Lesson Lan in English 9 3rd Quarter Final

Bulawan National High School
Bulawan, Payao, Zamboanga Sibugay
LESSON PLAN IN ENGLISH 9

Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Through Technology
Date:
Content Standard: Performance Standard:

The learner demonstrates understanding of The learner skillfully performs in one-act play
how Anglo-American literature and other text through utilizing effective verbal and non-
types serve as means of connecting to the verbal strategies and ICT resources based on
world; also how to use ways of analyzing one- the following criteria: Focus, Voice, Delivery,
act play and different forms of verbals for and Dramatic Conventions.
him/her too skillfully perform in a one-act play.
I. LEARNING COMPETENCY
EN9WC-IIIa-9: Compose forms of literary writing
EN9LC-IIIi-8.2: Judge the relevance and worth of information/ideas
Objectives:
1. Analyze the meaning and message of the poem
2. View an informative video clip and extract information from it
3. Compose an acrostic poem about the given topic
4. Relate poem content to particular social issues, concerns, or dispositions in real life
regarding the use of telephone and other technologies
II. LEARNING CONTENT

Lesson: “The Telephone” by Edward Field
Materials:
1. Laptop
2. Projector/Monitor
3. Speaker
References:
1. K to 12 Curriculum Guide (May 2016) p. 206, 208
2. A Journey through Anglo-American Literature Learner‘s Material for English pp. 236-
239
3. Online References
III. LEARNING TASKS

Introduction: How do you imagine the world without telephone?
Preliminary Activity:
TASK 1: THE TELEPHONE AND ITS BEGINNING
1. The students will be asked to watch a video about the telephone‘s short history.
Source: https://www.youtube.com/watch?v=TrLObtDvsa8
2. Guide Question:
 Who invented the telephone?
 When was the first phone call?
 How was the first telephone invented?
Activity:
TASK 2: THE TELEPHONE AND ITS IMPORTANCE
Pair Work:
1. Work with a partner.
2. Interview each other on

what one thinks is the
greatest importance of a
telephone.
3. Write a one-sentence
answer of your partner in
the speech bubble.
Analysis:
TASK 3: BREAKING BARRIERS
Listen carefully as your teacher reads the poem, ―The Telephone‖ by Edward Field.
Then, read it with your partner. (LM in English, p.237)
The Telephone
by Edward Field
My happiness depends on an electric appliance
And I do not mind giving it so much credit
With life in this city being what it is
Each person separated from friends
By a tangle of subways and buses
Yes my telephone is my joy
It tells me that I am in the world and wanted
It rings and I am alerted to love or gossip
I go comb my hair which begins to sparkle
Without it I was like a bear in a cave
Drowsing through a shadowy winter
It rings and spring has come
I stretch and amble out into the sunshine
Hungry again as I pick up the receiver
For the human voice and the good news of friends
*Source: "The Telephone" by Edward Field, from Counting Myself Lucky. © Black Sparrow Press, 1992.
TASK 4: BONDING TOGETHER

Students work in five (5) groups to discuss the message of the poem. (LM, pp. 238-239)
GRATITUDE
My happiness depends on an electric appliance
Group 1
And I do not mind giving it so much credit
1. What is the predominant feeling of the speaker in these lines?

2. Why does he feel that way?
OBSTACLE
Group 2 With life in this city being what it is
Each person separated from friends
1. Why are friends disconnected?
PLEASURE
Group 3 Yes my telephone is my joy
It tells me that I am in the world and wanted
It rings and I am alerted to love or gossip
I go comb my hair which begins to sparkle
1. How does the speaker justify his joy of having a telephone?
SPRING
Without it I was like a bear in a cave
Group 4 Drowsing through a shadowy winter
It rings and spring has come
1. To what does the speaker compare man‘s situation before
the advent of the telephone?
2. What value do people give to the telephone when he has the
access to it?
3. What literary device is used here?
CONNNECTION
I stretch and amble out into the sunshine
Group 5 Hungry again as I pick up the receiver
For the human voice and the good news of friends
1. What does the speaker hunger for? Is he capable of

connecting to the world? Explain.
Abstraction:
TASK 5: PRO’S AND CON’S OF TELEPHONE USE
Although telephone proves to have a lot of benefits, there are still drawbacks in its use.
Use the diagram to list the advantages and disadvantages of using a phone.
ADVANTAGES DISADVANTAGES
Application:
TASK 6: FUN IN ACROSTIC
Now that you have explored the wonders and downside of a telephone and its use, create
an acrostic poem featuring your own version of ―The Telephone‖.
N
E
WRITING AN ACROSTIC POEM RUBRIC
Criteria Exceeding Meeting Approaching Below
Standards Standards Standards Standards
4pts. 3pts. 2pts. 1pt.
Meaning and Poem is creative and Poem is thoughtful and
Most of the poem is
original. It is evident creative. A couple of Poems appear to be
Originality that the poet put phrases or ideas may
creative, but appears to
thoughtless or rushed.
be rushed. This is
thought into their words be revisited, but the Work is very repetitive,
evident in the poet's
and uniquely conveyed overall product is and ideas are
redundancy or use of
their ideas carefully written. unoriginal.
cliches.
and emotions.
Sensory Details Vivid, detailed images
and intensely felt Clear sensory images
Some use of image, Difficult to visualize
emotion make the are used to portray
idea, or emotion image or emotion
poem come ideas or emotions
alive.
Form The poem is complete The poem is written in its The poem is The poem is not
and follows its intended proper forms with a few somewhat written in its written in its proper
form. mistakes. proper form. form.
Grammar Proper use of English
A couple of spelling or
There are numerous
grammar mistakes are The poet's intended
spelling and grammar is spelling or grammar
evident, but do not meaning is confusing
used consistently errors, making the
diminish the meaning by several spelling or
throughout each poem. poems difficult to
of the poem. grammar errors.
Punctuation is utilized understand.
Punctuation is utilized Punctuation may be
when necessary. Punctuation is used
when misused.
necessary. incorrectly.
Source: http://www.rcampus.com/rubricshowc.cfm?sp=yes&code=J2359Bhttp://www.rcampus.com/rubricshowc. cfm?sp=yes&code=J2359B
Assessment:
Students with best outputs will share their work to the class.

Quarter: THIRD
Date:

EN9LT-IIIa-16: Analyze literature as a means of connecting to the world
EN9LC-IIId-6.5: Provide appropriate and critical feedback/reaction to a specific context
or situation
Objectives:
1. Analyze the radio play and relate it to actual experiences in the modern world
2. Listen to the radio play and share thoughts regarding the values gained from the
text
3. Create infographics and disseminate information to the community
4. Share insights, feedback, and reaction to given situations that require critical
processing

Lesson: “Sorry, Wrong Number” (A Radio Play) by Lucille Fletcher
Materials:
1. Laptop
3. Speaker
References:
1. K to 12 Curriculum Guide (May 2016) pp. 206-207
253
III. LEARNING TASKS
Introduction: How do you respond to emergency situations? How willing are you to help
others caught in emergency situations?
TASK 1: LOOKING UP
How do you respond to an emergency situation? Whom do you call for help?
Group Work:
In strips of paper are critical situations. Present the situation in a role play (maximum of 3
minutes) and focus on depicting your solution if you‘ll be confronted with such. (LM, p.
235)
Somebody
A woman’s in fear and in
Your
purse is snatched panic calls on
neighbor’s
in front of you your cell phone
house is on fire.
inside a jeepney. asking for your
help.
Your mother A hazardous

complains of chemical in the
dizziness and falls Chemistry Lab spills
to the ground producing smoke
unconscious. and a suffocating
scent.
ROLE PLAY RUBRIC
Exceptional Admirable Acceptable Attempted

Criteria
Understanding  Indicates a clear  Good

 Fair understanding  Presentation is off
of Topic understanding of understanding of
of topic Topic
topic topic
 All members  Some members  Few members  Group does not

Cooperation contribute by contribute by contribute by work together in
playing role well playing role well playing role well playing their roles
 Shows confidence  Shows some

 Unsure of
 Informative confidence  Portrayal stalls
responsibility
 Entertaining;  Presents some  Lacks information
 Somewhat
 Audience bored
Presentation engages
audience
information
 Engages
informative
 Mumbles
 Engages audience
 Speaks loudly and audience  Body language is
intermittently
clearly  Can be heard lacking;
 Hard to hear
 Appropriate use of  Some use of body inappropriate
 Some movement
body language language
Source: cte.sfasu.edu/wp-content/uploads/2012/01/Skit.doc
Activity:
TASK 2: MUSIC CORNER
Listen to the song Reach Out by Take That. Interpret the

message of the song.
Source: https://www.youtube.com/watch?v=E8tszVim_dk
TASK 3: TOUCHING YOU, TOUCHING ME
View the powerpoint slides to be presented by the teacher and respond to it by interpreting the
meaning expressed in the song ―Reach Out‖ by Take That.
(LM, p.236)
SLIDE 1
SLIDE 2
SLIDE 3
SLIDE 4
SLIDE 5
Analysis:
TASK 4: LISTENING HUB
Listen to the radio excerpt as you read along the copy of

the script in your Learner‘s Material on pages 240-251.
Source:
https://www.youtube.com/watch?v=_uDmNc8j9gA
TASK 5: COMPREHENSION CHECK

A. Crossing Difficulties
Give the meaning of the underlined words in these sentences.
Choose your answers from the synonyms in the box. (LM, p.252)
bossy complaining soft tolerant demoralize Overbearing
1. Mrs. Stevenson is identified as a querulous and self-centered neurotic.
2. She became imperious when she could not connect to the number she dialed.
3. When she dialed again, she only got a bland buzzing signal and heard the
conversation on the cross line.
4. The telephone operator‘s failed attempts to connect to her husband‘s office number
unnerved her.
5. She gave a highhanded reply when she answered Sgt. Duffy did not take action on
her complaint.
B. Tracking of Events
Arrange the events according to their occurrence in the play. Enter your answer in
the box. (LM, p. 252)
1. 2. 3. 4. 5.
a. She accidentally overheard a conversation between two men planning murder.
b. Desperate to prevent the crime, she began a series of calls – to the operator, to
the police, and others.
c. Mrs. Stevenson is an invalid confined to her bed and her only life line was the
telephone.
d. One night, while she was waiting for her husband to return home, she picked up
the phone and called his office.
e. Her conversation with Sgt. Duffy made her realize the description of the crime
scene and victim.
C. Discovering Traits
Describe the characters by putting traits on the strands. (LM, p.253)
Mrs.
Stevenson
Sgt.
Duffy
Abstraction:
TASK 6: FIRMING UP
Answer the following questions. (LM, p. 253)
1. Which parts of the story can you find heightened tension and
suspense? Which is its effect on you?
2. Was Mrs. Stevenson able to connect to get help? How?
3. Would you be willing enough to face danger just to help
somebody in trouble? Explain your answer.
TASK 7: GETTING THE CHILL

1. Think of Filipino horror or suspense movies that
you have watched and enjoyed.
2. Enter the movie title on the first column and write
on the second column the word to describe
their effect on you: suspenseful, frightening,
horrifying, terrifying.
CHILL FACTOR CHART

Movie Effect
Application:
TASK 8: MOCK RADIO PLAY
Each group will be assigned a portion of the Sorry,

Wrong Number‘s script. They are to perform the radio
drama.
Group 1: pp. 240-242
Group 2: pp. 243-244
Group 3: pp. 245-246
Group 4: pp. 247-248
Group 5: pp. 249-251
MOCK RADIO PLAY RUBRIC

Criteria 4pts. 3pts. 2pts. 1pt.
All vocals are clear
The majority of Less than half of the
and easy to Most vocals are not
vocals are clear vocals are clear and
Clarity understand
and easy to easy to understand.
clear and easy to
throughout the understand.
entire radio play. understand.
Most vocals are at an Less than half of the Most vocals are not at
All vocals are at an
appropriate volume vocals are at an an appropriate volume
appropriate volume
Volume throughout the entire
throughout the entire appropriate volume throughout the entire
radio throughout the radio
radio play. play. entire radio play. play.
All music and sound Most music and Some music and Most music and
Music/ effects enhance the
overall radio play in a
sound effects
enhance the overall
sound effects distract
from the main content
sound effects distract
from the main content
Sound Effects positive radio play in of the of the
way. a positive way. radio play. radio play
The play is not very There is little to no
The play is told and
The play shows original and little originality or
performed in an
Originality interesting and
some originality creative storytelling is creativity in the
and creativity. done or presentation of the
creativity way.
attempted. play.
Students indicate a
Some Characterization is
strong character.
characterization is lacking for the most
Vocal choices are Very little
heard and part or not apparent.
specific, well thought characterization is
Characters out and applicable for
attempted. Some Little to no vocal
heard or attempted.
good vocal choices choices are made or
chosen
are made and attempted.
character(s).
presented.
Group members Group members Group members are Little expression is

Vocal are vocally are vocally vocally expressive attempted or heard
Expression expressive
throughout.
expressive forthe
most part.
some of
the time.
from group
members.
Presentation is for
Presentation is well put The presentation is The presentation is
the most part well
together, organized well put together completed, but
Presentation and professional.
put together,
and organized but poorly ordered and
organized and
inconsistently. put together
professional.
Source: https://mkistheatreanddrama.wikispaces.com/file/view/Radio+Play+Rubric.pdf
Assessment:
TASK 9: COMMUNITY INFORMANTS
Group Mission:
1. To create an infographic informing the public about local
hotlines to contact during emergency situations;
2. Post or distribute the infographics to members of the
community (e.g. relatives, friend, neighbors); and,
3. Provide evidence of information dissemination by taking
pictures
Sample Infographics
Source: http://www.mommypracticality.
com/2012/08/MonsoonEmergency
PH.html
Source: https://kalongkong.wordpress.com/2012/08/07/pub
lic-service-emergency-hotlines-in-the-philippines/
Research. Make sure not to fabricate information.

Conduct research on the contact information of the local
agencies.
Be creative. Use your design and page layout skills

and creativity to come up with a catchy infographic.
Take part. Keep in mind your

responsibilities as a community
member and accomplish your
task from there.
INFOGRAPHIC RUBRIC
Exceeds
Meets Expectations Needs More Work
Component Expectations
8pts. 5pt.
10pts.
Data Visualization The data visualization formats
The data visualization
Other data visualization
formats chosen showcase
chosen make the data formats should be chosen to
the data, but some may
presented easy for the viewer best showcase the data
make it difficult for the
to understand the information. presentation for the viewer`
viewer to understand the
points.
Fonts The infographic includes an
The infographic includes The font(s) used in the
appropriate font to both
multiple fonts and/or the fonts infographic make the text
complement the content and
do not seem related to the almost unreadable.
make the text
infographics topic.
readable.
Colors The color choices enhance the
The color choices for the
visibility of the infographic. The color choices are fine,
infographic are not visually
Different saturations of the but too many colors may
pleasing and detract from the
same have been used.
infographic.
color are used wisely.
Layout The layout of the infographic The layout of the infographic
The infographic is lacking
adheres to the inverted includes all three components
one or two of the
pyramid style - main point on - main point, secondary point,
components of good
top, secondary point next, and and supporting details - but is
infographic design - main
supporting details at the not organized in the
point, secondary point, or
bottom. inverted pyramid style.
supporting details.
Objects The objects included in the

Some objects included in the
infographic are repeated but Too many different types of
infographic are repeated to
the infographic did not seem to objects are used in the
support various data points
include enough repeated infographic and that makes it
and to make it easier for the
elementsto make it hard for the viewer to
viewer to understand the
understandable. understand the content.
infographic.
Source: http://www.schrockguide.net/uploads/3/9/2/2/392267/schrock_infographic_rubric.pdf
SORRY, WRONG NUMBER
Copy of the Script
SOUND: NUMBER BEING DIALED ON TELEPHONE -- THEN A BUSY SIGNAL
MRS. STEVENSON: (A QUERULOUS, SELF-CENTERED NEUROTIC) Oh -- dear ... !
SOUND: SLAMS DOWN RECEIVER IMPATIENTLY AND DIALS OPERATOR ... RINGS FOUR TIMES
OPERATOR: (ON FILTER) Your call, please?
MRS. STEVENSON: Operator, I've been dialing Murray Hill 7-0093 now for the last three quarters of an hour
and the line is always busy. I don't see how it could be busy that long. Will you try it for me, please?
OPERATOR: (ON FILTER) I will be glad to try that number for you. One moment, please. SOUND:
OPERATOR DIALS NUMBER UNDER FOLLOWING
MRS. STEVENSON: (RAMBLING, FULL OF SELF-PITY) I don't see how it could be busy all this time. It's my
husband's office. He's working late tonight, and I'm all alone here in the house. My health is very poor and
I've been feeling so nervous all day.
OPERATOR: (ON FILTER) Ringing Murray Hill 7-0093.
SOUND: TELEPHONE RINGING ... ALL CLEAR ... MRS. STEVENSON SIGHS IN RELIEF ... RINGS FOUR
TIMES ... THE RECEIVER IS PICKED UP AT THE OTHER END
MAN'S VOICE: (FILTER) (HEAVY, TOUGH VOICE) Hello?
MRS. STEVENSON: Hello...? (A LITTLE PUZZLED) Hello. Is - is Mr. Stevenson there?
MAN'S VOICE: (AS THOUGH HE HAD NOT HEARD) Hello? (LOUDER) Hello?
2ND MAN'S VOICE: (FILTER) (ALSO OVER TELEPHONE BUT FARTHER AWAY ... A VERY DISTINCTIVE
QUALITY) Hello.
1ST MAN: Hello. George?
GEORGE: Yes, sir. This is George speaking.
MRS. STEVENSON: (LOUDER AND MORE IMPERIOUS) Hello. Who's this? What number am I calling,
please?
1ST MAN: I'm here with our client.
GEORGE: (PLEASED) Oh ... good. Is everything okay? Is the coast clear for tonight? 1ST
MAN: Yeah, George. He says the coast is clear for tonight.
GEORGE: Okay, okay.
1ST MAN: Where are you now?
GEORGE: In a phone booth. Don't worry. Everything's okay. 1ST
MAN: Very well. You know the address?
GEORGE: Yeah, yeah, I know. At eleven o'clock the private patrolman goes around to the bar on Second
Avenue for a beer.
1ST MAN: That's right. At eleven o'clock.
GEORGE: I will make sure that all the lights downstairs are out. 1ST
MAN: There should be only one light, visible from the street.
GEORGE: Yeah, yeah, I know. At eleven-fifteen a train crosses the bridge. It makes a noise, in case her
window's open and she should scream.
MRS. STEVENSON: (SHOCKED) Oh! ... Hello? What number is this, please?
GEORGE: Okay. I understand, I tell you. That's eleven-fifteen, the train. 1ST MAN:
Yeah. You remember everything else, George?
GEORGE: Yeah, yeah, I make it quick. As little blood as possible ... MRS.
STEVENSON: (GASPS IN HORROR)
GEORGE: ... because ... (AS IF AMUSED) our client does not wish to make her suffer long. 1ST MAN:
That's right. You'll use a knife?
GEORGE: Yes. A knife will be okay. And afterwards I remove the rings and the bracelets and the jewelry in
the bureau drawer. Because ... our client wishes it to look like simple robbery. Don't worry. Everything's
okay. I never ma--
SOUND: THE CONVERSATION IS SUDDENLY CUT OFF ... AGAIN, MRS. STEVENSON HEARS A
PERSISTENT BUZZING SIGNAL
MRS. STEVENSON: (CLICKING PHONE) Oh... ! Oh, how awful. How unspeakably awful!
SOUND: SHE HANGS UP, THEN PICKS UP PHONE AND DIALS, MUMBLING "OPERATOR" TO HERSELF,
AMONG OTHER THINGS ... RING THRICE
OPERATOR: (FILTER) Your call, please?
MRS. STEVENSON: (UNNERVED AND BREATHLESS) Operator, I've just been cut off.
OPERATOR: (FILTER) I'm sorry. What number were you calling?
MRS. STEVENSON: (RAPIDLY) Why, it was supposed to be Murray Hill 7-0093 but it wasn't. Some wires
must have crossed -- I was cut into a wrong number and I -- I - I've just heard the most dreadful thing --
something about a - a murder and -- operator, you simply have to retrace that call at once!
OPERATOR: (FILTER) I beg your pardon? May I help you?
MRS. STEVENSON: (FRANTIC) Oh, I know it was a wrong number, and I had no business listening, but
these two men -- they were cold-blooded fiends -- and they were going to murder somebody, some poor
innocent woman, who was all alone in a house near a bridge and we've got to stop them -- we've got to --
OPERATOR: (FILTER) (PATIENTLY) Uh, what number were you calling, please?
MRS. STEVENSON: Well, that doesn't matter. This was a wrong number. And you dialed it for me. And we've
got to find out what it was immediately!
OPERATOR: (FILTER) What number did you call?
MRS. STEVENSON: Oh, why are you so stupid? What time is it? Do you mean to tell me you can't find out
what that number was just now?
OPERATOR: (FILTER) I'll connect you with the Chief Operator.
MRS. STEVENSON: Oh, I think it's perfectly shameful. Now, look. Look -- it was obviously a case of some little
slip of the finger. I told you to try Murray Hill 7-0093 for me. You dialed it but your finger must have slipped and I
was connected with some other number -- and I could hear them, but they couldn't hear me. Now, I - I - I
simply fail to see why you couldn't make that same mistake again on purpose -- why you couldn't try to dial
Murray Hill 7-0093 in the same sort of careless way --
OPERATOR: (FILTER) Murray Hill 7-0093?

MRS. STEVENSON: Yes!
OPERATOR: (FILTER) I'll try to get it for you.
MRS. STEVENSON: Well, thank you.
SOUND: OPERATOR DIALS -- THEN THE BUSY SIGNAL
OPERATOR: (FILTER) I'm sorry. Murray Hill 7-0093 is busy. I'll call you in twenty minutes--
MRS. STEVENSON: (FRANTICALLY CLICKING RECEIVER) Operator! Operator! Operator! Operator!
MRS. STEVENSON: You didn't try to get that wrong number at all. I asked you explicitly and all you did was dial
correctly.
OPERATOR: (FILTER) I'm sorry. What number are you calling?
MRS. STEVENSON: Well, can't you, for once, forget what number I'm calling and do something for me? Now I
want to trace that call. It's my civic duty and it's your civic duty to trace that call and to apprehend those
dangerous killers -- and if you won't...
OPERATOR: (FILTER) I will connect you with the Chief Operator. MRS.
STEVENSON: Please!
SOUND: RINGS FOUR TIMES
MRS. STEVENSON: (UNDER HER BREATH) Oh, dear ...
SOUND: THE PHONE PICKS UP
CHIEF OPERATOR: (FILTER) This is the Chief Operator.
MRS. STEVENSON: Oh, uh, Chief Operator. I want you to trace a call, a telephone call, immediately. I
don't know where it came from, or who was making it, but it's absolutely necessary that it be tracked down.
Because it was about a murder that someone's planning -- a terrible, cold-blooded murder of a poor innocent
woman, tonight, at eleven-fifteen.
CHIEF OPERATOR: (FILTER) I see.
MRS. STEVENSON: (HIGH-STRUNG, DEMANDING) Well, can you trace it for me? Can you track down
those men?
CHIEF OPERATOR: (FILTER) I'm not certain. It depends.
MRS. STEVENSON: Depends on what?
CHIEF OPERATOR: It depends on whether the call is still going on. If it's a live call, we can trace it on the
equipment. If it's been disconnected, we can't.
MRS. STEVENSON: Disconnected?
CHIEF OPERATOR: (FILTER) If the parties have stopped talking to each other.
MRS. STEVENSON: Oh, but of course they must have stopped talking to each other by now. That was at
least five minutes ago and they didn't sound like the type who would make a long call.
CHIEF OPERATOR: (FILTER) Well -- I can try tracing it. May I have your name, please? MRS.
STEVENSON: Mrs. Stevenson. Mrs. Elbert Stevenson. But, listen --
CHIEF OPERATOR: (FILTER) (INTERRUPTING) And your telephone number, please? MRS.
STEVENSON: Plaza 4-2295. But if you go on wasting all this time --
CHIEF OPERATOR: (FILTER) Why do you want this call traced, please?
MRS. STEVENSON: Wha--? I-- Well -- no reason. I - I mean, I merely felt very strongly that something ought to
be done about it. These men sounded like killers -- they're dangerous, they're going to murder this woman at
eleven-fifteen tonight and I thought the police ought to know.
CHIEF OPERATOR: (FILTER) Have you reported this to the police?
MRS. STEVENSON: Well ... No. Not yet.
CHIEF OPERATOR: (FILTER) You want this call checked purely as a private individual? MRS.
STEVENSON: Yes, yes. But meanwhile --
CHIEF OPERATOR: (FILTER) I'm sorry, Mrs. Stevenson, but I'm afraid we couldn't make this check for you and
trace the call just on your say-so as a private individual. We'd have to have something more official.
MRS. STEVENSON: Oh, for heaven's sake. You mean to tell me I can't report that there's gonna be a murder
without getting tied up in all this red tape? Why, it's perfectly idiotic! (BEAT) Well, all right. I'll call the police.
CHIEF OPERATOR: (FILTER) Thank you. I'm sure that would be the best way to--
SOUND: SHE SLAMS DOWN THE RECEIVER
MRS. STEVENSON: Ridiculous! Perfectly ridiculous!
SOUND: SHE DIALS THE OPERATOR ... RINGS FIVE TIMES
MRS. STEVENSON: (UNDER HER BREATH) The thought of it! ... I can't see why I have to go to all this trouble...
(IMPATIENT AT THE THIRD RING) Oh ...!
SOUND: OPERATOR FINALLY PICKS UP
MRS. STEVENSON: The Police Department. Get me the Police Department -- please!
OPERATOR: (FILTER) Thank you.
SOUND: OPERATOR DIALS
MRS. STEVENSON: (FRUSTRATED) Oh, dear! Do you have to dial? Can't you ring them direct?
OPERATOR: (FILTER) Ringing the Police Department.
SOUND: RINGS THREE TIMES ... MRS. STEVENSON KEEPS MUTTERING UNDER HER BREATH
SERGEANT MARTIN: (FILTER) (BORED WITH HIS NIGHT DUTY ASSIGNMENT) Police Station, Precinct
43, Sergeant Martin speaking.
MRS. STEVENSON: Police Department? Ah, this is Mrs. Stevenson -- Mrs. Elbert Smythe Stevenson of 53
North Sutton Place. I'm calling up to report a murder. I mean (FUMBLING FOR WORDS) -- the murder hasn't
been committed yet but I just overheard plans for it over the telephone -- over a wrong number that the
operator gave me. I've been trying to trace down the call myself -- but everybody is so stupid -- and I guess
in the end you're the only people who can do anything.
SERGEANT MARTIN: (FILTER) (NOT TOO IMPRESSED BY ALL THIS) Yes, ma'am.
MRS. STEVENSON: (TRYING TO IMPRESS HIM) It was a perfectly definite murder. I heard their plans
distinctly. Two men were talking and they were going to murder some woman at eleven-fifteen tonight. She
lived in a house near a bridge. (BEAT) Are - are you listening to me?
SERGEANT MARTIN: (FILTER) Yes. Uh, yes, ma'am.
MRS. STEVENSON: And there was a private patrolman on the street. He was going to go around for a beer
on Second Avenue. And there was some third man -- a client who was paying to have this poor woman
murdered. They were going to take her rings and bracelets and - and use
a knife... Well -- it - it's unnerved me dreadfully -- (REACHING THE BREAKING POINT) -- and I'm not well --
and I feel so nerv--
SERGEANT MARTIN: (FILTER) I see. (STOLIDLY) When was all this, ma'am?
MRS. STEVENSON: About eight minutes ago. (RELIEVED) Then - then you can do something? You do
understand --
SERGEANT MARTIN: (FILTER) What is your name, ma'am?
MRS. STEVENSON: (IMPATIENT) Mrs. Stevenson. Mrs. Elbert Stevenson.
SERGEANT MARTIN: (FILTER) And your address?
MRS. STEVENSON: 53 North Sutton Place. Five-three North Sutton Place. That's near a bridge. The
Queensboro Bridge, you know and -- and - and we have a private patrolman on our street... and Second
Avenue --
SERGEANT MARTIN: (FILTER) And what was that number you were calling?
MRS. STEVENSON: Murray Hill 7-0093. But that wasn't the number I overheard. I mean Murray Hill 7- 0093 is my
husband's office. He's working late tonight and I was trying to reach him to ask him to come home. I'm an
invalid, you know, and it's the maid's night off and I hate to be alone, even though he says I'm perfectly safe
as long as I have the telephone right beside my bed.
SERGEANT MARTIN: (FILTER) (STOLIDLY) Well, we'll look into it, Mrs. Stevenson, and see if we can check it
with the telephone company.
MRS. STEVENSON: (GETTING IMPATIENT) But the telephone company said they couldn't check the call if
the parties had stopped talking. I've already taken care of that!
SERGEANT MARTIN: (FILTER) (A FAINT HINT OF SARCASM) Oh, you have?
MRS. STEVENSON: (HIGH-HANDED) Yes. And, personally, I feel you ought to do something far more
immediate and drastic than just check the call. What good does checking the call do if they've stopped
talking? By the time you tracked it down they'll already have committed the murder.
SERGEANT MARTIN: (FILTER) (GIVING HER THE "BRUSH OFF") Well, we'll take care of it. Don't you worry.
MRS. STEVENSON: Well, I'd say the whole thing calls for a search, a complete and thorough search of
the whole city. Now, I'm very near the bridge and I'm not far from Second Avenue -- and I know I'd feel a
whole lot better if you sent around a radio car to this neighborhood at once!
SERGEANT MARTIN: (FILTER) And what makes you think the murder's going to be committed in your
neighborhood, ma'am?
MRS. STEVENSON: Well, I -- Oh, I don't know. Only the coincidence is so horrible. Second Avenue -
- the patrolman -- the bridge.
SERGEANT MARTIN: (FILTER) Second Avenue is a very long street, ma'am. And you know how many
bridges there are in the city of New York alone?
MRS. STEVENSON: Yes, I know--
SERGEANT MARTIN: (FILTER) Not to mention Brooklyn, Staten Island, Queens, and the Bronx. MRS.
STEVENSON: I know that!
SERGEANT MARTIN: (FILTER) How do you know there isn't some little house on Staten Island on some
little Second Avenue you've never even heard about? How do you know they're even talking about New
York at all?
MRS. STEVENSON: But I heard the call on the New York dialing system.
SERGEANT MARTIN: (FILTER) Maybe it was a long-distance call you overheard.

