Story 5 S u e l o o k e d o u t of t h e w i n d o w .

S h e s a w o n l y t h e w a l l of ivy a climbing
p l a n t t h a t g r o w s on
the next house, w i t h a n od y e l l o w a n d g r e e n ivy plant walls and the sides

The last leaf t h a t c l i m b e d u p i t . T h e h a l f - d e a d p l a n t h a d f e w leaves o n

oftrees

plant a small
it b e c a u s e of t h e a u t u m n w i n d s . green thing,
with leaves and,
S u e a n d J o a n n a h a d t h e top floor of a h o u s e i n G r e e n w i c h ' T h e r e a r e o n l y five, n o w , ' s a i d J o a n n a . sometimes with
flowers
Village, w h e r e everyone i n the N e w Y o r k art w o r l d lives. ' F i v e w h a t , dear? W h a t a r e y o u c o u n t i n g ? '
S u e carne f r o m M a i n e , a n d J o a n n a from California. They ' T h e i v y l e a v e s , ' r e p l i e d j o a n n a . ' W h e n t h e last o n e goes,
m e t i n M a y i n a n t a l i a n r e s t a u r a n t o n E i g h t h Street. T h e y T i l die. T v e k n o w n t h a t for t w o d a y s . D i d n ' t t h e d o c t o r tell
l i k e d e a c h o t h e r at o n c e , t h e i r tastes w e r e t h e s a m e , a n d so y o u about it?'
t h e y decided to live together. B o t h w e r e a r t i s t s . 'Joanna, don't say that. I t doesn't matter what
N o w it w a s N o v e m b e r - cold, w i n d y a n d w e t - and h a p p e n s to t h a t od p l a n t . I t h a s n o t h i n g to do
pneumona was in town. w i t h y o u . N o w , eat s o m e s o u p a n d T U finish
J o a n n a w a s i l l i n bed w i t h it. S u e a n d t h e d o c t o r spoke m y picture.'
outside h e r b e d r o o m door. T don't w a n t a n y soup,' said J o a n n a ,
' W i l l she l i v e ? ' a s k e d S u e . looking out of the window, 'Now
'ft's a one i n t e n c h a n c e . B u t s h e m u s t want to live. W h a t t h e r e a r e o n l y four.'
does s h e h a v e to live for?'
art pictures and
o t h e r t h i n g s to
' W e l l , s h e ' d l i k e to p a i n t a p i c t u r e of N a p l e s one day.'
look at; m u s i c ,
' P a i n t ? ! N o . T h a t ' s n o t good e n o u g h . I m e a n is she interested
painting, writing,
the theatre, and
i n a m a n , for e x a m p l e ? '
the cinema are
all a r t s 'No, Doctor,' s a i d S u e . ' T h e r e ' s n o m a n i n h e r life.'
pneumona
people s o m e t i m e s
' W h a t b a d l u c k ! ' s a i d . t h e doctor. T i l do a l l t h a t I c a n .
b e c o m e ili w i t h
B u t 'm not hopeful.'
t h i s in c o l d , w e t
w e a t h e r ; w h e n you
W h e n t h e doctor left, S u e c r i e d for a w h i l e . T h e n s h e w e n t
get it b a d l y it c a n
kill y o u b u s i l y i n t o J o a n n a ' s r o o m w i t h h e r d r a w i n g book, s i n g i n g
chance the
p o s s i b i l ity t h a t
a happy song.
something can
happen
J o a n n a ' s eyes w e r e closed. ' S h e ' s asleep,' t h o u g h t S u e , a n d

p a i n t to put stopped s i n g i n g .
different colours
on p a p e r to m a k e a S h e sat d o w n by t h e w i n d o w , a n d b e g a n d r a w i n g a p i c t u r e
picture
of a y o u n g f a r m w o r k e r for a m a g a z i n e . S u d d e n l y she f i e a r d
d r a w {past drew,
drawn) to m a k e a J o a n n a s p e a k i n g softly. S h e w e n t to her.
picture with a pen
or pencil J o a n n a ' s eyes w e r e o p e n n o w , a n d she w a s counting aloud
magazine a thin - c o u n t i n g d o w n . ' T w e l v e , ' s h e s a i d , a n d after a w h i l e , 'lleven
book w i t h lots of
pictures; you c a n . . . t e n . . . n i n e , ' a n d t h e n , ' E i g h t , s e v e n , s i x , ' n e a r l y at
buy it e v e r y w e e k
or every month the same time.

14
 ' J o a n n a dear, t r y to sleep. I m u s t a s k M r B e r m a n to c o m e W h e n t h e y w e n t u p s t a i r s , J o a n n a w a s asleep. S u e closed
u p . I w a n t to d r a w a p i c t u r e of h i m a s a p o o r od f a r m e r . her window blind a n d left t h e r o o m .
I w o n ' t be l o n g . ' n S u e ' s w o r k r o o m , she a n d B e r m a n looked w o r r i e d l y o u t
M r B e r m a n , w h o w a s over s i x t y y e a r s od, l i v e d d o w n s t a i r s . of t h e w i n d o w at t h e od i v y p l a n t . T h e n B e r m a n sat, a n d
H e w a s a p a i n t e r too, b u t h e n e v e r s o l d a n y t h i n g , a n d h e Sue drew h i m i n half a n hour.
d r a n k a lot. H e h a d a w o n d e r f u l face, j u s t r i g h t for S u e ' s T h e n e x t d a y S u e w o k e u p early. S h e h e a r d a c a l i f r o m
magazine picture. Joanna's room.
S u e told h i m a l l a b o u t J o a n n a f e e l i n g t h a t s h e w a s g o i n g ' O p e n t h e w i n d o w b l i n d , ' J o a n n a s a i d w h e n she a r r i v e d .
to die w h e n t h e l a s t i v y l e a f fell. O n c e t h e b l i n d w a s o p e n , t h e y b o t h s a w one l a s t leaf o n
'She can't really t h i n k that this w i l l happen! T h e poor the i v y plant.
w o m a n f he cried. ' O h , ' said J o a n n a . ' W i t h a l l that w i n d a n d r a i n last n i g h t I ' m
'She's t h i n k i n g very strangely these days,' said Sue. s u r p r i s e d . B u t I ' m s u r e i t ' l l f a l l today, a n d t h e n T i l die.'
T h e d a y w a s a w i n d y one, b u t - a l l t h r o u g h it - t h e l a s t
leaf s t a y e d . A n d o n t h e m o r n i n g of t h e n e x t day, too, the
leaf w a s still t h e r e .
' S u s i e , ' s a i d J o a n n a t h e n . T v e been a bad g i r l . T h a t l a s t
leaf is t e l l i n g m e t h a t it w a s v e r y w r o n g of m e to w a n t to
die. B r i n g m e s o m e soup, dear.'
A n h o u r later s h e s a i d , ' O n e d a y T i l p a i n t N a p l e s . '
T h a t afternoon t h e doctor told S u e , ' S h e h a s a o n e i n
two chance.'
T h e n e x t day, h e s a i d , ' S h e ' s o u t of danger. B u t poor M r
B e r m a n d o w n s t a i r s is d y i n g of p n e u m o n i a . T h e r e ' s n o h o p e
for h i m , I ' m a f r a i d . '
T h a t afternoon Sue w e n t into Joanna's bedroom.
' J o a n n a dear, M r B e r m a n died t o d a y - of p n e u m o n i a . A n d
do y o u k n o w w h y ? O n e t e r r i b l e , c o l d , w e t n i g h t h e t o o k a blind p e o p i e cise
t h i s in f r o n t of a
ladder a n d some green a n d yellow paints a n d he climbed w i n d o w at n i g h t
to s t o p p e o p l e

u p , a n d - O h , l o o k at t h a t l a s t i v y l e a f o n t h e w a l l ! W h y lookmgm

d i d n ' t it ever m o v e i n t h e w i n d ? C a n ' t y o u see? I t w a s M r l a d d e r v u u s e

this for climbing

B e r m a n ' s l a s t g r e a t p i c t u r e . H e p a i n t e d it t h e r e t h e n i g h t upordowntaii
buildings or other
t h a t t h e l a s t leaf f e l l ' things

17
 REAOING CHECK 2 Correct the black words in these sentences.

Who are the sentences about? Tick the columns.

Sue loanna Mr Berman

a .. is an artist.
b .. gets very II.
c . .. wants to paint a picture of Naples.
d is drawing some pictures to sell.
e . thinks that she will die when an od plant dies.
f . has a wonderful face to draw.
g . tells Mr Berman about the last leaf on the plant.
h .. starts to get better when the last leaf doesn't fall.
i paints a picture of a leaf on a wall.
j . dies nearthe end of the story.
WORD WORK

1 Use the words in the wordsnake to answer the questions.

c The blings are down. Nobody's home. d Amy can dream well. This picture's great!

GUESS WHAT
The next story is The things we do for love. What do you think happens in it?
Tick the best options.

a Two young artists . . . 1 fall in love and get married.

2 meet and become good friends.
3 move to New York and become famous.

a What does Joanna want to do in Naples? p O t m - f .

b To make some money . . . 1 the man sells his paintings
b What has Joanna got? . 2 the woman gives music lessons.
c What is Sue's picture of the farmers for? A . 3 they both find badly paid Jobs.
d What can Joanna see out of the window from her bed? A big od
c They lie to each other because . . . 1 they fall in love with different people.
e What does Mr Berman paint on the wall? A .
2 they don't want to worry each other.
f What does Mr Berman climb up to paint his last picture? A
3 they don't want to show their love.

3
 Story 4 ' W e l l , T i n k l e s a i d t h a t f c o u l d p u t s o m e of m y p i c t u r e s sitting r o o m a
r o o m in a h o u s e
i n h i s w i n d o w . P e r h a p s T i l sell one to a r i c h od m a n one w h e r e people sit

The thngs we do for love of t h e s e d a y s . '

and talk

' I ' m s u r e t h a t y o u w i l l , ' said D e l i a .

A s a boy, Joe L a r a b e e w a s f a m o u s i n t h e t o w n i n M i d d l e T h a t Saturday, she put fifteen d o l l a r s o n t h e s m a l l table
A m e r i c a w h e r e h e lived b e c a u s e h e c o u l d p a i n t b e a u t i f u l l y . i n t h e m i d d l e of t h e i r s m a l l s i t t i n g r o o m .
A t t w e n t y , h e w e n t to s t u d y i n N e w Y o r k . ' C l e m e n t i n a ' s t e r r i b l e , ' s h e s a i d . ' S h e n e v e r studies, n e v e r
Delia C a r r u t h e r s w a s froni the South, a n d played m u s i c l i s t e n s to m e , a n d a l w a y s w e a r s w h i t e , w h i c h gets b o r i n g
w o n d e r f u l l y as a g i r l . W h e n s h e w a s e i g h t e e n , her family after a w h i l e . B u t t h e G e n e r a l ' s a n i c e , f r i e n d l y m a n . '
p a i d for h e r to s t u d y i n N e w Y o r k . J u s t t h e n , Joe p u t e i g h t e e n d o l l a r s o n t h e table.
Joe a n d D e l i a m e t one d a y i n t h e big city, fell i n love, a n d T sold a p i c t u r e t o d a y to a fat m a n f r o m A r i z o n a , ' h e s a i d .
s o o n after got m a r r i e d . T h e y w e n t to l i v e i n a little fat f a r H e s a w it i n T i n k l e ' s w i n d o w . H e d o e s n ' t r e a l l y u n d e r s t a n d
f r o m the centre. art, but he w a n t s another picture - of a t r a i n s t a t i o n -
Joe s t u d i e d p a i n t i n g w i t h M r Magister, a n d D e l i a s t u d i e d before h e goes h o m e . '
m u s i c w i t h M r Rosenstock. They were very happy while ' O h , I ' m so h a p p y t h a t y o u d i d n ' t stop p a i n t i n g , '
their m o n e y lasted. said Delia, And now we have thirty-three
B u t s o o n t h e y c o u l d n ' t p a y for m o r e classes w i t h M a g i s t e r d o l l a r s . W h a t a lot of m o n e y ! W e c a n h a v e
a n d R o s e n s t o c k , w h o w e r e e x p e n s i v e . So D e l i a s a i d she w o u l d a r e a l l y good d i n n e r t o n i g h t . '
give m u s i c lessons to get s o m e m o n e y .
A f t e r t w o d a y s , she carne h o m e excitedly.
'Tve found a student,' she said. 'Her n a m e ' s Clementina.
She's General A . B . P i n k n e y ' s daughter. T h e y live i n a
w o n d e r f u l , big h o u s e o n S e v e n t y - F i r s t Street. C l e m e n t i n a ' s
o n l y eighteen* w e a r s w h i t e , a n d is a l o v e l y g i r l . I ' m g o i n g to
give h e r t h r e e lessons a w e e k , for five d o l l a r s e a c h . J u s t t h i n k .
W h e n get m o r e s t u d e n t s , I c a n go b a c k to Rosenstock.'
T c a n ' t let y o u do a l l t h e w o r k , ' s a i d Joe. T m u s t get a j o b
too, e v e n if it's o n l y s e l l i n g n e w s p a p e r s i n t h e street.'
' O h , n o , Joe,' r e p l i e d D e l i a , ' Y o u m u s t n ' t stop y o u r classes
w i t h Magister.'
A l l r i g h t , ' s a i d Joe. 1 r e a l l y d o n ' t Iike y o u g i v i n g lessons.
I t i s n ' t a r t . B u t y o u ' r e a d e a r to do i t . '
general a very ' W h e n y o u love y o u r a r t , n o t h i n g is too h a r d , ' s a i d D e l i a
importan: person
in a n a r m y softly
 T h e n e x t S a t u r d a y e v e n i n g , Joe got h o m e i i r s t . H e p u t ' W h a t h a p p e n e d ? ' a s k e d Joe.

