关于代沟的剧本
⑴ 求《激情燃烧的岁月》剧本，陈坪改编的版本。
朋友 没有 剧本版的 谁那么勤奋会打出那么多字呢？~呵呵
我建议你不要在网上看书，对眼睛很有坏处的。
下面的是详解：~-~
全国解放前夕，在部队进城的欢迎仪式上，充满青春活力的楮琴(吕丽萍饰)强烈地吸引隹身经百战的石光荣，他凭籍军人的天性立即发起进攻，在楮琴父母和组织上的支持下，与心爱的人举行了热烈单纯的军人婚礼。这使对楮琴一往情深的谢枫丧失了理智，他要开枪打死石光荣。石光荣以一个军人的方式面对谢枫，使谢枫感到自愧不如。此后，谢枫在抗美援朝战争中英勇牺牲。
文弱书生谢枫的牺牲，赢得了石光荣的尊敬和惋惜。但是楮琴却误解为是自己和石光荣害死了谢枫，这心结扩大了与石光荣性格、生长环境和感情理解的差异，原本可以解释的事情，在楮琴这里变得不可理喻。
长期的战斗生活使部队和战友成为了石光荣生命中的一个部分，这让楮琴认定丈夫的心里只有战争和战友。
在部队中，石光荣呼风唤雨，如鱼得水；在家庭生活中，他显得很孤单，很力不从心。孩子们长大了，个个性格倔强，成长环境的差距使得他们与石光荣之间的代沟尤为明显。
在几十年的风风雨雨中，因为参军、因为与靠山屯乡亲们的来往、因为很小的家庭琐事，……石光荣家的成员们为了自己坚持的原则不断地冲突、摩擦。石光荣为了孩子们能成为真正意义上的战士，往往采取极端手段，这经常使石光荣在家中陷入了四面楚歌的境地，楮琴不能容忍石光荣对孩子的严厉，也不能忍受石光荣在家庭生活中的独断专行。
时间是一个伟大的教师，长期的共同生活让石光荣和楮琴学会了忍让和理解，他们在冲突和摩擦中不断地贴近对方。楮琴清楚地感受到石光荣的激情依旧在燃烧，而且越发炽热。
在石光荣生活垂危的时候，楮琴和孩子们才真正认识到他们和他的感情有多么的深，在这个英勇的军人身人蕴藏着多么可贵品格，他是那样的称职，在他无数的行动中，他使他的生命与他们的生命是融合得如此完美。
⑵ 关于写家庭代沟的剧本。
新结婚时代
中国式离婚
都属于这个范畴
⑶ 求一英语剧本，关于代沟的
你把《the rules of the game》（英语短文）改一改就行了
⑷ 跪求！6人英语短剧剧本 主题为:代沟之婚姻观与爱情观 急！！！
Generation gap 代沟
views of marriage and love
婚姻和爱情观
⑸ 求小品剧本
我记得自己第一年来工作就任教三个毕业班班，当时自己很珍惜这种机会，正象在座各位第一年参加工作一样，是初生牛犊不怕虎，既充满活力，又充满热情，还比较自负，认为教中学是小菜一碟，绰绰有余，no problem。但结果呢，却事与愿违，根本不是那么回事。原因就在于我一开始的想法就与现实相差太大，自己想当然认为学生肯定会听老师话，肯定是“善有善报”，一厢情愿地认为自己这么全身心热爱学生，学生就应该会感激老师，热爱老师。
但我错了，而且是大错特错。
虽然，为了增加师生亲和力，我也曾经懂了不少脑，想了不少方法，比如说我在第一堂课上就能叫出每一个同学的名字，课堂教学中根本不用打开课本就能告诉学生哪个知识点在书上哪地方，多少页，学生当时也确实眼前一亮过。但仅仅是一亮而已，大多数学生学习政治却是越来越没有兴趣，越来越没有激情。
结果，课堂纪律就成了严重问题。
结果，我就走向了另外一个极端：轻易地改变了自己，使用了别人传授的一个歪点子，即对学生要凶！
但结果，事情就更糟了，连好学生也不愿意听，不愿意和我接触了，我成了彻头彻尾的孤家寡人。
这个时候，幸好是我的指导老师拯救了我，他找到我一针见血地对我说：1、教育要讲艺术；2、对待学生要有耐心，要允许学生犯错误；3、对违反课堂纪律的学生千万不能简单粗暴处理。真正的教育要“道”、“技”结合。
他分析我造成被动局面的根源是师生之间产生了严重的误会，建议我应该找个机会和学生一起互相敞开心扉，坦诚交换意见，争取尽快在沟通中消除成见，尽快实现团结一致向前进的目标。
