WHITE ZOMBIE (1932)
483 shots over 1:05:19, read from the Internet Archive copy white_zombie (white_zombie.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: WHITE ZOMBIE No renewal found. JSON
Measurements: black-and-white film on its keyframes (0 of 483 shots judged colour), average shot 8.1s long, a frontal face detected in 36% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.
Transcript
Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 305 segments kept, 406 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.
- 0:00 *Painful music*
- 1:48 Looks like a barium. In the flow.
- 1:57 Driver?
- 1:58 What is it? It's the plural of them, sir.
- 2:02 They're afraid of the men who see dead rocks. So they dig the grave.
- 2:07 In the middle of the road.
- 2:10 That's people.
- 2:11 That's all the time.
- 2:22 Well, that's a cheerful introduction for you to our West Indies.
- 3:01 You know where is the outcome?
- 3:03 here, Beaumont.
- 3:29 Zombie!
- 3:30 All right.
- 3:56 So
- 4:18 I'm going to go.
- 4:32 Why did you drive like that to me?
- 4:34 We might have been killed. We're going to bring back to him to the airport.
- 4:37 We might have been caught.
- 4:39 - All right.
- 4:40 By whom? Those men you spoke to? They are not men, you dear.
285 more segments
- 4:45 We are dead and buckled.
- 4:49 Yeah.
- 4:51 Zombies.
- 4:52 The living dead.
- 4:55 It's taken from that green.
- 4:58 for me to work.
- 5:00 Look at me over.
- 5:01 - You look good.
- 5:07 Look!
- 5:09 Here they come.
- 5:19 Yep.
- 5:21 Oh!
- 5:26 oh
- 5:33 Excuse me.
- 5:35 Have you got the knife?
- 5:38 Did I frighten you? I'm sorry. I'm ugly enough I suppose.
- 5:43 No, it wasn't you.
- 5:45 Something happened back on the road there.
- 5:48 I think it's a moment.
- 5:51 The driver told us they weren't men at all. He said they were.
- 5:57 What?
- 5:59 Surely you don't believe it, do you? No.
- 6:04 I don't know.
- 6:06 Maybe you...
- 6:07 It's full and non-feetful, super fixed.
- 6:09 They're always mixed up with a lot of mysteries.
- 6:12 Turn your head, Tony.
- 6:14 I've been a missionary here for 30 years in the pine field.
- 6:19 I don't know about this.
- 6:21 Tom, let's go in the house.
- 6:23 Oh yes, now come to.
- 6:35 and the bookmarked in it.
- 6:36 You're respected, Dr. Brunner.
- 6:39 Yes, I can pray for us and marry us sometimes.
- 6:43 Maybe he's in here.
- 6:49 Oh, okay.
- 6:57 How long is it that you know Mr. Beaumont? For only a few days. Madeline introduced him on the dock in Port-au-Prince. And you? I met him on the trip coming from New York, through his very time during the voyage. Oh, Madeline and I tried to be lying the moment she arrived, but Mr. Beaumont persuaded us to come here. He promised to take me out of the bank at Port-au-Prince and send me to New York as his age. Hmm.
- 7:24 Very strange.
- 7:33 I'll tell Mr. Beaumont, sir, here.
- 7:37 Yeah.
- 7:39 I'm going to go.
- 7:45 It's all right, isn't it, Doctor? Oh, I guess so. You see, I...
- 7:51 I've only met Mr. Beaumont once or twice.
- 7:54 But he never struck me when a man would take the drugs to play a fairy doctor. He would get a couple like you.
- 8:04 Unless.
- 8:06 Unless what, sir?
- 8:22 I told you I'm a mess with an old fool, but...
- 8:25 You know, I'd feel a good and better if you'd clear out of this place after your marriage, and have nothing more to do, Mr. Bowden.
- 8:36 Young people have arrived, sir, and Dr. Brunner.
- 8:40 They're waiting in the reception hall.
- 8:42 Show them to their room and fill them my mouth. No wait.
- 8:49 I'm going to start the recipe.
- 8:50 It might have gone, if I didn't.
- 8:52 Very odd, sir. Especially as Dr. Brunner is a type of sceptical as to your motive, sir. Never mind my motive. Is that other person that's heard yet? No, sir, not yet.
- 9:11 Yes, yes indeed. Oh yes of course. I'm sure he will make a very good agent. But you must be tired after your drive. You'll get them ready. Silver!
