Bradbury Ray. - Short Stories PDF

W h a t a land o f nightmares!
Everything
Beginner
can happen here. Oh, God, listen!
This dragon, they say his eyes are fire. Elem entary
His breath is white gas; you can see Для начинающих

the dragon raveled across the dark
lands. He runs with thunder P re-In term ed iate
and the grass gets the fire. Для продолж аю щ их
Sheep panic and die. Women первого уровня
give birth to monsters. The dragon’s

anger is so great that tower walls shake Interm ediate
back to dust. H is victims, at sunrise, Д ля продолжаю щ их

второго уровня
are here and there on the hills.
How many knights, I ask, have gone fo r
U pper Interm ediate
this monster and failed as we shall fa il? ’ I
Д ля продолж аю щ их
третьего уровня
Advanced
Для соверш енствующ ихся
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Ray Bradbury
Short
Stories
P r e -In term ed ia te
Q Английский клуб
^ Рэй Брэдбери
| Короткие
i РАССКАЗЫ
Адаптация текста, предисловие,
комментарий, упражнения и словарь
Е. Г. Вороновой
МОСКВА
АЙ РИ С ПРЕСС
2007
УДК 811.111(075)
ББК 81.2Англ-93
Б89
Серия «Английский клуб» включает книги и учебные

пособия, рассчитанны е на пять этапов изучения ан г
лийского язы ка: Elementary (для начинаю щ их), Pre-
Interm ediate (для продолжаю щ их первого уровня),
Interm ediate (для продолжаю щ их второго уровня),
U pper Interm ediate (для продолж аю щ их третьего
уровня) и Advanced (для соверш енствую щ ихся).
Серийное оформление А. М. Драгового
Брэдбери, Р.
Б89 Короткие рассказы / Рэй Брэдбери; адаптация текста,
п редисловие, ком м ен т., уп раж н ени я, словарь Е. Г. В о
р о н о в о й . — М .: А й р и с -п р е с с , 2007. — 112 с .: и л . —
(А нглийский клуб). — (Д омаш нее чтение).
ISBN 978-5-8112-2348-0
Небольшие по объему рассказы Рэя Брэдбери можно использовать

для чтения и обсуждения в рамках одного академического часа на уроках
в ш коле и для самостоятельного чтения дома. Тексты рассказов адап
тированы в учебных целях до уровня Рте-Intermediate и сопровождаются
комментарием, а также заданиями для отработки и закрепления навы
ков аладения грамматическим и лексическим материалом. В конце по
собия приводится англо-русский словарь.
К нига адресована учащимся средних и старших классов школ, лице
ев и гимназий.
Данный сборник может стать незаменимым помощ ником препода
вателя при подготовке экзаменационного материала по чтению.
Уровень адаптации и тематический подбор текстов позволяет исполь
зовать книгу для самостоятельного чтения студентам неязыковых вузов
и взрослым читателям, изучающим или изучавшим английский язык,
которым необходима такого рода практика.
ББК81.2Англ-93
УДК 811.111(075)
© О О О «И здательство «А Й Р И С -п ресс» ,
оф орм л ен и е, адап таци я, предисловие,
к о м м е н т а р и й , у п р а ж н е н и я , сл о в ар ь ,
ISBN 9 7 8 -5 -8 1 1 2 -2 3 4 8 -0 2007
Предисловие
О д и н н ад ц ать р а с ск азо в Р эя Б р эд б ер и , со б р ан н ы х в
этой книге, бы ли н ап и сан ы известны м ам ери кан ски м ф а н
тастом в р азн ы е годы XX века. Т ворчество Р э я Б р эд б ер и
не уклады вается в р ам к и т р ад и ц и о н н о й н ау ч н о й ф а н т а с
ти к и . К ар ти н ы д ал еко го будущ его (T H E P E D E S T R IA N ,
A LL S U M M E R IN A DAY, T H E V E L D T ) н е всегда б езо б
лач н ы . Ф ан тасти ч еск и й антураж п о м о гает п и сателю с о
здать произведение на грани ф и лософ ски й притчи (D EA TH
A N D T H E M A ID E N ) и п си х о л о ги ч еско го и ссл ед о ван и я
(T H E B E ST O F A LL P O S S IB L E W O R L D S , A S C E N T O F
SA RSA PA RILLA ). В ели колеп ны й я зы к и то н к и й ю м ор д о
п о л н яю т д о сто и н ства его тв о р ен и й , ко то р ы е хорош о з н а
ют и л ю б ят в Р осси и .
Н ебольш ие по объему рассказы (4500 зн ако в) м ож но
использовать для чтения и обсуж дения в рамках одного ак а
дем и ческого часа на уроках в ш коле и д л я сам остоятельн о
го чтения дом а. Т ексты рассказов со кр ащ ен ы и береж но
адаптирован ы в учебны х целях до уровня Pre-Intermediate.
П особ и е заверш ает словарь, в ко то р о м со б р ан ы слова,
вы ходящ ие за рам ки уровня Pre-Intermediate. С н оски и ко м
м ен тари и пом огут учащ им ся осм ы сли ть л и н гв о стр ан о вед
чески е, лекси ч ески е и грам м атические о соб ен н ости язы ка
пи сателя. О н и такж е избавят их от необходим ости отвле
каться н а п о и ск и нуж ного зн ач ен и я слова или ф р азео л о
гизм а, и з-за чего теряется целостность восп ри яти я и чте
ние станови тся скучны м.
К каж дому тексту предлагается ряд задан и й для:
• отработки и зак р еп л ен и я н авы ко в владения грам м а
ти ч еск и м м атери алом ( Grammar — грам м ати чески й
ком м ен тари й и уп раж н ен ия);
• отработки и закр еп л ен и я н авы ко в владения л ек с и ч е
ски м м атериалом ( Vocabulary — упраж н ени я н а п о н и
м ание словообразовательн ы й м оделей, д еф и н и ц и й ,
контекстуальны х см ы словы х рядов);
3
• развития навы ков чтения (Reading — тестовые задание
на п он и м ан и е общ ей идеи текста и н а п о и ск деталь
н ой и н ф орм ац и и );
• развития навы ков говорения (Speaking — упраж нения,
развиваю щ ие ум ения доказы вать, опровергать и аргу
м ентировать свою точку зрен и я);
• разви ти я н авы ков п и сьм а ( Writing — подробны е п л а
ны н ап и сан и я статей, со о б щ ен и й , о п и сан и й , л и ч
ны х пи сем , рассказов).
К н и га адресована ш и рокой аудитории изучаю щ их а н
глийский язы к учащ ихся средних и старш их классов ш кол,
л и ц еев и ги м н ази й для развити я н авы ков речевой деятель
ности н а уроках в ш коле, как задание по дом аш нем у ч те
нию , для подготовки к экзам енам .
Д ан н ы й сб о р н и к станет незам ен и м ы м п ом ощ н и ком
преподавателя п ри подготовке экзам ен ац и о н н о го м атери а
л а по чтению .
У ровень адаптаци и и тем ати чески й подбор текстов
позволяет использовать книгу для сам остоятельного чтения
студентам неязы ковы х вузов и взрослы м читателям , изуча
ю щ им или изучавш им ан гл и й ски й язы к.
Ray Bradbury
N ovelist, short story w riter, essayist, playw right, screen
w riter, and poet, Ray Bradbury was b o m in W aukegan, Illi
nois, in 1920.
H e was th e th ird son o f L eonard and E sther Bradbury.
T hey gave him the m iddle nam e ‘D ouglas,’ after the film actor.
Ray spent his early years in W aukegan in his big loving family.
Those happy days provided th e foundations for both the au th o r
and his stories. In his works W aukegan becom es ‘G re e n to w n ,’
Illinois — a sym bol o f safety and hom e.
Y oung Ray started w riting his ow n stories at the age o f 11.
His family d id n ’t have enough m oney to buy Ray one m ore book
by Edgar Burroughs. So he had to do it himself.
In 1934, the Bradbury fam ily m oved to Los Angeles. As a
teenager, Bradbury often roller-skated through H ollyw ood, try
ing to m eet celebrities. H e befriended som e special effects m aes
tro Ray H arryhausen an d radio star G eorge Bum s.
In fact, it was B um s w ho gave Bradbury his first pay as a
w riter — for a joke to his radio program .
Bradbury entered Los Angeles H igh School. H e was ac
tive in the dram a club and planned to becom e an actor. But his
teachers — Ray H arryhausen an d G eorge B um s recognized a
greater talent in Bradbury, and encouraged h im to becom e a
writer. Snow Longley H oush taught him about poetry and Jean -
n et Jo h n so n taught him to w rite short stories.
B radbury’s form al education ended w ith his high school
graduation in 1938. H ow ever, he co n tin u ed to educate himself.
H e sold newspapers on Los Angeles street corners all day, but
spent his nights in the library. T he hours betw een new spaper
editions w ere spent at his typewriter.
H is first published short story was ‘H ollerbochen’s D ilem
m a ,’ printed in 1938 in an am ateu r fan m agazine. His first paid
publication, a short story titled ‘P en d u lu m ,’ appeared in 1941.
A t last, in 1942, Bradbury w rote ‘The L ake’ — the story
in w hich he discovered his distinctive writing style. The follow
5
ing year, he gave up selling new spapers and began to write full
time.
In 1946, he m et his future wife, M arguerite M cC lure. At
th at tim e Maggie was w orking as a clerk in a book shop when
they m et. His first daughter, Susan, was born in 1949 followed
by R am ona, B ettina and Alexandra.
Bradbury becam e a leading science fiction w riter after
the publication o f ‘The M artian C hronicles’ in 1950. The book
describes m a n ’s attem pt to colonize M ars, the effects o f co lo n i
zation on the M artians, and the colonists’ reaction to a massive
nuclear w ar on Earth.
A nother o f B radbury’s best-know n works, ‘F ah ren h eit
451°’, was published in 1953. It tells about the tim e w hen a
governm ent banned the w ritten word. M ontag enjoys his jo b as
a professional book-burner. But he begins to question his duties
w hen he learns o f a tim e when books were legal and people did
not live in fear. M ontag begins stealing books m arked for d e
struction and m eets a professor w ho agrees to educate him .
W hen his pilfering is discovered, he must run for his life.
Bradbury’s w ork has w on a lot o f awards — O. H enry
M em orial Award, the B enjam in Franklin Award (1954), the
A viation-Space W riter’s A ssociation Award for Best Space A r
ticle in an A m erican M agazine (1967), the W orld Fantasy Award
for Lifetim e A chievem ent, and the G ran d M aster Award from
the Science F iction W riters o f A m erica. Perhaps B radbury’s
most unusual honour cam e from the Apollo astronaut who nam ed
D andelion C rater after Bradbury’s novel, ‘D andelion W ine’.
TYRANNOSAURUS REX1
Terwilliger opened a d o o r into the crow ded cinem a hall

and heard a dreadful voice, ‘W ell? C om e on!’ It belonged to a
little boy. N o, n o t a boy. T h a t’s h i m — Joe C larence, the
producer.
T he next m om ent film titles appeared on the screen:
T Y R A N N O SA U R U S REX: The T h u n d er Lizard.

C reated by John Terwilliger.
T he w orld o f prehistoric sun and poisonous rain was full

o f m onstrous creatures. Bony pterodactyls were h u n ting in the
1 Tyrannosaurus Rex (лат.) — Тираннозавр Рекс

7
sky. In the jungle shadow the dinosaurs, those great creatures
looked like ugly m achines destroying a th o u san d flowers at one
footfall.
It had taken Terwilliger a lot o f tim e to make all those
steel reptilian skeletons and cover them with rubber. M ost o f
m odels were not bigger th at his hand. The biggest ones were as
large as his head. Step by step, fram e by fram e, Terwilliger
m ade his anim ation film. He photographed his beasts, moved
them a little, photographed them again, for hours and days
and m onths.
‘M y beauties!’ thought the anim ator.
‘L o rd ,’ said an adm iring voice. ‘W onderful a n im atio n .’
‘I ’ve seen b e tte r,’ said C larence the G reat — the m an
with a boy’s voice.
Terwilliger turned from the screen w here the battle o f
prehistoric giants was going on. F o r the first tim e he looked at
his possible em ployers.
‘It’s jerky. I ’m glad it’s o v er,’ the p ro d u cer said w hen the
m onsters disappeared. ‘I t’s not bad. But d o n ’t get ideas about
m oney, Terwilliger!’
T erw illiger was n o t going to give up. In his stu d io he
c o n tin u e d his w ork. Tw ice a day Joe C laren ce cam e in and
gave his useless advice: ‘M ake it real h o rrib le. T he m o re, the
b e tte r!’ o r ‘I d o n ’t like his e x p ressio n .’ O r ‘T oo soft, too
gentle! N o t b lo o d th irsty at all! W ork!’ T erw illiger would de
stroy the reptile and reshape its p reh isto ric face again and
again.
After the first film test C larence said, ‘Better. But... not
enough horrible. Back to w ork!’ A fter the second film test
C larence said, ‘Close! T he face is alm ost right. Try again!’
Terwilliger w ent back to work. H e tried his best to create the
m ost disgusting face!
'That’s it!’ cried C larence one day. ‘Perfect! N ow th a t’s
w hat I call a m onster! You are a genius, Mr. Terwilliger!’
It was at the third film test when the audience w atched the
m ost dreadful and powerful beast on the screen. W hen the rep
8
tile paused with a red bone in its m outh, som ebody said, ‘T hat
m onster, it looks fam iliar.’
‘Fam iliar?’ Terwilliger felt uncom fortable.
Who cares?’ C larence cried. ‘It’s great. And all because
1 m ade Terwilliger create this dreadful b east.’
Suddenly a gasp ran th ro u g h the au d ien ce. C laren ce
looked around and Terwilliger started, not knowing why. A n
o th er gasp followed. T hen there was dead silence. C larence
jum p ed to his feet and his tiny figure stood in the light o f the
screen. F o r a m om ent the audience w atched two images: T yr
annosaurus and C larence. The film stopped and C larence p o in t
ed at the reptile’s m outh, its eye and its teeth , ‘W hat is th is?’
the producer hit the screen w ith his tiny hand. ‘T h a t’s m e!’
Terwilliger was gone. An hour later C laren ce’s lawyer,
M r. G lass found him in the studio packing his boxes.
‘I d id n ’t know I was doing it. It just came out in my fin
gers,’ cried Terwilliger. ‘H e kept at me. D o this. Do that. I was
angry all the tim e. W ithout know ing, I m ust have changed the
face. But right up till five m inutes ago, w hen M r. C larence
ju m p ed at his feet, I d id n ’t see it.’
‘N o ,’ said Mr. Glass, ‘we should all have seen. If you tell
him ...’
‘Tell me w hat?’ Joe C larence stood in the door.
‘W hat he has just told m e.’ M r. G lass turned calm ly. ‘A
touching story.’
‘I ’m listening!’ said C larence.
‘M r. C laren ce,’ the lawyer spoke carefully. ‘This film is
M r. Terw illiger’s solem n tribute to y o u .’
Both m en, C larence and Terwilliger, opened th eir m ouths.
The old lawyer continued in a shy voice, ‘Shall I go on?
This film was done from a feeling o f h o n o u r and friendship for
you, Joe C larence. B ehind your desk, a noble hero o f the film
industry, unknow n, unseen, you worked hard while w ho gets
the glory? The film stars. It was absolutely unfair! How could
Terw illiger present the real C larence to the world? The d in o
saur! This is it! A lonely, proud, w onderful, awful symbol o f
9
independence, pow er and strength! D inosaur: Joe C larence.
Joe C larence: D inosaur!’
Terwilliger said nothing.
‘H e ’s sh y ,’ said M r. G lass. ‘H e is im pressed by your
genius, but he c a n ’t express it in words. But he can im m ortalize
the people he loves! Years from now people will say, “ R em em
ber th at film about the M onster?” And people will say, “ Sure!
Because it was the one and only m onster in all Hollywood his
tory that had real personality. A genius had based th at powerful
creature on a real-life businessm an.” You’re one with history,
M r. C larence. Every day for the next five hundred years, y o u ’ll
be starring som ew here in the w orld!’
‘My G od, Terw illiger,’ C larence said. ‘D o you really like
m e so m uch?’
‘I t’s hard to put in w ords,’ said Terwilliger with difficulty.
‘So do we finish the film th at m ighty spectacle?’ asked
Glass.
‘Sure!’ C larence said leaving the studio.
At the first night when ‘M onster from the Stone Age’ was
on, M r. Glass visited Terwilliger, ‘You w eren’t there? A great
success! A lovelier m onster has never been seen!’
The phone rang.
‘Terwilliger, this is Clarence! W e’ve done it!’
Notes
M y beauties! — М ои красавчики!
would destroy — здесь глагол w ould выражает повторяющее
ся действие в прошлом
That’s it! — В самую точку!
Who cares? — Д а какая разница!
It just came out in my fingers. — Руки работали сам и по себе.
Не kept at me. — Он заставлял м еня работать.
You’re one with history — Вы входите в историю
W e’ve done it! — М ы победили!
10
Activities
Reading
Circle T if the sentence is true. Circle F if the sentence is false.
1. Terwilliger m ade the dinosaur m odels

him self. T F
2. Joe C larence looked like Tyrannosaurus Rex. T F
3. The anim ated film created by Terwilliger
was a success. T F
4. The an im ato r was im pressed by p ro d u cer’s
genius. T F
5. Terwilliger was angry w ith C larence while
he was working at the film. T F
Circle the letter of the correct answer to complete the sentence.
1. Joe C larence h a d ___________ .

a) a noble appearance
b) bony legs
c) a m onstrous nature
2. Joe C la re n c e ___________ Tyrannosaurus Rex.

a) took after
b) was as bloodthirsty as
c) looked like
3. The m odel o f Tyrannosaurus Rex was n o t___________ .

a) so big as the real dinosaur
b) m ade o f steel and rubber
c) shown in the film
4. At the first film test C larence d id n ’t like the way the

m o n ste r___________ .
a) m oved
b) sounded
c) opened its m outh
11
5. Terwilliger w a s _________
a) an anim ated character
b) a genius producer
c) a talented anim ato r
6. Terw illiger c re a te d ______

a) a docum entary
b) a detective story
c) an anim ated film
Vocabulary
There are many ‘cinema words’ in this story. Work out their
meanings by matching the words to their definitions. Translate
them into Russian.
A producer is som eone w ho m akes anim ated

films.
To star m eans to act the part o f a m ain ch arac
te r in a film,
A frame is the large white surface that pic
tures are shown on in a cinema,
An an im ato r is any w ritten m aterial used in a
film.
Audience is a film m ade by photographing a
series o f pictures, clay models,
A screen is an occasion w hen you can see a
film before it is show n to a
public.
Titles are a group o f people in the cin e
m a hall w atching a film,
A film test is som eone who has general control
o f the preparation o f a film but
w ho does not direct the actors,
An anim ated film is an individual picture o f a film.
12
Ф Speaking
1 What are the main characters of the story? What did they look
like? What were they like? Try and say as much as you can
about them. The words can help you.
dreadful voice, little boy, m onstrous creature, ugly m a

chine, it took Terwilliger a lot o f tim e to m ake, as large
as his head, p h o to g rap h ed th em again, a genius, for
hours and days and m onths, My beauties!, boy’s voice,
prehistoric giant, was not going to give up, gave his use
less advice, M ake it real!, horrible, bloodthirsty, tried
his best, the m ost disgusting face, felt uncom fortable,
tiny figure, H e kept at me!
2 Retell the story as if you were:

• the lawyer;
• the producer;
• the anim ator.
23. Writing
Write a four-paragraph review — some basic information about
the film , a brief summary o f the p lot, your opinions,
recommendations of Terwilliger’s film about Tyrannosaurus
Rex. You were at its third film test and saw everything with
your own eyes. You should use your imagination. In your review
include the following features:
• w hen it took place;
• w here it took place;
• who starred in it;
• how it started and finished;
• the audience and th eir reactions;
• your personal reaction to it;
• your recom m endations.
13
Useful vocabulary:
a producer, titles, a test film , au d ien ce, a screen, an

im age, an anim ation studio, an anim ator, to star, b east/
m onster, dreadful/h o rrib le/u g ly /b lo o dth irsty /d isg u stin g ,
pow erful/m ighty, real-life, bony, jerky.
It is set in prehistoric times.

