달달구리 다이어리

 

아래의 내용은 호주에서 테솔수료증을 준비할때 작업한 WORKSHEET 자료 입니다.

 

 

WORKSHEET – UNIT 2

 

Task 1 – Create or find a short sample piece of writing that a student might produce containing at least five of the errors mentioned in the page 18 table, and annotate the text using the codes in the table.

 

e.g. Fred has gone(t) to l(p)ondon with ^ [on] last week.

(Original sentence: Fred went to London with Jenny last week.)

 

Probably the most effective way of correcting written work is by using codes in the margin or the body of the writing.

p(p)robably  ＾most effective way of correcting written(s) work are(s/p) by using code(s/p) in the margin or the body of the writing.

 

Task 2 – ****Choose one****

Structure an ESA (straight arrow pattern) based lesson for an elementary level class in which the learners would learn the vocabulary of clothes and be able to use it when describing what people wear and are wearing:

or

Structure an ESA (boomerang pattern) based lesson for a pre-intermediate class, teaching language commonly used for shopping, so that students can ask for, find the price for and purchase everyday food and clothing items:

 

Level: Elementary

Context: To know about clothes, I am going to use flash cards and word cards. I am going to teach tense ‘be wearing/wear’

Learner Objectives: For students to be able to describe clothes using flash cards.

 

Engage

T divides class into two groups.

T introduces boy and a girl flashcards.

T puts them on the board.

T asks Ss to find hidden clothes (flash cards).

T makes Ss put the picture card on a boy and a girl.

Study

T elicits target language from Ss.

T introduces Ss target language (clothes).

e.g. shirt, trousers, dress, shoes, hat

T drills pronunciation.

T gives Ss a worksheet to match pictures and words.

T gives Ss answers and feedback.

T writes sentences on the board using boy and a girl grammar.

e.g. He is wearing a shirt.

   She is wearing a hat.

T drills sentences using the 3 by 3 drill method.

T explains about ‘wear/be wearing’

e.g He is wearing~ , She is wearing

   He wears ~, She wears ~

T gives Ss worksheet including clothing pictures, words and expressions to fill in the gaps.

T monitors and gives feedback.

 

Activate

T picks a student.

T asks Ss to describe their friend.

T takes notes and gives feedback later.

Task 3 – How, what and when would you correct mistakes/errors made during the following stages: Engage-Study-Activate

 

The engage stage needs monitoring. This phase does not need feedback for the students. The teacher just listens to students and takes notes about their mistakes/errors. Even though students have a mistake, the teacher does not give feedback. In this stage, students should be comfortable.

The study stage needs accuracy, but if the teacher finds mistakes from students, the teacher does not give them the answer. The teacher just gives them hits to find by themselves.

The activate stage has to ensure fluency. During this sequence you are trying to encourage your students to be creative with their English language knowledge. If you are not joining in the activity, you should monitor without interruption.

 

Task 4 – Give three examples of student errors and explain how you would correct each.

 

There are three examples of student errors. They are grammar, pronunciation and spelling. Grammar has two parts which are writing and speaking. When students’ writing has errors, the teacher can use codes. It is correcting writing. The other is the errors of the speaking. When students have problems with speaking, the teacher can give them examples and prompts, but keep in mind that you do not give them full answer. Just give hints.

Next is pronunciation. It is difficult for the native speaker not to pronounce English well. If you want to have good pronunciation, you should follow these ways which are 3 by 3 drill, shadowing, tongue-twister, and mouth-diagram. If you repeat these ways, you can be a good speaker.

Lastly, it is spelling. The error of spelling can be solved by using codes as well. When the students find this code on writing, they can think about mistakes and can remember a better way for the future. The other is anagrams. It is fun and easy to correct spelling.

 

 

Task 5 – Based on your understanding of the unit,

which four teaching methods do you think

have most influenced current TEFL practice?

Give a brief summary of each and give reason(s) for your choice.

 

I think that the most influential current TEFL practice are communicative language teaching, task-based learning, community language learning, and suggestopaedia.

Communicative language teaching focuses on the importance of language functions as opposed to grammar and vocabulary. In addition, this approach proposes that if students have enough disclosure to the language and opportunity to use it then language learning would really take on itself. Activities in CLT typically need students to use the language in real life situations, so role-pay and simulation have become popular with method. CLT puts far more emphasis on completion of the task than the accuracy of the language. This method helps students easily understand expressions of real life and they can instantly use it.

 

 

아래의 내용은 호주에서 테솔수료증(certificate)을 준비할때 작업한 WORKSHEET 자료 입니다.

 

 

WORKSHEET – UNIT 1

 

Task 1 – List 5 qualities that a ‘good’ teacher should have and give reasons for your choices. Which of these qualities do you consider to be more important, and why?

 

A good teacher should be kind and patient. If you have shy students, you need much more patience with them because most learners have a nervous side. If you do not care about it, they will be afraid to study English.

A good teacher should really love teaching. When you are doing a job like teaching, you need to have passion for it.

A good teacher should be lively and entertaining. When I am learning something, if I feel bored, I don’t want to do it anymore. It is important to make lessons fun.

A good teacher should have good subject knowledge. When you teach English, you should know that. If you do not know about English, you cannot explain well, and learners will be lost.

A good teacher should have a good rapport and interaction with the class. Teaching is the interaction between the teacher and the students.

If you have a good relationship with the students then you can get respect from students and you can get along with them. Students focus on you as well.

 

In conclusion, all of these are important to be a good teacher. I think that one of the most significant is to love teaching. It includes everything. If you love teaching, you want to help students understand easily and you will prepare many materials which are fun for them, so it makes students happy.

 

Task 2 – List 5 qualities you would expect to find in a ‘good’ learner. Which of these qualities do you consider to be more important, and why?

 

A good learner should be willing to listen to the language. Listening is important for learners because if you don’t listen, you don’t catch anything.

A good learner should have the desire to experiment with language. When you learn the language, you should use it in your life and not forget it.

A good learner should be willing to ask questions. Learners have a lot of misunderstandings. If you are confused by something then you should ask the teacher.

A good learner should have an ability to think about your own learning process and methods. There are many ways to study English. It is important to find your own learning method.

A good learner should have an acceptance of error correction. If you have wrong information, you should change the way you learn. Sometimes, it is hard for you, but this will be good for you in the end.

 

I think that the most important thing is a desire to experiment with the language. When you learn something, if you don’t use it, it might be forgotten it, but if you use it often, you will remember forever.

 

Task 3 – Give as many reasons as possible why students are motivated to study English. The reasons that you give do not have to be in the unit reading material.

 

There are many reasons students are motivated to study English. The first reason is to get a job with a good salary. Most people want to earn a lot of money, so they should have many skills. One of these skills is English ability. That’s why people want to study English. The second reason is to speak with foreign friends. Our world has become globalized. We can go anywhere compared to the past, and can meet many people from different countries. If we want to talk with them, we should know about English. It is the common language. Thirdly, people study English to prove their ability. If I want to go to a good university, I have to have an English grade. Getting a high grade in English is a necessity in Korea. If you get a high grade you can enter a good university and then you will get a good job with a good wage. The fourth is to travel overseas. As I said, English is the official language. If you want to go abroad, you have to use English in order to what you want.

 

A ask 4 – List the levels of language ability that learners are often grouped into and give a brief summation of each level:

 

There are 6 language levels.

The first level is beginner. Beginners don’t know the basic knowledge of English and they aren’t fast and easily activated.

Second is elementary. Elementary students at this level can make easy, basic sentence structures and they can communicate on simple topics.

Third is low/pre-intermediate. They can have conversations and understand a greater variety of topics. They often need more fluency and depth of language awareness, but they might make many mistakes, even with basic structures.

Fourth is intermediate. The students of the level are able to figure out and communicate on a wide range of issues using limited vocabulary, but are still deficient in accuracy and fluency.

Fifth is upper intermediate. These students should be able to communicate well on almost all topics, using a longer range of language, but still lacking in accuracy.

The final level is advanced level. These students should have a very good knowledge of the English language and will now be studying more advanced topics.

 

 

 

 

Task 5 – What are some of the major differences you would expect to find between adult and young learners?

 

Young learners are able to better than adult learners, because they have an open-minded approach to new learning experiences and methods, and they are less nervous about it than adult learners. They are also far more likely to be able to absorb a new language without judgment. On the other hand, adult learners have a lot of motivation compared to young learners. They will usually have made their own decision to attend classes and they have a larger attention span than young learners. In addition, they naturally have more life experience to take to the classroom and they can make a good rapport with the teacher.

 

 

Task 6 – State what you consider to be the five most important roles of a teacher. Describe each role and say why you think it is important.

 

I think that the most important roles for a teacher are to manage, organize, be resourceful, prompt and monitor. Being the manager is to control. The teacher would normally be standing at the front of the class giving explanations, reading aloud and so on. Next is organizer. This role is one of the most important, as teachers often find themselves having to organize students to do various activities such as groups and pair work. It will frequently go with instructions. Next is prompter. This prompter role should gently encourage students, when students have missing information or don’t know what they are trying to say. The other is the teacher needs to guide them to be resourceful. The teacher has to prepare activities that let the students easily get on with the steps of learning a new language alone. Finally, is to monitor. This role is often during the course of a lesson, the teacher will monitor what is going on in the classroom. This can give the teacher information as to how long an activity is likely to take and how successful it has been. As you know, these are very important, because in a class we need teacher-centered methods of learning. The teacher should have power in a classroom, so they can control students and the teacher should have a lot of knowledge compared to the students. This way the teacher can give the students hints. That’s why I think that it is important.

 

 

[영어교육자료] 노팅힐 영어대본

영어 공부용으로 사용하던 영화 노팅힐 영어 대본입니다.

영어교육용으로 좋은듯합니다.

 

NOTTING HILL

Screenplay by Richard Curtis

 EXT. STREET - DAY
 
 Mix through to William, 35, relaxed, pleasant, informal.  We
 follow him as he walks down Portobello Road, carrying a load of
 bread.  It is spring.
 
    WILLIAM (V.O.)
  Of course, I've seen her films and
  always thought she was, well,
  fabulous -- but, you know,
  million miles from the world I live
  in.  Which is here -- Notting Hill
  -- not a bad place to be...
 
 EXT. PORTOBELLO ROAD - DAY

 It's a full fruit market day.

    WILLIAM (V.O.)
  There's the market on weekdays,
  selling every fruit and vegetable
  known to man...

 EXT. PORTOBELLO ROAD - DAY

 A man in denims exits the tattoo studio.

    WILLIAM (V.O.)
  The tattoo parlor -- with a guy
  outside who got drunk and now can't
  remember why he chose 'I Love Ken'...

 EXT. PORTOBELLO ROAD - DAY

    WILLIAM (V.O.)
  The racial hair-dressers where
  everyone comes out looking like the
  Cookie Monster, whether they like
  it or not...

 Sure enough, a girl exits with a huge threaded blue bouffant.

 EXT. PORTOBELLO ROAD - SATURDAY

    WILLIAM (V.O.)
  Then suddenly it's the weekend, and
  from break of day, hundreds of stalls
  appears out of nowhere, filling
  Portobello Road right up to Notting
  Hill Gate...

 A frantic crowded Portobello market.

    WILLIAM (V.O.)
  ... and thousands of people buy
  millions of antiques, some genuine...

 The camera finally settles on a stall selling beautiful stained
 glass windows of various sizes, some featuring biblical scenes
 and saints.

    WILLIAM (V.O.)
  ... and some not so genuine.

 EXT. GOLBORNE ROAD - DAY

    WILLIAM (V.O.)
  And what's great is that lots of
  friends have ended up in this part of
  London -- that's Tony, architect
  turned chef, who recently invested
  all the money he ever earned in a new
  restaurant...

 Shot of Tony proudly setting out a board outside his restaurant,
 the sign still being painted.  He receives and approves a huge
 fresh salmon.

 EXT. PORTOBELLO ROAD - DAY

    WILLIAM (V.O.)
  So this is where I spend my days
  and years -- in this small village in
  the middle of a city -- in a house
  with a blue door that my wife and I
  bought together... before she left
  me for a man who looked like Harrison
  Ford, only even handsomer...

 We arrive outside his blue-doored house just off Portobello.

    WILLIAM (V.O.)
  ... and where I now lead a strange
  half-life with a lodger called...

 INT. WILLIAM'S HOUSE - DAY

    WILLIAM
  Spike!

 The house has far too many things in it.  Definitely two-
 bachelor flat.

 Spike appears.  An unusual looking fellow.  He has unusual
 hairs, unusual facial hair and an unusual Welsh accent: very
 white, as though his flesh has never seen the sun.  He wears
 only shorts.

    SPIKE
  Even he.  Hey, you couldn't help me
  with an incredibly important
  decision, could you?

    WILLIAM
  This is important in comparison to,
  let's say, whether they should
  cancel third world debt?

    SPIKE
  That's right -- I'm at last going out
  on a date with great Janine and I just
  want to be sure I've picked the right
  t-shirt.

    WILLIAM
  What are the choices?

    SPIKE
  Well... wait for it...
   (He pulls on a t-shirt)
  First there's this one...

 The t-shirt is white with a horrible looking plastic alien
 coming out of it, jaws open, blood everywhere.  It says 'I Love
 Blood.'

    WILLIAM
  Yes -- might make it hard to strike a
  really romantic note.

    SPIKE
  Point taken.

 He heads back up the stairs... talks as he changes...

    SPIKE
  I suspect you'll prefer the next one.

 And he re-enters in a white t-shirt, with a large arrow,
 pointing down to his flies, saying, "Get It Here.'
 
    WILLIAM
  Yes -- she might think you don't have
  true love on your mind.

    SPIKE
  Wouldn't want that...
   (and back up he goes)
  -- just one more.

 He comes down wearing it.  Lots of hearts, saying, 'You're the
 most beautiful woman in the world.'

    WILLIAM
  Well, yes, that's perfect. Well
  done.

    SPIKE
  Thanks.  Great.  Wish me luck.

    WILLIAM
  Good luck.

 Spike turns and walks upstairs.  Revealing that on the back of
 the t-shirt, also printed in big letters, is written 'Fancy a
 fuck?'

 EXT. PORTOBELLO ROAD - DAY

    WILLIAM (V.O.)
  And so it was just another hopeless
  Wednesday, as I set off through the
  market to work, little suspecting
  that this was the day which would
  change my life forever.  This is
  work, by the way, my little travel
  book shop...

 A small unpretentious store... named 'The Travel Book Co.'

    WILLIAM (V.O.)
  ... which, well, sells travel books
  -- and, to be frank with you, doesn't
  always sell many of those.

 William enters.

 INT. THE BOOKSHOP - DAY

 It is a small shop, slightly chaotic, bookshelves everywhere,
 with little secret bits round corners with even more books.
 Martin, William's sole employee, is waiting enthusiastically.
 He is keen, an uncrushable optimist.  Perhaps without cause.
 A few seconds later, William stands gloomily behind the desk.

    WILLIAM
  Classic.  Absolutely classic.
  Profit from major sales push -- minus
  347 pound.

    MARTIN
  Shall I go get a cappuccino?  Ease the
  pain.

    WILLIAM
  Yes, better get me a half.  All I can
  afford.

    MARIN
  I get you logic.  Demi-capu coming up.

 He salutes and bolts out of the door -- as he does, a woman
 walks in. We only just glimpse her.
 
 Cut to William working.  He looks up casually.  And sees
 something.  His reaction is hard to read.  After a pause...

    WILLIAM
  Can I help you?

 It is Anna Scott, the biggest movie star in the world -- here --
 in his shop.  The most divine, subtle, beautiful woman on earth.
 When she speaks she is very self-assured and self-contained.

    ANNA
  No, thanks.  I'll just look around.

    WILLIAM
  Fine.

 She wanders over to a shelf as he watches her -- and picks out a
 quite smart coffee table book.

    WILLIAM
  That book's really not good -- just
  in case, you know, browsing turned to
  buying.  You'd be wasting your money.

    ANNA
  Really?

    WILLIAM
  Yes.  This one though is... very
  good.

 He picks up a book on the counter.

    WILLIAM
  I think the man who wrote it has
  actually been to Turkey, which helps.
  There's also a very amusing incident
  with  a kebab.

    ANNA
  Thanks.  I'll think about it.

 William suddenly spies something odd on the small TV monitor
 behind him.

    WILLIAM
  If you could just give me a second.

 Her eyes follow him as he moves toward the back of the shop and
 approaches a man in slightly ill-fitting clothes.

    WILLIAM
  Excuse me.

    THIEF
  Yes.

    WILLIAM
  Bad news.

    THIEF
  What?

    WILLIAM
  We've got a security camera in this
  bit of the shop.

    THIEF
  So?

    WILLIAM
  So, I saw you put that book down your
  trousers.

    THIEF
  What book?

    WILLIAM
  The one down your trousers.

    THIEF
  I haven't got a book down my trousers.

    WILLIAM
  Right -- well, then we have something
  of an impasse.  I tell you what --
  I'll call the police -- and, what can
  I say?  If I'm wrong about the whole
  book-down-the-trousers scenario, I
  really apologize.

    THIEF
  Okay -- what if I did have a book down
  my trousers?

    WILLIAM
  Well, ideally, when I went back to
  the desk, you'd remove the Cadogan
  guide to Bali from your trousers, and
  either wipe it and put it back, or
  buy it.  See you in a sec.

 He returns to his desk.  In the monitor we just glimpse, as does
 William, the book coming out of the trousers and put back on the
 shelves.  The thief drifts out toward the door.  Anna, who has
 observed all this, is looking at a blue book on the counter.

    WILLIAM
  Sorry about that...

    ANNA
  No, that's fine.  I was going to
  steal one myself but now I've changed
  my mind.  Signed by the author, I see.

    WILLIAM
  Yes, we couldn't stop him.  If you
  can find an unsigned copy.  It's
  worth an absolute fortune.

 She smiles.  Suddenly the thief is there.

    THIEF
  Excuse me.

    ANNA
  Yes.

    THIEF
  Can I have your autograph?

    ANNA
  What's your name?

    THIEF
  Rufus.

 She signs his scruffy piece of paper.  He tries to read it.

    THIEF
  What does it say?

    ANNA
  Well, that's the signature -- and
  above, it says 'Dear Rufus -- you
  belong in jail.'

    THIEF
  Nice one.  Would you like my phone
  number?

    ANNA
  Tempting but... no, thank you.

 Thief leaves.

    ANNA
  I think I will try this one.

 She hands William a $B!r(J20 note and the book he said was rubbish.
 He talks as he handles the transaction.

    WILLIAM
  Oh -- right -- on second thoughts
  maybe it wasn't that bad.  Actually
  -- it's a sort of masterpiece really.
  None of those childish kebab
  stories you get in so many travel
  books these days.  And I'll throw in
  one of these for free.

 He drops in one of the signed books.

    WILLIAM
  Very useful for fighting fires,
  wrapping fish, that sort of things.

 She looks at him with a slight smile.

    ANNA
  Thanks.

 And leaves.  She's out of his life forever.  William is a little
 dazed.  Seconds later Martin comes back in.

    MARTIN
  Cappuccino as ordered.

    WILLIAM
  Thanks.  I don't think you'll believe
  who was just in here.

    MARTIN
  Who?  Someone famous?

 But William's innate natural English discretion takes over.

    WILLIAM
  No. No-one -- no-one.

 They set about drinking their coffee.

    MARTIN
  Would be exciting if someone famous
  did come into the shop though,
  wouldn't it?  Do you know -- this is
  pretty incredible actually -- I once
  saw Ringo Starr.  Or at least I think
  it was Ringo.  It might have been
  that broke from 'Fiddler On The Roof,'
  Toppy.

    WILLIAM
  Topol.

    MARTIN
  That's right -- Topol.

    WILLIAM
  But Ringo Starr doesn't look
  anything like Topol.

    MARTIN
  No, well... he was quite a long way
  away.

    WILLIAM
  So it would have been neither of them?

    MARTIN
  I suppose so.

    WILLIAM
  Right.  It's not a classic anecdotes,
  is it?

    MARTIN
  Not classic, no.

 Martin shakes his head.  William drinks his cappuccino.

    WILLIAM
  Right -- want another one?

    MARTIN
  Yes.  No, wait -- let's go crazy --
  I'll have an orange juice.

 EXT. PORTOBELLO ROAD - DAY

 William sets off.

 INT. COFFEE SHOP - DAY

 William collects his juice in a coffee shop on Wesbourne Park
 Road.

 EXT. PORTOBELLO ROAD - DAY

 William swings out of the little shop -- he turns the corner of
 Portobello Road and bumps straight into Anna.  The orange
 juice,  in its foam cup, flies.  It soaks Anna.

    ANNA
  Oh Jesus.

    WILLIAM
  Here, let me help.

 He grabs some paper napkins and starts to clean it off -- getting
 far too near her breasts in the panic of it...

    ANNA
  What are you doing?

 He jumps back.

    WILLIAM
  Nothing, nothing... Look, I live just
  over the street -- you could get
  cleaned up.

    ANNA
  No thank you.  I need to get my car
  back.

    WILLIAM
  I also have a phone.  I'm confident
  that in five minutes we can have you
  spick and span and back on the street
  again... in the non-prostitute sense
  obviously.

 In his diffident ways, he is confident, despite her being
 genuinely annoyed.  She turns and looks at him.

    ANNA
  Okay.  So what does 'just over the
  street' mean -- give it to me in yards.

    WILLIAM
  Eighteen yards.  That's my house
  there.

 He doesn't lie -- it is eighteen yards away.  She looks down.
 She looks up at him.

 INT. WILLIAM'S HOUSE - CORRIDOR - DAY

 They enter.  She carries a few stylish bags.

    WILLIAM
  Come on in.  I'll just...

 William runs in further -- it's a mess.  He kicks some old shoes
 under the stairs, bins an unfinished pizza and hides a plate of
 breakfast in a cupboard.  She enters the kitchen.

    WILLIAM
  It's not that tidy, I fear.

 And he guides her up the stairs, after taking the bag of books
 from her...

    WILLIAM
  The bathroom is right at the top of
  the stairs and there's a phone on the
  desk up there.

 She heads upstairs.

 INT. KITCHEN - DAY

 William is tidying up frantically.  Then he hears Anna's feet on
 the stairs.  She walks down, wearing a short, sparkling black
 top beneath her leather jacket.  With her trainers still on.  He
 is dazzled by the sight of her.

    WILLIAM
  Would you like a cup of tea before
  you go?

    ANNA
  No thanks.

    WILLIAM
  Coffee?

    ANNA
  No.