我诚恳地接受了他的意见，并在班主任的大力协助下，用了一节班会课时间专门和学生进行了面对面地座谈，我首先诚恳地向大家检讨，承认自己批评在教育教学中存在的一些问题，承认自己处理问题比较简单粗暴，使大家对老师产生了一些隔阂，并开诚布公地对大家谈了自己一些愿望。座谈开始虽然还比较尖锐，但越到后来气氛就越来越融洽了，学生们也诚恳地谈了一些看法。一节课下来，大家才终于冰释前嫌了。
最后，大家的毕业考试成绩没有受到影响。
2
一次，有个学生上课时转头与同学说话，被我发现后批评了一通。之后，她变得闷闷不乐，问她怎么回事就不说。后来，在信箱里收到她的一封信，我才明白原来那节课上是同桌跟她借东西，她才转过去 。她写道：“……老师，我真的没说废话呀！你却批评我，我真的没说……”我恍然大悟，忙去向她道歉，并说明老师也不是有意的，只是希望同学们听讲专心些，希望能原谅。她听后，重展笑脸了。
第一单元 相亲相爱一家人
第一课 爱在屋檐下
1、什么是家庭？家庭的最大特点是？
家庭是由婚姻关系、血缘关系或收养关系结合成的亲属生活组织。特点：家里有亲人，家中有亲情。
2、家庭关系确立的几种情形：
①依照法定条件和法定程序结婚,组成新的家庭；②因生育导致的血缘关系结合成家庭；③依照法定条件和法定程序收养而组成家庭；④随父母再婚组建新的家庭。⑤非婚生子女与生身父母间的法定权利义务关系仍然存在
3、家庭结构的类型
一般是：核心家庭，主干家庭，少量是：单亲家庭，联合家庭
4、为什么子女与父母的血缘关系不可改变？
在家庭关系中,最主要的是子女与父母的关系。父母子女关系的确立，绝大多数基于血缘关系。我们与父母之间的关系无可选择，无法改变。
5、我们与家庭的关系
家庭是我们成长的摇篮和港湾，是第一所学校；父母是我们最亲的人，也是我们的第一任老师。家，是我们的情感栖息地，是我们的物质生活后盾、安全健康保障，还是我们的娱乐天地、天然学校和今后发展的大本营。
6、我们作子女的为什么要孝敬父母？
①父母不仅赋予我们生命，而且含辛茹苦地哺育我们成长，教我们做人，②父母为家庭作出了贡献，为我们付出了很多，理应得到爱的回报，受到我们的孝敬。③青少年应当继承和弘扬中华民族孝亲敬长的优良传统。④孝敬父母还是子女对父母应尽的道德义务和法律义务。
7、“孝敬父母”的内容包括什么？
孝敬父母，就是子女对父母的尊敬、侍奉和赡养。其中最重要的是敬重和爱戴父母。成年子女如果不履行赡养扶助父母的义务，不仅要受到舆论的谴责，还要受到法律的惩罚。
8、我们应该怎样孝敬父母？
（1）孝敬父母不能停留在口头上，而要体现在日常生活中一件件小事上。
（2）爱父母，心里想着父母，理解、关心父母；行动上帮助父母，为父母分忧；努力学习、积极上进，让父母高兴。这样都是孝敬父母的表现。
9、孝敬父母需要付出
孝敬父母要付出代价，可能付出时间，付出感情，付出体力，甚至委屈自己，但是孝敬父母收获的是甜蜜。
第二课 我与父母交朋友
1、代沟产生的原因和实质
我们与父母的年龄差异，是产生代沟的直接原因。
代沟的实质是反映在年龄差异背后的多重代际差异。
2、“爱的冲突”
我们与父母的冲突，往往基于父母多我们的高期待、严要求。这种在我们看来有些苛刻的“严”，反映出父母对我们的爱。
3、逆反心理的主要表现？
要我这样,我偏要那样；你说这个好,我非说那个好；让我相信这个,我非要相信那个不可。
4、逆反心理产生的原因？
客观原因：代沟往往导致两代人在某些问题上产生分歧,使子女对父母的思想观念、管教方法、严格要求，常常产生反感,即产生逆反心理。
子女的心理原因：从子女角度看,产生逆反心理往往由于为了维护自己的良好形象和自尊,有时不能控制自己,独立意识比小时侯明显增强,有了不同于父母的兴趣和追求。
5、怎样正确看待逆反心理？
对于逆反心理和逆反行为，要具体分析，不能一概说是错的,有的反抗不无道理。父母不是圣人,他们的观念有时滞后；在家庭教育方面,他们难免有误区。与父母平等地交往，有助于帮助父母更新观念、走出家教的误区，也有助于我们做出正确的行为选择。
6、逆反心理的危害有哪些？
在多数情况下，逆反心理导致的对父母的反抗，其结果都是惩罚了自己；这种结果也是对父母的一种伤害。
7、我们应如何看待与父母的矛盾？
对于家中父母与我们产生的矛盾和代沟,不能否认、不能漠视，也不能夸大，积极的做法是从现实中架起沟通的桥梁。
