Íà
Ãëàâíóþ
ÃÄÇ:
Àíãëèéñêèé
ÿçûê Àëãåáðà Ãåîìåòðèÿ Ôèçèêà Õèìèÿ Ðóññêèé
ÿçûê Íåìåöêèé
ÿçûê
Ïîäãîòîâêà ê ýêçàìåíàì (ÅÃÝ) Ïðîãðàììû è ïîñîáèÿ Êðàòêîå ñîäåðæàíèå Îíëàéí ó÷åáíèêè
Øïàðãàëêè Ðåôåðàòû Ñî÷èíåíèÿ Ýíöèêëîïåäèè Òîïèêè ñ ïåðåâîäàìè
ÎÃËÀÂËÅÍÈÅ (ñïèñîê ïðîèçâåäåíèé)
Óáèéñòâî â Âîñòî÷íîì Ýêñïðåññå (2).
Àãàòà Êðèñòè. (2 ñòð.êíèãè)
Her
manner
was
slightly
repressive
(åå ïîâåäåíèå áûëî íåñêîëüêî ïîäàâëÿþùèì/îõëàæäàþùèì;
manner — ìåòîä, ñïîñîá; ìàíåðà, ïîâåäåíèå;
to
repress — ïîäàâëÿòü; ñäåðæèâàòü /÷óâñòâà è
ò.ï./).
susceptible [
sq'septqb(q)l]
amusement [q'mju:zmqnt
]
dangerous ['deIndZqrqs
] voyage ['vOIIdZ
] repressive [
rI'presIv]
“He is susceptible, our Colonel,” thought Hercule Poirot to himself with
some amusement. “The train, it is as dangerous as a sea voyage!”
Miss Debenham said evenly that that would be very nice. Her manner was slightly
repressive.
The Colonel, Hercule Poirot noticed, accompanied her back to her compartment
(ïîëêîâíèê
, çàìåòèë
Ýðêþëü
Ïóàðî
, ïðîâîäèë
åå
äî
êóïå
). Later they passed through the magnificent scenery of the Taurus
(ïîòîì
îíè
ïðîåçæàëè
ïî
âåëèêîëåïíîìó
ëàíäøàôòó
/ïåéçàæó
õðåáòà
Òàâð
; scenery — /
òåàòðàëüíûå/
äåêîðàöèè;
ïåéçàæ,
âèä)
. As they looked down towards the Cilician Gates (
êîãäà
îíè
ïîñìîòðåëè
âíèç
íà
Êèëèêèéñêèå
Âîðîòà)
, standing in the corridor side by side (
ñòîÿ
â
êîðèäîðå
ðÿäîì
äðóã
ñ
äðóãîì;
side — ñòåíêà
; to be side by side —
íàõîäèòüñÿ
ðÿäîì,
áîê
î
áîê)
, a sigh came suddenly from the girl (
äåâóøêà
íåîæèäàííî
âçäîõíóëà;
sigh — âçäîõ
; to come (came, come) — ïðèõîäèòü
, èäòè
; ïðîèñõîäèòü
, ñëó÷àòüñÿ
). Poirot was standing near them
(Ïóàðî
ñòîÿë
ðÿäîì
ñ
íèìè
) and heard her murmur
(è
óñëûøàë
åå
øåïîò
; to hear (heard)
):
“It’s so beautiful (
êàê
êðàñèâî)
! I
wish
(æàëü
, ÷òî
ÿ
...) —
I
wish — ”
“
Yes?”
“
I
wish
I
could
enjoy
it
(æàëü, ÷òî ÿ íå ìîãó íàñëàæäàòüñÿ /ýòîé êðàñîòîé/: «æåëàþ, /÷òîáû/ ÿ ìîãëà áû íàñëàæäàòüñÿ
ýòèì»; to
enjoy — ëþáèòü /÷òî-ëèáî/; íàñëàæäàòüñÿ /÷åì-ëèáî/
)!”
scenery [
'si:n(q)rI] towards [
tq'wO:dz] murmur [
'mq:mq]
The Colonel, Hercule Poirot noticed, accompanied her back to her compartment.
Later they passed through the magnificent scenery of the Taurus. As they looked down towards the Cilician Gates, standing in the corridor side by side, a sigh came suddenly from the girl. Poirot was standing near them and
heard her murmur:
“It’s so beautiful! I wish — I wish — ”
“Yes?”
“I wish I could enjoy it!”
Arbuthnot did not answer
(Àðáýòíîò
íå
îòâåòèë
). The square line of his jaw seemed a little sterner and grimmer
(ìàññèâíûé
: «êâàäðàòíûé
» êîíòóð
åãî
÷åëþñòè
, êàçàëîñü
, /ñòàë
/ ÷óòü
ñóðîâåå
è
æåñò÷å
; line —
ëèíèÿ;
êîíòóð)
.
“
I
wish
to
Heaven
you
were
out
of
all
this
(êàê áû ìíå õîòåëîñü, ÷òîáû âû íå áûëè â ýòîì âñåì çàìåøàíû;
heaven — íåáî; ïðîâèäåíèå; ìåæä. Áîæå! Áîæå
ìîé!; to
be
out
of
smth
. — ðàçã. èçáåæàòü ÷åãî-ëèáî; íå áûòü çàìåøàííûì â ÷åì-ëèáî
),”
he
said.
“Hush, please
(òèøå
, ïîæàëóéñòà
). Hush.”
“
Oh!
it’
s
all
right
(î, âñå â ïîðÿäêå).”
He
shot
a
slightly
annoyed
glance
in
Poirot’
s
direction
(îí áðîñèë ñëåãêà ðàçäðàæåííûé âçãëÿä â ñòîðîíó Ïóàðî;
to
shoot (
shot) — ñòðåëÿòü; áðîñàòü, øâûðÿòü;
to
annoy — äîñàæäàòü, äîêó÷àòü, ðàçäðàæàòü
).
Then
he
went
on
(çàòåì îí ïðîäîëæèë): “
But
I
don’
t
like
the
idea
of
your
being
a
governess
(íî ìíå íå íðàâèòñÿ ñàìà ìûñëü, ÷òî âû ðàáîòàåòå: «ÿâëÿåòåñü» ãóâåðíàíòêîé)
— at
the
beck
and
call
of
tyrannical
mothers
(íà ïîáåãóøêàõ ó òèðàíè÷åñêèõ/äåñïîòè÷íûõ ìàìàø;
beck — ìàíîâåíèå, ñèãíàë ðóêîé èëè
ãîëîâîé; call — êðèê, çîâ; to be at smb.'s beck
and call — áûòü ó êîãî-òî íà ïîáåãóøêàõ, â ÷üåì-ëèáî ðàñïîðÿæåíèè
)
and
their
tiresome
brats
(è èõ íåñíîñíûõ îòïðûñêîâ;
tiresome — óòîìèòåëüíûé, èçíóðèòåëüíûé; íàäîåäëèâûé;
brat — ïðåíåáð. ùåíîê, ïëîõî âîñïèòàííûé
ðåáåíîê; íåãàò. îòïðûñê)
.”
She
laughed
(îíà çàñìåÿëàñü)
with
just
a
hint
of
uncontrol
in
the
sound
(áåç îáû÷íîé ñäåðæàííîñòè: «ñ âñåãî ëèøü íàìåêîì íà áåñêîíòðîëüíîñòü» â ãîëîñå;
control
— óïðàâëåíèå, ðóêîâîäñòâî; ñäåðæàííîñòü, ñàìîîáëàäàíèå;
uncontrol — áåñêîíòðîëüíîñòü, íåêîíòðîëèðóåìîå
ñîñòîÿíèå).
square [
skweq] jaw [
dZO:]
heaven ['hev(q)n
] tyrannical [
tI'rxnIk(q)l]
Arbuthnot did not answer. The square line of his jaw seemed a little sterner
and grimmer.
“I wish to Heaven you were out of all this,” he said.
“Hush, please. Hush.”
“Oh! it’s all right.” He shot a slightly annoyed glance in Poirot’s
direction. Then he went on: “But I don’t like the idea of your being a governess — at the beck and call of tyrannical mothers and their tiresome brats.”
She laughed with just a hint of uncontrol in the sound.
“
Oh!
you
mustn’
t
think
that
(î, âû íå äîëæíû òàê äóìàòü)
. The
downtrodden
governess
is
quite
an
exploded
myth
(ðàñòîïòàííàÿ =
áåñïðàâíàÿ ãóâåðíàíòêà — ýòî äàâíî èçæèòûé
ìèô; downtrodden — çàòîïòàííûé; ïîïðàííûé;
to
tread (
trod,
trodden) — ñòóïàòü; ïîïèðàòü, ïðèòåñíÿòü
; to
explode
— âçðûâàòü, ðàçðóøàòü;
exploded — âçîðâàííûé, ïîäîðâàííûé; âûøåäøèé
èç óïîòðåáëåíèÿ, èçæèòûé)
. I
can
assure
you
(óâåðÿþ âàñ: «ÿ ìîãó âàñ óâåðèòü»)
that
it
’s
the
parents
who
are
afraid
of
being
bullied
by
me
(ýòî ðîäèòåëè ìåíÿ áîÿòñÿ: «ýòî ðîäèòåëè áîÿòñÿ
áûòü çàïóãàííûìè ìíîþ/ìîåãî íàòèñêà»; afraid
— èñïóãàííûé, áîÿùèéñÿ
; bully
— õóëèãàí, äðà÷óí; to
bully
— çàïóãèâàòü, ñòðàùàòü; çàäèðàòü, ïðèñòàâàòü
).”
They
said
no
more
(îíè çàìîë÷àëè: «íå ãîâîðèëè íè÷åãî áîëüøå»)
. Arbuthnot
was
, perhaps
, ashamed
of
his
outburst
(Àðáýòíîò, âîçìîæíî, ñòûäèëñÿ ñâîåãî ïîðûâà;
ashamed — ïðèñòûæåííûé;
outburst — âçðûâ, âñïûøêà; ïîðûâ
).
“
Rather
an
odd
little
comedy
that
I
watch
here
(èíòåðåñíàÿ, îäíàêî, êîìåäèÿ: «äîâîëüíî ñòðàííóþ ìàëåíüêóþ êîìåäèþ ÿ çäåñü íàáëþäàþ»;
odd — íå÷åòíûé; ñòðàííûé, íåîáû÷íûé
),”
said
Poirot
to
himself
thoughtfully
(ïðîìîëâèë çàäóì÷èâî Ïóàðî;
thoughtfully — çàäóì÷èâî
).
He was to remember that thought of his later
(ïîçæå
åìó
åùå
ïðåäñòîÿëî
âñïîìíèòü
ýòó
ñâîþ
ìûñëü
).
They
arrived
at
Konya
that
night
about
half-
past
eleven
(îíè ïðèáûëè â Êîíüþ òåì æå âå÷åðîì, îêîëî ïîëîâèíû äâåíàäöàòîãî: «ïîëîâèíû ïîñëå îäèííàäöàòè»;
night — íî÷ü, âðåìÿ îò íàñòóïëåíèÿ
òåìíîòû äî ðàññâåòà èëè îò 6 ÷àñîâ âå÷åðà äî 6 ÷àñîâ óòðà; âå÷åð
).
The
two
English
travellers
got
out
to
stretch
their
legs
(àíãëè÷àíå: «äâîå ýòèõ àíãëèéñêèõ ïóòåøåñòâåííèêîâ» âûøëè /íà ïåððîí/ ðàçìÿòüñÿ: «ðàñòÿíóòü/ïîòÿíóòü
íîãè»; to
get (
got)
out — âûõîäèòü, âûëåçàòü
; to
stretch
— ðàñòÿãèâàòü, âûòÿãèâàòü
),
pacing
up
and
down
the
snowy
platform
(øàãàÿ âçàä è âïåðåä ïî çàñíåæåííîé ïëàòôîðìå;
to
pace — øàãàòü, âûøàãèâàòü, èçìåðÿòü øàãàìè;
up
and
down — ââåðõ è âíèç; òóäà è ñþäà;
snowy — ñíåæíûé, çàñíåæåííûé
).
downtrodden [
'daVn"trO
dn] myth [
mIT]
bully ['bVlI
]
“Oh! you mustn’t think that. The downtrodden governess is quite an exploded
myth. I can assure you that it’s the parents who are afraid of being bullied by me.”
They said no more. Arbuthnot was, perhaps, ashamed of his outburst.
“Rather an odd little comedy that I watch here,” said Poirot to himself
thoughtfully.
He was to remember that thought of his later.
They arrived at Konya that night about half-past eleven. The two English travellers
got out to stretch their legs, pacing up and down the snowy platform.
