stay until someone arrives
Oh, I'm just waiting for Harry, Mr. Nosseross.Night and the City · 1950 — 第 8 / 19 章 · 2'50" · B2
Mary waits outside the Silver Fox for Harry while the owner tells her to go home. Adam finds her there and says plainly that she was not really waiting. The argument becomes Mary's defence of Harry: he had no advantages, he has to fight for his dignity, and if he hurts her it is because he has been hurt.
Mary waits outside the Silver Fox while Philip tells her to go home. She insists she is waiting for Harry, then decides to leave after all. Adam appears and sees through her, saying she was not really going to wait. Mary defends Harry, describing the hard life that made him what he is.
注目の表現
a breath of airtalk down your nosekeep one's head upany minute
このシーンの表現
speak with a superior air
Mary cuts Adam off, refusing to let him judge Harry from a superior height.
Don't talk down your nose about people who never had your chances.
a short break outside
hold on to one's dignity
at any moment
easy for you to say
a blunt brush-off
56 行のセリフに 26 件のメモ
stay until someone arrives
Oh, I'm just waiting for Harry, Mr. Nosseross.For is usually reduced to fər in this position.
Oh, I'm just waiting for Harry, Mr. Nosseross.will arrive shortly
He'll be along soon.leave quietly
Helen must have slipped out for a breath of air. She...nobody can hold someone back
No stopping Harry once he gets started.once someone begins
No stopping Harry once he gets started.once-clause: Once introduces the trigger; the main clause says nothing can stop him after it.
No stopping Harry once he gets started.an affectionate address — A fond address, usually from an older speaker.
- Hello, Molly. - Hello, Mary, my dear.head home now on adds a sense of going ahead and heading home
Perhaps it's best if I do go on home.how surprisingly lucky
Adam! What a remarkable coincidence.at any moment
Mary insists Harry will arrive at any moment, though she hardly believes it herself.
I just came out here waiting for Harry. He'll be along any minute.come to collect someone here it means coming to fetch her, not phoning
He calls for me every night.Gonna and wait run together in fast, emotional speech.
You weren't gonna wait for Harry, and you know it.going to, in speech — Everyday speech; avoid it in writing.
You weren't gonna wait for Harry, and you know it.elliptical subjunctive: What if I were is a clipped subjunctive that dares Adam to make something of it.
What if I were? If Harry's not here, he's got a good reason for it.speak with a superior air
Mary cuts Adam off, refusing to let him judge Harry from a superior height.
Look, I don't like you talking down your nose about Harry, you don't know him.easy for you to say
Mary tells Adam it is easy for him to talk, since he is secure and knows where he is going.
It's all right for you, you're secure, you know where you're going.have a clear direction
It's all right for you, you're secure, you know where you're going.All right links into one unit with the stress on right.
It's all right for you, you're secure, you know where you're going.without help from anyone
He's been on his own ever since he was a kid,from that time onward
He's been on his own ever since he was a kid,present perfect with since: The present perfect with ever since describes a state lasting from childhood to now.
He's been on his own ever since he was a kid,hold on to one's dignity
Mary says Harry has no family or backing, so he fights to keep what dignity he can.
and he's fighting the only way he knows to keep his head up.a betting agent — Racing slang for a betting agent.
The bookie's been looking for you, Harry.a blunt brush-off
Warned that the bookie is looking for him, Harry answers with a cold brush-off.
Tell him to drop dead.a harsh brush-off — A blunt, rude dismissal; not for polite company.
Tell him to drop dead.The scene is Mary's character in one conversation. She can see exactly what Harry is, and she loves him anyway. Adam, the respectable friend, reads the situation correctly and says so — "You weren't gonna wait for Harry, and you know it" — and Mary answers not by denying it but by explaining why Harry deserves patience. Her defence is the film's most generous speech about him: he had no home or education, he has been on his own since he was a child, and he fights the only way he knows. "If he's hurt me, it's because he's been hurt." The line that follows the argument, when she finally asks to be taken home, shows how thin the loyalty is stretched. She keeps the faith, but it costs her.
If he's hurt me, it's because he's been hurt.Mary's explanation of Harry's behaviour: he is not cruel by nature but damaged, and she will not hold the damage against him.
It's all right for you, you're secure, you know where you're going.Her class argument in one line: Adam can afford to judge because he has never been desperate.
You weren't gonna wait for Harry, and you know it.Adam's blunt read of her: she had already decided to go home, and waiting was only a manner of speaking.
Harry's had none of the things you've had: home, education, friends.The list that explains Harry: he built everything from nothing, which is also his excuse and his tragedy.
He knows Harry is not coming and wants to spare her an empty wait. He is polite about it, but the suggestion makes clear how long she has already been sitting there.
He is being sarcastic. He notes that he prepared to meet her for two hours, and he accuses her of pretending to wait for Harry when she had already given up.
Because she understands where he came from. She says he had no home, education, or friends, that he has been alone since childhood, and that if he hurts her it is because he has been hurt.
She asks Adam to take her home. It is an admission that the waiting is over and that she needs someone to rescue her from the evening.
He arrives late and is told the bookie has been looking for him. His answer is to tell the bookie to drop dead, which shows the trouble he is in.
次のチャプター · 第 9 章go through the motionsHelen Gives Harry Two Hundred
第 1 章come to your sensesHarry Pitches His Fuel Pill to Mary
第 2 章an artist without an artMary Borrows Money From Adam
第 3 章start off on the right footHarry Gets the Club Rules
第 4 章what do you knowHarry's Wallet Trick at the Club
第 5 章take it easyHarry Is Thrown Out of the Arena
第 6 章in the palm of my handHarry Pitches His Wrestling Plan
第 7 章with the best will in the worldHarry Tries to Borrow 200 Pounds
再生中 · 第 8 章talk down your noseMary Waits for Harry Outside
第 9 章go through the motionsHelen Gives Harry Two Hundred
第 10 章silent partnerHarry Makes Phil His Silent Partner
第 11 章get mixed up withKristo Tells Harry to Leave London
第 12 章hear me outHoskins Confronts Harry Over the Bill
第 13 章throw good money after badPhilip Withdraws from the Partnership
第 14 章turn tailHarry Buys The Strangler
第 15 章once and for allThe Strangler Crashes Harry's Gym
第 16 章the sharp edge of the knifePhilip Betrays Harry to Kristo
第 17 章a grudge fightThe Strangler Breaks Nikolas's Wrist
第 18 章in it for youKristo's Men Offer Mary £1,000
第 19 章struck offA Constable Voids the Club's Licence