It is based on a story/book/scientific researches.
The special effects are im pressive/disappointing/exciting/
boring.
The a n im a tio n / the scenery/ the so u n d / the photography
is ex cellen t/ w eak/ jerky.
Use linking words while
• giving examples: There are som e p o o r m om ents, es

pecially w hen ..../ The an im ato r pays great attention
to details, such as .... You can see the m ost popular
prehistoric creatures, for exam ple....
• contrasting: Despite the weak points.../ I ’d recom m end
this film to..., although
• adding points: The m onsters look realistic, th eir h u n t
ing scenes are also im pressive/ The m odels are excel
lent. M oreover, th eir roar sounds natural.
• concluding: All things considered, it is w orth seeing.
/:/(«
THE PEDESTRIAN
On misty N ovem ber evenings Leonard M ead would leave

his house for lonely walks through the silent city. W ith his
hands in the pockets, he m ade his way very carefully trying not
to step over a blade o f grass. He w ould stand upon a street
co rn er and look down long m oonlit roads, deciding w hich way
to go. But it really m ade no difference. He seem ed to be alone
in this world o f 2053 A .D .
Som etim es Leonard would walk for hours and miles and
return only at m idnight. And on his way he would see the houses
with their dark windows, and he seem ed to be walking through
a graveyard. Sudden grey ghosts happened to appear behind
the dark curtains. He would stop, listen, look, and go on, his
15
feet m aking no noise. He used to put soft shoes on for his night
walks. He d id n ’t w ant anybody to notice him walking in early
N ovem ber. But in ten years o f walking by night o r day he had
never m et an o th er person.
T hat evening there was a good crystal frost in the air. He
listened to the rustle o f autum n leaves u n d er his feet and w his
tled betw een his teeth.
‘H ello, in th e re ,’ he said to every house. ‘What’s on to
night?’
The street was silent and long and em pty. If he closed his
eyes and stood very still, frozen, he could im agine him self upon
the cen ter o f a desert w ith no house in a thousand miles, and
only dry river-bed streets.
‘W hat is it now ?’ he asked the houses. ‘A detective? A
quiz? A com edy?’
Two highways crossed the city. D uring the day they were
busy w ith thousands o f insect-looking cars. But now these high
ways were like stream s in a dry season.
He tu rn e d back o n a side street tow ard his h o m e. T h at
m o m en t a c ar tu rn e d a c o rn e r q uite suddenly an d flashed a
w hite light o n him . H e stood m o tio n less an d th e n w ent to
w ard it.
A m etallic voice called to him:
‘Stand still. Stay where you are! D o n ’t m ove!’
He stopped.
‘Put up your hands!’
‘But —’ he said.
The police, o f course, but w hat an unbelievable thing it
was! In a three-m illion city there was only one police car left.
There was no crim e in the city, so there was no need now for
the police.
‘Y our nam e?’ said the police car in a m etallic voice.
‘Leonard M ead ,’ he said.
‘Business o r profession?’
‘I guess you’d call me a w riter.’
16
‘N o profession,’ said the police car.
‘You might say that,’ said Leonard.
He h a d n ’t w ritten for years. They d id n ’t sell m agazines
and books any m ore. C itizens got used to spending th eir eve
nings in th eir tom b-like houses. They were lit by television light
and the people were sitting in front o f them like the dead. The
m u lti-c o lo u re d lights to u ch e d th e ir faces, b u t never really
touched their souls.
‘N o profession,’ said the car voice, hissing. 'What are
you doing out?’
‘W alking,’ said Leonard M ead.
‘Walking!’
‘Just w alking,’ he said sim ply, but his face felt cold.
‘W alking, just walking, w alking?’
‘Yes, s ir.’
‘W alking where? F o r w hat?’
‘W alking for air. W alking to see.’
‘Y our address!’
‘Eleven South Saint Jam es S treet.’
‘A nd there is air in your house, you have an air co n d i
tio n er, M r. M ead?’
‘Y es.’
‘A nd you have a TV in your house?’
‘N o .’
‘N o ? ’ There was a long pause. ‘Are you m arried, Mr.
M ead?’
‘N o .’
‘N o t m arried ,’ repeated the police voice.
The m oon was high and clear am ong the stars and the
houses were grey and silent.
‘N obody w anted m e ,’ said Leonard M ead with a smile.
‘D o n ’t speak unless you’re spoken to!’
Leonard M ead w aited in the cold night.
‘Just walking, M r. M ead?’
‘Y es.’
17
‘But you haven’t explained for w hat p u rp o se.’
‘I explained; for air, and to see, and just to w alk.’
‘D o you often do th a t? ’
‘Every night for years. Is th at all?’ he asked politely.
‘Yes, h e re .’ T he back d o o r o f the police car opened.
‘G et in .’
‘W ait a m inute, 1 haven’t done anything!’
‘G et in .’
‘I protest!’
H e cam e up to the front car window and looked in. There
was no one in the front seat, no one in the car at all. It sm elled
o f steel, it sm elled too clean and hard and m etallic. T here was
nothing soft there.
‘N ow if you had a wife to give you an alibi,’ said the iron
voice. ‘B u t—’
‘W here are you taking m e?’
‘To the Psychiatric Center for Research on Regressive
Tendencies.’ He got in.
A m om ent later the car passed one house on one street.
All the o th er houses were dark, but this one had all o f its elec
tric lights brightly lit, every window was shining in the cool
darkness.
‘T h a t’s my h o u se,’ said L eonard M ead.
N o one answ ered him.
Notes
W hat’s on tonight? — Ч то сегодня вечером по телевизору?

Stand still. Stay where you are! — С м ирно! Н и с места!
You might say that — М ож но сказать и так.
What are you doing out? — Ч то вы делаете на улице?
Psychiatric Center for Research on Regressive Tendencies —
П сихиатрический центр по исследованию атавистических
наклонностей
18
Activities
Ш Reading
1 Circle Г if the sentence is true. Circle F if the sentence is false.
1. L eonard M ead was alone in the city. T F

2. Leonard M ead liked walking through
graveyards. T F
3. L eonard M ead d id n ’t m eet anybody during
his long walks. T F
4. Leonard M ead d id n ’t have a TV in his house. T F
5. Leonard M ead was a w riter but nobody
bought his books. T F
2 Circle the letter of the correct answer to complete the sentence.
1. W hile L eonard was w alking th ro u g h th e city, he

w atch ed ___________ .
a) th e ghosts o f the dead
b) the busy roads
c) the m oonlit em pty streets
2. Leonard gave up w riting b e c a u s e ___________.
a) reading was unpopular
b) he had no ideas for new books
c) the books had been forbidden
3. The m etallic voice th at spoke to Leonard at the street
co rn er belonged t o ___________ .
a) a police officer
b) a c ar
c) a ghost
4. The police c a r found L eonard suspicious because
a) he was walking
b) he walked every night w ithout any purpose
c) he was wearing soft shoes
19
5. The police car took Leonard to the Psychiatric C en ter
because o f ___________ .
a) his extraordinary behaviour
b) his unusual appearance
c) his dangerous ideas
6. L e o n ard saw n o b o d y in th e p o lic e c a r b ecau se
a) he had poor sight

b) there was nobody there
c) it was too dark
Если вы сообщ аете о собы тиях, которы е регулярно

происходили раньш е, но не происходят сейчас, используйте
would и used to перед и н ф и н и ти во м см ы слового глагола.
Р ан ьш е и бы вало удачн о п о д х о д ят д л я п ер ев о д а эти х
конструкций на русский язы к.
Leonard Mead would leave his house fo r lonely walks through

the city. — Бы вало, Л еонард М ид долго в одиночестве
гулял по городу.
Leonard Mead would stand upon a street corner and look
down long moonlit roads. — Бы вало, Л еонард М ид стоял
на углу улицы и см отрел на д о р о ги , о св ещ ен н ы е
луной.
О братите вн и м ан и е, что в д ан н о м зн ач ен и и would

нельзя использовать с глаголами со сто ян и я и чувств {to be,
to have, to know, to live, to like, to love). В м есто этого
используйте вы раж ение used to.
She used to be very shy. — Раньш е о н а бы ла очен ь

застенчивой.
20
1 Translate this passage from the story.
Som etim es Leonard would walk for hours and miles and
retu rn only at m idnight. And on his way he would see the
houses w ith th eir dark w indows, and he seem ed to be
walking through a graveyard. Sudden grey ghosts h ap
pened to appear behind the dark curtains. H e would stop,
listen, look, and go on, his feet m aking no noise. H e
used to put soft shoes on for his night walks.
2 Complete the sentences with would or used to and translate

them. In some sentences only used to is possible.
N ow m y cousin M ary lives next door. But w hen she was

little her fa m ily ____________live in the country. W hen 1
cam e to her for a holiday, w e ___________ walk am ong the
hill. W e ___________visit her friends there. T h e y __________
be really happy to m eet som ebody from the big city.
W e ___________spend o u r evenings sitting around the fire
and talking about politics and art. H er country friends
___________have pleasant m em ories for long w inter nights
w hen 1 was back hom e.
3 What did you use to do when you were five? Write six sentences
using used to or would.
Example: I would sleep in the day-time.

I used to have lots of toy racing-cars.
Ф Speaking
О W hen you w ant to explain som ething o r prove any o f your

ideas, the following words and phrases can be useful:
As far as I know... / The m atter is that... / I am sure
that... / I suppose th at... / 1 believe that... / To sum it
u p , ... / All things considered, ... / As a result o f this... /
21
In addition... / W hat this m eans is... / ... because/ since... /
as... / ... in order to... / M oreover, ...
1 Can you prove that:
• Leonard M ead felt lonely in his city?

• the city was em pty and silent?
• Leonard M ead believed w atching TV to be a waste o f
time?
• Leonard M ead was a law -breaker for the police?
• Leonard M ead was different from the people o f his
city?
Try to say three sentences at least.
2 Can you explain why:
• Leonard M ead wore soft shoes while walking around

the city?
• Leonard m ead seem ed to be walking through a grave
yard during his long walks around the city?
• Leonard M ead never m et anybody in the silent city?
• Leonard M ead gave up writing books?
• there was no need in police in the city?
^ Writing
Write five sentences to explain what you think will happen to

Leonard Mead in the Psychiatric Center. Will he be treated as
a madman? Will he be thrown into prison? Executed? Forgiven?
You should use your imagination and give your reasons.
A SCENT OF SARSAPARILLA1
W illiam F inch spent three m ornings and afternoons in the

attic. He stood there alone, feeling the w hite flakes o f Tim e
falling out o f the cold N ovem ber sky. He stood feeling elegant
dry perfum es o f the ancient past.
Listening, dow nstairs, his wife C ora could not hear him
walk or move. W hen he cam e down for lunch on the third
afternoon, he smiled at the boring walls, the old cups, the dirty
plates, and even at his wife!
1 Sarsaparilla — сарсапарилла; лекарственное растение, ш и

роко прим енявш ееся для приготовления тонизирую щ их н апи т
ков в середине XX века
23
‘W hy are you sm iling?’ she asked.
‘Wonderful spirits!’ he laughed.
‘W h at’s that sm ell?’ his wife frowned.
‘Smell? Sarsaparilla. T h a t’s w hat it is!’
‘O h, it co u ld n ’t be!’ she cried and his happiness stopped as
quickly as if sh e’d switched him off. ‘W here did you go this
m orning?’
‘I was cleaning the a ttic .’
‘1 d id n ’t h ear a sound. M aybe you w eren ’t in the attic at
all. W hat’s th a t? ’ she pointed.
‘W ell, how did those get th ere?’ he asked the world look
ing at the pair o f black metal bicycle clips on his trousers. ‘I
found them in the attic. C an you rem em ber w hen we rode a
bike in the early m orning, C ora, forty years ago?’
‘If you d o n ’t finish th at attic today, I ’ll com e up and
clean it m yself.’
‘O h, n o ,’ he cried. ‘I have everything the way I w ant it!’
She looked at him coldly.
‘C ora,’ he said, eating his lunch, ‘you know w hat attics are?
They’re Tim e M achines, in which old m en like me can travel back
forty years to a tim e when it was sum m er all year round.’
C ora looked a little frightened.
‘W ell, w ouldn’t it be interesting,’ he asked, ‘if Tim e Travel
could happen? And what m ore logical place for it than in an attic
like ours, eh ?’
‘It w asn’t always sum m er in the old days,’ she said. ‘I t’s
just your crazy m em ory. You rem em ber all the good things and
forget the bad o n es.’
‘I m ean,’ he said. ‘I f you rode your Tim e bike carefully
betw een th e years, if you rode from year to year, spent a
week in 1909, a day in 1900, a m o n th in 1905, 1898, you
could stay w ith sum m er the rest o f y o u r life. B alance, C ora,
b a lan ce.’
‘B lah,’ she said, blah, blah.’
H e clim bed the long cold stairs to the attic. W illiam was
terribly cold but w hen he opened the attic door, a dust o f sum
24
m er cam e upon him . It kept the w arm th and smell o f o th er
seasons. He smiled and closed the d o o r carefully.
At five in the afternoon, Mr. F inch cam e dow n singing a
happy song with a new straw hat on.
‘Did you sleep all aftern o o n ?’ asked C ora. ‘I called up at
you four tim es and no answ er.’
‘Sleep? W ell, I guess I d id .’
Suddenly she saw him . ‘M y G o d !’ she cried, ‘w here did
you get that co at?’
He wore a red striped coat, a white shirt, and ice-cream
trousers.
‘I found them in the a ttic .’
‘But they do n ’t look old! W here have you been all this tim e?’
‘C ora, w ouldn’t it be nice to take a Sunday walk the way
we used to do, with your silk long dress on? We w ould sit on
those w hite chairs at the cafti and o rd er two sarsaparillas for
us, C ora. How about it?’
‘D in n er is ready. A nd take those dreadful clothes off.’
‘If you could m ake a wish, would you do it?’
‘By the w ay,’ she took her cup, ‘this m orning I had forty
dollars here. N ow it’s gone! D o n ’t tell me you bought those
clothes. T hey’re new, they have been just m ade. Are you c ra
zy, spending o u r m oney on clothes you c a n ’t w ear now adays?’
she cried.
‘T he attic ...’ he started to say but she left the room .
The snow was falling fast now and it was a cold dark N o
vem ber evening. She heard him clim b up the ladder into the
attic, into th at dusty place o f Old Tim es, into a world different
from this world below. W illiam half-shut his eyes and looked and
looked on every side o f the waiting attic. In the dark he saw
rainbows and m ornings as bright as new rivers flowing back
through tim e. It was a great m achine o f Tim e, this attic, he
knew it! H e knew w hat would happen if he touched all those
things o f the past in turn!
About nine o ’clock that night she heard him calling, ‘Cora!’
She w ent upstairs and he sm iled at her. ‘G ood-bye, C o ra .’
25
‘W hat do you m ean?’ she cried.
‘I ’ve thought it over for three days and I'm saying g ood
b ye.’
‘C om e down out o f there, you fool!’
‘I drew five hundred dollars from the bank yesterday. I’ve
been thinking about it. And then it happened, well... For the
last tim e, will you com e along w ith m e?’
‘In the attic? I’ll clim b up there and take you out o f that
dirty place!’
‘G o o d -b y e,’ he said and his face was gone.
‘W illiam !’ she scream ed.
She took a chair and got into the em pty and silent attic.
T he opposite attic window was opened. She cam e up to it and
saw the ladder, leading down. Suddenly she pulled back from the
window. O utside the window the apple trees were in blossom , it
was a sum m er day in July. She could hear firecrackers going
off. She heard laughter and far away voices. C olourful rockets
burst in the warm air softly.
She shut the window and cried. ‘W illiam !’
G rey N ovem ber light cam e through the attic d o o r behind
her. She saw the snow touching the cold window in that N ovem
ber world where she would spend the next thirty years.
She did not go near the window again. She sat alone in the
dark attic, sm elling the one smell that did not seem to disap
pear. She took a deep, long breath.
The old, the familiar, the unforgettable scent o f sarsaparilla.
Notes
Wonderful spirits! — Ч удесное настроение!
metal bicycle clips — м еталлические велосипедны е заж им ы
I mean — Я хочу сказать
blah, blah — вздор, чепуха
pulled back — отпрянула
firecrackers going off — как взры ваю тся хлопуш ки
26
Activities
Ш Reading
1 Circle T if the sentence is true. Circle f i f the sentence is false.
1. W illiam F inch and his wife C ora had been

m arried for years. T F
2. A scent o f sarsaparilla rem inded W illiam o f
his happy past. T F
3. W illiam had traveled to the past a few tim es
before he asked his wife to jo in him . T F
4. C ora never doubted in his husband and
believed him com pletely. T F
5. C ora followed W illiam to the past and never
returned. T F
2 Circle the letter of the correct answer.
1. W hat was W illiam F inch doing in the attic?

a) He was tiding it carefully.
b) He was thinking over his future.
c) H e was tim e travelling.
2. W hy did C ora decide that W illiam h ad n ’t cleaned the

attic and had left it for som ew here?
a) She d id n ’t h ear him walk o r move there.
b) H e spent there too m uch tim e.
c) H e sm elled strangely.
3. W hy did a straw hat and a red striped coat which

W illiam had on surprise Cora?
a) They were new but old-fashioned.
b) H e r h usban d had never w orn such clo th es b e
fore.
c) Those expensive clothes were o f latest design.
27
4. W hat frightened C ora?
a) the smell o f sarsaparilla
b) the idea o f tim e travelling
c) the m etal bicycle clips
5. W hy did W illiam ask his wife to com e along with him

to the attic?
a) H e w anted C ora to clean it.
b) He expected his wife to tim e travel w ith him .
c) He wanted her to smell the dust o f Old Tim es there.
6. W hy did C ora pull back from the open attic window?

a) The noise o f firecrackers frightened her.
b) She d id n ’t expect to see the ladder go dow n.
c) An unusual view frightened her.
Vocabulary
Fill in the gaps with the correct words using those given in
brackets.
1. W hen W illiam cam e down for lunch on the third af

tern o o n , he smiled at the___________walls, the old
cups, the dirty plates, and even at his wife! {bore)
2. ‘Oh, it couldn’t be!’ she cried and h is___________stopped
as quickly as if she’d switched him off. {happy)
3. She looked at h im ___________ . ( cold)
4. ‘Well, w ouldn’t it b e _____________ he asked, ‘if Tim e
Travel could h ap p en ?’ {interest)
5. W illiam w a s___________ cold but w hen he opened the
attic door, a dust o f sum m er cam e upon him . {terri
ble)
6. It kept th e _________ and smell o f other seasons. ( warm)
7. She heard him clim b up the ladder into the attic, into
that dusty place o f Old Times, into a w o rld __________
from this world below, {differ)
28
8. She took a chair and got into the em pty a n d __________
attic. ( silence)
9. __________ rockets burst in the warm air softly. ( colour)
10. She took a deep, long____________. ( breathe)
Speaking
Agree or disagree. Some of your friends can have different

points of view. Give your reasons. Start your sentences with:
I quite agree with you.