8、有效沟通要掌握基本要领：彼此了解是前提,尊重理解是关键。理解父母的有效方法是换位思考,沟通的结果要求同存异。
9、同父母交往的艺术（经验和窍门）有哪些？
⑴赞赏父母,交往起来无烦恼
⑵认真聆听,交往起来免误会
⑶帮助父母,交往起来无障碍
(4)在家庭交往中,与父母不必太计较
第二单元 师友结伴同行
第三课 同侪携手共进
1、 怎样让自己的朋友更多一些？
在与同学的交往中，如果保持积极开放的心态,我们就会接触更多的人，分享更多的经验和快乐，同时也会被更多的人接纳。良好的人际关系是相互选择的结果。积极交往,友谊之树才会枝繁叶茂；开放自我,我们的性格才会更开朗,人生才能更精彩。
2、 在交友的过程中，我们应把握哪些交友原则？
⑴交友要平等互惠,给予和分担必须是双向的,这样才能做到双赢和多赢。
⑵宽容他人,尊重差异,加强沟通,就会交到更多有趣的朋友,获得更为持久的友谊。
⑶真正的友谊要坦诚,原则面前要坚定,不能以牺牲原则为代价维持友谊。
⑷与社会上的人交朋友,要乐交诤友,不交损友。
3、 男女同学正常交往的意义有哪些？
（1）异性同学间的交往是学校生活的重要内容,让中学生获得更丰富的友谊。
（2）男女同学之间的交往,可以增进我们对异性的了解,学习对方的长处,完善自己的个性,促进身心健康发展。
（3）可以扩大交往范围,锻炼交往能力。
（4）还可以学习如何适应社会对不同性别的要求,增进性别意识,使男生成长为男子汉,女生成长为好姑娘。
4、男女生之间怎样进行正常健康的交往？
男女生之间的交往,既需要互相尊重,又要自重自爱；既要开放自己,又要掌握分寸；既要主动热情,又要注意交往的方式、场合、时间和频率。
5、 怎样看待我们对异性产生的好感？
随着青春期的到来，我们的生理和心理都发生了一系列变化。我们开始关注异性，渴望接触、了解异性，甚至可能萌发对异性的好感或爱慕之情。这是正常、自然又美丽的事。
6、 正确对待男女同学之间的情感
男女同学之间的情感,需要慎重对待,理智处理。
7、同异幸福往中，我们应如何保护自己？
（1） 在同异性进行交往时,社会的法律、道德，学校的纪律、守则,社会的良好习俗,健康的文化环境,给我们提供了外界的保护。增强自我保护意识,掌握自我保护的方法,加强自律,是对自己最好的保护。
（2） 在日常生活中，女孩应①保持庄重，不丧失警惕②受到性侵害时，沉着应对，不惊慌失措，机智求救③和自己喜欢的男孩单独相处时，要善于保护自己。
第四课 老师伴我成长
1、 师生关系对我们成长的影响
师生关系不仅影响我们的学习质量,而且影响我们的身心发展。在与老师的交往中，尊敬老师,是我们应有的道德品质；善于和老师沟通，是我们需要学习的一项重要能力。
2、 老师工作有什么特点？
教师是人类文明的传播者。老师教给我们做人的道理,帮助我们掌握科学文化知识和技能,被誉为人类灵魂的工程师。
3、 信息技术为什么无法取代老师的作用？
⑴老师教给我们思考的方法,让我们产生探求知识的愿望
⑵老师用人格影响我们的人格，老师的巨大力量在于做出榜样。
⑶教育是人与人之间心灵的沟通,是人的精神的生长和充盈。
老师在我们的成长中发挥着不可替代的作用。
4、 传统的师生关系是什么样的？
长期以来,学生把老师看作权威,而学生更多地扮演着“遵从者”的角色，这种不对等的关系造成了师生间的隔阂，影响了师生间的交往。
5、 新型的师生关系是什么样的？
新型的师生关系建立在民主平等的基础上,师生之间人格平等、互相尊重,互相学习、教学相长。老师是我们学习的合作者、引导者和参与者,是我们的朋友。
6、 师生交往的前提是什么？（主动沟通的重要意义）
主动沟通是一切交往的前提。化解与老师的误解、矛盾，增进与老师的感情，一切从主动沟通开始。沟通会产生理解,理解会产生信任。
7、 师生沟通的方法有哪些？
⑴站在老师的角度看问题,即换位思考。我们如果能从老师的角度、立场考虑问题，设身处地的为老师着想，就能理解老师的想法，从而顺利地化解师生之间的冲突。
⑵正确对待老师的表扬和批评。表扬好比加油站，要再接再厉；批评好比防疫站或急诊室，要做到有则改之，无则加勉。
