6 - Cambridge First Certificate in English 6 (NoCD) PDF

Cambridge
First Certiíicate
in English
6
W I T H ANSWERS
Thái Quang Tuân's Archives
Exam ination papers from

University o f Cambridge
E SO L Examinations:
English for Speakers o f
O ther Languages
CA M B RID G E
U N IV E R S IT Y P R E S S
P U B L IS H E D RY ĨH E PRESS S Y N D IC A T E O F T IIE U N IV K R S IT Y O F C A M ÍR ID G Í.
The Pin Building, Trumpington Street, CambrtdRc, United Kingdom

C A M B R ID G E U N IV E R S IT V PR ESS
T h e K d in b u rg h B u ild in g . a m b r i d g c C B 2 2 R U . U K
■40 W c « 2 0 th S tre e t. N c w Y o rk , N Y 1 0 0 1 1 -4 2 1 1 , U SA
4 7 7 \V illia n ttto w n R o a d i Port M d b o u m c , VIC 3 2 Ọ7 , A u s t r a l ij

RuĨ2 đe Alarcón 13, 28014 Madrid, Spain
D o ck u CHI s e . T h e W i t e r f r o n t , C a p e T o w n 8 0 0 1 , S o u th A ír ic a
h ttp - 7 A v w w .c a n ib rid g c .o r g
© C a m h r id g o U n iv c rs ity P re s s 2 0 0 3
T h is b o o k is in C o p y rig h t, w h ic h n o rm aU ỵ m c a n s th a t
n o rc p ro d u c tio n o f a n y p .ir t m a y ta k c p la c c M Íih o u r
th e v v rittc n p c r m i s s io n o f C a m b r id g c U n iv e riiry P re s s .
T h e c o p y in g o( c e rta in p a r t s o f it b v in d iv i d u a ls
í o r u s c v v i t h i n tl* c c l a s s r o o m . h o v v e v c r , u p c rm in c d
w i( h o u ( iu c h /o rin a lity . P a g c s w h ic h a r e c o p ia b lc
\v i(h o u t íu r th c r p c r m i« io n a rc id c rn itĩe d b y a
• v c p a rm c C o p y r ig h t n o tk rc :
o Ư C L E S K & J m m nagạ
F irst p u b liỉh c d 2 0 0 .Ị
P rín te d in tlic U n ite d K in g d o m a t th e U n iv c rs ity P re s s , C a m b n d g c
IS B N 0 5 2 1 7 S 4 4 4 5 S c u d c n t '* B o o k (w ith a n sw c rs)
IS B N 0 5 2 1 7 5 4 4 3 7 S ttn k n t* * B ook
IS B N 0 521 7 5 4 4 6 1 T c a c h c r ’s B o o k
IS B N 0 521 7 5 4 4 7 X Sct o f 2 G is ttttC í
IS B N 0 521 7 5 4 4 8 8 Sct o f 2 A u d io C D s
IS B N 0 5 2 1 7 5 -M 5 3 S d f-S iu d y p o c k
Contents
Thanks and acknovvledgements vi
To the student vii
Test 1 Paper 1 Reading 2

Paper 2 Writing 10
Paper 3 Use of English 14
Paper 4 Listening 21
Paper 5 Speaking 26

Paper 2 Writing 36
Paper 4 Listeníng 47
Paper 5 Speaking 52
Tost 3 Paper 1 Reading 54

Paper 2 Writing 62
Paper 5 speaking 78

Paper 2 VVriting 88
Paper 5 Speaking 104
Test 1 Key and transcript ỉ 05

Test 2 Key and transcript ì 18
Test 3 Key and transcripl 132
Test 4 Key and transcript /4 5
Visual m aterials fo r Paper 5 cơ lour section
Sample answer sheets 1S8

Thanks and acknoivledgements
T h e p u b lish crs arc g ra te íu l IO th c folIow ing fo r p crm issio n to rc p ro d u c c C opyright m atcrial. \v h ilst
cverv cffo rt hns b ccn m a d c to lo c a tc th c o w n c rs ơ f c o p y rig h i, in som c cascs th is h a s b ecn unsucccssíul.
T h e pubH-^hcrs aj>o!ogisc ío r a n ỵ in frin g cm cn i o r íailu rc to acknoNvlcdgc th e o rig in a l so u rccs a n d \vill
b c g lad to in clu d c a n y n cccssary co rrc ctio n in s u b ỉc q u c n t p rin tín g s.
T im es N e w sp a p c rs ío r th c tc x t o n p.3 ‘Spccding O v c r Seas’ by Jc n n a i C o x íro m T h e T im e s \\'ild Spĩrits

S u p p ỉe m e n t, 2 5 A p ril, 1 9 9 8 , fo r th e tc x t o » p .5 5 ‘Facing th e T r u th ’ íro m th c B rainpourer S u p p ỉe m c n t,
T h e S u n d a y T im e s. F e b ru a ry , 1 9 9 8 , a n d fo r th e t« x t o n p .9 8 ‘Scc y o u in th rc c y ears say s ịoggcr o n lap
o f th e w o rld ’ by R ussell Je n k in s, T h e T im es, 7 D ece m b c r, 1996. o N I S yndication L im ited, l-ondon;
C o n s ta b lc & R o b in so n L im ited for th c tc x ts o n p p .4 a n d 3 0 fro m C ross tu y H cart a n d H o p t' lo D ie by
S heila R a d le y , 1 9 9 2 ; T h e lllu stra te d L o n d o n N e w s fo r th e tc x t o n p .9 b y J o F olcy, 1998; N e tv S c ie n tist
m aga/.inc fo r th e tc x t o n p .2 9 ‘T h e Big Yawn% b y A m y A d am s, D ccem b er 1988, C) RBI 1988; M ike
Bell ío r th c tc x t o n p .3 2 ‘L iving in th e V allcv’ ír o m P eak a n d P en n ìn e, M a rc h , I9 9 S ; 1PC S yndication
ío r th c te x ts o n p p .3 5 a n d 8 7 bv N in a H a th w a y , ‘G > nfidcnt p e o p lc, \v h a t’s th c ir sc crc t?’ from W o m an 's
\V eekly, P cb ru ary 1 9 9 7 , an d ‘V a ria tio n s o n a Th-cm c’ fro m W o n tiin ‘s W eekfyy Ju ly , 1 9 9 6 , o N in a
H a th w a y /W o w jH ’s W eckly!1PC S y n d icatio n ; T h e ín d r p e n d e n t for th c te x t o n p .5 6 “T h e Shell A rtist' by
P cter C o o k c , 2 7 A p ril, 1 9 9 6 , an d ío r th c te x t o n p .8 2 ‘Film C ritic ’ by M a rk A d am s, 1 1 O c to b e r, 1996;
rhc E d ito r o f C aterer & H o te lk c e p e r ío r th c tex t o n p .5 8 fro m th e a n ic lc ‘C h ip s w ith cv ery th in g ’, 2 9
J a n u a ry , 19 9 8 ; N e w H o lla n d P u b lish ers (UK) L im ited fo r th e a d a p te d tc x t o n p .7 2 íro n i S ecrct L o n d o n
by A n d rew D u n c a n , 1995; R osc R o u se fo r th e t c x t o n p .8 4 fro m th c a rtic lc ‘Fun a t th e D cn tist’s, T h e
G u a rd ia n , 31 D pcem bcr, 1996.
F o r p crm issio n t o r c p r o d u c e C o p y rig h t p h o to g ra p h s:
A rr D irecto rs &: T R 1P /C K a p o lk a fo r p .3 2 , /J G rc c n b c rg ío r p .C l (b o tto m ), /H e lc n c R ogcrs ío r p .C 6

( to p left), /J Stanley ío r p .1 3 (to p ). /B G a d sb y f o r p .1 3 (b o tto m ), /s G r a n t fo r p .C 1 6 (to p ); Jo h n Birdsall
P h o to g ra p h y fo r p p .C 5 (b o tto m ), C 1 2 (b o ttõ m ).
C 1 5 (b o tto m lcft); Cỉcrn’ Im ages/S tcw art C o h c n ío r p .C 5 (to p ), D o n J o h n s to n ío r p .C 7 (to p ), /Jo h n

W a rd c n ÍO T p .C 7 (ccn tre), /A lan K lchr for p .C 8 (to p ), ỉ ĩ . D y g as ío r p.C 8 (b o tto m ), /H o \v a rd K in g sn o rth
fo r p .C 9 (to p ), /A n d y G ỉiilíìc ld fo r p .C 9 (boctonn), /C h ris L ad d ío r p .C 1 4 (to p ), /D a n ie i P a n g b o u m e for
p .C 1 4 (ccn tre), /Ju stin P um írey fo r p .C 1 4 (bottcsm ), A''CIV Ầ listair Bcrg fo r P .C 1 5 (to p right); Sally &
R ic h a rd G reen h il! P h o to I-ibrary/S ally G rccn h ill for p .C l (to p ), /R ic h a rd G reenhill ío r p p .C é (b o tto m
rig h t), C 1 6 (b o tto m ); R o b c rt H a rd in g P ictu rc L ib ra ry /D r M iiller ío r p .C 1 2 (to p ); l.ifc Filc P h o ro g rap h ic
L ib rary /E m m a L ee fo r p .C 6 (b o tto m lcft), /A n g c la M a y n a rd ío r p .C l5 (b o rto m rig h t); w L loyd Jc ro m e
ío r p .8 4 ; T h e M e rrio n H o tc l, D u b lin fo r p .5 8 ; P ic iu rc s C o lo u r L ib rary fo r p .C 4 (lo p ), p .C 4 (b o n o m ),
a n d p .C 7 (b o tto m ); s p o r tin g P ictu re s (U K iỵịardinc fo r p .C 6 (to p right);
< h ttp :/A v w w .sh o u tp ictu rcs.co m /> w w w .s h o u tp ic tu re s .c o m fo r p .C 1 5 (to p lcft).
Arrvvork: O x ío r d D esigncrs Sc Illu s ư a to rs
P ictu rc rcsearch by V alcric M u lc ah y
T c x t p € rm issions by Jc a n K cnncdv
D csign co n ccp t by P ctcr D u ck er
C o v c r design by D u n n c Sc Scully
T h e re co rd in g s \v h ich a c c o m p a n y th is b o o k w e rc m a d e a t S rudio A V P , L ondon

To the student
This book is for candidatcs prcparing íor thc Univcrsity of Cambridge ESOL Examinarions
Hirst Ccrtiíìcate in Englùh (FCE). The FCE cxam ination is w id d y rccogniscd in commcrce
and industry «md in individual univcrsity íaculties and othcr cducarional insriturions.
T he collcction o ỉ ếour complctc practicc rcsts compriscs past papcrs from the Cambrídge
First Cerriíìcate in English exam ination; you can practisc thcse tests on your ow n or w ith the
Help of your tcacher.
The FCE examinarion is part of a group of cxam inations developed by Cambridge ESOL
called rhc Cambridge M ain Suitc. The M ain Suite consists of five exam inations that have
similar characieristics but are designcd for diffcrcnt lcvds o f Hnglish languagc ability. Within
the five lcvels, FCE is at Cambridge/AI.TE Level 3, Level B2 in thc Council of Europc
Fram ew ork and Level l in the UK National Qualifications l-'rame\vork.
Examination Cambridgc/ALTE Council o f Huropc UK National

Lcvd Framcwork Levẽl Qualifications
Framcwork I.cvcl
CPE
Certiíicatc of PrơíiciciK)' Level 5 C2 3
in Hngliỉh
CAE
Ortĩíĩcatc in Lcvel 4 C1 2
Advanced English
FCE L evel 3 B2 1
Firsi Ccrtiíkatc in Hnglish
PET
Prdiminary KngliUt Tcít L evel 2 BI E n tr y 3
KẸT E n try 2
Key EnRliih T«t L cvcl 1 A2
YLE
c.imbri<lge Young B rc a k th ro u g h L evel
Ixamcrs Engtish
The FCE cxaminarion consisrs of fivc papcrs:
Paper 1 Rcading 1 hour 15 minutcs
Paper 2 Writing 1 hour 30 minutcs
Paper 3 ư sc of Knglish 1 hour 15 m inutes
Paper 4 I.istcning 40 minutes (approximarcly)
Paper 5 Spcaking 14 minutcs

T o th e stucient
Paper 1 Kcading
Tliis papcr consists o í four parts. Each part conrains a tcxt and somc qucsrions.
Part 4 may contain tw o o r morc shortcr rclatcd tcxts. Thcrc arc 35 qucstions in
total, including multiplc choicc, gappcd rext an d matching qucstions.
Paper 2 Writing
This papcr consists of lw o parts. For both parts you ha ve to \vrite between 120
and 180 \vords. Part 1 is compulsory. It providcs tcxts which arc somctimes
accompanied bv visual m aterial tơ hclp you \vritc a lcttcr.
In Part 2, there arc íour tasks from which you choosc onc to w ritc about.
The range of lasks írom Nvhich qucstions may bc draw n includes an articlc, a
report, a com position, .1 short story and a letter. The last quesdon is bascd on thc
set books. Thesc books rcmain on thc list íor about tw o years and you should
contact Cambridge ESOL, or thc Cambridge ESOL Local Secretary in
your arca, if you wish to havc the up-to-datc list of sct books. If you decide to
do the quésrión on the ser books, thcrc will hc tw o options írom which you can
choosc onc ro \vritc about.
Paper 3 Usc of English

This papcr consists ol' fivc parts and tests your control of English gram m ar,
vocabulary and spelling. Thcre arc 65 questions in total. The tasks includc
gap-tìlling cxcrcises, scntcncc transíorm ation, \vord íorm ation and crror correciion.
Paper 4 I.istcning
This papcr coniains íour parts. Each part contains a rccordcd rcxr o r rcxrs and
some qucstions inclucling multiple choice, notc-taking, scntcncc complction and
m atching. You hcar cach tcxt rwicc. Thcre is a total of 30 qucstions.
You Nvill nccd to pausc your audio CD beíore Parts 2, 3 and 4, and at thc
cnd o í the tcst. The lcngth of thc pauscs is announced to you. The audio
cassettes, howcvcr, contain all pauses bet\veen parts, and only nccd to bc
paused for five minutes at thc cnd <>f thc test.
Paper 5 spcaking
This paper consists of íour parts. The Standard test íorm at is tw o candidatcs
and tw o exarnincrs. O ne examiner takes part in thc convcrsation, thc othcr
cxamincr listens and givcs marks. You will bc givcn photographs and other
visual material to look at and talk aboui. Somctinìcs you will ralk with thc
other candidatc, sometimes with thc cxam incr and somctimcs wirh horh.
Marks and results

Your ovcrall FCE gradc is hascd on the total score gaincd in ail fivc papers. ỉt is
n o t neccssary to achieve a sarisíactory lcvel in all fivc papcrs in ordcr to pass
thc exam ination. Certiíìcates arc givcn to candidates vvho pass the examination
with gradc A, B o r c. A is the highest. The m inim um succcssíul pcríormancc in
order to achicvc a gradc c corrcsponds to al>out 60% o f the total marks. D
and E arc íailing grádcs. Your Statcment of Results vvill includc a graphical
profilc of your períormance in each papcr and shọw your rclativc pcríormance
in each one. Each papcr is \vcightcd to 40 m arks. Thcrcíorc, thc fivc FCF.
papcrs total 200 marks, aíter weighting.
v iii
T o th e s tu d e n t
Further intorm ation

For morc iníorm ation about FCE o r any o th e r Cambridgc ESOL exam ination
w ritc to:
Univcrsity of Cambridgc
ESOL Examinations
1 Hills Road
Cambridgc
CB1 2EU
England
Tclcphonc: f4 4 1223 553355

Fax: ♦44 1223 460278
e-mail: HSOI.Helpdesk@uclcs.org.uk
www.CambridgcESOL.org
In some areas rhis intorm ation can also bc obtained from the British Council.
Test 1

Test ì
PAPER 1 R E A D IN G (1 h ou r 15 m inutes) Thái Quang Tuân's Archives
P a rt 1
You are going to read a magazine article about personal watercraft - also known as
•jet-skis‘. Chcx>se írom the list A-l the sentence which best summarises each part (1-7) of
the arlicle. There is one extra sentence vvhich you do not need to use. There is an example
at the beginning (0).
Mark your answers on the separate answ er sheet
A Personal vvatercratt are now regarded as

having a more serious role.
B There is now greater emphasis on the correct

way of using personal watercraft.
c Personal watercraft are likely to grow in

popularity in the tuture.
D Personal watercraft have changed because

the kind of people using them has changed.
E The maịority of people using personal

watercraft do so because it is enjoyable.
F Personal watercraft used to have a terrible

reputation.
G Personal vvatercraít enable you to experience

travelling on the sea in relative comíort.
H The reason why people like using personal

watercraft has changed.
I Personal watercraft enable you to combine

opposing wishes.
2
Paper I Reading
< & r" SPEEDING OVER SEAS

Ị e n n a i C ox r rp o r ts ơ n r ù tín g the ocean ivaves o n p e rs o tta l w a te rc ra ft.
A s w i i h s o m a n y o i h c r p o w c r f u l m a c h in e s , i í is n o t
th c v c h ic lc th a t c » u « s d a n g e r b u t ih c p c r s o n d iiv in g
0 ] I it. B ut now th a t p c r ío n a l v v a tc rc ra ít a r c b c c o m in g
I f y o u l i k c t h c N v a tc r b u i a r e n o t l c c c n o n g c i t i n g w e t ; ia rg c r. rn o rc ỉo p h iỉtỉc J ( c d and a b lc to h o ld m o rc
i f v o u c n jo y íp c c d b u t v v ith o u t t h c a s s o c ia tc d ris k s ; fu d . th c a itra c tio n hai changcd fro m dangcr to
i f y o u lik c to k c c p a c iiv c b u t p r c f c r n o t to m a k c to o d iỉta n c c . M o rc a n d m o rc p c r s o n a l v v a ic rc ra ít u se rs
m uch c íT o r t; a n d i f y o u h a v e g iv c n u p a ll h o p c o f ( tx ia y v v a n t to c r u is c .
íìn d in g a sp o rt th a t w ill a c c o m m o d a ie vour
c o n d ic iin g p rc fc rc n c c » . th in k a g a in . T h i n k p c rs o n a l
R ỉd in g on p crso n al w a tc rc r a ft is lik c ta k in g a
w ateitraft.
c iv ilU c d r o l l c r c o a s t c r r i d c o n v v a tc r. B c c j u s c ) - o u a r c
s o c lo s c t o th c c lc m c n ts, y o u fe c l i n o r e a p art o í
W h c n c h c s p o i t r o s c IO p o p u l a r i t y i n B r i t a i n * f c w th c m . w ith o u t h a v in g 10 put up w ith th c ir m o rc
y c a rs a g o , it w a s , lik c m a n v th r illin g n e w a c tiv itic s , u n p le a & in i u p c c c s . A p a rt fr o m th c o d d s p la s h , a n d
ta k c n u p b y y o u n g ris k -ta k c rs . l i b c c a m c k n o w n .u \v c t fc c t, y o u s ta v c o m p a ra iiv e ly d ọ - a n d a r c m u c h
ịe t-s k iin g and b c ío rc lo n g w as g iv e n a v cry bad m o r c a b lc to c n jo y t h e d c lig h ts o f b e in g ac sca.
nam c. T h e n o is c , chc a n tic s and. in c v ita b ly . th c
a c c i d o n t s c a u K T tl b y t h i s u n r c g u l . n c d s p o r t a n n o y c d
H a v in g o v c rc o m e h o ttility . p c rs o n a l \v a tc rc ra ft a n d
a n g lc r s , s a ilo rs a n d s v v im m c rs a lik c .
th e ir u « rs are g ra d u a llv b c in g seen in a m o rc
p o s itiv c lig ln . D c s p ite b á n g ric h p c o p lc s to y s - th c y

Ị T ]
H a v i n g c x h a u s tc tl t h e n u m b c r o f c h r ills t h c y c o u l d c a n c o s t s c v c ra l t h o u » n d p o u n d s — c h c ir c a p a b ilic ic s
gct fro m th e ir p crso n al w a tc rc r a ft, m any o f th c a s l i íc b o a t v c h ic lc s a r c b c g i n n i n g c o b c c i o e ỉ o p e d .
y o u n g c r s c n s a ũ o n -s e c k c is a rc m o v in g o n to m o rc Q u i c k a n d c a s y t o l a u n c h , ^ h c> • c a n r c a < h j w i m m e r s
c h a llc n g in g a c n v itic s . L c ít to th c m o re m a tu rc in \v h o a r c in t r o u b l e o r t h c s h ip w r c c k c d v e f y s w iftly
m in d a n d ) T » Ỉ , th c ip o r t h a s b c c n íồ rc c d to g ro w and, ỉ)c in g so casy to m an o c u v rc, c a n bc d riv c n
up. N ow th a t ih c a v c ra g c a g c o f th o s c p u rc h a s in g d o s c r th a n m a n y b o a t s . A s t r c t c h c r w h i c h C JI> b c
p c r s o n a l v v a tc r c r a A is 4 2 , a n d a g r o w i n g p c r c c m a g c p u l l c d b c h i n d h.T* a l s o r c c e n t l ỵ b c c n d c \ c l o p c d .
o f t h c m a r k c t is m a d c u p o f h u n ilie s . t h e m a c h in c s
havc h ad lo a d a p t: tw o - a n d th rc c -$ C J tc r p c r s o n a l
T o d riv e p e r s o n a l w a rc rc ra ft s a íc ly a t s p c c d rc q u ir c s
v v a c c rc ra ít a r c b c c o m i n g t h c n o r m .
s k ill, a g iliiy . c n d u r a n c c a n d a r m s irc n g d ì. B u i ch c
b a s ic s a r c c a sy . T h e d is a b lc d h a v c d iito v r r c d th a t
" ã l
M in d íu l o f past c r itic is m , |> c r v o n a l \v a tc rc ra ft p c r s o n .ll v v a tc rc ra ít a lk n v th c m co ta k c p art in a
m a n u í a c t u r c n a r e t r y i n g t o c m u r e i h a i a ll o w n c r s , sp o rt w ith o u t íc e lin g at a d tM id v a n tỉg c . A nd fo r
c s p e õ d lỵ th c ncw oncs. arc ta u g h t s c a m a iu h ip , m o ỉt p c o p lc d is c o v c rin g p crso n al w a (c rc ra ft,
n a v ig d ú o n a n d h a r b o u r ru lc s . T h e m a c h in c * a r c n o w p u r s u in g a c o m p c titiv e o r íìm e s s - im p r o v in g a c tiv ity
r c g i s t c r c d a n d s h o u l d b c M >ld v v i i h » $ a f e c y h a n d b o o k i s n o t « h c i d « L 1’ l c a s u r c i s t h c g o a l a n d m o i t o f i h e m
a n d v id e o , a s w e ll a s a n o p e r a t o r s g u id c . a c h ic v c it.
3
Test ỉ
Part2
(A. B, c o r 3 Whfch yỏu S w i rS r a S i n T t Ỏ m ể l e S 5 8' 14, ch00$e ' he answer
M a * your answers on the separate

ansvver sheet.
any trccs in ihc Brackhan) arca wcrc brought do\vn in thc terrible storms that March.
M T1)C town itselí' lost two great limc trces from the íormer market squarc. 'ITic
đisappcarance of such promincnt ícaturcs had altercd the appcarancc of the town ccntre
cntirely, to the annoyancc of iis niorc consenativc inhabiiants.
Among the annoyed, under more nonnal circumsiances, \vould havc bcen Chief Inspcctor
Douglas Pclham, hcađ of the local jx>licc force. But at ihe height of thai week’s storm, when
the wind brought down cvcn the mature \valnut iree in his gardcn. Pelham had in faci becn in
no fit siatc to notice. A large and hcalthy man, he had for the íirst ũme in his lifc been scriously
ill with an attack of bronchitis.
\Vhcn he first complained of an aching head and tightncss in his chcst. his wifc. Molly, had
iried to pcrsuade him to go to thc doctor. Convinced ihat the policc force could n<>t do wi(hout
him, he had, as usual. ignorcd her and atiemptcd to carry on \vorking. Predictably, though he
wouldn‘( have listcned lo anyonc who tried 10 icll him so. this had thc eữect of íogging his
memory and shortcning his tcmper.
It was only when his colleague. Scrgeant Lloyd. t(X)k the initiativc and drovc him to the
doctor’s door that hc íinally gave in. By that linie. hc didn't have the strength lcft to arguc wíựj
17 her. In no time at all. she was laking him along to thc chemist's to get his prescribcd antibiotìcs
and then homc to his unsurprised wifc who scnt him straight (0 bcd.
When Molly told him. on the Thursday moming. that thc walnut trec had bcen broughl
dovvn during thc night. Pclhani hadn‘t bccn able lo takc it in. ơ n Thursday cvening, he had
asked wcakly about damagc lo Ihc house. groaned thankfully vvhcn hc hcard thcre was none.
and pulletl thc shcets ovcr his hcad.
It \vasn't uniil Saturday, whcn the antibiotics took cffcci, his tcmpcraturc dropped and he
got up. thai hc realiscd wilh a shock that (he loss of thc vvalnut trce liad inadc a pcnnanent
diữerence to (hc appearancc of the living-room. The Pelhams’ largc house stood in a si/eablc
gardcn. It had not come chcap. but evcn so Pelham hađ no regrets about buying ii. The lcaty
gardcn had creatcd an imprcssion of privacy. Now, though, the stomi had changcd his O utlook.
Previously th e vicw from th e living-room had ícaturod thc handsonic walnut tr c c . This l»ad
noi darkcncd th e room because thcre \vas also a window on th e opposiic wall, but i( had
providcđ intercsting p a ttc m s of liehi and shade th a i disguiscd th e true S tate of th e wom
fumiture that th e family had b r o u g h t w ith thcm from tíieir previous house.
Wiih the trce gonc, thc RKini secmed cruelly bright, its wom fumishings cxposed in all thcir
33 shabbiness. And the VÌCNV froni Uic window didn‘t bear looking ai. The lall hrni.se next door,
previously hiddeo by ihc trce. was no\v thcre. dominating the Outlook vvith iis unattractivc
purple bricks and cxtcmal pipcs. It scemed co liavc a great many upstairs window$, all of them
watching the Pclhams’ cvcry movemcnt.
*Docsn’i it look (erriblc?’ Pelham croakcd to his wife.
But Molly, standing in the doonvay. sounded morc pleased than dismayed. ‘That's whar
l‘ve been tcllĩns you cvcr since wc canie herc. We have lo buv a new sofa. Nvhatever it costs.-
Paper I Rcading
8 Why were some people in Brackham annoyed after the storm?

A The town looked đitterent.
B The police had done litlle to help.
c No market could be held.
D Fal!en trees had not Ị?ọọn removed.
9 Who does ‘her’ in line 17 refer to?

A Molly Pelham
B Ihe doctor
c Sergeant Lloyd
D the chemist
10 When Chief Inspeclor Pelham's wife íirst told him about the walnut tree, he appeared to be
A worried.
B shocked.
c sactdoned.
D uninterested.
11 What aspect of the Pelhams' (urnilure does •shabbiness’ in line 33 describe?

A its colour
B its condition
c its position
D its design
12 As a result of the storm, the Pelhams' living-room

A was pleasantly lighter.
B felt less private.
c had a better view.
D was in need of repair.
13 Why did Molly sound pleased by her husbancTs comment?

A It proved that he was well again.
B She agreed about the tree.
c She thought he meant the sofa.
D It v;as what she expected him to say.
14 From what we learn of Chief Inspector Pelham, he could best be described as

A open-minded.
B welNiked.
c warm-hearted.
D strong-wille<3.
5
Test I
Part 3
You are going to read a magazine arlicle about counlry music star Pam Tillis. Eight
paragraphs have been removed from the article. Choose from the paragraphs A-l the one
which fits each gap (15-21). There is one extra paragraph which you đo not neeđ to use.
There is an example at the beginning (0).
Mark your answers on the separate ansv/or sheet.
W i l d A n g e l
Country musỉc star Pam Tỉllis talks ơbout her lựe and work.
\Vlnlc in che studio iccortiing bcr jlbtnn A ll Ọ fThis Paiu*s new frỉciick thcrc cnconnined her to widcn
i M t , country tnuỉic star Pam Tillis íoimd h m e l f h e r m iH Ìc n l tn ste s.
im.ii>ining an old d incc hall. A \ a rcsult, thc
Mcxic.iii-flavoured ballnd, ‘T cquih M ockingbird',
onc o f thc album s highlights. js punctuatcd by thc ‘It \va$ a crazy dme,’ Pam rccalls. ‘W hcn yourc
tound o f hcr dancc stcps. vouim, yx>u go any way the wind blovvs. so 1 WIS
experim eniing and sc d n g \vhat I could do. F was
I
> searching for my ideniity, if you likc.’
T h e cldcst child o f tamcd coui«r>’ singcr M d T illii.
Pam li.ii hcci) ÍI1 the busincss long cnouiỊh to kno\v I » r
\vhcn to add somechiitg .1 littlc unum al to h cr m uũc. K etum ing lo Noàlivillc in 1978, Pam was stil!
But tar trom bcing thc 'goldcn child’ \vith a o n c - looking tor hcr placc. Somi: o f hcr songi had been
way tickct to success, PamTillií'$ journcy to stardom recorcled by otlicr artists, but she no\v bt‘g jn the
has bccn liill o f ups and downs. search for her íìrsc recording contract.
15
T hen hcr lifc w » turncd upsiiic do\vn. At thc agc ot"

T he KSC, as (hey say. is hiỉtory. R eccntly votcd
16. Pam was involvcd in 3 scrious car accidcnt,
Pcnule Singcr o f thc Year by thc Coutỉtry Music
lcadiníỊ to w ars o f plastic swrgcr>- and occasional A »ocutioi). and \vith a scrics oíbesc-selling rvcordi
pain cvcr sincc. bchind her, the m ost difficult part o f Pam’$ lifc thcse
days is balancing licr homc life, \vith her husband
[« Ị
and w u n g íon, and hcr carccr.
A ũcr tlic accident, $hc atccndcd (hc ư nĩvcnitỵ o f
Tcnncssce, Jiul it \vas hcrc that Pam startcd hcr íìrst: I 21
band. Lcaving collcge in 1976.shc workcd for a timc ‘In íom e ways it \vas worsc‘ in Dads day.' admiB
in h cr íathcrs publiíhiniĩ company, S aw g n » M uãc, Pain.T here was n o T V o r vicieo and thcy wcre awa>'
bui then it \vas time to leave thc nest.
100 <ia>-s or niorc i year. liut the S3crifìce is \vorth
it. It's .1 \vay o f (eaching >x)ur kids about |].iving a
drc^m. and how im porunc it to follo\v (hat
In che b tc 19705, this area was ỉ inagnct for yotmiỊ drcỉm .'
Amcricans. T hcrc wns no bcMcr placc to bc. and
6
Paper l Reading
A HONvever. tlũs to o k longcr than shc cx p cctcd , F H ow cvcr. having th c advancage o f groxving up
an d liavinị' a ram o itt fa(hcr d id n ’t au tonurically in tlie m usic b » sin « s h e n c ir, Pam know s vvhat
o p c n d oors. S h c sang in a rh y ih m and blucs th ii involvcs. S hc u n d e rsu n d s w h at is necevsary
b an d , and attcr tì\x* years o f \v ritin g and in tcrn is o f hard w ork and loncly nigiits spcnt
singing. tĩnally g o t h e r b ig chance. in hoccl rooim .
B P ain eọịoyed playing w iih th c grotip shc hađ G Piun bclicves t l u t th c cx p cricn cc gavc h c r X
ío rm c d . ‘T h c re s c n o rm o a s cncrgy o u t thcre,' g reater decerm in ad o n to live th c lifc shc
shc States cm phaticaUy.‘I lasted j m t ovcr .1 year, w an ted . ‘If so m c th in g d n u n atic likc th at
b u t th e n it \V 3S tim c to 1*0 home.* liappciis to anyonc, i( Iiu k c ỉ th c m th in k th ey
survivcd to r ì reason.*
c P am íìrst appcared o n .1 n ụ ịo r stagc a t th c agc
o f cipln, ỉin g in g \vith h c r Inthcr. As a tccnagcr. H O ne ĨI1 p articular told h e r cliat sh c \vas capíble
sh e show ed » p at m any u lc n t aighcs in o f sin g in g any k ind o f m usic sh c \\-amcd. Kccn
N aihviU e, and p erfo rm cd at Io c j 1 clubs. to spread h e r artiitic w ingỉ. shc p m to g cd icr a
'locw<? ja z r /ro c k b an d ’ callcd Frcclight.
D Pam . hm vcver, p ro d u ccd h e r la t« t K co rd
h crtclf. *It was rcvvarding an d enjayable,' shc I ‘It \vasn’t pl.iinied. M y violin playcr $ «Tte d to
sa y s,'b u t I \vish l'd b een ablc to takc 3 \vhole play his H>lo an d m y m in d \vas tra iu p o rtc d to a
y car ovcr it.’ rim e a b o u t 2 0 0 years ago. W h e n l startcd
dancing, th e noise seem cd so ap propriatc th at
E C a liío rn is has alwa>"s b ecn th c destination for \ \ r lefi it o n thc recorđ.'
Am cricaV h o p c íu k and dream crs. P am fclt
liim tcd b y liíẽ in Na^hvillc. and so íh c to o
m ovcd to th e w est coast.
7
Test I
Part 4
You are going to read a magazine article about five young designers. For questions 22-35.
chcx>se from the designers (A-E). The designers may be chosen more than once. When
more than one ansv;er is required, these may be given in any order. There is an example
at the beginning (0).
Mark your answers on the separatc ansvver sheet.
W hich desỉgner(s)
works in a variety of environments? 0 c
advises against certain styles? 22
23
had begun desigrìĩng beíore being trained? 24
have adapted a traditional style? 25
is vvorking with a material vvhich is new to them? 27
have used their reputation to develop a new area of business? 28
are completely self-taught? i 30
mention how tastes have changed recently? 32
have received protessional recognition? Ị 34 ' J ; 35 Ị
8
Paper 1 Reading
Style M erchants
S tyle in /o rn is every p a rt o / o u r lives lo d a y Ịr o m clothes to in te rio r decoraiion a n d
accessories. J o Poley prỡvides a taste o f the tretìds f o r this y e a r’s f'olỉơĩvers o f /ashion.
‘s o m e t h i n g d i í ĩ c r c n t ’. A n d h c r s i m p l c , y c t i n c r c d i b l y
Q N éd Ingham : Dre$s D esigncr
m od ern , creaũ on $ have begun to c a p tu r e ev ery
N ed I n g t u im m akes d ream y, r o m a n tic u c d d ĩn g d c s ig n p r iz c in th e f lo w c r b u s in c s s, \ v h ic h has
d rcsscs. ‘P c o p l c arc t u r n in g avvay frc im th c h c l p c d h c r i n s e t t i n g u p h e r O ttn L o n d o n F l w c r
i r a d i ũ o n a l , r a ih c r s t i í ĩ d r c s s c s to m uch s im p lc r S c h o o l . S h c h a s r c c c n t l y c o m b i n c d h c r s k i ll s o n
s ty lc s ,* h c c x p l a in s . I n g h a m h a s b c c n d r a w i n g a n d c x t r c m c l y s u c c c s s t u l l c c t u r e t r ip s t o ỉ a p a n a n d t h c
d c s ig n in g w c d d in g d r c s ic s s in c c h c w a s a s c h o o lb o y . U SA . Shc s u y s , ‘F l o w c r a r r u n R c m c m s a r e m u d ỉ
T h e n , a t t h e i ig e o f 1 6 , h e e n r o ll e d a i f a s h io n s c h o o l , s im p lc r t h c s c d a y s. K c c p th c m s im p lc b u t s tr o n g
w h crc h c g a in c d th c t c c h n i c a l s k i ll s t o cut and a n d d o n ‘t h a v c t o o m a n v l c a v c s - « h c y a r c t o o la r g c
c o n s t r u c t c lo t h c s . B u t y o u d o n o i h a v c t o b c a b r id c a n d a r c h it c c t u r a l . F o r w c d d i n g b o u q u c i s , w h a t c v c r
to ovvn a n I n g l ia m d r css: h c a ls o d e iig n x lo n g , y o u r a r r a n g c m c n t, th e g o ld c n r u lc r c m a in s th c
c la s s ic c v c n in g d r c s s c s , g ĩv c n a fr c sh t o u c h b y u p - t o - f lo w c r s m u s t b c o f t h c s a m c s p c c i e s .'
c h e -m in u ie c o lo u r s and í a b r ic s . For th c le s s
a d v c n t u r o u s , I n g h a m s d c s i g n s i n c l u d c a c lít s s ic a l
su m m er n a v y -b lu e su iti th e c c n ơ c p ic c c of ih c 0 P ctcr I.ittlc: H airdrcsscr
E n g l i s h \ v o m a n ‘s uardrobe fo r m o s t o f th e 2 0 th F o r w e r 2 0 y e a r x , P e t e r I i t t l e h a * t a k c n h i s s c is s o r s
c c n tu r y . But in h is h a n d s, it lo o k s as ncw as t o s o m c o f i h c w o r l d ' s t o p h c a d s . E v e r y o n e w h o Í8
to m o r to w . a n y o n c h a s h a d t h e ir h a ir st> 'lc d b y t h i s m a n . ‘M o s t
v v o m c n w a n t r e n l- l o o k in g h a ir a n d a st>’l e t h e y c a n
Sally Quail: Jcwcllcr m a n a g c a t h o m c , ’ h c s a y s . S o h ĩ s a p p r o a c h is a n o v e l
o n c - t o c n s u r e t h a t h i s c l i c n t s n c \" cr a p p c a r a s i f
A l t h o u g h s h c o n c c w o r k c d f o r a n a r t d c a l c r , S a l ly
th cy havc ju st w a lk c d out of a s a lo n . But t h is
Q u a i] h a s h a d n o f o r m a I i r a i n i n g i n jc w c llc r > ’. I t w a s
c a r e ír e e a t ũ tu d e a n d c a s u a l lo o k d o « not com e
o n l y w h c n s h c c o u l d n o t f i n d a n c n g a g c m c n t r in g
chcap £ 2 5 0 f o r t h c f ir s t a p p o i n t m c m , a n d t h c r c ’5
s h c lik c d t h a t s h c d c c i d c d t o d c s i g n h e r o w n . T h e
a t h r c c - m o n i h w s á ã n g l is t . T r a d i n g o n h i s c c lc b r i t y ,
r c s u lt in g c n q u i r i e s c n c o u r a g e t i h c r t o s c t u p a s a
P c tc r h a s p r o d u c c d h is o w n r a n g c o f h a ir d r v c r s a n d
d c s i g n c r in 1 9 9 0 . N o v v h c r p ú r c c s a r c s o u g h t o u t b y
o th c r s ty lin g c q u ip m c n t. N ow , th o sc who c a n ’t
m a n y s t a r s o f s t a g c a n d s c r c c n . H c r s ig n a t u r c s ụ l c
m o k c it t o h i* Síilon c a n c r e a t c t h e ir o w n s t v l e s b a c k
i s la r g c s c m i - p r c c i o u s s t o n e s s « t in g o l d t o m a k c
at h om c.
m a g n i f i c c n t n c c k l a c c s , b r a c c l c t s a n d r in g s í a s h i o n c d
a f t c r t h o s c w o r n in t h e 18 t h c c m u r y . H o w e v e r , s h e
h a s r c c c m ly b c g u n to u s c th e m o s i p r c c io u s s t o n c o f 0 Lily G rim son: H andbag D csigner
a ll d i a m o n d ỉ . ‘It m u s t r e í l c c t m y aRC,’ «1>’S 3 6 -
Ju st ío u r years a íte r s e tt in R up in U ic í ic r c c l y
y c a r - o l d Q u a i l . *I r c a c h c d t h a t m o m c n t in e v e r y
c o m p c i i t i v c í a s h i o n b u s ĩ n c s s , L i l y G r i m s o n , \ v it h
W f>m an’s lif e w h e n s h e w a m s a d i a m o n d a n d i h a t is
o n ly an in ư o đ u c T O P ,- c o u r s e in art and d c sÌR n
w h e n I b c g a n w o r k in g w it h t h c m .’
b c h i n d h c r , h a s h a d c w o o f h c r c r c a t i o n s s c l c c t c d fo r
a m a ị o r d o i g n c x h i b i t i o n . 'Xrh a t c v c r t h c s h a p c a n d
0 Pcnny P ra tt: FIorist fo r m o f h e r d c s ig n s , th c y a r c n c v c r ig n o r c d . A U o f
I n a d d i t i o n t o r u n n i n g h c r t in y s h o p , P c n n y P r a t t is G r i m s o n ’* í a s h i o n b a g i a r c h a n d m a d c i n t h c U K .
a f lo w e r c o n s u l t a n t f o r a la r íte C h a in o f * u p e r m a r k e t s T h e G r i m s o n h a n d b a g i s n o t s i m p l y a C o n t a in e r -
and p r o v id c s A oral id c a s to a num bcr of to p t h c b a g s a r c f u ll o i g b m o u r , w h e t h e r f a s h io n c d

