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The King of Comedy · 1982 — 第 20 / 21 章 · 3'15" · B2

Rupert Pupkin's TV Debut, Explained：a shot at

Jerry Langford opens the show by announcing his writers were "executed in Central Park," then introduces his first guest as the newest King of Comedy: Rupert Pupkin, the man who kidnapped him to get here. The applause is real; so is the gun-to-the-head arrangement behind it.

あらすじ

On live television, Jerry Langford delivers a mock-obituary opening, joking that his writing staff was killed by the network. He then names his first guest the newest "King of Comedy" and calls out Rupert Pupkin, who walks on and introduces himself: "My name is Rupert Pupkin."

MonologuesNegotiationConfrontingThreateningB2fastamericanClean
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注目の表現

a sure thingin your handsgive you a glimpsea shot at

00:00 / 03:15
Space 再生 · ← → セリフ移動 · R リピート
いま
  1. ❝ 独白Tony's opening monologue15 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

a shot at

a chance at

Rupert reasons that holding Jerry gives him a chance at Langford, as if closing a deal.

She finally has a shot at the promotion.

このシーンの他の表現

  • a sure thing

    a guaranteed success

  • in your hands

    up to you to decide

  • give you a glimpse

    let you peek at it

  • part of the bargain

    one of the agreed terms

  • make a wrong move

    do the wrong thing

このシーンのメモ一覧

47 行のセリフに 25 件のメモ

スラング · A1Aw

a sound of disappointment — A sympathetic sound after bad news; not a real word to write.

Aw!
表現 · B2firing squad

a group sent to shoot someone

Earlier today, my writing staff was executed in Central Park by the network firing squad.
表現 · B1there will be no + 名词

there won't be any

So there will be no sensational Randall monologue this evening.
表現 · A2a little bit different

somewhat different

Instead we're going to do something a little bit different this evening. A lot different.
表現 · B1give someone a glimpse of something

let you peek at it

Tony promises the audience a peek at something new while nudging the cue card to be turned.

We're going to give you a glimpse... Turn it over, please.
表現 · B2the entertainment business

show business

It isn't often you can call someone a sure thing in the entertainment business.
文法 · B2It isn't often you can

impersonal it: The it is a placeholder; the real subject is the clause about calling someone a sure thing.

It isn't often you can call someone a sure thing in the entertainment business.
表現 · B1be in someone's hands

up to you to decide

Tony flatters the audience, saying the verdict on any act is always in their hands.

After all, the verdict is always in your hands, isn't it?
表現 · B2in one way or another

somehow, one way or another

...you'll agree with me that he's destined for greatness, in one way or another.
文法 · B2that he's destined for greatness

object clause: The that clause spells out what the audience will agree with Tony about.

...you'll agree with me that he's destined for greatness, in one way or another.
表現 · A2let me introduce myself

allow me to introduce myself

Good evening, ladies and gentlemen. Let me introduce myself. My name is Rupert Pupkin.
発音gonna kiss you

Gonna is swallowed and kiss you runs together.

I can't believe I'm gonna kiss you.
スラング · A2gonna

going to — Everyday spoken form; keep it out of writing.

I can't believe I'm gonna kiss you.
表現 · B1believe in someone

have faith in you

Jerry asks Rupert for a reason, saying it might let him believe in him again.

Why did you do this? Tell me why and then maybe I'll be able to believe in you.
表現 · B2part of the bargain

one of the agreed terms

Rupert calls the extra stop part of the bargain; Jerry demands to know what bargain he means.

- Well, that's part of the bargain. - Part of what bargain?
発音part of the

Of the is unstressed and blurs; the stress stays on part and bargain.

- Well, that's part of the bargain. - Part of what bargain?
表現 · B2understand someone's position

see where someone stands

- But you don't understand my position. - Uh-huh.
スラング · A1Yeah

really? — A casual echo question; too loose for formal talk.

- That's good, Masha. - Yeah?
表現 · A2be doing fine

getting along well

- You all right? - I'm doing fine.
発音You all right

You all right often contracts in speech toward y'all right.

