首页 华尔街英语U2

华尔街英语U2

举报
开通vip

华尔街英语U2华尔街英语U2 Section 29.1A Dialogue. SECRETARY: There it is - the black Toyota! Go! ROGER: What fools! Did they really think I was stupid enough to stay in the car? Aah, I knew he was going to try and kill me. I'll get that bastard sooner or later; but first I t...

华尔街英语U2
华尔街英语U2 Section 29.1A Dialogue. SECRETARY: There it is - the black Toyota! Go! ROGER: What fools! Did they really think I was stupid enough to stay in the car? Aah, I knew he was going to try and kill me. I'll get that bastard sooner or later; but first I think I?d better write to Hugo... JOHN: Hello, Hugo. Back from your holiday? HUGO: Yes, that's right. What are you doing sitting on the sidewalk, John? JOHN: They've thrown me out of my apartment! HUGO: Oh, what a shame! JOHN: Because I haven't paid the rent, because I can't afford to. If I had a job I'd pay the rent, of course. But what can I do when I haven't got a job? See what I mean? HUGO: Yes, I quite see. Well, I expect something will come along. Bye-bye! HUGO: Let's see if there's any mail. Hold on, someone's sent me a postcard from Trinidad! ROGER: “Dear Hugo, Thank you for the money. Mr P hasn?t been very helpful so far. It would be a good idea if you got in touch with me. All the best, „Roger the Cobber?.” HUGO: Oh my God! That means he didn't go to Australia! And he's obviously spoken to Mr P, so that means... I don?t even dare to think about it. Well, I?d better not stay here, to start with! I?ve got just the idea! HUGO: John! Could you come up here for a moment? JOHN: I can't leave my TV here. What if someone stole it? Like, it's the only thing I've got left! HUGO: Well, why don?t you bring it with you, then? JOHN: Hello, Hugo. Are you looking for someone to clean your toilet, or something? HUGO: No no, John, nothing like that. No, I was just thinking, you see: I've got to go away for afew days, and, as you obviously haven't got anywhere to stay, I was wondering if you'd like to move into the apartment while I'm away. JOHN: Gosh, Hugo, really? That's real kind of you! I don?t know how to thank you! HUGO: That's quite alright, John. Oh, by the way, I'd just like to move out one or two antiques and items of furniture. Would you mind giving me a hand? JOHN: Gee, no, not at all! I'm always happy to help a friend. HUGO: I'll call a truck, then. JOHN: Is that all, then? HUGO: Yes, I think that's all. Make yourself at home, won't you, John? JOHN: Hey, what about Annie? Won?t she come around looking for you? Should I offer her a drink or two, perhaps? HUGO: No, it?s alright, John. She's still away on vacation in Sweden. I'll get in touch with her myself. JOHN: Oh, look, there?s a postcard! JOHN: Hey, it?s from Annie! “Dear Daddy, I've finally decided to do what I've always known I should do. I?m going to -" HUGO: Give that to me! Let me see what she says. HUGO: She's walked out! Why? What's going on? Everything's going wrong! JOHN: Gee, are you alright? What did she say, then? HUGO: Oh, nothing; she's just moved. She just wanted to give me her new address, that's all. JOHN: I thought you said she was away on vacation. HUGO: I think I'll just go and say hello to her - and find out what the hell she thinks she's doing! JOHN: Oh, gosh! Well, at least he's left some drink behind. I think I'll have a glass of port! DJ: This is KPOX, bringing you all the music that really hurts! And this next one is totally sick; it should do well: “Nervous Equipment - Suicide Jive!” ANNIE: But Chris, he is still my father! CHRIS: So what?ll you do if he comes here? ALICE: When he comes here. He's certain to try and get her back. MARK: You'll go back with him, won't you? CHRIS: Back to Daddy's comfortable apartment, and his fast car. ALICE: And a nice safe job as his secretary. ANNIE: No, I won't! I've already said I'll never go back to that way of life! I mean it! MARK: You know, something: if - or when - he comes here, I don't think we should even let him in. ALICE: You're right. Why the hell should we? CHRIS: Let's take a vote on it, then. Who's for keeping him out? One, two, three. And who's against? Only Annie. Right, that's decided, then, by a majority of three to one. HUGO: Annie! Are you there? Annie, please! Will you answer? Section 29.2A Dialogue. HUGO: Annie, please! Are you there? CHRIS: Here we go. Hey, are you Annie's dad? HUGO: Yes, and I want to - CHRIS: Get lost! HUGO: What? Look here, young man, I want to see my daughter. What have you done with her? ANNIE: I'm alright, Dad! HUGO: Look, what's going on, Annie? ANNIE: They've - I mean, we've - decided not to let you in. HUGO: What? Have they kidnapped you, or something? Do you want me to call the police? Please, Annie, tell me what?s going on! ANNIE: Look, I?ll have to speak with him. It won?t take long, OK? It's alright, Dad, I'll come out. I'll just go out with him for a quarter of an hour or so. MARK: Oh yeah? ANNIE: I'll come back, don't worry! HUGO: Now what is all this about, Annie? ANNIE: We can't talk here. There's a diner just around the block; we?ll go there. HUGO: Would you mind giving me some sort of explanation? ANNIE: I'll tell you everything when we get to the diner, OK? It's only a short way away. ANNIE: This is it. HUGO: What, this place? It's totally disgusting! ANNIE: Is anybody sitting here? TEAMSTER: No, lady, go for it. WAITRESS: What are you having? HUGO: Oh! Er… anything you haven't made yourselves - a bottle of orange juice. WAITRESS: We don't have bottles. We only have cans. HUGO: A can, then. ANNIE: And I'll have a fried egg sandwich, and a coffee. WAITRESS: One fried egg sandwich, one orange juice, one coffee. ANNIE: That?s it. HUGO: Now, then. I'm waiting to hear your explanation, Annie. ANNIE: First of all, Dad, please don't talk to me as if I was a child. I'm grown up now; I'm almost twenty years old! HUGO: Yes, of course, Annie. I?m sorry. ANNIE: I don?t know how to say this, but… you know, when I was younger, I used to think you were wonderful, really! I used to think: “I've got such a clever Daddy; he makes so much money, and we live in a such a lovely apartment, and we go on all these expensive vacations.” But you see, I'm an adult now, not a child, and I can see things that I just couldn't see then. HUGO: What sort of things? ANNIE: I've seen what it's done to you, Dad. I've seen the kind of person you've become. Look, I?m sorry, but I don't want to become like you. Do you understand? HUGO: Become like what? ANNIE: There are so many things that matter to me more than money, Dad! And I'm not going to go and marry some horrible, rich, fat businessman or some successful robot that I don't care a damn about - like David and his darling Juanita! HUGO: But I haven't asked you to! Look here Annie, with this disgusting money of mine I've sent you to school in Switzerland. I've paid for you to go on vacation in the Seychelles, in Bali, and in Bermuda. You did that very expensive secretarial course, and I paid for it. I've bought you designer clothes from the best stores in Washdon, and if you wanted a car you know I'd be happy to buy you one. Are you trying to tell me that all this has been total hell? ANNIE: You just don't want to understand, do you? WAITRESS: Here's your fried egg sandwich. And your orange juice. HUGO: It's alright, I'll open it! And would you mind bringing me a clean glass, please? WAITRESS: Very well! HUGO: Obviously nobody does any washing-up in this place! ANNIE: You're such a snob, Dad! HUGO: Oh, I see! So it's snobbish to want to be clean now. I thought you wanted to live in a clean environment, not a disgustingly filthy one. I suppose your boyfriend has taught you all this nonsense, has he? Is he the one who shouted at me? ANNIE: We don't have “boyfriends and girlfriends”, Dad - that?s so old-fashioned. We don't believe in being someone else?s property. HUGO: I see. You mean everybody sleeps with everyone else? ANNIE: No, I don't mean that! If you really want to know, I don't sleep with any of them! HUGO: No, I don't want to know. I really think I've heard enough of this nonsense! I'm going! ANNIE: Please yourself! You'll be alright, Dad; you've still got your money, haven't you? HUGO: I can't just leave things like that! HUGO: Listen Annie, I'm sorry about some of the things I said. ANNIE: That's alright; it?s what I expected. Can you pass the pepper and salt, please? TEAMSTER: Here you are, lady. HUGO: Look Annie, if you want to get in touch with me, I'll be at the Marlborough Hotel for the next few weeks, OK? ANNIE: What's the matter with the apartment? HUGO: Oh, nothing; there are some men painting it, that's all. So, if you want to get in touch, you know where to find me. ANNIE: OK, Dad. Got it. HUGO: Well, bye-bye Annie. See you soon. ANNIE: Maybe. So long. Section 29.2E Dialogue. HUGO: The Marlborough Hotel 101 Grand Avenue 42321 Washdon Dear Annie, As I haven't heard anything from you for quite a long time, I thought I'd write you this little letter, just to give you my latest news. I'm still in the hotel, as you can see; I've left someone to look after the apartment while the men are working on it. It's a bit lonely really, staying in this hotel, when I think about the old days in our apartment together. I got another postcard from David, by the way; he and Juanita have gone to Peru. I don't think they'll be back in England till next month. They both send you their love, anyway. The point is this, Annie; I understand that you've got to live your own life, and if you don't feel like living with your old father any more; well, that's perfectly understandable too. It's just that it would be nice to hear from you every now