There's Something About Mary · 1998 — 第 11 / 24 章 · 3'22" · B2

Healy Chats Up Mary at the Range, Explained:politically incorrect

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.

あらすじ

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.

First datesSmall talkComplimentingExplainingStrangersB2mediumamerican
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注目の表現

would you mindtill I getburnt-out onpolitically incorrect

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このシーンの表現

politically incorrect

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?

このシーンの他の表現

  • would you mind

    a polite way to ask

  • till I get

    until I obtain

  • burnt-out on

    tired of something

  • retards

    an offensive word for disabled people

  • bust his chops

    tease or criticize someone

このシーンのメモ一覧

50 行のセリフに 27 件のメモ

表現 · A2in a while

for some time

I haven't swung the wrenches in a while.
表現 · B1give someone pointers

a little advice

Would you mind giving me some pointers here?
文法 · B1Would you mind giving

polite request: Would you mind plus a gerund turns a request into a gentle question.

Would you mind giving me some pointers here?
発音mind giving

Link mind and giving so they run together.

Would you mind giving me some pointers here?
表現 · A1get a soda

grab a soft drink

- I'm gonna go get a soda. You want one? - No, thanks.
表現 · B1change of a dollar

break a dollar bill

Look. I'm sorry to bother you again. but you got change of a dollar?
発音change of a

Change of a runs together, with of reduced.

Look. I'm sorry to bother you again. but you got change of a dollar?
表現 · A2all I got is/are

this is all I have

All I got are these damn Nepalese coins.
スラング · B1damn

an intensifying swear — Casual irritation; keep it out of polite settings.

All I got are these damn Nepalese coins.
表現 · A2already know something

know it beforehand

I already know it, Mary.
発音right there on

The t in right flaps and on your links up.

Because it's right there on your golf bag.
表現 · A2work on something

be busy with

Oh, these? They're just some projects I'm working on.
表現 · B1till someone gets something

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.
表現 · B1put up a building

build or erect

No, I mean. Are they putting up some sort of a new museum in town. or...?
表現 · B2be burnt out on something

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.
表現 · B1keep someone moving

keep oneself going

It's just a job. Really. Something to keep me moving.
スラング · B2retards

a slur for disabled people — A serious slur; never use it anywhere.

I work with retards.
表現 · B1can and can't do something

what is allowed or not

No one's gonna tell me who I can and can't work with, right?
文法 · B2who I can and can't work with

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?
スラング · B2a good shit

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...
表現 · A2get out of something

escape from

- So one day. Mongo gets out of his cage... - What, they keep him in a cage?
文法 · B1gets out of his 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?
スラング · B2bullshit

nonsense, strongly said — Blunt and rude; only in heated casual talk.

- Right, yeah. - That's bullshit.
表現 · B1hook something on to something

attach onto

Yeah. One you can hook on to the clothesline and he can run back and forth...
発音hook on to

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...
文法 · B1has really

present perfect: The present perfect frames the change as ongoing until now.

That kid has really... He's really blossomed, you know?
表現 · A1fun stuff

enjoyable things

You know, fun stuff.

「Healy Chats Up Mary at the Range」を読み解く

What's really going on

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.

Theme

DeceptionHealy presents himself as a modest architect with a good heart, while his story quietly reveals how unaware and careless he is.
IdentityHealy keeps trying on roles — architect, golfer, benefactor — and the scene tests which version of him Mary is meeting.

このチャプターで学べること

  • A polite request can open a conversation with a stranger.
  • Healy hides his lies behind flat, throwaway lines.
  • Sort of and really soften every claim he makes.
  • Polite wording exposes him as much as it protects him.

発音のポイント

  • mind giving — Link mind and giving so they run together.
  • change of a — Change of a runs together, with of reduced.
  • right there on — The t in right flaps and on your links up.
  • hook on to — Hook on to links into one run of sound.
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.

このシーンについての質問

Who is Healy pretending to be?

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.

Why does Healy say his job is 'just a job'?

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.

Why does Mary ask if his story is politically correct?

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.

What does 'burnt-out on' mean?

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.

Why does Healy tell the story about the man he looks after?

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.

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