Everyday English Dialogs for Everyday Use. Short situational dialogs for students of English as a foreign language.

Dialog 1 Formal Greetings and Farewells Paul: Don: Paul: Don: Hello. How are you? Fine, thank you. How are you? Fine, thanks, (bus sound-effe t! oh, e" use #e$here%s #y bus. &ood-bye. &ood-bye.

'anguage notes: Hello . &ood #orning or good afternoon #ight also be used. (hey are so#ewhat #ore for#al. How are you? )oti e the infor#ation. (his how-*uestion is one of the few instan es in whi h a for# of be re eives the +ri#ary senten e stress. ((his +heno#enon nor#ally o urs in ,*uestion word, *uestions in whi h the for# of be stands at the end or is followed by a non-de#onstrative +ronoun: -hat is it? -here is he? -hen was it? -here will it be ? -here have you been?! .o#eti#es, however, s+eakers stress the you , so that the intonation is identi al to the ,res+onse *uestion, des ribed below. How are you ? )oti e that the res+onding s+eaker uses a different intonation for this *uestion than the first s+eaker used. (he shift of stress onto you +oints to that word as arrying the new or hanged bit of #eaning in this *uestion, whi h is otherwise identi al to the *uestion in the first line$for now the you refers to a different +erson than it did in the original *uestion. (.o#eti#es the res+onding s+eaker will answer si#+ly, ,Fine, thank you$and you?, o#itting all the words of the ,understood, *uestion e" e+t the one word you , whi h, uttered with a strong stress, arries the new #eaning. For an e"a#+le, see Dialog /.! Thanks is slightly less for#al than thank you . )oti e the ontra tion here s (0 here is!.

Everyday English Dialog ! "nformal Greetings and Farewells Di k: Hi2 How are you? Helen: Fine, thanks 3 and you? Di k: 4ust fine. -here are you going? Helen: (o the library. Di k: 5.k. 67ll see you later. Helen: .o long. 'anguage notes Hi is an infor#al e*uivalent of hello . For the intonation of How are you# .ee Fine$ thanks%and you# .ee dialog1. )oti e the rising into nation on and you# )oti e that the nor#al res+onse to Where are yon going ? 6s si#+ly to the library$ dialog 1

not I ' m going to the library . 6t is unnatural and unusual to re+eat the infor#ation already su++lied by the *uestion. &k . is a less for#al e*uivalent of all right. (he o##on saying " ll see you later So long is an infor#al e*uivalent of goodbye . is often shortened to See you later (with the 6%ll understood!.

Everyday English Dialog ' Formal "ntrodu(tions

8argaret:

8r. -ilson, 67d like you to #eet Dr. Edward .#ith.

8r. -ilson: How do you do, Dr. .#ith. Dr ..#ith: 8argaret: How do you do Dr. .#ith is an e ono#ist. He7s 9ust finished writing a book on international trade.

8r. -ilson: 5h? (hat7s #y field, too. 6 work for the :nited )ations. Dr. .#ith: 6n the develo+#ent +rogra#, by any han e?

8r. -ilson: ;es. How did you guess? Dr. .#ith: 67ve read your arti les on te hni al assistan e. (hey7re e" ellent.

'anguage notes )oti e the rising intonation on the words )r. *ilson. < falling intonation on a na#e used in dire t address is unusual in <#eri an English and tends to sound brus*ue and i#+olite. 'isten for the d in " d . 6t is i#+ortant to in lude the d in this e"+ression in order to differentiate it fro# " like , whi h has a different #eaning. +" d like , " would like , " want. How do you do has the for# of a *uestion (and is so#eti#es followed by a *uestion #ark!, but it is not a *uestion in #eaning. 6t is si#+ly a +olite for#ula used in for#al introdu tions. (he res+onse to How do you do is si#+ly the sa#e +hrase uttered with the sa#e intonation by the other s+eaker. 6n fa t, lines / and = are not stri tly state#ent and res+onse but rather state#ents uttered by the two s+eakers inde+endently and, +ossibly, si#ultaneously. He s .ust finished writing. .. < useful +attern indi ating an a tion re ently o#+leted. ( Just is fre*uently used with the +resent +erfe t tense.! ;ou #ay find it hel+ful to ondu t a drill on this +attern in on9un tion with the tea hing of the =

Everyday English +resent +erfe t, using variations of this senten e, su h as 6%ve 9ust finished reading. . ., 67ve 9ust finished leaning. . ., .he%s 9ust finished orre ting . . ., (hey%ve 9ust finishing +utting . . . ., (he sa#e +attern, with start or begin , is o##only used for an a tion re ently initiated: He%s 9ust started writing . . ., 6%ve 9ust started reading . .., .he%s 9ust started orre ting .. ., et . < so#ewhat si#+ler for# of this +attern (9ust > +resent +erfe t!, to indi ate an a tion re ently o#+leted, is of even broader usefulness: He%s 9ust written?, 6%ve 9ust read . . ., -e%ve 9ust eaten . . ., 6%ve 9ust heard. . ., (hey%ve 9ust returned. . ., et . @ Develo/ment /rogram. .in e these two words onstitute a o#+ound noun, the " ve read... 'isten for the A v A in " % ve . 6t is i#+ortant to in lude the AvA in this e"+ression in order to differentiate it fro# " read , whi h has a different #eaning. +rin i+al stress falls on the first word.

Everyday English

Dialog 0 "nformal "ntrodu(tions 4i#: 4i#: 8ary: 4i#: 8ary: -ho7s the girl ne"t to Carbara? )o, 6 wasn7t at .teve7s +arty. Hi, 4i#. 67# glad to #eet you. 67# glad to #eet you. Dan7t we sit down so#ewhere and talk? .ure, let7s sit over there. Dharles: (hat7s 8ary <nderson. Didn7t you #eet her at .teve7s +arty? Dharles: 5h2 (hen let #e introdu e you to her now?8ary, this is #y ousin 4i#.

'anguage notes *ho1s is the ontra ted for# of who is. 6t should not be onfused with the +ossessive whose, whi h, although +ronoun ed the sa#e (AhuwEA!, has a different #eaning. Didn1t you meet her2# )oti e the use of the negative *uestion. -hile generally used to indi ate the e"+e tation of an affir#ative answer, here it e"+resses sur+rise that the answer to the *uestion will +robably-and une"+e tedly-be negative. )oti e that in this senten e, the strongest stress, and the high +oint of the intonation, falls on atalthough +re+ositions nor#ally re eive weak stress. 6t is as if at, in this ase, were e*uivalent to present or there, as in I wasnt present or I wasnt there-in whi h the ad9e tive and adverb, res+e tively, would nor#ally re eive the strongest senten e stress. )ary$ this is my (ousin 3im. )oti e that the introdu er #entions the girl7s na#e first, and introdu es the young #an to her (not vi e versa!. (his is the nor#al, ourteous #anner of introdu tion a#ong s+eakers of <#eri an English. )oti e the rising intonation on 8ary, a na#e used in dire t address. .ee note in dialog =. Hi. .ee note in dialog /. "1m glad to meet you. )oti e that the se ond s+eaker says this senten e with a different intonation than the first s+eaker used. (he se ond s+eaker e#+hasiEes you. . ( o#+are F How are you?! 4an1t we sit down2# 0 Would you like to sit down G

Everyday English Sure is often used in infor#al onversation as a strong affir#ative res+onse e*uivalent to yes, !ertainly, o" !ourse, et!.

Dialog 5 Time 8argaret : -hat ti#e is it ? (o# : (o# : (o#: 6t7s a *uarter to five. Five or five 3 thirty. He said it didn7t #ake any differen e. .ure , we have +lenty of ti#e . 8argaret : <ren7t we su++osed to be at 4i#7s house by five o7 lo k? 8argaret : (hen #aybe we ould +i k your suit u+ at the leaners .

'anguage notes "t s a 6uarter to five. (his is +robably the #ost o##on way of stating this ti#e. 5ther asual onversation.! Fifteen #inutes after the hour would usually be e"+ressed thus: It's a #uarter a"ter "ive or It's a #uarter past "ive. -e also hear It's "ive-"i"teen (though this is less fre*uent in asual onversation!. <n alternative for# for "ive-thirty is hal"-past "ive. For ti#es other than the *uarter-hours or half-hour, nu#bers are used$ twenty past "ive or twenty a"ter "ive, ten to "ive or ten till "ive, et . Fre*uently the s+eaker will o#it the it's or it's a and answer si#+ly a #uarter to "ive or #uarter to "ive. .o#e s+eakers o#it or obs ure the a: i t % s (a! *uarter to five. 7ren t we su//osed to be...? )oti e that the negative *uestion here indi ates, as it usually does, the s+eaker%s belief that his assu#+tion is true. He e"+e ts an affir#ative res+onse, a onfir#ation of his assu#+tion. Su//osed to 0 e"+e ted toH obliged to (not as strong as re*uired to!. (his #eaning of su++ose o urs only in the +assive. 5ther e"a#+les: 6%# su++osed to +re+are a +rogra# for our English lub #eeting ne"t week. (hey were su++osed to be here an hour ago$6 don%t know where they an be. -e%re su++osed to +ra ti e the dialogues at ho#e, too. Dhildren are su++osed to obey their +arents. )oti e the differen e in intonation between the yes-no *uestion in the !(rising! and the wh-*uestion in line a (falling intonation!. Cy five o7 lo k0 no later than five o7 lo k. +ossibilities are It's a #uarter o" "ive or It's "i"teen till "ive . (It's "our "orty-"ive is rarely heard in

Everyday English He said it didn1t2 in onversation the on9un tion that (He said that it didn7t?! is generally

o#itted in re+orted s+ee h, as here.