1 totally agree.
You may be right, I agree.
T h a t’s true. You are right.
I ’m afraid I’m not with you here.
I disagree with you on the point.
I com pletely disagree.
I ’m afraid you are wrong.
As far as I know...
I am sure that...
I suppose that...
I believe that...
1. W illiam d id n ’t love his wife and he was fed up with his
boring fam ily life.
2. He invented a Tim e M achine and kept it in the attic.
3. William thought that his past had been the best tim e o f
his life.
4. W illiam had no desire to com e back from the past.
5. C ora thought th at her husband was a fool.
6. C ora co u ld n ’t im agine tim e travelling through the
attic window.
7. C ora d id n ’t want to follow her husband back in their
past.
8. C ora was frightened w hen she saw a sum m er day
through the open attic window.
29
Writing
Write the newspaper article which came out the day after
William Finch had disappeared. Don’t forget to:
• m ake up a title;
• express the sum m ary o f the story in the first p ara
graph;
• describe the incident (w hen and where it took place,
w ho was there);
• give som e facts about W illiam and his wife;
• m ention som e explanations from W illiam ’s wife and
her feelings;
• present your personal reaction to it.
Useful vocabulary:
am using, awful, shocking, unusual, spent three m o rn

ings and afternoons in the attic, could not hear him walk
or m ove, w onderful spirits, smell o f sarsaparilla, clean
ing the attic, m etal bicycle clips, a Tim e M achine, can
travel back forty years, singing a happy song with a new
straw hat on, a red strip ed coat, a w hite shirt, and ice
cream trousers, the apple trees were in blossom , fire
crackers going off, colourful rockets, laughter and far
away voices, did not go near the w indow again, sat alone
in the dark attic.
While making up your article use
• time linking words: w hile, w hen, as soon as, firstly,

first o f all, su d d en ly , later, im m ed iately , before,
after, th en , later, in the end, finally.
• linking words to contrast ideas: although, but, how
ever, on the one hand, on the o th er hand, despite,
in spite of, nevertheless.
THE BEST OF ALL POSSIBLE WORLDS
The two m en were travelling hom e by train. They d id n ’t

talk to each o th er but w hen a lady w ith a rich smell o f perfum e
passed them along the carriage, the older o f the two m en said,
‘Idiot, idiot! Did you see th a t? ’
‘O h, her? I followed her off the train once m yself.’
‘I too, five years ag o ,’ the older m an closed his eyes.
‘W hat happened when you reached the end o f the platform ?’
The young m an stared at his com panion in surprise and went on.
‘W ell, I was just tw enty feet behind her w hen her hus
band drove into the station in a car full o f kids! Bang! The car
door closed and she drove away. I had to wait for h alf an hour
to get an o th er train hom e. It taught me som ething, by G od!’
31
‘It taught you n o th in g ,’ added the older m an. ‘Idiots,
th a t’s w hat we are. But, now, w hat do you m ake o f h er?’
‘T hat w om an? O h, she likes to keep in trim. She m ust feel
m uch better m aking us follow her. She has the best o f all pos
sible worlds, d o n ’t you think? H usband, children, plus the knowl
edge she is w orth following. You c a n ’t call her a beauty. I t’s
ju st she smells so good.’
‘Purely and simply, sh e’s a w om an. All w om en are w om
en, all m en are dirty goats. T hat sim ple idea m ay help you in
a sticky situation. But few m en accept that. I know only one
m an w ho has created the best o f all possible worlds. L et’s call
him M r. Sm ith. He is the happiest m an ever lived. H e ’s got
lots o f girlfriends and no quarrels am ong th em , no sense o f
guilt. T hat successful businessm an lives in an enorm ous a p a rt
m ent in N ew York. T h a t’s w here I m et him first last year. He
had just m arried. At dinner, his wife was truly gorgeous with
snow -cream arm s and fruity lips. Two weeks later I was invited
to a party and m et him again. N ear him , in the cen ter o f the
living room , stood a dark Italian beauty, dressed in earth co l
ours, all the tones o f a fruitful autum n. Lucky m an, I thought.
Wife in tow n, lover in country. At the end o f the party, I finally
caught the lovely Italian ’s nam e. Mrs. Sm ith!’
‘H e ’d m arried again, eh ?’
‘Hardly. He h ad n ’t had enough tim e. H e m ust have two
sets o f friends. One set knows his city wife. The oth er set knows
this lover whom he calls wife. N o o ther answer. T hat night
Sm ith drove me to the railway station. O n the way he said,
“W hat do you think o f my wives? I’ve had tw enty in the last three
years, each better than the last! Here!” As we stopped at the
station he pulled out a thick photo album. I opened it and saw
beautiful pictures o f blondes, brunettes, redheads. But there was
som ething terribly fam iliar about each photo. Suddenly I got it!
The Mrs. Smith I m et tonight, the Italian beauty, is the one and
only Mrs. Smith. But, at the same tim e, the w om an I m et in
New York two weeks ago is also the one and only Mrs. Sm ith. It
can only follow that both w om en are one and the same! “ C o r
32
rect!” cried Smith. “ M y wife is amazing. She was an actress
when I m et her. Selfishly I asked her to leave the stage. The first
six m onths o f o u r marriage were the happiest in my life. But then
1 began to watch other w om en. M y wife began to look through
the newspapers for theater reviews. Crisis! O ne night my wife
told me to leave our apartm ent and be back the next day. W hen
I returned hom e, m y wife had disappeared! A dark Latin put out
her hand to me. ‘I am a friend o f your wife’s,’ she said and
threw herself upon m e, until I, suddenly suspicious, cried, ‘This
is my wife!’ A nd we both fell laughing to the floor. This was my
wife, w ith a different cosm etic, different hairstyle, different
m anners and intonation. ‘My actress!’ I said. ‘Y our actress!’ she
laughed. ‘Tell me w hat I should be and I ’ll be it. W hy not? I’ll
study, create and, w hen you grow bored, recreate. I ’ll sit, stand,
walk in ten thousand ways.’ W ell,” said Sm ith, “from that day on
I’ve lived the happiest life! M y wife is the greatest actress. She has
found her stage in our apartm ent and her audience in me. So,
caged at last, yet free, loving her I love everyone. It’s the best
o f all possible worlds, friend, the best o f all possible worlds.” ’
There was a m om ent o f silence. The young and the old
were thoughtful now. At last the younger m an said: ‘Y our friend
Sm ith solved his problem , all right. 1 have a friend, too. His
situation was sim ilar, but different. Shall I call him Q uillan? He
was in a bar one night w ith a young beautiful redhead. M irac
ulous, I thought, beyond the senses! A week later, in G re e n
w ich, I saw Q uillan w ith a little w om an o f his ow n age. Long-
nosed, not enough m ake-up, w rinkled stockings and very quiet;
she was glad to walk along just holding Q uillan’s hand. I was sure
she was his poor little wife w ho loved the earth he walks on,
while o th er nights he spent w ith th at incredible redhead! How
sad, w hat a shame! A m o n th later I m et Q uillan again in L o n
don. “ O h, G od!” he cried. “D on’t tell on me! M y wife m ust
never know!” T hat m om ent a w om an called to Q uillan from a
window above. I looked up and my m o u th opened. T here in
the window stood the fat little woman!! So suddenly it was clear.
The beautiful redhead was his wife! She danced, she sang, she
33
talked loud and long, a brilliant intellectual. Yet she was so
tiring! So m y friend Q uillan had taken this sm all room w here,
two nights a week, he could sit quietly o r walk on th e dark
streets with this hom ely com fortable quiet w om an w ho was not
his wife at all, as I had thought, but his lover! H e too had, if
you th in k about it, the best o f all possible w orlds.’
The train slowed and bo th m en looked at each o th er in
surprise. Both spoke at once:
‘You get off at this stop?’
B oth nodded, smiling. W hen the train stopped, they stood
up and shook hands.
‘Well, give m y best to M r. S m ith .’
‘A nd m ine to M r. Q uillan!’
Notes
she likes to keep in trim — о н а хочет оставаться в хорош ей

ф орм е
a sticky situation — сом н и тел ьн ая ситуаци я
Suddenly I got it! — Вдруг я понял!
A dark Latin — С м углая м ек си к ан к а
beyond the senses! — п он ять невозм ож но!
Don’t tell on me! — H e вы давай меня!
Activities
Ш Reading
1 Circle Г if the sentence is true. Circle F if the sentence is false.
1. The two m en started talking after a lady

had passed them along the carriage. T F
2. Both m en followed the same lady the o th er
day. T F
34
3. M r. Sm ith had m any wives. T F
4. Mrs. Sm ith was a great actress. T F
5. Q uillan’s lover was m ore beautiful th an his
wife. T F
1. W hat is true about the lady who was followed by the

tw o m en?
a) She was very beautiful an d sm elled o f elegant p er
fume.
b) She had n eith er children n o r a husband.
c) She liked to be followed by m en.
2. W hat is n o t true about M r. Sm ith?

a) H e was m arried to a talented actress.
b) H e was a successful businessm an.
c) H e d id n ’t like to take pictures o f his wife.
3. W hat is true about M rs. Sm ith?

a) A fter she had left the stage, she never had an idea
to retu rn to the theatre.
b) She w anted to create the best o f possible worlds for
h er husband.
c) She was a dark Italian beauty.
4. W hat is true about Q uillan?

a) H e seem ed to be a happy person.
b) He had a quiet little w om an as a wife and a gor
geous redhead as a lover.
c) He spent all his tim e w ith his wife.
5. W hat is not true about Q uillan’s wife?

a) She was a bright person but very tiring!
b) She could sing and dance and talk in a perfect way.
c) She changed her appearance and behaviour too
often.
35
6. W hat is true about the two m en w ho told the stories
about M r. Sm ith and Q uillan?
a) They never got hom e by train.
b) They were close friends.
c) They got off at the sam e stop.
§ Grammar
0 П осле ряда ан гли й ски х глаголов следует употреблять
определенны е предлоги, наприм ер:
arrive at sta tio n / airport — при бы вать на с т а н ц и ю /
в аэропорт
arrive in M oscow — прибы вать в М оскву
stay at the hotel — останови ться в гостин ице
stay with smb — остан ови ться у кого-ли б о
laugh at sm b — см еяться над кем -ли бо
look at smb — см отреть на кого-ли бо
shout at sm b — кричать на кого-ли бо
Вы, без сом н ен и я, зам етили, что русские предлоги в
приведенны х вы раж ениях отличаю тся от английских. Более
того, часто он и вообщ е отсутствуют в русском варианте.
Сравните:
smile at smb — улы баться ком у-либо
explain to sm b — о б ъ ясн ять ком у-либо
listen to sm b — слуш ать кого-ли б о
speak to sm b — говорить ком у-либо
write to smb — пи сать ком у-ли бо
wait for smb — ждать кого-либо
1 In the story you met some verbs + preposition combinations.

Read their Russian equivalents and find the English combin
ations in the text.
Разговаривать друг с другом, ехать на поезде, следо
вать за кем -ли б о, при стально см отреть на кого-ли бо,
36
приглаш ать кого-ли б о в гости, думать о ко м -ли б о ,
наблю дать за кем -ли бо , упасть на пол, держ ать кого-
ли бо за руку.
Translate the following sentences into Russian and divide the

word combinations into three groups.
English verb + English verb + English verb +

preposition = preposition = no preposition =
Russian verb + Russian verb + Russian verb +
preposition no preposition preposition
to talk to smb = to explain to smb to take a bus =

разговаривать = объяснять сесть на автобус
с кем -либо кому-либо
1. T hat voice belonged to Joe C larence.

2. F o r th e first tim e Terwilliger looked at his possible
em ployers.
3. C larence jumped to his feet.
4. The film stopped and C larence pointed at th e reptile’s
m outh.
5. A m etallic voice called to him .
6. It smelled o f steel.
7. A m om ent later th e car passed one house on one
street.
8. M y cousin learnt to play the piano w hen she was very
young.
9. H e smiled at the boring walls, the old cups, and even
at his wife!
10. C an you rem em ber w hen we rode a bike in the early
m orning, C ora?
11. C ora looked at her husband coldly.
12. W illiam climbed the long cold stairs to the attic.
37
13. Are you crazy, spending o u r m oney on clothes you
c a n ’t w ear nowadays?
14. The two m en were travelling by train.
15. They d id n ’t talk to each other.
16. I followed h er o ff the train once myself.
17. She took a bus to get hom e.
18. The young m an stared at his com panion in surprise
and w ent on.
19. Two weeks later I was invited to a party and m et him
again.
20. W hat do you think o f my wives?
21. They used to hunt wild pigs in autum n.
22. But then he began to watch o th er w om en.
23. They both fell to the floor.
24. She was glad to walk along ju st holding his hand.
3 Make up six true sentences about your friend. Use the following
verb + preposition combinations.
To talk to smb, to take a bus, to explain to smb, to travel
by sm th, to smile at sm b, to follow sm b, to h u n t sm th,
to stare at sm b, to listen to sm b, to invite to a party, to
speak to sm b, to th in k o f sm b, to write to sm b, to watch
sm b, to fall to the ground, to hold sm b’s hand, to wait
for sm b, to play the piano, to m eet smb.
Ф Speaking
While talking to someone, we often use exclamatory sentences

to express different emotions. Read some of them and match
with the phrases from the story. You and your friends can have
different ideas! Try to prove your point of view.
Isn’t he lucky! At d in n er, M r. S m ith ’s wife was

truly gorgeous with snow -cream
arm s and fruity lips.
38
W hat a surprise! He was ju st tw enty feet behind her
w hen her husband drove into the
station in a c a r full o f kids! Bang!
The car d oor closed an d she drove
away.
Just fancy that! M r. S m ith ’s wife is the greatest ac
tress. She found her stage in her
a p a rtm e n t an d h e r au dience in
M r. Sm ith.
W hat a beauty! T he Mrs. Sm ith was the one and
only Mrs. Smith!
H ow tiring she was! T h a t h o m e ly c o m fo rta b le q u ie t
w om an was not Q u illan’s wife at
all, but his lover!
How unusual! The redhead danced and sang p er
fectly, she talked loud and long,
a brilliant intellectual!

