Viewpoints 1 SB

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Burlington Books
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I Faces
page 5
A Face I ' l l Al ways
Forget
||ed CI gCO!e!
VULAULAKY
|e|Oa' !yad
aea|aCe
|aa' ve|o
CO0Oudad]eCI ve
GKAMMAK
|eeI S 0 e
|eeICO! uOu
-
ZDanger!
page 1 7
The Mi dni ght Vi si tor
\a< g IeeCe
cage|Ou Iua! O
AdeC!ve ull xe
-ed I -ing adeC!lve
|aI Sl 0' e
|aI COI uOu

|aI |e|leC!S 0 e
1-
J Go for It!
page 29
4Landmarks
page 41
Oscar Pi stori us
' deI Iy g!e
0a dea
Dubai -Architectural
Wonderl and
` SCa glO| eC l C
SOI ad aC eve0eI
Veb CO ' OCa! O
d O0
Hu ' d g
want+ I I ve
want+ Ob]eCI l I ve
H !lnI A0e|lCa cg'
|ee!|e|IeCIS 0' t
|aIS 0 e
'uIue S 0 e
be going to
'u!ue CO! uOu
'uIue |e|leCIS 0 e
lO0a! O
1-
.
bSpeak Out!
page 53
Fl expetz
Gue g!e
0ea g OlvOd
b
Twi ster Si sters
Extreme Weather UdeIad g
page 65
7Travel
COeCIO|
Antarcti ca
UdeIad g eIeeCe
\ d le
|el xe
d O0
I
\ea!ne|
Ge|ud ad l l! ve
NOuCO' OCa! O
1|ave'
NOuull xe
He' a! ve C' aue
\Oda'
\Oda' eleC!
' |!, eCOdad! |
_ ' COd I Oa'
1 0eC' aue
page 77
.
dHonesty
The Eyes Are
Watchi ng You
Au!O| u|Oe
page 89
OeIy 1 1e |a ve
Ad]eC! ve + |eO ! O 1neCaua! ve
d O0
9That's
Entertainment!
page 101
Appendices
Space Cadets
Hev evOl |ead g
!a!eg e
Gr ammar Appendi x
page 113
Pronunci ati on Practi ce
page 131
cIe!a 0eI HeO|!ed eeCn
used to I be used to I HeO|! gve|o
get used to
|aa veb
Gl ossary
page 134
Phrasal Verbs
page 142
Preposi ti ons
page 143
I rregul ar Verbs
page 144
L
.
K
JOUS
' e
S 0 e
)US
0 e
J !n |d
L!51IN!NG 5!IAK!NG
A 'eC!J|e .eC| o g eO e
A COve|a! O ! 1a < gaoOJ!a C!J|e
A |ad O !e|v ev cxCnag g lO|0a! O
J ded!OJ| CO0a| g C!J|e

A COve|a! O cx|e gO O

Nev |eO|! !e|v ev g
eCO|ded 0eage HJy ga !|a ! C<e!
WK!1!NG
A deC| ! O OIa e|O
'JC!Ja! O
A a||a! ve
COeC!O|Ol
eqJeCead! 0e
ex|e O
A o Og|any
\O|d O|de|

A deC| ! OOl a aCe
AdeC! ve
A lO| adaga !eay
COeC!O|Ol
add ! OadCO!|a!
1 A ev |eO|!
COeC!O|OI
CaJead |eJ' !
A IO|0a' e0a
eIe|eC g
bKb

A Ca! OlO|0ad
!e|v ev
U ga d C! Oa|y
HOO< g! C<e!O' e
' !e|e! |eea|Cn
G v ga |ee!a! O
U gg|anadCna|!
HOO< ga |OO0
._L_-
A |ad O !e|v ev
' 0|evev
Wri ti ng Gui de
:age 146
Ag|ee gad
d ag|ee g
A O Oeay
COeC!O|OI J|Oe
ev ev OlCOeC!O|
Ude|!ad g adve|!
_L .......... '--
\a< g ' a A l ' 0 |ev ev
\| ! g |ev ev
U ge!e|!a 0e!
gJ de
I
~
f
Faces
|nii 0I]cti\cs
Personality and Appe<rance
Present Simple
Present Continuous
* Listening to a Lecture
*Describing People
Writing a Description of a Person
* Life Skills: Application Forms
and Interviews
How good are you at rememberi ng faces? Do the test bel ow and fi nd out.
a .OO<a!!e xIaCe g|OJAlO| J0eCOd.
b. NOv' OO<a!!eex! xlaCe g|OJ8 lOJ0eCOd
C 1J !O age ! G0. cO!eex! a! Ol!e!e!adCeC<yOuave.
GROUP B
Have you ever met anybody whose face you won't forget?
Why do you thi nk you won't forget thi s person?
WEB EXTRA
Two of the faces on th is page are popular B ritish celebrities.
f ind out more about them at : www.burlingtonbooks.es/viewpoints I
6
REAING
1 Word Check: The fol l owi ng words appear
in the text. Make sure you know what they
mean.
l' aI~a!e c' d :q0ea<y coe
PREDICTING CONTENT
Before readi ng a text, l ook at the pi ctures and
the tit l e. Thi s wi l l hel p you predict the content of
the text.
2. Look at the titl e and the picture. What do you
thi nk the text i s about?
3. Read the text and check whether your
prediction was correct.
4. Are the fol l owi ng statements true or fal se?
Fi nd evidence i n the text to support your
answers.
Tealo ow g!e w !ewa:a :!age
2 . Awa: l |:!d ago:ed Ie 0:
J. eo eca geIA l|o~ !e ae!:.
4. So~eA :0lle|e:doIgoo0I0c.
5. Tew| Ie|ele|:Io<eee| cod I oa :ec|e!
G. Sc e! :I: ave oId :coveeda c0|eloA.
5. Choose the best answer accordi ng to the text.
! ' ! :!ex!, Iew| IewaI: a y!o . . .
a !e eade:Ie:!oyol e' le
c lo| |eade: aco0!A
c. g ve deIa ' :aco0I!e'a!e:I|e:eaco A
d. e eade:d ago:ewe!eIeyave A
2 . We!ew !e|ea :ed:eadA, :ewa: . . . .
a. g' adIa!:ewa: oIa' oe
c 0:eI!aI!eewa::oeI gw:og
w ! e|
c agyIa! ooeadeve|Io' d e
d ayIa!e| cod I owa:oI
~o|e:e| o0:
6. Answer the questi ons i n your own words.
owd d!ew| Ie|<ow!a!:ead A`
2. WaIc 0e:do A :0llee:J:eIo|ecog :e
eo' e`
J. Wy~ g!a c0: e:: ~eeI g ced ll c0 !lo|
!ew !e`
4. WaI e:: odoA:0lle|e|: ~a<e o
o!e:`
5. Wy do A:0llee|::o~e! e:eIedIey
ave IgoI!e |g a::e:`
7. Fi nd words or phrases i n the text that mean:
! ala d,aag|a ! )
2 . add ! oIo,aaga 2)
J. del Ie' y,a|ag|a J)
4. a<e !o:: c' elor,a|aga4)
5. !ye:, < d:,aaga G)
Have you ever been in a situation where
you di dn't recogni se someone or coul dn't
remember thei r name? How di d you feel ?
What di d you do?
t.
P |3Ce | A|wJy$ |Org0I

A few years ago, a man began cal l i ng me from the other si de of the street. I i gnored hi m,
but he ran after me, shouti ng, "Hey! " Fr i ghtened, I shouted back, "What' s the probl em?"
When he repl i ed, hi s Ameri can accent remi nded me: he was my fl atmate and I had been
l i vi ng wi th hi m for three years.
5
Thi s i nci dent, al ong wi th several others, made me real i se that I am face-bl i nd. I have a
condi ti on cal l ed prosopagnosi a, or PA. I ' m not real l y bl i nd. When I ' m l ooki ng at a face, I can
descr i be it perfectl y. it's just that when I l ook away, I don' t remember the detai l s.
PA was fi rst documented i n the 1940s and was bel i eved to be caused by brai n injury or a
stroke. However, in the 1990s, reports were publ i shed of parents and chi l dren who were
10 sufferi ng from the di sorder, but had no injury. Thi s cl earl y showed that some peopl e are
born wi th the probl em, and that it can be heredi tary. Neurol ogi sts have now proved that i t
i s caused by a defect i n a si ngl e gene .
When I tel l my fri ends about my condi ti on, they say, "But you just recogni sed me! " "Yes," I
answer, "because you sti l l have l ong orange hai r, a squeaky voi ce and a ri ng through your
15 eyebrow." i t's these cl ues that al l ow prosopagnosti cs to functi on i n soci ety. But what i f
you're at a busi ness meeti ng where al l the men are weari ng suits and have short hai r?
*
In short, l i fe i sn' t easy for PA sufferers. We' re seen as snobbi sh and

strange because we don' t say hel l o to peopl e we' re supposed to
know. Somehow, "Sorry, I di dn' t recogni se you" seems a poor
20 excuse for l ooki ng strai ght through someone - especi al l y when
that someone i s your boyfri end !
So how do we cope? Wel l , we use al l sorts of strategi es. Some of
us just don' t soci al i se much. Other opti ons i ncl ude smi l i ng at
everyone just i n case they are an acquai ntance, or pretendi ng
25 we haven' t got our gl asses.
Al l i n al l , i t' s a rel i ef to know that my probl em has a name
and that l ots of other peopl e share i t - i n fact, i t' s bel i eved
that one person i n 50 suffers from PA. i t' s al so easi er to
tel l peopl e about i t than to l et them thi nk I ' m crazy. And
30 now that they' ve found out i t's caused by a gene, who
knows - one day there may even be a cure.
False friends
realise ( l i ne 5) means darse cuenta not realizar
pretending ( l i ne 24) means fingiendo not pretendiendo
Unit 1
7
8
ULPlL1Y
\\
rds from the Text

1 . Choose two possi bl e answers to compl ete
each sentence. Pay attenti on to the words i n
col our.
! A a gIweaasui t Ioa . . . .
a. wedd g c. looIca' ' gae c. eeI g
2. A bl i nd eowo0 d|ocac yoIeoya .
a . coce|I c. a I gex c I o
c. ca eIelo|ace
J. Aacquai ntance co0 dceoeoel|o
yo0|. . . .
a. la ' y c. coo c. e gco0|ood
4. Acl ue gIe yo0Io . .
a. l doeI g dde c o vea 0zz e
c ca|yoeI geavy
5. Yo0 gIrepl y Io . . . .
a a coo< c. a q0eI o c a e-a '
G. Yo0 co0 dshare a . . . .
a. lace c. coo< c. ea
2. Compl ete the passage wi th the words and
phrases bel ow. Then l i sten and check your
answers.
al l in a l l remi ndi ng cope wi th si ngl e
pretend di sorder real ises i nj ury
50 |lK511L5
Have you seen the fi l m 50 First Dates? i t's about
a young coupl e, Henry (Ada m Sandl er) and Lucy
(Drew Barrymore).They're i n l ove, but Henry soon
1
. H. that they have a serious probl em: from one
day to the next, Lucy forgets who Henry is.
She suffers from a ` . . . . H cal l ed anterograde
a mnesia, caused by an H . she recei ved i n a
car acci dent. As a result, she cannot remember a
. . . . . .. thi ng from one day to the next. She al so

thi nks that every day is 13th October 2002.
Her father and brothers
.
. . . H that thi s is true,
re-livi ng the events of that day so that she won' t get
upset. Henry, however, wants Lucy to H real
l i fe. He makes her a vi deo to watch every morni ng,
....... .. ....... . . . her who she is. H , thi s fi l m is very
entertai ni ng and the acti ng is great. Don't mi ss it!
PHRASA VERBS
When a verb is followed by one or more parti cles,
i t i s called a phrasal verb. The meani ng of the
phrasal verb i s di fferent from the meani ng of the
verb alone.
He began to run after me.
When /look away I don't remember the details.
ammaAppendix,paqe114-115
3. Match each phrasal verb in I to its meani ng
!.
2 .
J .
4.
5.
G
7.
i n 11. Use the phrasal verbs l i st on page 142 to
hel p you.
I 11
run after a. eeIcycace
run off wi th c. I0oe' eye
r un i nto
aoIe d ecI o
l ook away
c cae
l ook through d l d loaI|oaco0I
l ook forward to e Iea'
l ook up l lee exc Ied aco0I
g. go|e
4. Compl ete the sentences with the correct form
of a suitabl e phrasal verb from Exercise 3.
1. TeIel . . - ! , 000yeIeday
2 . ae i s o occ . Sea' way. . ewe
wea.
J .oo< Wo i s IaIo cea `
4. Te gIwa o c gIIaI adIo.
5. Weeve|aI c<goe o0I, e . . oeoee
<ow.
G A|eyo0H yo0 exI< g ' eo`
7 . ' doI <owwaIIaIwod ea. .eI H . I
H . Ied cI oay.
Barrmore and Sandler won the award for the
Best on-Screen Team at the MTV Movie Awards.
1
i"
i
:,
e
i!
'P`!Y . ... . . . . ...... . .. .. . . . .
PERSONALITY AND APPEARANCE
1 . Read the description of a star si gn. Whi ch of
the adjectives i n col our do you thi nk show
posi ti ve personal ity trai ts? Whi ch show
negati ve traits?
lC5
(21st March - 19th Apnl)
You are very confident
and love to take action,
so you're a natural leader.
People like you because
you're generous and fun
to be with. You make
decisions quickly and can
be quite impulsive.
Try not to be too bossy
and be a bit more
open-minded!
2. Compl ete the sentences with the adjectives
bel ow.
tal kati ve sel fi sh hel pfu' stubborn
consi derate romanti c nosy cal m
1 . e::o . . n o IaIooee' :eca:aya wod
wee: ao0d '
2 . Ta!: oeolyo0 c0: e:: ' oI ce:o. - '
J ' Iwa: !vey .n - - olyo0 !oIa' <:o o0d' yw e'
wa: |e:! g.
4. ea:e' :!e!oo0|adv ce. SIoce g:o
5. Yo0 a!eall !e cec|ea~. TaIwa: ea' y
olyo0 '
G. ' IyIo ce. n weeo' ea:< ~e lo|
d |ec! o:.
7. eco0gI :g l| edcoco aIe:adl owe:
ow .. '
S Se: q0 !e- . . 'o! g0:e!:e|.
3. Use the adjectives from Exercises 1 and 2 to
compl ete the fol l owi ng sentences. Try to use
at least ei ght adjectives.
! ' wo0 d <e a coyl edI g l edwo : . .
2 . Tee: deIola co0I|y:o0 dce . . . .
J I geI agy a! ~y dadceca0:e e ca ce!oo . . .
4. Veyyo0gc d|eae ol!e . . . .
5. \ayT adl ' ~ce ec ! e: ae . . . .
4. In your notebook, write the adjectives below
i n the correct category. Some words may fit
more than one category.
dark curl y
strai ght spi ky
sl i m wavy
ski nny wel l -bui l t
fai r pet te
chubby muscul ar
pl ai n gorgeous
unattractive should er-' ength
good- l ooki ng
Hair Build General Appearance
5. Write two or three sentences descri bi ng a
cel ebrity. Use the adjectives in Exercise 4.
See if your partner can guess who he/she i s.
COMPOUND ADJ ECTIVES
A compound adjecti ve is formed from two
adjectives, usually con nected by a hyphen.
Compound adjectives are often used to describe
a ppeara nce a nd persona l i ty.
6. Compl ete the sentences with the compound
adjectives below.
bi g-headed broad-shoul dered
l ong- l egged ol d-fashi oned
ki nd- hearted short-tempered
1. Sa e: a:: :!a!: ~0:!ol!e dea w I
ag|yc0:!o~e|:.
2 . \ygadlaIe|a!e:o ~0: c. e: ea y
J A n :!age|gave0::o~eloodadwaIe|.
4. Wya|e a :0e~ode' :Ia ' , : ~ad `
5. Te~awa: ~0:c0 a ad . n - . l|o~
do gy: ca wo<.
G. Te . . : ge :a' way: a!elococeI:.
e :|ea ' ya|oga! '
Compl ete the sentences. Make them true
for you.
! . ' doI ~ dsharing ... .
2. Te~o:Igenerous I g veevedoewa: . . . .
J. Te~o:Iselfish ! g' ve evedoewa: . . . .
4. We ' ~eeIa acquaintance, ' . . .
5. ' ~looking forward to . . . .
G. ' ve eaed!ocope with . . . .
Vocabulary Builder, pages 7 8-79
Unit 1
9
N
'-
PRESENT SIMPLE
PRESENT CONTINUOUS
A. Read the exampl es and answer the questi ons.
a. PA sufferers always smile at everyone.
b. She hopes that they will find a cure for PA.
L. All the men are wearing suits.
d. Many people suffer from PA.
e. I am meeting my boyfnend at the airport tonight.
f She is living with a flatmate this year.
1. Whi ch tense is used in each of the
exampl es above?
2. Whi ch exampl e talks about ... ?
! . a regular habi t or routi ne
2. a temporary action
3. a genera I truth
.an action which is happening now
5. a definite plan for the near future
6. a thought, feel i ng or expectati on
,a stati ve verb}
B. Read the exampl es and compl ete the rul es.
a. He remembers names, but not faces.
b. We don't socialise much.
c. Does he usually recognise his friends?
d. She isn't wearing her glosses.
e. He's looking at my face.
f Are they trying to find a cure?
1. We usually use the base form of the verb +
to form the 3rd person si ngul ar of the
Present Si mple.
2. I n the Present Simple, we use auxi l i ary verbs
i n a l l sentences jonl y in negative sentences
and questi ons.
3. We use . + verb + to form the
Present Conti nuous.
.I n the Present Conti nuous, we use a n auxiliary
verb in all sentences jonly in negative
sentences and questi ons.
0tammatAppeo6|xpaqes 113-114
1. Choose the correct ti me expression, then
rewrite the sentences.
!. - d v-:o0!: d- !-. !y
,a|-' yI -x! w--<)
2. Wa! :!a!coy!y g!odo`
, a!!- ~o~-!I :o~-! ~-:)
J a- do-: !g-!a o!ol co-.a :
,!odayI 0:0a' y)
4. oyo0 0d-|:!ad~yq0-:! o`
,-v-|ydayI ow)
5. \y ~o!-wo<:qL !- a!-
,ol!- I !o~oow)
G. O0 - gco0: a- -av g!-.o0!y.
,:ooI :- do~)
7 . I ~--!l|-d:lo|.oll--
,!o~o|owI o W-d-:day:)
S. oa :.o~ gw !- coyl- d.
,!o g!I l|-q0-! y)
2. Complete the sentences with the verbs in
brackets. Use the Present Si mpl e or Present
Conti nuous.
1. S0:aa ,:!0dy) |-. ! :!- ~
2. Jo- 0:0a' y ,d :.0::) : d-a:w !yo0`
J . T : :la!a:!. ' O0 !-a~ ,w )!- a!. '
4. Wy yo0 ,!y)!o do!a!ow`
5. Ta! < d ol.a| ,0:-) a o!olc-!o'
G. ' ~ :oy, c0! . ,o!-~-c-)yo0 a~-
7 . . ,o! go)!o:.oo' !o~oow.
S -g0 : , ' v-) o' y !- :o0!-
-~ :c-|- .
STATI VE VERBS - Some stati ve
verbs such as think, see, look, have and weigh can
refer to an action as well as a state. When these
verbs refer to an action, we can use the Present
Continuous.
3. Complete the sentences with the correct form
of the verbs in brackets. Deci de if the verb
refers to a state or an acti on.
! . W- olgo goo day-x!~o!
W-- yo0 w- :o0 dgo`,! <)
2. ad !- :o0c. ' ~:0|- ! v-ygood
,!a:!-)
J . - a!!- coo< ow lt . !-|-:! g. ,' oo<)
4. - !- !o~a!o-: ow`
ow ~0. !-y ` ,w- g)
5. O0 l-d: a -w:w ~~ g coo'
T-y a coo ca!y! :S0day. , av-)
4.
1.
2.
J
4.
5.
G
7.
5.
?
I
6.
1.
2.
3.
4.
5.
G
Rewrite the sentences, repl aci ng the ti me
expressi ons i n ital ics wi th those i n brackets.
Change the verbs where necessary.
e|:odoe: !ca.! :e!ec aoin the
morning. ,a!!e~o~e!)
!a<e ~ydog !o!eve!every year.
,!o~oow)
Wa !eadC dyae !.a g!e ca|e!:
at the moment. ,evey day)
' usualy <owwa!:e ~ea:
, ow)
Ve|a :| ogg gw !a l ednow.
, 0:0a' y)
o!e 0:e:l :wo<a!l veo. ' o. < every
afternoon? , ow)
': \| Wa: g!o c ay g!e :this moring?
,evey ~o| g)
Jean and Keith are chatti ng. Compl ete thei r
di al ogue by wri ti ng the mi ssi ng questi ons.
J ea . . `
e ! Ye:, <e ~yew:.oo' .
ea `
e ! 'o, ' do ! :ee~yo dl| ed:vey
ol!e.
ea . . - `
e ! ' ~:!0dy g~a!:, cg :, a|!ad
geogacy! :!e~.
ea . . `
e ! Ye:, ' <owA' exGade|. e:
~y~a!:. a::.
Jea
.
.. . .... ?
e ! . 'o, ~ o! do gay! g:ce. a' ! :
al!e|oo. oyo0wa!!o.o~eove`
Compl ete the sentences. Use the Present
Si mpl e or Present Conti nuous.
A! ea:!o.eawee<, ' . . . .
S!oc ~a< g:o ~0. o :e ' We
T :wee<ed, ~yla~ ' y .
Jey.a!.o~e!o !e ca!y!o g! Se
cve|y~o g, o0 dog . . . .
A..o|d g!oexce|!:, A:0lle|e|: . . . .
Mi ra a ese hombre. Por que persi gue a ese n i io?
Look at that man. Why is he running after that boy? .
NOT Look at that man. Why does he run after that
boy? X
7. Compl ete the passage with the correct form
of the verbs in brackets. Use the Present
Si mpl e or Present Conti nuous. Then l i sten and
check your answers.
-
"'
r:otie et rteoo etwotx ooo;z) 0nW tu J M\ l
on'| bz V|c||m
it's now l ate at ni ght, and Paul a
.......... (si t) at her computer. She
. ......... (open) her favourite si te,
Facebook. Li ke mi l l i ons of other
Facebook users, Paul a . . - . - (enjoy)
sharing detai l s of her l i fe wi th
her on l ine "friends': But she .......
(not real i se) that by doing thi s,
she mi ght be i nvi ting cri minal s
t o take over her i dentity. A typi cal
Facebook user 5 . (provi de)
val uabl e informati on, such as date
of bi rth, mobi l e-phone number and
a home address. Cyber-cri minal s
often . (use) t hi s informati on to
"become" that person and access
thei r bank account. UK pol ice are
so concerned a bout thi s that t hey
... . . .. (now pl an) a nati onal e-cri me
unit t o deal wi th t he probl em. You
can avoi d becomi ng a vi cti m: make
sure you choose the option that
. . . . (al l ow) onl y your friends to
view your personal detai l s.
Grammar Review 0
1
8. Rewrite the fol l owi ng sentences usi ng the
words i n brackets. Do not change the ori gi nal
meani ng.
1. ow ~0. :! :~agaz e`,.o:!)
2. ' ave ! go!a.a. ,ow)
J We !ed!o ~ee!lo| 0. !o~oow. , ae)
4. Beda c ay:a o!olloo!ca ,ol!e)
5. Te. d|ea|e q0 e!a!!e ~o~e! ,!a' <)
G ' vego!c' a:!o:eea0' !o g!. ,a~)
Extra g ra mma r e xe rc i se s a t :
UU.0urlingl0n000Is.cs{t i cuo:ntsI
Unit 1
1
J
SKILLS
Jz
LISTENING G
A LECTURE
1 . Read the notice bel ow. What i s
"personol ogy"?
a. a wayol:ow gc-oc'-: c- :oa !-:
!o0ga|!
c. a way ol. ag gad ~c|ov go-:
c-:oa' !y
_a wayolaa y: gc-:oa !y cy ' oo< ga!
a la.-
PERSONOLOGY
1MLH1 r HLOlNO rLLb
HaveyOumel>OmeOnenew]
WOud yOukelOknOw
whallheyarercdllylke]
YOU CAN-
OylOOklngal
lhelraCel
|eClure OypOpular
>peakerandaulhOr
!l'1 |ill!!
St Giles'Community Hall
Staford Road
Wednesday, 5th October
8.00 pm
STAY CALM- I f you don't understand
one part of a l istening passage, don't panic! Keep
listening and focus on u n derstandi ng as much of
the passage as you can.
Z. Listen to the begi nni ng of Eisa Ful l er's lecture.
Which of the fol l owing can personology be
used for?
To l dout:
a. wa!oc!o oo<lo
c. w-|- !o v-
. l:o~-o- : a :0 !ac'- g |' l-dI coyl-d
d. l:o~-o- :a goodwo|<-|
- . l yoJ:o0 d:-'! a.-!a c|od0.!
3. Listen to the rest of the tal k. Decide whi ch
of the photos bel ow is Matthew.
2
3 4
4. Listen to the second part of the lecture agai n.
What do each of the fol l owi ng features show
about a person? Two answers are correct.
1. w d- la.-
a. .ol d- !
c. a a!0|a -ad-
. ! <:.a|-l0' y c-lo- !a< ga.! o
2. |o0d-do:-
a. :- l :
c. - cl0
.. o:y
3. -y-:la|aca|!
a. ol!- a!-
c .a'
.. gooda!d-!a :
Do you bel ieve that personology i s accurate?
What other ways are there of anal ysi ng a
person's personal ity without actual l y
knowi ng them?
WEB EXTRA
F ind out how appearance can affect your l if e at:
uit.0ur|nglon0ooIs. cs{cuoinls1
SPEAKING
DESCRIBING PEOPLE
1 . Greg wants to open a personal profi l e on
Facebook. Read what he has written about
hi msel f for the profi l e. What adjectives does
he use to describe hi msel f?
/o. qc_:::|
bictlay. 2I:, I!!3
Auiitie. . I|:e:i_ t:{|m. amI
e:y iq. I :|u<t>c
tec|i_ c:mutec:) t
( :cl::|.
|a.:acit:Mui: |:, |ob
Ab:ut/e. \ecyiue||_eut, quite
_euc:. auc:uiecate,
tl:._|I :au be:tubb:ct
attime.. |e:|::yI`m
h|f|. qic!+take mt: .
I`mecy c:mu u
(J e|||
Z. Fran has seen Greg's profi l e. Compl ete the
conversation between Fran and Jennifer with
the expressi ons bel ow.
he's got What does he l ook l i ke?
He l i kes What's he i nterested i n?
What's he l i ke? he's very
- l-| .
|a
- l-|
|a
- l-|
a.
J- l-|.
a
, a.
, - l- ' . :!-, v- | 0:!lo0d!-
~o:! gog-o0:g0y o a.-coo< '
- dc- -|l-.! lo yo0 '
Ta!: g-a!.
.
W- , l|o~!- co!o - oo<:q0 !-
:' ~, ad :!a g!, la a |.
-: a c! cacy-la.-d, c0!-a! ygood-
' oo< g
So0d:O .....
l ~:adda. g, ad--v-
vo 0!--|:a! a :.oo - 0:!' <-yo0!
-a' ' y`` ..
- :ay: H !- ' g-!, g-- o0:,
.o: d-a!- ad o~a!.
Ad o!v-y ~od-:! '
Burlington Speech Trainer, Unit 1
3. Choose one of the peopl e i n the pictures and
make up a profi l e for that person. Use Greg's
profi l e as a model . Make the profi l e as
i nteresti ng as you can.
4. With a parner, ask and answer questions i n
order to describe the person you have each
chosen. Use the questions and expressions in
Exercise Z.
ENRICH YOUR SPEAKING
When you want to show interest i n what you r
pa rtner i s sayi ng, u se t h e fol l owi ng expressi ons:
Real l y?
That' s g reat!
Sounds good I fun I i n teresti ng.
Uni t 1
..
A Description of a Person
1 . Read Joe's bl og bel ow. Woul d you l i ke to have a fri end l i ke Rani a? Why or why not?
a n n
'
_ www.joe_blog.com
Q" 0
nC1COmC lO b1OQ
1CU 0IC V1S1C! |U0DI JD3
Sun
12
Mon
13
Tues
14
Wed
15
b d
It's Wednesday - three
days
Hey, every o y.
't for
et
lll
before my
big
party.
h
oon
ple
g
you
.
'il meet
B
the
way, one
of t e peo
.
y
.
.
here's
her
plcture.
there 1s
Rama -
a lot of
people
don't know
Rania's
new
at school, s
the
school
swimming team,
her
yet. We're
together ln
ll
fit in with our
crowd.
and
it seems
li.ke
she'll
rea y
d h 's got
long,
dark
hair
She's
quite
tall, an
atally
enoys
reading and
and brown eyes. She
b t she
isn't big-headed
She's a great student,
u
studying!
about her
high marks.
le
but when
you
get to
know
She's a bit
shy
with new
peop
'
a
great
sense of humour
and
her, she's great
fun. She
_
's
got
makes me laugh with her
JOkes.
.
R .
and I think you'll
like
k
a little
blt
about
ama,
So
you
now
I'm sure
you've
guessed!
her a lot. I do - as
Z. In whi ch paragraph/s of the blog does Joe . . . ? 3. Match the punctuation marks in I to
1. d-:. c- wa!a a oo<: <-
2. d-:. c- a a: !--:!:
3. ~a<- oc- g-~a <:ad ! od0.- a a
4. d-:. c- a a:c- :oa :y
5. ~a<-. o: g|-~a <:
.
Punctuation helps make your writing clear. Some
punctuation marks (brackets, dashes, exclamation
marks and contractions) are more common in
L
informal writing.
'
thei r use in 1 1 .
1 . q0-:! o ~a|<
2 . l0 ' :!oc
3. .o~~a
4. -x. a~a! o ~a <
5. c a. <-!:I da:
G. aco:! oc-
1 1
a ! o~a|<!-- dol a
:-!-.-
c !o:ow: ogl-- g:
o !o-~ca: :- a co !
. !o add-x! a lo ~a! o
d ! o:-ca a!- !- ~: a
:!, a :-q0-.- ol
-v-!:o|ca|!: ola
' og:- !-.-
- !o :ow.o! a.! o:
l !o~a < !--dola
q0-:! o
4. Add the mi ssi ng punctuation marks to the
sentences bel ow. There may be more than
one possi bl e answer.
T : : lala:l .
2. Ae a0 \a <B aP.a adC a e a ' go golel
3. Sea:<edled vewee leywee c0!eel0:ed
loa:we
:
Teeweea lew eo eo:l y. deal leoo
. Te ~a:lood00lo :.oaladwa' <ed o0l
ag y
5. I .al ce eve l
a::a ' yexa~: oeadgel lo 0 ve: ly
8. Wyaelyo0wo g
5. Add the mi ssi ng punctuation marks to the text.
1(
< c +
Dear Sheryl,
The funniest thing happened to me the
other day Mark convinced me to go to a
talk on personology analysing someone's
personality by looking at their face Have you
ever heard of it
The speaker asked for a volunteer and
for some strange reason ' raised my hand
The next thing ' knew she had chosen me
lt was so embarrassing ' didnt quite agree
with some of her comments especially the
part about talking too much but it was a
lot of fun.
Adjecti ves are used i n a speci fi c order :
opi n i on- l engt h/si ze - col ou r
Rania's got beautiful, long, dark hair
Uni t 1
Your Task
Write a descri ption of a fri end. Use 1 00-1 50
words.
WRITING YOUR DESCRIPTION
1 . Brai nstorm your descri ption.
Thi nk of peopl e you know. Who woul d be
easy or i nteresti ng to describe?
Thi nk of words and expressions to
descri be the person's:
y:.a' aeaaP.e
- e:oa !y
a.l v l e:ad !ee:!:
Z. Organise your i deas. Use the model on
page 14 and the pl an bel ow to hel p you.
- e. dew. dea:lo <eeadw. lo
eaveo01
- e. de ow lo odeyo0 dea:.
PLAN
Openi ng: Oe gea<:, lod0.ele
e:o
Body: e:. cel ee:o': aeaa.e,
lee:l:ade:oa ly.
Cl osi ng: C' o: g ea<:
3. Write a fi rst draft.
- W leq0. <'y o'lwoyaco0!:e' ' g
o0P.l0al oa:yo0' avel el o. e. <
le~ a!e.
4. Use the checkl i st to check your work.
Then write a final draft.
CHECKLIST
/ I{:||:etle|a<{:c a e:citi:< :{a
ec::u.
/ I ue geceu a;etie au::m:uu
a;etie t: eccibe tleec::.
/ I :|camuc, :e||iq au
utati:V.
*
15
!6
f2hJ
5K!LL5
APPLICATI ON FORMS AND INTERVI EWS

You are goi ng to compl ete an appl i cati on form and conduct an i nterview .
Read the web page and appl i cati on form and answer the Task Questi ons bel ow.
C L E AR L AK E
BOU U5 OTH[R L[RLKt hO'h-
Come to our camp i n the Canadian Rocky Mountai ns. Have the
adventure of your l i fe - and l earn Engl i sh at the same time!
To regi ster, send i n our onl i ne ___|3l|0| |0||
Tel ephone i ntervi ew requi red.
PERSONAL I NFORMATI ON
OJ|3|5 l||Sl N3|5`
O DO. 1b4bb7
l0|5-00|5SS NJ|05|& Ol|55l/ C|ljI 0A|I v|||3g5
C0J|l|j 5|50|0|5 NJ|05|`
l00||5 l|0|5 NJ|05|` . . c|3||-00|5SS
l3|5` ...l5|3|5
l3l5 of O||l| '3jI l0|l|I Y53|/
N3l|v5 (3|gJ3g5
L5v5|0/cO@|O.
O053|||g
n530||g
. ... . .
/||l||g
/53|
/53|
/53|
l|5/5||50-Cl|v|l|5S
l50|J|
l50|J|
l50|J|
000
000
000
S||||g 3|l . |||||g 03|C||g 0l|5|
l3l5S |5/5||50
. .... 7-14 13|J3|j
. .... 15-22 13|J3|j
3-10 l50|J3|j
. 11-18 l50|J3|j
TASK QUESTIONS
1 . I magi ne you are appl yi ng for Cl earl ake Engl i sh Wi nter Camp and compl ete the form above.
2 Tomas has applied for the camp Jn a telephone interview whih of the following questions would
the administrator ask?
1 . Wydo yo0 wallo.oelo o0.a~` 5. aveyo0 e.e ved ~y. eq0e`
2. ow ayeo' ew ' ce:a ga oo` G. Wee d dyo0 ea cg' :`
3. ': lee ayl gyo0' d <eloa:<e` 7 . Weeae leole:l0del:lo~`
4. o ' eeday:e. a' eq0 ~el` S Wydoyo0l <yo0ead g adw l gaewea< `
3. Listen to the intervi ew. Which of the questi ons i n Exercise 2 does the admi nistrator ask?
What other questi ons does she ask?
USE YOUR SKI LLS
Conduct a tel ephone i nterview wi th your partner, usi ng his I her appl i cati on form. Then switch rol es.
Use the questi ons i n Exerci se 2 above to hel p you.
Danger!
Unit Objectives
,, Dangerous Situations
Past Simple
P<sr Continuous
Past Perfect Si m pie
*Listening to a Conversation
Talking about a Picture
` Writing a Narrative
Life Skills: Using a Dictionary
1 . Woul d you l i ke a job that i nvolves danger and excitement? If so, you may
want to consi der espi onage. Before you deci de, do the qui z bel ow.
1. A friend has told you a secret. You ....
a. tell one person about it
b. don't tell anyone anything
c. tell everyone -you don't know why it's a secret anyway
2. You forget your keys and are locked out of the house. You ... .
a. find a way to open the lock with your pen
b. phone your parents and tell them to come home and let you in
c. climb from your neighbour's balcony to your own
3. Your friend gives you his new phone number. You ... .
a. write it down, but lose the paper
b. save it in your mobile phone
c. remember it by heart
4. The shortest way home is down a dark, empty street. You ... .
a. take it, enjoying the thrill of danger
b. walk the long way around
c. take it, but feel quite nervous and frightened
5. An acquaintance at a party starts telling you about his life. You ... .
a. tell him about your life as well
b. listen carefully, getting as much information as possible
c. feel bored and say you're going to get a drink
6. Your friend invites you over, but you're not in the mood. You ... .
a. have no trouble inventing a good excuse
b. feel you must tell the truth
c. invent a story, but your friend knows you're lying
2. Use the key on the right and add up your score. Go to page 1 60 to see what
your score means.
Do you agree wi th your quiz results? Do you thi nk
you'd make a good spy? Why or why not?
WEB EXTRA
F ind out about a real-l ife British spy a t:
. 0ur/ing|on0ooks. ts{ituonls1
s
! . A0:ac ewa:agy ceca0:e . . . .
a leaageadg ve \axa <ey!o :
18
1. Word Check: The fol l owi ng words appear
i n the text. Make sure you know what they
mean.
g' ooy c' <ed :!al' ed g a:ed
MAKING INFERENCES
Maki n g i nferences hel ps you u n derstand t hi ngs
that aren't actua l l y wri tten i n the text. We can
deduce t hi ngs from certai n i nformati on i n t he
text, for exampl e, the way peopl e react or the
t hi n gs they say.
2. The fol l owi ng sentences appear in the text.
What can you i nfer from them? Choose the
correct answer below.
Ausable did not look like any secret agent
Fowler had read about. He was past middle age
and very very fat.
We ow el :!:aw A0:ac e,
eocac' yle l
a. exc led c d :ao !ed
3. Read the short story and compl ete the
sentences usi ng your own words.
! A0:ac' ewel!o :oo ceca0:e . . .
2. We!eye!eedleoo~, ow e ad
A0:ac' ewee:0 :ed cy . .
3. \axceca~eevo0:we:oeoe . . . .
4. \axc ced!o0g!ew dow
ceca0:e e lo0g!
5. \ax:cea~ed ceca0:e . . . .
oo~
c le aagead olc oc<ed !e ca:oy
c. \axwaledleeol
d. \axwa:o d ga g0
2. A0:ac' e:a d!al eadca ed!eo ce .
a ceca0:e \axadeleed :oo
c. ceca0:e ow e adlo' owed lo :
o.
c. ode!o g vele~l e:ece!eo!
d. 0:! ca:e!eewa:!o0c e
3. A0:ac' e<ew!alle<oc<oledoo
wa: .
a. !eo ce
c. oo~:ev ce
c. aage! de' ve gle eol
d. !e ole aage
4. Weca le!a! !eed, ow ele l
a. la! :l :l ~e:: o ad ceewog
c la!A0:ac ewa: olveyole:: oa'
c d :ao !ed ceca0:e!eeve gado!
ceeexc l g
d wo edaco0!walad aeedlo \ax
5. Fi nd words or phrases i n the text that mean
the opposite of:
1 . ed , e: 1-3)
2. acl ca ,' e:8-1 0)
3. la! , ' e:23-25)
4. a y, ' e:32-34)
5 . : ow y, ' e:50-52)
6. oweed , ' e:54- 56)
Do you thi nk Ausabl e was a good secret
agent? Why or why not?
Ficti onal spies: Sam Fisher,
Jason Bourne and Austin Powers
Kt.
HC MlOHlQHl ll.
Ausable did not look like any secret agent
Fowler had read about. He was past middle age
and very, very fat. Fowler followed him down the
gloomy corridor of the old French hotel where the
secret agent had a small room on the sixth foor.
"You are disappointed," Ausable said over his
.
houlder. "You were told that I was a secret agent,
a spy. You wanted to meet me because ou are
a young and romantic writer. You had eX'pected
mysterious figures in the night, the crack of guns
and poison in the wine. But instead of having
secret messages slipped into my hand by a dark
eyed beauty, I only got a phone call arranging a
meeting in my room. You've been bored!" The fat
man laughed to himself as he unlocked the door
of his room and let his frustrated guest enter.
I I I' l
"It belongs to the next room, but it extends
40 under my window," explained A usable angrily.
"The manager promised to block it off, but he
hasn't." Suddenly, there was a knock at the door.
Ausable smiled with relief. "That is the police.
I told them to check on me to make sure
45 everything was all right."
Max bit his lip nervously. The knocking was
repeated.
"What will you do now, Max?" Ausable asked.
"If I do not answer the door, they will come in
50 anyway. And they will not hesitate to shoot."
Max's face was black with anger as he backed
swiftly toward the window and put one leg out
into the night. "Send them away," he wared.
"I will wait on the balcony."
"Cheer up, my young friend. Soon you will see 55
a top secret report to this room, a report
The knocking on the door became louder and
a voice was raised. "Mr Ausable! Mr Ausable!"
rhat may someday affect the course of history.
That is the drama, is it not?" As he was speaking,
:usable closed the door behind him. Then he
sitched on the light.
Halfway across the room a man was standing
and pointing an automatic pistol at them. He was
slender, not tall, with a face like a fox. Ausable
blinked a few times. "Max," he said, "you startled
me. What are you doing in my room?"
"The report," Max murmured. "The secret
report that is being brought to you tonight. I want
it."
Ausable sat down heavily in an armchair. "I'm
furious with the hotel manager," he said grimly.
"This is the second time in a month that someone
has entered my room from that balcony!"
Fowler's eyes went to the single window of the
room.
"Balcony?" Max asked. "No, I had a key.
What balcony?"
Keeping the gun on the two men, Max grasped
the window frame and swung the other leg up and
over. The doorknob tured. As Max dropped onto
60 the balcony, he screamed once. The door opened
and a waiter stood there with a tray, a bottle and
two glasses.
65
70
"Here is the drink you ordered, sir." He set the
tray on the table and left the room.
White faced and shaking, Fowler stammered,
"but ... but ... what about ... the police?"
"There never were any police," Ausable
sighed. "Only room service, whom I was
expecting."
"But what about the man on the balcony ... ?"
Fowler began.
"What balcony?" asked Ausable.
Fowler was still breathing hard as Ausable
calmly poured himself a drink.
arranging ( l i ne 1 3) mea ns p/aneando,
programando not arreg/ando
Unit 2
report ( l i ne 1 8) means informe not reportaje
VOCAULAY
Words from the Text
1 . Choose the answer that best expl ai ns the
meani ng of the fi rst sentence. Pay attenti on
to the words i n col our.
1. O0 l edarranged a l : g I Io S.ol' ad.
a. e aed I.
c. eeoyed l .
2. Teyw ' del i ver lecoo<:looow.
a Tey ' ead Ie~.
c Tey ' c gle.
J. Te. dhesi tated celoe:eIoo<y ad
a. Sea0:ed
c. Se' a0ged
4. \o:lolleeo ealIe.o.eIwee
mi ddl e-aged.
a . Teywee Ie 20:.
c. Teywee Ie 50:.
5. Weweedi sappoi nted weweead Ie
re:0' Is
a Tee:0 l:weecellelawead
exe.led.
c. Tee:0 l:weeoI a: good a: we ad
exe.led .
6. Tey0Ipoi son le< g:w e.
a TeywaIedlo< ' ~.
c TeywaIedlew eIola:le.e.
7. We e Iy gIocheer yo0 up.
a. Wewalyo0 lolee' ay.
c Wewalyo0lo :Iay awa<e.
S Teacegalo shake we e:awa0' .
a e wa: ' ea:edlo:ee a0' .
c. See ga0' 0:eI ~.
' I wa:a 0gerel i ef we' eadl eew:
a ' e::wo ed ow
c ~oewo ed ow
2. Compl ete the sentences in any
l ogi cal way.
1 . We e a ved, eswitched on . . . .
2. TeyolleedIe guests . . . .
3. TeaI' eIe : breathi ng
ad ce.a0:e . . . .
4. Te. de: ~oIemade
sure l al . . .
5. ' ea:e:lo poi nti ng aI. . .
6. Teo' dapoured . . . .
P
\?
ADJECTIVE SUFFIXES
Some words can be identified as adjectives by
their suffixes.
Some common adj ective suffixes are: -a/, -able,
-ous, - tic and -ive. Some adj ective suffixes have
got a special meaning: the suffix - ful means
with, whil e the suffix -less means without.
Note that sometimes there are changes in
spel l ing.
mystery mysterious romance romantic
tammatAppeo6|x,paqe11 7
3. Complete the sentences by addi ng a sui tabl e
suffix to the words i n brackets.
1. A H a I gcyVa Gog.o:l: ~ o:ol
do ' a:. ,o g )
2. oleyIea. H de:galyo0:.oo `,ga)
3. l: a H H aIIe I do lwalIola < aco0I l
, e:o)
4. Te:e.eIagelad:oe lo~al o, c0l
eIo d ooe ,va' 0e)
5. Yo0 ael: a eloo H H Tey:o0 d elyo0
ce ~oe deedel ,ole.I)
6. ' H H ! Wy d d lyo0 le ~e yo0.o0 d l
.oe`,l0y)
7. oI ce:.aed ol ~y dog - e:.o ele y
. ,a)
S. Yo0 :o0' dc0yoeolle:e - ley evey
le < I.e ,0:e)
4. Compl ete the passage by addi ng a sui tabl e
suffix to the words i n brackets. Then l i sten
and check your answers.
A1rcH hlcr`SNun HulcS
When you think of a firefighter, do you think
of a (hero) man or woman, running into a
burning house to save a child? "Well, that's not
all they do, " says Malcolm Green, an officer in
the London Fire Brigade. "Being a firefighter
means being in 2 H (danger) situations, but
we also do plenty of H H. (education)
work. There's a lot people can do to
prevent fires, and we're always trying
to find 4 H HO (effect) ways to get this
message across." Firefighters must stay
in shape, and they need 5 O H H H O (psychology)
training to deal with victims who are panicking.
Despite all this, people love firefighters mostly
for their 6 HH

( tradition) role: they are heroes
who do an 7 HHO HO ( admire) job and who willing!)
face danger in order to prevent 8 H ( tragedy)
deaths.
. . `'! Y .
DANGEROUS SITUATIONS
1. Match the begi nni ng of each sentence i n I
with its endi ng in 1 1 .
Al el gIe
2. ' e ' e ' '
3. ewa: a le c ea.. del,
eo ewoae ea: ycoed
5. ' o'I oveo' ' ' ' :ooI ' '
6. Se:Jlle:loa le c e
1 1
a leeo' escreamed.
o. fear oldog:.
. c0lesurvi ved.
warned leocce.
e. eed:a ' ololcourage.
olIe oo<loth | ' | s.
2. Replace the words in bold with the
expressi ons bel ow.
l i vi ng on the edge seri ousl y i nj ured
a cl ose cal l l ucky to be al ive
occupati onal hazard ri sked hi s l i fe
Teyo0glale put hi msel f in danger lo
:ave :. d.
oa ~olo- a. gd ve, ce g a a.. deI :

| 0:laolework-rel ated danger.
Te olwa: badl y hurt le. a: .

.
AlleIel e, Ieyle lfortunate that they
hadn' t di ed.
Soeeo' e:eeIoeoybei ng constantl y
..
i n danger.
ty
\
-
-
.
:ly
. lwa:a very dangerous si tuati on, c0Iley

wee' l0I.
-_. .. . -ed I -ing ADJ ECTI VES - Adj ectives
ding with -ed describe a feeling or state, while
ojectives ending with -ing describe nouns that
:aJse or create this feeling.
3 Choose the correct form of the adjective.
Weweeshocked I shocki ng cyIe ew:ol
le a.. del.
e e.e ved several threatened I threateni ng

oe.a :
.
Tee wa: a thr i l l ed I thri l l i ng .a . a:e
o0gIe:leel:ol .odo
.
e wa: startl ed I startl i ng wea ~y:le o0:
oa:Jdde yaeaed.
o0ae'lea: yfri ghtened I fri ghteni ng ad
yo0do'Ila <~0.. Yo0' da<e a good :y'
4. Complete the passage with the words and
answers.
thri l l survived l i vi ng on the edge fear
courage seri ousl y i nj ured ri sk thei r l i ves
Unit Z
WhK| N U NTP| ThE WhL
We don't usually think of window cleaning as a dangerous job,
but window cleaners who work on tall buildings constantly
1

. . .. .. .. . A person who spends entire days standing on a shaky
platform 200 metres in the air has got to have plenty of 2
Some cleaners have actually fallen. I n New York City
in 2007, two brothers fell from the 47th floor of a building.
One was killed, but the other miraculously 3 . . . ... , although
of course he was 4 . ... .. . . This type of accident can always
happen, but if you like 5 ... . and have no 6

. . . . . .... of heights,
the job has its good side. Feeling the wind in your face as you
look down on a city from the top of a skyscraper is a real 7
And you can also see some interesting details of people's lives
when you look through their windows!
Complete the sentences. Make them true for
you.
1. I ' q0 lefrightened ol . .
2. I gel furious we . . . .
3. We I wa: a. d, I screamed
4. lt cheers ~eup we . . . .
5. BeloeI leavelo:. oo' , make sure . . . .
Vocabulary Builder, pages 80-81
GRM
22
PAST SIMPLE
PAST CONTINUOUS

Read the exampl es and answer the questi ons.
a. Fowler climbed an followed AusabiL.
b. At 70 o c was waiting or the report
c. As he was speaking A usable closed the door.
d. AUSOI le a Fo cler were sitting in the hate/ lobby.
e W le re waiter was knocking on the door A usable
was talking to Max.
1 . Whi ch sentence tal ks about . . . ?
1. a n incompl ete action mterrupted by another
action c
2. two incompl ete act1 011s 1 n progress at the
same time 1 n the past
3. an incompl ete action m progress at a spec1 fic
time m the past t
.a description of a scene D
5. a compl eted action in the past l
2. Whi ch tense/s is/are used for each of the
uses above?
3. Compl ete the rul es.
1. We use verb + HO H to form the Past Simpl e
for regul ar verbs.
2. We use H H. + verb + . H. to form the
Past Continuous.
PAST PERFECT SIMPLE
1 . Read the exampl e and answer the questi ons.

Fov1e felt JfiU' <cu uccuu.Sc had expected
more
1. Which verb is in tre Pa.t Perect Simpl e?
2. Which action happened 'irstl
2. Compl ete the rul e.
We use ........ .. + the past partic pi e to form the
Past Perfect Simpl e.
El bombero se quem6 l as manos mi entra s sa l vaba a
u n n i f o.
he f enghter burnt his hands while he was saving a
child. .
NOT The fref1qhter burnt h1s hands while he saved a
child X
1 . Compl ete each sentence with a sui tabl e
verb bel ow. Use the Past Si mpl e or Past
Conti nuous.
arri ve cal l not tal k not fi ni sh
wash
1. Te~ele' ' a:ley H . tew dow:
2. We leac0 a.e. `
3. I wa: geII g eadylo ced wea a ~e.
4. al :ea ce.a0:e ewa:'I 0gy.
5. Wyweeyo0 :le gÌ H Ioyo0 '
Z. Compl ete the sentences with the verbs
i n brackets. Use the Past Si mpl e or Past
Conti nuous.
1. Al ce ,oI.e)lala :lage ,lo ' ow)
e
2. Wal yo0 . H H ,: g) w eyo0 ,ave)
a :owe`
3. Teewa:a olol o :e a:l glwe
I . . . . .. . . ,.a' ' ) yo0. WaI . H yo0 - ,do)`
4. Telea.e .H ,ex a ) Ie0 e:we
:oeoe.H , le0l)
5. J 0 a> . ..,a ve)a: we H , ave) d e
6. cveyoe H . H ,: ee)we:0dde y :oeoe
, <o. <)oIedoo.
3. Choose the correct answer.
1 . Bylel eley.a~eloa e:I ~, e
a l ready escaped I had a l ready escaped.
2 . Telo~aloe: cegalogow:ooalIewe
pl anted I had pl anted Ie.
J wa: :oyIal was I had been :o ~aI el
ea ' e
4. We had fi ni shed I fi ni shed leoc, :owe
. eaed 0.
5. e ael:ad'elIceloe:ewoke up I
had woken up.
6. ' ge' weloece.a0:eeforgot I
had forgotten : coo<:
7. Ca aadeve:ee a.a va' Jl ' :e
vi si ted I had vi si ted Baz .
S Te a:lIa ad elIcyleI ~e:ereached I
had reached le:lal o
4. Compl ete the sentences with the verbs i n
brackets. Use the Past Si mpl e or Past Perfect
Si mpl e.
'e0e (eCJe
\
I'e aege aI!e
!e |n ( <)
: e . ( O! ave)ay0OeybelOe ne
(e! e)
3 \e ( O!be' eve)I'aI!'eC' d (va <)
OIaby n 0e' I
\'e I ve!IO !'eCa|a<, I .. (ee)!'aI
OeOe - - .- (Iea ) yCa|
.u yOJ |.
(0a<e) a aO I0e!beIOe
yOu . .. (gO) !Oee ne|
|'ey . . ( a eady geI OlI)!'ebuvne!ney
. (|ea e)Ineyve|e Inev|Og ' aCe.
.
\agg e. (be) JeIbeCaue 'e ( Oe)
'e ea|| g.
e . ( O! a)IneexabeCaue 'e
(OI |ea|e)
Write sentences usi ng the words bel ow. Use

the Past Si mpl e, Past Conti nuous or Past
Perfect Si mpl e.
.au|aI la ' a' eeI 'eI vaIC'T I vn e
c zabe!'I eCOg e Ad|evI 'eI 0ee! n 0I

a!a a|!yI beCaue
|'eyI d veIO!'eal|O|!I I'e Ca|I

o|ea<dOvI v'e
.
1'enOvI beg I veI a| veI byI'e! 0e
cav dI ead !neevaeI
' C' ' d|eI gO IObed I aIIe|
.
aI I I ' eave!'enOueI Ou|dOgI
uOuIOII'edOO|
.
e I aC<I n oagI eaveI
!nenOueI ad
3 1neyI CaICn I I'eyI 'eI
eIe|I ee0yIeIO|yI aI!e|
6. Write an answer for each questi on. Write
complete sentences. Use the words in brackets
and the Past Conti nuous or Past Perfect
Si mpl e.
\'yd d IneCn dIa|!IOCy( 'J|I n <ee)
2 \ne d dJ ua ' ea cg' '(I|ave' )
3. \nyd d J OnIee' ' ' (eaIIOO 0JCn)
\nyd dnenaveaaCC de!(d veIOOIaI)
: \ned dIne y deI|OyIne dOCu0e! (aI!eI
0e0O e I)
. \'e d d yOu nave< g' eO(Iay
! 'eA )
Unit 2
7. Complete the sentences in a l ogi cal way. Use
the Past Si mpl e, Past Conti nuous or
Past Perfect Si mpl e.
. HyIne! eJOyCe gOIIOC'OO' , . .
2 1neba<eIba' ' ' aye|le ane .
3 . A' ava|e' ax g n |OO0vne .
4. |nebOy aO' Og edbeCaJe ne .
5. 'IIa|!edIO |a v' ' e .
6. Sa0 va eaed aIIe| 'e . . .
8. Compl ete the passage with the verbs i n
brackets. Use the Past Si mple, Past Conti nuous
or Past Perfect Simpl e. Then l i sten and check
your answers.
Shark expert Or Eri ch Ritter bel i eved that sharks
were not as dangerous as most peopl e thought.
I n 2002, he =. -= -- (travel ) to the Bahamas to
prove his theory. There were many sharks i n the
area, and Or Ritter 2

. ... . (put) pi eces of fish i n the
water in order to attract them. He wanted to show
that they woul d pay no attention to hi m if he kept
cal m. He . .+. = (do) this experiment many ti mes
before, but thi s ti me somethi ng went wrong.
A l arge shark .~=.. (chase) another fish when it
swam towards Or Ritter and .. . .
(attack) hi m. Accordi ng to other
sci entists, Or Ritter ...... (often take)
great risks in order to prove his theories
and they . +. .= (not be) surpri sed by the
acci dent. Luckily, Or Ritter 8 .. .=~. (survive) the
attack. He later sai d he i ntended to conti nue
hi s work.
Sharks kill fewer than
20 people a year.
Grammar Review
1 2 3 4 5 6 7 8 9
9. Rewrite the fol lowi ng sentences usi ng the
words i n brackets. Do not change the ori ginal
meaning.
' !Ia|IedIO |a Ine dd' eOI Ou| C C
(vn ' e)
2. \elOuda beIIe|l a!|'eve Oved (al!e)
3 . S'eI neda' ' InevO|< |ne neCaeIO ne'
ne| (by!'eI e)
4. I ' a IO' eave a vee< (' eav g)
5. I dO'! IeIOC' a Ca' J Ca! a' ' ( eve|)
E xtra g ra mma r exe rc i se s a t :
.0 u rlng| on 0ooI s . ts/t:to i nts1

SKILLS
LISTENING
A CONVERSATION
1 . The fol lowi ng jobs are consi dered to be some of the most dangerous i n the worl d.
Why do you thi nk each job i s dangerous?
constructi on worker fi refi ghter
pol i ce officer pi lot
secret agent I spy
war correspondent
taxi dri ver pi zza del i verer mi ner
READ CAREFULLY - When you have t o answer mu l ti ple-choice questi ons, al ways
read a l l the opti ons carefu l l y before you l i sten. Some opti ons may not use exactl y the same
words as the passage, so l i sten careful l y for al ternati ve expressi ons, synonyms and opposi tes.
Z. Two students, El l i e and Chris, are di scussi ng
one of the jobs above. Listen to the first
part of the conversation and choose the
correct conti nuation for each sentence.
c' e do g ~ed a l0d e ce.a0e
a lo0d <el0
c. l'aeay.o0e
. . lw ' e' e e .aee
d. ead~ eleIea. e
2. C . .
a wo0 d <e lo ce a wa.oeodel
c. l < c' ' e' dea good
.. a eadaco0Iwa.oeodeI
d. I < c' ' e a< ga ~ Ia<e
3. A..od gIo Ie oga~e, wa
.o eodel . . .
a ae ae' yolal
c. ae .oIaIdage
.. ae 00a' ' yo d e
d. layce dIeloI' e
3. El l i e and Chri s see each other a few weeks
l ater. Listen to thei r conversation and
compl ete the sentences usi ng 1 -4 words.
1 . Te.oeodelce eve
e ' 0. <y
2. So~el ~ele.oeodeIdoe
ol. . . . loa wee<.
3. c eeoyo0la c < gce.a0e
e <e' v g
4. C ce' eve . .. .. .a'l ce.o~aed
lo ~o0la c < g.
5. Wa.oeodelwaIeo' eIo
<ow ow
If you had to choose a job from those l i sted i n
Exercise 1 , what woul d i t be? Why?
WEB EXTRA Find out about other dangerous jobs at: uuu0non0ooscscuonI
SPEAKING
TALKING ABOUT A PICTURE
1 . Look at the picture and describe
what you see.
Match each question about the picture with a
sui tabl e response. Then practise the dialogue
wi th a partner.
Question
WaI :edo g`
.
Wy : e do g l`
. WaI': dageo0:aco0l l`
.
Wal< d ole:oP do yo0 I <e :`
. owwo0 dyo0lee' l :: l0al o `
Response
= I suppose e': a vel, :o I: : oc
-
Maybe Iel gew ' ' wa<e 0 adaIIac< m.
-
I ' d be veyl gleed ' dobac y:cea~'
-
l t l ooks l i ke e':la< gcae ola l ge':Ieel .
+ He's probabl y vey cave.
3. Wi th a partner, choose a picture bel ow.
Describe the picture, then ask and answer
the questi ons in Exercise 2. Use the
expressi ons in colour in your conversati on.
1
When you want to add more i nformati on or add
a nother poi nt to what you've j ust sai d, use the
fol l owi ng expressi ons:
And another thi ng, . . .
What' s more, . . .
Pl us the fact that . . .
And besi des, . . .
Uni t 2
25
WRITING
A Narrative
1 . Read the narrative bel ow. Wi l l the writer ever go on a banana boat agai n?
I08IN4kI N46444
Last summer, I went on holiday with my friends Lily and Jack. One day, we were
standing on the beach, watching people fly across the water on a banana boat - a long
yellow rubber boat pulled by a speedboat. It looked like such a great thrill that we
decided to try i t.
I held on as tightly as I could. Then, as the speedboat was making a sharp turn, the
banana ti pped over and we all fell into the water. Laughing, I looked around for my
friends. Suddenly I saw that Lily had blood all over her face. Jack and I swam
towards her to see what had happened. I felt quite panicky.
By this time, the driver had noticed what was going on, and came back
to help. We took Lily to hospital as soon as we got to shore. Later, we were told
that she had a broken nose from hitting the water so hard, but luckily she hadn' t
been seriously injured!
,
A lot of people enjoy banana boats, but I ' m not brave enough to try one again.
The funny thing is that Lily still loves them!
2. Fi nd the answer to each question in the narrative.
! Wowa: vo ved Ie:Ioy`
2. Wee dd Ie:!oyIa<e ace`
3. We d dIe:!o|y!a<e' ace`
4. Wa!l g!e gI dage|o0:I g aeed`
5. owd d!ecaacIe|:|eacIIo!e c deI`
6. owd dIe:Io|yed`
CONNECTORS OF SEQUENCE
AND TIME EXPRESSIONS
We use connectors of sequence to hel p ma ke the
order of events cl ear. Time expressions describe
when things happen .
|q0u|6e,paqe1 49
3. Look at the connectors of sequence and ti me
expressi ons bel ow and fi nd four of them i n
the model .
Begi nni ng the story: teceg gI a!l :I
Conti nui ng the story: ccloeI alIe|I exII ' a!eI
weI IeI a: :ooa:
New el ements to the story: :0dde' yI a' ola
:0dde
Events occurri ng at the same ti me: w ' eI a:I
d0| g
E ndi+g: eveI0a' ' yI aI' a:II !eedI l a' y
4. Use connectors of sequence to complete the
story. There may be more than one suitabl e
answer.
A HUNGRY BEAR
Two yea:ago, wewe!ca g Ieo0Ia :
OealIe|oo, .. .. wewe|e |ea| gd e|
ovea cal e, we:awa cea|wa!c g 0:l|o
aco0I a 0ded e!e:away. We go|ed I,
o g IwoJ' dgoaway, c0I Icega!owa' <
!owad:0: ' we|ea :edIaIwewee
dage|,weI| edIoemecewaI!ea| <age|
ad!o d 0: 3 . we:o0Ied adwaved o0
a| : Iea | :oIecea|wo0 d! <wewe|e
' a|gea a' : 4 . . . . . , wecega!o cac<away
:' ow' y oI0a!e' y, !e cead dI
lo' ' ow 0: - e wa: !oo
Ie|e:!ed o0 d e '
5

