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Stanislava Lazarova
Stanislava Lazarova

United States
Local time: 19:40 CDT (GMT-5)

Native in: Bulgarian Native in Bulgarian
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Services Translation, Interpreting, Editing/proofreading, Subtitling
Expertise
Specializes in:
Advertising / Public RelationsAnthropology
Art, Arts & Crafts, PaintingBusiness/Commerce (general)
Poetry & LiteratureEducation / Pedagogy
Finance (general)Biology (-tech,-chem,micro-)
Certificates, Diplomas, Licenses, CVsCinema, Film, TV, Drama

Portfolio Sample translations submitted: 2
English to Bulgarian: Film translation
General field: Other
Detailed field: Cinema, Film, TV, Drama
Source text - English

A North One Television Production for National Geographic Channel
I DIDN’T KNOW THAT
SERIES 2

SHOW 1
FINAL POST PRODUCTION SCRIPT (inc Snap-In)
2nd May 2007

Michal Porecki – Series Producer
W: 44 (0)121 697 1900

“I Didn’t Know That”
- Series 2 -
Post Production Script
Programme 1
Produced by North One Television for National Geographic


Time
Visual
Audio
Music


10.00.00

OPENING TITLE SEQ:

OPENING SHOT: EXPLOSION AS FLAMES ENGULF DUMMY IN TESTING LABORATORY

FOLLOWED BY MONTAGE OF PRODUCTS BEING TESTED AND MANUFACTURED

INTRODUCTORY SHOTS: RICHARD AMBROSE AND JONNY PHILLIPS – WHITE COATS, CLIPBOARDS, PENS FLY IN

VS. SHOTS RICHARD ABROSE & JONNY PHILLIPS CARRYING OUT DRAMATIC TESTS



COMM:
This is the show that explores the fascinating secret life of the world around us. Revealing surprising facts guaranteed to make you say “I Didn’t Know That”.




Meet Richard Ambrose and Jonny Phillips.





Two industrial scientists who don’t mind getting their hands dirty when it comes to establishing the facts.

Join them on their mission to explore the extraordinary behind the ordinary.
IN:
10.00.02


















10.00.39
CUT TO ANIMATED GRAPHIC:
“I DIDN’T KNOW THAT”



10.00.41
W/S SUPERMARKET



GVs RICHARD AMBROSE & JONNY PHILLIPS IN SUPERMARKET,

IN CAR SCRAP YARD – TESTING TROLLEY,


FIREWORK TESTING,

ICE CARVING

& SNIPER AT WORK
COMM:
In this edition, Richard and Jonny investigate the secrets of the supermarket.

From subliminal selling techniques …

RICHARD AMBROSE (SYNC – DRESSED AS FRENCHMAN):
Tres bon.

COMM:
To an extreme test of trolley strength.

We’ll also reveal the spectacular world of fire work testing …

Turn an infra red camera on the art of an ice carver …

And find out if a sniper can really hit a target a mile away.



















10.01.09
CUT TO ANIMATED GRAPHIC
“I DIDN’T KNOW THAT”

10.01.12 GVs INT. SUPERMARKET

RICHARD AMBROSE (PTC):
Supermarkets are big. Big business. Today over 80 per cent of the money spent on groceries in the UK is spent in supermarkets.

JONNY PHILLIPS (PTC):
And a typical superstore like this has a floor area of ten thousand square metres. That’s the size of two football pitches.

RICHARD AMBROSE (PTC):
It will sell over 50 thousand different products, sourced from hundreds of countries all over the world.

JONNY PHILLIPS (PTC):
And it will take 40 million pounds a year, with 50 thousand eager customers passing through its doors every week.
10.01.12

10.01.41
GVs INT. SUPERMARKET




RICHARD AMBROSE & JONNY PHLLIPS PTCs
COMM:
That incredible success is no fluke. Everything in a supermarket is designed to encourage spending. From the layout to the lighting.

RICHARD AMBROSE (PTC):
One well known trick is they often have fruit and veg at the front of the store.

JONNY PHILLIPS (PTC):
The milk at the back.

RICHARD AMBROSE (PTC):
And the bread somewhere else.

COMM:
This means even a basic shopping trip involves travelling around the whole store which maximises the chances of customers succumbing to an impulse buy.

Of those staple items it’s fruit and veg that’s always placed near the entrance. It makes a psychological connection with freshness as soon as the customers enter and also slows them down.

10.01.42
MUSIC MIX




















10.02.23
INT. SUPERMARKET
INCL. JONNY PHILLIPS PTC




GVs SUPERMARKET





RICHARD AMBROSE PTC




JONNY PHILLIPS PTC



GVs SUPERMARKET



JONNY PHILLIPS (PTC):
If you think about it, people like to take their time picking fresh produce and if you combine this with the way that these sections are often laid out, this area becomes a bit of a buffer zone.

COMM:
When shoppers walk into a store they retain a certain amount of momentum. Without these buffer or dwell zones as they’re known bringing customers to a halt, they’d probably stroll straight past the first ten metres of products.

RICHARD AMBROSE (PTC):
Another key aspect of selling lies in the shelves. Each shelf has its own hot spots. Areas where the product virtually sells itself.

JONNY PHILLIPS (PTC):
And around a hundred and fifty centimetres high, in the centre of the shelf, is thought to be the number one position.

COMM:
This is bang in the middle of the average woman’s eyeline and manufacturers will often pay a premium to have their products displayed here.

OUT:
10.02.24




IN:
10.02.32















10.03.11
GVs SUPERMARKET



JONNY PHIPPS PTC
- RICHARD AMBROSE DRESSED AS FRECHMAN “PLAYING” ACCORDIAN











RICHARD AMBROSE DRESSED AS GERMAN “PLAYING” TENOR HORN
COMM:
Another subtle way supermarkets can influence customers is through the power of music.

JONNY PHILLIPS (PTC):
This was dramatically demonstrated in a recent test, when for two weeks researchers played French and German music on alternate days in the wine section of a supermarket.

RICHARD AMBROSE (DRESSED AS FRENCHMAN) SYNC:
Bon jour messieur Jonny.

JONNY PHILLIPS (PTC):
On French music days, French wine outsold German wine by a factor of five to one.

RICHARD AMBROSE (SYNC):
Tres bon.

JONNY PHILLIPS (PTC):
On the German music days, this sales split was dramatically reversed. With German wines outselling French wines by a factor of two to one. And now the really scary thing is, apart from the obvious, is that when asked most customers said that the music hadn’t effected their choice at all, where the evidence quite clearly shows that it had.

OUT:
10.03.12

IN:
10.03.14













MIX
10.03.34







10.03.56 GVs SUPERMARKET WAREHOUSE


CAR BEING LOADED ONTO TROLLEY COMM:
Still to come, the advanced technology supermarkets rely on to keep track of one and a half million cases of products.

And some trolley testing. Extreme style.

RICHARD AMBROSE (SYNC):
Oh, oh, oh.
MIX
10.03.55




10.04.07
ANIMATED GRAPHIC:
“I DIDN’T KNOW THAT”
“TESTING TESTING”


10.04.11
GVs FIREWORK TESTING
& DISPLAY
COMM:
We’re at one of the UK’s leading firework manufacturers. And this is their 125 millimetre aerial starburst shell. A 20 minute display will launch up to ten thousand fireworks and 60 per cent of them will be these bad boys.