• M rs. Sm ith;
• Q uillan’s lover.
^ Writing
Choose any of the four women characters and write her
description. You should choose the words and phrases that
match your choice.
A First introduce the person and write where she lives, what are
her likes and dislikes:
h er husband drove into the station in a car full o f kids; the

car door closed and she drove away; she has the best o f all
possible worlds; husband, children, plus the knowledge
she is w orth following; she was an actress; began to look
through the new spapers for th eater reviews; one night she
39
told her husband to leave th eir apartm ent and be back the
next day; W hen he returned hom e, his wife had disap
peared! She danced, she sang, she talked loud and long,
a brilliant intellectual. Y et she was so tiring!
В D escribe h er ap p earan ce, personality and c h a ra c te r w ith

examples o f her behaviour:
a lady w ith a rich smell o f perfum e; she likes to keep in
trim ; you c a n ’t call her a beauty; it’s ju st she smells so
good; truly gorgeous with snow -cream arm s and fruity lips;
a dark Italian beauty, dressed in earth colours, all the
tones o f a fruitful autum n; am azing; with a different cos
m etic, different hairstyle, different m anners and in to n a
tion; a young beautiful and incredible redhead; m iracu
lous, beyond the senses; a little w om an o f his own age;
long-nosed, not enough m ake-up, w rinkled stockings and
very quiet; she was glad to walk along just holding his hand;
his poor little wife w ho loved the earth he walks on.
С Give some examples o f her behaviour or relationship with

other people:
she m ust feel m uch b etter m aking us follow her; ‘Y our
actress!’ she laughed. ‘Tell m e w hat I should be and I ’ll be
it. W hy not? I ’ll study, create and, w hen you grow bored,
recreate. I ’ll sit, stand, walk in ten thousand ways.’; She
found her stage in their apartm ent and her audience in
her husband; her husband took a small room w here, two
nights a week, he could sit quietly o r walk on the dark
streets with this hom ely com fortable quiet w om an who
was not his wife at all but his lover.
D Use linking words while giving examples:

She loves anim als, especially... / She hates crow ded p lac
es, such as... / They often quarrel, particularly about... /
She is very helpful. F or exam ple...
THE DRAGON
It was a silent night. It seem ed to be years since a bird

had flown in the sky. Two m en were sitting by th eir lonely fire
in the wilderness. The orange firelight was dancing on th eir
faces and in th eir eyes. They were listening to each o th e r’s
quiet breathing. At last, one m an touched the fire w ith his
sword.
‘D o n ’t do that! Y ou’ll give us away!’
‘N o m a tte r,’ said the second m an. ‘The dragon can smell
us miles off, anyway. Oh, dear! I t’s terribly cold. I wish I were
back at the castle. It is nearly m id n ig h t.’
‘It’s death, not sleep, w e’re after...’
‘Why? The dragon never sets foot in the tow n!’
41
‘Q uiet, fool! H e eats m en raveled alone from our tow n to
the next!’
‘Let them be eaten and let us get hom e!’
‘W ait now; listen!’
The two m en froze. T hey were waiting.
‘Ah!’ The second m an said at last. ‘W hat a land o f nig h t
mares! Everything can happen here. O h, G o d , listen! This drag
on, they say his eyes are fire. H is breath is w hite gas; you can
see the dragon raveled across the dark lands. H e runs w ith th u n
der and the grass gets the fire. Sheep panic and die. W om en
give birth to m onsters. The drag o n ’s anger is so great th at tow
er walls shake back to dust. H is victim s, at sunrise, are here
and there on the hills. H ow m any knights, I ask, have gone for
this m onster and failed as we shall fail?’
‘Enough o f that!’
‘M ore than enough! I feel so desperate th at I can n o t tell
w hat year this is!’
‘N ine h u n d red .’
‘N o , n o ,’ w hispered the second m an w ith his eyes shut.
‘On this land there seem s to be no Tim e. I feel if I ran back
hom e, the tow n w ould be gone, the people yet unborn, the
trees still u ncut in the forests. D o n ’t ask how I know , the land
knows, and tells me. A nd here we sit alone in the land o f the
dreadful dragon. God save us!’
‘W hat’s the use o f it? The dragon runs from now here and
we can n o t guess its hom e. It disappears in the fog, we d o n ’t
know w here it goes. G et o u r swords ready and put on our
arm our, w e’ll die w ell-dressed.’
They turned his heads.
Across the dark country full o f night and emptiness, the wind
blew. It filled all the countryside and turned their blood cold.
There cam e a fog from the darkness, and there was no year or
hour at all. Only these m en were standing in a sudden frost and
heavy storm, listening to white thunder and green lightning.
‘T h e re,’ whispered the first m an. ‘O h, th ere...’
M iles off, rushing w ith a great ro ar appeared the dragon.
42
In silence, the m en to o k th eir swords and m ounted their
horses. The m idnight w ilderness was filled w ith a m onstrous
roar, as the dragon was getting n earer and nearer. Frightening
yellow eyes flashed; a long dark body m oved over the hill and
disappeared into th e dark.
‘Quick! Over there! N e a r those bushes!’
T h is is w here it passes!’
T hey got th eir swords ready for a battle.
‘Lord!’
‘Yes, let us use H is n a m e .’
O n the m om ent, the dragon rounded a hill. Its m o n
strous yellow eye w atched them . W ith a terrible w ar cry the
dragon rushed at the m en.
‘M ercy, God!’
T he sword struck the huge yellow eye. The dragon hit
him , and the m an flew through the air. The next m om ent the
m onster knocked dow n and sm ashed the o th er horse and rider.
Two knights were dead. The roaring dragon, the fire and the
sm oke all around and under it, disappeared.
‘Have you seen it?’ cried a voice. ‘Just like I told you!’
‘The same! A knight in arm our, Harry! W e’ve hit him !’
‘Are you going to stop?’
‘I did once but found nothing. I d o n ’t like to stop here. I
get the willies.’
‘But w e’ve hit som ething.’
‘We gave him plenty o f whistles but he didn’t move aside.
Well, I think we’ll arrive at Stokely on time. More coal, eh, Fred?’
The night train, in fire and sm oke, was travelling across
the night to a small tow n in the N o rth .
Notes
Oh, dear! — Боже мой!
Enough of that! — Хватит об этом!
God save us! — Спаси и сохрани!
43
Over there! — Вон там!
M ercy, God! — Б лагослови нас Господь!
The same! — зд. Опять!
I get the willies. — У м еня руки от страха трясутся.
Activities
Ш Reading
1 Circle J i f the sentence is true. Circle / i f the sentence is false.
1. Two knights were waiting for the dragon

near the castle. T F
2. Two knights w anted to m eet the dragon and
have a fight. T F
3. The dragon was a real terro r for th at town. T F
4. The knights won the battle. T F
5. The train knocked the knights down. T F
1. W hy did one knight get angry w hen th e o th er touched

the fire w ith his sword?
a) The dragon could smell them miles off.
b) The sword could get spoilt.
c) The fire could get m uch brighter and give them away.
2. W hat is true about the dragon?
a) The dragon never cam e into th e tow n.
b) The dragon could smell the knights miles off.
c) N obody knew where the dragon cam e from and
where he disappeared.
3. W hat is true about the knights?
a) They knew they would die.
b) They were afraid o f the dragon.
c) T hey w anted to be eaten by the dragon.
44
4. W hat did the dragon look like?
a) It had w hite gas eyes.
b) It was a fire-breathing creature.
c) It had a long body and his roar was great.
5. W hat killed the knights?

a) the dragon
b) the train
c) the green lightning
6. W hat is true about th e m en on the train?

a) They thought th at place to be frightening.
b) T hey had never see knights before.
c) They were travelling inside the roaring dragon.
Vocabulary
1 Find the Odd One Out and explain your choice.
1. a sw ord, a castle, a knight, a rm o u r, a gun

2. O h, dear!, G o d save us!, M ercy, G od!, E nough o f
that!, Lord!
3. roaring, frightening, lightning, dreadful, m onstrous
4. a n ig h tm a re , a h ill, a p a n ic , a m o n ste r, a d ra
gon
5. struck, hit, knocked dow n, sm ashed, disappeared
6. fire, sm oke, w histle, coal, horse
2 Fill in the gaps with the correct words using those given in
brackets.
1. It was a ___________ night. ( silence)

2. Tw o m en w ere sitting by th e ir lonely fire in the
___________ . ( wild)
3. They were listening to each o th e r’s q u ie t___________ .
( breathe)
45
4. The dragon’s is so great th at tow er walls
shake back to dust, (angry)
5. Across the dark country full o f night a n d ____________,
the w ind blew, (empty)
6. There cam e a fog from t h e . (dark)
7. Only these m en were standing in a ____________ frost
and heavy storm , listening to w hite th u n d e r and green
lightning, (suddenly)
8. M iles off, rushing with a great r o a r ____________ the
dragon, (appearance)
9. The m idnight w ilderness was filled w ith a ___________
roar, (monster)
10. ___________ yellow eyes flashed, (frighten)
11. O n the m om ent, the d ra g o n a hill, (round)
12. T h e ____________dragon, th e fire and th e sm oke all
around and un d er it, disappeared, (roar)
Speaking
Are the following sentences true or false? You choose! Try to

prove your point of view using the facts from the text. Say at
least four sentences starting them with the following phrases.
I ’m convinced...
I agree with the point...
I com pletely disagree...
I feel...
I doubt...
I have my doubts about it...
This is absurd from m y point.
As far as I know...
I am sure that....
I suppose that...
I believe that..
In my view...
In m y opinion...
46
To my m ind...
F rom m y point o f view...
1. It is a m edieval legend about a dreadful dragon.
2. The story consists o f two parts.
3. It is a tim e travelling story.
4. T he w riter assures us th at itwas n o t a dragon that
killed the knights.
5. It is a story about the special place where the past
m eets the present.
• a witness o f a battle betw een the dragon and two

knights;
• the one on the train.
2s , Writing
Dragons are popular characters of medieval legends. They say

there used to be a lot of them on the British Isles. Make up a
legend based on this story.
• W hile setting th e scene, describe th e tim e, place,

w eather and say w hat the m ain characters were doing.
• W hile developing the narrative, describe the m ain
action.
• W hile m aking the conclusion, describe the scene at
the end and m ention the m ain ch aracter’s feelings.
Useful vocabulary
Place: silent night, lonely fire in the wilderness, a land o f

nightmares, there seems to be no Time, midnight wilderness.
Weather: the wind blowing in dark country full o f night and
em ptiness, the wind turned th eir blood cold, a fog from
the darkness, a sudden frost and heavy storm .
47
Knights: sw ords ready, w ith th e ir a rm o u r o n , w ell-
dressed, desperate, god save us, it’s d eath , n o t sleep,
w e’re after.
Dragon: could smell every person miles off, never set foot
in the tow n, killed m en travelling alone from one tow n to
the other, his eyes were fire, his breath was w hite gas,
travelling across the dark lands, ran w ith th u n d er, the
grass got the fire, sheep panicked and died, w om en gave
birth to m onsters, great anger th at tow er walls shook back
to dust, his victim s were found on the hills, a m onstrous
roar, frightening yellow eyes, a long dark body, terrible
w ar cry.
Verbs: to wait for a dragon, to go for a dragon and fail,
to get the swords ready, to put on arm our, to m o u n t th eir
horses, to appear, to disappear, to get nearer and n ear
er, to rush, to hit (hit, hit), to strike (struck, struck), to
knock dow n, to smash.
While making up your legend use:
• time linking words: w hile, w hen, as soon as, firstly,

first o f all, su d d en ly , later, im m ed iately , before,
after, th en , later, in the end, finally.
• linking words to contrast ideas: although, but, how
ever, on the one h and, on the o th er hand, despite,
in spite of, nevertheless.
DEATH AND THE MAIDEN
O nce there lived an Old W om an, an d she had lived in her

house for ninety years with the d o o r locked tight. If som eone
knocked at it, she said:
‘G o away, Death! I know it’s you! But the d o o r is locked.
T here is no telephone. And I’ve got cotton in my ears so I c a n ’t
h ear you. So get away!’
D eath co u ld n ’t get in for m any years! But the Old W om an
was w aiting, w ith her eyes closed. So she was not surprised
w hen a young m an cam e up to her house.
H e was w earing a snow -w hite suit and looked fresh and
clean. M ost im portant o f all, he carried only one thing with
him , a sm all bottle with som ething bright-green inside. He
49
d id n ’t knock at h er door. He walked slowly around h er house
and let h er feel him m aking the circle. T hen, he let h er feel him
waiting for her.
‘Oh!’ cried Old W om an. ‘It’s you! I know w ho you are this
time! A young handsom e m an. But I see w ithout looking.’
‘O h ,’ said the young m an . ‘I ju st w ant to leave this bottle
near your house.’
‘W hat’s in it?’
‘The first night and the first day you tu rn ed eig h teen .’
‘W hat? The night I tu rn ed eighteen... th e day? In a b o t
tle?’ cried Old W om an.
‘I ’ll leave it and g o ,’ he said. ‘Try a teaspoonful and y o u ’ll
know.’
‘I t’s poison! I t ’ll kill m e, th a t’s w hat you w ant.’
‘It will raise you from the d ead .’
‘I ’m not dead!’
‘A ren’t you?’ he smiled. ‘The day and the night you turned
eighteen. This will bring it back. This was a good day in a good
year o f your life, w asn’t it?’
H e held the bottle higher and higher. Suddenly the green
fire got out o f shining bottle and inside the old house and inside
the Old W om an.
‘N o, no, you can’t fool me! You are putting o n th at mask!
You are talking w ith a fam iliar voice. But I know who you
really are and w hat you sell!’
‘I sell just these tw enty-four hours from young life.’
‘I f I com e out yo u ’d catch m e and put six feet u n d er the
ground!’
‘I f you cam e out the door, I ’d only kiss your hand, young
lady.’
‘D o n ’t call m e w hat I ’m not!’
‘I call you what you could be an h o u r from now .’
‘A n hour from now ...’ she said.
‘Young lad y ,’ he said, ‘it’s a fine su m m er day. T here
are golden bees flying in the green ch u rch o f trees here. T h ere’s
honey flowing like a river o f fire. Take o ff your shoes, you
50
can walk on th e soft green carp et o f grass. W ildflow ers like
clouds o f yellow butterflies lie in th e valley. It is a young
su m m er d a y .’
‘But Гш old, old as ever w as.’
‘N o t if you listen! T w enty-four long sweet sum m er hours,
starting now. W hen w e’ve run through these w oods and picked
the berries and eaten the honey, w e’ll go on to tow n and buy you
the finest w hite sum m er dress and catch a train to the city.
W e’ll have d inner and dance all nig h t.’
‘I c a n ’t m ove.’
‘Y ou’ll run rath er th an walk, and dance rather th an run.
W e’ll w atch the stars wheel over the sky and bring the sun up.
W e’ll have a walk near the lake in the m orning. W e’ll eat the
biggest breakfast in the w orld and lie on the sand till noon.
T hen, late in the day, w e’ll com e b ack ...’
Silence.
‘W hy are you doing this? W h at’s in it for you?!’
T he young m an sm iled. ‘W hy, girl, I w ant to be with
you.’
T hen he heard th e old w om an crying.
‘W hy are you crying, C larinda? W hy did you hide in th at
house long ago?’
‘I was afraid. Strange. F o r h a lf m y years I had been
afraid o f life. The o th er half, afraid o f death. Tell the tru th ,
now! W hen m y tw enty-four hours are up, after we walk by the
lake and take the train back and com e through the w oods to my
house, you w ant to ...’
He m ade h er say it.
‘... stay w ith m e?’ she asked.
‘F o r ten thousand m illion years,’ he said.
‘O h, th a t’s a long tim e.’
He nodded.
‘A long tim e ,’ she repeated. ‘So you give m e tw enty-four
hours o f being eighteen again and 1 give you ten thousand million
years o f m y tim e .’
‘D o n ’t forget, my tim e, to o ,’ he said. ‘I ’ll never go aw ay.’
51
‘O h, young m an, let m e think!’ she cried.
A nd there in the house he could feel h er trying to rem em
ber som ething. But there were no m em ories in her m ind.
Suddenly the door slowly opened and h er hand took the
bottle. A m inute passed. T hen he heard her quick footsteps
through the halls. T hen at last, from the opened front door, the
em pty bottle sailed and broke into pieces. She was in the d o o r
way as quick as a bird. T hen, dow n the steps, she threw her
h an d to catch his.
‘Am 1 beautiful?’
‘Very beautiful.’
‘Will everyone in tow n see m e beautiful? I t’s not just me
thinking so, is it?’
‘Beauty is what you are.’
‘T hen I ’m beautiful, for th a t’s how I feel.’
D ow n the path, she stopped suddenly and looked into his
face.
‘O h, w hen it’s all over and we com e back here, will you
be kind to m e?’
H e looked deep into her eyes and to u ch ed h er cheek with
his fingers.
‘I believe y o u ,’ she said. ‘O h, I believe.’
A nd they ran dow n th e p ath , leaving th e fro n t d o o r and
th e window s open so th e light o f th e sun could get in. A nd the
light sum m er w ind filled th e air so it sm elled like th e Begin
ning, w hen the w orld was new and no one w ould ever grow
old.
Notes
And I’ve got cotton in my ears — Я заткнула уш и ватой
you can’t fool me! — ты не см ож еш ь обм ануть меня!
But I’m old, old as ever was. — Н о я как бы ла старой, так
старой и останусь.
Beauty is what you are. — Ты сам а красота.
52
Activities
Ш Reading
1 Circle T if the sentence is true. Circle F if the sentence is

false.
1. T he Old W om an d id n ’t have a telephone

in her house. T F
2. The Old W om an had been waiting for her
death to com e for years. T F
3. The Old W om an guessed w ithout looking
w ho the young m an was. T F
4. There was som e m agic drink in the bottle the
young m an had. T F
5. The Old W om an drank a teaspoonful o f bright
red liquid and died. T F
2 Circle the letter of the correct answer to complete the sen

tence.
1. The Old W om an lived in her house w ith ___________ .

a) the windows opened wide
b) the door locked tight
c) the television sw itched off
2. O ne day a young m an cam e up to the Old W om an’s

house a n d ___________ .
a) knocked at the door
b) got into h er house
c) walked slowly round her house
3. There was s o m e th in g ___________in the small bottle

th at the young m an had.
a) magic
b) poisonous
c) delicious
53
4. In fact, the young m an w anted the Old W om an to
a) tu rn into a beauty
b) die
c) kiss her hand
5. The Old W om an took the bottle because s h e ______

a) was sure the drink was powerless
b) w anted the young m an to go
c) was afraid o f neith er death nor life anym ore
6. W hen the Old W om an returns hom e, she w ill_____

a) live a long life
b) die
c) get m arried
§ Grammar
3 В ан гли й ском язы ке после ряда глаголов часто и с

пользую тся следую щ ие предлоги:
in out on off up down away back

round through about along over forward by
Wake те up at seven, please!— Р азбуди м ен я, п ож алуй

ста, в семь!
My car often breaks down. — М оя м аш ина часто ломается.
Э то — ф р азо в ы е глаголы . И н о гд а о зн а ч е н и и ф р а
зового глагола м о ж н о д о гад аться (о с о б е н н о есл и это гл а
гол д в и ж ен и я: go, come, get, turn, drive), и н о гд а — нет.
П р и х о д и тся п о л ь зо в ать ся сл о в ар ем и за п о м и н а т ь зн а ч е
ние.
Take o ff your coat! I t ’s warm here!— Сними пальто! Здесь
тепло!
54
I fe lt happy when the plane took off. — Я бы л счастлив,
когда сам олет взлетел.
1 Complete the sentences from the story with the prepositions

back, out of, in, inside, away. Translate the sentences.
1. G o ___________, Death!
2. So, D eath, g e t ____________!
3. D eath co u ld n ’t g e t for m any years.
4. Suddenly the green fire g o t__________ the shining bottle
a n d __________ the old house a n d the Old
W om an.
5. Shall we take the tr a in ___________ ?
6. O h, w hen it’s all over and we c o m e ___________ here,
will you be kind to me?
7. They ran dow n the path, leaving the front d o o r and
the windows open so the light o f the sun could get
2 Complete the sentences with the verbs of movements: get, turn,

drive, come.
1. Will y o u ___________ off at this stop?
2. M ary’s h a i r ___________ dow n to her waist.
3. I called T om and h e ___________round.
4. 1 th in k we c a n ’t ___________ on this bus. It is full!
5. She told me to leave h er house a n d ___________ back
the next day.
6. A young b o y __________ into m y car a n d ____________
off.
7. ___________ in! Take a seat.
8. S h e away so I co u ld n ’t see the fear in her
eyes.
9. M y holidays are nearly over. I ’l l back in a
day.
10. I love it w hen the snow drops start t o ______________
out.
55
Translate the sentences after you have learnt what the phrasal
verbs mean.
Phrasal Verb Meaning

to knock smb down to h it som ebody w ith a sh o rt,
quick m ovem ent, so th at som e
body falls down
to go on to continue
to m ake o f smb to have a p articu lar opinion o f
som ebody
to look through to look for som e inform ation in
the books o r m agazines
to tell on smb to tell somebody in authority about
som ething wrong th at som ebody
has done
to give up to stop doing som ething what you
do regularly
to keep at smb to force som ebody to continue to
work hard
to put on to put a piece o f clothes on your
body
to be on to be broadcast
1. The next m om ent the m onster knocked down and

sm ashed the o th er horse and rider.
2. But, now, w hat do you make o f her?
3. M y wife began to look through the new spapers for
th e a te r reviews.
4. D o n ’t tell on me!
5. Terwilliger turned from the screen w here the battle o f
prehistoric giants was going on.
6. Terwilliger was not going to give up.
56
7. He kept at me.
8. H e used to put soft shoes on for his night walks.
9. W hat is on tonight?
ф Speaking
• th e Old W om an;
• the D eath.
2 What do you think about the characters of the story? Do you

find them pleasant or frightening, clever or stupid? Who do
you like best? Who do you like least? Do you feel sorry for the
Old Woman? Complete the sentences and express your ideas.
1. I f in d ___________ to be (clever, stupid, sly, dreadful,

risky, brave) b e c a u s e ____________.
2. I (d o n ’t) feel sorry for th e O ld W om an because
3. I su p p o se__________ was wrong (right) t o ___________ .

