영문 GODS AND MONSTERS 갓 앤 몬스터 영화 대사

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영문 GODS AND MONSTERS 갓 앤 몬스터 영화 대사에 대한 자료입니다.

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"GODS AND MONSTERS"
Screenplay
by
Bill Condon
Based on the novel
"Father of Frankenstein"
by
Christopher Bram
May 30, 1997
SHOOTING DRAFT
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR
THIS SOFT COPY.
FADE IN:
MAIN TITLES BEGIN
Writhing pools of light and dark, out of which emerge images
from "The Bride of Frankenstein," directed by James Whale.
Elsa Lanchester, as the Monsters Bride, looks up, down,
left, right, startled to be alive. The Monster stares at
her. "Friend?" he asks, tenderly, desperately.
EXT. COUNTRYSIDE - NIGHT (B & W)
Lightning splits the black-and-white sky, revealing a single
shattered oak in a desolate landscape. Below, a HUMAN
SILHOUETTE stumbles through the darkness, the top of his
head flat, his arms long and heavy, his boots weighted with
mud.
Suddenly the storm fades. Light creeps into the scene, and
color, as we DISSOLVE TO:
THE PACIFIC OCEAN
melting into a hazy morning sky. In a box canyon off the
coast highway, we see row after neat row of trailer homes, a
makeshift village for beach bums.
INT. TRAILER - DAY
CLAYTON BOONE opens his eyes. He is 26, handsome in a
rough-hewn, Chet Baker-like way, with broad shoulders and a
flattop haircut. He grabs a crumpled pack of Lucky Strikes,
lights a bent cigarette.
Clay stands and walks bare-assed across the single tin room,
his head almost touching the ceiling.
EXT. TRAILER PARK - DAY
Clay goes a few rounds with a weatherstained speed bag
thats set up behind his trailer.
INT. TRAILER - DAY
Clay towels off, glances at the morning paper. He moves
aside a pile of paperbacks on a card table until he finds a
calendar. His finger targets todays first appointment.
"10 A.M. - 788 Amalfi Drive."
EXT. TRAILER PARK - DAY
Clay steps out of the trailer, clean-shaven and dressed in
dungarees, a T-shirt with a fresh pack of cigarettes flipped
into one sleeve. He weight-lifts a secondhand mower onto
the bed of his rusty pick-up.
Clay climbs into the truck, slides the key into the
ignition. It takes a few tries but the engine finally turns
over.
EXT. PACIFIC COAST HIGHWAY - DAY
Clays truck sails down the road, "Hound Dog" blaring on the
radio. MAIN TITLES END.
EXT. COLONIAL-STYLE HOUSE - DAY
Sprinklers twirl on a grassy slope outside a rambling
clapboard house. Below, a swimming pool forms a perfect
rectangle of still water. A title reads: SANTA MONICA
CANYON. 1957.
The pick-up drives past. Clay parks in the back, hops out.
ANGLE - HOUSE
A SHADOWY FIGURE stands at a window, watching Clay unload
his red power mower.
INT. HOUSE - LIVING ROOM - DAY
The shadow is a man with dove white hair, wearing a dress
shirt and seersucker jacket. This is JAMES WHALE, age 67.
DAVID
Id have more peace of mind if the
live-in nurse were still here.
HANNA
She was nothing but bother. I not
like her, Mr. Jimmy not like her.
We do better if you live-in again,
Mr. David.
In the dining room, visible through open double doors, DAVID
LEWIS, 55, speaks softly with the housekeeper, HANNA. She
is a squat, muffin-faced Hungarian woman in her late 50s,
dressed in black, her hair cinched in a tight bun. She
speaks with a thick accent.
DAVID
Youll contact me if theres an
emergency?
HANNA
Yes, I call you at this number.
(calls out)
Mr. Jimmy? More coffee?
WHALE
What? Oh yes. Why not?
He moves into the dining room, sits opposite David.
WHALE
Isnt Hanna a peach?
Hanna ignores him, returns to the kitchen.
DAVID
She tells me you havent been
sleeping well.
WHALE
Its the ridiculous pills they
prescribe. If I take them, I spend
the next day stupid as a stone.
If I dont, my mind seems to go off
in a hundred directions at once --
DAVID
Then take the pills.
WHALE
I wanted to be alert for your visit
today. Especially since I saw so
little of you in the hospital.
The remark hits its target.
DAVID
Im sorry, Jimmy. But with this
movie and two difficult stars --
WHALE
"The fault, dear David, is not in
ourselves but in our stars."
DAVID
(too anxious to laugh)
You remember how a production eats
up ones life.
WHALE
Oh, David. Theres no pleasure in
making you feel guilty.
(stands)
You better go, my boy. Youll be
late for that aeroplane.
David extends his hand, but Whale draws him into a hug. As
he starts out, David points to a framed painting.
DAVID
By the way, I like the Renoir.
WHALE
Thank you.
DAVID
(calls out)
Goodbye, Hanna.
Hanna runs out of the kitchen to escort David to the door.
Whale drifts back to the window, watches as Clay revs up the
lawnmower, creating a cloud of white smoke. We CUT TO:
EXT. STREETS OF DUDLEY - DAY (1900)
A bean-pole child with flaming red hair (WHALE at age 12)
stares up at the coal smoke pouring from a seemingly endless
row of chimneys. Were in Dudley, a factory town in the
English Midlands region known as the Black Country.
SARAH WHALE (O.S.)
Stop lagging behind, Jimmy. Well
be late for church.
YOUNG WHALE
Yes, Mum.
Whale runs to catch up to his six brothers and sisters. His
father, WILLIAM WHALE, frowns at

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