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door

door to crime Im a private eye


page douverture Supports: pages 66 et 67 du manuel

Objectifs
Les lves jouent le rle de dtective et restituent les
dtails des trois documents

Champs lexicaux
Les informations
to hear from, to break the news, to expose
headlines, front page, press release, rumor

Les acteurs
a suspect, a victim, a murderer, a culprit, a detective,
awitness, by-standers, the police: FBI, NYPD, LAPD

MISE EN UVRE
Anticipation
Diagrammelexical

et thmatique (mindmap) partir du thme de la Door. Partir des mots-cls du bas de


la p.67 pour orienter les lves et organiser le vocabulaire.
Possibilit de diviser la classe en groupes sur les entres
proposes: who, weapons, actions, places, motives, etc.

police station

knife

Le Cluedo
Colonel Mustard, Miss Scarlett, Professor Plum, Mrs Peacock, Mrs White, The Reverend Green

Les armes du crime


a handgun, a dagger, a rope, lead piping, a spanner,
arifle, poison

weapons
motives
Places
money

culprit

to stab with a knife, to shoot with a gun, to strangle with


bare hands
Les activits
to look for, to investigate, to report, to think about, to
mull over, to ponder, to lead an inquiry

murderer
crime

Les mobiles
out of jealousy, out of greed, for money

Faux amis
the police = groupe de personnes, comme staff, team,
army, verbe au pluriel: The police have arrested a friend
of mine.
Une personne dans la police: a policeman/woman, a
police officer.

BORDAS/SEJER La photocopie non autorise est un dlit.

Notions / fonctions
Dcrire et localiser, faire des hypothses

Faits de langue
prsent Be + V-ing, le prtrit, manuel p. 176 et 183
passif au prtrit, manuel p. 187
modalit pistmique (may must), manuel p. 195

Phonologie
body [bd], detective [dtektv], suspect [sspekt],
poison [pzn], jealousy [dels]
Diffrences phoniques de la graphie /ea/:
weapon [e], lead [i], jealous [e],
Mrs Peacock [i], release [i], break [e]

the police

blood
prints

report

clues
investigate
look for
think about

Voir aussi la fiche lexicale, LDP p. 130

Classer les observations pour les numrer de faon


organise

suspect

who

Mthodologie

gun

Observation des trois documents.

Proposer: Nature? Justify?


Productions attendues: it must be a movie still, it seems
to be a photograph taken from a newspaper/a still from
some TV news, it looks like a board game with cards, dice
and counters.

Exploitation

Lets act! p. 67

Jeu de mmoire sur les trois images par toute la classe,


sur une seule des trois (cf. crime scene), ou sur les trois
pour trois groupes-classe.
Livre ferm: numration des lments mmoriss
par la classe ou par chaque groupe.
Exemples de production:
- Image 1: a young man in his 30ies, dressed in Hawaiian
shirt, a newspaper, the Miami Star, headline: the Miami
killer, palm trees in the background, etc.
- Image 2: kitchen in the top left-hand corner, revolver
in the kitchen, library in the bottom left-hand corner with
the spanner, etc.
4.Im a private eye Ouverture

105

- Image 3: Body of a woman on the left by a tree, yellow


tape, do not cross line, yellow plastic bag, a man from
the FBI dressed in blue, pointing at the body with his left
hand, turning his back on us, a man with glasses wearing
a purple jacket = a witness? Etc.

forth between the ones you own and quickly find the
weapon and suspect.

une classe fragile, accepter des groupes de


mots noter au tableau, puis valider et complexifier
les noncs:
In the foreground, we can see a young man in his 30ies,
wearing a Hawaiian shirt and holding a newspaper, whose
headline is about a killer in Miami.

1. change possible sous forme de questions-rpon-

Pour

la localisation dans lespace, les couleurs,


le lexique de lapparence physique. Intgrer le lexique du crime au fur et mesure des besoins. Suivant
le niveau des lves, complter la Mindmap propose
en dbut de sance: What (nature of crime, verbs, activity V-ing)= stabbing, shooting. How (weapons): she was
stabbed with a knife.
Why (motives) out of jealousy: maybe she was cheating
on her boyfriend.

Revoir

Travail la maison
Rinvestir les lments produits pendant la sance sur
la photo de scne de crime.
Llve joue le rle du passant, badaud interrog par

un journaliste.
You are a by-stander on the crime scene: speak for one
minute to a journalist to give a description of what you
see/feel and comment on it.
Llve peut jouer le rle du policier en charge de
lenqute.
You have just arrived on the crime scene: speak for one
minute/write 80 words to give a description and analysis
of what you see.

Prsenter le Cluedo,

crire les rgles ou donner quelques conseils stratgiques pour gagner.


You introduce a friend to the Cluedo. Use the board in your
textbook to present the game, the objectives. Give a few
tips on how to play it.

sesau sein de la classe, entre les groupes ou au sein dun


mme groupe. Trois lves solides peuvent orienter les
questions, vrifier les rponses, le livre sous les yeux et
dsigner le groupe ou llve vainqueur.
On peut aussi demander des lves plus faibles dinterroger les plus laise loral, livre ouvert: Yes/no questions ou questions ouvertes pour tester leurs camarades.
2. Possible aussi en binmessur la mme image: les

lves se renvoient la balle sur les dtails des documents


mmoriss, celui qui tient le plus longtemps a gagn.

apports supplmentaires
Dexter(2006) is the strange antihero of an American
series broadcasted by Showtime and based on the
novel Darkly Dreaming Dexter by Jeff Lindsay. Dexter
works as a blood spatter analyst for the Miami police
department but hides a dark secret: he is a serial
killer. The surprise lies in the fact that he is a killer
with a moral code, getting rid of murderers who
escaped the law. The TV viewers follow the events
through his eyes.
More information on:
http://www.sho.com/site/dexter
Cluedo(1946): a famous board game.
Aim: collect enough clues to solve the mystery of
Mr Boddys murder. Mr Boddy is killed in his manor.
Curiously enough there are no bedrooms as possible
crime scenes.
Origin of the word: a pun on the popular Ludo game
mixed with the word clue, to remind the murder
mystery element of the game. Weapons of origin:
axe, bomb, rope, syringe, poison and poker.
More information on Cluedo:
http://www.cluedofan.com

BORDAS/SEJER La photocopie non autorise est un dlit.

Productions possibles :
Choose the room you want to walk into carefully because
this is the hardest piece of information to get. You may
want to focus on this at the beginning of the game. The
corner rooms are useful because you can move back and

autres pistes dexploitation

106

door

door to crime Im a private eye


open the door Supports: pages 68 et 69 du manuel

Objectifs
Travailler larticle de journal, le fait divers, en comprhension et production orale et crite

Champs lexicaux
La presse et linformation
the press, the Fourth Estate, the news/a terrible piece
of news, a new piece of information, the front page, catchy headlines
weekly, daily, monthly
hit the headlines, whats the latest news on the case?
Lenqute
an investigation, a forensic scientist/surgeon, a motive,
an arson, a spokesperson
profiling
Au laboratoire
a lab, a test tube, clues, evidence, a cotton swab,
fingerprints, a strand of hair, a white coat, the aim/goal,
a lunatic, a madman, self-confident
to threaten, to scare, to target
Faux amis
Observation des indnombrables (news et information
en particulier)

tions sous le texte: titre, journal, lieu (Bronx, New York)


et indication temporelle. Titre: observation de la forme
elliptique, groupes nominaux, faire reformuler en une
phrase faisant apparatre la forme passive. A womans
body was found under a bridge in the Bronx.

Mthodologie
Comprendre et relier des informations (oral, crit), crire
un monologue, un dialogue, crire et rapporter ses
observations

Notions / fonctions
Exprimer un message fort contenu motionnel, exprimer la surprise et lemphase, faire des hypothses, discours argumentatif

Faits de langue

BORDAS/SEJER La photocopie non autorise est un dlit.

prtrit simple, manuel p. 175 et 179


passif, manuel p. 184 et 187
exclamatives, manuel p. 194
modaux de probabilit, manuel p. 187-188
futurs (prvision, be going to, dduction, will), manuel
p. 184 et 197

Phonologie
serial killer [srl kl], prime suspect [pram sspekt],
statement [stetmnt], cause of death [de].
Jouer sur les paires minimales : found [faund]/fond
[fnd], baddie [bd]/body [bd]
graphie/phonie: serial [srl]/cereal [srl]

mise en uvre
A2

Anticipation
en A. : hypothses sur le contenu du texte.
Human being, body, crime? Observation des informaTitre

Chercher des informations sur body dans le texte (black

woman, 30/40ies). Faire reprer les diffrents acteurs:


the police, a spokesperson, a forensic scientist.
Procder un brainstorming pour les lves plus fai-

bles sur les diffrentes tapes dune enqute. Indications


temporelles repres= chronologie des vnements.
Rflexion sur la langue, raison de la prsence des
passifs: on ne sait pas qui dcouvre le corps, ou linformation na pas dimportance. Typique de lcriture
journalistique et du fait divers. On met donc laccent
sur la victime et sur son corps, son tat, etc., sur ce
quelle a subi.
Se servir de la chronologie des vnements pour effec-

tuer un travail de rcriture de larticle. Relever les verbes et les mettre au tableau puis fermer le manuel.
Situation

Voir aussi la fiche lexicale, LDP p. 130

A. Fully clothed and intact, p. 68

Exploitation

dinterview possible. Un porte-parole de la


police donne des informations sur une enqute, des journalistes posent des questions pour avoir des prcisions.
Corrigs du manuel, p. 68
1. Suggestion: trois entres pour les notes.
A woman: black, in her late 30ies, with her clothes on,
intact.
Place: under a bridge, the Bronx NY, close to a park, in
a bag.
Time: found yesterday just before 9:25, beginning of
the investigation, an autopsy today
2. Rponse libre des lves.
3. Rponse libre des lves.

Travail la maison
Rdaction

de larticle. Rappel: formes exclamatives,


structures de lopinion (lecture de la consigne).

Lets Act! p. 69

Point de dpart en classe: utilisation du prsent dans les


gros titres(immediacy, directness). Amorcer une comprhension des titres de journaux, reformuler, travailler lexpansion, introduire des phrases complexes en who.
a. A girl from Melbourne who was stabbed three times
clings to life. b. Some residents are concerned because they
heard shots in Central Park. c. A taxi-driver from Ohio was
sentenced for murder. d. A man who was cleared by his DNA
is free after 25 years in prison. Redistribuer les articles au
cours suivant, les lves ragissent et comparent les
versions produites partir des mmes gros titres. On
pourra aussi rapporter des journaux internationaux et
les montrer aux lves en petit groupe en leur faisant
chercher ou choisir des titres dans des journaux de
bords diffrents.
4.Im a private eye Open the door

107

A2

Anticipation

Rflexion sur la langue: structure en if, modaux de


probabilit, have to, shouldnt, etc.

neighbourhood?
Brainstorming sur les beaux quartiers de Manhattan.

Corrigs du manuel, p. 68
1. et 2. Observation, hypothses, dduction, argumentation en cas de dsaccord. Renvoi au Culture File p. 77.

Script

3. valuation possible de linteraction devant la classe.


Enregistrement en laboratoire.

Titre = lucider le lieu. State of NY, Manhattan, kind of

CD 1 23

Last night, a fire blazed in the Upper West Side on 94th street.
The four-storey brownstone house of the famous New York
pediatric surgeon Dr Edward Shlasko was burning. The battle
against the fire lasted over 6 hours and enlisted the help of 2
different fire departments. Unfortunately the house could not
be salvaged. Dr Shlasko is well-known for his interest in fine
arts. The house was said to be filled with priceless antique
China, furniture and collectibles. An art collection worth
millions of dollars. The NYPD is investigating the cause of
this fire. We do not know yet if this was arson or an accidental
fire. No one knows the whereabouts of the Shlaskos.

Exploitation
1re coute globale. Attirer lattention sur le rythme et

le ton, deviner la nature du document et le thme.


2e coute (avec pauses si besoin) : questions du Work-

book = discrimination des sons. lucider le vocabulaire


donn dans les exercices pour proposer des hypothses de sens. Ex.: art collection, millions: the victim must
have been very rich.
Rflexion sur la langue : travail sur furniture, news,
information, evidence = indnombrables (Door to
language, p. 80). Introduire the house was said to be...
en complment sur le passif.
Corrigs du manuel, p. 68
1. Fire. Time: last night, it burnt for over 6 hours. Place:
Upper West Side, 94th street, a big house, New York.
2. Rponse libre des lves.

Travail la maison
On retrouve un des membres de la famille Shlasto: dposition au poste de police = dialogue.
Question 2 du manuel : tmoin de lincident, llve
appelle la police, les secours. Expliciter au pralable:
911 (encart p. 70).
Cette activit pourra galement se faire en classe lors
de la sance suivante.

C. Lab Rats, p. 68

D. The Zodiac, p. 69

B1

Anticipation
Observer le format, les informations annexes et la
premire phrase. A letter sent to a newspaper.

Exploitation
Faire

ragir les lves sur les raisons qui poussent le


tueur crire la presse: liens mdias/crime (influence,
recherche de publicit). Hypothses sur la prsence
du code : game? sadism? (probabilit, cf. p. 80 du
manuel).
1 et 2 = faire un portrait psychologique du tueur. Se
concentrer sur le contenu et le style. Observer et analyser le type dcriture. Faire relever les mots-cls quant
aux personnages (people of San Francisco, a man, the
zodiac). Structure: he wants them to...
Corrigs du manuel, p. 69
1. A letter. Promised, annihilating, bus, another, until.
2. Rponse libre des lves.
3. He is a serial killer. He wanted to blow up a school bus.
He shot a man with a rifle instead. He has set a bomb.
He sends letters to newspapers.

autres pistes dexploitation


A. Fully clothed and intact, p. 68
You are the person who found the body, make a statement

to the police (actions, reactions). Answer the questions.


Arriver la rdaction du rapport de police (discours

indirect, passif). You are the policeman writing the report.


(60 words)

Anticipation

Corrigs

Brainstorming

B. Mystery in Manhattan
1. Radio news.
2. blazed, surgeon, unfortunately, interest, priceless,
millions, accidental.
3. west side, pediatric, antique china, art collection,
the cause.
4. a. False four b. True we do not know c. False
no one knows.
5. et 6. Rponses libres des lves.

sur le type de recherches menes en


laboratoire lors dune enqute et les acteurs potentiels
(forensic surgeon, blood analysis, fingerprint matching).