e i g h t e e n d o l l a r s o n t h e table, a n d w a s h e d w h a t l o o k e d l i k e 'Oh, C l e m e n t i n a w a n t e d a hot cheese s a n d w i c h i n the

black paint from his hands. m i d d l e of h e r l e s s o n . S t r a n g e g i r l ! U n l u c k i l y lots of h o t c h e e s e

T h e n D e l i a carne h o m e . H e r h a n d h a d s o m e w h i t e c l o t h fell o n t o m y h a n d a n d h u r t it terribly. T h e G e n e r a l w a s v e r y

a r o u n d it, a n d h e r face w a s d a r k w i t h w o r r y . w o r r i e d , a n d sent s o m e o n e f r o m d o w n s t a i r s to b u y s o m e

t h i n g s to p u t o n i t . B u t n o w it d o e s n ' t h u r t so m u c h . '
T h e n s h e s a w Joe's m o n e y o n the table.
'Did y o u sell another picture?'
' Y e s , to t h e m a n f r o m A r i z o n a . B u t w h a t t i m e d i d y o u
hurt your hand?'
' I t w a s five o ' c l o c k w h e n the i r o n . . . I m e a n , w h e n the
cheese b u r n t m e . '
'Sit d o w n , D e l i a , ' s a i d Joe k i n d l y , A n d tell m e w h e r e y o u r
money really comes from.'
D e l i a b e g a n c r y i n g . 'f c o u l d n ' t f i n d a n y m u s i c students,'
s h e s a i d . 'So I took a job i n t h e big l a u n d r y on Twenty-
Fourth Street. I told y o u stories a b o u t the General and
C l e m e n t i n a to stop y o u feeling b a d a b o u t m y w o r k . T h e n
today, a n o t h e r g i r l a t the l a u n d r y p u t a h o t i r o n o n my
h a n d , a n d f t h o u g h t of t h a t h o t c h e e s e s t o r y o n t h e w a y
h o m e . P l e a s e d o n ' t be a n g r y . B u t h o w d i d y o u find o u t t h a t
m y stories w e r e n ' t t r u e ? '
' W e l l , ' s a i d Joe. A t five o ' c l o c k h a d to s e n d u p s o m e o i l iron a heavy metal
thing that people
a n d c l o t h for a w o m a n i n the l a u n d r y u p s t a i r s after s h e use to m a k e s h i r t s
and other clothes
b u r n t h e r h a n d o n a n i r o n . I ' m w o r k i n g d o w n s t a i r s i n the
look good

engine room. I started there two weeks ago.' laundry a place

that w a s h e s
'So y o u d i d n ' t r e a l l y s e l l - ' people's clothes for
them
'My buyer from A r i z o n a , a n d y o u r General P i n k n e y are
oil a t h i c k liquid
b o t h w o r k s of a r t - b u t n o t r e a l l y m u s i c or p a i n t i n g . ' t h a t s s o m e t i m e s
u s e d in m e d i c i n e s
T h e y both laughed. o r to h e l p
m a c h i n e s to w o r k
' W h e n y o u love y o u r a r t , n o t h i n g - ' b e g a n Joe.
engine the
B u t D e l i a p u t h e r h a n d over h i s m o u t h to stop h i m . m a c h i n e in a
laundry that makes
'No,' she said, Tt's just " W h e n y o u love.'" it w o r k

23
 READING CHECK WORD WORK
Use the words
Put the phrases in place in the summary of The things we do for love. in the iron to
complete the
a a girl called Clementina f giving music c l a s s e s gaps in
Delia's diary.

b and a cheese sandwich g and$i-maTfi~d~

c to pay for their c l a s s e s
d in the same laundry
Dear Diarj,
Wh\ I was worfcing in the a) l a u n d r v ) this morning, one of the girls put a hot
h but they need the money
b) on m~\. It hurt terrible, and thef gaye me some c) to put on it.
Ail the wa-j home I was fbinling of a stoq to teil Toe. ?ut how can >jou hurt ^our hand
i and is working in a laundry
when ^ou are giving a music lesson? I fhought of a stoq about the d) 's

e from their a r t daughter and a hot sandwich, vlhen I got home, Toe was n the e)
. I told him the storj but he looKed at the f) on m-j hand and
0iv\ ge+ mOirried
1

asked what time I hurt my hand. Ii's so strange, but fou see, Toe is working n the same
Joe and Delia meet in New York [A 1]. He's an a r t i s t and she's studying music.
g) , and he sent me the h) and the i) from the

Sadly they soon don't have any money [A 2 ] . One day Delia comes home happlly j) room where he worfcs!

and tells Joe t h a t she has a job [A 3 ] . She tells him about her s t u d e n t [A 4 ] . Joe

GUESS WHAT
feels bad about her giving c l a s s e s [A 5 ] . The folloiving S a t u r d a y Delia brings home
Match the pictures and the descriptions of the characters from the next story.
fifteen dollars. Joe surprises her by puttlng eighteen dollars on the table and tells

her t h a t he has sold a painting. They both s a y t h a t they are happy to be making

money [A &]. The folloiving S a t u r d a y Delia comes home with a bad hand and tells

Joe a strange s t o r y about Clementina [A 7 ] . Joe doesn't think t h a t the s t o r y is

true and s t a r t s to ask ejuestlons. In the end Delia tells him t h a t she couldn't find Chunk McGowan Rosie ikey Schoenstein MrRiddk

any music s t u d e n t s [A g>], and Joe tells her t h a t he is working [A 9 ] too and t h a t is clever and hard-working but has no luck in love.
is lazy and gets into a lot of fights.
he couldn't sell any paintings. Neither of them told each other the t r u t h because
is unfriendly and loses something mportant.

they didn't want t o worry the other one. is pretty and can't decide what her true feelings are.

24 25
 S o m e t i m e s R o s i e s a y s " y e s " to it a n d s o m e t i m e s "no". For
Story 5
t h e p a s t t w o d a y s s h e ' s s a i d " y e s " , a n d w e ' r e h o p i n g to l e a v e
Ikey Schoenstein's love-potion i n five h o u r s ' t i m e . 1 d o n ' t w a n t h e r to c h a n g e h e r p l a n s
at t h e l a s t m i n u t e . '
T h e B l u e L i g h t d r u g s t o r e w a s o n t h e E a s t Side of N e w Y o r k ,
n e a r F i r s t A v e n u e . A l l t h e m e d i c i n e s t h e r e w e r e m a d e by
h a n d . I k e y S c h o e n s t e i n w o r k e d t h e r e at n i g h t . A t h i n , c l e v e r
m a n , w i t h a l o n g n o s e a n d glasses, h e w a s f r i e n d l y to a l l
w h o c a r n e for h e l p w h e n t h e y w e r e i l l .
I k e y lived i n a r o o m i n a h o u s e n o t f a r f r o m t h e d r u g s t o r e .
H i s l a n d l a d y w a s M r s Riddle, a n d she h a d a daughter, Rosie.
I k e y w a s deeply i n love w i t h Rosie, b u t h e n e v e r told h e r
a b o u t it. T h a t w a s s t r a n g e , b e c a u s e h e w a s v e r y good at
t a l k i n g to people i n t h e d r u g s t o r e .
T h e r e w a s a n o t h e r m a n l i v i n g at M r s R i d d l e ' s h o u s e w h o
w a s i n love w i t h Rosie, too. H i s a m e w a s C h u n k M c G o w a n .
I k e y h a d n o h o p e of w i n n i n g Rosie's love, b u t M c G o w a n w a s
v e r y h o p e f u l . H e w a s a l s o I k e y ' s f r i e n d . H e often c a r n e to t h e
d r u g s t o r e , after a n i g h t ighting i n t h e street, for s o m e t h i n g
to p u t o n a b l a c k eye or a c u t .
One afternoon, he carne h u r r i e d l y into the drugstore, a n d
w e n t s t r a i g h t to s p e a k to h i s f r i e n d ikey.
T n e e d some s p e c i a l m e d i c i n e , ' h e s a i d ,

drugstore a ' T a k e off y o u r c o a t , ' s a i d Ikey, A n d t e l l m e w h e r e it h u r t s .

place that sells
medicines
W e r e y o u i n a fight a g a i n ? O n e of these d a y s y o u ' l l get a
medicine knife i n your back.'
s o m e t h i n g you eat
or d r i n k t o make Tt w a s n ' t a fight,' said M c G o w a n , l a u g h i n g . ' B u t you're
you get better
w h e n y o u a r e ill r i g h t . f t ' s u n d e r m y c o a t t h a t it h u r t s - i n m y h e a r t . ikey,
g l a s s e s you w e a r R o s i e a n d m e a r e g o i n g to r u n a w a y t o n i g h t to H a r l e m to
t h e s e in f r o n t of
y o u r e y e s to h e l p get m a r r i e d . '
you s e e better
Ikey w a s m i x i n g some medicine w h i l e he listened, a n d he
heart the centre
of f e e l i n g in t r i e d n o t to drop it a l l o n t h e floor.
s o m e o n e ; t h i s is in
y o u r c h e s t a n d it M c G o w a n ' s s m i l i n g face n o w looked w o r r i e d .
s e n d s blood r o u n d
y o u r body ' T h e t h i n g is, w e first t h o u g h t of t h e p l a n t w o w e e k s ago.

