精品文档】如有侵权，请联系网站删除，仅供学习与交流Upper.Waystage_2华尔街.....精品文档...... 华尔街英语学习软件客服：624409007中级（Upper.Waystage）2亲爱的朋友：您好！华尔街英语学习软件主要效果在于锻炼口语和完美发音,内含初级、基础、中级、高级所有课程真实场景设置、人物鲜活、语言地道,无处不体现欧美人的幽默内容涉及交流、聊天、争论、自白、抱怨、责骂等；场景有生活、工作、婚礼、酒会、推销、商场...不胜枚举，堪称全球经典英语学习教材本套软件绝非网上卖的华尔街《核心听力课程》等，那些都是单纯的音频和视频，只能听和看，无法交互式学习！(网址: :303062982)Section 29.1A Dialogue.SECRETARY: There it is - the black Toyota! Go!ROGER: What fools! Did they really think I was stupidenough to stay in the car? Aah, I knew he was going to tryand kill me. I'll get that bastard sooner or later; but first Ithink I’d better write to Hugo...JOHN: Hello, Hugo. Back from your holiday?HUGO: Yes, that's right. What are you doing sitting on thesidewalk, 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'tafford to. If I had a job I'd pay the rent, of course. But whatcan I do when I haven't got a job? See what I mean?HUGO: Yes, I quite see. Well, I expect something willcome along. Bye-bye!HUGO: Let's see if there's any mail. Hold on, someone'ssent me a postcard from Trinidad!ROGER: “Dear Hugo, Thank you for the money. Mr Phasn’t been very helpful so far. It would be a good idea ifyou 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’teven dare to think about it. Well, I’d better not stay here, tostart 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 cleanyour toilet, or something?HUGO: No no, John, nothing like that. No, I was justthinking, you see: I've got to go away for afew days, and, asyou obviously haven't got anywhere to stay, I waswondering if you'd like to move into the apartment whileI'm away.JOHN: Gosh, Hugo, really? That's real kind of you! I don’tknow how to thank you!HUGO: That's quite alright, John. Oh, by the way, I'd justlike 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 afriend.HUGO: I'll call a truck, then.JOHN: Is that all, then?HUGO: Yes, I think that's all. Make yourself at home, won'tyou, John?JOHN: Hey, what about Annie? Won’t she come aroundlooking for you? Should I offer her a drink or two, perhaps?HUGO: No, it’s alright, John. She's still away on vacationin 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 finallydecided to do what I've always known I should do. I’mgoing 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 togive 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 outwhat 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 reallyhurts! 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 gether back.MARK: You'll go back with him, won't you?CHRIS: Back to Daddy's comfortable apartment, and hisfast car.ALICE: And a nice safe job as his secretary.ANNIE: No, I won't! I've already said I'll never go back tothat way of life! I mean it!MARK: You know, something: if - or when - he comeshere, 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 himout? 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 youanswer?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 mydaughter. 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 mewhat’s going on!ANNIE: Look, I’ll have to speak with him. It won’t takelong, OK? It's alright, Dad, I'll come out. I'll just go out withhim 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 theblock; we’ll go there.HUGO: Would you mind giving me some sort ofexplanation?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 - abottle 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 wasa 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; hemakes so much money, and we live in a such a lovelyapartment, and we go on all these expensive vacations.”But you see, I'm an adult now, not a child, and I can seethings 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 thekind of person you've become. Look, I’m sorry, but I don'twant to become like you. Do you understand?HUGO: Become like what?ANNIE: There are so many things that matter to me morethan money, Dad! And I'm not going to go and marry somehorrible, rich, fat businessman or some successful robot thatI don't care a damn about - like David and his darlingJuanita!HUGO: But I haven't asked you to! Look here Annie, withthis disgusting money of mine I've sent you to school inSwitzerland. I've paid for you to go on vacation in theSeychelles, in Bali, and in Bermuda. You did that veryexpensive secretarial course, and I paid for it. I've boughtyou designer clothes from the best stores in Washdon, and ifyou 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 yourorange juice.HUGO: It's alright, I'll open it! And would you mindbringing me a clean glass, please?WAITRESS: Very well!HUGO: Obviously nobody does any washing-up in thisplace!