it seems like
Waiting by the corner, Rita complains that the wait feels endless.
God, it feels like it's taking him forever.The King of Comedy · 1982 — 第 13 / 21 章 · 2'38" · B2
Two people tail Jerry's car through crowded streets and bicker about him the whole way — one insists he "walks in the most crowded areas" even though "you'd think he'd wanna stay away." Then the stalking turns into an abduction: a gun, a blindfold, and orders to call his producer.
In their car, two people follow Jerry as he walks down crowded New York streets, arguing about why he stays where the crowds are. When they finally pull alongside, they force him into the car — one holds a gun to his head while the other warns him not to make a false move and orders him to phone his producer, Bert Thomas.
注目の表現
feels likeyou'd thinkget an attitudefill me in
このシーンの表現
any wrong move
With the gun on him, Rupert warns Jerry not to make any false moves.
One false move and the plan falls apart.
it seems like
you would expect
act cocky or sulky
tell me the details
joke or waste time
35 行のセリフに 22 件のメモ
it seems like
Waiting by the corner, Rita complains that the wait feels endless.
God, it feels like it's taking him forever.goodness (exclamation) — A casual exclamation of impatience.
God, it feels like it's taking him forever.how much more time
How much longer?Stress and stretch much to sound impatient.
How much longer?pressed right up against
Stay on this side so you're not all over him.keep a distance
He walks in the most crowded areas. You'd think he'd wanna stay away.you'd think construction: You'd think with would states an expectation that reality contradicts.
He walks in the most crowded areas. You'd think he'd wanna stay away.want to — Everyday speech; too casual for formal writing.
Well, because he doesn't wanna be alone.act cocky or sulky
As the questioning heats up, Rupert tells Rita not to get an attitude with him.
Don't get an attitude with me.tell me the details
Rupert asks Rita to fill him in about Jerry, half mocking and half probing.
Fill me in. Let me learn from you.feel secure
All right. Because when he walks on crowded streets, he feels safe, that's why.time clause: The when-clause sets the condition under which he feels safe.
All right. Because when he walks on crowded streets, he feels safe, that's why.joke or waste time
While directing the car, Rupert warns Jerry that he is not fooling around.
Okay, Jerry. Get over. Get in there. I'm not fooling around.In American speech the t in get flaps, linking the two words.
Okay, Jerry. Get over. Get in there. I'm not fooling around.messing about — Casual scolding; keep it out of formal settings.
Okay, Jerry. Get over. Get in there. I'm not fooling around.any wrong move
With the gun on him, Rupert warns Jerry not to make any false moves.
Don't make any false moves. I'd hate to do anything drastic.turn out fine
Rupert lays out a timetable and promises Jerry can leave by noon if all goes well.
Now, if everything works out, you should be out of here by the very latest 12-, 12:30.if-clause: The if-clause sets the condition for the should result in the main clause.
Now, if everything works out, you should be out of here by the very latest 12-, 12:30.Out of runs into something like oudda here.
Now, if everything works out, you should be out of here by the very latest 12-, 12:30.here is what I need you to do
What I want you to do is call your producer.noun clause as subject: The what-clause is the subject, and is call names the exact action.
What I want you to do is call your producer.connected by phone
Get him on the phone, and I'll tell you exactly what to say, okay?What begins as a stakeout is really a rehearsed plan. One person can't stop narrating Jerry's habits — "He walks in the most crowded areas" — and when challenged, answers with total confidence: "when he walks on crowded streets, he feels safe." That certainty is the point: the obsession has turned Jerry into a puzzle this person believes he has solved, and the daydream is about to be acted on. The switch comes fast. The same voice that was bickering about crowd behavior turns to orders — "Don't make any false moves. I'd hate to do anything drastic" — and the car stops being a place for talk. Jerry is told everything will be under control "if everything works out," but he is being kidnapped, and the schedule they hand him is for their convenience, not his.
He walks in the most crowded areas. You'd think he'd wanna stay away.The speaker has watched Jerry long enough to know his routes, and uses "you'd think" to point out the contradiction: a famous man who should avoid crowds keeps choosing them.
Don't make any false moves. I'd hate to do anything drastic.A calm, almost polite threat. "False move" means any wrong gesture, and the promise of "something drastic" keeps Jerry still without raising a voice.
Well, because he doesn't wanna be alone.An answer to why Jerry stays in crowds: not arrogance but fear of being alone. It reframes the man they are hunting as someone who needs people around him.
Get him on the phone, and I'll tell you exactly what to say, okay?The captor will feed Jerry his lines on the call. The phrasing keeps Jerry passive: he does not have to think, only obey, which is exactly the control the plan needs.
Those crowded blocks are where Jerry feels safest, as the stalker explains: "when he walks on crowded streets, he feels safe." The crowd is his cover, and the people following him have learned to use exactly that habit against him.
Bert Thomas is Jerry's producer, so he is the person who can make the on-air demand happen. Calling him from the car turns a street kidnapping into a negotiation the captors control.
One captor says, "She's gonna hold a gun on your head," so the woman in the team covers Jerry with the weapon while the other gives the orders and works the phone.
Mostly, because he is outnumbered and the gun is real. He objects — "Are you crazy?" — but once he is in the car he is given instructions rather than choices, and the captors keep telling him it will all be over soon.
次のチャプター · 第 14 章a pain in the neckJerry Langford's Hostage Call
第 1 章big breakRupert Pupkin Pitches Jerry in the Car
第 2 章start at the bottomRupert Pitches His Act to Jerry
第 3 章take overRupert Rehearses Taking Over the Show
第 4 章didn't have the nerveRupert Asks Rita Out After 15 Years
第 5 章gift for comedyRupert Signs Rita's Autograph Book
第 6 章the go-aheadRupert's New King of Comedy Speech
第 7 章in a meetingRupert Repeatedly Calls Jerry Langford
第 8 章broke bread withMasha Confronts Rupert in the Street
第 9 章made itRupert Rehearses His Big TV Debut
第 10 章amount to a hill of beansCathy Long Turns Rupert Down
第 11 章drop inRupert and Rita Crash Jerry's House
第 12 章take a hintJerry Throws Rupert Out
再生中 · 第 13 章false moveRupert and Masha Kidnap Jerry
第 14 章a pain in the neckJerry Langford's Hostage Call
第 15 章a two-way streetJerry Apologizes at Gunpoint
第 16 章on the spur of the momentStudio Debates Airing the Kidnapper
第 17 章blow your mindMasha's Lonely Night Confession
第 18 章authorized personnelRupert Bluffs His Way Into the Studio
第 19 章the right to remain silentPupkin Gets Read His Rights
第 20 章a shot atRupert Pupkin's TV Debut
第 21 章down paymentRupert Pupkin's Stand-Up Monologue