- 9:23 Silver will show you to your room. This way, please.
- 9:28 So,
- 10:23 So
- 10:39 So,
- 12:00 So, let's go.
- 12:30 I'd like to see you again.
- 13:00 I've been on a journey.
- 13:30 You did men for my marriage. Then they work basically and they are not worried about long hours. You, you could make good use of men like mine under your foundation.
- 14:00 You've seen her? Where?
- 14:05 The road. Tonight.
- 14:19 There was a young man.
- 14:23 They have to be married. Tonight. You've waited too long to do anything. What do you want me to do?
- 14:30 If she was a disappear, what am I? What do you hope to gain by her disappearance? Everything. Heaven. Do you think she will forget her lover in a month? Just give me a month. One little month. Not in a month. Not even a year.
- 14:55 I have looked at her eyes. She is deep in love. But that's the Duke. She's been married within an hour. There must be a wedding.
- 15:28 Oh
- 15:30 I call the past. You give me what I want, and you may ask anything.
- 15:45 So
- 16:02 No! Stop that!
- 16:21 I'm a king. I feel the love. A glass of wine. Or perhaps a flower. I think I'm a king. I'm very brief. So will you share if I need to help you?
- 16:51 Keep it. Keep it. You may change your mind.
- 17:16 Send me word when you use it.
- 17:34 I'll find another way.
- 17:36 Oh, my God.
- 18:06 I'm sorry, Matt, but more than anything else in this whole world. Heaven on hell, my dear, you could raise me up to paradise, or you could block my world into nothing.
- 18:36 I can make you the end of it every morning. I'll still ride with my finger to you, sir.
- 18:43 I'll just be there before it's too late. Joe, please. Don't go there, I'll be. We can be in quarter place in half an hour. There's a boat sailing at midnight. You'll stay so late, sir. We'll stay on everything. Now.
- 19:06 All right.
- 19:36 Oh, my God.
- 19:52 We are gathered together here in the sight of God and in the face of this company.
- 19:58 To join together.
- 20:00 This man, this woman, in Holy Magdalene, faith.
- 21:33 - Thank you. - Hi, Mr.
- 21:37 A toast to the bride, to the beauty queen. Gladly, my lord. Leave for your chance. So give me life. Leave my fortune.
- 22:07 What? What? And I see... I see... I see... I see... I see... I see... far more than you said. Is that all? No.
- 22:27 I... I...
- 22:32 What is it?
- 22:41 I think... Beth.
- 22:45 Beth.
- 22:50 Beth, what's wrong? I've been right here.
- 23:02 Oh.
- 23:32 my
- 23:48 and
- 23:57 The praise of our Lord and Savior, and the love of God, and the fellowship of His angels, even of evermore. Amen.
- 24:27 I'm going to go.
- 25:10 I'm going to go.
- 25:40 Nego. Nego.
- 26:10 I'm going to go.
- 26:34 Oh, my God.
- 26:40 I'm going to go to the next one.
- 26:49 Come.
- 26:52 yes my trouble you think you can do it alone
- 27:00 In a lifetime they were, my young.
- 27:04 I told the rich master, once my master, he fed me.
- 27:12 I talked about a few. Wang Elder the swine, fallen in the future. He fought against my spells unto the land. He left as a struggle, I think.
- 27:26 Electro-Empirica! Van Finistras Imperia!
- 27:32 Darcia, brigand chief.
- 27:35 Marquis, captain of gendarmeries.
- 27:39 This is for man.
- 27:45 I executioner. You are most executioner of me. I think so.
- 27:58 Just as we change.
- 28:02 This one. But what if they regain their soul?
- 28:10 That's my friend.
- 28:14 That would happen.
- 28:24 I'm going to go.
- 28:59 I'm going to go.
- 29:19 Mm-hmm.
- 29:30 What's the matter?
- 29:35 Donnelly!
- 29:55 I'm going to go to the next one.
- 30:15 so
- 30:20 so
- 30:28 So
- 31:04 so
- 31:06 *Painful screaming*
- 31:12 There's two explanations beside me.
- 31:15 Either the body was stolen by members of a death card.
- 31:18 that you human bones in the experiment.
- 31:21 All right.
- 31:23 Well, that's what?
- 31:24 He's not dead.
- 31:30 I'm not dead.
