| Edgar Barrier / as Raoul D'Aubert (Inspector) in "Phantom of the Opera (1943 film)" | |
| 1 | Good evening, Vercheres. | こんばんは |
| 2 | I didn't come to see the opera. | 物見遊山じゃない |
| 3 | Christine. | クリスティーヌ |
| 4 | I just got back from Rouen. | 出張から 戻ったとこさ |
| 5 | No, I must talk to you for a moment. | 話しがあるんだ |
| 6 | Christine, dear, | クリスティーヌ |
| 7 | I hurried over to tell you something. | 大事なことなんだ |
| 8 | That I love you. | 愛してる |
| 9 | Still. | そうさ |
| 10 | We're having supper tonight at the Cafe de L'Opera. | 食事に行こう |
| 11 | Why not? | どうして？ |
| 12 | If you have another engagement tonight, break it. | 先約なんか ほっとけ |
| 13 | You've had your fling at this for two years. | この２年間 待ってたんだ |
| 14 | Naturally. | そうだろうとも |
| 15 | That's what baritones are for! | あいつは バリトンだからな |
| 16 | Madame. | こんにちは |
| 17 | Well, I'm sorry to intrude, | お邪魔します |
| 18 | but I must see you, Christine. | 用がありまして |
| 19 | Oh, Monsieur's very kind. | ご親切に |
| 20 | Oh, not so exciting as yours, monsieur. | 貴殿ほどでは |
| 21 | It doesn't lend itself to self-expression. | お堅い仕事ですよ |
| 22 | I didn't recognise that delightful song you were singing, Christine. | なにやら 素敵な歌だったね |
| 23 | But as you know, I am no connoisseur of the opera. | でも オペラは 苦手で |
| 24 | A lullaby? | 子守唄？ |
| 25 | It didn't seem very effective, | 効き目がありますかね |
| 26 | as a lullaby. | 子守の？ |
| 27 | By a detective, too. | 警察官としてだがね |
| 28 | Though no doubt the detective is usually mistaken. | まぁ 警官も 人の子だから 間違える |
| 29 | I must see you alone, Christine. | 君とだけで 話しがある |
| 30 | I'm here on business from the Surete. | 本庁の仕事なんだ |
| 31 | Very well, Christine. | わかった |
| 32 | You know Erique Claudin? | クロダーンを 知ってるね？ |
| 33 | How well? | どれほど？ |
| 34 | Strangely? How do you mean, strangely? | どんな風に 変わってた？ |
| 35 | He was a kind and inoffensive man. | 親切で 無害な男が |
| 36 | Until he thought Pleyel was robbing him of his life's work. | 曲を盗まれたと 思って |
| 37 | Then something snapped, | 切れてしまい |
| 38 | and he became a homicidal maniac. | 殺人鬼になった |
| 39 | In his state, he may commit other murders. | このままだと また 罪を犯すだろう |
| 40 | It's urgent that we capture him as soon as possible. | すぐに 逮捕しなければ |
| 41 | We found something in his room | 彼の部屋を 捜索すると |
| 42 | that connects you with him. | 君と関係ある 物が |
| 43 | No doubt you can explain. | 説明して欲しい |
| 44 | Be good enough to explain yourself, Monsieur. | ご存知でしたか？ |
| 45 | Yours? | あなたの？ |
| 46 | It's an extraordinary likeness. | そっくりに できてる |
| 47 | My compliments on your versatility, monsieur. | 賞賛の言葉を 贈ろう |
| 48 | You must've posed for this many times. | 何度も モデルになったんだね |
| 49 | Every detail is you. | 実に そっくりだ |
| 50 | You did this from drawings? | 下絵を 描いたんだね？ |
| 51 | Oh... | おっ |
| 52 | Why? | なぜ？ |
| 53 | Speaking purely as an inspector of the Surete, | 本庁の 係官としては |
| 54 | I'm afraid that even the obvious often needs confirmation. | 明白なことでも 裏付けが必要です |
| 55 | Christine, | クリスティーヌ |
| 56 | did Claudin ever seek more than a casual acquaintance with you? | 言い寄られたことは？ |
| 57 | Can you imagine so diffident a lover, monsieur? | 釣り合わないだろう |
| 58 | Claudin was barely 50. | もう五十路の男だ |
| 59 | No doubt. | 間違いない |
| 60 | This is yours, Christine. | これは 君に |
| 61 | Yes. | えぇ |
| 62 | Oh, not so bad as it seems. | そうでもない |
| 63 | It enabled me to recover mademoiselle's statuette. | 像を 取り戻せた |
| 64 | Is that your carriage at the door, monsieur? | 門前の馬車は 貴殿の？ |
| 65 | Would you be good enough to give me a lift? | 乗せてもらえるかな |
| 66 | Oh, it doesn't matter. | どこでも |
| 67 | As inspector of police, I have business all over Paris. | 本官は パリのどこにでも |
