Крёстный Отец (6).

Марио Пьюзо. (6 стр.книги)

the hospital onto the mall here*"

  Hagen shook his head. "That's the first thing I asked. Impossible. He's in very bad

shape. He'll pull through but he needs all kinds of attention, maybe some more surgery

(операция, хирургическое вмешательство). Impossible."

  "Then you have to get Sollozzo right away," Michael said. "We can't wait. The guy is

too dangerous. He'll come up with some new idea. Remember, the key is still that he

gets rid of the old man. He knows that. OK, he knows that now it's very tough so he's

willing to take defeat for his life. But if he's going to get killed anyway, he'll have another

crack (нанесет удар) at the Don. And with that police captain helping him who knows

what the hell might happen. We can't take that chance. We have to get Sollozzo right

away."

  Sonny was scratching his chin thoughtfully. "You're right, kid," he said. "You got right

to the old nuts (совершенно /сленг/). We can't let Sollozzo get another crack at the old

man."

  Hagen said quietly, "What about Captain McCluskey*"

  Sonny turned to Michael with an odd little smile. "Yeah, kid, what about that tough

police captain*"

  Michael said slowly, "OK, it's an extreme. But there are times when the most extreme

measures are justified (средства оправданы). Let's think now that we have to kill

McCluskey. The way to do it would be to have him heavily implicated so that it's not an

honest police captain doing his duty but a crooked (изогнутый, кривой; искаженный;

добытый нечестным путем) police official mixed up in the rackets who got what was

coming to him, like any crook (крючок, крюк; жулик, ренегат). We have newspaper

people on our payroll we can give that story to with enough proof so that they can back

it up. That should take some of the heat off. How does that sound*" Michael looked

around deferentially (почтительно, с уважением) to the others. Tessio and Clemenza

had gloomy (мрачный) faces and refused to speak. Sonny said with the same odd

smile, "Go on, kid, you're doing great. Out of the mouths of infants (устами

младенца …), as the Don always used to say. Go ahead, Mike, tell us more."

  Hagen was smiling too a little and averting his head. Michael flushed. "Well, they want

me to go to a conference with Sollozzo. It will be me, Sollozzo and McCluskey all on our

own. Set up the meeting for two days from now, then get our informers to find out where

the meeting will be held. Insist that it has to be a public place, that I'm not going to let

them take me into any apartments or houses. Let it be a restaurant or a bar at the

height of the dinner hour, something like that, so that I'll feel safe. They'll feel safe too.

Even Sollozzo won't figure that we'll dare to gun the captain. They'll frisk me when I

meet them so I'll have to be clean then, but figure out a way you can get a weapon to

me while I'm meeting them. Then I'll take both of them."

  All four heads turned and stared at him. Clemenza and Tessio were gravely

astonished. Hagen looked a little sad but not surprised. He started to speak and thought

better of it. But Sonny, his heavy Cupid's face twitching with mirth (веселье, чувство

веселости), suddenly broke out in loud roars (рев; хохот) of laughter. It was deep belly

laughter, not faking (без притворства; to fake – подделовать, фальсифицировать).

He was really breaking up. He pointed a finger at Michael, trying to speak through

gasps of mirth. "You, the high-class college kid, you never wanted to get mixed up in

the Family business. Now you wanta kill a police captain and the Turk just because you

got your face smashed by McCluskey. You're taking it personal, it's just business and

you're taking it personal. You wanta kill these two guys just because you got slapped in

the face. It was all a lot of crap. All these years it was just a lot of crap."

  Clemenza and Tessio, completely misunderstanding, thinking that Sonny was

laughing at his young brother's bravado for making such an offer, were also smiling

broadly and a little patronizingly at Michael. Only Hagen warily (осторожно) kept his

face impassive. Michael looked around at all of them, then stared at Sonny, who still

couldn't stop laughing. "You'll take both of them*" Sonny said. "Hey, kid, they won't give

you medals, they put you in the electric chair. You know that* This is no hero business,

kid, you don't shoot people from a mile away. You shoot when you see the whites of

their eyes like we got taught in school, remember* You gotta stand right next to them

and blow their heads off and their brains get all over your nice Ivy League («Лига

Плюща» – a group of colleges and universities in the northeastern U.S., consisting of

Yale, Harvard, Princeton, Columbia, Dartmouth, Cornell, the University of Pennsylvania,

and Brown, having a reputation for high scholastic achievement and social prestige) suit.

How about that, kid, you wanta do that just because some dumb cop slapped you

around*" He was still laughing.

  Michael stood up. "You'd better stop laughing," he said. The change in him was so

extraordinary that the smiles vanished (исчезли) from the faces of Clemenza and

Tessio.

  Michael was not tall or heavily built but his presence seemed to radiate danger. In that

moment he was a reincarnation of Don Corleone himself. His eyes had gone a pale tan

and his face was bleached (to bleach – белить, отбеливать; обесцвечивать) of color.

He seemed at any moment about to fling himself on his older and stronger brother.

There was no doubt that if he had had a weapon in his hands Sonny would have been

in danger. Sonny stopped laughing, and Michael said to him in a cold deadly voice,

"Don't you think I can do it, you son of a bitch*"

Sonny had got over his laughing fit (приступ). "I know you can do it," he said. "I wasn't

laughing at what you said. I was just laughing at how funny things turn out. I always said

you were the toughest one in the Family, tougher than the Don himself. You were the

only one who could stand off (держаться на расстоянии; противостоять) the old man.

I remember you when you were a kid. What a temper you had then. Hell, you even used

to fight me and I was a lot older than you. And Freddie had to beat the shit out of you at

least once a week. And now Sollozzo has you figured for the soft touch in the Family

because you let McCluskey hit you without fighting back and you wouldn't get mixed up

in the Family fights. He figures he got nothing to worry about if he meets you head to

head. And McCluskey too, he's got you figured for a yellow guinea." Sonny paused and

then said softly, "But you're a Corleone after all, you son of a bitch. And I was the only

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one who knew it. I've been sitting here waiting for the last three days, ever since the old

man got shot, waiting for you to crack out of that Ivy League, war hero bullshit character

you've been wearing. I've been waiting for you to become my right arm so we can kill

those fucks that are trying to destroy our father and our Family. And all it took was a

sock (удар) on the jaw. How do you like that*" Sonny made a comical gesture, a punch,

and repeated, "How do you like that*"

  The tension had relaxed in the room. Mike shook his head. "Sonny, I'm doing it

because it's the only thing to do. I can't give Sollozzo another crack at the old man. I

seem to be the only one who can get close enough to him. And I figured it out. I don't

think you can get anybody else to knock off a police captain. Maybe you would do it,

Sonny, but you have a wife and kids and you have to run the Family business until the

old man is in shape. So that leaves me and Freddie. Freddie is in shock and out of

action. Finally that leaves just me. It's all logic. The sock on the jaw had nothing to do

with it."

Sonny came over and embraced him. "I don't give a damn what your reasons are, just

so long as you're with us now. And I'll tell you another thing, you're right all the way.

Tom, what's your say*"

  Hagen shrugged. "The reasoning is solid. What makes it so is that I don't think the

Turk is sincere (искренний [sэn'sэ*]) about a deal. I think he'll still try to get at the Don.

Anyway on his past performance (исполнение; действие, поступок) that's how we

have to figure him. So we try to get Sollozzo. We get him even if we have to get the

police captain. But whoever does the job is going to get an awful lot of heat. Does it

have to be Mike*"

  Sonny said softly, "I could do it."

  Hagen shook his head impatiently. "Sollozzo wouldn't let you get within a mile of him if

he had ten police captains. And besides you're the acting head of the Family. You can't

be risked." Hagen paused and said to Clemenza and Tessio, "Do either one of you have

a top button man, someone really special, who would take on this job* He wouldn't

have to worry about money for the rest of his life."

  Clemenza spoke first. "Nobody that Sollozzo wouldn't know, he'd catch on right away.

He'd catch on if me or Tessio went too."

  Hagen said, "What about somebody really tough who hasn't made his rep yet, a good

rookie (новичок, новобранец)*"

  Both caporegimes shook their heads. Tessio smiled to take the sting (жало) out of his

words and said, "That's like bringing a guy up from the minors to pitch (бросать,

посылать мяч) the World Series (/baseball/ an annual series of games between the

winning teams of the two major leagues: the first team to win four games being

champions of the U.S.)"

  Sonny broke in curtly, "It has to be Mike. For a million different reasons. Most

important they got him down as faggy (гомосексуалист; /здесь/ трус). And he can do

the job, I guarantee that, and that's important because this is the only shot we'll get at

that sneaky bastard Turk. So now we have to figure out the best way to back him up.

Tom, Clemenza, Tessio, find out where Sollozzo will take him for the conference, I don't

care how much it costs. When we find that out we can figure out how we can get a

weapon into his hands. Clemenza, I want you to get him a really 'safe' gun out of your

collection, the 'coldest' one you got. Impossible to trace. Try to make it short barrel

(бочонок; ствол, дуло /ружья, пистолета/) with a lot of blasting (to blast –

взрывать/ся/) power. It doesn't have to be accurate. He'll be right on top of them when

he uses it. Mike, as soon as you've used the gun, drop it on the floor. Don't be caught

with it on you. Clemenza, tape (обматывать лентой; tape – лента) the barrel and the

trigger (курок) with that special stuff you got so he won't leave prints (отпечатки).

Remember, Mike, we can square everything, witnesses, and so forth, but if they catch

you with the gun on you we can't square that. We'll have transportation and protection

and then we'll make you disappear for a nice long vacation until the heat wears off.

You'll be gone a long time, Mike, but I don't want you saying good-bye to your girl friend

or even calling her. After it's all over and you're out of the country I'll send her word that

you're OK. Those are orders." Sonny smiled at his brother. "Now stick with Clemenza

and get used to handling the gun he picks out for you. Maybe even practice a little. We'll

take care of everything else. Everything. OK, kid*"

  Again Michael Corleone felt that delicious refreshing chilliness all over his body. He

said to his brother, "You didn't have to give me that crap about not talking to my girl

friend about something like this. What the hell did you think I was going to do, call her

up to say good-bye*"

  Sonny said hastily, "OK, but you're still a rookie so I spell things out. Forget it."

  Michael said with a grin, "What the hell do you mean, a rookie* I listened to the old

man just as hard as you did. How do you think I got so smart*" They both laughed.

  Hagen poured drinks for everyone. He looked a little glum (мрачно, хмуро). The

statesman forced (государственный деятель, вынужденный) to go to war, the lawyer

forced to go to law. "Well, anyway now we know what we're going to do," he said.

Chapter 11

  Captain Mark McCluskey sat in his office fingering three envelopes bulging with

betting slips (игральные карточки; slip – длинная узкая полоска; бланк). He was

frowning and wishing he could decode the notations on the slips. It was very important

that he do so. The envelopes were the betting slips that his raiding parties had picked

up when they had hit one of the Corleone Family bookmakers the night before. Now the

bookmaker would have to buy back the slips so that players couldn't claim winners and

wipe him out.

  It was very important for Captain McCluskey to decode the slips because he didn't

want to get cheated when he sold the slips back to the bookmaker. If there was fifty

grand worth of action, then maybe he could sell it back for five grand. But if there were a

lot of heavy bets and the slips represented a hundred grand or maybe even two

hundred grand, then the price should be considerably higher. McCluskey fiddled

(вертел в руках; fiddle – вертеть; to fiddle – играть на скрипке) with the envelopes

and then decided to let the bookie sweat a little bit and make the first offer. That might

tip off (может подсказать) what the real price should be.