. we|e!0|ed, we
lo0d!eewa:olood
elI lo| 0: 6 . , uwa:
wo! :: ga ea
lo|Ieexe| eceol
ce g:o ea|a cea| '
1e
e
:.
e|
I
During is fol l owed by a noun to state when somethi ng
ha ppens.
;ent camping during our summer holiday.
For is fol l owed by a peri od of ti me to descri be how long
someth i ng goes on.
ent camping for two weeks.
5. Write the story in the correct order.
Use the connectors of sequence to hel p you.
Then I el!!ee:!a0|a! ad go! !o!ecac<
ol!eca
-
As we eaced!edoool!ee:!a0a!, suddenl y
eeceed!a!I ad el!ycoa!oyca .
-
Before co0' d:ay awod, !eceoc e !elo!
:ea!!0edao0d ad cega:cea ga!e
] .ced o0!a:la:!a: co0 d '
-
Later, I |ea :ed!a!!ey ad cocac ycee .:ta:
g!eed a: wa:.
y 0, ~yco!e|adI we!o0!!o d e
one eveni ng.
-
As soon as adc' o:ed!ecadoo,
ea :ed:oe! gwa: wog. I adgo!
1 o!ewogca '
.
'| ey co! 0edwa < g !o!ecawhi l e I
e!cac<!oge!ycoa!.
-
After we adl :edea! g, we go! 0c !o eave
- Rewrite the fol l owi ng sentences usi ng the
connectors and ti me expressi ons i n brackets.
Make any necessary changes.
'e c de!acceedw eweweeo

o day , d0 g)
.
|:!we!oo<ollo0 :oe:. Tewec' cedo!o
e caaacoa! ,al!e|)
&
.a!a' ele !ce!!eal!e|a lewwe| ,eve!Ja y)
.
e ad:!a|!ed coo< g!eea!celoewe:aw
e cea. ,!e)
-
Our l ed:l a ycae!o c g 0:lood ,a! a:!)
-
Compl ete the sentences in a l ogi cal way.
t! |stevey! gwa: l e, cJ!!e
-
. awa: : !! g !ea co!we
s uddenl y
.
vo ceoc eweecad' y 0edwhen

: e adde:!|oyed!edoc0~e!before
e ! <ewe adwa !edloo0:. F i nal l y, . . .
Unit 2
Your Task
Write a narrative about a dangerous or
fri ghteni ng experi ence. Use 1 00-1 50 words.
WRITING YOUR NARRATIVE
1 . Brai nstorm your narrative.
Thi nk of somethi ng fri ghteni ng or
dangerous that happened to you or to
someone you know: an accident, a travel
experience or getti ng lost, for exampl e.
If you can't thi nk of somethi ng real ,
make up a story.
'
Thi nk about the fol l owi ng questi ons:
Wowa: vo' ved !e:!oy`
- Wee adwed d !!a<ec' ace`
Wa:acceed!a!wa:l g!e g o|
dageo0:`
owd d:eca ac!e: eac:!o!e
dage`
- Wa!wee!ecaac!e:do g`
ow d d!ecaac!e:lee `
d! e:!o|yedacc ' yo|o!`
2. Organi se your i deas. Use the model on
page Zb and the pl an below to hel p you.
PLAN
Openi ng: e:c cewee adwe!e
:!oy!a<e:c acead !|od0ce
!eca|ac!e|:.
Body: e:c ce !e eve!: !e:!o|y
ad ow!e caac!e:le' !
Cl osi ng: e:c| ceow!e:!o|yeded.
Then write a fi nal draft.
CHECKLIST
/ {:||:etle|{:ct1 :cotie.
/
uc ::t:c: :{:uee<
timece.:i:<s.
/ chck3rf11r :e||iq u
u+tuti::.
5K!LL5

451
TASK QUESTIONS
USING A DICTI ONARY
You are goi ng to practise some basi c di cti onary ski l l s. Look at the di cti onary
extracts and abbrevi ati on key. Then answer the Task Questi ons bel ow.
Abbreviati on Key
Bri ti sh Engl i sh
preposi tion
adverb
verb
pl ural
Ameri can Engl i sh
adjective
noun
C
a
t +
b
bear /be;/ (bears, bearing, bore, borne)
ver
b
. 1 . to carry or hol d: All the c
_ men
b
ore guns.
2. to be abl e to tol erate:
e
Can you bear the pain?
noun. a l arge, strong wi l d ani mal . -d
fi gure /'fig;/ noun ( pi . fi gures)
noun 1. a number, especi al l y in statistics: Figures show that one in
every two marriages ends in divorce.
2. the shape of the human body: She has a very attractive figure.
3. a person that you cannot see clearly: We noticed a tall figure
standing near the window
verb to cal culate an amount: We figure there were about 1 0, 000
people at the concert .
1 . Headwords are the words at the top of the di cti onary page, showi ng the fi rst and l ast words on that
page. Look at the headwords i n A above. Whi ch of the fol lowi ng words woul d you fi nd on the page?
figure fickle fifh fidget
2. Di cti onaries often use abbrevi ati ons. Look at 8 above and match each abbrevi ati on bel ow to its meani ng.
n. v. AmE BrE pi . adj. adv. prep.
3. it's i mportant to understand the structure of a di cti onary entry. Match each part of the
entry in C above with its l abel bel ow.
exampl e sentence phonetic spel l i ng part of speech defi ni ti on other forms of the word
4. How many parts of speech does entry C above show for bear?
5. Whi ch i s the correct part of speech and defi ni ti on for bear i n the context of the fol l owi ng sentence?
I co0 d !cea IowaIcIe |!0gg' e
b. Whi ch defi ni ti on of figure i n D above fits the context of the fol l owi ng sentence?
I co0 dee!wol g0e!0gg' g 'oco!o ol!eg0.
USE YOUR SKI LLS
Read the extract bel ow. Look up the meani ng of the words in bol d. Whi ch i s a
phrasal verb?
From where I stood. I could see the two figures in a l i fe-and-death struggle for the
control of a si ngle gun. It was clasped in their hands. hi gh above thei r heads. As I
came closer. I could see the strain on thei r faces.
I could hardly bear to watch. Then suddenly, Taylor slammed hi s elbow i nto
da Si lva 's stomach and bent his arm up behi nd his back. The gun went tl yi ng across
the snow. But da Si lva did not give up.
PHRASAL VERBS
Meani ngs of phrasal
verbs are usu a l l y g i ven
at the end of the entry
for the verb.
19.
n
y

Go for It!
|nit0I]ccti\cs
* Sport and Achievement
* Presen t Perfect Si mple I Past Si mpl e
` Li st ening to a Radio I nt ervi ew
* Exchangi n g Int'ormation
* Wri t i ng a Bi ography
' L!'c Ski l l s: Booking Tickets Onl i ne
Read the statements below. Which one best reflects your attitude to life?
a ca e' ax, ceca0e <owIa!wodel0 I gw ace!o e y le
c a 0e !a! l !y ad eo0g, w ceac e!o ac eve y goa
c 'o a!!eowa|d I !y, wo !ac eve ygoa
. Li sten to the song and read the lyri cs. Whi ch of the statements above is the best
summary of the song's message?
co0Ao
y
m Cleiqh Ptr
- c|nndnenmc|n/nghn55l|egn,
nl/cl/dennd/ l0ch me5n
Onlnn/ll05ln|lmednl0dnq.
.8|e mn|e|l0t|Scnme|cod onc'
. /:tr|qll |/n:lend
~cnl/elnll/nggel/n mq nnq.
e|e55cmchl5ee,qenh
: n//he|ejc|me,qenh
: |end q, nc|/d, cn5ehe|e/ccme.
rs
I U1 dcnnqll/ng,
- llnllnnnll, ncll/ng/cnnldc.
Ondcnnqll/ng,
0 cnecnn le//menc.
!Y dcnnqU1/ng,
0m/ngcnn5l]me,gchendnndnnlchme.
5e/|e//e.e,qenh,/|e//e.e/nme,
d/cnndcnnqll/ng.
ec]/ele//me/|enchlch/gh,
///ne.e||ncn/]/ne.e|lrq.
ll5///e /mn/|endqc[meg|cnd.
ll5 mq //jennd/l5 ]l0me,
/ |ncn mnl/m/n lled|/.e|55enj
;chc/dcn hlnnd/ //|c//llen/ndcn5dcnn.
|ee/llnln/nd|lcn/n,
Lcnl|ncnnhe|e/ mgc/n
rl//cnl n///j/ndmqnnq.
cners
/mnqjn//n/cnglle nnq,
-nd|}lle 0ne5gell0gh,
/cll/ng5gcnnn/ee]medcnn,
/ //gel|nc/] .
is ||c/cnt nocqnot/now
nl'nstre>
rl /j/ mlcnjro/dlj/q, / |ncn///
ne.e|5cnr
cners{repeatm/ce)
Do you think that a positive attitude is hel pful in achieving difficult goal s?
What el se is needed to achieve difficul t goal s?
WEB EXTRA
Find out about a sports team that overcame an unusual chall enge at:
.0urhng|oi|0ooks.ts/|to| i| |sI

1 . :!o 0:ad :coac c' a ed !a!.
a O:ca adove|coe Jged :adva!age:
30
mean.
ac e-cod ed c ade: ovecoe
ove|!0 :cace-age
IDENTIFYING THE MAIN IDEA
Readi ng the fi rst sentence of a par agra p h can
h el p i denti fy the ma i n i dea. I denti fyi ng the ma i n
i dea of each par agraph wi l l h el p you understand
the !cx!.
2. Read the first sentence of each paragraph in
the text. I n whi ch paragraph do you thi nk you
wi l l fi nd the fol l owi ng i nformati on?
:!o| 0: ea| y le 2
2. Teea:o lo!e AA:dec : o
3. :!o 0: |eac! o!o!e AA: dec : oS
4. A !|od0c! o!o O:ca :!o| 0:
5. Tel a ved c! b
3. Read the text and check your answers to
Exercise 2.
4. Answer the questi ons.
Wa! :00:0a aco0!O:ca :!o| J:`
2 Wyd d :!o 0:ce eve e:o0 dcea' owed
!ococe!e !e O yc c:`
3. Wa!d d!e' AAdec de`
4. Wyd d!eya<e! :dec : o`
5. Accod g!o :!o 0: ad :coac, wa!
a<e: :0cce::l0' `
6. Wy : !ewod ironically 0:ed e 33?
c !eCee!a:weece!!e!a ' eg:
c. !wo0 dce!ood ll c0 !lo !ococe!e
a!Be g
d. :ca:ewo0 d:e! a cecede!
2. :!o 0:d d o!coce!ea!Be g ceca0:e
a. !e AAwo0' do!a ow !
c. ewa:d :ac ed
c ed do! 0la:!eo0g
d !eCASwo0' do!a ' owit
3. Accod g!o!e!ex!, :!o| 0: ca:e a: ade
ceoc e. . . .
b.
1 .
2
3.
4.
5.
a. wa!Cee!a: :!eadol ea' eg:
c wode|ow0c !eco ogy:o0 d ce
0:ed :co!
c a:<we!ed :ac' edadac' e-cod ed
a! e!e::o0 dcoce!e!oge!e
d. cage!e | d:aco0!d :ac' eda!' e!e:
Find words in the text that mean:
ac evee!,ca|agac 1)
ce:!, lo|eo:!,caagac3) -.
ocole:: oa' ,caag|ac3)
gea!e!a o|a' ,caagac5)
''
cove, caagac 6)
I n your opi ni on, shoul d Oscar Pistori us be
al lowed to compete at the next Ol ympi cs?
Why or why not?
F ind out about some strange sports at:
WEB EXTRA
uuu. 0urliiigroii0ooIs. cs{iiciioiiirsI
t.
|
LmLF
` ` L
Oscar Pi storius can run faster than almost anyone on earth, whi ch is
quite an amazing accompl i shment when you consi der the fact that he
has no legs. A doubl e amputee and a worl d-class spri nter, he has forced
the athletics world to deal with some di ffi cul t questi ons.
5
Pi stori us was born in South Africa in 1 986. At the age of 1 1 months,
both hi s l egs were amputated bel ow the knee because of a bi rth defect.
Despite this devastati ng di sabi l ity, he became an athlete at a young age,
competi ng with abl e-bodi ed boys i n rugby, water pol o, wrestl i ng and
tenni s. I n 2004, he took up runni ng and has never l ooked back.
I
10 Pistorius won a gol d medal at the 2004 Paralympics i n Athens,
but he wanted to compete i n the Ol ympi c Games i n Beij i ng i n
2008. After al l , hi s ti mes were as good as those of many top,
abl e-bodi ed runners. However, the I nternational Amateur Athletic
Associati on, the IMF, ruled against hi s request.
15
The reason for the I MF's decision was Pistori us' hi gh-tech
prostheti cs, called Cheetahs - a pair of J-shaped bl ades
especi all y desi gned for runni ng. Accordi ng to the I MF, the
Cheetahs make Pi stori us tal l er and l engthen hi s stride, gi vi ng
hi m an unfair advantage. They al so feared that Pistori us'
20 case woul d set a precedent , openi ng the way for al l sorts
of robotic enhancements i n spor. They even raised the
questi on of whether, i n the future, athl etes mi ght seek an
advantage by replacing healthy l i mbs with artificial ones.
Pi stori us and hi s coach appealed the deci si on, poi nti ng out
25 the di sadvantages created by the Cheetahs. They also remi nded the
world of the obvious - that onl y through superhuman determination
and wi l lpower had Pistorius overcome such di fficult ci rcumstances.
"I trai n harder than other guys, eat better, sleep better and wake up
thi nki ng about athleti cs, " said Pi stori us. "I thi nk that's probably why
30 I ' m a bi t of an excepti on. "
The deci si on of the IMF was overturned by the Court of
Arbitration for Sport, the CAS, maki ng Pi stori us el i gi bl e to compete
at Beij i ng. I roni call y, he failed to meet the requi red qualifying ti me
for the 400-metre sprint , so he coul d not joi n the South African
35 Ol ympi c team. However, Pi stori us i s still determi ned to compete
against abl e-bodi ed athletes. Meanwhi l e, his story has raised
many issues concerni ng technology i n sport. Today's athletes use
everythi ng from space-age swi msui ts to oxygen tents i n order to
enhance thei r performance. As science advances, what wi ll be
40 allowed and what wi l l not?
False friends
according to ( l i ne 1 7) means segun not acordando a
determined ( l i ne 35) means decidido not determinado
Unit 3
VOCAULAY
Words from the Text
1 . Are the statements true or fal se? Pay
attention to the words in col our. Correct the
fal se statements.
1 . ' lyoJ a<e a request, yoJ a:<lo|:oeI g.
2 . As Ieco ogyadvances, M4 aye|:a|e
ceco gc gge|.
3. You can get your l i cence if you fa| | your dri vi ng
Ie:I.
4. lyoJseek :oeI g, yoJ aveloJd I.
5. W ga go' deda' :a geaI
accompl i shment .
G. ' lyoJ l engthen yoJ|IoJ:e|:, yoJ a<eIe
:oIe|
7 . ' lyoJtake up a :o|I,yoJ |e ewaI I.
S. ' IwoJ' d ceunfa i r lyoJ Ieace|:cedJ' ed
I|eeexa: oeday.
2. Compl ete the sentences with the words
below.
devastati ng di sabi l ity l i mbs
superhuman wi l l power
! . Te:| Ie|aaIa a' o:I :eed.
2 . Teew:olIeacc deIwa: . . . Wewe|e
a' ' :oc<ed.
3. . zi s deal, cJIe . doe:I :Io el|o
do gwaIeve :ewaI:.
4 ' IIa<e:a ' oIol - . Io:Iayoa d eI
5. Te:Jvvo|: ad | J| e:IoIe | owe|
3. Read the sentences i n I . Then match the verbs
in colour to thei r defi ni ti ons i n 1 1 .
1 . ' waIedIogeIl I,:o dec dedIoj oi n y' oca
gy.
2 . Maxpoi nted out IaISJewa: Ie JIe:
' aIe.
3. Wyd dIeCASoverturn IeI AAF's dec : o`
4 SoeaI' eIe:Ia<edJg:Ioenhance Ie
e|lo|ace.
5. Tegove|eII| edIodeal wi th Iec| : :.
1 1
a. a<e:oeoeawa|eola lacI
c |eve:ea |ev oJ:dec : o o ' aw
c. Ia<eacI oIo:o vea |oc' e
d. ove, a<e ceIIe
e. cecoea ece ola g|oJ
VERB COLLOCATIONS
Some verbs a re commonl y u sed wi th certai n
nouns. These combi nati ons a re cal l ed
col l ocati ons.
Pistorius won o medal at the 2004 Paralympics.
His story has raised issues concering technology
in sport.
They feared that Pistorius' case would set a precedent.
4. Which of the nouns can be used to form
col l ocations with the verbs in col our?
! . wi n -
a eda' , a | ze, a a|Iy, a aIc, aa|gJeI,
a coeI I o, a wa|, aoc:Iac' e
2 . rai se -
a ::Je, a qJe:I o, a e coIe|, a :a' a|y, a l ag,
a ea , a cJ ' d g, a a
3. set -
a :I, a ecedeI, a Iac' e, a ecod, a a a|,
a docJeI, a daIe
5. Compl ete the sentences with col l ocations
from Exercise 4. Make any necessary changes.
! owd dyoJ cov ceyoJ|co::Io . yoJ
`
2 . Tela:weede' gIedweIe |Iea
Ie l a
3. d M cae' e' : e gIgo'd aIIe
Be| gO y c:`
4 'eI: Ie .. . lo G 00a.
5. W ccoJI|y . . Ie . . . olIeRo:e:
! 4S5`
G. OJ| IeacewoI eIay:IJdeI aIe. Se:
al|a d Iw ' ... .. a
7 . ' lyoJ I < I: o|IaI, yoJ :oJ' d IaI
. aIIe exI :coo' eeI g.
S. g Je Jav eSoIoayo .. . a ewwod
aI2 . 45eIe: 1 993.
Javier Sotomayor, world record holder since 1 993
)
,
SPORT AND ACHIEVEMENT
1 . Name two . . . .
!yce:ola!' eI c:equi pment
:coI:champi ons
3. awards :coI
:coI:!aIdeada o!olstrength
5 :coI: !aIdeada o! olendura nce
-
:coI: !aIdeada o! olspeed
way: !o c|ovea! e! cperformance

2. Replace the words i n bold with the words and
expressi ons below.
chal l enge broke a record tra i ni ng
defeat struggl ed beat an opponent
overcame achi eve a goal
! !a<e:a oIolpracti ce Io eagy~a:I c:
.
oe, ea g!o d ve wa: a di ffi cul t thi ng
to do.
tri ed very hard !odea' w ! y d :ac ! e:

Tegoa olco~ce! ! ve:co|!: : Iowi n agai nst
another person or team.
. Te g| 0ce performed better than any
previ ous athl ete.
.
Tegya:!wa: 0ed, c0!:esucceeded
i n dea l i ng wi th !eca .
.
TeIea: l oss wa: d :acco ! g
+ !!a<e:w ' cowe|!oaccompl i sh what you want.
O' 0VS
An i di om i s a n expressi on
+Ican' t be transl ated word-for-word i n a nother
"guage. keep your eye on the ball means be alert
3. Choose the correct meani ng of each i di om.
!: a c IyIa!ethrew i n the towel al!ea
lewd :acco !~e!:. (kept tryi ng I gave up)
ve doeal i i can. The bal l 's i n your court

ow ( l et's work together I it's your turn to act)
3 Yo0 ea ' y :0' Ied . Ta!wa: h itti ng bel ow
the belt. (funny I cruel )
oIwo||y, yo0 ' :ool earn the ropes aI
yo0 ew| oc. ( understand how thi ngs work I
become popul ar)
. ' !: 0c<y e had a head star o e wo0 dI
avel :edo I ~e. (thought careful l y I
started before the others)
4. Whi ch sport do you thi nk each i diom i n
Exercise 3 comes from?
sai l i ng boxi ng tenni s horse raci ng
achi eve performance defeat
speed trai ni ng endurance
beati ng competiti on
When you watch athletes at a
you see them doing incredible gymnastics
or skiing downhill at superhuman
What you don't see is all the work that's going
on inside their heads. Today, athletes know that
mental . . . . . is just as important as . . . . . . . . . to
build physical strength. The right state of mind
Unit 3
can mean the difference between victory and
Sports psychologists teach athletes positive thinking
and visualisation - to see and feel themselves 6

.
their opponents and winning a medal. Many even
use hypnosis. Athletes are also taught to focus on the
goal they want to . . . . . ... , rather than on the mistakes
they are afraid of making. These mental training
techniques have been shown to improve 8
tremendous! y.
for you.
1 . ' Iwo0 dIa<ea oIolwillpower lo
~eIo . . .
2. 'wo0 d <eIo take up
3 . 'l wee a a~eI, ' wo0 draise the
issue ol . . . .
4 Oed ll c0IyIaI' ave overcome :
5. \yg|ea!e:!accomplishment :
Vcabulary Builder, pages 82-83
KN
a. Pistorius started running in 2004.
b. His story has raised many issues.
c. He hasn't qualified for the Olympics yet.
1 . Whi ch sentences descri be . . . ?
1 . a n a cti on jsi tuati on that took pl ace at a n
u nspeci fi ed t i me i n the past a nd conti n ues
u nt i l the present
2. an a cti on that took pl ace at an u nspeci fi ed
t i me i n the past a nd i s rel evan t to the present
3. a compl eted a cti on t hat took pl ace at a
speci fi c t i me i n the past
2. Whi ch tense is used for each of the uses
above?
We use .. . or . . + t he past parti ci pl e
t o for m the Present Perfect Si mpl e.
4. Whi ch of the ti me expressi ons bel ow are
used wi th the Present Perfect Si mpl e and
whi ch are used wi th the Past Si mpl e?
a 'ready then
si nce l atel y
j ust
yesterday
for
yet
l ast year
so far
u nt i l
a month ago
recentl y
ever
never
a l ways
sti l l
Pi stori us qu i ere competi r e n l a s ol i mpi adas desde
que era u n ni no.
Pistorius has wonted to compete in the Olympics
since he was a child. .
NOT Pistorius wants to compete in the Olympics
since he was a child. X
1 . Complete the sentences with the verbs i n
brackets. Use the Present Perfect Si mpl e.
1. O0!ea , o!w ) a a!c !wo o!:'
2. . . . yo0 ,evec ay)!e :
3. ca! g veyo0!ecoo< ,a eadyg ve) !
!oey
4. To ad ,<ow)eaco!elo|l veyea:
5 \yo!e| ,a'way: ce) gooda!a|!
G . . . . a0 ,!a<e)!edoglo a wa <ye!`
7 . - , o!:ee)aygoodl ' :|ece!y.
S C a e ,dec de)!o:!0dyed c e
2. Complete each sentence with a suitabl e ti me
expression bel ow.
then never l ast summer yet
si nce j ust ever for
! Ta!:!ece:! o<e ve ea|d
2 . ' ve ! eddeec:ea d v g ' : !l| g!e g`
3. We ada e:!ad we!o0!lo| d e|
4. \y::!e|a:!ceg0 e|:w g'e::o:
5 e a:wo|<ed e|e . . . . 200G
G A aa caa!' e!ec|o<e!ewo d
ecod
7. Te!a a: e!eed !e:!a! o.
S. ve ved a : !e yea:
brackets. Use the Present Perfect Si mpl e or
Past Si mpl e.
1 . Ralae 'ada ,ave) :l :!!e :' e::o
we ewa:!ee
2 . ! ,|a ) a o!! :yea|`
3 . . . yo0 ,:ee)aygood a!ce: ' a!e y`
4 :!o 0: ,:!|0gg' e)!o ge! !o!e200S
Be gO yc c:
5 ' - - ,exc' a ) I :!oyo0:eve|a' ! e:
G ! ,a ) ' a:! g!`
7. We ,o!ode) o0|ea' ye!
S. Gea \eg0a' , ove):yc|o :ed
:w g : ce:ewa:a c d
Gemma Mengua/, silver medal/i
Beijing 2008
; !
llist
4. Compl ete each sentence with a suitabl e verb
bel ow. Use the Past Si mpl e or Present Perfect
Si mpl e.
:
wi n not gi ve meet vi si t
not pl ay fl y hear wri te
We \ cae :c|e:e!:ye!.
2. Teca:<e!ca c aye Iwoawa|d:: cee
o ed!eIea.
3. We !e :! :o| gceca0:e I wa:
|a g
\a aeve a c ae`
. . . . . . . 0:I a !e|e:I gce|:o.
. \yg|adla!e| C a we ewa:a
yo0ga
Tey a eady aco0!!eacc de!o !e

ew:.
3 Jo .eo o:IolIeBea! e:
:og:`
=. Compl ete the i nterview with a footbal l fan.
Use the Present Perfect Si mpl e or Past Si mpl e.
ow og `
' veceea Ce' :ea:0cco|!e : ce ' wa: Ie
yea:o d
`
Ye:, I ave. ' lac!, veceeIo 'o!: olCe' :ea
gae:.
. `
'o, d d ! go Io ' a:!wee<: gae - wa: .
`
I le' !la!a:I cwe y !eawo Iec0c
`
Ye:, ' ve a |eadycoJg!! c<e!: lo|Ieex!
gae
5. Provi de a l ogi cal response for each di al ogue.
Write a complete sentence usi ng the tense i n
brackets.
' .a0a : 0c:eI. '
' Olco0|:e:e :I ' , e:e!e|lecIS c' e)
.
' a0 : a!elo|:coo' aga . '
' e cocac y ' , a:!S c' e)
. ' Yo0ve go! a gea!Ia ' '
' Ye:, ' , |e:e! elec!S c e)
' Wya|eyo0:oexc Ied` '

' ' , e:eIe|lec!S c e)
.
' o yo0 ! <we ' w ! :aIc` '
' ò!a cace. ' , e:eIe|lec!S c e)
-
' ac<' oo<:accy. '
' o! :0c| :ed ' , a:!S c e)
7. Complete the passage with the verbs i n
brackets. Use the Present Perfect Si mpl e or
Past Si mpl e. Then l i sten and check
your answers.
1 PQN
'
1 W| N
Devel opi ng countr i es (al ways be) at a
d i sadvantage i n the worl d of i nternati onal s port.
Unit 3
I n recent year s, however, the gap between r i ch and
poor cou ntri es (grow) because s port
(become) hi -tech , maki ng t rai ni ng and equi pment
extremel y expens i ve. To prepare for the Athens
Ol ympi cs i n 2 004, for exampl e, athl etes from the
worl d ' s ri ch nat i ons (trai n) i n s peci al heat
chambers . The temperat ures and h u mi di ty i n these
chambers ` ( i mi tate) the weat her condi t i ons
i n Athens , s o that the athl etes coul d get u sed
to the s ummer heat. The Ugandan boxi ng team,
however, . (not have) t he money for a heat
c hamber. I nstead, t hei r coach , Di ck Katende, .
(order) t hem to t rai n i n the s un wi th t hei r coats
on! Unfort unatel y, these di fferences l eave many
excel l ent ath l etes wi th l i ttl e c hance of wi nni ng a
medal . I nternati onal s port s organi s at i ons are aware
of the s i tuat i on, but so far they + . (not do)
enough to cor rect i t.
words in brackets. Do not change the ori gi nal
meani ng.
1 . Geoge:!a|Iedwo< geelo0 yea|:ago. ,lo)
2 . Bedoe: IeaI eaI aIa ' , eve)
3 . I wa: Ie dd eola cove|:a! ow ! y
!eaceweyo0 ca ed. ,w ' e)
4 Ae :v : I g o0|co0!ylo|Iel |:!! e
, eve)
5 Jod d !waI!o eaveceloe:ee g!e
ga|de. ,:ee)
Ext ra g ra m ma r e xe rc i se s a t :
HHN. b ur / ing| on0ooIs. cs{i i c uo : n|sI
SKILLS
LISTENING G
A RADIO INTERVIEW
1 . Look at some of the men's 1 00-metre spri nt records si nce 1 960. Why do you thi nk the
record ti mes keep i mprovi ng?
A. Hary West Germany
C. Lewi s USA
D. Bai l ey Canada
1.
M. Greene USA
T. Montgomery USA
A. Powel l Jamai ca
U. Bolt Jamai ca
2. Listen to the fi rst part of a radi o i nterview
about sport and technol ogy and compl ete the
chart below.
Swi mmer
.oca! o
Yea|
'0ce|ol
go' d eda :
Mi chael
Phel ps
Mark
Spi tz
Ti me (seconds)
Je, ! G0 ! 0. 0
SeIece|, ! SS . 2
J y, ! G . S4
JJe, ! . 7
SeIece|, 2002 . 7S
SeIece|, 2007 . 74
A0g0:I, 200S . G
3. Listen to the second part of the i nterview.
Are the fol l owi ng statements true or fal se?
! A!Be g, leweecod:wee c|o<e
:w g!a o!e|:oI:.
2. eo' e!odayae co|la:Ie|ad :I|oge|!a
Ieywee Iea:I.
f 3 . M cae' e' :wa:I!eo y:w e|!o
wea| !e '/R:w :0 !
4. Listen to the thi rd part of the i nterview and
answer the questi ons.
1 . WaIdoe: .ayaye:coa|e !e' a!e:!:oI:
eq0 e!Io`
2 WaIewIeco' ogywa:0:eda!IeMo!ea
O' y c: adwa!ellec! d d! ave`
J oe: | Ca:ea ce' eve!a!a!' eIe:Ioday
eedIeco ogyIo e|lo|we' ' `
Wyo wyoI`
I n your opi nion, i s usi ng technology i n sport
l egi ti mate? What do you thi nk the l i mits are?
:
SPEAKING
EXCHANGING INFORMATION
1 . Read the fact fi l e bel ow. Whi ch of the fol l owi ng
questi ons are answered i n the fact fi l e?
When was T e||y e|y born?
2 What is e famous for?
3 What awards a:e won?
-
What records a:e broken ?
& What's :favourite food?
What probl ems has e had adwa!a:e
doe!oove|coe!e`
-
What are :future pl ans?
2. Write two more questi ons
based on the fact fi l e.
Ask your partner to
answer your questi ons.
.:/:,..-.
:.7 - Bo| c::o e, |ace
cxe| eced |ac : a:a c d
-c4 - Bega!o ' aya!' oca' loo!ca c' 0c
er and Events
-9- Jo ed cg' :loo!ca' ' c' 0cA|:ea'
.4 - V c! ol|ac :!coe!cya |o e!
loo!ca' ' coac
- s - S!a|!ed!eStand Up Speak Up caa g
aga :! |ac : loo!ca
BecaeA|:ea' : ead ggoa -:co|e|ol
a ! e
7- S ged lo| C Ba|ce oa
s . Comgeti ti ons I Awards
m -S - Wo|' d C0 w e|': eda' a: aye|
|ec!ea, A ' aye|ol!eYea|
- :4, 2005 - c0|oeaGo' deBoo!Awa|da:
c0|oe:!ogoa' -:co|e|
.- Becae|ace:!ogoa -:co|e|ola'
! e
7 - 'aed Time agaz ea:a ' e|o ad
oee| ' lo| :a! -|ac :!ac! v :
3. Work with a partner. Ask and answer
questi ons to compl ete a fact fi l e. Use
the questi ons i n Exerci se 1 to hel p you.
Student A: Compl ete the fact fi l e on
thi s page. Student B: Complete the
fact fi l e on page 1 60.
\a|:.:\.|..,..
Early l i fe
- Bo| 'ew Zea' ad
Unit 3
Secoda|y:coo yea|: - !ea:edadc0' ed ceca0:e
ol . . . .
Early career
! S - Scoo :o|!: !eace||ecog :ed e|o!e! a' ,
eco0|aged e|!o!a<e 0 !e:o|!
! S- B|o<e ..... . . ..
Ti tl es I Competiti ons I Awards
200! - . . . ... . ...
2002 - Wo|' dJ 0 o|Ca o
2004 - A!e: y c: - l :ede g!
ceca0:e. . . . . . . . . . .
2004 - B|o<e'ew Zea adwoe: |eco|dl|o G4
. . . .. . - Wo|' d Ca o
200S- 7 . ... .... . . eda' , Be g
200S- 'ewZea adSo|!:Awa|dol!eYea|
Future Pl ans
h.
When you want your partner to repeat somethi ng,
use the fol l owi ng expressi ons:
I ' m sorry, I di dn' t get that.
Can you repeat that, pl ease?
Ptoouoc|at|ooPtact|ce,paqe 1 31
37
3 8
A Bggraphy
1 . Read the bi ography bel ow. Fi nd three facts you thi nk are i nteresting or unusual .
!all a
a da ad' ca ' aR0aoMo|eoae Ie|aI oa w d:0|l g
cac o:l|oIeCaay ' :' ad:. Te:e deI ca Iw : :Ie|:
ae wo d lao0:loIe exI|ao|d a|yIa eIad ee|gy.
Te: :Ie:we|e coo :I ecece|, 77 .a: a a:,
GaCaa a A' Io0gIeywe|ea' way:aI eI c, Ieyo' ycega
w d:0|l gaIIe' aIeageol! 7 Teyada' o:I olo|a I|a g,
ad' ea|edcy IaI goIe|: aIIelao0:w d:0|l gceacolIe
oeIow, ozo' zq0 edo
W I S oI:olIa< g0cw d:0|l g, IeR0aoMoeo:we|e
co~ceI g cole:: oa' ' y TogeIe, Iey o d 7 wo|' d I I' e:, ad avecee
wo dw d:0l gcac o:lo| eco:ec0I veyea|:. Tey lee I :
~coIaIIo c| go|ewoe Iow d:0|l g, :oIey o|ga :ea a
:0~e Ia gcac Tee| lelo|g :l o~a ove|Iewo d
TeR0aoMo|eo: :Ie|: aveco0gIa ew, v Ia' lea' ece:ece Io -
:co|IIaIa:Iad I oa' yceedo aIed cye . Tey c' aIocoI .-
2. In whi ch paragraph of the biography does the writer e e e ?
! Ia <aco0Ia daad' ca ' a: ea y' le 3 . :IcoceI I o:adI I' e:Iey avewo
2. de:c| ceIe l0I0|e c a: 4 exc a waIIeR0aoMoeo:aelao0:lo|
WORD ORDER
Engl i sh sentences fol l ow a basi c word order:
subccI
The team
Our coach
vcrb
will arrive
bought
dirccIobccI manncr|howJ i ndirccIobccI placc |whcrcJ Iimc |whcnJ
new equipment
promptly at the stadium tomorrow.
for the team last year
Ti me expressi ons can a l so come at t he begi nni ng of a statement :
Every moring, Phelps practises swimming i n the pool.
Frequency adverbs ( always, often, usually never sometimes, seldom) come before the ma i n verb or after
the verb to be. Thierry Henry usually scores a goal. His fans are seldom disappointed .
@wt|t|nq 0u|6e, paqe148
|
ee
o a
Je
eWC
Fol l owi ng some verbs, the i ndi rect obj ect can come before
he di rect obj ect. I n thi s case, the preposi ti on ( to or for )
i s omi tted.
ought a present for my boyfriend.
ought my boyfriend a present.
The second form i s preferred if the i ndi rect object is a
pronoun.
3. Copy the word order chart on page 38 i nto your
notebook. Then wri te the words of the sentences
below i n the correct col umns.
Aed| ve:e ca :' ow' yt|oJgte:teet:evey
~o| g
Sede:c| cedtecJ | d gto e celoetet|

.
ave : ~eet g :l edattecale to gt
Te:| te~ayw a go d ~eda' atte.odo
O' y c: 20! 2
5 e w|ote tat:og lo :g l ed a ote oo
1ey coJgt
a ye:te|daya ewca
c. a ew ca|ye:te|day
2 Mylate coo<ed . a:t gt
:o~e:oJloe
c. loe:o~e:oJ
3. Te:coo' ca:<etca' ' tea~ . toote|c t e:
il oltet|ave :
c tave' :olte
. My ce:tl| ed ~ . lo a :
a gave~ea T: t
c. gavea T-: |t ~e
. ' ex' a ed . . toteo' cea.
a at et yteoc e
c te|oc' e~at et' y
6. .et: :ed a ae-a
a . lo~ycoJtetooow
c. tooowlo ycoJte|
5. Arrange the words i n the correct order to form
sentences.
to:coo' I ae co~ gI owI teaet:

2 M| oe:I :' ow yI teI wa <edI dowI cy:teet
3. eI yJc' eI gaveI a:t gtI 0
4. coo<:I J:Ja yI o | day:I d e I lo|tela ' yI
ylate|
5. c ' d|eI ea: ' yI eaI J:Ja yI ew agJage:
Uni t 3
Your Task
Write a bi ography of a famous person that
you admi re. Use 1 00-1 50 words.
WRITING YOUR BIOGRAPHY
1 . Brai nstorm your bi ography.
Choose a famous person. Thi nk of
someone who is i nteresti ng or speci al i n
some way.
Use the Internet to find information. Start
by usi ng a search engi ne such as Googl e.
Look at several si tes and fi nd two or three
that contai n the i nformati on you want.
Make a l ist of the facts and i nformation
you found. Deci de whi ch facts to i ncl ude.
PLAN
Openi ng: Statewotee|:o :I wa: ad
watteya|ela~oJ:lo.
Body: W te acoJttee|:o: ea|' y
' le, caeedeve' o~et: ad
ac eveet:.
Cl osi ng: SJ~ Jtee:o:ac eveet:
' c Jdete lJtJ|e ' a: lyoJ
<owte~.
3. Write a first draft.
4. Use the checkl ist to check your work.
CHECKLI ST
. 6||6wcn lhc | n6r n b!6_rnhy.
. ncn c6rrcl w6rn 6rncr .
. ul lm !6rml!cn6nlhnfcrcl
!nf6 ny 6wnw6rna.
. chck_mnmr, ac||!g m
nul!cn.
wt|t|oq0u|6e,paqe 1 53
39
Z.
5K!LL5
BOOKI NG TI CKETS ONLINE

You are goi ng to practi se booki ng ti ckets onl i ne.
Look at the websi te screens and answer the Task Questi ons bel ow.
2.. Screen A
'
Wednesday, Chel sea - London, UK
BUY TICKETS
27th January 201 0 Mi ddl esborough Stamford
Start: 1 9: 45 Bri dge Stadi um
Sunday, Liverpool - Chelsea Liverpool, UK
BUY TICKETS
3 1 st January 201 0 Anfiel d Stadi um
25. .. .. Screen C
Start: 1 6: 00
Saturday, Chel sea - Ful ham London, UK

BUY TICKETS
^
6th February 201 0 Stamford
Your Order
Start: 1 6:00 Bri dge Stadi um
Ti cket Type:
.. L. Category B
.. Screen B
l
'
Quanti ty: 2
I
Pri ce: 1 04. 00
Chelsea - Ful ham 06-02-2009 Tickets Show pul l -down
BUY TICKETS
(80. 00)
Category A Price 65.00 (50. 00) menu 1 -20
Servi ce Charge:
8. 00 ( 1 0 00)
Chelsea - Ful ham 06-02-2009 Tickets Show pul l -down
BUY TICKETS
CONTI NUE
Category B Price 52.00 (40.00) menu 1 -20
TASK QUESTIONS
1. You want to see a Chel sea footbal l match whi l e
you' re i n London. Read the schedul e i n Screen A
above. Whi ch of the fol l owi ng i nformati on does
it provi de?
4. You want two Category B ti ckets. You cl i ck on
B UY TI CKETS. Read the next screen (Screen C) .
How much do you need to pay?
! . IedaIe:olIeaIce:
2. Iec I e:weeIeaIce: a|eIa< g' ace
3. Ie:Iad 0:wee IeaIce:ae Ia< g
' ace
4. d ecI o:IoIe:Iad 0:
5. IeIea: ay g eac aIc
G. I c<eI| ce:
7. IeI eIeaIce: ceg
2. You are goi ng t o be i n London from 29th J anuary
to 1 4th February. Whi ch match can you attend?
3. You deci de to order ti ckets for the
Chel sea - Ful ham match. You cl i ck on BUY
TI CKETS and Screen B appears. What addi ti onal
i nformati on does i t provi de? What two thi ngs
are you asked to deci de?
5. Whi ch of the fol l owi ng do you thi nk the fi nal
screen wi l l as k for?
1 . ced Icad deIa ' : 5. aeadadde::
2 . oe0ce| G. age
3. a::o|I 0ce| 7. ca<acco0I0ce|
4 ea add|e::
USE YOUR SKI LLS
Visi tors to the Madame Tussauds museum i n
London can book Pri ori ty Access ti ckets on l i ne.
Go i nto the si te a nd fi nd the fol l owi ng i nformati on:
1 . Ieco:Iolaad0' I:I c<eI
2 . Ieco:I ola c d: I c<eI
3. we|eyo0 caco' ecIIeI c<eI:
4. Ie coo< glee
5. Ieea e:II eyo0 ca v: IIe0:e0
Landmarks
|nit 0I]cii\cs
,, Bui l di ngs
, Future '[ enses
Listeni ng to Guided Tours
Comparing Pict ures
Writing a Descri ption of a Plan
` Lif Ski l l s: Interet Research
Whi ch of the fol lowi ng l andmarks can you i dentify? Where is each one located?
Whi ch of the fol l owi ng do you thi nk makes each of these l andmarks famous?
i ts size what it's used for i ts hi story i ts desi gn i ts age
Fi nd out about UNESCO heritage sites at :
. 0ur/ug/ou0ooIs.c{i:tjou|:I
/
\

1 . Word Check: The fol l owi ng words appear
i n the text. Make sure you know what
they mean.
ave' |eg0' a' y-:aced :!a!eol-!ea!
SCANING FOR SPECIFIC
INFORMATION
Sca nni ng means l ooki ng t hrough the text q u i ckl y,
to fi nd speci fi c i nfor mati on. Pay attenti on to t he
type of i nformati on you a re l ooki ng for , names,
pl aces, dates, pri ces). Looki ng for n u mbers,
symbol s and capi tal l etters wi l l h el p you.
2. Scan the text qui ckl y to l ook for the fol l owi ng
i nformati on:
1 . Ie:0e !ecea!0e 0ca < b(
2 !eaeol 0ca : 0dewa!e oe
3 . !e 0ce ol : ad: TeWo d
4. Ie aeol!e : ad!a!Bad ! a: co0g!
5 Ie: zeol!e 0ca \a '
3. Read the text and answer the fol l owi ng
questi ons.
1 . oww ' ' !eewcoec!: e c0ca :
ecooy`
2 WaIco0 do!eac Iec!:do l!ey<ew
!e e g!ol B0 0ca `
3 . WaI :00:0a aco0!! e|oo:a! ydoco' :`
4. owdoyo0<owTeWo|' dw ' cea
exc' 0: ve aea`
5. WaI : ova! veaco0IIec aed
5S-:IoeyIowe`
The World
Fi nd evidence i n the text to support your
answers.
! \o:! ceoc' edo !ea' :e !a! 0ca : 0 g
o0!olo
2 . B0 ' d g:a|e ce gc0 ' !veyq0 c< y 0ca '
3 . SIay ga! yd|oco' :w ' ' ce exce: ve
4 'ooew ' ' ' ve o a ' : ad:. ~
5 0ca ' adw ' ' ceIe:ae: zea: :eyT
Wo|' d
1 . Te a|! l c a :' adgo0c: ae . . .
a. a' ' :aced <e ca' I|ee:
c add ! o:Io a!0a : ad:
c eac ade0colJ00 : ad:
_adeolaI0a' a!e| a :
2. W colIelo' ' ow geco|d: :0ca 'OT
cea< g`
a. ! e!a' ' e:I c0 ' d g
!edeece:!c0 d g
c !e' a|ge:!aI l c a :' ad:
d. !e' a|ge:!:occ gceIe
6. Fi nd words or phrases i n the text
that mean:
r
1 . oeyea|edo |ece ved
,caag|ac ! )
2 a a' :Ia! ve Ie:ea ' , \
,ca|ag|acJ)
J ex!a,ca|ag|ac4)
4. o!aIe , ca|agac5) t ,
5 ac ! o0:, ce:: ve,caagac 5)
_
,
Whi ch sites in your area were

specifical l y bui l t to attract tourists?
Are they popul ar?
t.
One usually thinks of Dubai, one of the seven Arab Emirates, as being rich in oil. Its
rulers, however, know better. Their oil is running out fast, and to create an alternative
sotirce of income, they want Dubai to become the business and tourist capital of the
Middle East. On the bare, dry desert sand of Dubai City, where temperatures are often
over 45C in the summer, spectacular architectural projects are breaking every record
in the book. And it's happening at a speed and scale never known before.
First and foremost, the breathtaking Burj Dubai skyscraper will tower over this city -
and every other city. It's going to be the world's tallest building, though no one
knows exactly how tall. Its planners are keeping its final height a secret because of
competition from other buildings under construction. They want to be sure that by
the time it's finished, no other building will have surpassed it.
While this building reaches for the sky, another project is reaching deep under
the ocean. Hydropolis, the world's first luxury underwater hotel, is a surrealistic
fantasyland 20 metres below the surface of the Persian Gulf. Shaped like a giant
j ellyfish, its 220 opulent suites will have plexiglass walls so that guests will be able
to marvel at the colourful marine life all around them.
A larger proj ect is the artificial island groups off Dubai's shores. Built from sand
and stone dug up from the bottom of the sea, they'll be the largest man-made
islands ever constructed. Palm Islands, three island groups shaped like giant palm
trees, will contain theme parks, hotels and luxury housing for over a million
people. The other group of islands represents a map of the world. Each of The
World's 300 islands is shaped like an individual country, and is for sale starting at
$1 5 million. So if you've got some spare cash, you can j oin the list of celebrities
which includes Pamela Anderson, who'll be living on "Greece'; and Brad Pitt and
"' Angelina Jolie, who have bought "Ethiopia':
One of the most architecturally innovative future projects is a 68-storey tower
in which each irregularly-shaped storey will turn separately round a central
axis, completing 360 every 90 minutes. This means the entire building will
always be changing shape. Another record-breaker is the grandiose, 1 ,200-shop,
> 12-million-square-foot Dubai Mall, the biggest shopping centre on the planet.
One of the grandest proj ects of all is Dubailand, a huge leisure and entertainment
complex twice the size of today's biggest, Disney World. Its highlights will include
a multitude of theme parks, state-of-the-art sports stadiums, resorts and malls.
This is just a small part of what's happening in Dubai's building boom. Clearly,
this city will soon be packed with sensational maj or attractions, making it one
of the world's architectural wonderlands.
False friends
luxury ( l i ne 1 3) means lujo not lujuria
larger ( l i ne 1 7) means mayor, m6s grande not m6s largo
resorts ( l i ne 33) means complejos turfsticos not resortes
major ( l i ne 35) means de gran relevancia not mayor
Unit 4
VOCAULAY
Words from the Text
1 . Replace the word i n bol d i n each sentence
with a word of si mi l ar meani ng bel ow.
shore spare source rul er
huge resort
. Aco0I|y: l eader coI|o' :!egove|e!ad
Iea|y.
2 Wa!: !eor i gi n ol!aIac IecI0a :!y e`
3. WeweIloa wa <a' ogIebeach oS0day.
4 O0| la ' y:eI!wowee<:a! a hol i day
compl ex Geece
5. |aveyo0 goIayextra I eI :wee<ed`
G. Tecea|a I Iezoo : very bi g.
2. Choose the sentence that i s closest i n meani ng
to the ori gi nal . Pay attention to the words i n
col our.
1 . Teoo wa: q0 Ie bare.
a Te oo advey !! el0 !0e
c. Teoowa:l0 ' oll0 !0e.
2 T :!yeoll ::w :ea :esurface
ol!e :ea.
a T :l ::w :dee0de!ewaIe|.
c. T :l ::w :ea|Ie !ool !ewaIe|
3 . Te coyreached for yad.
a. Tecoy0:ed y adaway
c Te coywaIed!o o dyad
4. Tev ewl|oo0 oo :breathtaki ng.
a. Tev ew: ve|y |e:: ve.
c Tev ew :q0 Ie co| g
5. O0| ae:0 y :r unni ng out.
a. Weve goI eIyolae' elI.
c. We ' ' eedIo c0yo|e ae|:oo.
G. ' eada ' oId0 gyl ei sure I e
a. Mywo|< vo' ve:a ' oIol |ead g.
c. ' eadwe' oIaIwo|<.
7. We vead:oe major |oc' e:w !
!e|o ecI.
a Te|oc e:we|e:e o0:.
c. Weco0' d!:o veIe|oc' e:.
S. Tey:Iayed a!a l uxury o!e' .
a ' I wa:ca: c, c0!q0Iec' ea.
c ' I ada :aada oo' .
WA + INFINITIVE
WA + OBJECT + INFINITIVE
The verb want can be used i n t he fol l owi ng ways:
lt can refer to somet hi ng the subject of the
sentence wants to do.
They want to build the tallest building i n Dubai.
( want + i nfi n i ti ve)
l t can refer to someth i ng the subject of the
sentence wants someone jsomethi ng el se to do.
They want tourists to come to Dubai.
( want + object + i nfi ni ti ve)
tammatAppen6|xpaqe120
1 . Tec ' dIo' de laIe, " I waIto take /
you to take e !oIea<. '
2 . Te c|a aa:<ede, ' o yo0 wa!to read /
me to read a good ove' ` '
3 . We!o' do0 v : Io|:, ' WedoIwa!to l eave /
you to l eave yeI . '
4. Write the words i n the correct order to form
sentences.
wa!ed/ 0ca /v : !I Toa:/!o
2 . goI ca!/!oI waI:/o0!/Ie
3. e|I wa!:/'0cy:/co::/Io/!o gII wo<
4. !o/w dow/oe/waI/yo0/e/do/Ie/ `
5 d dI/!o/waI/Ca o!!eI ao/
ac! :eI Ie
G. wa!I ayI gI doe:I Io/c gI 0:/ Be/ `
5. Compl ete the sentences by writing what
each speaker wants or doesn't want in the
fol lowi ng situations.
. ' 'eI:eaIaIa' d a|e:Ia0|a!, ' :0gge:!:Ae.
AewaI:. .
2 . ' M a, co0 dyo0 ' ea:eI dyyo0 |oo` ' a:<:
ela!e.
M a:la!e|waI:
3 . ' S!0de!:, ay a!!eI o ' ' ode|: Ie!eace|.
TeIeacewaI: . . . .
4. ' ' do !lee' ' <e ge!! g0, ' co' a :J 0' a.
J 0 a doe:IwaI . . . .
5 ' Ma|<, ' do I <e it weyo0 ' a0ga! e, '
:ay: Sa|a.
Sa|a doe:!wa! . . .
1a pie VocabulCy
3UILDINGS
Whi ch of the fol l owi ng words are materi al s?

