中级篇PART2第五册标准文本

  LESSON 1 STEVEN, YOU WORRY TOO MUCH ABOUT SMALL THINGS.

SCENE ONE: STUDIO - THE MUSEUM OFFICE SET

RITA: Look, I found a sweater. I got it yesterday.
STEVEN: Mmm . . . I don't know about the color.
RITA: Steven, I can't return this sweater again. Are you sure we can't use it?
STEVEN: White never works well on television.
RITA: I really did my best. I bought some great sunglasses . I found the perfect pants. I returned so many sweaters, the salesclerk hides when she sees me.
STEVEN: Please return the sweater. And you have to return a skirt for Mary Beth. It was too short.
RITA: All right.
RITA: Guess what? Steven wants me to exchange this sweater again. First he thinks the color is too bright.
Then he thinks the color isn't bright enough. I don't know. He changes his mind so often, I'm getting confused. I need some help!

SCENE TWO: THE CONTROL ROOM

STEVEN: I want to get it right.
LINDA: Steven, you worry too much about small things.
STEVEN: Look, the sweater is important. OK?
LINDA: Steven, this show is important. I'm sure you're doing a good job. But you only have two weeks.
STEVEN: Linda, don't worry. Come to rehearsal later. I need some time with the script. And Rita needs to find the right sweater.

SCENE THREE: A DEPARTMENT STORE

SALESCLERK: May I help you, miss?
RITA: Hi. Remember me?
CLERK: Oh, yes. You're the lady from WEFL. RITA: I need to exchange these.
CLERK: All of them? Why?
RITA: Well . . . the skirt isn't long enough. . . the sweater isn't bright enough. . . and the pants are too tight. Oh, of course the pants go back to the men's department.
CLERK: Well, let's get started. Now what about this skirt?
RITA: It's too short.
CLERK: What size is it?
RITA: Size seven.
CLERK: Just a moment.
CLERK: Here are some skirts. They're longer. Those pajamas are nice, aren't they?
RITA: Yes. I need to get some pajamas, but these are too expensive.
CLERK: They're going to be on sale next week.

LESSON 12 NOW LET'S LOOK AT THE PICTURE I TOOK LAST NIGHT.
SCENE ONE: THE MUSEUM OFFICE

DIANA: Mr. Tate.
PHILIP: Diana, I'm sorry to surprise you. Could we talk to you for a minute?
DIANA: Well, OK.
PHILIP: Victor is an art dealer from New York. He's looking for things to sell in his shop.
DIANA: I could give you the names of art dealers in Stamford.
VICTOR: No. I came to see you.
PHILIP: Let's get right to the point. Victor wants to buy Indian objects. Could you sell some of the items from the museum?
DIANA: No. I couldn't sell you any Indian objects. My uncle never gave any to me. He gave everything to the museum.
VICTOR: Think hard. I can pay you well.
DIANA: No. I couldn't sell you anything if I wanted to. And I don't want to.
PHILIP: Well. Let's be on our way, then. Good night, Diana.
DIANA: Good night.

SCENE TWO: DIANA'S LIYING ROOM

TONY: Anybody here?
DIANA: Oh, Tony. Come in.
TONY: I know the secret of the treaty.
DIANA: Really? Why don't we close the door?
TONY: Let's take a look at these.
TONY: This one shows Ben with the Stamford Treaty. Now look at this. It's a blowup of the treaty.
DIANA: But Tony, it's only a photo. What can it tell us?
TONY: Now let's look at the picture I took last night.
DIANA: What do you see?
TONY: Look at the treaty in the photo with Ben. Look at the mark. . . Now look at the mark on the treaty in the drawer.
DIANA: This mark is different from that one. How could they be different?
TONY: This could be a fake.
DIANA: A fake?
TONY: Maybe Mr. Tate stole the real treaty. He put this fake in the drawer.
DIANA: But my uncle discovered it right away. That's why he called me that night. . . Then who killed my uncle?
TONY: It could be Mr. Tate.
DIANA: No, Tony. It couldn't be Mr. Tate.
TONY: Why?
DIANA: The police talked to Mr. Tate. He was at home that night. He couldn't be the killer.
TONY: Then who could it be?
DIANA: It could be Victor Chapman. He's an art dealer and a friend of Mr. Tate's. . . But where's the proof? And is he going to kill again?