  McCluskey looked at the station house clock on the wall of his office. It was time for

him to pick up that greasy (сальный, грязный) Turk, Sollozzo, and take him to

wherever he was going to meet the Corleone Family. McCluskey went over to his wall

locker (запирающийся шкафчик) and started to change into his civilian clothes. When

he was finished he called his wife and told her he would not be home for supper that

night, that he would be out on the job. He never confided (to confide – доверять/ся/;

вверять /тайну/) in his wife on anything. She thought they lived the way they did on his

policeman's salary (зарплата). McCluskey grunted with amusement. His mother had

thought the same thing but he had learned early. His father had shown him the ropes

(методы работы; rope – веревка, канат; петля).

  His father had been a police sergeant, and every week father and son had walked

through the precinct and McCluskey Senior had introduced his six-year-old son to the

storekeepers (владельцы магазинов), saying, "And this is my little boy."

  The storekeepers would shake his hand and compliment him extravagantly and ring

open their cash registers to give the little boy a gift of five or ten dollars. At the end of

the day, little Mark McCluskey would have all the pockets of his suit stuffed with paper

money, would feel so proud that his father's friends liked him well enough to give him a

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present every month they saw him. Of course his father put the money in the bank for

him, for his college education, and little Mark got at most a fifty-cent piece for himself.

  Then when Mark got home and his policemen uncles asked him what he wanted to be

when he grew up and he would lisp childishly, "A policeman," they would all laugh

uproariously. And of course later on, though his father wanted him to go to college first,

he went right from high school to studying for the police force.

  He had been a good cop, a brave cop. The tough young punks terrorizing street

corners fled when he approached and finally vanished from his beat altogether. He was

a very tough cop and a very fair one. He never took his son around to the storekeepers

to collect his money presents for ignoring garbage violations (нарушения по выбросу

мусора ['gб:bэdG]) and parking violations; he took the money directly into his own hand,

direct because he felt he earned it. He never ducked into a movie house or goofed (to

goof – лодырничать, слоняться без дела) off into restaurants when he was on foot

patrol as some of the other cops did, especially on winter nights. He always made his

rounds. He gave his stores a lot of protection, a lot of service. When winos (алкаши)

and drunks filtered up from the Bowery to panhandle on his beat (попрошайничать на

патрулируемом им участке; panhandle – ручка кастрюли) he got rid of them so

roughly that they never came back. The tradespeople in his precinct appreciated (to

appreciate [* ‘prэ:*эeэt] – ценить) it. And they showed their appreciation.

  He also obeyed the system. The bookies in his precinct knew he would never make

trouble to get an extra payoff for himself, that he was content for his share of the station

house bag (своей долей из общего котла; station house – полицейский участок; bag

– сумка; кошелек). His name was on the list with the others and he never tried to make

extras. He was a fair cop who took only clean graft (работа, профессия; взятка) and

his rise in the police department was steady if not spectacular (эффектный).

  During this time he was raising a large family of four sons, none of whom became

policemen. They all went to Fordham University and since by that time Mark McCluskey

was rising from sergeant to lieutenant and finally to captain, they lacked for nothing. It

was at this time that McCluskey got the reputation for being a hard bargainer (to bargain

[‘bб:gэn] – торговаться, заключать сделку). The bookmakers in his district paid more

protection money than the bookmakers in any other part of the city, but maybe that was

because of the expense of putting four boys through college.

  McCluskey himself felt there was nothing wrong with clean graft. Why the hell should

his kids go to CCNY or a cheap Southern college just because the Police Department

didn't pay its people enough money to live on and take care of their families properly

with* He protected all these people with his life and his record showed his citations

(вызовы в суд; упоминания в списках об отличившихся) for gun duels with stickup

(грабеж) men on his beat, strong-arm protection guys, would-be (претендующий, с

претензией на то, чтобы быть кем-то) pimps (сутенеры). He had hammered them

into the ground. He had kept his little corner of the city safe for ordinary people and he

sure as hell was entitled (имеющий право, уполномоченный) to more than his lousy

one C note (стодолларовая купюра) a week. But he wasn't indignant (возмущен)

about his low pay, he understood that everybody had to take care of themselves.

  Bruno Tattaglia was an old friend of his. Bruno had gone to Fordham with one of his

sons and then Bruno had opened his nightclub and whenever the McCluskey family

spent an infrequent (нечастый) night on the town, they could enjoy the cabaret with

liquor and dinner – on the house. On New Year's Eve they received engraved

invitations to be guests of the management and always received one of the best tables.

Bruno always made sure they were introduced to the celebrities (знаменитости) who

performed in his club, some of them famous singers and Hollywood stars. Of course

sometimes he asked a little favor, like getting an employee with a record cleared for a

cabaret work license, usually a pretty girl with a police dossier as a hustler or roller

(вор-карманник). McCluskey would be glad to oblige (сделать одолжение, угодить

[*b'laэdG]).

  McCluskey made it a policy never to show that he understood what other people were

up to. When Sollozzo had approached him with the proposition to leave old man

Corleone uncovered in the hospital, McCluskey didn't ask why. He asked price. When

Sollozzo said ten grand, McCluskey knew why. He did not hesitate. Corleone was one

of the biggest Mafia men in the country with more political connections than Capone

had ever had. Whoever knocked him off would be doing the country a big favor.

McCluskey took the money in advance (заранее, задатком; advance [*d'vб:ns] –

движение вперед; аванс) and did the job. When he received a call from Sollozzo that

there were still two of Corleone's men in front of the hospital he had flown into a rage.

He had locked up all of Tessio's men, he had pulled the detective guards off the door of

Corleone's hospital room. And now, being a man of principle, he would have to give

back the ten grand, money he had already earmarked (earmark – клеймо /на ухе/,

тавро; to earmark – клеймить; откладывать деньги /на что-либо/) to insure the

education of his grandchildren. It was in that rage that he had gone to the hospital and

struck Michael Corleone.

  But it had all worked out for the best. He had met with Sollozzo in the Tattaglia

nightclub and they had made an even better deal. Again McCluskey didn't ask

questions, since he knew all the answers. He just made sure of his price. It never

occurred to him that he himself could be in any danger. That anyone would consider

even for a moment killing a New York City police captain was too fantastic. The

toughest hood in the Mafia had to stand still (по стойке смирно) if the lowliest

patrolman decided to slap him around. There was absolutely no percentage in killing

cops. Because then all of a sudden a lot of hoods were killed resisting arrest or

escaping the scene of a crime, and who the hell was going to do anything about that*

  McCluskey sighed and got ready to leave the station house. Problems, always

problems. His wife's sister in Ireland had just died after many years of fighting cancer

and that cancer had cost him a pretty penny. Now the funeral would cost him more. His

own uncles and aunts in the old country needed a little help now and then to keep their

potato farms and he sent the money to do the trick. He didn't begrudge (жадничать,

жалеть, скупиться) it. And when he and his wife visited the old country they were

treated like a king and queen. Maybe they would go again this summer now that the war

was over and with all this extra money coming in. McCluskey told his patrolman clerk

where he would be if he was needed. He did not feel it necessary to take any

precautions. He could always claim Sollozzo was an informer he was meeting. Outside

the station house he walked a few blocks and then caught a cab to the house where he

would meet with Sollozzo.

  It was Tom Hagen who had to make all the arrangements for Michael's leaving the

country, his false passport, his seaman's card, his berth (койка) on an Italian freighter

(грузовой корабль ['freэt*]) that would dock in a Sicilian port. Emissaries were sent that

very day by plane to Sicily to prepare a hiding place with the Mafia chief in the hill

country.

  Sonny arranged for a car and an absolutely trustworthy driver to be waiting for

Michael when he stepped out of the restaurant where the meeting would be held with

Sollozzo. The driver would be Tessio himself, who had volunteered for the job. It would

be a beat-up-looking (побитый, обшарпанный) car but with a fine motor. It would have

phony license plates and the car itself would be untraceable. It had been saved for a

special job requiring the best.

  Michael spent the day with Clemenza, practicing with the small gun that would be

gotten to him. It was a .22 filled with soft-nosed bullets that made pinpricks

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(булавочные уколы) going in and left insulting gaping holes when they exited from the

human body. He found that it was accurate up to five of his steps away from a target

(цель). After that the bullets might go anywhere. The trigger was tight (тугой) but

Clemenza worked on this with some tools (инструменты) so that it pulled easier. They

decided to leave it noisy. They didn't want an innocent bystander misunderstanding the

situation and interfering out of ignorant courage. The report of the gun would keep them

away from Michael.

  Clemenza kept instructing him during the training session. "Drop the gun as soon as

you've finished using it. Just let your hand drop to your side and the gun slip out.

Nobody will notice. Everybody will think you're still armed. They'll be staring at your face.

Walk out of the place very quickly but don't run. Don't look anybody directly in the eye

but don't look away from them either. Remember, they'll be scared of you, believe me,

they'll be scared of you. Nobody will interfere. As soon as you're outside Tessio will be

in the car waiting for you. Get in and leave the rest to him. Don't be worried about

accidents. You'd be surprised how well these affairs go. Now put this hat on and let's

see how you look." He clapped a gray fedora (мягкая фетровая шляпа [fэ'd*ur*]) on

Michael's head. Michael, who never wore a hat, grimaced. Clemenza reassured him. "It

helps against identification, just in case. Mostly it gives witnesses an excuse to change

their identification when we make them see the light. Remember, Mike, don't worry

about prints. The butt (рукоятка) and trigger are fixed with special tape. Don't touch any

other part of the gun, remember that."

  Michael said, "Has Sonny found out where Sollozzo is taking me*"

  Clemenza shrugged. "Not yet. Sollozzo is being very careful. But don't worry about

him harming you. The negotiator stays in our hands until you come back safe. If

anything happens to you, the negotiator pays."

  "Why the hell should he stick his neck out*" Michael asked.

  "He gets a big fee (вознаграждение, гонорар)," Clemenza said. "A small fortune.

Also he is an important man in the Families. He knows Sollozzo can't let anything

happen to him. Your life is not worth the negotiator's life to Sollozzo. Very simple. You'll

be safe all right. We're the ones who catch hell afterwards."

  "How bad will it be*" Michael asked.

  "Very bad," Clemenza said. "It means an all-out war with the Tattaglia Family against

the Corleone Family. Most of the others will line up with the Tattaglias. The Sanitation

Department will be sweeping up a lot of dead bodies this winter." He shrugged. "These

things have to happen once every ten years or so. It gets rid of the bad blood. And then

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if we let them push us around on the little things they wanta take over everything. You

gotta stop them at the beginning. Like they shoulda stopped Hitler at Munich, they

should never let him get away with that, they were just asking for big trouble when they

let him get away with that."

  Michael had heard his father say this same thing before, only in 1939 before the war

actually started. If the Families had been running the State Department there would

never have been World War II, he thought with a grin.

  They drove back to the mall and to the Don's house, where Sonny still made his

headquarters. Michael wondered how long Sonny could stay cooped up (coop –

курятник; to coop – сажать в курятник, в клетку) in the safe territory of the mall.

Eventually he would have to venture (отважиться) out. They found Sonny taking a nap

on the couch. On the coffee table was the remains of his late lunch, scraps of steak and

bread crumbs and a half-empty bottle of whiskey.

  His father's usually neat office was taking on the look of a badly kept furnished room.