    WILLIAM
  Orange juice -- probably not.

 He moves to his very empty fridge -- and offers its only contents.

    WILLIAM
  Something else cold -- coke, water,
  some disgusting sugary drink
  pretending to have something to do
  with fruits of the forest?

    ANNA
  Really, no.

    WILLIAM
  Would you like something to nibble --
  apricots, soaked in honey -- quite
  why, no one knows -- because it stops
  them tasting of apricots, and makes
  them taste like honey, and if you
  wanted honey, you'd just buy honey,
  instead of apricots, but nevertheless
  -- there we go -- yours if you want
  them.

    ANNA
  No.

    WILLIAM
  Do you always say 'no' to everything?

 Pause.  She looks at him deep.

    ANNA
  No.
   (pause)
  I better be going.  Thanks for your
  help.

    WILLIAM
  You're welcome and, may I also say...
  heavenly.

 It has taken a lot to get this out loud.  He is not a smooth-
 talking man.

    WILLIAM
  Take my one chance to say it.  After
  you've read that terrible book,
  you're certainly not going to be
  coming back to the shop.

 She smiles.  She's cool.

    ANNA
  Thank you.

    WILLIAM
  Yes.  Well.  My pleasure.

 He guides her toward the door.

    WILLIAM
  Nice to meet you.  Surreal but nice.

 In a slightly awkward moment, he shows her out the door.  He
 closes the door and shakes his head in wonder.  Then...

    WILLIAM
  'Surreal but nice.'  What was I
  thinking?

 ... He  shakes his head again in horror and wanders back along
 the corridor in silence.  There's a knock on the door.  He moves
 back, casually...

    WILLIAM
  Coming.

 He opens the door.  It's her.

    WILLIAM
  Oh hi.  Forgot something?

    ANNA
  I forgot my bag.

    WILLIAM
  Oh right.

 He shoots into the kitchen and picks up the forgotten shopping
 bag.  Then returns and hands it to her.

    WILLIAM
  Here we go.

    ANNA
  Thanks.  Well...

 They stand in that corridor -- in that small space.  Second time
 saying goodbye.  A strange feeling of intimacy.  She leans
 forward and she kisses him.  Total silence.  A real sense of the
 strangers of those lips, those famous lips on his.  They part.

    WILLIAM
  I apologize for the 'surreal but nice'
  comment.  Disaster...

    ANNA
  Don't worry about it.  I thought the
  apricot and honey business was the
  real lowpoint.

 Suddenly there is a clicking of a key in the lock.

    WILLIAM
  Oh my God.  My flatmate.  I'm sorry --
  there's no excuse for him.

 Spike walks in.

    SPIKE
  Hi.

    ANNA
  Hi.

    WILLIAM
  Hi.

 Spike walks past unsuspiciously and heads into the kitchen.

    SPIKE
  I'm just going to go into the kitchen
  to get some food -- and then I'm going
  to tell you a story that will make your
  balls shrink to the size of raisins.

 And leaves them in the corridor.

    ANNA
  Probably best not tell anyone about
  this.

    WILLIAM
  Right.  No one.  I mean, I'll tell
  myself sometimes but... don't worry
  -- I won't believe it.

    ANNA
  Bye.

 And she leaves, with just a touch of William's hand.  Spike
 comes out of the kitchen, eating something white out of a   
 styrofoam container with a spoon.

    SPIKE
  There's something wrong with this
  yogurt.

    WILLIAM
  It's not yogurt -- it's mayonnaise.

    SPIKE
  Well, there you go.
   (takes another big spoonful)
  On for a video fest tonight?  I've
  got some absolute classic.

 INT. WILLIAM'S LIVING ROOM - NIGHT

 The lights are off.  William and Spike on the couch, just the
 light from the TV playing on their faces.  Cut to the TV full
 screen.  There is Anna.  She is in a stylish Woody Allen type
 modern romantic comedy, "Gramercy Park," in black and white.

 INT. MANHATTAN ART GALLERY - DAY

 Anna's character -- Woody Anna -- is walking around the gallery
 with her famous co-star, Michael.  They should be the perfect
 couple, but there is tension.  Anna is not happy.

    MICHAEL
  Smile.

    ANNA
  No.

    MICHAEL
  Smile.

    ANNA
  I've got nothing to smile about.

    MICHAEL
  Okay in about 7 seconds, I'm going to
  ask you to marry me.

 And after a couple of seconds -- wow -- she smiles.

 INT. WILLIAM'S LIVING ROOM - NIGHT

    SPIKE
  Imagine -- somewhere in the world
  there's a man who's allowed to kiss
  her.

    WILLIAM
  Yes, she is fairly fabulous.

 INT. BOOKSTORE - DAY

 The next day.  William and Martin quietly co-existing.  An annoy-
 ing customer enters.  Mr. Smith.

    MR. SMITH
  Do you have any books by Dickens?

    WILLIAM
  No, we're a travel bookshop.  We only
  sell travel books.

    MR. SMITH
  On right.  How about that new John
  Grisham thriller?

    WILLIAM
  No, that's a novel too.

    MR. SMITH
  Oh right.  Have you got a copy of
  'Winnie the Pooh'?

 Pause.

    WILLIAM
  Martin -- your customer.

    MARTIN
  Can I help you?

 William looks up.  At that moment the entire window is suddenly
 taken up by the huge side of a bus, obscuring the light -- and
 entirely covered with a portrait of Anna -- from her new film,
 "Helix."

 INT. WILLIAM'S HOUSE - CONDOR/LIVING ROOM - DAY

 William heads upstairs and pauses.  Spike coming down, wearing
 full body scuba diving gear.

    SPIKE
  Hey.

    WILLIAM
  Hi...

 INT. WILLIAM'S KITCHEN - DAY

 The two of them fixing a cup of tea in the kitchen.

    WILLIAM
  Just incidentally -- why are you
  wearing that?

    SPIKE
  Ahm -- combination of factors really.
  No clean clothes...

    WILLIAM
  There never will be, you know, unless
  you actually clean your clothes.

    SPIKE
  Right.  Vicious circle.  And then I was
  like rooting around in your things,
  and found this, and I thought -- cool.
  Kind of spacey.

 EXT. WILLIAM'S TERRACE - DAY

 The two of them on the rooftop terrace, passing the day.
 William is reading 'The bookseller.'  The terrace is small and
 the plants aren't great -- but it overlooks London in a rather
 wonderful way.  Spike still in scuba gear, goggles on.

    SPIKE
  There's something wrong with the
  goggles though...

    WILLIAM
  No, they were prescription, so I could
  see all the fishes properly.

    SPIKE
  Groovy.  You should do more of this
  stuff.

    WILLIAM
  So -- any messages?

    SPIKE
  Yeh, I wrote a couple down.

    WILLIAM
  Two?  That's it?

    SPIKE
  You want me to write down all your
  messages?

 William closes his eyes in exasperation.

    WILLIAM
  Who were the ones you didn't write
  down from?

    SPIKE
  Ahm let's see -- ahm.  No.  Gone
  completely.  Oh no, wait.  There was --
  one from your mum: she said don't
  forget lunch and her leg's hurting
  again.

    WILLIAM
  Right.  No one else?

    SPIKE
  Absolutely not.

 Spike looks back and relaxes.

    SPIKE
  Though if we're going for this
  obsessive writing-down-all-messages
  thing -- some American girl called
  Anna called a few days ago.

 William freezes -- then looks at Spike.

    WILLIAM
  What did she say?

    SPIKE
  Well, it was genuinely bizarre...
  she said, hi -- it's Anna -- and then
  she said, call me at the Ritz -- and
  then gave herself a completely
  different name.

    WILLIAM
  Which one?

    SPIKE
  Absolutely no idea.  Remembering one
  name's bad enough...

 INT. WILLIAM'S LIVING ROOM - DAY

 William on the phone.  We hear the formal man at the other end of
 the phone.  And then intercut with him.

    WILLIAM
  Hello.

    RITZ MAN (V.O.)
  May I help you, sir?

    WILLIAM
  Ahm, look this is a very odd
  situation.  I'm a friend of Anna
  Scott's -- and she rang me at home the
  day before yesterday -- and left a
  message saying she's staying with
  you...

 INT. RITZ RECEPTION - DAY

    RITZ MAN
  I'm sorry, we don't have anyone of
  that name here, sir.

    WILLIAM
  No, that's right -- I know that.  She
  said she's using another name -- but
  the problem is she left the message
  with my flatmate, which was a serious
  mistake.

 INT. WILLIAM'S LIVING ROOM

    WILLIAM (cont'd)
  Imagine if you will the stupidest
  person you've ever met -- are you
  doing that...?

 Spike happens to be in the foreground of this shot.  He's read-
 ing a newspaper.

    RITZ MAN
  Yes, sir.  I have him in my mind.

    WILLIAM
  And then double it -- and that is the
  -- what can I say -- git I'm living
  with and he cannot remember...

    SPIKE
  Try 'Flinstone.'

    WILLIAM
   (to Spike)
  What?

    SPIKE
  I think she said her name was
  'Flinstone.'

    WILLIAM
  Does 'Flinstone' mean anything to
  you?

    RITZ MAN
  I'll put you right through, sir.

 Flinstone is indeed the magic word.

    WILLIAM
  Oh my God.

 He practices how to sound.

    WILLIAM
  Hello.  Hi.  Hi.

    ANNA (V.O.)
  Hi.

 We hear her voice -- don't see her.

    WILLIAM
   (caught out)
  Oh hi.  It's William Thacker.  We,
  ahm I work in a bookshop.

    ANNA (V.O.)
  You played it pretty cool here,
  waiting for three days to call.

    WILLIAM
  No, I've never played anything cool
  in my entire life.  Spike, who I'll
  stab to death later, never gave me the
  message.

    ANNA (V.O.)
  Oh -- Okay.

    WILLIAM
  Perhaps I could drop round for tea or
  something?

    ANNA (V.O.)
  Yeh -- unfortunately, things are
  going to be pretty busy, but... okay,
  let's give it a try.  Four o'clock
  could be good.

    WILLIAM
  Right.  Great.
   (he hangs up)
  Classic.  Classic.

 EXT. RITZ - DAY

 William jumps off a bus and walks toward the Ritz.  He carries a
 small bunch of roses.

 INT. RITZ HOTEL - DAY

 He approaches the lifts.  At the lift, he pushes the button and
 the doors open.  As he is getting in, William is jointed by a
 young man.  His name is Tarquin.

    WILLIAM
  Which floor?

    TARQUIN
  Three.

 William pushes the button.  They wait for the doors to close.

 INT. RITZ CORRIDOR - DAY

 The lift lands.  William gets out.  So does Tarquin.  Rooms
 30-35 are to the left.  35-39 to the right.  William heads right.
 So does Tarquin.

 William is puzzled.  He slows down as he approaches room 38.  So
 does Tarquin.  William spots, so does Tarquin.  William points
 at the number.

    WILLIAM
  Are you sure you...?

    TARQUIN
  Yes.

    WILLIAM
  Oh.  Right.

 He knocks.  A bright, well-tailored American girl opens the door.

    KAREN
  Hello, I'm Karen.  Sorry -- things
  are running a bit late.  Here's the
  thing...

 She hands them a very slick, expensively produced press kits,
 with the poster picture of Anna, for the film 'Helix.'

 INT. THE TRAFALGAR SUITE ANTE-ROOM - DAY

 A few seconds later -- they enter the main waiting room.  There
 are a number of journalists waiting for their audience.

    KAREN
  What did you think of the film?

    TARQUIN
  Marvellous.  'Close Encounters'
  meets 'Jean De Forette.'  Oscar-
  winning stuff.

 They both turn to William for his opinion.

    WILLIAM
  I agree.

    KAREN
  I'm sorry I didn't get down what
  magazines you're from.

    TARQUIN
  'Time Out.'

    KAREN
  Great.  And you...
  
    WILLIAM
   (seeing it on a coffee
    table)
  'Horse and Hound.'  The name's
  William Whacker.  I think she might
  be expecting me.

    KAREN
  Okay -- take a seat.  I'll check.

 They sit down as Karen goes off.

    TARQUIN
  You've brought her flowers?

 William goes for the cover-up.

    WILLIAM
  No -- they're... for my grandmother.
  She's in a hospital nearby.  Thought
  I'd kill two birds with one stone.

    TARQUIN
  I'm sorry.  Which hospital?

 Pause.  He's in trouble.

    WILLIAM
  Do you mind me not saying -- it's a
  rather distressing disease and the
  name of the hospital rather gives it
  away.

    TARQUIN
  Oh sure.  Of course.

    KAREN
  Mr. Thacker.

 Saved by the bell.

 INT. TRAFALGAR SUIT CORRIDOR - DAY

    KAREN
  You've got five minutes.

 He is shown in through big golden doors.  Karen stays outside.

 INT. THE TRAFALGAR SUITE SITTING ROOM - DAY

 There Anna is, framed in the window.  Glorious.

    WILLIAM
  Hi.

    ANNA
  Hello.

    WILLIAM
  I brought these, but clearly...

 There are lots of other flowers in the room.

    ANNA
  Oh no, ho -- these are great.

 A fair amount of tension.  These two people hardly know each
 other -- and the first and last time they met, they kissed.

    WILLIAM
  Sorry about not ringing back.  The
  whole two-names concept was totally too
  much for my flatman's pea-sized
  intellect.

    ANNA
  No, it's a stupid privacy thing.  I
  always choose a cartoon character --
  last time out, I was Mrs. Bambi.

 At which moment Jeremy, Karen's boss, comes in.  A fairly grave,
 authoritative fifty-year-old PR man consulting a list.

    JEREMY
  Everything okay?

    ANNA
  Yes, thanks.

    JEREMY
  And you are from 'Horse and Hound'
  magazine?

 William nods.

    ANNA
  Is that so?

 William shrugs his shoulders.  Jeremy settles at a little desk
 in the corner and makes notes.  A pause.  William feels he has to
 act the part.  They sit in chairs opposite each other.

    WILLIAM
  So I'll just fire away, shall I?

 Anna nods.

    WILLIAM
  Right.  Ahm... the film's great...
  and I just wondered -- whether you
  ever thought of having more...
  horses in it?

    ANNA
  Ahm -- well -- we would have liked to
  -- but it was difficult, obviously,
  being set in space.

    WILLIAM
  Obviously.  Very difficult.

 Jeremy leaves.

 William puts his head in his hands.  He was panic.

    WILLIAM
  I'm sorry -- I arrived outside -- they
  thrust this thing into my hand -- I
  don't know what to do.

    ANNA
  No, it's my fault, I thought this
  would all be over by now.  I just
  wanted to sort of apologize for the
  kissing thing.  I seriously don't
  know what got in to me.  I just wanted
  to make sure you were fine about it.

    WILLIAM
  Absolutely fine about it.

 Re-enter Jeremy.

    JEREMY
  Do remember that Miss Scott is also
  keen to talk about her next project,
  which is shooting later in the summer.

    WILLIAM
  Oh yes -- excellent.  Ahm -- any horses
  in that one?  Or hounds, of course.  Our
  readers are equally intrigued by both
  species.
    ANNA
  It takes place on a submarine.

    WILLIAM
  Yes.  Right... But if there were horses,
  would you be riding them yourself or
  would you be getting a stunt horse person
  double sort of thing?

 Jeremy exits.

    WILLIAM
  I'm just a complete moron.  Sorry.
  This is the sort of thing that happens
  in dreams -- not in real life.  Good
  dreams, obviously -- it's a dream to
  see you.

    ANNA
  And what happens next in the dream?

 It's a challenge.

    WILLIAM
  Well, I suppose in the dream scenario.
  I just... ahm, change my personality,
  because you can do that in dreams, and
  walk across and kiss the girl but you
  know it'll never happen.

 Pause.  Then they move towards each other when... Jeremy
 enters.

    JEREMY
  Time's up, I'm afraid.  Sorry it was
  so short.  Did you get what you wanted?

    WILLIAM
  Very neatly.

    JEREMY
  Maybe time for one last question?

    WILLIAM
  Right.

 Jeremy goes out -- it's their last seconds.

    WILLIAM
  Are you busy tonight?

    ANNA
  Yes.

 They look at each other.  Jeremy enters, with another journalists
 in row.  Anna and William stand and shake hands formally.

    ANNA
  Well, it was nice to meet you.
  Surreal but nice.

    WILLIAM
  Thank you.  You are 'Horse and Hound's'
  favorite actress.  You and Black
  Beauty.  Tied.

 INT. TRAFALGAR SUITE CORRIDOR - DAY

 William exits fairly despondent and heads for the door.  Tarquin
 is in the corridor calling on his mobile phone.

    TARQUIN
  How was she?

    WILLIAM
  Fabulous.

    TARQUIN
  Wait a minute -- she took your
  grandmother's flowers?

 William can't think his way out of this.

    WILLIAM
  Yes.  That's right.  Bitch.

 He turns to go, but is accosted by Karen.

    KAREN
  If you'd like to come with me we can
  rush you through the others.

    WILLIAM
  The others?

 INT. RITZ INTERVIEW ROOM - DAY

    KAREN
  Mr. Thacker's from 'Horse and Hound.'

 A forty-year-old actor with great presence warmly shakes
 William's hand.

    MALE LEAD
  Please to meet you.  Did you like the
  film?

    WILLIAM
  Ah... yes, enormously.

    MALE LEAD
  Well, fire away.

    WILLIAM
  Right, right.  Ahm -- did you enjoy
  making the film?

    MALE LEAD
  I did.

    WILLIAM
  Any bit in particular?

    MALE LEAD
  Well, you tell me which bit you liked
  most -- and I'll tell you if I enjoyed
  making it.

    WILLIAM
  Ahm right, right, I liked the bit in
  space very much.  Did you enjoy
  making  that bit?

 INT. RITZ INTERVIEW ROOM - DAY

 Same room same seat, minutes later, with a monolingual foreign
 actor and an interpreter.

    WILLIAM
  Did you identify with the character
  you were playing?

    INTERPRETER
  Te identicaste con el personaje que
  interpretabas?

    FOREIGN ACTOR
  No.

    INTERPRETER
  No.

    WILLIAM
  Ah.  Why not?

    INTERPRETER
  Por que no?

    FOREIGN ACTOR
  Porque es un robot carnivore
  psicopata.

    INTERPRETER
  Because he is playing a psychopathic
  flesh-eating robot.

    WILLIAM
  Classic.

 INT. RITZ INTERVIEW ROOM - DAY

 And now William is sitting opposite an eleven-year-old American
 girl.

    WILLIAM
  Is this your first film?

    GIRL
  No -- it's my 22nd.

    WILLIAM
  Of course it is.  Any favorite among
  the 22?

    GIRL
  Working with Leonardo.

    WILLIAM
  Da Vinci?

    GIRL
  Di Caprio.

    WILLIAM
  Of course.  And is he your favorite
  Italian film director?

 INT. RITZ CORRIDOR - DAY

 William emerges traumatized into the corridor.  It is full of
 camera crews.  And there is Karen.

    KAREN
  Mr. Thacker?

    WILLIAM
   (so weary)
  Yes?

    KAREN
  Have you got a moment?

 INT. ANNA'S SUITE SITTING ROOM - DAY

 They knock on her door.

    ANNA (V.O.)
  Come in.

 William enters.  A certain nervousness.  They are alone again.

    ANNA
  Ahm.  That thing I was doing tonight
  -- I'm not doing it any more.  I told
  them I had to spend the evening with
  Britain's premier equestrian
  journalist.

    WILLIAM
  Oh well, great.  Perfect.  Oh no --
  shittity brickitty -- it's my sister's
  birthday -- shit -- we're meant to be
  having dinner.

    ANNA
  Okay -- fine.

    WILLIAM
  But no, I'm sure I can get out of it.

    ANNA
  No, I mean, if it's fine with you,
  I'll, you know, be your date.

    WILLIAM
  You'll be my date at my little sister's
  birthday party.

    ANNA
  If that's all right.

    WILLIAM
  I'm sure it's all right.  My friend
  Max is cooking and he's acknowledged
  to be the worst cook in the world, but
  you know, you could hide the food in
  your handbag or something.

    ANNA
  Okay.

    WILLIAM
  Okay.

 INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT

 Bella and Max are in the kitchen.

    MAX
  He's bringing a girl?

    BELLA
  Miracles do happen.

    MAX
  Does the girl have a name?

    BELLA
  He wouldn't say.

    MAX
  Christ, what is going on in there?

 The oven seems to be smoking a little.  Then the bell rings.

    MAX (cont'd)
   Oh God.

 It's had timing.  Max shoots out of the kitchen.

 INT. MAX AND BELLA'S CORRIDOR - NIGHT

 Max heads for the door impatiently.  He opens it and turns back
 without looking at William and Anna standing there.

    MAX
  Come on in.  Vague food crisis.

 William and Anna move along the corridor to the kitchen.

 INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT

 Bella is there.

    BELLA
  Hiya -- sorry -- the guinea fowl is
  proving more complicated  than
  expected.

    WILLIAM
  He's cooking guinea fowl?

    BELLA
  Don't even ask.

    ANNA
  Hi.

    BELLA
  Hi.  Good Lord -- you're the spitting
  image of...

    WILLIAM
  Bella -- this is Anna.

    BELLA
  Right.
   (pause)
  
    MAX
  Okay.  Crisis over.

 He rises from his stove position.

    WILLIAM
  Max.  This is Anna.

    MAX
  Hello, Anna ahm...
   (He recognizes her -- the
    word just falls out)
  Scott -- have some wine.

    ANNA
  Thank you.

 Door bell goes.
 
 INT. MAX AND BELLA'S CORRIDOR - NIGHT

 Max opens the door -- it is Honey.

    MAX
  Hi.

 She does a little pose, having worn a real party dress.

    MAX
  Yes, Happy Birthday.

 They head back along the corridor.

    MAX
  Look, your brother has brought this
  girl, and ahm...

 INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT

 They enter the kitchen.

    HONEY
  Hi guys.
   (sees Anna)
  Oh holy fuck.

    WILLIAM
  Hun -- this is Anna.  Anna -- this is
  Honey -- she's my baby sitter.

    ANNA
  Hiya.

    HONEY
  Oh God this is one of those key moments
  in life, when it's possible you can be
  really, genuinely cool -- and totally
  and utterly adore you and I think
  you're the most beautiful woman in the
  world and more importantly I genuinely
  believe and have believed for some
  time now that we can be best friends.
  What do you think?

    ANNA
  Ahm... I think that sounds -- you know
  -- lucky me.  Happy Birthday.

 She hands her a present.

