2018年2月27日 (火)


Int. Dining Room On Ship - Evening

Passengers dining.  The passengers seated in the f.g. murmur to each other,
look around interestedly as Nickie is shown to his table


Med. Shot

The waiter enters followed by Terry.  They walk back toward corner chair,
disclosing Nickie seated, menu over face.  The waiter seats Terry as Nickie
sees her, then the waiter exits.  Terry looks around, sees people off scene
watching, turns and sees Nickie.  Both react.




Terry  (muttering)
                 This is what is known as fooling the world!

Nickie        Yes...

Terry         Everybody's looking at us -- This is awful!

Nickie        What did you say?
           (as he leans back)

Terry         I said this is awful!  I'm going to leave!

She rises.  He rises.  They ad lib.  He starts to go, but she half pulls him
back, then turns and exits, leaving her purse on chair.  Nickie sees the
purse on chair, picks it up, looks around, helpless, then puts it inside coat
pocket.  The waiter re-enters and goes to chair, looking for the purse. 
Nickie sees him, pulls purse out and hands it to him, then rises as he
reaches for cigarette case.

ad lib=即興的にしゃべる

Nickie      You don't think I make a practice of this --

The waiter reaches for the case, but Nickie pulls it away and pantomimes: 
"No!  This is mine!"  He turns and exits furiously.

                                                                              Dissolve To:

Int. Ship's Pool - Morning

Bright and sunny.  Terry enters.  She is wearing a dark robe.  She
takes a deep breath of the crisp morning air.  She's slept well and feels
wonderful.  Then strips the robe.  She is wearing a white bathing suit.
She goes up on the diving board, poises, dives.  Camera quickly pans to:


Nickie - Med. Shot

as he enters.  He is wearing  a black robe.  He hasn't slept well and
doesn't feel wonderful. The pool looks deserted.  He takes the robe off.
He is wearing black trunks.  He goes up on the board and dives.


Close Shot

as Terry and Nickie bob up in the pool.

bob up=〔予期しなかった人・物が〕突然[不意に]現れる[浮上する]

Terry  (innocently)
        Did you want to say something?

Nickie  (strangling)
                 I'm seeing more of you all the time.

see more of~=~にまた会う   
all the time=いつも、年がら年中、ひっきりなしに

Offscene, the ship's whistle hoots.  Terry looks off.

look off=他に目をやる

Terry        We're coming into Naples.  Are you going ashore?

Nickie  (stiffly)


Terry    Anyone I know?

Nickie  (stiffly)
                 I'm calling on a lady.

Terry         You really do get around.

get around=あちこちに移動する、動き回る、付き合いが広い

She swims to poolside.  Nickie follows her.

Terry         Yes.  I'd love to meet your grandmother.

Nickie        To play safe, I'll go ashore first and have a horse and carriage

Terry and Nickie look at each other, then start swimming toward pool edge.

                                                                                   Dissolve To:   

Ext. Road - Long Shot


The carriage coming up hill toward camera.

Ext. Road - High Angle, Shooting Down - Day - (Process)

The carriage with Nickie and Terry is coming toward camera.  (dialogue to
be written after we see location)

Reverse Angle - Carriage - Day

Going up hill along a beautiful vista.
                                                                                   Dissolve To:   


2018年2月15日 (木)


Med.  Shot

She stops as she looks down behind ventilator and sees photographer crouching
over his camera.  She beckons to Nickie.


Terry        Psst!
                (=ちょっと、ねえ・読み方 /ps(t)米国英語)

Nickie re-enters as she runs back, picks up plate and Nickie speaks.

Nickie (to photographer)
                You shouldn't have done that!

Terry throws plate to him.

Nickie       We told you --
          (catches plate and holds it up)
          (throws plate in ocean)
                It's no good!

He dusts off hands and exits.  Photographer stands there glaring.  Terry passes
photographer, then hurries past him and out as he stares after her.

                                          Dissolve To:

Ext. Upper Deck - Med. Shot - Night

Nickie comes up the steps and sees a little boy hanging from the beams.



Boy          Hey!  Get me out of here, will you?

Camera pans with Nickie as he crosses to boy and takes him down from hanging position, seating him on rail.


Boy          Gee, I got up there and I couldn't get back.

Nickie (slaps boy's legs, then goes into business of game)
                Can you do this?


Boy         Sure.

They play slapping game.

Nickie       Good - you're quite a guy.
          (he starts off)      (=大したやつ)

Boy      Say --
       (pulling Nickie back)
               -- you must be quite a guy yourself.


Nickie       Yes?  Why?

Boy           Well, everybody on the ship's talking about you.

Nickie        No -- what do they say about me?

Boy          I don't know -- on account of every time they start talking about
       you, they make me leave the room.

on account of=~の理由で

Nickie        Is that so?

They both laugh.  Nickie starts off,  meets Terry who has been watching from
the stairs.

Terry         Cute!

Nickie fussed, pantomimes, then bows and goes down deck.  Terry
comes forward and sees boy.                                                                              

come forward=前に進み出る

Terry        You'd better be careful there, chum --- you'll hurt yourself. 
                When I was little like you, I fell and broke my leg. 

chum=《口語》 (子供の中での)仲よし

Boy           How is it now?

Terry         Huh? -- Well, it's all right.

Boy          Well, what are you crabbing about?

Terry is stopped.  She turns.

Terry         I -- I'm not crabbing -- I'm sorry -- I --

She gives him a look and walks on.

Int. Bar - Med. Shot - Night

People seated at tables.  Nickie enters from the outside.  Camera pans
him to bar.

Nickie        Champagne cocktail, please.

Bartender  Yes, sir.

Nickie        Have you got cigarettes?

Bartender  The cigarette stand, sir.

Nickie  (starts - stops)
                 Have you got pink champagne?

Bartender  Oh, yes.

Nickie exits.  Terry enters from outside and camera pans her over to bar.


Terry       Champagne cocktail, please.

Bartender Yes, madame.


Terry  (as bartender brings up second glass)
                Have you any pink champagne?

Bartender  Oh, yes.

The bartender mixes drinks.  Nickie re-enters and picks his drink up.
Nickie and Terry turn to each other and smile, then drink.

Nickie        I changed my table to a table for one.

As he speaks a blonde moves in and sits next to Terry, leaning over to
hear them speak.

Terry       So did I.

Nickie  (in a low voice)
                It's too bad it had to be like that -- after such a delightful
                dinner last night --

Terry becomes conscious of people all listening, turns to Nickie.

Terry        Do you speak Gaelic?   


Nickie      Fluently.

Terry  (in Gaelic)
               Let's leave here.
Terry smiles, then gives the blonde a dirty look, leans over and blows into
her ear softly.  She rises and Nickie walks with her to the door - Camera
panning with them.  They look at each other, then exit in opposite direction.

dirty look=怒った顔つき
lean over=身を乗り出す、屈みこむ

                                    Dissolve To:


2018年2月11日 (日)


Dissolve To:

Ext. Sun Deck - Day - Traveling Shot

Nickie enters and walks past the row of deck chairs in which women of
all ages and sizes are stretched out with a lot of legs showing.  He
finally stops in front of one deck chair in which a woman has a hat
pulled down over her face.

Nickie       I never forget a face.

The woman pushes back the hat, revealing herself to be Terry.

Terry (looking up at Nickie)

Nickie sits down in the chair next to her.

Nickie        Didn't your mother warn you about sun decks?

Terry       Yes, she told me to 'Watch out for -- freckles.'
                                            (=~に注意する)  (=そばかす、染み)

Nickie (looking at her)
                Any place in particular?

A Page Boy comes along the sun deck with a sheaf of radiograms,
calling:                                                     (=〔まとめた〕束)

Page Boy   Signore Ferrante --

Nickie (stopping him)
                 That's me, boy.
          (he tips him, and takes the radiogram)
                 Pardon me, Miss McKay.

Boy (turning back)
                 McKay?  I have a radiogram for you too.

Terry (taking radiogram)
                 Pardon me, Mr. Ferrante.

Both Terry and Nickie stand back to back reading their radiograms.
As they finish they turn facing each other.

Nickie and Terry (in unison)
        From him?
                 From her?

Both nod.


New Angle

Nickie        Now, where were we -- you were about to tell me
                 where you were born.

Terry         Boston...

Nickie        And from there...?

Terry         I grew up quickly, went to New York and got a job singing
                 in a night club from ten to three in the morning. Then the
                 manager used to chase me around his office till about four
                 - then I went home.  One night, Ken came along...

Nickie        Oh, yes...

Terry       And he said I didn't belong in a place like that...he said that...

Nickie       I didn't say anything.  But where did he say you belonged?

Terry        Well, he said that - er - well, he said I belonged on Park
                Avenue with a lovely view of...

Nickie       Of him?

Terry       Well, in a way...

Nickie       And of course he was in business?

Terry       Sort of...

Nickie       And a penthouse on Park Avenue was an ideal place for you
                to improve yourself?

Terry        Yes...so I studied hard.

Nickie      Singing?

Terry       Various things.

Nickie      So that one day you'd make a charming and lovely wife.

Terry        That was the general idea.

Nickie       And then you discovered he was married.

Terry        No.

Nickie       Not married?

Terry        Separated.
         ( a pause)
                Well, that sort of brings us up to date.  Now my life's an open
                book.                (=~に最新の情報を伝える)

Nickie       That's only one page.

Terry       That's the only page.

Photographer (off)
I beg your pardon!

They both turn and look off and see the ship's photographer with camera
raised.  He snaps it.

Grazia -- thank you very much.

Nickie turns back to rail.

Terry        Oh -- that's bad...ah --
         (she pantomimes them together)

Nickie       Oh --
          (to photographer)
                That's a beautiful camera you have there.

                Oh, yes --

Nickie  (taking plate out and pulling inside out and walking back to rail)
                Takes very clear pictures, eh?

                Oh, very clear - yes -
                   (as he sees what Nickie is doing)
                Oh, please, Signore -- stop!

He grabs plate and holds it behind him - Terry grabs it, and as he turns
to her, she drops it overboard - he glares, then exits, furiously.
                           (=船外へ)      (=にらみつける)


Terry      I guess it's no good for either one of us to be seen together. 
               Right or wrong, people will talk.  It had better be goodbye.

Nickie     What's the matter - afraid?

Terry      Of you?  No.

Nickie     But after all, we're on the same ship - there are still five
               days - you know.

Terry       Oh, you can take long walks in the sunshine --

Nickie      What'll I do if it rains?

Terry      No - it's no good.

Nickie     I see -- it's particularly no good for you.

Terry      Yes, that's right.  Being seen with you is news, and I don't
               want to get my picture in the paper.  So I guess we'd better
               - sub-divide...

He nods, she smiles and they exit in different directions.


2018年2月 5日 (月)


Int. Dining Room - Night


Terry and Nickie are seated at a table.  People are having dinner
in the background.

Terry (sweetly)And when you were little - what did your nurse read
                     to you at bedtime...the memoirs of Casanova?

Nickie (solemnly)
                     Every night and then we'd turn out the light.

Terry reacts - Nickie adds hastily.

Nickie            I was only so big --
          (he indicates a little tot)
               (=表す)            (=〈話〉小さい子ども)

Terry (insidiously)
                     You must have had a happy childhood.

Nickie beams.

Terry           And women - you've known quite a few,
                     haven't you?                     (=かなりの数)

Nickie          Mmmm...

Terry  (helpfully)
                     Or maybe few is the wrong word?

Nickie           Let's say it's not precise.

Terry  (calculating)

Nickie  (a vague gesture)   

Terry          Would an IBM machine help?

Before he can answer the waiter enters.

Waiter         I beg pardon, Signore Ferrante - would you like me
                    to reserve this table for you every night?

Nickie looks at Terry - she nods.

Nickie(a smile)Why not?

The waiter exits.

Terry (picking up where she left off)
                    And I suppose they've all been madly in love with you...
         (he agrees)
                    But, of course, you haven't much respect for them...
         (he agrees to this, too)
                    ...Still, you've always been fair in your judgment.

pick up=〔会話を〕再び始める
leave off=〔仕事・話などを〕やめる、中止する

Nickie         I've been more than fair. I idealize them...Every woman
                    I meet I put up there -
           (holding his hand up high)
                   But the longer I know her - the better I know her...

more than=~どころではない、非常に~で、この上なく

His hand has dropped below the table. He seems surprised to find it
missing.  He discovers it below the tablecloth.  He shrugs. 


Nickie        Now, let's talk about you.

Terry          No-ooo...not tonight.   The statistics wore me out.  We'll
                  talk about me some other time...We've nothing planned
                  for tomorrow.

wear out=疲れさせる

Nickie         I have.

Terry        No -  we'll talk about me tomorrow.                                                                     


2018年1月18日 (木)


Int. Terry's Suite - Med. Shot - Night
                            (=medium shot ミディアム・ショット◆long shotと

The door opens and Terry, followed by Nickie, enters as she speaks.

Terry         It's just that my mother told me never to enter a man's
                   room in months ending in "R".

Nickie          Your mother must be a very clever woman.  What is
                   your name?

Terry           Terry McKay.  Terry McKay, and I'm traveling alone.
                   (as he starts into room)
                   Was that by any chance what was troubling you? 

Nickie (stops and turns to her)
          (walks back and looks around)
                   Oh, this is fine -- You saved my life, you know - I was
                   bored to death -- I haven't seen one attractive girl on
                   this boat since we left -- not one.  It's terrible -- it's
                   not for me -- Life should be bright -- it should be
                   beautiful and bubbly, like champagne.  I got scared - I
                   said to myself "Don't beautiful women travel anymore?
                   Evidently not."  And then I saw you and it was all right
                   -- I was saved - I hope.
          (offering her case)



Terry           No thanks.
          (walks back toward chair)
                   Have you been getting results with a line like that?
          (sitting on arm of chair)
         Or would I be surprised?


Nickie (sitting down)
                   If you were surprised, it would surprise me.  

Terry           That sounds like a nasty crack.  I could make a few
                   too if I felt like it.


Nickie          I'm sure you could.

Terry           I know I can.

Nickie          That's what I said.

Terry          I think I will -- Does your fiancee know the 'lady of
                    the yacht Gabriella'?

Nickie         Yes - it was her best friend.

He rises and goes toward veranda as she speaks.

Terry          Friendly group.

Nickie          The boat is going awfully fast.
          (he starts back to her) 
                   Only six and one-half days till we get in. Is there any
                   reason why - from now on...it shouldn't be pink

She looks at Ken's picture which is on a table with a huge vase of
fresh cut flowers,  So does he.  Then, crosses and sits on the other
arm of chair. 

Nickie (indicating picture)
                   Is that him?

Terry         Uh-huh.  Flowers every day.
          (indicating vase of flowers) 

Nickie          Nice - mmm?
          (she nods yes)
          (she nods and fingers her pearls, which does not escape
           Nickie's notice)
                   He looks healthy, too.

Terry         Handball -  twice a week... 

Nickie (he winces at the handball)
                  And a massage - before he sees you?

Terry         Four times a week.

Nickie        Where is he now?

Terry         Reno.  

        カジノで知られ「世界で一番大きな小都市(The Biggest Little
        City in the World)」の愛称で呼ばれる。

Nickie         Business?

Terry          Not exactly.

Nickie         Pleasure?

A beat.

Terry (slightly turning her head)

Nickie (his eyebrows arch)
                  And he suggested a trip to Europe while...

Terry          Messy, isn't it?

He nods. A beat.