potion something
t h a t you drink
to m a k e you
f e e l b e t t e r , love
someone, or sleep
fire escape metal
stairs outside the
b a c k o r s i d e of a
b u i l d i n g t h a t you
c a n e s c a p e d o w n f
there's a fire inside
' A n d w h e r e does m e d i c i n e c o m e i n t o i t ? ' a s k e d Ikey. ' W i t h R o s i e asleep i n h e r r o o m , a n d od R i d d l e u p s t a i r s
' W e l l , y o u see, od M r R i d d l e d o e s n ' t l i k e m e . F o r a w e e k w i t h his gun, McGowan's chances aren't looking good,'
n o w h e ' s stopped R o s i e c o m i n g o u t w i t h m e . I ' m w o r r i e d t h o u g h t I k e y h a p p i l y after R i d d l e le IT
t h a t s h e w o n ' t w a n t to leave t o n i g h t b e c a u s e of h i m . N e x t m o r n i n g . at S o'clock, I k e y l i n i s h e d w o r k a n d s t a r t e d
' I s n ' t t h e r e a m e d i c i n e t h a t y o u c a n give to a w o m a n to w a l k i n g to M r s R i d d l e ' s h o u s e to l e a r n the latest n e w s . T h e r e
m a k e h e r like y o u better? I h a d a f r i e n d , T i m L a c y , w h o gave i n t h e street h e m e t C h u n k M c G o w a n . M c G o w a n s h o o k I k e y ' s
a p o t i o n l i k e t h a t to h i s g i r l f r i e n d a n d t h e y got m a r r i e d t w o hand, and thanked h i m warmly.
w e e k s later. ' 11 w o r k e d , ' he s a i d , s m i l i n g . 'Rosie a n d m e a r e n o w m a n
M c G o w a n d i d n ' t n o t i c e f k e y ' s k n o w i n g s m i l e a t these w o r d s a n d w i f e . Y o u m u s c o m e for d i n n e r over at o u r p l a c e i n
of h i s , a n d h e w e n t o n . I l a r l e m some t i m e s o o n . '
' I f I c a n j u s t give a l o v e - p o t i o n to R o s i e at d i n n e r t o n i g h t , ' B u t t h e p o t i o n ? ! ' asked Ikey.
I ' m sure that she'll come w i t h me.' ' O h . I h a t ! ' l a u g h e d M c G o w a n . ' I n t h e e n d I fell. bad a b o u t
A n d w h e n are y o u r u n n i n g a w a y ? ' q u e s t i o n i n g Rosie's love. but od R i d d l e w a s v e r y u n f r i e n d l y
' N i n e o ' c l o c k . D i n n e r ' s a t s e v e n . A t eight, R o s i e goes to to m e at d i n n e r . It w a s n ' t right for h i m to be so harcl
bed w i t h a b a d h e a d . A t n i n e , I c o m e r o u n d t h e b a c k of t h e o n the m a n w h o w a n t e d l o m a r r y
h o u s e a n d h e l p h e r d o w n t h e fire e s c a p e f r o m h e r w i n d o w . h i s d a u g h t e r , I felt. So I p u l t h e
T h e n w e ' r e g o i n g s t r a i g h t to c h u r c h , to get m a r r i e d . ' p o t i o n in h i s coffee!'
' W e h a v e to be c a r e f u l a b o u t s e l l i n g l o v e - p o t i o n s , ' s a i d Ikey.
' B u t b e c a u s e y o u ' r e m y f r i e n d , T i l m a k e it for y o u , a n d y o u ' l l
see h o w it c h a n g e s t h e w a y R o s i e t h i n k s of y o u . '
T h e n he carefully made a sleeping-potion. It was sure
to m a k e a n y o n e w h o took it sleep for a n u m b e r of h o u r s
without w a k i n g up.
H e gave t h e p o t i o n to h i s f r i e n d , t e l l i n g h i m to p u t it i n t o
a d r i n k if possible. M c G o w a n t h a n k e d h i m , a n d left.
A f t e r t h a t , I k e y sent a n o t e to M r R i d d l e , t e l l i n g h i m a b o u t
McGowan's plans.
R i d d l e c a r n e to t h e d r u g s t o r e t h a t a f t e r n o o n . H e w a s a
strong, red-faced, a n g r y m a n .
' T h a n k s for t e l l i n g m e , I k e y , ' h e s a i d . ' T h a t lazy, good-for-
n o t h i n g I r i s h m a n . M y r o o m is j u s t over R o s i e ' s r o o m . A f t e r
dinner, T i l w a i t up there w i t h m y g u n . If M c G o w a n comes
t h i s e v e n i n g , he'11 go s t r a i g h t to t h e h o s p i t a l - a n d n o t to
church - tonight.'
 READING CHECK
1 Join the sentence parts to tell the story of Ikey Schoenstein's love-potion.
a Mrs Riddle is
b Ikey and Chunk ' 2 Ikey and Chunk's landlady.
c Chunk and Rosie want
d Chunk McGowan wants some medicine
e Ikey doesn't do
f Ikey makes a sleeping potion
g Ikey writes to Mr Riddle
h Mr Riddle plans
i Chunk McGowan puts the potion
j Ikey is surprised to hear
2 Who says what in the story? Tick the columns.
a I need some special medicine
c Because you're my friend
l'll make it for you.
d Thanks for telling me, Ikey
e McGowan will go straight to the hospital
and not to church - tonight
f Rosie and me are now man and wife.
30
1 1 in Mr Riddle's coffee.
3 to shoot Chunk
4 to send Rosie to sleep.
5 are both in love with Rosie.
-6 to run away and get married.
7 to make Rosie like him better.
8to tell him about Chunk's plans.
9 that Chunk and Rosie are married.
10 what Chunk asks him to.
Chunk Ikey
m
\
WORD WORK
Complete the puzzle to find the ame of an island in New York City.
a It's the place where Ikey works.
b Chunk wants Ikey to make this for him for love.
c Ikey wears these because he can't see well.
d Chunk tells Ikey that this part of him hurts.
e Rosie climbs down this to run away with Chunk.
f Ikey's Job is to make these by hand.
D R 0 T O
Mr Riddle
GUESS WHAT
Look at the pictures of the two main characters in the next story. Why do you
think that Andy is interested in Miss Conway? Tick two boxes.
a He falls in love with her when he first sees her.
b She was married to a rich Italian man but he died.
c She is beautiful in black clothes.
d
e
He wants to learn her secret.
She lives in the same house as him
and they see each other every day.
f He wants to marry her.
 Story 6 T h e r e w a s Miss C o n w a y - a l l i n black from her head to
h e r feet. W i t h h e r b r i g h t gold h a i r , h e r g r e y eyes, a n d h e r
The Count and the s a d face, s h e looked lovely. M o u r n i n g clothes c a n make

wedding guest a n y w o m a n look b e a u t i f u l , a n d a r e s u r e to m a k e a n y m a n

look t w i c e .

boarding house a A n d y i m m e d i a t e l y decided n o t to forget M i s s C o n w a y . He

small inexpensive
A t d i n n e r o n e n i g h t i n the b o a r d i n g h o u s e w h e r e A n d y
hotel dropped h i s h a l f - f i n i s h e d c i g a r o n the g r o u n d a n d s a i d , T t ' s
D o n o v a n lived, near Second Avenue, his landlady i n t r o d u c e d
introduce to b r i n g a fine e v e n i n g , M i s s C o n w a y . '
people together for
h i m to a n e w p a y i n g g u e s t - Miss C o n w a y .
t h e first t i m e by ' F o r t h o s e w i t h t h e h e a r t to e n j o y it, M r D o n o v a n , ' she
saying their ames
' N i c e to meet y o u . M r D o n o v a n . ' s a i d Miss C o n w a y quietly,
and something r e p l i e d sadly, l o o k i n g d o w n .
a n d t h e n s h e w e n t b a c k to h e r m e a l .
about them
' I h o p e t h e r e h a s n ' t b e e n a d e a t h i n the f a m i l y , ' h e s a i d .
guest a person She was an unintcresting young w o m a n in a boring brown
t h a t you invite to ' N o t r e a l l y i n t h e f a m i l y , ' she r e p l i e d . ' B u t 1 w o n ' t w o r r y
your home dress. A n d } gave h e r a s m i l e . a n d l'orgot h e r at o n c e .
you with my troubles.'
cigar a thick T w o weeks laten A n d y was smoking a cigar
brown cigarette
' W o r r y me? B u t T d r e a l l y like to h e a r a l l a b o u t t h e m M i s s
outside the front door w h e n he heard
someone coming out. lie turned C o n w a y . I m e a n , p l e a s e feel free to speak to a t r u e f r i e n d

to see w h o it w a s , a n d was i n y o u r t i m e of need.'

pleasantlv surprised. M i s s C o n w a y s m i l e d s a d l y at t h i s .
' I feel so l o n e l y i n N e w Y o r k , ' s h e s a i d . ' i h a v e n o f r i e n d s
h e r e . B u t y o u h a v e b e e n k i n d to m e , M r D o n o v a n . Thank
y o u for t h a t . '
I t w a s t r u e . A n d y s o m e t i m e s p a s s e d the salt to h e r at
the d i n n e r table.
'You're right,' he said. Tt's h a r d w h e n you're alone. But mourning black
c l o t h e s t h a t peopl
w h y d o n ' t y o u t a k e a w a l k i n t h e p a r k ? That'11 m a k e y o u
w e a r for a time
a f t e r s o m e o n e in
feel better, f ' m s u r e . T i l go a l o n g w i t h y o u if y o u w a n t . '
their family or a
' T h a n k y o u , M r D o n o v a n . I ' d like that. If you're happy good f r i e n d h a s
died
to t a k e a w a l k w i t h s o m e o n e l i k e m e w h o h a s a s a d a n d p a s s to give
s o m e t h i n g to
heavy heart.' *
someone when
t h e y n e e d it
'He w a s m y flane,' s a i d M i s s C o n w a y after a n h o u r i n
park a big g a r d e
the p a r k . ' W e w a n t e d to get m a r r i e d . H e w a s a r e a l I t a l i a n t h a t is o p e n to
e v e r y b o d y to v i s i t
Count, w i t h a big od h o u s e i n Italy. C o u n t Fernando
fianc the m a n
M a z z i n i w a s h i s a m e , a n d h e w a s a g r e a t dresser. Father that a w o m a n is
going to m a r r y
d i d n ' t a g r e e to it, of c o u r s e . W h e n w e r a n a w a y together,
Count an
h e c a r n e after u s a n d f o u n d u s . important man

w e d d i n g t h e day
w h e n two people
marry
' I n the end, w h e n he learned h o w r i c h F e r n a n d o w a s , father
a g r e e d to a s p r i n g w e d d i n g . F e r n a n d o w a n t e d to give m e a
w e d d i n g p r e s e n t of s e v e n t h o u s a n d d o l l a r s - for t h e dress,
the flowers, the dinner a n d all. B u t father w a s p r o u d a n d
said " n o " . So w h e n t h e C o u n t w e n t b a c k to I t a l y to get h i s
big od h o u s e r e a d y for u s , I got m y s e l f a job i n a c a n d y
s t o r e to h e l p p a y for t h e w e d d i n g .
' T h e n t h r e e d a y s ago, got a letter f r o m Italy, s a y i n g t h a t
F e r n a n d o w a s dead. It w a s a terrible gndola accident that
killed h i m they said.
'So t h a t e x p l a i n s m y m o u r n i n g , M r D o n o v a n . I'11 n e v e r
forget F e r n a n d o , y o u see. A n d after l o s i n g h i m , I ' m a f r a i d
I just can't look at a n y other m a n . '
Tm r e a l l y s o r r y for y o u , ' s a i d A n d y . ' A n d T m y o u r t r u e
f r i e n d . I w a n t y o u to k n o w t h a t . '
1 have his picture here i n m y locket,' said Miss C o n w a y
tearfully. A n d because you're a t r u e friend, M r D o n o v a n ,
T i l s h o w it to y o u . '
For some time A n d y studied the photograph i n the locket
that Miss C o n w a y opened for h i m . T h e m a n ' s f a c e was
y o u n g , b r i g h t a n d clever. I t w a s t h e face of a s t r o n g m a n
t h a t o t h e r people a r e a l w a y s r e a d y to follow.

proud not w a n t i n g
T have a larger photograph i n m y r o o m , ' said Miss Conway.
help f r o m other
T i l s h o w y o u later. T h e y ' r e t h e o n l y t h i n g s t h a t I h a v e of
people

candy s w e e t food F e r n a n d o n o w . B u t h e ' l l a l w a y s be i n m y h e a r t . '

m a d e of s u g a r o r
chocolate A n d y decided t h e r e a n d t h e n to t r y to w i n M i s s C o n w a y ' s
store a shop h e a r t f r o m t h e C o u n t . H e t o o k h e r to h a v e a n i c e c r e a m ,
gndola you c a n
b u t h e r g r e y eyes s t i l l l o o k e d s a d .
go a c r o s s t h e
w a t e r n t h i s in
T h a t evening, she brought d o w n the larger photograph
Venice

locket a small,
fat, gold o r s i l v e r
box t h a t y o u w e a r
around your neck,
usually with a
p h o t o g r a p h of
s o m e o n e that you
love i n s i d e it
a n d s h o w e d it to A n d y . H e looked at it silently.
' H e gave t h i s to m e t h e n i g h t t h a t h e Ieft for I t a l y , ' s a i d
A m o n t h later, t h e y t o l d t h e l a n d l a d y a n d t h e o t h e r guests
Miss Conway.
at t h e b o a r d i n g h o u s e of t h e i r p l a n s to get m a r r i e d . M i s s
'A f i n e - I o o k i n g m a n , ' said A n d y . ' N o w w o u l d y o u l i k e to
C o n w a y stayed i n m o u r n i n g . .
come out w i t h me again next S u n d a y afternoon?'

34 35
 A w e e k after t h a t , t h e y w e r e s i t t i n g i n the p a r k n e a r t h e
b o a r d i n g h o u s e . A n d y ' s u s u a l l y s m i l i n g face w a s d a r k w i t h
worry, and he w a s strangely silent.
' W h a t ' s the m a t t e r , A n d y ? ' asked M i s s C o n w a y .
' W e l l , y o u ' v e h e a r d of B i g M i k e S u l l i v a n , h a v e n ' t you?'
s a i d A n d y , after a w h i l e .
'No, I h a v e n ' t . W h o is h e ? '
'He's a great N e w Y o r k politician, a n d a f r i e n d of m i n e .
I m e t h i m today, a n d h e w a n t s to c o m e to o u r w e d d i n g . f ' d
r e a l l y l i k e h i m to c o m e . '
' O K . So h e c a n be o u r guest.'
' R i g h t , b u t before w e c a n h a v e o u r w e d d i n g f n e e d to k n o w
s o m e t h i n g . D o y o u s t i l l prefer C o u n t M a z z i n i over m e ? '
Suddenly Miss C o n w a y started c r y i n g .
' O h , A n d y , t h e r e n e v e r w a s a C o u n t . A l l the o t h e r g i r l s
h a d boyfriends - but f didn't. A n d you k n o w h o w good
I look i n b l a c k . So I b o u g h t a b i g p h o t o g r a p h of a man
t h a t I d i d n ' t k n o w at a p h o t o g r a p h store, a n d got a s m a l l
one, too, for m y locket. T h e n 1 t h o u g h t u p t h e s t o r y of the
Count's death a n d put o n m y black clothes. f ' m just a big
f a k e . A n d n o w y o u w o n ' t m a r r y m e b e c a u s e of it, f ' m s u r e .
A n d y o u ' r e t h e o n l y m a n t h a t T v e ever l o v e d ! '
Smiling, A n d y took her i n his a r m s .
' D o y o u still w a n t to m a r r y m e after w h a t I ' v e d o n e ? ' s h e
asked i n surprise.

