练习文本汇总

12.4

BOOK TWELVE, LESSON FOUR

N: Welcome to Lesson Four.
    Listen to part of the conversation between Detective Modine and Mike.
    They're talking about how Mike discovered that Roger had sabotaged the editing room at the station.
    Notice how they use the words but, so, and and.
DETECTIVE   
MODINE: I discovered Roger did it,
    but I didn't know how.
Mum: I discovered it this morning,
    so I called you right away.
DETECTIVE     
MODINE: Mike, help me out.
    I can't understand the technology,
    and I can't take a course.
N: Now listen and repeat.
M: but I didn't know how
    I discovered Roger did it
    I discovered Roger did it, but I didn't know how.     
    I discovered Roger did it, but I didn't know how.   
F: so I called you right away
    I discovered it this morning
    I discovered it this morning, so I called you right away.
    I discovered it this morning, so I called you right away.
M: and I can't take a course
    I can't understand the technology   
    I can't understand the technology, and I can't take a course.   
    I can't understand the technology, and I can't take a course.   
N: Notice how the word and joins two affirmative or two negative sentences.
    For example . . .
F: I looked at the toggle switch, and I remembered it was new.
M: I can't understand the technology, and I can't take a course.   
N: Also notice how but joins a negative and an affirmative sentence.
    For example . . .
M: I discovered Roger did it, but I didn't know why.   
N: Now you're going to hear two sentences.
    Join the two sentences to make one sentence,
    using either and or but.
    For example, you hear. . .
F: Mike knew why he did it. He knew how he did it.
N: And you say. . .   
M: Mike knew why he did it, and he knew how he did it.
N: Or you hear. . .   
F: He wants to tell Modine. He doesn't want Roger to hear.
N: And you say. . .   
M: He wants to tell Modine, but he doesn't want Roger to hear.
N: All right. Let's begin.
M: Mike knew why he did it. He knew how he did it.
F: Mike knew why he did it, and he knew how he did it.
M: He wants to tell Modine. He doesn't want Roger to hear.
F: He wants to tell Modine, but he doesn't want Roger to hear.
M: He didn't understand the problem. He didn't know how to solve it.   
F: He didn't understand the problem, and he didn't know how to solve it.
       
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M: Chris spoke to Jake. She didn't speak to Steven.
F: Chris spoke to Jake, but she didn't speak to Steven.
M: Jake has interviews to do. He has reports to write.
F: Jake has interviews to do, and he has reports to write.
M: Steven has a wife and a son. He doesn't have a daughter.
F: Steven has a wife and a son, but he doesn't have a daughter.
N: Now, do you remember what Mike said to Detective Modine about his discovery in the control room?
MIKE: I discovered it this morning, so I called you right away.
N: Notice how the word so introduces a result clause.
    For example. . .
F: I was tired, so I went to bed.
N: In other words,
    "I went to bed" is the result of "I was tired."
    Now you're going to hear two sentences.
    This time the second sentence may show either a contrast or a result.
    If there is a contrast, join the two sentences using the word but.
    If there is a result, join them using so.
    For example, you hear. . .
M: I looked everywhere. I couldn't find anything.
N: And you say. . .
F: I looked everywhere, but I couldn't find anything.
N: Or you hear. . .
M: She was hungry. She ate a sandwich.
N: And you say. . .
F: She was hungry, so she ate a sandwich.
N: OK? Let's begin.
M: I looked everywhere. I couldn't find anything.
F: I looked everywhere, but I couldn't find anything.
M: She was hungry. She ate a sandwich.
F: She was hungry, so she ate a sandwich.
M: Roger was clever. He wasn't clever enough.
F: Roger was clever, but he wasn't clever enough.
M: Mike is familiar with those machines. He knows how to rewire them.
F: Mike is familiar with those machines, so he knows how to rewire them.
M: Chris is a good worker. She hasn't had much experience.
F: Chris is a good worker, but she hasn't had much experience.
M: Steven is always working. He's always tired.
F: Steven is always working, so he's always tired.
N: Now listen to this talk about Detective Modine.
    Notice when the words had better and had better not are used.
M: Everyone at WEFL is worried about the mysterious problems at the station.
    Detective Modine is working on the case.
    He'd better find the criminal soon.
    The criminal had better be careful if he doesn't want to get caught.
    Detective Modine knows that he'd better not try to solve the mystery alone-
    he needs help from the staff at WEFL.
    He especially needs Mike's help to understand the technology.
    Detective Modine has one parking ticket already.
    He'd better not get another one.
N: Now listen and repeat.
M: find the criminal soon
    he'd better
    He'd better find the criminal soon.
    He'd better find the criminal soon.
F: if he doesn't want to get caught
    he'd better be careful
    He'd better be careful if he doesn't want to get caught.
    He'd better be careful if he doesn't want to get caught.
M: try to solve the mystery alone
    he'd better not
    He'd better not try to solve the mystery alone.
    He'd better not try to solve the mystery alone.
N: Notice that had better
    and had better not
    are used to express strong advice
    or to give a warning.
    Now you're going to hear a statement about someone and the situation he or she is in.
    You make a statement that gives advice,
    using either had better or had better not.
    For example, you hear.. .
F: Detective Modine wants to find the criminal soon.
N: And you say. . .
M: He'd better find him soon.
N: Or you hear. . .
F: He's trying to solve the mystery alone.
N: And you say. . .
M: He'd better not try to solve it alone.
N: All right? Let's begin.
F: Detective Modine wants to find the criminal soon.
M: He'd better find him soon.
F: He's trying to solve the mystery alone.
M: He'd better not try to solve it alone.
F: He hasn't paid his parking ticket yet.
M: He'd better pay it.
F: Chris needs to make a good impression on Steven.
M: She'd better make a good impression on Steven.
F: Jake sometimes makes people angry .
M: He'd better not make people angry .
F: Mike plans to go fishing when he should be working.
M: He'd better not go fishing when he should be working.
F: Steven needs to take a long vacation, or he'll get sick.
M: He'd better take a long vacation, or he'll get sick.
N: Now to end this lesson,
    listen to the following talk.
    Notice the different ways people show that they realize a fact.
M: When I came downstairs this morning,
    I realized something had changed.
    It occurred to me that something was different.
    All at once,
    I realized the truth of the matter.
    I suddenly understood what had happened.
    My wife had gotten up during the night and had rearranged all the furniture.
N: Now listen and repeat.
M: something had changed
    I realized
    I realized something had changed.
    I realized something had changed.

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F: something was different
    it occurred to me
    It occurred to me that something was different.
    It occurred to me that something was different.
M: the truth of the matter
    I realized
    I realized the truth of the matter.
    I realized the truth of the matter.
F: what had happened
    I suddenly understood
    I suddenly understood what had happened.
    I suddenly understood what had happened.
N: Now you're going to hear a cue word--
    either occurred or realized
    -and a statement about what someone knew.
    Use the cue word and the statement
    to make a new sentence about how that person suddenly realized something was true.
    For example, you hear . . .
M: Occurred . . . Chris knew she had made a mistake.
N: And you say. . .
F: It occurred to Chris that she had made a mistake.
N: Or you hear. . .
M: Realize. . . Mike knew who the criminal was.
N: And you say. . .
F: Mike realized who the criminal was.
N: OK? Let's begin.
M: Occurred. . . Chris knew she had made a mistake.
F: It occurred to Chris that she had made a mistake.
M: Realized. . . Mike knew who the criminal was.
F: Mike realized who the criminal was.
M: Realized . . . Roger knew his secret had been discovered.
F: Roger realized his secret had been discovered.
M: Occurred. . . Detective Modine knew his theories had been correct.
F: It occurred to Detective Modine that his theories had been correct.
M: Realized . . . Steven knew he needed a vacation.
F: Steven realized he needed a vacation.
M: Occurred . . . Chris knew her salary wasn't high enough.
F: It occurred to Chris that her salary wasn't high enough.
N: And it just occurred to me that this is the end of Lesson Four.