Nickie         And I suppose he wouldn't approve of pink cham...?

Both         No-ooo...

He examines the picture again.

Nickie         Very touching - I mean, his trusting you alone...in Europe.

Terry          Isn't it?

Nickie         He must feel very sure of himself.

Terry        Horribly.

Nickie (a beat - hopefully)
                  No mistakes?  No little slips?  Tiny errors?


Terry (sadly)Not one.  Five years.  Isn't it awful?

Nickie looks at Ken's picture again.

Nickie        He looks very engaging.

Terry         You can imagine how attractive he is when I can resist
                 so charming a person as ---
          (she indicates Nickie)   

Nickie (rising)
                 I think I'll go now.
          (he edges back toward door)
                 Well - there's still deck tennis - Keno - Shuffleboard...
                 and an early plunge in the pool...

                  枠の中に入れるゲーム; 主に船の甲板でする)

Terry (astonished)
                 Don't tell me you're embarrassed?

Nickie        Yes.  Yes, as a matter-of-fact, I am.  And if you don't mind,
                  I'll take my pride for a walk...
           (opens door - hesitates)
                  Unless,  you care to have...

Terry          Dinner with you?  I'd love to.

And goes out.  He closes the door behind them.

                                                                               Dissolve To

dissolve=ディゾルブ 《画面が暗くなるのにオーバーラップして次の画面が


2018年1月16日 (火)


Med. Shot - Shooting Toward Door

Nickie enters, goes through door, looks around, then disappears
inside as camera moves forward along windows.  Camera stops as
Nickie comes out of door and looks around deck for Terry.  Then he
paces back and forth.  Terry comes out from inside and watches
him pace a moment.

Terry       What's the matter - did you lose it again?

She grins and walks out.

Nickie      Look -

Camera pans him to her.

Nickie           I am in trouble -- serious trouble.

Terry              Well,  I could have told you -- playing around yachts. 
                       The poor thing!

Nickie           I must talk to someone.

Terry            Well, I'm not very good at that sort of thing - I talk
                      a lot - I'm trying  to break myself of the habit.

Nickie             No -- you have an honest face.  I can trust you,
                      can't I?

Terry           (taking small mirror from her purse and looking into it)
                      Yes, I guess so.

Nickie (taking her arm)
                     Come with me.

He starts leading her to door as she speaks:

Terry             Yes, but the captain has an honest face, too -- why
                     don't you tell him your troubles?

They exit inside.

Int. Ship's Corridor - Dolly Shot - Night

Nickie and Terry come around the corner and start forward as camera
moves back with them.  Halfway down, he turns to her.

Nickie            Shall we go to your cabin or mine?

Terry (hesitating in her walk)
                     Oh -- m-mine.

Nickie (as they walk on)
                     Maybe mine is closer - it's just -
         (steps a little ahead of her and indicates off)

Terry  (crossing to door behind him)
                     Mine is here.

medium shot ミディアム・ショット◆long shotとclose-upの中間距離からの撮影

She opens door and enters as he reacts, then goes to door, gives little
look back toward his room, then follows her through door as she says:

Terry             It's not that I'm prudish --


He starts to close door after himself.




2018年1月 9日 (火)



『めぐり逢い』(An Affair to Remember)は、1957年制作のアメリカ映画。
レオ・マッケリー監督。主演はケーリー・グラントとデボラ・カー。 本作は
マッケリーが1939年に制作した映画『邂逅』(Love Affair)のリメイクで
ある。多くのシーンは前作と同じ内容である。 デボラ・カーが映画の

"An Affair to Remember"


Close Shot -- American TV News' Commentator

Commentator    Flash!  I have some great news for us mere men.
                        Nickie Ferrante,  the famous man among women,
                        is going out of circulation!  This big dame hunter
                        will not scatter his shots any more.  This time
                        it's marriage.  He sailed today from Europe, and
                        Lois Clarke will be at the gangplank in New York
                        palpitating for him.  Six hundred million bucks -
                        and lovely Lois, too.  Oh, Brother!  For six
                        hundred million bucks I'd marry an ostrich!  (How
                        much time've I got?)

be out of circulation=((米口))社交活動を断っている

Close Shot -- French TV News' Commentator

In contrast to the American the Frenchman is very suave.
French Commentator (in French)
          Nickie Ferrante, the master in the art of making love
                       - the man who knows how to love them and leave
                       them happy - has finally decided to try a new
                       adventure for him...marriage!  The fortunate lady is
                       Miss Lois  Clarke, the American heiress to a
                       fortune of six hundred million American dollars.  Mon
                       Dieu, how much would that be in francs?

Mon Dieu=フランス語で「神様」

Close shot -- English TV Newscaster

In contrast to the feverish tempo of the American and the suave
Frenchman, he and his broad "A" take a leisurely and rather bored

broad=〈低母音が〉後舌の 《ask などの母音を /ɑː/と発音する》

English Newscaster
          As I view the news - here's a rather choice tidbit
                       -- Nickie Ferrante sails tonight to enter into
                       matrimony with one of America's -- er -- industrial
                       nobility -- rock and gravel I believe ---
                       (he peers closely at news sheet)
                       --Ah---Miss Lois Clarke
                       (long pause while he scans the pages.  As boredom
                        sets in)
                       ---there you have it.



Long Shot - Ship At Sea - Dusk

Ext. Promenade Deck - Steamship - Dusk

Passengers are strolling in evening dress, having their after dinner
smokes on the balmy deck as the camera trucks up to the
entrance to the ship's interior as a page boy steps onto the deck,
takes another look at the name on his list, reflects interest and
pride in his mission, takes a deep breath and calls out:

page boy=ボーイ、給仕

Page Boy    Signore Ferrante?

A Man              No.

The man, with his lady friend, exits as the boy turns and calls again:

Page Boy    Signore Ferrante!

He starts down the deck, camera following him as he speaks to
another man. 

Page Boy    Signore Ferrante?

Second Man     No -- is he on board?

The boy grins as he goes on down the deck, calling:

Page Boy    Signore Ferrante! Signore Ferrante!
          (stops at stairway and looks up questioningly)
             Signore Ferrante?

Nickie comes down the steps and stops.

Page Boy    There's a phone call, from Paris, Signore.

Page boy exits as three middle-aged school teachers rush in
to Nickie surrounding him.

First Woman  Oh, Mr. Ferrante - will you autograph this
picture of you, please? Write something we'll always remember.

Second Woman
          Something sizzling!

Nickie      I'll have to postpone this pleasure until later
          - I'm wanted on the telephone---if you will
                       excuse me---

He bows and exits.

Close Shot - Nickie In Telephone Booth

Nickie      But Gabriella, I didn't dream you cared so
                       much -- I considered myself your
                       plaything --

Int. Boudoir - Paris

Gabriella is lying on her bed, scantily clad in sheer negligee. 
She is very angry and volatile.


Gabriella    (slight accent)
         How could you speak of love to me -- say
                     the things you did - and you about to be
                     married?  Do you remember what you
                     whispered when I gave you the cigarette case?

Int. Telephone  Booth - Nickie

Nickie     Of course! -- I said -- hello, hello - can you
                     hear me, Gabriella?  I believe we're
                     disconnected -- operator --


Int.  Gabriella's Boudoir -- Close Shot Gabriella

She knows this is a ruse.  She picks up a paper knife.
                             (= 〔人をだますための〕策略、計略)

Gabriella    We are not disconnected!  I have in my hand
a knife - I wish it were in your back!

Close Shot - Nickie In Phone Booth

He smiles somewhat cynically and hangs up.  Then discovers
he is without his cigarette case.  He looks off.

Full Shot

As Nickie comes out of the booth, a large man and his wife
come bounding into the scene.

Hathaway (extending his hand)
         Oh, Mr. Ferrante.  My name is Hathaway. 
                     Ned Hathaway.  This is my wife, Mrs. Hathaway.
                     We sure are pleased to be traveling with you...

Nickie (mumbling)
                     I am delighted...

Hathaway (going right on)
                     We were getting up a game of bridge and
                     Mrs. Hathaway and I were wondering if you
                     would care to join us.  My sister Florence is
                     traveling with us and she could be the fourth

get up=〈催し・会などを〉準備する, 始める; 計画する

Nickie     You wouldn't want me.  I cheat.

He hurries off, leaving the Hathaways staring after him.

Ext.  Promenade Deck - Night
        (= 〔船上の〕プロムナードデッキ、遊歩甲板)


Nickie is discovered taking a walk.  He passes an interior
porthole -- sees something  - moves closer and calls o.s.
calls o.s.=(この意味はどうしても分からなかったcoldsweats01

Nickie     I beg your pardon.

A beautiful face appears at the opposite side of the porthole.
The porthole makes a lovely frame for the beautiful face.
This is Terry McKay.

Terry     Yes?

Nickie           I notice you have my cigarette case.

Terry           I might as well confess, I'm a jewel thief.  

Closeup of Nickie & Terry

Nickie (disbelieving)
                   I don' t believe it.

Terry           All right, then, I was returning it to the purser.  I found
                   it in the -- wait a minute --how do I know it's yours?


Nickie (impressed)
           There is an inscription to me on the inside.
                                    (= 〔贈呈された本に書かれた〕献辞)

Closeup - Terry

She opens the case.

Terry (reading)
                   To Nickalo --

Terry looks at him with slightly arched eyebrows, but with a serious


Terry     Don't tell me you're the famous --
                  (Nickie looks embarrassed)
                  -- I've read so much about you!
                  Let's see, was it in Life or Look -- ?

Nickie (embarrassed)
                  Woman's Home Companion.

Terry          Oh.

Closeup - Nickie

Nickie (in mock embarrassed)
                  Now, may I have my cigarette case?

Two Shot - Featuring Terry

She starts to read the rest of the inscription - then:

Terry    This is frightfully intimate.  I just know enough French
                  to be embarrassed.  Can you clean it up a little and tell
                  me in effect what it says?

be embarrassed=恥ずかしい思いをする
clean up=整理する
in effect=要するに

Nickie    In French?

Terry  (smiling)
                  No, in English.

Nickie         Well, it says, in effect, 'in memory of three wonderful
                  nights on La Gabriella' --
                  - that's the name of her yacht.

Terry (nodding)
                  I guess that's you all right.

She hands him the cigarette case.


Two Shot From Nickie's Angle

He studies her a long moment.  Her face is still dead serious.

Nickie    Did you write the song 'I'LL NEVER SMILE AGAIN'?

Terry's manner softens and she gives him an infectious smile. 


Terry    No -- but I may write one called "MOON OVER LA
                 Do you think it will ever take the place of night baseball?

She humorously shakes her head negatively and exits. 
Nickie watches her off, very much intrigued.   



2017年12月30日 (土)



182   EXT. CENTRAL PARK - DAY                                     182    Christina is running.  She sees a good-looking
MALE RUNNER coming toward her.  She has no hope
that he will notice her, and starts to look away
as they get close to one another. MALE RUNNER  Hi. CHRISTINA   Hi. He passes her.  Christina can't believe it. She does a little dance of joy. Camera pulls back as we see her by the reservoir
on a beautiful morning doing her little
celebratory spin.

Then she resumes her morning exercise, running on.

183   INT. THE SINGLES TEMPLE - FRIDAY EVENING                    183    Patricia comes in.

The place is packed.  There are hundreds of young
Jewish New Yorkers singing folk songs and dancing
the hora.  The Rabbi is dancing among them.


Patricia sees the rabbi, leading the dance. The rabbi whirls madly toward her, like a human


RABBIT     Shabbat shalom!

Shabbat shalom=good wishes、幸せを祈る気持ち、幸運を

He grabs Patricia's hand, and to her surprise, they
go whirling off together. 184   INT. KATHLEEN'S BEDROOM - DAY                               184    Kathleen at the computer, typing. KATHLEEN (V.O.)I have been thinking about this and                I think we should meet. She clicks the send button and then exits from
America On Line. On her computer screen we now see the standard
screen with several icons: American On-Line, Word,
Recycle Bin, etc.

She clicks Word. She goes to File: New. There are several choices of format. She stares at the choices.  Then she clicks Book
format. A blank page appears in the computer. She starts to type:  "Once upon a time there was
a little girl named..." She pauses for a moment and looks around the room.
She sees the flowers that Joe brought her. And then she types: "Daisy." As she goes on typing... 185   INT. JOE' BOAT - NIGHT                                      185    On Joe typing.

JOE (V.O.)   We should meet.  And we will meet.                 But I'm in the middle of a project                that needs...                (he pauses to think of the right word)                ... tweaking.

A look of calculation on his face.

186   EXT. STARBUCKS - DAY                                        186   

We can see Kathleen through the window, drinking 
a cup of coffee. And now we see Joe walk into Starbucks.  He waves at
her, pretending surprise at seeing her.  Has he been
watching the store and waiting for her to come in? 
We'll never know. 187   INT. STARBUCKS - A FEW MINUTES LATER                        187    He's sitting next to her at the counter in the window. JOE            Tweaking? KATHLEEN       That's what he said. JOE            He's probably married. KATHLEEN       That's a terrible thing to say.                 It's not possible. JOE            Have you asked him if he's married?                 Have you said, "Are you married?" KATHLEEN       No. Joe looks at her, shrugs. 188   INT. KATHLEEN'S BEDROOM - NIGHT                             188    AS SHE TYPES: KATHLEEN (V.O.)I know this is probably a little                late to be asking, but are you                married? 189   INT. JOE'S OFFICE - NIGHT                                   189    AS HE ANSWERS: JOE (V.O.)   Am I married?  What kind of a
               question is that?  How can you ask
               me that? Don't you know me at all? 
               Oh wait, I get it.  Your friends
               are telling you the reason we
               haven't met is that I'm married. 
               Am I right? 190   INT. SIDEWALK CAFE - ANOTHER DAY                            190               (=

Kathleen and Joe having nachos


JOE            So he didn't exactly answer. KATHLEEN       He did too.  He nailed me.  He knew                exactly what I was up to.  Which is                just like him.

JOE            But he didn't exactly answer, did                he?  Did he? KATHLEEN       No. JOE            Maybe he's fat. KATHLEEN       I don't care about that. JOE            You don't care that he might be one                of those guys who's so fat he has to                be removed from his house with a                crane? KATHLEEN       That's very unlikely. JOE            Why else do you think he's putting                off meeting you?  Although... maybe                that's not it.  Maybe...
KATHLEEN       What? JOE            Never mind. KATHLEEN       What???? JOE            He could be waiting til he's paroled.

KATHLEEN       Oh, you won't believe this, there                was a moment when George thought he                might be the rooftop killer, which                was completely ridiculous -- Her voice trails off, as she considers whether it
could be true.

trail off=〔音声などが〕次第に小さくなる

JOE            What's his handle? She shakes her head.
JOE (CONT'D)   Come on, I'm not going to write him.                 Is that what you think? KATHLEEN       NY 152. JOE            One five two.  One hundred fifty                two.  Very interesting.  He's 152                years old.  He has 152 hairs
               remaining on his head.  He's had
               152 moles removed and now he has
               152 pockmarks.


191   EXT. FARMER'S MARKET ON BROADWAY - LATER                    191    As they walk past tables of bread and flowers, etc. JOE            His combined college board scores.                   (=総計の)(=米国大学協議会)

KATHLEEN    His IQ. JOE            The number of women he's slept with. KATHLEEN       The number of times he's seen The                Godfather.

