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4.4

Lesson 04  Is that the tallest building in town now?

SCENE ONE: DOWNTOWN STAMFORD

AMY: Jeff!
  Jeff Bennett!
  Jeff! I thought that was you.
    I didn't know you were back in town.
    I'm Amy Monroe.
  You went out with my sister.
JEFF: Oh,
    Amy Monroe!
    Of course.
AMY: The last time I saw you was in high school.
  You were always more interested in talking to my sister, anyway.
JEFF: How's your sister these days?
AMY: Oh, she's fine.
JEFF: Is she married?
AMY: Oh, yeah.
  Three kids and everything.
  The youngest is just two years old.
  And the oldest is six now.
  You know,
    her husband is very successful.
    He's the best lawyer in town.
    And you?
JEFF: I move around a lot.
  You know,
  the life of an actor.
  Los Angeles,
  New York. . .
  But this job came along,
  so I'm going to stay in Stamford for a while.
AMY: Really?
  What are you doing?
JEFF: I'm in a new TV show.
AMY: Oh, yeah?
JEFF:yeah，they making in stamford at WEFL.
      it's never show，of course，
AMY: That's exciting, Jeff!
  What's it about?
JEFF: It's a mystery show.
  I'm the star.
AMY: Oh, I love it.
  I can't wait to see it.
JEFF: So, what are you doing these days?
AMY: I work in that building.
  On the top floor.
JEFF: Is that the tallest building in town now?
AMY: No, the Fairchild Hotel is the tallest.
  Eighteen stories,
  and a restaurant on top.
  It's the nicest restaurant in Stamford.
JEFF: That's good to know.
AMY: Well, I'm glad I ran into you.
JEFF: Maybe we can get together again.
AMY: Sure.
JEFF: Can I call you?
  Are you in the phone book?
AMY: Yeah,
    that would be nice.
JEFF: I'll give you a call.

4.5



lesson 5 That's the most convenient location.

SCENE ONE: A BASKETBALL COURT

MIKE: Just like old times.
JEFF: You're pretty fast on your feet -
    for an old guy.
MIKE: Hey, watch it!
    I was the best basketball player at Stamford High School.
JEFF: My brother always said you wanted to be a one-man team.
MIKE: Only in my dreams, Jeff.
    Only in my dreams.
    Your brother was a good player too.
    Of course,
    it was easy for him.
    He was the tallest guy in the school.
JEFF: I learned a lot from him.
MIKE: And nothing from me, huh?
JEFF: Where do you live now, Mike?
MIKE: We live outside of town,
    near the Merritt Parkway.
JEFF: How far is that from here?
MIKE: About nine miles.
JEFF: A long drive.
MIKE: Have you found an apartment?
JEFF: No. I'm going to start looking for an apartment this week.
    Any advice?
MIKE: Well, the most popular part of town is out near the Parkway, where I live.
    But you probably want to live closer to work.
JEFF: Maybe I should live downtown.
    That's the most convenient location.
    And I'd be close to the nightlife.
MIKE: We don't have the most exciting nightlife, you know.
    This isn't New York.
JEFF: It's different,
    that's for sure.
MIKE: There's that new apartment building on Bedford Street.
    Bedford Manor.
    It's very nice.
    But it's probably the most expensive building downtown.
JEFF: I don't want to spend a lot of money. . .
    What about this neighborhood?
    I see some apartment buildings over there.
MIKE: That's Oak Street.
    It's not the most beautiful street in town,
    but it's nice.
JEFF: Well, I should look at the apartment listings in the newspaper.
MIKE: How are you getting along with Linda?
EFF: I like her,
    I think she's happy she picked me.
    She gives me a big smile every time she sees me.
MIKE: How about Steven?
JEFF: I'm not sure how to deal with him.
MIKE: Everyone respects him.
    He does good work.
JEFF: I don't think he wanted me for this role.
MIKE: You don't know that,
    Steven's just moody.
    I mean, he doesn't always explain things well.
EFF: Great.
MIKE: Maybe you should ask him a lot of questions when you're in rehearsal. 
    Be sure you know what he wants.
JEFF: Ask questions.
    OK. But I feel like I'm a student again.
MIKE: Come on,
    it's not that bad.
    You're going to do fine.
    I know it.
JEFF: I know it too.
MIKE: Look at that piece of junk.
    No TV star drives a car like that.
JEFF: I guess you're right.
    Time for a trip to the car dealer.