and then, if only to know that you're alright. Surely that's not much to ask? Well, that's all for now, Annie. Please get in touch soon; you can get me either at the office or here. Looking forward to hearing from you. All my love, Daddy. Section 29.3A Dialogue. ROWLAND: John - you are a professional broadcaster and journalist and you're also very keen on football. When did that interest start? JOHN: As a small boy. And I think you'll find this is a common story all over the world, not just in England. Uh, my dad took me to a football match. And I can remember being lifted over the turnstiles. So, in other words, I was so small that the man on the gate didn't want me to pay, or my dad to pay, so I was lifted over the turnstiles and taken into the stand. So, right from that point onwards I was hooked really. ROWLAND: And you used to play...What position did you play? JOHN: I was a winger, a right-winger. I was on the right wing. But you see today all those expressions have now gone. You're either a striker, or a mid-fielder, or a backfour. But in those days I was an outside right. ROWLAND: You mentioned memories of how the game used to be played and you've talked about how the game is played today. What are the differences? JOHN: Amateur football, I don't think has changed all that much. The professional game clearly has changed and that's what I'm concerned with today. In other words, the game that I used to see as a schoolboy when taken over the turnstile and sitting in the stands, that's changed enormously. In those days of course players weren't paid very much money. We didn't pay very much money to go in to the game. Er, but now of course players as we all know are paid enormous fees. And to get into the ground you have to pay a lot of money. And, for example, a programme today at any English football league match will probably cost you about one pound fifty. One pound fifty would have given you a centre stand seat in those early days when I was a schoolboy. So things have changed. And it's largely in the professional game. A financial change, I would say. ROWLAND: Clubs buy and sell players, and on the strength of the players they buy and sell they either become a better club or indeed they get worse. Do you agree with the way money dictates how good a club can be? JOHN: No. I don't. I don't like the way that money dictates football today. What I object to are the really big clubs. And this is not only confined to England but it's throughout Europe of course where simply a very, very rich man and fellow directors pour money into the club and say to the manager, go out and buy whoever you like. Now that to me is not what it's all about. Sadly it's the way that football, top football, is going today. So the rich clubs are getting richer and the poor clubs not only are getting poorer but many of them are having to go out of the game altogether. ROWLAND: Does all of this affect the game as a spectator sport? How it looks? Do you think that's changed at all? JOHN: Yes. I do, again. Because today particularly in what we now call the Premier League, that was the First Division. By and large the important thing now is to stay in that division and to survive effectively at any cost. Literally at any cost. That means that you've got to win. And to me, it may be perhaps an old-fashioned view but sport is not about necessarily winning but it's competing and if you lose occasionally that's something that you must accommodate. Today winning is crucial. Winning by one goal is all that matters and so much of the flair and creativity has gone because there is so much at stake. And that has definitely affected the game for the worse. JOHN: If you're playing a top club then the training is going to be very intense. The manager or the coach will have observed the other team. Come back with lots of notes and there'll be lots of little plans about how to counter that man, this man, their long ball approach, in other words, technique, tactics. And that's what the whole thing will be about. ROWLAND: Looking at the players for a moment, they seem to start very, very young. They become professional almost when they?ve left school, don?t they? JOHN: They do in fact, yes. And most clubs will tell you that the young players are the most important players because they are the future of the game, the potential is there, so if you can get them at the age of 13, 14 or 15 then you can mould them into the game you want to play. Whether it?s the game they want to play is a another matter, because again I go back to the point to the point that winning is all important and so much of that creative flair that you saw in the early days, in the forties and fifties, has gone. And I think that?s very sad indeed. ROWLAND: What does a footballer do when he retires? Because they retire very young, maybe before they're 30 years old? JOHN: In the past many of them chose to stay in the game perhaps on the training side, the coaching side. There are courses that they can go on. That is not quite so true today. Largely because of the nature of the game and also because I think players see the way the game is going and decide, no there's no way that I want to be part of management in football today. I wouldn't want to be a manager. And they often point to their own manager jokingly saying, I wouldn't want to be like him and have his problems. So a lot of them leave the game and many of them end up running pubs. That's a popular pastime for footballers, running pubs. And also many of them use their sporting ability and work for sports organisations selling shoes, or sporting equipment, or associating with golf clubs and things like that. Many of them try to stay within sport but not necessarily football. ROWLAND: Football of course is a team game isn't it? However, what we tend to hear about all the time are the individuals the soccer stars, our heroes on the football field. Is it difficult for a football player to learn not to be a personality but to be part of a team do you think? JOHN: It is. Yes. That's a very good question and one that many clubs have never totally resolved. Obviously managers want to encourage the individuals but they also know that if they're going get those results that I spoke about earlier, in other words, if they're going to win the game it's got to be a team effort. ROWLAND: And teams of course have different ways of playing, a different style of approaching the game. Sometimes England, especially in World Cup competition, have been called a bit pedantic, a bit slow, a bit stodgy in the way they play football, whereas other teams play with more energy and flair. Do you think that's fair? JOHN: Very often the English approach appears to be as you put it pedantic and rather slow and certainly the club that I follow has that same approach. Their tactic is simply the goalkeeper gets the ball and he punts it high up into the other half and they hope that somebody will be underneath it from our side who'll be able to control that ball, sweep it out to the wing, the winger sweeps it back in again and bang, it's in the net. That's the theory, but in practice it doesn't work out that way and the trouble is that spectators do get a bit fed up with one type of football. ROWLAND: Finally, John, you obviously love the game of football and as a professional commentator you've been looking at the game for some years now. What do you think the future holds for English football? JOHN: I'm very concerned about the future and I think most people associated with football are concerned with the future of English football, or football in general. Largely for the reasons I've stated. The big money is entering the field. The television companies are entering the field, literally. The spectators are not being given enough attention and consideration. It's becoming less of a sport and more of a business and that concerns me very much indeed. Section 30.1A Dialogue. THACKER: So is that all that happened in Trinidad, Carter? It cost us thousands of dollars to send you there, so that you could speak to Hugo Peters about the view over the Island. send you there, so that you could speak to Hugo Peters about the view over the island. HARRY: Well, sir, I did get that information about the flight to Sydney. THACKER: Which was false, of course. HARRY: What? THACKER: Temple never flew to Sydney. He's still in Trinidad. HARRY: How do you know, sir? THACKER: How do I know? Just look around this room, Carter. I've got eight people working twenty-four hours a day on this suitcase. Do you realize that? That's how important it is to catch Temple, Peters, Mr P and the rest of them. And all you ever do is talk to them; you never actually arrest anyone, do you? You're supposed to be a policeman, Carter, not a social worker! HARRY: Well, I did arrest Temple at least. THACKER: You didn't exactly have to be Sherlock Holmes to do that; the man was carrying twenty kilos of cocaine through Customs at the time. And he's escaped from prison since then, anyway. HARRY: Sorry, sir. THACKER: I'm going to give you just one more chance, Carter. Go back to Trinidad, and this time don't come back without Temple and Peters. And as for this “Mr P”; well, this is your chance to show what a serious professional policeman can do! Do you understand? HARRY: Thank you, sir. THACKER: So don't just stand around, Carter, get moving! HARRY: Goodbye, sir! HARRY: Bloody man! How the bloody hell does he bloody expect me to bloody arrest all the bloody criminals in the bloody world? SUSAN: I suppose I'd better go out and do some shopping. Can I just go out like this? I'll have a