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Sunset Boulevard · 1950 — 第 15 / 19 章 · 3'11" · B1

Joe and Betty Write the Script Together, Explained：sell like hotcakes

Betty Schaefer comes to Joe's place to rewrite his story, offering to be 'completely at your disposal' while Artie is on location. They turn it into a story about teachers sharing a room and a bed in shifts, and the work goes so well it becomes something else. Meanwhile Max learns the studio only wants Norma's car.

あらすじ

Joe Gillis and Betty Schaefer work on their script together, since Artie is away on location in Arizona. Joe throws out the psychological material and builds a story about two poor teachers who share a room and a bed in shifts. Betty scolds him for being chicken-hearted. Meanwhile Max discovers that Paramount only ever wanted to rent Norma's car, though Norma believes her comeback is nearly settled.

Office chatStorytellingPersuadingSuggestingCoworkersB1fastamericanClean
IMDb ↗

注目の表現

for heaven's sakessell like hotcakesat your disposalon location

00:00 / 03:11
Space 再生 · ← → セリフ移動 · R リピート
いま
  45. ❝ 独白Joe on Norma's regimen4 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

sell like hotcakes

sell very fast

Joe says the psychological angle is worn out and that psychopath stories are what really sell.

Cheap horror sequels sell like hotcakes every October.

このシーンの他の表現

  • for heaven's sakes

    an exclamation of surprise

  • at your disposal

    ready to be used or commanded

  • on location

    filming away from the studio

  • chicken-hearted

    timid, easily scared

  • in shifts

    in turns, by rotation

このシーンのメモ一覧

48 行のセリフに 28 件のメモ

表現 · A2come on in

come inside

Well, for heaven's sakes! Come on in, have a chair.
発音Come on in

Run come on in together as one phrase.

Well, for heaven's sakes! Come on in, have a chair.
表現 · A2help oneself to something

take what you want

I mean it. It's no good to me, anyway. Help yourself.
文法 · B1If you get an Oscar

if clause: The if clause sets a real condition, and the present tense stands for the future.

If you get an Oscar, I get the left foot.
表現 · B2take someone up on something

accept an offer

You know, I'd take you up on that in a minute.
発音take you up on

Link take you up on into one smooth run.

You know, I'd take you up on that in a minute.
表現 · A2all by myself

entirely on my own

I'm just not good enough to do it all by myself.
表現 · B1make sense

be reasonable

Well, see if they make sense.
表現 · A2throw out something

discard something

To begin with, I think you should throw out all that psychological mess, - exploring a killer's sick mind. - Psychopaths sell like hotcakes.
表現 · B1teach night school

evening classes

Now, I see her teaching day classes while he teaches night school.
表現 · B1if you don't mind

if that is all right with you

Look, if you don't mind, I haven't time to listen to the whole plot.
表現 · B1make it short

keep it brief

- I'll make it short. - I'm sorry. It's your baby now.
表現 · A2good for you

that is good to hear

Oh. Oh, well, good for you. You couldn't find a nicer guy.
発音good for you

Good for you links up, with for reduced to fer.

Oh. Oh, well, good for you. You couldn't find a nicer guy.
スラング · A2guy

man, person — Very casual; formal writing prefers man or person.

Oh. Oh, well, good for you. You couldn't find a nicer guy.
表現 · A2if you want

if you like

We could work at your place, if you want.
表現 · B1honest to goodness

truly, I mean it

- Honest to goodness, I hate you! - And don't make it too dreary.
表現 · B1share the same something

use the same one

- Right. - They don't even know each other, but they share the same room. It's cheaper that way.
文法 · B1In shifts, of course

parenthetical phrase: Of course is a parenthetical aside, adding a teasing note to the sentence.

As a matter of fact, they sleep in the same bed. In shifts, of course.
表現 · A2are you kidding

you must be joking

Are you kidding? Because I think it's good.
スラング · A2kidding

joking — Everyday speech; avoid it in formal writing.

Are you kidding? Because I think it's good.
表現 · B1the reason for something

the cause of something

- What's the matter, Max? - I just found out the reason for all those telephone calls from Paramount.
表現 · B1see what one can do

try to help out

Well, goodbye, Norma. We'll see what we can do.
表現 · B2couldn't have gone better

went perfectly

- How'd it go? - It couldn't have gone better.
表現 · A2forget about something

stop thinking about

Get Gordon Cole. Tell him to forget about her car.
表現 · B1go through something

endure something

She went through a merciless series of treatments.
表現 · B1be determined to do something

resolved to do something

She was absolutely determined to be ready, ready for those cameras that would never turn.
文法 · B2that would never turn

relative clause: The clause modifies cameras, and would marks a future seen from the past.

She was absolutely determined to be ready, ready for those cameras that would never turn.

