I“S o locally you’ve drawn1 a blank?” said Craddock, offering his cigarette case to Frank Cornish.
“Completely,” said Cornish. “No enemies, no quarrels, on good terms with her husband.”
“No question of another woman or another man?”
The other shook his head. “Nothing of that kind. No hint of scandal anywhere. She wasn’t what you’d call the sexykind. She was on a lot of committees and things like that and there were some small local rivalries2, but nothing beyondthat.”
“There wasn’t anyone else the husband wanted to marry? No one in the office where he worked?”
“He’s in Biddle & Russell, the estate agents and valuers. There’s Florrie West with adenoids, and Miss Grundle,who is at least fifty and as plain as a haystack—nothing much there to excite a man. Though for all that I shouldn’t besurprised if he did marry again soon.”
Craddock looked interested.
“A neighbour,” explained Cornish. “A widow. When I went back with him from the inquest she’d gone in and wasmaking him tea and looking after him generally. He seemed surprised and grateful. If you ask me, she’s made up hermind to marry him, but he doesn’t know it yet, poor chap.”
“What sort of a woman is she?”
“Good looking,” admitted the other. “Not young but handsome in a gipsyish sort of way. High colour. Dark eyes.”
“What’s her name?”
“Bain. Mrs. Mary Bain. Mary Bain. She’s a widow.”
“What’d her husband do?”
“No idea. She’s got a son working near here who lives with her. She seems a quiet, respectable woman. All thesame, I’ve a feeling I’ve seen her before.” He looked at his watch. “Ten to twelve. I’ve made an appointment for youat Gossington Hall at twelve o’clock. We’d best be going.”
II
Dermot Craddock’s eyes, which always looked gently inattentive, were in actuality making a close mental note of thefeatures of Gossington Hall. Inspector3 Cornish had taken him there, had delivered him over to a young man calledHailey Preston, and had then taken a tactful leave. Since then, Dermot Craddock had been gently nodding at Mr.
Preston. Hailey Preston, he gathered, was a kind of public relations or personal assistant, or private secretary, or morelikely, a mixture of all three, to Jason Rudd. He talked. He talked freely and at length without much modulation4 andmanaging miraculously5 not to repeat himself too often. He was a pleasant young man, anxious that his own views,reminiscent of those of Dr. Pangloss that all was for the best in the best of all possible worlds, should be shared byanyone in whose company he happened to be. He said several times and in different ways what a terrible shame thishad been, how worried everyone had been, how Marina was absolutely prostrated6, how Mr. Rudd was more upset thanhe could possibly say, how it absolutely beat anything that a thing like that should happen, didn’t it? Possibly theremight have been some kind of allergy7 to some particular kind of substance? He just put that forward as an idea—allergies were extraordinary things. Chief- Inspector Craddock was to count on every possible co- operation thatHellingforth Studios or any of their staff could give. He was to ask any questions he wanted, go anywhere he liked. Ifthey could help in anyway they would do so. They all had had the greatest respect for Mrs. Badcock and appreciatedher strong social sense and the valuable work she had done for the St. John Ambulance Association.
He then started again, not in the same words but using the same motifs8. No one could have been more eagerly co-operative. At the same time he endeavoured to convey how very far this was from the cellophane world of studios; andMr. Jason Rudd and Miss Marina Gregg, or any of the people in the house who surely were going to do their utmost tohelp in anyway they possibly could. Then he nodded gently some forty-four times. Dermot Craddock took advantageof the pause to say:
“Thank you very much.”
It was said quietly but with a kind of finality that brought Mr. Hailey Preston up with a jerk. He said:
“Well—” and paused inquiringly.
“You said I might ask questions?”
“Sure. Sure. Fire ahead.”
“Is this the place where she died?”
“Mrs. Badcock?”
“Mrs. Badcock. Is this the place?”
“Yes, sure. Right here. At least, well actually I can show you the chair.”
They were standing9 on the landing recess10. Hailey Preston walked a short way along the corridor and pointed11 out arather phony-looking oak armchair.
“She was sitting right there,” he said. “She said she didn’t feel well. Someone went to get her something, and thenshe just died, right there.”
“I see.”