M. Poirot was content to watch the teeming activity of the station
(ìñüå
Ïóàðî
óäîâîëüñòâîâàëñÿ
/òåì
/, ÷òî
íàáëþäàë
çà
ñóåòíîé
æèçíüþ
âîêçàëà
; content —
äîâîëüíûé,
óäîâëåòâîðåííûé;
teeming — èçîáèëóþùèé
, êèøàùèé
; activity — äåÿòåëüíîñòü
, àêòèâíîñòü
, station — ìåñòî
; âîêçàë
, æåëåçíîäîðîæíàÿ
ñòàíöèÿ
) through a window pane
(ñêâîçü
îêîííîå
ñòåêëî
; pane —
îêîííîå
ñòåêëî)
. After about ten minutes, however, he decided (
îäíàêî
ñïóñòÿ
ìèíóò
äåñÿòü
îí
ðåøèë)
that a breath of air would not perhaps be a bad thing
(÷òî
ãëîòîê
: «âçäîõ
» âîçäóõà
, âîçìîæíî
, íå
ïîìåøàåò
: «íå
áóäåò
ïëîõîé
âåùüþ
»; breath —
äûõàíèå,
âçäîõ;
thing — âåùü
, ïðåäìåò
; ÿâëåíèå
) after all
(â
êîíöå
êîíöîâ
). He made careful preparations
(îí
òùàòåëüíî
ïîäãîòîâèëñÿ
; preparation —
ïðèãîòîâëåíèå,
ïîäãîòîâêà)
, wrapping himself in several coats and mufflers (
óêóòàâøèñü /
ñðàçó/
â
íåñêîëüêî
ïèäæàêîâ/
ïàëüòî
è
êàøíå;
coat — ïèäæàê
, æàêåò
; âåðõíÿÿ
îäåæäà
) and encasing his neat boots in galoshes
(è
íàäåâ
íà
ñâîè
àêêóðàòíûå
áîòèíêè
ãàëîøè
: «óïàêîâàâ
áîòèíêè
â
ãàëîøè
»; to encase —
óïàêîâàòü,
çàêëþ÷èòü
â
óïàêîâêó; neat —
÷èñòûé,
àêêóðàòíûé;
èçÿùíûé,
ëàäíî
ñèäÿùèé /
îá
îäåæäå,
îáóâè/
). Thus attired
(îäåâøèñü
òàêèì
îáðàçîì
; to
attire — íàäåâàòü
, îáëà÷àòü
), he descended gingerly to the platform
(îí
îñòîðîæíî
/îñìîòðèòåëüíî
ñïóñòèëñÿ
íà
ïåððîí
) and began to pace its length
(è
íà÷àë
ìåðèòü
øàãàìè
åãî
äëèíó
= ïðîõàæèâàòüñÿ
; to begin (began, begun); to pace —
øàãàòü,
ïðîõàæèâàòüñÿ;
ìåðèòü
øàãàìè)
. He walked out beyond the engine (
îí /
äàæå/
óøåë
çà
ëîêîìîòèâ;
engine — ìàøèíà
, äâèãàòåëü
; ëîêîìîòèâ
, ïàðîâîç
).
breath [
breT] wrap [
rxp]
encase [In'keIs
] golosh [
gq'lO
S]
length [leNT
]
M. Poirot was content to watch the teeming activity of the station through
a window pane. After about ten minutes, however, he decided that a breath of air would not perhaps be a bad thing after all. He made careful preparations, wrapping himself in several coats and mufflers and encasing his neat
boots in goloshes. Thus attired, he descended gingerly to the platform and began to pace its length. He walked out beyond the engine.
It was the voices which gave him the clue
(èìåííî
ïî
ãîëîñàì
îí
óçíàë
: «èìåííî
ãîëîñà
ñîîáùèëè
åìó
»; to give (gave, given); clue —
êëþ÷
ê
ðàçãàäêå;
ñâåäåíèå,
èíôîðìàöèÿ; to clue —
ñîîáùèòü,
ðàñêðûòü,
äàòü
êëþ÷
ê
ðàçãàäêå)
to the two indistinct figures (
äâå
íåÿñíûå
ôèãóðû;
(in)distinct — (íå
)ÿñíûé
, (íå
)îò÷åòëèâûé
) standing in the shadow of a traffic van
(ñòîÿâøèå
â
òåíè
áàãàæíîãî
âàãîíà
; traffic —
äîðîæíûé,
òðàíñïîðòíûé; van —
ôóðãîí;
áàãàæíûé
âàãîí,
òîâàðíûé
âàãîí)
. Arbuthnot was speaking (
ãîâîðèë
Àðáýòíîò)
.
“Mary — ”
The girl interrupted him
(äåâóøêà
ïåðåáèëà
åãî
; to interrupt —
ïðåðûâàòü;
ïåðåáèâàòü)
.
“Not now (
íå
ñåé÷àñ)
. Not now. When
it’
s
all
over
(êîãäà âñå çàêîí÷èòñÿ;
to
be
over — îêîí÷èòüñÿ, çàâåðøèòüñÿ
).
When
it’
s
behind
us
(êîãäà ýòî áóäåò ïîçàäè /íàñ/)
— then
(òîãäà)
— ”
Discreetly
M.
Poirot
turned
away
(îñòîðîæíî ìñüå Ïóàðî óäàëèëñÿ;
to
turn — ïîâîðà÷èâàòü(ñÿ);
to
turn
away — îòâîðà÷èâàòüñÿ; óõîäèòü, ïîêèäàòü
).
He
wondered
(îí çàäóìàëñÿ/íåäîóìåâàë;
to
wonder — èíòåðåñîâàòüñÿ, æåëàòü çíàòü, çàäàâàòü
ñåáå âîïðîñ, íåäîóìåâàòü)
. ...
He
would
hardly
have
recognized
the
cool,
efficient
voice
of
Miss
Debenham
(îí åäâà áû óçíàë ñïîêîéíûé, äåëîâèòûé ãîëîñ ìèññ Äåáåíõýì;
cool — ïðîõëàäíûé; ñïîêîéíûé, íåâîçìóòèìûé
). ...
“
Curious
(ëþáîïûòíî/èíòåðåñíî),”
he
said
to
himself
(ïîäóìàë îí: «ñêàçàë îí ïðî ñåáÿ»)
.
indistinct
["IndI'stINkt] interrupt
["Intq'rApt] recognize [
'rekqgnaIz]
It was the voices which gave him the clue to the two indistinct figures standing
in the shadow of a traffic van. Arbuthnot was speaking.
“Mary — ”
The girl interrupted him.
“Not now. Not now. When it’s all over. When it’s behind us —
then — ”
Discreetly M. Poirot turned away. He wondered. ...
He would hardly have recognised the cool, efficient voice of Miss Debenham.
...
“Curious,” he said to himself.
The
next
day
he
wondered
whether
, perhaps
, they
had
quarreled
(íà ñëåäóþùèé äåíü îí ïðåäïîëîæèë, ÷òî, âîçìîæíî,
îíè /ïðîñòî/ ïîññîðèëèñü: «çàäàâàëñÿ âîïðîñîì, íå ññîðèëèñü ëè îíè, âîçìîæíî»;
to
quarrel — ñïîðèòü; ññîðèòüñÿ
).
They spoke little to each other (
îíè
ìàëî
ðàçãîâàðèâàëè
äðóã
ñ
äðóãîì;
to speak (spoke, spoken) — ãîâîðèòü
). The girl, he thought
(äåâóøêà
, äóìàë
îí
; to think (thought)
), looked anxious
(âûãëÿäåëà
îáåñïîêîåííîé
/âñòðåâîæåííîé
; to look —
ñìîòðåòü;
èìåòü
âèä,
âûãëÿäåòü)
. There were dark circles under her eyes (
ïîä
ãëàçàìè
ó
íåå
áûëè
òåìíûå
êðóãè)
.
quarrel [
'kwO
rql]
anxious ['xNkSqs
] circle [
'sq:k(q)l]
The next day he wondered whether, perhaps, they had quarrelled. They spoke
little to each other. The girl, he thought, looked anxious. There were dark circles under her eyes.
It was about half-past two in the afternoon (
áûëî
îêîëî
ïîëîâèíû
òðåòüåãî /
äíÿ/;
afternoon — âðåìÿ
ïîñëå
ïîëóäíÿ
) when the train came to a halt
(êîãäà
ïîåçä
/íåîæèäàííî
/ îñòàíîâèëñÿ
; halt —
îñòàíîâêà,
ïðèâàë)
. Heads
were
poked
out
of
windows
(èç îêîí ïîâûñîâûâàëèñü ãîëîâû;
to
poke — òûêàòü, òîëêàòü; âûñîâûâàòü, âûäâèãàòü
).
A
little
knot
of
men
(íåáîëüøàÿ ãðóïïà ìóæ÷èí;
knot — óçåë; êó÷êà, ãðóïïà
)
were
clustered
by
the
side
of
the
line
(ñîáðàëàñü ó ïóòåé; to
cluster
— ðàñòè ïó÷êàìè; ñîáèðàòüñÿ ãðóïïàìè, òîëïèòüñÿ;
line — ëèíèÿ; æ.-ä. ðåëüñîâûé ïóòü
)
looking
and
pointing
at
something
under
the
dining-
car
(ðàññìàòðèâàÿ è óêàçûâàÿ íà ÷òî-òî ïîä âàãîíîì-ðåñòîðàíîì;
to
dine — îáåäàòü; óãîùàòü îáåäîì
).
Poirot
leaned
out
(Ïóàðî âûñóíóëñÿ /èç îêíà/;
to
lean — íàêëîíÿòüñÿ, íàãèáàòüñÿ
)
and
spoke
to
the
Wagon
Lit
conductor
(è îáðàòèëñÿ ê ïðîâîäíèêó)
who
was
hurrying
past
(êîòîðûé ïðîáåãàë ìèìî;
to
hurry — ñïåøèòü, òîðîïèòüñÿ
).
The
man
answered
(òîò: «ìóæ÷èíà» îòâåòèë /â ÷åì äåëî/)
, and
Poirot
drew
back
his
head
(è Ïóàðî âòÿíóë ãîëîâó îáðàòíî;
to
draw (
drew,
drawn) — òàùèòü, âîëî÷èòü, òÿíóòü
)
and,
turning,
almost
collided
with
Mary
Debenham
(è, ïîâîðà÷èâàÿñü, ÷óòü íå ñòîëêíóëñÿ ñ Ìýðè Äåáåíõýì)
who
was
standing
just
behind
him
(êîòîðàÿ ñòîÿëà êàê ðàç çà åãî ñïèíîé;
behind — çà, ïîçàäè, ñçàäè
).
halt [
hO:lt] knot [
nO
t] collide [
kq'laId]
It was about half-past two in the afternoon when the train came to a halt.
Heads were poked out of windows. A little knot of men were clustered by the side of the line looking and pointing at something under the dining-car.
Poirot leaned out and spoke to the Wagon Lit conductor who was hurrying past.
The man answered, and Poirot drew back his head and, turning, almost collided with Mary Debenham who was standing just behind him.
“What is the matter (
â
÷åì
äåëî;
matter — âåùåñòâî
; äåëî
)?” she asked rather breathlessly in French
(ñïðîñèëà
îíà
, çàïûõàâøèñü
, ïî
-ôðàíöóçñêè
; breath — äûõàíèå
).
“Why
are
we
stopping
(ïî÷åìó ìû ñòîèì;
to
stop — îñòàíàâëèâàòü, çàäåðæèâàòü
)?”
“It is nothing, Mademoiselle
(ïóñòÿêè
: «ýòî
íè÷åãî
»,
ìàäåìóàçåëü)
. It is something that has caught fire under the dining-car
(÷òî
-òî
çàãîðåëîñü
ïîä
âàãîíîì
-ðåñòîðàíîì
; to catch (caught) —
ïîéìàòü,
ñõâàòèòü; fire —
îãîíü,
ïëàìÿ)
. Nothing serious (
íè÷åãî
ñåðüåçíîãî)
. It is put out (/
îãîíü/
óæå
ïîòóøèëè;
to put out — âûòÿãèâàòü
, âûñîâûâàòü
; òóøèòü
, ãàñèòü
). They are now repairing the damage
(ñåé÷àñ
îíè
ðåìîíòèðóþò
ïîâðåæäåíèÿ
; damage —
âðåä,
ïîëîìêà;
ïîâðåæäåíèå)
. There is no danger (
íåò
íèêàêîé
îïàñíîñòè)
, I assure you (
óâåðÿþ
âàñ)
.”
breathless [
'breTlIs]
caught [kO:t
] damage [
'dxmIdZ]
“What is the matter?” she asked rather breathlessly in French. “Why are
we stopping?”
“It is nothing, Mademoiselle. It is something that has caught fire under
the dining-car. Nothing serious. It is put out. They are now repairing the damage. There is no danger, I assure you.”
She made a little abrupt gesture
(îíà
êàê
-òî
íåëîâêî
âçìàõíóëà
ðóêîé
: «ñäåëàëà
ðåçêèé
æåñò
»; gesture —
æåñò,
òåëîäâèæåíèå)
, as though she were waving the idea of danger aside
(ñëîâíî
îòìàõèâàëàñü
îò
ìûñëè
îá
îïàñíîñòè
; to wave —
ðàçâåâàòüñÿ /
î
ôëàãå/;
îòìàõíóòüñÿ /
îò
÷åãî-
ëèáî/,
îòâåðãíóòü)
as something completely unimportant (
êàê
îò
÷åãî-
òî
ñîâåðøåííî
íåñóùåñòâåííîãî;
important — âàæíûé
, çíà÷èòåëüíûé
; ñóùåñòâåííûé
).
“Yes, yes, I understand that
(äà
, äà
, ÿ
ïîíèìàþ
). But the time
(íî
âðåìÿ
)!”
“The time
(âðåìÿ
)?”
“Yes, this will delay us
(äà
, ýòî
çàäåðæèò
íàñ
).”
“
It
is
possible —
yes
(âîçìîæíî
),”
agreed
Poirot
(ñîãëàñèëñÿ
Ïóàðî
).
“
But
we
can’
t
afford
delay
(íî ìû íå ìîæåì ïîçâîëèòü ñåáå çàäåðæêó = ìû íå ìîæåì çàäåðæèâàòüñÿ;
to
afford — èìåòü âîçìîæíîñòü; ïîçâîëèòü ñåáå
/ïîêóïêó, óäîâîëüñòâèå è ò.ï./)
! This
train
is
due
in
at
6.55 (ýòîò ïîåçä äîëæåí áûòü /â Ñòàìáóëå/ â 6.55;
due — äîëæíûé; îæèäàåìûé
),
and
one
has
to
cross
the
Bosphorus
(à åùå íàäî ïåðåñå÷ü/ïåðåïðàâèòüñÿ ÷åðåç /ïðîëèâ/ Áîñôîð)
and
catch
the
Simplon
Orient
Express
(è óñïåòü íà Ñèìïëîíñêèé Âîñòî÷íûé
ýêñïðåññ;
to
catch — ïîéìàòü; óñïåòü, ïîñïåòü /íà ïîåçä,
ñàìîëåò è ò.ï./)
on
the
other
side
at
nine
o
’clock
(íà äðóãîé ñòîðîíå /ïðîëèâà/ â äåâÿòü ÷àñîâ)
. If
there
is
an
hour
or
two
of
delay
(åñëè ïîåçä çàäåðæèòñÿ: «ñëó÷èòñÿ çàäåðæêà» íà
÷àñ èëè äâà) we
shall
miss
the
connection
(ìû íå óñïååì ñäåëàòü: «ïðîïóñòèì» ïåðåñàäêó;
to
miss — ïðîìàõíóòüñÿ; îïîçäàòü, íå ïîïàñòü;
connection — ñâÿçü, ñîåäèíåíèå; ïåðåñàäêà
).”