look at myself. My God! I look awful. I suppose I'll have to wash my face, and put on some makeup, and - I just don't feel like it! I don't feel like anything! SUSAN: Just drinking; that's the only thing I'm good for! SUSAN: My God, it?s you, Harry! I wasn't expecting you. HARRY: I wasn't expecting what bloody Thacker said to me either! I've got to go back to Trinidad! SUSAN: Oh, no! HARRY: So I'm just going to pack my suitcase. I'm getting the 3:30 flight. HARRY: I'll take this light cotton suit, and these ties, and this shirt, and this one, and a pair of black shoes and a few pairs of socks. SUSAN: Harry, do you still find me attractive? HARRY: Eh? SUSAN: Or are you starting to find me horrible and ugly? HARRY: Look dear, this really isn't the moment to talk about things like that. I've got a plane to catch in under two hours. I'll just get my washing and shaving things. HARRY: Razor, soap, towel, you don't mind if I take the shampoo, do you? Toothpaste... toothbrush… Where's my toothbrush? Have you seen it? SUSAN: It's never the right moment, is it, Harry? You've always got to go somewhere for work! You've only just come back from Trinidad! HARRY: Look, I'm not going there on bloody holiday! It's bad enough already without you making it worse! Now where?s my damned toothbrush? SUSAN: So what would you like me to do then? Just go on as if I didn't care? As if it didn't matter to me one way or the other? HARRY: I?ll have to buy a toothbrush at the airport. I'm going to miss that plane if I don't leave soon. SUSAN: Are you listening to me, Harry? HARRY: Ah, here it is! What the hell was it doing there? Look, Susan, we'll have a nice long talk when I come back, OK? SUSAN: And when will that be? HARRY: I don't know, do I? I'm a detective, not a bloody fortune-teller! Soon, I hope. HARRY: Here we are; I've packed my suitcase. I?ll call you, OK? SUSAN: What does she look like, Harry? HARRY: What? What does who look like? Oh come on Susan, don't be ridiculous! Look, I've really got to go now; bye-bye. I'll send you a postcard; I'll call you! Bye! SUSAN: So that's all I get! That's all I ever get from men! What's the matter with me? Oh, I hate myself! SUSAN: I'll just take a couple of pills and go to sleep. I just want to forget about everything! Damn it, it's empty! I'll just have to go to the pharmacy and get some more. ASSISTANT: Can I help you? SUSAN: Yes. I'd like 50 Oblivac, please. ASSISTANT: I'm sorry, madam, you can only get Oblivac on prescription. SUSAN: It's alright, I've got one. ASSISTANT: I'm afraid this prescription is out of date. You'll have to go to your doctor for another one. SUSAN: Oh, alright. I?d better go right away. DOCTOR HARGREAVES: Come in! DOCTOR: Good afternoon, Mrs Temple. How are we getting along? Section 30.2A Dialogue. DOCTOR HARGREAVES: Come in! DOCTOR: Good afternoon, Mrs Temple. How are we getting along? DOCTOR: Do sit down, won't you? SUSAN: I'd like another prescription for Oblivac, please. DOCTOR: I see. Any particular reason? SUSAN: Yes, the pharmacist told me I couldn't get them without a prescription. DOCTOR: No, I meant: is there any reason why you're finding it hard to sleep? Do you have any aches and pains? SUSAN: Well, I have had a bit of toothache. DOCTOR: I see. Have you been to see a dentist? SUSAN: Yes. I went to the dentist last week. DOCTOR: So your teeth don't hurt any more, then? SUSAN: No. DOCTOR: Anything else? Have you injured yourself in any way? SUSAN: No. DOCTOR: But you're still having difficulty in sleeping? SUSAN: Yes. DOCTOR: Would you say it was for psychological reasons, perhaps? SUSAN: Look, I don't know, doctor! I'm tired and fed-up! I just want to sleep, and forget everything! DOCTOR: Hmm. Look, I think I'll make you an appointment to see a colleague of mine: Dr Cranston. She's a really understanding and caring person; I think you could do with someone to talk to, don't you? When would be a good time for you? SUSAN: What is she, this Dr Cranston? DOCTOR: She's a psychiatrist. SUSAN: Do you think I'm going crazy, then? Is that why you're sending me to a psychiatrist? DOCTOR: Of course you're not going crazy, Mrs Temple; you're just a little… overtired, that's all. Look, don't think of her as a psychiatrist, just think of her as someone to talk to. When shall we say, then? I'll make the appointment now. PSYCHIATRIST: Good morning, Mrs Temple. Have a seat, won't you? Dr Hargreaves told me about you. SUSAN: That I was going crazy? PSYCHIATRIST: Are you going crazy? SUSAN: No, I meant: was that what Dr Hargreaves said? PSYCHIATRIST: You said it, not Dr Hargreaves. SUSAN: Look, what am I here for? I just wanted some pills to get to sleep, that's all. PSYCHIATRIST: You wanted some pills to get to sleep1. SUSAN: Yes! Is there anything wrong with that? PSYCHIATRIST: Do you think there's anything wrong with it? SUSAN: I don't know. Look, why do you keep asking me questions? PSYCHIATRIST: How do you feel about me asking you questions? SUSAN: I don't know! Look, what do you want me to tell you? PSYCHIATRIST: What do you think you should tell me? SUSAN: Alright, I'll tell you, damn it! I'll tell you everything! My husband's just gone away for work, again! PSYCHIATRIST: Your husband's gone away. SUSAN: Well alright, he isn't my husband. But we're engaged! PSYCHIATRIST: You're engaged. SUSAN: My real husband's in prison. PSYCHIATRIST: Your husband's in prison. SUSAN: Well, not exactly. PSYCHIATRIST: Not exactly your husband, or not exactly in prison? SUSAN: He's escaped from prison, actually. PSYCHIATRIST: He's escaped from prison? SUSAN: Yes, and Harry's trying to catch him. PSYCHIATRIST: Er… sorry, who?s Harry? SUSAN: My fiancé. PSYCHIATRIST: Your fiancé is trying to catch your husband? SUSAN: That's right. He's a detective. PSYCHIATRIST: Sorry, I'm not with you. Who's a detective? SUSAN: Harry is: my fiancé! PSYCHIATRIST: Your fiancé, who's a detective, is trying to catch your husband, who's escaped from prison. I see. And what's your role in all this? SUSAN: I just stay at home, waiting! I'm always waiting! PSYCHIATRIST: Who are you waiting for: the detective, or the prisoner? SUSAN: What do you mean? I'm waiting for Harry, of course! When he's caught Roger he'll come back to me - I guess. PSYCHIATRIST: You mean: when your fiancé has caught your husband, he - your fiancé - will come back to you? SUSAN: Yes, I think so. Yes, my Harry will come back to me, I'm sure he will. He isn't having an affair! PSYCHIATRIST: But your husband is having an affair? SUSAN: Well, he was; before Harry arrested him. With my st friend, too! Some friend! be PSYCHIATRIST: Sorry Mrs Temple, I've lost you again. Your fiancé arrested your best friend? SUSAN: No, Roger had an affair with Kristi, before Harry arrested him. PSYCHIATRIST: I see. Is Kristi a man or a woman? SUSAN: She's a woman, of course! Why - you don't think Roger's gay, do you? PSYCHIATRIST: Of course not, no. Look, Mrs Temple, I don't really think there's anything I can do for you. Would you like a prescription for Oblivac? SUSAN: No no, I'll be alright. I'm feeling much better now, thanks. I'll go home, maybe, have a drink, listen to a record. Harry'll probably call me tonight. Section 30.2.E Dialogue. PSYCHIATRIST: NORTH WASHDON HEALTH SERVICES ADMINISTRATION PSYCHIATRIC REPORT NAME OF PATIENT: Mrs Susan Temple Mrs Temple, who is a patient of Dr Hargreaves, came to see me complaining that she could not get to sleep at night. Dr Hargreaves had explained to me that, in his opinion, she had psychological problems, and needed to talk to a psychiatrist. As far as I can see, Mrs Temple is not yet ready to talk about her problems openly. I offered her the chance to do so, but she chose instead to tell me a long and completely incredible story about detectives and prisoners, of which I found it very difficult to understand more than a small part. Like many lonely people, she probably watches too much television, and has difficulty in telling the difference between detective films and the reality of her own life. When Mrs Temple left my office she said that she was perfectly alright, and did not even accept my offer of a prescription for sleeping pills. I do not think she is in any immediate danger, but I would advise Dr Hargreaves to keep a close eye on her. Maureen Cranston. Section 30.3A Dialogue. ROWLAND: Myra - you're a professionally trained marriage counsellor. Could you describe your work? MYRA: Yes, we deal with any type of relationship issue that comes our way. We used to deal with marriages but 1990s obviously reflect a change in the way behaviours are. And very much now people are cohabiting rather than marrying. And, therefore, open our doors to anybody who is in a relationship where things are difficult. So our work is focussed on either relationship breakdowns or marital breakdown in the hope that we can either help people to reconcile or help them to separate without too much animosity, and with more understanding. MYRA: The breakdown of marriage in Britain is about 33, 34 per cent. We're higher than any European country. With in fact, that's first marriages, 50 per cent of second marriages breaking down. ROWLAND: How long have you been doing this sort of work? MYRA: I've been involved in counselling now for eight years. ROWLAND: What sort of qualifications do you need to do what you do as a profession? MYRA: For counselling you don't actually need any formal qualifications but the actual selection procedure is extremely stringent. It's a two year training. And the way we select people, it means most of our counsellors are 99 per cent of the way there. We're then just sort of