4. I b e lie v e ___________did a dreadful (an unjust, a stu
pid, a reasonable) thing w h e n ____________.
29k Writing
Write five sentences to explain what you think will happen to

the characters of the story in the city. Will the beauty be happy
that day? Will she be happy on her way home? What will
happen when she is home? Will the young man keep his promise?
You should use your imagination and give your reasons.
ALL SUM M ER IN A DAY
It rained. O n the planet Venus it had been raining for

seven years. T housands o f days were filled w ith crystal showers
and heavy storm s. T he children were standing near the large
window o f th eir school room . They were waiting.
‘I t’s stopping, it’s stopping!’
‘Yes, yes!’
M argot stood apart from these children w ho co u ld n ’t re
m em ber a day w ithout rain. They were all nine years old, and
if there had been a day, seven years ago, w hen the sun cam e
out for an hou r and showed its face to the w orld, they forgot it.
All day yesterday they were reading in class about the sun.
A nd they had w ritten small stories o r poem s about it:
58
I think the sun is a flower,
That blooms fo r just one hour.
T hat was M argot’s poem . She read it in a quiet voice

while the rain was falling outside.
‘N o , you d id n ’t write th at!’ protested one o f the boys.
‘I d id ,’ said M argot.
N ow it was raining again. M argot looked as if she had
been lost in the rain for years and the rain had washed out the
blue from her eyes and th e red from h er m outh. She looked like
an old photograph dusted from an album. Now she stood watching
th e rain and the wet world beyond the huge glass.
Suddenly a boy gave h er a strong push. But she did not
move. A nd this was because she w ould play no gam es with
them . I f they tagged her and ran, she stood looking at them and
did not follow. W hen th e class sang songs about happiness and
gam es she d id n ’t jo in them . O nly w hen they sang about the sun
her lips m ade a slow m ove. H er biggest crim e o f all was that
she had com e here only five years ago from E arth. She rem em
bered the sun, its colour and its heat!
‘I t ’s like a penny,’ she said once, eyes closed.
‘N o, it’s not!’ th e children cried.
‘I t’s like a fire,’ she said, ‘in the stove.’
‘Y ou’re lying, you c a n ’t rem em ber!’ cried the children.
But she rem em bered. She was different and they kept
away from her. They knew th at h er father an d m o th er would
take h er back to E arth next year. A nd so, the children hated
h er for all these reasons. They hated her pale snow face, her
waiting silence, h er thinness, and her possible future.
‘G et away!’ cried the boy angrily. ‘W ell, d o n ’t wait here!
Y ou will see nothing! It was a joke, w asn’t it?’ H e turned to the
o th er children. ‘N o th in g ’s happening today. Is it?’
‘N othing, nothing!’ the o th er children laughed and shook
th eir heads.
‘O h, b u t,’ M argot w hispered. ‘This is the day, the scien
tists predict, the sun ...’
59
‘All a joke!’ said the boy. ‘L et’s put her in a closet before
the teach er com es!’
They caught her, took into a closet and locked the door.
They stood looking at th e d o or and saw it tremble from her
beating against it. They heard her cries. T hen, sm iling, they
turned and w ent out, just as the teach er arrived.
‘Ready, children?’ She looked at h er w atch.
‘Yes!’ said everyone.
T hen the rain stopped and the w orld got silent. It was so
unbelievable th at the children felt they had lost their hearing.
The door opened and the smell o f the silent w orld cam e
in. The next m om ent the sun cam e out. It was the colour o f
flam ing bronze and it was very large. A nd the sky was flaming
blue. The children ran out, crying into the springtim e.
‘D o n ’t go too far,’ called the teacher. ‘Y ou’ve got only
tw o hours, you know!’
But they were running and turning th eir faces up and
feeling the sun on their faces. They were taking o ff th eir jackets
and letting the sun b u m th eir arms.
W hen they got tired, the children stopped running. They
were standing in the great jungle. The trees never stopped grow
ing. T hey were the colour o f rubber from the m any years w ith
out sun. It was the colour o f stones and w hite cheese, and it was
the colour o f the m oon.
The children ran am ong the trees, they slipped and fell,
they pushed each other, they played h id e-an d -seek and tag, but
m ost o f all they looked at the sun until the tears ran dow n th eir
faces; they put th eir hands up to it and th at am azing blue sky.
They looked at everything and enjoyed everything. T h en , w ild
ly, like anim als escaped from th eir caves, they ran and ran in
circles. They had been running for an hour and did n o t stop
running.
A nd th en —
In the m iddle o f their running one o f the girls gave a cry.
Everyone stopped.
The girl held out her hand.
60
‘O h, look, lo o k ,’ she said, trem bling.
It was a raindrop. She began to cry, looking at it. They
glanced quietly at the sun.
A few cold drops fell on th eir noses and th eir cheeks and
th eir m ouths. The sun hid behind the cloud. A w ind blew cold
around them . They turned an d started to walk back tow ard th eir
house. L ightning struck te n m iles away, five miles away, a
m ile, a h a lf mile. The sky darkened.
They stood in the doorw ay for a m om ent until it was
raining hard. T hen they closed th e d o o r and heard the gigantic
sound o f the rain.
‘Will it be seven more years?’
‘Yes. S even.’
T hen one o f th em gave a little cry.
‘M argot!’
‘W hat?’
‘S he’s still in the closet where we have locked h e r.’
They looked at each o th er and th en looked away. O utside
it was raining now. T heir faces were white. They looked at
their hands and feet, th eir faces down.
They walked slowly dow n the hall in the sound o f cold
rain. They cam e to the closet d o o r slowly and stood by it.
B ehind it was only silence.
They unlocked the d o o r and let M argot out.
Notes
It’s like a penny — О но похоже на м онетку — круглое и бле
стящ ее
saw it tremble from her beating against it — видели, к а к дверь
тряслась от того, что девочка колотила в нее
the children felt they had lost their hearing — детям казалось,
что о н и оглохли
Will it be seven more years? — И так будет целы х сем ь лет?
61
Activities
Ш Reading
1 Circle T ii the sentence is true. Circle fif the sentence is false.
1. There were no forests on the planet Venus. T F
2. It d id n ’t often rain o n th e Venus. T F
3. The children d id n ’t like the sun and its heat. T F
4. M argot was different from h e r classm ates. T F
5. M argot never saw th e sun because she was
locked in the closet. T F
2 Circle the right answer to the question.

1. W hat is true about th e V enus according to the story?
a) N obody lived on th at planet.
b) T here was a school o n the Venus.
c) Trees d id n ’t grow there because there was no rain.
2. W hat is true about the children?
a) They d id n ’t get on well with M argot.
b) T hey enjoyed the rain.
c) They looked forw ard to the sun.
3. W hat is n o t true about M argot?
a) She had lived on the E arth for m any years.
b) She co u ld n ’t w rite eith er poem s o r rhymes.
c) She was going to be back to the E arth.
4. W hy did th e children lock M argot in the closet?
a) She told th em a lie and they punished her.
b) They d id n ’t w ant the girl to see the sun.
c) They d id n ’t w ant her to have h er arm s burnt.
5. W hat did the children do w hen the sun cam e out?
a) T hey co u ld n ’t do anything because they lost th eir
hearing.
b) T hey were lying in the sun and enjoying it.
c) T hey were playing th eir gam es in the sunlight.
62
6. W hat is true about the sun according to the story?
a) It cam e out once in seven years on the Venus.
b) It m ade the trees on the Venus look like rubber.
c) It was dangerous to all living creatures on the Ve
nus.
Vocabulary
1 Find the Odd One Out and explain your choice according to
what happened in the story.
1. rain, show er, storm , heat, rain d ro p

2. th e sun, a flow er, a penny, a fire, a lightning
3. huge, gigantic, tin y , large, great
4. gam e, tag, h id e-an d -seek , run
5. the colour o f flam ing bronze, the colour o f stones,
the colour o f w hite cheese, the co lo u r o f the m oon
6. w hite, pale, snow , colourless, am azing
2 Fill in the gaps with the words given below.
without a cry to have

w ould be the clouds cam e out
taking off unbelievable w here
rained
O n the planet Venus i t ___________ for years. Thousands o f

days were filled with crystal showers and heavy storm s.
T hen , one day the rain stopped and the s u n ___________ .
It was the colour o f bronze and the sky was flaming blue.
T he children ran out. They found them selves in the great
ju n g le ___________ the trees never stopped growing. They
were the colour o f rubber from the m any y e a rs__________
sun. It was the colour o f stones and w hite cheese, and it
was the colour o f the m oon.
63
It w as___________the world was silent! The children seemed
___________lost their hearing. But the next m om ent they
were running and turning th eir faces up and feeling the
sun on their faces. They w e r e ____________th eir jackets
and letting the sun burn th eir arms.
And suddenly one o f the girls g a v e ___________ and every
one stopped. A few cold raindrops fell on th eir noses and
th eir cheeks. The sun hid b e h in d ____________. The wind
blew cold around them . Lightning struck and the sky dark
ened.
The children turn ed and walked back to the house. It
___________seven m ore years w ithout the sun.
ф Speaking
Useful phrases
As far as I know ... /T h e m atter is that... / I am sure

that... / I suppose th at... / I believe th at... /T o sum it
In addition... / W hat this m eans is... / ... because / since... /
as... /... in order to... / M oreover, ...
1 Can you prove that:
• the children hated M argot?

• the children had been waiting for the sun to com e out?
• M argot was different from the o th er children?
• it was the first tim e w hen the children saw the sun?
• the children enjoyed being out in the sunshine?
• the children d id n ’t believe that M argot could make up

a poem ?
64
• the children hated M argot?
• th e children behaved like wild anim als escaped from
th eir caves while they were out in the sunshine?
• a raindrop frightened one o f the girls so m uch?
• th e children let M argot out w hen it started raining?
• M argot;
• one o f M argot’s classm ates.
2* Writing
Write a personal letter. Margot is writing to her friend who

she knows well but hasn’t seen for a long time. She is telling
her/him about that special day on the Venus when the sun
came out for two hours! Follow the stages.
1. Introduction: say w ho you are and w here you m et the

person you are writing to.
2. Questions: ask the o th er person questions about h e r/
his life.
3. Information: give inform ation about your own life and
how you have changed.
4. Reason to finish: give a reason o r excuse to stop
writing.
5. Don’t forget to sign off!
While writing the letter, use
• informal linking words: we haven’t seen for ages, right? /

W ell. I feel lonely here. Anvwav. how are y o u ? /... and
guess w hat — they d id n ’t believe it was my poem !/
Luckily. 1 have already seen the sun... / Actually. I
w asn’t angry with them .
65
• informal expressions to invite the reader with question:
How are you?/T he day was special, w asn’t it?/C an
you im agine th a t? /It sounds unbelievable, d oesn’t it?
Useful vocabulary:
raining for seven years; crystal showers and heavy storm s;

reading in class about the sun; ‘you d id n ’t write that!’ p ro
tested one o f the boys; play no gam es w ith them ; m y big
gest crim e; rem em ber the sun, its colour and its heat;
different and they keep away from me; m y m o th er will
take m e back to the Earth next year; caught m e, took into
a closet and locked the door; ran am ong the trees; they
slipped and fell; they pushed each other; they played hide-
and-seek and tag.
THE FOG HORN
Every night M cD unn and Johnny waited for the fog. W hen
it cam e, they lit the fog light in the lighthouse. Red, th en
w hite, then red again. They sent the light to the shi ps out in the
sea but w hen the fog was too thick th ey switched o n th eir Fog
Horn!
O ne cold N ovem ber evening they were having a quiet talk
about th eir job, about the m ysteries o f the sea. The great eye o f
the light was shining in to the sea. The Fog H orn was blowing
once every fifteen seconds.
‘O ne n ig h t,’ said M cD u n n , ‘years ago, I was here alone.
Suddenly the fish cam e up. S om ething made them swim up.
W hen I saw th eir funny eyes, 1 tu rn ed cold. They were like a
67
big peacock’s tail in the m oonlight. T hen, w ithout a sound,
they disappeared. Strange. T hink how the lighthouse m ust look
to them . It stands high above the w ater, the light com es out
from it, and the tow er speaks in a m onster voice...’
Johnny was frightened. H e was w atching th e grey sea
going away into nothing and now here.
‘O h, the sea’s full o f life,’ he said.
‘Yes, it’s an old w orld ,’ M cD u n n sm oked his cigar and
looked worried. ‘N ow , I ’ve got som ething to tell you. The Fog
H orn sounds like an anim al, d o esn ’t it? A big lonely anim al
crying in the night. Calling out to the Deep, ‘I ’m here, I ’m
h ere.’ W ell, you have been here for three m onths, Johnny, so
I’m going to tell you. Som ething com es to visit the lighthouse.’
‘D o you m ean the fish?’
‘N o, som ething else. First it happened three years ago. It
usually happens about this tim e o f the year. Let’s wait and w atch.’
While they were waiting, M cD unn told some theories about
the Fog H orn to Johnny.
‘O ne day a m an w alked along th e cold shore. T h e n he
stopped and said, “W e need a voice to call across th e w ater to
th e ships. I ’ll m ake one like a voice o f the fog. I ’ll m ake a
sound th a t’s so lonely th at everybody listens to it. Everyone
w ho hears it will start crying, and th e ir hearts will becom e
w arm er.” I m ade up th a t story to explain w hy it keeps com ing
back to th e lighthouse. T he Fog H orn calls it, I th in k , and it
c o m es...’
It was a foggy night and the light was com ing and going,
and the Fog H orn was calling through the air. In the high tow er
they w atched the sea m oving to the dark shore. And th en ,
suddenly from the cold sea cam e a large dark head, and th en a
neck. And th en m ore neck and more! The head was high above
the w ater on a beautiful dark neck. Finally cam e th e body, like
a little island o f black coral.
‘I t’s impossible!’ said Johnny.
‘N o , Johnny, w e’re im possible. It has always been. It
h asn’t changed at all!’
68
T he silent m onster was swim m ing slowly in the icy w ater
w ith the fog around. O ne o f its eyes caught the bright light o f the
tow er, red, w hite, red, w hite.
‘But the dinosaurs died out long ago!’ Jo h n n y cried.
‘N o , they hid away in the D eep .’
‘W hat should we d o ?’
‘W e’ve got o u r job. We c a n ’t leave it. Besides, w e’re
safe h ere.’
‘But here, why does it com e hereV
T he next m om ent Jo h n n y had his answer. T he Fog H orn
blew. A nd the m onster answ ered. A cry so sad and lonely! The
Fog H o rn blew. T he m o n ster cried again. The Fog H orn blew.
T he m onster opened its great to o th ed m o u th and the sound th at
cam e from it was th e sound o f the Fog H orn itself. It was the
sound o f unhappiness, o f a cold night.
‘Im agine, all year lo n g ,’ w hispered M cD u n n , ‘th at poor
m onster waits, deep in the sea. M aybe it’s the last o f its kind.
T hink o f it, waiting a m illion years! O ne day it hears the Fog
H o rn in his deep hiding-place. The sound com es and goes,
com es and goes. T hen the m onster starts its way up to have a
look at it. H e does it very slowly because the heavy ocean is on
its shoulders. It goes up and up for three autum n m onths and
it can h ear the voice b etter and better. A nd there it is, in the
night, Johnny! A nd h ere ’s the lighthouse. The m onster can see
th at the lighthouse has got a neck as long as its neck, and a body
like its body, and, m ost im portant o f all, a voice like its voice.
D o you understand now , Jo h n n y ?’
The Fog H orn blew. T he m onster answered. It was only
a hundred yards off now.
‘T h a t’s how it h ap p en s,’ said M cD unn. ‘You love som e
thin g m ore th an th at thing loves you. A nd one day you w ant to
destroy it, because it hurts y o u .’
T he m onster was sw im m ing to the lighthouse. The Fog
H orn blew.
‘L et’s see w hat h ap p en s,’ said M cD u n n and switched the
Fog H orn off.
69
It was a m inute o f silence and the m en could hear th eir
hearts. T he m onster’s eyes looked into the dark. Its m outh
opened. It sounded like a volcano. It tu rn ed its head to the right
and th en to the left. It looked for the Fog H o rn , for its deep
sounds. T hen its eyes caught fire. It swam tow ards the tow er,
its eyes filled with anger.
‘M cD unn!’ Jo h n n y cried. ‘Switch on the horn!’
M cD u n n sw itched the h o rn on and they saw its fish skin.
It hit the tow er with its gigantic paws and the tow er shook.
M cD unn cried, ‘Downstairs! Q uick!’
They ran dow n and hid in a small room at the b o tto m o f
the lighthouse. The next m om ent they heard the rocks raining
down. The lighthouse fell. There was nothing but darkness and
the wash o f the sea on the stones. A nd th en they heard the
m onster’s cry. There was no tow er and no Fog H o rn — the
thing that had been calling to the m onster for so m any years.
A nd the m onster was opening its m outh and sending out great
sounds. The sounds o f a Fog H orn, again an d again. And so it
w ent for the rest o f th at night.
The next m orning the people cam e and helped them to get
out o f the ruins.
‘It was a terrible sto rm ,’ said M r. M cD u n n . ‘We had
som e bad knocks from the waves and the tow er fell.’
T he ocean was quiet and the sky was blue. The lighthouse
was in ruins. The m onster? It never cam e back. It returned back
to the D eep. It learned you can’t love anything too much in this
world.
Notes
the fog horn — противотум анная си рен а на м аяке, тум ан
ны й горн
Something made them swim up. — Ч то -то заставило ее под
н яться н а поверхность,
the Deep — пучина (поэтическое название моря)
70
It sounded like a volcano. — Казалось, это были звуки вулкана.
It learned you can’t love anything too much in this world. — Он
узнал, что в этом мире нельзя лю бить слиш ком сильно.
Activities
Ш Reading
1 Circle Т if the sentence is true. Circle F if the sentence is

false.
1. T he Fog H orn sent the light into the sea. T F

2. O ne day M cD u n n saw a great peacock’s tail
in the sea. T F
3. T he m onster visited the Fog H orn. T F
4. The dinosaur destroyed the lighthouse. T F
5. The Fog H orn sounded as a dinosaur. T F
2 Circle the letter of the correct answer to complete the sentence.
1. W hen the fog cam e, M cD u n n and J o h n n y __________

the fog light in the lighthouse.
a) lit
b) blew
c) sw itched off
2. M cD unn told Johnny that o n c e ___________ .

a) the fish cam e out o f the sea
b) he saw a peacock in the m oon
c) the fish cam e up to the surface
3. M cD unn thought t h a t ___________ .

a) the sea had no mysteries
b) som eone had m ade the fog horn sound lonely on
purpose
c) the m onster w anted to destroy the lighthouse
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4. T he dinosaur had a ___________ .
a) body m ade from the black coral
b) long neck and a small head
c) beautiful long neck and fish skin
5. The dinosaur s o u n d e d ___________ .

a) as sad and lonely as the Fog H o rn
b) as if he was calling from its D eep
c) as quiet as the fish th at cam e up to the surface o f
the sea
6. The d in o sa u r___________ the lighthouse.

a) hid in
b) ruined
c) visited
Vocabulary
Fill in the gaps with the correct words using those given in
brackets.
1. W hen I saw t h e i r __________ eyes, I tu rn ed cold.