r c s t a u r a n t s . AJ1 o f i h i s i$ g o o d g o i n g f o r s o m e o n e fro m th c G n e st c a lís k in or th c h c a v ic s t s ilk . A
w h o h a s n o H o r is tr y q u a l i í i c a t i o m a n d g a v c u p h c r c o m h in a tio n o f c h ic a n d c a r c m a k e a G r im s o n b a g
jflb a s ỉ tca c h c r 10 vcars 3RO i n ordcr to do s o m c t h i n g s p e c ia l .
9
Tesi ỉ
PAPER 2 VVRITING (1 h ou r 30 m inutes) Thái Quang Tuân's Archives
P a rt 1
You m ust answer this question.
1 You ordered a gift by post for a friend's birthday. The company vvere late sending the
gịft to you and you were also not happy vvilh it. Below is the advertisement for the
gift. on vvhich you have written some notes.
Read the advertisement, together with your notes. Then, using all the intormation in
your notes. write a letter to Mr p. Marsden of Personal Pens Limited. You should
explain why you are not happy with Ihe gitt and ask for your money back.
P E R S O N A L IS E D G IF T S F R O M
P E R S O N A L P E N S LTD
L o o k in g fo r th e p c rfe c t p re s e n t?
W hy n o t g iv e a p e rso n a lise d
w ritin g s e t to so m e o n e sp e c ial?
T h e s e t c o n ta in s a n (a ttr n c tỉv^'
p e n a n d p en c il, e a c h o f \vhich
h a s a n a m e p r in te d o n th e s id e in g old le tte rs . You
j u s t te ll u s th g .n a m e y o u w a n t, a n d we ,ll p r in t it p í A C íi
"ÕĩTthẽ p en a n d pencil. T h e (rn a tc h in g jp e n a n d p tA * a d

p en cil (you c a n choose e ith e r a re d s e t o r a g re e n
s e t) com e in a sp e c ia lly d e sig n e d box. All th is for
o n ly £ 1 2 .9 5 . a n d s e n t to y o u w ith in _ a w ee k .
I f yo u a r e n o t co m p letely h ap p y , w e w ill g iv e you 3 ^ t ỉk s -

a ll y o u r m o n ey back. Ỳoo lcát
O rd e r y o u r s e t now! W rite to:
M r p. M a rsd e n
Write a letter of betvveen 120 and 180 words in an appropriate style on the opposite page.
Do not write any postal addresses.
10
Paper 2 Wrừing
Question 1
11
Tesil
Part 2
Write an ansvver to ono of the questions 2-5 in this parl. VVrite your answer in 120-180
vvords in an appropriate style on the opposite page. Put the question number in the box.
2 You have had a class discussion on fashion. Your teacher has now asked you to
write a composition. giving your opinions on the following statement:
Young peoplỡ always want to ơress ơiííerently irom ỉheir parents.
Write your com position.
3 You see this announcement in your school magazine.
Neiv Cỉubs after Schooỉ

Y o u r school iva n ts to s ta r i so m e n e w after-scliool clubs. C hess, table ttn n is , g u ita r
p lữ t/in g a n d cookcry ìtave been suggestcii a s Ịĩơssible id e a sỊo r clubs. W h a t do yo u
th in k ? W rite u s a n a rtìcle fo r th e scìtool m a g a xin e Cũvering th e points beỉũiư.
• Tell us ĩohich o tie o f these f o u r ideas y o u lik e best a n d whự.
• M a ke O i t c o t h e r S ìi g g e s t i o n f o r a n e i o C lu b and e x p ỉa in w h ỵ it iv o u ỉd Ik ' a g o o d id e a .
Write your article.
The local tourist oííice has askeđ you to write a report on inieresting things for visitors
to see and do on a one-đay sightseeing tour of your area. In your report, include
suggestions about where visitors should go and what they should do in order to spend
an interesting day in your area.
VVrite your report.
Ansv/er One of the follov/ing t\vo questions based on your reading of one of these set
books. VVrite (a) or (b) as v/ell as the number 5 in the question box. and the title of the
book next to the box. Your ansvver m ust be about one of the books below.
Best Detective Stories o f Agatha C hrìstie- L ong man Fiction
The Old Man and the Sea - Ernest Hemingway
A Winơow on the Universe - Oxíord Bookv/orms Collection
Cry Freeơom - John Briley
Wuthering Heights - Emlly Bronte
Either (a) You have had a class discussion on whether the characters in Ihe book or
short story you have read are believable. Your teacher has now asked you
to write a composition on this subject. Write your com position, explaining
your views with reterence to the book or one of the short stories you have
read.
Or (b) An English-speaking triend is going on a long ịourney soon and has asked
you to recommend a book to read during the ịourney. Write a Ietter to
your friend, giving some iníormation about the book or short stories you
have read. You should give reasons for your recommendation.
12
£1
UQỊỊsano
HUỊIỤ/Ỷị l J9iitìfỊ
Ttst l
P AP E R 3 U S E 0 F E N G L IS H (1 h o u r 15 m inutes) Thái Quang Tuân's Archives
P a rt 1
For questions 1-15, read the text belovv and decíde vvhich answer (A, B, c or D) best fits
each space. There is an example at the beginning (0).
Mark your ansvvers on the separate answ er sheet.
Example:
0 A leam B capture c discover D get
0 A B c D
L E A R N IN G T O M A K E A P E R F E C T P IZ Z A
According to the European Piz2 a-Makers' Association, making a gocxl pizza is not a
straightíorvvard skill to ( 0 ) The ingredients seem very ( 1 ) : llour, yeast. water and
a bit of salt. But water and flour can easily ( 2 ) glue and anyone who has eaten a
(3 ) quality pizza will know how bad it can ma ke your stomach ( 4 ) .......
‘In Italy, 70 per cent of pizza makers could improve on their product. not to ( 5 ) all the
pizza makers around Ihe world who ( 6 ) uneatable meals,' says Antonio Primiceri, the
Assoóation s tounder. He has now started a pi22a school in an aỉtempt lo ( 7 ) the
reputation of this traditional dish. As part of an ( 8 ) course. the students at Mr Primiceri's
school are taught to ( 9 ) common mistakes. produce a goođ basic mixture. add a tasty
topping and cook the pizza properly. Test the íinished pizza by breaking the crust,' advises
Mr Primiceri. ‘If the soft (1 0 ) inside the pizza is white. clean and dry. it's a goođ pizza.
If it is not like this, the pi22a will (1 1 ).... your stomach. You will feel
(1 2 ) full and also thirsly.’
In Italy alone, the pizza (1 3 ) has an annual turnover of more than $12 billion. Mr
Primiceri (1 4 ) that there are 10,000 jobs in pi2za restaurants waiting to be (1 5 ) by
those with real skill. ‘If you are a good pizza cook. you win never be vvithout a job.’ he says.
14
Paper 3 ưse o f English
1 A simple B primary c pure D regular
2 A mix B construct c assemble D make
3 A sad B poor c short D weak
4 A sense B do c feel D be
5 A State B mention c remark D tell
6 A submit B give c serve D ởeal
7 A save B provide c del iver D retum
8 A extensive B extreme c intensive D intentional
9 A pass B escape c miss D avoid
10 A spot B part c side D slice
11 A worry B upset c ache D depress
12 A hardly B tightly c uncomíortably D heavily
13 A activity B body c indcsiíy D company
14 A computes B estimates c assesses D counts
15 A employed B íilled c completed D covered
15
Test I
Part 2
For questions 16-30. read the text belovv and think of the word which best fits each space.
Use only one word in each space. There is an example at the beginning (0).
VVrite your answers on the separate answer sheet
Example: I0 I J t ________
HO LLYVVO O D
How was (0) that Hollywood came to be Ihe place everyone assodates with the
American film industry? It's a strange story.
There was a little village in Southern Caliíomia called Cahuenga Valley (1 6 ) a Mr

and Mrs VVilcox had their home. In 1887, (1 7 ) Mrs Wilcox was on a trip to the east
coast. she got into conversalion (1 8 ) a stranger on a train. The stranger had a
home called Hollyvvood somewhere else in the country. (1 9 ) Mrs Wilcox liked the
name (2 0 ) much thai she decided to give her home the same name. Because Ihe
Wilcox's home was the biggest in Cahuenga Valley. the village soon became known
(2 1 ) Hollywood.
In normal circumstances most people (2 2 )........... never have heard of Hollywood.

However, between 1908 and 1913 (2 3 ) else happened. Many small independent
tam companies began moving to Southern Caliíorniia (2 4 ) two main reasons. Firstly,
they were attracted by the sunny climate. vvtiich let them film throughout the year
(2 5 ) the nee<J for expensive lighting. Secondly. they were (2 6 ) problems
Wĩth the larger, more powerful studios in New York, and they wanle<j lo get away (rom
there.
Only one studio actually set (2 7 ) in Hollywood. Local people were so angry when
: appeared that (2 8 ) Iaw was passed lorbĩdđing the building of any more studios.
In fact. Hollywood itseK never had a film irìdustry. surprisingly enough. (2 9 ) the
other studios that came to the area were an built outside Hollyvvood. Nevertheless. by 1915
Ho)iywood' (3 0 ) become íamiliar as a term for the movie business as a whole.
16
P aper 3 Use o f E ngỉish
Part 3
F o r q u e s tio n s 3 1 -4 0 , c o m p le te th e s e c o n d s e n te n c e s o th a t it h a s a s im ila r m e a n in g to th e
tirs t s e n te n c e , u sin g th e w o rd g iv e n . D o n o t c h a n g e th e w o r d g iv e n . You m u s t use
betvveen tw o a n d f iv e w o rd s , in c lu d in g th e w o rd g iv e n .
H e re is an e x a m p le (0).
E x a m p le :
0 You m u st do e x a c tly w h a t th e m a n a g e r te lls you.
c a rry
You m u st ........................................................................... in s tru c tio n s exactly.
T h e g a p ca n be tille d b y th e w o rd s ‘ca rry o u t th e m a n a g e r's ’ s o yo u w rite :
0 Ị c a r r y o u t t h e m a n a g e r’s
W rite o n ly th e m is s in g w o r d s o n th e s e p a ra te a n s v ;e r sheet.
31 S o th a t Jo h n c o u ld g o o n h o lid a y in th e s u m m e r, h e s a v e d £ 1 0 a w e e k.
order
Jo h n sa v e d £ 1 0 a w e e k a b le to g o on
h o lid a y in the su m m e r.
32 lt's n o t vvorth a s k in g th e m a n a g e r fo r th e d a y off.
p o in t
T h e re ........................................................................... in a s k in g th e m a n a g e r fo r th e d a y off.
33 W e had to íin is h all th e w o rk b e to re w e c o u ld leave.
u n til
W e ha d to s ta y a ll th e vvork.
34 T im ha d not e x p e c te d th e c o n c e rt to be s o g o o d .
b e tte r
T h e c o n c e rt ........................................................................... h a d e x p e c te d .
17
Test I
35 lf Cheryl doesrVt train harder. she'ỉl never get into Ihe swimming team.
does
Cheryl will never get into the swimming team ...................................................

more training.
36 ‘Do you realise what the time is, Steve?' asked Chris.
what
Chris asked Steve ................................................................. it was.
37 The company decideđ to advertise the job in a national newspaper.

put
The company decided to ................................................................ the job in a

national newspaper.
38 At the end of his speech, the winner thanked his parents.

linished
The vvinnẹr ................................................................ his parents.
39 I applied for the job a month ago.

month
It ................................................................ Iapplied for Ihe job.
40 They received many letters of support after they had appeared on television.
followlng
They received many letters of supporl ................................................................

on television.
18
P aper 3 Use o f English
Part 4
F o r q u e s tio n s 41-55 . read th e te x t b e lo w a n d look c a re tu lly a t e a ch lin e . S o m e o f th e lines

are co rre ct, a nd s o m e h a ve a w o rd w h ich sh o u ld n o t b e there.
If a line is co rre ct, p u t a tic k ( / ) b y th e n u m b e r on the separate answer sheet. If a line

h a s a w o rd w h ic h sh o u ld not b e th e re , w rite th e vvord on the separate ansvver sheet.
T h e re a re tw o e x a m p le s a t th e b e g in n in g (0 a n d 00 ).
0 /
00 me
T A K IN G B E T T E R P H O T O G R A P H S
0 L ike m a n y pe o p le , I h a ve h a d a c a m e ra fo r a lm o s t a s lo n g a s I can
00 rem em b er, and I h a ve a lw a y s e n jo y e d m e ta k in g p h o to g ra p h s o f
41 m y ía m ily a nd írie n d s, a n d pla ce s I h a v e b e e n visite d . T h e n , a b o u t a y e a r
42 a go, I n o tice d th a t m o st o f th e p h o to s I w a s so p ro u d o f w h ic h w e re in
43 ía c t all v e ry s im ila r to each other. T h e y all shovved g ro u p s o f f>eople
44 sta n d in g b y a ía m o u s b u ild in g o r so m e o th e r a ttra c tio n . You h a rd ly
45 couldrTt m a ke o u t th e ir ta c e s clearly, a n d so it w a s d itticu lt to get
46 a n idea of h o w had e v e ry b o d y felt. I w a s lo o kin g fo r a n e w h o b b y at
47 th e tim e , a n d h a ve d e c id e d th a t I vvould s ta rt ta k in g p h o to g ra p h y
48 m o re seriously. I th o u g h t it w o u ld b e e xp e n s iv e , but, a tte r reading
49 a fe w ch a p te rs o f a b o o k I b o rro w e d fro m a írie n d , I la s t re a lise d th a t
50 I co u ld im p ro ve a g re a t d e a l e x tra vvithout s p e n d in g a lot o f m o n e y o n nevv
51 e q u ipm e n t. S o o n , in ste a d o f ju s t ta k in g o u t th e sa m e o ld p ic tu re s , I
52 w a s p h o to g ra p h in g th o s e tre e s , a n im a ls , p e o p le I didrVt k n o w a n d so
53 o n. T h is so o n m a d e a re a l d iííe re n c e to th e q u a lity o f m y p h o to g ra p h s
54 a s I b e g a n to c o n c e n tra te m y s e lí o n g e tlin g th e b e st p ic tu re p o s s ib le . I
55 a m p le a sed w ith th e re s u lts b e c a u s e I h a v e a c h ie v e d in su ch a s h o rt tim e.
19
Ten ì
Part 5
For questions 56-65. read the text belovv. Use the word given in capitals at the end of each
line to form a word that fits in the space in the same line. There is an example at Ihe
beginning (0). Write your ansvvers on the separate answer sheet
Example: 0 ị meetirtỹ
A NEW S U P E R M A R K E T FOR THE TO W N
At a (0) .ĨỈỈS&Ịĩìâ. held in Oxwell last Thursday evening a wide MEET
(5 6 ) of opinions was expressed on plans to build a large VARY
supermarket in the town. A (5 7 ) of the supertnarket group DIRECT
stated that the supormarket woukj beneíit the (5 8 ) of INHABIT
Oxwell as it would give people more (5 9 )........vvtien shopping CHOOSE
and would leaơ to a (60)..... in the number of jobs available in GROW
the town. which has a high rate of (6 1 )........Although there was EMPLOY
(6 2 ) on the need for new jobs. some of those present AGREE
claimed that the supermarket would lead to a (6 3 ) of jobs as LOSE
small shops, (6 4 ) to compete vvith supermarket prices, ABLE
vvoulđ be torced to close. The (inal (6 5 ) on vvhether or DECIDE
not to build the supermarket will be made next month.
20
Paper 4 Listening
PAPER 4 LISTENING (approximately 40 minutes) Thái Quang Tuân's Archives
P art 1
Yọụ w i|l h ẹ ạ r p ẹ ọ p lẹ ta lkin g in e ig h t d iffe re n t s itu a tio n s . F o r q u e s tio n s 1-8, c h o o s e the

b e s t a n s w e r (A , B o r C).
1 You h e a r p a rt o f a ra d io play.
W h e re is the sce n e ta k in g pla ce ?
A in th e Street
B in a bank
c in a p o lice sta tio n
2 You o v e rh e a r th e b e g in n in g o f a lecture.
W h a t su b je ct a re th e s tu d e n ts ta kin g ?
A m edicine
B s p o rt
c m u sic
3 You o v e rh e a r a co n v e rs a tio n in a c o lle g e .

W h o is the you n g m an?
A a new stu d e n t
B a stu d e n t in th e m id d le o f a c o u rs e
c a ío rm e r stu d e n t
4 You h e a r a vvoman o n th e ra d io ta lkin g a b o u t a c o o kb o o k.

W h a t d o e s sh e regret?
A n o t lo oking a íte r it
not
B not
n o t h a vin g ke p t it
c not
n o t usin g it p ro p e rly
21
Tesl 1
5 You hear someone talking about the day he met someone famous.
How did he feel after meeting Chris Turner?
A unimpressed with the íootballer
B angry with his íriend
c disappointed with himselí
6 You hear a woman talking on the phone.

Why has she called?
A to request a meeting
B to offer assistance
c to apologise for her absence
7 You overhear an extract from a radio play.

What is the young woman’s relationship with the man?
A She’s a pupil of his.
B She's a relative of his.
c She‘s a patient of his.
8 You hear someone telling a story about a slrange thing thai

happened in the mountains.
What point does the story prove?
A how strange things can be explaineđ simply
B how easy it is to imagine things
c how you can be tricked by the silence
22
Paper 4 Listening
P a rt 2
You w ill h e a r part of a ta lk a b o u t dolls. F o r q u e s tio n s 9-18, c o m p le te th e s e n te n ce s.
T he tirst knovvn d o lls w e re fo u n d in in a n c ie n t E gypt.
T he e a rlie st d o lls in the m u se u m d a te from the 10
E arly E u ro p e a n d o lls w e re d re sse d like 11
O n the 1 7th-centu ry d o lls, yo u c a n see d e ta ils like th e 12
1 7 th -ce n tu ry d o lls m a y c o s t as m u ch as 13 each.
C olle cto rs look fo r e xa m p le s in p e ríe ct c o n d ition , with th e ir 14
19th-century do lls had 15 and real hair.
If you ca n ta ke off the dolPs hair, you m a y se e th e
16 u ndem eath.
B eíore the 20th-century, all d o lls w ere 17 , n o t babies.
From the 1930s. do lls w e re m ade of
23
Test I
Part 3
You will hear five ditíerent people talking about why they decided to become nurses. For
questions 19-23. choose which ot the reasons (A-F) each speaker is giving. Use the letters
only once. There is one extra letter which you đo not need to use.
A It was a childhood dream.
s p e a k e r1 19
B Teachers had recommended it.
speaker 2 20
c A triend had decided to ốo it.
Speaker 3 21
D It offered a secure income.
Speaker 4 22
E It is a íamily tradition.
sp eak er 5 23
F it is emotionally satisfying.
24
Paper 4 Listening
P a rt 4
You w ill h e a r p a rt o f a radio p ro g ra m m e in w h ich a book c ritic gives in ío rm a tio n a b o u t three

new bo oks on th e subje ct o f tra v e llin g in th e U n ite d S tates o f A m e rica . F o r q u e s tio n s 24-30.
decid e w h ich book each s ta te m e n t reíers to. VVrite A fo r A to z ,
J fo r J u s t G o or
T T fo r T ra v e l T reat.
24 It g ive s inío rm ation a tx)u t p o litica l d e ve lop m e n ts. 24
25 It has been ca re íu lly re searched. 25
26 It is exce lle n t on th e su b je ct o f less w e ll-k n o w n p laces. 26
27 It aim s to b e a m u sin g b u t fails. 27
28 It gives the best ad vice on health. 28
29 It helps th e tra v e lle r to sa ve money. 29

------
.......
30 It g ive s ad vice on a cco m m o d a tio n fo r all b u d g e ts. 30
25
Ten I
PAPER 5 S P E A K IN G (14 m in u tes) Thái Quang Tuân's Archives
You take the speaking test with another candidate. reíerred to here as your partner.
There are two examiners. One will speak to you and your partner and the other will be
listening. Both examiners v/ill avvard marks.
P a rt 1 (3 m inutes)
The examiner asks you and your partner questions about yourselves. You may be asked
about things like ‘your home tow n\ 'your interests', 'your career plans’, etc.
P a rt 2 (4 m inutes)
The examiner gives you two photographs and asks you to talk about them for one
minute. The examiner then asks your partner a question about your photographs and
your partner responds brietly.
Then the examiner gives your partner two diííerent photographs. Your partner talks
about these photographs for one minute. This time the examiner asks you a question
about your partner's photographs and you respond brieíly.
P a rt 3 (approxim ately 3 m inutes)

The examiner asks you and your partner to talk together. You may be asked to solve a
problem or try to come to a decision about something. For example, you might be asked
to decide the best way to use some rooms in a language school. The examiner gives
you a plcture to help you but does not join in the conversation.

The examiner joins in the conversation. You all talk together in a more general way
about what has been said in Part 3. The examiner asks you questions but you and your
partner are also expected to develop the conversation.
26
Test 2

Test 2
PAPER 1 R E A D IN G (1 h ou r 15 m inutes) Thái Quang Tuân's Archives
P a rt 1
You are going to read an article about research into yawning. Choose from the list A-l the
most suitable heading for each part (1-7) of the article. There is one extra heading which
you do nol need to use. There is an example at the beginning (0).
Mark your ansvvers on the se p a ra te an sw er sheet.
A An aid to achievement
B Failure to prove a theory
c A way to send people to sleep
D Losing the battle
E Questioning a v/idespread belieí
F Results vvhich support a theory
G Not vvidely researched
H A partly explained theory
I Behaviour that spreads quickly
28
P aper ì Reading
Yawning
m ................................................
W hen one person yavvns in a room . o th e r W hatever the reason fo r yawning, there is no
people begin to yawn.Yawning is contagious. and d o u b t th a t it is reíreshing. A ccording to Ronald
once you start, there is alm ost nothing you Baenninger, another psychologist w ho is
can do to stop. O f course, the big question interested in the subject, this íeeling is n o t
is: why do we yawn at all? W h a t possible caused by oxygen coming into the body. The
advantage can there be in keeping o u r mouths cause. he believes, may lie in the blood: yawning
w ide open fo r several seconds? Is it a need fo r sends an e xtra supply o f blood to the brain.VVe
oxygen? Too much carbon dioxide in the blood? do n o t know exactiy w hat ihe blood does vvhen
Tim e fo r bed? it reaches the brain, b u t Baenninger believes it
does help to reíresh it.
r~ Ị _________________
5
It is none o f these according to R obert Provine
an American psychologist. Provine fìrst became Baenninger believes, therefore, th a t we yawn in
curious about yawning when he realised that o rd e r to make o u r brains rcady fo r some new
nobody had re a ll/ studied this extrem ely action. To te s t this theory, he asked people to
comm on aspect o f behaviour.‘M ost scientists are wear bands around th e ir w rists as they w ent
looking fo r the deep and obscure.’ Provine says. about th e ir norm al routines. These bands were
‘I look fo r the signiíicance o f everyday behaviour sensitive to increased movement by the people
that people have neglccted.’ W ith this in mind.he vvearing them. The bands contained a bucton
and several o th e r psychologists decided to fmd which the people w ere to ld to press every tim e
o u t when, why and how we yawn. they yawned. A fte r collecting data fo r tw o
weeks. Baenninger found th a t w ithin 15 minutes
2 _____ o f yawning his subịects w ere norm ally engaged in
Conventional wisdom has long held th a t we some m ore lively form o f activicy.
yawn in o rd e r to wake up o u r w cary brains w ith
a reíreshing burst o f oxygen. Assuming that this ■ ; ;
is true, Provine reasoned, then people w ho are There are indeed plenty o f indications from
running low on oxygen - o r high on carbon everyday life to suggest th a t yawning helps the
dioxide - should yawn m ore oíten than normal. brain to get ready fo r something big. Olympic
To find o u t if this was the case. Provine (irst had athleces yawn beíore a race, students yawn
to tr y to make people yawn more. beíore an examination. and violinists yawn
beíore a concerL It is n o t that the athletes.
studcnts o r violinists are bored; they are simply
In his laboratory, Provine gathered together a vvorking to get co a level at vvhich they are well
group o f students and to ld them to th in k about and tru ly ready fo r the main evenL
yavvning while they breathed in m ixtures o f air
that w ere eiứier high in oxygen, high in carbon
dioxide o r com pletely normal. Although the ‘W e yawn when there is nothing actually
gases made the students breathe íaster, none happcning b u t vvhen we do n o t w ant to lose o u r
o f the different gases altered the students' rate level o f rcadiness,’ says Baenninger.Why w c yawn
o f yawning. which held steady a t about 24 beíore going to bed, though. rcmains a mystery.
yawns an hour. Exercise, vvhich also speeds up Baenninger suggests that it may be that we
breathing. made no difference to the yawning struggle co scay awake and alert, b u t sleep simply
rate either. wins o u t in the end.
29
You are going to read an exlract from
(A. B. c or D) vvhich you think fits best ansvver
Mark your answers o n the separate an

separate answ er sheel
n S iiu r tU y m onung% I w orke<i in th e ía n ũ ly ^ h o p I H a itc d c > d in jj dovvn t o th c s h o p \v ith DaH

o n S iiư r d iy s AS «x>n u I W M b ig c n o u g h . ! i h o iig h t o f it i s g i ũ n g h im i l u n d a n d s o 1 d id n 't
m in d w h i t I d id . a lth o u g h i( w a s ịu si íe t c h in g a n d C ir r ỵ in g i t » r a n all m o m l n g . I I iu iu g c d
n o t t o th in k o í it i i \ w r k i n d I lo o k c d f o r v o r d t o th c b jr o f c h o c o l i t c m y g r in d n io t h c r p x v sed m c
u n ỉ m il in g l y u I lc f i. I ir ic d n o t t o l<x>k a t h c r . I h a d r c is o n t o f e c l g u ilt y b c c iu s r I'd g c n c r ii l) i lr c a d y 7!
c a ic n s o m c d r lc íl Í r u it í o r ì ílix t r o f c h c r s c w h c n n o o n e w « lo o k in g . A s s o o o i i I W ÌS fif te c n . ih o u g h .
D ad ‘T l u t s i l. o u r J * n « .Y o u ‘re o f \\r>rlcmg ÌJ{C n o s v a n d > o u 'rc n c x C orning t o w o r k u n le s i ỹ ^ u i
g r in d m o ilH T pa y s )-ou propcriy.' H c d id h is bcM t o m i k c h ls c h ín !o o k d e t c n n in c d . 'I s lu U sp e a k t o :
hcr.‘
T h e n c x i SaturtUy. G r in caU ed i n c in to Jvcr littlc o íT icc b c h ln d i lic s h o p I *l\va>T. h « e d ỊỊo in g in <h<TC.

S h c h ad * n d c c ư i c h c i t c r o n fu ll b U u . i n d t h c w i n d o w s « r r c llv v iy s k c p t H g h tly c k n c d \ \ h iỉc v r r th c
w r a lh c r . 'YcHi're w m t in g t o g c i p * id . I h c ir,' s h e M id . 'Y es. p lea sc.' 1 r c p lic d II W4S ra ih cr lik e v ỉn tm g
t h c b u d m h t r c s t « s c h o o l. s o I \V1S m y q u ic i a n d m p c c t f u l. G r in v ca rch cd ih r o u g h i h c m c « of
p a p c r s 0*1 h c r c r o w < k d d « J t . ú g h in j ( a n d c lic k in g h e r lo n g u e . E v v n tu a lly ? h e p r o d u c c d i n o d ì c ú l -
l o o k in g ỉe a /le t a n d ran h c r r m g c r s aJonj{ (h e c o lu m n s o í íìg u r c s . 'H o w o W J r c y o t i ĩ ' 'f l f t e c n . . . G rin .'
I i d d c d fo r c x t r i p o lit c n c s s . b u t s h c lo o k e d i t m c i s i f I h í d b c e n c h e c k y , 'FuJl (m ie r s J( y o u r i g e g «
fo n y p o u n d i fo r » ih ir ty * fìv e -b o u r w c t k ’ U i t i n n o u n c e d in %uch t Y tx y IO lca v r n o d o u b t t h ít vhe
18 W isn 't in favo»ư o í t h iv ' N o \v n n d c r t h e r e s n o profi« in s h o p k c c p in g ! S o . J in c t . w h a t* i i h it p c r h o u r? '
19 Ọ u t i ii o n s llk c l h ỉ ( i l w i y 5 {lu tir r e d m « . I n it c id o f Ir>nnjj t o w o r k ihciM OU! in m y h c a d . I w u l d |u «
« * n d (h c r r . u n a b le t o th in k s t r i ig h i. * ru s c t Ằ p c n a l a n d p ip cr.' I olT crvd 'D o n '( b o tb er,' S iu p p c d GrJO
an grily . "1*11 d o « m y td r . 1*11 g i ' f y o u a p o u n d » n h o u r ; u k e u o r lca v c it.' T U u k e i«. p ỉ c u c * 'A n d I
c x p e c t r c il \v o rk fo r i l. m in d . N o s u n đ i n g ib o v u . i n d i f I c a ic h y o u c a u n g i n ) o f th c s to t k . ih c r c ’il b c
iro u h k - T Ì M t t h c ít . i n d ít * i c rim e.'
F rom t h e n o n . m y m a in |o b ỉ t t lic t b o p w a s B llin g th e s h r lv r v T h ií W is d u ll. bw« I h ir d ly r x p c c ie d t o

b c ư u u c d w ìt h t ư iid lin g th e O O M )' O n c c o r t w l c c . biAN -oer. \v h e n D ad w a cx«r» busy. I'd tr ic d t o
h d p h i m b y Mrrving bchư vd ib c c o u n tc r. I l u i e d ũ . It W1S v e r y d iff ic u lt t o r c m r m b c r th e p r ic c s of
o -ứ T Ị ih in g j n d l w u p m ic u U r ly h o p c ỉ c \ \ II u s in g ih c (III. C c r u ln c u M o m c n I iu d c u n k in d rcm arks
a b o u t th í í . in c r r is ln g r a y c o n l u s io n a n d th e c h a n c e * o f m y n u k in ( ỉ a f o o l o f m y w lf.
It w u a n o l d - n u b b O ir d Yillage s h o p . g o r n g h ic k I s o y t i n i t lc a t t a n d It w a s r c illy b c h in d th e ú n ie s
o c n ch en . D i d io n g c d t o b c a b le t o n u k c (h e s h o p m o r c a n n a l v e t o c u s i o m m . I>ut G r» n v v o u ld n t
h c i r o f ít I <AtrhcArd t h e m o n c c i r g u m x i b o u i v vh cth cr l o b u y * fr c c /c r C ibẳnet 'O u f c u x to m e r s W in i
í r o / c n f«jod.‘ D i d u i d . 'Thc>- s e e ( h in g ỉ id v e n lM d a n d l f the>’ c tn 'c g c t th e in fr o m u s , i h e / Ị gi*
elsew h ere.* ‘Yo*ir l it h c r ahivays io ld ír c s h f o o d .‘ G ran rq>l»cd. ‘P c o p lc c o tn e b c r e í o r q u ility . ih c y d o n ‘t
WJU» i l l ihat fro z c n V1UÍT'
A cnuU y. i b c gâ\-c w aY in th c c n d o v c r th c írtr-ỉcr. M r T im s o n . Ivcr g rcai rív al. ín « o llc d o n c in h is s h o p

at i h f o t h c r c n d o í th e M lligc a n d c u i t o m c r ỉ ỉU r tc đ n u k in g lo u d c o m m c n t ỉ a b o u t l*ow h a n đ y II V ÍU.
b c in g a b le l o g c t Í r o íc n fo o d in th c v ilL íg c. i n d h o w g o o d M r T im s o n s « u v » g « w c r e .T h a t RỉDy iipMrt
h «r h c c iu s c s h c v n s p r o u ti o í h c r u u s i g c s a n d i h c ungM C iously g « - c D id t h c r o o n c y t o buy ih e
rreexcr. VVuhtn ì c o u p k o f w w k t . s h c w a s C ỉiín g í i t i ỉ c n ícx x l lik c ih c r c « o f u v
P aper ì Reading
8 H ow did J a n e t feel w h e n sh e íirs t sta rte d h e r S a tu rd a y m o rn in g jo b ?

A She enjoyed th e w o rk th a t s h e w a s g iv e n .
B She v/as plea sed to be h e lp in g h e r íather..
c She v/orrie d th a t she w a s not doing it w e ll.
D S he w as o n ly really in te re ste d in th e revvard.
9 W h a t do w e learn a b o u t her g ra n d m o th e r’s o ffic e in p a ragraph tw o?

A It needed decorating.
B It w a s untidy.
c It had too m uch íu rn itu re in it.
D It Nvas dark.
10 ‘T h is ’ (line 18) reíers to

A s h o p ke e p e rs’ proíits.
B a th irty-tive -h o u r w eek.
c J a n e ts request.
D the reco m m e n d e d v/age.
11 ‘F lu ste re d ’ (line 19) m eans

A bored.
B angered.
c coníused.
D depressed.
12 W h y did Ja n e t’s g ra n d m o th e r react a n g rily to h e r o ffe r to íetch a pe n cil a n d paper?