Whi ch are bui l di ngs or structures?
i ron steel skyscraper stone gl ass
concrete offi ce bl ock bri dge
The fol l owi ng sentences do not make sense.
Make them l ogi cal by repl aci ng each word i n
col our wi th a word i n col our from a di fferent
sentence.
Our oei :too :a' Weeed:o~e! g
~oe a nci ent.
.
A ac !ec!<ow:w c a!e a :catear
down a c0 ' d g
& We l i ve i n a three engi neer c0 ' d g
.
eve oe:wa!to support !eo' d o0:e:ad
bui l d a ew:<y:cae|
.
A exe eced l andmark de: ged !a!c dge.
.
Te:!ee!:a|e :ospaci ous t at !eo0:e:
a' o:! !o0c eac o!e
.
Teya d:wee bui l t in narrow ! ~e:.
= S!oeege : a lao0: :!o| cstorey.
BRITI SH / AMERI CAN ENGLI SH -
3- : tish and American Engl ish often u se different
ords to refer to the same thing.
3. Match the Briti sh Engl i sh words with thei r
Ameri can Engl i sh equi val ents.
Bri ti sh Ameri can
1 . l ift a. fi rst fl oor
2. pavement c. yard
3. garden c. el evator
4 ground fl oor d. apartment
5. fl at e. si dewal k
4. listen to the di al ogues. Are the speakers i n
each one British or American?
A. "Wee :your lavo0| !e~0: cshop 7 "
B: " I n !eshoppi ng centre near my school . "
2 A. "W cci nema aewego gto? "
B : "The one i n !ehi gh street . "
3. A. " I s i t hard to l da|< gdowntown? "
B " No, !ee ae e!yof parki ng l ots. "
5 . Replace the words i n col our i n Exercise 4 with
the British or Ameri can equi val ent below.
i n the city centre store mai n street
car parks movi e theater mal l
6. Complete the passage with the words bel ow.
Then l i sten and check your answers.
storeys stone l i ft gl ass support
anci ent steel skyscrapers
Unit 4
h L b h | N d | h 1 h L 5 K1
Si nce the begi nni ng of hi story, peopl e have tri ed to
bui l d the bi ggest , tal l est, most i mpressi ve structures
they coul d. I n . . . ti mes, i mportant bui l di ngs were
often made of .- - - - .- .. - -- - - . Because thi s materi al i s so
heavy, i t was di fficul t to make these bui l di ngs very
tal l . Today, however, our ci ti es are fi l l ed wi th . . .
that reach amazi ng hei ghts. Strangel y, the wal l s of
many of these bui l di ngs seem to be made enti rel y
of .. . .. +. wi ndows. How can these del i cate wal l s
O
so much wei ght? The answer is that they
don't. The bui l di ngs are actual l y hel d up by a
strong framework made of ... . . . - .. - an amazi ng
materi al whi ch i s both extremel y strong and
l i ght. Another reason moder n bui l di ngs can
have a hundred or more +~ . ~ . i s t he
i nventi on of the .. . . : If we had to
wal k up, we certai nl y woul dn't bui l d
so hi gh!
Compl ete the sentences. Make them true for
you.
!. I :awa breathtaking v ewa!
2 I ol!erun out of . . .
3 . Te' ada <I want to see the ~o:t i :
4 Teo:!o0' a|:oi our high street i s
5. ' my leisure ! e, l i <eto . . . .
GRM
**
46
-
""
FUTURE SIMPLE
BE GOING TO
a. We're going to spend our next holiday in Dubai.
b. The tour of Dubai will begin at 9.00 am.
c. Have you seen the plans for Dubailand? it's going to
be amazing!
d. Soon, Dubai will be the tourist capital of the
Middle East.
e. "Where is the Dubai Mall?"
"Come with me. I'll show yau. "
1 . Whi ch sentence above descri bes a a a ?
1. events i n a ti metabl e
2. a predi cti on
3. a fut ure event based on present evi dence
.a spontaneous deci si on
5. fut ure pl ans
2. Whi ch tense is used for each of the
uses above?
1. We use . + the base for m of t he verb to
form the Futu re Si mpl e.
2. We use - . or . . . . . . . . . . . + going to + t he base
for m of the verb to form be going to.
FUTURE PERFECT SIMPLE
FUTURE CONTINUOUS
a. By the time Dubai runs out of oil, tourism will have
become a major industry (Future Perfect Simple}
b. Brad Pitt will be living in Dubai all winter
(Future Continuous)
1 . Whi ch sentence tal ks about . . . ?
1. a compl eted acti on at a certai n future ti me
2. a n acti on i n progress at a certai n fut ure t i me
1. We u se will + .- - . + verb + - ing to form the
Fut ure Cont i nuous.
2. We use will + . . + the past parti ci pl e to form
the Future Perfect.
0tammatAppen6|x,paqes118-120
1 . Complete the sentences with the verbs in
brackets. Use the Future Si mpl e or be going
to.
1. Yo0 ave Iwo<ed a|d eo0gloI :exa.
Yo0 . ,oI ca::).
2. ' :0eyo0 ,eoy)IeI| c.
3 . Tec0:Io.odo . .. , eave)aI 0 J0c.
4. . - yo0 . . ,coe)I oI eca|IyIo gI`
5 Tec ' d oo<:I ed. e ,la ' ) a:' eec:oo.
G " oyo0waIIocoeIoIe:oc:` "
" Good dea ' I . H ,ca ' ) y a ada:< Io
coe, Ioo "
2. Whi ch of the sentences in Exercise 1 can be
compl eted usi ng the Present Conti nuous with
future meani ng?
El cafe se esta acaba ndo. Yo compro mas esta tarde.
The coffee is running out. I'll buy more this afteroon. .
NOT The coffee is running out. I buy more this
afternoon. X
3. Write a suitabl e sentence to fol l ow each
sentence bel ow. Use the words in brackets
and the Future Si mpl e or be going to.
1 . Aeyo0 oI (I I I0|oI a cod I oe|)
2 MygadoIe| : ' ' , aveI oce|aI oI
Ioo|ow)
3 . veco0gII c<eI:IoIecoceI.
,BeII ceveyc ea:ed)
4. Co0 dI co|ow:oeoey`,|eI0I exI
wee<)
5 ' d oveIo coe, c0I I ca I. ,go o0II
y coyl| edI I :eve g)
G. .oo<aIIaIaoIe|oololIec0 ' d g
, eI 0c' )
1. Wi l l you have wa ited I Wi l l you be wai ti ng
lo 0:wewea veaIIe:IaI o `
2 . You' l l have spent I You' l l be spendi ng a'
yo0 oeycyI eedol yo0 I c
3. Saa a:a o:Il :ede:I0d e:. 'exIyea
she' l l have worked I she' l l be worki ng l0' ' -
I e.
4. oI ca' ' eaI 00. I ' l l be sl eepi ng I
I ' l l have sl ept.
5 oceIaI cyexIyea, I ' l l have saved I
I ' l l be savi ng eo0goey lo| a ca
G. They' l l be eati ng I They' l l have eaten a Ie
loodcyIeI ewe a ve.
1.
h
I
- Complete the sentences with the verbs i n
brackets. Use the Future Perfect or Future
Conti nuous.
: e yea|2050, !ewo d ,cecoe)
. e degee:wae
~ .: ee!a! . 00. ,l :) yoewo<
:1 e.
-, s ! eex! o!, !ey ,:< ) !eA c:
0 go0o day, we ,:!ay)a!!eSea: de
o:e
ea:edo ! coe: :al!e oo ,:!0dy) .
y!e! ee ca ve:, we ,cage)!e
eo0:e' ve:
- Compl ete Danny's story. Use the correct
future tense.
've 0:! e!awode|l0 g |' aed Rea.
<' ' . . . . . . . ,a:<) e o0!.
a!a:! c ' Se: ag|eed . . . ,!a<e) e
o!ec ea!oo|ow
' :oexc !ed ' A!! :! e!ooow,
,: !) ad adw ! Rea.
:0e ! ,ce) a gea!eve g
Si x months later . . .
By! eedol! : wee<, Reaad'
` . . . . . . . . . ,<ow) eaco!elo| : xo!:
Ei ght months later . . .
Reaa:dec ded!a!:e ,da!e)
o!e coy:,!oo.
' ve ! ed !o!a < !o e, c0! :e
.
(o!a:we) y coeca :
'' . n. n . ,l d):oeoee :ecy!e! e:e
dec de:wo:ewa!: '
Answer the fol l owi ng questi ons about your
future.
Wa!w ' yo0 cedo g! :! eex!yea `
.
Wa!ae yo0 go g!o do ! :wee<ed`
. o yo0 ! <yo0w avea o!ol oeywe
yo0ae o de|`Wyo wyo!`
.
o yo0 ! <yo0 ' ge! a edyo0g`Wyo
wyo!`
. Wa!goa' :w yo0 aveac eved cy!e! e
yo0ae 30`
Unit 4

8. Compl ete the passage with the verbs i n
brackets. Use future tenses. Then l i sten and
check your answers. There may be more than
one correct answer.
mLcL-mLL mLL
Bui l di ng a home i s a huge project, i nvol vi ng many
l abourers and pl enty of ti me and money. Ten years
from now, however, peopl e ` ... n ( l i ve) i n houses bui l t
enti rel y by robots. Cal i forni a i nventor, 0| Behrokh
Khoshnevi s has worked on hi s constructi on robot
for years , and thi s spri ng he . . . . .fi nal l y . . . . . . . . . . . (start)
marketi ng it. He predi cts that the robot n ( bui l d)
a typi cal fami l y home i n onl y 24 hou rs . He bel i eves
t hi s method . . . n al so . . .n (reduce) bui l di ng costs
to a fifth of what they are today. He promi ses that a
constructi on project usi ng the robot nno no n ( not need)
any hu man workers, and that the houses nnnnn (have)
a great vari ety of desi gns. Dr Khoshnevi s hopes
that by the end of the next decade, robots nnnn
compl etel y . n n ( repl ace) humans on constructi on
si tes , and bui l di ng a home . .no o nn (become) a s i mpl e,
i nexpensi ve and s peedy procedure.
Grammar Review M
meani ng.
! a: o:w ced llee!cy!e! eyo.ae
o de ,caged)
2 a0 e! J e c ay:coo' . , ow)
3 ow ogaveyo0 ad! : ca`, c.y)
4. We ego g!o c' ay!e :lol ve 0: ' :eve
o c oc< ,A!: xo c oc<)
5 \a < el! ad'acyc ed lo a o0 ,al!e)
Ext ra g ra mma r e xe rc i se s a t:
wu w. b u r l i ll gf oll bo o k s . es/1 i eupo i I1 s 1

47
SKILLS
LISTENING G
GUIDED TOURS
1 . Look at the pi ctures of l andmarks in vari ous countries. Whi ch words below can be
used to describe each picture?
skyscraper gl ass stone anci ent unusual steel tal l modern
Empire State Building,
New York City, USA
2
Towers of San
Gimignano, Italy
2. Listen to three gui ded tours. Whi ch of the
l andmarks above do the tours vi sit?
TAKE NOTES - When you a re ' i sIeni ng
to a passage, taki ng notes can be hel pful . Don' t
Iryto wri te down everyt hi ng you hear. Wri te
down keywords or i mporta nt phrases, but not Iu ' '
sentences. i t i s more i mportant to keep l i steni ng !
3. Listen to the guided tours agai n. As you l i sten,
take notes of the most i mportant facts about
each pl ace.
3
Eiffel Tower,
Paris, France
4
CN Tower, Toronto,
Canada
4. Use your notes to answer the questi ons
bel ow.
W c ad~a|<. . . ?
1 . wa: co: deedvey0g ywe Iwa: c0 ' I
2 . a: 02 :Io|ey:
3 . wa: c0 ' ! a: !e e:0' !ola coe! I oaog
la ' e:
4 a:a ace 0 its :!a |: eveyyea
5 . a:73 e' eva!o|:
G. wa: !ewo' d:Ia' e:I:!|0cI0elo40yea|:
7 wa:de: ged!o:ow !: !e a' :!0cI0|e
S wa:oce aIola g|o0ol 72 Iowe|:
What famous l andmarks are there in your area
or country? Describe one. What do you know
about it?
WEB EXTRA Read about some unusual building trivia at: uuu. 0ur/nglon0ooks.cs{r icuoi n|sI
l
PEAKING
OMPARING PICTURES
ook at the sentences bel ow. Whi ch can be used to show how two pictures are si mi l ar?
Whi ch can be used to show how they are di fferent?
Another d i ference between them is that . . .
-
-he two pi ctures are si mi l ar I a l i ke
oecause . . .
-
.nother t hi ng that they have got i n
common i s . . .
n thi s pi cture there i s . . . , but i n thi s one . . .
5. The pl ace i n pi cture 1 i s more I l ess . . . than
i n pi cture 2.
6. Thi s pi cture shows . . . , whi l e that
one shows . . .
7 The pi ctures a re qui te d iferent because . . .
S Both pi ctures show . . .
-
Choose a pai r of pictures below. Write a l i st of adjectives and nouns that describe them. With your
partner, compare and contrast the pictures you chose. Use the expressi ons i n Exercise 1 .
'a! oa' Acade~ cTea!e, Ode::a
Co o::e0~, Roe
When you want to draw someone's attenti on to
somethi ng, use the fol l owi ng expressi ons:
I ' ve just noti ced . . . Have a l ook at .. .
And there's a nother thi ng .. . Di d you noti ce . . ?
Pai r 1
'aI oa Ce!|elo|Ieelo| gAI:, Be| g
Pai r 2
O' y cSIad 0~, MoI|ea'
Unit 4
1Burlington Speech Trainer, Unit 4
49
..
` .. ' . . !
1. Read the description below. What parts of the bui l di ng does
the writer describe? What i s his I her opi ni on of the bui ldi ng?
DU1H UAM
luthedrul
Notre Dame Cathedral is one of the most amazing buildings
i n the world. It stands on a small island in the middle of
the River Seine i n Paris, France. It took nearly 200 years
and thousands of workers to build this spectacular Gothic
cathedral.
If you stand outside the cathedral, you' ll notice three doors
with intricate sculptures. Staring down from two huge towers
are the famous gargoyles - half-human, hal f-stone monsters.
If you are in good shape, you can climb a tower to see the
gargoyles up close, as well as get a breathtaking view of Paris.
Inside, rows and rows of tall, slim columns lead your eye up
to the towering ceiling. Lovely stained glass windows let in a
thousand different shades of l ight. During prayer times, you
can hear the beautiful sounds of the cathedral's famous organ.
Notre Dame is one of Paris' most famous l andmarks, and any
visitor should plan on seeing it. Even i f you are not a great
architecture fan, you will never forget its beauty.
2. In whi ch paragraph/s of the description does 3. For each sentence, choose two adjectives
that are si mi l ar in meani ng to the adjective i n
ital i cs.
the writer di scuss . . . ?
1 . I g: yo0 ca do o :eeat'ote ae
2. Ieaead' ocat oolte' ace
3. :I e o oo ecoeda: o
4. y: ca' caacte :t c:olIe ace
ADJECTIVES
Adjecti ves are u sed to descri be nou ns. Usi ng
a vari ety of adjecti ves can ma ke your wri ti ng
r i ch a nd i nteresti ng. When descr i bi ng a pl ace,
adj ecti ves ca n create a more a ccurate and
real i sti c i mpressi on.
|q0u|6e, paqe149
1 . Te caIeda' : ac tecI0e : wonderful.
magn i fi cent I i mportant I spl endi d
2. T :beautiful te ewa:c0 t Ie! 5t
cet0y
l ovel y I el egant I enormous
3. TeG|eaIy|a di s big.
bri l l i ant I i mmense I huge
4 Tev ewl|o o0| |oowa:impressive.
breathtaki ng I spectacul ar I fri ghteni ng
5. We ' oo<ed 0at I eI c<:Ioewa ' :olIe
old towe|
a nci ent I famous I hi stori c
4. Whi ch adjectives from the l i st can describe each of the
pl aces bel ow?
a vi l l age a footba l l stadi um a road
mountai ns a l ocal market a pa l ace
owe g :ac o0: ac eI
mode cea!Ia< g co o0|l0
c c!0e:q0e o :y gad
ave o0: ' ove y ae:! c
a ow e' ega! 0x0| o0:
ecIac.' a eacel0
Su perl ati ve adjecti ves come before the nou n :
rh s is the most spectacular view in Toledo = .
NOT This is the view most spectacular in Toledo. X
0ge
ve y
00:0a
cowded
:. Compl ete the sentences with adjectives from
Exercises 3 and 4. There may be more than one
correct answer. Do not use the same adjective twice.
T : :oe ol!eo:!. v ew: G|aada
.
Te :<y:cae: :eeed!o!o0c!e:<y.
3. Wev : !ed !e G|ee<!e ea!e
We co0 d! allod! o:!aya! !a! e:o!
-
Se ve: a e gco0 oodl0 ol o' d oe:
. TeceI|eol!ow : a way:q0!e o Sa!0|day
g!.
.
Tea|c !ec!0e ola Go! cca!eda' ca ce
ac:o 0!e y
. ve|oo '::!ad 0 : a :I0c!0e !aIcao daco0I

45, 000eo e
ADJ ECTIVE ORDER - When usi ng two or more
adj ecti ves, we wri te them i n the fol l owi ng order :
1pi n i on -+ si ze -+ age -+ shape -+ col our -+ ori gi n -+ materi al
small, old building a large, modem, glass skyscraper
6. Add the adjectives i n brackets to each sentence.
Use correct adjective order.
O0| ca|y : a/a c0 ' d g ,coce!eI odeI
0g'y)
2. TeCo o::e0 :a/a :!ad 0 , RoaI ac e!I
0ge)
3. e|ollce : a :<y:cae ,g a::I c ac<I !a )
... Te!wo a|!:ol!ec !ya|e coec!edcya - . c dge
,:ecIac0 a I :!ee I ew)
5 c lle' c0 ' !a/a :I0c!0e ,A-:aedI oI ode)
Uni t 4
Your Task
Write a description of a pl ace. Use 1 00-1 50
words.
WRITING YOUR DESCRIPTION
1 . Brai nstorm your descri pti on.
Thi nk of pl aces that you have vi si ted.
Deci de on a pl ace that is i nteresting or
speci al i n some way. You may want to use
the I nternet to fi nd out facts about i t.
Thi nk about the fol l owi ng questi ons.
Choose the poi nts that are relevant to
your essay.
- Wee : !e ace`
- Wewa:it c0 ' !`
- Wa!doe: ! oo<' <e`
- Wa! ::ec a o| !ee:! gaco0! !`
- Wa!cayo0do!ee`
- Wa! :! ea!o:ee ' <e`
- Wa! |e:: odoe: !g ve!ev : !o`
Wa! :yo0 o ool!e ace`
- oyo0 |ecoed!a!eo' ev : I !`
page 50 and the pl an below to hel p you.
PLAN
Openi ng: G ve!eaead ocaI ool!e
' ace adoeo !wodeIa ' :. Say
waI ::ec a o Iee:! g
aco0! !
Body: e:c| ceIe ace oe de!a
adg veexa' e:ol ! e! g:
yo0ca :eeo|doIe|e.
Cl osi ng: W !ea coc 0d g:e!ece
ad g veao oo
|ecoeda! o
CHECKLI ST
/ 6||6wcnl|u|n6r n ncJcr!l!61 6n
|n:c.
/ ncn n vnr!cly 6nn]cl!vc l6 nccr!bc
l||n:c.
/ 6||6wcn l|u ru|cJ6r nncl|vc 6rncr,
/ chKn_mnnr, :cl nn
unlul!6 .

5K!LL5
Sc|eeA
INTERNET RESEARCH
You are goi ng to l earn some strategies for fi ndi ng i nformation on the I nternet.
Look at the website screens and answer the Task Questi ons bel ow.
a
Amazi ng Bri dges i n Europe
Bri dges are great structures and represent spectacul ar architectural
b-achievements. I n Europe, there are . . .
amazi ng-bri dges-i n-europe. edu - 56k - Cached
c
liP
T::le
.ec:.:u w t
|t:cel:{
tle eb qe,
:: (tle:.te
|i< :e.:t
:ck, t|n | . <r
t: tle ::le
.ec:i: u m(lt
:ti|| :ck.
TASK QUESTI ONS
d
51ONLHLNUL
Stonehenge
I nvesti gati ons over the l ast 1 00 years have reveal ed that Stonehenge was bui l t
in several stages from 2800- 1 800 BC. lt seems to have been desi gned to . . .
www. activemind.com/Mvsterious/Topics!Stonehenge/ - Bk cached
Stonehenge. Engl and
Your gui de to Stonehenge, shops, other anci ent si tes and stone ci rcl es i n Britai n,
with practi cal i nformati on to make your vi si t easi er.
www. england stonehenge. co. uk/ - 1 4k -_cached
1 . When you do a n i nformati on search on the I nternet, it's i mportant to use good search words.
I f you wanted to fi nd out a bout bri dges i n Europe, whi ch search words bel ow woul d fi nd the best
results? Whi ch are too genera l ? Whi ch are too speci fi c?
o dge o| dgeeu|ope ' auo| dgelace
Remember there i s no need to use capi tal l etters or i ncl ude words l i ke of, to and the in your
search words.
2. i t' s i mportant to u nderstand the el ements of a search resul t. Look at Screen A and match
letters a-d to the correct l abel s bel ow.
! . aeol !e wec !e 3 . zeol!ewec !e
2 . addeol!ewec !e 4. a|!ol!e!ex!w !yo0|eac!e| co d
3. Davi d has done a search for Stonehenge. Look at the two resul ts on Screen B. Whi ch websi te wi l l
gi ve hi m hi stori cal facts? Whi ch one woul d be better for a touri st pl anni ng t o go t o Stonehenge?
USE YOUR SKI LLS
Use the I nternet to research a bui l di ng a nywhere i n the worl d. Fi nd out:
wee !ec0 ' d g wa! !' oo<' <e
! !o|y
wy ! ec a' o o|!a!
Present your i nformati on to the cl ass.
Speak Out!
1 . Look at the cartoons. What i s
happeni ng i n each one?
"I don't l i ke the l ook of thi s, Charl i e. "
2. Whi ch cartoon i l l ustrates . . . ?
a. Ieellec!ol!eev |o~e!o a ~a' :
c. |o!ecI ga a' :!a!aycecoeexI cI
c !e ::0eol 0a:0: ga a :a:lood
Whi ch cartoon do you thi nk is the funniest?
Whi ch i s the saddest? Why?
Unit Objectives
Wil cl l i fe
' Defi ni ng and Non-defi ni ng
Relative Cl a uses
Listeni ng to a Conversati on
` Expressing Opi ni ons
Writi ng a For and Agai nst Essay
Li fe Skil ls: Gi ving a Presentation
Find out about the RSPCA at:
www. bu rlir7gtonbooks. es/uiewpoi nts I
<
REAING
--
1 . Word Check: The fol l owi ng words appear
in the text. Make sure you know what they
mean.
eIa' agecy ' og-Ie|~ c0dd' e: l0|y lad
GUESSING THE MEANING
OF WORDS
When you don' t know t he mea n i ng of a word, try
to g uess. Fi rst, try to i denti fy the part of speech
from i ts pl ace i n the sentence a nd i ts endi ng.
Then, l ook for cl ues to i t s mea ni ng by readi ng t he
ot her words i n the sentence.
2. Read the text. Look at the words i n col our.
What part of speech is each word? Try and
guess the meani ng of each word.
Justify your choi ce with a sentence from
the text.
1 . Te c0co:eol exce!z :!o . . .
a. Ieac ceoc e!o!a<e |e:co: c !y lo| dog:
c. eco0|ageceoc' e!oow dog:
c. a ' owceoc' eIoavea dogIeco|a| ' y
d d ::0adeceoc el|o~ ow gdog:
2 exce!zc0:Io~e:
a. 0:I eI!e:aedogeac! e
c. lee IaIIe:ev ce i s !ooexce: ve
c. a|e ~o:I' yceoc ewo avegoIoey
d. cayeac! eIeyIa<ea dog
3 Ma|' eaCe|va!e: . . . . .
a lee : I : wogIo|e!dog:
c. :ay::e|e:c0e::oedog:lodeaI
c. :aa a | gI:acI v :I
d. c0I: dog: a a :e !e: ceIwee |eIa' :
4. exceIz . .
a. oce|aIe:o' y in !eOIed S!aIe:
c :a Ie|aI oa c0: e::
c :accovedol cya ~a' exceI:
d a: :evea' owe|:
4. Compl ete the sentences accordi ng to the
i nformation i n the text.
! Sa~W a:co~ca|e:|eI ga dogIo . . . .
5. Choose the best meani ng for each word
or phrase accordi ng to the text.
1 . eave, e 1 )
a goo0I
c. acado
c. loge!
d. c' 0de
2 c c< 0c, ' e5)
a l!
c c0y
c Ia<e
d |eI0
3 ae:oIol, eS)
a. aveIoo ~0c
c. do !aveeo0g
c avea I!' e
d do !aveay
4. c a :, e)
a. dead:
c. eq0 e:
c. |eq0e:!:
d. dec a|e:
5. og lo, e1 4)
a wa!
c wa !
c !a<ea o!ol! e
d. I <aco0I
Some states i n the USA have recently passed
laws that ban the renting of ani mal s. Do you
thi nk it shoul d be i l legal to rent ani mal s?
Why or why not?
2 e ICo' ' :w !e:!a! ca:: ga dog a|o0dw ' . . . .
3 e !I <:IaI :Ieadol |eI gdog:, ceoc' e
4. Tacy o:o a:a' way:waIed . . . .
5 ead. zwaI!og ve .
G. Jac<coIi s a 'acadoIaI . . . .
. . +
J
00' 8 0l m8| W80
Ous | He1t
Do you love dogs? Are you a person whose busy lifestyle doesn't leave room for a pet? There's a
sol uti on for you: Flexpetz, the dog rental agency. Now you can enjoy havi ng a dog wi thout the l ong
term, day-to-day responsi bi l i ti es that come wi th i t
How does it work? Customers, who pay a monthly fee, choose a dog on the I nternet Then they
pi ck it up from the Flexpetz ofice for a day or a weekend, and take it home for l ong romps by the
seaside and cosy eveni ng cuddles on the sofa. The next week they pi ck up the same dog or choose
another one. lt's not cheap by any means, but thi s i s a servi ce wh1 ch i s meant for hard-worki ng
urban professi onal s who are short of t1 me, not money.
Vets and ani mal experts object to the 1dea of do ant' Is bu owner Marlena Cervantes cl ai ms that
10 many of the dogs come from overcrowded ani n a. shelters here U'lwanted ammal s are eventually
ki l l ed. She says that they are wel l cared for be als, and that customers someti mes even
adopt them.
Flexpetz has offices 1n Los Angeles, New York Ci ty a L and Cervantes pl ans to open more
offices around the worl d. l t seems that no matter how hectic r l i ves may be, we sti l l long for the
1 1 uncondi ti onal affecti on of a furry friend.
COMME NTS
We live i n crazy ti mes. We can
rent anything from a car to a
designer handbag for a few
hours. But a dog is not a fad
c
or a fashi on accessory.
Sam Williams,
San Franciso
Dogs are dependent
on meani ngful , lifelong
relati onshi ps with thei r human
owners. A dog wi l l become
Z confused and unhappy i f it
is passed from one home to
another. ' suggest that these
dog-lovers try volunteering at
the local animal shelter, where
O there are plenty of dogs that
need walks and attenti on.
Keith Collins,
Animal behaviourist, London
For me, Flexpetz i s a dream
come true. ' mi ss having a dog,
but it woul d be irresponsi bl e for
me to keep one because ' work
l ong hours and travel a l ot. I ' m
mad about Ol i vi a, the poodle
that I rent every weekend.
Would she be better off i n an
ani mal shelter? ' don' t thi nk so!
Tracy Johnson,
Los Angeles
We want our chi l dren to have
the experience of a dog, but
we' re too busy to cope with
owning one. The kids can' t
wait for the weekends, when
we rent Jackpot, a beautiful ,
bl ack Labrador. Flexpetz i s a
great idea!
Ken and liz Matthews,
New York City
False friends
claims ( l i ne 9) means afrma not c/ama
eventually ( l i ne 1 0) means fna!mente not
eventualmente
Uni t 5
VOCAUAY
Words from the Text
+ . + + . + + .=+ . + - . . . . . + + = - . . + . + . + . = > + = + . . . + . + . . + + + .+ . . . . . = . . + . . . . + - . . - . . . +. . . - .
1 . For each sentence begi nni ng in I, fi nd the best
conti nuati on in 1 1 . Pay attenti on to the words
in col our.
! OJ| l| edweIIo' ve .eed:
2 WecaI ' ed yo0 oey
3 'oI gca de:I|oy
4. W gIe 'oIIe|y
5 We |e d| v gaco::Iow
G. 'Iwa:a co' d, :owyeve g,
7. 'ooece' eved 0:
S. We |e ve|yI |ed
1 1
a. c0Iwele' Iwa ~adcosy : de.
c. oJ| l i fel ong l| ed: .
c I opi ck up o0| l| ed.
d. woJ' dcea dream come true.
e. adwe mi ss e|vey 0c.
l cecaJ:ewe |e short of ca:.
g. ceca0:eweveada hecti c day.
. wewe cl ai med wed :ee a go:I
2. Choose two possi bl e answers to compl ete
each sentence. Pay attenti on to the words
in colour.
! . A e|:o ca ceIeowner ola house 1
country I horse.
2. YoJayafee Iodo your homework I
j oi n a gym I go to university.
3 . Yo0 ca rent a fl at I bi cycl e I
dri ver's l i cence.
4. A e:oca l ong for hi s fami l y 1
warm weather I bad news.
5 Yo0 cacea customer aIa school I cafe 1
shop.
3. Choose an opti on. Then complete each
sentence. Pay attenti on to the words
in colour.
! . A a' : zoo:woul d be I woul dn't be
better off l . . . .
2 . A |e' axed l i festyl e is I i sn't good ceca0:e . . .
3 . 'I:a good I bad deaIo c0y:oeI gIaI:a
fad ceca0:e . . . .
4. No matter what eo' e:ay, yoJ :oJ' dal ways 1
never . . . .
PREFIXES
Recogn i si ng prefi xes can hel p you understand
the meani ngs of words.
The prefi xes un-, dis-, it-, ir-, in- a nd im- a re
used to form the opposi te of a word a nd usua l l y
g i ve i t a negati ve meani ng.
i t would be irresponsible of me t o get a dog.
Other prefi xes have got speci fi c mea n i ngs.
Knowi ng t hei r mea n i ngs can h el p you to
u nderstand new words.
We overestimated the number of people coming to the
party
0tammatAppeo6|x,paqe1 21
4. Write the opposites of the words below by
addi ng the prefixes un-, dis-, if-, ir-, in- or im-.
Use a dicti onary to check your answers.
advantage rel evant possi bl e
fai r conveni ent l ogi cal
5. Compl ete the sentences with the words you
formed i n Exercise 4.
1 . oI c Jdea ' oIol deIa : yoJ|e::ay.
2 Tea olIaI:o :IaIyo0 aveIo
aylo|a|< g
3 . ' ea:eoeaga aIe| 'I: lo~eI oIa <
ow.
4. 'I: IococeIaIewI a' ' IaI o :e '
5. ' y o o, :o~eolo0| :coo' 0' e:
a e . . . .
G Jell:a:wedoe:I ~a<e:e:e. ' I:
co' eIe' y . . .
6. Match each prefix i n col our i n I with its
meani ng i n 1 1 .
I
1. ' exeIz i s ai nternati onal co~ay.
2 . Modec I e: ae o :yadoverpopul ated.
3. ' revi ewed IeaIe| a celo|eIeIe:I.
4. Teex-presi dent :o<e aIIe J ve: Iy
5. ' d dI ~eaIo :J IyoJ. YoJ
mi sunderstood ~e.
G. oI underest mateIea
IaI aa ~a' lee' :.
1 1
a. w|og
c. aog, ceIwee
c. oIeoJg
d Ioo ~Jc
e. |ev o0:
l. aga
' ' y
"he
n-.
l". s
`' J .
lLD LIFE
Complete the defi niti ons in I with a word
from 1 1 .
! . Aa a IaI ve:w l0a: : . . .
2 A cacy ' o : ca ' eda . . .
3 To <eea a :lole0o:eol
eod0cl o :Io . . .
4 . Weaa a : :eIl|ee, I : . . .
5. A a a' v g l:aI0|a ev |oel : .
G. A a a' laI :ollee ' ve: . . .
7 A:l|0cI0ew l ca|:we|e a a' :a|e
<eI : a
S . A agg|e:: veo v c o0:a a' : . . .
a. cage
D. i n capti vity
breed
d fi erce
e. wi l d
cub
g tame
rel eased
1 1
-
Choose the correct answers to the questions
bel ow. Pay attention to the words i n col our.
aI a|e lwo endangered a a :`
a. g alada
o. g alle
. c' 0ewa' e
.
c : leo yco0Iy Iewo| dwe|e
hunti ng : ' ega' `
O . Sa
D. eya
ScoI' ad
.
aI : Ieal0|a habi tat ola o`
a . l' ala|ea:w Iga::
:. 0g e:w l ayI|ee:
dyde:e|l:
clwoo|ga :al o:wo|<lo
conservati on ola a' :`
- Wo ' d0I gA::oc al o
D. Wo' dW de0dlo|'al0|e ,WW)
. Geeeace
.
. colIelo' ' ow ga a :a|e predators?
a. o:
D. e' eal:
c|ocod e:
.
. colIe lo' ' ow ga especi es olw ' dcaI:`
a . l ge|
acc l
c yx
Unit 5
3. I DI OMS Match the i di oms in bol d i n I to thei r
correct meani ng i n 1 1 .
I
1 . Tea|lywa: :0o:edlocea :0 :e, c0
:oeoel et the cat out of the cag
2. ' wa: Ieo y coy o IeI . le' t ' e
a fi sh out of water.
3 Hol d your horses ! Yo0 eedlol <aco0
I :l |:l.
4. W ewe |e low, weca a' :ov : lJe::
adki l l two bi rds with one stone.
5. Tel c<eI:we|e:ocea' smel l ed a rat !
1 1
a. wa Ia 0le
c evea' eda :ec|eI
c. :oeI gI :oeoelal doe:I ce og
d. :0:ecl:oel g :w|og
e loacco' :IwoI g:aIle:ael e
4. Compl ete the passage with the words and
phrases below. Then l isten and check your
answers.
cub habi tat in captivity breed tame
cages wi l d predators
OIB IO D0 I00
Would you like a pet tiger? No problem! I n the United States,
you can easily buy a cute tiger
- from a pet shop or over the

Internet. However, even a tiger that was born - - will never really
become 3 . . . ... . .. . . Tigers are fierce
g and your playful "kiten"

will soon grow into a large and dangerous adult, no longer wanted
by its owner. Most tigers are passed from owner to
owner, kept in small and displayed for
people's amusement. There are now as
many as 1 0,000 privately-owned tigers
in the United States -twice the number
left living in thei r natural . . . . . ! In the
UK, this problem does not exist because
i t is illegal to - .-and sell - animals
privately. The United States should learn from
this example.
you.
! . ' d oveloceleowner ol . . . .
2 ' l <lalhunting : .
3 . ' co0 de endangered a a :cy . . . .
4. oe, lwoJ dcea dream come true o . .
5. ' smeled a rat we . . .
Vocabulary Builder, pages 86-87 57
)
--

RELATIVE PRONOUNS
a. This is a service meant for people who I that are
short of time
b. Flexpetz is an agency which I that rents out dogs.
c The kids can't wait ror the weekends, when we rent
Jackpot.
d. Are you a person whose busy lifestyle doesn't leave
room for a pet?
e. They should volunteer at animal shelters, where
there are plenty of dogs.
1 . What noun does each rel ative pronoun i n
bol d rel ate to?
2. Whi ch rel ative pronoun above refers to . . . ?
1. a n obj ect .a pl ace
2. a person 5. a t i me
3. a person or an obj ect 6. possessi on
_DEFINING AND NON-DEFINING
RELATIVE CLAUSES
--
1 . Read the exampl es and identif the relative
cl ause in each sentence.
a. People who want to rent a dog can try Flexpetz.
{defining]
b. Flexpetz customers, who pay a monthly fee, choose
a dog on the Internet. (non-defining]
c. I 'll never forget the weekend when we first got
Jackpot. (defining]
d. Last weekend, when we were out of town, we didn 't
take Jackpot. (non-defining]
2. Choose the correct options to compl ete the
rul es bel ow.
1. A defi n i ng jnon-defi n i ng rel ati ve cl ause
provi des extra, non-essent i al i nfor mati on
about peopl e or t hi ngs.
2. A defi n i ng jnon-defi ni ng rel ati ve cl ause i s
essenti al to the mean i ng of the sentence.
3. Commas a re used to separate a defi ni ng j
non-defi n i ng rel ati ve cl au se from the ma i n
cl ause.
_.We do not use t he rel at i ve pronoun that i n
defi n i ng j non-defi ni ng rel ati ve cl auses.
tammatAppeo6|x,paqes1 20-1 21
1 . Compl ete each sentence with a suitabl e
relative pronoun. There may be more than
one possi bl e answer.
1. o yo0 <oway ceoc e l gllo a ~a'
gl`
2. Wec0y!edoglood o0veleco~ed
3. ' gol0ca!G. 00a, loo<Scolloa wa' <
4 A0!a a i s a co0ly lee ae ~ay0 q0e
a ~a .
5 cveyoe! edloco~lo!o0 e gco0,
cal ad d ed
G. \ycole,wo<a!aa a e le,
a vegela a.
7 oyo0! <lalleea e aya ~a'
ae exc' o !ed`
S. Teeae c' e!yol cel owe !a<e good
caeolle
2 . Match I and 1 1 and add a relative pronoun to
form sentences.
!. Te ~e aco0l!el ' ~ (
2 !ee a c' ace eacy
3 . ' ~ oo< gloa l' alale
4. Weo0' dcelo ea!olceoc' e
5 e c lday A0g0l,
G S< g coc0' a !eA' c,
7 . ' ! < gole' g ~y ca,
S. l t a edoleday
1 1
a eeda o!ol eca
c wego!~a ed.
c yo0walced a! gl.
d. doe !o<e
e ' ca 0ele' !ee!`
l lee ow ea' ya' yea o0d
g. oc oae d lleelloo0
~o!ol e l edaeo0l ol!ow .
Los cl i entes de Fl expetz, que pagan una cuota
mensual , el i gen u n perro por I nternet.
Flexpetz customers, who pay a monthly fee, choose a

dog on the Internet . .
NOT Flexpetz customers, who they pay a monthly
fee, choose a dog on the Internet. X
e
I
3. Combi ne the sentences usi ng the relative
pronoun in brackets. Make any necessary
changes. Whi ch sentences contai n
non-defi ni ng cl auses?
Ta!'!eg ' Yo0 o! ced a!!eca!y ,!a!)
Secacy !lo!w . Te cae!wo< og

o0 ,woe)
Te oad c oed Teacc de!!oo<c' ace

!ee. ,wee)
Te l el g!e ec0ed a < !!e. Teylo0d !
!ec0 go0e. ,w c)
S Teogwa la!a! c Teyag ! ,w c)
Tec zegoe!oowad. e aweed a !e
,0e! ocoec!y ,wo)
-
I ememce!eday. Wel ! me! !e ,we)
3. T \Gea d da0g!e yo0 c a.
,woe)
Rc./T' vcR0\0d\S - I n defi ni ng
- e ati ve cl a uses, we ca n omi t t h e rel ati ve pronouns
ha, which, that and when lthey a r e not the
: J bj ect of t he cl ause.
m mad about the dog (that} I rent every weekend.
4. Look at your answers to Exercise 3. I n which
sentences can you omit the relative pronoun?
5. Combi ne the sentences usi ng a relative
pronoun. Make any necessary changes.
The Col d El ephant
Te!a!eolA a<a ago! a veyco dc ma!e
l t ea!eAc! cC c e
z \agg ewa!eo ye eca! A a<a Se ved
!eA a<aZoo
3 Se ved !ezoolom SJ . Sewa!a<e
lomAl ca !a!yea
c eca!ae a ma Tey eed!o ve go0c.
Tey m0!a' o ' ve a wamc ma!e ! m ' a
!o!e wam a! ve ac !a!.
. Ac! v !wa!ed!o movee!oa wamec ace.
Seco0' doc a ew !o!ee eca!!ee.
Tezooageed!omove e !oa ac!0ay
Ca' lo a. Sewo0 dcem0c acc e!ee.
S T wad ll c0' !lo!eA' a<a. Teyweead
!oca!w ! !e o ye eca!.
6. Compl ete the sentences with a relative cl ause.
Use each relative pronoun once.
1. Azoo a c' ace . . . .
z Ave! a ceo .
3 ememce !eday
. \o<eyaea ma . . . .
.
adm e ceoc e .
Unit 5
7. Compl ete the passage wi th the correct
relative pronouns. Then l i sten and check
your answers. There may be more than one
possi bl e answer.
You' ve probably never heard of the bongo. a rare and
beautiful antelope . . . . . . . . habitat is the mountain of
Kenya. Bongos, . .. . . . . have reddi sh-brown coats and
yellow stripes, have been endangered for many years. In
the 1 960s, Don Hunt, . . had once been a bongo hunter.
started a conservation programme . . . . . . . . . would help b`
these animals. He caught 20 bongos and took them to ZLb
in the United States, 5 . . . . they had a safe place to Ji\ e and
breed.
The programme was so successful that there are now -0
bongos in the United States. In 2004, 1 8 bongos were
taken back to Africa, . . . . only a few dozen native bongo
were left. The American-born bongos, . . . . . . . were born in
the zoo, cannot survive in the wild. However, in the future .
. . . . . . . . . . their offspring are released, a new generation of
bongos will live free in the African mountains.
WEB EXTRA
Find out more about endangered animals at:
uuu. |urling|on0ools.cs/ticuoinrs1
Grammar Review M
meani ng.
. ' ' vego!a l ed Secea< acaee ( o
2 . ' cegawo< g ee 200G , ce)
3. ' ' mgo g!o e c.ay, wo a go!a ey
dog. ,woe)
4 Weae mov g 0y ,cy!e ed o Ju j
5. Tecedoe'!wo < co0g!1 ee o-,
,w c)
Ext ra g ra mma r e xe rc i se s a t:
u | u ngo n 0 o rs c s CNp H l ,
59
SKILLS
LISTENING G
A CONVERSATION
1 . Many young peopl e choose to become
vegetari ans. Look at some of their reasons
bel ow. Which do you agree wi th?
! . caI g~ea!i s c0e
2 . Meat i s 0ea' !y
3. Cattl ela|~:da~ageIeev |o~eI
2. Listen to the fi rst part of the conversation
between two friends. What i s the di fference
between a vegetarian and a vegan?
3. Listen to the second part of the conversation
and compl ete the sentences. Use 1 -2 words
for each bl ank.
! . Acco|d gIoRya, !:w|oglo0~a:
Io o...... a ~a :.
2 Rya doe: Iwea| .. . . ~adel|o~a ~a' :.
3. A~y:ay:!aIge!! gwoo' . . . .- - - - - Ie:ee.
4. \ayla|~a ~a :ae <e! - .- _ we|eIey
cao!
,' STc\C/R:J,,
Li steni ng to the
speaker's tone of voi ce wi l l h el p you deduce t hei r
opi ni ons and feel i ngs. Are they happy, a ngry, sad
or neutra l ? Thi s wi l l a l so hel p you predi ct t hei r
responses a nd u nderstand what t hey mean.
4. Listen to the thi rd part of the conversati on.
Who says the fol l owi ng?
! A ~a :a|e !o0:Ioex o I.
2. A ~a' c c0:e:aeIe| c e.
3. /oo: e |oIecIedageed a ~a' :
4. C|0e'Iy-leeco:~e! c:avea :ec a' :y~co' .
5. WeaveIe| gIIo0:ea ~a' :loIegood
ol0~a:.
Are your opi ni ons closer to Ryan's or to
Amy's? Thi nk about the vari ous issues they
di scussed (zoos, ci rcuses, farm ani mals, testi ng
medi ci nes and cosmetics) and give reasons.
Approximately three million people
in the UK are vegetarians.
SPEAKING
EXPRESSING OPINIONS
1 . Look at the picture and read the opi ni ons below.
Who woul d give each opi ni on - a vegan
or a farmer?
1 . ' don't thi nk that ! : e|:o :ex' o ! g!e
a ~a
z. I n my opi ni on, !: a!0a lo|0~a:! o0:e
a ~a :
3 I bel i eve that a ~a' :ave!e:a~e| g!:a:
0~a:.
4. I feel that weave o g!!o~a<e a ~a :
wo|<lo|0:.
5 I thi nk that ! :e : a ~a : Teyeed
0~a:!o oo<al!e!e~
6. l t seems to me that !e:ea ~a :ae !
:0lle g. Teywee~ea!!owo<.
2. Whi ch of the opi ni ons above do you agree wi th?
3. Work i n pai rs. Describe what i s happeni ng i n
each picture bel ow. Then take turns gi vi ng your
opi ni on on the questi ons bel ow. Use the
expressi ons in colour i n Exercise 1 .
A|e eo eex o ! g!ea ~a `
': ! :la I 0< dI a~l0 !o!ea ~a' `
': !ea ~a' :0lle gI ceel !! g`
oeo eavea | g!!o do ! :`

When you want to encourage your partner to express hi s I her opi ni on, u se the
fol l owi ng q uesti ons:
What do you t hi nk? What a bout you? What' s your opi ni on? Do you agree?
Unit 5
Burlington Speech Trainer, Unit 5 Ptoooc|at|ooPtac|ce,page1 32
61
-
A For and Against Essay

1 . Read the for and agai nst essay bel ow. Does the writer bel i eve ani mal experi mentati on is necessary?
ANI MAL EXPERI MENTATI ON
People have experimented on animals for many years i n order to find out how t o cure disea e.
However, today many people claim that animal testing i a cruel form of exploitation.
On the one hand, medical experimenting on animals cause them pain and uffering. In
addition, doctors cannot always apply the re ult to humans because of the physical diferences
between people and animals. Furthermore, many animal te ts are unnecessary because there are
alternative method , uch as u ing computer models of the human body.
On the other hand, animal experimentation has played an important role in many medical
advances, including treatment for cancer and AIDS, open-heart surgery and organ tran plants.
Moreover, alternative methods are sometime not as accurate as using animal s.
In conclusion, although I realise that animal te ting causes suffering, I believe i t is nece ary
in order to help human being . Nevertheless, goverment hould make ure that l aboratory
animal are treated as humanely as possible and used only when completely neces ary.
2. In whi ch paragraphs of the essay does the writer . . . ?
1 . |e:e!ag0~e!:!o:0o|!a ~a' exe| ~e!a! o
2. |e:e!!eo!e: deol!e ::0ead g ve ag0~e!: :0o! g !
3. !od0ce!e ::0eI co!ove:y
4 :0~~a :e!e a|g0~e!:adg ve :I e o o
CONNECTORS OF ADDITION
AND CONTRAST
We use connectors to show the rel ati ons hi p between i deas.
Con nectors of addi ti on connect s i mi l ar i deas. Con nectors of
contrast connect contrasti ng i deas.
3. Below i s a l i st of connectors of addi ti on and contrast. Fi nd three connectors of addi ti on and three
connectors of contrast i n the model. What i deas do they connect or contrast?
Connectors of addi ti on Connectors of contrast
a :o ad a:we ' a: c0!I oweveI eve!e e::
: !eolI de: !e
o !eoeadI o !eo!e ad
a' !o0gI eve!o0g add ! o,!o) l0|!e~o|e
~oeove| wa!: ~oe ce: de: w e
i
4.
!
2.
3 .
4.
5.
Choose the correct connector.
\ay eo eave:!a!edexe|c : g ece!yea:. I n addi ti on I However, ea !y,
a!0|a' lood:ave ceco~eq0 !eo0' a|
Aa a:go! a ' ove ye:oa' !yi n spi te of I as we' ' as a gea!:e:eol 0~o0
cx!e~e:o!:ca ceveydageo0: Neverthel ess I Furthermore, ~ayeo' ee oy!e~
O0 ' aea ved a o0 a!e. Moreover I However, !woolo0 :0 !ca:e:we|e o:!
A!oy <e: : ewocas wel l as I despi te !e oway
'
'
OcS' Tcj ' \ S' TcOF - Despite and in spite of
: ; "al l owed by a noun phrase or ger und ,veb + - ing), wh i l e
f en though and although a re fol l owed by a cl ause wi th
: :j ect + verb.
::spite I In spite of the high price, I bought the dress.
-o failed the exam despite /in spite of studying off night.
s not wearing a coat, even though I although it's cold.
.. Choose the correct connector.
e :o~e! ~e:ea!:l :a lthough I despi te e': a
vege!a a.
ave! owa < ~ydog!o g!, i n spi te of I
even though ' ~vey! ed
.
a~e:eve eaedSca :al though I n spite of
v g Sev elo:eve|a yea:.
.
Va Gogwa: a la!a:! ca! :!. Despi te I Even though
:, eeve:o da ca ! gd0 g : le! ~e.
-
Even though I Despi te !elac:!a! ! wa: la, we
dec ded!owa' <
Rewrite each of the fol l owi ng sentences in two ways.

Use the connectors in brackets.
= O0!ow a: go!:evea :co!: ce!|e:. !: a :o go!a
loo!ca :!ad 0~. ,a: we' a:, wa!: ~oe)
. . .~~a : a !a e!ed a! :!, c0! :e a: ! go!! ~e!o
ca ! , oweve, a !o0g)
& !: ol!ela:!e!ogocy!a !acyca ' add ! o,
!: a ' o!ceace. ,a :o, ad)
O!eoead, weave !go!~0c ~oey.
O !eo!ead, we celeea! go0!!o coo< g
, eve|!e' e::, de:c !e)
.
: well as sfol l owed by a noun or a ger und. t snever
=ol l owed by a cl a use.
:"ponies use animals for testing medicines as well as
osmetics . .
:: Companies use animals for testing medicines as well as
:ney test cosmetics. X
Compl ete the sentences with a l ogi cal endi ng.

O!eoead, !: gea!!o!ave O!eo!e
ad, . . .
.
\yawa!:!o cela~o0:. \oeove|, . . . .
. ecog :e!ece:o ! :c c!J|e, eve !o0g
.
e ve dec ded!o co! 0ew !oJ c a: :c !e ol . . . .
.
e oJ:e a:go! a 0gega|dea:we a: . . . .
U nit 5
Your Task
Write a for and agai nst essay on the topi c
Zoos - Good or Bad? Use 1 00- 1 50 words.
WRITING YOUR FOR AND
AGAINST ESSAY
1 . Brai nstorm your essay.
Make a l i st of pros and cons. Look at the
statements bel ow. Whi ch woul d you put
in your "pros" l i st? Which woul d you put
in your "cons" l i st?
- /oo:~a<e ceoc eawae ol!eva' 0ead
cea0!yola ~a :.
W !o0!zoo:, ceoc ewoJ' do! ceac' e
!o:ee!e:ea ~a :
A ~a : zoo::0llel|o~ :o a! oad
do'! aveeo.g:cace oexec :e
\odezoo:a|e : ~ a!o:ea ~a :
a!0a ac !a!
\o:!zooa ~a :ae o: edageed
Tey ae <ec!'oe!e:a ~e!
Zoo: e cc|o!ec:edageed a ~a :
! :w|og!o<eecw da ~a :
cac! v!y
PLAN
Openi ng: S!a!e!e ::0eI co!ove|:y
Body: |e:e!a|gJ~e!: :0cco|! goe
: deol!e ::0e.
e:e!ag0~e!::Jcco! g!e
o!e: deol!e ::0e
Cl osi ng: S0~ Jc!e!oc cad:!a!eyo0
oc o
4. Use the checkl ist to check your work.
CHECKLI ST
/ :||:etm |:c : c aqi<:
es:y .
/ u:e ciety:c:mt:c: :iti:
ac:mc:t.
/ :||:etm cu|e.:c :c: cec it|
c:mt:c:.
/ cmkeommc, :e||i_ :
uctuti:1.
--
5K!LL5
GIVI NG A PRESENTATI ON

You are goi ng to l earn some techni ques to hel p you prepare and gi ve an oral
presentati on. Read the Steps for Oral Presentation and answer the Task Questi ons.
STEPS FOR ORAL PRESENTATION
A. RESEARCH YOUR TOPIC
O:e!e:!e: Interet Research
,' leS< ' :O I4)!o e:ea|cyoJ|Io c.
B. ORGANI SE YOUR PRESENTATI ON
I ntroduction
' !odJceyoJ !o c cy:Ia|! gw I
:o~eI g!a!w ' ' ca!cyoJ| aJd ece:
aI!e! o, lo| exa~' ea :Ia|I' glac
a qJe:! oo|a e:oa exe| ece.
Body
O|ga :eyoJ|Ia' <aoJd2J ~a o I:.
Teo I::oJ' davea ' og ca' :eqJece.
Add:Jo|! gde!a :adexa~' e:!o
eac ~a o I
Concl usi on
SJ~~a :eyoJ !a' <ad |e:Ia!e!eo:!
~o|!a!o I:.
C. USE CUE CARDS
O:e :a ' cJeca|d:!o e yoJ e~ece
waIyoJwaI!o:ay.
W|Ie o yoe dea olac!o a cad
O:e agew ! g:oyoJca ead !ea: y.
'J~ce|Ie ca|d:
W Ieo' y<eywod:, oIlJ' ' :e!ece:.
D. PRACTI CE
O: gyoJ cJeca|d:, eea:e l|oIol
a ~ o|oa l ed .
TASK QUESTI ONS
1 . Look at the fol l owi ng openi ngs from
a presentati on a bout whal e hunti ng.
Whi ch techni ques does each one use?
Whi ch do you t hi nk i s the best?
! . WywoJ' dayoewa!Io < ' ' aa ~a a:
!e ' geIa:a wa' e`
2. ':awa wa eJ!oT, ad I~ade~evey:ad.
J. 'I: ' ' ega' !o JIwa e:, cJ!JIe::I ' ' < ' ' 2, 000
wa' e:eve|yyea|.
2. Read the fol l owi ng sentences from a
presentati on a bout whal e hunti ng. Whi ch are
mai n poi nts? Whi ch are supporti ng i deas?
1 . Te~e!od:J:edIo< ' ' wa' e:ae vey cJe .
2. SeveoJ!ol! J wa' e:ec e: ae edageed.
J . JIe|:J:ea a|oo, w cex' ode: : de!e
wa' eadcaJ:e:Ie| c ea
4. \ay:ec e:olwa' e~ gId :aea lwa e
JI gcoI Je:
3. Look at the sentences bel ow. Whi ch i s a
better concl usi on?
! . ' :o|!,wa' eJ! g :c|Je' adJece::a|y,
ad~ay ' eadIo!eexI cI ool :o~ewa' e
:ec e:
2. ' coc' J: o, ~o:!eo eag|eeIaIwa' e
JI g:oJ' dce:Ioed.
4. Whi ch is a better cue card? Why?
A B
l
USE YOUR SKI LLS
ttqo Wile
]-e --,
,-t die.
Research a n i ssue a nd present it to the cl ass.
T < ola ::Jeo|oc' e!a!yoJlee' : o|Ia
O:e!e:Ie:de:c| ced o I :age!o e' yoJ ep
yoJ |e:e!aI o.
0
Uni t Objectives
* Weather
' Modal s and Modal Perfects
Listeni ng to News Reports
interviewi ng
* Writi ng a News Report
" Li fe Ski l ls: Using Graphs and Charts
Extreme Wather
e weather affects your dai l y l ife, but how much do you
. ual l y know about it? Do the qui z below and see.
1 . Li ghtni ng i s hotter than the surface of the sun.
2. Cl ouds are made of water, gas and i ce.
3. The shape of a rai nbow i s a compl ete ci rcl e.
4. Red rai n once fel l i n I ndi a for several months.
5. Afri ca i s the worl d's dri est conti nent.
6. Al l snowflakes have got si x si des.
7. Ci ti es are cool er than the areas around them.
8. Trees cause rai n.

Aoswets, paqe 1 60
How does the weather in your area affect your l ifestyle?
Thi nk of tradi ti onal sports, food and cultural events.
WE
B
EXTRA
Find out about some more unusual weather facts at:
www. burltgtoJZbooks. es/vl ell!pOl llts I

RAING
mean.
Iw :le a : |a -:oa<ed a :loe:
l0e -:aed
UNDERSTANDING CONNECTORS
Connectors can hel p you u nderstand t he
connecti on between i deas i n a text. They often
show contrast, addi ti on, cause and resul t.
2. Fi nd the fol lowi ng connectors i n the text.
look at the i nformation they connect. Decide
whether they show contrast, addi ti on, cause
or result.
! . d0eIo, e) J . de: le , ' e ! 2)
2 ~oeove, ' e ! 2) 4. :o, ' e2 5)
3. Read the text. Are the fol l owi ng statements
true or fal se? Fi nd evidence i n the text to
support your answers.
1 . Wo~e ae yceco~elo|adoca:e:.
2. W ecegad \eIz ave:c el l c<ow edge
aco0lIoadoe:.
J. To|adoca:e|:IyIogel : deIo|adoe:.
4. W eceg ad \eIzae evel| gIeed
5. To|adoe:ae a~ogIe:loge:lIye:
ol:lo~:.
G. i t: olece::ayIoevac0aleeo ed0 g
aIoado.
C DRY AR
! . Toadoca: g : olIel0:Ial g ceca0:e . . . .
a. l : a|dIo gel Ie oeeq0 ~el
c ca:e|:do'I <owlel ~ead ocal ool
Ielo|adoe:
c. l d ga lo|ado vo' ve:a ololIave g
d. l : dage|o0:lo gelveyc o:eloa loado
2. To|adoe: . . . .
a ca de:I|oyeI e c l e:
c ae ea: eloed cIla0| cae:
c avew d:a ~o:la:la:la:0 cae:
d olIe co~e0execled y
J A~ale0:wowaIloca:elo|adoe: . .
a. ca do Ia oe l Ieyae ca|el0'
c. ae 0:0a' ' ylo~ c0oe
c. :o0 d do lw la lo0 co~ay
d ca ceve|y:0e ol:ee ga Ioado
1 . a :eIo go0olIwo,aaga ! )
2. :Ieadol,a|ag|a2)
J. l, a|agaJ)
4. ~o:l~ode,aaga J)
5 :l|age, ~y:le o0:, a|aga5)
G :ee,aagaG)
Do you thi nk tornado chasi ng is worth the
ri sk? Why or why not?
Tornado Alley is
the area in the
United States
where tornadoes
are most frequent.