Exploitation
Faire imaginer et crire ce que ces scientifiques recher-

chent partir des mots du brainstorming. Au pralable: fiche didentit des scientifiques (hirarchie, rle
professionnel de chacun, etc.) pour donner de la substance aux personnages du jeu de rle.

108

WB 37

BORDAS/SEJER La photocopie non autorise est un dlit.

B. Mystery in Manhattan, p. 68

door

door to crime Im a private eye


zoom on Murder cases Supports: pages 70 et 71 du manuel

Objectifs

Script

Dcrire, rapporter et analyser des lments denqute

911call

Champs lexicaux

Witness: Hi, I just heard someone shooting outside my house.


Someones screaming! Oh my God! Im so scared!
Operator: Ok, whats your address?
Witness: Its on 32 Swiss Avenue East Dallas.
Operator: Whats your name, Sir?
Witness: Oh! I think someones been hit.
Operator: Can you spell it, please?
Witness: Chris, Chris Stewart
Operator: Can you spell it, please?
Witness: S T E W A R T.
Operator: Can you tell me whats happening outside
exactly?
Witness: Therere two cars, I think, black cars. And men
inside. Theyve guns!
Operator: Can you give me a description of these men or a
license plate?
Witness: No its too dark, and I cant go outside, Im going
to get shot at!
Operator: Ok, dont move the police and medics are on their
way. There are several police cars in the area. We have them
on their way, ok? Dont move. If you see anything changes or
if you see anything else let us know. But Im going to make
a note that you are a witness and not part of this. Ok, thank
you so much.
Witness: Do you need the number Im calling from?
Operator: I have it, alright thank you.
Witness: Bye bye.
Operator: Alright, bye.

Les secours
a pressing situation, an emergency, a state of distress
to place a phone call, to call for help/back up, to require
immediate attention, to phone s.o.
Les indices
(forensic) evidence, clues, a strand of hair, blood type/
spatter, spots, shoe pattern, bullet hole, (finger)prints,
cigar ashes, DNA
La structure sociale
English aristocracy, Sir William and Lady Sylvia (Gosford
Park), hunting party, week end in the country, masters/maids
and servants, upstairs and downstairs, social classes
Faux ami
occupation

Voir aussi la fiche lexicale LDP p. 130

Mthodologie
Isoler des informations dans le flux sonore, rechercher des indices dans un texte, dgager des hypothses de lecture

Notions / fonctions
Demander de laide, formuler une requte, apprciation affective, apport dinformations

Faits de langue
present perfect, manuel p. 179
modalit pistmique (may must), manuel p. 184
expression de la quantit, manuel p. 188
passif au prtrit, manuel p. 184 et 187

Phonologie
Emergency [mdns], evidence [evdns], scientist [santst], idea [ad], Illinois [ln], Wisconsin
[wsknsn]
Intonation non neutre : insistance et renforcement,
surprise (911 call and evidence)

BORDAS/SEJER La photocopie non autorise est un dlit.

mise en uvre
A. 911 call, p. 70

B1

Anticipation
Livre ferm, proposer lexpression 911 call: hypo-

thses de sens. Lecture de lencartp. 70: questionsrponses entre lves (yes/no plus judicieux ici) pour
rendre compte de linformation (is the number dialed
in India? do you reach the police directly? etc.) Les lves proposent des situations qui justifieraient de placer un tel appel.
Emergency situations: a building on fire, a child severely
injured or burned, a crime in progress such as a theft,
someoone very ill, with a high fever, a heart attack, etc.

CD 1 24

Exploitation
Corrigs du manuel, p. 70
1re coute globale: confirmer sil sagit dune situation dj propose en anticipation. Accepter toute justification (shoot, scream, scared, hit, shot at, gun).
2e coute: demander aux lves de se mettre la place
de la standardiste et de prendre en note les informations
demandes. lves moins solides: paires minimales au
tableau pour baliser lcoute: shoot/shout 22/32
Swiss/sweets dollars/Dallas Chris/Kansas place/plate
medicine/met him/medics.
3e coute pour affiner la restitution.
Name: Chris Stewart address: 32 Swiss Avenue, East Dallas
problem: shooting number of people: the witness Chris
Stewart, men in 2 cars, the police nearby, the medics.
On pourra aussi diviser la classe en 2, un groupe prenant
en charge les notes lies au tmoin et lautre les notes
lies au standardiste. Mettre en commun une fois que
chaque groupe a reformul les lments compris.
2. Choisir le scnario: le nom, ladresse, le problme.
Limiter le message 50 mots. Possibilit de travailler sur
dautres exemples: http://www.911callers.com.
3. Souligner les mots accentus, apprendre le message par cur. Travailler lintonation (insistance et renforcement).
4.Im a private eye Zoom on Murder cases

109

B. Evidence in doubt, p. 70

B1

Anticipation
Dcrire

le tableau en bas de page avec les diffrentes preuves et formuler des hypothses sur le contenu
du document laide du titre.
We can see a board with different pieces of evidence
concerning a crime. According to the title some evidence
can be doubtful, false, we may hear a story about cases
that will be reconsidered because of false evidence.

Script

CD 1 25

Reporter: Potentially thousands of criminal cases that relied


on DNA sampling, of which the police forces would have
expected a DNA match perhaps to come back from the
forensic science services here in South London and didnt
come back, are having to be reviewed. Now, that figure you
just mentioned of 150 cases, is the figure were getting from
the forensic science services. Between 150 and 200. But
again, the information I have is it may be many more than
that. What has happened today is that the association of chief
police officers, which was asked to carry out a review by the
Home Office in November of last year, is now, this morning,
writing to every Chief Constable in England and Wales, thats
43 forces, and asking them to review cases between the years
2000 and 2005. Its a lot of cases that they may have relied
on DNA evidence in, but perhaps didnt get the DNA match
they were looking for.
Let me just explain a little bit about what is a very complex
subject. It really centres on the techniques that the forensic
science service uses to test tiny trace amounts of DNA.
Were not talking about big pools of blood or big samples of
DNA where its quite easy to get a forensic match on. Were
talking about tiny little specks, err, trace amounts of DNA
where techniques have been evolving all the time to enable
the forensic science service, forensic teams to get as accurate
a match, DNA match as possible from this. Now what has
happened is that in recent years that technique has evolved.
The private sector have been using it. But here at the forensic
science service, for some reason, their scientists were unaware
of this new technique that enabled them to get much more
accurate samples. So, as a consequence, hundreds of cases,
potentially thousands of cases, have not even reached as far
as court because the police didnt have the DNA evidence
they were looking for, and therefore were unable to mount a
successful prosecution. Now it its going to be reexamined, it
may be that these cases, and they are serious cases involving
murder, rape, serious assaults. They will eventually now be
able to secure a conviction.

Exploitation

WB 26-28

1re coute. Consigne: rdiger une petite phrase qui

dfinisse le sujet principal. Obtenir des lves une reformulation sur le lien entre ADN et enqute.

110

2e coute: se concentrer sur la discrimination des chiffres et dates entendues. Les relier pour faire du sens.
3e coute pour valider les hypothses notes au
tableau.
La

deuxime question permet de reformuler et de


synthtiser les lments essentiels du document puis
douvrir sur des affaires connues des lves. Rappeler
les connecteurs argumentatifs dnumration, de classification (first, second, as for + N, besides) et dillustration (indeed, for example/for instance, in other words), la
cause et la consquence. Indiquer les principaux gap
fillers. Faire parler les lves au moins 1 minute, laide
de notes et mettre les connecteurs au tableau pour les
plus faibles.
Pas de prsentation thtrale ou narrative exige lors

de la prparation de la 3e activit. Ne faire travailler que


sur les rpliques, la rutilisation des lments dinformation du document audio. Travailler lintonation non
neutre (surprise, etc.)
On pourra faire noter la faute de grammaire: The private

sector have been using it et faire remarquer quon peut


trouver des erreurs dans les documents authentiques.
Corrigs du manuel, p. 70
1. Topic: DNA (Deoxyribo Nucleic Acid).
Facts: thousands of criminal cases might have to be
reviewed because of the evolution of DNA research
techniques.
Numbers: between 150 and 200, and even thousands
of cases could be reconsidered.
2.-3. Rponse libre des lves.

C. A puzzling case, p. 70-71

B1

Anticipation
Pour des lves moins laise, proposer dabord danti-

ciper livre ferm partir du titre (reformulation: a case/


an investigation like a puzzle: difficult, unclear = why?) puis
faire le lien avec la premire phrase (because a dead
man remains unidentified). Faire des hypothses sur la
nature (le texte dmarre comme un article de presse,
trs neutre) et le contenu du texte(reason why he is unidentified, explanation of the statement l.1).

Exploitation
Texte prsent comme un dossier denqute. Extrait

assez riche de Paul Auster: entre facilite par les indices proposs sous forme de tableau p. 70. Aide visuelle
pour retrouver les informations sur le mort introduit l.1.
Utiliser les expressions identifies dans le texte en 1.
pour dgager avec les lves un rsum de 3/4 lignes.
The police identified the victims car, which is a7-year-old
blue Dodge with Illinois license plates. They found a drivers license, a social security number and credit cards in
the victims wallet, but the victims identity is not known
yet because they couldnt find any fingerprints and working on the remaining teeth takes time.
Insister sur lexpression de la quantit nulle rpte
ici au moment des reformulations (p. 80).
Reformuler

la phrase l.19. Faire trouver quoi renvoie it, clarifier cette structure elliptique en rebondissant sur les rponses donnes en 1.et le contexte :

BORDAS/SEJER La photocopie non autorise est un dlit.

valuation formative possible en binmes: un lve


communique les informations, lautre veille obtenir ce qui est important et le prend en note. Enregistrement possible (labo, salle dordinateurs, lecteur mp3, enregistreur audio portable), valuation
sur 5 critres: cohsion (clart, pertinence), cohrence (enchanement logique), contenu (scnario
complet), intonation et phonologie, qualits de
communication.

It is going to take a long time to establish the identity of


the victim. Souligner lexpression de lopinion (as far as
Im concerned). Amorcepossible en introduisant ce qui
manquait: it is better if it takes the police a long time
to identify the body.
Reproduire la structure avec ladjectif quick: the quicker it takes them, the better.
largir et sarrter sur la forme: the cheaper it is, the more
interested I get /the more, the merrier.
la volont du narrateur: He doesnt want
the police Faire le lien entre la modalit pistmique
et les quivalents et faire justifier.
The narrator may be the victims neighbour, maybe he is
friend with the victim and was there when he died, he probably has something to do with his death. He may be the
person who killed him, he may have fiddled with his car
to get rid of him, etc.
Faire remarquer le changement de pronoms; pour
les plus fragiles, reprer tous les pronoms (they, them,
their puis lapparition du I suivi de he). Faire exprimer
ce changement en travaillant sur lidentit du narrateur : ouverture journalistique anonyme et descriptive
jusqu la ligne 19.
Travailler sur la distinction auteur/narrateur (author, first
person and third person narrator).
Avec une classe solide, observer la manire dont on
parle de la victime qui devient une personne dans la 2e
partie du texte cf. the dead man, their mangled victim,
a man, he, himself.
Dboucher sur lidentit de la victime, faire reformuler les lments dj avancs en 2. par les plus fragiles: must have met the narrator, may have cheated on
someone or done something wrong (a mans reputation
will be destroyed). His lovers husband may have chased
him and driven him off the road.
Formuler

Synthse

orale. Faire passer quelques lves en


classe entire temps rduit de concertation seul ou
2/binmeou groupe: jouer tour de rle les membres
de lquipe (ractions, questions, rptitions, prcisions,
etc.). Idalement en labo de langue ou en salle info = enregistrer et rcouter les monologues ou dialogues.

BORDAS/SEJER La photocopie non autorise est un dlit.

Corrigs du manuel, p. 70
1. Victims car: (7-year-old blue Dodge) Illinois license
plates (l.4.) Victims wallet: drivers license, social security number, credit cards (l.7-9). Victims identity: no fingerprints (l.12), teeth (l.15).
2.The narrator, who seems to know what happened
to the victim, doesnt want the police to find out the
victims identity.
3. He may refer to the narrators friend, to a drug dealer, a terrorist, a secret agent, etc.

D. A deadly discovery, p. 71

B1

Anticipation

sur limage propose dans le manuel:


where? when? who? next?
Tche

dentre dans la vido : confirmation des


hypothses. Guests in a manor, a party with someone
playing the piano, relaxed atmosphere. Ajouter noises?
activityand movements? why? Montrer la 1re partie de

la vido (sarrter avant limage du mort son bureau


pour un travail sur lanticipation et la modalit pistmique): mansion/manor, living room/dining hall, corridors/study, someone is screaming, people/guests/servants
are rushing/dashing to the source of the scream, shuffling sounds. They want to know what happened, maybe
someone stumbled on a body. Montrer la 2e partie pour
confirmer les hypothses.
ltude des personnages : Occasion of
this gathering? Contrast between the various workers of
the house and the aristocrats gathered in the dining room.
Sudden mix of social classes and disorder in the study.
Possibilit de faire un point sur lpoque et la structure
sociale de lpoque, travers dautres extraits cinmatographiques comme The Remains of the Day de Kasuo
Ishiguro (1993).
Dvelopper

Les lves sont les tmoins et rapportent ce quils ont

vu et ressenti; au besoin ils peuvent mme sapproprier


un des personnages pour prciser ce quils voyaient de
lendroit o ils se tenaient dans la pice.
La suite peut tre rdige sous plusieurs formes. crire

un paragraphe au prsent ou au pass et respecter le


format dun script de film: commencer par rdiger un
exemple de script sur la partie visionne.
Interior. Manor, evening.
People rushing into the dimly lit study. The butler walks to
the desk and examines the body. He turns to the others
THE BUTLER:
He is dead, call the police.

autres pistes dexploitation


C. A puzzling case
Micro tche

You work as an undertaker where the funeral of the victim is taking place. You can hear the conversations about
the victim. You have always wanted to be a crime writer!
Use what you heard to begin your novel.
Chapter 1: A Puzzling Case.
A crowd of journalists and bystanders was gathered in
front of the coffin.
What a terrible death, dont you think?