12.5

BOOK TWELVE, LESSON FIVE

N: Welcome to Lesson Five.
    Listen to Chris as she talks about her feelings before her interview with Thomas Ames.
    Notice how she uses the words because and even though.
CHRIS: I can't believe I'm going to interview Thomas Ames.
    I'm nervous about this even though I've practiced.
    I'm not sure why.
    I'm nervous because I want to do a good job.
    I'm also nervous because Thomas Ames is so wealthy and important.
N: Now listen and repeat.
F:even though I've practiced
    I'm nervous about this
    I'm nervous about this even though I've practiced.
    I'm nervous about this even though I've practiced.
M: because I want to do a good job
    I'm nervous
    I'm nervous because I want to do a good job.
    I'm nervous because I want to do a good job.
N: Remember that the word because shows result.
    Even though and the synonym although show contrast.
    Now you're going to hear two sentences.
    Combine the two sentences using because if the second sentence is the result of the first.
    Use even though if the second sentence shows a contrast with the first.
    For example, you hear . . .
F: I'm not nervous about my exam.
    I've studied hard for it.
N: And you say. . .
M: I'm not nervous about my exam because I've studied hard for it.
N: Or you hear. . .
F: I'm worried about the interview.
    I've prepared for it.
N: And you say. . .
M: I'm worried about the interview even though I've prepared for it.
N: All right. Let's begin.
F: I'm not nervous about my exam.
    I've studied hard for it.
M: I'm not nervous about my exam because I've studied hard for it.
F: I'm worried about the interview.
    I've prepared for it.
M: I'm worried about the interview even though I've prepared for it.
F: Chris is hungry.
    She ate lunch an hour ago.
M: Chris is hungry even though she ate lunch an hour ago.
F: Mike got into trouble.
    He was late for work again.
M: Mike got into trouble because he was late for work again.
F: Steven is a proud father.
    His son has learned to walk.
M: Steven is a proud father because his son has learned to walk.
F: Rita is unhappy.
    She's sad about leaving her friends.
M: Rita is unhappy because she's sad about leaving her friends.
F: Thomas Ames is pleased with his life.
    He doesn't have many friends.
M: Thomas Ames is pleased with his life even though he doesn't have many friends.
N: Now listen to Chris again as she tells us more about how she was chosen to interview Thomas Ames.
    Does she use even though or although?
CHRIS: Mike was sure surprised when I was chosen to do this interview.
      He said that this was Jake's big story.
      But I got the story because Ames won't talk to Jake.
      Although Jake is a better interviewer than I am,
      I can probably get Ames to talk to me more openly than Jake can.
N: Well, did Chris use even though or although?
M: She used although.
N: And now listen to Steven as he talks about his six-month-old son, Peter.
    Does he use even though or although?
STEVEN: Because I've been busy at work,
    I haven't been able to spend much time with Peter.
    He's growing so quickly,
    and I'm never there.
    I missed the first time he crawled and the first time he sat up.
    I don't want to miss anything else.
    Although I want to be with my son,

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    I can't leave until Chris returns with her  interview.
    I've got to know what Thomas Ames is up to.
N: Did Steven use even though or although?
M: He used although.
N: Now listen and repeat.
F: to talk to me more openly
    I can probably get Ames to talk to me more openly
    although Jake is a better interviewer
    Although Jake is a better  interviewer, I can probably get Ames to talk to me more openly.
    Although Jake is a better interviewer, I can probably get Ames to talk to me more openly.
M: I can't leave until Chris returns with her interview
    although I want to be with my son
    Although I want to be with my son, I can't leave until Chris returns with her interview.
    Although I want to be with my son, I can't leave until Chris returns with her interview.
N: Now you're going to hear a sentence followed by a phrase.
    Put the phrase into the sentence to form a new sentence.
    For example, you hear. . .
M: Even though I want to be with my son, I can't leave yet.
F: Although he.
N: And you say. . .
M: Although he wants to be with his son, he can't leave yet.
N: Or you hear. . .
M: Although he wants to be with his son, he can't leave yet.
F: Even though she.
N: And you say. . .
M: Even though she wants to be with her son, she can't leave yet.
N: OK? Let's begin.
M: Even though I want to be with my son, I can't leave yet.
F: Although he.
M: Although he wants to be with his son, he can't leave yet.
F: Even though she.
M: Even though she wants to be with her son, she can't leave yet.
F: Because we have to wait for Chris.
M: Because we have to wait for Chris, we can't leave yet.
F: We can't go out to lunch yet.
M: Because we have to wait for Chris, we can't go out to lunch yet.   
F: Although we're very hungry.
M: Although we're very hungry, we can't go out to lunch yet.
F: Even though it's time to eat.
M: Even though it's time to eat, we can't go out to lunch yet.
N: Now let's listen to Chris again.
    Notice how she uses the words nervous and nervously, open and openly.
CHRIS: I'm here in the waiting room of Ames's office.
    I'm very nervous about this interview.
    In fact, I've been waiting nervously for ten minutes.
    I'm even biting my fingernails.
    I hope I can get Ames to be open with me.
    Usually he doesn't talk openly with reporters.
N: Now listen and repeat.
F: I'm very nervous about this interview.
    I'm very nervous about this interview.
    I've been waiting nervously for ten minutes.
    I've been waiting nervously for ten minutes.
M: I hope I can get Ames to be open with me.
    I hope I can get Ames to be open with me.
    Usually he doesn't talk openly with reporters.
    Usually he doesn't talk openly with reporters.
N: The words nervous and open are examples of adjectives.
    They describe nouns or pronouns.
    For example. . .
M: Chris is nervous.
    She's a nervous reporter.
N: The words nervously and openly are examples of adverbs.
    They describe verbs, adjectives,
    or  other adverbs.
    For example. . .
F: Chris is waiting nervously.
    She's biting her fingernails nervously.
N:  Now you're going to hear two words:
    an adjective and an adverb.
    Then you're going to hear a sentence.
    Repeat the sentence putting in either the adjective or the adverb.
    For example, you hear. . . 
F: Nervous . . . nervously.
M: Chris is a reporter.
N: And you say. . .
M: Chris is a nervous reporter.
N: Or you hear. . .
F: Nervous. . . nervously.
M: She's biting her fingernails.
N: And you say. . .
M: She's biting her fingernails nervously.
N: All right. Let's begin.
F: Nervous . . . nervously.
M: Chris is a reporter.
M: Chris is a nervous reporter.
F: Nervous. . . nervously.
M: She's biting her fingernails.
M: She's biting her fingernails nervously.
F: Open. . . openly.
M: She wants a conversation with Thomas Ames.
M: She wants an open conversation with Thomas Ames.
F: Open. . . openly.
M: She wants to talk to him.
M: She wants to talk to him openly.
F: Good. . . well.
M: She wants to do her job.
M: She wants to do her job well.
F: Good. . . well.
M: She wants to get an interview.
M: She wants to get a good interview.
F: Quick. . . quickly.
M: She's a typist.
M: She's a quick typist.
F: Quick. . . quickly.
M: She can type a lot of pages.
M: She can type a lot of pages quickly.
N: Well, that was a good lesson.
    And you're doing very well.
    Keep it up.
    This is the end of Lesson Five.

12.6

BOOK TWELVE, LESSON SIX

N: Welcome to Lesson Six.
    Listen  to this conversation between Chris Bloom and Thomas Ames.
    Chris is interviewing him about his plans to put up new buildings on land belonging to the Nature Center.
    How many times does Ames use the word although?
    Does he use it at the beginning of sentences or in the middle?
    Listen.
CHRIS: Mr. Ames, do you think your buildings will ruin the eighteenth-century feeling of the Nature Center?
AMES: Although the Nature Center has an eighteenth-century flavor,
    we aren't living in the eighteenth century.
CHRIS: Can't you try to design your  buildings to fit in with the Nature Center?
AMES: Although you may feel that my buildings alter the feel of the Nature Center,
    many people may think they enhance it.
N: How many times did Ames use the word although?
M: He used it twice.
N: Did he use it at the beginning of sentences or in the middle?
M: He used it at the beginning.
N: Now listen and repeat.
M: we aren't living in the eighteenth century
    although the Nature Center has an eighteenth-century flavor
    Although the Nature Center has an eighteenth-century flavor, we aren't living in the eighteenth century.
    Although the Nature Center has an eighteenth-century flavor, we aren't living in the eighteenth century .
F: many people may think they enhance it
    my buildings alter the feel of the Nature Center
    although you may feel
    Although you may feel my buildings alter the feel of the Nature Center, many people may think they enhance it.
    Although you may feel my buildings alter the feel of the Nature Center, many people may think they enhance it.
N: Now listen to two sentences:
    one that uses although at the beginning and one that uses but in the middle.
    Do they mean the same thing?
    Listen and then answer.
F: Although that man is rich, he isn't very happy.
M: That man is rich, but he isn't very happy.
N: Well, what do you think?
    Do these two sentences mean the same thing?
F: Yes, they do.
N: Now you're going to hear two sentences followed by either although or but.
    Combine the two sentences using the word you hear.
    For example, you hear. . .
M: That woman is beautiful. She isn't very popular.     
F: Although.
N: And you say. . .
M: Although that woman is beautiful, she isn' very popular.
N: Or your hear . . .
M: I have a two-week vacation.
    I'm not going anywhere.
F: But.   
N: And you say. . .
M: I have a two-week vacation, but I'm not going anywhere.
N: All right. Let's begin.
M: That woman is beautiful.
    She isn't very popular.
F: Although.
M: Although that woman is beautiful, she isn't very popular.
M: I have a two-week vacation. I'm not going anywhere.
F: But.
M: I have a two-week vacation, but I'm not going anywhere.
M: There are a lot of desks in this room.
    There aren't many chairs.
F: But.
M: There are a lot of desks in this room, but there aren't many chairs.
M: Rita's had a lot of experience working at WEFL.
    She's never been a reporter.
F: Although.
M: Although Rita's had a lot of experience working at WEFL, she's never been a reporter.
M: Chris likes Jake a lot.
    She hasn't had a date with him for a long time.
F: Although.
M: Although Chris likes Jake a lot, she hasn't had a date with him for a long time.
M: Thomas Ames doesn't like animals.
    He wants people to think he does.
F: But.
M: Thomas Ames doesn't like animals, but he wants people to think he does.
N: Now listen to this part of the conversation between Chris and Thomas Ames.
CHRIS:Do you care about anything except making more money for yourself?
AMES: I'm tired of you reporters and your stupid questions.
    It's my land and I'll do whatever I want to with it,
    and I'm not going to change just because of a little pollution.
  Now get out!