“I don’t know if she’d seen a physician lately. If she’d been warned that she had anything wrong with her heart—”
“She had nothing wrong with her heart,” said Dermot Craddock. “She was a healthy woman. She died of six timesthe maximum dose of a substance whose official name I will not try to pronounce but which I understand is generallyknown as Calmo.”
“I know, I know,” said Hailey Preston. “I take it myself sometimes.”
“Indeed? That’s very interesting. You find it has a good effect?”
“Marvellous. Marvellous. It bucks12 you up and it soothes13 you down, if you understand what I mean. Naturally,” headded, “you would have to take it in the proper dosage.”
“Would there be supplies of this substance in the house?”
He knew the answer to the question, but he put it as though he did not. Hailey Preston’s answer was franknessitself.
“Loads of it, I should say. There’ll be a bottle of it in most of the bathroom cupboards here.”
“Which doesn’t make our task easier.”
“Of course,” said Hailey Preston, “she might have used the stuff herself and taken a dose, and as I say, had anallergy.”
Craddock looked unconvinced—Hailey Preston sighed and said:
“You’re quite definite about the dosage?”
“Oh yes. It was a lethal14 dose and Mrs. Badcock did not take any such things herself. As far as we can make out theonly things she ever took were bicarbonate of soda15 or aspirin16.”
Hailey Preston shook his head and said, “That sure gives us a problem. Yes, it sure does.”
“Where did Mr. Rudd and Miss Gregg receive their guests?”
“Right here.” Hailey Preston went to the spot at the top of the stairs.
Chief-Inspector Craddock stood beside him. He looked at the wall opposite him. In the centre was an ItalianMadonna and child. A good copy, he presumed, of some well-known picture. The blue-robed Madonna held aloft theinfant Jesus and both child and mother were laughing. Little groups of people stood on either side, their eyes upraisedto the child. One of the more pleasing Madonnas, Dermot Craddock thought. To the right and left of this picture weretwo narrow windows. The whole effect was very charming but it seemed to him that there was emphatically nothingthere that would cause a woman to look like the Lady of Shalott whose doom17 had come upon her.
“People, of course, were coming up the stairs?” he asked.
“Yes. They came in driblets, you know. Not too many at once. I shepherded up some, Ella Zielinsky, that’s Mr.
Rudd’s secretary, brought some of the others. We wanted to make it all pleasant and informal.”
“Were you here yourself at the time Mrs. Badcock came up?”
“I’m ashamed to tell you, Chief-Inspector Craddock, that I just can’t remember. I had a list of names, I went outand I shepherded people in. I introduced them, saw to drinks, then I’d go out and come up with the next batch18. At thetime I didn’t know this Mrs. Badcock by sight, and she wasn’t one of the ones on my list to bring up.”
“What about a Mrs. Bantry?”
“Ah yes, she’s the former owner of this place, isn’t she? I believe she, and Mrs. Badcock and her husband, didcome up about the same time.” He paused. “And the mayor came just about them. He had a big chain on and a wifewith yellow hair, wearing royal blue with frills. I remember all of them. I didn’t pour drinks for any of them because Ihad to go down and bring up the next lot.”
“Who did pour drinks for them?”
“Why, I can’t exactly say. There were three or four of us on duty. I know I went down the stairs just as the mayorwas coming up.”
“Who else was on the stairs as you went down, if you can remember?”
“Jim Galbraith, one of the newspaper boys who was covering this, three or four others whom I didn’t know. Therewere a couple of photographers, one of the locals, I don’t remember his name, and an arty girl from London, whorather specialises in queer angle shots. Her camera was set right up in that corner so that she could get a view of MissGregg receiving. Ah, now let me think, I rather fancy that that was when Ardwyck Fenn arrived.”
“And who is Ardwyck Fenn?”
Hailey Preston looked shocked. “He’s a big shot, Chief-Inspector. A very big shot in the television and movingpicture world. We didn’t even know he was in this country.”
“His turning up was a surprise?”
“I’ll say it was,” said Preston. “Nice of him to come and quite unexpected.”
“Was he an old friend of Miss Gregg’s and Mr. Rudd’s?”
“He was an old friend of Marina’s a good many years ago when she was married to her second husband. I don’tknow how well Jason knew him.”
“Anyway, it was a pleasant surprise when he arrived?”
