it's okay
It's all right. Just sit down.Deathtrap · 1982 — 第 22 / 30 章 · 3'03" · C1
Clifford Wants a Shortcut, Explained：knock off
Two men who staged a murder now fight over the play it could become. Clifford wants the story on stage no matter whose life it exposes: "I want a shortcut, Sidney..." Sidney, guarding his name and reputation, would rather burn the manuscript than let it be staged.
あらすじ
After Myra's death, Clifford and Sidney turn on each other over the manuscript. Clifford calls it his way out - "I want a shortcut" - and refuses to let it go; Sidney says he has a name and reputation to protect and threatens to burn the play in the fireplace. Calmer, they analyze why the story would hold an audience.
注目の表現
have the same effect onNo commentbe good for somethingknock off
00:00 / 03:03Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
knock off
kill someone
Sidney says he refuses to be remembered as the man who killed his wife.
The gang knocked off a rival and vanished.
このシーンの他の表現
- have the same effect on
affect in the same way
- No comment
I have nothing to say
- be good for something
useful for, worth something
- talk about
discuss, speak about
- give a shit
care at all (vulgar)
このシーンのメモ一覧
40 行のセリフに 20 件のメモ
The t in sit often drops before down.
It's all right. Just sit down.from someone's perspective
Ll try to see it from an audience's point of view.affect in the same way
Clifford compares fooling Myra to theatre and asks if an audience would react the same way.
Would have exactly the same effect on an audience, wouldn't it?Wouldn't it weakens to a light tag in speech.
Would have exactly the same effect on an audience, wouldn't it?rhetorical question: The negative question is rhetorical; it insists they did all of this.
Didn't we write a play, rehearse it? Didn't we plan it? Didn't we execute it?no one can show it
It worked perfectly, and nobody can prove what really happened here. Nobody!a sudden cardiac failure
"And didn't his wife have a heart attack at about the same time you came here?"time clause: The clause fixes when: right around the time he arrived.
"And didn't his wife have a heart attack at about the same time you came here?"useful for, worth something
Sidney jokes that his faded name still buys dinners and summer talks.
But still good for dinner invitations and summer seminars.Link live out my so it flows as one phrase.
I wish to live out my years as the man who wrote The Murder Game...a homophobic slur — A hateful slur; never use it.
Not as the faggot who knocked off his wife.so much that
I wonder if it is practical to the extent that paper can burn in it.man, buddy — Casual address, slightly condescending.
Stop right where you are, fella.somewhere else
You burn that and I'll go right out of here and write it someplace else.want an easy way
I want a shortcut, Sidney...pass straight across
And I don't give a shit whose property it cuts through, if you understand me.don't care at all — Vulgar; only among close friends in anger.
And I don't give a shit whose property it cuts through, if you understand me.stop doubting for a while
To persuade an audience to suspend it's disbelief.purpose clause: The to-infinitive states the purpose: to make the audience go along.
To persuade an audience to suspend it's disbelief.「Clifford Wants a Shortcut」を読み解く
What's really going on
The argument isn't really about a play; it's about who gets to survive what they did. Clifford holds the one thing that could make him famous, and for him Myra's death is simply material; he will not let the manuscript go. Sidney answers with the identity he has spent a career building - "I have a name and a reputation," he insists, however tattered - and he would rather destroy the play than be remembered as the man who killed his wife. Then the scene turns strange and professional: the two of them discuss the murder like a script, weighing whether it could convince an audience, and one of them notes that "nobody can prove what really happened here." The cruelty is how good both men are at this.
Theme
AmbitionClifford is willing to expose a real killing to get ahead, and calls it exactly what it is: a shortcut.
LiesThe two men argue over how to package a murder as fiction, while each insists on his own version of the truth.
このチャプターで学べること
- Clifford sells the crime as a story no one can disprove.
- Sidney's vanity is the lever Clifford pulls.
- A reputation is treated here as a marketable asset.
- The shortcut is moral as much as practical.
発音のポイント
- Just sit down — The t in sit often drops before down.
- wouldn't it — Wouldn't it weakens to a light tag in speech.
- live out my years — Link live out my so it flows as one phrase.
It worked perfectly, and nobody can prove what really happened here. Nobody!The staged event was flawless, and there is no evidence to expose it. The speaker turns a murder into a matter of airtight execution.
I want a shortcut, Sidney...A blunt admission: he wants success the fast way, and he won't worry about who gets hurt on the way there.
To persuade an audience to suspend it's disbelief.The goal of any story: to get the audience to set aside doubt and buy what they're watching.
And I don't give a shit whose property it cuts through, if you understand me.He states his ruthlessness outright - he truly does not care whose life or secrets the shortcut damages.
このシーンについての質問
Why does Sidney want to burn the manuscript?
He says he has a name and a reputation left, and he refuses to be remembered as the man who killed his wife. Burning the play is how he tries to keep the murder from becoming public.
Is Clifford being fair to Sidney?
No. Clifford treats the death as his material and never looks past his own success. When Sidney calls the play too dangerous, Clifford only presses that he wants a shortcut and will write it somewhere else.
Why does Clifford insist on staging the play?
For him the manuscript is a shortcut to fame, and he says so bluntly. He threatens to leave and write it elsewhere if Sidney burns it, because he won't give up that chance.
Was the play really based on what happened?
That's the argument. The men say the facts are outlandish and preposterous, yet entertaining enough to fool an audience - which is exactly why Sidney fears it and Clifford wants it.
Who actually wrote The Murder Game?
Sidney did; it's the hit that made his name. That's why he wants to be remembered for it rather than for the crime - and why a play about his real life cuts so close.
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 23 章be in on itClifford Talks Sidney Into Deathtrap
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
再生中 · 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 22 / 30 章 · 残り約 23 分