Читаем Английский язык с Крестным Отцом полностью

privileges here, why don't you let me have a look at your throat?"

Fontane shook his head. "I'm in a hurry."

Nino Valenti said, "That's a million-dollar throat, he can't have cheap doctors looking

down it." Jules saw Valenti was grinning at him, obviously on his side.

Jules said cheerfully, "I'm no cheap doctor. I was the brightest young surgeon and

diagnostician on the East Coast until they got me on an abortion rap (легкий удар;

ответственность /за проступок/, обвинение, наказание /сленг/)."

145

As he had known it would, that made them take him seriously. By admitting his crime

he inspired belief in his claim of high competence. Valenti recovered first. "If Johnny

can't use you, I got a girl friend I want you to look at, not at her throat though."

Fontane said to him nervously, "How long will you take?"

"Ten minutes," Jules said. It was a lie but he believed in telling lies to people. Truth

telling and medicine just didn't go together except in dire (ужасный, страшный;

крайний) emergencies (emergency [ı‘m∂:dG∂ns] – непредвиденный случай, крайняя

необходимость), if then.

"OK," Fontane said. His voice was darker, hoarser, with fright.

Jules recruited a nurse and a consulting room. It didn't have everything he needed but

there was enough. In less than ten minutes he knew there was a growth on the vocal

chords, that was easy. Tucker, that incompetent sartorial (портняжный, портновский)

son of a bitch of a Hollywood phony, should have been able to spot it. Christ, maybe the

guy didn't even have a license and if he did it should be taken away from him. Jules

didn't pay any attention to the two men now. He picked up the phone and asked for the

throat man at the hospital to come down. Then he swung around and said to Nino

Valenti, "I think it might be a long wait for you, you'd better leave."

Fontane stared at him in utter disbelief. "You son of a bitch, you think you're going to

keep me here? You think you're going to fuck around with my throat?"

Jules, with more pleasure than he would have thought possible, gave it to him straight

between the eyes. "You can do whatever you like," he said. "You've got a growth of

some sort on your vocal chords, in your larynx. If you stay here the next few hours, we

can nail it down, whether it's malignant or nonmalignant. We can make a decision for

surgery or treatment. I can give you the whole story. I can give you the name of a top

specialist in America and we can have him out here on the plane tonight, with your

money that is, and if I think it necessary. But you can walk out of here and see your

quack (знахарь; шарлатан) buddy or sweat while you decide to see another doctor, or

get referred to somebody incompetent. Then if it's malignant and gets big enough they'll

cut out your whole larynx or you'll die. Or you can just sweat. Stick here with me and we

can get it all squared away in a few hours. You got anything more important to do?"

Valenti said, "Let's stick around, Johnny, what the hell. I'll go down the hall and call

the studio. I won't tell them anything, just that we're held up. Then I'll come back here

and keep you company."

It proved to be a very long afternoon but a rewarding one. The diagnosis of the staff

throat man was perfectly sound as far as Jules could see after the X rays and swab




(мазок /мед./) analysis. Halfway through, Johnny Fontane, his mouth soaked with

146

iodine, retching (to retch – рыгать, тужиться /при рвоте/) over the roll of gauze stuck in

his mouth, tried to quit. Nino Valenti grabbed him by the shoulders and slammed him

back into a chair. When it was all over Jules grinned at Fontane and said, "Warts."

Fontane didn't grasp it. Jules said again. "Just some warts. We'll slice them right off

like skin off baloney (= Bologna-sausage – болонская /копченая/ колбаса). In a few

months you'll be OK."

Valenti let out a yell but Fontane was still frowning. "How about singing afterward, how

will it affect my singing?"

Jules shrugged. "On that there's no guarantee. But since you can't sing now what's

the difference?"

Fontane looked at him with distaste. "Kid, you don't know what the hell you're talking

about. You act like you're giving me good news when what you're telling me is maybe I

won't sing anymore. Is that right, maybe I won't sing anymore?"

Finally Jules was disgusted. He'd operated as a real doctor and it had been a

pleasure. He had done this bastard a real favor and he was acting as if he'd been done

dirt. Jules said coldly, "Listen, Mr. Fontane, I'm a doctor of medicine and you can call

me Doctor, not kid. And I did give you very good news. When I brought you down here I

was certain that you had a malignant growth in your larynx which would entail

(повлечет за собой) cutting out your whole voice box. Or which could kill you. I was

worried that I might have to tell you that you were a dead man. And I was so delighted

when I could say the word 'warts.' Because your singing gave me so much pleasure,

helped me seduce girls when I was younger and you're a real artist. But also you're a

Перейти на страницу:

Все книги серии Метод чтения Ильи Франка [Английский язык]

Похожие книги

История русской литературы второй половины XX века. Том II. 1953–1993. В авторской редакции
История русской литературы второй половины XX века. Том II. 1953–1993. В авторской редакции

Во второй половине ХХ века русская литература шла своим драматическим путём, преодолевая жесткий идеологический контроль цензуры и партийных структур. В 1953 году писательские организации начали подготовку ко II съезду Союза писателей СССР, в газетах и журналах публиковались установочные статьи о социалистическом реализме, о положительном герое, о роли писателей в строительстве нового процветающего общества. Накануне съезда М. Шолохов представил 126 страниц романа «Поднятая целина» Д. Шепилову, который счёл, что «главы густо насыщены натуралистическими сценами и даже явно эротическими моментами», и сообщил об этом Хрущёву. Отправив главы на доработку, два партийных чиновника по-своему решили творческий вопрос. II съезд советских писателей (1954) проходил под строгим контролем сотрудников ЦК КПСС, лишь однажды прозвучала яркая речь М.А. Шолохова. По указанию высших ревнителей чистоты идеологии с критикой М. Шолохова выступил Ф. Гладков, вслед за ним – прозападные либералы. В тот период бушевала полемика вокруг романов В. Гроссмана «Жизнь и судьба», Б. Пастернака «Доктор Живаго», В. Дудинцева «Не хлебом единым», произведений А. Солженицына, развернулись дискуссии между журналами «Новый мир» и «Октябрь», а затем между журналами «Молодая гвардия» и «Новый мир». Итогом стала добровольная отставка Л. Соболева, председателя Союза писателей России, написавшего в президиум ЦК КПСС о том, что он не в силах победить антирусскую группу писателей: «Эта возня живо напоминает давние рапповские времена, когда искусство «организовать собрание», «подготовить выборы», «провести резолюцию» было доведено до совершенства, включительно до тщательного распределения ролей: кому, когда, где и о чём именно говорить. Противопоставить современным мастерам закулисной борьбы мы ничего не можем. У нас нет ни опыта, ни испытанных ораторов, и войско наше рассеяно по всему простору России, его не соберешь ни в Переделкине, ни в Малеевке для разработки «сценария» съезда, плановой таблицы и раздачи заданий» (Источник. 1998. № 3. С. 104). А со страниц журналов и книг к читателям приходили прекрасные произведения русских писателей, таких как Михаил Шолохов, Анна Ахматова, Борис Пастернак (сборники стихов), Александр Твардовский, Евгений Носов, Константин Воробьёв, Василий Белов, Виктор Астафьев, Аркадий Савеличев, Владимир Личутин, Николай Рубцов, Николай Тряпкин, Владимир Соколов, Юрий Кузнецов…Издание включает обзоры литературы нескольких десятилетий, литературные портреты.

Виктор Васильевич Петелин

Культурология / История / Языкознание, иностранные языки / Языкознание / Образование и наука