stop caring about something
You've lost your interest in thrillers?Deathtrap · 1982 — 第 21 / 30 章 · 3'04" · C1
Sidney Pitches Deathtrap, Explained：a death wish
Sidney lays out a new play, Deathtrap, built from the murder they just committed, and reads stage directions that describe his own house. Clifford is appalled: "That you're a lunatic with a death wish?" They argue about whether anyone could prove it, and about whether a writer is the only person who could pull it off.
あらすじ
Sidney proposes turning the murder into a thriller called Deathtrap, and reads out the opening stage directions, which match his own study down to the antique weapons. Clifford calls him a lunatic with a death wish and warns him it could mean twenty years to life. Sidney keeps arguing that only a playwright could stage such a thing.
注目の表現
give me a breakabout to do somethinga death wishasshole
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このシーンの表現
a death wish
a reckless urge to die
Clifford asks what Sidney means and calls him a lunatic with a death wish.
Driving that fast, you must have a death wish.
このシーンの他の表現
- give me a break
come on, stop it
- about to do something
on the point of doing
- asshole
a strong insult for a jerk
- make lots of money
earn a great deal
- it has to be
must be, no other option
このシーンのメモ一覧
53 行のセリフに 21 件のメモ
have no liking for
Clifford grunting in agreement: No taste for the intricate plotting, the two-dimensional characters.come on, stop it
Sidney cuts off Clifford's lofty pitch with an impatient, mocking plea.
Give me a break, will you? Your idea will start coming in a minute.happen, be set
"The action takes place in Julian Crane's study...so much that
"A brick fireplace. Practical to the extent that paper can be burned in it.result clause: To the extent that introduces a result: useful enough that paper can burn in it.
"A brick fireplace. Practical to the extent that paper can be burned in it.on the point of doing
Reading the prop list aloud, Sidney turns it into a threat against Clifford.
"The room is decorated with a collection of antique weapons and shackles. " A nice selection of which I'm about to use any minute, Clifford!Link about to use so the two t sounds merge into one.
"The room is decorated with a collection of antique weapons and shackles. " A nice selection of which I'm about to use any minute, Clifford!a life sentence with a minimum term
This, you asshole, is going to bring you 20 to life in maximum security!a coarse insult — A harsh insult; never use it in polite company.
This, you asshole, is going to bring you 20 to life in maximum security!it suddenly occurred to me
It hit me that night when you were looking for the key...Stress fatal and heart, then let attack fall at the end.
Gives someone like Myra a fatal heart attack?how one defines something
But could you give me your own special definition of success?a British intensifier — British informal emphasis; avoid it in formal talk.
-How's that for bloody reservations? -Come on, Sidney, listen.nobody can possibly
There is no way for anybody to prove what did or did not cause Myra...noun clause: The what-clause is the object of prove: it packages the whole question as one thing.
There is no way for anybody to prove what did or did not cause Myra...Got to often blurs into gotta in fast speech.
Look, it's got to be a playwright.earn a great deal
Sidney argues only a playwright can fake receiving a script that earns big.
Who else can pretend to receive a finished work that can make lots of money?drop it, forget that — Casual way to wave off what was just said.
Check. A surefire, smash-hit symphony.must be, no other option
Sidney insists the scheme only works with a thriller-writing playwright.
It has to be a playwright who writes thrillers...relative clause: The relative clause who writes thrillers narrows playwright to one specific kind.
It has to be a playwright who writes thrillers...「Sidney Pitches Deathtrap」を読み解く
What's really going on
The scene is the film folding in on itself, and it is played as a fight. Sidney's pitch borrows the room they are standing in, so the stage directions sound like a confession read aloud: the antique weapons, the fireplace, the study in Easthampton. Clifford answers with the blunt reading, 'That you're a lunatic with a death wish?' and then does the practical math of prison. Sidney's defence is that only an insider could fake it, 'It has to be a playwright who writes thrillers,' which is less a moral argument than a business plan. The fight lands on the line that gives the film its logic: plays do not exist until someone writes them.
Theme
AmbitionSidney turns a killing into material, weighing a prison sentence against the success he still craves.
DeceptionHis plan depends on a playwright faking a finished script, which is the cover story the whole film runs on.
このチャプターで学べること
- A hit can be built on someone else's disaster.
- Success talk here is really a threat.
- Clifford flatters Sidney to steer him.
- The quarrel is about authorship, not art.
発音のポイント
- about to use — Link about to use so the two t sounds merge into one.
- fatal heart attack — Stress fatal and heart, then let attack fall at the end.
- got to be — Got to often blurs into gotta in fast speech.
If I could change things, I would, but I can't.Sidney claims he would undo the killing if he could, then moves straight on to planning the play built on it.
I've got the same wish you have. A success wish!He reframes Clifford's 'death wish' as a shared hunger for success, turning the danger into ambition.
But could you give me your own special definition of success?A pointed question after the prison warning, asking Clifford what success would actually be worth to him.
This, you asshole, is going to bring you 20 to life in maximum security!Clifford's blunt warning about the sentence, naming the prison and the years in one line.
このシーンについての質問
What is Sidney actually proposing?
That they write a thriller called Deathtrap based on the murder they just committed, using their own house as the set and the crime as the plot.
Why is Clifford so angry about the idea?
Because it is reckless. He calls Sidney a lunatic with a death wish and says the scheme could put him in maximum security for twenty years to life.
Why does Sidney insist it has to be a playwright?
Only a playwright could pretend to receive a finished, profitable script and know how to stage a convincing murder, which is the core of his plan.
How does the argument end?
Sidney yells that plays do not exist until someone writes them, and Clifford keeps trying to calm him down, saying 'Come on' as the scene closes.
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 22 章knock offClifford Wants a Shortcut
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
再生中 · 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 21 / 30 章 · 残り約 26 分