'Of c o u r s e , ' h e r e p l i e d . ' Y o u w e r e v e r y good to e x p l a i n it

a l l to m e . N o w w e c a n forget t h e C o u n t , t h e r e ' s n o t h i n g to
stop u s b e c o m i n g m a n a n d w i f e . '
A n d y ' Miss C o n w a y w e n t on, 'Did y o u really t h i n k that
m y stories a b o u t the C o u n t w e r e t r u e ? '
politician a
person who helps ' N o t r e a l l y ' h e r e p l i e d , t a k i n g o u t a cigar, ' M o s t l y b e c a u s e
to m a k e l a w s in a
country that photograph in your locket is of my friend Mike
fake not r e a l Sullivan.

36 37
 READING CHECK Find words around the cake from
The Count and the wedding guest.
Complete the sentences about The Count and the wedding guest in the best way.
a Andy is interested in Miss Conway when he meets her for the frst time /
the second time / dinner.
b The next time that Andy sees Miss Conway he gives her the salt / asks her to marry
him / is more interested in her.
c Miss Conway wears black because it's a good colour for her / she's sad / her
boyfriend died.
d She tells Andy that her boyfriend was an Italian Count but that her father didn't like
him / he has ieft her and gone back to Italy / he has just died.
e She cries because she thinks that Andy won't love her when she tells him the true
Match the words in Activity 2 with the definitions.
story / Andy wants Mike Sullivan at the wedding / she still oves the Count.
a Andy and Miss Conway live n this. a
f Andy knows from the start that the Count isn't real because Miss Conway tells him
b Mike Sullivan's Job.
the true story/the story is strange / her photos are of his friend.
c The landlady decides to do this to Andy and Miss Conway.
g Miss Conway tells the story about the Count because she isn't in love with Andy /
d Miss Conway says that her boyfriend was this.
wants to be more interesting to Andy / has no frlends in New York.
e In the end, Miss Conway tells Andy that she is this.
f When you're going to get married, your boyfriend is this.
WORD WORK
g Mike Sullivan wants to be this at the wedding.
1 Unjumble the letters to label the pictures.
h Miss Conway says that her father didn't want money
from the count because he was this.

G U E S S WHAT

The next story is about this man. Which four things

a dac n y r ai c c dIooa n g d t oIec k do you think that you will read about?

a a men e a fake doctor

b some bottles of medicine f a crown iSk
c a fur coat g a typewriter
d some handcuffs h $250

e ka rp f t rose g dw igen d h gnrumoin

38
 -

Story 7 I remember you.'

A n d y w a s a good street s a l e s m a n , a n d I needed a p a r t n e r .
Thinking yourself rich So w e a g r e e d to go outside.
H e w a s j u s t off t h e t r a i n , a n d h a d p l a n s to a s k people i n
M y r e a l n a m e ' s Jeff P e t e r s . B u t w h e n I v i s i t e d F i s h e r H i l l ,
F i s h e r H i l l for m o n e y to b u i l d a n e w b a t h h o u s e at E u r e k a
A r k a n s a s , I w e n t t h e r e as D o c t o r W a u g h - H o o , the famous
Springs. I told h i m h o w things were i n F i s h e r H i l l , a n d w e
Indian medicine m a n .
sat a n d t a l k e d .
I h a d o n l y five d o l l a r s i n m y pocket, so I got fifty m e d i c i n e
N e x t m o r n i n g , at e l e v e n o ' c l o c k , a n od b l a c k m a n c a r n e
bottles f r o m t h e d r u g s t o r e , a n d w e n t s t r a i g h t to m y h o t e l
l o o k i n g for m e at t h e h o t e l , w h e r e I s a t a l o n e .
r o o m . T h e o t h e r t h i n g s t h a t I needed w e r e i n m y b a g .
' Y o u m u s t c o m e , sir,' h e s a i d . ' T h e M a y o r ' s t e r r i b l y i l l . H e partner someone
At t h e h o t e l I p u t w a t e r , p u r p l e c o l o u r i n g , a n d a little to w o r k w i t h
needs y o u r h e l p . '
s p r i n g a place
Chinchona - real medicine that comes from a P e r u v i a n
'Get D r H o s k i n s , ' I r e p l i e d . where water
c o m e s up f r o m
tree - i n t o e v e r y bottle. T h e n I p u t l a b e l s o n t h e m s a y i n g :
'He c a n ' t c o m e , s i r . H e ' s i n t h e c o u n t r y . B u t t h e M a y o r ' s under the ground

'DR WAUGH-HOO'S INDIAN POTION - SURE TO BRING sir w h e n you a r e

n e a r l y d y i n g . H e needs h e l p r i g h t n o w ! '
s p e a k i n g to a m a n
T H E D E A D T O L I F E ! ' I w a s r e a d y for b u s i n e s s .
' O K , ' 1 s a i d , ' I c a n ' t leave a m a n i n n e e d . F U c o m e . ' t h a t y o u do not
know well, or who
I s t a r t e d t h a t n i g h t o n a street i n t h e c e n t r e of t o w n .
W h e n I a r r i v e d , I f o u n d t h e M a y o r i n bed, l o o k i n g b a d . A is m o r e mportant
than you, you cali
A f t e r s e l l i n g t w e n t y - f i v e bottles at t w e n t y c e n t s e a c h , I felt
y o u n g m a n stood n e a r h i m h o l d i n g a c u p of w a t e r . him t h i s

a hand on m y a r m . It was a policeman.

'Do y o u h a v e a l i c e n c e to sell m e d i c i n e h e r e ? ' h e a s k e d .

Arkansas
'No, I don't.' I replied.
/'aikar^so:/
' W e l l , y o u ' U h a v e to stop, t h e n . '
Waugh-Hoo
/'wa ,hu:/ I stopped, w e n t b a c k to m y h o t e l a t o n c e , a n d spoke to
Indian a person the landlord.
who lived n
America before ' Y o u ' l l n e v e r get a l i c e n c e , ' h e s a i d . ' D o c t o r H o s k i n s is t h e
white people
arrived o n l y doctor h e r e , a n d h i s w i f e ' s t h e M a y o r ' s sister. A f a k e
l a b e l a p i e c e of
doctor h a s n o chance.'
p a p e r o r cloth
t h a t y o u flx t o ' T m n o t a doctor. T m a t r a v e l l i n g s a l e s m a n . A n d T i l get
something to
give I n f o r m a t i o n a licence tomorrow.'
a b o u t it
I w e n t to t h e M a y o r ' s office e a r l y t h e n e x t day, b u t he
licence an
mportant p a p e r
w a s n ' t t h e r e . So I w e n t b a c k to m y h o t e l , sat i n a c h a i r ,
t h a t says you c a n
do s o m e t h i n g had a smoke, a n d w a i t e d .
landlord a man
who h a s a hotel
S o o n a y o u n g m a n i n a b l u e s u i t sat d o w n n e x t to m e
salesman and asked me the time.
someone who sells
things Tt's ten o'clock,' I said, And you're Andy Tucker.

40

nephew your
s i s t e r ' s (or
brother's) son
n o d to move y o u r
h e a d up a n d d o w n
hypnosis using
y o u r v o i c e to m a k e
someone sleep and
in t h a t s l e e p t e l l i n g
t h e m to change the
w a y that they think
o r w h a t t h e y do
w h e n t h e y w a k e up
42
'Doctor, c a n y o u h e l p m e ? I t ' s t e r r i b l e , ' s a i d the M a y o r . '/\t better,' said the y o u n g m a n .
' W e l l , I ' m n o t h e r e as a doctor,' I s a i d , ' b u t a s a f r i e n d . ' I did s o m e m o r e h y p n o s i s o n the M a y o r , a n d h e s a i d t h a t
' T h a n k you, Doctor Waugh-hoo,' he replied. ' T h i s y o u n g n o t h i n g h u r t h i m after t h a t .
m a n is m y n e p h e w , M r B i d d l e . H e ' s t r i e d to h e l p , b u t it's ' S t a y i n bed, rest for t w o d a y s , a n d y o u ' l l be fine. You
n o good. Ooooh, it h u r t s ! ' were very l u c k y that I w a s i n t o w n yesterday' I said. A n d
I n o d d e d at B i d d l e , a n d sat o n t h e bed. I looked at the n o w for m y m o n e y . '
M a y o r ' s eyes, t o n g u e a n d e a r s , a n d l i s t e n e d to h i s heart ' H e r e i t i s , ' s a i d t h e M a y o r , t a k i n g the bilis f r o m the table
a n d chest. by h i s bed a n d g i v i n g t h e m to m e . A n d p u t y o u r a m e o n
' W h a t ' s the matter w i t h me?' he asked. this,' he w e n t on, giving me a paper that said:
' M r M a y o r , ' I s a i d , ' T m s o r r y to s a y t h a t you have a
d a n g e r o u s p n e u m o n i a of t h e c i r c u l a r d a n d e l i o n i n the u p p e r
for two visits by Dr Waugh-'Hoo c
r i g h t vegetable of y o u r h e a r t . '
to the. Mayor of fisher HU
' C a n y o u give m e s o m e t h i n g for i t ? '
' M e d i c i n e w o n ' t t o u c h it, T m a f r a i d , ' f s a i d . ' Y o u r o n l y Two hundred and fifty dolars
h o p e is h y p n o s i s ! '
' H y p n o - w h a t ? ' said the Mayor.
' I t m e a n s m e h e l p i n g y o u to t h i n k y o u r s e l f w e l l a g a i n , ' 1
e x p l a i n e d helpfully. I w r o t e Dr Waugh-Hoo a t the b o t t o m of the paper and
' C a n y o u do t h a t ? ' a s k e d the M a y o r . gave it b a c k to h i m .
' W e l l , I ' m n o t a doctor, y o u u n d e r s t a n d , b u t to save y o u r ' N o w do y o u r w o r k , officer,' s a i d the M a y o r w i t h a b i g
Me I ' m m o r e t h a n r e a d y to do s o m e h y p n o s i s o n y o u - if s m i l e o n h i s face. S u d d e n l y h e d i d n ' t l o o k i l l at a l l .
y o u forget the l i c e n c e question.' M r Biddle put his h a n d o n m y a r m .
'Of c o u r s e , ' h e s a i d . ' A n d please c a n y o u s t a r t n o w . I t ' s 'I arrest you Dr Waugh-Hoo - or Jeff Peters, to give
h u r t i n g a lot!' you your usual ame - for s e l l i n g fake m e d i c i n e without
' H y p n o s i s costs t w o h u n d r e d and fifty d o l l a r s for two a licence,' he said.
visits,' I said. ' W h o are you?' I cried.
a r r e s t to t a k e a
' T h a t ' s n o t m u c h to p a y for m y l i f e , ' s a i d the M a y o r . ' H e ' s a detective,' s a i d the M a y o r , ' w o r k i n g for the A r k a n s a s p e r s o n to prison
medical society
So b e g a n . L o o k i n g h i m i n t h e eye, I s a i d : ' L o o k i n t o m y M e d i c a l Society. H e ' s followed y o u a l l over A r k a n s a s for
a group o f t h e
eyes. Y o u ' r e sleepy. Y o u r u p p e r r i g h t vegetable i s n ' t h u r t i n g w e e k s . H e carne to m e yesterday, a n d told m e a l l a b o u t y o u , most mportant
d o c t o r s n a p l a c e
n o w . T h e c i r c u l a r d a n d e l i o n ' s going. Y o u h a v e n o u p p e r r i g h t a n d w e m a d e a p l a n to c a t c h y o u . Y o u w o n ' t sell y o u r fake that decides which
m e d i c i n e s people
vegetable, n o h e a r t , n o body. Y o u r eyes a r e c l o s i n g . ' medicine a r o u n d here a n y more.' can sell and who
a r e bad doctors
I left h i m sleeping a n d w e n t b a c k to t h e h o t e l . T h e n e x t A detective!' f s a i d .
sheriff a person
d a y 1 w e n t b a c k to h i s h o u s e early. ' T h a t ' s r i g h t . A n d n o w w e ' r e g o i n g to see the sheriff,' w h o looks after the
l a w in a t o w n in
' H o w is h e ? ' I a s k e d M r B i d d l e a t t h e b e d r o o m door. said the y o u n g m a n . the USA
43
 ' C o m e o n , officer,' s a i d . T U go quietly.'
A t t h e door, 1 s h o o k m y h a n d c u f f s at t h e M a y o r , s a y i n g , ' T h e
time w i l l come w h e n you understand that hypnosis works,
a n d t h a t it w o r k e d v e r y w e l l for m e h e r e today, too.'
A n d i n a w a y that w a s true. W h e n we arrived out o n the
street, s a i d to M r B i d d l e , ' S o m e b o d y c o u l d see u s . T a k e t h e
h a n d c u f f s off n o w , A n d y ' A n d h e d i d .
B i d d l e w a s r e a l l y m y od f r i e n d A n d y T u c k e r , y o u see, a n d
it w a s a l l h i s i d e a . A n d t h a t ' s h o w w e s t a r t e d i n b u s i n e s s
idea something
together. that you think

