carry the kids off
Alyssa called, saying she was gonna take the kids away.American Movie · 1999 — 第 10 / 19 章 · 4'52" · B2
Mark learns that Alyssa has called saying she'll take the kids away, and he can't stop turning it over: she's been living with another man for three years, she won't be reasoned with, and "People say that it's just words" until one day it isn't.
Word reaches Mark that Alyssa wants to take the children, and he explains why: he won't marry her, and he wants to keep both his kids and the woman he loves. He admits he's afraid she'll move out of state, then sings a song about someone who died and drinks with the family before a bath.
注目の表現
dudegive a fuckall of a suddena pretty optimistic view
このシーンの表現
guy; also a buddy
Mark calls Alyssa's partner 'this dude' while venting to his friend.
Some dude at the gym kept hogging the bench press.
not care at all
suddenly
a sarcastic take on the song
this thing
big lumps of
64 行のセリフに 33 件のメモ
carry the kids off
Alyssa called, saying she was gonna take the kids away.Going to collapses into gonna in fast speech.
Alyssa called, saying she was gonna take the kids away.Want to reduces to a light wanna.
Why does she wanna take the kids?present perfect continuous: The continuous plus for three years marks an action still going on now.
I mean, she's living with this dude now for three years, you know?be together with someone
Why can't I be with Joan and have my kids too...negative question: The negative question voices unfairness rather than asking for a reason.
Why can't I be with Joan and have my kids too...not care at all
Mark says he told Alyssa everything, and she simply does not care.
Yeah. Hell, yeah, I told her that. She don't give a fuck.used to stress yes — A rough intensifier, not for formal talk.
Yeah. Hell, yeah, I told her that. She don't give a fuck.suddenly
Mark fears the threat turns real without warning: words, then suddenly one day.
People say that it's just words, and all of a sudden, one day...noun clause after say: The that-clause is what people say; it is the object of say.
People say that it's just words, and all of a sudden, one day...to another state
she's moved out of state, which she says she'd do, and all kinds of stuff.non-restrictive relative clause: The which-clause adds extra information about the move, not a new action.
she's moved out of state, which she says she'd do, and all kinds of stuff.She'd is clipped before do.
she's moved out of state, which she says she'd do, and all kinds of stuff.cannot quite believe
I can't even believe she would say shit like that.want it both ways
You can't have your cake and eat it too, all the time.wind up as
I don't wanna end up being a nothing.gerund after end up: After end up, a gerund names the final state he is afraid of.
I don't wanna end up being a nothing.a swear of shock — A swear of surprise, only around friends.
Holy shit.have in your thoughts
That's not the one I had in mind. I had another one in here.this thing — A casual word for a thing or a person.
Let me open this up and let me get this sucker out.take a look
Check it out. Put in my first goddamn turkey.damn, for emphasis — A swear used for emphasis, keep it casual.
Check it out. Put in my first goddamn turkey.enjoy yourself
Okay, have a good time, Ma.mom — An informal word for mother.
Okay, have a good time, Ma.comfort someone
Listen, will it make you feel better if we get that house schnapps?do you want
What would you like, man?I'd is reduced and slides into like.
I'd like to have a peppermint schnapps...big lumps of
Mixing his drink, Mark lists the parts and asks for two big gobs of it.
and two gobs of it.Link gobs, of and it into one smooth run.
and two gobs of it.send good wishes
My dad's up north. He called, wishes us well.out of control
While trimming Mark's toenails, his friend jokes that he is out of control and tells him to lift his other arm.
You're a man outta control. Just lift your other armpit.Out of collapses to outta in this line.
You're a man outta control. Just lift your other armpit.seriously intense — A slang intensifier, casual and a bit crude.
That's a wicked-ass toenail, dude.On the surface this is a man griping about an ex, but the scene is really about the cost of wanting everything. Mark lists his reasons as if they settle the matter, and the blunt phrase "she don't give a fuck" shows how little his explanations move her. What scares him isn't only losing the children; it's that his choices are closing in on him, and "People say that it's just words" no longer sounds like comfort. The song he sings next, about a friend who died, keeps the mood of loss going. The scene lets him say the thing he can't fix out loud, which is why the small domestic comedy that follows feels like a release.
You can't have your cake and eat it too, all the time.The plainest verdict on Mark's dilemma: he wants his freedom, his kids and his romance at once, and the scene shows the bill for that.
I don't wanna end up being a nothing.His deepest fear isn't losing a fight but becoming nobody, which is why he treats both the relationship and the film as proof of his worth.
Why can't I be with Joan and have my kids too...The question he keeps circling: he sees his ex living with someone and keeping the children, and can't accept that the same isn't allowed to him.
I can't even believe she would say shit like that.Disbelief and hurt in one line; he treats the threat as outrageous, even as he admits it could really happen.
Because Mark won't marry her and she has seen him with another woman. She has been living with someone else for three years too, and Mark thinks she is now using the children against him.
It means you can't keep every good thing at once. Mark wants his freedom, his girlfriend and his children together, and the line points out that this may not be possible.
Yes. He says people only talk until one day they act, and he worries she will move out of state with the kids. He also insists that he loves them and wants to be a good father.
The song Mark sings is for someone who has died — he says goodbye and jokes about whether there are cigarettes in heaven — and it keeps the scene's sense of loss going.
次のチャプター · 第 11 章face up toMark Confesses at Thanksgiving Dinner
第 1 章idle handsMark's Twelfth Hour Deadline
第 2 章have something under your beltMark Pitches Northwestern
第 3 章in their right mindFamily Fights Over the Phone Bill
第 4 章ready to rollMark Runs Out of Money
第 5 章kosherMark Pitches Bill for 45 Grand
第 6 章down and outMark Shoots Coven in the Snow
第 7 章the bottom lineMark Pitches 3,000 Units to Bill
第 8 章lessen the blowShooting Coven in the Graveyard
第 9 章go out of their wayMark Lists His Debts
再生中 · 第 10 章have your cake and eat it tooMark Fears Losing His Kids
第 11 章face up toMark Confesses at Thanksgiving Dinner
第 12 章let a day go byMark Watches His Old Footage
第 13 章the ship is sinkingMark Shoots the Last Take of Coven
第 14 章on the moneyMark Records the Film's First Line
第 15 章for the birdsMark Pushes Bill Through 31 Takes
第 16 章just like youMark's Drunken Rant
第 17 章twist your armMark Picks Kenny Up From Jail
第 18 章catharticMark Smashes Cars on Set
第 19 章hot off the pressesMark Finishes the Last Splice