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新编大学英语视听说教程第五册听力原文Unit 1

新编大学英语视听说教程第五册听力原文Unit 1

9979997藏宝阁香港马会 www.shixinhuamu.com
Unit 1
Listen1-1
Jack: I'm going to rent some videos for the holiday. Jim, could you recommend something really exciting to me, say some suspense films that will surprise, and keep me jumping and guessing? Jim: Have you seen the film Seven, Jack? Jack: No, but I've heard people say that it is one of the darkest, most intense films they've ever seen. Jim: Yes, it's certainly not for those with a delicate stomach, but it's one of the most suspenseful I've seen. The twists and turns in this movie are surprising, and it's a movie that keeps you guessing. Jack: I think I'll like it. I hate those that are too easy to figure out! Jim: What's more, it has an all-star cast that includes Brad Pitt and Morgan Freeman. They star as two detectives investigating a series of killings in which the murderer kills people committing the seven deadly sins. The two must try to stop the killer before he completes his masterpiece of seven killings. The climax of this film comes unexpectedly and is extremely dark. This is a movie that you can enjoy several times and see something new each time. Jack: Great! I think a truly great suspense film has to intrigue a person not only the first time, but every time it's seen. What else would you recommend? Jim: No suspense list would be complete without adding an Alfred Hitchcock film to the mix. My favorite is Rear Window. If you've never seen this movie, the word "why" comes to mind! Hitchcock is at his best with this suspenseful tale of a wheelchair-bound photographer who is consumed by the actions of his neighbors across the courtyard. When those actions appear to become murderous... Jack: Stop! Don't tell me everything. Let me find out for myself. Actually I'm also a great fan of Hitchcock's films. In my opinion, Psycho is the ultimate thriller. It details the story of Norman Bates who assumes the identity of his dead mother and proceeds to kill anyone whom he finds sexually attractive or threatening. It's a true masterpiece from start to finish. Jim: I've seen that one, too. I really like thrillers. I guess I like to be scared.

Listen1-2
Jack: I'm going to rent some videos for the holiday. Jim, could you recommend something really exciting to me, say some suspense films that will surprise, and keep me jumping and guessing?

Jim: Have you seen the film Seven, Jack? Jack: No, but I've heard people say that it is one of the darkest, most intense films they've ever seen. Jim: Yes, it's certainly not for those with a delicate stomach, but it's one of the most suspenseful I've seen. The twists and turns in this movie are surprising, and it's a movie that keeps you guessing. Jack: I think I'll like it. I hate those that are too easy to figure out! Jim: What's more, it has an all-star cast that includes Brad Pitt and Morgan Freeman. They star as two detectives investigating a series of killings in which the murderer kills people committing the seven deadly sins. The two must try to stop the killer before he completes his masterpiece of seven killings. The climax of this film comes unexpectedly and is extremely dark. This is a movie that you can enjoy several times and see something new each time. Jack: Great! I think a truly great suspense film has to intrigue a person not only the first time, but every time it's seen. What else would you recommend? Jim: No suspense list would be complete without adding an Alfred Hitchcock film to the mix. My favorite is Rear Window. If you've never seen this movie, the word "why" comes to mind! Hitchcock is at his best with this suspenseful tale of a wheelchair-bound photographer who is consumed by the actions of his neighbors across the courtyard. When those actions appear to become murderous... Jack: Stop! Don't tell me everything. Let me find out for myself. Actually I'm also a great fan of Hitchcock's films. In my opinion, Psycho is the ultimate thriller. It details the story of Norman Bates who assumes the identity of his dead mother and proceeds to kill anyone whom he finds sexually attractive or threatening. It's a true masterpiece from start to finish. Jim: I've seen that one, too. I really like thrillers. I guess I like to be scared.

