respond to something
I want you to react to these objects, Mr. Barish, If you will.Eternal Sunshine of the Spotless Mind · 2004 — 第 7 / 20 章 · 3'24" · B2
Technicians hook Joel up to the memory-erasing machine and walk him through old objects to map what's about to be deleted. He tries to focus, but the objects keep pulling him under, until the journal entry about Clementine breaks the readout and he blurts, "Déjà vu."
At Joel's apartment, two Lacuna technicians set up the procedure that will erase Clementine from his memory. They hand him objects and ask him to react to each one; he is told not to describe them out loud so the readouts stay clean. When they read his journal aloud, the equipment glitches and Joel slips into his own mind.
注目の表現
déjà vuwipingroach the guydo me a favor
このシーンの表現
a feeling of having seen it before
Mid-erasure, Joel blurts that he has seen this exact scene before, unsettling the technicians.
Walking into the empty office, I had a sudden sense of déjà vu.
erasing; literally cleaning
mess him up badly
please help me out
extremely valuable
an exclamation of shock
56 行のセリフに 32 件のメモ
respond to something
I want you to react to these objects, Mr. Barish, If you will.if you please
I want you to react to these objects, Mr. Barish, If you will.a history behind it
There's a good story behind this one-- Uh, actually, Mr. Barish, I'll get a much better emotional readout... if you refrain from any sort of Verbal description of the items.hold back from doing
There's a good story behind this one-- Uh, actually, Mr. Barish, I'll get a much better emotional readout... if you refrain from any sort of Verbal description of the items.concentrate on
Just try to focus on the memories.please help me out
Stan turns from his screen and asks his assistant Patrick to give him a hand.
Hey, Patrick, do me a favor, will ya?In fast speech do me a blurs into one soft unit.
Hey, Patrick, do me a favor, will ya?won't you — Impatient and casual; skip it in formal speech.
Hey, Patrick, do me a favor, will ya?seems okay
What do we got there? Uh, voltage looks fine.Do we reduces to a light d'we in fast speech.
What do we got there? Uh, voltage looks fine.found you at last
Oh, there you are. I--noun clause: The clause what I'm looking at is the object of understand: he cannot name what he sees.
Why am I-- I don't understand what I'm looking at.begin
This is so-- All right, we should get started.set in motion
If we're gonna get the procedure... underway tonight, we have some work to do.if-clause: The if-clause sets the condition before the main clause states what is still needed.
If we're gonna get the procedure... underway tonight, we have some work to do.going to — Everyday speech; avoid it in formal contexts.
If we're gonna get the procedure... underway tonight, we have some work to do.inside one's own mind his mind is already inside the memory being erased
I'm in my head already, aren't I?tag question: The tag aren't I turns his statement into a worried self-check.
I'm in my head already, aren't I?get rid of
We'll dispose of these mementos when we're done here.that's done
That way you won't be confused later by Their unexplainable presence in your home. Ah, there we go.adverbial phrase: That way means by doing this, linking the action to the result that follows.
That way you won't be confused later by Their unexplainable presence in your home. Ah, there we go.The t in won't is often dropped before be.
That way you won't be confused later by Their unexplainable presence in your home. Ah, there we go.nearly finished
We're almost done now.extremely valuable
Stan pauses over Joel's journal and calls it invaluable, a word that can mislead students.
That would be invaluable.relax
Just take it easy.The American t in take it flaps, so the phrase runs together.
Just take it easy.to wreck someone — Slang for wrecking someone; avoid it with strangers.
Let's not roach the guy.a shabby place — Fine among friends; rude to a landlord's face.
This place is sort of a dump, don't you think?sort of — Spoken shorthand; keep it out of formal writing.
Well, not a dump, then, but sorta plain.kind of
And there's sort of a stale smell.finish or endure
Patrick, can we just please get through this? We got a very long night ahead of us.the final occasion I saw you
This is the last time I saw you.The scene is the calm before a deletion, and it plays like a medical intake. Joel is asked to react to objects but to say nothing, so that his feelings can be measured rather than explained; the whole point is to map memories precisely enough to erase them. He notices it happening before anyone admits it: "I'm in my head already, aren't I?" The technicians treat his apartment with mild contempt as they wait out the long night, and the journal entry — a line naming Clementine — is the spark that makes the procedure fail. The last thing on the readout is "This is the last time I saw you." It lands like the memory fighting to stay.
This is the last time I saw you.Spoken as the memory is finally reached, it reads both as a record of a moment and as Joel's goodbye to a memory he is about to lose.
I'm in my head already, aren't I?Joel realizes the procedure has begun and that he is now inside his own memory, an observer of his own erasure.
This place is sort of a dump, don't you think?A technician's thoughtless remark about Joel's apartment during the long procedure, showing how routine the erasure is for the people running it.
We'll dispose of these mementos when we're done here.The promise that the objects will be thrown away so Joel won't be puzzled by them later — the procedure is built to leave no trace.
Technicians are mapping his memories before erasing Clementine. They show him objects to trigger specific memories, record his reactions, and prepare to wipe the memories that follow each one.
Each object triggers a different memory, which lets the equipment locate the exact memories connected to Clementine so they can be targeted and erased.
It means the eerie sense of having lived something before. Joel says it when a memory glitches, hinting that he is already inside the procedure and repeating a moment he can't quite place.
They want an emotional readout, not an explanation. Naming or describing an object would shape his reaction, so they keep him silent and let the memories surface on their own.
Reading the entry — 'I met someone tonight... her name is Clementine' — overloads the equipment and shifts the scene: the memory fights back, and a routine procedure begins to go wrong.
次のチャプター · 第 8 章freak outClementine Wrecks Joel's Car
第 1 章in a funkJoel Ditches Work for Montauk Beach
第 2 章out of sortsClementine Meets Joel on the Train
第 3 章live life to the fullestJoel and Clementine Meet
第 4 章oddly enoughJoel and Clementine on the Ice
第 5 章as a larkJoel Finds Out He Was Erased
第 6 章on a par withLacuna Maps Joel's Memory of Clementine
再生中 · 第 7 章déjà vuMapping Joel's Memories
第 8 章freak outClementine Wrecks Joel's Car
第 9 章an open bookThe Dining Dead Dinner
第 10 章on autopilotJoel Calls Clementine Tangerine
第 11 章call it offClementine Asks Am I Ugly
第 12 章self-fulfilling propheciesJoel Tries to Stop the Erasing
第 13 章off the mapthe Hamlyn Kitchen Memory
第 14 章get to the bottom ofJoel Disappears Off the Map
第 15 章you can run but you can't hideJoel Runs Through His Memories
第 16 章spotless mindMary Quotes the Film's Title Line
第 17 章have a historyHollis Catches Howard with Mary
第 18 章come on to someoneJoel Meets Clementine on the Beach
第 19 章barking up the wrong treeMeet Me in Montauk
第 20 章off the roseClementine's Tape Plays