-Q)
T A
et the Twister Sisters. Meteorologists Peggy Willenberg and Melanie Metz are
:ong the most skilled tornado chasers in the United States. They're not really sisters,
- they' re the closest of friends, and they enj oy chasing tornadoes as a pair.
- mado chasers are people who do the opposite of what most people do - rather than
-nning away from these deadly, destructive storms, they actually seek them out, travelling
- usands of kilometres to get as close as they can. To do this, they drive back and forth
. ro s "Tornado Alley, " the huge plains of the central United States. Almost all tornado
_ - ers are men, which makes Willenberg and Metz very unusual.
- mado chasing can be extremely dangerous. Due to their background in meteorology, Willenberg
_d Metz are able to avoid getting caught inside a tornado, but they are constantly at risk. At any
me. they might be struck by lightning, slip on rain-soaked highways or get hit by giant hailstones.
! oreover, it can be frustrating. Like other chasers. the pair use the latest equipment, but despite this
- y are often unable to predict exactly where or when they" ll find a twister. They have often driven
.ross entire states, only to realise that they should have chosen the opposite direction.
OY do they do it? Both women have been fascinated by torms since childhood. They
uld have become ordinary weather forecasters, but the combination of a desire for thrills
:d scientific curiosity makes them unable to resist chasing storms. "Toradoes are powerful,
) ond our control. There is an element of fear, but also of excitement and beauty,"
y Metz.
:. arge tornadoes are, indeed, one of the most powerful natural phenomena on the
anet. Their narrow paths leave an eerie sort of devastation, such as ripping apart one
ide of a street while the other remains intact. Nearly 60 people a year are killed in
ese funnel-shaped storms, which have winds twice the speed of the strongest
urricane. Worst of all, unlike hurricanes, they are nearly impossible to predict:
orecasters are able to warn people only minutes before a tornado strikes, so
-e idents have little time to evacuate. The data gathered by storm chasers
- uld help solve this puzzle .
. 1any amateur thrill-seekers are joining the storm-chasing game, even
ming from Europe to see tornadoes up close. Those who want to chase
torms should not underestimate the dangers of trying it alone. The only
afe way is to j oin a tornado chasing tour, run by a company such as the
Twister Sisters' Storm Tours. They take tourists for a week of chasing,
.nd the lucky ones will witness nature at its most spectacular - a
'ornado forming right in front of their eyes.
actually ( l i ne 5) means realmente, de hecho not actualmente
ordi nary ( l i ne 1 6) means normal, corriente not ordinaria, vulgar
Unit 6
67
VOCAULAY
\99. . !9. . ! - ! .
1 . Are the statements true or fal se?
Pay attenti on to the words i n col our.
Correct the fal se statements.
! ' l:oeI g :ordi nary, I :0 q0e.
2. ' l:o~eI g :deadl y, yo0ca Id el|o I
J l yo0r un a cocay,yo0aeIeco::
4 l yo0 go back a nd forth, yo0 go oe
d |ecI o
5 ' lyo0wi tness :oeI g, yo0 do I:ee I.
G ' lyo0stri ke :oeoe, yo0waIIo 0IIe~.
7 ' lyo0gather I g:, yo0c| gIeIogeIe
S. ' lyo0 avea background 0: c, yo0
c|ocac yc' aya :I|0eI
2. Complete the passage wi th the words and
phrases below. Then l i sten and check your
answers.
path rather than weather forecaster
ski l l ed sl i p chasi ng avoi d
WLATHLRLLISNS
If you' re a film producer, weather can be a problem.
You can' t ' . . . . . . . . . . . making a flm about winter j ust
because it' s the middle of summer. The - - - may
predict a heatwave, but according to the script, your
character must run down a frozen - - ...... . through a
snow-covered park while . ~- -a criminal, and then
. - ...and fall on the ice. How is this done? ` .......
depending on nature, filmmakers use companies such
as Snow Business, which has created winter efects
for hundreds of films such as Nar/aand IheDa,
A]erIomorru.They are amazingly .. ~- --at creating
snow and ice out of paper, plastic or foam. Watching
these films, you' d never know that the weather was an
il l usion - and that's j ust what the fil mmakers want.
GERUNDS AND INFINITIVES
A ger und is formed by addi ng -ing to t he base
form of a verb. Ger unds a re used :
a. after certai n verbs: They enjoy chasing toradoes . . .
b. after preposi ti ons: . . the dangers of trying i t alone.
c. after certai n expressi ons: Rather than running .. .
d. as the subject of a sentence: Torado chasing is .. .
Some verbs must be fol l owed by a n i nfi ni ti ve :
People who want to chase storms . . .
Other verbs can be fol l owed by ei ther a ger und
or an i nfi ni ti ve, but the meani ng someti mes
changes:
I stopped to drink beer. ( took a break and drank.)
I stopped drinking beer. (I don't drink any more.)
0tammatAppea6|x,page 1 24
3. Complete the sentences with the verbs below.
Use a gerund or an i nfi nitive.
swi m l et work a pol ogi se meet
! . .0<ea' way: avo d:. ~- - extra o0|:
2 We|e d dyo0a||age e`
J WaI:Ieco Iol ` ' <owyo0do I
ea I
4 . . . . . . . is oeolIeea' I e:I:coI:
5. Tey ageed 0::IayaoIe| gI
4. Complete the second sentence so that it has
got a si mi l ar meani ng to the fi rst. Use a
gerund or i nfi nitive.
! . i t's co:: c' eoIIogeIag|y :oeI e:.
I can't help . . . .
2 Wed dII <wewo0' dw l |:I c| ze
We never expected .
J W ' ' ceac' eIo :ee yo0 Io gI`
Is there any chance of . ?
4 l t wo0' d ce:Iageloe Io ' ve a c gc Iy
I can't imagine . . . .
5 \y dogwo I go o0I l I: |a g
My dog refuses . .
5. Choose the best option to complete the
sentence.
1 . RoceIdoe: IwaIIo geIlaI:o e
a . :IoccedIoeaI coco' aIed0| gwo|<
c :IoccedeaI gcoco' aIed0| gwo|<
2. aI| c awa:accyceca0:ee|coyl| ed .
a |eeceedIoc0ye|a c Idayc|e:eI
c |eeceed c0y g e|a c Idayc|e:eI
J We ad a wodel0' I| cIo' Ia'y, ad
a ' ' ' eve|logeIv : I gRoe
c ' ' ' eve|logeIIovi si t Roe
'! `'' J
WEATHER
1 . Complete the sentences with the words and
phrases bel ow.
degrees s l i ppery forecast fl ood
l i ghtni ng soaki ng wet rai nfal l sweat
1 0 Al' a:ol . . ! 0 !e :<y.
z Acco|d g !o!ewea!e .. . . . , !:go g!oge!
co de|
30 !:oe! ~e:goe:dow!ozeo.. Ce' : 0:
\ad d
Te~ecega !o . a:!eywo<ed !e
o!:0.
5 Wewe|e al!ewa ! g ! ea loa
o0.
G Teaveagea0a' - . - Bace' oa : 50~~.
7. \ayo~e:weede:!oyed !e
Beca|el0 ' !: a g, ad!e|oad:ae
2. Read the sentences and choose the correct
answer accordi ng to the meani ng of the word
in col our.
'ea' yJ0c~ olrai n I snow le' d0 g!e
bl i zzard .
z ' !:ge!! gcol der I warmer, :o!e:ow :
mel ti ng.
3. Te:<y : overcast. '!:goi ng to I not goi ng to
a .
4 Teewa: not enough I too much wa!e
d0| g!edrought.
5 Te~ea!0e: eaced 1 ooc I 42( d0| g!e
heatwave.
G ' !:chi l l y. Yo0 need I don't need a coa!.
7. Tehumi di ty :hi gher I l ower !e 0g e
!a !ede:e!
S Tec d|eshi vered !ecol d I warm w d.
3. NOUN COLLOCATIONS Whi ch nouns can be used
to form col l ocations with the adjectives i n colour?
1. bitter - :<y, co d, w d
2 scorchi ng - ea!, log,!e~e|a!0|e:
30 heavy - |a , w d, :owla '
4 severe - :!o~:, wea!e|, : 0
50 thi ck - |a , log, c o0d:
G. mi l d - !e~e|a!0e:,co d, wea!e
4. Complete the passage with the words and phrases
below. Then l i sten and check your answers.
droughts soaki ng wet degrees sweat
humi dity chi l l y fl oods rai nfal l heavy rai n
0 EkH1H
Unit 6
If you visit Cherrapunjee, I ndia, take your umbrel l a or you' l l
get ` . . . . . . . . . Thi s mountai n vi l l age has got the worl d's hi ghest
Z.
, and all of it falls duri ng monsoon season, from
Jul y to September. The water from the 3 runs down
to the coast, which causes terrible 4 . . every year. I n the
wi nter, however, it hardly ever rains and there are often
. . because it gets so dry.
You won't get wet i n the Atacama Deser i n Chi l e, where it
hasn't rai ned i n 500 years! Strangel y, Atacama's cl i mate is
quite
.
. . -. . . , going down to zero . - . . . . - . . . . Celsius i n the wi nter.
Because there is no .- . . . in the ai r, meat wi l l stay fresh
there forever, and of course, peopl e that l i ve there never
. . . . . . . . . People? Yes, believe it or not, there are several towns
in Atacama.
for you.
1. We !: chilly o0!: de, ' <e!o . . . 0
2 . ' ~aywe!eforecast |ed c!:
3. We!eweather :mild, ' . . .
4. ' ! < !a!' ~skilled a! . . . .
5 0 I 0:0a' y !y !oavoid . . - .
G. ! <!eeage: :o0 d . . . rather than 0
GRM
Z
70
MODALS
a. You have to I must find a safe place during a torado.
'b. Most chasers can I are able to avoid getting hurt.
c. At any time, lightning may I might strike them.
I
d People who want to chase storms shouldn't try it alone.
e. Could I Would you tell me more about the tours?
f The torado must be huge. lt's causing a lot of
damage.
g. You mustn' t get too close to a torado.
_h. The storm can't be in this area. Our data shows clear
weather.
i. You don't have to I needn't be a man to chase
tornadoes.
. Whi ch modal s are used to express the
fol l owi ng?
1 . abi l ity
2. advi ce
3. obl i gati on
4. l ack of obl i gati on
5. possi bi l i ty
6. certa i nty that somethi ng
i s true
7. certai nty that somethi ng
i s i mpossi bl e
8. pol i te request
9. prohi bi ti on
a. They should have checked the data first.
b. They could have become weather forecasters.
c. We would have gone on a tour. but we didn't have
enough money.
d. Seeing a tornado must have been a frightening
experience.
e. I think we might have I may have made a wrong
prediction.
. Whi ch modal perfects are used to express

the fol l owi ng?
1 . cri ti ci sm or regret after a n event
2. certai nty that somet hi ng was tr ue
3. possi bi l ity that somethi ng was true
4. abi l ity to have done somet hi ng but i n fact di d not
5. wi l l i ng ness to do somethi ng but i n fact coul d not
We use the . . . . . .. . . . . . . form of a verb after a modal perfect.
1 . Choose _e correct answer .
#
1 . Yo0vegota c gexa to~oow.Yo0 mi ght not I
shoul dn't I don't have to goo0tto gt
2 Teo' ce~aaytatyo0 must I coul d I
mi ght go w t .
J ta ecet Yo0 mustn't I don't have t o I
mi ght not te' ' ayoe
4. Coul d I Must I Shoul d ' eae ' oo<atte
weate|lo|ecat`
5. Tat' d c0' o0 Yo0 must I can't I have to ce
e| o0
G Mi ght I Shoul d I Can loecate00a' y |ed ct
a coect' y`
7 Se a to|adocae. Se coul d I may I must
ovet| ' '
S Tey mi ght I shoul d I are a bl e to getca0gt
teto~.
Yo0 can't I don't have to I mustn't te' e|
ea |eady<ow.
2. Compl ete the sentences. Use a modal .
1 . teat, . . . . , ac ty)
2 . Aa t0det, I . . , oc' gat o)
J. Accod gtoya|et, . . . . ,o c t o)
4. \yl| edt <tat' . . ,adv ce)
5 ' o0 la 'y, te c ' de . . . ,' ac<oloc gat o)
G ' tel0t0|e, . . . . ,o c ' ty)
7. Oeday, ' . . , ac ty)
3. Compl ete the sentences. Use the modal
perfects bel ow.
1 woul dn't have 5 shoul d have coul d have
2 mi ght not have 4ust have
1 . ya d d t get totetea. e
-cee
d ao ted.
2. tveyco d Yo0 ` wo|a coat.
J Wyd d tyo0te ' eyo0 dceo0t7 '
co~etoyo0|o0e
4 t a tyyo0d dt <ow a0 wa tow.
Yo0. . . ? . . . . goeo0t togete|.
5 .a0e tawe geoe. Se'
ta<e t w t e
Hurricane wi nds have been
recorded at 31 0 k mlh.
I
u shouldn't have driven during the storm + .
OT You mustn't have driven during the storm.
! Compl ete the sentences with the verbs i n
brackets. Use a suitabl e form of the modal
perfect.
' d dyce:! - . - . ,co0' d otI Iy) ade.
.
' . ,wo0' dI wea|) y ea:, c0tIeywee
d Iy
+ ' t':a tywed d'Ita<eIeca We , gII
get)Ieeo I e.
\y:0g a::e:ae tee. . . , 0:tI eave)
te atIeceac.
.
Tec d : l gteed. Yo0 ,:o0 dotI
:ca|e)
-
Tetea ,co0' dI w ) , c0Ite ce:I ' aye
wa: ' ' .
3 Your fri end is havi ng a bad day. How do
you respond to what he I she says? Write
sentences usi ng the modal perfects i n
brackets.
' waIedloa o0, c0t e |a d d Icoe '
,0:I ave)
.
'TeIeace:o0Iedat e. ' ,:o0' d't ave)
.
" la ' edIeexa. ' ,co0' dave)
" ca tl dy wa ' e! ' , gIave)

+ 'Tey ve 0o0tolI c<eI:lo| tecoce|! '
:o0 dave)
.
" caeIoyo0o0:e, c0tyo0 ada eady
el! ' ,wo0 dave)
w Rewrite the second sentence without
changi ng its meani ng. Use a modal or a modal
perfect. There may be more than one correct
answer.
ow d dIeylee' wete:to| cega`
I'm sure they were frightened
.
logoI y e .
I'd like to use yours.
& My c|ote: o yl ve
He doesn't know how to ride a bike.
o' yd d'I :ay ' e' ' o ' .
Perhaps she didn't see us.
.
' ca do I :y:e l
it's not necessary for you to help me.
.
Yo0 :edIoo 0c oey
I advise you to save some.
.
We adea :Ia<e.
it's a pity we decided so quickly
+ t:a 0x0|y oIe' .
I'm certain it's very expensive.
7. Compl ete the passage by choosi ng the correct
answers. Then l i sten and check your answers.
d,;u
Uni t 6
When we fi rst heard warni ngs that Hurricane l ke ` mighf
strike I mi ght have Struclur area, we di dn't take it seriously.
Then we heard the announcement: "All residents can
evacuate I must evacuate i mmediately." "lt 3 mustn't be I
can't be that bad, " said my flatmate, Lisa. However, after all
our nei ghbours had left, she said, "I thi nk that we should
mi ght go, too." We took my car, but we soon ran out of
etrol . We coul dn't get to a petrol stati on, so we 5:Yere bre
JJJ
to sleep I had to sleep n the car. We were uncomfort bl e,
hungr and thi rsty. "We 6

should bring should have
broug more suppl i es, " complained Lisa. The news on the
radio was devastati ng. ' 'The hurricane 7 must have destroyed I
woul d have destroyed our house, " I thought, feel i ng very
upset. In the end, the house was i ntact, but many others
were destroyed. Thi ngs m; Id have been easier I ae
'
ea&,e or us, but we weren't prepared. We di dn't realise how
powerful a Gulf Coast hurricane could be!
Find out nbout huricanes at:
ll'tl'll'. bll rlillgtollbooks.cs/irwpoil ltS I
Grammar Review
1 2 3 4 5 6 ( 8 9
meani ng.
! . twa:wogolyo0Io Iyo0 c|oIe|.
,:o0' dI)
2 Tey' ' l :c0 ' d gte o0:e d0 gIe
:0e|. ,cyOcIoce)
J t :'t ece::a|ylo|yo0Io eeteaIte
a o|! , aveto)
4 TaI:Ie:tee! \a|cy ve:tee. ,wee)
5. . zAI< :a:a deg|ee o:oy Sewote
I :coo<. ,wo)
G. ' d d I:ee oto g! Mayce ewetoe
ea y. , gI)
ss...s
LISTENING
NEWS REPORTS
1 . Look at the pictures below and describe what you thi nk i s happeni ng i n each one.
__MAKE P r CTI O S Read the
q uesti ons carefu l l y before you l i sten, as the
keywords w ' ' g i ve you some cl ues a bout the
content of the passage. Pay attenti on to the type
of information you need to listen for to answer the
qu esti ons. (place, reason, year, number, etc.}
2. You are goi ng to hear four authentic news
reports about the pi ctures above. Listen to
reports 1 and 2 and decide if the statements
are true or fal se.
Reo|t 1
1 . \att wa ow o~ewetetoado
I|0c<.
2. Teo0ewadetoyed cyteto|ado
3. 'oote|e|o a vedalIe| ce g
Iow ola|cyaIo|ado.
Reo|t 2
1 . cxteeweaIew cete|e0 t
olg oca' wa ~ g.
z . ' ood gaddo0gIw ae
t ea~e ace.
3. Tec eI I wa g aco0Ite
eal0t0e.
3. Now l i sten to two more reports and choose
the correct answer.
Reo|t3
WeIe| eteoo' og I . .
a. use cl oud seedi ng in many places
c. aecet ca' aco0tc' o0deed g
c. c' a tatc' o0deed g c|eae|a
d ae e gC a tl gtaga Ido0gt
Reo|t 4
Te cec' oc<
a . we|e oI a c ga a '
c. eed c o0d o|de|Iolo|
c. ave eveca0ed acI0a' daage
d. ae oI0de|tood cyc et t
Do you thi nk global warmi ng is a seri ous
probl em? What do you thi nk we shoul d be
doi ng to stop it?
SPEAKING
INTERVIEWING
1 . Look at the i nterview with a person who survived a tornado. Match each question with a sui tabl e
response. Then practise the di al ogue wi th a partner.
1 . What were you doi ng when the
tornado struck?
a. Eventual l y, teIo|adoaed adeveyt g
ceca~eve|yq0 eI Te' weIo0t de
c I fel t te l ed . . c0tIe|ewaoI g co0' ddo'
2. What di d you see?
3. How di d you react?
c I saw IeIoadoao0I deo0 o0e
tdetoyed eveyt g tat
4. How di d you feel ?
d ' was Iad g I e< Ice ~a< g~ye' l
a adw c
5. What happened i n the end?
e Peopl e were c|ea~ g adt|y gtol dte
la~ ' e.
6. What were peopl e doi ng? l I tr i ed to 0Ioo0 0de|g|o0de' Ie|,
c0I Iwa Ioo ' aIe
2. Read the news reports below. Wi th a partner, choose one report. Student A i nterviews Student B,
who survived the event. In your i ntervi ew, use the questi ons and expressions i n col our i n Exercise 1 .
rL0
00b
hl1
Ll11
1e eavy |a coI| 0ed!o|Iwo
day
ad
d
e ||ve|
!| ooded
eo| e o~e
Re| deIIe
Io |ec0eIe| | oe| o, ca||y gIe~ 0
I
IoIe
ge|!| oo| AIewaIe| coI+0e
|e c| | ~
cedoIo |oo!, c|ea~ g a
e
|e| . Seve|a| o0|| aIe|, |ec0e
coaI
ade| | coIe|a||| vedaIIe cee.

3. Switch roles and conduct an i nterview about
the other news report.
Kbb
l0bN1b
bV
Ld
1b0
0dKlN flKb
__
olIe
wo|Ilo|eIl|e Iea|ea'
e |e,
ca0edcyIe|eceIeaIwave
cega eve|a' | ' o~
eI|eeaIolIeI
c
,
oo ceg
I
.
ow, 0I
a ~ove Ie
d |ecIo olIe
o0e
Re| deI, wa I gcyIe | |adolo|

| I|0cI o, we|e
Io' d
ea|'yoT0eday
~o|
Io evac0aIe AIel |eca~ec' oe| Ieyd
g
awawIa lew
oe o, sow g IaI
e
y
~ g I eve|eeIe |o
~eaga .
When you descri be an exci ti ng event that you
wi tnessed, fi ni sh your story wi th one of the
So i n the end, . . .
To cut a l ong story short, . . .
Fi nal l y, . . .
Al l i n al l , . . .
Unit 6
..
74
A News Report
1. Read the news report bel ow. I n what ways are the fi res related to the weather?
|| |08| 0500I00|0 8I|| |
Austalian Times 9th Februar 2009
This summer, the state of Victoria is
having its worst bush fire season in
recorded history. At least 1 66 people have
died i n the fires, which have destroyed
entire towns and damaged thousands of
homes.
About 4,000 firefighters are trying to combat
the fires, but are having little success because
the flames are out of control. And there' s no
end in sight: weather forecasters have warned
of continuing heatwaves and consequently, the
situation may get worse.
The fires started several weeks ago as a
result of exceptionally high temperatures
and the worst drought ever recorded.
Many were caused by lightning, but police
suspect some were started intentionally.
Prime Mi nister Kevin Rudd has reacted
emotionally to the tragedy. "Hell in all its fury
has visited the good people of Victoria in the
last 24 hours. Many good people lie dead, many
injured," he told reporters.
2. News reports usual l y provide answers to the
questi ons: Who, What, Where, When and
Why. I n whi ch paragraphs does the report
answer the fol lowi ng questi ons?
! Wataeed`
z Wowa: vo' ved`
J. We|e d d tae`
4 Wed d Iae`
5 Wyo ow d d t ae`
3. Where did the writer incl ude people's reactions
or comments?
4. News reports usual l y put the most i mportant
i nformati on in the first paragraph and then
add detai l s in later paragraphs. Did the writer
of the report above do thi s?
A con nector of cause i s a l ways fol l owed by the
reason why somet hi ng happens. l t can come at
t he beg i n ni ng or i n t he mi ddl e of t he sentence.
People were evacuated because of the danger
A connector of resul t is fol l owed by t he
consequ ence of an acti on jevent. l t usua l l y
comes at t he begi nni ng of a sentence.
There is a drought i n Australia. Therefore, the bush is
very dry.
wt|t|aq0u|6e,paqe 1 49
5. Fi nd two connectors of cause and one
connector of resul t i n the model . Use the l i st
below to hel p you. In each sentence, what i s
the cause and what i s the result?
Connectors of cause Connectors of resul t
ceca0:e
: ce
a:
ceca0:eol
d0eto
a:a e:0 tol
:o
a:a e:0 t
Ie|eloe
co:eq0et' y
lot :|ea:o
6. Choose the correct connector.
1 . l t eve|:ow: o 'ywood . Therefore, I
Because tey ~0:t 0:e aI l c a' :ow l ' ~:.
z eo' e:weata oI o0 a|ea, so I si nce Iea
:vey 0~ d
J. eavy:ow:ave c oc<ed ~a|o gway:,
as a resul t of I so ~ay eo e ae 0ac eto
eacIe |o~e:.
4. Te|e a|e d|o0gI:ac|o::Al| ca As a resul t I
Si nce eo e do oI aveeo0gd| < g
waIe|.
5. Due to I As Ie ' ate:IweaIe|lo|eca:I, Ie
ca| va' a:ceecace ed.
G. Jeatoo<aI c< ac<eIbecause I
consequentl y t wa: :oco do0t: de.
?9
ge
:st con nectors of cause and resul t a re fol l owed by a
: a Jse wi th subject + verb. However, because of due to
d as a result of a re fol l owed by a noun phrase or gerund.
C vere evacuated because the flooding was getting
orse
re evacua ed because of the flooding
-
Choose the correct connector.
èweaIew ' ' cecoeoe exIee because I
because of g oca' wa~ g
-
Due to I Si nce Ieco' dweaIe, eveyoeIayed
doo
. As a resul t of I As Ie0 cae co~ g:owad
e ' ad, a d aIe execIed
.
cxeI wee a~azedsi nce I due to Ie cec oc<wee
e zeola cowave
-
As a resul t I As a resul t of c o0deed g, I a ~oe
olIe o~eaea
Complete the sentences with a logical connector.
Do not use the same connector twice. There may
be more than one correct answer.
n I oco' d A' a<a, waIeca leeze d-a .
Tew dwee vey Iog, . n evea cawee c' ow

ollIeoad.
& 0 cae ae lo~ed a co~c aI oolwa~waIe
ad coo' a
eaIVa ' ey, Ca lo a oeolIeoIIeI aceo
caI. . . _ ooe veIee
. eo' ecageI < cace . . n Iog0 gI
6. Telaewa Icy gI g ewaIad g
aoel e d
9. Rewrite the following sentences usi ng the words i n
brackets. Do not change the origi nal meani ng.
! ' a~Iave gIoo' ad. oI eao, ' co0gIa
wacoaI. ,a)
z 00eIoIeco dw Ie c g ad, Ieyae ~ov gIo
Sa . ,ceca0eol)
3 eo ewaIcIeew oTV ceca0eIeywaIIo
<owwaI ae g Iewo d. ,Ieeloe)
4. TodayloecaIae q0 Ieacc0aIe ceca0e Iey 0e
~odeIeco'ogy ,d0eIo)
5 Teewaa 0 caewa g, o eveyoe elIIow .
,A a e0' I)
`^
+'
)
.
.."
"
,.
.
. . 6
y
Unit 6
Your Task
Write a news report. Use 1 00- 1 50 words.
WRITING YOUR NEWS REPORT
1 . Brai nstorm your report.
Read or l i sten to a news report on the
radio, TV or I nternet. Make notes to
answer the fol lowi ng questi ons:
- WaIaeed`
- Wowa vo ved`
- Wee d d Iae`
- Wed d Iae`
WyI owd d I ae`
Thi nk of extra detai l s to make your report
more i nteresti ng.
Add peopl e's reacti ons and comments
about the event.
PLAN
Openi ng: G vea 0~ayolIeeveIad
Ie~oI oIaIlacI
Body: eve' oIee evaI loaI o
ad adddeIa .
Cl osi ng: G ve eacI oadco~eIol
eo' e vo ved.
CHECKLIST
. {:||:eth|{:cC : ce:ct.
.
eC cief:{ ::at:c: :{ :e
mce+u|t.
. :|kecmmc, +e||i_ m
ututi:11 .
wt|t|og0a|de,p 1 5
75
`
5K!LL5
USI NG GRAPHS AND CHARTS

You are goi ng to practise i nterpreti ng i nformation from graphs. Look at the graphs
and answer the Task Questions bel ow.
Cl l mategraphsfor London, Engl and
Graph A - Average temperature Graph B " Average preci pi tati on (rai nfal l )
Um
TUU
JU
oU
1U
oU
. . . . . . ... .
,.
,.. .
..
... . . . . . . . ... . . . ;.

. .
f
bU
4U
3U
2U
1U
F M M 5 O M (months)
Zb Z3 ZZ ZJ Z0 Z0 J7 Jb J9 Z3 Z5 Zb (rainy days)
TASK QUESTI ONS
1 . Graph A
1 . WaIa eIe0~ce o Ie'elI-ad deolIega`
2. WaI Ied lle|ececeIweeIe|ed adc' 0e' e`
Graph B
1 . WaIaeIe0~ceo Ie'elI- ad deolIeg a`
2. WaIaeIeeIIe|oIecoIIo~olIega`
2. Look at the graphs agai n a nd a nswer the questi ons.
1 . WaI IeoIIeI~oIolIeyea .odo `
2 . WaI I eave|age~ ~0~Ie~eaI0e J 0e`
J. WaI Ieave|age~ax ~0~Ie~eaI0|e 0e`
4. Oaveage, loow~ay daydoe I|a \ay`
5. W c ~oI aIe~oIa la' ` ' IIea~e~oIIaIaIe~oIa yday`
USE YOUR SKi llS
Use the I nternet to fi nd temperature and preci pi tati on graphs for a city in your country.
Compare the i nformati on i n the graphs to the i nformati on i n the graphs on thi s page.
Wri te fi ve facts about the di fferences i n cl i mate between London and the city you chose.
Travel
Unit Objectives
* Travel
* Conditionab
* Ti me Cl auses
Li sl cni ng to Recorded Mes-ages
Buyi ng a l r<i n Ti ckel
Wri l i ng an c-mai l
* Li fe Ski l l s: Booki ng a Room
i sten to the song and read the lyrics. Then answer the questions.
WaIaIIacIedte getoAtacI ca`
= Wy doete ge ca' ' ~e' la deae`
3. Watdoyo0 t < aeedto Sac<e' IoadScott`
Pntarctica By Al Stewart
Long before I ever saw
The frost upon your face
I was haunted by your beauty
And it drew me to this place
I fel t the chi l l of mystery
Wi th one foot on your shore
And then and there resolved t go
Where no man had before
Maybe I was snowbl ind
But i t seemed the wind spoke true
And I bel ieved its stories then
As dreamers someti mes do
In Antarcti ca
I n Antarcti ca
Who knows what the powers may be
That cause a man to go
Mi ndless of the dangers
Out across the vi rgi n snow
Seduced by this ambi ti on
I easi l y forgot
The hopeless quest of Shackl eton
The dreaml i ke death of Scott
Maybe I was snowhl i nd
But it seemed your voice was true
And I bel ieved the story then
As travel lers someti mes do
In Antarcti ca
I n Antarctica
And maybe I was snowbl ind
Perhaps it sapped my wi l l
But something of my innocence
I s wanderi ng there sti l l
I n Antarctica
In Ant arctica
Antarctica
Antarcti ca
Why do you thi nk peopl e explore unknown
places despite the dangers?
W
EB E
XTRA
Find out about Scott's expedition to Antarctica at:
uuu.0u r/:ngloii0ools.tuonls1
%
.
s
w
1 . ' va!vay aA!aC! CC|u e d lIee!
lO a JxJyCJ e`
1 . Word Check: The fol lowi ng words appear
mean.
I|Oe O oOad ea C' a e| '
A pronoun or possessi ve determi ner refers to
a t hi ng, person or i dea that has a l ready been
menti oned, often i n the fi rst part of the sentence
or i n the previ ous sentence.
.
2. Read the text and decide who or what the
fol lowi ng words refer to:
! !( e3)
2 ! ( e S)
3 !ey ( me ! 7)
4 !e( e23)
5. !e ( ' ez4)
G !( l i me2G)
1 . 1ev !elee' ! u| mg!a! .
a. O ay eO eva!!O gO !O Am!aC!Ca
o. it Oexe ve!O gO!OAm!aC! Ca
C ! i s O o' e!O gO!OAm!aC! Ca
d ! i s O o' e!O gO !O A!aC!Ca
2 1e Cu e am< 2007dJe!O . .
a. a !O| a! ea
o. aaCC de!
C !e exe eCe Ol!'eCa!a
d a ea< mg!a<
2 \a! a|e !eevay mv C A!a|C! Ca i s
J| que`
3 \a!mega! veelleC! COJ d!OJ ave m
Am!aC! Ca`
4 \ydOO0eeO' evam!!O !!eJoe
Ol!OJ! A!aC! Ca`
5 . \a!O ! ve elleC! COJ d!OJ| ave Om
Am!a|C! Ca `
5. Compl ete the sentences usi ng your own
words.
! |eOl!OuamdOl eO e . .
2 HelOe ! S20, OOe . . . .
`
3 ACCO|d g!O !e 1 959 !|ea!y, Oma! Ov ' ' eve
C a !a!
4 |OJ !!OA!aC! Ca ayoe < g!e | ve
oeCaue Ol . . . .
5 . !e2007 C de!, O!OJ ! . . . .
G A d a!evaavO ded oeCaJe !e!a< - - v
6. Fi nd adjectives in the text that mean the
opposite of:
! eaoy(aaga. )
2 a' (aaga2)
3 lOo dde (aaga4)
4 Ca e! ( a|ag|a 5)
5 O! (aaga 5) 1
Do you thi nk that it's a good idea to promote
touri sm to Antarctica? Why or why not?
There are 1 6 research stations in
Antarctica.
Pengu i ns can swi m at speeds i n
excess of20 km/h.
M/5 Explorer sinks in Antarctica,
23rd November, 2007.
T0
T
0
b
J
\
' ' CL'
Antarcti ca - frozen, remote and i mpossi bl e to get to. Or i s i t? Unbel i evabl e as i t seems, i f you' ve got
an adventurous spi ri t and enough money, you can actual l y vi si t thi s conti nent at the bottom of the
worl d. I n fact, i ts popul ari ty as a tou ri st desti nati on i s growi ng, wi th the number of yearl y vi si tors
now i n the tens of thousands.
Al l you have to do i s si gn up for one of the Antarcti ca crui ses and pay anyt hi ng from about $8,000 for
ten days to $35,000 for a month. But don' t expect a l uxury tri p wi th di scos and casi nos. The purpose
i s to l earn a l l you can about thi s amazi ng pl ace, so as soon as you get on board, your gui des wi l l
begi n t o teach you about Antarcti ca's ecol ogy and wi l dl ife. Thi s wi l l prepare you for the unforgettabl e
si ghts you' l l be seei ng - spectacul ar l andscapes, gi ant i cebergs, seal s and pengu i ns.
I ce-covered Antarcti ca, the col dest pl ace on Earth, i s pure nature. i t has no permanent resi dents, and
there are no shops, hotel s, bi l l boards or cafes. There are al so no nati ve peopl e, so the first ti me human
bei ngs ever l ai d eyes on the uni nhabi ted conti nent was when i t was di scovered i n 1 820. i t doesn' t
bel ong to any country, but i t bel ongs to a l l of us. I n 1 959, an i nternati ona l agreement was si gned,
sayi ng no country wou l d make any terri tori al cl ai ms there, and dedi cati ng the enti re conti nent to
peaceful sci enti fi c research.
Envi ronmental i sts are concerned about the effects of tou ri sm on the area, si nce any human acti vi ty
causes changes i n the ecol ogi cal bal ance. They say that the damage coul d be mi ni mi sed if there were
rul es to l i mi t the nu mber of tou rists al l owed to vi si t each year. However, some touri sm may actua l l y
promote conservati on. If peopl e wi tness Antarcti ca' s breathtaki ng beauty, perhaps they' l l become
aware of the i mportance of protecti ng i t.
However, the envi ronment i s not the onl y concern - there are peri l s for humans as wel l . The seas
around the conti nent are the roughest on Earth, and i t takes a seasoned shi p's captai n to get through
them whi l e negoti ati ng the treacherous i ce. I n November 2007, 1 54 unl ucky touri sts sat sh i veri ng for
hou rs i n l i feboats on the i cy water, watchi ng as thei r crui se shi p sa nk after crashi ng i nto an i ceberg.
Fortunatel y for them, the weather was cal m, so there were no deaths or i nj uri es before they were
fi na l l y rescued. J ust as l ucki ly, there was no oi l l eak from the shi p's tank. If the tank had l eaked, i t
wou l d have caused an envi ronmenta l di saster.
To be on the safe si de, if you deci de to travel to Antarcti ca, choose a company that has l ots of
experi ence. Enjoy your adventure and keep in mi nd you are actual l y vi si ti ng one of Earth' s fi nal
fronti ers.
Unit 7
VOCAULAY
--
so
\9!. !9. . . ! . . !
1 . Choose the correct answer to each questi on.
Pay attention to the words i n col our.
! w+--ce,e.s--bi l l boards?
next to roads I + houses I on TV
2 w+it +ceti+s,et sas-c:eicrui se?
a pl ane I a trai n I a shi p
3 . w+itw s i nk +wit-
a stone I a feather I a l eaf
4. w+eas.i ,:e+c.:tsresearch?
a chef I a sci entist I a constructi on worker
5. w+it:ias-st+-estdamage tet+-
-+. e+-+t
pl ants I a ni mal s I peopl e
G. w+ :+w-it+-:e+c t e+si-t+-est
treacherous?
hurri canes I humi di ty I chi l l y wi nds
2. Read the sentences i n I . Then match the words
in col our to thei r defi ni ti ons in 1 1 .
I

! . O. i +e +t+ s:eas-ste ,e.-
e++ s+ _
2 -is-kt nd :+it,e..sti.-e+
t -
3. Vestse-si-t+-i:tt+it
se + sci+-e.s
4. tseectei:+ -.-iba l ance e-tw--+we
i+c :.+
5
+ e c{q ' . IS ,i-+ts i.- --+z. t-cancer e iee.t

+ it-,
1 1
i we -c
' e -;. e a
: i ei
2 c --e-
- :e+s: ease:
3. Name two . . . .
! t+ +s,e. cs--+ ic-s-tl andscape
2. eej-:tst+itbel ong to ,e.
3. t+ +s,-e, -si gn up :e
4. }eesw+ :+ +.e .-rescui ng ,-e, -
5. ee}-:tst+it:il eak
NOUN SUFFIXES
Nouns can be for med by addi ng suffi xes to
certai n verbs, adj ecti ves and other nouns.
Some common nou n suffi xes a re : - tion, -sion,
-ment, -ist, -ity, -ship, -ness a nd -ence /-once.
agreement, tourist, popularity experience, importance
Note that someti mes there are changes in spe l l i ng.
conserve .. conservation active .. activity
0tammatAppeo6lx,page 1 26
4. Add a noun suffix from above to each of the
fol l owi ng words.
deci d |i er rel ati on _ i nform
possi bl e

a ppo envi ronmental
of the nouns you f rmed in Exercise 4.
1 . +--sie ,
t :-ts
2. I s t+--i+, e+i ee :ete+ +t
3 i.-,eaic-i++-ce:te
4 +-
.-ic cit-se:t+- t ,
5. -.e : -cieeatt+-ei i+:-e:+it.- +
/+ti:t :i

G c -se- a+i +te.e+ce+
7. V,s st-i+cI +i - i it+-ste,.
S. w+-+w-i .-ct+- +et-wis+:e,-t-. . ... . :'.
6. Compl ete the fol l owi ng sentences by addi ng
a noun suffix to the words i n brackets. Then
l isten and check your answers.
||r-
,ea - ee +e t-e+,ea+-+e ci
':
t,sti,+ iti+a+asai +et- O+- ,ese -
t+- viat et- + - , + i+c, ea t -+t - ,c
s+ewi+c :- ,ea,--wit+, t,t+- iae-
+t+-i i+i +e-st +-+et- s
:e ewst+-e:i wi,eea c +- i eesi-+ +
t+-t--te,s+-vi i se+ et- + Oec, + ia
wise+:-i
e+ vesteesi- +:e+.-t-c:- s -
t+- :et+-| st-- cees i-s a t-i
^`,-ss w+--.-,ea ti.- , ,ea s--t
c --+ti+ct +-a+ za-, ,ea' +ct
l ,
+
+,
) IS
' 0
:-s

Je
1 +
+c,
's
++
t+-
'P!. . . `l !Y
TRAVEL
1 . Pay attention to the words in col our and
choose a l ogi cal endi ng for each sentence.
O+++overni ght t ,,,e.st+,:e
+ s-.-+ + +ts
: e+-+ +t
:,e.:.,+return ti cket, . . .
+ ,e.ce+ t, ++te:e-:+:
,e., ++te:e-:+:
J. :,e. t+ + sdel ayed, tw -+.-
+ +t-
: e+t -
<
+e. departure ti me st+-t -,e.
+ -+.-
+.-
5. ,e.go a broad, ,e.
+ ete+ +et+-:e.+t,
te. +,e. ew+:e. +t,
6. ,e.+--caccommodati on, ,e.w++t
+ +w+,tet+.-
: +, +:-test+,
7. A passenger s+ ,-se+
t+.- +e++:.s, , ++-, t+ +es+ ,
: s --, ++t++et- e+,e.t++est-
2. The dialogue below takes pl ace at an ai rport.
Compl ete it with the words below.
queue youth hostel fl i ght
a i r l i ne l uggage
/ +++- ,,e., ss
- +e,-se V,

++s+t+ .-c .-+ se
:--+w+ t ++t+ s2 H :e++ :++ +e.
/ se,, V ss w++tw+s,e.
+.:-
- tw+s +tJS, e-.ss- s
/ +-,.st++.- -:t,e.:+t+--
w+--w ,e.:-st+, +
- /tt+-4

. . . . . +tew+
/ / +t w- c- .- t+ssee++st+ .-s
- /+cw++t+s.,,es-ctece +t+-
-++t -t + +,e. 5

O H O O O O H ew-s-
+++,e e,
3. Match the verbs i n I to a word or phrase
in 11 to form expressi ons.
11
! . stay ;+ on hol i day
. go - : at a hotel I at a youth hostel
J hi re
`
a ti cket I a room
+ go c a car
5. book u - si ghtseei ng
4. Use the expressi ons i n Exerci se 3 to compl ete
the sentences bel ow.

! ce+tw++ttet+-:.s-s .-ts '
. +e. +,-e, -w+e++.-+ tett+-
++-
+et- se:t-+ _I
J +--+-,e.+
s
+ c e.-te) e|a:l--tes--
+e.+c+--
5. -- e, c -teeYte.t+I .,
answers.
l uggage accommodati on a i rl i nes
departure ti me fl i ght passengers
del ayed overni ght
JhC u
Unit 7
Sleeping in an airport isn' t the most comfortable form of
. . . . . . , but it' s becoming more common. If your . . . . . . is
4 am, it' s hardly worth the money to book a hotel for the
night. And what if you get to the airport only to find that
your 3
H has been 4 . . . H. ? In the past, 5

. H . provided
free hotels for 6 when this happened, but nowadays
this is rare. However, sleeping at an airport doesn' t
have to be torture. The Mini Motel, created by business
traveller Frank Giotto after an 7 . . . . . stay at a German
airport, weighs only two kilos and is small enough to fit
into your . . . . It' s a one-person tent complete with air
mattress, pi llow, reading light and alarm clock.
Complete the sentences. Make them true
for you.
! e -tesign up :e
. ++.-+-+trelationship w t+
3 . +.-,concered +ee+t
+ e -tego sightseeing +
5. e+.-w-+te+++overnight ,e .
G. / ,et++tdecision .-+e-w+s
WEB EXTR
Find out about an unusual tye of hotel i n
Japan at: uu.bur/ingtonbooks.ts{cuo:i rs1

THE CONDITIONAL
W
Read the examples and fnd the conditi on and
the result i n each sentence. Then answer the
questions.
Fi rst Condi ti onal
I f people see Antarctica's beauty they'll promote
conservation.
Second Condi ti onal
There would be less damage i f there were rules about
tourism.
Thi rd Condi ti onal
If the tank had leaked, it would I could I might have
caused a disaster.
1 . Whi ch sentence tal ks about ... ?
1. a n i mpossi bl e or u nful fi l l ed si tuati on i n
t h e past
2. a hypotheti cal si tuati on i n the present
3. somet hi ng that may happen i n the futu re
2. Compl ete the rul es:
1. I n the fi rst condi ti onal , we use the . . . . .. . tense
i n the condi ti on and the . . . . . . . . . . . tense i n the
resu l t.
2. I n t he second condi ti onal , we u se t he ..
tense i n the cond i ti on a nd .. ... . . + t he base
for m of t he verb i n t he resu l t.
3. I n t he t hi rd condi ti onal , we use the . . . tense
i n the condi ti on and . . + have + . . i n the
resu l t.
TIME CLAUSES
'
/'// tell you about my trip when I get back.
As soon as you get on board, your guides will begin to
teach you about Antarctica.
I will phone you before / leave.
1 . Do the sentences above refer to the present
or the future?
2. What tense i s used di rectly after ti me words
such as when and as soon as?
0tammatAppeo6|x, pages 1 25-1 26
1 . Compl ete the sentences with the verbs i n
brackets. Use the fi rst or second condi ti onal .
1 . +e. ,-::e-. -is:- :,e.:i-:+-
+ +-s,--cti +
2 . ,ti.- e,, i+- :e. ciec :
3. we+ : -i.-:e+ +t.+ -sst+-w-i:+-
, ,e.-
4 -e, -we. c .-e+/+ti:::i : ,+e:e-
se:e c
5. ,+i.-ie -ei we. cti-e-
: e:+-s
G : eei wi + ,:e+: +.-:+- :-e-s
w - :
brackets. Use the thi rd condi ti onal .
1 . w-:e. c+ :: +c:+-e. c +
:w- ,+i.-ii, w- ,+e:-: es:
2 +i -c c+ t:-- w-
- , +e:-- +- ,+e:-i:s e.:+
3 +-i+wis+ :e,i:i
+-c .- , +:I s--+ : +- ,+e:
w-ie i:
4. ::ee.s:we+e.ste-::+--e,e.s
w- ,:i-i:i : ,e-.:+-is -
5. +e.eet-ee -se :+ci, :,e. ,w:-
:cew+,e. , --e- :
3. Choose the correct conti nuation for each
sentence.
1 . twe. c+i.-e--+i e.- ,-.-+ +
i :ce-s+ :i +
-ic+ic+ :i.-cse.:+
2. we. c,e.:i.- i e+- `
i ,e.+ic+ic:+-:e.i-
e ,e.w--e c-
3 s+-ce-s+ :-::+i:}ee
i s+-w e-.-,c si,,e +t-c
e s+-we. c+i.-.+ e.:e:e+-,
4 :+i:j i:-:c c+ ::es:se.:+
i we. ce., :
e s+-we. c+i.-: -cte+
5. w-we+ :i.-e+: -
i .+ -ssw--i.-z.:--i ,
e :w-+ic+ t+. -c
G ,e. +ic+ ::e c-
i I w e-.-,i+,
e +t+-.-+i.-:e.+ce.:
a gente entendera la i mporta nci a de proteger
a Antarti da en cua nto vea n su bel l eza.
NU1People w11/ understand the importance
protectmg Antarctica D DLL D they D
beauty. )
w- -t tc.:+i::cci:w-wi l l get I get
c::t+-, i+-
2. :were I had been ,c., wc. : :t-:ct+-
wi +:
3 wc. :+i.-:--+,c. :,c.hadn't l eft I
di dn't l eave -i,
4 w- -i.-w t+c.t+ . -::+-wi l l meet I
meets .:it-i:t ,2. 00.
5. I +t+i.-.:-:tcc:+ :+-di dn't speak I
hadn't spoken :ci:t
6. +c. --e-tt-w-,c.stop I wi l l stop
:c +
5. Complete each sentence without changi ng
the ori gi nal meani ng.
1 . +-,wc t -t,c.-t-w t+c.ti. :i
c.:i :-:-. -::
2. t+ ,c.:+c. :ti-i.e- i
:w--,c.,
3 :ct:-- w- -c.+tc: + :+,wc
itt+-c-t
w+-
4 -ce : t+--w t+.:, :c .+i,,,
wc. :
5 . : :+tcw,c. +i:t+-: ::,:cec.+t t
: +i:
6. :cc, e.t : -,c.tc:ct+-wi:+ .,
::cc, 7
7. t: ,ctitt+it,+c+-cw+-+ +-i
i,+-w:
/::cci:
6. Compl ete the fol l owing sentences i n
a l ogi cal way.
1 . 0 -::: :,,i::,ct,
2. ctc c.- it+ ::.- :
3 : :c-t + w-twcc it ,
4. /::cci:i:i .-:it+ :+ct- ,
5 . : /ti:t :i+i:,-i-+t-: :-t:,
6. O. i:t+c :i, +t+i.-e--e-tt- :
7. Read the advert and complete the di al ogue.
Then l i sten and check your answers. There
may be more than one correct answer.
N1
Y1
1MO
Put the
exciteWeVt
bacl
iVtO air trtJel -
ffy tO tV
UVfV
OWV
te.tiVt
iOV!
We' If arraVqe your f/iqhts aVd
tCCO
WWOdtiOV.
lvai/ab/e 01/y
iV iustra/ia!
V,:t-, +t: - w+it
i-it,-:-t -.t
-ce+it-::., :-: --
. . . . . e-:. c.:w t+
- : . . . . . . eccc-
-c-:t , :- . ct
e-:c :, -4 .
-}c, -i c:c-
c tc:c t
,i: +i:c- , ecct:,
:.::--i:iwi:citc.::
:ti+-w- , ,:-:t it c
. . . . . . +cte-i:-:-t,'
cww+ittc,i: -.tVi i
:c-:t+cw+-:- : +-:i,:t+it
w-
+:c.ti::cc+i:w-
-ttct+-i ct : t+ :
:.,,c:-:tce-:.7
w- -: i ,itt+-i ,ct O.
:-:t it c-ceit,i:i i
Vi,e-t+ : : t:.:+iei: :-i
it-i
^
itwi:iwc :-:.w---: O:
:c.:-, w-
Q
. - : ,tct+-3c :
ci:t +:t-i:c:ceit,
! U
. c
::.ei: . w- , i,e-+-tt -
Bob
Grammar Review M
8.
1 .
2.
J
4
5.
6.
Rewrite the fol l owi ng sentences usi ng the
meani ng.
I :ct:,-i ti i+, :c:i t:t.:, + ti, :
-i::ct-+ +.t-:i:t+-- i: --, i:t-
:.-t+iti. i:+c-e,+cw .:t
.i:c:it, i,:cctei e-:i.:- t:i
i::cci:
: :+ te.,,c.i,-:-te-:i.:-: ::+c
twi:,c. e t+:i, :
-+i,:,:it+-tcct+it, :t.- +t
Ext ra gr ammar exer c i s es at :
WWII'. b u rl i ll gf ol l bo o ks . es l i ezcpu i ll ts l
Unit 7
83
ss...s
-
LISTENING G
RECORDED MESSAGES
1 . Read the advert below. What is meant by a diferent perspective?
84
Book a @Dton tD0
Lomdomcye
See London from a diferent perspective.
For more i nformati on:
Customer Servi ces
870-990-8883 or http://www. l ondoneye.com
. \FOR / . - Many l i steni ng
tasks focus on speci fi c i nformati on. Read t he
questi ons ca refu l l y a nd deci de whet her you have t o
l i sten for a person' s na me, a ti me, a pri ce, etc.
2. Cl audi a cal l s to fi nd out when the London Eye
i s open. Li sten to the recorded i nformation
and answer the questi ons.
1 . -ewi+,ci,se:t+-,-ii s t+-.e+ce+
,-e,-+
i 363 e 364 : 365
2 witi-t+-e,-+ ++eas + t+-w +t-
i 1 0. 00 i - 9. 00 ,
e 9. 30 i - 8. 00 ,
: 1 0. 00 i - 8. 00 ,
3. w-+ce-st+-t :-te:-e,-+
i 9. 00 e 9. 30 : 1 0. 00
4 ew e+si : +t
i 3 0 +at-s e 40 +.t-s : 50 +.t-s
5. w :et-e ew + t-s s+et,e e t-c
e+t+-.e+ce+,-
isit-eeics esa t:is-s :eie,e.-s
6. w-+i-t-- e+z.-a-sitt-.e+ce+,-
i-i,e+ + ecci, : it-i:t-+ee+
3. Listen to the second part of the recordi ng and
answer the questi ons.
1 . -ewa:i s is + -t :-t,e.ce+ twi+tte
wi t +t-z.-.-
z -ew.: sit :-t:e: c-+a+c-.-,-is
e c
3. -ewa:w is-+ e: t z-++--cte,i, :
-I s-wi+tste ,itt-w---+c
4. Cl audi a i s on the Tube to the London Eye. She
hears the fol lowi ng announcements. Listen to
the thi rd part of the recordi ng and fi l l i n the
missi ng i nformati on.
1 . -,-cs-.s+stit e+ s: es-ce-:i.s-
e:
z :,ea ai-i s e.+ca+itt-+c-c we-s
w i+ci, . it.
3. --i s +ew--w--,ea:i+ - .- e+t-
0+c-ea+c
4. -. :-e+t- . +-i s c- i,-c -+-tti +
w :e- +. .
Why do you thi nk many tourist sites use pre
recorded messages? Do you prefer getti ng thi s
type of i nformation from a recorded message
or woul d you rather speak to a person?
\
SPEAKING
BUYING A TRAIN TICKET
1 . Steve is i n Amsterdam and wants to go to
Berl i n. He cal l s Netherl and Rai lways to ask for
i nformati on. Whi ch of the questi ons below
would Steve ask? Whi ch questions would the
rai l way representative ask?
May I hel p you?
How l ong is the j ourney?
Woul d you l i ke a return or a si ngl e ti cket?
What ti me does the tra i n l eave?
Do I have to book i n advance?
Where do I get the trai n?
How much is a ti cket?
What ti me do you want to l eave?
Wi l l that be fi rst or second cl ass?
When's the next tra i n after that?
How often do the tra i ns l eave?

2. Complete the di al ogue wi th the correct
questions from the l i st above.
NR: -t+- i+c-i wi,s . . `
Steve: +-s, c -te-t:e/st-cite
+- +, , -is- . . . `
NR: +-+- +ti + -i.-se/st-ci
-+ti tit e+
Steve: O i+c - `
' R. /eeat6Yz te7 +e.s,c-,-+c +e+t+-
ti +
Steve: 4 . `
NR: +-ti +ste+- + -i.--.-,2 te3 +e.s
b
_ `
Steve: O+, + t+-e+ +, eat+ettee-i,
Unit 7
3. Look at the questions on the list in Exercise 1
that were not used in the di alogue. With a
parner, make up logical answers to these
questions.
4. With a partner, ask for and give information
about taki ng the trai n from Geneva to Rome,
usi ng the detai l s below. Student A is the railway
representative, student B i s the customer. Use
the questi ons i n Exercise 1 .
GEnEVA STATIOn
Departure ti me
Cl:Cl
09:01
"" ,f
L
21:36
FARS
Si ngl e
First cl ass 190
Second cl ass 130
ROmE TER:nAt.
Arri vi ng at
1 6:30
18.30
20.30
09: 12
Return
285
195
When you' re aski ng for i nformation, use the
I ' d l i ke to know when . . .
Can you tel l me whether . . . ?
Do you know if . . . ?
Can you hel p me, pl ease?
Ptooaoc|at|ooPtact|ce, page 1 32
8 5
WITING
86
An e-mail
1 . Read the e-mai l below. What does Angel a want her friend to do?
How does she try to convi nce her?
NI:L
8
Hi Carl a,
How are thi ngs? I haven' t heard from you i n a whi l e! I ' m wri ti ng
because I 've had a great i dea.
I tol d you that my fami l y i s goi ng on hol i day to Tuscany thi s
summer. Wel l , why don' t you come wi th us? I know you've never
been abroad before, and besi des, i t' l l be bori ng for me al one with
my parents. You' l l only have to pay for your pl ane fare because my
parents have booked a vi l l a and there's pl enty of space!
We' l l be stayi ng i n San Vi ncenzo for two weeks. My parents are goi ng
to hi re a car and go si ghtseei ng al l over Tuscany. I f we don't feel l i ke
goi ng wi th them, we can spend the day at the beach ( i t's five
mi nutes from the vi l l a! ) or expl ori ng the vi l l age nearby. We' l l have
a fantasti c ti me!
+
I can't wai t to hear what you deci de. Write soon!
Love,
Angel a
2. I n whi ch paragraph of the e-mai l does the writer . . . ?
1 . -, i ++-,.,es-:ew t + 3. i-e,-+ +-is
2 .-c-ti si+c eit e+ 4 i-: es +-is
3. What words or phrases does Angela use for the fol l owi ng ... ?
1 . --t + 2 . s + +e::
I NFORMAL LANGUAGE - When wr i ti ng
an e- mai l or l etter to a fri end, i t's acceptabl e to use
i nfor mal pun ctuati on a n d expressi ons.
4. I n the model e-mai l , fi nd i nformal expressions
that mean the same as the fol l owi ng more
formal expressi ons.
1 .
2
3 .
4.
5 .
6.
7.
8.
-i ,
/-,e.ic,e. i ,w-
t +is :--+i e+t -s +:-,e. istwet-
I wea c -te +. t-,e.te} e +.s
l t w :-.-,-+je,i: -
I ee:ewicte+-i +:e,ea
-is--, ,isseeis,ess : -
c-ics
REFERENCIN
Ùsi ng p ron ou ns and possessi ve determi ners
can prevent u n n ecessary repeti ti on a n d
make you r wri ti ng fl ow smoothly.
Pronouns a n d possessi ve determi ners a re
used to refer to peopl e, obj ects, i deas or
a cti ons.
The demonstrati ve pronouns this, that, these
a n d those a re used to refer to peopl e, obj ects,
si tuati ons, i deas or acti ons.
5. Look at the words in bold in the model .
Who/What does each of them refer to?
'
Theirs is a possessi ve pronoun for the t hi rd person pl ural .
l t refers t o both s i ngul ar and pl ura l possessi ons.
i t' s not the pl ura l form of the possessi ve determi ner their.
This ticket is theirs. These tickets are theirs . .
NOT Sean and Katie have booked theirs tickets for the
London Eye. X
6. Compl ete the di alogues with the correct pronouns
or possessive determi ners.
1 . +-s-sea.-+ ,-+s+--+ ,-,-+s .-
+-s,:at --+t .-,e+-w e.-
2. -eww w- +c+-test+te+
.-ts+st+ s++- sa- :++t-
3. w+,+-t+es-:+ c-+:, +
" I t+ + +,++.-est w+,
4. -t++:a eas +tt+-,eat++est-
c .-,ea ,+e+-+a:-
5. / ++++seett-++ s,+ss,et
w- , w+ssta, c ewt+-,we+ t-t e+
t+-, ++-
7. I mprove the fol l owi ng sentences by repl aci ng
words with pronouns where there i s unnecessary
repetiti on.
1 . c -tes--Vset++,eat- -w+ :+e:-
s Vsets
2 w+-- scw+c
I ce+ t+ew++.-+ts--+cw+c + c+,
3. +ea cw--tt :-tset+-:e+:-t
+-s,-tt +t :-tswea c:-e.-,
4. .-s,e-+w t++t - +t -++s:ee-c+ +te
i t+-:-:-
5. ew:ea c,eae-t,ea sa+ +ss-s+ea +--c
,easa+ +ss-s+tt+-:-+:+
8. Compl ete the passage with suitabl e pronouns or
possessive determi ners.
March of the Pengui ns
March of the Penguins s+:eat+ea,e6, 000 ,-e
-+a +s -c+s` . . +:+e+` .. +++a+ | ea+-,
+:esst+-/+t+:t::- +ec-te:--c+-c -:te,
--+:+: e e st.a:I+:ea-t,s,-+ti 1 e+t+s +
/+t+:t:+e ew +t+-,-+a +s . ++c+etea: -
-tt +: es-te :-:+as-t+-,+-+et++ ce
+a++s, :att+-: +t-w+s+-+t:++ -+-e5 ... .. ..
++ceIe-V+ se+, . ,+ete+,+-.+:ea-ts
+s: ++t-c:,/+t+:t:+++c . . w c -,++cw++t-c
tes++-+ s ,-ss e+sw t+t+-we c . .w+s+ s
+ +et.-e:-+t +t+ s +:-c : -ce:a-+t+,
|
Uni t 7
Your Task
Write an e-mai l to a fri end about a hol i day
you have taken or are pl anni ng to ta e.
Use 1 00-1 50 words.
WRITING YOUR E-MAIL
1 . Brai nstorm your e-mai l .
Decide who you are goi ng to write to and
what your destination was I wi l l be.
Whi ch of the sentences bel ow coul d you
use for pl anni ng a tri p? Whi ch coul d you
use to descri be a trip you have al ready
taken?
.-ea+cse--+ ,:+-+,t :-ts
- w-++.-+t+++-c+::eec+t e+,-t
- w-+ -c: :,: -s++cce.-+ea+ct+-
. +-s
- -,+ta-t - s9. 00 + - ce+t:- +t-
- w-++c+++t+st :t -
w-.-:ee-c+ee +t+-:t,:-+t-
etwe+ +ts
- tw+st+-:-stI west+o c+, .--.-
++c
- e,eaw++ttees +ts-- +-.-,c+,
- Oa +tw+sc- +,-c++cea a+-
c c+t+.-
2. Organise your i deas. Use the model on
page 86 and the pl an below to hel p you.
PLAN
Openi ng: 3--t + V+-e,-+ +-+s
++cst+t-,ea -+se+ew t +
Body: 3 .- +e+t e+, +-ws++c
c-t+ s
Cl osi ng: V+-: es +-+s++cs +e
CHECKLIST
/ 6//6wcd lm/nrnn !g6rm/
c-m!/.
/ cd rgrcm!g c6rrcl/y.
/ chKcd_rnmmr, Ic/!g am
unclul!cV.
Writing Guide, . 157
..
5K!LL5
BOOKI NG A ROOM

You are goi ng to practise booki ng a pl ace i n a youth hostel . Read the I nternet
adverts and answer the Task Questi ons bel ow.
B.. Hotels
Edinburgh Hostel
Beautiful rooms in a hi storic
bui l di ng. Comfortabl e, rel axed
and friendl y.
Just five mi nutes' wal k from the
bus stati on
Fre breakfast incue in rom
pri
Fast, cheap I nternet access
Secure lockers in common room
Sel f-cateri ng ki tchens
Restaurant
Luggage storage
Mi ni -supermarket
T and DVD in common room
TASK QUESTI ONS
Host I Royale
Our hostel is the pl ace
veryone want< to stay at.
Sup rbly locat d ri ght on
Edi nburgh's historic Royal Mi l e'
Ful l y equt pped <elf-cateri ng
kitchens
Common room w1th pl asma 1
nd frEe Internet dCC ss
Breakfast served 7. 30 am-
1 0. 30 am for onl y 1 .90!
Lockers i n rooms
Tels and hai rdrers for hire
Lothian Hostel
In our hostel 's fun atmosphere,
you' l l meet other adventurous
travel l ers j ust l i ke you!
Quiet area, j ust 1 5 mi nutes'
wal k from the famous Royal
Mi l e and Edi nburgh Castl e.
Breakfast 1 .90
Sel f-cateri ng kitchens
Free I nternet access i n al l rooms
Lockers in rooms
Games room with pool tabl e
1. You are pl anni ng to go to Edi nburgh and are l ooki ng for a pl ace to stay. What are some si mi l ariti es and
di fferences between the hostel s advertised above?
2. Jake cal l s one of the hostel s. Li sten to the conversati on. Whi ch of the fol l owi ng do they di scuss?
1 . e:+t e+ 3 . eet,,- 5. e-++st 7. e:-s
2 . ee +t-s 4. e+t+ees G t:+-+ S. +t-+-t
3. Whi ch hostel di d J ake phone?
4. Li sten agai n and fi l l i n J ake's i nformation on the hostel booki ng form bel ow.
Booki ng Record
+- a ++- st+-
/cc-sst--t t,eat,
-c t:+c,,- .. ae-
.e-e3a-sts
+t-s / .+... . ..... / . / . . -,+ta- . / ...,,, /..
-eet,,- .+t-
, ,c+t- .. / .. / .
e te,..... G :-cs
V -c
S :-cs
V+ - -+ -
-+t- . ,-e-c, ,- +t
USE YOUR SKI LLS
Wi th a partner, choose another hostel from the adverts above. Student A cal l s the hostel to ask for
i nformati on and make a reservati on. Student B i s the hostel recepti oni st. Then choose another hostel
and switch rol es.
\
\
Unit Objectives
Honesty
The Passive
The Caus<l l ivr
List eni ng r a Radi o Interviel\
Agreei ng and Di sagreeing
Wri t i ng an Opi ni on Essay
Li fe Ski l l s: Understandi ng Adverts
Honest
1 . In the Uni ted States, students at some hi gh schools and uni versities
must sign an honour code. Read part of the code from one high school:
~
J
I I .
\
I
I I onourCode
I promise that . . .
I will neter cheat in an exam.
I will ne1er let someone else

copy my work.
I will never steal.
I will tell a teacher if/ see a

student cheating or stealing.
2. Whi ch of the points in the honour code do you agree I di sagree with?
I f your headteacher wanted a si mi lar honour code at your school,
would you vote for it? Why or why not?
WEB EXTRA
Find out more about uni
ersities in the United States at:

itiitit. bu r/i ugloubooIs.cs{iicuoiuls1

mean.
wit:+:a -.e .-c s,--c:i-is
AUTHOR'S PURPOSE
An a uthor wri tes for d i fferent reasons, for
exa mpl e : to i nform ( news a rti cl es, reports). to
entertai n ( narrati ves). t.persuade (opi n i on essays
a n d edi tori al s) and to descri be (descri pti ons of
events, pl aces or peopl e) .
2. Read the text. What i s the author's purpose?
i te,-s.ic-,-e, -te:-+i.-e-+e+-st ,
: tet- i+i.s +ste,i:eati+-,- -+t
_te .- +:eit e+i:e.ti+-,- -+ti+c ts
, :it e+s
c tec-s: :-t+-c-ti se:t+-wi,i+-,- -+t
wisce+-
3. Compl ete the sentences.
1 . +ec-te,i :et+- c +s,-e, - -.
+t+-e:: :- | r fhQ (1. l e
2. -e, -,i c:et+- c +s -sse:t-+w+-+
J /::ec +teV- ssi-it-se+ ,-e, -w +- ,
.s :
4. +-w t-:-- st+it,-e, -w :-
"\- ..
e-+e+-st Jli p:'.
The average person i n
London i s photographed
approximately 300
times a day on CCTV
4. Choose the best answer accordi ng to
the text.
1 . /::ec +teV- ssi-it-se+ ,-e, --i:t-cte
t+-,est-e:-,-s:-:i.s-
i twis.-,-i st :
t+-,w--i:i ce::- +:i.+t
: t+-,wi+t-cte:-s--+iseec,-e, -
c t+-,-i s-ct+it tswe+te:-c s+e+-st
2 . +--,- -+twis ,eti+t:-:i.s-
ts+ew-c +ew,-e, -s:-+i. e. :i+:-
+: .-+:-c
: t+-e:: :-+ew+ic-+ea+e+-,:ec +s
: ts+ew-c+ew,-e, -:-+i.-c + t+-t -
e:t+-:i.--+
c it etitt-+t e+ +t+-we cs-c i
3. +--w:ist -,e :-,est-s
+i.-+ici+-::-:te+: -: a-s
wi +c.-st+--i-s,--c:i-is
: +i.-:--+.s-c +et+-i-isisw-
c w--,.t .,isi-s. te: t +-.+ .-s t,s
-s-i:+
5. Find words or phrases i n the text
that mean:
1 . t+ +,,iii,+2) ,
2 . i est,,iii,+J) ""
J .ii+t--,,iii,+4) ,
4. -i:t,,iii,+5) rW~t,
5. e::. ,,iii,+7)
Do you thi nk that the pol ice i n your area
shoul d try usi ng posters l i ke the Newcastle
pol i ce? Why or why not?
Find out more about honest boxes at:
uuu.0ur/i ng/oii0ooks.cs/i|cuo/n|sI
\
i s the best pol i cy, but as we al l
know, we are someti mes not as honest as we
shoul d be. Accordi ng to the results of a recent
study at Newcastle Uni versity, Engl and, even a
5 pi cture of someone watchi ng us is enough to
make us change our ways.
The experiment was conducted at an office
where staff paid for thei r own tea and coffee
by putti ng money i nto a ti n. Anyone in thi s
o si tuati on, of course, woul d be tempted to take
a free dri nk because no one would know who
had paid and who hadn' t. The researchers
pl aced a poster above the mugs, showi ng the
pri ce of each i tem. Over a ten-week peri od,
5 they al ternated the posters weekl y, switchi ng
between an i mage of flowers and various
i mages of watchful eyes.
The results were astoundi ng. Workers
had paid nearly three ti mes more for thei r
20 dri nks duri ng the weeks when the posters
had photographs of eyes. The concl usi on?
Peopl e behave better when they thi nk they're
bei ng watched. And accordi ng to Mel issa
Bateson, the behavi oural bi ol ogist who ran the
25 experi ment, it's not j ust because we' re afraid
of getti ng caught.
Thi s reacti on dates back to the days of the
cavemen, when peopl e began to real ise that
co-operati ng in groups was a better way to
30 ensure survival than l i vi ng alone. This meant
that peopl e seen as co-operative types enjoyed
good reputati ons and were l i kel y to be treated
wel l . The same is true today. Accordi ng to
Bateson, when we thi nk we' re bei ng watched
35 we behave better, so peopl e see us as co
operative and behave the same way towards
us when we need hel p.
But why do we have thi s reacti on when we
know the eyes aren' t real? Bateson says,
40 "Eyes and faces send a strong bi ol ogi cal si gnal
that we have evolved to respond to. " I n other
words, our brai ns are programmed to respond
to eyes and faces - even i n a pi cture.
The experi ment got worl dwi de medi a
45 attenti on. Peopl e were excited by the possi bi l ity
that the same pri nci pl e could be appl ied to
other situations as well - on the roads, for
i nstance. Today, road signs warni ng drivers
of speed cameras often show a pi cture of a
50 camera. But now we know that we' re much
more l i kel y to react if we see a pi cture of eyes
or a face.
Thi s i dea has actual l y been appl i ed by
the Newcastle pol i ce i n a new techni que to
55 combat cri me. In rough areas where crimes
tend to take pl ace, they have put up posters
of watchful eyes with the sl ogan, "We've got
our ey,es on cri mi nal s. " They' l l be checki ng
cri me figures to see whether the posters have
60 an effect.
it's a pi ty that peopl e aren't honest all the
ti me, whether or not someone's watchi ng. But
if all it takes is a poster to get thm to make the
ri ght choi ce, then it's-defini tely a good idea!
Newcastl e Poli ce poster
False fri ends
policy ( l i ne 1) means politico not policia
conducted ( l i ne 7) means realizado not conducido
crime ( l i ne 55) means delincuencia not crimen
figure ( l i ne 59) means data, cifra not figura
Unit 8
VOCAULAY
Words from the Text
= + + = + + - - - + + - - ~ + + + - + - - - + - - - + + + = - + + - + - - + + + += - + + - - + + - + + + - + + - - - + - + - =
1. The fol lowi ng sentences do not make sense.
Make them l ogi cal by repl aci ng each word i n
col our with a word i n col our from a di fferent
sentence.
1 . s: +ts:+-+, eatts +t+-astoundi ng ,+t

e:tew+
!
2 +-+ : ++c cse-rough t :s
3. +-,s+,t+t5, 000c-e+st+tes:+- eat
t+-ta-bNi n sa:+ +-
S
4. w+ :+,est-+-,ee +teconduct?
5. +-s: -+t stsw puup ++-,- -+t
6. w-
t ++.-+ ette -+++ee.tt+-+.++

fi gJre.
phrases below. Then l i sten and check your
answers.
l i kel y it's a pity behave ensure
tend to choi ce s i gnal s
1 AHN, YA1LM l1
Do you feel that other people are often dishonest?
If you do, you'll want to read Never8e Lled
Io Aga/n. In this book
:
psychologist David
Lieberman describes that will help you
if you suspect someone is lying. People,
,
sa
s Lieberman, , ,alter the way they

K.when they are lying. For example,
liars are k,to use a certain type of body
language and facial expression. Even their
f words may be different from someone
who is telling the truth. Lieberan claims that
reading his book will 6hat you' ll never be
fooled by anyone again.
t
t
a
f
books like
this are necessary at all, but if you think that
someone is trying to trick you, it may be j ust
what you need!
3. Choose an option and complete each sentence.
Pay attention to the words in col our
1 . Sports events I Teameeti ngs +ts:+ee
take pl ace .;._
2. +-staff e+hospi tal J.s +: ac-s<.