MRS. STEVENSON: Oh, don't--
SERGEANT MARTIN: (FILTER) Telephones are funny things. Look, lady, why don't you look at it this way?
Supposing you hadn't broken in on that telephone call? Supposing you'd got your husband the way you
always do. You wouldn't be so upset, would you?
MRS. STEVENSON: Well, no, I suppose not. Only it sounded so inhuman -- so cold-blooded.
SERGEANT MARTIN: (FILTER) A lot of murders are plotted in this city every day, ma'am. We manage to
prevent almost all of 'em.
MRS. STEVENSON: But--
SERGEANT MARTIN: (FILTER) But a clue of this kind is so vague -- it isn't much more use to us than no clue at
all.
MRS. STEVENSON: But, surely, you --
SERGEANT MARTIN: (FILTER) Unless, of course, you have some reason for thinking this call was phony
and -- that someone may be planning to murder you.
MRS. STEVENSON: Me? Oh -- oh, no -- no, I hardly think so. I -- I mean, why should anybody? I'm alone all
day and night. I see nobody except my maid, Eloise, and -- she's a big girl, she weighs two hundred pounds -
- she's too lazy to bring up my breakfast tray and -- the only other person is my husband, Elbert. He's crazy
about me -- he - he just adores me. He waits on me hand and foot. He's scarcely left my side since I took
sick, well, twelve years ago....
SERGEANT MARTIN: (FILTER) Well, then, there's nothing for you to worry about. Now, if you'll just leave the
rest of this to us, we'll take care of it.
MRS. STEVENSON: (NOT COMPLETELY MOLLIFIED) But what will you do? It's so late ... it's nearly eleven
now!
SERGEANT MARTIN: (FILTER) (MORE FIRMLY) We'll take care of it, lady.
MRS. STEVENSON: Will you broadcast it all over the city? And send out squads? And warn your radio cars
to watch out -- especially in suspicious neighborhoods like mine --
SERGEANT MARTIN: (FILTER) Lady, I said we'd take care of it. Just now I've got a couple of other matters
here on my desk that require immediate attention. Good night, ma'am, and thank you.
MRS. STEVENSON: Oh, you--! You--!
SOUND: SHE SLAMS DOWN THE RECEIVER HARD
MRS. STEVENSON: Idiot! Oh, now, why did I hang up the phone like that? He'll think I am a fool! (PAUSE)
Oh -- why doesn't Elbert come home? Why doesn't he? Why doesn't he come home?
SOUND: SHE SOBS, MUTTERS, AND DIALS THE OPERATOR ... RINGS FIVE TIMES
MRS. STEVENSON: Operator, for heaven's sake, will you ring that Murray Hill 7-0093 number again? I
can't think what's keeping him so long!
OPERATOR: (FILTER) I will try it for you.
SOUND: OPERATOR DIALS UNDER FOLLOWING
MRS. STEVENSON: Well, try! Try! (TO HERSELF) I don't see why he doesn't answer it... SOUND:
BUSY SIGNAL
OPERATOR: (FILTER) I'm sorry. Murray Hill 7-0093 is busy. I will--
MRS. STEVENSON: (NASTY) I can hear it. You don't have to tell me. I know it's busy...
SOUND: SHE SLAMS DOWN THE RECEIVER AND SIGHS

MRS. STEVENSON: (NERVOUSLY QUERULOUS) If I could only ... get out of this bed for a little while. If I could
get a breath of fresh air, just lean out the window and see the street ...
SOUND: THE PHONE BELL RINGS ... SHE PICKS IT UP INSTANTLY
MRS. STEVENSON: Hello, Elbert? Hello? Hello? Hello?! Oh, what's the matter with this phone? HELLO!
HELLO!
SOUND: SHE SLAMS DOWN THE RECEIVER ... A SECOND'S PAUSE ... THE PHONE RINGS AGAIN,
ONCE ... SHE PICKS IT UP
MRS. STEVENSON: Hello? Hell--? Oh, for heaven's sake, who is this? Hello, Hello, HELLO! SOUND: SHE
SLAMS DOWN RECEIVER
MRS. STEVENSON: (TO HERSELF) Oh, who's trying to call me ... ?
SOUND: DIALS OPERATOR ... RINGS FOUR TIMES
MRS. STEVENSON: (TO HERSELF, ON THE SECOND RING) Why doesn't she answer?
MRS. STEVENSON: Hello, Operator, I don't know what's the matter with this telephone tonight, but it's positively
driving me crazy. I've never seen such inefficient, miserable service. Now, now, look. I'm an invalid, and I'm
very nervous, and I'm not supposed to be annoyed. But if this keeps on much longer...
OPERATOR: (FILTER) What seems to be the trouble, please?
MRS. STEVENSON: Well, everything's wrong! I haven't had one bit of satisfaction out of one call I've made
this evening! The whole world could be murdered for all you people care. And now my phone keeps
ringing and ringing and ringing and ringing every five seconds and when I pick it up there's no one there!
OPERATOR: (FILTER) I'm sorry. If you will hang up, I will test it for you.
MRS. STEVENSON: I don't want you to test it for me! I want you to put that call through, whatever it is, at once!
OPERATOR: (FILTER) I'm afraid I cannot do that.
MRS. STEVENSON: You can't?!? And why -- why, may I ask?
OPERATOR: (FILTER) The dial system is automatic.
MRS. STEVENSON: (GASPS IN EXASPERATION)
OPERATOR: (FILTER) If someone is trying to dial your number, there is no way to check it if the call is coming
through the system or not -- unless the person who's trying to reach you complains to his particular operator.
MRS. STEVENSON: Well, of all the stupid -- and meanwhile I've got to sit here in my bed, suffering every time
that phone rings, imagining everything ...
OPERATOR: (FILTER) I will try to check the trouble for you.
MRS. STEVENSON: Check it! Check it! That's all anybody can do! Oh, what's the use of talking to you?
You're so stupid!
SOUND: SHE SLAMS DOWN THE RECEIVER.
MRS. STEVENSON: (TO HERSELF) Oh, I'll fix her! Of all the impudent ... How dare she speak to me like that?
How dare she?
SOUND: DIALS OPERATOR

MRS. STEVENSON: (TO HERSELF) Call the operator ...
SOUND: RINGS FIVE TIMES
MRS. STEVENSON: (TO HERSELF, ON THE SECOND RING) Oh, why does it take so long?
MRS. STEVENSON: Young woman, I don't know your name. But there are ways of finding you out. And I'm
going to report you to your superiors for the most unpardonable rudeness and insolence it's ever been my
privilege-- Give me the business office at once!
OPERATOR: (FILTER) You may dial that number direct.
MRS. STEVENSON: Dial it direct? I'll do no such thing! I don't even know the number... OPERATOR:
(FILTER) The number is in the directory or you may secure it by dialing Information. MRS. STEVENSON:
Listen, here, you-- Oh, what's the use!
SOUND: SLAMS DOWN THE RECEIVER
MRS. STEVENSON: Oh, dear ...
SOUND: ALMOST INSTANTLY, THE PHONE RINGS
MRS. STEVENSON: Oh, for heaven's sake, I'm going out of my mind! Out of my--
SOUND: SHE PICKS UP THE RECEIVER
MRS. STEVENSON: Hello?! HELLO! Stop ringing me, do you hear? Answer me! Who is this? Do you realize
you're driving me crazy? Who's calling me? What are you doing it for? Now stop it! Stop it! Stop it! HELLO!
HELLO! I - I - If you don't stop ringing me, I'm going to call the police, do you hear?! THE POLICE!
SOUND: SHE SLAMS DOWN THE RECEIVER
MRS. STEVENSON: (SOBBING NERVOUSLY) Oh, if Elbert would only come home! SOUND:
THE PHONE RINGS SHARPLY, SEVEN TIMES UNDER THE FOLLOWING
MRS. STEVENSON: (TO HERSELF) Oh, let it ring. Let it go on ringing. It's a trick of some kind. I won't answer it.
I won't. I won't. I won't, even if it goes on ringing all night. Oh, you ring. Go ahead and ring.
SOUND: THE PHONE SUDDENLY STOPS -- THEN SILENCE
MRS. STEVENSON: (A TERRIFIED NOTE IN HER VOICE) Stopped. Now, now what's the matter? Why did
they stop ringing all of a sudden? Oh... (HYSTERICALLY) What time is it? Where did I put that ... clock? Oh,
here it is. Five to eleven ... oh, they've decided something. They're sure I'm home. They heard my voice
answer them just now. That's why they've been ringing me -- why no one has answered me --
SOUND: SHE PICKS UP THE PHONE
MRS. STEVENSON: (TO HERSELF) I'll call the operator again.
SOUND: SHE DIALS OPERATOR ... RINGS FIVE TIMES
MRS. STEVENSON: (TO HERSELF, ON THE SECOND RING) Oh, where is she? Why doesn't she
answer? Why doesn't she answer?
MRS. STEVENSON: Where were you just now? Why didn't you answer at once? Give me the Police
Department.
SOUND: OPERATOR PUTS CALL THROUGH ... BUSY SIGNAL

OPERATOR: (FILTER) I'm sorry. The line is busy. I will call you--
MRS. STEVENSON: Busy? But that's impossible! The Police Department can't be busy. There must be other
lines available.
OPERATOR: (FILTER) The line is busy. I will try to get them for you later.
MRS. STEVENSON: (FRANTIC) No, no! I've got to speak to them now or it may be too late. I've got to talk to
someone!
OPERATOR: (FILTER) What number do you wish to speak to?
MRS. STEVENSON: (DESPERATELY): I don't know! But there must be someone to protect people beside
the police department! A - a - a -- detective agency -- a --
OPERATOR: (FILTER) You will find agencies listed in the Classified Directory.
MRS. STEVENSON: But I don't have a Classified! I mean -- I'm - I'm too nervous to look it up -- and I
- I don't know how to use the--
OPERATOR: (FILTER) I'll connect you with Information. Perhaps she will be able to help you.
MRS. STEVENSON: (AGONIZEDLY) No! No! (FURIOUSLY) Oh, you're being spiteful, aren't you? You don't
care, do you, what happens to me? I could die and you wouldn't care.
SOUND: HANGS UP RECEIVER ... PHONE RINGS
MRS. STEVENSON: Oh! Stop it! Stop it! Stop it! I can't stand any more.
SOUND: SHE PICKS UP RECEIVER
MRS. STEVENSON: (YELLING FRENZIEDLY INTO PHONE) Hello! What do you want?! Stop ringing, will you?!
Stop it...!
3RD MAN: (FILTER) Hello, is this Plaza 4-2295?
MRS. STEVENSON: (IN A MORE SUBDUED VOICE): Yes. Yes, I'm .. I'm sorry. This ... this is Plaza 4-2295.
3RD MAN: (FILTER) This is Western Union. I have a telegram here for Mrs. Elbert Stevenson. Is there anyone
there to receive the message?
MRS. STEVENSON: (TRYING TO CALM HERSELF): I'm ... I'm Mrs. Stevenson.
3RD MAN: (FILTER) The telegram is as follows: Mrs. Elbert Stevenson, 53 North Sutton Place, New York,
New York. Darling. Terribly sorry. Tried to get you for last hour, but line busy. Leaving for Boston eleven
P.M. tonight, on urgent business. Back tomorrow afternoon. Keep happy. Love. Signed, Elbert.
MRS. STEVENSON: (BREATHLESSLY, ALMOST TO HERSELF) Oh, no --
3RD MAN: (FILTER) Do you wish us to deliver a copy of the message? MRS.
STEVENSON: No. No, thank you.
3RD MAN: (FILTER) Thank you, madam. Good-night.
SOUND: WESTERN UNION HANGS UP
MRS. STEVENSON: (MECHANICALLY) Good-night.
SOUND: SHE HANGS UP
MRS. STEVENSON: (SUDDENLY BURSTING OUT) Oh, no. No -- I don't believe it. He couldn't do it. He
couldn't do it. Not when he knows I'll be all alone. It's some trick -- some fiendish trick --
SOUND: SHE DIALS OPERATOR ... RINGS FIVE TIMES

MRS. STEVENSON: (TO HERSELF, SOBBING) ... some trick .. why doesn't she ...?
MRS. STEVENSON: Operator, try that Murray Hill 7-0093 number for me, just once more, please. OPERATOR:
(FILTER) You may dial that number direct ...
SOUND: MRS. STEVENSON HANGS UP
MRS. STEVENSON: (WRETCHEDLY) Oh ...
SOUND: SHE PICKS UP AND NERVOUSLY DIALS THE NUMBER DIRECT, SOUNDING OUT THE NUMBERS
UNDER HER BREATH ... IT GOES THROUGH, RING AFTER LONG RING ... SEVEN TIMES ... NO ANSWER
MRS. STEVENSON: Oh ... He's gone. He's gone. Oh, Elbert, how could you? How could you --?
SOUND: SHE HANGS UP THE PHONE
MRS. STEVENSON: (SOBS, PITYING HERSELF) How could you? I - I can't be alone tonight. I can't. If I'm
alone one more second, I'll go mad. I don't care what he says -- or what the expense is -- I'm a sick woman ...
I'm entitled ... I'm entitled ...
SOUND: SHE DIALS INFORMATION ... RINGS THREE TIMES
INFORMATION: (FILTER) Information. May I help you?
MRS. STEVENSON: I - I want the telephone number of Henchley Hospital.
INFORMATION: (FILTER) Henchley Hospital? Do you have the street address?
MRS. STEVENSON: No. No. It's somewhere in the seventies. It's a very small, private, and exclusive hospital
where I had my appendix out two years ago. Henchley -- uh, H-E-N-C --
INFORMATION: (FILTER) One moment, please.
MRS. STEVENSON: Please hurry. And please -- what is the time? INFORMATION:
(FILTER) You may find out the time by dialing Meridian 7-1212.
MRS. STEVENSON: (IRRITATED) Oh, for heaven's sake ... I've no time to be dialing ...
INFORMATION: (FILTER) The number of Henchley Hospital is Butterfield 7-0105.
MRS. STEVENSON: Butterfield 7-0105.
SOUND: SHE HANGS UP BEFORE SHE FINISHES SPEAKING, AND DIALS NUMBER EVEN AS SHE SPEAKS
... RINGS FOUR TIMES
WOMAN: (FILTER) (SOLID, FIRM, PRACTICAL) Henchley Hospital. Good evening. MRS.
STEVENSON: Nurses' registry.
WOMAN: (FILTER) Who was it you wished to speak to, please?
MRS. STEVENSON: (HIGH-HANDED) I want the nurse's registry, at once. I want a trained nurse. I want to
hire her immediately for the night.
WOMAN: (FILTER) I see. And what is the nature of the case, madam?
MRS. STEVENSON: Nerves. I'm very nervous. I need soothing -- companionship. You see, my husband
is away and I'm--
WOMAN: (FILTER) Have you been recommended to us by any doctor in particular, madam?
MRS. STEVENSON: No. But I really don't see why all this catechizing is necessary. I just want a trained
nurse. I was a patient in your hospital two years ago. And after all, I do expect to pay this person for attending
me.
WOMAN: (FILTER) We quite understand that, madam. But these are war times, you know. MRS.
STEVENSON: Well--
WOMAN: (FILTER) Registered nurses are very scarce just now -- and our superintendent has asked us to send
people out only on cases where the physician in charge feels that it is absolutely necessary.
MRS. STEVENSON: (HIGH-HANDED) Well, it is absolutely necessary. I'm a sick woman. I'm - I'm very upset.
Very. I'm alone in this house -- and I'm an invalid -- and tonight I overheard a telephone conversation that
upset me dreadfully. In fact (BEGINNING TO YELL) if someone doesn't come at once, I'm afraid I'll go out of
my mind!
WOMAN: (FILTER) (CALMLY) I see. Well -- I'll speak to Miss Phillips as soon as she comes in. And what is
your name, madam?
MRS. STEVENSON: Miss Phillips? And when do you expect her in?
WOMAN: (FILTER) Well, I really couldn't say. She went out to supper at eleven o'clock.
MRS. STEVENSON: Eleven o'clock! But it's not eleven yet! (SHE CRIES OUT) Oh -- oh, my clock has stopped.
I thought it was running down. What time is it?
WOMAN: (FILTER) (PAUSING AS THOUGH GLANCING AT WRIST WATCH) Just fifteen minutes past
eleven....
SOUND: TELEPHONE RECEIVER BEING LIFTED ON THE SAME LINE AS MRS. STEVENSON'S
MRS. STEVENSON: (CRYING OUT) What - what was that?
WOMAN: (FILTER) What was ... what, madam?
MRS. STEVENSON: That -- that click -- just now, in my own telephone. As though someone had lifted the
receiver off the hook of the extension telephone downstairs.
WOMAN: (FILTER) Well, I didn't hear it, madam. Now, about this--
MRS. STEVENSON: (TERRIFIED): But I did. There's someone in this house. Someone downstairs in the kitchen.
And they're -- they're listening to me now. They're --
SOUND: MRS. STEVENSON HANGS UP
MRS. STEVENSON: (IN A SUFFOCATED VOICE) I won't pick it up. I -- I won't let them hear me. I'll be quiet
and they'll think... (WITH GROWING TERROR) Oh, but if I don't call someone now while they're still down
there, there'll be no time... .
SOUND: SHE PICKS UP RECEIVER AND DIALS OPERATOR ... RING THREE TIMES
MRS. STEVENSON: (IN A DESPERATE WHISPER) Operator. Operator. I'm in desperate trouble.
OPERATOR: (FILTER) I'm sorry. I cannot hear you. Please speak louder.
MRS. STEVENSON: (STILL WHISPERING) I don't dare. I -- there's someone listening. Can you hear me now?
OPERATOR: (FILTER) I'm sorry.
MRS. STEVENSON: (DESPERATELY) But you've got to hear me. Oh, please. You've got to help me. There's
someone in this house. Someone who's going to murder me. And you've got to get in touch with ...
SOUND: CLICK OF RECEIVER BEING PUT DOWN ON MRS. STEVENSON'S LINE
MRS. STEVENSON: (BURSTING OUT WILDLY) Oh -- there it is. There it is. Did you hear it? He's put it down --
he's put down the extension phone. He's coming up... (HER VOICE IS HOARSE WITH FEAR)
He's coming up the stairs. Give me the Police Department ... the police department ... police department
... give it to me ...
OPERATOR: (FILTER) One moment, please -- I will connect you.
SOUND: CALL IS PUT THROUGH
MRS. STEVENSON: I can -- I can hear him. He's nearer. (WEAKLY) Oh, I hear him, I hear him. Hurry. Hurry.
Hurry.
SOUND: AS MRS. STEVENSON BECOMES INCOHERENT WITH FEAR AND BEGINS TO SCREAM, A
TRAIN APPROACHES AND ROARS OVER A NEARBY BRIDGE ... AS IT FADES, WE HEAR A BODY
THUMP TO THE FLOOR ... THEN IT PASSES AND WE HEAR THE PHONE STILL RINGING AT THE OTHER
END ... THE TELEPHONE IS PICKED UP
SERGEANT MARTIN: (FILTER) Police Department, Sergeant Martin speaking ... Police Department. Sergeant
Martin speaking ... Police Department. Sergeant Martin speaking ... Police Department. Sergeant Martin
speaking.
GEORGE: (SAME DISTINCTIVE VOICE AS IN BEGINNING OF PLAY) Police Department? Oh, I'm
sorry. Must have got the wrong number. Don't worry. Everything's okay.

Quarter: THIRD
Date:

types serve as a means of connecting to the verbal strategies and ICT resources based
world; also how to use ways of analysing one- on the following criteria: Focus, Voice,
act play and different forms of verbals for Delivery, and Dramatic Conventions.
him/her to skillfully perform in one-act play.
EN9G-IIIa-21: Use verbals
Objectives:
1. Give the meaning of gerund
2. Identify the gerund and its uses in given sentences
3. Use verbals in the form of gerunds in making observations about pictures shown to
them
4. Demonstrate ease in using gerunds to sentences depicting pictures with local
relevance

Lesson: Gerund and Its Uses
Materials:
1. Worksheets
2. Illustrations
References:
1. K to 12 Curriculum Guide (May 2016) p. 206
2. A Journey through Anglo-American Literature Learner‘s Material for English
pp. 255-257
3. Interactive English pp.153-155
III. LEARNING TASKS

Introduction: What activities do you usually do in your everyday living? Form an inventory
in your mind with action words ending in –ing.
TASK 1: GUESS THE –ING WORD
Volunteers will be picking a slip of paper containing an – ing word.
S/he will act it out to let their classmates guess the action word.
e.g. reading, singing, dancing, painting
Activity:
TASK 2: PICTURE ANALYSIS
Students will be given some pictures and they will write on the board what they have
observed.
Source: https://societyofhonor.files.wordpress.com /2014/ Source: http://www.asianews.it/news-en/Two-fishermen-killed-

11/technology-inquirer.jpg demonstrating-in-defence-of-their-fishing-turf-14458.html
Source: https://internationalneeds.wordpress.com/2014/05/ Source: http://pba.inquirer.net/64035/meralco-bolts-vs-alaska-

aces-dec-3
Source: https://twitter.com/rapplerdotcom/status/69589647
Source: http://www.sarahgeronimo.com/forums/index. php
5155435521
/topic /26734-sarah-geronimo-receives-ani-ng-dangal
-award-ncaa-names-her/page-2
Analysis:
TASK 3: SPOT THE DIFFERENCES

Analyse the underlined words in Set A and Set B. What can you say about
the words ending in -ing in set A? Set B?
A B
1. Team Eagles is winning the game. 1. Winning is less important than
sportsmanship.
2. Bea is reading a poem. 2. During her free time, Michelle enjoys
reading.
3. She is singing a rock song.
3. Her favourite activity is singing
Abstraction:
Sample sentences will be given leading to the discussion of the different functions
of a gerund in a sentence as presented in the powerpoint.
References: https://owl.english.purdue.edu/owl/owlprint/627/ LM, p.

255
Application:
TASK 4: PRACTICE ZONE
Underline the gerund in each sentence and give its use.
1. Helping a friend is an automatic yes in your book.

2. Individuals may even get mad for saying no to them.
3. Won‘t people see you as jerk in refusing to help them?
4. Her pastime, baking cakes, proved very lucrative.
5. Our art teacher encouraged experimenting on different colors.
6. She suggested going to museum.
7. The miser hated spending money.
8. Staying at home is her form of relaxation.
9. He is afraid of hurting your feelings.
10. Her par time job, encoding data, gave her extra money.
Assessment:
TASK 5: TEST YOURSELF
Underline the gerund in the sentence and give its use.

Write your answer on the spaces provided before
each number.
1. Soaking in a hot tub is relaxing after a long day at work.

2. Ellie loves playing in the sandbox.
3. Before mopping the floor, you must sweep it thoroughly.
4. Max became ill from eating too much ice cream at the party.
5. A major challenge was writing my persuasive essay on animal communication.
6. I certainly dislike receiving calls from telephone solicitors.
7. The group‘s project was creating a butterfly garden.
8. I enjoy watching fireworks every 31st of December.
9. Making good grades requires time and effort.
10. Elena does not mind lending the money.
11. Listening to Bach‘s music helped the class understand his greatness.
12. My favourite sport, running, takes a great deal of effort.
13. Smoking costs a lot of money.
14. Paul avoids using chemicals on the vegetables he grows.
15. He remembered sending the fax.

Quarter: THIRD
Date:

The learner demonstrates understanding of The learner skillfully performs in one-act
how Anglo-American literature and other play through utilizing effective verbal and
text types serve as means of connecting to non-verbal strategies and ICT resources
the world; also how to use ways of based on the following criteria: Focus,
analysing one-act play and different forms Voice, Delivery, and Dramatic Conventions.
of verbals for him/her to skillfully perform in
a one-act play.
EN9LT-IIIa-20.1: Explain how elements specific to a one-act play contribute to the
development of its theme
EN9LT-IIIa-16.1: Identify the distinguishing features of Anglo-American one-act plays
Objectives:
1. Identify the characters, setting, problem, solution, beginning, middle, and end of a
one-act Anglo-American play
2. Create a character map, setting illustration, problem/solution graphic organizer,
events and theme graphic organizer to distinguish features of one-act plays
3. Demonstrate understanding of the theme presented in a one-act play by explaining
the elements that contributed to its development
4. Foster enthusiasm in the classroom activities related to the featured play

Lesson: Elements of One-Act Play
Materials:
1. Monitor and Speaker
2. Worksheets
3. Illustration Boards
References:
258
III. LEARNING TASKS
Introduction: How would you recount a story that captured your interest?
Students recall the play/drama they have watched before and narrate the events to
the class.
Activity:
TASK 1: GETTING INTO THE WORLD OF LAUGHTER AND TEARS
A. AGREEING-DISAGREEING
Put a check mark if you agree with the statement; if you disagree.
Explain your answer to your partner. (LM, p.257)
1. Theater is the same as theatre.
2. Drama is different from a play.
3. A script is written conversation in a play.
4. A change in time is one scene in a play.
5. A one-act play has all the elements of
drama.
Analysis:
TASK 2: CHARACTER MAP
Students choose a seatmate and describe him or her by completing the character
map.
Source: https://www.pinterest.com/johufford/character-traits/
TASK 3: SET IT IN!