putting the skills around it. Er, and the training is ongoing. You have to read a lot. You have to attend these courses. There are day courses, seminars, we have training all the time. ROWLAND: So what are the most important qualities that make a good counsellor? MYRA: Well, the qualities are, that you're a good listener. That you genuinely care about other people. That you can separate empathy from sympathy. That how you behave fits with what you say. That you have the ability to make people feel that they are important. To be a counsellor of any sort you need to be emotionally quite strong yourself. ROWLAND: Do you find the work stressful at all? Does it upset you? MYRA: I would be a liar to say it didn't ever upset me. It's always interesting in what upsets me. Because if it upsets me it means it touches a part of my life in some way. And this is why any good counsellor has counselling available to them. ROWLAND: If someone in a relationship has got a problem and they come to you for help and guidance that is a very big responsibility. Does that responsibility ever worry you? MYRA: It used to worry me far more. For any counsellor beginning on the route of counselling it is an awesome responsibility. But what experience has taught me is that people never do what they don't want to do. And what a good counsellor does is hands the responsibility back to the client. So, I see counselling as empowerment for the individual. For them to choose what they want. So they can actually go and live their life in a more positive way. So the responsiblity I try to hand back to the client. ROWLAND: What do you think are the most important elements of a happy relationship? MYRA: I know now that the most important element is being able to listen to your partner and actually having time for your partner. It's communication. Communications skills all the time. The most important. ROWLAND: So what are the commonest problems that people bring to you? Is it an inability to communicate? MYRA: Yes. It comes in all sorts of guises. It can be sex. Or it can be, his mother's always at our house. Or it can be the children. But the reality of the problem is that they're not able to talk about what the problem is. So the skill is actually, often, not to look at what they're bringing you. But to actually look at the behaviour that's going on and actually get them to start to see what each are doing that blocks the understanding. Because if you have been bought up in a family that doesn't ever talk about things and then you hit a problem that really needs talking about. Your reaction is not to talk about it because that's how you were taught to behave. So, what I'm always trying to do with clients is introduce new behaviours to them in a safe way, in a safe environment that they can experiment with, and hopefully then go out of here and practise on outside. ROWLAND: You say that clients often turn up with one problem disguising what the real problem is. Do they ever do that on purpose because they find it difficult to talk about the real problem? MYRA: It's a mixture of both. I mean, they might believe that what they're bringing is the real problem. You know, if they're, if they're saying um, sexually things aren't too good for us. That for them is the real problem. But if you can then get the understanding that if they could talk about what's going on in the bedroom. That perhaps he doesn't bath often enough and therefore she doesn't like to go to bed with somebody's who's a bit smelly and she doesn't like to say it. So, if you can actually get them to communicate then the learning can be how you can improve all aspects of your relationship by being able to talk about it. So, I never minimise what is being brought. What they bring initially is for them, often, the real issue. ROWLAND: Are then any particular problems that men encounter? I'm wondering whether men are more reticent to talk about their feelings or is this not true? MYRA: I get an awful lot of men here who tell me they can't talk about their feelings and then I've never met such eloquent people who get in touch with their feelings so quickly, so. They believe they can't talk about their feelings and they're frightened to talk about their feelings. And I think a lot of stuff goes on in men's heads and they often don't or can't connect it with their hearts. And hopefully we can help them connect those two parts of their body. ROWLAND: So women too have problems that are specific to them that men might find difficult to understand? MYRA: Yes, that's the good old thing. He doesn't understand me or she doesn't understand me. And I know how they feel. ROWLAND: Do you normally see couples together or do you prefer to see them on their own? MYRA: The very big difference in our training to any other type of counselling is we are couple orientated. If you like, I like to think of us as counselling the relationship and not the individual's. Because I've got my problems, you've got yours but mix those together and it has it's own problems. So, it's what's going on between us that is the issue. And the minute you get the two people in the room you've saved like a year's worth of individual counselling because you've that dynamic going on right in front of your very eyes. So I always, always, always try and engage the couple if I possibly can. ROWLAND: Do you see your job as always trying to keep a marriage together? MYRA: I don't have my own agenda. So I'm here to enable people to get what they want. Because if I think it's a jolly idea if they stay together. They might not. So what's the point? But, I very much believe the very best place to bring up children is a couple relationship. I think from experience the child benefits the most from seeing the model of the two parent family. But it's often better if a child is bought up by one parent if that parent is dramatically happier. ROWLAND: So would you ever encourage a couple to separate? If you thought it was best for the couple? MYRA: Again, what I think of is best really doesn't come into it. But if I feel a woman is in a violent relationship and that's having no benefit to her or the children I would try and present to her a mirror so she can see what she is doing to herself and her family. So I would try to reflect back to her her choices. ROWLAND: Now of course you're not supposed to take sides either for the man or for the woman in a relationship but do you sometimes find that difficult? MYRA: Yes. Not often. Um, sometimes it sort of flashes through your head, what the hell is he doing with her or what the hell is she doing with him? And then again I have to look at myself and see what that person is bringing up in me. Why do I feel like that? Because I'm very much in the middle. So if I'm aligning myself to one party I'm not going to be helpful to them solving their problems. ROWLAND: You must come across some fairly disturbing situations in a relationship. If, for example, you found something going on in a marriage. If a husband was beating his wife. Would you ever consult the police or go to someone else? MYRA: I would never involve the police or an outside agency without discussing it with my client. I would always try and persuade them to be the one to take that step. And, in fact, that has always been the suitcase. By disclosing to a counsellor they've usually wanted help. And, I have never personally been in the situation where I have had to do something without the permission of my client. ROWLAND: Finally, we've talked about 34 per cent of first time marriages breaking up, 50 per cent of second marriages breaking up. Are you still hopeful about the state of marriage in Britian, in the future? MYRA: Well, the other side of that is 66 per cent actually survive. And half of every second marriage will survive. Hope springs eternal. I do believe in a state of relationships. And if we weren't so keen on them we wouldn't keep doing it. Section 31.1A Dialogue. MARCO: Come in! MARCO: Oh hello, Mary! I wasn't expecting you. What a surprise to see you, and, er… MARY: I was just passing, so I thought I'd say “Hi”, and introduce you to my new boyfriend, Bashir. MARCO: How do you do, Bashir? MARY: Marco's an old friend of mine, Bashir. BASHIR: Oh yeah? MARCO: That's right. We?re friends - just friends! MARY: Bashir's a real he-man, isn't he? MARCO: Oh, yes. Definitely! MARCO: Oh, there's the phone! I'll just go and answer it. MARY: It's alright Marco, I'll get it. You two men can have a little chat together. MARCO: Er… have you and Mary been going out together for long? BASHIR: What's it got to do with you? MARCO: Oh, nothing at all! I wonder if that phone call's for me. I've been expecting someone to call. MARY: Hello! BASHIR: You like Mary, do you? MARCO: Oh, yes. I like her very much. BASHIR: Then you'd better be careful! Is that clear? MARCO: Oh yes, perfectly clear! I mean - I like Mary, but not in that way, really! MARY: There's someone for you on the phone, Marco. I think it's that German woman. MARCO: Thanks, Mary! Oh, if you want a drink or anything, just help yourself. MARCO: Hello, is that Kristi? KRISTI: Yes! Hello, Marco! Was that Mary who answered the phone, by the way? MARCO: Yes, but don't get the wrong idea, Kristi. She's just been visiting someone in the hostel, that's all, and she just happened to - KRISTI: It's alright, Marco, relax! Look, I've got some good news. I've found an apartment at last - it was advertised in the evening paper - and I've moved out of that awful hotel. And I'd like to invite you over to dinner tomorrow evening, to celebrate. MARCO: Oh! Er… is that a good idea? KRISTI: What do you mean: “is that a good idea?” That's not a very polite thing to say When you're invited to dinner by a lady. MARCO: I'm sorry, Kristi, but things didn't go all that well last time, did they? My best suit was stolen and I was attacked by two policemen! And the first time there were those terrible Americans, weren't there? KRISTI: Ah, but you know the English saying: “Third time lucky”. And anyway, there's nothing to worry about this time. Look, I've only been living in this apartment for a few days. I haven't even given the address to anyone at work yet. So what can possibly go wrong? MARCO: Nothing. I suppose. KRISTI: Of course not. So I'll give you the address, then: it's Apartment 3B, Truleigh Court, 11 Church Street. MARCO: I'm sure I've heard that address before. KRISTI: I'll tell you how to get there: take the subway to Clinton Park, and as you go out of the station there's a busstop on your left. Get the 192A, and ask for the stop after the pharmacy. Then you cross the road, take the second left. Then... MARCO: It's alright, Kristi, I remember how to get there. I went to a party there once; it was given by my English teacher's father. KRISTI: Oh, really, I was at that party too! It's a small world, isn't it? MARCO: Yes, it is. The party ended in a terrible fight, if you remember. KRISTI: So it did. Well, never mind. I'll see you tomorrow evening at 8 o'clock, Marco. MARCO: See you, Kristi! And thanks for inviting me. BUS DRIVER: This is your stop, son! MARCO: Thanks. MARCO: Is it left or right here? Excuse me, could you tell me the way to Church Street, please? OLD LADY: Going to Church Street, are you, young man? MARCO: Yes, I am. OLD LADY: Go up to the traffic lights, turn right, and then take the first turn on the left. That's the way to go - if you want to get to Church Street. MARCO: Thank you. KRISTI: Coming! KRISTI: Hello, Marco! Did you have to walk up the stairs? MARCO: Yes, the elevator was out of order. KRISTI: It's always out of order, that elevator. It was repaired last week, and then it broke down again the day after. It obviously wasn't made in Germany. Well, come in! KRISTI: Make yourself comfortable. I'll put on a nice CD. KRISTI: I'm afraid there isn't much furniture, as you can see. MARCO: I've brought a bottle of wine, by the way. Should I open it? KRISTI: No, don?t bother, we can drink it later. I've got one here that's already open. KRISTI: Well, bottoms up, Marco! MARCO: Bottoms? KRISTI: No, bottoms up! It's an expression in English; it's used when people drink together. It's like saying: Cheers! MARCO: Oh, that's interesting! KRISTI: Marco, what's the matter? I've really been looking forward to a nice evening together. I've even cooked a meal, which is something I don't often do, believe me. Can't you just let yourself go, and have fun? MARCO: I'm sorry, Kristi, it's just that I've got this feeling. KRISTI: What feeling? MARCO: I'm just certain that something terrible is going to happen. I can feel it. KRISTI: Oh, can you? MARCO: It's the same with the weather, you know. I always know when it's going to rain, or snow. KRISTI: Is that so? Look, Marco, here we are, the two of us, alive and well. Why don't we just have a meal, drink some wine, and enjoy ourselves. Come on, dinner's ready! Section 31.2A Dialogue. MARCO: That meal really was delicious, Kristi. You're a very good cook. KRISTI: I don't cook that often, but I am quite good at it, yes. MARCO: I'm sure it's not the only thing you're good at. KRISTI: I'm sorry about the apartment being so uncomfortable and empty, by the way, but I?m glad to say I do have a bed at least... MARCO: It?s a strange place, I must say, with this dark brown ceiling and light brown walls. KRISTI: They're not light brown, they're just dirty! I should think this apartment was last cleaned about 20 years ago. MARCO: Terrible, isn't it? KRISTI: Whoever lived here before was obviously an absolute pig! JOHN: Oh, well, that's the last of the brandy! Oops! Never mind, there's plenty of whisky! Trouble is, it's pretty darned boring here! The drink's fine, but my TV doesn't work, and Hugo's taken all his magazines and his stereo away with him. JOHN: Where's that music coming from? Gee, it?s next door! Someone's moved into my old apartment! I can go and see if my magazines are still there! JOHN: Hello! MARCO: Oh, no! Who's that? KRISTI: I'm not expecting anyone. JOHN: Can I come in, please? MARCO: Aaagh! Who?s that? JOHN: Hi there! I heard the music, and I thought - Hey, it?s Kristi! Gee, how are you, Kristi? KRISTI: Oh my God, it's you! JOHN: Oh good; you remember me, then! MARCO: Help! Please don't hurt me! Look, you can have my watch; it's a very good one, it was given to me by my grandfather. JOHN: What's your friend talking about? Is he alright? KRISTI: Marco, please! This man isn't dangerous, and he isn't a policeman. There's nothing to be afraid of. MARCO: If you're sure, Kristi. KRISTI: Now what are you doing here, John? How did you find out that I lived here? JOHN: So you live here now, do you? Well, well, well! This used to be my apartment, until I was thrown out for not paying the rent. Isn't it a small world? KRISTI: So they say. But what have you come here for? JOHN: I live next door, you see: well, that's where I'm staying, anyway. Hey, do you remember that evening when we went to “Burger „n? Bass”? It was lots of fun, wasn't it? Would you like to go there again? Well, maybe not. Maybe we could go someplace else, like - KRISTI: Whatever it is you've come to get, could you take it and go, please? JOHN: I'm sorry, Kristi. It's just some magazines I left behind, that's all. KRISTI: Oh, those awful magazines are yours, are they? I almost threw them out this morning. They're in the bedroom, in the closet. Take them away, please! JOHN: OK, OK! OBI: Come on! Open up! We know you?re there! KRISTI: I think there's someone knocking on your door. JOHN: I'm in here! I'll only be a minute. OBI: Did you hear that? He's in there! Come on! OBI: There he is! Let's get him! MARCO: What? Help! Who are you? Aargh! Put me down! Aargh! OBI: This one is from the Boss! MARCO: Aargh! What Boss? MASU: Very funny! MARCO: Aargh! KRISTI: What are you doing? Who are you? Stop it! MASU: Hey, what about this woman? OBI: The Boss didn't say anything about a woman; he just said we should get rid of Hugo Peters. MASU: Alright! MARCO: I'm not Hugo Peters! Aargh! MASU: What? OBI: He says he isn't Hugo Peters! MASU: Ah, so! Why not? JOHN: Er… Hugo used to live next door. OBI: But where is he now? JOHN: I don?t know, I?m afraid. SECRETARY: Hello, Granny P?s rest home. Who's that speaking, please? HUGO: This is Hugo Peters. Could I have a word with the Boss, please? SECRETARY: Hold on, please. MR P: Peters, it's you. What a surprise! Are you calling from home? HUGO: No, no. I've been spending a few days away from home. I was expecting some… er… unwelcome “visitors”, so I decided not to be in. MR P: Very clever of you, Peters. But if your “visitors” really want to find you, they will - in the end. HUGO: Well, that's what I was calling about, in a way. First of all, I do hope you haven't had too much trouble with Roger Temple. MR P: Temple won't be any trouble to anyone, ever again. I don't let people make trouble for me. You know that, don't you, Peters? HUGO: Yes, sir. Look, I'd like you to give me another chance. MR P: I see. Give me one good reason why I should. HUGO: I've just made a new South American contact, he has some really excellent “stuff”. If you like, I could bring some to Trinidad for you, and we could talk about it. MR P: “We could talk about it”. Talk is your speciality, isn't it, Peters? HUGO: This isn't just talk, sir. My contact can get thousands of kilos of the stuff, if you're interested. MR P: Very well, Peters. You know what a kind heart I've got. I'll accept your offer. But this stuff had better be really good - or else! HUGO: Thank God for that! I should be alright now! I'd better start packing my suitcase... Section 31.2E Dialogue. JOHN: Apartment 3C, 11 Truleigh Court February 11th Dear Mom, I thought I'd just write you a letter to tell you how I'm doing, as it's quite a long time since I last saw you. As you can see, I've moved, but only to the next apartment. I decided to leave my old apartment; it was really getting much too small for me, and I'm just staying here for the moment while I'm looking for another one. Do you remember Mr Peters, that real nice and polite old guy who used to live next door to me? Well, he very kindly said I could stay in his apartment while he was away on business. Wasn't that nice of him? Unfortunately he took all his furniture away with him, and for some reason the phone doesn't work, either. Perhaps he forgot to pay the bill! Now, about my work: I decided to leave that job with the oil company, and move into the music and entertainment business. I'm having a very interesting time, and - what do you think? I saw Clive the other week! I took one of my groups down to New Camford to play in his club. Everybody enjoyed themselves very much and asked us to come again. Well - that's all for now. Look after yourself, Mom. See you soon, All my love, John. Section 31.3A Dialogue. MICHAEL: My name is Michael Crane and I teach English as a foreign language. CLARE: Have you always been a teacher? MICHAEL: I have been a teacher for the last twenty years, but I've also done other jobs. In publishing I was Assistant Editor of Collins German Dictionary. CLARE: So how long have you been teaching English as a foreign language? MICHAEL: Well, since I qualified, doing a post-graduate diploma in English as a Foreign