world.
(Implying that chivalrous men don't exist in her life)
LAST FRAME OF PICTURE IS 1763.02
END OF REEL 1AB

Equalizer, The OV Final Spot R1

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Equalizer, The OV Final Spot R1

Uploaded by

Copyright:

Available Formats

"THE EQUALIZER" REEL 1AB, PAGE 1

OV_FINAL SPOTTING/SUBTITLES (SDI MEDIA)

LABORATORY: 0.00 AT START MARK

152.05 = 1ST SCENE END

238.10 = 2ND SCENE END

243.07 = 3RD SCENE END

246.13 = 4TH SCENE END

1-1. 124.12 128.15 4.03 NARRATIVE TITLE)

1-2. 129.03 134.10 5.07 NARRATIVE TITLE)

(find out why : i.e., 'find your purpose in life')

1-3. 134.14 136.08 1.10 NARRATIVE TITLE)

(Note that this quote is widely attributed to Mark

1-4. /314.07 316.09/ 2.02 NARRATIVE TITLE) (of bag)

(LB : abbreviation for 'pound')

1-5. /316.13 322.04 5.07 MAN ON P.A. SYSTEM

1-6. 333.11 339.00/ 5.05 MCCALL TO LABORER,

1-7. 340.05 341.14/ 1.09 MCCALL TO LABORER)

1-8. 342.08 344.08/ 2.00 LABORER TO MCCALL)

1-9. /344.12 346.04 1.08 LABORER TO MCCALL,

1-10. 346.08 350.07 3.15 MARCUS TO JAY, THEN JAY TO MARCUS)

1-11. 350.11 355.13/ 5.02 MARCUS TO MCCALL)

1-12. 356.10 358.09/ 1.15 MCCALL TO MARCUS)

1-13. 375.04 377.08 2.04 MCCALL TO JENNY)

1-14. 379.14 381.13 1.15 JENNY TO MCCALL)

1-15. 385.12 388.12 3.00 RALPHIE TO MCCALL,

1-16. 389.00 391.02/ 2.02 MCCALL TO RALPHIE,

1-17. /391.06 394.14 3.08 MCCALL TO RALPHIE,

1-18. 395.02 400.02/ 5.00 MCCALL TO RALPHIE,

1-19. 401.08 402.09/ 1.01 MCCALL TO RALPHIE)

1-20. 407.03 409.01/ 1.14 RALPHIE TO MCCALL)

1-21. 418.11 420.12/ 2.01 RALPHIE TO MCCALL)

1-22. /422.14 427.06/ 4.08 RALPHIE TO MCCALL,

1-23. /427.10 429.09/ 1.15 RALPHIE TO MCCALL)

1-24. 430.15 435.06 4.07 MCCALL TO RALPHIE)

1-25. 435.10 440.12 5.02 MCCALL TO RALPHIE)

1-26. 441.00 442.02/ 1.02 RALPHIE TO MCCALL)

1-27. /442.06 443.08/ 1.02 MCCALL TO RALPHIE)

1-28. 446.04 448.09/ 2.05 MCCALL TO RALPHIE)

1-29. 454.03 457.00/ 2.13 RALPHIE TO MCCALL,

1-30. /457.04 459.08/ 2.04 RALPHIE TO MCCALL)

1-31. 625.07 627.14 2.07 NARRATIVE TITLE) (of sign)

(McCall sits at a corner table with his book,

1-32. /660.14 663.03/ 2.05 NARRATIVE TITLE) (of book)

(Last major work of fiction to be produced by Ernest

1-33. 681.05 685.09/ 4.04 POWER & ELECTRIC GUY #1 TO COUNTERMAN,

1-35. 704.09 706.11/ 2.02 MCCALL TO COUNTERMAN,

1-36. 718.04 720.06/ 2.02 TERI TO MCCALL)

1-37. 724.07 726.03/ 1.12 MCCALL TO TERI)

1-38. 726.13 729.00 2.03 TERI TO MCCALL)

1-39. 729.04 732.06/ 3.02 MCCALL TO TERI)

1-40. /732.10 735.00/ 2.06 MCCALL TO TERI)

1-41. 736.14 738.10 1.12 TERI) (exclaiming)

1-42. /739.12 742.00/ 2.04 MCCALL TO TERI)

1-43. /742.04 745.15 3.11 TERI TO MCCALL)

1-44. /752.07 755.00/ 2.09 MCCALL TO TERI)

1-45. 755.11 756.13/ 1.02 TERI TO MCCALL)

1-46. /757.01 758.05/ 1.04 MCCALL TO TERI)

1-47. /758.09 760.05 1.12 TERI TO MCCALL)

1-48. 760.09 762.03 1.10 MCCALL TO TERI)

1-49. 762.09 765.04 2.11 MCCALL TO TERI)

1-50. /769.00 771.13/ 2.13 MCCALL TO TERI)

1-51. 775.00 778.13 3.13 TERI TO MCCALL)

1-52. 779.01 782.13/ 3.12 MCCALL TO TERI)