D. A deadly discovery
lments proposs dans le Workbook.
1 coute sans limage : reprer les sons, les identifier, faire des hypothses de sens. Matching game possible:
Screech/splash/creak/pop/buzz/hum/knock/squeal
shuffle
Door/feet/water/car tyres/bell/voice/wooden
floor/car engine/bottle cork
Rponses: screech/car tyres; splash/water; creak/wooden floor; pop/bottle cork; buzz/bell; hum/car engine;
knock/door; squeal/voice; shuffle/feet.
WB 38

re

2e coute : confirmer les hypothses, identifier les


personnages. Dresser un plan de la scne du crime,
accompagn de notes et dhypothses utiliser
pour un compte rendu son suprieur de retour au
commissariat.
4.Im a private eye Zoom on Murder cases

111

Activit inspire du film et des personnages


On a rainy November evening of 1932, Sir William is
found dead in his study. You are Inspector Thompson, in
charge of the investigation. You interrogate the suspects
about their whereabouts (=where they were) and occupation in the evening.
Jeu de rle: former plusieurs groupes. Distribuer des
vignettes avec les personnages jouer, si possible avec
une photo des suspects. 8 suspects possibles, slectionner dans la liste ci-dessous en fonction du nombre
dlves. Avant de faire lactivit orale, demander chaque suspect de remplir une grille indiquant ses activits, les lieux o il se trouvait, les personnes rencontres. Possibilit de projeter un plan type Cluedo
pour visualiser les pices du manoir et identifier le lieu
du crime (p. 67). Dabord choisir des lves laise loral
pour jouer linspecteur.

Corrigs

Liste des suspects:

5. Rponse libre des lves.

- LADY SYLVIA: Sir Williams wife.


- MARY MACEACHRAN: a young, inexperienced and timid
Scottish ladys maid, working for the Countess.
- MR JENNINGS: the Butler. Was a conscientious objector during
World War I.
- MR ROBERT PARKS: a valet who was raised in an orphanage.
Illegitimate child of Mrs Jane Wilson and Sir William.
- CONSTANCE, COUNTESS OF TRENTHAM: a snobbish and harsh
woman in her 50ies.
- MORRIS WEISSMAN: a Hollywood film producer looking for
inspiration.
- HENRY DENTON: Mr Weissmans valet, actually an American
actor, pretending to be a valet to observe servants as part of
Weissmans film.
- MRS JANE WILSON: the Housekeeper, used to be a factory
worker, an old conquest of Sir William.

Pour plus dinformations:


http://en.wikipedia.org/wiki/Gosford_Park

apports supplmentaires

WB 38-39

B. Evidence in doubt
1. DNA.
2. Piece of wood to light a cigarette/something that
corresponds to or resembles something else/a game. A
specimen. Proof. The act of declaring someone guilty/
strong belief. The means used to determine the presence
or quality of something.
3. Maybe thousands, 160 for sure/between 20002005.
4. a. False: tiny amounts
b. False: 43 police stations
c. True: The private sector has been using it.
d. True: Their scientist were unaware of this new technique.
e. True: Its going to be re-examined.

D. A deadly discovery
1. The scene takes place in the evening after dinner (in
the 30s), set in a manor house in the British countryside
judging by the characters appearance.
2. Rponses libres des lves.
3. a. country house, living-room, housekeeper, upper
class, landlord, head servant, sales clerk, housemaid.
b. In the country house two groups of people: in the
living-room, aristocrats who belong to the upper class,
the landlord may be the person found in the study. Servants such as the housemaid ruled by the head servant/
the butler who must be the one examining the body.
4. a. Rponses libres des lves.
b. Victim: middle-aged, landlord, sitting with his head
on his desk, might have been writing a letter/will when
he died. Suspects: servants, wife, other guests. Weapon: knife, poison?
5. Rponses libres des lves.

Leviathan(2006): Paul Auster chooses the voice of


Peter Aaron, who tries to explain how his friend Benjamin Sachs, a famous writer, came to blow up the
Statues of Liberty in different states.

BORDAS/SEJER La photocopie non autorise est un dlit.

Gosford Park (2001): a multiple story-lined


dramadirected by Robert Altman.

112

door

door to crime Im a private eye


zoom on investigating Supports: pages 72 et 73 du manuel

Objectifs

Phonologie

Se mettre dans la peau du dtective, dgager une


rflexion autour dlments denqute, une typologie
de dtectives

Missouri [mzr], Arkansas [kns], accusation


[kjzen], icon [akn]

Champs lexicaux
Dtectives
a forensic scientist, an inspector, a plainclothes officer,
a profiler, an attorney, a gumshoe, a sleuth, an undercover cop
Activits
to hold in custody, to cut someone loose, to profile, to
investigate, to think about, to mull over, to ponder, to shed
light on
Suspects
a relative, a close friend, a colleague/co-worker, a partner, a rival, a stranger to the victim, a spy, a terrorist, a
serial killer
Mobiles
motives, out of despair/hatred/jealousy/revenge/greed,
for money, blackmail, random killing
to hold grudges against someone
Raction des suspects
an outrage, a denial
overwhelmed, bemused, outraged, distant, uncooperative, submissive, withdrawn
Portrait de lenquteur
bafflement, puzzlement
baffled, puzzled, methodical, logical, sensible, smart,
resolved, stubborn, strong-willed
to come as a surprise
Faux amis
sensible/sensitive, motive/motivated
to survey/to supervise
expertise/experts report, say/tell something/someone
Rappelmot dorigine anglaise: puzzle

Voir aussi la fiche lexicale, LDP p. 130

Mthodologie
crire un article de presse, dresser un portrait, mener
un interrogatoire
BORDAS/SEJER La photocopie non autorise est un dlit.

Lien graphie / phonie


le [] court: /e/ (revenge), denial), /ui/ (building), /u/
(business)
le [i]: /ea/ (deal), /ee/ (greed), /ie/ (briefing)
prononcer la lettre /o/ par []: motive, hold, profiler,
par []: officer, cop, par []: for money, ou par [u]: loser

mise en uvre
A. Beware of parking lots, p. 72

B1

Anticipation
Travailler sur le V-ing du titre de la double page Inves-

tigating et sur les hypothses de contenu proposes


par les lves avec le titre du document.
There must be an investigation under way about some
crimes committed in parking lots. The document may be
giving information about the detectives working on the
case or about the nature of the crimes, the identity of the
victims.
Il peut tre utile de travailler sur les titres crits au tableau
et/ou masquer le texte.
Utiliser les lments proposs dans lencart lexical
pour revenir sur le personnage du dtective et son
rle: who? activity? attitude? problem? Faire le lien avec
ce qui a t amorc en ouverture p. 66 (ltude de la
scne du crime). Possibilit de proposer une mindmap
pour organiser les lments.
Detectives can work on baffling cases with puzzling clues.
They need to shed light on the killers motives, or unravel
the mystery of someones disappearance. There is always
more than meets the eye and the detective must count on
his sense of observation, good sense and deduction to get
to the bottom of the case.
Informations priphriques: sources (trompeuses)

Influence exerce sur autrui: incitation laction, ordre


positif, ngatif. Apprciation: approbation, dsapprobation, degrs dinsistance. Discussion : opposition,
accord, dsaccord

que lon peut lucider avec les lves. It is an article from


the St Paul Pioneer Press, December 2005. Another source is
indicated below, which looks like the title of a novel: article
de presse lintrieur du roman de Mary Janice Davidson trs codifi, avec les structures que lon retrouve
habituellement dans la presse sur un tel sujet.

Faits de langue

Exploitation

Notions / fonctions

conseil, manuel p. 195


questions, manuel p. 176
present perfect, manuel p. 179
prtrit, manuel p. 175 et 179
question tags, manuel p. 81
probabilit au pass, manuel p. 187
passif, manuel p. 184 et 187
comparatif, manuel p. 179

la nature des formes avant de rechercher


les rponses dans le texte (verbs, nouns, adjectives). Pour
faciliter le reprage et baliser la comprhension, faire par
exemple la liste de tous les verbes, donner linfinitif.
Ou encore demander de retrouver les verbes irrguliers
utiliss (find, strike). Les verbes find, report et believe sont
beaucoup rpts et souvent au passif: was found x 5 , had
been reported/was reported, she is believed/it is believed.
Observer

4.Im a private eye Zoom on Investigating

113

Dmarche possible sur le passifdans ce texte


Identify all the passive forms in the text: was found,
had been strangled, had been reported, is believed, was
reported.
Questionnement sur labsence frquente de lagent.

Say what you notice about the position of the one who
does the action, and about the action itself. Proposer :
important evident unknown unclear uninteresting
obvious known logical.
Turn the passive sentences into the active form choo-

sing the right subject. Proposer des sujets : the victim


a neighbour the parents a woman the police the
detective someone people the FBI the killer.
Someone/they found the body, the parents had reported
that the girl missing, the police believes she is the third
woman, etc.
Au moment de la reformulation, faire ressortir la prsence de that pour distinguer la forme au moment de
la phase dobservation.
Give a translation of the passive forms in French:what

do you notice, what pronoun?


Un corps a t trouv/on a trouv un corps, elle avait
t trangle, elle avait t porte disparue, on pense
quelle est la 3e victime (ici on insiste sur le passage invitable par le on franais).

Lets act! p. 72

Utiliser les lments denqute fournis dans le texte pour


prendre le rle de Nick Berry et prparer une interrogation dun suspect et le faire avouer. Utiliser lencart
Interrogation techniques. Le suspect doit choisir son attitude, anticiper les questions et prparer des rpliques.
3 minutes en laboratoire ou dans la classe deux. Les
volontaires jouent devant la classe. Possibilit dapprendre son texte, une fois corrig, et de le jouer face la
classe le cours suivant.

B. Iconic Investigators, p. 73

B1

Anticipation
les deux images pour anticiper le vocabulaire et aborder le style de chaque dtective. Laisser 30
secondes aux lves pour regarder les couvertures et
donner tous les dtails. Les noter au tableau. mettre
des hypothses sur le scnario de chaque histoire. Leur
faire observer les titres et la lgende de la couverture
de The Big Sleep. A Luscious man leads Philip Marlow
to a West coast murder wave.Faire commenter luscious
mantrap (faire dcomposer mantrap et deviner le sens
par rapport la couverture, half-nacked glamourous
femme fatale) et West coast, lieu plus exotique que les
villes classiques de roman policier comme New York et
Chicago. Beaches, Palm trees, Hollywood.
Utiliser

Exploitation

son does / what happens to someone.


Les lves arrivent la conclusion quil y a plus de formes
passives en anglais quen franais : le pronom indfini
on est souvent traduit par un passif en anglais.

chaque extrait, faire trouver les diffrents personnages, le narrateur, les endroits mentionns, le type
de vocabulaire utilis, les techniques dinvestigation et
les habitudes, la personnalit du dtective. But: montrer que Miss Marple est une vieille dame qui enqute
dans une zone gographique restreinte et rurale, en utilisant bon sens et logique. Philip Marlowe, lui, voyage,
sa vie est une aventure pleine daction. Croiser les descriptions des images et celles des textes.

Les trois vrai/faux portent sur la 2e partie du texte.

La question 2. permet de travailler les adjectifs/noms

Deduce the forms used when we insist on:what a per-

a. Faire reprer les zones o lon parle du tueur: visualiser les propositions des lves par un systme de couleur sur rtro/vido projecteur par exemple.
b. Faire la liste et le lien entre les victimes mentionnes
pour confirmer quil sagit de la mme enqute.
c. Faire prciser quelles caractristiques on peut sattendre (essentiellement physiques).
Aprs la question 2 et le travail sur le passif, rcapitu-

lation sur les acteurs (sous entendus puis mentionns)


participant lenqute policire. Activit (V-ing) associe lacteur (profiling/profiler). Obtenir une numration chronologique.
Corrigs du manuel, p. 72
1. Slain, forensics, lead, use caution.
2. a. False The FBI has profiled the killer (l. 11-12)
b. False This is our top priority nothing else even close
(l. 9) c. True appears to be choosing tall blond women
with light-coloured eyes and short hair (l. 12-13).
3. Forensic work = examination of the body by forensic
scientists. Investigation: by the FBI and local police investigators. Profiling of the killer: a profiler.

114

Dans

sur la personnalit (honest, a daredevil, a chatterbox,


outgoing, humorous, trustworthy, hard-working) en comparant les dtectives. Possibilit de fournir aux lves
une grille semblable celle du Workbook pour ltude
des deux extraitsdu manuel p. 73. Amener des romans
comportant des dtectives connus et les faire feuilleter
par les lves. Comparer les dtectives entre eux, ce qui
permettra douvrir lactivit propose dans le manuel
dautres grandes icnes du roman policier. Une recherche Internet est possible aussi pour amener les lves
parler partir de notes.
Find information about: time and place, the detectives
looks, habits, occupation, personality. Report to the class
with your notes and a picture of the detective.
travail plus pouss sur la composition et le lexique propre aux couvertures de ces romans peut aussi
permettre aux lves de crer leur propre couverture sur un extrait de roman travaill en classe de faon
approfondie: Into the Killers Mind (extrait de Post
Mortem de Patricia Cornwell p. 74 du manuel), ou lextrait Beware of parking lots (p. 72 du manuel), aprs
avoir construit et toff le personnage de Nick Berry
mentionn dans larticle.
Un

BORDAS/SEJER La photocopie non autorise est un dlit.

Ces structures une fois identifies serviront alimenter lcriture de leur propre article. Leur demander de
retrouver les formes actives: les lves constatent la
difficult de trouver un sujet.

Faire travailler les expressions orales typiques, gapfillers (you see you know well, er actually), rponses courtes (I think so I dont think so I hope not
Im afraid not) et question-tags.