JOE            That's the first good thing I've                heard about him. KATHLEEN       His address.  No, no, no.  He would                never do anything that prosaic.                                       (=平凡な)

On Joe, looking a little wounded.

KATHLEEN       The only thing I really care about                besides the married thing... and the                jail thing... is the boat thing.

JOE      The boat thing? KATHLEEN    I could never be with anyone who has                a boat. JOE            Oh. KATHLEEN       So that clinches it.  We'll never be                together.  I'll take care of these.


He picks up a mango, squeezes it. JOE      I could never be with anyone who                likes Joni Mitchell.                (singing, imitating Joni)                "It's cloud's illusions I recall, I                really don't know clouds at all."                What does that mean? Joe waits for Kathleen to say she likes Joni Mitchell. But Kathleen doesn't say anything. She starts intently picking over apples, trying to
find some she wants. pick over=選び分ける、選り抜く

JOE (CONT'D)   How's your book coming? 192   EXT. BROADWAY - DAY                                         192    As they walk away from the market, going uptown.                                     
KATHLEEN       There's a children's book editor I                know, from the store, and she's                excited to read it.  When I finish                it.  Who would ever have thought I'd                write?  I mean, if I didn't have all                this free time, I would never have                discovered -- She stops, realizing what she's saying. KATHLEEN       The truth is, he was the one who                made me start thinking about writing -- JOE            Mister 152 Felony Indictments --


KATHLEEN       Mister 152... insights into my soul.                              (=物事の本質を見抜く力)

JOE      Yes.  Well.  Can't compete with that. KATHLEEN    Well.  I keep bumping into you.                 Hope your mango's ripe.

bump into=…にドンと突き当たる、…にばったり出会う
JOE            I think it is.  Want to bump into me                Saturday?  Around lunchtime? 193   EXT. COMPUTER SCREEN - NIGHT                                193    As Joe types.

JOE (V.O.)     How about meeting Saturday?  The                first day of spring.  4 P.M.  There's                a place in Riverside Park at 88th                Street where the path curves and                when you come around the curve, you'll                find me waiting. 194   INT./EXT. SATURDAY - GREY'S PAPAYA -
THE FIRST DAY OF SPRING    (=ホットドック店名)
    Kathleen and Joe are putting mustard on their hot dogs.
JOE            Today? KATHLEEN       Today. JOE            Whoa. KATHLEEN       I know.  In Riverside Park.
JOE            Isn't that amazing?  Maybe I've seen                him, and I don't even know it. 195   EXT. COLUMBUS AVENUE - DAY                                  195    As they walk uptown, eating their hot dogs and
drinking papaya drinks. JOE            He could be the Zipper Man. KATHLEEN       Who's that? JOE            This guy on Amsterdam who repairs                zippers.  You'll never have to buy                new luggage.                    (=

KATHLEEN       Stop teasing.                     (tease=からかう)

JOE      Timing is everything.  He waited                until you were primed.  Until you                knew there was no other man you could                ever love.

KATHLEEN    (almost believe it)                Yes. JOE            Sometimes I wonder... KATHLEEN       What? They stop walking, they look at each other. JOE            If I hadn't been Foxbooks and you                hadn't been The Shop Around the Corner                and we'd just met -- KATHLEEN       Don't. JOE            I would have asked for your phone                number and I wouldn't have been able                to wait 24 hours before calling and                asking, "How about coffee, drinks,                dinner, a movie, for as long as we                both shall live?" KATHLEEN       (almost a swoon)                Joe...   (=うっとりすること) JOE      And then we would never have been at                war.
JOE            The only fight we'd ever have is                what video to rent on Saturday night. KATHLEEN       Who fights about that? JOE            Some people.  Not us.
KATHLEEN       We would never. A long beat. JOE            If only...
KATHLEEN       Please.  I have to go. She doesn't move.
JOE            Let me ask you something?  How come                you'll forgive him for standing you                up and you won't forgive me for a                little tiny thing like putting you                out of business
Kathleen looks at him.  Shakes her head.
They look at each other. JOE (CONT'D)   Oh how I wish you would.
It's all Kathleen can do not to forgive him. It's all Joe can do not to kiss her. KATHLEEN       I really do have to go.
JOE            You don't want to be late. She's in agony.

He turns and walks away. After a moment, she does too.
196   EXT. KATHLEEN'S APARTMENT - LATER                           196    As we see Kathleen come down the street and
walk into her house. 197   EXT. KATHLEEN'S APARTMENT - LATER                           197    As she comes out of the apartment house,
having changed her clothes. 198   EXT. RIVERSIDE DRIVE - LATER AFTERNOON                      198    As she comes toward the entrance to the park. 199   EXT. RIVERSIDE DRIVE PARK - LATE AFTERNOON                  199    As Kathleen comes down a path in the park,
near 88th Street.
She comes to a stop. Looks around. A young woman in running clothes passes by. A young father pushing a baby in one of
those strollers runners use to push babies in. Kathleen looks at her watch. Suddenly she hears a noise.  A dog barking. And Brinkley comes around the corner. VOICE          Brinkley!  Brinkley! And hold on Kathleen as she sees JOE And she starts to cry. And he comes to her.  And puts his arms around her. JOE            Don't cry, Shopgirl, don't cry. KATHLEEN       I wanted it to be you.  I wanted it                to be you so badly. And as they kiss, we hold on them. And crane up and away as we see them, a couple
kissing in the park on a beautiful spring day. A dog is leaping around them. And as we get further and further away from them,
the screen turns into CYBERSPACE And the dog turns cartwheels and flipflops.            (


And we tilt up to see the clouds and the sky
and hear the sound of computer keys, clicking,
clicking, clicking




2017年12月28日 (木)


168   INT. KATHLEEN'S BEDROOM - NIGHT                             168   

Kathleen is in bed with a huge box of Kleenex.  
She has a terrible cold.  Her nose is red, her
eyes are watery.  On the bedside table are a huge
assortment of atomizers, pills, etc.

We hear the sound of computer keys clicking. JOE (V.O.)     Why haven't you written? KATHLEEN (V.O.)I have a cold. 169   INT. JOE'S OFFICE - DAY                                     169    We see Joe on his computer. JOE (V.O.)     How's your cold? KATHLEEN (V.O.)My ears are blocked, my nose is                clogged.                (=詰まらせる)

170   INT. KATHLEEN'S BEDROOM - NIGHT                             170    She's drinking cranberry juice.  Joni Mitchell
on the stereo.


The sound of computer keys clicking again. JOE (V.O.)   Are you feeling any better? KATHLEEN (V.O.)I'm lying in bed listening to Joni                Mitchell and drinking cranberry juice                which I am sorry to say is the exact                same color as my nose.  I keep                thinking about my future.  What                future?  What am I going to do? 171   EXT. 79TH STREET BOAT BASIN - LATE AFTERNOON
                171    As Joe is walking Brinkley back to the boat.
A limousine has pulled up near the pier and
the driver is unloading bags.


Joe stops to see the passenger: his father,
Nelson Fox.

JOE            What are you doing here? 172   EXT. 79TH STREET BOAT BASIN - DUSK                          172   
Next to Joe's boat is a larger yacht. 173   INT. YACHT - NIGHT                                          173    In the main cabin Joe and Nelson are having
drinks.  Nelson lifts his glass in a toast.                                 (=乾杯して)

NELSON     To us. JOE            Father and son, together at last.                 That happened with Gillian? Nelson ignores the question. NELSON         I've stayed here after, let's see,                your mother, Laurette that ballet                dancer --

let's see=ええっと、どれ

JOE      -- the nanny -- NELSON     Was she the nanny?  I forgot that.                 How ironic.  Then there was the ice                skater -- JOE            -- also the nanny -- NELSON         Really.  How amazingly ironic.  Sybil                the astrologer.

JOE      Whose moon turned out to be in                somebody else's house, as I recall.
 as I recall=そういえば、今思い出すと、確か

NELSON     Just like Gillian. JOE            Gillian ran off with someone? NELSON         The nanny. JOE            Nanny Maureen?  Gillian ran off with                Nanny Maureen?  That's incredibly                ironic. NELSON         True true.
JOE            There's no other word for it.

NELSON         Who did you break up with? JOE            Patricia.  You met her. NELSON         Would I like her?                (cracks himself up)                Just kidding.  Isn't this great?                 Have some peanuts.  Of course I have                to live out of a suitcase for a least                three weeks, and then there's the                inevitable legal hassle, more of                your inheritance down the drain.
crack up=大笑いさせる
Just kidding=なんてね
more of=~よりもっと
down the drain

JOE      Don't worry about it. NELSON         I won't.  But then I get to meet                someone new.  That's the easy part. JOE            Oh, right, a snap to find the one                single person in the world who fills                your heart with joy.


NELSON         Don't be ridiculous.  Have I ever                been with anyone who fits that                description?  Have you?
JOE            On to the next.                            NELSON                Isn't it a beautiful night? Hold on Joe. 174   EXT. KATHLEEN'S STREET - DAY                                174    Joe, on his way to Kathleen's apartment building,
carrying a bunch of daisies, wrapped in cellophane. Joe goes up the stoop to her building and looks at
(=〈米〉玄関の階段、玄関口) Sees Kelly, 3A.  He presses.  Nothing.  Presses
again. KATHLEEN       (voice clogged, through intercom)                Who is it?
JOE            Joe Fox. 175   INT. KATHLEEN'S APARTMENT - SAME TIME                       175    Kathleen, in her pajamas, at the intercom, horrified. KATHLEEN       What are you doing here? JOE            May I please come up? KATHLEEN       It's really not a good idea. Someone else walks up to the door, unlocks it and walks in. Joe follows. 176   INT. KATHLEEN'S APARTMENT - SAME TIME                       176    KATHLEEN       (into the intercom)                I have a terrible cold, can you hear                it?  I'm sniffling and not really                awake --


177   EXT. KATHLEEN'S APARTMENT - CONTINUOUS                      177    As Kathleen continues to talk through the Intercom
to an empty stoop.

KATHLEEN'S VOICE                and I'm sleeping practically twenty-                four hours a day, and taking
               echinacea --                (=

178   INT. KATHLEEN'S APARTMENT - CONTINUOUS                      178    KATHLEEN       (into intercom)                -- and vitamin C, so I would really                appreciate it if you would come some                other time -- There's a knock on the door right next to her.
Kathleen practically jumps out of her skin.  She looks
through the peephole.  There he is.

jumps out of her skin=(驚きなどで)とび上がる

JOE            Kathleen?
KATHLEEN       Just a second. She puts on a robe, runs frantically about picking up
various scattered wadded-up Kleenexs, opens the front
door.  Joe is holding a bunch of flowers wrapped in

wad up=〈綿・紙などの柔らかいものを〉かたまりにする JOE            Hello. KATHLEEN       What are you doing here? JOE            I heard you were sick and I was                worried and I wanted to --                (he hears voices)                Is someone here? KATHLEEN       Just the Home Shopping Network. JOE            Bought any porcelain dolls?                           (=磁器)
KATHLEEN    I was thinking about it.                     (beat)                You put me out of business -- JOE            I know that -- KATHLEEN       And now you turn up with flowers?                 Did you come to gloat?
turn up=ひょっこりやってくる

JOE            No. KATHLEEN       To offer me a job -- JOE            No, I wouldn't think of --
KATHLEEN       Because I have plans, I have lots of                offers.  I've been offered a job by --                well, actually by -- JOE            My former? KATHLEEN       Former? JOE            We broke up. KATHLEEN       That's too bad.  You seemed so perfect                for each other.                (she claps her hand over her mouth)                I don't mean to say things like that.                 No matter what you have done to me,                there is no excuse for my saying                anything like that.  But every time                I see you -- JOE            Things like that just seem to fly                out of your mouth.
KATHLEEN       Yes.  I'm sorry.  I'm starting over.                (sharply)                Thank you for coming.  Goodbye.                (she says it again, a little more nicely)                Thank you for coming. Goodbye.

start over=もう一度やり直す

She starts to the door. JOE      I bought you flowers. KATHLEEN    Oh.                (trying as hard as she can)                Thank you. (=言葉などがきつい) She takes them. He takes them back. JOE      Why don't I put them in water?        (=私がしましょう)

He heads for the kitchen.  A beat, while she stares
after him. Then follows. 179   INT. KITCHEN - DAY                                          179    When Kathleen gets to the kitchen, Joe is checking
the kettle for water.  Turns on the stove. JOE            You're sick.  Sit down, please.
He pulls out a kitchen chair.  Kathleen sits. She's
a little woozy.

JOE (CONT'D)   Vase? KATHLEEN       Upper left. He gets out a vase.  Fills it with water. JOE            George says hello.  He told me you                weren't feeling well. KATHLEEN       How is George? JOE            Great.  He's revolutionizing the                place.  No one is allowed to work in                his department who doesn't have a                Ph.D. in children's literature. He unwraps the paper around the flowers.  Daisies. 
Puts them in a vase. KATHLEEN       I love daisies. JOE            You told me. He puts the vase on the kitchen table.  Kathleen
plays with the petals. KATHLEEN       They're so friendly.  Don't you think                they are the friendliest flower? JOE            I do. KATHLEEN       When did you break up? JOE            Oh, a couple of weeks ago. KATHLEEN       Everyone is breaking up.  You.  Me.                 This other person I know broke up                with someone in an elevator.  I think                it was in an elevator.  Or just                outside it.  Or after it.  It got                stuck.  I think.  And suddenly                everything became clear.  When I saw                you, at the coffee place, I was                waiting for him and I was -- JOE            -- charming. KATHLEEN       I was not charming. JOE            Well, you looked charming. The teakettle whistles.  Joe turns off the burner. JOE (CONT'D)   Tea? KATHLEEN       Upper right. He gets out mugs and teabags and pours the water. KATHLEEN       I was upset.  And I was horrible. JOE            Honey? Kathleen nods.  He puts in two spoonfuls, gives it
to her. JOE (CONT'D)   I was horrible. KATHLEEN       True.  But I have no excuse.                             (=弁解の余地はない)

She picks up the daisies and carries them into: 180   INT. KATHLEEN'S LIVING ROOM - DAY                           180    Joe follows her.  They both sit. JOE      Whereas I am a horrible person and                have no choice but to be horrible,                is that what you're saying? KATHLEEN       No I am not saying that because I am                done saying horrible things, even to                you. JOE            You did it again. She claps her hand over her mouth. JOE (CONT'D)   I put you out of business.  You're                entitled to hate me.                (=~する資格がある、権利がある)

KATHLEEN    I don't hate you -- JOE            But you'll never forgive me.  Like                Elizabeth. KATHLEEN       Who? JOE            Elizabeth Bennet in Pride and                Prejudice.  She was too proud -- KATHLEEN       I thought you hated Pride and                Prejudice.

JOE            -- or was she too prejudiced and Mr.                Darcy too proud?  I can never                remember.