Listen2-1

Miss Jones, I know you are a psychiatrist, and it's very important that you declare me sane. It would not be good for my children to believe their mother is insane. I must stand trial as a sane person and be acquitted because then the children can deal with it. I had a troubled childhood but finally met Peter. We fulfilled each other's requirements. He looked for a perfect mother, as I looked for a perfect father. After we married and had children, our troubles started. I wanted the children to be self-expressive; he wanted them to be quiet. Because of our disagreements about child rearing, I was easily annoyed and distressed, and spent a lot of time in tears that I couldn't control. I would cry and Peter would shout, so it began to look as if we would have to part. Peter was already seeing another woman, a junk food addict whose idea of an

afternoon out was to go to McDonald's. I had no grudge against Peter having a girlfriend. Mine was not a crime of passion but an act committed for the sake of the children. Divorce hurts children. They suffer terribly when the family breaks up. What else could I do? I insured Peter's life. Then he, I, his girlfriend and the children went for a country walk. We picked mushrooms, including a death cap. I made a beef casserole that evening and he and she ate it. The children and I are vegetarians, but Peter would never renounce beef, and it proved fatal. I got them to the hospital immediately so the children saw nothing unpleasant. I hadn't realized how suspicious the police could be. But this is not insanity, is it? I was doing my best for my children, and I must get back to them as soon as possible, for their sake. I presume the court won't be so stupid as not to understand that. What do you think, Miss Jones? Questions: 1. Who is the speaker talking to? 2. What was her marriage like at first? 3. What caused their unending quarrels and trouble? 4. What did the woman decide to do to solve the trouble? 5. What will happen to the woman?

Listen2-2

Miss Jones, I know you are a psychiatrist, and it's very important that you declare me sane. It would not be good for my children to believe their mother is insane. I must stand trial as a sane person and be acquitted because then the children can deal with it. I had a troubled childhood but finally met Peter. We fulfilled each other's requirements. He looked for a perfect mother, as I looked for a perfect father. After we married and had children, our troubles started. I wanted the children to be self-expressive; he wanted them to be quiet. Because of our disagreements about child rearing, I was easily annoyed and distressed, and spent a lot of time in tears that I couldn't control. I would cry and Peter would shout, so it began to look as if we would have to part. Peter was already seeing another woman, a junk food addict whose idea of an afternoon out was to go to McDonald's. I had no grudge against Peter having a girlfriend. Mine was not a crime of passion but an act committed for the sake of the children. Divorce hurts children. They suffer terribly when the family breaks up. What else could I do? I insured Peter's life. Then he, I, his girlfriend and the children went for a country walk. We picked mushrooms, including a death cap. I made a beef casserole that evening and he and she ate it. The children and I are vegetarians, but Peter would never renounce beef, and it proved fatal. I got them to the hospital immediately so the children saw nothing unpleasant. I hadn't realized how suspicious the police could be. But this is

not insanity, is it? I was doing my best for my children, and I must get back to them as soon as possible, for their sake. I presume the court won't be so stupid as not to understand that. What do you think, Miss Jones?

Mlisten1-1
(Mary Jones deserves her title as the Queen of Suspense. Her addictive

thrillers have made her today's most widely-read female mystery writer. She recently signed a four-book deal for a $58 million advance, and she is currently writing her 28th novel. Here is our interview with Jones at her residence in New Jersey.)
Interviewer: Why do you often write about psychopaths? Jones: It's much more compelling when someone has a psychological problem. I'm writing one now that involves a high school reunion—Midnight. The serial killer had been totally rejected in high school. It all comes down to motivation. Why does a person cross the line and take a human life? Interviewer: How did you learn to tell a story? Jones: It was the single talent that I've always had. Interviewer: You told stories when you were a kid? Jones: Yes. And oddly enough, they were scary stories. Interviewer: What's your creative process? Jones: Don't think it's easier for me than for anyone else. It's writing and rewriting and rewriting. In the first pages of writing a book I think, "Who are these people? Do I believe this? Do I understand them?" I drag them through the first 50 or 70 pages. But then, because they're grounded, a character will suddenly put his hat on and leave the scene. I say, "Wait a minute, you have to stay here." And they say, "No, no, give the line to her." That's when they're dancing for me. I'm just along for the ride. Interviewer: Can anyone learn to write? Jones: No. You have to have the ability to tell a story; you have to have the talent and the desire and the compulsion to write—you write on the bus, when the kids are asleep, in the morning, at night. Writers are not very comfortable if they're not working. People say to me, "I'm going to write a book as soon as I quit my job... as soon as the kids grow up... as soon as the dog dies." These are perfectly valid excuses, but there will always be a new set of excuses...