Michael shook his brother awake and said, "Why don't you stop living like a bum

(лодырь; /здесь/ бродяга) and get this place cleaned up*"

  Sonny yawned. "What the hell are you, inspecting the barracks* Mike, we haven't got

the word yet where they plan to take you, those bastards Sollozzo and McCluskey. If we

don't find that out, how the hell are we going to get the gun to you*"

  "Can't I carry it on me*" Michael asked. "Maybe they won't frisk me and even if they

do maybe they'll miss it if we're smart enough. And even if they find it – so what. They'll

just take it off me and no harm done."

  Sonny shook his head. "Nah," he said. "We have to make this a sure hit on that

bastard Sollozzo. Remember, get him first if you possibly can. McCluskey is slower and

dumber. You should have plenty of time to take him. Did Clemenza tell you to be sure to

drop the gun*"

  "A million times," Michael said.

  Sonny got up from the sofa and stretched. "How does your jaw feel, kid*"

  "Lousy," Michael said. The left side of his face ached except those parts that felt numb

because of the drugged wire holding it together. He took the bottle of whiskey from the

table and swigged (swig – большой глоток /спиртного/; to swig – пить большими

глотками) directly from it. The pain eased.

  Sonny said, "Easy, Mike, now is no time to get slowed up by booze (спиртное,

бухло)."

  Michael said, "Oh, Christ, Sonny, stop playing the big brother. I've been in combat

against tougher guys than Sollozzo and under worse conditions. Where the hell are his

mortars (минометы)* Has he got air cover* Heavy artillery* Land mines* He's just a

wise son of a bitch with a big-wheel (важный, влиятельный /человек/) cop sidekick

(закадычный друг /сленг/). Once anybody makes up their mind to kill them there's no

other problem. That's the hard part, making up your mind. They'll never know what hit

them."

  Tom Hagen came into the room. He greeted them with a nod and went directly to the

falsely listed telephone. He called a few times and then shook his head at Sonny. "Not a

whisper," he said. "Sollozzo is keeping it to himself as long as he can."

  The phone rang. Sonny answered it and he held up a hand as if to signal for quiet

though no one had spoken. He jotted some notes down on a pad, then said, "OK, he'll

be there," and hung up the phone.

  Sonny was laughing. "That son of a bitch Sollozzo, he really is something. Here's the

deal. At eight tonight he and Captain McCluskey pick up Mike in front of Jack

Dempsey's bar on Broadway. They go someplace to talk, and get this. Mike and

Sollozzo talk in Italian so that the Irish cop don't know what the hell they are talking

about. He even tells me, don't worry, he knows McCluskey doesn't know one word in

Italian unless it's 'soldi' (деньги) and he's checked you out, Mike, and knows you can

understand Sicilian dialect."

  Michael said dryly, "I'm pretty rusty (ржавый; запущенный) but we won't talk long."

  Tom Hagen said, "We don't let Mike go until we have the negotiator. Is that

arranged*"

  Clemenza nodded. "The negotiator is at my house playing pinochle (вид карточной

игры) with three of my men. They wait for a call from me before they let him go."

  Sonny sank back in the leather armchair. "Now how the hell do we find out the

meeting place* Tom, we've got informers with the Tattaglia Family, how come they

haven't given us the word*"

  Hagen shrugged. "Sollozzo is really damn smart. He's playing this close to the vest,

so close that he's not using any men as a cover. He figures the captain will be enough

and that security is more important than guns. He's right too. We'll have to put a tail on

Mike and hope for the best."

  Sonny shook his head. "Nah, anybody can lose a tail when they really want to. That's

the first thing they'll check out."

269

  By this time it was five in the afternoon. Sonny, with a worried look on his face, said,

"Maybe we should just let Mike blast whoever is in the car when it tries to pick him up."

  Hagen shook his head. "What if Sollozzo is not in the car* We've tipped our hand for

nothing. Damn it, we have to find out where Sollozzo is taking him."

  Clemenza put in, "Maybe we should start trying to figure why he's making it such a big

secret."

  Michael said impatiently, "Because it's the percentage. Why should he let us know

anything if he can prevent it* Besides, he smells danger. He must be leery

(подозрительый, осторожный, осмотрительный) as hell even with that police captain

for his shadow."

  Hagen snapped his fingers. "That detective, that guy Phillips. Why don't you give him

a ring, Sonny* Maybe he can find out where the hell the captain can be reached. It's

worth a try. McCluskey won't give a damn who knows where he's going."

  Sonny picked up the phone and dialed a number. He spoke softly into the phone, then

hung up. "He'll call us back," Sonny said.

  They waited for nearly another thirty minutes and then the phone rang. It was Phillips.

Sonny jotted something down on his pad and then hung up. His face was taut (туго

натянутый, подтянутый [to:t]). "I think we've got it," he said. "Captain McCluskey

always has to leave word on where he can be reached. From eight to ten tonight he'll be

at the Luna Azure up in the Bronx. Anybody know it*"

  Tessio spoke confidently. "I do. It's perfect for us. A small family place with big booths

(booth [bu:р] – киоск, будка, кабина) where people can talk in private. Good food.

Everybody minds their own business. Perfect." He leaned over Sonny's desk and

arranged stubbed-out (stub – пень; обломок; окурок; to stub out – погасить /окурок/)

cigarettes into map figures. "This is the entrance. Mike, when you finish just walk out

and turn left, then turn the corner. I'll spot you and put on my headlights and catch you

on the fly. If you have any trouble, yell and I'll try to come in and get you out. Clemenza,

you gotta work fast. Send somebody up there to plant (сажать /растение/; размещать)

the gun. They got an old-fashioned toilet with a space between the water container and

the wall. Have your man tape the gun behind there. Mike, after they frisk you in the car

and find you're clean, they won't be too worried about you. In the restaurant, wait a bit

before you excuse yourself. No, better still, ask permission to go. Act a little in trouble

first, very natural. They can't figure anything. But when you come out again, don't waste

any time. Don't sit down again at the table, start blasting. And don't take chances. In the

head, two shots apiece, and out as fast as your legs can travel."

270

  Sonny had been listening judiciously. "I want somebody very good, very safe, to plant

that gun," he told Clemenza. "I don't want my brother coming out of that toilet with just

his dick (половой член /сленг/) in his hand."

  Clemenza said emphatically (с пафосом, с эмфазой, решительно, категорически

[эm'fжtэk*lэ]), "The gun will be there."

  "OK," Sonny said. "Everybody get rolling."

  Tessio and Clemenza left. Tom Hagen said, "Sonny, should I drive Mike down to New

York*"

  "No," Sonny said. "I want you here. When Mike finishes, then our work begins and I'll

need you. Have you got those newspaper guys lined up*"

  Hagen nodded. "I'll be feeding them info as soon as things break."

  Sonny got up and came to stand in front of Michael. He shook his hand. "OK, kid," he

said, "you're on. I'll square it with Mom your not seeing her before you left. And I'll get a

message to your girl friend when I think the time is right. OK*"

  "OK," Mike said. "How long do you think before I can come back*"

  "At least a year," Sonny said.

  Tom Hagen put in, "The Don might be able to work faster than that, Mike, but don't

count on it. The time element hinges (hinge – петля /дверная/; to hinge – крепиться;

зависеть от чего-либо) on a lot of factors. How well we can plant stories with the

newsmen. How much the Police Department wants to cover up. How violently the other

Families react. There's going to be a hell of a lot of heat and trouble. That's the only

thing we can be sure of."

  Michael shook Hagen's hand. "Do your best," he said. "I don't want to do another

three-year stretch away from home."

  Hagen said gently, "It's not too late to back out, Mike, we can get somebody else, we

can go back over our alternatives. Maybe it's not necessary to get rid of Sollozzo."

  Michael laughed. "We can talk ourselves into any view-point," he said. "But we figured

it right the first time. I've been riding the gravy train (gravy train – легкая нажива,

выгодное предприятие; gravy – подливка; легкая нажива, незаконные доходы

/сленг/) all my life, it's about time I paid my dues (пора платить по счету, за проезд)."

  "You shouldn't let that broken jaw influence you," Hagen said. "McCluskey is a stupid

man and it was business, not personal."

  For the second time he saw Michael Corleone's face freeze into a mask that

resembled uncannily (жутко, зловеще) the Don's. "Tom, don't let anybody kid you. It's

all personal, every bit of business. Every piece of shit every man has to eat every day of

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his life is personal. They call it business. OK. But it's personal as hell. You know where I

learned that from* The Don. My old man. The Godfather. If a bolt (молния) of lightning

hit a friend of his the old man would take it personal. He took my going into the Marines

personal. That's what makes him great. The Great Don. He takes everything personal.

Like God. He knows every feather that falls from the tail of a sparrow (воробей) or

however the hell it goes. Right* And you know something* Accidents don't happen to

people who take accidents as a personal insult. So I came late, OK, but I'm coming all

the way. Damn right, I take that broken jaw personal; damn right, I take Sollozzo trying

to kill my father personal." He laughed. "Tell the old man I learned it all from him and

that I'm glad I had this chance to pay him back for all he did for me. He was a good

father." He paused and then he said thoughtfully to Hagen, "You know, I can never

remember him hitting me. Or Sonny. Or Freddie. And of course Connie, he wouldn't

even yell at her. And tell me the truth, Tom, how many men do you figure the Don killed

or had killed."

  Tom Hagen turned away. "I'll tell you one thing you didn't learn from him: talking the

way you're talking now. There are things that have to be done and you do them and you

never talk about them. You don't try to justify them. They can't be justified. You just do

them. Then you forget it."

  Michael Corleone frowned. He said quietly, "As the Consigliori, you agree that it's

dangerous to the Don and our Family to let Sollozzo live*"

  "Yes," Hagen said.

  "OK," Michael said. "Then I have to kill him."

  Michael Corleone stood in front of Jack Dempsey's restaurant on Broadway and

waited for his pickup. He looked at his watch. It said five minutes to eight. Sollozzo was

going to be punctual. Michael had made sure he was there in plenty of time. He had

been waiting fifteen minutes.

  All during the ride from Long Beach into the city he had been trying to forget what he

had said to Hagen. For if he believed what he said, then his life was set on an

irrevocable (неотменяемый, бесповоротный [э’rev*k*bl]) course. And yet, could it be

otherwise after tonight* He might be dead after tonight if he didn't stop all this crap,

Michael thought grimly. He had to keep his mind on the business at hand. Sollozzo was

no dummy (дурик) and McCluskey was a very tough egg. He felt the ache in his wired

jaw and welcomed the pain, it would keep him alert.

  Broadway wasn't that crowded on this cold winter night, even though it was near

theater time. Michael flinched as a long black car pulled up to the curb and the driver,

leaning over, opened the front door and said, "Get in, Mike." He didn't know the driver, a

young punk with slick black hair and an open shirt, but he got in. In the back seat were

Captain McCluskey and Sollozzo.

  Sollozzo reached a hand over the back of the seat and Michael shook it. The hand

was firm, warm and dry. Sollozzo said, "I'm glad you came, Mike. I hope we can

straighten everything out. AIl this is terrible, it's not the way I wanted things to happen at

all. It should never have happened."

  Michael Corleone said quietly, "I hope we can settle things tonight, I don't want my

father bothered any more."

  "He won't be," Sollozzo said sincerely. "I swear to you by my children he won't be.

Just keep an open mind when we talk. I hope you're not a hothead like your brother

Sonny. It's impossible to talk business with him."

