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 (4).
Àãàòà Êðèñòè. (4 ñòð.êíèãè)
He
heard
a
good
deal
more
(îí óñëûøàë åùå ãîðàçäî áîëüøå;
deal — ÷àñòü; ðàçã. áîëüøîå êîëè÷åñòâî, ìàññà
)
about
Mrs.
Hubbard’
s
daughter
(î äî÷åðè ìèññèñ Õàááàðä)
, and
he
heard
the
lifelong
habits
of
Mr
. Hubbard
(è îí óñëûøàë î ïðèæèçíåííûõ ïðèâû÷êàõ ìèñòåðà
Õàááàðäà; lifelong
— ïîæèçíåííûé, ïðîäîëæàþùèéñÿ âñþ æèçíü
),
deceased
(/íûíå/ ïîêîéíîãî),
from
his
rising
in
the
morning
(/íà÷èíàÿ/ ñ åãî ïîäúåìà ïî óòðàì;
to
rise — âîñõîäèòü; ïîäíèìàòüñÿ;
rising — ïîäúåì, ïîâûøåíèå
)
and
commencing
breakfast
with
a
cereal
(è /ïðèâû÷êè/ íà÷èíàòü çàâòðàê ñ îâñÿíîé êàøè;
to
commence — íà÷èíàòü;
cereal — õëåáíûé çëàê; îâñÿíêà
)
to
his
final
rest
at
night
(è åãî çàêëþ÷èòåëüíîì îòäûõå =
ñíå âå÷åðîì/íî÷üþ)
in
the
bed
-socks
(â òîëñòûõ øåðñòÿíûõ íîñêàõ /íàäåâàåìûõ íà íî÷ü/)
that
Mrs
. Hubbard
herself
had
been
in
the
habit
(êîòîðûå ñàìà ìèññèñ Õàááàðä èìåëà ïðèâû÷êó)
of
knitting
for
him
(âÿçàòü äëÿ íåãî)
.
lifelong ['laIfl
ON]
deceased [dI'si:st]
cereal ['sI(q)rIql]
The morning wore away. Several people, Poirot amongst them, remained in the
dining-car. The communal life was felt, at the moment, to pass the time better. He heard a good deal more about Mrs. Hubbard’s daughter, and he heard the lifelong habits of Mr. Hubbard, deceased, from his rising in the morning
and commencing breakfast with a cereal to his final rest at night in the bed-socks that Mrs. Hubbard herself had been in the habit of knitting for him.
It was when he was listening
(ýòî
ïðîèçîøëî
êîãäà
îí
ñëóøàë
) to a confused account
(çàïóòàííûé
îò÷åò
; to confuse —
ñìóùàòü;
çàïóòûâàòü; account —
ñ÷åò /
â
áàíêå/;
îò÷åò,
äîêëàä)
of the missionary aims of the Swedish lady (
øâåäêè
î
ìèññèîíåðñêèõ
öåëÿõ
è
íàìåðåíèÿõ;
aim — öåëü
, íàìåðåíèå
) that one of the Wagon Lit conductors
(êîãäà
îäèí
èç
ïðîâîäíèêîâ
ñïàëüíûõ
âàãîíîâ
) came into the car
(âîøåë
â
âàãîí
) and stood at his elbow
(è
âñòàë
ðÿäîì
ñ
íèì
: «ó
åãî
ëîêòÿ
»).
“Pardon, Monsieur
(èçâèíèòå
, ìñüå
).”
“Yes?”
“The compliments of M. Bouc
(âàì
ïðèâåò
îò
ìñüå
Áóêà
; compliment —
êîìïëèìåíò;
ïðèâåò,
ïîêëîí)
, and he would be glad (
è
îí
áûë
áû
ðàä)
if you would be so kind (
åñëè
áû
âû
áûëè
ñòîëü
ëþáåçíû;
kind — äîáðûé
; ëþáåçíûé
) as to come to him
(è
çàøëè
ê
íåìó
) for a few minutes
(íà
íåñêîëüêî
ìèíóò
).”
Poirot rose (
Ïóàðî
ïîäíÿëñÿ)
, uttered excuses to the Swedish lady (
ïðèíåñ: «
ïðîèçíåñ»
èçâèíåíèÿ
øâåäêå)
and followed the man out of the dining-car (
è
ïîñëåäîâàë
çà
ïðîâîäíèêîì
èç
âàãîíà-
ðåñòîðàíà)
. It
was
not
his
own
conductor
(ýòî íå áûë ïðîâîäíèê èç åãî âàãîíà: «íå åãî ñîáñòâåííûé
ïðîâîäíèê»), but
a
big
fair
man
(à âûñîêèé/êðóïíûé ñâåòëîâîëîñûé ìóæ÷èíà;
fair — ÷åñòíûé; áåëîêóðûé, ñâåòëûé
).
confused
[kqn'fju:zd] missionary
['mISqn(q)rI] fair
[feq]
It was when he was listening to a confused account of the missionary aims of
the Swedish lady that one of the Wagon Lit conductors came into the car and stood at his elbow.
“Pardon, Monsieur.”
“Yes?”
“The compliments of M. Bouc, and he would be glad if you would be so kind
as to come to him for a few minutes.”
Poirot rose, uttered excuses to the Swedish lady and followed the man out of
the dining-car. It was not his own conductor, but a big fair man.
He followed his guide
(îí
ïðîñëåäîâàë
çà
ñâîèì
ãèäîì
= ïðîâîäíèêîì
) down the corridor of his own carriage
(ïî
êîðèäîðó
åãî
/ñîáñòâåííîãî
/ âàãîíà
) and along the corridor of the next one
(è
ïî
êîðèäîðó
ñëåäóþùåãî
/âàãîíà
/). The man tapped at a door
(ïðîâîäíèê
ëåãêî
ïîñòó÷àë
ïî
äâåðè
), then stood aside
(è
îòîøåë
: «âñòàë
» â
ñòîðîíó
) to let Poirot enter
(÷òîáû
ïîçâîëèòü
Ïóàðî
âîéòè
).
The compartment was not M. Bouc’s own
(ýòî
íå
áûëî
êóïå
ìñüå
Áóêà
). It was a second-class one
(ýòî
áûëî
êóïå
âòîðîãî
êëàññà
) — chosen presumably
(âûáðàííîå
, ïî
-âèäèìîìó
; to choose (chose, chosen) —
âûáèðàòü,
îòáèðàòü)
because of its slightly larger size (
èç-
çà
åãî
íåìíîãî
áîëüøåãî
ðàçìåðà)
. It certainly gave the impression (
îíî
îïðåäåëåííî
ïðîèçâîäèëî
âïå÷àòëåíèå;
to impress — ïðîèçâîäèòü
âïå÷àòëåíèå
, ïîðàæàòü
) of being crowded
(÷òî
îíî
ïåðåïîëíåíî
; crowd —
òîëïà; to crowd —
òîëïèòüñÿ;
íàáèâàòü,
ïåðåïîëíÿòü; crowded —
ïåðåïîëíåííûé,
áèòêîì
íàáèòûé)
.
guide [gaId]
aside [q'saId]
presumably [prI'zju:mqblI]
crowded ['kraVdId]
He followed his guide down the corridor of his own carriage and along the corridor
of the next one. The man tapped at a door, then stood aside to let Poirot enter.
The compartment was not M. Bouc’s own. It was a second-class one — chosen
presumably because of its slightly larger size. It certainly gave the impression of being crowded.
M. Bouc himself was sitting on the small seat
(ñàì
ìñüå
Áóê
ñèäåë
íà
ìàëåíüêîì
ñòóëü÷èêå
) in the opposite corner
(â
ïðîòèâîïîëîæíîì
/îò
äâåðè
/ óãëó
). In the corner next the window
(â
óãëó
ðÿäîì
ñ
îêíîì
), facing him
(ëèöîì
ê
íåìó
; face —
ëèöî; to face —
íàõîäèòüñÿ
ëèöîì
ê)
, was a small dark man (
íàõîäèëñÿ
ñìóãëûé
ìóæ÷èíà
íåáîëüøîãî
ðîñòà;
small — ìàëåíüêèé
, íåáîëüøîé
; dark — òåìíûé
, ÷åðíûé
; ñìóãëûé
) looking out at the snow
(êîòîðûé
ñìîòðåë
/â
îêíî
/, íà
ñíåã
). Standing up
(/â
êóïå
/ ñòîÿëè
) and quite preventing Poirot
(è
ñîâåðøåííî
ìåøàëè
Ïóàðî
; to prevent /from/ —
ïðåäîòâðàùàòü;
ìåøàòü,
ïðåïÿòñòâîâàòü,
íå
äîïóñêàòü)
from advancing any farther (
ïðîäâèíóòüñÿ
õîòü
íà
ñêîëüêî-
íèáóäü
âïåðåä: «
äàëüøå»;
to advance — ïðîäâèãàòüñÿ
, èäòè
âïåðåä
) were a big man in blue uniform
(êðóïíûé
ìóæ÷èíà
â
ñèíåé
óíèôîðìå
) (the chef de train
(íà÷àëüíèê
ïîåçäà
)) and his own Wagon Lit conductor
(è
ïðîâîäíèê
åãî
ñïàëüíîãî
âàãîíà
; own —
ñâîé
ñîáñòâåííûé;
ïðèíàäëåæàùèé
êîìó
èëè
÷åìó-
ëèáî)
.
“Ah! my good friend (
à,
ìîé
äîáðûé
äðóã)
,” cried M. Bouc (
âîñêëèêíóë
ìñüå
Áóê;
to cry — ïëàêàòü
; âîñêëèöàòü
, âñêðèêèâàòü
).
“Come
in
(âõîäèòå)
. We
have
need
of
you
(âû íàì íóæíû: «ìû íóæäàåìñÿ â âàñ»;
need — íàäîáíîñòü, íóæäà
).”
opposite ['
OpqzIt]
prevent [prI'vent]
blue [blu:]
M. Bouc himself was sitting on the small seat in the opposite corner. In the
corner next the window, facing him, was a small dark man looking out at the snow. Standing up and quite preventing Poirot from advancing any farther were a big man in blue uniform (the chef de train) and his own Wagon Lit
conductor.
“Ah! my good friend,” cried M. Bouc. “Come in. We have need of you.”
The little man in the window
(ìàëåíüêèé
÷åëîâåê
ó
îêíà
) shifted along the seat
(ïîäâèíóëñÿ
/íà
ñèäåíèè
/; to shift —
ïåðåìåùàòü(
ñÿ),
ïåðåäâèãàòü(
ñÿ)
), and Poirot squeezed past the other two men
(è
Ïóàðî
ïðîòèñíóëñÿ
ìèìî
äâóõ
äðóãèõ
ìóæ÷èí
; to squeeze —
ñæèìàòü,
ñòèñêèâàòü;
âòèñêèâàòüñÿ,
âïèõèâàòüñÿ,
ïðîòèñêèâàòüñÿ)
and sat down facing his friend (
è
ñåë
ëèöîì
ê
ñâîåìó
äðóãó)
.
The expression on M. Bouc’s face (
âûðàæåíèå
íà
ëèöå
ìñüå
Áóêà)
gave him (
çàñòàâèëî
åãî)
, as he would have expressed it (
êàê
îí
ýòî
îïèñàë
áû)
, furiously to think (
ÿðîñòíî/
íåèñòîâî =
ñèëüíî
çàäóìàòüñÿ)
. It
was
clear
(áûëî ÿñíî)
that
something
out
of
the
common
had
happened
(÷òî ïðîèçîøëî íå÷òî èç ðÿäà âîí âûõîäÿùåå;
common — îáùèé, ñîâìåñòíûé; îáûêíîâåííûé, îáû÷íûé;
out
of — çä. óêàçûâàåò íà îòêëîíåíèå îò íîðìû,
îáû÷íîãî ïîðÿäêà âåùåé è ò.ï.; to
happen
— ñëó÷àòüñÿ, ïðîèñõîäèòü
).
“
What
has
occurred
(÷òî ñëó÷èëîñü; to
occur
— ñëó÷àòüñÿ, ïðîèñõîäèòü
)?”
he
asked
(ñïðîñèë îí).
“
You
may
well
ask
that
(âû èìååòå âñå îñíîâàíèÿ ñïðàøèâàòü /îá ýòîì/;
well — õîðîøî; âïîëíå
).
First
this
snow
(ñïåðâà/ñíà÷àëà ýòîò ñíåãîïàä)
— this
stoppage
(ýòà îñòàíîâêà/çàäåðæêà)
. And
now
(à òåïåðü)
— ”
He
paused
(îí ñäåëàë ïàóçó) —
and
a
sort
of
strangled
gasp
(íå÷òî âðîäå ïðèäóøåííîãî âçäîõà;
sort — âèä, ðîä; ñîðò;
to
strangle — çàäóøèòü; çàäûõàòüñÿ;
gasp — çàòðóäíåííîå äûõàíèå; óäóøüå
)
came
from
the
Wagon
Lit
conductor
(âûðâàëîñü ó ïðîâîäíèêà ñïàëüíîãî âàãîíà)
.
“And now what
(è
òåïåðü
÷òî
)?”
squeeze [skwi:z]
furiously ['fjV(q)rIqslI]
occur [q'kq:]
stoppage ['st
OpIdZ]
gasp [gQ:sp]
The little man in the window shifted along the seat, and Poirot squeezed past:
the other two men and sat down facing his friend.
The expression on M. Bouc’s face gave him, as he would have expressed it,
furiously to think. It was clear that something out of the common had happened.
“What has occurred?” he asked.
“You may well ask that. First this snow — this stoppage. And now — ”
He paused — and a sort of strangled gasp came from the Wagon Lit conductor.
“And now what?”
“And now a passenger lies dead
(è
òåïåðü
îäèí
èç
ïàññàæèðîâ
ëåæèò
ìåðòâûé
; to lie —
ëåæàòü)
in his berth (
íà
ñâîåì
ñïàëüíîì
ìåñòå =
â
ñâîåì
êóïå;
berth — êîéêà
/íà
ïàðîõîäå
/; ñïàëüíîå
ìåñòî
, ïîëêà
/â
âàãîíå
/)
— stabbed (
çàêîëîòûé
êèíæàëîì;
to stab — íàíîñèòü
óäàð
/íîæîì
, êèíæàëîì
/; çàêîëîòü
, çàðåçàòü
).”
M. Bouc spoke
(ìñüå
Áóê
ãîâîðèë
) with a kind of calm desperation
(ñ
íåêèì
ñïîêîéíûì
îò÷àÿíèåì
; a kind of —
ïî÷òè,
êàê
áû;
÷òî-
òî
âðîäå; calm —
ñïîêîéíûé,
òèõèé,
íåâîçìóòèìûé; desperate —
îò÷àÿííûé,
áåçðàññóäíûé; desperation —
áåçðàññóäñòâî,
îò÷àÿíèå)
.
“A passenger
(ïàññàæèð
)? Which passenger
(êàêîé
ïàññàæèð
)?”
“An American (
îäèí
àìåðèêàíåö)
. A man called (
ìóæ÷èíà,
ïî
èìåíè;
to call — êðè÷àòü
; íàçûâàòü
, çâàòü
) — called — ” he consulted some notes
(îí
ñïðàâèëñÿ
â
êàêèõ
-òî
çàïèñÿõ
; to consult —
ñîâåòîâàòüñÿ;
ñïðàâëÿòüñÿ; note (pl. notes)
— çàìåòêà
, çàïèñü
) in front of him (/
ëåæàâøèõ/
ïåðåä
íèì)
. “
Ratchett.
That
is
right —
Ratchett
(âñå âåðíî — Ðýò÷åòò;
right — ïðàâûé, ñïðàâåäëèâûé; âåðíûé, ïðàâèëüíûé
)?”
“
Yes,
Monsieur,”
the
Wagon
Lit
man
gulped
(çàäûõàÿñü, âûäàâèë ïðîâîäíèê ñïàëüíîãî âàãîíà;
to
gulp — ïðîãëàòûâàòü; çàäûõàòüñÿ, äàâèòüñÿ
).
Poirot looked at him
(Ïóàðî
âçãëÿíóë
íà
íåãî
). He was as white as chalk
(îí
áûë
áåëåå
ìåëà
: «áåëûé
, êàê
ìåë
»).
“You had better let that man sit down (
âû
áû
ëó÷øå
ïîçâîëèëè
ïðîâîäíèêó
ïðèñåñòü;
to let smb. do smth. — ðàçðåøèòü
, ïîçâîëèòü
êîìó
-ëèáî
ñäåëàòü
÷òî
-ëèáî
),” he said.
“He
may
faint
otherwise
(â ïðîòèâíîì ñëó÷àå, îí ìîæåò óïàñòü â îáìîðîê;
to
faint — îñëàáåâàòü /îò óñòàëîñòè, ãîëîäà è
ò.ï./; ïàäàòü â îáìîðîê, òåðÿòü ñîçíàíèå)
.”
passenger
['pxsIndZq, —
s(q)ndZq]
desperation ["despq'reIS(q)n]
gulp [gAlp]
chalk [tSO:k]
otherwise ['ADqwaIz]
“And now a passenger lies dead in his berth — stabbed.”
M. Bouc spoke with a kind of calm desperation.
“A passenger? Which passenger?”
“An American. A man called — called — ” he consulted some notes in
front of him. “Ratchett. That is right — Ratchett?”
“Yes, Monsieur,” the Wagon Lit man gulped.
Poirot looked at him. He was as white as chalk.
“You had better let that man sit down,” he said. “He may faint otherwise.”
The chef de train moved slightly
(íà÷àëüíèê
ïîåçäà
ñëåãêà
ïîäâèíóëñÿ
) and the Wagon Lit man sank down in the corner
(è
ïðîâîäíèê
ñïàëüíîãî
âàãîíà
îïóñòèëñÿ
/íà
ñèäåíüå
/ â
óãëó
; to sink (sank, sunk) —
òîíóòü;
îïóñêàòüñÿ,
ïàäàòü)
and buried his face in his hands (
è
çàêðûë
ëèöî
ðóêàìè;
to bury — õîðîíèòü
; ïîãðóæàòü
; ïðÿòàòü
, ñêðûâàòü
).
“Brr!” said Poirot. “This is serious
(ýòî
ñåðüåçíî
)!”
“Certainly it is serious
(êîíå÷íî
ýòî
ñåðüåçíî
). To begin with, a murder
(íà÷àòü
ñ
òîãî
, ÷òî
óáèéñòâî
) — that in itself is a calamity
(ýòî
ñàìî
ïî
ñåáå
áåäñòâèå
/êàòàñòðîôà
) of the first water
(ïåðâîé
/èñêëþ÷èòåëüíîé
âåëè÷èíû
; of the first water —
÷èñòîé
âîäû /
î
áðèëëèàíòàõ/;
èñêëþ÷èòåëüíûé,
çàìå÷àòåëüíûé; water —
âîäà,
ò.
æ.
êàê
êà÷åñòâî
äðàãîöåííîãî
êàìíÿ)
. But
not
only
that
(íî è íå òîëüêî ýòî),
the
circumstances
are
unusual
(ñàìè îáñòîÿòåëüñòâà íåîáû÷íû/èñêëþ÷èòåëüíû)
. Here we are
(âîò
ìû
), brought to a standstill
(îñòàíîâèëèñü
/â
ñíåæíûõ
çàíîñàõ
/; to bring (brought) to a standstill —
îñòàíàâëèâàòü)
. We may be here for hours (
ìû
ìîæåì
ïðîáûòü
çäåñü /
ìíîãèå/
÷àñû)
— and not only hours (
è
íå
òîëüêî
÷àñû)
— days (
äíè)
! Another
circumstance
(äðóãîå îáñòîÿòåëüñòâî)
— passing
through
most
countries
(ïðè ïåðåäâèæåíèè ïî /òåððèòîðèè/ áîëüøèíñòâà
ñòðàí; to
pass — èäòè, ïðîõîäèòü, ïðîåçæàòü;
through — çä. óêàçûâàåò íà äâèæåíèå ÷åðåç êàêóþ-ëèáî
ñðåäó, òåððèòîðèþ)
we
have
the
police
of
that
country
on
the
train
(ó íàñ â ïîåçäå íàõîäèòñÿ: «ó íàñ â ïîåçäå åñòü»
ïîëèöèÿ = ïðåäñòàâèòåëè ïîëèöèè
ýòîé ñòðàíû).
But in Jugo-Slavia, no (
íî
íå
â
Þãîñëàâèè)
. You comprehend (
âû
ïîíèìàåòå)
?”
buried ['berId]
calamity [kq'lxmItI]
circumstance
['sq:kqmstxns, 'sq:kqmstqns] comprehend
["kO
mprI'hend]
The chef de train moved slightly and the Wagon Lit man sank down in the corner
and buried his face in his hands.