LESSON 11 WHO COULD IT BE?

SCENE ONE: THE MUSEUM OFFICE

TONY: These couldn't be the clue, could they? What are these, anyway?
DIANA: They're the oldest documents in Stamford.
TONY: I remember this. It's the Stamford Treaty. Ben showed it to me. . .


SCENE TWO: THE MUSEUM OFFICE
BEN: This is the Stamford Treaty, the most important item in the Morris Museum.
TONY: How old is it?
BEN: Look here. It's dated 1640, and it's signed by two great Indians. All the big museums would like to own this, but it's going to stay right here at the Morris Museum is Stamford. . . It's worth a fortune.

SCENE THREE: THE MUSEUM

TONY: It's worth a fortune. Are all these old documents worth money?
DIANA: Yes.
TONY: Could this treaty be worth more than the others?A lot more?
DIANA: Oh, yes.
TONY: I could be wrong, but I think there's a connection between the Stamford Treaty and the killer. This could be a clue.
DIANA: But what?
TONY: I'm not sure yet. We could wait for the police. . . or we could work on it ourselves.
DIANA: Let's work on it ourselves.
TONY: OK. I have an idea.
TONY: I want to go home and develop these pictures . I'll see you in the morning. We're going to catch this killer!
DIANA: Tony? Is that you?. . . Tony?. . . Who could it be?
DIANA: Who are you?. . . What do you want?
PHILIP: Diana! What is it?
DIANA: There was a stranger in the hallway. Then the lights went out. What's happening?
PHILIP: Diana, that was me. I turned off the light switch by accident.
DIANA: But there was a strange man in the hallway.
PHILIP: I can explain that. Victor!
PHILIP: Diana, I want you to meet Victor Chapman. Victor is an old friend of mine.
DIANA: I see.
PHILIP: What are you doing here?
DIANA: What are you doing here?

LESSON 10 LET'S THINK BACK TO THE NIGHT OF THE MURDER.

SCENE ONE: DIANA'S LIYING ROOM

DIANA: But Detective Stone, why don't you do something about my uncle's murder?
DETECTIVE STONE: It takes a little time, Miss Morris. I have other cases I'm working on too.
TONY: We don't have much time, Detective Stone.
DETECTIVE STONE: Believe me, I'm doing everything I can.
DIANA: Thank you, Detective.
DETECTIVE STONE: Goodbye, Miss Morris. Mr. Hunter.
DIANA: Goodbye.
TONY: You look upset. Why don't we sit down?
DIANA: Let's not sit down. Let's do something.
TONY: Why don't we go over the facts? Maybe we can help solve the murder.
DIANA: All right.
TONY: Let's think back to the night of the murder. Remember? Your uncle called. . .


SCENE TWO: THE MUSEUM OFFICE

DIANA: Hello?
BEN: Diana, I-I have to talk to you.
DIANA: Uncle Ben? What is it?
BEN: I have to show someone. I know you'll understand.
DIANA: Show me what? What's going on?
BEN: Just get over here right away. I'm at the museum.
DIANA: But Uncle Ben. . .
BEN: I have proof!

SCENE THREE: DIANA'S LIVING ROOM

TONY: He had proof. That's why he was killed. Let's see. What did he mean?Or who did he mean?
DIANA: I think he meant Mr. Tate.
TONY: Mr. Tate? Tell me what you know about Mr. Tate.
DIANA: I heard an argument that afternoon. It was in Uncle Ben's office. . .



SCENE FOUR: THE MUSEUM OFFICE

BEN: It was changed.
PHILIP: Changed? How?
BEN: It was given to me over forty years ago. I know it like the back of my hand. It was signed with a different mark.