Dialog 8 7 tele/hone (all (Phone rings! Carbara: Hello. Fred: <li e: Fred: <li e: Fred: <li e: Hello. 8ay 6 s+eak to <li e -eaver, +lease? Hello. Hi, <li e. (his is Fred. -ould you like to go to a #ovie tonight? (hanks, 6%d love to. 6 haven%t been to a #ovie for a long ti#e. &ood. 67ll +i k you u+ around seven 3 thirty, then. (he #ovie starts at eight. Fine, 67ll be ready. (Phone li ks down! 'anguage notes < si#+le hello is the usual way of answering the tele+hone. Cusiness fir#s, however, fre*uently identify the#selves when answering the tele+hone: Jones !onstru!tion !ompany , or %ood morning, Jones !onstru!tion !ompany, or, +ossibly, Jones speaking. !onstru!tion !ompany, &r. Smith )ay " s/eak to 7li(e *eaver$ /lease# < +ossible alternative is I' d like to speak to 'li!e Weaver. 5r the +erson alling #ay identify hi#self: (ello. )his is *red +oung. &ay I speak to 'li!e Weaver, please *ould you like to...? (his is a ,+olite, for# of do you want to .. .? 6t should be arefully " d love to 0 I would love to, a so#ewhat #ore enthusiasti res+onse than I'd like to. (all of differentiated fro# do you like to ...? whi h has *uite a different #eaning. these are J+olite, e*uivalents of 6 want to.! Dare should be taken to in lude % d in these e"+ressions in both s+ee h and writing, to differentiate the# fro# " love to and " like to, whi h differ fro# the# in #eaning as well as in for#. 6 haven t been t o . . . 0 6 haven%t gone to. . . 5ther e"a#+les: 6 haven%t been to England yet, but 6 ho+e to go there soon. Have you been out today? K Carbara: 4ust a #inute ... <li e, it%s for you.

Everyday English -e%ve been to the theatre three ti#es this week. -e hadn%t been there at all until last weekend. (his use of be is rather stri tly ollo*uial and is generally li#ited to the +erfe t tenses. @ " ll /i(k you u/... 0 6%ll o#e to your house so that we an go together. Pi k u+ is a se+arable twoword verb. 7round seven-thirty 0 about seven thirty$+erha+s a few #inutes before or after K:=L. (o indi ate a #ore +re ise ti#e, the s+eaker would say ,at seven-thirty., to e#+hasiEe +un tuality or the e"a tness of the a++ointed li#e, a s+eaker #ight say ,at seven-thirty shar+,, ,at eight o% lo k shar+,, et . (noti e that o% lo k is often o#itted in these e"+ressions.! <lthough this dialogue ends with the line fine, 6%ll be ready, a tele+hone onversation usually ends with ea h s+eaker saying good-bye. -hen your students +erfor# this dialogue, it would +robably be useful, therefore, to have ea h of the# say good-bye at the end of the onversation.

Everyday English

Dialog 9 Ha//iness 'inda: ;ou look ha++y today2 Frank: 6 a# ha++y. 6 9ust heard 6 +assed #y +hysi s e"a#. 'inda: Dongratulations2 6% # glad so#ebody%s ha++y. Frank: -hy? -hat7s the #atter? 'inda: 5h, 67# 9ust worried, 6 guess. 6 have to take a history e"a# ne"t week. 'anguage notes )oti e the intonation of l am ha//y . (his intonation, with the strongest stress on am , is

the e#+hati , onfir#atory for# nor#ally used in res+onse +osition (as here!. 6t is si#ilar, in #eaning and intonation, to the short answer for#, I am $whi h #ight, in fa t, be used here, with the weak-stressed ha++y si#+ly dro++ing off. " .ust heard " /assed ... )oti e that the that is o#itted in t h i s bit of re+orted s+ee h. E"a# 0 e"a#ination. :hysi(s e;am$ a o#+ound noun, has the +rin i+al stress on the first word. " m glad somebody s ha//y . )ote the o#ission of that in re+orted s+ee h, and the *hat s the matter# < o##on idio# #eaning What is troubling you What is " m .ust worried . Here ,ust #eans merely, only . 6n l i n e b ( I ,ust heard. . .! it is used in Have to 0 must . )oti e the AfA in the +ronun iation of t h i s idio#: AhftA. History e;am . .ee note on physi!s e-am above. strong ontrastive stress on so#e body (i#+lying that the s+eaker herself is not ha++y!. wrong i t s #eaning of very re!ently .

Everyday English

Dialog < &rdering a meal (Oestaurant sounds! -aiter: Oal+h: -aiter: <re you ready to order now, sir? ;es. 6%ll have to#ato sou+, roast beef, #ashed +otatoes, and +eas. (hat%s to#ato sou+?, roast beef.. . 8ashed +otatoes ... <nd +eas. How do

you want the beef$rare, #ediu#, or well done? Oal+h: -ell done, +lease. -aiter: <nything to drink? Oal+h: H### .. . 4ust water. 6%ll have offee with #y dessert.

'anguage notes @ "1ll have tomato sou/$ roast beef$ mashed /otatoes$ and +eas. )oti e how the intonation rises on the last syllable of ea h ite# in the series. )oti e, too, that the verb in this idio# in have, not take or eat. (he waiter +auses briefly as he writes ea h ite# in his order book. =are$ medium$ or well done# )oti e the slightly rising intonation on the first two ite#s of the series. =are $ slightly ooked. well done$ /lease. )oti e that the sub9e t and verb are o#itted in the res+onseH only anything to drink# )oti e that the sub9e t and verb are o#itted. (he *uestion is the ne essary infor#ation is given. ,understood, to #ean so#ething like Do you want anything to drink? -ould yon like anything to drink? -ill you have anything to drink? Hmmm is a +ause sound, used while the s+eaker is thinking of what he wants to say. 3ust water. <gain, the res+onse o#its the sub9e t and verb$in fa t, all the words e" e+t those needed to su++ly the ne essary (new! infor#ation. (he rest are su++lied by the onte"t. < full-senten e e*uivalent would be so#ething like 67ll 9ust have water to drink. (<#eri an restaurants usto#arily serve water with the #eal, without re*uest.! 1L

Everyday English " ll have offee... )oti e that the verb in this idio# is have (not take or drink!: 67l l have offee (tea, #ilk, a oke, et .!.

Dialog > ?irthdays Patty: Patty: Patty: How old are you? 67# older than you2 6%ll be ten on 8ay fourteenth. 8aybe. 6%ll have to ask #y #other. .usan: )ine.. . Cut 67ll be ten on 8ay si"teenth. .usan: <re you going to have a birthday +arty?

'anguage notes @ine. < short for# e*uivalent to 67# nine years old. Si;teenth. )oti e that the strongest stress in this word is on the se ond syllable. ((he stress +attern, as well as the final AnA, differentiates si"teen fro# si"ty.! .o#e s+eakers insert the between the #onth and the nu#eral: #ay the si"teenth, #ay the fourteenth. "1ll be ten on )ay fourteenth. )oti e the ontrastive stress on the first syllable of fourteenth. )or#ally, the stronger stress falls on the se ond syllable of this word: four7teenth (like si"teenth in the line above!. However, to bring out the ontrast, the s+eaker e#+hasiEes the ontrasting ele#ent, four-. Going to . (he rhyth# +attern of English re*uires that this weak-stressed, +otentially three-syllable, ele#ent be redu ed in length. 6n the +ro ess of redu tion so#e of the onsonants are lost or #odified and the vowels hanged to #ore entraliEed, la" for#s. ?irthday /arty . )oti e that the nor#al stress for a o#+ound noun falls on the first ele#ent of the o#+ound. )aybe. )oti e that the intonation falls only slightly$ indi ating doubt, inde ision, or la k of o#+letion. Have to . .ee Dialog K 'anguage notes 11

Everyday English

Dialog 1A 7 4rowded Theater Cob: E" use #e, is this seat taken? 'arry: )o, it isn7t. Cob: -ould you #ind #oving over one, so #y friend and 6 an sit together? 'arry: )o, not at all. Cob: (hanks a lot. 'anguage )otes @ would you mind moving over one ...? -ould you #ind is a +olite re*uest for# #eaning are you willing to. 'iterally, it is roughly e*uivalent to do you ob9e t to or do you dislike. (herefore, to indi ate that he is willing to o#+ly with the re*uest, the +erson answering will use a negative for#, su h as no, not at all or no, of ourse not. Cy this he #eans no, 6 don%t #ind 0 6 will be glad to. )oving. )oti e that the verb following would you #i nd .. . is in the -ing for#. 5ther e"a#+les: would you #ind o+ening a window? -ould you #ind waiting a few #inutes? -ould you #ind s+eaking a little #ore slowly? So 0 so that 0 in order that. @ot. @o$ not at all 0 no, 6 wouldn%t #ind at all or no, of ourse

1/

Everyday English

Dialog 11 )istakes Cru e: (+ause ! Cru e: (o the bookstore? 'aura: )o, 6 said he went to the drugstore. Cru e: 5h, 6 #isunderstood you. 6 thought you said bookstore. 'aura: How ould you #ake a #istake like that? -eren%t you +aying attention? 'anguage notes drugstore . .in e this is a o#+ound noun, the +rin i+al stress is on the first syllable. to the bookstore? (his is a nor#ally shortened for# (or did you say he went to the bookstore? bookstore. (his word, a o#+ound noun, has the +rin i+al stress on the first syllabi . drugstore. )oti e the heavy stress and slightly higher than usual intonation on drug-, to noti e the differen e in intonation between the how-*uestion and the yes-no *uestion. -here did 4ohn go? 'aura: He went to the drugstore.

