TRACKING DOWN the line of empty, open capsules. Frozen twilight. The final four capsules are sealed, lids in place.
ANGLE - INSIDE CAPSULE
NEWT, then RIPLEY. HICKS next, his head and chest bandaged. Then BISHOP in his caul of plastic. But the lid of Bishops capsule is misted with hothouse condensation.
CLOSER
A tear of fluid streaks the condensation.
An alarm SOUNDS.
A monitor begins to scroll da
portrait, of a mountain; the north
face of Chomolungma - a peak also known as Mount Everest -
twenty-nine thousand feet high.
We hear a very young boy speak.
BOY (VO)
Mama, my story.
A woman speaks:
WOMAN (VO)
Again?
BOY (VO)
Tell me.
Portrait of a mountain - Khangbochen - craggy peaks covered
with snow, twenty-four thousand feet high.
WOMAN (VO)
Your father had been very ill,
We thought he would
scroll across it. And we get occasional
glimpses of what looks like --
JIM (O.S.)(CONTD)
...oh -- that was a tit, tits...
As most high-school guys know (but few will admit), it is
possible to watch the pay channels while theyre
scrambled. You just need a decent imagination to fill in
the rest of the picture. We PULL BACK to see JIM -- 17,
short, horny.
PORNO-CHANNEL CHICK (V.O.)
Give it to me! Ye
scroll across it. And we get occasional
glimpses of what looks like --
JIM (O.S.)(CONTD)
...oh -- that was a tit, tits...
As most high-school guys know (but few will admit), it is
possible to watch the pay channels while theyre
scrambled. You just need a decent imagination to fill in
the rest of the picture. We PULL BACK to see JIM -- 17,
short, horny.
PORNO-CHANNEL CHICK (V.O.)
Give it to me! Ye
portrait. Bozo the Clown.
WITH the Thief now, moving fast, into a panelled library. There is
a CHUTE built into the wall, a brass lid with the words U.S. MAIL.
The Thief pops the labeled tube DOWN the chute. Gone. Steps...
...onto a bookshelf, reaches up to punch out an overhead grating,
and...
Disappears into the vent. Reaching back to refit the grating
seamlessly into place.
INT. VENT
Halogen f
MR. BEAN
By
Richard Curtis
And
Robin Driscoll
INT. NATIONAL GALLERY. BOARDROOM - DAY
A very grand room, with lots of wood and some very famous portraits round the walls.
A group of grave gentlemen and gentlewomen. They are the trustees of the National Gallery. LORD WALTON, a very grand man, sits at the table head. To his right sits his assistant, GARETH. All are deep in thought. LORD WALTON fidge
scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street. But garages and cotton gins had encroached and obliterated even the august names of that neighborhood; only Miss Emily's house was left, lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps—an eyesore among eyesores.
Emily
portrait)로서 자신의 신체를 통해 여성성을 재고함.
신체를 재현하면서 자신의 정체성을 재정립하는 것을 통해 젠더와 여성 섹슈얼리티를 시각화함.
신체는 공적이고 개인적인 권력이 드러나는 장으로서 인식됨
여성미술가들에게 신체는 단순히 예술의 소도구로서의 의미를 가지는 것 이상으로 여성
H A N N I B A L
Screenplay
by
Steven Zaillian
Based on the Novel
by
Thomas Harris
Revision
February 9, 2000
INT. PANEL VAN - DAY
Clarice Starling is dead, laid out in fatigues across a bench
in the back of a ratty, rattling undercover van. Three other
agents sit perched on the opposite bench, staring at her
lifeless body.
BURKE
How can she sleep at a time like this?
BRIGHAM
Shes on a jump-out squ
Amadeus
1 INT. STAIRCASE OUTSIDE OLD SALIERIS SALON - NIGHT - 1823 1
Total darkness. We hear an old mans voice, distinct and in distress. It is OLD
SALIERI. He uses a mixture of English and occasionally Italian.
OLD SALIERI
Mozart! Mozart! Mozart. Forgive me! Forgive your assassin!
Mozart!
A faint light illuminates the screen. Flickeringly, we see an eighteenth century
balustrade and a flight of