A Ja n e t was un able to a n s w e r h e r q u e s tio n .
B Janet had been unvvilling to help her.
c Ja n e t had m a d e an un h e lp tu l suggestion.
D Janet had ansvvered her rudely.
13 W h a t d id Ja n e t’s ía th e r a n d g ra n d m o th e r d is a g re e about?
A h ow to keep th e ir cu s to m e rs loyal to th e sh o p
B the type of a d ve rtisin g n e e d e d to a ttra c t cu s to m e rs
c the type of cu s to m e rs th e y n e e d e d to a ltra c t
D hov/ to ge t nesv cu sto m e rs to com e to th e shop
14 W h a t eve n tu a lly p e rsu a d e d J a n e t's g ra n d m o th e r to b u y a fre e ze r?

A S he íoun d th a t she liked fro ze n to o d a fte r all.
B A n ew shop o p ening in th e villa g e had or>e.
c It w as su g g e s te d th a t her Products w e re n 't íresh.
D S h e responded to p re ssu re írom h e r cu sto m e rs.
15 W h a t im pression d o w e g e t o f J a n e t’s íe e lin g s to w a rd s her gra n d m oth e r?

A She re spected her ta irn e ss.
B S he dou bted h e r jud g em e n t.
c S he d islike d h e r m anner.
D S he adm ired h e r dete rm in atio n .
31
Test 2
P a rt 3
You are going to read an article written by someone who lives in a house in a valley. Seven
sentences have been removed from the article. Choose from the sentences A-H the one
vvhich fits each gap (16-21). There is one extra sentence vvhich you do not need to use.
There is an example at the beginning (0).
Mark your answers on the separate ansvver sheet.
L l V I N G IN T H E V A L L E Y
And yel wc knc\v Uiat Uicre was reason for us
lo \vorry. The snow and \vind were certãlnly
inconvcnlcnt but thcy did not really Irouble us
grcally. 17 ; ll rcmlndcd us I>f \vhal
could havc occurrcd if circumstânccs liart boon
dlíTcrcnt. ií thr no\v «f vvatcr írĩ>m the hills had
noi. many years beíore. becn controlled. held
back by a scrỉes or dams.
In a short lime thc snơ\v siarted 10 mclt. Day

aílcr day. \ve \vatchcd íurlous clouds plle up
NVc had boen IMng In our vallcy íor slxteen hiíih ovcr Ihc liills to thc vvest. Slnlsier grey
monlhs vvhrn \vc Ilrst realised tho đangcre that clouds vxiended over Ihe valleys. QÍ8
could exlsl. [ 0 H (ỉntll then. we had fcli Wc had seen enough of the sky: mm \ve began
safe and shcltercd in c»ur vallcy. lo uatch Ihe river. uhich evcry da> was
borominíỉ fullcr and wlldcr.
Soon snow bcgíin to fall. \Viihln a day it lay
some 13 centimetres deep. pĨ6 Buí The snow w as gradually \vasho<1 away as morc
on Ihe neiplilMíuring hciíihls thc snow w as and more raln streamed Irom the clouds. but
much deeper and stayed for longcr. Up Iherr hiíih up in Uie hills the reservolr \vas niling «nnd
tho wlnd blasird nercely. Deep ín our valley u e wa8 Ííisi ai)|)roaclìlii{> danger level. And thon II
íolt only 8uddcn gustó of \vind: trccs swayed bui happcncd - for Ihe llrst time In ycars Uie
Ihc* branchcs held flrm. rcsciAoir (nrrílimcd. 19
32
Paper I Reading
The river scemcd maddened as tho watcrs beíore Ihc (lam \vas buỉlt. the rlvcr had (loodcd
poured almost horizontally do\vn to ỉts lo\vcr the nearby villagcs in just such a rage. Now.
stretchcs. Just a couple of mclrcs from our thc dam rcstrlcts the flow ol the rỉver
coỉỉagc,
» the slmiiĩì seemed
’ U I" ư v v i l i v u wild bcncatli
l l \ l l/V I I V U U I Uic
M IV <111(1 usually all Is well: the í>reat mass of waler
brldge. I 20Ị J For three (lays wc prayed from the hỉlls. the product ()f snow and
that it \vould Siay bclo\v its wall. Our prayers torrentỉal rain. remaỉns bcliiiid iis barrlcr wiih
were ans\vcrcd as the dam held and tho watcrs just the occasionííl overflo\v. 21 Wc
began to subsidc. can feel our homc in thc valley is still secure
and safc.
On many occasỉons through the ccnturlcs
A It was thc river. the Ryburn, \vhich E v\e can thus cnjoy, rathcr than fear. the
normally flowcd so gently. that huge clouds Ihat hang ovcr tlic vallcy.
threatcncd us most. and can bc thrilled by the tremendous
power which \vc know the rlver
B And yet the immcnse po\vcr of íill Iliỉs
possesses.
\vatcr above us prevcnts us froin ever
belicving ourselves lo bc completcly F II almosl completely blocked our lane
safe ỉn oụr homc. and madc the sireamside path slippery
and dangcrous.
c They twisted and turned. rlsỉng
castNvards and upxvards. warnỉng of G There In Ihc heights it \vas like the
xvliíit was to come. Niagcira Kalls, as the \vatcr surgcd over
the cdge <)f the (lam and poured into the
D It \vas far dccpcr than we'd ever seen it
strcam below.
so near our homc, ỉungỉng ĩurỉously at
its banks. H It was the year when Ihe storms came
carly, bcfore the calendar even hỉnted at
\vinicr. cven bcĩore Novcmber was out.
Test 2
P a rt 4
You are going to read a magazine article in which five people talk about their characters.
For questions 22-35. choose from the people (A-E). The people may be chosen more than
once. When more than one answer is required, these may be given in any order. There is
an example a! the beginning (0).
Mark your answers on the separate ansvver sheet.
W hich person or people state(s) th e fo llo w in g ?
I used to avoid giving my opinions at work. Ị 0 ị E
Taking time off for your protessional development can make 22 I

vou (eel
you SRlí-assurpd
feel more self-assured. 1
I never thought l'd be a contident person.
I'm not induenced by people’s opinions of me. r a :
Everyone gets nervous at times.

mu [»L
Irìitially. I misunderstood what conlidence was. ị 27
I find making notes very supportive in my work. 28
A certain event changed the course ol my life.
IVe vvorked on having a contident appearance.

mz
I am realistic about my abilities.
mu [=1
My behaviour helps others relax too. 34
Getting things wrong can have a posltlve result.

E [
34
P aper 1 Reading
Confident people
What's their secret?
C o n ỉid e n t p e o p le m a y look as ihough they w ere b o m thot w ay, b u t m ost w ill tell yo u th a t it's a
skill they've learned because ih e y h a d to. N in a H a th w a y asks five p e o p le h o v/ they d id it.
a b o u t h o w th c y lo o k .’ I ’v e f o u n d t h a t s w c ll w o r th
A Jenny
r c m e n ỉb e r in g .
\v h en I leíc school I was vcry shy and 1 akvays I also th in k y o u g a in c o n C d e n c e b y ta c k lin g th in g s
thouglit I’d stay that \vay. I \vas about twcnty-five th a t sc are y o u . W h c n I to o k Iiiy d r iv in g tcst I w a s so
w hen I \vas askcd to hclp out at my duightcrs n c rv o u s , b u t I p asscd . A ftc r th a t I fclt su rc th a t IVi
school. 1 was surc I wouldn’t cope. but I surprised n c v e r feel s o í r ig h te n e d a g a in , a n d I n e v e r liave.
myseir by doing \vcll and someone there suggcstcd
that I should do a unỉvcrsity coursc. D B a rb a ra
Thcrc \vas a huge ktiot in my stomach the day I
curned up for my first lectiirc. But my coiứìdcncc My coníìdcncc comes naturally from rcally enjoying
gradually grcw - I bccaine iuorc outgoing. Looking thc \vork I do. but it’s something that 1’ve builc up
back, working at tho school was thc turning point in over the ycars. If you just gei on with ic and leam
my life that has helped everything clsc fall into placc. from any mistakes you niakc, you’re morc confident
thc ncxt time round. I work hard and I’m popular in
the restaurant, but its prob.iblc that onc out o f ten
B M ic h a e la
peoplc docsn’t likc me. 1 don’t let that affcct me.
It all startcd four )-cars ago whcn my íathcr becanie YouVe got to likc yourseir for w hat you arc, Iiot try
iO and I had to take over the íamily business. I was to be \vhat othcrs cxpcct.
50 scarcd. I went over the top and bccamc a bit too My coinpany runs ạ lot o f training courscs, and
aggrcssivc and inipaticnt. I tliouẹht that was what going on those has built up my sclf-e$tccm. T he
contìdenc peoplc wcrc like, but gradually I learned company abo cncourages employces to sct
othenvise.To be confident you‘ve qot to bclicvc in managcablc largets. It hclps no end if you can S C O
yoursclí. you rc achieving sometlùng tangiblc, rathcr than
If tỉỉings get too denianding for mc at work, I rcaching for thc stars all at O I 1 C C , and cnding up \vith
don't let myselítccl if l savc a number oftasks nothing but airỉ
until the next đay. W hen I’m confrontcd with
soniething difficult. I tcU niysclf that I‘vc got nothing E E laine
to losc. Its fear that makes you lack confidencc, so
I‘m aKvays having quiet cliats with myselí to put After I left collcge I worked for ycars as a sccretan,1
asidc tliosc fcars! and \vould sit in meetings, not aKvays agreeing \viih
\vhat was bcing said, but too scarcd to spc3k up.
Eventually, I summoncd up thc coníìdcncc to start
c Carol
making my point. Even so. w hen I íĩrst \vorkcd in
People think I’m very coníìdent bnt, in fact, the politics, l*d ncvcr spokcn in public bcíorc and aKvays
calmer I look.thc niorc tcrridcd I rcally am. I’ve had useđ to shakc likc a lcaf. I would say to myself,‘D on’t
to develop the ability to look confidcnt bccause it’s bc so silly. People do this cvery day o f thcir livcs, so
ihe most vital thing in TV. Intervievving pcople has thcres no reason why you can‘t.’ I also íound ic
helped me realisc th.1 t niost - if not all - o f us get hclpíul to jo t â few rhings down to refer to - rathcr
tcnsc in important situarions, a»d vve fccl caliner likc having a comíort blankct!
when we Sị>eak to somcone w hos gciiuinely I don’t think therc is anyone w ho isn’t a little
triendly.Tlie besc evcr piccc o f advice camc íroni my shaky \vhcn it conies to talkiug piiblicly. T h e rcal
mothcr \vhcn I was agonising as a teenager about sccrct o f confidence lics in tclling yoursclí over and
wcaring chc riglít clothes. Shc simply cried, ‘W ho’s over again,‘N othing is imposỉible.’
looking at you? Evcrybodys too busy \vorrying
35
Tesl 2
PAPER 2 W R IT IN G (1 h ou r 30 m in u tes) Thái Quang Tuân's Archives
P a rt 1
1 Your English íriend, Peter, has written to you asking you to help him organise a
special surprise birthday party for his sister. Anna.
Read Peter's letter and the notes you have made. Then, using all the iníormation, vvrite
to Peter ansvvering his questions and explaining how you think the party could be
made special.
We must make sure thai Anna has no idea \s-e’re

planning such a íỉreat surprise! I’m not surc how
many pcoplc to invite but anyway our house is
certainly too small. Do you think wc should book
the>íajcstic Hotel in town for the evtning?
Sounds qoođ -
t v t ổxpcrìữiví?'
Anna loves music so we’ll have a live band aíter
A birthday the meal. \\rhat sort of (ood would be best? I*ve
c s t k e a n d ...
spent ages thinkiní? about vvhat we could all huy
her as a present and I thought a xvatch would be a
good idea. \\1ial do you think? Nữ. becaưữe...
Can you come the day t>efore to help with thc An rìa enjoy$
S o rry - t>uỡy preparations? Thcre's a lot to think about so. as t rsv& ltrỹ 5 0 ...
th a tỏ a y
you can sce, I really need your help! Also can you
suggest somethinổ clse that will make this party
really special?
Best wishes
Ye&.
H o w a b o u t...
Pcter
Write a letter of betvveen 120 and 180 vvords in an appropriate style on the opposite page.
36
P aper 2 V/rìtinỊỊ
Question 1
37
Test 2
Part 2
Write an answer to one of the questions 2-5 in this part. VVrite your answer in 120-180
words in an appropriate Slyle on the opposite page. Put the question number in the box.
2 You have been doing a class project on transport. Your teacher has novv asked you
to write a composition about the following statement:
There is no iuture for Public Iransport, because travelling b y c a ris so much more
convenient.
VVrite your composition.
3 You see this advertisement (or a job in the USA.
USA SƯ M M E R C A M PS
P e o p le o f a l l a g e $ n e e d e d t o i c o r k i n H u m m e r c a m p s a l l o v e r t h e U S A .
I f y o u ca n sp c a k E n g lish a n d you a r e c h e e ríu l. e n e rg e tic a n d h ard w o rk in g , y o u a r e th e rig h t
p crso n for U 8. Food a n d accom m odation a r c provided. You ju » t p ay th e a ir fare.
You w ill: - look a r te r c h ild rc n a g c d 8 -1 2
- h e lp organiiM; sporti; a n d e v e n in g a c tiv itie s
- w o rk in th o k itc h e n s
W rit« tc llin g u s ab o u t y o u r e e ira n d w hy y©u th in k y o u w ould bo a a u ita b le p crso n for th e job.
Write your letter of application Do not vvrite any postal addresses.
4 An intemational stuđent magazine is running a short story compelition which you

have decided to enter. The story must end with the following words:
Michael closõd the door and knew at that moment he had made a mistake.
Write your story.
5 Answer one of the fol!owing two questions based on your reading of one o( these
set books. Write (a) or (b) as well as the nuimber 5 in the question box, and the title
of the book next to the box. Your ansvver m ust be about one o( the books below.
Best Detective Stories oíAgatha Christie - Longman Fidion
A Tale o f Two Cities - Charles Dickens
Animal Farm - George Orwell
Wuthering Hỡights - Emily Brontẽ
More Tales Irom Shakespeare - Charles and Mary Lamb
Either (a) ‘How important is the title of a book or short story?’ Your teacher has
asked you to write a co m position discussing thís question and
explaining why the writer of the book or one of the short stories you have
reaơ chose that parlicular title.
Or (b) The English book dub you betong to is producing a list of books in
English which it can recommenơ to members. The Club Secretary has
asked you to vvrite a report on the book or short stories you have read,
saying whether this book would be suitable to include on the list and
explaining why.
38
P aper 2 Writing
Question
Test 2
P APER 3 USE 0 F E N G LIS H (1 h o u r 15 m inutes) Thái Quang Tuân's Archives
P a rt 1
For questions 1-15. read the text below and decide which ansvver (A. B. c or D) best íĩts
Mark your answers on the separate ansvver sheet
Example:
0 A celebrates B shows c honours D demonstrates
O A B c D
EVERYONE S AN ARTIST
Every year, the village of Pettineo ( 0 ) its unique arts íestival. For a few days each
summer, artists from ail over Europe ( 1 ) at this village near the norlh coast of Sicily to
(2 ) the Creative atmosphere. During Iheir stay. the artists get ( 3 ) with the local
people to paint a one-kitometre long picture that runs the ( 4 ) of the high Street. ( 5 )....
the painting is done. each visiting artist joins a local íamily for a big lunch and, (6 ) the
meal. the íamily receives the ( 7 ) of the painting that the artist has painted. As a result,
(8 ) (ew villagers are rich. almost every home has at least one painting by a weli-known
European artist. Visitors to the village are eagerly ( 9 ).... into homes to see these
paintings.
The íestival was the (1 0 ) of Antonio Presti, a local businessman who (1 1 ) it up four
years ago. Since then, Pettineo has (1 2 ) a sort of domestic art museum in (1 3 ) any
visitor can ring a ơoorbell, go into a house and (1 4 ) a painting. In addition to this
exhibition of paintings in people's homes, lor those who have time to spare, there is an
opportunity to (1 5 ) through the display of huge sculptures in the village square.
40
Paper 3 Use o /E n g lish
1 A group B c ro w d c g a th e r D co m b in e
2 A am use B en jo y c entertain D d e lig h t
3 A linked B jo in tly c co m b in e d D to g e th e r
4 A size B m easure c length D a rea
5 A Ju st B O n ce c Soon D O n ly
6 A in a d d ition to B in p la ce of c in co m m o n vvith D in e xc h a n g e fo r
7 A partition B se ctio n c d ivisio n D region
8 A though B d e sp ite c since D even
9 A persuade d B invited c requested D a ttra cte d
10 A im age B p u rp o s e c th o u g h t D idea
11 A set B put c got D had
12 A beco m e B a d va n ce d c grovvn D in cre a se d
13 A w hat B w h e re c vvhom D vvhich
14 A vvonder B stare c a d m ire D d e lig h t
15 A m ove B step c vvander D m arch
41
Test2
Part 2
For questions 16-30. read the lext below and think of the word vvhich best fits each space.
Wnte your answers on the separate answer sheet
-------------------
w ith
P R O B LE M S FOR A C TO R S
Many actors do not like working (0) ..xóĩỉĩ... children or animals. This is probably
(1 6 ) they are atraid that the audience may become (1 7 ) interested in the
children and animals than in them.
Actors can have problems (1 8 ) a diHerent kind wh©n they (1 9 ) required to

eat or drink on stage. If they have (2 0 ) much íood in their mouths. the words they
say may not (2 1 ) clear. and they may even end up coughing and choking.
Other problems can occur with food (2 2 ) films are being made. In a recent film,
during (2 3 ) a tamily was waiting to have a meal. one of the actors entered with a
large roast chicken on a tray and Ihen (2 4 ) to begin to cut some meat from it while
he was speaking. By mistake, the actor cut off a whole leg of the chicken and then
completely forgot (2 5 ) his next worđs were. It was necessary to film the scene
(2 6 )............. This (2 7 )........... not really have mattered (2 8 )........... there had been
another roast chicken in the studio, but there was not. At (2 9 ) nobody knew vvhat
to do. but eventually the problem was solved (3 0 ) putting a nail in the leg and
attaching it back onto the chicken.
42
Paper 3 Use o f Engiish
Part 3
For q u e stio n s 31-40, co m p le te th e s e co n d s e n te n c e s o th a t it h a s a s im ila r m e a n in g to the

íirst se n te n ce , usin g th e w o rd given. Do not change the word given. You m u st use
betw een two an d tive w o rd s, in clu d in g th e w o rd g iv e n .
H ere is an e xa m p le (0).
Example:
0 You m u st d o e x a ctly w h a t th e m a n a g e r te lls you.
carry
You m u st ......................................................................... in stru ctio n s exactly.
T he g a p can b e tille d by th e w o rd s ‘ca rry o u t th e m a n a g e r’s ’ so you w rite:
0 I c a r r y o u t th e m a n a g e r’9
.Vrite only the missing words o n th e se p a ra te a n s w e r sheet.
31 Jo h n is in terested in kn o w in g m ore a b o u t a stronom y.
lik e
Jo h n ......................................................................... m ore a b o u t a stronom y.
32 B eca use of the parade, w e w e re n ’t a llo w e d to park in th e H igh S treet,
let
B eca use of the parade, th e p o lice w o u ld n ’t ...........................................................

in the H igh S treet.
33 ‘Did you see th at film on te le visio n o n S a tu rd a y ? ’ S usan a s k e d m e.
seen
S usan w a n te d to k n o w th a t film on
television on S aturday.
34 ‘l’m a íra id th e se je a n s have a h o le in th e m .’
there
T m a íra id th a t th e se je a n s .’
43
Test 2
35 They cancelleđ the match because of the bad weather.

called
The match ................................................................. because of the bad weather.
36 Dan never takes any notice of my advice.

attention
Dan never .................................................................. rny advice.
37 ‘Can I borrow your bicycle, Sarah?' asked Frank.

lend
Frank asked Sarah her bicyde.
38 Maybe Peter (orgot that we changed the time of the meeting.

m ight
Peter ................................................................. that we changed the time of the

meeling.
39 She checks the company accounls very eííiciently.

efficient
She's very .................................................................. the company accounts.
40 All the children enịoy themselves at this summer camp.

tun
Every at this summer camp.
44
Paper 3 U se o f English
P a rt 4
F o r q u e s tio n s 41-5 5, read th e te x t belovv a n d lo o k c a re íu lly a t e a ch line. S o m e o f th e lines

are correct, and so m e h a ve a w o rd w h ich s h o u ld n o t b e there.
If a lin e is co rre ct, put a tic k ( / ) b y th e n u m b e r on the separate answer sheet. If a line
has a w o rd w h ich sh o u ld not be there, w rite th e w o rd on the separate answer sheet.
T h ere are tw o e xa m p le s a t th e b e g in n in g (0 a n d 0 0 ).
ỉ °
/
Examples:
00 of
A L E T T E R O F C O M P L A IN T
0 I a m w ritin g to c o m p la in a b o u t o u r re c e n t h o lid a y, w h ich in vo lve d
00 s e ve ra l la st-m in u te c h a n g e s to th e a rra n g e m e n ts , d e s p ite o f th e íact
41 th a t w e h ad m a d e o u r b o o k in g fo r s e v e ra l m o n th s in a d va n ce .
42 The journey to the coast tooK four hours longer than yọụr
43 b ro c h u re su g g e ste d . T h e c o a c h w h ich to o k u s w a s fa r to o m uch old
44 an d the la st p a rt o f th e jo u rn e y w a s te rrity in g , a s ií th e d riv e r trie d to
45 m a k e up ío r the tim e w e h a d lost. H o w e ve r, this w a s n othing
46 co m p a re d w ith o u r o w n h o rro r vvhen w e a rriv e d a t th e h otel. Your
47 a d v e rtis e m e n t p ro m is e d to us la rg e ro o m s w ith c o lo u r te le visio n . In tact,
48 o u r b e d ro o m w a s h a rd ly th a i big e n o u g h to lie do w n in a n d th e o n ly
49 te le visio n w a s in th e lo unge. W e did n o t g o d o w n s ta irs fo r e a t a n e ve n ing
50 m e a l, b ut d e cid e d in s le a d to g o to th e b e d straightavvay.
51 It w a s q u ite cle a r th a t w e c o u ld not e n jo y o u r h o lid a y in th is hotel.
52 Y our re p re se nta tiv e w a s n o h e lp a t all, s o w e h a d to find
53 som evvhere else to s ta y a t fo r th e rest o f th e w e e k o u rse lve s.
54 I e x p e c t you to return th e m o n e y w e paid fo r th is trip , w h ich it to ta lly
55 ía ile d to live up to th e c la im s m a d e in y o u r b ro c h u re .
45
Test 2
Part 5
For questions 56-65. read the text belovv. Use the word given in capitals at the end of each
line to fonm a v/ord that fits in the space in the same line. There is an example at the
beginning (0). Write your ansvvers on the separate answer sheet
_______ 1--------------------------------------------------------- — — I -------------------------------------1

Example: 0 g ro w th
A IR P O R T S
With the (0) .ân?wpfj. in air travel, airports have become symbols of GROW
intemational imporlance, and are (5 6 ) designed by well-known FREQUENT
architects. Airports have (5 7 ) tacililies nowadays. IMPRESS
There are (5 8 ) departure lounges, where passengers wait COMFORT
beíore boarding their (5 9 ) resiaurants. shopping areas and FLY
banks. Good road and rail (6 0 ) with nearby tovvns and cities are also COMMUNICATE
essentĩal.
However, it is becoming (6 1 ) difficult to íind land on INCREASE
which to build airports. as aircratt, despite (6 2 ) in IMPROVE
engine design, are (6 3 ) and need a considerable amount ol NOISE
space in vvhich to land and take 0f1. (6 4 ) residential areas CROVVD
need to be avoided. so. (6 5 ) suitable land might be an FORTUNATE
inconvenient distance away from the City.
46
Paper 4 Listenùĩg
P a rt 1
You w ill hear people talking in eight different situations. For questions 1-8, choose the
best ansvver (A, B o r C).
1 You overhear tw o people talking in a restaurant.

W here has the w om an just com e írom ?
A a superm arket
B a hospital
c a íootball m atch
2 You hear a m an talking about a m obile phone he has bought.

W hat m ost attracted him to th is phone?
A
B
c
its size
its reliability
its price
■
3 You hear a m an talking on the phone about bu yin g a house.
W hat is the purpose o f his call?
A to apologise
B to com plain
c to obtain iníorm ation
4 You hear a teenage giri talking about her hobby.

W hat is she talking about?
A a Computer gam e
B a m usical instrum ent 4
c a piece of sports equipm ent
47
Test 2
5 On the news, you hear a story about a cat.

Where was the cat found?
A in a train carriage
B on the railway lines
c on a station plartorm
6 You hear a woman talking about how she gets ideas for her work.
Who is the woman?
A a novelist
B an artist
c a film-maker
7 You hear two people talking.

How does the woman (eel?
A surprised
B satistied
c relieved
8 You tum on the radio and hear a man speaking.

What are you listening to?
A a history programme
B a science-íiction story
c an advertisement
48
Paper 4 Lisiening
P a rt 2
You vvill hear a radio intervievv vvith a wom an w ho is organising a training sveekend for
people interested in the theatre. For questions 9-18. com plete the notes.
TR A IN IN G W E E K E N D
WHEN: beginning of
CONTENT: S aturday - tw o groups run by proíessionals
subjects: 10 or directing
S unday - tw o groups
subjects: m ake-up o r press and 11
WHERE: mostly 12 (at the theatre)
COST: w hole w eekend course (if booked):
13 (includes lunches)
COURSE
LEADERS: have training as
1 1 4 ]
MAIN
AGE GROUP: 15
LAST YEAR S
TRAINING DAY: concentrated on I 16
HOW TO APPLY: nam e of person to phone: C laire 17
oHicial position of person;

-------
18 (at the thoatre)
M S
49
Test2
Part 3
You will hear five different students who are studying away from home. They are talking
about their accommodation. For questions 19-23. choose from the list (A-F) what each
speaker says about their accommodation. Use Ihe letters only once. There is one extra
letter vvtiich you do not need to use.
A I made a mistake there at íirst.
S peaker1
B I was able to settlỡ into a new arca.
speaker 2 20
c I had no choice in the matter.
speaker 3 21
D I have recommended it to others.
SpeaKer 4 22
E There are more beneíits than disadvantages.
~ —I
speaker 5 23
F I would prefer to have more íreedom.
50
Paper 4 Ustenìng
P a rt 4
/o u will hear part of a radio interview in v/hich Tina W hite, a m agazine editor, talks about
Ter life and vvork. For questions 24-30, choose the best a n sw e r (A, B o r C).
24 In her tirst colum n. Tina chose to w rite about people w ho

A vvere very w ell known.
B had interesting ideas. 24
c lived in luxury.
25 She took up jo urnalism because of

A her tam ily connections.
B her father's support. 25
c her love fo r books.
26 U nder her m anagem ent. the m agazine Fem ale Focus

A reduced its losses.
B changed its image. 26
c m ade a proĩit.
27 She believes people are m ore likely to read an article ií

A it has a good beginning.
B its content is challenging. 27
c it is m enlioned on the cover.
28 W hen she started her present jo b five years ago. she

A organised her ideal team .
B had m ore tim e to read everything. 28
c lacked coníidence in her staff.
29 Tina says tha t she vvould be w orried if she

A w a s criticised by the public.
B lost the respect o f colleagues. 29
c lost her job.
30 In the íuture. she w ould like to

A be a book editor.
B produce a film.
c w rite íiction.
51
Test 2
PAPER 5 S P E A K IN G (14 m in u te s) Thái Quang Tuân's Archives
You take the Speaking test with another candidate, reíerred to here as your partner.
listening. Boih examiners will ạwạr0 mạrks.
P art 1 (3 m inutes)
The examiner asks you and your partner questions about yourselves. Vou may be asked
about things like 'your home tow n\ ‘your interests', ‘your career plans’, etc.
P a rt 2 (4 minutes)
your partner responds brieíly.
Then the examiner gives your partner two different photographs. Your partner talks
about these photographs for onc minute. This time the examiner asks you a question
about your parlner’s photographs and you respond brietly.

The examiner asks you and your parlner to talk together. You may be asked to solve a
problem or try to come to a decision about something. For example. you might be asked
to decide the best v/ay to use some rooms in a language school. The examiner gives
you a picture to help you but đoes not join in the conversation.
P art 4 (approxim ately 4 minutes)

The examiner joins in the conversation. You all talk together in a more general way
52
Test 3

Test 3
P AP E R 1 R E A D IN G (1 h ou r 15 m inutes) Thái Quang Tuân's Archives
P a rt 1
You are going to read a magazine article about human behaviour. Choose from the list
A-l the sentence vvhich best summarises each part (1-7) of the article. There is one extra
sentence which you do not need to use. There is an example at the beginning (0).
Mark your ansvvers on the separate answ er sheet
A People are very keen to be skilíul at misleading

others.
B People are sometimes unable to hiđe the fact that

they are being dishonest.
c Instinct plays an important part in our development.
D People seldom realise that their íaces are shovving

that they are being dishonest.
E It is not easy for anyone to detect dishonesty.
F People form judgements aboul other people just by

looking at their taces.
G Being good at tooling others may be a sign of high

intelligence.
H The way that teelings are shown is common to a

great many people.
I It is strange that people otten do not realise vvhen

others are being đlshonest with them.
54
Paper ỉ Reading
F a c i n g t h e tru th
O u r facial expressions p ro vide a c le a r map o f o u r em otions.
B u t som e people ca nn o t read the sig n po sts ...
liars? Because fo r milllons of years humans have

10 1 ■ I been in a battle with each other to develop better
Our brains have been Processing sophisticated techniques for deception. W e are highly social
:nformation Via our senses for millions of years. So animals and our survival depends not only on
why is it w e are still vulnerable to lies? W hy aren‘t cooperating with others but also on getting an
we better at discovering the deception of others? advantage vvhen we can. In fact. one theory claims
that the ability to cheat. to make others in the
group think an expression means friendship rather
The language of the face is emotion. Almost our than anger. is one o f the most important íactors
fĩrst sight as a new-bom baby is our m others face driving human development.
smiling at us. Not only are w e immediately
programmed to respond to faces. but right away
we can also signal surprise. pleasure and distress. Some believe it IS also related to hov.' bright we
The constant visual dialogue. as parent and child are. 'W e have found a strong relationship between
mirror expressions back and forth. is vital for the
the ability to deceive and brain power.' says Leda
young brain. It is how w e build a sense o f other
Cosmides. a psychologist at the University of
minds - we feel happy when we smile. so someone
Califomia. ‘The more developed peoples minds
e'se smiling must be íeeling the same. are. the better they are at concealing theĩr
pỉ : ~
Not only is the emotional language of the face vital
— □ intentions and manipulating others for their own
ends.'
to normal íunctioning. it also seems to be almost m ~ ~

universal. says Paul Ekman, a leading researcherin
Humans are simply the biggest liars on the planet
the subịect. VVherever you are, anger. J>appiness. and we start lying convincingly from a very early
;ear. disgust. sadness and surprise look the same.' age. Studies show that even people who deal vvith
deception proíessionally. such as judges and
■ ................................................................................................................... I policemen. score only about 50% - the same as
3ut w e make all sorts of false assumptions about the rest o f us - when asked to rate people as to
•'aces. Attractive people. for instance. may get the vvhether they are telling the truth or not on
beneíit o f the doubt. W e sornetimes assume they videotape.
are kinder. cleverer and more honest than those
•vith less regular features. Then we have other
unconscious biases about certain kinds o f face. In O ur voices. hov/ever. can betray our intention. Dr
a vvoman. certain íacial íeatures may be thought
Richard Williams o f Hereíord University has found
attractive. but the same íeatures may mark a man
that vvhen people are blir>dfo!ded. they can spot
out as weak.
the difference between someone telling the truth
and a lie about 75% of the time. 'M ost people.
when they are lying. are rarely av/are that th e yve
These are just some o f the ways we fool started to speak more sohly or more slovvly.' he
ourselves. So vvhy aren't we better at detecting says.
55
Test3
Part 2
You are going to read an article about a man who makes works of art out of sea shells.
For questions 8-15, choose the answer (A, B. c or D) which you think fits best accordmg
to the text.
Mark your answers on the separate answ er sheet.
THE SH E L L A R T I S T
A t tbe age o f 83 Peter Cooke has become a master o f his art.
T h e r e a r c « i l l m a n y th in g s th a t P e te r C o o k c w o u ld lik c p r o d u c c rc a lly w o n d c r f ũ l th i n g s - a t l e a .« t h c p o t c n t i a l
l o tr>' h is h a n d »t - p a p c r -m a k in g a n d f c it h c r - w o r k a r c w o u l d h a ve b e e n i h e r e . A l t h o u g h t h c i d c a s a r e s t i l l t h e r e
o n h i ỉ l ũ t . F o r t h c m o m c n t t h o u g h , h e w ill s tic k t o ch e and Im d o in g th e b c st I ca n now, I ’m m o rc lim itc d
s k ill t h h c h a s b c c n ck -ligh tcd t o p c ffc c t < n cr th c p a s t p h y s ic a llỵ th a n I vns w h c n I s t a r t c d .' S d ll, t h c w o r k i h a t

ccn ỵ a n : n u k i n g d c l n a t c a n d u n iu u a l o b ịc c u o u t o f hc has m anaged «o p r o d u c e u a lo n g w a y fro m th c
thelú. c o m m o n s h d l c o n s tr u c tio n s th a t c a n b c fo u n d in ỉc a sid c
’ T c ll m c i í I a m b o r in g y o u ,‘ h c says. 0» h c lc a d í m c s h o p s . 'I h a v c a m i n i a t u r c m i n d , ’ h c s a y s , a n d t h i s h a s
r o u n d h is i p a r t m c m s iio w in g m c h i* vvork. T h c r c i s a rc s u ltc d in h o x c í c o v c re d in (h o iL v m d ỉ o f t in y s h c iu ,
f in c tiiR* b e tw e e n l> cin g a b o r c a n d b c in g a n c n t h u t ia s t , litt l c ih a c lc d p ic tu r c s m a d c ír o m s h c lls a n d b a s k c a o f
bur C o o k c nccd not w o rry: h e f i « in io th c la tc c r a s t o n i i h i n g l v r c ilÌ M Ĩ c f lo w c r s .
c a te g o r y , lie lp c d b o ih b y h is c h a r m a n d b y th c Ix u u c y - o f G x i k c h a s c r c a c c d h i s o w n m c c h o d a n d U SCÍ m a t c r ũ b
(h c t h in g i h c m a k c s. a s a n d w h c n h c fìn d s (h e m . Hc u s c s th c c a rd tx ta rd scn c
H c p o in t s t o a p a ir o f s h d l- c o v c r c d o r n a m e n u a b o \ ’c back w i(h b u n d crcd s h in s fo r h i» flo w c r *
ì fir e p la c c . ‘ I ih a m b c a t all b o th e rc đ i f p c o p k d o n t b u y n a m d e s í g lu c b o u g h r in b u lk fro m a s a i l - m a k c r ( ' I f it
th c m b c c iu s c I h a v c g o t $ o u sc d t o t h c m , a n d 10 n»c r u n s o u t , ỉ d o i ù k n o w w h a t 1 w i l l d o ! ') a n d v . u s h i n g - u p
th ty rc a d o r a b lc . I n e\cf m «nt lo sc ll my w t> rk liq u id t o vvash i h c s h d b . i h a v c a n id c a o f w h á t I w a n t
c o n tm c rc ia llỵ . S o m c tV icnds c a m c t o ÌC C n ic a b o u t f i v c to d o , a n d it j u í t d o e s h e sa y s o f h is w o r k in g
v c a r í a g o a n d s a id , “ Y o u m u s t h a v c a n c x h ib iiio in - m e th o d . y c t th c a tte n tio n co d c u i l . c o lo u r g r a d a tio iu

p c o p le o n g h t t o s c c th cvc . W c ’l! ta lk «o a m a n w h o o v v n s a n d s y m m c iry h c a c h ie v c s lo o k ía r tr o m a c c id c n ta l.
a n a r t g a l lc r ) " .’ T h e rc su lt w a s a n c x h ib ir ío n in L o n d o n , C o o k c s q n c s t ( o r b c a u (ifu l, a n d e tp e d a llỵ ũ n y , íh e lls
at vvh ich 7 0 p c r c c n t o f th c o b jc c t s w c r e s o ld . H is s c c o n d h a s ta k c n h im íu r th c r th a n h is N o r ío lk sh o rc : to F ra n c c ,
c x h ib it io n o p c n c d a t t h e g á llc r y y c stc rd a y . C o i u i d c r i n g T h a i l a n d , M e x i c o , S o u th A ír ic a a n d i h c P h ilip p in c s , co
th e e n o r m o u s p ric c s th c p ic c c s c o m m a n d — a r o u n il n a m c b u i a f o v o f t h c b c a c h c s Vk-hcrc h c h i s k i n o n hÍN
£ 2 . 0 0 0 f o r ih c o r n a m c n u - a n c m p c ỵ s p a c c a b o v c ih e s to m a c h a n d lo o k c d f o r b c a u tic s t o b r ĩ n g h o m c . Hc is
2Ỉ Tirep U ce \vtvuld s c e m a s m a ll s a c r í í k e fo r C o o k e to i n ỉ i ỉ t c n i t h a i h c o n l y c o ! lc c « s d c a d * h d l s a n d d c í c n d s
m akc. h in v s tlí a g ^ im t ịK o p lc w h o \v titc h i m lc tic rs a c c u s in g
‘1'h c r c a r c 8 6 p ic c c s in ( h c c x h ib it io n , w it h p r ic c s h im o f s trip p in g th c w o r ỉ d '$ b c a d ic v . 'W } > c n I am
s tin in g at £ 2 2 5 fo r a s h c lI- flo w c r in a c r y s t a l v a * e . c o lk tc in g ilíd ls . 1 h c a r p c o p ỉc s g rc a t f « t c r u iK h in g
C o o k c in siỉC ỉ t h a t h c h a s n o t h in g t o d o w iih th c p r ic c s t h e m u p £*r f i « c r t h a n ĩ c a n c o lic c t t h c m ; a n d t h c o n c s
a n d is c h c c r ily o p c n a b o u t th c ĩr lc\-cl: h c c U im v t h c r c is (h a t a r c lc íi, th c sca b rc a k s u p . ĩ w o u ld n o t d re a m of
n o b o d y d s c in t h e wx>rld w h o p r o d u c o w o r k lik c h i s , c o l l c t ũ n g v lid U w i t h liv in g c r e a tu r c s i n t h c m o r d iv in g
a n d . a s ih c g a llc r y - o w n c r to ld h im , * W d l. >-ou'rc g o ĩn g ío t t h c m , b u t o n c c t h c i r o c c u p a n u . h a v e k f t . w h y i h o u l d
t o s to p o n c d a y a n d c v c r y b o d y vvill w a n t y o u r p ic c c s I n o i c o lle c t c h e m ? ' I f o n c b asc s th is a r g u m c n t o n th c
l>ccauvc th c rc wx>n't b c a n y m o rc .' a m o u n c o f l u g g a g c t h a t c a n b c c a r r i c d h o m c b>’ O n e m a n ,

‘ I d o vvish . ih o u g h ,’ a y s C o o k c , '(h a t I*d u k c n t h it u p th c s u m b c a u c y o f w h o s c w o t k i s o f t c n g r c a t c r t h a n it s
a lo t e u l i c r , b c c a v iic th e n I w o u ld h a v e b c c n a b lc to l u m r a l p a r t ỉ , i t b c c o m c ỉ v c r ỵ o o n v i n c i n g in < l c c d . 72
56
Paper ì Reading
8 W hat does the reader leam about P eter C o o ke in th e first paragraph?