                           (BEAT)                It wasn't personal -- KATHLEEN    -- It was business.  What is that                supposed to mean?  I am so sick of                that.  All it means is it's not                personal to you, but it's personal                to me, it's personal to a lot of                people.                (she shrugs helplessly)                What's wrong with personal anyway? JOE            Nothing. KATHLEEN       I mean, whatever else anything is,                it ought to begin by being personal. Kathleen stands up, picks up the daisies. KATHLEEN (CONT'D)                My head's starting to get funny.  I                have to go back to bed. They walk to... 181   EXT. KATHLEEN'S BEDROOM - CONTINUOUS                        181    Kathleen puts the daisies next to the bed and gets
into it. She fluffs up the pillows, pulls up the blankets,
surrounds herself with Kleenex and Evian and
sneezes a gigantic sneeze. fluff up=
~をフワッと膨らませる                          sneeze=くしゃみ

KATHLEEN    Why did you stop by?  I forget.                            (=人の家に立ち寄る、訪れる)

JOE            I wanted to be your friend. KATHLEEN       Oh. JOE            I knew it wasn't possible.  What can                I say?  Sometimes a person just wants                the impossible.  Could I ask you                something?
KATHLEEN       What?
JOE            What happened with that guy at the                cafe? KATHLEEN       Nothing. JOE            But you're crazy about him -- KATHLEEN       Yes.  I am. JOE            Then why don't you run off with him?                 What are you waiting for?
run off with=(人)と駆け落ちする    

A long beat. KATHLEEN       I don't actually know him. JOE            Really. KATHLEEN       We only know each other -- oh God,                you're not going to believe this -- JOE            Let me guess.  From the Internet.   KATHLEEN       Yes. JOE            You've Got Mail.
KATHLEEN       Yes.

JOE            Very powerful words. KATHLEEN       Yes.

Joe sits on the edge of the bed. JOE            I'm happy for him.  Although -- could                I make a little suggestion?  I think                you should meet him.  No.  I take it                back.  Why meet him?
KATHLEEN       (starting to get sharp again)                I hardly think I need advice from                someone who -- He reaches out and gently claps his hand over her
mouth. And holds it there.  It's unexpectedly tender
and sexy. JOE            I concede I bring out the worst in                you, but let me help you not to say                something you'll just torture yourself                about for years to come.


She starts to smile and he removes his hand.

They look at each other. JOE (CONT'D)  I hope you're better soon.  It would                be a shame to miss New York in the                spring. Joe stands.
KATHLEEN       Thank you for the daisies. He starts for the door. JOE            Take care. KATHLEEN       I will. JOE            Goodbye. KATHLEEN       Goodbye. We hear the door close. Hold on Kathleen.



2017年12月25日 (月)



The trees sprout leaves and birdies start to tweet. 
And the scene turns into a real version of:


163   EXT. COLUMBUS AVE. - FOXBOOKS - MORNING                     163    164   INT. FOXBOOKS SUPERSTORE - DAY                              164    George is now the head of the children department
at the store and he is sitting in the children's
section on an itty-bitty chair.  His staff is
sitting on little itty-bitty chairs too.


GEORGE         Then, in the 19th century,
               Caldecott revolutionized the
               publishing of children's books by
               the introduction of color
               illustrations --

          Caldecott, 1846 - 1886)はイギリスの

WE SEE: THE STAFF Several are dozing.       (doze=居眠りする)

165   EXT. RIVERSIDE DRIVE & 72ND - DAY                           165    Joe walks past the Eleanor Roosevelt statue.  He's
with Annabel and Matt:


JOE            What about going to the Children's                Zoo?

ANNABEL        I don't want to go to the Children's                Zoo.

JOE            Okay.  The Staten Island Ferry.

Staten Island Ferry=スタテン島フェリー、ニューヨーク市

ANNABEL        I want to go to the Storybook Lady. MATT           I want to go to the Storybook Lady. JOE            Well we can't go to the Storybook                Lady. 166   INT. JAPANESE NOODLE RESTAURANT - DAY                       166    Annabel is sitting in her chair, staring glumly at
a bowl of Japanese soup and noodles.

JOE      I'll read you a story. ANNABEL        Where did she go? JOE            She had to close her store. ANNABEL        Why? JOE            She didn't have enough business. ANNABEL        Why? JOE            Well.  Her store was very close to                our store, and you know our store                sells books at a slightly lower cost -- ANNABEL        Why? JOE            Why do we sell at a lower cost?  So                more people can buy books. ANNABEL        Why couldn't she sell that way too? JOE            Because she's small and we're big.                 How about we go get some candy? ANNABEL        So now she's gone and it's all your                fault.
JOE            It's business, Annabel.  It's not                personal.  How about we go get so                much candy you'll be bouncing off                the walls for days?

bounce off the walls=〔狭い場所で人が〕元気いっぱいで

MATT           What's personal?
ANNABEL        Personal means that she's gone                forever, and now we'll never get                another book from her as long as we                ever live. She burst into tears.  Matt bursts into tears too. JOE            Remember the man who worked with                her? ANNABE (a wail)No.           (=わんわん泣くこと)                            
JOE      Well I hired him. ANNABEL    You killed the Storybook Lady. Matt throws himself on the ground, crying. Annabel sobs hysterically. 167   INT. FOXBOOKS SUPERSTORE - DAY                              167    George is wearing the same pointed hat Kathleen
wore as the Storybook Lady. There's a sign that
says: Storybook Person.


Several children are listening. WE SEE: ANNABEL She's glowering.


2017年12月24日 (日)


153   EXT. JOE'S STREET - NIGHT                                   153   

As a taxi comes down the street and stops in front of 
Joe's building. PATRICIA (V.O.)What I was thinking was she'd probably                make a great children's book editor. JOE (V.O.)   Why would you think that? They get out of the cab. PATRICIA       She knows everything.  She has                flawless taste.  She's famous for                it.  The salesmen swear by her.  If                she likes it, it sells.  Period.

swear by=~を絶対に信用する

154   INT. JOE'S LOBBY - CONTINUOUS                               154    As they enter the lobby and walk toward the elevator. JOE            So you're going to offer her a job? PATRICIA       Why not?  What else has she got to                do?   JOE            Now that she's destitute --                               (=貧窮した)

PATRICIA    Thanks to you.
JOE            Well, I can't imagine her working                for you. PATRICIA       Why not? JOE            She has a horrible personality,                she's...  nice to everyone all the                time.  It's exhausting.  And her                staff turnover is ... non-existent.                 They've been there forever.  Until...                recently, when they all found out                they were going to lose their jobs.

PATRICIA    Thanks to you. The elevator door is closing. PATRICIA       Hold the elevator! They get in. 155   INT. ELEVATOR - CONTINUOUS                                  155    JOE            Hello, Charlie, Veronica. PATRICIA       Last time, we rode in an elevator,                we made the deal of the century.                 What is going to happen this time? CHARLIE        Miss Grant's going to get me a part                in one of her movies, that's what's                going to happen.

VERONICA       In your dream, Charlie. PATRICIA       (back to the conversation with Joe)                I love how you've totally forgotten                you had any role in her current                situation.  It's so obtuse.  It                reminds me of someone ... Who?  Who                does it remind me of?                     (thinks for a moment)                Me!


The elevator suddenly stops.
PATRICIA       Shit.
VERONICA       Shit. JOE            It is stuck? CHARLIE        Could be.
He pushes the open button. Nothing. Turns the key,
hits the open button, flicks the emergency switch. 
Then he starts hitting the buttons in every
possible combination.

JOE            Charlie, what are you doing? CHARLIE        Bang the door.
PATRICIA       Really. Joe bangs the door.  Nothing. CHARLIE        I hope this thing doesn't plummet to                the basement.
VERONICA       Can it do that? JOE            No. He picks up the phone. JOE (CONT'D)   This is Joe Fox.  Who is this?  Hi,                Juan. We're stuck on the sixth floor.                 There are four of us --

PATRICIA       (grabs the phone)                -- and if you don't get your ass up                here in two shakes and get us out --                     (=すぐに) He hangs up.

JOE  (to Veronica)                Are you all right? VERONICA       It's hot. Joe hands her his handkerchief. CHARLIE        Everyone should jump in the air. PATRICIA       What?

CHARLIE        We jump.  The elevator thinks that                no one is here and it opens. Everyone stares at each other. JOE            One -- two -- three -- They all jump into the air. They all land. Nothing happens. 156   INT. ELEVATOR - A LITTLE LATER                              156    Patricia is sitting on the elevator floor,
polishing her nails. We hear the fire department banging outside... VERONICA       If I ever get out of here, I'm going                to start speaking to my mother.  She                slept with Oscar, and maybe it was                Oscar's fault, I don't know, and                then she sold the story to Inside                Edition.  That could have been Oscar's                idea, too.  Who knows?  But I divorced                him.  I wonder what she's doing right                this minute.  I think of her...                whenever I hear about a new pill.                 Ecstasy, Zoloft, Fenphen, I just                think, I hope Mama knows about that.

Who knows?=わからない、何とも言えない



She takes out a tissue and dabs at her eyes.                            (=軽くたたく)

PATRICIA    Maybe you can make up on Rosie.                 That would be so great for the book. CHARLIE        (trying to figure it out)                If I ever get out of here...
figure it out=どうしたらいいのか考える

PATRICIA    If I ever get out of here, I'm having                my eyes lasered. CHARLIE        I'm marrying Oreet.  I love her.                            
CHARLIE        I should marry her.  I don't know                what's been stopping me. He takes out his wallet and looks at a picture of
Oreet, shows it to Joe. JOE            If I ever get out of here, I'm going                to -- He stops, he looks at Patricia who is fishing
through her purse. PATRICIA       Where is my TicTacs?                     (looks at Joe)                What?



The firemen crowbar open the elevator door.             (=バール、かなてこ)

157   EXT. 79TH STREET BOAT BASIN - NIGHT                         157                           (=マリーナ)

Joe and Brinkley walk out on the dock toward
Joe's boat. Joe is carrying Brinkley's pillow,
his laptop and a suitcase. He boards his boat and goes below.  A light
goes on.  We hear the sound of the computer. JOE (V.O.)     I came home tonight and got into
               the elevator to go to my apartment.
               An hour later, I got out of the
               elevator and Brinkley and I moved
               out. Suddenly everything had become
               clear. 158   INT. BOAT - NIGHT                                           158    A small sleeping area with a berth and a little table,
where Joe's laptop has been hooked up to the phone.


Joe is on the narrow berth, as is Brinkley. JOE            It's a long story.  Full of the                personal details we avoid so                carefully... Joe puts Brinkley on the floor, on his pillow. 
Brinkley jumps back onto the berth with Joe. 159   INT. KATHLEEN'S APARTMENT - DAY                             159    Kathleen is making tea.  She starts toward the
bedroom.  We see her computer, now hooked up
in the living room, where all of Frank's
typewriters used to be.

hook up=接続する

KATHLEEN (V.O.)I wonder whether change isn't a
        kind of infection.  You start with
               one thing -- something you never ever                thought would change and it does --


160   INT. KATHLEEN'S BEDROOM - CONTINUOUS                        160    KATHLEEN    and the next thing you know even                your bed is in a different place. Kathleen enters the bedroom and we see the entire
room has been rearranged. She gets into bed and turns on the television set. 161   EXT. SHOP AROUND THE CORNER - DUSK                          161   
The bookshelves are empty. KATHLEEN       Six months ago, when you and I first                met, I knew everything about myself --                what I would be doing for the rest                of my life and even the person I                would be doing it with.  Now I know                nothing. On the door is a small sign.  "After 42 years, we
are closing our doors.  We have loved being part
of your lives." Kathleen turns out the light in the store and
opens the door. The little bell over the door jingles. Kathleen reaches up on her tiptoes for the bell
and detaches it. Then she comes out of the store, carrying the bell.
Kathleen locks the door and reaches down to operate
the grate for the last time. The grate starts to lower. Kathleen looks at her store, one last time.  Then
she walks off, carrying the bell.  We hear it
jingle in the night. And hold on The Shop Around the Corner, and it
slowly turns into a computer-enhanced version of


And then, suddenly, it vanishes with a poof
leaving an empty screen.



2017年12月23日 (土)


135   INT. KATHLEEN'S APARTMENT - NIGHT                           135   

As she types.  And we cut from her face to the screen as we 
hear a voice-over:

KATHLEEN (V.O.)And as I waited, someone else showed 
               up, a man who has made my professional 
               life a misery, and an amazing thing 
               happened -- I was able, for the first 
               time in my life, to say the exact 
               thing I wanted to say it.  And of 
               course, afterwards, I felt terrible.  
               Just as you said I would.

136   INT. JOE'S APARTMENT - LATER                                136   

The E-mail from Kathleen continues as Joe reads.

KATHLEEN (V.O.)I was cruel, and I'm never cruel.  
               And even though I can hardly believe 
               what I said mattered to this man -- 
               to him, I'm just a bug to be crushed -- 
               but what if it did?  No matter what 
               he's done to me, there's no excuse 
               for my behavior.  Anyway, you are my 
               dear friend, and I so wanted to talk 
               to you.  I hope you have a good reason 
               for not being there last night, but 
               if you don't, and if we never really 
               connect again, I just want to tell 
               you how much it has meant to me to 
               know you were there.


Joe sits there a second. A moment of intense


Then he hits the Menu key and signs off.

sign off=〔テレビ番組などを〕締めくくる、終了する

COMPUTER       Goodbye. Joe stands and leaves the room. The computer sits there. Hold on the computer.  We hear him open the
refrigerator door. We hear him close the
refrigerator door. He passes the den without
even looking into it.  A moment later he comes
back into the room, stares at the computer. 
He starts for the bedroom, changes his mind. 
Circles the computer. (=~の周りをまわる)

He's going to go cold turkey if it kills him.

go cold turkey=きっぱりやめる、完全に断つ  Fuck it. He sits down. Sign on. Starts to type.

JOE (V.O.)   I am in Vancouver. He stops... Hits the delete button and erases the
message. HE STARTS TYPING AGAIN: JOE (V.O.) (CONT'D)                I was stuck in a meeting, which I                couldn't get out of it, and there                was no phone. He backspaces to erase "there was no phone." Screen now reads: I was stuck in a meeting, which
I couldn't get out of it.  Joe sits there thinking
for a moment.  Then he starts typing. JOE (CONT'D)   The electricity went out in the                building and we were trapped on the                18th floor and the telephone system                blew too. He stops and looks at it.  Then he types: JOE (CONT'D)   Amazingly enough. He sits looking at it. Then he deletes the whole thing. Sits looking at the blank screen. JOE (CONT'D)   Fuck you. He clicks the Yes box. Then he starts to type again. JOE (V.O.) (CONT'D)                Dear friend: I cannot tell you what                happened to me last night, but I beg                you from the bottom of my heart to                forgive me for not being there. He deletes "for not being there." Then types again, after "to forgive me".

JOE (V.O.) (CONT'D)                -- for what happened.  I feel terrible                that you found yourself in a situation                that caused you additional pain.                 But I'm absolutely sure that whatever                you said last night was provoked,                even deserved.  And everyone says                things they regret when they're                worried or stressed.  You were                expecting to see someone you trusted                and met the enemy instead.  The fault                is mine.


137   EXT. NEW YORK STREET - DAY                                  137    As Kathleen and Christina walk down the street together. JOE      Someday I'll explain everything.                 Meanwhile, I'm still here.  Talk to                me.
CHRISTINA      Did he say anything about meeting                again? KATHLEEN       Not really.  It doesn't matter.                 We'll just be like George Bernard                Shaw and Mrs. Patrick Campbell and                write letters our whole lives --

Not really=そうでもない、べつに
George Bernard Shaw and Mrs. Patrick Campbell
ジョージ・バーナード・ショー(1856 - 1950)は

They go into an apartment building. 138   INT. BIRDIE'S APARTMENT - DAY                               138    A large rent-controlled West Side apartment. 
Birdie is pouring tea.  There's a plate of


Christina is looking at the picture of Birdie
as a young woman, dressed in a sort of Carmen

Carmen Miranda=カルメン・ミランダ(1909 - 1955)、


CHRISTINA    Where was this taken, Birdie? BIRDIE         Seville.
              (セビリア《スペイン南西部の都市》) KATHLEEN       When you had the thunderbolt? BIRDIE         Yes.  What did you decide, dearie?