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CHRIS: Do you care about the animals at the Nature Center?
AMES: I hate animals! . . . Get out,
    Ms. Bloom!
N: Now listen to Chris as she reports to Jake exactly what happened at her interview.
CHRIS: I asked him if he cared about anything except making more money for himself.
    Then he said he was tired of us reporters and our stupid questions.
    He said it was his land and he would do whatever he liked with it
    and he wasn't going to change just because of a little pollution.
    Then he told me to get out.
    When I asked him if he cared about the animals at the Nature Center,
    he said he hated animals and again told me to get out.
N: Now listen and repeat.
F: Do you care about anything except making more money for yourself?
    Do you care about anything except making more money for yourself?
M: I asked him if he cared about anything except making more money for himself.
    I asked him if he cared about anything except making more money for himself.
    I'm tired of you reporters and your stupid questions.
    I'm tired of you reporters and your stupid questions.
F: He said he was tired of us reporters and our stupid questions.
    He said he was tired of us reporters and our stupid questions.
N: Now you're going to hear a statement or a question in direct speech. 
    Repeat the statement or question using indirect speech.
    For example, you hear. . .
M: I'm tired of you reporters and your stupid questions.
N: And you say ...
F: He said he was tired of us reporters and our stupid questions.
N: Or you hear. . .
M: Now get out and stay out!
N: And you say. . .
F: He told me to get out and stay out.
N: OK? Let's begin.
M: I'm tired of you reporters and your stupid questions.
F: He said he was tired of us reporters and our stupid questions.
M: Now get out and stay out!
F: He told me to get out and stay out.
M: I'm not going to change just because of a little pollution.
F: He said he wasn't going to change just because of a little pollution.
M: It's my land and I'll do whatever I want with it.
F: He said it was his land and he'd do whatever he wanted with it.
M: Do you think Ames will change his mind?
F: He asked me if I thought Ames would change his mind.
M: It's time to go on to the next lesson.
F: He said it was time to go on to the next lesson.
N: Yes, and he was right.
    It is time to go on to the next lesson.
    This is the end of Lesson Six.

12.7

BOOK TWELVE, LESSON SEVEN

N: Welcome to Lesson Seven.
    Raymond Modine is feeding the ducks at the Nature Center.
    Steven comes up to him.
    Listen to the conversation.
    What are the three things that Detective Modine says that he likes?
    Listen carefully for the answer.
STEVEN: I don't think of you as a man who likes to feed ducks.
DETECfIVE MODINE:That's me.
    I like cars that are fast.
    I like women who are beautiful.
    And here's the interesting part.
    I'm the kind of person who likes to feed ducks.
    I'll never figure you out, Ray. . .
    Why are we meeting here instead of my office?
    We know who was sabotaging the station.
DETECfIVE MODINE: The sun is out,
    and the air is crisp.
    It's a day that comes only once a year.
    You're the kind of person who wouldn't take advantage of a beautiful day.
    That's why I wanted to meet here.
N: 0K. What are the three things that Detective Modine says that he likes?
M: Fast cars,
    beautiful women,
    and feeding ducks.
N: Now listen and repeat.
M: who likes
    who likes to feed ducks
    the kind of person who likes to feed ducks
    I'm the kind of person who likes to feed ducks.
    I'm the kind of person who likes to feed ducks.
    who wouldn't take advantage
    who wouldn't take advantage of a beautiful day
    the kind of person who wouldn't take advantage of a beautiful day
    You're the kind of person who wouldn't take advantage of a beautiful day.
    You're the kind of person who wouldn't take advantage of a beautiful day.
N: Now you hear...
F: Raymond likes to feed ducks.
N: And you say. . .
M: He's the kind of person who likes to feed ducks.
N: You hear. . .
F: You wouldn't take advantage of a beautiful day.
N: And you say. . .
M: You're the kind of person who wouldn't take advantage of a beautiful day.
N: Ready? Let's begin.
F: Raymond likes to feed ducks.
M: He's the kind of person who likes to feed ducks.
F: You wouldn't take advantage of a beautiful day.
M: You're the kind of person who wouldn't take advantage of a beautiful day.
F: I like cars that are fast.

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M: I'm the kind of person who likes cars that are fast.
F: Terry saves everything.
M: He's the kind of person who saves everything.
F: Thomas Ames would do anything for money and power.
M: He's the kind of person who would do anything for money and power.
F: Chris works hard for what she wants.
M: She's the kind of person who works hard for what she wants.
F: I learn fast.
M: I'm the kind of person who learns fast.
N: Here's some more of the conversation between Detective Modine and Steven at the Nature Center.
    Listen to what they say . . .
STEVEN: Thanks. I appreciate your concern for me,
    but I have a lot of work to do.
DETECTIVE MODLNE: So do I. So do I.
    Well, I guess we wrapped this case up.
N: Now listen and repeat.
M: wrapped this case up
    we wrapped this case up
    I guess we wrapped this case up.
    I guess we wrapped this case up.
N: To wrap up in this sentence is an idiomatic expression which means about the same as to complete.
    Let's practice this expression.
    You hear. . .
F: I guess we completed this case.
N: And you say. . .
M: I guess we wrapped this case up.
N: You hear. . .
F: Have you completed the investigation yet?
N: And you say. . .
M: Have you wrapped the investigation up yet?
N: OK. Let's begin.
F: I guess we completed this case.
M: I guess we wrapped this case up.
F: Have you completed the investigation yet?
M: Have you wrapped the investigation up yet?
F: When is Chris going to complete these interviews?
M: When is Chris going to wrap these interviews up?
F: Well, let's complete the thing.
M: Well, let's wrap the thing up.
N: Now, a little more of the conversation at the Nature Center between Steven and Detective Modine.
    Who discovered how Roger was sabotaging the station?
    Listen carefully for the answer.
STEVEN: Wait a minute.
    I know it was Roger who was sabotaging the station,
    but you never told me how you figured it out.
    Was it the glove that gave him away?
    I thought you thought that it was Terry who did it.
DETECTIVE MODLNE: Actually, it was Terry who helped me figure out the part about the gloves.
    It was Mike who discovered how Roger did it.
    Jake is the one who got Roger to confess.
STEVEN: So what did we pay you for?
N: OK. Who discovered how Roger was sabotaging the station?
M: Mike.
N: Now listen and repeat.
M: gave him away
    Was it the glove that gave him away?
    Was it the glove that gave him away?
N: To give away in this sentence is an idiomatic expression that means about the same as to reveal, to betray.
    Let's practice this expression.
    You hear. . .
F: Was it the glove that betrayed him?
N: And you say. . .
M: Was it the glove that gave him away?
N: You hear. . .
F: Please don't reveal the answer.
N: Andyousay...
M: Please don't give the answer away.
N: Ready? Here we go.
F: Was it the glove that betrayed him?
M: Was it the glove that gave him away?
F: Please don't reveal the answer.
M: Please don't give the answer away.

182

F: In the end, it was Roger who betrayed himself.
M: In the end, it was Roger who gave himself away.
F: They're always revealing my secrets.
M: They're always giving my secrets away.
F: Sooner or later, criminals usually betray themselves.
M: Sooner or later, criminals usually give themselves away.
N: Great. Now Chris meets Mike in the editing room.
    They're looking for Steven and Detective Modine.
    Steven isn't feeling well these days.
    He's having a problem with his stomach.
    What does he have?
    Listen carefully for the answer.
CHRIs: Hi, Mike. Have you seen Steven?
Mum: No, I haven't.
    Where's Detective Modine?
    I have some information for him.
    I thought he would be here with you.
CHRIS: No. I haven't seen him all morning.
Mum: I bet the two of them are having one of their secret meetings.
    It's so strange.
CHRIS: What?
Mum: Steven and Detective Modine.
  They're so different.
  And yet they seem to like each other.
    I mean, Raymond isn't married . . .
CHRIS: And Steven is.
    He has a family to take care of.
    Raymond doesn't.
Mum: Yeah.
CHRIS: Raymond likes to relax.
    Did you know, Mike, that he likes to feed the ducks
at the Nature Center?
Mum: No. Really?
    Steven sure doesn't.
    He's always in his office worrying about something or other.
    Poor Steven. You know, he has an ulcer.
CHRIS: Yeah. I know.
    Raymond doesn't.
    He's as healthy as a horse. He can eat whatever he wants.
Mum: Steven can't.
CHRIS: Hah. Raymond lives on pizza and black coffee.
    Well, maybe Raymond will help Steven relax and enjoy life a little more.
Mum: I sure hope so.
N: OK. What does Steven have?
M: An ulcer.
N: Now listen and repeat.
M: Raymond isn't married.
    Raymond isn't married.
F: Steven is.   
    Steven is.
M: He has an ulcer.
    Poor Steven.
    He has an ulcer.
    Poor Steven. He has an ulcer.
    Poor Steven. He has an ulcer.
F: Raymond doesn't.
    Raymond doesn't.
N: Now you hear. . .
M: Raymond isn't married.
N: And you say. . .
F: Steven is.
N: You hear. . .
M: Poor Steven. He has an ulcer.
N: And you say. . .
F: Raymond doesn't.
N: Ready? Let's begin.
M: Raymond isn't married.
F: Steven is.
M: Poor Steven. He has an ulcer.
F: Raymond doesn't.
M: Raymond can eat whatever he wants.
F: Steven can't.
M: Steven doesn't like fast cars.
F: Raymond does.
M: Raymond likes to relax and feed the ducks.
F: Steven doesn't.
M: At the end of the day,
    Raymond can't go home to a wife and son.
F: Steven can.
N: This is the end of Lesson Seven.