A H e has produced hand-m ade o bjects in d iffe re n t m aterials.
B He w as praised fo r his Shell objects m any years ago.
c He hopes to vvork w ith o th e r m aterials in th e íuture.
D He has vvritten about his love o f m aking Shell objects.
9 W hen looking round his apartm ent, the vvriter

A is attracted by C ooke's personality.
B senses that C ooke w a n ls his Products to b e adm ired.
c realises he finds C ooke’s w o rk boring.
D íeels uncertain about giving C ooke his opinion.
10 T he ‘smal! sa criíice’ in line 2 5 reíers to

A the loss o f C oo ke 's ornam ents.
B the displa y o f C ooke’s o m am ents.
c the cost o f keeping C ooke’s om am ents.
D the space required to store C ooke’s ornam ents.
11 W hen the w riter enquires about the cost o f h is Shell objects, Cooke
A cleverly changes the subject.
B detends the prices charged for his work.
c says he has no idea w hy th e leveỉ is s o high.
D notes that his w ork w ill not alvvays be so popular.
12 W hat does C ooke regret about his w ork?

A He is not as íam ous as he should have been.
B He m akes less m oney than he should m ake.
c He is less im aginative than he used to be.
D He is not as skilíul as he used to be.
13 W hen talking about th e a rtist's vvorking m ethod, the vvriter suspects that Cooke
A accepts that he som etim es m akes m istakes.
B is unavvare o f the unique quality his w o rk has.
c underrates his Creative contribution.
D undervalues the m aterials th a t he uses.
14 W hat does the reader learn about C ooke’s sh ell-collecting activities?

A N ot everyone approves o f w hat he does.
B O ther m ethods m ight m ake his w ork easier.
c O ther tourists get in the w ay o f his collecting.
D N ot all shells are the lig h t size and shape fo r his work.
15 W hat does ‘it’ in line 72 refer to?

A C ooke’s luggage
B C ooke’s argum ent
c the beauty o f C ooke’s work
D the reason fo r C ooke’s trips
57
Test3
P a rt 3
You are going to read a magazine artide about a nevv hotel. Eight sentences have been
removed from the article. Choose írom the sentences A-l the one which fits each gap
(16-22). There is one extra sentence vvhich you do not need to use. There is an example at
the beginning (0 ).
Five-star luxury
meets up-to-date
technology
he five-star Merrion Hotel, vvhich has jưst complain about rooni tcmperaturc. [ 18
T opcncd. i$ thc rcsult of considcrablc Guests have the opportunity lo change the
tcmpcraturc thcmselvcs within ihree degrees
research into customer reqiùrcments and ncarly
1W0 ycars' work convcriing four largc. cilhcr sidc of thc nornial 18°c but, in addition.
cightccnih-ccntury hcmscs in Dublin. Ị~ 0 : I each individual room can bc adjusicd by any
This has been done for thc bcncfit of statĩ and amount betwcen I4°c and 25°c ai Ihe 1'ront
guesis alikc. dcsk.
At the Mcrrion. General Managcr Pcler This is particularly ữuc for the
MacCann expccts his staff lo know thc gucsts by business user. and MacCann estímates that up lo
name. I 16 ĩt can deal vvith rctum clienis sixiy-five pcr cent of his business vvill come
in thc cxtra-spccial vvay that is appropriatc to a ftom ihis pítrt ot thc markei. To provide Ihe best
fivc-star hotcl. serN-ice for such needs, thc hotcl has takcn
Though the System cosi £250.000 to install. it the traditional busincss ccntrc and pui it into
will pay for itself over time. according to individual hednx>ms. Each onc has thrce phones,
MacCann. [ 17 For cxamplc. a gucsi two phone lines, a fax machine thai doubles as a
who rcqucsts ccrtain music CDs during a íĩrst photocopicr and printcr. and a video-
slay will find thosc same CDs rcady for him on a coníercncing facility.
rctum visit. This is thanks to thc gucst-his(ỡT>' Technology changcs so quickly these days that
íacility which allovvs s«afĩ lo key in any nunibcr the hotel has had to try to íorccast possiblc
of prcfcrcnccs. iniprovements. Ị 20 Tlic tclcvisions arc
Hotel gucsts Ihe vvorld ovcr írcqucntly rcntcd ralher than boughi, so Ihai Ihey can bc
58
Paper I Reading
rcplaccd \vith m ore up-to-date m odels at any oíĩercd to gucsts m ust bc cxccllcnt. C h ef Patrick
tim e. Video recordcrs can also be Iipgraded G uilbaud's D ublin rcstaurant alrcady had two
w hcn ncccssary. M ichelin stars w hcn hc agrccd to m ove his
Despite thc prcscncc o f all this very up-to- rcstaurant business to the M crrion. 22
the-m inute equipm ent in the room s, M acCann He has hccn able to design a nesv kũchen and
says thcy havc tricd hard noi 10 m ake guc.sts tak e it into thc m odcm age. T here are hetter
fecl Ihreatcned hy the tcchnology. 21 Ị parking facilities than at thc prcvious address.
T here arc. o f coursc, a sw im m ing pool and too. From thc hotcl’s side, thcy arc ablc to offcr
gym , six conícrencc room s. tw o bars and tw o a popular and successlul place to eat, w ith no
restaurants, and a bcautiíul garden ai thc hcart financial risks attachcd.
o f it all. A ided by tcchnology and a highly capahlc

A s at all luxur>' hotcls, thc food thai is staff, the M errion looks likcly to succccd.
-------
A For guesls, though, it is thc other F Hovvevcr, for dctails of his g u csts’
technology offcrcd in their room s w hich is preíerences. hc rclics on the hotcl’s
m ost likcly to find favour. Computer System.
B Being part o f ihc hcMcl site has hugc G T he one hundred and i'orty-fivc bcdroom s.
bcncfits, lx)th for him and thc hotcl itself. large and w ell-fum ishcd, arc both
com íortable and w elcom ing.
c Extra cablcs havc bccn laid to handlc
vvhatever scientiííc advances may occur. H Hc praises its efficiency and talks
enthusiastically o f thc facilities it offers.
D He expecLs fifty pcr ccnt o f thc room s to
bc (K*cupied in the hotel’s fírst ycar. 1 Crcating a new hotcl in this w ay has
allow cd the latcst tcchnology to be
E A noiher hi-lech System Controls this installed.
e&sential arca o f coniíort.
59
Test 3
P a rt 4
You are going to read a magazine article about members of a part-time drama Club called
The Globe Players. For questions 23-35. choose (rom the people (A-F). The people may
be chosen more than once. When more than one ansvver is required, these may be given
in any order. There is an example at the beginning (0).
Mark your answers on th e separate answ er sheet.
W hich person o r people
mentions joining because of loneliness? H I
had some theatre experience beỉore joining The Globe Players? n r r
has a high opinion of The Globe Players? 24
believes the other members are like them in character? 25
has mixed íeelings about linishing a shovv?

!_ »
have dittĩculty íinding suitablo rolos? 27 i [ » n
enjoys being with people who have ditterent i deas? 1 29 1
thinks that acting is out of character for them? 30 Ị
mentions the publicity they sometimes receive? 31
joined to keep busy? 32
talks about the complications of putting on a play? 33
feel that not everyone approves of them acting? 34 [3 5 J
60
Paper I Readi/IỊỊ
The Globe Players

Ũ C hristina H ow ard 0 Clarc MacDonald
w hen I moved to this area the children were quite W h c n I w a s M sc h o o l, I u so d to th in k r d ra th e r lỉke
little, and I wondere<i how I sva$ ever going to to g o o n sta g e. But th e n o th e r th in g s c a m e a lo n g .
mec« people. Then I met Susann.1 Dickster, who O n e jo b I d id w a s a s a stev v ard ess ÍOĨ a n a irlin e .
was thc organiser of The Clol)e Players, and sht* T h a t's lik e g iv in g a p e río rm a n c e . I ỉeft th e a irlin e
said, 'Do you vvant to join?' And I said, 'VVcll, ycs, a n d jo in e d T h e G lo b e P lay ers. M y h u s b a n d vvill
all right.' Thcy .ìppearcxỉ to l>e incredibly extrovert aK vaỵs c o m e to p e rto rm a n c e s , b u t h e d o e$ te n d to
people, which I supposc I am by naluro too. For m o a n a b it f)ec<iuse h e íe e ls it ta k e s u p to o m u c h
three years I was the thealre manager. I think I lim e . A s a c lu b I feel \v e a r e v ery p ro íe s s io n a l. I d o
make a bettcr manager than an actress, but I dicl a b o u t o n e p la y a year, \v h ic h is q u itc e n o u g h .
have a dream role in a play the ycar before last. O b v io u sly , th e re a r e fe w e r p a rts a s y o u g e t old er,
p a rtic u la rly (or w o m e n : o n e c a n n o lo n g e r p la y
Juliot o r o th e r y o u n g p arts, w h ic h I feel sa d
0 Eric Plum ber

I d o a b o u t o n c p la y a y ear, ju st o u t o i in te re si. But
0 Robin vvilson
l'm a q u ie t so rt o f c h a p , n o t o n e o í th e vvorld's
c x tro v c rts, a n d y et h c rc I a m in a n e x tro v e rt íield , I w o rk b e h in d t h e s c c n c s w ith Tlx* G lo b c P l.ìycrs
d o in g th e a tric .il a c tiv itie s. T h e re is a so rt o í m ag ic b e c a u s e it's a lw a y s a c h a llc n g e . For in sta n c e , ih e
to th o th o atro . T h ero 's a so n s c o i to g c th c rn e ss w ith last p la y I d id n e c d e d a íu ll-s i/c d , \v o rk in g
th e rest o í th e a c to rs in th e c a st. W h e n a p la y is s\v im m in g p o o l. W ell, m o st a m a tc u r Ih catro s h a v c
over, o n th e last n ig h t, Ih e re 's a c o m b in a tio n o f <1 b u c k e t o f w a te r in th c w in g s. But o u r d ire c to f
a n tic lim a x a n d relieí. Ii's rath o r n ic e to th in k y o u sa id , 'I vvant a re a l ssv im m in g JWX)I o n th a i se t. G o
w ill b c a b l e to d o a ll th e th in g s th a t y o u w e r e n 'i avvay a n d d o i t / It w a s a rcal c h a llc n g c ío r m o.
a b le to d o w h e n thc* p la y w a$ o n . But th o rc 's a ls o H o w e v e r, vve d id it. W e g o t m o re revievvs th a n w e
a so n so o f loss, so y o u lo o k ío r\v a rd ỉo íh e n ex t u su a lly d o b e c a u s e , o i c o u r s e , il w a s s o m e th in g
play . differen t. A n d q u ite a lo t o i a m a te u r s o c ie tie s c a m e
to SCO if th e y c o u ld d o it - a n d a lot o i th e m
d e c id e d th e y c o u ld n '1 .
3 Laura Goìdcrest
I h a v c d o n e s o m e sla g e m a n a g e m e n l ío r
□ M ike jamcs
p ro d u c tio n s a t m y s c h o o l a n d w h e n I s a w th e p la y
T h e G lo ỉíe P lay ers w e r e g o in g to tlo n e x l, I th o u g h l I w a s a S c ie n c e le a c h e r a n d to o k e a rly re tire m e n t
r d try io r it. U su a lly th e re a r c n o t a lot o í p a rls ío r íro m m y c o lle g e . A íter K venty-íour y e a rs it w a s
p e o p le m y a g e , so vvhen I h e re w a s this a bĩt h a r d a n d I g o t ra th e r b o r e d . D u rin g th at
o p p o rtu n ity , I w c n t a lo n g a n d a u d itio n e d . It w e n t tim e it vvas g o o d to h a v e Ih c d ra m a g ro u p . It lake$
a ll rig h l. a n d I g o t th e p a rt. Lots o f m y írie n d s ju st y o u r m in d o tí th in g s; y o u c a n 't a c t a rn l svorry
h a n g a r o u n d w ith p e o f)le o í th e ir o \v n a g e , b u t a b o u l s o m e th in g e ls e . But it's v erỵ d is ru p tiv e to a
th e re a ro |> co p le a i T h e G lo b e P la y e rs \v h o a re ía m ily - m y w ife w ill tell y o u th a t. T cach in g in a
q u itc o ld , a n d I g e t la lk in g to th e m a lx iu t a ll MKls w a y iỉ lik c b c in g o n sta g c. YVhcn y o u g o into
o i th in g s. It's a m a z in g hovv o u r vievvs d iííer, b u t \v e a c la s s y o u m a y n o l b e íe e lin g v ery vvell, y o u a re
h a v c lo v c ly c o n v c rsa tio n s . n o t n e c e s sa rily ver>' kecrt o n th o s u b ịc c t y o u aro
te a c h in g - th e w h o le ih in g a d d s u p to .1 n o -n o . But
y o u g o in, y o u a r c c n th u s ia s lic a n d y o u try to
g e n e r a le in te rc st, a n d il's a n a c t.
61
PAPER 2 VVRITING (1 h ou r 30 m in u te s ) Thái Quang Tuân's Archives
P art 1
1 You are studying in Đritain and you have recently received a letter from an English
(riend who is interested in arranging a day trip for a group of students.
Read the extract from your (riend's letter and the advertisement for a boat trip. on v/hich
you have made some notes. Then, using all your notes, vvrite a letter to your íriend
giving the inỉormation requested and saying svhether you would recommend the trip.
The stud en ts in m y cỉass are really interested in going oti a dn\f trip. I know
ỵoit w en t on a boat trip ĩưith y o u r Engỉish cỉass rccentỉy. C ould ỵ o u tell me
wỉm t it Wíis ỉike and ĩuhether y o u 'd recommend it?
Uss c C a s t l e and Lake Boat Trips

♦ D e p a r t u r e s 8 a . m v o r 1 0 a . m . d a ily EsstAÝial
/b tia ư s i...
a v a ila b le
la lư , piCAic - — Ạ L unch a t re s ta u ra n t
btLoưst...
♦ A í t e r n o o n a t l a k e w i t h c h o i c e o f w at<
♦ Reãẳỏrtảble prices with reductions fon groups
VVrite a letter of between 120 and 180 words in an appropriate style on the opposite page.
Do not vvrite any postal addresses.
Paper 2 \Vriting
Q u e s tio n 1
63
Tesi3
Part 2
Write an answer to one of the questions 2-5 in this part. VVrite your ansxver in 120-180
words in an appropiiate style on the opposite page. Pul the question number in the box.
2 An English language Club is starting in your area. The organisers of the Club have
asked you to write a report giving your suggestions about:
• how otten Ihe Club should meet
• vvtiat type of activities it should organise
• how the Club coulđ be advertised
Write your report.
3 You have decided to ertter a short story competition in an international magazine.

The competition rules say that the story must begin with the tollowing words:
It was three o ’c lock in the moming when the phone rang.
Write your story.
4 You have seen this announcement in Leisure and Enlerlainment magazine.
Could y o u live w ith o u t television fo r a week?

VVrite and te ll us w h a t difference this w o u ld make to your life.
We w ill publish th e best a rtid e .
VVrite your article.
5 Answer one of the following two questions based on your reading of one of these
set books. Write (a) or (b) as we!l as the number 5 in the question box, and the title
of the book next to the box. Your answer must be about one of the books belovv.
Best Detective Stories olAgatha Christie - Longman Fiction
A Tale o f Two Cities - Charles Dickens
Animal Farm - George Orv/ell
VVuthering Heights - Emily Brontẽ
More Talẽs 1rõm Shakespeare - Charles and Mary Lamb
Either (a) ‘Did anything in the book or short story you have read disappoint you?'
VVrite a composition. answering this question with reterence to the
book or one of the short stories you have read.
Or (b) ‘For a book to be successful, the author has to show the importance of
the relationships between characters.’ Is this tru© of the book or one of
the short stories you have read? Write a composition, explaining your
vievvs.
64
Paper 2 WritinỊỉ
Q u e s tio n
65
Test 3
PAPER 3 USE 0 F E N G LIS H (1 h o u r 15 m inutes)
Part 1
For questions 1-15, read the toxt belovv and decide which answer (A, B, c or D) best fits
Marfc your answers on the separate ansvver sheet.
Example:
0 A speed B pace c rale D rhythm
T H E N E E D F O R B IG G E R P L A N E S
The big issue for plane-makers planning for thĐ íuture is size, not ( 0 ) With the skies
already íull of air traHic. and with worse to (1) ........ the important questions ỉor the
destgners are how many passengers they can (2) into the new super-planes and who
will be ( 3 ) to build them first.
(4 ) yourself ten years Irom now in a packed airport departure lounge. Eight hunđred
passengers are waiting vvith you for their first tlíght on one of a remarkable range of super-
planes, and the check-in time ( 5 ) have been as much as four hours betore take-off to
(6 ) for the extra peopỉe. Impossible? Far írom it. Designs for these planes are already
(7 ) on Computer at the wor1d's top aircraít manutacturers. waiting to be tumed (8 ) ....
reality.
The airlines badly need the new jets to (9 ) with íuture increases in passenger (1 0 )......
A billion passengers a year are currently carried by air. but that ligure is (1 1 ) to double
by the year 2010. The only practical (1 2 ) o l avoiding making the skies even busier is
to build much bigger planes. The (1 3 ) to build the new jets is the hottest contest in the
airliner business. Manutacturers are working (1 4 ) vvith the major airlines to produce
designs that will please airlines and passengers (1 5 ).......
66
Paper 3 Use o f Etiglish
1 A go B happen c com e D arrive
2 A contain B fit c hold D sit
3 A possible B able c proper D capable
4 A Consider B Suppose c Im agine D Regard
5 A can B need c ought D may
6 A vvatch B allovv c look D permit
7 A supplied B given c stored D carried
8 A as B by c into D for
9 A deal B treat c m anage D succeed
10 A amounts B sums c quantities D numbers
11 A expected B thought c know n D hoped
12 A scheme B process c way D plan
13 A game B sport c m atch D race
14 A tightly B strongly c closely D íirm ly
15 A equal B alike c sim ilar D same
67
Tesl 3
Part 2
For questions 16-30. read the text below and think of the word which best lits each space.
VVrite your answers on the separate ansv/er shect
Example: 0 hb
CHARLES DICKENS’ CHILDHOOD EXPERIENCES
Charles Dickens was one of the greatesl nineteenth-century English novelists. At the time
of (0) death in 1870 he was a wealthy man, in contrast to the poverty of his early
days. His parents (1 6 ) their best to look after him but were always in ditticulties
(1 7 ) money. Eventually, his father owed (1 8 ) a large amount of money that
he was sent to prison tor three months.
Two days atter his tvveltth birthday, Dickens was taken away from school by his parents
and made (1 9 )........... work in a tactory in London to increase the íamily income.
Factories could be dangerous places in (2 0 ) days and some employers were
cruel. Charles was not (2 1 ) extremely unhappy, but also ashamed of working there,
and he (2 2 )............ never forget that period of his life. Years later, (2 3 )........... his
novel ‘Oliver Tvvist', Dickens described his own chiklhood experiences. Oliver Tvvist was
one of his most tamous characters and he too suílered (2 4 )........... a child worker.
Dickens’ novels showed hovv shocking worf<ing and living condilions (2 5 )............
Working in the íactory affected him so deeply that he found (2 6 ) much 100 painíul
to speak about in laler life. His own wife and chilđren knew (2 7 )...........at all about the
unhappiness of his childhood while Dickens was still alive. (2 8 ) shortly aíter his
death a biography was published in (2 9 ) Dickens' terrible childhood experiences
in the íactory were revealed (3 0 ) the íirst time.
68
Paper 3 Use o f Hnglish
P a rt 3
For questions 31-40. com plete the second sentence so that it has a sim ilar m eaning to
the first sentence. using the w ord given. Do not ch ang e the vvord given. You m ust use
betvveen two and five vvords. including the w ord given.
Here is an exam ple (0).
Example:
0 You m ust do exactly w hat the m anager tells you.
c a rry
You must inslructions exactly.
The gap can be íilled by the w ords ‘carry out the m anager s ' so you write:
0 I c a rry o u t th e m a na g e rs
Write only the m issing words on the separate a n sw e r sheet.
31 How m any cars can this com pany produce in a month?
by
How m any cars c a n ................................................................ in a month?
32 T h a t's the last tim e I talk to him !' Geoff said.
again
T m not g o in g ........................................................ !’ Geoff said.
33 W hile I was on holiday. a lot o f interesting th in g s happened to me.

my
During a lot o f interesting experiences.
34 It w as careless of you to leave w ithout locking the door.
ought
You the door betore you lett.
69
TesíS
35 *ls Pete likely to change his mind?' Rob asked.

chance
‘Is th e re ..................................................................changing his mind?’ Rob asked.
36 Paul is the only person who has replied to the invitation.

nobody
A p a rt replied to the invitation.
37 Are you tamiliar with his teaching style yet?

used
Have y o u his teaching style yet?
38 It was such a sunny day that none of us wanted to do any work.

M t
None of u s .................................................................. any work because il was such a sunny day.
39 Barbara couldn't sing or dance.

unable
B esides.................................................................... Barbara couldrTt dance eilher.
40 Dinner will be served immediately upon our arrival at the hotel.

soon
Dinner will be serveđ.................................................................. at the hotel.
70
Paper 3 ưse o f English
P a rt 4
For questions 41-55. read the text belovv and look careíully at each line. Some of the lines
are correct, and some have a word which should not be there.
If a line is correct, put a tick (✓) by the number o n th e separate ansvver sheet. lí a line
has a word which should n o t be there. write the w ord on th e separate ansvver sheet.
There are two examples at the beginning (0 and 00).
0I am _ ị
Examples:
REPORT ON AN ENGLISH LAN G U AG E COURSE
0 In July of this year I am spent one month o n an intensive English
00 language course in Melchester. in the north of England. The course
41 was held place in a modern building v/hich w as equipped with a
42 new language laboratory and a library. There were being also
43 good sports tacilities. Lessons began at 9.00 in every morning and
44 have ỉinished at 12.00. There svas an hour's lunch break, after
45 vvhich we had the choice of v/orking in the library, by going on
46 a visit to somevvhere of interest in Melchester or joining one
47 of the optional atternoon classes. The class I went to which was
48 Ihe Business English course. and I vvould say that it had certainly
49 helped me to vvrite either letters and reports in English. Every
50 v/eekend. excursions there were arranged to other parts of Britain,
51 including a long vêekend in York, vvhich it w a s very enjoyable
52 despite of the poor weather. The month was certainly usetul
53 not only because my spoken English having improved, but also
54 because I leaméd too many things about English life and culture.
55 Everyone vvho uses English in his or her vvork would benetit from this course.
71
Tesi 3
Part 5
For questions 56-65. read the text below. Use the word given in capitals at the end of
each line to form a word that fits in the space in the same line. There is an example at the
beginning (0). VVrite your ansvvers on the separate ansvver sheet.
Example: [Õ J ~ ^ c tre m ely
THE LONDON UNDERGROUND MAP
The London Underground map is (0) well designed. EXTREME
Simple, easy to understand and (5 6 ) it pertorms its primary task of ATTRACT
guiding both inhabitants and (5 7 ) round the underground System in London TOUR
very well. The man behind this great (5 8 ) was called Henry Beck, ACHIEVE
an (5 9 ) of the London Underground Drawing Office, who designed the EMPLOY
map in 1931. The design of the map showed great (6 0 ) because it ORIGINAL
represented a complex network of (6 1 ) clearly. This design was COMMUNICATE
later used by most of the world's underground Systems.
The map used beíore 1931 vvas messy and (6 2 ) So Beck decided to CLEAR
sketch out a better one using a diagram rather than a (6 3 ) map. This new TRADITION
map was an enormous (6 4 ) with the public when, in 1933. it made its first SUCCEED
(6 5 ) on underground plattorms and at station entrances. APPEAR
72
Paper 4 Listening
P a rt 1
•’0 U w ill hear people talking in eight diíterent situations. F or questions 1-8, choose the
best answ er (A, B o r C).
1 You overtiear a man talking about an e xperience he had at an airport.

W hat did he lose?
A his passport
B his w allet
c a piece of luggage
2 You hear an advertisem ent on the radio.

W hat is special about the Fretlight guitar?
A It plays recorded music.
B It teaches you how to play.
c It plugs into a Computer.
3 You h ear part of a raởio programme.

W hat is the presenter talking about?
A food saíety
-----
B m eal tim es 3
—_
c healthy recipes
4 You h ear two people discussing a type o f pollution.

W hat do the speakers agree about?
A the best w ay to solve the problem
B how they feel atx)ut this type o f pollution
c how they reacted to the solution they saw
73
Test 3
5 You hear a conversation between a shop assistant and a

customer about a compact disc.
What was the cause of the problem?
A The customer gave the wrong number.
B A mistake was made on the order form.
c The disc was incorrectly labelled.
6 You overhear a conversation at a íootball game.

What does the spcaker say about his team?
A They're better than usual.
B They’re as good as he expected.
c They tend to be unlucky.
7 You overhear a schoolgirl talking to her íriend.

What does she think about her new teacher?
A He is clever.
B He is íunny.
c He is interesting.
8 In a hotel you overtiear a conversation.

Who is the vvoman?
A a tour guide
B a tỡurist
c a hotel receptionist
74
Paper 4 Listening
P a rt 2
<ou w ill h ear part o f a radio in terview w ith a svvimming instructor. For q u e stio n s 9-18.
rom plete the sentences.
3aul w o rks at a hotel in the

E
A ccording to Paul, 13 o f all adults c a n ’t swim.
3 aul’s stu d e n ts are aíraid of going
His stu den ts have to put th e ir ía ce s into a sa la d b o w l and

1 5 ]
below the suríace.
The íirst th in g th e y d o in the pool is to 16
in th e vvater w ith th e ir ta ce s dow n.
Paul th in ks it’s e ssential to be 17 in the vvater.
M ost p eo p le learn to ssvim a tte r about
75
Test 3
Part 3
You will hear part of a radio programme called Morning Market. Five listeners have
telephoned the programme because they have something to sell. For questions 19-23.
choose which of the statements (A-F) matches the reason each of the people gives for
selling their possession. Use the letters only once. There is one extra letter which you do
not need to use.
A I didn't enjoy using it.

-----
S peaker1 19
B I made a mistake.
Speaker 2
c lt's an unwanted prize.
D It takes up too much space.

Speaker 3
0
Speaker 4 22
E l've got something bottor.
Speaker 5 23
F I have health problems.
76
Paper 4 Ustening
P a rt 4
You w ill hear a radio intervievv w ith P eter M anson about the jo b he does for a record
com pany. F or questions 24-30, decide w hich o f th e statem ents are TR U E and vvhich are
FALSE. Write T for TR U E or F for FALSE,
24 In the 1980S. record com panies could not fin d new m usicians. 24
-----
25 P e ter’s jo b is ditticult because m ost young a rtis ts are shy. 25
26 P eler w as unw ỉlling a t first to g ive a contract to the band he saw in a tent. 26
-----
27 S om e bands send him expensive presents. 27
-----
28 He w as íorced to listen to a tape containing threats. 28
29 H e tends to spend only a short tim e at a show. 29

.....
... m
30 H e signed a contract v/ith one band vvithout hiearing them sing. 30
----- 1
77
Ten 3
PAPER 5 S P E A K IN G (14 m in u tes) Thái Quang Tuân's Archives
You take the Speaking test wrth another candidate, reterred to here as your partner.
listening. Both examiners will avvard marl<s.
Part 1 (3 m inutes)
about things like ‘your home tow n\ ‘your interests'. ‘your career plans’, etc.
Part 2 (4 m inutes)
Then the examiner gives your partner two ditterent photographs. Your partner talks
about your parlner's photographs and you respond brietly.
Part 3 (approxim ately 3 m inutes)

problem or try to come to a decision about something. For example. you might be asked
to decide Ihe best way to use some rooms in a language school. The examiner gives
you a picture ỉo help you but does not join in the conversation.
Part 4 (approxim ately 4 m inutes)

The examíner joins in the conversation. You ail lalk together in a more general way
about what has beerì said in Part 3. The examiner asks you questions but you and your
parlner are also expected to develop the conversation.
78
Test 4

Tcst 4
P AP E R 1 R E A D IN G (1 h ou r 15 m in u te s) Thái Quang Tuân's Archives
Part 1
You are going to read a magazine article about a sport called paragliding. Choose the most
suitable heading from the list A -l for each part (1-7) of the article. There iổ cne extra
heading which you do not need to use. There is an example at Ihe beginning (0).
A Repetitive ílighls
B Thoughts at the top of the mountain
c Discovering the secret
D A nervous landing
E Floating above
F Some personal attention
G Hoading for the take-off site
H Obeying the command
I An interest in a new sport
80
Paper 1 Kcading
Fly like an Kíigle

In the íìrst rcport In our special ícaturc on
A CTIVm HOUDAYS 11/77/ A DIPPBRENCB.
AiUìữ \\im iton Uikes lo the a lr to expcrlencc
the plcasures o f paraglldlng.
lift u p . VVíth a dry m o u th you m entally reh earse all

0 1 _ th a t y o u 'v e b e e n ta u g h t. You d o n 't v/ant to adm it
A n u m b e r of years a g o , l'd seen b right-coloured it. b u t y o u 're scared. However, you also k now th a t
w in g s in th e aír vvtiile o n a skiing holiday in you h av e g o t this far a n d th erc is n o w ay th a t you
C h am o n ix , France. I so o n ío u n d o u l vvhat they are g o in g to back o u t.
w e re a n d hovv to g o a b o u t learning this n ew
m o u n tain sp o rt of 'p arag lid in g '. W hen I vvent to
live th ere a y ear later, I enrolled o n th e íirst
ỊỊỊLI .......1
At 1 ,0 0 0 rrvetres ab o v e th e to w n , w h k h n o w looks
availablc course a t th e local school. very small bo<ow, you certainly havc d o u b ts a b o u t
w hy you are here. N o -o n c in your g ro u p is pushing
L U " _____ _______________ to g o íirst; everyone takes their tim o laying o u t thcir
T he first of th e five d ay s of instruction is sp e n t in a vvings a n d preparing to fty. Having chcckcd an d
fieỉd learning th e characteristics of th e w ing and rechecked eveíything, you p u t y o u r helm et on,
cv ery th in g vvhich g o e s w ith it. H aving sp e n t som e svvitch o n th e radio an d stra p yourscK in.
tim e u n tan g lin g llnes a n d p rep arin g to take off,
5 _________ _______________________
you are th e n ready to puff o u t th e w in g . You soon
find o u t th a t (orcing it d o es n o t w ork a n d th a t Your tu rn c o m e s a n d your instructor d o e i a íinal
th ero is a te c h n iq u e to p u ttin g air into th c cells, check th a t all th c llnes are in th e co rrect positions.
dllow ing th e vving to rise ab o v e y o u r h ead . This Thon h e calm ly iníorm s y o u th a t h e vvill sta n d
launch te c h n iq u e is practised ag ain a n d again to directly in íront, w ith his back to th e vvind, an d
teach y o u th o im p o rta n c e of a d e a n take-off, as w h en everything is right h e will c o u n t to th rcc a n d
thls i$ w h ere th e m aịority of accid en ts occur. you are to run directly a t him .
2
p ~
T h e follow ing d a y is ag ain sp e n t practising 'OK, o n m e , 1 ... 2 ... 3 ... go!!!' This is th e last
bknv in g u p th c vving, b u t this tim e o n a small hill. instruction you h ear w ith your feet still o n th e
A pplying th e tech n iq u es, you take off a n d fly g ro u n d . You run for\vard, y o u f e d th e lines tig h te n
a b o u t 100 m etres, th e n land g en tly belovv. Flying, a n d th o pull of th e w in g as it rises a b o v e your
landing, collecting th e w ing over your shoulder h ead . You co rre c t ils b alan ce a n d keep ru n n in g off
a n d w alking back u p th e hill b cco m o exhausting, th e side of th e m o u n ta in . The w in g lifts y o u an d
b u t evcntually ev ery th in g starts to c o m e to g elh er. th e m o u n iain d ro p s dram atically away.
u
Your ability a n d co n fidence rise until y o u are
in ío rm ed th a t all th e co u rse stu d e n ts a re ready to
m ak e th eir íirst m ajo r flight.
O n y o u r íirst ílight, you d o n 't seem to g e t a
m ZỊ
After a restless n ig h t, you rise to p c e r u p a t th e
ch a n c c to take in th e view. You d a rc n o l m ove, b u t
you d o realise th e e x p an se of air betvveen you a n d
th e g ro u n d over 1 ,0 0 0 m etres below . And
m o u n ta in , know ing th a t today you a re g o in g to everything is silent excopt for th e svonderíul so u n d
launch yourselí off it. You feel sick ds you take th e of th e air rushing th ro u g h your helm et.
81
You are going to read an article in vvhich a tilm critic talks about his work. For questions
B-15, choose the answer (A. B, c or D) vvhich you think tits best according to the text.
Mark your answers on th e separate ansvver sheet.
F i l m C r i t i c
M a r k A dam s lo ok s back o v e r the last ten years o f his w o rk

as a film critic for a n e w s p a p e r called T h e F r o n t P a g e .
\Vriring articles a b o u t íilm s for T he F ront Page to associate a review er w ith a singlc subịect
w as my first p ro p er job. Before then I had donc a rea, an d so I chose fìlm. \V ithout T om ’s initial
bits o f rcvic\ving - novels for o th e r ncw spapers, push, th o u g h , w c w o u ld hardly have com e up
íilm s for a m agazine an d an y th in g I w as asked \vith th e prcscnt arran g em en t, by \vhich I \vritc
to do for the radio. T h a t vvas how I m ct Tom an cxtended w cckly piece, usually on o n e film.
S eaton, the íirst a rts ed ito r o í T h e ĩ r o n t Page, T h e luxury o f this \vay o f w orking suits me 4'
w h o had also \vritten ío r television. H e hircd \vell. I \vouldn’t have been intercsted in thc
m e, b u t Tom w as n o t prim arily a ịo u rn alist, o r m ore Standard film critic’s role, w hich involves
he w ould certainly have been m orc careíul in considcring every film th a t com es out. T h a t’s a
choosing his staff. ro u tin e th a t vvould m ake me stale in no tim e at
At íirst, his idea \vas th a t a team o f critics all. I vvould soon be sinking into m y seat on a
should ta k c care o f the a rt ío rm s th a t d id n ’t M o n d ay m orning w ith the sigh, ‘\V hat insulting
require specialiscd knovvlcdgc: books, TV, rubbish m ust I sit th rough now ?’ - a style of
th eatre, film an d radio. T h erc w ould be a sigh rhat can oftcn bc heard in screening room s
\vcekly lunch at \vhich w e \vould m akc o u r a ro u n d the w orld.
choices from th e artistic m ateriaỉ th a t Tom had T he space I am given allow s me to broadcn
decidcd we should cover, th o u g h there vvould m y arg u m en t - o r íorces m c, in an uninteresting
also bc guests to m ake the atm o sp h ere sociable. w cck, to m akc som ething o u t o f nothing. But
It all íelt like a bit o f a dream a t th a t tim c: a w h a t is my rolc in thc public arcna? I assum c
nevv new spaper, an d I w as one o f th e team . It th a t people choose w h a t films to go to on the
seem ed so unlikely th a t a p ap er could be basis o f thc stars, the publicity o r the dircctor.
introduced in to a crovvded m ark et. It seem ed T h ere is also such a th in g as loyalty to ‘ty p c’ or
just as likcly th a t a m illionaire w an ted to help its opposite. It can only rarely happen that
m e personally, an d vvas preten d in g to em ploy som cone w h o hates w esterns buys a ticket for
me. Such w as my lack o f self-confidcnce. In o n e afte r reading a review, o r a lovc sto ry addict
fact, rhc íirst tim c I saw som eonc reading the avoids a rom antic íilm because o f w h a t the
ne\vspaper o n the L ondon u n d erg ro u n d , rhen papers say.
tu rn in g to a page o n w hich one o f my review s So if a film review isn’t really a consum er
appeared, I didn*c knovv \vhere to look. guide, w h a t is it? 1 certainly d o n ’t fccl I have a
T om ’s original scherne for a team o f critics responsihility to be ‘rig h t’ a b o u t a m ovie. N o r
31 fo r thc arts never to o k off. Ir w as a g o o d idea, d o I th in k thcre should be a certain n u m b er of
b u t w e d id n ’t gct togeth cr as plan n ed an d so ‘g rc a t’ an d ‘b a d ’ films each ycar. A!11 have to do
cvcrything vvas d o n e by phone. It tu rn e d o u t, is p ut fo rw ard an argum ent. I'nì n o t a judge,
to o , th a t th e gcncral public o u t th ere preícrrcd and n o r w ould I w an t to be.
Paper I ReadinịỊ
8 W ha t do w e learn a b o u t Tom S e a to n in the firs t p a ra graph?