KATHLEEN       Close.  We're going to close. CHRISTINA      Close.

KATHLEEN       Although it feels like such a failure.                 It feels like I'm quitting.  It feels                like... Mom...    (=放棄する) She closes her eyes. Birdie sits down on the loveseat next to Kathleen,
puts her arms around her.  Hold on them.

BIRDIE         Keeping the store open doesn't keep                your mother alive, although sometimes                I think we all think it does. Christina looks over at the picture of Birdie. CHRISTINA      Who was it, Birdie?  That you had                the thunderbolt over?

thunderbolt=落雷、(まったく)思いがけない事柄 Birdie shakes her head. She's not going to tell
them. CHRISTINA (CONT'D)                It's so romantic. BIRDIE         But it wasn't meant to be.
CHRISTINA      Why not? BIRDIE         He ran Spain.


CHRISTINA      Spain? BIRDIE         The country.  He ran it.  That was                his job.  And then he died.  Just as                well.

Just as well=かえって幸いな 139   INT. SONY LINCOLN SQUARE THEATRE - NIGHT                       As Frank and Kathleen go up the escalator, on their
way to a movie.

FRANK          She fell in love with Generalissimo                Franco?
KATHLEEN       Don't say that.  We don't know that                for sure. FRANK          Who else could it have been?  It was                probably around 1960 -- KATHLEEN       I mean, it's not like he was something                normal, like a socialist or an                anarchist or something --

FRANK     It happened in Spain.  People do                really stupid things in foreign                countries. KATHLEEN    Absolutely.  They buy leather jackets,                they go see Flamenco, they ride in                gondolas, they eat in restaurants                where guitarists sing Malaguena sola                Rosa, but they don't fall in love                with fascist dictators.


They enter one of the theatres. 140   INT. THEATER - CONTINUOUS                                   140    As they find seats and sit down. A trailer is playing.


KATHLEEN       Birdie is a very kind person, she's                practically my surrogate mother.                               (=母親代わり)

FRANK     Well she's out of her mind.                           (=正気じゃない、まともじゃない)
KATHLEEN    She is not. FRANK          I could never ever be with anyone                who doesn't take politics as seriously                as I do. The person in front of them turns around.

PERSON IN FRONT OF THEM                Do you mind? FRANK          A hot dog is singing.  You need quiet                while a hot dog is singing? The two of them sit there. KATHLEEN       I have something to tell you.  I                didn't vote. FRANK          What? KATHLEEN       In the last mayoral election, when                Rudy Giuliani was running against                Ruth Messinger, I went to get a                manicure and forgot to vote.

run against=~と対立する

FRANK     Since when do you get manicures? KATHLEEN    Oh, I suppose you could never be                with a woman who gets manicures. FRANK          Forget it.  It's okay.  I forgive                you. PERSON IN FRONT OF THEM                Shhhhhh. KATHLEEN       You forgive me.
Hold on them a beat.
Kathleen stands and walks out of the theatre. 141 INT.SONY LINCOLN SQUARE THEATRE ESCALATOR - NIGHT          141   
Kathleen on the down escalator. Frank scrambling
to catch up with her.


FRANK          What's going on? Kathleen's upset.
FRANK (CONT'D) Hey.  What is it? 142   EXT. COLUMBUS AVENUE - NIGHT                                142   
As they walk uptown.              (=住宅地区に)

FRANK     Look, this has been a big week, you're                closing the store -- KATHLEEN    It's not that, Frank, really it's                not.  It's just... Frank... FRANK          I know, that was terrible of me. KATHLEEN       What was? FRANK          To jump all over you when I'm the                one who's really...  Oh, God, I don't                know how to say this --

jump all over=(人)をひどく[厳しく]叱る[非難する]

KATHLEEN       What is it? 143   EXT. COLUMBUS AVENUE - NIGHT                                143    As we see Kathleen and Frank being served drinks in
a glassed-in extension of a restaurant.   (=ガラス張りの)

144   INT. COLUMBUS AVENUE RESTAURANT - NIGHT                     144    As Kathleen looks at Frank, waiting for him to begin. FRANK     You're a wonderful person, Kathleen. KATHLEEN    So are you. FRANK          And I'm honored that you want to be                with me because you would never be                with anyone who wasn't truly worthy -- KATHLEEN       I feel exactly the same way about                you.

FRANK          Oh, God, don't say that, please,                that just makes it worse. KATHLEEN       What?                    (he shakes his head)                You don't love me? Frank shakes his head no. KATHLEEN       Me either. FRANK          You don't love me?

Kathleen shakes her head no.
FRANK (CONT'D) But we're so right for each other.                             (=~に適している)
KATHLEEN       I know. A long beat. KATHLEEN    That woman on television, right?                 Sidney-Ann. Frank nods. FRANK     I mean, nothing's happened or                anything. KATHLEEN    I think she's a Republican. FRANK          I can't help myself. Kathleen pats him. FRANK (CONT'D) What about you?  Is there someone                else? KATHLEEN       Oh, somewhere out there, I'm sure.                 Somewhere --  (=世の中には)                            
KATHLEEN (CONT'D)(she throws up her hands)                In cyberspace. 145   EXT. KATHLEEN'S BUILDING - NIGHT                            145    As Frank, carrying a typewriter, walks out off
Kathleen's building and puts it into the back
of a taxicab.


146   EXT. SHOP AROUND THE CORNER - DAY                           146    As a sign goes up in the window: "Closing This
Week: All Stock 40% off." 147   INT. SHOP AROUND THE CORNER - LATE THAT DAY                 147    The store is crowded.  People are buying stacks
of books. We hear brief snatches of conversation: Birdie
telling a customer she's planning to travel,
Christina saying she's finally going to have
to finish her dissertation, George saying he's
been offered a job at Foxbooks but even though
it's okay with Kathleen, he wouldn't work there
if it were the last place on the earth.


There is a frantic, rummage sale atmosphere.


rummage sale=がらくた市

Kathleen, busy at the cash register, looks up
for a minute at her beautiful store being ravaged
by vultures.  We hear the sound of the computer
and hear her voice-over:

ravage=荒らす、破壊する vulture=ハゲワシ、(弱い者を食い物にする)強欲な人間

KATHLEEN (V.O.)My store is closing this week.  I                own a store.  Did I ever tell you                that?  Probably not.  It's a lovely                store -- As a woman dumps a huge stack of books on the
checkout table.
WOMAN SHOPPER  This is a tragedy.                 (yelling across the                     shop to her husband)                Honey, grab a copy of The Trumpet of                the Swan. KATHLEEN (V.O.,CONT'D)                --and in a week,it will be something                really depressing, like a Baby Gap.                 I am being amazingly brave --

Gap=アメリカの最大の衣料品の小売店の一つ WOMAN SHOPPER What are you going to do with                yourself?

KATHLEEN     I don't know.  I'm going to take                some time.  I have a little money                saved.  I'm almost looking forward                to it -- KATHLEEN (V.O.)I am so cheerful I would make                Pollyanna throw up.

底抜けの楽天家[米国の E. Porter による
          小説の主人公の女の子名から] throw up=断念[放棄]する、〔職を〕辞す、辞職する、
SECOND SHOPPER I came here every Saturday when I                was a little girl.  I remember when                your mother gave me Anne of Green                Gables.  "Read it with a box of                Kleenex," that's what she told me. THIRD SHOPPER  She's looking down on you right now. KATHLEEN       I'm sure she is. KATHLEEN (V.O.)I have promised myself I'm not going                to cry. A FORTH SHOPPER approaches the counter with a stack
of books up to his chin, and manages to slide the
stack on the counter. FOURTH SHOPPER We should bomb Foxbooks. KATHLEEN       It's not their fault. The truth is,                the world is just... different. She starts ringing up the sale.

ring up=〔金銭を〕レジに記録する、レジに打つ

148   EXT. FOXBOOKS SUPERSTORE - NIGHT                            148    As Kathleen walks home.
KATHLEEN (V.O.)Soon we'll just be a memory.  In                fact, someone, some foolish person                will probably think it's a tribute                to this city, the way it keeps                changing on you, the way you can
               never count on it, or something.
        I know, because that's the sort of                thing I'm always saying.  But the                truth is, I'm heartbroken.  I feel                as if part of me has died,  and my                mother has died all over again, and                no one can ever make it right.

count on=~を頼りにする、あてにする
make right=~を正当化する

She stops in front of the window, watching the
customers lined up to buy books. 149   EXT. FOXBOOKS SUPERSTORE - NIGHT                            149    As Kathleen enters and looks around. She goes up the stairs. 150   INT. FOXBOOKS SUPERSTORE - CHILDREN'S
As Kathleen walks into it. It's huge, of course.  With its reading area,
and stage, and room for displays, and child-size
furniture, and so many books and so many
customers. Kathleen sits down on a little child-size chair,
completely wilted.            (=しおれた)     
           (=Point of view=異なる視点;観点) And now we see Joe watching her, from a distance.
She doesn't see him. A woman browsing, stops a sales person.

WOMAN SHOPPER  Do you have the "Shoe" books?
SALESPERSON    The "Shoe" books?  Who's the author? WOMAN SHOPPER  I don't know.  My friend told me my                daughter has to read the "Shoe" books,                so here I am.
KATHLEEN       Noel Streatfeild.  Noel Streatfeild                wrote Ballet Shoes and Skating Shoes                and Theater Shoes and Movie Shoes...

Noel Streatfeild=ノエル・ストレトフィールド、イギリスの

KATHLEEN (CONT'D)(she starts crying as she tells her)                I'd start with Skating Shoes, it's                my favorite, although Ballet Shoes                is completely wonderful. SALESPERSON    Streatfeild.  How do you spell that? KATHLEEN       S-T-R-E-A-T-F-E-I-L-D. WOMAN SHOPPER  Thank you. As she walks away. KATHLEEN       (to herself)                They know nothing, they know                absolutely nothing. ON JOE as he watches her.  We hear the sound of the computer. She starts out of the store.  And hold on him. JOE (V.O.)     I'm sorry. 151   INT. JOE'S COMPUTER SCREEN                                  151    A screen which says Reply and which now reads
"I'm sorry." 152   INT. JOE'S OFFICE - DAY                                     152    On Joe at his computer, staring at the screen. JOE            Asshole.                
He backspaces, deleting.  Starts typing again. JOE (V.O.) (CONT'D)                I'm sorry.  I don't know what to                say. Truly I don't.  And anything I                do say will sound trite. I hope you                feel better.


He sits there, appalled at his own triteness.


2017年12月21日 (木)



Kathleen comes down the street.  She drops the rose in the 
trash can.

130   INT. KATHLEEN'S APARTMENT - A MINUTE LATER                    

Kathleen comes in, drops the book on the table, takes off 
her coat and goes immediately to the computer.  She clicks 
on American Online.  Waits impatiently to connect.  Looks 
with anticipation at the mail box.


Hold on Kathleen as a tear starts down her face.

She takes her handkerchief out of her sleeve and wipes her 
face and blows her nose.  Then looks at her handkerchief and 
tosses it over her shoulder.

She goes over to the bed and turns it down and slips out of 
her shoes.

Then she lies down on the bed, fully clothed.  She reaches 
up to turn out the light.

131   INT. JOE'S APARTMENT - NIGHT                                   

As Joe turns on his closet light and hangs up his jacket.

The computer is on the desk, and the light on it illuminates the room. Patricia is in the next room, eating matzos.


PATRICIA (O.S.)So I said to her, "If you think I                will even talk to you about paying                that kind of advance for an author                whose last book is being used as                trivets all over the world, you are                completely crazy."


On Joe's face, barely bearing.                (=かろうじて耐えている)


As Kevin and Joe walk through the store. KEVIN     But underneath that disagreeable                exterior she could turn out to be --


JOE      A real bitch.  Let's not talk about                it.  I'm going back to the office.                 You must have work to do.
real bitch=あばずれ女

KEVIN          Not really.  This place is humming                like a top.

Not really=まさか、そうでもない
like a top=こまのように

133   EXT. SHOP AROUND THE CORNER - DAY                           133    As Kathleen comes around the corner.  Christina
is waiting. CHRISTINA      What happened? KATHLEEN       He never came.
CHRISTINA      He stood you up?

stand up=

134   INT. SHOP AROUND THE CORNER                                 134    As Kathleen puts her purse into the drawer. KATHLEEN       I think something happened,
               something terrible and unexpected
               that made it impossible for him --
George walks in.
GEORGE         What happened?

KATHLEEN       He wasn't able to make it,

make it=無事にやり遂げる[実行する]、都合がつく

GEORGE         He stood you up. KATHLEEN       What could have happened? George looks suddenly stricken.
KATHLEEN (CONT'D)                Why didn't he come?  Maybe he showed                up, took one look at me and left.
CHRISTINA      Not possible. KATHLEEN       Maybe there was a subway accident.
CHRISTINA      Absolutely. KATHLEEN       A train was trapped underground with                him inside. CHRISTINA      And no phone. George continues to look stricken.  He's starting
to shake his head. KATHLEEN       Or an automobile accident.  Those                cab drivers are maniacs.                                (=狂人)

CHRISTINA   They hit something and you slam right                into that plastic partition.

KATHLEEN    His elbows could be in splints -- so                he can't really dial --

CHRISTINA      Or he could be in the hospital in                one of those semi-private room with                like --      
(=準個室の) CHRISTINA & KATHLEEN(together)                -- no phone. They look at George.  Still shaking his head. KATHLEEN(to George)                What? George hands them a New York Post.  They look
at the cover: COPS NAB ROOFTOP KILLER      (=逮捕する)                            
KATHLEEN (CONT'D)                What are you saying? GEORGE     It could be. Dead silence. GEORGE (CONT'D)He was arrested two blocks from the                cheesecake place. CHRISTINA      Is there a picture? There it is.  It's of a man with his jacket pulled
over his head. They all look at it. CHRISTINA (CONT'D)                So that explains it. GEORGE         He was in jail. CHRISTINA      And there was a phone -- GEORGE         -- but he got only one call and he                had to use it to call his lawyer. CHRISTINA      You are so lucky.

GEORGE         You could be dead. KATHLEEN       Are you crazy?  This man couldn't                possibly be the rooftop killer. CHRISTINA      Remember when you thought Frank might                be the Unabomber?
Unabomber=《the ~》ユナボマー◆1978~1995年の間に、
          テッド・カジンスキー(Ted Kaczynski)に対して
          and Airline Bomberから。

KATHLEEN       That was different. CHRISTINA      How long did you sit there all alone? KATHLEEN       Not that long.  Joe Fox came in -- CHRISTINA      Joe Fox! KATHLEEN       I don't want to talk about it.                     (closes her eyes)                Let's get to work. They look around.  There's no one in the store and
nothing to do. A pause. KATHLEEN (CONT'D)                There must be something to do.                 There's always something to do. They hear the jingle of the front door.  They look
hopefully toward it.  It's only Birdie. CHRISTINA      He stood her up. Hold on Kathleen as the computer sound begins. KATHLEEN (V.O.)I have been thinking about you.                 Last night I went to meet you and                you weren't there.  I wish I knew                why.  I felt so foolish.