“It is possible, yes
(äà
, ýòî
âîçìîæíî
),” he admitted
(ïðèçíàë
îí
).
abrupt [
q'brApt] delay [
dI'leI] due
[dju:] Bosphorus
['bO
sfqrqs]
She made a little abrupt gesture, as though she were waving the idea of danger
aside as something completely unimportant.
“Yes, yes, I understand that. But the time!”
“The time?”
“Yes, this will delay us.”
“It is possible — yes,” agreed Poirot.
“But we can’t afford delay! This train is due in at 6.55, and one has to
cross the Bosphorus and catch the Simplon Orient Express on the other side at nine o’clock. If there is an hour or two of delay we shall miss the connection.”
“It is possible, yes,” he admitted.
He
looked
at
her
curiously
(îí ñ ëþáîïûòñòâîì âçãëÿíóë íà íåå;
curious — ëþáîçíàòåëüíûé; ëþáîïûòíûé
).
The
hand
that
held
the
window
bar
(ðóêà, äåðæàâøàÿ îêîííóþ çàäâèæêó;
to
hold (
held) — äåðæàòü;
bar — êóñîê, áðóñîê; çàñîâ, ùåêîëäà
)
was
not
quite
steady
(íåìíîãî ïîäðàãèâàëà: «áûëà íå âïîëíå òâåðäîé»;
steady — ïðî÷íûé; íåïîêîëåáèìûé, òâåðäûé
);
her
lips,
too,
were
trembling
(åå ãóáû òîæå äðîæàëè).
“
Does
it
matter
to
you
very
much,
Mademoiselle
(äëÿ âàñ ýòî òàê âàæíî, ìàäåìóàçåëü;
to
matter — èìåòü çíà÷åíèå, áûòü âàæíûì
)?”
he
asked
(ñïðîñèë îí).
“Yes. Yes, it does. I — I must catch that train
(êîíå÷íî
, ÿ
äîëæíà
óñïåòü
íà
òîò
ïîåçä
).”
She turned away from him and went down the corridor
(îíà
ðàçâåðíóëàñü
è
ïîøëà
ïî
êîðèäîðó
) to join Colonel Arbuthnot
(÷òîáû
ïðèñîåäèíèòüñÿ
ê
ïîëêîâíèêó
Àðáýòíîòó
; to join —
ñîåäèíÿòü;
ïðèñîåäèíÿòüñÿ,
âõîäèòü
â
êîìïàíèþ)
.
curiously [
'kjV(q)rIqslI]
steady ['stedI
] mademoiselle [
"mxdqmwq'zel]
He looked at her curiously. The hand that held the window bar was not quite
steady; her lips, too, were trembling.
“Does it matter to you very much, Mademoiselle?” he asked.
“Yes. Yes, it does. I — I must catch that train.”
She turned away from him and went down the corridor to join Colonel Arbuthnot.
Her
anxiety,
however,
was
needless
(åå òðåâîãà/áåñïîêîéñòâî, îäíàêî, áûëà èçëèøíåé;
needless — íåíóæíûé, áåñïîëåçíûé
).
Ten
minutes
later
the
train
started
again
(÷åðåç äåñÿòü ìèíóò ïîåçä ñíîâà ïîåõàë: «íà÷àë äâèæåíèå»)
. It
arrived
at
Haydapassar
only
five
minutes
late
(îí ïðèáûë â Õàéäàðïàøó, îïîçäàâ âñåãî íà ïÿòü
ìèíóò; late — îïîçäàâøèé, çàïîçäàâøèé
),
having
made
up
time
on
the
journey
(íàâåðñòàâ /óïóùåííîå/ âðåìÿ â ïóòè;
to
make (
made)
up — ñîñòàâëÿòü; âîçìåùàòü, íàâåðñòûâàòü;
journey — ïîåçäêà, ïóòåøåñòâèå
).
The
Bosphorus
was
rough
(â /ïðîëèâå/ Áîñôîð øòîðìèëî;
rough — íåðîâíûé, ãðóáûé; áóðíûé, áóøóþùèé
/î ìîðå/)
and
M.
Poirot
did
not
enjoy
the
crossing
(è ìñüå Ïóàðî íå ïîëó÷èë óäîâîëüñòâèÿ îò ïåðåïðàâû;
crossing — ïåðåñå÷åíèå; ïåðååçä ïî âîäå, ïåðåïðàâà
).
He
was
separated
from
his
travelling
companions
on
the
boat
(íà ñóäíå îí áûë ðàçëó÷åí ñî ñâîèìè ïîïóò÷èêàìè: «äîðîæíûìè ñïóòíèêàìè»;
to
separate — îòäåëÿòü; ðàññòàâàòüñÿ, ðàçëó÷àòüñÿ;
boat — ëîäêà; ñóäíî, êîðàáëü
)
and
did
not
see
them
again
(è áîëüøå èõ íå âèäåë).
On
arrival
at
the
Galata
Bridge
he
drove
straight
to
the
Tokatlian
Hotel
(ïî ïðèáûòèè ê Ãàëàòñêîìó ìîñòó, îí íàïðàâèëñÿ ïðÿìèêîì â îòåëü «Òîêàòëèàí»;
to
drive (
drove,
driven) — âîäèòü, åçäèòü
).
anxiety [
xN'zaIqtI]
rough [rAf
] separate ['sepqreIt
] companion [kqm'pxnIqn
]
Her anxiety, however, was needless. Ten minutes later the train started again.
It arrived at Hayda-passar only five minutes late, having made up time on the journey.
The Bosphorus was rough and M. Poirot did not enjoy the crossing. He was separated
from his travelling companions on the boat and did not see them again.
On arrival at the Galata Bridge he drove straight to the Tokatlian Hotel.
2
THE TOKATLIAN HOTEL
(
îòåëü
«Òîêàòëèàí
»)
At the Tokatlian
(â
«Òîêàòëèàíå
»), Hercule Poirot asked for a room with bath
(Ýðêþëü
Ïóàðî
ïîïðîñèë
íîìåð
ñ
âàííîé
; to ask —
ñïðàøèâàòü;
ïðîñèòü; room —
êîìíàòà,
íîìåð)
. Then he stepped over to the concierge’s desk (
çàòåì
îí
ïîäîøåë
ê
ñòîéêå
êîíñüåðæà;
to step — øàãàòü
, ñòóïàòü
; desk — ïèñüìåííûé
ñòîë
, êîíòîðêà
) and inquired for letters
(è
ñïðàâèëñÿ
î
ïèñüìàõ
; to inquire —
ñïðàøèâàòü,
óçíàâàòü;
ñïðàâëÿòüñÿ,
îñâåäîìëÿòüñÿ)
.
There were three waiting for him (
åãî
îæèäàëè
òðè /
ïèñüìà/)
and a telegram (
è
îäíà
òåëåãðàììà)
. His eyebrows rose a little (
åãî
áðîâè
ñëåãêà
ïîäíÿëèñü;
to rise (rose, risen))
at the sight of the telegram (
ïðè
âèäå
òåëåãðàììû;
sight — çðåíèå
; âèä
). It
was
unexpected
(ýòî áûëî íåîæèäàííûì;
to
expect — îæèäàòü, æäàòü
).
He
opened
it
(îí îòêðûë åå)
in
his
usual
neat,
unhurried
fashion
(â ñâîåé îáû÷íîé àêêóðàòíîé, íåòîðîïëèâîé ìàíåðå;
to
hurry — ñïåøèòü, òîðîïèòüñÿ;
fashion — îáðàç; ìàíåðà, âèä
).
The
printed
words
stood
out
clearly
(íàïå÷àòàííûå ñëîâà ÿñíî è ÷åòêî ãëàñèëè;
to
stand (
stood)
out — îòõîäèòü, îòñòóïàòü; áûòü èëè ñòàíîâèòüñÿ
ÿñíûì; clearly — çâîíêî; ïîíÿòíî, ÿñíî
).
Development
you
predicted
in
Kassner
case
(îáñòîÿòåëüñòâî â äåëå Êàññíåðà /êîòîðîå/ âû ïðåäñêàçûâàëè;
development — ðàçâèòèå, ðîñò; ñîáûòèå, îáñòîÿòåëüñòâî
)
has
come
unexpectedly
(íåîæèäàííî íàñòóïèëî;
to
come (
came,
come)
— ïðèõîäèòü, èäòè; íàñòóïàòü, ïðèõîäèòü
). Please
return
immediately
(ïîæàëóéñòà âîçâðàùàéòåñü íåìåäëåííî)
.
concierge [
kO
nsI'eqZ]
unexpected ["AnIk'spektId
] unhurried [
An'hArId]
At the Tokatlian, Hercule Poirot asked for a room with bath. Then he stepped
over to the concierge’s desk and inquired for letters.
There were three waiting for him and a telegram. His eyebrows rose a little
at the sight of the telegram. It was unexpected.
He opened it in his usual neat, unhurried fashion. The printed words stood
out clearly.
Development you predicted in Kassner case has come unexpectedly. Please
return immediately.
“Voilà ce qui est embêtant
,” muttered Poirot vexedly (
ôð.
âîò
íåçàäà÷à!
ïðîáîðìîòàë
Ïóàðî
ñ
äîñàäîé;
to vex — äîñàæäàòü
, ðàçäðàæàòü
). He
glanced
up
at
the
clock
(îí âçãëÿíóë íà ñòåííûå ÷àñû;
to
glance — ìåëüêîì âçãëÿíóòü, áûñòðî ïîñìîòðåòü
). “
I
shall
have
to
go
on
to-
night
(ìíå ïðèäåòñÿ ïðîäîëæèòü ïóòü ñåãîäíÿ âå÷åðîì;
to
have
to
do
smth. — âûðàæàåò äîëæåíñòâîâàíèå: äîëæåí
ñäåëàòü ÷òî-ëèáî)
,” he
said
to
the
concierge
(ñêàçàë îí êîíñüåðæó)
. “At
what
time
does
the
Simplon
Orient
leave
(âî ñêîëüêî îòõîäèò Ñèìïëîíñêèé Âîñòî÷íûé /ýêñïðåññ/;
Simplon — Ñèìïëîí, âûñîêèé ãîðíûé ïåðåâàë
â Àëüïàõ, ìåæäó Øâåéöàðèåé è Èòàëèåé,
to
leave — óõîäèòü, óåçæàòü
)?”
“
At
nine
o’
clock,
Monsieur
(â
äåâÿòü
÷àñîâ
, ìñüå
).”
“
Can
you
get
me
a
sleeper
(âû
ìîæåòå
çàêàçàòü
ìíå
/ìåñòî
/ â
ñïàëüíîì
âàãîíå
; to
get
— äîñòàâàòü
, äîáûâàòü
; to
sleep
— ñïàòü
; sleeper
— ñïÿùèé
, ñîíÿ
; æ
.-ä
. = sleeping
-car
— ñïàëüíûé
âàãîí
)?”
“Assuredly
, Monsieur
(
êîíå÷íî,
ìñüå;
to
assure —
óâåðÿòü,
çàâåðÿòü)
. There is no difficulty this time of year
(íèêàêèõ
òðóäíîñòåé
/ñ
áèëåòàìè
/ â
ýòî
âðåìÿ
ãîäà
). The trains are almost empty
(ïîåçäà
ïî÷òè
ïóñòû
). First-class or second
(/áèëåò
/ ïåðâîãî
êëàññà
èëè
âòîðîãî
)?”
“First
(ïåðâîãî
).”
“
Trè
s
bien,
Monsieur.
How
far
are
you
going
(ôð. ïðåêðàñíî!
äî êàêîé ñòàíöèè: «êàê äàëåêî» âû ñëåäóåòå)
?”
“To London
(äî
Ëîíäîíà
).”
“
Bien, Monsieur
(õîðîøî
, ìñüå
). I will get you a ticket to London
(ÿ
êóïëþ
: «äîñòàíó
» äëÿ
âàñ
áèëåò
äî
Ëîíäîíà
) and reserve your sleeping-car accommodation
(è
/çàðàíåå
/ çàêàæó
äëÿ
âàñ
ñïàëüíîå
ìåñòî
: «ðàçìåùåíèå
â
ñïàëüíîì
âàãîíå
»; to reserve —
îòêëàäûâàòü,
çàïàñàòü;
ðåçåðâèðîâàòü,
áðîíèðîâàòü; accommodation —
ïðèñïîñîáëåíèå,
ïðèþò;
ìåñòî /
â
ïîåçäå,
íà
ïàðîõîäå,
è
ò.
ä./
) in the Stamboul-Calais coach
(â
âàãîíå
ñëåäóþùåì
/ïî
ìàðøðóòó
/ Ñòàìáóë
— Êàëå
; coach —
êàðåòà,
ýêèïàæ;
æ.-
ä.
ïàññàæèðñêèé
âàãîí)
.”
vex [
veks]
assuredly [q'SV(q)rIdlI
] reserve [
rI'zq:v] accommodation [
q"kO
mq'deIS(q)n]
Stamb(o)
ul [stxm'bu:l
] Calais [kx'leI, 'kxl
(e)I
]
“Voilà ce qui est embêtant
,” muttered Poirot vexedly. He glanced up at the clock. “I shall have to go on to-night,”
he said to the concierge. “At what time does the Simplon Orient leave?”
“At nine o’clock, Monsieur.”
“Can you get me a sleeper?”
“Assuredly, Monsieur. There is no difficulty this time of year. The trains
are almost empty. First-class or second?”
“First.”
“
Très bien, Monsieur. How far are you going?”
“To London.”
“
Bien, Monsieur. I will get you a ticket to London and reserve your sleeping-car accommodation
in the Stamboul-Calais coach.”
