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Deathtrap · 1982 — 第 3 / 30 章 · 3'00" · B2

Sidney Plots to Steal a Play, Explained：top billing

A washed-up playwright reads a young rival's script and jokes that it is "flawless" — then talks, half-seriously, about killing the author and sending the masterpiece out under his own name. His wife keeps steering him toward a less lethal option: collaboration, with a 50-50 split and top billing for him.

あらすじ

Sidney Bruhl and his wife Myra read a play by a young writer, Clifford Anderson. Sidney calls it 'flawless' — which, for him, is a problem. He jokes about killing the author with a mace and publishing the play under his own name. Myra suggests a cleaner plan: collaborate, and split the profit.

TeasingNegotiationSuggestingPersuadingSpousesB2fastamerican
IMDb ↗

注目の表現

coming out of the closettop billingsplit it 50-50I dare say not

00:00 / 03:00
Space 再生 · ← → セリフ移動 · R リピート
いま
  5. ❝ 独白Sidney's murder fantasy4 行練習ページ ↗
  21. ❝ 独白Myra's gentle pitch6 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

top billing

first billing

Laying out his terms, Sidney takes the lead credit for himself before anything else.

She shared the stage but still got top billing.

このシーンの他の表現

  • coming out of the closet

    revealing one's sexuality

  • split it 50-50

    divide it equally

  • I dare say not

    I suppose not

  • involved in production

    working in production

このシーンのメモ一覧

59 行のセリフに 30 件のメモ

表現 · B1when you're sober

when you are clear-headed

How does Mr. Anderson's play read when you're sober?
文法 · B1when you're sober

time clause: The when-clause sets the moment of clear judgement, implying the present view is unreliable.

How does Mr. Anderson's play read when you're sober?
表現 · A2do something about something

take action on it

So maybe you should do something about it.
スラング · B1bastard

a contemptible man — A crude insult; keep it out of formal talk.

What I should do is beat the fat bastard on the head...
表現 · A2big enough to do something

large enough to

Burying him in a hole big enough to accommodate his bloat...
表現 · B1under one's own name

in your own name

And then send his little masterpiece off under my own name.
発音send his little

The d in send and h in his often drop, blurring into sen-is-little.

And then send his little masterpiece off under my own name.
表現 · B1what's the point in doing something

why bother doing it

I mean, what's the point in owning a mace if you don't use it?
発音don't use it

Don't use it links up and can sound like don-choo-zit.

I mean, what's the point in owning a mace if you don't use it?
表現 · B1produce a play

stage a play

Why don't you produce the play?
表現 · B2be capable of doing something

able to do something

Darling, though I might be capable of killing Clifford Anderson...
文法 · B2though I might be capable

concessive clause: The though-clause concedes one dark possibility before the second half turns the joke.

Darling, though I might be capable of killing Clifford Anderson...
表現 · B2not up to something

not capable of

I am not up to the criminal behavior of a Broadway producer.
発音not up to

Not up to runs together, almost like no-tup-to.

I am not up to the criminal behavior of a Broadway producer.
表現 · B2collaborate on something

work together on

Have you thought about collaborating on the play on Deathtrap?
表現 · B2polish and pizzazz

style and sparkle

It wouldn't hurt if it got some of that Sidney Bruhl polish and pizzazz.
表現 · B1an absolute amateur

a total beginner

Don 't tell me that an absolute amateur wouldn 't be thrilled...
表現 · B2sex something up

make it racier

You mean, I sex it up a little and then split it 50-50?
スラング · B2sex it up

make it racier — Showbiz slang for spicing up a work.

You mean, I sex it up a little and then split it 50-50?
スラング · B2top billing

the leading credit — Theatre slang, also used for anyone getting the spotlight.

And of course I 'd get top billing.
表現 · B2on the basis of something

by virtue of

Why not? On the basis of who you are.
発音basis of

Of reduces to a weak uh-v and links onto basis.