⑶原谅老师的错误。用恰当的方式指出老师的错误是对他的尊重，所谓恰当的方式，就是要考虑到犯错误者的情感，不伤害老师。
8、 师生交往的礼仪
⑴礼貌待师。
⑵注意场合。
⑶勿失分寸。
⑹ 求一部反映父母与子女的隔阂的课本剧
老公属兔，女儿也属兔，人说三年一个代沟，这24年啊！于是常常能听到女儿狂吼，“代沟啊，让人怎么活？”
女儿放假回家，老公特意下厨做了很多美味，边介绍，“这个汤美容，这个菜补钙……”我也赶紧给女儿夹菜，“你看你爸爸对你多好啊，平时他可是衣来伸手饭来张口哦！”女儿迟疑着，“唉，这么多好吃的，这个假期肯定会胖的！”老公给女儿盛汤，问：“你现在有多重？”“48啦！”女儿抿了一口汤，悻悻地回答。“嗯，是标准体重！”老公边嚼着边打量女儿，眼睛开始眯缝着。“真的啊，老爸也觉得这是标准体重啊！”女儿故意狠狠地喝了一口，笑嘻嘻地看着老公。“是呀，标准体重。不过不要听错了，我说的是标准体重，不是标准身材！”老公故作正经，而我已经抱着肚子蹲下了。只听女儿狂吼，“代沟啊！”
又有一日，女儿买了一件棉服，颜色灰灰的，女儿却雀跃着告诉我那是新款韩版衣服，今年正流行，说完放沙发上后陪我出去买菜。待买菜归来，沙发上的衣服已经不见了，女儿作大惊失色状，“进贼啦进贼啦，新买的衣服不见啦！”老公把电视机的声音调低，“什么进贼啦？”“我的那件衣服不见啦，刚还放在沙发上呢，老妈作证！”女儿赶紧把我拉上前，我也忙点点头。“你说的是那件灰灰的棉服吧，嗨，我已经给你奶奶啦！”女儿睁大眼睛作疑惑状，我也有点不明白啦！“嗨，你不是给奶奶买的吗？我刚才让她收起来了，奶奶还夸你懂事呢！”老公正准备回头看电视，我边狂笑边作解释，那确实是女儿刚买的新款衣服，是她们姐妹淘中最流行的款式。老公却嘟哝着，“你看那颜色，那样式，明明是老年人的衣服……”女儿这次是真的大惊失色啦，“代沟啊！”
于是就这样，整个假期，整个屋里常常回荡女儿“代沟啊”的吼声。到了开学，临走前我开始叮嘱她到了学校一定要好好学习，老公也开始对她强硬，“这次回去一定要把英语六级过了，知道吗？”“唉，这六级恐怕是过不了啦！”女儿作一脸沮丧样，老公转变战略，“如果400以上，说明你也努力，奖励一条裤子；如果425以上，恭喜你过了，加一双鞋子；如果500以上，那就随便挑随便选，可以了吧！”女儿作哭状，“过不了可怎么办啊，我可不想错失那么多好东西啊！”老公也有点迟疑了，这女儿一向很努力啊，怎么突然没了自信呢，于是问：“六级真的很不容易过吗？”“是呀，我们班上的男生都说世上唯六级与女子
⑺ 有关代沟的剧本
http://www.show160.com/xiaopin/
你到这里来找找看，是不是有这样的内剧本。容
⑻ 如何找英语话剧关于代沟主题
英语话剧剧本 Pygmalion
Pygmalion (By George Bernard Shaw)
ACT I
Covent Garden at 11.15 p.m. Torrents of heavy summer rain. Cab whistles blowing frantically in all directions. Pedestrians running for shelter into the market and under the portico of St. Paul's Church, where there are already several people, among them a lady and her daughter in evening dress. They are all peering out gloomily at the rain, except one man with his back turned to the rest, who seems wholly preoccupied with a notebook in which he is writing busily.
The church clock strikes the first quarter.
