The Last Boy Scout · 1991 — 第 3 / 20 章 · 3'13" · B2

Joe and Sarah's Bitter Fight, Explained:get a rise out of

Mike is dead, and Joe and Sarah finally say the things they have been saving up for years. She wanted a reaction; he gave her cold one-liners instead. "I'm not the one who hates you, Joe. You're the one who hates you." Then the film cuts to a bar, where Jimmy is drinking himself into the same kind of ruin.

あらすじ

After Mike's death, Joe and Sarah have it out in front of the police. She accuses him of knowing more than he admitted; he answers with sarcasm until she confesses she was lonely and unfaithful. The film then cuts to Jimmy in a bar, drinking and listing the wreckage of his life.

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注目の表現

get a rise out offresh outlive with myselfnail

00:00 / 03:13
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このシーンの表現

get a rise out of

deliberately provoke someone

Sarah says she wants any reaction at all, anything that will provoke Joe into caring.

She kept teasing him just to get a rise out of him.

このシーンの他の表現

  • fresh out

    completely out of something

  • live with myself

    tolerate one's own conscience

  • nail

    have sex with someone

  • put away

    put something back in its place

  • perform the autopsy

    carry out an autopsy

このシーンのメモ一覧

47 行のセリフに 25 件のメモ

表現 · A2come by

stop by, visit

I told them Mike came by to farm out a surveillance job this morning.
表現 · A2..., didn't you?

a tag question asking for agreement

You knew, didn't you?
表現 · B1want someone to do something

want someone to do something

What do you want me to say, Sarah? "Fuck you, Sarah"?
表現 · B1get a rise out of someone

deliberately provoke someone

Sarah says she wants any reaction at all, anything that will provoke Joe into caring.

Yes. Yeah. Or anything to get a rise out of you.
スラング · B1Or anything to

or whatever it takes to — Casual filler meaning whatever it takes.

Yes. Yeah. Or anything to get a rise out of you.
文法 · B2there weren't

subjunctive: The subjunctive marks a condition contrary to fact, since the cops are right there.

How about, "If there weren't cops here, I'd spit in your face"?
表現 · B1be never around

never present

You know what? Fuck you, Joe. You were never around. I was lonely!
スラング · C1Fuck you

screw you — Strong profanity used in fights; never in polite talk.

You know what? Fuck you, Joe. You were never around. I was lonely!
文法 · B1the one who hates you

relative clause: The who-clause defines the one, and swapping its subject reverses the accusation.

I'm not the one who hates you, Joe. You're the one who hates you.
表現 · B1cheat on someone

be unfaithful to someone

Hey, last time I saw you drink straight vodka was because you just cheated on Cory.
文法 · B1last time I saw you drink

time clause: The last time clause sets the previous occasion for the same behavior.

Hey, last time I saw you drink straight vodka was because you just cheated on Cory.
表現 · B1gotta be crazy

must be out of your mind

You gotta be crazy, partner, cheating on her.
スラング · A2gotta

have got to — Spoken shorthand; avoid in writing.

You gotta be crazy, partner, cheating on her.
表現 · B2anything with a heartbeat

anyone at all literally anything alive, here meaning anyone at all

Because nowadays all I do is lose friends, drink and nail anything with a heartbeat.
発音all I do is

All I do is runs together into one blur.

Because nowadays all I do is lose friends, drink and nail anything with a heartbeat.
スラング · B2nail

have sex with — Crude slang; never in formal settings.

Because nowadays all I do is lose friends, drink and nail anything with a heartbeat.
表現 · A2put something away

put the money back

- Should I pay you now? - No, you should not. Put the money away.
発音Put the

The t in Put the is often stopped, not released.

- Should I pay you now? - No, you should not. Put the money away.
表現 · C1perform an autopsy

carry out an autopsy

Asked if the cops cannot help, Joe answers that they will only show up to do the autopsy.

Sure. After I'm dead, they'll perform the autopsy.
文法 · B1After I'm dead

time clause: A present-tense after-clause stands for a future moment after his death.

Sure. After I'm dead, they'll perform the autopsy.
スラング · B2funk shit

this funk junk — Dismissive slang; rude to fans of the music.

- Mm-hm. - I hate this funk shit.
表現 · B1What are you, my ...?

my father, said as sarcasm

- What are you, my father? - Yeah, I'm your father.
発音What are you

In fast speech what are you can blur into wacha.

- What are you, my father? - Yeah, I'm your father.
表現 · A1over there

in that direction

So who's that stiff over there?
表現 · A2my turn to do something

my time to do something

It's my turn to dance. Shit.

「Joe and Sarah's Bitter Fight」を読み解く

What's really going on

The argument is the clearest look the film gives at Joe's marriage, and it is built almost entirely out of people trying to wound each other. Sarah says she only wanted a reaction; Joe refuses to give a sincere one and turns every accusation into a joke. The one line that lands is hers: "I'm not the one who hates you, Joe. You're the one who hates you." That is the thesis of the character, and he answers it by living with himself twenty-four hours a day. The cut to the bar repeats the pattern in a different key, with Jimmy saying that all he does now is lose friends, drink and chase anything that moves. Two men, the same self-destruction.

Theme

MarriageJoe and Sarah argue in front of the police, airing years of neglect and infidelity in public.
LonelinessBoth Sarah and Jimmy describe the same emptiness, filling it with blame and drink.

このチャプターで学べること

  • Irony here is a weapon, not a joke.
  • She insults him to prove he is still alive.
  • The bar scene turns self-pity into a confession.
  • Asking about the autopsy says help comes too late.

発音のポイント

  • all I do is — All I do is runs together into one blur.
  • Put the — The t in Put the is often stopped, not released.
  • What are you — In fast speech what are you can blur into wacha.
What do you want me to say, Sarah? "Fuck you, Sarah"?

Joe's refusal to answer sincerely, turning his wife's question into a joke about the fight itself.

How about, "If there weren't cops here, I'd spit in your face"?

Sarah's offer of what she really wants: some sign that Joe still feels something.

- You want me to spit on you? - It would show you had some pride left.

The exchange that exposes the point: she would rather be insulted than met with indifference.

You know what? Fuck you, Joe. You were never around. I was lonely!

Sarah names the real wound — abandonment — behind years of bitterness.

I'm not the one who hates you, Joe. You're the one who hates you.

Sarah's diagnosis of Joe, and the closest the film comes to stating his problem outright.

Because nowadays all I do is lose friends, drink and nail anything with a heartbeat.

Jimmy sums up his own decline in one bleak list.

Sure. After I'm dead, they'll perform the autopsy.

His black joke about how little help the police are: they show up too late to matter.

このシーンについての質問

Why are Joe and Sarah arguing in front of the police?

Mike has just been killed, and Sarah believes Joe knew something in advance and said nothing. The argument starts as an interrogation and turns into the marriage itself.

Why does Sarah say she wants Joe to spit on her?

Because any strong reaction would prove he still has feeling for her. What she cannot stand is his indifference and his jokes.

What does Sarah accuse Joe of?

She says he was never around and that she was lonely, which is her explanation for being unfaithful. Joe answers with sarcasm instead of an apology.

Who is Jimmy in the bar scene?

A former football star whose life has fallen apart. He drinks, talks about losing friends and chasing anyone who will have him, and dismisses the idea that the police can protect him.

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