Poirot glanced at the clock again (
Ïóàðî
ñíîâà
ìåëüêîì
âçãëÿíóë
íà
÷àñû)
. It was ten minutes to eight (/
áûëî/
áåç
äåñÿòè
ìèíóò
âîñåìü)
. “
I
have
time
to
dine
(ó ìåíÿ åùå åñòü âðåìÿ, ÷òîáû ïîîáåäàòü)
?”
“But assuredly, Monsieur
(êîíå÷íî
æå
, ìñüå
).”
The
little
Belgian
nodded
(ìàëåíüêèé áåëüãèåö çàêèâàë ãîëîâîé)
. He
went
over
(îí ïîøåë;
to
go
over — ïîéòè, ñõîäèòü
)
and
cancelled
his
room
order
(è îòìåíèë çàêàçàííûé íîìåð;
order — ïîðÿäîê; çàêàç
)
and
crossed
the
hall
to
the
restaurant
(è ïîøåë ÷åðåç çàë/âåñòèáþëü â ðåñòîðàí;
to
cross — ïåðåñåêàòü; èäòè ÷åðåç
).
As
he
was
giving
his
order
to
the
waiter
(êîãäà îí äåëàë: «îòäàâàë» /ñâîé/ çàêàç îôèöèàíòó;
to
give — äàâàòü; ïîðó÷àòü
),
a
hand
was
placed
on
his
shoulder
(íà åãî ïëå÷î îïóñòèëàñü ðóêà: «ðóêà áûëà ïîëîæåíà íà åãî ïëå÷î»;
to
place — ñòàâèòü, ðàçìåùàòü
).
“
Ah,
mon
vieux,
but
this
is
an
unexpected
pleasure
(åé, ñòàðèíà, êàêàÿ ïðèÿòíàÿ íåîæèäàííîñòü: «íåîæèäàííîå óäîâîëüñòâèå»;
mon
vieux — ôð. ñòàðèíà, äðóæèùå;
to
expect — îæèäàòü, æäàòü
)!”
said
a
voice
behind
him
(ðàçäàëñÿ: «ñêàçàë» ãîëîñ ïîçàäè íåãî)
.
The
speaker
was
a
short
stout
elderly
man
(ãîâîðÿùèé áûë íåâûñîêèì ïîëíûì ïîæèëûì ìóæ÷èíîé;
to
speak — ãîâîðèòü;
short — êîðîòêèé; íèçêèé, íåâûñîêèé;
stout — êðåïêèé; ïîëíûé, òó÷íûé
),
his
hair
cut
en
brosse
(åãî âîëîñû áûëè ïîäñòðèæåíû åæèêîì;
to
cut — ðåçàòü; ñòðè÷ü, ïîäñòðèãàòü;
en
brosse — ôð. åæèê /î ìóæñêîé ñòðèæêå/
).
He
was
smiling
delightedly
(îí ðàäîñòíî/áëàãîäóøíî óëûáàëñÿ;
delight — âîñòîðã, âîñõèùåíèå, óäîâîëüñòâèå
).
cancel [
'kxns(q)l]
pleasure ['pleZq
] en brosse ["
Om'br
Os
] delightedly [dI'laItIdlI]
Poirot glanced at the clock again. It was ten minutes to eight. “I have time
to dine?”
“But assuredly, Monsieur.”
The little Belgian nodded. He went over and cancelled his room order and crossed
the hall to the restaurant.
As he was giving his order to the waiter, a hand was placed on his shoulder.
“Ah,
mon vieux, but this is an unexpected pleasure!” said a voice behind him.
The speaker was a short stout elderly man, his hair cut
en brosse. He was smiling delightedly.
Poirot sprang up
(Ïóàðî
âñêî÷èë
; to spring (sprang, sprung) —
ñêàêàòü,
ïðûãàòü;
âñêàêèâàòü)
.
“M. Bouc
(ìñüå
Áóê
)!”
“M. Poirot!”
M. Bouc was a Belgian
(ìñüå
Áóê
áûë
áåëüãèéöåì
), a director of the Compagnie Internationale des Wagons Lits
(äèðåêòîðîì
/óïðàâëÿþùèì
ì
åæäóíàðîäíîé
êîìïàíèè
ñïàëüíûõ
âàãîíîâ)
, and his acquaintance with the former star of the Belgian police force
(è
åãî
çíàêîìñòâî
ñ
áûâøåé
çâåçäîé
/ñâåòèëîì
áåëüãèéñêîé
ïîëèöèè
; star —
çâåçäà;
âûäàþùàÿñÿ
ëè÷íîñòü; police force —
ïîëèöèÿ; force —
ñèëà,
ìîùü;
ïîëèöèÿ,
âîéñêà)
dated back many years (
íàñ÷èòûâàëî
ìíîãî
ëåò;
to date — äàòèðîâàòü
; ñ÷èòàòü
, èñ÷èñëÿòü
).
“You find yourself far from home,
mon cher (
à
âû
î÷óòèëèñü
äàëåêî
î
äîìà,
äðóã
ìîé;
to find oneself somewhere — îêàçàòüñÿ
, î÷óòèòüñÿ
ãäå
-ëèáî
),” said M. Bouc.
“A little affair in Syria
(íåáîëüøîå
äåëüöå
â
Ñèðèè
).”
“
Ah!
and
you
return
home —
when
(à! è âû âîçâðàùàåòåñü äîìîé — êîãäà = è êîãäà âû âîçâðàùàåòåñü äîìîé)
?”
“To-night
(ñåãîäíÿ
âå÷åðîì
).”
acquaintance [q'kweIntqns
] Belgian [
'beldZ(q)n]
affair [q'feq
] Syria [
'sI(q)rIq]
Poirot sprang up.
“M. Bouc!”
“M. Poirot!”
M. Bouc was a Belgian, a director of the Compagnie Internationale des Wagons
Lits, and his acquaintance with the former star of the Belgian police force dated back many years.
“You find yourself far from home,
mon cher,” said M. Bouc.
“A little affair in Syria.”
“Ah! and you return home — when?”
“Tonight.”
“Splendid (
áëåñòÿùå/
îòëè÷íî)
! I, too (
ÿ
òîæå)
. That is to say (
à
èìåííî/
äðóãèìè
ñëîâàìè)
, I go as far as Lausanne (
ÿ
åäó
äî
Ëîçàííû;
as far as — äî
êàêîãî
-ëèáî
ìåñòà
; far — äàëåêî
), where I have affairs
(ãäå
ó
ìåíÿ
äåëà
). You
travel
on
the
Simplon
Orient
(âû åäåòå íà Ñèìïëîíñêîì Âîñòî÷íîì /ýêñïðåññå/)
, I
presume
(ÿ ïîëàãàþ)
?”
“
Yes.
I
have
just
asked
them
to
get
me
a
sleeper
(ÿ òîëüêî ÷òî ïîïðîñèë çàêàçàòü: «äîñòàòü» ìíå ìåñòî â ñïàëüíîì âàãîíå;
to
ask — ñïðàøèâàòü; ïðîñèòü
).
It
was
my
intention
to
remain
here
some
days
(ÿ íàìåðåâàëñÿ: «ìîèì íàìåðåíèåì áûëî» îñòàòüñÿ çäåñü íà íåñêîëüêî äíåé)
, but
I
have
received
a
telegram
(íî ÿ ïîëó÷èë òåëåãðàììó)
recalling
me
to
England
(ïðèçûâàþùóþ ìåíÿ íàçàä â Àíãëèþ
; to
recall
— îòçûâàòü /ïîñëà, äåïóòàòà/; âûçûâàòü îáðàòíî, ïðèêàçûâàòü âåðíóòüñÿ
)
on
important
business
(ïî âàæíîìó äåëó).”
“
Ah!”
sighed
M.
Bouc
(âçäîõíóë ìñüå Áóê).
“Les affaires — les affaires
(
àõ,
äåëà,
äåëà)
! But
you
, you
are
at
the
top
of
the
tree
nowadays
, mon
vieux
! (íî âû-òî òåïåðü çàíèìàåòå âèäíîå ïîëîæåíèå: «âû
íà âåðõóøêå äåðåâà», ñòàðèíà; to
be
at
the
top
of
the
tree
— áûòü âî ãëàâå /÷åãî-ëèáî/, çàíèìàòü âåäóùåå ïîëîæåíèå /îñîáåííî â êàêîé-ëèáî ïðîôåññèè/
)”
Lausanne [lqV'zxn
] presume [
prI'zju:m]
sigh [saI
]
“Splendid! I, too. That is to say, I go as far as Lausanne, where I have
affairs. You travel on the Simplon Orient, I presume?”
“Yes. I have just asked them to get me a sleeper. It was my intention to
remain here some days, but I have received a telegram recalling me to England on important business.”
“Ah!” sighed M. Bouc. “Les affaires — les affaires
! But you, you are at the top of the tree nowadays,
mon vieux!”
“
Some
little
success
I
have
had,
perhaps
(íåêîòîðîãî íåáîëüøîãî óñïåõà ÿ äîñòèã, âïîëíå âîçìîæíî;
success — óñïåõ, óäà÷à
).”
Hercule
Poirot
tried
to
look
modest
(Ýðêþëü Ïóàðî ñòàðàëñÿ âûãëÿäåòü ñêðîìíûì;
to
try — ïûòàòüñÿ, ñòàðàòüñÿ;
to
look — ñìîòðåòü, ãëÿäåòü; âûãëÿäåòü, èìåòü
âèä)
but
failed
signally
(íî /åìó/ ýòî ÿâíî íå óäàâàëîñü;
to
fail — òåðïåòü íåóäà÷ó; íå ñóìåòü, íå áûòü
â ñîñòîÿíèè; signally
— ïîðàçèòåëüíî, çàìå÷àòåëüíî; ÿâíî
).
M.
Bouc
laughed
(ìñüå Áóê çàñìåÿëñÿ).
“We will meet later
(óâèäèìñÿ
ïîçæå
),” he said.
Hercule Poirot addressed himself to the task
(Ýðêþëü
Ïóàðî
íàïðàâèë
âñå
ñâîè
ñèëû
íà
òî
: «íà
çàäà÷ó
»; to address —
àäðåñîâàòü,
íàïðàâëÿòü;
íàïðàâëÿòü
ñèëû
èëè
ýíåðãèþ /
íà
÷òî-
ëèáî/; task —
çàäà÷à,
äåëî)
of keeping his moustaches out of the soup (
÷òîáû
óáåðå÷ü
ñâîè
óñû
îò
ñóïà;
to keep out — äåðæàòü
(ñÿ
)
âíå
÷åãî-
ëèáî).
success [
sqk'ses] signally [
'sIgnqlI]
laugh [lQ:f
]
“Some little success I have had, perhaps.” Hercule Poirot tried to look
modest but failed signally.
M. Bouc laughed.
“We will meet later,” he said.
Hercule Poirot addressed himself to the task of keeping his moustaches out
of the soup.
That difficult task accomplished
(âûïîëíèâ
ýòó
ñëîæíóþ
çàäà÷ó
; to accomplish —
âûïîëíÿòü,
çàâåðøàòü,
äîâîäèòü
äî
êîíöà)
, he glanced round him (
îí
îãëÿäåëñÿ: «
âçãëÿíóë
âîêðóã /
ñåáÿ/»)
whilst waiting for the next course (
îæèäàÿ
âòîðîå: «
ñëåäóþùåå
áëþäî»;
course — êóðñ
, íàïðàâëåíèå
; áëþäî
). There were only about half a dozen people in the restaurant
(â
ðåñòîðàíå
áûëî
âñåãî
ñ
ïîëäþæèíû
ïîñåòèòåëåé
: «ëþäåé
»; half —
ïîëîâèíà; dozen —
äþæèíà)
, and of those half dozen (
è
èç
òåõ
øåñòè: «
ïîëîâèíû
îò
äâåíàäöàòè» /
ïîñåòèòåëåé/)
there were only two that interested Hercule Poirot
(òîëüêî
äâîå
çàèíòåðåñîâàëè
Ýðêþëÿ
Ïóàðî
; to interest —
èíòåðåñîâàòü,
âûçûâàòü
èíòåðåñ)
.
These two sat at a table
(ýòè
äâîå
ñèäåëè
çà
ñòîëèêîì
; to sit (sat)
) not far away (
íåïîäàëåêó)
. The younger was a likeable-looking young man of thirty
(áîëåå
ìîëîäûì
/èç
ýòèõ
äâóõ
/ áûë
ïðèÿòíîé
íàðóæíîñòè
ìîëîäîé
÷åëîâåê
ëåò
òðèäöàòè
; likeable = likable —
ïðèâëåêàòåëüíûé,
ìèëûé; looking —
ñìîòðÿùèé;
êàê
êîìïîíåíò
ñëîæíûõ
ñëîâ —
èìåþùèé
îïðåäåëåííóþ
íàðóæíîñòü)
, clearly an American (
ÿâíî
àìåðèêàíåö)
. It was, however, not he (
íî,
îäíàêî,
íå
îí)
but his companion (
à
åãî
ñïóòíèê;
companion — òîâàðèù
; ñïóòíèê
, ïîïóò÷èê
) who had attracted the little detective’s attention
(ïðèâëåê
âíèìàíèå
ìàëåíüêîãî
äåòåêòèâà
; to attract —
ïðèòÿãèâàòü;
ïðåëüùàòü,
ïðèâëåêàòü)
.
whilst [
waIlst]
course [kO:s
] likeable [
'laIkqb(q)l]
That difficult task accomplished, he glanced round him whilst waiting for the
next course. There were only about half a dozen people in the restaurant, and of those half dozen there were only two that interested Hercule Poirot.
These two sat at a table not far away. The younger was a likeable-looking young
man of thirty, clearly an American. It was, however, not he but his companion who had attracted the little detective’s attention.