  Captain McCluskey grunted. "He's a good kid, he's all right." He leaned over to give

Michael an affectionate pat (похлопывание) on the shoulder. "I'm sorry about the other

night, Mike. I'm getting too old for my job, too grouchy (ворчливый, здесь: легко

срываюсь). I guess I'll have to retire pretty soon. Can't stand the aggravation

(ухудшение состояния; здесь: досада, раздражение), all day I get aggravation. You

know how it is." Then with a doleful (скорбный, страдальческий) sigh, he gave Michael

a thorough frisk for a weapon.

  Michael saw a slight smile on the driver's lips. The car was going west with no

apparent attempt to elude any trailers (избежать фургонов, прицепов [э'lu:d]). It went

up on to the West Side Highway, speeding in and out of traffic. Anyone following would

have had to do the same. Then to Michael's dismay (испуг, смятение [dэs’mei]) it took

the exit for the George Washington Bridge, they were going over to New Jersey.

Whoever had given Sonny the info on where the meeting was to be held had given him

the wrong dope.

  The car threaded (машина пробралась, проскользнула; thread [иred] – нить)

through the bridge approaches (подступы, подходы) and then was on it, leaving the

blazing (to blaze – сверкать, сиять, блистать) city behind. Michael kept his face

impassive. Were they going to dump (выгрузить, вывалить; избавиться, бросить) him

into the swamps or was it just a last-minute change in meeting place by the wily

Sollozzo* But when they were nearly all the way across, the driver gave the wheel a

violent twist. The heavy automobile jumped into the air when it hit the divider and

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bounced over into the lanes going back to New York City. Both McCluskey and Sollozzo

were looking back to see if anyone had tried doing the same thing. The driver was really

hitting it back to New York and then they were off the bridge and going toward the East

Bronx. They went through the side streets with no cars behind them. By this time it was

nearly nine o'clock. They had made sure there was no one on their tail. Sollozzo lit up a

cigarette after offering his pack to McCluskey and Michael, both of whom refused.

Sollozzo said to the driver, "Nice work. I'll remember it."

  Ten minutes later the car pulled up in front of a restaurant in a small Italian

neighborhood. There was no one on the streets and because of the lateness of the hour

only a few people were still at dinner. Michael had been worried that the driver would

come in with them, but he stayed outside with his car. The negotiator had not mentioned

a driver, nobody had. Technically Sollozzo had broken the agreement by bringing him

along. But Michael decided not to mention it, knowing they would think he would be

afraid to mention it, afraid of ruining the chances for the success of the parley (разговор,

переговоры [pб:lэ].

  The three of them sat at the only round table, Sollozzo refusing a booth. There were

only two other people in the restaurant. Michael wondered whether they were Sollozzo

plants (‘подсадные утки’; to plant – сажать /растение/). But it didn't matter. Before

they could interfere it would be all over.

  McCluskey asked with real interest, "Is the Italian food good here*"

  Sollozzo reassured him. "Try the veal (телятина), it's the finest in New York." The

solitary waiter had brought a bottle of wine to the table and uncorked it (вынул пробку:

cork). He poured three glasses full. Surprisingly McCluskey did not drink. "I must be the

only Irishman who don't take the booze (алкоголь, выпивка /сленг/)," he said. "I seen

too many good people get in trouble because of the booze."

  Sollozzo said placatingly (to placate – умиротворять, унимать, успокаивать) to the

captain, "I am going to talk Italian to Mike, not because I don't trust you but because I

can't explain myself properly in English and I want to convince Mike that I mean well,

that it's to everybody's advantage for us to come to an agreement (соглашение) tonight.

Don't be insulted by this, it's not that I don't trust you."

  Captain McCluskey gave them both an ironic grin.

  "Sure, you two go right ahead," he said. "I'll concentrate on my veal and spaghetti."

  Sollozzo began speaking to Michael in rapid (быстрый, беглый) Sicilian. He said,

"You must understand that what happened between me and your father was strictly a

business matter. I have a great respect for Don Corleone and would beg for the

opportunity to enter his service. But you must understand that your father is an old-

fashioned man. He stands in the way of progress. The business I am in is the coming

thing, the wave of the future, there are untold millions of dollars for everyone to make.

But your father stands in the way because of certain unrealistic scruples (сомнения,

угрызения совести). By doing this he imposes his will on men like myself. Yes, yes, I

know, he says to me, 'Go ahead, it's your business,' but we both know that is unrealistic.

We must tread on each other's corns (будем наступать друг другу на мозоль; corn –

зерно; мозоль). What he is really telling me is that I cannot operate my business. I am

a man who respects himself and cannot let another man impose his will on me so what

had to happen did happen. Let me say that I had the support, the silent support of all

the New York Families. And the Tattaglia Family became my partners. If this quarrel

(ссора, раздор [‘kwor*l]) continues, then the Corleone Family will stand alone against

everyone. Perhaps if your father were well, it could be done. But the eldest son is not

the man the Godfather is, no disrespect intended (без обиды будет сказано: «никакое

неуважение не входит в намерение»). And the Irish Consigliori, Hagen, is not the

man Genco Abbandando was, God rest his soul (упокой его душу). So I propose a

peace, a truce (перемирие). Let us cease all hostilities (прекратить враждебные

действия) until your father is well again and can take part in these bargainings. The

Tattaglia Family agrees, upon my persuasions and my indemnities (indemnity –

гарантия от убытков; возмещение), to forgo (отказаться, воздержаться) justice for

their son Bruno. We will have peace. Meanwhile, I have to make a living and will do a

little trading in my business. I do not ask your cooperation but I ask you, the Corleone

Family, not to interfere. These are my proposals. I assume (предполагаю) you have the

authority to agree, to make a deal."

  Michael said in Sicilian, "Tell me more about how you propose to start your business,

exactly what part my Family has to play in it and what profit we can take from this

business."

  "You want the whole proposition in detail then*" Sollozzo asked.

  Michael said gravely, "Most important of all I must have sure guarantees that no more

attempts will be made on my father's life."

  Sollozzo raised his hand expressively. "What guarantees can I give you* I'm the

hunted one. I've missed my chance. You think too highly of me, my friend. I am not that

clever."

  Michael was sure now that the conference was only to gain a few days' time. That

Sollozzo would make another attempt to kill the Don. What was beautiful was that the

275

Turk was underrating him as a punk kid. Michael felt that strange delicious chill filling his

body. He made his face look distressed. Sollozzo asked sharply, "What is it*"

  Michael said with an embarrassed air, "The wine went right to my bladder (мочевой

пузырь). I've been holding it in. Is it all right if I go to the bathroom*"

Sollozzo was searching his face intently with his dark eyes. He reached over and

roughly thrust his hand in Michael's crotch, under it and around, searching for a weapon.

Michael looked offended. McCluskey said curtly, "I frisked him. I've frisked thousands of

young punks. He's clean."

  Sollozzo didn't like it. For no reason at all he didn't like it. He glanced at the man

sitting at a table opposite them and raised his eyebrows toward the door of the

bathroom. The man gave a slight nod that he had checked it, that there was nobody

inside. Sollozzo said reluctantly (неохотно), "Don't take too long." He had marvelous

antenna, he was nervous.

  Michael got up and went into the bathroom. The urinal had a pink bar of soap in it

secured by a wire net. He went into the booth. He really had to go, his bowels

(кишечник) were loose (свободный, непривязанный; несдерживаемый). He did it

very quickly, then reached behind the enamel (эмалированный [э’nжm*l]) water

cabinet until his hand touched the small, blunt-nosed (blunt – тупой) gun fastened with

tape. He ripped the gun loose, remembering that Clemenza had said not to worry about

leaving prints on the tape. He shoved the gun into his waistband (пояс) and buttoned

his jacket over it. He washed his hands and wet his hair. He wiped his prints off the

faucet (вентиль, втулка; водопроводный кран [fo:sэt]) with his handkerchief. Then he

left the toilet.

  Sollozzo was sitting directly facing the door of the toilet, his dark eyes blazing with

alertness. Michael gave a smile. "Now I can talk," he said with a sigh of relief.

  Captain McCluskey was eating the plate of veal and spaghetti that had arrived. The

man on the far wall had been stiff with attention, now he too relaxed visibly.

  Michael sat down again. He remembered Clemenza had told him not to do this, to

come out of the toilet and blaze away. But either out of some warning instinct or sheer

funk (или просто от испуга, со страха; funk – сильный запах, зловоние) he had not

done so. He had felt that if he had made one swift move he would have been cut down.

Now he felt safe and he must have been scared because he was glad he was no longer

standing on his legs. They had gone weak with trembling.

  Sollozzo was leaning toward him. Michael, his belly covered by the table, unbuttoned

his jacket and listened intently. He could not understand a word the man was saying. It

276

was literally gibberish (невнятная речь, тарабарщина [‘gэb*rэ*]) to him. His mind was

so filled with pounding (to pound – бить/ся/, колотить/ся/) blood that no word

registered. Underneath the table his right hand moved to the gun tucked into his

waistband and he drew it free. At that moment the waiter came to take their order and

Sollozzo turned his head to speak to the waiter. Michael thrust the table away from him

with his left hand and his right hand shoved the gun almost against Sollozzo's head.

The man's coordination was so acute ([*‘kju:t] остроконечный, острый; сильный,

резкий) that he had already begun to fling himself away at Michael's motion. But

Michael, younger, his reflexes sharper, pulled the trigger. The bullet caught Sollozzo

squarely between his eye and his ear and when it exited on the other side blasted out a

huge gout (брызги, поток) of blood and skull fragments onto the petrified

(остолбеневший; to petrify [‘petrэfaэ] – превращать/ся/ в камень, окаменевать)

waiter's jacket. Instinctively Michael knew that one bullet was enough. Sollozzo had

turned his head in that last moment and he had seen the light of life die in the man's

eyes as clearly as a candle goes out.

  Only one second had gone by as Michael pivoted to bring the gun to bear on

McCluskey. The police captain was staring at Sollozzo with phlegmatic surprise, as if

this had nothing to do with him. He did not seem to be aware of his own danger. His

veal-covered fork was suspended («подвешенная» = застывшая в воздухе) in his

hand and his eyes were just turning on Michael. And the expression on his face, in his

eyes, held such confident outrage (такое самоуверенное возмущение), as if now he

expected Michael to surrender or to run away, that Michael smiled at him as he pulled

the trigger. This shot was bad, not mortal (смертельный). It caught McCluskey in his

thick bull-like throat and he started to choke loudly as if he had swallowed too large a

bite of the veal. Then the air seemed to fill with a fine mist of sprayed blood as he

coughed it out of his shattered lungs (легкие). Very coolly, very deliberately, Michael

fired the next shot through the top of his white-haired skull.

  The air seemed to be full of pink mist (розовая дымка). Michael swung toward the

man sitting against the wall. This man had not made a move. He seemed paralyzed.

Now he carefully showed his hands on top of the table and looked away. The waiter

was staggering back toward the kitchen, an expression of horror on his face, staring at

Michael in disbelief. Sollozzo was still in his chair, the side of his body propped up (to

prop – подпирать) by the table. McCluskey, his heavy body pulling downward, had

fallen off his chair onto the floor. Michael let the gun slip out of his hand so that it

bounced off (отскочил от; bounce – бумс! бух!) his body and made no noise. He saw

277

that neither the man against the wall nor the waiter had noticed him dropping the gun.

He strode the few steps toward the door and opened it. Sollozzo's car was parked at the

curb still, but there was no sign of the driver. Michael turned left and around the corner.

Headlights flashed on and a battered sedan pulled up to him, the door swinging open.

He jumped in and the car roared away. He saw that it was Tessio at the wheel, his trim

features hard as marble.

