词汇:street

n. 街道

相关场景

Again Heller appears in the entrance. He beckons someone inside. Henryk shuffles out. Heller shoves him into the street. Henryk stumbles, falls.
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The can falls to the pavement and thick, steaming soup pours into the dirty street.
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HALINA:
They're hunting people on the streets. They've picked up Henryk.
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Their POV from second window building opposite and street: SS Men herding a couple of dozen prisoners from the building opposite.
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EXT./INT. BUILDING OPPOSITE AND GHETTO APARTMENT - NIGHT A Gestapo vehicle has entered the street and screeched to a halt. Helmeted, jackbooted SS MEN, led by an NCO, pour out of the vehicle.
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EXT. STREET NEAR WALL - DUSK The wall runs the length of the street, dividing it in half and narrowing it. Buildings on one side, the wall on the other.
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EXT. GHETTO STREET - DUSK Szpilman walking. He passes emaciated children and beggars.
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HELLER:
(interrupting, flaring) Yes, I'm looking at you and that's why I'm here. Your whole family can have a better life. You want to go on struggling for survival, selling books on the street?
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The couple dance to the street band's waltz.
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Meanwhile, a street band begins to play a waltz. Jewish policemen and German soldiers are clearing a space, shoving Jews out of the way, including Szpilman, Henryk and the nervous man. Other soldiers are clearing a space.
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THE NERVOUS MAN:
This is totally insane; why do we have to have a gentile street running through our area? Can't they go around?
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EXT. CHLODNA STREET - DAY A stream of cars and trams. Jewish policemen and German soldiers much in evidence.
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Further along, men are building a wall across the street.
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Their POV - the street.
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INT./EXT. GHETTO APARTMENT AND STREET - DAY Two rooms on the third floor: a living room and a kitchen.
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They're watched on either side of the street by Poles.
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EXT. STREET LEADING TO GHETTO - DAY AUTUMN A great column of Jews of all ages make their way towards the area that will become the ghetto. On foot, on bicycles, on horse-drawn platforms, some pushing prams loaded with belongings. A great moving mass of humanity.
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INT. SZPILMAN APARTMENT, SLISKA STREET - NIGHT Hands on the piano keyboard. Podgy, hairy hands with dirty nails. They play an octave, harsh, toneless, with straight fingers.
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EXT. WARSAW STREET - DAY Father, wearing the Star of David armband, walks slowly along, carrying a string bag containing potatoes and carrots, his eyes fixed on the pavement as if his thoughts are a million miles away.
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EXT. WARSAW STREET AND CAFE PARADISO - DAY Szpilman and Dorota stroll along a tree-lined street with bombed-out buildings and rubble. She flicks admiring, almost loving glances at him as they walk and talk. And he is smiling, touched by her.
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On the sidewalk of the street, with its buildings in ruins, smoke still rising, stand onlookers, including Szpilman and Henryk, and a little behind them, Father, craning to see. They watch, expressionless, as the Germans march past.
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EXT. RUINED WARSAW STREET - DAY A column of German Soldiers, led by an officer on horseback, march into view.
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Behind him, a window to the street with strips of paper taped on it as protection against blast.
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FADE IN:
INT. WARSAW (ARCHIVE) - DAY Black and white. Street scene. People toing and froing. A man rattles by.
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(Scarlett runs out of the hospital onto the street, where she finds the whole city is shaking in the flame of war. Everyone is fleeing. She is totally at a loss what to do, then Butler comes with a carriage.)
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