He
was
a
man
perhaps
of
between
sixty
and
seventy
(áûëî åìó ãäå-òî: «îí áûë ÷åëîâåêîì /âîçðàñòà/» ìåæäó øåñòüþäåñÿòüþ è ñåìèäåñÿòüþ)
. From
a
little
distance
(ñ áëèçêîãî ðàññòîÿíèÿ = íà ïåðâûé âçãëÿä)
he
had
the
bland
aspect
of
a
philanthropist
(îí èìåë âåæëèâûé/âêðàä÷èâûé âèä ôèëàíòðîïà =
ó íåãî áûëà âíåøíîñòü ôèëàíòðîïà; bland
— âåæëèâûé, ëàñêîâûé; ëüñòèâûé;
aspect — âíåøíèé âèä, âûðàæåíèå ëèöà
).
His
slightly
bald
head
(åãî ñëåãêà ïîëûñåâøàÿ ãîëîâà;
bald — ëûñûé, ïëåøèâûé
),
his
domed
forehead
(åãî âûïóêëûé ëîá; dome
— êóïîë, ñâîä; domed
— ñ êóïîëàìè; âûïóêëûé, áî÷êîîáðàçíûé
),
the
smiling
mouth
(óëûáàþùèéñÿ ðîò)
that
displayed
a
very
white
set
of
false
teeth
(÷òî îòêðûâàë î÷åíü áåëûé ðÿä èñêóññòâåííûõ çóáîâ: «î÷åíü áåëóþ âñòàâíóþ ÷åëþñòü»;
to
display — ïîêàçûâàòü, äåìîíñòðèðîâàòü;
set — êîìïëåêò, íàáîð;
false — ëîæíûé; ïîääåëüíûé, ôàëüøèâûé;
tooth (
pl.
teeth)
) —
all
seemed
to
speak
of
a
benevolent
personality
(âñå, êàçàëîñü, ãîâîðèëî î áëàãîæåëàòåëüíîé/âåëèêîäóøíîé ëè÷íîñòè)
. Only
the
eyes
belied
this
assumption
(è òîëüêî ãëàçà îïðîâåðãàëè òàêîå ïðåäïîëîæåíèå;
to
belie — äàâàòü íåâåðíîå ïðåäñòàâëåíèå; èçîáëè÷àòü,
îïðîâåðãàòü, ïðîòèâîðå÷èòü; assumption
— äîïóùåíèå, ïðåäïîëîæåíèå
).
They
were
small
(îíè áûëè ìàëåíüêèìè),
deep-
set
(ãëóáîêî ïîñàæåííûìè)
and
crafty
(è õèòðûìè/ëóêàâûìè).
Not
only
that
(è íå òîëüêî ýòî).
As
the
man,
making
some
remark
to
his
young
companion
(êîãäà ýòîò ÷åëîâåê, äåëàÿ êàêîå-òî çàìå÷àíèå ñâîåìó ìîëîäîìó êîìïàíüîíó)
, glanced
across
the
room
(áûñòðî îãëÿäåë âñþ êîìíàòó;
across — ïîïåðåê, îò êðàÿ äî êðàÿ
),
his
gaze
stopped
on
Poirot
for
a
moment
(åãî ïðèñòàëüíûé âçãëÿä îñòàíîâèëñÿ/çàäåðæàëñÿ íà ìãíîâåíèå íà Ïóàðî)
and
just
for
that
second
(è êàê ðàç íà ýòî ñàìîå ìãíîâåíèå;
second — ñåêóíäà /ìåðà âðåìåíè/; ìãíîâåíèå,
ìîìåíò)
there
was
a
strange
malevolence
(êàêàÿ-òî ñòðàííàÿ çëîáà/íåäîáðîæåëàòåëüíîñòü)
, an
unnatural
tensity
in
the
glance
(êàêàÿ-òà íåîáû÷íàÿ/íååñòåñòâåííàÿ íàïðÿæåííîñòü
/áûëè/ â åãî âçãëÿäå; unnatural
— íååñòåñòâåííûé; íåîáû÷íûé, ñòðàííûé
).
philanthropist [
fI'lxnTrqpIst] forehead [
'fO
rId, 'fO:hed] benevolent [
bI'nev(q)lqnt] belie [
bI'laI] assumption [
q'sAmpS(q)n] malevolence [
mq'lev(q)lqns]
He was a man perhaps of between sixty and seventy. From a little distance he
had the bland aspect of a philanthropist. His slightly bald head, his domed forehead, the smiling mouth that displayed a very white set of false teeth — all seemed to speak of a benevolent personality. Only the eyes belied
this assumption. They were small, deep-set and crafty. Not only that. As the man, making some remark to his young companion, glanced across the room, his gaze stopped on Poirot for a moment and just for that second there was
a strange malevolence, an unnatural tensity in the glance.
Then he rose
(çàòåì
îí
ïîäíÿëñÿ
; to rise (rose, risen)
).
“Pay the bill, Hector
(îïëàòè
ñ÷åò
, Ãåêòîð
),” he said.
His voice was slightly husky in tone (
òîí
åãî
ãîëîñà
áûë
ñëåãêà
ñèïëûì/
õðèïëûì)
. It
had
a
queer,
soft,
dangerous
quality
(îí îáëàäàë êàêèì-òî ñòðàííûì, ìÿãêèì/ëàñêîâûì, óãðîæàþùèì ñâîéñòâîì;
quality — êà÷åñòâî, ñîðò; ñâîéñòâî
).
When
Poirot
rejoined
his
friend
in
the
lounge
(êîãäà Ïóàðî âíîâü ïðèñîåäèíèëñÿ ê ñâîåìó äðóãó
â âåñòèáþëå ãîñòèíèöû; to
rejoin
— âíîâü ïðèñîåäèíÿòü(ñÿ);
lounge — âåñòèáþëü /â ãîñòèíèöå, ðåñòîðàíå/
),
the
other
two
men
were
just
leaving
the
hotel
(äâîå äðóãèõ ìóæ÷èí êàê ðàç ïîêèäàëè îòåëü;
to
leave — óõîäèòü, óåçæàòü; îñòàâëÿòü
).
Their luggage was being brought down (
èõ
áàãàæ /
êàê
ðàç/
íîñèëè
âíèç;
to bring (brought) — ïðèíîñèòü
). The
younger
was
supervising
the
process
(/ìóæ÷èíà/ ïîìîëîæå íàáëþäàë çà/ðóêîâîäèë ïðîöåññîì)
. Presently he opened the glass door and said
(âñêîðå
îí
îòêðûë
ñòåêëÿííóþ
äâåðü
è
ñêàçàë
):
“
Quite
ready
now,
Mr.
Ratchett
(âñå /ñîâåðøåííî/ ãîòîâî, ìèñòåð Ðýò÷åòò)
.”
husky [
'hAskI]
queer [kwIq
] dangerous ['deIndZqrqs
] quality [
'kwO
lItI] lounge [
laVndZ]
supervise ['s(j)u:pqvaIz
]
Then he rose.
“Pay the bill, Hector,” he said.
His voice was slightly husky in tone. It had a queer, soft, dangerous quality.
When Poirot rejoined his friend in the lounge, the other two men were just
leaving the hotel. Their luggage was being brought down. The younger was supervising the process. Presently he opened the glass door and said:
“Quite ready now, Mr. Ratchett.”
The
elder
man
grunted
an
assent
(òîò: «ìóæ÷èíà», ÷òî ïîñòàðøå ïðîáîðìîòàë ÷òî-òî â çíàê ñîãëàñèÿ;
to
grunt — õðþêàòü; áîðìîòàòü;
assent — ñîãëàñèå
)
and
passed
out
(è âûøåë /èç ãîñòèíèöû/)
.
“
Eh bien,” said Poirot. “What do you think of those two
(íó
, ÷òî
âû
äóìàåòå
î
òåõ
äâîèõ
)?”
“They are Americans
(îíè
àìåðèêàíöû
),” said M. Bouc.
“Assuredly they are Americans (
êîíå÷íî,
îíè
àìåðèêàíöû
; to assure —
óâåðÿòü,
çàâåðÿòü)
. I
meant
(ÿ èìåë â âèäó; to
mean
(meant
) — íàìåðåâàòüñÿ; ïîäðàçóìåâàòü, èìåòü â âèäó
)
what
did
you
think
of
their
personalities
(÷òî âû äóìàåòå îá èõ ëè÷íîñòÿõ)
?”
“
The
young
man
seemed
quite
agreeable
(ìîëîäîé ÷åëîâåê âûãëÿäåë/ïîêàçàëñÿ ìíå âïîëíå ïðèÿòíûì)
.”
“And the other
(à
äðóãîé
)?”
“To
tell
you
the
truth
, my
friend
(ñêàçàòü âàì ïî ïðàâäå, ìîé äðóã)
, I
did
not
care
for
him
(î íåì ÿ íå çàáîòèëñÿ = ÿ íå îáðàòèë íà íåãî îñîáîãî
âíèìàíèÿ; to
care — çàáîòèòüñÿ; ëþáèòü, ïèòàòü èíòåðåñ
ê êîìó-ëèáî, ÷åìó-ëèáî)
. He
produced
on
me
an
unpleasant
impression
(îí ïðîèçâåë íà ìåíÿ íåïðèÿòíîå âïå÷àòëåíèå;
to
produce — ïðåäúÿâëÿòü; ïðîèçâîäèòü, èçãîòîâëÿòü;
pleasant — ïðèÿòíûé, ìèëûé
).
And you (
à
íà
âàñ)
?”
personality
["pq:sq'nxlItI]
agreeable [q'gri:qb(q)l
] impression [Im'preS(q)n
]
The elder man grunted an assent and passed out.
“
Eh bien,” said Poirot. “What do you think of those two?”
“They are Americans,” said M. Bouc.
“Assuredly they are Americans. I meant what did you think of their personalities?”
“The young man seemed quite agreeable.”
“And the other?”
“To tell you the truth, my friend, I did not care for him. He produced on
me an unpleasant impression. And you?”
Hercule Poirot was a moment in replying
(Ýðêþëü
Ïóàðî
ïîìåäëèë
ñ
îòâåòîì
: «áûë
íà
ìîìåíò
â
îòâåòå
»; moment —
ìîìåíò,
ìãíîâåíèå; to reply —
îòâå÷àòü)
.
“When he passed me in the restaurant
(êîãäà
îí
ïðîøåë
ìèìî
ìåíÿ
â
ðåñòîðàíå
),” he said at last
(ñêàçàë
îí
íàêîíåö
), “I had a curious impression
(ó
ìåíÿ
ñëîæèëîñü
: «áûëî
» ñòðàííîå
âïå÷àòëåíèå
; curious —
ëþáîçíàòåëüíûé;
ñòðàííûé,
÷óäíîé)
. It was as though a wild animal (
ñëîâíî
êàêîå-
òî
äèêîå
æèâîòíîå;
wild — äèêèé
, äèêîðàñòóùèé
) — an animal savage, but savage
(ñâèðåïîå
æèâîòíîå
, î÷åíü
ñâèðåïîå
: «íî
/êàêîå
æå
/ ñâèðåïîå
»; savage —
äèêèé,
âàðâàðñêèé;
æåñòîêèé,
ñâèðåïûé;
íåóêðîùåííûé;
animal savage (
íà
àíãë.
íóæíî:
savage animal) — ïîðÿäîê
ñëîâ
íåïðàâèëåí
: Ïóàðî
îò
âîëíåíèÿ
óïîòðåáëÿåò
êîíñòðóêöèþ
ðîäíîãî
ôðàíöóçñêîãî
ÿçûêà
, òî
æå
ñàìîå
êàñàåòñÿ
ôðàçû
-êàëüêè
ñ
ôðàíöóçñêîãî
‘an animal savage, but savage’)
! you understand (
âû
ïîíèìàåòå)
— had passed me by (
ïðîøëî
ìèìî
ìåíÿ)
.”
“
And
yet
he
looked
altogether
(è âñå æå îí âûãëÿäåë â îáùåì)
of
the
most
respectable
(áîëåå ÷åì ïðèëè÷íî/ðåñïåêòàáåëüíî)
.”
“
Pré
cisé
ment
(ôð. èìåííî/ñîâåðøåííî òî÷íî)
! The
body
— the
cage
(òåëî — /êàê/ êëåòêà)
— is
everything
of
the
most
respectable
(âñ¸ áîëåå ÷åì ïðèëè÷íîå;
everything — âñå; âñå ñàìîå ãëàâíîå, âàæíîå
) —
but
through
the
bars
(íî ñêâîçü ïðóòüÿ /êëåòêè/;
bar — êóñîê, áðóñîê; ïðóòîê; òþðåìíàÿ ðåøåòêà
),
the
wild
animal
looks
out
(ñìîòðèò äèêèé çâåðü).”
savage [
'sxvIdZ]
respectable [rI'spektqb(q)l
] through [Tru:
]
Hercule Poirot was a moment in replying.
“When he passed me in the restaurant,” he said at last, “I had a curious
impression. It was as though a wild animal — an animal savage, but savage! you understand — had passed me by.”
“And yet he looked altogether of the most respectable.”
“
Précisément! The body — the cage — is everything of the most respectable — but through
the bars, the wild animal looks out.”
“You are fanciful,
mon vieux (
âû
îáëàäàåòå
æèâûì
âîîáðàæåíèåì,
äðóæèùå;
fancy — ôàíòàçèÿ
, âîîáðàæåíèå
; fanciful — êàïðèçíûé
; îáëàäàþùèé
æèâîé
ôàíòàçèåé
),” said M. Bouc.
“It may be so
(ìîæåò
áûòü
è
òàê
). But I could not rid myself of the impression
(íî
ÿ
íå
ìîã
îòäåëàòüñÿ
îò
âïå÷àòëåíèÿ
; to rid —
îñâîáîæäàòü,
èçáàâëÿòü)
that evil had passed me by very close (
÷òî
çëî
ïðîøëî
ðÿäîì
ñî
ìíîé)
.”
“That respectable American gentleman
(òîò
ïî÷òåííûé
àìåðèêàíåö
)?”
“That respectable American gentleman.”
“Well
(íó
),” said M. Bouc cheerfully
(ñêàçàë
ìñüå
Áóê
áîäðî
/âåñåëî
), “it may be so
(ìîæåò
áûòü
è
òàê
). There is much evil in the world
(â
ýòîì
ìèðå
ìíîãî
çëà
).”