“Brr!” said Poirot. “This is serious!”
“Certainly it is serious. To begin with, a murder — that in itself is a
calamity of the first water. But not only that, the circumstances are unusual. Here we are, brought to a standstill. We may be here for hours — and not only hours — days! Another circumstance — passing through most countries
we have the police of that country on the train. But in Jugo-Slavia, no. You comprehend?”
“It is a position of great difficulty
(ïîëîæåíèå
î÷åíü
çàòðóäíèòåëüíîå
: «ýòî
ñèòóàöèÿ
îãðîìíîé
òðóäíîñòè
»; position —
ìåñòîíàõîæäåíèå;
ïîëîæåíèå,
ñèòóàöèÿ; great —
áîëüøîé,
îãðîìíûé,
çíà÷èòåëüíûé)
,” said Poirot.
“
There
is
worse
to
come
(äàëüøå åùå õóæå: «õóäøåå åùå ïðåäñòîèò»;
to
come — ïðèõîäèòü; îæèäàòüñÿ, ïðåäñòîÿòü
).
Dr.
Constantine —
I
forgot,
I
have
not
introduced
you
(äîêòîð Êîíñòàíòèí — ÿ çàáûë, ÿ íå ïðåäñòàâèë âàñ;
to
forget (
forgot,
forgotten) — çàáûòü, íå ïîìíèòü; óïóñòèòü èç
âèäó; to
introduce — ââîäèòü, âñòàâëÿòü; ïðåäñòàâëÿòü,
ââîäèòü /â îáùåñòâî/)
. Dr
. Constantine
, M
. Poirot
.”
The
little
dark
man
bowed
(íåâûñîêèé ñìóãëûé ìóæ÷èíà ïîêëîíèëñÿ)
, and
Poirot
returned
the
bow
(è Ïóàðî îòâåòèë íà ïîêëîí;
to
return — âîçâðàùàòüñÿ, èäòè îáðàòíî; îòâå÷àòü
/òåì æå/).
“
Dr.
Constantine
is
of
the
opinion
(Äîêòîð Êîíñòàíòèí ïîëàãàåò;
opinion — ìíåíèå, âçãëÿä, óáåæäåíèå;
to
be
of
opinion
that … — ïîëàãàòü, ÷òî
)
that
death
occurred
at
about 1
a.
m.
(÷òî ñìåðòü íàñòóïèëà îêîëî ÷àñà íî÷è;
to
occur — ñëó÷àòüñÿ, ïðîèñõîäèòü;
a.
m. — ñîêð. îò ëàò.
ante
meridiem — äî ïîëóäíÿ
).”
“
It
is
difficult
to
speak
exactly
(òðóäíî ãîâîðèòü òî÷íî)
in
these
matters
(â òàêèõ ñëó÷àÿõ;
matter — âåùåñòâî; äåëî, âîïðîñ; íåïðèÿòíîå
äåëî),”
said
the
doctor, “
but
I
think
I
can
say
definitely
(íî ÿ äóìàþ, ÷òî ÿ ìîãó ñêàçàòü îïðåäåëåííî;
to
define — îïðåäåëÿòü, äàâàòü òî÷íîå îïðåäåëåíèå
)
that
death
occurred
(÷òî ñìåðòü íàñòóïèëà)
between
midnight
(ìåæäó ïîëóíî÷üþ)
and
two
in
the
morning
(è äâóìÿ ÷àñàìè íî÷è: «óòðà»)
.”
introduce
["Intrq'dju:s] death
[deT] definitely
['defInItlI]
“It is a position of great difficulty,” said Poirot.
“There is worse to come. Dr. Constantine — I forgot, I have not introduced
you. Dr. Constantine, M. Poirot.”
The little dark man bowed, and Poirot returned the bow.
“Dr. Constantine is of the opinion that death occurred at about 1 a.m.”
“It is difficult to speak exactly in these matters,” said the doctor, “but
I think I can say definitely that death occurred between midnight and two in the morning.”
“When was this M. Ratchett last seen alive
(êîãäà
ýòîãî
ìèñòåðà
Ðýò÷åòòà
â
ïîñëåäíèé
ðàç
âèäåëè
æèâûì
; last —
ïîñëå
âñåõ;
â
ïîñëåäíèé
ðàç)
?” asked Poirot (
ñïðîñèë
Ïóàðî)
.
“He is known to have been alive
(èçâåñòíî
, ÷òî
îí
áûë
æèâ
; to know (knew, known) —
çíàòü,
îáëàäàòü
çíàíèÿìè; pass.
áûòü
èçâåñòíûì)
at about twenty minutes to one (
ïðèìåðíî
áåç
äâàäöàòè
ìèíóò
÷àñ)
, when he spoke to the conductor (
êîãäà
îí
ðàçãîâàðèâàë
ñ
ïðîâîäíèêîì)
,” said M. Bouc.
“That is quite correct (
ñîâåðøåííî
âåðíî)
,” said Poirot. “
I
myself
heard
what
passed
(ÿ ñàì ñëûøàë, ÷òî ïðîèçîøëî;
to
pass — èäòè, ïðîõîäèòü; ïðîèñõîäèòü, ñëó÷àòüñÿ,
èìåòü ìåñòî).
That
is
the
last
thing
known
(ýòî ïîñëåäíåå, ÷òî èçâåñòíî;
thing — âåùü, ïðåäìåò; ñîáûòèå, ÿâëåíèå;
to
know — çíàòü
)?”
“Yes.”
Poirot turned toward the doctor
(Ïóàðî
ïîâåðíóëñÿ
ê
äîêòîðó
), who continued
(êîòîðûé
ïðîäîëæèë
).
alive
[q'laIv] heard
[hq:d] continued
[kqn'tInju:d]
“When was this M. Ratchett last seen alive?” asked Poirot.
“He is known to have been alive at about twenty minutes to one, when he spoke
to the conductor,” said M. Bouc.
“That is quite correct,” said Poirot. “I myself heard what passed. That
is the last thing known?”
“Yes.”
Poirot turned toward the doctor, who continued.
“The window of M. Ratchett’s compartment (
îêíî
â
êóïå
ìèñòåðà
Ðýò÷åòòà)
was found wide open (
áûëî
îáíàðóæåíî
ðàñïàõíóòûì;
to find (found) — íàõîäèòü
, îòûñêèâàòü
; wide open — ðàñïàõíóòûé
, îòêðûòûé
íàñòåæü
; wide — øèðîêî
, ïîâñþäó
; íàñòåæü
), leading one to suppose
(çàñòàâëÿÿ
ïðåäïîëîæèòü
; to lead —
âåñòè,
ïîêàçûâàòü
ïóòü;
óáåäèòü,
ñêëîíèòü /
ê
÷åìó-
ëèáî/,
çàñòàâèòü)
that the murderer escaped that way (
÷òî
óáèéöà
ñáåæàë
èìåííî
òåì
ïóòåì;
to escape — áåæàòü
/èç
çàêëþ÷åíèÿ
/, óáåãàòü
/èç
òþðüìû
è
ò
.ï
./)
. But in my opinion (
íî,
ïî
ìîåìó
ìíåíèþ)
that open window is a blind (
÷òî
ðàñïàõíóòîå
îêíî
ëèøü
äëÿ
îòâîäà
ãëàç;
blind — øòîðà
, ìàðêèçà
; ïðåäëîã
, îòãîâîðêà
, îá
ìàí)
. Anyone departing that way (
êòî
óãîäíî,
ïîêèäàÿ /
êóïå/
òåì
ïóòåì =
÷åðåç
îêíî;
to depart — îòáûâàòü
/î
ïîåçäå
/; óõîäèòü
, ïîêèäàòü
) would have left distinct traces
(äîëæåí
áûë
îñòàâèòü
îò÷åòëèâûå
ñëåäû
; to leave (left) —
óõîäèòü;
îñòàâëÿòü
ïîñëå
ñåáÿ; distinct —
ÿñíûé,
îò÷åòëèâûé)
in the snow (
íà
ñíåãó)
. There
were
none
(à òàì íå áûëî íèêàêèõ /ñëåäîâ/)
.”
“
The
crime
was
discovered —
when
(ïðåñòóïëåíèå áûëî îáíàðóæåíî — êîãäà;
to
discover — îòêðûâàòü, äåëàòü îòêðûòèå; îáíàðóæèâàòü,
íàõîäèòü)?”
asked
Poirot
(ñïðîñèë Ïóàðî).
leading
['li:dIN] murderer
['mq:d(q)rq] escape
[I'skeIp] blind
[blaInd]
“The window of M. Ratchett’s compartment was found wide open, leading one
to suppose that the murderer escaped that way. But in my opinion that open window is a blind. Anyone departing that way would have left distinct traces in the snow. There were none.”
“The crime was discovered — when?” asked Poirot.
“Michel!”
The Wagon Lit conductor sat up
(ïðîâîäíèê
ñïàëüíîãî
âàãîíà
âûïðÿìèëñÿ
; to sit (sat) up —
ñàäèòüñÿ;
âûïðÿìëÿòüñÿ /
ñèäÿ
â
êðåñëå
è
ò.
ï./
). His face still looked pale and frightened
(åãî
ëèöî
âñå
åùå
âûãëÿäåëî
áëåäíûì
è
èñïóãàííûì
; fright —
èñïóã; to frighten —
ïóãàòü)
.
“Tell this gentleman
(ðàññêàæèòå
ýòîìó
äæåíòëüìåíó
) exactly what occurred
(÷òî
èìåííî
ïðîèçîøëî
; exactly —
òî÷íî;
êàê
ðàç,
èìåííî)
,” ordered M. Bouc (
ïðèêàçàë
ìñüå
Áóê;
to order — ïðèêàçûâàòü
, ðàñïîðÿæàòüñÿ
).
The man spoke somewhat jerkily
(ìóæ÷èíà
çàãîâîðèë
, íåìíîãî
îòðûâèñòî
= ñáèâ÷èâî
; somewhat —
íåìíîãî,
äî
íåêîòîðîé
ñòåïåíè,
îò÷àñòè; jerk —
ðåçêîå
äâèæåíèå,
òîë÷îê,
ðûâîê;
âçäðàãèâàíèå; jerkily —
òîë÷êàìè,
ðûâêàìè;
ñóäîðîæíî,
îòðûâèñòî)
.
“The valet of this M. Ratchett (
ñëóãà
ýòîãî
ìèñòåðà
Ðýò÷åòòà)
, he tapped several times at the door (
îí
ñòó÷àë
â
äâåðü
íåñêîëüêî
ðàç;
time — âðåìÿ
; ðàç
, ñëó÷àé
) this morning
(ñåãîäíÿ
óòðîì
). There was no answer
(îòâåòà
íå
áûëî
). Then, half an hour ago
(òîãäà
, ãäå
-òî
ñ
ïîë÷àñà
íàçàä
), the restaurant car attendant came
(ïðèøåë
îôèöèàíò
èç
âàãîíà
-ðåñòîðàíà
). He wanted to know
(îí
õîòåë
óçíàòü
) if Monsieur was taking déjeuner
(ñîáèðàåòñÿ
ëè
ìñüå
çàâòðàêàòü
; to take (took, taken) —
áðàòü,
õâàòàòü;
ïðèíèìàòü /
ïèùó,
ëåêàðñòâî
è
ò.
ï./; déjeuner —
ôð.
çàâòðàêàòü)
. It
was
eleven
o
’clock
(áûëî /óæå/ îäèííàäöàòü ÷àñîâ)
, you
comprehend
(/âû/ ïîíèìàåòå)
.
frightened ['fraItnd]
jerkily ['dZ
q:kIlI]
answer ['
Q: ns
q]
“Michel!”
The Wagon Lit conductor sat up. His face still looked pale and frightened.
“Tell this gentleman exactly what occurred,” ordered M. Bouc.
The man spoke somewhat jerkily.
“The valet of this M. Ratchett, he tapped several times at the door this
morning. There was no answer. Then, half an hour ago, the restaurant car attendant came. He wanted to know if Monsieur was taking déjeuner. It was eleven o’clock, you comprehend.
“I open the door for him
(ÿ
îòêðûâàþ
åìó
äâåðü
) with my key
(ñâîèì
êëþ÷îì
). But
there
is
a
chain
, too
(íî íà äâåðè: «òàì» åùå è öåïî÷êà;
too — òàêæå, òîæå; ê òîìó æå
),
and
that
is
fastened
(è îíà çàêðåïëåíà = äâåðü çàêðûòà
è íà öåïî÷êó òîæå; to
fasten
— ñâÿçûâàòü; çàïèðàòü; çàñòåãèâàòü
).
There
is
no
answer
(îòâåòà íèêàêîãî)
and
it
is
very
still
in
there
(è òàì âíóòðè î÷åíü òèõî;
still — íåïîäâèæíûé; òèõèé, áåçìîëâíûé
),
and
cold —
but
cold
(è õîëîäíî — î÷åíü õîëîäíî)
. With
the
window
open
(ñ îêíîì ðàñïàõíóòûì)
and
snow
drifting
in
(è ñíåãîì, ëåòÿùèì âíóòðü;
to
drift — îòíîñèòü, ãíàòü /âåòðîì, òå÷åíèåì/;
íàñûïàòü /ñóãðîáû/, çàíîñèòü /ñíåãîì/)
. I
thought
(ÿ ïîäóìàë
)
the
gentleman
had
had
a
fit,
perhaps
(÷òî, âîçìîæíî, äæåíòëüìåíà õâàòèë óäàð;
fit — ïðèïàäîê, ïðèñòóï
).
I
got
the
chef
de
train
(ÿ ïðèâåë íà÷àëüíèêà ïîåçäà;
to
get (
got) — äîñòàâàòü, äîáûâàòü; ââîäèòü êîãî-ëèáî
êóäà-ëèáî).
We broke the chain (
ìû
ñîðâàëè
öåïî÷êó;
to break (broke, broken) — ëîìàòü
; ðàçðûâàòü
, ïðîðûâàòü
) and went in
(è
âîøëè
âíóòðü
). He was — Ah!
c’était terrible
(îí
áûë
— àõ
— ôð
.
ýòî
óæàñíî)
!”
He buried his face in his hands again
(îí
ñíîâà
çàêðûë
ñâîå
ëèöî
ðóêàìè
; to bury —
õîðîíèòü;
ïðÿòàòü,
ñêðûâàòü)
.
“The door was locked (
äâåðü
áûëà
çàêðûòà /
è/
íà
çàìîê;
lock — çàìîê
, çàòâîð
; to lock — çàïèðàòü
íà
çàìîê
) and chained on the inside
(è
íà
öåïî÷êó
èçíóòðè
; to chain —
ñêðåïëÿòü
öåïüþ;
çàêðûâàòü
íà
öåïî÷êó /
äâåðü/
),” said Poirot thoughtfully
(ïðîèçíåñ
Ïóàðî
çàäóì÷èâî
).
“It
was
not
suicide
— eh
(ýòî íå áûëî ñàìîóáèéñòâîì, íå òàê ëè)
?”
chain
[tSeIn] fasten
['fQ:s(q)n] suicide
['s(j)u:IsaId]
“I open the door for him with my key. But there is a chain, too, and that
is fastened. There is no answer and it is very still in there, and cold — but cold. With the window open and snow drifting in. I thought the gentleman had had a fit, perhaps. I got the chef de train. We broke the chain and
went in. He was — Ah! c’était terrible
!”
He buried his face in his hands again.
“The door was locked and chained on the inside,” said Poirot thoughtfully.
“It was not suicide — eh?”
The Greek doctor gave a sardonic laugh
(äîêòîð
-ãðåê
ÿçâèòåëüíî
óñìåõíóëñÿ
; laugh —
ñìåõ; sardonic —
çëîáíûé,
ñàðäîíè÷åñêèé)
. “Does a man who commits suicide (
ðàçâå
÷åëîâåê,
êîòîðûé
êîí÷àåò
æèçíü
ñàìîóáèéñòâîì;
to commit — ñîâåðøàòü
/÷àùå
äóðíîå
/)
stab himself in ten — twelve — fifteen places (
çàêàëûâàåò
ñåáÿ
â
äåñÿòè —
äâåíàäöàòè —
ïÿòíàäöàòè
ìåñòàõ)
?” he asked (
ñïðîñèë
îí)
.
Poirot’s eyes opened (
Ïóàðî
óäèâèëñÿ: «/
øèðîêî/
ðàñïàõíóë
ãëàçà»;
to open one's eyes — óäèâëÿòüñÿ
, èçóìëÿòüñÿ
).
“That
is
great
ferocity
(êàêàÿ êîëîññàëüíàÿ æåñòîêîñòü;
great — áîëüøîé, îãðîìíûé; ñèëüíûé, ãëóáîêèé,
êîëîññàëüíûé /î ÷óâñòâàõ, ñîñòîÿíèÿõ, ñâîéñòâàõ è ò.ï./)
,” he
said
.
“It is a woman (
ýòî —
æåíùèíà)
,” said the chef de train (
ñêàçàë
íà÷àëüíèê
ïîåçäà)
, speaking for the first time (
çàãîâîðèâøèé
â
ïåðâûé
ðàç)
. “
Depend
upon
it
(áóäüòå óâåðåíû; to
depend
— çàâèñåòü; ïîëàãàòüñÿ, ðàññ÷èòûâàòü, íàäåÿòüñÿ;
depend
upon
it — ðàçã. áóäüòå óâåðåíû /÷òî/, óâåðÿþ âàñ
/÷òî/),
it
was
a
woman
(÷òî ýòî áûëà æåíùèíà).
Only
a
woman
would
stab
like
that
(òîëüêî æåíùèíà çàêîëîëà áû òàêèì îáðàçîì)
.”
Dr.
Constantine
screwed
up
his
face
thoughtfully
(äîêòîð Êîíñòàíòèí çàäóì÷èâî ïîìîðùèëñÿ;
to
screw
up — çàâèí÷èâàòü; ìîðùèòü /ëîá/, ïîäæèìàòü
/ãóáû/; to screw up one's face — ñìîðùèòüñÿ, ñêðèâèòüñÿ)
.
“
She
must
have
been
a
very
strong
woman
(îíà äîëæíà áûëà áûòü î÷åíü ñèëüíîé æåíùèíîé = äîëæíî áûòü, ýòî áûëà î÷åíü ñèëüíàÿ æåíùèíà)
,” he
said
. “It
is
not
my
desire
to
speak
technically
(ÿ áû íå õîòåë ãîâîðèòü ñïåöèàëüíûìè òåðìèíàìè;
desire — /ñèëüíîå/ æåëàíèå;
technically — òåõíè÷åñêè; â ñïåöèàëüíîì ñìûñëå
) —
that
is
only
confusing
(ýòî òîëüêî ñáèâàåò ñ òîëêó;
to
confuse — ñìóùàòü; çàïóòûâàòü, óñëîæíÿòü
);
but
I
can
assure
you
(íî ÿ ìîãó âàñ óâåðèòü)
that
one
or
two
of
the
blows
(÷òî îäèí èëè äâà èç òåõ óäàðîâ)
were
delivered
with
such
force
(áûëè íàíåñåíû ñ òàêîé ñèëîé;
to
deliver — ïåðåäàâàòü, âðó÷àòü; íàíîñèòü /óäàð/
)
as
to
drive
them
through
(÷òî îíè ïðîíçèëè íàñêâîçü;
to
drive
through — ïðîíçàòü, ïðîáèâàòü
)
hard
belts
of
bone
and
muscle
(òâåðäûå /òêàíè/ êîñòåé è ìóñêóëîâ;
belt — ïîÿñ, êóøàê, ðåìåíü
).”
sardonic
[sQ
:'d
OnIk
] laugh
[lQ
:f
] ferocity
[fq
'r
OsItI
] stab
[stxb
] screwed
[skru:d] desire
[dI'zaIq] technically
['teknIk(q)lI] muscle
['mAs(q)l]
The Greek doctor gave a sardonic laugh. “Does a man who commits suicide stab
himself in ten — twelve — fifteen places?” he asked.
Poirot’s eyes opened. “That is great ferocity,” he said.
“It is a woman,” said the chef de train, speaking for the first time. “Depend
upon it, it was a woman. Only a woman would stab like that.”
Dr. Constantine screwed up his face thoughtfully.
“She must have been a very strong woman,” he said. “It is not my desire
to speak technically — that is only confusing; but I can assure you that one or two of the blows were delivered with such force as to drive them through hard belts of bone and muscle.”