Each one costs around 30 pounds and contains half a kilo of explosive. Enough to launch it to a height of over 100 metres.

As you can see, it’s much more than a ball of loose powder. And this is how they test the component parts.

MIX
10.04.11









10.04.55
GVs TESTING FIREWORK INGREDIENTS

S/I CAP:
“POTASSIUM PERCHLORATE”

T/O & S/I CAP:
“ALUMINIUM”
T/O



COMM:
The basic firework recipe is flash power, a potent form of gunpowder.

It’s a mixture of potassium perchlorate

and aluminium.

These ingredients are mixed together in seven kilo batches and a small sample is ignited to make sure it has the requisite brightness.

This sample has been mixed with strontium to make it glow red. And it’s clearly a pass.

While this sample has barium added to glow green. Again, it does the trick nicely.

OUT:
10.04.56






IN:
10.05.08



10.05.29
GVs FIREWORK PELLETS & TESTING
COMM;
If the firework was packed with this loose powder it would explode in one instant flash.

So the gunpowder mixture is turned into pellet, to prolong the burn time.

As the burning pellets fall through the sky, they create the spreading patterns we’re all familiar with.

This test checks whether this particular pellet size will burn for sufficient time to create the burst diameter of 80 metres.















10.05.57
FIREWORK MANUFACTURER SHOWS INNER CONSTRUCTION OF FIREWORK

FIREWORK DISPLAY
DEMONSTRATOR (V/O):
There are two perfectly formed rings of stars. An central ring and an outer ring. The outer ring are made of stars of a slightly larger size. Therefore they’ll be heavier and when the burst in the middle ignites these stars and blows them in the er circle formation, the inertia of the heavier, larger stars will travel further. Thus in the sky you’ll see one small ring and then a larger ring around it.




10.06.19
GVs FIREWORK FUSES TESTED

COMM:
The next test checks the firework’s two fuses. Firstly, a length of fuse is measured out which will slowly burn inside the firework to ensure it ignites at the correct altitude.

A fuse this length should burn in about 12 seconds.

It has. So it’s a pass.

A second, external fuse, is needed to launch the firework. Wrapping the fuse in paper should contain the hot gases and make the fuse burn much quicker.

DEMONSTRATOR (SYNC):
I would expect this length of fuse to burn with a hundredth of a second.

COMM:
Looks like a pass to me.

OUT:
10.06.24



IN:
10.06.32






OUT:
10.06.53



10.06.59
GVs SOUND MEASUREMENTS TAKEN
COMM:
The final test is to ensure the firework is no louder than the European regulation of 120 decibels. The same noise level as a pneumatic drill at close range.

DEMONSTRATOR (SYNC):
That’s a pass.

IN:
10.06.58



OUT:
10.07.17

10.07.19
ANIMATED GRAPHIC:
“I DIDN’T KNOW THAT”
“THE SECRET LIFE OF ICE”


IN:
10.07.19

10.07.22
INFRA RED CAMERA & FOOTAGE





GVs ICE CARVER AT WORK – RICHARD & JONNY RECORDING ON INFRA RED CAMERA – BUT BETWEEN INFRA RED & NATURAL FOOTAGE
JONNY PHILLIPS (V/O):
Now it’s time to look at an everyday object using an infra red camera.

(RICHARD AMBROSE PTC – INFRA RED):
Hot things give off lots of infra red while cold things give off less. And this camera can actually do what our eyes can’t. It can see the variations in temperature.
JONNY PHILLIPS (V/O):
To show you what the camera can do, we’re going to watch an ice carver create something using a range of power tools.

Speed is of the essence, the block of ice starts off at minus 14 Celsius but soon begins to absorb heat from the friction of the chain saw teeth.

RICHARD AMBROSE:
You can see the ice heating up a bit.

JONNY PHILLIPS:
Yeah.

RICHARD AMBROSE (SYNC):
It’s going green isn’t it?

JONNY PHILLIPS (SYNC):
Yeah.

JONNY PHILLIPS (V/O):
The blow torch warms things up to minus three Celsius almost immediately, while a single touch of the polishing iron pushes things past melting point and makes our sculpture drip.

RICHARD AMBROSE(V/O):
Wayne well done, that’s brilliant.

JONNY PHILLIPS (V/O):
Nice one, Wayne.

RICHARD AMBROSE (V/O):
And that’s a wrap. A movie camera made of ice.

MIX
10.07.24






MIX
10.07.36





















10.08.26
VS SHOTS TOILET PAN PRODUCTION LINE

CAR BEING CRANED ONTO SUPERMARKET TROLLEY
COMM:
Still to come, we take a look inside the toilet …

And find out if a supermarket trolley can endure some rather heavy shopping.

MIX
10.08.26




10.08.36
ANIMATED GRAPHIC:
“I DIDN’T KNOW THAT”

OUT:
10.08.38

10.08.38
CUT TO BLACK


10.08.39
ANIMATED GRAPHIC:
“I DIDN’T KNOW THAT”

IN:
10.08.39
OUT:
10.08.41

10.08.42
GVs INT. SUPERMARKET
COMM:
Modern supermarkets rely on bar codes to keep their shelves stacked. As soon as a purchase is scanned, a central server at a distribution depot miles away is automatically notified. Replacement stock is sent out with military precision.

IN:
10.08.42





10.09.00
RICHARD AMBROSE &
JOHNNY PHILLIPS
PTC IN WAREHOUSE







GVs WAREHOUSE
RICHARD AMBROSE (PTC):
This is just one of 28 distribution centres owned by this supermarket chain. It specializes in general produce, wine beer, tins of food. Things like that.

JONNY PHILLIPS (PTC):
And the scale is staggering. This distribution centre covers an area of 30 thousand square metres and houses one and a half million cases of produce.

COMM:
This warehouse alone is half a kilometre long. That’s the same as the span of the Sydney Harbour Bridge. Typically a large superstore will have not one but 40 deliveries a day.

To make sure every one of those lorries delivers the right product at the right time, the depots are updated hourly on what’s selling.

RICHARD AMBROSE (PTC):
This is where the orders from the supermarket comes in.

COMM:
To minimise waste they only order precisely what’s needed. Here it’s 24 packs of peas.

OUT: 10.09.01




IN:
10.09.10














10.09.50
GVs WAREHOUSE – ANTHONY (A PICKER) DEMONSTRATES AMT DEVICE TO JONNY
COMM:
The store’s detailed shopping list is then transmitted wirelessly to dozens of pickers through arm mounted terminals. Or AMTs.

JONNY PHILLIPS (SYNC – TO PICKER):
Now Anthony – I notice you’ve got a bit of a Sci Fi looking equipment on your wrist there. Do you mind talking me through that?

ANTHONY (SYNC):
OK yeah. Um this is an AMT. Turn it on, up comes the screen, you just press enter and it will give you a job to go and pick in the racks.

JONNY PHILLIPS (SYNC):
So the jobs automatically come to this piece of equipment so you know where to go and what to get.

ANTHONY:
They do yeah.

JONNY PHILLIPS:
Wow. And this bit on the hand, what does that do?

ANTHONY:
That actually scans er the bar codes on the units.

JONNY PHILLIPS:
And does that automatically adjust the stock?

ANTHONY:
It does, yeah. Once you’ve scanned it, it knows it’s come off the pallet.

JONNY PHILLIPS:
And I also presume that means they know exactly where you are at any one time.