$with the o#itted words ,understood.,

e#+hasiEe this syllable, as ontrasted with book- in the line above.

1=

Everyday English

Dialog 1! Games &eorge: .ay 4oe do you +lay bridge? 4oe: &eorge? &eorge: -ell, 6 ha++en to be one of the best hess +layers around. 4oe: 5.k. 'et%s +lay, then. -e%ll see who%s the best2 )o, 6 don%t +lay any ard ga#es. Cut 6 know how to +lay hess. How about you,

'anguage notes Say. <n inter9e tion, used very infor#ally as an attention-getter. " don t /lay any (ard games. )oti e the strong stress on ard. 6t is nor#al for this word to be

stressed, as it is the first ele#ent of the o#+ound noun ard ga#es. (he unusually strong stress here i#+lies that, although the s+eaker doesn%t +lay ard ga#es, he does +lay other kinds of ga#es (as, for instan e, hess!. " know how to /lay hess. (he idio# know how to, #eaning to be a+able of, to have the skill to do so#ething, is widely used. For e"a#+le: do you know how to swi#? He knows how to drive a ar. 6 don%t know how to write. How about you$ &eorge? 6n this ase #eans do you +lay hess, &eorge? &ne of the best (hess /layers around 0 one of the best hess +layers in this vi inity.

Dhess /layers is a o#+ound noun, and therefore has the +rin i+al stress on hess.

1B

Everyday English

Dialog 1' Health 4ane: 4ane: 4ane: 6 hear you%ve been ill. ;ou%re looking well. Cy the way, did you hear about 8rs. 4a kson? .he had su h a bad ase of the flu that they had to lake her to the hos+ital. Dathy: -ell, 6 had the flu for a ou+le of weeks, but 67# fine now. Dathy: )o, what about her? Dathy: 5h, 67# sorry to hear that2 'anguage notes " hear you ve been ill. )oti e the o#ission of that, as is usual in re+orted s+ee h in asual onversation. *ell. <n inter9e tion, used here si#+ly as an introdu tory word. Bou1re looking well. Here well is an ad9e tive #eaning healthy. <re looking is, in this ?y the way 0 in identally. Su(h a... That... 6s a ty+i al ,result, senten e. They had to take her... (his is the ,general, they. (his lause is e*uivalent in #eaning to

senten e, a linking verb.

the +assive she had to he taken.

1G

Everyday English

Dialog 10 S/orts Phil: Phil: Phil: .ay, what%s your favorite s+ort? Do you +lay #u h tennis? .orry. 6 % # stri tly a s+e tator$football, baseball, basketball, golf... 6 wat h

4a k: H### ... 6t%s hard to say. 6 like golf a lot$but 6 guess 6 like tennis better. 4a k: ;es, *uite a bit. How about a ga#e so#eti#e? the# all. 'anguage notes Say. <n inter9e tion. .ee note, Dialog 1/ Hmmm is a +ause sound, indi ating that the s+eaker is thinking about what he is going to say. "t s hard to say 0 that%s a diffi ult de ision to #akeH it%s diffi ult to #ake a lear- ut hoi e. " guess 0 6 think (that!. Cuite a bit 0 a lot, rather #u h. How about a game sometime# 0 would you like to +lay so#eti#e? Sorry . (his is a short way of saying so#ething like no, 6 7 # sorry, but 6 don%t +lay tennis. Football$ baseball$ basketball$ golf. )oti e the series intonation, with the rising tone re urring on ea h ite# of the series.

1I

Everyday English

Dialog 15 7sking Dire(tions 8arilyn: )an y: 8arilyn: )an y: E" use #e. Dould you tell #e whi h way Dobson7s bookstore is? ;es, i t 7 s that way. ;ou go two blo ks, then turn left. 6 t % s on the orner (hanks. 6%ve only been in town a few days, so 6 really don%t know #y 5h, 6 know how you feel. -e #oved here a year ago, and 6 s t i l l don%t

o++osite the +ost offi e. way around yet. know where everything is. 'anguage notes 4ould you tell # e . . . ? <n alternative (and slightly softer! version of % an you *hi(h way Dobson s bookstore is. )oti e that in the ,indire t *uestion, the tell #e ...%. sub9e t +re edes the verb$the reverse of the word order in the dire t *uestion (whi h way is Dobson%s bookstore?!. :ost offi(e. < o#+ound noun, with the +rin i+al stress on the first word. "... Don t know my way around 0 6 don%t know how to find things or 6 don%t know " know how you feel. )oti e how the ,indire t *uestion, (how you feel! differs fro#

how to go to various +la es. the dire t *uestion (how do you feel?!: it has the word order of a state#ent rather than of a *uestion$the sub9e t wholly +re edes the verb, and the interrogative do is o#itted. " don t know where everything is. <gain, an ,indire t *uestion, (where everything is! has the word order of a state#ent, with sub9e t +re eding the verb, rather than of the orres+onding 1K

Everyday English

Dialog 18 4oin(iden(es <llen: 4ulia: <llen: 4ulia: <llen: Haven%t 6 seen you so#ewhere before? )o, 6 don%t think so. Cut your fa e is so fa#iliar. -ait a se ond . . . . 6 know . . . . -e were on the sa#e

flight to )ew ;ork last #onth. 5h, yes. )ow 6 re#e#ber. -hat a oin iden e to #eet in .an Fran is o2 -ell, you know what they say$i t % s a s#all world.

'anguage notes Haven t " seen you somewhere before# (he negative *uestion is e*uivalent to 67ve seen you so#ewhere before, haven%t 6? <nd e"+resses the e"+e tation that the s+eaker%s su++osition is true. *hat a ...2 <n e" la#ation denoting a great degree of sur+rise, 9oy, disa++oint#ent, et . .o#e other e"a#+les of its use: what a sur+rise to see you here2 -hat a 9oy to have you with us2 -hat a #isfortune2 -hat a sha#e that you have to leave so soon2 -hat a +ity she ouldn%t o#e2 -hat a wonderful idea that is2 Bou know what they say 0 you know the saying . .. )oti e the word order of the ,indire t "t s a small world is a o##on saying, or li hP, a#ong native s+eakers of English. *uestion, what they say. (his is an instan e of the ,general, they.

1M

Everyday English

Dialog 19 Safety (.treet noises! Peter: (here%s the shoe store we%ve been looking for. 6 t % s 9ust a ross the street. &ail: -ait2 ;ou an%t ross the street in the #iddle of the blo k2 ;ou have to ross at the orner. Peter: 5h, o#e on. 'et%s go a ross here. (.ound of ar s ree hing! &ail: 'ook out2 ;ou nearly got hit by that ar2 )ow do you see why you should ross at the orner? Peter: 6 guess you%re right. 6% l l be #ore areful after this. 'anguage notes There1s the ... (his is the ,+ointing out, there (the adverb, not the introdu tory Shoe store. < o#+ound nounH therefore the first word is singular and re eives the fun tion word!, and therefore it re eives a strong stress. +rin i+al stress. (he shoe store we%ve been looking for. (his is the usual, natural way to say this, o#itting the relative +ronoun and +utting the +re+osition at the end. (he shoe store that we%ve been looking for is also +ossible. However, for whi h we%ve been looking is e"tre#ely unlikely in this natural onversational onte"t. )oti e how the +resent +erfe t +rogressive e#+hasiEes the i##ediate, ontinuous nature of the a tivity. 3ust a(ross the street 0 dire tly a ross the street, e"a tly a ross the street. Have to AhaeftaA. &h$ (ome on, as used here, #eans so#ething like oh, don%t be so areful and

s ru+ulous2 (he +hrase o#e on is fre*uently used to #ean hurry along. Don%t delay2 )oti e that the two-word verb o#e on has the stronger stress on the adverbial ele#ent on. 1N

Everyday English

Dialog 1< )usi(al instruments (.ound of +iano +laying! <nne: Cetty: <nne: Cetty: <nne: 'isten2 .o#ebody%s +laying the +iano. ;eah, it sounds ni e, doesn%t i t ? 6 wish 6 ould +lay a #usi al instru#ent. Don%t you +lay the violin? )o, but #y sister does. < tually, she%s +retty good at i t . 6 took flute lessons for a ou+le of years, but 6 never learned to +lay very well. 6

guess 6 don%t have any #usi al talent. Cetty: 5h, that%s not true. ;ou sing very well. 6 an%t even do that2 'anguage notes Beah. <n infor#al variant of yes. Doesn t it# (he falling intonation on t h i s *uestion tag shows that it is si#+ly a onversational ele#ent not re*uiring an answer. " wish " (ould ... )oti e that ould is a +ast tense for#, as re*uired after wish. @ don t you / l a y . . . # (he negative *uestion i#+lies that the s+eaker e"+e ts the answer to be affir#ative. 6t is e*uivalent to you +lay the violin, don%t you? -ith a rising intonation on the final you. )y sister does. Does is a +ro-verb, standing in +la e of the verb. (he senten e #eans Flute lessons. < o#+ound noun, with the +rin i+al stress on the first word. #y sister +lays the violin.