“
It
was
clearly
not
a
scientific
crime
(ýòî ÿâíî áûëî íå ïðîôåññèîíàëüíîå ïðåñòóïëåíèå;
science — íàóêà; âûñîêèé êëàññ, ìàñòåðñòâî;
scientific — íàó÷íûé; âûñîêîãî êëàññà,
òåõíè÷íûé),”
said
Poirot.
“
It
was
most
unscientific
(ýòî áûëî ñîâåðøåííî íåïðîôåññèîíàëüíîå /ïðåñòóïëåíèå/)
,” returned
Dr
. Constantine
(îòâåòèë äîêòîð Êîíñòàíòèí;
to
return — âîçâðàùàòüñÿ; îòâå÷àòü, âîçðàæàòü
). “
The
blows
seem
to
have
been
delivered
(êàæåòñÿ, ÷òî óäàðû áûëè íàíåñåíû)
haphazard
(ñëó÷àéíî/âñëåïóþ/íàîáóì;
haphazard — ñëó÷àé, ÷èñòàÿ ñëó÷àéíîñòü
)
and
at
random
(è êóäà ïðèäåòñÿ; random
— íåîïðåäåëåííîñòü; at random — íàîáóì, íàóãàä, íàóäà÷ó
).
Some
have
glanced
off
(íåêîòîðûå /óäàðû/ ëèøü ñëåãêà çàäåëè /åãî/;
to
glance
off — ñëåãêà, ïîõîäÿ çàäåòü
),
doing
hardly
any
damage
(åäâà ëè ïðè÷èíÿÿ /åìó/ êàêîé-ëèáî âðåä;
damage — âðåä, ïîâðåæäåíèå
).
It
is
as
though
somebody
had
shut
his
eyes
(áóäòî êòî-òî çàêðûë ãëàçà;
to
shut — çàòâîðÿòü, çàêðûâàòü
)
and
then
in
a
frenzy
(è çàòåì, â áåøåíñòâå;
frenzy — áåçóìèå; íåèñòîâñòâî
)
struck
blindly
again
and
again
(ñíîâà è ñíîâà óäàðÿë âñëåïóþ/áåçðàññóäíî;
to
strike (
struck,
stricken) — óäàðÿòü, áèòü;
blind — ñëåïîé, íåçðÿ÷èé; äåéñòâóþùèé âñëåïóþ;
áåññìûñëåííûé, áåçðàññóäíûé; blindly
— áåçðàññóäíî; ìàøèíàëüíî
).”
scientific
["saIqn'tIfIk] haphazard
["hxp'hxzqd] random
['rxndqm] damage
['dxmIdZ] frenzy
['frenzI]
“It was clearly not a scientific crime,” said Poirot.
“It was most unscientific,” returned Dr. Constantine. “The blows seem
to have been delivered haphazard and at random. Some have glanced off, doing hardly any damage. It is as though somebody had shut his eyes and then in a frenzy struck blindly again and again.”
“
C’
est
une
femme
(ôð.
ýòî — æåíùèíà),”
said
the
chef
de
train
again
(ñíîâà ñêàçàë = ïîâòîðèë
íà÷àëüíèê ïîåçäà). “
Women
are
like
that
(æåíùèíû — îíè òàêèå).
When
they
are
enraged
(êîãäà îíè â ÿðîñòè; rage
— ÿðîñòü, ãíåâ, áåøåíñòâî;
to
enrage — ïðèâîäèòü â ÿðîñòü, â áåøåíñòâî
)
they
have
great
strength
(îíè îáëàäàþò îãðîìíîé ñèëîé)
.” He
nodded
so
sagely
(îí çàêèâàë ãîëîâîé òàê ãëóáîêîìûñëåííî;
sage — ìóäðûé; èìåþùèé ó÷åíûé âèä
)
that
everyone
suspected
(÷òî êàæäûé çàïîäîçðèë)
a
personal
experience
of
his
own
(/â åãî ñëîâàõ/ ëè÷íûé æèçíåííûé îïûò)
.
“I
have
, perhaps
, something
(ó ìåíÿ åñòü, âîçìîæíî, êîå-÷òî)
to
contribute
to
your
store
of
knowledge
(äîáàâèòü â /âàø/ çàïàñ çíàíèé = ê èìåþùèìñÿ ñâåäåíèÿì;
to
contribute — æåðòâîâàòü /äåíüãè è ò.ï./; äåëàòü
âêëàä /â íàóêó è ò.ï./; knowledge
— çíàíèÿ; îñâåäîìëåííîñòü, ñâåäåíèÿ
),”
said
Poirot.
“M. Ratchett spoke to me yesterday (
ìñüå
Ðýò÷åòò
â÷åðà
ãîâîðèë
ñî
ìíîþ;
to speak (spoke, spoken)). He told me
(îí
ðàññêàçàë
ìíå
; to tell (told)
), as far as I was able to understand him
(íàñêîëüêî
ÿ
ñìîã
ïîíÿòü
åãî
; to be able to … —
ìî÷ü,
áûòü
â
ñîñòîÿíèè /
â
ñèëàõ/
), that he was in danger of his life
(÷òî
îí
îïàñàëñÿ
çà
ñâîþ
æèçíü
; danger —
îïàñíîñòü; to be in danger —
áûòü
â
îïàñíîñòè)
.”
enraged [In'reIdZd]
strength [streNT, strenT]
experience [Ik'spI(q)rIqns]
contribute [kqn'trIbju:t]
“C’est une femme
,” said the chef de train again. “Women are like that. When they are enraged they have great
strength.” He nodded so sagely that everyone suspected a personal experience of his own.
“I have, perhaps, something to contribute to your store of knowledge,”
said Poirot. “M. Ratchett spoke to me yesterday. He told me, as far as I was able to understand him, that he was in danger of his life.”
“ ‘Bumped off
(/åãî
/ óáðàëè
/óêîêîøèëè
; to bump off —
ðàçã.
óáèòü,
óáðàòü)
’ — that is the American expression, is it not (
òàêîå
àìåðèêàíñêîå
âûðàæåíèå,
íå
òàê
ëè;
expression — âûðàæåíèå
/÷åãî
-ëèáî
/; îáîðîò
ðå÷è
, ôðàçà
)?” asked M. Bouc
(ñïðîñèë
ìñüå
Áóê
). “Then it is not a woman
(òîãäà
ýòî
íå
æåíùèíà
). It is a ‘gangster’ or a ‘gunman’
(ýòî
«ãàíãñòåð
» èëè
«áàíäèò
»; gang —
áðèãàäà;
áàíäà,
øàéêà; gun —
îðóäèå;
ðóæüå; gunman —
âîîðóæåííûé
áàíäèò,
óáèéöà)
.”
The chef de train looked pained
(íà÷àëüíèê
ïîåçäà
èìåë
îáèæåííûé
âèä
; to pain —
ìó÷èòü,
îãîð÷àòü; pained —
ñòðàäàëü÷åñêèé;
îáèæåííûé)
at seeing his theory come to nought (
âèäÿ,
÷òî
åãî
òåîðèÿ
ñîøëà
íà
íåò;
nought — íè÷òî
; to come to nought — êîí÷èòüñÿ
íè÷åì
).
“If so
(åñëè
ýòî
òàê
),” said Poirot, “it seems to have been done
(òî
êàæåòñÿ
, âñå
áûëî
èñïîëíåíî
) very amateurishly
(î÷åíü
ëþáèòåëüñêè
; amateur —
ëþáèòåëü,
íåïðîôåññèîíàë;
ïðåíåáð.
äèëåòàíò)
.” His tone expressed professional disapproval (
åãî
òîí =
ãîëîñ
âûðàæàë
ïðîôåññèîíàëüíîå
íåîäîáðåíèå;
to disapprove — íå
îäîáðÿòü
, îñóæäàòü
; to approve — îäîáðÿòü
, ñ÷èòàòü
ïðàâèëüíûì
).
gangster
['gxNstq] theory
['TI(q)rI] nought
[nO:t] amateurishly
['xmqtqrISlI, "xmq'tjVqrISlI, "xmq'tq:rISlI] disapproval
["dIsq'pru:v(q)l]
“ ‘Bumped off’ — that is the American expression, is it not?” asked
M. Bouc. “Then it is not a woman. It is a ‘gangster’ or a ‘gunman.’ ”
The chef de train looked pained at seeing his theory come to nought.
“If so,” said Poirot, “it seems to have been done very amateurishly.”
His tone expressed professional disapproval.
“
There
is
a
large
American
on
the
train
(â ïîåçäå åäåò êàêîé-òî êðóïíûé/ðîñëûé àìåðèêàíåö)
.” said
M
. Bouc
, pursuing
his
idea
(ñêàçàë ìñüå Áóê, ðàçâèâàÿ ñâîþ ìûñëü/èäåþ;
to
pursue — ïðåñëåäîâàòü /êîãî-ëèáî/; ïðèäåðæèâàòüñÿ
êàêîãî-ëèáî ïëàíà, ïðîäîëæàòü /çàíÿòèå, îáñóæäåíèå è ò.ï./)
. “A common-looking man
(âûãëÿäèò
îí
îáûêíîâåííî
; common —
îáùèé;
îáû÷íûé,
êàê
âñå,
ïðîñòîíàðîäíûé; to look —
ñìîòðåòü;
èìåòü
âèä,
âûãëÿäåòü)
with terrible clothes (
è
îäåæäà
óæàñíàÿ;
terrible — ñòðàøíûé
, óæàñíûé
; ýìîö
.-óñèë
. êîøìàðíûé
, æóòêèé
). He chews the gum
(îí
æóåò
æâà÷êó
; gum —
ñìîëà; = chewing gum —
æåâàòåëüíàÿ
ðåçèíêà)
, which I believe (
÷òî,
êàê
ÿ
ïîëàãàþ;
to believe — âåðèòü
; äóìàòü
, ïîëàãàòü
, ñ÷èòàòü
) is not done in good circles
(íå
äåëàåòñÿ
â
ïðèëè÷íîì
îáùåñòâå
; good —
õîðîøèé;
èìåþùèé
õîðîøóþ
ðåïóòàöèþ;
âîñïèòàííûé; circle —
êðóã;
êðóã /
ëþäåé/,
ãðóïïà; /
îáùåñòâåííûå/
êðóãè)
. You
know
whom
I
mean
(âû çíàåòå, êîãî ÿ èìåþ â âèäó)
?”
The
Wagon
Lit
conductor
(ïðîâîäíèê ñïàëüíîãî âàãîíà)
to
whom
he
had
appealed
(ê êîòîðîìó îí îáðàùàëñÿ;
to
appeal — àïåëëèðîâàòü; âûçâàòü, îáðàùàòüñÿ
ñ ïðèçûâîì)
nodded
(êèâíóë ãîëîâîé â çíàê ñîãëàñèÿ;
nod — êèâîê /çíàê ñîãëàñèÿ èëè ïðèâåòñòâèÿ/
).
“Oui, Monsieur, the No. 16
(äà
, ìñüå
, ìåñòî
íîìåð
16). But it cannot have been he
(íî
ýòî
íå
ìîã
áûòü
îí
). I should have seen him
(ÿ
áû
óâèäåë
, êàê
îí
) enter or leave the compartment
(çàõîäèò
èëè
âûõîäèò
èç
êóïå
; to leave —
óõîäèòü,
óåçæàòü)
.”
“You
might
not
(âû ìîãëè è íå óâèäåòü)
. You
might
not
. But
we
will
go
into
that
presently
(íî ìû âñêîðå ïåðåéäåì ê ýòîìó;
to
go
into
smth. — òùàòåëüíî ðàçáèðàòü, ðàññëåäîâàòü
÷òî-ëèáî, âíèêàòü)
. The question is, what to do
(âîïðîñ
â
òîì
, ÷òî
æå
äåëàòü
)?” He looked at Poirot
(îí
âçãëÿíóë
íà
Ïóàðî
).
Poirot
looked
back
at
him
(Ïóàðî ïîñìîòðåë íà íåãî;
back — çä. óêàçûâàåò íà îòâåòíîå äåéñòâèå
).
pursue
[pq'sju:] chew
[tSu:] circle
['sq:k(q)l] presently
['prez(q)ntlI]
“There is a large American on the train,.” said M. Bouc, pursuing his idea.
“A common-looking man with terrible clothes. He chews the gum, which I believe is not done in good circles. You know whom I mean?”
The Wagon Lit conductor to whom he had appealed nodded.
“Oui, Monsieur, the No. 16. But it cannot have been he. I should have seen
him enter or leave the compartment.”
“You might not. You might not. But we will go into that presently. The question
is, what to do?” He looked at Poirot.
Poirot looked back at him.
“Come, my friend
(íó
æå
, ìîé
äðóã
),” said M. Bouc.
“You
comprehend
(âû ïîíèìàåòå)
what
I
am
about
to
ask
of
you
(î ÷åì ÿ ñîáèðàþñü âàñ ïîïðîñèòü;
to
be
about
to
do
smth. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü
÷òî-ëèáî).
I
know
your
powers
(ÿ çíàþ âàøè ñïîñîáíîñòè;
power — ñèëà, ìîùü; /óìñòâåííàÿ èëè ôèçè÷åñêàÿ/
ñïîñîáíîñòü).
Take
command
of
this
investigation
(ïðèìèòå íà ñåáÿ ðóêîâîäñòâî ýòèì ðàññëåäîâàíèåì;
command — ïðèêàç; óïðàâëåíèå, ðóêîâîäñòâî;
to
investigate — ðàññëåäîâàòü, ðàññìàòðèâàòü /äåëî/
)!
No,
no,
do
not
refuse
(íåò, íåò, íå îòêàçûâàéòåñü)
. See
, to
us
it
is
serious
(ïîíèìàåòå, äëÿ íàñ ýòî ñåðüåçíî/íå øóòêè;
to
see — âèäåòü; ïîíèìàòü, ñîçíàâàòü
) —
I
speak
for
the
Compagnie
Internationale
des
Wagons
Lits
(ÿ ãîâîðþ îò èìåíè Ìåæäóíàðîäíîé êîìïàíèè ñïàëüíûõ âàãîíîâ;
to
speak
for
smb. — ãîâîðèòü çà êîãî-òî, ïðåäñòàâëÿòü êîãî-òî,
âûðàæàòü ÷üå-ëèáî ìíåíèå)
. By
the
time
the
Jugo
-Slavian
police
arrive
(ê òîìó âðåìåíè, êîãäà ïðèáóäåò þãîñëàâñêàÿ ïîëèöèÿ)
, how
simple
(êàê ïðîñòî /áóäåò/)
if
we
can
present
them
with
the
solution
(åñëè ìû ñìîæåì ïðåäñòàâèòü èì îáúÿñíåíèå;
to
present — ïðåïîäíîñèòü, äàðèòü; ïðåäñòàâèòü,
ïðåäúÿâèòü; solution
— ðåøåíèå; ðàçðåøåíèå /ïðîáëåìû è ò.ï./; îáúÿñíåíèå
)!
Otherwise
delays
(â ïðîòèâíîì ñëó÷àå — ïðîâîëî÷êè;
delay — çàäåðæêà; çàìåäëåíèå, ïðîìåäëåíèå
),
annoyances
(íåïðèÿòíîñòè; annoyance
— äîñàäà, ðàçäðàæåíèå
),
a
million
and
one
inconveniences
(/öåëûé/ ìèëëèîí è îäíî íåóäîáñòâî/áåñïîêîéñòâî)
. Perhaps
, who
knows
(âîçìîæíî, êòî çíàåò)
, serious
annoyance
to
innocent
persons
(ñåðüåçíûå íåïðèÿòíîñòè äëÿ íåâèííûõ ëþäåé;
innocent — íåâèííûé, íåâèíîâíûé
).
Instead —
you
solve
the
mystery
(âìåñòî /âñåãî ýòîãî/ — âû ðàñïóòûâàåòå ýòó òàéíó;
to
solve — ðåøàòü; îáúÿñíÿòü; ðàçâÿçûâàòü
)!
We say (
ìû
ãîâîðèì)
, ‘A murder has occurred (
ïðîèçîøëî
óáèéñòâî)
— this is the criminal (
âîò
ïðåñòóïíèê)
!’”
power ['paVq]
investigation [In"vestI'geIS(q)n]
refuse [rI'fju:z]
Jugoslavian ["ju:gq(V)'slQ:vIqn]
annoyance [q'nOIqns]
inconvenience ["Inkqn'vi:nIqns]
mystery ['mIst(q)rI]
“Come, my friend,” said M. Bouc. “You comprehend what I am about to ask
of you. I know your powers. Take command of this investigation! No, no, do not refuse. See, to us it is serious — I speak for the Compagnie Internationale des Wagons Lits. By the time the Jugo-Slavian police arrive, how
simple if we can present them with the solution! Otherwise delays, annoyances, a million and one inconveniences. Perhaps, who knows, serious annoyance to innocent persons. Instead — you solve the mystery! We say, ‘A murder
has occurred — this is the criminal!’”
“
And
suppose
I
do
not
solve
it
(à ÷òî åñëè: «ïðåäïîëîæèì», ÿ íå ðàñïóòàþ /ýòî äåëî/)
?”
“
Ah,
mon
cher
(àõ, ìîé äðóã)!”
M.
Bouc’
s
voice
became
positively
caressing
(ãîëîñ ìñüå Áóêà ñòàë îïðåäåëåííî ëàñêîâûì;
positively — áåçóñëîâíî; òî÷íî; ñîâåðøåííî;
to
caress — ëàñêàòü; ãëàäèòü
).
“I know your reputation (
ÿ
çíàþ
âàøó
ðåïóòàöèþ)
. I know something of your methods (
ÿ
çíàþ
êîå-
÷òî
î
âàøèõ
ìåòîäàõ)
. This is the ideal case for you (
äëÿ
âàñ
ýòî
èäåàëüíûé
ñëó÷àé)
. To look up the antecedents of all these people (
÷òîáû
âûÿñíèòü
ïðîøëîå
âñåõ
ýòèõ
ëþäåé;
to look up — ïîäíèìàòü
ãëàçà
; èñêàòü
/â
ñëîâàðå
, ñïðàâî÷íèêå
è
ò
.ï
./, íàâîäèòü
ñïðàâêè
; antecedents — ïðåäøåñòâóþùåå
; ïðîøëàÿ
æèçíü
, ïðîøëîå
), to discover their bona fides
(îáíàðóæèòü
= óáåäèòüñÿ
â
èõ
÷åñòíîñòè
/ïîðÿäî÷íîñòè
; bona fides —
÷åñòíîå
íàìåðåíèå;
÷åñòíîñòü)
— all that takes time (
íà
âñå
ýòî
ïîòðåáóåòñÿ
âðåìÿ)
and endless inconvenience (
è
áåñêîíå÷íûå
íåóäîáñòâà/
áåñïîêîéñòâà;
end — êîíåö
, îêîí÷àíèå
). But have I not heard you say often
(íî
ðàçâå
ÿ
íå
ñëûøàë
, êàê
âû
÷àñòî
ãîâîðèëè
) that to solve a case
(÷òî
äëÿ
òîãî
, ÷òîáû
ðàñêðûòü
ïðåñòóïëåíèå
; to solve a case —
ðåøèòü
äåëî;
ðàñêðûòü
ïðåñòóïëåíèå /
î
ïîëèöèè/
) a man has only to lie back in his chair
(÷åëîâåêó
òîëüêî
è
íóæíî
, ÷òî
îòêèíóòüñÿ
/íà
ñïèíêó
/ êðåñëà
; to lie back —
îòêèíóòüñÿ /
íà
ïîäóøêó,
ñïèíêó
ñòóëà
è
ò.
ï./
) and think
(è
ïîäóìàòü
)? Do that
(ñäåëàéòå
ýòî
). Interview the passengers on the train
(ðàññïðîñèòå
ïàññàæèðîâ
ïîåçäà
; to interview —
áðàòü
èíòåðâüþ;
ïðîâîäèòü
áåñåäó)
, view the body (
îñìîòðèòå
òåëî/
òðóï)
, examine what clues there are (
èçó÷èòå
âñå
óëèêè /
êîòîðûå
åñòü/;
to examine — ðàññìàòðèâàòü
; îáñëåäîâàòü
, èçó÷àòü
; clue — êëþ÷
ê
ðàçãàäêå
; óëèêà
), and then
(è
òîãäà
) — well, I have faith in you
(÷òî
æ
, ÿ
â
âàñ
âåðþ
; faith —
âåðà,
äîâåðèå)
! I
am
assured
(ÿ óâåðåí)
that
it
is
no
idle
boast
of
yours
(÷òî ýòî íå ïðîñòî ïðàçäíîå õâàñòîâñòâî ñ âàøåé ñòîðîíû;
idle — íåçàíÿòûé, íåðàáîòàþùèé; ïðàçäíûé,
ïóñòîé, íåîáîñíîâàííûé; to
boast
— õâàñòàòü, ïîõâàëÿòüñÿ
).