ANTHONY:
Somewhat, yeah.

JONNY PHILLIPS:
So no nicking of for a crafty fag or a kip half way through your shift?

ANTHONY:
Definitely not, no.

JONNY PHILLIPS:
That’s a blow.






OUT:
10.09.59


IN:
10.10.02



































10.10.40
GVs WAREHOUSE – PICKERS AT WORK









COMM:
The software that handles the shopping list also works out the quickest route around the warehouse. So nobody ever wastes time getting lost.

The current record for a single picker is an amazing ten thousand items picked in a single 12 hour shift.

Once the stock has been picked, it then needs to be loaded on to a 38 ton lorry in the despatch bay.








OUT:
10.11.09

10.11.05

GVs WAREHOUSE -
WAREHOUSEMAN TEACHES JONNY & RICHARD HOW TO LOAD TRAILER
WAREHOUSEMAN (SYNC TO JONNY & RICHARD):
OK guys we’ve got about 15 minutes to get this trailer full before the next load comes back so that we can get the lorry away. So we need to get cages on quickly. We need to get some light ones on at the start, so if you can start.

RICHARD (SYNC):
Toilet rolls?

WAREHOUSEMAN (SYNC):
Yeah perfect.

JONNY (SYNC):
Rightie ho.

RICHARD:
How many are there all in all?

WAREHOUSEMAN:
45 in all.

RICHARD:
45?

WAREHOUSEMAN:
So we need to chuck them on as quickly as we can.



















IN:
10.11.15








10.11.22
GVs RICHARD & JONNY PACKING TRAILER
RICHARD (SYNC):
There’s a lot of toilet roll.

JONNY (SYNC):
Where’s this going?

RICHARD (TO WAREHOUSEMAN):
Now how we doing? All right?

WAREHOUSEMAN:
A bit quicker:

RICHARD:
A bit quicker? Jonny, a bit quicker.

JONNY:
Quicker? I’m going as fast as I can.

COMM:
It’s been a long time since the boys have worked this hard.

RICHARD:
Cor! And how many do you do on a shift?

WAREHOUSEMAN:
About ten or 12 loads a day. This one on the right then.

JONNY:
On the right?

WAREHOUSEMAN:
Yeah.

RICHARD:
How did we get on?

WAREHOUSEMAN:
I wouldn’t give up my day jobs, guys.

RICHARD:
You what?

WAREHOUSEMAN:
We’ve only got another 11 to do.

JONNY:
That’s not very nice is it? Not with our help.

RICHARD:
No – you can get on with it yourself.



































OUT:
10.11.54

10.12.00
GVs WAREHOUSE, BOXES & BARCODES



RICHARD AMBROSE – PTC WITH CHIP



GRAPHIC CHIPS

GVs LORRIES BEING LOADED


COMM:
Although bar codes are the key to this operation, they’re a piece of technology dating back to the 1970s and the information they can contain is rather limited.

RICHARD (PTC):
The future could lie in this. This little chip in here is no bigger than a grain of sand, but large amounts of data can be stored on it. And they’re about to put these on everything.

COMM:
The beauty of these chips is that they can be scanned from up to ten metres away by radio waves. So in theory each lorry can have its entire load scanned as it enters the depot. Within seconds the warehouse controller could have an itemized list of what’s on board without even having to open the trailer.

IN:
10.12.01









10.12.40
FADE TO BLACK & UP TO

TROLLEY TESTING
COMM:
Still to come, we test drive the world’s first hover trolley.

And Richard and Jonny find out just how strong supermarket trolleys really are.


10.12.49
ANIMATED GRAPHIC:
“I DIDN’T KNOW THAT”
“FACT OR FICTION?”


OUT:
10.12.52

1012.52
B&W SEQ:
SNIPER AT WORK




CUT TO NATURAL COLOUR FOOTAGE – RICHARD AMBROSE PTC



MEETS PAUL NEWALL(SNIPER) WHO DEMOS GUN
RICHARD AMBROSE (V/O):
Can a sniper really hit a target a mile away? You know the scene. A man lies spread-eagled on the ground. Nestled in his arms is a deadly weapon. He locks a long, sharp bullet into the chamber. Just the one because that’s all he’ll need. He squints down the telescopic sight, making minute adjustments
(TO CAM) to zero in on the target.

RICHARD (PTC):
But in real life, just how accurate can you be with a rifle? Could you hit a target from a mile away? That’s just over one and a half kilometres. That’s the length of 15 football pitches.

RICHARD (SYNC TO PAUL):
Hi Paul.

RICHARD (V/O):
Meet Paul Newall, a Special Forces firearms expert and a specialist in long range accuracy. He helped design this: the DSR-1. Branded as the most sophisticated and technologically advanced tactical rifle in the world. Paul claims it’s so precise that on a good day he can hit a target from two and a half thousand metres.

RICHARD (SYNC TO PAUL):
That is an amazing piece of kit. And who uses it?

PAUL NEWALL (SYNC TO RICHARD):
It’s used by most European police forces and also um military are just starting to use it worldwide.

RICHARD:
What sort of bullets does it take?

PAUL:
It takes the .338 Lapua round and this is the Black Hills 300 grain ammunition that we use.

RICHARD:
OK. And how much are these?

PAUL:
About three pound a round.

RICHARD:
Right OK. And what about the rifle? How much is that?

PAUL:
In that configuration. Telescopic sight, suppressor, everything together is around about ten thousand pounds.

RICHARD:
Ten thousand pounds?

PAUL:
Ten thousand pounds.

RICHARD:
Can we fire it?

PAUL:
Yes, absolutely.

RICHARD:
Great.

IN:
10.12.53





OUT:
10.13.26



IN:
10.13.34
MIX
10.13.44







OUT:
10.14.06



























IN:
10.14.34



10.14.40
VS. SHOTS - PAUL SETS UP FOR SHOT, FIRES AND HITS TARGET – COLOUR & B&W SHOTS
RICHARD AMBROSE (V/O):
But it’s not a simple case of just pointing and shooting. There’s a science behind the precision. There are many factors that will determine where you actually aim, including range, altitude, air temperature and wind speed.

Paul takes careful measurements on his specialist instruments and inputs the data into a tactical sniper watch which uses ballistic software to work out the precise angle for the perfect shot.

(TO PAUL)
You hit it.

V/O:
So it is true. A highly trained professional can hit a target from a mile away. I’ve always fancied myself as a bit of a sharp shooter. So I wanted a go as well.








OUT:
10.15.11





IN:
10.15.14
OUT:
10.15.19


10.15.25
VS. SHOTS – PAUL TEACHES RICHARD HOW TO AIM & SHOOT AT TARGET
RICHARD AMBROSE (SYNC - TO PAUL):
Can I swap the binoculars for the rifle?

PAUL:
Of course you can, sir.

RICHARD:
Yeah? Great. Now can you show me what to do?

PAUL:
Yeah – absolutely. Firstly, make sure you’re comfortable looking through the telescopic sight and you can see the target.

RICHARD:
That is so hard That’s doing my eyes in.

PAUL:
It does. It does. It’s best if you can keep both eyes open.

RICHARD:
Let’s put one in. Ah no that’s, that’s gonna hit him er just below the feet

RICHARD (V/O):
Paul fine tuned my aim with a few well judged clicks.

PAUL:
Has that come up now?