Mlisten1-2

(Mary Jones deserves her title as the Queen of Suspense. Her addictive

thrillers have made her today's most widely-read female mystery writer. She recently signed a four-book deal for a $58 million advance, and she is currently writing her 28th novel. Here is our interview with Jones at her residence in New Jersey.)
Interviewer: Why do you often write about psychopaths? Jones: It's much more compelling when someone has a psychological problem. I'm writing one now that involves a high school reunion—Midnight. The serial killer had been totally rejected in high school. It all comes down to motivation. Why does a person cross the line and take a human life? Interviewer: How did you learn to tell a story? Jones: It was the single talent that I've always had. Interviewer: You told stories when you were a kid? Jones: Yes. And oddly enough, they were scary stories. Interviewer: What's your creative process? Jones: Don't think it's easier for me than for anyone else. It's writing and rewriting and rewriting. In the first pages of writing a book I think, "Who are these people? Do I believe this? Do I understand them?" I drag them through the first 50 or 70 pages. But then, because they're grounded, a character will suddenly put his hat on and leave the scene. I say, "Wait a minute, you have to stay here." And they say, "No, no, give the line to her." That's when they're dancing for me. I'm just along for the ride. Interviewer: Can anyone learn to write? Jones: No. You have to have the ability to tell a story; you have to have the talent and the desire and the compulsion to write—you write on the bus, when the kids are asleep, in the morning, at night. Writers are not very comfortable if they're not working. People say to me, "I'm going to write a book as soon as I quit my job... as soon as the kids grow up... as soon as the dog dies." These are perfectly valid excuses, but there will always be a new set of excuses...

Mlisten2-1

When writing any murder scene, whether a murder mystery, suspense-thriller, horror movie, or romance, the writer must give a lot of thought to the murder weapon. One cannot simply decide that the murderer enticed his victim to the library and used a lead pipe. The lead pipe is a valid blunt instrument, but does it fit the circumstances? That is to say, would the murderer have the opportunity to obtain a lead

pipe and hide it in the library? Would he need to leave the pipe behind or would he need to take it with him? The answers to these questions are determined by motive and opportunity, but the psychology of the murderer also plays a part. Most mystery writers, especially series authors, do not use the same weapon again and again without significant variation. To learn how psychology, motive, and opportunity affect the selection of the murder tool, try examining the work of one author with at least 10 novels in a series. Read everything that author has written, including short stories and off-series novels, to see how that author handles the choice of murder weapon. A good place to start is Rex Stout's series featuring the detective duo of Nero Wolfe and Archie Goodwin. The series spans more than 40 years and comprises more than 80 novels and short stories. In a body of work of that size, there is bound to be repetition in the choice of murder weapons: primarily guns, poisons, and the ever-popular blunt instrument. However, Stout manages some surprising murder weapons, too, including a champion bull, an exploding cigar, and dry ice. None of these weapons can be considered run-of-the-mill choices, but each one fits the situation perfectly in terms of motive and opportunity. This body of work is also an excellent way to see why a particular method was used and how it fits the psychology of the murderer.

Mlisten2-2

When writing any murder scene, whether a murder mystery, suspense-thriller, horror movie, or romance, the writer must give a lot of thought to the murder weapon. One cannot simply decide that the murderer enticed his victim to the library and used a lead pipe. The lead pipe is a valid blunt instrument, but does it fit the circumstances? That is to say, would the murderer have the opportunity to obtain a lead pipe and hide it in the library? Would he need to leave the pipe behind or would he need to take it with him? The answers to these questions are determined by motive and opportunity, but the psychology of the murderer also plays a part. Most mystery writers, especially series authors, do not use the same weapon again and again without significant variation. To learn how psychology, motive, and opportunity affect the selection of the murder tool, try examining the work of one author with at least 10 novels in a series. Read everything that author has written, including short stories and off-series novels, to see how that author handles the choice of murder weapon. A good place to start is Rex Stout's series featuring the detective duo of Nero Wolfe and Archie Goodwin. The series spans more than 40 years and comprises more than

80 novels and short stories. In a body of work of that size, there is bound to be repetition in the choice of murder weapons: primarily guns, poisons, and the ever-popular blunt instrument. However, Stout manages some surprising murder weapons, too, including a champion bull, an exploding cigar, and dry ice. None of these weapons can be considered run-of-the-mill choices, but each one fits the situation perfectly in terms of motive and opportunity. This body of work is also an excellent way to see why a particular method was used and how it fits the psychology of the murderer.