Students, in a group of three, describe something they see
inside the classroom. The teacher guides a discussion about
setting by saying, "If we were characters in a story, then our
classroom would be the setting. It is where our story takes
place. The setting can be location, weather,
or time." Then, students have to illustrate their setting in an illustration board.
TASK 4: PROBLEM AND SOLUTION
Students watch the story of the ―Three Little Pigs‖ and identify the problem and the
solution of the problem in the story.
Source: https://www.youtube.com/watch?v=QLR2pLUsl-Y
Source: http://oakdome.com/k5/lesson-
plans/word/common-core-graphic-
organizer-problem-and-solution.php
TASK 5: PAIR-SHARE A LOVELY SATURDAY

Students think about their ideal Saturday. Ask them to turn to
their partners and describe their day from beginning to end.
Ask a few volunteers to share their descriptions with the
whole class.
Abstraction
TASK 6: REVISITING THE RADIO PLAY
Refer to the one-act radio play script to answer these
questions:
1. Is Sorry, Wrong Number a one-act play?
2. The elements of a one-act play are found in the script. Fill in the grid below with the
needed information.
ELEMENTS OF ONE-ACT PLAY DETAILS
1. Setting
2. Plot and Plot Structure
3. Character and Characterization

4. Conflict
5. Theme
6. Suspense and Atmosphere

Application
TASK 7: COMPLETE ME
Based from the radio one-act play, ―Sorry, Wrong Number”, complete the Theme
Graphic Organizer.
Source: http://www.gridgit.com/post_thematic-essay-graphic-organizer_498445/

Quarter: THIRD
Date:

him/her to skillfully perform in a one-act play.
EN9WC-IIIb-9.4: Identify types and features of a play synopsis
EN9WC-IIIe-9.5: Use literary devices and techniques to craft a play synopsis
Objectives:
1. Identify the features and format of a play synopsis
2. Follow the guidelines on writing a synopsis
3. Craft a play synopsis applying the techniques learned
4. Exhibit giving importance to following proper format when writing a play synopsis

Lesson: Writing a Plot Summary
Materials:
1. PowerPoint Presentation
2. Paper and Pen
References:
2. K to 12 Curriculum Guide (May 2016) p. 206-207
3. A Journey through Anglo-American Literature Learner‘s Material for English p. 259
III. LEARNING TASKS

Introduction: Have you already seen a stage play? Are you familiar with techniques
and guidelines on how to craft a play synopsis if you will be asked to write one?
TASK 1: BRAINSTORMING
In writing a play synopsis, can we include anything that does not appear in
the original text? Are we to include personal comments or evaluation?
Activity:
TASK 2: LOOKING CLOSER
Read the following plot summary or synopsis of ―Sorry, Wrong
Number‖. (LM, p.259)
Mrs. Stevenson is sick and confined to her bed. Her only lifeline is the telephone.
One night, while waiting for her husband to return home, she impatiently tries to locate
him. She picks up the phone and accidentally overhears a conversation through a
crossline, between two men planning to murder a woman who lives near a bridge on
Second Avenue at 11:15 at night on that day. She begins a series of calls--to the
operator, to the police, and others, desperate to prevent the crime.
 Are you satisfied with how it is written? Rate from 1 to 10.
Analysis
TASK 3: SYNOPSIS CRITIQUING
Analyze further the given synopsis above. Use the checklist below
in evaluating. Put in the statements that are satisfied.
Time and place are indicated at the beginning of the

synopsis.
Brief description of the main characters is given.
The events are told chronologically the same manner as

they took place in the story.
Dramatic scenes are described within the synopsis.
It‘s less than 250 words.
The synopsis is told in present tense and in third person.
Dialogues are not included.

Abstraction:
Guidelines in Writing a Play Synopsis
1. The time and place should be indicated at the beginning of the
synopsis.
2. A brief description of the main characters should be given as they
appear in the story.
3. The synopsis should begin at the opening of the story and told in the
same order as the play, and end at the play‘s conclusion.
4. Dramatic scenes that propel the story forward, including climatic scenes should be
described within the synopsis.
5. The synopsis must be no longer than 250 words long.
6. The story must be told in the present tense and in the third person.
7. When telling the story, dialogue should not be included. The story should be
related in an informal way.
Application
TASK 4: WRITE SHOP
In a small group of 5, students will write their own version of the synopsis
of the play ―Sorry, Wrong Number‖.
SYNOPSIS WRITING RUBRIC
Criteria Excellent Good Below Average Ineffective

Main Idea Main idea is
Main idea is unclear-
The main idea is not
Main idea is clear. not specifically stated
established. present.
in the writing.
Supporting All important details are
Important details are
Some critical Synopsis contains only
included but some
Details included.
might be missing.
information is missing. some details.
Format Details are in logical

Most of the ideas are in Ideas are in random
Ideas are not in a
order because the logical order because
logical order. order and not logical.
format is followed. format is not observed.
Content Clear understanding of Adequate Basic understanding of Little or no
information in the understanding is information in text is understanding is
text is demonstrated. demonstrated. demonstrated. demonstrated.
Source: www.studyzone.org/testprep/ela4/h/summaryrubric.htm
Assessment:
TASK 5: MY LEARNINGS
Complete the statement:
This lesson enables me to
.
Republic of the Philippines
DEPARTMENT OF EDUCATION
Region IX, Zamboanga Peninsula
Division of Zamboanga Sibugay
BULAWAN NATIONAL HIGH SCHOOL

Quarter: THIRD
Date: December 12, 2019

The learner demonstrates understanding of The learner skilfully performs in one-act play
types serve as a means of connecting to the verbal strategies and ICT resources based on
world; also how to use ways of analysing one- the following criteria: Focus, Voice, Delivery,
him/her to skilfully perform in one-act play
EN9LT-IIIc-16: Analyze literature as a means of connecting to the world
Objectives:
1. Analyze a selection and understand its relevance to the modern world
2. Show cooperation in performing the different tasks related to the piece
3. Summarize and reflect on the topic by writing their own quotation

Lesson: “For Conversation, Press # 1” by Michael Alvear
Materials:
1. Illustrations
2. Pen and Paper
3. Art Materials
4. Pictures
5. Activity sheets
6. Score sheets
References:
268
3. Teacher‘s Guide
III. LEARNING TASKS
Preliminary Activities:
A. Prayer
B. Greetings
C. Checking of Attendance
D. Setting of House Rules
1. Avoid making unnecessary noise.
2. Do not interrupt if someone is talking. Wait for your turn.
3. If you want to talk, raise your right hand to be acknowledged.

4. Listen to the discussions and instructions attentively.
5. You are part of the group; you may also share your ideas.
6. Gadgets are allowed but only use them if necessary. Learn when to use or not to use
them.
7. Cooperate in every activity.
8. Submit your outputs before or on time.
(Applying classroom management for a positive environment)
E. Review of the Past Lesson

The teacher will ask the following questions as review:
1. What did we discuss last meeting?
2. Who can enumerate the 9 technical vocabularies for drama and theatre?
Lesson Proper
A. Motivation
TASK 1: PICTURE ANALYSIS (SCIENCE/TECHNOLOGY INTEGRATION)
The teacher will flash pictures and will ask the following questions:
What can you say about these pictures?
 What are the advantages of cell phone?
 What are the advantages of e-mail and voice mail?
 Do you think they are important in our everyday living?
Source: http://www.bu.edu/geneva/life-housing/cellphones/
Source: http://www.thisismoney.co.uk/money/
cardsloans/article-2097807/Sold-19-British-bank-
Source: http://marlacummins.com/adhdemail-
customers-credit-card-details-avai lable-Russian-
productivity/
B. Presentation
The teacher will say this:
 It seems like you are all ready for our lesson today, with that, I am
requesting everyone to read the objectives.
 The students read the objectives as instructed.
 The teacher will now proceed to lesson’s presentation.
 The teacher will solicit ideas from the students.
Give your comments about this quote.
Source: http://bernardgoldberg.com/einstein-may-not-have-said-it-but-its-still-true/
C. Discussion (ICT INTEGRATION)
 The teacher will give the copy of the text.
 An audio narration will be played as a guide of the students as they read the text. (Silent reading)
 Students will read it again by group. (Second reading)
For Conversation, Press # 1

By Michael Alvear
A funny thing happened in the way to communications revolution: we stopped

talking to one another.
I was walking in the park with a friend recently, and his cell phone rang, interrupting
our conversation. There we were, walking and talking on a beautiful sunny day and
----poof!----I became invisible, absent from the conversation because a gadget
designed to make communication easier.
The park was filled with people talking on their cell phones. They were passing other
people without looking at them, saying hello, noticing their babies or stopping to pet their
puppies. Evidently, the untethered electronic voice is preferable to human contact.
The telephone used to connect you to the absent. Now it makes people sitting next
to you feel absent.
Why is it that the more connected we get, the more disconnected I feel? Every
advance in communication technology is a setback to the intimacy of human
interaction. Write e-mail and instant messaging over the Internet, we can now
communicate without seeing or talking to one another. In making deposit at the bank,
you can just insert your card into the ATM. With voice mail, you can conduct entire
conversations without ever reaching anyone. If my mom has a question, I just leave
the answer on her machine..
As almost every conceivable contact between human beings gets
automated, the alienation index goes up.
I am no Luddite. I own a cell phone, an ATM card, a voice-mail system, and an e-
mail account. Giving them up isn‘t an option---they‘re great for what they‘re intended
to do. It‘s their unintended consequences that make me cringe.
So I‘ve put myself on technology restrictions: no instant messaging with people
who live near me, no cell-phoning in the presence of friends, no letting the voice
mail pick up when I‘m home.
Readers Digest pp. 143-145, July 2000
TASK 3: UNDERSTANDING THE TEXT

Group Sharing/Discussion:
 The teacher will instruct the students to go to their respective
groups for the activity. (Already assigned during the first
meeting of the class, according to their interest,
gender,etc.)
 Each group will discuss/share ideas with the group mates
and answer the assigned questions.
 Each group must select a reporter to report the output in
front of the class.
Questions for group discussion:
G1
3. Why does the author feel lonely with a cell phone, e-mail and a voice mail in hand? It is
because people stop talking face to face to one another.
4. Why does the author feel he is invisible and absent from his conversation with his
friend? It is because his friend was busy talking on the phone, completely forgetting his
presence.
G2
5. Why do people, cell phones are preferable to human contact? It is because they can be
used anywhere and anytime.
6. What are the advantages of the e-mail and voice mail according to the author? With e-
mail, we can communicate without seeing or talking to one another, and with voice
mail, we can conduct online conversation without ever reaching anyone.
G3
7. What is the consequence brought about by the communications technology?
People lose their intimacy of interaction.
8. The question- Why is it that the more connected we get, the more disconnected I feel?
The author reveals confusion about technology.
G4
9. What is the author’s attitude towards the communications revolution? He thinks it’s
great, but worries about unintended consequences.
10. The third and fourth paragraphs give emphasis on how cell phone _______.
provides convenience
D. Application: 
TASK 4: DIFFERENTIATED ACTIVITIES
 The teacher will instruct the students to go to their respective group. Before
doing their task, the teacher will suggest rubrics on the different task given.
The teacher will allow each group to make revisions or adjustments on the
rubrics presented by the teacher.
 The teacher will let the students read the criteria and define each criterion to
enhance reading skills and integrate literacy on the lesson.
 The teacher will encourage each group to assign a leader, secretary and time
keeper for a smooth flow in doing their task.
 Remind the groups that they are only given 5 minutes to do their task and
other 2 minutes for their presentation.
 The teacher will inform the groups that they are the one to rate the outputs of
the other groups. Group 1 will rate the work of group 2, group 2 will rate the
work of group 3, group 3 will rate the work of group 4, and group 4 will rate the
work of group 1.
 After giving the score, each group will give comments to the output presented
and have to compute the total score gained by the group assigned to them.
(INTEGRATION OF NUMERACY SKILLS ON THE LESSON)
Group 1 – ACTORS
In a role play, show the proper etiquette when using a cell phone
and telephone.
Group 2 – DANCERS
Through a dance, interpret a song that discusses the author‘s desire to have human
contact rather than use of technology in communication.
Group 3 – MATHEMATICIANS
Make a computation on how much your weekly expenses allotted for load and phone
bills amount to. Think of how you can still use technology but lessen the expenses.
Group 4 – SINGERS
Compose a jingle about communications technology highlighting its importance but
not losing interaction with others, and then sing it.
E. Generalization:
The teacher will say:

 In your own understanding, what does the text all about?
 How important to have these things?
 In what way can you show/prove to yourself that you are not one of the so called gadgets lover?
 Which do you prefer in communication, being engaged in the group or just simply using your cellphone? Why?
 If you could magically ask for one thing in life. What would it be? To be called RICH because you have all these
things. (Cell phone, ATM, etc.) Or to become FAMOUS because you’ve done something good to the people who are
in need?
 The teacher will entertain questions and clarifications regarding of the topic. Then, proceed to assessment.
IV. Assessment:
 The teacher will distribute a ¼ sheet of paper to each student.

 After the distribution of the paper, the teacher will now give the instruction.
1. Which statement best expresses the author’s main point?
a. communications technology is interfering with human contact.

b. people are communicating less than they did in the past
c. the advances in communications technology are unnecessary
d. people are forgetting how to communicate with others
2. Which best explains the purpose of the questions the author asks throughout the selection?
a. they reveal the author’s confusion about technology

b. they invite the reader to disagree with the author
c. they highlight the author’s examples and arguments
d. they challenge the reader to find answers to problems
3. Which best describes the author’s tone throughout the selection?
a. amused b. critical c. hostile d. indifferent
4. What is most emphasized about cell phones in the third and fourth paragraphs?
a. how convenient they are c. how they isolate people
b. how they threaten safety d. how efficient they are
5. Based on the context of paragraph 10, Luddite refers to what?
a. a person who rejects technology

b. a person who embrace change
c. a person who enjoys solitude
d. a person who works well with others

Quarter: THIRD
Date:

EN9F-IIIb-3.11: Produce the English sounds correctly and effectively when delivering
lines in a one-act play
Objectives:
1. Produce words with ―th‖ sounds correctly and effectively
2. Deliver lines from a one-act play observing the correct pronunciation of words
with ―th‖ sounds
3. Demonstrate active participation in practicing saying of words with voiced and
voiceless ―th‖ sounds
4. Pay particular attention to words with voiced and voiceless ―th‖ sounds when
encountered in texts

Lesson: Sounding Words Correctly - Voiced and Voiceless TH
Materials:
1. Video Clip
2. Tarpapel
3. Bucket with Hearts
References:
1. K to 12 Curriculum Guide (May, 2016) p. 206
272
3. Teacher‘s Guide pp. 147-148
III. LEARNING TASKS
Introduction: How well can you distinguish ―th” sounds?
TASK 1: WORD BANK
Fill in each blank with the appropriate word from the bank.
Missing Word Sentences
Questions to Answer:
 How is th pronounced in the following words?
Thursday, three, think, thin, thick, tooth, thunder, father
 Did you notice any difference?
Activity:
TASK 2: VIEWING
View this clip from https://www.youtube.com/watch?v=2jxm7EeVXWs
A
n The IPA symbol for the voiced th sound is /ð/.
a The IPA symbol for the voiceless th sound is /θ/.
l
y The /ð/ is the sound you hear at the beginning of frequently used words
s such as the, this, that, those. You also hear this
i sound in the middle of many common words such as: mother, father, brother and
s rather. To make the /ð/ sound, place your tongue slightly between your teeth. Your
: tongue and teeth should be touching. Since this is a voiced sound you should feel your
vocal chords vibrate when you make the sound.
To make the/θ/ sound, place your tongue slightly between your teeth. Your tongue
and teeth should be touching lightly. When the air flows out of your mouth it should feel
gentle. The /θ/ is the sound you hear in words such as:
thanks, Thursday, birthday and month, tongue.
Abstraction:
TASK 3: GAME OF HEARTS
Directions:
1. Prepare as many as you can a heart shape card with words with th
sound.
2. Place them in a pile (bucket or box)
3. Have your students to pick one and read. If the word is said correctly, the student
keeps it; if not, card goes back into pile.
4. The student with most cards by the end of the session wins.
Application:
TASK 4: TRY THIS!
Using the following words with the th sound complete the table below.
throw Math theme

thanks those month
with thing thirst
mother their then
anything something thematic
brother Thursday that
there father
The 'voiced th' /ð/ The 'voiceless th' /θ/
Assessment: TASK 5: SAY THEM IN LINES

Deliver the following lines taken from William Shakespeare‘s Romeo
and Juliet. Pay particular attention to the words with th sounds.
Pronounce them correctly.
Servant: When good manners shall lie all in one or two men's hands and they unwashed
too, 'tis a foul thing.
First Servant: Away with the joint-stools, remove the court-cupboard, look to the plate.
Second Capulet: 'Tis more, 'tis more, his son is elder, sir; His son is thirty. Capulet:
Will you tell me that?
Romeo: Beauty too rich for use, for earth too dear! Tybalt:
Come hither, cover'd with an antic face.
Capulet: Go to, go to; You are a saucy boy: is't so, indeed? This trick may chance to
scathe you, I know what:
DELIVERING LINES RUBRIC
Criteria Exceptional Good Fair Poor
Voice Student projects their Student strives to
Student exhibits
voice clearly and utilizes Student varies enunciate and add
poor vocal
their voice to include voice pitch and variations, but overall
enunciation and
variations of pitch, rate, tone, and reflects effect is flimsy - due
no variations in
volume, and tone some level of to either too much or
volume and/or
consistent to expressiveness. too little expression.
pitch.
their character.
Pronunciation Students fail to Students fail to
Students fail to
Students are able to pronounce three
pronounce one pronounce two words
pronounce all words with or more words
word with th with th sound
th sound correctly. with th sound
sound correctly. correctly.
correctly.
Reference: http://www.rcampus.com/rubricshowc.cfm?code=S3WX6B&sp=true

Quarter: THIRD
Date:

EN9V-IIId-29: Get familiar with the technical vocabulary for drama and theatre (like stage
directions)
Objectives:
1. Familiarize oneself with technical vocabulary for drama and theatre specifically
stage directions
2. Illustrate correctly the different types of stage regarding the audience and stage
location
3. Apply knowledge on stage directions in accomplishing a task in labeling a blank
stage layout
4. Apply knowledge in recognizing the type of stage when given the chance to
watch an actual play

Lesson: Types of Stage and Stage Directions
Materials:
1. Laptop
3. Pen and Paper
References:
276
III. LEARNING TASKS
Introduction:
Have you ever seen a stage play? Are you familiar with the type of stage used? If you will
be a stage actor/actress, do you know stage directions if the director prompts you during
blockings?
TASK 1: STAGE PLAY TICKETS ON THE HOUSE
It‘s your lucky day. You will be given a chance to have a free ticket to one of these
Filipino stage plays. You will be picking a number via draw lots and your teacher will
announce later to which play you‘ll be an audience.
Maxie The Musical: Ang Pagdadalaga ni Maximo Oliveros is an

original Filipino stage musical adapted from the award-winning movie
Ang Pagdadalaga ni Maximo Oliveros. It‘s about a 12-year- old gay
boy Maxie fell in love with a cop. This play directed by Dexter M. Santos
provided a rollercoaster of entertainment. It will make you laugh out loud,
cry, and then, laugh once more. More than the kilig and funny moments,
one thing is for sure – the play will transport you back to those days of
kulitan with your family, times when things were simpler.
Sources:
*http://www.gmanetwork.com/news/story/338412/ lifestyle/theater-review-a-whirlwind-bromance-in-maxie-the-musicale
* https://joyfullyurs.blogspot.com/2013_11_01_archive.html
"Bona" is a contemporary stage adaptation of the 1980 Lino Brocka movie

classic, with Domingo taking on the iconic film role of veteran actress
Nora Aunor. Director Soxy Topacio and playwright Layeta Bucoy traded
the film's melodrama to create a laugh-out- loud comedy. In the stage
version, Bona is a middle-aged, single call center agent who becomes
obsessed with Gino Sanchez (film actor Edgar Allan Guzman), a
contestant of the TV talent search "Star of Tomorrow." She spearheads his
fan club, Gino's Angels, and stalks the wannabe actor on social networking
sites, as well as in mall tours.
Sources:
* http://news.abs-cbn.com/lifestyle/08/24/12/review-bona-eugene-domingo-show
* http://www.vintersections.com/2012/08/peta-relives-film-bona-onstage-august.html
Take a local rock band‘s songs of broken hearts and unrequited

love, add a talented cast of singer-actors, mix them up with a
compelling narrative by an award-winning playwright, and you‘ve
got the recipe for a successful rock/comedy musical. The
Philippine Educational Theater Association‘s (PETA) latest
offering, ―Rak of Aegis‖, uses Aegis‘s songs in the key of sawi
to tell a story of human resilience and recovery after a
devastating natural calamity. The title is a pun on ―Rock of Ages‖,
the five-time Tony-nominated rock musical featuring classic rock
songs from ‗80s glam metal bands.
Sources:
* http://www.gmanetwork.com/news/story/349642/lifestyle/theater- review-
rak-of-aegis-is-joyful-storm-of-humor-and-music
* http://3xhcch.blogspot.com/2014/02/review-of-rak-of-aegis-singing-in-flood.html
* http://www.gmanetwork.com/news/story/349642/lifestyle/theater-review-rak-of-aegis-is-joyful-storm-of-humor-and-music
Stories of magical spells, kings, and their kingdoms are back to enchant
young audiences as Christine Bellen‘s “Mga Kuwento ni Lola
Basyang” returns to the Philippine Educational Theater Association
(PETA). PETA‘s longest-running play coincides with the 20th National
Children‘s Month, which promotes freedom of expression among
children and encourages them to participate in public activities.
PETA‘s ―Mga Kuwento ni Lola Basyang‖ includes three stories that
are rich in morals, namely
―Ang Prinsipeng Mahaba ang Ilong,‖ ―Ang Binibining Tumalo sa
Mahal na Datu,‖ plus a new story, ―Ang Mahiwagang Kuba.‖
Sources:
http://petatheater.com/2012/10/12/celebrate-national-childrens-month-with-petas-mga-kuwento-ni-lola-basyang/
http://www.aktivshow.com/category/musical-play/
Activity:
TASK 2: WHERE’S MY SEAT?
Now, you are already given your free tickets for the stage play. You might be curious to
how the seats of the audience are arranged so you‘ll check beforehand. The next
pictures will show you the picture of the theatre for each play. Indicate in which parts you
as the audience can sit. (e.g. front of the stage, side of the stage)
 For the play “Maxie” (1)
Where can you possibly sit?
 For the play “Bona” (2)
 For the play “Rak of Aegis” (3)

 For the play “Mga Kwento ni Lola Basyang” (4)
Analysis:
TASK 3: FAMILIARIZING WITH TYPES OF STAGES
When you’re devising a drama, you’ll need to think about how to stage your
performance and what type of stage to use. With a partner, study the four types
of stage. Rearrange the letters to find out the term for the particular stage and
identify the play assigned with this type of stage in your previous activity.
(LM, pp. 275-276)
Source: https://cassstudio6.wordpress.com/types/
R T H T U S
This stage is the oldest known fixed type of staging in the world, and it is
thousands of years old. The play is assigned with this
type of stage.
Source: https://cassstudio6.wordpress.com/types/
O P E U I R C N M S
This is a stage where the audience sits on one side only. The audience faces one
side of the stage directly, and normally sits at a lower height. The play
is assigned with this type of stage.
Source: https://theatredesigner.wordpress.com/theatre-design-101/stage-types-theatre-in-the-round/
N I - H E T - N R U O D
This stage is positioned at the center of the audience - i.e., there is audience
around the whole stage. This type of stage creates quite an intimate atmosphere, and is
good for drama that needs audience involvement. The play
Source: https://theatredesigner.wordpress.com/theatre-design-101/stage-types-traverse/
V T R A E S E R
This is a stage where the audience sits on two sides. Also, this type of stage is good
for creating an intimate atmosphere. The play
Abstraction:
TASK 4: FAMILIARIZING WITH STAGE DIRECTIONS
In a play, stage directions are instructions from the playwright to the actors and
stage crew. Though usually placed in brackets within scripts, they are not
spoken. Stage directions relate the author's intentions for actors' entrances, exits,
movement, intonation and essential behaviors. In addition, they provide guidance
for the crew regarding their responsibilities, including what the lighting should
be and any sounds, such as music, that must be added.
Stage directions sometimes provide information about what is happening on
stage in the background, away from the main action. They also indicate the
mood and environment envisioned by the playwright.
Stage directions often tell actors how they should speak, and these are indicated
at the beginning of lines.
An important aspect of stage directions tells the actors
their locations on stage.
Source: https://www.reference.com/art-literature/stage-directions-play-9baa44c85fc89b56#
Study the stage layout below. Directions are indicated based on the actor‘s
perspective.
Application:
TASK 5: WORK WITH CELEBRITIES

Below are pictures of famous teen celebrities
nowadays. Cut out their picture and paste them to
their stage assignment. The last portion indicates
where they should be positioned in the stage layout.
STAGE LAYOUT
1. Kathryn Bernado should be on DOWNSTAGE LEFT.

2. Alden Richards should be on UPSTAGE LEFT.
3. Liza Soberano should be on UPSTAGE CENTER.
4. Dhaniel Padilla should be on DOWNSTAGE CENTER.
5. Nadine Lustre should be on STAGE RIGHT.
6. Enrique Gil should be on STAGE LEFT
7. Maine Mendoza should be on DOWNSTAGE RIGHT.
8. James Reid should be on UPSTAGE RIGHT
Assessment:
TASK 6: CHECKPOINT
A. Illustrate the different types of stage. Use rectangles to
represent the audience and circle to represent the stage.
Example:
Traverse Stage
1 2 3 4
Proscenium In-the-round Traverse Thrust
B. Label this stage layout with the correct stage direction terms.