(fun)
2. T hen, w ithout a sound, t h e y ___________ . (disap
pearance)
3. It s ta n d s __________ above the water, (height)
4. It was a ___________night, (fog)
5. The head was high above the w ater on a ___________
dark neck, (beauty)
6. W e’r e ___________ here, (save)
7. The m onster opened its g r e a t___________ m outh and
the sound cam e from it. (tooth)
8. It was the sound o f ____________. (unhappy)
9. It swam tow ards the tow er, its eyes were filled with
___________ . (angry)
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10. There was nothing b u t __________ and the wash o f the
sea on the stones, (dark)
2 Compound nouns are often used in English. They are fixed

expressions, which are made up of more than one word and
function as nouns. They are often combinations of two nouns,
e.g. human being, traffic lights, pocket money.
Read the sentences and say what they are about. In each case
the answer is a compound noun from the stories: farm house,
school room, summer dress, lighthouse, raindrop, springtime,
moonlight, teaspoon, secret place.
1. It looks so unusual! Children sit on the floor, not at the

desks! There are cages with birds and hamsters and little
rabbits there too. T heir lessons are really informal!
2. I think i f s really wonderful! Everything around you
wakes up after a long w inter sleep. The trees burst
into leaves and you can enjoy the first flowers o f the
year!
3. P ut it away, please! You should take a bigger one
w hen you are going to eat soup.
4. W hat did it com e from ? A m o m en t ago the sun was
shining but now it looks like rain. It really does!
5. I t’s going to be a hot day today, isn ’t it? I ’d b etter
put it on and keep m y jackets and sweaters in the
w ardrobe till autu m n com es.
6. It was built on a sm all island n ear the sea shore.
D uring long w inter nights it sent its light to the ships
into the sea.
7. They had no wish to stay in it for the night. It seem ed
to be very old. Som e windows were broken and you
could see the stars through the holes in its roof.
8. N obody knows about it. I keep all m y love letters and
m y granny’s jewelry here.
9. It was cold and pale. We were m oving like ghosts
through the night forest.
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ff? Speaking
1 Use the story to discuss the prehistoric world.
1. W hat do you know about prehistoric life? A bout d in o

saurs? Are there any mysteries about them ?
2. W hat were dinosaurs like? W ere they alike? W ere they
different?
3. Have you seen any films or cartoons about dinosaurs?
W hat are they? W ere the creatures angry o r friendly
there?
2 Describe the story characters using the words andphrases

from the box. You should also use your imagination for your
description of:
• Mr. M cD u n n ;
• the dinosaur.
sensitive sad and lonely

imaginative independent
large dark head a beautiful dark neck
em otional rom antic
a little island o f black coral
■JSk Writing
1 Choose one of the following situations and write an exciting

dinosaur story.
1. You were com ing hom e after a party at night w hen

you saw som ething th at looked like a pterodactyl.
2. You were visiting a faraway land w here gigantic eggs
had been found.
3. You m et a scientist who said he knew how to make the
dinosaurs alive.
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In your story don’t forget to say some words about:
• w here it h ap p en ed (co un try , tow n, street, school,

m useum );
• w hen it happened (season, m onth, year, tim e o f the
day, the w eather);
• w ho was w ith you (friend, parents, stranger, rela
tives);
• w hat you were doing w hen the action started;
• w hat had happened before the actio n started;
• your feelings and em otions to it;
• if you needed any help;
• how it finished.
THE VELDT
M r. and M rs. H adley loved th eir H appylife H om e. It

clothed and fed and rocked them to sleep an d was good to
them . They d id n ’t have to do any housework! But som ething
was wrong with the nursery and Lydia w anted G eorge to have a
look at it.
W hen G eorge cam e in to the nursery, th e walls began to
produce a soft sound and presently an A frican veldt appeared.
H e could see every rock an d every flower. T he ceiling tu rn ed
into a deep sky w ith a yellow sun. H e could sm ell th e hot
grass and the hidden w ater, th e wild anim als an d th e dust in
the air.
‘C an you see the lions over there? T hey’ve just been e a t
in g ,’ said Lydia, com ing into the room . ‘D id you h ear that
scream ? It sounds fam iliar.’
‘Sorry, n o .’
G eorge H adley adm ired the m echanical genius who in
vented this room . Every home should have one. W hat fun for
everyone to get a quick change o f scenery!
They w atched the lions getting nearer. The beasts were so
real th a t you could feel th e ir fur on y o u r h an d , an d your
m outh was filled with th eir dusty smell.
‘Watch out!’ scream ed Lydia because the lions cam e ru n
ning at them .
O utside, in the hall, G eorge was laughing and Lydia was
crying, and they both were frightened.
‘George! They alm ost got us!’
‘O h, Lydia, it’s ju st a film behind the glass screen!’
‘I ’m afraid. I t’s to o real. W e’ve got to lock the nursery for
a few days.’
‘You know how difficult Peter and W endy are about th a t.’
‘G eorge, why d o n ’t we lock o u r house for a few days and
take a vacation?’
‘D o you mean you w ant to cook lunch? And clean shoes?
And sweep the house?’
‘Yes, yes — oh, yes! T h a t’s ju st it. I feel like I don’t
belong here. C an I cook b etter th an autom atic stove? C an I
wash the children better th en the autom atic bath? No. N either
can you. You feel unnecessary too, d o n ’t you?’
W hile they were having th e ir dinner, G eorge was thinking
about th e nursery. It caught the ch ild ren ’s thoughts and all th eir
wishes cam e true. The children thought lions, and there were
lions. The children thought zebras, and there were zebras. Sun —
sun. D eath — death.
W ithout saying a w ord he stood up and cam e to the nurs
ery door. H e listened against it. F ar away, a lion roared and
G eorge heard a faraway scream . H e cam e in.
77
‘G o aw ay,’ he said to the lions th at were w atching him .
They did not go. He knew how the room worked you send
out your thoughts and it cam e alive. ‘L et’s have A laddin,’ he
thought but Africa d id n ’t disappear.
‘C om e on, room! Show A laddin!’ he said but nothing h ap
pened.
‘Som ething is wrong w ith the nursery,’ he thought. ‘Or...
it c a n ’t w ork properly, because the children have thought about
Africa for so long.’
H e heard th eir ch ild ren ’s voices in the hall.
‘C om e and tell us about the nursery,’ said G eorge. ‘All
about Africa and everything.’
‘A frica? I d o n ’t u n d e rs ta n d ,’ said P e te r to W endy. ‘D o
y o u ?’
‘N o ,’ said the girl and ran to the nursery. She was back in
a m inute. ‘I t’s not A frica,’ she said.
The whole family opened the nursery door. There was a
lovely green forest, a purple m ountain and colorful butterflies.
N o A frican veldt land and no lions.
‘G o to b e d ,’ the father said to the children and locked the
nursery tight. G eorge and Lydia were sure th at W endy had
turned the veldt into a forest and put butterflies there instead o f
lions. The parents were beginning to feel sorry they had bought
that room . They realized P eter and W endy had been cool to
ward them .
It was about m idnight when they heard two people scream
ing from the nursery. A nd th en a roar o f lions.
‘They’ve broken into the nursery,’ said G eorge to Lydia.
‘And those scream s they really sound fam iliar.’
In the m orning they called a psychologist and asked for
professional advice. W hen he exam ined the nursery, he got very
worried.
‘M y advice to you is to have the room sw itched o ff and
your children to be brought to me every day during the next
year for tre a tm e n t.’
78
‘Is it so bad ?’
‘I ’m afraid so. I th in k th a t you have spoiled your ch il
dren. T he nursery has replaced you in th e ir feelings. It is th e ir
m o th er and fath er, far m ore im p o rta n t in th e ir lives th an
th e ir real parents. A nd now you w ant to sw itch it off. N o
w on d er th e re ’s h atred here. G eorge, y o u ’ll have to change
your life.’
G eorge cam e up to the nursery door. He had a strange
feeling th at the room hated him for his desire to switch it off.
But he turned the sw itch th at killed the nursery. T hen he tu rn ed
o ff all the m achines. It felt like a m echanical cem etery th eir
silent house full o f dead bodies.
The children were in hysterics. They scream ed and threw
things, they cried and ju m p ed at the furniture.
‘Just a m om ent, ju st an o th er m om ent o f nursery,’ cried
W endy and Peter.
‘O h, G eo rg e,’ said the wife, ‘it can’t hurt.’
‘All right all right, if they finally shut up. O ne m inute and
then off forever. T hen w e’re going on a vacatio n .’
The happy children rushed into the nursery. In a m om ent
G eorge and Lydia heard the children calling, ‘D addy, M u m
my, com e quick quick!’ T hey ran into the nursery. T he lions
were w aiting, looking at them . ‘Peter, W endy?’
The d o o r closed behind them . G eorge H adley and his
wife ran back to the door.
‘O pen the door!’ cried G eorge H adley. ‘W hy, th e y ’ve
locked it from the outside! Peter! Open up!’
H e heard P eter’s voice outside, against the door.
‘D o n ’t let them switch o ff the nursery and the h o u se,’ the
boy was saying again and again.
‘N ow , d o n ’t be stupid, ch ild ren .’
A nd then they heard the sounds. The lions were on three
sides o f th e m , in th e yellow grass. M r. an d M rs. H adley
scream ed. A nd suddenly they realized why those o th er scream s
had sounded familiar.
79
Notes
Every home should have one. — Х орош о бы в каж дом доме

был такой.
Watch out! — Берегись!
D o you mean — Т ы хочеш ь сказать
I feel like I don’t belong here. — М не каж ется, что это вовсе
и не м ой дом.
They’ve broken into the nursery — О н и п р о б р а л и с ь в д е т с
кую
it can’t hurt — ничего не случится
Open up! — О ткройте же!
Activities
Ш Reading
1 Circle Т if the sentence is true. Circle F if the sentence is

false.
1. The Happylife H om e w orked properly. T F

2. Lydia enjoyed her life in h e r sm art house. T F
3. The psychologist realized th e danger. T F
4. W hen G eorge sw itched the house off, it
turned into a cem etery. T F
5. The lions killed W endy and P eter’s parents. T F
2 Circle the letter of the correct answer to each question.
1. W hat is true about the H appylife H om e?

a) It cooked food and cleaned shoes and washed chil
dren.
b) It was invented by the psychologist.
c) It was destroyed at the end o f the story.
80
2. W hat is not true about the H appylife H om e?
a) You w ouldn’t have to do any housework if you lived
there.
b) It helped the H adley family to get on well with
each other.
c) It spoiled P eter and W endy.
3. W hat is true about the nursery?

a) Y our wish w ould com e true if you cam e there.
b) It caught your thoughts and showed them on its
walls and ceiling.
c) It was the safest place in all the Happylife H om e.
4. W hy did th e ch ild re n lo ck th e ir p a re n ts in th e n u r
sery?
a) They w anted th eir parents to learn the nursery b et
ter and love it.
b) They w anted th eir parents stay there forever.
c) They w anted to leave for the vacation w ithout their
parents.
5. W hy did the sound in the nursery sound fam iliar to

Lydia?
a) She recognized h er ow n voice.
b) It rem inded h er o f ch ild ren ’s voices.
c) She heard it too often in her H appylife H om e.
6. H ow did the H appylife H om e influence Peter and

Wendy?
a) T h e ir p a re n ts b ecam e u n n ecessary to th e c h ild
ren.
b) The children learnt how to look after them selves
properly.
c) They spent m uch tim e w ith th eir parents and b e
cam e even closer to them .
81
Vocabulary
What do the following words mean? Work it out by matching

the words to their definitions. Translate them.
psychologist the high area o f land in South Africa that

is covered in grass and has few trees
treatm ent a piece o f land in w hich dead people are
buried
hatred som eone who is trained in psychology
cem etery a m ethod that is intended to cure an injury
o r illness
furniture a place where young children are taken
care o f during the day
vacation an angry feeling o f extreme dislike for som e
one o r som ething
scream a loud high sound m ade by your voice
because you are very frightened, angry
o r hurt
ceiling large movable things such as chairs, ta
bles, and beds th at you use in a room
veldt a holiday o r tim e spent not working
nursery th e in n e r surface o f th e to p p art o f a
room
Grammar
Review the Perfect Tenses Present Perfect and Past Perfect.

Open the brackets. Each sentence has one of the Perfect Tensesl
1. ‘The nursery c a n ’t work properly, because the c h il

dren ___________ (think) about Africa for so lo n g ,’
G e o rg e ___________ (think).
2. G eorge and L y d ia ____________(be) sure th at W endy
___________ (turn) the veldt into a forest and put b u t
terflies there instead o f lions.
82
3. T he parents ___________ ( begin) to feel sorry they
___________ (buy) th at room .
4. T h e y __________ ( realize) Peter and W endy___________
(be) cool tow ard them .
5. ‘T h e y __________ (break) into the nursery,’ said George
to Lydia.
6. ‘I think that y o u (spoil) your ch ild ren ,’ the
psychologist___________ (say).
7. ‘The n u rs e ry ____________(replace)_you_in th eir feel
ings,’ the psychologist___________ (say).
8. ‘W hy, they (lock) the nursery from the o u t
side! Peter! O pen up!’ G eorge cried.
9. And suddenly th e y ___________ (realize) why those other
sc re a m s (sound) familiar.
Speaking
Can you prove that:

• the H appylife H om e was a com fortable place to live
in?
• the Happylife H om e spoiled the children?
• Lydia and G eorge becam e unnecessary to th eir chil
dren?
• Lydia and G eorge d id n ’t feel that th eir children had
changed?
• the psychologist realized the danger?
Try to say three sentences at least beginning with the following

words:
As far as I know... /T h e m atter is that... / I am sure
that... / I suppose that... / I believe that... Д о sum it
In addition... / W hat this m eans is... / ... because/ since... /
as... / ... in order to... / M oreover, ...
83
• the nursery showed African veldt?