12.8

  BOOK TWELVE, LESSON EIGHT

N: Welcome to Lesson Eight.
    Terry is helping Rita pack up her things at WEFL for her retirement.
    Terry finds a book.
    What's the book full of?
    Listen carefully for the answer.
TERRY: What's in this box?
RITA: It's a dress which Deborah Hall wore in one of our productions . . .
TERRY: What do you want me to do with this book?
RITA: Let me see that . . .
    Will you look at this!
TERRY: What is it?
RITA: This is a diary which is full of secrets about the people at WEFL.
TERRY: Let me see.
RITA: No way.
TERRY: Oh, come on. I'm curious now.
RITA: If I did that,
    there are some people who would kill me.
N: OK. What's the book which Terry finds full of?
F: Secrets about the people at WEFL.
N: Now listen and repeat.
F: in one of our productions
    which Deborah Hall wore in one of our productions.
    It's a dress which Deborah Hall wore in one of our productions.
    It's a dress which Deborah Hall wore in one of our productions.
    full of secrets
    a diary which is full of secrets
    a diary which is full of secrets about the people at WEFL
    This is a diary which is full of secrets about the people at WEFL.
    This is a diary which is full of secrets about the people at WEFL.
N: Now you hear. . .
M: It's a dress Deborah Hall wore in one of our productions.
N: And you say. ..
F: It's a dress which Deborah Hall wore in one of our productions.
N: You hear. . .
M: This is a diary full of secrets about the people at WEFL.
N: And you say...
F: This is a diary which is full of secrets about the people at WEFL.
N: Ready? Here we go.
M: It's a dress Deborah Hall wore in one of our productions.
F: It's a dress which Deborah Hall wore in one of our productions.
M: This is a diary full of secrets about the people at WEFL.
F: This is a diary which is full of secrets about the people at WEFL.
M: I just packed up the brush I used on my first job.
F: I just packed up the brush which I used on my first job.
M: Are the old paycheck stubs under the dress important?
F: Are the old paycheck stubs which are under the dress important?
M: I'm not interested in the things you wrote about.
F: I'm not interested in the things which you wrote about.
M: The ugly vase on the table can be thrown away.
F: The ugly vase which is on the table can be thrown away.
M: Oh, look. This is the picture I took of Jake at the WEFL picnic last year.
F: Oh, look. This is the picture which I took of Jake at the WEFL picnic last year.
N: Rita is reading to Terry from her diary.
    Which word to you hear Rita use more often, who or whom?
    Listen carefully for the answer.
RITA: March 19th, 1962.
    This isn't a job which I'm going to have for a long time.
    I like the people whom I make up.
    I like the people whom I work with.
    But that isn't everything.
    I'd like a job where I can meet famous people.
    I want a job where there's lots of excitement.
    This job is fun for now.
    But I don't know who I'm going to be when I grow up.
N: OK. Which word did Rita use more often, who or whom?
F: Whom.
N: Now listen and repeat.
F: whom I work with
    I like the people whom I work with.
    I like the people whom I work with.
    who I'm going to be
    who I'm going to be when I grow up
    I don't know who I'm going to be when I grow up.
    I don't know who I'm going to be when I grow up.
N: Let's practice who and whom.
    In the following exercise,
    use only whom when it's the object and,
    of course, only who when it's the subject.
    You hear. . .
M: I like the people. . . I work with.
N: And you say. . .
F: I like the people whom I work with.
N: You hear. . .
M: I don't know. . . I'm going to be when I grow up.
N: And you say. . .

183

F: I don't know who I'm going to be when I grow up.
N: Ready? Let's go.
M: I like the people . . . I work with.
F: I like the people whom I work with.
M: I don't know. . . I'm going to be when I grow up.
F: I don't know who I'm going to be when I grow up.
M: It's not anyone. . . You should be jealous of.
F: It's not anyone whom you should be jealous of.
M: If I did that, there are some people . . . would kill me.
F: If I did that, there are some people who would kill me.
M: I'm not the kind of person . . . is normally speechless.
F: I'm not the kind of person who is normally speechless.
M: They don't know. . . the book was written by.
F: They don't know whom the book was written by.
M: This ugly vase comes from a man I haven't seen for years.
F: This ugly vase comes from a man whom I haven't seen for years.
N: Rita runs into Mike in the editing room.
    What is she carrying with her?
    Listen for the answer.
RITA: Oh, Mike.
  Terry told me everything.
    I'm so happy.
MIKE: You mean the tape he made for you.
RITA: Yes. Isn't it wonderful?
    Here it is.
    I knew all the time he didn't have anything to do with WEFL's technical problems.
    Well. . . maybe for a second,
    I had some doubts.
MIKE: Don't feel bad.
    Someone was trying to sabotage the station.
    It could have been Terry.
    There was the glove, remember.
RITA: Yes, yes. I know all about the glove.
    But it could never have been Terry.
    It couldn't have been anyone as sweet as Terry.
    He just likes to save things . . . like me.
    He's such a great guy, isn't he, Mike?
MIKE: I guess he's got to be.
    Give me that tape and we'll have a look.
RITA:  Oh, not yet, Mike.
    I want to watch it with Terry.
N: Well, what is Rita carrying with her when she goes to the editing room?
F: The tape that Terry gave her.
N: Now listen and repeat.
F: He told me everything.
    He told me everything.
    WEFL's technical problems
    He didn't have anything to do with WEFL's technical problems.
    He didn't have anything to do with WEFL's technical problems.
N: Now you hear. . .
M: He told me nothing.
N: I say, "Everything."
    And you say.. .
F: He told me everything.
N: You hear. . .
M: He had something to do with WEFL's technical problems.
N: I say, "Anything."
    And you say.. .
F: He didn't have anything to do with WEFL's technical problems.
N: All right. Let's begin.
M: He told me nothing.
N: Everything.
F: He told me everything.
M: He had something to do with WEFL's technical problems.
N: Anything.
F: He didn't have anything to do with WEFL's technical problems.
M: No one was trying to sabotage the station.
N: Someone.
F: Someone was trying to sabotage the station.
M: It could have been someone we know.
N: Anyone.
F: It couldn't have been anyone we know.
M: He said something about the tape.
N: Nothing.
F: He said nothing about the tape.
M: I'm sure he said something about the tape.
N: Anything.
F: I'm sure he didn't say anything about the tape.
N: This is the end of Lesson Eight.