Why not? On the basis of who you are.
文法 · B2were and are

mixed tenses: Were and are joins past and present to insist the title still belongs to him.

You were and are the author of The Murder Game...
表現 · B1as much as someone does

to the same degree as me

You mind the failure as much as I do, don't you Myra?
文法 · B2as much as I do

comparison: As much as I do compares their feelings, with do standing in for the verb already used.

You mind the failure as much as I do, don't you Myra?
表現 · B1pick up something

detecting

The next day Helga Ten Dorp's out there, picking up psychic vibrations.
表現 · B2hardly think

doubt it

Helga Ten Dorp from Holland? I hardly think that's likely.
発音out of the

Out of the blurs into outa-tha in fast speech.

I thought he was finally coming out of the closet.
スラング · B2coming out of the closet

revealing one's sexuality — Casual but personal; handle with care.

I thought he was finally coming out of the closet.
表現 · B1have someone over for dinner

invite someone to dinner

Oh, listen, Nan and Tom had her over for dinner last week.

「Sidney Plots to Steal a Play」を読み解く

What's really going on

The scene is a comedy about envy, and it plays the murder as a running gag. Sidney's first verdict on the rival script is 'It's worse than I thought. It's flawless' — the joke being that quality is the threat. From there he spins out a fantasy of violence ('beat the fat bastard on the head'), then immediately hides behind his own cowardice: 'I am not up to the criminal behavior of a Broadway producer.' Myra supplies the practical answer — collaboration, a 50-50 split, and top billing — which is the plot's real trap in disguise. The scene asks the audience to laugh along while quietly setting up a deathtrap.

Theme

AmbitionSidney's envy of a better writer turns into a fantasy of theft and murder, all in the name of reviving his career.
Dark humorA murder plot is treated as dinner-table banter, complete with jokes about a mace and blood on the carpet.

このチャプターで学べること

  • Murder is floated here as casually as a business plan.
  • Top billing reveals what Sidney really cares about.
  • The psychic talk lets the couple avoid the dangerous subject.
  • Dry agreement can be more cutting than open doubt.

発音のポイント

  • send his little — The d in send and h in his often drop, blurring into sen-is-little.
  • don't use it — Don't use it links up and can sound like don-choo-zit.
  • not up to — Not up to runs together, almost like no-tup-to.
  • basis of — Of reduces to a weak uh-v and links onto basis.
And then send his little masterpiece off under my own name.

The fantasy's punchline: steal the script and let the world credit Sidney for it, which is the real motive behind the joking.

I am not up to the criminal behavior of a Broadway producer.

Sidney's self-deprecating excuse: he can imagine murder but claims he lacks the guts to be a real producer.

I thought he was finally coming out of the closet.

A throwaway joke about a guest who was really just imitating someone else, letting the scene drift into gossip.

It's worse than I thought. It's flawless.

The verdict on the rival play: it is so good that it is a catastrophe for Sidney.

You sure you don't mean who I was?

Sidney's bitter aside: praise of him now is really nostalgia for the famous writer he used to be.

このシーンについての質問

Why does Sidney want to kill Clifford Anderson?

Because Clifford's play is better than anything Sidney can write now. Stealing it — even by killing the author — looks like the only way back to success.

What does Myra suggest instead of murder?

Collaboration. She proposes that Sidney polish the play, split the profits 50-50, and take top billing, which becomes the plan the film runs with.

Does Sidney actually plan to murder Clifford?

The talk stays cloaked as a joke here, but the details are specific: a mace, the carpet, burying the body, then publishing the play. The film later turns the joke into the plot.

Who is Helga Ten Dorp?

A Dutch psychic the Bruhls discuss. She is renting a cottage nearby, and Myra says she has told neighbors private details about them.

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 4 章a god-sent opportunityMyra Urges Sidney to Call Anderson
第 1 章truth in advertisingSidney's Play Flops on Opening Night第 2 章add insult to injurySidney Rants About Being Written Out再生中 · 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 3 / 30 章 · 残り約 80 分