2017年12月20日 (水)


124   EXT. FOXBOOKS - NIGHT                                       124   

As Joe and Kevin walk out of the store and start 
downtown. (=商業地区へ、市内へ)                            
KEVIN     I suppose she's carrying a copy of a                book with a flower in it. Joe doesn't say anything. KEVIN (CONT'D) Not really.                (=まさかね)                            
JOE      Really.
KEVIN     Which Jane Austen is it? JOE      Pride and Prejudice. KEVIN     She could be a real dog.                 (=ひどい代物)                                
JOE            I know.  Look, I'll just stay ten                minutes.  I'll say hello.  Drink a                cup of coffee and split.  I'm outta                here.             (=分かれる) He looks at Kevin. JOE (CONT'D)  Walk me there, okay?                
125   EXT. 83RD STREET - NIGHT                                    125    As the two men walk toward Cafe Lalo, the European
cafe on West 83rd Street.
JOE            What if she has a really high, squeaky                voice?  I hate that.  It reminds me                of those mice in Cinderella.
KEVIN          What mice in Cinderella? JOE            Gus-gus and oh shit, I can't remember                the other one.  Why am I compelled                to meet her?  I'm just ruining a                good thing.





be compelled to=~せざるを得ないような気持になる

KEVIN     You're taking it to the next level.                 I always do that.  I always take a                relationship to the next level, and                if it works okay I take it to the                next level after that, until I can                finally get to the level where it                becomes absolutely necessary for me                to leave. JOE      I'm not going to stay long anyway.                 I already said that, didn't I.                 Christ.  I'm a total wreck.

total wreck=まったく哀れなもの、無残な姿

      AS THEY REACH: 126   EXT. CAFE LALO - CONTINUOUS                                 126    Joe stops and looks at Kevin.
JOE            Kevin, this woman is the most adorable                creature I have ever come in contact                with.  If she turns out to be even                as good-looking as a mailbox, I will                be crazy not to turn my life upside                down and marry her.
turn my life upside down=人生を一変させる
I will be crazy not to~=~しなかったら気が狂って

KEVIN     She could be a real dog.                (=ひどい代物) JOE      (a total panic)                You go look.                                         KEVIN     Me?
JOE      Just go to the window and check her                out. KEVIN     You're pathetic.

Kevin goes to the window and looks inside. 127   EXT. CAFE LALO - NIGHT                                      127    Joe and Kevin in front. Kevin looks in the window. JOE      See her? KEVIN     There's a beautiful, whoa, a very                beautiful girl.

JOE            Yes.
KEVIN          But no book.  Let me see, let me                see...  Wait a minute.  There's a                book with a flower, so it must be                her.

let me see=ええっと

JOE            What does she look like?

KEVIN          There's a waiter blocking, I can't                see her face.  He's serving her a                cup of tea and she's putting in three                spoonfuls of sugar -- JOE            Well, why shouldn't she? KEVIN          No reason.  Unless she has                hypoglycemia.  Oh, he's moving.

JOE            Can you see her?

KEVIN     Yes. JOE      And? -- KEVIN     (clearly frustrated)                She's very pretty. JOE      She is.  I knew she would be.  She                had to be. KEVIN     She looks... I would say she has a                little of the coloring of that                Kathleen Kelly person. JOE      Kathleen Kelly of the bookstore. KEVIN     Why not?  You said you thought she                was attractive.

Why not=もちろんさ。

JOE      So what?  Who cares about Kathleen                Kelly?

So what?=それがどうした?
Who cares=知ったことではない、どうでもよい、知るか

KEVIN     Well, if you don't like Kathleen                Kelly, I can tell you right now you                ain't gonna like this girl.
ain't=are not
gonna=going to

JOE            Why not? KEVIN          Because it is Kathleen Kelly. Joe elbows Kevin aside and looks.     (=人を肘で押しのける)                            
JOE      Oh, God.
A long beat. KEVIN     What are you going to do? JOE      Nothing. KEVIN          You're going to let her just wait                there? JOE            Yes.  Yes I am.  That's exactly what                I'm going to do.  Why not? KEVIN          But she wrote the letters.
JOE            Good night, Kevin.  I'll see you                tomorrow. He walks away, leaving Kevin. Kevin stares after him.  Then he walks away in the other direction. 128   INT. CAFE LALO - CONTINUOUS                                 128    Kathleen, sitting alone, at a table for two, is drinking her tea.  She's starting to feel a little foolish.  She checks her watch. A loud, boisterous group comes in and sits at the table next to hers.  They're laughing.  A man from the group grabs the empty chair at Kathleen's table.

MAN            Do you mind?
Kathleen jumps up. KATHLEEN       Oh, yes.  I'm expecting someone.                 Please. She takes the chair back.  Sits down again.  She watches the group as they playfully fight over the menus.

take back=元の位置に戻す

She checks her watch again.  Then she opens her copy of Pride and Prejudice and looks at it.  She can't focus. A man comes into the restaurant and she looks up hopefully at him.  But he's going to meet another group of people. As he passes her table, he knocks the book and the flower onto the floor.
KATHLEEN (CONT'D)                Oh!

She jumps up and rescues the book and flower as if they were precious china. In the window, now, behind her, Joe appears.  He watches, as she rearranges the book and the flower. He disappears from sight. A beat... He walks in the door. JOE      Kathleen Kelly.  Hello.  What a                coincidence.  Mind if I sit down? KATHLEEN    Yes I do.  I'm expecting someone. Joe picks up her book, looks at it. JOE            Pride and Prejudice. Kathleen grabs it back. KATHLEEN   
  Do you mind?

She places it back on the table, puts the rose into it. JOE      I didn't know you were a Jane Austen                fan.  Not that it's a surprise.  I                bet you read it every year.  I bet                you just love Mr. Darcy, and that                your sentimental heart beats wildly                at the thought that he and whatever                her name is are really, honestly and                truly going to end up together.

Pride and Prejudice"『高慢と偏見』は、ジェーン・

[登場人物家系図] エリザベス・ベネット (Elizabeth Bennet)     主人公。五人姉妹の次女。容姿は平均的。知性と才気に
    している。愛称はリジー (Lizzy) 。 ジェーン ・ベネット(Jane Bennet)     五人姉妹の長女。温和でお人好しな美女。およそ人を
    疑った事のない純粋さの持ち主。 ビングリー氏 (Mr. Bingley)     ネザフィールド・パーク館に引っ越してきた独身の
    (Mrs. Hurst) という姉と妹数人がいる。 フィッツウィリアム・ダーシー (Fitzwilliam Darcy)     ビングリーの友人で、彼と共にネザフィールドに滞在。


KATHLEEN    Would you please leave? Joe sits down. KATHLEEN (CONT'D)                Please? JOE            I'll get up as soon as your friend                comes.  Is he late? KATHLEEN       The heroine of Pride and Prejudice                is Elizabeth Bennet and she's one of                the greatest, most complex characters                ever written, not that you would                know. JOE            As a matter of fact I've read it.
KATHLEEN       Well, good for you. JOE            I think you'd discover a lot of things                if you really knew me. KATHLEEN       If I really knew you, I know what I                would find -- instead of a brain, a                cash register, instead of a heart, a                bottom line.

bottom line=(決算書の)最後の行、収支決算、(計上された)純益、損失

Kathleen is shocked at herself. JOE            What is it? KATHLEEN       I just had a breakthrough, and I                have to thank you for it.  For the                first time in my life, when confronted                with a horrible, insensitive person                I actually knew what I wanted to say                and I said it.

JOE      I think you have a gift for it.  It                was a splendid mixture of poetry and                meanness.


KATHLEEN       Meanness?  Let me tell you -- JOE            Don't misunderstand me, I'm just                paying you a compliment.


He lifts the book off the table.  Kathleen grabs for it. KATHLEEN    Why are you doing this? She manages to get the book, leaving Joe with the rose.

JOE            What have we have?  A red, no, crimson                rose, tucked into the pages.                 Something you read about in a book,                no doubt.  One of those books with a                lady in a nightgown on the cover                about to throw herself off a cliff.

She holds her hand out for it. KATHLEEN       Give it to me. Joe puts it between his mouth and his nose like a mustache. JOE            It's a joke to you, isn't it?                 Everything's a joke to you. She grabs the rose.  Puts it back in the book. KATHLEEN       Please leave.  I beg you. He stands up, walks from the table, sits down at the very next table, with his back to her. The door to the restaurant opens.  Kathleen looks at it hopefully.  A pleasant looking man, who's immediately
joined by a pleasant looking woman.
For a moment, Kathleen looks just a little droopy,as if
the wind has just gone out of her sails.  She takes out
her compact, looks into her mirror.  She slides it over
to look behind her, at him, just as he's looking sideways
at her. He turns away suddenly.


Then she blots her lipstick with her handkerchief.


JOE            You know what the handkerchief reminds                me of?  The first day I met you -- KATHLEEN       The first day you lied to me -- JOE            I didn't lie to you -- KATHLEEN       You did too --

JOE            I did not --

KATHLEEN       I thought all that Fox stuff was so                charming.  F-O-X. JOE            I never lied about it -- KATHLEEN       "Joe.  Just call me Joe."  As if you                were one of those stupid 22-year-old                girls with no last name.  "Hi, I'm                Kimberley."  "Hi, I'm Janice."  What's                wrong with them?  Don't they know                you're supposed to have last names?                 It's like they're a whole generation

               of cocktail waitresses.

a whole generation=〔ある〕世代全ての人
cocktail waitress=〈米〉バーのホステス

She stops herself -- it's a tangent she never meant
to go off on.  But Joe has stood up and seated himself
back at her table.

go off on=(人)に怒りをぶつける[腹を立てる]

JOE      I am not a stupid 22-year-old girl -- KATHLEEN    That's not what I meant -- JOE            And when I said the thing about the                Price Club and cans of olive oil,                that wasn't what I meant either --

Price Club=プライスクラブ:米国の The Price Co. が

KATHLEEN       Oh, you poor sad multimillionaire.                 I feel so sorry for you.


The door opens and a large and very attractive
TRANSVESTITE in a boa comes in the door.


JOE            I am going to take a wild guess that                this isn't him, either.  Who is he,                I wonder.  Not, I gather, the world's                greatest living expert on Julius and                Ethel Rosenberg, but someone else                entirely.  Will you be you be mean                to him too?  Will you start out sweet                as sugar candy and then suddenly,                miraculously, like a bolt from the                blue, find that sharp little tongue                of yours?
wild guess=おおざっぱな推測                                                      (CONTINUED) gather=〔that以下だと〕推測[推量]する
Julius and Ethel Rosenberg

start out=~し始める
bolt from the blue=青天のへきれき

KATHLEEN       No, I won't.  Because the man who's                coming here tonight is completely                unlike you.  The man who is coming                here is kind and funny -- he has the                most wonderful sense of humor -- JOE            But he's not here.
KATHLEEN       If he's not here, he has a reason,                because there is not a cruel or                careless bone in his body.  I can't                expect you to know anything about a                person like that.  You've nothing                but a suit.                      (=スーツ)

A beat.  Joe gets up. JOE            That is my cue.  Good night.

Joe leaves.


2017年12月14日 (木)


117   EXT. SHOP AROUND THE CORNER - DUSK                          117   

As we see Kathleen flip the open sign to closed.

118   INT. SHOP AROUND THE CORNER - DUSK                          118   

George is talking to Kathleen and Birdie, who is toting 
up the week's receipts.

GEORGE     And I can't decide whether to put                sausages into the meat sauce or just                chopped meat.  Last time I made it,                Detective Carter and I never even                sat down to dinner because --                (he makes some sort of hand gesture                 indicating that sex prevented them from                 dining)                -- and last night, I made margaritas                in the blender, and I took the ice                cube and --

Detective Carter=テレビドラマに出てきた黒人の女性刑事の


BIRDIE         Spare us.                (=~を勘弁する) George goes out the door. Birdie looks at Kathleen. KATHLEEN       Don't tell me.  Not the slightest                difference? Birdie can't bring herself to answer. KATHLEEN (CONT'D)                How could that be?  All this publicity                and not one bit of difference?  Oh                Birdie, what am I going to do?  What                would Mom have done?


BIRDIE         Let's ask her. She opens the locket hanging around her neck.  There's a
picture of Kathleen's mother inside it.  Birdie holds the
locket up to her face. BIRDIE (CONT'D)                Cecilia, what should we do?

Birdie holds the locket to her ear and listens.  A pause. KATHLEEN       Birdie?
BIRDIE         Shhhh.                (after a beat, shrugs)                She has no idea, but she thinks the                window display is lovely.  Good night                dearie. Birdie smiles and picks up her shopping bag, goes out the
door. 119   EXT. SHOP AROUND THE CORNER - NIGHT                         119    It's starting to rain.  Kathleen lowers the grate over the
store.  As she turns to walk away, William Spungeon steps
in her path out of the shadows. KATHLEEN       Oh my goodness, hello.  What are you                doing here.
SPUNGEON       Loitering.  Lurking.  Skulking.                 Stalking.


He laughs.  So does she.  Dramatically, he whips out an umbrella and opens it over the two of them. SPUNGEON (CONT'D)                You look very beautiful. KATHLEEN    Thank you.  But I'm a wreck.                                     

He touches her cheek suddenly.  Kathleen starts.  Then
he blows on his hand.    (=息を吹きかける)

SPUNGEON    An eyelash.  It's gone. Kathleen relaxes.  They start walking. KATHLEEN       Are you writing another book? SPUNGEON       I'm in the home stretch.  I'll be                done in approximately six more years.
in the homestretch=〔仕事などの〕最終段階[最後の追い込み]
KATHLEEN       Should I discount? SPUNGEON    It's about a man on a quest for                knowledge who meets a woman he cannot                resist.


KATHLEEN       If I discount I have to fire someone                because I can't discount with this                overhead but whom could I fire?  I                couldn't fire anyone.


Spungeon suddenly puts his hand through Kathleen's hair.  She stops, frozen in place. SPUNGEON       You have your mother's hair.  Thick,                wild, the color of Nebraska wheat. He grabs her and tries to kiss her.
KATHLEEN       What are you doing?  Let me go. He backs her into a wall. KATHLEEN (CONT'D)                Stop it.  Are you crazy? She kicks him in the shins, wiggles free and runs away.

SPUNGEON(calling after her)                If you change your mind, you can E-                mail me.  Hermit@AOL.com. 120   INT. COMPUTER SCREEN - NIGHT                                120    The mail form says "To:" and Kathleen types in "NY 152". The form says "Re:" and Kathleen types in:  "Advice" 121   EXT. KATHLEEN'S APARTMENT - NIGHT                           121    Rain is falling. KATHLEEN (V.O.)                I need help.  Do you still want to                meet me? 122   EXT. JOE'S APARTMENT - NIGHT                                122    Rain is falling. We hear the sound of the computer. JOE (V.O.)     "Where?  When?" 123   INT. NUT SHOP OF BROADWAY - DAY                             123    George, Kathleen and Christina in the shop.  Kathleen is buying more lollipops. KATHLEEN       We're meeting in a public place. CHRISTINA      Well don't go anywhere with him.                 Don't even go out to the street with                him afterwards.  Get a dial cab to                just sit there and wait for you.


GEORGE     Did you tell Frank? KATHLEEN       There's nothing to tell. CHRISTINA      But did you tell him? KATHLEEN       He's away.  At the 32nd anniversary                of the Chicago Seven trial.