Corrigs du manuel, p. 73
1. 1st extract = Agatha Christie; 2nd extract = Raymond
Chandler.
Detective 1: good knowledge of local trains (would
almost certainly stop at Brackhampton), uses common
sense and little technology (in the morning papers). The
book cover shows the rails with two trains in the back,
a clock that shows almost 5 oclock, the time 4:50, and
the origin of the train: from Paddington.
Detective 2: informal register (the whole mess), unethical behaviour (I had concealed a murder), reference
to making money (500 dollar check coming), drinking,
proud character (how smart I was). The cover shows the
stereotypes of the beautiful sexy blond (sexual innuendoes of the bed), violence shown by the gun, idea of
adventure and borderline behaviour.
2. Rponse libre. Exemple de production:
Inspector Morse is crazier than both of them, he is also
lonelier than Miss Marple although he is younger than
her. He is not as adventurous as Marlowe and much
more respectful of the law.
3. Rponse libre:
(extract 1) The detective might be talking to the
witness.
But what shall we do until then? Ms Smith sighed.
Lets have a cup of tea first, Miss Marple replied
calmly.

Travail la maison
Question 2. Prparer un expos oral. Llve peut jouer

le rle de lauteur qui a cr le dtective et qui vient


donner une interview sur son personnage. Le reste de
la classe joue les journalistes qui posent des questions
(3 min. de prsentation, puis questions).
Lets act! p. 73

Utiliser linformation contenue dans lextrait dAgatha


Christie ou celle du Zodiac p. 69 ou de Paul Auster p. 71.
Possibilit de faire visionner un extrait dune srie policire, de Without A Trace (FBI ports Disparus), de CSI: NY
(Les Experts Manhattan), ou autre pour avoir dautres lments denqute. Faire le point sur laffaire loral.
Jouer la scne suspect/detective sur le mme modle
BORDAS/SEJER La photocopie non autorise est un dlit.

que p. 72. Lune peut tre effectue en valuation.

autres pistes dexploitation


A. Beware of parking lots
Proposer

la suite de lactivit de comprhension


crite Beware of parking lots un dialogue chaud (sans
prparation) entre le journaliste et la police/les voisins/
la famille des victimes pour une prise de parole interactive spontane.
Pour faciliter le reprage des lments
de lenqute, les lves compltent une petite frise
WB 39-40

chronologique (1.), puis livre ferm, ils utilisent les lments du texte organiss sous forme de notes (2.) pour
rcrire un article de presse. Les lves remettront par
exemple les auxiliaires manquants, les formes passives
elliptiques et introduiront quelques formes indirectes
simples. Ils corrigeront leur production en ouvrant leur
livre et en relisant larticle tudi (p. 72).
lactivit sur les techniques dinterrogation,
possibilit de travailler sur les ractions des suspects.
Partir de lexpression donne dans lencart lexicalp. 72
a hard cookie ou de limage du suspect propose dans
le manuel pour les amener avancer quelques descriptions de situations, de comportements.
Exprimer le prvisible, lhabituel, la volont et le refus.
Exemples de productions obtenues avec les lves:
Suspects usually deny committing the crime, they will
refuse to talk, they will ask for their lawyer, they wont
accept to speak if their lawyer is not present. Some suspects
start crying when under pressure, or yell at the detectives
who are asking questions they dont like. They are often
uncooperative because they feel threatened, trapped.
(Champs lexicaux proposs, LDP p. 113)
Aprs

Aprs le travail sur les techniques dinterrogations du

point du vue du dtective et du suspect (voir pistes cidessus) possibilit de faire jouer ou crire le dialogue
entre le dtective Nick Berry (texte A. Beware of parking
lots) et un suspect captur quelques jours plus tard.

Autre activit
Livre

ferm, projeter les lves dans le rle de lenquteur. Lancer: If you have a suspect in custody, how
can you make him/her confess, how can you get information? Brainstorming avant de diriger les lves vers
lencart Interrogation techniques p. 72. Au besoin demander dexpliquer fake et testimonials/testimony. Travailler
de prfrence les question-tags en amont avec les lves (Door to Language, Sounds, p. 81) avant de proposer lactivit.
Proposer

des situations, et des suspects pour des


classes plus fragiles afin dalimenter leurs productions:
a writer whose wife has been murdered, a singer whose
boyfriends body was found in the river, a car racer whose
best friend died in a suspicious fire, etc.
Exemples de productions dlves
We found your handprints on the glass, you came back to
see her and killed her, didnt you? Your wife told us you
didnt come home last night: you didnt, did you? If you
dont start telling the truth, you know what will happen,
dont you? Well start questioning your family as well, yes
we will!
Lets have a cup of coffee, shall we?
No, thats out of the question: hell stay here until he does
tell us what really happened. Answer me, do it, now!
So youve been a writer for years now, havent you? You
have won many prizes for your novels, havent you?
Corrigs

WB 39-40

A. Beware of parking lots


A. 1. October 28 = first local victim reported missing;
November 4 = her body was found in a parking lot;
4.Im a private eye Zoom on Investigating

115

November 8= Ms Lundquist reported missing;


November 10= her body was found in a parking lot;
November 23= second victim was found/ Nick Berry
started working on the case;
December 13= Cathie Robinson reported missing; body
found at about 6:30 a.m. this morning in a parking lot
of Minneapolis, Minnesota.
2. Rponses libres des lves.

B. Iconic Investigators
Tableau.
1. Detective + witness + A body on a train; ?; train + Brackhampton; simple every day words; deduction / interview / good knowledge of the area; a simple, parochial,
clever, practical detective.
2. Detective + Eddie Mars; detective; ?; Las Olindas; slang/
simple words; breaking the law, making money; drinks/
smokes/boasts/ self-centered, smart?, money.

BORDAS/SEJER La photocopie non autorise est un dlit.

Notes personnelles

116

door

door to crime Im a private eye


zoom on Murderers Supports: pages 74 et 75 du manuel

Objectifs

Possibilit de revenir sur le document Beware of parking lots! p. 72 dont le titre prend la mme forme pour
formuler des hypothses.

Champs lexicaux
La mort
a death, a murder/murderer
dead, gruesome, dreadful, shocking
to die
Les actions du meurtrier
a motive, by chance, on purpose
to stalk someone
Les protagonistes
a suspect, a witness, a culprit
to be missing, to witness

Script

La justice
guilt, a trial, a lawyer, a testimony
to get caught, to be sentenced to (a life sentence), to be
released
the police are
Faux amis
murder/murderer, a corpse/a body
plausible, crucially

Voir aussi la fiche lexicale, LDP p. 130

Mthodologie
Inventer la suite dun texte, discrimination des sons, parler devant un public et rpondre des questions

Notions / fonctions
Faire des hypothses, discours argumentatif, parler du
futur, faire des dductions

Faits de langue
prtrit simple, manuel p. 183
passif, manuel p. 184
modaux de probabilit, manuel p. 184
will/be going to, manuel p. 184 et 187
dnombrables / indnombrables, manuel p. 188
quantifieurs, manuel p. 188
the/, manuel p. 177

Phonologie
BORDAS/SEJER La photocopie non autorise est un dlit.

Weve caught him at least, they dont have anything against


me, your DNA betrayed you, etc.

Reprer le style dun texte et crire une suite


Travail de discrimination auditive

Prononciation de /-(e)d/

mise en uvre
A. Keep your doors locked! p. 74

B1

Anticipation
Livre ferm (pour ne pas montrer les questions et lex-

pression serial killer) faire commenter le titre et avancer


des hypothses sur le contenu du document audio.
Possibilit dutiliser galement limage pour demander
dcrire les bulles qui correspondent aux penses/paroles des personnages.

CD 1 26

Interviewer: Lets talk about how the investigations are going.


And what the police are looking at in terms of their hunt for
what could be a serial killer. Well talk now to David Wilson
who is a criminologist. Very good morning to you again.
David Wilson: Good Morning.
Interviewer: The location that the police are searching here
now. How similar is it to the other locations where the bodies were found?
David Wilson: Very similar is the short answer to that question. Ive been able to visit the sites where all five of the bodies were recovered. And all of, all of those sites are in and
around small off roads, A roads, B roads that the killer is very
comfortable with. This is somebody who is very comfortable
with the south of Ipswich, driving the A12, the A14. Crucially
though, what seems to be happening now, as the body count
is going higher and the gap, the cooling off period between
victims is becoming narrower, hes tending to change his
behaviour slightly so that, for example these last few bodies were more or less simply dumped, er, so that they could
be seen from the road. Now that allows the police, Lorna, a
great deal of opportunity to try and get DNA evidence to target their investigation.
Interviewer: Lets talk David about the timeline of this because
we know when the prostitutes went missing. We know when
they were found. But we dont know in what order or how long
before their bodies were dumped.
David Wilson: Thats an absolutely crucial question because
what we really need to do is not discover the timeline in relation to the bodies discovery, but the timeline in relation to
when these women were murdered, when they were victimised. And crucially, if the police could establish who the first
murder victim was, they would be able to target their intelligence so that they could then look at mobile phone records,
they could look at CCTV. So crucially, trying to get that timeline is one of the things that will help the police resolve this
type of crime.
Interviewer: We are aware there is a news conference at 11
oclock from the police. They say they havent arrested anyone yet.
What will they be looking at at this stage? What type of person?
David Wilson: The type of person is clearly going to be somebody who is quite organised. Theres been a great deal of planning gone into the disposal of these victims. This is also somebody, Lorna, who is quite plausible. At the end of the day you
know prostitutes will not get into the car with just ANYBODY.
This person had to be plausible enough to encourage prostitutes to get into a car with him and go to some place where he
controlled and crucially, where the killing took place. So this
is someone who is planned, who is someone who is organised,
someone who has given this a great deal of thought. We still
dont know his motivation. We still dont know what triggers
this. But crucially his behaviour does seem to be changing
with these last two victims.
Interviewer: You have a great deal of experience of dealing
with cases like this, with serial killers. What will he be doing,
he be thinking right now?

4.Im a private eye Zoom on Murderers

117

David Wilson: Well, one of the things in my experience that


hell be doing is watching programmes such as this. Many
of the serial killers, many of the serial offenders Ive worked
with, keep scrapbooks. They enjoy the notoriety that their
crimes attract.

(bodies found) et inconnus de la police (timeline of the


murders/order) et les priorits (timeline of the murders/
identity of the first victim) partir de la chronologie prcdemment produite par les lves. Demander si un
meurtrier/suspect est arrt ou non (= no).

Exploitation

Partie 3 01:55 la fin.

Correction (formes soulignes = formes entendues):


fights/sites, body count/Bobby Kant, putting off/cooling off,
narrower/now and here, behaviour/be saviour, dumped/
bumped, phone records/poor records, CCTV/Wifi TV.
Faire expliciter le sens des termes trouvs afin de lever

les difficults de vocabulaire.


Identifier avec les lves les lments principaux de
lenregistrement.
Describe the situation (a serial killer), the victims (5 prostitutes), job of the interviewee (criminologist).
Partie 1 00:00 01:07.

Match the words with the adjectives.


bodies roads body count period between two killings behaviour killer
5 small higher narrower changing less careful
Ici donns dans lordre, proposer la liste des adjectifs
dans le dsordre. Ce qui permet de voir les mots-cls et
de reconstruire les principales tapes du discours.
aux lves de faire un compte rendu
partir des mots trouvs. Par exemple, sur les avantages du changement de situation pour la police.
They could find DNA for their investigation since the killer
is becoming less careful.
Demander

Travailler sur be going toet le will de dduction logi-

que; partir des productions des lves ou de laudio o


les deux formes existent : The type of person is clearly
going to be somebody whos quite organized / it will
help the police.
Exemple de productions obtenir avec les lves:
Since he is currrently changing his behaviour they are
going to be able to find clues; if the murderer leaves clues,
the police will be able to find DNA.
En brainstorming avec la classe faire imaginer les l-

ments dune chronologie des vnements lors dune


enqute de ce type:
go missing, murders, bodies found, investigation/clues
found, murderer arrested.
Ceci permettra aux lves davoir en tte les lments
dont traitera la partie suivante.
Partie 2 01:07 01:55. Le but est de faire un bilan de

lavance de lenqute et de ce quil reste faire.


Lors de lcoute: faire classer les vnements connus

118

Faire trouver le thme: Personality of the victims or personality of the murderer? (Answer: the murderers personality).
Faire complter cet extrait du script:

So its somebody whos , also somebody whos ,


someone whos been giving this a great deal of []
They enjoy the that their crimes attract.
Rponses: planned, organized, thoughts, notoriety.
Sils ne trouvent pas le dernier, proposer de choisir parmi
noted rarity/notoriety/photos and writing.
Possibilit de faire crire un portrait du tueur en srie

partir des informations rcoltes et de faire inventer ce qui nest pas connu. Partir des lments de profiling dj abords dans les pages Open the Door (The
Zodiac, p. 69) et aboutir un portrait-robot. Travail sur
les dnombrables et indnombrables avec les termes:
information, clues, evidence.
Les quantifieurs correspondants: the police do not have
much information. If they find some evidence, it could give
way to many other leads
Corrigs du manuel, p. 74
1. A person who attacks and kills many victims one by
one several times.
2. 5 victims (prostitutes) all found next to small roads.
The serial killer is killing more and more quickly and
becoming less careful.
3. Rponses libres des lves.

Travail la maison
Imagine how the police managed to catch the serial
killer thanks to the help of the criminologist. Write a report
(80 words).

B. Into the killers mind, p. 74

B1

Anticipation
lintroduction/premire phrase du texte.
Voir les personnages et leurs liens. Narrator: Dr Kay
Scarpetta, Chief Medical Examiner, who is Pete Marinos
colleague (homicide detective); both work for different
states in the US. A husband, a murdered wife, 3 other
strangled victims.
Observer

Exploitation
Comprendre

qui est qui dans le texte en travaillant


sur ce quoi renvoient les pronoms. Pour des lves
fragiles, leur demander de proposer dautres pronoms
faire lucider leurs camaradesdans le reste du texte;
ceux qui sont proposs en 1. correspondant au dbut
du texte et une comprhension plus globale.
La 2e question permet dlucider le vocabulaire li au

meurtre. Faire rechercher le sens des mots suivants en


donnant des indices.

