A criatividade deveria ser algo a se premiar todos os dias, não importa se para melhorar a vida ou para torná-la um pouco mais divertida, mas menos para tirá-la, eh mas isso é outro assunto, vamos deixar esse terceiro de lado, o que estou falando é, humor inofensivo, porém com coisa séria, ora vamos.
Nesta lição de Seinfeld DDM 455, é praticamente impossível não se sentir alegre pelo acontece sequencialmente com George, uma coisa pior que a outra. Mas tenho certeza que tudo foi um castigo divino por ele ter mexido justamente com algo tão sério, o dinero!
Mas é ou não um momento hilariante e revigorante quando se recebe uma nota dessas? Isso é digno de um quadro!
A amiga de George sente-se mal por não estar ajudando-o neste momento de tamanha confusão, afinal tirar sarro de qualquer má condição de saúde que apresente qualquer ser humano é desumano certo? Pois é, sem isso Seinfeld não teria ido ao ar, sem o bom e velho sarcasmo, primeira vez usado na escrita em 1579 e tido como principal para destruição, então George e seus amigos são todos intratáveis.
Aqui vemos uma pessoa extremamente normal, o problema está em sua cabeça, não julgue as pessoas, lembra?
É sempre hilariante assistir essa série que acabou antes dos anos 2000 e ver como ela moldou alguma parte da sociedade, pelo menos a que tinha TV naquela época. Hoje o sarcasmo, se você não o tiver bem desenvolvido, vai precisar visitar o médico, psiquiatra e se tratar com remedinhos mágicos.
Deixo vocês com o script da lição.
455: Christmas Crazies
A park. George and Deena are sitting on a bench…
DEENA You’re probably wondering why I wanted to see you again. (George clearly thinks he’s clicked.)
GEORGE Well, you know. (snorts—he thinks he knows) It’s understandable. (He pats Deena on the knee.)
DEENA I’m glad you feel that way. Because since my father’s breakdown I uh…become very sensitive to the warning signs.
GEORGE Warning signs? (What is she talking about?)
DEENA Nervousness, irritability, paranoia.
GEORGE (taken aback) What? What are you talking about? I’m not the one with the problem. (displaying all the warning signs) Lloyd Braun was in the nuthouse, not me.
DEENA Yet again, taking pleasure in the misfortunes of others.
GEORGE All my friends do that.
DEENA George, I’m only trying to help. I’m…I’m concerned. (George is staring past Deena at something a short distance away.) George? George, are you listening to me?
GEORGE You see that woman on the horse? (points) (Ruthie Cohen is passing by on horseback.) She stole twenty dollars from me. (getting angry) Yeah, I might’ve gotten it back, but Lloyd Braun interfered!
DEENA So, again, it all comes back to Lloyd.
GEORGE (rising to his feet) Hey! Hey, you! (setting off after her) Come back here!! Don’t gallop away!! (George runs after the trotting horse leaving Deena alone…) I’m on to you…
Monk’s. Jerry and George are in their regular spot. There’s a different cashier on duty…
JERRY So, you say she was on a horse?
GEORGE I’m telling you, that cashier is riding horses on my money.
JERRY Well, here’s what I propose. Go down to the stables, snoop around. See if any high-flying cashier’s been throwing $20 bills around with big lips. (Elaine enters.)
JERRY Well, if it isn’t Chesty LaRue.
ELAINE (sits beside Jerry) What?
JERRY I was chewing gum with Lloyd Braun, and he was bragging about the peepshow you gave him at the Alex.
ELAINE (laughing it away) Oh, God. I lost a button, so my blouse was wide open. I must’ve left it at the theater.
JERRY Maybe it’s in the Lost & Found.
ELAINE Yeah, I know. I have to go check it out. It’s a beautiful button, too, you know? It’s antique ivory. It was my mother’s.
JERRY You know, the way you were wolfing down that popcorn, maybe you ate it.
The Alex. Kramer greets a small, elderly gentleman…
KRAMER Mr Har-harwood. Well, what an unexpected surprise to have you back at the Alex Theater.
HAARWOOD Well, I…I’m in a bit of a quandary. I’ve misplaced my spectacles.
KRAMER Well, let’s look in Lost & Found, shall we? (Kramer ducks behind the counter to retrieve the Lost & Found box)
HAARWOOD They’re half-glasses. (Kramer pops his head up realizing his potential quandary)
HAARWOOD Yes, yes. (Kramer places the cardboard box marked ‘Lost and Found’ on the counter)
KRAMER Uh, yeah. Uh, well, if they’re not in the box, I’m sure they’ll turn up soon. Listen, could you keep an eye on the place? I wanna go out and get some paraffin wax and bring out the luster of this vintage countertop.
HAARWOOD Certainly. (Kramer leaves. Haarwood begins to rummage through the contents of the box. He finds something tiny. He lifts it out for a closer look. It’s the button Elaine dropped earlier.) Oh, my goodness. What a spanking button.
Outside a gift shop. George starts his car. It’s still making those grating noises. As he sits with the engine running, a car pulls up on the street behind him. The driver sounds the horn…
GEORGE (glances in mirror) Alright. Alright. (The horn sounds again) (getting annoyed) Hang on, it’s warming up! (The horn sounds several more times, impatiently. George has had enough. He gets out of his car) Oh, you mother… (George stomps around his car and up to other car) Hey! What is your problem? (The driver rolls down the window and we see who it is) Oh! Hello, it’s you! (angry) Listen, lady, I got six minutes left on that meter, and I’m not budging until you admit you stole my twenty dollars. (smugly laughing) You’re not so tough when you’re not on your horse, are you, Ruthie?
CASHIER Your car’s on fire. (The reflection of leaping flames can be seen in Ruthie’s window)
GEORGE Ah~~ (George dashes off back to his car) Fire!
CASHIER (after George) Merry Christmas! (Flames are coming out from under the hood of the LeBaron.)
GEORGE (shouting) Fire!! (The florist is standing holding a broom. George rushes to him.) Your hose! Where’s your hose?!
FLORIST Cop made me disconnect it. (George grabs the broom from the florist, and begins beating at the flames with no effect. After a few seconds, the broom is alight)
Uma parte importante destas lições é que você deve ler tudo em voz alta, e gravar a sí mesmo, comparar com os atores e tentar atingir a excelência (hum) com o que apresentamos aqui, leia especialmente o que está marcado em azul que são as observações de Coach Shane sobre cada cena. Faça isso, boa sorte e juntos! LET’S MASTER ENGLISH!