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TV Program Description / Original PBS Broadcast Date: October 12, 2004 Most Dangerous Woman homepage - "Woman Cook a Walking Typhoid Fever Factory," said the headline in a New York City newspaper in 1907. The woman was Mary Mallon, an Irish immigrant who as "Typhoid Mary" would become a notorious symbol of a public health menace. In "The Most Dangerous Woman in America," NOVA explores the legacy of one of history's most infamous disease carriers. Mary Mallon's ordeal took place at a time when the new science of bacteriology was shaping public health policies in America for the first time, and her case continues to hold lessons amid today's heightened concerns about communicable diseases. The program is based on Typhoid Mary: Captive to the Public's Health, by Judith Walzer Leavitt, which the Boston Book Review praised as "an indelible picture of early 20th-century New York, when modern knowledge and sensibilities collided with ancient terrors." (Read an adaptation.) Leavitt, who is professor of medical history and women's studies at the University of Wisconsin Medical School, is one of several noted experts interviewed by NOVA. Also featured is Anthony Bourdain, the celebrated chef at New York's Les Halles restaurant and author of Kitchen Confidential and Typhoid Mary. NOVA's dramatization stars Marian Tomas Griffin (As the World Turns) as Mallon, Jere Shea (Tony nomination for Guys and Dolls) as George Soper, and Natalie Rose as Dr. Josephine Baker. The story, which unfolds like a detective novel, opens with a mysterious cluster of typhoid fever cases in August 1906 in a very unlikely setting: a summer house in wealthy Oyster Bay, Long Island. Typhoid fever is a bacterial disease spread by poor sanitation. At the turn of the 20th century, it was associated with slums and poverty. About 10 percent of those infected died. Alarmed, the owner of the house hired civil engineer George Soper to track down the source of the infection. Soper ruled out the water supply and local shellfish, and began to focus on the household's former cook, Mary Mallon, who had arrived in the house shortly before the epidemic broke out. She had since left, but Soper traced her employment history and learned that typhoid outbreaks followed her wherever she went. After Soper located Mallon, his repeated attempts to get her to submit to testing were met with the same response: a brandished meat fork and threats. It took health department worker Dr. Josephine Baker and five police officers to apprehend Mallon. After typhoid bacilli were found in her feces, she was sent to a quarantine island in New York's East River. (For Mallon's view on her quarantine, see In Her Own Words.) But the case was far from open and shut, says Leavitt. "We see it today, certainly with multidrug-resistant tuberculosis, with HIV-AIDS, now with SARS; you see where individuals are quarantined, isolated, whose liberty is taken away in the name of protecting the public health. Mary Mallon gives us an example of that at an extreme level, because she was healthy. She wasn't even sick." Mallon was what's known as a healthy carrier—(🎤)a person who is contagious but has no symptoms. She had probably come down with a mild, undetected case of typhoid fever at some point in her past and had retained active germs ever since. While preparing