Lie
back
and
think
(îòêèíóòüñÿ /â êðåñëå/ è äóìàòü)
— use
(as
I
have
heard
you
say
so
often
) (âîñïîëüçîâàòüñÿ, êàê âû ñàìè ÷àñòî ïîâòîðÿåòå)
the
little
grey
cells
of
the
mind
(ìàëåíüêèìè ñåðûìè êëåòî÷êàìè ìîçãà;
cell — êàìåðà, îòñåê; êëåòêà, ÿ÷åéêà;
mind — óì, ðàçóì
) —
and
you
will
know
(è âû ðàçáåðåòåñü; to
know
— çíàòü; îáëàäàòü çíàíèÿìè, ðàçáèðàòüñÿ
)!”
reputation ["repjV'teIS(q)n]
antecedent ["xntI'si:d(q)nt]
bona fides ["bqVnq'faIdIz]
examine [Ig'zxmIn]
clue [klu:]
idle [aIdl]
“And suppose I do not solve it?”
“
Ah, mon cher!” M. Bouc’s voice became positively caressing. “I know your reputation. I
know something of your methods. This is the ideal case for you. To look up the antecedents of all these people, to discover their bona fides — all that takes time and endless inconvenience. But have I not heard you say often
that to solve a case a man has only to lie back in his chair and think? Do that. Interview the passengers on the train, view the body, examine what clues there are, and then — well, I have faith in you! I am assured that
it is no idle boast of yours. Lie back and think — use (as I have heard you say so often) the little grey cells of the mind — and you will know!”
He leaned forward
(îí
ïîäàëñÿ
âïåðåä
; to lean —
íàêëîíÿòüñÿ,
íàãèáàòüñÿ)
, looking affectionately at the detective (
ëàñêîâî
óñòàâèâøèñü
íà
äåòåêòèâà;
affection — ïðèâÿçàííîñòü
, ëþáîâü
; ýìîöèÿ
, ÷óâñòâî
).
“Your faith touches me, my friend (
âàøà
âåðà
òðîãàåò
ìåíÿ,
äðóã
ìîé;
to touch — êàñàòüñÿ
; òðîãàòü
, âîëíîâàòü
),” said Poirot emotionally
(ñêàçàë
Ïóàðî
ñ
÷óâñòâîì
/ýìîöèîíàëüíî
).
“As
you
say
(êàê âû ãîâîðèòå)
, this
cannot
be
a
difficult
case
(ýòî íå ìîæåò áûòü òðóäíûì ñëó÷àåì)
. I
myself
last
night
(ÿ ñàì ïðîøëîé íî÷üþ;
last — ïîñëåäíèé; ïðîøëûé
) —
but
we
will
not
speak
of
that
now
(íî ñåé÷àñ ìû íå áóäåì ãîâîðèòü îá ýòîì)
. In
truth
(â ñàìîì äåëå/ïî ïðàâäå ãîâîðÿ;
truth — ïðàâäà
),
this
problem
intrigues
me
(ýòà ïðîáëåìà èíòðèãóåò/èíòåðåñóåò ìåíÿ;
to
intrigue — èíòðèãîâàòü, âåñòè èíòðèãè; çàèíòðèãîâûâàòü
).
I
was
reflecting
(ÿ /êàê ðàç/ ðàçìûøëÿë;
to
reflect — îòðàæàòü; ðàçìûøëÿòü, ðàçäóìûâàòü
),
not
half
an
hour
ago
(íå áîëåå ïîëó÷àñà íàçàä)
, that
many
hours
of
boredom
lay
ahead
(÷òî ïðåäñòîÿò ìíîãèå ÷àñû ñêóêè;
boredom — ñêóêà, òîñêà;
to
lie (
lay,
lain) — ëåæàòü; ðàñïîëàãàòüñÿ;
ahead — âïåðåä, âïåðåäè
)
whilst
we
are
stuck
here
(ïîêà ìû çäåñü ñòîèì: «çàñòðÿëè»;
to
stick (
stuck) — íàêëåèâàòü; çàñòðåâàòü, óâÿçàòü
).
And
now
(à ñåé÷àñ) —
a
problem
lies
ready
to
my
hand
(ïðÿìî ïîä ðóêîé íàõîäèòñÿ ïðîáëåìà/çàãàäêà;
ready — ãîòîâûé; íàãîòîâå, ïîä ðóêîé, íå çàñòàâëÿþùèé
ñåáÿ æäàòü).”
affectionately [q'fekS(q)nItlI]
detective
[dI'tektIv]
faith [feIT]
intrigue [In'tri:g]
boredom ['bO:dqm]
He leaned forward, looking affectionately at the detective.
“Your faith touches me, my friend,” said Poirot emotionally. “As you
say, this cannot be a difficult case. I myself last night — but we will not speak of that now. In truth, this problem intrigues me. I was reflecting, not half an hour ago, that many hours of boredom lay ahead whilst we are
stuck here. And now — a problem lies ready to my hand.”
“
You
accept
then
(çíà÷èò âû ñîãëàñíû;
to
accept — ïðèíèìàòü, áðàòü /ïðåäëîæåííîå/; ñîãëàøàòüñÿ
)?”
said
M.
Bouc
eagerly
(ñïðîñèë ìñüå Áóê íåòåðïåëèâî/ýíåðãè÷íî;
eager — ñòðàñòíî ñòðåìÿùèéñÿ, æàæäóùèé; íåòåðïåëèâûé
).
“C’est entendu
. You place the matter in my hands (
ôð.
Ðåøåíî! ïðåäîñòàâüòå ýòî äåëî ìíå;
to
place — ñòàâèòü; ïîìåùàòü, îòäàâàòü /êóäà-ëèáî/;
to
place
a
matter
in
smb.'
s
hands — îòäàòü äåëî â ÷üè-ëèáî ðóêè
).”
“
Good
(õîðîøî) —
we
are
all
at
your
service
(ìû âñå â âàøåì ðàñïîðÿæåíèè;
service — óñëóæåíèå; óñëóãà, îäîëæåíèå, ïîìîùü
).”
“
To
begin
with
(ïðåæäå âñåãî: «íà÷íåì ñ òîãî, ÷òî»)
, I
should
like
a
plan
of
the
Istanbul
-Calais
coach
(ìíå áû õîòåëîñü /ïîëó÷èòü/ ïëàí/ñõåìó âàãîíà Ñòàìáóë-Êàëå)
, with
a
note
of
the
people
(ñ óêàçàíèåì ëþäåé;
note — çàìåòêà, çàïèñü, ïðèìå÷àíèå
)
who
occupied
the
several
compartments
(êîòîðûå çàíèìàëè êàæäîå êóïå;
several — íåñêîëüêî; îòäåëüíûé, îòäåëüíî âçÿòûé
),
and
I
should
also
like
to
see
their
passports
(ÿ áû òàê æå õîòåë âçãëÿíóòü íà èõ ïàñïîðòà)
and
their
tickets
(è èõ áèëåòû)
.”
“Michel will get you those
(ýòî
âàì
ïðèíåñåò
Ìèøåëü
).”
The Wagon Lit conductor left the compartment
(ïðîâîäíèê
ñïàëüíîãî
âàãîíà
âûøåë
èç
êóïå
; to leave (left)
).
“What other passengers are there on the train
(êòî
åùå
: «êàêèå
åùå
ïàññàæèðû
» íàõîäèòñÿ
â
ïîåçäå
)?” asked Poirot.
eager ['i:gq]
service ['sq:vIs]
“You accept then?” said M. Bouc eagerly.
“C’est entendu. You place the matter in my hands.”
“Good — we are all at your service.”
“To begin with, I should like a plan of the Istanbul-Calais coach, with a
note of the people who occupied the several compartments, and I should also like to see their passports and their tickets.”
“Michel will get you those.”
The Wagon Lit conductor left the compartment.
“What other passengers are there on the train?” asked Poirot.
“In this coach
(â
ýòîì
âàãîíå
; coach —
êàðåòà,
ýêèïàæ;
ïàññàæèðñêèé
âàãîí,
ðàçäåëåííûé
íà
êóïå)
Dr. Constantine and I are the only travelers (
äîêòîð
Êîíñòàíòèí
è
ÿ —
åäèíñòâåííûå
ïàññàæèðû: «
ïóòåøåñòâóþùèå»)
. In the coach from Bucharest (
â
âàãîíå
èç
Áóõàðåñòà)
is an old gentleman with a lame leg (
åäåò
õðîìîé
ïîæèëîé
äæåíòëüìåí;
lame — õðîìîé
; ïîâðåæäåííûé
, èçóâå÷åííûé
/îáûêí
. î
íîãå
/; leg — íîãà
/îò
áåäðà
äî
ñòóïíè
/)
. He is well known to the conductor (
ïðîâîäíèê
åãî
õîðîøî
çíàåò;
known — îáùåèçâåñòíûé
, to know (knew, known))
. Beyond that (
êðîìå
ýòîãî)
are the ordinary carriages (
åñòü
åùå
îáû÷íûå
ïàññàæèðñêèå
âàãîíû;
carriage — ýêèïàæ
, êàðåòà
; ïàññàæèðñêèé
âàãîí
), but these do not concern us
(íî
îíè
ê
íàì
íå
îòíîñÿòñÿ
; to concern —
êàñàòüñÿ /
â
ðàññêàçå/;
èìåòü
êàñàòåëüñòâî,
îòíîøåíèå)
, since they were locked (
òàê
êàê
îíè
áûëè
çàïåðòû
íà
êëþ÷)
after dinner had been served (
ïîñëå
òîãî,
êàê
áûë
ïîäàí
óæèí;
dinner — îáåä
; to serve — ñëóæèòü
; ïîäàâàòü
/íà
ñòîë
/, ðàçíîñèòü
/ïèùó
/)
last night (
ïðîøëûì
âå÷åðîì)
. Forward of the Istanbul-Calais coach (
âïåðåäè
âàãîíà
Ñòàìáóë —
Êàëå)
there is only the dining-car (
òîëüêî
âàãîí-
ðåñòîðàí)
.”
coach [kqVtS]
traveller ['trxv(q)lq]
concern [kqn'sq:n]
“In this coach Dr. Constantine and I are the only travellers. In the coach
from Bucharest is an old gentleman with a lame leg. He is well known to the conductor. Beyond that are the ordinary carriages, but these do not concern us, since they were locked after dinner had been served last night. Forward
of the Istanbul-Calais coach there is only the dining-car.”
“Then it seems
(çíà÷èò
, ïî
-âèäèìîìó
; to seem —
êàçàòüñÿ,
ïðåäñòàâëÿòüñÿ)
,” said Poirot slowly (
ñêàçàë
Ïóàðî
ìåäëåííî)
, “as though we must look for our murderer (
ìû
äîëæíû
èñêàòü
íàøåãî
óáèéöó;
to look for smb., smth. — èñêàòü
êîãî
-ëèáî
, ÷òî
-ëèáî
) in the Istanbul-Calais coach
(â
âàãîíå
Ñòàìáóë
— Êàëå
).” He turned to the doctor
(îí
ïîâåðíóëñÿ
ê
äîêòîðó
). “That is what you were hinting, I think
(âû
íà
ýòî
íàìåêàëè
, ÿ
ïîëàãàþ
; to hint —
íàìåêàòü,
äàâàòü
ïîíÿòü)
?”
The Greek nodded (
ãðåê
êèâíóë)
. “At half an hour after midnight (
÷åðåç
ïîë÷àñà
ïîñëå
ïîëóíî÷è)
we ran into the snowdrift (
ìû
ïîïàëè
â
ñíåæíûé
çàíîñ;
to run (ran, run) — áåæàòü
, áåãàòü
; to run into smth. — ïîïàäàòü
â
êàêîå
-ëèáî
ïîëîæåíèå
). No
one
can
have
left
the
train
since
then
(íèêòî íå ñìîã áû ïîêèíóòü ïîåçä ñ òîãî ñàìîãî
ìîìåíòà).”
M. Bouc said solemnly
(ìñüå
Áóê
ñêàçàë
ñåðüåçíî
; solemn —
òîðæåñòâåííûé;
âàæíûé,
ñåðüåçíûé)
, “The murderer is with us (
óáèéöà
ñðåäè
íàñ: «
ñ
íàìè»)
— on the train now (
ñåé÷àñ,
â
ýòîì
ïîåçäå)
. ...”
though [DqV]
turn
[tq:n] midnight
['mIdnaIt] solemn
['sO
lqm]
“Then it seems,” said Poirot slowly, “as though we must look for our
murderer in the Istanbul-Calais coach.” He turned to the doctor. “That is what you were hinting, I think?”
The Greek nodded. “At half an hour after midnight we ran into the snowdrift.
No one can have left the train since then.”
M. Bouc said solemnly, “The murderer is with us — on the train now. ...”
6
A WOMAN
(
Æåíùèíà)
“First of all (
ïðåæäå
âñåãî)
,” said Poirot, “I should like a word or two (
ÿ
áû
õîòåë
îáìåíÿòüñÿ
ïàðîé
ñëîâ: «
ñëîâîì
èëè
äâóìÿ»)
with young Mr. MacQueen (
ñ
ìîëîäûì
ìèñòåðîì
Ìàêêóèíîì)
. He
may
be
able
(îí, âîçìîæíî â ñèëàõ;
to
be
able
to … — ìî÷ü, áûòü â ñîñòîÿíèè, â ñèëàõ
)
to
give
us
valuable
information
(ñîîáùèòü: «äàòü» íàì âàæíóþ èíôîðìàöèþ/ñâåäåíèÿ;
value — öåííîñòü, âàæíîñòü, ïîëåçíîñòü;
valuable — öåííûé, äîðîãîé; ÷ðåçâû÷àéíî ïîëåçíûé
èëè âàæíûé).”
“Certainly (
íåïðåìåííî)
,” said M. Bouc. He
turned
to
the
chef
de
train
(îí îáðàòèëñÿ ê íà÷àëüíèêó ïîåçäà;
to
turn — ïîâîðà÷èâàòü;
to
turn
to
smb. — îáðàùàòüñÿ ê êîìó-ëèáî
). “
Get
Mr.
MacQueen
to
come
here
(ïðèâåäèòå ñþäà ìèñòåðà Ìàêêóèíà;
to
get
smb.
to
do
smth. — çàñòàâëÿòü, óáåæäàòü, óãîâàðèâàòü
êîãî-ëèáî äåëàòü ÷òî-ëèáî)
.”
The chef de train left the carriage (
íà÷àëüíèê
ïîåçäà
âûøåë
èç
êóïå)
.
The conductor returned
(âåðíóëñÿ
ïðîâîäíèê
) with a bundle of passports and tickets
(ñ
ïà÷êîé
ïàñïîðòîâ
è
áèëåòîâ
; bundle —
óçåë;
ñâÿçêà,
ïà÷êà
). M. Bouc took them from him
(ìñüå
Áóê
âçÿë
èõ
/ó
íåãî
).
valuable ['vxljV(q)b(q)l]
chef [Sef]
carriage ['kxrIdZ]
“First of all,” said Poirot, “I should like a word or two with young
Mr. MacQueen. He may be able to give us valuable information.”
“Certainly,” said M. Bouc. He turned to the
chef de train. “Get Mr. MacQueen to come here.”
The
chef de train left the carriage.
The conductor returned with a bundle of passports and tickets. M. Bouc took
them from him.
“
Thank
you,
Michel
(áëàãîäàðþ âàñ, Ìèøåëü)
. It
would
be
best
now
, I
think
(ñåé÷àñ áûëî áû ëó÷øå âñåãî, ÿ ïîëàãàþ)
, if
you
were
to
go
back
to
your
post
(åñëè áû âû âåðíóëèñü íà ñâîé ïîñò = â ñâîé âàãîí;
to
go
back — âîçâðàùàòüñÿ /íà ïðåæíåå ìåñòî/;
post — ïîñò, äîëæíîñòü; âîåí. ïîñò
).
We
will
take
your
evidence
formally
later
(ïîçæå ìû çàïèøåì âàøè ñâèäåòåëüñêèå ïîêàçàíèÿ ïî âñåé ôîðìå;
evidence — äàííûå, ôàêòû; þð. ïîêàçàíèÿ ñâèäåòåëÿ
èëè îáâèíÿåìîãî; to take the evidence of smb. — äîïðàøèâàòü êîãî-ëèáî è ïðîòîêîëèðîâàòü /ôèêñèðîâàòü/ åãî ïîêàçàíèÿ;
formally — îôèöèàëüíî; ñ ñîáëþäåíèåì ïðèíÿòûõ
ïðàâèë è íîðì; ïî âñåé ôîðìå)
.”
“
Very
good,
Monsieur
(õîðîøî, ìñüå; very
good
— î÷åíü õîðîøî, îòëè÷íî; õîðîøî /ñîãëàñèå/; ñëóøàþñü! /îòâåò íà ïðèêàçàíèå/
),”
said
Michel,
and
in
his
turn
left
the
carriage
(è â ñâîþ î÷åðåäü = òîæå
âûøåë èç êóïå; turn
— îáîðîò; î÷åðåäü)
.
“
After
we
have
seen
young
MacQueen
(ïîñëå òîãî, êàê ìû âñòðåòèìñÿ ñ ìîëîäûì Ìàêêóèíîì;
to
see (
saw,
seen) — âèäåòü; âèäåòüñÿ, âñòðå÷àòüñÿ
),”
said
Poirot, “
perhaps
M.
le
docteur
will
come
with
me
(âîçìîæíî, ãîñïîäèí äîêòîð ïîéäåò ñî ìíîé)
to
the
dead
man
’s
carriage
(â êóïå óáèòîãî: «ìåðòâîãî ìóæ÷èíû»)
.”
“
Certainly
(íåñîìíåííî).”
“
After
we
have
finished
there
(ïîñëå òîãî, êàê ìû çàêîí÷èì òàì;
to
finish — êîí÷àòü, çàêàí÷èâàòü, çàâåðøàòü
) — ”
evidence ['evId(q)ns]
perhaps [pq'hxps]
certainly ['sq:tnlI]
“Thank you, Michel. It would be best now, I think, if you were to go back
to your post. We will take your evidence formally later.”
“Very good, Monsieur,” said Michel, and in his turn left the carriage.
“After we have seen young MacQueen,” said Poirot, “perhaps M. le docteur
will come with me to the dead man’s carriage.”
“Certainly.”
“After we have finished there — ”
But at this moment
(íî
â
ýòîò
ñàìûé
ìîìåíò
) the chef de train returned with Hector MacQueen
(âåðíóëñÿ
íà÷àëüíèê
ïîåçäà
ñ
Ãåêòîðîì
Ìàêêóèíîì
; to return —
âîçâðàùàòüñÿ,
èäòè
îáðàòíî)
.
M.
Bouc
rose
(ìñüå Áóê âñòàë; to
rise
(rose
, risen
) — âñòàâàòü /íà íîãè/, ïîäíèìàòüñÿ
).
“We
are
a
little
cramped
here
(ìû çäåñü íåìíîãî â òåñíîòå;
to
cramp — ñòåñíÿòü, îãðàíè÷èâàòü /ðîñò, äâèæåíèå
è ò.ï./; to be cramped /for room/ — æèòü èëè ðàáîòàòü â òåñíîòå, ïîâåðíóòüñÿ íåãäå
),”
he
said
pleasantly
(ñêàçàë îí ëþáåçíî; pleasant
— ïðèÿòíûé; ìèëûé, ñëàâíûé
). “
Take
my
seat,
Mr.
MacQueen
(ñàäèòåñü íà ìîå ìåñòî, ìèñòåð Ìàêêóèí;
seat — ìåñòî /äëÿ ñèäåíèÿ/,
to
take
a
seat — ñàäèòüñÿ, çàíèìàòü ìåñòî
).
M. Poirot will sit opposite you — so (
ìñüå
Ïóàðî
ñÿäåò
íàïðîòèâ
âàñ —
òàê)
.”