“Sure it was. We were all delighted.”
Craddock nodded and passed from that to other subjects. He made meticulous19 inquiries20 about the drinks, theiringredients, how they were served, who served them, what servants and hired servants were on duty. The answersseemed to be, as Inspector Cornish had already hinted was the case that, although anyone of thirty people could havepoisoned Heather Badcock with the utmost ease, yet at the same time anyone of the thirty might have been seen doingso! It was, Craddock reflected, a big chance to take.
“Thank you,” he said at last. “Now I would like, if I may, to speak to Miss Marina Gregg.”
Hailey Preston shook his head.
“I’m sorry,” he said. “I really am sorry but that’s right out of the question.”
Craddock’s eyebrows21 rose.
“Surely!”
“She’s prostrated. She’s absolutely prostrated. She’s got her own physician here looking after her. He wrote out acertificate. I’ve got it here. I’ll show it to you.”
Craddock took it and read it.
“I see,” he said. He asked, “Does Marina Gregg always have a physician in attendance?”
“They’re very high strung, all these actors and actresses. It’s a big strain, this life. It’s usually considered desirablein the case of the big shots that they should have a physician who understands their constitution and their nerves.
Maurice Gilchrist has a very big reputation. He’s looked after Miss Gregg for many years now. She’s had a great dealof illness, as you may have read, in the last four years. She was hospitalized for a very long time. It’s only about a yearago that she got her strength and health back.”
“I see.”
Hailey Preston seemed relieved that Craddock was not making anymore protests.
“You’ll want to see Mr. Rudd?” he suggested. “He’ll be—” he looked at his watch, “—he’ll be back from thestudios in about ten minutes if that’s all right for you.”
“That’ll do admirably,” said Craddock. “In the meantime is Dr. Gilchrist in the house?”
“He is.”
“Then I’d like to talk to him.”
“Why, certainly. I’ll fetch him right away.”
The young man bustled22 away. Dermot Craddock stood thoughtfully at the top of the stairs. Of course this frozenlook that Mrs. Bantry had described might have been entirely23 Mrs. Bantry’s imagination. She was, he thought, awoman who would jump to conclusions. At the same time he thought it quite likely that the conclusion to which shehad jumped was a just one. Without going so far as to look like the Lady of Shalott seeing doom coming down uponher, Marina Gregg might have seen something that vexed24 or annoyed her. Something that had caused her to have beennegligent to a guest to whom she was talking. Somebody had come up those stairs, perhaps, who could be described asan unexpected guest—an unwelcome guest?
He turned at the sound of footsteps. Hailey Preston was back and with him was Dr. Maurice Gilchrist. Dr. Gilchristwas not at all as Dermot Craddock had imagined him. He had no suave25 bedside manner, neither was he theatrical26 inappearance. He seemed on the face of it a blunt, hearty27, matter-of-fact man. He was dressed in tweeds, slightly floridtweeds to the English idea. He had a thatch28 of brown hair and observant, keen dark eyes.
“Doctor Gilchrist? I am Chief-Inspector Dermot Craddock. May I have a word or two with you in private?”
The doctor nodded. He turned along the corridor and went along it almost to the end, then he pushed the door openand invited Craddock to enter.
“No one will disturb us here,” he said.
It was obviously the doctor’s own bedroom, a very comfortably appointed one. Dr. Gilchrist indicated a chair andthen sat down himself.
“I understand,” said Craddock, “that Miss Marina Gregg, according to you, is unable to be interviewed. What’s thematter with her, Doctor?”
Gilchrist shrugged29 his shoulders very slightly.
“Nerves,” he said. “If you were to ask her questions now she’d be in a state bordering on hysteria within tenminutes. I can’t permit that. If you like to send your police doctor to see me, I’d be willing to give him my views. Shewas unable to be present at the inquest for the same reason.”
“How long,” asked Craddock, “is such a state of things likely to continue?”
Dr. Gilchrist looked at him and smiled. It was a likeable smile.