Language at Leeds University, in 1970. So that's more or less twenty years. CLARE: Do you only teach in England, or have you travelled abroad? MICHAEL: No, I have taught English in France, Germany and Iceland. CLARE: Looking back at your training, do you think your training gave you a good idea of what the job was all about? MICHAEL: Um, in terms of theory and practice, yes. But there is a big difference teaching English as a foreign language in Britain in a language school and abroad. I don't think it prepares you for the kind of cultural isolation that you will experience when you suddenly find yourself in a small town in the middle of France, or the middle of Iceland, or the middle of Germany. You have to have, you have to be self-reliant. CLARE: You mention self-reliance, what other qualities make a good teacher? MICHAEL: Um. First and foremost, well, enthusiasm, mastery of the subject, a certain amount of acting ability. I think you have to like to project yourself, project your personality. It goes without saying an interest in people. Students know very quickly if you're just there to earn your money, or if you're interested or not. And if you're interested they are interested and half the battle's over. CLARE: Tell me about the sort of students you're teaching now. MICHAEL: Well, at the moment, I have a class, a small class of intermediate students. A German economist, an Italian secretary and an Italian student for the first half of my day and for the second half I have a very interesting man on a, doing a one-to-one course, who is actually the Dean, the Professor of Transport Studies at the University of Dresden. And he is advising the German Government on the improvement of the network of the Reichsbahn, which was the rail service in the old DDR, and also has acted in a consultative capacity to the Board of British Rail. And he's a very interesting man. CLARE: Do you also teach beginning students? MICHAEL: I have taught beginners. Because I speak fluent German, and this may go against some people's theory of language learning, I do occasionally teach people, complete beginners, who have actually stipulated on their booking form that they want a German speaker. Because some people, especially older business, older people, executives, business and politicians feel, some of them, that their dignity is at stake and they need an explanation or even a translation. And they haven't got the time. I mean, I think you can teach elementary, complete beginners, if they've got six months, through signs. But if someone is there for just a week or eight days you have to do a certain amount of translation. One keeps it to the minimum. CLARE: Is it a routine job, or are you always doing something different? MICHAEL: That depends on your approach to it. If you're just one of these teachers who says, you know, "Well, turn to your books on page one and let's do some, fill in the grammar slots", it will be routine. But if you vary the material you use, you combine it with video work, outside work, you change classes regularly, attend workshops, keep yourself up-to-date with modern developments, it's not a routine job. CLARE: Let's talk about English as a language, is it very difficult to learn? MICHAEL: I think it is, perhaps - to master, I think it's one of the most difficult of European languages. It's only when you start to teach it you realise just how much there is to learn for the student and how it differs from other European languages. The complicated tense systems, the continuous tenses, um, the almost infinite variety of prepositional and adverbial particle combinations defeat students. CLARE: So how would you tackle, for example, teaching tenses? MICHAEL: Teaching tenses. Well, the basic rule really is presentation, practise and then production. You usually introduce the tense in a situation, in a dialogue, on a video and let the students see it and then they practise it pair-work between them. And then you will ask them questions to elicit this particular tense. I usually consolidate that then, with a reference to a grammar book. And I may well set homework also based on exercises to consolidate it. CLARE: So have we come a long way since the days of just listening and repeating? MICHAEL: Yes, I think we have. I think the emphasis, right from the beginning, is that students learn rules, but the ultimate aim is for them to create and produce their own unique language. So that the idea of just repetitive drills is passé. CLARE: What about pronunciation, can that cause a problem? MICHAEL: I think pronunciation is perhaps the one problem which is most difficult to solve. Bearing in mind the time that people have. One, you know, one teaches syntax and lexis and pronunciation is neglected because it's so time-consuming. In order for a student to have an acceptable intonation and acceptable stress patterns, one has to spend so much time on it than unless someone puts it down as an option this is something that I always feel is unsatisfactory. CLARE: What about your experiences as a teacher? Are there any moments that stand out as being the best? MICHAEL: The best - in so far I've taught some very interesting people, including the Minister for Agriculture from Ethiopia, I taught the Iraqi Ambassador to London before the Gulf Conflict, I also taught Miss Italy, one of the most beautiful woman I've ever met. I think that the highlights are when a student says, "I never thought I could learn the language. From the time I was a school child I was told I wasn't very good at languages and you've made me feel that it's possible. I can do it". That to me, perhaps, is the greatest satisfaction. CLARE: I know from my own experiences of learning foreign languages, what I say usually convulses people with laughter. Is language learning a funny experience? MICHAEL: Oh, yes. Yah. It involves, with adults, a kind of a suspension of belief. You're having to ask a person who in their own country is perhaps a Managing Director of a company employing 2,000 people, or a brain surgeon, or a scientist, suddenly to act out a role as going into a sweet shop and buying a Mars Bar and speaking relatively simple English. And mistakes are made. And they're amusing mistakes. But as long as people are, you know, you laugh with them rather than laugh at them, I find humour actually is, is a good antidote to stress. CLARE: And again, from your point of view, you've taught both beginners and advanced, which do you prefer? MICHAEL: In terms of seeing progress beginners are, you know this is a rather worn analogy, my little flowers. They come there, they can do nothing and after just a couple of minutes with you they can say "My name is John Smith". So, I mean, from zero you'll see the progress very quickly. But with advanced students it's much more difficult to see the progress. But in terms of one's own, using one's own skills to the full and the range of language that one possesses as a native speaker, advanced students are more satisfying, intellectually. CLARE: And looking to the future, do you always see a time when people will be wanting to learn English? MICHAEL: Oh, absolutely, absolutely. I mean, as the world becomes a kind of global village, a kind of materialistic, oriented, consumerist society the demand for English will increase. I mean the fall of the Warsaw Pact countries and Russian Communism in my own school has meant a flood of executives from East Germany, Hungary, Poland, Czechosovakia and Russia, EAGER to learn, to learn English. It's rapidly becoming a kind of status symbol. For an educated man or woman they, it is expected of their culture and for themselves that they have a certain command of English. It's a sine qua non. Section 32.1A Dialogue. OHN: Oh, gee! It looks like I've finished all the booze. J Hey, what?s this? JOHN: Gosh, it's a radio! I wonder if it's got any batteries in it? DJ: And this week's Number 1, all across the nation, is, of course, Nervous Equipment, with “Suicide Jive”! JOHN: Nervous Equipment, at No.1? That's amazing! I know, I?ll go and see them! They?re certain to remember me! Maybe they?ll give me a job… JOHN: Hello! Hello! Are Nervous Equipment in there? TERRY: Yeah? What do you want? JOHN: Sorry to bother you. I just thought I?d come over to, like, say “hi”, that's all. Er.. can I come in, please? DUDU: It's alright, Terry, you can let him in. JOHN: What about the dog? TERRY: Down Wart, down! Down! OK, you can come in now. JOHN: Well, hello. DUDU: Hello. SASA: Hello. JOHN: So you're at Number 1 now? SASA: Right. DUDU: Right. JOHN: That's great! SASA: Yeah. JOHN: Gee, I'm sorry about what happened that evening we went to New Camford. Like, I tried - I did my best, really! It wouldn't happen now, would it, if we went there again? They'd listen to us this time, wouldn't they? Not that I'd want to go there again, of course. Anyway, I mean, at least you played; your music was heard, wasn't it? You never know, maybe it even helped you to get to No.1! Well, maybe not. Look, I'm just asking you to give me a chance. There must be something I can do for you. Do you need someone to clean your van? SASA: Hey Dudu, when's that plane? DUDU: In about a couple of hours. SASA: What about our equipment? DUDU: It's all been looked after, hasn't it, Terry? TERRY: That's right. All the equipment, and all your luggage have been sent on. It'll be there when you arrive. SASA: So why don?t we, like, go to the airport? TERRY: Yeah, I think we should. JOHN: Where are you going, if you don?t mind me asking? SASA: We're going to Trinidad for a music festival. JOHN: Oh! I see! It must be a wonderful