At that moment the door opened (
â
òîò
ñàìûé
ìîìåíò
îòêðûëàñü
äâåðü)
and the concierge came towards them (
è
ê
íèì
ïîäîøåë
êîíñüåðæ)
. He
looked
concerned
and
apologetic
(îí âûãëÿäåë îçàáî÷åííûì è èçâèíÿþùèìñÿ;
concerned — èìåþùèé îòíîøåíèå ê ÷åìó-ëèáî; îçàáî÷åííûé,
îáåñïîêîåííûé; to
apologize
— èçâèíÿòüñÿ, ïðîñèòü ïðîùåíèÿ
).
fanciful [
'fxnsIf(q)l] evil [
'i:v(q)l] cheerfully [
'tSIqf(q)lI] apologetic [
q"pO
lq'dZetIk]
“You are fanciful,
mon vieux,” said M. Bouc.
“It may be so. But I could not rid myself of the impression that evil had
passed me by very close.”
“That respectable American gentleman?”
“That respectable American gentleman.”
“Well,” said M. Bouc cheerfully, “it may be so. There is much evil in
the world.”
At that moment the door opened and the concierge came towards them. He looked
concerned and apologetic.
“It is extraordinary, Monsieur,” he said to Poirot
(
ýòî
÷òî-
òî
íåâåðîÿòíîå,
ìñüå —
ñêàçàë
îí
Ïóàðî)
. “
There
is
not
one
first-
class
sleeping
berth
(íè îäíîãî ñïàëüíîãî ìåñòà â /âàãîíå/ ïåðâîãî êëàññà;
berth — êîéêà /íà ïàðîõîäå/; ñïàëüíîå ìåñòî,
ïîëêà /â âàãîíå/)
to
be
had
on
the
train
(/íåëüçÿ/ äîñòàòü íà ýòîò ïîåçä)
.”
“
Comment?”
cried
M.
Bouc
(êàê òàê?
âñêðè÷àë ìñüå Áóê; to
cry
— êðè÷àòü; âîñêëèöàòü, âñêðèêíóòü;
comment — ôð. êàê; êàê òàê
). “
At
this
time
of
year
(â ýòî âðåìÿ ãîäà)?
Ah,
without
doubt
(à, áåç âñÿêîãî ñîìíåíèÿ)
there
is
some
party
of
journalists
(êàêàÿ-íèáóäü ãðóïïà æóðíàëèñòîâ;
party — îòðÿä, êîìàíäà; ãðóïïà, êîìïàíèÿ
) —
of
politicians
(èëè ïîëèòèêîâ) — ?”
“
I
don’
t
know,
sir
(ÿ íå çíàþ, ñýð),”
said
the
concierge
(ñêàçàë êîíñüåðæ),
turning
to
him
respectfully
(ïîâîðà÷èâàÿñü ê íåìó óâàæèòåëüíî;
to
respect — óâàæàòü, ïî÷èòàòü
). “
But
that’
s
how
it
is
(íî èìåííî òàê è îáñòîèò äåëî)
.”
extraordinary [
Ik'strO:d(q)n(q)rI]
berth [bq:T
] journalist [
'dZq:n(q)lIst] politician
["pO
lI'tIS(q)n]
“It is extraordinary, Monsieur,” he said to Poirot. “There is not one
first-class sleeping berth to be had on the train.”
“
Comment?” cried M. Bouc. “At this time of year? Ah, without doubt there is some party of
journalists — of politicians — ?”
“I don’t know, sir,” said the concierge, turning to him respectfully.
“But that’s how it is.”
“Well, well
(íó
, íó
).” M. Bouc turned to Poirot
(ìñüå
Áóê
ïîâåðíóëñÿ
ê
Ïóàðî
).
“Have
no
fear
, my
friend
(íå áîéòåñü, äðóã ìîé;
fear — ñòðàõ, áîÿçíü
).
We
will
arrange
something
(ìû ÷òî-íèáóäü ïðèäóìàåì: «óñòðîèì»;
to
arrange — ïðèâîäèòü â ïîðÿäîê; óëàäèòü, óñòðîèòü
).
There
is
always
one
compartment,
the
No. 16
(âñåãäà åñòü îäíî êóïå — êóïå ïîä íîìåðîì 16)
, which
is
not
engaged
(êîòîðîå /íèêîãäà/ íå çàíÿòî;
to
engage — íàíèìàòü; çàíèìàòü;
engaged — îáðó÷åííûé; çàíÿòûé
).
The
conductor
sees
to
that
(ïðîâîäíèê ñëåäèò çà ýòèì;
to
see
to
smth. — ñëåäèòü, ïðèñìàòðèâàòü çà ÷åì-ëèáî
)!”
He smiled (
îí
óëûáíóëñÿ)
, then glanced up at the clock (
çàòåì
áûñòðî
âçãëÿíóë
íà
÷àñû)
. “Come (
ïîéäåìòå)
,” he said, “it is time we started (
ñàìîå
âðåìÿ
íàì
îòïðàâèòñÿ
â
ïóòü)
.”
At the station M. Bouc was greeted
(íà
ñòàíöèè
ìñüå
Áóê
áûë
âñòðå÷åí
; to greet —
çäîðîâàòüñÿ,
ïðèâåòñòâîâàòü;
âñòðå÷àòü /
âîçãëàñàìè
è
ò.
ï./
) with respectful empressement
(ñ
ïî÷òèòåëüíîé
óñëóæëèâîñòüþ
; empressement —
ôð.
óñåðäèå,
ðâåíèå,
óñëóæëèâîñòü)
by the brown-uniformed Wagon Lit conductor (
ïðîâîäíèêîì
ñïàëüíîãî
âàãîíà
â
êîðè÷íåâîé
óíèôîðìå)
.
fear [
fIq] engaged [
In'geIdZd] empressement
["Q:Npres'mQ:N] uniformed [
'ju:nIfO:md]
“Well, well.” M. Bouc turned to Poirot. “Have no fear, my friend. We
will arrange something. There is always one compartment, the No. 16, which is not engaged. The conductor sees to that!” He smiled, then glanced up at the clock. “Come,” he said, “it is time we started.”
At the station M. Bouc was greeted with respectful empressement by the brown-uniformed
Wagon Lit conductor.
“Good evening, Monsieur. Your compartment is the No. 1
(âàøå
êóïå
—
íîìåð 1)
.”
He called to the porters
(îí
ïîçâàë
íîñèëüùèêîâ
; porter —
íîñèëüùèê /
îñîá.
â
ãîñòèíèöå,
íà
âîêçàëå/,
ãðóç÷èê)
and they wheeled their load (
è
îíè
ïîêàòèëè /
íà
òåëåæêå/
èõ
áàãàæ;
to wheel — êàòèòü
, âåçòè
; load — ãðóç
; íîøà
) halfway along the carriage
(ê
ñåðåäèíå
ïàññàæèðñêîãî
âàãîíà
) on which the tin plates
(íà
êîòîðîì
æåñòÿíûå
òàáëè÷êè
; tin —
îëîâÿííûé;
æåñòÿíîé; plate —
òàðåëêà;
ïëàñòèíêà,
äîùå÷êà)
proclaimed its destination (
ãîâîðèëè
î
ìåñòå
åãî
íàçíà÷åíèÿ;
to proclaim — îáúÿâëÿòü
, ïðîâîçãëàøàòü
):
ISTANBUL TRIESTE CALAIS
(
Ñòàìáóë —
Òðèåñò —
Êàëå)
wheel [wi:l
] carriage [
'kxrIdZ] proclaim [
prq'kleIm]
“Good evening, Monsieur. Your compartment is the No. 1.”
He called to the porters and they wheeled their load halfway along the carriage
on which the tin plates proclaimed its destination:
ISTANBUL TRIESTE CALAIS
“
You
are
full
up
to-
night
(ó âàñ ñåãîäíÿ âñå ìåñòà çàíÿòû: «âû íàáèòû áèòêîì ñåãîäíÿ âå÷åðîì»;
full — ïîëíûé; íàïîëíåííûé, çàïîëíåííûé;
full
up — áèòêîì íàáèòûé
),
I
hear
(ÿ ñëûøàë: «ÿ ñëûøó»;
to
hear (
heard)
)?”
“
It
is
incredible,
Monsieur
(ýòî íåâåðîÿòíî/íåñëûõàííî, ìñüå)
. All
the
world
elects
to
travel
to
-night
(âåñü ìèð ðåøèë îòïðàâèòüñÿ â ïóòåøåñòâèå ñåãîäíÿ
âå÷åðîì; to
elect — âûáèðàòü /ãîëîñîâàíèåì/; äåëàòü âûáîð,
ïðèíèìàòü ðåøåíèå)
!”
“All
the
same
(âñå ðàâíî/òåì íå ìåíåå)
you
must
find
room
for
this
gentleman
here
(âû äîëæíû íàéòè ìåñòî äëÿ âîò ýòîãî ãîñïîäèíà;
room — êîìíàòà, çàë; ìåñòî, ïðîñòðàíñòâî
).
He
is
a
friend
of
mine
(îí
ìîé
äðóã
).
He can have the No. 16 (
îí
ìîæåò
ñåñòü
â
êóïå 16)
.”
“
It
is
taken,
Monsieur
(îíî
çàíÿòî
, ìñüå
; to
take
(took
, taken
) — áðàòü
; çàíèìàòü
/ìåñòî
/)
.”
“
What
(÷òî
)?
The
No. 16?”
A
glance
of
understanding
passed
between
them
(îíè
îáìåíÿëèñü
ïîíèìàþùèìè
âçãëÿäàìè
; to
pass
— èäòè
, ïðîõîäèòü
; îáìåíÿòüñÿ
/ïðèâåòñòâèÿìè
, âçãëÿäàìè
è
ò
.ï
./)
, and
the
conductor
smiled
(
è
êîíäóêòîð
óëûáíóëñÿ)
. He
was
a
tall
sallow
man
(ýòî: «îí» áûë âûñîêèé ÷åëîâåê ñ çåìëèñòûì öâåòîì
ëèöà; sallow — æåëòîâàòûé, áîëåçíåííûé,
çåìëèñòûé /î öâåòå ëèöà/)
of
middle
age
(ñðåäíåãî âîçðàñòà)
.
incredible [In'kredqb(q)l
] elect [I'lekt]
sallow ['sxlqV
]
“You are full up to-night, I hear?”
“It is incredible, Monsieur. All the world elects to travel to-night!”
“All the same you must find room for this gentleman here. He is a friend
of mine. He can have the No. 16.”
“It is taken, Monsieur.”
“What? The No. 16?”
A glance of understanding passed between them, and the conductor smiled. He
was a tall sallow man of middle age.
“But yes, Monsieur. As
I
told
you
(êàê ÿ âàì óæå ñêàçàë),
we
are
full —
full —
everywhere
(ìû çàïîëíåíû, çàïîëíåíû âî âñåõ âàãîíàõ: «âåçäå»)
.”
“
But
what
passes
itself
(íî ÷òî æå ïðîèñõîäèò;
to
pass — èäòè, ïðîõîäèòü; ïðîèñõîäèòü, ñëó÷àòüñÿ,
èìåòü ìåñòî /ôðàçà â öåëîì — êàëüêà ñ ôðàíöóçñêîãî/)
?” demanded
M
. Bouc
angrily
(ñåðäèòî ïîòðåáîâàë îòâåòà ìñüå Áóê;
to
demand — òðåáîâàòü; íàñòîé÷èâî òðåáîâàòü îòâåòà
). “
There
is
a
conference
somewhere
(÷òî, ãäå-òî /ïðîõîäèò/ êîíôåðåíöèÿ)
? It
is
a
party
(èëè ýòî äåëåãàöèÿ;
party — îòðÿä, êîìàíäà; ãðóïïà
)?”
“No, Monsieur. It is only chance
(ýòî
âñåãî
ëèøü
ñëó÷àéíîñòü
). It just happens
(ïðîñòî
òàê
âûøëî
) that many people
(÷òî
ìíîãèå
: «ìíîãî
ëþäåé
») have elected to travel to-night
(ðåøèëè
åõàòü
/èìåííî
/ ñåãîäíÿ
âå÷åðîì
).”
M. Bouc made a clicking sound of annoyance
(ìñüå
Áóê
ðàçäðàæåííî
öîêíóë
: «ìñüå
Áóê
èçäàë
öîêàþùèé
çâóê
ðàçäðàæåíèÿ
»; to click —
ùåëêàòü; annoyance —
äîñàäà,
íåïðèÿòíîñòü,
ðàçäðàæåíèå)
.
conference ['k
Onf(q)rqns
] chance [tSQ:ns
] annoyance [
q'nOIqns]
“But yes, Monsieur. As I told you, we are full — full — everywhere.”
“But what passes itself?” demanded M. Bouc angrily. “There is a conference
somewhere? It is a party?”
“No, Monsieur. It is only chance. It just happens that many people have elected
to travel to-night.”
M. Bouc made a clicking sound of annoyance.
“At Belgrade (
â
Áåëãðàäå)
,” he said, “there will be the slip coach from Athens
(áóäåò
/ïîäöåïëåí
/ âàãîí
èç
Àôèí
; to slip —
ñêîëüçèòü;
æ.-
ä.
îòöåïëÿòü
âàãîí; slip coach —
æ.-
ä.
îòöåïíîé
âàãîí)
. There will also be the Bucharest-Paris coach (
à
òàêæå
âàãîí
Áóõàðåñò-
Ïàðèæ)
. But
we
do
not
reach
Belgrade
until
to-
morrow
evening
(íî ìû íå ïðèáóäåì â Áåëãðàä äî çàâòðàøíåãî âå÷åðà = íî â Áåëãðàäå ìû áóäåì òîëüêî çàâòðà
âå÷åðîì; to
reach — ïðîòÿãèâàòü; äîñòèãàòü /ìåñòà íàçíà÷åíèÿ/,
äîåçæàòü).
