The King of Comedy · 1982 — 第 13 / 21 章 · 2'38" · B2

Rupert and Masha Kidnap Jerry, Explained:false move

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.

あらすじ

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.

Crime scenesThreatsThreateningWarningB2fastamericanClean
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注目の表現

feels likeyou'd thinkget an attitudefill me in

00:00 / 02:38
Space 再生 · ← → セリフ移動 · R リピート
いま
  1. ❝ 独白The kidnapper's schedule9 行練習ページ ↗
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このシーンの表現

false move

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.

このシーンの他の表現

  • feels like

    it seems like

  • you'd think

    you would expect

  • get an attitude

    act cocky or sulky

  • fill me in

    tell me the details

  • fool around

    joke or waste time

このシーンのメモ一覧

35 行のセリフに 22 件のメモ

表現 · B1it feels like ...

it seems like

Waiting by the corner, Rita complains that the wait feels endless.

God, it feels like it's taking him forever.
スラング · A2God

goodness (exclamation) — A casual exclamation of impatience.

God, it feels like it's taking him forever.
表現 · A2how much longer

how much more time

How much longer?
発音How much

Stress and stretch much to sound impatient.

How much longer?
表現 · B2be all over someone

pressed right up against

Stay on this side so you're not all over him.
表現 · A2stay away from someone

keep a distance

He walks in the most crowded areas. You'd think he'd wanna stay away.
文法 · B2You'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.
スラング · A2wanna

want to — Everyday speech; too casual for formal writing.

Well, because he doesn't wanna be alone.
表現 · B1get an attitude with someone

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.
表現 · B1fill someone in

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.
表現 · A2feel safe

feel secure

All right. Because when he walks on crowded streets, he feels safe, that's why.
文法 · B1when he walks on crowded streets

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.
表現 · B1fool around

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.
発音Get over

In American speech the t in get flaps, linking the two words.

Okay, Jerry. Get over. Get in there. I'm not fooling around.
スラング · B1fooling around

messing about — Casual scolding; keep it out of formal settings.

Okay, Jerry. Get over. Get in there. I'm not fooling around.
表現 · B2make a false move

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.
表現 · B1work out

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.
文法 · B1if everything works out

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.
発音out of here

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.
表現 · B2what I want you to do is ...

here is what I need you to do

What I want you to do is call your producer.
文法 · B2What I want you to do is call

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.
表現 · A2be on the phone

connected by phone

Get him on the phone, and I'll tell you exactly what to say, okay?

「Rupert and Masha Kidnap Jerry」を読み解く

What's really going on

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.

Theme

AmbitionThe abduction is the price of Rupert's dream, a plan he has rehearsed until the obsession looks like expertise.
DeceptionThe captors keep the tone polite — "if everything works out" — while the gun and the blindfold tell Jerry exactly what this is.

このチャプターで学べること

  • The calmest line here is the most frightening.
  • Rita and Rupert argue even while committing a crime.
  • Jerry's fame is treated as a fact to be exploited.

発音のポイント

  • How much — Stress and stretch much to sound impatient.
  • Get over — In American speech the t in get flaps, linking the two words.
  • out of here — Out of runs into something like oudda here.
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.

このシーンについての質問

Why do they follow Jerry through the busiest streets?

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.

Why does the captor make Jerry call Bert Thomas?

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.

Who is holding the gun on Jerry?

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.

Does Jerry cooperate with the kidnappers?

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.

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