two or three of
I tagged a couple of cops.Reservoir Dogs · 1992 — 第 7 / 22 章 · 3'16" · B2
The Crew Debates Mr. Blonde's Rampage, Explained：null and void
The men in the warehouse compare notes on the robbery, and the argument settles into a distinction: it's human to panic, but a professional contains it, while a psychopath starts shooting. Mr. Blonde's rampage, they agree, means they can't work with him — and worse, they may have a traitor.
あらすじ
In the warehouse, two of the crew talk over the botched robbery. One admits he shot a few cops but insists he never kills for fun: anyone in his way gets moved, one way or the other, because ten years in prison is no choice at all. The other argues that panicking may be human nature, but a professional controls it — and a psychopath isn't a professional.
注目の表現
human naturemotherfuckerget a hold ofnull and void
00:00 / 03:16Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
null and void
no longer valid
White declares the agreed plan void the moment a rat is confirmed.
The contract became null and void after the deadline passed.
このシーンの他の表現
- human nature
the way people naturally are
- motherfucker
a very heavy insult
- get a hold of
take control of
- every man for himself
everyone fends for themselves
このシーンのメモ一覧
49 行のセリフに 42 件のメモ
the police — Casual word for police; informal.
I tagged a couple of cops.only police, nothing more — A dismissive shrug; casual only.
Just cops.would you believe it
Man, could you believe Mr Blonde?a person of that kind
Why the fuck would Joe hire a guy like that?by any means
I don't wanna kill anybody, but if I gotta get out that door and you're in my way, one way or the other you're getting out of my way.blocking someone
I don't wanna kill anybody, but if I gotta get out that door and you're in my way, one way or the other you're getting out of my way.condition clause: The if-clause sets the condition; the main clause states the consequence.
I don't wanna kill anybody, but if I gotta get out that door and you're in my way, one way or the other you're getting out of my way.Get out often links into a single blurred word.
I don't wanna kill anybody, but if I gotta get out that door and you're in my way, one way or the other you're getting out of my way.from my point of view
That's the way I look at it.serve ten years in prison
A choice between doing ten years or taking out some stupid motherfucker...kill someone
A choice between doing ten years or taking out some stupid motherfucker...a very heavy insult — Extremely vulgar; never use it publicly.
A choice between doing ten years or taking out some stupid motherfucker...there is no choice
ain't no choice at all.is not, are not — Nonstandard speech; keep it out of writing.
ain't no choice at all.team up with someone
What the fuck was Joe thinking? I can't work with a guy like that.fire wildly in a place
We're awful goddamn lucky he didn't tag us when he shot the place up.The t in didn't often drops before tag us.
We're awful goddamn lucky he didn't tag us when he shot the place up.nearly did something
I came this close to taking his ass out myself.the way people naturally are
White defends the panic after the robbery, calling it human nature.
Things get tense. It's human nature to panic.unable to stop oneself
I don't care what your name is, you can't help it.Help it links so it sounds like hel-pit.
I don't care what your name is, you can't help it.take control of
White describes how he steadies himself before dealing with a crisis.
Then you give yourself a couple of seconds, you get a hold of the situation - you deal with it. What you don't do is start killing people!handle something
Then you give yourself a couple of seconds, you get a hold of the situation - you deal with it. What you don't do is start killing people!subject clause: A what-clause acts as the subject and puts the real point after is.
Then you give yourself a couple of seconds, you get a hold of the situation - you deal with it. What you don't do is start killing people!The whole phrase runs together with a weak a.
Then you give yourself a couple of seconds, you get a hold of the situation - you deal with it. What you don't do is start killing people!everyone fends for themselves
White recalls the escape as pure self-preservation once the shooting started.
At that point, it was every man for himself.regarding, as for
As far as Mr Blonde and Mr Blue are concerned, I ain't got the foggiest.as far as phrase: As far as someone is concerned limits the topic to that person.
As far as Mr Blonde and Mr Blue are concerned, I ain't got the foggiest.Ain't and got the are both reduced in fast speech.
As far as Mr Blonde and Mr Blue are concerned, I ain't got the foggiest.escape
Even if they did get away, then where the fuck are they?absolutely not
- You don't think they got the diamonds and... - No, no way.hide something away
- Where? - I stashed 'em.hid them away — Street talk for hiding something.
- Where? - I stashed 'em.immediately
Look, if you wanna come with me, let's go get 'em right now, right this second.no longer valid
White declares the agreed plan void the moment a rat is confirmed.
The plan is null and void once we find out there's a rat in the house.a traitor inside
The plan is null and void once we find out there's a rat in the house.a traitor or informer — Slang for an informer; insulting.
The plan is null and void once we find out there's a rat in the house.have no idea at all
We ain't got the slightest Idea what happened to Mr Blonde and Mr Blue.nonstandard negation: Ain't got is a casual negative meaning have no at all.
