5. Take It Easy

to reach for smth; in the way; to remove a vase; accidentally; to drop; to break to pieces; to be very sorry; can't help doing smth; 'to calm smb; not to worry; to pick up smth; to stick the pieces together; to look whole again.

Ex. 48. Tell the story of each of the pictures.

Ex. 49. Subjects for oral and written composition:

1. Retell the story in the person of: a) Andrew Manson; b) Christine; c) Con Boland; d) Mrs. Boland; e) a next door neighbour who hap­pened to see the accident.

2. Give character-sketches of a) Con Boland; b) Mrs. Boland.

3. Give the reasons why Con Boland had decided: a) to reconstruct the car; b) to do the job himself.

4. Give a description of the car after its reconstruction.

5. Describe what Con Boland felt when the car started falling to pieces.

6. Explain why an accident of this kind usually makes people laugh.

7. Tell a story of a similar accident you have seen or read about.

8. The traffic problem in big cities.

9. The dangers of driving fast in big cities.

10. The quickest way to get about town.

11. Public transport services in your town.

12. Describe a trip by car.

Lesson Three

Text: "One Coat of White" by H A. Smith¹

Grammar: The Subjunctive Mood in Simple Sentences and Complex Sentences with Conditional Clauses

One Coat of White

Everybody knows by this time that we first met Lautisse on ship­board but few people know that in the beginning Betsy² and I had no idea who he was.

We were on the Queen Elizabeth,³ coming back from our first trip to Europe. It was on the second day that I ran into him sitting in a quiet corner on deck. He gave me a nasty look. I started to back away mum­bling an apology and then his expression changed.

"Wait!" he called out. "You are an American?"

His English was good, and he asked me if I had a moment to help him with a small problem. He wanted to know the name of some United States Senator⁴ for the ship's daily crossword puzzle. I sat down and puzzled over the thing. The definition was, "Senator who crosses a river." I thought of Senator Ford, but there were no Fords on the passenger list, and then I got it — Senator Bridges. There was a Miss Ethelyn Bridges on board.

I didn't see him until next day, just before lunch, when he came into the main lounge, caught me by the arm, and whispered "Look!" In his big hand he was holding a man's wallet made of pigskin. "The prize!" he said. "See what I've won! But for you, though, I would have never solved the puzzle. Come and have a cocktail with me."

I went with him to his state-room, and he got out a bottle of .brandy. He introduced himself as Monsieur Roland and kept thanking me for my help with the puzzle. Then he began asking me some questions about myself and my business, and I told him I sold oil-burners.

We sat there talking, and finally he asked me if I could keep a se­cret, and then he said, "I am Lautisse."

I told Betsy all about it, so after lunch we went up and talked to the ship's librarian, asked him a few innocent questions and then dropped the name of Lautisse. We were greatly impressed by what we heard. We found out that my new friend was probably the world's greatest living painter, that he had given up painting and was heard to say that he would never touch another brush as long as he lived.

Betsy talked me into sending a note to his cabin, asking him around for a drink.

Well, we got to be real friendly. He planned to spend a month in New York, and it was Betsy who suggested that he come up to our place for a weekend.

Lautisse arrived on the noon train Saturday and I met him at the station. We had promised him that we wouldn't invite any people in and that we wouldn't try to talk art to him. Driving out from the sta­tion I asked him if he wanted to do anything in particular, like play croquet or go for a swim or a walk in the woods, and he said that he just wanted to sit and relax. So we sat around all afternoon, and Lautisse looked at a ball game⁵ on television for about five minutes, and couldn't understand it, and I took him to my shop and showed him an oil-burner and he couldn't understand that either. Mostly we sat around and talked.

I was up at seven-thirty the next morning and when I was having breakfast I remembered a job I'd been putting off for some time. Our vegetable garden has a white fence which I built with my own hands five years ago.

That garden fence is my pride and joy, and now that it needed a fresh coat of paint, I wanted to do the job. I got out a bucket half full of white paint and a brush. While I was getting things ready, I heard footsteps and there stood Lautisse. I said I had been getting ready to paint the fence but now that he was up, I'd postpone it. He protested. I took up the brush but he seized it from my hand and said, "First, I show you!"