3 .
-e:+worl dwi de restaurant cl othi n

4. -e, -+-often I ,rare!)tempted te
ADJECTIVES AND
PREPOSITIONS
Many adj ecti ves i n Engl i sh a re fol l owed by
preposi ti ons. Some adjecti ves can take
onl y one preposi ti on ; others can have
several preposi ti ons, but t+ schanges t hei r
meani ng.
I'm sorry about the mess. (regret
I'm sorry for Bob. He's lost his job. (sympathy)
. _ Grammar Appendix, page 1 28
4. Make as many combi nati ons of adjectives in I
and prepositions in 11 as you can. Use the l i st on
page 1 43 to hel p you.
I
se,\
,e.ct
s +
eec'I
we -cS
, -+s-c
+t-
+t--st-c`
1 1
+t
e: <
w t+
+
+eeat! o
t Z
te
6
:e (
5. Compl ete the sentences with adjectives and
prepositions from Exercise 4. Use each adjective
once.
1 . +-+-w s--sse e
,w-+ ---
2 +-t-+:+- s+t
e-ss+ea ++.-te
we++c-
```
3 . . .stt- -t+-+ + c-+ +et t+-c-t+ s
4. O+ ,st.c-+tsw+e+-.-,e+s-te+ w e-
:+es-+:et+-t-+
` 5 +-+ t stsst,-e
+t + s
n 3e+s
6. +. s'- -s+ea c++.-+ .-c
7 . .
s
,e.t+ s
+
8. I++-++s+ w+,se--+.. . . + t st+ -+t
\
!P' `' !Y
HONESTY
1 . Choose the l ogi cal conti nuati on for each
sentence. Pay attention to the words i n col our.
1 . +-te c+- -ciwhi te l i e.
i +-tee+- : -css, e.t si cs+-c ct
eww+--t+-,w--
e +-c ct -+- : -cs-ws+ t,e.tsi c
twis,-tt,
z -.-i stac-tscheated t+--i
i +-,-wt+-it- i w-
e +-,:e, -ct+-isw-s:et+- -cs
3 . trust + :e, -t- ,
i s.-+- -t. e. e-,
e e te- -.-iwec+-si,s
4. ,e s- ll change my ways .
i ste, , ic:+-it
e :i t+- ,e- t+-wi,i
5. +-weistol e se-e-swi -t
i +-.s-ct+-e-,tee.,t+ s
e +--ta-c tisseeiss+-:e.c t
6. +-c.-got caught e t+e.+i-c +t
i --:i.s-cii:: c-t
e +-,e :-siw+ ce t
1 . ..-,t+ ,ea.-si csata- +e. -i
l i ar I t hi ef !
z -is-t- -,e. -i e, e +ea:ie-
:e, -t-,frank I gui l ty.
3 . Vi,,-e, -bl ame I admi t t+-e.--t
:et+- s- : -
4. ew,eae.-iet+-wei w+,+i.-,e.
decei ved I suspected -
5 . +-iwis:i.+tpl agi ari si ng I shopl i fti ng
t +--,i se: s+e-s
6. +-ee,wis:ia+tt+ew ste-s
\
-got i nto troubl e I got away wi th i t .
3. Write sentences usi ng the words you di d not
choose in Exercise 2.
4. I DI OMS Match the i di oms in col our i n I to thei r
correct meani ngs i n 1 1 .
I
1 . --t -ctest-i t+-} -w- -,, eatt+-,caught
hi m red- handed.
z A +.c-c-aeset+its+ tw+itiri p-off !
3 . e t -i.-e-,+-- +ea a-sti,+i.-
sti cky fi ngers .
1 1
i i, :-t+it s tee+ +
e i+ie te:st-i
: siwse-e-ce se-t+ we
5. Compl ete the text wi th the words and
expressi ons below. Then l i sten and check your
answers.
change my ways bl ame t hi ef admi t
get i nto troubl e get away wi th stol e
I008000l80lI0| 0l
Unit 8
Pan Aiying, a teacher in Shandong, China, was riding her bicycle
when a young man on a motorcycle grabbed her purse and rode
off. Smce the
an SMS:
now had her mob1 l e phone, she sent him
"You must be going through a difficult time. If so, will not
you. Keep the money - but please return the other
things. "
He di dn't reply, so she sent another message. She sa1d that
she d1d not want h1m to . She was only asking hi m to
h1 s m1stake and be honest.
After sending 21 messages with no response, Pan gave up. She
dec1ded to go to the police so that the man wouldn' t h, s
crime. But as she was leaving her flat, she found her purse with
everything m it! Attached was this note:
" Dear Pan: I ' m sorry. I made a mistake. Please forgive me.
You are so tolerant even though I from you. I ' ll and
be an honest person. "
for you.
1 . :ii wi,strust . . . .
z . w+- ac-,-ssa-,tend to . . .
3 . O-t+ proud e/ s
4. siwi: -cshoplifting, c
5 . e:-got into trouble w+-
6. t+ it's a pity t+it
94
GRM
THE PASSIVE
1 . Read the exampl es and answer the questions.
Researchers placed_bove the mugs. /actrVe;
_ter]was placed above re mugs /pasr;,ve;
1 . Wh i ch sentence stresses t he acti on ?
2. Whi ch stresses t h e peopl e t hat do t h e a ct i on?
2. Read the exampl es. I dentif the verb tense
in each sentence. Then choose the correct
options to compl ete the rul es bel ow.
a. Our brains are programmed o re .pond o faces
b. People behave better when they are being watched
c. The idea has been applied by the pou e
d The principle could be applied to other ituations.
e Se1eral ptsters were chosen or " ''r
1 . The ma i n verb is i n t he base j past parti ci pl e
form.
2. The ma i n jauxi l i ary verb i nd cates
the t ense.
3. Sentences i n the pass1 ve somet i mes ja l ways
i ncl ude by + agent.
4. I n the passi ve, modal s a re fol l owed by t he
i nfi n i ti ve of t he verb to be jt he ma i n verb.
Verbs with Two Objects
Some sentences have got two obj ects :
They showed t he res ul ts ( di rect obj ect) to t he
publ i c ( i n d i rect obj ect)
i t's more common to use the i n di rect obj ect as
t he subj ect of a pass1 ve sentence
The public was shown the results. /common;
The results were shown to the public. /ess common;
THE CAUSATIVE
We use have jget + object + past part i ci pl e

when we refer to a n acti on t hat is done for us by
somebody e l se. There i s no di fference between
have and get, but get i s more i nfor mal .
They had an honesty box put in the canteen.
/They didn't put it there themselves)
1 . Choose the correct answer.
1 . -w:e :i: -s-i:tw+-t+-,s how I
a re shown , :t.-se::i:-s
2 . J:: :-sti::w+e: :t,i,:e:e::--were not
puni shed I di d not puni s h.
3 . ee--ww+-t+-t +-sti::had pai d I
had been pai d :et+-:e::--e+et
4. +-,:- tis :t+-,were watchi ng I
were bei ng watched :,t+--,-s
5. + s-,- -ts+ewst+it,s,:+e e,can use I
can be used :e,i:t :i ,.,es-s
6. e,-:. ,t+-,est-swi l l hel p I wi l l be
hel ped ,e :-:e:it: -
2. Compl ete the sentences with the correct
passi ve form of the verbs bel ow.
not rob teach tear
catch publ i sh count
1 . +-:i s :-t+-,ettwee-ai:s
2 . . t+--s. ts +-tw--s-ws,i,-s
3. + :-s+e. : tet- t+-t.t +
4. ee-s,e-w+ -t +-e-,
5. +-,e :-,est-s :,t+-w : ist +:
6. +,t+-t -t+-,e :-i .-: t+-: i s
3. Compl ete the sentences. Use the correct active
or passive form of the verbs in brackets.
1 . e et+-:.s:-:i.s-,:i
-,i
2 +--t+e.-+ :e,es-:-i.t as,,+e -s
3. +-,e :- et: :t+- ss : :,-:
4 +-:i:, ,s+e.l dI ,.tte:-:i+ +e. ie
5. t+- . tit es s-: ,-t
; Deberi a ser cul pado el gobi erno par el i ncremento
de la del i ncuenci a?
Should the go ern nent be b1 med for the ri.e in
e me? .
NOT Shoud be the goverment blamed for the r;se
m L!me? X
4. Read the headl i nes and write the fi rst
sentence of each arti cl e. Add detai l s sayi ng
when, where or why. Use at least four
di fferent passive tenses.
1 .
10||k|0
A 7 0-year-old boy was hurt in a btke accident
yesterday afternoon.
2.
||||
3.
||0||0|010
4.
000Bk|0
5
B#M|0
5. Rewrite the sentences in the passi ve.
Omi t the agent when possi bl e.
1 . V,s st-+icei+ s-ct+--+t -,it,
2. +-we-s:e. c+i.-: + s+-ct+-}e:
,-st-ci,
3. ci:ieas} ea+i stwt-t+ sit : -
4. e-e+-wise ew +as
5 /-t+-,e +tewi+-s c-+tsi:e.t
t+-ste
6. w-s+e. c+ t-itt+-:i-:-:e-c ++-
6. Rewrite the sentences in the passive.
There are two ways to rewrite each sentence.
Omi t the agent when possi bl e.
1 . +-,i.--i:+st.c-+ttwe,-+s
2. +-,w t- e+ ,twe,-e, -t+-s-:-t
3. / i-:e,i+,+ise:--cei} e:
4. i+ss-+ct+-:- -:t,t+easi+cse-tt-s
5. +-,c c+ts+ewast+-+-w: it
7. Rewrite the sentences i n the active.
1 . +-t+ -+is+et:--+i-st-c,-t
2. -s+si icsi-+tse citt+ s
s.,-i-t
3. +itse+wisw tt-+
:,t+---it -s
4 +-:i:,w :--c
:,t+-+.s-
5. st+-+-w: e +
te:-s+ew+t+ sw--
6. +-s--tt-s+i.-te:-
s +-c:,i iw,-
of the words in brackets. Use the causative.
1 . i.- + s: - -,i ew+-:i+ c-
tewe
2 w+-- ,ea ,e.c-ss i-
3. V,,i-ts t+- t:+-+ -ce
teeew
4. . H ,e. t+-e i+cwit- :+-:it
t+-ii- istw--
5. I :i+tti +ew - I . ,+i . . :.t
9. Complete the passage wi th the correct active
or passive form of the verbs i n brackets. Then
l i sten and check your answers.
X
Kat hl een Heal y of Mi n nesota, USA, went to buy
jeans i n a l ar ge s hop. As she . (t ry) on a
pai r , s he found a l arge amount of money t hat
2 ( l eave) i n t he pocket. Heal y . H (coul d I
keep) t he money, but s he t hought that it ` .
( may 1 l ose) by someone who real l y needed i t.
The refore, she ` . . (go) st rai ght to t he sal es
as s i stant, who s houted , "A customer
6

. . . . ( l ook) for t hi s ! " Heal y refused to accept
any money as a reward for her honesty, but s he
di d accept a box of chocol ates that (gi ve)
to her by the s hop assi stant. That n i ght, s he
opened t he box. I n s i de s he found a pi ece of
paper whi ch sai d , "Congratu l ati ons ! You
8

. -- . . . . . - Uu st wi n) $ 10, 000! " Su r pri sed and happy,
Heal y real i sed that she had bee n rewarded
for her honesty aft er al l . I f s he had n ' t been
honest, she 9 . ( not wi n) t he pri ze!
Grammar Review
1 2 3 4 5 6 7 8
1 0. Rewrite the fol l owing sentences usi ng the
meani ng.
1 . w-s+ea c+i.-te c+ t+-t.ti:e.t+ s
:et+-:--+
2. ce+ ti.-..e,-i+: t z-+s+ , seI :i+ t
we +t+-O. .+ -ss
3 . twis+t+-:-ssi,e,e.te,i,+-+--c+t
4. /-t+-,ii+ +t+-:. + t.- s
5 c c+tti-i, :t.-:-:i.s-I c c+ t: +,
:i-i
Ext r a gr amma r exer ci s es a t :
11' 11' 11' . / u r / i n gt o n b o o k s . cs/li ew po i n ts I
Unit 8
95
5KLL5
`
LISTENING
A RADIO INTERVIEW
1 . Read the home page of the website bel ow. What experi ment was conducted?
www.foundawallet.com
Paul Ki nsel l a of I l l i noi s, USA,
was wonderi ng how honest peopl e
are, so he conducted an experi ment:
he l eft 1 OD wal l ets i n different
pl aces around town and waited
to see if peopl e woul d return them.
I
See Paul ' s website at www. wallett est . com
2. Listen to the first part of a radi o i nterview
about the experi ment and answer the
questi ons.
5. Listen to the second part agai n. Whi ch of the
two pi e charts accurately shows the results for
young peopl e?
1 . w,c cia :e+ca:tt s-,- -+t
2. w-- +-- -. -c c-ce,
t-wi -ts
3 . witc c-. c-eti,-
4. -ew e+c c-wi t:e,-e, -te
-ta+t-wi -ts
3. What do you thi nk? Were most of the people
i n the experi ment honest or dishonest?
4. Listen to the second part of the i nterview
to see whether your prediction was correct.
As you l i sten, deci de whether the fol l owi ng
statements are true or fal se.
1 . i. se,t st :i:eatest,-e, -se+-st,
2. V-+w--e-e+-stti+we-+
3. ia wis+ets., s-ce,t-c ::--+:-s
:-w--+-+i+cwe-+
c-,-e, -w--t-este+-st
::-i-c,-e, -w--t- -iste+-st
Honest
Di shonest
A B
1 90
rJ
.
r
81 O 560
From your own experience, do you thi nk age
and gender affect honesty?
SPEAKING

AGREEING AND DISAGREEING
1 . Read the fol l owi ng statements about honesty and decide whether you agree or di sagree with
each one.
1 . YOu>'Ou' dm! oe!JI'Iu' I !v ' ' 'u|!
>OeOe> lee g>.
2 1eaC'e>>'OJ d O!aCCe!vO<!'aI'a> oee
CO edlO !'e' !eeI.
3. ' IyOJ I d>O0eOme> va e!, !> yOJ|>
4. 'I>vOmg!O dOv Oad 0J> CIOI'e mIeeI
5. ' la >'Oa>> >Iam!g ve>yOJIOOJC'C'amge,
yOJ>'OJ d eIJ !.
6. lyOJ aeI>vOm ! eI yOJ dO>O0e!' mg, I>
OK !O dO ! v !'Ou!Ie' mg!'e.
7. !> mOId >'Oe>!!OCOy exa0>.
8. YO0 >'Ou d! o0yla<ede> gme la>' Om>.
2. Form di al ogues by matchi ng each statement i n I with a sui tabl e response i n 1 1 . Then practise the
di al ogues with a partner.
I 1 1
Statements
1 . As far as I ' m concerned, a ea' l emdvOJ d eve
COyIOyOu m a exa0.
2 I n my opi ni on, !> OK ! OCOy lOa! OmlO
I'e m!eme!. cve|yOe dOe> !
3. ' don't t hi nk !'a!yOJ>'Ou' d ' ' e!OyOJ| aeI>.
Responses
a. I agree. \u> C a>>'OJ d oe a dIO!'e vO|<.
o. I t hi nk you' re r i ght . 1'ey Om yva!v'a!>
oe>I lO| J>
C. You've got a poi t. Al| edvOu' dIvam!IO
ge! yOJ !OI|OJo e.
4. I bel i eve that !> v|Omg!OdOvm' Oad J> CI|O d . I di sagree. ' ve 'ea|d !'a! !'e 0Omey >u>edIO
!'e ' !eeI. I amCe Ie|ma! Oma C| 0e.
5. I f you ask me, I>I meIOoJyla<ede> geIa>' Om>. e. That's true, ouII'aIdOe>m! 0a<e ! g'!.
3. I n pai rs, fi nd three statements i n Exercise 1
that are not di scussed in Exercise 2. Take turns
expressing your opi ni ons and reacti ng to your
partner's opi ni ons. Use the words i n col our i n
Exercise 2 above.
When you want to give a reason for you r vi ews
and opi ni ons, u se the fol l owi ng expressi ons:
That' s why . . .
The reason why . .
Because of that .. ~
Ponuncaton Pat p 133
Unit 8
97
WITING
-.
9 8
'P!!. . . Y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 . Read the opi ni on essay below. Is the writer for or agai nst buyi ng fake fashi ons?
| M| TAT| UN 0LS| UNLH |ASH| UNS. . .
Millions of consumers today buy imitation designer fashions i n order to look trendy. Some
people say that this is dishonest, and should be stoppeharm the fashion
industry. In my opinion, however, buying fake designer fashion is not wrong.
First of all, I believe that the high price of designer fashions is not justified. It doesn' t
really cost $600 t o manufacture a bag or a pair of jeans, s o fashion companies
make a huge profit. If the originals were not so expensive, there would be no market
for fakes.
In addition, fashion companies still make millions of dollars. For example, a certain Loui s
Vuitton bag eared more than $300 million in one year! These companies aren' t losing
customers, since the people who buy imitations could never afford the real thing.
As I see it, consumers shouldn' t worry about whether it's right to buy imitation fashion.
They should simply enjoy it.
2. In whi ch paragraph/s of the essay does the
writer ... ?
1 . uO|In I neO m Omv!nIaCIamdexa e
2 l |!Ia!e n I ne|O m O 2
J mI|OduCe!neIO C^
4. e!a!e n I eO m Oamdu u
3. Fi nd two facts and two opinions in the model.
CONNECTORS OF PURPOSE
Connectors of purpose i ntroduce the reason for an
acti on. The connectors in order to, so as to and to are
fol l owed by a verb. The connector so that is fol l owed
by a cl ause (su bject + verb + compl ement/s).
wr|tlaq0ul6e,paqe 1 49
5. Fi nd two connectors of purpose in the model .
Whi ch one i s negative? How is the negative
formed?
7. Compl ete the sentences with a connector
of purpose. There may be more than one
possi bl e answer.
1 . 1eva m g gae !e|e eO evOI
d| vela!.
2 !J OII y Oo enOe a<e a mO e
4. Read the sentences. How do you say the
3 w !

d l < o d l e ae O vee s ... e gOO s ae O|
connectors i n your l anguage?
!e a!Cn
1 . |eO Ce nave J!uO!e i n or der to
4 1e !eaCne|na a<ed u!O Iay al!e!ne eOm
1
e
_ Y"( eCamex' a m!eaIe| a .
2 |eyae COduC gamexe| e t oee Ov
5. |eyIJmed J IevO Je ea!e ev.
eO' ev eaC!.
- l 1 J .
l l . .. \ V ' \ "' ( : V -
y {0 (
3. .e! e!!nea aC OC<so t atve ' va<e J hl'l"' '"
O e

(
L John !a< g eOmsoa to ve IS 'eCn.
Y (
_ J
J `
Q
REVIEW OF CONNECTORS
8. Di fferent types of connectors are used to connect i deas
and to show the relati onshi p between these i deas.
Copy the chart into your notebook. Then write each
connector i n the correct category.
Addition Contrast Cause
1
J
a a e0' ! l
C
COeq0e! y '
de !e_
a! l !
a' !OJg_
lO ! eaO
!eOl _
Oveve 2
!eeIOe
O a !O
_
madd ! O1
O
eve !OJg
a O
ave ' a.
Om !eOe ad/
Om !eO!e'amd
Result
l(
Purpose
"
Sequence
Iu!e0O|e !
aa eJ' ! Ol _
oeCaue Ol _
O!a! S
oJ!
0OeOve
Ode'O
dJ g
dJe!O '
eve!'e' e Z
!em
a '
oeCaJe `
mCe
l a y,
1 . 1e CeOI de geJg aea|e vey g'
Moreover /Consequentl y /Fi nal l y, eO eo0yla<e
z eea<!OO' OJd y However / Furthermore /As a
resu l t, e !e ' !e o e|O<e.
J 1 d d !v m a ze i n spi te of I due to /as wel l as a '
0y'a|d vO<
4. Ò Omea d a vOd so that /duri ng / because of !e
0ea
5 0!y g!O l d!eCa! i n order t o /s o /si nce !a<e !
!O !eve!
6. 1 d d! ad 0y O]eC!Om! 0e In addi ti on /
Even though / Neverthel ess, !e!eaCeaCCe!ed !.
1 0. Compl ete the sentences with a logical endi ng.
1 . 1'e'O' I!e ad!O |e!J| va!e ad !O' em.
I n addi ti on, . . . .
z . \e emOyed OJ ! !O |a i n spi te of .
J . 'evea' !Jde! oeCa0e as a res ul t of
4 \e d d ! ay a vOd so as not to . . . .
5 \ay eO e!Oday dO O! ge! emOJgexeC e.
For thi s reason, . . . .
Unit 8
Your Task
.
.
. . . . ..
...
. .
. .
.
. .. . . ...
. .
. . . . . . . .. . .. . . . . . . . . . . ... . . . . . . ..
. . . . ... . . . . . . .. . . .
.
. . . . .. .
. . . .. . .. . .. . . .. . . . . . . .
.
Write an opi ni on essay on the fol lowi ng
statement: /t is dishonest to download music
from the Interet. Use 1 00-1 50 words.
WRITING YOUR OPINION ESSAY
1 . Brai nstorm your essay.
Look at the sentences bel ow. Whi ch coul d
be used to support the statement above?
Which coul d be used agai nst it?
.Ovm' Oad g0u CdOe! 'u|! amyOme
\O! O mge| a|e a eadyvey C.
\J C aCam0a<e0Oey oye ' mg!'e |
OgIO|ga0eO| mg!Oe.
'Og oe Omg !O 0J C am, vOOJ' d oe
a d lO!e vO|<
Cc CO! !OO 0JC
1ee ae Ov0ay' ega' !eIO
dOv Oad gOglOlee, Oa!a ' Ov
Ce.
YOJ Camge! m!O!OJo' e lyOJge!CaJg'!
dOv' Oad g.
Add your own i deas to the l i st.
Decide whether you agree or di sagree with
the statement in the task.
2. Organise your i deas. Use the model on page
98 and the plan bel ow to help you.
PLAN
Openi ng: '!a!e!e!O CadyOuO O.
Body: 'JO!yOJ| O m Ov !'laC!
adexa0' e.
Cl osi ng: 'u00a e ad e!a!eyOJ
O m O.
CHECKLIST
. :||:etm|:c :im: e:y.
, ue ::ccect |_ e:cece:i_
:t: m:im:.
, ue ::mt:c:.
, :mkccauc, :e||i _ a
umtuti:.
~
wt|t|aq6u|6e,paqe 1 58
99
..
5K!LL5
UNDERSTANDI NG ADVERTS
Shoppi ng i s a typi cal touri st acti vi ty and readi ng adverts i s an i mportant part
of shoppi ng. Are you a cri ti cal reader? Read each advert and answer the
Task Questi ons to fi nd out.

=
ZO% off
for cl ub members onl y

2
sa\eH
up to O%
of f
0
3 r-
|reeg| t w| th
every purthse
over 1 00
4
. I
-
Sati sfacti on g uar anteed 1
or your money back !
withi n 7 days of purchase,
_i n ori gi naackage
5
-
4% oH
your second i tem
TASK QUESTI ONS
1 . Advert 1 : You want to buy j eans at thi s shop .
What must you do to get a di scount?
2. Advert 2: What mi ght surpri se you when you
pay for your purchases at thi s shop?
3. Advert 3: You are buyi ng groceri es at thi s
supermarket. What must you do to get a free
gi ft?
4. Advert 4: You bought an MP4 two weeks ago
and threw away the box. Now the MP4 i sn't
worki ng properl y. Can you return the MP4 to
the shop? Why or why not?
5. Advert 5: You' re buyi ng a belt at thi s shop.
Wi l l you get a di scount?
6. Advert 6: You are buyi ng a CD for 5 and a DVD
for 8. How much wi l l you need to pay i n total ?
7. Advert 7: You' re payi ng cash for a j acket that
costs 1 00. How much wi l l you pay?
USE YOUR SKi llS
The rul es or condi ti ons that appear in many adverts
are cal l ed "smal l pri nt". Look through magazi nes
and newspapers and fi nd at l east two adverts that
i ncl ude "smal l pri nt " . What condi ti on is contai ned
i n each one?
Unit Objectives
hnenai nmem
Reponed Speech
Li steni ng to Fi l m Revi e\Y'
Maki ng Pl am
Writi ng a Fi l m Revi ew
* Li fe Ski l l s: Usi ng Fntrnai nmcnt
Gui de-
That's Entertainment!
1 . Study the cartoons bel ow. Match each cartoon to its message.
1 . Hea !y1Vde C!> |ea' ' le, oJ! !> O!vey C|ea! veOexC ! mg
z |eO e>ee>O0ayl >!na!!ey mO ' OmgeaeC a!e ea' !y
3 . HeCau>e OI|V, ve a|d yeve| d >Cu>>OJ Ov ve> O !nOugn!>.
4 |eO edOm ! oe eveI |OO! Om>.
| |l LY"~t |LC/Jc
COLO55AL
A
L
V CMM6E
`LU L|P K
MA6NI FILbN
6<HK| HO
C
Do you agree with the messages i n the cartoons above? Why or why not?
WEB EXTRA
Find out about flm museums in Britain at:
|t ioiioo oil
&
REAING

mean.
>aCeCal! COC< ! 'Oax
REVIEW OF READING STRATEGIES
2. Look at the title and the pictures. What do
you thi nk the text i s about?
3. Read the fi rst sentence of each paragraph.
I n whi ch paragraph do you thi nk you' l l fi nd
the fol lowi ng?
I a de>C| ! OOlauu>ua B ! >'T >'Ov
2. a de>C| ! OOl!'el a >!>' " >aCeva <"
3. !'eeaC!OOl!'eCO!e>!a!>!O !'e 'Oax
4. Scan the text and fi nd the fol l owi ng
i nformati on:
I !'eyeaBig Brother oega
2. v'a!5!a|C!y >adv'e|e !'> 'OCa!ed
3. !'eaOJ!Ol ze Oeyg ve!O !'e l a' >!>
5. Read the text. Look at the words in col our
and try to guess the meani ng of each one.
Fi nd evi dence i n the text to support your
answers.
l . 1'e a! C am!> m!'e l |>!Big Brother ve|e
uavaeOl!'e O|!aCeOl!'e |Ogae.
2. 1ve' veCOm!e>!a!>ve|eC'O>em!Ol' y
!OOu!e>aCe.
3. 1'eCOm!e>!a!>vee!a<em!O a !a m mg
oa>e mHJ>> a.
4. |'e>aCeCal! d d O! ' eave!'eg|Oud.
5 . Cad da!e>!'Oug'! !'eyvee>ee g ' ame!
ca!' !'OJg'!'e>aCeC|al!>v dOv>
6. |OdJCe|> 'ad exeC!ed !'e 'Oax!O
vO|<e|leC!'y.
Some participants on
I . ' v'a!vay 'a>!e' ev > OmC'amged> mCe I JJJ`
2. Ovd d!'e |OduCe|> a<e!'eoa>e>ee' <e
'!a C !y`
3 . Ov d d!'e COm!e>!a!>l mdOu!aoOJ!!'e
'Oax`
4. \'yvee!'e >yC'O' Og Ca !e>!> O!a!lO|
!'e |Ogae`
5. Ov d d!'eCOm!e>!a!>lee al!e!'eyvee
g vem!'e| ze`
1'e v| !elee >!'a! .
a !'e 'Oax>'Ou' d mO!'ave oee >'Ovm
oeCaJ>e !va>C|ue
O. !'e| ze>g ve !O !'eCO!e>!am!>vee!OO
geeOJ>
C. !'eCO!e>!a!>>'Ou' dO!CO' a aoOJ!
!'e'Oax
d. e| a>>e!!va>mO!a gOOdCamd. da!elO|!'e
Og|ae
1 . COu Ca!ed, >OC a >ed|a|aga' 1 )
2 . age, ! ee|Od |aaga' I )
3 . O Oge| J>e|aag|a'3)
4. >!eadOl|a|aga'4)
5 . deCe ved, lOOed |aaga'7)
Do you thi nk it's acceptabl e for TV producers
to trick people as they di d i n Space Cadets?
Why or why not?
realit TV shows have become
i nternational celebrities.
In 1 999, ni ne Dutch volunteers took part in the T reality programme Big Brother. Moving to a
house where they were cut off from the world, they interacted under the gaze of live television
cameras 24 hours a day. Little did they know that the experimental programme they were in
would become an i nstant hit and begin a new era in televisi on. Back then, sitcoms and soap
5 operas used to be the mai n form of T entertai nment, but today viewers are used to the fact
that reality T takes up most broadcasti ng ti me.
Of all the reality shows, one of the most remarkable was Britain's Space Cadets. The twelve
candidates selected for thi s programme were tol d that they were goi ng to Star City, the
Russian training faci l ity for cosmonauts near Moscow. Four among them would have the
10 opportunity of a lifeti me: to fly to outer space.
Rather than Russia, however, the contestants were taken to a disused mi l itary base in the
south-east of Engl and. In order to make the shor flight seem long, producers told the pilot to
fly in circles over the Norh Sea for four hours before l andi ng. The base, manned by actors, had
been elaborately di sguised as a Russian faci l ity, down to details such as Russian light bul bs,
15 wal l sockets and cigarettes.
After two weeks of trai ni ng, all but four contestants had been kicked of the programme
and it was time for the space flight. The excited wi nners boarded a spacecraft taken from
a Hol lywood film set. Fake noises and vi brations accompanied the "take-off" . In pl ace of
windows, the cockpit had di gital screens which projected images of outer space, compl ete
20 with beautiful views of planet Earth. lt was the most elaborate hoax in television history.
The hi gh point of the five days in space was to be a spacewal k. The partici pants left the craft
one by one to step out into space; i nstead, they stepped into a T studio set, where they were
greeted by friends and family who told them that they had never really left England.
Even the producers were surprised at how well the hoax had worked.
25 One reason may have been the psychological tests in the
selection process. These were designed especially to
pinpoint candi dates who were very gul l i ble and therefore
l i kely to believe whatever they were told.
To soften the blow, the finalists were given prizes
3o of 25, 000 each and a trip to the real Star City
in Russia. Despite thi s, it was hard for them
to get used to the idea that they had been
tricked. When presenters asked twenty-five
year-old Keri Hassett if she was upset, she
35 admitted that she was heartbroken. She
explained that space travel had always been
her chi l dhood dream. Was the hoax cruel?
Perhaps. But anyone volunteering for a
reality show knows that they may be in for
40 some surprises. it's all part of the game.
Fa lse fri ends
instant ( l i ne 4) means inmediato not instante
facilit ( l i ne 9) means instalaci6n not facilidad
Unit 9
104
VOCAULAY
Words from the Text
.. . . . . . . . . . . . . . . . . . . . . .. . . . . . . . .. . . . . . . .. . . . .. . . . .. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . ..
1 . Replace the words in bold in each sentence
with a word or words of si mi l ar meani ng
below.
greet contestant hoax hi gh poi nt
cut off pi npoi nt remarkabl e take up
1 . \n C parti ci pa nt vOm! egae`
2. ' !'> a|d !Oi denti fy exactl y v Cn eO' ewi l l
oegOOdIO|!e] Oo.
3. Se!O d J>aoOJ!n >amazi ng a m! g>.
4. 1e>e!ao e> use !OO0uC>aCe.
5. 1e HHC OmCe aOumCed!na!>agne!! gOv>
Om !ee>, ou! !va> a tri ck.
6. 1ey a' vay>wel come !e | gue>!>va0 y.
7 . 1ecl i max OI n >Caeeva> !neCOmCe|!!Ou ne
gave 1 994.
8. 1eyveeseparated IO0 !e Ia0 e> du| mg
!ne>!O0.
2. For each sentence begi nni ng in I, fi nd the best
conti nuati on in 1 1 . Pay attention to the words
in colour.
1 . e CO' ' eC!ed n >' uggage
2 . 1ney>eved d m<> !O !ea>>ege|>
3 . 1ne| udge>deC ded!O
4. eaC<ed a' ' n >! mg> oOxe>
5. 1n >|Oga00e > ! eCO|ded. ' !'> Om
6. NOOeeCOgm >ed 0
7. YOu' ' ' eed a adde| mO|de|!O
8. \en >g ' l emd 'el! n ,
9. evem!!O>evea d IIe|em!>COO >
11
a. oeIOe e moved.
o. aI!e|!ne' aenad l anded.
C. oeCau>e e naddi sgui sed hi msel f.
d. Cage!e l i ght bul b.
e. d eC!'yaI!e|take-off.
I. ne was heartbroken.
g . ki ck 0off !neOga0e.
. du gn >chi l dhood.
1 . l i ve T.
USED TO I BE USED TO I
GET USED TO
Used to descri bes repeated past acti ons that no
l onger occur. l t a l so descri bes somet hi ng that i s no
l onger tr ue .
People used to watch sitcoms every day
Sitcoms used to be ver popular.
Be used to means to be a ccustomed to somet hi ng.
Viewers are used to reality T
Get used to means to become accustomed to
somethi ng.
it was hard for them to get used to the idea.
Grammar Appendix, page 1 30
1 . \nem ' va> yOumg, I used to I was used to ay
!e aO.
2 e <CO0e>IO0 Svede,>Oe i sn't used to I
i sn't getti ng used to O! vea!e|
3 . Ou ev !eaCe|'>aCCe!is ad !O umde>!ad,
ou!ve are used to I are getti ng used to !
4. '!va>al!e| dm gn!, ou!'va> !! |ed. ' was
used to I got used to a!e gn!>
5. I t' l l !a<e! 0e, ou!' ' >ue yOu wi l l be used to I
wi l l get used to vea| mgg' a>>e>.
4.
1 .
2 .
3 .
4.
5.
6.
Compl ete the sentences with used to, be used
to or get used to, affirmative or negative.
YOuCam >ayvna!eve|yOuva!. ' C ! C >.
Cn dem ay Ou!> de Oe !na!ey dO
!Oday.
Vy lee! u|! I . . . . !e>e mev >Oe>
Vyevl a!0a!e >a o !>!amge. I Oe' Cam
e
Vy oO!ne ' <e vege!ao e>, ou!Ove
'Ove>!e0.
1ne|eva>a ' O!OlmO >eI|O0!ne>!|ee!, ou!ve
!al!e|a vn ' e.
5. Compl ete the passage with the correct form of
used to, be used to or get used to. There may
be more than one correct answer. Then l i sten
and check your answers.
TV - Has lt Seen Better Days?
Yea. agO, I . . . . . . . . e|Oy va!c' g !cO ad d
O T. cvey eaO, T !JdO .. . . . |OdJce
Ogaev !' lJyla e, c eve de!ec!ve ad C
cea!Je lO O!'e ae!. NOv, I ! ca! '
lac! !a! O! Og|ae ae |ea !y Ov I . . . .. e
Ole Oa ac!O O !e cee, O! Od ay eO
JOe !'a! eve!Ja y I 5 . . . !, oJ! I ! !'
` . . . oe oe!!e|!a ! >Ov.
P '`'!Y
ENTERTAINMENT
1 . In your notebooks, write the words below i n
two groups: words related to fi l m and words
related to TV.
box-office hit soa p opera vi ewers
sequel to broadcast to screen
channel audi ence network si tcom
Correct the fal se statements.
1 . 1ne characters a|e Ine eO' e m a l ' 0.
2 A revi ew >v !Ieoy>O0eOmevOa>mOI
>eeIeI 0
3. 1ecast Ol a I 0 >I>d |eCIO
4. Suspenseful I 0>Ol!e navea OI OIaC! Om.
5. A I 0IaI >worth seei ng >Ooao ya gOOd
l ' 0.
o. 1epl ot >Ine>!O|yOl vaInae> a l ' 0.
7. |esoundtrack Ola I 0 >!> d a Ogue
8. A dul l I. 0 >exC I g!Ova!Cn.
3. Write the name of a fi l m or TV programme
whi ch:
I . sta rs yOJ IavOJ !eaC!O|I aC!|e>>
2 >set i n am Jmu>Ja ' aCe
3 . na> gO! a predictabl e ed mg
4. a ppeal s to Cn de
5. a>gO!la!a>I Cspeci al effects
o. yOJ Ie'! va> a l et-down
4. PHRASAL VERBS Match each phrasal verb i n
col our i n I to a correct defi niti on i n 1 1 .
I . AOJmd I . o 0 ' ' Omv eve|>tune i n IOIne
NaI Oa' GeOgan CCnamme' eaCn vee<.
2 \ylavOJ| !e ea' !y >Ovcomes on aI 5. 30.
3 . 1 C<e!>!OPhantom of the Opera J>ua' ' y
sel l out 0OmIn> madvamCe.
4. |eI ' 0 Changeling goes on IOOve!vO
Ou|>
5. OJ|da0a C uo >putti ng on a ev>nOv.
1 1
a eIO0 mgO|Ogam > mg
o. a Ie! C<e!>ae >O' d
C. COmI Je>
d. >Ia|I>!O oe o|OadCa>I
e va!Cn O ' >!e
Find out about Wait Disney's life at:
rruu. 0urliiigloi0ooIs.ts/t icuoiii |s1
Unit 9
5. Compl ete the passage with the words and phrases
bel ow. Then l i sten and check your answers.
starri ng set in D Oadca:t sOumdtrack
character vi ewers networks p' Ot
screened tune i n
1he W/ zard
0J Uz
Ju t imagine that your favourite film i
on TV once a year. There\ no video or D\D
available, :o if you mi ,' i t, you' 1 1 ha\ e to \\ a It
till ne t year! Impos ible'? That'. the \a) it \\ a
for mi llions of - - ~ who lo ed The h,ardof0-:.
=. -. .. Judy Garland. This fi lm, hich a fir. t
in the cinema in 1 939
,
became an all-ti me tele\ i. ion
favourite during the 1 960' . It was - . ......... . every year b)
CBS, one of the three T ......... that isted at the time.
Watching it was a big event, and families and neighbours
used to
. -~ . . and watch it together. The fil m is ..... .

Kan as, USA. Dorothy, the leading . . . .+
-- - , fe I her
life is tetTibl y boring. However, when she is sudden!)
transported to magical Oz by a torado, she r al i e_
how much she mL se home. People lo ed the
heartwarming ... - -
.- as well as the great

.

,
which had , ongs that e eryone knew
by heart.
you.
I . |e ' a>I l ' 0 ' >avva>set in .
2 . ' >em!>O0eI a ' Ol 0ychildhood m .
3 . ' d' <e !O oea contestant O
4. \ylavOu| Iesitcom u>ed IO oe . . .
5 . ' va>heartbroken ve
KN
1 06
REPORTED SPEECH
Read the exampl es and choose the correct
opti ons to compl ete the rul es.
Statements and Questi ons
a. "You are going 0 5tw , tomorrow, " they
told iJe es. (dJ speec )
T o c e ., de hat they were going to
Star Cty the next day. (reported speech)
b. "Space rave has always been my dream, " said Kitty.
(direct speech)
Kitty said that space travel had always been her
dream. (reported speech}
c "Are you upset?" they asked Keri Hassett.
They asked Keri Hassett 1f she was upset.
d. "How did it feel to be a victim of this hoax?"
people wondered.
Peorte wondered how it had felt to be a victim of
that noax.
1 . I n reported statements, we add jdon' t add
t he word that.
2. I n reported statements a nd questi ons, we
move jdon' t move the verb back i n t i me when
t he report i ng verb I S 1 n t he past.
3. I n reported statements a nd qu esti ons, we
change j don' t change pronouns, possessi ve
determi ners, t i me expressi ons a nd words such
as here, this, these.
.I n Yes/No jWh - qu esti ons, we beg i n the
reported q u esti on wi th the words i f or
whether.
Orders and Suggesti ons
a. "Fly in circles, " the producers told the pilot.
The producers told the pilot to fly in circles.
b. "Don't talk to anyone in the show, " they ordered us.
They ordered us not to talk to anyone in the show.
L "Let's watch the new reality show, " suggested Amy.
Amy suggested watching /that we watch the new
reality show
1 . I n reported orders, we use the Past Si mpl e j
i nfi n i ti ve.
2 I n negati ve reported orders, we use not to j
don't before t he ma i n verb.
3. I n reported suggesti ons, the reporti ng verb
can jcan 't be fol l owed by a ger und or that +
subject + base form.
1 . Choose the correct answer.
1 . " ' dOm' IvaIC ea' Iy1V, " C' a 0ed 0yIaIne.
\y laIeC a 0edIaI e di dn't watch I
hadn't watched ea Iy1V
2 . " ' ' 0' eav gIOv IO0OOv, " deC aed Gay
Gay deC' aedInaIehad l eft I was l eavi ng
IOvmIneexIday
3. " YOu Ca > Inee, " Ineva Ie>a d
|eva Ie>a dIaIvewoul d si t I coul d si t
Inee.
4. " ' ve >ee oOInOl Ine>el 0>, " CO0 a med cve.
cveCO0' a edIaI>nesaw I had seen oOIn
OIIO>eI 0>
5 " ' ' ' >nOvyOu nOvIOdOyOu O]eCI, " >a dIe
IeaCne
1neIeaCe>a dIaI>newoul d show I wi l l
show u>nOvIO dOOu OeCI
6. OmyIO d 0e, "1eeva>a gOOd l 0O
Came' 4 a>I gI. "
OmyIO' d 0e InaIIee had been I has been
a gOOdl 0Om Cae 4 Iem gIoelOe.
2. In addi ti on to the verb tenses, each sentence
i n Exercise 1 above has got at least one more
change. Find al l the changes.
c0RT \GVcRBS
When reporti ng
what someone says, we shoul d use reporti ng verbs
that refl ect the si tuati on and the i ntenti on of the
speaker. For exampl e, complain, admit, explain,
mention, announce, warn, order, suggest.
My parents complained that I watched too much T
3. Change the sentences to reported speech.
1 . "|eI C<eI>ae >O d OuI, " IeCa> eaOumCed
1eCa> eamOumCed . .
2 . " ' 0u>Ig OnO0eea yIO gnI, " >a dGaCe
GaCe >a d . . .
3. " ' >avyOuO' dl ed'a' ' yye>Ieday, " >a d! 0IO
>> >Ie.
J 00eI Oed . . .
4. NaIa>a d, " ' >O0eI 0e> CeaI mexa0>. "
NaIna ad0 IIed . . .
5 . " ' ' ' CO0ead>eeyOu mexIvee<, " >a d0y gad'
\ygamdIaIe mIO0ed u> . .
6. " YOu e oOIne mg0e v InIn >avIu' 0u> C, "
>a d n >> >Ie.
>> >IeCO0' a med . . .
El presentador le pregu nto a Keri si el engaio ha bi a
si do cruel .
The preserJter askPd ken t t the hoa. had ter
cruel. .
NOT The presenter asked Ken tf had the hoax been
cruel. X
4. Change the questi ons to reported speech.
Use the reporting verbs wondered, enquired
and wanted to know i n some of your
sentences.
1 . " .O yOu <e!n < dOlI ` " n l ed a<ed .
2. " \ed d!eI !Shrek l COeOJ! ` " ve
a<ed .
3 . " Ha e a m gn! ey aC!ed i n amyl a!e' y` "
I a<ed
4 " \ee egO mg!O ' ve mex!yea " y
a|em!a<ed.
5 " CayOJ e e Ove !ee!ao emOv` "
a<ed y !eaCe.
6. " . d yOu va!C !na! mev |Ogae a!
m g!` " JO a<ed.
5. Change the fol l owi ng orders and suggesti ons
to reported speech. There may be more than
one correct answer.
1 . " He O !e ' "
\yO!eva|ed e . . .
2 . " .Om !v ne|e ' "
1ne legua|d O|deed J . . .
3 . " ce! gO!O!neC ea. "
ev mJgge!ed
4 " 1a<e!n ed C. e. "
\y dOC!O m !ed . . .
5 . " .Om !IOge!!eexa !OOOv. "
Ou !eaCee ded u . . .
6. " \ydO! ve e cadv !n!enO g` "
\yo|O!ne|Jgge!ed !na! . .
7 . " YOuOJ' dgOOma d e! . "
\y g ' I| emdadv ed n . . .
8. " OvaoOJ!gO mg!O 1u|<eylO!eJe ` "
.aveugge!ed
6. Compl ete the passage with the correct form
of the verbs i n brackets. Then l i sten and check
your answers.
Unit 9
I-LL I11S, 1HL ^LW 1-LL^1
Who would hme bel i \ ed thJt -hL.bb . mddl e-aged
Paul Potts would Ni n the rea, J t T\ --ompeti tiOn
Britain 's Got Talent? \hen he came on t ..ge and
tol d the judges that he ( si ng 1 opera for
them, they admi tted they ' . . . . ( expect )
a total nop. But then Paul began to si ng
and they were amazed. Hi s voi ce was
magni ficent! As he conti nued. the
audience went wil d: many had tears
i n thei r eyes. After the show.
i n ten iewers asked Paul
(tel l ) them about
himself. He sai d
that he (be)
a mobi l e phone
salesman wi th
no mone) and very l i ttle
confidence. But that has al l
changed. He has given concerts
al l over the world and sold over
two mi l l i on copies of his new CD.
I n a recent i ntervi ew. reporters
asked whether hi s fi nanci al
si tuation ' ( i mprove) si nce
win ni ng. He tol d them that thi ngs .. . . . . . . .
( be) much better. He expl ai ned that he
- -- - - - (qui t) hi s job as a salesman and
(can) now devote his l ife
enti rel y to music.
Grammar Review
1 2 3 4 5 6 7 8 9
7. Rewrite the followi ng sentences usi ng the
meani ng.
1 . " .OyOJ ve !n me gnoOunOOd` " !ne
O Ceaa<ede. |ve!e|)
2 . 'e a Ae ed !e !a | . gn!)
3. Ov ay Camd da!ev !ne Jdge aCCe!`
|oy)
4. e ' ' dO!neOo ' Ive ay n . | u e)
5. 1neyvea eadyCO' ' eC!ed a' ' !e ' lOa! Om.
|oee)
6. "I Ce' eoa!ed yo !ndayye!e|day, "
amOumCed!e !! eg . |!a!)
Ext ra gr a mma r exer c i s es a t :
h' lI' lI . 0II r l i n g l o n 0oo s cs o/l! ls |
SKILLS
108
LISTENING
=+ + = +- - - = = .+ = + - +
FILM REVIEWS
1 . When you deci de on a fi l m to see, whi ch of the fol l owi ng
i nfl uences your deci si on?
I . l ed> |eCO00edaI' O> 3. v eve> CO00eI>O!'e ' Ie|eI
2 . l ' 0 evev> 4. O>Ie|>, adve!> adIa ' e>
2. You are going to hear three film reviews on the radi o. Listen and ti ck the
poi nts menti oned i n each review. What has been omitted from each review?
I . 1e AC! g
4. AJd eCeAea
5. HeCO00edaI O
Revi ew A Revi ew B
The Dark
Revi ew C
3. Listen to the reviews agai n. As you l i sten, take notes of the positive and negative poi nts
i n each fi l m. Compare your notes wi th a partner's.
Do you thi nk that fi l m critics have an effect on whether a fi l m i s successful ? Why or why not?
SPEAKING
MAKING PLANS
1 . Read the di al ogue bel ow. Whi ch of the fol l owi ng do the speakers agree
on i mmediatel y? What do they disagree about at fi rst?
I . va! day!O gO!OIeC mea
z va!l !O >ee
3 . vaI ! e!O gO
Larry: H , .e|e< .OyOJ va! !O gO!O a I !O g!
Derek: Sorry, I can't make i t. ve gO!aexa IOOOv ad ve |ea ' y gO!
!O>IJdy How about !OO|Ov gI`
Larry: \e , I va> gO g!O aC!Ja y, that woul d be fi ne. \aIdOyOJ
lee' <e >ee mg`
Derek: \e' , I ' m dyi ng to see Australia. I Ove N CO' e . da
Larry: O, O' YOJ <Ov I can't stand >!O| Ca I ' >
Derek: 1ewhat do you suggest?
Larry: .e!> >ee . va!gOOd l ' >ae O` O, <mOv' Why don't we >ee
The Eye?
Derek: I ' m not real l y i nto OO|I >, oJ!. . .
Larry: >!e >av ! amd>e Oved ! 'eCOJ dm! >!O!a < gaoOJ! I.
Derek: I ' d rather see Yes Man. J Caey >a' vay>I J
Larry: ey, that's a good i dea ! I woul dn't mi nd >ee mg!a! \e> !
>Ov mg`
Derek: .e!>>ee !> O a! 7. 30 ad9. 00. How about 9. 007
Larry: Al l ri ght. Let's meet a!8. 30.
Derek: Fi ne. 'eeyOJ!e.
2. Look at the expressi ons i n col our i n the di al ogue above.
Di vi de them i nto three functi ons:
\a< g>Jgge>I O>
He>Omd g!O >Jgge>! O>
cx|e>> mg ele|emCe>
3. With your partner, make plans for the weekend. Discuss the poi nts
bel ow. Make sure you di sagree on at least two poi nts before you
come to an agreement. Use the expressi ons in col our in Exercise 1 .
ve|e !O gO I va!!OdO
!edayad! e
vOe' >e IO v !e
When you want to say "no" to a suggestion, be
tactful . Use the fol l owi ng expressi ons:
I ' d rather not . . . I ' m not rea l l y i nterested i n . . .
I ' m not keen on . . . I have a nother i dea . . .
Uni t 9
w..
110
A Film Review
1. Read the fi l m review bel ow. What positive thi ngs does the reviewer say about the fi l m?
What negative thi ngs does the reviewer say?
.|'!I.II.
Australia is a romantic, acti on-adventure fil m di rected
by Baz Luhrmann. Set in World War 11, it tells the story
of Lady Sarah Ashley (Ni col e Ki dman), an aristocratic
Engl i shwoman who i nherits an Austral i an cattle ranch, and
Drover (Hugh Jackman) , a rough l ocal cattl eman. As they
struggle to save the ranch, their rel ati onshi p eventual l y
changes from mutual di sl i ke to passionate l ove.
This is an epic fil m whi ch has everythi ng - hi story and
raci sm, action, war and romance, as wel l as beautiful
scenery. Both Ki dman and Jackman give bri l l i ant
performances, but the real star i s Brandon Waiters, who
plays the Aborigi nal boy that Sarah fghts to adopt. On
the negative si de, the fi l m is very l ong, with stereotyped
characters and a predictabl e plot.
Despite its faults, Australia i s a film wel l worth seei ng. Just
sit back and relax for this l arger-than-l i fe experience.
2. A film review can i ncl ude any of the fol l owi ng. Whi ch are i ncl uded in the review above? In whi ch
paragraph are they menti oned?
1 . ae OI!e a aC!O ad d eC!O| 5 . O !ve amd ega! veaeC!OI !e l '
2 . geea eCOeda! Om 6. COa Om!OO!e|l oy!neaed |eC!O
3 . deC ! OOl!e O! 7 . !yeOll '
4. vna!age!el u' !ao elO 8. qJa !yOI!eaC! mgI eC a eIIeC!I O!OgayI Oud!aC<
WRITING REVIEW
3. You have l earned the fol lowi ng writi ng ski l l s in this book. Read sentences 1 -8. Each sentence
contai ns one error. Match the error to the wri ti ng ski l l , then correct the error.
punctuati on connectors of sequence word order adjecti ve order
connectors of addi ti on and contrast connectors of cause and resul t reference
connectors of purpose
1 . 1evOa ' !ne C!u|e ad o ue oeau! lu' eye
2. ymev] Oo ' Oe !ee! mg !a yO d Oede !e !ea' a|y ' Ove.
3 . Ou !eaCnegave!O u !neeu' !OI!ne!e!
4. 1ee!OJe| a|e gOgeOJ ' d ' <e !O!|y !Om.
5 . \e' |e !a< g!neouO!na!!OaveOm e!O
6. 'egO! ! neCa!J|ed!ne <ey!a!ed !neeg meadd|Ove Oll
7 . I vad aO m!ed dJe!O I gO!a Ov a<lO yeay
8. Hele a eeevea !' edu gneva!ave mgOm!ne !a
w iti g Guiie, pages 1 48-1 49
4. Rewrite the fol l owi ng sentences usi ng the words
in brackets. Do not change the ori gi nal meani ng of
the sentences.
1 . !e! ' ad a !am\a! CCa!. 1eeOe, \vaam
m!am! !. ( dJe!O)
2 . A d |eC!O|l ma ' y mOI Ced e aC! mg!a em!amdgave
ne|a |O' e. ( mIe emd)
3. eaea< HOoamd!Oe I! C. oe OmgIO
!e. (!e |)
4. Sa m uCvaeInam cmg' amd oeCaJe !
Ia|!eOu!n. ( COmeqJem!'y)
5 YOJ| I'a! o gge|InamO0| 'm add I Om, ! gO!
Oe g! ( a' O)
6. c !em Ca|elJ' yO !a!yOJ ' |eeoe e
d |eC! Om. (Oa!O)
7. \O!OI !e I e e oOyI emd !OO! ed !O gOOJ!.
(OI!em)
8. .e !e IelaC!!aI ! mO!yOu o !day, g. v mg
yOu a eem!. (Neve!ne' e)
5. Fi nd ei ght errors in the passage and correct them.
1O| \AHS 'OH cH\' ONc
cve|yOme <mOv!na! ay |O!!e| gOOd l emd,
e Ome, veyC' eveamd <mOv a vay!neamve
!O qJeI OmaoOu! ag C |e mev Ina!ca
\aIOm, Ie H| I yOJmgaC!|evnO' ay e| Ome,
amex!|ee yC eveIudemIave . NOv 1 8 yea O d,
eO' enavea<edOved d Ove m e A' eve `
\emegOIe eJ !, nevaI edaa eJ !Ol
e a|em!amdIeaCne|ve|eveyOJdOl e| \aI
a0az mg !na!eaOl!em oeem J mao' e!O aIIemd
COO lJ' ' I e oeCaJe e aCI mgCa|ee|. .u mgne
va me a!yea a!COO' , IOexa e, ne
Om yvem!IO COO OmCe a vee<. ca
de!e med !O COm! mJe edJCa! Om,
de !eIeIaCI!a!neCe|!a m' y
dOem ! meed!O !0dylO| IO nave
a Caee.
Emma Watson plays the voice of
Princess Pea in The Tale of Despereaux.
Your Task
Write a review of a fi l m you have seen.
Use 1 00- 1 50 words.
WRITING YOUR REVIEW
1 . Brai nstorm your review.
Thi nk of a fi l m you have seen and what
you l i ked I di dn't l i ke about it.
Thi nk about the fol lowi ng questi ons:
\a!!yeOll !`
Unit 9
!e aC! mggOOd` OvgOOd ae!eaC!O|
COaed v IO!e O'e !ey ave ayed`
!e'O! m!e|eI gamdexC ! mg, OoO mg
ad ed C!ao e`
OeeI dea' v !amy O!a! 0e`
. dyO0eOy!eO0md!aC<`\ee !ee amy
eCa elleC!`
' !e l ' a ada!a! Om Ol a oOO<`
\a!ad|eC!ve CO0' ddeC oe!el `
\OvO0' d! I ' aea' !O`
\O0' dyOu eCOemd!el ' `
page 1 1 0 and the pl an bel ow to hel p you.
PLAN
Openi ng: SIaIe !e maeOl!el , !e
!yeOlI , Ined eC!O|, Ie a m
Cna|aCIe|, !e ead mgaC!O/ amd
I nee!! mg. .eC oe! ne' O!.
Body: G veyOu O m Om Omva OJ
aeC!Ol!eI .
Cl osi ng: G ve a gemea eCOemda! Om.
CHECKLIST
/ ]:||:eth|ac {|mceie.
/ ] ue ::mt:c: mtime :c:
c:ccect|y .
/ ] ue c:ccect :c : cec m
cecemi :c:.
/ ] ue ciety :;eties.
/ ] cmckccmc, :e||i m
umtti:Jl ,,
5K!LL5
USI NG ENTERTAI NMENT GUI DES

You are goi ng to use an entertai nment gui de to pl an a day i n New York Ci ty (NYC).
Look at the adverts and map and answer the Task Questi ons bel ow.
. ve
5Ow
b\
________0 -
A
MAMMA
Over 32 mi l l i on peopl e al l
around the worl d have fal l en
i n l ove wi th the characters, the
story and the musi c of
MAMMA MI A!
Great performances together wi th
the magi c of ABBA"s songs.
B
Wi nter Garden Theatre
1 634 Broadway, corner 50th St
PHANTOM OF THE OPERA
Now cel ebrati ng 20 years as
Broadway's Most Haunt1ng
Love Story
The l ongest-runni ng musi cal
i n Broadway hi story and an
i nternati onal phenomenon.
The Majestic Theatre
247 West 44th Street
TASK QUESTI ONS

'
L0XRg\0R Av/59 b
(4 YJX
5 A
.
/59 s
..
.
outmoaoM
M0\CwR
57 b\
"
\ 59 b\
57 b\/1Av
9Z b\
fy8R\ Pk
9 b\
H0RR
3 b\
(b\80R N0|80 b
Z b\
Z b\
b
T b\
Z b\
Z b\
Z b\
Q
19 b
19 b
N0U5\0Rb\
8R8 b\
f8R0 0R\|8
9Z b\ <
b\
Z b\

uuN8 V
vi0t0wN
1uNNL
ca! g
O0!
L OMBARDI ' S
America's fi rst pizzeria . . .
M s :e 1 5.
Onl y the fi nest i ngredi ents
Sti l l fresh and del i ci ous
after 1 00 years 1
32 Spri ng St, near Mulberry Street
I aly
in New York City!
Authentic food
Great service
Low pri ces
1 7 Matt St, near Mosco St
C matow
1 . Look at the subway l i nes i n col our. How many di fferent l i nes are shown on the map?
2. You are stayi ng at the Jazz Hostel . Fi nd it on the map. Whi ch subway stati on i s i t the cl osest to?
3. You' d l i ke to see a musi cal . Look at adverts A and 8 from a NYC Entertai nment Gui de and deci de whi ch
show you' d rather see. Then use the map to fi nd the best subway route there from your hostel . Whi ch i s
the cl osest stati on to the show?
4. You' d l i ke to go out to eat after the show. Look at adverts C and D and deci de where you'd rather eat.
Then use the map to fi nd the best subway route from your show. Whi ch i s the cl osest stati on?
USE YOUR SKI LLS
Use the I nternet to fi nd a touri st site that you woul d l i ke to vi si t in New York Ci ty.
Use a map to pl an your subway route from the Jazz Hostel .
ON 1LlL7
. Faces
PRESENT SIMPLE
FORM
Afrmatvc Ncgativc Intcrrogativc
' j You work ' j You do not (don't) work Do ' j you work?
He I She l i t works He I She l i t does not (doesn't) work Does he I she I i t work?
We I You I They work We |You I They do not (don't) work Do we I you I they work?
Uscs Examplcs Advcrbs ofcqucncyI Tmccxprcssions
A regul ar habi t or routi ne My sister works on Sundays. al ways, usual l y, general ly, regul a rly,
( Mi hermana trabaja I os occasi onal ly, frequently, often, someti mes,
domi ngos.)
rarel y, sel dom, never
A general truth or sci enti fi c fact Facebook is a popular website.
at I o' cl ock, at ni ght, i n the mor ni ng,
on Fri days, every week, once a month,
( Facebook es una pagi na web de
how often . . . ?
moda. )
Stati ve verbs I think she is very bossy
(Creo que es muy mandona. )
FORMA
Afi rmativa : es i gual que l a forma base del verba ( el
i nfi n i ti vo si n to) . excepto en l a 3' persona del si ngul ar,
que termi na en -s o -es.
Para formar correcta mente l a 3' persona del si ngul ar hay
que tener en cuenta l as si gui entes regl as ortogrcfi cas
segu n l a termi naci 6n del verba:
En -o, -ss, -sh, -eh o -x a rade -es: do - does,
miss - misses, wish - wishes, touch - touches, fix - fixes.
En vocal + y a rade -s: say - says.
En consonante + y cambi a l a y par i a ntes de a nad i r
-es: tr tries.
Negativa : sujeto + do not (don't), o does not (doesn't)
para la 3' persona del si ngul a r + forma base del verba.
l nterrogativa: do o does + sujeto + forma base del
verba.
Recuerda que have got, to be y I os verbos modal es
no necesi tan el a uxi l i ar do I does en negativa ni
i nterrogati va.
us os
Con acci ones habi tual es o ruti nas.
Con hechos general es o ci entfficos.
Con I os verbos "estati cos" ( mi ra en l a pagi na I 4
Con hora ri os y progra mas.
The train leaves at 4 o'clock. ( El tren sa l e a I as 4.
Los adverbi os de frecuenci a va n del a nte del verba
pri nci pal , pero si se trata del verba to be se col oca n
detras.
He never recognises me. ( Nu nca me reconoce. )
Paul is always calm. ( Pa u l si empre esta tranqui l o. )
Las expresi ones tempora l es si empre va n al pri nci pi o o a l
fi nal de l a frase.
James uses his computer every day.
(James usa su ordenador todos I os d ias. )
Con how ofen ? se pregu nta con que frecuenci a se
hace al ga.
How ofen do you read? (lCon que frecuenci a l ees?)
+ l nd i ca usos adi ci ona l es a I os presentados en l as tabl as.
PRESENT CONTINUOUS
FORM
AHrmaIivc NcgaIivc InIcrrogaIivc
I am si ngi ng I am ( I ' m) not si ngi ng Am I si ngi ng?
You are si ngi ng You are not (aren't) si ngi ng Are you si ngi ng?
He |She l i t i s si ngi ng He |She l i t i s not (i sn't) si ngi ng Is he |she | it si ngi ng?