    HONEY
  Oh my God.  You gave me a present.
  We're best friends already.  Marry
  Will -- he's a really nice guy and
  then we can be sisters.

    ANNA
  I'll think about it.

 The front door bell goes.

    MAX
  That'll be Bernie.

 He heads out into the corridor to the front door.

 INT. MAX AND BELLA'S CORRIDOR - NIGHT

 Max opens the door.

    MAX
  Hello, Bernie.

    BERNIE
  I'm sorry I'm so late.  Bollocksed up
  at work again, I fear.  Millions down
  the drain.

 INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT

 They enter the room.

    MAX
  Bernie -- this is Anna.

    BERNIE
  Hello, Anna.  Delighted to meet you.

 Doesn't recognize her -- turns to Honey.

    BERNIE
  Honey Bunny -- happy birthday to you.
   (hands her a present)
  It's a hat.  You don't have to wear
  it or anything.

 INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT

 A minute or two later -- they are standing, drinking wine before
 dinner.  Bernie with Anna on their own -- William helping Max in
 the kitchen.

    MAX
  You haven't slept with her, have you?

    WILLIAM
  That is a cheap question and the answer
  is, of course, no comment.

    MAX
  'No comment' means 'yes.'

    WILLIAM
  No, it doesn't.

    MAX
  Do you ever masturbate?

    WILLIAM
  Definitely no comment.

    MAX
  You see -- it means 'yes.'

 Then on to Bernie's conversation.

    BERNIE
  So tell me Anna -- what do you do?

    ANNA
  I'm an actress.

    BERNIE
  Splendid.  I'm actually in the stock-
  market, so not really similar fields,
  though I have done some amateur stuff
  -- P.G. Wodehouse, you know -- farce,
  all that.  'Ooh -- careful there,
  vicar.'  Always imagined it's a
  pretty tough job, though, acting.
  I mean the wages are a scandal,
  aren't they?

    ANNA
  Well, they can be.

    BERNIE
  I see friends from university --
  clever chaps -- been in the business
  longer than you -- they're scraping
  by on seven, eight thousand a year.
  It's no life.  What sort of acting
  do you do?

    ANNA
  Films mainly.

    BERNIE
  Oh splendid.  Well done.  How's the
  pay in movies?  I mean, last film you
  did, what did you get paid?

    ANNA
  Fifteen million dollars.

    BERNIE
  Right.  Right.  So that's... fairly
  good.  On the high side... have you
  tried the nuts?

    MAX
  Right -- I think we're ready.

 They all move towards the kitchen.

    ANNA
   (to Bella)
  I wonder if you could tell me where
  the...?

    BELLA
  Oh, it's just down the corridor on
  the right.

    HONEY
  I'll show you.

 A moment's silence as they leave -- then in a split second the
 others all turn to William.

    BELLA
  Quickly, quickly -- talk very quickly
  what are you doing here with Anna
  Scott?

    BERNIE
  Anna Scott?

    BELLA
  Yes.

    BERNIE
  The movie star?

    BELLA
  Yup.

    BERNIE
  Oh God.  Oh God.  Oh Goddy God.

 The horror of his remembered conversation slowly unfolds.
 Honey re-enters.

    HONEY
  I don't believe it.  I walked into the
  loo with her.  I was still talking when
  she started unbuttoning her jeans...
  She had to ask me to leave.

 INT. MAX AND BELLA'S CONSERVATORY - NIGHT

 A little later.  They are sat at dinner.  Bella next to Anna.

    BELLA
  What do you think of the guinea fowl?

    ANNA
   (whispering)
  I'm a vegetarian.

    BELLA
  Oh God.

 INT. MAX AND BELLA'S CONSERVATORY - NIGHT

 Moving through the evening -- they are very relaxed, as they eat
 dinner.  A few seconds watching the evening going well -- Anna
 is taking this in -- real friends -- relaxed -- easy, teasing.
 And there's a cake.  Honey wears Bernie's unsuitable hat.  Anna
 watches William laughing at something and then putting his head
 in his hands with mock shame.

 INT. MAX AND BELLA'S CONSERVATORY - NIGHT

 Coffee time.

    MAX
  Having you here, Anna, firmly
  establishes what I've long suspected,
  that we really are the most desperate
  hot of under-achievers.

    BERNIE
  Shame!

    MAX
  I'm not saying it's a bad thing, in
  fact, I think it's something we should
  take pride in.  I'm going to give the
  last brownie as a prize to the saddest
  act here.

 A little pause.  Then William turns to Bernie.

    WILLIAM
  Bernie.

    BERNIE
  Well, obviously it's me, isn't it --
  I work in the City in a job I don't
  understand and everyone keeps getting
  promoted above me.  I haven't had a
  girlfriends since... puberty and,
  well, the long and short of it is,
  nobody fancies me, and if these cheeks
  get any chubbier, they never will.

    HONEY
  Nonsense.  I fancy you.  Or I did
  before you got so far.

    MAX
  You see -- and unless I'm much mistaken,
  your job still pays you rather a lot of
  money, while Honey here, she earns
  nothing flogging her guts out at
  London's seediest record store.

    HONEY
  Yes.  And I don't have hair -- I've got
  feathers, and I've got funny goggly
  eyes, and I'm attracted to cruel men and
  ... no one'll ever marry me because my
  boosies have actually started
  shrinking.

    MAX
  You see -- incredibly sad.

    BELLA
  On the other hand, her best friend is
  Anna Scott.

    HONEY
  That's true, I can't deny it.  She
  needs me, what can I say?

    BELLA
  And most of her limbs work.  Whereas
  I'm stuck in its thing day and night,
  in a house full of ramps.  And to add
  insult to serious injury -- I've
  totally given up smoking, my favorite
  thing, and the truth is... we can't
  have a baby.

 Dead silence.

    WILLIAM
  Bella.

 Bella shrugs her shoulders.  Bernie is totally grief-struck.

    BERNIE
  No.  Not true...

    BELLA
  C'est la vie... We're lucky in lots
  of ways, but... Surely it's worth a
  brownie.

 William reaches for her hand.  Max breaks the sombre mood.

    MAX
  Well, I don't know.  Look at
  William.  Very unsuccessful
  professionally.  Divorced.  Used to
  be handsome, now kind of squidgy
  around the edges -- and absolutely
  certain never to hear from Anna again
  after she's heard that his nickname
  at school was Floppy.

 They all laugh.  Anna smiles across at William.

    WILLIAM
  So I get the brownie?

    MAX
  I think you do, yes.

    ANNA
  Wait a minute.  What about me?

    MAX
  I'm sorry?  You think you deserve the
  brownie?

    ANNA
  Well... a shot at it.

    WILLIAM
  You'll have to prove it.  This is a
  great brownie and I'm going to fight
  for it.  State your claim.

    ANNA
  Well, I've been on a diet since I was
  nineteen, which means basically I've
  been hungry for a decade.  I've had a
  sequence of not nice boyfriends -- one
  of whom hit me: an every time my heart
  gets broken it gets splashed across
  the newspapers as entertainment.
  Meantime, it cost millions to get me
  looking like this...

    HONEY
  Really?

    ANNA
  Really -- and one day, not long from
  now...

 While she says this, quiet settles around the table.  The thing
 is -- she sort of means it and is opening up to them.

    ANNA
  ... my looks will go, they'll find out
  I can't act and I'll become a sad
  middle-aged woman who looks a bit like
  someone who was famous for a while.

 Silence... they all look at her... then.

    MAX
  Nah!!!  Nice try, gorgeous -- but you
  don't fool anyone.

 The mood is instantly broken.  They all laugh.

    WILLIAM
  Pathetic effort to hog the brownie.

 INT. MAX AND BELLA'S KITCHEN/LIVING ROOM/CORRIDOR - NIGHT

 Anna and William are leaving.

    ANNA
  That was such a great evening.

    MAX
  I'm delighted.

 He holds out his hand to shake.  She kisses him on the cheek.
 He stumbles back with joy.

    ANNA
  And may I say that's a gorgeous tie.

    MAX
  Now you're lying.

    ANNA
  You're right.  I told you I was bad
  at acting.

 Max loves this.

    ANNA
   (to Bella)
  Lovely to meet you.

    BELLA
  And you.  I'll wait till you've gone
  before I tell him you're a
  vegetarian.

    MAX
  No!

    ANNA
  Night, night, Honey.

    HONEY
  I'm so sorry about the loo thing.
  I meant to leave but I just...
  look, ring me if you need someone to
  go shopping with.  I know lots of
  nice, cheap places... not that money
  necessarily...
   (gives up)
  nice to meet you.

 And Honey gives her a huge hug.

    ANNA
  You too -- from now on you are my
  style guru.

 Anna and William head out... Bernie tries to save some dignity.

    BERNIE
  Love your work.

 They move to the door and wave goodbye.

 EXT. MAX AND BELLA'S HOUSE - NIGHT

 William and Anna step outside.  From inside they hear a massive
 and hysterical scream of the friends letting out their true
 feelings.  William is a little embarrassed.

    WILLIAM
  Sorry -- they always do that when I
  leave the house.

 The house is in Lansdowne Road, on the edge of Notting Hill.
 They walk for a moment.  A bit of silence.

    ANNA
  Floppy, huh?

    WILLIAM
  It's the hair!  It's to do with the
  hair.

    ANNA
  Why is she in a wheelchair?

    WILLIAM
  It was an accident -- about eighteen
  months ago.

    ANNA
  And the pregnancy thing -- is that to
  do with the accident?

    WILLIAM
  You know, I'm not sure.  I don't
  think they'd tried for kids before,
  as fate would have it.

 They walk in silence for a moment.  Then...

    WILLIAM
  Would you like to come... my house is
  just...?

 She smiles and shakes her head.

    ANNA
  Too complicated.

    WILLIAM
  That's fine.

    ANNA
  Busy tomorrow?

    WILLIAM
  I thought you were leaving.

    ANNA
  I was.

 EXT. NOTTING HILL GARDEN - NIGHT

 A little later in the walk.

    ANNA
  What's in there?

 They are now walking by a five foot railing, with foliage
 behind it.

    WILLIAM
  Gardens.  All these streets round
  here have these mysterious communal
  gardens in the middle of them.
  They're like little village.

    ANNA
  Let's go in.

    WILLIAM
  Ah no -- that's the point -- they're
  private villages -- only the people
  who live round the edges are allowed
  in.

    ANNA
  You abide by rules like that?

    WILLIAM
  Ahm...

 Her look makes it clear that she is waiting with interest on
 the answer to this.

    WILLIAM
  Heck no -- other people do -- but not
  me -- I just do what I want.

 He rattles the gate, then starts his climb -- but doesn't quite
 make it, and falls back onto the pavement...

    WILLIAM
   (casually)
  Whoopsidaisies.

    ANNA
  What did you say?

    WILLIAM
  Nothing.

    ANNA
  Yes, you did.

    WILLIAM
  No, I didn't.

    ANNA
  You said "whoopsidaisies."

 Tiny pause.

    WILLIAM
  I don't think so.  No one has said
  "whoopsidaisies," do they -- I mean
  unless they're...

    ANNA
  There's no "unless."  No one has said
  "whoopsidaisies" for fifty years and
  even then it was only little girls
  with blonde ringlets.

    WILLIAM
  Exactly.  Here we go again.

 He fails, and unfortunately spontaneously...

    WILLIAM
  Whoopsidaisies.

 They look at each other.

    WILLIAM
  It's a disease I've got -- it's a
  clinical thing, I'm taking pills and
  having injections -- it won't last
  long.

    ANNA
  Step aside.

 She starts to climb.

    WILLIAM
  Actually be careful Anna -- it's
  harder than it looks...

 But she's already almost over.

    WILLIAM
  Oh no it's not -- it's easy.

 A few seconds later.  Anna jumps down into the garden.

    ANNA
  Come on, Flops.

 William clambers over with terrible difficulty, dusts himself
 off, and heads towards where she stands.

    WILLIAM
  Now seriously -- what in the world
  in this garden could make that
  ordeal  worthwhile?

 She leans forward -- and, for the firs time since the first
 time -- she kisses him.  This time a proper kiss.  A tiny pause.

    WILLIAM
  Nice garden.

 EXT. MAGIC GARDEN - NIGHT

 They walk around the garden.  It's a moonlit dream.  We see
 the lights of the houses that surround the garden.  They come
 across a single, simple wooden bench.

    ANNA
  "For June, who loved this garden --
  from Joseph who always sat beside
  her."

 We cut in and see an inscription carved into the wood.  She
 doesn't read the dates, carved below -- "June Wetherby, 1917
 - 1992."  She is slightly chocked by it.

    ANNA
  Some people do spend their whole
  lives together.

 He nods.  They are standing on either side of the bench,
 looking at each other.  The camera glides away from them, up
 into the night sky, leaving them alone in the garden.  Music
 plays.

 INT. WILLIAM'S LIVING ROOM - EVENING

 William in a towel rushes downstairs, having just had a shower.
 He shoots past Spike.

    WILLIAM
  Bollocks, bollocks, bollocks.  Have
  you seen my glasses?

    SPIKE
  No, 'fraid not.

    WILLIAM
  Bollocks.
   (still searching --
    with no help from
    Spike)
  This happens every time I go to the
  cinema.  Average day, my glasses are
  everywhere -- everywhere I look,
  glasses.  But the moment I need them
  they disappear.  It's one of life's
  real cruelties.

    SPIKE
  That's compared to, like,
  earthquakes in the Far East or
  testicular cancer?

    WILLIAM
  Oh shit, is that the time?  I have to
  go.

 INT. WILLIAM'S LIVING ROOM/CORRIDOR - EVENING

 He sprints downstairs, now fully dressed.

    WILLIAM
   (not meaning it)
  Thanks for your help on the glasses
  thing.

    SPIKE
   (sincerely)
  You're welcome.  Did you find them?

    WILLIAM
  Sort of.

 INT. CINEMA - NIGHT

 Mid-film.  We move across the audience.  And there is in the
 middle of it, we see Anna, watching the screen, and next to
 her, William, watching the film keenly, through his scuba-
 diving goggles.

 INT. RESTAURANT - NIGHT

 A very smart Japanese restaurant.  We see Anna and William
 sitting, near the end of their meal.

    ANNA
  So who left who?

    WILLIAM
  She left me.

    ANNA
  Why?

    WILLIAM
  She saw through me.

    ANNA
  Uh-oh.  That's not good.

 We've been aware of the conversation at a nearby table --
 now we can hear it.  Two slightly rowdy men.

    LAWRENCE
  No - No- No!  Give me Anna Scott any
  day.

 William and Anna look at each other.

    GERALD
  I didn't like that last film of hers.
  Fast asleep from the moment the
  lights  went down.

 Again -- Anna reacts.

    LAWRENCE
  Don't really care what the film are
  like.  Any film with her in it --
  fine by me.

    GERALD
  No -- not my type at all really.  I
  prefer that other one -- blonde --
  sweet looking -- has an orgasm every
  time you take her out for a cup of
  coffee.

 Anna mouths "Meg Ryan."

    LAWRENCE
  Meg Ryan.

 William and Anna smile -- they're enjoying it.

    GERALD
  Drug-induced, I hear -- I believe
  she's actually in rehab as we speak.

    LAWRENCE
  Whatever, she's so clearly up for it.

 Anna's twinkle fades.

    LAWRENCE
  You know -- some girls, they're all
  "stay away chum" but Anna, she's
  absolutely gagging for it.  Do you
  know that in over fifty percent of
  languages the word for "actress" is
  the same as the word for "prostitute."

 This is horrible.

    LAWRENCE
  And Anna is your definitive actress
  -- someone really filthy you can just
  flip over...

    WILLIAM
  Right, that's it.

 He gets up and goes round the cover to the men.  There are in
 fact four of them, the two meeker men, Gavin and Harry, hanging
 on the other guys' witty words.

    WILLIAM
  I'm sorry to disturb you guys but --

    LAWRENCE
  Can I help you?

    WILLIAM
  Well, yes, I wish I hadn't overheard
  your conversation -- but I did and I
  just think, you know...

 He's not a very convincing or frightening figure.

    WILLIAM
  ...the person you're talking about
  is a real person and I think she
  probably deserves a little bit more
  consideration, rather than having
  jerks like you drooling over her...

    LAWRENCE
  Oh sod off, mate.  What are you, her
  dad?

 Anna suddenly appears at his side and whips him away without
 being recognized.

    WILLIAM
  I'm sorry.

    ANNA
  No, that's fine.  I love that you
  tried... time was I'd have done the
  same.

 They walk on and then...

    ANNA
  In fact -- give me a second.

 And she walks straight back to their table.

    ANNA
  Hi.

    LAWRENCE
  Oh my God...

    ANNA
  I'm sorry about my friend -- he's
  very sensitive.

    LAWRENCE
  No, look, I'm sorry...

    ANNA
  Please, please -- let's just leave
  it there.  I'm sure you meant no harm,
  and I'm sure it was just friendly
  banter and I'm sure you dicks are all
  the size of peanuts.  A perfect match
  for the size of your brains. Enjoy
  your meal.  The tuna's really good.

 And she walks away.  Gerald turns to Lawrence.

    GERALD
  You prick.

 EXT. RITZ ARCADE - NIGHT

 They are walking.

    ANNA
  I shouldn't have done that.  I
  shouldn't have done that.

    WILLIAM
  No, you were brilliant

    ANNA
  I'm rash and I'm stupid and what
  am I doing with you?

    WILLIAM
  I don't know, I'm afraid.

    ANNA
  I don't know either.

 They have arrived at the end of the arcade.

    ANNA
  Here we are.
   (pause)
  Do you want to come up?

    WILLIAM
   (he hoes)
  There seem to be lots of reasons
  why I shouldn't.

    ANNA
  There are lots of reasons.  Do you
  want to come up?

 His look says yes.

    ANNA
  Give me five minutes.

 He watches her go -- and stands in the street.  Music plays.

 INT. RITZ CORRIDOR/ANNA'S SUITE - NIGHT

 William coming along the hotel corridor.  He knocks on the
 door.

    ANNA
  Hiya.

 There's something slightly angry.  He doesn't notice.

    WILLIAM
  Hi.

 He kisses her gently on the cheek.

    WILLIAM
  To be able to do that is such a
  wonderful thing.

    ANNA
   (pause)
  You've got to go.

    WILLIAM
  Why?

    ANNA
  Because my boyfriend, who I thought
  was in America, is in fact in the
  next room.

    WILLIAM
  Your boyfriend?

 He is duly shocked.  She's trying to be calm.

    ANNA
  Yes...

    JEFF (V.O.)
  Who is this?

 Jeff drifts into view behind.  He is a very famous film star and
 looks the part -- well built, very handsome.  Unshaved, he has
 magic charm, whatever he says.  Over a t-shirt, he wears a
 shirt, which he unbuttons as he talks.

    WILLIAM
  Ahm... room service.

    JEFF
  How you doing?  I thought you guys
  all wore those penguin coats.

    WILLIAM
  Well, yes -- usually -- I'd just
  changed to go home -- but I thought
  I'd just deal with this final call.

    JEFF
  Oh great.  Could you do me a favor
  and try to get us some really cold
  water up here.

    WILLIAM
  I'll see what I can do.

    JEFF
  Still, not sparkling.

    WILLIAM
  Absolutely.  Ice cold still water.

    JEFF
  Unless it's illegal in the UK to
  serve liquids below room temperature:
  I don't want you going to jail just
  to satisfy my whims...

    WILLIAM
  No, I'm sure it'll be fine.

    JEFF
  And maybe you could just adios the
  dishes and empty the trash.

    WILLIAM
  Right.

 And he does just that.  Scoops up the two used plates and heads
 to the bin.

    ANNA
  Really -- don't do that -- I'm sure
  this is not his job.

    JEFF
  I'm sorry.  Is this a problem?

    WILLIAM
  Ah -- no.  It's fine.

    JEFF
  What's your name?

    WILLIAM
  Ahm... Bernie.

 Jeff slips him a fiver.

    JEFF
  Thank you, Bernie.
   (to Anna)
  Hey -- nice surprise, or nasty
  surprise?

    ANNA
  Nice surprise.

 He kisses her.

    JEFF
  Liar.
   (to William)
  She hates surprises.  What are you
  ordering?

    ANNA
  I haven't decided.

    JEFF
  Well, don't over-do it.  I don't want
  people saying.  "There goes that
  famous actor with the big, fat
  girlfriend."

 He wanders off taking off his t-shirt.

    WILLIAM
  I better leave.

 Anna just nods.

    WILLIAM
  -- this is a fairly strange reality
  to be faced with.  To be honest, I
  don't realize...

    ANNA
  I'm sorry... I don't know what to
  say.

    WILLIAM
  I think good bye is traditional.

 INT. RITZ CORRIDOR - NIGHT

 William walks away.

 EXT. RITZ - NIGHT

 William walks down the arcade outside the hotel.  He is
 stunned.

 EXT. LONDON BUS - NIGHT

 William sits alone on a bus.  We see him through the side
 window.  As it drives away, we see that the whole back of the
 bus is taken up with a huge picture of Anna.

 INT. WILLIAM'S BEDROOM - NIGHT

 He gets into his room and sits on the bed.

 INT. SPACESHIP - NIGHT

 Space Anna, in the very hi-tech environment and a serious
 moods, fastens the last claps on her uniform.  She takes a
 helmet type thing, and places it on her head.

 INT. CONNECT CINEMA - NIGHT

 Cut round to the Coronet cinema where this film is showing.
 It's not full.  The camera moves and finds, sitting on his
 own...William.  Just watching.  We see a momentous flash of
 light from the screen explode, reflected in his eye.

 INT. WILLIAM'S LIVING ROOM - EVENING

 William is looking out the window, lost in thought.  Spike
 enters.

    SPIKE
  Come on -- open up -- this is me --
  Spikey -- I'm in contact with some
  quite important spiritual vibrators.
  What's wrong?

 Spike settles on the arm of a chair.  William decides to open
 up a bit...

    WILLIAM
  Well, okay.  There's this girl...

    SPIKE
  Aha!  I'd been getting a female vibe.
  Good.  Speak on, dear friend.

    WILLIAM
  She's someone I just can't -- and
  it's as if I've taken love-heroin --
  and now I can't even have it again.
  I've opened Pandora's box.  And
  there's trouble inside.

 Spike nods thoughtfully.

    SPIKE
  Yeh.  Yeh...tricky...tricky...I
  knew a girl at school called Pandora
  ... never got to see her box though.

 He roars with laughter.  William smiles.

    WILLIAM
  Thanks.  Yes -- very helpful.

