Английский язык с Грэмом Грином. Третий человек

Франк Илья

instinctive [In'stINktIv], murder ['mq:dq], unaffected ["Anq'fektId], queer ['kwIq], equally ['i:kwqlI], necessarily ['nesqs(q)r(q)lI], underneath ["Andq'ni:T]

It was a shot in the dark, but already he had this firm instinctive sense that there was something wrong, though he hadn't yet attached the word "murder" to the instinct. Kurtz had a cup of coffee halfway to his lips and Martins watched him. The shot apparently went wide; an unaffected hand held the cup to the mouth and Kurtz drank, a little noisily, in long sips. Then he put down the cup and said, "How do you mean—queer?"

"It was convenient for the police to have a corpse, but wouldn't it have been equally convenient perhaps for the real racketeers?" When he had spoken he realised that after all Kurtz had not been unaffected by his wild statement: hadn't he been frozen into caution and calm? The hands of the guilty don't necessarily tremble: only in stories does a dropped glass betray agitation. Tension is more often shown in the studied action. Kurtz had finished his coffee as though nothing had been said.

"Well," he took another sip, "of course I wish you luck, though I don't believe there's anything to find. Just ask me for any help you want."

"I want Cooler's address."

"Certainly. I'll write it down for you. Here it is. In the American zone."

"And yours?"

"I've already put it—underneath—in the Russian zone."

He rose, giving one of his studied Viennese smiles, the charm carefully painted in with a fine brush in the little lines about the mouth and eyes. "Keep in touch," he said, "and if you need help ... but I still think you are very unwise." He picked up The Lone Rider. "I'm so proud to have met you. A master of suspense," and one hand smoothed the toupee, while another passing softly over the mouth brushed out the smile, as though it had never been.

5

MARTINS SAT on a hard chair (Мартинс

сидел на жестком стуле) just inside the stage door of the Josefstadt Theatre (прямо внутри служебного входа Йозефштадтского театра; stage — сцена; door — дверь; stage door — служебный вход в театр). He had sent up his card to Anna Schmidt after the matinee (он послал «вверх» свою карточку к Анне Шмидт после утреннего сеанса; to send — посылать), marking it (подписав ее) "a friend of Harry's" (друг Гарри). An arcade of little windows (аркада маленьких окон), with lace curtains (с тюлевыми занавесками) and the lights going out one after another (и лампами, гаснущими одна за другой) showed where the artists were packing up for home (показывали, где артисты собирались, чтобы идти домой; to pack up — упаковывать), for the cup of coffee without sugar (для чашки кофе без сахара = чтобы выпить там…), the roll without butter (булочки без масла) to sustain them for the evening performance (чтобы поддержать их для вечернего представления). It was like a little street built indoors for a film set (это было подобно маленькой улице, построенной внутри для съемочной площадки; to build — строить, сооружать), but even indoors it was cold (но даже внутри было холодно; indoors — внутри дома, в помещении), even cold to a man in a heavy overcoat (даже холодно для человека в тяжелом пальто), so that Martins rose and walked up and down (поэтому Мартинс встал и ходил туда-сюда: «вверх и вниз»), underneath the little windows (под маленькими окнами). He felt (он чувствовал себя), he said, a little like a Romeo (немного как Ромео) who wasn't sure of Juliet's balcony (который не был уверен в балконе Джульетты = где находится балкон Джульетты).

He had had time to think (у него было /раньше/ время подумать): he was calm now (теперь он был спокоен), Martins not Rollo was in the ascendant (Мартинс, а не Ролло, был преобладающим; ascendant — восходящий, ср. ascendant Venus — восходящая Венера /восходящими считаются те знаки, которые поднимаются на юге по направлению к Зениту/). When a light went out in one of the windows (когда свет погас в одном из окон) and an actress descended into the passage where he walked (и актриса спустилась в проход, где он шагал), he didn't even turn to take a look (он даже не повернулся, чтобы посмотреть: «взять взгляд»). He was done with all that (он покончил: «был сделан» со всем этим). He thought (он думал): Kurtz is right (Куртц прав). They are all right (они все правы). I'm behaving like a romantic fool (я поступаю, как романтичный дурак; to behave — вести себя, поступать, держаться): I'll just have a word with Anna Schmidt (я просто перемолвлюсь словом с Анной Шмидт), a word of commiseration (словом соболезнования), and then I'll pack and go (и затем я соберусь и уеду). He had quite forgotten (он совершенно забыл; to forget), he told me (сказал он мне), the complication of Mr. Crabbin (затруднение с мистером Крэббином).