We |You |They are si ngi ng We |You |They are not (aren't) si ngi ng Are we |you |they si ngi ng?
Uscs Examplcs Timc cxprcssions
An acti on whi ch i s ha ppeni ng now Greg is reading right now now, ri ght now, at the moment
(Greg esta l eyendo ahora mi smo. )
A tempora ry acti on I am studying maths this term. thi s yea r, at present
(Estoy estudi ando matemati cas este
today, these days, thi s month
semestre. )
A defi n i te pl an for the near fut ure I am meeting my boyfriend tonight. thi s eveni ng, toni ght, tomorrow,
( He quedado con mi novi o esta next Fri day |week |yea r
noche. )
FORMA
Afi rmativa: sujeto + am |i s |are + verba pri nci pal
termi nado en -i ng, si gui endo l as si gui entes regl as
ortografi cas segu n l a ter mi naci on de l a forma base del
verbo:
En -e muda, pi erde la e : ride - riding.
En -y, la manti ene: pay - paying.
En -i e, cambi a ie por y: die - dying.
En vocal + consonante ( monosi l abo) dobl a l a
consonante, excepto w y x: run - running,
show - showing.
En
-
I o -p ( bi si l abo con acento I la no) dobl a esa l etra :
travel - travellingo
En vocal + consonante ( bi si l abo con acento agudo) .
dobl a l a consonante: refer - referring.
Negativa: sujeto + am |is |are + not (o n't) + verbo
pri nci pal termi nado en -i ng.
l nterrogativa: am |i s |are + sujeto verbo pri nci pal
termi nado en -i ng.
usos
Expresa r l o que esta pasa ndo en el momento en el que
se esta habl ando.
Expresa r acci ones prol ongadas que esta n ocurri endo
en u n presente mas ampl i o.
Expresa r l o que haremos con toda segu ri dad en u n
futuro proxi mo porque l o hemos fijado de a ntemano
Con el adverbi o al ways, para denota r una quej a.
He is always shouting. (Si empre esta gri tando. )
STATIVE VERBS
I nd i can u n estado mas que una acci on y suel en usarse en
Present Simple. Estan rel aci onados con :
l as emoci ones y I os senti mi entos ( dislike, enjoy, hate,
hope, like, love, prefer, want) .
el pensa mi ento y l a opi ni on ( believe, forget, guess,
know, remember, think, understand) ,
la percepci on y I os senti dos ( feel, hear, see, smell,
sound, taste, touch) ,
I os preci os y l as medi das ( cost, measure, weigh) y
la posesi on ( belong, have, own) .
Al gunos i ndi ca n tanto estado como acti vi dad y pueden
usa rse en Present Simple y en Present Continuous.
Donna thinks the book is wonderful.
( Donna cree que el I i bra es estu pendo. ) [estado]
He is thinking about going to Malta in the summer.
(Esta pensa ndo en i rse a Mal ta en verano. ) [acti vi dad]
El verba see en Present Continuous i ndi ca una acci on
futu ra fijada de a ntema no.
We are seeing Ann tonight.
(Veremos a Ann esta noche. ) [Ya hemos quedado. ]
PHRASAL VERBS
Son verbos segui dos de una o dos parti cul as
(preposi ci ones, adverbi os o una combi naci on de ambos)
con un si gn i fi cado d i sti nto del que cada pal abra ti ene
por separado.
Pueden ser transi tivos o i ntra nsi ti vos.
He didn't get to the appointment.
( El no l l ego a la ci ta. )
He set off on a long journey
( Parti o a un l argo vi aje. )
Grammar Appendix
|
La mayorfa de I os tra nsi tivos permi ten i nterca l ar el
compl emento di recto entre el verba y l a partfcul a: si
es un susta ntivo puede i r en medi a o no, pero si es
pronombre debe col oca rse entre a mbos.
I'm going to pick up my brother at the station.
(Voy a recoger a mi herma no a la estaci 6n. )
I 'm going to pick my brother up at the station.
I 'm going to pick him up at the station.
Si n embargo, a l gu nos tra nsi ti vos, todos I os i ntra nsi tivos
y I os formados par dos partfcul as son i nsepa ra bl es.
He is looking for his keys / them.
( Esta buscando sus l l aves jbusca ndol as. )
Z. Dan_cr |
PAST SIMPLE
FORM
AHrmaIivc NcgaIivc
Al gu nos verbos pueden combi narse con di ferentes
partf cul as para formar di sti ntos phrasal verbs.
get across ( hacer entender)
get by (a rreg l a rsel as, defenderse ( i di oma) )
get through (comu ni ca r(se))
Ademas, much os phrasal verbs ti enen mas de u n
si g ni ficado:
get into (entra r jmeterse e n ; afi ci onarse a)
turn up ( aparecer, presenta rse ; subi r (vol umen) )
turn down (rechaza r ; baj ar)
switch off ( apagar (tel efono) ; desconecta r(se))
Mi ra l a l i sta de phrasal verbs que hay en I as pag i nas
1 42- 1 43 pa ra ver mas casos.
InIcrrogaIivc
I jYou fi ni shed I |You di d not ( di dn't) fi ni sh Di d I jyou fi ni sh?
He jShe jl t fi ni shed He jShe | lt di d not ( di dn't) fi ni sh Di d he jshe ji t fi ni sh?
We jYou jThey fi ni shed We jYou jThey di d not (di dn't) fi ni sh Di d we jyou jthey fi ni sh?
..
Uscs ExampIcs Timc cxprcssions
. .
A compl eted acti on i n A shark attacked Or Ritter last year. yesterday, l ast week jyea r, two
the past (Un ti bur6n atac6 al doctor Ri tter el afo pasado. ) days ago, i n 2007, i n the 1 980s,
Fowler climbed the stairs and followed Ausable.
in the 1 8th century, when, then
A seri es of compl eted acti ons
i n the past (Fowl er subi 6 l as esca l eras y si gui 6 a Ausabl e.)
FORMA

Afi rmativa: Con I os verbos regu l a res se forma a fadi endo
-ed a su forma base seg un l as si gui entes reg l as
o rtog rafi ea s:
En -e muda afade sol o l a -d . prove - proved.
En vocal + y afade -ed : stay - stayed.
En consonante + y ca mbi a l a y par i a ntes de afadi r
-ed: carry - carlied
En vocal + consonante ( monosf l abo) dobl a l a
consonante excepto w y x: stop - stopped, fix - fixed
En -1 o -p ( bi sf l abo con acento l l a no) dobl a l a
consonante: cancel - cancelled.
En vocal + consonante ( bi sf l abo con acento agudo)
dobl a esta ul ti ma : prefer - preferred.
Los verbos i rregul a res, coma puedes ver en la l i sta de l as
pagi nas 1 44- 1 45, no si guen ni nguno de estos procesos.
Negativa : sujeto + di d not (o di dn't) + forma base del
verba pr i nci pa I .
l nterrogativa : di d + sujeto + forma base del verba
pri nci pa l .
..
usos
Habl ar de acci ones acabadas que ocurri eron en u n
momento concreto d e l pasado.
Expresa r acci ones consecuti vas del pasado.
l ndi car que una acci 6n corta (i ntroduci da par when)
ocu rri 6 cuando otra mas l arga esta ba en proceso.
He was going home when the detective called him.
(Vol vfa a casa cuando el detecti ve lo l l a m6.)
Descri bi r o conta r c6mo era n l as cosas en el pasado.
In the 7 9th century London was a dangerous city.
( En el si gl o XI X, Lond res era una ci udad pel i grosa. )
La expresi 6n tempora l ago se pone detras del peri odo de
ti empo i nd i cado y se traduce por " hace".
They left two hours ago. (Se fueron h ace dos horas. )
PAST CONTINUOUS
FORM
AfIrmativc Ncgativc Intcrrogativc
I was vi si ti ng I was not (wasn't) vi si ti ng Was I visiti ng?
You were visiti ng You were not (weren't) visiti ng Were you vi si ti ng?
He jShe l i t was vi si ti ng He jShe l i t was not (wasn't) visiti ng Was he jshe ji t vi siti ng?
We jYou jThey were visiti ng We jYou jThey were not (weren't) vi si ti ng Were we jyou jthey vi si ti ng?
!
Uscs ExampIcs ! Tmccxprcssions
An i ncompl ete acti on in progress At 9 o'clock that evening, he was waiting for the report. l ast ni ght jweek j
at a speci fi c ti me i n the past (Esa noche a l as 9 esta ba espera ndo el i nforme. ) yea r, at 4o' cl ock
...................
An i ncompl ete acti on i nterru pted As I was speaking on the phone, Max entered the room. when, whi l e, as
by a nother acti on ( Mi entras yo habl aba por tel efono, Max entr6 en l a
habi taci 6n. )
Two i ncompl ete acti ons i n prog ress While the waiter was knocking on the door, Ausable was
at the sa me ti me i n the past telling me a secret.
( Mi entras el ca marero estaba l l amando a la puerta, Ausabl e
me estaba conta ndo u n secreta.)
FORMA
Afi rmativa : sujeto + was jwere + verbo pr i nci pal
Negativa : sujeto + was jwere + not ( o n't) + verbo
pr i nci pal ter mi nado en -i ng.
l nterrogativa : was jwere + sujeto + verbo pri nci pal
PAST PERFECT SIMPLE
FORM
Afrmativc Ncgativc
. ...L
usos
Deci r l o que estaba ocurri endo en un momento concreto
del pasado.
Expresa r que una acci 6n l arga estaba en proceso
cuando ocu rri 6 una corta. La l arga va precedi da de
whi l e o as y l a corta, de when.
Expresa r que vari as acci ones ocu rrf an
si mu l ta neamente en el pasado. En este caso va n
u ni das por whi l e o as.
+ Con al ways i ndi ca mos que una acci 6n pasada nos
desag radaba por repeti da y mon6tona.
She was always telling jokes.
(Si empre estaba conta ndo chi stes.)
Intcrrogativc
1 1 You had arrived ' j You had not ( hadn't) arrived Had ' j you arrived?
He jShe l i t had arrived He jShe l i t had not ( hadn't) arrived Had he jshe ji t arrived?
We jYou jThey had arrived We jYou jThey had not ( hadn't) arrived Had we jyou jthey arri ved?
Uscs ExampIcs , Timc cxprcssions
A compl eted acti on whi ch took pl ace By the time the police arrived, he had al ready, by the ti me, after,
before a nother acti on in the past already lef. before, u nti l , never, j ust
(Pa ra cuando l l eg6 la pol i cia, ya se
habia marchado) .
FORMA usos
Afi rmativa: sujeto + had + parti ci pi o del verbo pri nci pa l .
Negativa: sujeto + had not ( o hadn't) + parti ci pi o del
verbo pr i nci pal .
l nd i car que una acci 6n ocurri 6 a ntes que otra
expresada en Past Simple.
l nterrogativa: had + sujeto + parti ci pi o del verbo
pr i nci pa l .
: SUFI JOS PARA FORMAR ADJETIVOS
Los sufijos son termi naci ones que a radi mos a la ra iz o
l exema de l as pal abras para formar otras nuevas.
Estos son a l gunos de I os sufijos que se araden a nombres
y verbos para formar adjeti vos:
predict (predeci r) predictable ( predeci bl e)
nation ( naci 6n) national ( naci onal )
consider (consi derar) considerate (consi derado)
beauty (bel l eza) beautiful (boni to)
pain ( dol or) painless ( i ndol oro)
contempt (despreci o) contemptible (despreci abl e)
attract (atraer) attractive (atracti vo)
danger (pel i gro) dangerous ( pel i groso)
Con al gu nos susta ntivos se pueden usar va ri os
de estos sufi jos:
careful - careless harmful - harmless
o . u Iur II |
PRESENT PERFECT SIMPLE
FORM
AHrmaIivc NcgaIivc
Grammar Appendix
En cambi o, otros sol o admi ten uno:
homeless f ps - peaceful
Otros sufijos que arad i dos a verbos for man adj eti vos son
-ed e -i ng.
bore ( abu rri r) bored ( [est ar] aburri do)
boring ( [ser] abu rri do)
Cua ndo el adj eti vo termi na en -ed si gni fi ca que l a
persona o cosa a l a que se refiere experi menta o sufre un
efecto concreto, y cuando acaba en -i ng si gni fi ca que l a
persona o cosa a l a que se refiere ca usa d i cho efecto.
Jack is boring so I'm bored when I go out with him.
(Jack es aburrido, asi q ue me a burro cuando sal go con el.)
I nIcrrogaIivc
I |You have l i ved I |You have not ( haven't) l ived Have I |you l i ved?
He |She |i t has l ived He |She jl t has not (hasn't) l ived Has he |she |i t l ived?
We jYou jThey have l i ved We |You jThey have not (haven't) l i ved Have we |you |they l ived?
An acti on that bega n in the past and cont i nues I have played basketball for two years. never, ever, a l ready, j ust, yet,
u nti l the present ( Li evo j ugando a l bal oncesto dos recently, l atel y, how l ong . . . ?,
aras.)
for, si nee, in recent yea rs
An acti on that took pl ace at an undetermi ned She has moved house recently
ti me in the past, but i s connected to the present (Se ha cambi ado de casa hace poco. )
FORMA
Afi rmativa : sujeto + have jhas + parti ci pi o del verba
pr i nci pal .
Negativa : sujeto + have |has + not (o n't) + parti ci pi o del
verba pri nci pal .
l nterrogativa : have jhas + sujeto parti ci pi o del verba
pri nci pal .
us os
Con acci ones que empeza ron en el pasado y a u n
conti nuan. Por eso, a veces se traduce e l verba en
presente.
Con acci ones pasadas cuyos efectos son vi si bl es
actu a l mente.
+ Con u na acci 6n que acaba de ocurri r. En este caso,
agrega mos just entre el a uxi l i a r y el parti ci pi o.
The athlete has just broken the world record.
(El atl eta acaba de bati r el record mu ndi a l . )
Never, ever, al ready y just se ponen entre el auxi l i ar
( have) y el parti ci pi o del verbo, mi entras que yet si empre
.
se col oca a l fi nal de la frase.
The match has already started.
(El parti do ya ha empezado. )
Have you seen the film yet?
(LYa has vi sta la pel icu l a?)
En afi rmati va usa mos just, never y al ready, en negativa
usa mos yet y ever, y en i nterrogativa al ready, ever, yet
y just.
I've never played football.
( Nu nca he j ugado a l futbol . )
She hasn't tried snowboarding yet.
(Todavi a no ha probado el snowboard.)
Haven't you ever watched the Olympics on TV?
(LNu nca has vista l as Ol i mpi adas en l a tel evi si on?)
The runner has just injured her leg.
(La corredora se acaba de l esi onar l a pi er na. )
.

Con how l ong . . . ? pregu ntamos cua nto ha durado l a
acci 6n o, si aun conti nua, cuanto ti empo ha pasado
desde que empez6.
How long have you trained for the competition?
((Cuanto ti empo has entrenado para l a competi ci 6n?)
For i ndi ca cua nto dur6 la acci 6n y si nce, cuando
empez6.
I have played volleyball for two years I since I was
a child.
( He j ugado al vol ei bol durante dos a ras jdesde que
er a u n ni ro.)
+. IanumarI
FUTURE SIMPLE
AfIrmativc NcgaIivc
: PAST SIMPLE/ PRESENT PERFECT SIMPLE
El Past Si mpl e i ndi ca lo que ocu rri 6 en u n momento
concreto, mi entras que el Present Perfect Si mpl e si tua l a
acci 6n en u n peri odo de ti empo.
I paid for the tickets yesterday but I haven't collected
them yet.
(Pague l as entradas ayer, pero no l as he recogi do
todavi a. )
' j You wi l l al l ow ' j You wi l l not (won't) al l ow
!nIcrrogaIivc
Wi l l ' j you al l ow?
He jShe l i t wi l l al l ow He jShe l i t wi l l not (won't) al l ow
We jYou jThey wi l l al l ow We jYou jThey wi l l not (won't) al l ow
Uscs
A predi cti on
A pl a nned
sched ul e
A sponta neous
deci si on
FORMA
Examplcs
Dubailand will attract thousands of tourists.
( Dubai l and atraera a mi l es de tu ristas.)
The tour of Du bat will begin at 9.00 am.
(La vi si ta a Dubai empeza ra a l as 9 de l a marana. )
I am too tired to walk. I 'll take a taxi.
(Estoy demasi ado cansado para ca mi nar. Cogere u n taxi . )
usos
Wi l l he jshe ji t al l ow?
Wi l l we jyou jthey al l ow?

Timc cxprcssions
thi s eveni ng, in an hour, at 2 o' cl ock,
l ater, tomorrow, next month jyear,
soon, i n a few weeks, i n the future,
on the 1 st of May
Afi rmativa: sujeto + wi l l (o ' 1 1 ) + forma base del verbo.
Negativa : sujeto + wi l l not (o won't) + forma base del
verba.
Hacer pred i cci ones o a n u nci ar hechos futuros.
l nterrogativa: wi l l + sujeto+ forma base del verba.
Habl ar de un hora ri o establ eci do.
Expresa r una deci si on repenti na, es deci r, al go que
deci d i mos hacer mi entras esta mos habl ando.
Grammar Appendix
BE GOING TO
FORM
Afh rmativc Ncgativc I ntcrrogativc
I am goi ng to buy I am not goi ng to buy Am I goi ng to buy?
You are goi ng to buy You are not (aren't) goi ng to buy Are you goi ng to buy?
He jShe / i t i s goi ng to buy He jShe / i t i s not (i sn't) goi ng to buy I s he jshe ji t goi ng to buy?
we,'ou | \reategetng\ehuy we,'ou | \reatene\aten'\\getng\e huy Atewe ,,ea |:re, ge|ng\e huy
A pl a nned acti on for the future We are going to spend our next holiday in Dubai. thi s eveni ng, l ater, i n
(Va mos a pasa r nuestras proxi mas vacaci ones en Duba i . ) an hour, at 4o' cl ock,
tomorrow, soon, next
An acti on that is a bout to ha ppen Be careful! You are going to fall! month jyear, in a few
(
i
Ten cui dado!
i
Vas a caerte ! ) weeks, on the 8th of May
FORMA
Afi rmativa : sujeto + am ji s jare goi ng to forma
base del verba pr i nci pa l .
egativa : sujeto + am ji s jare + not ( o n't) goi ng to +
fdrma base del verba pri nci pal .
l nterrogativa: am ji s jare + sujeto + goi ng to + forma
base del verba pri nci pal .
us os
Expresar i ntenci ones, pl anes y deci si ones sabre l o que
haremos en un futuro proxi mo.
Deci r que al ga esta a punto de ocurri r porque hay
i ndi ci os de el l o.
FUTURE PERFECT SIMPLE
FORM
AfIrmativc Ncgativc
EL PRESENT CONTINUOUS CON
VALOR DE FUTURO
Anunci a acci ones fijadas de antemano que ocurri ra n
en el futuro proxi mo. Se suel e reservar para pl a nes
persona t es ya concertados.
No expresa una i ntenci 6n, coma be goi ng to, si no a l ga
que ha si do programado con antel aci on y que va a pasar
con seguri dad. Se d i sti ngue del Present Continuous
normal porq ue la expresi on tempora l que va en l a frase
i nd i ca un ti empo fut uro y no presente.
He is going to sign a contract next month.
(El va a fi rmar un contrato el mes que vi ene. )
[ i ntenci on]
He is signing a contract tomorrow.
(El firma jfi rmara un contrato marana. ) [ pl an concertado]
!nIcrrogativc
1 / You wi l l have eaten 1 / You wi l l not (won't) have eaten Wi l l I / you have eaten?
He jShe / i t wi l l have eaten He jShe / i t wi l l not (won't) have eaten Wi l l he jshe ji t have eaten?
We I You I They wi l l have eaten We jYou jThey wi l l not (won't) have eaten Wi l l we jyou I they have eaten?
Uscs Examplcs Timccxprcssions
A compl eted By the time Dubai runs out of oil, tourism will have become by thi s ti me next week, by 3 o' cl ock,
acti on at a certai n L major industry by the end of .. . , by then, by August,
future ti me
(Para cuando Dubai se quede si n petrol eo, el tur i smo se
i n four months
habra converti do en una i ndustri a muy i mportante. )
FORMA us os
Afi rmativa: sujeto + wi l l have + parti ci pi o del verba
pri nci pal .
l nd i car que una acci on habra acabado en un momento
determi nado del futu ro.
Negativa: sujeto + wi l l not (won't) have + parti ci pi o del
verba pri nci pa l .
l nterrogativa: wi l l + sujeto + have + parti ci pi o del verba
pri nci pa l .
FUTURE CONTINUOUS
FORM
AfrmaIivc NcgaIivc !nIcrrogaIivc
1 / You wi l l be travel l i ng I / You wi l l not (won't) be travel l i ng Wi l l 1 / you be travel l i ng?
He |She / l t wi l l be travel l i ng He |She / l t wi l l not (won't) be travel l i ng Wi l l he |she | it be travel l i ng?
We |You |They wi l l be travel l i ng We |You |They wi l l not (won't) be travel l i ng Wi l l we jyou jthey be travel l i ng?
An acti on in progress at a certai n We'll be visiting Dubai this summer. at thi s t i me tomorrow, at thi s ti me next . . . g
fut ure ti me (Estaremos vi si ta ndo Dubai este on Thu rsday, in the next decade
vera no. )
FORMA : WANT + I NFI NITIVO /
Afi rmativa: sujeto + wi l l be + verba pri nci pal ter mi nado
en -i ng.
WANT + OBJETO + I NFI NITIVO
Want + i nfi ni tivo: expresa el deseo de hacer a l ga.
Negativa: sujeto + wi l l not (won't) be + verba pri nci pal
Joe wants to forget the terrible food i n the restaurant.
(Joe qu i ere ol vi da r la horri bl e comi da del resta u rante. )
l nterrogativa: wi l l + sujeto + be + verba pri nci pal
Want + objeto + i nfi ni tivo: expresa el deseo de que
otra persona hag a a I go.
us os
Expresar l o que estara ocurri endo en un momento
determi nado del fut uro.
They want tourists to come to Dubai.
T t tt tot1 1istse t O
(Ou i eren que I os tu ri stas vengan a Dubai . )
Recuerda que en estos casos es necesa ri o uti l i zar I os
pronombres objeto en vez de I os pronombres sujeto.
Do you want me to phone for help?
D y } t p f
(iOui eres que l l ame para pedi r ayuda?)
b. Speak uI |
RELATIVE PRONOUNS
.
DEFI NI NG RELTIVE CLUSES
Uscs Examplcs
who and that refer to peopl e Tracy is the girl who /that loves the idea of Flexpetz.
(Tracy es la ch i ca a l a que le encanta l a i dea de Fl expetz. )
whi ch and that refer to objects Flexpetz is an agency which /that rents out dogs.
(Fi expetz es una agenci a que al qui l a perros.)
whose refers to possessi on This is the person whose dog needs more attention.
(s
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r
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yg p
rr
9 ss
i t
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i
?.)
when and that refer to a moment in ti me I 'll never forget the day when /that we saw our dog for the first time.
................... .....................................................................................................................................................
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where refers to a parti cu l ar pl ace I went to the park where you usually walk your dog.
( Fui a l pa rq ue donde suel es pasea r a l perro. )
NON-DEFI NI NG RELATIVE CLAUSES
Uscs Examplcs
that ca nnot repl ace who or whi ch Tracy who works long hours, does not have time for a dog.
(Tracy, q u e ta baja muchas h oras, no ti ene t i empo para u n perro. )
Son oraci ones su bord i nadas adjeti vas i ntrod uci das
por un pronombre o un adver bi o rel ati ve y l as hay de
dos ti pos: defi ni ng (especi fi cati vas) y non-defi ni ng
(expl i cati vas).
DEFINING RELTVE CLUSES
Aportan i nformaci 6n tan esenci al sobre su antecedente
que si n el l as la frase q ueda ri a i ncompl eta.
Los pronombres who (personas), whi ch (cosas) y
that (personas y cosas) pueden omi ti rse si no hacen
de sujeto. Whose (posesi 6n) no se puede omi ti r ni
susti tu i r.
When ( ti e mpo) puede omi t i rse y susti t u i rse por that.
Where no puede s usti t u i rse por that y sol o se omi te
en a l g u na s ocasi ones.
Whom se u sa d etras de l as pre posi ci ones, pero se
s u e l e omi t i r y pasa r l a preposi ci 6n d etras del verbo.
The owner is the person to whom you have to talk.
The owner is the person you have to talk to.
( La d uefa es l a person a con q u i e n t i enes q u e
habl ar.)
Si el r el ati vo l l eva preposi ci 6n, l o ma s comu n es
omi t i r l o y poner l a preposi ci 6n d etras del verbo.
The film in which she appears was a great success.
The film she appears in was a great success.
( La pel fcu l a e n l a q u e sa l e fue u n g ra n exi to. )
NON-DEFINING RELTVE CLUSES
Afaden i nfor maci 6n sobre s u a ntecedente y van entre
comas. Se forma n con who, whi ch, when, where y
whose, q u e no se pueden omi t i r.
ESTRUCTURAS FORMAL E I NFORMAL
Cua nd o el r el ati vo va precedi d o de u n a preposi ci 6n se
si g u e ut i l i za ndo whi ch s i el a ntecedente es u n a cosa ;
pero s i es u n a persona, e n l u g a r d e who se e m p l ea
whom. Ese e s u n uso mu y forma l . Lo ma s comu n en
a mbos casos es poner l a preposi ci 6n a l fi n a l d e l a
o raci 6n d e rel ati vo y omi t i r e l pronombre.
This is the agency i n which Marlena works. [ Fo rma l ]
This is the agency (which] Marlena works in. [ I nfo rma l ]
(Esta es la agenci a en la que trabaja Ma rl ena.)
He is the person to whom you have to talk. [ For mal ]
He is the person (who] you have to talk to. [ I nfo rma l ]
( El es la persona con la que ti enes que habl ar. )
LOS PREFIJOS
Los prefijos di s-, i l -, i m-, i n- y un- se a fa d en a
a l g u nos adj eti vos para expresar e l s i gn i fi ca d o opuesto.
satisfied (sati sfecho/a) dissatisfied (i nsati sfecho/a)
legal ( l egal ) illegal ( i l egal )
patient (paci ente) impatient (i mpaci ente)
correct (correcto/a) incorrect ( i ncorrecto/a)
pleasant ( agradabl e) unpleasant ( desagradabl e)
Grammar Appendi x
Recuerd a q u e el prefi jo i n- varia en I os si gui entes casos:
i l - del a nte de adjeti vos q u e empi eza n por '
( illogical) .
i m- del a nte de adj eti vos que empi eza n con m- o p
( immortal) .
i r - del a nte d e adj eti vos que empi eza n con r -
( irregular) .
Ten en cuenta que a veces no son pre 1jos s; no pa rte de
l a pal abra : disaster, illusion, impress

e, unders and, etc.
El prefijo mi s- se afade a al gunos sutan i os erbos
para i nd i ca r que al go se hace i ncorrecta mene.
use ( uso) misuse (mal uso)
Con ense forman verbos que descri ben el paso al
estado i ndi cado por l a pa l abra a l a que se a fade este
prefijo.
close (cerrar) enclose (encerrar)
Otros prefijos que se agregan a d i sti ntas cl ases de
pal abras son anti -, bi -, eo-, i nter-, multi -, non-, over-,
pre -, re- y under-.
social (soci al , soci abl e)
centenary (centenari o/a)
pilot ( pi l oto)
national ( naci onal )
lateral ( l ateral )
smoker (fu mador/a)
active (activo/a)
historic ( hi st6ri co/a)
write (escri bi r)
ground ( suel o)
antisocial (a nti soci a I )
bicentenary (bi centena ri o/a)
co-pilot ( copi l oto)
international ( i nternaci ona l )
multilateral ( mul ti l atera l )
non-smoker ( no fu mador/a)
overactive ( hi peractivo/a)
prehistoric (prehist6ri co/a)
rewrite (reescri bi r)
underground (subterraneo)
No exi sten normas especifi cas en i ng l es sobre el uso
de g ui ones entre I os prefijos y l as pal abras a l as que
preceden. Por l o ta nto, encontra ras prefijos seg ui dos de
g ui on, otros i ntegrados en l a pal abra y otros que pueden
adopta r ambas formas.
1 2 1
. Extreme Weather
LOS MODALES
Modal Uscs Examplcs
can abi l i ty Most tornado chasers can avoid dangerous situations.
(La mayori a de cazadores de tornados saben evita r l as si tuaci ones pel i grosas. )
req uest Can I join your group?
( LPuedo uni rme a vuestro gru po?)
possi bi l i ty L Ml CMU you my car.
:" . f'' CLd te mi cache)
be abl e to
abi l i ty, possi bi l ity I think they will be able to see a twister
(Creo que pod ran ver un h u racan. )
can't
i nabi l ity I can't {cannot) drive.
( No se conduci r. ) _
prohi bi ti on You can't take your children with you.
( No puedes l l eva r a tus hijos conti go. )
di sbel i ef That can't be Paul. He is in China!
( Ese no puede ser Pa ul .
i
Esta en Chi na ! )
1 coul d
past abi l ity She coid ~ --zee
|
(Sa bi a correr muy depri sa cuando era una ni fa. )
pol i te req uest Could you tell me more about the tour, please?
(L Pod ri as conta rme mas cosas sabre el vi aje, por favor?)
possi bi l ity The weather forecast could be wrong.
( El pron6stico del ti empo pod ri a ser err6neo. )
pol i te suggesti on You could come with us next time.
(Pod ri as veni r con nosotros la proxi ma vez.)
.............
may jmi ght
possi bi l i ty The tourists might be disappointed after the trip.
( Puede que I os tu ri stas esten decepci onados despues del vi aje. )
may
pol i te request May I borrow your travel guide, please?
( LPuedo tomar prestada tu guia de vi aje, por favor?)
shoul d jought to
advi ce, opi ni on She should I ought to be more concered about the dangers of the trip.
( Deberi a preocu pa rse mas por I os pel i gros del vi aj e. )
need to
obl i gati on, I need to know what the weather will be like tomorrow.
necessi ty ( Necesi to saber que ti empo hara mafana. )
have to
obl i gati on, You will have to spend a Jot of time i n the car
necessi ty ( Deberas pasar mucho ti empo en el cache. )
must
obl i gati on, strong Al l students must evacuate the school i n case o//.
necessi ty os I os estudi antes deben evacuar l a escuel a en caso de i ncendi o. )

certai nty that hasn't seen a single tornado. He must be disappointed.
somethi ng is true
...
.
...
( No ha vista ni un sol o tornado. Debe de esta r decepci onado. )
mustn't
proh i bi ti on You mustn't get too close to a torado.
( No debes acerca rte demasi ado a un tornado. )
don't have to
l ack of obl i gati on | You don't have to worry about anything.
necessi ty (No ti enes que preocu parte por nada.)
needn't to
l ack of obl i gati on | You needn't bring me a present.
necessi ty ( No ti enes que traerme u n regal o. )
woul d
formal requ est Would you open the window, please?
L: Pocr[<< <hri r I < vrnt<n<. nor f<vor?)
offe r Would you like some more water?
(LQui eres mas agua?)
FORMA
Los verbos modal es:
Son i nva ri abl es, por l o que ti enen una mi sma forma
pa ra todas l as personas y no se conj ugan.
No necesi ta n do jdoes para formar l a negati va ni l a
i nterrogati va.
Si empre van seg ui dos de un verba en l a forma base.
Grammar Appendi x
may /might
Expresa n posi bi l i dad ( mas remota cuando se empl ea
mi ght) de que ocu rra a l ga. May ta mbi en se usa para
hacer peti ci ones mas formal es que con can.
should I ought to
Los dos se empl ean pa ra dar consejo y hacer
recomendaci ones. Ought to a penas se usa en negativa
ni en i nterrogativa. Should es el mas com(m de I os dos.
Be able to, have to y need to no comparten todas estas
ca racteristi cas, pero si al g unos de sus usos ( habi l i dad,
obl i gaci 6n, etc. ).
need to
Se puede conj ugar y, por l o tanto, puede usarse en todos
I os ti empos verba l es. Expresa obl i gaci 6n o necesi dad.
us os
can
Expresar habi l i dad o capaci dad
Hacer peti ci ones, dar y pedi r permi so
l ndi ca r posi bi l i dad
Hacer sugerenci as
You can bring your camera on the tour
( Puedes traer tu camara al vi aje. )
be able to
have to
Ti ene l as mi smas fu nci ones que must a u nque l a
obl i gaci 6n que expresa no es ta n fuerte. Coma must
sol o puede usarse en Present Simple, en el resto de
ti empos verba l es usamos have to.
must
Expresa obl i gaci 6n o necesi dad, especi al mente cuando
l a i mpone l a l ey o al g ui en de autori dad. Ademas expresa
una concl usi on 1
6g i ca ( "deber de", "tener que") .
mustn't
Ti ene el mi smo si gn i fi cado que can, pero coma can
sol o puede empl earse en Present Simple, en el resto de
ti empos verbal es usamos be abl e to.
l ndi ca prohi bi ci 6n.
don't have to
Si gn ifica " no tener que" j" no tener por que", es deci r,
ausenci a de obl i gaci 6n y de necesi dad (como needn't).
can't
Es l a forma negati va de can
Expresa r deducci 6n negativa o certeza de que al ga es
needn't
l nd i ca que no hay obl i gaci 6n o necesi dad de hacer al ga
( i gual que don't have to).
i mposi bl e
could
Expresa r habi l i dad o capaci dad en el pasado
Hacer peti ci ones mas educadas que con can
would
Se uti l iza para ped i r u ofrecer al ga de manera educada.
l ndi car posi bi l i dad mas remota que con can
Hacer sugerenci as menos di rectas que con can
OS MODALES PERFECTOS
PcrfccI Uscs
must have lt must have been very exciting for her to make that trip.
( Debe de haber si do muy emoci ona nte para el l a hacer ese vi aje. )
A guess about a past acti on She may /might have forgotten the meeting.
( Puede q u e se l e haya ol vi dado l a reu n i on. )
.......... ........... .... ..
_
... ........
woul d have
Abi l ity to do somethi ng i n the past
whi ch in the end was not done
Certa i nty that someth i ng
di d not ha ppen
Desi re to do somethi ng i n the past
whi ch i n fact cou l d not be done
shoul d j Cri ti ci sm or regret after an event
ought to have
it was a stupid thing to do. You could have hurt yourself
( Ha si do u n a tonterfa h acer eso. Te pod rf as haber hecho da io. )
They couldn't have predicted the torado. it was a sunny day
( No pod ri a n haber pred i cho el tor nado. Hacia u n d ia sol eado. )
I would have gone with you, but I was too scared.
( Habri a i do conti go, pero t eni a de mas i ado mi edo. )
You should /ought to have wared me earlier
( Debe ri as h a ber me avi sado a ntes. )
..........................................................
shoul dn't Cri ti ci sm or reg ret after an event
have
I shouldn't have taken so much luggage.
( No t enia q u e haber cogi do tanto eq u i paje. )
You needn't have bought the tickets. I was going to buy them myself
L
----
-
---
----
-
----
-
(
_
N
_
o ten i as por que compra r I os bi l l etes. a compra rl os
needn' t have An u n necessa ry past acti on
must have + parti ci pi o

Expresa una concl usi on l ogi ca de u n hecho pasado.
may I might have + parti ci pi o
Se usa n pa ra hacer una su posi ci on de un hecho pasado.
could have parti ci pi o
l nd i ca que se pudo haber hecho al ga en el pasado, pero
que fi nal mente no se hi zo.
couldn't have partici pi o
Expresa l a certeza de que al ga no pudo haber ocurri do.
would have parti ci pi o
l ndi ca que se qu i so haber hecho a l ga en el pasado pero no
se pudo debi do a factores o ci rcu nsta nci as externas.
should I ought to have + parti ci pi o
Con ambos podemos ta nto quej arnos de l o que ocurri o
coma l amenta rnos de que no se haya cu mpl i do l o que
espera bamos.
shouldn't have + parti ci pi o
Expresa nuestra opi ni on crf ti ca sabre un hecho pasado,
i ndi cando que no deberia haber ocurri do.
needn't have + parti ci pi o
l ndi ca que no habia necesi dad de hacer l o que se hi zo.
: EL GERUNDI O Y EL I NFI NITIVO
EL GERUNDI O
Es l a forma verba l termi nada en -i ng, que fu nci ona coma
sustanti vo en I os si gui entes casos:
Coma compl emento d i recto de al gunos verbos:
consi der, conti nue, deny, detest, di sl i ke, enjoy, fi ni sh,
hate, l i ke, love, mi ss, prefer, recommend, suggest, etc.
I enjoy doing sport. ( Me di vi erto haci enda deporte. )
Detras de l as preposi ci ones.
Lucy doesn't like his way of playing.
(A Lucy no le gusta su forma de j ugar)
Detras de al gunas formas verbal es: be used to |get
used to, can't hel p, can't stand, don't mi nd |woul dn' t
mi nd, feel l i ke, i t' s no use, l ook foward to, etc.
I fee/ like going to the cinema. (Me apetece i r al ci ne. )
Coma sujeto de l a oraci on cuando habl amos de acci ones
o hechos en general .
Taking up a new sport is not easy.
( Empezar a practi ca r u n nuevo deporte no es faci l . )
EL I NFI NITIVO
Es la forma verba l precedi da de to y se em pl ea en estos
casos:
Coma suj eto, habl ando de un hecho concreto.
To apply for that job would be a good ideo.
(Sol i ci tar ese trabajo seri a u na buena i dea.)
Detras de verbos coma: agree, appear, choose, deci de,
hope, l earn, pl an, promi se, refuse, seem, want, wi sh,
etc.
He decided to try the cake. ( Deci di o probar l a ta rta.)
0elss!eal gun os a!]el|vesy adverbi os.
He left early to arrive on time.
(Se fue pronto para l l egar a ti empo.)
Detras del compl emento i ndi recto de verbos coma:
advi se, hel p, i nvite, persuade, teach, tel l , warn, etc.
He invited me to join them. (Me i nvi to a u n i rme a el l os. )
Si n embargo, al gunos verbos de percepci on ( hear, feel,
see . . . ) , make y let van segui dos de l a forma base (i nfi n i ti ve
si n to) .
/ let Sally come with us. ( Deje a Sa l l y veni r con
nosotros.)
VERBOS SEGUI DOS DE GERUNDI O Y DE I NFI NITIVO
Verbos coma begi n, forbi d, i ntend, propose o start
pueden i r segui dos de a mbas formas verbal es si n que su
si gn ificado va rie :
They started to answer I answering the letters.
( Empeza ron a contesta r l as cartas.)
Los verbos love, l i ke, prefer y hate pueden ir segu i dos
ta nto de ger undi o coma de i nfi ni ti ve, pero el mati z de su
si gni fi cado va ria :
Se uti l i za love |l i ke |hate |prefer + ger undi o cuando
el si gnificado es general .
/ love dancing. ( Me e nca nta bai l ar. )
Se uti l i za l ove |l i ke |hate |prefer + i nfi ni ti ve cuando
se refi ere a una si tuaci on o u n ti empo en parti cul ar.
I hate to tell you, but Uncle Jim is coming this weekend.
(Od i o deci rte esto, pero el ti o J i m vi ene este fi n de
sema na. )
En cambi o, otros no si gnifican l o mi smo si l l evan detras
un geru ndi o o un i nfi ni ti ve. A conti nuaci on ti enes al gu nos
ejempl os:
forget + gerundi o se em pl ea en frases negati vas pa ra
i ndi car la i mposi bi l i dad de ol vi dar al ga ocurri do en el
pasado.
I'll never forget meeting Angelina Jolie.
( Nunca ol vi dare haber conoci do a Angel i na Jol i e. )
forget + i nfi ni tive si gni fi ca "ol vi da rse de hacer al ga".
He always forgets to bring the keys.
( El si empre se ol vi da de traer l as l l aves.)
remember + gerundi o si gnifica " recordar a l ga que se
hi zo en el pasado".
I remember giving them their tickets.
( Recuerdo haberl es dado sus entradas. )
remember + i nfinitive si gnifica "acordarse de hacer al ga':
Remember to close the door before you go.
( Recuerda cerra r l a puerta a ntes de i rte. )
regret + gerundi o si gni fi ca "l a mentar haber hecho al ga
en el pasado".
He regrets leaving school at 1 6.
(Se a rrepi ente de haber dej ado el col egi o a I os 1 6.)
regret + i nfi nitive si gni fi ca "l a mentar la que se va a
deci r a conti nuaci on".
I regret to tell you that you have foiled the exam.
( Si ento deci rte que has suspendi do el exa men. )
stop + gerundi o s i gni fi ca " dej a r u n h a bi to".
Bob stopped smoking last year
,ee !e,e !eamae.ae,asa!e.)
stop + i nfnitive si gni fi ca " dej ar d e h acer al go para
hacer otra cosa".
Can we stop to have a coffee?
(LPodemos parar para tomar un cafe?)
Gra mmar Appendix
1. 1raVc
LAS ORACIONES CONDICIONALES
Conditionalclausc Rcsultclausc Examplcs

ZERO CONDITI ONAL
i f Present Si mpl e If I do sport, I feel energetic.
+ Presen t Si mpl e
(Si hago deporte, me si ento l l eno de energfa. )
when
FI RST CONDITI ONAL
If people see Antarctica's beauty they'll understand why it's important.
i f Future Si mpl e
( Si l a gente ve l a bel l eza de l a Anta rti da, entendera por que es
+ Presen t Si mpl e I mperative
i mportante. )
unl ess Modal + base form
Call me tonight if you want to come on the trip with us.
( Li amame esta noche si qui eres veni r a l vi aj e con nosotros. )
If the station is closed, you can buy tickets on the Interet.
(Si la estaci 6n esta cerrada, puedes compra r I os bi l l etes por I nternet. )
SECOND CONDITI ONAL
i f woul d If I had enough money I would travel to Australia in the summer
+ Past Si mpl e + base form
(Si tuvi era sufi ci ente di nero, vi aja rfa a Austra l i a en vera no. )
unless could |mi ght
I could I might buy a house by the beach if I won the lottery
(Podrfa comprarme una casa cerea de la pl aya si ganara la l oterfa. )
THI RD CONDITI ONAL
woul d have If I had told her she would have joined us.
if + Past Perfect + past parti ci pl e
( Si se l o hubi era d i cho, habri a veni do con nosotros.)
could |
He could I might have arrived on time if he had left earlier
mi ght have
( Pod rfa haber l l egado a ti empo si hubi era sal i do a ntes. )
Son oraci ones compuestas por una proposi ci 6n
subordi nada que expresa l a cond i ci 6n (condi ti onal
cl ause) y una pri nci pal que i nd ica el resu l tado (resul t
cl ause). No i mporta el orden en que se col oq uen l as
proposi ci ones, pero si l a condi ci 6n va pri mero, se suel e
poner una coma entre ambas.
EL PRI MER CONDI CI ONAL
Usamos i f + Present Si mpl e en l a condi ci 6n y Future
Si mpl e en el resu l tado. Expresa que ocu rri ra si se cu mpl e
l a condi ci 6n sefal ada.
Ademas del Future Simple, en el resu l tado ta mbi en se
pueden usar I os verbos modal es o el i mperativo.
If it rains, the roads get wet.
(Si l l ueve, l as ca rreteras se moj an.)
The roads get wet if it rains.
(Las ca rreteras se moj an si l l ueve. )
EL CONDI CI ONAL CERO
Usa mos i f + Present Si mpl e en l a condi ci 6n y Present
Si mpl e en el resul tado. Expresa si tuaci ones que se
r epi ten si empre que se da una determi nada condi ci 6n.
A veces podemos usar when en l ugar de i f si n que el
si g ni fi cado de l a frase vari e.
If you heat ice, it melts.
(Si ca l i entas hi el o, se derri te. )
When I drink too much coffee, I can't sleep.
(Cuando tomo demasi ado cafe, no puedo dormi r. )
You can't go out if you don't finish your homework.
( No puedes sal i r si no termi nas tus deberes. )
If you search for information on the Internet, use Google.
(Si buscas i nformaci 6n en I nternet, uti l i za Googl e. )
Para expresar que al ga no ocu rri ra si no se cumpl e l a
condi ci 6n, l a proposi ci 6n es i ntrod uci da por l a conj unci 6n
unl ess, que eq ui val e a i f not ( "a no ser q ue", "a menos
que") . o se ni ega el verba en Present Si mple.
Unless we stop global warming, the icebergs will melt.
If we don't stop global warming, the icebergs will melt
(A no ser que detengamos |Si no detenemos el LO b" o
cl i mcti co, I os i cebergs se derretira n. )
Ten en cuenta que unl ess se usa con basta nte asi dui dad
en el pr i mer condi ci onal , pero es menos frecuente en el
segundo cond i ci onal y n u nca se empl ea en el tercero.
125
EL SEGUNDO CONDI CI ONAL
Se usa i f + Past Si mpl e en l a condi ci on y woul d +
el verba en la forma base en el resu l tado. Expresa
condi ci ones h i poteti cas referi das al presente, es deci r,
que es poco probabl e que ocu rra n ; por eso lo traduci mos
coma un preteri to i mperfecta de subj u nti vo.
He wouldn't travel to China unless he had
a long holiday
( No vi aj a ri a a Chi na a no ser que tuvi era u nas
vacaci ones l argas.)
Si el verba de l a condi ci on es to be, se suel e uti l i zar
were en todas l as personas del si ngul ar y del pl ural .
I f that camera weren't so expensive, I would buy it.
(Si esa ca mara no fuera tan cara, la comprari a. )
Para dar consej os se empl ea l a formul a if I were.
If I were you, I would travel by train.
(Yo en tu l ugar, vi aja ria en tren. )
En l ugar de woul d podemos usar I os modal es coul d
o mi ght en el resu l tado, pero ambos i ndi ca n que l a
probabi l i dad de que se cumpl a l a hi potesi s es aun menor.
Eq ui val en al condi ci onal "podri a" o a l as expresi ones "ta l
vez" j" qui zas".
If plane tickets were cheaper, it could encourage her
to visit you in New York.
(Si I os bi l l etes de avi on fuesen mas baratos, eso pod ri a
ani ma rl a a vi si ta rte en Nueva York. )
EL TERCER CONDI CI ONAL
Se forma con if + Past Perfect en l a condi ci on y woul d
have + parti ci pi o en el resu l tado. En este caso l a
condi ci on es tota l mente i mposi bl e, pues se refi ere al
pasado y ya no puede rea l i zarse.
Sarah would have learnt French if she had taken
lessons.
(Sarah habria a prendi do frances si hubi era reci bi do
l ecci ones. )
En vez de would have + parti ci pi o, en el resu l tado
podemos empl ear coul d have o mi ght have parti ci pi o.
If we had brought our camera, we might I could have
taken a picture.
(Si h u bi esemos tra i do la ca mara, habria mos podi do
saca r una foto.)
: ORACI ONES TEMPORALES
Las referi das al fut uro se for man como l as oraci ones del
pri mer condi ci onal : Present Simple en l a su bordi nada y
Future Simple en la pri nci pal . Lo que cambi an son l as
conj u nci ones, que en este caso son as soon as, by the
ti me, the moment (that). when, etc.
As soon as you get on board, your guides will explain
everything.
(Ta n pronto como subai s a bordo, vuestros gui as os
expl i cara n todo. )
When we get home, /' 11 give you your present.
(Cuando l l eguemos a casa, te dare tu regal o. )
: SUFI JOS PARA FORMAR SUSTANTIVOS
Como ya sabes, I os sufi jos son termi naci ones que
afadi mos a al gunas pal a bras para formar otras nuevas.
Al gunos de I os mas uti l i zados para for mar nombres a
parti r de verbos son -ment, -tion j-si on y -er j-or.
Estos son al gu nos ejempl os:
agree (acordar)
invite ( i nvi ta r)
conclude (concl ui r)
run (correr)
sail ( navegar)
agreement ( acuerdo)
invitation (i nvi taci on)
conclusion (concl usi on)
runner (corredor)
sailor ( mari nero)
Ta mbi en se forman susta ntivos afadi endo I os sufijos
-i ty, -shi p, -ness, -ence j-ance y -th a al gu nos
adjeti vos, susta ntivos o verbos.
personal (personal ) personality ( personal i dad)
friend ( ami go) friendship ( ami stad)
happy (fel i z) happiness (fel i ci dad)
obedient (obed i ente) obedience (obed i enci a)
annoy ( mol estar) annoyance ( mol esti a)
strong (fuerte) strength (fuerza)
Grammar Appendi x
d. Honest
LA VOZ PASIVA
Tcnsc AcIivc Passivc
-
Present Si mpl e The police conduct an experiment. An experiment is conducted by the police.
Past Si mpl e The police conducted an experiment. An experiment was conducted by the police.
Future Si mpl e The police will conduct an experiment. An experiment will be conducted by the police.
Present Conti nuous
Past Conti nuous
Present Perfect
Si mpl e
The police are conducting an experiment.
The police were conducting an experiment.
The police have conducted an experiment.
An experiment is being conducted by the police.
An experiment was being conducted by the police.
An experiment has been conducted by the police.
Past Perfect Si mpl e
Modal s
The police had conducted an experiment. An experiment had been conducted by the police.
An experiment should be conducted by the police.
An experiment could have been conducted by the
police.
Modal Perfects
The police should conduct an experiment.
The police could have conducted an
experiment.
have to
be goi ng to
The police have to conduct an experiment.
The police are going to conduct an
experiment.
An experiment has to be conducted by the police.
An experiment is going to be conducted by the
police.
FORMA
Afi rmativa : sujeto + verba to be + parti ci pi o del verba
pri nci pal .
The painting was stolen yesterday
( El cuadro fue robado ayer. )
Negativa : sujeto + verba to be + not (o n' t) + parti ci pi o
del verba pri nci pal . Si l a frase l l eva un modal , u n
verba en Future Si mpl e o u n ti empo compuesto, l o que
nega mos es el modal , wi l l o have |has.
The painting wasn't stolen yesterday
( El cuadro no fue robado ayer. )
l nterrogativa : verba to be + el sujeto + parti ci pi o. Si en
l a preg unta hay un modal , un verba en Fut ure Si mpl e o
u n t i empo compuesto, la frase pasi va comi enza con el
modal o el verba auxi l i ar, i gual que en l a voz acti va.
Was the painting stolen yesterday?
(L EI cuadro fue robado ayer?)
Las preg untas que l l evan parti cu l a i nterrogati va ta mbi en
i nvi erten el orden del verba auxi l i ar y del sujeto, menos
cuando l a parti cu l a hace de sujeto.
What strategy has been followed?
(LOue estrategi a ha si do segui da |se ha seg ui do?)
Who will be chosen as Prime Minister?
(LOui en sera el egi do Pri mer Mi ni stro?)
: C
O
MO PASAR UNA ORACI
O
N A PASIVA
Antes de saber cua l es son Ios pasos que hay que seg ui r
para pasa r una oraci 6n de acti va a pasi va, es i mporta nte
que recuerdes que l a pasiva es mas frecuente en i ngl es
que en castel l a no, par l o que sol emos traduci r el verba
en acti va o en l a forma i mpersonal . El esq uema que
puedes ver a conti n uaci 6n expl ica c6mo se pasa una
oraci 6n de forma acti va a pasi va.
This film critic
(subject)
The article
(subject)
wrote
was written
the article.
(abject)
by this film critic.
(abject)
( El arti cul o ha si do escri to par este cri ti co de ci ne. )
Ponemos coma sujeto el compl emento que haya detras
del verba en acti va, ya sea d i recto o i ndi recto, si endo
el u l ti mo caso mas frecuente y excl usivo del i ng l es. Si
el compl emento i ndi recto es un pronombre objeto, se
ca mbi a a l a forma de pronombre sujeto.
The experts chose them for the experiment.
They were chosen for the experiment by the exce5
( Fueron el egi dos para el experi mento par 1 0s e :e-: : :
1 2 7
1 28
Ponemos el verbo to be en el mi smo ti empo que ten i a
el verbo pri nci pal en l a voz acti va y el verbo pri nci pal
en parti ci pi o. Los modal es y be goi ng to no ca mbi an,
pues es el verbo que I os si gue el que se pone en pasi va.
The police might catch more criminals thanks to this
idea.
More criminals might be caught by the police thanks
to this idea.
( Mas del i ncuentes pod ria n ser atrapados por la pol i cia
g raci as a esta i dea.)
They are going to publish a new book about criminals.
A new book about criminals is going to be published.
(Se va a publ i car u n n uevo l i bro sobre del i ncuentes. )