RICHARD:
Yeah that’s dead centre stop that’s perfect.

PAUL:
Two position trigger.

RICHARD:
Yeah.

PAUL:
Feel the first position?

RICHARD:
Yeah. Got it.

PAUL:
And then second position’ll send it.

RICHARD:
Oh! Did I get it?

PAUL:
Missed the bugger this time.

RICHARD:
Really?

PAUL:
Sorry about that.












































IN:
10.16.05






10.16.16
RICHARD CONTINUES TO TRY TO HIT TARGET – SEVERAL FAILED ATTEMPTS
RICHARD:
Did it hit?

PAUL:
No I’m afraid not mate.

RICHARD:
Right, let’s put another bullet in.

PAUL:
No.

RICHARD:
No?

PAUL:
No.

RICHARD:
Did it hit?

PAUL:
Afraid not mate.

RICHARD:
Aw. Come on that’s got to be.

PAUL:
Afraid not.

RICHARD:
Oh come on.

























OUT:
10.16.36

10.16.43
RICHARD FINALLY HITS THE TARGET
RICHARD:
Aw – I got that right in the cheek

PAUL:
Aww!

RICHARD:
Yes. Excellent. Finally – we’ve done it.

PAUL:
Absolutely superb.







IN:
10.16.48


OUT:
10.16.57

10.16.57
ANIMATED GRAPHIC:
“I DIDN’T KNOW THAT”
“PRODUCTION LINE”

IN:
10.16.58
OUT:
10.17.00

10.17.00
GVs TOILET PANS
COMM:
You may not be a connoisseur of fine porcelain, but there’s one item of pottery in your home you’ll worship every day.

The toilet, loo, john, bog.

No piece of everyday hardware has more terms of endearment.

At this factory in Staffordshire they make nearly half a million toilets a year. It’s the biggest bog manufacturer in the UK.

IN:
10.17.01










10.17.27
INT. FACTORY –
GVs TOILET PAN PRODUCTION LINE PROCESS
COMM:
The process starts here. This stuff might look like the sort of thing you’d flush down the toilet, but in fact it’s the material they’re made out of. It’s called slip – or liquid clay. A mixture of china clay, sand and water.

The liquid clay then comes face to face with an unforgiving adversary. A high pressured casting machine.

Hidden inside are a series of moulds. The slip is pumped in, then the moulds are compressed to force the water out of the clay.

A batch of eight firm casts are made in just 20 minutes.

Every toilet is checked to make sure it meets the industry standard height of 40 centimetres.

Before setting off on a four hour journey to allow for some natural drying time.

The toilets then spend ten hours in a hot air drier at 90 degrees.

Now sporting a much smarter hue, the toilets head off for a few coats of glaze, the glass based lacquer that gives the product its shine and final colour.

Finally the toilets head off for a 17 hour bake down a 19 metre long kiln which reaches 1200 degrees Celsius.

Before emerging, ready for action.


































10.18.52
RICHARD ABROSE &
JONNY PHILLIPS
PTCs SITTING ON LOOS
RICHARD AMBROSE (PTC):
So, the next time you’re pondering the thermal dynamics of the smallest room in your house, just remember the piece of ceramic supporting your rear end took nearly 36 hours to manufacture.

JONNY PHILLIPS (PTC):
And did you notice they were all the same colour? Apparently since the death of those awful 70s avocado bathroom suites, 98 per cent of all items manufactured there are white.

RICHARD AMBROSE (PTC):
My suite’s avocado.

OUT:
10.18.53













10.19.17
ANIMATED GRAPHIC:
“I DIDN’T KNOW THAT”

IN:
10.19.17
OUT:
10.19.19


10.19.20
GVs RICHARD & JONNY WITH SUPERMARKET TROLLEYS




JONNY PHILLIPS PTC
COMM:
Time to return to the supermarket.

JONNY PHILLIPS (V/O):
There’s one innovation without which shopping in supermarkets would be virtually impossible. And that is -
(PTC) – the humble supermarket trolley. And as our use of supermarkets increases, the demand for them has never been greater.

IN:
10.19.21

10.19.37
GVs SUPERMARKET TROLLEY WAREHOUSE & MANUFACTURE


GV TRACK THROUGH SUPERMARKET
COMM:
This UK manufacturer makes over 200 thousand trolleys a year and they have to be built to last.

In a survey, one chain found its customers pushed their trolleys 933 million kilometres a year. The same distance as one of the Earth’s orbits around the sun.









10.19.54
EXT. SUPERMARKET

RICHARD AMBROSE &
JONNY PHILLIPS PTC PUSHING TROLLEYS


RICHARD AMBROSE (PTC):
So if we could combine all those supermarket kilometres with exercise we could get the nation fit.

JONNY PHILLIPS (PTC):
It’s a great idea Rich, but someone’s beaten you to it. Meet the trim trolley. The world’s first exercise supermarket trolley. Come on.

RICHARD:
Whoa. Put your back in Jonny.

OUT:
10.19.57






IN:
10.20.09





10.20.13
INT. SUPERMARKET
- GVs & PTC RICHARD & JONNY – JONNY PUSHING TRIM TROLLEY
RICHARD AMBROSE (PTC):
Now the trolley works by either increasing or decreasing the resistance of a fifth wheel at the base. And it’s measuring Jonny’s beats per minute on his heart rate and it’s also calculating the calories burned.
(TO JONNY):
What’s it like?

JONNY PHILLIPS (SYNC – TO RICHARD):
It’s all right. It’s on a fairly low resistance at the moment, but we can up that a bit – yeah and I can feel it getting a bit more difficult.

RICHARD:
Yeah, yeah.

JONNY:
To be honest with you I think it’s gonna take quite a lot time to sort of replicate a session down the gym.

RICHARD:
Too right.

JONNY:
Especially for someone as fit as me.

RICHARD:
Well but then again mate you do like going down the pie aisle don’t you?

























10.20.46
INT. BACK ROOM:
RICHARD & JONNY TRY OUT THE HOVER TROLLEY















FOILED BY THE FACT THAT IT’S PLUGGED INTO MAINS ELECTRIC SOCKET
RICHARD AMBROSE (PTC):
If you think a trim trolley is too much like hard work, then check this out.

JONNY PHILLIPS (PTC):
Ladies and gentlemen, we have the world’s one and only hover trolley.

RICHARD (SYNC – TO JONNY):
Now feel that. Jonny have a feel of that.

JONNY:
That’s so easy. It’s really hovering.

RICHARD:
It’s actually floating on a cushion of air. It’s amazing. Well Jonny do you know why it is the world’s one and only hover trolley?

JONNY:
No. (TURNS TO LOOK AT WALL SOCKET) Ah.

RICHARD:
Oh dear.

OUT:
10.20.46




IN:
10.20.56










OUT:
10.21.18





10.21.20
FADE TO BLACK AND UP TO
VS. SHOTS INT. TESTING STATION AS JONNY & RICHARD CARRYING OUT TESTS ON TROLLEY
COMM:
Before any new design can hit the aisles it has to be put through a whole barrage of tests to make sure it’s able to cope with the stresses and strains of supermarket life.

And it’s amazing how much they can take. For example, a standard large supermarket trolley like this –

RICHARD (SYNC – TO JONNY):
Right, that’s the last one.

COMM:
- is rated to carry 348 kilos. But the boys reckoned it could cope with a lot more than that.

