blame someone unfairly
As the police search Anna's things, Martins sneers that they are now picking on a girl.
Oh, pinning things on girls now.The Third Man · 1949 — 第 7 / 17 章 · 2'57" · B2
Calloway Confiscates Anna's Papers, Explained：get to the bottom of
Calloway and Paine search Anna's flat and take her papers and letters. Martins protests on her behalf, but Calloway is unmoved: 'I'm not interested in whether a racketeer like Lime was killed by his friends or by an accident.' The exchange ends with a warning and a piece of gallows humour from Martins.
あらすじ
Calloway and Sergeant Paine arrive at Anna's flat to confiscate her papers and letters. When Martins objects, Calloway makes clear he does not care how Harry Lime died, only that he is dead. Martins vows to get to the bottom of it, and later learns that Anna's papers are forged.
注目の表現
pin something on someonebother toused to itracketeer
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このシーンの表現
get to the bottom of
find out the real truth
Calloway urges Martins to leave Vienna, and Martins answers that he will not go until he gets to the bottom of it.
The manager promised to get to the bottom of the missing files.
このシーンの他の表現
- pin something on someone
blame someone unfairly
- bother to
make the effort to do it
- used to it
accustomed to something
- racketeer
someone running illegal business
- learn something from
gain information from it
このシーンのメモ一覧
51 行のセリフに 24 件のメモ
check someone's documents papers here means identity documents
Miss Schmidt, I should like to see your papers, please.for some time
I'm afraid I shall have to keep this for a while, Miss Schmidt.count on someone to do it
How do you expect her to live in this city without her papers?object plus infinitive: Expect takes an object plus an infinitive, not a that-clause here.
How do you expect her to live in this city without her papers?dummy subject: It is a dummy subject; the real subject is the infinitive clause that follows.
I suppose it wouldn't interest you to know that Harry Lime was murdered.take the trouble to do it
You're too busy. You haven't even bothered to get the complete evidence.accustomed to something
Anna objects to her private letters being read, and Paine shrugs that they are used to it, like doctors.
We're used to it. Like doctors.care about something here negated: not interested in
I'm not interested in whether a racketeer like Lime was killed by his friends or by an accident.passive voice: The passive puts the dead man first and leaves who did it unnamed.
I'm not interested in whether a racketeer like Lime was killed by his friends or by an accident.the one thing that matters
The only important thing is that he's dead.gain information from it
Calloway insists on taking the letters; Anna says he will learn nothing from them.
- That's the reason. - You won't learn anything from them.Link many of them into one smooth run.
They're only love letters. There are not many of them.just some love letters — An only-phrase that shrinks the matter to sound harmless.
They're only love letters. There are not many of them.because of kindness
Only a small thing once, out of kindness.fellow, man — British and dated; friendly between men, not for formal use.
Go home, Martins, like a sensible chap.find out the real truth
Calloway urges Martins to leave Vienna, and Martins answers that he will not go until he gets to the bottom of it.
As soon as I get to the bottom of this, I'll get the next plane.time clause: The time clause uses the present tense to refer to the future; only the main clause takes will.
As soon as I get to the bottom of this, I'll get the next plane.In American speech the t in get to flaps toward a soft d.
As soon as I get to the bottom of this, I'll get the next plane.throw someone out
You can't chuck me out. My papers are in order.valid and properly issued
You can't chuck me out. My papers are in order.throw, toss out — Casual British slang; use throw in formal speech.
You can't chuck me out. My papers are in order.They're reduces to a light thur; the stress falls on forged.
They're forged.be originally from
The Russians would claim me. I come from Czechoslovakia.「Calloway Confiscates Anna's Papers」を読み解く
What's really going on
The scene is a collision of two kinds of certainty. Calloway works by paperwork: he takes the letters because they might matter, hands out receipts, and refuses to be drawn into the mystery — 'I'm not interested in whether a racketeer like Lime was killed by his friends or by an accident.' His line to Martins is a warning wrapped in a proverb: 'Death's at the bottom of everything, Martins. Leave death to the professionals.' Martins answers in the only language he has, the pulp western, asking to reuse the line, and insists he cannot be pushed out because his papers are in order. That confidence is the scene's quiet irony: by the end, Anna's papers turn out to be forged, and the one man sure of his documents is the one whose friend was not what he claimed.