SCENE TWO: A CAR DEALER'S LOT

CAR SALESMAN : Are you looking for a new car?
    Then come on over to Stamford Auto.
    You can count on us for the car you're looking for.
    Just look at these cars.
    This station wagon is the most practical car you can find.
    We have luxury cars.
    This one is the most elegant on our lot.
    Here's a sports car -the most exciting car in America.
    What's that?
    You're looking for a good price?
    Well, you don't have to pay through the nose at Stamford Auto.
    We have the lowest prices in town,
    and we're ready to make a deal.
    How far do you have to go to find great cars at great prices?
    Not far.
    We're on the turnpike,
    just two miles from downtown.
    See you this weekend -
    at Stamford Auto.

4.6

lesson6 Is this the best we can do?

SCENE ONE: THE STUDIO

STEVEN: Yes. Come over here, please.
STEVEN: Stand there.
  Like that. Good.
STEVEN: That's not bad,
    but I want the nicest sweater you have.
  That's nice.
RITA: Do you like this one at all?
STEVEN: Ugh, no, no.
    It's ugly.
JEFF: Rita spent all weekend shopping for that sweater.
  And you think it's the worst sweater of all.
STEVEN: Oh. Take it back.
  I'm sorry, Rita.
  That sweater's just not right for television.
RITA: OK. So,
    the second sweater is the best?
JEFF: Steven,
  do you really want me to wear a sweater?
    I think my character should wear something else. . .
    like a jacket and tie.
  He's a detective,
  after all.
STEVEN: Your character only works as a detective in his free time.
    Remember?
  He's a reporter,
  an ordinary gay.
  He should wear ordinary clothes.
JEFF: I see.
STEVEN: That skirt looks a little short.
  Do you have anything longer?
RITA: No. That's the longest skirt we have.
MARY BETH: I think looks good, Steven.
STEVEN: And what about this blouse?
  Is this the best we can do?
RITA: There's this. . .
  or this.
  I like the white blouse.
MARY BETH: It's too plain.
  Do you have anything fancier?
STEVEN: We're done with you two, then.
  Thank you.
JEFF: You're welcome.

SCENE TWO: ANOTHER PART OF THE STUDIO

MARY BETH: You know,
  I saw you on stage once in New York.
  In The Longest Night.
  I thought you were excellent.
JEFF: Well, thanks.
  I liked that script.
MARY BETH: That was the best play I saw all year.
  You were very lucky.
JEFF: Thanks.
MARY BETH: Of all the shows I've done,
  this one has the shortest work schedule.
    We hardly have time to rehearse.
  And Steven gets very tense when he doesn't have much time.
  Watch out.
JEFF: Vacation photos?
MARY BETH: What?
  These?
    Oh, these are just baby pictures.
JEFF: Your baby?
MARY BETH: Yes.
  But these are the worst ones.
JEFF: I'd really like to see them.
MARY BETH: They're old.
  From weeks ago.
JEFF: These are great.
  Isn't that the cutest baby?
  Those are the biggest eyes.
MARY BETH: She's six months now.
  Isn't that the nicest smile?
  She's such a happy baby. . .
  and so quiet.
  I hated to go back to work.
JEFF: That must be the hardest thing about being a parent.
  Leaving them.
  Even for a minute.
MARY BETH: I miss her during the day.
JEFF: She's the most beautiful baby.
  You must be the proudest mother in Stamford.

4.7


Lesson7 That's yours, charles.

SCENE ONE: THE STUDIO

RITA: Here we are.
  Here we are.
MARY BETH: You're late.
CHARLES : OK, who gets what?
  Cheese sandwich?
RITA: That's his.
CHARLES : These are all mine. . .
  Salad?
RITA: That's hers.
CHARLES : Chicken sandwich?
  Whose is this?
RITA: That's yours, Charles.
CHARLES : Oh, of course.
CHARLES : Diet soda?
MARY BETH: Those are ours.
CHARLES : For you. . .
  And coffee for me.
  Oh, there's a pizza here.
  Whose is it?
RITA: Didn't you get something for Steven and Linda?
CHARLES : Oh, yeah.
  The pizza's theirs.
CHARLES : Is your hair getting gray, Mike?
MIKE: It's darker than yours.
CHARLES : It had to be gray for a movie role out in Denver.
  Wonderful, wonderful place in the mountains.
RITA: Are you sorry to come back?
CHARLES : Oh, no. I like to do a movie now and then,
    just for a change.
  But I'm happy to be here in Stamford.
  Then I can sleep in my own bed every night.
MIKE: I see you like the food here too.
CHARLES : You auditioned for a movie in New York,
    didn't you?
  What happened with that?
  I thought the part was yours.
MARY BETH: I thought the part was mine too,
    but they had their own ideas.
  They wanted the blonde.
CHARLES : I'm sorry to hear that.
RITA: You're happy with our new show, aren't you?
MARY BETH: Oh, yes.
  And it's a good role,
  so I can't complain about my part.
CHARLES : What about this new actor, Jeff Bennett?
  Do you know him?
MARY BETH: He's kind of new to television,
  but he'll be OK.
    He's very nice.
    You should get to know him.