'Oh, no we're not,' I cried, taking his neck i n m y hands

and nearly p u s h i n g h i m t h r o u g h the w i n d o w .
T h e n he pulled out a g u n . a n d p u l il to m y h e a d . I stood
s t i l l . A f t e r t h a t , he p u t h a n d c u f f s o n m e , a n d took t h e m o n e y
o u t of m y pocket.
T U n e e d to t a k e t h i s to t h e sheriff, sir. T U be s u r e to tell
h i m t h a t these w e r e y o u r bilis w i t h m y m a r k s o n them.
Y o u ' U get it a l l b a c k o n c e t h e c r i m i n a l is i n j a i l . '
' T h a t ' s fine by m e , M r B i d d l e , ' s a i d t h e M a y o r . T h e n h e
t u r n e d to m e , l a u g h i n g . ' W e l l D r W a u g h - h o o . S h o w u s y o u r
f a m o u s h y p n o s i s n o w . M a k e t h o s e h a n d c u f f s go a w a y b y
t h i n k i n g y o u r s e l f free a g a i n ! '
 READING CHECK GUESS WHAT
Put these sentences in the correct order. Number them 1 - 1 0 . What happens in the next story - Lost and found?
a LJ The Mayor introduces Peters to Mr Biddle. Complete the four sentences with the words from
the wheel below.
b Mr Biddle arrcsts Peters when he writes his ame on a bil.
a Helen loses her on the day of her wedding.
c D * policeman stops Peters selling medicine in the street.
b Her stops her from looking for love with another man.
d Jeff Peters and Andy Tucker walk away from the Mayor's house together.
c Many years later she suddenly finds her in her house.
e EG Jeff Peters arrives in Fisher Hill and dresses as Dr Waugh-Hoo
d Helen's isn't a very mportant thing in her life.
f A man goes to the hotel where Peters is staying and asks him to help the Mayor.
She just wants to be happy.
g L J The next day Peters goes back to see the Mayor and asks for his money.
h The Mayor thinks that Mr Biddle is taking Dr Waugh-Hoo to jail.
i Peters looks at the Mayor and uses some stupid words to explain why he is II.
j EH Peters meets Andy Tucker and they make plans together.

WORD WORK
Replace the orange phrases with words from Thinking yourself rich.
a It was Andy Tucker's interesting thought to say that he was a detective, idea
b The piece of paper on the bottle says that the medicine will bring the dead to life.

c My brother's son is staying with me for a few days.

d The Mayor wants Mr Biddle to take Dr Waugh-Hoo to jail.
e Peters needs a paper saying that it's OK for him to sell his medicine in Fisher Hill.

f There's a place where water comes out of the ground in the field behind our
house.
g My father is a person who seils things and he travels a lot.
h I need a person to work with to help me with my new business,
i Don't say anything, just move your head up and down when I tell you the right
answer.
j They say that telling people what to do when they are neariy asleep is a good
way to stop smoking.

46
 Story 8

Lost and found

N e a r A b i n g d o n S q u a r e t h e r e w a s a h o u s e w i t h a s m a l l store
s e l l i n g s t a t i o n e r y o n t h e g r o u n d floor. B o t h t h e h o u s e a n d
t h e store belonged to od M r s M a y o .
O n e n i g h t t w e n t y y e a r s ago, t h e r e w a s a w e d d i n g i n the
r o o m s over t h e store. H e l e n , M r s M a y o ' s d a u g h t e r , m a r r i e d
F r a n k B a r r y . F r a n k ' s best f r i e n d , J o h n D e l a n e y , w a s t h e b e s t
m a n . H e l e n w a s o n l y e i g h t e e n at t h e t i m e , a n d before t h e
w e d d i n g b o t h F r a n k a n d J o h n w e r e i n love w i t h her. B u t
w h e n F r a n k w o n her heart, J o h n shook his friend's h a n d
a n d said congratulations'.
A f t e r t h e w e d d i n g , H e l e n r a n u p s t a i r s to p u t o n h e r h a t .
S h e a n d F r a n k w e r e l e a v i n g for a w e e k ' s h o n e y m o o n i n
V i r g i n i a t h a t s a m e n i g h t . T h e rest of t h e w e d d i n g p a r t y
were still downstairs.
S u d d e n l y s h e h e a r d s o m e o n e r u n n i n g u p t h e re escape,
a n d J o h n Delaney jumped into the room.
' C o m e a w a y w i t h m e t o n i g h t , ' h e c r i e d . T love y o u ! '
' W h a t do y o u m e a n s p e a k i n g to m e l i k e t h a t ? T m a m a r r i e d
w o m a n ! ' s a i d H e l e n coldly. ' W h a t w a s a l l that about?' shouted F r a n k .

1 c a n ' t h e l p it. I love y o u . T i l a l w a y s love y o u . ' H e l e n w e n t to h i m , a n d t r i e d to e x p l a i n - b u t it w a s n o

' G o b a c k d o w n t h e fire escape t h i s m i n u t e ! ' good. F r a n k t h r e w h e r to t h e floor, s a y i n g , T n e v e r w a n t to

stationery paper,
T f y o u w o n ' t h a v e m e , T i l t r a v e l t h e w o r l d . T i l go to A f r i c a see y o u a g a i n ! ' T h e n h e r a n d o w n s t a i r s , p a s t t h e s u r p r i s e d
pens, pencils and
other things for the
a n d t r y to forget y o u . ' w e d d i n g guests, a n d o u t i n t o t h e n i g h t .
office

'Get o u t , ' s a i d H e l e n , 'before s o m e o n e c o m e s i n . ' W h e n M r s M a y o died, h e r d a u g h t e r , H e l e n B a r r y , i n h e r i t e d

best man a man
at a w e d d i n g w h o
helps the man that
is g e t t i n g m a r r i e d
congratulations
well done
honeymoon a so l o n g to p u t o n h e r h a t .
holiday that a m a n
and a woman take
together just after
t h e y get m a r r i e d
J o h n k n e l t o n t h e floor i n f r o n t of her, a n d s h e gave h i m t h e store a n d t h e h o u s e . T w e n t y y e a r s after h e r w e d d i n g ,
h e r h a n d to k i s s . M r s B a r r y w a s still b e a u t i f u l .
Just then, F r a n k walked i n , w o r r y i n g w h y Helen w a s taking Because business i n t h e store w a s n ' t good, Mrs Barry
decided to t a k e p a y i n g guests u p s t a i r s . T w o l a r g e r o o m s o n inherit to get
something as
J o h n ki'ssed H e l e n ' s h a n d , a n d . r a n o u t of t h e r o o m a n d t h e t h i r d floor w e r e m a d e r e a d y for t h e m , one at t h e f r o n t a present from
someone when
d o w n t h e fire escape to A f r i c a . of t h e h o u s e a n d one at t h e b a c k . t h e y die

49
8
 One day a m u s i c i a n a r r i v e d a n d took the front r o o m . H i s a n d t h a t a n a m b u l a n c e b r o u g h l m e l o l l i e h o s p i t a l . No o n e
a m e w a s R a m o n t i . H e played the v i o l i n , a n d w a s looking k n e w w h o I w a s . A f t e r 1 left t h e h o s p i t a l . 1 s t a r t e d p l a y i n g
for a q u i e t p l a c e to l i v e . the v i o l i n , a n d n o w I ' m a f a m o u s m u s i c i a n . B u t M r s B a r r y ,
H e h a d a fine h e a d of g r e y h a i r , a n d h i s f a c e - w i t h its the l i r s l t i m e that I s a w y o u , I k n e w t h a t y o u w e r e the o n l y
short, foreign-looking beard - still l o o k e d y o u n g . H e w a s w o m a n i n t h e w o r l d for m e . '
friendly, a n d M r s B a r r y e n j o y e d h a v i n g h i m i n t h e house. Helen felt y o u n g a g a i n , a n d v e r y happy, w h i l e she
She h a d a comfortable r o o m for h e r s e l f - h a l f office a n d looked into R a m o n t i ' s eyes. Her heart w a s fuII of
half sitting r o o m - o n the first floor. H e r e s h e w r o t e her love for t h e v i o l i n i s t . w h i c h carne as a g r e a t s u r p r i s e
b u s i n e s s letters at h e r d e s k d u r i n g t h e day, or sat a n d r e a d to her.
i n t h e e v e n i n g by a w a r m fire. R a m o n t i o f t e n v i s i t e d h e r ' M r R a m o n t i , ' she s a i d q u i c k l y , ' f ' m s o r r y ,
t h e r e - t e l l i n g h e r a l l a b o u t h i s t i m e as a p o o r y o u n g m u s i c b u t I m u s t a s k y o u to stop. Y o u see,
s t u d e n t i n P a r i s m a n y y e a r s before, w h e n h e s t u d i e d w i t h I'm a married woman.'
a world famous violinist. Then she told h i m the sad
M r s B a r r y ' s second p a y i n g guest w a s a good-looking man s t o r y of h e r lile. A f t e r t h a t ,
i n h i s e a r l y f o rt i e s. H e h a d a b r o w n b e a r d , a n d s t r a n g e l y s a d Ramonti took her hand,
eyes. H e also l i k e d s p e n d i n g t i m e w i t h M r s B a r r y , a n d t e l l i n g k i s s e d it softly, a n d w e n t
her about his travels. T h e r e w a s a m y s t e r y about this m a n up to his room
that M r s B a r r y found most interesting. H i s voice made her slowly.
remember h e r first love, a l l t h o s e y e a r s ago. S o o n she felt
s u r e t h a t h e belonged, i n s o m e w a y , to t h a t p a s t story. f n
t h e e n d , she decided - i n t h e w a y t h a t w o m e n h a v e - that
t h i s m a n w a s h e r h u s b a n d of l o n g ago. S h e s a w t h e love i n
h i s eyes. B u t she s a i d n o t h i n g to h i m a b o u t it. A f t e r a l l , a
h u s b a n d w h o leaves h o m e o n h i s w e d d i n g n i g h t for t w e n t y
y e a r s c a n ' t h o p e to find h i s w i f e w a i t i n g for h i m w i t h o p e n
a r m s w h e n he comes back.

O n e e v e n i n g , R a m o n t i c a r n e to s p e a k to H e l e n .
violin a musical
nstrument, m a d e T love y o u , a n d w a n t to m a r r y y o u , ' h e t o l d her. 'But
of w o o d w i t h
s t r i n g s a c r o s s it before y o u s a y a n y t h i n g , 1 m u s t t e l l y o u t h a t m y manager
foreign not f r o m gave m e t h e a m e " R a m o n t i " . 1 d o n ' t r e a l l y k n o w w h o 1 a m
your country
or w h e r e 1 c o m e f r o m . T h e first t h i n g t h a t f r e m e m b e r in
manager a
person who
m y life is w a k i n g u p as a y o u n g m a n i n a h o s p i t a l . 1 k n o w
organizes the
w o r k of m u s i c i a n s , n o t h i n g of w h a t h a p p e n e d before t h e n . T h e y told m e that
singers and other
artists I h i t m y h e a d b a d l y o n t h e g r o u n d i n t h e street o n e n i g h t ,

