past participle modifier: Called Charlestown is a past participle phrase modifying the neighborhood, like which is called.
...emanate from a one-square-mile neighborhood called Charlestown.The Town · 2010 — 第 2 / 20 章 · 3'35" · B1
A federal briefing explains that Charlestown's one square mile produces an outsized share of armed robbers. The briefing puts it bluntly: “Heisting banks is a trade in Charlestown.” The police know the drill — close the bridge, look for a local. The sequence then follows the robbers themselves, buying guns and settling debts.
Charlestown, a one-square-mile Boston neighborhood, is built for bank robbery, an FBI briefing explains: the crews know each other's yards and houses, and they abandon a score fast. The police's first move after an armored-car robbery is to close the Charlestown Bridge. The film then cuts to two of the robbers, Doug and Jem, running errands and buying guns.
注目の表現
emanate fromfamiliar withditch usshit
このシーンの表現
come out of, originate in
The agent tells a colleague that nearly all the armored-car jobs come out of one small district.
The complaint seemed to emanate from a single unhappy customer.
well acquainted with
shake us off, leave us behind
trouble, crap
cereal brand used as an Irish jab
killed someone
59 行のセリフに 26 件のメモ
past participle modifier: Called Charlestown is a past participle phrase modifying the neighborhood, like which is called.
...emanate from a one-square-mile neighborhood called Charlestown.well acquainted with
A colleague asks if the agent knows Charlestown, and the answer is a wry yes.
-Familiar with it? -You must be kidding me.The double t in kidding flaps to a d-like sound in fast American speech.
-Familiar with it? -You must be kidding me.an armored truck heist
First thing B.P.D. does when there's an armored-car robbery?shake us off, leave us behind
The agent says the local robbers know the streets too well to be tailed for long.
They ditch us pretty quick.famous for something
The way villages in old Europe used to be known for certain crafts.arrange something for someone
Quinlan will set you up with a detail.a victim or witness liaison
Meantime, if there's anything your witness specialist can't do for you ....no reason to be anxious
You got nothing to worry about. We're gonna find these guys.sit down
-Good. Come in and have a seat. -Thanks, Margie, -Can I get you guys anything? -We're tine. Thank you.become successful
Really done well for himself.earn a high price for
He got good money for that place in the town.Link money and for; for reduces to a weak fer sound.
He got good money for that place in the town.cost us an hour
It's gonna take us an hour to get over the Portagee Slide.trouble, crap — Very crude; keep it out of work and polite talk.
This shit with the Florist is getting old, man.put money behind something
I'm investing in a marquee score.pay in installments
All right? So we gotta make a few payments.Gotta swallows the to, and the whole phrase runs together.
All right? So we gotta make a few payments.originate somewhere
Money don't care where it came from, all right?nonstandard agreement: Standard grammar wants doesn't here, but don't is a deliberate casual and dialectal choice.
Money don't care where it came from, all right?a distinction separating two things
Look, there's a difference between a dealer and a straight killer, all right?there be pattern: There's introduces the existence of something, here a difference between two kinds of people.
Look, there's a difference between a dealer and a straight killer, all right?outright, pure — Colloquial intensifier; a straight killer means a professional one.
Look, there's a difference between a dealer and a straight killer, all right?killed — Street slang for killing; recognize it, do not use it.
So he dropped a few Dominicans. What, are you picky?thousands of dollars — Street and rap slang; say thousand in formal settings.
-Hundred G's? -That's right.relax, calm down
Take it easy, man. Good to see you.The opening sequences sell Charlestown as a place where crime is inherited, almost respectable — “Heisting banks is a trade in Charlestown,” passed down “the way villages in old Europe used to be known for certain crafts.” The legal side is just as tribal: the briefing notes that closing the bridge is the first move because the suspect is always from Charlestown. The robbers, meanwhile, talk like small businessmen. “Money don't care where it came from” is the crew's whole ethic, and the claim that “there's a difference between a dealer and a straight killer” shows how carefully they rank their own sins. What looks like a crime story is really a study of a neighborhood that has turned armed robbery into a livelihood, and of men who cannot imagine leaving.
Heisting banks is a trade in Charlestown.The film's thesis: in this neighborhood, armed robbery is a local craft passed down like any other trade.
Money don't care where it came from, all right?The crew's blunt creed, that money is money regardless of its source, so qualms about where it came from are pointless.
Look, there's a difference between a dealer and a straight killer, all right?A line drawn between selling drugs and killing for its own sake, letting the speaker rank his own crimes as less bad.
You got nothing to worry about. We're gonna find these guys.The reassuring promise from the law-enforcement side, confident they will catch the crew behind the Charlestown robberies.
Now it's time for the fun part.A shift from briefing to action: the talking is over and the next robbery is about to begin.
They know the neighborhood, use each other's yards and houses, and ditch the police quickly; officers know the first move is to close the Charlestown Bridge.
It means bank robbery is treated as a local craft, handed down in the neighborhood the way old villages were known for a particular trade.
He is a supplier the crew has been paying for guns or product; “this shit with the Florist is getting old” suggests they are tired of the arrangement.
The film cuts to two robbers, Doug and Jem, visiting a house to pick up a stack of cash and weapons from a dealer, then meeting Fergie, showing their routine between jobs.
次のチャプター · 第 3 章got in a tightKrista Shows Up at the Bar
第 1 章two strikes against youThe Crew Learns the Hostage's Address
再生中 · 第 2 章emanate fromFBI Explains the Charlestown Trade
第 3 章got in a tightKrista Shows Up at the Bar
第 4 章have a good cryDoug Meets Claire at the Laundromat
第 5 章pull a jobDoug Takes Claire Out on His Boat
第 6 章step off a cliffClaire Tells Doug Everything
第 7 章have a cardDoug Tells Claire She Has a Card
第 8 章go southThe Crew Roughs Up a Dealer
第 9 章come to terms withThe Night Doug's Mother Left
第 10 章jammed upJem Meets Claire and Gets Suspicious
第 11 章made my peace withDoug Visits His Father in Prison
第 12 章a code of silenceThe FBI Offers Doug No Deal
第 13 章shed a tearDoug Asks Claire to Run Away
第 14 章rear-viewDoug and Jem Fight Over Leaving
第 15 章with all due respectDoug Tells Fergie He's Leaving
第 16 章taking heatDoug Answers Claire's Questions
第 17 章chase the rabbitFrawley Pressures Krista at the Bar
第 18 章a little birdKrista Tries to Leave with Doug
第 19 章distress callFake Cops Take Over the Depot
第 20 章stand downThe Feds Take Over the Crime Scene