Chicago Seven=シカゴ・セブン、シカゴの7人◆1968年シカゴの
       (Chicago Eight)のうち法廷侮辱罪で有罪になった

GEORGE     And he's gone to a place where there                are no phones.  Do you even know                this guy's name? Kathleen shakes her head no. CHRISTINA      And you're going to meet him in a                bar?
KATHLEEN       Not a bar.  That place on 83rd with                the cheesecake.

GEORGE         And he will wear a flower in his                lapel, and you will be carrying a                copy of Anna Karenina with a rose in                it.


No answer. CHRISTINA      Oh God, no. KATHLEEN       Not Anna Karenina.  Pride and                Prejudice.


2017年12月12日 (火)


105   INT. THE SHOP AROUND THE CORNER - DAY                       105   

It's January.  The store is more crowded than 
we've seen it. Frank is there with several copies of the Independent.
The phone is ringing off the hook.  Christina and
George are fielding calls.  Birdie is reading Frank's

off the hook=〔固定電話機の受話器などが〕外れて

BIRDIE   (reading)            "Kathleen Kelly and her mother Cecilia             Kelly have raised your children.  If             this precious resource is killed by             the cold cash cow of Foxbooks, it             will not only be the end of Western             civilization as we know it, but the             end of something even dearer: our             neighborhood as we know it.  Save             the Shop Around the Corner and you             will save your own soul."  Frank,             that's charming.

cash cow=お金を産む牛、金になる乳牛、〔企業の〕もうかる

You think it's a little over the top?
over the top=おおげさすぎる
BIRDIE  Just say thank you. FRANK    Thank you. CHRISTINA(calling to Kathleen)              Channel 2's outside. 106   INT. BACK ROOM - THE SHOP AROUND THE CORNER -

Kathleen is primping in a tiny wall mirror.  She
takes a deep breath.


KATHLEEN     In a second.
GEORGE   (from the other room)             The Village Voice is coming.

KATHLEEN   Omigod. Frank sticks his head in. FRANK     (in shock)           It's him. KATHLEEN     Who? FRANK     God. It is God. 107   INT. SHOP AROUND THE CORNER - CONTINUOUS                    107    Kathleen comes out of the storage room. William Spungeon is standing there. WILLIAM SPUNGEON              I'm William Spungeon.
KATHLEEN     I'm very pleased to meet you.  I'm              Kathleen Kelly. Frank is practically levitating.


SPUNGEON   I knew your mother.  Although she               knew me only as W.  That enormous               bookstore is obscene. obscene=

FRANK     I'm Frank Navasky.  I carry your           picture in my wallet. He pulls it out.  Spungeon looks at him like he's
crazy. KATHLEEN     We've organized pickets.  Channel 13              is doing a special. SPUNGEON     I'd be glad to talk to the press if              it's all right with you.  They've              been trying to interview me for years. FRANK      The press?  I'm the press.
the press=新聞、雑誌、報道陣

KATHLEEN       You'd allow that?  For me?  For the                store?  That's incredible.  Although                you wouldn't have to be photographed.                 I respect that.  If it's television,                they could just put one of those                blurry dots in front of your face.


SPUNGEON    No television. CHRISTINA      (referring to the TV crew)                They're waiting for you --

FRANK      I know all your books.  Phaelox the            gnome, the little man who comes from            nowhere... and is going nowhere...            (quoting)            "Where did you come from?"  "Nowhere."            "Where are you going?"  "Nowhere."


SPUNGEON       Cool it.  I'm starting to break out                in hives.                     (to Kathleen)                Here's my phone number.

break out in hives=蕁麻疹が出る

KATHLEEN    I had no idea William Spungeon had a                phone. SPUNGEON       Adios. He gives a little wave and leaves.

give a wave=手を振る

FRANK   This is historic.            (beat)            Do you realize what I've done?  By            writing that piece, do you realize?             I've brought William Spungeon in            from the cold. Holy shit.  I am            completely amazing.

《the ~》〈卑俗〉〔ある種の中で〕最高の

At that moment a TV REPORTER sticks her head into
the store. TV REPORTER    Kathleen Kelly

Kathleen takes a deep breath, walks out the door.

      LATER              CHANNEL 2 TV REPORTER                Are you ready, Miss Kelly? KATHLEEN       Luca Brasi sleeps with the fishes.

Luca Brasi=ルカ・ブラージ(『ゴッドファーザー』の


CHANNEL 2 TV REPORTER                What? KATHLEEN       Never mind.  I'm ready.  Shoot.


109   INT. TELEVISION SCREEN - THAT NIGHT                         109    CHANNEL 2 TV REPORTER              We're here in front of the Shop Around              the Corner, the famous West Side              children's bookstore now on the verge              of having to close its doors because              the big bad wolf, Foxbooks, has opened              only a few hundred feet away, wooing              customers with its sharp discounts              and designer coffee.
on the verge of=今にも~しようとして

KATHLEEN     They have to have discounts and              lattes, because most of the people              who work there have never read a              book.

      エスプレッソコーヒー And pull back now to reveal that we're in:

110   INT. GYM - NIGHT                                            110    Five TV sets are on, over adjoining treadmills,
Joe and Kevin are on two of the treadmills, walking
and watching.

JOE     She's not as nice as she seems on television. KEVIN     You've met her? JOE     She's kind of a pill.


KEVIN      She's probably not as attractive as            she seems on television either.

JOE     No, she's beautiful.  But a pill. KEVIN      So you don't feel bad about basically            destroying her livelihood not to            mention her legacy not to mention            her raison d'etre. livelihood=
not to mention=
raison d'etre=〈フランス語〉レーゾンデートル、存在理由

It's not personal -- KEVIN    It's business. JOE      Right.  Exactly. They look up at the television. 111   INT. TELEVISION SCREEN - CONTINUOUS                         111    Joe onscreen, with a super: Joe Fox, Vice-President


JOE      I sell cheap books.  Sue me.  I sell          cheap books, and as a result -- listen          to this, because it's really bad -          more people can buy books.


The show immediately cuts back to the newscaster. On Joe and Kevin. KEVIN      That's what you said? JOE     (outraged)         That's not all I said.  I said -- I         can't believe those bastards -- I         said we were great, I said people         can come and sit and read for hours         and no one bothers them, I said we         stock 150,000 titles, I showed them         the New York City section.  I said         we were a goddamn piazza where people         could mingle and mix and be.

goddamn=[強意語として] 《口語》 ばかに,とても piazza=〔特にイタリアの都市の〕広場

KEVIN     A piazza?

JOE      I was eloquent.  Shit.  It's just          inevitable, isn't it?  People are          going to want to turn her into Joan          of Arc --

Joan of Arc=ジャンヌ・ダルク

KEVIN   -- and you into Attila the Hun.
Attila the Hun=アッティラ大王◆中央アジアの

JOE   Well it's not me personally, it's          more like it's the company -- KATHLEEN(on the television)                And I have to say, I have met Joe                Fox, who owns Foxbooks, and I have                heard him compared his store to a                Price Club and the books in it to                cans of olive oil.

Price Club=プライスクラブ、
米国の The Price Co.

On Joe, reacting. 112   EXT. SHOP AROUND THE CORNER                                 112    A small rally is taking place, with picket signs. 
Kathleen is standing on a small speaker's platform,
along with the Borough President.

Borough President=区長(Borough President,非公式の略称は

KATHLEEN       My mother used to say to me that                every book you sell is a gift from                the heart... 113   EXT. FOXBOOKS - DAY                                         113    As 20 CHILDREN march in front of the store, holding
little makeshift picket signs and singing songs.
"One, two, three, four, we don't want this Superstore."


Customers go right through the line and into the store.

114   INT. FOXBOOKS SUPERSTORE - DAY                              114    We can hear the pickets marching and singing outside--
although the store is full of customers anyway. The
Fox men -- Joe, Nelson and Schuyler -- are sitting in
the cafe.

Nelson is holding a copy of a weekly newspaper, which
has the old high-school yearbook picture of William
Spungeon on the front page and a headline: William
Spungeon Emerges from Hiding to Support Bookstore.

SCHUYLER      Who is this Spungeon anyway? JOE      He's a writer. NELSON      Well, I've never heard of him.  And             neither has anyone else in this place. 115   INT. TV SET - NIGHT                                         115    As we see SIDNEY-ANN STRONGIN, a young and attractive
PBS talk show hostess for a show called Inside Media. SIDNEY-ANN     The New York Literary world was                shocked this week when William                Spungeon, the most famously reclusive                author since J.D. Salinger, announced                that he was coming out of hiding                because of his loyalty to a small                children's bookstore on the West                Side of Manhattan.  Discussing this                tonight is a man I happen to think                of as one of this city's most                underappreciated assets, Frank                Navasky.

J.D. Salinger=ジェローム・デイヴィッド・サリンジャー


FRANK      Thank you.

SIDNEY-ANN     This all happened because of you,                didn't it -- FRANK      Well, I knew William Spungeon loved            children's books so I wrote a provocative
           column --


SIDNEY-ANN   Your specialty.                     (=専門、本職、得意)

Frank laughs.  Sidney-Ann laughs. FRANK      And it kind of smoked him out.

smoke out=

116   INT. KATHLEEN'S BEDROOM - NIGHT                             116   
As she and Frank watch the television show.
FRANK ON TELEVISION                Technologically speaking, the world's                out of hand.  Take the VCR.  The                whole idea of a VCR is that it makes                it possible for you to tape what's                on television while you're out of                the house.  But the whole point of                being out of the house is so you can                miss what's on television.  Radio.                 Now there's a medium I can get behind.

out of hand=手に負えなくて
get behind=~を後援[支持]する

SIDNEY-ANN ON TELEVISION                Well, we're on television... and                you're good at it. FRANK ON TELEVISION                Thank you. Another little moment between them. SIDNEY-ANN ON TELEVISION                The bookstore.  Tell us about it. FRANK ON TELEVISION                Are you planning to collect radios? SIDNEY-ANN ON TELEVISION                Do you think I should?
FRANK ON TELEVISION                The Shop Around the Corner is a true                New York treasure. SIDNEY-ANN ON TELEVISION                As are you.  I'd love to have you                back. FRANK ON TELEVISION                Any time.  Are we done? SIDNEY-ANN ON TELEVISION                Not at all.
FRANK ON TELEVISION                Because I just want to say that the                only show I do watch is yours. KATHLEEN    (appalled)
               (=がくぜんとする)                Omigod. FRANK     Hey, I was just being polite.  Okay,                I admit, I slobbered all over her. slobber=よだれを垂らす、だらしなくやる

The show continues.




2017年12月 9日 (土)


93   EXT. SHOP AROUND THE CORNER - DECEMBER DUSK                   93   

Kathleen is in the window decorating a little tree 
with lovely decorations from a box. Two people are
carrying a tree home, there's the sound of church
bells. Kathleen looks up as a couple of people walk past
the store, carrying Foxbooks shopping bags. Then she unwraps a pair of ruby slipper ornaments,
and as she starts to hang them on the tree we
hear the sound of the computer.
KATHLEEN (V.O.)This is such an odd Christmas.  I                find myself missing my mother, who's                been dead for ten years.  New York                at Christmas is so loaded with all                the things we used to do -- 94   INT. NEW YORK STATE THEATER - 1972 - DAY                      94    As Young Kathleen, dressed in a little velvet dress,
sits in the audience next to her mother watching
the ballet. KATHLEEN (V.O. CONT'D)                -- going to the Nutcracker --


95 EXT. ROCKEFELLER CENTER SKATING RINK-1972-DAY             95    KATHLEEN      -- ice skating at Rockefeller Center,               where I was knocked into a 6-year-               old maniac -- A SIX-YEAR-OLD BOY knocks into her. YOUNG KATHLEEN                Hey, watch out -- SIX-YEAR-OLD BOY                Me watch out, why don't you watch                out?  I'm not sliding around like a                baby.  You think I come here to skate                with babies? Young Kathleen's jaw drops and she stands there
tongue-tied. KATHLEEN (V.O.)My first experience as a speechless                person.
Her mother skates up and takes her hand.  The boy
skates off. KATHLEEN (V.O.) (CONT'D)                I always miss my mother at Christmas,                but somehow it's worse this year                since I need some advice from her. And we hear the sound of another computer. 96   INT. JOE'S DEN                                                96    As he replies to Kathleen. JOE (V.O.)My mother took me ice skating too -- 97   EXT. ROCKEFELLER CENTER SKATING RINK - DAY                    97    We see a little boy, YOUNG JOE, 8, skate past
holding someone's hand -- JOE     -- although my mother did not skate.          The nanny skated -- And we now see JOE'S NANNY, a young Sonja Henie,
who suddenly peels off into a series of triple lutzes, as JOE'S MOTHER absently reads a copy of Vogue in the spectators'
peel off=はがす、〔集団から〕離れる

98   INT. LINCOLN CENTER THEATER - 1972 - DAY                      98    JOE (V.O.)  And I was in the Nutcracker. We see the stage now.  There's Young Joe, among
the children at the Christmas party. JOE (CONT'D) So was my nanny. As JOE'S NANNY #2 pirouettes past.
JOE (CONT'D) Different nanny.  By the way, I'm              surprised you aren't a writer.               Although you probably are a writer              and don't know it.  Are you a writer              and I don't know it? 99   INT. JOE'S APARTMENT - 1972 - NIGHT                           99    Young Joe, at the dinner table with his father. 
A wide shot of a big room with a huge table and
Joe looks very small at the table as he eats his
soup. JOE     My mother died when I was ten.  I         was staying with my father, who is         not famous for intimacy, and whose         way of breaking the news of her death         was to tell me she would not be coming         to pick me up as usual.  It was a         car accident, and I don't know where         she was going or who she was with,         and I assume what I owe her is my         tendency to cover almost any emotion         with a joke.  A useful gift, unless         you want to know what you're feeling.          She was very beautiful.  People toss         that word around a lot, but my mother         was.


The camera moves closer to the dining table. 
We see that tears are rolling down little Joe's
cheeks. 100   INT. JOE'S DEN - NIGHT                                      100    Joe stops typing.  He is surprised to find his
eyes watering. A moment of confusion as he cannot believe he
has moved himself to tears.  Shakes his head,
shakes the emotion off. Starts typing again. JOE     Ancient history.  So what kind of         advice do you need?  Can I help? 101   INT. KATHLEEN'S BEDROOM - DAY                               101    Kathleen in bed with her laptop reading Joe's letter. She starts to type a response. Suddenly there's harp arpeggio and an Instant Message
flashes on screen.

 Instant Message=インスタント・メッセージ◆インター

THE MESSAGE JOE (V.O.)    I had a gut feeling you would be on               line now. gut=
〔心の底の〕感情をかき立てる                                                      (CONTINUED) -----------------------------------------------------------------------------------------------------                                                             p. 64 102   INT. JOE'S BEDROOM - DAY                                    102    Joe is in bed with his laptop.  And cut back and forth
between them and their computer screens as they type
Instant Messages to one another.  Possible split
screens. JOE  I can give you advice.  I'm great at advice. KATHLEEN (V.O.)I don't think you can help. JOE (V.O.)Is it about love? KATHLEEN (V.O.)My business is in trouble.  My mother                would have something wise to say. JOE (V.O.)I'm a brilliant businessman.  It's what
     I do best.  What's your business? KATHLEEN (V.O.)No specifics, remember?