A He encouraged M ark to b e co m e a writer.
B He has vvorked in va rio u s a re a s o f th e m edia.
c He m e t M ark w h e n w o rkin g fo r television.
D He preters to e m p lo y p e ople th a t he knovvs.
9 T he vveekly lunches w ere p la n ne d in o rd e r to

A help the vvriters get to k n o w e a ch other.
B p ro vid e an iníorm al into rm a tio n session.
c d istrib u te th e w o rk th a t had to be done.
D e ntertain im porta n t visito rs íro m th e arts.
10 W hen M ark íirst sta rte d vvorking fo r The F ro n t Page, he

A doub ted the p a p e r vvould succeed.
B w as em b arrasse d a t being recognised.
c fe lt it ne eded som e im provem ent.
D w as su rp rise d to be e a rn in g so m uch.
11 W hat does M ark m ean w hen he sa ys that TorrVs sch e m e ‘n e ve r took o ff' (line 31)?
A It w a s unpopular.
B It w a ste d to o m uch tim e.
c It w a sn ’t p lanned properly.
D It vvasrVt put into practice.
12 In the end, the org a n isa tio n o f the team w a s in ílu e n ce d by

A reade rs' opinions.
B th e ava ila b ility o f w riters.
c pressure o f tim e.
D th e po p u la rity o f subjects.
13 W h y d o e s M ark re fe r to his w a y o f w o rkin g as a ‘lu x u ry ’ (line 40)?

A H e ca n please m ore readers.
B H e is able to m ake choices.
c H is w orking hours are tlexible.
D H e is a b le to see a lot o f íilm s.
14 In M a rk’s opinion. his articles

A are seldom read by íilm goers.
B a re ignored b y s ta rs and film directors.
c have little effect on p u b lic v ie w in g habits.
D are m ore p ersuasive than p eople realise.
15 W hich o f the follow in g best de scrib e s v/hat M a rk says a b o u t his w ork?

A His su ccess va rie s fro m y e a r to year.
B He preíers to vvrite a b o u t tilm s he likes.
c He can íre e ly e x p re ss his opinion.
D He w rites a cco rd in g to a cce p te d rules.
83
Test 4
Part 3
You are going to read a nevvspaper article about a dentist. Eight sentences have been
removed from the arlicle. Choose from the sentences A -l the one which fits each gap
(16-22). There is one extra sentence vvhich you do not need to use. There is an example
at the beginning (0 ).
Mark your answers on the scparate ansvver sĩieet
Fun at the Dentist^s?

wr>’ ic a u .tb r n u l.c lin in l viỉits. H c s a p .' 17 ị
V ĩrtual-rcality hcj<l>cts arc o n c o f lns nc\v rcUxatiữii
te c h n iq u e t.' 18 I T ho headscts are uscd for
th e iniúal chcck-up. w hcrc th c paticĩit sits o n the
Wuc co u ch and w atchcs an u n d m v a tc r film w hile I
look at ( h d r te tth . T lien ilie headsel sw itch«s to a
spccial cam cra, to pivc thc paticnc .1 \nsiul tour
arotiiHÌ th cir m outli.'

I f \x>u \valk in to w . L loydJcrom c's dcncal surgcrx' in
Ghsgoxv, ỵ o u ’11scc b rig h t pa.ntings arxl a fash.o.ubLc A n o th cr kcv Poinc “ th jt th c surs cry m orc
blue co u c h w h ich pa«icn« sic o n w hilc he ch cck s hkc J shoP «faan a denri«V .T o d iy thcrc Í4
th e ir tccth .Jero m e says,* I 0 I I I T h a ù bccauve th c smclỉ o f o r in ^ - ‘ E u StneU « w r >’

th c y rc frig h tcn cd : iin p o rta n t.T h a t d ental sm ell o f suigical spirit can gct
th e heart racini; in m uuitcs if you*re írig h ten e d o f

H e has tric d to cveace a n en v iio n m cn t w hcre p c o p le J ■ .
arc n o t aíraid .‘ | l 6 Ị I find th a ts o n e o f th c

things Ihat pcoplc a s o c ũ c e wich pain. In fac«. m y K now n as GUsgovv's m ost tish io m b lc dciióst.Jc*Dm e
philosophy b Chat d e n u l ciratm ent sh ould takc p l x e » kecn lo p ° int o u t that hc u k cs h ii ' w r k very
in an atmcKphcre o f rcU xation, in tc rc u and, a b o \r j l l . seriou5ly- B B S I
enjoyinent.’
For e x a m p k Jero m e a special im tru n ien t
W hich ií all highly shockiiìg for aiụ-onc (m ost o f us) w hĩch sprays w arm w atcr o n chc tccth to c k a n thcm .
\v h o associatet d c n u l trcatm cnt \vith pain. o r Jt th e rnchcr chan v ra p in g ih c rn .' I 2 1 I ~| *
84
Paper I Reading
hve years ago,Jcromc \vciit to the United States to At th.1 t momcnt. a paticnt arrivcs. Jcromc rushes
do rcsearch. ‘ | 2 2 I Ị ' He sees his patient- ovcr.oíĩcrs him a cup o f tca (hcrbal or regular),asks
v-cntrcd attitudc as the start o f a gndual movcmcnt him \vhat vidco hc’d likc to vvatch and lcads him
:owai-ds lcs$ íormality in the conservativc Britíỉh gendy tovvards the chair.
dcnristn- profcs$ion.
A O ne o f the things I found out thcrc was thai E Wc were the íìrbt practicc in Britain to
\vhen you makc it casicr for the patienr, you introduce thcm.
makc it casicr for yourseir.
F It íccls a bit strange. but as long as pcople are
B Th.1t swhy I don’cwcar a wlũtc coat. relaxcd, it’s not paiiilul.
c It' pcoplc are rclaxed, entertained and correcdy G Now they look for\vard to their visils hcrc.
trcatcd. they will íorgct such prcvious ncgaũvc
H When pcoplc \valk in, I \vanc thcm to rcalisc
cxperiences.
\vith all thcir scnscs that its not like going to
D The reiaxation techniques arc importaiu but the dcntist $.
tlic qualicy o f thc trcatnỉcnt is thc most
I Fifty pcr ccnt o f the population only go to the
iiuporunt thing.
deruist whcn thcy”rc in pain.
85
You are going to read a magazine article about theme parks in Britain. For questions
23-35, choose from the theme parks (A-E). The theme parks may be chosen more than
once. There is an example at the beginning (0).
Mark your ansvvers on the separate ansvver sheet.
Of vvhich theme parks are the tolỉovving stated?
We had no previous experience of places like this. 0 B

_____
Some of the children showed they were írightened on a certain ride. 23
The children were all young enough to enjoy it.
It was good that you could tind somewhere to rest.
It was more enjoyable than we had expected.
The children disagreed about what was the m ost írightening ride.
The surroundings are not particularly attractive. 28
We didn’t mind having to wait to go on the rides. 29
The children vvanted to stay longer than we did. 30
One of the rides seemed to íinish very quickly.
We were glad that the children couldn’t go on a certain ride.
One òf thê childrérì had â bettér' time than we had expected.
r
It makes a claim vvhich is accurate. 34
None oí the rides would írighten young children very much.

Paper I Reading
Variations on a Theme
l f y o u ’re th in k in g o f ta k in g children to 3 them e park, there are dozens to
choose fro m in B ritain. We asked five tam ilies to test th e best.
□ Fun Island
Ị n n a n d S t t v t R u r t u tc o k d a u í Ịh i e r Sítm a n r h a , 3, a n d
t a v o u r it c r id c w a $ R u nninjf: R iv c r , w h c r e y o u t h in k
y o u ’r c ^ o in g t o g c t s o a k c d , b u t v o u d o n ’t. F o r y o u n g c r
c h i ld r c n , T a y L a n d i s g r c a t f iin . T Ik ' c h ik lr c n h a d a ! o « k
I x r c o iiíin s G a r y , 8 , a n d ) ( m m a , 1 0.
a t t h e «KW r id c , F c a r K a cto r , b u t \v c b r c a th c d * M ^h o f
I-»st y c a r w e w x n t t o a h u g c t h c m c pa rk in t h c ư s a n d r c l i c í vvhcn t h c y f o u n d t h a t t h c y w c r c t o o s m a ll t o g o
\v c ih o u g h t th a i Fun K la iu i n i ig h t sccm d u ll by u n itỉ T h e p a r k IV v o vvcll d c v ig iK d t h a i e v e n q u e u i n g fo r
c o in p a r is o n . In f a c t , w c w c r c im p r c s s c d . T h e p a r k iricx r id c s i i n ’t t o o b o r i n g . I t ’s s p o t ic s s ly c lc a n , a n d t h e statY
h a r d t o C it c r f o f m i H ị i c r c h i ld r c n , s o o u r ih r c c - y c a r - o ld a r c g r c j t . O n o n c r id c I c o u l d n ’t sit « i i h b o t h g ir ls , M>
d i d n ’t f c c l lc ft OUI. n > c k id s .(II lo v c d t h c C r t K o d ilc * m c m b c r o f * t a f f oATcrcd t o g o vvith o n c o f t h c m .
R ic k a n d t li c G ia n t \ V h c c l. 'r h c r c * s 3 N^Ktuil lU x iv ỉc in s
r u lc t h c v c r y « > » in g k id s , w h ic h vvas .1 g r c a t s u c c e s s .
F o r o l d c r c h itd r c n , t h c r c a r c s ta r ic r r id c s , s u c h a s spla%h
r a The Great Park
O u t , w h c r c y o t i c n d u p ị u m p in g in ì ịXMil' A f t e r fiv c Ị c ì i n y L t M Ị Ị r i d / Ị t m u i Ite r f r u n c i L i n d a took R e n , 6 .
h o u r s , S i c v c a n d I w c r e r e x i y t o c a ll it a d a y , b u t t h c [a n te s , 9, a n d S o p b it, 12.
c h ild r c n o b j c c t c d b c c a u s c t h c y w c r c h a v i n g s u c h f u n . \ ^ c a r r iv c d o o c o ' c l o c k And u c r c d i u p p o t n t c d t h a t i h c

O u r o n l v critk ÌM ii u o u l d b c th a t t h c p a r k is s lig h t lv p a r k w » o n l y o p c n u m il 5 p .m . T h i i L\ J M ip cr t h c m c
l a c k in g in a tm o sp h crc, and th e sccn crv Icìvcs p a r k tb r y o u n g c r c h ik ir c n b cca iB C t h c r id c s j r c n '« t o o
M im c ih in g t o b c d c ã r c d . B u t i h c « a f f a r c c x t r e m d y ttfr r if> in g . I*m a r c a l c o w a r tỉ b u i e v c n l cnjo% cd m y s e lí.
lic lp tu l a n d vvc fc lt it \v ÌS c lc a n , w c l l o r g a n is c d a n d v c r y W e ->11 a d o r c d E x o t ic T r a x c U , ì b o a t r iđ c w h ic h s ta r t s otV
s c c n r ity -c o n s ô o u s . q u i t c t a m c ly a n d i h c n b c c o m c s tc r r ilìc lu n . VVc q u c u c d
ti>r h a l f a n h o u r fo r U g h t n i n g R iv c r , a n d t h e n u w a s w c r
0 Wonderland
M o i r a M c M i l l a n a n d h ( r f r i c n / i p ra n c e s took O s ía r ,
b c t b r c \v c k n c w it! I > v o u ld n 't g o o n t h e B ig L c a p , b u r
i f y o u h a v e t h e ncrv x :, it l o o k e d g r e a t. T h e r c a r e l o t s o f
c n Ị o y a b lc b o a t a n d t n i n trip s a r o u n d i h e p a r k i n đ 1 tclt
1 8 m m t h t , E llic , -í, A ỉtX y 5 , a n d A k x a n d t r , 6. aII t h e a t tr a c t io n s w c r c v c r y sa fc a n d vvtll c o n i r o l l c d . l f
N o n c o f u s h i d b c c ii l o ì t h c m c p a r t b c f c x c , M) \v c t h e c h ilđ r c n h a d b c c n a lit tlc o l d c r , t h c y m ig l u l u v c
d id n 'c k n o w w h a t t o c x p c c t . W c t li o u g li t ( H c a r m ig h t t õ u n d ĩt a b it t a m c , b u t i h c y w c r c a ll in t h c r ig h i a g c
Iht t o o y o u n g , b u t h c a d o r t d it. H c n u i n h c a v c n o n g r o u p a n d t h c y lo v c d it.
t h c M o u m a in T n i n , a n d p a r ũ c u U r lv iik c d U t t l c I - j n d ,
w it h its s m a ll r c p li c is o f t ã m o u s b u i ld in g s th a t \v c r c at
h ũ lc x c l! T h e o l i k r c h ilitr c n c n ị iẠ c d t h c tcr r is w h c c l ,
01 FantasỵW orld
a n d l o v c d d r iv in g th c l o v c a r s o n 1 p r o p c r r o a d U y o n t.
\V c s p c n t six h o u r s ih c r c a n d w c r c j J jiI t h a t t lic r c w c r c
/ wifr R u t h
H U I H r x a k a ií a n d b u
e n n ie , 1 5 . a n d t k n , 1 9.
took S a r a h , 1 0 , 'lo m , 1 3 ,
p U cci \v h c r c y tju c<Mild J»«t your fcct up. The A c c o r d i n g t o t h e p a r k ’s a d v c r iis in g t h c r c is ‘N o L im it

la m b c a p in g is p c r tc c t a n d i h c H a flf \'c r y h c lp iu l a n d t*> t h c Fun*, and wc c c r t a in ly t'clt th a t w as tru c.
liricndly. A n d thcre** s o m c t h i n g f o r e v e r y o n c , i d u l t s E u r o p c * s t a llc s t r x > llc r f o is t c r , t h c R o c k c t , d o m in a ic t
in c lu d e d . t h c s k y lin c , a n d R c n t h o ii g h t it w a s t h c m o « tc r r ííỹ in g
o f t h c r i d c í , j ) t h o u g h J c n n ic w k l t h c H a n g c r , w h c r c
H A dvcnturc W orld
y o u h a n g u p s id e -d fw n 3 0 m c ir c i ib o v c th c g r o u n d ,
w a s C'CI1 v vorec! T h e i c i r c J d o / c n o r s o m a in r ii k s ,
T i m Ị e Ị Ỵ r t t a n d h is m f e C l a r e tữữk T ím o tb y , 3 , O i i v i ã , w h i c h t h c o l d c r c h ild r c n w c n t o n sc v er a l t im c s . Sarah
", a n d F .m » ia , 9. w a s t o o s n ia ll f o r i c o u p l c o f t h c m , b u t c n ị o y c d i h c
ACtcr w c n h o u n w c tclt t h c r c w a * M ill ì l o t l o s c c . ' r i m ỉ ^ i n g S lid c . T o m lc n v d t h e z o o a n d w il d li íè park T h e
a n c n o r m o u s t h c m c parfc, c x ir c m e l y w c l l n i n a n d IuII p a r k is c k a n a n d h a s g<Hxl p a r k in g r a c iliiic s . W c ÍOUIHÌ
o f g c x x i r id c s . T h e c h ilđ r c n lo v c t h c l ỉ i g T o p C i r c m , « h e s tJ lY .m it u d c s w c r c m ix c d . S o n i c o(t h c m « c r c ^ r c it
w h ic h h a d i (â n ta s tic tr .ip c z c a c t a n d k c p t u s o n th c w ith t h c y o u i ig c r c h ik ir c n , b u t i h c v v c lc o m c » v u n 't
c d y c o f o u r » c a ts . W c w c n t o n t h e T c r r o r L in c a n d , ahvavN a s w a r m . Y o u n c c d * fvill d a y t o c n f o y l :a n ia s y
ỉ l i l t o u g h t h c p ir ls w c r c r a th c r s c a r c d a n d k e p t t h c ir c y o W o r ld . W c w o u l d n ’t h a v c d i r c d t d l t h c k iđ s w c vscrc
s h u t m o s t o f t h c t ì m c , the>- « i i l t h c y \ i c n ị o v c d it. T h c ir g .o in g h o m c carly.
87
Tesi 4
PAPER 2 VVRITING (1 h ou r 30 m inutes) Thái Quang Tuân's Archives
P a rt 1
1 Your English class is going to spend three days in London. The Principal of your
college. Mr Robertson, has already organised the programme.
Hovvever. Ihe students in your class have seen an advertisemGnt for the Lonơon
Fashion and Leisure Show and you v/oulđ all like to go 10 the shov/. Your class has
asked you to v/rite to Mr Robertson about this. Read the extract from Mr Robertson’s
programme. the advertisement and your notes. Then, using the intormation, vvrite a
letter to Mr Robertson.
M onday 13 M arch THE L O \ D O \ FASHION

Morning: Sightseeing by bus AND LEISURE SIIO U
Aftemoon: River trip to Grccnwich Central Mxhibilion Hall. London
Tiicsday March 1-í
Tuesday 14 M arch
1 0 .0 0 -1 9 .0 0
M onting: Science Museum
Apernoon: Shopping • Latest íashions
• Lelsure and sports w car
VVednesday 15 \la rc h • Makc-up
M ortùng: National A n Gallcry • Hairst>1c8
Afternoon: Frec timc
o -— — ....... ■ ' —— ■
N o te e
• T h a n k ở - ỹO O d p r o g r a m m e , e& p ecia lly . . .

• E xp la in a b o u t L o n d o n F a õ h io n a n d L e le u r e S h o w
• G re a t o p p o r tu n ity bccau& e ...
• S u g g e s t h o w p r o g r a m m e c o u ld b e c h a n g e d
Write a letter of between 120 and 180 words in an appropriate style on the opposite page.
88
Paper 2 Writing
Q uestion 1
89
Part 2
Write an answer to one of the questions 2-5 in this parl. Write your ansvver in 120-180
words in an appropriate style on the opposite p«ge. Pul the question number in the box.
2 Alter a class discussion on the media's treatment of íamous people. your teacher has
asked you to write a composition, giving your opinions on the following statemeni:
Pamous people. such as politicians and fíỉm stars, deserve to have a private Itte
without ịoum aiists foliowing thữ ỉĩì a ll tho time.
VVrite your com position,
3 You see this announcement in an intemational magazine.
Wc invite you, our readcrs, to write an articlc on:
T h e H o m e o / th e F u tu r e
In w hat ways do you think pcoplc’s hom es will be different in ứie íuturc?
In what ways might they still be thc samc?
_______________ T he \vriter o f ihe bcst articlc will vvin a prize.________________
Wnte your article.

4 Your English teacher has asked you to write a story for the cdlege magazine. Your
story must begin vvith Ihese vvords:
It vvas ơangerous. but I know I haơ to do it.
VVrite your story.
5 Ansvver One o( the foltowing two questions based on your reading of one of these
set books. Write (a) or (b) as well as the number 5 in the question box. and the title
of the book next to the box. Your answer m ust be about one of the books below.
Best Detective Storíes oíAgatha Chnstie - Longman Piction
The Old Man and the Sea - Ernest Hemingway
A Winơow on the Universe - Oxford Bookworms Collection
Cry Freeơom - John Briley
Wuthering Hetghts - Emily Brontố
Either (a) Your teacher has asked you to write a composition. giving your opinions
on the (ollovving statement:
A good book should interest, amuse or teach the reader something.
Write your com position, explaining your vievvs with reference to the
book or one of the short stories you have read.
Or (b) Your pen trienđ has written to ask you whether the book you have reađ
would be a suitable present for her cousin’s titteenth birthday. Write a
letter to your pen íriend. giving your opinion with reíerence to the book
or short story you ha ve read.
Write your letter
90
Paper 2 XVriting
Q u e s tio n
91
Test 4
PAPER 3 USE 0 F E N G LIS H (1 h o u r 15 m inutes)
Part 1
For questions 1-15. reađ the text below and decide which answer (A. B. c or D) best fits
Mark your answers on the separate answer sheet
Example:
0 A recommended B reminded c recognised D remembered
A FAM OUS EXPLO R ER
Captain James Cook is ( 0 ) today for being one of Britain's most famous explorers of
the 18th century. Cook was ( 1 ) most other explorers of the same period as he did not
come Irom a vveâlthy fârtìily and had tỏ work hard to ( 2 ) his position in life. He was
lucky to be (3 ) by his father's employer, who saw that he was a bright boy and paiđ for
him to attend the village school. At sixteen, he started ( 4 ) in a shop in a íishing vỉllage
(5 ) on the coast and this was a tuming (6 ) in his lile. He developed an interest in
the sea and eventually ịoined the Royal Navy ( 7 ) to see more of the worW.
Cook was ( 8 ) by sailing. astronomy and the prođuction oí maps. and quickly became
an expert ( 9 ) these subịects. He was also one of the first people to (1 0 ) that scurvy,
an illness otten suffered by sailors. could be prevented by careíul ( 11 ) to diet. It was
during his (1 2 ) to the Pacitic Ocean that Cook maơe his historic lanđing in Australia
and the (1 3 ) discovery that New Zealar»d was two (1 4 )..... islands. He became a
national hero and still (1 5 ) one today.
92
Paper 3 Use o f English
1 A different B contrary c distinct D unlike
2 A manage B succeed c achieve D íulíil
3 A remarked B vievved c glanced D noticed
4 A trade B work c career D job
5 A held B placed c positioned D siluated
6 A moment B instant c point D mark
7 A in view 5 in order c as D due
8 A keen B eager c íascinated D enthusiastic
9 A from B over c in D for
10 A regard B estimate c catch D realise
11 A attentíon B organisation c observation D treatment
12 A travel B voyage c excụrsiọn D tour
13 A serious B superior c major D leading
14 A shared B particular c common D separate
15 A keeps B stands c maintains D remains
93
Test 4
Part 2
For questions 16-30. read the texl below and think of the vvord vvtiich best fits each space.
Write your answers on the separate ansvver sheet
INDOOR CLIMBING
Rock climbing is (0) of the UK’S íastest growing sports. Novvadays. hovvever, it's
not necessary to head to the hills when you decide to (1 6 ) it up as a hobby. Indoor
climbing is a great way to discover vvhether o r (1 7 ) you have a head for heights.
Whatever you may have (1 8 )........... told. size and strength aren't that important in
climbing. Climbers just (1 9 ) to be fit, vvilh a good sense of balance. Man-made
climbing walls have foolholds and handholds (20 ) ........... ditterent shapes and sizes.
Beginners can choose walls vvith holds near to (2 1 ) other. More ditTicult routes up
the wall vvill have small handholds quite (22 ) apart.
Climbers work in pairs. (2 3 ) one person climbs, the other one stays on the ground.
giving out the rope. You (2 4 ) taught to move your hanđs and feet correctly. plus
how to rest and balance (2 5 ) the way ưp. Once you’ve mastered ad of (2 6 )...........
basic moves, you can go for tonger climbs. The great thing about climbing is that you can
(2 7 )............ better quite quickly. Most sports centres wlll indude the cost of hiring
equipment (2 8 ) the admission price. (2 9 ) is usually between £4 and £6 per
visit. It's natural to be scared at (3 0 ) but soon you'll realise Ihat you’re quite safe!
94
Paper 3 Use o f English
Part 3
For questions 31-40, complete the second sentence so that it has a similar meaning to
the (irst sentence, using the word given. Do not change the word given. You must use
betv/een two and tive words, including the word given.
Here is an example (0).
Example:
0 You must do exactly what the manager tells yoư.
carry
You must instructions exactly.
The gap can be fĩlled by the vvords ‘carry out the manager’s' so you write:
0 I c a rry o u t th e m anager s
Write only the missing vvords on the separate ansvver sheet.
31 My brother accused me of taking his car.

to o k
‘You ............................................................. you?' said my brother.
32 That s the strangest film l've ever seen!

strange
I ve ............................................................ film betore!
33 A very íriendly taxi driver drove us into town.

driven
We a very triendly taxi driver.
34 My aunt was delermined to pay for our tickets.

insisted
My aunt ................................................................ for our tickets.
95
Tesi 4
35 The manager tailed to persuaơe Karen to take the job.

succeed
The manager ................................................................ Karen to take the job.
36 l'd rather you diđn't use that red pen.

mlnd
Would ................................................................ that red pen?
37 I last saw Mark a year ago.

slnce
I have ................................................................ year.
38 John impressed his new boss by settlmg ơown to vvorkquickly.

good
John ............................................................. . his new boss by settling down lo work

quickty.
39 Tony regrets lying to his teacher.

vvishes
Tony ................................................................ his teacher the Iruth.
40 I íound il diffícult to follow the instructions.

trouble
I ............................................................... the instructions.
%
Paper 3 Use tìf English
P a rt 4
For questions 41-55. read the text below and look careíully at each line. Some of the lines
are correct. and some have a word which should not be there.
If a line is correct, put a tick ( / ) by the number on th e separate a n sw e r sheet. If a line

has a word v;hich should n o t be there, write the word on th e separate a n sw e r sheet.
There are two examples at the beginning (0 and 00).
Exam ples:________ _____________________

ÕÕỊ too
R N LA N D
0 Pinland is a country in the (ar north of Europe. Most of it is forest
00 and there are too about sixty thousand lakes tíiere as well. It has a population
41 o f some five m illion people. about a m illion of Ithem w ho living in the Capital
42 City. Helsinki. There are two oHicial languages, Finnish and Sv/edish,
43 with about six per cent of the population being Sv/edish-speaking. Many
44 people think of Finland as for a very cold country w here it is dark most of
45 all the time. In the long vvinter, temperatures are indeed very low and in some
46 parts there is very little daylight. However, in th e summ er it is often hot
47 and sunny, and it hardly just gets dark at all a l night. One thing that Finland
48 is íamous for is the sauna. A sauna is a kind o f hot steam bath. You sit in
49 a room vvhere steam is produced out and the lem perature gets very high. You
50 then wash yourselí or have a swim. Some people they even roll in the snow
51 in the winter! Finland is a very much keen sporting nation and over the years it
52 has had a number of champions in any vvinter sports such as ski-jumping and
53 ice hockey. as well as by producing some great Olympic athletes. especially in
54 long-distance running and the javelin. Other Finns who have been gained
55 international fame include the composer. Sibelius, and the architect and designer,
Alvar Aalto.
97
Test 4
Part 5
For questions 56-65, read the texl belovv. Use the word given in capitals at the end of each
line to torm a word thai fits in the space in the same line. There is an example at the
beginning (0). Write your answors on the separate ansvver sheet
Example: 0 ohortty
RUNNING ROUND THE VVORLD
John Shaw vvill (0) .PỈĨữữỊỵ. be setting off on a 50.000 km run. SHORT
which will make him the íirsl person to pertorm 1he (5 6 ) act ORDINARY
of running all the way round the vvorld if he succeeds.
His timetable includes the (5 7 ) Russian winỉer and the burning FREEZE
Aírican summer. And he has no back-up team (or (5 8 ) He will be ASSIST
running alone, carrying all his (5 9 ) on his back. EQUIP
My biggest fear is not the physical chaltenge. but (6 0 ).......' Mr Shaw LONELY
said. ‘1’m as S0CiaWe as anyone and l’m very ( 6 1 ) that HOPE
I vvill form many (6 2 ) on the vvay.' FRIEND
On a trial 2,000 km run under the blazing (6 3 ) of the Aírican sun, HOT
he came across wild baboons and (6 4 ) snakes, but he proved that POISON
a target of 60 kilometres a day was (6 5 ) 'I have made up my REASON
mind to do it and I wM. Running is my life,' he said.
98
Paper 4 Lisiening
PAPER 4 L IS T E N IN G (a p p ro x im a te ly 4 0 m in u te s) Thái Quang Tuân's Archives
P art 1
You vvill hear people talking in eight ditterent situations. For questions 1-8. choose the
best answer (A. B or C).
1 You overhear some people talking at a party in a hotel.

VVhere did the people first meel each other?
A at school
B at vvork
c at a wedding
You overhear a conversation in a restaurant.

Why haven't they seen each other lately?
A
B
c
He has been too busy.
He has been ill.
He has been away.
■
You overhear someone talking about a concert.
How did she feel at the time?
A angry
B (rightened
’ 3
c disappointed
You hear a vvriter of children's stories talking about books

and compact discs.
What advantage does he think books have over compact discs?
A They may last for a longer time.
B They are easier to look after.
c They contain better quality material.
99
Test 4
5 You hear a husband and wife talking about their summer holidays.
What probiem do they have?
A They really hate tlying anywhere.
B They can never think of anywhere to go.
c They never agree about what to do.
6 You hear a researcher being asked about her work.

What is she doing when she speaks?
A denying an accusation
B disproving a theory
c accepting a criticism
7 You overhear a woman talking to a friend on a train.

What does the woman think of the course she has attended?
A It has made her feel more contident.
B It has made her feel less coníident.
c II hasn't made much diHerence to how she íeels.
8 You overhear a woman speaking on the radio.

What is she doing?
A complaining about something
B apologising for somelhing
c explaining something
100
Paper 4 Usíening
P art 2
/ou will hear a radio report about dolphins. For questions 9-18, complete the sentences.
Dolphins have been knov;n to protect SNvimmers írom sharks by getting into a
Dolphins and humans have
Svvimming v/ith dolphins can help common problems l ike
Some people think dolphins are able to recognise human
Dolphins have been used to teach children to
Sv/imming \vith dolphins is used as a
in projecls with children.
In one jaw, dolphins have as many as
Dolphins can maintain a fast pace in the v/ater for

Test 4
Part 3
You will hear five ditterent people talking about the head teacher or Principal of their ỉormer
secondary school. For questions 19-23. choose from the list (A-F) what each speaker is
saying. Use the letters only once. There is one extra letter vvhich you do not neeđ to use.
A She íavoured Ihe talented students.
s p e a k e r1 19
B She prepared us for the real world.
speaker 2
c She encouraged us to be imaginative.
speaker 3
D She was ahead of her time.
Speaker 4 22
E She was concerned about the environment.
Speaker 5 23
F She encouraged comp«titiveness.
102
Paper 4 Listening
P a rt 4
You will hear an interview with a lo u r leader who vvorks for an adventure company in Aírica.
For questions 24-30. choose the best answer (A. B or C).
24 Don says that most of his passengers

A are not students.
B are looking for jobs.
c work in conservation.
25 When Don first meets a group, he

A gives them blankets for the ovemight trip.
B shows them where to sit on the truck.
c checks they have the right equipment.
26 Don remembers one trip when

A he íailed to take enough food.
B someone made a mistake with the food.
c someone complained about the food.
27 Don oversees the domestic work because

A he doesn t like to lose things.
B it has to be done vvithin an hour.
c people complain if things are dirty.
28 lf people argue. Don says that he

A preters not to get involved.
B separates the people concerned.
c asks the group for a solution.
29 Don says that he sometimes

A needs to get to sleep eariy.
B has to camp in a noisy area.
c tells people when to go to bed.
30 What does Don say about getting up?

A He ignores any complaints about the time.
B He varies his schedule according to the group.
c He torces everyone to be quick about ít.
103
Test 4
PAPER 5 S P E A K IN G (14 m inutes) Thái Quang Tuân's Archives
You take the Speaking test \vith another candidate. reterred to here as your partner.
listening. Both examiners will award marks.
Part 1 (3 minutes)
about things like ‘your home town\ ‘your interesls'. ‘your career plans’. etc.
Part 2 (4 minutes)
Then the examiner gives your partner two ditterent photographs. Your partner talks
about your partner‘s photographs and you respond brieíly.
Part 3 (approxim ately 3 minutes)

proồlem or try to com e to a đecision about somethmg. For example. you might be askeđ
to decide the best way to use some rooms in a language school. The examiner gives
you a picture to help you but does r»ot join in the conversation.
Part 4 (approxim ately 4 minutes)

The examiner joins in the conversation. You all talk together in a more general vvay
ICM
Test 1 Key Thái Quang Tuân's Archives
Paper 1 Reading (1 hour 15 minutes)
P a rt 1
1 F 2 D 3 B 4 H 5 G 6A 7 E
P a rt 2
8 A 9 c 10 1) 11 B 12 B 13 c 14 D
P a rt 3
15 c 16 G 17 E 18 H 19 B 20 A 21 F
P a rt 4
22 c 23 B 24 A 2 5 /2 6 A/B (in e ith e r order) 27 B
2 8 /2 9 C/D (in eithcr order) 30/31 B/C (in either order)
3 2 /33 A/C (in either order) 3 4/35 C/E (in either order)
Paper 2 VVriting (1 hour 30 minutcs)
Task-speciíic m ark schem es
P a rt l
Question 1 *
Content
M aịo r points: T he lettcr m ust inchide the follow ing poinrs.
1) thc pcn and pcncil arc not very attracrivc
2) the nam c is misspelt
3) the pen and pcncil do not m atch
4) thc gift arrivcd too larc
5) thc \vriter m ust ask for thcir m oney back
O rgnnisíỉtion a nd cohesion
L cttcr form ar, \vith early rcícrcncc to w hy the pcrson is vvriting. Suitable
paragraphing. Clcar organisation o f points. Suirablc opening and closing
íorm ulac.
Apị>ropriacy o f register and Ịo rm a t
Form al lcttcr.
Range
Language o f com plaint, explanation and rcquest.
Target reader
W ould undcrstand the n aturc and detail o f th e com plaint an d \vould havc
cnough iníorm ation to considcr the request fo r a reíund.
Tcst I Key
P a rt 2
Q u e s tio n 2
Contení
Composition could agrcc or disagrec with the proposition, o r discuss both
sidcs o f the argument.
Range
Languagc o f opinion, explanarion and description. Vocabulary rclevant to
clothes.
Organisatíon and cohesion
ơ c a r dcvclopmcnt of viewpoint with appropriatc paragraphing and linking of
ideas.
Appropriacy o f register and form at
Ncutral C ỡ m position.
Target reader
Would bc able ro understand the writer*s vic\vpoint.
Q u e s tio n 3
Content
Articlc should supgcst One o í the four idcas given for a club and State why
thc \vritcr is clioosing that idca. Thcrc should also bc onc othcr idcn {cithcr
from thc list or the writer’s own idea), \vith the rcason for suggesting that idea.
Range
Language of suggcstion and explanation.
Organisatĩon and cohesion
Clcar dcvclopmcnt of idcas, with appropriatc linking and paragraphing.
Rcgistcr could rangc from thc informal to thc íorm al, but m usĩ be consistent
rhroughout.
Target reader
\Vould know \vhich clubs the \vriter \vould like to see started aítcr sch<K)l
and why.
Q u e s tiư n 4
Content
Report should givc íactual iníormation about things for visitors to scc and do
in the writer’s area in onc day (acceptable to m emion just one (hing).
Range
Languagc appropriatc to giving iníormation and making suggestions.
Orgamsation and cohesion
Report should he clearly organiscd. Suh-hcadings would bc an .idvant.igc, if
not, suitahlc paragraphing. Thcre should bc an introduaion and a
conclusion.
106
T e st 1 K ey
Aịìproprtacy o f register and form at

Pormal rcport layout is not esscntml. Rcgistcr could range from thc neutral
to thc íorm al, but must Ik*consistcnt throughout.
Target reader
Would kno\v w hat to do in thc writer*s arca in onc day.
Q u e s tio n 5(a)
Content
XVritcr can agrcc o r disagrcc \vith thc proposition that thc charactcrs arc
helievnblc nnd should cxplain thcir opinion w ith reíercncc ro thc book or
short srory rcad.
Range
Linguagc o í opinion and cxplanâtion.
Organisation and cohesion
Clcar devclopmcnt (>f viewpoint with appropriate paragraphing and linking
of ideas.
N eutral composition.
Target reader
W ould bc ablc to understand the \vritcr’s point of view.
Q u e s tio n 5 (b )
Content
I-eicer should give iníorm ation about thc book o r short story/scories and State
whcrher thc writcr would rccommcnd it or noi to thcir íriend to read. The writcr
should also givc reasons for thcir rccommcndation o r lack of rccommcndation.
Rơnge
Language ()f narration, dcscription and cxplanation.
l.ottcr íormat, with carly rcícrencc to why thc pcrson is writing. Clcar organisation
of points. Suitablc opcning and closing íorm ulae. Appropriatc paragraphing.
Appropriacy o f register and Ịorm at
Iníornĩal lcttcr.
Target readcr
\Vould be iníormcd about thc book o r short srory/stories and would know
\vhether it would bc .1 good choice to rcad and why.
Paper 3 Use of English ( l hour 15 minutes)
P a rt í
1 A 2 D 3 B4 c 5 B 6C 7A 8C
9 D 10 B 11 B 12 c 13 c 14 B 15 B
107
T e st 1 K e y
Part 2
16 where 17 \vhen/whilc 18 with Ỉ 9 and 20 so 21 as
22 \vould 23 somcthing 24 for 25 without/avoiding
26 having/íacing/cxpcricncing 27 up 28 a 29 sincc/bccausc/as
30 had
P a rt 3
31 in ordcr I co bc
32 is I no point
33 until ị we had íinishcd/donc
34 vvas berter I than Tim
35 if I she docs not do OR unlcss I shc docs
36 iíÁvhcthcr hc rcalised I w hat time
37 put an advcrtiscmenr I for
38 íìniỉhcd his speech I beíore thanking OR Bnishcd (his spccch) I by thanking
39 has bccn / is I a month sincc
40 following thcir I appearance
P a rt 4
41 been 42 \vhich 43 / 44 hardly 45 / 46 had
47 havc 48 / 49 last 50 cxtra 51 out 52 thosc
53 / 54 myselí 55 bccausc
P a rt 5
56 variety 57 dircctor 58 inhabitants 59 choice/choices
60 growth 61 unemployment 62 agrecment 63 loss
64 unablc 65 dccision
P aper 4 L is te n in Q {40 minutcs approximntely)
P a rt 1
1 A 2 A 3 c 4 B 5 c 6B 7C 8A
P a rt 2
9 graves 10 twelfth century 11 their/ihe owners
12 makc(-)up 13 ten thousand pounds
14 original clothcs 15 soft bodics
16 maker{’)s namc(s) 17 (littlc) adults 18 plastic
P a r ts
19 E 20 F 21 D 22 B 23 c
P a rt 4
24 J 25 TT 26 Ị 27 J 28 T T 29 A 30 J
108
T e s t 1 K ey
T ranscript Yirst Certificate I.istening Test. Test One.

