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Deathtrap · 1982 — 第 4 / 30 章 · 2'47" · B2

Myra Urges Sidney to Call Anderson, Explained：a god-sent opportunity

Myra keeps pushing Sidney to phone his former student Clifford Anderson, and the talk drifts from a favor to a fortune: a hit play like this could earn millions. "You actually would kill to have another hit play," she says, half joking. Sidney does the math out loud and lands on a motive.

あらすじ

Sidney and Myra are still reeling from his failed opening night. Myra suggests he call Clifford Anderson, a young writer from his seminar, and collaborate with him to get his own work moving again. Sidney resists, then works out what Anderson's thriller could earn — between three and five million dollars.

Marriage troubleCriticism & layoffsSuggestingPersuadingSpousesB2mediumamerican
IMDb ↗

注目の表現

give one pausebelieve implicitly ina change of pacea god-sent opportunity

00:00 / 02:47
Space 再生 · ← → セリフ移動 · R リピート
いま
  27. ❝ 独白Myra's sales pitch7 行練習ページ ↗
  40. ❝ 独白Myra's million-dollar motive6 行練習ページ ↗
セリフをタップするとそこから再生

このシーンの表現

a god-sent opportunity

a perfect chance

Myra calls the collaboration a heaven-sent chance, pressing Sidney with real warmth.

This chance is a god-sent opportunity.

このシーンの他の表現

  • give one pause

    make someone hesitate

  • believe implicitly in

    trust completely

  • a change of pace

    a shift in routine

  • kill to have

    want something desperately

  • bloody

    damn (British)

このシーンのメモ一覧

45 行のセリフに 29 件のメモ

表現 · A2a set of keys

a bunch of keys

And she found a set of keys that Nan lost in 1969, darling.
発音set of keys

Set of keys links up, almost like se-to-keys.

And she found a set of keys that Nan lost in 1969, darling.
表現 · B1right this minute

at this very moment

You know, right this minute...
表現 · B1pick up something

detecting

She's probably down there with her radar picking up your blips.
発音picking up

Picking up runs together, close to pickin-up.

She's probably down there with her radar picking up your blips.
表現 · B2point at someone

identifying someone

She's supposed to be arresting up from pointing at murderers.
表現 · A2a pot of tea

one more pot of tea

Myra chuckles: Is the larder up to another pot of tea?
表現 · A2a key ring

a key ring

Look, the same bloody key ring from both Millie and Tom.
スラング · B1bloody

damn (British) — British intensifier; keep it out of formal talk.

Look, the same bloody key ring from both Millie and Tom.
表現 · A2the full week

the whole week

The fat one didn't stay the full week...
表現 · B1the one with something

the person who stammers

I wonder if Anderson was the one with the stammer.
スラング · B2dim

slow-witted — Casual put-down for someone dull; avoid saying it to their face.

Myra chuckles: My God, they all seem so dim and underdone.
スラング · B2underdone

half-baked — Casual way to say something is half-baked.

Myra chuckles: My God, they all seem so dim and underdone.
表現 · A2should call someone

ought to phone

I think you should call Mr. Anderson. You have not got a thing to lose.
発音not got a

The two t sounds in not got a often drop, blurring into no-ga-da.

I think you should call Mr. Anderson. You have not got a thing to lose.
表現 · B1go through something

used up, been through

Have I gone through everything?
文法 · B1Have I gone through

present perfect question: The present perfect question asks whether the money is used up as of now, not at some past time.

Have I gone through everything?
文法 · B2which means you're okay

non-defining relative clause: The which-clause comments on the whole first sentence and draws out its consequence.

No, darling, it's not the money. I'm okay, which means you're okay, dopey.
発音means you're

Means you're links the s into you're, sounding like one word.

No, darling, it's not the money. I'm okay, which means you're okay, dopey.
スラング · B1dopey

silly (affectionate) — Affectionate teasing for someone close, not for strangers.

No, darling, it's not the money. I'm okay, which means you're okay, dopey.
表現 · B1go through a period

pass through a phase

Darling, you're a writer. All writers go through periods like this.
文法 · B2To work with someone young

infinitive as subject: The infinitive phrase stands as a topic, with the verb left out for spoken emphasis.

To work with someone young. Younger. Don't you see?
表現 · B2get yourself started

get yourself going again

By teaching Mr. Anderson, you'll get yourself started again.
表現 · B1have a bad night

have a rough night

My god. You did have a bad night, didn't you?
表現 · B2a hit play

a successful play

You actually would kill to have another hit play.
表現 · B2in today's market

at current market rates

Do you know what this play would net it's author in today's market?
文法 · B2what this play would net

noun clause object: The what-clause serves as the object of know, folding a question into a statement.

Do you know what this play would net it's author in today's market?
発音today's market

The t in today's often drops, and the final t in market softens too.