Col ocamos el sujeto de l a acti va al fi nal , precedi do
de by. Recuerda ca mbi arl o por su correspondi ente
pronombre objeto si es uno personal .
Otros ejempl os:
The police arrested some thieves.
Some thieves were arrested by the police.
(Ai gu nos l adrones fueron a rrestados por la pol i ci a. )
us os
l ndi car que l a acci 6n es mas i mporta nte que el
sujeto que l a rea l i za, bi en porque es poco rel eva nte,
desconoci do o porque no se qui ere nombrar.
Somebody bought the diamond ring.
The diamond ring was bought.
( El ani l l o de di amantes fue comprado. )
Con verbos como say, thi nk, bel i eve, know o report es
posi bl e uti l i za r dos formas de pasi va :
- La pri mera es una construcci 6n i mpersonal con it
seg ui da de una oraci 6n con that, sujeto y verbo. Se
trad uce como una oraci 6n i mpersonal pero acti va :
"Se di ce jSe pi ensa jSe ere e . . . " ; sol o el verbo know se
puede traduci r en pasi va.
lt is said that people behave in a different way
when they lie.
( Di cen |Se di ce que la gente se comporta de modo
d i ferente cuando mi ente. )
lt is known that nobody is honest all the time.
(Es sabi do que nadi e es si ncero todo el ti empo. )
- La seg unda se forma con el sujeto + uno de estos
verbos en pasi va + un i nfi ni ti ve. Para trad uci r este
ti po de pasi va ta mbi en recurri mos al pronombre "se" o
usamos u n sujeto genera l como "todo el mu ndo",
" l a gente", etc.
The new system is said to be very successful.
(Se d i ce que el nuevo si stema es u n exi to. )
El verba consi der sol o es posi bl e en el seg undo ti po
de pasiva y ti ene una trad ucci 6n l i tera l : "ser |esta r
consi derado".
The new system is considered to be very successful.
( El nuevo si stema esta consi derado u n exi to. )
: LOS VERBOS CAUSATIVOS: HAVE / GET +
SOMETHING + DONE
Los verbos have |get + u n susta nti vo + pa rti ci pi o de
pasado expresa n acci ones que encargamos a al gui en.
I ' m going to have /get my hair cut.
(Voy a corta rme el pel o. ) [ l o ha re otra persona]
Esta estructu ra ti ene un senti do pasi vo, pues el
sustanti vo que va en medi a reci be l a acci 6n del verbo
que va en parti ci pi o, pero se suel e trad uci r en voz acti va.
My watch broke, so I had it repaired yesterday.
(Se me estrope6 el rel oj, asi que lo h i ce a rreg l ar ayer. )
Aunque a mbos se usan i ndi sti nta mente, get es mas
i nformal y, por ta nto, mas comun en el i ng l es habl ado.
I got my house painted last week.
( Me pi nta ron la casa jPi nte mi casa la semana
pasada.)
: ADJETIVOS SEGUI DOS DE PREPOSI CI
O
N
Detras de to be es frecuente encontra r adj eti vos
acomparados de una preposi ci 6n seg ui da de u n
susta nti vo, u n pronombre o u n gerundi o. Son adjeti vos
en funci 6n atri buti va.
I was thrilled by the last Harry Potter film.
( Me enca nt6 la u l ti ma pel i cu l a de Harry Potter.)
My mother is worried about me.
( Mi madre esta preocu pada por mi. )
We are tired of working.
( Esta mos cansados de tra baj ar. )
Grammar Appendi x
U. That' s Entertainment !
EL ESTILO INDIRECTO
Tense Direct Speech Reported Speech
Present Si mpl e We eat healthy food. She said that they ate healthy food.
Past Simple Weate health
y
food She sotd that the
y
had eaten health
y
food
Future Si mpl e We will eat healthy food. She said that they would eat healthy food.
Present Conti nuous We are eating healthy food. She said that they were eating healthy food.
Past Conti nuous We were eating healthy food. She said that they had been eating healthy food.
Present Perfect Si mpl e We have eaten healthy food. She said that they had eaten healthy food.
Present Perfect Conti nuous We have been eating healthy food. She said that they had been eating healthy food.
Past Perfect Si mpl e We had eaten healthy food. She said that they had eaten healthy food.
Past Perfect Conti nuous We had been eating healthy food. She said that they had been eating healthy food.
CAMBIOS EN LOS MODALES CAMBIOS EN OTRAS PALABRAS Y EXPRESIONES
Direct Speech Reported Speech Direct Speech
can coul d now
may mi ght today
must fhave to must fhad to toni ght
wi l l woul d yesterday
l ast week
a month ago
tomorrow
next week
here
thi s fthese
El esti l o i ndi recto se uti l i za para conta r l o que al gui en ha
di cho si n ci tar exactamente sus pal abras.
REPORTED STATEMENTS
Podemos contar en presente l o que al gu i en acaba de
deci r, para l o cual basta con supri mi r l as comi l l as y
cambi ar el pronombre sujeto y la persona del verba.
"I am tired. "
He says that he is tired.
( Di ce que esta cansado.)
Pero lo norma l es que el verba que i ntroduce l a
subordi nada en esti l o i ndi recto ( normal mente say o tel l}
vaya en pasado, y entonces el ca mbi o mas i mportante
es que el verba de l a subord i nada da un sal to atras (de
Present Simple a Past Simple, de este a Past Perfect, etc.).
Reported Speech
then
that day
that ni ght
the previous day /the day before
the previous week fthe week before
the previous month fthe month before
the fol l owi ng day fthe day afer fthe next day
the fol l owi ng week /the week after
there
that /those
Ademas de supri mi r l as comi l l as y ca mbi ar I os ti empos
verbal es, ta mbi en es necesari o que haga mos al gunos
cam bi os en I os pronombres y en l as expresi ones de
ti empo y l ugar.
La oraci 6n subord i nada va i ntroduci da por la conj u nci 6n
that, aunque en i ngl es habl ado se suel e omi ti r.
"I'll tell you my opinion about the show tomorrow. "
She said (that)she would tell me her opinion about
the show the next day.
( Dijo que me d i rfa su opi ni on sabre el programa a l d fa
si gui ente. )
Cuando l a frase enunci a una verdad genera l no hay
ca mbi o en I os ti empos verbal es.
"Crime is punished by law" she said.
She said that crime is punished by law.
( Dijo que la del i ncuenci a es casti gada por la l ey.)
Coma ya sabes, I os verbos mas comu nes para i ntroduci r
el esti l o i ndi recto son say y tel l . Tel l si empre l l eva u n
compl emento i ndi recto s i n l a preposi ci 6n to. Say puede
l l evar compl emento i ndi recto o no, pero si l o l l eva debe i r
con esa preposi ci 6n.
"The police caught the robber", he said.
He told us that the police had caught the robber
He said that the police had caught the robber
He said to us that the police had caught the robber
(Nos d ij o que la pol i ci a habia cog i do a l l adr6n. )
REPORTED QUESTONS
Hay dos ti pos de pregu ntas en i ngl es:
Las Yes |No questi ons son l as que se pueden contesta r
con u n "si" o u n "no". Para ponerl as e n esti l o i ndi recto
empl eamos el verba ask, y a conti nuaci 6n if o whether.
Entonces, como l a pregu nta dej a de serl o y se convi erte
en una frase, no hay i nversi on sujeto-verbo ni si gno de
i nterrogaci 6n, y ta mpoco comi l l as.
"Are you upset?" they asked the contestant.
They asked the contestant if I whether she was upset.
(Le pregunta ron a la concursante si estaba enfadada. )
Las Wh- questi ons no se pueden contestar con un "si "
o un "no". Son l as que comi enzan con una parti cu l a
i nterrogati va (what, who, where, when, why, whose,
how, how long, etc.) AI pasa rl as al esti l o i ndi recto
ponemos d i cha particul a en l ugar de if o whether.
Luego va n el sujeto y el verbo, y presci ndi mos del si gno
de i nterrogaci 6n y de l as comi l l as.
"What is the name of the new show?" Keri asked.
Keri asked what the name of the new show was.
(Keri pregu nt6 c6mo se l l a ma ba el nuevo prog ra ma. )
REPORTED ORDERS
Para pasar una orden a esti l o i ndi recto cambi amos el
i mperati vo por u n i nfi n i tivo. Pero a ntes del i nfi n i ti vo
debemos usar un verba que exprese mandato, como tel l
u order, segui do del compl emento i ndi recto. Ta mbi en se
pueden usar I os verbos ask o beg para expresar peti ci ones,
i nvite para hacer una i nvi taci 6n o warn para adverti r a
al gui en de a l go.
"Fly in circles, " the producers told the pilot.
The prducers ordered the pilot to fy in circles.
(Los productores madaron a l pi l oto vol ar en ci rcul os.)
Cuando se trata de una oraci 6n negati va, ponemos not
del a nte de to.
"Don't tell anybody"
He begged me not to tell anybody
( Me supl i c6 que no se lo d ij era a nad i e.)
REPORTED SUGGESTONS
Pri mero ponemos el sujeto y el verba suggest en pasado
y a conti nuaci 6n deci mos l o que sugi ri 6 esa persona. Las
sugerenci as se pueden pasa r al esti l o i ndi recto de dos
formas:
Usando una oraci 6n de compl emento di recto

i ntrod uci da por that, con su sujeto y el verba en l a
forma base.
"Let's watch the new T show, " Tom suggested.
Tom suggested that we watch the new T show.
(Tom sugi ri 6 que vi eramos el nuevo prog ra ma de
tel evi si on.)
Usando el ger undi o, si n especi fi car ni ngun sujeto.
"Let's phone the police immediately!"
She suggested phoning the police immediately.
( El la sugi ri 6 I la mar a la pol i ci a i nmedi atamente. )
: REPORTING VERBS
Los verbos mas uti l i zados para i ntroduci r el esti l o
i ndi recto son say, tel l y ask, que tra nsmi ten el mensaje
si n aradi r mas i nformaci 6n. Pero si ta mbi en queremos
comu ni car l a i ntenci 6n del habl a nte o el tono que us6,
podemos uti l i za r otros muchos reporti ng verbs :
Afi rmaci ones : admit, announce, answer, apol ogi se,
boast, cl ai m, compl ai n, decl are, expl ai n, i nform,
i nsi st, menti on, offer, remi nd, repl y, state
Preguntas: enqui re, request, want to know, wonder
Ordenes: demand, order, shout, warn
Supl i cas: beg
Sugerenci as: advi se, i nvite, recommend, suggest
"I will be home late. "
She reminded me that she would be home late.
( Me recorda que l l egari a tarde a casa. )
"Did you arrive on time?"
Dove wanted to know if I had arrived on time.
(Dave qui so saber si yo ha bi a l l egado a ti empo. )
Be careful!"
He shouted (at me to be careful.
( Me g ri t6 que tuvi era cui dado. )
"You should do your homework. "
The teacher advised me to do my homework.
(La profesora me aconsej6 que hi ci era I os deberes. )
: USED Kj BE USED KjGET USED K
Se uti l i zan para habl ar de acci ones que eran frecuentes
en el pasado pero ya no l o son. Suel en acompararse de
adverbi os y expresi ones de ti empo.
Bob used to dream about becoming an actor each
night.
(Cada noche, Bob sol ia sonar jsoraba con l l egar a ser
actor. )
Used to no ti ene forma de presente. En negativa e
i nterrogati va requi ere el auxi l i ar di d y en ambos casos
pi erde l a d.
Did your mother use to travel a l ot when she was
young?
(,Tu madre sol i a vi aj ar mucho cuando era joven?)
Be used to si gni fi ca "estar acostu mbrado a", mi entras
que get used to se refi ere al proceso de acostu mbrarse.
En ambos casos va seg ui do de un nombre o un ger undi o
detras de to. Los verbos que acomparan a used son be y
get, I os cual es se pueden conj ugar.
Famous actors are used to the paparazzi.
(Los actores famosos estan acost umbrados a I os
paparazzi . )
She is used to going to the gym every afteroon .
(Esta acostu mbrada a ir al gi mnasi o todas l as ta rdes. )
He is getting used to his new routine.
(Se esta acostu mbrando a su nueva ruti na.)
I cannot get used to living in such a noisy street.
( No me acost umbro a vi vi r en una ca l l e ta n r ui dosa. )
Kl\lL/1lK/L1LL
A' ' the exerci ses i n thi s section are recorded on
the Cl ass Audi o CDs.
Unit I
PHONETIC ALPHABET
1 . Listen and repeat the sounds and words i n the
pronunciation key bel ow.
l. fa, past f father
cat, band g
girl
ki te, fi ve h hat
\ mouse, town
J
) es
C bed, head k king
Ll play, page l ong
L chai r, bear IJ mouse
in, ti p J nose
1. me, tea
p
pink
happy red
1 near, deer seven
1J not, stop tall
\ phone, boat very
.. door, four \
window
l toy. enjoy Z zebra
\ foot, good shop
\. food, you 3 television
L pure, cure
l
sing
. word, heard
'l
chil dren
. but, cup e think
afraid, mother 0 the
b bed cl3 j ob
c door
Z. Listen and choose the correct phonetic symbol
from the chart above for the vowel sounds in
colour bel ow. Then l i sten agai n and repeat.
I . oO>>y 5. mO>y
2. 'a m 6. >'
3. e!' !e 7. Cu y
4. Cnu ooy 8. da <
3. Read the fol l owi ng phoneti c symbol s and
wri te the words i n your notebook. Then
l i sten and check your answers. Listen agai n
and repeat.
1 . /' spaiki/ 4 /' md3;ri/
z /r;u' ma:nuk/ 5. /' tJAbi/
3. /'
g
::d3;sj 6. /klu:/
Unit Z
VERB ENDINGS -cJ
1 . Listen to the -ed endi ngs of the words bel ow.
Whi ch endi ng is pronounced /d/, whi ch i s
pronounced /t/ and whi ch i s pronounced /Id/?
I . a|amged 2. ne> !a!ed 3. I >'ed
An -ed endi ng i s pronou nced jtclj
when the verb ends wi th a jtjor jdjsound.
Z. Copy the char into your notebook. Then l i sten
and write the words i n the correct col umn.
Listen agai n and repeat.
warned CeC<ed v > Ied >IOed
>Ceaed >ugge>Ied deC ded
I| ed vO' ved
/d/ /l/ /id/
Unit J
VOWEL SOUNDS /i:/ /I/
1 . Listen to the vowel sounds in the words
bel ow. Whi ch word has got an /i:/ sound?
Whi ch has got an !r/ sound?
I . seek 2. > !
2. Copy the chart i nto your notebook and write
the words in the correct col umn. Then l isten
and check.
>C|ea > g e d >Ode| eI !e
|e' el de ve
/i'/ /i/
3. look at the letters i n col our and fi nd the word
in each group with the di fferent vowel sound.
Then l i sten and check your answers. Listen
agai n and repeat.
I . wm ee! d d ' o>
2 deIeaI Iea >eed de!e med
3. aC' eve COe!e deC de oeaI
SENTENCE STRESS
4. Copy the sentences below i nto your notebook.
Then l i sten and mark the stressed word(s) i n
each sentence.
1 . . d O>Ca| v m !ne|aCe`
2. ' 0deI m !e' ygO mg !O!a<e u>v. 00 mg
3 . 1n > >! neDe>! 0a!Cn ' ve eve|va!Cned.
4. CamyOu |eea!!na!, ' ea>e
5. He'>vOm!'|eeava|d>> mCe 'e|O med !ne!ea0
G .ave> meve| ayedIOO!Da ' .
Unit 4
CONSONANT SOUNDS ,
|
),t|,,dg,
1 . Listen to the sounds of the letters i n col our i n
the words bel ow. Then match the words to
the sounds t[t,t:[tand /d3/.
1 . a|Cn !eC!J|e 2 . 0a| O| 3. >nae
2. Copy the words below i nto your notebook
and write tt,t:tor /d3/ next to each word.
agai n and repeat.
1 . D| dge G. ma!. Oma
2 . amC em! 7. !e0ea!ue
3 . Ca>n 8. COm>!|uC! Om
4. | C' J. emg mee
5. ] e' yI >n
Unit 5
WORD STRESS
1 . Look at the syl l abl es i n the words bel ow.
Whi ch syl l abl e do you thi nk is stressed i n
each word? Listen and check your answers.
1 . a-m -0a' 2. >O' u! Om
3. J m-Ia |

Many common nouns a nd adj ecti ves
wi th two syl l abl es a re stressed on the fi rst syl l abl e.
ta-ble, ha-ppy
Usu a l ly, prefi xes and suffi xes a ren' t stressed.
un-sure, slow-ly
2. Copy the words below i nto your notebook.
Listen to the words and underl i ne the stressed
syl l abl e in each word. Then l i sten agai n and
repeat.
1 . dam-ge-Ou> 5. naD -!a!
2. 'eC! C G ' O-g Ca'
3. Ie>!y' e 7 . COm>e|va! Om
4. em-dam-geed 8. d lI- -Cu !
Unit 6
SILENT LETTERS
1 . Copy the words below i nto your notebook.
Listen and underl i ne the letters that aren't
pronounced in each word.
1 . >'Ou' d 4. 0 gn!
2. gJe>! 5 . ' gn!m mg
3. 0D G. <m Ie
CONTRACTED FORMS
2. Copy the words below i nto your notebook.
Then l isten and ci rcl e the words that you hear.
1 . >'Ou' d mO!I >nOu' dm!
2 . dO mO!I dOm !
3. meed mO!I meedm!
4. COu' d naveI COJ' d've
3. Copy the sentences below into your notebook.
Then l i sten and fill in the mi ssi ng words.
Whi ch sentences have got a contracted form?
1 . YOu . . gOOJ! m !ne |a m
2 . 1ney ge!C' O>e!O!'e!O|madO.
3. 'a0 Deem m] ued '
4. YOu CO0ev !n u>.
5. '' ea>e . !e' 1 J a aDOJ!!'ea|!y.
G. > HOvm DeaD e!O >ee yOu !Oday
Unit 7
VOWEL SOUNDS ,, ,, ,n,
1 . Listen to the vowel sounds i n the words below.
Then match the words to the sounds /-UI, 1-/
and /n/.
1 . lO>! 2. >mOv 3 . >'Oe
2. Copy the chart i nto your notebook. Then l i sten
and write the words in the correct col umn.
|eoIe o0' a| a oI co' d
|oad o:Ie ' aw ca: o ca0:e
/+/ /'/ /n/
RHYTHM
3. Listen and repeat. Pay attention to the rhythm.
1 . d <eIo<owwaII eIe!a ' eave:.
2 We:aw' o!:ol:ow o' ad.
3 . ow og :!e| o0|ey`
4. Tee:a :Iol oIe' :ad o:!e : ! :
g0 decoo<.
5. ' ea:e:Ioa!Iea |o|!
L! & When a word i n a sentence begi ns
wi th a vowel sound, we often connect i t t o t he l ast
sound of the word before.
Unit d
CONSONANT SOUNDS ,s,,z,
1 . Listen to the sounds of the letters in colour i n
the words bel ow. Whi ch word has got a /s/
sound? Whi ch has got a /z/ sound?
1 . oe:! 2 . : ga' :
2. Copy the words below i nto your notebook
and write /s/ or /z/ above the letters in col our.
agai n and repeat.
1 . :0:ecI 4. I|0:!
2 . e:e! 5. lo|ce
3 . ag a| :e 6. coo:e
3. Look at the letters in col our and fi nd the word
in each group with a different consonant
sound. Then l i sten and check your answers.
1 . la: :oI: eye: ea:o
2 :eed ce:I o:Ie |e:0' I
3 . wa: o' ce ea:e c|0 :e
Pronunci ati on Practi ce
Unit 9
WEAK FORMS
1 . Listen to the sounds of the words in colour
i n each of the sentences bel ow. Whi ch i s the
weak form? Whi ch i s the strong form?
1 . Cayo0 c0yIeI c<e!:` I ca g veyo0 Ie
oey
2 " owwa:Iel ' ` " " ' I wa: g|ea! ' "
3 . " oe:S0e' <e o|o|l ' :` " " Ye:,:edoe:. "
I n Yes jN o q uesti ons a nd short
Yes j No a nswers, the words i n col our above
have usu a l l y got a strong for m. I n other types of
sentences, they have got a wea k form.
2. Copy the sentences below i nto your
notebook. Then l i sten and mark the words i n
col our w (weak form) or s (strong form).
1 . We|eIe|e ay:ec a' ellec!: Iel `
2 wo0 d |aIe:eea coedy.
3 . Ye:, I wo0' d <eI c<e!:lo|Ie :ow.
4. WaIwa:yo0|o oolIeacI g`
5. I ca ee!yo0o0I: deI ec ea
6. aveyo0eve|ceeIoa ' vecoce|I`
INTONATION
3. Listen and repeat the sentences i n Exercise 2.
Does the speaker's voice ri se or fal l at the end
of each sentence?
I n statements, the i ntonati on usua l l y fa l l s.
I n Yes j No qu esti ons, the i ntonati on usu a l l y ri ses.
I n q uesti ons wi th who, what, where, when,
how a nd why, the i ntonati on usual l y fa l l s.
133
~
OLUbbPA
A
abl e-bodi ed /eibl'bodid I sa no/a, si n di scapaci dad
a fi sh out of water 1 'f1f aut ov w':t/ pez fuera del
agua, fuera de l ugar
accommodati on /dkom' dedn/ al oj ami ento
accompl i shment /' kAmphfmnt/ l ogro
accordi ng to /' b: diD t/ segun
accurate /' ckjrt/ exacto/a, preci so/a
achi eve a goal ;di:v ' gul / consegui r un objeti vo
acquai ntance /'kwemtns/ conoci do/a
admi rabl e /' cdmrdbl/ admi rabl e, di gno/a de
admi raci 6n
admi t /d' m1t/ admi ti r, reconocer
advance /d' va:ns/ avanzar
advantage /d'va:nud3/ ventaja
ai rl i ne /' elam/ compari fa I l fnea aerea
al l in al l /J:l m '3:1/ en general
anci ent /' emfnt/ anti guo/a
apartment /' pa:tmnt/ pi so, apartamento
appeal to /' pi:! t/ i nteresar I atraer a
appoi nt /'p3mt/ citar, fi jar, seral ar
appoi ntment /'p3mtmnt/ cita
arrange /' remd3/ pl anear, programar
astoundi ng /'staundiD/ asombroso/a, pasmoso/a
audi ence /' 3:dins/ audi enci a, publ i co
avoi d /'v3Id/ evi tar, dejar de
award /\ nd/ premi a
aware (of) 1 we (ov) I consci ente (de)
back and forth /bck nd 'b:6/ de aca para al i a, de un

l ado a otro
background /'bckgraund/ fondo; experi enci a,
formaci 6n
bal ance /' b;lns/ equi l i bri o
bare /be/ ari do/a, si n vegetaci 6n; si n muebl es, vacfo/a
beat /bi:t/ veneer
behave /bi' heiv/ comportarse, portarse
behavi oural /bi'heiv jrl/ conducti sta, de conducta
bel ong to /bi' lou t/ pertenecer a, ser de
(be) better off 1 (bi) 'bet of/ (estar I ser) mejor,
conveni r mas
bi g-headed /big'hedid/ engrefdo/a, crefdo/a
bi l l board /'bilb':d/ cartel publ i ci tari o
bi tter /' bit/ gel i do/a, cortante
bl ade /bleid/ hoja
bl ame /bleim/ cul par, echar l a cul pa a
bl i nd /blamd/ ci ego/a
bl i nk /bhnk/ parpadear, pestanear
bl i zzard /' bhzd/ venti sca
book a ti cket I a room /buk ' ukit I 'ru:m/ reservar
un bi l lete I una habi taci 6n
bossy /'bosi/ mand6n/ona
box office hi t /boks ofis 'hit/ exito de taqui l l a
boxi ng /' boksi!/ boxeo
brai n /brem/ cerebra
break a record /breik 'reb:d/ bati r un record
breathe /bri:o/ respi rar
breathtaki ng /' bre6teikiD/ i mponente, i mpresi onante
breed /bri:d/ cri ar
bri dge /bnd3/ puente
broadcast /'bn:dka:st/ emi ti r, transmi ti r
broad-shoul dered /bn:d'fduldd/ ancho/a de espal das
L
cage /ke1d3/ j aul a
cal m /ka:m/ tranqui lo/a
car park /' ka: pa:k/ aparcami ento
cast /ka:st/ reparto, el enco
cattl e /' kctl/ ganado vacuno
cattl eman /' kctmcn/ ganadero
caught red-handed /b:t red'hcndid/ cogi do/a con l as
manos en l a masa
chal l enge /' tfclnd3/ reto, desaffo
champi on /' tfcmpin/ campe6n/ona
change one's ways /rfemd3 wAnz \veiz/ cambi ar l a
manera de actuar de uno/a
channel /' tfcnl/ canal
character /' k;rkt/ personaje
chase /tfeis/ persegui r, i r a l a caza de
cheat (v) /tfi:t/ copi ar, hacer trampas, engarar
cheer up /tfi ' Ap/ ani mar, al egrar
chi l dhood /' tfaildhud/ i nfanci a, ni rez
chi l l y /' tfili/ frfo/a, fresco/a
choi ce /tbis/ el ecci 6n, opci 6n
chubby /' tfAbi/ rechoncho/a, regordete/a
ci nema /' smm/ ci ne
city centre I sai 'sent/ centra de l a ci udad
cl ai m /kleim/ afi rmar, asegurar
(have a) cl ose cal l / ( hcv ) 'klus b:l/ salvarse por I os
pel os I de mi l agro
cl ue /klu:/ pista
cockpi t /' kokpit/ cabi na
come on /kAm ' on/ comenzar, empezar
concerned /bn' sJ:nd/ preocupado/a
concrete /' ko!Jkri:t/ hormi g6n
conduct /bn'dAkt/ real i zar
confi dent /' konfid;nt/ seguro/a de sf mi smo/a
conservati on /kons'vedn/ protecci 6n
consi derate /bn' sidr;t/ consi derado/a, atento/a
constructi on /kn' strAkfn/ construcci 6n
contestant /kn' testnt/ concursante
conveni ent /k:m'vi:m;nt/ conveni ente, i d6neo/a,
practi ce/a
cope (wi th) /' bup w1o/ poder (con) , hacer frente (a),
sol uci onar
cosy /' buzi/ c6modo/a, abri gado/a
courage /' kAnd3/ val or, val entfa, coraje
cri me /kra1m/ del i ncuenci a; del i to
cruise /kru:z/ crucero
cub /kAb/ cachorro
curl y /' b:li/ ri zado/a
customer /' kAst;m;/ cl i ente/a
cut off /kAt ' of/ ai sl ar
D
damage /' demid3/ dano
dangerous /' demd3;r;s/ pel i groso/a
dark I da:k/ oscuro/a
darkness /' da:kn;s/ oscuri dad
deadl y /' dedli/ mortal , mortffero/a
deal wi th /' di:l w1o/ ocuparse I encargarse de
decei ve /di' si:v/ enganar
deci de 1 d1'said/ deci di r
deci si on 1 di' si3n/ deci si on, determi naci 6n
defeat 1 d1'fi:t/ derrota
degree I di'gri:/ grado
del ayed 1 di' leid/ con retraso, retrasado/a
del i ver /di ' LJV;/ entregar, l l evar, reparti r
departure ti me /di' pa:tf; taim/ hora de sal i da
descri be I di' skraib/ descri bi r
determi ned I di'n:mmd/ deci di do/a
devastati ng /' dev;steiUI/ terri bl e, devastador/a
di ffer /' dif;/ di ferenci arse, di feri r
di fference /' difr;ns/ di ferencia
di sabi l ity /dJs;'bii;ti/ di scapaci dad, mi nusval fa
di sadvantage I dis;d'va:nud3/ desventaja,
i nconveni ente
di sappoi nted I dis;'pJmtid/ decepci onado/a,
desi l usi onado/a
di sease I di' zi:z/ enfermedad
di sgui se 1 dis' gaiz/ di sfrazar, si mul ar, cambi ar
di sorder I dis'J:d;/ trastorno, dol enci a
downtown /daun' taun/ centra de l a ci udad
dream come true /dri:m kAm 'tru:/ sueno hecho
real i dad
drought I draut/ sequfa
dul l I dAl/ aburri do/a
E
educati onal I ed3u' keif;nl/ educative/a
eeri e /' I;ri/ espel uznante, estremecedor/a
effective /I' fekuv/ efectivo/a, eficaz
el evator /' elJVeit;/ ascensor
endangered /m' demd3;d/ en pel i gro de exti nci 6n
endurance /m'dju;r;ns/ resistenci a
engi neer /end3I'm;/ i ngeni ero/a
enhance /m' ha:ns/ mejorar, aumentar
ensure I m'fu;/ asegurar
entertai n I ent;'tem/ entretener
envi ronmental /mvair;n' mentl/ ecol 6gi co/a,
medi oambi ental
envi ronmental ist /mvair;n' ment;hst/ ecol ogi sta
equi pment /1' kw1pm;nt/ equi po
eventual l y /I'ventfu;li/ fi nal mente, al fi nal
exci tement /Ik' saitm;nt/ emoci 6n, exci taci 6n
ex-presi dent I eks'prezid;nt/ ex-presi dente/a
F
fad /fed/ moda
fai l /feil/ suspender; fal l ar, fracasar
fai r /fe;/ j usto/a
fear /fi;/ mi edo
fee /fi:/ cuota, matrfcul a
fi erce /fi;s/ feroz, fi ero/a
fi gure /' fig;/ dato, cifra
fi rst fl oor /f:st ' f:/ pl anta baja ( EE. UU. ) , pri mera
pl anta (Rei no Uni do)
fl at /flet/ pi so, apartamento
fl atmate /' fletreit/ companero/a de pi so
fl i ght /flait/ vuel o
fl ood /flAd/ i nundaci 6n
forecast /' f:ka:st/ pron6sti co
foremost /'f:mdUSt/ pri nci pal , maS destacado/a
frank /fre1k/ franco/a, honesto/a
fri ghtened /'fraitnd/ asustado/a, aterrado/a
fri ghteni ng /' fraitml/ aterrador/a
fun /fAn/ diverti do/a
funnel -shaped /'fAnlfeipt/ en forma de embudo
furi ous /'fju;ri;s/ furi oso/a
furry /' f:ri/ pel udo/a
G
garden /' ga:dn/ j ardfn
gather /'geo;/ recopi l ar, reuni r, j untar
gaze I geiz/ mi rada fi ja
generous /' d3en;r;s/ generoso/a
get away wi th i t /get ;'wei w1o It/ sal i rse con la suya
get caught 1 get 'b:t/ ser pi l l ado/a I capturado/a
get i nto troubl e I get m tu: 'trAbl/ meterse en un l fo,
reci bi r una bronca
gl ass I gla: s/ cri sta I
gl oomy /' glu:mi/ sombrfo/a, l ugubre
go abroad I g;u ;' bn:d/ ir al extranjero
go on I gd ' on/ durar; conti nuar
go on hol i day /gd on 'hol;dei/ ir(se) de vacaci ones
go si ghtseei ng/ gd ' saitsi:IIJ/ hacer turi smo
good-l ooki ng I gud' lukJI/ guapo/a
Gl ossar
Gl ossary
gorgeous /' g::d3;s/ guapfsi mo/a, precioso/a
graphi c /'gr<fik/
grasp I gra:sp/ agarrar, a si r
greet I gri:t/ sal udar, reci bi r
ground floor I graund 'fb:/ pl anta baja
guest 1 gest/ i nvitado/a, huesped
gui lty /' giiti/ cul pabl e
gul l i bl e /' gAI;bl/ credulo/a, si mpl 6n/ona
H
habitat /'habit<t/ habi tat
hai l stone /' heiist;un/ grani zo, pi edra de grani zo
(have a) head start 1 (h<v d) 'hed sta:t/ ten er ventaja
harml ess /' ha:ml;s/ i nofensivo/a
heartbroken /' ha:tbrdUkdn/ desconsol ado/a,
destrozado/a
heartwarmi ng /' ha:twJ:mi!/ reconfortante, al entador/a
heatwave /'hi: tweiv/ ol a de cal or
heavy /' hevi/ fuerte, i ntense/a; pesado/a
hectic /' hekuk/ agitado/a, freneti co/a
hel pful /' helpfl/ amabl e, atento/a, servi ci al
heroi c /h;' r;uik/ heroi co/a
hesitate /' heziteit/ dudar
hi gh poi nt /' hai pJmt/ memento cruci al , punto
cul mi nante
hi gh street /' hai strit/ cal l e pri nci pal
hi re a car /' hai; d ka:/ al qui l ar un coche
hit below the belt /hit biidu O; ' belt/ dar un gol pe
bajo
hoax /hdUks/ engaro
hol d your horses! /h;uld jJ: ' hJ:SIZ/ j Para el carro! I
j Espera un memento!
hopeful l y /' h;upf;li/ esperemos que, con un poco de
suerte
horse raci ng /' hJ:s reiSI!/ hfpi ca, carreras de cabal l os
huge /hju:d3/ enorme, muy grande
humidity /hju:' mid;ti/ humedad
hunt /hAnt/ cazar
hunti ng /' hAnuu/ caza
I
i l l ogi cal /Il'lnd3Ikl/ i l 6gi co/a
i mpossi bl e /Im' pns;bl/ i mposi bl e
i mpression /Im' prefn/ i mpresi 6n
i mpulsive /Im' pAlsiV/ i mpul sive/a
in captivity /m kap' tiV;ti/ en cauti vi dad
i n shape /m 'fe,p/ en forma
i nconveni ent /mkdn'vi:ni;nt/ i noportuno/a, poco
practi ce/a, i nc6modo/a
i nform /m'b:m/ i nformar, avisar
i nformati on /mf;'medn/ i nformaci 6n
i nherit /m' hent/ heredar
i nj ury /' md3dri/ heri da, l esi 6n
i nternati onal /mt;' n<fn;l/ i nternaci onal
i nvolve /m'vnlv/ i mpl i car, suponer
i ron /' ai;n/ hi erro
i rrel evant /I' rel;V;nt/ i rrelevante, i ntrascendente
i sol ati on /ais;'leifn/ ai sl ami ento
it's a pi ty o o o /Its d ' pni/ Es una pen a . . .
J
joi n I d3Jm/ uni rse a, meterse I entrar en
K
keep in mi nd /ki:p m ' mamd/ tener en cuenta I
presente
kick off /' k1k nf/ expul sar I echar de
ki l l two bi rds with one stone /kii tu: 'bJ:dz w1o wAn
st;un/ matar dos pajaros de un ti ro
ki nd-hearted /kamd'ha:ud/ bondadoso/a, de buen
coraz6n
L
l and /l<nd/ aterri zar
l andmark /' l<ndma:k/ l ugar muy conoci do
l andscape /' l<ndskeip/ pai saje
l eak (v) /li:k/ tener una fuga, gotear
learn the ropes /b:n O; 'r;ups/ ponerse al tanto
l ei sure /' le3;/ oci o, ti empo l i bre
l engthen /' leu8;n/ al argar
l et the cat out of the bag /let O; 'k<t aut nv O; b<g/
descubri r el pastel I i rse de la l engua
l et-down /' letdaun/ chasco, decepci 6n
l i ar /' lai;/ menti roso/a
l i fel ong /' laiflnu/ de toda la vi da
l i festyl e /' lmfstml/ esti l o de vi da
I ift 1 lift/ ascensor
l i ght bul b /' !an bAlb/ bombi l l a
l i ghtni ng / ' lartnru/ rayo, rel ampago
l i kel y /'laikli/ probabl e
l i mb /IIm/ extremi dad, mi embro
l i ve /laiv/ en di recto I vi vo
l i ve on the edge /IIv nn O; ' ed3/ vi vi r al l fmite
l ogi cal /' lnd31kl/ 1 6gi co/a
l ong for /' !nu f;/ desear, anhel ar
l ong-l egged /lnu' legid/ de pi ernas l argas
l ong-term /lnu' tJ:m/ (a) l argo pl aza
l ook away /luk ;'wei/ apartar l a mi rada
(never) l ook back /nevd luk 'bak/ i rl e (a al gui en) sobre
ruedas
look forward to /luk 'fJ:w;d t;/ esperar con ansi a,
tener muchas ganas de, estar deseando
l ook through /l uk '8ru:/ exami nar deteni damente,
revi sar
look up /luk ' Ap/ buscar
(be) l ucky to be al ive I (bi) 'IAki t; bi ;[arv/ (tener)
suerte de est a r vi vo/a
l uggage /' IAgid3/ equi paje
l uxury /' IAkf;ri/ l ujo, de l ujo
N
mai n street /' mem stri1/ cal l e pri nci pal
major /' me1d3;/ de gran relevanci a, muy i mportante
make sure /meik 'fu;/ asegurarse
mal l /mJ:I/ centra comerci al
man /m<n/ atender, cui dar
marvel /' ma:vl/ maravi l l arse, asombrarse
mel t /melt/ derretir(se), fundi r(se)
mi ddl e-aged /midl' eid3d/ de medi ana edad
mi l d /mald/ templ ado/a, suave
mi ss /mis/ echar de menos, anorar
mi sunderstand /misAnd;' st<nd/ no entender,
mal i nterpretar
modern /' modn/ moderno/a
move /mu:v/ mudarse, trasl adarse; mover(se)
movi e theater /' mu:vi 8I;t;/ ci ne
mug /mAg/ taza, taz6n
muscul ar /' mAskj;[;/ muscul oso/a
N
narrow /' n<r;u/ estrecho/a, a ngosto/a
natural /' n;tfr;I/ nato/a, natural
network /' netJ:k/ cadena de tel evi si 6n I radi o
no matter what /n;u 'm<t; wot/ no i mporta l o que I da
i gual l o que
nosy /' n;uzi/ entrometi do/a
occupati onal hazard /okjuped;nl 'h<z;d/ ri esgo

l aboral , gajes del ofi ci o
offi ce bl ock /' of1s bok/ bl oque I edi fi ci o
de ofi ci nas
ol d-fashi oned /;uld'f;fnd/ anti cuado/a, pasado/a de
mod a
open-mi nded /;Up;n'mamdid/ abi erto/a
de mente, si n prej ui ci os
opponent /;'p;un;nt/ ri val , adversari 9/a,
oponente
ordi nary /' J:dnri/ normal , normal y corri ente
ori gi nal /;'nd3;nl/ ori gi nal
outer /' aut;/ exterior
overcast /;uv;'ka:st/ encapotado/a, nubl ado/a
overcome /;uv;'kAm/ superar, veneer
overni ght /;v;'nait/ de una noche
overpopul ated /;uv;'popju:leitid/ superpobl ado/a
overturn /;uv;'tJ:n/ anul ar
owner /' ;un;/ dueno/a, propi etari o/a
parki ng lot /' pa:ki! lot/ aparcami ento

passenger /' p<smd3;/ pasajero/a
path /pa:8/ cami no, sendero
pavement /'peivm;nt/ acera
performance /p;' fJ:m;ns/ representaci 6n, funci 6n;
rendi mi ento
peri l /' per;I/ pel i gro, ri esgo
personal /' pJ:s;ml/ personal
persuade /p;' sweid/ convencer, persuadi r
petite /p;' t:t/ menuda
pi ck up /p1k ' Ap/ recoger, i r a buscar
pi npoi nt /' pmpJmt/ i denti fi car, determi nar
pl agi ari se /' pleid3;raiz/ pl agi ar
pl ai n (n) /plem/ l l anura
pl ai n (adj . ) /plem/ senci l l o/a, l l ano/a; poco atracti vo/a
pl ot /plot/ argumento, trama
point (at) /' pJmt (;t ) / apuntar (a)
poi nt out /pJmt ' aut/ senal ar, hacer notar
poi son /' pJizn/ veneno
pol icy /' poi;si/ pol fti ca
poodl e /' pu:dl/ cani che
possi bi l ity /pos;'bii;ti/ posi bi l i dad
possi bl e /' pos;bl/ posi bl e
pour /pJ:/ servi r, verter, echar
predator /' pred;t;/ depredador
predi ctabl e /pn' dikt;b/ previ si bl e
pretend /pn' tend/ fi ngi r
protective 1 pdtektrv 1 protector/a
psychol ogi cal /saik;'lod3Ikl/ psi col 6gi co/a
purpose /' pJ:p;s/ prop6si to, objetivo
put on /put ' on/ presentar, representar
put up /put ' Ap/ col gar, poner
|
+ . . . . . . . . . . . + . + . . . . . . . . + + + . + . . . . + . . . . . . . . + . . + . . . + . . . + . . . . . + . . . + . + . . + . . . . . . . . . . . + + + . . . . . .. . , . . . , . .
queue / kju:/ col a
R
rai nfal l /' remfJ:I/ canti dad de l l uvi a, preci pi taci 6n
rai se a fl ag /reiz ; ' f<g/ i zar una bandera
rai se a questi on /reiz ; 'kwestfn/ formul ar una
pregunta
rai se a sal ary /reiz ; 's<i;ri/ aumentar un suel do
rai se an i ssue /reiz <n ,fu:/ pl antear un probl ema,
sacar un tema
rather than /' ra:o; o;n/ en vez de
reach for /' ri:t [;/ al argar l a mano para coger
real i se /' ri:;iaiz/ darse cuenta de
rel ati on /n' Idn/ rel aci 6n
rel ati onshi p 1 n' leifnhp/ rel aci 6n
rel eased /n'li:st/ l i berado/a, puesto/a en l i bertad
rel evant /' re[;v;nt/ relevante
rel i ef /n' li:f/ al ivi o
Glossary
Gl ossar
remarkabl e /n' ma:bbl/ extraordi nari o/a, sorprendente
remi nd /n'mamd/ recordar (al ga a al gui en)
rent /rent/ al qui l ar
rental agency /' rend e1d3dnsi/ agenci a de al qui l er
repl y /n' plai/ contestar, responder
report /n' pJ:t/ i nforme
request /n' kwest/ peti ci 6n, sol i ci tud
rescue (v)/' reskju:/ rescatar, sal var
research (n) / n' snfl i nvesti gaci 6n
resort /n'zJ:t/ complejo turfstico
return ti cket /ntJ:n ' ukit/ bi l l ete de ida y vuel ta
review /n'vju:/ crfti ca, resena; revi sar, repasar
reward (v) / n' w::: d/ recompensar, premi ar
reward ( n) /rr'w::d/ recompensa, premi a
ri p-off /' npof/ estafa
ri sk hi s l i fe /nsk h1z ' laif/ arri esgar su vi da
romanti c /rdu' m<nuk/ romanti co/a
rough /rAf/ pel i groso/a; agitado/a
rul er /' ru:ld/ gobernante
run a busi ness I a company /rAn d 'brznds 1
d ' kAmpdni/ di ri gi r I l l evar un negoci o I una empresa
run after I rAn ' a:ftd/ persegui r
run i nto /' rAn m tu:/ tropezar I encontrarse con
run off with /nn ' of wro/ l l evarse, escaparse I fugarse
con
run out /rAn 'aut/ acabarse, agotarse
5
sai l i ng /' serlr!/ vel a
scorchi ng /' sknfr!J/ abrasador/a
scream /skri:m/ gritar, chi l l ar
screen (v)/skri:n/ emi ti r; proyectar
screen (n)/ skri:n/ pantal l a
seasoned /' si:zdnd/ veterano/a
seek I si:k/ buscar
sel fi sh /' selff/ egofsta
sel l out / ' se! aut/ vender todas l as entradas, agotar l as
existenci as
sequel /' si:kwdl/ secuel a, conti nuaci 6n
seri ousl y i nj ured /' srdridsli md3dd/ gravemente heri do/a
set a date I set d ' den/ fij ar una fecha
set a precedent /set d ' presiddnt/ sentar un precedente
set a record I set d 'reb:d/ establ ecer un record
set a tabl e /set d ' teibl/ poner una mesa
set an al arm /set <n d'la:m/ poner una al arma
set ( i n) /set (' m) / ambi entado/a (en)
severe /sr'vrd/ fuerte; ri guroso/a
shake I Jerk/ tembl ar
share I fed/ comparti r
shi ver /'hvd/ ti ri tar, tembl ar
shocked I fokt/ estupefacto/a, espantado/a, i mpactado/a
shocki ng /'foki!/ espantoso/a, espel uznante, i mpactante
shop I fop/ ti enda
shopl ift /'foplift/ robar en ti endas
shoppi ng centre /'fopi!J sentd/ centra comerci al
shore !h! ori l l a
(be) short of 1 (bi) ' ht ov/ (estar) fal to/a de, escaso/a de
short-tempered ;b:t 'tempdd/ i rritabl e, de mal geni o
shoul der-l ength /'fdulddle!J8/ a l a al tura de I os
hombros
si dewal k /' saidw::k/ acera
si gn up /sam 'Ap/ regi strarse, i nscri bi rse
si gnal (n) /' srgndl/ seral
si ngl e /' sr!Jl/ sol o/a, uni co/a
si nk /sr!k/ hundi r(se)
sitcom /' srtkom/ comedi a de si tuaci 6n
ski l l ed /skrld/ habi l , especi al i zado/a, experto/a
ski nny /' skmi/ fl aco/a
skyscraper /' skarskrerpd/ rascaci el os
sl ender /' slendd/ del gado/a, esbel to/a
sl i m /slim/ del gado/a, esbelto/a
sl i p /slip/ desl i zarse, resbal ar
sl i ppery /' slipdri/ resbal adi zo/a
smel l a rat /smel d 'r<t/ haber gato encerrado, estar
tramandose al ga
snobbi sh /' snobrf/ esnob
soaki ng wet /' sdukr!J wet/ empapado/a, cal ado/a hasta
Ios huesos
soap opera /' sdup oprd/ tel enovel a, seri al
socket /' sokit/ enchufe, toma de corri ente
soften the bl ow /' sofn od bdu/ amorti guar el gol pe
soundtrack /' saundtr<k/ banda sonora
source /s::s/ ori gen, fuente, procedenci a
space-age /' sperserd3/ (de l a) era espaci al
spacecraft /' sperskra:ft/ nave espaci al , astronave
spaci ous /' sperfds/ espaci oso/a, ampl i o/a
spare /sped/ de mas I sobra
speci al effects /spefl 1 ' fekts/ efectos especi al es
speci es /' spdi:z/ especi e
speed /spi:d/ vel oci dad
speed camera /' spi:d k<mdrd/ camara de control de
vel oci dad
spi ky /' spaiki/ de punta
staff /sta:f personal , empl eados/as
star I sta:/ protagoni zar
stare /sted/ mi rar fijamente
startl e /' sta:d/ asustar, sobresal tar
state-of-the-art I stert dV od ' a:t/ de vanguardi a I l a m as
moderno
stay at a hotel I youth hostel /ster <t d hdu' tel/ d
'ju:8 hosd/ al oj arse en un hotel I al bergue juveni l
stea I I sti:l/ rob a r
steel I sti:l/ a cera
sti cky fi ngers /' suki fiugn/ m a no l arga , que ti ende
a robar
stone I st;un/ pi edra
store 1 m:/ ti enda
storey /' sn:ri/ pi so, pl anta
strai ght I streit/ i sola
strength /stre!8/ fuerza
stri ke /straik/ pegar, gol pear
stroke /str;uk/ derrame cerebral
struggl e /' strAgl/ l uchar, tener di fi cul tades
stubborn /' stAb;n/ testarudola, obsti nadola
sui t /su:t/ traje (de chaqueta)
suitabl e /' su:t;bl/ adecuadola, apropi adola
superhuman /su:p;' hju:m;m/ sobrehumanola
support I s;'pn/ sostener, mantener
suppose /s;' p;uz/ suponer
surface /' s3:fts/ superfi ci e
survi ve /s;'vatv/ sobrevi vi r
suspect I s;' spekt/ sospechar de
suspenseful /s;' spensfl/ de suspense
sweat I swet/ sudar
swiftly /' swtftli/ rapi damente
switch on /swnf ' on/ encender
T
take over /tetk ';uv;/ reempl azar, adqui ri r, tomar
take pl ace /tetk 'plets/ tener l ugar
take up /teik ' Ap/ empezar I dedi carse a; ocupar
take-off /' tet kof/ despegue
tal kati ve /' t::buv/ habl adorla
tame /teim/ domesti cadola, mansola
tear down /' te; daun/ derri bar
tempt /tempt/ tentar
tend to /tend ' t;/ tender a, sol er
the bal l 's in your court /o; 'bJ:lz jJ: bt/ te toca a ti
dar el si gui ente paso, l a pel ota esta en tu tej ado
thi ck /8tk/ espesola, densola
thi ckness /' Ehkn;s/ grosor, espesor
thi ef /8i:f/ l adr6nlona
threatened /' 8,et;nd/ amenazadola
threateni ng /' 8retm!/ amenazadorla, i nti mi datori ola
thri l l /8rrl/ emoci 6n
thri l l ed /8rrld/ contentfsi mola, i l usi onadola
thri l l i ng /' 8rrh!/ emoci onante, apasi onante
throw i n the towel /8r;u o; 'tau;l/ ti rar la toal l a
ti n I tm/ l ata, bote
tradi ti onal /trd'dtf;nl/ tradi ci onal
tragi c /' tr:d31k/ tragi cola
trai l er /' treil;/ trai l er, avance
trai ni ng /' trerni!/ entrenami ento
treacherous /' tretf;r;s/ pel i grosola, trai ci onerola
tri ck /trrk/ enganar
trust /trAst/ confi ar en, fi arse de
tune i n (to) /tju:n ' m ( t;) / si ntoni zar (con)
twi ster /' 1vist;/ huracan
L
unattractive I An;' tr:kuv/ poco atracti vola
underesti mate I ,\nd;r'esumen/ subesti mar,
menospreci ar
unfai r I An' fe;/ i nj ustola
unusual /An'ju:3u;l/ i nusual
useful /' ju:s/ uti l
V
val uabl e /'y;Jju;bl/ val iosola
very qui et \eri ' bar;t/ muy tranqui lola, muy
si l enci osola
vi ewer \ju:; telespectadorla, tel evi dente
V
warn /wJ:n/ adverti r, avi sar
watchful /'wotf/ atentola, vi gi l ante
wavy /'weivi/ ondul adola
weather forecaster /'weo; fJ:ka:st;/
meteor61 ogola
wel l -bui l t /wel' brlt/ forni dola
What were you doi ng when . . . ? /wot w3: ju: 'du:qJ
wen/ L Que estabas haci enda cuando . . . ?
when I heard /wen a1 'lud/ cuando escuche 1 oi
white l i e /wait ' lai/ menti ra pi adosa
wi l d /warld/ salvaje
wi l l power /'wrlpau;/ fuerza de vol untad
wi n a competi ti on /wr ; komp;'ufn/ ganar una
competi ci 6n
wi n a match /wr ; 'm:tf/ ganar un parti do
wi n a medal /wr ; ' medl/ ganar una medal l a
wi n a pri ze /wm 'pratz/ ganar un premi a
wi n a war /wr ; 'wJ:/ ganar una guerra
wi n an argument /wm :n 'a:gjum;nt/ ganar una
di scusi 6n
wi tness /'witn;s/ ver, presenci ar
worl dwi de /'w3:ldwa1d/ mundi al , en todo el mundo
(to be) worth seei ng I ( t; bi) w3:8 ' si: r!/ merecer l a
pena verl ola
A
yard I ja:d/ j ardfn
youth hostel /' ju:8 hostl/ al bergue j uveni l
Gl ossary
Gl ossary
luncllcnallanguage
LHI 1
GETTING SOMEONE TO REPEAT SOMETHING
I ' m sorry, I di dn't g et that. /ai m ' sori a1 d1dnt get
9ct/ Lo si ento, no l o he entendi do.
Can you repeat that, pl ease? / kdn ju: n' pi:t 9ct
pli: z/ ( Puedes repeti rl o, por favor?
DESCRIBING PEOPLE LHI 4
He's got . . /hi:z 'got/ Ti ene . . .
What does he l ook l i ke? /wot dAz hi: 'luk la1k/ L Coma
es (ffsi camente)?
He l i kes . . . /hi: 'laiks/ Le gusta . . .
What's he i nterested i n? /wots hi: ' mtPstid m/ L Que
l e i nteresa?
What's he l i ke? /wots hi: ' la1k/ (Coma es (coma
persona)?
He' s very + . . /hi:z 'veri/ Es I Esta muy . . .
SHOWING INTEREST
Real l y? /' n;]i/ (De verdad?, ( En seri o?
That's great. /9cts 'gren/ Eso es geni al I estupendo.
Sounds good I fun I i nteresti ng /saundz ' gud I
'fAn /' mtr;SU!/ Suena I Me parece bi en I di verti do I
i nteresante
LHI Z
TALKING ABOUT A PICTURE
I suppose . . . /ai s;' p;uz/ Supongo . . .
maybe /' meibi/ qui za, tal vez
I'd be . . . /aid 'bi/ Yo serfa I estarfa . . .
lt l ooks l i ke . . . /i t ' luks la1k/ Parece que . . .
He's probabl y . . . /hi:z 'prob;bli/ Probabl emente es I
sea I esta /este . . -
ADDING MORE INFORMATION
And another thi ng, . . . /.nd ;'nAo; 9I!/ Y otra cosa, . . .
What's more, . . . /wots 'mJ:/ Lo que es m as, . . .
Pl us the fact that . . . /' plAs o; fckt 9ct/ Ademas de
que . . .
And besi des, . . . /.nd bi' saidz/ Yademas,
LHI
EXCHANGING INFORMATION
When was . . . born? /wen wn . . . 'bJ:n/ L Cuando
naci o . . . ?
What i s he/she famous for? /wot 1z hi:/fi: ' feim;s [;j
( Par que es famoso/a?
What awards has he/she won? /wot ;' wJ:dz hn hi:/fi:
wAn/ L Que premios ha ganado?
What records has he/she broken? /wot 'reb:dz hn
hi:/fi: br;uk;n/ (Que records ha bati do?
What's hi s/her favouri te food? /wots hiz/h; 'fetv;nt
fu:d/ L C ual es su comi da preferi da?
What probl ems has he/she had? /wot ' prob];mz hn
hi : / fi: hed/ L Que probl emas ha teni do 7
What are hi s/her future pl ans? /wot L. hiz/h; 'fju:tf;
plcnz/ (Cual es son sus pl anes para el futuro?
COMPARING PICTURES
Another di fference between them i s that . . . /;' nAo;
difr;ns bnwi:n 8em 1z 9ct/ Otra diferenci a entre
ambos/as es que . . .
The two pi ctures are si mi l ar I a l i ke because . . . /o;
' tu: piktfn L. sim;];j;]aik b1koz/ Las dos fotograffas se
parecen I son pareci das porque . . .
Another thi ng that they have got i n common i s . . . I
;' nAO; 9!! 9ct oei hcv got m kom;n IZ/ Otra cosa que
ti enen en comun es . . .
I n thi s pi cture there i s . . . , but i n thi s one . . . / m ' o1s
piktf; oe; 1z . . . b;t ' o1s wAn/ En esta fotograffa
hay . . . , pero en esta . . .
The pl ace i n pi cture 1 i s more I less . . . than i n
pi cture 2. /o; 'ple1s m pikt
f; wAn 1z mJ: I );s . . . o;n m
piktf; tu: I El l ugar de la fotograffa 1 es m as I me nos . . .
que el de l a fotograffa 2.
Thi s pi cture shows . . . , whi l e that one shows . . .
/'o1s piktf; f;uz . . . wail ' 8ct wAn f;uz/ Esta fotograffa
muestra . . . , mi entras que esa muestra . . .
The pi ctures are qui te di fferent because . . .
/o; ' piktfn L kwa1t difr;nt b1koz/ Las fotograffas son
bastante di ferentes porque . . .
Both pi ctures show . . . /' b;u9 piktf;z f;u/ Ambas
fotograffas muestran . . .
DRAWING SOMEONE'S ATTENTION
I've j ust noticed . . . /aiv d3Ast 'n;utlst/ Acabo de ver I
notar I darme cuenta . . .
And there's another thi ng . . . /<nd oen ;' nAO; 81!/
Y hay al ga mas . . .
Have a l ook at . . . /hcv ; ' luk ct/
t
chal e un vistazo a . . .
Di d you noti ce . . . ? /did ju: 'n;utis/ (Te has dado
cuenta de . . . ?, ( Has vi sta . . . ?
LHI b
EXPRESSING OPINIONS
I don't thi nk that . . . /ai ' d;unt 8I!k oct/ No creo
que . . .
I n my opi ni on, . . . I m ma1 ;' pmj;n/ E n mi opi ni on, . . .
I bel i eve that . . . /a1 b1' 1i:v oct/ Creo que . . .
I feel that . . . /a1 'fi:l oct/ Si ento que . . .
I thi nk that . . r /a! ' 9I !k oct/ Pi enso I Creo que . . .
lt seems to me that . . . /I t si: mz t; ' mi: oxt/ Me
parece I creo que . . .
GETTING SOMEONE TO EXPRESS AN OPINION
What do you thi nk? /wot d; ju: '8I!k/ L Que pi ensas tu?
What about you? /wot ;baut ' ju: / LY tu?
What's your opi ni on? /wots jJ: ;' pmi;n/ (Cual es tu
opi ni on?, L Que opi nas?
Do you agree? /du: ju: ;' gri: / ( Estas de acuerdo?
LHII b
INTERVIEWING
What were you doi ng when . . . ? /wot wJ: ju: 'du:qJ
wen/ L Que estabas haci enda cuando . . . ?
What di d you see? /wot did ju: ' si: / LQue vi ste?
How di d you react? /hau did ju: ri'ckt/ L C6mo
reacci onaste?
How di d you feel ? /hau did ju: ' fi: l/ L C6mo te
senti ste?
What happened in the end? /wot ' hcp;md m o
end/ L Que pas6 al fi nal ?
What were peopl e doi ng? /wot wJ: pi:pl 'du:n/ L Que
had a l a gente?
FINISHING YOUR STORY
So in the end, . . . /' su m o end/ Asi que al fi nal , . . .
Fi nal l y, + . . /' famli/ Fi nal mente I AI fi nal , . . .
To cut a l ong story short, + . + /t kAt Ion 'st:xri ht/
Resumi endo I En resumen, . .
Al l i n al l , + . . /J: l m ' J: l/ En general ,
LHII 1
BUYING A TRAIN TICKET
May I hel p you? /mei ai 'help ju:/ L Puedo ayudarl e en
al ga?
How l ong i s the j ourney? /hau ' Ion IZ oe d3J:ni/
L Cuanto dura el viaje I trayecto?
Woul d you l i ke a return or a si ngl e ti cket? /wud ju:
laik 'ntJ:n ukit J: 's1nl ukit/ L Queria un bi l lete de
ida y vuel ta o sol o de i da?
What ti me does the trai n l eave? /wot taim dAz o
' trem li:v/ LA que hora sal e el tren?
Do I have to book i n advance? /du: ai hcv t buk m
d' va:ns/ LTengo que reservar I hacer la reserva con
antel aci 6n?
Where do I get the trai n? /we du: ai get o 'trem/
L D6nde cojo el tren?
How much i s a ti cket? /hau ' mAtf Iz ukit/ LCuanto
cuesta un bi l l ete?
What ti me do you want to l eave? /wot taim d ju:
wont t ' li:v/ LA que hora qui ere sal i r ?
Wi l l that be fi rst or second cl ass? /wii ' oct bi: b:st J:
seknd kla:s/ LVi aj ara en cl ase preferente o turi sta?
When's the next trai n after that? /wenz oe nekst
trem a:ft 'oct/ L Cuando sale el si gui ente tren?
How often do the trai ns l eave? /hau ' ofn d O;
tremz li:v/ L Cada cuanto I Con que frecuenci a sal en
I os trenes?
ASKING FOR INFORMATION
I ' d l i ke to know when . . . I aid la1k t 'nu wen/ Me
gustaria I Querria saber cuando . . .
Can you tel l me whether . . . ? /kdn ju: 'tel mi weo/
L Puede(s) I Podria(s) deci rme si . . . ?
Do you know if . . . ? /du: ju: ' n If/ LSabe(s) si . . . ?
Can you hel p me, pl ease? /kdn ju: ' help mi: pli:z/
L Puede(s) I Podria(s) ayudarme, por favor?
LHII b
AGREEING AND DISAGREEING
As far as I ' m concerned, . . . /cz fa: cz aim kn' SJ:nd/
Por lo que a mi respecta I Por mi parte, . . .
I n my opi ni on, . . + /m mai pmjn/ E n mi opi ni on,
I don't thi nk . . . /ai ' dunt 81nk/ No creo (que) . . .
I bel ieve that . . + /ai b1' 1i: v oct/ Creo que . . .
I f you ask me, . . . /If ju: ' a: sk mi: / S i qui eres mi
opi ni on, . . .
I agree. /ai gri:/ Estoy d e acuerdo.
I thi nk you' re ri ght. /ai ' 81nk jJ: rait/ Creo que ti enes
raz6n .
You've got a poi nt. I ju:v got ' pJmt/ Ti enes raz6n. ,
Es ci erto.
I di sagree. /ai d1s'gri: I No estoy de acuerdo.
That's true. /' 8cts tru:/ Es verdad I ci erto.
GIVING A REASON
That's why . . . /' 8cts wai/ Es por eso por l o que . . , Por
eso . . .
The reason why . . . /5 'ri:zn wai/ La raz6n por la que . .
Because of that . . + /bi'koz v 8ct I Por eso . . .
LHII U
MAKING PLANS
Al l ri ght. Let's meet . . . /J:l rait lets 'mi:t + + + I
De acuerdo. Quedamos . . .
Fi ne. /fam/ Val e. , Bi en.