H ello. ỉ'm going to giưe you the instructions fo r this tcst. r u introduce
each p a rt o f the test and give you time to look at the questions. A t the siart
o f each piece y o u ll hear this sound:
lone
You’11bear each piece tu/ice.
Remember, tvhile y o u re listening, unite your ansivers ott the questiott
paper. You 'II have time a t the ettd o f the tcst to copy y o u r austvers onto
the separate ansivcr sheet.
There w ill n ow be a piittse. Pỉease ask any questions now, because you
must n o t speak during the test.
Ipause]
N o w opcn your question paper and look at Part One.
Ipause)
PART 1 You’l l hear peopie talking in eight different situations. For questions I to
8, choose the best anstvèr, A, B o r c .
Q u e stio n 1 One.
You hear pa rt o f a radio play.
XVhere is t h e scene taking p ỉ a c e ỉ
Á i n t h e S tr e e t
B in a bartk
c in a Ịtn lic e station
(pause]
*
cone
Policeman: So what happened. madam?
Woman: Well, I saw this old man. he was kind of hoíding Ihis brieícase under his arm, like
this. He’d just lett Ihe bank and I was still queumg up to collect my pension, but I
was near that ơtx)r. Now. this young man camo running past him and grabbeđ
him by the arm.
Policeman: And they both fell down?
Woman: Yeah. and the young man ran away and the poor 0<d man sat on the pavement.
still clutching his brietcase. and we managed to help him up. Now, can I go back
in to collect my money?
PolicGman: Woulđ you mind commg Wíth us. mađam? We need a tew more details.
[pauscỊ
rone
[The recording is repeated.l

[pausc]
109
Test 1 Key
Q u estio n 2 T tv o .
Y o tt o v e r h e a r t h e b e g in n ìn g o f a le c tu r e .
W h a t s u b ịe c t a r e t h e S tndent-S t a k i n g ỉ
A m e d iã n e
R sp o rt
c m u s ic
Ịpause]
tonc
VVoman: lt's important that you really listen to vvhat people are telling you. For example. I
had a irumpet player who came to see me with back pain and breathing
đifficuities. He couiđn t take his tinal exams because ot the muscular tension in
his jaw. but when I quizzed him about it, it turned out that the actual problem was
in his teeth - far away from whore the pain actually was. The samo applies to
sports people who oíten have injunes as a result of their jo b ...
(pause)
tone
(The rccording is rcpcatcd.)
Ịpause]
Q u cstio tí 3 Three.
Y o u o v e r h e a r a c o n v e r s a tio n in a c o lleg e.
Who is the young man?
A a n e tv S tu d e n t
B a s t u d e n t i n th e m i d d l e o f a c o u r s e
c a f o n ĩ ì c r s tu d e n t
[pàusc]
tonc
Man: It all looks so ditterent. Where's the canteen?
Woman: It’s in the basement. You get thcre by going down the main staircase from the
entrance hall.
Man: Right. I’ll get there in the end. Everything seems to have moved aroond.
Woman: Yes. there was a re-building programme last year, which wasn*t much fun for
those of us trying to stuơy. The main building was altered a loi. And they re
building a new sports centre. It should be open for the no\v students in
September.
Man: Well, l'm envious. Everyihing looks a lot beiter.
(pausc)
tonc
[The recording is repeated.ị
ỊpauscỊ
110
Test 1 Key
Q u e s tio n 4 Four.
You hear a ivom att on the ra d io ta llỉin g about a cookbook.
W hat (l<M?$ she re g re tỉ
A n o t lo o k in ỊỊ after it
l i n o t bavitiR kept it
c not using it properly
Ịpause]
tone
Woman: I used to vvatch granny cooking, and right from when I vvas five years old, I was
allowed to season the soups. tesl the potatoes and so on. One year (or my
birthday, she bough! me a cookbook. It was just like granny talking; all the
recipes were simple, Gconomical and linked with little stories, usetul advice and
amusrng sketches. I treasured it, but gradually it fell to bits from overuse, my
lastes changed and, íinally, I threw it out. Now, of course. I wish l’d hung on to
it despite its sad State and despite the fact that all the advice vvould be out of
date.
IpauseỊ
tonc
[The recording is repeated.Ị
Ipauscị
Q u e s tio n 5 Five.
You hear someone ta lk in g a b o u t the day he met someone famous.
4 H o w d id he feel after meeting •Chris T u rn e rỉ
A unimpressed w ith the fo o tb a lle r
B angry tv ith bis frie n d
c disappointed tv ith hittìseự
Ipause)
tone
Man: I went to a party with a írienđ and she knows that l’m a big fan of Chris Turner,
the f<50tballer. I just think he‘s a genius and, anyvvay he was going to be there.
Now. I knew that I v/ould be really shy, vvhich is slupid because he‘s exactly the
same age as me and. you know, he‘s just a regular bloke. I'm sure. But when my
íriend introduced us and he shook my har»d. my moulh just vvent, you kr>ow.
really dry and I didn't know what lo say. honestly. which was awful. I fett so bad
about it afterwards. my friend ju sl couldn't understanđ it.
IpauscỊ
tonc
[The recording is repeated.]
IpauseỊ
111
Test I Key
Q u e s tio n 6 Six.
You hear a tvoman talking on the phone.
Wby bas she callcdỉ1
A to request a meeting
R to offer assistance
c to apologise fo r her absettce
[pausc]
tone
Woman: Hi, can I just talk to you about ơur plare for the Summer Conterence? I think I
said that I was going to be away for the opening meeling and coukJfì't give you a
hand. bu« it seems I got my diary muđdled up and I will actuaily be around, so
whal would you like me to do?
[pause]
tonc
(The recording is repeatcd.Ị
[pause]
Q u e s tio n 7 Seven.
You overhear an extract from a radio play.
\Vhat is the young womatí’s relationship tvith the m attĩ
A She’s a p u p il o f bis.
ĩi Sbe's a reìative o f bis.
c She's a patient ofhis.
[pausc)
tonc
Man: So. Sophie, teil mô all about It.
Woman: I*m sorry, but l've just been teelirg lernbie <or the last week or so and last night I
just couldn't đo my homewori<. I felt so bad. I was aching all over. So my Dad
saiđ I had betier make an appcHntmeni and come and see you. Perhaps you can
tell me what's wror>g.
[pausc]
tonc
ỊThc rccording is rcpcatcd.]
Ịpausc]
Q u estio n 8 Eight.
You hear sontconc telling a stơry about a strangc tbing that happcncd in the
moutỉtaitis.
Wbat point does the story p ro v e ỉ
A how strangc thìngs can be expLỉined sintply
R how easy it is to imagine things
c how you can be tricked b y the silence
112
T c st 1 K e y
ỊpauscỊ
tonc
Man: My wife Margaret and I were sitting behind a rock on the top of a mountain in the
Highlands one day, nobody else around. pertectly silent. and Margaret said, ‘I
just hearđ a telephone bell ringing.' ‘Oh,11said, ‘Margaret, there are no telephone
kiosks up here.’ But in the silence of the hills, you can imagine anything. I said, 'I
oíten ímagine things. 1've heard babies crying in this silence. I've thought I heard
a symphony orchestra,' and Margaret said, ‘l’m sure I heard a telophone ringing.’
She got up and went round the back of the rock and there v/as a cow with a bell
arounđ its neck.
[pause]
tonc
[The recording is repcatcd.]
IpauseỊ
That’$ the end o f Part One.
N o w turn to Part Two.
(pause)
PART 2 Y vu 'll bear pa rt o f a ta lk abont dolls. For questiom 9 to 18 cotnplete the

sentences.
Yon n ow have fo rty-five ĩcconds in tvhich to look at Part Two.
ỊPausc the recording herc for 45 seconds.)
tone
Man: Dolls have always íascinated me. and thafs why, five years ago. I was delighted
to be oííered the job of running a doll musGum.
Dolls have existed (or thousands of years. and the earliest dolls we know
about were íound in graves in ancient Egypt. I only wish we could get one 0 r two
for our museum. but we haven'1 unfortunately, got anything as old as that in the
museum. All the same. we have got examples from Europe from the twelfth
century, but my (avourite early dolls are actually from the seventeenth century.
They interest me not just becaưse they are early, or íairly early. but also because
oí the clothes lhey're wearing. They have their original clothes. and from them
we know what the owners wore, since ơolls in those days w ere always dressed
like their owners. They were made of the only material readily available for Ihings
like this at the time: soliđ wcxxJ. and they were painteđ in great detail. In fact, on
the bost examples, like the ones in the museum, the detail includes the
seventeenth century make-up.
Dolls liko these were very expensive then, and only the very rích could afford
them. These days, they're popular with colleclors and if you want one tcxlay. you
have to pay anything up to £10.000 for a doll in pertect conđilion from this time!
By the v/ay. what makes them so valuable is that. as far as a collector is
concemed. a doll is only vvorth collecting if it is In perlect condition, and that
means having the original clothas.
113
T cst 1 K cy
Doll collecting has become very íashionable since the museum opened. w r
peoplô interested in dolls trom every period, including later dolls. There’s grea-
interest in nineteenth century examples, when dolls were no longer made of
woođ, but began to have sott bodies and real hair. They were very delicate arc
few have survivGd, meaning such a doll would bo worth about £2000. porhaps a
bit more. Later. in the nineteenth century. you could otten take off the doll's har
lf you can. you can often see the maker s óame underneath. and of course the
right one increases a doll's value.
There was a reaily b»g change in dolls at the beginning of the twentieth
century. In the museum we have one of the earliest examples, trom about 1905.
of a doll that s a model of a baby. Previously all dolls. the earlier ones. were kta®
adults. Thars just one of the changes that have occurred in the last hundred
years. Another. again, is to ơo with what dolls are made of. Although dolls witn
sott bodtes continueđ, atter about 1930. plastic began to be used. In fact. <Jo<is
from tho 1930s and 40s are now very popular with collectors. some of them
selling fof very, very high prices.
Ịpause)
N o tv y o u 'lỉ hear Part T tro agaitt.
tonc
|Thc recording is repeated.l
[pausc]
T b a t’s thc end o f Part T w o .
N our tu m to Part Three.

(pause)
PA R T 3 You 'II hear fw e different people ta lkin g about w h y thcy decided to becomc
nurses. l :o r questions 19 to 23, cboosc ivhich o f the reasotis A to ĩ each
speaker is g irin g . u$e the ỉctters ottỉy once. There's One cxtra letter ivbich
you do n o t nccd to use.
Yuu tio w havc th irty seconds in ivhich to look a t Part Three.
ỊPause the recording here fo r 30 scconds.Ị
tonc
speaker 1
[pauseỊ
Weli I have to say, I never reaiiy thought about a career until I got to my last year
at school. Lots of people here say that they knew exactly what they wanted tó đo
right from a very young age. but I never really had any buming ambitions. In the
end I just sort of dritted into it because that s what our lot have alvvays đone. If l'đ
chosen something else - like gomg mto busmess, say - 1would have been the
íírst for four generations to have gone outskle the međical tielđ. I donì think that
that wo<jkJ have mattered but it means there are lots of things we can talk about
at home.
114
T est 1 K cy
(pause)
Speakor2
Ipauscl
Most of my íriends v/ent into teaching actually - 1think they felt it was more
'acađemic’ and of course the pay is quite a bit better. But l've aever reaiỉy been
bothered about things like that - 1think the enjoyment of the job comes firsl and I
certainly get a lot oi good íoelrngs doing ttils work. We have some diííicult cases
sometimes but lhero's still a lot of laughter here and Ihe patients can be amazing
- especially the kids. I'd recommend il to anyone v/ho likes helping people.
Ịpausc]
Speaker3
IpauseỊ
I thlnk l'm lucky really because I đidn'1 try very hard at school - 1guess you’d c a i
me lazy! And then it ended arKỈ I thought ‘Wov;. I’d better think about a job; and I
got really worried and emotional about it because. well, I suddeniy realiseđ that I
didnì v/ant to go from job to job, you know. I wanted a career and regular money
and an opportunity to climb up the ladder if possible. So. one day I saw a TV
programme about nursing and it lookGđ like it had the kind of benetits that I
wanted - so here I am.
[pausc]
Spẽakòf4
Ịpausc)
At íĩrst I thought rơ made the v/rong choice ... you know. I was never really sure
that it was the thing lor me and r used to go back to my flat at night and think -
v/ell maybe I should have listeneơ to my parents atter all. They thought l’d get too
upset and that I should have stuck vvith something office-based like the rest of
my íamily but it was my best subject at school - vveil Biology was - and all the
staff there thought medicine would be a good choice, s o ... Anyway. one day I
vvoke up and (elt fine about it and it’s been great ever sinco.
(pausc)
Speaker5
[pauseỊ
I remember we all had to go to this Careers Advisor in our last year at school and
I think she got really corìfused whien she saw me because I just had no idea. I
liked the sound of a lot of iobs and I couldn t make up my minơ. When the time
came to tell our teachers what we were going to apply for, I thought - vvell what
does matter to me is being separate from my íriends and so I went rounđ to see
one of them - the most important I suppose. and anyv/ay she hađ chosen
nursing, so that was it really - a dĩfficult decision made easy, although I must
say, l've never regretted it.
[pause]
115
Test 1 Key
N o w y o u 'lỉ hear Part Three agaitt.

tonc
ỊThe recording is repcatcd.Ị
(pausc)
T hat’s the end o fP a rt Three.
N o iv tu m to Part Four.
IpauseỊ
PART 4 You'U hear p a rt o f a radio programme in U ỉ h i c h a book critic gives

inỊorm ation about three new books ott the subịect o f travelling in the
United States o f America. F or questions 24 to 30, decide tvhich book each
statement refers lo. \Vrite A fo r A T O z , Ị fo r JUST G O o r T T fo r
T R A V E L TREAT.
You now have forty-five secumỉs in Ivhich to look at Part fo u r.
ỊPausc thc rccording hcrc for 45 scconds.Ị
tonc
Critic: Well, this week we have three nevv travel guides about the USA. A t o Z t o th e
U S A by Peter Tongue, J u s t G o by Carol Brand and T ra vel T r e a t by John Bames.
Travel gu đes shoukl give us not jusi all the practical details, but also background
intonnation, and J u s t G o manages to pack in more of the latesi ơevelopments in
public life, civic attairs and govemment ưian tho usual guide. For some reason,
Travol T rc a ta n ơ A to z tend to ignore this. Though it must be said that Travel
T reat does give you a good insight into the American way ol life.
With travel guides I tend to feel that the wrítGr's cxpcrience is crucial. Now,
these three writers are young, but when you read A to z. what strikes you is Ihat
the author is a sophisticated world traveller who has clocked amazing mileage
throughout thirty countries and four continents.
Nevertheless. there's a feeling that this time he has not put in as much work
prior to writing. And you have tho samo impression with J u s t G o. T ra vel Treat, on
the other har>d. seems to be ỉ>ase<J on an incredible amount of sorious worl<.
although the author is not nearly as widely travelled.
Some travel guide books manage to take travellers away from the tourist trail.
and J u s t G o is outstanding in Ihis respect, with extensive coverage of areas
which other guiđes đon't Ihink worth mentioning. To be íalr, A t o Z also tries to
encourage you to ơepart from Che beaten track, bui it doesnt succeed quite as v^-eil.
T ra vel T rea t can at times be a bit on the dull siđe, while J u s t G o tries to be
funny without really succoođing. A to z . however, is one of those books where.
although l'm sure it wasn’t the author’s intention that wo should laugh, you just
can't help seeing the íunny side of some ol the mistortunes of this cnthusiastic
traveller!
AII the guides give good advice on health. In J u s í Go and A to z, you are tokJ
what to đo about drugs. the h e a t... all the important details. In addition to that.
Travoi T r e a ta ISO tells you about the kind of medical insurance you need to take
out betore you go.
116
Test I Key
W ell. n ex t. I think all th r e e tra v e l g u id e s m a k e a re a l effort lo p ro v id e tip s a b o u t

w h e re to g o for e n te rta m m e n t. A t o Z is particu larty g o o d for p e o p le travelling o n
a tig ht b u d g e t b e c a u s e it te lls y o u h o w to a v o id all th e to u rist tr a p s ... a n d still
s e e th e b e s t s h o w s in to w n . J u s t G o t e n d s to c o n c e n tr a le m o re o n th e u p m a rk e t
er»đ of th e s c a le . a n d s o d o e s T ra v e l Treat, a lth o u g h b o th of th e m h a v e s o m e
v e ry g o o d a d v ic e ,
Arìd (inaily, I think from th is p o in t o í view , J u s t G o g iv e s th e r e a d e r th e w ho!e
ra n g e of o p tio n s. from sta y in g w ith ía m ilie s to luxury hotG ls for t h o s e w h o c a n
atto rd it. A Ị o Z a n d T ra ve l T re a t a r e n o t a s c o m p re h e n s iv e . b u t th e y b o th h a v e a
v e ry g o o d s e c tio n o n activity h o ltđ a y s. s ta y in g o n f a rm s o r r a n c h e s .
Ịpause)
N o w >01/7/ hear Part Four agaitt.
tone
[The rccording is repeated.]
[pausc]
T bat’s the cnd o f Part Four.
There’l l n ow be a pause o f fiv e minutes fo r you to copy yo u r amivers onto
the separate attstvcr shcet.
[Pausc thc rccording hcrc fo r íivc minutcs. Rcmind your studcnts whcn
thcv havc onc minute lcít.]
That's the end o f the tcst. Plcase stop ỉtow . Your supervisor iv ill n ow
collecl a ll the question papers and atistver sheets.
Goodbye.
117
Test 2 Key
Paper 1 Reading (1 hour 15 minures}
P a rt 1
1 G 2 E 3 B 4 H 5F 6A 7D
P a rt 2
8 B 9 B 10 D 11 c 12 A 13 A 14 D 15 c
P a rt 3
16 F 17 A 18 c 19 G 20 D 21 E
P a rt 4
22 D 23 A 24 D 25/26 C/E (in eitherordcr) 27 B 28 E
29/30 A/B (in cither order) 31 c 32/33 BỈD (in eitber order) 34 c
35 D
Paper 2 VVriting (1 hour 30 minutes)

Task-specific mark schemes
Part ỉ
Q uestio n 1
Corttent
M aịor points: Letter must include all the points in thc notcs.
1) commcnting on thc choice of hotel
2) suggcsting food for thc party
3) explaining why a \vatch is not a goo<l idca ío r a presenr and/or suggcsting
somcthing clsc
4) apologising for not bcing ablc to hclp thc day bcíorc
5) suggcsting something clsc for thc party
Lcttcr íorm at, with carly rcícrence ro why che pcrson is writing. Clear
organisation of points. Suicablc opcning and closing íormulac.
Appropriacy ofrcgister and iorm at
Iníormal lcttcr.
Range
Language appropriate for making suggestions, giving rcasons and apologising.
Target reader
Would ht- iníormcd about the writcr’s idcas for the party.
118
Test 2 Key
P a rt 2
Q u e s tio n 2
Contettt
Com position ío u ld agree or disagrcc w ith the propositiòn, o r discuss borh
sidcs o f thc argumcnt.
Range
Language o í opinion and cxplanation. V ocabulary relcvant to transport.
Organisation and cobesion
Clear developmenr o í vicwpoint wirh appropriatc paragraphing and linking
o f idcas.
A ppropriacy o f register and fortnat
N cutral composition.
Target rcader
W ould bc able to understand thc \vritcr’s poinc of vicw.
Q u e stio n 3
Content
I.cttcr should cxplain why thc w riter is a suicab-lc pcrson for the job.
Ratige
Languagc of cxplanation, giving iníorm ation and pcrsonal description.
Clcar prcsentation and organisation in thc lctter. Suitablc opening and
closing íormulae.
Pormal or scmi-íormal lctter.
Target reader
W ould havc cnough iníorm ation to asscss writcr*s suitability for thc job.
Q u e stio n 4
Content
Story should cnd with ihe prom pr sentcnce.
Range
Past tcnses. Vocabulary appropriatc to (he choscn ropic fo r the story.
Orgattisaúott and cohesion
Could be minimally paragraphed. Should rcach <1 definite cnding, cvcn if that
cnding is som cw hat Oịx-n-ended, as in many m odcrn short storics.
Apọropriacy o f register and Ịo rm a t
Consistent neutral o r iníormal narrative.
Target reader
W ould hc ablc to follow thc storylinc.
119
Test 2 Key
Q u estio n 5(a)
Content
Composirion should discuss the im|X)rtancc of the titlc <)f the book or short
story and why the writer chosc that titlc.
Range
Languagc of narration, dcscription and explanation.
Organìsation and cohesion
Clcar development of ideas, with appropriatc linking and paragraphing.
Neutral composieion.
Target reader
Wou!d bc iníormcd about thc importance of thc titlc of thc book or short
stor>' and why the author chosc that titlc.
Q u e stio n 5(b)
Content
Rcport on book o r short story, cithcr rccommcnding it or not rccommcnding
it for mcmhcrs of the English book club.
Range
Languagc of gi vin g iníormation, dcscription, narrarion and pcrhaps
rccommcndation.
Rcport should bc clcarly orgnniscd. Sub-headings \vould bc an advantage.
Thcrc should bc an introduction and a conclusion.
Appropriacy ofregister and form at
Rcgistcr could rangc from íorma! to iníormal, but must be consistent
throughout. Formal report layout is not esscntial.
Target reader
Would bc iníormcd about the b<K)k or short story and vvhether the book is
suúable to include on the list or not.
Paper 3 Use of English (1 hour 15 minutcs)
Part 1
1C 2 B 3 D 4 c 5 B 6D 7B 8A
9 B 10 D 11 A 12 A 13 D 14 c 15 c
Part 2
16 bccausc 17 morc 18 o i 19 are 20 too
21 bc/sound 22 when/while/as 23 vvhich 24 had/nceded
25 w hat 26 again 27 would 28 ỉf/provided 29 íirst
30 by
120
Test 2 Key
P a rt 3
31 \vould likc I to kno\v
32 let us I park (our car)
33 if I I had sccn
34 thcrc is I a holc in
35 \vas callcd I off
36 pays (any/much) attcntion I to
37 if she I would lcnd him O R to ! Icnd him
38 might havc I íorgottcn
39 cííicicnt at I chccking
40 (single) child I has (great) íun
P a rt 4
41 for 42 / 43 much 44 if 45 / 46 o\vn 47 to
48 that 49 cat 50 thc 51 / 52 ✓ 53 at 54 it 55 /
P a rt 5
56 írcqucntly 57 impressive 58 com íorrable 59 flight(s)
6 0 C o m m u n ic a tio n s 61 in c rc a sin g ly 6 2 im p ro v c m c n t(s)
63 noisy 64 Crow ded/O vercrow ded 65 uníortunatcly
Paper 4 Listening ( 4 0 m inutesapproxim ately)
P a rt ỉ
1 A 2 A 3 c 4 B 5 A 6B 7 c 8C
P a rt 2
9 M arch 10 design 11 publicity
12 (in) (rhc) (two) mccring(s) rooms 13 £ 35 14 rcachcrs
15 adults 16 acting 17 Ewington C O R RECTSPELLIN G ONLY
18 (the) Education M anager
P a r t3
19 F 20 B 21 A 22 E 23 c
P a rt 4
24 B 25 c 26 A 27 A 28 c 29 B 30 c
121
I» | í I\cy
Transcript First Certificate Listening Test. Test Two.

Hello. ỉ ’m going to g i ve you the instructions fo r tbis test. V ll introduce
each part o f the test and give you time to ỉook at the questions. A t the start
o f each picce y o u 'll hear this sound:
to n e
Youll htar each piece ttvice.

Rementber, ỉvhile y o u re listening, ivrite your anstvers on the qnestion
papcr. You’11 bave time a t tb c cnd o f the test to copy your answers onto
the separate ansiver sheet.
Tberc tv iỉl now be a pause. Please ask any questions now, because you
musi not speak d tiring the test.
Ipause]
PART 1 N oiv open your question píĩper and look dt Part One.
Ịpausc]
You 'II hear people talkiníỊ in ã g h t different situations. ĩ o r qucstions ỉ to
8. choosc the bcst ansu/er, A , B or c .
Q uứ S tion ỉ One.
You ovcrhear tiưo peoplc talking in a restaurant.
\vbere has the ivoman ịust come from?
A a supcrmarkct
B a hospital
c a fo o tb a ll match
ỊpauseỊ
tone
Woman: I felt so sorry for her. she just cooldnì cope. She hađ the baby urxler or»e arm
and a list in the other. And hc was screaming. all red in the face. She must have
only just come out of hospital. he was so tiny.
Man: So yóu offered to help.
Woman: Well, I wanted to get through Ihe check-out and pay for my things quickly.
oiherwise I knew rơ be late getting here, but ...
Man: Well. I've only been here haH an hour.
Woman: Oh, l'm sorry, there was such a queue. And thon I ỉorgot. it's the big tootball
game today and the roads ware just packeđ ...
[pause]
tonc
[The recording is repcatcd.]
[pause]
122
Test 2 Key
Q u e stio n 2 Two.
You hear a man ta lkin g a b o u t a m obile phone be has bought.
What most attracted him to this phoneỉ
A its sizc
B its re lia b ility
c its price
ỊpauscỊ
to n c
Man: l've never wanted to walk around with an enormous mobile, you know. fixed to
my belt or whatever. because that s socialty embarrassing, isn't it? So I was
really taken with the Eơmundsen GP 876 model which you can just slip in your
inside pocket and no one’s tho wiser. if you know what I mean. And it says in the
blurb 'satisfaction guaranteed - should your mobile devetop a íaull in the íirst
year. we will replace it the next day’. Well. lo be honest, it wasn’t exactly what
you call cheap. so l‘m rather hoping that I dorít need to find oot just how good
that particular promise is.
Ipausc]
to n e
|Thc rccording is rcpcatcd.)

Ịpause]
Q u e stio n 3 Three.
You hear a man talking on the photỉt' a b o iit btrying a hnuse.
What is the purpose o fh is c a ỉlỉ
A to apologist•
l i to compỉam
c to vbtdin mformation
IpauscỊ
ronc
Man: Hello. tt's Mr Brown here. I got your message. Yes, I was really sorry to hear the
house I wanteđ hađ just been sold ... Yes ... I missed the chance to buy the
house of my dreams. Yes. I know it wasn't your tault. I shoald have contacted
you earlier.... Yes ... That s why 1’m now eager to hear of any houses that come
on the market. As you kno\v, vvhat I want is a house vvhich combines a kitchen
and breaklast room with lots of space for living, eating and cooking.... Yes. I*m
tired of small piaces where you can hardly move.
[pause]
to n e
|T h c r c c o r d i n g is r c p c a t c d .]
Ịpausc)
123
T est 2 K e y
Q u e s tio n 4 ĩo u r .
Y o u h ea r a tee n a g e ý r l ta lk in g a b o u t h er h o b b y .
W h a t is sh e ta lk itỉg a b o u tỉ
A a Computer gatĩte
B a m u sica ỉ in s tr u m e n t
c a p ie c e o f sp o rts e q u ip m e n t
[p au sc]
to n e
Girl: I g o t it a s a p re s e n t íro m m y ía t h e r \vhen I w a s ío u rte e n . M y ía m ily th o u g h t it
vvould b e a p h a s e , th a t l’d g o o ff th e id e a . M u m d oe srV t b e lie v e th e re ’ll b e a n y
m o n e y in it, b u t D a d is q u ite in te re s te d b e c a u s e , a p a rt fro m ío o tb a ll, it's th e o n ly
th in g I c a n ta lk to h im a b o u t at th e m o m e n t. If y o u ’re n ot g o in g to m a k e th e effort
to p ra c tis e o n it, n o w a y is a n y o n e g o in g to b e in te re s te d in y o u . I th in k o n e o f the
re a s o n s y o u s e e s o fe w g irls p la y in g in b a n d s is that th e y te n d n ot to b e vvilling to
d o a ll that w o rk.
[pause]
to n e
[T he re c o rd in g is repeatcd .]
ỊpauscỊ
Q u e s tio n 5 ĩiv e .
O n th e n e w s, y o u h ea r a s to r y a b o iit a cat.
W b ere w a s th e c a t Ịo u ỉìd ì
A in a tra in carriage
B ott th e ra ih va y lines
c o n a sta tio n p la tfo rtn
[p a u sc ị
to n e
N e w s re a d e r: A c a t w ith a m in d o f its o w n jo in e d th e 1 1 .5 5 train fro m K in g 's L y n n y e s te rđ a y . A
p a s s e n g e r s p o tte d th e ca t, th o u g h t to h a v e b o a rd e d a t Littlepo rt, a n d h a n d e d it to
a m e m b e r o f th e p la tío rm s ta ff o n c e th e tra in g o t to E ly sta tio n . T h e írie n d ly ca t
w a s put in a b o x a n d re tu rn e d to Littlep o rt. E v e n tu a lly , its o w n e r, J a c k P rin c e .
íro m Littlepo rt, w a s re u n ite d vvith h is ca t. It is th o u g h t th a t th e c a t m u s t h a v e
c r o s s e d th e lin e s a t Littlep o rt a n d vvaited o n the p latto rm , to g e th e r with a d o z e n
p a s s e n g e r s w h o d id n ’t n o tic e it a t all.
Ịp au se ]
tortủ
ỊT hc rc c o rd in g is rep cated .Ị
Ịpause)
Q u e s t io n 6 S ix .
Y o u h ea r a iv o m a n ta lkin g a b o u t h o w sh e g ets ideas fo r her tvo rk.
124
T c st 2 K ey
\Vho is the ivo m a n ỉ

A a ttoveỉist
B an artist
c a film -m akcr
(pause)
tone
Woman: I v/ork vvith my husbanđ, Bob, and every time we have a holiday somevvhere, we
seem to come up with an idea. And touring round the USA last year, he’d writton
the words for thls childrerTs ghost story. But I had no idea how to ... to get the
atmosphore in thồ pictures, whrch is my role in Ihe partnership. And then we
went to Las Vegas and all that amazing architecture, lit up at night under the
đesert sky, was e r ... was dreamlike. I mean. dospite all the íìlms, nothing
prepares you for \vhat it aciually íeels like to be there. I just sat down and started
sketching out ideas on the spot.
[p au scỊ
tonc
|Thc rccording is rcpcated.]
Ịpause)
Q u e stio n 7 Seven.
You hear tw o peopỉe talking.
H o w does the Iưontan fe e lỉ
A surpriscd
l i $atìsfied
c reỉieưcd
ịpause)
tone
Woman: There they are! At last. I’ve been looking for them every\vhere.
Man: What? Your keys? You’re always losing them.
Woman: I knovv, and I really thought l’d lost them (or good this time. Thank goodnoss!
Man: Why don't you make sure you put them d0 '.vn in the same place, then you'd havc
the satistaction of lindmg them v/henever you wanted them.
Woman: Maybe. Thafs not a bad idea. III think about it.
Ipause]
ro n c
(The recording is repeated.]

[pausc]
Q u e stio n 8 Eight.
Yoti turn oti the radio and bear a man speaking.
What arc you ỉistening t o ĩ
125
Tcst 2 Key
A a bistory programme
B a sãence-pction story
c an advertisement
Ipauscị
tone
Man: Discover the amazmg sccrcts of the planet Earth in three major recenily
launcheđ exhibitions: ‘From the Beginning', 'Earth s Treasury’ ar>đ 'Earth Today
ar>đ Tomorrow’ which form the tinest series ot exhibitions oi their kind in the
world. Togethor they tell Earth’s dramatic story, starting with the birth of the
universe. exploring the forces tnat shape it and the ricíies within it. concluding
with a glimpse into the íuture and wtiat it might hold for our planet.
(pause)
tone
(The rccording is rcpcatcd.]
Ịpause)
Thal's the end o f Part One.
N o w turn to Part Two.
[Pause the recording here for 30 seconds.]
PART 2 You w iỉì hear a radio interview tvith a woman ivho is organising a training
tveekcnd fo r people interesteé in the theatre. For queslions 9 to 18.
complete the ttotcs.
You now ha ve forty-fw e seeotìds ht u/hich to look at Part Two.
[Paưse the recording here for 45 seconds.Ị
tone
lnterviewer: lf youve ever dreamt of đirecting a play or ơesigning a stage set, W0ll the
opporlunity has arisen lor you and who knovvs where it could lead. My next
guest, Claire Evvington, from thc local thoatro. is hcro to loll us moro about a
practicai weekenơ training event to start your dreams roliing. you might say.
Good attemoon. Claire.
Claire: Good aftomoon.
lnlerviewer: So. when is the training weekend and what does it involve?
Claire: It's the íirst weekend in March and there are two days of activities with a choice
of activities on each day. The Saturday is either 'Design'. which means a whole
day working with a proíessional designer, or •Directing' wilh a professior»al
đirector and they'll be looking a1 the day to đay woriúngs of each of the
protessions with a chance to g©t involved. The same on Sunday. a full đay o!
activities again, •Make-up' or 'Piress and pubiicrty' are the choices.
lnterviewer: And whoro will tho course bo taking place?
Claire: Wôll. each group will spenđ some time W0fí<ing on the stage, but actually we
spend most of the time in two meetir>g rooms at the theatre. We can take up to
25 in either group on either day. so that's a total of 50 people each day.
126
T e st 2 K e y
lntetviewer: Okay. And how long does it last. each session?