/L

Everyday English

Dialog 1> Taking a Da(ation David: Did you say you%re going to take a va ation ne"t #onth? Outh: ;es, #y fa#ily and 6 are going to )ew ;ork for a week. -e want to visit the #useu#s and see so#e +lays. David: 6 envy you. 6 haven%t had a va ation for a longti#e. 6 wish 6 ould get away for a while. Outh: ;ou an take a va ation so#eti#e soon, an%t you? David: )o, there%s too #u h work to do. 8aybe ne"t year, though. 'anguage notes Did you say you re going to...? (his ould also be +ast tense: did you say you were going )y family and " are going to @ew Bork. )oti e that this going to is the verb followed by the to?? However, the +resent for# (you%re! see#s #ore natural. +re+osition to. (he going to in the line above is the future #arker, whi h is nor#ally said with weak stress, as here. " wish " (ould ... )ote the re*uired +ast tense ( ould! after wish. 4an1t you# (he rising intonation indi ates that this is a veritable *uestion, re*uiring an answer. There1s too mu(h work to do. 5ther e"a#+les of this +attern: there%s too #u h e*ui+#ent to arry. (here are too #any +a+ers to orre t. (here are too #any +eo+le to see. (here%s not enough food to eat. (here isn%t enough work to do. (here aren%t enough ourses to take.

/1

Everyday English

Dialog !A =e(i/es .hirley: -ould you like so#e ookies? 6 9ust #ade the#. 'ouise: (hank you. ;es, 6 would. .hirley: (hese are ho olate, and those are al#ond-flavored. 'ouise: 6 guess 67ll try a ho olate one first. 8###? (his is deli ious2 <re they hard to #ake? .hirley: )o, they7re really *uite easy. -ait a #inuteH 67ve got the re i+e right here. .ee these are the ingredients and then you 9ust follow the dire tions. 'ouise: (hat does look easy. 6 think 67ll #ake so#e tonight. 'anguage notes *ould you like some (ookies# 6s e*uivalent to would you like to have so#e (of these! ookies? 3ust 0 very re ently. 7 (ho(olate one. )oti e that the stress falls on ho olate, sin e one, when used as a )mmm is a sound denoting gustatory en9oy#ent. 7re they hard to make# < useful +attern. .o#e additional e"a#+les: is that hard to do? <re 6t is a #ore ourteous for# than do you want so#e ookies?

+ronoun, is nor#ally unstressed.

these hooks diffi ult to read? 6s that +a+er hard to write on? 8y new ar is easy to drive. (hese shirts are easy to wash and so on. "1ve got the re(i/e ... <lternative for#: 6 have the re i+e. .. 3ust 0 si#+ly: only. That does look easy. (he e#+hati for# of that looks easy. )oti e the strong stress on does.

//

Everyday English

Dialog !1 *eather (wind noises! Qaren: Crrrr2 6%# old. 6 thought it was su++osed to get war#er today. Ed: Qaren: Ed: Qaren: ;eah, 6 thought so, too. (hat%s what the weather#an said. 6t #ust be the wind that #akes it so old. 6%# freeEing2 8e, too. 'et%s go inside. 5.k. 6t%s no fun standing out here, even if the sun is shining.

'anguage notes Crrrr2 6s a sound #ade to indi ate that the s+eaker feels very old. 6t is so#eti#es +ronoun ed -as su++osed to 0 was e"+e ted to. (he #eaning of su++osed to here is slightly different than with a trilled r or a bilabial trill. in G, sin e here it arries no sense of obligation. )oti e that was su++osed to is +ast tense afterthought. (o get war#er 0 to be o#e war#er (but be o#e would rarely be used in this onte"t in asual onversation!. ;eah is a very infor#al for# of yes. (hat%s what the weather#an said. < useful +attern. .o#e other e"a#+les: that%s what the

tea her told us. (hat%s what 8r. 4ohnson said. (hat%s what #y father always says. (hat%s what the students say. -eather#an. )oti e that this word has a +ri#ary stress on the first syllable and a tertiary stress on the third syllable: A 'wFDq"#xnA. .o#e other words ending in-#an that have a tertiary stress on the final syllable are #ail#an, #ilk#an, su+er#an, snow#an. .o#e words with the suffi" -#an, however, have an unstressed final syllable (with a onse*uent obs uring of the vowel sound!. <#ong these are fire#an, gentle#an, +ost#an, sales#an, English#an. )ote that +ost#an and #ail#an are identi al in #eaning but differ in stress +attern. /=

Everyday English "t must be the wind ... (his is the #ust of +robability or su++osition. 5ther e"a#+les of

this usage: it #ust be going to rain$it%s so dark outside. (hey #ust not be ho#e yet$they didn7t answer the tele+hone. (hat tree #ust be thirty feet tall$it%s higher than the roof of the house. )oti e that the two its in this senten e have no dire t referen e or ante edent. (he first one is a fun tion word in the idio#ati stru ture it #ust be ..., while the se ond refers only vaguely to the weather.

/B

Everyday English

Dialog !! Having Things Done E" use #eH 6 wonder if you an hel+ #e. .ure, what is it? 6 want to have #y hair ut but 6 an7t find the barber sho+. 6 know where one is. Do#e on, 67ll show you.

'anguage notes " wonder if... < +olite introdu tion to a re*uest for assistan e. .o#e other e"a#+les: 6 wonder if you ould show us how to get there. 6 wonder if you would #ind #oving over one, so #y friend and 6 an sit together. 6 wonder if you an tell #e where 6 an find a barber sho+. Sure. .ee B. *hat is it? 0 what is it you would like #e to do? )oti e the stress on is. Have my hair (ut 0 have so#eone ut #y hair. 5ther e"a#+les of the ausative have: 6

had #y shoes shined 9ust before 6 a#e. -e%re going to have our house +ainted ne"t year. ;ou should have that window re+aired before the rainy season begins. ?arber sho/. < o#+ound noun, with the +rin i+al stress on the first word. " know where one is. )oti e the word order of the indire t *uestion: the sub9e t

+re edes the verb. )oti e that the +ronoun one is weakly stressed, and the stronger stress is on is. .ee /L.

/G

Everyday English

Dialog !' )ailing Eetters Dean: Do you #ind if we sto+ by the +ost offi e? 6 have to #ail these letters and 6 don%t have any sta#+s. Darol: 5h, 6 have so#e. -e don%t need to go all the way to the +ost offi e. Dean: (hat would save ti#e. Dan you let #e have two air#ail sta#+s and one regular one? Darol: Here you are. <re you sure that%s enough? Dean: ;es, that%s fine. )ow all we have to do is find a #ailbo". 'anguage notes @ do you mind ...? 0 is it all right with you . . . ? 5r do you have any ob9e tion . . .? (his +hrase is si#ilar to, but so#ewhat #ore dire t than, would you #ind. . .? (see 1L!. 6t is followed by an if lause to +rovide for the hange of sub9e t fro# you to we: do you #ind if we sto+ .. .? However, if the s+eaker wishes si#+ly to re*uest the hearer to sto+ by the +ost offi e (in whi h ase there is no ,we, involved, hen e no hange of sub9e t!, he will use an -ing for# o#+le#ent: do you #ind sto++ing by the +ost offi e? .o#e additional e"a#+les of the ,if, ty+e: do you #ind if 8ary and Fred o#e with us? Do you #ind if we talk about that later, when we have #ore ti#e? Do you #ind very #u h if 6 don%t o#e to see you today? .o#e e"a#+les of the% %-ing%% ty+e: do you #ind asking 8ary and Fred to o#e with us? Do you #ind dis ussing that later, when we have #ore ti#e? Do you #ind very #u h +ost+oning our visit until to#orrow? :ost offi(e. < o#+ound noun, with the +rin i+al stress on the first word. Have to A That would save time. (he strong stress on would and the fa t that the intonation falls only +artially at the end indi ate a thoughtful, hesitant attitude. 4an you let me have ... 0 an you give #e . . . Two airmail stam/s and one regular one. )oti e the ontrastive stress on air#ail and regular and on two and one. )oti e also the weak stress on sta#+s and on the orres+onding +ronoun one. @ have toA haefta A. /I

Everyday English mailbo; is a o#+ound noun, with the stress on the first +art. 7ll we have to do is... 0 the only thing that we #ust do is. . ., the one thing that re#ains to he done is. . . .o#e other e"a#+les: 67ve finished writing the storyH now all 6 have to do is think of a title, he%s finished all his oursesH now all he has to do is +ass the e"a#ination. -e%ve got the de orations all ready for the +artyH now all we have to do is +re+are the food.

/K

Everyday English

Dialog !0 7nimals (hat7s a beautiful at2 6 wonder who it belongs to. 6t belongs to the Crowns. (hey live a ross the street fro# us. (hey have three ats, two dogs and a anary. (hey ertainly #ust like +ets2 Cut how do all those ani#als get along with ea h other? Don7t ask #e, ask the Crowns2

'anguage notes who it belongs to. )oti e the word order of this indire t *uestion. (he +re+osition naturally falls at the end. 6 wonder who# it belongs to and 6 wonder to who# it belongs are also gra##ati ally orre t but sound awkward and ina++ro+riate in this onte"t. three (ats$ two dogs$ and a (anary. )oti e the rising intonation. they (ertainly must like /ets. (his is the #ust of su++osition or logi al inferen e (see /1!. Get along with ea(h other 0 live har#oniously and o#+atibly.