BORDAS/SEJER La photocopie non autorise est un dlit.

coute: faire remarquer le bruit de fond (cars)It


must be close to a highway so it takes place in the outside.
Discrimination auditive: faire travailler sur les mots-cls
de lenregistrement, proposer au tableau ou sur fiche,
aprs les avoir prononcs et identifis avec les lves.
Circle the words you heard in the list:
fights/sites, body count/Bobby Kant, putting off/cooling off,
narrower/now and here, behaviour/be saviour, dumped/
bumped, phone records/poor records, CCTV/Wifi TV.
1re

Strangling: comes from a French word, take a guess. Push


back: look at the meaning of the preposition and at the
context, then find a translation. Depressingly: find the root
and the two suffixes, guess the meaning.
Travail sur le mobile: faire imaginer quelles seraient

les motivations quaurait un mari pour tuer sa femme.


Modaux de probabilit au prsent et au pass: She might
have had an affair, he may be in love with someone else
and she may refuse a divorce. She may have married him
for his money. He may want her money if she was rich
Deux rponses possibles car il y a deux suspects possibles: le mari et le tueur en srie.
Deux types de dtective se dgagent aussi: celui qui

aime imaginer des histoires compliques et pense que


le tueur est le mari (Marino), et le dtective no-nonsense
(le narrateur), qui sen tient aux scnarios les plus frquents, do la remarque finale:
In real life murder is depressingly simple. Utiliser la rfrence Agatha Christie pour ce point, renvoyer les lves
au Culture File p. 76 (Poirot). Faire formuler puis contraster les deux explications possibles ces meurtres.
Corrigs du manuel, p. 74
1. Pete Marino, the murder of the wife and the 3 other
victims, the first 3 stranglings.
2. murder, whack, do.
3. Matts place, States of Virginia and Richmond; after
midnight, early Saturday mornings; 3 + the wife; husband? A serial killer?; to get rid of his wife, at random

Travail la maison
Donner la question 4. faire la maison. Travail dima-

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gination partir du texte. Bien cerner la personnalit de


Marino et Matt et qui ils sont dans lhistoire, la nature
de leurs penses avant de se lancer dans lcriture de
la suite. Pour faire revoir les modaux de probabilit au
pass: demander aux lves dcrire les penses/hypothses du dtective sous la forme dun journal intime ou
de notes personnelles quil aurait prises sur laffaire.
Ou:
You are Marino. You are telling Matt about your opinion
on the case. Work in pairs to play each part.
Les lves utilisent les hypothses du personnage dans
le texte pour mener linterrogatoire.
Utiliser les pistes du manuel p. 72 sur les techniques dinterrogations et les comportements des suspects.

C. Our monster, p. 75

B1

Anticipation
Jouer sur limage accompagnant le texte. La projeter,

cacher le reste. Dans un premier temps ne montrer que


le visage. Le faire dcrire (handsome young man).
Montrer la main; faire contraster les deux (dead hand,
not his, gruesome).
Double nature du personnage. Construire des hypothses de sens.
On pourra demander un lve de faire un petit expos
sur Dexter en prise de parole en continu.

Exploitation
Les activits proposes ci-dessous permettent aux l-

ves de faire les reprages essentiels avec un guidage


trs progressif. Le niveau de comprhension demand
ne devrait pas poser de difficults malgr le niveau de
langue et la richesse du lexique (B2). Pour une classe plus
solide, ne pas hsiter toffer le personnage et travailler
la forme, lcriture prsente dans cet extrait.
Le but est de montrer la double nature de Dexter.

Au tableau, crire humans, I, others : faire tablir les


reprsentants de chaque catgorie dans le texte.
humans: Deborah, Harry, colleagues.
I: the narrator, Dexter .
others: the other serial killers, those who prey on the
innocents.
Question: What does the narrator have in common with
the humans and the others?
Faire crire les actions de chacun sous chaque entre:

joke, smiles, brush my teeth, kill, prey on the innocent.


Faire remarquer la position ambigu de Dexter qui
accomplit les actions des deux groupes.
He is in between; he imitates the former and acts like the
latter.
6 adjectifs pour dcrire I et ses actions
(perfect, average, neat, balanced, ordinary, right). Faire
contraster avec ses actions (kill) pour montrer la double vie dun tueur en srie qui prtend tre normal.
Trouver

travail sur limplicite dmarre sur une observation des couleurs : les lves comparent le narrateur
un hro classique (Superman/Captain America ou
Miss America: renvoyer les lves aux illustrations du
manuel de la Door 6, p. 106 et 114) qui porte aussi les
couleurs de lAmrique et sauve les innocents.
Faire contraster les deux. Sauve-t-on des innocents par
le meurtre? Possibilit dune rflexion sur la peine de
mort, supprimer la vie dun individu pour le bien commun. Ambigut du message.
Le

le style du texte pour comprendre le message. Faire choisir parmi : factual, sarcastic, amused,
sad. Justifier.
tablir

Trouver 2 adjectifs qui dcrivent son opinion sur les

humains: pointless, stupid.


Contraster avec l. 7-8 on the side of truth, justice and
the American way.
Ici encore il dnonce lhypocrisie dans lapplication de
ces valeurs.
Can killing be about justice and truth?
Rflexion

sur la langue : travailler sur l. 5 It could


have been much worse et lexpression de la modalit
au pass.
Phonologie: terminaison en /-ed/
Faire la liste de verbes qui se terminent en /-ed/ dans le
texte, deviner les diffrentes prononciations, donner la
rgle, les classer dans un tableau.
Avant

de passer la 3e question, accompagner les


lves plus fragiles vers une reformulation. Possibilit de
contraster prsent et present perfect cette occasion,
ou plutt de glisser sur la diffrence prtrit/pluperfect
4.Im a private eye Zoom on Murderers

119

Corrigs du manuel, p. 75
1. The narrator and his foster sister (Deborah, she knows
about him), his co-workers (he pretends to be like them
but he is not, they do not know about him), Harry (his
teacher?), the others (other serial killers whom he kills),
the innocents (he does not kill them, the others do).
2. Colours of the American Flag. Superman and other
superheroes who are supposed to save innocents and
who live by a strict moral code, while the narrator has
no morals: he just uses it as an excuse to kill. Irony.
3. His life was perfect, looking normal and allowing him
to be a serial killer but something has changed that
puts him in danger.

Travail la maison
Imagine what he means by until now: Someone may

have seen through him, maybe his sister suspects him of


hiding secrets from her, someone in the police station may
have caught him red-handed. Perhaps one of his neighbours took him by surprise and prevented him from putting on his mask of normalcy.
crire une suite aprs avoir rpondu la question 3.

Comment on the last sentence, then write a sequel to the


story explaining which new element might have changed
his life and what he had to do consequently.
la question 4. pour faire crire un journal
intime du narrateur. Avoir donn quelques pistes, de
prfrence en amont sur une autre squence, sur le format et le type dcriture du journal intime. On pourra
se rfrer un exemple The Secret Diary of Adrian Mole,
p. 153 du manuel.
At night he kills, during the day he smiles, makes jokes and
small talk and makes himself useful. He needs to pretend
he is normal not to be suspected.
Utiliser

D. Oxford Murders, p. 75

B1

Anticipation

partir de limage de la vieille dame et du titre, les


lves proposent des hypothses sur laction, les protagonistes et le lieu du crime. The victim might be an
academic since it takes place in Oxford.
Travailler sur le point de vue: qui voit la scne reprsente par la photo? Witness or murderer? Faire mettre des hypothses. Ceci amne la scne suivante o
ceux qui dcouvrent le corps sont aussi ceux qui sont
des criminels potentiels.

120

Exploitation
coute globale, zoom sur les personnages prsents

et lexpression du visage. The inspector looks doubtful,


the young man seems to be worried, the professor looks
self-assured.
partir des images, faire tablir les liens entre les personnages : ltudiant et le professeur dcouvrent le
meurtre de la femme.
Termes

slectionner et associer aux personnages:


friend, enemy, stranger, mathematician, landlord,
landlady.
Rponse: the old woman is the young mans landlady,
she is the professors friend, both the professor and the
students are mathematicians.
Partie 1 Dbut 01:07
lments de lieu, temps et de personnages et leurs
liens.
Partie 2 01:07 2:08
Travailler sur le papier que quelquun remet au professeur lors de sa confrence et qui est la cl de lhistoire.
What is this note?
It was given by the murderer to the professor, with the
address of the victim on it,first of the series, thrown
away.
Pour

des lves faibles ou fragiles, faire noter les


mots entendus en discrimination auditive et dduire
la chronologie.
travailler les lves sur une explication possible de ce papier.
The killer might admire the professors theories on logical
series, so he decided to show him a clue under the shape
of a circle to see if he could solve the murder. We can guess
that there might be other murders in the future with other
symbols on similar notes.
Faire

Partie 3 2:08 la fin


Demander aux lves de se concentrer sur les lments visuels de la scne (cushion, blood, bruised face).
Puis pour chacun des mots suivants faire tablir sils correspondent la victime ou au meutrier:
nose, knee, cushion, blood, scared.
Rponses: lady= nose, blood, murderer = knee, cushion,
scared
lves produisent une chronologie des vnements partir des lments observs et compris.

Les

Corrigs du manuel, p. 75
1. Rponse libre des lves.
2. September the 24th 1993, Inspector Peterson, a young
man who doesnt know the professor, he met him at a
conference the same day, they dont work together, they
discovered the crime scene together by chance,
Julia Eagleton: the victim and landlady.
3. The two men meet at a conference given by the professor in the morning; the professor receives a note,
throws it away on his way out, recognizes the address,
goes to Julias place, enters the room together with
the young man and discovers the body. They call the
police.

BORDAS/SEJER La photocopie non autorise est un dlit.

qui correspond mieux aux objectifs grammaticaux de


lunit, selon le niveau des lves et les points dj
travaills au moment dexploiter ce texte.
Until now everyone had believed he was a charming
young man, people had regarded him as a sociable and
smiling neighbour. But something happened: quelque
chose a chang qui rompt le bel quilibre de sa vie. Possibilit de proposer le sujet dimagination en travail la
maison (voir ci-dessous).

The woman was killed by someone who used a cushion,


pushed with his/her knee, broke her nose, and left.

Travail la maison
Lets Act! p. 75

Possibilit de demander de remployer les modaux


de probabilit au pass et au prsent et ventuellement les mots indnombrables vus prcdemment
(evidence, information).
Exemple de production:
Jack the Ripper is one of the most infamous serial killers of
British history. Yet what is amazing is that his identity has
never been proved to this day. In the 19th century he killed
prostitutes in the streets of East End London and horribly
mutilated the bodies. A few suspects were arrested, hence
he might have been a 31-year-old barrister and school teacher or a Russian-born thief, believed to be 55 years old in
1888, or even an American quack doctor who fled the
country after he was arrested. But no evidence was definite. The case remains unsolved.
Possibilit dtudier le film Hell avec Johnny Depp.

autres pistes dexploitation


B. Our monster
Possibilit de faire travailler les lves sur la structure du texte en leur faisant trouver des titres pour 4
parties.
A monster in disguise, l. 1-5 (the real me)
The worse scenario, l. 5-l.7 (in my wake)
But I am not like them or am I? l. 7-12 (pieces)
The perfect human life, l. 12-fin.
Possibilit de leur donner les titres dans le dsordre

remettre dans lordre et appliquer au texte.


Faire commenter les titres proposs ci-dessus. What

does he mean by monster, who is them? Why is he in


disguise?
Finir par le commentaire: But I am not like them or am I?
Cela permet de reprendre les lments donns dans
lexploitation gnrale sur limplicite, est-ce diffrent
ou la mme chose de tuer des meurtriers ou des innocents? Notion de bien et de mal. Ironie du texte.

BORDAS/SEJER La photocopie non autorise est un dlit.

apports supplmentaires
Dexter: the main character and narrator of the novel
Darkly Dreaming Dexter by Jeff Lindsay. The interest of the plot mainly lies in the fact that the narrator who works on murder cases as a blood-spatter

analyst for a police department in Miami is himself


a serial killer. Dexter suffered a terrible trauma as
a child and learned how to control his urges to kill
with his adoptive father. He only stalks murderers
who evade justice. But his quiet life takes a new turn
with the case of the Ice Truck Killer: his past suddenly catches up with him and forces him to question his line of conduct.
Oxford Murders (2008): a thriller movie adapted
for the award-winning mathematician and writer
Guillermo Martinez. Synopsis: Martin, a young student in mathematics settles in Oxford and would like
Arthur Seldom a brilliant mathematician to be his
thesis supervisor. He chooses to live at the house of
an old lady who happens to be an old friend of Seldoms. He also meets her daughter, a young musician. Seldom and Martin end up meeting at the
same place, at the same time, to discover the landladys corpse

Corrigs

WB 41-42

D. Oxford Murders
Witnesses
1. Victim: Julia Eagleton
Time: Septembre 23, 1993; a conference in the morning
Place: police station
Witnesses: Professor Arthur Seldom
2. Student-professor, dont know each other.
3. Both of them, by chance. They entered the room
together. The boy lives there, the professor was Ms
Eagletons friend.
A strange clue
1. The first of the series address of the victim + time
on top.
2. Thought it was a joke; threw it away.
The crime scene
1. Old woman. She was playing scrabble when it happened. No one, she was playing on her own. Petrified
and horrified, thought they should not touch anything,
called the police, tried to figure out what happened.
A cushion, a scrabble game, blood on her face and on
the cushion.
2. The murderer broke the victims nose pressing with a
cushion and using his/her knee. Hence the blood.
S/he got scared and left.
3. Rponses libres des lves.

4.Im a private eye Zoom on Murderers

121

BORDAS/SEJER La photocopie non autorise est un dlit.

