teacher's notes 100 a twist in the tale - · pdf file152 a twist in the tale ks3 english...

150

A Twist in the Tale

KS3 English Units © English & Media Centre

Teacher's Notes

Unit Summary (2 - 3 Weeks)This series of activities involves listening to, readingand discussing two stories each with a macabretwist to the ending. The activities explore what thereader brings to a text, the structure of narrative andthe particular features of this genre of story. Severalfiction and non-fiction writing activities are offeredduring the unit including pupils writing their ownstory or playscript with a twist to the ending.

In Stage One, pupils should listen to the short story‘Lamb to the Slaughter’ by Roald Dahl and in theirgroups discuss and rank a list of statements relatingto the story.

In Stage Two, the story ‘Hey You Down There!’ byHarold Rolseth is to be read in groups. This activityis broken down into four parts and pupils will beasked to focus on the structure of the story, on theway clues are given to the reader and the waylanguage is used. They should be encouraged tospeculate and make predictions about what mighthappen next. The writing activity is a letter in thestyle of one of the characters.

In Stage Three, pupils are asked to choose a con-tinuous writing activity, chosen from a list of alterna-tives.

In Stage Four, pupils will be invited to look backover the two stories and make contrasts and com-parisons.

DifferentiationThis sequence of work is intended for all pupils. Theactivities around the texts involve pupils in listening,prediction, group reading and short written taskswhich are designed to support their exploration ofthis genre of narrative.

Underway

Stage OneTell the class in your own words what the sequenceis going to be about and what they are going to bedoing during the lessons. It may be appropriate todiscuss stories shared previously in class or favouritestories from wider reading. Read the short story‘Lamb to the Slaughter’ by Roald Dahl aloud to theclass. It is suggested that pupils should not have thetext in front of them, so emphasize that they shouldconcentrate on listening to, understanding andfollowing the story. Allow the class to respond toany points of interest and discuss any questionsabout the narrative. Issues such as whether theending was a surprise and what clues were givenmight be explored; for example - the story is takenfrom the collection entitled Completely UnexpectedTales - is the ending completely unexpected? Nowsettle the class into groups of four and give out acopy of Pupil Sheet 1 to each pupil. The activity isfirst to discuss a list of statements about the storyand then, after discussion, to rank the statements inorder of the strength of their agreement. Each groupshould fill in the grid on Pupil Sheet 2 and thesecould then be pinned on to a board. A brief wholeclass discussion should compare the groups’ ranksand reasons for decisions should be discussed.Assessment Opportunities/National Curriculum ReferencesSpeaking & Listening: 1a, 1cReading: 1b

Stage TwoIn their groups pupils should read Part One of theshort story ‘Hey You Down There!’ by HaroldRolseth. Pupil Sheet 3 contains some questionsdesigned to promote discussion about the passage.These are not intended to be comprehension ques-

1100 A Twist in the Tale

151

A Twist in the Tale


Teacher's Notes

tions, but a means of giving pupils opportunities topredict and speculate on the development of thenarrative, and to allow them to make explicit whatthey already know about the conventions of theshort story. Pupils should now be given Part Two of‘Hey You Down There!’ and then be invited todiscuss the questions in Pupil Sheet 4. These dealwith the emerging structure of the story, whethertheir early thoughts were confirmed or not and toraise questions about why this might be. Pupils arealso invited to make tentative predictions about theoutcome of the story and then, individually, to writeDora’s letter to Glar. It will help if some of the issuesare explored in a whole class discussion and if timeallows hear some of the letters read out loud. Talkpupils through the writing assignment on PupilSheet 4. Give them time to attempt a first draft and,if time allows, hear a few read out in class. The lastpart of the story (Part Three) should now be readout loud to the class - at this stage it is suggested thatthis is purely a listening exercise. Initiate a briefdiscussion and share any initial reactions. Try toemphasize that pupils’ own predictions of theending are not proved right or wrong by hearing theoriginal, but that what is important is that theypicked up on clues and continued the tone andthreads of the narrative.Assessment Opportunities/

National Curriculum ReferencesSpeaking & Listening: 2bReading: 2bWriting: 1b, 1c, 2b

Stage ThreeWorking individually and using Pupil Sheet 5, YourTurn to Write, pupils should now be given time tochoose one writing activity from the list given. Theseare all intended to be sustained pieces. Time shouldbe given for pupils to share their initial attempts andthen to redraft them in the light of comments.Assessment Opportunities/National Curriculum ReferencesWriting: 2b

Stage FourIn their groups pupils should now work on theactivity in Pupil Sheet 6, Comparing the Stories.This invites a comparison of the two stories and askspupils to make decisions about statements relatingto the two stories. Pupils will probably need to referto copies of ‘Lamb to the Slaughter’ and ‘Hey YouDown There!’Assessment Opportunities/National Curriculum ReferencesReading: 2b, 3b

152

A Twist in the Tale


Lamb to the SlaughterTeacher Text 1a

Lamb to the Slaughterby Roald DahlThe room was warm and clean, the curtainsdrawn, the two table lamps alight - hers andthe one by the empty chair opposite. On thesideboard behind her, two tall glasses, sodawater, whisky. Fresh ice cubes in the Thermosbucket.

Mary Maloney was waiting for her husband tocome home from work.Now and again she would glance up at theclock, but without anxiety, merely to pleaseherself with the thought that each minute goneby made it nearer the time when he wouldcome. There was a slow smiling air about her,and about everything she did. The drop of thehead as she bent over her sewing was curiouslytranquil. Her skin - for this was her sixth monthwith child - had acquired a wonderfultranslucent quality, the mouth was soft and theeyes, with their new placid look, seemedlarger, darker than before.

When the clock said ten minutes to five, shebegan to listen and a few moments later,punctually as always she heard the tyres on thegravel outside, and the car door slamming, thefootsteps passing the window, the key turningin the lock. She laid aside her sewing, stoodup, and went forward to kiss him as he camein.‘Hullo, darling,’ she said.‘Hullo,’ he answered.She took his coat and hung it in the closet.Then she walked over and made the drinks, astrongish one for him, a weak one for herself;and soon she was back again in her chair withthe sewing, and he in the other, opposite,holding the tall glass with both his hands,rocking it so the ice cubes tinkled against theside.

For her, this was always a blissful time of day.She knew he didn’t want to speak much untilthe first drink was finished, and she, on herside, was content to sit quietly, enjoying his

company after the long hours alone in thehouse. She loved to luxuriate in the presence ofthis man, and to feel - almost as a sunbatherfeels the sun - that warm male glow that cameout of him to her when they were alonetogether. She loved him for the way he satloosely in a chair, for the way he came in adoor, or moved slowly across the room withlong strides. She loved the intent, far look in hiseyes when they rested on her, the funny shapeof the mouth, and especially the way heremained silent about his tiredness, sitting stillwith himself until the whisky had taken someof it away.‘Tired, darling?’‘Yes,’ he said. ‘I’m tired.’ And as he spoke, hedid an unusual thing. He lifted his glass anddrained it in one swallow although there wasstill half of it, at least half of it, left. She wasn’treally watching him but she knew what he haddone because she heard the ice cubes fallingback against the bottom of the empty glasswhen he lowered his arm. He paused amoment, leaning forward in the chair, then hegot up and went slowly over to fetch himselfanother.‘I’ll get it!’ she cried, jumping up.‘Sit down,’ he said.