Mlisten3-1

If you want to scare someone for fun, there are probably infinite ways, some simple and some complex. But I'm going to focus on my favorites. The first method is the sneaky approach and abrupt announcement of presence. This is my very favorite, simply because it's easy, and it's quick. In essence, the goal is to sneak up behind someone and either shout, scream or utter some other ghastly noise, or grab them. In order to successfully sneak up on someone, you may need to remove your shoes, take your keys out of your pocket, and breathe slow, controlled breaths. A great way to do this is to do it in an obviously public place. Here is an example: My mother works nearby and was giving me a ride home one day. She was waiting for me in the parking lot. I took a slightly complex path right up to her driver's side door, which was unlocked. I promptly opened the door and sternly asked her to "get out of the car", which effectively scared her. She thought perhaps that she was being carjacked in a parking lot. The second method is temporary deception. This method could also be described as "be an annoying, lying jerk". But it can be funny. Let's say your good friends asked you to mail some very important letter, bill, etc. that absolutely had to be there the next day. At the end of your workday, as you recline on the sofa, they remember to ask you "Did you mail such and such?" This is where your acting skills come in; your goal is to feign "Oops". I don't enjoy this method as much because it's not quite so much "scaring someone to death" as it is misleading someone to think they are in a bad situation. In closing, I'd like to say that you must exercise caution in choosing your targets. Some people simply don't like being scared. Others, such as the elderly, might have physiological reasons to avoid being scared. Or, that good-spirited friend of yours might just have had a very bad day, and the last thing they need is another stressful moment to add to the pile.

Mlisten3-2

If you want to scare someone for fun, there are probably infinite ways, some simple and some complex. But I'm going to focus on my favorites. The first method is the sneaky approach and abrupt announcement of presence. This is my very favorite, simply because it's easy, and it's quick. In essence, the goal is to sneak up behind someone and either shout, scream or utter some other ghastly noise, or grab them. In order to successfully sneak up on someone, you may need to remove your shoes, take your keys out of your pocket, and breathe slow, controlled breaths. A great way to do this is to do it in an obviously public place. Here is an example: My mother works nearby and was giving me a ride home one day. She was waiting for me in the parking lot. I took a slightly complex path right up to her driver's side door, which was unlocked. I promptly opened the door and sternly asked her to "get out of the car", which effectively scared her. She thought perhaps that she was being carjacked in a parking lot. The second method is temporary deception. This method could also be described as "be an annoying, lying jerk". But it can be funny. Let's say your good friends asked you to mail some very important letter, bill, etc. that absolutely had to be there the next day. At the end of your workday, as you recline on the sofa, they remember to ask you "Did you mail such and such?" This is where your acting skills come in; your goal is to feign "Oops". I don't enjoy this method as much because it's not quite so much "scaring someone to death" as it is misleading someone to think they are in a bad situation. In closing, I'd like to say that you must exercise caution in choosing your targets. Some people simply don't like being scared. Others, such as the elderly, might have physiological reasons to avoid being scared. Or, that good-spirited friend of yours might just have had a very bad day, and the last thing they need is another stressful moment to add to the pile.

Mlisten4-1

Thrillers and suspense films are types of films known to promote intense excitement, suspense, a high level of anticipation, heightened expectation, uncertainty, anxiety, and nerve-wracking tension. Thrillers and suspense films are virtually the same, with similar characteristics and features. If defined strictly, a genuine thriller is a film that relentlessly pursues a single-minded goal—to provide thrills and keep the audience cliffhanging "at the edge of their seats" as the plot builds towards a climax. The tension usually rises when the main character is placed in a dangerous situation from which escape seems impossible. Life itself is threatened, usually because the main character is unsuspecting or unknowingly involved in a dangerous or potentially deadly situation. Plots of thrillers involve characters

who come into conflict with each other or with outside forces. The danger is sometimes abstract or shadowy. Thrillers are often hybrids—there are, for example, suspense-thrillers, action- or adventure-thrillers, sci-fi thrillers, western-thrillers, even romantic comedy-thrillers. And suspense-thrillers come in many shapes and forms such as murder mysteries, women-in-danger films, courtroom and legal thrillers. Thrillers keep the emphasis away from the gangster, crime, or the detective in the crime-related plot, focusing more on the suspense and danger that is generated. The themes of thrillers frequently include terrorism, political conspiracy, pursuit, or romantic triangles leading to murder. A closely-related film type of the thriller is the horror film, which is also designed to elicit tension and suspense, taking the viewer through agony and fear.