Notes personnelles

122

door

door to crime Im a private eye


how to Make sense of a text Supports: pages 78 et 79 du manuel

Objectifs

Exploitation

Savoir faire les principaux reprages pour accder au


sens dun texte

Les lments reprs et codifis dans le texte sont

Textes proposs
Deux textes tirs de la littrature jeunesse, lun en exemple et lautre pour appliquer les reprages proposs

Champs lexicaux
La boulangerie
bakery, baker, bread, a loaf of bread, loaves, crumbs,
factory
bread-slicing, slicing machine, slicer
to cook, to bake bread
La cuisine
kitchen, knife, fork, spoon, silverware (drawer), a cup of
tea, a cooker/stove, a dishwasher, a frying pan, a toaster, a jug
to sit at table
La voix
noise, uproar, laughter, a tsink sound
to moan, to groan, to bark, to snap, to make a sound, to
shout, to whisper
speechless

Faits de langue
Prtrit et formes en ing, Be + V-ing, manuel p. 183

mise en uvre
The Curious Incident of the Dog in the
Night Time
Anticipation
Avant

BORDAS/SEJER La photocopie non autorise est un dlit.

dentrer dans le texte et douvrir les livres,


demander aux lves de faire la liste des lments utiles
la comprhension. Prsenter la recherche dlments
dinformation comme une qute dindices qui formeront
une mosaque de plus en plus prcise du texte. Pour les
professeurs qui utilisent frquemment les Mindmaps, il
peut tre utile dy avoir recours pour reprendre toutes
les pistesproposes par les lves.
who

actions

characters
author
narrator
1st person
3rd person

place
text

unknown words

time
tenses
verb forms

key words

repris dans des encadrs sous le texte volontairement


prsents sous forme de notes: inviter les lves les
commenter et les complter laide du texte. Par exemple dvelopper leur perception du narrateur, reprendre la notion de personnage prsent ou mentionn.
Les lments de rponse sont prsents sous forme
de jeu: take a guess. Llve utilise les indices pour arriver sa conclusion.
Ils

confirmeront par exemple quil sagit dun enfant


aux ractions curieuses, on ne sait pas sil sagit dun
garon ou dune fille.
scne se passe probablement devant la maison
du narrateur, dans son jardin.

La

Accepter toutes les propositions des lves sur ce qui

est arriv au chien avant de revenir vers le texte et formuler: the dog has been killed by someone with a fork but
the narrator denies killing it.
Faire le lien entre les bruits, le champ lexical dgag

(les encadrs senses, vocabulary) et ce qui se passe


dans lesprit du narrateur. Identifier le paragraphe sur
lusine comme une image de ce quil ressent, finalement exprim dans son comportement: il ne supporte
plus ce questionnement incessant, il y a trop dinformations (encadr syntax), il ne peut plus grer, donc il
se roule par terre en mettant de petits grognements.
Les lves exprimeront leur surprise face un tel comportement.
Si leur curiosit est aiguise par ce curieux narrateur

et quils ne sont pas daccord dans leurs hypothses


pour expliquer son comportement, en profiter pour les
inviter lire dautres extraits du livre et dcouvrir le
personnage, ou leur proposer la 4e de couverture pour
vrifier leurs hypothses. On pourra aussi imaginer une
lecture suivie de ce roman avec une tude de quelques passages, mme dautres moments de lunit,
si on est dans une phase de mthodologie et dentranement (cf. encart LDP p. 124).

Christopher Killer: Forensic Mystery


Des lments sont reprs avec le mme code couleur
que dans le texte p. 78. Un rappel des reprages apparat dans lencart Now your turn pour guider les lves
en difficult face au texte.
Ils sont ensuite dirigs vers les lectures en autonomie
pour appliquer les reprages.
Now your turn, p. 79

Nous conseillons de procder en deux temps avec le


Workbook en accompagnement.
4.Im a private eye How to Make sense of a text

123

Pour les lves qui ne disposent pas du Workbook, vous


trouverez ci-aprs la partie du texte qui ne figure pas
sur le manuel.
All Im asking is this: Why cant you set your sights on
becoming a real doctor?
A forensic pathologist is a real doctor. The irritation welled in her throat, and she could no longer swallow it.
I mean a doctor who treats the living! With that brain
of yours there are lots of things that you could do.Youre
a headstrong girl, Cammie, but that stubbornness can
take you down the wrong path.
The heat rose inside her as she countered. Ive told you
a hundred times that this is the path I want.
Dont give me your cheek! Its that streak from your
mother thats coming out, and thats the streak thatll
get you in trouble.
For Petes sake, Ma, her father cried, leave her be!

apports supplmentaires
The Curious Incident Of The Dog In The Night
Time(2003): a mystery novel written by British writer Mark Haddon. The title refers to Conan Doyles
short story Silver Blaze (1894). The story is told in the
first person by Christopher Boone, a 15-year-old boy
with autism gifted in mathematics, who decides to
lead the investigation and unravel the mystery behind
the death of her neighbours dog, Wellington.
Christopher Killer (2006): a thriller written by Alane
Ferguson. Eighteen-year-old Cameryn Mahoney has
decided to follow her fathers footsteps by becoming
a forensic scientist to the disgust of her grandmother. Her father accepts to let her work with him on
a new case but the victim happens to be Cameryns
friend: it is not a random murder but the fourth victim of a serial killer.
Corrigs

Les lves font les reprages par euxmmes en utilisant les codes couleurs de la p. 78 sur
le texte vierge de toute annotation.
WB 42-43

Une

fois les lments souligns, encadrs et donc


identifis, ils ouvrent leur livre p. 79 et comparent
leur texte annot la version du manuel. Ils affinent
ensuite leur lecture et dautres mots peuvent tre souligns dans le texte pour travailler les rfrents (what):
he (l. 10), my (l. 14), her (l. 18).
sont ensuite invits appliquer ces techniques
sans guidage, sur un des textes du Reading File quils
prsentent la classe.
Ils

Introduire les codes dutilisation des formes en itali-

1. Rponses dans le manuel p. 79.


2. partir des questions du manuel:
- Peripheral information: a novel, about the mystery of
Christophers death, author: Alane Ferguson.
Who: present = Cameryn (Cammie), her father (Pat,
Patrick), her grandmother (Ma, Mammaw)
mentioned = Cameryns mother
Where/when: sitting at a table in the kitchen, during
breakfast.
What: its = the newpsapers pages, dream = become a
forensic scientist.
Senses: sounds expressing tension and disagreement
Vocabulary: food = knife and fork (l. 2), silverware (l. 3),
table (l. 3); the body = blood (l. 6), teeth (l .9), (possibilit
douvrir sur les vtements: cotton robe (l. 19), sleeves
(l.19), garment (l. 22); animal activity = chicken pecking
grain (l. 26), picked, nibbled at (l. 27).
3. a. idioms: Dont be so insolent (cheek = audacity, boldness, a cheeky behaviour). For Christs sake.
b. Onomatopeas, newspaper name, free indirect
speech.

BORDAS/SEJER La photocopie non autorise est un dlit.

que: dterminer la nature de ces formes en utilisant le


contexte (onomatopes, titres, style indirect libre). Possibilit avec des classes plus solides de partir de la question 3 du Workbook pour dvelopper le travail sur les
onomatopes (LDP, Door 6 comics p. 170) ou de revoir
des expressions idiomatiques, (translation techniques,
manuel p. 138).

WB 42-43

124

door

door to crime Im a private eye


door to Language Supports: pages 80 82 du manuel
GRAMMAR

Objectifsgrammaticaux, p.80
Les quantifieurs, manuel p. 188
Lexpression de la probabilit, manuel p. 187
Le passif, manuel p. 184 et 187
Texte propos
Rapport dun pompier sur un soupon dempoisonnement et tentative de meurtre.
Formes repres dans le texte
En surlign violet clair, les quantifieurs
En bleu, le groupe verbal avec des modaux de la probabilit
Possibilit de demander aux lves de reprer les formes passives
Rappel sur les quantifieurs
Distinction entre dnombrables et indnombrables
(few, many / little, much), notion positive et ngative de
la quantit (a few, a little / few, little), les quivalents no/
not any, lemploi de some /any (dans les questions, affirmations et ngations).
Dautres phrases en contexte possibles ( proposer en
entranement).
He had few leads and many suspects. He had little hope
of finding new clues to unravel the mystery. He didnt care
much for the money he made as a private investigator. Only
a few members of the family came to the funeral. There was
a little rain during the ceremony. There was no/wasnt any
blood on the body, but some bruises on the forehead.
Rappel sur la probabilit
Introduction des modaux must, may, cant au prsent
et au pass, et rappel dautres expressions de la probabilit comme Im sure, maybe / perhaps, probably, possibly, its possible that, etc.
Mod + BV / Mod + Have + V-ed

BORDAS/SEJER La photocopie non autorise est un dlit.

Expressing quantity
Les

lves utilisent le contexte pour confirmer la


quantit exprime par les quantifieurs en saidant des
vignettes proposes. La notion dimpression ngative et positive sera releve en mettant en miroir les
expressions few people et a few witnesses du texte. Faire
reprer la ngation associe any blood: insister sur
lquivalence entre no et not any en travaillant sur no
mercy/not any blood. Rappeler limpossibilit de la
double ngation.
Quantifieurs

que les lves pourront associer aux


vignettes en plus de ceux du texte : much et a little,
lots of, not any.
Au besoin leur proposer les formes, eux de dsigner la
vignette correspondante et de faire une phrase.

Une frise permettra de confirmer leur comprhension

des quantits exprimes tout en rappelant la distinction


dnombrables, indnombrables. Cette frise peut tre
faite sur une fiche Bristol ou autre papier cartonn.
tudier la nuance entre they aked if they could be of
some help et they asked if they could be of any help .
Passer par une reformulation au style direct. Some suggre une rponse affirmative, any (habituellement utilis dans les ngatives et interrogatives) expriment une
interrogation, un doute.
Introduire

dautres expressions de la quantit pour


un liquide, un nombre imprcis dobjets: litres of milk,
dozens of people, hundreds of miles.
Activit supplmentaire

Voir la mthodologie du dialogue, les sensibiliser lintonation dans un dialogue, lintroduction de didascalies, he said thoughtfully, he answered angrily, etc.
You are a famous crime writer. You give an interview
to explain the ingredients necessary to make a good
detective story. Imagine the dialogue with the reporter.
Use quantifiers.
Productions dlves:
W: You must include many clues, he suggested.
R: Isnt it interesting to include red-herrings to deceive the
reader? he asked thoughtfully.
W:Yes it is, a few red herrings can be useful, but the
reader must not be kept too long in the dark, he needs a
little help.
R: What about suspects? he asked with a inquisitive
tone.
W: You must include many suspects in the plot, he firmly
answered.
R: Do you need any real villains among them? he asked
in a low voice.
W: Yes, it can help. But no gory descriptions are needed,
some blood may be mentioned but it isnt important. The
most important thing is that there must be no secrets
hidden from the reader in the end.
R: What about a few jokes, wisecracks?
W: If the detective is funny, he will not be taken seriously,
he answered to conclude.
Corrigs du manuel, p. 80
1. no mercy: quantity zero, a lot of onlookers: large quantity, any help: uncertain quantity, not any blood: quantity zero, a few witnesses: small quantity, some information: uncertain quantity, plenty of money: large quantity,
many times: large quantity, little sympathy: not enough/
negative impression, some time: uncertain quantity, few
people: not enough/negative impression.
2. Uncountable: no, little, a little, any, some, plenty of, a
lot of, lots of (=), much (-)
Plural: no, few, a few, any, some, plenty of, a lot of, lots
of, many.
4.Im a private eye Door to Language

125

lves replacent les personnages du texte et


les vignettes exprimant des degrs de probabilit sur
une frise.
Les

Faire reformuler chaque fois: According to the next-

door neighbour he must have killed him/ it is very possible = (quite) probable that he killed him. The student believes that he cant have killed Tiger = it is impossible that he
killed Tiger.
lves font le lien entre he may have wanted /
maybe he poisoned him et he must be thinking / hes probably the one. Ils peuvent alors gnraliser en reprenant
les modaux et en reformulant au prsent ou au pass.
Les

Jeu de carte Who did it? distribuer aux lves: cha-

que groupe pioche une vignette parmi impossible possible very possible certain, une vignette parmi Mrs
Marriot, Mr Hudley, the next-door neighbour, the student,
the doorman, nobody, et une vignette parmi kill, be the
murderer, lie, hate, poison, shoot. Chaque groupe pioche
trois cartes et doit proposer des phrases au prsent ou
au pass. Avec des lves plus forts, demander de justifier leur phrase: The doorman must have poisoned the
cat because he always fought with his old dog covered in
scratches. The student cant have shot the cat because no
blood could be found.
Avec des lves solides, introduire le modal Will comme
quivalent de Im sure, its certain that.
Corrigs du manuel, p. 80
1. The student/impossible the doorman/possible
the next-door neighbour/very possible Mrs Marriot/
certain.
2. He must be thinking = he is certainly thinking, maybe
he poisoned him = he may have poisoned him, hes
probably the one = he may be the one, he cant have
done it = it is impossible for him to have done it, everyone may have wanted = maybe everyone wanted to
kill the cat.
3. cant V / cant have V-ed / it is impossible that + S +
V/V-ed
maybe / perhaps / its possible that /may V / may have
V-ed
probably / its certainly that / must V / must have V-ed/
its certain / sure that / will V / Will have V-ed.
placer sur une frise.
Passif et on franais
Le texte au pass fait apparatre des formes au passif au prtrit et pluperfect qui peuvent tre exploites. En essayant de retrouver la forme active, les lves constatent la difficult de trouver un sujet et en
tirent des conclusions. Ce travail peut rejoindre lexploitation propose sur le texte Beware of parking lots
p. 72 (manuel) dans le Livre du Professeur (p . 113-114).
Observer aussi le passif suivi dune construction infinitive: she was said to spend plenty of money on her animal psychologist.
Rappeler les verbes: say, believe, consider, know, think.
People believe that he is the murderer, it is believed that
he is the murderer, he is believed to be the murderer.

126

Lets act! p. 80

Proposer aux lves une scne de crime o exercer leurs talents.


You are a detective entering a crime scene, here is what you
notice: a piano, expensive furniture, many houseplants, a
bunch of six red roses, 2 glasses of wine, one open pack of
cigarettes on the floor, 3 butts in the ashtray, window open,
broken bottle of wine, open safe and paintings missing on
the floor. The victim: lying on a sofa, a woman in a fancy
dress wearing a necklace is pressing a bloody cloth against
her forehead while talking to a police officer.
Use your imagination to interpret the facts, build up hypotheses.
Productions dlves :
The victim must be playing the piano, she must be welloff, maybe she had a drink with a close friend, the one
who gave her the roses. She cant have come home alone
and she must have had a visitor since there are two glasses of wine. She must have been smoking with that person. Maybe they had a fight, it is possible he attacked her
and then she passed out. Its probable that he robbed
her, stole her jewellery from her safe before jumping out
of the window.