When he came back, she noticed that the newdrink was dark amber with the quantity ofwhisky in it.‘Darling, shall I get your slippers?’‘No.’She watched him as he began to sip the darkyellow drink, and she could see little oily swirlsin the liquid because it was so strong.‘I think it’s a shame,’ she said, ‘that when apoliceman gets to be as senior as you, theykeep him walking about on his feet all daylong.’He didn’t answer, so she bent her head againand went on with her sewing; but each time helifted the drink to his lips, she heard the icecubes clinking against the side of the glass.‘Darling,’ she said. ‘Would you like me to get

153

A Twist in the Tale


Lamb to the SlaughterTeacher Text 1b

you some cheese? I haven’t made any supperbecause it’s Thursday.’‘No,’ he said.‘If you’re too tired to eat out,’ she went on, ‘it’sstill not too late. There’s plenty of meat andstuff in the freezer, and you can have it righthere and not even move out of the chair.’ Hereyes waited on him for an answer, a smile, alittle nod, but he made no sign.‘Anyway,’ she went on, ‘I’ll get you somecheese and crackers first.’‘I don’t want it,’ he said.

She moved uneasily in her chair, the large eyesstill watching his face. ‘But you must havesupper. I can easily do it here. I’d like to do it.We can have lamb chops. Or pork. Anythingyou want. Everything’s in the freezer.’‘Forget it,’ he said.‘But, darling, you must eat! I’ll fix it anyway,and then you can have it or not, as you like.’She stood up and placed her sewing on thetable by the lamp.‘Sit down,’ he said. ‘Just for a minute, sitdown.’ It wasn’t till then that she began to getfrightened.‘Go on,’ he said. ‘Sit down.’ She loweredherself back slowly into the chair. watchinghim all the time with those large, bewilderedeyes. He had finished the second drink andwas staring down into the glass, frowning.‘Listen,’ he said, ‘I’ve got something to tellyou.’‘What is it, darling? What’s the matter?’

He had become absolutely motionless, and hekept his head down so that the light from thelamp beside him fell across the upper part ofhis face leaving the chin and mouth in shadow.She noticed there was a little muscle movingnear the corner of his left eye.‘This is going to be a bit of a shock to you, I’mafraid,’ he said. ‘But I’ve thought about it agood deal and I’ve decided the only thing to dois tell you right away. I hope you won’t blameme too much.’ And he told her. It didn’t takelong, four or five minutes at most, and she satvery still through it all, watching him with akind of dazed horror as he went further andfurther away from her with each word.

‘So there it is,’ he added. ‘And I know it’s kindof a bad time to be telling you, but there simplywasn’t any other way. Of course I’ll give youmoney and see you’re looked after. But thereneedn’t really be any fuss. I hope not anyway.It wouldn’t be very good for my job.’

Her first instinct was not to believe any of it, toreject it all. It occurred to her that perhaps hehadn’t even spoken, that she herself hadimagined the whole thing. Maybe, if she wentabout her business and acted as though shehadn’t been listening, then later, when she sortof woke up again, she might find none of it hadever happened.‘I’ll get the supper,’ she managed to whisper,and this time he didn’t stop her. When shewalked across the room she couldn’t feel herfeet touching the floor. She couldn’t feelanything at all - except a slight nausea and adesire to vomit. Everything was automatic now- down the stairs to the cellar, the light switch,the deep freeze, the hand inside the cabinettaking hold of the first object it met. She lifted itout, and looked at it. It was wrapped in paper,so she took off the paper and looked at it again.A leg of lamb.

All right then, they would have lamb forsupper. She carried it upstairs, holding the thinbone-end of it with both her hands, and as shewent through the living-room, she saw himstanding over by the window with his back toher, and she stopped.‘For God’s sake,’ he said, hearing her, but notturning round. ‘Don’t make supper for me. I’mgoing out.’

At that point, Mary Maloney simply walked upbehind him and without any pause she swungthe big frozen leg of lamb high in the air andbrought it down as hard as she could on theback of his head. She might just as well havehit him with a steel club. She stepped back apace, waiting, and the funny thing was that heremained standing there for at least four or fiveseconds, gently swaying. Then he crashed tothe carpet.

The violence of the crash. The noise, the smalltable overturning, helped bring her out of the

154

A Twist in the Tale


Lamb to the SlaughterTeacher Text 1c

shock. She came out slowly, feeling cold andsurprised, and she stood for a while blinking atthe body, still holding the ridiculous piece ofmeat tight with both hands.

All right, she told herself. So I’ve killed him.It was extraordinary, now, how clear her mindbecame all of a sudden. She began thinkingvery fast. As the wife of a detective, she knewquite well what the penalty would be. That wasfine. It made no difference to her. In fact, itwould be a relief. On the other hand, whatabout the child? What were the laws aboutmurderers with unborn children? Did they killthem both - mother and child? Or did they waituntil the tenth month? What did they do?

Mary Maloney didn’t know. And she certainlywasn’t prepared to take a chance.She carried the meat into the kitchen, placed itin a pan, turned the oven on high, and shovedit inside. Then she washed her hands and ranupstairs to the bedroom. She sat down beforethe mirror, tidied her face, touched up her lipsand face. She tried a smile. It came out ratherpeculiar. She tried again.‘Hullo, Sam,’ she said brightly, aloud. Thevoice sounded peculiar too.‘I want some potatoes please, Sam. Yes, and Ithink a can of peas.’ That was better. Both thesmile and the voice were coming out betternow. She rehearsed it several times more. Thenshe ran downstairs, took her coat, went out theback door, down the garden, into the street.

It wasn’t six o’clock yet and the lights were stillon in the grocery shop.‘Hullo Sam,’ she said brightly, smiling at theman behind the counter.‘Why, good evening, Mrs Maloney. How’re you?’‘I want some potatoes please, Sam. Yes, and Ithink a can of peas.’The man turned and reached up behind him onthe shelf for the peas.‘Patrick’s decided he’s tired and doesn’t wantto eat out tonight,’ she told him. ‘We usually goout Thursdays, you know, and now he’s caughtme without any vegetables in the house.’‘Then how about meat, Mrs Maloney?’‘No, I’ve got meat, thanks. I got a nice leg of

lamb, from the freezer.’‘Oh.’‘I don’t much like cooking it frozen, Sam, butI’m taking a chance on it this time. You thinkit’ll be all right?’‘Personally,’ the grocer said, ‘I don’t believe itmakes any difference. You want these Idahopotatoes?’‘Oh yes, that’ll be fine. Two of those.’‘Anything else?’ The grocer cocked his head onone side, looking at her pleasantly. ‘How aboutafterwards? What you going to give him forafterwards?’‘Well - what would you suggest, Sam?’ Theman glanced around his shop. ‘How about anice big slice of cheesecake? I know he likesthat.’‘Perfect,’ she said. ‘He loves it.’And when it was all wrapped and she hadpaid, she put on her brightest smile and said, ‘Thank you, Sam. Good night.’‘Good night, Mrs Maloney. And thank you.’

