in a safe spot
- Not very much. - That better? You're sitting pretty.His Girl Friday · 1940 — 第 16 / 18 章 · 5'03" · B2
The paper needs a hero, so Walter flatters rival reporter Bensinger, promises him a job and a byline — then orders his staff to toss him out once the extra is printed. Meanwhile Hildy's wedding keeps slipping away: "I'd be on that train right now. I'm a sap, falling for your line."
With Earl still hidden in the desk, Hildy types the escape exclusive and Walter edits over her shoulder. The Tribune's Bensinger arrives for his desk, so Walter charms him about his poetry and offers him a job — a ruse to get him out of the room. Then Louie returns with news that Mrs. Baldwin has been killed.
注目の表現
better senseon the contrarypoint of viewkid gloves
このシーンの表現
treat very gently
Walter tells his men to handle Bensinger very gently and indulge his poetry.
Handle the new client with kid gloves, she's easily offended.
good judgment
quite the opposite
perspective
crash right into
I have no idea
113 行のセリフに 33 件のメモ
in a safe spot
- Not very much. - That better? You're sitting pretty.The t's in sitting flap toward d in American speech.
- Not very much. - That better? You're sitting pretty.how is it going
- How's it coming? - All right. Where's Bruce?up to now
Certainly. Didn't you hear him? What have you got so far?negative question: A negative question signals surprise or reproach.
Wait a minute. Aren't you going to mention the Post?present perfect continuous: The continuous perfect stresses a repeated action up to now.
How long have I been telling you how to write a story?good judgment
Finding the door locked, the man outside scolds them for not knowing better.
Haven't you any better sense...?quite the opposite
Bensinger fears Duffy said something bad, and Walter insists it was quite the opposite.
On the contrary. On the contrary.like
Did you care for the poem, Mr. Burns?be employed by someone
Would you like to work for me?uncultured people — Snobbish and insulting; avoid.
All we got are lowbrows like Johnson here.perspective
Walter assigns the new reporter to write the story from the fugitive's own perspective.
Roy, write me a story from the point of view of the escaped man.moving nearer
He hears footsteps, they're closing in.cornered
- Get the sense of the animal at bay. - Sort of Jack London style?first conditional: The if-clause sets a condition, with the request left implied.
If there's an opening for a war correspondent...remember someone
- I'll keep you in mind. - Au revoir, mon capitain.treat very gently
Walter tells his men to handle Bensinger very gently and indulge his poetry.
Handle him with kid gloves. Have him write poetry.if so
In that case, he's gone by now.simile: The like-phrase compares her to a frozen bird.
Don't sit there like a frozen robin. Get on with the story.a fool — Self-mocking or insulting; informal.
I'd be on that train right now. I'm a sap, falling for your line.What's the blurs into one quick sound.
- What's the matter? - Where's Mrs. Baldwin?crash right into
Louie reports that the car ran straight into a police patrol and wrecked it.
We run smack into a police patrol. Busted it in half.I have no idea
When Hildy demands what happened to the woman, Louie says he has no idea.
- What did you do with her? - Search me, when I come to...no idea — Casual; too loose for formal talk.
- What did you do with her? - Search me, when I come to...knocked unconscious
- The driver got knocked cold. - Butterfingers!a clumsy person — A teasing label for a clumsy person.
- The driver got knocked cold. - Butterfingers!Link what and I, with the t flapping.
She's not squawking much. Know what I mean?complaining loudly — Casual; noisy complaining or informing.
She's not squawking much. Know what I mean?past preference: Would rather have done expresses a preference about the past.
Would you rather have had the old dame drag the police in here?an old woman, dismissive — Dismissive and rude; not polite.
Would you rather have had the old dame drag the police in here?for the newspaper
- You know I would, for the paper. - Louie, where'd it happen?leave this place
- I got to get out of here... - We can do more here. Be calm.Link out and of so it sounds like ou-dov.
- I got to get out of here... - We can do more here. Be calm.The scene is a masterclass in how the paper eats everyone around it. Walter audits every line of Hildy's copy — 'Who reads the second paragraph?' — and then pivots instantly to the real business of the night: flattering Bensinger, promising him a job the paper has no intention of honoring, and ordering his staff to dump the poet once the extra has gone to press. The double-cross is played as comedy, and it works because Bensinger wants it to. The joke curdles when Louie brings the crash: Mrs. Baldwin is dead, and Hildy says, "I killed her. I'm responsible." Walter's answer, that he'd carry on even for his own grandmother, is the film's clearest statement of what the job costs — and Hildy's clearest invitation to finally walk away.
If he loves you, you won't have to tell him anything.The consolation offered to Hildy about Bruce: if the love is real, it should survive the wreck of her plans without explanation. It's comfort and a dodge at once.
I killed her. I'm responsible.Hildy's reaction to Mrs. Baldwin's death. She takes the blame for a scheme Walter built, and the line is the moral centre of the sequence.
How you have messed up my life. What am I going to do?Hildy's outburst at Walter as her wedding, her plans and now a death pile up — the one moment she says the whole cost out loud.
Say his poetry smells and kick him downstairs.Walter's instruction after pretending to hire Bensinger: flatter, use, then discard. It's the film's funniest and coldest one-line summary of his methods.
I'd be on that train right now. I'm a sap, falling for your line.Hildy realizing she has been hooked again. 'Sap' and 'line' frame her as a mark in Walter's con, and she knows it.
He needs Bensinger out of the room so Hildy's exclusive can go to press first. The job offer, the raise and the byline are all bait, withdrawn once the extra is out.
Walter keeps pulling her back with each crisis, and the bigger story — a manhunt and a capture — is hard for a reporter to walk away from. She finishes the piece, then still misses her train.
Louie was driving her away when his cab hit a police patrol and was cut in half. The driver was knocked out and she was taken to a hospital, where Louie thinks she may have died.
He refuses to let it stop the paper. He tells Hildy he'd carry on even if it were his own grandmother, then sends her back to the typewriter for the extra.
Not here. She talks about getting on the train and tells Walter she won't go back to work, but the news of Mrs. Baldwin and the pressure of the story keep her in the room.
次のチャプター · 第 17 章barking up the wrong treeHartwell Finds the Escape Gun
第 1 章gum up the worksHildy Tells Walter She's Remarrying
第 2 章hard feelingsHildy Quits the Post
第 3 章take the wind out of someone's sailWalter Meets Bruce Baldwin
第 4 章kick the bucketWalter Schemes to Keep Hildy
第 5 章blood on your handsWalter Bets Bruce an Insurance Policy
第 6 章sour grapesBruce Names Hildy His Beneficiary
第 7 章give something six monthsHildy Interviews Earl Williams
第 8 章make a fool out of someoneMollie Rounds on the Reporters
第 9 章double-crossingHildy Tears Up Her Story
第 10 章go over the wallEarl Williams Escapes the Jail
第 11 章tear it out of someoneHildy Sells Her Scoop for $450
第 12 章a tissue of liesWalter Bribes the Governor's Messenger
第 13 章lay lowEarl Walks Into the Press Room
第 14 章sitting prettyEarl Hides in the Press Room Desk
第 15 章best interest at heartHildy Chooses the Story Over Bruce
再生中 · 第 16 章kid glovesWalter Double-Crosses Bensinger
第 17 章barking up the wrong treeHartwell Finds the Escape Gun
第 18 章whistle in the darkEarl Is Captured in the Desk