 INT. TONY'S RESTAURANT - NIGHT

 Only two tables are being used.  William and his friends are
 on their first course.  Bernie reads an "Evening Standard,"
 with a picture of Anna and left at Heathrow Airport.

    MAX
  You didn't know she had a boyfriend?

    WILLIAM
  No -- did you?

 Their looks make it obvious that everyone did.

    WILLIAM
  Bloody hell, I can't believe it --
  my whole life ruined because I don't
  read "Hello" magazine.

    MAX
  Let's face facts.  This was always a
  no-go situation.  Anna's a goddess
  and you know what happens to morals
  who get involved with the gods.

    WILLIAM
  Buggered?

    MAX
  Every time.  But don't despair -- I
  think I have the solution to your
  problems.

    WILLIAM
  Really?

 They all look to him for wise words.

    MAX
  Her name is Tessa and she works in
  the contracts department.  The hair,
  I admit, is unfashionable frizzy --
  but she's as bright as a button and
  kisses like a nymphomaniac on death
  row.  Apparently.

 INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - NIGHT

 The kitchen.  William is looking uneasy.  A doorbell rings.

    MAX
  Now -- try.

 William nods.  Max heads off to the door.  We stay with William
 -- and just hear the door open and a voice come down the
 corridor.

    TESSA (V.O.)
  I got completely lost -- it's real
  difficult, isn't it?  Everything's
  got the word 'Kensington' in it --
  Kensington Park Road, Kensington
  Gardens, Kensington bloody Park
  Gardens...

 They reach the kitchen.  Tessa is a lush girl with a huge hair.

    MAX
  Tessa -- this is Bella my wife.

    TESSA
  Oh hello, you're in a wheelchair.

    BELLA
  That's right.

    MAX
  And this is William.

    TESSA
  Hello William.  Max has told me
  everything about you.
  
    WILLIAM
   (frightened)
  Has he?

    TESSA
  Oh yes please.  Come on, Willie, let's
  get sloshed.

 She turns to take the wine and William has a split second to send
 a message of panic to Bella.  She agrees -- it's bad.

 INT. MAX AND BELLA'S KITCHEN/CONSERVATORY - NIGHT

 Max walks over to the table.  Honey, Bella, William and another
 girl.

    MAX
  Keziah -- some woodcock?

    KEZIAH
  No, thank you  -- I'm a fruitarian.

    MAX
  I don't realize that.

 It is left to William, who has been set up here, to fill the
 pause.

    WILLIAM
  And ahm -- what's a fruitarian exactly?

    KEZIAH
  We believe that fruits and vegetables
  have feels so we think cooking is
  cruel.  We only eat things that have
  actually fallen from the tree or bush
  -- that are, in fact, dead already.

    WILLIAM
  Right.  Right.  Interesting stuff.
   (pause)
  So these carrots...

    KEZIAH
  Have been murdered, yes.

    WILLIAM
  Murdered?  Poor carrots.  How beastly.

 INT. MAX AND BELLA'S CONSERVATORY - NIGHT

 Time for coffee and chocolates.  Beside William sits the final,
 perfect girl.  She is Rosie, quite young, smartly dressed,
 open-hearted.  It is just Max and William and Bella and her.

    ROSIE
  Delicious coffee.

    MAX
  Thank you.  I'm sorry about the lamb.

    ROSIE
  No -- I thought it was really, you know,
  interesting.

    WILLIAM
  Interesting means inedible.

    ROSIE
  Really inedible -- yes that's right.

 They all laugh.  It's going very well.

 INT. MAX AND BELLA'S CORRIDOR - NIGHT

 William is with Rosie by the door -- just about to say goodbye.

    ROSIE
  Maybe we'll meet again some time.

    WILLIAM
  Yes.  That would be...great.

 She kisses him gently on the cheek.  He opens the door -- she
 walks out.  He shuts the door quietly and heads back into the
 living room...

 INT. MAX AND BELLA'S LIVING ROOM - NIGHT

 Max and Bella wait excitedly.

    MAX
  Well?

    WILLIAM
  She's perfect, perfect.

    BELLA
  And?

 William makes a gentle, exasperated gesture, then...

    WILLIAM
  I think you have forgotten...
   (he looks at them)
  what an unusual situation you have
  here -- to find someone you actually
  love, who'll love you -- the chances
  are... always minuscule.  Look at me
  -- not counting the American -- I've
  only loved two girls in my whole life,
  both total disasters.

    MAX
  That's not fair.

    WILLIAM
  No really, one of them marries me and
  then leaves me quicker than you can
  say Indiana Jones -- and the other,
  who seriously ought to have known
  better, casually marries my best
  friend.

    BELLA
   (pause)
  Still loves you though.

    WILLIAM
  In a depressingly asexual way.

    BELLA
   (pause)
  I never fancied you much actually...

 They all roar with laughter.

    BELLA
  I mean I loved you -- you were terribly
  funny.  But all that kissing my ears...

    WILLIAM
  Oh no -- this is just getting worse.
  I am going to find myself, 30 years
  from now, still on this couch.

    BELLA
  Do you want to stay?

    WILLIAM
  Why not -- all that awaits me at home
  is a masturbating Welshman.

 Music starts to play to take us through these silent scenes.

 INT. MAX AND BELLA'S LIVING ROOM - NIGHT

 Max lifts Bella off her couch and carries her upstairs.

 Mix through -- William sits on the couch downstairs -- eyes wide
 open -- thinking.

 INT. MAX AND BELLA'S KITCHEN/LIVING ROOM - DAY

 Morning.  Max, all in his suit for the city... Bella kisses him
 goodbye.  William sees this from the kitchen.  She is also
 dressed for work -- and moves back into the kitchen to pack her
 briefcase with law books from the kitchen table.

 EXT. MAX AND BELLA'S HOUSE - DAY

 William emerges from the house, a little ruffled from a night
 away from home, a heads off.

 EXT. NEWSAGENT - DAY

 William walks past the newsagent, heading for home.  We see,
 though he doesn't, a rack of tabloid papers, all of which seem
 to have very grainy, grabbed pictures of Annie on their front
 page.  Headlines --'Annie Stunned'-- 'It's Definitely Her!'
 and 'Scott of Pantartica.'

 INT. WILLIAM'S BATHROOM - DAY

 William is shaving.  The bell goes.  He heads out to answer it.

 EXT./INT. WILLIAM'S HOUSE -DAY

 William arrives at the door and opens it.  There stands a dark-
 glassed Anna.

    ANNA
  Hi.  Can I come in?

    WILLIAM
  Come in.

 She moves inside.  Her hair is a mess -- her eyes are tired.
 Nothing idealized.

 INT. LIVING ROOM - DAY

 The two of them.

    ANNA
  They were taken years ago -- I know
  it was... well, I was poor and it
  happens a lot -- that's not an excuse
  -- but to make things worse, it now
  appears someone was filming me as
  well.  So what was a stupid photo-
  shoot now looks like a porno film.
  And well... the pictures have been
  solid and they're everywhere.

 William shakes his head.

    ANNA
  I don't know where to go.  The hotel
  is surrounded.

    WILLIAM
  This is the place.

    ANNA
  Thank you.  I'm just in London for two
  days -- but, with your papers, it's the
  worse place to be.

 She's very shaken.

    ANNA
  These are such horrible pictures.
  They're so grainy... they make me
  look like...

    WILLIAM
  Don't think about it.  We'll sort it
  out.  Now what would you like -- tea
  ... bath...?

    ANNA
  A bath would be great.

 INT. WILLIAM'S CORRIDOR - DAY

 Spike enters through the front door.  William doesn't hear him.
 Spike is reading newspapers with the Anna pictures in it.

    SPIKE
  Christ alive... brilliant... fantastic
  .... magnificent...

 He heads up the stairs.  Opens the bathroom door, walks in.

 INT. WILLIAM'S BATHROOM - DAY

 Spike heads for the toilet -- undoes his zip...

    ANNA
  You must be Spike.

 She's in the bath.  Spike turns in shock -- and sidles out of the
 bathroom.

 INT. WILLIAM'S CORRIDOR - DAY

 Spike calms himself down.  He then opens the bathroom door
 again -- and looks in.

 INT. WILLIAM'S BATHROOM - DAY

 Anna is still lying low in the bath.

    ANNA
  Hi.

    SPIKE
  Just checking.

 INT. CORRIDOR - DAY

 Spike comes back out into the corridor.  Looks to heaven.

    SPIKE
  Thank you, God.

 INT. WILLIAM'S KITCHEN - DAY

 William and Anna at the kitchen table, eating toast.

    ANNA
  I'm really sorry about last time.  He
  just flew in -- I had no idea -- in fact,
  I had no idea if he'd ever fly in again.

    WILLIAM
  No, that's fine.  It's not often one
  has the opportunity to adios the plates
  of a major Hollywood star.  It was a
  thrill for me.
   (she smiles.  Pause)
  How is he?

    ANNA
  I don't know.  It got to the point where
  I couldn't remember any of the reasons
  I loved him.  And you... and love?

    WILLIAM
  Well, there's a question -- without
  an interesting answer.

    ANNA
  I have thought about you.

    WILLIAM
  Oh no no -- no.

 He doesn't think she has to talk about this.

    ANNA
  Just anytime I've tried to keep
  things normal with anyone normal --
  it's been a disaster.

    WILLIAM
  I appreciate that absolutely.
   (changing subject
    tactfully)
  Is that the film you're doing?

    ANNA
  Yes -- start in L.A. on Tuesday.

    WILLIAM
  Would you like me to take you through
  your lines?

    ANNA
  Would you?  It's all talk, talk, talk.

    WILLIAM
  Hand it over.  Basic plot?

    ANNA
  I'm a difficult but brilliant junior
  officer who in about twenty minutes
  will save the world from nuclear
  disaster.

    WILLIAM
  Well done you.

 EXT. TERRACE - DAY

 A little later.  They're in the thick of the script.

    WILLIAM
  'Message from command.  Would you like
  them to send in the HKs?'

    ANNA
  'No, turn over 4 TRS's and tell them we
  need radar feedback before the KFT's
  return at 19 hundred -- then inform the
  Pentagon that we'll be needing black
  star cover from ten hundred through
  12.15' -- and don't you dare say one
  word about how many mistakes I made in
  that speech or I'll pelt you with
  olives.

    WILLIAM
  'Very well, captain -- I'll pass that
  on straightaway.'

    ANNA
  'Thank you.'  How many mistake did I
  make?

    WILLIAM
  Eleven.

    ANNA
  Damn.  'And Wainwright...'

    WILLIAM
  Cartwright.

    ANNA
  'Cartwright, Wainwright, whatever
  your name is, I promised little Jimmy
  I'd be home for his birthday -- could
  you get a message through that I may
  be a little late.'

    WILLIAM
  'Certainly.  And little Johnny?'

    ANNA
  My son's name is Johnny?

    WILLIAM
  Yup.

    ANNA
  Well, get a message through to him
  too.

    WILLIAM
  Brilliant.
   (the scene's over)
  Word perfect I'd say.

    ANNA
  What do you think?

    WILLIAM
  Gripping.  It's not Jane Austen, it's
  Not Henry James, but it's gripping.

    ANNA
  You think I should do Henry James
  instead?

    WILLIAM
  I'm sure you'd be great in Henry James.
  But, you know -- this writer's pretty
  damn good too.

    ANNA
  Yes -- I mean -- you never get anyone
  in 'Wings of a Dove' having the nerve
  to say 'inform the Pentagon that we
  need black star over.'

    WILLIAM
  And I think the book is the poorer for
  it.

 Annie smiles her biggest smile of the day.  He is helping.

 INT. WILLIAM'S DINING ROOM

 Anna and William.  Sat down at table.  There's a picture
 hanging on the wall behind.

    ANNA
  I can't believe you have that picture
  on your wall.

 It is a picture of a Chagall painting of a floating wedding
 couple, with a goat as company.

    WILLIAM
  You like Chagall?

    ANNA
  I do.  It feels like how being in love
  should be.  Floating through a dark
  blue sky.

    WILLIAM
  With a goat playing a violin.

    ANNA
  Yes -- happiness wouldn't be happiness
  without a violin-playing goat.

 Spike enters with three pizzas.

    SPIKE
  Voila.  Carnival Calypso, for the
  Queen of Notting Hill -- pepperoni,
  pineapple and a little more
  pepperoni.

    ANNA
  Fantastic.

    WILLIAM
  I don't mention that Anna's a
  vegetarian, did I?

    SPIKE
   (pause)
  I have some parsnip stew from last week.
  If I just peel the skin off, it'll be
  perfect.

 INT. WILLIAM'S LIVING ROOM - NIGHT

 Later in the evening.  William and Anna on their own.  They're
 sipping coffee.  A few seconds of just co-existing.  Anna looks
 up.

    ANNA
  You've got big feet.

    WILLIAM
  Yes.  Always have had.

    ANNA
  You know what they say about men with
  big feet?

    WILLIAM
  No.  What's that?

    ANNA
  Big feet -- large shoes.

 He laughs.

 INT. WILLIAM'S LIVING ROOM - NIGHT

 A few hours later -- eating ice-cream out of the tub.

    ANNA
  The thing that's so irritating is that
  now I'm so totally fierce when it comes
  to nudity clauses.

    WILLIAM
  You actually have clauses in your
  contact about nudity.

    ANNA
  Definitely.  'You may show the dent at
  the top of the artist's buttocks -- but
  neither cheek, in the event of a stunt
  person being used, the artist must have
  full consultation.'

    WILLIAM
  You have a stunt bottom?

    ANNA
  I could have a stunt bottom, yes.

    WILLIAM
  Would you be tempted to go for a
  slightly better bottom than your own?

    ANNA
  Definitely.  Ths is important stuff.

    WILLIAM
  It's one hell of a job.  What do you put
  on your passport?  Profession -- Mel
  Gibson's bottom.

    ANNA
  Actually, Mel does his own ass work.
  Why wouldn't he?

    WILLIAM
  The ice cream or Mel Gibson's bottom?

    ANNA
  Both.

 INT. WILLIAM'S UPSTAIRS CORRIDOR - NIGHT

 They are walking up the stairs -- and stop at the top.

    ANNA
  Today has ben a good day.  Which under
  the circumstances is... unexpected.

    WILLIAM
  Well, thank you.
   (awkward pause)
  Anytime -- time for bed.  Or...
  sofa-bed.

    ANNA
  Right.

 Pause.  She leans forward, kisses him gently, then steps into
 the bedroom and closes the door.

 INT. WILLIAM'S LIVING ROOM - NIGHT

 William downstairs -- on a sofa -- under a duvet.  Eyes open.
 Thinking.  Pause and pause.

 He waits and waits -- the ultimate 'yearn.'  But nothing
 happens.  William gets off the sofa decisively.  Sits on the
 side of it.  Then gets back in again.

 Pause, pause, then... in the darkness, a stair creaks.  There's
 someone there.

    WILLIAM
   (to himself)
  Oh my God...
   (then...)
  Hello.

    SPIKE
  Hello.  I wonder if I could have a
  little word.

 He drifts round the corner, half-naked.

    WILLIAM
  Spike.

    SPIKE
  I don't want to interfere, or anything
  ... but she's split up from her boy-
  friend, that's right isn't it?

    WILLIAM
  Maybe.

    SPIKE
  And she's in your house.

    WILLIAM
  Yes.

    SPIKE
  And you get on very well.

    WILLIAM
  Yes.

    SPIKE
  Well, isn't this perhaps a good
  opportunity to... slip her one?

    WILLIAM
  Spike.  For God's sake -- she's in
  trouble -- get a grip.

    SPIKE
  Right.  Right.  You think it's the
  wrong moment.  Fair enough.
   (pause)
  Do you mind if I have a go?

    WILLIAM
  Spike!

    SPIKE
  No -- you're right.

    WILLIAM
  I'll talk you in the morning.

    SPIKE
  Okay -- okay.  Might be too late, but
  okay.

 Back to William thinking again.  Dreamy atmosphere.  And then...
 more footsteps on the stairs.

    WILLIAM
  Oh please sod off.

    ANNA
  Okay.

    WILLIAM
  No! No.  Wait.  I... thought you were
  someone else.  I thought you were Spike.
  I'm delighted you're not.

 The darkness of the living room.  We see Anna in the shadow.

 INT. WILLIAM'S LIVING ROOM - NIGHT

 A few moments later.  William and Anna stand in the middle of
 the room.  He kisses her neck.  Then her shoulder.  What a
 miracle it is just to be able to touch this girl's skin.  Then
 he looks at her face.  That face.  He is suddenly struck by who
 it is.

    WILLIAM
  Wow.

    ANNA
  What?

    WILLIAM
  Nothing.

 And kisses her.

 INT. WILLIAM'S BEDROOM - NIGHT

 The middle of the night.  They are both sleep -- a yard apart.
 In sleep, her arm reaches out, touches his shoulder and then
 she wriggles across and re-settles herself, tenderly, right
 next to him.  He is not asleep and knows how extraordinary this
 all is.

 INT. WILLIAM'S BEDROOM - DAY

 The morning.

    WILLIAM
  It still strikes me as, well, surreal,
  that I'm allowed to see you naked.

    ANNA
  You and every person in this country.

    WILLIAM
  Oh God yes -- I'm sorry.

    ANNA
  What is it about men and nudity?
  Particularly breasts -- how can you be so
  interested in them?

    WILLIAM
  Well...

    ANNA
  No seriously.  I mean, they're just
  breasts.  Every second person in the
  world has got them...

    WILLIAM
  More than that actually, when you think
  about it.  You know, Meatloaf has a very
  nice pair...

    ANNA
  But... they're odd-looking.  They're
  for milk.  Your mum's got them.  You
  must have seen a thousand of them --
  what's the fuss about?

    WILLIAM
   (pause)
  Actually, I can't think really -- let
  me just have a quick look...

 He looks under the sheet at her breasts.

    WILLIAM
  No, beats me.

 She laughs...

    ANNA
  Rita Hayworth used to say -- 'they go to
  bed with Gilda -- they wake up with me.'
  Do you feel that?

    WILLIAM
  Who was Gilda?

    ANNA
  Her most famous part -- men went to bed
  with the dream -- and they didn't like
  it when they woke up with the reality --
  do you feel that way with me?

    WILLIAM
   (pause)
  You're lovelier this morning than you
  have ever been.

    ANNA
   (very touched)
  Oh.

 She looks at him carefully.  Then leaps out of bed.

    ANNA
  I'll be back.

 INT. WILLIAM'S BEDROOM - MORNING

 William on the bed.  The door opens.  It is Anna with a tray of
 toast and tea.

    ANNA
  Breakfast in bed.  Or lunch, or brunch.

 She bends across.  She smiles and sits on the bed.

    ANNA
  Can I stay a bit longer?

    WILLIAM
  Stay forever.

    ANNA
  Damn, I forgot the jam.

 The doorbell goes.

    ANNA
  You get the door, I'll get the jam.

 INT./EXT. WILLIAM'S CORRIDOR - DAY

 William heads down the corridor and opens the door.  Outside
 are hundreds of paparazzi -- an explosion of cameras and
 questions, of noise and light.  The press seem to fill the
 entire street.

    WILLIAM
  Jesus Christ.

 He comes back inside, snapping the door behind him.  Anna is in
 the kitchen.

    ANNA
  What?

    WILLIAM
  Don't ask.

 She heads back the corridor, with no suspicion.

    ANNA
  You're up to something...

 She thinks he's fooling around.  She opens the door, the same
 explosion.  In a split second she's inside.

    ANNA
  Oh my God.  And they got a photo of you
  dressed like that?

    WILLIAM
  Undressed like this, yes.

    ANNA
  Jesus.

 INT. WILLIAM'S KITCHEN - DAY

 Anna is on the phone.  Spike is blithely heading downstairs to
 the kitchen in just his underpants.

    SPIKE
  Morning, daring ones.

 He does a thumb up to William -- very excited about what he knows
 was a 'result.'

    ANNA
   (on the phone)
  It's Anna.  The press are here.  No,
  there are hundreds of them.  My
  brilliant plan was not so brilliant
  at all.  Yeh, I know, I know.  Just get
  me out then.
   (she hangs up)
  Damnit.

 She heads upstairs.

    WILLIAM
  I wouldn't go outside.

    SPIKE
  Why not?

    WILLIAM
  Just take my work for it.

 The moment William goes upstairs, Spike heads for the front
 door.

 EXT. WILLIAM'S HOUSE - DAY

 From outside -- we see this scrawny bloke in the frame of the
 doorway, in his gay underpants.  A thousand photos.  Spike
 poses athletically.

 INT. WILLIAM'S CORRIDOR - DAY

 Spike closes the door and wanders along to a mirror in the hall-
 way, muttering.

    SPIKE
  How did I look?

 Inspects himself.

    SPIKE
  Not bad.  No bad at all.  Well-chosen
  briefs, I'd say.  Chick love grey.
  Mmmmm.  Nice firm buttocks.

 INT. WILLIAM'S BEDROOM - DAY

 William enters.  He's unhappy for her.  She's almost dressed.

    WILLIAM
  How are you doing?

    ANNA
  How do you think I'm doing?

    WILLIAM
  I don't know what happened.

    ANNA
  I do.  Your furry friend thought he'd
  make a buck or two telling the papers
  where I was.

 She's pacing.

    WILLIAM
  That's not true.

    ANNA
  Really?  The entire British press just
  woke up this morning and thought 'Hey --
  I know where Anna Scott is.  She's in
  that house with the blue door in Notting
  Hill.'  And then go out in your goddamn
  underwear.

    SPIKE
   (dropping in)
  I went out in my goddamn underwear too.

    WILLIAM
  Get out, Spike.
   (he does)
  I'm so sorry.

    ANNA
  This is such a mess.  I come to you to
  protect myself against more crappy
  gossip and now I'm landed in it all
  over again.  For God's sake, I've got
  a boyfriend.

    WILLIAM
  You do?

 It's a difficult moment -- defining where they stand.

    ANNA
  As far as they're concerned I do.  And
  now tomorrow there'll be pictures of
  you in every newspapers from here to
  Timbuktu.

    WILLIAM
  I know, I know -- but... just -- let's
  stay calm...

    ANNA
  You can stay calm -- it's the perfect
  situation for you -- minimum input,
  maximum publicity.  Everyone, you ever
  bump into will know.  'Well done you --
  you slept with that actress -- we've
  seen the pictures.'

    WILLIAM
  That's spectacularly unfair.

    ANNA
  Who knows, it may even help business.
  Buy a boring book about Egypt from the
  guy who screwed Anna Scott.