- 31:32 Are you mad? I saw her die.
- 31:35 The doctor turned a certificate. I saw them bury her. Now, baby.
- 31:40 Lady, I know.
- 31:43 But I've lived in these islands for good many years.
- 31:47 and I came to you with my eyes
- 31:50 I think that would say
- 31:52 There are superstitions and cases, but the natives forge here from Africa. Some of them can be traced back as far as...
- 32:01 Ancient agents.
- 32:03 And beyond that, yes, in the country.
- 32:06 that the old they eat it with junk. Yes. But what does that to do with Madeleine?
- 32:10 I kissed her, but she lay there in the coffin.
- 32:13 I don't look for a cold.
- 32:17 Let me explain. Now, just a minute. I'll explain. Wherever there is a superstition,
- 32:24 When you find there is also a practice. Now do you remember what your driver told you in 1950, the government house?
- 32:30 About those horrible creatures we saw. He said they were caught, taken from their grave. That's the superstition. Now for the practice.
- 32:40 The gold received the dead horses from the grave
- 32:43 I suppose to put him there and see him. Do you mean that Madeline was murdered so that somebody could see her dead body? Ah, no, no. Not her dead, not her body, yes, but not her dead body. Okay.
- 33:01 Surely you don't think she's alive in the hands of Nathan.
- 33:05 Oh no, better dead than that. Excuse me, have you got a minute?
- 33:19 You don't believe that, do you?
- 33:23 Say, there's been lots of people that've been for a mounshead that came alive again in this year. Now, if nature can play pranks like that...
- 33:34 Why isn't it possible to say, friend?
- 33:36 Oh, I don't know.
- 33:40 Your driver believed he saw a dead man walking in.
- 33:47 We did.
- 33:49 What he saw was men alive in everything, but this...
- 33:53 - Okay.
- 33:55 Oh, the whole thing has me confused. I just can't understand it.
- 34:01 I don't train you.
- 34:34 I dig it in.
- 34:36 I think it's looking for dinner.
- 34:40 For use?
- 34:41 the use of drugs or other practices
- 34:44 which produce metallic color.
- 34:47 or a lifeless teen.
- 34:50 - Trying to keep it in prison.
- 34:51 Attemptive murder. Attemptive murder. Yes, I say that. Right. Right. If the person has been buried alive,
- 34:59 The act should be considered murderous, no matter what result follows.
- 35:06 Oh, my. Say, you said that you couldn't understand why he was so interested in you.
- 35:13 Do you think he did this? No. No, I think it's made of him.
- 35:18 Made of the guy.
- 35:20 Or if they keep on doing, we can go to Roman's house first.
- 35:27 The authorities help.
- 35:31 I thought.
- 35:32 You don't know these islands.
- 35:34 The native authorities are appraised in medicine. I'm not. I got frenzied.
- 35:40 They'll tell me things are better to get out of here.
- 35:43 Because I'm a preacher, they think I'm a matrician.
- 35:50 Before we get through to this thing, we may uncover things, even the devil, oh, which suck.
- 36:30 I'm going to go to the next one.
- 38:02 Oh, my God.
- 38:12 Mm-hmm.
- 38:15 very kindly, I can wait to go down.
- 38:21 I was mad.
- 38:23 - Good. - Good.
- 38:27 I've got to go in. Give him to him.
- 38:32 I thought that beautiful book.
- 38:38 But the soul is gone.
- 38:40 I can't bear the wolf.
- 38:43 empty, staring iron.
- 38:48 Oh, forgive me, Magdalene, forgive me.
- 38:53 I can't bear it any longer.
- 38:55 I will take you back!
- 39:00 Back to the grave.
- 39:05 No.
- 39:06 You must put the lights back into her eyes.
- 39:10 and bring the master to over.
- 39:12 See what's this day and happen with him.
- 39:15 He paints a charming picture for this.
- 39:18 One that I delight to see.
- 39:21 I fell.
- 39:44 You must bring her back.
- 39:46 I'm just right.
- 39:50 How do you suppose those eyes will regard you?
- 39:54 and the brain is able to understand.
- 40:00 *Bad music*
- 40:15 so
- 40:30 That doesn't seem to take the dinner.
- 40:33 And that dreadful hint of it.
- 40:35 That's too bad.
- 40:38 It is a pity to destroy it, but to love it, Mr. Brown.
