balls; nonsense — British vulgar; only among friends.
Now that he's Billy Big Bollocks.The Gentlemen · 2020 — 第 12 / 15 章 · 2'17" · B2
Dry Eye Kidnaps Rosalind, Explained：give someone the slip
Dry Eye shows up and takes Rosalind with him, telling her coolly, "don't be alarmed" and that she will come along until he settles things with her husband. She refuses to go, while a panicked chase plays out on the road, phones ringing unanswered.
あらすじ
The chapter cuts between two moments. Dry Eye corners Rosalind and tells her to come with him quietly, until he can settle things with her husband; she answers that she is not going anywhere. On the road, a call goes unanswered while someone is told to put a seat belt on and to mind the wheel.
注目の表現
Billy Big Bollocksfucking phoneFancy a boiled sweetSuit yourself
00:00 / 02:17Space 再生 · ← → セリフ移動 · R リピート
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このシーンの表現
give someone the slip
escape from someone
Fletcher complains to Raymond that the pair slipped away from him, so he missed the rest.
The thief is giving the guards the slip.
このシーンの他の表現
- Billy Big Bollocks
a pompous big shot
- fucking phone
the damn phone
- Fancy a boiled sweet
want a hard candy
- Suit yourself
do as you like
- let alone
much less
このシーンのメモ一覧
33 行のセリフに 27 件のメモ
The t in ten often drops, so ten minutes sounds like tem-minutes.
Give me ten minutes, Ray.a romantic date
It's date night tonight.attend
Nine o'clock. I'll be there.end a call
Hang up.dropped auxiliary: In casual speech the auxiliary are is dropped after what.
What you doing here, Dry Eye?getting warmer
It's warming up now, isn't it?Warming up links together, almost warmin-gup.
It's warming up now, isn't it?at this stage
At this point I'm guessing that you didn't even know that Lord George was dead yet.much less
Fletcher says Mickey did not even know Lord George was dead, let alone what Dry Eye was plotting.
Let alone what Dry Eye was up to.let alone: Let alone links a negative clause to something even less likely.
Let alone what Dry Eye was up to.a hard candy
Fancy a boiled sweet?do as you like
Rosalind refuses the sweet, and Dry Eye shrugs it off with a cool Suit yourself.
No. Suit yourself.the hell — Vulgar intensifier for angry questions.
Who the fuck was he?escape from someone
Fletcher complains to Raymond that the pair slipped away from him, so he missed the rest.
I'm not exactly sure what happened next because you two managed to give me the slip.wait a moment
Hold on. You were there?not answering
He's not picking up. Maybe you should put your seat belt on.fasten your seat belt
With the call unanswered, Dry Eye tells Rosalind to buckle up, care wrapped in control.
He's not picking up. Maybe you should put your seat belt on.should for advice: Here should gives advice rather than duty: you'd better fasten it.
He's not picking up. Maybe you should put your seat belt on.accompany me
But you're gonna come with me until I can resolve all these issues with your husband.time clause: Until sets the condition: you stay with me until the matter is settled.
But you're gonna come with me until I can resolve all these issues with your husband.staying put
I'm not going anywhere.Going anywhere runs together and the ending softens.
I'm not going anywhere.ringing unanswered
She's not picking up. It's just ringing.reduce speed
Fuck. We could just slow down a little bit.a small amount
Fuck. We could just slow down a little bit.The d in down is cut short, almost inaudible.
Fuck. We could just slow down a little bit.「Dry Eye Kidnaps Rosalind」を読み解く
What's really going on
The scene is a kidnapping played with perfect manners. Dry Eye's line — "Now, Rosalind, don't be alarmed" — is politeness used as a weapon: he is taking her freedom, and he wants her to stay calm while he does it, moving straight to the reason, "until I can resolve all these issues with your husband." Rosalind's answer, "I'm not going anywhere," is the one piece of resistance the scene allows her. Around this, the phone calls keep failing and the car keeps moving, and the narrator admits he lost track of the pair: "you two managed to give me the slip." The order of the lines matters: the courtesy comes first, the threat arrives folded inside it.
Theme
PowerDry Eye takes Rosalind as leverage to force a resolution with her husband, showing that in this world people are currency.
TrustThe scene runs on failed contact: unanswered calls and a narrator who was given 'the slip,' so no one can quite control the situation.
このチャプターで学べること
- Dry Eye turns small talk into a quiet threat.
- Rosalind's flat refusal is the spine of the scene.
- British slang makes the menace sound casual.
- Fletcher's narration keeps the audience one step behind.
発音のポイント
- ten minutes — The t in ten often drops, so ten minutes sounds like tem-minutes.
- warming up — Warming up links together, almost warmin-gup.
- not going anywhere — Going anywhere runs together and the ending softens.
- slow down — The d in down is cut short, almost inaudible.
But you're gonna come with me until I can resolve all these issues with your husband.The kidnapping stated as a practical arrangement: she is not a prisoner but a guarantee, held until her husband settles whatever is unresolved.
At this point I'm guessing that you didn't even know that Lord George was dead yet.The narrator filling in what the listener missed, revealing a death that changes the stakes of everything happening in the scene.
I'm not exactly sure what happened next because you two managed to give me the slip.The narrator admits being outmaneuvered: the pair escaped his surveillance, so he can no longer fully account for what followed.
Now, Rosalind, don't be alarmed.The polite opening of a threat: the speaker soothes her first, which makes the command that follows sound even colder.
このシーンについての質問
Why does Dry Eye take Rosalind?
As leverage. He says she will come with him "until I can resolve all these issues with your husband," which means she is being held to force Mickey to settle a dispute.
Why does the narrator say he was given "the slip"?
Because he was tracking the pair and lost them. He admits he no longer knows exactly what happened next, so the account breaks off right at the kidnapping.
Why does Rosalind say she is not going anywhere?
It is her only act of defiance in the scene. She has been cornered politely, and refusing to move is the one thing she can still do.
Why does someone buckle up during the phone call?
It signals danger. While one person keeps trying to reach Rosalind on the phone, the other is told to put a seat belt on — a quiet hint that the drive is about to get violent.
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次のチャプター · 第 13 章on the cheapDry Eye Warns His Host
第 1 章old schoolFletcher Pitches His Story to Ray
第 2 章pull the plug onMickey and Matthew's Dinner Standoff
第 3 章pay top dollarMickey Pitches His Weed Empire
第 4 章laying pipeMickey and Rosalind Plan His Exit
第 5 章spark someone outCoach Schools the Farm Raiders
第 6 章fell in with the wrong crowdMickey Sends Ray to Find Laura
第 7 章no good deed goes unpunishedRaymond Smith Knocks on the Wrong Door
第 8 章come in peaceRoadmen Try to Rob a Phone Buyer
第 9 章keep your cards close to your chestThe Coach Apologizes for His Lads
第 10 章eyebrows deep in somethingLord George and Mickey Debate Vice
第 11 章under the weatherA Warning in a Cup of Tea
再生中 · 第 12 章give someone the slipDry Eye Kidnaps Rosalind
第 13 章on the cheapDry Eye Warns His Host
第 14 章blood sportThe Pig Film Blackmail
第 15 章a pound of fleshMickey Threatens Matthew in the Freezer第 12 / 15 章 · 残り約 11 分