“If you want my opinion,” he said, “a human opinion, that is, not a medical one, anytime within the next forty-eighthours, and she’ll be not only willing, but asking to see you! She’ll be wanting to ask questions. She’ll be wanting toanswer your questions. They’re like that!” He leaned forward. “I’d like to try and make you understand if I can, Chief-Inspector, a little bit what makes these people act the way they do. The motion picture life is a life of continuousstrain, and the more successful you are, the greater the strain. You live always, all day, in the public eye. When you’reon location, when you’re working, it’s hard monotonous30 work with long hours. You’re there in the morning, you sitand you wait. You do your small bit, the bit that’s being shot over and over again. If you’re rehearsing on the stageyou’d be rehearsing as likely as not a whole act, or at any rate a part of an act. The thing would be in sequence, itwould be more or less human and credible31. But when you’re shooting a picture everything’s taken out of sequence.
It’s a monotonous, grinding business. It’s exhausting. You live in luxury, of course, you have soothing32 drugs, youhave baths and creams and powders and medical attention, you have relaxations33 and parties and people, but you’realways in the public eye. You can’t enjoy yourself quietly. You can’t really—ever relax.”
“I can understand that,” said Dermot. “Yes, I can understand.”
“And there’s another thing,” went on Gilchrist. “If you adopt this career, and especially if you’re any good at it,you are a certain kind of person. You’re a person—or so I’ve found in my experience—with a skin too few—a personwho is plagued the whole time with diffidence. A terrible feeling of inadequacy34, of apprehension35 that you can’t dowhat’s required of you. People say that actors and actresses are vain. That isn’t true. They’re not conceited36 aboutthemselves; they’re obsessed37 with themselves, yes, but they need reassurance38 the whole time. They must becontinually reassured39. Ask Jason Rudd. He’ll tell you the same. You have to make them feel they can do it, to assurethem they can do it, take them over and over again over the same thing encouraging them the whole time until you getthe effect you want. But they are always doubtful of themselves. And that makes them, in an ordinary human,unprofessional word: nervy. Damned nervy! A mass of nerves. And the worse their nerves are the better they are at thejob.”
“That’s interesting,” said Craddock. “Very interesting.” He paused, adding: “Though I don’t see quite why you—”
“I’m trying to make you understand Marina Gregg,” said Maurice Gilchrist. “You’ve seen her pictures, no doubt.”
“She’s a wonderful actress,” said Dermot, “wonderful. She has a personality, a beauty, a sympathy.”
“Yes,” said Gilchrist, “she has all those, and she’s had to work like the devil to produce the effects that she hasproduced. In the process her nerves get shot to pieces, and she’s not actually a strong woman physically40. Not as strongas you need to be. She’s got one of those temperaments41 that swing to and fro between despair and rapture42. She can’thelp it. She’s made that way. She’s suffered a great deal in her life. A large part of the suffering has been her ownfault, but some of it hasn’t. None of her marriages has been happy, except, I’d say, this last one. She’s married to aman now who loves her dearly and who’s loved her for years. She’s sheltering in that love and she’s happy in it. Atleast, at the moment she’s happy in it. One can’t say how long all that will last. The trouble with her is that either shethinks that at last she’s got to that spot or place or that moment in her life where everything’s like a fairy tale cometrue, that nothing can go wrong, that she’ll never be unhappy again; or else she’s down in the dumps, a woman whoselife is ruined, who’s never known love and happiness and who never will again.” He added dryly, “If she could onlystop halfway43 between the two it’d be wonderful for her; and the world would lose a fine actress.”
He paused, but Dermot Craddock did not speak. He was wondering why Maurice Gilchrist was saying what he did.
Why this close detailed44 analysis of Marina Gregg? Gilchrist was looking at him. It was as though he was urgingDermot to ask one particular question. Dermot wondered very much what the question was that he ought to ask. Hesaid at last slowly, with the air of one feeling his way:
“She’s been very much upset by this tragedy happening here?”
“Yes,” said Gilchrist, “she has.”
“Almost unnaturally45 so?”
“That depends,” said Dr. Gilchrist.
“On what does it depend?”
“On her reason for being so upset.”
“I suppose,” said Dermot, feeling his way, “that it was a shock, a sudden death happening like that in the midst of aparty.”
He saw very little response in the face opposite him “Or might it,” he said, “be something more than that?”
“You can’t tell, of course,” said Dr. Gilchrist, “how people are going to react. You can’t tell however well youknow them. They can always surprise you. Marina might have taken this in her stride. She’s a soft-hearted creature.