 She heads out.

 INT. STAIRS/LIVING ROOM - DAY

    WILLIAM
  Now stop.  Stop.  I beg you -- calm down.
  Have a cup of tea.

    ANNA
  I don't want a goddamn cup of tea.  I
  want to go home.

 The doorbell goes.

    WILLIAM
  Spike, check who that is... and for
  God's sake put some clothes on.

 Spike leans merrily out of the window.

    SPIKE
  Looks like a chauffeur to me.

 INT. WILLIAM'S KITCHEN/CORRIDOR - DAY

 They move from the kitchen into the corridor.

    ANNA
  And remember -- Spike owes you an
  expensive dinner.  Or holiday --
  depending if he's got the brains to get
  the going rate on betrayal.

    WILLIAM
  That's not true.  And wait a minute...
  this is crazy behavior.  Can't we just
  laugh about this?  Seriously -- in the
  huge sweep of things, this stuff
  doesn't matter.

    SPIKE
  What he's going to say next is -- there
  are people starving in the Sudan.

    WILLIAM
  Well, there are.  And we don't need to
  go anywhere near that far.  My best
  friend slipped -- she slipped down-
  stairs, cracked her back and she's in a
  wheelchair for the rest of her life.
  All I'm asking for is a normal amount
  of perspective.

    ANNA
  You're right: of course, you're right.
  It's just that I've dealt with this
  garbage for ten years now -- you've had
  it for ten minutes.  Our perspective are
  different.

    WILLIAM
  I mean -- today's newspapers will be
  lining tomorrow's waste paper bins.

    ANNA
  Excuse me?

    WILLIAM
  Well, you know -- it's just one day.
  Today's papers will all have been
  thrown away tomorrow.

    ANNA
  You really don't get it.  This story
  gets filed.  Every time anyone writes
  anything about me -- they'll dig up
  these photos.  Newspapers last forever.
  I'll regret this forever.

 He takes this in.  That's the end.

    WILLIAM
  Right.  Fine!  I will do the opposite,
  if it's all right by you -- and always be
  glad you came.  But you're right -- you
  probably better go.

 She looks at him.  The doorbell goes again.  She opens the door.
 Massive noise and photos.  Outside are her people, including
 Karen, a chauffeur, two bodyguards.  And then the door is shut
 and they're all gone.  Silence.

 INT. WILLIAM'S KITCHEN/CORRIDOR - DAY

 Spike and William sitting there.  Pause.

    WILLIAM
  Was it you?

    SPIKE
  I suppose I might have told one or two
  people down the pub.

    WILLIAM
  Right.

 He puts his head in his hands.  It's over now.

 EXT. LONDON - DAY

 As full, sad music plays -- William begins to walk through
 Notting Hill.

 This walk takes six months... as he walks, the seasons actually
 and magically change, from summer, through autumn and winter,
 back into spring...

 First it is summer -- summer fruits and flowers -- a six-month
 pregnant woman -- Honey with another leather-jacket boyfriend.

 As he walks on the rain starts to fall -- he turns up his coat
 collar -- umbrellas appear.  Followed by winter coats --
 chestnuts roasting -- Christmas trees on side and the first hint
 of snow.

 Then he comes to Blenheim Crescent, which is startling snowscape,
 for the hundred yard, right across Ladbroke Grove.

 By the time he reaches the purple cafe, the snow is melting and
 in a few yards, it is spring again.  He passes Honey again --
 arguing with her boyfriend, walking away tearful.  Then turns
 past 'the pregnant woman' -- now holding her three-month baby.
 The camera holds on her.

 INT. BOOKSHOP - DAY

 A grey day in the bookshop.  Martin and William.  As ever.  A
 feeling that things in there ever change.

 Ten seconds pass.  Honey rushes in.  Spike, still feeling in
 disgrace, comes with her but lingers in the doorway.

    HONEY
  Have we got something for you.
  Something which will make you love me so
  much you'll want to hug me every single
  day for the rest of my life.

    WILLIAM
  Blimey.  What's that?

    HONEY
  The phone number of Anna Scott's agent
  in London and her agent in New York.
  You can ring her.  You think about her
  all the time -- now you can ring her!

    WILLIAM
  Well, thanks, that's great.

    HONEY
  It is great, isn't it.  See you tonight.
  Hey, Marty-- sexy cardy.

 And she rushes out.  William looks at the piece of paper, folds
 it and then places it gently in the garbage bin.

 INT. TONY'S RESTAURANT - NIGHT

 Bella bangs a spoon on a wine bottle.  All the friends are
 gathered in the restaurant.

    BELLA
  I have a little speech to make -- I won't
  stand up because I can't... be bothered.
  Exactly a year ago today, this man here
  started the finest restaurant in London.

    TONY
  Thank you very much.

    BELLA
  Unfortunately -- no one ever came to eat
  here.

    TONY
  A tiny hiccough.

    BELLA
  And so much face the fact that from next
  week, we have to find somewhere near to
  eat.

 Tony's brave face breaks.  The dream is over.

    BELLA
  I just want to say to Tony -- don't take
  it personally.  The more I think about
  things, the more I see no rhyme or reason
  in life -- no one knows why some things
  work out, and some things don't -- why
  some of us get lucky -- and some of us...

    BERNIE
  ... get fired.

    BELLA
  No!

    BERNIE
  Yes, they're shifting the whole outfit
  much more towards the trading side --
  and of course...
   (he owns up)
  I was total crap.

 They're all rather stunned.

    TONY
  So we go down together!  A toast to
  Bernie -- the worst stockbroker in the
  whole world!

 They toast him.

    HONEY
  Since it's an evening of announcements
  ... I've also got one, Ahm... I've got
  engaged.

 Total bewilderment from the others.

    HONEY
  I've found myself a nice, slightly odd
  looking bloke who I know is going to
  make me happy for the rest of my life.

 Special cut to Bernie -- the shot shows he had special feelings
 for Honey.

    WILLIAM
  Wait a minute -- I'm your brother and I
  don't know anything about this.

    MAX
  Is it someone we know?

    HONEY
  Yes.  I will keep you informed.

 As she sits down, Honey leans toward Spike and whispers.

    HONEY
  By the way -- it's you.

    SPIKE
  Me?

    HONEY
  Yes.  What do you think?

    SPIKE
  Well, yes.  Groovy.

    MAX
  Any more announcements?

    WILLIAM
  Yes -- I feel I must apologize to
  everyone for my behavior for the last
  six months.  I have, as you know, been
  slightly down in the mouth.

    MAX
  There's an understatement.  There are
  dead people on better form.

    WILLIAM
  But I wish to make it clear I've turned
  a corner and henceforward intend to be
  impressively happy.

 INT. TONY'S RESTAURANT - NIGHT

 Two hours later.  They've had a very good time.  There's been a
 chocolate cake.  Lots of alcohol.  Tony is playing 'Blue Moon'
 on the piano, and Bernie joins him, singing.

 At one table Bella and Honey sit -- beer and wine on the table.

    BELLA
  I'm really horribly drunk.

 Elsewhere, Max an William are relaxed together.

    MAX
  So -- you've laid the ghost.

    WILLIAM
  I believe I have.

    MAX
  Don't give a damn about the famous girl.

    WILLIAM
  No, don't think I do.

    MAX
  Which means you won't be distracted by
  the fact that she's back in London,
  grasping her Oscar, and to be found
  filming most days on Hampstead Heath.

 He puts down a copy of the 'Evening Standard' with a picture of
 Anna on its cover.

    WILLIAM
   (immediate gloom)
  Oh God no.

    MAX
  So not over her, in fact.

 EXT. HAMPSTEAD HEATH - DAY

 Cut to the wide sweep of Hampstead Heath.  William entirely
 alone.  He marches up a hill... goes over the crest of it -- and
 sees a huge film crew and hundreds of extras in front of the
 radiant white of Kenwood House, with its lawn and its lake.

 EXT. KENWOOD HOUSE - DAY

 Now closer to the house, William approaches a barrier -- where
 he is himself approached.

    SECURITY
  Can I help you?

    WILLIAM
  Yes -- I was looking for Anna Scott...

    SECURITY
  Does she know you're coming?

    WILLIAM
  No, no.  She doesn't.

    SECURITY
  I'm afraid I can't really let you
  through then, sir.

    WILLIAM
  Oh right.  I mean, I am a friend -- I'm
  not a lunatic but -- no, you basically...

    SECURITY
  ... can't let you through.

 At that moment -- thirty yards away, William sees trailer door
 open.  Out of it comes Anna -- looking extraordinary -- in a
 velvet dress; full, beautiful make-up; rich, extravagant hair.
 She has a necessary cluster of people about her.  Hair, make-up,
 costume and the third assistant who has collected her.

 She walks a few yards, and then casually turns her head.  And
 sees him.  Her face registers not jut surprise, certainly not a
 simple smile.  His being there is a complicated thing.
 Cut back to him.  He does a small wave.  She pauses as the whole
 paraphernalia of the upcoming scene passes between them.  The
 movie divides them.  But then she begins to walk through it, and
 followed by her cluster, she makes her way towards him.  When
 she reaches him, the security guard stands back a pace, and her
 people hold back.  She doesn't really know what to say...

    ANNA
  This is certainly... ah...

    WILLIAM
  I only found out you were here
  yesterday.

    ANNA
  I was going to ring... but... I didn't
  think you'd want to...

 The third assistant is under pressure.

    THIRD
  Anna.

 She looks around.  The poor third is nervous -- and the first is
 approaching.

    ANNA
   (to William)
  It's not going very well -- and it's
  our last day.

    WILLIAM
  Absolutely -- you're clearly very busy.

    ANNA
  But... wait... there are things to say.

    WILLIAM
  Okay.

    ANNA
  Drink tea -- there's lots of tea.

 She is swept away, four people touching her hair and costume.

    KAREN
  Come and have a look...

 EXT. KENWOOD PARK - DAY

 As they make towards the set...

    KAREN
  Are you a fan of Henry James?

    WILLIAM
  This is Henry James film?

 EXT. KENWOOD HOUSE - DAY

 A complicated shot is about to happen -- with waves of extras --
 and a huge moving crane.  They end up next to the sound desk.

    KAREN
  This is Harry -- he'll give you a pair of
  headphones so you can hear the dialogue.

 Harry the sound man is a pleasant, fifty-year-old balding
 fellow.  He hands him the headphones.

    HARRY
  Here we go.  The volume control is on
  the side.

    WILLIAM
  That's great.

 William, the headphones on, surveys the scene -- the cluster is
 full 100 yards from the action, to allow a gracious sweeping
 wide-shot.  He watches Anna.  She is with her co-star in the
 Henry James film -- let's call him James.

    JAMES
  We are living in cloudcuckooland --
  we'll never get this done today.

    ANNA
  We have to.  I've got to be in New York
  on Thursday.

    JAMES
  Oh, stop showing off.

 He studies an actress a few yards to the left.

    JAMES
  God, that's an enormous arse.

    ANNA
  I'm not listening.

    JAMES
  No, but seriously -- it's not fair -- so
  many tragic young teenagers with
  anorexia -- and that girl has an arse
  she could perfectly well share round
  with at least ten other women -- and
  still be beg-bottomed.

    ANNA
  I said I'm not listening -- and I think,
  looking at something that firm, you and
  your droopy little excuse for an 'arse'
  would be well-advised to keep quiet.

 Back by the desk, William is listening and laughs.  That's his
 girl.  Anna prepares.

    ANNA
  So I ask you when you're going to tell
  everyone, and you say...?

    JAMES
  'Tomorrow will be soon enough.'

    ANNA
  And then I... right.

    JAMES
  Who was that rather difficult chap you
  were talking to on the way up?

    ANNA
  Oh... no one... no one.  Just some...
  guy from the past.  I don't know what
  he's doing here.  But of an awkward
  situation.

 EXT. HAMPSTEAD HEATH - DAY

 Cut back to William -- he has heard.

    WILLIAM
  Of course.

 He takes off the headphones and puts them gently down.

    WILLIAM
  Thank you.

    HARRY
  Anytime.

 William walks away.  The moment of hope is gone.  He couldn't
 have had a clear reminder.

 INT. WILLIAM'S LIVING ROOM - EVENING

 William is emptying Anna Scott videos into a box.

    SPIKE
  What's going on?

    WILLIAM
  I'm going to throw out these old videos.

    SPIKE
  No.  You can't bin these.  They're
  classics.  I'm not allowing this.

    WILLIAM
  Right -- let's talk about rent...

    SPIKE
  Let me help.  We don't want all this
  shit cluttering up our lives.

 INT. BACKROOM OF THE BOOKSHOP - DAY

 The next day.  William is hard at work, doing the accounts in a
 dark small room with files in it.  Martin pops his head in.

    MARTIN
  I have to disturb you when you're
  cooking the books, but there's a
  delivery.

    WILLIAM
  Martin, can't you just deal with this
  yourself?

    MARTIN
  But it's not for the shop.  It's for you.

    WILLIAM
  Okay.  Tell me, would I have to pay a wet
  rag as much as I pay you?

 They head out, Martin behind him, incomprehensively rubbing
 his hands -- he's in a very good mood.

 INT. BOOKSHOP - DAY

 William enters -- and there stands Anna -- in a simple blue
 skirt and top.

    ANNA
  Hi.

    WILLIAM
  Hello.

    ANNA
  You disappeared.

    WILLIAM
  Yes -- I'm sorry -- I had to leave... I
  didn't want to disturb you.

    ANNA
  Well... how have you been?

    WILLIAM
  Fine.  Everything much the same.  When
  they change the law Spike and I will
  marry immediately.  Whereas you...
  I've watched in wonder.  Awards, glory
  ...

    ANNA
  Oh no.  It's all nonsense, believe me.
  I had no idea how much nonsense it all
  was -- but nonsense it all is...
   (she's nervous)
  Well, yesterday was our last day
  filming and so I'm just off -- but I
  brought you this from home, and...

 It's quite a big wrapped parcel, flat -- 3 foot by 4 foot,  
 leaning against a bookshelf.

    ANNA
  I thought I'd give it to  you.

    WILLIAM
  Thank you.  Shall I...

    ANNA
  No, don't open it yet -- I'll be
  embarrassed.

    WILLIAM
  Okay -- well, thank you.  I don't know
  what it's for.  But thank you anyway.

    ANNA
  I actually had it in my apartment in New
  York and just thought you'd... but,
  when it came to it, I didn't know how to
  call you... having behaved so... badly,
  twice.  So it's been just sitting in the
  hotel.  But then... you came, so I
  figured... the thing is... the thing is
  ...

    WILLIAM
  What's the thing?

 Then the door pings.  In walks the annoying customer, Mr. Smith.

    WILLIAM
  Don't even think about it.  Go away
  immediately.

 Mr. Smith is taken aback and therefore completely obedient.

    MR. SMITH
  Right.  Sorry.

 And he leaves.

    WILLIAM
  You were saying...

    ANNA
  Yes.  The thing is... I have to go away
  today but I wondered, if I didn't,
  whether you might let me see you a bit...
  or, a lot maybe... see if you could...
  like me again.

 Pause as William takes this in.

    WILLIAM
  But yesterday... that actor asked you
  who I was... and you just dismissed me
  out of hand... I heard -- you had a
  microphone... I had headphones.

    ANNA
  You expect me to tell the truth about my
  life to the most indiscreet man in
  England?

 Martin edges up.

    MARTIN
  Excuse me -- it's your mother on the
  phone.

    WILLIAM
  Can you tell me I'll ring her back.

    MARTIN
  I actually tried that tack -- but she
  said you said that before and it's been
  twenty-four hours, and her foot that
  was purple is now a sort of blackish
  color...

    WILLIAM
  Okay -- perfect timing as ever -- hold
  the fort for a second will you, Martin?

 Martin is left with Anna.

    MARTIN
  Can I just say, I thought 'Ghost' was a
  wonderful film.

    ANNA
  Is that right?

    MARTIN
  Yes... I've always wondered what
  Patrick Swayze is like in real life.

    ANNA
  I can't say I know Patrick all that
  well.

    MARTIN
  Oh dear.  He wasn't friendly during the
  filming?

    ANNA
  Well, no -- I'm sure he was friendly --
  to Demi Moore -- who acted with him in
  'Ghost.'

 She's kind in here, not sarcastic.

    MARTIN
  Oh right.  Right.  Sorry.  Always been
  a bit of an ass.

 William returns a little uneasy.

    MARTIN
  Anyway... it's lovely to meet you.  I'm
  a great fan of yours.  And Demi's, of
  course.

 Martin leaves them.

    WILLIAM
  Sorry about that.

    ANNA
  That's fine.  There's always a pause
  when the jury goes out to consider its
  verdict.

 She's awaiting an answer.

    WILLIAM
  Anna.  Look -- I'm a fairly level-
  headed bloke.  Not often in and out of
  love.  But...

 He can't really express what he feels.

    WILLIAM
  ... can I just say 'no' to your kind
  request and leave it at that?

    ANNA
  ... Yes, that's fine.  Of course.  I...
  you know... of course... I'll just...
  be getting along then... nice to see
  you.

    WILLIAM
  The truth is...

 He feels he must explain.

    WILLIAM
  ... with you, I'm in real danger.  It
  took like a perfect situation, apart
  from that foul temper of yours -- but my
  relatively inexperienced heart would,
  I fear, not recover if I was once again
  ... cast aside, which I would
  absolutely expect to be.  There are too
  many pictures of you everywhere, too
  many films.  You'd go and I'd be...
  well, buggered, basically.

    ANNA
  I see.
   (pause)
  That reality is a real 'no,' isn't it?

    WILLIAM
  I live in Notting Hill.  You live in
  Beverly Hills.  Everyone in the world
  knows who you are.  My mother has
  trouble remembering my name.

    ANNA
  Okay.  Fine.  Fine.  Good decision.

 Pause.

    ANNA
  The fame thing isn't really real, you
  know.  Don't forget -- I'm also just a
  girl.  Standing in front of a boy.
  Asking him to love her.

 Pause.  She kisses him on the cheek.

    ANNA
  Bye.

 Then turns and leaves.  Leaving him.

 INT. TONY'S RESTAURANT - DAY

 The restaurant is in the middle of being deconstructed.  The
 pictures are gone off the walls -- a kettle on a long extension
 lead is on the bare table behind.  They're all sitting there.

    WILLIAM
  What do you think?  Good move?

    HONEY
  Good move: when all is sad and done,
  she's nothing special.  I saw her
  taking her pants off and I definitely
  glimpsed some cellulite down there.

    BELLA
  Good decision.  All actresses are mad
  as snakes.

    WILLIAM
  Tony -- what do you think?

    TONY
  Never met her, never want to.

    WILLIAM
  Brilliant.  Max?

    MAX
  Absolutely.  Never trust a vegetarian.

    WILLIAM
  Great.  Excellent.  Thanks.

 Spike enters.

    SPIKE
  I was called and I came.  What's up?

    HONEY
  William has just turned down Anna Scott.

    SPIKE
  You draft prick!

 Bella is casually looking at the painting that sits beside
 William.  It is the original of the Chagall, the poster of which
 was on his wall.

    BELLA
  This painting isn't the original, is
  it?

    WILLIAM
  Yes, I think that one may be.

    BERNIE
  But she said she wanted to go out with
  you?

    WILLIAM
  Yes -- sort of...

    BERNIE
  That's nice.

    WILLIAM
  What?

    BERNIE
  Well, you know, anybody saying they
  want to go out with you is... pretty
  great... isn't it...

    WILLIAM
  It was sort of sweet actually -- I mean,
  I know she's an actress and all that, so
  she can deliver a line -- but she said
  that she might be as famous as can be --
  but also... that she was just a girl,
  standing in front of a boy, asking him
  to love her.

 They take in the line.  It totally reverses their attitudes.

    WILLIAM
  Oh sod a dog.  I've made the wrong
  decision, haven't I?

 They look at him.  Spike does a big nod.

    WILLIAM
  Max, how fast is your car?

 EXT. TONY'S RESTAURANT - DAY

 Max's car arrives in the street outside.  They pile into the
 car.

    MAX
  If anyone gets in our way -- we have
  small nuclear devices.

    BERNIE
  And we intend to use them!

    MAX
  Where's Bella?

    HONEY
  She's not coming.

    MAX
  Sod that.  Bernie -- in the back!

 He shoots out of his door, rushes round and grabs Bella out of
 the chair.

    MAX
  Come on, babe.

 EXT./INT. CAR. STANLEY CRESCENT/NOTTING HILL GATE - DAY

 Max's car is shooting up Stanley Crescent.  We are inside and
 outside the car.

    BELLA
  Where are you going?

    MAX
  Down Kensington Church Street, then
  Knightsbridge, then Hyde Park Center.

    BELLA
  Crazy.  Go along Bayswater...

    HONEY
  That's right -- then Park Lane.

    BERNIE
  Or you could go right down to Cromwell
  Road, and left.

    WILLIAM
  No!

 Suddenly the car slams to a halt.

    MAX
  Stop right there!  I will decide the
  route.  All right?

    ALL
  All right.

    MAX
  James Bond never has to put up with this
  sort of shit.

 EXT. PICCADILLY - DAY

 The car turns illegally right across Piccadilly the wrong way
 down a one-way street and ends up outside the Ritz.  William
 sprints into the hotel.  Bernie follows.

    BERNIE
  Bloody hell, this is fun.

 IT. RITZ LOBBY - DAY

    WILLIAM
  Is Miss Scott staying here?

 It is the same man.

    RITZ MAN
  No, sir.

    WILLIAM
  How about Miss Flintstone?

    RITZ MAN
         No, sir.

    WILLIAM
  Or Bambi... or, I don't know, Beavis or
  Butthead?

 Man shakes his head.

    RITZ MAN
  No, sir.

    WILLIAM
  Right.  Right.  Fair enough.  Thanks.

 He turns despondent and takes two steps when the Ritz Man stops
 him in his tracks.

    RITZ MAN
  There was a Miss Pocahontas in room 126
  -- but she checked out an hour ago.  I
  believe she's holding a press
  conference at The Savoy before flying to
  America.

    BERNIE
  We have lift off!!

 A Japanese guest assumes this is the way to behave and the Ritz
 Man gets kissed a third time.

 EXT. LONDON STREET - DAY

 The car speeds through London.  It gets totally stuck at a
 junction where no one will let them in.

    SPIKE
  Bugger this for a bunch of bananas.

 He gets out of the car and boldly stops the traffic coming in the
 opposite direction.  Our car shoots past him.

    SPIKE
  Go!

 They leave him behind.  Honey leans out the window and shouts...