Theme
JusticeCalloway reduces the case to a dead man and paperwork, while Martins treats Harry's death as something that must be answered.
TrustPapers stand in for trust throughout: Martins' documents are in order, yet Anna's turn out to be forged, and neither proves who can be believed.
このチャプターで学べること
- Calloway turns Martins' own word 'bottom' into a grim pun.
- Seizing letters is about power, not evidence.
- A forged passport makes Anna a person without a country.
- 'In order' is bureaucracy's way of saying acceptable.
発音のポイント
- not many of them — Link many of them into one smooth run.
- get to the — In American speech the t in get to flaps toward a soft d.
- They're forged — They're reduces to a light thur; the stress falls on forged.
As soon as I get to the bottom of this, I'll get the next plane.Martins' stubborn bargain: he will not leave until he understands what happened, turning Calloway's order to go home into a condition of his own.
Death's at the bottom of everything, Martins. Leave death to the professionals.Calloway's warning turned into a pun: whatever you dig into, death is what you find, and it is a job for those paid to handle it.
I suppose it wouldn't interest you to know that Harry Lime was murdered.Martins' sharp jab at the police: he offers the one fact that should matter, knowing Calloway has already decided it does not.
I'm not interested in whether a racketeer like Lime was killed by his friends or by an accident.Calloway's cold verdict on Lime: to him the manner of death is a detail, because the man was a criminal either way.
Mind if I use that line in my next western?Martins deflates Calloway's grim proverb by treating it as material for a pulp story, refusing to be intimidated.
You can't chuck me out. My papers are in order.Martins' claim to stay rests on paperwork rather than permission, the only leverage a foreign writer has in occupied Vienna.
このシーンについての質問
Why does Calloway take Anna's letters?
Because they are evidence. Harry wrote them, and anything connected to him might help the police understand what he was involved in, so Calloway has them examined.
Why does Martins defend Anna?
Because he sees the search as unfair. He thinks the police are harassing a woman who is already grieving, and he argues they have not even gathered proper evidence against Harry.
Why does Calloway say he doesn't care how Lime died?
Because Lime was a racketeer, so in his view the question of who killed him matters less than the fact that he is gone. Calloway wants the case closed, not solved.
Why are Anna's papers forged?
Because she is from Czechoslovakia and fears being handed back to the Russians. The forged identity is her protection, which is why losing the papers puts her in real danger.
What does 'used to it' mean here?
It means the police are accustomed to searching people's homes and taking their belongings. Paine compares the job to a doctor's, something done without pleasure but as routine.
第三の男 · 全 17 章
すべて見る →
次のチャプター · 第 8 章come to the pointMartins Questions Dr Winkel
第 1 章racketeerCalloway Exposes Harry Lime
第 2 章hunt someone downMartins Checks Into a Military Hotel
第 3 章be up to somethingKurtz Feeds Martins a Cover Story
第 4 章post-mortemMartins Looks for the Girl
第 5 章what difference does it makeMartins Visits Anna After the Funeral
第 6 章up to no goodMartins Learns About the Third Man
再生中 · 第 7 章get to the bottom ofCalloway Confiscates Anna's Papers
第 8 章come to the pointMartins Questions Dr Winkel
第 9 章upside downCalloway Interrogates Anna Schmidt
第 10 章break the rulesMartins Confronts Popescu at the Club
第 11 章look inMartins Tells Anna to Love Again
第 12 章stream of consciousnessPopescu Warns Martins at the Lecture
第 13 章cap and bellsCalloway Explains the Penicillin Racket
第 14 章in your imageMartins and Anna Argue About Harry
第 15 章a dead man walkingCalloway Tells Anna Harry Is Alive
第 16 章get rid ofHarry's Speech on the Ferris Wheel
第 17 章cut you inHarry's Cuckoo Clock Speech第 7 / 17 章 · 残り約 30 分