end a call
- What happened? - They hung up.The King of Comedy · 1982 — 第 14 / 21 章 · 3'32" · B2
Jerry Langford's Hostage Call, Explained：a pain in the neck
Jerry is on the phone to his own show, but the staff think he's Martino doing another impression and hang up on him. "I said this is Jerry. Jerry Langford. And I'm in deep trouble," he insists. It's a hostage call begging to be treated as real, and nobody on the other end wants to believe it.
あらすじ
Jerry Langford, held by kidnappers, calls the studio and asks for producer Bert Thomas. The switchboard assumes the call is a gag and keeps rebuffing him. To prove who he is, he tests them with a private detail only Jerry would know. Then he reads a written demand from cue cards: either 'the King' replaces him as tonight's guest, or he will never be seen alive again.
注目の表現
gaglet someone in onmove ita pain in the neck
00:00 / 03:32Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
a pain in the neck
an annoying person
The office recognizes Martino the impressionist and calls him a pain in the neck.
This paperwork is a pain in the neck.
このシーンの他の表現
- gag
a joke or prank
- let someone in on
share a secret with
- move it
hurry up
- in deep trouble
in serious trouble
- do an impression
imitate someone
このシーンのメモ一覧
49 行のセリフに 23 件のメモ
Did they runs into didday, and hang up links too.
Call them again. Why did they hang up?constantly
Probably thought it was a gag. We get that all the time.prank — Casual for a prank; keep it informal.
Probably thought it was a gag. We get that all the time.think something odd
Well, I find that strange, you know.the way someone treats you
But it's typical. Because that's the way they treat even you.share a secret with
Rupert talks to Jerry like a confidant and offers to let him in on a little secret.
Because I'll let you in on a little secret.see where we have ended up
And now look where we are.connect someone by phone
Audrey, this is Jerry Langford. Get Bert Thomas on the phone, and quickly.hurry up — A blunt hurry-up; too rough for polite company.
I'm not kidding. It's not a gag. It's serious. Now, move it!it is urgent
It's Mr. Langford. He says it's urgent.annoying person — Mild complaining word; safer than its rude cousin.
- It's that Martino kid, the impressionist. - He's a pain in the neck.do it quickly
Will you do what I tell you? And do it quick.In American speech the t flaps, so get rid of runs together.
I'm sorry, Mr. Thomas, he insists on talking to you. I cannot get rid of him.in serious trouble
Once connected, Jerry says he is in deep trouble, hinting at the kidnapping.
Bert, I said this is Jerry. Jerry Langford. And I'm in deep trouble.the sole way
...the only way they're gonna know it's really me is by that clue.the only way ... is: The only way ... is stresses that no other method exists.
...the only way they're gonna know it's really me is by that clue.unreal conditional: Past tense with would imagines an unreal case where the code would expose him.
If I didn't know what we called him, then he would know it's not me.no need to explain
Say no more. I understand.relative clause: The who-clause describes which man is meant: one claiming a certain identity.
If a man who identifies himself as...reading off something
Hold on, Bert. I'm reading from cue cards.you understand it now
It's not grammatically correct, but I think you have the idea.Have weakens in the middle, almost just a v sound.
It's not grammatically correct, but I think you have the idea.「Jerry Langford's Hostage Call」を読み解く
What's really going on
The studio isn't being cruel; it simply cannot imagine that the real Jerry Langford is on the line, so every attempt gets filtered as a prank. That gap is the whole joke and the whole horror: the most famous voice in the building is the one nobody will put through. Jerry keeps his dignity through the humiliation — "I'm not kidding. It's not a gag. It's serious. Now, move it!" — even as he reads his captors' demands off cue cards that are upside down and sometimes blank. The man who built his career on being recognized has to prove, line by line, that he exists, and the only proof he can offer is a private joke about a cameraman. By the end, the hostage and the station are working from the same script, and neither can tell how much of it is real.
Theme
IdentityJerry must prove he is himself with an inside joke; fame means nothing when the switchboard decides you're a fake.
DeceptionThe whole scene turns on voices that can be faked — an impressionist's act is mistaken for the real man.
このチャプターで学べること
- The code works because only an insider would know it.
- Rupert treats a kidnapping like a routine business call.
- The cue cards turn a threat into accidental comedy.
発音のポイント
- did they hang up — Did they runs into didday, and hang up links too.
- get rid of him — In American speech the t flaps, so get rid of runs together.
- you have the idea — Have weakens in the middle, almost just a v sound.
Because I'll let you in on a little secret.A lead-in to a confidence: he's about to tell the other person something usually kept private, treating them as an insider.
I'm not kidding. It's not a gag. It's serious. Now, move it!He drops the jokes and demands to be taken seriously — this call is an emergency, and he wants action now.
It's not grammatically correct, but I think you have the idea.A dry remark after the clumsy ransom demand: the wording is awkward, but the threat comes through clearly.
But it's typical. Because that's the way they treat even you.A bitter aside that the industry treats even its biggest stars this way, implying the listener should understand the slight.
このシーンについての質問
Why does the studio keep hanging up on Jerry?
They assume the call is a prank. In their world anonymous callers claiming to be Jerry are routine, so nobody expects the real Jerry Langford to be on the line — which is exactly the problem.
How does Jerry prove he isn't an impressionist?
He asks a question only the real Jerry would answer, about what the staff privately call their second cameraman. The answer works like a password: proof of identity that depends on a shared inside joke, not on fame.
What does 'the King' refer to in the demand?
It's the name the callers use for the man who insists on being tonight's first guest. Jerry is reading a demand written by his captors, so 'the King' is the person they want put on the air in his place.
Whose idea is the demand that Jerry reads?
It's written for him to read aloud. Jerry is reading it off cue cards held up in front of him, so the wording — and the threat — belongs to whoever is holding him, not to Jerry himself.
キング・オブ・コメディ · 全 21 章
すべて見る →
次のチャプター · 第 15 章a two-way streetJerry Apologizes at Gunpoint
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
第 13 章false moveRupert and Masha Kidnap Jerry
再生中 · 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第 14 / 21 章 · 残り約 25 分