Night and the City · 1950 — 第 8 / 19 章 · 2'50" · B2

Mary Waits for Harry Outside, Explained:talk down your nose

Mary waits outside the Silver Fox for Harry while the owner tells her to go home. Adam finds her there and says plainly that she was not really waiting. The argument becomes Mary's defence of Harry: he had no advantages, he has to fight for his dignity, and if he hurts her it is because he has been hurt.

あらすじ

Mary waits outside the Silver Fox while Philip tells her to go home. She insists she is waiting for Harry, then decides to leave after all. Adam appears and sees through her, saying she was not really going to wait. Mary defends Harry, describing the hard life that made him what he is.

ArgumentsAccusationsConfrontingExplainingFriendsB2slowamericanClean
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注目の表現

a breath of airtalk down your nosekeep one's head upany minute

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このシーンの表現

talk down your nose

speak with a superior air

Mary cuts Adam off, refusing to let him judge Harry from a superior height.

Don't talk down your nose about people who never had your chances.

このシーンの他の表現

  • a breath of air

    a short break outside

  • keep one's head up

    hold on to one's dignity

  • any minute

    at any moment

  • it's all right for you

    easy for you to say

  • drop dead

    a blunt brush-off

このシーンのメモ一覧

56 行のセリフに 26 件のメモ

表現 · A1wait for someone

stay until someone arrives

Oh, I'm just waiting for Harry, Mr. Nosseross.
発音waiting for

For is usually reduced to fər in this position.

Oh, I'm just waiting for Harry, Mr. Nosseross.
表現 · B1be along

will arrive shortly

He'll be along soon.
表現 · B1slip out

leave quietly

Helen must have slipped out for a breath of air. She...
表現 · B2no stopping someone

nobody can hold someone back

No stopping Harry once he gets started.
表現 · B1once someone gets started

once someone begins

No stopping Harry once he gets started.
文法 · B1once he gets started

once-clause: Once introduces the trigger; the main clause says nothing can stop him after it.

No stopping Harry once he gets started.
スラング · A2my dear

an affectionate address — A fond address, usually from an older speaker.

- Hello, Molly. - Hello, Mary, my dear.
表現 · A2go on home

head home now on adds a sense of going ahead and heading home

Perhaps it's best if I do go on home.
表現 · B1what a coincidence

how surprisingly lucky

Adam! What a remarkable coincidence.
表現 · B1any minute

at any moment

Mary insists Harry will arrive at any moment, though she hardly believes it herself.

I just came out here waiting for Harry. He'll be along any minute.
表現 · B2call for someone

come to collect someone here it means coming to fetch her, not phoning

He calls for me every night.
発音gonna wait

Gonna and wait run together in fast, emotional speech.

You weren't gonna wait for Harry, and you know it.
スラング · A2gonna

going to, in speech — Everyday speech; avoid it in writing.

You weren't gonna wait for Harry, and you know it.
文法 · B2What if I were?

elliptical subjunctive: What if I were is a clipped subjunctive that dares Adam to make something of it.

What if I were? If Harry's not here, he's got a good reason for it.
表現 · C1talk down one's nose at someone

speak with a superior air

Mary cuts Adam off, refusing to let him judge Harry from a superior height.

Look, I don't like you talking down your nose about Harry, you don't know him.
表現 · B2it's all right for you

easy for you to say

Mary tells Adam it is easy for him to talk, since he is secure and knows where he is going.

It's all right for you, you're secure, you know where you're going.
表現 · B1know where one is going

have a clear direction

It's all right for you, you're secure, you know where you're going.
発音all right

All right links into one unit with the stress on right.

It's all right for you, you're secure, you know where you're going.
表現 · A2on one's own

without help from anyone

He's been on his own ever since he was a kid,
表現 · A2ever since ...

from that time onward

He's been on his own ever since he was a kid,
文法 · B1ever since he was a kid

present perfect with since: The present perfect with ever since describes a state lasting from childhood to now.

He's been on his own ever since he was a kid,
表現 · B2keep one's head up

hold on to one's dignity

Mary says Harry has no family or backing, so he fights to keep what dignity he can.

and he's fighting the only way he knows to keep his head up.
スラング · B2bookie

a betting agent — Racing slang for a betting agent.

The bookie's been looking for you, Harry.
表現 · B1tell someone to drop dead

a blunt brush-off

Warned that the bookie is looking for him, Harry answers with a cold brush-off.

Tell him to drop dead.
スラング · B1drop dead

a harsh brush-off — A blunt, rude dismissal; not for polite company.

Tell him to drop dead.

「Mary Waits for Harry Outside」を読み解く

What's really going on

The scene is Mary's character in one conversation. She can see exactly what Harry is, and she loves him anyway. Adam, the respectable friend, reads the situation correctly and says so — "You weren't gonna wait for Harry, and you know it" — and Mary answers not by denying it but by explaining why Harry deserves patience. Her defence is the film's most generous speech about him: he had no home or education, he has been on his own since he was a child, and he fights the only way he knows. "If he's hurt me, it's because he's been hurt." The line that follows the argument, when she finally asks to be taken home, shows how thin the loyalty is stretched. She keeps the faith, but it costs her.

Theme

RomanceMary defends a man everyone else has written off, and her loyalty is presented as both love and self-harm.
ClassAdam's security is set against Harry's borrowed suits and street hustle, and Mary is the one caught between them.

このチャプターで学べること

  • Waiting long enough can turn into self-deception.
  • Adam's patience is quiet, not passive.
  • Mary defends Harry more than she believes him.
  • Her final request admits the truth she denied.

発音のポイント

  • waiting for — For is usually reduced to fər in this position.
  • gonna wait — Gonna and wait run together in fast, emotional speech.
  • all right — All right links into one unit with the stress on right.
If he's hurt me, it's because he's been hurt.

Mary's explanation of Harry's behaviour: he is not cruel by nature but damaged, and she will not hold the damage against him.

It's all right for you, you're secure, you know where you're going.

Her class argument in one line: Adam can afford to judge because he has never been desperate.

You weren't gonna wait for Harry, and you know it.

Adam's blunt read of her: she had already decided to go home, and waiting was only a manner of speaking.

Harry's had none of the things you've had: home, education, friends.

The list that explains Harry: he built everything from nothing, which is also his excuse and his tragedy.

このシーンについての質問

Why does Philip tell Mary to go home?

He knows Harry is not coming and wants to spare her an empty wait. He is polite about it, but the suggestion makes clear how long she has already been sitting there.

Why does Adam say her waiting was a coincidence?

He is being sarcastic. He notes that he prepared to meet her for two hours, and he accuses her of pretending to wait for Harry when she had already given up.

Why does Mary defend Harry?

Because she understands where he came from. She says he had no home, education, or friends, that he has been alone since childhood, and that if he hurts her it is because he has been hurt.

What does Mary want at the end of the scene?

She asks Adam to take her home. It is an admission that the waiting is over and that she needs someone to rescue her from the evening.

What happens to Harry at the end?

He arrives late and is told the bookie has been looking for him. His answer is to tell the bookie to drop dead, which shows the trouble he is in.

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