/M

Everyday English

Dialog !5 Sho//ing .aleslady: Dan 6 hel+ you? &loria: ;es, 67# looking for a +air of white gloves. 6 think 6 wear siEe si". .aleslady: (he white gloves are on this ounter. 'et7s see? here7s a siEe si". (hese are very ni e, and they7re washable, too. &loria: 5h, 67ll try the# on. H###??? they see# to fit. How #u h are they? .aleslady: five dollars. &loria: <ll right. 67ll take the#. .aleslady: (hat7ll be five-twenty with the ta". 'anguage notes Dan 6 hel+ you? 5r #ay 6 hel+ you? is the way a sales lerk nor#ally a++roa hes a usto#er with an offer of assistan e. .iEe si". -o#en%s gloves are usually available in *uarter-siEes (I, I R , I S , I T , et .!. 8ost (he white gloves are on this ounter. )oti e the e#+hati stress on while and this, whi h the 'et%s see . . . <n e"+ression used when a +erson wants to think so#ething over, to +onder, to 67ll try the# on. (ry on is a se+arable two-word verb #eaning to test the fit or a++earan e of a How #u h are they? 0 how #u h do they ost? )oti e that the +ri#ary senten e stress falls five-twenty 0 five dollars and twenty ents (UG./L! wo#en wear a siEe between I and M. saleslady is ontrasting #entally with other olored gloves on other ounters. #ake a hoi e or de ision, or to look for so#ething. gar#ent by +utting it on. .ee G. on are in this *uestion (see 1!.

/N

Everyday English

Dialog !8 Trans/ortation (.treet noise! 4oy e: .hall we take a ta"i or a bus to the #eeting? Cill: Cill: Cill: -e%d better take a bus. 6t%s al#ost i#+ossible to find a ta"i during rush hour. ;es.. . 5h, oh2 (here%s a bus now. -e%ll have to run to at h it. )ever #ind. (here%ll be another one in ten #inutes. 4oy e: 6sn%t that a bus sto+ over there? 4oy e: 5.k . . . . 5h, no2 -e 9ust #issed it.

'anguage notes Shall we. ..? 0 do you think we should. . .? (will is never used for t h i s #eaning.! Take a ta;i or a bus...? )oti e the rising intonation on ta"i and falling intonation on *e1d better... 0 we ought to . . .H it would be wise to .... =ush hour $ the ti#e of day when #ost +eo+le are going to or fro# work and therefore

bus in this ,or, senten e.

the traffi is heaviest. 6n #ost <#eri an ities, rush hour is fro# seven-thirty to nine in the #orning and fro# about five to si"-thirty in the evening. )oti e that rush hour is a o#+ound noun, with the +rin i+al stress on the first word. "sn1t that... ? (he negative *uestion e"+resses an e"+e tation of an affir#ative ?us sto/ is a o#+ound noun, with the +rin i+al stress on the first word. &h$ ohF <n e" la#ation e"+ressing alar# or sudden aution. )oti e the high-to-low &h$ noF <n e" la#ation e"+ressing sudden disa++oint#ent, sho k, or dis ourage#ent. *e .ust missed it 0 we arrived a #o#ent too late to at h the bus. @ever mind 0 it doesn%t #atterH don%t on ern yourself. =L answer.

intonation. )oti e the e#+hati stress and intonation.

Everyday English

Dialog !9 4om/aring 4ean: 'ois: 4ean: 'ois: 4ean: 6 think this #aterial is #u h +rettier than that, don%t you? -ell, 6 don%t know. 6 like the# both. -hy do you like that one better? -ell, the design is #ore interesting and the olors are brighter. <nd it%s not as 5h, 6 see what you #ean. <nd besides, these olors are #ore be o#ing to you. Do you really think so? 67ll buy it then.

e"+ensive, either.

'anguage notes 6 think this #aterial... )oti e that the on9un tion that introdu ing an indire t 8u h +rettier. 8u h is a o##on intensifier for o#+arative ad9e tives and state#ent is often o#itted in asual onversation. adverbs: #u h harder, #u h #ore diffi ult, #u h less useful, et . < lot is also used for this +ur+ose: a lot +rettier, a lot #ore +ra ti al, a lot #ore e"+ensive. (hat 0 that #aterial. Don%t you? (he rising intonation indi ates a true *uestion, re*uiring an answer. 6 like the# both 0 6 like both of the#. (hat one refers to a +ie e of #aterial 6 see what you #ean 0 6 understand (why you like it!. (hese olors are #ore be o#ing to you. (he strong stress on are indi ates, in t h i s ase, so#ething like: now that 6 have really thought about it . . ., or taking everything into onsideration . . . Ce o#ing to you. Ce o#ing is an ad9e tive #eaning suitable in a++earan e: having (hen 0 in that ase: sin e that is so.

a++arently near the first s+eaker, who referred to it as ,this #aterial.,

an attra tive effe t.

=1

Everyday English

Dialog !< :astimes -hat do you do in your s+are ti#e? 5h, nothing s+e ial. 6 read? -at h (V? &o to the #ovies. Don7t you have any hobbies like sta#+ olle ting or things like that? )o, 6 don7t have any hobbies. How about you? 6 have 9ust one: +hotogra+hy. 6t7s e"+ensive but it7s a lot of fun.

'anguage notes S/are time 0 leisure: e"tra li#e: free li#e. @othing s/e(ial , no +arti ular thing. 6 read ... *at(h (V ... &o to the #ovies. )oti e the rising intonation on the first Stam/ (olle(ting. < o#+ound noun. (herefore the +rin i+al stress falls on the first How about you# 0 do you have any hobbies? (his *uestion How about you? Has the .ust 0 only.

two ele#ents of the series. word. effe t of dire ting the original *uestion ba k to the other s+eaker.

=/

Everyday English

Dialog !> *eddings Connie: &uess what2 Paul and .usan are engaged2 4ani e: soon. 4ani e: Have they set a date for the wedding? Connie: )o, not yet. Cut .usan says they%d l i k e to get #arried in )ove#ber or De e#ber. (hen they%ll go to Hawaii for their honey#oon. Oeally? -hen did that ha++en? Connie: < week ago. (hey #et last su##er and now. 4ust think . . . ( h e y % l l be #arried

'anguage notes &uess what2 0 6 have so#ething i#+ortant to tell yon. Oeally? (his is a re9oinder #eaning oh, that%s interesting2 6t is fre*uently used in onversation in t h i s way. 6n t h i s usage, really si#+ly e"+resses an ani#ated interest in the +revious s+eaker%s re#arkH it does not *uestion the truthfulness of the re#ark. 4ust think ... (his +hrase indi ates that the s+eaker is refle t ing with interest on what has .et a date 0 de ided on a day when it will lake +la e. (hey7d like 0 they would like 0 they want. (hey%d like is a l i t t l e ,softer,, a littl e 9ust been said or (as in t h i s ase! on what he is going to say ne"t.

less +ositive, than they want.

==

Dialog 'A Effort 6 give u+. 6 si#+ly an7t learn Fren h2 -hy do you say that? 6 think you7re #aking a lot of +rogress. )o, 67# not. 6 try and try and 6 still an7t s+eak it very well. 'earning any language takes a lot of effort. Cut don7t give u+2 -hy don7t we +ra ti e those dialogs together? &ood idea2 (hat 9ust #ight hel+.

'anguage notes &ive u+ 0 sto+ tryingH abandon effort. .i#+ly 0 absolutely, o#+letely, learly. 6 try and try 0 6 try again and again. 5ther e"a#+les of re+etition of the verb to e"+ress ontinuous or re+eated a tivity: 6 read and read, and 6 still an%t understand it. He writes and writes, but he never +rodu es a worthwhile o#+osition. (he hildren +lay and +lay that ga#e and never see# to get tired of it. &ood idea 0 that%s a good idea. (hat 9ust #ight hel+ 0 that #ight, in fa t, be a hel+ful thing

)ore Dialogs for Everyday Use. Short situational dialogs for students of English as a foreign language. Dialogue 1 G=EET"@GS '. 8<((: 8<W6)E: 8<((: 8<W6)E: 0. D5((;: V6V6<): D5((;: V6V6<): D5((;: V6V6<): .'!#uaintan!es/ &ood #orning &ood #orning. How are you today? 4ust fine, thanks. How are you? -onderful. (hings ouldn7t be better. .%ood *riends/ Hi. -hat7s u+? )othing #u h. -hat7s new with you? )ot too #u h. 67ve been +retty busy. 8e too. .ee#s like all 6 do is eat and slee+. &otta go. Dall #e tonight. 5kay. Dhe k you later.

1. .*amily/ 85(HEO: .5): 85(HEO: .5): 85(HEO: &ood #orning. 8orning. -hat7s for breakfast? (he usual. Eggs, toast, and ereal. Doffee, if you want. 6 think 67ll 9ust have ereal for a hange. Hel+ yourself. (he ereal and sugar are on the table. (he #ilk7s in the refrigerator. @&TES X7(6uaintan(e0 a +erson one knows but not a lose friend X Things (ouldn1t be better 0 Everything is going well.

X Hi 0 infor#al way to say hello X *hat1s u/# 0 -hat7s new? :sed infor#ally. X :retty 0 ratherH so#ewhat X )e too 0 has #eaning of 6 have been busy too. X Seems 0 6t see#s X 4otta 0 67ve got to 0 6 #ust X 4he(k you later 0 67ll all you later. X *hat1s for breakfast# 0 -hat are we having for breakfast? X 3ust 0 only X Hel/ yourself. 0 .erve yourself.