The problem is for to-night (
ïðîáëåìà
â
ñåãîäíÿøíåé
íî÷è)
. There
is
no
second-
class
berth
free
(íåò ëè ñâîáîäíîãî ìåñòà âî âòîðîì êëàññå;
berth — êîéêà /íà ïàðîõîäå/; ñïàëüíîå ìåñòî,
ïîëêà /â âàãîíå/)
?”
“
There
is
a
second-
class
berth,
Monsieur
(ñïàëüíîå ìåñòî âî âòîðîì êëàññå åñòü, ìñüå)
— ”
“
Well,
then
(íó, òîãäà) — ”
“
But
it
is
a
lady’
s
berth
(íî ýòî ìåñòî äëÿ æåíùèíû;
lady — ëåäè, äàìà, ãîñïîæà
).
there
is
already
a
German
woman
in
the
compartment
(â êóïå óæå åäåò îäíà íåìêà)
— a
lady
’s
maid
(êàìåðèñòêà/ëè÷íàÿ ãîðíè÷íàÿ äàìû;
maid — ñëóæàíêà, ãîðíè÷íàÿ
).”
“
Là-
là
, that
is
awkward
(ýõ, êàê ýòî íåóäîáíî;
awkward — íåóêëþæèé; íåóäîáíûé, çàòðóäíèòåëüíûé
),”
said
M.
Bouc.
Paris ['pxrIs
] second class ["sekqnd'klQ:s
] awkward ['O:kwqd
]
“At Belgrade,” he said, “there will be the slip coach from Athens. There
will also be the Bucharest-Paris coach. But we do not reach Belgrade until to-morrow evening. The problem is for to-night. There is no second-class berth free?”
“There is a second-class berth, Monsieur — ”
“Well, then — ”
“But it is a lady’s berth. There is already a German woman in the compartment
— a lady’s maid.”
“
Là — là, that is awkward,” said M. Bouc.
“Do not distress yourself, my friend
(íå
òðåâîæüòåñü
/ðàññòðàèâàéòåñü
, äðóã
ìîé
; to distress —
ïðè÷èíÿòü
ãîðå,
ñòðàäàíèå;
òðåâîæèòü)
,” said Poirot. “I must travel in an ordinary carriage
(ÿ
ìîãó
ïîåõàòü
â
îáû÷íîì
âàãîíå
; to travel —
ïóòåøåñòâîâàòü;
åõàòü; carriage —
ýêèïàæ;
ïàññàæèðñêèé
âàãîí)
.”
“Not at all
(íåò
, íåò
). Not at all.” He turned once more to the conductor
(îí
ñíîâà
: «åùå
ðàç
» ïîâåðíóëñÿ
ê
ïðîâîäíèêó
). “Everyone has arrived
(âñå
/ïàññàæèðû
/ ïðèáûëè
)?”
“It is true
(ïðàâäà
òî
),” said the man
(
îòâåòèë
òîò)
, “that there is one passenger (
÷òî
åñòü
îäèí
ïàññàæèð)
who has not yet arrived (
êîòîðûé
åùå
íå
ïðèáûë)
.” He spoke slowly (
îí
ãîâîðèë
ìåäëåííî;
to speak (spoke, spoken)), with hesitation
(íåðåøèòåëüíî
; to hesitate —
êîëåáàòüñÿ,
ñîìíåâàòüñÿ;
áûòü
íåðåøèòåëüíûì)
.
“
But
speak
then
(íó, ãîâîðèòå æå)!”
“
No. 7
berth —
a
second-
class
(ìåñòî íîìåð 7 — âî âòîðîì êëàññå)
. The
gentleman
has
not
yet
come
(äæåíòëüìåí åùå íå ïðèáûë)
, and
it
is
four
minutes
to
nine
(à ñåé÷àñ óæå áåç ÷åòûðåõ /ìèíóò/ äåâÿòü)
.”
distress [
dIs'tres]
ordinary ['O:d(q)nrI
] carriage ['kxrIdZ
] hesitation ["hezI'teIS(q)n
]
“Do not distress yourself, my friend,” said Poirot. “I must travel in
an ordinary carriage.”
“Not at all. Not at all.” He turned once more to the conductor. “Everyone
has arrived?”
“It is true,” said the man, “that there is one passenger who has not
yet arrived.” He spoke slowly, with hesitation.
“But speak then!”
“No. 7 berth — a second-class. The gentleman has not yet come, and it is
four minutes to nine.”
“Who is it
(êòî
îí
òàêîé
)?”
“An Englishman
(êàêîé
-òî
àíãëè÷àíèí
),” the conductor consulted his list
(ïðîâîäíèê
ñâåðèëñÿ
ñî
ñâîèì
ñïèñêîì
; to consult —
ñîâåòîâàòüñÿ;
ñïðàâëÿòüñÿ)
. “A M. Harris (
íåêèé
ìèñòåð
Õàððèñ)
.”
“A name of good omen (
èìÿ,
êîòîðîå
ÿâëÿåòñÿ
äîáðûì
çíàêîì/
ïðåäçíàìåíîâàíèåì)
,” said Poirot. “
I
read
my
Dickens
(ÿ ïîìíþ Äèêêåíñà: «÷èòàë ìîåãî Äèêêåíñà»)
. M
. Harris
he
will
not
arrive
(ýòîò ìèñòåð Õàððèñ, îí íå ïîÿâèòñÿ;
to
arrive — ïðèáûâàòü, ïðèåçæàòü
).”
“Put Monsieur’s luggage in No. 7 (
ïîñòàâüòå
áàãàæ
ìñüå
â
ñåäüìîå
êóïå)
,” said M. Bouc. “
If
this
M.
Harris
arrives
(åñëè ýòîò ìèñòåð Õàððèñ ïðèáóäåò)
we
will
tell
him
(ìû åìó ñêàæåì)
that
he
is
too
late
(÷òî îí îïîçäàë: «/ïðèøåë/ ñëèøêîì ïîçäíî»;
late — îïîçäàâøèé, çàïîçäàâøèé
) —
that
berths
cannot
be
retained
so
long
(÷òî ñïàëüíûå ìåñòà íå ìîãóò ïðèäåðæèâàòüñÿ òàê äîëãî;
to
retain — óäåðæèâàòü, ñäåðæèâàòü
) —
we
will
arrange
the
matter
(ìû óëàäèì ýòîò âîïðîñ;
to
arrange — ïðèâîäèòü â ïîðÿäîê; óëàäèòü, óðåãóëèðîâàòü;
matter — âåùåñòâî; äåëî, âîïðîñ; íåïðèÿòíîå
äåëî, òðóäíîñòü)
one
way
or
another
(òàê èëè èíà÷å;
way — ïóòü, äîðîãà; âîçìîæíîñòü, ïóòü, ñðåäñòâî
).
What
do
I
care
for
a
M.
Harris
(êàêîå ìíå äåëî äî êàêîãî-òî ìèñòåðà Õàððèñà;
to
care — çàáîòèòüñÿ; áåñïîêîèòüñÿ, âîëíîâàòüñÿ
)?”
“As Monsieur pleases
(êàê
ìñüå
óãîäíî
; to please —
æåëàòü,
õîòåòü,
èçâîëèòü)
,” said the conductor. He spoke to Poirot’s porter
(îí
îáðàòèëñÿ
ê
íîñèëüùèêó
/áàãàæà
/ Ïóàðî
), directing him where to go
(óêàçûâàÿ
åìó
, êóäà
èäòè
; to direct —
íàïðàâëÿòü,
íàâîäèòü;
ïîêàçûâàòü
äîðîãó)
. Then he stood aside from the steps (
çàòåì
îí
îòîøåë
â
ñòîðîíó
îò
ñòóïåíåê;
step — øàã
; ñòóïåíü
, ïðèñòóïêà
, ïîäíîæêà
) to let Poirot enter the train
(÷òîáû
ïîçâîëèòü
Ïóàðî
âîéòè
â
âàãîí
).
consult [kqn'sAlt
] omen ['qVmqn
] retain [rI'teIn
] care [
keq]
“Who is it?”
“An Englishman,” the conductor consulted his list. “A M. Harris.”
“A name of good omen,” said Poirot. “I read my Dickens. M. Harris he
will not arrive.”
“Put Monsieur’s luggage in No. 7,” said M. Bouc. “If this M. Harris
arrives we will tell him that he is too late — that berths cannot be retained so long — we will arrange the matter one way or another. What do I care for a M. Harris?”
“As Monsieur pleases,” said the conductor. He spoke to Poirot’s porter,
directing him where to go. Then he stood aside from the steps to let Poirot enter the train.
“Tout à fait au bout, Monsieur
(ôð
. â
ñàìîì
êîíöå
, ìñüå
),” he called
(êðèêíóë
îí
).
“The
end
compartment
but
one
(ïðåäïîñëåäíåå êóïå: «ïîñëåäíåå êðîìå îäíîãî»;
end — êîíåö, îêîí÷àíèå;
last
but
one — ïðåäïîñëåäíèé
).”
Poirot
passed
along
the
corridor
(Ïóàðî ïîøåë ïî êîðèäîðó)
, a
somewhat
slow
progress
(ïðîäâèãàÿñü íåñêîëüêî ìåäëåííî;
progress — ïðîãðåññ, ðàçâèòèå; ïðîäâèæåíèå
),
since
most
of
the
people
travelling
(òàê êàê áîëüøèíñòâî èç ïàññàæèðîâ: «ëþäåé, êîòîðûå ïóòåøåñòâîâàëè»)
were
standing
outside
their
carriages
(ñòîÿëè â êîðèäîðå: «ñòîÿëè ñíàðóæè ñâîèõ êóïå»)
.
His
polite “
Pardons”
were
uttered
(åãî âåæëèâûå «Ïðîñòèòå» ñëûøàëèñü: «ïðîèçíîñèëèñü»;
to
utter — èçäàâàòü /çâóê/, ïðîèçíîñèòü
)
with
the
regularity
of
clockwork
(ñ ðàçìåðåííîñòüþ ÷àñîâîãî ìåõàíèçìà;
regular — ïðàâèëüíûé, ðàçìåðåííûé, ðåãóëÿðíûé
).
At
last
he
reached
the
compartment
indicated
(íàêîíåö, îí äîáðàëñÿ äî óêàçàííîãî /åìó/ êóïå;
to
indicate — óêàçûâàòü, ïîêàçûâàòü
).
Inside
it,
reaching
up
to
a
suitcase,
was
the
tall
young
American
of
the
Tokatlian
(âíóòðè íåãî, /êàê ðàç â ýòîò ìîìåíò îí/ òÿíóëñÿ ê ÷åìîäàíó, îêàçàëñÿ: «áûë» âûñîêèé ìîëîäîé
àìåðèêàíåö èç îòåëÿ «Òîêàòëèàí»; to
reach
— ïðîòÿãèâàòü; äîñòàâàòü, áðàòü;
to
reach
up
to
smth. — òÿíóòüñÿ çà, äîòÿãèâàòüñÿ
).
utter ['Atq
] regularity
["regjV'lxrItI] suitcase [
's(j)u:tkeIs]
“Tout à fait au bout, Monsieur
,” he called. “The end compartment but one.”
Poirot passed along the corridor, a somewhat slow progress, since most of the
people travelling were standing outside their carriages.
His polite “Pardons” were uttered with the regularity of clockwork. At
last he reached the compartment indicated. Inside it, reaching up to a suitcase, was the tall young American of the Tokatlian.
He frowned as Poirot entered
(êîãäà
Ïóàðî
âîøåë
, îí
íàõìóðèëñÿ
; to frown —
õìóðèòü
áðîâè;
íàñóïèòüñÿ)
.
“Excuse me (
ïðîñòèòå)
,” he said. “I think you’ve made a mistake (
ÿ
äóìàþ,
÷òî
âû
îøèáëèñü;
mistake — îøèáêà
, íåäîðàçóìåíèå
; to
make
a
mistake
— îøèáèòüñÿ
).” Then, laboriously in French
(çàòåì
, ñ
òðóäîì
, íà
ôðàíöóçñêîì
; laboriously —
òðóäíûé;
òðóäîëþáèâûé;
óñåðäíûé; labour —
òðóä,
ðàáîòà)
: “Je crois qua vous avez un erreur
. (
ôð. ïîëàãàþ, ÷òî ó âàñ åñòü îøèáêà — ã-í Ìàêêóèí ñòðîèò ôðàíöóçñêóþ ôðàçó, äåëàÿ êàëüêó
ñ àíãëèéñêîãî)”
Poirot replied in English
(Ïóàðî
îòâåòèë
íà
àíãëèéñêîì
).
“You are Mr. Harris
(âû
ìèñòåð
Õàððèñ
)?”
“No, my name is MacQueen. I —
(íåò, ìåíÿ çîâóò Ìàêêóèí. ß
...; name
— èìÿ
, ôàìèëèÿ
)”
frown [fraVn
] laboriously [
lq'bO:rIqslI] reply [
rI'plaI]
He frowned as Poirot entered.
“Excuse me,” he said. “I think you’ve made a mistake.”
Then, laboriously in French: “Je crois qua vous avez un erreur
.”
Poirot replied in English. “You are Mr. Harris?”
“No, my name is MacQueen. I — ”
But at that moment
(íî
â
ýòîò
ñàìûé
ìîìåíò
) the voice of the Wagon Lit conductor spoke
(ðàçäàëñÿ
: «çàãîâîðèë
» ãîëîñ
êîíäóêòîðà
ñïàëüíîãî
âàãîíà
) from over Poirot’s shoulder
(èç
-çà
ïëå÷à
Ïóàðî
) — an apologetic, rather breathless voice
(ãîëîñ
/áûë
/ èçâèíÿþùèìñÿ
, îò÷àñòè
çàïûõàâøèìñÿ
; apologetic —
èçâèíÿþùèéñÿ,
÷óâñòâóþùèé
âèíó; to apologize —
èçâèíÿòüñÿ; breathless —
çàïûõàâøèéñÿ;
çàòàèâøèé
äûõàíèå; to breathe —
äûøàòü)
.