12.9

BOOK TWELVE, LESSON NINE

N: Welcome to Lesson Nine.
    Terry and Rita are watching the tape that Terry made for her.
    Who do you think has probably known Rita the longest?
    Listen carefully for the answer.
TERRY: Are you ready, Rita?
RITA: I guess so.
TERRY: Let me rewind the tape. . .
    OK. Here we go.
    First Mike.. .
MIKE: Nineteen sixty was the year that I first met Rita.
    She was young and pretty and full of life.
    I had never met anyone who was so enthusiastic about everything.
TERRY: Now here's Chris Bloom.
CHRIS: I was introduced to Rita by a friend who knew her from a cooking class.
    Even though she was someone who was closer to my mother's age than mine (sorry, Rita),
    I knew immediately that we would be good friends.
RITA: Oh, Chris. How sweet.
TERRY: Now Steven.
STEVEN: Rita is the kind of person who gives you everything she's got. . .
    I remember when I first met her I thought,
    "Here's someone who knows what's she's doing."
    She was the kind of makeup person who could handle the toughest problems.
RITA: Please, please, Terry.
    Stop the tape.
    I-I can't take any more.
N: OK. Who do you think has probably known Rita the longest?
F: Mike.
N: Now listen and repeat.
M: the year that I first met Rita
    Nineteen sixty was the year that I first met Rita.
F: closer to my mother's age
    closer to my mother's age than mine
    She was someone who was closer to my mother's age than mine.
    She was someone who was closer to my mother's age than mine.
N: Now you hear. . .
F: I first met Rita in nineteen sixty.
N: And you say. . .
M: Nineteen sixty was the year that I first met Rita.
N: You hear. . .
M: She was closer to my mother's age than mine.
N: And you say. . .
F: She was someone who was closer to my mother's age than mine.
N: All right. Let's begin.
F: I first met Rita in nineteen sixty.
M: Nineteen sixty was the year that I first met Rita.
M: She was closer to my mother's age than mine.
F: She was someone who was closer to my mother's age than mine.
F: We have next Thursday off.
M: Next Thursday is the day that we have off.
M: She knows what she's doing.
F: She's someone who knows what she's doing.
F: Jake cared a lot about how he looked in the beginning.
M: In the beginning, Jake was someone who cared a lot about how he looked.
M: Rita loves everyone at WEFL.
F: Rita is someone who loves everyone at WEFL.
N: Now let's listen to the last part of the tape that Terry made for Rita.
    You will hear a lot of adjectives describing Rita.
    While you're listening,
    count how many different adjectives you hear
    . .. Don't count the same adjective twice.
    OK, now listen and count.
STEVEN: One word that says who Rita is?
    Oh, that's hard.
    Let's see. . .
    dependable.
CHRIS: Insightful.
MIKE: Talented.
JAKE: There isn't just one word that describes Rita.
    She's creative, kind, honest, professional, intelligent, and she's fun.
    I guess that's it.
    If I had to say only one word about Rita,
    I would say that she's someone who is fun.
    She's fun.
    That's who Rita is.
    She's a fun person.
N: All right, how many different adjectives describing Rita did you hear?
F: If you said "Nine,"
    give yourself a pat on the back.
    Nine is the right answer.
N: Now let's listen again to the last part of Terry's tape.
    This time I'm going to ask you what the adjectives were that you heard.
    Here we go.
STEVEN: One word that says who Rita is?
    Oh, that's hard.
    Let's see. . .
    Dependable.
CHRIS: Insightful.
MIKE: Talented.
JAKE: There isn't just one word that describes Rita.
    She's creative, kind, honest, professional, intelligent, and she's fun.
    I guess that's it.
    If I had to say only one word about Rita,
    I would say that she's someone who is fun.
    She's fun.
    That's who Rita is.
    She's a fun person.
N: OK. Now I say, "Did anyone say 'talented'?"
    And you say . . .
F: Yes. Someone said "talented."
N: I say, "How about 'terrible'?"
    And you say. . .
F: No. No one said "terrible."
N: Ready? Let's begin.
    Did anyone say "talented"?
F: Yes. Someone said "talented."
N: How about "terrible"?
F: No. No one said "terrible."
N: Insightful?
F: Yes. Someone said "insightful."
N: How about "kind"?
    Did anyone say "kind"?
F: Yes. Someone said "kind."
N: Did anyone say "sexy"?
F: No. No one said "sexy."
N: Dishonest?
F: No. No one said "dishonest."
N: How about "intelligent"?
F: Yes. Someone said "intelligent."
N: Did anyone say "funny"?
F: No. No one said "funny."
N: How about "fun"?
    Did anyone say "fun"?
F: Yes. Someone said "fun."
N: Chris and Ray are enjoying a quiet dinner together at a romantic restaurant near the beach club.
    They're celebrating his success at solving the mystery at WEFL.
    Listen carefully to what Chris is eating.
RAY: I couldn't have done it alone,  you know.

186
   
CHRIS: What's that, Ray?
RAY: I mean, I couldn't have wrapped up the case so quickly without the help of people like Mike and Terry and mostly you.
CHRIS: Oh, come on.
    What about Steven and Jake?
RAY: And Steven, of course.
    Are you enjoying the broiled shrimp?
CHRIS: Yes. It's terrific.
    This is a restaurant where the seafood is really excellent.
    You know, it's not the first time I've been here, Ray.
    This is where I used to work before I got the job at WEFL.
    Not here in the restaurant,
    but over there at the beach club.
    Do you see where the sign is that says Sailing Lessons?
    Over there,
    by the dock.
    That's the place where I taught sailing.
RAY: Really. I didn't know you taught sailing.
CHRIS: Vh-huh. There wasn't much excitement.
    But I was happy.
    I felt great and looked terrific too.
    Tan, healthy. . .
RAY: I bet you did . . .
CHRIS: What?
RAY: Look terrific.
    Tan, healthy, beautiful . . .
CHRIS: Ray? Would you like to go sailing with me sometime?
    Just the two of us.
    I know a little beach where we can swim.
    I need a break after all this business at WEFL.
RAY: Sure. How about tomorrow?
CHRIS: No. things are still up in the air.
    I'm really concerned about my future at the station.
    I'm the kind of person who needs security.
    The job of assistant is fun,
    but let's face it,
    I need a position where I can feel secure.
    You understand,
    don't you, Ray?
    First, I want to know exactly where I stand.
    Then I'll be able to relax with you.
    Anyway, Steven promised he'd decide at the end of the week.
    Are you free next Sunday?
RAY: For you, Chris,
    I'm always free.
N: OK. What is Chris eating?
F: Broiled shrimp.
N: Now listen and repeat.
F: I taught sailing
    That's the place where I taught sailing.
    That's the place where I taught sailing.
    I used to eat lunch
    This is the restaurant where I used to eat lunch.
    This is the restaurant where I used to eat lunch.
N: Now you hear. . .
M: I taught sailing at that place.
N: And you say. . .
F: That's the place where I taught sailing.
N: You hear. . .
M: I used to eat lunch at this restaurant.
N: And you say. . .
F: This is the restaurant where I used to eat lunch.
N: All right. Let's begin.
M: I taught sailing at that place.
F: That's the place where I taught sailing.
M: I used to eat lunch at this restaurant.
F: This is the restaurant where I used to eat lunch.
M: The seafood is really excellent at this restaurant.
F: This is a restaurant where the seafood is really excellent.
M: I used to work at that beach club.
F: That's the beach club where I used to work.
M: I spent most of my time on that dock.
F: That's the dock where I spent most of my time.
M: We'll be able to really relax on that beach.
F: That's the beach where we'll be able to really relax.
N: This is the end of Lesson Nine.

12.10

BOOK TWELVE, LESSON TEN

N: Welcome to Lesson Ten.
    For this lesson,
    you'll need a pencil and a piece of paper.
    Listen to this conversation.
    When you hear a passive construction,
    like was made or are required,
    write it down.
    There will be a pause for you to do this.
    Ready? Let's begin.
MI: Good evening, sir.
M2: Good evening.
      My wife and I are here for dinner.
MI: Do you have a reservation?
M2: Yes. A reservation was made in my name this morning.
MI: And what is the name?
M2: Johnson.
MI: Johnson. . . Johnson.
      Yes, here it is.
      But I'm sorry, sir. . .
M2:What's the matter?
MI: Ties are required for all gentlemen in the restaurant.
      And ladies in shorts are not allowed inside.
M2: Well, if that's how it is in your restaurant,
      we'll go somewhere else.
      Humph! We've never been told our clothes aren't good enough for a restaurant before!
N: How many passive constructions did you write down?
    There were four you should have written.
    They were was made,
    are required,
    are not allowed,
    and been told.
    Now listen and repeat.
M: A reservation was made in my name this morning.
    A reservation was made in my name this morning.
F: Ties are required for all gentlemen in the restaurant.
    Ties are required for all gentlemen in the restaurant.
M: And ladies in shorts are not allowed inside.
    And ladies in shorts are not allowed inside.
F: We've never been told our clothes aren't good enough before!
    We've never been told our clothes aren't good enough before!
N: Now you're going to hear a sentence using an active voice construction in the present or past tense.
    Change the sentence using a passive voice construction instead.
    For example, you hear. . .
F: We require ties for all gentlemen in the restaurant.
N: And you say. . .
M: Ties are required for all gentlemen in the restaurant.
N: Or you hear. . .