    HONEY
  You're my hero.

 Spike waves wildly -- he loses concentration and is very nearly
 hit by a car.

 EXT. THE SAVOY - DAY

 They pull to a stop.  William leaps out.

    MAX
  Go!

 INT. THE SAVOY - DAY

 William rushes up to the main desk.

    WILLIAM
  Excuse me, where's the press
  conference?

    MAN AT SAVOY
  Are you an accredited member of the
  press?

    WILLIAM
  Yes...

 He flashes a card.

    MAN AT SAVOY
  That's a Blockbuster video membership
  card, sir.

    WILLIAM
  That's right... I work for their in-
  house magazine.
   (mimes quotation marks)
  'Movies are our business.'

    MAN AT SAVOY
  I'm sorry, sir...

 Honey shows into shot, pushing Bella's chair.

    BELLA
  He's with me.

    MAN AT SAVOY
  And you are?

    BELLA
  Writing an article about how London
  hotels treat people in wheelchairs.

    MAN AT SAVOY
  Of course, madam.  It's in the
  Lancaster Room.  I'm afraid you're very
  late.

    HONEY
   (to William)
  Run!

 INT. SAVOR ROOM - DAY

 William runs, searching.  At last finds the room, and enters.

 INT. LANCASTER ROOM - DAY

 Huge room -- full of press.  Row after row of journalists,
 cameras at the front, TV cameras at the back.  Anna clearly
 gives press conferences very rarely, because this one is
 positively presidential.  She sits at a table at the end of the 
 room, beside Karen: on her other side os Jeremy, the PR boss,
 firmly marshalling the questions.

    JEREMY
  Yes... You -- Dominic.

    QUESTIONER 1
  How much longer are you staying in the
  UK then?

    ANNA
  No time at all.  I fly out tonight.

 She's in a slightly melancholic and therefore honest mood.

    JEREMY
  Which is why we have to round it up now.
  Final questions.

 He points at a journalist he knows.

    QUESTIONER  2
  Is your decision to take a year off
  anything to do with the rumours about
  Jeff and his present leading lady?

    ANNA
  Absolutely not.

    QUESTIONER 2
  Do you believe the rumours?

    ANNA
  It's really not my business any more.
  Though I will say, from my experience,
  that rumours about Jeff... do tend to
  be true.

 They love that answer, and all scribble in their note books.
 Next question comes from someone straight right next to
 William.

    QUESTIONER 3
  Last time you were here, there were some
  fairly graphic photographs of you and a
  young English guy -- so what happened
  there?

    ANNA
  He was just a friend -- I think we're
  still friends.

    JEREMY
  Yes, the gentleman in the pink shirt.

 He is pointing straight at William, who has his hand up.

    WILLIAM
  Yes -- Miss Scott -- are there any
  circumstances in which you two might be
  more than just friends?

 Anna sees who it is asking.

    ANNA
  I hoped there might be -- but no, I'm
  assured there aren't.

    WILLIAM
  And what would you say...

    JEREMY
  No, it's just one question per person.

    ANNA
  No, let him... ask away.  You were
  saying?

    WILLIAM
  Yes, I just wondered whether if it
  turned out that this... person...

    OTHER JOURNALIST
   (to William)
  His name is Thacker.

    WILLIAM
  Thanks.  I just wondered if Mr. Thacker
  realized he'd been a draft prick and got
  down on his knees and begged you to
  reconsider, whether you would...
  reconsider.

 We cut to Max, Bella, Bernie and Honey, all watching.  Then back
 to Anna.

    ANNA
  Yes, I'm pretty sure I would.

    WILLIAM
  That's very good news.  The readers of
  'Horse and Hound' will be absolutely
  delighted.

 Anna whispers something to Jeremy.

    JEREMY
  Dominic -- if you'd like to ask your
  question again?

    QUESTIONER 1
  Yes -- Anna -- how long are you
  intending to stay here in Britain?

 Pause.  Anna looks up at William.  He nods.

    ANNA
  Indefinitely.

 They both smile -- suddenly the press gets what's going on --
 music -- noise -- they all turn and flash, flash, flash photos
 of William.  Max and Bella kiss.  Bernie kisses a total stranger.
 Spike finally makes it -- he's bright red from running.

    SPIKE
  What happened?

    HONEY
  It was good.

 Honey hugs him.  It's a new experience for Spike.

 Cut to William's face -- flash after flash -- still looking at
 Anna.  They are both smiling.

 INT./EXT. THE HEMPEL ZEN GARDEN WITH MARQUEEN - DAY

 Anna and William at their wedding -- they kiss and walk into the
 crowd.

 Honey, a bridesmaid in peach satin -- she is surrounded by at
 least four other bridesmaids, all under five.

 Nearby, Tony standing, glowing, beside his fabulous,
 pyramidical wedding cake.

 William's mother is not quite happy with how he's looking.  She
 tries to brush his hair.

 Max, dressed in the most devastating Bond-like white tuxedo is
 dancing with Anna -- thrilled.  He does a rather flashy little
 move.  Cut to Bella who is watching and laughing.

 Martin, in an awkward tweed suit, is jiggling to the beat of a
 song, entirely happy in the corner.

 EXT. LEICESTER SQUARE - NIGHT

 A huge premier -- screaming crowds -- Anna and William get out
 of the car, she holding his hand --  looking ultimately gorgeous
 -- he in a black suit that doesn't quite fit.  He's startled.

 EXT. GARDEN - DAY

 A pretty green communal garden.  Children are playing, watched
 by mothers, one of whom holds a new baby in a papoose.  A very
 old couple wander along slowly.

 A small tai chi group moves mysteriously.  And as the camera
 glides, it passes a couple sitting on a single, simple wooden
 bench overlooking the garden.  He is reading, she is just
 looking out, totally relaxed, holding his hand, pregnant.  It
 is William and Anna.

 

    THE END

PART A

 

The Golden Axe and Silver Axe

 

There was a hardworking and honest woodcutter in a small village. 

One day, the honest woodcutter went into the forest to cut some wood.  He was using his axe to cut a tree, the axe slipped from his hands and fell into the pond. He was crying because he didn't know what to do. 

 

The spirit appeared from the pond and asked him “why are you crying?” and the woodcutter said “My axe fell into the pond. I can’t cut tree without the axe.” The spirit felt sorry for the woodcutter. So the spirit went into the pond and came back with a golden axe and asked the woodcutter, "Is this golden axe yours?" The woodcutter replied, "No, that is not my axe."  The spirit went back into the pond and came up again with a silver axe this time. He asked, "Is this silver axe yours?". The woodcutter replied again, "No, that is not my axe."  So, the spirit went back into the pond third time and came back with an old steel axe.  He asked the same question to the woodcutter. "Is this your axe?"  Now, the woodcutter replied, "Yes, that is my axe."  The spirit was deeply moved by woodcutter’s honesty and he said “You’re very honest. I will give you all three axes as a reward.” The honest woodcutter lived happily ever after.

 

227words

 

 

Adapted from: http://kin.naver.com/qna/detail.nhn?d1id=13&dirId=130106&docId=136211541&qb=6riI64+E64G87J2A64+E64G8&enc=utf8&section=kin&rank=5&search_sort=0&spq=1&sp=1

 

PART B

                                                                                                                                    

Character; Woodcutter, Mountain spirit (puppets)

Location; A pond, forest, tree (flash cards)

Other objects; Gold Axe, Silver axe, old steel axe (flash cards)

 

*materials have attached

 

PART C

Questions for the gold and silver axes to be used in the lesson

1. Who was crying? (a woodcutter)      

2. Why was woodcutter crying? (because he dropped his old steel axe into the pond)

3. Which axe did the spirit bring first? (golden axe)

4. What does the woodcutter used for cutting a tree? (old steel axe)

5. How many axes are in this story? (3, golden, silver and old steel axes)

6. Who said “Is this gold axe yours?” (the mountain spirit)

7. When the spirit asked him whether gold and silver axes were his or not, what did he said? (He said both of them are not his) 

8. What did woodcutter get from the spirits at last?

(He’s got gold axe, silver axe and his old steel axe)

 9. What do you think how the woodcutter feel after he got three axes?(happy, Ss’ own answer)

10. How would you feel if you dropped an axe into the pond? (sad, Ss’ own answer)

11. Why do you think the spirit gave the woodcutter three axes? (honest, Ss’ own answer)

12. What is this story trying to tell? (be honest, Ss’ own answer)

 

PART D

Materials for follow up activity

projector, board marker, work sheet, answer key, dice

 

Procedures and instructions

1. Recap target language

Vocabularies

1) honest – what is the woodcutter behavior?

2) axe/axes – what is the woodcutter using?

3) woodcutter – who fell old axe into a pond?

4) the spirit – who gave the woodcutter three axes?on

5) gold –which colour is first axe, when the spirit appeared?

6) silver – which colour is second axe, when the spirit appeared?

7) steel – which axe is his own axe?

8) pond – where is the spirit appearing?

9) tree/forest – what is the woodcutter cutting?

Direct speech

10) “Why are you crying?” when the woodcutter fell his own axe into a pond, what dose the spirit say?

11) “Is this yours?” – what dose the spirit say when he appeared from a pond?

12) “No, it’s not my axe” when the spirit gave the woodcutter gold and silver axes. What dose he say?

13) “Yes, that is my axe.” When the spirit gave the woodcutter an old steel axe , what dose he say?

 

2. Introduce the crossword activity that students are going to fill up

Look at me. What is this? (crossword work sheet) Do you like crossword?

 

3. Give instructions to fill the word boxes

Read the instruction and have a look at clues. Here is an example. What is this? Can anyone guess? Write down the correct word in right box.

 

4. Give feedback

Check your answers with your partners. Now check your answers and spelling from the board. (projector)

 

5. Give instructions and demonstrate how to do the activity.

- Now listen carefully and look at me.(worksheet is on T’s chest)

- There are pictures with names, numbers and alphabets.

- What is this? (Dice) I will give you dice. You have to roll a dice and tick 1 picture on each line-A, B, C, D and E. For example, if you roll ‘2’, tick picture A2.  Continue with B, C, D and E.

- T group the Ss.

- Now have a look at right hand side of the page, what do you see? (Sentences with missing word).

- Now you have to complete the sentences with the words from the picture you ticked. For example, what picture has a tick in ‘A’ column?

ICQs

Can you roll the dice more than one time?

Can you fill any words in the gap?

- I will give you 2 mins. Go!

 

Monitoring (actively)

What is this? How does he gesture?

 

-T matches Ss from other groups and they tell their story.

- share your stories with Ss in the class.

- Practice  target languages by reading the sentences and CCQs before wrap up.

 

6. If time activity

Do one more round and make different story.

Share with class.

 

 

자기주도적 학습이란 무엇이며, 자기주도적 학습에 있어서 교수자와 학습자의 역할, 그리고 자기주도적 학습의 장단점을 밝히시오.

 

1) 자기주도적 학습이란?

 

학습은 학습자 스스로가 학습에 대한 열정을 가지고 성취하고자 하는 학습목표를 향해 노력할 때 가장 바람직한 결과를 창출합니다.

자기주도적은 본인 스스로가 주체성을 가지고 어떠한 일을 성취해나가고자 열정을 통해 끊임없이 노력하는 행위로 일정 목표를 성취하기 위해서 외부적인 요소에 의존하지 않는 상태에서 자기 스스로를 이끌어 내는 작업을 의미합니다.

 

학습에 있어서의 자기주도적 행위는 결과적으로 학습을 진행하는데 있어서 누군가의 외부의 도움에 의존하지 않은 채 학습자의 주도적인 학습행위에 의해 학습목표를 이루어나가는 과정을 말합니다.

 

자기주도적 학습은 학습자의 자기주도적인 학습행위를 학습 과정 중의 중요하면서도 필요한 하나의 과정으로 보는 가운데 학습 진행 상황에 있어서의 학습자 주도성을 강조하는 학습형태입니다.

 

따라서 자기주도적 학습은 교사의 책임 하에 이루어지는 일반적인 학교교육의 전형적 교육활동과는 매우 상이한 학습행위입니다.

 

2) 자지주도적 학습에 있어서 교수자와 학습자의 역할

(1) 교수자의 역할

자기주도적 학습을 진행함에 있어서 교수자의 역할은 기존의 학교교육이나 전통적인 교육활동에서 학습자들을 가르칠 때 가장 중요한 역할이었던 수업내용에 대한 전문가내지는 주도자가 아니라 학습자가 주체적으로 주도하는 학습활동의 촉진자나 또는 안내자의 역할을 의미합니다.

(2) 학습자의 역할

자기주도적 학습의 가장 중요한 핵심은 학습자 스스로의 주도적인 학습계획에 의해 학습이 진행된다는 것임. 따라서 이러한 자기주도적 학습에 있어서의 학습자의 가장 중요한 역할은 학습의 전 과정에 대한 계획 및 시행, 평가 등을 주도해야 한다는 것을 들 수 있음. 이는 결과적으로 학습자가 이루어내고자 하는 학습목표의 달성을 위해 필요한 학습의 전 과정에 대해서 학습자가 전적으로 책임을 진다는 것을 의미합니다.

 

3) 자지주도적 학습의 장단점

장점

단점

자기주도적 학습은 학습자로 하여금 학습에 대한 강한 의욕을 느끼도록 하는데 긍정적인 역할을 합니다. 자기주도적 학습은 학습자로 하여금, 인내력, 판단력, 책임감 등의 성향을 향상시킴으로 인해 인지적 발달과 함께 바람직한 인성과 태도까지를 학습할 수 있도록 합니다. 자기주도적 학습은 학습자의 주도적인 참여에 의해서 이루어지는 것이기 때문에 이를 통해 학습자 스스로 학습할 수 있는 능력이 생긴다는 것을 들 수 있습니다. 자기주도적 학습은 인적자원개발의 목표 달성에 효과적입니다. 자기주도적 학습은 학습자의 주체적인 학습방법을 활용함으로 통해 보다 적극적인 자기훈련에 유익을 줄 뿐만 아니라 해당 학습과제의 의식을 높일 수 있는 예습 과제를 부과하는 동시에 이를 해결할 수 있는 학습방법을 적용하는데 매우 유익할 학습활동입니다.

학습자는 구체적으로 자신의 요구가 무엇인지 알 수 없을 때가 많을뿐더러, 알아낸 그 요구가 자신이 꼭 원한 것이 아닐 수도 있으며 따라서 학습 목표는 수시로 변경될 수도 있다는 것입니다. 학습자가 스스로 선정하여 하는 학습이기 때문에 보다 충분한 학습 자료를 갖추고 있어야 하는데, 새로운 자료의 준비라는 측면에서 어려움이 많습니다. 학습자들의 동기와 더불어 시간과 예산이 많이 듭니다. 학습자 중심 교수방법을 적용할 수 있는 코스의 범위와 종류가 비교적 제한될 수 있습니다.

* 참고문헌

정형권 저, 자기주도학습의 모든 것, 라온북, 2014년

송인섭 저, 자기주도학습, 학지사, 2006년

김혜온 외 1명 저, 자기주도 학습기술, 학지사, 2008년

1. 성인학습자의 특징과 성인 교수법은 아래와 같습니다.

가. 성인전기(20-40세)의 인지적 특성
• 후 형식적 사고능력의 발달
- 추상적 수준을 넘어 융통성 있고 개방적이며 현실 적응적
- 객관적 접근과 주관적 접근이 가능함
• 유동성 지능의 쇠퇴
- IQ에 해당되는 지능
• 결정성 지능의 발달
- 학교교육을 제외한 모든 교육
- 경험, 교육 및 훈련을 통해서 얻은 지식과 능력을 의미함

나. 성인 중기(40-65세)의 인지적 특성
• 기억력의 감퇴 후 형식적 사고능력의 발달
- 감각기억, 단기기억, 장기기억이 떨어짐
• 지배세대에 필요한 인지능력 소유
- 결정성 지능과 후 형식적 사고 능력이 발달
- ‘교육, 직업, 일상생활 경험에서 얻은 정보와 기술을 실제로 사용하는 지적 기능’인 실용적 지능이 확대
- 직장과 가정에서 책임적 역할을 수행

다. 성인 후기(65세 이후)의 인지적 특성
• 노인지능에 대한 두 가지 견해
- 비관론
- 낙관론
• 노인들의 지능에 대한 오해
- 개인차가 있음
• 노화와 기억
- 감각기억과 단기기억에서는 차이가 없음
2. 성인학습자의 신체적 특성
가. 성인 전기(20-40세)의 신체적 특성
• 최상의 건강상태 유지
- 근력은 30세 이후부터 60세까지 10% 감소
- 등과 다리의 근육이 팔 근육에 비해 약화
- 손의 기민성은 30대 중반 이후 점차 감소
• 스트레스와 정신건강
- 스트레스가 가장 많은 시기임
• 감각
- 최상의 감각기능
나. 성인 중기(40-65세)의 신체적 특성
• 예비능력의 저하
- 혈액공급 능력, 신장기능, 소화기능 저하
• 체력과 근육 협응력
- 체력과 근육 협응력이 성인 전기에 비해 10% 감소
• 감각
- 시각 기능의 저하(난시나 원시)
- 청각의 둔화 : 남성이 여성에 비해 감퇴
- 미각 : 50세부터 감소
- 촉각기능도 저하, 그러나 후각은 지속적 기능 가능
다. 성인 후기(65세 이후)의 신체적 특성
• 체력 및 제반 건강상태
- 예비능력의 감소(반응력 등)
- 지구력 감소, 반사 반응 둔화
• 지각기능
- 지각과정의 퇴화(자극의 흔적이 오래 남음)
• 감각기능
- 시각기능은 60세 무렵 진행되지 않음
- 청각기능 쇠퇴(난청)
- 미각과 후각도 떨어짐
3. 성인학습자의 정의적 특성
가. 지식의 차이에서 오는 거부감
• 새 지식을 거부하게 되는 요인
- 기존 지식구조에 대한 감정적 집착을 버리기 어려움
- 사회적 편견과 모순
- 관습에 대한 집착

• 새 지식으로부터의 도피 메커니즘
- 수업에 불참
- 구획을 나누어 마찰을 피함
- 권위있는 지식의 선택
- 현실도피형 메커니즘
나. 학습에 대한 불안감
• 내부적 요인
- 자신감 부족, 공부에 대한 강박관념, 경쟁심리에 따른 압박감, 집중력 저하, 시력 및 청력 저하
• 외부적 요인
- 평가사례, 발표 긴장, 학습진도 불안
• 학습불안과 학습효과
- 학습불안도가 너무 높거나 낮으면 학습효과가 떨어짐
- 적정한 학습 불안도가 필요함
다. 학습에 대한 인성적 장애요인
• 폐쇄성
- 정보화 교육
• 경직성
- 유연성 상실
• 방어성
- 자의식이 발달
- 경계심이 증가
• 기타
- 모호함을 참지 못함, 쉬운 포기, 흑백론적 성격 등

1. 성인학습의 특징
가. 학습의 욕구
- 자신의 문제에 관한 학습욕구가 강함
- 학습을 촉진할 수 있도록 하는 것이 중요 (동기부여)
나. 학습자 참여
- 적극적인 학습에 참여를 희망
- 전달식 보다는 대화식 또는 학습보조적 방식의 수업을 희망
다. 자존감 존중
- 높은 자존감으로 방어적 경향
- 자기신뢰, 자존감, 자아개념의 손상에 대한 두려움
- 교사의 감정이입(empathic)이 중요
- 평가에 대한 두려움을 지님
라. 성인학습자들의 개인차 존중
- 다양한 배경을 존중
- 교수방식의 융통성이 필요
- 신체적인 개인차도 고려해야 할 것임

2. 성인학습에 적합한 교수법
가. 전달식교수법(didactic teaching)
- 전통적인 교수법
- 교사는 객관적인 지식을 학습자에게 전수하는 데 중점을 둠
- 수업운영방법에 따라 자기주도식 수업으로 전환 가능함
나. 대화식 교수법
- 질의 응답을 통한 문제해결 방법
- 유능한 교수자가 필요
- 교사가 질문을 통해 학습자의 의식을 깨우치는 것이 중요
다. 학습보조적 교수법
- 교사의 역할은 학습의 보조자에 충실
- 학습보조적 교수법의 4가지 요건
• 속도 : 학습의 속도
• 방법 : 자신들에게 적합한 교수방법의 선택
• 내용 : 학생들이 배울 내용을 선택
• 평가 : 평가여부를 결정
• 교사는 학생들이 원하는 교육을 존중하고,
- 그러한 교육을 받을 수 있도록 돕는 보조자 역할 수행

 

3. 학습패러다임의 변화
가. 전통적 패러다임
: 교사는 주로 지식과 경험의 전달자로서의 역할 수행
학생은 교사로부터 전달받은 지식과 경험에 대해 수동적으로 기억

나. 경험-과학적 패러다임
: 교사는 전통적 패러다임에 교사와 학생, 학생과 학생간의 의사소통을 이끌 수 있는 능력 요구

다. 미래의 공학적 패러다임(특징)
- 학생중심의 학습 환경 제공
- 열린 학습 환경의 제공
- 협동적 학습 환경을 제공
- 교수-학습 환경의 다양성을 제공

 

4. 성인교육의 주요이론
가. 파울로 프레이리(Paulo Freire)
- 교육을 통한 정치개혁가
- 교사와 학생간의 양방향 대화 강조 => 대화식 교육
- 학습자는 사회적 과정의 객체가 아닌 창조적 주체
- 교사는 학습보조자며 교육은 변화 과정임
- 교육철학
“사람들에게 다가가라, 그들 속에서 살아라, 그들로부터 배워라, 그들을 사랑하라, 그들을 섬기라, 그들과 함께 계획하라, 그들이 갖고 있는 것부터 시작해서 그 위에 세워라”
나. 말콤 노울즈(Malcolm Knowles)
- 성인교육의 아버지
- 성인교육학이란 성인학습을 도와주는 기술로서의 과학(정의)
- 성인교육학과 아동교육학의 차별화
• 자아개념의 변화(능동적 자기주도)
• 경험의 양 차이
• 학습 준비도에서 뛰어남
• 학습 지향의 방향(과목중심 -> 문제중심 지향)
• 노울즈의 성인학습 교수원칙 : 인본주의로 지도할 것
다. 보일(Boyle) : 성인학습의 원리
- 학습환경 : 학습자에게 신체적, 심리적으로 편안해야 함
- 학습에 대한 욕구 : 학습목표를 자신의 목표로 인식
- 선행학습 : 학습경험은 선행학습과 관련되어야 함
- 학습자 참여 : 학습자는 학습 경험의 계획과 실천에 참여해야 함
- 학습과 실천 : 학습은 경험이 중심이 되어야 함
- 피드백 : 성공적 달성의 평가

