an impressive or extreme one
At the card table Butch praises the other player with a backhanded compliment.
Yeah. You're a hell of a card player, fella.Butch Cassidy and the Sundance Kid · 1969 — 第 1 / 12 章 · 3'10" · B2
Sundance Accused of Cheating at Cards, Explained：stick around
On the surface it's a card game gone wrong: a man accuses another of cheating and tells him to leave the money and go. Underneath, it's a face-saving negotiation — "What would you think about maybe asking us to stick around?" turns a gunfight into an exit nobody has to back down from.
あらすじ
In a saloon, a card game ends in an accusation: someone has been winning too cleanly to be honest. When the loser's side tells them to leave the money and go, the accused and his partner don't reach for their guns. Instead they talk — and get the other man to ask them to stay.
注目の表現
a hell of ashort onstick aroundjust what i wanna hear
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このシーンの表現
stick around
stay a while longer
Sundance claims they were leaving anyway, but Butch whispers that the man must ask them to stay.
Care to stick around for dinner?
このシーンの他の表現
- a hell of a
an impressive or extreme one
- short on
lacking something
- just what i wanna hear
exactly what I wanted to hear, sarcastic
- over the hill
past one's prime
- why don't you
a soft way to suggest
このシーンのメモ一覧
34 行のセリフに 24 件のメモ
Hell of a often links into one word, sounding like helluva.
Yeah. You're a hell of a card player, fella.man, buddy — A casual address between men; too slangy for formal talk.
Yeah. You're a hell of a card player, fella.extremely, a great — Strong spoken emphasis; keep it out of formal writing.
Yeah. You're a hell of a card player, fella.embedded question: The how-clause is the object of spot, naming the method he cannot see.
And I can't even spot how you're cheatin'.lacking something
Butch jokes that the table is short on brotherly love, softening the standoff.
Well, we seem to be a little short on brotherly love around here.affection between brothers
Well, we seem to be a little short on brotherly love around here.leave this place
If you're with him, you better get out of here.already leaving or heading there
We're on our way.and about that, too
You can die. For that matter, you can both die.have got to — Everyday shorthand; avoid it in formal settings.
- We were gonna leave anyway. - He's gotta invite us to stick around.pull a gun on someone
He'll draw on you. He's ready. You don't know how fast he is.past one's prime
Asked again how good he is, Sundance repeats the self-mocking line about being past his prime.
I'm over the hill, but it can happen to you.want to — Spoken contraction; too casual for formal writing.
That's just what I wanna hear.grow older over time
Every day you get older. Now, that's a law.consider something
What would you think about maybe asking us to stick around?tentative suggestion: Would you think about doing wraps the suggestion in distance and politeness.
What would you think about maybe asking us to stick around?stay a while longer
Sundance claims they were leaving anyway, but Butch whispers that the man must ask them to stay.
Just ask us to stick around. I promise you...first conditional: A real condition: present tense after if, will in the main clause.
If I draw on you, you'll kill me.killing — Dropped-g speech spelling; not for formal writing.
No. You'd be killin' yourself. So why don't you just invite us to stick around?In fast speech don't you can blur into doncha.
Why don't you stick around?set off, start moving
Thanks, but we gotta get goin'.Good are ya runs together, almost like gooda-rya.
Hey, Kid! How good are ya?you — Casual and dialectal; avoid in formal talk.
Hey, Kid! How good are ya?「Sundance Accused of Cheating at Cards」を読み解く
What's really going on
The game isn't really about cards. Someone is willing to die over a hand, but the accused keep their cool and treat the whole thing as a transaction. "If I draw on you, you'll kill me," the accuser admits; "There's that possibility," comes the deadpan reply. That exchange tells you who really holds the power, and it isn't the man with the threat. The pair then coach him toward a way out — if he invites them to stay, no one has to lose face. He finally offers the invitation, and they turn it down anyway: they were always going to leave. The scene plays like a rehearsal for the film's whole idea, that reputation and nerve win more fights than bullets.
Theme
SurvivalA gunfight is avoided not with a faster draw but with words, as the pair talk their way out of a card-table threat.
Dark humorThey demand an invitation to stay, get it, then leave anyway — the joke lands because the danger was real.
このチャプターで学べること
- A request can disarm a threat better than a fight.
- Over the hill is self-mocking, not just descriptive.
- The joke about brotherly love hides a real standoff.
- Sundance says little and lets his speed do the talking.
発音のポイント
- hell of a — Hell of a often links into one word, sounding like helluva.
- don't you — In fast speech don't you can blur into doncha.
- good are ya — Good are ya runs together, almost like gooda-rya.
What would you think about maybe asking us to stick around?It's a negotiation dressed as a polite suggestion: give us a face-saving invitation to stay, and we'll leave without anyone losing. The asking is the point, not the staying.
I'm over the hill, but it can happen to you.A warning that age comes for everyone: the speaker may be past his prime, but the same slowdown is waiting for the other man.
Every day you get older. Now, that's a law.A plain, unsentimental fact offered as comfort or warning: getting older is unavoidable and applies to everyone, so no one should feel singled out.
You can die. For that matter, you can both die.The threat is blunt: the accuser is saying the cheating accusation could end in death for one man or both. It sets the stakes before the pair start negotiating.
このシーンについての質問
Why does the pair make the other man invite them to stay?
It's a face-saving exit. If the invitation comes from him, he seems to be ending the standoff on his terms rather than backing down; nobody has to draw, and the pair still leave.
Does the man actually go through with the invitation?
Yes — he finally asks them to stick around. But the pair decline anyway and ride off, so the whole negotiation was about how they left, not whether they stayed.
Who is the Sundance Kid in this standoff, and why does the name change things?
Once the man realizes the accused is the Sundance Kid, he stops pushing: 'If I draw on you, you'll kill me.' Reputation alone does most of the work.
Why does the man keep backing down instead of fighting?
He has a gun and a threat, but he also has the truth: he accused a famous gunfighter of cheating. Pride says fight; survival says take the deal and pretend the exit was his idea.
明日に向って撃て！ · 全 12 章
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次のチャプター · 第 2 章fixin' toHarvey Challenges Butch's Leadership
再生中 · 第 1 章stick aroundSundance Accused of Cheating at Cards
第 2 章fixin' toHarvey Challenges Butch's Leadership
第 3 章head someone offThe Posse Rides Out
第 4 章no foolin'Bicycle Salesman Steals the Posse
第 5 章in the employ ofButch and Sundance Rob a Train
第 6 章one hell of aWho Are Those Guys
第 7 章drop the chargesButch and Sundance Try to Enlist
第 8 章the way I figure itButch and Sundance Jump Off a Cliff
第 9 章make a big thing out of itHarriman Hired Men to Kill Them
第 10 章on the tip of my tongueButch Robs a Bank in Spanish
第 11 章one way or the otherButch and Sundance Take a Payroll Job
第 12 章ways of going straightButch and Etta Discuss the Future第 1 / 12 章 · 残り約 30 分