187

F: We don't allow ladies in shorts inside.
N: And you say. . .
M: Ladies in shorts are not allowed inside.
N: All right. Let's begin.
F: We require ties for all gentlemen in the restaurant.
M: Ties are required for all gentlemen in the restaurant.
F: We don't allow ladies in shorts inside.
M: Ladies in shorts are not allowed inside.
F: We require reservations in this restaurant.
M: Reservations are required in this restaurant.
F: No one's ever told us our clothes aren't good enough before.
M: We've never been told our clothes aren't good enough before.     
F: People told us we could wear whatever we wanted to.
M: We were told we could wear whatever we wanted to.
F: They serve good food in other restaurants too.
M: Good food is served in other restaurants too.
N: Now listen to this part of a conversation between Mike and Steven.
    They're talking about going on a fishing trip.
    How many times do they use a modal auxiliary like should be made or can be made?
    Listen.
MIKE: My friend told me he made the reservation for six.
STEVEN: Maybe the reservation should be made in my name.
    And maybe it should be made for seven.
MIKE: That's a good idea.
    The reservation can be made in your name.
    They know you're the producer here,
    and we may get a better boat.
N: Now how many times did they use a modal auxiliary like should be made or can be made?
    If you said "Three times,"
    you're correct.
    Now listen and repeat.
M: should be made in my name
    maybe the reservation
    Maybe the reservation should be made in my name.
    Maybe the reservation should be made in my name.
F: should be made for seven
    and maybe it should be
    And maybe it should be made for seven.
    And maybe it should be made for seven.
M: can be made in my name
    the reservation can be
    The reservation can be made in my name.
    The reservation can be made in my name.
N: Now you're going to hear a sentence that uses a modal auxiliary in an active construction.
    Change the sentence to a passive construction.
    For example, you hear.. .
M: Someone should make the reservation in my name.
N: And you say. . . 
F: The reservation should be made in my name.
N: Or you hear. . .
M: Someone can make the reservation for seven.
N: And you say. . .
F: The reservation can be made for seven.
N: OK. Let's begin.
M: Someone should make the reservation in my name.
F: The reservation should be made in my name.
M: Someone can make the reservation for seven.
F: The reservation can be made for seven.
M: Someone has to reedit the story.
F: The story has to be reedited.
M: They may air the report on the Nature Center tonight.
F: The report on the Nature Center may be aired tonight.
M: They could ruin the farm if they build on that land.
F: The farm could be ruined if they build on that land.
M: Someone must tell the truth about what's going on.
F: The truth must be told about what's going on.
N: Now you're going to do the opposite.
    You're going to hear a sentence that uses a passive construction and an agent.
    The agent tells you who did the action.
    Repeat the sentence,
    using the agent as the subject to change the passive construction to an active one.
    For example, you hear . . .
F: The water will be polluted by the project.
N: And you say. . .
M: The project will pollute the water.
N: Or you hear. . .
M: The show may be aired by WEFL.
N: And you say. . .
F: WEFL may air the show.
N: All right. Let's begin.
M: The water will be polluted by the project.
F: The project will pollute the water.
M: The show may be aired by WEFL.
F: WEFL may air the show.
M: The farm was established by the Lopez family.
F: The Lopez family established the farm.
M: The entire story must be reedited by Jake and Chris.
F: Jake and Chris must reedit the entire story.
M: The construction has to be approved by the city.
F: The city has to approve the construction.
M: The farm might be sold again by the owner.
F: The owner might sell the farm again.
N: Now take your pencil and a piece of paper.
    You're going to hear two people who will either ask you a question,
    give you an order,
    or make a statement.
    Whatever they say,
    write down exactly what you hear.
    There will be a pause after each speaker finishes for you to write.
    Ready? Let's begin.
M: What do I need to write a report?
F: I'm going on Mike's boat.
M: Give Steven your fishing rod!
F: What will the deadline for my article be?
M: I need you to reedit a report.
F: Help me find the deed to my father's property.
N: Now listen as the sentences and questions are read one more time.
       
188

    Check your paper and correct any mistakes you find.
    OK? Listen.
M: What do I need to write a report?
F: I'm going on Mike's boat.
M: Give Steven your fishing rod!
F: What will the deadline for my article be?
M: I need you to reedit a report.
F: Help me find the deed to my father's property.
N: Now, using your paper,
    restate each question, command, or statement using indirect speech.
    For example, you hear. . .
F: What did the man ask you?
N: And you say. . .
M: He asked me what he needed to write a report.
N: Or you hear. . .
M: What did the woman tell you?
N: And you say. . .
F: She told me she was going on Mike's boat.
N: All right? Let's begin.
F: What did the man ask you?
M: He asked me what he needed to write a report.
M: What did the woman tell you?
F: She told me she was going on Mike's boat.
F: What did the man tell you to do?
M: He told me to give Steven my fishing rod.
M: What did the woman ask you?
F: She asked me what the deadline for her article would be.
F: What did the man tell you?
M: He told me he needed me to reedit a report.
M: What did the woman ask you to do?
F: She asked me to help her find the deed to her father's property.
N: And now I'm telling you that it's time to go on to the next lesson.
    This is the end of Lesson Ten.

12.11

BOOK TWELVE, LESSON ELEVEN

N: Welcome to Lesson Eleven.
    Listen to part of a conversation between Chris and Rita.
    They're talking about the things that Rita will have time for,
    now that she's retiring.
    Count how many times they use some form of a causative,
    such as have something done or get something done.
    Ready? Listen.
CHRIS: Look at those ladies in that beauty parlor.
    Can you imagine sitting there getting your hair cut and having your nails done?
    Who has the time.
    Who has the patience?
RITA: I do. At least now that I'm retiring,
    I have the time.
    I tell you, I'm going to have my hair cut once a month.
    I'm going to have my nails manicured once a week.
    I'm going to get my hair done once a week.
N: Now how many times did they use some form of a causative?
    Five times.
    Now listen and repeat.
M: having your nails done
    getting your hair cut
    can you imagine sitting there
    Can you imagine sitting there getting your hair cut and having your nails done?
    Can you imagine sitting there getting your hair cut and having your nails done?
F: have my hair cut once a month
    I'm going to have
    I'm going to have my hair cut once a month.
    I'm going to have my hair cut once a month.
    my nails manicured once a week
    I'm going to have
    I'm going to have my nails manicured once a week.
    I'm going to have my nails manicured once a week.
    my hair done once a week
    I'm going to get
    I'm going to get my hair done once a week.
    I'm going to get my hair done once a week.
N: Now you're going to hear some cue words which you're going to use to make a sentence containing a causative with have.
    For example, you hear. . .
M: Those women. . . hair cut. . .once a week.
N: And you say. . .
F: Those women have their hair cut once a week.
N: Or you hear...
M: Rita... nails done. . . last week.
N: And you say. . .
F: Rita had her nails done last week.
N: All right? Let's begin.
M: Those women. . . hair cut. . . once a week.
F: Those women have their hair cut once a week. .
M: Rita... nails done. . . last week.
F: Rita had her nails done last week.
M: Chris... going to. . . nails manicured. . . next week.
F: Chris is going to have her nails manicured next week.
M: Mike... hair cut. . . two weeks ago.
F: Mike had his hair cut two weeks ago.
M: Chris and Rita. . . nails done... once every ...six months.
F: Chris and Rita have their nails done once every six months.
M: Mike and Steven. . . never. . . nails manicured . . . in their lives.
F: Mike and Steven have never had their nails manicured in their lives.
N: Now listen to Rita again as she talks about her plans for the future.
    How many different things does she say she's going to have done?
    I another words,
    how many different causatives does she use?
    Listen.
RITA: I have it all planned.
    Every Monday, I'm going to get my back massaged.
    On Tuesdays, I'm going to have my house cleaned.
    On Wednesdays, I'm going to have my nails done.
    On Thursdays, I'm going to get my hair done,
    and on Fridays, I'm going to relax.
N: Now how many causatives did she use?
    Yes. She used five causatives.
    Now listen and repeat.
M: get my back massaged
    Every Monday, I'm going to get my back massaged.
    Every Monday, I'm going to get my back massaged.
    get my house cleaned
    On Tuesdays, I'm going to get my house cleaned.
    On Tuesdays, I'm going to get my house cleaned.