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 adisgustingly filthy one. I suppose your boyfriend has taughtyou all this nonsense, has he? Is he the one who shouted atme?ANNIE: We don't have “boyfriends and girlfriends”, Dad -that’s so old-fashioned. We don't believe in being someoneelse’s property.HUGO: I see. You mean everybody sleeps with everyoneelse?ANNIE: No, I don't mean that! If you really want to know, Idon't sleep with any of them!HUGO: No, I don't want to know. I really think I've heardenough of this nonsense! I'm going!ANNIE: Please yourself! You'll be alright, Dad; you've stillgot 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 Isaid.ANNIE: That's alright; it’s what I expected. Can you passthe 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'sall. So, if you want to get in touch, you know where to findme.ANNIE: OK, Dad. Got it.HUGO: Well, bye-bye Annie. See you soon.ANNIE: Maybe. So long.Section 29.2E Dialogue.HUGO:The Marlborough Hotel101 Grand Avenue42321 WashdonDear Annie,As I haven't heard anything from you for quite a long time, Ithought I'd write you this little letter, just to give you mylatest news.I'm still in the hotel, as you can see; I've left someone tolook after the apartment while the men are working on it. It'sa bit lonely really, staying in this hotel, when I think aboutthe old days in our apartment together.I got another postcard from David, by the way; he andJuanita have gone to Peru. I don't think they'll be back inEngland till next month. They both send you their love,anyway.The point is this, Annie; I understand that you've got to liveyour own life, and if you don't feel like living with your oldfather any more; well, that's perfectly understandable too.It's just that it would be nice to hear from you every nowand then, if only to know that you're alright. Surely that'snot much to ask?Well, that's all for now, Annie. Please get in touch soon; youcan 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 andjournalist and you're also very keen on football. When didthat interest start?JOHN: As a small boy. And I think you'll find this is acommon story all over the world, not just in England. Uh,my dad took me to a football match. And I can rememberbeing lifted over the turnstiles. So, in other words, I was sosmall that the man on the gate didn't want me to pay, or mydad to pay, so I was lifted over the turnstiles and taken intothe stand. So, right from that point onwards I was hookedreally.ROWLAND: And you used to play...What position did youplay?JOHN: I was a winger, a right-winger. I was on the rightwing. But you see today all those expressions have nowgone. 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 gameused to be played and you've talked about how the game isplayed today. What are the differences?JOHN: Amateur football, I don't think has changed all thatmuch. The professional game clearly has changed and that'swhat I'm concerned with today. In other words, the gamethat I used to see as a schoolboy when taken over theturnstile and sitting in the stands, that's changedenormously. In those days of course players weren't paidvery much money. We didn't pay very much money to go into the game. Er, but now of course players as we all knoware paid enormous fees. And to get into the ground you haveto pay a lot of money. And, for example, a programmetoday at any English football league match will probablycost you about one pound fifty. One pound fifty would havegiven you a centre stand seat in those early days when I wasa schoolboy. So things have changed. And it's largely in theprofessional game. A financial change, I would say.ROWLAND: Clubs buy and sell players, and on thestrength of the players they buy and sell they either becomea better club or indeed they get worse. Do you agree withthe way money dictates how good a club can be?JOHN: No. I don't. I don't like the way that money dictatesfootball today. What I object to are the really big clubs. Andthis is not only confined to England but it's throughoutEurope of course where simply a very, very rich man andfellow directors pour money into the club and say to themanager, go out and buy whoever you like. Now that to meis not what it's all about. Sadly it's the way that football, topfootball, is going today. So the rich clubs are getting richerand the poor clubs not only are getting poorer but many ofthem are having to go out of the game altogether.ROWLAND: Does all of this affect the game as a spectatorsport? How it looks? Do you think that's changed at all?JOHN: Yes. I do, again. Because today particularly in whatwe now call the Premier League, that was the First Division.By and large the important thing now is to stay in thatdivision and to survive effectively at any cost. Literally atany cost. That means that you've got to win. And to me, itmay be perhaps an old-fashioned view but sport is not aboutnecessarily winning but it's competing and if you loseoccasionally that's something that you must accommodate.Today winning is crucial. Winning by one goal is all thatmatters and so much of the flair and creativity has gonebecause there is so much at stake. And that has definitelyaffected the game for the worse.JOHN: If you're playing a top club then the