And now, she told herself as she hurried back,all she was doing now, she was returning hometo her husband and he was waiting for hissupper; and she must cook it good, and make itas tasty as possible because the poor man wastired; and if, when she entered the house, shehappened to find anything unusual, or tragic,or terrible, then naturally it would be a shockand she’d become frantic with grief and horror.Mind you, she wasn’t expecting to findanything. She was just going home with thevegetables. Mrs Patrick Maloney going homewith the vegetables on Thursday evening tocook supper for her husband.That’s the way, she told herself. Do everythingright and natural. Keep things absolutelynatural and there’ll be no need for any acting atall.

Therefore, when she entered the kitchen by theback door, she was humming a little tune toherself and smiling.‘Patrick!’ she called. ‘How are you, darling?’She put the parcel down on the table and wentthrough into the living-room; and when shesaw him lying there on the floor with his legsdoubled up and one arm twisted backunderneath his body, it really was rather a

155

A Twist in the Tale


shock. All the old love and longing for himwelled up inside her, and she ran over to him,knelt down beside him, and began to cry herheart out. It was easy. No acting was necessary.

A few minutes later she got up and went to thephone. She knew the number of the policestation, and when the man at the other endanswered, she cried to him, ‘Quick! Comequick! Patrick’s dead!’‘Who’s speaking?’‘Mrs Maloney. Mrs Patrick Maloney.’‘You mean Patrick Maloney’s dead?’‘I think so,’ she sobbed. ‘He’s lying on the floorand I think he’s dead.’‘Be right over,’ the man said.

The car came very quickly, and when sheopened the front door, two policemen walkedin. She knew them both - she knew nearly allthe men at that precinct - and she fell right intoJack Noonan’s arms, weeping hysterically. Heput her gently into a chair, then went over tojoin the other one, who was called O’Malley,kneeling by the body.‘Is he dead?’ she cried.‘I’m afraid he is. What happened?’

Briefly, she told her story about going out to thegrocer and coming back to find him on thefloor. While she was talking, crying andtalking, Noonan discovered a small patch ofcongealed blood on the dead man’s head. Heshowed it to O’Malley who got up at once andhurried to the phone.

Soon, other men began to come into the house.First a doctor, then two detectives, one ofwhom she knew by name. Later, a policephotographer arrived and took pictures, and aman who knew about fingerprints. There was agreat deal of whispering and muttering besidethe corpse, and the detectives kept asking her alot of questions. But they always treated herkindly. She told her story again, this time rightfrom the beginning, when Patrick had come in,and she was sewing, and he was tired, so tiredhe hadn’t wanted to go out for supper. She toldhow she’d put the meat in the oven - ‘it’s therenow, cooking’ - and how she’d slipped out tothe grocer for vegetables, and come back to

find him lying on the floor.‘Which grocer?’ one of the detectives asked.She told him, and he turned and whisperedsomething to the other detective whoimmediately went outside into the street.In fifteen minutes he was back with a page ofnotes and there was more whispering, andthrough her sobbing she heard a few of thewhispered phrases - ‘... acted quite normal...very cheerful... wanted to give him a goodsupper... peas... cheesecake ... impossible thatshe...’

After a while, the photographer and the doctordeparted and two other men came in and tookthe corpse away on a stretcher. Then thefingerprint man went away. The two detectivesremained, and so did the two policemen. Theywere exceptionally nice to her, and JackNoonan asked if she wouldn’t rather go -somewhere else, to her sister’s house perhaps,or to his own wife who would take care of herand put her up for the night.No, she said. She didn’t feel she could moveeven a yard at the moment. Would they mindawfully if she stayed just where she was untilshe felt better? She didn’t feel too good at themoment, she really didn’t.Then hadn’t she better lie down on the bed?Jack Noonan asked.No, she said, she’d like to stay right where shewas, in this chair. A little later perhaps, whenshe felt better, she would move.

So they left her there while they went abouttheir business, searching the house.Occasionally one of the detectives asked heranother question. Sometimes Jack Noonanspoke to her gently as he passed by. Herhusband, he told her, had been killed by ablow on the back of the head administeredwith a heavy blunt instrument, almost certainlya large piece of metal. They were looking forthe weapon. The murderer may have taken itwith him, but on the other hand he may’vethrown it away or hidden it somewhere on thepremises.‘It’s the old story,’ he said. ‘Get the weapon,and you’ve got the man.’

Later, one of the detectives came up and sat

Lamb to the SlaughterTeacher Text 1d

156

A Twist in the Tale


Lamb to the Slaughter

beside her. Did she know, he asked, of anythingin the house that could’ve been used as theweapon? Would she mind having a lookaround to see if anything was missing - a verybig spanner, for example, or a heavy metalvase. They didn’t have any heavy metal vases,she said.‘Or a big spanner?’She didn’t think they had a big spanner. Butthere might be some things like that in thegarage.

The search went on. She knew that there wereother policemen in the garden all around thehouse. She could hear their footsteps on thegravel outside, and sometimes she saw the flashof a torch through a chink in the curtains. Itbegan to get late, nearly nine she noticed bythe clock on the mantel. The four mensearching the rooms seemed to be growingweary, a trifle exasperated.

‘Jack,’ she said, the next time Sergeant Noonanwent by. ‘Would you mind giving me a drink?’‘Sure I’ll give you a drink. You mean thiswhisky?’‘Yes, please. But just a small one. It might makeme feel better.’ He handed her the glass.‘Why don’t you have one yourself,’ she said.‘You must be awfully tired. Please do. You’vebeen very good to me.’‘Well,’ he answered. ‘It’s not strictly allowed,but I might take just a drop to keep me going.’

