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GLENDALE ACADEMY INTERNATIONAL

Cambridge International Education


Final Progression Test
March, 2024

Date:
Grade:
Subject:
Subject Code:
Paper : Duration :
You must answer on the question paper.
GENERAL INSTRUCTIONS

● Answer all questions.


● Use a dark blue pen. You may use an HB pencil for any diagrams or graphs.
● Write your name, centre number and candidate number in the boxes at the top of the page.
● Write your answer to each question in the space provided.
● Do not use an erasable pen or correction fluid.
● Do not write on any bar codes.

INFORMATION
● The total mark for this paper is.
● The number of marks for each question or part question is shown in brackets [ ].
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This document consist of pages and 0 blank page.

Page 1 of 7
Text for Section A, an extract from ‘Twilight Robbery’ (known as ‘Fly Trap’ in the US) by Frances
Hardinge.

Clent, Mosca and her pet goose called Saracen have travelled to a town called Toll.

After finding an inn, Clent, Mosca and Saracen set off to track down the imperiled heiress. Fortunately,
this proved to be relatively easy. The mere mention of ‘the mayor’s daughter’ brought gleaming smiles to
the faces of the guards at the Clock Tower. [5]

‘Ah, you’ll mean his adopted daughter, Miss Beamabeth Marlebourne! Oh, we all know of her, thank you,
sir. She’s the Peach of Toll, the Perfectest Peony. Mayor Marlebourne’s family live in the old judge’s
lodgings, up in the castle courtyard. Ask anyone as you go, they’ll all know where to send you.’ [10]

And indeed they did. ‘Ah, you’re going to speak with Miss Marlebourne? Then I envy you, sir, for she is
the finest sight within Toll’s walls.’
‘Miss Beamabeth Marlebourne? Sweetest creature on ten toes. Smile like a spring day. Yes, just take this
alley to the end…’ [15]

Toll was a hill town, and all its streets knew it. By the time Clent and Mosca reached the central plaza,
Mosca was out of breath, and completely, utterly out of patience with the catalogue of Beamabeth
Marlebourne’s charms. Every time Beamabeth’s name was mentioned, faces lit up as though reflecting
some distant radiance. By the time they reached the castle grounds, the sun was dipping towards the
horizon.[20] The judge’s house was attached to the inside of the castle’s perimeter wall and built of the
same bristling grey flint.
‘At last.’ Clent halted at the oaken door and pulled down the frayed hem of his waistcoat. ‘Now, child, let
us bring warning to this poor–’

‘Rich,’ corrected Mosca. [25]

‘To this affluent but imperiled girl,’ finished Clent. ‘And do try not to scowl as if you have lemon juice
running through your veins, child.’ Mosca settled for stony instead of bitter as Clent rapped the knocker. A
few moments later the door opened to reveal two footmen in mustard-coloured livery. Both footmen
subtly craned their necks to read the designs on Clent’s name brooch before deciding how stiffly and
respectfully to hold themselves.[30] Mosca and the impatiently champing Saracen merited only the
briefest, most disdainful slither of a glance. ‘I am Eponymous Clent,’ Clent declared with aplomb, ‘and I
need to speak with Miss Beamabeth Marlebourne on a Matter of the Gravest Urgency and Gravity.’ Mosca
ground her teeth as both footmen went quite cross-eyed with adoration at the mention of Beamabeth, and
then one of them ran inside with the message.[35]

In a few moments he returned, surprise lifting his eyebrows so high that they were lost in his wig.

‘Miss Beamabeth will see you, sir.’

