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Deathtrap · 1982 — 第 5 / 30 章 · 3'07" · B2

Sidney Calls Clifford About His Play, Explained：all the makings

Sidney phones the young playwright whose script he has just read, and the praise is smooth: the draft has 'all the makings.' But the call isn't only flattery — he invites Clifford to come that night and asks him to bring the original manuscript with him.

あらすじ

Sidney Bruhl calls Clifford Anderson after reading his manuscript. He praises it as a promising first draft with all the makings, mentions how a mentor once helped him revise, and asks who else has seen it. Then he invites Clifford to come that evening by train to Easthampton, saying he will pick him up — and asks him to bring the original copy.

Phone callsInvitingComplimentingStrangersB2mediumamericanClean
IMDb ↗

注目の表現

all the makingsin its original formas a matter of factworking title

00:00 / 03:07
Space 再生 · ← → セリフ移動 · R リピート
いま
  5. ❝ 独白Sidney's phone flattery8 行練習ページ ↗
  31. ❝ 独白Sidney's train invitation17 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

all the makings

all the right ingredients

On the phone Sidney notes one small flaw, then declares the script full of promise.

The young team has all the makings of a champion.

このシーンの他の表現

  • in its original form

    as first written

  • as a matter of fact

    in fact

  • working title

    a temporary title

  • run errands

    do small tasks

このシーンのメモ一覧

52 行のセリフに 28 件のメモ

発音Is this

Is this links up, almost like iz-this, especially on the phone.

Is this, Clifford Anderson?
表現 · B2in all sincerity

quite honestly

Yes, I have and I must say, in all sincerity...
表現 · B1a first draft

an initial draft

This is a very promising first draft.
発音This is a

This is a runs together, close to thi-si-za.

This is a very promising first draft.
表現 · B2at the odd moment

now and then

A trifle unsteady at the odd moment but it has all the makings.
文法 · B1but it has all the makings

compound sentence: The but-clause balances a small fault against the real praise that follows.

A trifle unsteady at the odd moment but it has all the makings.
スラング · B2A trifle

a little — Slightly formal and dated; too stiff for casual talk.

A trifle unsteady at the odd moment but it has all the makings.
表現 · B1know that feeling

recognise that feeling

Yes. I know that feeling so well.
表現 · B2the first time around

on the first attempt

I thought The Murder Game was finished the first time around...
表現 · B2take something in hand

take charge of it

They took it in hand and helped me revise it.
表現 · B1send something out

submit it

I hate to think what would've happened if I had sent it out in its original form.
文法 · B2if I had sent it out

third conditional: The if plus past perfect sets up an unreal past, answered by would have happened.

I hate to think what would've happened if I had sent it out in its original form.
発音what would've

Would've reduces to wood-uv, with the d almost gone.

I hate to think what would've happened if I had sent it out in its original form.
スラング · B1would've

would have — Spoken contraction; avoid it in formal writing.

I hate to think what would've happened if I had sent it out in its original form.
表現 · B2take credit

claim recognition

Yes, but he wouldn 't take any credit, though I urged him to.
表現 · B1what sort of reaction

what kind of response

But, listen, what sort of reaction have you had from other people?
スラング · B1must've

must have — Common in speech; spell it out in writing.

I mean, but you must've shown it to someone.
表現 · A2at the seminar

at the workshop

I mean, your wife, your friends, other people at the seminar?
表現 · B2an ideal situation for someone

a perfect setup

I see. That sounds like an ideal situation for a writer.
表現 · B1be based on something

modelled on

It's based on Helga Ten Dorp.
文法 · B2a neighbor of ours

double possessive: A neighbor of ours is a double possessive, slightly more emphatic than our neighbour.

You know, the Dutch psychic? She's a neighbor of ours.
表現 · B1drive over

come by car

Yes. Why don't you drive over? It's not very far.
表現 · A2pick someone up

collect someone

And I'll come and pick you up at the Easthampton station.
発音pick you up

Pick you up links up, almost like pi-choo-wup.

And I'll come and pick you up at the Easthampton station.
文法 · B2I think it's best that

noun clause: The that-clause softens a suggestion into a matter of what is best.

I think it's best that we have two copies to read from.
表現 · B1be hard on something

tough on

And the carbon's a little bit hard on these weary old eyes.
発音carbon's a

The s in carbon's slides into a, sounding like carbon-sa.

And the carbon's a little bit hard on these weary old eyes.
表現 · A2wait for someone

wait for me

So wait for me by the station and I'll be along eventually.

「Sidney Calls Clifford About His Play」を読み解く

What's really going on

On the surface this is a friendly call between two writers. Underneath, Sidney is already steering. He flatters the script, then probes how many people have seen it — 'No one at all?' — as if measuring how easy the manuscript would be to take. His advice about bringing a second copy is practical on its face: 'I think it's best that we have two copies to read from,' he says, and slips in that the carbon is hard on his 'weary old eyes.' The detail that he will pick Clifford up himself, in a brown Mercedes, sounds generous, but it also keeps the visitor dependent on him. Even the closing excuse about running errands, which a listener immediately questions, is a small sign that nothing he says is quite straight.

Theme

DeceptionSidney flatters the manuscript and makes a warm invitation, while his questions quietly measure how vulnerable its author is.
AmbitionA playwright's hunger for a strong new script shapes every line of a call that only sounds like praise.

このチャプターで学べること

  • Praise is used here as a tool, not a compliment.
  • Asking who else has read it tests the writer's isolation.
  • The promise to pick him up hides where they are really going.
  • The brown Mercedes is the first detail that should worry Clifford.

発音のポイント

  • Is this — Is this links up, almost like iz-this, especially on the phone.
  • This is a — This is a runs together, close to thi-si-za.
  • what would've — Would've reduces to wood-uv, with the d almost gone.
  • pick you up — Pick you up links up, almost like pi-choo-wup.
A trifle unsteady at the odd moment but it has all the makings.

Sidney's assessment of the draft: slightly uneven now and then, but everything it needs is already there — flattering enough to keep the young writer interested.

I hate to think what would've happened if I had sent it out in its original form.

Sidney frames his earlier career as a warning, implying the raw first version would have failed without a mentor's help — a hint that he wants control of the text.

And the carbon's a little bit hard on these weary old eyes.

A small, fussy excuse for wanting the original manuscript rather than a copy, dressed up as concern about his eyesight.

So wait for me by the station and I'll be along eventually.

The instruction that leaves Clifford waiting and dependent, while Sidney keeps control of when the meeting actually starts.

このシーンについての質問

Why does Sidney call Clifford Anderson?

He has just read Clifford's manuscript, calls to praise it as a promising draft, and invites him over that evening — though the real aim is to get the young writer and his script to his house.

What does "all the makings" mean?

It means the script already has everything it needs to succeed — the ingredients are all there, even if a few moments are still rough.

Why does Sidney want the original copy?

He says they should have two copies to read from and that the carbon copy strains his eyes, but asking for the original brings the unedited manuscript into his hands.

How does Clifford get to Sidney's house?

Sidney tells him to take the 7:29 train to Easthampton station and wait, promising to pick him up in a brown Mercedes after running some errands.

Who questions Sidney after the call?

Someone in the house asks what errands he has to run and mentions the library books, catching Sidney in an excuse he then stumbles over, insisting he never said it.

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 6 章got hooked onClifford Anderson Visits the Bruhls
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再生中 · 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 5 / 30 章 · 残り約 74 分