One by one the others came in and werepersuaded to take a little nip of whisky. Theystood around rather awkwardly with the drinksin their hands, uncomfortable in her presence,trying to say consoling things to her. SergeantNoonan wandered into the kitchen, came outquickly and said, ‘Look, Mrs Maloney. Youknow that oven of yours is still on, and themeat still inside.’‘Oh dear me!’ she cried. ‘So it is!’‘I better turn it off for you, hadn’t l?’‘Will you do that, Jack. Thank you so much.’When the sergeant returned the second time,she looked at him with her large, dark, tearfuleyes. ‘Jack Noonan,’ she said.‘Yes?’‘Would you do me a small favour - you and

Teacher Text 1e

these others?’‘We can try, Mrs Maloney.’‘Well,’ she said. ‘Here you all are, and goodfriends of dear Patrick’s too, and helping tocatch the man who killed him. You must beterribly hungry by now because it’s long pastyour suppertime, and I know Patrick wouldnever forgive me, God bless his soul, if Iallowed you to remain in his house withoutoffering you decent hospitality. Why don’t youeat up that lamb that’s in the oven? It’ll becooked just right by now.’‘Wouldn’t dream of it,’ Sergeant Noonan said.‘Please,’ she begged. ‘Please eat it. Personally Icouldn’t touch a thing, certainly not what’sbeen in the house when he was here. But it’sall right for you. It’d be a favour to me if you’deat it up. Then you can go on with your workagain afterwards.’

There was a good deal of hesitating among thefour policemen, but they were clearly hungry,and in the end they were persuaded to go intothe kitchen and help themselves. The womanstayed where she was, listening to themthrough the open door, and she could hearthem speaking among themselves, their voicesthick and sloppy because their mouths werefull of meat.‘Have some more, Charlie?’‘No. Better not finish it.’‘She wants us to finish it. She said so. Be doingher a favour.’‘Okay then. Give me some more.’‘That’s the hell of a big club the guy must’veused to hit poor Patrick,’ one of them wassaying. ‘The doc says his skull was smashed allto pieces just like from a sledgehammer.’‘That’s why it ought to be easy to find.’‘Exactly what I say.’‘Whoever done it, they’re not going to becarrying a thing like that around with themlonger than they need.’One of them belched.‘Personally, I think it’s right here on thepremises.’‘Probably right under our very noses. What youthink, Jack?’And in the other room, Mary Maloney began togiggle.

157

A Twist in the Tale


Pupil Sheet 1 Lamb to the Slaughter

Talk

about

it

Mary didn’t regret what she had done.

It is likely that Mary would get away with her crime.

Mary suspected that her husband was deceiving her.

Mary had all along planned to kill her husband with a leg of lamb.

Mary lied to the police because she was pregnant.

Patrick Maloney deserved what happened to him.

Group discussion on Lamb to the Slaughter• You have listened to the story ‘Lamb to the Slaughter’ and discussed whether the ending really was a surprise.

• You are now asked to talk about the statements below in your groups and then try to decide which ones you agree with most and least.

• You won’t all necessarily agree with each other. Try to discuss your ideas with those in your group who disagree with you and listen in turn to their points of view.

• When you have come to a general agreement, fill in the chart. Write the statement with which you agree most strongly in the top space and list the others in order, down to the ones you agree with least.

• On the right hand side of the sheet, you should make brief notes on the reason for your decision.

• Use large writing, so that it can be read easily when put on the board.

158

A Twist in the Tale


Pupil Sheet 2 Lamb to the Slaughter

State

men

ts

Rea

sons

1.

2.

3.

4.

5.

159

A Twist in the Tale


Hey You Down There! Part 1

Hey You Down There!by Harold Rolseth

Part One

Pupil Sheet 3a

Calvin Spender drained his coffee cup andwiped his mouth with the back of his hand. Heburped loudly and then proceeded to fill acorncob pipe with coarsely shredded tobacco.He scratched a match across the top of the tableand holding it to his pipe, he sucked noisilyuntil billows of acrid smoke poured from hismouth.

Dora Spender sat across the table from herhusband, her breakfast scarcely touched. Shecoughed lightly, and then, as no frown appearedon Calvin’s brow, she said, ‘Are you going todig in the well this morning, Calvin?’ Calvinfixed his small red-rimmed eyes upon her, and,as if she had not spoken, said, ‘Git going at thechores right away. You’re going to be haulingup dirt.’‘Yes, Calvin,’ Dora whispered. Calvin clearedhis throat, and the action caused his Adam ‘sapple to move rapidly under the loose red skinon his neck. He rose from the table and wentout of the kitchen door, kicking viciously at thetawny cat which had been lying on the door-step.

Dora gazed at him and wondered for thethousandth time what it was that Calvin re-minded her of. It was not some other person. Itwas something else. Sometimes it seemed asthough the answer was about to spring to hermind, as just now when Calvin had cleared histhroat. But always it stopped just short of herconsciousness. It was disturbing to know withsuch certainty that Calvin looked like some-thing other than himself and yet not know whatthat something was. Some day though, Doraknew, the answer would come to her. She rosehurriedly from the table and set about herchores.

Halfway between the house and the barn, adoughnut-shaped mound of earth surrounded ahole. Calvin went to the edge of the hole andstared down into it distastefully. Only necessitycould have forced him to tackle this task, but itwas either this digging or the hauling of barrelsand barrels of water each day from Nord Fish-er’s farm half a mile down the road.

Calvin’s herd of scrub cattle was small, but theamount of water it drank was astonishing. Fortwo weeks now, ever since his well had gonedry, Calvin had been hauling water, and the

disagreeable chore was becoming more unpleas-ant because of neighbour Nord’s hints thatsome kind of payment for the water would onlybe fair.

Several feet back from the edge of the hole,Calvin had driven a heavy iron stake into theground, and to this was attached a crude ropeladder. The rope ladder had become necessarywhen the hole had reached a depth well beyondthe length of any wooden ladder Calvin owned.

Calvin hoped desperately that he would nothave to go much further. He estimated that hewas now down fifty or sixty feet, a commondepth for many wells in the area. His greatestfear was that he would hit a layer of rock whichwould call for the services of a well-drillingoutfit. Both his funds and his credit-rating werefar too low for such a team.

Calvin picked up a bucket to which wasattached a long rope and lowered it into thehole. It was Dora’s backbreaking task to pull thebucket hand over hand after Calvin had filled itfrom the bottom of the hole. With a mumbledcurse, Calvin emptied his pipe and starteddown the rope ladder. By the time he got to thebottom of the hole and had filled the bucket,Dora should be there to haul it up. If sheweren’t, she would hear about it.

From the house, Dora saw Calvin prepare toenter the well and she worked with desperatehaste to complete her chores. She reached thehole just as a muffled shout from below indi-cated that the bucket was full.

Summoning all her strength, Dora hauled thebucket up. She emptied it and then lowered itinto the hole again. While she waited for thesecond bucketload, she examined the contentsof the first. She was disappointed to find it hadonly the normal moistness of undergroundearth. No water seeped from it.

In her own way, Dora was deeply religiousand at each tenth bucket she pulled up shemurmured an urgent prayer that it wouldcontain more water in it than earth. She hadsettled at praying at every tenth bucketloadbecause she did not believe it in good taste topester God with every bucket. Also, she variedthe wording of each prayer, feeling that God

160

A Twist in the Tale


Pupil Sheet 3b Hey You Down There! Part 1

Talk

about

it Part OneHey You Down There!