SCENE FIVE: DIANA'S LIVING ROOM

TONY: He found a different mark?
DIANA: Maybe it's a mark on one of the documents.
TONY: Why do you think that?
DIANA: After the murder, I saw Mr. Tate do something very strange.
DIANA: I think there's a clue in that document drawer.
TONY: Let's take a look tomorrow.
DIANA: No, let's not take a look tomorrow. Let's take a look right now.
DIANA: Are you coming?
TONY: Let's go.

LESSON 9 YOU'D BETTER NOT ASK TOO MANY QUESTIONS. . .

SCENE ONE: IN THE CAR

JEFF: You look great.
AMY: Well, thank you. I feel pretty great.
JEFF: So where are we going?
AMY: You'd better not ask too many questions, or you'll ruin my surprise.
JEFF: I don't want to ruin your surprise, but you'd better tell me how far we're going. I don't want to run out of gas.
AMY: Oh. It's not far at all.
JEFF: What's in the basket?
AMY: No, no. Bad boy.
JEFF: So where to?
AMY: Take a left here, and then go left at the stop sign.
AMY: Jeff, you have to stop.
JEFF: Amy, calm down. I'm a very good driver.
AMY: Get in the right lane. You have to turn right.
JEFF: I know where we're going.
AMY: You do?
JEFF: To the park. There's a concert in the park tonight.
AMY: Oh. You ruined my surprise.
JEFF: Don't be upset. I love concerts.
AMY: You do?
JEFF: Yeah. This is going to be great.
AMY: Jeff, the sign says no stopping. You'd better go on.
JEFF: Calm down. It's OK. A concert in the park. That's terrific .


SCENE TWO: THE PARK

JEFF: This is very nice, Amy. . . When I was in California, I never had picnics.
AMY: What made you come back?
AMY: Fried chicken, coleslaw, carrots, celery, rolls, wine.
JEFF: Ah-hah! What's this?
AMY: You mustn't eat that now. It's for dessert.
JEFF: Mmm. I love cake.
AMY: Jeff!
JEFF: OK. You'd better put it away somewhere, or I'll eat it.
AMY: You'd better just keep your hands off it.
JEFF: Ooooh, she gets tough.
AMY: I have to be tough with you. You're a tough kind of guy.
JEFF: Actually, I'm very sweet. Like this cake.
AMY: I wonder.
JEFF: What?
AMY: I'd better not say. I don't want to get into trouble.
JEFF: Come on.
AMY: So. . . you think you're going to stay in Stamford. . . and be happy here?
JEFF: Everyone keeps asking me that. . . Do you want me to stay?
AMY: Yes, I do, Jeff. . . It's funny, but I feel like. . . . we're old friends.
JEFF: I know what you mean.

LESSON 8 YOU'D BETTER GET SOME SLEEP.


SCENE ONE: A BASETBALL COURT

MIKE: Come on, Charles.
CHARLES : Hey, wait a minute. Slow down. This isn't the big time.
MIKE: Hey, maybe you should take a break.
CHARLES : No, I'm OK.
MIKE: Are you sure you're OK? Hey, you'd better sit down.
CHARLES : Yeah. I'm a little dizzy. I have to stop for a minute.
MIKE: You know, Charles, you should start taking better care of yourself.
CHARLES : Yeah, yeah.
MIKE: No. Look. I'm your friend and I can tell you. You'd better get in shape, or you're going to have a heart attack.
CHARLES : Yeah, maybe you're right. Maybe I should get in shape. So how does the show look to you?
MIKE: It looks good to me. What do you think?
CHARLES : I think Steven had better finish the show soon.
MIKE: Linda told him he'd better not be late. He has to finish this week.
CHARLES : So what are you going to do after Friday?
MIKE: I'm going to photograph a news show.
CHARLES : What about Jeff? Is he going to be happy in Stamford?
MIKE: I don't know and I don't think Jeff knows. I guess he'd better decide soon. Maybe we'd better not play anymore, Charles. I'm worried about you.
CHARLES : OK. I'll see you later, Mike. I'd better lose some weight. . . fast.