food, she shed bacteria from her hands, and it never occurred to her that she was spreading disease. When her condition was explained to her, she refused to believe it and fought back by secretly hiring a private laboratory, whose results reportedly showed that she was free from infection. Nonetheless, her tests in quarantine continued to show typhoid bacteria, and she was detained until 1910, when authorities released her on condition that she not work in food handling and that she check in regularly with health officials. Mallon returned to freedom. But that was not the last the public would hear of "Typhoid Mary," who would turn up again in circumstances that shocked even those who sympathized with her plight. 露(💲)西是个充满活(huó )力(📦)的(➕)年(nián )轻女(nǚ )人，她(tā(🆎) )刚(🤢)有一个可(kě )爱的儿(🍁)子(💓)保罗。有(yǒu )一天医(yī(😂) )生(🌼)告(gào )诉她(🤹)保(bǎo )罗患(✝)有(🤲)先天(tiān )畸(📁)形。露西经过(👥)大(dà )量的(🔶)调(diào )查，开始(💵)把(bǎ )注意(🛣)力集中到自(🕯)己工作的(🐎)化(🍲)工(gōng )厂。她(🦅)(tā )所要(yào )面(🚴)对的(de )不仅是实力强大(🎤)的整个工业协(xié )会，还(📕)(hái )有来(lái )自男友和左(🕝)临右舍的不解。义无返(📏)顾(💈)(gù )的露(lù )西为了(le )给(🔥)儿(😽)子讨回(huí )公道，不仅(🚹)失(🦆)去了(le )工作，还落(luò )得(📎)众(🎑)叛(pàn )亲离的下场(chǎ(🐕)ng )。就(🈁)在露西为(💖)了打(dǎ )官(🛴)司(🕦)散(sàn )尽家(⏹)(jiā )财，并(bìng )几(🕙)乎沦落到(🚇)(dào )流离失所(🚠)的境地后(😎)(hòu )，她的(de )悲惨(🙏)(cǎn )遭遇和(🐠)(hé(🐻) )坚强的勇(💖)气终于得到(😦)了舆论的(de )理解和(hé )支(🐬)持(chí )，局面(miàn )开始发生(🎓)了微妙的变化…… 改(🥎)(gǎi )编自(zì )法(fǎ )国文(wé(🏕)n )学(🔤)最著名和脍炙人口(⤵)的(➕)儿童小说之一(yī )。代(🐠)(dà(🍄)i )表一个(gè )仇恨和反(😫)抗(💉)(kàng )的声音 。影片接近(⏳)(jì(🐝)n )于自传(chuá(🤘)n )体，以一种(zhǒ(⭐)ng )悲喜剧的(🌥)口(kǒu )吻讲述(👫)19世纪20年代(🕵)发(fā )生在一(🎫)(yī )个没(mé(🦊)i )落的资(zī )产(⏺)阶级大家(🔯)(jiā(🍠) )庭中的故事。一个(gè )10岁(❗)的男(nán )孩毫(háo )不留情(😛)(qíng )地对抗他的母亲，展(📩)开了让人(rén )忍俊不(bú(💜) )禁的(de )激烈斗(dòu )争……(🔤) 大(❣)柱子在村头河边砍(⚪)伐(📽)(fá )自家的(de )几棵(kē )杨(😓)树(🐈)时，不慎砸折了三奶(🦅)奶(⛏)家核桃树(shù )的一(yī(⬆) )个(🚘)枝杈(chā )。尽(🍎)管大柱(zhù )子(👲)当时就给(🎻)三奶奶赔礼(🌖)道(dào )歉，并(📤)在事(shì )后让(📃)自家媳(xí(📗) )妇给三奶奶(👘)送去一(yī(🍰) )瓢(💿)鸡蛋(dàn )，但(dàn )三奶奶(nǎ(📋)i )仍不依不饶(ráo )地要大(😇)柱子赔她的(de )核桃树(shù(💐) )，而(ér )且还是(shì )近乎无(⬅)理取闹地要大柱子怎(🏧)么(😖)(me )砸折的(de )，怎(zěn )么给接(🤽)(jiē(😀) )上去。大柱子没法，三(🥁)奶(⛓)奶就(jiù )借着村(cūn )里(➰)搞(♊)(gǎo )普法教育这个劲(👫)，直(🐏)接找村里(🍏)在镇上(shàng )法(🦀)庭(tíng )当法(🤮)官(guān )的老张(🃏)。因(yīn )为一(⏫)个树杈打官(🔡)司，这可(kě(🙉) )能是(shì )老张(🧤)当(dāng )法官(⭕)以(📈)来头(tóu )一次遇见的事(🦆)。老(lǎo )张提出(chū )先让(rà(🏸)ng )村里调(diào )解，但村里(lǐ(🧝) )孙主任知道三奶奶(nǎ(🛵)i )不是一(yī )盏省(shěng )油的(🙎)灯(🍦)(dēng )，所以没怎么调解(🃏)就(🐚)把三奶奶(nǎi )的事又(❤)(yò(💞)u )给推(tuī )了回来(lái )。见(🚱)村(🐛)里调 《香草》并非香草(💷)(cǎ(🍎)o )，在它(tā )被(🔷)一(yī )分为“香(🚮)气”与“古怪(✌)”二义之时则(🔺)(zé )非如(rú(🤸) )此。 After a fellow Officer's funeral, 4 Cops decide that the only way to get rid of the criminal element is to stop arresting the criminals, and start burying them. 对(duì )于泰(🤪)德（杰(jié(🌅) )夫·布里吉(🐟)斯 Jeff Bridges 饰）和(🚷)玛(🛳)丽(lì )恩（金·贝(bèi )辛(👟)格 Kim Basinger 饰）来(lái )说，生活是(🎛)残酷的(de )，两个(gè )儿子(zǐ(🍺) )的死亡(wáng )让他们再也(🤯)(yě(⏬) )无法回到正常的生(🥝)(shē(🤣)ng )活轨道(dào )上去(qù )，而(🦆)对(😊)(duì )小女儿罗丝（艾(💢)丽(🙍)·范宁 Elle Fanning 饰）的爱又(⬆)(yò(😩)u )令他(tā )们无法(fǎ )果(🍫)断(🗼)的分道扬(😌)镳，在漫长的(🚝)岁(suì )月中(📀)，泰德(dé )和玛(📷)丽恩都保(💝)持这一种尴(😷)尬又奇怪(🎦)的(de )关系(xì )—(📤)—貌(mào )合神(😒)离，名存实亡。 年轻的探(🤱)长Nicolas Luhel来到(dào )小镇(zhèn )调查(⏯)当(dāng )地一个年轻(qīng )人(🏍)的离奇死亡。年(nián )轻人(🤰)的(🌡)(de )妈妈(mā )一口咬(yǎo )定(🌖)凶(🛋)手是她(tā )的前夫Tanguy。Luhel在(🅿)调(🐘)查过(guò )程中，发现(xià(👪)n )小(🆒)镇的(de )人对他非常敌(🍍)视(🎛)，都不愿提供(gòng )线索(🕍)。渐(👮)渐(jiàn )Luhel发现(🛰)自(zì )己迷恋(🔇)上了那个(🐅)叫Tanguy的中年男(🤚)子(zǐ )。尽管(🔄)(guǎn )他一(yī )再(⛹)提醒自己(🍆)有妻子和刚(🔶)出生的孩子(🌴)，但他(tā )无(wú )可自(zì )拔(🕑)，每个人心中都有一匹(❓)野兽，Luhel嗅到(dào )了危(wēi )险(📫)逼近(jìn )的气息……