「Joe and Betty Write the Script Together」を読み解く

What's really going on

This is a love story written in the form of a rewrite. Betty claims she is free because Artie is away, and Joe cannot quite refuse her: 'I'd take you up on that in a minute.' Their version of the story keeps drifting toward their own situation — two people who barely know each other sharing the same room, and, as Betty puts it, 'they sleep in the same bed. In shifts, of course.' The joke is the courtship. Joe knows it, which is why he calls the whole thing out — 'Look, Betty, it can't be done. It's out!' — and why Betty has to bully him: 'Now, stop being chicken-hearted and write that story!' Against this, Norma's return is pure illusion. Max discovers the studio only wanted to rent her car, yet Norma tells DeMille 'Everything will be fine' and starts counting calories to be ready for cameras that will never turn.

Theme

RomanceBetty invents reasons to stay, and the script they rewrite becomes a coded version of their own attraction.
DeceptionNorma believes her comeback is real while Max knows the studio only wanted her car.

このチャプターで学べること

  • Betty pushes Joe past the fear he keeps naming.
  • Norma trains hardest for a chance that is gone.
  • The studio wants the car, not the star.
  • A far-fetched plot detail is saved by in shifts.

発音のポイント

  • Come on in — Run come on in together as one phrase.
  • take you up on — Link take you up on into one smooth run.
  • good for you — Good for you links up, with for reduced to fer.
If you get an Oscar, I get the left foot.

Betty's joking way of asking for a share of the credit, teasing Joe with a silly prize for helping him.

This is a story about teachers, their threadbare lives, their struggle!

Joe's pitch for the story he prefers: real, struggling teachers rather than the cheap thrills of a killer's mind.

Now, stop being chicken-hearted and write that story!

Betty's push to make Joe commit, calling his hesitation cowardice so he will finally write.

As a matter of fact, they sleep in the same bed. In shifts, of course.

The plot twist that mirrors the two of them: strangers sharing a room, and a bed, on alternating shifts.

It's not Madame they want. It's her car they want to rent.

Max's discovery that the studio's interest was never in Norma's comeback but in renting her antique car.

Like an athlete training for the Olympic Games, she counted every calorie.

The voiceover image of Norma's discipline as she prepares her body like an athlete for a role.

She was absolutely determined to be ready, ready for those cameras that would never turn.

The chapter's quiet cruelty: she readies herself for cameras that will never film her again.

このシーンについての質問

Why does Betty come to Joe's apartment?

She wants them to write the story together while Artie is away on location. She claims to be completely at his disposal and suggests working at his place.

Why does Joe say 'it can't be done. It's out!'?

He is resisting the collaboration, though not very hard. Working with Betty means getting closer to her, and he knows his life with Norma makes that dangerous.

Why does Norma think her comeback is happening?

DeMille's phone manner leaves her believing a deal is nearly set. In fact the studio only wanted to rent her car, a truth Max finds out and she refuses to accept.

Why does Norma start counting calories?

She is preparing herself to face the cameras again, training like an athlete for a role she thinks is hers. The cameras, however, are never going to turn.

What does 'at your disposal' mean here?

It means available to be used or commanded. Betty says she is completely at Joe's disposal, offering all her free evenings and weekends to work on the script.

サンセット大通り · 全 19 章

すべて見る →
次のチャプター · 第 16 章come cleanBetty Tells Joe the Nose Story
第 1 章there's gonna be fireworksThe Repo Men Come for the Car第 2 章over a barrelJoe Pitches Bases Loaded at Paramount第 3 章a white elephantJoe Is Mistaken for the Undertaker第 4 章It's the pictures that got smallNorma Desmond: The Pictures Got Small第 5 章a pressing engagementNorma Makes Joe Read Salome第 6 章make it worth your whileNorma Hires Joe to Fix Her Script第 7 章not by a long shotNorma Moves Joe Into Her Mansion第 8 章a matter of life and deathNorma Buys Joe New Clothes第 9 章take me for grantedNorma's New Year's Eve Confession第 10 章close, but no cigarJoe Meets Betty at Artie's Party第 11 章sell on somethingNorma Sends Her Script to DeMille第 12 章write on specBetty Asks Joe to Write With Her第 13 章give someone the brushNorma Desmond Returns to Paramount第 14 章nothing would please me moreNorma Desmond's Comeback Falls Apart再生中 · 第 15 章sell like hotcakesJoe and Betty Write the Script Together第 16 章come cleanBetty Tells Joe the Nose Story第 17 章wipe outBetty Confesses She Loves Joe第 18 章a good dealJoe Shows Betty Norma's Mansion第 19 章have the heart toJoe Tells Norma He's Leaving
第 15 / 19 章 · 残り約 14 分