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It’s just the name they’re all in love with, said the bitter, stinging voice in Mosca’s head. But it’ll be all
right. You’ll see her, and she’ll have a squint, and a voice like a peeled gull. [40]

The guard led them along a short hall into a comfortable-looking reception room. A young woman in a
green silk dress rose as they entered. Beamabeth Marlebourne was about sixteen, Mosca realized.
Somehow, despite the mention of suitors, she had been half expecting to see someone younger, a girl her
own age. Beamabeth had honey-colored hair that had been trained into a shimmering mass of ringlets, but
she managed to look natural rather than tortured.[45] Her skin was creamy pale, with two pretty little
coffee-coloured freckles just at the corner of one of her dark gold eyebrows. Her blue eyes were large and
well spaced, her brow small, her nose short, and her chin daintily pointed in a fashion that made her look a
bit like a kitten. She smiled, and her eyebrows rose as if the pleasure of seeing them was almost painful.
Her expression was as open as a flower. [50]

It was hopeless. She was flawless. She was a sunbeam. Mosca gave up and got on with hating her. ‘It is
very late for visitors,’ said Beamabeth, as she looked the new arrivals up and down, her voice soft and
carrying more of the local accent than Mosca had expected from anyone in a silk dress. Her tone made her
words sound more like an apology than a criticism. ‘Usually Father likes to have the house locked up from
an hour before dusk till an hour after dawn.’ [55]

‘Rest assured, ma’am, when you understand the urgency–’


‘Would you like to sit down?’ Beamabeth interrupted Clent without apparently realizing she was doing so.
Clent and Mosca obediently sat, Mosca keeping a tight hold on Saracen’s leash in case anything in this
elegant room appeared edible. [60] ‘Miss Marlebourne, I must come to the point, and I hope you will
forgive me if my tidings distress you. You are, I fear, the target of an odious and felonious scheme. In
short, there is a plan afoot to kidnap you…’

Section A: Reading

Spend 30 minutes on this section.

1. Look at lines 4–6. Give one phrase that tells the reader who the ‘imperiled heiress’ is. [1]

_______________________________________________________________________________________

2. Look at lines 7–15. Why does the writer use capital letters in the phrases the Peach of Toll and the
Perfectest Peony? Tick () one box. [1]

to show that the words are spoken in a loud voice

to draw the reader’s attention to the alliteration

to show that they are Beamabeth’s official titles

to emphasise the importance the speaker gives them

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3. Look at lines 16–19.
a) What does the first sentence tell the reader about the streets? [1]

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b) Explain why the writer chooses the word catalogue. [2]

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4. Look at lines 20–29. Mosca corrects Clent. Give one word in Clent’s reply that shows he acknowledges
her correction. [1]

_______________________________________________________________________________________

5. Explain what the phrase lemon juice running through your veins tells the reader about Mosca’s feelings.
[2]

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6. Look at lines 30–40. The footmen behave arrogantly towards Clent and Mosca. Give two pieces of
evidence from the text that tell the reader this. [2]

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7. Look at lines 57–63. Clent respects Beamabeth’s high social status. Explain two ways that he shows this.
Support each explanation with evidence from the text. [4]

First explanation:
_____________________________________________________________________________________

Evidence:
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Second explanation:
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Evidence:
_______________________________________________________________________________________

8. Look at the whole text. Which of these statements do you agree with more? Tick () one box.

Mosca was jealous of Beamabeth before she met her.

Mosca changed her opinion of Beamabeth after she met her.

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9. Summarize the supernatural element prevalent in the play “Macbeth”. Use the following points to sum up
in your own words:

● Role of Three witches


● Presence of ghosts
● Importance of prophecies
Give a suitable title for the summary. The word limit is 100-120 words. [5]

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Section B: Writing

10. “I am on a plane, enroute to a remote island with a secret mission-known only to me.
Suddenly, my attention was captured by flames of fire, wrapped around the airfoils. The
surroundings turned pitch black…..I opened my eyes, the vision sent shivers down my
spine. Is this what Death looks like?....”
Continue the narrative prompt and turn it into a contemporary-fiction story. Consider the
following criteria:
● Setting- inferences drawn from any mythology such as Greek, etc.
● Writing techniques- Flashback, descriptive writing
● Interior monologue

[space for plan]

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