A voice over his head called "Mr. Martins," (голос над его головой позвал: мистер Мартинс) and he looked up at the face (и он взглянул наверх = поднял

вгляд на лицо) that watched him from between the curtains (которое смотрело на него из-за занавесок) a few feet above his head (несколько футов над его головой; foot — нога /ступня; фут). It wasn't beautiful (оно не было красивым), he firmly explained to me (он твердо объяснил мне), when I accused him of once again mixing his drinks (когда я обвинил его в том, что он опять смешивал свои напитки). Just an honest face with dark hair (просто честное лицо с темными волосами) and eyes which in that light looked brown (и глазами, которые в этом свете выглядели карими): a wide forehead (широкий лоб), a large mouth which didn't try to charm (большой рот, который не пытался очаровывать). No danger anywhere (никакой опасности где бы то ни было), it seemed to Rollo Martins (показалось Ролло Мартинсу), of that sudden reckless moment (/опасности/ того внезапного опрометчивого момента; reckless — необдуманный, безрассудный; опрометчивый, беспечный /шаг, поступок, человек и т. д./) when the scent of hair or a hand against the side (когда запах волос или рука, прикоснувшаяся к боку; against — против) alters life (меняет жизнь). She said, "Will you come up, please (поднимайтесь, пожалуйста)? The second door on the right (вторая дверь справа)."

There are some people (есть некоторые люди), he explained to me carefully (он объяснил мне осторожно), whom one recognises instantaneously as friends (которых ты признаешь: «один признает» моментально как друзей). You can be at ease with them (ты можешь быть непринужденным: «при легкости» с ними) because you know that never, never will you be in danger (потому что ты знаешь, что никогда, никогда не будешь ты в опасности). "That was Anna (это была Анна)," he said, and I wasn't sure whether the past tense was deliberate or not (и я не был уверен = не знал, было ли /грамматическое/ законченное прошедшее время неслучайным или нет; deliberate — хорошо обдуманный; намеренный, предумышленный).

Unlike most actress's rooms (в отличие от большинства комнат актрис) this one was almost bare (эта комната была почти пустой); no wardrobe packed with clothes (никакого гардероба, забитого одеждой), no clutter of cosmetics and grease paints (никакой кучи косметики и грима; clutter — беспорядок; беспорядочность, непорядок, хаос; кутерьма, неразбериха; grease — топленое сало; жир; paint — краска): a dressing gown on the door (халат на двери), one sweater he recognised from Act II on the only easy chair (один свитер (который он узнал из второго акта на единственном мягком кресле; easy chair — мягкое кресло: «легкий стул»), a tin of half used paints and grease (жестянка наполовину использованных красок и сала). A kettle hummed softly on a gas ring (чайник гудел тихо на газовом кольце). She said, "Would you like a cup of tea (хотите чашку чая)? Someone sent me a packet last week (кто-то прислал мне пакет на прошлой неделе)—sometimes the Americans do (иногда американцы присылают), instead of flowers (вместо цветов), you know (знаете ли), on the first night (на премьеру)."

matinee ['mxtIneI], arcade [R'keId], curtain ['kq:t(q)n], artist ['RtIst], sustain [sqs'teIn], performance [pq'fO:mqns], balcony ['bxlkqnI], ascendant [q'sendqnt], descend [dI'send], passage ['pxsIG], commiseration [kq"mIzq'reIS(q)n], complication ["kOmplI'keIS(q)n], honest ['OnIst], forehead ['fOrId], deliberate [dI'lIb(q)rqt], cosmetics [kOz'metIks], sweater ['swetq]

MARTINS SAT on a hard chair just inside the stage door of the Josefstadt Theatre. He had sent up his card to Anna Schmidt after the matinee, marking it "a friend of Harry's." An arcade of little windows, with lace curtains and the lights going out one after another showed where the artists were packing up for home, for the cup of coffee without sugar, the roll without butter to sustain them for the evening performance. It was like a little street built indoors for a film set, but even indoors it was cold, even cold to a man in a heavy overcoat, so that Martins rose and walked up and down, underneath the little windows. He felt, he said, a little like a Romeo who wasn't sure of Juliet's balcony.

He had had time to think: he was calm now, Martins not Rollo was in the ascendant. When a light went out in one of the windows and an actress descended into the passage where he walked, he didn't even turn to take a look. He was done with all that. He thought: Kurtz is right. They are all right. I'm behaving like a romantic fool: I'll just have a word with Anna Schmidt, a word of commiseration, and then I'll pack and go. He had quite forgotten, he told me, the complication of Mr. Crabbin.