THE DAUGHTER
[in the space between the central pillars, close to the one on her left] I'm getting chilled to the bone. What can Freddy be doing all this time? Hes been gone twenty minutes.
THE MOTHER
[On her daughter's right] Not so long. But he ought to have got us a cab by this.
A BYSTANDER
[on the lady's right] He wont get no cab not until half-past eleven, missus, when they come back after dropping their theatre fares.
THE MOTHER
But we must have a cab. We cant stand here until half-past eleven. It's too bad.
THE BYSTANDER
Well, it aint my fault, missus.
THE DAUGHTER
If Freddy had a bit of gumption, he would have got one at the theatre door.
THE MOTHER
What could he have done, poor boy?
THE DAUGHTER
Other people got cabs. Why couldnt he?
Freddy rushes in out of the rain from the Southampton Street side, and comes between them closing a dripping umbrella. He is a young man of twenty, in evening dress, very wet around the ankles.
THE DAUGHTER
Well, havnt you got a cab?
FREDDY
Theres not one to be had for love or money.
THE MOTHER
Oh, Freddy, there must be one. You cant have tried.
THE DAUGHTER
It's too tiresome. Do you expect us to go and get one ourselves?
FREDDY
I tell you theyre all engaged. The rain was so sudden: nobody was prepared; and everybody had to take a cab. Ive been to Charing Cross one way and nearly to Ludgate Circus the other; and they were all engaged.
THE MOTHER
Did you try Trafalgar Square?
FREDDY
There wasnt one at Trafalgar Square.
THE DAUGHTER
Did you try?
FREDDY
I tried as far as Charing Cross Station. Did you expect me to walk to Hammersmith?
THE DAUGHTER
You havnt tried at all.
THE MOTHER
You really are very helpless, Freddy. Go again; and dont come back until you have found a cab.
FREDDY
I shall simply get soaked for nothing.
THE DAUGHTER
And what about us? Are we to stay here all night in this draught, with next to nothing on. You selfish pig--
FREDDY
Oh, very well: I'll go, I'll go. [He opens his umbrella and dashes off Strandwards, but comes into collision with a flower girl, who is hurrying in for shelter, knocking her basket out of her hands. A blinding flash of lightning, followed instantly by a rattling peal of thunder, orchestrates the incident].
THE FLOWER GIRL
Nah then, Freddy: look wh' y' gowin, deah.
FREDDY
Sorry [he rushes off].
THE FLOWER GIRL
[picking up her scattered flowers and replacing them in the basket] Theres menners f' yer! Te-oo banches o voylets trod into the mad. [She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the st and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist].
THE MOTHER
How do you know that my son's name is Freddy, pray?
THE FLOWER GIRL
Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy athaht pyin. Will ye-oo py me f'them? [Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.]
THE DAUGHTER
Do nothing of the sort, mother. The idea!
THE MOTHER
Please allow me, Clara. Have you any pennies?
THE DAUGHTER
No. I've nothing smaller than sixpence.
THE FLOWER GIRL
[hopefully] I can give you change for a tanner, kind lady.
THE MOTHER
[to Clara] Give it to me. [Clara parts reluctantly]. Now [to the girl] This is for your flowers.
THE FLOWER GIRL
Thank you kindly, lady.
THE DAUGHTER
Make her give you the change. These things are only a penny a bunch.
THE MOTHER
Do hold your tongue, Clara. [To the girl]. You can keep the change.
THE FLOWER GIRL
Oh, thank you, lady.
THE MOTHER
Now tell me how you know that young gentleman's name.
THE FLOWER GIRL
I didnt.
THE MOTHER
I heard you call him by it. Dont try to deceive me.
THE FLOWER GIRL
[protesting] Whos trying to deceive you? I called him Freddy or Charlie same as you might yourself if you was talking to a stranger and wished to be pleasant. [She sits down beside her basket].
THE DAUGHTER
Sixpence thrown away! Really, mamma, you might have spared Freddy that. [She retreats in disgust behind the pillar].
An elderly gentleman of the amiable military type rushes into shelter, and closes a dripping umbrella. He is in the same plight as Freddy, very wet about the ankles. He is in evening dress, with a light overcoat. He takes the place left vacant by the daughter's retirement.
THE GENTLEMAN
Phew!
THE MOTHER
[to the gentleman] Oh, sir, is there any sign of its stopping?
THE GENTLEMAN
I'm afraid not. It started worse than ever about two minutes ago. [He goes to the plinth beside the flower girl; puts up his foot on it; and stoops to turn down his trouser ends].
THE MOTHER
Oh, dear! [She retires sadly and joins her daughter].