Quarter: THIRD
Sub-Theme: Despite Differences in Points of View
Date:

EN9LC-IIId-6.5: Recognize faulty logic, unsupported facts, and emotional appeal EN9VC-
IIId-4.3/5.3: Analyze the information contained in the material viewed
Objectives:
1. Recognize faulty logic, unsupported facts, and emotional appeal in statements
and advertisements
2. Explain faulty logic, unsupported facts, and emotional appeal found in the
material viewed or listened to
3. Promote openness and transparency in evaluating statements and
advertisements commonly encountered

Lesson: Logic, Facts or Appeal
Materials:
1. PowerPoint Presentation
2. Paper and Pen
3. Laptop, Speaker and Projector
References:
283
3. Teacher‘s Guide p. 154
III. LEARNING TASKS
Introduction: Have you ever found yourself arguing with a friend over something you
knew to be true but you just couldn‘t find a way to convince him to believe you? In
everything we do and say we have to be wise. We need to be a critical thinker to
determine the worth of our ideas.
TASK 1: SHARING THOUGHTS
How are you going to sell someone a product you know
nothing about?
What are you going to do to convince someone of what
you are talking about?
Activity:
TASK 2: PHILIPPINE TV ADS

The students will be shown three (3) TV commercials in the
Philippines.
Source: https://www.youtube.com/watch?v=-VSN Source: https://www.youtube.com/watch?v=8Vd

qAWD5c0 G8eCxors
Source: https://www.youtube.com/watch?v=oG2jPG
pN0Zs
Analysis:
Questions to Answer:
1. In which of the commercials are you most convinced?
2. What makes the commercial convincing? If not, what‘s wrong
with them?
3. In the first commercial, is there any connection with the tag line
and the situation?
4. In the second commercial, are you convinced to buy the products more than you‘re
moved with the story it presents?
5. In the third commercial, is there an evidence supporting the claim that the product is
the best?
Abstraction:
TASK 3: FIRMING UP
Read the discussion below and decide which among the commercials falls under
each.
1. Faulty logic is a kind of persuasive technique having fault or

imperfect reasoning or sound judgment.
2. Unsupported fact is not upheld by evidence or facts;
unsubstantiated (unconfirmed).
3. An emotional appeal is a method of persuasion appealing to both
the brain and the heart.
Application:
TASK 4: BE WISE
In everything you do and say you have to be wise. You
should choose whether it is something to believe or not.
Likewise, you have to think several times before making a
claim so you can convince people to believe you.
Let us test your critical thinking skill in determining the worth of ideas. Listen to the following
statements. Identify the statements which have faulty logic, unsupported facts, or
emotional appeal.
1. I argued with Mrs. Bam before I turned in my homework so I got a bad grade on my
paper.
2. A teenager argues against the family's vacation plans and mother responds by saying,
"When you pay the bills, you can make the decisions."
3. After making it clear that he values employee "loyalty" a supervisor asks for
"volunteers" to help a fellow supervisor move on the weekend.
4. Exercising makes you feel good.
5. I know why you failed all your classes last semester. You study.
Faulty Logic Unsupported Facts Emotional Appeal

1
2
3
4
5
Assessment:
TASK 5: CHECKPOINT
Identify the statements which have faulty logic, unsupported facts or
emotional appeal.
1. Everyone wants to get married someday. A good self- concept is
important in attracting a husband or wife. Therefore, everyone
should develop a good self-concept.
2. An ordinary Jew was required to wash and change his clothes before visiting the inner
court of the temple.
3. Students who take earth science instead of physics are lazy. Susie took earth science
instead of physics. She should be kicked out of school.
4. ―I loved that movie we saw last night with Brad Pitt. I am going to rent all of his movies,
and I am sure I‘ll like all of them.‖
5. Ms. Bauer is an incompetent math teacher. She is "a big fat idiot."
6. "Science shows that the Earth is billions of years old!"
7. There must be objective rights and wrongs in the universe. If not, how can you
possibly say that torturing babies for fun could ever be right?
8. As Mayor, my top priority will be improving education. So my first act of office will be to
cut funding for our public schools.
9. I know why you failed all your classes last semester. You don‘t study.
10. I met a little boy with cancer who lived just 20 miles from a power line who looked into
my eyes and said, in his weak voice, ―Please do whatever you can so that other kids
won‘t have to go through what I am going through.‖

Quarter: THIRD
Date:

world; also how to use ways of analysing on the following criteria: Focus, Voice,
one-act play and different forms of verbals for Delivery, and Dramatic Conventions.
him/her to skilfully perform in one-act play.
EN9LT-IIIe-16: Analyze literature as a means of connecting to the world
EN9V-IIIe-29: Get familiar with the technical vocabulary for drama and theatre (like stage
directions)
Objectives:
1. Analyze the initial scenes of a world renowned Shakespearean play
2. Familiarize oneself with theatre related terminologies
3. Identify sensory images used in the text
4. Write their own act and version of Romeo and Juliet
5. Exhibit active participation in discussing Romeo and Juliet through
collaborative activities

Lesson: “Romeo and Juliet” (First Encounter) by William Shakespeare
Materials:
1. Copy of the Text
2. Laptop, Speaker, Projector
References:
1. K to 12 Curriculum Guide (May 2016) pp. 207
2. A Journey through Anglo-American Literature Learner‘s Material for English pp. 283-293
3. Teacher‘s Guide pp.154-159
III. LEARNING TASKS
Introduction: ―To believe in love, to be ready to give up anything for it, To be
willing to risk your life for it, is the ultimate tragedy.‖
TASK 1: EYES HERE
Watch a music video from popular romantic and tragic play ―Romeo and
Juliet‖.
Source: http://www.youtube.com/watch?v=4FHpmn-KYec
 Fill up the requited information in the Visualization Plot Worksheet below to analyze
the music video. (LM, p. 284)
The story begins with…
A problem the character has is …
They try to solve the problem by…
They finally solve the problem when …
TASK 2: UNSCRAMBLE THE LETTERS

As Romeo and Juliet is a stage play, learn who are the persons involved in the
performance of a play. Arrange the letters on the right to define what is being described on
the left. (LM, pp. 284-285)
The backstage technical crew responsible for running

the show
In small theater companies the same persons build the GSATE WECR
set and handle the load-in. Then, during the
performances, they change the scenery and
handle the curtain.
A male or female person who performs a role in a

TRSAIT
play, television, or movie
\
The person who oversees the entire process of CREORDTI
staging a production
A group of theatrical artists working together to

create theatrical production.
BNSELNEM
Activity:
TASK 3: SEARCH AND MATCH
Look for the words in the chart that match the meanings below. (LM, p.
285-286)
P E R N I C I O U S
U W R D S A H T S T
N D R Q L S F G W A
I S P I I L X C B B
S B E N V G J L M W
H F A D E A M O O Q
M B F D G A L E D P
E L D N M O S L S E
N A L T O M B E R S
T L S M O P Q R S T
1. Send away from a country or place as an official punishment
2. A wound produced by a pointed object or weapon
3. Causing great harm or damage often in a way that is not easily seen or noticed
4. A penalty inflicted on an offender through judicial procedure

Analysis:
TASK 4: READING CORNER
Read ―The Story of Romeo and Juliet‖ on pages 286 to 291 of your English
module.
TASK 5: MAKING CONNECTIONS

A. What the Text Says
Each group will choose a question word. Afterwards the teacher will reveal
the complete question. (LM, p. 292)
What two families are

feuding? Explain the
reason for the family feud.
Who are the characters in

the story? Make a
character diagram.
Where does the

story take place?
When does the story

take place?
Why does Lady Capulet

want Juliet to
marry Paris?
B. What the Text Means

Answer the questions below. (LM, p.293)
B1. Discuss the relationships between parents and children in Romeo and Juliet .
How do Romeo and Juliet interact with their parents? Are they rebellious, in
the modern sense? Explain your answer. How do the parents feel about
them?
B2. What is Romeo‘s fear ? What does the line? ―some consequence, yet hanging
in the stars‖ has to do with his feeling of dread? What does it convey?
B3. The feud between the families seems to be an ever-present concern for the
characters. How do the characters manifest this feud?
C. Take to Mean
Who said the following lines and why? (LM, p. 292)
a. ―Is she a Capulet? O, dear, account, my lie is a foe of debt!‖
b. ―My only love sprung from m only hate. Too early seen unknown and known
too late.‖
Abstraction:
TASK 6: PICK A CARD

Group yourselves into two. Get one card and act out the conversation in the
given situation.
CARD 1 CARD 2
You are 15. You know a very You are 15. You‘ve heard from
beautiful girl called Juliet and your friends that a boy called
you would like to marry her. You Paris would like to marry you.
have decided to go and talk to He‘s very rich and handsome but
her. Prepare what you are going not really your type and you don‘t
to say to make a good love him. What are you going to
impression. Let her know how you say when he comes to speak to
feel. You are rich and handsome you.
and know that you are good
catch.
ROLE PLAY RUBRIC

RATING
CRITERIA
5 4 3 2 1
Speech was clear with appropriate volume and inflection.
Role was played in a convincing, consistent manner.
Arguments and viewpoints expressed fit role played.
Role-play was organized.
Role-play captured and maintained audience interest.
Total
Application:
TASK 7: SENSORY IMAGES
From the excerpted play of Romeo and Juliet identify the scenes that appeal to the senses.
Accomplish the graphic organizer on the next page. Use another sheet of paper for this task.
(LM, p. 293)
Sight
Hearing
Taste
Touch
Smell
Assessment:
TASK 8: LIGHTS CAMERA ACTION!

1. Group yourselves into three, act out the first part of the play
Romeo and Juliet.
2. You are given time to work on a rough script (15
minutes) and then to practice (15 minutes).
3. You must write out the dialogue in modern English. Refer
to your text. (LM, p. 301)
ROLE PLAY RUBRIC

Criteria

 Fair understanding  Presentation is off
of topic topic
topic topic

 Shows confidence  Shows some

 Unsure of
 Informative confidence  Portrayal stalls
responsibility
 Entertaining;  Presents some  Lacks information
 Somewhat
engages information  Audience bored
Presentation audience  Engages
informative
 Mumbles
 Engages audience
 Speaks loudly and audience  Body language is
intermittently
clearly  Can be heard lacking;
 Hard to hear
 Appropriate use of  Some use of body inappropriate
 Some movement
body language language
The Story of ROMEO & JULIET
Based on the play by William Shakespeare, as told by Bart Marks
In the town of Verona lived two families, the Capulets and the Montagues, engaged in a bitter
feud. Among the Montagues was Romeo, a hot-blooded lad with an eye for the ladies.
One day, Romeo was recounting for his friends his love for Rosaline, a haughty beauty from a
well-to-dofamily. Romeo's friends chided him for his "love of love" but agreed to a plan to attend the
feast of the Capulets', a costume party where Rosaline was expected to make an appearance. The
disguises would provide Romeo and his friends a bit of sport and the opportunity to gaze undetected
upon the fair Rosaline. Once there, however, Romeo's eyes fell upon Juliet, and he thought of Rosaline
no more.
Asking around to learn the identity of Juliet, Romeo's voice is recognized by Tybalt, a member
of the Capulet clan. Tybalt calls for his sword, but the elder Capulet intervenes, insisting that no
blood be shed in his home. So Romeo is tolerated long enough to find an opportunity to speak to Juliet
alone, still unaware of her identity.
A hall in Capulet's house.

Musicians waiting.
Enter Servingmen with napkins
First Servant
Where's Potpan, that he helps not to take away? He
shift a trencher? He scrape a trencher!
Second Servant
When good manners shall lie all in one or two men's hands
and they unwashed too, 'tis a foul thing.
First Servant
Away with the joint-stools, remove the
court-cupboard, look to the plate. Good thou, save me a
piece of marchpane; and, as thou lovest me, let the porter let
in Susan Grindstone and Nell.
Antony, and Potpan!
As yonder lady o'er her fellows shows.

The measure done, I'll watch her place of stand, And,
touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight! For I
ne'er saw true beauty till this night.
TYBALT
Second Capulet
'Tis more, 'tis more, his son is elder, sir; His
son is thirty.
CAPULET
Will you tell me that?
His son was but a ward two years ago.
ROMEO
[To a Servingman] What lady is that, which doth enrich
the hand
Of yonder knight?
Servant
I know not, sir.
ROMEO
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night Like
a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows, 2
CAPULET
He shall be endured:
What, goodman boy! I say, he shall: go to; Am I
the master here, or you? go to.
You'll not endure him! God shall mend my soul! You'll
make a mutiny among my guests!
You will set cock-a-hoop! you'll be the man! This,
by his voice, should be a Montague.
Fetch me my rapier, boy. What dares the slave Come
hither, cover'd with an antic face,
To fleer and scorn at our solemnity? Now,
by the stock and honour of my kin, To strike
him dead, I hold it not a sin.
CAPULET
Why, how now, kinsman! wherefore storm you so?
TYBALT
Uncle, this is a Montague, our foe, A
villain that is hither come in spite, To
scorn at our solemnity this night.
CAPULET
Young Romeo is it?
TYBALT
'Tis he, that villain Romeo.
CAPULET
Content thee, gentle coz, let him alone; He
bears him like a portly gentleman; And, to
say truth, Verona brags of him
To be a virtuous and well-govern'd youth: I
would not for the wealth of all the town Here in
my house do him disparagement: Therefore be
patient, take no note of him: It is my will, the
which if thou respect,
Show a fair presence and put off these frowns, And
ill-beseeming semblance for a feast.
TYBALT
It fits, when such a villain is a guest: I'll
not endure him.
CAPULET
He shall be endured: 3
Ay, pilgrim, lips that they must use in prayer What,
goodman boy! I say, he shall: go to; Am I the
master here, or you? go to.
You'll not endure him! God shall mend my soul! You'll
make a mutiny among my guests!
You will set cock-a-hoop! you'll be the man!
TYBALT
Why, uncle, 'tis a shame.
CAPULET
Go to, go to;
You are a saucy boy: is't so, indeed?
This trick may chance to scathe you, I know what: You
must contrary me! marry, 'tis time.
Well said, my hearts! You are a princox; go: Be
quiet, or--More light, more light! For shame! I'll make
you quiet. What, cheerly, my hearts!
TYBALT
Patience perforce with wilful choler meeting Makes my
flesh tremble in their different greeting. I will withdraw:
but this intrusion shall
Now seeming sweet convert to bitter gall. Exit
ROMEO
[To JULIET] If I profane with my unworthiest hand This
holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET
Good pilgrim, you do wrong your hand too much, Which
mannerly devotion shows in this;
For saints have hands that pilgrims' hands do
touch,
And palm to palm is holy palmers' kiss.
ROMEO
Have not saints lips, and holy palmers too?
JULIET
Ay, pilgrim, lips that they must use in prayer.
ROMEO
O, then, dear saint, let lips do what hands do; They
pray, grant thou, lest faith turn to despair.
CAPULET
Go to, go to;
You are a saucy boy: is't so, indeed?
This trick may chance to scathe you, I know what:
You must contrary me! marry, 'tis time.
Well said, my hearts! You are a princox; go: Be
quiet, or--More light, more light! For shame! I'll make
you quiet. What, cheerly, my hearts!
TYBALT
Patience perforce with wilful choler meeting
Makes my flesh tremble in their different
greeting.
I will withdraw: but this intrusion shall
Now seeming sweet convert to bitter gall. Exit
ROMEO
[To JULIET] If I profane with my unworthiest
hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET
Good pilgrim, you do wrong your hand too
much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do
touch,
And palm to palm is holy palmers' kiss.
ROMEO
Have not saints lips, and holy palmers too?
BENVOLIO
Away, begone; the sport is at the best.
ROMEO
Ay, so I fear; the more is my unrest.
CAPULET
Nay, gentlemen, prepare not to be gone; We
have a trifling foolish banquet towards. Is it e'en
so? why, then, I thank you all
I thank you, honest gentlemen; good night. More
torches here! Come on then, let's to bed. Saints do
not move, though grant for prayers' sake.
ROMEO
Then move not, while my prayer's effect I take. Thus
from my lips, by yours, my sin is purged.
JULIET
Then have my lips the sin that they have took.
ROMEO
Sin from thy lips? O trespass sweetly urged! Give
me my sin again.
JULIET
You kiss by the book.
Nurse
Madam, your mother craves a word with you.
ROMEO
What is her mother?
Nurse
Marry, bachelor,
Her mother is the lady of the house,
And a good lady, and a wise and virtuous
I nursed her daughter, that you talk'd withal; I tell
you, he that can lay hold of her
Shall have the chinks.
ROMEO
Is she a Capulet?
O dear account! my life is my foe's debt.
JULIET
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy.
Nurse
What's this? what's this?
JULIET
A rhyme I learn'd even now
Ah, sirrah, by my fay, it waxes late: I'll to
my rest.
Exeunt all but JULIET and Nurse
JULIET
Come hither, nurse. What is yond gentleman?
Nurse
The son and heir of old Tiberio.
JULIET
What's he that now is going out of door?
Nurse
Marry, that, I think, be young Petrucio.
JULIET
What's he that follows there, that would not dance?
Nurse
I know not.
JULIET
Go ask his name: if he be married.
My grave is like to be my wedding bed.
Nurse
His name is Romeo, and a Montague; The
only son of your great enemy.
Of one I danced withal. One
calls within 'Juliet.'
Nurse
Anon, anon!
Come, let's away; the strangers all are gone.

Quarter: THIRD
Date:

EN9LT-IIIe-20.2: Explain the literary devices used
Objectives:
1. Define the different literary devices
2. Explain the literary devices used in given passages or lines
3. Express appreciation in the use of different literary devices in creating own sample
statements

Lesson: Literary Devices - Simile, Foreshadowing, Rhyme,
Repetition, Oxymoron, Metaphors
Materials:
1. Manila Paper and Marker
References:
295
III. LEARNING TASKS

Introduction: The English language encompasses a host of literary devices that make it so rich
and expressive. They provide a broad structure under which all the types of literature are
classified, studied, and understood. The importance of literature in the portrayal of human
emotions is best understood by the application of these devices.
TASK 1: WORD HUNT
Search in the puzzle the following words:
Simile, Foreshadowing, Rhyme,
Repetition, Oxymoron, Metaphor
A K B F O R E S H A D O W I N G
B Q K F X R S I V T C U T M L C
F C X B Y F J M E T A P H O R J
A R H Y M E C I W C K A H N L S
P D O E O D A L H B I G J B H R
A G Y B R E P E T I T I O N B C
P N Z G O D Y J X M L E K V W Q
O J E F N E U G I J D I L H M P
Activity:
TASK 2: AN OVERVIEW
Match the given passages or lines in Box A to the technique employed in Box B.
A B
Life is like a book, full of Description gives us the clue with

chapters and stories. something that is about to happen
Life is a rose, beautiful yet full of Two objects or ideas are compared
thorns. in an obvious way
The deafening silence is creepy. O Word is mentioned twice in the line
Tyger, Tyger, burning bright! Two objects or ideas are

compared without using word that
I think that I shall never see, A
would make it obvious
poem as lovely as a tree.
Last word in each line sound alike
He didn‘t bring his umbrella but the
ominous clouds told him he made Two contradicting words are put
the wrong move. next to each other within the
sentence
Analysis:
TASK 3: IN THE KNOW
The meaning of the different literary devices encountered in the puzzle will be revealed. Find
out which statement in Task 2 fall under each literary device. Place the statements on the
wooden board provided for the sample under each type of literary device. (LM, pp. 293-295)
 SIMILES are one of the most commonly used literary

devices; referring to the practice of drawing parallels or
comparisons between two unrelated and dissimilar
things, people, beings, places, and concepts. They are
marked by the use of words ―as‖ or ―such as‖ or
―like‖.
 FORESHADOWING refers to the use of

indicative words/phrases and hints that set the
stage for a story to unfold and give the reader a
hint of something that is going to happen
without revealing the story or spoiling the
suspense. Foreshadowing is used to suggest
an upcoming outcome to the story.
 RHYME is the practice of placing rhyming words

often at the end of the lines in prose or poetry. It
refers to the corresponding of sounds between
words or the ending of words,
 REPETITION is just the simple repetition of a
word, within a sentence or a poetical line, with
no particular placement of the words. This is
such a common literary device that it is almost
never even noted as a figure of speech.
 OXYMORON is a significant literary device as

it allows the author to use contradictory,
contrasting concepts placed together in a
manner that actually ends up making sense in
a strange and slightly complex manner. It
helps to perceive a deeper level of truth and
explore different layers of semantics while
writing.
 METAPHORS are one of the most

extensively used by way of another. In a
metaphor, one subject is implied to be another
so as to draw a comparison between their
similarities and shared traits.
Abstraction:
TASK 4: WRITE ON!
Try writing your own sample statements using the literary
device prescribed in each item to make them more
interesting. On the left box is the
original statement. Write the improved statement on the right box.
Example:
Metaphor
Before: Love can bring happiness to a person’s life.
After: Love is a fire that envelopes one in warmth and bliss.
SIMILE
Life is both easy

and hard.
METAPHOR
Love is the most

wonderful
feeling in the
world.
FORESHADOWING
Today is my
lucky day.
REPETITION
President, hear our

pleas.
RHYME
High school life is

the best…
Application:
TASK 5: COLLABORATIVE WRITING
The class will be divided into six (6) groups. Each group will be assigned
to one literary device discussed. The group is to come up with five examples
for the literary device assigned to them. Outputs will be written in a manila
paper.
Assessment:
TASK 6: CHECKPOINT
Identify the literary device used in the following lines lifted from Romeo
and Juliet. Write SIM for simile, MET for metaphor, OXY for oxymoron,
REP for repetition, RHY for rhyme, and FOR for foreshadowing. (LM,
p. 296)
1. Parting is such a sweet sorrow.
2. Oh loving hate!
3. Romeo, Romeo, where art thou Romeo?
4. My life is a foe of debt!
5. ―And to ‗thy go like lightning‖
6. Romeo: By some vile forfeit of the untimely death
7. Prodigious birth of love is it to me,
That I must love a loathed enemy.

Quarter: THIRD
Date:

EN9G-IIIe-21: Use verbals
Objectives:
1. Recognize the use of infinitives in sentences
2. Match sentence halves with verbs and expressions that are followed by infinitives
3. Use the correct form of infinitives in completing sentences
4. Share personal insights through constructing sentences with verbals such as infinitives

Lesson: Infinitives
Materials:
1. Worksheets
2. Metacards
References:
296
III. LEARNING TASKS
Introduction: Why do we do something? In this lesson, you will have to explain why you do
things and complete the phrases by using a particular grammatical construct.
TASK 1: COMPLETE ME BOARD GAME
Draw a dice and complete the phrases on the board.
Source: https://en.islcollective.com/resources/printables/worksheets_
doc_docx/infinitive_with_to_board_game/gerunds-and-infinitives/32322
Activity:
TASK 2: DEFINE ITS PURPOSE!
A. Split class into teams. Each team has 30 seconds to describe the purpose of the objects on
the cards.
B. Match the sentences halves 1-6 a-f to make complete sentences.

1. I go to the gym 3 times a week a. to give to her mother.
2. I went to the supermarket b. to see the Train To Busan film.
3. We went to the cinema c. to do the weekly shop.
4. I drove all night just d. to clean underneath it.
5. He lifted up the sofa e. to keep fit.
6. She bought chocolates f. to see you.
Analysis
TASK 3: INFINITIVES AT WORK
Infinitives are the “to” form of the verb. The infinitive form of “learn‖ is
“to learn.”
A.
Read the following lines from the play ―Romeo and Juliet” and underline the
infintives.
To strike him dead, I hold it not a sin. To
scorn at our solemnity this night.
To be a virtuous and well governed youth. To
smooth the rough touch with tender kiss.
B. Look for a partner and ask each other the following questions using infinitives.
1. What do you hope to accomplish in five years?
2. What are you willing to sacrifice for your family?
3. As a youth leader, what are you willing to do?
Abstraction:
FUNCTIONS OF INFINITIVES
 INFINITIVES AS NOUNS
Infinitives can be used as the subject, the complement or the object of
a sentence.
Examples: To err is human. – Subject
Maria’s dream is to finish her studies. – Complement
Monica always wanted to dance. - Object
INFINITIVES AS ADJECTIVES
Infinitives used as adjectives modify/ describe nouns.
Examples: The candidate to trust is Tony.
He has the great ability to paint.
 INFINITIVES AS ADVERBS
Infinitives used as adverbs modify/describe verbs, adjectives
and other adverbs .
Examples: My grandmother has come to stay.
The team was too slow to score.
TASK 4: TRY THIS!

Read the following lines and identify the use of the infinitives in each
sentence.
Uncle, this is a Montague, our foe; a villain, that is hither
come in
Spite to score at our solemnity this night.
I must another way, to fetch a ladder, by the which your love must climb a bird’s nest
soon when it is dark.
These times of woe afford no times to woo.
Come, is the bride ready to go to church?
Here is a friar, and slaughtered Romeo’s man, with instruments upon them fit to open
these dead men’s tombs.
TASK 5: FIT AND RIGHT

Write the infinitive in each sentence. Then beside each write ADJ if it is used as an adjective
and ADV if it is used as an adverb.
1. The choir was ready to perform.
2. He worked to get ahead in the ladder of education.
3. He gave me a book to read.
4. The passage from the Bible is hard to translate.
5. The boys are coming this weekend to play tennis
Application:
TASK 6: BIG LEAGUE

Complete the following sentences with the infinitive used as indicated inside the
parentheses.
1. Here is the lesson . ( adjective)

2. The team was ready . (adverb)
3. My friend were sorry . (adjective)
4. She promised never . (adverb)
5. I don‘t have time . (adjective)
Assessment:
TASK 7: CHECKPOINT
Circle the infinitives in the sentences below. Write the infinitive‘s function in
the sentence in the blank under the sentence.
1. His goal was to succeed.
2. To refuse was not an option, so we agreed with their demands.
3. My brother likes to sing.
4. The team must score to win.
5. The counselor has the ability to help.
6. Her dog just wanted to play.
7. To laugh seemed rude, but the story was funny.
8. For the dishes tonight, your job is to dry.


Quarter: THIRD
Sub-Theme: With Fortitude and Determination
Date:

EN9LT-IIIf-20.2: Explain the literary devices used
EN9WC-IIIf-9.5: Use literary devices and techniques to craft a play synopsis
Objectives:
1. Acquire a clear understanding on the concept of literary devices namely apostrophe
and understatement
2. Employ the use of these two literary devices in writing a play synopsis
3. Demonstrate appreciation of tasks involving explanation of literary devices employed
in writing

Lesson: Literary Devices - Apostrophe, Metaphor, Personification,
Hyperbole and Understatement
Materials:
1. Metacards
2. Tarpapel
3. Paper and Markers
References:
2. A Journey through Anglo-American Literature Learner‘s Material for English p. 312
http://www.literarydevices.com/understatement/
http://literarydevices.net/apostrophe/
https://blog.udemy.com/metaphor-poem-examples/
http://literarydevices.net/personification/
III. LEARNING TASKS
Introduction: Figurative language is said to be linguistic miracles. Let‘s get to know five
literary devices that can transform simple statements to more emotionally evocative ones.
TASK 1: SHARING
Which line/s from the play Romeo and Juliet is your favorite? Why?
Activity:
TASK 2: ONE-ACT
Deliver the following lines taken from the play Romeo and Juliet.
"Ay, ay, a scratch; marry, ‘tis enough."
“I am no pilot; yet, wert thou as far/ As that vast shore wash’d with
the farthest sea,/ I would adventure for such merchandise.”
“Arise, fair sun, and kill the envious moon.”
“But soft! what light through yonder window breaks? It is the east,
and Juliet is the sun.”
“Every cat and dog/ And little mouse, every unworthy thing,/ Live
here in heaven and may look upon her.”
Analysis:
TASK 3: LOOKING CLOSELY
Given here are the definitions and examples of different literary devices.
Identify which among the lines you delivered in the previous activity
falls under each.
Apostrophe – is an address to someone who is absent and cannot hear the speaker, or
to something nonhuman that cannot understand what is said. An apostrophe allows the
speaker to think aloud, and reveals those thoughts to the audience.
Examples:
O God! Can I not grasp
Them with a tighter clasp? O
God! can I not save
One from the pitiless wave?
~ ―A Dream within a Dream‖ -1827 Lines 19-22
―Oh, lady bright! can it be right— / This window open to the night?‖
―Oh, lady dear, hast thou no fear? / Why and what art thou dreaming here?‖
~―The Sleeper‖ – 1831 Lines 18-19, 31-32
"O Romeo, Romeo! wherefore art thou Romeo?"

―O happy dagger, /This is thy sheath. / There rust and let me die.‖
―Arise, fair sun, and kill the envious moon. ―
~ Romeo and Juliet
Metaphor – is a comparison of two things that are basically dissimilar in which one is
described in terms of the other.
Examples:
―She is all states, and all princes, I.‖
~ ―The Sun Rising‖
―I‘m a riddle in nine syllables,
An elephant, a ponderous house, A
melon strolling on two tendrils.‖
~ Sylvia Plath
―The Moon‘s a snowball. See the drifts Of
white that cross the sphere.‖
~ What the Snow Man Said
Personification – is a figure of speech in which an object, abstract idea, or animal is

given human characteristics.
Examples:
―The woods are getting ready to sleep—they are not yet asleep but they are disrobing and
are having all sorts of little bed-time conferences and whisperings and good-nights.‖
~ The Green Gables Letters
―Loveliest of trees, the cherry now/ Is hung with bloom along the bough,/ And stands about the
woodland ride/ Wearing white for Eastertide.‖
~ Loveliest of Trees the Cherry Now
Hyperbole – is exaggeration for emphasis; overstatement.
Examples:
―I‘ll love you till the ocean
Is folded and hung up to dry.‖
~ As I Walked One Evening
―I had to wait in the station for ten days-an eternity.‖

~ The Heart of Darkness
Understatement – is way of speaking which minimizes the significance of
something. When using understatement, a speaker or writer often employs restraint in
describing the situation at hand and uses an expression with less emphasis or
strength than would be expected.
Examples:
"A soiled baby, with a neglected nose, cannot be conscientiously regarded as a thing of
beauty."
~ (Mark Twain)
"I have to have this operation. It isn't very serious. I have this tiny little tumor on the brain."
~ (Holden Caulfield in The Catcher In The Rye "Last
week I saw a woman flayed, and you will hardly believe how much it altered her person for the
worse."
~ A Tale of a Tub
"The grave's a fine and private place,
But none, I think, do there embrace."
~ Andrew Marvell, "To His Coy Mistress" "I
am just going outside and may be some time."
~ Captain Lawrence Oates, Antarctic explorer, before
walking out into a blizzard to face certain death, 1912
Abstraction
TASK 4: PRACTICE ON LITERARY DEVICES

A. Encircle the letter of your answer.
1. Choose the correct definition of apostrophe as a literary device.
A. A punctuation mark that stands in place of omitted letters.
B. An exclamatory figure of speech when a character turns from addressing one party
to another party or inanimate object.
C. The act of omitting information necessary to the plot to keep readers guessing.
2. Which of the following quotes from Herman Melville‘s story ―Bartleby, the Scrivener‖ is an
example of apostrophe?
A. Ah Bartleby! Ah Humanity!
B. I would prefer not to.
C. Nothing so aggravates an earnest person as a passive resistance.
3. Why is the following excerpt from Shakespeare‘s Romeo and Juliet an example of
apostrophe as a literary device?
JULIET: Yea, noise? Then I’ll be brief. O happy dagger! This is thy sheath; there rust,
and let me die.
B. Write an understatement on the following situations:
1. When one is sweating profusely in a sauna or traveling through a desert
at midday
2. After completing a marathon
3. After having not slept all night long
4. When cornered in battle
5. Surrounded by sharks while in a lifeboat
C. What would be your reaction in the following

situations? Write statements using hyperbole.
1. You win 100 million pesos in a lottery.
2. Your team loses to its opponent 50 to 0 in a
basketball match.
3. You lost your new iphone7.
4. You receive a bouquet of red roses and a box of chocolates.
5. You are trapped in a dark room.
D. Identify if the statements used personification or hyperbole.

