lend a hand
and it was a home birth, so he was there helping out and everything.Before Sunrise · 1995 — 第 18 / 21 章 · 2'26" · B2
They trade a story about a friend's newborn and how everything dies, then apply the same logic to themselves: tomorrow morning they part. When asked whether they will ever meet again, the reply is a hesitant "Gosh, I don't know." Later comes "Let's do it" — no delusions, no projections.
That night, two people talk about a friend's home birth: the father watched his newborn take its first breath and could only think that the child would die someday. From there they turn to their own deadline, agreeing that after tomorrow morning they will probably never meet again.
注目の表現
finiteget it out of his headbe rational adults about thisend up
このシーンの表現
fade away; die down
After the talk of less and less contact, Fizzles out names the energy slowly dying down until nothing is left.
Small projects often fizzle out after a few weeks.
limited; having an end
cannot stop thinking about it
handle this sensibly, like adults
end in a particular result
expected to endure forever
38 行のセリフに 22 件のメモ
lend a hand
and it was a home birth, so he was there helping out and everything.a deeply meaningful moment
But he said at that profound moment of birth —take in life
Uh, he was watching his child experiencing life for the first time,the very first time
Uh, he was watching his child experiencing life for the first time,the only thing on his mind
All he could think about was that he was lookin' at somethin' that was gonna die someday.relative clause: The that-clause tells you what kind of something he is looking at: one that will die.
All he could think about was that he was lookin' at somethin' that was gonna die someday.Drop the g in lookin' and glide through at into somethin'.
All he could think about was that he was lookin' at somethin' that was gonna die someday.what-clause: The what-clause names the thing that gives their time importance; the um is only a pause, not part of the structure.
I mean, but — but don't you think that's what, um, makes our time and specific moments so important?meet again
After tomorrow morning, we're probably never gonna see each other again, right?Keep we're light and put the beat on probably and never.
After tomorrow morning, we're probably never gonna see each other again, right?fully get it
You live in the US. I totally understand — I'd hate to make you fly. You hate to fly, right?afraid to fly
I'm not so scared of flying.handle this sensibly
No, let's just be rational adults about this.attempt another approach
We — Maybe we should try something different.not terrible
I mean, it's not so bad if tonight is our only night, right?fade away; die down
After the talk of less and less contact, Fizzles out names the energy slowly dying down until nothing is left.
Right. Fizzles out.expected to endure forever
During the phone-number routine, supposed to last forever questions the assumption that a relationship has to continue without end.
Why do you think everybody thinks relationships are supposed to last forever anyway?object clause: The clause after thinks explains the belief being questioned: that relationships should last forever.
Why do you think everybody thinks relationships are supposed to last forever anyway?tonight is all there is — Use it in close conversation to confirm a final chance; avoid it in formal settings.
But you think tonight's it, huh?the sole option
It's the only way, no?make tonight memorable
We'll just make tonight great.Land the stress on great and run make tonight together before it.
We'll just make tonight great.What starts as a story about a friend's newborn becomes an argument about mortality, and then quietly becomes an argument about the two of them. "everything is so finite" is not abstract philosophy here; it sets up "After tomorrow morning, we're probably never gonna see each other again, right?" From there the talk turns practical: phone numbers and letters usually end with people writing once, calling once or twice, until the reply comes: "Fizzles out." The one-night proposal is framed as honesty, a way to skip that slow fade. Asked directly whether they will ever see each other again, the answer is "Well — Um — Gosh, I don't know." Only after that does "Well, all right. Let's do it." arrive, followed by "No delusions. No projections."
All he could think about was that he was lookin' at somethin' that was gonna die someday.At his child's birth, the friend's mind went straight to death: the newborn is already something that will end. This is the thought the rest of the conversation builds on.
After tomorrow morning, we're probably never gonna see each other again, right?A plain statement of the deadline they are facing: once morning comes, their meeting is likely over. The added "right?" asks the other person to agree.
I mean, it's not so bad if tonight is our only night, right?The one-night idea, offered as a comfort rather than a loss: if this is all they get, that can be enough. Again the "right?" asks for confirmation.
Why do you think everybody thinks relationships are supposed to last forever anyway?A challenge to the assumption that relationships must be permanent; the question makes forever sound like a social habit rather than a fact.
No, let's just be rational adults about this.A call to handle the matter calmly and like adults, after the back-and-forth about who would fly to see whom.
It turns the talk to endings: the father could only think his child would die someday, and one of them says everything is so finite. That is what leads to their own deadline.
The lines show them agreeing, not what either privately wants. Asked whether they will ever see each other again, the answer is "Well — Um — Gosh, I don't know." Only later comes "Well, all right. Let's do it."
Because they expect the usual pattern: people write once, call once or twice, and it fizzles out. They say they hate that, so they choose one night with no projections instead.
No delusions, no projections: no pretending and no plans for the future, and they will just make tonight great, with tomorrow morning as the end.
次のチャプター · 第 19 章sick to death ofMorning Confession After the Night
第 1 章weeks on endStrangers Trade Stories on a Train
第 2 章the poetry of day-to-day lifePitching a Year-Long TV Show
第 3 章passive-aggressiveTwo Passengers Talk Childhood and Death
第 4 章a bad liarTwo Travelers Claim a Honeymoon
第 5 章scare the hell out of someoneTwo People Play a Q&A Game
第 6 章piss someone offStrangers Trade Pet Peeves on a Train
第 7 章romantic projectionsTwo People Talk About Parents and Love
第 8 章resign yourself toPalm Reading in Vienna
第 9 章dress rehearsalChurch Talk on Death and Quakers
第 10 章blank canvasWhat Would Drive You Mad
第 11 章make a deal withPoet Writes a Poem for a Word
第 12 章a real prizewinnerAsking About an Ex-Boyfriend
第 13 章let it sink inA Man Recounts His Madrid Heartbreak
第 14 章fool aroundTwo People Debate Men, Women and Monkeys
第 15 章fear of commitmentBirth Dance Talk Turns to Love
第 16 章fall for someoneThe Fake Phone Call in Vienna
第 17 章be a ghostMan Pretends to Call a Friend
再生中 · 第 18 章fizzle outTwo People Agree to One Night Only
第 19 章sick to death ofMorning Confession After the Night
第 20 章sleep togetherThey Agree Not to Sleep Together
第 21 章have a great lifeTwo Lovers Say Goodbye at Track Nine