THE FLOWER GIRL
[taking advantage of the military gentleman's proximity to establish friendly relations with him]. If it's worse it's a sign it's nearly over. So cheer up, Captain; and buy a flower off a poor girl.
THE GENTLEMAN
I'm sorry, I havnt any change.
THE FLOWER GIRL
I can give you change, Captain.
THE GENTLEMEN
For a sovereign? Ive nothing less.
THE FLOWER GIRL
Garn! Oh do buy a flower off me, Captain. I can change half-a-crown. Take this for tuppence.
THE GENTLEMAN
Now dont be troublesome: theres a good girl. [Trying his pockets] I really havnt any change--Stop: heres three hapence, if thats any use to you [he retreats to the other pillar].
THE FLOWER GIRL
[disappointed, but thinking three halfpence better than nothing] Thank you, sir.
THE BYSTANDER
[to the girl] You be careful: give him a flower for it. Theres a bloke here behind taking down every blessed word youre saying. [All turn to the man who is taking notes].
THE FLOWER GIRL
[springing up terrified] I aint done nothing wrong by speaking to the gentleman. Ive a right to sell flowers if I keep off the kerb. [Hysterically] I'm a respectable girl: so help me, I never spoke to him except to ask him to buy a flower off me. [General hubbub, mostly sympathetic to the flower girl, but deprecating her excessive sensibility. Cries of Dont start hollerin. Whos hurting you? Nobody's going to touch you. Whats the good of fussing? Steady on. Easy, easy, etc., come from the elderly staid spectators, who pat her comfortingly. Less patient ones bid her shut her head, or ask her roughly what is wrong with her. A remoter group, not knowing what the matter is, crowd in and increase the noise with question and answer: Whats the row? What she do? Where is he? A tec taking her down. What! him? Yes: him over there: Took money off the gentleman, etc. The flower girl, distraught and mobbed, breaks through them to the gentleman, crying wildly] Oh, sir, dont let him charge me. You nno what it means to me. Theyll take away my character and drive me on the streets for speaking to gentlemen. They--
THE NOTE TAKER
[coming forward on her right, the rest crowding after him] There, there, there, there! whos hurting you, you silly girl? What do you take me for?
THE BYSTANDER
It's all right: hes a gentleman: look at his boots. [Explaining to the note taker] She thought you was a copper's nark, sir.
THE NOTE TAKER
[with quick interest] Whats a copper's nark?
THE BYSTANDER
[inapt at definition] It's a--well, it's a copper's nark, as you might say. What else would you call it? A sort of informer.
THE FLOWER GIRL
[still hysterical] I take my Bible oath I never said a word--
THE NOTE TAKER
[overbearing but good-humored] Oh, shut up, shut up. Do I look like a policeman?
THE FLOWER GIRL
[far from reassured] Then what did you take down my words for? How do I know whether you took me down right? You just shew me what youve wrote about me. [The note taker opens his book and holds it steadily under her nose, though the pressure of the mob trying to read it over his shoulders would upset a weaker man]. Whats that? That aint proper writing. I cant read that.
THE NOTE TAKER
I can. [Reads, reprocing her pronunciation exactly] "Cheer ap, Keptin; n' baw ya flahr orf a pore gel."
THE FLOWER GIRL
[much distressed] It's because I called him Captain. I meant no harm. [To the gentleman] Oh, sir, dont let him lay a charge agen me for a word like that. You--
THE GENTLEMAN
Charge! I make no charge. [To the note taker] Really, sir, if you are a detective, you need not begin protecting me against molestation by young women until I ask you. Anybody could see that the girl meant no harm.
THE BYSTANDERS GENERALLY
[demonstrating against police espionage] Course they could. What business is it of yours? You mind your own affairs. He wants promotion, he does. Taking down people's words! Girl never said a word to him. What harm if she did? Nice thing a girl cant shelter from the rain without being insulted, etc., etc., etc. [She is concted by the more sympathetic demonstrators back to her plinth, where she resumes her seat and struggles with her emotion.]
THE BYSTANDER
He aint a tec. Hes a blooming busybody: thats what he is. I tell you, look at his boots.
THE NOTE TAKER
[turning on him genially] And how are all your people down at Selsey?
THE BYSTANDER
[suspiciously] Who told you my people come from Selsey?
THE NOTE TAKER
Never you mind. They did. [To the girl] How do you come to be up so far east? You were born in Lisson Grove.
THE FLOWER GIRL
[appalled] Oh, what harm is there in my leaving Lisson Grove? It wasnt fit for a pig to live in; and I had to pay four-and-six a week. [In tears] Oh, boo--hoo--oo--
THE NOTE TAKER
Live where you like; but stop that noise.