He turned to the chef de train (
îí
îáðàòèëñÿ
ê
íà÷àëüíèêó
ïîåçäà)
. “Clear all the people out of the restaurant car
(îñâîáîäèòå
âàãîí
-ðåñòîðàí
/îò
âñåõ
ëþäåé
/; to clear —
î÷èùàòü;
îñâîáîæäàòü,
óáèðàòü; to clear the room of people —
îñâîáîäèòü/
î÷èñòèòü
êîìíàòó
îò
ëþäåé)
,” he said, “and let it be left free for M. Poirot
(è
ïóñòü
îí
îñòàåòñÿ
ñâîáîäíûì
äëÿ
ìñüå
Ïóàðî
; to leave (left) —
îñòàâëÿòü
â
êàêîì-
ëèáî
ïîëîæåíèè
èëè
ñîñòîÿíèè; free —
ñâîáîäíûé;
íåçàíÿòûé)
. You will conduct your interviews there, mon cher
(âû
âåäü
áóäåòå
ïðîâîäèòü
èíòåðâüþ
= áåñåäîâàòü òàì, ìîé äðóã;
to
conduct — âåñòè, ñîïðîâîæäàòü; ïðîâîäèòü
)?”
“
It
would
be
the
most
convenient,
yes
(äà, ýòî áûëî áû î÷åíü óäîáíî)
,” agreed
Poirot
(ñîãëàñèëñÿ Ïóàðî)
.
pleasantly ['plez(q)ntlI]
opposite ['
OpqzIt]
interview ['Intqvju:]
But at this moment the
chef de train returned with Hector MacQueen.
M. Bouc rose. “We are a little cramped here,” he said pleasantly. “Take
my seat, Mr. MacQueen. M. Poirot will sit opposite you — so.”
He turned to the
chef de train. “Clear all the people out of the restaurant car,” he said, “and let it
be left free for M. Poirot. You will conduct your interviews there, mon cher
?”
“It would be the most convenient, yes,” agreed Poirot.
MacQueen had stood looking from one to the other
(Ìàêêóèí
ñòîÿë
, ïåðåâîäÿ
âçãëÿä
ñ
îäíîãî
íà
äðóãîãî
), not quite following
(íå
âïîëíå
ïîíèìàÿ
; to follow —
ñëåäîâàòü,
èäòè /
çà
êåì-
ëèáî/;
ïîíèìàòü,
âíèìàòåëüíî
ñëåäèòü /
çà
õîäîì
ìûñëè,
ñëîâàìè/;
ñëóøàòü)
the rapid flow of French (
áûñòðûé
ïîòîê
ôðàíöóçñêîãî /
ÿçûêà/;
flow — òå÷åíèå
, ïîòîê
; õîä
, òå÷åíèå
).
“
Qu’est-ce qu’il y a
(â
÷åì
äåëî
)?” he began laboriously
(íà÷àë
îí
ñòàðàòåëüíî
; labour —
òðóä; laborious —
òðóäíûé;
òðóäîëþáèâûé;
óñåðäíûé)
. “Pourquoi
(ïî÷åìó
) — ?”
With a vigorous gesture
(ðåøèòåëüíûì
æåñòîì
; vigorous —
ñèëüíûé,
áîäðûé;
ðåøèòåëüíûé)
Poirot motioned him to the seat (
Ïóàðî
ïðèãëàñèë
åãî
çàíÿòü
ìåñòî;
to motion — ïîêàçàòü
æåñòîì
, çíàêîì
; to motion smb. to a seat — æåñòîì
ïðèãëàñèòü
êîãî
-ëèáî
ñåñòü
) in the corner
(â
óãëó
/êóïå
/). He took it
(= he took a seat; îí
ñåë
; to take (took, taken)
) and began once more (
è
ñíîâà
íà÷àë; to begin (began, begun)
).
“
Pourquoi (
ïî÷åìó)
— ?” Then checking himself (
çàòåì,
íåäîãîâîðèâ;
to check — îñòàíàâëèâàòü
, ñäåðæèâàòü
; to check oneself — îñòàíîâèòüñÿ
, óäåðæàòüñÿ
, ñäåðæàòüñÿ
) and relapsing into his own tongue
(/ïðîèçíåñ
/, ïåðåõîäÿ
íà
ñâîé
ðîäíîé
ÿçûê
; to relapse —
ñíîâà
âïàäàòü
â
êàêîå-
ëèáî
ñîñòîÿíèå;
áðàòüñÿ
çà
ñòàðîå,
âîçâðàùàòüñÿ
ê
÷åìó-
ëèáî)
: “What’s up on the train (
÷òî
ïðîèñõîäèò
â
ïîåçäå;
to be up — âñòàòü
, ïðîñíóòüñÿ
; ñëó÷àòüñÿ
; what's up? — ÷òî
ïðîèñõîäèò
?)? Has anything happened
(÷òî
-òî
ñëó÷èëîñü
)?”
quite [kwaIt]
laboriously [lq'bO:rIqslI]
vigorous ['vIg(q)rqs]
tongue [tAN]
MacQueen had stood looking from one to the other, not quite following the rapid
flow of French.
“
Qu’est-ce qu’il y a?” he began laboriously. “
Pourquoi — ?”
With a vigorous gesture Poirot motioned him to the seat in the corner. He took
it and began once more.
“
Pourquoi — ?” Then checking himself and relapsing into his own tongue: “What’s up on
the train? Has anything happened?”
He looked from one man to another
(îí
ïåðåâîäèë
âçãëÿä
ñ
îäíîãî
íà
äðóãîãî
).
Poirot
nodded
(Ïóàðî êèâíóë).
“
Exactly
(âîò èìåííî; exactly
— òî÷íî; ðàçã. äà, ñîâåðøåííî âåðíî /âûðàæàåò ñîãëàñèå ñî ñêàçàííûì/
).
Something
has
happened
(÷òî-òî ñëó÷èëîñü).
Prepare
yourself
for
a
shock
(ïðèãîòîâüòåñü ê ïîòðÿñåíèþ;
shock — óäàð, òîë÷îê; ïîòðÿñåíèå, óäàð; ìåä.
øîê).
Your
employer,
M.
Ratchett,
is
dead
(âàø õîçÿèí, ìèñòåð Ðýò÷åòò — ìåðòâ;
to
employ — ïðåäîñòàâëÿòü ðàáîòó, íàíèìàòü;
employer — íàíèìàòåëü; õîçÿèí
)!”
MacQueen
’s
mouth pursed
itself
into a
whistle
(Ìàêêóèí ïðèñâèñòíóë: «ðîò Ìàêêóèíà ïîäæàëñÿ â ñâèñòå»;
to purse
— ìîðùèòü, ñîáèðàòü â ñêëàäêó; t
o purse
one'
s mouth
— ïîäæàòü ãóáû)
. Except
that (åñëè íå ñ÷èòàòü òîãî;
except — èñêëþ÷àÿ; çà èñêëþ÷åíèåì; óñòîé÷èâîå ñî÷åòàíèå:
except that
— êðîìå òîãî, çà èñêëþ÷åíèåì òîãî)
his
eyes grew
a shade
brighter
(÷òî ãëàçà åãî ñëåãêà çàáëåñòåëè: «åãî ãëàçà ñòàëè ÷óòî÷êó ÿð÷å»;
to grow
(grew,
grown) — ðàñòè, óâåëè÷èâàòüñÿ; êàê ãëàãîë-ñâÿçêà â ñîñòàâíîì èìåííîì ñêàçóåìîì
— äåëàòüñÿ, ñòàíîâèòüñÿ; shade — òåíü, ïîëóìðàê; íåçíà÷èòåëüíîå êîëè÷åñòâî
/÷åãî-ëèáî/, ÷óòü-÷óòü, êàïåëüêó; bright
— ÿðêèé, áëåñòÿùèé)
, he
showed no
signs
of shock
or
distress (îí íå âûêàçàë /íèêàêèõ ïðèçíàêîâ/ íè ïîòðÿñåíèÿ, íè îãîð÷åíèÿ;
to show
— ïîêàçûâàòü; ïðîÿâëÿòü, îáíàðóæèâàòü;
distress — ãîðå, áåäà; ïðè÷èíà ñòðàäàíèé, îãîð÷åíèé
).
“
So
they
got
him
after
all
(çíà÷èò, îíè âñå æå äîáðàëèñü äî íåãî;
after
all — ïîñëå; â êîíöå êîíöîâ, âñå æå;
to
get — äîñòàâàòü; äîáðàòüñÿ äî êîãî-ëèáî, óáðàòü
êîãî-ëèáî),”
he
said.
prepare [prI'peq]
purse [pq:s]
whistle ['wIs(q)l]
He looked from one man to another.
Poirot nodded. “Exactly. Something has happened. Prepare yourself for a shock.
Your employer, M. Ratchett, is dead
!”
MacQueen’s mouth pursed itself into a whistle. Except that his eyes grew
a shade brighter, he showed no signs of shock or distress.
“So they got him after all,” he said.
“
What
exactly
do
you
mean
(÷òî èìåííî âû èìååò â âèäó)
by
that
phrase
, Mr
. MacQueen
(ãîâîðÿ ýòî: «ýòîé ôðàçîé/âûðàæåíèåì», ìèñòåð
Ìàêêóèí)?”
MacQueen
hesitated
(Ìàêêóèí êîëåáàëñÿ; to
hesitate
— ñîìíåâàòüñÿ; íå ðåøàòüñÿ
).
“
You
are
assuming
(âû ïîëàãàåòå; to
assume
— ïðèíèìàòü, áðàòü /íà ñåáÿ/; ïðåäïîëàãàòü, äîïóñêàòü
),”
said
Poirot, “
that
M.
Ratchett
was
murdered
(÷òî ìèñòåð Ðýò÷åòò áûë óáèò;
to
murder — óáèâàòü /æåñòîêî, çâåðñêè/, ñîâåðøàòü
/óìûøëåííîå, ïðåäíàìåðåííîå/ óáèéñòâî)
?”
“
Wasn’
t
he
(à ðàçâå íåò)?”
This
time
MacQueen
did
show
surprise
(íà ýòîò ðàç Ìàêêóèí óäèâèëñÿ: «ïðîÿâèë óäèâëåíèå»)
. “Why
, yes
(íó, äà)
,” he
said
slowly
(ñêàçàë îí ìåäëåííî)
. “That
’s
just
what
I
did
think
(ÿ èìåííî òàê è ïîäóìàë: «ýòî êàê ðàç òî, ÷òî ÿ ïîäóìàë»)
. Do
you
mean
(âû ÷òî, èìååòå â âèäó)
he
just
died
in
his
sleep
(÷òî îí ïðîñòî óìåð âî ñíå)
? Why
, the
old
man
was
as
tough
as
(áà, äà ñòàðèê áûë çäîðîâ êàê;
tough — æåñòêèé; êðåïêèé, êðåïêîãî òåëîñëîæåíèÿ;
âûíîñëèâûé) —
as
tough
(çäîðîâ êàê ) — ”
He
stopped
(îí çàïíóëñÿ; to
stop
— îñòàíàâëèâàòü; çàìîëêàòü, äåëàòü ïàóçó
),
at
a
loss
for
a
simile
(íå â ñîñòîÿíèè ïîäîáðàòü íóæíîå/ïîäõîäÿùåå ñðàâíåíèå;
loss — ïîòåðÿ, ëèøåíèå;
to
be
at
a
loss — ðàñòåðÿòüñÿ, ñìåøàòüñÿ
).
phrase
[freIz] surprise
[sq'praIz] tough
[tAf]
“What exactly do you mean by that phrase, Mr. MacQueen?”
MacQueen hesitated.
“You are assuming,” said Poirot, “that M. Ratchett was murdered?”
“Wasn’t he?” This time MacQueen did show surprise. “Why, yes,” he
said slowly. “That’s just what I did think. Do you mean he just died in his sleep? Why, the old man was as tough as — as tough — ”
He stopped, at a loss for a simile.
“
No,
no,”
said
Poirot. “
Your
assumption
was
quite
right
(âàøå ïðåäïîëîæåíèå áûëî ñîâåðøåííî âåðíûì;
assumption — ïðèíÿòèå íà ñåáÿ /îòâåòñòâåííîñòè
è ò.ï./; ïðåäïîëîæåíèå, äîïóùåíèå; to
assume
).
M.
Ratchett
was
murdered
(ìèñòåð Ðýò÷åòò áûë óáèò)
. Stabbed
(çàêîëîò/çàðåçàí;
stab — óäàð /íîæîì, êèíæàëîì/;
to
stab — íàíîñèòü óäàð; ðàíèòü /îñòðûì îðóæèåì/,
çàêîëîòü).
But
I
should
like
to
know
(íî ìíå áû õîòåëîñü çíàòü)
why
you
were
so
sure
(ïî÷åìó âû áûëè íàñòîëüêî óâåðåíû)
it
was
murder
(÷òî ýòî áûëî óáèéñòâî)
, and
not
just
— death
(à íå ïðîñòî ñìåðòü)
.”
MacQueen
hesitated
(Ìàêêóèí êîëåáàëñÿ). “
I
must
get
this
clear
(ÿ äîëæåí òî÷íî çíàòü;
to
get — äîñòàâàòü; ïîíèìàòü, ïîñòèãàòü;
clear — ÿñíî; ýìîö.-óñèë. ñîâñåì, ñîâåðøåííî
),”
he
said. “
Who
exactly
are
you
(êòî èìåííî âû òàêîé)?
And
where
do
you
come
in
(è êàêîå âû ê ýòîìó èìååòå îòíîøåíèå;
to
come
in — ïðèõîäèòü; èìåòü îòíîøåíèå /ê ÷åìó-ëèáî/
)?”
“I represent the Compagnie Internationale des Wagons Lits
(ÿ
ïðåäñòàâëÿþ
Ìåæäóíàðîäíóþ êîìïàíèþ ñïàëüíûõ âàãîíîâ;
to
represent — èçîáðàæàòü /â êàêîì-ëèáî àñïåêòå/;
áûòü ïðåäñòàâèòåëåì, ïðåäñòàâëÿòü)
.” Poirot
paused
(Ïóàðî âûäåðæàë ïàóçó)
, then
added
(çàòåì äîáàâèë)
, “I
am
a
detective
(ÿ äåòåêòèâ/ñûùèê)
. My name is Hercule Poirot
(ìåíÿ
çîâóò
Ýðêþëü
Ïóàðî
).”
assumption [q'sAmpS(q)n]
death [deT]
clear [klIq]
“No, no,” said Poirot. “Your assumption was quite right. M. Ratchett
was murdered. Stabbed. But I should like to know why you were so sure it was murder, and not just — death.”
MacQueen hesitated. “I must get this clear,” he said. “Who exactly are
you? And where do you come in?”
“I represent the Compagnie Internationale des Wagons Lits.” Poirot paused, then added, “I am a detective. My
name
is
Hercule
Poirot
.”
If
he
expected
an
effect
(åñëè îí ðàññ÷èòûâàë /ïðîèçâåñòè/ âïå÷àòëåíèå;
to
expect — îæèäàòü; ðàññ÷èòûâàòü, íàäåÿòüñÿ;
effect — ðåçóëüòàò, ñëåäñòâèå; ýôôåêò,
âïå÷àòëåíèå)
he
did
not
get
one
(òî îí åãî íå ïðîèçâåë: «îí íå ïîëó÷èë /æåëàåìîãî/ ýôôåêòà»)
. MacQueen
said
merely
(Ìàêêóèí ïðîñòî ñêàçàë)
, “Oh
! yes
?” and
waited
for
him
to
go
on
(è æäàë, ÷òî òîò ïðîäîëæèò /ãîâîðèòü/)
.
“
You
know
the
name
perhaps
(âîçìîæíî, âàì çíàêîìî: «âû çíàåòå» ýòî èìÿ)
?”
“Why
, it
does
seem
kind
of
familiar
(ïîæàëóé, îíî êàæåòñÿ íåìíîãî çíàêîìûì;
why — ìåæäîìåòèå: êàê! áà!; ïîæàëóé /âûðàæàåò
êîëåáàíèå/; familiar
— áëèçêèé, èíòèìíûé; çíàêîìûé, ïðèâû÷íûé
).
Only I always thought (
òîëüêî
ÿ
âñåãäà
äóìàë)
it was a woman’s dressmaker (
÷òî
ýòî
èìÿ
äàìñêîãî
ïîðòíîãî)
.”
Hercule Poirot looked at him with distaste
(Ýðêþëü
Ïóàðî
âçãëÿíóë
íà
íåãî
ñ
íåóäîâîëüñòâèåì
; distaste —
íåïðèÿçíü,
îòâðàùåíèå)
.
“It is incredible
(ýòî
íåâåðîÿòíî
/íåñëûõàííî
)!” he said.
“
What’
s
incredible
(÷òî íåâåðîÿòíî)?”
“
Nothing
(íè÷åãî).
Let
us
advance
with
the
matter
in
hand
(äàâàéòå çàéìåìñÿ îáñóæäàåìûì äåëîì;
to
advance — ïðîäâèãàòüñÿ, èäòè âïåðåä;
the
matter
in
hand — ïîâåñòêà äíÿ; âîïðîñ, êîòîðûé îáñóæäàåòñÿ,
òåêóùàÿ ïðîáëåìà)
. I
want
you
to
tell
me
, M
. MacQueen
(ÿ õî÷ó, ÷òîáû âû ðàññêàçàëè ìíå, ìèñòåð Ìàêêóèí)
, all
that
you
know
about
the
dead
man
(âñå, ÷òî âû çíàåòå îá óáèòîì;
dead
man — ïîêîéíèê
).
You
were
not
related
to
him
(âû íå áûëè åìó ðîäñòâåííèêîì;
to
relate — ðàññêàçûâàòü; ñîñòîÿòü â ðîäñòâå;
related — ñâÿçàííûé; ðîäñòâåííûé, ñâÿçàííûé
ðîäñòâîì)?”
“No. I am — was — his secretary
(ÿ
åãî
— áûë
åãî
— ñåêðåòàðåì
).”
merely ['mIqlI]
familiar [fq'mIlIq]
dress-maker ['dres"meIkq]
incredible [In'kredqb(q)l]
If he expected an effect he did not get one. MacQueen said merely, “Oh! yes?”
and waited for him to go on.
“You know the name perhaps?”
“Why, it does seem kind of familiar. Only I always thought it was a woman’s
dressmaker.”
Hercule Poirot looked at him with distaste. “It is incredible!” he said.
“What’s incredible?”
“Nothing. Let us advance with the matter in hand. I want you to tell me,
M. MacQueen, all that you know about the dead man. You were not related to him?”
“No. I am — was — his secretary.”
“
For
how
long
have
you
held
that
post
(êàê äîëãî âû çàíèìàåòå ýòó äîëæíîñòü;
to
hold (
held) — äåðæàòü;
post — ïîñò, äîëæíîñòü, ïîëîæåíèå
)?”
“
Just
over
a
year
(÷óòü áîëüøå ãîäà).”
“
Please
give
me
all
the
information
you
can
(ñîîáùèòå ìíå, ïîæàëóéñòà, âñå ñâåäåíèÿ, êîòîðûå âû ìîæåòå /ñîîáùèòü/;
information — èíôîðìàöèÿ, ñâåäåíèÿ, äàííûå
).”
“
Well,
I
met
Mr.
Ratchett
(íó, ÿ ïîçíàêîìèëñÿ ñ ìèñòåðîì Ðýò÷åòòîì;
to
meet (
met) — âñòðå÷àòü; çíàêîìèòüñÿ
)
just
over
a
year
ago
(íåìíîãèì áîëåå ãîäà íàçàä)
when
I
was
in
Persia
(êîãäà ÿ áûë â Ïåðñèè)
— ”
Poirot
interrupted
(Ïóàðî ïðåðâàë/ïåðåáèë åãî)
.
“What were you doing there
(÷òî
âû
òàì
äåëàëè
)?’
“I had come over from New York (
ÿ
ïðèåõàë
èç
Íüþ-
Éîðêà;
to come over — ïðèåõàòü
èçäàëåêà
) to look into an oil concession
(÷òîáû
ðàçîáðàòüñÿ
â
ðàáîòå
îäíîé
íåôòÿíîé
êîíöåññèè
; to look into a matter —
ðàçáèðàòüñÿ
â
äåëå,
ðàññìàòðèâàòü
ïðîáëåìó; oil —
ìàñëî /
ðàñòèòåëüíîå
èëè
ìèíåðàëüíîå/;
íåôòü)
. I
don’
t
suppose
(ÿ íå äóìàþ)
you
want
to
hear
all
about
that
(÷òî âû çàõîòèòå ñëóøàòü îá ýòîì â ïîäðîáíîñòÿõ: «âñå»)
. My
friends
and
I
had
been
let
in
rather
badly
over
it
(ìåíÿ è ìîèõ äðóçåé çäîðîâî íàãðåëè íà ýòîì äåëå
; to
let
in
— âïóñêàòü /â äîì/; îáìàíûâàòü, íàäóâàòü, ââîäèòü â óáûòêè
).