  "Did you do the job on Sollozzo*" Tessio asked.

  For that moment Michael was struck by the idiom Tessio had used. It was always

used in a sexual sense, to do the job on a woman meant seducing (to seduce [sэ’dju:s]

– соблазнять) her. It was curious that Tessio used it now. "Both of them," Michael said.

  "Sure*" Tessio asked.

  "I saw their brains," Michael said.

  There was a change of clothes for Michael in the car. Twenty minutes later he was on

an Italian freighter slated (to slate – намечать, планировать) for Sicily. Two hours later

the freighter put out to sea and from his cabin Michael could see the lights of New York

City burning like the fires of hell. He felt an enormous sense of relief. He was out of it

now. The feeling was familiar and he remembered being taken off the beach of an

island his Marine division had invaded (to invade – захватывать, вторгаться,

оккупировать). The battle had been still going on but he had received a slight wound

and was being ferried back (ferry – паром) to a hospital ship. He had felt the same

overpowering relief then that he felt now. All hell would break loose (разразится) but he

wouldn't be there.

  On the day after the murder of Sollozzo and Captain McCluskey, the police captains

and lieutenants in every station house in New York City sent out the word: there would

be no more gambling, no more prostitution, no more deals of any kind until the murderer

of Captain McCluskey was caught. Massive raids began all over the city. All unlawful

business activities came to a standstill (полностью остановились; standstill –

остановка, пауза).

  Later that day an emissary from the Families asked the Corleone Family if they were

prepared to give up the murderer. They were told that the affair did not concern them.

That night a bomb exploded in the Corleone Family mall in Long Beach, thrown from a

car that pulled up to the chain, then roared away. That night also two button men of the

Corleone Family were killed as they peaceably ate their dinner in a small Italian

restaurant in Greenwich Village. The Five Families War of 1946 had begun.

Приложение

Эрнест Хэмингуэй

Киллеры

Метод чтения Ильи Франка

Ernest Hemingway

The Killers

The door of Henry’s lunch-room opened (дверь закусочной Генри отворилась) and

two men came in (и двое мужчин вошли /внутрь/). They sat down at the counter (они

сели у стойки).

“What’s yours (что для вас, что будете брать: «что ваше»)*” George asked them

(спросил их).

“I don’t know (я не знаю),” one of the men said (сказал один из мужчин). “What do you

want to eat (что ты хочешь съесть), Al*”

“I don’t know,” said All. “I don’t know what I want to eat.”

Outside it was getting dark (на улице: «снаружи» темнело: «становилось темно»).

The street-light came on outside the window (уличный фонарь зажегся за окном; light

– свет; to come on – появиться /на сцене/, возникнуть). The two men at the

counter read the menu (читали меню). From the other end of the counter (с другого

конца стойки) Nick Adams watched them (глядел на них). He had been talking to

George (он разговаривал с Джорджем) when they came in (когда они вошли).

The door of Henry’s lunch-room opened and two men came in. They sat down at

the counter.

“What’s yours*” George asked them.

“I don’t know,” one of the men said. “What do you want to eat, Al*”

“I don’t know,” said All. “I don’t know what I want to eat.”

279

Outside it was getting dark. The street-light came on outside the window. The two

men at the counter read the menu. From the other end of the counter Nick Adams

watched them. He had been talking to George when they came in.

counter [kaunt*] menu [`menju:]

“I’ll have a roast pork tenderloin (я возьму жареное свиное филе: tenderloin – филе,

вырезка: tender – нежный, мягкий + loin – поясница; филейная часть) with apple

sauce (с яблочным соусом) and mashed potatoes (и картофельным пюре; to mash –

раздавливать, разминать),” the first man said (сказал первый мужчина).

“It isn’t ready yet (оно еще не готово).”

“What the hell (какого черта: «ада») do you put it on the card for (ты помещаешь,

ставишь это в меню)*”

“That’s the dinner (это обед),” George explained (объяснил). “You can get that at six

o’clock (ты можешь получить это в шесть часов).”

George looked at the clock on the wall behind the counter (посмотрел на часы на

стене за стойкой).

“It’s five o’clock (/сейчас/ пять часов).”

“The clock says twenty minutes past five (часы показывают: «говорят» двадцать

минут после пяти = двадцать минут шестого),” the second man said (сказал второй

мужчина).

“It’s twenty minutes fast (они спешат на двадцать минут; fast – быстрый).”

“Oh, to hell with the clock,” the first man said. “What have you got to eat (что у тебя

есть поесть)*”

“I can give you any kind of sandwiches (могу дать вам разные сандвичи: «любой вид

сандвича»),” George said. “You can have ham and eggs (свинину и яйца = сандвич с

ветчиной и яичницей), bacon (бэкон, копченую свиную грудинку) and eggs, liver

(печенку) and bacon, or a steak (или бифштекс).”

“I’ll have a roast pork tenderloin with apple sauce and mashed potatoes,” the first

man said.

“It isn’t ready yet.”

“What the hell do you put it on the card for*”

“That’s the dinner,” George explained. “You can get that at six o’clock.”

George looked at the clock on the wall behind the counter.

“It’s five o’clock.”

“The clock says twenty minutes past five,” the second man said.

“It’s twenty minutes fast.”

“Oh, to hell with the clock,” the first man said. “What have you got to eat*”

“I can give you any kind of sandwiches,” George said. “You can have ham and

eggs, bacon and eggs, liver and bacon, or a steak.”

sauce [so:s] potato [p*`teэt*u] liver [lэv*]

“Give me chicken croquettes (дай мне куриные крокеты) with green peas (с зеленым

горошком) and cream sauce (под белым: «сливочным» соусом) and mashed

potatoes.”

“That’s the dinner.”

“Everything we want’s the dinner (все, что мы хотим – обед), eh* That’s the way you

work it (так: «таким путем» ты это делаешь: «срабатываешь, устраиваешь» = ну и

порядки).”

“I can give you ham and eggs, bacon and eggs, liver – ”

“I’ll take ham and eggs (я возьму яичницу с ветчиной),” the man called Al said. He

wore a derby hat (на нем был: «он носил» котелок) and a black overcoat (и черное

пальто) buttoned across the chest (застегнутое наглухо: «через грудь»; button -

пуговица). His face was small and white (его лицо было маленьким и белым) and he

had tight lips (и у него были сжатые губы; tight – плотный, тугой). He wore a silk

muffler (шелковое кашне; to muffle – закутывать, укутывать; глушить /звук/) and

gloves (и перчатки).

“Give me bacon and eggs,” said the other man (сказал другой мужчина). He was

about the same size as Al (он был примерно того же роста: «размера», что и Эл).

Their faces were different (лица были различны), but they were dressed like twins (но

они были одеты, как близнецы). Both wore overcoats too tight for them (слишком

узкие для них). They sat leaning forward (наклонившись вперед), their elbows on the

counter (их локти на стойке).

“Give me chicken croquettes with green peas and cream sauce and mashed

potatoes.”

“That’s the dinner.”

“Everything we want’s the dinner, eh* That’s the way you work it.”

“I can give you ham and eggs, bacon and eggs, liver – ”

“I’ll take ham and eggs,” the man called Al said. He wore a derby hat and a black

overcoat buttoned across the chest. His face was small and white and he had

tight lips. He wore a silk muffler and gloves.

“Give me bacon and eggs,” said the other man. He was about the same size as Al.

Their faces were different, but they were dressed like twins. Both wore overcoats

too tight for them. They sat leaning forward, their elbows on the counter.

croquettes [kro`ket] button [bЛtn] glove [glЛv]

“Got anything to drink (есть что-нибудь выпить)*” Al asked.

“Silver beer («серебряное пиво» – сорт пива), bevo (морс, напиток /итальянское

слово/), ginger-ale (имбирное пиво),” George said.

“I mean (я имею в виду) you got anything to drink*”

“Just those I said (только то, что я сказал).”

“This is a hot town (веселый городок, ну и городок: «это жаркий городок»),” said the

other. “What do they call it (как он там называется: «как они его называют»)*”

“Summit (поселок к юго-западу от Чикаго).”

“Ever hear of it (когда-нибудь слышал о нем)*” Al asked his friend (спросил своего

друга).

“No,” said the friend.

“What do you do here nights (что вы здесь делаете по вечерам)*” Al asked.

“They eat the dinner,” his friend said. “They all come here and eat the big dinner (они

все приходят сюда и едят большой обед).”

“That’s right (это так, верно),” George said.

“So you think that’s right (так ты думаешь, считаешь, что это правильно)*” Al asked

George.

“Sure (конечно).”

“You’re a pretty bright boy (очень умный: «светлый» парень; pretty – красивый,

симпатичный; довольно, весьма), aren’t you (не правда ли: «не есть ли ты»)*”

“Sure,” said George.

“Well, you’re not (ну, так вот, ты вовсе не умный парень),” said the other little man

(другой маленький человек). “Is he (умный ли он), Al*”

“He’s dumb (тупой: «немой»),” said Al. He turned to Nick (повернулся к Нику). “What’s

your name (как тебя зовут: «каково твое имя»)*”

“Adams.”

“Another bright boy (другой = еще один умник),” Al said. “Ain’t he a bright boy, Max

(/ну/ не умник ли он; ain't = isn't; aren't)*”

“The town’s full of bright boys (город полон умников),” Max said.

“Got anything to drink*” Al asked.

“Silver beer, bevo, ginger-ale,” George said.

“I mean you got anything to drink*”

“Just those I said.”

“This is a hot town,” said the other. “What do they call it*”

“Summit.”

“Ever hear of it*” Al asked his friend.

“No,” said the friend.

“What do you do here nights*” Al asked.

“They eat the dinner,” his friend said. “They all come here and eat the big

dinner.”

“That’s right,” George said.

“So you think that’s right*” Al asked George.

“Sure.”

“You’re a pretty bright boy, aren’t you*”

“Sure,” said George.

“Well, you’re not,” said the other little man. “Is he, Al*”

“He’s dumb,” said Al. He turned to Nick. “What’s your name*”

“Adams.”

“Another bright boy,” Al said. “Ain’t he a bright boy, Max*”

“The town’s full of bright boys,” Max said.

dumb [dЛm] pretty [prэtэ]

George put the two platters (поставил две тарелки), one of ham and eggs, the other of

bacon and eggs, on the counter. He set down two side-dishes of fried potatoes

(поставил две порции жареного картофеля; siede-dish – боковое =

сопровождающее блюдо – блюдо с гарниром) and closed the wicket into the kitchen

(и закрыл окошечко в кухню; wicket – калитка; задвижное окошко).

“Which is yours*” he asked Al.

“Don’t you remember (ты не помнишь)*”

“Ham and eggs.”

“Just a bright boy (просто умница, ну разве не умник),” Max said. He leaned forward

and took the ham and eggs (и взял ветчину с яичницей). Both men ate with their

gloves on (оба ели с надетыми перчатками). George watched them eat (смотрел,

наблюдал, как они едят).

“What are you looking at (на что ты /так/ смотришь)*” Max looked at George.

“Nothing (ни на что: «/на/ ничто»).”

“The hell you were (как же, рассказывай, черта-с-два ты не смотришь). You were

looking at me (на меня).”

“Maybe the boy meant it for a joke (может быть, парень пошутил: «имел в виду это,

высказал это мнение для шутки = как шутку»), Max,” Al said.

George laughed (засмеялся).

“You don’t have to laugh (нечего смеяться: «тебе не надо смеяться»),” Max said to

him. “You don’t have to laugh at all (вовсе), see (понял: «видишь»)*”

“All right,” said George.