place! DUDU: Do you want to come too? JOHN: Can I? DUDU: It doesn't make any difference to me. JOHN: That's really kind of you! DUDU: Alright by you, Sasa? SASA: I don't care. DUDU: OK, let's go, then. SASA: Right. JOHN: Right! MUSICIAN: Got a light, mate? HARRY: No, I don't smoke! Anyway, you're not allowed to smoke here. These seats are for non-smokers, look! MUSICIAN: Oh, yeah. You got a light? MUSICIAN: Yeah, I?ve got a light. HARRY: Look, would you mind not smoking, please? You're not allowed to smoke here. MUSICIAN: Take it easy, man. You're making me nervous! HARRY: I'm going to call the stewardess! MUSICIAN: Make my day, Adolf! STEWARDESS: Did one of you gentlemen call? MUSICIAN: Yeah, get me a bottle of Chanel No.5, and a Gucci headscarf, please! STEWARDESS: Certainly, sir. HARRY: Hey, wait a moment! STEWARDESS: I'll come back for your order, sir. HARRY: I?m going to look for another seat. Excuse me… PILOT: …. and we have now reached our maximum cruising height of 10,000 meters. JOHN: 10,000 meters! Gosh! That's terribly high, isn't it? That must be… let me just work it out …. JOHN: … about 15,000 miles. Wonderful things, these personal organizers, aren't they? I've just been given this one. My Mom gave it me for my birthday, to help me with my business career. Have you got one? HARRY: No. JOHN: It's fantastic. Look, it hasn?t even got a keyboard; you just touch the screen with this, like, pen-type thing. And every time you touch the screen it makes a little sound. JOHN: Would you like to try it? HARRY: No, it's alright, thanks. I think I'll go and sit somewhere else. HARRY: Excuse me, is anyone sitting here? TERRY: What does it look like? HARRY: I'll sit here then, if you don't mind. TERRY: You don't mind if this gentleman sits here, do you, Wart? SASA: Here's our stuff, then. JOHN: What a lot there is! There's far more than there was at New Camford, isn't there? SASA: Yeah. Well, there's a truck waiting outside. DUDU: Right. You can, like, get the stuff on to it, right? SASA: Right. JOHN: Alright. DUDU: And then, like, get it off at the other end, and sort of set it up, OK? JOHN: Do what? DUDU: Set it up - get everything ready for the show, you know. SASA: Come on, Dudu. Let's go to the hotel. DUDU: Right. See you. JOHN: See you! CAR RENT SALES ASSISTANT: What can we do for you, sir? HARRY: I'd like to rent a car, please. SALES ASSISTANT: That's what we're here for, sir. I know you're going to enjoy renting from us. Our motto is: “A happy customer is a customer for life”. HARRY: Yes. Look, I'm in a bit of a hurry. SALES ASSISTANT: What kind of car would you like, sir? Large or small? Sedan or station wagon? We have Nissans, VWs and Fords. HARRY: I don't care. SALES ASSISTANT: Or would yu prefer a Mercedes for a little extra luxury? HARRY: Look, any car will do; give me a Nissan sedan. SALES ASSISTANT: A Nissan sedan, that?s wonderful. Now, would you like your Nissan with or without a sunroof? Would you like a two-door or a four-door model? Our philosophy is: let the customer choose, and - HARRY: Look, I don't care how many bloody doors it's got! I just want a car, with 4 wheels, that goes! As soon as possible, OK? SALES ASSISTANT: We're here to give you whatever you want, sir. Now, how are you going to pay? Are you a member of our Executive Rent Club? HARRY: No, I'm not. SALES ASSISTANT: Would you like to have a quick look at this brochure, and then you can fill in the membership form? Members of our Executive Rent Club can also belong to our special Executive Travel Club with the possibility of many wonderful travel offers. For example – HARRY: Look, I don't want to become a member of any club. I'm not an executive. I don't want anything, except a car. Can I just pay for it and take it away, please? SALES ASSISTANT: Certainly, sir. How would you like to pay? HARRY: Do you accept credit cards? SALES ASSISTANT: Most certainly, sir! Could I have a look at your card, please? SALES ASSISTANT: I'll just have to go and check this, if you don't mind, sir. While you're waiting, I'm sure you'd like to read this brochure about our Family Travel Club. Won't be a moment! HARRY: Hurry up, for God?s sake! Section 32.2A Dialogue. MAURICE: So you're called John, right? JOHN: That's right. MAURICE: My name's Maurice. Is this the first time you've been to our lovely island of Trinidad? JOHN: Yes, it is. Is it much farther to where the concert is? MAURICE: No, we're nearly there. You see all those fruit trees over there? Well, the concert takes place in that field next to them. JOHN: I hope we haven't missed it! MAURICE: What do you mean? Of course we haven't; we're here to set up the equipment. The concert's this evening! JOHN: Oh, of course. MAURICE: Here we are, then. JOHN: Oh! So what next? MAURICE: Look, I'm feeling a bit tired; I think I'll take a little nap while you're just getting the equipment off the truck and setting it up. Wake me up when you're ready for the sound check, OK? JOHN: Ready for what? MAURICE: For the sound check: to check that the sound's alright! You don't seem to know very much about this. JOHN: No, I'm more into the business side of things, you know. I'm not really a technical expert. MAURICE: No, obviously not. Well, wake me up when you're ready, OK? JOHN: I'm fed up with this! They're all just using me; Dudu, Sasa, Maurice, even Hugo, letting me have his apartment! They'd better be careful, I'm not going to take much more of this! SECRETARY: Here's Hugo Peters, sir. MR P: Hello, Peters. Here you are, then. HUGO: Hello, sir. You're looking very well. MR P: Yes. I'm glad to have you where I want you at last, Peters. HUGO: Thank you! I've got the stuff, sir; would you like to take a look at it now? MR P: I think it's time for the fish. HUGO: It's alright, sir. I'm not hungry; I ate on the plane. MR P: But the fish haven't eaten for weeks. They've been getting very hungry. Take your shoes and socks off, Peters. HUGO: What? But, sir - MR P: You heard what I said! Guards, get him! MR P: Put one foot at a time into the water. Then, when the fish have eaten his feet, they can start on his hands. HUGO: No, please! You can't do this to me! What about this stuff, sir? Aren't you even going to try it? MR P: No, I'm not interested in your stuff, Peters. That sort of stuff is for children. Look at what I've got here, Peters - in this bottle. HUGO: It just looks like water, sir. Are you sure – MR P: Be quiet and listen to me, fool! Anyone who has tried what's in this bottle once would do anything - anything at all - to get some more of it, and I'm the only person in the world who knows how to make it. I think I'll charge a million dollars a gram for it to start with and then the price will go up and up, of course. So do you see now why I'm not interested in your South American rubbish, Peters? Guards, let the fish have him! ROGER: Don't move, anybody! Stay exactly where you are! MR P: What's that guard doing? Get him out of here immediately! ROGER: It's me again, Mr P. MR P: Temple! I thought - ROGER: I know what you thought, Mr P. If I were you I'd get rid of those guards. They're not really much use, are they? MR P: Well, what do you want, Temple? Perhaps we can do a deal. ROGER: OK, Mr P, let's talk. The price was quite low before - only two million dollars –but it's much higher now. I guess 20 million would do it. MR P: Well, let me see... ROGER: What are you doing? Stay away from there! MR P: Too late! The guards are here; there are 120 of them! JOHN: There it is, nicely set up. I'm ready to switch it on now. But what am I going to do with this plug? I can't see anywhere to plug it in. Hey, Maurice! Excuse me! Darn it, he's still asleep. I know, I'll go over to the fruit farm; maybe I?ll find some kind of socket there. JOHN: That's funny! There doesn't seem to be anybody around. Hello! Is anybody there? And I can't see any sockets either. “NO ENTRY”. Gosh! Let's see what's on the other side of this door. JOHN: It doesn't look much like a farm. It seems to be full of computers and things. Ah, good, there's a socket. I can plug in the equipment. Oh, dear, nothing's happened. I'll have to find a switch. The trouble is there are millions of switches in here. That one over there seems to be the biggest one. I'll try that. ALARM SYSTEM: 30 seconds to total destruction! 28 seconds to total destruction! JOHN: Oh, dear, what have I done? ALARM SYSTEM: 26 seconds to total destruction! JOHN: I'd better get out of here! ALARM SYSTEM: 24 seconds to total destruction! 