Mr.
Ratchett
was
in
the
same
hotel
(ìèñòåð Ðýò÷åòò ïðîæèâàë â òîì æå îòåëå /÷òî è ÿ/)
. He
had
just
had
a
row
with
his
secretary
(îí êàê ðàç ðàçðóãàëñÿ ñî ñâîèì ñåêðåòàðåì;
row — øóì, ãâàëò; øóìíàÿ ññîðà, ñïîð;
to
have
a
row
with
smb. — ïîñêàíäàëèòü/ïîðóãàòüñÿ ñ êåì-ëèáî
).
He
offered
me
the
job
(îí ïðåäëîæèë ìíå ýòó ðàáîòó)
and
I
took
it
(è ÿ ñîãëàñèëñÿ: «âçÿëñÿ çà íåå»;
to
take (
took,
taken)
). I
was
at
a
loose
end
(ÿ áûë íà ìåëè;
at
a
loose
end — áåç îïðåäåëåííîé ðàáîòû, áåç äåëà;
loose — ñâîáîäíûé; íåñâÿçàííûé
)
and
glad
to
find
a
well-
paid
job
(è áûë ðàä íàéòè õîðîøî îïëà÷èâàåìóþ ðàáîòó;
to
pay — ïëàòèòü;
ready — ãîòîâûé; èìåþùèéñÿ íàãîòîâå, ïîä ðóêîé,
íå çàñòàâëÿþùèé ñåáÿ æäàòü èëè èñêàòü)
ready
made
, as
it
were
(áåç ïðîáëåì: «óæå ãîòîâóþ»;
as
it
were — òàê ñêàçàòü, íåêîòîðûì îáðàçîì
).”
interrupted
["Intq'rAptId] concession
[kqn'seS(q)n] loose
[lu:s]
“For how long have you held that post?”
“Just over a year.”
“Please give me all the information you can.”
“Well, I met Mr. Ratchett just over a year ago when I was in Persia — ”
Poirot interrupted.
“What were you doing there?’
“I had come over from New York to look into an oil concession. I don’t
suppose you want to hear all about that. My friends and I had been let in rather badly over it. Mr. Ratchett was in the same hotel. He had just had a row with his secretary. He offered me the job and I took it. I was at a
loose end and glad to find a well-paid job ready made, as it were.”
“
And
since
then
(è ñ òåõ ïîð)?”
“
We’
ve
travelled
about
(ìû ïóòåøåñòâîâàëè; about
— çä. óêàçûâàåò íà äâèæåíèå â ðàçíûõ íàïðàâëåíèÿõ ïî êàêîé-ëèáî îãðàíè÷åííîé òåððèòîðèè
/ïî êîìíàòå, ãîðîäó, ñòðàíå è ò.ï./: òóäà è ñþäà, ïî)
. Mr. Ratchett wanted to see the world
(ìèñòåð
Ðýò÷åòò
õîòåë
ïîãëÿäåòü
ìèð
). He
was
hampered
by
knowing
no
languages
(åìó ìåøàëî òî, ÷òî îí íå çíàë /èíîñòðàííûå/ ÿçûêè;
to
hamper — ìåøàòü, ïðåïÿòñòâîâàòü; ñòåñíÿòü
äâèæåíèå).
I
acted
more
as
a
courier
(ÿ áîëüøå âûñòóïàë â ðîëè ãèäà-ïåðåâîä÷èêà;
to
act — äåéñòâîâàòü; /
as/ ðàáîòàòü, ñëóæèòü; äåéñòâîâàòü â êà÷åñòâå;
courier — êóðüåð; àãåíò, îáñëóæèâàþùèé
ïóòåøåñòâåííèêîâ; to
courier
— îáñëóæèâàòü, ñîïðîâîæäàòü òóðèñòîâ èëè ïóòåøåñòâåííèêîâ
)
than
as
a
secretary
(÷åì ñåêðåòàðÿ).
It
was
a
pleasant
life
(æèçíü áûëà ïðèÿòíîé).”
“
Now
tell
me
as
much
as
you
can
(à òåïåðü ðàññêàæèòå ìíå âñå: «ñòîëüêî, ñêîëüêî», ÷òî ñìîæåòå)
about
your
employer
(î âàøåì õîçÿèíå)
.”
The young man shrugged his shoulders
(ìîëîäîé
÷åëîâåê
ïîæàë
ïëå÷àìè
). A perplexed expression passed over his face
(íà
åãî
ëèöå
ïðîìåëüêíóëî
íåäîóìåâàþùåå
âûðàæåíèå
; perplexed —
îøåëîìëåííûé,
ñáèòûé
ñ
òîëêó; to pass /over/ —
èäòè,
ïðîõîäèòü;
ïðîìåëüêíóòü,
ïîÿâèòüñÿ)
.
“
That’
s
not
so
easy
(ýòî íå òàê-òî ïðîñòî).”
“What was his full name
(êàêîå
åãî
ïîëíîå
èìÿ
)?”
“Samuel Edward Ratchett
(Ñýìþýë
Ýäóàðä
Ðýò÷åòò
).”
hampered ['hxmpqd]
language ['lxNgwIdZ]
courier ['kVrIq]
employer [Im'plOIq]
“And since then?”
“We’ve travelled about. Mr. Ratchett wanted to see the world. He was hampered
by knowing no languages. I acted more as a courier than as a secretary. It was a pleasant life.”
“Now tell me as much as you can about your employer.”
The young man shrugged his shoulders. A perplexed expression passed over his
face.
“That’s not so easy.”
“What was his full name?”
“Samuel Edward Ratchett.”
“He was an American citizen
(îí
áûë
àìåðèêàíñêèì
ãðàæäàíèíîì
)?”
“
Yes.”
“
What
part
of
America
did
he
come
from
(èç êàêîãî øòàòà: «èç êàêîé ÷àñòè» Àìåðèêè îí áûë ðîäîì;
to
come /
from/ — ïðèõîäèòü; ïðîèñõîäèòü, èìåòü ïðîèñõîæäåíèå
)?”
“
I
don’
t
know
(ÿ íå çíàþ).”
“
Well,
tell
me
what
you
do
know
(÷òî æ, òîãäà ðàññêàæèòå ìíå òî, ÷òî âû çíàåòå)
.”
“
The
actual
truth
is,
Mr.
Poirot
(â äåéñòâèòåëüíîñòè/ïî ïðàâäå ãîâîðÿ, ìèñòåð Ïóàðî)
, that
I
know
nothing
at
all
(ÿ âîîáùå íè÷åãî /î íåì/ íå çíàþ)
! Mr
. Ratchett
never
spoke
of
himself
(ìèñòåð Ðýò÷åòò íèêîãäà íå ãîâîðèë íè î ñåáå)
or
of
his
life
in
America
(íè î ñâîåé æèçíè â Àìåðèêå)
.”
“
Why
do
you
think
that
was
(ïî÷åìó, êàê âû äóìàåòå: «ïî÷åìó, âû äóìàåòå, ýòî áûëî òàê»)
?”
“
I
don’
t
know.
I
imagined
(íå çíàþ, ìíå êàçàëîñü;
to
imagine — âîîáðàæàòü, ïðåäñòàâëÿòü ñåáå; ïðåäïîëàãàòü,
ïîëàãàòü)
that
he
might
be
ashamed
of
his
beginnings
(÷òî îí ìîã ñòûäèòüñÿ ñâîåãî ïðîèñõîæäåíèÿ;
shame — ñòûä;
ashamed — ïðèñòûæåííûé;
to
be
ashamed
of
smth. — ñòûäèòüñÿ ÷åãî-ëèáî;
beginning — íà÷àëî; èñõîäíàÿ òî÷êà, èñòîêè, ïðîèñõîæäåíèå
).
Some
men
are
(íåêîòîðûå ëþäè ñòåñíÿþòñÿ: «åñòü /òàêèå/»)
.”
“
Does
that
strike
you
(ýòî êàæåòñÿ âàì; to
strike
— óäàðÿòü, áèòü; ïîðàæàòü; ïðèâëåêàòü âíèìàíèå, êàçàòüñÿ
)
as
a
satisfactory
solution
(óäîâëåòâîðèòåëüíûì/äîñòàòî÷íûì îáúÿñíåíèåì;
to
solve — ðåøàòü; îáúÿñíÿòü;
solution — ðåøåíèå, ðàçðåøåíèå /ïðîáëåìû è ò.ï./,
îáúÿñíåíèå)?”
“
Frankly,
it
doesn’
t
(îòêðîâåííî ãîâîðÿ, íåò;
frank — îòêðîâåííûé, èñêðåííèé;
frankly — ïðÿìî, îòêðûòî, îòêðîâåííî
).”
citizen ['sItIz(q)n]
truth [tru:T]
ashamed [q'SeImd]
satisfactory ["sxtIs'fxkt(q)rI]
“He was an American citizen?”
“Yes.”
“What part of America did he come from?”
“I don’t know.”
“Well, tell me what you do know.”
“The actual truth is, Mr. Poirot, that I know nothing at all! Mr. Ratchett
never spoke of himself or of his life in America.”
“Why do you think that was?”
“I don’t know. I imagined that he might be ashamed of his beginnings. Some
men are.”
“Does that strike you as a satisfactory solution?”
“
Frankly,
it
doesn’
t.”
“
Has
he
any
relatives
(ó íåãî åñòü ðîäñòâåííèêè;
relative — ðîäñòâåííèê, ðîäñòâåííèöà
)?”
“
He
never
mentioned
any
(îí íèêîãäà íå óïîìèíàë íè îá îäíîì
; any
— â îòðèö.ïðåäëîæåíèÿõ: íèêàêîé, íè îäèí
).”
Poirot
pressed
the
point
(Ïóàðî íàñòàèâàë íà ñâîåì;
to
press — æàòü, íàäàâëèâàòü; íàñòàèâàòü;
point — òî÷êà; ìîìåíò; âîïðîñ; ñóòü; òî÷êà çðåíèÿ
).
“
You
must
have
formed
some
theory,
Mr.
MacQueen
(/íî/ ó âàñ äîëæíà áûëà ñëîæèòüñÿ õîòü êàêàÿ-íèáóäü òåîðèÿ /ïî ýòîìó ïîâîäó/, ìèñòåð Ìàêêóèí;
to
form — ïðèäàâàòü ôîðìó; ñîçäàâàòü, ñîñòàâëÿòü,
ôîðìóëèðîâàòü; theory
— òåîðèÿ; ðàçã. ïðåäïîëîæåíèå, äîãàäêà
).”
“
Well,
yes,
I
did
(íó, äà: «ÿ /ñëîæèë òåîðèþ/»)
. For one thing
(ïðåæäå
âñåãî
), I don’t believe
(ÿ
íå
âåðþ
) Ratchett
was
his
real
name
(÷òî ôàìèëèÿ Ðýò÷åòò áûëà åãî íàñòîÿùåé ôàìèëèåé;
real — äåéñòâèòåëüíûé; íàñòîÿùèé,
ïîäëèííûé).
I
think
he
left
America
(ÿ äóìàþ, ÷òî îí óåõàë èç Àìåðèêè)
definitely
in
order
(îïðåäåëåííî ñ öåëüþ;
definite — îïðåäåëåííûé, ÿñíûé, òî÷íûé;
order — ïîðÿäîê;
in
order
to — äëÿ òîãî, ÷òîáû
)
to
escape
someone
or
something
(ñáåæàòü îò êîãî-òî èëè ÷åãî-òî)
. I
think
he
was
successful
(ÿ äóìàþ, ÷òî åìó ýòî óäàâàëîñü: «îí áûë óñïåøíûì»;
success — óñïåõ, óäà÷à,
successful — óñïåøíûé, èìåþùèé óñïåõ
) —
until
a
few
weeks
ago
(äî íåäàâíåãî âðåìåíè: «äî íåñêîëüêèõ íåäåëü íàçàä»)
.”
“And then
(à
ïîòîì
)?”
relative ['relqtIv]
definitely ['defInItlI]
escape [I'skeIp]
successful [sqk'sesf(q)l]
“Has he any relatives?”
“He never mentioned any.”
Poirot pressed the point.
“You must have formed
some theory, Mr. MacQueen.”
“Well, yes, I did. For one thing, I don’t believe Ratchett was his real
name. I think he left America definitely in order to escape someone or something. I think he was successful — until a few weeks ago.”
“And then?”
“He began to get letters
(îí
íà÷àë
ïîëó÷àòü
ïèñüìà
) — threatening letters
(óãðîæàþùèå
ïèñüìà
; to threaten —
óãðîæàòü,
ãðîçèòü; letter —
áóêâà;
ïèñüìî,
ïîñëàíèå)
.”
“Did you see them
(âû
èõ
âèäåëè
)?”
“
Yes.
It
was
my
business
(äà, ýòî âõîäèëî â ìîè îáÿçàííîñòè;
business — äåëî; îáÿçàííîñòü, äîëã
)
to
attend
to
his
correspondence
(çàíèìàòüñÿ åãî êîððåñïîíäåíöèåé/ïåðåïèñêîé;
to
attend — ïîñåùàòü; çàáîòèòüñÿ /î ÷åì-ëèáî/,
ñëåäèòü /çà ÷åì-ëèáî/)
. The
first
letter
came
a
fortnight
ago
(ïåðâîå ïèñüìî ïðèøëî íåäåëè äâå íàçàä;
fortnight — äâå íåäåëè, ÷åòûðíàäöàòü äíåé
).”
“
Were
these
letters
destroyed
(ýòè ïèñüìà áûëè óíè÷òîæåíû;
to
destroy — ðàçðóøàòü; óíè÷òîæàòü
)?”
“No
, I
think
I
’ve
got
a
couple
still
(íåò, ÿ äóìàþ, ÷òî ó ìåíÿ âñå åùå åñòü ïàðî÷êà;
couple — ïàðà, ïàðíûå ïðåäìåòû, äâà
)
in
my
files
(ó ìåíÿ â áóìàãàõ; file
— ñêîðîñøèâàòåëü /äëÿ áóìàã/; ïîäøèòûå äîêóìåíòû, áóìàãè
) —
one
I
know
Ratchett
tore
up
(îäíî /ïèñüìî/, ÿ çíàþ, Ðýò÷åòò ðàçîðâàë;
to
tear (
tore,
torn)
up — ðàçðûâàòü, ïîðâàòü
)
in
a
rage
(â ïðèñòóïå ÿðîñòè).
Shall I get them for you (
ìíå
ïðèíåñòè
èõ
âàì)
?”
“If you would be so good
(áóäüòå
òàê
ëþáåçíû
; good —
õîðîøèé;
ìèëûé,
ëþáåçíûé)
.”
threatening ['TretnIN]
correspondence ["kOrI'spOnd(q)ns]
fortnight ['fO:tnaIt]
destroy [dIs'trOI]
“He began to get letters — threatening letters.”
“Did you see them?”
“Yes. It was my business to attend to his correspondence. The first letter
came a fortnight ago.”
“Were these letters destroyed?”
“No, I think I’ve got a couple still in my files — one I know Ratchett
tore up in a rage. Shall I get them for you?”
“If you would be so good.”
MacQueen left the compartment
(Ìàêêóèí
âûøåë
èç
êóïå
). He returned a few minutes later
(îí
âåðíóëñÿ
íåñêîëüêî
ìèíóò
ñïóñòÿ
) and laid down two sheets of rather dirty notepaper before Poirot
(è
ïîëîæèë
/íà
ñòîë
/ äâà
ëèñòà
äîâîëüíî
ãðÿçíîé
áóìàãè
/äëÿ
çàïèñåé
/ ïåðåä
Ïóàðî
; to lay (laid) down —
êëàñòü,
ïîëîæèòü notepaper —
ïî÷òîâàÿ
áóìàãà;
áóìàãà
äëÿ
çàïèñåé)
.
The
first
letter
ran
as
follows
(ïåðâîå ïèñüìî ãëàñèëî ñëåäóþùåå;
to
run (
ran,
run) — áåæàòü; ãëàñèòü;
to
follow — ñëåäîâàòü, èäòè /çà êåì-ëèáî, ÷åì-ëèáî/;
as
follows — êàê ñëåäóåò íèæå; ñëåäóþùèì îáðàçîì
):
Thought
you’
d
double-
cross
us
(äóìàë íàäóòü íàñ; double
-cross
— ðàçã. îáìàí, õèòðîñòü;
to
double-
cross — ðàçã. îáìàíûâàòü, íàäóâàòü)
and
get
away
with
it
(è /òåáå/ ýòî ñîéäåò ñ ðóê;
to
get
away — óäðàòü, óñêîëüçíóòü; /
with/ ðàçã. ñäåëàòü ÷òî-ëèáî íåçàìåòíî, ïðîâåðíóòü
êàêîå-ëèáî äåëüöå), did
you
(íå òàê ëè)
? Not
on
your
life
(íè â êîåì ñëó÷àå;
life — æèçíü)
. We
’re
out
to
GET
you
, Ratchett
(ìû ñîáèðàåìñÿ äîñòàòü òåáÿ, Ðýò÷åòò;
to
be
out
to
do
smth. — ñîáèðàòüñÿ ñäåëàòü ÷òî-ëèáî)
, and
we
WILL
get
you
(è ìû äîñòàíåì òåáÿ)
!
There
was
no
signature
(ïîäïèñè íå áûëî; to
sign
— ïîäïèñûâàòü, signature
— /ñîáñòâåííîðó÷íàÿ/ ïîäïèñü
).
note-paper ['nqVt"peIpq]
double-cross
["dAbl'krOs] signature
['sIgnItSq]
MacQueen left the compartment. He returned a few minutes later and laid down
two sheets of rather dirty notepaper before Poirot.
The first letter ran as follows:
Thought you’d double-cross us and get away with it, did you? Not on your
life. We’re out to GET you, Ratchett, and we WILL get you!
There was no signature.
With no
ñomment beyond raised eyebrows
(ïîäíÿâ
áðîâè
/â
èçóìëåíèè
/, íî
íè÷åãî
íå
ñêàçàâ
: «áåç
êàêèõ
-ëèáî
êîììåíòàðèåâ
êðîìå
ïîäíÿòûõ
/â
èçóìëåíèè
/ áðîâåé
»; to raise —
ïîäíèìàòü; to raise one's eyebrows —
ïîäíÿòü
áðîâè /
â
çíàê
èçóìëåíèÿ/
), Poirot picked up the second letter
(Ïóàðî
âçÿë
âòîðîå
ïèñüìî
; to pick up —
ïîäíèìàòü,
ïîäáèðàòü)
.
We’re going to take you for a ride, Ratchett
(ìû
òåáÿ
ïðèøüåì
, Ðýò÷åòò
; ride — ïðîãóëêà
/íà
âåëîñèïåäå
, àâòîìîáèëå
, âåðõîì
è
ò
.ï
./, åçäà
; to take smb. for a ride — âçÿòü
êîãî
-ëèáî
ñ
ñîáîé
íà
ïðîãóëêó
; ïðèêîí÷èòü
/óêîêîøèòü
/ êîãî
-ëèáî
). Some time soon
(î÷åíü
ñêîðî
). We’re going to GET you — see
(ìû
äîñòàíåì
òåáÿ
, ïîíÿë
)?
Poirot laid the letter down
(Ïóàðî
ïîëîæèë
ïèñüìî
/íà
ñòîë
/; to lay (laid)
).
“The style is monotonous
(ñëîã
îäíîîáðàçíûé
/ìîíîòîííûé
; style —
ñòèëü,
ñëîã,
ñïîñîá
âûðàæåíèÿ)
!” he said. “More so than the handwriting (
áîëåå
îäíîîáðàçíûé,
÷åì
ïî÷åðê)
.”
MacQueen stared at him
(Ìàêêóèí
óñòàâèëñÿ
íà
íåãî
).
raise
[reIz] monotonous
[mq'nO
t(q)nqs] handwriting
['hxnd"raItIN]
With no
ñomment beyond raised eyebrows, Poirot picked up the second letter.
We’re going to take you for a ride, Ratchett. Some time soon. We’re
going to GET you — see?
Poirot laid the letter down.
“The style is monotonous!” he said. “More so than the handwriting.”
MacQueen stared at him.