Mlisten4-2

Thrillers and suspense films are types of films known to promote intense excitement, suspense, a high level of anticipation, heightened expectation, uncertainty, anxiety, and nerve-wracking tension. Thrillers and suspense films are virtually the same, with similar characteristics and features. If defined strictly, a genuine thriller is a film that relentlessly pursues a single-minded goal—to provide thrills and keep the audience cliffhanging "at the edge of their seats" as the plot builds towards a climax. The tension usually rises when the main character is placed in a dangerous situation from which escape seems impossible. Life itself is threatened, usually because the main character is unsuspecting or unknowingly involved in a dangerous or potentially deadly situation. Plots of thrillers involve characters who come into conflict with each other or with outside forces. The danger is sometimes abstract or shadowy. Thrillers are often hybrids—there are, for example, suspense-thrillers, action- or adventure-thrillers, sci-fi thrillers, western-thrillers, even romantic comedy-thrillers. And suspense-thrillers come in many shapes and forms such as murder mysteries, women-in-danger films, courtroom and legal thrillers. Thrillers keep the emphasis away from the gangster, crime, or the detective in the crime-related plot, focusing more on the suspense and danger that is generated. The themes of thrillers frequently include terrorism, political conspiracy, pursuit, or romantic triangles leading to murder.

A closely-related film type of the thriller is the horror film, which is also designed to elicit tension and suspense, taking the viewer through agony and fear.

Quiz1-1

When I first started working in a bank in the center of the city, I was always afraid someone might rob me. I was behind bullet-proof glass, but the alarm buttons always reminded me that someone could rob me. We had secret signals that changed every day, and there was an automatic alarm that rang when the last money came out of my drawer. Sure enough, one day a man I thought looked suspicious entered the bank. He walked by the other tellers to come to me. I thought he knew I didn't have much experience. He put his hand into his pocket, pulled out a note, and put it under the teller window. I was very scared, dropped down under the counter, and hit the alarm button. The guards came and held the man. Then I read the note. It said, "Would you have lunch with me?" Questions: 1. What was the speaker always worried about? 2. When would the automatic alarm ring? 3. When the man was walking close to her window, what thought came to the speaker's mind? 4. Why did the guards come and hold the man? 5. Who did the man turn out to be?

Quiz2-1
John: Kate, what do you usually do on weekends? Kate: Nothing special. I just read books, reply to e-mails, and most of all, have a good rest. What about you? John: I love thrillers, you know. I read them. I watch them. If I was forced to choose a single pastime in which to indulge, it would be thrillers. Whether they are made for TV, released directly to video, there is just the possibility that I could stumble upon a great thriller that makes me keep reading, keep watching, and keep renting. Kate: Do you often find what you like, John? John: Unfortunately, more often than not, most thrillers are not very good. Not that they can't be entertaining, they certainly can be, in their own way. But the

best surprise, a tight, tense, captivating thriller, is a thing of beauty. These films keep me on the edge of my seat—literally. I tend to sit through them wide-eyed and stupid; watching with childlike delight as the story unfolds, surprising me, scaring me, giving me the creeps. These are films of suspense, not necessarily horror. They are scary not because they shout "boo", but because they whisper "watch your back". Kate: What's the difference between a suspense film and a horror film? To me, they are the same. John: But for me there is a real fine line between suspense and horror. But sometimes these kinds of movies are a kind of mixture. They can start out being a straightforward horror film, and turn into a suspense film in the end. It can be a completely gory film that keeps me on the edge of my seat guessing who the killer is, or what's going to happen. If it's done that, I consider the film more of a suspense than a horror film. Kate: I see. Now I know how much you like thrillers. John: Oh, yeah. Give me a rainy evening, a good suspense film and a hot cup of tea, and I will happily while away the hours! Sitting on the edge of my seat, mind racing, trying to weave my way through a web of lies or false leads. For me unraveling the mystery in a new suspense film is the ultimate joy. If you have ever spent endless hours following the exploits of such heroes as Sherlock Holmes, then you are my kind of person! Statements: 1. John's favorite pastime is to indulge himself in thrillers. 2. In John's opinion, good thrillers are scary not because they whisper "watch your back", but because they shout "boo". 3. John thinks there is a real fine line between a suspense film and a horror film. 4. Some movies start out being a straightforward horror film, and turn into a suspense film in the end. 5. For John, unraveling the mystery in a new suspense film is the ultimate joy.