She might say, ‘Oh, poor, poor woman, how tragic46. I wonder how it could have happened.’ She could have beensympathetic without really caring. After all deaths do occasionally occur at studio parties. Or she might, if therewasn’t anything very interesting going on, choose—choose unconsciously, mind you—to dramatize herself over it.
She might decide to throw a scene. Or there might be some quite different reason.”
Dermot decided47 to take the bull by the horns. “I wish,” he said, “you would tell me what you really think?”
“I don’t know,” said Dr. Gilchrist. “I can’t be sure.” He paused and then said, “There’s professional etiquette48, youknow. There’s the relationship between doctor and patient.”
“She has told you something?”
“I don’t think I could go as far as that.”
“Did Marina Gregg know this woman, Heather Badcock? Had she met her before?”
“I don’t think she knew her from Adam,” said Dr. Gilchrist. “No. That’s not the trouble. If you ask me it’s nothingto do with Heather Badcock.”
Dermot said, “This stuff, this Calmo. Does Marina Gregg ever use it herself?”
“Lives on it, pretty well,” said Dr. Gilchrist. “So does everyone else around here,” he added. “Ella Zielinsky takesit, Hailey Preston takes it, half the boiling takes it—it’s the fashion at this moment. They’re all much the same, thesethings. People get tired of one and they try a new one that comes out and they think it’s wonderful, and that it makesall the difference.”
“And does it make all the difference?”
“Well,” said Gilchrist, “it makes a difference. It does its work. It calms you or it peps you up, makes you feel youcould do things which otherwise you might fancy that you couldn’t. I don’t prescribe them more than I can help, butthey’re not dangerous taken properly. They help people who can’t help themselves.”
“I wish I knew,” said Dermot Craddock, “what it is that you are trying to tell me.”
“I’m trying to decide,” said Gilchrist, “what is my duty. There are two duties. There’s the duty of a doctor to hispatient. What his patient says to him is confidential49 and must be kept so. But there’s another point of view. You canfancy that there is a danger to a patient. You have to take steps to avoid that danger.”
He stopped. Craddock looked at him and waited.
“Yes,” said Dr. Gilchrist. “I think I know what I must do. I must ask you, Chief-Inspector Craddock, to keep what Iam telling you confidential. Not from your colleagues, of course. But as far as regards the outer world, particularly inthe house here. Do you agree?”
“I can’t bind50 myself,” said Craddock. “I don’t know what will arise. In general terms, yes, I agree. That is to say, Iimagine that any piece of information you gave me I should prefer to keep to myself and my colleagues.”
“Now listen,” said Gilchrist, “this mayn’t mean anything at all. Women say anything when they’re in the state ofnerves Marina Gregg is now. I’m telling you something which she said to me. There may be nothing in it at all.”
“What did she say?” asked Craddock.
“She broke down after this thing happened. She sent for me. I gave her a sedative51. I stayed there beside her,holding her hand, telling her to calm down, telling her things were going to be all right. Then, just before she went offinto unconsciousness she said, ‘It was meant for me, Doctor.’”
Craddock stared. “She said that, did she? And afterwards—the next day?”
“She never alluded52 to it again. I raised the point once. She evaded53 it. She said, ‘Oh, you must have made a mistake.
I’m sure I never said anything like that. I expect I was half doped at the time.’”
“But you think she meant it?”
“She meant it all right,” said Gilchrist. “That’s not to say that it is so,” he added warningly. “Whether someonemeant to poison her or meant to poison Heather Badcock I don’t know. You’d probably know better than I would. AllI do say is that Marina Gregg definitely thought and believed that that dose was meant for her.”
Craddock was silent for some moments. Then he said, “Thank you, Doctor Gilchrist. I appreciate what you havetold me and I realize your motive54. If what Marina Gregg said to you was founded on fact it may mean, may it not, thatthere is still danger to her?”
“That’s the point,” said Gilchrist. “That’s the whole point.”
“Have you any reason to believe that that might be so?”
“No, I haven’t.”
“No idea what her reason for thinking so was?”
“No.”
“Thank you.”
Craddock got up. “Just one thing more, Doctor. Do you know if she said the same thing to her husband?”