Although you have only read the opening paragraphs of this story youalready know a great deal about the story. These questions are intended todraw out in discussion some of the expectations and knowledge you alreadyhave. In your groups discuss the following points and make notes on thereasons for your responses.

• Can you speculate about what sort of story you think this might turn out to be?

• Where and when do you think the story might be set?

• What do you already know about Calvin?

• How would you describe the relationship between Dora and Calvin?

• Can you make any guesses about what might happen next?

161

A Twist in the Tale


Hey You Down There! Part 2Pupil Sheet 4a

Hey You Down There!must become bored with the same plea repeatedover and over.

On this particular morning as she lowered thebucket for its tenth loading, she prayed, ‘PleaseGod, let something happen this time... Letsomething really and truly happen so I won’thave to haul up any more dirt.’

Something happened almost immediately. Asthe rope slackened in her hands indicating thatthe bucket had reached the bottom, a scream ofsheer terror came up from the hole, and the ropeladder jerked violently. Whimpering sounds ofmortal fear sounded faintly, and the laddergrew taut with heavy strain. Dora fell to herknees and peered down into the darkness.‘Calvin,’ she called, ‘are you all right? What isit?’

Then with startling suddenness, Calvinappeared. At first Dora was not sure it wasCalvin. The usual redness of his face was gone;now it was a yellowish greenHe was trembling violently and had troublebreathing.‘It must have been a heart attack,’ Dora thought,and tried hard to control the surge of joy thatcame over her.

Calvin lay upon the ground, panting. Finally hegained control of himself. Under ordinarycircumstances, Calvin did not converse withDora but now he seemed eager to talk. ‘Youknow what happened down there?’ he said in ashaky voice.‘You know what happened? The completebottom dropped right out of the hole. All of asudden it went, and there I was, standing onnothing but air. If I hadn’t grabbed a hold of thelast rung of the ladder... Why, that hole must bea thousand feet the way the bottom droppedout of it!’

Calvin babbled on, but Dora didn’t listen. Shewas amazed at the remarkable way in which herprayer had been answered. If the hole had nomore bottom, there would be no more dirt tohaul up.When Calvin had regained his strength, he creptto the edge of the hole and peered down.‘What are you going to do, Calvin?’ Dora askedtimidly.‘Do? I’m going to find out how far down thathole goes. Get the flashlight from the kitchen.’

Dora hurried off. When she returned, Calvinhad a large ball of binder twine he had broughtfrom the tool shed.

He tied the flashlight securely to the end of theline, switched it on and lowered it into the hole.He paid out the line for about a hundred feetand then stopped. The light was only a feebleglimmer down below and revealed nothing.Calvin lowered the light another hundred feetand this time it was only a twinkling speck as itswung at the end of the line. Calvin releasedanother long length of twine and another andanother and now the light was no longer visible,and the large ball of twine had shrunk to a smalltangle.‘Almost a full thousand feet,’ he whispered inawe. ‘And no bottom yet. Might as well pull itup.’ But the line did not come up with Calvin’spull. It stretched and grew taut, but it did notyield to his tugging.‘Must be caught on something,’ Calvinmuttered, and gave the line a sharp jerk. Inreply there was a downward jerk that almosttore the line from his hands.‘Hey!’ yelled Calvin. ‘The line...it jerked!’‘But, Calvin,’ Dora protested.‘Don’t Calvin me. I tell you there’s somethingon the end of this line.’

He gave another tug, and again the line wasalmost pulled from his hands. He tied the line tothe stake and sat down to ponder the matter.‘It don’t make sense,’ he said, more to himselfthan to Dora. ‘What could be downunderground a good thousand feet?’ Tentativelyhe reached and pulled lightly on the line. Thistime there was no response, and rapidly hebegan hauling it up. When the end of the linecame into view, there was a small white pouchof a leatherlike substance.

Calvin opened the pouch with trembling fingersand shook into his palm a bar of yellow metaland a folded piece of parchment. The bar ofmetal was not large but it seemed heavy for itssize. Calvin got out his jack-knife and scratchedthe point of the blade across the metal. Theknife blade bit into it easily.‘Gold,’ said Calvin, his voice shaky. ‘Must be awhole pound of it... and just for a measlyflashlight. They must be crazy down there.’He thrust the gold bar into his pocket andopened the small piece of parchment. One sidewas closely covered with a fine writing. Calvin

Part Two

162

A Twist in the Tale



turned it this way and that and then tossed it onthe ground.‘Foreigners,’ he said. ‘No wonder they ain’t gotany sense. But it’s plain they need flashlights.’‘But, Calvin,’ said Dora. ‘How could they getdown there? There ain’t any mines in this partof the country.’‘Ain’t you ever heard of them secretgovernment projects?’ asked Calvin scornfully.‘This must be one of them. Now I’m going totown to get me a load of flashlights. They mustneed them bad. Now, mind you watch that holegood. Don’t let no one go near it.’ Calvin strodeto the battered truck which was standing nearthe barn and a minute later was rattling downthe highway towards Harmony Junction.

Dora picked up the bit of parchment whichCalvin had thrown away. She could makenothing of the writing on it. It was all verystrange. If it were some secret governmentundertaking, why would foreigners be takingpart? And why would they need flashlights sourgently as to pay a fortune for one? Suddenlyit occurred to her that possibly the people downbelow didn’t know there were English speakingpeople up above. She hurried into the houseand rummaged through Calvin’s rickety deskfor paper and pencil. In her search she found asmall, ragged dictionary, and she took this withher to the kitchen table. Spelling didn’t comeeasily to Dora.

Her note was a series of questions. Why werethey down there? Who were they? Why didthey pay so much for an old flashlight? As shestarted for the well it occurred to her thatpossibly the people down there might behungry. She went back to the kitchen andwrapped a loaf of bread and a fair-sized piece ofham in a clean dish-towel. She added a PS toher note apologizing for the fact that she hadnothing better to offer them. Then the thoughtcame to her that since the people down belowwere obviously foreigners and possibly not toowell versed in English, the small dictionarymight be of help to them in answering her note.She wrapped the dictionary with the food in thetowel.

It took Dora a long time to lower the bucket, butfinally the twine grew slack in her hands andshe knew the bucket had reached the bottom.She waited for a few moments and then tuggedthe line gently. The line held firm below, andDora seated herself on the mound of earth towait.

The warm sunlight felt good on her back and itwas pleasant to sit and do nothing. She had nofear that Calvin would return soon. She knewthat nothing on earth - or under it - could keepCalvin from visiting a number of bars once hewas in town, and that with each tavern visited,time would become more and moremeaningless to him. She doubted that he wouldreturn before morning.

After half an hour Dora gave the line aquestioning tug, but it did not yield. She did notmind. It was seldom that she had time to idleaway. Usually when Calvin went to town, heburdened her with chores that were to be doneduring his absence, coupling each order with athreat of what awaited her should hisinstructions not be carried out.