Write PER for personification and HYP for hyperbole.
1. The dog was a jack-in-the-box, trying to jump up on the
visitors.
2. The full moon guided me through the dark streets.
3. The pool was a boiling cauldron on that hot summer day.
4. "Chocolate is my ray of sunshine on a bad day," admitted Reena.
5. Cars danced across the icy road.
Application
TASK 5: YOU’RE THE BOSS

Write a short synopsis or summary of your own play or drama you imagine
writing about. Include at least three statements using any of the three
literary devices discussed.
SYNOPSIS WRITING RUBRIC

Main Idea Main idea is
Main idea is unclear- not
Main idea is clear. specifically stated
established. present.
in the writing.
Important details are
Some critical Synopsis contains only
included but some
Details included.
might be missing.
information is missing. some details.

Ideas are not in a
Content The synopsis contains at The synopsis contains
The synopsis contains There is no use of
least three (3) only two (2) statements
only one (1) statement literary devices as
statements using using
using literary device. required.
literary device. literary device.
Reference: www.studyzone.org/testprep/ela4/h/summaryrubric.htm
Assessment
TASK 6: CHECKPOINT
Identify the literary devices (APOSTROPHE, METAPHOR,
PERSONIFICATION, HYPERBOLE, or UNDERSTATEMENT) used in the
following passsages:
1. O, pardon me, thou bleeding piece of earth, That I

am meek and gentle with these butchers! Thou art the
ruins of the noblest man
That ever lived in the tide of times."
~Shakespeare, Julius Caesar, Act 3, Scene 1
2. BENVOLIO: What, art thou hurt?

MERCUTIO: Ay, ay, a scratch, a scratch. Marry, ‘tis enough. Where
is my page?—Go, villain, fetch a surgeon.
ROMEO: Courage, man. The hurt cannot be much.
MERCUTIO: No, ‘tis not so deep as a well nor so wide as a church- door,
but ‘tis enough, ‘twill serve. Ask for me tomorrow, and you shall
find me a grave man. I am peppered, I warrant, for this world.
A plague o‘ both your houses! Zounds, a dog, a rat, a mouse,
a cat to scratch a man to death!
3. "Death, be not proud, though some have called thee Mighty

and dreadful, for thou art not so."
~John Donne, Holy Sonnet X
4. Hey diddle, Diddle,

The cat and the fiddle,
The cow jumped over the moon;
The little dog laughed To
see such sport,
And the dish ran away with the spoon.
~ Hey Diddle, Diddle
5. "Hello darkness, my old friend

I've come to talk with you again."
~Paul Simon, The Sounds of Silence
6. I‘ve got a nice place here,‖ he said, his eyes flashing about restlessly.
7. ―I‘ll go with you and I‘ll stay with you all the time. They just let the air in and then
it‘s all perfectly natural.‖
8. But tree, I have seen you taken and tossed, And if

you have seen me when I slept,
You have seen me when I was taken and swept And
all but lost.
~ Tree at My Window
9. Love is a guest that comes, unbidden.
10. It's a slow burg. I spent a couple of weeks there one day.

Quarter: THIRD
Date:

EN9V-IIIf-29: Get familiar with the technical vocabulary for drama and theatre (like stage
directions)
EN9OL-IIIa-3.7: Employ varied verbal and non-verbal strategies while performing in a one-act
play
Objectives:
1. Familiarize oneself to vocabulary terminologies essential in performing a one- act play
2. Analyze the famous scene from the play Romeo and Juliet through a comics
3. Employ appropriate verbal and non-verbal strategies upon performing an act from the
discussed literary piece
4. Express appreciation of the literary piece by demonstrating its understanding during the
major performance

Lesson: “Romeo and Juliet” (Balcony Scene) by William Shakespeare
Materials:
1. Pen and Paper
2. Copies of the Comics
References:
319
III. LEARNING TASKS
Introduction: Whatever your age or gender, professing love to your sweetheart is a terrifying
experience. The three little words, "I love you," make your heart race, hands sweat, and lips
tremble with trepidation. If Cupid is benevolent, your dearest may reciprocate with love.
(Khurana, 2016)
TASK 1: SHARING
Have you experienced confessing your feelings to someone? How
about someone confessing his/her feelings to you? Share it to the
class.
Activity:
TASK 2: WORD BANK
To be discussed is one of the scenes in the world renowned piece Romeo
and Juliet which is a stage play. Get to know first words that have
something to do with theatre. Find the missing letters to complete the word
that corresponds to the given definition.
(LM, p. 318-319)
1. b k g
the planning and working out of the movements of actors on stage
2. r s
a movement from one part of the stage to another
3. s t n
the direction an actor is facing relative to the audience, but from the actor’s
perspective
4. g s r
an expressive movement of the body or limits
5. b e u
a silent and motionless depiction of a scene created by actors, often from a

picture
TASK 3: THE PAST
In the previous lesson, the story of Romeo and Juliet was introduced to you. Salient points like
how Romeo met Juliet and how they fell in love with each other were put into light. How much
do you know Romeo and Juliet?
Complete the character map below. Put the traits that would describe Romeo and Juliet on
the boxes. (LM, p. 306)
JULIET CAPULET ROMEO MONTAGUE
Source: http://panchi178.deviantart.com/art
/Shame-the-Stars-341251421
Analysis:
TASK 4: FAMOUS SCENE
The next scene you are about to read is called the balcony scene which is
very famous. Romeo secretly enters the Capulet orchard. Juliet comes out on
her balcony alone, Romeo and Juliet then speak of their love for each other.
Read this comics version of the scene.
Source: http://grammarmancomic.com/wp-content/uploads/2015/06/romeostory.pdf LM, pp. 307-
308
TASK 5: FACTUAL REACOUNT
Answer the following questions in the speech bubbles based from your
understanding of the comics. (LM, p.309)
What is Juliet worried Who knows what they

about while they were are talking secretly
talking in the balcony? about in the balcony?
How does Romeo react Where does Romeo

to what Juliet said? hide while talking to
Juliet?
What does Romeo

What proof of his love
plan to do when he
does Juliet ask from
leaves Juliet?
Romeo?
Abstraction:
TASK 6: MODERN REVISION
Group yourselves into three. Rewrite the balcony scene in everyday speech
or modern dialogue. Be sure to preserve the original intent and meaning of
the balcony scene. (LM, p. 319)
Application:
TASK 7: A TWIST
Re-enact the balcony scene of Romeo and Juliet using the modern
dialogue you have written.
CREATIVE REENACTMENT RUBRIC

Criteria

 Fair understanding  Presentation isoff
of topic topic
topic topic

 Shows confidence  Shows some  Unsure of

 Portrayal stalls
 Informative confidence responsibility
 Lacks information
 Entertaining;  Presents some  Somewhat
 Audience bored
Presentation engages audience information informative
 Mumbles
 Speaks loudly and  Engages audience  Engages audience
 Body language is
clearly  Can be heard intermittently
lacking;
 Appropriate use of  Some use of body  Hard to hear
inappropriate
body language language  Some movement
Assessment:
TASK 8: UNDER THE SPOTLIGHT
As a major performance output, you are expected to perform a
one-act play. You will be performing the balcony scene of Romeo
and Juliet. Be guided with the script and rubric that will be given
to you.
ONE-ACT PLAY RUBRIC
Source: http://www.rcampus.com/rubricshowc.cfm?code=T538WW&sp=true
ROMEO AND JULIET SCRIPT
The Balcony Scene
William Shakespeare
Juliet: (to herself) Ay me! Romeo: (to And but thou love me, let them find me here.
himself) She speaks. My life were better ended by their hate That
O, speak again, bright angel for thou art As death prorogued, wanting of thy love.
glorious to this night, being o‘er my Juliet: By whose direction found‘st thou out this
head, place?
As is a winged messenger of heaven Unto Romeo: By love, that first did prompt me to inquire.
the white-upturned wondering eyes Of mortals He lent me counsel, and I lent him eyes. I am
that fall back to gaze on him. no pilot; yet, wert thou as far
Juliet: (to herself) O, Romeo, Romeo. Wherefore art thou As that vast shore washed with the farthest sea,
Romeo? I should adventure for such merchandise.
Deny thy father and refuse thy name; Or, if Juliet: Dost thou love me? I know thou wilt say
thou wilt not, be but sworn my love, And I‘ll no ―Aye‖;
longer be a Capulet. And I will take thy word. Yet, if thou swear‘st, Thou
Romeo: (to himself) Shall I hear more, or shall I speak at mayst prove false. At lovers‘ perjuries, They say
this? Jove laughs. O gentle Romeo,
Juliet: ‗Tis but thy name that is my enemy. If thou dost love, pronounce it faithfully.
Thou art thyself, though not a Montague, What‘s Romeo: Lady, by yonder blessed moon I vow,
Montague? It is nor hand, nor foot, Nor arm, nor That tips with silver all these fruit-tree tops ---
face, nor any other part Belonging to a man. O, be Juliet: O, swear not by the moon, th‘ inconstant
some other name! What‘s in a name? That which moon,
we call a rose By any other name would smell as That monthly changes in her circled orb, Lest
sweet. that thy love prove likewise variable.
So Romeo would, were he not Romeo call‘d, Romeo: What shall I swear by?
Retain that dear perfection which he owes Juliet: Do not swear at all;
Without that title, Romeo, doff thy name; And for Or if thou wilt, swear by thy gracious self,
thy name, which is no part of thee, Take all Which is the god of my idolatry,
myself. And I‘ll believe thee.
Romeo: (reveals himself, to Juliet) I take thee at thy word. Romeo: If my heart‘s dear love ---
Call me but love, and I‘ll be new baptized; Juliet: Well, do not swear. Although I joy in thee, I have
Henceforth I never will be Romeo. no joy of this contract tonight.
Juliet: (surprised) What man art thou that, thus It is too rash, too unadvised, too sudden;
bescreen‘d in night, Too like the lightning, which doth cease to be Ere
So stumblest on my counsel? one can say it lightens. Sweet, good night!
Romeo: By a name Romeo: O, wilt thou leave me unsatisfied?
I know not how to tell thee who I am. Juliet: What satisfaction canst though have tonight?
My name, dear saint, is hateful to myself, Romeo: Th‘ exchange of thy love‘s faithful vow for mine.
Because it is an enemy to thee. Juliet: I gave thee mine before thou didst request it; And
Had I written it, I would tear the word. yet I would it were to give again.
Juliet: My ears have yet not drunk a hundred words Of thy Romeo: Wouldst thou withdraw it? For what
tongue‘s uttering, yet I know the sound. purpose, love?
Art thou not Romeo, and a Montague? Juliet: But to be frank, and give it thee again. And
Romeo: Neither, fair maid, if either thee dislike. yet I wish but for the thing I have. My bounty
Juliet: How camest thou hither, tell me, and is as boundless as the sea,
wherefore? My love as deep; the more I give to thee, The
The orchard walls are high and hard to climb, And more I have, for both are infinite. (Hears the
the place death, considering who thou art, nurse calling.)
If any of my kinsmen find thee here. I hear some noise within. Dear love, adieu!
Romeo: With love‘s light wings did I o‘erperch these walls;
For stony limits cannot hold love out, And
what love can do, that dares love attempt.
Therefore thy kinsmen are no stop to me.
Juliet: If they do see thee, they will murder thee.
Romeo: Alack, there lies more peril in thine eye
Than twenty of their swords!
Juliet: I would not for the world they saw thee here.
Romeo: I have night‘s cloak to hide me from their eyes;

Quarter: THIRD
Sub-Theme: Across Time
Date:

EN9V-IIIg-29: Get familiar with the technical vocabulary for drama and theatre (like stage
directions)
EN9WC-IIIg-9: Compose forms of literary writing
Objectives:
1. Define the different forms of literary writing to be able to distinguish a play from other
forms
2. Familiar oneself with the technical vocabulary for drama and theater
3. Demonstrate involvement in composing a script about an alternative ending to
the literary piece discussed

Lesson: “Romeo and Juliet” (Wedding to End) by William Shakespeare
Materials:
1. Copies of the Literary Text
2. Worksheet
References:
342
III. LEARNING TASKS
Introduction: People‘s lives are shaped by the circumstances of the time and place in
which they live (family and social mores, religion, power relations, etc.). Circumstances of
life and the choices we make change and mold us.
Source: http://bryanbibb.com/2014/11/18/can-a-genre-be-errant/
TASK 1: GENRE SENSITIVITY!
Match the literary genre on the left to its definition on the right. Write
your answer on the space provided.
Fiction
Biography
Informational
Realistic
Fiction
Nonfiction
Poetry
Drama
Poetry
TASK 2: THEATRICAL TEXT-TWIST

Arrange the letters to form a word that matches the given meaning.
Do this in your notebook. (LM, pp. 341-342)
the degree of loudness or

U E L V O M intensity of sound
the tempo of an entire theatrical

G N I P A C performance
a group of theatrical
E E N L S B E M artists working together to
create a theatrical
production
the orientation of the

P N O O S I I T actor to the audience
(e.g. full front, right
profile, left profile)
the highness or lowness of

C T P I H voice
the planning and

N G I C K L O B working out of the
movements of actors
on stage
Activity:
TASK 3: FIND YOUR MATCH
Match the word in Romeo‘s column with the definition given in Juliet‘s.
Use the sentences below as your clues. (LM, p. 326)
a. an angry
disagreement
_ 1. terrible b. a building or
_
2. execute chamber above or
_ below the ground i n
_ 3. tomb
which a dead bo dy
_ 4. argument c. a small room with shelves
_ 5. cupboard where you keep cups,
_ dishes, or food
_ d. very shocking and upsetting
_ e. to kill (someone) especially as
_ punishment for a crime
1. Juliet my dear, something terrible happened.

2. The Prince is not going to execute you.
3. I‘ll be in the tomb, with the dead bodies around me.
4. Oh, you Montagues and Capulets, what a stupid argument.
5. He goes to a cupboard and takes out a bottle
Analysis:
TASK 4: PIECE OF A PUZZLE
Divide the class into groups of 10. Each member of the
group will read the assigned part in Romeo and Juliet
and will take turns in explaining their part of the story to
the rest of the group.
 Student 1: Act II, Scene IV: A Secret Wedding (p. 327)

 Student 2: Act III, Scene I: More Trouble (p. 327-329)
 Student 3: Act III, Scene II: Another Message (p. 329)
 Student 4: Act III, Scene III: Bad News for Romeo (p. 329-330)
 Student 5: Act III, Scene IV: Lord Capulet‘s Plan (p. 330-332)
 Student 6: Act IV, Scene I: Father Lawrence‘s Medicine (p. 332-333)
 Student 7: Act IV, Scene II: Another Wedding (p. 333-334)
 Student 8: Act IV, Scene III: Juliet Drinks the Medicine
Act IV, Scene IV: The Capulets Find Juliet (p. 334-335)
 Student 9: Act V, Scene I: News from Verona (p. 335-336)
 Student 10: Act V, Scene II: Together Again (p. 336-337)
TASK 5: FACTUAL RECOUNT

Answer the following question from the context of the story. Do this in
your notebook. (LM, p. 338)
1. Who are Romeo and Juliet? What is going on between the

families of the two?
2. Where is Romeo exiled? Why does Romeo feel that banishment is
worse than death?
3. How does Lord Capulet react to Juliet‘s refusal? What ultimatum does
he give her?
4. Why is there such a rush to see Juliet married?
TASK 6: THINK THROUGH

Answer the following questions with your group. Write your answers
in a manila paper for your insights to be presented to the class later.
(LM, p. 338)
Group 1
 Friar Lawrence gives this advice to Romeo and Juliet: ―Love moderately; long
love doth so.‖ What is he telling the young lovers? Do you agree with him?
Should he have given them any other advice?
Group 2
 What could have been done to prevent this tragedy from occurring?
Group 3
 What would have happened to Romeo and Juliet if they hadn‘t died? Is their
relationship sustainable over the time? Do they have anything to offer each
other once the initial burst of passion calmed down? Would Romeo move on
from Juliet as quickly as he moved on from Rosaline?
Group 4
 In what ways do the young adopt the beliefs of the old, and in what ways do they
ignore them or fight against them?
Group 5
 Should Romeo and Juliet‘s relationship be viewed as a rebellion of the young
against the old? In other words, is this play‘s motto, ―Kids these days,‖ or
―Mover over, Grandpa?‖
Abstraction:
TASK 7: SMALL UNDERTAKINGS

Do the following activity with your group. (LM,
p.343-344)
Group 1: News Flash

Suppose you were a reporter and your beat is to
cover a crime report. You decided to make a news
report about the Tragedy in Verona concerning the
ill-fated lovers Romeo and Juliet
Group 2: Dance of Love

Design a costume, select the music, and perform an interpretative dance about a secret
wedding. Turn in a paragraph explaining what your group is trying to convey (How does
your costume, music and choreography capture important events and themes of the
act?).
Group 3: Sing Your Heart Out

Write and perform an original song, including lyrics and music, for the wedding of Romeo
and Juliet.
Group 4: Paint My Love
Create a timeline highlighting the feud between the two families resulting in the untimely
death of the two young lovers.
Group 5: A Love Story Untold

Reorganize the summary of the last scene of the play, Romeo and Juliet. Write it in a
different form like a newspaper article, a novel chapter, a diary entry, a sonnet or a letter.
Application:
TASK 8: AN ALTERNATIVE ENDING

If you will be given a chance to give Romeo and Juliet a
different ending, what would it be?
Write a script showing an alternative ending of the play. Then, with
your group, perform a role play following the script.
WRITING A SCRIPT RUBRIC

1 2 3 4
There are more
There are few There are no
The final draft has than a few
grammar, grammar,
many grammar, grammar,
Conventions capitalization, capitalization,
capitalization, capitalization,
spelling, or spelling, or
spelling, and spelling, or
punctuation errors in punctuation errors in
punctuation errors. punctuation errors
the final draft. the final draft.
in the final draft.
The story is very well
The plot is pretty well
The plot is a little organized. One idea
Ideas and scenes organized. One idea
hard to follow. The or scene follows
seem to be or scene may seem
Clarity randomly arranged.
transitions are
out of place. Clear
another in a logical
sometimes not clear. sequence with clear
transitions are used.
transitions.
There is little The story contains

The story contains a The story contains
evidence of many creative details
few creative details creative details
creativity. The and/or descriptions
and/or descriptions, and/or descriptions
Creativity playwright does
but they distract from that contribute to the
that contribute to the
not seem to have reader's
the story. reader's enjoyment
used much enjoyment.
imagination.
It is usually clear
Hard to follow It is usually clear It is always clear
which character is
characters' dialogue which character is which character is
speaking. Dialogue is
and minimal effort is speaking. Dialogue is speaking. Dialogue is
Dialogue put into choppy and not well
well developed, but
well developed and
could be more
conversations. developed. varied.
varied in structure.
Source: https://www.google.com.ph/#q=script+writing+rubric+high+school
ROMEO AND JULIET (WEDDING TO END)
A wedding was a joyous event that was celebrated by many friends and relatives. After the
ceremony, the guests followed the couple through the streets to the home of the bride or groom.
Then a wedding feast was held that lasted into the night. Notice how different Juliet‘s wedding is
from a typical ceremony of the day.
Act Two, Scene Four: A Secret Wedding

Father Lawrence's house. Father Lawrence and Romeo are talking. Romeo: Juliet
will be here very soon. I'll be very happy when we're married.
Father Lawrence: Listen, Romeo. You only loved Rosaline for a few weeks. Remember, if you marry
Juliet, you must love her, and stay with her, for the rest of your life.
Romeo: Yes Father, I understand. I'll always love her. (Juliet enters, and kisses Romeo.)
Juliet: The Nurse told me to meet you here. She said that Father Lawrence would marry us.
Father Lawrence: And I will. Come with me.
Act Three, Scene One: More Trouble

A busy street in Verona. Some people are walking along the street. Mercutio and Benvolio are
talking.
Benvolio: It's hot today, isn't it? I don't like this weather. People feel angry when it's so hot. (Tybalt
and some friends enter.)
Mercutio: Look! It's the Capulets – over there!
Benvolio: Don't start an argument, we don't want trouble.
Mercutio: I'm not afraid of Tybalt.
Tybalt:Where is Romeo? He's your friend, isn't he?
Mercutio: That's none of your business.
Tybalt: I'm looking for him. And I'm going to find him.
Mercutio: Are you looking for a fight?
Benvolio: Stop it, you two! (Romeo enters.)
Tybalt: There he is! Romeo! Come here! (He pulls out his sword.) You came to our house last night,
didn't you? Well, we don't want the Montagues in our house. I'm going to teach you a
lesson. Come on, get out your sword and fight!
Romeo: Tybalt, I'm not your enemy! (Laughing) The Montagues and Capulets are going to be good
friends. Something wonderful has happened.
Tybalt: What are you talking about?
Mercutio: Why won't you fight with him, Romeo? (He pulls out his sword.) Well, I'll fight.
Come on! (Mercutio and Tybalt start fighting.)
Romeo: Stop fighting! Don't you remember what Prince Escalus said? Benvolio, help me to stop
them. (Benvolio and Romeo try to stop them. Tybalt stabs Mercutio and runs away.
Mercutio falls.)
Mercutio: Why did you stand between us? I – I'm hurt!
Romeo: I'm sorry, Mercutio – I was trying to help.
Mercutio: I need a doctor. Oh, you Montagues and Capulets, what a stupid argument! You're both
wrong, to fight, and hate, and fight again like this! Ah – I'm dying! (Mercutio dies.)
Romeo: Mercutio! He's dead! Tybalt! Come back! (He pulls out his sword angrily.) You've killed my
friend. Now I'm going to kill you! (Tybalt enters again. They fight, and Romeo kills him.
Some people who are watching start shouting.)
Benvolio: This is terrible! Romeo, run away! You'll be in trouble if the Prince finds you here!
Romeo: Oh, no! What have I done? (He runs away.)
(Prince Escalus, Lord and Lady Montague, Lord and Lady Capulet, servants and others
enter.)
Prince Escalus: What's happened? How did these men die?
Benvolio: Tybalt killed Mercutio, sir. Mercutio was Romeo's friend. Romeo was very angry, and
he killed Tybalt.
Lady Capulet: Romeo must die! He's a murderer! He killed my nephew Tybalt! Prince
Escalus: But Tybalt was a murderer too, Lady Capulet.
Lady Capulet: No, he wasn't! That's what Benvolio says, but he's a Montague. Romeo must die!
Lord Montague: Sir, our son is not a murderer. He killed Tybalt because he was angry.
Prince Escalus: Listen, all of you. I have decided not to execute Romeo. But he must leave
Verona, and he can never come back. Tell him that he must leave
immediately. If he ever comes back to Verona, he will die. Now go home, and
keep the peace.
Act Three, Scene Two: Another Message

Juliet is alone in her room.
Juliet: I'm so excited! Romeo is going to be with me tonight! We're married now, but the only people
who know are Father Lawrence and my Nurse. Here she is now. (The
Nurse enters.)
Nurse: Juliet, my dear, something terrible has happened. (She starts crying) He's dead, he's dead.
Juliet: Who's dead? Not Romeo? Not my husband?
Nurse: No, Tybalt is dead.
Juliet: Oh, no! My cousin Tybalt! How did he die?
Nurse: There was a fight, and Romeo killed him. Juliet:
It can't be true! Romeo never fights.
Nurse: But it is true. Tybalt killed Romeo's friend Mercutio, and Romeo was very angry.
The two of them started fighting, and Romeo killed Tybalt. Juliet:
Where's Romeo now? And what's going to happen to him?
Nurse: Romeo is hiding in Father Lawrence‘s house. The Prince has told Lord Montague that
Romeo must leave Verona and never come back.
Juliet: So I'll never see him again! (She starts crying.)
Nurse: Don't cry, my dear. Listen. I'll go to Father Lawrence's house and tell Romeo to come here
secretly tonight, to say goodbye to you.
Juliet: Thank you, Nurse. You're very kind. Wait – take this ring. (She gives her a ring.) Give it to
Romeo, and tell him that I love him.
Act Three, Scene Three: Bad News for Romeo

Father Lawrence's house. Romeo is hiding. Father Lawrence enters.
Father Lawrence: Romeo – where are you? It's me, Father Lawrence. (Romeo comes out.)
Romeo: What did Prince Escalus say? Am I going to die?
Father Lawrence: No. Killing Tybalt was wrong. But the Prince is not going to execute you. He
said that you must leave Verona immediately, and never come back.
Romeo: This is terrible! (He starts crying.) Leaving Juliet is worse than dying.
Father Lawrence: Just listen, Romeo! You are lucky. The Prince has been kind to you. Romeo:
But I want to die! I can't live without Juliet! (There is a knock on the door.) Father Lawrence: Hide,
Romeo! If anyone finds you here, there will be trouble!
Romeo: It doesn't matter. I want to die. (The Nurse enters.)
Father Lawrence: I'm happy to see you, Nurse. Have you been with Juliet?
Nurse: Yes. I saw her a few minutes ago, crying and shaking, just like Romeo here. Romeo:
But I killed her cousin. Does she still love me?
Nurse: Yes, of course she does. (She gives Romeo Juliet's ring.) She sends you this ring.
Father Lawrence: Listen, Romeo. You can go to see Juliet tonight. But then you must leave
Verona. Later, I will tell everybody that you and Juliet are married, and I
will ask the Prince to think again. Perhaps you can come back to Verona
soon. But you have to leave Verona tonight and go to Mantua. Do you agree
to do that?
Romeo: Yes, Father. How long must I stay in Mantua?
Father Lawrence: I'm not sure. Stay there until I send you a message. Don't come back until you
hear from me. Now go and say goodbye to Juliet.
Act Three, Scene Four: Lord Capulet‘s Plan

The Capulets' house. Lord and Lady Capulet and Paris are talking.
Lord Capulet: Paris, my daughter is very unhappy. Her cousin Tybalt died this morning.
Lord Montague's son killed him.
Paris: I'm sorry to hear that. Can I talk to Juliet?
Lady Capulet: Not at this moment, Paris. She is in her room. It's very late, and she needs to rest.
Lord Capulet: Listen. I've just thought of something. I want Juliet to forget about Tybalt's death. I
think that she'll be happy when she marries. I know that you love Juliet, and that
you would like to marry her. The two of you must marry as soon as possible. What
day is it today?
Paris: It's Monday night, sir.
Lord Capulet: Right. The wedding will be on Thursday. Paris:
That's wonderful.
Lord Capulet: (To his wife) Go and tell Juliet what I have decided, my dear. We must hurry! Don't
forget, Paris – the wedding will be in three days!
Paris: I won't forget, sir.
Act Three, Scene Five: Trouble for Juliet Juliet's

room. Romeo and Juliet are together.
Romeo: I'm sorry, my love, but I have to go. Look outside – it's nearly morning.
Juliet: Please don't say that. I want you to stay with me. You are my husband now. You needn't
go.
Romeo: You know that I have to go. If anyone finds me here, the Prince will execute me. I'm
going to stay in Mantua. Father Lawrence is going to talk to our families, and to the
Prince. Then I'll be back soon.
Juliet: I hope so. Romeo, my only love! (There is a knock at the door.) Romeo: Kiss
me! Goodbye, my love. (He climbs out of the window.) Lady Capulet: (Entering)
Juliet – you're already out of bed. It's very early. Juliet: I know. I can't sleep.
Lady Capulet: You're still very unhappy about your cousin Tybalt. Don't worry, my dear. We'll find
Romeo. And when we find him, he'll die. Now listen, I have some exciting news.
Your father has said that Paris and you can marry. And the wedding will be on
Thursday. (Juliet screams.)
Juliet: I won't marry Paris. It's just not possible!
Lady Capulet: What do you mean? (Lord Capulet and the Nurse enter.) Lord
Capulet: Have you told her the news?
Lady Capulet: She says that she won't marry Paris.
Lord Capulet: What? Why not? Listen, Juliet. Paris is a good, kind man. He's an important man, too,
and a friend of the Prince's. You are a very lucky girl!
Juliet: Father, listen. I know that you're trying to help me, but I will never marry Paris. I don't love him.
I don't even know him.
Lord Capulet: That doesn't matter. You will marry him on Thursday. Do you understand? (Lord and
Lady Capulet leave.)
Juliet: This is terrible. What shall I do? They don't know that I've married Romeo!
Nurse: Listen, my dear. Romeo is in Mantua. Perhaps you'll never see him again. Your mother
and father are right, you know. Paris is a kind man, and good-looking too. He'll be a
better husband than Romeo. Marry him. Forget about Romeo. That's the best thing to do.
(She leaves.)
Juliet: I will never listen to my Nurse again. I thought that she would help me, but she won't. I'm
going to see Father Lawrence. Perhaps he can help me.
Act Four, Scene One: Father Lawrence‘s Medicine

