meet her by chance
And I could sort of run into her there any day I wanted to.Double Indemnity · 1944 — 第 11 / 21 章 · 2'07" · B2
Walter Meets Phyllis at the Market, Explained：accidentally on purpose
They meet in a crowded market to trade progress in whispers. The policy has come through and the check is in hand, but the husband broke his leg and the trip is off, so the plan stalls. "It's the waiting that's getting me," one of them says, and the strain between the two lovers starts to show.
あらすじ
Walter Neff and Phyllis Dietrichson meet by arrangement in a market, speaking quietly so no one overhears. He reports that the accident policy has been approved and the husband's check — which looks like payment for car insurance — is in his pocket. But the husband broke his leg and can no longer take the train, so the plan has to wait.
注目の表現
accidentally on purposecame throughmade out tosafe-deposit box
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このシーンの表現
accidentally on purpose
deliberately by chance
Phyllis calls out Walter's plan to meet by seeming to meet by chance.
We met accidentally on purpose at the same café.
このシーンの他の表現
- came through
was finally approved
- made out to
written in the name of
- safe-deposit box
a bank storage box
- in a cast
with a plaster cast
- get it over with
finish it to be done
このシーンのメモ一覧
43 行のセリフに 21 件のメモ
Reduce sort of to a single blurry sorta.
And I could sort of run into her there any day I wanted to.deliberately
Sort of accidentally on purpose.fully arranged
Let me talk first. It's all set.was finally approved
Walter reports that the policy was finally approved and he is carrying it already.
The accident policy came through. I've got it in my pocket.written in the name of
Walter points out the check names the company, so its purpose can be bent to anything.
The check's just made out to the company, so it could be for anything.a bank storage box
Walter asks whether Phyllis can open the bank box where the policy could be hidden.
Can you get in the safe-deposit box?with a plaster cast
Walter reports the fall and the plaster cast, and Phyllis immediately loses her calm.
He had a fall-down at the well. Broke his leg. It's in a cast.a fall — A spoken, regional word for a fall, rare in formal writing.
He had a fall-down at the well. Broke his leg. It's in a cast.keep going this way
But we can't wait. I can't go on like this.finish it to be done
Walter refuses to rush the killing just to have it finished and done with.
Look, we're not gonna grab a hammer and do it quick, just to get it over with.Link get and it, then run over with into one clump.
Look, we're not gonna grab a hammer and do it quick, just to get it over with.let it stay this way
But we can't leave it like this.discover
What do you suppose would happen if he found out about the accident policy?conditional: The would-clause imagines a consequence that has not happened yet.
What do you suppose would happen if he found out about the accident policy?panic and lose control
Don't ever talk like that. Don't let's start losing our heads, that's all.negative imperative: Adding ever to a negative command makes it absolute, not a mild request.
Don't ever talk like that. Don't let's start losing our heads, that's all.cleft sentence: The cleft puts the waiting in the spotlight as the real source of pain.
It's the waiting that's getting me.a term of endearment — An intimate address between lovers, not for public use.
It's getting me just as bad, baby.Link like and a, then land a little weight on wall.
it's so tough without you. It's like a wall between us.keep you in mind
I better go, baby. I'm thinking of you every minute.「Walter Meets Phyllis at the Market」を読み解く
What's really going on
For all the plot mechanics, the scene is about two people coming apart under pressure. The murder has stalled through pure bad luck — a broken leg — and the waiting is doing what danger couldn't. Phyllis says, "It's the waiting that's getting me," and admits, "it's so tough without you. It's like a wall between us." Walter keeps insisting on caution: no hammer, no shortcuts, "we're gonna do it right." He believes control will hold the plan together; she is already fraying. The market setting sharpens it: they must stand among shoppers and keep their voices down while deciding a man's death, and a stranger politely asking them to reach a jar of baby food makes the ordinary world feel unbearably close. The lovers are together only in secret, and the secrecy is winning.
Theme
BetrayalTwo lovers keep plotting a husband's death in public, their intimacy built entirely on a shared secret crime.
TrustWaiting exposes the crack between them: Walter insists on control while Phyllis admits the secrecy feels 'like a wall between us.'
このチャプターで学べること
- Get it over with means finish it to be free.
- Come through means finally approved or delivered.
- A wall between us names an emotional barrier.
- Sort of softens a statement into an approximation.
発音のポイント
- sort of — Reduce sort of to a single blurry sorta.
- get it over with — Link get and it, then run over with into one clump.
- like a wall — Link like and a, then land a little weight on wall.
Remember, you never saw it, you never even touched it, you understand?Walter drills Phyllis on their cover story: she must be able to deny ever seeing or handling the policy, so the scheme can't be traced to her.
There are other ways. We're not gonna do it other ways.Phyllis suggests another method, but Walter refuses — only the planned train accident will do, even if it means waiting.
it's so tough without you. It's like a wall between us.Phyllis says the secrecy has put distance between them, turning the affair itself into something lonely and walled off.
But we can't wait. I can't go on like this.Phyllis admits the delay is unbearable, showing she is far less patient about the murder than Walter is.
このシーンについての質問
Why do Walter and Phyllis meet in a market?
It's a public place where two people can talk briefly without looking suspicious. They keep their voices down because anyone nearby could overhear the plan.
Why does the plan stall?
Dietrichson broke his leg at the well and is in a cast, so he can't take the train trip that the murder depends on. Walter insists they wait until he can travel.
Why won't Walter consider another method?
He has built the whole plan around a train accident for the double-indemnity payout. Any other method would break the story he needs, so he refuses to improvise.
Does Phyllis want to rush the murder?
Yes. She says she can't go on like this, while Walter warns they mustn't grab a hammer 'just to get it over with.' The waiting wears her down.
What does 'made out to the company' mean?
It describes the payee line on a check. Dietrichson's check is written to the insurance company, so it can pass as payment for car insurance instead of the accident policy.
深夜の告白 · 全 21 章
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次のチャプター · 第 12 章shaking like a leafKeyes Offers Neff the Claims Job
第 1 章for my moneyWalter Meets Phyllis
第 2 章a honey of aNeff Flirts With Phyllis
第 3 章tie knots in one's stomachKeyes Busts Garlopis's Fake Claim
第 4 章worried sickPhyllis Pitches Accident Insurance
第 5 章knock someone offPhyllis Proposes Killing Her Husband
第 6 章a red-hot pokerPhyllis Returns in the Rain
第 7 章get ideasPhyllis Tells Walter Her Story
第 8 章crook the houseNeff's Roulette Wheel Speech
第 9 章at a crackNeff Fools Dietrichson Into Signing
第 10 章take it or leave itWalter Drives Lola to Nino
再生中 · 第 11 章accidentally on purposeWalter Meets Phyllis at the Market
第 12 章shaking like a leafKeyes Offers Neff the Claims Job
第 13 章back inWalter Builds His Alibi
第 14 章got the ballNorton Says It Wasn't an Accident
第 15 章a leg to stand onNorton Questions the Widow
第 16 章through the wringerKeyes Suspects the Beneficiary
第 17 章gets his teeth intoLola Tells Neff About the Nurse
第 18 章like a hawkKeyes Explains the Dietrichson Murder
第 19 章come apart at the seamsKeyes Exposes the Impersonation
第 20 章hang on to your hatKeyes Blames the Wrong Man
第 21 章brushed offWalter Confronts Phyllis第 11 / 21 章 · 残り約 36 分