Sounds
Objectifs phonologiques, p. 81

CD 1 27-30

Prononciation des tags et des diphtongues

Script

CD 1 28

Female: But he usually sleeps in the kitchen.


Male: They found the body in the garage.
Female: He wasnt with his sister at the theatre.
Male: He hated that house.
Female: They didnt find the gun.
Male: Emma knows the truth.
Female: She doesnt want to speak.
Male: She is in the living-room.
Female: They dont hunt much around here.
Male: They found him.

Script

CD 1 29

A journalist interviews the victims cleaning lady.

Journalist: Ok since nobody saw him at the ball, the man was
there yesterday, wasnt he?
And they found him llying this morning. You opened the front
door and found him lying in the hall, didnt you?
But what I dont understand is why he was in the living-room.
He could not have spent the night there, could he? I dont know
but it does not seem very likely. You dont know at what time
he went to bed, do you?
You shouldnt stay here, the murderer could come back.
Cleaning lady: Oh, no, he wouldnt, would he!?

Learning how to pronounce tags


Observation, dduction et pratique
Faire observer les 3 exemples et dessiner un tableau

pour dtailler la structure des tags. Le tableau permet


de mettre en vidence visuellement le paralllisme
invers entre les deux parties de la phrase. La proposition principale est positive, la tag ngative, le temps
et lauxiliaire sont conservs. Do au temps voulu sert
dauxiliaire par dfaut.

BORDAS/SEJER La photocopie non autorise est un dlit.

Expressing probability

Procder ensuite lcoute des phrases et faire obser-

ver lintonation montante lorsque le locuteur ignore la


rponse et descendante sil la connat.
La question 2. permet de reprendre ce qui vient dtre
vu et de vrifier que la structure est comprise.
La question 3. permet galement de remobiliser ce
qui vient dtre vu et de vrifier que lusage de lintonation est compris.
Travailler sur la prononciation des modaux. Mettre
laccent sur les lettres muettes (should, would, could,
mustnt)
Corrigs du manuel, p. 81
1. Verbs and auxiliaries: live/knew/wasnt; tense: present,
simple past, simple past; N, N, Y; do, did, was; Y, Y, N; rises,
falls, falls. The voice rises if it is a true question, falls if it
is a rhetorical one. If there is a negation in the first part
of the sentence there is not any in the second part. The
auxiliaries are the same in the first and the second part
of the sentence at the same tense. If there is not any, do is
used at the right tense.
2. doesnt he, didnt they, was he, didnt he, did they,
doesnt she, does she, isnt she, do they, didnt they?
3. Ok, since nobody saw him at the ball, the man was
there yesterday, wasnt he (intonation descendante, he
knows)? And they found him dead this morning. You
opened the front door and found him lying in the hall,
didnt you? (intonation descendante, he knows) But what
I dont understand is why he was in the living-room. He
could not have spent the night there, could he? (intonation montante, he doesnt know) I dont know but it
does not seem very likely. You dont know at what time
he went to bed, do you? (intonation montante, doesnt
know). You shouldnt stay here, the murderer could
come back. Oh, no, he wouldnt, would he!? (intonation montante) It rises when he knows and falls when
he doesnt.
Could, should, would: /l/ is not pronounced.
Lets act! p. 81

BORDAS/SEJER La photocopie non autorise est un dlit.

Donner

chaque lve lidentit dun des trois personnages (femme / narrateur / dtective); possibilit
de faire tirer au sort des cartes indiquant leur identit
pour gagner du temps. Au besoin mnager des temps
dintervention du narrateur (dbut, milieu, fin) o les
autres lves miment seulement la scne. Le narrateur
doit alors imaginer ce que chaque personnage pense,
ce qui se passe et sadresser directement au public, do
les question-tags.
Faire

prparer toute la classe ensemble par groupe


de trois puis faire passer les groupes devant la classe ou
leur faire enregistrer comme une pice radiophonique
en laboratoire de langue.

Learning about diphthongs


Faire couter les diffrents mots et faire contraster la

graphie et la phonie des voyelles. La diffrence entre


leurs hypothses du dbut et lenregistrement permet de mettre en avant linadquation graphie/phonie rcurrente en anglais.

2e question permet dentraner la lecture de


lalphabet phontique tout en revoyant les diffrentes diphtongues.
La

Corrigs du manuel, p. 81
1. height, toe, shout, hear, annoyed, tour, tear, Kate.
2. 1. c.; 2.b.; 3.d.; 4. h.; 5. a.; 6. g.; 7. e.; 8.f.
3. Rebrassage. 1. guide [a] height [a]. 2. close [u]
toe [u]. 3. mouth [au] - owl [au] - shout [au]. 4. ear []
hear []. 5. toy [] annoyed []. 6. poor [] - tour [].
7. care [] to tear []. 8. late [e] Kate [e]

Activit supplmentaire
Mettre un mot au tableau comportant une diphton-

gue ou transcrire une diphtongue directement. Faire


deux quipes dans la classe, chacune doit donner
tour de rle un mot qui se prononce avec cette diphtongue. Chronomtrer le temps laiss chaque fois.
Lquipe gagne un point par mot trouv, et perd un
point par mot mal prononc. Arrter le jeu 30 points
(plus ou moins selon le niveau de la classe). Lquipe
gagnante est celle qui a le plus de points. On pourra
offrir un sticker aux gagnants.

Words
Objectifslexicaux, p. 82
Dnombrables et indnombrables
Expressions de temps

Understanding (un)countable use of


words
Observation, dduction et pratique
En

passant par le franais llve comprend que certaines notions renvoient des entits globales qui ne
sont pas divisibles/comptables (ici du travail). Faire
remarquer la prsence de du [travail]/de largent vs
les [fentres]) et la diffrence singulier prsent. Seul
windows est dnombrable.
La question 2. permet de contraster lusage franais
et anglais pour certains mots, les meubles (dnombrables), furniture (indnombrable). Faire contraster le singulier en anglais, le pluriel en franais.

Permet de traiter les autres exceptions les plus courantes. Possibilit de faire traduire le paragraphe aux lves pour quils remarquent la diffrence entre le franais et langlais.
Dans la question 3., faire observer que certains mots
selon le point de vue sont dnombrables ou indnombrables mais que le sens change (ou lclairage). Possibilit de reprendre lexemple de furniture (le mobilier/
les meubles).
Dterminants

compatibles ou non avec les nondnombrables (faire remarquer que a veut dire un).
4.Im a private eye Door to Language

127

Corrigs du manuel, p. 82
1. beaucoup de bruit, peu dargent, du travail, des fentres. Fentres, it is a plural.
2. Tous les meubles avaient disparu. The French sentence
is in the plural whereas the English word is singular, it
is uncountable. It refers to the whole group not to single items.
Advice, evidence, information.
3. The former is singular, the latter plural. The characters
dont hear the same thing. The first time they hear indistinct noise, the second they hear two types of noise.
4. a, three, few.

Understanding time expressions


Voir la diffrence entre laspect prcis de on, ponctuel,

un point, et lespace plus large reprsent par in. Le plus


simple est de le figurer visuellement en pointant du doigt
pour on et en montrant un espace pour in (mains qui
sloignent). Faire le parallle avec in + mois (priode)
mais on + jour (point prcis sur le calendrier).
On time means at the right time; in time means at
the moment of.
Now your turn, p. 79

X-Files series
Les lves reprennent les expressions de temps et les

indnombrables pour imaginer un scnario, une explication aux disparitions mystrieuses dcrites dans le
texte en regard de lencart.
Possibilit

de leur faire jouer le role de Scully et


Mulder (photo p. 82) qui font un rsum oral de leur
enqute ou remettent un rapport crit leur suprieur.
Leur montrer un extrait de la srie X-Files (cette situation apparat souvent dans les pisodes).
Corrigs

WB 44

Verbs: follow a lead; throw someone off the track; draw


conclusions; hit the headlines; work on a case; be under
investigation; investigate a case.
Translation: gant, ADN, bocal, coton tige, tube essai,
cellule, empreinte, crne, mdecin lgiste.
Nouns: Police Officer, passer-by, bystander, medical
examiner.
Adjectives: at large, gifted, who pays attention, dreadful, sought by the police to be captured.
News: 1. murderer, 2. witness, 3. license plate, 4. weapon,
5. murder, 6. wig, 7. fingerprints, 8. crime scene.

BORDAS/SEJER La photocopie non autorise est un dlit.

Notes personnelles

128

door

door to crime Im a private eye


check what you know Support: page 83 du manuel

Objectif

Rinvestir les points tudis dans Door to crime pour


que llve sauto-value et se positionne en termes de
savoirs et savoir-faire

lves doivent utiliser les quantifieurs dans la


question 2. en distinguant ceux qui correspondent aux
termes dnombrables et ceux qui sutilisent avec les
indnombrables.

Champs lexicaux

Travail

Les

Didascalies
- stage directions, cue
- to play a part
Adverbes de parole
- angrily, anxiously, bitterly, cheerfully, crossly, curiously,
desperately, dryly, furiously, impatiently,
kindly, loudly, proudly, quietly, reluctantly, rudely, sadly,
scornfully
Verbes introducteurs
- agree, admit, add, announce, answer, ask sb, declare,
deny, enquire, explain, mention, offer, threaten
Gap fillers
- You see, You know Well, er Actually, you see what I
mean, I mean
Donner son opinion
- In my view, from my point of view, in my opinion, to my
mind

Mthodologie
Travailler en autonomie pour sauto-valuer dans ses
comptences crites et orales et faire le point sur les
savoirs et savoir-faire acquis ou en voie dacquisition

Notions / fonctions
Faire des hypothses sur la probabilit dun vnement
pass ou prsent, exprimer la quantit, utiliser les marques du discours oral (question-tags)

Faits de langue
- modaux de probabilit au prsent et au pass (must, can,
cant, may, could; must have been), manuel p. 187
- dnombrables et indnombrables, manuel p. 188
- quantifieurs (much, little, a little, few, a few, many),
manuel p. 188
- question-tags, manuel p. 81

Phonologie
- intonation des question-tags
BORDAS/SEJER La photocopie non autorise est un dlit.

en binme : chaque lve choisit lidentit


dun dtective de son choix (ex: Miss Marple et Dick
Tracy) et explique ce qui fait un bon dtective lautre
lve en justifiant son point de vue, lautre approuve
ou non.
lves compltent les questions tags. Avec une
classe plus faible, faire crire des didascalies pour expliciter leur interprtation du dialogue avant de le jouer
(ironically, doubtfully). Linterprtation conditionne
lintonation. Lintonation monte quand le locuteur ne
connat pas la rponse, elle descend quand il sagit dune
question oratoire. (Les rponses sont fonction de linterprtation de la situation par les lves).
Les

Corrigs du manuel, p. 83
1. Rponse libre des lves. Proposition:
He must have drunk too much. It could be a love story
since he could have bought the rose for a woman. He
cant have been alone as there are two sets of fingerprints on the bottle, so the robber could still be on the
run. He must have been the one who locked the door
so the other person may have left the room by another exit.
2. Rponse libre des lves. Proposition:
You need much intuition, a little scientific knowledge,
much imagination. To find much evidence you need
many qualities, many reflexes, you use a few tricks. You
need few instruments if you have many ideas. Having
no fear can be dangerous, but a little sense of humour
can come in handy. No prejudice, a few pairs of gloves
and much common sense.
3. Rponse libre des lves. Proposition:
didnt you, arent we, will you, do you, did he, shouldnt
we.
Grille dauto valuation

mise en uvre
la question 1., il est possible de partir des illustrations pour faire visualiser la situation aux lves et
vrifier le vocabulaire avec eux. Leur faire relier dans une
histoire les quatre lments donns par exemple.
Puis les lves utilisent les expressions fournies pour
produire des noncs avec un modal de probabilit au
prsent et au pass lcrit.
Il est galement possible de les faire travailler par
deux, deux enquteurs qui confrontent leurs hypothses et argumentent. He cant have been alone, I disagree with you
Pour

WB 41-42

Cette grille est complter par llve en classe, en


module, ou en demi-groupe, avec le professeur qui
expliquera ce que chaque item signifie. On pourra donner des exemples contextualiss qui illustrent les items.
Demander llve didentifier dans la liste les points
quil aura travaills et sur lesquels il svaluera. Llve
fera le total sur 45 items maximum et comptabilisera le
nombre de smileys obtenus pour avoir une ide prcise
sur ses savoirs et savoir-faire acquis ou en voie dacquisition. Tous les items nauront pas forcment t abords,
le barme sera donc adapter en fonction du nombre
ditems vus. Le professeur pourra ramasser le Workbook
et y inscrire son avis.
4.Im a private eye Check what you know

129

door to crime Im a private eye


fiche lexicale rcapitulative Manuel page 82

Before the crime


Nouns
an emergency
(a state of) distress
a witness
a victim
911
firemen/firefighters
a rescue mission
an ambulance
a nurse
a protection
an injury
a testimony
a target, a prey
Verbs
to witness
to phone the police
to place a phone call
to tail someone
to be under surveillance
to rush to a place
to escape from
to spy on someone
to overhear
to stumble upon
to stalk someone

Verbs
to look for, to investigate
to report
to think about
to mull over, to ponder
to hold in custody
to cut someone loose
to profile

130

Crime in the news

Adjectives/adverbs
pressing (situation)
helpless, hapless
threatening/threatened
desperate/desperately
injured
shot
bleeding
missing

Nouns
Adjectives
headlines
terrible
front page
catchy
the press / the Fourth Estate
gory
the/a piece of news
weekly, daily
(a piece of) information
dead
murder/murderer
reported missing
press release
gruesome
rumor
dreadful
by-stander
shocking
a spokesperson
a press conference
the dead / death
a corpse / a dead body

Expressions
to call for help
to require immediate
attention
to be in distress
to run for ones life
to come to the rescue
to be shot at
by chance
to prey on
failure to render assistance
in danger

Verbs
to interrogate
to ask someone
to look for information
to hear from/about
to break the news
to expose
to enquire
to declare

Investigation and investigators


Nouns
a case
the police (are)
forensic scientist/surgeon
inspector, (plainclothes)
officer
profiler, attorney
gumshoe, sleuth, cop,
FBI, NYPD, LAPD
a lab, a test tube
clues, (forensic) evidence
(finger)prints,
a strand of hair
blood type/spatter
shoe pattern
DNA
bafflement, puzzlement