Slowly Gilchrist shook his head. “No,” he said, “I’m quite sure of that. She didn’t tell her husband.”
His eyes met Dermot’s for a few moments then he gave a brief nod of his head and said, “You don’t want meanymore? All right. I’ll go back and have a look at the patient. You shall talk to her as soon as it’s possible.”
He left the room and Craddock remained, pursing his lips up and whistling very softly beneath his breath.
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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rivalries
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| n.敌对，竞争，对抗( rivalry的名词复数 ) | |
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inspector
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| n.检查员，监察员，视察员 | |
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modulation
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| n.调制 | |
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miraculously
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| ad.奇迹般地 | |
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prostrated
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| v.使俯伏，使拜倒( prostrate的过去式和过去分词 )；（指疾病、天气等）使某人无能为力 | |
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allergy
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| n.(因食物、药物等而引起的)过敏症 | |
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motifs
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| n. （文艺作品等的）主题( motif的名词复数 )；中心思想；基本模式；基本图案 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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recess
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| n.短期休息，壁凹（墙上装架子，柜子等凹处） | |
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pointed
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| adj.尖的，直截了当的 | |
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bucks
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| n.雄鹿( buck的名词复数 )；钱；（英国十九世纪初的）花花公子；（用于某些表达方式）责任v.（马等）猛然弓背跃起( buck的第三人称单数 )；抵制；猛然震荡；马等尥起后蹄跳跃 | |
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soothes
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| v.安慰( soothe的第三人称单数 )；抚慰；使舒服；减轻痛苦 | |
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lethal
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| adj.致死的；毁灭性的 | |
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soda
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| n.苏打水；汽水 | |
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aspirin
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| n.阿司匹林 | |
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doom
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| n.厄运，劫数；v.注定，命定 | |
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batch
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| n.一批(组，群)；一批生产量 | |
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meticulous
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| adj.极其仔细的，一丝不苟的 | |
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inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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bustled
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| 闹哄哄地忙乱，奔忙( bustle的过去式和过去分词 )； 催促 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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vexed
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| adj.争论不休的；（指问题等）棘手的；争论不休的问题；烦恼的v.使烦恼( vex的过去式和过去分词 )；使苦恼；使生气；详细讨论 | |
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suave
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| adj.温和的；柔和的；文雅的 | |
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theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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hearty
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| adj.热情友好的；衷心的；尽情的，纵情的 | |
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thatch
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| vt.用茅草覆盖…的顶部；n.茅草(屋) | |
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shrugged
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| vt.耸肩（shrug的过去式与过去分词形式） | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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credible
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| adj.可信任的，可靠的 | |
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soothing
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| adj.慰藉的；使人宽心的；镇静的 | |
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relaxations
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| n.消遣( relaxation的名词复数 )；松懈；松弛；放松 | |
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inadequacy
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| n.无法胜任，信心不足 | |
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apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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conceited
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| adj.自负的，骄傲自满的 | |
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obsessed
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| adj.心神不宁的,鬼迷心窍的,沉迷的 | |
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reassurance
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| n.使放心，使消除疑虑 | |
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reassured
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| adj.使消除疑虑的；使放心的v.再保证，恢复信心( reassure的过去式和过去分词) | |
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physically
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| adj.物质上，体格上，身体上，按自然规律 | |
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temperaments
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| 性格( temperament的名词复数 )； （人或动物的）气质； 易冲动； （性情）暴躁 | |
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rapture
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| n.狂喜；全神贯注；着迷；v.使狂喜 | |
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halfway
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| adj.中途的，不彻底的，部分的；adv.半路地，在中途，在半途 | |
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detailed
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| adj.详细的，详尽的，极注意细节的，完全的 | |
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unnaturally
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| adv.违反习俗地；不自然地；勉强地；不近人情地 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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etiquette
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| n.礼仪，礼节；规矩 | |
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confidential
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| adj.秘（机）密的，表示信任的，担任机密工作的 | |
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bind
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| vt.捆，包扎；装订；约束；使凝固；vi.变硬 | |
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sedative
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| adj.使安静的，使镇静的；n. 镇静剂，能使安静的东西 | |
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alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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evaded
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| 逃避( evade的过去式和过去分词 )； 避开； 回避； 想不出 | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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