Do you know what this play would net it's author in today's market?
表現 · B2a thinking man's motive

a rational person's motive

Now, if that isn't a thinking man's motive for murder...

「Myra Urges Sidney to Call Anderson」を読み解く

What's really going on

The scene is a courtship, and not a romantic one. Myra keeps returning to the phone call, dressing up a practical suggestion as encouragement: 'All you need is a change of pace.' What she does not say, Sidney does — he prices the manuscript, then names the thing plainly: 'Now, if that isn't a thinking man's motive for murder.' The joke is the plot. A young writer is offered help by a man whose own talent has run out, and the play's value is spoken of like real estate. Myra's line, 'You actually would kill to have another hit play,' sounds like a tease, but the film files it away as a possibility.

Theme

AmbitionSidney's stalled career makes a young writer's success look less like a gift than a temptation.
MoneyThe scene turns a manuscript into a price tag, between three and five million dollars, and calls that a motive.

このチャプターで学べること

  • Comfort and temptation are the same speech here.
  • Turning a slump into a number makes murder sound reasonable.
  • Give one pause admits doubt the speaker will not voice.
  • The pet name dopey quietly ends the money argument.

発音のポイント

  • set of keys — Set of keys links up, almost like se-to-keys.
  • picking up — Picking up runs together, close to pickin-up.
  • not got a — The two t sounds in not got a often drop, blurring into no-ga-da.
  • means you're — Means you're links the s into you're, sounding like one word.
She's probably down there with her radar picking up your blips.

A joke about the visiting psychic, imagined as a radar operator downstairs picking up Sidney's signal; it sets the scene's tone of playful suspicion.

No, darling, it's not the money. I'm okay, which means you're okay, dopey.

Myra denies money is the issue and frames their fortunes as shared, with an affectionate 'dopey' that softens the point.

You actually would kill to have another hit play.

Myra says aloud what Sidney has been avoiding: that a hit means more to him than anything, and she says it like a joke that might not be one.

Now, if that isn't a thinking man's motive for murder...

Sidney caps off the money talk by naming it exactly: a motive rational enough to be real. The line is a joke and a confession at once.

このシーンについての質問

Why does Myra want Sidney to call Clifford Anderson?

She thinks a collaboration with a younger writer would shake Sidney out of his slump. As she puts it, teaching Anderson could help Sidney get started again.

Is Myra joking when she says Sidney would kill for a hit play?

She says it half seriously. She has watched his career collapse, and the line is both a tease and a warning about how much a hit means to him.

How much does Sidney say the play could earn?

He estimates between three and five million dollars in today's market, and jokes that doesn't even count the Deathtrap T-shirts.

What does Sidney mean by a 'thinking man's motive for murder'?

He is talking about money: a jackpot of a play gives even a rational person a reason to kill. He is dressing up the temptation as an intellectual joke.

デストラップ・死の罠 · 全 30 章

すべて見る →
次のチャプター · 第 5 章all the makingsSidney Calls Clifford About His Play
第 1 章truth in advertisingSidney's Play Flops on Opening Night第 2 章add insult to injurySidney Rants About Being Written Out第 3 章top billingSidney Plots to Steal a Play再生中 · 第 4 章a god-sent opportunityMyra Urges Sidney to Call Anderson第 5 章all the makingsSidney Calls Clifford About His Play第 6 章got hooked onClifford Anderson Visits the Bruhls第 7 章feet on the groundMyra Pushes Sidney to Collaborate第 8 章go out of your wayClifford Asks for a Second Opinion第 9 章hit a snagSidney Handcuffs Clifford第 10 章untypical of meClifford Is Handcuffed第 11 章the envy ofSidney Kills Clifford第 12 章night and dayMyra Finally Tells Sidney to Leave第 13 章guilt-riddenHelga Ten Dorp Arrives第 14 章keep uncloudedHelga Foresees the Knife第 15 章skeptical aboutHelga Predicts the Deathtrap第 16 章once and for allMyra Hears Something Downstairs第 17 章be my doingSidney Promises Nothing Will Go Wrong第 18 章for future referenceThe Fake Murder Kills Myra第 19 章lay an eggPorter Milgrim Meets the Secretary第 20 章on the agendaPorter Reviews Sidney's Will第 21 章a death wishSidney Pitches Deathtrap第 22 章knock offClifford Wants a Shortcut第 23 章be in on itClifford Talks Sidney Into Deathtrap第 24 章kid a kidderBruhl and Anderson Team Up第 25 章psychicHelga Meets the Man in Boots第 26 章fed up withHelga Warns Sidney Again第 27 章spill the beansThe Rehearsal Turns Deadly第 28 章send someone packingClifford Turns the Gun on Sidney第 29 章a snapClifford Turns the Tables on Sidney第 30 章a can of wormsClifford Spares Sidney
第 4 / 30 章 · 残り約 77 分