WB 45-46

Suspects and murderers

Adjectives
undercover
overwhelmed
bemused
puzzling/puzzled
baffled
methodical
logical
sensible
smart/clever/bright/
intelligent
resolved
stubborn
strong-willed/determined
matter-of-fact

Nouns
guilt
denial
a motive
crime weapons: handgun,
dagger, rope, lead piping,
spanner, rifle,
arson
a culprit: a lunatic, a
madman
a relative, a close friend, a
colleague/co-worker,
a partner, a rival
a complete stranger
a spy
a serial killer

Expressions
to run an investigation
to come as a surprise
an X-file
to tie up some loose ends
to shed light on

Verbs
to deny
to get caught, be released
to be sentenced to (a life
sentence)
to stab with a knife
to shoot with a gun
to threaten, to scare
to target, blackmail

Expressions
to die of unnatural causes
to hit the front page, the
headlines
whats the latest news on
the case ?
rumor has it that
to come as a shock
to hold a press conference

Adjectives
scornful
anxiously
bitter
cross
reluctant
rude
guilty
self-confident
outraged
uncooperative
submissive
withdrawn

Expressions
by chance
random killing
out of revenge, greed
for money
to strangle with bare hands
to hold grudges against
someone

BORDAS/SEJER La photocopie non autorise est un dlit.

door

door

door to crime Im a private eye


your missions Talking and writing about a crime issue
Supports: pages 84 et 85 du manuel

Objectifs

une Mindmap du crime en incluant les diffrents lments du dossier (saider de la premire mindmap effectue lors du travail sur la page douverture de
lunit): the crime (nature, where, when), the victim, clues
(what it is, what it means), suspects (links to the victim, possible alibis, possible motives), etc.
tablir

Apporter un tmoignage, faire un tat des lieux dans


une affaire de meurtre

Champs lexicaux
Matrise du vocabulaire de la thmatique
Fiche lexicale rcapitulative, LDP p. 130

Mthodologie
Organiser les informations du manuel et du Workbook
afin de:
produire un tmoignage oral clair et construit sur une
affaire criminelle
crire une lettre sur cette affaire et ses conclusions
crire un article de journal sur lenqute

Notions / fonctions
Dcrire des faits, sentiments passs; prsenter des vnements ou conclusions de faon chronologique; argumenter; noncer des liens logiques entre des vnements; mettre hypothses et dductions

Faits de langue
passif, manuel p. 184 et 187
quantifieurs, manuel p. 188
dnombrables et indnombrables, manuel p. 188
question-tags, manuel p. 81
modaux de probabilit, manuel p. 187

Lactivit de la page 85 sur le type de dtective choisi


par llve peut servir pour les deux missions (crite et
orale). La personnalit choisie peut tre celle du policier, du journaliste ou du tmoin.
Workbook, p. 47
lve plong dans la peau du dtective sur le terrain

(forensic scientists, crime scene investigators), pistes pour


lcriture dun rapport de police. Ce travail peut servir
la fois pour les 1re et 3e missions orales (en tant que dtective/tmoin/suspect) et pour la 2e mission crite.
Rubrique ncrologique (Obituary) sur la victime. Jeu

de questions/rponses.
Sans le fichier de llve, possible dimaginer lidentit,

la vie de la victime domicilie dans lUpper East Side de


Manhattan, pour crire un obituary: age, name, profession, hobbies, family and friends, accomplishments, place
and time of death, information on death.
Reformuler

Phonologie
lintonation des tags
les diphtongues

les informations de la timeline, en utilisant des verbes au prtrit et des expressions de temps.
Thomas junior left at 10:15 p. m., and then
MISSION ONE

mise en uvre
Activits prparatoires aux tches finales

BORDAS/SEJER La photocopie non autorise est un dlit.

Manuel, p. 84 et 85
Faire identifier les documents. Les images reprsentent les indices et lments dun meurtre: les objets
retrouvs sur la scne du crime, leur disposition sur le
lieu du crime, le contenu des poches de la victime. Des
portraits des principaux suspects sont aussi proposs
avec leur identit.
des identits aux lves: forensic scientists,
crime scene investigators, policemen in the interrogation room, profilers. En binmes, trinmes les scientifiques dcrivent les preuves et font des hypothses, les
enquteurs dcrivent la position des indices, du corps
et en tirent des conclusions, les profilers dcrivent les
tmoins, imaginent les interrogatoires et mettent des
hypothses sur le tueur.
Donner

Mettre

en commun, redistribuer les groupes pour


avoir un expert de chaque (3 personnes par groupe) qui
fait son rapport aux deux autres qui posent des questions. Ils essaient de produire une histoire cohrente
sur ce qui a pu se produire et qui se tienne par rapport
aux lments dinformation quils dtiennent.

Pour une classe trs autonome proposer dautres pistes:


Insister sur le ton et le style typiques de chaque dis-

cours (diffrence entre le tmoin et le scientifique dans


le langage utilis).
limportance des question-tags, rponses
courtes et gap-fillers loral.
Rappeler

Brainstorming en classe entire pour voquer les dif-

frents types dinformation qui seront donns dans


chaque situation. Ressenti motionnel du tmoin, sons,
odeurs, touch, description clinique et visuelle du scientifique, description logique et chronologique du policier.
Revoir les expressions de temps et les mots de liaison

exprimant cause et consquence.


La scne peut tre filme au moyen dun camescope
par un lve, des lves peuvent jouer les rles du juge
ou des avocats pour rendre lactivit interactive.
Consigne prciseret respecter absolument: ne pas
dpasser 4 minutes pour les interventions et les tmoignages en continu.
4.Im a private eye Your mission

131

Proposition de 6 critres dvaluation

Article de journal: se reporter p. 68 (Fully clothed and

prsenter aux lves. Possible sous forme dvaluation cible.

intact) et p. 72 (Working on the case) pour des exemples darticles. Rappeler lutilit des structures passives. Dcouper le travail:
Faire trouver un titre accrocheur et une photographie pour illustrer larticle.
Choisir un style/ton: ironical, sad, bombastic, informal,
angry.
Revoir la structure de larticle: phrase liminaire accrocheuse, court rsum des faits, avance de lenqute,
conclusions et pistes approfondir. Finir par une anecdote ou une formule marquante (drle, tragique, etc.).

Fluidit, aisance: densit/blancs, gap fillers, capacit rpter / corriger /reformuler


Matrise du systme phonologique: accentuation,
intonation (question tags, neutre et non neutre)
Respect du format, de la consigne et du temps
imparti
Matrise socio-linguistique, cohrence et cohsion
tendue lexicale (lexique du crime mobilis, utilisation prcise et bon escient)
tendue grammaticale (prtrit, passif, expressions
de temps, probabilit)
(niveaux: acquis, consolider, en cours dacquisition, non acquis).
MISSION TWO
criture de la lettre, revoir les formules de politesse

Proposition de 6 critres dvaluation

prsenter aux lves. Possible sous forme dvaluation cible.


Respect du format (lettre, article)
Respect de la consigne, la longueur demande
(100-150 mots)
Structuration du texte,lisibilit (dbut et fin clairs,
cheminement visible)
Intrt (ton, convaincant ou non, originalit)
Richesse grammaticale (prtrit, passif, expressions
de temps, probabilit, prise de risque)
Richesse lexicale (utilisation du lexique du crime,
utilisation prcise et bon escient)
(niveaux: acquis, consolider, en cours dacquisition, non acquis).

BORDAS/SEJER La photocopie non autorise est un dlit.

douverture et de clture et les spcificits de format


(manuel, p. 118). Les lves dterminent lidentit de
lauteur (name, age, location, place of birth, personality,
education, social background, job) et la raison pour
laquelle il reste anonyme (guilty, ex convict, famous
person in an infamous place, etc.). Insister sur le registre
adapter la personnalit et au statut de lauteur de
la lettre. Voir comme exemple la lettre du Zodiac p. 69.
Faire dterminer un style/ton: ironical, sad, bombastic,
informal, angry.

Les lves gardent avec eux la fiche du Workbook p. 47


avec leurs notes dans la phase de rdaction sur table.

132

door

door to crime Im a private eye


valuation sommative de la comprhension de lcrit

Name. ......................................................................

Date. .............................

Class..............................

Mark: / 20

Read the text carefully, use the methods you have learnt in class to make sense of it.
You can answer the questions in English or in French.
B1

10

15

20

Text
And now, she told herself as she hurried back, all she was doing now, she was returning home to
her husband and he was waiting for his supper; and she must cook it good, and make it as tasty as
possible because the poor man was tired; and if, when she entered the house, she happened to find
anything unusual, or tragic, or terrible, then naturally it would be a shock and shed become frantic
with grief and horror. Mind you, she wasnt expecting to find anything. She was just going home
with the vegetables. Mrs. Patrick Maloney going home with the vegetables on Thursday evening
to cook supper for her husband.
Thats the way, she told herself. Do everything right and natural. Keep things absolutely natural
and therell be no need for any acting at all.
Therefore, when she entered the kitchen by the back door, she was humming a little tune to herself
and smiling.
Patrick! she called. How are you, darling?
She put the parcel down on the table and went through into the living room; and when she saw
him lying there on the floor with his legs doubled up and one arm twisted back underneath his
body, it really was rather a shock. All the old love and longing for him welled up inside her, and
she ran over to him, knelt down beside him, and began to cry her heart out. It was easy. No acting
was necessary.
A few minutes later she got up and went to the phone. She knew the number of the police station,
and when the man at the other end answered, she cried to him, Quick! Come quick! Patricks
dead!.
Lamb to the Slaughter, Roald Dahl, 1953

General comprehension

/ 10

1. Give the nature of the document. Explain.

/1


2. Characters.
Number:

/2

Names:

Relationship:

3. List of the activities and indications of time.

/1


4. List all the places: where the character comes from/goes/is, and the places mentioned.

/4

BORDAS/SEJER La photocopie non autorise est un dlit.


5. Feelings felt by the character:

/2

Detailed comprehension
6. True or false? circle and give information from the text.
a. The character concentrates on one thing.
T F
l. .........
b. The character makes a supposition.
T F
l. .........
c. The character reacts immediately.
T F
l. .........
7. Draw a map of what you understand: places, people, objects. Draw it on a piece of paper with all
the details you understand. You can represent movements with an arrow ().

/4

8. Say what you think happened to Patrick.

/3

/3


4.Im a private eye valuation

133

Corrig de lvaluation sommative


Conseils de mise en uvre
Avant de procder cette valuation, proposer aux lves diverses entres dans un texte crit, revoir et travailler en
entranement les principaux outils daide la comprhension crite: pages de mthodologie (manuel p. 78 et 79 et Workbook p. 42 et 43). Les lves pourront reprendre le systme de code couleur propos sur ces pages pour le reprage.
Ce mme systme pourra apparatre sur le texte projet au moment de la correction.
WHO : griser les informations sur lidentit des personnages.
WHERE/WHEN : mettre en pointill toutes les informations sur les lieux mentionns et le temps de la narration.
WHAT : souligner les pronoms/des mots pour trouver quoi ils renvoient.
Vocabulary : colorier en rouge les mots qui renvoient une mme famille ou ceux qui semblent difficiles mais importants.
Syntax : encadrer les rptitions
La consigne propose de rdiger en anglais ou en franais: certains lves trouvent plus difficile de rpondre en franais car cela rajoute un effort de traduction. Pour dautres, fchs avec lexpression crite et plus en difficult, cest un
moyen dexprimer tout ce quils ont compris sans le barrage de la langue.
Source: le texte choisi est extrait de la nouvelle de Roald Dahl, adapte au cinma sous le mme titre dans la srie tlvise de 1955 Hitchcock Presents. Montrer la source sur le document projet pour reformuler et confirmer les hypothses des lves.

Correction des questions


1 And now , she told herself as she hurried back, all she was doing now , she was returning home to
her husband and he was waiting for his supper; and she must cook it good, and make it as tasty as
possible because the poor man was tired; and if, when she entered the house, she happened to find
anything unusual, or tragic, or terrible, then naturally it would be a shock and shed become frantic with grief
5 and horror. Mind you, she wasnt expecting to find anything. She was just going home with the vegetables. Mrs.
Patrick Maloney going home with the vegetables on Thursday evening to cook supper for her husband.
Thats the way, she told herself. Do everything right and natural. Keep things absolutely natural and therell
be no need for any acting at all.
Therefore, when she entered the kitchen by the back door, she was humming a little tune to herself
10 and smiling.
Patrick! she called. How are you, darling?
She put the parcel down on the table and went through into the living room; and when she saw
him lying there on the floor with his legs doubled up and one arm twisted back underneath his
body, it really was rather a shock. All the old love and longing for him welled up inside her, and
15 she ran over to him, knelt down beside him, and began to cry her heart out. It was easy. No acting
was necessary.
A few minutes later she got up and went to the phone. She knew the number of the police station, and when
the man at the other end answered, she cried to him, Quick! Come quick!Patricks dead!.
Lamb to the Slaughter, Roald Dahl, 1953

1. The document is an extract from a novel/a short story (entitled Lamb to the Slaughter, written by Roald Dahl): a narrator tells a story and speaks to the reader.
2. There are 2 characters who are husband and wife: Mr and Mrs Maloney. The husbands first name is Patrick.
3. The scene takes place on a Thursday evening, before supper, so it must be around 7 p.m.
4. The character comes from the grocers with vegetables, walks home by the kitchen back door, walks across the living
room, then walks to the telephone to speak to someone at the police station.
5. Mrs Maloney is humming and smiling, then she starts crying when she sees her husband on the floor.

Detailed comprehension
6. a. The character concentrates on one thing.
R: going home with vegetables, cook supper (l. 7).
b. The character makes a supposition.
R: if she happened to find anything unusual (l. 3-4).
c. The character reacts immediately.
W: a few minutes later (l. 7).
7. Sur le dessin doivent apparatre au moins : un sac de course sur une table, une flche de la cuisine au salon, un homme allong,
dtails sur les bras et jambes, une flche du corps au tlphone.
8. Patrick was killed by his wife.
Follow up work: expression crite
1. Imagine why she killed him.
2. Imagine what will happen next.

134

BORDAS/SEJER La photocopie non autorise est un dlit.

General comprehension

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