Quiz3-1

Why would one want to scare someone else to death? There are various reasons, of course, but the best one is this: Fear and excitement go hand in hand. It is for this reason that we pay considerable amounts of money to go to amusement parks. For the most part, there is little risk involved in riding a roller coaster. Yet, when one rides a roller coaster and begins that terrifyingly slow, rickety ascent that will inevitably be followed by a neck-breakingly fast, shockingly abrupt descent, the mind remains unconvinced that no harm can come out of the situation. There is a definite fear of dying, whether it be

overtly conscious or not. When it comes to horror movies, which are usually a more affordable form of entertainment, the same principle applies, except it is more the sort of fear you experience by watching or reading about someone else doing something, rather than by doing it yourself. So with fear comes excitement, which explains why amusement parks and movie theaters make such good dating environments. But that's another point entirely, one we will set aside for now. The main point is, people like being scared, and I like scaring people. Most of the time, when I successfully scare someone by using my preferred stealthy techniques, they shout or scream briefly, and then laugh once they see what's happening. For a split second they were scared, excited, and then are amused that there were no consequences of their scary moment, save for a slightly accelerated pulse. It's kind of like the relief you get from waking up from a nightmare when you realize that things aren't as bad as they seemed, and you are now back to reality.

Sview1-1
Michael: Bob, I need some help. I came here because we used to be friends in high school until we went our separate ways. You were always telling me not to take risks, but to play things safe. I figure you'll play things safe again, or there'll be trouble. Bob: Why, why did you come here? Michael: I figure it's safe here with you and... your wife, huh? I can't let either of you go. Bob: How long... how long will this last? Michael: Until the heat dies down and I can get out of here. Jane: (She stands up.) I'm leaving as soon as I get my handbag. (Bob moves to the telephone, and Michael hits him hard on the neck. Bob falls

into the sofa.)
Michael: Sorry, I lost it for a minute. You didn't deserve that, but we can't have any stupid moves. Jane: Bob, wake up. Are you OK, Bob? (Bob wakes up and rubs his neck.) Michael: (He goes into the kitchen, gets out some cold chicken and devours it.) I've got to say your wife isn't much of a cook. This chicken, it tastes terrible. But, I've got to get out of here. I'll try to make this up to you one day if I can. (The doorbell rings. Michael is shocked; he points his gun at Bob and Jane.) Answer it, Bob. Go to the door; stand back so I can see your face. I'll be right behind the door, so if there's any trouble, you'll be the first to get the bullet. (Bob walks slowly to the door. Michael takes up a position behind the door and

then Bob opens it.)
Tom: Hello, I'm Lieutenant Tom Gray from the City Police Department. Mind if I come in? Bob: (He explodes.) Don't! (Michael pushed Bob hard with the gun.) That is to say, I'd rather you didn't. Tom: That's up to you, Mr. Peterson. I just want to warn you to watch out for an old friend of yours named Michael Johnson. He broke out of the State Prison last night and he's a very dangerous man. He may decide to look up one of his old pals. Bob: I'll let you know if he shows up here. (Inside the room, Jane sneezes violently.) My wife. Probably just tasted something she cooked. (Bob closes the door and returns to the sofa.) Jane: (She says angrily.) You missed your chance, Bob! How could you be such a coward? Michael: (He cuts in.) Forget that. Both of you. Jane: (She is still angry.) That man could do anything, anything, and I'm sure you wouldn't raise a finger to stop him! Bob: He can't stay here forever. Jane: You'll get us killed, I just know it. Michael: We can't be sure that cop is gone for good. He sounded suspicious. I'd better get out. (Jane looks relieved.) Bob: You're really going, Michael? Michael: Yeah. I suppose you've got a car, right? Bob: Yes, but it's two blocks from here. I'll give you the keys. Michael: Not so fast. We're all going down to that car. You'll be in front, and me and your wife will be right behind you. Do what I say, Bob, and you'll maybe keep on living. If you don't... (He threatens them with the gun.) Caption: Michael is shot by Lt. Gray on the street and later dies in the police station. (Tom Gray comes to Bob Peterson's home three days later.) Tom: Something has come up. Bob: Is there anything wrong, Lieutenant? Tom: Well, a routine post-mortem was done on Michael's body, as it is with anyone who meets a violent death, and we found something in his stomach that surprised us. Bob: What was that? Tom: Arsenic trioxide. Poison, in other words. Any idea how it got there? (Bob wakes up to reality.)