“You would not observe (
âû
âðÿä
ëè
ýòî
çàìåòèëè;
would — çä
. âûðàæàåò
ïðåäïîëîæåíèå
, ñîìíåíèå
; to observe — íàáëþäàòü
, ñëåäèòü
; çàìå÷àòü
, îáðàùàòü
âíèìàíèå
),” said Poirot pleasantly
(ëþáåçíî
ñêàçàë
Ïóàðî
). “It requires the eye of one
(çäåñü
òðåáóåòñÿ
/îïûòíûé
/ ãëàç
÷åëîâåêà
) used to such things
(ïðèâûêøåãî
ê
òàêèì
âåùàì
; used —
èñïîëüçîâàííûé; /to/
ïðèâûêøèé)
. This letter was not written by one person, M. MacQueen
(ýòî
ïèñüìî
áûëî
íàïèñàíî
íå
îäíèì
÷åëîâåêîì
, ìñüå
Ìàêêóèí
; to write (wrote, written) —
ïèñàòü, written —
ïèñüìåííûé;
íàïèñàííûé)
. Two or more persons wrote it (
äâà
÷åëîâåêà,
èëè
áîëüøå
íàïèñàëè
åãî)
— each writing one letter of a word at a time (
êàæäûé
ïèñàë
ïî
áóêâå
â
ñëîâå
ïî
î÷åðåäè)
. Also,
the
letters
are
printed
(ê òîìó æå, áóêâû ïå÷àòíûå;
to
print — ïå÷àòàòü; ïèñàòü ïå÷àòíûìè áóêâàìè
).
That
makes
the
task
(ýòî äåëàåò çàäà÷ó)
of
identifying
the
handwriting
(îïðåäåëåíèÿ ïî÷åðêà = óñòàíîâëåíèÿ ëè÷íîñòè ïèñàâøåãî;
to
identify — îòîæäåñòâëÿòü; îïîçíàâàòü, óñòàíàâëèâàòü
ëè÷íîñòü)
much
more
difficult
(ãîðàçäî áîëåå òðóäíîé)
.” He
paused
, then
said
(îí çàìîë÷àë, çàòåì ñêàçàë;
to
pause — äåëàòü ïàóçó; îñòàíàâëèâàòüñÿ
): “
Did
you
know
(âû çíàëè î òîì)
that
M.
Ratchett
had
applied
for
help
to
me
(÷òî ìñüå Ðýò÷åòò îáðàùàëñÿ êî ìíå çà ïîìîùüþ;
to
apply — îáðàùàòüñÿ ñ ïðîñüáîé, ïðîñèòü
)?”
“To you
(ê
âàì
)?”
observe
[qb'zq:v]
require [rI'kwaIq]
identify [aI'dentIfaI]
apply
[q'plaI] applied
[q'plaId]
“You would not observe,” said Poirot pleasantly. “It requires the eye
of one used to such things. This letter was not written by one person, M. MacQueen. Two or more persons wrote it — each writing one letter of a word at a time. Also, the letters are printed. That makes the task of identifying
the handwriting much more difficult.” He paused, then said: “Did you know that M. Ratchett had applied for help to me?”
“To you?”
MacQueen’s astonished tone
(óäèâëåííûé
òîí
Ìàêêóèíà
; to astonish —
óäèâëÿòü,
èçóìëÿòü)
told Poirot quite certainly (
ñîâåðøåííî
îïðåäåëåííî
ñêàçàë
Ïóàðî)
that the young man had not known of it (
÷òî
ìîëîäîé
÷åëîâåê
íè÷åãî
îá
ýòîì
íå
çíàë)
.
The detective nodded (
äåòåêòèâ
êèâíóë)
. “
Yes.
He
was
alarmed
(äà, îí áûë âñòðåâîæåí;
to
alarm — ïîäíÿòü òðåâîãó; âñòðåâîæèòü, âçâîëíîâàòü
).
Tell
me
(ñêàæèòå /ìíå/),
how
did
he
act
(êàê îí ñåáÿ âåë; to
act
— äåéñòâîâàòü, ïîñòóïàòü; âåñòè ñåáÿ
)
when
he
received
the
first
letter
(êîãäà îí ïîëó÷èë ïåðâîå ïèñüìî)
?”
MacQueen hesitated
(Ìàêêóèí
êîëåáàëñÿ
).
astonish
[q'stO
nIS] alarmed
[q'lQ:md] receive
[rI'si:v]
MacQueen’s astonished tone told Poirot quite certainly that the young man
had not known of it.
The detective nodded. “Yes. He was alarmed. Tell me, how did he act when
he received the first letter?”
MacQueen hesitated.
“It’s difficult to say
(òðóäíî
ñêàçàòü). He — he — passed it off with a laugh
(îí, /
íó, â
îáùåì/
îí ëèøü
ïîñìåÿëñÿ
; to pass off —
èñ÷åçàòü; îñòàâëÿòü
áåç
âíèìàíèÿ, íå
çàìå÷àòü; laugh —
ñìåõ) in that quiet way of his
(â
ñâîåé ñïîêîéíîé
ìàíåðå;
quiet — òèõèé
, ñïîêîéíûé
; way — ïóòü,
äîðîãà; ìàíåðà
ïîâåäåíèÿ
). But somehow (
íî êàêèì
-òî
îáðàçîì) — ” he gave a slight shiver
(îí
ñëåãêà âçäðîãíóë
; shiver — äðîæü
, òðåïåò)
— “I felt (ÿ
ïî÷óâñòâîâàë
; to feel (felt) —
òðîãàòü, ùóïàòü
; ÷óâñòâîâàòü
) that there was a good deal going on
(÷òî
ìíîãî ÷åãî
ïðîèñõîäèëî
; deal — íåêîòîðîå
êîëè÷åñòâî
; áîëüøîå
êîëè÷åñòâî,
ìàññà, êó÷à
; to go on — èäòè
äàëüøå;
ïðîèñõîäèòü,
ñëó÷àòüñÿ)
underneath the quietness (ïîä
ýòèì
ñïîêîéñòâèåì;
quietness — òèøèíà
; ïîêîé)
.”
laugh
[lQ:f] slight
[slaIt] shiver
['SIvq] underneath
["Andq'ni:T] quietness
['kwaIqtnIs]
“It’s difficult to say. He — he — passed it off with a laugh in that
quiet way of his. But somehow — ” he gave a slight shiver — “I felt that there was a good deal going on underneath the quietness.”
Poirot nodded
(Ïóàðî
êèâíóë
). Then he asked an unexpected question
(çàòåì
îí
çàäàë
íåîæèäàííûé
âîïðîñ
; to expect —
îæèäàòü,
æäàòü)
.
“Mr. MacQueen, will you tell me (
ìèñòåð
Ìàêêóèí,
ñêàæèòå
ìíå)
, quite honestly (
òîëüêî: «
âïîëíå»
÷åñòíî;
honest — ÷åñòíûé
; ïðàâäèâûé
), exactly how you regarded your employer
(êàê
èìåííî
âû
îòíîñèëèñü
ê
ñâîåìó
õîçÿèíó
; to regard —
ñ÷èòàòü,
ðàññìàòðèâàòü)
? Did
you
like
him
(îí âàì íðàâèëñÿ; to
like
— ëþáèòü /÷òî-ëèáî/; õîðîøî èëè îäîáðèòåëüíî îòíîñèòüñÿ ê êîìó-ëèáî, ÷åìó-ëèáî
)?”
Hector
MacQueen
took
a
moment
or
two
(Ãåêòîð Ìàêêóèí ïîìåäëèë ïàðó ìãíîâåíèé;
moment — ìîìåíò, ìèã, ìãíîâåíèå
)
before
replying
(ïåðåä òåì êàê îòâåòèòü)
.
“
No,”
he
said
at
last
(íåò, — ñêàçàë îí íàêîíåö)
. “I
did
not
(îí ìíå íå íðàâèëñÿ)
.”
unexpected
["AnIk'spektId] honestly
['O
nIstlI] regard
[rI'gQ:d]
Poirot nodded. Then he asked an unexpected question.
“Mr. MacQueen, will you tell me, quite honestly, exactly how you regarded
your employer? Did you like him?”
Hector MacQueen took a moment or two before replying.
“No,” he said at last. “I did not.”
“Why
(ïî÷åìó
)?”
“
I
can’
t
exactly
say
(íå ìîãó òî÷íî ñêàçàòü)
. He
was
always
quite
pleasant
in
his
manner
(îí âñåãäà äåðæàëñÿ âïîëíå ëþáåçíî;
manner — ìåòîä, ñïîñîá; ìàíåðà äåðæàòüñÿ, ïîâåäåíèå
).”
He
paused,
then
said
(îí çàìîë÷àë, çàòåì ñêàçàë)
: “I
’ll
tell
you
the
truth
, Mr
. Poirot
(ÿ ñêàæó âàì ïðàâäó, ìñüå Ïóàðî)
. I
disliked
and
distrusted
him
(îí ìíå íå íðàâèëñÿ, è ÿ íå äîâåðÿë åìó;
to
dislike — èñïûòûâàòü íåïðèÿçíü;
to
distrust — íå äîâåðÿòü;
to
trust — äîâåðÿòü
).
He
was,
I
am
sure
(îí áûë, ÿ â ýòîì óâåðåí)
, a
cruel
and
dangerous
man
(æåñòîêèì è îïàñíûì ÷åëîâåêîì)
. I
must
admit
, though
(õîòÿ, ÿ äîëæåí ïðèçíàòü)
, that
I
have
no
reasons
(÷òî ó ìåíÿ íåò íèêàêèõ îñíîâàíèé)
to
advance
for
my
opinion
(÷òîáû âûäâèíóòü èõ =
êîòîðûå ìîæíî áûëî áû âûäâèíóòü
â ïîäòâåðæäåíèå ìîåãî ìíåíèÿ)
.”
why
[waI] distrust
[dIs'trAst] cruel
['kru:ql] dangerous
['deIndZqrqs] though
[DqV]
“Why?”
“I can’t exactly say. He was always quite pleasant in his manner.” He
paused, then said: “I’ll tell you the truth, Mr. Poirot. I disliked and distrusted him. He was, I am sure, a cruel and dangerous man. I must admit, though, that I have no reasons to advance for my opinion.”
“Thank you, Mr. MacQueen. One further question
(åùå
îäèí
âîïðîñ
; further —
áîëåå
îòäàëåííûé;
äîïîëíèòåëüíûé,
äîáàâî÷íûé)
: when did you last see Mr. Ratchett alive (
êîãäà
âû
â
ïîñëåäíèé
ðàç
âèäåëè
ìèñòåðà
Ðýò÷åòòîì
æèâûì)
?”
“Last evening about
(â÷åðà
âå÷åðîì
, ãäå
-òî
îêîëî
; last —
ïîñëåäíèé;
ïðîøëûé)
— ” he thought for a minute (
îí
çàäóìàëñÿ
íà
ìãíîâåíèå;
minute — ìèíóòà
; êîðîòêèé
ïðîìåæóòîê
âðåìåíè
, ìîìåíò
) — “ten o’clock
(äåñÿòè
÷àñîâ
), I should say
(ÿ
áû
ñêàçàë
). I went into his compartment
(ÿ
çàøåë
ê
íåìó
â
êóïå
) to take down some memoranda from him
(÷òîáû
ñäåëàòü
äëÿ
íåãî
íåñêîëüêî
çàìåòîê
; to take down —
çàïèñûâàòü; memorandum (pl. memoranda) —
ìåìîðàíäóì,
ïàìÿòíàÿ
çàïèñêà,
çàìåòêà)
.”
“
On
what
subject
(íà êàêóþ òåìó; subject
— ïðåäìåò, òåìà /ðàçãîâîðà è ò.ï./
)?”
alive [q'laIv]
thought [TO:t]
memoranda ["memq'rxndq]
subject ['sAbdZIkt]
“Thank you, Mr. MacQueen. One further question: when did you last see Mr.
Ratchett alive?”
“Last evening about — ” he thought for a minute — “ten o’clock,
I should say. I went into his compartment to take down some memoranda from him.”
“On what subject?”
“Some tiles and antique pottery (/
ïî
ïîâîäó/
íåêîòîðûõ
èçðàçöîâ
è
ñòàðèííîé
êåðàìèêè;
tile — ïëèòêà
, ÷åðåïèöà
, èçðàçåö
; pottery — ãîí÷àðíàÿ
ìàñòåðñêàÿ
; êåðàìèêà
, ãîí÷àðíûå
èçäåëèÿ
) that he bought in Persia
(êîòîðûå
îí
êóïèë
â
Ïåðñèè
; to buy (bought)
). What
had
been
delivered
(òî ÷òî äîñòàâèëè;
to
deliver — ïåðåäàâàòü; ðàçíîñèòü, äîñòàâëÿòü
)
was
not
what
he
had
purchased
(áûëî íå òåì, ÷òî îí ïîêóïàë)
. There
has
been
a
long
, vexatious
correspondence
on
the
subject
(íà ýòó òåìó âåëàñü ïðîäîëæèòåëüíàÿ íåïðèÿòíàÿ
ïåðåïèñêà; long — äëèííûé; äîëãèé,
äëèòåëüíûé; to
vex — äîñàæäàòü, ðàçäðàæàòü; vexation — äîñàäà,
ðàçäðàæåíèå; íåïðèÿòíîñòü)
.”
“
And
that
was
the
last
time
(è ýòî áûë ïîñëåäíèé ðàç)
Mr
. Ratchett
was
seen
alive
(êîãäà ìèñòåðà Ðýò÷åòòà âèäåëè æèâûì)
?”
“
Yes,
I
suppose
so
(äà, ïîëàãàþ ÷òî òàê).”
“
Do
you
know
(çíàåòå ëè âû)
when
Mr.
Ratchett
received
the
last
threatening
letter
(êîãäà ìèñòåð Ðýò÷åòò ïîëó÷èë ïîñëåäíåå óãðîæàþùåå ïèñüìî)
?”
“On the morning of the day
(óòðîì
òîãî
äíÿ
) we left Constantinople
(êîãäà
ìû
âûåõàëè
èç
Êîíñòàíòèíîïîëÿ
).”
antique
[xn'ti:k] bought
[bO:t] purchase
['pq:tSIs] vexatious
[vek'seISqs]
“Some tiles and antique pottery that he bought in Persia. What had been delivered
was not what he had purchased. There has been a long, vexatious correspondence on the subject.”
“And that was the last time Mr. Ratchett was seen alive?”
“Yes, I suppose so.”
“Do you know when Mr. Ratchett received the last threatening letter?”
“On the morning of the day we left Constantinople.”
“There is one more question (
åñòü
åùå
îäèí
âîïðîñ)
I must ask you, Mr. MacQueen (
êîòîðûé
ÿ
äîëæåí
çàäàòü
âàì,
ìèñòåð
Ìàêêóèí)
. Were
you
on
good
terms
(âû áûëè â õîðîøèõ îòíîøåíèÿõ;
term — ïåðèîä, ñðîê;
terms — îòíîøåíèÿ
)
with
your
employer
(ñ âàøèì ðàáîòîäàòåëåì/õîçÿèíîì)
?”
The
young
man’
s
eyes
twinkled
suddenly
(íåîæèäàííî â ãëàçàõ ìîëîäîãî ÷åëîâåêà áëåñíóëè îãîíüêè;
twinkle — ìåðöàíèå; îãîíåê /â ãëàçàõ/;
to
twinkle — ìåðöàòü; ìîðãàòü, ìèãàòü
).
“
This
is
where
I’
m
supposed
to
go
all
goosefleshy
down
the
back
(çäåñü, ÿ äóìàþ, ìíå ïîëàãàåòñÿ ïîêðûòüñÿ ãóñèíîé êîæåé = î÷åâèäíî, çäåñü ó ìåíÿ äîëæíû
ïîéòè ìóðàøêè ïî ñïèíå; to
suppose
— ïîëàãàòü, äóìàòü; to
be
supposed
to
do
smth
. — èìåòü îïðåäåëåííûå îáÿçàííîñòè, çàáîòû è ò.ï.;
goose — ãóñü, ãóñûíÿ;
flesh — òåëî, ìÿñî;
gooseflesh — ãóñèíàÿ êîæà /îò õîëîäà, ñòðàõà
è ò.ï./).
In
the
words
of
a
bestseller
(êàê ïèøóò â áåñòñåëëåðàõ: «ñëîâàìè áåñòñåëëåðà»;
bestseller — õîäêàÿ, ñåíñàöèîííàÿ êíèãà: «ëó÷øå
âñåãî ïðîäàþùàÿñÿ»; to
sell
— ïðîäàâàòü)
, ‘You
’ve
nothing
on
me
(ó âàñ íè÷åãî íà ìåíÿ íåò;
to
have
nothing
on
smb. — íå èìåòü íè÷åãî ïðîòèâ êîãî-ëèáî; íå
èìåòü íà êîãî-ëèáî êîìïðîìåòèðóþùåãî ìàòåðèàëà)
.’ Ratchett
and
I
were
on
perfectly
good
terms
(Ðýò÷åòò è ÿ áûëè â ñîâåðøåííî õîðîøèõ =
ïðåêðàñíûõ îòíîøåíèÿõ)
.”
“
Perhaps,
Mr.
MacQueen,
you
will
give
me
your
full
name
(áóäüòå äîáðû, ìèñòåð Ìàêêóèí, äàéòå =
íàçîâèòå ìíå âàøå ïîëíîå èìÿ;
perhaps — ìîæåò áûòü; ïîæàëóéñòà, áóäüòå äîáðû
/â ïðîñüáàõ/)
and
your
address
in
America
(è âàø àäðåñ â Àìåðèêå)
.”
twinkle
['twINk(q)l] goose
-fleshly
['gu:sfleSI] best-seller
["best'selq]
“There is one more question I must ask you, Mr. MacQueen. Were you on good
terms with your employer?”
The young man’s eyes twinkled suddenly.
“This is where I’m supposed to go all goosefleshy down the back. In the
words of a bestseller, ‘You’ve nothing on me.’ Ratchett and I were on perfectly good terms.”
“Perhaps, Mr. MacQueen, you will give me your full name and your address
in America.”
MacQueen gave his name
(îí
ñîîáùèë
ñâîå
èìÿ
) — Hector Willard MacQueen
(Ãåêòîð
Óèëëàðä
Ìàêêóèí
) — and an address in New York
(è
àäðåñ
â
Íüþ
-Éîðêå
).
Poirot leaned back against the cushions
(Ïóàðî
îòêèíóëñÿ
íà
ïîäóøêè
; to lean —
íàêëîíÿòüñÿ,
íàãèáàòüñÿ; to lean back —
îòêèíóòüñÿ
íàçàä)
.
“That is all for the present, Mr. MacQueen
(ïîêà
ýòî
âñå
, ìèñòåð
Ìàêêóèí
; present —
íàñòîÿùåå /
âðåìÿ/; for the present —
ïîêà,
íà
ýòîò
ðàç)
,” he said. “I should be obliged (
ÿ
áûë
áû /
âàì/
áëàãîäàðåí;
obliged — îáÿçàííûé
, âûíóæäåííûé
; áûòü
áëàãîäàðíûì
) if you would keep the matter of Mr. Ratchett’s death to yourself for a little time
(åñëè
áû
âû
íèêîìó
íå
ðàññêàçûâàëè
î
ñìåðòè
ìèñòåðà
Ðýò÷åòòà
íåêîòîðîå
âðåìÿ
; to keep —
äåðæàòü,
èìåòü,
õðàíèòü; to keep smth. to oneself —
íå
äåëèòüñÿ
÷åì-
ëèáî,
óìîë÷àòü
î
÷åì-
ëèáî; matter —
âåùåñòâî;
äåëî,
âîïðîñ)
.”
“His valet, Masterman
(åãî
ñëóãå
, Ìàñòåðìýíó
), will have to know
(ïðèäåòñÿ
óçíàòü
).”
“He probably knows already (
âåðîÿòíî,
÷òî
îí
óæå
çíàåò)
,” said Poirot dryly (
ñêàçàë
Ïóàðî
ñóõî)
. “
If
so,
try
to
get
him
(åñëè ýòî òàê, ïîïûòàéòåñü óãîâîðèòü åãî;
to
get
smb.
to
do
smth. — çàñòàâëÿòü, óáåæäàòü, óãîâàðèâàòü
êîãî-ëèáî äåëàòü ÷òî-ëèáî)
to
hold
his
tongue
(ïðèäåðæàòü ÿçûê /çà çóáàìè/)
.”
cushion
['kVS(q)n] present
['prez(q)nt] obliged
[q'blaIdZd] tongue
[tAN]
MacQueen gave his name — Hector Willard MacQueen — and an address in New
York.
Poirot leaned back against the cushions.
“That is all for the present, Mr. MacQueen,” he said. “I should be obliged
if you would keep the matter of Mr. Ratchett’s death to yourself for a little time.”
“His valet, Masterman, will have to know.”