JOE (V.O.)Minus specifics, it's hard to help.            Except to say, go to the mattresses.
KATHLEEN (V.O.)What? JOE (V.O.)It's from The Godfather.  It means           you have to go to war.
CLOSE ON KATHLEEN - LOOKING AT THE COMPUTER KATHLEEN      (to herself)               The Godfather?
She starts to type. KATHLEEN (V.O.) (CONT'D)                What is it with men and The Godfather? JOE (V.O.)The Godfather is the I Ching. The           Godfather is the sum of all wisdom.                            
I Ching=Book of Changes=易経(五経の一つ。占いの理論と

            The Godfather is the answer to any             question.  What should I pack for my             summer vacation?  "Leave the gun,             take the cannoli."  What day of the             week is it? "Maunday,Tuesday, Thursday,
            Wednesday." And the answer to your
            question is "Go to the mattresses."


CAMERA ON KATHLEEN - CONSIDERING WHAT HE SAYS JOE (CONT'D)You're at war.  "It's not personal,             it's business.  It's not personal             it's business."  Recite that to             yourself every time you feel you're             losing your nerve.  I know you worry             about being brave, this is your             chance.  Fight.  Fight to the death. 103   INT. JOE'S APARTMENT - DAY                                  103    Patricia comes in as Joe is waiting for Kathleen's
response. PATRICIA      Look what I bought. Joe types "Ciao" and signs off.  Looks up to see
Patricia showing him a Plexiglas menorah.

sign off=締めくくる、終了する
          ドイツのRohm and Haas社のOtto RohmとOtto


               I was just passing this store on                Columbus Avenue and it caught my                eye. JOE      What is it? PATRICIA     A Menorah.
JOE      It doesn't look like a Menorah. PATRICIA     I know.  I don't know what came over              me.  I don't even celebrate Hanukkah. 104   INT. KATHLEEN'S BEDROOM - DAY                               104    As Kathleen logs off, Frank comes in.
KATHLEEN       Frank, I've decided to go to the                mattresses.  Do you think it would                be a gigantic conflict of interest                if you wrote something about us?


2017年12月 8日 (金)




”328 W.89th St
New York”
よく登場するスターバックスは”STARBUCKS COFFEE
81st & Broadway New York”

Zabar's 2245 Broadway 
New York”
待ち合わせの喫茶店”カフェ・ラロ Cafe Lalo 201 W.83rd St
New York”

87   INT. ZABAR'S CHEESE DEPARTMENT - NIGHT                        87    The place is mobbed -- the usual crush the night
before Thanksgiving.


Kathleen, pushing a shopping cart, is trying to
wedge her way through the crowd in the cheese


As she reaches across three people to grab some Brie,
she sees Joe walk into the store. Quickly, she turns
her back so he can't see her.


She stands there frozen.  A beat... Peeks around, doesn't see him anywhere.  Cranes her
neck this way and that.  No Joe.


88   INT. ZABAR'S CASHIER AREA - CONTINUOUS                        88    Kathleen, now wearing dark glasses but looking not
at all disguised, looks around and spots a short
line and makes a beeline for it.

make a beeline for=~へ真っすぐ[急いで]進む◆

At that moment, Joe comes from the Appetizing
Department and gets on the line she was heading for. Panicked, Kathleen retreats onto another line and
stands with her back to him.


89   INT. SAME SCENE - MOMENTS LATER                               89    The CASHIER totals up Kathleen's purchases and
Kathleen hands over her credit card.


CASHIER   This is a Cash Only line. KATHLEEN  What?

CASHIER   Cash Only. KATHLEEN    Omigod, I only have a credit card.              Is that okay? PERSON BEHIND HER IN LINE             Of course it's not okay, there's a             sign. CASHIER     There's a sign. PERSON IN LINE(to the person behind her)                She doesn't have cash. "She doesn't have cash" is repeated all the way
down the line.
Joe turns to see what's going on. ANOTHER PERSON                Get on another line, lady. JOE     Oh, hello. KATHLEEN      Hello. JOE     Do you need some money? KATHLEEN      No, I don't need any money.  Thank               you very much. CASHIER      Get on another line. JOE     Hi.         (off her nametag, big smile)         Rose. Great name.  Rose, this is         Kathleen, I'm Joe, and this is a         credit card machine.  Happy         Thanksgiving. Rose just stares at him. JOE (CONT'D)   Now it's your turn to say happy                Thanksgiving back. ROSE     Happy Thanksgiving back. Joe looks at her, winks. JOE     Mississippi is a hard word to spell.          How do you spell it?  I-T.         (big smile)         Now take this credit card and put it         through the machine, zip zip.


The cashier, completely charmed, takes Kathleen's
credit card. Kathleen is appalled.


Everyone on the line signs irritably and audibly.
sign=手まね[身ぶり]で合図する audibly=聞こえるように

JOE (CONT'D) So you're fine.
KATHLEEN     Fine. JOE     Happy Thanksgiving. As Kathleen signs the charge slip and the cashier exasperatedly starts to put her groceries into a bag.
charge slip=料金票


90   INT. JOE'S FATHER'S APARTMENT - THANKSGIVING DAY              90    An elegant East Side apartment.  Schuyler, his
youngish French wife, YVETTE, Nelson, Gillian and
their child Matt, and Joe are sitting and listening
as Annabel sings Tomorrow. ANNABEL   The sun'll come up tomorrow, bet             your bottom dollar that tomorrow,             there'll be sun -- Joe is on a loveseat with Matt.  Gillian lifts
Matt up, sits down in his place next to Joe and
plunks Matt into her lap.


Nelson is already seated in a chair in front of
the loveseat and can't see her without turning
around. As she continues singing, Gillian moves her hand
next to Joe's leg.  Joe edges away.  He looks
around the room, sees Nanny Maureen standing behind
the couch. He stands, offers her his seat. She sits. 91   INT. KATHLEEN'S LIVING ROOM - DAY                             91    A much more informal Thanksgiving dinner. We see
the leftovers on a sideboard near a round table
in Kathleen's living room.


Kathleen, Frank, Birdie, Christina, George and
George's new girlfriend, Meredith and TWO OTHER
FRIENDS are standing around the upright piano.
Birdie is playing a Christmas song, and everyone
is singing. As the singing continues, over, we cut to: 92   EXT. FOXBOOKS SUPERSTORE - DECEMBER DAY                       92    As the Christmas decorations and twinkle lights
go into the window. Birdie walks by the store.  She stops to look at
the customers inside, and then notices a sign in
the window:

"Book Signing January 10 - Best Selling Children's
Author Laura Margulies."  There's a picture of
Laura Margulies.




2017年12月 6日 (水)


79   INT. FOXBOOKS SUPERSTORE - DAY                                79   

The inside is beautiful.  Gleaning staircase, a cafe, 
comfortable chairs to sit, a bank of cashiers,
everyone decked out in gray alligator shirts with
a fox where the alligator should be, a rope for
the checkout line, and seven cash registers with
seven cashiers.  Of course, books, books, books,
as far as the eye can see.

deck out=特に華々しく魅力的に見えるために、特別な服を



          転換法》. 80   INT. SAME SCENE - LATER THAT DAY                              80   
The store is jam-packed. Joe with his father Nelson,
his grandfather Schuyler, and Kevin, the store

JOE     No pickets, no demonstrations.


KEVIN     The neighborhood loves us. NELSON    They're wondering where we've been           all these years.  They're wondering           how they ever did without it. SCHUYLER    It's a hit. They admire their own store, walk through the
downstairs and start up the staircase to the second


NELSON  How's the children's book department?


JOE    It's early yet.  School isn't out.         And there's that children's bookstore        nearby --

SCHUYLER    Cecilia's store -- JOE    Her daughter's -- NELSON     We'll crush it -- SCHUYLER    She was enchanting.

And as they walk on upstairs, several mothers
with children come up the stairs behind them. 81   EXT. BROADWAY - MORNING                                       81    A little group of children dressed as Pilgrims
walk down the street as Kathleen comes around
the corner to buy her morning paper.  Joe is at
the newsstand.  She turns and pretends to be
staring at a wall until he finishes buying his
paper and walks on.





KATHLEEN (V.O.)I don't think it's a good idea for 
               us to meet...


Joe is putting sugar into his coffee at the sugar
counter as
Kathleen comes in.  He pretends he
didn't see her.
KATHLEEN     I love our relationship.  There's a              lot going on in the day-to-dayness              of my life and there's something              magical...


83   INT. SHOP AROUND THE CORNER - DUSK                            83    We see Kathleen and George at the end of the day,
counting the receipts. Birdie is using a calculator
to total them. Christina is shelving books. There are Thanksgiving decorations -- cardboard turkeys and pilgrims,
books on colonists like Myles Standish.

Myles Standish=マイルス・スタンディッシュ
             (英: Myles Standish、1584年頃 -

KATHLEEN     ... and thrilling about this island              in cyberspace I have with you.  SO              PLEASE DON'T ASK ME AGAIN. BIRDIE     About $1200 less than the same week            last year.
KATHLEEN     That could be a fluke, right?

They look at each other.

BIRDIE   Or not.

KATHLEEN     Their store is new.  It's a novelty.               But it will all shake out.  Do you                think I should put up more twinkle                lights?
shake out=振って空にする

BIRDIE   That's a lovely idea. CHRISTINA     What if we have to fold?  I'll never               find another part time job and I               won't be able to pay the rent and               I'll have to move to Brooklyn.


GEORGE   The joy of rent control.  Six room            for $450 a month.

rent control=家賃統制

CHRISTINA   We know.  You've told us a million               times.  I can't believe you're               bringing it up at a time like this.                It's like bragging because you're               tall.  Birdie never brags about her               rent and she pays even less than               you.

BIRDIE     Ten rooms.  I just rattle around            from one to the other.

KATHLEEN     Hey, guys. We are not going to fold. The door opens, and Meredith Carter, the woman
George had swooned over in front of his building,
walks in. swoon over=うっとりする

George stares, frozen in place, as she walks up
to him. MEREDITH   George Pappas? GEORGE   (I have died and gone to heaven)             Yes. MEREDITH   (flashing her badge)                Detective Carter, 23rd precinct.                 I'd like to ask you a few questions.
precinct=区域 Kathleen suddenly sees George, following Meredith
out of the store.  He's in a complete daze.

in a daze=ぼーっとして

KATHLEEN   George?  Where are you going? He goes out the door. LAURA MARGULIES, a well-known children's book author,
enters as George leaves. LAURA     Kathleen, are you surviving? KATHLEEN    Laura!  We're so excited about your             new book.  When should we schedule             your signing? LAURA     Oh, it's being published in January.            Are you going to be in business in           January?  I'm so worried. KATHLEEN    We're doing great, aren't we? CHRISTINA    Great. BIRDIE     No difference whatsoever. LAURA     Thank God.  Well, you know you can           count on me.  For anything, support,           rallies.  Picket lines.  We can get           the Times to write something.  Or           that nut in the Independent --

For anything=何があっても

KATHLEEN     What nut in the Independent?

LAURA   Frank Navasky.  This is just the            sort of thing that would outrage            him.


She smiles brightly. 84   INT. COFFEE SHOP - DAY                                        84    George and Meredith are sitting in a booth.

MEREDITH  Mr. Pappas, I'm investigating the             murder of the woman found on the             roof of your building.  Do you live             alone there? GEORGE   Do I live alone?  Yes I do.  Do you             live alone? MEREDITH    Yes. George takes her hand in his and looks at it as if
it were the eighth wonder of the world.  He starts
stroking it, caressing it...


Meredith pulls it away.  A beat.  Then she gives it
right back to him.  He continues stroking.  They
stare at each other.  He puts her fingers into his
mouth. MEREDITH (CONT'D)              (overwhelmed)
             What are you doing? GEORGE   I don't know.  I have no idea.
MEREDITH  You have to stop. GEORGE   I can't. She utters a little moan. 85   INT. GEORGE'S APARTMENT - A SHORT WHILE LATER                 85   
They come into the apartment.  She throws herself
into his arms. 86   EXT. RIVERSIDE DRIVE PARK - DAY                               86    As Christina runs, desperately trying to make eye
contact with men running in the opposite direction. 
No one will look at her.


2017年12月 3日 (日)


71   INT. KATHLEEN'S BEDROOM - NIGHT                               71   

As Kathleen and Frank get into bed.

FRANK     I really like Patricia Eden.  She's 
          a very nice person.

Kathleen doesn't respond.  Frank turns out the light.

FRANK     She needs educating, that's all.

A beat.

FRANK (CONT'D)           She's hopelessly driven by money and           power, but there's a hope for anyone           who's that familiar with my work --

be familiar with

On Kathleen, as she turns away from Frank and lies
there, eyes open. 72   INT. JOE'S BEDROOM - NIGHT                                    72    As Joe and Patricia get into bed.  Brinkley is
already on the bed. PATRICIA     I had no idea that Frank Navasky was
             so down-to-earth.


Joe doesn't respond.  Patricia turns out the light.

PATRICIA (CONT'D)              You read his stuff, you think he's              going to be so obscure and abstruse.


A beat. PATRICIA (CONT'D)             He's always talking about Heidigger             and Foucault and I have no idea what             any of it's about, really.


Joe gets up.  Brinkley follows.
PATRICIA (CONT'D)             Where are you going? JOE     I'm not really tired. 73   INT. JOE'S DEN - NIGHT                                        73    Joe writes on his computer.  Brinkley on the floor
next to him. And cut between Joe and his computer screen. JOE (V.O.) Do you ever feel you become the worst            version of yourself?  That a Pandora's            Box of all the secret hateful parts --            your arrogance, your spite, your            condescension -- has sprung open.             Someone provokes you, and instead of            just smiling and moving on, you zing            them.  Hello, it's Mr. Nasty.  I'm            sure you have no idea what I'm talking            about.


74   INT. KATHLEEN'S COMPUTER SCREEN - DAY                         74         AND CUT BETWEEN SCREEN AND 75   INT. KATHLEEN'S BEDROOM - DAY                                 75    As Kathleen reads the end of Joe's letter. Kathleen hits the Reply key and starts to type: KATHLEEN (V.O.)              I know what you mean and I'm              completely jealous.  What happens to              me when I'm provoked is that I get              tongue-tied.  My mind goes blank.                             KATHLEEN (V.O.) (CONT'D)              Then I spend all night tossing and              turning trying to think of what I              should have said.


76   INT. JOE'S COMPUTER SCREEN AND JOE'S DEN - NIGHT              76         AS HE REPLIES: JOE (V.O.)Wouldn't it be wonderful if I could           pass all my zingers to you and then           I would never behave badly and you           could behave badly all the time and           we'd both be happy?  On the other           hand, I must warn you that when you           finally have the pleasure of saying           the thing you mean to say at the           moment you mean to say it, remorse
            inevitably follows.  Do you think we           should meet?


77 INT. KATHLEEN'S COMPUTER SCREEN AND BEDROOM - DAY             77    Kathleen stares at Joe's letter in her computer. She's frozen. KATHLEEN      Meet?  Omigod. She sits staring at the letter.  She has no idea
what to do. 78   EXT. 75TH STREET & COLUMBUS - DAY
                             78    As the iron gates on all the stores start to open,
just the way we saw them open in the opening sequence
of the movie. The pharmacy.  The optician.  The cosmetics supply
store. The video store. And now, finally, we see the new grate on the new
Foxbooks Superstore start to open upwards.  This
is the finest grate on Broadway, no question of it. 
It's electric and almost soundless.  We see a sign
saying, OPENING DAY.  35% OFF ON ALL BEST-SELLERS. People on the street notice the store.  One
walks in... CAMERA follows him...