22 seconds to total destruction! JOHN: Maurice, Maurice! Wake up! ALARM SYSTEM: 14 seconds to total destruction! JOHN: He's not in the truck any more! Oh, there he is! Maurice! JOHN: Hi, Maurice! Gee, I'm real sorry, you know. I was just, like, looking for somewhere to plug in the equipment, you see - MAURICE: Never mind about that, just run! ALARM SYSTEM: 4 seconds to total destruction! JOHN: Do you think it matters if we don't do a sound whatsit? ALARM SYSTEM: 2 seconds to total destruction! MAURICE: Get down! HARRY: What the hell's that? MAURICE/JOHN: Stop! Hey, stop! HARRY: What?s going on? Are you alright? MAURICE: There's been an accident. Can you give us a ride back to Port of Spain? HARRY: But what was that explosion? MAURICE: I don't know, man. I was just relaxing in my truck. You'd better ask this guy. HARRY: Oh, it's you again. What happened? JOHN: I'm sorry, you see, I was just looking for somewhere to plug in the equipment, that's all, and I just found this switch. I didn't mean to do anything wrong, really! HARRY: Well, has anyone been hurt? Shall I try and get an ambulance? MAURICE: I don't know, man, I didn't see. But the farm and all the fields around have been completely destroyed. HARRY: Did you say: the farm? MAURICE: That's right. HARRY: Not Granny P's Fruit Farm? MAURICE: That's the one, why? HARRY: Ha-ha-ha! Completely destroyed? Everything? MAURICE: Yes! HARRY: I can't believe it! That's wonderful! That's incredible! Well done! Congratulations! MAURICE: Look, what's so bloody funny, man? How would you like it if I came to your country and started an explosion? How would you like it if your house was destroyed, eh? You tourists! HARRY: Oh, I'm sorry, I didn't mean that. It's just that - I?ve done what I came here to do. That means I can go back to Washdon now; back to Susan! SUSAN: So that's that, then. The explosion did your job for you. HARRY: I wouldn't say that exactly. Let's just say that it helped me to do my job. SUSAN: You know, Harry, it's funny; when you told me what happened to Roger, I just didn't care any more. Remember how I used to feel about him? HARRY: Yes, I do. SUSAN: It all seems such a long time ago, all that unhappiness! I wonder what I thought I was doing when I married him? HARRY: Well, all of us make mistakes, don't we? SUSAN: Yes. Anyway, that's all over now. HARRY: Yes. It's all in the past. It's as if the war was over, and now peace has come, and we can live happily ever after. SUSAN: I love you, Harry. HARRY: I love you too, Susan. Shall we see what's on TV? ANNOUNCER: And now, to end this evening's broadcasting, a beautiful song by Tony Moroni. Section 32.2E Dialogue. NEWSREADER: Good evening. This is the 10-o-clock news on Trinidad and Tobago Television. There has been a very large explosion on the South coast of Trinidad, not far from Dead Man's Hill. A farm, known as Granny P's Fruit Farm, was completely destroyed in the explosion, causing a fire in which hundreds of fruit trees were burnt down. It is not yet known if anyone was killed or how many people were hurt in the explosion; no bodies have been found so far. The only two survivors seem to be Mr Maurice Bailey, a sound engineer from Trinidad, and Mr John Berry, a musical agent from Washdon, Great Britica. It seems that the explosion was caused by Mr Berry, even if it is not yet clear exactly how it started. He was arrested while trying to leave the country, and is being kept in the maximum security prison in Port of Spain until more information becomes available. A police spokesman who was interviewed by us earlier today said: “We believe this Mr Berry to be a foreign agent; part of a plan to overthrow the government; we are very lucky to have caught him.” Now here is the rest of the news; the cricket season started well for the West Indies when England lost their first match by 985 runs. Section 32.3A Dialogue. MICK: My name's Mick Hadden and I'm landlord of the Hollingbury Pub in Brighton. I've been here about eight years now. I hope to be here for another twenty years. CLARE: Could you describe your work? MICK: Yes, certainly. Um. Really not only am I a publican, but I'm a doctor, I'm a father figure. We're all sorts of help to all sorts of people. CLARE: Can you describe for me a typical working day? MICK: And, er, you've caught me on a typical morning this morning. That I've got a glass washer being fitted. I've got the machine's being changed. I've got a stock-take. I've got a VAT review. Plus, I'm speaking to you. That's even before I open the doors. Um, we open the doors at eleven and by then of course everything has to be right in the bar, which means clearing up from the night before. Making sure all ashtrays are cleaned. The tables are cleaned. Everywhere's dusted. hoovered. Everything's right just for the customer to come in at eleven o'clock. So then at eleven o'clock we open the doors and it's all systems go. When we close the doors at half past two we have to again clear up ready for the evening session at six. And the same is repeated then between six and eleven. And we're serving customers right up to eleven o'clock. By half past eleven we hope to have had the doors closed. All customers have gone home and then we're starting to prepare for the following day. If we're upstairs and relaxed, having a cup of coffee by one o'clock in the morning we've done well. CLARE: Have you always been a publican? MICK: No. I've only been a publican now for about ten years. Before that I was a taxi driver, in Brighton, which is a trade very similar to being a publican because you're meeting the public all the time. You listen to everybody's troubles and you try and help them out if you can. And that is what being a publican is. CLARE: So are you happy with the decision you made? MICK: Yes. I wouldn't change it for the world. And a publican has to have a good lady alongside him as well. Because it takes two. But that is one of the reasons why I did it. Because when I was taxi driving before I didn't see my wife and family that often and I missed that. Since I've been in this trade I see a lot more of them. CLARE: Apart from the long hours are there any other disadvantages to the work? MICK: Um. Yes. It's very, very difficult at the moment in respect of brewery rents, business rates, gas, water, electricity. Unbelievable bills are starting to come in now. And we can only get our profit from one source, and that is from the public. But of course you can only go so far. You can't price yourself out of the market. It's a very difficult time for trading. CLARE: How about dealing with customers? What do you do if someone has had a little too much to drink? MICK: Well, again, the law of the country states that you shouldn't serve anybody that looks like they're drunk. And you have to be very diplomatic and it's not easy when somebody is under the influence. But we try to be friendly and laughing and not play the big brother when we do it. We try to be nice to people and explain to them. Usually we can talk our way out of trouble and eject people peacefully. CLARE: Yes, do customers ever get violent? MICK: They can do, but again, as I've stated it's how you treat them. We've always tried to talk our way out of trouble. CLARE: So what does it take to be a successful publican? MICK: Number one, you've got to be a diplomat. And you've got to be patient with people because they are coming in to you and telling you, telling you their troubles, you've got to greet people, you've got to look after people when they come into your establishment. And at the end of the day you've got to be the ever-smiling, ever-nice gentleman and lady behind the bar. CLARE: Let's talk about the customer's tastes. What are the most popular drinks here? MICK: Well it's mostly a man's pub. Although we try and make it a family pub. It is typically a man's pub. Which means they come in for their smoke in the evening, a pint of lager, a pint of bitter. That is our main trade. Although we are starting to get a few more now of the continental beers. We're starting to sell a few more of those to the youngsters. CLARE: So women have different tastes then? MICK: Strangely enough, no. We find that women are quite happy to drink a half of whatever their husbands or boyfriends are drinking. They are quite content with that. CLARE: A lot of pubs now are going towards becoming more like a restaurant. Do you serve food here? MICK: We haven't really got the demand here for food so we're just purely bar snacks. When, especially when the chaps are finished work, they come in from work we're quite content to serve them the basic pub food. But we're not in the area here to be a restaurant type pub at all. No. It's very difficult in the trade these days because to have live music and entertainment you have to have a public entertainment licence. We would like to have karaoke, but unfortunately we've been stopped from having karaoke because we haven't got the licence. CLARE: What about other entertainment? MICK: Well we do a lot of our own entertainment. We have theme nights. We might have a Wild West theme night or we might have a 1940's theme night. Something like that. CLARE:I know you mentioned this was originally very much a man's pub and you're trying to move it more towards a family pub. What lies ahead for you in the future? MICK: Well, again, it is a changing industry. My vision for the future, my own particular pub, is that we will be more family orientated. And when I say family orientated I'm not talking so much about children because I still don't think personally that the pub's a place for children. I believe a pub should be where somebody can come and chat if they want to. They can join in with dancing to a record or tape if they want to. They can play darts if they want to. Or they can sit perhaps just in the beer garden if they want to. I want a choice. Somewhere where people can come and have a choice. CLARE: If someone wants to become a publican what advice would you give? MICK: You've got to be prepared to work very hard is one of the first things I would say. And as I've already repeated you must have a partner who's also very willing to work hard as well. You do lose a lot of family life yourself but the rewards can be great. Not necessarily financially, but mentally the rewards can be very great.
本文档为【华尔街英语U2】,请使用软件OFFICE或WPS软件打开。作品中的文字与图均可以修改和编辑, 图片更改请在作品中右键图片并更换,文字修改请直接点击文字进行修改,也可以新增和删除文档中的内容。
该文档来自用户分享,如有侵权行为请发邮件ishare@vip.sina.com联系网站客服,我们会及时删除。
[版权声明] 本站所有资料为用户分享产生,若发现您的权利被侵害,请联系客服邮件isharekefu@iask.cn,我们尽快处理。
本作品所展示的图片、画像、字体、音乐的版权可能需版权方额外授权,请谨慎使用。
网站提供的党政主题相关内容(国旗、国徽、党徽..)目的在于配合国家政策宣传,仅限个人学习分享使用,禁止用于任何广告和商用目的。
下载需要: 免费 已有0 人下载
最新资料
资料动态
专题动态
is_624976
暂无简介~
格式:doc
大小:182KB
软件:Word
页数:62
分类:生活休闲
上传时间:2017-11-12
浏览量:81