We ain't got the slightest Idea what happened to Mr Blonde and Mr Blue.interrogate hard
The cops could have them right now at the station house, sweatin' them down.inform on, confess
They don't know our names but they could be singing about this place.「The Crew Debates Mr. Blonde's Rampage」を読み解く
What's really going on
The scene is an argument about what it means to be a professional, and both men are quietly defending themselves. One justifies shooting his way out — 'one way or the other you're getting out of my way' — by separating killing in a corner from killing as a habit. The other draws the line at Mr. Blonde, insisting, 'A psychopath ain't a professional,' which is less a moral judgment than a practical one: you can't predict a madman. Once they mention a rat, the talk shifts from ethics to survival, and the phrase 'every man for himself' tells you the crew has already dissolved in spirit.
Theme
BetrayalOnce they suspect a rat, the crew's rules collapse: the plan is void and everyone is out for himself.
SurvivalThe talk keeps returning to what a man does to get out alive, and what line he won't cross.
このチャプターで学べること
- Forgiving panic is how White keeps his own hands clean.
- Null and void turns a suspicion into a rule.
- Every man for himself explains why he never looked back.
- The diamonds are the only thing still under control.
発音のポイント
- get out — Get out often links into a single blurred word.
- didn't tag us — The t in didn't often drops before tag us.
- can't help it — Help it links so it sounds like hel-pit.
- get a hold of — The whole phrase runs together with a weak a.
I don't wanna kill anybody, but if I gotta get out that door and you're in my way, one way or the other you're getting out of my way.He draws his own line: he doesn't kill for pleasure, but he won't be stopped. 'One way or the other' makes the threat sound almost reasonable.
Things get tense. It's human nature to panic.His explanation for the chaos: fear is built in, so panic isn't the crime. It forgives everyone — except the man who turned panic into a massacre.
The plan is null and void once we find out there's a rat in the house.The moment betrayal is suspected, the agreed rules stop counting. 'Null and void' is legal language: the plan is cancelled, like a dead contract.
I came this close to taking his ass out myself.He nearly shot Mr. Blonde himself. 'Came this close' insists how little separated order from more killing.
I can't work with a psychopath.A blunt professional judgment, not a moral one: an unpredictable partner is a liability, so he can't be trusted on a job.
このシーンについての質問
Why does the crew say the plan is "null and void"?
Because they suspect a rat. The meeting point and rules only work if no one betrayed them; once betrayal is possible, the plan is cancelled and each man has to look out for himself.
What is the difference between panicking and being a psychopath, in this scene?
Panic is treated as human nature — everyone freezes or fires wildly once. A psychopath, they argue, isn't a professional: you can't predict him, so you can't work beside him.
What does "human nature" mean here?
It means a built-in instinct. Saying "It's human nature to panic" treats fear as normal and forgivable, which is how one man defends the crew's chaos while still blaming Mr. Blonde.
Did anyone get the diamonds?
Yes — one of the men says, "I got the diamonds," and that he stashed them. He offers to take the others to retrieve them immediately rather than keep waiting.
Why do they think Mr. Blonde and Mr. Blue might talk to the police?
They don't know if the two are dead or arrested. If the cops have them, they could be questioned, and even without names they could give up the location of the warehouse.
レザボア・ドッグス · 全 22 章
すべて見る →
次のチャプター · 第 8 章call it quitsThe Crew Hunts the Rat
第 1 章lose my train of thoughtThe Madonna Theory Debate
第 2 章world's smallest violinMr. Pink Refuses to Tip
第 3 章a degree in medicineMr. White Reassures Mr. Orange
第 4 章bless your heartMr. White Refuses the Hospital Run
第 5 章What's done is doneMr. White Panics About the Setup
第 6 章set someone upThe Crew Reconstructs the Robbery
再生中 · 第 7 章null and voidThe Crew Debates Mr. Blonde's Rampage
第 8 章call it quitsThe Crew Hunts the Rat
第 9 章on the up-and-upThe Crew Debates the Hospital Run
第 10 章back offMr. White Defends Telling His Name
第 11 章on the levelWhite and Blonde Nearly Fight
第 12 章chin upVic Comes Home From Prison
第 13 章for crying out loudEddie Sets Vic Up With a Job
第 14 章the stonesJoe Demands the Stolen Stones
第 15 章put up withThe Crew Ditches the Cars
第 16 章move inFreddy Tells Marvin He's a Cop
第 17 章made a killingMr. Orange Briefs Holdaway
第 18 章sell your storyHoldaway Teaches the Commode Story
第 19 章snap out of itFreddy Tells the Men's Room Story
第 20 章lay eyes on someoneEddie Tells the Elois Story
第 21 章my way or the highwayJoe Lays Down the Alias Rules
第 22 章barking up the wrong treeJoe Accuses Orange of Being a Cop第 7 / 22 章 · 残り約 50 分