become slightly awkward
What do you care if the publicity gets a little sticky?Deathtrap · 1982 — 第 23 / 30 章 · 3'05" · C1
Clifford Talks Sidney Into Deathtrap, Explained：be in on it
Clifford argues they should write Deathtrap together, insisting the public does not care about guilt: "All they want is to be in on it." Then he turns the questions around, asking whether anyone ever called Sidney a sociopath. Sidney says the word does not frighten him, but gives him pause.
あらすじ
Clifford makes the case that they should write the play together. Morality is beside the point, he says; the audience just wants to be let in on the secret. He then presses Sidney about his past, asking if anyone ever used the word 'sociopath,' and Sidney admits the word gives him pause.
注目の表現
old nelliegive a shitbe in on itturn out
00:00 / 03:05Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
be in on it
be part of it, know the secret
Clifford sums up the audience: they do not want truth, only a share of the scandal.
You have to be in on it to understand the joke.
このシーンの他の表現
- old nellie
a prudish, timid man
- give a shit
care at all (vulgar)
- turn out
produce, churn out
- Clever old Sid
a mocking compliment
- level with someone
be honest with someone
このシーンのメモ一覧
54 行のセリフに 22 件のメモ
a prudish old man — Old-fashioned tease with a sexist edge.
Come on, don't be such an old nellie.a great deal
Everything that you have ever thought of and a hell of a lot that you haven't...good enough to publish
All the news is fit to print and show.cares at all — Vulgar; never in polite speech.
Sidney, nobody gives a shit who did what or who they did it to.be part of it, know the secret
Clifford sums up the audience: they do not want truth, only a share of the scandal.
All they want is to be in on it.Link want is so it sounds like one word.
All they want is to be in on it.a crude absurd act — Extremely crude and absurd; do not imitate.
Why don't you abuse your kids, poison the well, fuck bats?provided that
As long as you get on television, talk about it afterwards.condition clause: As long as sets the one condition that makes everything else acceptable.
As long as you get on television, talk about it afterwards.Stress get and television to land the point.
As long as you get on television, talk about it afterwards.decline, refuse
Sidney, you ever hear of somebody turning down a party...escape blame or punishment
Or any one of those big guys who got away with it?think hard about something
I've given this a lot of serious thought...pick between two options
If you had the choice between turning out just a hit play...hypothetical conditional: The if-clause imagines a choice that is not actually on the table.
If you had the choice between turning out just a hit play...love, a British address — British term of address; keep it casual.
Now, level with me, luv.become steady and calm
Before you matured and settled down, so to speak...parenthetical however: However interrupts to add a turn: it does not scare him, yet it gives him pause.
No, it doesn't frighten me. It does, however...a total lack of
It means one who has no sense of moral obligation whatsoever.throw off restraint
I decide to kick over the traces and actually write Deathtrap ....Link kick over the so it flows together.
I decide to kick over the traces and actually write Deathtrap ....「Clifford Talks Sidney Into Deathtrap」を読み解く
What's really going on
The scene flips the earlier argument: now Clifford is the one who wants to write the play, and he uses the same logic Sidney did. His pitch is cold and simple, 'All they want is to be in on it,' which treats notoriety as the product rather than the risk. Then he stops selling and starts digging, asking whether any court or social worker ever called Sidney a sociopath. Sidney tries to stay above it, 'No, it doesn't frighten me,' and immediately concedes, 'It does, however... give me pause.' The scene shows two people testing how far each will go, and who is really holding the pen.
Theme
DeceptionClifford sells the murder as a marketable story, and both men treat the truth as something to be staged.
AmbitionThe pitch is that notoriety sells, and Sidney's hesitation is measured against the hit play he wants.
このチャプターで学べること
- Scandal sells because everyone wants to be in on it.
- Clifford turns celebrity logic into a sales pitch.
- Sidney's real fear is the word sociopath.
- The final choice is to break the rules and write.
発音のポイント
- want is to — Link want is so it sounds like one word.
- get on television — Stress get and television to land the point.
- kick over the traces — Link kick over the so it flows together.
Sidney, nobody gives a shit who did what or who they did it to.Clifford's blunt claim that guilt and victims do not matter to the public, only the spectacle does.
All they want is to be in on it.The audience's desire, reduced to one line: not justice, just to feel included in the secret.
It means one who has no sense of moral obligation whatsoever.Sidney's clinical definition of a sociopath, which lands as a description of the man being questioned.
All the news is fit to print and show.A line about the tabloid age, where anything lurid is publishable and broadcastable.
このシーンについての質問
Why does Clifford want to write Deathtrap?
He sees a hit. He argues that scandal and notoriety would only help the play, and that audiences care more about being in on the secret than about justice.
Who is really driving the plan now?
Clifford. He has done the thinking, makes the pitch, and then turns the questions back on Sidney, testing how far he is willing to go.
Why does Clifford ask about the word sociopath?
He is probing Sidney's past and his character, asking whether courts or doctors ever used that word about him, which unsettles Sidney more than he admits.
What does Sidney mean by 'kick over the traces'?
He means breaking free of restraint and finally writing the play, even though it came out of a murder, giving in to what Clifford has been arguing.
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 24 章kid a kidderBruhl and Anderson Team Up
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
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
再生中 · 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 23 / 30 章 · 残り約 20 分