“So he thinks it’s all right (итак, он полагает, что это в порядке, правильно).” Max

turned to Al. He thinks it’s all right. That’s a good one (хорош он).”

“Oh, he’s a thinker (мыслитель),” Al said. They went on eating (продолжали есть).

George put the two platters, one of ham and eggs, the other of bacon and eggs,

on the counter. He set down two side-dishes of fried potatoes and closed the

wicket into the kitchen.

“Which is yours*” he asked Al.

“Don’t you remember*”

“Ham and eggs.”

“Just a bright boy,” Max said. He leaned forward and took the ham and eggs.

Both men ate with their gloves on. George watched them eat.

“What are you looking at*” Max looked at George.

“Nothing.”

“The hell you were. You were looking at me.”

“Maybe the boy meant it for a joke, Max,” Al said.

George laughed.

“You don’t have to laugh,” Max said to him. “You don’t have to laugh at all, see*”

“All right,” said George.

284

“So he thinks it’s all right.” Max turned to Al. He thinks it’s all right. That’s a good

one.”

“Oh, he’s a thinker,” Al said. They went on eating.

meant [ment] laugh [lб:f]

“What’s the bright boy’s name down the counter (как зовут того умника, что с другой

стороны стойки)*” Al asked Max.

“Hey, bright boy,” Max said to Nick. “You go around on the other side of the counter

(зайди за стойку: «иди вокруг на другую сторону стойки») with your boy friend (с

твоим дружком = туда, где твой дружок).”

“What’s the idea (а в чем дело, зачем это: «что за идея, в чем идея»)*” Nick asked.

“There isn’t any idea (тут нет никакой идеи = просто так, да ни в чем).”

“You better go around (лучше зайди), bright boy,” Al said. Nick went around behind the

counter (за стойку).

“What’s the idea*” George asked.

“None of your damn business (не твое чертово: «проклятое» дело; none – ничто, ни

один, никакой),” Al said. “Who’s out in the kitchen (кто там: «снаружи» на кухне)*”

“The nigger (негр).”

“What do you mean the nigger*”

“The nigger that cooks (который готовит, стряпает).”

“Tell him to come in (скажи ему, чтобы зашел).”

“What’s the idea*”

“Tell him to come in.”

“Where do you think you are (где, вы думаете, вы находитесь)*”

“We know damn well where we are (мы знаем чертовски хорошо, где мы

находимся),” the man called Max said (сказал человек, которого звали Макс). “Do

we look silly (мы выглядим дурачками, глупо)*”

“You talk silly (ты разговариваешь глупо),” Al said to him. “What the hell do you argue

with this kid for (какого черта ты споришь с этим ребенком)* Listen (послушай),” he

said to George, “tell the nigger to come out here.”

“What are you going to do to him (что вы собираетесь с ним: «ему» сделать)*”

“Nothing. Use your head (пошевели мозгами: «используй свою голову»), bright boy.

What would we do to a nigger (что бы мы сделали негру)*”

George opened the slit (открыл окошечко; slit – длинный разрез, щель; to slit –

разрезать в длину) that opened back into the kitchen (которое открывалось назад =

вовнутрь в кухню). “Sam,” he called. “Come in here a minute (зайди-ка сюда на

минутку).”

“What’s the bright boy’s name down the counter*” Al asked Max.

“Hey, bright boy,” Max said to Nick. “You go around on the other side of the

counter with your boy friend.”

“What’s the idea*” Nick asked.

“There isn’t any idea.”

“You better go around, bright boy,” Al said. Nick went around behind the counter.

“What’s the idea*” George asked.

“None of your damn business,” Al said. “Who’s out in the kitchen*”

“The nigger.”

“What do you mean the nigger*”

“The nigger that cooks.”

“Tell him to come in.”

“What’s the idea*”

“Tell him to come in.”

“Where do you think you are*”

“We know damn well where we are,” the man called Max said. “Do we look silly*”

“You talk silly,” Al said to him. “What the hell do you argue with this kid for*

Listen,” he said to George, “tell the nigger to come out here.”

“What are you going to do to him*”

“Nothing. Use your head, bright boy. What would we do to a nigger*”

George opened the slit that opened back into the kitchen. “Sam,” he called.

“Come in here a minute.”

idea [aэ`dэ*] argue [`б:gju:] minute [`mэnэt]

The door to the kitchen opened and the nigger came in. “What was it (в чем дело: «что

это было»)*” he asked. The two men at the counter took a look at him (оглядели его:

«взяли взгляд»).

“All right (все в порядке), nigger. You stand right there (стань тут),” Al said.

286

Sam, the nigger, standing in his apron (стоя в своем фартуке), looked at the two men

sitting at the counter. “Yes, sir,” he said. Al got down from his stool (слез со своего

стула, табурета).

“I’m going back to the kitchen (я пойду назад = туда на кухню) with the nigger and

bright boy,” he said. “Go on back to the kitchen, nigger. You go with him, Bright boy.”

The little man walked after Nick and Sam (прошел вслед за Ником и Сэмом), the cook

(поваром), back into the kitchen. The door shut after them (дверь за ними закрылась).

The man called Max sat at the counter opposite George (напротив Джорджа). He

didn’t look at George (он не смотрел на Джорджа) but looked in the mirror (а смотрел

в зеркало) that ran along back of the counter (которое тянулось: «бежало» вдоль за

стойкой). Henry’s had been made over (заведение Генри было переделано) from a

saloon into a lunch-counter (из салуна, бара в закусочную).

The door to the kitchen opened and the nigger came in. “What was it*” he asked.

The two men at the counter took a look at him.

“All right, nigger. You stand right there,” Al said.

Sam, the nigger, standing in his apron, looked at the two men sitting at the

counter. “Yes, sir,” he said. Al got down from his stool.

“I’m going back to the kitchen with the nigger and bright boy,” he said. “Go on

back to the kitchen, nigger. You go with him, Bright boy.” The little man walked

after Nick and Sam, the cook, back into the kitchen. The door shut after them. The

man called Max sat at the counter opposite George. He didn’t look at George but

looked in the mirror that ran along back of the counter. Henry’s had been made

over from a saloon into a lunch-counter.

apron [`eэpr*n] opposite [`op*zэt]

“Well, bright boy,” Max said, looking into the mirror, “why don’t you say something

(почему ты не скажешь что-нибудь)*”

“What’s it all about (что все это значит: «о чем все это»)*”

“Hey, Al,” Max called, “bright boy wants to know (хочет знать) what’s all about.”

“Why don’t you tell him (что же ты ему не скажешь)*” Al’s voice came from the kitchen

(отозвался голос Эла из кухни).

“What do you think it’s all about*”

“I don’t know.”

“What do you think*”

Max looked into the mirror all the time he was talking (все время, пока говорил).

“I wouldn’t say (я бы не сказал, не скажу, пожалуй, не знаю).”

“Hey, Al, bright boy says he wouldn’t what he thinks it’s all about.”

“I can hear you, all right (я могу слышать тебя, в порядке, хорошо = не кричи, я и так

слышу),” Al said from the kitchen. He had propped open the slit (он подпер, чтобы

оставалось открытым, окошечко, отверстие: «щель») that dishes passed through

into the kitchen (через которое передавались блюда на кухню) with a catsup bottle

(бутылкой кетчупа). “Listen, bright boy,” he said from the kitchen to George. “Stand a

little further (стань немного дальше) along the bar (вдоль бара). You move a little to

the left (подвинься немного налево), Max.” He was like a photographer arranging for a

group picture (он был точно фотограф, расставляющий /людей/ для групповой

фотографии).

“Well, bright boy,” Max said, looking into the mirror, “why don’t you say

something*”

“What’s it all about*”

“Hey, Al,” Max called, “bright boy wants to know what’s all about.”

“Why don’t you tell him*” Al’s voice came from the kitchen.

“What do you think it’s all about*”

“I don’t know.”

“What do you think*”

Max looked into the mirror all the time he was talking.

“I wouldn’t say.”

“Hey, Al, bright boy says he wouldn’t what he thinks it’s all about.”

“I can hear you, all right,” Al said from the kitchen. He had propped open the slit

that dishes passed through into the kitchen with a catsup bottle. “Listen, bright

boy,” he said from the kitchen to George. “Stand a little further along the bar. You

move a little to the left, Max.” He was like a photographer arranging for a group

picture.

move [mu:v] arrange [*`reэndї] picture [pэkt**]

“Talk to me (поговори со мной, побеседуем), bright boy,” Max said. “What do you

think’s going to happen (что, как ты думаешь, сейчас произойдет)*”

George did not say anything (не сказал ничего).

“I’ll tell you (я скажу тебе),” Max said. “We’re going to kill a Swede (мы сейчас убьем

шведа, мы собираемся убить шведа). Do you know a big Swede named Ole

Andreson (ты знаешь большого = здорового, длинного шведа по имени Оле

Андресон)*”

“Yes.”

“He comes here to eat every night, don’t he (он приходит сюда поесть каждый вечер,

не так ли)*”

“Sometimes he comes here (иногда он сюда приходит).”

“He comes here at six o’clock, don’t he*”

“If he comes (если приходит).”

“We know all that (мы все это знаем), bright boy,” Max said.

“Talk about something else (поговорим о чем-нибудь другом). Ever go to the movies

(когда-нибудь ходишь в кино)*”

“Once in a while (изредка: «иногда в промежуток времени»).”

“You ought to go to the movies more (ты должен бы ходить в кино больше = чаще).

The movies are fine (прекрасно, отлично) for a bright boy like you.”

“What are you going to kill Ole Andreson for (за что, для чего вы хотите убить Оле

Андресона)* What did he ever do to you (что он вам такого: «когда-либо» сделал)*”

“He never had a chance to do anything to us (у него никогда не было возможности

сделать что-нибудь нам). He never even seen us (он даже никогда не видел нас).”

“And he’s only going to see us once (и он увидит нас только однажды),” Al said from

the kitchen.

“What are you going to kill him for, then (тогда)*” George asked.

“We’re killing him for a friend (для друга). Just to oblige a friend (просто, всего лишь,

чтобы услужить, сделать приятное другу), bright boy.”

“Shut up (заткнись),” said Al from the kitchen. You talk too goddam much (ты

говоришь слишком чертовски много).”

“Well, I got to keep bright boy amused (ну, мне же надо, я же должен развлекать

умника: «сохранять, держать его развлекаемым»). Don’t I, bright boy*”

“You talk too damn much,” Al said. “The nigger and my bright boy are amused by

themselves (сами развлекаются). I got them tied up (я их связал) like a couple of girl

friends in the convent (как парочку подружек в монастыре, в монастырской школе).”

“I suppose you were in a convent (значит, ты был в монастыре: «я предполагаю, ты

был в монастыре»)*”

“You never know (может, и был: «никогда не знаешь»).”

“You were in a kosher convent (ты был в кошерном монастыре /т.е. в хедере, в

школе при синагоге/). That’s where you were (вот где ты был).”

“Talk to me, bright boy,” Max said. “What do you think’s going to happen*”

George did not say anything.

“I’ll tell you,” Max said. “We’re going to kill a Swede. Do you know a big Swede

named Ole Andreson*”

“Yes.”

“He comes here to eat every night, don’t he*”

“Sometimes he comes here.”

“He comes here at six o’clock, don’t he*”

“If he comes.”

“We know all that, bright boy,” Max said.

“Talk about something else. Ever go to the movies*”

“Once in a while.”

“You ought to go to the movies more. The movies are fine for a bright boy like

you.”