| 68 | You've been most helpful, Christine. | おかげで 助かりました |
| 69 | Most helpful. | 役に立ちました |
| 70 | Thank you. | どうも |
| 71 | Ready, monsieur? | 行きますよ！ |
| 72 | After you, monsieur. | お先に どうぞ |
| 73 | I know nothing of the sort, madame. | 何も 判明していません |
| 74 | I am a police officer, not a psychic. | 警察は 予言者ではないので |
| 75 | It is my duty to collect evidence, | 証拠を固めるのが 仕事です |
| 76 | without prejudice. | 偏見は 持ちません |
| 77 | Madame! | 奥さん！ |
| 78 | Will you be seated, please? | 席に 着いて |
| 79 | Is it true, Monsieur Garron, that you had the opportunity of placing the drug in Madame Biancarolli's glass. | あなたには 毒を入れるチャンスが あったのでしょう？ |
| 80 | It becomes, then, a question of motive. | じゃ 問題は 動機だ |
| 81 | Are you referring to Mademoiselle DuBois? | デュボアさんのためだと？ |
| 82 | You heard, Monsieur Garron. | いかがです？ |
| 83 | Have you anything to say, monsieur? | 反論は？ |
| 84 | Do you deny, monsieur, that you had any motive in drugging madame? | 犯人でないと？ 動機もないと？ |
| 85 | Can you substantiate your charge that Monsieur Garron had a motive in drugging you, and that the motive was Mademoiselle DuBois? | 動機を 証明できるんですか？ |
| 86 | Hearsay is not evidence, madame. | 噂は 証拠にならない |
| 87 | Chasing whom? | 誰を？ |
| 88 | Do you mean to imply there was someone else up there? | この上に 誰か 潜んでると？ |
| 89 | No, monsieur. | いいや |
| 90 | I was chasing you. | 君を 追ってた |
| 91 | I do not know. | わからない |
| 92 | There is no one. | ついてない |
| 93 | I am not a theorist. | 知らん |
| 94 | All I can tell you is that as long as the opera house remains closed, | はっきりしているのは 閉館している限り |
| 95 | everyone in Paris, in all France, will be thinking of nothing but of the murder, | 全国民が 事件に関心を持ち |
| 96 | and hounding us to make an arrest. | 犯人逮捕を 求め続けるでしょう |
| 97 | I came directly, I got your message. | 連絡があって 来た |
| 98 | What has happened now? | どうしました？ |
| 99 | There is an excellent suggestion in this, monsieur. | これには 何かある |
| 100 | You must reopen the Opera at once. | 上演を 再開しましょう |
| 101 | I shall demand it. You must reopen. | 開けるんだ |
| 102 | Christine DuBois must not sing, Monsieur. | 歌うのは クリスティーヌじゃない |
| 103 | And the murderer must not be permitted to remain in the building indefinitely. | 犯人を これ以上 劇場に 潜ませてはおかない |
| 104 | It is my duty to apprehend him. | 逮捕が 目的だ |
| 105 | If Christine DuBois sings, | クリスティーヌが歌えば |
| 106 | that will satisfy the murderer, | 犯人は 満足だろう |
| 107 | and he may never appear. | 現れることもない |
| 108 | So to lure him from his hiding place, someone else must sing. | だから 別人が歌って 誘い出す |
| 109 | I shall post police throughout the building. | 警官隊を 配備します |
| 110 | Even with the chorus on the stage, | 舞台にも |
| 111 | with a special bodyguard for the singer. | 歌手には 専属のガードをつけます |
| 112 | I am reluctant to do this, monsieur. | 私も やりたくはない |
| 113 | Particularly on Mademoiselle DuBois' account, | クリスティーヌのためにも |
| 114 | but I can see no other way. | だが 他に手がない |
| 115 | Whomever you decide. | そちらで 決めてください |
| 116 | Very well, then. | それでは |
| 117 | The Opera will reopen. | 再開だ |
| 118 | You're wrong, monsieur. | そうじゃない |
| 119 | I'm sorry, Christine. | すまないが |
| 120 | They are going to reopen the Opera, | 再開するんだが |
| 121 | but without you. | 君は 出ない |
| 122 | Circumstances connected with the murder of Biancaraolli demand that someone else sing the leading role in your place. | 事件がらみなので 遠慮してもらう |
| 123 | Really? | そうかい？ |
| 124 | I am aware that your profession requires a certain self-assurance, | それは 君の 勝手な望みで |
| 125 | but aren't you going too far? | やりすぎだろう？ |