50
 H e l e n looked s a d l y d o w n at h e r h a n d . T w o kisses o n it,
a n d o n l y t w o l o v e r s ' goodbyes for h e r to r e m e m b e r . I t w a s
r e a l l y j u s t too b a d for w o r d s .
L a t e r t h a t e v e n i n g , h e r o t h e r p a y i n g guest carne to s p e a k
to her. H e also s a i d t h a t h e loved her.
'Helen, don't y o u remember me?' he cried. T thought that
s a w it i n y o u r eyes. C a n y o u forget t h e past, a n d r e m e m b e r
the love t h a t h a s l a s t e d for t w e n t y y e a r s ? T v e b e e n so b a d to
y o u . f w a s a f r a i d to c o m e b a c k . B u t m y love w a s stronger.
C a n y o u forgive m e ? '
H e l e n d i d n ' t k n o w w h a t to do. H a l f h e r h e a r t w a s f u l l of
h e r od love for h e r h u s b a n d . B u t a n e w e r , s t r o n g e r love filled
t h e o t h e r h a l f . A n d b o t h loves f o u g h t a g a i n s t e a c h other.
J u s t t h e n , s h e h e a r t soft, s a d , s w e e t v i o l i n m u s i c coming
f r o m u p s t a i r s . T h e m u s i c a n d t h e m u s i c i a n c a l l e d her, b u t
' d o i n g t h e r i g h t t h i n g ' stopped h e r f r o m going.
' F o r g i v e m e , ' s a i d t h e m a n at h e r side.
' T w e n t y y e a r s is a l o n g t i m e to s t a y a w a y f r o m the w o m a n
t h a t y o u s a y y o u love.'
' B u t 1 w a s n ' t s u r e ! ' he c r i e d . ' L o o k , T U t e l l y o u e v e r y t h i n g .
T h a t n i g h t w h e n h e left, w e n t after h i m . I d i d n ' t k n o w
w h a t w a s d o i n g . O n a d a r k street I k n o c k e d h i m d o w n a n d
h e d i d n ' t get u p a g a i n . T h e r e w a s blood o n h i s h e a d f r o m
w h e r e it h i t t h e h a r d g r o u n d . d i d n ' t m e a n to k i l l h i m . I
h i d not far away, a n d s a w a n a m b u l a n c e c o m e for h i m . f
k n o w that you married h i m Helen, but-'
' W h o are y o u ? ' c r i e d t h e w o m a n i n s u r p r i s e .
' D o n ' t y o u r e m e m b e r m e , H e l e n . T m t h e one t h a t a l w a y s
l o v e d y o u t h e best. I ' m J o h n Delaney. C a n y o u f o r g i v e - '
B u t s h e w a s f a r a w a y , h u r r y i n g u p s t a i r s t o w a r d s the m u s i c ,
forgive (past t o w a r d s the m a n w h o d i d n ' t r e m e m b e r , b u t w h o k n e w t h a t
forgave forgiven) s ^ e w a s j - j ^ o n e f Q r Yyim [ n each of h i s t w o lives. A n d ,
to s t o p b e m g a n g r y
with someone for r u n n i n g l i g h t l y u p t h o s e l o n g s t a i r s , she c a l l e d h i m b y h i s
something bad that b b j r b j
they did od a m e : ' F r a n k , F r a n k ! F r a n k ! '

52
 READING CHECK
1 What happened twenty years before the story starts? Join the sentence parts.
a Helen Mayo and Frank Barry
b Frank's best friend, John Delaney
c After the wedding Frank saw
d Both of the men ran away
e John Delaney waited for Frank
f Frank woke up in a hospital
g After Frank left the hospital
h John Delaney ran away and
Tick the pictures to answer the questions
1 he started playing the violin. a Which of these
2 and knocked him down in the street. is stationery?
3 travelled the world.
4 and Helen didn't see them again.
5 got married.
b Which of these
6 but he didn't remember anything.
is a best man?
7 John kissing Helen's hand.
8 was also in love with Helen.

c When do you say

2 Tick the correct person for the gaps.
'Congratulations!"
a . . . decides to take paying guests because
she needs the money.

b Mrs Barry enjoys talking to . . . about his d Who will soon be

4
years as a student. on honeymoon?
... , P

c . . . tells Helen about his world travels.

e What do people
often inherit?
d Helen decides t h a t . . . is her husband of
long ago.

f Which person
e When . . . tells Helen he loves her, she
has a manager?
knows she's also in love with him.

f When the other guest tells her his story

g Who is someone
she understands that he was . . . .
forgiving someone?

g Helen runs up the stairs to see . . .

 READING CHECK
1 What happened twenty years before the story starts? Join the sentence parts
a Helen Mayo and Frank Barry
b Frank's best friend, John Delaney
c After the wedding Frank saw
d Both of the men ran away
e John Delaney waited for Frank
f Frank woke up in a hospital
g After Frank left the hospital
h John Delaney ran away and
WORD WORK
Tick the pictures to answer the questions.
1 he started playing the violin. a Which of these
2 and knocked him down in the street. is stationery?
3 travelled the world.
4 and Helen didn't see them again.
5 got married. b Which of these
6 but he didn't remember anything. is a best man?
7 John kissing Helen's hand.
8 was also in love with Helen.

c When do you say

2 Tick the correct person for the gaps.
'Congratulations!"
a . . . decides to take paying guests because
she needs the money.

b Mrs Barry enjoys talking to . . . about his d Who will soon be

years as a student. on honeymoon?

. tells Helen about his world travels.

e What do people
often inherit?
d Helen decides t h a t . . . is her husband of
long ago.

f Which person
e When . . . tells Helen he loves her, she
has a manager?
knows she's also in love with him.

f When the other guest tells her his story

g Who is someone
she understands that he was ....
forgiving someone?

g Helen runs up the stairs to see

55
 PROJECT A History Quiz 4 Ir 1 901 Teddy Roosevelt became President. What was his Job before that?
a He made things for children toplay with.
b He had a farm with cows on it in the West.
c He was a train driver.
5 What did Henry Ford start doing in 1 9 0 3 ?
a Sending sounds by radio across the Atlantic,
b Making films,
c Selling cars.
6 What opened in New York in 1 9 0 4 ?
a The first subway lines,
b The Empire State Building.
c I he Statuc of Liberty.

2 Choose an mportant decade in the history of your country and make notes
about those ten years.

1 Do the history quiz with a partner. Do I n Li-fe:

History Quiz: the USA from 1 9 0 0 - 1 9 1 0 Free T i m e ;

1 Who was the US President at the start of 1901 and what happened to him?
a It was President McKinley and someone shot him dead. Famous people:
b It was President Bush and he got married.
c It was George Washington and he left the White House that year. XvwenT OY\S:
2 What happened at Kitty Hawk in 1 9 0 3 ?
a The first plae crossed the Atlantic. Xmpor+ava+ +hiV\os +hoi+ hoippened.
b The first plae fiew in the sky.
c The Wright brothers opened a bicycle shop.
3 Where was the earthquake that knocked city buildings to the ground and killed
more than 2,500 people in 1 9 0 6 ? 3 Write a quiz about the decade that you chose. Use the questions in the USA quiz
and your notes to help you.
a San Francisco,
b Washington D.C.
4 Give your quiz to one of your classmates to do.
c New York.

56 57
 PROJEGT B Film Scenes 2 Read a description of the scene and complete the table. Which story is it from?
Find the pages and lines in this book that it describes.

Which story is it from' 5

Which page does it match?

Which lines does it describe?

A y o u n g m a n a n d woman ave w a l k i n g down ( a ) a b u s y s t r e e t t o g e t h e r .

T h e r e a r e s o m e h o r s e s and oarte (b). T h e r e a r e l o t s o f people ( c ) in
t h e s t r e e t , t o o . N e a r t h e young couple, (d), t h e r e a r e s o m e m a r k e t
s t a l l s s e l l i n g f r u i t and v e g e t a b l e s . I t ' s a p o o r p a r t o f t o w n .

T h e c o u p l e a r e w a l k i n g a l o n g (e). H e ' s w e a r i n g a b r o w n s u i t , a w h i t e
s h i r t , and a brown h a t . S h e ' s w e a r i n g a long s k i r t and s o m e f u r s
around her neck (f). (g) t h e people in t h e s t r e e t s t o p and look a t
t h e m and talk about them.

A plice d e t e c t i v e i s on t h e s a m e s i d e o f t h e s t r e e t ( h ) b e h i n d
t h e couple. He's wearing a grey s u i t (i). He s e e s t h a t s o m e t h i n g i s
h a p p e n i n g ( j ) a n d s t a r t s w a l k i n g f a s t e r . On h i s w a y , h e s t o p s a n d
q u e s t i o n s a m a n ( k ) . W h e n he c a t c h e s up w i t h t h e c o u p l e , h e t o u c h e s
t h e mane a r m w i t h h i s h a n d a n d a s k s him s o m e t h i n g . T h e m a n t u r n s
t o t h e d e t e c t i v e ( I ) . T h e woman turne to look at the man ( m ) .

3 The words and phrases below add more detail to the description.
Match them with the letters (a) to (m).
Look at the New York photo. Imagine it's the background for a scene in a film of about 5 0 metres and she's really happy

1
an 0. Henry story. Which stories in this book have New York street scenes? and he has serious eyes angrily
arm in arm When they walk past,

Fine furs for a lady O Ikey Schoenstein's love-potion
at the side of the road going up and down the s t r e e t

Springtime on the men The Count and the wedding guest
in front of him young and od

The last leaf Thinking yourself rich
standing on a crner the left-hand side of

The things we do for love Lost and found
with worried eyes

59
 4 Choose a scene from a different story in this book. Make notes to answer these G RAM MAR CHECK
questions. Use the photos to help you to 'see' the scene in your head.
Non-defining relative clauses with who and which
a Is the scene mside or outside?
We can use non-defining relative clauses to give more information about a person
b Some key words to describe the scene:
or thing.
c How many of the story characters are in the scene?
We use who to start a non-defining relative clause about a person.
d Are there any other people in the background'
Kid Brady, who was in a criminal gang, fell in love with Molly McKeever.
e What are the different people wearing?
We use which to start a non-defining relative clause about a thing.
f What are they doing?
His gang worked between Eleventh and Twelfth Avenues, which are in the west ofNew York.
We use commas to seprate non-defining relative clauses from the main sentence.

1 Rewrite each pair of sentences as one sentence with a non-defining relative clause.
a Molly didn't like Brady being a criminal. She was a good woman.
/Mp.l.lvj,. who y/as a good womanj. didyy j i'Ke Brads..being.
...o. c r i m i n a l ,
b So Brady startcd workmg as a plumber. This made Molly happy.

c Brady gave Molly a strange parcel one day. It had furs in it.

d Brady asked Molly to go for a walk in the street. He was feeling very happy.

e Ransom started asking questions. He saw that people in the street were excited by
something.

f One man said that Molly was wearing expensive Russian furs. He was standing on a
street crner.

g A plumber's pay isn't enough to buy $900 furs. It's $75 a month.

h Mrs Hethcote said that her furs were gone. She lived on West Seventh Street.
5 Write a description of your scene. Exchange it with a partner. Read your
partner's description. Find the story, the pages, and the lines in this book that
i Kohen knew that Molly's furs weren't expensive. He sold furs when he was younger.
it describes.

60 61
 GRAMMAR CHECK GRAMMAR CHECK

Past Continuous and Past Simple with when and while Making offers and suggestions with let's, shall, and would like
We use the Past Continuous for a longer activity in the past, and the Past Simple for We can make suggestions with let's (let us) + infinitive without to.
a shorter action that happens in the middle of that first activity. Let's eat at that restaurant on Eighth Street.
Sara was typing menus when she saw the word 'dandelion'. We can also make suggestions with Would you like...? + noun phrase/infinitive
The word while often goes before the Past Continuous verb and when before the with to or Shall we...? + infinitive without fo.
Past Simple verb. Would you like some Italian food?
While she was staying at Sunnybrook Farm, she met Walter Franklin. Would you like to live in Greenwich Village?
We put a comma after the when or while clause if it comes first in the sentence. Shall we take the top floor of a house together?
We can make offers with Shall I...? + infinitive without fo.
Shall I cali the doctor?

3 Complete the conversation between Joanna and Sue with Let's, Shall l/we, or
Would you like.
Joanna: Oh, you're not asleep. a) . . S h O i l l . . | t
s

2 Complete these sentences with the Past Continuous with you?

or Past Simple form of the verbs in brackets.
Sue: Don't worry about me.
a While Sarah .V/&i.T+r>g. (sit) under a trec, Walter . r O A ^ e . (make) h o r a
Joanna: b) some soup?
crown of dandelion flowers.
Sue: No, thank you.
b They (walk) back to the farm when Walter (say) that he
Joanna: c) take the soup away?
wanted to marry her.
Sue: Yes, please. When that last Ivy leaf falls I'm
c While Sarah (look) out of her window, she (not see) the
going to die, you know.
factory opposite.
Joanna: Don't say that. d) think
d When the waiter from Schulenberg's restaurant (knock) on Sarah's door,
of mee things. e) go to
she (remember) her holiday in the country.
Naples together next spring?
e Sarah (have) no more news from Walter while she (work)
Sue: You can I'm not going to be alive then.
back in New York.
Joanna: Don't talk like that. f)
f There (be) a ring at the front door while Sarah (read) her
cise the blind for you?
book.
Sue: No. Please leave it open.
g While Sarah (listen), she (hear) a man's voice downstairs.
Joanna: g) to rest?
h While Walter (run) upstairs, Sarah (open) her room door.
Sue: Yes.
i Walter (read) Schulenberg's men when he (see) his ame
on it.