Claire: Each session is ten lill flve. with lunch breaks and coffee breaks incluđed.
Intervievver: How much does a weeker>d training event COSI?
Claire: For the participants it's £20 per day including lunch. and if you book for the two
days. it’s £35 includin^ lunch oo both đays.
lnterviewer: Do you reckon that the training would be enough to s«t a person up in a new
career vvithin Ihe theatre or whatever?
Claire: I think il would certaínly help you decide if you'd thought about doing ít. whether
or not it's for you, because they are proíessionals who are leading the course,
but they are also trained teachers - so they know how to get the message
across. So, whether you ve had experience or not, it might ịust set your mind
thinking and suggest some new avenues maybe.
lnterviewer: Are you looking for any particular age group?
Claire: Well, \vhat we are generally saying is that this course is directed at adults
especially. but any youngsters who've been W0fking in this sort of activity are
very welcome to come aĩong.
lnterviewer: Right. Have you had successíul events like this beíore?
Claire: We ran a training đay last year, when the focus was on acting and it was very.
very succes$ful and because of that. we came up with the idea of running
anóther course.
lnterviewer: So, for people listening to this who'd like to be involveđ in this year's training
vveekend, how đo they apply?
Claire: If you're interested, vvhether you've gol any experience or not. do ring me. My
name is Claire Ewington ...
lnterviewer: ru |USÍ make a note of this because íf I vvrite the listeners will have time to do so
as well.
Claire: ... and that's spelt E-W-l-N-G-T-0-N and your best bet is to phone me directly at
the theatre íor more iníormation or to book your place. And it’s a City number, so
that s 01773 578926.
Intervievver: Andyoure the Education Manageratthe theatre. aren't you?
Claire: Thal's right and. of course, we have many other educational proịects throughoul
the year.
lnterviewer: So, anyone interested in those could also call you.
Claire: Inđeed.
Intervievver: Thank you very much. Claire. and all the best for the training weekend.
Claire: Thank ýou.
Ịpausc)
N o w y o u ’II hear Part Two agaitt.
tonc
(The recording is rcpcatcd.]
IpauscỊ
T h a i’s the enà o f Part Two.

N ou' tu rn to P íir t Tbrcc.
[pause)
127
roM w t n n e a r j w e a t f f e r e n t s n ta e ttts w h o a r e s t u d y i n g a iv a y Ị r o m b o n ie .
T h e y a r e t a ỉ k b ĩ g a b o u t t h e ir a c c o m n ĩo ả a tu m . F o r q u e s tio n s 1 9 t o 2 3 ,
c h o o s e f r o m t h e list A to F i v h a t e a c h s p e a k e r s a y s a b o u t tb e ir
a c c o m m o d a ù o n . U se t h e ỉe tte r s o ttly OĩĩCC. T b e r e is o n e e x tr a le tte r iv h ic b
y o u d o n o t n e e d to u s e .
Y o u n o w h a v e t h i r t y s e c o n d s in iv h ic b to l o o k a t P a r t T h r e e .
ỊP a u s c th c r e c o r d in g h e r c f o r 3 0 s c c o n d s .Ị
to n e
speaker 1
[p a u s c l
l ’d r e q u e s t e d c o lle g e a c c o m m o d a t io n , s o w h e n I w a s o f f e r e d it I w a s r e a lly
p le a s e d . I d id rY t ía n c y h a v in g to lo o k a t t e r m y s e l t ... t o o m a n y o t h e r t h in g s to d o
.. . le s s o n s a n d h o m e v v o rk a n d g o in g o u t w ith ír ie n d s . I k n e w w h a t t h e r u le s w e r(
- in b y te n , n o n o is e a t t e r n in e - a n d I d id n ’t m in d t h e m a t íir s t , b u t t h e y V e
s t a r t e d to a n n o y m e m o r e a n d m o r e - a n d n o w I c a n ’t w a it to g e t o u t a n d b e
a b le to d o m y o w n th in g . I d o n 't th in k NI b e r e c o m m e n d in g t h is p la c e to a n y o n e
e ls e !
Ịp a u s e ]
sp e a k e r2
[p a u s c Ị
l f s e x c it in g le a v in g h o m e a n d b e c o m in g in d e p e n d e n t . I’v e b e e n s t a y in g w ith
s o m e r e la t iv e s f o r th e p a s t y e a r . I’d s t a y e d w ith t h e m b e ío r e s o w h e n I k n e w I
w a s C o rn in g h e r e to s t u d y t h e y s a id , w h y d o n ’t y o u c o m e a n d liv e w ith u s - g r e a
A n d t h e y ’v e b e e n f in e - le t m e d o v v h a te v e r I w a n t a n d h a v e n ’t s t u c k t o r ig id m e í
t im e s a n d a ll th a t s o r t o f t h in g . S o l'v e b e e n a b le t o m e e t p le n t y o f p e o p le a n d ge
to k n o w th e a r e a a n d t h e c o u r s e a n d s o o n . I íe e l a p a r t o f it a ll n o w , b u t l ’m
a lw a y s r e a d y t o tr y s o m e t h in g d iffe re n t.
Ịp a u s e ]
S p e a k e r3
Ip a u s e ]
I w a s p r e tty c a lm a b o u t C o rn in g h e r e , b u t I c o u ld r V t d e c id e w h e t h e r to s t a y w ith a
t a m ily o r g e t m y o w n fla t. I’d t a lk e d to o t h e r p e o p le , y o u k n o w , ír ie n d s w h o ’v e
s t u d ie d a w a y f r o m h o m e b e ío r e a n d t h e y a ll r e c o m m e n d e d th a t I s h o u ld g e t a fla
b e c a u s e y o u h a v e s o m u c h m o r e ír e e d o m , s o I d id th a t. I’d o n ly b e e n h e r e tw o
w e e k s a n d I w e n t o u t o n e d a y a n d le tt th e f r o n t d o o r u n lo c k e d . W h e n I g o t b a c k ,
ío u n d th a t m y c a m e r a h a d b e e n s t o le n . I s u p p o s e I w a s lu c k y it w a s ju s t th a t. I'm
a b it m o r e c a r e íu l n o w .
[p a u s c ]
sp e a k e r4
ịp a u s c ị
T est 2 K ey
My friend Benny and I started the coursc at tho same time. There was nevor any
doubt that we'd share a place. It was the obvious choice for us to make and I
think it‘s deíinitely the best option. 01 course, you have to think about \vhat you‘re
going to eat. have some kind of System for cleaning, a fow ground rules. We get
annoyed with each other at times. Benny smokes and I had to ask him to go
outsiđe. v/hich he does now. It hasn't all been straighiforward but overall I preíer
the indcpendence this place gives me.
Ịpausc]
Speaker5
(pausc]
My sister came here betore me and studied at the same college. She told my
parents Ihat it would be much better if I slayed \vith her and Ihen she could look
after me. help me settle òown Ihere, that kirxl of thing. So. that's vvhat happeneđ
- nobody asked me what I vvanted lo do. Well, the truth is we don’t get on badly
but I never seem to see the other students that I study with, \vhich is a big
ơisadvantage. I think it's better to force yourselí to íind your own v/ay in a new
environment.
[pausc]
N o tv y o u 'll hear Part Three again.
tonc
(The rccording is repeated.]
(pausc)
T hat’s the end o f Part Three.
NoIV turn to Part Four.
Ịpausc]
PART 4 Yo ii tv ill hear p a rt o f a radiờ itttervieiv in tvhich Tina \vhite, a magazine

editor, talks lìb o tit her life a n d tvork. For quesùotis 24 to 30, choose the
best attsiver A, B o r c.
You n ow have one m inutc in tvhich to look a t Part Fonr.
ỊPause the rccording hcrc íor onc minute.Ị
tonc
lnterviewer: Tina White, some people describe you as the best magaáne editor in the world.
and you are only in your thirties. Can yoa tell us how you startod your amazing
career?
Tina: Well. when I was t\venty, stiil at college. I was asked to write a sveekly column for
a local paper. The paper had wanted me to write about tamous people. you
know, their wonderiul liíestyles. the sort of thing people like to read about.
Instead. what I did was to concenirate on people who the general Public ơidrVt
know, but who had something original to say.
Tcst 2 Key
lnterviewer: And you got away with ill Now at that early stage. your íamily was important.
How (ar đid they iníluence your career choice?
Tina: My lather was a film producer, and my childhood was spent around intGroational
actors arxl đirectors. so with such iníluences. I should have become an actress -
something my tather would have loveđ. But r>0,1 chose to be a journalist in spite
of the wishes of my lamily. I think the biggest intluence was my school, not so
mưch tho pooplo but ữio matorials it gavo mo accoss t o ... the hours and hours
spent in the library.
lnterviewer: From being a ịoumalist. you then went on to become an editor. I understand Ihe
first magazine you editcd. Female Focus. wasn’t much of a success?
Tina: Well, I was the editor for a year. and then I resigneđ. mamly because of
disagreements with the owners. They were reluclant to change things. because
they had íaith it would eventually make a proíit. But when you think of it. the
magazine had been losing millions o1pounds a year belore I became its editor.
When I left. it was stĩll losing money but nothing like as much as previously. Also.
when I took ovor, it was selling arourxl 650.000 copies. Thai soon increased to
800.000. so it was cenainly an improvement.
lnterviewer: And now you are editing Woman's Worlơ, and you've made it the best selling
womon's magazino ovor. How do you mako poople want to read ỉl?
Tina: For some of my compôtitors. the most important point is wtiat you put on the
cover of your magazine. But they forget faithful readers look beyond Ihat. The
real challenge is. how do you encouragc a rcader to read a serious piece? How
are we going to make it an article that people want to read? You have to get their
attention. And nothing does that better than a very lively, even shocking. opening
line.
lnterviewer: It is said that you work very hard because you don't Irust your empỉoyees.
Tina: That vvas the case five years ago, when I was appointod. It almost drove me
mad. I knew I had the r»ght idea. tor example. but I wasn't able to get it ơone
because I ơiơiTt have the brilliant writers I have now, or the right statt to read all
the material when it came in. I hađ to read everything about six times. and that
was awful! It took me four years to put together the tẽam I vvanted. and it would
be very unfair to say I don't trusỉ them.
lnterviewer: Do you sometimes worry that you might lose your fame and wealth?
Ti oa: Yes. when you work as an editor. you are praised today and criticised tomorrovv.
OI course it would be ditticult to live vvithout all the ... w e ll... material comíorts
l'm used to. but a smaller incon>e is something I think I coukl cope wiih. It
wouldn't be the enđ of the woríd. Much more serious woukl be rt the people I
work with no longer admired my work. and most ol aM I want it to stay ưiat way.
lnterviewer: And what about the íuture?
Tina: Woll. peoplo olten thmK I have p4anned my career very caretully. but in fact lots
of things have happened by chance. Lots of opportunitios have come my way.
and I was once asked to edit a book series. As a youngster. one ol my dreams
was to be a writer. to write a novel that would become a best-seller and then an
avvard-vvinning Um. Well. it may seem silly. but I still hope that will happen or>e day.
lnterviewer: Tina. thank you very much for ịoining us today.
(pause)
130
Test 2 Key
N o w you'11 hear Part l-our again.

tonc
ịThc rccording is rcpcatcd.)
Ipausc)
Tb(U’$ the end o f Pcirt Vour.
There’l l n oiv be a pattsc o f fiv e minutes fo r you to copy your ansu/ers onto
the separate an$wer sheet.
[pausc]
ịTeacher, pause the recording hcre for five minurcs. Remind your stiidcnts
when thcy havc onc mintitc Icft.]
ỊpauseỊ
T hat’s the end o f the tcst. Please S IO Ị) now. Your superưisor tư ill ttoti’
collect a ll the question papers and anstver sheets.
Coodbye.
131
Test 3 Key
Paper 1 Reading (1 h o u r 15 m inutes)
P a rt 1
1C 2 H 3 F 4 A 5 G ế E 7B
P a rt 2
8c 9 A 10 A 11 B 12 D 13 c 14 A 15 B
P a rt 3
16 F 17 H 18 E 19 A 20 c 21 G 22 B
P a rt 4
23 c 24 D 25 A 26 B 2 7 /2 8 cm ự n e ith e r order)
29 c 30 B 31 E 32 F 33 E 3 4 /3 5 F/D (in eith er order)
Paper 2 W riting (1 h o u r 3 0 m inutcs)
Task-speciỉic mark schemes

ĩa r t 1
Q u e s t io n 1
C o n ten t
M a jo r p o in ts: L e tte r m usr in clu d e nll th c p o in ts in th e n o te s.
1) rcco m m cn d rhc e a rlie r rrip , as ir is lcss crovvded
2) cx p lain w h y a g u id cd to u r is csscnrial
3) sugg est ta k in g a picnic
4) sugg est try in g w a tc r sp o rt(s)
5) give in ío rm a tio n a b o u r g ro u p b o o k in g
O rg a n isa tio n a n d cohesio n

L etter ío rm n t, vvith e a rly reíeren ce to w h y rhe p c rso n is w ritin g . C lcar
o rg a n isa tio n o f p o in ts. Suicable o p e n in g a n d c lo sin g ío rrn u lac.
A p p ro p ria c y o f register a n d fo r m a t
In ío rm a l letter.
R an g e
L an gu ag e a p p ro p ria te fo r rec o m m e n d in g , g iv in g rcaso n s, m a k in g a suggcstion
an d giving in ío rm a tio n .
Target reader
W o u ld h ave e n o u g h in fo rm a tio n to decid e a b o u t rhc rrip .
132
T e st 3 K ey
Part 2
Q u e stio n 2
Content
Rcport should givc suggcstions about how oíterỉ thc club should mcet, \vhat typc of
activities it should organise and how the d u b could bc advcrtiscd.
Range
Language o í m aking suggcstions and vocabulary appropriate to organising an
Englỉsh languagc club.
Reporr should bc clearly organiscd. Sub-hcadings Nvould bc an advantage. Thcre
should hc an introduction and a conclusion.
Appropriacy o f register and fo rm a t
Rcgistcr could rangc from the ncutral to the íorm al, hut rnust be consistent
throughout. Hormal rcport layout is not essential.
Target reader
W ould l>c iníorm ed about the w riter’s suggestions for thc organisation of the d u b .
Q u e stio n 3
Content
Story should continue írom thc prom pt scntcncc.
Range
Pasr tenscs. Vocabulary appropriate to chosen topic for story.
Could be minimally parapraphed. Stor>' should reach a deíinitc ending, evcn if that
ending is somewhat open-ended, as in many m odern short stories.
Consisienc neutral o r iníorm al narrativc.
Target reader
Would bc ablc to follow thc storyline.
Q u e stio n 4
Content
Article should describe the diííerence ic w ould m akc in thc w ritcr’s liíc to havc to
livc Nvithout tclcvision for .1 wcek.
Range
Language « f description and com parison.
Clear development of description w ith appropriatc linking and paragraphing.
Appropriacy o f register and fo m ta t
Register could range from iníorm al to neutral, hu t m ust bc consistcnt rhroughout.
Target rcader
Would be iníormcd about thc diíícrcncc thc lack o f tclcvision would make to the \vritcr.
133
Test 3 Key
Q u e s tio n 5(a)
Content
Writer should say \vhcthcr anything in the lxx)k or short story disappointcd him/hcr.
Range
Languagc of dcscription and narration.
Clcar organisation of composition with appropriatc paragríiphing.
Appropriacy o f register and ịorm at
N eutral composition.
Target reader
\Vould Ik* iníormcd about w hcthcr thc candidatc was disappointed o r not with
rcícrcncc to thc book o r short story rcad.
Q u e s tio n 5 (b )
Content
Clcar reíérence to charactcrs írom the book o r short story and the importancc oí
the rclationships bctwcen thcm.
Range
Language of description, narration and cxplanation of vicws.
Organisiìtion and cohesìon
Clear developmcnt of description and narration lcading up to cxplaining thc
candidatc’s vic\vpoinr, with appropriatc linking and paragraphing.
Appropriacy o f register and ịorm aĩ
Neutral composition.
Target rcader
Would be iníormed alx)ut thc importancc of the relationships hctwccn characters.
Paper 3 Use of English (1 hour 15 minutcs)
P a rt 1
1 c 2 B 3 B 4 c 5 D 6B 7C 8C 9A
10 D 11 A 12 c 13 D 14 c 15 B
P a rt 2
16 did/tried 17 vvith/ovcr 18 such 19 to 20 thosc
21 only/just 22 could/would 23 in 24 as 25 \vcre
26 it 27 nothing 28 but/alrhough 29 which 30 for
P a rt 3
31 bc produccd I by this company
32 to talk I to him ag«iin
33 my holidaỵ I I had
134
T est 3 Kcy
34 ounht to I havc lockcd

35 any chance I o f Petc
36 from Paul I nobody has
37 got I uscd to
38 fclt likc I doỉng
39 bcing unahlc I tft sing
40 as soon as I wc arrivc
Part 4
41 placc 42 bcing 43 in 44 ha ve 45 by 46 /
47 which 48 had 49 cither 50 there 51 it 52 o f
53 having 54 too 55 /
Part 5
56 attractivc 57 tourists 58 achicvemcnt 59 cmploycc
60 originality 61 communication(s) 62 undear 63 tr.niitional
64 succcss 65 appcarancc
Paper 4 Listening (40 minutcs approxim atcly)
P art 1
1C 2 B 3 A 4 B 5 B 6A 7C 8B
Part 2
9 south o f France 10 1970 11 íamous pcoplc 12 (young) childrcn
13 (about) 50% 14 undcr (the) water 15 breathc (out) 16 (try to) float
17 (íccling) coníidcnt 18 3 hours/Icssons
P art 3
19 c 20 B 21 D 22 F 23 E
Part 4
24 F 25 T 26 F 27 F 28 F 29 T 30 T
T r a n s c r ip t H rst CerùỊicate Listening Test. Test Three.

H ello. Vm going to g i ve you th e instructions fo r this test. ỉ ’II ititroduce
each pa rt o f the test and give y v u time to look at tl)e questiom. A t the start
o f each piccc y o u 'lỉ hear this sound:
tone
You’11 hear each piece tivice.
Rentember, tvbile yo u ’re ỉisietting, un-ite y o tir anstvers on the question
paper. You 'II bavc t i me at the end o f the test to copy yo u r atisivers otito
the sepnrate atisiver sbeet.
135
Tesi 3 Kcy
There iv ilỉ now be a pause. Please ask any questions now, because you
must not speak during the test.
[pauscỊ
PART 1 Nou> open your questìon paper and look at Part One.
[pauscị
You’l l hear peoplc taỉking in eight diffcrcnt situations. hor quesứons I to
8, choose the best anstver, A , B o r c
Q u c s tio ti ỉ One.
You overhear a man talking about an experieitce he had at an airport.
xvhat d u i be loseỉ
A his passport
R his ivalỉet
c a piccc o f luggage
[pause]
tonc
Man: The airport staff looked ever\vhero for it. It was terriblo. I Ihought the plane was
going to go vvithout me. At lirst I thought someone must have takenit. Although
my money wasn't inside. I’d bought some nice presents for the tamily. Then I
remembered that l'd been to tho vvashroom and I must have put it dówn in there.
Luckily, I had my documenls and kx»rding card in my ịacket pocket and. to cut a
long story short. I had to get on the plane without it. The airport staff sent it on lo
me three days later.
(pause)
tonc
(The recording is rcpcated.)
Ịpausc)
Q u e s tỉo n 2 Two.
You hear an advcrtiscmcnt a n the radio.
What is speciaỉ about the P retlight g u ita rỉ
A It plays recordcd music.
B ít teaches you h ow to pLay.
c i t plugs in to a Computer.
IpauscỊ
tone
Man: The Fretlight is a íully íunctional guitar that comes in acoustic and electric
models. Built inlo its bođy is an on-board Computer and 132 lights that show you
vvhere to put your íingers. Simply flip a swiich and choose the chord or note that
you would like to play, and the tinger positions for making the appropriate notGS
vvill be promptly displayeđ on the neck of the guitar. Begmners can get a real feel
136
Tcst 3 Key
for tho fmgertx>ard. vvhile the rr>ore experienced players will be able to discover
lots of new musical possibiiiiies ...
[pause]
tone
[The rccording is rcpcatcd.)
[pause]
Q u e stio n 3 Three.
You b c a r part o f a radio proỊịrammc.
W h a t is t h e Ị n e s e n t e r t a l k i n g a b o u t ĩ
A fo o d s a ịe ty
li m e a ỉ t im e s
c healtby re c ip e s
Ipause]
tone
Presenter Whether you have just one large meal a day. or a number of small meals, there
are some basic steps to Keep you in good health. Ideally. eat food as soon as it
is cooked or prepared. If you are preparing íood forlater use.keep coWfoods in
the íridge and hot íoods hot until they are ready lo be eaten. Piping hot. that's
how cookQđ food should be. especially when it's reheated. And remember.
prepared íoods left at room temperature will not keep long, however íresh the
ingredionts you have used.
IpauscỊ
tone
|Thc rccording is repcated.Ị
[pause]
Q u e s tio n 4 ĩo u r .
Yoit bear tiv o peopỉe discussĩng a type o f polỉution.
What do the speakers agree a b o u ti
A the best utay to soive the probỉem
lỉ how thcy feel about this typc o f pollution
c hotv they reacted to the solution tbey saw
Ịpause)
tonc
Woman: Do you know what they were doing in town the other day? I had to rush away
because it set my teeth on eđge. but they vvere chipping the chewing gum off the
paths with Sharp tools.
Man: You know, I only realised recently that all those black spots on the grour>d are
actually oỉd chewing gum.
Woman: I mean. it's disgusting. isn't it?
Man: Deeply.
137
Tcst 3 K ey
Woman: And what a nasty J0 b!

Man: Well, I was actually there when the City once tested out a machine for this and. I
had to laugh, it needed such a powerful suck to get it off, it liíted the stones
themselves.
[pause]
tone
[The recording is rcpcated.Ị
Ịpause]
Q u e s t io t ĩ 5 Five.
You hear a conversation b c tiv c c ỉi a shop assistant and a custom er a b o u t a
com pact disc.
W hat ivas the cause o f the p ro b le m ỉ
A The custom er gave the urrong nuntber.
R A m istakc was made o ti the order fo rtti.
c The disc was in c o rre c tỉy labelled.
IpauseỊ
to ne
Shop assl: And you ordered it two vveeks ago? Well. I can't find anylhing in the order book
... Oh, yes, here it is. Well, it seems we chased it up atter you phoned and they
said they couldn't find the order, so we gave them the details again. It hasn t
turned up though. Oh, perhaps ... here's a nole on !he order torm. They then told
us there’s nothing under the number you gave us, l’m atraiđ.
Customer: Well, I noted it down very carelully. Look.
Shop assl: Uh-huh. Oh, I see. Two figures are the vvrong way round on our form, that's why
they couldrVt find the disc.
[pause]
tonc
ỊThc rccording is repcated.Ị
ỉpause)
Q u e s t io n 6 Six.
You overhear a conversation a t a Ịo o tb a ll gatne.
W hat does the spcakcr say a b o u t his te a m ỉ
A They’re better than usual.
B T b cy‘rc as g o o d as be expected.
c Théy tend to be unìuckỹ.
IpauscỊ
tone
Man 1: Not many here today, are there?
138
Test 3 Key
M an 2: I guess it isn't as popular as it used to be. A few years ago it was so crowded
here, you were lucky if you coukl see over all the heads. This is the tirst time l've
been this season. I was expecting 10 SCO them lose - as ever - but I can't wait
for the second half if they carry on playing like this.
[pausc]
tonc
(The recording is repeated.]
[pause]
Q u e stio n 7 Seven.
You overhear a schoolgirl ta lk in g to her friend.
\Vhat docs she th in k about her iteu/ teacherĩ
/\ He is cỉevcr.
ìi H e is Ịunny.
c He is interesting.
(pausc)
tone
Girl: lt's (unny, l’ve had loađs of mathíS teachers and they all seemed lo be the same -
really clever with íigures but useless at dealing with children. That's why I used to
play about in lessons and do anything for a laugh. But Mr Jones is somelhing
else. He's quite serious and hG makes us work really hard and gives us loads of
problems to solve. but what I like is he relates everything to real life.
[pause]
tonc
ỊTỈ1C rc c o rd in g is rc p ca to d .)
Ịpausc)
Q u c s tio ĩt 8 Eight.
In a hotel you overhear a convcrsation.
\Vbo is the ivo m a n ĩ
/\ a to u r guide
Iỉ (ì tourist
c a hotel receptiomst
(pause)
ronc
Man: Oh. by the v/ay. what‘s this all-is-land trip like then?
Woman: It lasts ail day and you get picked up from the hotel at about 7.30 and they take
you around the island to kx>k at the sights.
Man: Do you think it’s worth going on then?
Woman: I'd say so. You SGÔ all the sights and have lunch in a restaurant by the sea. The
price includes everything, you know, llkỡ the museum and everything. The whole
íamily enjoyed it v/hen we went.
139
Test 3 Key
ịpause]
tonc
(The rccording is repcatcd.)
(pausc)
That's the end o f Part One.
N ow turn to Part Ttvo.
ỊpauseỊ
PART 2 Yoti w iỉl h earpart o f a radio intervieiv ivith a sivimm ing instructor. For
questions 9 to 18, compỉete the sentences.
You notv have fo rty-five secottds ìn ivhich to look at Part Two.
[Pausc thc rccording herc íor 45 scconds.]
tonc
lnterviewer: And rx>w for our sports section, and I have vvith me today Paul Collison who i$ a
svvimming instructor wỉth a rather unusual approach. Thanks for taking the timô
during your holiday to come and talk to us, Paul.
Paul: It’s very kind of you to invite me.
lnterviewer: Paul - yoo're the swimming inslructor al the Palacc Hotel in the south of Prance.
How long have you been there?
Paul: Oh, well I started wori<ing there in 1970 when I was 18 years old.
lnterviewer: And you've never moved?
Paul: Nope - 1get to môet a lot ol far»>ous people there a n d ... I guess I enjoy that.
lnterviewer: And of course a lot of them go there because they want you to toacíi thom to swim!
Paul: That’s true. but I teach plenty of other people too - and not all my students are
beginnere.
Intervievver: But we're not talking about young children, are we?
Paul: Not usually - there isn't the sanne challenge teachiog children. They have an
almost natural ability to swim. Adults are aíraid. and helping them overcome that
is hard but much more fun somehow.
lnterviewer But dorVt a lot of pooplo just giv© up trying to learn once they reach a certain age?
Paul: Not at ail. I get hunđreds 01 cails Irom people looking for •sympathetic'
instructors. I would estimate that about 50*«) of the adult population can't swim -
but they’re still Keen to leam.
Intervievver: So it's ịust fear thai holds Ihem back?
Paul: Basicalty. yes. I come across it all the time and it isn’t just beginners. I have
students who can swim a bit, but don‘t make any progress because - like all of
them - Ihey hate going underwater.
lnterviewer: Mmm ... So what's thô secret. Paul?
Paul: Well, youve got to relax in the water and that means thai you must control your
brôâthing.
lnterviewer: And I undorstand yoư have a spocial technique to help people do that.
Paul: Yes. betore my students even go into the pooỉ I teach them how to breathe and
to do that I give everyone a salad bowl.
lnterviewer: A salad bow1? Right...
140
Test 3 Key
Paul: Everyone in the group gots one of these ... each full of v;ater. Pirst, I get them to
breathe ... slowly through the nose and mouth ... just normal controlled
breathing.
lnterviewer: To calm them.
Paul: Uhuh ... and then - they all have to put their taces in the bovvi and breathe out
under water.
lnterviewer: How doos ít go?
Paul: Well. 1hey're all terriíied at íirst. So we repeat the exercise many times and in the
enđ they bccome quite compelitive aboot WỶX) can keep thoir face down the longest!
lnterviewer: And thai means Ihey ve started to íorget about their fear.
Paul: Exactly. When l'm sure they're more con(ident about breathing. I move the group
into the pool and I tell them that they are going to begin by trying to íloat wíth
their faces in the v/ater. Once l'm sure they're OK. I start thern õff and I teach
different swimming strokes to different pupils dopending on which one I think
theỹll tind easiest. The svvimming technique ilselí is far less imporiant than
íeeling coníident in the water.
Intervievvor: Great. So how many lessons ;vould I need to leam to swim?
Paul: Well. all my lessons are an hour long and generally it just takes three to
overcome the lear and get people swimming. A few never make it but l'd say
90% end up sv/immers.
lnterviewer: So there’s hope for us ail y e t... and now on to ...
(pausc]
N o iv you'11 hear Parí T w o again.
tonc
ỊThe rccording is rcpcatcd.ị
Ịpause)
T b a t’s the ettd o fP a rt Two.
N otv tu rn to Part Three.
[pause]
PART 3 Y o u ll hear part o f a radio programme called 'M orning M arket'. Vive
listeners have telcpboned the Ọroỵrammc bccausc tbey have something to
sell. Vor questions 19 to 23, choose tvhich o f the statements A to ĩ- matcbcs
the reason each o f the people giưes fo r selling tb e ir possession. Usc the
ỉetters only otice. Tbere’s one extra ỉetter ivhich you do n o t need to use.
You now have ĩh irty seconds in w hich to look at Part Three.
ỊPausc the rccording hcrc for 30 scconds.Ị
tonc
Speaker 1
[pause]
141
Test 3 Key
l'v e g o t a b ra n d -n e w rovving m a c h in e . I w o n it a c tu a lly , a b o u t tw o m o n th s a g o ,

a n d it’s still in its b o x . It’s g o t a n e le c tric tim e r o n il w h ic h te lls y o u h o w m u ch
ro w in g y o u V e d o n e a n d a ll th a t. S o a n y o n e w h o 's in to e x e r c is e c a n d o lo ts of
ro w in g a n d k e e p fit a n d h e a lth y . It ío ld s u p re a lly s m a ll, s o , y o u kn o w , it w o n ’t
ta k e u p to o m u c h s p a c e in, lik e , a b e d ro o m o r a n y th in g . I m e a n , r il n e v e r u s e it
b e c a u s e I w a s a íte r th e h o liơ a y vvhich w a s w o n b y w h o e v e r c a m e íirs t in the
co m p e titio n . S o l’m lo o k in g f o r a ro u n d fo rty -five p o u n d s a n d m y n u m b e r is ...
[pause]
speaker2
[pausc]
l ’v e g o t a k iđ n e y -s h a p e d bath, c o lo u r so ft c re a m , for s a le . It’s still in its o rig in a l
p a c k in g c a s e b e c a u s e I o rd e re d th e w ro n g co lo u r, y o u kn o w , it d id n ’t g o w ith Ihe
re s t o f th e b a th ro o m s u ite l’d g o t. S o . I c o n ta c te d , y o u k n o w , th e s u p p lie rs w h o
s a id they'11 s e n d m e a re p la c e m e n t, at a p ric e , o f co u rs e ! B u t l'v e n o w go t to g e t
rid o f th is o n e . It c o s t o rig in a lly a h u n d re d a n d s e v e n ty -fiv e p o u n d s a n d l’m letting
it g o fo r fifty if a n y o n e 's in te re s te d . O K ? M y n u m b e r’s ...
[pause]
speaker3
[pause]
l'v e g o t a re a l b a rg a in . It*s a L ie b e rs te in e le c tric o rg a n a n d it’s g o t tw o k e y b o a r d s
a n d a rh yth m s e c tio n . It’s in g o o d c o n d itio n , p la y s q u ite w e ll, a n d it's not difficu lt
to u s e o r a n y th in g . B u t. w h a t vvith u s h a v in g a b a b y o n th e w a y , it’s go t to m a k e
w a y fo r m o re e s s e n tia l ite m s, a s w e ‘v e o n ly g o t a tin y flat a t th e m o m e n t. S o , a s I
s a y , if a n y o n e w a n ts it. th e y c a n m a k e m e a n offer. T h e o n ly p ro b le m is a n y o n e
in te re s te d w o u ld h a v e to c o m e a n d c o lle c t it. T h e n u m b e r to rin g is ...
Ịpause]
Speaker4
[pause]
H a llo . I’v e g o t a la d ie s ’ c y c le ío r s a le . I’v e g o t b a c k tro u b le a n d l’v e b e e n a d v is e d
n ot to rid e it, s o ra th e r th a n b e te m p te d . 1*11 g e t rid o f it. I h a te th e id e a . b e c a u s e
w e 're not w e ll-s e rv e d w ith p u b lic tra n s p o rt o u t h e re a n d I u s e d it q u ite a lot, but
a s I darerTt rid e it a n y m o re , I th in k it w o u ld b e a m is ta k e to h a n g o n to it, you
kn o w , in c a s e I h a d s e c o n d th o u g h ts . S o , it's a R a le ig h C h o p p e r, p in k , a n d l’d
lik e th irty-tive p o u n d s fo r it, p le a s e . I c a n b e c o n ta c te d o n ...
[pause]
Speaker5
ỊpauscỊ
l’v e g o t tw o fry in g p a n s , y o u k n o w , th e s o rt fo r c o o k in g stir-fry in, a n d a s e v e n -
p ie c e to ol s e t to g o w ith th e m . A ll b o x e d a n d e v e ry th in g . A n y w a y , th e y ’v e h a rd ly
b e e n u s e d b e c a u s e a t o n e tim e I w a s in te n d in g to d o a lot of th is ty p e of c o o k in g
b e c a u s e l’v e o n ly g o t a s m a ll k itch e n e tte . like . n o o v e n . B u t l ’v e b e e n g iv e n a
142
Test 3 Key
microv/ave instead now, so much easier to use. So. that s ten pounđs for both
pans and the tools and my number is ...
(pausc)
N o w y o u 'lỉ hear Part Three again.
tonc
[The rccording is repeated.Ị
ịpauscị
That 's the end o f Part Three.
N o tv turn to Part ĩo u r.
(pause)
PART4 You’ỉì hear a radio intervieiv ivitb Peter Mansott about the ịo b he does fo r
a record company. ĩ o r questions 24 to 30, decide ivhich o f the statements
are TRU E and ivhich are FALSE. W rite T fo r TRƯE o r F fo r FALSE.
You now havc fo rty-fìve seconds in ivbìch to look at Part ĩo itr .
[Pause the rccording hcrc for 45 scconds.Ị
tone
lntGrviewer: So, Peter, as far as I understand it. with record companios in Britain íiercely
competing to fĩnd gcxxl new bands, your job is to look for talented young
musicians?
Peter Manson: That's right. In the 1980S. record companies stopped actively looking for new
talent because they were reissuing old hits on compact disc, but now that is no
longer protitable.
lnterviGwer: So now they are employing people like you?
Peter Manson: Yes, v/hen we íĩnd a good artist or band, we sign them up. that is we sign a
contract with them. There’s a flood of small bands and Olher new artists. I
recently signed up an 18-year-old schoolboy who had produced two excellent
recordings from his beơroom! My job is not an easy one because surprisingly
most young artists are really quiet people. not at all out-going and they try to
avoid publicity.
Intervievver: Hovv do you fĩnd your new bands?
Peter Manson: Well. it’s a bit of a lottery. One \vill tum up v/hen you're not even looking for it.
That’s what makes life interesting for me. I’ll give you an example. In the summer
of 1993,1happened to be in a record shop in Oxfofd. and I met a guy that played
bass for a k>cal bar>đ called 'Loops'. A few days laier I went to see them play in a
tent on Oxíord ParK as part of an extremely wet music (estival. The band proved to
be superb.
lnterviewGr So you signed them up for your company?
Peter Manson: Well, they had begun to be followed around by othcr 'talent spotters' like myselí.
It took me three months from when I fìrst saw them, before I could persuade
them to sign a contract. They liked me. but the main reason was I had seen them
first. That sort of thing makes it all worthwhile.
lnterviewer: So do things ever get nasty?
143
VVCII, I III IIVM p C I I C V / l , U U l ^ C U |J I C I II II I C IIIU3II/ U U 3 I I ICCĩS Wlll u u V J I O I IV-II I C d l
things. One of my competitors once vvent as far as sending expensive presents

to a band he and I vvanted to sign up.
Intervievver: Do you rely on contacts for iníormation?
Peter Manson: Oh, certainly. Lots of contracts will result from iníormation I get from contacts.
But you must make sure they are good sources. Once I tound myself in a
threatening situation, when two big, strong men brought a tape into my office and
demanded I listen to it. For six months after that I received trightening threats.
Intervievver: So your life is not as glamorous as it seems ...
Peter Manson: Well, in my protession, we spend a lot of time at musical venues, but in fact we
can’t just relax and enjoy ourselves. You find yourselí going to more and more
shows, hoping to spot someone a bit special.You otten don’t even see the vvhole
show as you can quickly spot those with talent and those without.
Intervievver: It must be exhausting!
Peter Manson: Yes, we live in fear of not attending the obscure show that might have led to the
big, important contract, missing the little band who might just turn out to be the
next week’s heroes. Sometimes you miss things simply by not being early
enough. And of course all the tim e we must also look after the bands we already
have contracts vvith.
lnterviewer: Well, you seem to be doing extremely well, anyway.
Peter Manson: Oh, yes! My greatest moment was only a couple of months ago. This band,
having only played together a couple of times, drove to this venue and
demanded to be allovved to play a song. I vvas in the audience, they started to
play, and atter hearing just a few notes on the guitar, shouted that l’d just
discovered the íuture of rock ’n’ roll and jumped on the stage to sign them!
Fortunately it turned out later that they could sing as well!
Intervievver: The story mưst bring tears to your rivals’ eyes. Well, we certainly wish you the
best of luck with this new band! Peter Manson, thank you very much for talking to
us.
[pause]
N otv y o u ’ll hear Part Pour agaiỉĩ.
tonc
ỊThe recording is repeated.Ị
[pause]
T hat’s the end o f Part Four.
There’11 now be a pause o f five mimttes for you to copy your ansivers onto
the separate artsiver sheet.
(Teachcr, pause thc recording here for five minutes.
Remind your students when rhey have one minute ỉeft.]
That’s the etĩd o f the test. Please stop now. Your supervisor wilỉ now
coỉlect alí the question papers and ansiver sheets. Goodbye.
Test 4 Key
Paper 1 Reading (1 hour 15 minutes)
Part 1
1C 2 A 3 G 4 B 5 F 6H 7E
Part 2
8 B 9 c 10 A 11 D 12 A 13 B 14 c 15 c
P art 3
16 B 17 c 18 E 19 H 20 D 21 F 22 A
P art 4
23 c 24 D 25 B 26 A 27 E 28 A 29 c
30 A 31 D 32 c 33 B 34 E 35 D
Paper 2 VVriting (1 hour 30 minutcs)
Task-speciiic m ark schemes

