영문 Noises Off 노이즈 오프 영화 대사

 1  영문 Noises Off 노이즈 오프 영화 대사-1
 2  영문 Noises Off 노이즈 오프 영화 대사-2
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 10  영문 Noises Off 노이즈 오프 영화 대사-10
 11  영문 Noises Off 노이즈 오프 영화 대사-11
 12  영문 Noises Off 노이즈 오프 영화 대사-12
 13  영문 Noises Off 노이즈 오프 영화 대사-13
 14  영문 Noises Off 노이즈 오프 영화 대사-14
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 16  영문 Noises Off 노이즈 오프 영화 대사-16
 17  영문 Noises Off 노이즈 오프 영화 대사-17
 18  영문 Noises Off 노이즈 오프 영화 대사-18
 19  영문 Noises Off 노이즈 오프 영화 대사-19
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  • 2015.06.27
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영문 Noises Off 노이즈 오프 영화 대사에 대한 자료입니다.
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Noises Off Script
Curtains going up!
Curtains going up!
A big Broadway opening.
Everybody whos anybody
in New York is here tonight.
Everybody but one man.
This man. Me.
Where are you going?
Didnt you direct this?
I just have to... One or two things.
Get out of this theatre!
- Is anything wrong with your seat?
- Its facing the stage!
Its going to be a disaster.
I cant just sit there and watch.
Five seconds
and we still havent got a laugh.
Im not running away. I just
dont like watching a car crash.
Particularly when its mine.
Its going to be a catastrophe.
Theyll forget their lines.
We wont get out of New York alive.
Theres pictures of us in the lobby.
Ill get on a plane.
I should have done when we opened
in Des Moines, before we opened,
at the dress rehearsal,
as soon as the curtain went up.
As soon as the damned phone rang
and Dotty came on with the sardines.
Hold on! Hold your horses!
Oh, Lord love a duck!
Shut up! Im on my way.
Its no good you going on. I cant
open sardines and answer the phone.
Ive only got one pair of feet. Hello?
Yes, but theres no one here, love...
No, Mr Brents not here.
He lives here, yes, but not now
because he lives in Spain.
Yes, Philip Brent, who writes plays,
only now he writes them in Spain.
Shes in Spain, too. They all are.
Am I in Spain? No, Im not in Spain.
I look after the house for them.
Only I go home at one on Wednesdays,
so thats where I am.
No, because Ive got a nice plate
of sardines to put my feet up with.
And theyve got colour here, and its
the Royal...you know, the horse race.
Wheres the paper?
If its about letting the house,
youll have to ring the house agents.
Squire, Squire, Hackham and...
Whos the other one?
No, theyre next to the phone
in the study.
Squire, Squire, Hackham and...
Hold on! Ill go and look.
As soon as you take
the weight off your feet,
down it all comes on your head.
And I take the sardines...
No, I leave the sardines...
No, I take the sardines.
You leave the sardines
and you hang up the phone.
Yes, right. I hang up the phone.
- And you leave the sardines.
- I leave the sardines?
You leave the sardines.
I hang up the phone
and I leave the sardines?
Right!
- Weve changed that, have we, dear?
- No, dear.
- Thats what Ive always been doing?
- I wouldnt say that, Dotty.
How about the words?
Am I getting some of them right?
Some of them have
a very familiar ring.
- Its like a slot machine up here.
- I know that.
I never know whats going
to come out:
three oranges
or two lemons and a banana.
Anyway, its not midnight yet,
and we dont open till tomorrow.
- Youre holding the receiver.
- Right.
"Squire, Squire, Hackham
and...hold on!" and noises off.
Squire, Squire, Hackham... Hold on!
Hanging up the phone.
Put your feet up for two minutes
and they come running after you.
- Hold it!
- This is her afternoon off.
- Hold it, Garry. Dotty!
- Weve got the place to ourselves.
- Wow!
- Hold it, Brooke.
- Dotty!
- Come back?
Yes, and go out with the newspaper.
The newspaper.
Oh, the newspaper.
Hang up the phone, leave the sardines
and go out, with the newspaper.
- Here.
- Sorry.
- Dont worry. Its just the tech.
- Its the dress, Garry.
- When was the tech?
- Whens the dress? We open tomorrow.
Were thinking of it as the tech.
- Its the words.
- Dont worry about the words.
And that accent.
Its like oranges and lemons.
Your words are fine. Better than the...
you know? Isnt that right?
- Sorry?
- I mean, OK, hes the...
But, Dotty, youve been playing
this kind of part for, well, I mean...
Jesus, Dotty, you know?
Garry and Brooke are off,
Dotty is holding the receiver.
We open tomorrow,
weve only had two weeks rehearsal,
we dont know where we are,
but here we are.
- Right, Lloyd?
- Beautifully put.
Were playing Des Moines,
then Pittsburgh,
then God knows where
and were all feeling, you know?
- Arent you?
- Sorry?
Garry, youre off.
- Sorry, Lloyd, but...you know?
- I know.
- Thanks, Lloyd.
- So youre off...
Lloyd, let me just say one thing.
Ive known many directors,
some geniuses, some bastards,
but Ive never met one
who was so totally...I dont know.
Thank you, Garry, Im very touched.
Now get off the fucking stage.
- And Brooke?
- Yes?
- Are you in?
- In?
- Are you there?
- What?
Youre out. OK, Ill call again.
And on we go.
So, there you are,
holding the receiver.
I hold the receiver. I hang it up.
I leave the sardines.
- Always the same story...
- And you take the newspaper.
I take the newspaper.
I leave the sardines.
A weight off your mind,
a load off your stomach.
- And off I go at last.
- Leaving the receiver.
My housekeeper, yes, but...
And noises off. Stage!
This is her afternoon off,
so weve got the place to ourselves.
- Wow!
- Ill just check.
Hello? Anyone at home?
Theres no one here.
- What do you think?
- Great! Its all yours?
Just a shack in the woods.
Converted mill, th century.
- Must have cost a bomb.
- Ideal for business.
Someones coming at . . Arab. Oil.
Ive got to get those files
to Basingstoke by . .
Well just manage to fit it in...
Do it...
- Right.
-