IN: 10.21.20













10.21.48
EXT. CAR SCRAPYARD

RICHARD & JONNY WHEEL TROLLEY THROUGH YARD
JONNY PHILLIPS (SYNC – TO RICHARD):
Hey Rich, you know we said we needed a lot more weight?

RICHARD AMBROSE (SYNC – TO JONNY):
Yes.

JONNY:
Well I’m in the market for a new car at the moment and they weigh quite a lot.

RICHARD:
Oh yeah they do. Let’s go shopping.

JONNY:
Great.


















10.21.56
EXT. CAR SCRAPYARD

JONNY PICKS OUT CAR – IT’S HOISTED UP BY CRANE & PUT ON TROLLEY
















TROLLEY EVENTUALLY CRUMPLES

JONNY PHILLIPS (SYNC):
Oh yes. This is nice. I think this is the one.
(SHOUTS UP TO CRANE DRIVER):
OK I’ll take this one.

COMM:
This car weighs over a thousand kilos. That’s more than three times the trolley manufacturer’s recommended maximum load. But loading the car on the trolley is a bit harder than packing your normal weekly shop.

RICHARD AMBROSE (SYNC):
Oh oh oh oh oh oh. Yeah yeah yeah.

JONNY PHILLIPS (SYNC):
Yeah get the weight on it. Yeah yeah yeah. That is super.

RICHARD:
Oh my word. He’s good isn’t he?

JONNY:
Yeah, he’s very good. It’s taking it. Oh no it’s not, it’s not – it’s gonna. Blimey. Oh – no it’s gonna tilt backwards.

OUT:
10.21.58



IN:
10.22.04














OUT:
10.22.35

10.22.40
GVs JONNY & RICHARD EXAMINE CRUMPLED TROLLEY
JONNY:
I tell you what. There’s a heck of a lot of weight on the back of the trolley and it hasn’t collapsed completely has it? So.

COMM:
The grade of steel, the strong welds and the ingenious design help keep the trolley’s integrity.

RICHARD:
I think that trolley is incredibly strong.

JONNY:
I mean it’s lot sturdier than you would imagine, definitely.

RICHARD:
Oh yeah, yeah, yeah..

JONNY:
I’m quite impressed.

COMM:
Of course whether the boys will be able to get their shopping home is a different matter.















IN:
10.22.57





OUT:
10.23.05


10.23.06
CLOSING CREDIT SEQ:
MONTAGE OF TRIMS & OUT-TAKES FROM EPISODE:

S/I END CREDITS:

S/I CAP:
I DIDN’T KNOW THAT

Presenters
RICHARD AMBROSE
JONNY PHILLIPS

Narrator
VICKI BUTLER-HENDERSON

T/O CAP


S/I CAP:
Directors of Photography
DENIS BORROW
NICK HART
DUNCAN FAIRS
MATT WRIGHT
DAN DE CASTRO MATHER

Sound
JAMES ARNOLD
TIM GREEN
DUDLEY HOULDEN
ANDY MORTON

T/O CAP


S/I CAP:
Dubbing
THE AUDIO SUITE

Editors
LEIGH NICHOLLS
MANDY WILLIAMS

Edit Assistant
ADAM HUMPHRIES

T/O CAP


S/I CAP:
Online Editing
HD HEAVEN

Graphics
QUENCH DESIGN

Music
AUDIO NETWORK

T/O


S/I CAP:
Research
TINA CURLEY
ROSS PLUMMER
BETHANIE ROSER
SUZANNE TENNANT

Special Thanks
INFRATEC
GLOBAL RIFLE
RFID COMPONENTS LTD

Stock Footage
KIMBOLTON FIREWORKS LTD
UPM RAFLATAC

T/O


S/I CAP:
Administration & Finance Manager
CHRISTINE CAMDEN

Production Co-ordinator
KATHERINE DAVIES

Production Associates
LOUISE HAMMERSLEY
ROGER WHITE

Production Manager
HANNAH SHIELDS

Head of Production
DEBBIE VILE

T/O


S/I CAP:
Directors
JOHN BOAM
IAN BAYLISS
KAREN O’DONOVAN

Executive Producers
RICHARD PEARSON
JAMES WOODROFFE

Series Producer
MICHAL PORECKI

T/O


S/I CAP:
For National Geographic Channel

Executive Producers
SIMON BOHRSMANN
JENNY APOSTOL

Executive Vice President of Content
SYDNEY SUISSA

T/O


S/I CAP:
Produced by
NORTH ONE TELEVISION
For
NATIONAL GEOGRAPHIC CHANNEL

Copyright MMVII
NATIONAL GEOGRAPHIC CHANNEL
All rights reserved





COMM:
Join Richard and Jonny next time for more fascinating facts and revelations.














RICHARD (SYNC):
Oh right I’m gonna – sorry Dennis.














RICHARD (SYNC):
Jonny we are standing in a freezer with a man with a chainsaw.

JONNY (SYNC):
Yeah – probably not our best idea.












































































DIRECTOR (OOV):
Keep pulling, keep pulling, keep pulling, keep pulling and cut there.

IN:
10.23.06




























































































10.23.31
FREEZE FRAME

OUT:
10.23.32


10.23.42
CUT TO BLACK

- SNAP IN -

10:24.46 GRAPHICS/ FLASH ‘I DIDN’T KNOW THAT’

GVS: BOYS IN SCRAP YARD RICHARD AMBROSE:
A microwave. Eight hundred watts of power.

JONNY PHILLIPS
Generally used for cooking or heating your food.

RICHARD AMBROSE:
But there are tons of things you really shouldn’t put in there.

JONNY PHILLIPS
But why not?

RICHARD AMBROSE:
Yeah but why not? So in the name of science 0
IN:
10:24.46
10:25.04 CU: BALLOON/ IN MICROWAVE




CAPTION: DO NOT TRY THIS AT HOME Comm.
- the boys are going to microwave –

JONNY PHILLIPS
A balloon. Full of pure oxygen.

JONNY PHILLIPS
In she goes.

RICHARD AMBROSE:
Pop it in. roll on!

Comm.
We’ve attached a tiny piece of tin foil to the neck of our balloon.

10:25.17 CU: BOYS AT SCRAP YARD/ CU: MICROWAVE/ SPARKING/ BALLOON EXPLODES RICHARD AMBROSE:
It could pop at any moment

Comm
The heat from the foil melts the rubber balloon, causing it to burst.

JONNY PHILLIPS
Ooh, sparking, sparking.

RICHARD AMBROSE:
And it popped!

Comm.
The heat, the bits of molten balloon and pure oxygen combined to create a huge flame. Oxygen is essential to combustion. But it’s the amount that makes the difference. Air is around one-fifth oxygen and creates a moderate burn rate. But when pure oxygen is present, fires are much more intense.

10:25.51 CU: SCIENCE/ BALLOON INT: BURNT MICROWAVE
JONNY PHILLIPS
Come on let’s go check it out.

Comm.
And this is why many space rockets use liquified oxygen to react with their fuel.

JONNY PHILLIPS
And there you have it. we can see what’s happened there can’t you look?

RICHARD AMBROSE:
Yeah.

JONNY PHILLIPS
The tin foil acts as a wick, that burst the balloon and poof. Pop.

JONNY PHILLIPS [ to camera ]
more microwave cookery lessons – next time.