P art 1
Q u e stio n 1
Contcnt
M aịor points: The lettcr must:
1) be positive about thc good programme arrangcd by M r Robertson
2) poinr out ar lcast onc thing especially apprcciatcd
3) cxplain thar all the students wou!d like to g o to the I.ondon Fashion and
Leisurc Show
4) give at lcast onc reason why thcv w ant ro go
5) suggcst how thc program m e could bc changed.
N.B. Covcrage o( thc íirst point may not cxplicitly includc ‘thanks’. The
‘thanks’ may bc implicit.
Organisatiatí attd cohesion
Lcttcr íorm ar, w ith carly rcícrcnce to \vhy the p<*rson is writing. Clear
organisation o f points w ith suitablc paragraphing. Suitahlc opcning and
closing íormulac.
Af)Ị>wpriacy o f register and fo rn ia t
Hormal Ictter.
Rartge
Language appropriate íor cxplaining, m aking a request and m aking a
suggestion.
Tesl 4 Key
Target reơder
Would have cnough iníorm ation to act on and rcspond to thc writer’s lcttcr.
P a rt 2
Q u e s tio n 2
Content
Composirion could aprcc or disagrcc w ith thc proposition, o r discuss both
sidcs of the argument.
Range
Language of opinion and cxplanation. Vocabulary relcvant to thc way thc
topic is explored.
Clear dcvelopment oí viewpoint with appropriaie paragraphing and linking of
ideas.
Appropriacy o f register and fo m ia t
N cutral composition.
Target reader
Would be able lo undcrstand the writcr’s vicvvpoint.
Q u e s tio n 3
Contcnt
Articlc should S tate ways in which pcople’s hom cs in thc íuturc will bc
diíícrcnt and/or ways in which tlicy mighc be th e same. (Acceptablc to say or
imply that nothing will bc the samc.)
Range
l.inguagc of dcscription. Possihly cxplnnation. Vocabulary rclating to
homcs / thc íuturc.
Clcar devclopmcnt o f idcas, with appropriatc linkinp and paragraphing.
Rcgistcr could rangc ừom rhc iníormal to thc íormnl, but must be consistent
thrõughout.
Target reader
Would be dearly iníormed.
Q u e s tio n 4
Content
Siory should continue from thc prompr scntcncc in the íirst person.
Range
Past tcnscs. Vocabulary appropriatc ro the choscn topic íor the story.
Organisatìon and cohesiott
Could be minimalỉy paragraphed. Should rcach a dcíinitc cnding.
146
Test 4 Kcy
A ppropriacy o f rcgister and Ịo rm a l

Consistently ncutral or iníormal narrativc.
Target reader
W ould be ablc to follow the storvlinc.
Q u e s tio n S ịa)
Content
W riter can agrcc o r disagrcc \vith the statcm ent, and explain why \vith
rcícrcncc to the book o r story read.
Range
Languagc of opinion and cxplanation.
Clear dcvclopment o f vic\vp«int wich appropriacc paragraphing and linking
o f idcas.
Appropriacy o f register and fo rm a t
N cutral composicion.
Target reader
\Vould bc ablc to understand the w ritcr’s point o f vicw.
Q u estio tĩ 5(b)
Contcnt
W ritcr should iníorrn thcir pcn íricnd w hether the book o r short storv rcad
\vould be a suitable prescnt for the pen fricnd’s cousin’s fiftecnth birthday.
Range
Language of opinion, explanarion and possibly rccommendation.
Clcar dcvciopmont of vic\vpoint w ith appropriatc paragraphing and linking
of idcas.
Aọpropriacy o f register and fo rm a t
ỉníorm al lcitcr.
Target reader
W ould bc iníorm cd as to w hcthcr to givc thc book o r short sror>' as a prescnt
to thc íiítccn-yciír-olcl.
Paper 3 Use of English ( I hour 15 minutes)
P a rt 1
1 D 2 c 3 D4 B 5 D 6C 7B 8C
9 c 10 D 11 A 12 B 13 c 14 D 15 D
147
I U ! I 4.
16 takc 17 not 18 been 19 need/have 20 of/with/in

21 each 22 far 23 While/As/When 24 arc/gct 25 on
26 the/these 27 get/climb 28 in 29 which 30 first/times
?art 3
n took m y car I didn’t
\ 2 ncvcr secn I such a strange
53 were drivcn I into town by
H insistcd on paying
55 didn’t succecd I in persuading
56 you mind I not using
\ 7 not seen M ark since I last
58 madc a good I impression on
wishes (that) he had I told
ịO had troublc I (in) íollovving
°a rt 4
n vvho 42 / 43 / 44 for 45 all 46 /
\ 7 just 48 / 49 out 50 they 51 much 52 any
>3 hy 54 been 55 /
°art 5
•6 extraordinary 57 freezing/frozen 58 assisrance 59 equipmcnt
>0 loncliness 61 hopcíul 62 friendships 63 heat
)4 poisonous 65 reasonahlc
3aper 4 Listening (40 minutes approximately)

>art 1
A 2 A 3 B 4 A 5C 6A 7C 8C
'art 2
circle (around them) 10 (a) brain(s) 11 strcss
2 fcclings 13 read 14 reward 15 52 teeth 16 tw o days
7 sound wave(s)/sound(s) / high-pitched noises 18 (íishing) ncts
>art3
9 E 20 F 21 c 22 D 23 B
'a rt 4
4 A 25 c 26 B 27 A 28 A 29 c 30 B
T ra n s c rip t h irs t C e rtip ca te L is te n in g Test. Test Four.
H e llo . V m g o in g to g iv e y o u th e m stru ctio n s f o r th is tcst.
I ’l l in tro d u c e each p a rt o f th e test a n d g iv e y o u tim e to
lo o k a t the questions. A t the s ta rt o f each piece y o tt’11 hear
th is sound:
to n e
YomV/ h e a r each piece tivice.
Rementber, iv b ilc y o u 're ỉis te n in g , w rite y o u r ansu/ers o tĩ
th e qu e stio n paper. Y o u ’l i have tim c a t the e n d o f the test
to cõ p y y o u r atistvers o tìto th e separate ansu/er shect.
There w ilỉ n o w be a ụause. Please ask a tiy questions n o w ,

because y o u m u s t n o t speak d u riìig the test.
Ịpause]
N o w open y o u r q u e stio n p a p e r a n d lo o k a t P a rt One.
Ịpause]
PART 1 V o«7/ h ca r peopỉe ta lk in g in e ig h t ả iịịc re n t situ a tio n s. F o r

questions 1 to s , choose the best ansiưer, A , l i o r c.
Q u e s tio n 1 One.
Y ou o ve rh e a r som e p e opỉe tứ ỉk in g a t a p a rty in a h otel.
W here d id the peopỉe fir s t tneet each o th e r ỉ
A a t sch o o l
B a i tv o rk
c a t a tvedding
[pause]
to n c
Man: Is Mark Hobson here?
VVoman: He's got a crisis at work and oouldn’t come. But Julie’s here
somev/here. Did you know he married Julie? You know. the girl
who could never spell anything!
Man: Oh. right.
VVoman: It's their wedding anniversary 1oday, actually. She says she'd
rather be here with her childhood íriends than waiting at home
for Mark to íinish work!
Man: Has he changed much?
Woman: Well, he looks much the sam© as he did all those years ago.
Ịpausc]
to n e
|T h e rec o rd in g is repeated.J
[pausel
T e st 4 K ey
Q u estio n 2 Two.
You overhcar a convcrsation h ì a restaurant.
\vhy haven’t they seen each other lately?
A He has beett too bttsy.
B He has beett ill.
c He has been atvay.
Ịpausc)
tonc
Man: Hello, Jean!
Woman: Mike Carstairs! My íavourite cuslomor. You haven t been in for ages.
Man: No. I haverVt. that's right.
Woman: How arc you?
Man: I'm fine. I heard you weren't well.
VVoman; Woll. I was away for a couple oi weeks. But I m fine now. Ah! Yoo were going to
Ihe States, vvererVt you?
Man: That fell through.
Woman: Oh. did it?
Man: VVíiai 1'vo been đoing is reorganising the whole department non-stop since I saw
yoo. Just haven't had a moment to myselí. This is the (irst time l've been in here
since Christmas.
Woman: Well. it's goođ to see you. Are you reađy to order?
Ipause]
tởrìí
(The rccording is repeated.Ị
[pauseỊ
Q uestiott 3 Three.
You overhear somconc ta lkin g about a cottcerỉ.
H o w d id she fceỉ at the tim e ĩ
A angry
B frightetied
c disappointed
Ipause)
tonc
Giri: It was reaily awful and Td been so lookmg lorward 10 it. Don't get me wrong - ttie
music was brilliani arìđ the show itseH was reaily well done, but l'm sure they let
too many people in - it was evor so crowđed. I was right at the Iront and
everyoné was pushmg me agamst the stage. I couldnì breathe and I was so
scared I thought I was going to faint.
Ịpause]
tonc
[The rccording is repcatcd.]
[pauscỊ
Test 4 Key
Q u e s tio tĩ 4 r-our.
You hear a ivriter o f chiỉdrett ’$ stories talking ab o u t books and com pact
discs.
xvhat advantage does h e th in h books ha ve over com pact (iiscsỉ
A T hey m a y last fo r li longer tinte.
li T hey are easier to look after.
c They con ta in better q u a lity materiaỉ.
Ịpausc]
tone
Man: I vvas brought up with a respect for books. you know. always having clean hands,
not bending the pages dovvn, etc. ar»d I certainly try to make sure mine are as
well-made as possible. I like to pick them up by the vvrong bit and throvv them
around and so on, you know, to make sure they are strong. I think it's the
permanence of books that sets them apart from the other media. don't you? Of
course, whal's more important IS that you have good literature and good images
and, I suppose, whether that's actually on a compact disc or in a book doesn’t
matter.
ỊpauscỊ
tonc
[The recờrding is repeated.Ị
Ipauscl
Q u e s t io t ĩ 5 F ìv e .
Y ou hear a husband a nd w ife talking ab o u t their sum tner hoỉidays.
W hat problem d o they have?
A T h ey reaiiy hate Ayittg anytvbere.
B Thcy can never think o f anyu/here to go.
c T hey never agree a b o u t Iưhat to do.
[pause]
tonc
Husband: You see right from the time we íirst met it was obvious that Natalie and I wanted
a particular kind of holiday - the trouble was, it wasn’t the same! I like going off
and doing my own thing. You knovv. history and museums - that’s what interests
me.
Wife: Well. I love markets anớ looking for bargains - so we enđ up sort of hating each
other for tvvo weeks or so, instead of having a really nice time together. The odđ
thing is that we see eye to eye all the rest of the time. It s just when we step on
that plane - then the trouble starts!
Ịpause]
to n e
[The reco rd in g is repcatcd.ị
ỊpauseỊ
151
Test 4 Key
Q u e s tio n 6 Six.
You hear a researcher being asked aboiit her tvork.
What is she doing when she speaksĩ
A dettying an accusatíon
R disproving a theory
c accepting a criticism
ịpausc]
tonc
lnterviewer: Now ifs a bit suspicious that this research about glasses has been paiđ for by a
contact lens company. isn’t it? Is it genuine or are you having us on?
Researcher: Not at all. We asked about a thousănd people, most of whoní vvore glasses.
some of whom didn't, and really asked them what they thought of glasses. Their
responses were interesting. bul dkJn’t come from us; it's what they told us
aiìswering open-erxled questions. And nx»t of them said. while they thought that
glasses could be, you knovv, prelty trendy and that some of them tooked quite
cool. that they dkln't much like them.
Ịpause)
tonc
[The rccording is rcpcatcd.ị
[pausc)
Q u e s tio n 7 Seven.
You overhear a ivoman ta lkin g to a friend on a train.
\Vbat does the ivomatt think o f the coursc shc has attcndcdỉ
/\ It has ttiade her feel more coìifident.
li It bas made her feel less conpdent.
c ỉ t hasn't made ntuch difference to hotv she fcel$.
Ịpausc]
tone
Woman: Well, the whole point was to build coníidence and l'm sure most feel it
succeeơed, even if only partiy. I must say I four>d it all very enjoyable, although I
can t say IVe beneíiteđ greatly. There was plenty of opporiunity to get to know
other peopie in the busmess. though. 11 you wanted to - you know the sort ot
thing, trips to resiaurants and the theatre in the evenings.
Ịpause]
tonc
|The recordinR is repeated.]
[pause]
152
Test 4 Kcy
Q u e s t io n 8 Eigbt.
You overhear a tuoman speaking on the radio.
What is she d o in g ĩ
/ l compìaitting about sotneibìng
lì apnlogising fo r something
c explaitiittg sonietbing
Ịpause]
ronc
Man: So. shall we movG on to thô next subịect?
Woman: I'm sorry, but I ơo think it's necessary to go through thls again for the benelit of
your listeners. Look, this is a crucial point and I don't think it can be stressed
enough. As I was saying, the tirst thing that anyone with a complaint about their
pension should do is put it in writing.
[pause]
tonc
[The rccording is rcpcatcd.]
[pause]
T hat’$ the ettd o f Part One.
N o iv tu rn to Part Ttvo.
[pause]
PART 2 You’l l bear a radio report a b o u t dolphins. For quesứons 9 to 18, complete
the sentences.
Yoti noiư have fo rty-five secoỉtds in ivhicb to look iìt Part Two.
(Pausc thc rccording hcre for 45 sccoiids.Ị

tone
Nevvsreader: And for our last news item today, a special report (rom Diane Hassan on an
animal that is rapidly becoming iknown as ‘man's bes! friend\ the đolphin.
Diane: Last week. a 28-year-okJ diver who went svvimming in the Red Sea wfth a group
of dolphins. learnt the hard way just how caring these creatures can be. When
the điver was suddenly attackeđ by a shark, they saveđ him by forming a cĩrcle
aroond him and frightemng the sharit away.
It's not the íirst time such a rescue has happened and it’s been known for
some time that dolphins vvill do for humans vvhat they do for their own kinđ. They
are. in fact. the only animals in the world whose brains match ours in terms oí
size. and their intelligence and ability to feel emotion continue to íascinate
scientists and ơoctors alike. For somo limo now. thGir healing powers have been
well known. A swim with a group ol đolphins. for example. is a recognised
međical' activity for everyday probloms such as stress. But some dolphins are
píaying a far more serious medical role for us than that. Amarvda Morlon, who
suffered from a life-threatening illness, argued that being with dolphins savedher
tiíe because they were able to read her teolings. They knew how I was íeeling.’
153
ÌJ| Its v»ds ^ u u itíu ứi> a<ay II ly . MI IU II 5> IIIC lu c a II ren II ic y a u iu a n y vâi o , u Ten II ic y a I c
gentle, happy creatures that want to betriend us, which has led to projects with
children as well. In one such project, dolphins are being used to help children
vvho are slow learners learn to read. The dolphins do things like carrying small
boards on their noses. These boards show words or pictures vvhich the children
are asked to identiíy. When the children get it right, they spend more time
svvimming vvith the dolphins and touching them and they see this as a revvard. So
vvhat is it that makes contact with dolphins so powerful? They certainly have an
engaging smile ... in each jaw they have up to 52 teeth, but rather than
írightening us to death, it’s one of the vvarmest greetings in the vvorld! They’re
also tantastic swimmers to watch ... the spotted dolphin has been observed
reaching 20 miles an hour and keeping this up for two days at a time. And they
know they’re good at it so they show off in front of humans by diving in and out of
the vvater and shovving us just how much tun they’re having. They’re great
communicators too. They make all kinds of íascinating high-pitched noises. They
catch fish, for example, by sending out sound waves vvhich tell them everything
they need to know - where it is, what it is and how big it is.
The only creatures that concern dolphins, in íact, are sharks and man. We don’t
necessarily harm them on purpose, but we trap them in íishing nets and we pollute
the water they swim in. Pollution, in tact, is one of the dolphiiYs greatest problems.
So with all the good they do for us, isn’t it time we started caring about them?
[pause]
N o w y o u 'l ỉ h e a r P a r t T w o a g a it ỉ.
tone
[T h e r e c o r d in g is r e p c a te d .)
[pause]
T h a f $ t h e e t ĩd o f P a r t T w o .
N o w tu rn to P a rt T h re e .
[pausc]
PART 3 Y o u 7/ h e a r f i v e d if f e r e n t p e o p l e t a ỉ k i n g a b o u t t h e h e a d t e a c h e r o r p r i t i c i p a l
o f t h e i r Ị o r t n e r s e c o n d a r y s c h o o l . F o r q u e s t io n s 1 9 t o 2 3 , c h o o s e f r o m t h e
l i s t A t o F w h a t e a c h s p e a k e r i s s a y i n g . U s e t h e l e t t e r s o n ỉ y o t ĩc e . T h e r e ’s
o n e e x t r a le t t e r w h ic h y o u d o n o t n e e d t o u s e .
Y o u n o w h a v e t h i r t y s e c o n d s i n U ỉ h ic h t o l o o k a t P a r t T h r e e .
ỊP a u s e th e r e c o r d in g h e r e f o r 3 0 s e c o n d s .]
tone
speaker 1
[pause]
lt’s strange looking back because at the time you don’t alvvays appreciate people
and certainly I think that’s true o f your teachers and particularly a head teacher. I
m o a n ch o XA/ác a lw a \/c p n r n i irp n in n II<Ĩ n n t tn H rnn littp r anH tr> th in k a h n n t th in n c
Test 4 Key
like preserving Ihe countryside and so on. and she’d say 'Don t you vvant your
children to live in a better wortd?' But vvhen you're litteen. you can't imagine
having a tamily - all you care about is getting y o n r homework done arxl going out
with your triends!
(pause)
S p ea ker2
ỊpauseỊ
I don't know i( il's the same in all countries, but where I live your head teacher
usually teachos classes too and we had our head for athlelics. In one way it was
exciting cos she was very goo<J ai it herseK. Iike she could oul-run any of the
boys in our class. but whatever we were doing she was always pushing us to do
it laster than anyone else or jump higher than our triends regardless of the laỉent
or ability we had - and with some it vvas pointless.
[pause]
sp ea ker3
[pausc]
I think if it hadn’t been l o r o u r head teacher, l'd be doing something quite
diííerent now. Sho used to assess our Art exams and although thcre wore pcoplo
in my class who were really talented artists ... you knovv they could paint
anything from rcal lifo and it lookcd brilliant... shc always prclcrrcd the more
unusual stuff - she sakJ it showed we had ideas of our own, and she really liked
that. so, I did well. I mean rx>w I make a living putting designs on greeling cards.
[pausc]
sp ea ker4
Ipause)
I always felt that our head leacher was under-valued and that she might have
done better in a ditterent environment... her own staff held her up a bit. They all
seemed ... oh, I don't knovv... maybe they just didrVt like the idea of change ...
but I remember she wanted to introduce a r»ew teaching method for Frer>ch
classes and the department head just dismissed the idea ... and so many ideas
she had \vtiich were never taken up are being used in schools today. I
sometimes wonder how she feels.
Ịpause]
speaker5
(pauscỊ
l've got some íriends who say they left schod and they sudđenly fett lost. They’d
spent a long time 'getling an educalion' but didrVt Know what to do once they d
got it. I think we were lucky because our head teacher built up a good network of
contacts wíth local people and so they diđn't mind givmg us an insight into what it
might be like, say. vvorking in a hospital or off»ce. I know it wasn't a new idea or
155
a i i y u m i y UUI I IIIII ir\ OI IC y a v c u o a y w u OCMOC UI unci/tiU M VVIIIÎI I v c V đlU C U <911
my life.
[pause]
N oiv you'll bear Part Three íìgaiỉì.
tone
|T h c re c o rc ỉin g is r e p e a tc d .Ị
[pause]
T h a t’s the end o f Part Tbree.
N otv tu m to Part Four.
[pause)
PART 4 Yoii will bear an intervieiv ivith a tour leader w ho ivorks for an adventure
company in Africa. For qnestions 24 to 30, choose the best ansiver A, B or
c.
You now have one minute in Iưbich to look at Part Four.
[Pause the recording herc for one minutc.)
Announcer: And now for the holiday programme with Mandy Rice.
Mandy: Today l’m talking to Don Nicholson, a tour leader who spends 10 months of the
year looking after groups of up to 18 tourists in Southern Aírica. They travel
tỏgêther in the back of a truck, put up their own tents and cook their own food.
Welcome to the programme, Don.
Don: Thanks.
Mandy: This is a holiday vvith a difference, isn’t it? Tell us, (irst of all, what sort of people
go on a camping trip in Atrica ... and a long one at th a t... it is a month each trip?
Don: Yes. Well it sounds a sort of studenty thing to do, but in íact the majority of our
passengers are people like doctors and lavvyers. We do get some students but
they tend to be the ones that are studying something like conservation or wildlife.
Mandy: And when do they all íirst meet?
Don: The evening betore we set off. They fly in and I pick them up from the airport and
immediately beíore we start sorting out places in the truck we go through what
they've brought with them. Amazingly, every now and then we get somebody
who genuinely doesn’t realise it’s a camping tour, so I have to rush out and get
them blankets and a sleeping bag.
Mandy: It must be diíticult - a vvhole group of strangers coming together and then having
to live together like that.
Don: Mmm. It goes surprisingly well, but I alvvays think the íirst day is critical because it
sets the tone for the vvhole trip. We've had the odd nightmare start where we’ve got
a ílat tyre 20 minutes aíter we set off or it’s dark and pouring with rain and people
just can’t get their tents up. Yeah, once we were making pasta late at night and
the cook put in a tin of strawberry jam instead of tomato paste - those are the
bad starts!
Mandy: Basically everyone has to take part in the domestic chores, do they?
Don: Yes. The brochure makes it clear that people have to work on a rota System and
Test 4 Key
muck in but more olten they are just untidy and l've got a bit of an eye for that
because ... well, they might leave a fork lying on the ground, for example. and
okay, it's just a fork. but in a lot of places in Aírica you can't get íorks. so l'm quite
possessive about the equipment.
Manđy: And do peọple really get on?
Don: A lot of people have never lived in a tight community situation like this beíore and
you ơo get contlicts and personality clashes. The best approach is to observe it
from afar. If it gets out oí hand, I might point out in íront of the whole group that
there's a problem between cerlain people.
Mandy: Shame them a b it....
Don: Mmm. Sometimes it works. To be fair, conllicts are rare but small problems can
mount up in that kind of environment. Evening noise, for example. Some people
want to go to sleep early and others ớon'1. On occasions l've had to be the sort o(
go-between and impose a •ligíits out’ time if things siart getting out of hand.
Mandy: What about gotting up, because that's somelhing we're really not keen on on
hoiiday?
Don: lf wo’re going into a wtldlife park we might have to be on the road by Six a.m. but
people still ask vvtiy they have to get up so early. I've leamt hov/ to do it nov/. u
they’re a quick group ril get thiem up at five. but if they're slow I won't shout and
scream ai them - 1just got them up at four thirty.
Mandy: Well. pertiaps now we should go on to talk about v/hat there is to see in somc of
those game parks that you have to get up so early for.
Ip au sc)
iNotv y o u ’l l hear Part Vour again.

tonc
[The rccording is repeatcd.)
[pauscỊ
T hat’s the etid o f Part Four.
There’11 rtoiv be a Ịìa its e o f fw e minutes fo r you to copy yo u r anstvers onto
the separate anstver sheet.
ỊTcachcr, pausc thc rccording hcrc for íive minutes. Rcmind your students
whcn thcy have one minutc lcít.Ị
That'$ the ettd o f the test. Pỉease stop ttow. Yottr supervisor iv iỉỉ now
collect a ll the question papcrs and anstver sheets.
Coodbyc.
Thái Quang Tuân's Archives 157

C a n d ỉd đ to N « m « C o n tro N o.
' — •i—~»— —»
k> n< r»
C a o d id a te S ig n a tu re C a n d ỉd a t* N o . [
e x » m l n * t l o f i T ltl* E x a m tiM tio n

D c ta ils
Con tro
S o p w v (8 o r
. A9S€NT cr f«WlTHDRAWN VAM
Candidate Answ er Sheet: FCE Paper 1 Readin
ABCDEFGH I 21 A B C O E F O K 1
Use a pencil 6
7 A B C D E F O H 1 2 2 A B C D E P O H 1 !
M a rk O N E le tte r fo r e a c h
q u e s tio n .
8 A B c D E FG HI 2 3 A B C O E P G H 1
For e x a m p le , rt y o u th in k
B is th e rig h t a n s w e r to A Đ C O E F G H I
9 ị2 4 A 8 C 0 E P Q H 1
th e q u e s tio n . m a rtc y o u r
a n s v v e r s h e e l lik e th is :
10 A8CDEPCH 1 2 5 A B C D E P G H 1
11 A B c D E Fo H 1 2 6 A B C O E F G H !
12 A 8 C O Ẽ F G H 1 ; 2 7 A B C O E F G H 1
R u b o u ỉ a n y a n s w e r y o u
13 A B C O E F G H lị 2 8 A B C O E F G H 1
w is h to c h a n g e W ith a n
1 4 A B c 0 E F G H I 2 9 A B C O E F G H 1 1
e ra s e r
1 5 A B C D E P G H 1 3 0 A B C D E P G H 1
ị 1 A 8 c 0 E F G H 1 ; 16 A 8 C 0 E F G H I 3 1 A 8 C D E F G H 1
2 A B c D 6 f G H 1 1 7 A B C D E P G H 1 3 2 A B C O E P G M 1
Ị 3 ã
A 8 c
C=-9
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5
A B c D E p G H 1 ị 20 A B c 0 E FOH 1 3 5 A 8 C 0 E P G H I
© UCLES K&J
158
Ị Ư N IV E R S lT Y ofC A M B R IIX : K
1 E S O L E * * m in « tio o «
Candidato Nnmo Conĩro r4o.

> «H> M | »iw l
C a n d id a :c S > Q n « u f* C andidxt* No.

.0, .0
tx a m io a ilo o Trtte 1 .1
Ex«min«*.ion
0«toils X .»■ ,í,
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C a n d id a te A n s w e r S h e e t: F C E P a p e r 3 U s e o f E ng lish
U se a P E N C IL ( 8 0r H B ) R o b o o ‘s a r v / a n s v v » r y o u w i 8 h t o c h a n p ô w t h a o 6 r a & ô f .
F o r P a r t 1 : K te ík O N E I d ltM ĩo t © a d i q u e s tio n . F o r P a r ts 2 , 3 ,4 8fXỈ 5 : W r il < » y o i r a n a v r a r s i n

F o r e x a m p la . if y ữ .t trin k rig h t a n s w t y t o th o s p a c s s n e x t lo tf » n u m b e ra Ih is :
th (« m a fk y o u r ans*w s h e e t h k o U iis :
0 e x . £ X f h ỹ le / ^
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P a rt 1 f Part 2
A 8 ọ
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2 1 7
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A B D
6 21
A B c
7 2 2
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A B D
2 6
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2 7
over
12 fo r
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13 2 8
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Parts
1 4 2 9
3 -5
1 5
A s 3 0
© UCI.ES k& j m sm m a
159
Part 3 D o not hM«
31 3 0
1 2
32 'i Z 0 1 2
33 33 0 1 2
34 “ o 1 2
35 J5 0 1 2
36 1
37 v 0 1 2
38 1 2
39 59 0 1 2
40 40 0 1 2
Dc no4 Do iwl
Part 4 Part 5
1 41 0 56 1 50 0
41
1 42 0 57 1 67 0
42
1 43 0 58 1 68 0
43
44 1 41 0 59
45 1 0 60 3 0
46 61 1 «1 0
47 1 47 0 62 1 62 0
1 48 0 63 1 63 0
48
49 1 49 0 64 1 64 0
1 50 0 65 1 65 0
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51 1 51 0
52
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A I i r ĩ r:c k '.< -ỉ lU im n U R U n U R
arp U N IV E R S IT Y o^C A M B R ID G E
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Ễ í M n m i r t i o t i T r tl* E x a in ln a ĩio n Ẹ .
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- AUSÚMI ^►•VVIIMaKASVNv^
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Instructions
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F o r P m U 1 .m d 3 :
M a ik O N E le ư a r to r
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F 0f tìx .ỉfn jV » , if you

Ih in k Bis 0 » rig h l
a n s w f r to n u esn ơ n .
marK y ô u r answer P a rt 3 P a rt 4
s h o e t liK e I h i s
19
A B E r 2 4
A B c D E F
0 20 2 5
21
A B c 0 E F 2 6
F o - P a rts 2 a n d 4 :
22
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th e s p â C â s n e x t to V m 23
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161
Past Papers
C a m b r id g e
FIRST CERTIFICATE IN ENGLISK

W ITH A N SW ER S
C a m b r i d g e U n i v e r s i t y P r e s s ỉ s t h e o n l y o fff ic ia l p u b l i s h e r o f F C E p a s t
p a p e rs ffro m C a m b r id g e ESO L - an e s s e n t ia l p a rt off any FCE
p r e p a r a t io n c o u r s e .
Do yo u w a n t to approach th e C a m b rid g e F irst C e rtiíica te in E nglish (FCE) e xa m in a tio n

w ith coníidence? T hen yo u need to ía m ilia ris e yo u rs e tí th o ro u g h ly w ith its ío rm a t and
co n te n t - and y o u need to practise e x a m in a tio n te ch n iq u e s using g e n u in c m aterial
such as these FCE past papers fro m U n iv e rs ity o f C a m b rid g e ESOL E xam inations.
C a m b rid g e F ir s t C e r t ií ic a t e in E n g lis h 6 is th e 6th collection of practice tests

published by Cambridge University Press for this level. It contains:
• a h e lp íu l o v e rv ie w o f th e FCE exam
• ío u r a u th e n tic past papers fro m C a m b rid g e ESOL
• a ttra ctiv e visu a l m a te ria l to s tim u la te d is c u s s io n and h e lp yo u practise fo r th e pairecỉ
S pcaking te s t (Paper 5)
• p h o to co p ia b le ansvver sheets so yo u c a n practise tra n s íe rrin g y o u r answ ers.
The S tud ent's Book 'w ith ansvvers' e d itio n also c o n ta in s a c o m p re h e n s iv e section o f
an sw er keys and tapescripts, m a kin g i l ideal fo r selí-study. The Teacher’s Book
p ro vid e s use íu l in ío rm a tio n a b o u t th e ío rm a t o f th e FCE and a clear in s ig h t in to
m a rkin g and g ra d in g illu s tra te d b y a ư th e n tic sa m p le ansvvers. It also co n ta in s
ta p e s c rip ts o f th e re c o rd e d m a te ria l a n d ansvver keys, m a k in g it a v a lu a b le ,
a ll-ro u n d teacher's resource.
The m aterial consists of:

S tu d e n t's Book Set o í 2 Cassettes
S tu d e n t's Book w ith answ ers Set o f 2 A u d io CDs
Teacher's Book S e lí-stu d y Pack
The Cambridge First Certiíicate in English examination

corresponds to Council of Europe Level B2 (ALTE Level 3).
9783125391628

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Cambridge

Exam ination papers from

The Pin Building, Trumpington Street, CambrtdRc, United Kingdom

4 7 7 \V illia n ttto w n R o a d i Port M d b o u m c , VIC 3 2 Ọ7 , A u s t r a l ij

n o rc p ro d u c tio n o f a n y p .ir t m a y ta k c p la c c M Íih o u r

P rín te d in tlic U n ite d K in g d o m a t th e U n iv c rs ity P re s s , C a m b n d g c

IS B N 0 5 2 1 7 S 4 4 4 5 S c u d c n t '* B o o k (w ith a n sw c rs)

IS B N 0 521 7 5 4 4 7 X Sct o f 2 G is ttttC í

To the student vii

Test 1 Paper 1 Reading 2

Test 2 Paper 1 Reading 28

Tost 3 Paper 1 Reading 54

Test 4 Paper 1 Reading 80

Test 1 Key and transcript ỉ 05

Visual m aterials fo r Paper 5 cơ lour section

Sample answer sheets 1S8

T im es N e w sp a p c rs ío r th c tc x t o n p.3 ‘Spccding O v c r Seas’ by Jc n n a i C o x íro m T h e T im e s \\'ild Spĩrits

F o r p crm issio n t o r c p r o d u c e C o p y rig h t p h o to g ra p h s:

A rr D irecto rs &: T R 1P /C K a p o lk a fo r p .3 2 , /J G rc c n b c rg ío r p .C l (b o tto m ), /H e lc n c R ogcrs ío r p .C 6

C 1 5 (b o tto m lcft); Cỉcrn’ Im ages/S tcw art C o h c n ío r p .C 5 (to p ), D o n J o h n s to n ío r p .C 7 (to p ), /Jo h n

Arrvvork: O x ío r d D esigncrs Sc Illu s ư a to rs

P ictu rc rcsearch by V alcric M u lc ah y

D csign co n ccp t by P ctcr D u ck er

T h e re co rd in g s \v h ich a c c o m p a n y th is b o o k w e rc m a d e a t S rudio A V P , L ondon

Examination Cambridgc/ALTE Council o f Huropc UK National

The FCE cxaminarion consisrs of fivc papcrs:

Paper 1 Rcading 1 hour 15 minutcs

Paper 2 Writing 1 hour 30 minutcs

Paper 3 ư sc of Knglish 1 hour 15 m inutes

Paper 4 I.istcning 40 minutes (approximarcly)

Paper 5 Spcaking 14 minutcs

Paper 3 Usc of English

Marks and results

Further intorm ation

Tclcphonc: f4 4 1223 553355

Thái Quang Tuân's Archives

PAPER 1 R E A D IN G (1 h ou r 15 m inutes) Thái Quang Tuân's Archives

Mark your answers on the separate answ er sheet

A Personal vvatercratt are now regarded as

B There is now greater emphasis on the correct

c Personal watercraft are likely to grow in

D Personal watercraft have changed because

E The maịority of people using personal

F Personal watercraft used to have a terrible

G Personal vvatercraít enable you to experience

H The reason why people like using personal

I Personal watercraft enable you to combine

< & r" SPEEDING OVER SEAS

i f v o u c n jo y íp c c d b u t v v ith o u t t h c a s s o c ia tc d ris k s ; fu d . th c a itra c tio n hai changcd fro m dangcr to

i f y o u lik c to k c c p a c iiv c b u t p r c f c r n o t to m a k c to o d iỉta n c c . M o rc a n d m o rc p c r s o n a l v v a ic rc ra ít u se rs

íìn d in g a sp o rt th a t w ill a c c o m m o d a ie vour

W h c n c h c s p o i t r o s c IO p o p u l a r i t y i n B r i t a i n * f c w th c m . w ith o u t h a v in g 10 put up w ith th c ir m o rc

y c a rs a g o , it w a s , lik c m a n v th r illin g n e w a c tiv itic s , u n p le a & in i u p c c c s . A p a rt fr o m th c o d d s p la s h , a n d

ta k c n u p b y y o u n g ris k -ta k c rs . l i b c c a m c k n o w n .u \v c t fc c t, y o u s ta v c o m p a ra iiv e ly d ọ - a n d a r c m u c h

ịe t-s k iin g and b c ío rc lo n g w as g iv e n a v cry bad m o r c a b lc to c n jo y t h e d c lig h ts o f b e in g ac sca.

nam c. T h e n o is c , chc a n tic s and. in c v ita b ly . th c

p o s itiv c lig ln . D c s p ite b á n g ric h p c o p lc s to y s - th c y

gct fro m th e ir p crso n al w a tc rc r a ft, m any o f th c a s l i íc b o a t v c h ic lc s a r c b c g i n n i n g c o b c c i o e ỉ o p e d .

c h a llc n g in g a c n v itic s . L c ít to th c m o re m a tu rc in \v h o a r c in t r o u b l e o r t h c s h ip w r c c k c d v e f y s w iftly

m in d a n d ) T » Ỉ , th c ip o r t h a s b c c n íồ rc c d to g ro w and, ỉ)c in g so casy to m an o c u v rc, c a n bc d riv c n

m a n u í a c t u r c n a r e t r y i n g t o c m u r e i h a i a ll o w n c r s , sp o rt w ith o u t íc e lin g at a d tM id v a n tỉg c . A nd fo r

c s p e õ d lỵ th c ncw oncs. arc ta u g h t s c a m a iu h ip , m o ỉt p c o p lc d is c o v c rin g p crso n al w a (c rc ra ft,

n a v ig d ú o n a n d h a r b o u r ru lc s . T h e m a c h in c * a r c n o w p u r s u in g a c o m p c titiv e o r íìm e s s - im p r o v in g a c tiv ity