英語

2018年2月15日 (木)

映画『めぐり逢い』で英語のお勉強(6)

Med.  Shot

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

ventilator=通風孔
beckon=〔手ぶり・身ぶりで人に〕合図[手招き]する

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)
                See?
          (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.

beam=梁、桁 

男の子が階段の手すりからぶら下がっていた場面。映画では先にテリーが
見つけたようだが。

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.

pan=カメラをぐるっと回して撮影する

Boy          Gee, I got up there and I couldn't get back.
               (=へえっ、ちえっ)

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

slap=~をピシャリと打つ
business=〔役者のさりげない〕所作、しぐさ

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.

say=ねえ◆呼び掛けの言葉

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?
               (=そっか、本当に?)

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.                                                                              

fuss=〔イライラして〕そわそわする、落ち着かない
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?
                                         (=ぐちをこぼす、不平を言う、けちをつける)

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.

over=〔距離や空間を〕移動して

Terry       Champagne cocktail, please.

Bartender Yes, madame.

Images1

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?   
                (=ゲール語)      

ゲール語=アイルランド等で話されているケルト系言語(の一群)。しばしば
       アイルランド語の呼称として用いられるが、「ゲール語=
       アイルランド語」とするのは不適切である。というのは、アイルランド語
       だけが「ゲール語」ではないからである。ゲール語の話されている
       地域としては他にスコットランドが有名であり、単に「ゲール語」と
       言った場合、文脈によってはスコットランド・ゲール語のことを指す。

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:

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2018年2月11日 (日)

映画『めぐり逢い』で英語のお勉強(5)

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)
                 Clever.

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)
                          (=声をそろえて)
        From him?
                 From her?

Both nod.

Imagescamera1

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...
                huh?

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...
                       (=ある意味では)

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.
               (=~を使ってパチリという音を出す)

Photographer
             
Grazia -- thank you very much.

Nickie turns back to rail.
                            (=手すり)

Terry        Oh -- that's bad...ah --
         (she pantomimes them together)
                (=手振りで表現する)

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

Photographer
                Oh, yes --

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

Photographer
                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)

Imagescamera2

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...
                 (=細分する)

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

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2018年2月 5日 (月)

映画『めぐり逢い』で英語のお勉強(4)

Int. Dining Room - Night

Index1

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)
         (=厳かに、重々しく)
                     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)
          (=ずるく、陰険に)
                     You must have had a happy childhood.

Nickie beams.
         (=ニコニコ笑う、ほほ笑む)

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)
                    Dozens?   
                    (=数ダース、数十、何十)   

Nickie  (a vague gesture)   
            
(=どうともとれる、はっきりしない身振り)
          Mmmm...

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?
                    (=そうしよう)

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. 

missing=あるべき所にない

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.                                                                     

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2018年1月18日 (木)

映画『めぐり逢い』で英語のお勉強(3)

Int. Terry's Suite - Med. Shot - Night
                            (=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)

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? 
                                (=ひょっとして、万が一)   

Nickie (stops and turns to her)
                   Yes.
          (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)
                   Cigarette?

Anaffairtoremember03

bubbly=泡の多い、【名詞】〈米話〉シャンパン
champagne=〈フランス語〉シャンパン◆フランスのシャンパーニュ地方で
                  作られる白の発泡ワインを指すが、同じような他の地域の
                  ワインもシャンパンと呼ばれることがある。お祝い事などで
                  飲まれることが多い。
scared=恐ろしくて、怖くて、びくびくして
evidently=明らかに、明白に、確かに、どうやら、見たところでは

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?

line=〈話〉口先だけのせりふ、心にもないこと、舌先三寸◆相手を
        だましたり口説いたり良い印象を与えるための。

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.

nasty=不快な、たちの悪い
crack=皮肉、冷やかし、冗談

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
                   champagne? 

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)
                   Rich?
          (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?
                      
(=マッサージ、もみ療治)

Terry         Four times a week.

Nickie        Where is he now?

Terry         Reno.  