SCENE TWO: ANOTHER PART OF THE STUDIO

MARY BETH: The truth is,
    I'm really disappointed about that movie.
    The role was exactly right for me. . .
    Right now I have this new television show to work on.
    And we have a new actor working with us -
    Jeff Bennett.
    It's his first starring role.
    I know how to do my role,
    but maybe he's going to need help with his.
    Maybe I can give him some advice.
    I think he's a nice guy.
    I hope he's a success.

4.8

LESSON 8 SHE'S AS BEAUTIFUL AS HER MOTHER.
TEXT
SCENE ONE: THE MAKEUP ROOM

MARY BETH: Where's Rita?
JEFF: She'll be back in a minute.
MARY BETH: You look happy today.
JEFF: I found an apartment.
MARY BETH: Great! How far is it from the studio?
JEFF: It's about a mile from here.
    On Eighth Street.
MARY BETH: Good. How many rooms?
JEFF: A bedroom,
    a kitchen,
    and a living room with a terrace?
MARY BETH: Uh-huh. Did you get a good price?
JEFF: Yes. Rents just aren't as high as in New York.
    Oh, and it's very convenient.
  There's a garage underneath the building.
MARY BETH: Hmm. That's different from ours.
  We have a parking lot.
  But at least it's right outside our door.
  Well, congratulations.
  It sounds nice.
JEFF: Thanks.
RITA: Congratulations?
    Did I miss something?
MARY BETH: Jeff found an apartment.
RITA: Really! Good for you!
  Tell me all about it.
JEFF: Well, it's a one-bedroom. . .
RITA: Where is it?
JEFF: It's on Eighth Street.
RITA: That's the same street as mine!
  Looks like we're going to be neighbors.
  What's the address?
JEFF: Three twenty-one Eighth.
RITA: That's my address!
  We live in the same building!
  Oh, that's wonderful!
  Is your apartment the same size as mine?
JEFF: Well, it's a one-bedroom. . .
RITA: Oh, you have to come over for dinner!
  What apartment are you in?
JEFF: Four-B.
RITA: Well, that's a different floor from mine,
    but-oh, we're going to be such good neighbors!
JEFF: Yeah.
RITA: I moved there ten years ago.
  I think I moved in the year I came to WEFL. . .
  Oh, say, are those pictures of your new baby?
MARY BETH: What? These?
  Uh, yeah.
  And my three-year-old son.
RITA: Oh, good.
  Can I see them?
MARY BETH: Oh, you saw these already.
RITA: No, no, no!
MARY BETH: They're just old ones.
RITA: Give them to me.
RITA: Oh, just look at those eyes!
  She's certainly different from your first baby.
  Your first baby wasn't as healthy as this one. . .
    But look at him now!
JEFF: Look at the expression on her face.
  She looks like her mother.
RITA: Yes. A beautiful baby.
  She's as beautiful as her mother.

4.9

Lesson09 Jeff, be as calm as you can.

SCENE ONE: STUDIO-THE MUSEUM OFFICE SET

MARY BETH: Are you ready?
JEFF: Yeah. I'm as ready as I can be for the first day of rehearsal.
MARY BETH: Come on.
  Steven's easy to work with.
MARY BETH: Hi, Steven. . .
    Hi, Steven.
STEVEN: Oh, hi.
    How are you two this morning?
MARY BETH: Fine.
STEVEN: By the way,
  is this yours?
MARY BETH: No. It's not mine.
STEVEN: Then whose is it?
JEFF: It has coffee on it.
  It's probably Charles's.
MARY BETH: That's his.
STEVEN: OK, I'll give that to him when we're done here.
  Why don't we start with page forty-eight?
STEVEN: In this scene,
  Tony and Diana are at the museum.
  It's late at night.
  I want you to stop outside the door and then walk into the office. OK?
JEFF: Sure.
MARY BETH: Hello?
    Is anyone here?
JEFF: Maybe he went home.
DIANA: And left the lights on?
  You know he never wastes a penny.
TONY: Maybe he went home, Diana.
    Maybe he left a note for you.
STEVEN: No, no, Jeff. I want you to try something different.
JEFF: OK.
STEVEN: Start with your line.
DIANA: And left the lights on?
  You know he never wastes a penny.
TONY: Maybe he went home, Diana.
  Maybe he left a note for you -