Dialogue ! E7=EB "@ THE )&=@"@G &E)E: ED: &E)E: start. ED: &E)E: &E)E: )5(E. X TD 0 television X get an early start 0 leave early in the #orning X 3ust 0 si#+ly X/ay the /ri(e 0 suffer the onse*uen es X grab a bite 0 (6nfor#al! get so#ething to eat X 4offee sho/ 0 a ty+e of restaurant 6 know, but that #ovie was 9ust too good to leave. 6 guess 67ll 9ust have to +ay the +ri e Do you want to eat breakfast here? 5kay by #e. and be slee+y. ED: )o. -hy don7t we 9ust grab a bite at the offee sho+ ne"t door? 6t7s ti#e to get u+2 6 9ust went to bed2 ;ou shouldn7t have stayed u+ so late wat hing (V. 6 told you we had to get an early

Dialogue ' D7"EB @EEDS

4:D6(H: 4:D6(H: 4:D6(H: 4:D6(H:

(his is the last of the #ilk. -ould you get so#e of that new ereal we saw advertised on (V? ;ou know? the one with the silly ad about how vita#ins 9u#+ u+ and down. ;eah. (hat7s the one.

85(HEO: 6 know. 6 intend to go to the store today. 85(HEO: -hi h one? 85(HEO: 5h, you #ean JQ6Q6E.Y 85(HEO: -ell, 67ll see. .o#eti#es the stores don7t have so#e of the new kinds of ereal. )5(E. XEast of the milk 0 e"hausts the su++ly of #ilk X Silly 0 foolish Xad 0 advertise#ent X Beah 0 (6nfor#al! ;es X "1"" 0 67ll e"a#ine the +ossibility.

Dialogue 0 7"=:&=T ?US .(<): H<OO;: hanged .(<): H<OO;: .(<): H<OO;: )5(E. X7t least 0 6n any ase Do you know the tele+hone nu#ber to all? 6t7s Enter+rise K-BKLL. <t least that7s what it used to be. ;eah, 67ll try it (P<:.E! they don7t see# too answer. 6 e"+e t that it7s a little too early. 6 don7t think they o+en until nine o7 lo k. -hat ti#e does the bus leave for the air+ort? 6 don7t know. 6t used to leave every half hour, but 6 think the s hedule7s been

Dialogue 5 )7G"@G 7 D7TE DOE-: P<:': DOE-: P<:': DOE-: P<:': DOE-: )5(E. X making a date 0 #aking a so ial a++oint#ent X "1ll /i(k you u/ 0 67ll o#e to your house. -hat ti#e are you leaving to#orrow? ;ou #ean to go to the graduation ere#ony? ;es, 67d like to go with you if 6 #ay. 67d be delighted to take you. 6 +lan to leave here about nine-thirty. Fine. 6 an be ready by then. 5kay. 67ll +i k you u+ at your house. .ee you to#orrow, then, about nine-thirty.

Dialogue 8 47T4H"@G 7 ?US .(EVE: 6s this where 6 at h the bus for the Eoo? <'<): ;ou an take a (-=L fro# here, but then you have to walk about si" blo ks. .(EVE: (hat doesn7t sound too bad. <'<): < tually, if you go to the bus sto+ in the ne"t blo k, you an take a Z-M whi h will let you right off in front of the Eoo. .(EVE: 8aybe that7s what 67ll do. (hanks a lot. <'<): @&TES X (at(hing a bus 0 getting a bus X TH'A 0 nu#ber of a bus X That doesn1t sound too bad 0 (hat doesn7t a++ear to be diffi ult. X IH< 0 nu#ber of a bus X let you right off 0 take you e"a tly to ;ou7re wel o#e.

Dialogue 9 &=DE="@G ?=E7GF7ST -<6(OE..: PH6': -<6(OE..: PH6': -<6(OE..: PH6': -<6(OE..: PH6': )5(E. X How do you want your eggs# 0 How do you want your eggs +re+ared? X &ver easy 0 egg fried on one side and slightly on the other with the yolk left un ooked or +artially ooked, not hard. 5ther ways to +re+are eggs are s ra#bled, fried (hard!, boiled (soft or hard!, and +oa hed. -ould you like to order now? ;es. 67d like ba on and eggs with buttered toast. )o 9elly. -hat would you like to drink? Do you have hot ho olate? ;es, we do. (hen, 67ll have a u+ of hot ho olate. How do you want your eggs? 5ver easy, +lease.

Dialogue < @E7= 744"DE@T [:6)): How about that2 QEO-6): -hat? -hat ha++ened? [:6)): Did you see what that guy did? QEO-6): )o. 6 was looking the other way. [:6)): He #ade a :-turn right in the #iddle of the blo k and al#ost hit a kid on a bi y le. QEO-6): Drivers get raEier every day2 [:6)): Oight. )obody wants to drive by the rules any#ore2 )5(E. X @ear a((ident , al#ost an a ident X How about thatF 0 4ust onsider what ha++ened2 X Guy 0 #an X " was looking the other way 0 6 was looking in the o++osite dire tion. X UHturn 0 turn a vehi le su h as a ar or tru k in the sha+e of a :.

Dialogue > 7=="D7E T")E P<(: -hat ti#e does 8other7s +lane get in? D'6FF: 67# not sure, but 6 think at /:=G. 67ll all the airline to #ake sure. P<(: -hy don7t you do that while 6 hange #y lothes? D'6FF: Do you think Di k or Crenda will want to go? P<(: P<(: )5(E. get in 0 arrive 6 don7t know. 6 guess we ould all the#. 5kay. Dall her first, then the airline. 67ll go get ready. D'6FF: 6 know Disk has to work, but #aybe Crenda an go.

Dialogue 1A 7FTE= THE G7)E &'5O6<: Did you wat h the ga#e last night? O5;: O5;: O5;: )5(E. X " sure did 0 6 ertainly did (wat h the ga#e! X /layed su/er ball 0 +layed e"tre#ely well X Too bad 0 unfortunately X "t (ould have gone either wayF 0 Either tea# ould have won2 X =eally something 0 e"traordinaryH *uite unusual 6 sure did. 6 wouldn7t have #issed it for anything2 8e too. 6 thought both tea#s +layed su+er ball. (oo bad one had to lose. (hat shot that won in the last fifteen se onds was really so#ething. &'5O6<: 6 think it was one of the best ga#es 67ve ever seen. &'5O6<: ;eah. 6 thought they were evenly #at hed. 6t ould have gone either way2

Dialogue 11 G&"@G F&= *7EG O5&EO: D'<6OE: O5&EO: D'<6OE: O5&EO: D'<6OE: )5(E. J Don1t take too long 0 don7t delay J go on ahead 0 +ro eed (to the +ark! J Eook for me... 0 8eet #e... -hat did you say ? 6 said that it7s a lovely day. -hy don7t we go for a walk? Dan you wait a few #inutes.? 6 have to finish this letter. Don7t take too long. 6t would be a sha#e not to take advantage of su h 6 won7t be long. )o #ore than ten #inutes. -hy don7t you go on ahead and Celieve 6 will. 'ook for #e near the ro k garden.

lovely weather 67ll #eet you in the +ark.

Dialogue 1! *H7T1S F&= D"@@E=# 85()EO: 85)<: 85()EO: 85)<: 85()EO: 85)<: 85()EO: )5(E. J" wonter... 0 6 wish to know about... J /iKKa 0 < s+i y 6talian dish #ade like a +ie fro# bread dough and overed with heese, #eat, s+i es, et . J /utting on a little weight 0 gaining weight J Don1t remind meF 0 Don7t all it to #y attention2 J "t1s about timeF 0 6t7s the right ti#e (to begin!2 6 wonder what we should have for dinner this evening? <re you asking #e? ;es, 6 a#. 6 really don\t feel #u h like ooking, but the fa#ily #ust eat. -ell, you know #e. 6 an always eat +iEEa-or s+aghetti. .o 6\ve noti ed. ;ou\re +utting on a little weight, aren\t you? 6 know. Don\t re#ind #e2 6\# starting a new diet day after to#orrow. 6t\s about ti#e2

Dialogue 1' 747DE)B 7*7=DS 4<)6DE: O5C: 4<)6DE: though. O5C: 4<)6DE: understands it. O5C: 4<)6DE: )5(E. J 7(ademy 7wards 0 awards in the fil# industry given annually for the best #ovie, best a tor, best dire tor, et . (he awards, s#all statues, are alled 5s ars. J avantHgarde 0 in the arts, having to do with reative ideas, #ethods, designs, et ., that are ahead of all others. -ell, 6 don7t go to the #ovies very often. ;ou know #e. 6 +refer #ore (oo bad. 6 really wanted to dis uss it with so#eone. a tive- ty+e things. 6 guess 6 #issed that +art. -hat ha++ened? 5h, they hose so#e +i ture that was so avant- garde that no one Did you see the < ade#e <wards +rogra# last night on (V? 6 wat hed for awhileH then a 6 had to go to bed. ;ou #issed a good show. 6 didn7t agree with the sele tion for best +i ture,

Dialogue 10 7T THE H&TEE D'EOQ: (5);: D'EOQ: (5);: D'EOQ: (5);: D'EOQ: )5(E. J )ay " hel/ you# 0 8ay 6 serve you? J *e1re full u/. 0 <ll of our roo#s are taken. ;es, sir. 8ay 6 hel+ you? 6 have a reservation for tonight. (ony Davis. 4ust a #o#ent, +lease, while 6 he k. (hat is orre t. ;ou have a reservation for a 67# afraid there7s been a #istake. 6 only asked for a single roo#, not a suite. 67# sorry, 8r.Davis, but we have only the suite available. ;our re*uest arrived too -ell, if that7s the way it is, 67ll have to take it. 4ust sign the register here and 67ll have your bags sent u+ later. 6t7s suite K1M.

three-roo# suite for tonight.

late to reserve a single. (here7s a large onvention in town this week and we7re full u+.

