In fast speech did you blurs into did-ja.
Did you scrape your shoes off before you came in?Deathtrap · 1982 — 第 12 / 30 章 · 3'02" · B2
Myra Finally Tells Sidney to Leave, Explained：night and day
Myra has watched her husband cover up a killing, and she has reached her limit. "I want you to leave," she tells him, and then works out the terms: once the play's money comes in, he will buy the vegetable patch and the house from her.
あらすじ
After the killing, Myra tells Sidney she cannot understand how he did it, even weighed against his disappointments and their money troubles. She says he is a stranger to her, and finally asks him to leave. The two then divide things up: once the play earns money, he buys the vegetable patch and the house.
注目の表現
about tobearing in mindfeel like a winnerthrew it away
00:00 / 03:02Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
night and day
all the time
Sidney excuses his carelessness by claiming he has worked night and day on the play, half true.
They worked night and day to finish before the deadline.
このシーンの他の表現
- about to
on the point of
- bearing in mind
taking into account
- feel like a winner
feel successful
- threw it away
discarded it
- tidied up
cleaned up the scene
このシーンのメモ一覧
49 行のセリフに 28 件のメモ
on the point of
Myra sees Sidney winding up for a speech and names it first, tired rather than angry.
I have a feeling you're about to deliver a speech.give a speech
I have a feeling you're about to deliver a speech.taking into account
Myra weighs Sidney's career disappointments before admitting they still cannot explain the killing.
Bearing in mind your disappointments...participle clause: The participle clause sets a condition before the main statement.
Bearing in mind your disappointments...money situation
At our financial situation but I can't.feel successful
As Sidney still dreams of winning, Myra punctures it: how can he feel like a winner after this.
And I don't know how you're gonna be able to feel like a winner.noun clause: The how-clause is the object of know, spelling out what she cannot see.
And I don't know how you're gonna be able to feel like a winner.Link gonna be able to so the t sounds drop.
And I don't know how you're gonna be able to feel like a winner.going to — Everyday speech; keep it out of formal writing.
And I don't know how you're gonna be able to feel like a winner.strange to someone
Completely alien to me, Sidney.modal perfect: Must have been guesses at the past: you must always have been that way.
You must always have been very different from the man I thought you were.comparison clause: As disinterested as you do compares her view with his, with do standing in for the verb.
I don't think the police are going to be as disinterested as you do either...looking guilty
Or look like we're being suspicious if they came to question us.investigating
By checking into his past associations.former contacts
By checking into his past associations.The t in weren't often drops before they.
His name and address were on the return envelope, weren't they, honey?a secretary job
Asking for a secretarial position.discarded it
Sidney claims Clifford sent a resume and that he tossed it, an offhand detail in his cover story.
He sent me his resume and I threw it away...all the time
Sidney excuses his carelessness by claiming he has worked night and day on the play, half true.
But then I've been so busy night and day writing this play.wanting to know more
Yes, the one who is so interested in the Hare Krishna movement.in about a month
In a month or so, if we haven't been arrested ....small arguments — British and mild; it means small, petty quarrels.
You can write them for us, little tiffs about money...staring in a lecherous way — Negative; it means staring at someone in a lecherous way.
Or you ogling Nan Wesson.coming in steadily
As soon as the money starts rolling in before you go to the Riviera...immediately when
As soon as the money starts rolling in before you go to the Riviera...time clause: The as-soon-as clause fixes the moment the later action must happen.
As soon as the money starts rolling in before you go to the Riviera...a swear word — Used to vent anger; avoid it in polite company.
You'll buy the goddamn vegetable patch...「Myra Finally Tells Sidney to Leave」を読み解く
What's really going on
The scene is the end of a marriage, played as an inventory. Myra's horror comes out as careful reasoning — 'I've just been trying to understand how you could do it, Sidney' — and her verdict is total: 'Completely alien to me.' She doesn't scream or call the police; she plans. Sidney's answer to the risk of being caught is almost cheerful ('He disappeared in Quogue. This is Easthampton'), which only makes her decision easier. Then the parting is negotiated like a business deal: once the play's money is rolling in, he buys the vegetable patch, the house, all 9.3 acres. The coldness of the bargaining is the point.
Theme
MarriageA marriage ends not with a fight but with clauses: after the cover-up, Myra asks Sidney to leave and then settles the property.
TrustMyra says he is a stranger she never really knew, and the life they built is dissolved in one quiet decision.
このチャプターで学べること
- Five calm words can end a marriage more sharply than shouting.
- The wish about the vegetable patch hides her anger in a household chore.
- Sidney's cover story works because of small, specific details.
発音のポイント
- Did you — In fast speech did you blurs into did-ja.
- gonna be able to — Link gonna be able to so the t sounds drop.
- weren't they — The t in weren't often drops before they.
I want you to leave.Myra's calm verdict: not a threat or a plea, but a decision that the marriage is over.
You must always have been very different from the man I thought you were.Her realization that the husband she knew was an illusion, expressed without any drama.
I wish you could take the vegetable patch with you...A bittersweet joke in the middle of a breakup: she wishes the thing they fought over could simply go with him.
I mean, we both know that it's his play. I can't understand that either.She names the moral problem plainly: the play belongs to the man he killed, and the theft is as hard to accept as the murder.
We'll have arguments in people's living rooms.A wry prediction that their private fights will become public gossip once their story gets out.
このシーンについての質問
Why does Myra want Sidney to leave?
She has seen him cover up a killing and can no longer recognize the man she married. Rather than turn him in, she ends the marriage.
Does Myra call the police on Sidney?
No. She talks about the risk of police questions, but her answer is to leave him, not to report him. The scene stays a private reckoning.
What deal does Myra make with Sidney?
When the play starts earning, he is to buy the vegetable patch and the house from her, even the full 9.3 acres — a settlement dressed up as a land sale.
Why does Sidney think the police won't come?
He argues that the disappearance happened in Quogue while they are in Easthampton, so it won't lead back to them — a hope Myra immediately questions.
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 13 章guilt-riddenHelga Ten Dorp Arrives
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
再生中 · 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 12 / 30 章 · 残り約 53 分