for some time
I haven't swung the wrenches in a while.There's Something About Mary · 1998 — 第 11 / 24 章 · 3'22" · B2
At a golf driving range, Healy introduces himself to Mary, pretends his work as an architect is only temporary, and then turns the conversation to his real passion. What he describes as charity work becomes a strange and wildly insensitive story, and Mary can only ask whether what he is saying is politically correct.
At a driving range, Healy strikes up a conversation with Mary, offering to teach her and describing his architecture job as something he does until he earns his tour card. He tells her his real passion is his charity work, then launches into a bizarre story about a man he looks after. Mary keeps asking careful questions.
注目の表現
would you mindtill I getburnt-out onpolitically incorrect
このシーンの表現
not socially acceptable to say
When Healy uses an insulting word, Mary answers with a polite question that is really a rebuke.
That joke is a bit politically incorrect, don't you think?
a polite way to ask
until I obtain
tired of something
an offensive word for disabled people
tease or criticize someone
50 行のセリフに 27 件のメモ
for some time
I haven't swung the wrenches in a while.a little advice
Would you mind giving me some pointers here?polite request: Would you mind plus a gerund turns a request into a gentle question.
Would you mind giving me some pointers here?Link mind and giving so they run together.
Would you mind giving me some pointers here?grab a soft drink
- I'm gonna go get a soda. You want one? - No, thanks.break a dollar bill
Look. I'm sorry to bother you again. but you got change of a dollar?Change of a runs together, with of reduced.
Look. I'm sorry to bother you again. but you got change of a dollar?this is all I have
All I got are these damn Nepalese coins.an intensifying swear — Casual irritation; keep it out of polite settings.
All I got are these damn Nepalese coins.know it beforehand
I already know it, Mary.The t in right flaps and on your links up.
Because it's right there on your golf bag.be busy with
Oh, these? They're just some projects I'm working on.until I obtain
Pressed about being an architect, Healy says he is only marking time until his pro golf card.
Just till I get my PGA tour card.build or erect
No, I mean. Are they putting up some sort of a new museum in town. or...?tired of something
Mary keeps asking about the museum, and Healy waves it off as if sick of the subject.
Well, to tell you the truth, I'm sort of burnt-out on talking about it.keep oneself going
It's just a job. Really. Something to keep me moving.a slur for disabled people — A serious slur; never use it anywhere.
I work with retards.what is allowed or not
No one's gonna tell me who I can and can't work with, right?embedded clause: The who-clause is the object of tell, naming what others would dictate.
No one's gonna tell me who I can and can't work with, right?a decent guy, crudely put — Between friends only; far too crude for formal talk.
He's got a forehead like a drive-in movie theater. He's a good shit...escape from
- So one day. Mongo gets out of his cage... - What, they keep him in a cage?present simple narrative: The present simple gets out makes a past event feel immediate.
- So one day. Mongo gets out of his cage... - What, they keep him in a cage?nonsense, strongly said — Blunt and rude; only in heated casual talk.
- Right, yeah. - That's bullshit.attach onto
Yeah. One you can hook on to the clothesline and he can run back and forth...Hook on to links into one run of sound.
Yeah. One you can hook on to the clothesline and he can run back and forth...present perfect: The present perfect frames the change as ongoing until now.
That kid has really... He's really blossomed, you know?enjoyable things
You know, fun stuff.The scene is built on the gap between Healy's polished small talk and what he actually says. He opens with manners — 'Would you mind giving me some pointers here?' — and keeps the flattery plausible, framing architecture as 'just a job. Really. Something to keep me moving.' Then he turns to his hobby, and the routine stops being charming. His story about the man he looks after is meant to show his good heart, but every detail undercuts it, and Mary's polite question about whether it is even appropriate is the audience's own response. Healy's answer — 'No one's gonna tell me who I can and can't work with, right?' — is his whole character: well-meaning, self-congratulating, and immune to how he sounds. The comedy works because Mary listens seriously to a man who is performing sincerity.
Would you mind giving me some pointers here?Healy's opening move, all politeness, used to turn a stranger into a teacher and himself into a student who has a reason to keep talking.
It's just a job. Really. Something to keep me moving.His carefully modest account of architecture, which makes him sound unambitious while still letting him name museums and children's hospitals.
No one's gonna tell me who I can and can't work with, right?His defence of his own choice of work, sincere and completely oblivious to how his story sounds to the woman listening.
All I got are these damn Nepalese coins.The odd detail that starts the conversation, a wealthy man's complaint that also hints at the far places he claims to have been.
He presents himself as an architect with a real passion outside work. In truth he is a claims investigator hired to find Mary, so his whole introduction is a cover story.
To sound modest and unambitious. By downplaying his work he hopes Mary will find him easy-going, while still mentioning impressive projects like museums and children's hospitals.
Because his description of the people he says he works with is clumsy and insensitive. Her question reflects how uncomfortable the story sounds to a listener.
It means tired of or fed up with something. Healy uses it to change the subject, claiming he has talked about architecture so much that he is weary of it.
To show he has a good heart. He believes the story makes him generous and caring, though the way he tells it makes him seem thoughtless instead.
次のチャプター · 第 12 章so to speakHealy Pretends to Be an Architect
第 1 章hold someone to thatTed Asks Mary to the Prom
第 2 章not all thereTed Asks Mary to the Prom
第 3 章busting chopsTed Meets Mary's Family
第 4 章pull off a Band-AidTed Gets His Zipper Stuck
第 5 章in a slumpDom Gives Ted a Pep Talk
第 6 章a bump in the roadTed Hires Healy to Find Mary
第 7 章shooting fish in a barrelHealy Visits Sully in Miami
第 8 章at a drop of a hatMary Describes Her Ideal Man
第 9 章spark plugHealy Reports Back on Mary
第 10 章have feelings for someoneTed Still Wants to Find Mary
再生中 · 第 11 章politically incorrectHealy Chats Up Mary at the Range
第 12 章so to speakHealy Pretends to Be an Architect
第 13 章blow out of the waterThe 7 Minute Abs Pitch
第 14 章too good to be trueHealy Says Goodnight to Mary
第 15 章cut to the chaseTed Is Interrogated by Detectives
第 16 章funny vibeTucker Warns Mary About Healy
第 17 章pick up the tabTed Watches Mary From Afar
第 18 章dodged a few bulletsTed Runs Into Mary in Miami
第 19 章hooked upTucker Warns Mary About Healy
第 20 章come cleanHealy Confronts the Fake Detective
第 21 章dumb luckTed and Mary Talk at a Bar
第 22 章quit while I'm aheadPuffy Attacks Ted
第 23 章trick me intoMary Confronts Ted About Healy
第 24 章cross the lineThe Guys Confront Each Other