THE GENTLEMAN
[to the girl] Come, come! he cant touch you: you have a right to live where you please.
A SARCASTIC BYSTANDER
[thrusting himself between the note taker and the gentleman] Park Lane, for instance. Id like to go into the Housing Question with you, I would.
THE FLOWER GIRL
[subsiding into a brooding melancholy over her basket, and talking very low-spiritedly to herself] I'm a good girl, I am.
THE SARCASTIC BYSTANDER
[not attending to her] Do you know where I come from?
THE NOTE TAKER
[promptly] Hoxton.
Titterings. Popular interest in the note taker's performance increases.
THE SARCASTIC ONE
[amazed] Well, who said I didnt? Bly me! You know everything, you do.
THE FLOWER GIRL
[still nursing her sense of injury] Aint no call to meddle with me, he aint.
THE BYSTANDER
[to her] Of course he aint. Dont you stand it from him. [To the note taker] See here: what call have you to know about people what never offered to meddle with you? Wheres your warrant?
SEVERAL BYSTANDERS
[encouraged by this seeming point of law] Yes: wheres your warrant?
THE FLOWER GIRL
Let him say what he likes. I dont want to have no truck with him.
THE BYSTANDER
You take us for dirt under your feet, dont you? Catch you taking liberties with a gentleman!
THE SARCASTIC BYSTANDER
Yes: tell h i m where he come from if you want to go fortune-telling.
THE NOTE TAKER
Cheltenham, Harrow, Cambridge, and India.
THE GENTLEMAN
Quite right. [Great laughter. Reaction in the note taker's favor. Exclamations of He knows all about it. Told him proper. Hear him tell the toff where he come from? etc.]. May I ask, sir, do you do this for your living at a music hall?
THE NOTE TAKER
Ive thought of that. Perhaps I shall some day.
The rain has stopped; and the persons on the outside of the crowd begin to drop off.
THE FLOWER GIRL
[resenting the reaction] Hes no gentleman, he aint, to interfere with a poor girl.
THE DAUGHTER
[out of patience, pushing her way rudely to the front and displacing the gentleman, who politely retires to the other side of the pillar] What on earth is Freddy doing? I shall get pneumonia if I stay in this draught any longer.
THE NOTE TAKER
[to himself, hastily making a note of her pronunciation of "monia"] Earlscourt.
THE DAUGHTER
[violently] Will you please keep your impertinent remarks to yourself?
THE NOTE TAKER
Did I say that out loud? I didnt mean to. I beg your pardon. Your mother's Epsom, unmistakeably.
THE MOTHER
[advancing between her daughter and the note taker] How very curious! I was brought up in Largelady Park, near Epsom.
THE NOTE TAKER
[uproariously amused] Ha! ha! What a devil of a name! Excuse me. [To the daughter] You want a cab, do you?
THE DAUGHTER
Dont dare speak to me.
THE MOTHER
Oh, please, please Clara. [Her daughter repudiates her with an angry shrug and retires haughtily.] We should be so grateful to you, sir, if you found us a cab. [The note taker proces a whistle]. Oh, thank you. [She joins her daughter].
The note taker blows a piercing blast.
THE SARCASTIC BYSTANDER
There! I knowed he was a plain-clothes copper.
THE BYSTANDER
That aint a police whistle: thats a sporting whistle.
THE FLOWER GIRL
[still preoccupied with her wounded feelings] Hes no right to take away my character. My character is the same to me as any lady's.
THE NOTE TAKER
I dont know whether youve noticed it; but the rain stopped about two minutes ago.
THE BYSTANDER
So it has. Why didnt you say so before? and us losing our time listening to your silliness. [He walks off towards the Strand].
THE SARCASTIC BYSTANDER
I can tell where you come from. You come from Anwell. Go back there.
THE NOTE TAKER
[helpfully] Hanwell.
THE SARCASTIC BYSTANDER
[affecting great distinction of speech] Thenk you, teacher. Haw haw! So long [he touches his hat with mock respect and strolls off].
THE FLOWER GIRL
Frightening people like that! How would he like it himself.
THE MOTHER
It's quite fine now, Clara. We can walk to a motor bus. Come. [She gathers her skirts above her ankles and hurries off towards the Strand].
THE DAUGHTER
But the cab--[her mother is out of hearing]. Oh, how tiresome! [She follows angrily].
All the rest have gone except the note taker, the gentleman, and the flower girl, who sits arranging her basket, and still pitying herself in murmurs.
THE FLOWER GIRL
Poor girl! Hard enough for her to live without being worrited and chivied.
THE GENTLEMAN
[returning to his former place on the note taker's left] How do you do it, if I may ask?