10:27.16 ALTERNATIVE CREDITS COMM [ OVER CREDITS ]
Join Richard and Johnny next time for more fascinating facts and revelations.

[ PREVIEW NEXT EPISODE ]

Presenters
RICHARD AMBROSE
JONNY PHILLIPS

Narrator
VICKI BUTLER-HENDERSON

Directors of Photography
DENIS BORROW
NICK HART
DUNCAN FAIRS
DAN DE CASTRO MATHER
MARK TREDINNICK
JONATHAN WATTS
MATT WRIGHT

Sound
JAMES ARNOLD
TIM GREEN
GARY GOODHAND
DUDLEY HOULDEN
ANDY MORTON

Dubbing
THE AUDIO SUITE

Editors
LEIGH NICHOLLS
MANDY WILLIAMS

Edit Assistant
ADAM HUMPHRIES

Online Editing
HD HEAVEN

Graphics
QUENCH DESIGN

Music
AUDIO NETWORK

Research
TINA CURLEY
ROSS PLUMMER
BETHANIE ROSER
SUZANNE TENNANT

Special Thanks
INFRATEC
GLOBAL RIFLE
RFID COMPONENTS LTD

Stock Footage
KIMBOLTON FIREWORKS LTD
UPM RAFLATAC

Administration & Finance Manager
CHRISTINE CAMDEN

Production Co-ordinator
KATHERINE DAVIES

Production Associates
LOUISE HAMMERSLEY
ROGER WHITE

Production Manager
HANNAH SHIELDS

Head of Production
DEBBIE VILE

Directors
JOHN BOAM
IAN BAYLISS
KAREN O’DONOVAN
BOB JEFFORD

Executive Producers
RICHARD PEARSON
JAMES WOODROFFE

Series Producer
MICHAL PORECKI

For National Geographic Channel

Executive Producers
SIMON BOHRSMANN
JENNY APOSTOL

Executive Vice President of Content
SYDNEY SUISSA

Produced by
NORTH ONE TELEVISION
For
NATIONAL GEOGRAPHIC CHANNEL

Copyright MMVII
NATIONAL GEOGRAPHIC CHANNEL
All rights reserved

10:26.49 ENDS

Translation - Bulgarian
„НЕ Е ЗА ВЯРВАНЕ”
2. ПОРЕДИЦА, ЕПИЗОД 1,
ОСЪЩЕСТВЕНО ОТ „НОРТ УАН ТЕЛЕВИЖЪН” ЗА „НЕШЪНЪЛ ДЖИОГРАФИК”

РЕЖИСЬОРИ ДЕНИС БОРОУ
НИК ХАРТ
ДЪНКАН ФЕЪРС
МАТ РАЙТ
ДАН ДЕ КАСТРО МАДЕР


ДЕЙСТВАЩИ ЛИЦА

МЪЖЕ
РИЧАРД АМБРОУЗ
ДЖОНИ ФИЛИПС
ДЕМОНСТРАТОР
АНТЪНИ
МЪЖ ОТ СКЛАДА
ПОЛ НЮУОЛ

ЖЕНИ
РАЗКАЗВАЧ 1







РАЗКАЗВАЧ 1 Това е предаване, което изследва забележителния таен живот на света окол нас. VДокато разкриваме удивителни факти, със сигурност ще възкликвате: „Не е за вярване!”V запознайте се с Ричард Амброуз и Джони Филипс. V Двама индустриални учени, които нямат нищо против да си поизцапат ръцете, щом се налага да се констатират фактите. V Нека се присъединим към тях в мисията им да откриват необикновеното в обикновеното.


РАЗКАЗВАЧ 1 В тази серия Ричард и Джони разследват тайните на супермаркета. V От
психологическите техники за продажба V

РИЧАРД АМБРОУЗ Много добре

РАЗКАЗВАЧ 1 До изключителния тест на издръжливостта на количката. V Ще покажем и зрелищния свят на тестването на фойерверки. V Ще погледнем през инфрачервена камера изкуството на скулптурите от лед. V И щеразберем дали действително снайперист може да уцели целта си от миля разстояние.


РИЧАРД АМБРОУЗ Супермаркетите са огромен, огромен бизнес. Днес повече от осемдесет процента от парите, харчени за храна във Великобритания, са дадени в супермаркетите.

ДЖОНИ ФИЛИПС И един обикновен голям магазин, като този, заема площ от десет хиляди квадратни метра. Това се равнява на размера на две футболни игрища.

РИЧАРД АМБРОУЗ Той ще продаде повече от петдесет хиляди различни продукта, пристигнали от стотици страни в целия свят.

ДЖОНИ ФИЛИПС И ще прибере четирдесет милиона паунда годишно , с петдесет хиляди нетърпеливи клиенти, които прекрачват прага му всяка седмица.


ГОВОРИТЕЛ 1 Този невероятен успех не е случайност. Всичко в супермаркета е проектирано да провокира покупка. От подредбата до осветлението.

РИЧАРД АМБРОУЗ Добре известен трик е често да се поставят плодовете и зеленчуците в началото на магазина.

ДЖОНИ ФИЛИПС Млякото в дъното.

РИЧАРД АМБРОУЗ А хлябът някъде другаде.

РАЗКАЗВАЧ 1 Това означава, че и пазаруването на основните продукти предполага преминаване през целия магазин, което увеличава шансовете клиентите да се поддадат на импулсивна покупка.V Сред основните продукти именно плодовете и зеленчуците се поставят близо до входа. Те правят подсъзнателна връзка със свежото, още щом клиентът прекрачи прага, и го карат да намали ход.


ДЖОНИ ФИЛИПС Ако се замислите, хората обичат да си избират прясна продукция и като комбинираме това с начина, по който са подредени щандовете, тази зона се превръща в нещо тако буфер.

ГОВОРИТЕЛ 1 Когато купувачите влязат в магазина, те се движат по инерция. Без тези буферни или стоп-зони, както са известни, които да карат купувачите да се спират, те вероятно щяха просто да минат покрай първте десетина метра с продукти.

РИЧАРД АМБРОУЗ Друг основен аспект на продажбата се намира на рафтове. Всеки рафт си има своя гореща точка. Място, където продуктът сам се продава.

ДЖОНИ ФИЛИПС Позиция номер едно се счита тази, която е на около сто и петдесет сантиметра височина, в средата на рафта.

РАЗКАЗВАЧ 1 Това попада директно в центъра на полезрение на жената и често производителите плащат допълнително, за да разположат продуктите си там.


РАЗКАЗВАЧ 1 Друг ловък начин, по който супермаркетите въздействат на клиентите, е чрез музика.

ДЖОНИ ФИЛИПС По доста театрален начин беше демострирано това в скорошен тест, при който за две седмици изследователи изпълняваха френска и немска музика в различни дни пред щандовете за вино.

РИЧАРД АМБРОУЗ Добър ден, г-н Джони.

ДЖОНИ ФИЛИПС През френските музикални дни френското вино се е продавало повече от немското в съотношение пет към едно.

РИЧАРД АМБРОУЗ Много хубаво.

ДЖОНИ ФИЛИПС През немските музикални дни дяловете на продажбите са се обърнали драматично. Немските вина са се продавали повече от френските в съотношение две към едно. А най-странното е, освен очевидното, че когато купувачите са запитани, те са казвали ,че музиката не е определила техния избор, въпреки ясните доказателства, че е.