189

F: have my nails done
    On Wednesdays, I'm going to have my nails done.
    On Wednesdays, I'm going to have my nails done.
    get my hair done
    On Thursdays, I'm going to get my hair done.
    On Thursdays, I'm going to get my hair done.
N: Now you're going to hear someone talking about a problem.
    Then there will be a question for you to answer using should and a causative with have.
    For example, you hear. . .
F: My daughter's hair is too long.
    What do you think I should do?
    Should I cut it myself?
N: And you say. . .
M: You should have it cut.
N: Or you hear. . .
F: I have a sore back.
    I think I need a massage.
    What do you think I should do?
N: And you say. . .
M: You should have it massaged.
N: OK? Let's begin.
F: My daughter's hair is too long.
    What do you think I should do?
    Should I cut it myself?
M: You should have it cut.
F: I have a sore back.
    I think I need a massage.
    What do you think I should do?
M: You should have it massaged.
F: My nails look awful,
    but I don't want to manicure them myself.
    What should I do?
M: You should have them manicured.
F: I'm not seeing very clearly.
    I think I need my eyes examined.
    What do you advise me to do?
M: You should have them examined.
F: I haven't been to a dentist in over two years.
    I think my teeth might need to be checked.
    What should I do?
M: You should have them checked.
F: This dress is dirty.
    But I want to wear it to a party next week.
    Do you think I should try to dry-clean it myself?
M: You should have it dry-cleaned.
N:  Now listen to this conversation.
    Tom is just returning home from work.
    His mother is waiting impatiently for him to arrive.
    She wants to know what happened when he asked his boss for a raise.
    She asks him a lot of questions. How many different WH- question words does she use:
    words like who, what, and why?
    Listen and count the different ones she uses.
M: Hi, Mom. I'm home.
F: Oh, Tom. I've been thinking about you all day.
    What did the boss say about a raise?
M: Well, he was on his way out,
    and he took me with him.
F: Took you with him?
    Where did you go?
M: To his favorite restaurant.
    With another person.
F: Another person.
    Who was the other person?
    You're being so mysterious about all this.
M: The other person was his business partner.
    They were going to discuss the company's new office. 
    And guess what!
    During lunch, they told me they wanted to make me the new manager.
    With a raise, of course!
F: That's wonderful, Tom!
    When do you start?
M: Next month.
F: How nice.
    But Tom, why did you make me ask you all those questions?
    You could have told me right away.
M: And ruin the suspense?
    It's more fun when you have to ask me all those questions.
N: Now how many different WH- questions did his mother ask Tom?
    She asked him five different WH-questions.
    Let's practice them.
    Listen and repeat.
F: What did the boss say about a raise?
    What did the boss say about a raise?
    Where did you go?
    Where did you go?
    Who was the other person?
    Who was the other person?
    When do you start?
    When do you start?
    Why did you make me ask you all those questions?
    Why did you make me ask you all those questions?
N: Now you're going to ask a WH-question, based on a statement you hear. 
    For example, you hear. . .
M: My boss told me something.
N: And you say . . .
F: What did he tell you?
N: Or you hear. . .
M: Then we went to an interesting place.
N: And you say. . .
F: Where did you go?
N: OK? Let's begin.
M: My boss told me something.
F: What did he tell you?
M: He told me he wanted to take me to lunch.
    Then we went to an interesting place.
F: Where did you go?
M: We went to a Chinese restaurant.
    During lunch,
    he got up several times.
F: Why did he get up?
M: He had to call someone.
F: Who did he have to call?
M: He had to call his boss.
    But after the last call,
    he came back to the table and gave me something very nice.
F: What did he give you?
M: He gave me a promotion.
    I'm going to be the new store manager.
    I start as soon as the old manager retires.
F: When does the old manager retire?
M: He retires next month.
N: Well, I think that's enough work for this lesson.
    This is the end of Lesson Eleven.

  12.12

  BOOK TWELVE,LESSON TWELVE

N: This is Lesson Twelve.
    Listen to part of the conversation during and after a broadcast at WEFL.
    First, you'll hear Jake finishing his news report.
    Then you'll hear Steven and Jake talking about the report and the good things that will happen because of it.
    Do they use more active-voice verbs or more passive-voice verbs?
    Listen.
JAKE: . . . and so it was decided earlier today.
    No apartment buildings will be built on the land at the Nature Center.
    Thomas Ames's project was not approved.
    And that's our news for tonight.
    I'm Jake Seltzer . . .
STEVEN: Great job.
JAKE: Yeah, it feels good.
    Once in a while you get to do a story that means something.
    Because of our story,
    the water and land at the Nature Center won't be polluted.
    The animals at the farm won't be killed . . .
STEVEN: And the station wasn't sabotaged again.
N: Well, did they use more active voice verbs or more passive-voice verbs?
    If you said "passive-voice verbs,"
    you were right.
    Now listen and repeat.
M: It was decided earlier today.
    It was decided earlier today.
    on the land at the Nature Center
    no apartment buildings will be built
    No apartment buildings will be built on the land at the Nature Center.
    No apartment buildings will be built on the land at the Nature Center.
F: Thomas Ames's project was not approved.
    Thomas Ames's project was not approved.
    The water and land at the Nature Center won't be polluted.
    The water and land at the Nature Center won't be polluted.
    The animals at the farm won't be killed.
    The animals at the farm won't be killed.
M: And the station wasn't sabotaged again.
    And the station wasn't sabotaged again.
N: Now you're going to hear a sentence that is either in the active voice or in the passive voice.
    Repeat the sentence,
    changing it to the opposite form.
    For example, you hear. . .
F: The factory won't pollute the water.
N: And you say. . .
M: The water won't be polluted by the factory.
N: Or you hear. . .
F: The building project wasn't approved by the town.
N: And you say. . .
M: The town didn't approve the building project.
N: All right, let's begin.
F: The factory won't pollute the water.
M: The water won't be polluted by the factory.
F: The building project wasn't approved by the town.
M: The town didn't approve the building project.
F: The animals weren't killed by the land owner.
M: The land owner didn't kill the animals.
F: Chris found the deed to the property.
M: The deed to the property was found by Chris.
F: Chris's discovery saved the Nature Center.
M: The Nature Center was saved by Chris's discovery.
F: The station wasn't sabotaged by Terry and Rita.
M: Terry and Rita didn't sabotage the station.
N: Now listen to part of the dialogue between Rita and Terry.
    During the conversation Rita tells Terry that he should have something examined.
    What is it? Listen.
RITA: Do you have a lot more work to do?
TERRY: I'll be done in a few minutes.
    Hey, you look beautiful.
RITA: Really? You should have your eyes examined.
TERRY: No, really. Your hair looks very pretty.
RITA: I had it done at the beauty parlor.
    Do you like it?
TERRY: Very much.
RITA: Good. Now do me a favor and take me to lunch.
N: What was it that Rita said Terry should have examined?
    His eyes.
    When we say. . .
RITA: You should have your eyes examined.
N: We don't always mean it in a serious way.
    Rita just means that she doesn't agree with Terry that she looks beautiful.
    However, sometimes when we think a person has something wrong with a part of the body,
    we do tell that person he or she should have that part of the body examined.
    Now you hear. . .
F: I'm having trouble reading.
    The letters don't appear very clear to me.   
N: And you say. . .
M: You should have your eyes examined.
N: Or you hear. . .
F: I don't seem to hear very well these days.
    Everything sounds far away.
N: And you say. . .
M: You should have your ears examined.
N: All right? Let's begin.
F: I'm having trouble reading.
    The letters don't appear very clear to me.   
M: You should have your eyes examined.
F: I don't seem to hear very well these days.
    Everything sounds far away.
M: You should have your ears examined.
F: I'm having trouble smelling things.
       
192

    I don't seem able to smell as well as I used to.
M: You should have your nose examined.
F: My arm is bothering me.
    Most of the time it doesn't hurt.
    But sometimes I get a pain when I move it.
M: You should have your arm examined.
F: There's a soreness every time I try to swallow.
    And my voice sounds lower than usual.
M: You should have your throat examined.
F: When I try to walk,
    I get this burning feeling and pains just below my ankles.
M: You should have your feet examined.
N: Now let's have a little spelling review,
    just to make sure you know how some parts of the body should be written.
    You'll hear a word,
    and then you give the correct spelling.
    OK? Let's begin.
M: Eyes.
F: E - Y - e - s.
M: Ears.
F: E - a - r - s.
M: Nose.
F: N - o - s - e.
M: Elbow.
F: E-I-b-o-w.
M: Throat.
F: T - h - r - o - a - t.
M: Feet.
F: F - e - e - t.
N: Now to end this lesson,
    let's listen to the end of the conversation between Rita and Terry.
    What is the expression that Rita uses to indicate that she is very hungry? 
    Listen.
TERRY: The show will be edited in a few minutes.
RITA: Please hurry up, Terry.
    I'm so hungry, I could eat a horse.
TERRY: So why go out?
    Why don't we have some food delivered?
RITA: Eat lunch here?
    Nothing ever changes.
    I'll never get out of this place.
N: Well, what was the expression that Rita used to indicate that she was very hungry?
    It was this one.. .
RITA: I'm so hungry, I could eat a horse.
N: Now you're going to hear some sentences,
    some of which use expressions you have studied.
    Some of the articles-a, an, or the-will be left out.
    Repeat the sentence putting in the missing article.
    For example, you hear.. .
M: The show will be edited in . . .few minutes.
N: And you say ...
F: The show will be edited in a few minutes.
N: Or you hear. . .
M: I'm so hungry, I could eat. . . .horse.
N: And you say. . .
F: I'm so hungry, I could eat a horse.
N: All right, let's begin.
M: The show will be edited in. . . few minutes.
F: The show will be edited in a few minutes.
M: I'm so hungry, I could eat. . . horse.
F: I'm so hungry, I could eat a horse.
M: He really got hot under. . . collar.
F: He really got hot under the collar.
M: A lot of things are up in . . . air right now.
F: A lot of things are up in the air right now.
M: He flew into. . . rage.
F: He flew into a rage.
M: Am I making. . . big mistake?
F: Am I making a big mistake?
M: I know this place like. . . back of my hand.
F: I know this place like the back of my hand.
M: Do me. . . favor and take me to lunch?
F: Do me a favor and take me to lunch?
M: To tell you. . . truth, I'm glad it's over.
F: To tell you the truth, I'm glad it's over.
N: And now that we've come to the end of our English course,
    tell the truth.
    Are you glad it's over?
    Well, to tell the truth,
    I'm glad it's over, in a way.
    There was a lot of hard work involved.
    But in another way,
    I'm sad it's over,  as well.
    We've come a long way
    together and learned a lot too.
    And I hope you agree with me that it was a valuable experience.
    This is the end of Lesson Twelve.