| 126 | So you've turned detective, monsieur? | 警部に 変身か？ |
| 127 | Very well, if it amuses you, | それは 結構なことだ |
| 128 | but I advise you to confine your hobby to the entertainment of your self and your friends. | だが お遊びは それくらいにして置くんだな |
| 129 | I'm sorry Christine, | 申し訳ないが |
| 130 | but in my official capacity I have had to order Monsieurs Amiot and Lecours not to permit you to sing. | 役職上 君には 歌わせられないんだ |
| 131 | At least, not for the present. | 現状では 無理だ |
| 132 | And I am not in the least interested in your plan. | 君の作戦には 興味ない |
| 133 | That's what I came for. | 私も そのために来た |
| 134 | May I speak to you alone, Christine? | 二人きりで 話したい |
| 135 | Our plan is succeeding then. | 計画通りだ |
| 136 | How is Madame Lorenzi? | 歌手の ロレンジは？ |
| 137 | You men are to remain onstage throughout the performance. | 諸君は ずっと 舞台にいて |
| 138 | You are to make yourselves as inconspicuous as possible, | 目立たないようにしろ |
| 139 | and be on the alert for anything suspicious. | 警戒を 怠るな |
| 140 | The only persons who have business backstage are the members of the opera company, all of whom you know. | 舞台裏には いつものスタッフと警備員だけだ |
| 141 | Now, that is all. | 以上だ |
| 142 | Christine, I'd much rather you'd stayed at home. | ここには 来るなと |
| 143 | Surely you understand why I asked them not to let you sing tonight. | 今夜は 出演しないことに |
| 144 | And Anatole Garron is the baritone! | アナトールも 歌うからな |
| 145 | I'm sorry, Christine, | 悪かった |
| 146 | but I'm really concerned about what may happen tonight. | でも 今夜は 悪い予感がする |
| 147 | Wait for me, please, in your dressing room. | 控え室で 待っててくれ |
| 148 | I'm Sorry. | 失礼 |
| 149 | He's here, Gerard. | 奴が 来た |
| 150 | He's murdered one of our men and stolen his cape. | 一人 やられて 衣装を奪われた |
| 151 | He's probably wearing one of the masks. | 仮面をつけてるはずだ |
| 152 | Watch everyone, closely. | 油断するな |
| 153 | Sorry. | 失礼 |
| 154 | Christine! | クリスティーヌ |
| 155 | Where's Christine? | どこだ？ |
| 156 | Hasn't she been here? | ここに 居なかったか？ |
| 157 | Garron. | ちょっと |
| 158 | Garron, have you seen Christine? | クリスティーヌは？ |
| 159 | She came to the opera house earlier this evening. | 劇場に来てたんだ |
| 160 | Now she's disappeared. | 見当たらない |
| 161 | We can't find her anywhere. | どこにも いない |
| 162 | Christine! | クリスティーヌ |
| 163 | Christine! | クリスティーヌ |
| 164 | George, | ジョージ |
| 165 | you two search that passageway. | 君ら二人は こっちへ |
| 166 | Gerard, go that way. | ジェラッドはそっちへ |
| 167 | Be careful. This madman may do anything now. | 気を付けろ 相手は 強暴だ |
| 168 | Christine! | クリスティーヌ |
| 169 | That was a brilliant idea of yours, Garron. | いい 考えだ |
| 170 | Perhaps Claudin is up there now, listening. | 奴は上にいるかも |
| 171 | That sound's in front of us. | 音は 前からだ |
| 172 | The whole place is ready to crumble. | もろくなってるぞ |
| 173 | Don't move. | 動くな |
| 174 | The shots must have started it. | 撃ったからだ |
| 175 | Christine! | クリスティーヌ |
| 176 | Oh. | おや |
| 177 | Well, how soon will you be ready, Christine? | 準備は できてるでしょう |
| 178 | The carriage is waiting. | 馬車を 待たせてます |
| 179 | I know Monsieur Garron will excuse us. | 悪いけど 二人で 出かけるよ |
| 180 | No doubt. | なるほど |
| 181 | You won't be long, will you, Christine? | もう 出かけよう |
| 182 | I am not in the habit of taking baritones to supper. | 男と食事するシュミは ない |
| 183 | Christine, you'll have to make up your mind | 決めてくれ |
| 184 | finally and irrevocably between two of us. | どっちにするか きっぱりと |
| 185 | Will you join me for a bit of supper at the Cafe de L'Opera? | 一緒に 食事でも？ |
| 186 | Think we can get through this crowd? | 抜け出せるかな？ |
| 187 | Quite right. | まったくだ |
| 188 | After you, monsieur. | お先に |