“There is no other berth on the train, Monsieur
(â
ïîåçäå
íåò
äðóãîãî
/ñâîáîäíîãî
/ ñïàëüíîãî
ìåñòà
, ìñüå
). The gentleman has to come in here
(ýòîìó
äæåíòëüìåíó
ïðèäåòñÿ
åõàòü
: «çàéòè
» çäåñü
).”
He was hauling up the corridor window
(îí
ïîäíèìàë
îêíî
â
êîðèäîð
; to haul up —
ïîäíèìàòü; to haul —
òàùèòü,
òÿíóòü)
as he spoke (
ïîêà
ãîâîðèë)
and began to lift in Poirot’s luggage (
è
íà÷àë
ïîäíèìàòü /
â
êóïå/
áàãàæ
Ïóàðî;
to begin (began, begun)).
voice [vOIs
] shoulder ['SqVldq
] breathless ['breTlIs
] haul [hO
:l]
But at that moment the voice of the Wagon Lit conductor spoke from over Poirot’s
shoulder — an apologetic, rather breathless voice.
“There is no other berth on the train, Monsieur. The gentleman has to come
in here.”
He was hauling up the corridor window as he spoke and began to lift in Poirot’s
luggage.
Poirot noticed the apology in his tone (
Ïóàðî
çàìåòèë
èçâèíåíèå
â
åãî
òîíå)
with some amusement (
ñ
íåêîòîðûì
èçóìëåíèåì;
amusement — çàáàâà
, óäîâîëüñòâèå
; èçóìëåíèå
, óäèâëåíèå
). Doubtless
the
man
had
been
promised
a
good
tip
(íåñîìíåííî, ÷òî åìó: «ýòîìó ÷åëîâåêó» áûëè îáåùàíû
õîðîøèå ÷àåâûå; doubt
— ñîìíåíèå, íåðåøèòåëüíîñòü;
tip — ðàçã. ÷àåâûå, íåáîëüøîé äåíåæíûé ïîäàðîê
)
if
he
could
keep
the
compartment
(åñëè îí ñìîæåò ïðèäåðæàòü/ñîõðàíèòü êóïå;
to
keep — äåðæàòü, èìåòü, õðàíèòü
)
for
the
sole
use
of
the
other
traveler
(äëÿ èñêëþ÷èòåëüíîãî/åäèíîëè÷íîãî ïîëüçîâàíèÿ òåì ïàññàæèðîì /ò.å. ã-íîì Ìàêêóèíîì/;
use — óïîòðåáëåíèå, èñïîëüçîâàíèå,
ïðèìåíåíèå).
However,
even
the
most
munificent
of
tips
(îäíàêî, äàæå ñàìûå ùåäðûå ÷àåâûå)
lose
their
effect
(óòðà÷èâàþò ñâîþ ñèëó;
to
lose — òåðÿòü, óòðàòèòü;
effect — ðåçóëüòàò; äåéñòâåííîñòü, ñèëà
)
when
a
Director
of
the
Company
is
on
board
(êîãäà â âàãîíå: «íà áîðòó» ïðèñóòñòâóåò äèðåêòîð êîìïàíèè;
board — äîñêà; áîðò /êîðàáëÿ
/)
and
issues
his
orders
(è îòäàåò ñâîè /ñîáñòâåííûå/ ïðèêàçàíèÿ;
to
issue — âûïóñêàòü, ïóñêàòü â îáðàùåíèå /äåíüãè/;
èçäàâàòü /óêàçû è ò.ï./; order
— ïîðÿäîê; ïðèêàç, ðàñïîðÿæåíèå
).
The
conductor
emerged
from
the
compartment
(ïðîâîäíèê âûøåë èç êóïå;
to
emerge — ïîÿâëÿòüñÿ;
to
emerge
from — âûéòè
),
having
swung
the
suitcases
up
onto
the
racks
(çàêèíóâ ÷åìîäàíû íà ïîëêè;
to
swing (
swung) — êà÷àòü, êîëåáàòü; çàáðàñûâàòü, çàêèäûâàòü;
rack — âåøàëêà /ñ êðþ÷êàìè/; ïîëêà, ñåòêà
äëÿ âåùåé /â âàãîíàõ, àâòîáóñàõ è ò.ï./)
.
apology [
q'pO
lqdZI] doubtless [
'daVtlIs]
munificent [mju:'nIfIs(q)nt
] issue ['ISu:, 'Isju:
]
Poirot noticed the apology in his tone with some amusement. Doubtless the man
had been promised a good tip if he could keep the compartment for the sole use of the other traveller. However, even the most munificent of tips lose their effect when a Director of the Company is on board and issues his orders.
The conductor emerged from the compartment, having swung the suitcases up onto
the racks.
“Voil
à, Monsieur
,” he
said
(íó, âîò è âñå, ìñüå, — ñêàçàë îí)
. “All
is
arranged
(âñå ïðèâåäåíî â ïîðÿäîê = âñå â ïîðÿäêå)
. Yours is the upper berth, the No. 7
(âàøå
ìåñòî
— âåðõíåå
, ïîä
íîìåðîì
7). We start in one minute
(ìû
îòïðàâëÿåìñÿ
÷åðåç
ìèíóòó
).”
He hurried off down the corridor
(è
îí
ïîñïåøíî
óäàëèëñÿ
ïî
êîðèäîðó
; to hurry —
ñïåøèòü,
òîðîïèòüñÿ)
. Poirot re-entered the compartment (
Ïóàðî
ñíîâà
âîøåë/
âåðíóëñÿ
â
êóïå)
.
“A phenomenon I have seldom seen
(ÿâëåíèå
/ôåíîìåí
, êîòîðûé
ÿ
âèäåë
íå
÷àñòî
; seldom
— ðåäêî
),” he said cheerfully
(ñêàçàë
îí
áîäðî
). “A Wagon Lit conductor himself puts up the luggage
(êîíäóêòîð
ñïàëüíîãî
âàãîíà
ëè÷íî
ïîäíèìàåò
áàãàæ
)! It is unheard of
(íåñëûõàííîå
äåëî
)!”
His fellow traveller smiled
(åãî
ïîïóò÷èê
óëûáíóëñÿ
; fellow —
ðàçã.
ïàðåíü)
. He had evidently got over his annoyance (
îí
î÷åâèäíî/
ÿâíî
óæå
íå
ñåðäèëñÿ: «
ïðåîäîëåë
ñâîå
ðàçäðàæåíèå»;
to get (got) over — çàêîí÷èòü
÷òî
-ëèáî
, ðàçäåëàòüñÿ
ñ
÷åì
-ëèáî
) — had probably decided that it was no good
(âîçìîæíî
, ðåøèâ
, ÷òî
íåò
íèêàêîãî
ñìûñëà
) to take the matter otherwise than philosophically
(îòíîñèòüñÿ
ê
ýòîé
ñèòóàöèè
èíà÷å
, êàê
ôèëîñîôñêè
; matter —
âåùåñòâî;
íåïðèÿòíîñòü,
òðóäíîñòü)
.
“The train’s remarkably full
(ïîåçä
íåîáû÷àéíî
ïåðåïîëíåí
),” he said.
phenomenon [
fI'nO
mInqn]
unheard [An'hq:d
] otherwise [
'ADqwaIz] philosophically
["fIlq'sO
fIk(q)lI]
“
Voilà, Monsieur,” he said. “All is arranged. Yours is the upper berth, the No. 7. We start
in one minute.”
He hurried off down the corridor. Poirot re-entered the compartment.
“A phenomenon I have seldom seen,” he said cheerfully. “A Wagon Lit conductor
himself puts up the luggage! It is unheard of!”
His fellow traveller smiled. He had evidently got over his annoyance — had
probably decided that it was no good to take the matter otherwise than philosophically. “The train’s remarkably full,” he said.
A whistle blew (
ðàçäàëñÿ
ñâèñòîê;
to blow (blew, blown) — äóòü
, âåÿòü
/î
âåòðå
/; èçäàâàòü
çâóê
/î
äóõîâîì
èíñòðóìåíòå
/, ñâèñòåòü
/î
ñèðåíå
, ñâèñòêå
/)
, there was a long melancholy cry from the engine (
ïàðîâîç
èçäàë
äîëãèé
óíûëûé/
òîñêëèâûé
ãóäîê;
long — äëèííûé
; äîëãèé
; cry — êðèê
, âîïëü
, ïëà÷ü
; engine — ìàøèíà
, äâèãàòåëü
; ëîêîìîòèâ
). Both men stepped out into the corridor
(îáà
ìóæ÷èíû
âûøëè
â
êîðèäîð
; to step out —
âûõîäèòü)
. Outside
a
voice
shouted
(ãîëîñ íà óëèöå ïðîêðè÷àë;
outside — ñíàðóæè, íà óëèöå, âíå äîìà, ïîìåùåíèÿ
), “
En
voiture
(ôð. ïî âàãîíàì)!”
“
We’
re
off
(/âîò/ ìû è îòïðàâèëèñü;
to
be
off — óõîäèòü, îòïðàâëÿòüñÿ
),”
said
MacQueen.
But
they
were
not
quite
off
(íî ýòî áûëî íå ñîâñåì òàê: «îíè åùå íå âïîëíå îòïðàâèëèñü»)
. The
whistle
blew
again
(âíîâü ðàçäàëñÿ ñâèñòîê)
.
“
I
say,
sir
(ïîñëóøàéòå, ñýð; to
say
— ãîâîðèòü; I
say
— ïîñëóøàéòå, ýé — îêëèê èëè âîñêëèöàíèå, ðàññ÷èòàííûå íà ïðèâëå÷åíèå âíèìàíèÿ ñîáåñåäíèêà
),”
said
the
young
man
suddenly
(ñêàçàë ìîëîäîé ÷åëîâåê âíåçàïíî)
. “If you’d rather have the lower berth
(åñëè
áû
âû
çàíÿëè
íèæíþþ
ïîëêó;
one
had
rather — ÿ /òû, îí è ò.ï./ áû ïðåäïî÷åë
) —
easier
and
all
that
(/îíà/ óäîáíåå, è âîîáùå...;
easy — ëåãêèé, íåòðóäíûé; óäîáíûé, ïðèÿòíûé
) —
well,
that’
s
all
right
by
me
(â îáùåì, ÿ áûë áû íå ïðîòèâ;
all
right — äîñòàòî÷íûé; ïîäõîäÿùèé, íå âûçûâàþùèé
âîçðàæåíèé).”
A
likeable
young
fellow
(/êàêîé/ ïðèÿòíûé ìîëîäîé ÷åëîâåê)
.
whistle [
'wIs(q)l]
blew [blu:]
melancholy ['melqnk(q)lI]
suddenly ['sAd(q)nlI]
likeable ['laIkqb(q)l]
A whistle blew, there was a long melancholy cry from the engine. Both men stepped
out into the corridor. Outside a voice shouted, “En voiture
!”
“We’re off,” said MacQueen.
But they were not quite off. The whistle blew again.
“I say, sir,” said the young man suddenly. “If you’d rather have the
lower berth — easier and all that — well, that’s all right by me.”
A likeable young fellow.
“No
, no
,” protested
Poirot
(íåò, íåò! — çàïðîòåñòîâàë Ïóàðî)
. “I would not deprive you
(ÿ
áû
íå
ëèøèë
âàñ
) — ”
“
That’
s
all
right
(/äà/ âñå â ïîðÿäêå) — ”
“You are too amiable
(âû
ñëèøêîì
ëþáåçíû
) — ”
Polite protests on both sides
(âåæëèâûå
âîçðàæåíèÿ
ñ
îáåèõ
ñòîðîí
).
“It is for one night only (
ýòî
òîëüêî
íà
îäíó
íî÷ü)
,” explained Poirot (
îáúÿñíèë
Ïóàðî)
. “
At
Belgrade
(â Áåëãðàäå) — ”
“
Oh!
I
see
(î, ÿ ïîíèìàþ; to
see
— âèäåòü; ïîíèìàòü, ñîçíàâàòü
).
You’
re
getting
out
at
Belgrade
(âû ñõîäèòå â Áåëãðàäå;
to
get
out — âûõîäèòü, âûñàæèâàòüñÿ
) — ”
“
Not
exactly
(íå ñîâñåì; exactly
— òî÷íî)
. You
see
(âèäèòå ëè)
— ”
There
was
a
sudden
jerk
(/ïîåçä/ âíåçàïíî äåðíóëñÿ: «áûë âíåçàïíûé òîë÷îê»)
. Both
men
swung
round
to
the
window
(îáà ìóæ÷èíû îáåðíóëèñü ê îêíó;
to
swing (
swung) — êà÷àòüñÿ, êîëåáàòüñÿ; ïîâîðà÷èâàòüñÿ,
ðàçâîðà÷èâàòüñÿ)
, looking
out
at
the
long
lighted
platform
as
it
slid
slowly
past
them
(ãëÿäÿ êàê äëèííûé, îñâåùåííûé ïåððîí ìåäëåííî
ïðîïëûë ìèìî íèõ; to
light
— çàæèãàòü; îñâåùàòü
; to
slide
(slid
) — ñêîëüçèòü, äâèãàòüñÿ ïëàâíî
).
The
Orient
Express
had
started
(Âîñòî÷íûé ýêñïðåññ îòïðàâèëñÿ)
on
its
three
-day
journey
across
Europe
(â ñâîå òðåõäíåâíîå ïóòåøåñòâèå ïî Åâðîïå)
.
deprive
[dI'praIv] amiable
['eImIqb(q)l] exactly
[Ig'zxktlI] jerk
[dZq:k]
“No, no,” protested Poirot. “I would not deprive you — ”
“That’s all right — ”
“You are too amiable — ”
Polite protests on both sides.
“It is for one night only,” explained Poirot. “At Belgrade — ”
“Oh! I see. You’re getting out at Belgrade — ”
“Not exactly. You see — ”
There was a sudden jerk. Both men swung round to the window, looking out at
the long lighted platform as it slid slowly past them.
The Orient Express had started on its three-day journey across Europe.
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