• the scream s in the nursery sounded fam iliar to Lydia
and G eorge?
• P eter and W endy begged th eir father to switch on
the nursery for a m om ent?
• the psychologist advised Lydia and G eorge to leave
their hom e and go on a vacation?
• the children locked th eir parents in the nursery?
• P eter o r W endy;
• Lydia o r G eorge;
• the psychologist.
2* Writing
Write a four-paragraph description of a Happylife Home.
1. Introduction: describe the kind o f house and its loca

tion.
2. Rooms: describe w hat the room s are like, where they
are and w hat is in th em (furniture, etc.).
3. Special features: describe the special features th at the
house has got.
4. Conclusion: say if you would like to live there o r not
and give your reason.
You should also use your imagination and add any details you
wish. Describe the following features:
• the building’s nam e and location;

• style o r period it was built in;
84
• m aterials used to build it;
• features on the outside an d inside;
• furniture and decorations;
• people w ho lived there;
• events th at took place there;
• recom m endations.
THE APRIL WITCH
Cecy flew over the trees as invisible as spring winds and as

fresh as spring flowers.
‘I w ant to be in love but I d o n ’t w ant to lose my magic
pow er,’ she thought. ‘I can live in anything a stone, a flower,
a butterfly. So I ’ll be in love through som eone else.’
N ear a farmhouse well she saw a girl. Cecy fell — a green
leaf — into the well, then into a water drop, then in a cup. The
girl lifted the cup to her lips. The next m om ent Cecy looked out
from the girl’s eyes. It was a good body and she liked being there.
‘Is that you, T o m ?’ the girl asked a tall m an riding a
horse, ‘G et aw ay!’
‘N o!’ cried Cecy.
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The girl looked at Tom . Cecy m ade her drop th e bucket
and the m an ran up. Cecy was looking at him from her secret
place the girl’s head. She liked the tu rn o f his head and the shine
o f his eyes. T h en th e girl’s pretty m outh opened: ‘T h an k you!’
‘I ’ve gone m ad!’ the girl added.
‘You h av e,’ he said, smiling. ‘W hy d o n ’t you run, A nn?
I ’m not stopping you.’ Will you go dancing w ith me to n ig h t?’
‘N o ,’ said Ann.
‘Yes!’ cried Cecy. ‘I ’ve never danced. I ’ve never know n
w hat it’s Uke to be in a w om an, dancing. Dogs, cats, insects,
leaves, b u t never a w om an in a long dress. O h, please we
m ust go to th a t dance!’
‘Y es,’ said A nn, ‘I ’ll go. I d o n ’t know why, but I ’ll go to
th e dance w ith you tonight, T o m .’
T h en she was in the bath, the soap on h e r w hite shoulders
and C ecy in h e r head. There m ust be no pause! W ash here,
soap th ere, now out!
A nn caught herself in the m irror. ‘W ho are you tonight?
I ’ve rented m y body to an April w itch, for sure.’
‘A nn, T o m ’s back!’ h er m o th er called.
‘I ’m not going to th at dance. Tell him to go away!’
Cecy got frightened. She had left A n n ’s body only for a
m om ent! She decided to find T om and see w hat it was like to be
in a young m an. But now , like a bird to a cage, she flew back
in to A n n ’s head.
Put on your coat! th o ught Cecy and A nn put on h er coat.
N ow , go!
‘G o o d night, M um . I ’ll be hom e la te ,’ said A nn and ran
into the spring evening.
Around, around, around, danced Ann with Cecy in her
head.
‘Y o u ’re strange,’ said Tom . ‘Y o u ’re not the girl I knew .’
‘N o, not at all,’ answered Cecy. ‘No, not at all,’ said the lips.
‘W hy did you com e w ith m e?’
‘I d id n ’t w ant to c o m e ,’ said A nn.
‘W hy, th e n ? ’
‘Something made m e.’
87
‘W hat?’
‘I d o n ’t know ,’ said Ann.
‘O h, but I know ,’ said Cecy. ‘Y ou’re the finest-looking
m an in the world. This is an evening I’ll always rem em ber,
being with you.’
‘B u t,’ said T om , ‘you are always changing. W hen we were
standing at the well, I knew som ething had changed. Y ou were
different. There was som ething new and soft, som ething about
your voice. And I ’m in love w ith y o u .’
‘N o ,’ said Cecy. ‘W ith m e, with me. I ’d love you w ith
all my heart! A nn, say it to him , say it for m e.’
T om got closer to the girl. ‘I ’m going away. I ’ve got a job
a hundred miles from here. Will you miss m e?’
‘Y es,’ said A nn and Cecy.
‘M ay I kiss you good-bye, then?’ and he placed his lips to
the strange m outh. A nn sat like a w hite statue. Like a w ooden
doll in the m oonlight.
‘I love y o u ,’ whispered Cecy. ‘It’s me you saw in her eyes.’
He m oved away. ‘I d o n ’t know w hat’s happening. But
never mind. Shall I take you hom e now ?’
O n their way hom e Cecy tho u g h t, ‘It w ould be w orth
everything to be with him from this night on. I w ouldn’t need to
fly through the spring nights, I w ouldn’t need to live in birds, I
need only to be w ith h im .’
‘T om , if you ever com e in G reen Tow n a few miles from
here, will you do me a favour? Will you visit my friend? Cecy
Elliott, 12 Willow Street, G reen Tow n, Illinois,’ A nn said it in
a strange voice and gave a small piece o f paper to Tom .
‘W hy?’
‘S he’s a good friend. I ’ve told her o f you. Prom ise?’
‘What has this to do with us?’ he cried. They were near
A n n ’s house.
I ’m tired, thought Cecy. I have to go hom e. But before
I go...
‘... before I g o ,’ said Ann and kissed Tom .
‘This is m e kissing y o u ,’ said Cecy.
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Tom looked at A nn and th en he looked deep, deep in
side. T hen he turned and w ithout saying ‘good night’ w ent away.
C ecy left A n n ’s body and started her way hom e. In the
eyes o f a cricket Cecy saw the spring night world. In the eyes o f
a frog she sat for a m om ent by a pool. In the eyes o f a night
bird she looked down from a tall tree and saw the lights from the
faraway farm . She thought o f herself and her strange power.
‘Tom ? Have you still got the paper, Tom ? Will you com e
som e day to see m e? Will you recognize me th e n ? ’
Tom was asleep. In one hand, there was a small piece o f
paper. His fingers held it tightly. And he did not notice when a
blackbird stopped near his window and flew away over the sleeping
earth.
Notes
Get away! — Убирайся!
I ’m not stopping you. — Я не держ у тебя,
for sure — н аверн яка
Something made me. — Ч то -то заставило м еня.
M ay I kiss you good-bye, then? — М ож но я поцелую тебя на
прощ ание?
But never mind. — Н е обращ ай вн и м ан и я.
What has this to do with us? — К акое это им еет отн ош ен и е к
нам?
Activities
Ш Reading
1 Circle 7 if the sentence is true. Circle 7 if the sentence is false.
1. Cecy was a wicked w itch. T F

2. T om was in love w ith A nn. T F
3. T om felt som ething w ent wrong w ith A nn. T F
89
4. O n a dancing party Ann fell in love with
Tom . T F
5. Tom d id n ’t throw away the small piece
o f paper w ith C ecy’s address. T F
2 Circle the letter of the correct answer to each question.
1. T hat story happened i n ___________ .

a) w inter
b) sum m er
c) spring
2. ___________ was a witch.

a) Ann
b) Tom
c) Cecy
3. T hat night Cecy w anted t o ___________ .

a) learn how to dance
b) to be in love with som ebody
c) to m ake som ebody love her
4. C e c y ___________ in A n n ’s body.
a) disliked being
b) enjoyed being
c) felt uncom fortable
5. F or the first tim e in her life C e c y ____________.

a) visited a dancing party
b) flew over the trees
c) turned into the blackbird
6. Cecy thought, ‘It would be worth everything__________

from this night o n .’
a) to be w ith Tom
b) to have my m agic pow er
c) to stay in A n n ’s body
90
Vocabulary
Complete the sentences with the right prepositions: away, to,

over, out, near, in, at, up, from .
C ecy fle w ___________ the trees and thought:

‘I w ant to b e ___________love but 1 d o n ’t w ant to lose my
m agic pow er.’
___________ a farm house well she saw a girl. Cecy fell into
the well, then into a w ater drop, then in a cup. The girl
lifted the c u p __________ her lips. The next m om ent CeAy
lo o k e d ___________ from the girl’s eyes. It was a good body
and she liked being there.
‘T om , g e t ____________!’ the girl cried to a tall m an.
‘N o !’ cried Cecy.
The girl lo o k e d ____________Tom . Cecy m ade h er drop
the bucket and the m an r a n . Cecy was looking
at h i m her secret place the girl’s head. She
liked the turn o f his head and the shine o f his eyes.
§ Grammar
Report the dialogue between Ann and Tom at the dancing party.
Try to use different verbs to report: wonder, add, nod one’s head,
shake one’s head, prom ise, agree, disagree, explain, offer.
‘Y ou’re strange,’ said Tom . ‘Y o u ’re not the girl 1 knew .’

‘N o, not at all.’
‘W hy did you com e with m e?’
‘I d id n ’t w ant to co m e ,’ said Ann.
‘W hy, th e n ? ’
‘Som ething m ade m e .’
‘W hat?’
‘I d o n ’t kn o w ,’ said Ann.
‘B u t,’ said T om , ‘you are always changing. W hen we were
standing at the well, I knew som ething had changed. You were
91
different. T here was som ething new an d soft, som ething about
your voice. A nd I ’m in love with you. I ’m going away. I ’ve got
a job a hundred m iles from here. Will you miss m e ? ’
‘Y es,’ said Ann.
‘M ay I kiss you good-bye, then? I d o n ’t know w h at’s h a p
pening. But never m ind. Shall I take you hom e now ?’
ffr Speaking
• Cecy;
• Ann;
• Tom .
2 Say who in the story:
• w anted to be in love th at April night.

• was in love.
• was not in love.
Give your reasons and try to prove your point of view beginning
with:
As far as I know... / T he m atter is that... / I am sure

that... / I suppose th at... / I believe that... /T o sum it
In addition... / W hat this m eans is... / ... because / since... /
as... / ... in o rd er to... / M oreover, ...
PERCHANCE TO DREAM
Something went wrong with the rocket, it suddenly turned

and crashed.
‘Y our n am e?’ asked hidden voices.
‘S ale,’ he replied. ‘Leonard Sale, a spacem an!’
‘W elcom e,’ said the voices and disappeared.
Fortunately he was alive. He had enough oxygen and food for
two months! W onder o f wonders! What is more, the radio worked.
He sent a message and some m inutes later the answer came:
R E SC U E SH IP W ILL ARRIVE IN SIX DAYS. H A N G ON.
H e d id n ’t have any fear. Just fancy that! Six days w ould
pass quickly. H e would eat, he w ould read, he would sleep. He
lay dow n, put his arm under his head, and shut his eyes.
93
Insanity came in to take him.
‘Sleep, sleep, sleep, sleep,’ w hispered the voices.
H e opened his eyes. The voices stopped. H e shut his eyes
again.
‘Sleep, sleep, sleep, sleep, sleep,’ sang the voices. ‘D ie,
die, die, die, d ie .’
H e shook his head and tried to sleep on his back.
‘M ine, m ine, h e ’s m ine; h e’s m ine!’ said a high voice.
Strange voices were singing senseless songs. L eonard Sale
was in agony.
A voice said, ‘I am Tylle. P roud Tylle, K iller o f M en!’
A nother spoke, ‘I am Iorr, D estroyer o f Infidels!’
‘G o away!’ L eonard Sale could not stand it. ‘Leave me
alone, leave m e!’
There was no record o f insanity in his family. N o reason
for insanity. N o danger. Just an ordinary planet. Suddenly he
felt happy because he had a good idea.
‘I w on’t go to sleep’, he thought. ‘I ’m having nightm ares,
so why sleep?’
U ntil twelve he would walk aro u n d the planet. H e w ould
m ake notes. T hen he w ould have a lunch, read a book, have
a walk, have d in n er and listen to th e radio from E arth until
ten. Then he felt sick.
‘I ’ll sit u p ,’ he thought, ‘and drink black coffee and play
cards until sunrise. But som etim e I ’ll have to sleep. C an I stay
awake for six nights?’
The answ er was no. H e was afraid o f those voices. H e felt
very much like crying. It was a wonderful day but he could feel
death ahead.
‘All rig h t,’ he thought, ‘if you are death, com e and get
me. I w ant to know w hat it is.’
D eath cam e.
‘I am Tylle!’ said a voice.
‘I am Iorr!’ said an o th er one.
‘W hat is this place?’ asked Leonard Sale.
‘It used to be a powerful planet, a place o f great battles!’
said Tylle.
94
‘N ow dead and silen t,’ said Iorr.
‘U ntil you ca m e ,’ said Tylle. ‘to give us life again.’
‘Y ou’re dead,’ thought Leonard. ‘Y ou’re nothing but em p
ty w ind.’
‘We live and fight through you!’ said Tylle.
‘So I’m your b attleg ro u n d ,’ thought Leonard. ‘How long
have you w aited for m e? M illions o f years?’
‘P erhaps.’
‘How did you survive?’
‘It used to be a rich planet. And there lived two strong
nations, led by two strong m en Iorr and Tylle. A great w ar
lasted for five thousand years and the planet died. But w ith the
help o f science o u r m inds survived.’
‘W hat a nonsense! W hat is a m ind without a body?’ laughed
Leonard.
‘It is useless,’ said the cruel voice. ‘We have been vapours
until today. You are here to give us o u r needed bod y .’
N ow he understood everything. He was th eir w orld, their
battlefield. They were using his thoughts and his brain! The
great battle began. Ten thousand m en, ten thousand guns, ten
th o u san d voices. In a m o m en t, one arm y on a n o th e r, the
blood, the sound, the death!
He jum ped on his feet and cried, ‘G o d , G o d , help m e!’
At least he knew his enem ies. All the world’s a stage. He was
th eir small stage. A nd they were the players.
H e w anted to send a new message but the radio was dead.
T here was only one thing to do. M ake a plan and follow it in
m inute detail.
Books, coffee, walking, m ore books, m ore coffee, m ore
walking. O n the fourth day his eyes were so tired he had to wash
them often w ith cold water. He co u ld n ’t read, he had strong
headaches. H e followed the hand o f his watch. O ne second less
to w ait. Tw o seconds, th re e seco n d s, four, five. A w hole
m inute. W aiting. How tiring it was! O h, sh ip , hurry on!
‘Sleep, sleep,’ sang soft voices.
H e fell asleep. But in his deep sleep he m anaged to fire his
gun. The bullet went across Sale’s forehead, awakening him. He
95
washed and bandaged the w ound he had given himself. H e wished
he had killed himself. H e w atched the sky. Two m ore days.
The flame appeared on th e sky. It was so unbelievable that
he started to cry.
‘A rocket! You, m onsters, I ’ve won! T hey’re com ing to
rescue m e now!’
T he rocket landed and tw o m en ju m p ed out o f the rocket.
‘L eonard Sale?’ they called. ‘A bit earlier if you d o n ’t
m ind. W e’ll spend the night here, pick you u p , and go o n .’
‘N o night h ere...’ L eonard co u ld n ’t talk anym ore and fell
to the ground.
‘Q uick!’ said a spacem an. ‘G ive him som e m edicine. He
needs som e sleep.’
A needle touched Sale’s arm and the m edicine got into him.
‘N o m edicine, no sleep, please!’ thought Sale, trying to
get up.
In a m om ent Leonard Sale fell asleep. The two m en stood
over him and watched. Sale’s face changed violently. ‘Eeeeeeeee!’
he scream ed and then, suddenly, he was dead.
‘Shock. P o o r guy! Have you ever seen a face like th a t? ’
‘Lord, w hat an expression! W hat shall we do? Shall we
spend the night here?’
‘Yes. It’s good to be out o f th e s h ip .’
They drank th eir evening coffee. They looked at the lovely
sky and beautiful stars.
‘W hat a peaceful night!’ they said, lying dow n. ‘Pleasant
dream s!’
Notes
Something went wrong with the rocket — Ч то -то слом алось в
ракете
What is more — Б олее того
Insanity came in to take him. — Безум ие вош ло в него и овла
дело им.
so why sleep? — так зачем спать?
96
Then he felt sick. — П отом ему стало плохо.
Н е felt very much like crying. — Ему хотелось плакать.
All the world’s a stage. — Весь м ир — театр, (цитата из Ш е к
с п и р а , т а к ж е к а к и н а зв ан и е р а с с к а за — «И видеть
сны... » — цитата из монолога Гамлета «Быть или не быть?»
и з о д н ои м ён н ой трагедии)
Н е followed the hand o f his watch. — О н следил за стрелкой
часов.
Н е wished he had killed himself. — О н сож алел, что не убил
себя.
Activities
Ш Reading
1 Circle Г if the sentence is true. Circle jFif the sentence is false.
1. Tylle and Iorr m et Leonard on the planet

after th e crash. T F
2. L eonard turned m ad on the planet. T F
3. Tylle and Io rr w ounded Leonard while he
was asleep. T F
4. L eonard killed him self on the planet. T F
5. The rescue spacem en died on the planet. T F
1. W hat is true about Leonard Sale?

a) H e was killed by the m edicine that the rescue space
m en gave him .
b) He was m ad and heard the strange voices.
c) H e listened to the radio on the planet.
2. W hat is not true about Leonard Sale?
a) Tylle and Iorr won Leonard.
b) H e was lucky to land on the planet.
c) H e sent only one message asking for help.
97
3. W hat is true about Tylle an d Iorr?
a) They were having a battle w hen Leonard landed on
the planet.
b) They used to be great rulers o f the planet.
c) They shot L eonard dead.
4. W hat is not true about Tylle and Iorr?

a) They heard strange voices singing senseless songs.
b) They led th eir nations in a great w ar th at killed
th eir planet.
c) They w aited for som ebody to land on th eir planet
for thousands o f years.
5. W hat is not true about the planet?

a) It used to be a rich planet.
b) T here used to be no wars on the planet.
c) It used to be a great battlefield.
6. W hat is true about the two m en w ho cam e to rescue

Leonard?
a) They were happy to see L eonard alive.
b) They w ould have a peaceful night on the planet.
c) They cam e to rescue L eonard but it was too late.
§ Grammar
1 In the story you met some verbs + preposition combinations.

Read their Russian equivalents and find the English combi
nations in the text.
С м отреть на небо, слуш ать радио, вскочить на ноги,

упасть на зем лю , наблю дать за небом , вы стрелить из
руж ья, длиться пять ты сяч лет, ждать кого-ли бо, сл е
дить за стрелкой часов, слом аться в ракете, гулять по
планете.
98
Translate the following sentences and divide the word combi
nations into three groups:
English verb + English verb + English verb +

preposition = preposition = no preposition =
Russian verb + Russian verb + Russian verb +
preposition no preposition preposition
To talk to smb. To explain To take a bus =
= разговаривать to smb. = сесть на автобус
с кем-либо объяснять
кому-либо
1. T hat voice belonged to Joe C larence.

