词汇:skyline

n. 地平线;空中轮廓线;架空索

相关场景

EXT. WARSAW CITY SKYLINE - NIGHT Artillery fire. Fires glow on the horizon.
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EXT. CITY SKYLINE - NIGHT The city in flames.
>> 钢琴家 The Pianist Movie Script
EXT. CITY SKYLINE. POINT OF VIEW THROUGH WINDOW - DAY Snow falling.
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36 EXT. SOUTHAMPTON DOCKS / TITANIC - DAY A VIEW OF TITANIC from several blocks away, towering above the terminal buildings like the skyline of a city. The steamer's whistle echoes across Southampton.
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DISSOLVE TO: EXT. NEW YORK BRIDGE – NIGHT ESTABLISHING SHOT OF DREW AND KWAN WALKING ALONG A BRIDGE, THE ENTIRE NEW YORK NIGHT SKYLINE IN THE B.G.
>> 花旗小和尚 American Shaolin (1992) Movie Script
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EXT. NEW YORK CITY SKYLINE – NIGHT ESTABLISHING SHOT OF THE NEW YORK CITY SKYLINE AT NIGHT, THE LIGHTS OF THE CITY SHINING BRIGHTLY.
>> 花旗小和尚 American Shaolin (1992) Movie Script
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INT. FIRST DEPOSITION ROOM - NIGHT MARK is sitting alone.-in the conference room. The only one left is MARYL?N,whose vo�.ce we just. heard. The lightp of the San Francisco skyline fill the huge picture windows.
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MARK is sitting at his computer alone. No one else is in the office. The San Francisco skyline is beautiful outside the floor-to-ceiling glass.
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68 I/E. JULIE'S CAR/DOWNTOWN SKYLINE - ST. PAUL - 1996 - NIGHT 68 Julie at the wheel; Betsy in the passenger seat. David and Lipsky are in the backseat smoking, each blowing smoke out of their respective windows. Spirits high, they sing along with the Alanis Morissette song “You Oughta Know” on the radio.
>> 旅行终点 The End of the Tour Movie Script
21 I/E. CAB/FDR DRIVE - NYC - 1996 - MORNING 21 Lipsky, in the backseat, reads Infinite Jest; he’s about three-quarters of the way through it. He makes a note in the margin, then glances out the window at the passing skyline.
>> 旅行终点 The End of the Tour Movie Script
FLASHBACK TO: 10 EXT. DOWNTOWN SKYLINE - NYC - 1996 - NIGHT 10 The heart-stopping view of the illuminated twin towers tells us we are in pre-2001 New York.
>> 旅行终点 The End of the Tour Movie Script
EXT. PARIS STREETS - DAY Magnificent public buildings -- palaces and cathedrals -- grace the city's skyline, but here in central Paris all is squalor. On a narrow, filthy street, beggars bother the sullen city peasants who are weak with hunger themselves.
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EXT. GOTHAM SKYSCRAPER - DUSK Gotham's skyline fills our vision as we zoom in on the top floor of a super-ritzy high-rise. Its floor-to-ceiling windows open onto a wrap-around, STONE ROOF-DECK.
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GORDON:
Oh god! He breaks into a run for his car, seconds later he's on the - EXT. STREETS OF GOTHAM - DAWN The sun is just a pink edge on the skyline as GORDON tears ass across town.
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JOE:
Easy, Bill. You'll give yourself a heart attack and ruin my vacation. INT. SALON, PARRISH TOWNHOUSE, NEW YORK CITY - NIGHT The skyline glitters through the terrace windows. The hour is before dinner, Coyle and Luisa weave seamlessly among the family, offering hors d'oeuvres and drinks on a tray. Allison and Susan together by a piano; Parrish, Quince and a distracted Joe are gathered near the terrace. Joe's eyes are on Susan across the room. Her eyes flicker towards him, aware of his gaze.
>> 第六感生死缘Meet Joe Black Movie Script
JOE:
Yes, I am. I thoroughly enjoyed this - uh - peanut butter. (to the staff) And I thoroughly enjoyed meeting you. Joe raises the spoonful of peanut butter in a kind of toast to the staff. JOE (cont'd) I'll be moseying on. He heads out, with the spoonful of peanut butter, to cheer- ful "Goodnight, Mr. Black"'s, his tongue again licking the edges of the spoon. INT. SWIMMING POOL, PARRISH TOWNHOUSE - DAY A spectacular indoor Olympic pool, window commanding views of the skyline. Susan is swimming laps, looking very professional in a black Speedo suit, Joe wanders in, still licking his peanut butter. He observes her, but she is unaware of him, however now, as she makes a barrel turn, his shadow falls over a reflection from a window, she aborts her lap, looks up to see who it is.
>> 第六感生死缘Meet Joe Black Movie Script
DREW:
(bursting) Olympic. Parrish disappears into his office. Drew, on his way out, glides past Jennifer's desk. DREW (cont'd) This is our lucky day. Jennifer acknowledges Drew with a smile, rises and moves to Parrish's doorway, waiting for the day's instructions, but Parrish only nods to the door and Jennifer quickly closes it, returns to her desk. INT. PARRISH'S OFFICE - DAY Alone in his office, Parrish's ebullient mood immediately changes. Leaning against the back of the couch, he stares out through floor-to-ceiling windows, surveying the Manhattan skyline:cogitates. He takes a seat on the couch, opens a folder, suddenly he flinches with a spasm of pain in his shoulder. It is sharp but brief, he notices it but what it does not continue, he ignores it. Parrish resumes looking at the folder when suddenly the pain comes again. He reaches for his shoulder, tries to massage the pain, it does not subside. Parrish stands, trying to shake it off, but it refuses to go away, some- thing is unmistakably wrong. Now a SOUND which he has come to recognize, makes itself heard:VOICE (V.O.) Yes. Frozen with surprise, Parrish's eyes search the room for the source of the SOUND, it comes from no particular direction, yet surrounds him. Suddenly Parrish's symptoms sharply intensify, he is sinking to the floor but somehow grabs a corner of the desk, holds on with one hand, with the other clutches at his shoulder and arm, the pain has violently seized the upper part of his body. He breaks out in a sweat, his pallor now waxen as the Voice repeats itself:VOICE (V.O., cont'd) ...Yes. Parrish grips the edge of the desk, the pain assaulting him on the one hand, the Voice coming at him from the outer, each aberration feeds on the other, he is beside himself, consumed with pain and bewildered by what seems to be a hallucination but which he is certain is not. Parrish is possessed. He angles his face in every direction, arbi- trarily chooses one and now embarrassedly, unconsciously, enrage, responds to the Voice.
>> 第六感生死缘Meet Joe Black Movie Script