Father Lawrence's house. Paris and Father Lawrence are talking.
Father Lawrence: What! On Thursday! That's in two days. This is very sudden!
Paris: I know. I'm very excited. I've loved Juliet for a long time, and soon we'll be married!
Father Lawrence: But you don't know her very well. You wait, Paris. Thursday is too soon. Paris: But
her father has already decided. I'm very happy!
Juliet: (Entering) Good morning, Paris.
Paris: Hello, Juliet, my love. (Laughing) You'll soon be my wife. Juliet:
Perhaps. I've come to talk to the priest.
Paris: Are you going to tell him how much you love me? Juliet:
I've come to talk to him alone.
Father Lawrence: Can you leave us, please, Paris?
Paris: Of course, Father. Goodbye, my love. (He kisses Juliet.) We'll be married soon! (He
leaves.)
Juliet: What shall I do? (She starts crying.) I want to die.
Father Lawrence: You must marry Paris. What else can you do?
Juliet: Father, I'll never marry Paris. Don't you understand? I love Romeo. He is my husband.
Look, I have a knife. (She pulls out a knife.) If you tell me to marry Paris, I'll kill myself.
Father Lawrence: Stop! Put down the knife. Listen, Juliet, I've just thought of something. (He goes to a
cupboard and takes out a bottle.)
Juliet: What's that? Is it poison? Will you kill me?
Father Lawrence: No, Juliet, it's not poison, but it's a very, very strong medicine. Anyone who drinks
this will sleep for two days.
Juliet: What do you want me to do?
Father Lawrence: I want you to drink this medicine the night before your wedding. You'll sleep very,
very deeply, and it won't be possible to wake you up. You will be cold and still.
Everyone will think that you are dead.
Juliet: What'll happen then?
Father Lawrence: They will put your body in your family's tomb, next to your cousin Tybalt. Later,
you'll wake up. (Juliet screams.) Don't worry, I'll send a message to Romeo
in Mantua and tell him to come back to Verona when it's dark, I'll tell him to
go to the tomb and open it at night. Then the two of you can run away
together to Mantua. Will you do it? It's very dangerous, but if you don't do
this, you have to marry Paris.
Juliet: Yes, Father, I'll do it. I'll do anything to be with Romeo. Thank you, Father. (Juliet takes the
bottle and leaves.)
Father Lawrence: Father John! Father John! (Father John enters. Father Lawrence quickly
writes a message and gives it to him.) Take this message to Romeo in
Mantua. It's very, very important.
Act Four, Scene Two: Another Wedding

The Capulets' house. Lord and Lady Capulet, the Nurse and servants are all busy.
Lord Capulet: (To a servant) Go and ask all our friends to come to the wedding. (To another
servant) Go and find the best cooks in Verona. This will be a very special wedding. (To the
Nurse) Where's Juliet?
Nurse: She's with the priest, sir. She'll be back soon. Look, here she is now. She look very happy.
Juliet: (Entering) I'm sorry, father.
Lord Capulet: What?
Juliet: You told me to marry Paris, and you were right. I'm not going to cry any more. He is the right
man for me. I'm sorry that I didn't agree at first.
Lord Capulet: This is wonderful news! Oh, I'm so happy! Listen, everybody! The wedding will be
tomorrow morning. Go and tell Paris.
Lady Capulet: Tomorrow? But tomorrow is Wednesday. You said that the wedding would be on
Thursday. We won't be ready tomorrow!
Lord Capulet: That doesn't matter. Juliet and Paris must marry as soon as possible.
Hurry,hurry! Nobody will sleep tonight – we're all going to be too busy. Nurse –
go and help Juliet with her wedding-dress! Oh, I'm so happy!
Four, Scene Three: Juliet Drinks the Medicine

Juliet's room. Juliet is wearing her wedding-dress. The Nurse and Lady Capulet are with her.
Nurse: You look beautiful, my dear.
Lady Capulet: You must go to bed now, Juliet. It's very late, and you need to rest. Good night. (The
Nurse and Lady Capulet leave.)
Juliet: They think that I'm going to marry Paris tomorrow, but they're wrong, (She takes out Father
Lawrence's bottle.) When I drink this, I'll fall asleep. They'll think I'm dead. Oh, I'm so
afraid! I won't wake up for two days. When I wake up, I'll be in the tomb, with dead bodies
around me. But I must do it. Romeo will come and find me, and we'll be together again!
(She drinks the medicine and lies down on her bed.)
Act Four, Scene Four: The Capulets Find Juliet

The Capulets' house. It is early in the morning, and Lord and Lady Capulet, the Nurse, servants
and cooks are all moving around busily.
Lady Capulet: We need more food! And more tables and chairs!
Lord Capulet: Bring those flowers over here! Hurry up, there isn't much time left! Nurse: Why
don't you go to bed, sir? It's very late.
Lord Capulet: I can't sleep – I'm too excited! My daughter is going to marry Paris in the morning!
After the wedding, we're going to have a party. It'll be the best party I've ever had!
Lady Capulet: Paris will be here soon. Nurse – go and wake Juliet up. (The Nurse goes out.)
Lord Capulet: I can hear music. Paris is coming, with his musicians. (The musicians play outside.)
Nurse: Help! Help! (Some servants run to help her.)
Lady Capulet: What's the matter? (The Nurse and servants come back, carrying Juliet.
They are crying.)
Nurse: She is dead! (Everyone stops moving.)
Lady Capulet: Juliet! My only child! (Holding Juliet) Please, wake up! Oh, she's cold!
She's dead!
Lord Capulet: She was the sweetest child in the world. She was only thirteen, and now she's
dead. (Father Lawrence, Paris and the musicians enter. The musicians are still
playing.)
Paris: I've come here to take Juliet to church! (They see Juliet's body. The musicians stop playing.)
Lady Capulet: She was our only child. Now our lives are empty. We will never be happy again.
Paris: Juliet – dead? This is the worst day of my life.
Father Lawrence: Carry her to the church. We will put her in your family's tomb, next to her cousin.
Put flowers on her body. (They put flowers on her body and carry her out.)
Act Five, Scene One: News from Verona

Romeo is walking along a street in Mantua. There are some shops in the street.
Romeo: Oh, I'm so lonely without Juliet I want to go back to Verona, but I can't go back yet. I must
wait until Father Lawrence sends a message. I'll hear some news soon, I hope. (One of
Lord Montague's servants enters.) Did Father Lawrence send you?
Servant: No, but I've got some news. It's bad news, I'm afraid. Juliet is dead. I saw them put her
body in the Capulets' tomb yesterday.
Romeo: What! I must go back, I must find out what's happened.
Servant: Wait, my lord. Don't go back yet. Wait until Father Lawrence sends some news.
Romeo: No! I'm going to Verona now. Leave me alone. (The servant leaves) If Juliet is dead, I
want to die too. I'm going to see Juliet once more, and then I'm going to die. I need
some poison. Where can I find some poison? I remember seeing a shop near here.
Where was it? Here it is. (He stops outside a shop.) You! You sell medicines, don't you?
Shopkeeper: Yes, sir.
Romeo: I want some poison. It must be strong. Do you understand?
Shopkeeper: Sir, I sell medicines to help people, not poison to kill them.
Romeo: Here. (He takes some gold from his pocket.) I will give you as much gold as you want. You
look poor and hungry.
Shopkeeper: Yes, sir, I am. (He goes to a cupboard and takes out a bottle.) I have some poison. It
is very dangerous. Anyone who drinks this will die immediately. But I can't sell it to
you, I'll be in trouble.
Romeo: Don't worry. I won't tell anyone that it came from your shop. (He takes some more gold
from his pocket.) Here, have all my gold. I don't need it. (The shopkeeper gives him the
bottle, and Romeo leaves.)
Father John: (Entering) Where's Romeo? I've got a message for him. It's from Father Lawrence.
He said that the message was very important. (Running up and down the street)
Romeo! Romeo! Where are you? Romeo! Oh, no! He's not here!
Act Five, Scene Two: Together Again

A garden outside a church. It is late at night. Paris is standing near the Capulets' tomb. It is a very
large tomb with a big, heavy door.
Paris: Oh, Juliet! I loved you more than anyone else in the world. I wanted you to be my wife, but
now you're dead. (Putting flowers on the tomb) I'm going to come to your tomb every
night. What's that noise? Someone's coming! (He hides. Romeo enters.)
Romeo: Juliet – I must see your sweet face again! (Paris comes out. Romeo opens the door of
the tomb.)
Paris: Stop! You're Romeo, aren't you? You're the one of the Montagues. What are you doing to
Juliet's tomb?
Romeo: Who are you? Leave me alone! (The two men fight, and Romeo kills Paris. (Romeo
goes into the tomb, and takes the bottle of the poison out of his pocket.) Juliet, my
love, my wife! You are dead, but you are still beautiful. This will be our last kiss. (He kisses
her, then drinks the poison.) So with a kiss, he dies. (He dies.)
Father Lawrence: (Entering) Juliet will wake up very soon. Where's Romeo! Father John took a
message to him, and the message told him to meet me here. Romeo! (He
goes to the tomb.) The door's open! What's happened?
Juliet: (Waking up) Father Lawrence! It's good to see you. Where's Romeo?
Father Lawrence: Juliet – something terrible has happened. Romeo is lying next to you, but he's
dead! Quickly – get out of the tomb, and come with me. If anyone finds us
here, there will be trouble!
Juliet: No, Father, I want to be with Romeo. (Father Lawrence runs away.) Romeo, my love,
what's happened? (She sees the bottle of poison.) He's killed himself! Well, I'm going to die
too. I can't live without him. Romeo, perhaps there's poison on your lips. (She kisses him.)
I'm still alive, but I want to die. I'm not afraid of death. (She takes out a knife, stabs herself
and dies. Some people enter.)
People: (Shouting) What's happened? Look, here's Paris – he's dead! And Romeo's dead, too!
Someone's opened the tomb! Find the Prince! Find the Capulets and the Montagues!
(Prince Escalus, the Capulets, Montagues and servants enter.)
Prince Escalus: Dead! Romeo and Juliet?(Some more people enter, with Father Lawrence.) Father
Lawrence, do you know anything about this?
Father Lawrence: Just a few days ago, Romeo married Juliet. (Everyone shouts in surprise,
and Lady Capulet starts crying.) I married them secretly, because the
Capulets and Montagues are enemies. Juliet didn't want to marry Paris, so
I told her to take some special medicine. She wasn't dead, she was asleep. I
wanted to send a message to Romeo in Mantua, but he didn't get the
message. And they have both killed themselves.
Prince Escalus: Lord Capulet, Lord Montague – come here. (They stand in front of the
Prince.)This has happened because you are enemies. Romeo, Juliet, Paris,
Mercutio and Tybalt are all dead.
Lord Capulet: Sir, our arguments have finished. We're friends now, and we will never fight again.
(They shake hands unhappily.)
Lord Montague: We'll build a statue of Romeo and Juliet. It will be made of gold. No one will ever
forget them.
Prince Escalus: Perhaps Verona will be peaceful now. (He looks up at the sky.) There is no sun
this morning. Go home now, all of you, and remember this unhappy story of
Juliet and her Romeo.

Quarter: THIRD
Date:

The learner demonstrates understanding of The learner skillfully performs in a one-act play
EN9RC-IIIf-20: Analyze a one-act play
EN9V-IIIg-29: Get familiar with technical vocabulary for drama and theatre (like stage
directions)
Objectives:
1. Familiarize oneself with the elements and definition of a one-act play
2. Write a character sketch by following the given content guide
3. Analyze the one-act play as a means of valuing the importance of being true to
oneself and to others

Lesson: “While the Auto Waits” by O. Henry
Materials:
2. Photographs of Local Personalities
References:
370
III. LEARNING TASKS
Introduction: We can be anything we want to be, but we can't be anyone we want to
be. You have no choice but to be yourself. Rather, you have no other wise choice than to
be yourself. Pretending to be someone you‘re not will cause you to lose the person you
really are, which may cause unhappiness – and eventually cause you to fail – crash and
burn.
TASK 1: MEANING MENACE
A. Arrange the jumbled words that will lead you to arrive at the definition of a one-act
play.
1. tac 2. pyla
A one-act play is a play with
only one
3. lementes . An act is a
part of a
defined by
such as rising action,
, and
.
4. maclix 5. sorelution
Source: http://www.philstar.com/arts-and-culture/2014/06/09/1332050/peta-re-stages-rock-aegis
Clues:
1. A division or unit of a drama
2. A dramatic performance
3. The simplest or essential parts
4. The most exciting and important part of a play
5. Th.e part of the story‘s plot line in which the problem of the
story is resolved
B. Guess the words hidden in the constellation of letters. Use the description as a clue.
G
T G T
A
E N
S S E
I
T
1. 2.
A R D A G
S
I U
T C C E L
O
A H R E
3. 4.
Clues:
1. Place where the story happened
2. Platform on which the actors perform
3. People involved in the story
4. Words/Lines the characters say in a story, movie, play, etc.
Activity:
TASK 2: THE GREAT PRETENDERS

Have you ever been tempted to pretend that you were someone else?
In this activity, impersonate the following local personalities.
Pres. Rodrigo Duterte

Vice Ganda
PNP Dir. Gen “Bato” Dela Rosa Ms. Universe Pia Wurtzbach
Sources:
http://www.getrealphilippines.com/blog/2016/02/vice-gandas-vulgar-behavior-damages-the-image-of-the-
philippines-gay-community/
http://pinoynewsonline.info/mayor-rodrigo-duterte-last-jokes-before-becoming-the-president-of-the-philippines/
https://en.wikipedia.org/wiki/Ronald_dela_Rosa
http://www.philstar.com/nation/2016/01/15/1542543/list-routes-affected-pia-wurtzbachs-homecoming-parade
 How does it feel to pretend that you were someone else?
 Would you rather be the person you impersonated or the person that you are now?
Analysis:
Read the copy of ―While the Auto Waits‖ by O. Henry then answer
the questions below on pages 352 to 358 of your module.
1. Who met at the park? Describe how the characters reacted on their first
meeting.
2. What do you think are the intentions of the characters for not
revealing their true status in life?
3. Would you consider the situations of the characters a ―white lie?‖ Why or why
not?
4. What does the last scene of the story tell us about the young man?
5. If you were the author, how would you end the play?
TASK 4: PLAY IN PROCESS

Group 1: Story Grammar
Complete the story grammar below by writing the details about the play,
While the Auto Waits.
While the Auto Waits
Characters Plot Setting Conflict
Who Event 1: Time (When) 1.

a. 2.
b. Event 2: 3.
c. Place (Where) 4.
Group 2: Character Analysis
Fill out the character analysis sketch to give characterization to the characters of the play,
While the Auto Waits.
Part of the play

Trait Evidence where it was
revealed
Character 1
Character 2
Character 3
.
Group 3: Plot Diagram
The plot diagram shows how the main events in the play are organized into a plot.
 Introduction or Exposition: explains the situation with which the story

begins
 Rising Action or Involution: complication is presented
 Climax: highest point of interest, usually a question is raised
 Falling Action or Resolution: solutions to the problem are presented
 Conclusion: situation with which the story ends.
 Come up with a plot diagram of the play While the Auto Waits.
Abstraction:
TASK 5: WRITING YOUR OWN
A one-act play usually has a small number of characters who are a
part of the story. Use what you have learned in this lesson and draw
up a cast of characters for a show that you watch regularly. Here are
the steps:
Identify the show and write the cast of characters. List the characters in their
approximate order of importance. List only the characters that appear
regularly.
For each character on the cast list, write no more than two sentences
describing him or her. Be sure to mention the character‘s most striking
characteristics – both good and bad.
Exchange your cast list with a classmate who watches the same show. Ask if
your classmate agrees with your choice of characters and their
descriptions. If not, work together to decide how to improve your list.
We are an emerging division where excellence is a habit and allegiance for quality is a pledge.
Application:
TASK 6: WRITING A CHARACTER SKETCH
Can you draw your friend in words? Write a character sketch for
someone you know. It could be a friend, family member, or anybody
you know well. Do this in your notebook. Here‘s a list of things to include
in your character sketch.
 Opening – Introduce the topic (your friend).
 Explain how you met.
 Give a physical description – appearance, clothes, voice, habits,
mannerisms, etc.
 Personality trait #1, and supporting evidence
 Closing comment – Try to reconnect to your friend.
CHARACTER SKETCH WRITING RUBRIC

Needs Fair Good Very
Criteria Work 2pts. 3pts. Good
1pt. 4pts.
Includes basic facts about the character‘s
background and a description of his/her
physical appearance and personality
Includes a description of the character‘s
thoughts, feelings and actions
Vocabulary (e.g. range of vocabulary, inclusion of
specific details)
Grammar (e.g. use of appropriate verb tense,
subject-verb agreement)
Mechanics (e.g. spelling, capitalization,
punctuation)
Source: http://www.edb.gov.hk/attachment/en/curriculum-development/resource-support/net/
assessment%20form%202.2-%20character%20sketch%20rubric%20(peer%20assessment).pdf
WHILE THE AUTO WAITS
by O. Henry
adapted for the stage by Walter Wykes
CHARACTER
S GIRL
YOUNG MAN
WAITRESS
CHAUFFEUR
TIME
1920s
[Twilight. The quiet corner of a city park. A GIRL in gray sits alone on a bench, reading her book.
A large-meshed veil hangs over her face, which nevertheless shines through with a calm and
unconscious beauty. When she turns a page, the book slips from her hand, and a YOUNG MAN,
who has been hovering nearby, pounces upon it. He returns it to her with a gallant and hopeful
air.]
GIRL: Oh, thank you.
YOUNG MAN: Nice weather we‘re having. GIRL:
Yes.
[Pause.]
YOUNG MAN: Well …
GIRL: You may sit down, if you like.
YOUNG MAN: [Eagerly.] Are you sure? I don‘t want to interrupt your reading.
GIRL: Really, sit. I would like very much to have you do so. The light is too bad for reading. I
would prefer to talk.
YOUNG MAN: Well, if you insist. [He slides hopefully onto the seat next to her.] You know, you‘ve got
to be the stunningest girl I‘ve ever seen. Honest. I had my eye on you since yesterday.
GIRL: Yesterday?
YOUNG MAN: Didn't know somebody was bowled over by those pretty lamps of yours, did you,
honeysuckle?
GIRL: Whoever you are, you must remember that I am a lady. I will excuse the remark you have
just made because the mistake was, doubtless, not an unnatural one—in your circle. I asked you
to sit down; if the invitation must constitute me your honeysuckle, consider it withdrawn.
YOUNG MAN: Sorry. I‘m sorry. I didn‘t mean to offend you. I just thought … well, I mean, there
are girls in parks, you know—that is, of course, you don't know, but—
GIRL: Abandon the subject, if you please. Of course I know.
YOUNG MAN: Right.
GIRL: Now, tell me about these people passing and crowding, each way, along these paths.
Where are they going? Why do they hurry so? Are they happy?
YOUNG MAN: It is interesting to watch them—isn‘t it? The wonderful drama of life. Some are
going to supper and some to—er—other places. One can‘t help but wonder what their histories
are.
GIRL: Yes! How fascinating they seem to me—rushing about with their petty little dreams and
their common worries! I come here to sit because here, only, can I be near the great, common,
throbbing heart of humanity. My part in life is cast where its beating is never felt. Can you
surmise why I spoke to you, Mr.—?
YOUNG MAN: Parkenstacker. And your name…?
[He waits, eager and hopeful, but she only holds up a slender finger and smiles slightly.]
GIRL: No, you would recognize it immediately. It is simply impossible to keep one's name out of
the papers. Or even one's portrait. This veil and this hat—my maid‘s, of course—are my only
protection. They furnish me with an incog. You should have seen the chauffeur staring when he
thought I did not see. Candidly, there are five or six names that belong in the holy of holies, and
mine, by the accident of birth, is one of them. I spoke to you, Mr. Stackenpot—
YOUNG MAN: Parkenstacker.
GIRL: —Mr. Parkenstacker, because I wanted to talk, for once, with a natural man—a real
man—one unspoiled by the despicable gloss of wealth and supposed social superiority. Oh!
You have no idea how weary I am of it—money, money, money! And of the men who surround
me, dancing like little marionettes all cut from the same pattern. I am sick of pleasure, of jewels,
of travel, of society, of luxuries of all kinds!
YOUNG MAN: I always had the idea that money must be a pretty good thing.
GIRL: A competence is to be desired, certainly. But when you have so many millions that—!
[She concludes the sentence with a gesture of despair.] It is the monotony of it that palls. Drives,
dinners, theatres, balls, suppers, balls, dinners, more balls, followed of course by dinners and
suppers, with the gilding of superfluous wealth over it all. Sometimes the very tinkle of the ice in
my champagne glass nearly drives me mad.
YOUNG MAN: You know … I‘ve always liked to read up on the habits and customs of the
wealthy class. I consider myself a bit of a connoisseur on the subject. But I like to have my
information accurate. Now, I had formed the opinion that champagne is cooled in the bottle and
not by placing ice in the glass.
[The GIRL gives a musical laugh of genuine amusement.]
GIRL: You must understand that we of the non-useful class depend for our amusement upon
departure from precedent. Just now it is a fad to put ice in champagne. The idea was originated
by a visiting Prince of Tartary while dining at the Waldorf. It will soon give way to some other
whim. Just as, at a dinner party this week on Madison Avenue, a green kid glove was laid by the
plate of each guest to be put on and used while eating olives.
YOUNG MAN: [Humbly.] I see.
GIRL: These special diversions of the inner circle do not become familiar to the common public, of
course.
YOUNG MAN: Of course. It‘s all quite fascinating. I‘ve always wanted to participate in, or at least
witness first hand, the rituals of the elite.
GIRL: We are drawn to that which we do not understand. YOUNG
MAN: I guess that‘s true.
GIRL: For my part, I have always thought that if I should ever love a man it would be one of lowly
station. One who is a worker and not a drone. But, doubtless, the claims of caste and wealth will
prove stronger than my inclination. Just now I am besieged by two suitors. One is Grand Duke
of a German principality. I think he has, or has had, a wife, somewhere, driven mad by his
intemperance and cruelty. The other is an English Marquis, so cold and mercenary that I prefer
even the diabolical nature of the Duke. What is it that impels me to tell you these things, Mr.
Packenwacker?
GIRL: Of course.
YOUNG MAN: I don‘t know why you should bare your soul to a common man like me, but you
can‘t know how much I appreciate your confidences.
[The girl contemplates him with the calm, impersonal regard that befits the difference in their
stations.]
GIRL: What is your line of business, if you don‘t mind my asking?
YOUNG MAN: A very humble one. But I hope to rise in the world someday. GIRL:
You have aspirations?
YOUNG MAN: Oh, yes. There‘s so much I want to do.
GIRL: I admire your enthusiasm. I, myself, can find very little to be enthused about, burdened,
as I am, by the constant pleasures and diversions of my class.
YOUNG MAN: Did you really mean it, before, when you said you could love a man of lowly
station?
GIRL: Indeed I did. But I said ―might.‖
YOUNG MAN: Why only ―might?‖
GIRL: Well, there is the Grand Duke and the Marquis to think of, you know. YOUNG
MAN: But you‘ve said yourself—they‘re so cold.
GIRL: I am sure you understand when I say there are certain expectations of a young lady in my
position. It would be such a disappointment to certain members of my family if I were to marry a
commoner as we like to call them. You simply cannot imagine the scandal it would cause. All
the magazines would remark upon it. I might even be cut off from the family fortune. And yet …
no calling could be too humble were the man I loved all that I wish him to be.
YOUNG MAN: I work in a restaurant.
[The girl shrinks slightly.]
GIRL: Not as a waiter? Labor is noble, but personal attendance, you know—valets and—
YOUNG MAN: Not a waiter. I‘m a cashier in … in that restaurant over there.
GIRL: [With a strange, suspicious look.] That … that one there? [He nods.] That one? YOUNG
MAN: Yes.
GIRL: [Confused.] Are you sure?
YOUNG MAN: Quite sure.
GIRL: But—
[Suddenly the GIRL consults a tiny watch set in a bracelet of rich design upon her wrist. She rises
with a start.]
GIRL: Oh!
YOUNG MAN: What is it? What‘s wrong?
GIRL: I … I am late for an important engagement.
YOUNG MAN: An engagement?
GIRL: Yes!
YOUNG MAN: Some sort of ball or—
GIRL: Yes, yes!
YOUNG MAN: Will I see you again?
GIRL: I do not know. Perhaps—but the whim may not seize me again. I must go quickly now.
There is a dinner, and a box at the play—and, oh! The same old round! Perhaps you noticed an
automobile at the upper corner of the park as you came. One with a white body.
YOUNG MAN: [Knitting his brow strangely.] And red running gear?
GIRL: Yes. I always come in that. Pierre waits for me there. He supposes me to be shopping in
the department store across the square. Conceive of the bondage of the life wherein we must
deceive even our chauffeurs. Good-night.
YOUNG MAN: Wait! It‘s getting dark, and the park is full of questionable characters. Can‘t I walk
you to your—
GIRL: [Quickly.] No! I mean … no. If you have the slightest regard for my wishes, you will remain on
this bench for ten minutes after I have left. I do not mean to question your intentions, but you are
probably aware that autos generally bear the monogram of their owner. Again, good-night.
[Suddenly a WAITRESS approaches, wearing a soiled, dirty uniform—evidently just coming off
her shift.]
WAITRESS: Mary-Jane! Mary-Jane Parker! What on earth are you doing out here?! Don‘t
you know what time it is?!
GIRL: [A little flustered.] To whom are you speaking, Madame?
WAITRESS: To whom am I … to you! Who do you think, you ninny?! GIRL:
Then I‘m sure I don‘t know what you‘re talking about.
WAITRESS: You‘re shift started fifteen minutes ago! Mr. Witherspoon‘s in a rage! This is the third
time this month you‘ve been late! You‘d better get yourself over there and into uniform before he
cuts you loose for good!
GIRL: I—
WAITRESS: Go on, now! I know you can‘t afford to miss a paycheck!
GIRL: [Attempting to maintain her dignity.] You must have me confused with—with someone
else.
WAITRESS: Confused with—why, Mary-Jane Parker, we‘ve known each other for three years!
We swap shifts! Have you been drinking?! Why are you wearing that ridiculous hat?!
GIRL: [To the YOUNG MAN.] I … I‘m sorry, Mr. Porkenblogger—
GIRL: Parkenstacker.
WAITRESS: Parkenstacker?
YOUNG MAN: Yes, Parkenstacker.
WAITRESS: As in THE Parkenstackers?! From the society pages?!
GIRL: The society pages?
YOUNG MAN: If only I were so fortunate.
GIRL: You … you must excuse me. My chauffeur is waiting.
WAITRESS: Chauffeur?! What kind of crazy airs are you putting on?! You‘ve never had a
chauffeur in your life! You don‘t even own an automobile!
GIRL: I do so!
WAITRESS: Since when?!
GIRL: Since … Oh, get away from me! I don‘t know you!
WAITRESS: Don‘t know me?! You have been drinking! I‘m going to tell your mother!
[The GIRL rushes off, followed closely by the WAITRESS. The YOUNG MAN picks up her book
where she has dropped it.]
YOUNG MAN: Wait! You forgot your—
[But they are gone. After a few moments, a CHAUFFEUR approaches cautiously.]
CHAUFFEUR: Begging your pardon, sir.
YOUNG MAN: Yes, Henri?
CHAUFFEUR: I don‘t mean to intrude, but your dinner reservation—shall I cancel or— YOUNG
MAN: No … I‘m coming.
CHAUFFEUR: Very good, sir. The auto is waiting.
[The CHAUFFEUR exits and leaves the YOUNG MAN standing alone for a moment as the lights
fade.]

Quarter: THIRD
Sub-Theme: Des ite Differences in Social Class
Date:

EN9G-IIIg-21: Use verbals
Objectives:
1. Give the meaning of participle
2. Identify the participle and the word it modifies in given sentences
3. Use participle in creating sentences depicting pictures presented to them

Lesson: Participle
Materials:
1. Pictures
2. Worksheets
References:
364
III. LEARNING TASKS

Introduction: How do you describe your family, friends, things, food, and places you like?
TASK 1: DESCRIBING WORDS INVENTORY
Use words to describe the following pictures. List down as many
as you can.
Sources:
http://www.dfordog.co.nz/Training+Articles/Scared+dog++Reassure+or+Ignore.html
http://www.ayurvedicherbalcure.com/blog/useful-home-remedies-for-ankle-swelling-quickest-ways-to-get-rid-of-it
http://wallpaperfolder.com/wallpapers/falling+star
https://www.dreamstime.com/royalty-free-stock-photography-clown-face-illustration-happy-image31030937
Now, see if any in your list match the words below.