Reno=リノ、リーノー◆米ネバダ州の北西に位置するワショー郡の
        郡庁所在地。シエラ・ネバダ山脈の麓に位置し、州内では
        ラス・ベガス大都市圏を除けば最大の都市。ラス・ベガスと共に
        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.
                  (=そういうわけでもない、ちょっと違う)

Nickie         Pleasure?

A beat.

Terry (slightly turning her head)
                  Divorce.

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

Terry          Messy, isn't it?
                  (=〔訴訟・離婚などの問題が〕厄介な)

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?
                  (=ですよね、でしょうね)

Nickie         He must feel very sure of himself.
                                           (=自分に自信を持っている)

Terry        Horribly.

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

slip=(思考・行動・文法などの〕誤り、不注意、見落とし

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

Nickie looks at Ken's picture again.

Nickie        He looks very engaging.
                                    (=魅力がある、愛想のいい)

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...

Keno=キノ◆賭博の一種。番号を当てるとお金がもらえる。
Shuffleboard=シャッフルボード(長い棒で円盤を突いて点数を書いた
                  枠の中に入れるゲーム; 主に船の甲板でする)
plunge=〔海などへの〕飛び込み

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
            現われる場面転換法》

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2018年1月16日 (火)

映画『めぐり逢い』で英語のお勉強(2)

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.
            (=カメラをぐるっと回して撮影する)

Nickie           I am in trouble -- serious trouble.

Terry              Well,  I could have told you -- playing around yachts. 
                       The poor thing!
                       (=かわいそうに)

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.
                                                  (=そういう習慣を脱する)

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.
                            (=そうかもね)

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.
        (=退場する)

Int. Ship's Corridor - Dolly Shot - Night
                             (=レール上の台車、ドリーにカメラを乗せて撮影
               されたショット)

Nickie and Terry come around the corner and start forward as camera
moves back with them.  Halfway down, he turns to her.
                                 (=半ばまで行ったところで)

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)
                                                  (=〔物や方向を〕指し示す、指さす)

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 --

prudish=〔男女関係・性的なことに〕ガードの堅い、上品ぶった、淑女ぶった

He starts to close door after himself.

*****************

さて、二人の扉は開いた…heart01

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2018年1月 9日 (火)

映画『めぐり逢い』で英語のお勉強(1)

Wikipediaより

『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
中で歌う主題歌は、『王様と私』でも吹き替えをしたマーニ・ニクソンが
吹き替えた。

"An Affair to Remember"

まずは、主人公ニッキーについての情報を知らせる各国のニュースの
場面から。

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
dame=〈米俗・古〉女性
gangplank=タラップ◆船からふ頭や波止場に渡した通路
palpitate=〔心臓が〕ドキドキする
buck=〈米話〉1ドル
ostrich=ダチョウ

Close Shot -- French TV News' Commentator

In contrast to the American the Frenchman is very suave.
                                                                      (=〔口調の〕柔らかな
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」
franc=フラン(複数の国の基本貨幣)

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
attitude.

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.
                            (=これはこれで)

tidbit=〔ニュース・情報などの〕断片、触り
matrimony=結婚生活
industrial=工業[産業](労働者)の
nobility=貴族階級
gravel=砂利、小石
scan=〔ざっと新聞などを〕読む、目を通す
boredom=退屈、倦怠

ヨーロッパからの帰りの客船の中。プレイボーイのニッキーは…

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:

balmy=さわやかな
page boy=ボーイ、給仕
reflect=~を映す、示す、反映する

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!
                 (=〔特に性的に〕非常に興奮した)

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 --
                       (=おもちゃ、もてあそばれる人)

Int. Boudoir - Paris
     (=婦人の私室)

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

scantily=不十分に、不足して、乏しく
clad=〈文〉〔服を〕着た、まとった
sheer=〔生地などが〕シアーの、透けるほど薄い
volatile=〔人が〕興奮しやすい、怒りっぽい

Gabriella    (slight accent)
                      (=わずかな訛り)
         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 --

電話が通じなくなったふりcoldsweats01

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.
                                                      (=脇を見る)

Full Shot
(=撮影対象を画面に大きく写すこと)

As Nickie comes out of the booth, a large man and his wife
come bounding into the scene.
         (=元気に歩く)

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
                     hand...