training isgoing to be very intense. The manager or the coach willhave observed the other team. Come back with lots of notesand there'll be lots of little plans about how to counter thatman, this man, their long ball approach, in other words,technique, tactics. And that's what the whole thing will beabout.ROWLAND: Looking at the players for a moment, theyseem to start very, very young. They become professionalalmost when they’ve left school, don’t they?JOHN: They do in fact, yes. And most clubs will tell youthat the young players are the most important playersbecause they are the future of the game, the potential isthere, so if you can get them at the age of 13, 14 or 15 thenyou 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 thatwinning is all important and so much of that creative flairthat you saw in the early days, in the forties and fifties, hasgone. 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 30years old?JOHN: In the past many of them chose to stay in the gameperhaps on the training side, the coaching side. There arecourses that they can go on. That is not quite so true today.Largely because of the nature of the game and also becauseI think players see the way the game is going and decide, nothere's no way that I want to be part of management infootball today. I wouldn't want to be a manager. And theyoften point to their own manager jokingly saying, I wouldn'twant to be like him and have his problems. So a lot of themleave the game and many of them end up running pubs.That's a popular pastime for footballers, running pubs. Andalso many of them use their sporting ability and work forsports organisations selling shoes, or sporting equipment, orassociating with golf clubs and things like that. Many ofthem 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 theindividuals the soccer stars, our heroes on the football field.Is it difficult for a football player to learn not to be apersonality but to be part of a team do you think?JOHN: It is. Yes. That's a very good question and one thatmany clubs have never totally resolved. Obviouslymanagers want to encourage the individuals but they alsoknow that if they're going get those results that I spokeabout earlier, in other words, if they're going to win thegame it's got to be a team effort.ROWLAND: And teams of course have different ways ofplaying, 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 inthe way they play football, whereas other teams play withmore energy and flair. Do you think that's fair?JOHN: Very often the English approach appears to be asyou put it pedantic and rather slow and certainly the clubthat I follow has that same approach. Their tactic is simplythe goalkeeper gets the ball and he punts it high up into theother half and they hope that somebody will be underneathit from our side who'll be able to control that ball, sweep itout to the wing, the winger sweeps it back in again andbang, it's in the net. That's the theory, but in practice itdoesn't work out that way and the trouble is that spectatorsdo get a bit fed up with one type of football.ROWLAND: Finally, John, you obviously love the game offootball and as a professional commentator you've beenlooking at the game for some years now. What do you thinkthe future holds for English football?JOHN: I'm very concerned about the future and I thinkmost people associated with football are concerned with thefuture of English football, or football in general. Largely forthe 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 andconsideration. It's becoming less of a sport and more of abusiness 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, sothat you could speak to Hugo Peters about the view over theIsland. send you there, so that you could speak to HugoPeters about the view over the island.HARRY: Well, sir, I did get that information about theflight to Sydney.THACKER: Which was false, of course.HARRY: What?THACKER: Temple never flew to Sydney. He's still inTrinidad.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 aday on this suitcase. Do you realize that? That's howimportant it is to catch Temple, Peters, Mr P and the rest ofthem. And all you ever do is talk to them; you never actuallyarrest 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 SherlockHolmes to do that; the man was carrying twenty kilos ofcocaine through Customs at the time. And he's escaped fromprison 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 backwithout Temple and Peters. And as for this “Mr P”; well,this is your chance to show what a serious professionalpoliceman 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 bloodyexpect me to bloody arrest all the bloody criminals in thebloody 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. MyGod! I look awful. I suppose I'll have to wash my face, andput on some makeup, and - I just don't feel like it! I don'tfeel like anything!SUSAN: Just drinking; that's the。