SCENE TWO: THE MAKEUP ROOM

MARY BETH: Oh, Rita, I'm so tired.
RITA: I keep telling you, Mary Beth. This is serious. You'd better get more sleep.
MARY BETH: Last night was awful.
RITA: You'd better hire a baby-sitter, or you're going to be too tired to rehearse.
MARY BETH: I want to be with my kids.
RITA: Then maybe you should stay home.
MARY BETH: I don't know what to do. I have to work. We need the money.
RITA: Well, dear, last night was a disaster.
MARY BETH: You're right. I'd better not do that again.
RITA: I hate to say it, but it's true. The next time you have to work late, I think you'd better leave Jonathan at home.
MARY BETH: What time is it?
RITA: You have an hour before you're on.
MARY BETH: I'm going to close my eyes for a few minutes.
RITA: Good idea.
MARY BETH: Thanks, Rita. And thanks for watching Jonathan last night.
RITA: It was nothing.
MARY BETH: I'm sorry he messed up all your makeup.
RITA: Oh, yeah, I'd better clean that up. I have to buy some new makeup, anyway. You'd better get some sleep. You'll never be able to rehearse.

LESSON 7 YOU MUSTN'T TOUCH THE CAMERA.



SCENE ONE: STUDIO - THE MUSEUM OFFICE SET

JEFF: I'm sorry we have to work late tonight. Steven said it's necessary. We have to do it. Linda said we have to finish this show by Friday. Where's Mary Beth?
MARY BETH: OK, Jonathan. This is where I work. . . You must be a good boy, and you must listen to Mommy. You mustn't run around . . . you mustn't yell. . . and you mustn't touch the cameras.
RITA: Hello! Is this little Jonathan? Hello, Jonathan. I'm Rita. I'm your baby-sister tonight.
MARY BETH: Say hello, Jonathan. . . He's tired. When people talk to you, you should say hello back, sweetie.
RITA: That's OK. I'll be right back, and Jonathan and I can play.
JEFF: Hey, big guy. Give me five. . . So you brought him! What a big boy!
MARY BETH: Well, Jonathan knows he must listen to Mommy and he mustn't touch anything. . . I'm worried he can't be good.
JEFF: OK. Jonathan . . . you're in a studio now. And there are a lot of rules you have to follow.
There's no eating. . . There's no drinking. . . There's no running. . . There's no touching. . . OK, Jonathan?. . . And there's absolutely no smoking, Jonathan.
RITA: Very funny. Come on, Jonathan. You can come over here and watch Mommy, OK?. . . But you mustn't make any noise.
MARY BETH: OK. We're going to rehearse.

SCENE TWO: THE STUDIO

RITA: Jonathan, when Mommy is working, you mustn't talk.
RITA: Jonathan, no running. . . You have to stop.
RITA: Oh, no, honey. You mustn't play with those photos, OK?
RITA: That's a camera, sweetie. . . You have to be careful. You mustn't touch the camera.
RITA: Jonathan, honey, be a good boy.
RITA: No eating, Jonathan!
RITA: Oh, well.
RITA: Oh, no. It's time to changer your diaper.
MARY BETH: Oh, Rita. You don't have to do that.

LESSON6 WAS THERE ANY MAIL FOR ME?