1. 자발학습의 원리
- 성인교육은 강제적 학습이 이루어지지 않음
- 학습자의 동의하에 학습이 실시됨
- 학습동기가 사라지면 학습중단이 이루어짐
- 자발적 학습을 위한 방법
• 특정 주제에 대한 학습 욕구 증진
• 내면적 호기심의 충족
• 학습자 스스로 학습의 필요성을 인식하고 동기화되어야 함
- 교사의 역할
• 학습 중간중간에 학습과제의 의미와 필요성 제시
• 학습 장애요인 제거
• 학습자의 성취감 진작
• 단계별 흥미와 호기심 진작
=> 학습자의 자발적 참여
2. 자기주도적 학습의 원리
- 개개인이 학습의 주체가 되어 교육내용, 범주, 시기, 속도, 학습방법 및 학습결과를 스스로 결정하고 평가하는 학습을 의미함
- 성인학습에서 자기주도적 학습은 학습자가 자율성을 가지고 자기계발을 할 수 있도록 한다는 의미임
- 학생중심적 학습 구도가 연출되어야 함
- 교사는 조력자며, 학습자는 주도적 역할을 수행
- 수업방법
• 토론법, 세미나, 역할 연기, 프로젝트식 수업
- 학습평가
• 스스로 평가하고 피드백
- 교사의 역할
• 학습장애에 대한 검토와 학습자와 부진에 대한 방안 검토

3. 상호학습의 원리
- 성인교육 참여자들끼리 상대편의 학습에 도움을 주고 받도록 학습을 진행시키는 원리
- 성인학습자의 다양한 경험을 통해 평등한 관계에서 배우고 가르치도록 함
- 학습방법
• 브레인스토밍, 집단토의, 역할연기, 감수성 훈련 등
- 학습자들간의 다양한 시각 차이를 통해 폭넓은 시각을 갖게 됨
- 견해의 다양성을 인정하는 다원적 태도로 학습 효과 상승
- 현실적인 태도와 실제 문제에 관심을 지니고 있으므로 이를 사용하는 원리임
- 학습자는 일반적이고 포괄적인 학습보다는 구체적이고 특수한 학습목표에 관심을 지님
- 간학문적(다양한)인 접근이 필요함
- 앎 = 삶이라는 방정식이 필요
- 다양성 유형
• 계층 • 연령
• 성별 • 학력
• 학습능력 • 학업적성
• 배경지식 • 직업, 흥미
• 목적의식의 다양성
- 학습자의 특성을 고려한 융통성 있는 교육이 필요
- 최소의 노력으로 최대의 교육산출 효과를 추구함
- 학습자에게 적합하면서 교육비용이 낮은 프로그램의 개발
- Web 기반 정보를 학습자료로 활용하는 방법
- 교재는 전자우편을 사용하여 절약함
- 팀별 웹 정보와 교재를 바탕으로 문제해결 전략을 통해 프로젝트 형태로 발표 및 진행토록 함
- 성인학습자의 능동적인 참여를 권장하는 원리
- 성인교육자와 교수자가 함께 수업을 설계하고 진행
- 학습자의 요구를 반영한 수업목표의 설정, 학습방법, 교재, 강사 결정에 학습자의 요구를 반영할 것
- 학습자들의 학습동기 충족이 이루어짐
- 학습자 주도형 수업
- 학습자 자기평가 장려를 통한 학습목표 설정
- 성인학습자들이 유희-오락적으로 학습을 하면 참여 폭과 질이 향상될 것임
- 성인학습자는 과거 실패에 대한 공포감, 노화에 따른 육체적 피로, 주의 집중력의 한계, 학습의 스트레
스와 불안감을 갖음
- 인내력이 부족함
- 게임이나 오락을 통한 수업을 통한 학습의 효율성 증진 가능
- 역할 연기나 사이코 드라마에 참여토록 권장함
- 자발학습원리 : 강제적 학습이 이루어지지 않음
- 자기주도적 학습 원리 : 개개인이 학습의 주체가 되어 교육내용, 범주, 시기, 속도, 방법 조절
- 상호학습원리 : 상호작용적 학습
- 실용성의 원리 : 앎 = 삶
- 다양성의 원리 : 연령, 적성 등 다양성의 인정
- 능률성의 원리 : 최소한의 투입으로 최대한의 효과
- 참여성의 원리 : 학습자 주도형 참여
- 유희 오락성의 원리 : 오락적인 성격의 학습

1. 평생교육 교수의 개념
- 평생교육 교수
• 평생교육자가 학습자에게 일정한 교육내용과 교육적 가치를 효과적으로 전달하고 이해시키는 행위
- 교수(teaching)
• 의미있는 학습경험이 이루어지게 하는 교육자 행위
- 학습(learning)
• 교수행위에 반응하고 의미를 재구성하는 학습자의 활동
- 사전적 의미의 교수 개념
1) 수업하다.
2) 지식과 기술을 분배하다.
3) 알게 하다.
4) 보여주고, 안내하고, 지도하다.
- 교수행위란 교육자가 지식과 정보를 학습자에게 전달하는 유목적인 활동임. 학습자의 특성과 상태를 파
악하고 적절한 교수방법과 기법 사용이 필요하다
2. 평생교육 교수원리
가. 기본 개념
• 평생교육사
- 성인학습자를 가르치고 교수자를 도움
- 학습 상황 점검
- 지원하는 역할 수행
• 평생교육의 원리
- 학습자의 특성과 학습원리의 고려
- 교육내용이나 교육활동 내용을 교수과정에 효과적으로
적응하는 것
나. 브루너(Bruner)의 교수원리
• 지식의 구조화 원리
- 학습자가 교육내용, 지식을 쉽게 이해할 수 있도록 일정한
원리에 의해 구조화 시키는 원리 • 학습경향성의 원리
- 학습자 학습의욕을 촉진하는 경험, 배경, 동기화 요인 고려 • 계열화의 원리
- 내용 특성, 학습자 능력, 교수목표에 따라 학습자료 배열 • 강화의 형태 및 활용의 원리
- 강화를 통한 학습자의 행위를 촉진시키는 원리

다. 가네(R. M. Gagne)의 교수원리
• 특성 : 교수행위를 통해서 학습자에게 일어나는 변화가 무엇인가에 초점을 둠
[지적 기능, 인지 전략, 언어 정보, 태도, 운동기능]
• 지적 기능을 변화시키는 원리 • 인지전략을 촉진시키는 원리 • 언어 정보를 효과적으로 전달하고 이해시키는 원리 • 태도 변화의 원리 • 운동기능 성장의 원리 • 지식의 구조화 원리

라. 노울즈(M. Knowles)의 성인교수원리
• 1단계 : 효과적인 학습 분위기 • 2단계 : 학습자 참여하는 기제 창출 • 3단계 : 학습자의 요구 및 필요 진단 • 4단계 : 학습자의 요구를 충족시킬 수 있는 교육목표 설정 • 5단계 : 다양한 학습경험의 형식을 설계하고 관리 • 6단계 : 적절한 방법 및 자료에 의해서 설계된 학습경험 수행 • 7단계 : 학습목표의 성취여부를 평가

 

평생교육방법론 내용을 정리하여 올려보았습니다.

[공모전] 제11회 농촌경관사진 공모전(참가신청 : 6.1-8.31)

목적 

농림축산식품부․한국농어촌공사·한국에서가장아름다운마을연합에서는 우리 농촌의 깨끗하고 아름다운 모습을 사진에 담아 모두에게 농업‧농촌의 소중한 가치를 알리기 위해 ‘제11회 농촌경관사진 공모전’을 개최합니다.

주최 : 농림축산식품부
공동주관 : 한국농어촌공사·(사)한국에서가장아름다운마을연합

∙ 주제 : “깨끗하고 아름다운 농촌! 가치를 높이다”
   - ‘안전 농산물’을 생산하는 ‘깨끗한 농촌’의 모습을 사진으로 담아 신뢰받는 농업, 찾아오는 농촌의 희망 메시지를 전할 수 있는 사진
   - 전통이 살아 숨 쉬는 아름다운 농촌 및 행복한 삶의 모습을 표현한 사진

※ 제1∼10회 농촌경관 사진 공모전에서 기 입상한 작품과 동일 지점에서 동일한 방식으로 촬영하여 매우 흡사하다고 판단되는 경우 심사대상에서    제외
※ 농촌 경관사진 공모전 홈페이지에서 입상작 참조

   ∙ 접수기간 - 2017년 6월 1일(목)∼8월 31일(목) 18시까지

   ∙ 수상작발표 – 2017년 10월 12일(목)

   ∙ 시 상 식 – 2017년 10월~11월 중(추후 공지)

   ∙ 전 시 회 – 2017년 10월~11월 중, 서울·세종·부산 개최(추후 공지)

   ∙ 일반부문 : 국내 거주하는 대한민국 국민/외국인

   ∙ 대학생부문 : 국내 거주하는 대한민국 대학생/외국인 유학생 (국내 2년제 이상 대학 재학/휴학/졸업예정자)

   ∙ 언론부문 : 현역 사진기자(단, 한국기자협회 언론사 사진기자에 한함)

   ∙ 접수방법 : 농촌경관사진 공모전 홈페이지 (http://www.raise.go.kr/pcon)를 통한 온라인 접수

   ∙ 출품형식 : 칼라(디지털 사진)

   ∙ 출품점수 : 1인당 2점 이내 제출 가능수

   ∙ 출품규격 : 디지털(jpeg) 파일
                  (디지털카메라) jpeg파일로 1,000만 화소 이상 또는 3,900×2,600 Pixel이상

 

 

 

 

출처 : http://www.raise.go.kr/pcon/index.do#

「취업성공패키지」 지원 사업의 개념

저소득 취업취약계층에 대하여 개인별 취업활동계획에 따라 '진단·경로설정→의욕·능력증진→집중 취업알선'에 이르는 통합적인 취업지원 프로그램을 제공하고, 취업한 경우 '취업성공수당'을 지급함으로써 노동시장 진입을 체계적으로 지원하는 종합적인 취업지원체계입니다.

지원대상자

취업성공패키지Ⅰ(만18~69세, 단 위기청소년의 경우 만15세~만24세)

생계급여수급자, 중위소득 60%이하 가구원, 여성가장, 위기청소년, 니트족, 북한이탈주민, 결혼 이민자, 결혼이민자의 외국인자녀 등
* 2017년부터 장애인의 경우는 한국장애인고용공단에서 시행하는 장애인 취업성공패키지로 참여 가능

취업성공패키지 Ⅱ(만18세~69세이하)

• 고등학교 이하 졸업(예정)자 중 비진학 미취업 청년, 대학교(전문대 포함) 졸업 후 미취업 청년, 고교 및 대학등 마지막 학년 재학중인자, 영세자영업자(연간매출액 8천만원 이상 1억5천만원 미만인 사업자)
• 중장년층 참여대상자는 만35∼69세 이하로서, ①중위소득 100% 이하의 가구원으로서 실업급여 수급 종료 이후 미취업자, 고용보험 가입이력은 있으나 수급 요건을 충족하지 못한 미취업자, 고용보험 가입이력이 없는 자 및 ②영세자영업자 (연간매출액 8천만원 이상 1억5천만원 미만인 사업자)

취업지원의 주요내용

지원대상자의 개인별 취업역량 등에 대한 정확한 진단을 토대로 통상 1년의 기간 내에서 단계별로 통합적인 취업지원을 실시합니다.

1단계(진단·경로 설정)

집중상담 및 직업심리검사

2단계(의욕·능력증진)

'개인별 취업활동계획(IAP)'에 따라 취업의욕 및 근로능력 증진을 위한 다양한 취업지원 프로그램이 제공됩니다.

• 집단상담, 직업훈련, 창업지원 프로그램 제공
• 또한, 고용노동부에서 승인한 직업훈련과정으로서 일정 요건을 충족할 경우 훈련참여지원수당을 지급
• 특히, 내일배움카드제를 통한 직업훈련에 참여하는 경우, 훈련과정의 취업률 등에 따라 자비부담액이 결정되는데, 취업성공패키지 I 참여자는 최대 10%, 취업성공패키지 II 참여자는 5~50% 자부담 발생(단, 정부지원금 초과분 및 재료비 등은 제외)

  * 다만, 취업성공패키지 II 참여자는 자부담 5~50% 부과

3단계(집중 취업알선)

'동행면접'실시 등 지원대상자의 노동시장 진입 촉진을 위한 적극적이고 실질적인 취업알선을 실시합니다.

1단계 참여수당

『취업성공 패키지』지원대상자로서 1단계(진단·경로설정) 과정에서 집단상담 프로그램을 거쳐 '개인별 취업활동계획'을 수립한 자에 대하여 1단계 참여수당(최대 25만원)을 지급합니다.
* 취업성공패키지II 참여자는 최대 20만원을 지급합니다.

2단계 참여수당

훈련참여지원수당은 취업성공패키지 참여자로서 직업훈련에 참여 중인 자에 대하여 훈련기간 동안 생계부담 완화 차원에서 지급하는 수당을 말합니다.

• 지원대상자 중 일정 요건을 충족하는 경우 기준 훈련일수 1일 당 18,000원을 지급하되, 최대금액은 월 284,000원까지 지급
• 훈련참여지원수당은 '1차 훈련과정 개시일을 기준으로 1개월(단위기간)이 경과된 이후에 신청서 제출을 전제로 지급
• 직업능력개발계좌제에 의한 직업훈련시 6개월간 월 최대 훈련장려금 11.6만원 지급

3단계 청년 구직활동수당

취업성공패키지 사업에 참여하여 3단계를 진행하고 있는 청년층(만 34세 이하, I ･ II유형 모두)이 구직활동계획 이행 관련 상호의무협약 수립시 매월 30만원(최대 3개월)을 지급합니다.
월 1회 구직활동이행계획서 및 이행결과보고서를 제출해야 하고, 구직활동이행계획서의 이행 여부를 점검하여 의무사항을 모두 이수한 경우 해당 월의 수당을 지급

취업성공수당 지급

『취업성공 패키지I』지원 사업 참여자가 1단계 IAP 수립을 완료한 후 주 30시간이상의 일자리 에 취업하여 고용보험 피보험자격을 취득한 경우에 취업성공수당을 지급합니다.
※ 『취업성공 패키지』지원 사업 종료 후 종료일로부터 3개월 이내에 취업한 경우에도 인정

취업성공수당은 취업후 같은 직장에서 3개월 근무한 경우 30만원, 같은 직장에서 6개월 근무시 40만원, 같은 직장에서 12개월 근무시 80만원을 각각 나누어 지급하며, 최대 150만원이 지급됩니다.

취업지원 중단·유예 및 종료

취업지원 '중단'

• 정당한 이유 없는 '취업지원계획'(IAP) 불이행 및 불성실한 프로그램 참여 등 일정한 사유 존재시 취업지원 서비스를 중단
• 취업지원'중단'되신 분은 참여횟수 및 직전 회차 취업성과에 따라 일정기간 프로그램 참여 제한

취업지원 '유예'

• 본인 및 가구원의 질병·부상 등으로 상당기간 프로그램 참여가 어려운 경우에는 일정기간 취업지원을 '유예'
  ※ '유예'기간은 최대 6개월까지 허용하되, '본인의 임신·출산' 경우에는 최대 8개월까지 허용

취업지원 ＇종료'

• 취업지원 기간 중 '취(창)업'하거나 '취(창)업'없이 1년간의 취업지원 기간이 완료된 경우에는 취업지원을 '종료'
• 취업지원 종료자는 참여횟수 및 직전 회차 취업성과에 따라 일정기간 프로그램 참여 제한

「취업성공패키지」 지원대상자 제외 기준

• 취업지원 '종료', '중단' 일로부터 참여 횟수별 유예기간이 경과 되지 않은 경우
• 타 기관(지자체 포함) 정부재정에 의한 취업지원 프로그램 및 우리 부의 취업지원 프로그램에 참여중인 경우
• 취(창)업하고 있는 자
• 정상적인 사업참여 내지 프로그램 운용이 곤란하다고 판단되는 경우
• 패키지 참여 종료·중단한 자
  종료 또는 중단 일로부터 참여 횟수별 유예기간이 경과 되지 않은 경우
• 재정지원 일자리 사업에 참여 중인 자
  신청시 우리부 내지 타 부처 및 자치단체의 재정지원 일자리 사업(직업훈련 등 포함)에 참여하고 있는 자의 경우 참여 제한
  
  다만, 재정지원일자리사업 중 주 30시간 미만의 시간제･간헐적인 직접 일자리 사업에 참여하고 있는 자는 취업성공패키지 사업 참여 허용(자활사업 참여자는 주 30시간 미만자도 참여제한)
  
  재정지원일자리(자활근로, 공공근로 등)를 종료한 경우에는 바로 사업에 참여할 수 있으나, 6개월 이상 진행되는 국가기간산업전략직종 훈련 수료자는 수료 후 6개월 이후부터 참여 가능
• 취·창업자
  일반 노동시장에 취업 또는 창업한 자는 원칙적으로 참여를 제한
  
  다만, 사업참여 신청일 이전 4주간 평균하여 근로시간이 주 30시간* 미만자로서 현재의 취업상태보다 더 나은 직장을 희망하는 경우 참여 가능
• 대학·대학원 재학생
  주간 전일제 대학･대학원생은 참여 제한, 다만 마지막 학년 재학생은 참여 허용
  그외 학점은행제, 사이버대, 방송통신대, 야간대학(원), 시간제 등록생, 휴학생은 참여 허용
• 정상적인 참여가 곤란한 자
  심신상의 이유로 정상적인 사업 참여가 곤란하다고 판단되는 자는 원칙적으로 참여 불가
• 외국인
  결혼이민자를 제외하고는 대한민국 국적을 보유하지 않은 외국인 참여 불가

1 평생교육기관의 개념

1) 평생교육기관의 개념은 무엇인가?

1. 일반적 차원의 평생교육기관의 개념

1 평생교육시설과 평생교육조직(단체)의 혼합 개념 : 개인이나 집단적으로 주민의 요구를 충족시키기 위하여 설치된 조형물이나 장소·공간으로 거기에 배치된 전문직원과 소정의 기능을 포함하여 전문적 지도·조언과 함께 평생교육 활동, 프로그램, 사업을 행하는 시설이나 시스템을 말함.

2 장소차원 : 학교교육 이외에서 교육을 실시하는 장소 또는 평생교육이 실시되는 장소로 정의

3 집단 차원 : 일정한 평생교육목표를 달성하기 위하여 구성된 사람들의 집단으로 정의

평생교육시설 : 평생교육을 주된 목적으로 설치된 시설

평생교육단체 : 평생교육을 주된 목적으로 설치된 법인이나 단체

2. 건축학적 평생교육기관의 개념

1 평생교육시설의 기능

교류, 연락, 상담, 집회, 실습, 감상, 열람, 연구, 전시, 보관, 운동, 놀이, 방송, 제작, 숙박, 식사, 정보제공, 도서제공, 기자재 제공, 탁아

2 각각의 시설은 이용대상, 이용형태 및 제공하는 서비스의 방식에 의하여 특색 있는 설계가 요구

3. 평생교육법에 의한 평생교육기관의 개념

1 관련근거 : 「평생교육법」제2조

평생교육법에 따라 인가/등록/신고된 시설

학원의 설립/운영 및 과외교습에 관한 법률에 따른 학원 중 평생직업교육을 실시하는 학원

2 다른 법령에 따라 평생교육을 주된 목적으로 하는 시설/법인 또는 단체

 

4. 미시적-거시적 차원의 평생교육기관의 개념

 

1 미시적 차원 개념

전통적인 교육중심적 개념 : 미시적 관점에서의 평생교육기관이 지니고 있는 의미는 기관이 교육과 관련한 자원 등을 투입하여 교육서비스를 제공하여 투입물과는 다른 모습이나 지식, 신념, 가치, 태도가 전혀 다른 사람 또는 서비스라는 산출물로 바꾸는 역할을 함. 이것을 전통적 개념이라 함.

전통적인 교육중심적 관점에서, 평생교육기관은 이윤 극대화보다는 교육효과의 극대화를 도모하는데 중점을 둠. 그 이유는 평생학습이 개개인의 평생에 걸친 행동변화 과정이므로 평생교육기관은 평생학습활동을 체계적으로 지원하고, 조장하기 위한 사회적 간섭작용을 수행하는 기관이기 때문임.

마케팅 중심적 개념 : 평생교육프로그램은 충분한 환경분석과 요구분석(시장조사)을 통해 학습자들(고객)이 어떤 프로그램을 원하는지 정확히 파악하여 그들에게 알맞은 새프로그램을 개발하고 홍보하여, 기관의 모든 체제를 가동시켜서 학습자들에게 참여의욕을 일으키는 것이 마케팅이며, 평생교육기관은 바로 경영자가 마케팅활동을 수행하는 무대가 됨.

관계 중심적 개념 : 평생교육기관이나 조직은 고객과의 관계를 성공적으로 유지하는 정도에 따라 성패가 좌우됨. 관계중심적인 입장은 기관에서 인간신뢰를 핵심가치로 삼고 기관운영을 전개할 때 가능하므로, 인간중심의 기관이라고 함. 기관에서 인간존중의 실현을 위해서는 신뢰에 바탕을 둔 보다 구체적인 실행가치나 조직현장의 실천 가능한 목표가 필요함.

2 거시적 차원의 개념

평생교육기관이란 사회에 존재하는 제한된 교육자원을 가장 효율적으로 배분하여 그 교육적 가치를 극대화시킴으로써 그 사회의 경쟁력 강화와 사회통합에 이바지 하는 조직임.(긍정적 차원)

평생교육기관이 교육기회의 확대를 통해서 사회통합에 이바지하기 보다는 기존의 불평등을 고작화시키는데 이바지한다는 비판을 받을 수 있음.