Dialogue 15 7FTE= THE )&D"E P<8E'<: 6 really en9oyed that #ovie2 .D5((: .D5((: P<8E'<: .D5((: P<8E'<: .D5((: 6 did, too. <t first 6 tought it was going to be a drag, but then it really got good. 5h, 6 don7t khow. 6 guess the s ene that grabbed #e the #ost was the one in whi h 6 liked that one, too. 6n fa t, 6 ried. (o tell you the truth, 6 had a few tears in #y eyes. )ow what? How about a oke and a ha#burger? P<8E'<: -hat +art did you like the best? the old #an was dying.

P<8E'<: .u+er2 )5(E. J be a drag 0 be boring +r uninteresting J the s(ene that grabbed me the most 0 the s ene that #ost #oved #e e#otionally J (oke 0 Do a Dola or any soft drink J Su/erF 0 -onderful2

Dialogue 18 7T THE ?7@G (E''EO: )<)D;: (E''EO: )<)D;: (E''EO: )<)D;: (E''EO: )<)D;: (E''EO: )<)D;: )5(E. J to (ash this (he(k 0 to re eive #oney for this he k J large or small bills 0 bills of large or s#all deno#ination J traveler1s (he(ks 0 s+e ial he ks issued by banks for a s+e ial a#ount and whi h an only be used by the buyer. 8ay 6 hel+ you? 67d like to ash this he k, +lease. Do you have an a ount with us? ;eah. Here7s #y identifi ation ard. Do you want large or s#all bills? < tually, 6 want to buy so#e traveler7s he ks. -hat deno#ination? (wenties would be fine. Do you want the whole a#ount in traveler7s he ks? ;es, +lease.

Dialogue 19 D"S4USS"@G 7 @E*S ST&=B HE'E): Did you hear about that guy who was stru k by lightning? 8<V6.: ;ou #ean that #an u+ in 8aine? HE'E): (hat7s the oneH the blind guy who ould see again. 8<V6.: 6 read about hi# in the +a+er this week. He7d been blind for about eight or nine years. HE'E): :h-huh. -asn7t he also able to hear again after the lightning hit hi#? 8<V6.: Oight. He didn7t have to wear a hearing aid any#ore. HE'E): 6 think it was a #ira le2 8<V6.: 8e too2 )5(E. J )aine 0 state in the northeastern +art of the :nited .tates J UhHhuh. 0 (hat7s right. J =ight. 0 Dorre t. J hearing aid 0 devi e to hel+ deaf or +artially deaf +ersons hear J )e tooF 0 .o do 62

Dialogue 1< T7EG"@G "T &DE= 4EFF: Dan7t we go so#e+la e and talk? 6t7s so rowded in here.

.5)6<: -ell, there7s a little +ark down the street about three blo ks. 6t7s usually not rowded this ti#e of day. 4EFF: 'et7s go. 6 need to get so#e fresh air anyway. .5)6<: 4ust what is it you want to talk about? 4EFF ;ou re#e#ber that note you sent #e last #onth? .5)6<: -hi h one? (he one about the tri+ out west? 4EFF: ;eah. (hat7s the one. 'isten. 67ve got a terrifi idea about the whole +ro9e t and we need to dis uss it. .5)6<: -onderful2 67d like to hear so#e of your ideas. )5(E. J Talking it over 0 Dis ussing a #atter or +roble#. J anyway 0 in any ase J 3ust 0 E"a tly

Dialogue 1> *EEGE@D :E7@S <': <': <': <': <': Hi. 67# glad 6 ran into you. How7d you like to go on a hike this weekend? -ell, 9ust .aturday and .unday. How about .unday, then? -e ould start early in the #orning. &reat2 67ll talk to you later.

C5C: -hy? -hat7s u+? C5C: <ll weekend? C5C: 67# not sure 6 an be gone all weekend. 6 +ro#ised to hel+ #y sister #ove .aturday. C5C: 6 #ight be able to do that. (ell you what. 'et #e he k and 67ll all you at ho#e tonight. C5C: .o long. )5(E. J "1m glad " ran into you. 0 67# glad 6 #et you. J *hat1s u/# 0 -hat7s ha++ening? 0 -hat7s going on? J to hel/ my sister move 0 to hel+ #y sister #ove her household effe ts to another house or a+art#ent. J How about Sunday$ then# 0 6s .unday a good day, then? J Tell you what 0 Here7s #y o+inionArea tion. J Eet me (he(k... 0 'et #e verify... J GreatF 0 -onderfull2 J So long 0 &ood-bye for now.

Dialogue !A D"@@E= "@D"T"&@ '<:O<: (ED: '<:O<: (ED: '<:O<: (ED: '<:O<: )5(E. X *e1re invited out to dinner tonight 0 -e7re invited to have dinner with friends or a *uaintan es. J UhHhuh. 0 ;es, (6 do!. J ?yeHbye. 0 &ood byeH so long. Don7t forget. -e7re invited out to dinner tonight. 5h. 6 al#ost forgot. (hanks for re#inding #e. -hat ti#e? .even-thirty. -e should leave thr house by si"-thirty. ;ou know how bad the :h-huh. 6t7s infor#al, isn7t it? ;eah. ;ou an wear your new s+orts 9a ket. 5kay. 67ll try to get ho#e a little early. &ood. Cye-bye.

traffi is that ti#e of night.

Dialogue !1 47= "@SU=7@4E D6DQ: &E5O&E: D6DQ: &E5O&E: D6DQ: &E5O&E: D6DQ: &E5O&E: 6 need to get ar insuran e. ;a got any ideas? -ell, you ould try #y o#+any. 6t see#s to have fair rates. Do they insure older ars? <s far as 6 know, they insure all kinds of vehi les. How long have you had a +oli y with the#? 5h, 6 don7t know. 8aybe five years. <nd you say their rates are low? )ot low, reasonable. 67ve always gotten good servi e fro# the#. 'et #e give you

their +hone nu#ber and you an all the#. )5(E. X(ar insuran(e 0 insuran e on auto#obiles in ase of a idents, theft, bodily in9ury, et . J 7s far as " khow... 0 (o the e"tent of #y khowledge...

Dialogue !! :7=E@TS @"GHT &UT 45E: 45E: Dan you get a baby-sitter for tonight? -ell, 6 thought we ould go out for dinner and then go to a #ovie afterward.

.:.<): 6 don7t khow. -hy? .:.<): 6 an all Debbie and see if she7s available. .he usually doesn7t like to sit during the week, but she #ight #ake an e" e+tion. 45E: -ell, do that, and then all #e at the offi e if you have any lu k. .:.<): 5kay, but don7t get your ho+es too high. 6t7s hard to find a good baby-sitter these days. )5(E. J night out 0 evening away fro# ho#e for the +ur+ose of re reation or rela"ation J babyHsitter 0 wo#an or young girl hired, usually by +arents, to wat h s#all hildren while the +arents are away fro# ho#e J to sit during the week 0 to baby-sit on weekdays J if you have any lu(k 0 if you are su essful J don1t get your ho/es too high 0 don7t e"+e t su ess

Dialogue !' D"S4USS"@G THE E4&@&)B &5OD5): (he e ono#i news doesn7t look good, does it? H5C<O(: )ot a ording to the news+a+er yesterday. 6 saw a si#ilar re+ort last night on (V. &5OD5): 6 saw that, too. (he analysis see#ed to be *uite realisti . H5C<O(: 6 ho+e they7re wrong. -e really need to get the rising +ri e stru ture under ontrol. &5OD5): -ell, osts see# to be rising in so #any ategories that it a++ears to defeat any efforts at stabiliEation. H5C<O(: (hat7s #y feeling, too. Oaw #aterial now osts #ore. 'abol is de#anding higher wages and +rodu tion osts ontinue to soar. &5OD5): (here #ay be so#e relief this su##er. 6 understand the +ri e of so#e foodstuffs will de rease. )5(E. J That1s my feeling$ too 0 (hat7s #y o+inion, too. J soar 0 rise beyond what is o##on and ordinary

Dialogue !0 DE@T7E 7::&"@T)E@T (Cy Phone! DE)(<' <..6.(<)(: Q<OE): DE)(<' <..6.(<)(: Q<OE): re o##ended Dr.Qatuna DE)(<' <..6.(<)(: +refer #orning or afternoon? Q<OE): DE)(<' <..6.(<)(: Q<OE): DE)(<' <..6.(<)(: Q<OE): )5(E. J " see 0 6 understand J *ould 1AL'A be all right# 0 -ould 1L:=L be a e+table? 8orning is best for #e. -ould 1L:=L be all right? (hat would be fine. &ood. -e7ll e"+e t you then at 1L:=L on (hursday. (hank you very #u h. 6 see. Dr.Qatuna an see you ne"t (hursday. Do you Dr.Qatuna7s offi e. 8ay 6 hel+ you? ;es. 67d like to #ake an a++oint#ent for a dental he ku+. <re you one of the do tor7s regular +atients? )o, 67# not. 6 re ently #oved to this area and a friend of #ine