SCENE ONE: THE BENNETT FAMILY KITCHEN

MRS. BENNETT: How are you, dear?
JEFF: Fine, thanks. Was there any mail for me?
MRS. BENNETT: There wasn't anything for you. There were two bills and a magazine for me. But there was no mail for you.
JEFF: Nothing for me, huh?
MRS. BENNETT: No, nothing. You don't live here anymore. Why would anyone send mail to you here?
JEFF: I gave someone this address.
MRS. BENNETT: Who?
JEFF: Just a friend who owes me money.
MRS. BENNETT: Well, there wasn't any mail for you today.
JEFF: OK. Sorry. I just need the money. I have a lot of expenses on the new apartment.
MRS. BENNETT: Were there any lights in your building last night?
JEFF: No, there were no lights last night. But when I left this morning, there was electricity.
MRS. BENNETT: Was there any hot water?
JEFF: Yes, there was hot water.
MRS. BENNETT: Was there any heat?
JEFF: Mom, this is August. I don't need heat.
MRS. BENNETT: Was there any telephone service?
JEFF: Mom, I have telephone service.
MRS. BENNETT: Then why didn't you call me and give me your phone number?
JEFF: Mom, I'm a grown man now. My first thought wasn't to call my mother. I'm sorry.
Anyway, I can give it to you now. The number is 555-2649.
MRS. BENNETT: Can you write it down for me?
JEFF: Sure. Do you have anything I can write with?
MRS. BENNETT: Here's something.
JEFF: Do you have anything I can write on?
MRS. BENNETT: Here.
MRS. BENNETT: Jeff, are you seeing anyone?
JEFF: No one I want to talk about, Mom.
MRS. BENNETT: You really should settle down with someone.
JEFF: That's what you always tell me.
MRS. BENNETT: Well, it's true.
JEFF: Yep. OK. Gotta go.
MRS. BENNETT: What? You just wanted to see if there was any mail for you?
JEFF: And to say hello. But now I have to say goodbye.
MRS. BENNETT: OK. Don't forget to call.
JEFF: Right.
MRS. BENNETT: Jeff?
JEFF: Yep?
MRS. BENNETT: I saw the show last night.
JEFF: You did?
MRS. BENNETT: It was great. I'm really proud of you.
JEFF: Even if I'm not a lawyer or a doctor or a businessman.
MRS. BENNETT: Maybe you could marry a lawyer or a doctor. . . Only kidding. We're happy to have you back in Stamford.
JEFF: Thanks, Mom. I'm beginning to feel better about being here.

LESSON 5 SOMETHING ALWAYS GOES WRONG.

SCENE ONE: STUDIO - DIANA'S LIYING ROOM SET

RITA: OK, honey. I never used so much makeup on anyone before. Can't anyone give you a hand with those kids? You look so tired.
MARY BETH: I'm fine. Thanks, Rita. There's nothing anyone can do. I just need more sleep.
RITA: Can your mother or husband get up in the middle of the night with the baby?
MARY BETH: Sometimes it's the only time I'm alone with the baby. Oh, I don't want them to do it. I like to look after her.
RITA: You're really something, Mary Beth. I hope those kids appreciate you.
STEVEN: Rita, are we ready now?
RITA: Can't you leave us alone for a minute? I'm just trying to make Mary Beth look good, Steven.
STEVEN: Jeff, are you all set?
JEFF: I'm ready to go when you are, Steven. Uh-oh.
STEVEN: What's wrong?
JEFF: A prop is missing. The shot of Philip isn't in here.
STEVEN: Oh, no. Rita, where's the photo of Philip and Ben?
RITA: I put all the pictures there.
STEVEN: Where is it?
RITA: Someone has it. I put all the pictures there this morning.
STEVEN: I'm sure no one took it, Rita. Why don't you look in the prop room?
RITA: Something always goes wrong.
STEVEN: Nothing is easy.
RITA: Here it is. I moved it when I made up Mary Beth. I'm sorry.
STEVEN: It's all right. It wasn't anyone's fault. Let's get on with it. OK, everyone?. . . And action.
TONY: Diana, I think it's best if we forget about this for a while. Let the detectives do their work. This is upsetting
you too much.
STEVEN: Ring.
DIANA: Hello?. . . Yes, he's here. It's for you.
TONY: Yes? . . . I see. Really? . . . OK. Thanks. Bye.
TONY: No one important.
DIANA: Tony, it was someone. You spoke to someone. Who was it?
TONY: It was a friend from the paper.
DIANA: What did he want?
TONY: Nothing.
DIAN A: He didn't say anything? Tony, tell me the truth.
TONY: OK. I'm sorry. He said he thinks he saw something in one of the pictures. It may be a clue.
DIANA: Which pictures? The ones you took of Uncle Ben and Mr. Tate?
TONY: Yes. Do you have a magnifying glass?
DIANA: Actually, I do.
TONY: We may not find anything. My friend wasn't sure what he saw.
DIANA: But he saw something.
TONY: Yes. Here are your uncle and Mr. Tate shaking hands. And look!
DIANA: I don't see anything.
TONY: There, on Mr. Tate. Something is on his hand.
DIANA: No. Nothing is on his hand.
TONY: It's something. I'm telling you something is there.
DIANA: I don't see anything.
TONY: Look closer, Diana.
DIANA: Oh, my gosh! There is something there. Tony, it's a mark. It's ink.
STEVEN: Cut. That's no good. We need a better script. Will someone help me?I need to rewrite this script.