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.
                                                         (=いかさまをする)

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)

Madmpromdmaasdampromenade2

Nickie is discovered taking a walk.  He passes an interior
porthole -- sees something  - moves closer and calls o.s.
                                                                      
porthole=舷窓◆船の舷(船の両側面)に付けられた、金属
              の縁で囲まれた丸い小さな窓
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.  
                     (=〔状況から判断して〕~した方がいい[よさそうだ])   

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?

purser=(船・飛行機の)パーサー、事務長

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
demeanor
.

demeanor=〔性格が表れる〕振る舞い、態度、外見

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)
                (=見せ掛けの、ふりをした)
                  Now, may I have my cigarette case?

Two Shot - Featuring Terry
                   (feature=〔映画で人を〕主役にする)

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?

frightfully=恐ろしく
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' --
                  (hastily)
                  - that's the name of her yacht.

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

She hands him the cigarette case.

700full

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. 

infectious=〔癖・感情・言葉遣いなどが人から人に〕うつりやすい、
                伝わりやすい:「こっちもつられて微笑んでしまうような」 

Terry    No -- but I may write one called "MOON OVER LA
                 GABRIELLA." 
                 (abruptly)
                 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.   

intrigued=興味をそそられて

|
|

2017年12月30日 (土)

映画『ユー・ガット・メール』で英語のお勉強(30)

そろそろ佳境に入る予感scissorshappy01

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.


reservoir=貯水池     
Then she resumes her morning exercise, running on.
         (=〔中断したことを〕再び始める、再開する)

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.


hora=ホーラ《ルーマニア・イスラエルの舞曲》.

Patricia sees the rabbi, leading the dance. The rabbi whirls madly toward her, like a human
dreidel.
whirl=グルグル回る、回りながら進む 
dreidel=四つの面を持つコマ。ユダヤ教のハヌカーの祭りのときにこれで遊ぶ。

150pxdreidel_001

RABBIT     Shabbat shalom!

Shabbat shalom=good wishes、幸せを祈る気持ち、幸運を
        祈る言葉、祝福の言葉


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.

tweak=
急にひねる[引っ張る]、〔自動車や機器の機能を
   改善するために〕微調整[マイナーチェンジ]する
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               (=
オープンカフェ、カフェテラス)

Kathleen and Joe having nachos
.

nacho=
《メキシコ料理》ナーチョ、ナッチョ◆小さい
       トーティーヤ(tortilla=薄パン)にチーズ、
       唐辛子を乗せて焼く


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.

nail=~を暴く、すっぱ抜く                            
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.

parole=囚人を仮出所させる、仮釈放する                            
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.


mole〔皮膚にできる〕ほくろ
pockmark〔皮膚にできた〕あばた

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.

                               (=ここは私が払う)

clinch=決着をつける、片を付ける
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 --
Felony=《法律》重罪◆アメリカでは通例、死刑または
         1年を超える懲役や禁錮刑を受ける、重大な犯罪

Indictment=起訴(手続き)、告発

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.                    (=
旅行かばん)

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.
prime=準備する

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.
KATHLEEN    No.
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.            (
=〔荷馬車の〕車輪)
flipflop=
かかとのないサンダル、ビーチサンダル   

どういう状況かよくわからないけど、この場面は
映像にはないなあcoldsweats01

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

この状況も画面にはなく、最後の「空」の場面では
『虹の彼方に』が流れる。


FADE OUT

|
|

2017年12月28日 (木)

映画『ユー・ガット・メール』で英語のお勉強(29)

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.
assortment=各種取りそろえたもの、雑多な物の集まり
atomizer=噴霧器

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.