Dora waited another half hour before tugging atthe line again. This time there was a sharpanswering jerk, and Dora began hauling thebucket upward. It seemed much heavier now,and twice she had to pause for a rest. When thebucket reached the surface, she saw why it washeavier.‘My goodness,’ she murmured as she viewedthe dozen or so yellow metal bars in the bucket.‘They must be real hungry down there!’ A sheetof the strange parchment was also in the bucket,and Dora picked it out expecting to see thestrange writing of the first note.‘Well, I declare,’ she said when she saw that thenote was in English. It was in the same print asthe dictionary, and each letter had been madewith meticulous care. She read the note slowly,shaping each word with her lips as she read.

163

A Twist in the Tale


Pupil Sheet 4c Hey You Down There! Part 2

Your language is barbaric, but the crude code book you sent down

made it easy for our scholars to decipher it. We, too, wonder about

you. How have you overcome the problem of living in the deadly light?

Our Legends tell of a race dwelling on the surface but intelligent

reasoning has made us ridicule these old tales until now. We would

still doubt that you are surface-dwellers except for the fact that our

instruments show without question that the opening above us leads

to the deadly light. The clumsy death ray which you sent us indicates

that your scientific development is very low. Other than as an object

from another race it has no value to us. We sent gold as a courtesy

payment only. The food you call bread is not acceptable to our

digestive systems, but the ham is beyond price. It is obviously the

flesh of some creature, and we will exchange a double weight of gold

for all that you can send us. Send more immediately. Also send a

concise history of your race and arrange for your best scientists, such

as they are, to communicate with us.

Glar , THE MASTER

164

A Twist in the Tale


Now you know a little more about the story. This sheet is intended tohelp you discuss the way the story is put together and the way thatreaders of a story bring their own expectations and experience to thereading.

• First of all, were any of your earlier guesses borne out?

• Have you changed your mind about the setting of the story or the type of story?

• Is Calvin better or worse than you first predicted?

• Is Dora really as helpless as she first seemed?

Now look at the way the story is told.

• Is this story merely a string of events one after another, or can you see a structure beginning to emerge? Are you as the reader given any clues about what might happen next?

• Can you see how the reader becomes involved in the story? What, for example, do we know that Calvin doesn’t know when he goes off to buy some more flashlights?

When you have discussed these points there will be a chance to shareyour ideas in a class discussion.

Your turn to write• The next activity is to write the letter that Dora lowered down the hole. Read the text carefully. You are given many clues about what she wrote and the way she would have written it.

Land sakes,’ said Dora. ‘Real bossy they are. I’ve a good mind not to send themanything. I don’t dare send them more ham. Calvin would notice if any more isgone.

Your Turn to Write

Talk

about

it'

'

Pupil Sheet 4d

Part TwoHey You Down There!

165

A Twist in the Tale


Dora took the gold bars to her petunia bed besidethe house and buried them in the loose blacksoil. She paid no heed to the sound of a carcoming down the highway at high speed until itpassed the house and a wild squawkingsounded above the roar of the motor. She hur-ried around to the front of the house, knowingalready what had happened. She stared indismay at the four chickens which lay dead inthe road. She knew that Calvin would blameher and beat her into unconsciousness.

Fear sharpened her wits. Perhaps if she coulddispose of the bodies, Calvin would think foxeshad got them . Hastily she gathered up the deadchickens and feathers which lay scattered about.When she was finished, there was no evidenceof the disaster. She carried the chickens to theback of the house wondering how she couldbest dispose of them. Suddenly, as she glancedtowards the hole, the answer came to her.

An hour later the four chickens were dressedand neatly cut up. Ignoring the other instruc-tions in the note, she sent the bulky parcel ofchicken down into the hole.She sat down again to enjoy the luxury of doingnothing. When, an hour later, she picked up theline, there was an immediate response frombelow. The bucket was exceedingly heavy thistime, and she was fearful that the line mightbreak. She was dizzy with fatigue when shefinally hauled the bucket over to the edge of thehole. This time there were several dozen bars ofgold in it and a brief note in the same preciselettering as before.

Our scientists are of the opinion that the flesh yousent down is that of a creature you call chicken. Thisis the supreme food. Never have we eaten anythingso delicious. To show our appreciation we aresending you a bonus payment. Your code bookindicates that there is a larger creature similar tochicken called turkey. Send us turkey immediately. Irepeat, send us turkey immediately.

Glar, THE MASTER

‘Land sakes,’ gasped Dora. ‘They must haveeaten that chicken raw. Now where in tarnationwould I get a turkey?’ She buried the gold barsin another part of her petunia bed.

Calvin returned about ten o’clock the nextmorning. His eyes were bloodshot and his face


was a mottled red. The loose folds of skin on hisneck hung lower than usual and more than everhe reminded Dora of something that shecouldn’t quite put a name to. Calvin steppeddown from the truck and Dora cringed, but heseemed too tired and preoccupied to botherwith her. He surveyed the hole glumly, then gotinto the truck and backed it to the edge of themound of earth. On the back of the truck was awinch with a large drum of steel cable.‘Fix me something to eat,’ he ordered Dora.

Dora hurried into the house and began prepar-ing ham and eggs. Each moment she expectedCalvin to come in and demand to know, with afew blows, what was holding up his meal. ButCalvin seemed very busy in the vicinity of thehole. When Dora went out to call him to eat, shefound he had done a surprising amount ofwork. He had attached an oil drum to the steelcable. This hung over a heavy steel rod whichrested across the hole. Stakes driven into theground on each side of the hole held the rod inplace.‘Your breakfast is ready, Calvin,’ said Dora.‘Shut up,’ Calvin answered.The winch was driven by an electric motor, andCalvin ran a cable from the motor to an electricoutlet on the yard light post. From the cab hetook a number of boxes and placed them in theoil drum.‘A whole hundred of them,’ he chuckled, moreto himself than to Dora. ‘Fifty-nine cents apiece.Peanuts... one bar of gold will buy thousands.’Calvin threw the switch which controlled thewinch, and with sickening force Dora realizedthe terrible thing that would soon happen. Thecreatures down below had no use or regard forflashlights.

Down went the oil drum, the cable screechingshrilly as it passed over the rod above the hole.Calvin got an oil can from the truck and appliedoil generously to the rod and cable. In a veryshort while the cable went slack and Calvinstopped the winch.‘I’ll give them an hour to load up the gold,’ hesaid and went to the kitchen for his delayedbreakfast.

Dora was almost numb with fear. What wouldhappen when the flashlights came back up, withan insulting note in English, was too horrible tocontemplate. Calvin would learn about the goldshe had received and very likely kill her.Calvin ate his breakfast leisurely. Dora busiedherself with household tasks, trying with all hermight to cast out of her mind the terrible thing

Pupil Sheet 5a

Hey You Down There! Part Three

166

A Twist in the Tale


you mess things up, I’ll fix you too! I’ll reallyand truly fix you.’ Dora nodded dumbly.