“What are you going to kill Ole Andreson for* What did he ever do to you*”

“He never had a chance to do anything to us. He never even seen us.”

“And he’s only going to see us once,” Al said from the kitchen.

“What are you going to kill him for, then*” George asked.

“We’re killing him for a friend. Just to oblige a friend, bright boy.”

“Shut up,” said Al from the kitchen. You talk too goddam much.”

“Well, I got to keep bright boy amused. Don’t I, bright boy*”

“You talk too damn much,” Al said. “The nigger and my bright boy are amused by

themselves. I got them tied up like a couple of girl friends in the convent.”

“I suppose you were in a convent*”

“You never know.”

“You were in a kosher convent. That’s where you were.”

Swede [swi:d] oblige [*`blaэdї] convent [`konv*nt]

George looked up at the clock.

“If anybody comes in you tell them the cook is off (если кто-нибудь придет, ты им

скажешь, что повар ушел: «свободен /от работы/, на перерыве»; off – указывает

на удаление или прекращение чего-либо), and if they keep after it (а если они будут

настаивать), you tell them you’ll go back (что ты пойдешь на кухню: «в заднюю

комнату») and cook yourself (и приготовишь сам). Do you get that (ты понял:

«получил» это), bright boy*”

“All right,” George said. “What you going to do with us afterward (что вы сделаете с

нами после)*”

“That’s depend (это зависит = смотря по обстоятельствам),” Max said. “That’s one of

those things you never know at the time (это одна из вещей, которые никогда не

знаешь в данное время = заранее)."

George looked up the clock. It was a quarter past six (четверть после шести =

четверть седьмого). The door from the street opened (дверь с улицы открылась). A

street-car motorman came in (вошел трамвайный вожатый).

“Hello, George,” he said. “Can I get supper (поужинать можно: «могу я получить

ужин»)*”

“Sam’s gone out (вышел),” George said. “He’ll be back in about half an hour (он

вернется примерно через полчаса).”

“I’d better go up the street (я, пожалуй, лучше пойду вверх по улице = пойду еще

куда-нибудь),” the motorman said. George looked at the clock. It was twenty minutes

past six.

“That was nice (это было славно /проделано/), bright boy,” Max said. “You’re a regular

little gentleman (настоящий маленький джентельмен).”

“He knew I’d blow his head off (он знал, что я ему голову снесу = прострелю; to blow

– дуть),” Al said from the kitchen.

“No,” said Max. “It ain’t that (не поэтому, не в этом дело). Bright boy is nice. He’s a

nice boy. I like him (он мне нравится).”

George looked up at the clock.

“If anybody comes in you tell them the cook is off, and if they keep after it, you

tell them you’ll go back and cook yourself. Do you get that, bright boy*”

“All right,” George said. “What you going to do with us afterward*”

“That’s depend,” Max said. “That’s one of those things you never know at the

time."

George looked up the clock. It was a quarter past six. The door from the street

opened. A street-car motorman came in.

“Hello, George,” he said. “Can I get supper*”

“Sam’s gone out,” George said. “He’ll be back in about half an hour.”

“I’d better go up the street,” the motorman said. George looked at the clock. It

was twenty minutes past six.

“That was nice, bright boy,” Max said. “You’re a regular little gentleman.”

“He knew I’d blow his head off,” Al said from the kitchen.

“No,” said Max. “It ain’t that. Bright boy is nice. He’s a nice boy. I like him.”

depend [dэ`pend] regular [`regjul*]

At six-fifty-five (в шесть /часов/ пятьдесят пять) George said: “He’s not coming (он не

придет).”

Two other people had been in the lunch-room (двое других людей побывали в

закусочной). Once (один раз) George had gone out to the kitchen and made a ham-

and-egg sandwich “to go” (на вынос) that a man wanted to take with him (который

человек хотел взять с собой). Inside the kitchen he saw Al (внутри кухни он увидел

Эла), his derby hat tipped back (его котелок /был/ сдвинут назад; to tip –

наклонять/ся/; запрокидываться), sitting on a stool beside the wicket (сидящим на

табурете возле окошечка) with the muzzle (с дулом; muzzle – морда; дуло) of of a

sawed-off shotgun (отпиленного ружья = обреза) resting (лежащим, покоящимся) on

the ledge (на планке, краю /окошечка/). Nick and the cook were back in the corner (в

углу), a towel tied in each of their mouths (полотенце, завязанное = заткнутое в

каждом из их ртов = во рту у каждого). George had cooked the sandwich, wrapped it

up in oiled paper (завернул его в пергаментную бумагу; oil – растительное или

минеральное масло; oiled – пропитанный маслом, промасленный), put it in a bag

(положил его в пакет), brought it in (вынес из кухни, занес в комнату), and the man

had paid for it (заплатил за него) and gone out.

“Bright boy can do everything (все умеет: «может делать все»),” Max said. “He can

cook and everything. You’d make some girl a nice wife (ты бы сделал какую-нибудь

девушку славной женой = повезло твоей будущей жене), bright boy.”

“Yes*” George said. “Your friend (ваш друг), Ole Andreson, isn’t going to come (не

придет).”

“We’ll give him ten minutes (мы дадим ему десять минут),” Max said.

Max watched the mirror and the clock. The hands of the clock marked seven o’clock

(стрелки часов показали семь), and then five minutes past seven (а затем пять

минут после семи = пять минут восьмого).

At six-fifty-five George said: “He’s not coming.”

Two other people had been in the lunch-room. Once George had gone out to the

kitchen and made a ham-and-egg sandwich “to go” that a man wanted to take

with him. Inside the kitchen he saw Al, his derby hat tipped back, sitting on a

stool beside the wicket with the muzzle of of a sawed-off shotgun resting on the

ledge. Nick and the cook were back in the corner, a towel tied in each of their

mouths. George had cooked the sandwich, wrapped it up in oiled paper, put it in a

bag, brought it in, and the man had paid for it and gone out.

“Bright boy can do everything,” Max said. “He can cook and everything. You’d

make some girl a nice wife, bright boy.”

“Yes*” George said. “Your friend, Ole Andreson, isn’t going to come.”

“We’ll give him ten minutes,” Max said.

Max watched the mirror and the clock. The hands of the clock marked seven

o’clock, and then five minutes past seven.

“Come on (да ладно, давай), Al,” said Max. “We better go. He’s not coming.”

“Better give him five minutes,” Al said from the kitchen.

In the five minutes a man came in, and George explained that the cook was sick

(объяснил, что повар болен).

“Why don’t you get another cook (почему же вы не возьмете другого повара)*” the

man asked.

“Aren’t you running a lunch-counter (разве вы не держите закусочную)*” He went out.

“Come on, Al,” Max said.

“What about (а что насчет, а как с) the two bright boys and the nigger*”

“The’re all right (пусть их: «они в порядке, нормально»).”

“You think so (ты так полагаешь)*”

“Sure. We’re through with it (здесь уже все /закончено/: «мы /уже/ сквозь, через

это»).”

“I don’t like it (мне это не нравится),” said Al. It’s sloppy (нечистая работа; slop –

жидкая грязь; sloppy – покрытый лужами; неряшливый, небрежный). You talk too

much (ты слишком много болтаешь).”

“Oh, what the hell,” said Max. “We got to keep amused, haven’t we*”

“You talk too much, all the same (все равно),” Al said. He came out from the kitchen.

The cut-off barrels of the shotgun (обрезанные стволы ружья) made a slight bulge

(делали легкую выпуклость) under the waist of his too tight-fitting overcoat (под

талией = на боку его слишком узкого пальто). He straightened his coat (он одернул

свое пальто) with his gloved hands.

“So long (прощай, пока), bright boy,” he said to George. “You got a lot of luck (везет

тебе: «имеешь много удачи, большую удачу»).”

“That’s the truth (это правда),” Max said. You ought to play the races (тебе надо бы

играть на скачках), bright boy.”

The two of them went out the door. George watched them, through the window, pass

under the arc-light (как они прошли под /дуговым/ фонарем; arc – /электрическая/

дуга) and cross the street (и пересекли улицу). In their tight overcoats and derby hats

they looked like a vaudeville team (на водевильную команду, на эстрадную пару).

George went back through the swinging-door (через вращающуюся, двустворчатую,

открывающуюся в обе стороны дверь) into the kitchen and untied (развязал) Nick

and the cook.

“Come on, Al,” said Max. “We better go. He’s not coming.”

“Better give him five minutes,” Al said from the kitchen.

In the five minutes a man came in, and George explained that the cook was sick.

“Why don’t you get another cook*” the man asked.

“Aren’t you running a lunch-counter*” He went out.

“Come on, Al,” Max said.

“What about the two bright boys and the nigger*”

“The’re all right.”

“You think so*”

“Sure. We’re through with it.”

“I don’t like it,” said Al. It’s sloppy. You talk too much.”

“Oh, what the hell,” said Max. “We got to keep amused, haven’t we*”

294

“You talk too much, all the same,” Al said. He came out from the kitchen. The cut-

off barrels of the shotgun made a slight bulge under the waist of his too tight-

fitting overcoat. He straightened his coat with his gloved hands.

“So long, bright boy,” he said to George. “You got a lot of luck.”

“That’s the truth,” Max said. You ought to play the races, bright boy.”

The two of them went out the door. George watched them, through the window,

pass under the arc-light and cross the street. In their tight overcoats and derby

hats they looked like a vaudeville team. George went back through the swinging-

door into the kitchen and untied Nick and the cook.

vaudeville [`v*ud*vэl]

“I don’t want any more of that (я не хочу больше ничего подобного = с меня

довольно),” said Sam, the cook. “I don’t want any more of that.”

Nick stood up (встал). He had never had a towel in his mouth before (он никогда

раньше не имел полотенца во рту).

“Say (послушай: «скажи»),” he said. “What the hell*” He was trying to swagger it off

(он пытался отмахнуться от этого /от происшедшего/, сделать вид, что ему все

нипочем; to swagger – расхаживать с важным видом; чваниться; хвастать).

“They were going to kill Ole Andreson,” George said. “They were going to shoot him

(они собирались застрелить его) when he came in to eat.”

“Ole Andreson*”

“Sure.”

The cook felt the corners of his mouth with his thumbs (потрогал углы своего рта

большими пальцами; to feel – чувствовать; ощупывать).

“They all gone*” he asked.

“Yeah,” said George. “They’re gone now (они теперь все ушли).”

“I don’t like it,” said the cook. “I don’t like any of it at all.”

“Listen,” George said to Nick. “You better go see Ole Andreson.”

“All right.”

“You better not have anything to do with it at all (лучше не связывайся: «не имей

никакого дела с этим всем»),” Sam, the cook, said. “You better stay way out of it

(лучше держись подальше от этого: «оставайся прочь, вне этого»).”

“Don’t go if you don’t want to (не ходи, если не хочешь),” George said.

“Mixing up in this (вмешиваясь в это, вмешательство в это) ain’t going to get you

anywhere (никуда тебя не приведет = ни к чему хорошему не приведет),” the cook

said. “You stay out of it.”

“I’ll go see him,” Nick said to George. “Where does he live (где он живет)*”

The cook turned away (отвернулся).

“Little boys always know what they want to do (маленькие мальчики всегда знают,

что они хотят делать),” he said.

“He lives up (вверх по улице) at Hirsch’s rooming-house (в меблированных комнатах

Хирш),” George said to Nick.

“I’ll go up there.”

“I don’t want any more of that,” said Sam, the cook. “I don’t want any more of

that.”