- 40:44 Let's bring to the future.
- 40:47 What, the wire?
- 40:50 I'm going to go.
- 40:51 Super.
- 40:52 Bring wine.
- 40:54 We have a coast to bring.
- 41:24 to the future.
- 41:42 Oh
- 41:44 Hmm, quite.
- 41:45 Now, overhand, a lap of wine.
- 42:01 Come on.
- 42:02 What are you trying to do to me?
- 42:04 I have other plans for Mademoiselle. I am afraid to fight the grief. I have taken a place to you.
- 42:20 Silver! Silver!
- 43:32 Charlie!
- 44:02 I'm going to go to the next one.
- 44:17 I'm going to go.
- 44:37 I'm going to go back to the next one.
- 44:46 No, not that. Not that.
- 44:53 - There you go.
- 45:27 What is that?
- 45:29 I love you.
- 45:34 I need to do it.
- 45:35 I don't know.
- 45:50 We got a hard day before this. All right.
- 46:29 to see old people all the way to the sea.
- 46:36 - Did somebody go here? - People all the way to the mountain. - Why? - Because
- 46:45 It is all the dying of the living dead.
- 46:52 - Do you think this is good?
- 46:54 I am the only man that ever claims him there in life.
- 47:02 No.
- 47:04 There is a needle to this man that is all murder, crime, all about what to do.
- 47:22 so
- 48:12 Watch it.
- 48:24 Just towards the air set.
- 48:27 Now the water always comes over the house of the living day. Madeline, is she there? I must go. No, no, no, no. You, my boy, please, please, my down-to-back. Please. Please, please, please, please. You're strong in the water.
- 48:57 Let me go up and see what I can do.
- 49:27 You're absolutely wonderful, Sam.
- 49:31 I never remember anything in my life that you know because I'm happy.
- 50:28 Bradley. Bradley.
- 50:47 I'm going to go.
- 50:55 So
- 51:10 Amen.
- 51:11 I can't! I can't! So much. It's your hand.
- 51:16 Back over the way.
- 51:43 I
- 52:15 So,
- 52:21 so
- 52:44 Can you feel it, dear me?
- 52:53 It is unfortunate you are no longer able to see.
- 52:58 I should be interested to hear you describe your symptoms.
- 53:10 You see, you are the first man to know what is happening.
- 53:38 You were a few to take that. Once. I remember. Well, well. We understand each other better now.
- 55:17 I'm going to go.
- 59:41 I don't know.
- 1:00:00 Come on.
- 1:00:30 I... I... I found you! I'm alive! I'm dying! I'm dying here!
- 1:01:00 What have they done to you?
- 1:01:30 You, my friend, they are angels of...
- 1:02:00 Come on.
- 1:02:30 so
- 1:02:41 So, let's go.
- 1:02:49 So,
- 1:03:17 Come on.
- 1:03:47 Come on.
- 1:04:34 Oh, my darling.
- 1:04:51 I do.
- 1:04:59 Excuse me please. Have you got a match?

STORY AND DIALOGUE BY ART AND EON JACK CARL BEVIE HERBERT ER CONRAD HLER SIDNEY MARCUS LAR

































































































































































































































































































































































































































































































