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Deathtrap · 1982 — 第 7 / 30 章 · 3'04" · B2

Myra Pushes Sidney to Collaborate, Explained：feet on the ground

Clifford arrives with his play, and the evening starts warmly — a toast to Deathtrap, Myra joining as a reader. Then the mood turns: Sidney learns there is no second carbon copy, and Myra launches into a speech urging him to 'put aside' his own work and collaborate with the young writer.

あらすじ

Clifford Anderson arrives at the Bruhls' house with the manuscript, happy to explain how he laid it out in loose leaves. He, Sidney and Myra drink a toast to Deathtrap and start reading together. But when Sidney realizes Clifford has no second carbon copy, the talk shifts, and Myra pushes Sidney to set aside his own play and work with Clifford.

NegotiationMeetingsSuggestingPersuadingSpousesB2fastamericanClean
IMDb ↗

注目の表現

loose leafright about itbursting withon my mind

00:00 / 03:04
Space 再生 · ← → セリフ移動 · R リピート
いま
  32. ❝ 独白Myra's push for a deal7 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

feet on the ground

practical and realistic

Myra casts herself as the practical one, eyes fixed on the money while her husband dreams.

He keeps his feet on the ground despite the sudden fame.

このシーンの他の表現

  • loose leaf

    separate unbound pages

  • right about it

    correct about it

  • bursting with

    full of, unable to hold back

  • on my mind

    troubling my thoughts

  • put aside

    set something aside for now

このシーンのメモ一覧

57 行のセリフに 22 件のメモ

文法 · B2from which I've departed

prepositional relative: The from which clause describes the outline the writer has drifted away from.

I've got the outline, from which I've departed considerably, though.
表現 · B1loose leaf pages

separate unbound pages

Clifford hands over his script and explains it is loose leaf, one scene to a page.

Page per scene, loose leaf.
表現 · B1a two-hour walk

a walk of two hours

It's a two-hour walk to the station, so I had to leave right after we spoke.
表現 · B2toast something with a drink

celebrated with a drink

It'll be toasted with more than ginger ale someday...
表現 · B1the first reader of something

the earliest reader

Darling, this is Clifford's first play and I am its first reader.
発音this is

In fast speech this is reduces to a light this-s.

Darling, this is Clifford's first play and I am its first reader.
スラング · B2hacks

writers, often self-mocking — Insider self-mockery; playful among writers.

Between us two hacks.
表現 · B2be summoned to somewhere

called in to a place

I've been summoned to the principal's office.
表現 · A2for a moment

briefly

Let me think for a moment.
表現 · B2ready for production

fit to be staged

From aspiring playwrights, supposedly ready for production...
表現 · B1turn something into a hit

make it a big success

He could turn it into a hit that would run for years...
スラング · B2hit

a big success — Show-business jargon for a sure crowd-pleaser.

He could turn it into a hit that would run for years...
表現 · B1more than enough

plenty

And make more than enough money for everyone concerned...
発音been on

Link been and on so they run together.

I'm gonna say something that's been on my mind for sometime.
スラング · A2gonna

going to — Everyday speech; avoid it in formal writing.

I'm gonna say something that's been on my mind for sometime.
表現 · B2the fruit of something

the result of

To give you the fruit of his years of experience...
表現 · B2have your feet on the ground

practical and realistic

Myra casts herself as the practical one, eyes fixed on the money while her husband dreams.

I am the one whose feet are on the ground, whose eye is on the checkbook.
文法 · B2whose feet are on the ground

relative clause: Parallel whose-clauses stack two traits onto the same person.

I am the one whose feet are on the ground, whose eye is on the checkbook.
発音eye is on

Blend eye is on into one smooth string.

I am the one whose feet are on the ground, whose eye is on the checkbook.
表現 · B1come as a shock

surprise someone greatly

I'm gonna make a suggestion to you Sydney and it's gonna come as a big shock to you.
文法 · B2I want you to give it

object complement: The to-infinitive completes the object you, naming the action wanted.

But I'm going to make it anyway and I want you to give it your grave, earnest and your thoughtful consideration.
表現 · B1collaborate with someone

work together with

Collaborate with him. That's the suggestion I'm making, Sidney.

「Myra Pushes Sidney to Collaborate」を読み解く

What's really going on

The pleasantries hide a negotiation. Clifford is thrilled to be read by a famous playwright — 'I've been summoned to the principal's office,' he jokes — and Myra plays the gracious host until she sees an opening. When it turns out there is only one copy of the script, Sidney pauses to think, and Myra takes over. Her speech reframes the whole visit: 'I am the one whose feet are on the ground, whose eye is on the checkbook.' She argues that Sidney's 'hard-earned knowledge' shouldn't be given away 'without any quid pro quo,' and lands on the real request: 'Collaborate with him.' What began as an eager young writer showing off his pages becomes a push to turn his script into Sidney's next hit.

Theme

AmbitionMyra pushes to turn Clifford's promising script into a hit, and the talk becomes a business decision about a career.
MoneyMyra frames everything as a ledger: knowledge, years of experience and future profits all have to be paid for somehow.

このチャプターで学べること

  • Myra speaks for her husband as if his answer did not matter.
  • Praise here is a lever, not a compliment.
  • Sidney's silence is the strongest line in the room.
  • The old seminar is still being used as a weapon.

発音のポイント

  • this is — In fast speech this is reduces to a light this-s.
  • been on — Link been and on so they run together.
  • eye is on — Blend eye is on into one smooth string.
I am the one whose feet are on the ground, whose eye is on the checkbook.

Myra's self-description: she is the practical half of the couple, the one watching the money while Sidney thinks about art.

As if that stupid seminar were still in session.

Her complaint that Clifford is treating Sidney like a teacher rather than a fellow professional now that the class is over.

Collaborate with him. That's the suggestion I'm making, Sidney.

The blunt proposal that closes her speech: stop competing and join the young writer's project.

Darling, this is Clifford's first play and I am its first reader.

Myra makes the case for being included in the reading, claiming a special stake in the script as its very first reader.

I've been summoned to the principal's office.

Clifford's joke about how it feels to be called in by a famous playwright, turning his nerves into a self-deprecating line.

このシーンについての質問

Why does Myra want Sidney to collaborate with Clifford?

She thinks Clifford's play has real potential and that Sidney's experience could turn it into a long-running hit that makes money for everyone involved.

What does "quid pro quo" mean?

It's Latin for an exchange — something given in return for something else. Myra uses it to argue Sidney shouldn't hand over his experience for nothing.

Why does the mood change during the reading?

Sidney discovers Clifford brought only one copy of the manuscript, so Myra can't read along easily — and the missing carbon copy becomes the opening for her to take charge.

What suggestion does Myra actually make?

She tells Sidney to put aside the play he's writing, the one about Helga Ten Dorp, and collaborate with Clifford on his script instead.

Is Clifford happy to be there?

Yes — he jokes that being read by Sidney feels like being summoned to the principal's office, but he seems pleased and open to working with him.

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 8 章go out of your wayClifford Asks for a Second Opinion
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再生中 · 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 7 / 30 章 · 残り約 68 分