2. F or the first tim e Terw illiger looked at his possible
em ployers.
3. C larence jumped to his feet.
4. The film stopped and C larence pointed at the reptile’s
m outh.
5. A m etallic voice called to him .
6. It smelled o f steel.
7. A m om ent later the car passed one house on one street.
8. M y cousin learnt to play the piano w hen she was very
young.
9. He smiled at the boring walls, the old cups, an d even
at his wife!
10. C an you rem em ber w hen we rode a bike in the early
m orning, Cora?
11. C ora looked at h er husband coldly.
12. W illiam climbed the long cold stairs to the attic.
13. Are you crazy, spending o u r m oney on clothes you
c a n ’t w ear nowadays?
14. Leonard co u ld n ’t talk anym ore and fell to the ground.
15. The rocket landed and two men jumped out of the rocket.
16. H e watched the sky.
99
17. A great w ar lasted for five thousand years and the
planet died.
18. H ow long have you waited for me?
19. T hen he would have a lunch, read a book, have a
walk, have d in n er an d listen to the radio from Earth
until ten.
20. Som ething went wrong with the rocket.
Ф Speaking
While talking to someone, we often use exclamatory sentences
to express different emotions. Read some of them and match
with the phrases from the story. You and your friends can have
different ideas! Try to prove your point of view.
W onder o f wonders! H e w o u ld e a t, he w o u ld
read, he would sleep.
Just fancy that! P o o r guy! H ave you ever
seen a face like that?
W hat a nonsense! H e had enough oxygen and
food for tw o m onths!
How tiring it was! A whole m inute. W aiting.
Lord, w hat an expression! W hat is a m ind w ithout a
body?
Retell the story as if you were:
• Leonard Sale;
• Iorr.
^ Writing
Write a page from Leonard’s diary. He made notes after the
crash every day and all of them were alike. Don’t forget to
mention his routines:
the tim e he woke up and w ent to sleep;
100
• his meals;
• his activities;
• his thoughts and feelings;
• his dream s.
Try to express your ideas emotionally with the help of:
• exclamatory sentences: W hat a bad luck! How sleepy

I am!
• tag questions: They will rescue m e, w o n ’t they?
• informal expressions: I ’ll have to sit up right? A ny
way, I ’ll try again. G uess w hat — I ’ll play cards all
night long. W ell, I c a n ’t w ait any m ore.
Англо-русский словарь
А
accept [ak 'sep t] приним ать blade of grass [bleid d v gra:s]
adm ire [ э с Г т а ( 1)э] в о с х и травинка
щ аться blood [blxd] кровь
advice [ad'vais] совет bloodthirsty ['blAd,03:sti] кро
amazing fs'meizirj] удивитель вожадный
ный bloom [blu:m] цвести
anger ['аеддэ] гнев blossom [ ' b l D s ( 3 ) m ] ц вето к
animated film ['aem m eitid film] (на дереве), цвести (о де
мультфильм ревьях)
animation ^aem 'm eijn] анима boring [Ъо:пг)] скучны й
ц и я, м ультипликация bottle ['bDtl] бутылка
armour ['а:ш э] доспехи bottom [ ' b D t s m ] н и з, о с н о
attic ['aetik] чердак вание
audience ['o:dians] зрители brain [brein] м озг
awful f'o:f(3)l] уж асный breath [Ьгев] ды хание
breathing ['bri:6ir)] ды хание
bucket [Ъ лкц] ведро
В
bullet ['bulit] пуля
bandage ['b£endid3 ] п ер ев я
зать, налож ить повязку
battle ['baetl] битва, сраж е
ние cage [keid3] клетка
battleground ['baetlgraund] поле carpet ['k a:p it] ковер
биггвы carriage ['каеп б з] вагон п о
beast [bi:st] зверь, чудовищ е езда
beauty ['bjurti] красотка castle ['k a:sl] зам ок
bee [bi:] пчела ceiling ['si:lir)] потолок
belong [bi'lorj] принадлеж ать cemetery ['sem atri] кладбище
below [bi'lsu] внизу cheek [ t f i : k ] щ ека
berry ['beri] ягода clear [klia] ясн ы й , чисты й
beyond [bi'jond] вне, сверх closet [ ' k l D z i t ] чулан
birth [Ьз:0] рож дение correct [ k a ' r e k t ] правильны й
102
cover ['клуэ] покры вать
crash [krae/] потерпеть аварию
fail [fed] проигры вать
creature [ ' k ri:tjэ] сущ ество,
familiar [fs'm d is] зн аком ы й
создание
faraway [,fa:r3 'w ei] отдален
cricket ['k rik it] сверчок
ный
crime [kraim j преступление
fear [йэ] страх
feed (fed, fed) [fi:d] ([fed])
D корм ить
flakes [fleik] хлопья
death [de9] смерть flame [fleim] плам я
desert ['d ezst] пустыня flash [flaej] вспы хивать
desire d i'za(i)3] ж елание flow [flau] течь (о реках)
desperate ['d e sp (3 )ra t] отча fog [fog] туман
янны й follow ['folsu] следовать
destroy [di'stroi] разруш ать, footfall ['futfod] поступь
уничтожать forehead ['fbrid] лоб
disappear [,dis3'pi3] исчезать fortunately ['fo :t/(3 )n 3 tli] к
disgusting [dis'gAstip] отврати счастью
тельны й frame [freim] кадр
dreadful ['d red f(s)l] уж асны й freeze (froze, frozen) [fri:z]
drop [drop] капля ([frsuz], ['frsu z n ]) за м е р
dust [dAst] пы ль зать, зам ораж ивать; за м и
рать
frighten ['fraitn ] путать
E
frost [frost] м ороз
employer [im 'p b is ] работода frown [fraun] хмуриться
тель fur [f3:] мех
empty ['em (p )ti] пустой
enormous [I'normss] о гр о м
ный
examine [ig'zaem in] изучать, gasp [ga:sp] вздох удивления
исследовать genius ['d3i:ni3s] гений
explain [ik'splein] объяснять gentle [ 'd 3entl] м ягкий
express [ik'spres] выражать giant ['d3a(i)3nt] великан
expression [ik 'sp re jn ] вы р а gigantic [d3ai'gaentik] гигант
ж ение ск и й , огром ны й
103
give smb away [giv 's x m b a d i incredible [in 'k re d a b l] н е в е р о
a 'w e i] вьщ авать ятн ы й
give up [giv лр] с д а в а т ь с я independence [,in d i'p e n d (a )n s ]
glance [g la:n s] в згл я н у т ь н езави си м ость
glory [ 'g b : r i ] с л а в а insect ['in s e k t] н а с е к о м о е
gorgeous ['g o :d 3 as] в е л и к о inside [, in 's a id ] в н у тр и
лепны й invent [in 'v e n t] и зо б р е т а т ь
graveyard ['g re iv ja :d ] к л а д б и invisible [in'vizabl] н еви д и м ы й
ще
guess [ges] д о га д ы в а т ь с я
J
guilt [gilt] в и н а
guilty ['g ilti] в и н о в н ы й jerky ['d 3 3 :k i] о т р ы в и с т ы й ,
дергаю щ и йся
H
К
hardly ['h a rd li] ед ва
headache ['h e d e ik ] го л о в н а я kid [kid] р е б е н о к
боль knight [п ай ] р ы ц а р ь
heart [h a :t] сер д ц е knock [nok] стуч ать
heat [h id ] ж ар а knowledge ['nDlid 3 ] з н а н и е
heavy ['h e v i] тя ж е л ы й
highway ['h a iw e i] ш о с с е
L
hill [hil] х о л м
horrible ['h o ra b l] у ж а с н ы й ladder ['laeda] л е с т н и ц а
huge [h ju :d 3 ] о ф о м н ы й laugh [ a:f] с м е я т ь с я
hurt (hurt, hurt) [ЬзД] ( п р и laughter ['la :fta ] см ех
чинять боль law-breaker [ 'b :,b r e ik a ] н ар у
ш итель закон а
lawyer [ 'b :j a ] ю р и с т
I
lie (lay, lain) [lai] ([lei], [lein])
imagination [i,m a e d 3 i 'n e i j n ] л е ж ать
воображ ение lift [lift] п о д н и м а т ь
imagine [i'm a e d 3 in] в о о б р а light (lit, lit) [lait] ([lit]) з а
ж ать ж и гать
immortalize [I'm o rta la iz ] у в е lighthouse ['la ith a u s ] м а я к
к о в е ч и ть lizard [ liz a d ] я щ е р и ц а
lock [Ink] з а к р ы в а т ь , з а п и pause [po:z] п а у за ; о с т а н о
р ать в и ться
lonely [ 'b u n li ] о д и н о к и й peacock ['pi:kokj п а в л и н
pedestrian [pa'destrisn] п е ш е
ход
M
perfume ['p3:fju:m ] духи, з а
make o f [m eik d v ] д у м а ть (о) пах
make-up ['m eikA p] к о см ети к а pick [pik] с о б и р а т ь (яго д ы )
message [ 'm e s id 3 ] п о с л а н и е piece [pi:s] к у с о ч е к
mighty ['m a iti] м о гу щ еств ен point [point] у к азы в ать
ный poison [ poizn] я д
miraculous [m i'raskjulss] чудес poisonous [ poiznas] яд о ви ты й
н ы й , с в ер х ъ есте ств ен н ы й predict [pn'dikt] предсказывать
mirror ['п п г э ] з е р к а л о prehistoric [,p ri:(h )i'stD rik ]
miss [m is] ск у ч а ть доисторический
misty ['m is ti] ту м а н н ы й promise ['prom is] о б е щ а т ь
m ystery [ 'm i s t a r i] з а г а д к а , p terod actyl [,ter3 i)'d a ek til]
тайна птеродактиль
purely ['pjusli] и с к л ю ч и т е л ь
но, соверш енно
N purpose ['p3:p3s] ц ель
needle ['n i:d l] и гл а
nightmare [ 'n a itm e s ] к о ш м а р
noble ['п эи Ы ] б л а г о р о д н ы й Q
nursery ['n 3 :s ( 3 ) r i] д е т с к а я quarrel ['kw or(3)l] с с о р и т ь с я
(к о м н а т а ) quiz [kwiz] т е л е и г р а , т е л е
викторина
О
R
oxygen ['D k sid 3 (s)n ] к и с л о
ро д rainbow ['reinbau] р ад у га
raise [reiz] п о д н и м а т ь
reach [ri:tj] д о б и р а т ь с я
P
realize ['rislaiz] о с о зн а в а т ь
pale [peil] б л е д н ы й reason ['ri:zn] п р и ч и н а
pass [p a:s] п р о х о д и ть м и м о recognize ['rekagnaiz] узнавать
105
record ['гекэ:с1] з а п и с ь , у п о soft [SDft] МЯГКИЙ
м инание solemn ['sD lam ] то р ж е ств е н
replace [ri'p le is ] з а м е н я т ь ный
rescue ['re s k ju :] с п а с а т ь soul [ssul] д у ш а
reshape [ ,r i:'J e ip ] и з м е н я т ь space [speis] к о с м о с
ф орму spoil [spoil] и с п о р т и т ь
river-bed ['riv ab ed ] русло реки stage [ste id 3 ] с ц е н а
roar [го:] р ев stairs [ste s] л е с т н и ц а
rock [rok] к а м е н ь star [sta:] сн и м ать ся в ф и л ь
rubber ['гд Ь э] р е з и н а ме
rush [гл/] б р о с и ть с я start [sta :t] взд р о гн у ть
rustle [ tasI] ш о р о х step [step ] ш агать
straw [stro:] с о л о м а
stream [stri:m ] п о т о к
stripe [straip ] п о л о с а
scent [sen t] за п а х sunrise ['sA nraiz] восход
scientist ['s a (i)a n tis t] у ч е н ы й survive [sa'v aiv ] в ы ж и ть
scream [skri:m ] к р и к , кри ч ать sweep (swept, swept) [sw i:p]
selfish ['s e lfij] э г о и с т и ч н ы й ([sw e p t]) п о д м е т а т ь
set foot [se t fut] п р и х о д и т ь , sword [so:d] м еч
ступ ать
shadow ['Jaedau] т е н ь
shake (shook, shaken) head
[J e ik h e d ] (Lfuk], ['J e ik (a )n ]) tag [taeg и гр а т ь в с а л о ч к и
о т р и ц а т е л ь н о п о к а ч а т ь го tear [tis] с л е за
ловой teaspoonful ['ti:s p u :n ] ч а й н а я
shame [Jeim ] ст ы д , п о зо р л о ж к а ч е г о -л и б о
sheep [ji:p] о в ц а , о в ц ы thought [9o:t] м ы с л ь
shore [Jo:] б е р е г м о р я thunder ['OAnda] гром
shy [Jai] з а с т е н ч и в ы й tight [tait] п л о тн ы й
silent ['s a ita n t] т и х и й , м о л tiny ['ta in i к р о ш е ч н ы й
ч ал и в ы й title [ 'ta itl н а з в а н и е , т и т р
silk [silk] ш е л к tomb [tu:m ] м огила, н ад гр о
simply ['sim p li] п р о с т о бие
slip [slip] п о с к а л ь зы в а т ь с я touch [tAtJ] к а с а т ь с я , д о т р а
soap [saup] м ы л о ги в ат ься
106
touching [ 'U tji g ] т р о г а т е л ь veldt [velt] ю ж н о - а ф р и к а н
ный ская саванна
tower ['ta u a ] б а ш н я victim ['v ik tim ] ж ер тв а
travel ['traevl] путеш ествовать violent ['v a (i)3 ta n t] ж ес то к и й
treatment ['triitm a n t] л еч ен и е voice [vois] гол ос
tremble ['tre m b l] д р о ж а т ь
tribute ['trib ju rt] д а н ь
W
try one’s best [tra i wAnz b est]
с д ел ать все в о зм о ж н о е warmth [w o:m 0] те п л о
well [w el] к о л о д е ц
wheel [wi:l] к о л е с о ; к р у ти ть
U
whisper ['w isp s] ш е п о т , ш е п
ugly ['л д й ] у р о д л и в ы й тать
unbelievable [,A nbi'li:v9bl] н е whistle ['w isl] св и ст, св и стеть
в ер о я тн ы й wilderness ['w a ild a n s s ] д и к а я
unfair [,л п 7 е э ] н е с п р а в е д л и м естность
вы й witch [w itj] в ед ьм а
wonder ['w A nda] чудо
wooden ['w u d n ] д е р е в я н н ы й
У
wound [w u:nd] р а н а , р а н и т ь
vacation [v a 'k e ijn ] к а н и к у л ы wrinkle [ 'r n jk l] м о р щ и н к а ,
vapour ['v e ip s ] п ар складка
Содержание
П р е д и с л о в и е ................................................................................................3
R ay B ra d b u ry .................................................................... 5
T y ran n o sau ru s R e x ...................................................................................... 7

N o te s....................................................................................................10
A ctiv ities.............................................................................................11
T h e P e d e s tr ia n ............................................................................................15
N o te s ....................................................................................................18
A ctiv ities.............................................................................................19
A S c e n t o f S a rsa p a rilla ...........................................................................23
N o te s................................................................................................... 26
A ctivities............................................................................................ 27
T h e B est o f All Possible W o r ld s ........................................................ 31
N o te s ................................................................................................... 34
A ctiv ities............................................................................................34
T h e D r a g o n .................................................................................................41
N o te s................................................................................................... 43
A ctiv ities............................................................................................ 44
D e a th a n d th e M a id e n ............................................................................49
N o te s................................................................................................... 52
A ctiv ities............................................................................................ 53
All S u m m e r in a D a y ............................................................................58
N o te s................................................................................................... 61
A ctiv ities............................................................................................ 62
T h e F o g H o r n ............................................................................................ 67
N o te s................................................................................................... 70
A ctiv ities............................................................................................ 71
T h e V e ld t......................................................................................................76
N o te s.............................. 80
A c tiv itie s............................................................................................ 80
T h e A pril W itc h .........................................................................................86
N o te s................................................................................................... 89
A ctiv ities............................................................................................ 89
108
Perchance to D r e a m .......................................................................... 93
N otes............................................................................................. 96
Activities...................................................................................... 97
А н г л о -р у с с к и й с л о в а р ь ..................................................................... 102

Bradbury Ray. - Short Stories PDF

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W h a t a land o f nightmares!

His breath is white gas; you can see Для начинающих

give birth to monsters. The dragon’s

back to dust. H is victims, at sunrise, Д ля продолжаю щ их

Для соверш енствующ ихся

Серия «Английский клуб» включает книги и учебные

Серийное оформление А. М. Драгового

Небольшие по объему рассказы Рэя Брэдбери можно использовать

Terwilliger opened a d o o r into the crow ded cinem a hall

T Y R A N N O SA U R U S REX: The T h u n d er Lizard.

T he w orld o f prehistoric sun and poisonous rain was full

1 Tyrannosaurus Rex (лат.) — Тираннозавр Рекс

Circle T if the sentence is true. Circle F if the sentence is false.

1. Terwilliger m ade the dinosaur m odels

Circle the letter of the correct answer to complete the sentence.

1. Joe C larence h a d ___________ .

2. Joe C la re n c e ___________ Tyrannosaurus Rex.

3. The m odel o f Tyrannosaurus Rex was n o t___________ .

4. At the first film test C larence d id n ’t like the way the

6. Terw illiger c re a te d ______

A producer is som eone w ho m akes anim ated

dreadful voice, little boy, m onstrous creature, ugly m a­

2 Retell the story as if you were:

a producer, titles, a test film , au d ien ce, a screen, an

It is set in prehistoric times.

Use linking words while

• giving examples: There are som e p o o r m om ents, es­

On misty N ovem ber evenings Leonard M ead would leave

W hat’s on tonight? — Ч то сегодня вечером по телевизору?

1. L eonard M ead was alone in the city. T F

2 Circle the letter of the correct answer to complete the sentence.

1. W hile L eonard was w alking th ro u g h th e city, he

6. L e o n ard saw n o b o d y in th e p o lic e c a r b ecau se

a) he had poor sight

Если вы сообщ аете о собы тиях, которы е регулярно

Leonard Mead would leave his house fo r lonely walks through

О братите вн и м ан и е, что в д ан н о м зн ач ен и и would

She used to be very shy. — Раньш е о н а бы ла очен ь

2 Complete the sentences with would or used to and translate

N ow m y cousin M ary lives next door. But w hen she was

Example: I would sleep in the day-time.

О W hen you w ant to explain som ething o r prove any o f your

1 Can you prove that:

• Leonard M ead felt lonely in his city?

Try to say three sentences at least.

2 Can you explain why:

• Leonard M ead wore soft shoes while walking around

Try to say three sentences at least.

Write five sentences to explain what you think will happen to

W illiam F inch spent three m ornings and afternoons in the

1 Sarsaparilla — сарсапарилла; лекарственное растение, ш и ­

1 Circle T if the sentence is true. Circle f i f the sentence is false.

1. W illiam F inch and his wife C ora had been

2 Circle the letter of the correct answer.

1. W hat was W illiam F inch doing in the attic?

2. W hy did C ora decide that W illiam h ad n ’t cleaned the

3. W hy did a straw hat and a red striped coat which

5. W hy did W illiam ask his wife to com e along with him

6. W hy did C ora pull back from the open attic window?

1. W hen W illiam cam e down for lunch on the third af­

Agree or disagree. Some of your friends can have different

I quite agree with you.

am using, awful, shocking, unusual, spent three m o rn ­

dreadful voice, little boy, m onstrous creature, ugly m a

• giving examples: There are som e p o o r m om ents, es

1 Sarsaparilla — сарсапарилла; лекарственное растение, ш и

1. W hen W illiam cam e down for lunch on the third af

am using, awful, shocking, unusual, spent three m o rn

2 Circle the letter of the correct answer to complete the sen

3 В ан гли й ском язы ке после ряда глаголов часто и с

Wake те up at seven, please!— Р азбуди м ен я, п ож алуй

3. I su p p o se was wrong (right) t o _ .