I'm no Tom Sawyer— I wasn't looking for anybody to paint that fence. I let him finish two sides of the post and then interrupted. "I'll take it from here," I said, reaching for the brush. "No, no!" he said, with an impatient wave of the brush. I argued with him but he wouldn't even look up from his work. 1 went back to the Sunday papers but every now and then I'd get up and go out and watch him for a couple of minutes. He spent three hours at it and finished the fence, all four sections of it. You should have seen him when he walked around the house to the terrace where I was sitting — he had paint all over him.

Some time during the afternoon he asked me if we were anywhere near Chappaqua, and I said it was the next town, and he wanted to know if we had ever heard of Gerston, the sculptor. We had heard of him, of course, and Lautisse said he had once known Gerston in Paris, and would it be possible to get in touch with him? I got Gerston on the telephone for him, but he talked in French, and I have no idea what the con­versation was about.

He went back to town on the 9.03 that evening and at the station shook my hand and said I was a fine fellow and that he hadn't enjoyed himself so much in years, and that he wanted Betsy and me to come to New York and have dinner with him some night.

We didn't hear anything from him or about him for ten days. Then the New York papers got hold of the story. In the interview which Lau­tisse gave there were a few lines about the weekend he had spent with Mr. and Mrs. Gregg.

The day after the story appeared a reporter and a photographer from one of the papers arrived at our place. Besides taking pictures of Betsy and me, as well as of the house, they asked for every single detail of the great man's visit, and Betsy told them of course about the garden fence. They took more pictures of the fence, the paint bucket and the brush and the next morning the paper had quite a story. The headline said: LAUTISSE PAINTS AGAIN.

It gave us a sort of funny feeling, all this publicity,⁶ but we didn't have much time to think about it. People started arriving in large num­bers. They all wanted my garden fence, because it had been painted by the great Lautisse.

"Look, gentlemen," I said. "I'm a businessman, I don't know any­thing about painting. I mean painting pictures. But I do know a thing or two about painting a fence. A mule could have held a paint brush in his teeth and done almost as good a job on that fence as Lautisse did."

In their turn they asked me if I knew that a single painting by Lau­tisse was worth as much as a quarter of a million dollars and whether I realized that my garden fence was a genuine Lautisse. I told them I'd make my decision in the next few days.

Those next few days were bedlam. We had to have the telephone disconnected — there were calls from all over the country. At least another dozen art galleries and museums sent people. By the end of the second day I was being offered twenty-five thousand. The next day fif­ty-When on the fourth day Gerston came in I immediately took up the subject of the fence. He advised me not to sell the fence yet — and let the Palmer Museum in New York exhibit it for several weeks. He also ex­plained what all the excitement was about. He said one reason was that Lautisse had never before used a bit of white paint.

The fence was taken to New York. I went down myself to have a look, and I couldn't keep from laughing when I saw my fence — it had a fence around it.

The exhibition was to end on a Saturday, and Gerston phoned that day and asked if I would meet him at the museum on Sunday.

He led me to the room where my fence had been exhibited, and I did get a shock when we walked in. The fence had been cut up into sec­tions.

"Don't get excited," said Gerston. "Let me show you something." He pointed to a word in black paint at the bottom corner. It took me a few seconds to recognise it. It was the signature of Lautisse.

"But ... but I don't get it!" I stammered. "Why ... what ... where is he?"

"Lautisse sailed for home early this morning," said Gerston. "But last night he came over here, got down on his hands and knees, and signed each of the thirty sections. Now you've got something to sell."

And indeed I did have. Twenty-nine sections of the thirty sections ware sold within a month's time at 10,000 each. I kept the thirtieth, it's hanging now in our living-room.

After it was all over, I went to see Gerston.

"Lautisse was genuinely fond of you and Mrs. Gregg," he said. "He had no idea, when he painted your fence, that it would make such a noise. But when it did, he got a good laugh out of it. And it was his idea to have the fence cut into sections. Then he got down to work and signed each one."

NOTES

1. Smith, Henry Allen, a modern American writer

2. Betsy: the short for Elizabeth

3. the Queen Elizabeth: an ocean-going liner

4. Senator: a member of the Senate, the upper house in US Congress

5. ball game: here—baseball

6. publicity: зд известность