Nick stood up. He had never had a towel in his mouth before.

“Say,” he said. “What the hell*” He was trying to swagger it off.

“They were going to kill Ole Andreson,” George said. “They were going to shoot

him when he came in to eat.”

“Ole Andreson*”

“Sure.”

The cook felt the corners of his mouth with his thumbs.

“They all gone*” he asked.

“Yeah,” said George. “They’re gone now.”

“I don’t like it,” said the cook. “I don’t like any of it at all.”

“Listen,” George said to Nick. “You better go see Ole Andreson.”

“All right.”

“You better not have anything to do with it at all,” Sam, the cook, said. “You

better stay way out of it.”

“Don’t go if you don’t want to,” George said.

“Mixing up in this ain’t going to get you anywhere,” the cook said. “You stay out

of it.”

“I’ll go see him,” Nick said to George. “Where does he live*”

The cook turned away.

“Little boys always know what they want to do,” he said.

“He lives up at Hirsch’s rooming-house,” George said to Nick.

“I’ll go up there.”

thumb [иЛm]

Outside the arc-light shone through the bare branches of a tree (на улице дуговой

фонарь светил сквозь голые ветки дерева). Nick walked up the street beside the car-

tracks (возле трамвайных путей) and turned at the next arc-light down a side-street (и

свернул у следующего фонаря в боковую улицу, в переулок). Three houses up the

street (через три дома) was Hirsch’s rooming-house. Nick walked up the two steps

(поднялся на две ступеньки) and pushed the bell (и надавил кнопку звонка). A

woman came to the door.

“Is Ole Andreson here*”

“Do you want to see him*”

“Yes, if he’s in (если он дома).”

Nick followed the woman up a flight of stairs (последовал за женщиной вверх по

пролету лестницы) and back to the end of a corridor. She knocked on the door (она

постучала в дверь).

“Who is it (кто там: «кто это»)*”

“It’s somebody to see you (тут вас спрашивают: «кто-то к вам»), Mr. Andreson,” the

woman said.

“It’s Nick Adams.”

“Come in.”

Nick opened the door and went into the room. Ole Andreson was lying on the bed

(лежал на кровати) with all his clothes on (одетый: «с одеждой на нем»). He had

been a heavyweight prize-fighter (боксером-тяжеловесом; heavy – тяжелый; weight

– вес; prize – награда, премия; to fight – драться, биться) and he was too long for

the bed (слишком длинный для кровати). He lay with his head on two pillows (с

головой на двух подушках). He did not look at Nick.

Outside the arc-light shone through the bare branches of a tree. Nick walked up

the street beside the car-tracks and turned at the next arc-light down a side-street.

Three houses up the street was Hirsch’s rooming-house. Nick walked up the two

steps and pushed the bell. A woman came to the door.

“Is Ole Andreson here*”

“Do you want to see him*”

“Yes, if he’s in.”

Nick followed the woman up a flight of stairs and back to the end of a corridor.

She knocked on the door.

“Who is it*”

“It’s somebody to see you, Mr. Andreson,” the woman said.

“It’s Nick Adams.”

“Come in.”

Nick opened the door and went into the room. Ole Andreson was lying on the bed

with all his clothes on. He had been a heavyweight prize-fighter and he was too

long for the bed. He lay with his head on two pillows. He did not look at Nick.

heavy [hevэ] weight [weэt]

“What was it (в чем дело: «что это было»)*” he asked.

“I was up at Henry’s,” Nick said, “and two fellows came in (пришли два парня, типа)

and tied me and the cook, and they said they were going to kill you.”

It sounded silly when he said it (прозвучало, звучало глупо, когда он это сказал). Ole

Andreson said nothing.

“George thought I better come and tell you about it (Джордж подумал, что мне лучше

придти и сказать вам об этом).”

“There isn’t anything I can do about it (я ничего не могу поделать с этим),” Ole

Andreson said.

“I’ll tell you what they were like (как они выглядели: «на что они были похожи»).”

“I don’t want to know (я не хочу знать) what they were like,” Ole Andreson said. He

looked at the wall (на стену). “Thanks for coming to tell me about it (спасибо, что

пришел рассказать мне об этом).”

“That’s all right (не стоит /благодарности/: «это в порядке»).”

Nick looked at the big man lying on the bed.

“Don’t you want me to go and see the police (не хотите, чтобы я сходил и заявил в

полицию)*”

“No,” Ole Andreson said. “That wouldn’t do any good (это бесполезно: «это не

сделало бы ничего хорошего»).”

“Isn’t there something I could do (есть тут что-нибудь, что бы я мог сделать = могу я

чем-нибудь помочь)*”

“No. There ain’t anything to do.”

“Maybe it was just a bluff (может быть, это был просто обман, блеф).”

“No. It ain’t just a bluff.”

Ole Andreson rolled over (перевернулся: «перекатился») toward the wall (к стене), “I

just can’t make up my mind (я просто не могу решиться, собраться с духом) to go out

(выйти). I been in here all day (я был здесь внутри целый день).”

“Couldn’t you get out of town (не могли бы вы уехать из города)*”

“No,” Ole Andreson said. “I’m through with all that running around (я покончил со всей

этой беготней: «беганьем вокруг, повсюду»).”

He looked at the wall.

“There ain’t anything to do now.”

“Couldn’t you fix it up some way (не могли бы вы это уладить как-нибудь; to fix –

укрепить; починить)*”

“No. I got in wrong (я сделал ошибку, влип = теперь уже поздно; wrong – неверный,

неправильный).” He talked in the same flat voice (он говорил тем же плоским =

унылым голосом). “There ain’t anything to do. After a while (через некоторое время)

I’ll make up my mind to go out.”

“I better go back and see George,” Nick said.

“So long,” said Ole Andreson. He did not look toward Nick. “Thanks for coming around

(спасибо, что зашел).”

“What was it*” he asked.

“I was up at Henry’s,” Nick said, “and two fellows came in and tied me and the

cook, and they said they were going to kill you.”

It sounded silly when he said it. Ole Andreson said nothing.

“George thought I better come and tell you about it.”

“There isn’t anything I can do about it,” Ole Andreson said.

“I’ll tell you what they were like.”

“I don’t want to know what they were like,” Ole Andreson said. He looked at the

wall. “Thanks for coming to tell me about it.”

“That’s all right.”

Nick looked at the big man lying on the bed.

“Don’t you want me to go and see the police*”

“No,” Ole Andreson said. “That wouldn’t do any good.”

“Isn’t there something I could do*”

“No. There ain’t anything to do.”

“Maybe it was just a bluff.”

“No. It ain’t just a bluff.”

Ole Andreson rolled over toward the wall, “I just can’t make up my mind to go out.

I been in here all day.”

“Couldn’t you get out of town*”

“No,” Ole Andreson said. “I’m through with all that running around.”

He looked at the wall.

“There ain’t anything to do now.”

“Couldn’t you fix it up some way*”

“No. I got in wrong.” He talked in the same flat voice. “There ain’t anything to do.

After a while I’ll make up my mind to go out.”

“I better go back and see George,” Nick said.

“So long,” said Ole Andreson. He did not look toward Nick. “Thanks for coming

around.”

police [p*`li:s]]

Nick went out. As he shut the door he saw Ole Andreson with all his clothes on, lying on

the bed looking at the wall.

“He’s been in his room all day,” the landlady said downstairs (сказала хозяка комнат

внизу /лестницы/). “I guess he don’t feel well (я думаю, уж не заболел ли: «он не

чувствует себя хорошо»; to guess – угадывать; предполагать). I said to him: ‘Mr.

Andreson, you ought to go out and take a walk (вам надо бы выйти и прогуляться:

«взять = сделать прогулку») on a nice fall day like this (в такой прекрасный осенний

день),’ but he didn’t feel like it (ему не захотелось).”

“He doesn’t want to go out (он не хочет выходить из дому).”

“I’m sorry he don’t feel well (мне жаль, что он чувствует себя неважно),” the woman

said. “He’s an awfully nice man (ужасно славный человек). He was in the ring (он был

на ринге = был боксером), you know.”

“I know it.”

“You’d never know it (никогда бы не догадаться: вы бы никогда этого не узнали)

except from the way his face is (за исключением, кроме как по тому, каково его

лицо),” the woman said. They stood talking just inside the street door (они стояли,

разговаривая, прямо в двери на улицу). “He’s just as gentle (настолько он мягкий,

кроткий).”

“Well, good-night (прощайте, доброго вечера, ночи), Mrs. Hirsch,” Nick said.

“I’m not Mrs. Hirsch,” the woman said. “She owns the place (она владеет этим

местом). I just look after it for her (я просто присматриваю за ним для нее). I’m Mrs.

Bell.”

“Well, good-night, Mrs. Bell,” Nick said.

“Good-night,” the woman said.

Nick went out. As he shut the door he saw Ole Andreson with all his clothes on,

lying on the bed looking at the wall.

“He’s been in his room all day,” the landlady said downstairs. “I guess he don’t

feel well. I said to him: ‘Mr. Andreson, you ought to go out and take a walk on a

nice fall day like this,’ but he didn’t feel like it.”

“He doesn’t want to go out.”

“I’m sorry he don’t feel well,” the woman said. “He’s an awfully nice man. He was

in the ring, you know.”

“I know it.”

“You’d never know it except from the way his face is,” the woman said. They

stood talking just inside the street door. “He’s just as gentle.”

“Well, good-night, Mrs. Hirsch,” Nick said.

“I’m not Mrs. Hirsch,” the woman said. “She owns the place. I just

look after it for her. I’m Mrs. Bell.”

“Well, good-night, Mrs. Bell,” Nick said.

“Good-night,” the woman said.

guess [ges]

Nick walked up the dark street to the corner under the arc-light (прошел по темной

улице до угла под фонарем), and then along the car-tracks to Henry’s eating house.

George was inside, back of the counter.

“Did you see Ole*”

“Yes,” said Nick. “He’s in his room and he won’t go out.”

The cook opened the door from the kitchen when he heard Nick’s voice.

“I don’t even listen to it (я даже не слушаю это),” he said and shut the door.

“Did you tell him about it*” George asked.

“Sure. I told him but he knows what it’s all about.”

“What’s he going to do*”

“Nothing.”

“They’ll kill him.”

“I guess they will.”

“He must have not mixed up in something in Chicago (ему не надо было впутываться

во что-то там в Чикаго).”

“I guess so (полагаю, что так),” said Nick.

“It’s a hell of a thing (скверное: «адское» дело; hell – ад).”

“It’s an awful thing,” Nick said.

They did not say anything. George reached down for a towel (достал полотенце:

«потянулся вниз за полотенцем») and wiped the counter (и вытер стойку).

“I wonder what he did (интересно, что же он такое сделал)*” Nick said.

“Double-crossed somebody (перехитрил, обошел кого-то, перебежал кому-то

дорогу). That’s what they kill them for (вот за что они их убивают = именно за это

обычно убивают).”

“I’m going to get out of this town (я уеду, хотел бы, собираюсь уехать из этого

города),” Nick said.

“Yes,” said George. “That’s a good thing to do (это хорошо бы: «это хорошая штука =

хорошо бы так сделать»).”

“I can’t stand (я не могу вынести, терпеть) to think about him waiting in the room

(когда подумаю, как он ждет в комнате) and knowing he’s going to get it (и знает, что

получит это = что с ним кончено). It’s too damned awful (это ужасно: «это слишком

чертовски: «проклято» ужасно»).”

“Well,” said George, “you better not think about it (а ты лучше не думай об этом).”