At the Station: Signs and Notices

Information Hairdresser

Waiting-room Telegraph

Registration Postage Stamps

Departure Money Orders

Arrivals Parcels

Cloak-room Service Bureau

To the trains Trunk Calls
Passengers are not wanted here Refreshments

5. Match the words with their definitions below:

a single ticket — a ticket which allows you to travel any number of times during the stated period.

a return ticket — money that you are asked to pay.

a season ticket — a ticket which allows you to travel to a place but not back again.

a through train — something arranged for travellers.

service — it allows you to travel there and back.

charge — a train going from one place direct to an-

other when passengers do not have to change from one train to another.

6. Complete this conversation filling in the gaps with the
proper prepositions.

Passenger: Porter, will you see... my luggage, please?

Porter: Where.., sir?

Passenger: I'm going... the 10 o'clock train... Glasgow. Will you have this trunk labelled and put... the luggage-van? The suitcase and bag can go... the luggage- rack.

Porter: Right, sir. What class?

Passenger: First. Try and find me a corner seat... a smoker,

facing the engine, if you can.
Porter: Have you got your ticket yet, sir?
Passenger: Not yet. Where's the booking-office?
Porter: Come....... me and I'll show you. Here it is. I'll

meet you... the platform.
Passenger: Which platform is it?
Porter: Number 8,... there.

* * *

Passenger: One first... Glasgow, please.

Clerk: Single or return?

Passenger: Single... do I have to change, anywhere?

Clerk: No, no change, it's a through train.

Passenger: Thank you.

* * *

Porter: Here you are, sir. I've found a corner seat next...

the corridor. Your carnage is next... the dining-car,

and you can order lunch when the attendant comes

along.
Passenger: What time do we get... Glasgow?
Porter: You're due to arrive... 6.15.
Passenger: Thank you. Here you are.
Porter: Thank you, sir. 1 hope you'll have a comfortable

journey.

7. Give all the derivatives to the words:

To commute, to call, regular, to climb.

8. Recall and act out the conversation you ever had with:

a) a booking-office;

b) a porter.

You may want to mention the following: To travel on business/for pleasure; to book a seat on/for a train; to reach one's destination; to make a trip by railway; to

go on a guided tour; a through train; a return ticket; an upper berth.

 

9. 1) Read the passage carefully. Then write four sentenc­es about the text. Try to use your words. Make some of the sentences true and some of them false. Then test your partner.

2) Underline all the adjectives in the passage and make sure you understand them. You may use a dictionary.

3) Would you like to go on this kind of holiday? Dis­cuss your answer with your partner.

^^

Glamour, romance and excitement; what better recipe could there be for a journey across Europe?

Victoria Station, ten o'clock, the morning of your own historic departure on the most glamorous and romantic of trains.

At eleven sharp, the train moves off to an almost audi­ble sigh of pleasure. There's a glass of champagne in front of you, and the adventure has begun: this marvellous, mem­orable journey.

As the train travels through the pretty, undulating Kent countryside, lunch is served. The quality of the food and ser­vice on this great train is almost as famous as the train it­self

All too soon, it seems, come the spectacular views of Folkestone's picturesque fishing port as the train heads out towards the cross-channel ferry. Yet only a two-hour sail —
spent in the luxury of the Venice Simplon-Orient Expresslounge — separates you from the fresh delights of the conti­nental train... _________________________ J

TEXT 4

FANNY CLAYTON AWAKES TO LIFE

With an effort Luke Fitzwilliam averted his eyes from the landscape outside the railway-carriage window and settled down to a perusal of the papers he had just bought. Shortly afterward the train slowed down and finally stopped. Luke looked out the window. They were in a large-looking station with many plat­forms. He caught sight of a bookstall some way up the platform with a placard: "Derby results". Luke opened the door, jumped out and ran towards the book-stall. A moment later he was star­ing with a broad grin at a few smudged lines in the stop press. "Derby Results Jujube the II, Mazeppa, Clarigold".

He folded the paper, still grinning to himself and turned back — to face emptiness. In the excitement of Jujube the II's victory, his train had slipped out of the station unnoticed by him.

"When the devil did that train go out?" he demanded of a gloomy-looking porter.

The latter replied:

"What train? There has been no train since 3.14."

"There was a train just now. I got out of it. The boat express."

The porter replied austerely:

"The boat-express don't stop anywhere till London."

"But it did," Luke assured him. "I got out of it."

"No stop anywhere till London," repeated the porter im­movably.

"It stopped at this very platform and I got out of it, I tell you."

Faced by facts, the porter changed his ground. "You didn't ought to have done," he said reproachfully. "It don't stop here."

"But it did."

"That was signal, that was. Signal against it. It didn't what you'd call 'stop'."

"I'm not so good at these fine distinctions as you are," said Luke. "The point is, what do I do next?"

The porter, a man of slow ideas, repeated reproachfully:" You didn't ought to have got out."

"We'll admit that," said Luke. "What I'm trying to get at is, what do you, a man experienced in the service of the railway company, advise me to do now?"