STEVEN: No, Jeff. Don't be as serious as that. OK?
JEFF: Right. Got it.
STEVEN: Start with your line.
TONY: And left the lights on?
MARY BETH/DIANA: Wait a minute, Jeff.
  That's not your line. It's mine.
    And left the lights on?
    You know he never wastes a penny.
TONY: Maybe he went home, Diana.
  Maybe he left a note-
STEVEN: No. No. No.
    Jeff, your reaction is different from Diana's.
    You should be calmer than Diana.
    You're not as worried as she is.
JEFF: What is it?
STEVEN: Look, Jeff, be as calm as you can.
MARY BETH: Steven, just a thought.
  If Diana is worried,
  doesn't she want some reassurance from Tony?
JEFF: Let me try that.
STEVEN: OK, fine. Anything.
DIANA: And left the lights on?
    You know he never wastes a penny.
TONY: Maybe he went home, Diana.
    Maybe he left a note for you.
STEVEN: Good, good.
    Keep going.
TONY: Why don't we try to call him at home?
DIANA: wow!
TONY: What is it?!
DIANA/MARY BETH: It's. . . It's. . . It's the end of my page.

4.10

Lesson 10 Do you know how my name is spelled?


SCENE ONE: THE MUSEUM OFFICE

TONY: A little closer, Mr. Morris. . .
    Hold that smile, Mr. Tate.
    Got it. Thank you, gentlemen.
    And welcome to Stamford, Mr. Tate.
  I wish you the best in your new job.
PHILIP: Thank you so much.
BEN: I'm glad that's over.
TONY: I need a quote from each of you for the newspaper article.
BEN: We're proud to have Philip Tate join our museum.
PHILIP: And I'm proud to be working for Ben Morris,
    the leading expert on Stamford history. . .
    Do you know how my name is spelled?
TONY: P-h-i-l-l-i-p T-a-t-e.
PHILIP: Philip is spelled with one l.
TONY: Oh, right.
  You know, I'd like to get another photo.
BEN: It's your money.
PHILIP: Why don't we show Mr. Hunter an Indian object?
TONY: That's beautiful. . .
  What's it made of?
PHILIP: It's made of leather.
  Most Indian pouches are made of leather.
TONY: What's it used for?
PHILIP: It's used for tobacco.
    Of course,
    there isn't any tobacco in there now.
  It's two hundred years old.
BEN: We can use this.
TONY: What is it?
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 in Stamford. . .
    It's worth a fortune.
TONY: It's your museum, Mr. Morris,
    so why don't you sit at the desk?
  And Mr. Tate,
  why don't you look over Mr. Morris's shoulder?
PHILIP: Like this?
TONY: That's fine. . .
    Mr. Morris,
  a pleasant look, please?
  Thank you. . .
  That's it.
    You'll see the story in Friday's paper.
PHILIP: I look forward to seeing it.
DIANA: Uncle Ben?
    The carpenters want to talk to you about the new room.
BEN: Oh, good.
    Philip, why don't you come with me?
PHILIP: So good to meet you, Mr. Hunter.
TONY: Thank you.
TONY: They don't get along, do they?
DIANA: And Mr. Tate started to work here only three weeks ago.
TONY: I hate to say it, Diana,
    but your uncle does have a difficult personality.
DIANA: Oh, sometimes he blows up at people,
  but he doesn't really mean it.
  You know, Uncle Ben started this museum.
    Now he's sitting pretty,
  and he has the money to hire Mr. Tate.
    I think that's good news.
TONY: I'm not so sure.

4.11

Lesson 11 It was given to me over forty years ago.

SCENE ONE: THE MUSEUM OFFICE

BEN: I tell you it isn't right.
PHILIP: Now, Ben,
  I don't see any problem with this.
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.
PHILIP: Now, Ben, relax.
BEN: Something's wrong here, Philip,
  and I'm going to find out what it is!
BEN: Hello?. . . Yes. . .
  All right,
  I'll be right down.