Calvin put his gun in the oil drum and pushedit to the centre of the hole. Then, hanging on tothe cable, he carefully lowered himself into thedrum.‘Give me just one hour to run those dirty ratsdown, then bring me back up,’ he said. Dorathrew the switch and the oil drum went down.When the cable slackened, she stopped thewinch. She spent most of the next hour prayingthat Calvin would not find the people downthere and become a murderer.

Exactly an hour later, Dora started the oil drumupward. The motor laboured mightily asthough under a tremendous strain, and thecable seemed stretched almost to breakingpoint.

Dora gasped when the oil drum came into view.Calvin was not in it! She shut off the motor andhastened to the drum, half expecting to findCalvin crouching down inside. But Calvin wasnot there. Instead there were scores of gold barsand on top of them a sheet of the familiar whiteparchment.

‘Land sakes,’ Dora said, as she took in a fullview of the drum’s contents. She had no idea ofthe value of the treasure upon which she gazed.She only knew it must be immense. Carefully,she reached down and picked out the note,which she read in her slow, precise way.

Not even the exquisite flavour of the chickencompares to the incomparable goodness of the live turkey you sent down to us. We must confess that we thought turkey would be rather different from this, but this does not matter.

So delicious was the turkey that we are againsending you a bonus payment. We beg you tosend us more turkey immediately.

Glar, THE MASTER

Dora read the note a second time to make sureshe understood it fully.

‘Well, I declare,’ she said in considerable won-der. ‘I do declare.’

which was soon to happen. Finally Calvinglanced at the wall clock, yawned widely, andtapped out his pipe. Ignoring Dora, he went outto the hole. In spite of her terrible fear, Doracould not resist following him. It was as if somepower outside herself forced her to go.

The winch was already reeling the cable whenshe got to the hole. It seemed only secondsbefore the oil drum was up. The grin onCalvin’s face was broad as he reached out overthe hole and dragged the drum to the edge. Alook of utter disbelief replaced the grin as helooked into it. His Adam’s apple seemed tovibrate under his red-skinned throat, and onceagain part of Dora’s mind tried to recall what itwas that Calvin reminded her of. Calvin wasmaking flat, bawling sounds like a lost calf. Hehauled the drum out of the hole and dumped itscontents on the ground. The flashlights, manyof them dented and with lenses broken, made asizeable pile.

With a tremendous kick Calvin sent flashlightsflying in all directions. One, with a note at-tached, landed at Dora’s feet. Either Calvin wasso blinded by rage that he didn’t see it, or heassumed it was written in the same unreadablescript as the first note.‘You down there! ‘ he screamed into the hole.‘You filthy swine! I’ll fix you. I’ll make yousorry you ever double-crossed me. I’ll... I’ll...’He dashed for the house and Dora hastilysnatched up the note.

You are even more stupid than we thought.Your clumsy death rays are useless to us. Weinformed you of this. We want turkey. Send usturkey immediately.

Glar, THE MASTER

She crumpled the note swiftly as Calvin camefrom the house with his double-barrelled shot-gun. For a moment, Dora thought that he kneweverything and was about to kill her.‘Please, Calvin,’ she said.‘Shut up,’ said Calvin 'You saw me work thewinch. Can you do it?’‘Why, yes, but what...?’‘Listen to me. I’m going down there to fix thosedirty foreigners. You send me down and bringme up.’ He seized Dora by the shoulder. ‘And if

Pupil Sheet 5b Hey You Down There! Part 3

Hey You Down There!

167

A Twist in the Tale


Comparing the StoriesPupil Sheet 6

Comparing the storiesYou will have realised some of the similarities between the two stories you have studied.

In your groups talk about the following statements for each story. Then decide if whathappens in each story is exactly the same, nearly the same or different and put a tick inthe right column.

In both stories. Exactly Nearly Differentthe same the same

The marriage is happy.

The woman gains by her husband’s death.

The woman is meek and dutiful.

The story is realistic.

The ending is predictable.

The husband is killed by the wife.

The woman doesn’t regret herhusband’s death.

The man is rude and aggressive.

The plot is set in modern times.

168

168

A Twist in the Tale


Your

turn

to w

rite

Writing

Now you know how the story finished, were you surprised by theending?

You are now asked to choose one of the following writing activities.

• Write your own review of the story. You will have plenty of notes from your discussions at various stages of the story. Think about the way the story is put together, the clues that the reader is given, the pattern that emerges. Try to say where the enjoyment of the story comes from.

• Write your own story with a twist in the tale. You could write a story entitled ‘Revenge is Sweet’, or make up your own title.

Plan your story before you start. Think about involving the reader andgiving clues (but not too obvious ones!). Make sure you know how thestory is going to end before you start. Think carefully about the setting,time and place of your story.

• Imagine that you are Glar or one of his followers. Write the story from Glar’s point of view.

• Write a continuation of the story of Dora one year on. How does Dora explain Calvin’s disappearance? What does she do with her wealth? Is this the last time she ever contacts Glar?

• Write a play script of a meeting set in the underground world of Glar. Imagine that some of the dwellers want to explore the world of light and some don’t. What would be some of the arguments for and against?

A Twist in the Tale?

167

Pupil Sheet 5c

Phone O

rders 0

16

34

72

98

35

Fax

01

63

4 2

90

17

5 E

nglish

& M

edia

Cen

tre

33

TITLE PRICE CODE QTY £ COST p

Arthur Miller £49.95 AM01Beautiful Game (inc. video & DVD) £59.95 BG01Changing Stories £7.95 CS01EMC Advanced Series:

Pre-1770 Drama: Elizabethan & Jacobean (1 copy book) £32.95 EMA01Pre-1770 Drama: Elizabethan & Jacobean (set of 10 books) £95.00 EMA01Modern Novel, The: Critical Approaches (1 copy book, video & CD) £39.95 EMA02Modern Novel, The: Critical Approaches (set of 10 books) £95.00 EMA02Texts in their Times: Victorian & Modern (1 copy book, CD) £39.95 EMA03Texts in their Times: Victorian & Modern (set of 10 books) £95.00 EMA03Text Reader Critic: Introducing Contexts & Interpretations (1 copy book) £32.95 EMA04Text Reader Critic: Introducing Contexts & Interpretations (10 copies book) £95.00 EMA04Studying Othello (1 copy book) £39.95 OTH01Studying Othello (set of 10 books) £95.00 OTH10Studying Othello Video (video only) £19.95 OTHV01