평생교육기관이 지나치게 ‘이윤추구’만을 목표로 운영한다는 비판을 받기도 함.(부정적 차원)

2 평생교육기관의 분류 기준

1) 다양한 준거에 의한 평생교육기관의 분류

 

1. 교육형태에 따른 분류

1 독립형태의 평생교육기관 : 평생교육을 독립적으로 실시하는 시설/기관

사례 : 일반평생교육원, 대학부설 평생교육원, 평생학습센터, 평생학습관

2 공교육형태의 평생교육기관 : 학교 형태의 평생교육원

사례 : 미) public school adult education, community college, university extension program, 학점은행제 교육기관, 성인중고등학교 등

3 준 교육형태의 평생교육기관 : 정규 학교교육기관은 아니지만, 평생교육을 실시하는 기관

사례 : 도서관, 박물관, 문화시설, 매스미디어, 공연시설, 전시장, 문화보급시설(국악원)

4 비 교육기관 형태 : 교육적 조직체의 성격을 갖추지 않은 평생교육시설(조직의 주목적인 평생교육이 아닌 경우)

사례 : 언론기관부설 평생교육원, 시민단체부설 평생교육원, 지식·인력개발사업부설 평생교육원

2. 기관의 후원형태에 따른 분류

1 독립 평생교육기관 : 평생교육을 독립적으로 실시하는 시설/기관

사례 : 일반 평생교육원, 대학부설 평생교육원, 평생학습센터, 평생학습관

2 학교교육 형태의 평생교육시설 : 학위/졸업장을 수여하는 평생교육기관으로 기존의 학교교육기관을 활용하여 실시하는 평생교육

3 지역 서비스 평생교육기관 : 정규 학교교육기관은 아니지만, 평생교육을 실시하는 기관

사례 : 도서관, 박물관, 문화시설, 매스미디어, 공연시설, 전시장, 문화보급시설(국악원)

4 기업 및 법인 : 본래 목적이 영리(profit) 추구가 목적인 기관에서 부차적으로 평생교육을 실시하는 시설·기관

사례 : 기업이나 법인체 소속 평생교육기관

5 자원봉사기관 : NGO단체 등에서 평생교육을 실시하는 기관

사례 : YMCA, YWCA, 교회, 전문가 단체, 노동조합 등

6 정부기관 : 정부 및 지방자치단체에서 실시하는 모든 교육형태

사례 : 중앙공무원교육원, 경기도 인재개발원

3. 운영 주체와 성격에 따른 분류

1 국가주도형 : 공무원 교육기관, 공공 직업교육기관, 농민교육기관, 공공 여성교육기관, 정부산하 공공기관

2 학교 주도형 : 산업체 부설 학교(학급), 대학 부설 평생교육기관, 산업대학, 방송통신대학, 기능대학, 기술대학, 원격대학

3 민간단체 주도형 : 일반자원단체, 민간 새마을교육기관, 학원

4 종교 및 문화기관 주도형 : 종교기관, 박물관, 문화원, 도서관

5 기업 주도형 : 기업체 연수원, 기업체 훈련원

4. 운영하는 프로그램 종류에 따른 분류

1 국민생활에 필요한 기초교육과 교양교육

2 직업기술 및 전문교육

3 건강 및 보건교육

4 가족생활교육

5 지역사회교육과 새마을교육

6 여가교육

7 국제이해교육

8 국민독서교육

9 전통문화 이해교육

10 기타

11 대상을 중심으로 : 공무원교육, 농민교육, 여성교육, 노인교육, 근로자교육, 청소년교육 등으로 분류

2) 평생교육법에 의한 평생교육기관의 분류

1. 평생교육법 제2조 2항에 의거한 8개 평생교육 시설

1 학교형태 평생교육 시설(구 20조, 신 31조)

2 사내대학 형태의 평생교육 시설(구 21조, 신 32조)

3 원격 형태의 평생교육 시설(구 22조, 신 33조)

4 사업장 부설 평생교육 시설(구 23조, 신 35조)

5 시민사회단체 부설 평생교육 시설(구 24조, 신 36조)

6 학교 부설 평생교육시설(구 25조 신 30조)

7 언론기관 부설 평생교육 시설(구 26조 신 37조)

8 지식·인력개발사업 관련 평생교육 시설(구 27조, 신 38조)

8개 이외에 새로 신설된 조항으로 초·중등학교의 평생교육시설(신 29조)

2. 평생교육법에 의한 평생교육기관(시설)

 

3) 분류체계에 의한 평생교육기관의 분류

 

1. 분류체계 : 대 분류, 중분류, 소분류 등 3단계로 분류

2. 교육대상

1 평생교육법에서 규정하는 평생교육의 범위에 따름.

2 초·중등학생의 학교교육의 보습기능을 수행하는 학원은 제외하고, 성인을 교육하는 학원에 국한함.

3 학원에서 기술계, 어학계, 문리계 학원 중 성인을 주 교습대상으로 한하는 경우에 국한함.

3. 학교평생교육시설

1 대 분류 : 학교부설 평생교육시설과 학교 형태의 평생교육시설을 통합하여 학교 평생교육시설로 대 분류

2 중분류 : 초·중등학교 부설 평생교육시설, 대학 부설 평생교육시설, 학력인정 평생교육시설, 학력 미 인정 평생교육시설로 구분

4. 비 교육기관의 평생교육시설 : 단체, 청소년시설, 여성기관, 노인기관, 복지기관, 문화기관, 시민단체부설, 언론사 부설, 연구/상담부설

5. 특정계층대상 평생교육시설

1 대상별 분류체계에 따름.

2 청소년교육기관 및 단체, 여성평생교육 기관 및 단체, 노인평생교육 기관 및 단체

6. 평생교육시설의 구체적인 분류

 

 

 

3 평생교육기관의 유형

1) 법 규정에 따른 일반 평생교육시설 유형

 

2) 학교 형태의 평생교육시설

1. 학교의 장점 : 풍부한 인적·물적 자원을 확보

2. 학교 형태

1 정규학교는 아니지만, 사실상의 학교

2 대상 : 정규학교에 진학하지 못한 학생(경제적, 건강, 가족관계 등)이나, 개인 사유로 중단할 처지에 있는 청소년, 주부, 성인 등

3. 학력인정 학교형태의 평생교육시설(중등학력인정 : 중학교, 고등학교)

1 교육감에게 등록해야 함.

2 일정 기준 이상의 요건을 갖춘 경우 : 신청, 평가/실사, 학력인정 평생교육시설로 허가 및 지정

3 구비서류: 운영규칙, 교육과정, 교원의 정수표, 경비 조달계획, 시설현황/확충계획서, 교수, 시설평면도, 위치도, 재산목록, 가족관계증명서, 주민등록정보

4. 학교 형태의 시설·설비 기준

 

1 본 기준은 최소의 기준임.

2 충분한 시설 확보하는 것이 중요하며, 최소한의 교육환경 확보, 교육과정 운영사항, 학사관리에 필요한 사항에 대한 기준을 충족해야 하며, 수업연한, 학기, 수업일수, 수업시간 수, 교육과정, 학생정원, 학급 수, 입학자격, 교원자격, 정원, 수료 및 졸업, 시설/설비, 교과서/교재에 대하여 중고등학교에 준하는 각종 학교설립, 운영기준과 동등 이상의 것이 되어야 함.

3) 초ㆍ중등학교에서의 평생교육

1. 평생교육의 근거

1 1995 5·31 교육개혁 방안에서 21세기의 평생학습사회의 건설, 열린 학습사회건설 등을 제안

2 1999년 「평생교육법」의 공포로 초·중등학교에도 학교부설 평생교육원의 설치가 가능해짐.

3 평생교육 시범학교를 지정·운영

2. 평생교육 시범학교 운영결과의 성과

1 자아실현의 기회 부여와 자격증 취득을 통한 취업 기회를 제공

2 지역의 문화센터로서 역할을 수행

3 학습동아리를 결성하여 다양한 봉사활동을 전개

4 세대공동체의 장이 마련

4) 대학에서의 평생교육

1. 대학 평생교육의 시발점

1 1970년 12월 대구시와 계명대학교의 협동사업으로 시작된 ‘여성을 위한 시민강좌’ 가 개설

2 1982년 12월 31일 「사회교육법」 제정되면서 대학평생교육원 설립의 법과 제도가 마련됨.

3 사례 : 이화여대 부설 평생교육원(1986년 1월), 1990년대 금오공대, 전북대학교에서 개설하였으며, 대부분의 국공립대학들이 평생교육원을 설립

2. 대학 평생교육원의 개념 및 의의

1 대학의 인적, 물적 자원을 활용하여 다양한 평생교육 요구를 충족시켜줄 수 있도록, 일반인들을 대상으로 평생교육프로그램을 운영하는 시설

2 공식적인 학위와 학점취득과정뿐만 아니라 비 학위, 비 학점과정, 교양교육, 직업준비교육 등이 포함됨.

3. 변화 추이(2013년 평생교육 통계자료집 참고)

1 전문대학 평생교육원 수 : (’09) 127개 → (’10) 129개 2개 증가 → ('11) 134개 5개 증가 → ('12) 135개 1개 증가함.

2 대 학 : (’09) 246개 → (’10) 250개 4개 증가 → ('11) 256개 6개 증가 → ('12) 260개 4개 증가함.

3 기능대학 : ('09) 7개 → ('10) 9개 2개 증가 → ('11) 11개 2개 증가 → ('12) 8개 3개 감소

4. 강좌 운영 시간

1 한 학기를 4개월로 하여 15주 과정을 이수하는 경우가 많음.

2 강좌는 주당 1회인 경우가 가장 많으며, 1회에 2~3시간의 강좌가 실시

5. 교육시설

1 교육시설의 경우 대학평생교육기관은 본교의 교육시설을 이용하는 경우가 대부분임.

2 독립적인 시설을 확보하고 있는 경우도 있음.

6. 프로그램 운영

1 대학 평생교육원의 프로그램은 일반 교양증진을 목적으로 하는 일반교양교육과정, 각 분야에 대한 전문지식 함양을 목적으로 하는 전문교육과정, 독학에 의한 학위과정과 학점은행제, 보육교사 양성과정, 문화예술사 자격증 과정 등으로 구분

2 대학 사범계열와 의학계열을 제외한 전 학과가 참여할 수 있는 시간제 학생(part-time adult student)

3 학점은행제에 의한 학점 취득과정(credit course)

4 공개강좌/비학점취득 과정(non-credit course)

5 독학사 학위를 위한 대체과정에 참여하는 과정

6 사이버교육(원격교육) 프로그램

5) 문화시설에의 평생교육

1. 문화체육관광부의 문화 시설의 종류

2. 공연시설, 전시시설, 지역문화 복지시설, 문화보급 전수시설, 도서관 등

1 평생교육 프로그램 진행중인 대표 문화시설

2 박물관, 미술관, 도서관, 문화원, 문화학교, 기타 문화시설 등

박물관 : 문화유물과 자연유물을 수지바, 보완, 전시하는 문화시설

미술관 : 미술관은 미술 분야를 특성화한 일종의 박물관으로 분류하며, 문화, 예술의 발전과 일반 공중의 문화향수 증진에 이바지하기 위한 시설

도서관 : 도서관 자료를 수집, 정리, 분석, 보존, 축적하여 공중 또는 특정인의 이용에 제공하여, 정보 이용, 조사, 연구, 학습, 교양 등 문화발전과 평생교에 이바지하는 시설

문화원 : 지방문화진흥법에 의거하여 지역문화 발굴, 보존과 각종 문화행사를 주최하여 균형 있는 지방문화 진흥에 이바지함을 목적으로 설치, 운영되고 있음.

문화학교 : 문화예술진흥법에 근거하여 국민이 높은 문화예술을 누리도록 하기 위한 시설임. 문화강좌 설치 기관 또는 단체를 지정하여 문화예술을 보급할 수 있도록 강좌편성 및 강사진, 강의시설, 설비, 소요예산 운영 현황 등을 기준으로 문화예술 보급기관으로 지정하여 그 운영을 지원하는 교육기관임.

기타 문화시설 : 문화의 집, 국악원, 전수회관, 공연장 등이 있음.

3. 평생교육을 실시하는 문화시설의 현황

 

6) 기업체의 평생교육시설

1. 사내대학

1 근거 : 「평생교육법」제32조(사내대학)

2 기업체가 인정하던 학위·학력을 교육부에서 인정

2. 기술대학

1 근거 : 「고등교육법」제55조

2 산업현장에서 이론과 실무능력을 고루 갖춘 전문인력을 양성

3. 사내기술대학(원)

1 91년부터 사내기술대학(원)의 설립 및 운영을 지원

2 이공계 중심의 전문대학과정, 대학/대학원 과정운영

4. 기능대학(폴리텍 대학)

1 노동부는 ’98년도에 학교법인 기능대학을 설립하여 서울, 광주, 부산, 인천 등 전국 23개 기능대학 운영 지원

2 학위 : 전문학사와 산업학사

7) 청소년수련기관에서의 평생교육

1. 정의 : 청소년 수련시설은 청소년의 ‘수련활동의 실시를 주된 목적으로 하는 시설’을 말함.

2. 명칭 : 청소년 수련원, 청소년 문화의 집

3. 근거 : 「청소년 기본법」

4. 자격증 : 청소년지도사 자격증을 소지한 전문인력이 일정한 법적 기준에 따라 배치

5. 종류

1 생활권 수련시설

2 자연권 수련시설

3 유스호스텔

8) 공공 평생교육시설

1. 공공평생교육시설 : 평생교육법에 따라 국가 및 지역 단위에서 공공 평생교육기관으로서의 역할을 수행하는 시설

2. 평생교육진흥원 : 국가의 평생교육전담기구로 평생교육진흥과 관련된 업무를 지원하기 위하여 국가가 설립한 기관

1 평생교육진흥원의 업무는 기존의 KEDI에서의 중앙평생교육센터, 학점운영 센터 업무, 방통대에서의 독학학위 검정 업무를 통합한 업무

2 평생교육법 제19조에 제시된 평생교육진흥원의 업무

평생교육진흥을 위한 지원 및 조사 업무

진흥위원회가 참여하는 기본계획 수립의 지원

평생교육프로그램 개발의 지원

제24조에 따른 평생교육사를 포함한 평생교육 종사자의 양성, 연수

평생교육기관 간 연계체제의 구축

제20조에 따른 시·도평생교육진흥원에 대한 지원

평생교육 종합정보시스템 구축, 운영

‘학점인정 등에 관한 법률’ 및 ‘독학에 의한 학위취득에 관한 법률’에 따른 학점 및 학력인정에 관한 사항

제23조에 따른 학습계좌의 통합, 관리, 운영

그 밖에 진흥원의 목적수행을 위하여 필요한 사업

3. 시·도평생교육진흥원

1 국가차원에서 이루어지는 평생교육 진흥정책의 대부분은 지방자치단체를 거점으로 이루어지고 있음.

2 시도평생교육진흥원의 업무

해당 지역의 평생교육 기회 및 정보 제공

평생교육 상담

평생교육 프로그램 운영

해당 지역의 평생교육기관 간 연계체제 구축

그 밖에 평생교육진흥을 위해 시·도지사가 필요하다고 인정하는 사항

4. 평생학습관

1 평생교육법 제 21조에 의해서 설치, 운영되고 있음.

2 평생학습관은 시군구 등 기초자치단체 차원에서의 평생교육 프로그램을 운영하고 평생교육의 기회를 제공하기 위한 사업을 진행함.

3 평생학습관은 시도교육감이 설치 또는 지정, 운영하도록 되어 있으며 시장, 군수, 자치구의 구청장은 평생학습관의 설치 또는 재정적 지원 등 해당 지방자치단체의 평생교육을 진흥하기 위하여 필요한 사업을 실시할 수 있도록 되어 있음.

4 평생학습관의 프로그램을 유형별로 보면 2010년의 경우 문화예술교육이 가장 높은 비중을 차지하였고 인문교양교육 및 직업능력향상교육이 그 뒤를 차지하였음.

4 평생교육기관의 평생교육경영

1) 평생교육기관의 경영

1. 경영의 기초

1 경영의 개념

관리는 행정적 절차를 수행하여 현 체제를 유지해 나가며, 경영은 그 이면에 이윤이라는 개념을 포함하고 있다.

 

2. 경영 마인드

1 경영 마인드(business mind)란?

행정마인드(administration mind)와 구분된다.

2 핵심요소는?

첫째 - 고객중심 마인드

둘째 - 경쟁우위 마인드

셋째 - 기업자체 가치극대화 마인드

3. 경영의 구성요소

 

4. 경영의 프로세스

 

2) 평생교육기관 경영의 개념

1. 평생교육기관 경영의 정의

 

2. 평생교육기관 경영의 활동 프로세스

 

3. 평생교육기관의 경영 관리

 

3) 평생교육기관의 특성 및 필요성

1. 평생교육기관 경영의 특성

1 평생교육 기관의 핵심활동인 교수-학습 활동을 지원 촉진함.

2 교수-학습 활동이 효과적이고 효율적으로 이루어질 수 있도록 계획, 의사결정, 리더십, 관리 및 실행, 평가하는 활동을 구성되어져 있음.

3 여러 사람들의 노력과 자원이 함께 결합되는 집단적 과정임.

4 평생교육 조직의 교육활동을 지원하고 조장하는 활동이기 때문에 평생교육 조직의 특성과 밀접한 관련을 맺고 있음.

2. 평생교육기관 경영의 필요성

4) 대학평생교육기관의 평생교육경영

1. 대학의 평생교육 형태

1 평생교육원 설립의 법적 근거

1982년 사회교육법에 의해 처음 설립되기 시작

현재 평생교육법 제 30조에 근거

2 평생교육원 의 과정

일반교양 및 취미교육과정

직업능력개발과정

학점은행제 과정

각종 위탁교육

2. 시간제 등록제

1 설치근거

1995년 5.31교육개혁에서 제안, 고등교육법에 근거하여 시행

1997년 시범운영 후, 각 대학에서 자율적으로 시행

2008년 고등교육법 시행령 개정으로 제도 개선

2 시간제 등록제의 운영

정규대학 교육과정을 시간제 등록제로 이수

Online과 Offline 과정 개설

학점취득은 가능하나 학위 취득은 불가. 학점은행제와 연계하여 학위취득

3. 산업계 연계 과정

1 산업체 위탁과정

산업체 근로자에게 일과 학습 병행하여 학위취득

전문대학과 산업대학에서 개설이 가능, 일반대학은 불가

일부 지방 전문대학 또는 산업대학에서 학생자원 부족을 핑계로 수도권지역에서 운영

2 전공심화과정

고등교육법과 동법 시행령에서 전문대학으로 졸업한 전문기술인력의 계속 교육 기회제공차원에서 제도화

일과 학습을 연계한 순환교육체제로 학위취득 가능

많은 전문대학이 전문대학의 수업연한 연장을 위한 방편으로 활용

3 계약학과 제도

1995년 제정된「산업교육진흥 및 산학협력촉진에 관한 법률」과 동법 시행령에 근거

국가·지방자치단체 또는 산업체 또는 제3자(협의단체 등) 간의 계약에 의해 기존 정원 외 학과 설치·운영하는 형태

계약학과의 형태 :

재교육형 : 국가·지방자치단체 또는 산업체 등에 근무 재직자의 계속 교육 차원에서 학위(학사, 석사, 박사) 취득과정 운영

채용조건형 : 국가·지방자치단체 또는 산업체 등에서 채용을 전제로 맞춤인재를 양성하는 학위취득과정

계약학과를 설치·운영하는 경우 계약조건에 따라 학비의 전액 또는 일부 부담

5) 여성직업능력 교육기관

1. 여성직업능력개발의 개관

1 여성평생교육

취미와 여가선용 등의 평생교육프로그램 : 주민자치센터, 복지관, 대학, 문화센터 등

취업과 사회참여 등의 평생교육프로그램 : 여성인력개발센터, 여성회관, 여성단체 등

2 여성평생직업교육 프로그램 영역

재직 여성의 직업능력개발

실업자 및 미취업 대상의 여성직업능력개발경력단절 여성의 직업능력개발

2. 여성평생직업능력개발정책

1 여성인력개발계획 수립

범정부 차원의 여성인력개발종합계획(2006-2010) 수립의 배경

고학력 여성인력의 활용 강화

잠재노동력인 여성의 노동시장 참여 촉진

여성인력종합계획의 비전과 목표

비전 : 여성인력 활용을 통한 선진경제로의 도약

목표 : 2010년까지 여성경제활동참여율 55%달성과 여성일자리 60만개 확대

여성인력종합계획의 내용(5대부분 15개 중점과제와 140개 가업과제)

다양한 일자리의 전략적 확대

여성능력개발 및 고용기회 확대

여성인력개발 인프라 확충

직장과 강정 양립기반 조성

정책추진체제 정비

2 여성의 고용촉진 및 직업능력개발

정부의 여성 고용촉진 지원 사업

여성가장 고용촉진장려금 지원

임신·출산 후 계속고용 지원금 지원

여성 재고용장려금 지원 등

여성 직업능력개발 사업

실직여성가장자영업 지원

여성가장실업자 취업훈련사업 등

소외 및 취약계층 여성 일자창출지원사업

여성결혼이민자 소외계층 일자리 지원사업

여성직업훈련생 대상 돌봄서비스 지원

탈북여성 지원 등

3 경력단절여성 결제활동 지원

부처나 지자체별 지원 사업

고용노동부 : 재직여성과 실업여성

여성가족부 : 비경제활동 여성

지자체 산하 여성회관 또는 여성인력개발센터: 성인여성 대상 다양한 훈련 및 지원 사업

상담, 훈련, 취업 등 서비스 제공

고용노동부와 여성가족부 공동으로 경력단절 여성에게 상담, 훈련, 취업 등 서비스 제공을 위한 ‘여성새로일하기선터’ 운영

교육부에서는 고학력 여성 대상 ‘고학력경력단절 여성 커리어코칭사업’ 진행

3. 대표적인 여성직업교육기관

1 여성인력개발센터

중앙정부 차원의 여성인력개발센터

1993년부터 고용노동부 산하 ‘일하는 여성의 집’으로 시작함.

가사나 육아 등으로 직업교육 훈련을 받기 어려운 여성 대상 직업훈련 및 취업 알선

2001년 여성부 발족으로 이관‘여성인력개발센터’로 운영

2011년 현재 전국 51개 센터 운영

민간이 운영하는 여성직업훈련센터

기초적인 직업훈련 및 전문직업훈련 제공

지역 인력시장에 부응하는 교육훈련으로 특화, 다양한 프로그램 운영, 취업교육, 취업상담 및 취업알선 등

2 여성능력개발센터

설립형태와 운영

1997년 처음 설립, 현재 경기도, 서울 강남구, 경상남도 등에서 설립 운영

공공여성전문교육기관으로서 여성인적자원개발이 주목적

구체적인 프로그램

여성의 잠재능력 개발을 위한 체계적인 교육시스템을 갖추고 사이버교육사업, IT전문교육사업, 여성창업 지원사업, 여성정보네트워크 사업에 주력

기타 여성발전센터, 여성새로일하기센터 등이 있음.