РАЗКАЗВАЧ 1 Намираме се при един от най-големите производители на фойерверки във Великобритания. А това е техният сто двадесе и пет милиметров снаряд за фойерверка- звезда. Двадесетминутна заря ще пусне до десет хиляди фойерверки и шестдесет процента от тях ще са тези лоши момчета.V Всяка една от тях струва тридесет лири и съдържа половин килограм експлозив. Достатъчно, за да се изстреля на повече от сто метра височина. V Както сами виждате, не е просто топка с прах. А ето как се тестват отделните компоненти.


РАЗКАЗВАЧ 1 Основното при фойерверка е святкащият прах, мощно производно на барута. V Представлява смес от калиев перхлорат V и алуминий. Съставките се смесват в седемкилограмова партида, като малка мостра от нея се пали, за да се потвърди ,че притежава необходимата яркост. V Тази проба е смесена със стронций, за да блести в червено. И очевидно е успешен опит. V А тази мостра е с барий, за да блести в зелено. Отново успех.


РАЗКАЗВАЧ 1 Ако фойерверкът беше пакетиран с този насипен прашец, щеше да експлоадира при първото пламъче. V Затова барутът е превърнат в топчица, за да удължи времето на горене. V Докато горящите топчета се сипят в небето, те създават различните фигури, които всички добре познаваме. V Този тест проверява дали топчетата с този размер ще горят достатъчно време, за да очертаят заря с диаметър осемдесет метра.


ДЕМОНСТРАТОР Имаме два перфектно подредени кръга от звезди. Централен и външен. Външният пръстен е направен от звезди с малко по-голям размер. Ето защо те ще са по-тежки и когато експллозията в средата възпламени тези звезди и ги взриви в кръга, инерцията на по-тежките, по-големите звезди ще се предаде нататък. Така че на небето ще видите един малък кръг и след това по-голям около него.

РАЗКАЗВАЧ 1 Следващият тест проверява двата фитила на фойерверка. Първо, измерва се дължината на фитила, който ще е вътре във фойерверка, за да се осигури възпламеняване на правилната височина.V Фитил с тази дължина трябва да изгори за дванадесет секунди.V Така и стана. Успешен опит. V Втори, външен фитил, е необходим, за да се задейства фойерверкът. Опаковането на фитила с хартия трябва да задържи топлите газове и по този начин фитилът да изгори доста по-бързо.

ДЕМОНСТРАТОР Очаквам фитил с такава дължина да изгори за стотна от секундата.

РАЗКАЗВАЧ 1 Според мен така и стана.


РАЗКАЗВАЧ 1 Последният тест е за проверка дали фойерверкът не е по-шумен от Европейските норми от сто и двадесет децибела. Шумът е същият, като от пневматична дрелка на близко разстояние.

ДЕМОНСТРАТОР Положителен опит.


ДЖОНИ ФИЛИПС Време е вече да погледнем един ежедневен обект през инфрачервена камера.

РИЧАРД АМБРОУЗ Топлите предмети имат голямо инфрачервено лъчение, докато студените – по-малко. А тази камера прави неща, които нашите очи не могат. Тя може да засече варирането в температурата.

ДЖОН ФИЛИПС За да ви покажем какво може камерата, ще наблюаваме как скулптор на лед ще направи фигура, като използва някои електроуреди. V Скоростта е в основата, леденият блок е с температура минус четиринадесет градуса по Целзий, но скоро започва да абсорбира топлина от триенето на зъбците на триона.

РИЧАРД АМБРОУЗ Можете да видите затоплянето на леда.

ДЖОНИ ФИЛИПС Наистина.

РИЧАРД АМБРОУЗ Позеленява, нали?

ДЖОНИ ФИЛИПС Да. V Горелката затопля предметите до минус три градуса по Целзий почти веднага, докато само едно докосване на полиращата ютия прехвърля точката на топене и нашата скулптура започва да се окапва.

РИЧАРД АМБРОУЗ Браво, Уейн, получи се брилянтно.

ДЖОНИ ФИЛИПС Добър опит, Уейн.

РИЧАРД АМБРОУЗ Ето това си го бива. Филмова камера, направена от лед.

РАЗКАЗВАЧ 1 Очаквайте още да надникнем в тоалетната V И да разберем дали количката в супермаркета може да издържи доста тежка покупка.


РАЗКАЗВАЧ 1 Съвременните супермаркети разчитат на баркодовете, за да поддържат рафтовете си пълни. Веднага щом покупката е сканирана, централният сървър в снабдителското депо автоматично е уведомен. Новата стока е изпратена с точността на часовник.



РИЧАРД АМБРОУЗ Този е само един от дведесет и осемте дистрибуционни центъра, които притежава веригата супермаркети. Той е специализиран в основните продукти, вино, бира, храни в консерви. Неща от този сорт.

ДЖОНИ ФИЛИПС И разнообразието е зашеметяващо. Този център за разпределение покрива площ от тридесет хиляди квадратни метра и съхранява един милион и половина опаковки с продукти.

РАЗКАЗВАЧ 1 Самият склад е дълъг половин километър. Същата е дължината и на моста Харбър бридж в Сидни. Обикновено един голям супермаркет има на ден не една, а четиридесет доставки. V За да са сигурни, че тези камиончета доставят правилния продукт в подходящия момент, депата се осведомяват всеки час за това, какво се продава.

РИЧАРД АМБРОУЗ Ето къде идват поръчките от супермаркета.

РАЗКАЗВАЧ 1 За да се ограничи бракът, се поръчва точно толкова, колкото е необходимо. Ето например двадесет и четири пакета грах.


РАЗКАЗВАЧ 1 Подробният списък на магазина със заявките се предава по безжичен път до доставчиците на прикрепени към ръцете им терминали. Или наречени още ейтиемс.

ДЖОНИ ФИЛИПС Антъни, забелязах, че имаш доста модерно оборудване на китката. Ще ми разкажеш ли повече?

АНТЪНИ Разбира се. Това е ейтием. Като се включи, екранът се появява, натискаш ентър и той ще ти даде задача да отидеш и да подредиш щендерите.

ДЖОНИ ФИЛИПС Значи задачите идват автоматично на този уред и ти знаеш къде да отидеш и какво да донесеш.

АНТЪНИ Точно така.

ДЖОНИ ФИЛИПС Супер. А този механизъм на ръката ти – той какво прави?

АНТЪНИ Той всъщност сканира баркодовете на отделните стоки.

ДЖОНИ ФИЛИПС И автоматично ли разпознава стоката?


АНТЪНИ Точно така. Щом сте я сканирали, вече е известно, че е свалена от палèто.

ДЖОНИ ФИЛИПС И предполагам по този начин знаят къде се намирате по всяко време.

АНТЪНИ До известна степен е така.

ДЖОНИ ФИЛИПС И няма измъкване от работа или подремване по време на смяната?

АНТЪНИ Определено няма.

ДЖОНИ ФИЛИПС Кофти!