SCENE TWO: DIANA'S LIVING ROOM

TONY: It doesn't sound odd to me.
DIANA: My uncle was in a very strange mood.
    Oh, I know Uncle Ben is difficult to get along with.
    But I have a bad feeling about that argument this afternoon.
    I wonder what it was about.
TONY: Diana, don't worry about it.
    Look, it's late.
  I have to go.
  Are we still going to get together Saturday?
DIANA: Yes.
DIANA: Hello?
BEN: Diana, 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!
TONY: What was that all about?
DIANA: It's Uncle Ben.
  He wants me to go over to the museum.
TONY: Now? It's almost midnight.
DIANA: He was really upset.
  I have to go.
TONY: I'm going with you.

SCENE THREE: THE MUSEUM OFFICE

DIANA: Hello? Is anyone here?
TONY: Maybe he went home.
DIANA: And left the lights on?
  You know he never wastes a penny.
TONY: Maybe he went home, Diana.
    Maybe he left a note for you. . .
  Why don't we try to call him at home?
TONY: What is it?
DIANA: Uncle Ben!. . .
  Is he dead?
TONY: I'll call an ambulance.
OPERATOR: Emergency.
TONY: Yes. I want to report an accident.
OPERATOR: What kind of accident, sir?
TONY: A man was injured.
OPERATOR: Where are you?
TONY: I'm at the Morris Museum at 1406 Bedford Street.
DIANA: Oh, Tony,
  I think he's dead.
TONY: It looks like he was hit on the head.

4.12

Lesson12 Was anything stolen from this room?

SCENE ONE: THE MUSEUM OFFICE

DETECTIVE STONE: So, you say the outside door was closed when you got here?
TONY: That's right.
DETECTIVE STONE: And this window was closed?
TONY: Yes.
DETECTIVE STONE: Then how did you get in?
  The museum was locked up hours ago.
DIANA: I was given an extra key when I started working here.
DETECTIVE STONE: Who else was given a key?
DIANA: Well. . .
  there's Lisa, the secretary. . .
  And Mr. Tate, of course.
DETECTIVE STONE: Yes, I called him.
  You can go now.
  I'll call you if I need any more information.
DIANA: Are you going to catch the person who did this, Detective?
    My uncle was a good man.
DETECTIVE STONE: Believe me, Miss Morris,
    I'm going to do everything I can.
TONY: Come on, Diana.
DETECTIVE STONE: You are. . . ?
PHILIP: Philip Tate.
DETECTIVE STONE: Thank you for coming at this late hour, Mr. Tate.
    I'm Detective Stone.
  I need your help.
PHILIP: Of course. But I don't know how I can help.
    I don't understand how a terrible crime like this could happen.
DETECTIVE STONE: We think the museum was entered at midnight.
  The killer came to this office,
  where he was surprised by Mr. Morris.
  Mr. Morris was knocked down,
  and then he was hit on the head behind the desk here.
PHILIP: Is he. . . ?
DETECTIVE STONE: The body was taken away an hour and a half ago.
PHILIP: Oh.
DETECTIVE STONE: Mr. Morris was seen with you this afternoon.
  Is that right?
PHILIP: Yes.
  Say, you don't think I had anything to do with this terrible crime.
DETECTIVE STONE: I'm just asking questions, Mr.Tate.
PHILIP: Yes, of course.
DETECTIVE STONE: Was anything stolen from this room?
PHILIP: I have to look at the entire collection.
  That's the only way to be sure.
DETECTIVE STONE: Well, you're the expert.
  Can you do that in the morning?
PHILIP: Of course, Detective.
  Anything you need.
TONY: Detective,
  can I talk to you for a moment?
DETECTIVE STONE: What is it?
TONY: We think Mr.Tate had something to do with this.
DIANA: I told you about my uncle's phone call.
  He was so angry.
  And I think he was angry at Mr.Tate.
DETECTIVE STONE: Did your uncle use Mr.Tate's name?
DIANA: Well, no.
DETECTIVE STONE: I need facts, Miss Morris.
    I can only work with facts.
DIANA: Detective--
DETECTIVE STONE: Let the police handle this, Miss Morris.
  We'll look at all the possibilities.
DIANA: I hope you do, Detective. . .
  I hope you do.

课文
第五册

5.1

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

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.