R12.1

  BOOK TWELVE, REVI EW ONE

N: Review One.
    For this lesson,   
    You’ll need a pencil and a piece of paper.
    Chris is taking with Terry about her future at WEFL.
    is Chris Worried about the quality of her work at WEFL ?
    Or is she worried about not working at WEFL in the future?
    Listen carefully for the answer.   
CHRIS: Well, I spoke to Steven but he can't make any promises.
    Everything's so up in the air at WEE.   
TERRY: Quit worrying, Chris-
    As soon as Detective Modine comes up with the answer to what's been going on around here,
    Steven will make up Ms mind.         
CHRIS: I hope so.
    It's terrible not knowing.
    I mean , I'm not  worried about working here.   
    I was, in the beginning.
    But my interviews have been 
    OK,I think, Jake sad the weren't bad.
    I'm worried  about not working here,
    if you know what I mean.
    I like it here.
    I'm concerned that there might not be a spot for me at the station in the future.   
TERRY: Yeah I know, I know.
    It's not so terrible knowing where you stand now.
    That's easy to deal with.
    It's terrible not knowing where you stand in the future.
CHRIS: Yes. that's it ...I think.
N: Is Chris worried about the quality of her work at WEFL ?
    Or is she worried about not working at WEFL in the future?   
F: She's worried about not working at WEFL in the future.     
N: Now listen and repeat-     
F: working at WEFL     
    I'm not Worried about working at WEFL
    I'm not worried about working at WEFL
    not working at WEFL     
    I'm worried about not working at WEFL     
    I'm worried about not working at WEFL.     
N: Now you hear ...     
M: Are you worried about working at WEFL?   
N: And you say ...     
F: No. I'm not worried about working at WEFL;
    I'm worried about not working at WEFL.     
N: You hear ...     
M: Are you concerned about making enough money?     
N: And you say...     
F: No. I'm not concerned about making enough money;
    I'm concerned about not making enough money.     
N: OK? Let’s begin.     
M: Are you worried about working at WEFL ?     
F: No. I'm not worried about working at WEFL;
    I'm worried about not working at WFFL.     
M: Are you concerned about making enough money?     
F: No. I'm not concerned about making enough money;
    I’m concerned about not making enough money.     
M: Are you upset about spending a lot of time with your family?     
F: No. I'm not upset about spending a lot of time with my family. I'm upset about not spending a lot of time with my  family.     
M: Are you surprised about Rita and Terry getting married?     
F: No. I'm not surprised about Rita  and Terry getting married; I'm surprised about Rita and Terry not getting married.     
M: Are you excited about going to Work this morning?     
F: No. I'm not excited about going to work this morning; I'm excited about not going to work  this morning.     
                       
172

M: Are you concerned about finishing this exercise?
F: No. I'm not concerned about finishing this exercise; I'm concerned about not finishing this exercise.
M: Are you worried about learning English?   
F: No. I'm not worried about learning English; I'm worried about not learning English.
N: Now Rita and Terry are going through  her things at WEFL.
    Terry finds some old Photographs .
    Listen to the Conversation .
    What spot did Rita's father play?
    Listen carefully for the answer.
TEMY: Whose photographs are these?
RITA: They're mine.   
TERRY: Did you take them yourself?   
    They're very good.   
RITA: Let me have a look ...
    Oh, yes-That's my mother and sister at the beach.
    I took that one.
TERRY: Who's this?
RITA: That's my father in his baseball  uniform-
    I took that one in 1965.
    He looks so young, doesn’t he?
TERRY: And this one of the dog?   
    Whose dog is it?   
Rita: Oh, that's Tyke,
    our neighbor's dog.
    Look at that face-
    Isn't he handsome?   
TERRY: And who's this cute little baby?
RITA: Oh, my goodness! Don't look at that one, Terry.   
    That's me when I was nine months old.   
N: Well, what spot did Rita's father play?
F: Baseball.   
N: Now listen and repeat-
M: whose photographs
    Whose photographs are these?
    Whose photographs are these?
    Who's this?   
    Who's this?
N: Whose, as in "Whose photographs are these? "
    shows possession,
    and is spelled W-h-o -s -e.
    Who’s as in "Who’s this? "
    is a contraction for who is,
    and is spelled W-h -o apostrophe s.
    They are both pronounced the same:
    whose and who’s.
    Now you hear
M: Whose photographs are these?   
N: And you say...
F: Whose ...W-h-o-s-e.
N: You hear ...
M: Who's this?
N: And you say...
F: Who's ...W-h-o Apostrophe  s.
N: All right. Let's begin.
M: Whose photographs are these?   
F: Whose ...W-h-o-s-e.
M: Who's this?
F: Who's ...W-h-O apostrophe  s.   
M : Whose dog is this?
F: Whose ...W-h-o -s -e.
M: Who's this cute little baby?
F: Who's ...W-h-O apostrophe s.   
M: Do you how who's coming to the baseball game?   
F: Who's ...W-h-o apostrophe  s.   
M: Can you tell me whose car you're going in?
F: Whose ...W-h-o-s-e
M: Whose is this ticket?
F: Whose ...W-h-O-s-e.
N: Chris’s best friend, Brenda,
    lives in San Francisco.
    She's talking  on the phone with another friend of theirs.
    She has just received Chris’s letter.
    Before you listen to what she says,
    here are some questions for you to keep in mind.
    Take a piece of paper and a pencil and write down the important information.   
    Remember, you don't have to write out the whole question;
    just take notes. Each question will be read twice with pauses for you to write.
    Are you ready?   
    Here's Question One.
M :Is the person Brenda's talking to a man or a woman?
    Is the person Brenda's talking to a man or a woman?   
N: Question Two.   
M: What's Chris's last name?
    What's Chris’s  last name?
N: Question Three.
M: Has Brenda ever heard of Jake Seltzer?
    Has Brenda ever heard of Jake Seltzer?
N: Question Four.   
M: Has Lisa ever seen Jake Seltzer?
    Has Lisa ever seen Jake Seltzer?   
N: Question Five
M: How long has it been since Brenda was back East?
    How long has it been since Brenda was back East?     
N: Question Six.     
M: Has Brenda ever met Steven Winn?
    Has Brenda ever met Steven Winn?     
N: Question Seven.     
M: Is Chris planning a trip to San Francisco?
    Is Chris planning a trip to San Francisco?     
N: Question Eight.     
M: According to Lisa, who does Jake look like?
    According to Lisa, who does Jake look like?     
N: All right.
    Now listen carefully to the conversation and write down the important information you'll need to answer the questions.     
Brenda: Hi, Lisa. Guess what!
    I just got a letter from Chris in Stamford ...
    Yes, Chris Bloom.
    She's fine.
    Just a minute,
    let me get the letter.
    It's here somewhere     
    ...Ah, here it is.
    Well,     
    she's not teaching sailing anymore-
    She got a job at a TV station in Stamford as an assistant ...
    No. She just said assistant,
    but I think she means assistant reporter-
    She's been working with someone named Jake Seltzer.
    I think he's a reporter...
    Really?     
    He's famous?...
    Yeah, WEFL.
    That's right.
    I've never heard of him.
    But that doesn't mean much;
    I haven't been back East for five years ...
    Uh-huh, five years.
    Anyway, she's very excited about her new job.
    She's interested in becoming a reporter herself.
    She's already talked with the producer,
    a guy named Steven Winn...     
    Yeah. I don't know him either.
    She said she was very direct with him.
    Good old Chris...
    No. He praised her work,
    but he didn't make any promises.     
    He told her that he expected to know more towards the end of the week. ...
    No, she didn't say anything about coming to California.
 
173

    She's very busy with her work.
    I think she's really excited about this guy Jake Seltzer too.
    He's cute, huh?...
    Wow! You're kidding.
    Like Tom Cruise?
    Lucky Chris.
    Anyway, she really loves it there.
    I hope they find a Pennment spot for her.
    She's very concerned about her future ...
    I how that, Lisa.
    She shouldn't Worry about it.
    But you Mow Chris-
    If there's something to Worry about,
    she'll worry about it.
N: OK. Now try to answer the questions.
    Give shod answers.
    Question One. 
M: Is the person Brenda's talking to a man or a woman?
F: A woman. 
N: Question Two. 
M: What's Chris's last name? 
F: Bloom.
N: Question Three.
M: Has Brenda ever heard of Jake Seltzer?
F: No, she hasn't.
N: Question Four.   
M: Has Lisa ever seen Jake Seltzer?
F: Yes, she has.
N: Question Five.
M: How long has it been since Brenda was back East?
F: Five years. 
N: Question Six
M: Has Brenda ever met Steven Winn
F: No, she hasn't.
N: Question Seven.
M: Is Chris planning trop to San Francisco?
F: No, she isn't.
N: Question Eight.
M: According to Lisa, who does Jake look like?'
F: Tom Cruise.
N: This is the end of Review One.