Превел: Станислава Лазарова
English to Bulgarian: Rusty nail, J. A. Konrath
General field: Art/Literary
Detailed field: Poetry & Literature
Source text - English
Prologue
Indiana 1976
The sound begins. Again.
Alex, eyes clenched shut, pillow pressed to face, can’t escape the repetitive slap-slapslap; it penetrates the thin apartment walls and saturates the cotton batting.
The wailing starts, the cry of a sick dog, increasing as the slaps come louder and faster.
Father will call soon.
Alex rolls out of bed and tiptoes through the door, every painful squeak of the
floorboards hitting like a blow. Slowly, so very slowly, Alex creeps down the hall.
Beyond Father's room is the back door. If Alex can make it outside, there’s a chance.
Perhaps spending the night in the barn, or at a friend’s house to escape the...
“ALEX!”
Alex jumps at the sound, Father's voice drilling in and pinning feet to floor.
“Alex, get in here!”
No choice now. Run, and Father will hear and get angry. Alex doesn’t want be the
recipient of God's Penance.
The child heads back to Father's room.
As always, the sight is ghastly. Father is kneeling on the floor, clad in dirty jeans and
bare from the waist up. His back is glistening with sweat and something else; streaks of blood
leaking from angry red welts.
“I'm a sinner, Alex. A terrible sinner.”
Alex stares at Father's hand, sees he’s using the scourge---a multi-tailed whip with tiny
metal barbs on the ends. That one isn't so bad. Father has implements that are worse. The one
Alex fears the most is the old brush handle, the bristles replaced with thin nails, rusty from years
of use.
“Take the whip, Alex. Show me God’s wrath.”
Alex hesitates.
“Now!” Father's eyes burn, promising the threat of Redemption. Konrath -2-
Alex holds out an eight-year-old hand and takes the scourge.
“You are the instrument of God's vengeance, my child. Give me His Penance.” Father's
voice trembles, cracks. “Punish me for my terrible sins.”
Alex swings the whip.
Again.
And again.
And again.
Father's keening grows in volume, and Alex beats him faster and harder, wanting to get it
over with, wanting it to end.
Finally, Father cries out for mercy, and then he pulls Alex next to him, down to knees,
and they both pray and pray and pray to the Lord for forgiveness and salvation and deliverance
from evil.
Father’s sobbing eventually softens, then stops.
“Ointment.”
Alex fetches the salve and rubs it into Father's wounds, coaxing whimpers.
“Reject sin, Alex. Reject Satan’s ways. Don’t end up like me.”
“I won’t.”
“Promise me.”
“I promise.”
“Good. Now get the hell out of my room. I don’t want to see your ugly face for the rest of
the night.”
Alex runs outside, hands pink with blood, brain awash with terrible feelings of guilt...
and disgust...
... and something else.
The night is hot, the sticky summer air smelling like garbage, the field behind their house
dark and quiet. The tears erupt, and Alex wails, head in hands.
A cat, a stray tabby that hangs around the farm, bumps Alex’s leg and purrs. Alex holds
the cat close, wiping tears onto its fur.
Next to the barn is a rain barrel, half-filled with foul-smelling water. Four rats, a squirrel,
and a possum have all drowned in that barrel. Konrath -3-
But never a cat.
A feeling of warmth grows within Alex, extinguishing the fear.
“Let’s go for a swim, kitty.”
Stroking its yellow and orange fur, Alex carries the cat over to the barrel.
Translation - Bulgarian

Пролог
Индиана 1976 г.

Звукът се чува. Отново.
Със силно стиснати клепачи и силно притисната до лицето възглавница, Алекс не може да се скрие от непрекъснато повтарящото се „пляс, пляс, пляс”; то прониква през тънките стени на апартамента и напоява памучната завивка.
Стенанията започват, плач на болно куче, който се усилва с учестяването и засилването на ударите.
Скоро бащата ще извика.
Алекс се измъква от леглото и на пръсти се промъква през вратата, а всяко поскърцване на пода е като взрив. Бавно, съвсем бавно Алекс изпълзява долу до антрето.
След стаята на бащата е черната врата. Ако Алекс успее да излезе, може би има шанс. Вероятно ако прекара нощта в плевнята или в приятел, ще се спаси от ...
- АЛЕКС!
При звука Алекс подскача, гласът на бащата пронизва и заковава на място.
- Алекс, ела тук!
Вече няма избор. Ако избяга, бащата ще чуе и ще се ядоса. Алекс не иска да е изкупител на гнева божи.
Детето се насочва обратно към стаята на баща си.
Както винаги, осветлението е слабо. Бащата е коленичил на пода, обут в мръсни дънки и гол от кръста нагоре. Гърбът му блести от пот и още нещо; кървави конци се стелят от пресни отворени рани.
- Грешен съм, Алекс. Ужасно грешен.
Алекс се взира в ръката на баща си и вижда, че той държи бич – камшик с много краища, с малки метални остриета накрая. Този не е толкова страшен. Бащата има и по-жестоки уреди. Алекс се страхува най-много от онзи, който е със стара дръжка на четка, а космите й са заменени с тънки пирони, ръждясали от годините употреба.
- Вземи камшика, Алекс. Покажи ми гнева божи.
Алекс се колебае.
- Веднага! - Очите на баща му горят, предугаждайки избавлението.
Осемгодишното дете протяга ръка и взема бича.
- Ти си ръката на божията мъст, дете мое. Покажи ми неговото наказание. – Гласът на бащата трепери, прекъсва. – Накажи ме за ужасните ми грехове.
Алекс замахва с бича.
Още веднъж.
И още веднъж
И отново.
Разпалеността на бащата се увеличава и Алекс удря по-силно и по-бързо, за да приключи всичко по-скоро веднъж завинаги.
Най-накрая бащата се моли за милост и издърпва Алекс до себе си, двамата коленичили и се молят, молят, молят на бог за прошка и спасение и избавление от злото.
Най-сетне стенанията на бащата притихват и спират.
- Мехлем.
Алекс донася мазилото и го втрива в раните на баща си, ридаейки през цялото време.
- Отхвърли греха, Алекс. Откажи се от пътищата на Сатаната. Не свършвай като мен.
- Няма.
- Обещай ми.
- Обещавам.
- Добре. А сега се разкарай от стаята ми. Не искам да виждам грозното ти лице през останалата част на нощта.
Алекс изтичва навън, ръцете са розови от кръвта, мозъкът е зает с ужасно чувство за вина ... и отвращение
... и още нещо.
Нощта е топла, лепкавият летен въздух мирише на боклук, полето зад къщата им е тъмно и тихо. Сълзите секват и Алекс хлипа с длани около главата си.
Една бездомна котка с тигрови шарки, която навестява фермата, бута крака на Алекс и мърка. Алекс държи котката до лицето си и попива сълзите си с нейната козина.
Близо до плевнята има варел за дъждовна вода, наполовина пълен с вонящо съдържание. В него са се удавили четири плъха, една катерица и опосум.
Но не и котка.
Чувство на топлина се заражда в Алекс и прогонва страха.
- Хайде да поплуваме, котенце.
Галейки жълто-оранжевата козина на котката, Алекс я понася към варела.

Translation education Master's degree - Sofia University
Experience Years of experience: 14. Registered at ProZ.com: Dec 2011. Became a member: Sep 2012.
ProZ.com Certified PRO certificate(s) N/A
Credentials Bulgarian to English (Sofia University (St. Kliment Ohridski))
English to Bulgarian (Sofia University (St. Kliment Ohridski))
Russian to Bulgarian (Sofia University (St. Kliment Ohridski))
Memberships N/A
Software Adobe Acrobat, Adobe Photoshop, Indesign, Microsoft Excel, Microsoft Word, Powerpoint, Wordfast
CV/Resume CV available upon request
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Profile last updated
Jan 19, 2019






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