discussed something repeatedly
We've talked about it 100 times.American Hustle · 2013 — 第 5 / 20 章 · 3'31" · B2
Escape Plan Argument Over Danny, Explained：on a first-name basis with
A plan to grab the cash and run turns into a fight about Danny, custody, and whether there is any 'us' left. One side offers an adventure; the other hears a list of reasons to feel left out. 'We're us,' someone says, but the line lands more like a question.
あらすじ
Two people discuss grabbing the cash from the bed and leaving immediately. The plan stalls over Danny: someone refuses to leave him with Rosalyn, and the reply is that Rosalyn will use the boy to keep control. The argument turns to Richie, a list, and a proposed con that will get them out.
注目の表現
on a first-name basis withshort listbullshitpull it together
00:00 / 03:31Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
on a first-name basis with
familiar enough to use first names
The mention of Richie as 'the cop' draws a sharp question about why they are close enough to use his first name.
She's on a first-name basis with the security guard, so he lets her in early.
このシーンの他の表現
- short list
a final list of preferred candidates
- bullshit
nonsense; blatant lie
- pull it together
regain control of yourself
- Mr. Mastermind
sarcastic label for the supposed genius
- con someone
deceive someone for gain
このシーンのメモ一覧
74 行のセリフに 28 件のメモ
leave someone in another's care
I'm not leaving him with Rosalyn.use someone as leverage against another
She'll use Danny against you because she's too messed up to let you leave.too...to structure: It means she is so messed up that she will not let you leave.
She'll use Danny against you because she's too messed up to let you leave.Put the beat on 'messed' and let 'up' fall away.
She'll use Danny against you because she's too messed up to let you leave.in a bad emotional state — Casual talk about someone's state; avoid in formal settings.
She'll use Danny against you because she's too messed up to let you leave.familiar enough to use first names
What, the cop? You're on a first-name basis with him?Let 'on a' run together; keep the article light.
What, the cop? You're on a first-name basis with him?not even considered Here 'list' means people someone cares about, not a written list.
Yes, I am. I'm not even on your list, am I?a final list of preferred candidates
In the fight, the list is split into short and long versions until it becomes a bitter question about rank and priority.
Your list, your short list, your long list. I'm not even on any one of your fucking lists. I don't know what you're talking about.turn something into an adventure
We're us, we can make it an adventure like we did.lose the legal right to raise a child
I can't leave Danny, I'll lose custody.Keep the t in 'don't' light and glide through 'love you'.
Don't say I don't love you. That's bullshit.nonsense; a lie — Vulgar in a fight; never in formal settings.
Don't say I don't love you. That's bullshit.deceive someone for gain
In the breakup confrontation, the accusation comes out as delayed realization rather than a shout.
I just never thought that you were conning me.help someone escape a problem
I'm gonna do these four busts, these four cons, to get us out of this, not just me, but us.police raids or arrests — Crime and police jargon; rare in daily talk.
I'm gonna do these four busts, these four cons, to get us out of this, not just me, but us.scams or swindles — Criminal jargon; keep it out of formal contexts.
I'm gonna do these four busts, these four cons, to get us out of this, not just me, but us.build a close relationship with someone
And I'm gonna get really close with Richiein case clause: It frames using him as a backup possibility, not a present condition.
the cop in case we need to use him, if we need another move.you will be grateful later
Trust me, and you're gonna be thanking me.predicative clause: The two what-clauses define the key: belief and the wish to believe.
The key to people is what they believe and what they want to believe.Let 'what they' blur; don't stress 'they'.
The key to people is what they believe and what they want to believe.angry with you — Informal and mildly vulgar; avoid in formal settings.
And I'm pissed at you.produce an idea or solution
Quit your bellyaching and come up with something to get us out of this.constant complaining — Dismissive among friends; not for formal settings.
Quit your bellyaching and come up with something to get us out of this.not fit to handle something
And you're right, I'm in no state to deal with this.what will you choose or do
So what's it gonna be, Mr. Mastermind?「Escape Plan Argument Over Danny」を読み解く
What's really going on
The escape plan is almost practical—cash, a destination, a departure time—until Danny becomes the test of whether the relationship is real. A line like “She's unstable. That is a manipulation.” turns concern about the child into a warning about control, while “We're us, we can make it an adventure like we did” tries to turn a desperate exit into a romantic project. Then the jealousy surfaces: being on a first-name basis with the cop, not being on any list, and the disagreement over another move. The line “The key to people is what they believe and what they want to believe” cuts both ways: it is a con artist's method and also a description of what the couple is doing to each other.