How about . . . ? /hau baut/ L Que tal si I te parece . . . ?
Sorry, I can't make i t. /' sori ai ka:nt meik It/
Lo si ento, no puedo.
That woul d be fi ne. /oct wud bi: ' fam/
Eso estaria bi en.
That's a good i dea ! /8cts gud ai'di/
i
Buena i dea !
What do you suggest? /wot d ju: s'd3est/
L Que recomi endas I sugi eres?
Why don't we . . . ? /wai ' dunt wi:/ L POr que no . . . ?
I ' m dyi ng to see . . . /aim 'da1n t si:/ Me muero por
ver . . .
I can't stand . . . /m ka: nt ' stcnd/ No soporto I
aguanto . . .
I woul dn't mi nd . . . /ai wudnt ' mamd/ No me
i mportaria . . .
I ' d rather see . . . /aid 'ra:o si:/ Prefiero I Preferiria ver . . .
I ' m not real l y i nto + . . /aim not ' nli m tu:/ No me
i nteresa(n) mucho . . +
SAYING "NO" TO A SUGGESTION
I ' d rather not . . . /aid 'ra:o not/ Prefiero I Preferiria
no . . .
I ' m not keen on . . . /aim not ' ki: n on/ No me
i nteresa(n) . . .
I ' m not real l y i nterested i n . . . /aim not nli ' musud
m/ No me i nteresa(n) mucho . . .
I have another i dea . . . /ai hcv nAo aidi/ Ten go
otra i dea . . .
Gl ossary
PEkASAlVkBS
En esta l i sta encontraras Ios mas comunes traducidos segun el contexto en que aparecen en este I i bra. Los
phrasal verbs se l l aman tambien multiword verbs porque van seguidos de una preposici6n, un adverbio o
ambas cosas.
back away: retroceder
bl ock off: cortar (el paso)
break away: separarse, desprenderse
break down: averi arse, estropearse
break i nto: i ntroduci rse I meterse en
break off: parti r
break out: estal l ar, produci rse
break up: separarse, romper
bri ng up: educar, cri ar
cal l off: cancel ar, suspender, anul ar
cal l on: pasar a ver, vi si tar
cal l up: l l amar por tel efono
carry on: conti nuar
catch on: ponerse de moda, tener exito
check i n: facturar (aeropuerto); registrarse ( hotel )
check out: pagar y marcharse (hotel )
cl ean up: l i mpi ar, arregl ar
come across: encontrar, encontrarse con ( por casual i dad)
come apart: deshacerse, hacerse pedazos
come back: regresar, vol ver
come down: baj ar
come off: desprenderse, sol tarse
come on: empezar (- ! : j vamos ! , j venga ! )
come up wi th: proponer, ocurrfrsel e a uno/a (i dea)
count on: contar con
cut down: reduci r, rebajar
cut off: ai sl ar
deal i n: comercia r con
deal wi th: ocuparse I encargarse de
dress up: vesti r(se) bi en I con el eganci a
end up: termi nar, acabar
feel l i ke: apetecer, tener ganas de
feel up to: senti rse capaz I con fuerzas de
fi gure out: comprender, expl i carse
fi l l i n: rel l enar ( i mpreso o documento)
fi nd out: descubri r, averi guar
fi t i n: encaj ar, adaptarse, congeni ar
get ahead: progresar, tener exi to
get away: escapar(se)
get away wi th: sal i rse con l a suya, quedar i mpune
get back: vol ver, regresar
get by: arregl arsel as
get down: bajarse, agacharse
get hol d of: coger(se), agarrar(se) de
get i nto: entrar I meterse en
get off: bajar(se) I apearse de
get on: l l evarse bi en; subi r(se) I montarse
get out of: escaparse I l i brarse de
get over: reponerse, superar
get together: reuni r(se), j untar(se)
get up: l evantarse; subi r
gi ve away: revel ar; del atar
gi ve back: devol ver
gi ve i n: rendi rse, darse por venci do
gi ve out: reparti r, di stri bui r
gi ve up: dejar, renunci ar a
go al ong: i r con, acompanar a
go away: i rse, marcharse
go back: vol ver, regresar
go down: bajar, descender; gustar, tener aceptaci 6n
go off: marcharse, i rse
go on: durar; conti nuar
go out: sal i r
go through wi th: l l evar a cabo, cumpl i r
grow up: cri arse, crecer
hang out: pasar el rato
hang up: col gar (el tel efono, un adorno)
hol d on: agarrarse
hol d up: l evantar; retrasar, retener
keep down: repr i mi r; opri mi r
keep off: prohi bi do (pasar, pi sar el cesped . . ); al ej ar(se),
apartar(se) de
keep on: segui r, conti nuar
ki ck off: expul sar I echar de
l eave out: omi ti r, dej ar fuera, excl ui r
let down: decepci onar, fal l ar, defraudar
l et i n: dej ar entrar, hacer pasar
l i ve up to: estar a l a al tura de; vi vi r de acuerdo con,
cumpl i r
l ock out: quedarse I dej ar fuera con l a puerta cerrada
look after: cu i dar a I de
l ook ahead: mi rar haci a el futuro
l ook away: apartar l a mi rada
l ook back (on): mi rar haci a atras; pensar en el pasado
l ook for: buscar
l ook forward to: esperar con ansi a, tener muchas ganas
de, estar deseando
l ook i n on: i r I pasar a ver a al gui en
l ook i nto: i nvesti gar, estudi ar
l ook on: consi derar
l ook out: tener cui dado
l ook over: revi sar, repasar
l ook through: i gnorar, fi ngi r no ver a al gui en, mi rar a
al gui en como si no estuvi era
l ook up: buscar; i r a vi si tar; mejorar
l ook up to: admi rar, respetar
make for: i r I di ri gi rse haci a I a
make up: componer
mi ss out on: desaprovechar, desperdi ci ar, dej ar pasar,
perder
pay back: rembol sar, devol ver (di nero); vengarse
pay for: pagar; ser casti gado
pay off: sal dar, l i qui dar; merecer l a pena
pi ck out: el egi r, escoger
pick up: coger, recoger
poi nt out: senal ar
put away: guardar, poner en su si ti o
put off: apl azar, posponer
put on: representar; ponerse (ropa)
put out: apagar (un ci garri l l o, l a l uz)
put up: col gar, poner
put up wi th: aguantar, soportar
ri ng off: col gar (el tel efono)
ri ng up: l l amar (por tel efono)
run after: persegui r
r un away from: escapar, hui r de
r un i nto: tropezar I encontrarse con
run off with: l l evarse, escaparse con
run out (of): quedarse (si n)
run over: atropel l ar
sel l out: vender todas l as entradas, agotar l as exi stenci as
serve on: ser mi embro de
set off I out: sal i r, ponerse en cami no
show up: aparecer, presentarse (en un si ti o)
si gn up: regi strarse, i nscr i bi rse
stand for: si gni fi car
stand out: destacar, sobresal i r
stand up: ponerse de pi e, l evantarse
stand up for: defender, respal dar, apoyar
stop by: pasarse por
switch off: apagar, desconectar (l a l uz, l a tel evi si on, el
tel efono)
switch on: encender, poner, conectar (l a l uz, l a
tel evi si on, el tel efono)
take after: parecerse a
take apart: desmontar ( un aparato)
take away: qui tar; l l evar(se)
take back: retractarse, reti rar (l o di cho)
take down: apuntar, anotar
PklP0Sl1l0NS
VERBS PREP0SITI0NS
apol ogi se for: di scul parse por
apol ogi se to: di scul parse con
appear i n: aparecer en
argue about: di scuti r sobre I por
argue wi th: di scuti r con
arrive at: l l egar a (un l ugar)
arrive i n: l l egar a (una ci udad, un pafs)
battl e for: l uchar por
care about: preocuparse I i nteresarse por
charge wi th: acusar de
cl i mb up: subi r, trepar (por)
communi cate wi th: comuni car(se) con
compl ai n about: quejarse de
crash i nto: estrel l ar(se) I chocar contra
enqui re about: preguntar por, i nformarse de
feel about: parecer (al go a al gui en); senti rse
fi ght for: l uchar por
fi l l wi th: l l enar de
go on (a tri p): ir (de vi aje)
hear about: enterarse de
i mpri son for: encarcel ar por
i nvest i n: i nverti r en
i nvite to: i nvi tar a
l i sten to: escuchar (a)
parti ci pate i n: practi car (un deporte); parti ci par I tomar
parte en
rel y on: depender de; confi ar en
search for: buscar
tal k about: habl ar de I sobre
tal k to I wi th: habl ar con
thi nk about: opi nar (sobre), parecer; pensar en
thi nk of: pensar en
wai t for: esperar a
work for: trabaj ar para
write about: escri bi r sobre
take off: despegar (avi on); quitarse (ropa)
take out: sacar
take over: reempl azar, adqui ri r, tomar
take part i n: parti ci par en
take up: empezar a hacer; dedi carse a; ocupar, l l enar
ti p over: vol car(se)
try on: probarse (ropa)
tune i n: si ntoni zar
turn around: dar(se) l a vuel ta
turn back: vol ver, regresar
turn down: bajar (el vol umen); rechazar
turn i nto: converti r(se) en
turn off: apagar, desenchufar (un aparato)
turn on: encender ( un aparato)
turn out: apagar ( un aparato)
turn over: dar l a vuelta a (una cosa)
turn up: subi r, poner mas fuerte I al to (el vol umen);
l l egar, aparecer
wake up: despertar(se)
work out: entender, resolver; hacer ejerci ci o
wri te down: apuntar, anotar
N0UNS PREP0SITI0NS
demand for: demanda I peti ci on de
di sadvantage of: desventaja de
effect on: efecto en
end of: fi nal de
form of: forma de
group of: grupo de
i ncrease i n: aumento en I de
mi xture of: mezcl a de
need for: necesi dad de
number of: canti dad I nu mero de
part of: parte de
reason for: razon para
rel ease from: puesta en l i bertad, excarcel aci on
si gn of: senal de
sol uti on to: sol uci on a I de
story of: hi stori a de
symbol of: sf mbol o de
ADJECTIVES + PREP0SITI0NS
(afer to be)
attracted to: (senti rse) atrafdo por
dependent on: dependi ente I que depende de
di fferent from: di ferente I di sti nto de
exci ted about: emoci onado I entusi asmado con
good at: bueno en I para
i nterested i n: i nteresado en
i nvol ved i n: meti do I i nvol ucrado en
l ate for: tarde para; ( l l egar) tarde a
pl eased about I wi th: contentola con, satisfechola de
pol ite to: educado con
proud of: orgul l oso de
rude to: grosero con
si mi l ar to: si mi l ar I pareci do a
sorry about I for: senti r, l amentar
worri ed about: preocupado por
lkkl6UlAkVlkBS
be /bi:/ was I were /woz/wJ:/ been /bi:n/ ser, estar
beat /bi:t/ beat /bi:t/ beaten /' bi:tn/ gol pear
become/br'kAm/ became /br' kerm/ become /br' kAm/ l l egar a ser
begi n /br' grn/ began /br' gen/ begun /br' gAn/ empezar
bend /bend/ bent /bent/ bent /bent/ dobl ar(se)
bet /bet/ bet /bet/ bet /bet/ apostar
bite /hart/ bit /brt/ bi tten /'brtn/ morder
bl eed /bli:d/ bl ed /bled/ bl ed /bled/ sangrar
bl ow /bl;u/ bl ew /blu:/ bl own /bl;un/ sopl ar
break /brerk/ broke /br;uk/ broken /' br;ukn/ romper
bri ng /bn!/ brought /br:/ brought /brJ:t/ traer
bui l d /brld/ bui l t /brit/ bui lt /brit/ construi r
burn /bJ:n/ burnt I burned /bJ:nt/bJ:nd/ burnt I burned /bJ:nt/bJ:nd/ quemar
burst /bJ:st/ burst /bJ:st/ burst /bJ:st/ reventar, estal l ar
buy /bar/ bought /bJ:t/ bought /bJ:t/ comprar
catch /ketf I caught /bt/ caught /bt/ coger, atrapar
choose /tfu:z/ chose /tf;uz/ chosen /' tf;uzn/ el egi r
come /kAm/ came /kerm/ come /kAm/ veni r
cost /knst/ cost /knst/ cost /knst/ cos tar
cut /kAt/ cut /kAt/ cut /kAt/ cortar
deal /di:l/ deal t /delt/ dealt /delt/ comerci ar, tratar
di g /drg/ dug /dAg/ dug /dAg/ cavar
do /du:/ di d /drd/ done /dAn/ hacer
draw /drJ:/ drew /dru:/ drawn I drJ:n/ di bujar
dream /dri:m/ dreamt I dreamed dreamt I dreamed sonar
I dremt/ dri:md/ /dremt/dri:md/
dri nk /dn!Jk/ drank /dre!Jk/ drunk /drA!Jk/ beber
dri ve /drarv/ drove /dr;uv/ dri ven /' drrvn/ conduci r
eat /i:t/ ate /ert/ eaten /' i:tn/ corer
fal l /bl/ fel l /fel/ fal l en /' fJ:ln/ caer(se)
feed /fi:d/ fed /fed/ fed /fed/ al i mentar
feel /f: l/ felt /felt/ felt /felt/ senti r(se)
fi ght /fan/ fought /bt/ fought /bt/ l uchar
fi nd /farnd/ found /faund/ found /faund/ encontrar
fl y /flar/ fl ew /fu:/ fl own /f;un/ vol ar
forget /f;' get/ forgot /f;'gnt/ forgotten /f;'gntn/ ol vi dar
forgi ve /f;' grv/ forgave /f;'gerv/ forgi ven /f;' grvn/ perdonar
freeze /fri:z/ froze /fr;uz/ frozen /'fr;uzn/ congel ar(se)
get /get/ got /got/ got /got/ consegui r; l l egar
gi ve /grv/ gave /gerv/ gi ven /' grvn/ dar
go /g;u/ went /went/ gone /gnn/ i r
grow /grdU/ grew /gru:/ grown /gr;un/ crecer; cul tivar
hang /he!/ hung I hanged /hA!/he!d/ hung I hanged /hA!/he!d/ col gar
have /hev/ had /hed/ had /hed/ tener; haber
hear /hr;/ heard /hJ:d/ heard /hJ:d/ ofr
hi de /hard/ hi d /hrd/ hi dden /' hrdn/ esconder(se)
hi t /hrt/ hi t /hrt/ hit /hrt/ gol pear, pegar
hol d /hdUld/ hel d /held/ hel d /held/ sujetar
hurt /hn/ hurt /hn/ hurt /hJ:t/ heri r, hacer dano
keep /ki:p/ kept /kept/ kept /kept/ guardar, mantener
know /ndU/ knew /nju:/ known /ndUn/ saber, conocer
l ay /!er/ l ai d /lerd/ l ai d /lerd/ poner, extender
l ead /li:d/ led /led/ l ed /led/ gui ar, conduci r
l earn /b:n/ l earnt I l earned /b:nt/b:nd/ l earnt I l earned /b:nt/b:nd/ aprender
l eave /li:v/ left /left/ l eft /left/ dej ar; i rse, sal i r
l end /lend/ lent /lent/ lent /lent/ prestar
l et /let/ l et /let/ l et /let/ permi ti r, dejar
l i e /lar/ l ay /!er/ l ai n /!ern/ tumbarse, echarse
1 44
+
. NO ,
l i e /lai/ (regul ar verb) l i ed /laid/ l i ed /laid/ menti r
l i ght /lait/ lit /ht/ lit /!It/ encender
l ose /lu:z/ lost /lnst/ lost /lnst/ perder
make /meik/ made /meid/ made /meid/ hacer, fabri car
mean /mi:n/ meant /ment/ meant /ment/ si gni fi car, querer deci r
meet /mi:t/ met /met/ met /met/ conocer a; reuni rse con
pay /pei/ paid /peid/ pai d /peid/ pagar
put /put/ put /put/ put /put/ poner
read /ri:d/ read /red/ read /red/ l eer
ri de /raid/ rode /rud/ ri dden /' ndn/ montar
ri ng /nn/ rang /r<!/ rung /rA!/ l l amar (por tel efono)
ri se /raiz/ rose /ruz/ ri sen /' nzn/ el evarse, al zarse
run /rAn/ ran /r<n/ run /rAn/ correr
say /sei/ sai d /sed/ sai d /sed/ deci r
see /si:/ saw /sJ:/ seen /si:n/ ver
sel l /se!/ sold /suld/ sol d /suld/ vender
send /send/ sent /sent/ sent /sent/ envi ar
set /set/ set /set/ set /set/ col ocar
sew /su/ sewed I sud/ sewn /sun/ coser
shake /feik/ shook /fuk/ shaken /'feikn/ agi tar
shi ne /fam/ shone /fnn/ shone /fnn/ bri l l ar
shoot /fu:t/ shot /fnt/ shot !fnrl di sparar
show !fu/ showed ;fud/ shown ;fun/ mostrar
shut /fAt/ shut /fAt/ shut /fAt/ cerrar
si ng /si!/ sang /s<!/ sung /sA!J/ can tar
si nk /si!k/ sank /s<!Jk/ sunk /sA!k/ hundi rse
si t /sit/ sat /s<t/ sat /s<t/ sentarse
sl eep /sli:p/ sl ept /slept/ sl ept /slept/ dormi r(se)
smel l /smell smel t I smel l ed smel t I smel l ed ol er
I smelt/ smeld/ /smelt/smeld
;
speak /spi:k/ spoke /spuk/ spoken /' spukn/ habl ar
spel l /spell spelt I spel l ed spel t I spel l ed del etrear
/spelt/ speld/ I spelt/ speld/
spend /spend/ spent /spent/ spent /spent/ gastar; pasar (ti empo)
spi l l /spii/ spi l t I spi l l ed spi l t I spi l l ed derramar(se)
/spilt/ spild/ /spii t/ spi!d/
spoi l /spJII/ spoi l t I spoi l ed spoi l t I spoi l ed arrui nar, estropear
I spJilt/ spJild/ I spJI!t/ spJild/
spread /spred/ spread I spred/ spread /spred/ untar; di fundi r(se)
spri ng /spn!J/ sprang /spr<!/ sprung /sprA!J/ sal tar
stand /st<nd/ stood I stud/ stood I stud/ estar de pi e
stea I I st:l/ stole /stul/ stol en /'stuln/ robar
stick I suk/ stuck I stAk/ stuck /stAk/ pegar
sti ng I sti!/ stung /stA!/ stung I stA!/ pi car (un i nsecto)
swear /swe/ swore 1 swJ:/ sworn /swJ:n/ j urar
sweep /swi:p/ swept /swept/ swept I swept/ barrer
swi m /swim/ swam /sw<m/ swum /swAm/ nadar
take /teik/ took /tuk/ taken /' teikn/ coger, l l evar
teach /ti:tf/ taught /tJ:t/ taught /tJ:t/ ensenar
tear /te/ tore /tJ:/ torn /tJ:n/ romper, desgarrar
tel l /tell tol d /tuld/ tol d /tuld/ deci r, contar
thi nk /9I!k/ thought /On/ thought /9J:t/ pensar
throw /9ru/ threw /9ru:/ thrown /9r;un/ arrojar, ti rar
understand I Ande'sr<nd/ understood I Ande'stud/ understood I Ande'stud/ comprender, entender
wake up /'weik Ap/ woke up /'wuk Ap/ woken up /'wukn Ap/ despertar(se)
wear /we/ wore /wJ:/ worn /wJ:n/ l l evar puesto, ponerse
wi n /wm/ won /wAn/ won /wAn/ ganar
wri te /ran/ wrote /rut/ wri tten /'ntn/ escri bi r
*.
YK1lO O\LL
The Writing Process
STEP 1 : BRAI NSTORM FOR I DEAS
W| Iedowa' ' Ie dea:yo0caI <ol.
oIwo||yaco0IweIe|!e dea :|e' eva!.
oIwo||yaco0Ig|aa| o|:e' ' g.
Yo0 caw| Ie yo0| ow ag0age.
STEP 2: ORGANI SE YOUR I DEAS
ec dew c dea:Io<eeadco::o0!
IeoIe:.
G|o0: ' a| dea:IogeIe|.
O|ga :eIeg|o0:acco|d gIoaw I g a
STEP 3: FOCUS ON LANGUAGE
T <olwo|d:adex|e:: o:yoJ w ' ' eed yo0|
wo|<.
STEP 4: WRI TE A FI RST DRAFT
W| Ieyo0| l |:Id|alIo Ieco0!eo cy ad.
' lyo0aew| ! gcyad, 0:ea ec ' . .eavew de
a|g :lo|o!e:
.eave:ace ceIwee e:loadd ! o:ad
coec! o:.
W Ieq0 c<' y. o !wo|yaco0!eaIe::oacc0acy.
' lyo0 ca !I <ola wo|d cg' :, w| !e ! yo0
ow ' ag0age. .oo<0!ewo|d a d cI oa|y ' aIe|
' lyo0 ca' I:e' a wo|d,w !e Iayway yo0 ca.
Tecec<Iewo|d a d c! oa|yo|0:ea
:e' ' cec<we yo0 avel :ed
0|I:. A{tec:;:b:
_::e t: by::mt|i y: ce||yu
_ete :{ ce.:ibi|ity
Pvor eplitteekqer
_ice ci |e.::: qtec :cki |te t ui|t
_:ce owyt: :ea
_|ect: :_ti:ey:ctime
bv s6l&rie
_:<'t le t: :k cett:{:ceecyt|i
_:teq|timt::ty{:cem.
qc:uA - |:cki : ::itie eecie+e
qc: 5 - |imi|mqe :{:ckiq
qc:u ( - |_t ::c|::|:ck
,

(
r
t
(
(
1
!,
' !
.
STEP 5: CHECK YOUR WORK
O:eIeW Ie|: Cec<' :!oI :age!o
|oveyo0|wo<.
Worki1 duxi1 tter-sdwol hours CcJ 3ive teef1ers
excellevt
Lie experieJe. First of cll, they jcit " seJe
their
of rupoJibility. Ti i bucuse they will Lose ob
do't I"dditiot
if they com Lcte or show up. o. worki1
teef1ers 1ve Less free ttme, so they use
STEP 6: WRI TE A FI NAL DRAFT
'l yo0 aew I g cy ad. coyyo0|co||ec!ed
wo|< ea!' yo!o a c ea:eeIol ae|
O:ea ead eavea ag o !e'el!-ad: de
\a<e:0|eyo0|a|aga:ae c ea|' y d ca!ed.
NOTE
Yo0 ca d caIe!eceg gola a|ag|a cy.
1 . de! g,ov g!el |:!wod olIe aag|a!o!e| gI)
2. :< ga ecelo|eceg ga ewaag|a cac a|ag|a ceg : a!IeelI-ad~a|g
Wri ti ng Gui de
,- -
BoI:!y' e:ae co|ec!, c0!ceco: :Ie! yo0 w ! g. Te deIed:Iy' e : eleed lo| lo~a eIIe|:.
WRI TER'S CHECKLI ST
0@//]/T0/
.I OYcJed my work "aordi1
to " plc:.
. fcch P"rph 1s 01 topic.
0 My pcnympls cre derly
iliccted.
.My ides c:re i " LojiCcL
order.
.I used suitcble coJetors to
LiJ my ides.
c0/1|/1
.My work i ivt eruti1
cM orfifl.
. I bt:cJt with " suitcble
opeJ1 sevt eJe.
. I pruevt ed my ides derly.
. I iJeluded omy releVc: v ides.
.I supported my ides with
detcils cM excmple {opifto,
for "ltd q"iJt us"y) .
. I eld witJ " suitcble dosi1
sevt eJee.
. I used COJe tors to LiJ.tk my
ides.
L q||
L My jrmWr i correct.
'" My spelli1 i correct.
.My word order i corrut.
.My putCtUtiot i correct.
.I used CcpitcL Letters corretly.
n I used "djutivu correctly.
'--
Writing Skills
WORD ORDER
Wo|d o|de| :ve|y o|!a! cg' :. Te0:0a o|de| :
subject + verb + object + additi ons
Note the fol l owi ng:
1 . ' la :e!ece a:co!a d ec!ada d |ec!ocec!,!eea|eol!e!wo o:: c ' ! e:
' gaveyou the l etter .
' gave!el etter to you . .
2 . May! eex|e:: o:cacoea!!eceg go|!eedol!e:e!ece.
Today, wedo ! aveayoewo|<. .
We do! aveayoewo|<today . .
3 . 'eve|:eaa!e!eve|clo!: ocec!,:).Wecao!:ay
Wedo'! ave!odayay oewo<. X
4. Adve|c:olae|cacoe :eve|a' o: ! o:, c0!o! ce!wee!eve|cad !eocec!.
Careful ly, :e oeed !e cox. .
Secareful l y oeed!ecox. .
Seoeed!e cox careful ly . .
Seoeedca|el0' '!ecox. X
5. Adve|c:oll|eq0ecycoecelo|e!ea ve|c. Soecacoea! !eceg g
adI o!eedola :e!ecea:we' ' .
Wesometi mes ayloo!ca . .
Someti mes we ' ayloo!ca' ' . .
We never ' ayloo!ca' ' . .
SUBJ ECT-VERB AGREEMENT
We ' ayloo!ca' someti mes . .
'eve|we ' ayloo!ca' ' . X
Tevec : : g0' a| o| ' 0|a' , deed go !e:0c|ec!.
Techi l d l oves !o a ! . ,: g0' a|)I Techi l dren l ove !o a !. , 0a' )
Note the fol l owi ng:
1 . S g0 a| o0:!a!|ele!og|o0: ca avee !e|: g0' a| o|' 0|a vec:.
Myla ' y does I do ay! g:!oge!e|
2 . Ao0!:adq0a! ! e: 0:0a' ' y ave: g0' a| ve|c:.
ve!o0:addo a: was lo0d !e:0 !ca:e
3. Wo|d: <eanyone, everybody ad nobody ave: g0' a| ve|c:
Does ayoeaveayoey!o ' ed e`
'! <eveycodyi s e|e.
'ocodywants !o' eaveye!.
4. Mo:! 0co0!ac eo0:avego!: g0' a ve|c:.
Yo0| adv cewas exce' ' e!
Teew:i s veyexc ! g
5. Soe0co0!ac' eo0:avego!' 0|a' ve|c:.
Yo0 cl othes ae :ola: oac e '
Wri ti ng Gui de
USE OF ADJ ECTIVES
1 . AdecI ve:coeceloeo0:adalIe|ceIa ve|c:.
a bl ack ca!7 a ca!c ac< e' oo<:upset 7
2 . Teadec! velo|lo : g0 a ad' 0|a o0:: Ie:a~e.
aexcel l ent l ' I excel l ent l ' ~: 7 exce' e!:l ~:
3. AdecIve:lo' owa :ec l co|de| opi ni on + si ze or age + col our + ori gi n + materi al .
a fantasti c, new Japanese ca 7 a la!a:I_
aQae:e ew ca|
CONNECTORS
CoecIo:a|e < gwo|d:w c o dea:ad:owowIo:e dea:ae |e' aIed!ooeaoIe|.
\ <e goI Io!eca:<e!ca ' !ea because e: a Ia' eed aye| ,Io g ve a ea:o)
ewaI:!o ove : ga~e, so e|ac! :e:eveydayal!e:coo ,Iode:c ce a e:0 !)
e:ed:a o!ol! e!a g, but e:I ' ' geI: ga|<:aI:coo ,Ioexe::a co!|a:!)
Tey a :o e' 0:Ioo|ga :eo0| w I gada<e !ea:y lo|Ie|eade|Iolo' ' ow.
\ayeo' elee Ia!!ey~0:!a'way:weaexe: ve, c|adaec' o!e:. Fi rst of al l , !eyc' a Ia! l!ey
do!,!eywo !' oo<goodoceacce!edcyo!eeo' e. I n addi ti on, !ey:ayIa!cada~ec' o!e:a|e
de: ged ce!!e. However, cadaec' o!e:aved :adva!age:. For exampl e, !ecad ae :ol!e
Ied a|ge e!!e|: o !ec o!e:. As a resul t, wea| g!eI0:yo0 !oa wa' < gadve! :ee!
Study the chart of connectors and phrases below.
to add poi nts on the
same
to express a contrast
to descri be a cause or reason
to descri be a resul t
to show
to express personal opi ni ons
to i ntroduce facts
to make statements
to l i st poi nts
to gi ve exampl es
to i ntroduce opposi ng poi nts
to show sequence
to show ti me
to concl ude
and I i n additi on I furthermore I moreover I what's more I besi des I
al so I too I as wel l as
but I however I neverthel ess I yet I sti l l I al though I even if I
even / i n of /
because (of) I si nce I due to I as I as a resul t of I
one/another reason for . . . is . . .
so I therefore I consequentl y I thus I a s a resul t I a s a consequence I
for thi s reason I that is why
I l i kewise I i n the same
i n my opi ni on I I (strongly) bel i eve (that) I I thi nk I feel (that) I i n my vi ew I
it seems to me (that) I I as I see it
I the truth is (that)
i n
t o begi n/start wi th I i n the fi rst pl ace I first of al l I for one t hi ng I
I I
on the one hand I on the other hand I i n contrast I contrary to I it can
al so be that I but there are who (that)
fi rst I at fi rst I i n the begi nni ng I before I next I then I soon I meanwhi l e I l ater I
after that I afterwards I at last I I I in the end I I when
i n concl usi on I to sum up I i n short I al l i n al l
l
YKJPO / /K/OK1
A aagaco: :!:ol:evea :eIece:aco0!a ceIa Io c. ' Ia:!elo' ' ow gaI:
1 . a topi c sentence w cg ve:Ie ~a dea ol!e aaga
2. supporti ng sentences w cadd ea:o:, deIa ' :adexa~' e:
3. a concl udi ng sentence w c ' ead:oIo!eexIaagao:0~a :e:Ie ~a dea
0||/I/q
b0f)
c0/c|!,I0/
! t|.m!`mett. tee e|etee e lo|.ey .t| my,c.. |e e t|._, t|eyeqeys. te

meum a|ee|._ t{mu bu.|e.:, but! t|.m t|i. i: be._. !èth e|x t tm bec|
ee :|,,..
A eu|t, e e{teue|ee'e e|e|.ey !ee.t.e, !'e|.|ete:ty t,|:e.|ee!
_ cmeetetmyeu ,e,|e. |eem,|e, yeut| |e:te|: e{u|| e{yeu t.e||e:.
!
/|| .||, |t|e_|| |eemy,e:, !'e,e {etee e|o|.ey .t|.ea:.
TeaI:ola aaga:o0' dl' ow' og ca' 'y Teaaga 0:! ce ea:yIo 0de:!ad.
Yo0 caacco~' :I :cy
1 . 0: g oo0:Ioelecac<IoIe o0: !eIex!
2 . 0: gcoecIo:Io:owIecoec! o:ce!wee dea:,:ee!e caI o age 1 49) .
YKJPO /P Lbb/A
A e::ayco: :I:ol:evea' aaga:aco0Ia Io c. Tee ae ~ayd llee!< d:ole::ay:, c0IIeya' '
ave!e:a~eca: c' a.
1 . THE OPENI NG
Teoe g :a geea' e:eIaI oolIe!o c TyIo:!aI yo0e::ayw Iaoe g!aIw ca!c
yo0 eade: Iee:I. ee ae :o~e dea:.
a. Beg w !a :0 : glac!
To0:ad:ol geo:aved edol:!ava! o: ce!e'odo C IyCo0c ~ade ! ega' !oleed!e
c. Beg w Ia :oIaecdoIeaco0!ea' o ag ayeveI:.
ay' eIcea:wo<eda!Tala' ga Sq0aeeveydaylo!ea:!25 yea:, :e' ' g loodloIe
geo: 'ow, e a:owo<ceca0:eIea0!o I e:avedec ded!oa<e :|oc ' ega
c . Beg w Ia q0e:I o.
Cayo0 ag eTala gaSq0aew !o0! !: geo:`
' lyo0 ca !I <owIoceg , do !woy. GooIo!ecodyol!ee::ay. Yo0 caa'way:w Ie!e
oe g aIe. Te ~o!a!I g :!o <eego g.
2. THE BODY
Tecodya:go!oeo oe aaga:w cdeve' oIeIo c. Weyo0weeea g!ow !e,
yo0 ca :!o~edlo dea:,:eeage 1 46) . Te yo0 co:e dea:Io0:e ad 0IIe:e dea: !ogo0:
a ' og ca' ode. O:e!e:ego0: ol dea:Iow IeIecodyolIee::ay. cacgo0ol dea:w ' ceco~ea
:eaa!eaaga.
3. THE CLOSI NG
Tec' o: g :a aagaw c:0a :e:Ie~a deaoe:e!:a coc 0: o. !:o0 do!c g
ew dea: ' :o~eca:e:, !ec o: gayce: ' a Io!eoe g, c0!e:e!ed d llee!wod:.
' I:o0 da' way: eaveIeeadew Ia :!og e:: o.
' coc 0: o, ! :o:: c e!og ve!e geo: e::lood, :oIa!!eyw oo<lolood:o~ewee e :e.
T :wo0' dceoe 0~aeIa:!av gIe~!odeaI
/ Lb\KJOP O! / LKbOP
A de:c| ! oola e|:o g ve:a ~|e:: oolwa!!a!e|:o : ' <eo| olo0|
|e a! o: w !!e~. ' !0:0a' ' y c' 0de:de!a : aco0!!ee|:o': aeaace,
!e|e:!: ad e:oa !y. .oo<a!!e!o cce' ow. Te:!0dy!e a ad ead
!e~ode .
TOPI C:
W| !ea de:c| ! ool:oeoeyo0' <e.
PLAN:
My Friend Scott
Writi ng Gui de
0||/I/q
b:.: .qe ot.e
.teeu:._ th,e:e
Scott is a really good friend of mine. We' re both in the same crowd and
we all go out quite often, but sometimes j ust the two of us get together
after school.
b0f)
fe:.,t.ee{t|u
,e:eu+ ,e+e,
,e:eu|.ty, .teet:
u :t..t.e., u I
e yeu e|t.eu|.,
c|03I/q
c|e:.q eoka uI
e yeu e,:usu
USEFUL LANGUAGE
Descri bi ng Peopl e
. .............................-..
eI Se: a c !I veyI q0 !e . .
eI Sea:go! . . .
Scott ' s short and well-built. He' s got fair, wavy hair with amazing blue
eyes - girls think he' s quite attractive ! He works out in the gym three
times a week and at weekends he likes to go camping. I sometimes go
away for the weekend with him and his family - we have a great time.
He can be a bit bossy, but I don' t mind because he's such great
company. He' s generous and helpful , and I can always count on him to
be there when I need him. I think that's really important in a friend.
Scott is a lot of fun and a great pal. He's one of my favourite people.
Physi cal Appearance
!a' ' I :or!I e! !e
we -c0 ' !I c0ccyI :' ~
Pers
?
i
y
.
co::y
gee|o0:
Tece:!! gaco0! ~I e| : .
eI Se :a gea!l| ed
good- oo< gI go|geo0:I a!!|ac!veI ' a
:!|a g!I wavyI c0|' yI : <yI :o0 de-' eg!
a |
e' l0'
a o!oll0
:y . :|ea' ' y ~o|!a! a l| edI
a!eace|
. . . :oeolylavo0| !eeo' e
I ea' y ' <e ~I e|a o!
la | I da|< a | o|:<
c|owI c' 0eI geeeye:
:e:eol0~o0|
:e' l :
:!0cco|
co: de|a!e
ca' ~
/ P/KK/J
A a|a! ve :a :!o|yaco0!a :e| e: oleve!:adIe eo e vo' ved Ie.
.oo< a!I eIo cce' ow. Te:!0dyI e' aad|ead! e~ode
TOPI C:
W !ea aaI veaco0!a I yo0Ioo<
PLAN:
OPENING
TYLI drlcters,
wl-re irt wl1 tl-
story tlks plice
FODY
Evelts i1 tlstory,
lww tl chmcters
jet
CLOSING
Tert i' oftl-
story
USEFUL LANGUAGE
[
The Trai n to London
Last weekend, my brother Alan and I decided to go to London.
We wanted to do some shopping and see a show. We bought our tickets
and ran to catch the train.
There was a big crowd trying to get on, so we lost sight of each other
and ended up in separate carriages. I walked up and down the train,
but I couldn' t find Alan. An hour later, our train pulled into Waterloo
station.
I got off and stood on the platform. I waited for ages, but there was no
sign of Alan. I tried to phone him, but he didn' t answer. Shocked, I sat
down on a bench. Where was he?
About 40 endless minutes later, I saw him. "I fel l asleep and missed the
station! " he explained. "When I woke up, I got off and took the next
train back. My phone? It' s at home. Sorry about that ! " I felt relieved,
but angry. What a way to begin our day i n London!
Ti me Expressi ons Connectors of Sequence
. . . .... . . . . .. .. . . . . . . .
.a:I wee<edI :0eI yea| ... aIl |:I a::oo a:
Two yea|:ago celoe :oo
' Iwa:a co' dI oII :Ioyday .
' Ia' cegawe . . .
OealIe|oo . . .
o|I0aIe' yI Olo|I0a!e yI .0c< ' y . . .
To y:0|| :e . . .
I le ! . . .
Tel0yI g :!aI . . .
Beloe I <ew I . . .
al!e| :0dde y
exI w ' e
' a!e| d0 g
we eve!0a' y
!e Ieed
0I eaw e
Wri ti ng Gui de
/ DOOKA
A c og|ay : a de:c ! ool a e:o: le. '! :o0' d c 0deo' y ~o|Ia!eveI:
ad lo|aI o, eav go0I~ o deIa ' :. T : lo|a! o :0:0a y,c0!oIa way:)
|e:e!ed c|oo og ca ode .oo<aI!eIo cce ow. Te:!0dy!e aad
eadIeode' .
TOPI C:
W| Iea c og|ayola e|:owo : o|!aI!oyo0 co0Iy.
PLAN:
0||/I/q
|h th ,ec::i u
nth,:hi {mu.
{:c
.
b0f)
|c|y|(e m:ec
ee.e|:,o:
c|03I/q
3umocy:{ . _
,ec::u:|ie.eo: I
{utuce ,|c
USEFUL LANGUAGE
wa:co|oI . . .
:lao0:lo . . .
Tony Blair
Tony Bl air served as Prime Mini ster of Great Britain from 1 997 to
2007. He was a young, charismatic leader who brought the Labour
Party to victory after many years of Conservative goverment.
Bl air was bor in 1 953 in Edinburgh, Scotland. As a teenager he was a
rebell ious student who disobeyed school rules. While he was studying
law at Oxford, he also played in a rock band. He became a Member of
Parliament i n 1 983 and leader of the Labour Party i n 1 994. In 1 997 he
became the youngest prime mini ster i n 1 85 years.
One of Blair' s most important accomplishments as prime mini ster was
helping to end the conflict in Northern Ireland. Towards the end of hi s
term, however, he became unpopular due to hi s support for the war i n
Iraq.
Blair continues to be politically active. There is a possibility that he
may become the first president of the European Counci l .
' Iel0I0e
eI :e a:Io . . .
:oeolIewo|' d: o:II ce:I . .
a!Ieageol .
e I :e :o g!o .
eI :ewa!edIo cecoe
:eI :I e|c ' dood . .
a:a Ieeage, . .
eI :edec dedIo cecoe . . .
/ Lb\KJOP O / L/\L
A de:c| I oola ' ace g ve:a e:: oolwaI!a!' ace :' <e. ' I0:0a' ' y
c' 0de:y: ca' de!a ' ::0ca: ' ocaI o, :cee|y, ex!e oad !e o, de:c| I o:
ola c0 d g) !~aya :o de:c ce !egee|a aI~o:e|e. .oo<a!!e!o cce ow.
Te:!0dy!e ' aad ead !e~ode
TOPI C:
W| !eaco0!a good' acelo|a o' day.
PLAN:
b0f)
fc:ci,tuu|oe
eei|, eo,|c:{
t|._: t: :eeuee:
c|03I/q
c:lLu.i1 :eiteve
m :,.:: c
e:oum t.:
USEFUL LANGUAGE
:oeol!e~o:I . . .
' I :' ocaIed .
Yo0 ' o! ce . . .
Yo0 ca . .
V : !o|::o0 d ao . . .
Yo0 ' ' eve|lo|geI .
V : !o|:caeoy . .
'! olle|: . .
Yo0 :o0' dI ~ :: . .
Zermatt
Zermatt is a resort town in southern Switzerland. It's located at the foot
of the majestic Matterhorn, one of the most famous mountains in the
Alps.
Zermatt is a picturesque vil lage with lovely houses, streets and shops
as well as breathtaking Alpine scenery. It is quiet and clean because
no cars are allowed there. Electric buses and taxis and horse-drawn
carriages are the only forms of public transport.
The vill age is a world-famous ski resort with skiing all year round.
Visitors can also enjoy hiking, biking or riding a cable-car to the top of
the mountain. Bars, restaurants, clubs and casinos provide lively night
time entertainment.
In summer or winter, Zermatt is unforgettable. It' s a great place to
spend a holiday.
la~o0:
eacel0
' ve' y
cea0! l0
|e' ax g
ac eI
~ode|
q0eI
l0
Writi ng Gui de
/ OK /P /O/PbJ Lbb/A
Aloadaga :!e::ay: 0:0a' ' yaco0!a co!|ove: a' ::0e. '! e:eI:coI : de:ol
!e ::0eadIecoc' 0de:cy:0oI g oeolIe: de:. .oo< a!Ie!o cce ow.
Te:I0dyIe aad |ead !e~ode' .
TOPI C:
W !ealoadaga :Ie::ayoa Io ccoec!edIoea' I
PLAN:
0||/I/q
Iut:eu:ti::t: th
b0f)
/_:m m:{: :
:iee :{tm i.:ue,
it| :,,:cti_
eeti|. ucco,|c.
/_uum:{:cth
:th:iee :{t|
i.:e, it|:,,:ti_
eeti|: uert,|e
c|03I/q
3oocy:{ i.:e
cu itec: :,iu:
USEFUL LANGUAGE
O!eoead, .
O !eoIe|ad, . .
' I : !0eIaI . . .
|:!' yI Secod yI T |d' y, . .
o|exa~ e . . .
' add ! o, . . .
0|!e~oe, . . .
oweve, . . .
'eve|!e' e::, . . .
Yes or No to Organic Food
In the last few decades. organic food has become very popul ar.
The question i s. should everyone start buying it?
On the one hand. organic food has many advantages. For one thing. it
i s safer and healthier to eat than non-organic food. This i s because it
is grown without dangerous chemical s. It al so has more vitami ns and
mineral s. Moreover
,
due to the fact that organic farming does not use
chemicals
,
organic food i s better for the environment.
On the other hand, shopping for organic food may be quite
inconvenient because i t is not available in all shops. In addition, i t' s
very expensive, so i t' s not practical for many famil ies.
To sum up, organic food i s better for your health than other foods.
However, you need to decide whether or not you can afford to spend
the money and the time it takes to buy it.
0e!o . . .
A:a e:0' I, . . .
Co:eq0eI y, . . .
coc 0: o, . .
To:00, .
ce eveIa! . . .
~yo o, . . .
' ~yv ew, . . .
155
/ PLYb KLOKJ
A ew|eo|l ov de lo|aI oaco0Ia |eceleveI ' I|eelIelacI
ocecI ve' y o|de|ol o|lace ' Io0' daweleq0eI o who, what, when,
where adwhy. .oo<al leIo cce' ow Tel0dyle' aad ead le~ode' .
TOPI C:
W| Iea eweo|laco0Ioeoewo0vved a dage|o0exe ece.
PLAN:
0||/I/
3umocye{tlne-em
u oo:t io,ectm
{:t:
/0f)
feti|+ be.tt tln
eem
c|03I/
3(u:mee{tln
eem I :t.ei ud
:eooeut:
USEFUL LANGUAGE
Acco|d gIo. .
yeIe|day .
' al gI .
0eIo .
ceca0e
Coeq0el'y, . .
Aa |e0' Iol .
ol |eao, . .
Aa|eI' y, .
So0|ceay . .
.
[
Ronaldo's Ferrari Crash
Manchester United star, Cristiano Ronaldo crashed his Ferrari sports
car yesterday near Manchester Airport. Although the car was badly
damaged, the 23-year-old, millionaire footballer was unhurt. No other
cars were involved i n the accident.
The accident happened i n the tunnel which takes traffic under the
airport runways. Ronaldo, on his way to football practice, crashed his
car into the barrier at the side of the tunnel. The front of the car was
completely destroyed and one of the wheels came off.
According to witnesses, after the accident Ronaldo l eft the car and
stood beside it, apparently shocked. "It' s amazing he survived i t
without a scratch," said one witness. After questioning by police,
the star, who was recently named World Player of the Year, went to
training as usual.
Writi ng Gui de
P!OKN/L \OKKLbOPLP\L
' a lo|a' e-a ' , we0:e' ag0agevey: ' a| IoIe' ag0agewe 0:ewe
:ea< glo:oeoewe <owwe ' .oo<alIelo cce' ow Te:l0dyIe a ad
eadIeode
TOPI C:
W| lea lo|a' e-a Ioa l| edaco0Ia l0I0e ' a.
PLAN:
q|||1I/q
0,eu emk+,
e::{: t
b0f)
. + Informal e-mail to Jason
From: I steven333@gmai l .com
1 1
To: I Jaskar@worl dnetco.uk
. Subject: art
Hi Jason,
How are things? Did you get my e-mail about the party I ' m having on
Friday night? You haven' t answered me.
Iq:ot:, ne: :
eet|
First of all, can you come? I know you' ve got your driving test on
Saturday, so you probably want an early night. On the other hand, you ' ll
probably be nervous so maybe it would be a good idea to get out and
relax a bi t!
c|03I/q
c|:: emk+
3Iq/I/q 0||
Anyway, even if you don' t come, could I borrow a few of your discs?
I know you' ve got a lot of good music. I was also wondering - could you
lend me your speakers as wel l ? Mine aren' t very good. I promise that
nothing wi l l happen to them!
Hope you can come. Please let me know.
See you,
Steven
USEFUL LANGUAGE
Greeti ngs
. .. . . . . .. .. . ..... ....... ..........
ea|. . . ,
. . ,
Openi ng Remarks
' Iwa:g|eaIlo ealoyo0
owa|el g:`
dyo0gely' eIIe|I e-a `
So||y ' aveIw IIelo:o' og.
CogaI0' al o: '
' aveIea|d l|oyo0 lo . . .
' w| l gceca0:e . . .
Cl osi ng Remarks
' caI waIlo . . .
W| Ie:oo '
ea:e eI e <ow.
TaI:a ' lo|ow.
Saye' ' oIo . . .
Si gni ng Off
.ove,
Regad:,
Seeyo0,
Ta<eca|e,
A ' Iece:I,
Yo0|:,
/P OPOP Lbb/A
A o oe::ay:!a!e: a o oadI| e:!ocov ce!eeade !a!I :o o :
co|ecI. .oo<a!!e!o cce ow. Te:I0dyIe' a adead!eode
TOPI C:
W| Iea o oe::ayoa !o ccoec!edIo:ale!y.
PLAN:
0||/I/q
|eemtieue{ i::ue
u e,i:e:
b0f)
3,e(J: e::u:
u{:t: te :u,,et
e,iuieu
c|03I/q
3ummi u, u
ettemeut e{
e,i:e:
USEFUL LANGUAGE
[
May eo eI < Ia!.

' y o o, oweve|, . . .
' d :ag|ee
' yv ew, . . .
' ce eve!a!
oweve|,
e: !eI :, . .
:Iola , . . .
Secod'y, . . .
' add ! o, . . .
Bicycle Helmets - Not a Solution
Several years ago, the British Medical Association asked the UK
government to pass a law requiring cyclists to wear helmets. Although
this sounds l ike a good way to save l ives, I believe that it i s neither
helpful nor necessary.
First of all, such a law will cause fewer people to ride bicycles. This
i s because the helmets are uncomfortable and hot, especially i n the
summer. In my view, cycling should be encouraged, not di scouraged.
Secondly, requiring helmets gives the impression that only cyclists
are responsible for their safety. It i s clear that this i s a mistake. Most
accidents are caused by cars, and i t i s the drivers who must learn to be
more careful .
As I see it, the new l aw would discourage cycl i ng and place
responsibility on the wrong people. Instead, more bicycle paths should
be built and drivers should be educated to drive more carefully.
Teelo|e, . . .
A:a e:0' I, . . .
! : c ea|IaI . . .
:o|!, . .
To :00, . . .
coc 0: o, . . .
Writi ng Gui de
/ KLNLY
A ev ew|ov de:l ea eveI: le' olola coo<, l ~o:ow. ' la :o g ve:Ie
ev ewe|: o o .oo<aIlelo cce' ow. Te:l0dyIe' aadeadle~ode .
TOPI C:
W| lea |evewola coo<yo0 ave eado a l ' yo0ave:eeecel y.
PLAN:
0||/I/q
e uoe uty,e
e{bee|ec|o, tle
utloc,e.cectec, the
oo.::mc:tec: :
ee:c.,t.eue{t|e
,|et
b0f)
|c.tec: e,.ue:e u
c.e :,et: e{tle
bee|ec|o,_eee
,e.m : :be,e.ut:
c|03I/q
euem|
ceeooeud t.e
USEFUL LANGUAGE
' lIe' ' :Ie:lo|yol. . .
'l: eoI eo e:
Tel ~:la: .
l t : :eI . . .
c oc<c0:Ie|I ce:l:e' ' e
caacle:
:ec a' ellecl:
:o0dI|ac<
The Thirteenth Tale
The Thirteenth Tale, a suspense novel by Diane Setterfiel d, is set i n
Yorkshire, England. Its heroine is a young booksell er, Margaret Lea,
who has been chosen by world-famous author Vida Winter to write her
biography. As Vida reveals the secrets of her tragic past, Margaret finds
she must deal with the secrets of her own l ife.
There is nothing ordinary or predictable about The Thirteenth Tale.
Setterfield's frightening and fascinating story is about confused
identities, lies and love. It is revealed bit by bit, each part leaving the
reader more mystified than before, right through to its unexpected
conclusion. It is ski lfull y told, i n a style and language that are a
pleasure to read.
It' s hard to believe, but this bestselling novel is Setterfield's first. After
finishing it, readers are sure to want more books by her - and let' s
hope they come soon.
:0| :eed g
|ed cIac' e
d :ao l g
Yo0wo IwaIlo :: . . .
Yo0 ove ead g .
We wo|l :ee gI |ead g
I g y |eco~ed . . .
o lcoleI wa:leyo0|I ~e . . .
QI!Z /l5\LK5
/l /L1 !LL
Unit 1, page 5
d. Look at the faces bel ow. Some are from Group A, some
are from Group B and some are new. Number 1 -24 i n your
notebook. For each face, wri te A (Group A). B (Group B) or N (new).
Now check your answers. Score 1 poi nt for each correct
answer.
1 . B 2. N 3 . A 4. B 5. B 6. N 7. A 8. N 9. A
1 0. B 1 1 . N 1 2 . N 1 3. N 1 4. B 1 5. A 1 6. A
1 7. N 1 8. N 1 9. N 20. B 2 1 . N 22. N 23. A 24. N
How di d you do?
1 9-24 WOW! You al most never forget a face. Be happy
that you have got thi s tal ent - i t's very useful !
1 2- 1 8: You have got a normal memory for faces. You
remember most peopl e you meet, but may have some
troubl e i f you meet them agai n i n a different pl ace.
1 1 or l ess: You may have some di ffi cul ty rememberi ng
faces. You can i mprove by practi si ng. Try payi ng attenti on
to speci fi c detai l s that wi l l hel p you remember.
Unit 2, page 1 7, Exercise 2
1 6- 1 8: You are perfect spy materi a l !
You l i ke danger a n d exci tement, you've got courage a n d you' re
not afrai d of pai n. You' re good at keepi ng secrets and you' re
good at sol vi ng probl ems. You' re a great l i ar - a ski l l you may
need for survi val . You' ve got an excel l ent memory, and you' re
good at getti ng i nformati on. You' d make a fantasti c secret
agent!
1 2- 1 5: You coul d try espi onage, but i t won' t be easy. There's
a chance you coul d become a secret agent, but you' l l have to
work on a few thi ngs. Your memory may not be sharp enough
and you need to devel op your courage. Learn to keep a secret
and practi se l yi ng - these are necessary ski l l s for a spy. Consi der
whether you woul d real l y l i ke a l i fe of thri l l s and danger. If so,
there's sti l l hope!
6-1 1 : Espi onage is not for you ! Safety is more i mportant to you
than thri l l s, so you usual l y stay far away from danger. You' re a
very honest person and you say what you thi nk. Thi s is a good
trai t i n most peopl e, but not i n a spy. You can' t keep a secret and
your memory i sn't the greatest. You may enjoy readi ng a good
spy novel , but you coul d never be a spy yoursel f !
Uni t 3, page 37, Exercise 3
SI0deIB
Va e eV ' - :oI 0IIe|
ca|'_' le
! S4 - Bo|
Secoda|y:coo yea: - Iea:edadc0' ' ed ceca0:e ol
e: ze , ow J eI|e:, ! 0 < ' o:)
ca|_caee
! S _ |ecog :ed eoIeI a' , eco0aged
eIoIa<e0Ie:oI
Bo<ea 20-yea:coo ecod
T I' e:/CoQeI I o:/Awad:
200! - Wo|' dYo0ICa o
_ - Wo|' dJ 0 o|Ca o
2004 - AIe:O y c: - l :ede gI ceca0:e:e
wa:ecove| gl|o aoe|aI o
2004 - B|o<e'ew/ea adwoe':|ecodlo`
2007 - Wo|' dCa o
200S - O y cgo' d eda' , Be g
_ - 'ewZea adSoI: Awa|dol I eYea|
JI0|eQ a:
CoI 0ecoeI g, cewo dca oaga , w
aoIe|go' deda' aIIeexIO y c:
Unit 6, page 65, Bel ieve it or not! Qui z Answers
1 . True - Li ghtni ng is al most 28, 000 C, whi l e the sun's surface
i s " onl y" 6, 1 00 C.
2 . Fal se - Cl ouds contai n no gas, onl y water and i ce.
3. True - You can see the ci rcl e i f you l ook at a rai nbow
from above.
4. True - Heavy red rai n fel l i n I ndi a from J ul y to September
2001 .
5. Fal se - Antarctica is the worl d's driest conti nent.
6. True - The crystal structure of i ce i s always si x-si ded.
7. Fal se - The concrete i n ci ti es retai ns the heat, maki ng them
warmer than the areas around them.
8. True - Trees make the ai r more humi d, whi ch i ncreases
rai nfal l .
EWPOINS !0| b3C' ' 63!0 1
~ -;:::- G:aIadev aye
, Joo<: :a ~| Iolao: Boo<:.Id
~ .c0' a|a|aBac ' ' e|aIo,c0|:o| ~e|o,aeade' eg0a:exIae|a: g' e:, eg :IadoeIoda:' a:
- a0e:A0Ioo~a:q0eI eeco~eIec a:e~aIe| aed0caIvayq0ea: ' o|eq0 ee.

edgements:
:-er grateful l y acknowl edges t he fol l owi ng for permi ssi on to reproduce songs:
-a- Oo -/jl/|/g) (page 29) - Words and musi c by Kara Di oguardi and Matthew Gerard Si xteenth Street Songs
" 7C> Musi c c/o Di sney Musi c Publ i shi ng. Used wi th permi ssi on; -/l3|l|C3 (page 77) - Words and musi c by Al astai r l an
" : -a Peter Harry Frabjous Music/Lobster Musi c. Used wi th permi ssi on.
.
- . . s-er grateful l y acknowl edges the fol l owi ng for provi di ng photographs:
-
+ : : d Macdonal d (pool), www. panopti kum. net (house), Science an
d Soci ety Picture Li brar (vase); AP: pages 36 (Mark Sp1tz),

_ :- -= D., 78 (M/S Expl orer), 1 03 ( rocket); Ari au Amazon Towers, Ellen and Edson Ri tta Honorato: page 80; ASAP/Ai amy: pages
. . . 01 e sanctuary and cat); ASAP/EPA: page 43 (Atl anti s Hotel ); ASAP/Rex: pages 5 (Lewis Hami lton, Duffy), 25 (dentist),
- ' 59 snow makers), 80 (snow hotel), 1 02 (Bi g Brother), 1 07, 1 1 1 ; ASAP/Topfoto: page 36 (Phelps); Cartoon Stock: pages 53,
: : :3an Jupi ter I mages: page 1 9; Dynami c Architecture Davi d Fi sher Architect: page 43 (i rregul arly-shaped tower); Endemol
: :-a page 1 03 (Space Cadets); ESB New York: page 48 (photo 1 ); Everett Col l ecti on: pages 8, 1 8 (Matt Damon and Mi ke
:=- : ::s stuntperson), 87, 1 04, 1 05, 1 08, 1 09 (Fear Factor), 1 1 0; FEMA/Adam Dubrowa: page 73; Fi ber I nstrument Sales, I ne:
;: : =1 at Earth page 41 (Taj Mahal ); I mage Bank!Getty I mages: pages 30, 32, 34, 37 (Vi l i ), 1 02 (Survivor and Ameri can I dol );
==- -agesPhotoDisc: pages 1 2 (photo 2), 48 (photo 3); NOAA: page 66; Photos. com/Jupi ter I mages: page 61 (man pl oughi ng);
~ . 2 cor: page 1 7; PWAJohn Carter page 38; Reuters: pages 37 (Henr), 72 (photo C); Shutterstock, I nc. : pages 5 (al l except
: -a" ton and Duffy), 6, 7, 9, 1 0, 1 1 (computer and photographer), 1 2 (al l except photo 2), 1 3, 1 4, 1 5, 1 6, 1 9, 20, 2 1 , 22,
: : =- 26, 29, 33, 4 1 , 43 ( Burj Dubai and desert), 44, 45, 47, 48 (photos 2 and 4), 49, 50, 53 (newspapers), 54, 55, 56, 57, 58,
: = :: 6- (dai ry, horse raci ng a nd gui de dog), 62, 65, 67, 70, 71 , 72 (photos A and B), 74, 75, 77, 78 (research equi pment and
" ;- s .. 79, 83, 84, 85, 86, 89, 90, 9 1 , 92, 93, 94, 95, 96, 97, 98, 1 0 1 (popcorn), 1 06 (crowd), 1 07(crowd), 1 09 (al l except
7C =:cor); Vi suai/Corbi s: page 3 1 ; www.facebook. com: page 1 1 (Facebook page); www. ubi press. ubi . com: page 1 8 (Sa m Fi sher);
-ai mai son-i magegal lery. com/hotel s: page 80 (Mal mai son Hotel); Warwick Sl oss, UK: page 25 (snake catcher); West Mi dl and
=: :; UK: page 91 (poser)
!gr adeci mi entos:
: :yofesor J uan Manuel Rubi o Santana por su val i osa l abor como asesor de este proyecto
C os s1 gui entes profesores por su col aboraci 6n al revi sar y pi lotar Ios materi al es de nuestro curso:
(r sti na Hol m Sova I ES J aume Bal mes, Barcel ona; M. Angel es L6pez Martin Col egi o Rafael Ybarra, Madri d; Cri sti na
Guerrero Garcia Col egi o l nsti tuci 6n Sal esi ana, Madri d; El ena M. Martin Monje Col egi o Los Ti l os, Madri d; Pedro Pabl o
erran Perez Col egi o Sagrado Coraz6n de Vi tori a, Vitori a; Nuri a Vi vas Ri pol l es Escol a Lestonnac, Barcel ona; J ose Angel
Garcia Barqui n Col egi o Sagrado Coraz6n, Zaragoza; Concha Arri bas Rodrf guez I ES San J uan Bauti sta, Madri d
i s seri es i s compati ble with the recommendations, gui del i nes and objectives of the Common European Framework
of Reference for Languages.
s-UDE NTS SHOULD NOTE THAT THEY MUST NOT WRI TE I N THI S BOOK.
--e publ i sher has made every effort to contact the owners of copyri ght materi al whi ch appears i n thi s book,
:-J vi i i ! pl eased to hear from any copyri ght hol der who coul d not be located.
ghts reserved by the publ i sher. No part of thi s publ i cati on may be reproduced, stored in a retneval system or transmitted
- any form or by any means - el ectroni c, mechani cal , photocopyi ng or otherwi se - wi thout permi ssi on i n wnt1 ng from the
:o sher.
S3 978-9963-47-963-4
Copynght 2009 Bur l i ngton Book:
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|aI COI uOu

J ded!OJ| CO0a| g C!J|e

P |3Ce | A|wJy$ |Org0I

In short, l i fe i sn' t easy for PA sufferers. We' re seen as snobbi sh and

rds from the Text

. . . . . .. thi ng from one day to the next. She al so

oa ~olo- a. gd ve, ce g a a.. deI :

Te olwa: badl y hurt le. a: .

. lwa:a very dangerous si tuati on, c0Iley

e e.e ved several threatened I threateni ng

1 . Read the exampl e and answer the questi ons.

Write sentences usi ng the words bel ow. Use

c zabe!'I eCOg e Ad|evI 'eI 0ee! n 0I

|'eyI d veIO!'eal|O|!I I'e Ca|I

'e c de!acceedw eweweeo

vo ceoc eweecad' y 0edwhen

way: !o c|ovea! e! cperformance

tri ed very hard !odea' w ! y d :ac ! e:

ve doeal i i can. The bal l 's i n your court

Tey a eady aco0!!eacc de!o !e

' Wya|eyo0:oexc Ied` '

Sede:c| cedtecJ | d gto e celoetet|

to:coo' I ae co~ gI owI teaet:

Saturday, Chel sea - Ful ham London, UK

Whi ch sites in your area were

Whi ch of the fol l owi ng words are materi al s?

. ve|oo '::!ad 0 : a :I0c!0e !aIcao daco0I

- from a pet shop or over the

g and your playful "kiten"

Flexpetz customers, who pay a monthly fee, choose a

Secacy !lo!w . Te cae!wo< og

Te oad c oed Teacc de!!oo<c' ace

A|e eo eex o ! g!ea ~a `

': ! :la I 0< dI a~l0 !o!ea ~a' `

': !ea ~a' :0lle gI ceel !! g`

oeo eavea | g!!o do ! :`

A For and Against Essay

Rewrite each of the fol l owi ng sentences in two ways.

Compl ete the sentences with a l ogi cal endi ng.

www. burltgtoJZbooks. es/vl ell!pOl llts I

. Whi ch modal perfects are used to express

" ca tl dy wa ' e! ' , gIave)

Re| deI, wa I gcyIe | |adolo|

Tew dwee vey Iog, . n evea cawee c' ow

+ e c{q ' . IS ,i-+ts i.- --+z. t-cancer e iee.t

H has been 4 . . . H. ? In the past, 5

May I hel p you?

How l ong is the j ourney?

Woul d you l i ke a return or a si ngl e ti cket?

What ti me does the tra i n l eave?

Do I have to book i n advance?

Where do I get the trai n?

How much is a ti cket?

What ti me do you want to l eave?

Wi l l that be fi rst or second cl ass?

When's the next tra i n after that?

How often do the tra i ns l eave?

I will neter cheat in an exam.

I will ne1er let someone else

I will never steal.

I will tell a teacher if/ see a

ersities in the United States at:

1 . Word Check: The fol lowi ng words appear