- You all right? - I'm doing fine.
表現 · A2one more thing

and one more thing

One more thing, please. I can't walk in here with you. If you could both...
表現 · A2by oneself

on my own

If you could just wait here and let me walk in by myself, that's all.
表現 · B1make a wrong move

do the wrong thing

Before walking on alone, Rupert warns Jerry not to make a wrong move.

I'll break your ankles if you make a wrong move.
文法 · B1if you make a wrong move

conditional clause: The if clause sets the condition; the main clause delivers the punishment.

I'll break your ankles if you make a wrong move.
表現 · B1make believe (that) ...

pretend

But make believe you don't know me too.

「Rupert Pupkin's TV Debut」を読み解く

What's really going on

The jokes are Jerry's, but the night belongs to Rupert. Jerry keeps up the host's patter — "I have some sad news for you," he says, as if the death of his writers were just material — while introducing the man who took him hostage as a promising new talent. The irony is that the fantasy Rupert has chased for the whole film is delivered by crime: he is not discovered, he is aired. Later, when Jerry asks "Why did you do this?" and adds that maybe then he could "believe in you," the price of the debut becomes clear. Rupert trades a man's freedom for a shot at stardom and, for one night, gets both the applause and the leverage.

Theme

AmbitionRupert turns a lifelong fantasy into a TV appearance by any means, treating a crime as the price of admission to stardom.
DreamsRupert's dream of being on the show finally comes true, but only because he created a situation nobody could refuse.

このチャプターで学べること

  • The opening praises a man who is actually a kidnapper.
  • A showbiz phrase turns a guest into a verdict.
  • Backstage bargaining counts time, tape and ankles.
  • Trust is offered only as a reward for an answer.

発音のポイント

  • gonna kiss you — Gonna is swallowed and kiss you runs together.
  • part of the — Of the is unstressed and blurs; the stress stays on part and bargain.
  • You all right — You all right often contracts in speech toward y'all right.
Why did you do this? Tell me why and then maybe I'll be able to believe in you.

Jerry stops treating Rupert as a guest and asks for a reason. The phrasing makes belief conditional: prove you had a motive, and you might become someone he can take seriously.

I'll break your ankles if you make a wrong move.

A blunt threat to keep Jerry in line. It turns the friendly stage language of the show into open coercion the moment the cameras are off him.

It isn't often you can call someone a sure thing in the entertainment business.

Jerry's polished intro uses a showbiz phrase — a performer who cannot miss — to sell an untested newcomer, and that word choice is exactly what the network trades in.

Earlier today, my writing staff was executed in Central Park by the network firing squad.

Jerry's opening joke: his writers were "executed" for the sake of comedy. It sets a gallows-humor tone that the rest of the show keeps, even as a real hostage waits offstage.

このシーンについての質問

Why does Jerry introduce Rupert so warmly if Rupert kidnapped him?

The show has to go on live, and Jerry is doing what keeps himself and the situation under control: he reads the intro the way he would for any guest. The praise is professional, not friendly, and it buys him time.

What does Jerry mean by "maybe I'll be able to believe in you"?

He is asking for a real reason before he can take Rupert seriously. It puts the burden on Rupert: give an honest answer about why you did this, and maybe the man you idolize will finally see you as a person.

Why does Rupert order the tape taken off Jerry?

He needs Jerry able to speak for the exchange that follows, and he wants the moment to feel ordinary rather than brutal. Masha is the one peeling it off, and Rupert keeps reassuring her that they are doing fine.

What happens to Rupert after his TV debut?

He becomes famous exactly as he promised. Jerry is freed, Rupert goes to prison for the kidnapping, and the film's coda implies his monologue turned him into a star anyway.

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 21 章down paymentRupert Pupkin's Stand-Up Monologue
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再生中 · 第 20 章a shot atRupert Pupkin's TV Debut第 21 章down paymentRupert Pupkin's Stand-Up Monologue
第 20 / 21 章 · 残り約 4 分