Theme
TrustThe argument tests whether “We're us” can survive the suspicion that one partner may be conning the other.
DeceptionA con artist's rule about belief is turned on the relationship itself, making love sound like a mark.
発音のポイント
- too messed up — Put the beat on 'messed' and let 'up' fall away.
- on a — Let 'on a' run together; keep the article light.
- don't love you — Keep the t in 'don't' light and glide through 'love you'.
- what they — Let 'what they' blur; don't stress 'they'.
We need to leave. We need to run, and we need to do it now.The plan is not a discussion; it is an urgent exit. Repeating 'need' makes clear that staying is no longer an option.
She's unstable. That is a manipulation.The line turns concern about Rosalyn into a warning: her instability is being framed as a tactic to keep control of Danny.
We're us, we can make it an adventure like we did.An attempt to recast running away as a shared adventure, appealing to the couple's past rather than the danger of the present.
The key to people is what they believe and what they want to believe.A con artist's working rule: people act on belief and desire, not just facts. Here it also describes how the couple is talking.
So I want to believe that we were real. We are real.The line admits doubt and then tries to talk it away; 'want to believe' and 'are real' sit uneasily together.
このシーンについての質問
Why won't one of them leave Danny behind?
The stated block is custody: “I can't leave Danny, I'll lose custody.” The same argument also says “He's my son” and “I love him.” The dialogue does not decide whether the real reason is love, fear, or leverage, so the answer has to stay at what is said.
Why does the first-name remark sound like an accusation?
It uses familiarity with the cop as evidence of intimacy: “You're on a first-name basis with him?” Knowing someone well enough to use a first name is treated as a sign of a closer relationship than the speaker likes. The dialogue does not name the speaker or confirm more.
Who is Richie in this argument?
Richie is identified as “the cop.” Someone says “Richie said you would say that,” and later there is a plan to get “really close with Richie” in case they need to use him. The chapter gives no further backstory.
Why does “the list” matter so much?
The list is used as a measure of priority: “your short list, your long list.” The complaint is not being on any list at all, which makes the list stand for being chosen or left out.
Is someone actually conning someone here?
The suspicion is raised by “I just never thought that you were conning me,” and the reply is “I could never con you.” The dialogue does not confirm whether the denial is true, so the scene leaves it as an accusation and a denial, not a settled fact.
アメリカン・ハッスル · 全 20 章
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次のチャプター · 第 6 章quit while you're aheadThe Fake Rembrandt Reveal
第 1 章last resortLast Resort Loan Pitch
第 2 章the Picasso of passive-aggressive karateA Sun Lamp Starts a Fight
第 3 章mess with your judgementFBI Reveal at the Loan Meeting
第 4 章off the beaten pathThe Jail Cell Confession
再生中 · 第 5 章on a first-name basis withEscape Plan Argument Over Danny
第 6 章quit while you're aheadThe Fake Rembrandt Reveal
第 7 章out of his leagueThe Deal Gets Too Big
第 8 章grease someoneA $75,000 Bribe for the Mayor
第 9 章can't get enough ofGuests Smell Nail Polish, Talk Business
第 10 章back on its feetThe Atlantic City Pitch
第 11 章the life of the partyRosalyn Cuts In on the Call
第 12 章right off the batThe Ocean Room Pitch
第 13 章keep the upper handCasino Pitch at a Party
第 14 章falsified my recordsSydney Reveals Her Real Name
第 15 章get over onI Should've Gone Away With You
第 16 章get someone on a wireNegotiating the Sherman Suite
第 17 章let something die to let something liveA Wife Spills Secrets Over Dinner
第 18 章knock some sense intoIrving Pitches the Two Million Plan
第 19 章pay somebody offThe Lawyer Takes the Wire
第 20 章make this rightIrving's Apology Goes Wrong第 5 / 20 章 · 残り約 49 分