THE NOTE TAKER
Simply phonetics. The science of speech. Thats my profession: also my hobby. Happy is the man who can make a living by his hobby! You can spot an Irishman or a Yorkshireman by his brogue. I can place any man within six miles. I can place him within two miles in London. Sometimes within two streets.
THE FLOWER GIRL
Ought to be ashamed of himself, unmanly coward!
THE GENTLEMAN
But is there a living in that?
THE NOTE TAKER
Oh yes. Quite a fat one. This is an age of upstarts. Men begin in Kentish Town with ?0 a year, and end in Park Lane with a hundred thousand. They want to drop Kentish Town; but they give themselves away every time they open their mouths. Now I can teach them--
THE FLOWER GIRL
Let him mind his own business and leave a poor girl--
THE NOTE TAKER
[explosively] Woman: cease this detestable boohooing instantly; or else seek the shelter of some other place of worship.
THE FLOWER GIRL
[with feeble defiance] Ive a right to be here if I like, same as you.
THE NOTE TAKER
A woman who utters such depressing and disgusting sounds has no right to be anywhere--no right to live. Remember that you are a human being with a soul and the divine gift of articulate speech: that your native language is the language of Shakespear and Milton and The Bible; and dont sit there crooning like a bilious pigeon.
THE FLOWER GIRL
[quite overwhelmed, and looking up at him in mingled wonder and deprecation without daring to raise her head] Ah-ah-ah-ow-ow-ow-oo!
THE NOTE TAKER
[whipping out his book] Heavens! what a sound! [He writes; then holds out the book and reads, reprocing her vowels exactly] Ah-ah-ah-ow-ow-ow-oo!
THE FLOWER GIRL
[tickled by the performance, and laughing in spite of herself] Garn!
THE NOTE TAKER
You see this creature with her kerbstone English: the English that will keep her in the gutter to the end of her days. Well, sir, in three months I could pass that girl off as a chess at an ambassador's garden party. I could even get her a place as lady's maid or shop assistant, which requires better English. Thats the sort of thing I do for commercial millionaires. And on the profits of it I do genuine scientific work in phonetics, and a little as a poet on Miltonic lines.
THE GENTLEMAN
I am myself a student of Indian dialects; and--
THE NOTE TAKER
[eagerly] Are you? Do you know Colonel Pickering, the author of Spoken Sanscrit?
THE GENTLEMAN
I am Colonel Pickering. Who are you?
THE NOTE TAKER
Henry Higgins, author of Higgins's Universal Alphabet.
PICKERING
[with enthusiasm] I came from India to meet you.
HIGGINS
I was going to India to meet you.
PICKERING
Where do you live?
HIGGINS
27A Wimpole Street. Come and see me tomorrow.
PICKERING
I'm at the Carlton. Come with me now and lets have a jaw over some supper.
HIGGINS
Right you are.
THE FLOWER GIRL
[to Pickering, as he passes her] Buy a flower, kind gentleman. I'm short for my lodging.
PICKERING
I really havnt any change. I'm sorry [he goes away].
HIGGINS
[shocked at girl's mendacity] Liar. You said you could change half-a-crown.
THE FLOWER GIRL
[rising in desperation] You ought to be stuffed with nails, you ought. [Flinging the basket at his feet] Take the whole blooming basket for sixpence.
The church clock strikes the second quarter.
HIGGINS
[hearing in it the voice of God, rebuking him for his Pharisaic want of charity to the poor girl] A reminder. [He raises his hat solemnly; then throws a handful of money into the basket and follows Pickering].
THE FLOWER GIRL
[picking up a half-crown] Ah-ow-ooh! [Picking up a couple of florins] Aaah-ow-ooh! [Picking up several coins] Aaaaaah-ow-ooh! [Picking up a half-sovereign] Aaaaaaaaaaaah-ow-ooh!!!
FREDDY
[springing out of a taxicab] Got one at last. Hallo! [To the girl] Where are the two ladies that were here?
THE FLOWER GIRL
They walked to the bus when the rain stopped.
FREDDY
And left me with a cab on my hands. Damnation!
THE FLOWER GIRL
[with grandeur] Never you mind, young man. I'm going home in a taxi. [She sails off to the cab. The driver puts his hand behind him and holds the door firmly shut against her. Quite understanding his mistrust, she shews him her handful of money.] Eightpence aint no object to me, Charlie. [He grins and opens the door]. Angel Court, Drury Lane, round the corner of Micklejohn's oil shop. Lets see how fast you can make her hop it. [She gets in and pulls the door to with a slam as the taxicab starts].
FREDDY
Well, I'm dashed!