Dialogue !5 )7G"@G :E7@S <'6DE: .5F6<: <'6DE: last +arty? .5F6<: <'6DE: to you? .5F6<: )5(E. J =ight. 0 Dorre t. J mess 0 un+leasant or unsu essful affair or event J how does 9L'A sound to you# 0 How do you rea t to #eeting at K:=L? J Fine by me. 0 6t7s all right with #e. Fine by #e. 67ll all 4an and 4udy. -e7ll see you to#orrow. 6 sure do. 6 ho+e we7ll do #u h #ore +lanning this ti#e. -ell, that7s why we7re going to #eet to#orrow at #y house. How does K:=L sound -hen shall we #eet? ;ou #ean to talk about the +arty? Oight. -e really need to +lan better this ti#e. Oe#e#ber what a #ess it was at the

Dialogue !8 @E"GH?&=H&&D :=&?EE) -6FE: -6FE: yard2 H:.C<)D: Did you talk to 8rs. &orha# about it? -6FE: ;ou khow how she is. <ll sweethess and light to your fa e but then she never does anything. (hey should either kee+ that ani#al in the house or tied u+2 H:.C<)D: 67ll talk to Hank about it tonight. He usually listens. -6FE: )5(E. J 7ll sweetness and light to your fa(e... 0 E" essively agreeble and +leasant in the dire t onfrontation... J Hank 0 8r.&orha# -e need #ore than listening, dear. -e need a tion2 -e7ve got to do so#ething about the neighbor7s dog2 (he flower garden, the garbage an, and yesterday he started digging holes in the

H:.C<)D: -hy? Has he been into your flower garden again?

Dialogue !9 47= THEFT C;O5): V<)DE: C;O5): V<)DE: C;O5): V<)DE: C;O5): good lead. V<)DE: )5(E. J theft 0 a t of stealing J *owF 0 E" ia#ation of a#aEe#ent, sur+rise, 9oy, et . J That1s really tough. 0 (hat7s too bad J a good lead 0 a strong lue -ell, 6 ertainly wish hi# lu k. Did you hear about what ha++ened to Howard? )o, what? .o#eone stole his ar2 Oeally? -hen did it ha++en? 'ast night. He left it +arked in front of his girl friend7s house and when he a#e out -ow2 (hat7s really tough. He 9ust bought it last #onth, didn7t he? :h-huh. Fortunately, he7s got insuran e and the +oli e think they already have a

to go ho#e, it was gone.

Dialogue !< GETT"@G =E7DB C6'': 4EOO;: C6'': 4EOO;: C6'': 4EOO;: s+are. C6'': 4EOO;: )5(E. Jsu(h a fuddyHduddy 0 an e"tre#ly fussy, hard 3 to-+lease, or very +ari ular +erson. Xtime to s/are0e" ess ti#e 6s that +ro#ise? 6t\s a +ro#ise. )ow leave #e alone while 6 finish getting ready. -e don\t have #u h ti#e2 6\# hurriyng as fast as 6 van2 -ell, try to hurry a little bit #ore, will you? 6 don\t want to be late. 5h, we won\t be late. ;ou know how these affairs are. (hey never start on ti#e. 8aybe so. Cut 6 always like to get there on ti#e. 5h, you\re su h a fuddy 3 duddy. Don\t worry. 6\ll get you there with ti#e to

Dialogue !> )7G"@G 7 :U=4H7SE 45<): D'EOQ: 45<): D'EOQ: 45<): D'EOQ: 45<): D'EOQ: )5(E. Jon s/e(ial 0 s+e ial low +ri e J3ust take your time.0Don\t be in a hurry How #u h is this? ;ou #ean the large one or the s#all one? (he large one. (hey\re on s+e ial this week. (hey\ve been redu ed to five dollars. 6s this the only kind you have? )o. -e have so#e that different in style but not in olor. 5h, yes. 6 think 67ll look at those over there before 6 de ide. Very well. 4ust take your ti#e.

(hey\re over there. Do you see the sign?

Dialogue 'A )7"E T")E C<OC<O<: )5O8<: C<OC<O<: )5O8<: C<OC<O<: )5O8<: (he #ail has arrived. Did 6 get anything? 6 think so. 'et #e look. ;ou got so#ething fro# the bank and an &ive #e the letter fro# the bank. 6t #ight be i#+ortant. Here. 8aybe you\ve overdrawn your a ount. )o, danger of that. 6 don\t have any #oney to overdraw.

advertise#ent fro# a health s+a.

6 ho+e it\s an offer of that 9ob 6 a++lied for. )5(E. Jhealth s/a 0 health resort J)aybe youMve overdrawn your a((ount.0Perha+s you\ve s+ent #ore #oney than is in your he king a ount at the bank. J@o danger of that0(hat\s not a +ossibility.

Dialogue '1 ?EDT")E <)&E'<: FO<)Q: <)&E'<H FO<)Q H Did you lo k the doors? <ll e" e+t the ba k door. 6 left that for (i#. He took the dog for a walk -ell, 6\# going on to bed . 6,# bushed 5key 6,# going to stay u+ a while.6\ve got to go over the household budget. -e\re

a litlle overs+ent this #onth. <)&E'<: Please tell (i# to lose the door to the base#ant. 6\don\t want the dog down there tonight FO<)Q: )5(E. J"Mm bushed 0 6\# e"hausted very tired J Stay u/0 re#ain awake J "Mve got to go oyer..., 6 #ust read to e"a#ine... Jovers/ent 0 e"+enses in e" ess of in o#e 5kay. &ood night..ee you at breakfast

Dialogue '! GETT"@G S&)ETH"@G F"NED 'EE: OEP<6O8<): 'EE: OEP<6O8<): 'EE: OEP<6O8<) : 'EE: )5(E. JHard to tell. 0Diffi ult to +redi t. Jright away 0 i##ediately XSuit yourself ... 0 Do as you +lease ... X by three at the latest 0 no later than three o7 lo k How long do you think it\ll take to fi" it? Hard to tell. .o#eti#es we an find the +roble# rigth away and .hould 6 wait or o#e ba k later? .uit yourself, but it\s +robably better to o#e ba k later. ;ou will get it fi"ed today, won\t you? 6 don7t see any +roble#. -e should have it ready for you by three at the 5kay. (hanks a lot.

so#eti#es it #ay take an hour or two

latest.Cut,better all before you o#e.

Dialogue '' F7)"EB :E7@S -6FE: H:.C<)D: -6FE: H:.C<)D: -6FE: H:.C<)D: -EFE: that raise in salary. H:.C<)D: )5(E. Jgas (om/any 0 +ubli utility o#+any +roviding natural or #anufa tured gas for heating , ooking , et . J" think we1re doing the right thihg . 0 6 think we are orre tly . J afford a new furna(e 0 +ay for a new furna e. E"a tly #y thoughts. (he gas o#+any +honed this afternoon. <bout the gas stove that we ordered ? ;es, and also about the gas furna e you asked about . -hat did they say? (hey7re going to send so#eone out to talk with us about the furna e. &ood. 6 think we7re doing the right thing. (he old furna e 6 agree.-e should be able to afford a new furna e now that you got

9ust isn7t very effi ient any#ore.

Dialogue'0 :E7@@"@G 7 ?US"@ESS T=": D<VE: D5): D<VE: D5): D<VE: D5): D<VE: D5): )5(E. J@o need.0 it7s not ne essary. JHave a good tri/. 0 Have a +leasant , su essful tri+. -hen shall 6 say that you will arrive? (ell the# that 6 +lan to be there by to#orrow afternoon. .hall 6 have the# #ake a hotel reservation for you? )o need. 6 #ade one last week by tele+hone. Do you +lan to stay longer than three days? 6 don7t think so. 6 an take are of all the ne essary business in three days . -ell , have a good tri+. (hank you.

Dialogue '5 7 SH&=T D"S4USS"&@ O5.<'6E: (O<D;: O5.<'6E: (O<D;: O5.<'6E: (O<D;: O5.<'6E<: (O<D;: O5.<'6E: )5(E. J(oming over 0 o#ing to visit. JEike what# 0 For e"a#+le? Jwork on his (ar 0 helf re+air his ar Don ]t forget ,4i# and <drian are o#ing over tonight 6 thought they were o#ing ne"t week. )o.(onight7s the night.6 told you at least a half a doEen ti#es 2 -ell, 6 forget. ;ou forget all too easily if you ask #e. <nyway ,67ve #ade other +lans. 'ike what? 6 told Frank 67d hel+ hi# work on his ar. (hen, you7ll 9ust have to tell hi# you an7t o#e.

Dialogue '8 F7)"EB SCU7??EE CO5(HEO: .6.(EO: CO5(HEO: .6.(HEO: CO5(HEO: .6.(EO: CO5(HEO: .6.(EO: CO5(HEO: )5(E. Js6uabble 0 noisy *uarrel having little i#+ortan e J3ust hold your horsesF 0 Don7t be so i#+atient2 JEine at the /um/ 0 line of waiting ars at the gasoline +u#+ Jnot 6uite ready 0 not o#+letely ready Do#e on2 6t7s ti#e to go2 -ait a #inute2 4ust hold your horses2 -hat7s your hurry, anyway? -ell , 67ve got to sto+ and get gas in the ar,first. (hat won7t take long. -ell , it won7t if there7s no line at the +u#+. -ell, 67# not *uite ready. 67ll give you five #ore #inutes, then 67# going on without you2 ;ou wouldn7t do a thing like that 2 5h, yes 6 would2