EMC KS3 English Series:The Fiction Pack (inc. video) £59.95 EMK01The Drama Book (1 copy) £9.95 EMK02The Drama Book (15 or more copies) £7.95 EMK02Drama – Hannah and Hanna Video (video only) £19.95 EMA03Drama – Helmet Video (video only) £19.95 EMK04The Non-fiction Book (1 copy) £9.95 EMK05The Non-fiction Book (15 or more copies) £7.95 EMK05The Non-fiction Video (video only) £9.95 EMK06The Media Book (1 copy) £9.95 EMK07The Media Book (15 or more copies) £7.95 EMK07The Media Video (video only) £14.95 EMK08The Poetry Book (1 copy) £9.95 EMK09The Poetry Book (15 or more copies) £7.95 EMK09The Poetry Video (video only) £14.95 EMK10Teachers’ Guide & Notes CD Rom £29.95 EMK11

English Curriculum: Media KS3 £7.95 ECM01English Curriculum: Reading - 1, Comprehension £12.95 ECR01English Curriculum: Reading - 2, Slow Readers £12.95 ECR02English Curriculum: Reading - Cassette £6.50 ECR03English Department, The £7.95 ED01English Record (1 copy) £3.00 ER01English Record (set of 30) £45.00 ER01Gulliver’s Travels (1copy) £9.95 GT01Gulliver’s Travels (15 or more copies) £7.95 GT01Inspector Calls, An (inc. video) £59.95 IC01Island, The £3.95 ISL01KS2 English & Literacy Pack (inc. CD & posters) £49.95 KS2P01KS3 English Units £39.95 KS3E01Klondyke Kate Revisited (1 copy) £9.95 KK01Klondyke Kate Revisited (15 or more copies) £7.95 KK01Literary Terms £9.95 LT01Macbeth £4.95 MB01Making Junk (inc. video) £29.95 MJ01Making Media £12.95 MM01Making Stories £7.95 MS01Media Pack, The: Units for GCSE Media & English (inc. video) £59.95 KS4M01More Poetry Posters (set of 10) £25.00 PP01Of Mice and Men Study Guide £5.95 OM01Panic Attacks (inc. video) £59.95 PA01Picture Power Book £12.50 PICB01Picture Power II. CD (1 copy) £29.95 PIC01Picture Power II. CD (5 copies for networking) £59.95 PIC01Poetry Pack, The £49.50 POP01Poetry Video, The, A Poetry Pack Resource (video only) £24.95 POV01Poetry Pack and Video, The (inc. video) £59.95 POVP01Production Practices £12.50 PROD01Reading Fictions £7.95 REF01Reading Stories (1 copy) £9.95 RES01Reading Stories (set of 15) £45.00 RES01

C/F £

▲●

▲●

▲●

▲●

▲●

▲●

▲●

▲●▲

▲●

▲●

English & Media Centre Publications Order Form 2004

▲●

▲●

▲●

▲●

●

▲●

▲●

▲●

▲●

▲●

▲●

▲●

EMC2-picturepowerII

EMC2-picturepowerII

EMC2-beautiful_game

EMC2-KS2_literacy

❐❐

❐

❐

33

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

▲

●▲

34

En

glis

h &

Med

ia C

entr

e P

hone

Ord

ers

01

63

4 7

29

83

5

Fax

01

63

4 2

90

17

5TITLE PRICE CODE QTY £ COST p

Roll of Thunder, Hear My Cry (1 copy) £4.95 ROL01Roll of Thunder, Hear My Cry (set of 30) £27.50 ROL01ShazKaz and Other Stories (1 copy) £7.95 SHZ01ShazKaz and Other Stories (15 or more copies) £5.95 SHZ01Soap Pack, The (inc. video) £59.95 SOA01Student Films: MediaMagazine CD £9.95 STUF01Studying AQA A Poetry £29.95 STAQ01Studying Great Expectations (1 copy) £9.95 STGR01Studying Great Expectations (15 or more copies) £7.95 STGR01Studying Poetry (1 copy) £12.95 STP01Studying Poetry (set of 10) £90.00 STP01Studying Sherlock Holmes (1 copy) £9.95 STSH01Studying Sherlock Holmes (15 or more copies) £7.95 STSH01Talk on the Box (inc. video) £59.95 TAB01Talking In Whispers £4.95 TAW01Three Modern Novels: Beloved, Reading in the Dark & Reef (inc. video) £59.95 THR01Tony Harrison: 6 Poems (video only) £9.95 TON01Troublesome Boy £6.95 TRO01Twelfth Night (inc. video) £59.95 TW01Unknown, The £3.95 UNK01Where We’ve Been, Articles from TEMM £7.50 WB01Writing from Life (inc. video) £59.95 WRL01

Sub-total £ p P&P £ p Total £ p

How to order1. Post: to EMC Publications, PO Box 105, Rochester, Kent ME2 4BE.

2. Fax: 01634-290-175 with credit card details or an official requisition from your establishment. Do not mail copies of faxed orders.

3. Tel: 01634-729-835 8.30am–5.30pm with an official purchase order number for delivery to the establishment only, or with a credit card.

4. By email: [email protected]

5. On-line: see www.englishandmedia.co.uk

6. Please do not combine payments for publications received from the Rochester distribution address with payments for English & Media

Centre courses, magazines and services received from our offices at 18 Compton Terrace – the finances are completely separate.

Title: ............ Initials: .............................. Surname: .................................................. Job Title: ............................................................

Delivery Address: ..................................................................................................................................................................................

..............................................................................................................................................................................................................

.................................................................................................. Postcode: ............................................................................................

Date: ........................................................................................ Tel no: .................................................................................................

Order no: ................................................................................ Fax no: ...............................................................................................

If the invoice address is different to delivery address, please indicate.....................................................................................................

..............................................................................................................................................................................................................

❐ I enclose a cheque payable to ‘EMC Publications’ for £................ (all orders under £25 must be accompanied by a cheque)

❐ Please invoice my *institution/*local authority (only if order is over £25)

❐ Please debit my ACCESS/MASTERCARD/VISA card no:

Signature: ............................................................................ Expiry date: ........................................ Issue no: ............................

We aim to deliver within 5 working days of receipt of order but please allow 10 days before querying non-delivery.

B/F £

▲●

▲●

▲●

Samples & free units can be downloaded from our website, www.englishandmedia.co.ukPhotocopiable, please note all the others are NOT photocopiable and are protected by law under the standard terms of thecopyright licensing authorityTitle can be bought using your eLearning Credit fund. Please tick the box at the side ❐ if using your eLCs to buy this item.

English & Media Centre Publications Order Form 2004

●

▲●

34

▲

▲

▲

▲●

▲

▲●

▲▲

▲

▲

▲

P&P for UK: orders under £25 p&p £3.95, orders £25–£299 p&p £5, orders over £300 p&p £7.50.P&P outside UK: written quote upon request & prepayment by cheque/mastercard/visa required

❐

New

New

New

New

New

New

New

New

EMC2-MMfilms

teacher's notes 100 a twist in the tale - · pdf file152 a twist in the tale ks3 english...

Documents