"You're asking what you'd better do?"

"That," said Luke, "is the idea. There are, I presume, trains that stop, really officially stop, here?"

"Reckon," said the porter, "You'd best go on by the 4.25."

"If the 4.25 goes to London," said Luke, "the 4.25 is the train for me."

Reassured on that point, Luke strolled up and down the plat­form. A large board informed him that he was at Fenny Clay­ton Junction for Wychwood-under-Aste, and presently a train consisting of one carriage pushed backwards by an antiquated

little engine came slowly puffing in. Six or seven people alight­ed, and crossing over a bridge, came to join Luke on his plat­form. The gloomy porter suddenly awoke to life and began push­ing about a large truck of crates and baskets, another porter I joined him and began to rattle milk cans. Fenny Clayton awoke to life.

At last with immense importance, the London train came in. The third-class carriages were crowded, and of first there were only three and each one contained a traveller or travellers.

Luke scrutinished each compartment. The first, a smoker, contained a gentleman of military aspect smoking a cigar. Luke passed on to the next one, which contained a third-looking gen­teel young woman, possibly a nursery governess, and an active-looking small boy of about three. Luke passed on quickly. The next door was open and the carriage contained one passenger, an elderly lady. She reminded Luke slightly of one of his aunts, his Aunt Mildred, who had courageously allowed him to keep a grass snake when he was ten years old. Aunt Mildred had been decidedly a good aunt as aunts go.

Luke entered the carriage and sat down.

After some five minutes of intense activity on the part of milk vans, luggage trucks and other excitements, the train moved slowly out of the station. Luke unfolded his paper and turned to such items of news as might interest a man who had already read his morning paper.

He did not hope to read it for long. Being a man of many aunts, he was fairly certain that the nice old lady in the corner did not propose to travel in silence to London.

He was right — a window that needed adjusting, a dropped umbrella — and the lady was telling him what a good train this was.

"Only an hour and ten minutes. That's very good, you know, very good indeed. Much better than the morning one. That takes an hour and forty minutes."

Luke murmured:

"Of course, not," and let his eyes drop ostentatiously to his paper. But it was of no avail. The flood went on.

"So I just made the best of a bad job and took the afternoon train instead, and, of course, it's a blessing in one way, it's not so crowded — not that it matters when one is travelling first

class. Of course, I don't usually do that. 1 mean I should con­sider it an extravagance, but really 1 was so upset — because you see, I'm going up on very important business and I wanted to think out exactly what 1 was going to say, just quietly, you know..." Luke repressed a smile.

"And when there are people you know travelling up to — well, one can't be unfriendly, so I thought just for once, the expense was quite permissible, though I do think nowadays there is so much waste and nobody saves or thinks of the future. One is sorry the seconds were ever abolished, it did make just that little difference."

(by A. Christie)

Comprehension questions:

1) Where was Mr. Fitzwilliam going by train? 2) What train was he going by? 3) Did he have to change trains or was he trav­elling by a through train? 4) Why did Mr. Fitzwilliam get out at Fenny Clayton? 5) Did Mr. Fitzwilliam see his train go out (pull out, leave) or had his train pulled out (gone out, left) without his noticing it? 6) Was Mr. Fitzwilliam upset over his bit of bad luck that he had been left behind or did he take it easy? 7) Did the boat-express usually stop at Fenny Clayton or did it pass the station without stopping? 8) Why, then, did the boat-express stop at Fenny Clayton that day? 9) How did Mr.Fitzwilliam know that he was at Fenny Clayton Junction? 10) Were the por­ter's sympathies with Mr. Fitzwilliam? 11) What train did Mr. Fitzwilliam board? 12) Did Mr. Fitzwilliam get a seat on the 4.25 train quite easily or was all accommodation reserved? 13) Did Mr. Fitzwilliam settle down in the first carriage he en­tered or in the next one? 14) In what way did Mr. Fitzwilliam propose to while away his time on the train? 15) Why was he sure the lady would try and draw him into a conversation? 16) Why did the lady think that the afternoon train was much better than the morning train? 17) Was the lady going up on some important business or just to spend the weekend with her sister's family? 18) Did the lady enjoy her journey or did she feel annoyed by Mr. Fitzwilliam's presence?

 

1. Give Russian equivalents:

Austere, ostentatious, an empty-looking station, to change ground, to be of no avail, a man of slow ideas, reassured on the point, Fenny Clayton Junction for Wychwood-under-Aste, came slowly puffing in, a genteel young woman, a gentleman of military aspect, a man of many aunts, to adjust a window.

2. Give English equivalents of:

Ехать первым (вторым) классом; отходить (от стан­ции — о поезде); прибывать — подходить (о поезде); за­медлить ход; сходить (с поезда); утренний (дневной) по­езд; поезд, отходящий в 10.30; купе; паровоз; семафор; узловая станция.

3. Make "Fenny Clayton Awakes to Life" into dialogues

between a) Mr. Fitzwilliam and the porter, b) Mr. Fitzwil-liam and the lady.