Bob: The cold chicken. You dosed it! You were going to poison me, weren't you? (Jane says nothing. Bob gets up angrily.)

Sview1-2

Michael: Bob, I need some help. I came here because we used to be friends in high school until we went our separate ways. You were always telling me not to take risks, but to play things safe. I figure you'll play things safe again, or there'll be trouble. Bob: Why, why did you come here? Michael: I figure it's safe here with you and... your wife, huh? I can't let either of you go. Bob: How long... how long will this last? Michael: Until the heat dies down and I can get out of here. Jane: (She stands up.) I'm leaving as soon as I get my handbag. (Bob moves to the telephone, and Michael hits him hard on the neck. Bob falls

into the sofa.)
Michael: Sorry, I lost it for a minute. You didn't deserve that, but we can't have any stupid moves. Jane: Bob, wake up. Are you OK, Bob? (Bob wakes up and rubs his neck.) Michael: (He goes into the kitchen, gets out some cold chicken and devours it.) I've got to say your wife isn't much of a cook. This chicken, it tastes terrible. But, I've got to get out of here. I'll try to make this up to you one day if I can. (The doorbell rings. Michael is shocked; he points his gun at Bob and Jane.) Answer it, Bob. Go to the door; stand back so I can see your face. I'll be right behind the door, so if there's any trouble, you'll be the first to get the bullet. (Bob walks slowly to the door. Michael takes up a position behind the door and

then Bob opens it.)
Tom: Hello, I'm Lieutenant Tom Gray from the City Police Department. Mind if I come in? Bob: (He explodes.) Don't! (Michael pushed Bob hard with the gun.) That is to say, I'd rather you didn't. Tom: That's up to you, Mr. Peterson. I just want to warn you to watch out for an old friend of yours named Michael Johnson. He broke out of the State Prison last night and he's a very dangerous man. He may decide to look up one of his old pals. Bob: I'll let you know if he shows up here.

(Inside the room, Jane sneezes violently.) My wife. Probably just tasted something she cooked. (Bob closes the door and returns to the sofa.) Jane: (She says angrily.) You missed your chance, Bob! How could you be such a coward? Michael: (He cuts in.) Forget that. Both of you. Jane: (She is still angry.) That man could do anything, anything, and I'm sure you wouldn't raise a finger to stop him! Bob: He can't stay here forever. Jane: You'll get us killed, I just know it. Michael: We can't be sure that cop is gone for good. He sounded suspicious. I'd better get out. (Jane looks relieved.) Bob: You're really going, Michael? Michael: Yeah. I suppose you've got a car, right? Bob: Yes, but it's two blocks from here. I'll give you the keys. Michael: Not so fast. We're all going down to that car. You'll be in front, and me and your wife will be right behind you. Do what I say, Bob, and you'll maybe keep on living. If you don't... (He threatens them with the gun.) Caption: Michael is shot by Lt. Gray on the street and later dies in the police station. (Tom Gray comes to Bob Peterson's home three days later.) Tom: Something has come up. Bob: Is there anything wrong, Lieutenant? Tom: Well, a routine post-mortem was done on Michael's body, as it is with anyone who meets a violent death, and we found something in his stomach that surprised us. Bob: What was that? Tom: Arsenic trioxide. Poison, in other words. Any idea how it got there? (Bob wakes up to reality.) Bob: The cold chicken. You dosed it! You were going to poison me, weren't you? (Jane says nothing. Bob gets up angrily.)


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