LESSON 4 THERE WAS A LOT OF TRAFFIC IN HOLLYWOOD.

SCENE ONE: OUTSIDE THE WEFL
JEFF: Sorry I'm late, Steven. There was a lot of traffic.
STEVEN: No problem.
JEFF: When I was a kid here, there wasn't any traffic at all.
STEVEN: There was no traffic, and there was no pollution.
JEFF: There was no excitement either. That's why I left.
STEVEN: Why?
JEFF: For the money, the excitement, the glamour of Hollywood. . .
STEVEN: Why did you come back?
JEFF: There was a lot of traffic in Hollywood. There was a lot of pollution and there wasn't any work.
STEVEN: There was no work in Hollywood? You're kidding.
JEFF: Well, I did all right there, but I didn't make a big.
STEVEN: So here you are back in Stamford.
JEFF: Yes. And there isn't anyone more surprised than I am.
STEVEN: I get the feeling that there isn't anyone or anything special in Stamford either.
JEFF: What do you mean?
STEVEN: I mean, you don't think the show is special.
JEFF: What are you trying to say, Steven?
STEVEN: We're behind schedule and I need your help.
JEFF: How can I help?
STEVEN: Jeff, you are the most important person on the set right now. If you try harder, we can go faster.
JEFF: OK. But let me act. Don't tell me exactly how to say my lines.
STEVEN: OK, that's fair. But I hope you can make this show special. And I need to move faster.
JEFF: OK, Steven. I'll do the best I can.
STEVEN: Thanks, Jeff. I appreciate it. Now, can you tell me more about Hollywood?

SCENE TWO: DOWNTOWN STAMFORD

JEFF: Hi.
AMY: Oh, hi. What are you doing here?
JEFF: What are you doing here?
AMY: I'm buying a flashlight. Last night there wasn't any electricity in my building.
JEFF: You're kidding.
AMY: No, I'm not. There wasn't any water either.
JEFF: Why? What happened?
AMY: There's some construction next door. They cut our wires by mistake and then broke the water pipe.
JEFF: Well, I knew you didn't have any telephone service.
AMY: How did you know that?
JEFF: I tried to call you.
AMY: Really? Are you telling the truth, Jeff Bennett?
JEFF: It's true, it's true!
AMY: Somehow I believe you.
JEFF: Anyway, if there wasn't any electricity and there wasn't any water, you need more than a flashlight.
AMY: What do I need?
JEFF: You need a new apartment.
AMY: That's true. But a flashlight is a lot cheaper.
JEFF: I have a better idea.
AMY: I'm listening.
JEFF: How about a great meal with an actor?
AMY: I don't know. I don't usually go out with actors.
JEFF: Well. . . I know a great restaurant right in town.
AMY: What time's dinner?
JEFF: Pick you up at eight?
AMY: Great. Bye, Jeff.
JEFF: Eight o'clock!