63
 GRAMMAR CHECK GRAMMAR CHECK

Direct and reported speech Present Perfect Simple + for/since or already/yet

In direct speech we give the In reported speech we put the verb one step We make the Present Perfect Simple with have/has + the past participle. We can use
words that people say. into the past and change the personal it to talk about something that started in the past and contines now.
pronouns and possessive adjectives. The Blue Light drugstore has been here for years.
Til give music lessons to get Delia said that she would give music lessons I've lived at the Riddles' house since I carne to New York.
some more money,' said Delia. to get some more money. We use for to talk about a period of time and since to talk about a past point in time.
'You can put some pictures in Tinkle said that Joe could put some pictures We can also use the Present Perfect Simple to talk about something that happened
my window,' said Tinkle to Joe. in his window. at some time in the past without saying when.
Time phrases like today and this week become that day, that week \r\d We can use the adverbs already and not yet in this kind of Present Perfect Simple
speech, too. sentence.
We've been to the church already. (= earlier than you think usual)
4 Rewrite these direct speech sentences a s reported speech.
We haven't told Rosie's mother and father yet. (= later than you think usual)
a 'The Pinkneys live in a big house,' said Delia.
Del o sala +ha+ +he Pintne^ l.ived in a b house Complete the sentences with for, since, already, or yef.
b 'I can't let you do all the work,' said Joe to Delia a Chunk's known Rosie Riddle . ..P.C.. some weeks.
b I've helped Chunk he arrived atthe Riddles' house.
c 'I really don't like you giving lessons,' said Joe to Delia, c I've given Chunk the sleeping-potion
d Chunk hasn't given the sleeping-potion to Rosie
d 'Perhaps ITI sell a picture to a rich od man,' said Joe. e I've spoken to Mr Riddle about Chunk's plans
f I've loved Rosie myself many months.
e 'Clementina never listens to me, and always wears white,' said Delia.
6 Complete the text with the Present Perfect form of the verbs in brackets.

f 'A buyer from Arizona wants a picture of a train station by the end of this week,' said Joe.
a) X . Y. .^n.P.Y'n (I/knaw) Andy Donovasi jor nearly two mrmths.
b) (we/have) Urts o^waihs tojether Ut the parle, a*id
g 'We have thirty-thrce dollars. So we can have a really good dinner tonight,' said Delia c) (we/talk) a. Loir. d) (he/take) -me outjor a*i
to Joe. ice creum a nwmber o^tMies. e) (I/wear) trtack su we
-met. You see, p (l/be) i*t -mourning stee -my -fiaru, Cowtt
h 'My hand doesn't hurt this evening,' said Delia.
Fernando M,az.zini, died tit a. gonbola. aaAewt ewn, wetks ayo. That's the
story j ) (Andy/hear), at Least! Now h) (Audy/atk)
'My buyer from Arizona and your General Pinkney are both works of art,' said Joe
me to marry him. i) (he/buy) -me a. HAUI already! But
to Delia.
j) (tw/noir/decide) abtrut who to Uute to the weddij yer.
How can I tell him now that the story o^the Cotmt im't true?
 GRAMMAR CHECK GRAMMAR CHECK

Going to Future: intentions and predictions That clauses after forget, hear, know, remember, and think

We make the going to future with the verb be + going to + infinitive. After the verbs forget, hear, know, remember and think we can use that + a clause
(subject + verb + the rest of a sentence).
We can use the going to future for intentions.
Helen forgot that she was sad when she spoke to Ramonti.
Were going to make some money.
John didn't hear that Frank was still al i ve.
We can also use the going to future for predictions.
John knew that Helen was a married woman
The mayor isn't going to be very happy when he finds out.
Ramonti didn't remember that his ame was really Frank Barry.
7 Complete these sentences with the going to future form of the verbs in brackets. John thought that Helen would forgive him.
a W . e . V e . Q O i n g . + 0 V5+ (we/visit) the Mayor of Fisher Hill.
9 Match the sentence halves correctly.
b (l/tell) him that I'm a detective.
a Frank didn't know that GE
c (l/say) that I want to catch you.
b Ramonti remembered that
d (he/believe) me.
c Ramonti heard that
e (he/ask) you to help him.
d Ramonti forgot that
f (I/use) hypnosis on him.
g (he/pay) me two hundred and fifty dollars. e Helen thought that O
f John knew that
h (l/write) my ame on the paper that he gives me. EH
g John thought that
i (l/arrest) you. Q
h Helen heard that
j (l/put) the money in my pocket.
i Helen knew that
k (we/leave) his house together.
I (it/not/be) difficult.
1 he had a bad accident before they took him to the hospital.
m (we/go) take the next train out of Fisher Hill.
2 he was Helen's husband years before.
8 Which sentences in exercise 7 are intentions and which are predictions? 3 he first woke up, knowing nothing, in a hospital.
Mark them I for intentions or P for predictions. 4 HP lpn riirin'* w a n t l n h n i n h n n i l M I muhl"
5 it was wrong of him to knock Frank down in the street.
6 her other paying guest was her husband.
7 her other paying guest was John Delaney.
8 she loved her husband, the musician, best.
9 he was Frank Barry's murderer.

67
 Story 1
Fine f u r s for a lady
W h e n ' K i d ' B r a d y fell i n love w i t h M o l l y M c K e e v e r , h e decided kd an informal
ame for a young
lo leave the c r i m i n a l g a n g t h a t h e belonged to. m a n , often w i t h a
good-looking b a b y
His gang worked in the west of New York, between face

lleventh a n d T w e l f t h A v e m i e s , n e a r the river. B y day, t h e y gang anumberof

people w h o w o r k

Stood l a z i l y o n street c o r n e r s i n t h e i r fine suits, o c c a s i o n a l l y onacrime

s p e a k i n g q u i e t l y to e a c h other. B u t t h e i r r e a l b u s i n e s s w a s avenue abig

D 1 J street, often w i t h

I n k i n g m o n e y f r o m t h e good people of N e w Y o r k . M o s t l y trees a t t n e sides

ilicy p r e f e r r e d to do t h i s w i t h o u t a n y noise, or a n y blood.

Hu a n y N e w Y o r k e r s w h o w e r e n ' t h a p p y to lose t h e i r m o n e y
in l l i i s w a y s o o n f o u n d t h e m s e l v e s e i t h e r i n the h o s p i t a l or
l i l i ' a m e of a n e w l y d e a d p e r s o n i n a plice n o t e b o o k .
W h e n B r a d y t o l d the o t h e r s t h a t h e w a s l e a v i n g t h e g a n g ,
they w e r e sorry. H e w a s t h e finest, strongest, a n d c l e v e r e s t
"\m a l l . B u t t h e y d i d n ' t t r y to stop h i m . F o r c r i m i n i s
hl.c l l i e m , it w a s n e i t h e r w r o n g o r u n m a n l y to do what
your g i r l f r i e n d wanted.

2 The stories in this book all happen in the United States of America between 1899
and 1910. Which of the people in Activity 1 do you think that you will read about?

3 Which of these sentences about life in the United States in the early 1900s are
true? Discuss your ideas with a partner.
a New York City suddenly got bigger.
b The Ford factory started to make cars.
c The Wright brothers flew in an aeroplane for the first time.
d Everyone listened to radio from all over the world. [~J
e People started to travel by subway trains under (and over) New York City.
f Most women made all the clothes for their familics.
g Many people went to Broadway to see theatre with songs, and dancing.
h American football was America's favourite sport.
i Only men - not women - chose the politicians who went to Washington.
 'OK,' Brady told T h e n h e s a w M o l l y l o o k i n g at h i m w i t h s a d eyes. H e k n e w
Molly one night Whtil t h a t look m e a n t .
w h e n she w a s a s k i n g ' I paid for t h e m w i t h good m o n e y , ' h e s a i d .
him to end h i s life Sure. W i t h the $ 7 5 d o l l a r s a m o n t h t h a t y o u get f r o m
of crime. T i l get a w o r k i n g as a p l u m b e r . '
job, a n d i n a y e a r I ' I I T o o k , I h a d s o m e m o n e y f r o m before, too. I left t h e g a n g
m a r r y you. We can l"i y o u , Mol, r e m e m b e r ? N o w p u t o n t h o s e f u r s , a n d let's
get somewhere nice go out for a w a l k . '
to l i v e . ' So t h e y w e n t for a w a l k . F i n e R u s s i a n f u r s w e r e big n e w s
' O h , K i d , ' s a i d Molly, for the poor people l i v i n g o n t h a t side of N e w Y o r k . S o o n
' T h a t ' s g r e a t . W e c a n be cvcryone w a s t a l k i n g about t h e m .
h a p p y w i t h j u s t a little.' Detective R a n s o m w a s w a l k i n g d o w n t h e street n o t f a r
'But,' said Brady, ' I w o n ' t behind t h e m .
h a v e m o n e y for good suits ' W h y is e v e r y o n e so e x c i t e d ? ' h e a s k e d o n e m a n s t a n d i n g
l i k e before. That'11 be h a r d . ' 011 a street c r n e r .
' D o n ' t w o r r y . T U love y o u j u s t ' K i d B r a d y got h i s g i r l f r i e n d t h e best R u s s i a n f u r s , t h e y
the same.' BBy. H a s a n y o n e lost a n y e x p e n s i v e f u r s l a t e l y ? '
So Brady started working as Miut B r a d y left t h e g a n g , d i d n ' t he? N o w I h e a r d t h a t h e ' s
a plumber. That was what he w o r k i n g a t h i s od job.'
studied w h e n he w a s younger. For ' R i g h t . B u t s o m e s a y t h a t h e p a i d $ 9 0 0 for t h o s e f u r s .
eight m o n t h s he w o r k e d h a r d , a n d I l o w c a n a p l u m b e r find m o n e y like t h a t ? '
s t a y e d t r u e to Molly. R a n s o m w a l k e d faster, a n d s o o n f o u n d B r a d y a n d M o l l y
w a l k i n g s l o w l y a l o n g t h e street.
T h e n , o n e day, h e c a r n e h o m e w i t h a 'Can I speak to y o u for a m i n u t e ? ' h e a s k e d quietly,
strange parcel. louching Brady's arm.
'Open that, Mol,' he s a i d quietly. T t ' s B r a d y looked at h i m a n g r i l y .
for y o u . ' ' W e r e y o u at M r s H e t h c o t e ' s h o u s e o n W e s t S e v e n t h Street
M o l l y took off t h e paper, s c r e a m e d h a p p i l y a n d p u t yesterday, m e n d i n g a w a t e r p i p e ? '
s o m e t h i n g l o n g , d a r k , a n d soft a r o u n d h e r n e c k . 'Yes,' said Brady. ' W h y ? ' sad not h a p p y

plumber someone
' T h e best R u s s i a n f u r s , ' s a i d B r a d y . ' T h e od l a d y ' s t h o u s a n d d o l l a r R u s s i a n f u r s left t h e h o u s e pipe a long

who mends baths narrow thing that

' T h a n k y o u , K i d , ' s a i d Molly. T n e v e r h a d a n y f u r s before. al a b o u t t h e s a m e " t i m e t h a t y o u d i d . T h e w a y t h a t M r s w a t e r goes through
and toilets
in a h o u s e
parcel a paper B u t aren't R u s s i a n furs expensive?' I lethcote described t h e m , t h e y ' r e j u s t like t h e o n e s t h a t t h e
box w i t h t h i n g s in lady a w o m a n
' C o u l d T ever b u y y o u a n y t h i n g c h e a p ? Hey, Mol, y o u young lady's wearing.' f r o m a good f a m i l y
f u r t h e h a i r on a n
a n i m a l ' s body look g r e a t i n t h e m . '
 ' R a n s o m , ' B r a d y began, ' I bought those furs today at-'
and then he stopped.
' O K . So let's go to the s h o p w h e r e y o u b o u g h t the f u r s - w i t h
the l a d y - a n d n d o u t if w h a t y o u ' r e s a y i n g is t r u e . '
' L e t ' s do t h a t , ' s a i d B r a d y hotly.
T h e n h e looked s u d d e n l y a c r o s s at M o l l y ' s w o r r i e d face
and smiled strangely.
T t ' s n o good,' h e s a i d suddenly, 'You're right, Ransom.
T h e y ' r e t h e H e t h c o t e f u r s . Molly, y o u ' l l h a v e to give them
to the plice.'
Molly, h e r eyes f u l l of t e a r s , h e l d B r a d y ' s a r m .
' O h , K i d , h o w c o u l d y o u do it? I w a s so pleased w i t h y o u ,
a n d n o w t h e y ' l l s e n d y o u to j a i l - a n d w h e r e ' s o u r h a p p y
life t o g e t h e r ? '
'Come on, Ransom,' said B r a d y wildly, 'Take the furs.
T m ready. W a i t a m i n u t e , I t h i n k T i l . . . No . . . f can't.
Molly, go h o m e . '
Just then, Policeman Kohen carne round the crner.
R a n s o m stopped h i m a n d e x p l a i n e d a b o u t the f u r s .
' S u r e . I h e a r d a b o u t the H e t h c o t e f u r s , ' s a i d K o h e n , A n d
y o u s a y t h a t these a r e t h e s a m e . C a n I see t h e m ? I sold f u r s
when I was younger.'
H e looked at the f u r s carefully.
'These are A l a s k a n , n o t Russian. A n d they cost about
t w e n t y dol . . . ' ' L o o k , 1 d o n ' t w a n t e x p e n s i v e f u r s , or lots of m o n e y . f j u s t
S u d d e n l y B r a d y h i t K o h e n i n the face, M o l l y screamed, wmif you, K i d , ' she said.
tear the w a t e r a n d R a n s o m quickly put some h a n d c u f f s o n the 'Kid'. " f a k e the h a n d c u f f s off h i m , I n s p e c t o r , ' s a i d K o h e n . ' W h i l e
that comes from
y o u r eye when ' T h e y cost a b o u t t w e n t y d o l l a r s only,' K o h e n w e n t on, I w a s l e a v i n g the plice s t a t i o n , I h e a r d t h e latest n e w s a b o u t
you cry
'not a thousand.' the H e t h c o t e f u r s . T h e od l a d y f o u n d t h e m at t h e b a c k of
jail prison