Cranberry

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.


pier=桟橋

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.


astrologer=占星術師                            
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
hassle=面倒なこと、けんか
more of=~よりもっと
inheritance=相続財産
down the drain
=〔一瞬にして〕失われて

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.


snap〈米話〉簡単な[易しい]こと[仕事]

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
buzzer.         
(=〈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 --

sniffle=鼻をすする

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 --                (=
エキナシア、エキナセア◆風邪に効き目
                 がある薬草。アメリカインディアンが
                 用いていた)

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
paper.

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
gloat=〔他人の不幸などを〕いい気味だと思う、あざ笑う

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.
woozy=頭がふらふらする、めまいがする、ぼんやりした

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.

prejudiced=偏見を持った
                           (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.


concede=しぶしぶ認める

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.

なんだかいい感じになってきたな、二人。
でもまだ、キャサリンは気が付いていないcoldsweats01

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2017年12月25日 (月)

映画『ユー・ガット・メール』で英語のお勉強(28)

162   EXT. A BLUE SKY WITH A BIG COMPUTER SUN SHINING 
IN IT, AND PAN DOWN TO:
PAN=パノラマ的効果を得るためカメラを左右に回転して写す


A COMPUTER VERSION OF COLUMBUS AVENUE
The trees sprout leaves and birdies start to tweet. 
And the scene turns into a real version of:

birdy=
〔幼児語・または親しみを込めて〕鳥さん

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.

itty-bitty=
〈話〉とても小さな、ちっちゃな

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

Caldecott=ランドルフ・コールデコット(Randolph
          Caldecott, 1846 - 1886)はイギリスの
          イラストレーター、美術家。ユーモラスで
          温かい資質が手伝い、独創的かつ多作の
          イラストレーターとして名声をあげた。
          初めは銀行勤務のかたわら雑誌や新聞に
          挿絵を寄稿することから出発し、スレイド
          美術学校に学んで最終的に画業を選択する。
          のちに彫版師エドマンド・エヴァンズと
          ともに制作した16冊の子ども向け絵本は
          コールデコットの代表作となった。それら
          コールデコットの絵本に見られる、絵と
          ことばが互いを補って物語の世界を広げる
          作風は現代絵本の源流のひとつと位置づけ
          られ、同時代に活躍したウォルター・
          クレイン、ケイト・グリーナウェイと並ぶ
          イギリス絵本の新たな表現形式を確立した
          三大画家のひとりに数えられる。没後、
     優れた絵本にイラストをつけた画家へ贈ら
     れるコールデコット賞(コールデコット・
     メダル)の名祖となった。

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:

07_eleanor

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
                    マンハッタン区とスタテン島区の間を
                    航行するフェリー


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.
glumly=悲しそうに

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
                      ある、活発に動く

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.

Pointed_hat_kathleen_2

Several children are listening. WE SEE: ANNABEL She's glowering.
   (=にらみつける)

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2017年12月24日 (日)

映画『ユー・ガット・メール』で英語のお勉強(27)

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.


flawless=完璧な
swear by=~を絶対に信用する
Period=以上、〔議論はこれで〕もうおしまい、あとは
       つべこべ[ごちゃごちゃ]言うな◆発言や文章の
       最後で使う


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.
turnover=転職率

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!

obtuse=鈍感な、鈍い


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.
flick=(指先などで)ぽんとはじく

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.
          
plummet=まっすぐに落ちる                          
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
Ecstasy=エクスタシー、1999年頃からアメリカの青少年の
    間で急激に流行している麻薬。幻覚作用があり、
    脳障害を引き起こす。正式名称=MDMA

Zoloft=ゾロフト◆米国のファイザー社製の抗鬱剤。
       1992年に発売開始。

Fenphen=フェン・フェン◆ダイエット薬。米で600万人が
        服用。心臓弁障害で裁判に(2000年)

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?


TicTac=ミントタブレットの商標名

おいおい、パトリシアさんsign03coldsweats01


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.

berth=(船・列車・飛行機の)寝台

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 --

infection=伝染病


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
itself.

computer-enhanced=
コンピューター処理によって
                  改良された


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

poof=ふっと消えること

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