To describe the dog: scared To describe the ankle: swollen
To describe the star: falling To describe the clown: juggling
What have you noticed in these describing words?
Activity:
TASK 2: ASSIGNING DESCRIPTIONS
Choose the appropriate words in box B to describe the words in box A.
1. dog 6. gift
2. child 7. sun
3. pencils 8. crowd delayed relaxing
4. massage 9. arrival polluted crying
5. manners 10. river coloring irritating

rising howling
shouting unexpected
Analysis:
TASK 3: LOOKING CLOSELY
Provided below is the definition of a verbal called participle. Analyse the set of given
sentences below.
The participle is a verb used as an adjective.

A participle may make use of the past participle of the verb or
its present participle (-ing form). The one-word participle comes
before the noun it modifies. (LM, p.364)
Set A Set B
1. The defeated team left the field. 1. The LPNHS team defeated the other
2. The senator‘s convincing speech school.
amazes the audience. 2. The girl is convincing her parents to let
3. Her broken leg was put in a cast. her attend the ball.
4. She argued with the learned professor. 3. They had broken the rules.
5. The shining star is a sign for Megan to 4. I learned a lot from my speech class.
change. 5. The boy is shining his father‘s shoes.
Abstraction:
TASK 4: FIRMING UP
Based from the activities you did, what is the definition of
participle? How do you form the participle? What is the
function of participle? How does it differ from a gerund? a
verb?
3. The dismayed crowd threw tomatoes on the performer.

4. The detective had a puzzled expression on his face.
5. Can you repair the broken vase.
6. My favourite dessert is baked apples.
7. The dry cleaner had a pressing appointment.
8. Keith is a leading hitter in our team.
9. An amused smile played across her face.
10. Mark auditioned for the casting director.
B. On each line on the right, write whether the underlined word is a verb or participle.
1. The plane has been delayed by the weather.
2. The delayed game will be played next week.
3. A growing child needs nutritious foods.
4. Queen Ann‘s lace was growing by the roadside.
5. You will find the information on the following pages.
6. Someone has been following me for the last block.
7. Some spots are becoming color.
8. That dress is a very becoming color.
9. This restaurant has interesting but limited menu.
10. My parents have limited nights out to weekends.
Assessment:
TASK 6: CHECKPOINT
A. Encircle the participle and underline the word it modifies.
1. Have you had an interesting day?

2. It was an embarrassing situation for us.
3. Hey, I have a fascinating idea regarding our upcoming reunion.
4. What a shocking thought!
5. It is a tiring job.
6. He came up with a disappointing remark.
7. Malou submitted a nicely written article.
8. My little sister got a newly painted room.
9. I have never seen such a boring film.
10. What exactly is a liberated woman?
B. Give the appropriate participle for the given pictures then use the participle and the
word it modifies in your own sentence. Use the table provided.
Sources: https://www.shutterstock.com/search/melting+candle
http://www.pixelstalk.net/sun-and-clouds-wallpaper/
http://damagemax.com/sell-damaged-cars-rhode-island
https://www.shutterstock.com/search/rotten+tomato
http://dublinmortgageblog.com/mischief/2012/02/03/the-parrot-and-why-he-has-returned/parrots-mating/
Participle Word it Modifies

1.
Sentence:
2.
Sentence:
3.
Sentence:
4.
Sentence:
5.
Sentence:

Quarter: THIRD
Date:

EN9LT-IIIh-16: Analyze literature as a means of connecting to the world
EN9V-IIIh-29: Get familiar with the technical vocabulary for drama and theatre (like stage
directions)
Objectives:
1. Identify technical vocabulary for drama and theater
2. Analyze literature as a means of finding usual situations at present in comparison
to the events depicted in the play
3. Write a dialogue for a given situation
4. Show active participation in group tasks requiring analysis of the play by part and
performing a creative rendition

Lesson: “Driving Miss Daisy” by Alfred Uhry
Materials:
2. Handouts/Worksheets
References:
400
3. Teacher‘s Guide p. 2-7
4. Learning Package (Second Quarter) pp. 1-6
III. LEARNING TASKS
Introduction: Prejudice is so easy to embrace when it‘s seen at a distance, and nearly
impossible to sustain when viewed up close.
TASK 1: CHECKPOINT
How much do you know about drama and theater lingo? Complete the
puzzle by filling in the boxes with the letter of the words defined below
the puzzle. (LM, p.373)
1 2
4 5
Across
1. The actions of a play printed in the script by the publisher
6. The stage representation of an action or a story
7. The conversation between actors on stage
7. A theatrical work that is intentionally humorous
Down
1. The distinctive and unique manner in which a writer arranges words to achieve
particular effects
2. A play that demonstrates a character‘s fall from grace, power, position, or moral
standing through his/her own actions
3. A main type of literary form
8. Printed words, including dialogue and the stage direction for a script
Activity:
TASK 2: MEET NEW WORDS

There are eight hidden words in the puzzle below. Use the
descriptions as clues to figure out the words which you will find in the
play you are about to read. Some letters are given as clues. (LM,
p.372)
1. I am another word for ―storeroom.‖ P T
2. I am ―a hand tool.‖ T R W
3. I am the opposite of ―generous.‖ S I G Y
4. I mean ―gravestone.‖ T O B T E
5. I mean ―annoy.‖ P S R U R
6. I am ―employed to
C H A F F R
drive a private car.‖
A X C B
7. I am a ―car for hire.‖
8. I mean ―rude and disrespectful.‖ A S Y
TASK 3: LOOK WHO’S TALKING

What is your idea of friendship? How do you choose your friends?
Work with a classmate and discuss the meaning of the following
quote.
Analysis: A friend in need is a friend in deed.

Read your copy of ―Driving Miss Daisy‖ by Alfred Uhry on pages 375 to
390 of your module then answer the following questions:
1. Who is Daisy? How old is she?

2. What event led her to have a personal driver?
3. Who is Hoke? What did you observe about his personality and the manner of his
speaking?
4. At the end of the play, what did Miss Daisy discover about Hoke? How did
she react to that?
5. What kind of relationship would they have if Miss Daisy continued to be impolite to
Hoke?
6. Explain how important education is to man. As a student, what can you do in order to
help or assist people like Hoke?
TASK 5: DELVING DEEPER

What can you say about the play, Driving Miss Daisy? Read the following
passages from the play and then answer the questions that follow to help you
deepen your understanding. (LM, pp. 396-397)
Daisy: I don’t need you. I don’t want you. And I don’t like you saying
I’m rich.
Hoke: I won’t say it, then.
Daisy: Is that what you and Idella talk about in the kitchen? Oh, I
hate this! I hate being discussed behind my back in my own house!
I was born on Forsyth Street and, believe me; I knew the value of
penny. My brother Manny brought home a white cat one day and
Papa said we couldn’t keep it because we couldn’t afford to feed it.
My sisters saved up money so I could go to school and be a
teacher. We didn’t have anything!
Hoke: Yassum, but look like you doin’ all right now.
Daisy: And I’ve ridden the trolley with groceries plenty of times!
 How did Daisy describe the economic conditions in which she grew up?
 Did Daisy‘s upbringing help explain her attitude toward Hoke and the idea of
having a chauffeur?
Hoke: You is rich, Miz Daisy!

Daisy: No I’m not! And nobody can ever say I put on airs. On
Forsyth Street we only had meat once a week. We made a meal off
grits and gravy, I taught the fifth grade at the Crew Street School! I
did without plenty of times. I can tell you.
Hoke: And now you doin’ with. What so terrible in that?
Daisy: You! Why do I talk to you? You don’t understand me.
Hoke: Nome, I don’t. I truly don’t. Cause if I ever was to get ahold of
what you got I be shakin’ it around for everybody in the world to
see.
Daisy:That’s vulgar. Don’t talk to me! (Hoke mutters something
under his breath) What? What did you say? I heard that!
Hoke: Miz Daisy, you need a chauffeur and Lawd know, I need a
job. Let’s jes leave it at dat.
 How did Daisy describe the economic conditions in which she grew up?
 Did Daisy‘s upbringing help explain her attitude toward Hoke and the idea of
having a chauffeur?
Daisy: It was mine. I bought it and I put it there and he went into
my pantry and took it and he never said a word. I leave him
plenty of food every day and I always tell him exactly what it is.
They are like having little children in the house. They want
something so they just take it. Not a smidgin of manners. No
conscience. He’ll never admit this. (Hoke enters in an overcoat.)
Hoke: Mornin, Miz Daisy. I b’leve it fixin’ to clear up. S’cuse me, I
didn’t know you was here Mist’ Werthan.
Boolie: Hoke, I think we have to talk.
Hoke: Jes’ a minute. Lemme put my coat away. I be right back.
(He pulls a brown paper bag out of his overcoat.) Oh., Miz Daisy.
Yestiddy when you out with yo sister I ate a can o’your salmon. I
know you say eat the leff over pork chops, but they stiff. Here, I
done buy you another can. You want me to put it in the pantry fo’
you?
Daisy: Yes. Thank you, Hoke.
Hoke: I’ll be right with you Mist’Wertham. (Hoke exits. Daisy looks
at the empty can in her hand.)
Daisy: (trying for dignity) I’ve got to get dressed now. Goodbye,
son. (She pecks his Vucheek and exits.)
 How did Daisy describe Hoke‘s honesty?

 Describe Daisy by the time Hoke exits. What does she feel about herself after
realizing her wrong judgment of others?
Abstraction:
TASK 6: MULTIMEDIA MEISTER
With your group, perform the following tasks by using different multi-
media resources. (LM, p. 398)
Group 1 Group 2
Choose a scene or excerpt Write an open letter to Hoke
from Driving Miss Daisy and persuading him to study even if he
perform it in a radio play. is already old.
Group 3 Group 4
Draw a picture showing the Compose a song depicting the
most interesting scene of the theme of the play.
play.
Application:
TASK 7: JUST THE TWO OF YOU
One of the most enjoyable elements in Driving Miss Daisy is the naturalness of the dialogue.
The playwright uses familiar patterns of speech (Anything over seven dollars is
robbery. Highway robbery) and references to real-life places (the
grocery store). Reading or hearing this dialogue makes the situation authentic and
believable. (LM, pp. 398-400)
 With a partner, develop a two or three-minute conversation that

you might hear in the cafeteria. Make the conversation real and
believable. Then present the dialogue in the class.
WRITING A DIALOGUE RUBRIC

1 2 3 4
There are more
The final draft There are few There are no
than a few
has many grammar, grammar,
grammar,
grammar, capitalization, capitalization,
Conventions capitalization,
capitalization,
spelling, or spelling, or
spelling, or
spelling, and punctuation errors punctuation
punctuation
punctuation in the final draft. errors in the final
errors in the final
errors. draft.
draft.
The story is very
The plot is pretty
well organized.
The plot is a little well organized.
Ideas and scenes One idea or scene
hard to follow. The One idea or scene
seem to be follows another in
Clarity randomly arranged.
transitions are may seem out of
a logical sequence
sometimes not place.
with clear
clear. Clear transitions
transitions.
are used.
The story contains The story contains
There is little The story contains
creative details many creative
evidence of a few creative
and/or descriptions details and/or
creativity. The details and/or
that contribute to descriptions that
Creativity playwright does descriptions, but
the reader's contribute to the
not seem to have they distract from
enjoyment reader's
used much the story.
enjoyment.
imagination.
It is usually clear
Hard to follow It is usually clear which character is It is always clear
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DRIVING MISS DAISY
In the dark we hear a car ignition turn on, and then a horrible crash. Bangs and booms and
wood splintering. When the noise is very loud, it stops suddenly and the lights come up on Daisy
Werthan‘s living room,or a portion thereof. Daisy, age 72, is wearing a summer dress and high
heeled shoes. Her hair, her clothes, her walk, everything about her suggests bristle and feist1 and
high energy. She appears to be in excellent health. Her son, Boolie Werthan, 40, is a
businessman, Junior Chamber of Commerce style. He has a strong, capable air. The Werthans
are Jewish, but they have strong Atlanta accents.
DAISY: No!
BOOLIE: Mama!
DAISY: No!
BOOLIE: Mama!
DAISY: I said no, Boolie, and that‘s the end of it.
BOOLIE: It‘s a miracle you‘re not laying in Enory Hopital – or decked out at the funeral home.
Look at you! You didn‘t even break your glasses.
DAISY: It was the car‘s fault.
BOOLIE: Mama, the car didn‘t just back over the driveway and land on the Pollard‘s garage all by itself.
You had it in the wrong gear.
DAISY: I did not!
BOOLIE: You put it in reverse instead of drive. The police report shows that.
DAISY: You should have let me keep my La Salle.
BOOLIE: Your La Salle was eight years old.
DAISY: I don‘t care. It never would have behaved this way. And you know it.
BOOLIE: Mama, cars, don‘t behave. They are behaved upon. The fact is you, all by yourself, demolished that
Packard.
DAISY: Think what you want. I know the truth.
BOOLIE: The truth is you shouldn‘t be allowed to drive a car any more.
DAISY: No.
BOOLIE: Mama, we are just going to have to hire somebody to drive you.
DAISY: No, we are not. This is my business.
BOOLIE: Your insurance policy is written so that they are going to have to give you a brand new car.
DAISY: Not another Packard. I hope.
BOOLIE: Lord Almighty! Don‘t you see what I‘m saying?
DAISY: Quit talking so ugly to your mother.
BOOLIE: Mama, you are seventy–two years old and you just cost the insurance company twenty- seven
hundred dollars. You are a terrible risk. Nobody is going to issue you a policy after this.
DAISY: You‘re just saying that to be hateful.
BOOLIE: O.k. Yes. Yes I am. I‘m making it all up. Every insurance company in America is lined up in the
driveway waving their fountain pens and falling all over themselves to get you to sign on.
Everybody wants Daisy Werthan, the only woman in the history of driving to demolish a three
week old Packard, a two car garage and a free standing tool shed in one fell swoop!
DAISY: You talk so foolish sometimes, Boolie.
BOOLIE: And even if you could get a policy somewhere, it wouldn‘t be safe. I‘d worry all the time. Look
at how many of your friends have men to drive them. Miss Ida Jacobs, Miss Ethel Hess, Aunt
Nonie–
DAISY: They‘re all rich.
BOOLIE: Daddy left you plenty enough for this. I‘ll do the interviewing at the plant. Oscar in the freight
elevator knows every colored man in Atlanta worth talking about. I‘m sure in two weeks time I can
find you somebody perfectly–
DAISY: No!
BOOLIE: You won‘t even have to do anything, Mama. I told you. I‘ll do all the interviewing, all the reference
checking, all the–
DAISY: No. Now stop running your mouth! I am seventy-two years old as you gallantly reminded
me and I am a widow, but unless they rewrote the Constitution and didn‘t tell me, I still have rights.
And one of my rights is the right to invite who I want–not who you want–into my house. You do
accept the fact that this is my house? What I do not want–and absolutely will not have is some–
(She gropes for a bad enough word.) some chauffeur sitting in my kitchen, gobbling my food,
running up my phone bill. Oh, I hate all that in my house!
BOOLIE: You have Idella.
DAISY: Idella is different. She‘s been coming to me three times a week since you were in the eighth
grade and we know how to stay out of each other‘s way. And even so there are nicks and chips in
most of my wedding china and I‘ve seen her throw silver forks in the garbage more than once.
BOOLIE: Do you think Idella has a vendetta 2 against your silverware?
DAISY: Stop being sassy. You know what I mean. I was brought up to do myself. On Forsyth Street we couldn‘t
afford them and we did for ourselves. That‘s still the best way, if you ask me.
BOOLIE: Them! You sound like Governor Talmadge.
DAISY: Why, Boolie! What a thing to say! I‘m not prejudiced! Aren‘t you ashamed?
BOOLIE: I‘ve got to go home. Florine‘ll be having a fit.
DAISY: Y‘all must have plans tonight.
BOOLIE: Going to the Ansleys for a dinner party.
DAISY: I see.
BOOLIE: You see what?
DAISY: The Ansleys. I‘m sure Florine bought another new dress. This is her idea of heaven on earth, isn‘t
it?
BOOLIE: What?
DAISY: Socializing with Episcopalians.
BOOLIE: You‘re a doodle, Mama. I guess Aunt Nonie can run you anywhere you need to go for the time
being.
DAISY: I‘ll be fine.
BOOLIE: I‘ll stop by tomorrow evening.
DAISY: How do you know I‘ll be here? I‘m certainly not dependent on you for company.
BOOLIE: Fine. I‘ll call first. And I still intend to interview colored men.
DAISY: No!
BOOLIE: Mama!
DAISY: (singing to end discussion)
After the ball is over After
the break of morn
After the dancers leaving
After the stars are gone
Many a heart is aching
If you could read them all –
(Lights fade on her as she sings and come up on Bollie at his desk at the Werthan Company. He
sits at a desk piled with papers, and speaks into an intercom.)
BOOLIE: Ok, Miss McClatchey. Send him on in. (He continues working at his desk. Hoke Coleburn
enters, a black man of about 60, dressed in a somewhat shiny suit and carrying a
fedora, a man clearly down on his luck but anxious to keep up appearances.) Yes,
Hoke, isn‘t it?
HOKE: Yassuh. Hoke Coleburn.
BOOLIE: Have a seat there. I‘ve got to sign these letters. I don‘t want Miss McClatchey fussing at me.
HOKE: Keep right on with it. I got all the time in the worl‘.
BOOLIE: I see. How long you been out of work?
HOKE: Since back befo‘ las November.
BOOLIE: Long time.
HOKE: Well, Mist‘ Werthan, you try bein‘ me and looking for work. They hirin‘ young if they hirin‘ colored, an‘
they ain‘ even hirin‘ much young, seems like. (Boolie is involved with his paperwork.) Mist‘
Werthan? Y‘all people Jewish, ain‘ you?
BOOLIE: Yes we are. Why do you ask?
HOKE: I‘d druther drive for Jews. People always talkin‘ bout they stingy and they cheap, but don‘ say
none of that ‗roun‘ me.
BOOLIE: Good to know you feel that way. Now, tell me where you worked before.
HOKE: Yassuh. That‘s what I‘m getting at. One time I workin‘ for this woman over near Little Five Points.
What was that woman‘s name? I forget. Anyway, she president of the Ladies Auxiliary over
yonder to the Ponce De Leon Baptist Church and seem like she always bringing up God and
Jesus and do unto others. You know what I‘m talkin ‗bout?
BOOLIE: I‘m not sure. Go on.
HOKE: Well, one day, Mist‘ Werthan, one day that woman say to me, she say ―Hoke, come on back in the
back wid me. I got something for you.‖ And we go on back yonder and, Lawd have mercy, she
have all these old shirts and collars be on the bed, yellow, you know, and nasty like they been
stuck off in a chiffarobe and forgot about. Thass‘ right. And she say ―Ain‘ they nice? They b‘long to
my daddy befo he pass and we fixin‘ to sell
‗em to you for twenty five cent apiece.
BOOLIE: What was her name?
HOKE: Thass‘ what I‘m thinkin‘. What WAS that woman‘s name? Anyway, as I was goin‘ on to say, any
fool see the whole bunch of them collars and shirts together ain‘ worth a nickel! Them‘s the people
das callin‘ Jews cheap! So I say ―Yassum, I think about it‖ and I get me another job fas‘ as I can.
BOOLIE: Where was that?
HOKE: Mist‘ Harold Stone, Jewish gentlemen jes like you. Judge, live over yonder on Lullwater Road.
BOOLIE: I knew Judge Stone.
HOKE: You doan‘ say! He done give me this suit when he finish wid it. An‘ this necktie too.
BOOLIE: You drove for Judge Stone?
HOKE: Seven years to the day nearabout. An‘ I be there still if he din‘ die, and Miz Stone decide to close up
the house and move to her people in Savannah. And she say ―Come on down to Savannah
wid‘ me, Hoke.‖ Cause my wife dead by then and I say ― No thank you.‖ I didn‘t want to leave
my grandbabies and I don‘ get along with that Geechee trash they got down there.
BOOLIE: Judge Stone was a friend of my father‘s.
HOKE: You doan‘ mean! Oscar say you need a driver for yo‘ family. What I be doin‘? Runnin‘ yo children to
school and yo‘ wife to the beauty parlor and like dat?
BOOLIE: I don‘t have any children. But tell me–
HOKE: Thass‘ a shame! My daughter bes ‗ thing ever happen to me. But you young yet. I wouldn‘t
worry none.
BOOLIE: I won‘t. Thank you. Did you have a job after Judge Stone?
HOKE: I drove a milk truck for the Avondale Dairy thru the whole war–the one jes‘ was.
BOOLIE: Hoke, what I am looking for is somebody to drive my mother around.
HOKE: Excuse me for askin‘, but how come she ain‘ hire fo‘ herself?
BOOLIE: Well, it‘s a delicate situation.
HOKE: Mmmm Hmm. She done gone ‗roun‘ the bend a little? That‘ll happen when they get on.
BOOLIE: Oh no. Nothing like that. She‘s all there. Too much there is the problem. It just isn‘t safe for her to
drive any more. She knows it, but she won‘t admit it. I‘ll be frank with you. I‘m a little desperate.
HOKE: I know what you mean ‗bout dat. Once I was outta work my wife said to me ―Oooooh,
Hoke, you ain‘ gon get noun nother job.‖ And I say ―What you talkin‘ bout, woman?‖ And the very
next week I go to work for that woman in Little Five Points. Cahill! Ms. Frances Cahill. And then I
go to Judge Stone and they the reason I happy to hear you Jews.
BOOLIE: Hoke, I want you to understand, my mother is a little high-strung. She doesn‘t want anybody
driving her. But the fact is you‘d be working for me, She can say anything she likes but she can‘t
fire for you. You understand?
HOKE: Sho‘I do. Don‘t worry none about it. I hold on no matter what way she run me. When I
nothin‘ but a little boy down there on the farm above Macon, I use to wrastle hogs to the ground
at killin‘ time, and ain‘ no hog get away from me yet.
BOOLIE: How does twenty dollars a week sound?
HOKE: Soun‘ like you got yo‘ Mama a chauffeur. (Lights fade on them and come up on Daisy who
enters her living room with the morning paper. She reads with interest. Hoke enters the
living room. He carries a chauffeur’s cap instead of his hat. Daisy’s concentration on
the paper becomes fierce when she senses Hoke’s presence.) Mornin‘, Miz Daisy.
DAISY: Good morning.
HOKE: Right cool in the night, wadn‘t it?
DAISY: I wouldn‘t know. I was asleep.
HOKE: Yassum. What yo plans today?
DAISY: That‘s my business.
HOKE: You right about dat. Idella say we runnin‘ outa coffee and Dutch Cleanser.
DAISY: We?
HOKE: She say we low on silver polish too.
DAISY: Thank you. I will go to the Piggly Wiggly on the trolley this afternoon.
HOKE: Now, Miz daisy, how come you doan‘ let me carry you?
DAISY: No thank you.
HOKE: Aint dat what Mist‘ Werthan hire me for?
DAISY: That‘s his problem.
HOKE: All right den. I find something to do. I tend yo zinnias.
DAISY: Leave my flower bed alone.
HOKE: Yassum. You got a nice place back beyond the garage ain‘ doin‘ nothin‘ but sittin‘ there. I could put
you in some butterbeans and some tomatoes and even some Irish potatoes could we get some
ones with good eyes.
DAISY: If I want a vegetable garden. I‘ll plant it for myself.
HOKE: Well, I go out and set in the kitchen, then, like I been doin‘ all week.
DAISY: Don‘t talk to Idella. She has work to do.
HOKE: Nome, I jes sit there till five o‘clock.
DAISY: That‘s your affair.
HOKE: Seem a shame, do. That fine Oldsmobile settin out there in the garage. Ain‘t move a inch from when
Mist‘ Werthan rode it over here from Mitchell Motors. Only got nineteen miles on it. Seem like that
insurance company give you a whole new car for nothin‘.
DAISY: That‘s your opinion.
HOKE: Yassum. And my other opinion is a fine rich Jewish lady like you doan b‘long draggin‘ up the steps of
no bus, luggin‘ no grocery store bags. I come along and carry them fo‘ you.
DAISY: I don‘t need you. I don‘t want you. And I don‘t like you saying I‘m rich.
HOKE: I won‘t say it, then.
DAISY: Is that what you and Idella talk about in the kitchen? Oh, I hate this! I hate being discussed
behind my back in my own house! I was born on Forsyth Street and, believe me, I knew the value
of penny. My brother Manny brought home a white cat one day and Papa said we couldn‘t keep
it because we couldn‘t afford to feed it. My sisters saved up money so I
could go to school and be a teacher. We didn‘t have anything!
HOKE: Yassum, but look like you doin‘ all right now.
DAISY: And I‘ve ridden the trolley with groceries plenty of times!
HOKE: Yassum, but I feel bad takin‘ Mist‘ Werthan‘s money for doin‘ nothin‘. You understand? (She cut
him off in the speech.)
DAISY: How much does he pay you?
HOKE: That between me and him, Miz Daisy.
DAISY: Anything over seven dollars a week is robbery. Highway robbery!
HOKE: Specially when I doan do nothin‘ but sit on a stool in the kitchen all day long. Tell you what, while
you goin on the trolley to the Piggly Wiggly, I hose down yo‘ front steps. (Daisy is putting on
her hat.)
DAISY: All right.
HOKE: All right I hose yo steps?
DAISY: All right the Piggly Wiggly. And then home. Nowhere else.
HOKE: Yassum.
DAISY: Wait. You don‘t know how to run the Oldsmobile!
HOKE: Miz Daisy, a gear shift like a third arm to me. Anyway, thissun automatic. Any fool can run it.
DAISY: Any fool but me, apparently.
HOKE: Ain‘ no need to be so hard on yoseff now. You cain‘ drive but you probably do alota things I cain‘
do. It all work out.
DAISY: (calling offstage) I‘m gone to the market, Idella.
HOKE: (also calling) And I right behind her! (Hoke puts on his cap and helps Daisy into the car. He
sits at the wheel and backs the car down the driveway. Daisy, in the rear, is in full
bristle.) I love a new car smell. Doan‘ you? ( Daisy slides over to the other side of the
seat.)
DAISY: I‘m nobody‘s fool, Hoke.
HOKE: Nome.
DAISY: I can see the speedometer as well as you can.
HOKE: I see dat.
DAISY: My husband taught me how to run a car.
HOKE: Yassum.
DAISY: I still remember everything he said. So don‘t you even think for a second that you can– Wait!
You‘re speeding! I see it!
HOKE: We ain goin‘ but nineteen miles an hour.
DAISY: I like to go under the speed limit.
HOKE: Speed limit thirty five here.
DAISY: The slower you go, the more you save on gas. My husband told me that.
HOKE: We barely movin‘. Might as well walk to the Piggly Wiggly.
DAISY: Is this your car?
HOKE: Nome.
DAISY: Do you pay for the gas?
HOKE: Nome.
DAISY: All right then. My fine son my think I‘m losing my abilities, but I am still in control of what goes on in my
car. Where are you going?
HOKE: To the grocery store.
DAISY: Then why didn‘t you turn on Highland Avenue?
HOKE: Piggly Wiggly ain‘ on Highland Avenue. It on Euclid down there near–
DAISY: I know where it is and I want to go to it the way I always go. On Highland Avenue.
HOKE: That three blocks out of the way, Miz Daisy.
DAISY: Go back! Go back this minute!
HOKE: We in the wrong lane! I cain‘ jes–
DAISY: Go back I said! If you don‘t, I‘ll get out of this car and walk!
HOKE: We movin‘! You cain‘ open the do‘!
DAISY: This is wrong! Where are you taking me?
HOKE: The sto‘.
DAISY: This is wrong. You have to go back to Highland Avenue!
HOKE: Mmmm Hmmmm.
DAISY: I‘ve been driving to the Piggly Wiggly since the day they put it up and opened it for business.
This isn‘t the way! Go back! Go back this minute!
HOKE: Yonder the Piggly Wiggly.
DAISY: Get ready to turn now.
HOKE: Yassum
DAISY: Look out! There‘s a little boy behind that shopping cart!
HOKE: I see dat.
DAISY: Pull in next to the blue car.
HOKE: We closer to the do‘ right here.
DAISY: Next to the blue car! I don‘t park in the sun! It fades the upholstery.
HOKE: Yassum. (He pulls in, and gets out as Daisy springs out of the
back seat.)
DAISY: Wait a minute. Give me the car keys.
HOKE: Yassum.
DAISY: Stay right here by the car. And you don‘t have to tell everybody my business.
HOKE: Nome. Don‘ forget the Dutch Cleanser now. (She fixes him with a look meant to kill and
exits. Hoke waits by the car for a minute, then hurries to the phone booth at the corner.)
Hello? Miz McClatchey? Hoke Coleburn here. Can I speak to him? (pause) Mornin sir, Mist‘
Werthan. Guess where I‘m at? I‘m at dishere phone booth on Euclid Avenue right next to
the Piggly Wiggly. I jes drove yo‘ Mama to the market. (pause) She flap a little on the way. But
she all right. She in the store. Uh oh, Miz Daisy look out the store window and doan‘ see me, she
liable to throw a fit right there by the checkout. (pause) Yassuh, only took six days. Same time it
take the Lawd to make the worl‘. (Lights out on him. We hear a choir singing.)
CHOIR.
May the words of my mouth And
the meditations of my heart
Be acceptable in Thy sight, O Lord
My strength and my redeemer, Amen.
(Light up on Hoke waiting by the car, looking at a newspaper. Daisy enters in a different
hat and a fur piece.)
HOKE: How yo‘ Temple this mornin‘, Miz Daisy?
DAISY: Why are you here?
HOKE: I bring you to de Temple like you tell me. (He is helping her into the car.)
DAISY: I can get myself in. Just go. (She makes a tight little social smile and a wave out the
window.) Hurry up out of here! (Hoke starts up the car.)
HOKE: Yassum.
DAISY: I didn‘t say speed. I said get me away from here.
HOKE: Somethin‘ wrong back yonder?
DAISY: No.
HOKE: Somethin‘ I done?
DAISY: No. (a beat) Yes.
HOKE: I ain‘ done nothin‘!
DAISY: You had the car right in front of the front door of the Temple! Like I was Queen of Romania!
Everybody saw you! Didn‘t I tell you to wait for me in the back?
HOKE: I jes trying‘ to be nice. They two other chauffeurs right behind me.
DAISY: You made me look like a fool. A g.d. fool!
HOKE: Lawd knows you ain‘ no fool, Miz Daisy.
DAISY: Slow down. Miriam and Beulah and them, I could see what they were thinking when we came out
of services.
HOKE: What that?
DAISY: That I‘m trying to pretend I‘m rich.
HOKE: You is rich, Miz Daisy!
DAISY: No I‘m not! And nobody can ever say I put on airs. On Forsyth Street we only had meat once a
week. We made a meal off of grits and gravy, I taught the fifth grade at the Crew Street School! I
did without plenty of times. I can tell you.
HOKE: And now you doin‘ with. What so terrible in that?
DAISY: You! Why do I talk to you? You don‘t understand me.
HOKE: Nome, I don‘t. I truly don‘t. Cause if I ever was to get ahold of what you got I be shakin it around for
everybody in the world to see.
DAISY: That‘s vulgar3. Don‘t talk to me! (Hoke mutters something under his breath,) What? What
did you say? I heard that!
HOKE: Miz Daisy, you need a chauffeur and Lawd know, I need a job. Let‘s jes leave it at dat. (Light out
on them and up on Boolie, in his shirtsleeves. He has a phone to his ear.)
BOOLIE: Good morning, Mama. What‘s the matter? (pause) What? Mama, you‘re talking so fast I… What?
All right. All right. I‘ll come by on my way to work. I‘ll be there as soon as I can. (Light out on him
and up on Daisy, pacing around her house in a winter bathrobe. Boolie enters in a
topcoat and scarf.) I didn‘t expect to find you in one piece.
DAISY: I wanted you to be here when he comes. I wanted you to hear it for yourself.
BOOLIE: Hear what? What‘s going on?
DAISY: He‘s stealing from me!
BOOLIE: Hoke? Are you sure?
DAISY: I don‘t make empty accusations. I have proof!
BOOLIE: What proof?
DAISY: This! (She triumphantly pulls an empty can of salmon out of her robe pocket.) I caught
him red handed! I found this hidden in the garbage pail under some coffee grounds.
BOOLIE: You mean he stole a can of salmon?
DAISY: Here it is! Oh I knew. I knew something was funny. They all take things, you know. So I counted.
BOOLIE: You counted?
DAISY: The silverware first and the linen dinner napkins and then I went into the pantry. I turned on the light
and the first thing that caught my eye was a hole behind the corned beef. And I knew right away.
There were only eight cans of salmon. I had nine. Three for a dollar on sale.
BOOLIE: Very clever, Mama. You made me miss my breakfast and be late for a meeting at the
bank for a thirty-three cent can of salmon. (He jams his hand in his pocket and pulls out some
bills.) Here! You want thirty-three cents? Here‘s a dollar! Here‘s ten dollars! Buy a pantry full of
salmon!
DAISY: Why, Boolie! The idea! Waving money at me like I don‘t know what! I don‘t want the money. I
want my things!
BOOLIE: One can of salmon?
DAISY: It was mine. I bought it and I put it there and he went into my pantry and took it and he never said a
word. I leave him plenty of food everyday and I always tell him exactly what it is. They are like
having little children in the house. They want something so they just take it. Not a smidgin of
manners. No conscience. He‘ll never admit this. ―Nome,‖ he‘ll say, ―I doan know nothin‘ bout
that.‖ And I don‘t like it! I don‘t like living this way! I have no privacy.
BOOLIE: Mama!
DAISY: Go ahead. Defend him. You always do.
BOOLIE: All right. I give up. You want to drive yourself again, you just go ahead and arrange it with the
insurance company. Take your blessedtrolley. Buy yourself a taxicab. Anything you want. Just
leave me out of it.
DAISY: Boolie… (Hoke enters in an overcoat)
HOKE: Mornin, Miz daisy. I b‘leve it fixin‘ to clear up. S‘cuse me, I didn‘t know you was here Mist‘ Werthan.
BOOLIE: Hoke, I think we have to have a talk.
HOKE: Jes‘ a minute. Lemme put my coat away. I be right back. (He pulls a brown paper bag out of
his overcoat.) Oh., Miz Daisy. Yestiddy when you out with yo sister I ate a can o‘your salmon. I
know you say eat the leff over pork chops, but they stiff. Here, I done buy you another can. You
want me to put it in the pantry fo‘ you?
DAISY: Yes. Thank you, Hoke.
HOKE: I‘ll be right wit you Mist‘ Wertham. (Hoke exits. Daisy looks at the empty can in her hand.)
DAISY: (trying for dignity) I‘ve got to get dressed now. Goodbye, son. (She pecks his cheek and
exits. Lights out on him. We hear sounds of birds twittering. Lights come up brightly–hot
sun. Daisy, in light dress, is kneeling, a trowel in her hand, working by a gravestone.
Hoke, jacket in hand,
sleeves rolled up, stands nearby.)
HOKE: I jess thinkin‘, Miz Daisy. We bin out heah to the cemetery three times dis mont already and ain‘
even the twentieth yet.
DAISY: It‘s good to come in nice weather.
HOKE: Yassum. Mist‘ Sig‘s grave mighty well tended. I b‘leve you the best widow in the state of Georgia.
DAISY: Boolie‘s always pestering me to let the staff out here tend to this plot. Perpetual care they
call it.
HOKE: Doan‘ you do it. It right to have somebody from the family lookin‘ after you.
DAISY: I‘ll certainly never have that. Boolie will have me in perpetual care before I‘m cold.
HOKE: Come on now, Miz Daisy.
DAISY: Hoke, run back to the car and get that pot of azaleas for me and set it on Leo Bauer‘s grave.
HOKE: Miz Rose Bauer‘s husband?
DAISY: That‘s right. She asked me to bring it out here for her. She‘s not very good about coming.
And I believe today would‘ve been Leo‘s birthday.
HOKE: Yassum. Where the grave at?
DAISY: I‘m not exactly sure. But I know it‘s over that way on the other side of the weeping cherry.
You‘ll see the headstone. Bauer.
HOKE: Yassum.
DAISY: What‘s the matter?
HOKE: Nothin‘ the matter. (He exits. She works with her trowel. In a moment Hoke returns with
flowers.) Miz Daisy…
DAISY: I told you it‘s over on the other side of the weeping cherry. It says Bauer on the headstone.
HOKE: How‘d that look?
DAISY: What are you talking about?
HOKE: (deeply embarrassed) I‘m talkin‘ bout I cain‘ read.
DAISY: What?
HOKE: I cain‘ read.
DAISY: That‘s ridiculous. Anybody can read.
HOKE: Nome. Not me.
DAISY: Then how come I see you looking at the paper all the time?
HOKE: That‘s it. Jes lookin‘. I dope out what‘s happening from the pictures.
DAISY: You know your letters, don‘t you?
HOKE: My ABC‘s? Yassum, pretty good. I jes‘ cain‘ read.
DAISY: Stop saying that. It‘s making me mad. If you know your letters then you can read. You just don‘t know
you can read. I taught some of the stupidest children God ever put on the face of this earth and
all of them could read enough to find a name on a tombstone. The name is Bauer, Buh buh buh
buh Bauer. What does that buh letter sound like?
HOKE: Sound like a B.
DAISY: Of course. Buh Bauer. Er er er er er. BauER. That‘s the last part. What letter sounds like er?
HOKE: R?
DAISY: So the first letter is a–
HOKE: B.
DAISY: And the last letter is an–
HOKE: R.
DAISY: B-R.B-R.B-R.Brr. Brr. Brr. It even sounds like Bauer, doesn‘t it?
HOKE: Sho‘do Miz Daisy. Thass it?
DAISY: That‘s it. Now go over there like I told you in the first place and look for a headstone with a B at the
beginning and an R the end and that will be Bauer.
HOKE: We ain‘ gon‘ worry ‗bout what come n‘ the middle?
DAISY: Not right now. This will be enough for you to find it. Go on now.
HOKE: Yassum.
DAISY: And don‘t come back here telling me you can‘t do it. You can.
HOKE: Miz Daisy…
DAISY: What now?
HOKE: I ‗preciate this, Miz Daisy.
DAISY: Don‘t be ridiculous! I didn‘t do anything. Now would you please hurry up? I‘m burning up out here.
Source: Best Plays Middle Level by Thomas, Brandon, Susan Glaspell