handcuffs
B r a d y ' s face t u r n e d r e d . h r i w a r d o b e . Y o u n g m a n , T i l forget a b o u t y o u h i t t i n g m e
p o l i c e m e n put
' Y o u ' r e r i g h t , ' h e s a i d , T p a i d $ 2 1 . 5 0 for t h e m . B u t I w a s just t h i s o n c e . '
t h e s e c l r c l e s of
metal with locks r e a d y to go to p r i s o n for s i x m o n t h s for M o l l y n e v e r to k n o w |usl before t h e p o l i c e m e n left, R a n s o m gave M o l l y b a c k
on t h e m a r o u n d
r w a r d r o b e a big
prisoners' hands h o w m u c h t h e y r e a l l y cost. I h a t e c h e a p t h i n g s . ' II * i f u r s . S h e s m i l e d at B r a d y a n d p u t t h e m r o u n d h e r n e c k p i e c e o f f u m i t u r e
to stop t h e m f r o m
w h e r e y o u put
escaplng easlly Molly put her arms r o u n d his neck.
Igaln like a r e a l lady. thingstowear

5
READING CHECK WIIMI) WORK

Match the sentences with the people. You can use some ames more than once. '"lo the crossword using the pictures.
a [H is in a criminal gang before he meets Molly McKeever.
b wants Kid to have a real Job.
c doesn't think that Brady bought the furs.
d EH tells the plice that someone stoie her expensive Russian furs.
e O wants to go with Kid and Molly to the fur shop.
f doesn't want Molly to know how much the furs cost.
g EH tells everyone that Molly's furs aren't from Russia.
h O doesn't mind that the furs aren't expensive.

I I I S S WHAT

lluk the words that best describe the main characters in the next story.

S a r a h Walter worneJ
 Story 2
Springtime on the men
It w a s a M a r c h day i n M a n h a t t a n , a n d S a r a h w a s c r y i n g
over h e r m e n .
Perhaps y o u t h i n k that she w a s sad because she w a s eating
c a r e f u l l y a n d d i d n ' t w a n t to see i c e c r e a m o n t h e men.
Well, you're wrong.
S a r a h w a s s i t t i n g at h e r desk w i t h a t y p e w r i t e r i n f r o n t
of her. S h e w o r k e d at h o m e - t y p i n g t h i n g s for people.
H e r best job w a s w o r k i n g for S c h u l e n b e r g ' s R e s t a u r a n t . T h i s
stood n e x t to t h e h o u s e w h e r e s h e h a d a r o o m . W h e n she
ate t h e r e one w i n t e r e v e n i n g , s h e n o t i c e d t h a t t h e w r i t i n g
o n t h e m e n c a r d w a s r e a l l y difficult to u n d e r s t a n d .
T h a t night she typed out the m e n , a n d the next day she

ice c r e a m sweet
s h o w e d it to M r S c h u l e n b e r g . H e at o n c e gave h e r t h e job
f o o d t h a t is m a d e
of t y p i n g o u t m e n u s for h i s r e s t a u r a n t e v e r y day. F o r t h i s \iitl S a r a h w a l k e d b a c k
from very cold,
thlck mllk w o r k M r S c h u l e n b e r g a g r e e d to p a y S a r a h i n food. I lie f a r m house w i t h the
typewriter
something that A f t e r t h a t , a w a i t e r took t h r e e m e i s e v e r y d a y to S a r a h ' s liulelion c r o w n o n h e r h e a d ,
people w r o t e
things qulckly with
r o o m together w i t h t h e n e w m e n of t h e d a y i n p e n c i l for "I liei hat i n h e r h a n d .
before computers
S a r a h to type. "i going to m a r r y y o u first t h i n g
type to w r l t e on
a computer or N o w it w a s a n a f t e r n o o n i n M a r c h - s p r i n g t i m e ! B u t t h e i s p r i n g , ' s a i d W a l t e r a n d h i s eyes
typewriter
w e a t h e r w a s s t i l l as c o l d as w i n t e r , a n d S a r a h felt s a d . S h e
c a r d a p l e c e of
thlck paper looked o u t of h e r w i n d o w at t h e f a c t o r y opposite, b u t s h e \inl t h e n S a r a h carne b a c k to t h e big
waiter someone
d i d n ' t r e a l l y see it. S h e w a s r e m e m b e r i n g h e r h o l i d a y i n t h e ' i \d her work as a typist.
w o r k i n g in a
restaurant who c o u n t r y last summer.
t a k e s food to
S u d d e n l y a k n o c k o n h e r r o o m door made
people S a r a h s t a y e d t w o w e e k s at S u n n y b r o o k F a r m . T h e r e s h e lll forget those h a p p y d a y s . It w a s t h e w a i t e r
farm a house with
l a n d in t h e c o u n t r y
fell i n love w i t h od F a r m e r F r a n k l i n ' s s o n , W a l t e r . H e took Schulenberg's w i t h the n e w men.
crown a king or a h e r for l o n g w a l k s i n t h e c o u n t r y , a n d o n e d a y t h e y sat She p u l a w h i t e c a r d i n the t y p e w r i t e r a n d began.
queen w e a r s this
on t h e i r h e a d together u n d e r a tree a n d h e m a d e a c r o w n of dandelion Her l i n g e r s d a n c e d a c r o s s t h e t y p e w r i t e r k e y s . T h e soups
dandelion a wild flowers a n d p u t it o n h e r h e a d . Were rst. T h e m e a t s carne n e x t . A f t e r t h a t , it w a s the
plant with yellow s o u p a food
flowers and leaves 'Those yellow flowers look really beautiful i n y o u r b r o w n vegetables - potatoes, c a r r o t s , tomatoes, and then - t h a t y o u m a k e by
that you c a n cook cooking vegetables
and eat hair,' said Walter. S n r a h w a s c r y i n g over t h e m e n . o r m e a t in w a t e r

8
9
 S h e w a s w a i t i n g for a letter f r o m W a l t e r , a n d d u r i n g the I remember,' said S a r a h softly, 'Dandelions carne just mai* something

p a s t t w o w e e k s n o letter c a r n e . A n d n o w , o n t h e m e n that t dirty of a different

i'lnw tomatoes.' colour that you see
s h e w a s t y p i n g , she r e a d ' d a n d e l i o n s ' a n d s o m e t h i n g about . . I I . on s o m e t h i n g

I k n e w t h a t i t w a s y o u r t y p i n g , b e c a u s e o i the s t r a n g e
an egg. She remembered Walter m a k i n g that dandelion
u.iv l l i a t y o u r t y p e w r i t e r types the W s h i g h e r than the
c r o w n for her, a n d s a y i n g t h a t h e w a n t e d to m a r r y her
Other letters.'
i n the s p r i n g , a n d n o w - s e e i n g t h o s e b e a u t i f u l flowers as
' B u t t h e r e i s n ' t a letter W i n " d a n d e l i o n " ! ' c r i e d Sarah
just something to eat o n the m e n i n f r o n t of h e r - she In surprise.
felt t e r r i b l e . T h e y o u n g m a n t o o k a m e n f r o m h i s p o c k e t a n d gave
A t l a s t she stopped c r y i n g . F o r a w h i l e she t o u c h e d t h e k e y s li i n her.
of the t y p e w r i t e r sadly, s t i l l t h i n k i n g of h e r y o u n g farmer A l the top t h e r e w a s a r o u n d grey m a r k f r o m o n e of h e r
f r i e n d . B u t soon s h e w a s b u s y t y p i n g c a r d after c a r d . ti lirs. S a r a h k n e w t h a t i t w a s t h e c a r d s h e w a s t y p i n g w h e n
A t six o'clock, the w a i t e r from Schulenberg's brought her In- b e g a n c r y i n g a b o u t t h e s u m m e r . A n d , t h e r e - j u s t b e l o w
d i n n e r , a n d took a w a y t h e f i n i s h e d m e n u s . lomiitoes - i n p l a c e of d a n d e l i o n s , s h e r e a d :
A f t e r d i n n e r , S a r a h took a b o o k f r o m t h e table, sat d o w n
i n a c o m f o r t a b l e c h a i r , a n d b e g a n to r e a d . IJNAREST W A L T E R , W I T H AN E G G ON TOP
J u s t t h e n , t h e r e w a s a r i n g at the f r o n t door. T h e I a n d l a d y
o p e n e d it. S a r a h p u t d o w n h e r book, a n d l i s t e n e d .
H e a r i n g a m a n ' s voice downstairs, she suddenly j u m p e d
u p f r o m h e r c h a i r , o p e n e d h e r r o o m door, a n d r a n o u t to
t h e top of t h e s t a i r s .
There, r u n n i n g up the s t a i r s t o w a r d s her, w a s Walter
- a n d soon she w a s i n his a r m s .
' W h y d i d n ' t y o u w r i t e ? ' she a s k e d .
' I w a n t e d to s u r p r i s e y o u . So I w e n t to y o u r od address,
b u t t h e y told m e t h a t y o u w e r e n ' t l i v i n g t h e r e . I d i d n ' t k n o w
w h e r e to find y o u . '
' B u t I w r o t e to y o u w i t h m y n e w address.'
T n e v e r got i t . '
'So h o w d i d y o u find m e ? '
T h e young farmer smiled.
' W e l l , I w e n t to t h e r e s t a u r a n t n e x t door for d i n n e r , a n d
l o o k e d at t h e m e n . W h e n I got to j u s t b e l o w t o m a t o e s , I
Iandlady a woman
w h o gets money j u m p e d o u t of m y c h a i r , a n d c a l l e d for M r S c h u l e n b e r g . He
f o r r e n t i n g out
rooms told m e w h e r e y o u l i v e d . '
READING CHECK l can't get this black off your shirt.
Are these sentences true or false? Tick the boxes.
True False of when it's really cold g | 4

W e e a t a l o t

a Sarah is working in Schulenberg's Restaurant when the story starts. "i llie winter. Wf
b Mr Schulenberg pays her for typing out the menus.
c Sarah is thinking about her summer holiday. Un: letter w on Sarah's
d Walter and Sarah wanted to get married in the summer. doesn't work very well.
e Sarah is crying because Walter hasn't written to her for two weeks.
f Something on the men makes Sarah remember Walter. vou see the ? I want to pay.'
g Walter didn't write to Sarah because he didn't have her address.
h The people at Sarah's od house gave Walter her new address. U t S S WHAT

i Walter found Sarah because of the typing on the men. Ihn next story is about two women in New York. Look at the picture. What do
yon think you will read about in the story? Tick three things.
WORD WORK 11 "n:y both come from rich country families. Q

Find the words in the pictures to complete the sentences. li I oy live together in the same fat.

a Sarah wrote out the menus on pieces of C Q c d I Kiy work together in an Italian restaurant.
il 11 10 of them becomes very ill. O

b Elizabeth II wore her IIio of them loses her job.

f An od man helps them.

c There are a lot of

the garden this year.

d Walter has always lived on a

e I love chocolate

f You usually pay the

fat atthe end of the month.

13
 Eight Great American Tales
Eight Great
American Tales
What does a poor young woman do when she loses
her boyfriend or wants to find one? What llttle lies
do w e tell to make ourselves look better in the
eyes of those that w e love? How can a friend save
someone who is sure that they are going t o die?
What happens when someone's clever plans all go
wrong? These sweetly surprising short stories -
about both good times and bad - are sometimes
sad, and sometimes funny. But all of them are sure
to make you think.

Text adaptation by Bill Bowler

lllustrated by Jamel Akib
This book is supported by a MiiltiHM, containing a complete
dramatized audlo recording of the story plus nteractive activities.

Series Editors: Bill Bowler and Sue Parminter

Word count 7,584

Three 1000 DOMINOES

Two 700

One 400

Starter 250 O
3

J J
O X F O R D OXFORD ENGLISH
ISBN 978-0-19-424890-7
UNIVERSITY PRESS .1

9 '780194"248907
www.oup.com/elt