Contemporary Publishing Group Incorporated, 1998

Quarter: THIRD
Sub-Theme: Des ite Racial Differences
Date:

EN9LT-IIIh-2.11: Determine tone, mood, technique, and purpose of the author
Objectives:
1. Define tone, mood, technique, and purpose of the author
2. Identify the tone, mood, technique, and purpose of the author in writing the literary
piece discussed
3. Exhibit cooperation in performing group tasks

Lesson: Tone, Mood, Technique, and Purpose of Author
Materials:
1. Tarpapel
2. Paper and Pen
References:
2. A Journey through Anglo-American Literature Learner‘s Material for English pp. 392
III. LEARNING TASKS

Introduction: Have you ever wondered how powerful words are? Only the unwise
disregard what words can do. Words changed the lives of men, the social order
and the course of histories of nations. Words found in the newspapers and
magazines, on billboards and even in the Internet may influence or persuade you to take
some kind of action.
TASK 1: LIKE METER

Did you like the play "Driving Miss Daisy?"
Rate from 1 to 10 how much you liked it, 10 being the highest.
Activity:
TASK 2: REVISITING THE TEXT
Form groups of four (4). Choose dialogues or lines from the play
―Driving Ms. Daisy‖ that show the following:
Group 1 Group 2 Group 3 Group 4
Mood of the Tone of the Technique of the Purpose of the

Writer Writer Writer Writer
Analysis:
TASK 3: REPORTERS’ BLOCK
Each group will assign a leader to report the result of the activity
given to them. Read the following tips to calm down and gear up
for a super performance.
1. Practice what you've written.
2. Once you stand, take a moment to gather your thoughts or relax. Don't be afraid to
give yourself a silent pause before you begin. Look through your paper for a
moment. If your heart is beating hard, this will give it an opportunity to calm. If you do
this right, it actually looks very professional. If you start to speak and your voice is
shaky, take a pause. Clear your throat. Take a few relaxing breaths and start again.
3. Focus on someone in the back of the room. This has a calming effect on some
speakers. It feels weird, but it doesn't look weird.
4. If there is a microphone, talk to it. Many speakers concentrate on the microphone
and pretend it's the only person in the room. This works well.
5. Take the stage. Pretend you're a professional on TV. This gives confidence.
6. Prepare an "I don't know" answer if people will be asking questions. Don't be afraid to
say you don't know. You can say something like, "That is a great question. I'll look
into that."
7. Prepare a good ending line. Avoid an awkward moment at the end. Don't back away,
mumbling "Well, I guess that's all."
Source: http://homeworktips.about.com/od/paperassignments/ht/oralreport.htm
Abstraction:
TASK 4: WRAPPING UP
Match column A with column B to define the key concepts covered in this
lesson.
A B
1. The overall feeling of the piece, or passage a. tone
2. The literary devices, or methods the creator of a narrative b. mood
uses to convey what they want — in other words, a c. purpose
strategy used in the making of a narrative to relay d. technique
information to the audience and, particularly, to "develop"
the narrative, usually in order to make it more complete,
complicated, or interesting
3. The effect the writer wants to create, the work can be
formal or informal, sober or whimsical (unusual or creative),
assertive or pleading, straightforward or sly (clever)
4. To enlighten the readers to make or to take action or to be
active or to be operative
Application:
TASK 5: PRACTICE
Read and answer the questions carefully. Encircle the letter of the correct
answer.
1. Read the following poem, "A Birthday" by Christina Rossetti. What mood do the
details of the poem convey?
My heart is like a singing bird My heart is like a rainbow shell

Whose nest is a weathered shoot; That paddles in a peaceful sea;
My heart is like an apple-tree My heart is gladder than all these
Whose boughs are bent with thick-set fruit; Because my love comes to me.
A. Sorrow B. Happiness C. Excitement D. Nervousness
2. Which tone is represented in the following passage?

Wow! With a top speed of one hundred fifty miles per hour, that car can
almost fly!
A. Calm B. Annoyed C. Scary D. Excited
3. Which tone is represented in the following passage?
She delicately placed the cooing baby on a soft, freshly cleaned blanket.
A. Calm B. Annoyed C. Scary D. Excited
4. The story of a young man who learns to resist the influences of drugs and gangs .
A. Entertain B. Inform C. Persuade D. Argue
5. What is the purpose of the author in the following statements?

Everyone should visit Spain, at least once in their life, because it is an
incredibly beautiful place. It has breath-taking scenery, enjoyable music and
mouth-watering food.
A. Entertain B. Inform C. Persuade D. Argue
Assessment:
TASK 6: WHAT’S ON YOUR MIND?

Read the following quotes. What does it convey?
1. ―Thousands of candles can be lighted from a single candle, and the life of the candle
will not be shortened. Happiness never decreases by being shared.‖
- Buddha
2. ―If you want happiness for an hour — take a nap.‘ If you
want happiness for a day — go fishing.
If you want happiness for a year — inherit a fortune.
If you want happiness for a lifetime — help someone else.‖
- Chinese Proverb

Quarter: THIRD
Sub-Theme: Transcending Differences
Date:

EN9LT-IIIi-3: Explain how a selection may be influenced by culture, history, environment,
or other factors
EN9WC-IIIi-9: Compose forms of literary writing
Objectives:
1. Sequence the events of the story and explain how the selection is
influenced by various factors
2. Perform small group dynamics leading to in-depth analysis of the play
3. Appreciate the significance of equality among men as pointed out in the theme of
the literary piece
4. Compose a play synopsis by following the steps in constructing one

Lesson: Driving Miss Daisy ( Part II ) by Alfred Uhry
Materials:
1. Film Clips of Viewing Inputs
2. Pictures
References:
409
III. LEARNING TASKS
Introduction: Ponder in this thought:
Source: http://www.elephantjournal.com/2013/12/ the-poem-

that-got-nelson-mandela-through-27-years-in-prison/
TASK 1: ALL EARS

Students listen as the teacher reads a text about Nelson
Mandela.
Source: http://www.thedailystar.net/news/mandela-icon-of-peace
Activity:
TASK 2: SMALL GROUP DYNAMICS

Form four groups and perform the given tasks. (LM,
pp. 403-405)
Group 1
 Give your insights regarding the suffering

of people who attempted to live as human
beings.
Source: https://i.ytimg.com/vi/C00mK6aUaq8/hqdefault.jpg
Group 2
 Cite situations that prove the

relevance and worth of this
quote.
Source: http://www.funshifter.com/wp-content/uploads/2015/04/Nelson-Mandela-Education-
Quotes-Wallpaper.jpg
Group 3
 Apartheid is a policy or system of segregation

or discrimination on grounds of race. Analyze
the editorial cartoon.
Source: https://pbs.twimg.com/profile_images
/874801278/29269_1452411875881_1400813952
_31251533_7624529_n.jpg
Group 4
No Bullying
 Have you experienced
Anything in life that we don‘t accept Will being bullied in school, at
simply make trouble for us until we make
peace with it. home, or in
-Shakti Gawain
TASK 3: LEVEL UP
A. With a partner, read and give your reaction to this
quotation.
Prejudice is a burden that confuses the past,

Threatens the future and renders the present inaccessible.
-Maya Angelou
1. What idea flashes to your mind as you read the quotation?

2. Who do you think of as you read this quotation? Why?
B. Look closely at the picture.
Source: https://www.google.com.ph/url?sa=i&rct=j&q=&esrc
=s&source=images&cd=&ved=&url=http%3A%2F%2Fchica
1. What are you reminded of by the illustration?

2. What message does this illustration convey?
3. What could be the social problem depicted in the picture?
4. What is your idea of racism?
5. Where do racism and discrimination take place the most?
Analysis:
Read Driving Miss Daisy (Part II) by Alfred Uhry on pages 405 to408 of your
module. (LM, pp. 408-409)
TASK 5: COMPREHENSION CHECK

A. Sequencing Events
Arrange the following events accordingly. Use numbers 1-12.
When Daisy found out that Hoke was illiterate, she taught him how to
read.
Daisy told Hoke that he was her best friend.
Boolie hired a driver –Hoke Coleburn, an uneducated African-American.
Daisy was on her way to the temple, but there was a bad traffic jam.
Daisy refused to let Hoke drive her anywhere.
As Miss Daisy and Hoke spent time together, she gained an appreciation to his many
skills and the two became friends.
Hoke told Daisy that the temple had been bombed.
As Daisy get older, she began to lose her reason.
Daisy accused of Hoke stealing a can of salmon from her pantry.
Daisy showed signed of dementia.
Boolie arranged for Miss Daisy to enter a nursing home.
Hoke and Boolie visited her on Thanksgiving.
B. Establishing Links
1. What is the play about?
2. How did the writer present a moving description of the characters? Cite parts of
the play that could prove this,
3. What interesting details did the writer share in the play?
Interesting Details
Application:
TASK 6: PONDER ON
On your notebook, answer the following questions.
1. What is the implication of the lesson in your life?
2. How will it make you a better person?
Assessment:
TASK 7: DRIVING MS. DAISY, THE MOVIE
To give you a clearer picture of the play ―Driving Ms. Daisy‖, watch
the film adaptation directed by Bruce Beresford with Morgan
Freeman, Jessic Tandy, Dan Aykroyd, and Patti LuPone. This
will further help you in composing your plot synopsis. (LM, p. 418)
Source: https://www.youtube.com/watch?v=zJb1pu6QCWU
TASK 8: COMPOSING A PLOT SYNOPSIS

In this task, you will use what you have learned in the lesson to
compose a play synopsis of Driving Ms. Daisy. Composing a play
synopsis is essential as it will demonstrate your understanding of the play.
Below are the steps in crafting one. (LM, p. 418)
1. Start with a hook.
2. Introduce the characters.
3. Construct the body of your synopsis.
4. Use three or four paragraphs to write the crisis

resolution.
5. Rewrite.
PLOT SYNOPSIS RUBRIC

Main Idea Main idea is clear and Main idea is
Main idea is unclear-
not specifically stated in
well-established. established. present.
the writing.
Important details are Some critical
Synopsis contains only
included but some are not information are
Details included.
clearly stated. missing.
some details.

Ideas are not in a
Content Clear understanding of Adequate Basic understanding of Little or no
information in the understanding is information in text is understanding is
text is demonstrated. demonstrated. demonstrated. demonstrated.
Source: www.studyzone.org/testprep/ela4/h/summaryrubric.htm
DRIVING MISS DAISY
by Alfred Uhry (Part II)
Plot Synopsis
The play spans a period of twenty-five years in an unbroken series of segments. At the
beginning of the play, Daisy Werthan, a seventy-two-year-old, southern Jewish widow, has just
crashed her brand new car while backing it out of the garage. After the accident, her son Boolie
insists that she is not capable of driving. Over her protests, he hires a driver — Hoke Coleburn, an
uneducated African American who is sixty. At first, Daisy wants nothing to do with Hoke. She is
afraid of giving herself the airs of a rich person, even though Boolie is paying Hoke's salary. She
strongly values her independence, so she also resents having someone around her house.
For the first week or so of Hoke's employment, Daisy refuses to let him drive her anywhere.
He spends his time sitting in the kitchen. One day, however, he points out that a lady such as
herself should not be taking the bus. He also points out that he is taking her son's money for
doing nothing. Daisy responds by reminding Hoke that she does not come from a wealthy
background, but she relents and allows him to drive her to the rocery store. She insists on
maintaining control, however, elling him where to turn and how fast to drive. On nother outing, she
gets upset when he parks in front of the temple to pick er up, afraid that people will thinking she is
giving herself airs.
One morning Boolie comes over after Daisy calls him up, extremely upset. She has
discovered that Hoke is stealing from her—a can of salmon. She wants Boolie to fire Hoke right
away. Her words also show her prejudice against African Americans. Boolie, at last, gives up. When
Hoke arrives, Boolie calls him aside for a talk. First, however, Hoke wants to give something to
Daisy—a can of salmon to replace the one he ate the day before. Daisy, trying to regain her
dignity, says goodbye to Boolie. Hoke continues to drive for Daisy. She also teaches him to read
and write. When she gets a new car, he buys her old one from the dealer.
When Daisy is in her eighties, she makes a trip by car to Alabama for a family birthday
party. She is upset that Boolie will not accompany her, but he and his wife are going to New York
and already have theater tickets. On the trip, Daisy learns that this is Hoke's first time leaving
Georgia. Suddenly, Daisy realizes that Hoke has taken a wrong turn. She gets frantic and wishes
aloud that she had taken the train instead. The day is very long. It is after nightfall that they near
Mobile. Hoke wants to stop to urinate, but Daisy forbids him from doing so as they are already
late. At first Hoke obeys her, but then he pulls over to the side of the road. Daisy exclaims at his
impertinence, but Hoke does not back down.
Hoke is exceedingly loyal to Daisy, but not so loyal that he does not use another job offer
as leverage to get a pay raise. He tells Boolie how much he enjoys being fought over. One winter
morning, there is an ice storm. The power has gone out and the
roads are frozen over. On the telephone, Boolie tells Daisy he will be over as soon as the
roads are clear. Right away, however, Hoke comes in. He has experience driving on icy roads from
his days as a deliveryman. When Boolie calls back, Daisy tells him not to worry about coming
over because Hoke is with her.
In the next segment, Daisy is on her way to temple, but there is a bad traffic jam. Hoke tells
her that the temple has been bombed. Daisy is shocked and distressed. She says the temple is
Reformed and can't understand why it was bombed. Hoke tells his own story of seeing his
friend's father hanging from a tree, when he was just a boy. Daisy doesn't see why Hoke tells the
story—it has nothing to do with the temple—and she doesn't even believe that Hoke got the truth.
She refuses to see Hoke's linkage of prejudice against Jews and African Americans. Though she
is quite upset by what has happened, she tries to deny it.
Another ten years or so has passed. Daisy and Boolie get into an argument about a
Jewish organization's banquet for Martin Luther King, Jr. Daisy assumes Boolie will go with her,
but he doesn't want to. He says it will hurt his business. Daisy plans on going, nonetheless. Hoke
drives her to the dinner. At the last minute, she offhandedly invites Hoke to the dinner, but he
refuses because she didn't ask him beforehand, like she would anyone else.
As Daisy gets older, she begins to lose her reason. One day Hoke must call Boolie because
Daisy is having a delusion. She thinks she is a schoolteacher and she is upset because she can't
find her students' papers. Before Boolie's arrival, she has a moment of clarity, and she tells Hoke that
he is her best friend.
In the play's final segment, Daisy is ninety-seven and Hoke is eighty-five. Hoke no longer
drives; instead, he relies on his granddaughter to get around. Boolie is about to sell Daisy's
house—she has been living in a nursing home for two years. Hoke and Boolie go to visit her on
Thanksgiving. She doesn't say much to either of them, but when Boolie starts talking she asks him to
leave, reminding him that Hoke came to see her. She tries to pick up her fork and eat her pie.
Hoke takes the plate and the fork from her and feeds her a small bite of pie.

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Bulawan National High School

Bulawan, Payao, Zamboanga Sibugay

LESSON PLAN IN ENGLISH 9

Content Standard: Performance Standard:

II. LEARNING CONTENT

III. LEARNING TASKS

1. Work with a partner.

2. Interview each other on

TASK 4: BONDING TOGETHER

1. What is the predominant feeling of the speaker in these lines?

1. Why are friends disconnected?

1. How does the speaker justify his joy of having a telephone?

1. What does the speaker hunger for? Is he capable of

Source: http://www.rcampus.com/rubricshowc.cfm?sp=yes&code=J2359Bhttp://www.rcampus.com/rubricshowc. cfm?sp=yes&code=J2359B

LESSON PLAN IN ENGLISH 9

Content Standard: Performance Standard:

II. LEARNING CONTENT

Your mother A hazardous

ROLE PLAY RUBRIC

Exceptional Admirable Acceptable Attempted

Understanding  Indicates a clear  Good

 All members  Some members  Few members  Group does not

 Shows confidence  Shows some

TASK 2: MUSIC CORNER

Listen to the song Reach Out by Take That. Interpret the

TASK 3: TOUCHING YOU, TOUCHING ME

Listen to the radio excerpt as you read along the copy of

TASK 5: COMPREHENSION CHECK

TASK 7: GETTING THE CHILL

CHILL FACTOR CHART

Each group will be assigned a portion of the Sorry,

MOCK RADIO PLAY RUBRIC

Group members Group members Group members are Little expression is

Research. Make sure not to fabricate information.

Be creative. Use your design and page layout skills

Take part. Keep in mind your

Objects The objects included in the

SOUND: NUMBER BEING DIALED ON TELEPHONE -- THEN A BUSY SIGNAL

MRS. STEVENSON: (A QUERULOUS, SELF-CENTERED NEUROTIC) Oh -- dear ... !

OPERATOR: (ON FILTER) Your call, please?

OPERATOR DIALS NUMBER UNDER FOLLOWING

OPERATOR: (ON FILTER) Ringing Murray Hill 7-0093.

MAN'S VOICE: (FILTER) (HEAVY, TOUGH VOICE) Hello?

MRS. STEVENSON: Hello...? (A LITTLE PUZZLED) Hello. Is - is Mr. Stevenson there?

1ST MAN: Hello. George?

GEORGE: Yes, sir. This is George speaking.

1ST MAN: I'm here with our client.

MAN: Yeah, George. He says the coast is clear for tonight.

GEORGE: Okay, okay.

1ST MAN: Where are you now?

GEORGE: In a phone booth. Don't worry. Everything's okay. 1ST

MAN: Very well. You know the address?

1ST MAN: That's right. At eleven o'clock.

Yeah. You remember everything else, George?

STEVENSON: (GASPS IN HORROR)

That's right. You'll use a knife?

OPERATOR: (FILTER) Your call, please?

OPERATOR: (FILTER) I'm sorry. What number were you calling?

OPERATOR: (FILTER) I beg your pardon? May I help you?

OPERATOR: (FILTER) What number did you call?

OPERATOR: (FILTER) I'll connect you with the Chief Operator.

OPERATOR: (FILTER) Murray Hill 7-0093?

OPERATOR: (FILTER) I'll try to get it for you.