“He probably knows already,” said Poirot dryly. “If so, try to get him
to hold his tongue.”
“That oughtn’t to be difficult
(ýòî
áóäåò
íåñëîæíî
). He’s a Britisher
(îí
áðèòàíåö
/àíãëè÷àíèí
) and, as he calls it
(è
, êàê
îí
ýòî
ñàì
íàçûâàåò
; to call —
êðè÷àòü;
çâàòü,
íàçûâàòü)
, he ‘keeps to himself’ (
îí «
äåðæèòñÿ
îñîáíÿêîì»;
to keep — äåðæàòü
; ïîääåðæèâàòü
/êîìïàíèþ
/, âîäèòü
/äðóæáó
/; to keep to oneself — äåðæàòüñÿ
îñîáíÿêîì
, ñòîðîíèòüñÿ
ëþäåé
). He has a low opinion of Americans
(îí
/ïðèäåðæèâàåòñÿ
/ íåâûñîêîãî
/ïëîõîãî
ìíåíèÿ
îá
àìåðèêàíöàõ
), and no opinion at all
(è
óæ
âîâñå
íèêàêîãî
ìíåíèÿ
) of any other nationality
(î
/ëþäÿõ
/ ëþáîé
äðóãîé
íàöèîíàëüíîñòè
).”
“Thank you, Mr. MacQueen.”
The American left the carriage
(àìåðèêàíåö
âûøåë
èç
êóïå
).
“
Well
(íó)?”
demanded
M.
Bouc
(ñïðîñèë ìñüå Áóê; to
demand
— òðåáîâàòü; ñïðàøèâàòü, çàäàâàòü âîïðîñ
). “
You
believe
what
he
says,
this
young
man
(âû âåðèòå òîìó, ÷òî îí ãîâîðèò, ýòîò ìîëîäîé ÷åëîâåê)
?”
Britisher
['brItISq]
American [q'merIkqn]
nationality ["nxSq'nxlItI]
“That oughtn’t to be difficult. He’s a Britisher and, as he calls it,
he ‘keeps to himself.’ He has a low opinion of Americans, and no opinion at all of any other nationality.”
“Thank you, Mr. MacQueen.”
The American left the carriage.
“Well?” demanded M. Bouc. “You believe what he says, this young man?”
“
He
seems
honest
and
straightforward
(îí êàæåòñÿ ÷åñòíûì/èñêðåííèì è ïðÿìûì/îòêðîâåííûì)
. He
did
not
pretend
(îí íå ïðèòâîðÿëñÿ)
to
any
affection
for
his
employer
(÷òî ïðèâÿçàí: «/ïèòàåò/ ïðèâÿçàííîñòü» ê ñâîåìó
õîçÿèíó), as
he
probably
would
have
done
(êàê îí âåðîÿòíî áû ïðèòâîðÿëñÿ: «äåëàë»)
had
he
been
involved
in
any
way
(áóäü îí õîòü êàê-òî: «êàêèì ëèáî îáðàçîì» çàìåøàí;
to
involve — âêëþ÷àòü, ñîäåðæàòü; âîâëåêàòü, âïóòûâàòü,
âìåøèâàòü).
It
is
true,
Mr.
Ratchett
did
not
tell
him
(ïðàâäà, ìèñòåð Ðýò÷åòò íå ñêàçàë åìó)
that
he
had
tried
to
enlist
my
services
(÷òî îí ïîïûòàëñÿ çàðó÷èòüñÿ ìîèìè óñëóãàìè;
to
enlist — /äîáðîâîëüíî/ ïîñòóïàòü íà âîåííóþ
ñëóæáó; çàðó÷èòüñÿ /ñîäåéñòâèåì, ïîääåðæêîé/, çàâåðáîâàòü /ñîþçíèêà/
)
and
failed
(è ïîòåðïåë íåóäà÷ó)
, but
I
do
not
think
(íî ÿ íå äóìàþ)
that
that
is
really
a
suspicious
circumstance
(÷òî ýòî, íà ñàìîì äåëå, òàêîå óæ ïîäîçðèòåëüíîå
îáñòîÿòåëüñòâî; suspicion
— ïîäîçðåíèå; suspicious
— ïîäîçðèòåëüíûé)
. I
fancy
Mr
. Ratchett
was
a
gentleman
(ÿ ïîëàãàþ, ÷òî ìèñòåð Ðýò÷åòò áûë òàêèì äæåíòëüìåíîì)
who
kept
his
own
counsel
on
every
possible
occasion
(êîòîðûé âñåãäà áûë ñåáå íà óìå: «ñîâåòîâàëñÿ
òîëüêî ñ ñîáîé ïî ëþáîìó âîçìîæíîìó ñëó÷àþ»;
to
keep
one'
s
own
counsel — ñêðûâàòü ÷òî-ëèáî, ïîìàëêèâàòü /î
÷åì-ëèáî/, counsel — îáñóæäåíèå, ñîâåùàíèå;
ñîâåò).”
honest ['
OnIst]
straightforward ["streIt'fO:wqd]
suspicious [sq'spISqs]
circumstance
['sq:kqmstxns, 'sq:kqmstqns]
“He seems honest and straightforward. He did not pretend to any affection
for his employer, as he probably would have done had he been involved in any way. It is true, Mr. Ratchett did not tell him that he had tried to enlist my services and failed, but I do not think that that is really a suspicious
circumstance. I fancy Mr. Ratchett was a gentleman who kept his own counsel on every possible occasion.”
“So you pronounce one person at least
(èòàê
, âû
îáúÿâëÿåòå
, ïî
ìåíüøåé
ìåðå
, îäíîãî
÷åëîâåêà
) innocent of the crime
(íåâèíîâíûì
â
ñîâåðøåíèè
ýòîãî
ïðåñòóïëåíèÿ
; innocent —
íåâèííûé,
íåïîðî÷íûé;
íåâèíîâíûé)
,” said M. Bouc jovially (
ñêàçàë
ìñüå
Áóê
æèâî/
âåñåëî)
.
Poirot cast on him a look of reproach
(Ïóàðî
áðîñèë
íà
íåãî
âçãëÿä
/ïîëíûé
/ óïðåêà
; to cast (cast) —
áðîñàòü,
êèäàòü,
øâûðÿòü; reproach —
óïðåê,
óêîð,
îñóæäåíèå)
.
“
Me,
I
suspect
everybody
(ÿ? äà ÿ /âñåãäà/ ïîäîçðåâàþ êàæäîãî)
till
the
last
minute
(äî ñàìîé ðàçâÿçêè: «ïîñëåäíåé ìèíóòû»)
,” he
said
. “All
the
same
(òåì íå ìåíåå)
, I
must
admit
(ÿ äîëæåí ïðèçíàòü)
that
I
cannot
see
this
sober
, long
-headed
MacQueen
(÷òî ÿ íå ìîãó ïðåäñòàâèòü ýòîãî ñäåðæàííîãî è
ïðîíèöàòåëüíîãî Ìàêêóèíà; sober
— òðåçâûé; õëàäíîêðîâíûé; ðàññóäèòåëüíûé;
long-
headed — äëèííîãîëîâûé; õèòðûé; ïðåäóñìîòðèòåëüíûé
)
losing
his
head
(òåðÿþùèì ãîëîâó;
to
lose — òåðÿòü
)
and
stabbing
his
victim
twelve
or
fourteen
times
(è çàêàëûâàþùèì ñâîþ æåðòâó ðàç äâåíàäöàòü èëè ÷åòûðíàäöàòü)
. It
is
not
in
accord
with
his
psychology
(ýòî íå ñîîòâåòñòâóåò åãî õàðàêòåðó;
accord — ñîãëàñèå, åäèíñòâî, ãàðìîíèÿ; in accord
with smth. — â ñîîòâåòñòâèè ñ ÷åì-ëèáî, ñîãëàñíî ÷åìó-ëèáî; psychology
— ïñèõîëîãèÿ; ïñèõèêà, îñîáåííîñòè õàðàêòåðà, äóøåâíûé ñêëàä
) —
not
at
all
(ñîâåðøåííî /íå ñîîòâåòñòâóåò/)
.”
“
No
(íåò, /íå ñîîòâåòñòâóåò/)
,” said
M
. Bouc
thoughtfully
(ñêàçàë ìñüå Áóê çàäóì÷èâî)
. “That
is
the
act
of
a
man
(ýòî äåÿíèå ÷åëîâåêà;
act — äåëî, ïîñòóïîê; àêò, äåÿíèå
)
driven
almost
crazy
(äîâåäåííîãî ïî÷òè äî áåçóìèÿ;
to
drive — âîäèòü, âåñòè;
to
drive
smb.
into
a
state — äîâåñòè êîãî-ëèáî äî êàêîãî-ëèáî ñîñòîÿíèÿ;
crazy — ñóìàñøåäøèé, áåçóìíûé
)
with
a
frenzied
hate
(áåøåííîé íåíàâèñòüþ;
to
frenzy — ïðèâîäèòü â áåøåíñòâî, äîâîäèòü äî
áåçóìèÿ) —
it
suggests
rather
the
Latin
temperament
(ñêîðåå, â ãîëîâó ïðèõîäèò /ìûñëü/ î ñòðàñòíîì þæíîì: «ëàòèíîàìåðèêàíñêîì» òåìïåðàìåíòå,
to
suggest — ïðåäëàãàòü; ïðèõîäèòü /â ãîëîâó/,
íàïðàøèâàòüñÿ; Latin
— ëàòûíü; ëàòèíîàìåðèêàíåö èëè æèòåëü þãî-çàïàäíîé ÷àñòè Åâðîïû;
temperament — õàðàêòåð, íðàâ; òåìïåðàìåíò, ñòðàñòü
).
Or
else
it
suggests
(èëè, èíà÷å, íàïðàøèâàåòñÿ /èäåÿ/)
, as
our
friend
the
chef
de
train
insisted
(íà êîòîðîé íàñòàèâàë íàø äðóã, íà÷àëüíèê ïîåçäà;
to
insist — íàñòîé÷èâî óòâåðæäàòü; íàñòàèâàòü
) —
a
woman
(î æåíùèíå).”
pronounce [prq'naVns]
innocent ['Inqs(q)nt]
jovially ['dZqVvIqlI]
reproach [rI'prqVtS]
victim ['vIktIm]
psychology [saI'k
OlqdZI]
frenzied ['frenzId]
“So you pronounce one person at least innocent of the crime,” said M. Bouc
jovially.
Poirot cast on him a look of reproach.
“Me, I suspect everybody till the last minute,” he said. “All the same,
I must admit that I cannot see this sober, long-headed MacQueen losing his head and stabbing his victim twelve or fourteen times. It is not in accord with his psychology — not at all.”
“No,” said M. Bouc thoughtfully. “That is the act of a man driven almost
crazy with a frenzied hate — it suggests rather the Latin temperament. Or else it suggests, as our friend the
chef de train insisted — a woman.”
7
THE
BODY
(Òåëî;
body — òåëî, ïëîòü; òðóï, òåëî
)
Followed
by
Dr
. Constantine
, Poirot
made
his
way
to
the
next
coach
(ñîïðîâîæäàåìûé äîêòîðîì Êîíñòàíòèíîì, Ïóàðî
îòïðàâèëñÿ â ñîñåäíèé âàãîí; to
follow
— ñëåäîâàòü, èäòè çà êåì-ëèáî
)
and
to
the
compartment
occupied
by
the
murdered
man
(â êóïå, êîòîðîå çàíèìàë óáèòûé ìóæ÷èíà;
to
occupy — çàíèìàòü /ìåñòî, ïðîñòðàíñòâî è ò.ï./;
to
murder — óáèâàòü
).
The conductor came (
ïðèøåë
ïðîâîäíèê)
and unlocked the door for them with his key (
è
îòêðûë
äëÿ
íèõ
äâåðü
êëþ÷îì;
to lock — çàïèðàòü
íà
çàìîê
; to unlock — îòïèðàòü
).
The two men passed inside
(äâîå
ìóæ÷èí
âîøëè
âíóòðü
). Poirot turned inquiringly to his companion
(Ïóàðî
âîïðîñèòåëüíî
îáåðíóëñÿ
ê
ñâîåìó
ñïóòíèêó
; to turn —
ïîâîðà÷èâàòü/
ñÿ/; to inquire —
ñïðàøèâàòü,
óçíàâàòü)
.
“How much has been disarranged in this compartment
(ìíîãîå
ëè
áûëî
ïåðåñòàâëåíî
â
ýòîì
êóïå
; to arrange —
ïðèâîäèòü
â
ïîðÿäîê; to disarrange —
ðàññòðàèâàòü,
ïðèâîäèòü
â
áåñïîðÿäîê)
?”
“Nothing has been touched
(íè÷åãî
íå
òðîãàëè
). I was careful not to move the body
(ÿ
áûë
îñòîðîæåí
è
íå
ïåðåäâèãàë
òåëî
; careful —
çàáîòëèâûé;
îñòîðîæíûé,
îñìîòðèòåëüíûé; to be careful to do smth. —
íå
ïðåìèíóòü
ñäåëàòü
÷òî-
ëèáî)
in making my examination (
ïîêà
ïðîâîäèë
îñìîòð;
to make (an) examination — îñìîòðåòü
, îñâèäåòåëüñòâîâàòü
).
key [ki:]
inquiringly [In'kwaI(q)rINlI]
dis
arrange ['dIsq'reIn(d)Z] examination
[Ig"zxmI'neIS(q)n]
Followed by Dr. Constantine, Poirot made his way to the next coach and to the
compartment occupied by the murdered man. The conductor came and unlocked the door for them with his key.
The two men passed inside. Poirot turned inquiringly to his companion.
“How much has been disarranged in this compartment?”
“Nothing has been touched. I was careful not to move the body in making my
examination.”
Poirot nodded
(Ïóàðî
êèâíóë
). He looked round him
(îí
îãëÿäåëñÿ
âîêðóã
/ñåáÿ
/).
The first thing that struck the senses
(ïåðâîå
, ÷òî
ïðîèçâîäèëî
âïå÷àòëåíèå
íà
÷óâñòâà
= ÷óâñòâîâàëîñü
; to strike (struck, stricken) —
óäàðÿòü,
áèòü;
ïîðàæàòü,
ïðèâëåêàòü
âíèìàíèå)
was the intense cold (
áûë
ñèëüíûé
õîëîä;
intense — ñèëüíûé
; ãëóáîêèé
, çíà÷èòåëüíûé
). The window was pushed down
(îêíî
áûëî
îïóùåíî
; to push —
òîëêàòü,
ïèõàòü)
as far as it would go (
äî
îòêàçà: «
òàê
äàëåêî,
êàê
îíî
ïîéäåò»)
, and the blind was drawn up (
è
øòîðêà
áûëà
ïîäíÿòà;
to draw (drew, drawn) up — íàòÿãèâàòü
; ïîäíèìàòü
/øòîðû
è
ò
.ï
./)
.
“
Brrr,”
observed
Poirot
(îòìåòèë Ïóàðî; to
observe
— íàáëþäàòü /çà ÷åì-ëèáî/; ñäåëàòü çàìå÷àíèå, âûñêàçàòüñÿ
).
The
other
smiled
appreciatively
(äîêòîð: «äðóãîé» ïîíèìàþùèå óëûáíóëñÿ;
to
appreciate — öåíèòü; ïîíèìàòü çíà÷åíèå, îöåíèâàòü
ïî äîñòîèíñòâó)
.
“I did not like to close it
(ìíå
íå
õîòåëîñü
çàêðûâàòü
åãî
),” he said.
Poirot examined the window carefully
(Ïóàðî
òùàòåëüíî
îáñëåäîâàë
îêíî
; to examine —
ðàññìàòðèâàòü,
îñìàòðèâàòü;
îáñëåäîâàòü; carefully —
îñòîðîæíî;
òùàòåëüíî,
âíèìàòåëüíî)
.
intense [In'tens]
appreciatively [q'pri:SqtIvlI]
carefully ['keqf(q)lI]
Poirot nodded. He looked round him.
The first thing that struck the senses was the intense cold. The window was
pushed down as far as it would go, and the blind was drawn up.
“Brrr,” observed Poirot.
The other smiled appreciatively.
“I did not like to close it,” he said.
Poirot examined the window carefully.
“You are right
(âû
ïðàâû
),” he announced
(îáúÿâèë
îí
). “Nobody left the carriage this way
(íèêòî
íå
ïîêèäàë
ýòîãî
êóïå
ýòèì
ïóòåì
). Possibly
(âîçìîæíî
) the open window was intended to suggest
(÷òî
îòêðûòîå
îêíî
è
áûëî
ïðåäíàçíà÷åíî
äëÿ
òîãî
, ÷òîáû
âíóøèòü
/íàì
ìûñëü
/; to intend —
íàìåðåâàòüñÿ;
ïðåäïîëàãàòü /
ñäåëàòü
÷òî-
ëèáî/; to suggest —
ïðåäëàãàòü;
âíóøàòü /
ìûñëü
è
ò.
ï./,
ïîäñêàçûâàòü,
íàìåêàòü)
that somebody did (
÷òî
êòî-
òî
òàê
è
ïîñòóïèë)
; but if so (
íî
åñëè
ýòî
òàê)
, the snow has defeated the murderer’s intention (
òî
ñíåã
ðàçðóøèë
ïëàíû: «
íàìåðåíèÿ»
óáèéöû;
to defeat — íàíîñèòü
ïîðàæåíèå
; ðàññòðàèâàòü
, ñðûâàòü
/ïëàíû
, çàìûñëû
è
ò
.ï
./; intention — íàìåðåíèå
, óìûñåë
).”
He examined the frame of the window carefully
(îí
òùàòåëüíî
îáñëåäîâàë
îêîííóþ
ðàìó
; frame —
êàðêàñ,
îñòîâ;
ðàìà)
. Taking a small case from his pocket (
âûíóâ
ìàëåíüêóþ
êîðîáî÷êó
èç
ñâîåãî
êàðìàíà;
to take — áðàòü
, õâàòàòü
) he blew a little powder over the frame
(îí
ðàññûïàë
íåìíîãî
ïîðîøêà
ïî
ðàìå
; to blow (blew, blown) —
äóòü,
âåÿòü /
î
âåòðå/;
ðàçáðàñûâàòü,
ðàçâåèâàòü /
ëèñòüÿ,
áóìàãó
è
ò.
ï./
).
announce [q'naVns]
defeated [dI'fi:tId]
intention
[In'tenS(q)n] powder
['paVdq]
“You are right,” he announced. “Nobody left the carriage this way. Possibly
the open window was intended to suggest that somebody did; but if so, the snow has defeated the murderer’s intention.”
He examined the frame of the window carefully. Taking a small case from his
pocket he blew a little powder over the frame.
“No fingerprints at all
(ñîâåðøåííî
íèêàêèõ
îòïå÷àòêîâ
ïàëüöåâ
; finger —
ïàëåö; print —
ñëåä,
îòïå÷àòîê)
,” he said. “That means it has been wiped (
ýòî
îçíà÷àåò,
÷òî
îíà =
ðàìà
âûòåðòà)
. Well,
if
there
had
been
fingerprints
(îäíàêî, åñëè áû /íà íåé/ è áûëè áû îòïå÷àòêè /ïàëüöåâ/)
they
would
have
told
us
very
little
(îíè áû ðàññêàçàëè íàì î÷åíü íåìíîãîå)
. They would have been those of Mr. Ratchett or his valet
(èëè
åãî
ñëóãè
) or the conductor
(ýòî
áûëè
áû
îòïå÷àòêè
ìèñòåðà
Ðýò÷åòòà
èëè
ïðîâîäíèêà
). Criminals do not make mistakes of that kind nowadays
(ïðåñòóïíèêè
â
íàøå
âðåìÿ
íå
äîïóñêàþò
ïîäîáíûõ
îøèáîê
: «îøèáîê
â
ýòîì
ðîäå
»; kind —
ñîðò,
êëàññ,
ðàçðÿä)
.
fingerprint ['fINgq"prInt]
valet ['vx|lIt,
—
leI] criminal
['krImIn(q)l]
“No fingerprints at all,” he said. “That means it has been wiped. Well,
if there had been fingerprints they would have told us very little. They would have been those of Mr. Ratchett or his valet or the conductor. Criminals do not make mistakes of that kind nowadays.
“And that being so
(à
ðàç
òàê
),” he added cheerfully
(äîáàâèë
îí
áîäðî
; cheerful —
áîäðûé,
íåóíûâàþùèé,
âåñåëûé)
, “we might as well shut the window (
ìû
âïîëíå
ìîæåì
çàêðûòü
îêíî;
as well — ñ
òàêèì
æå
óñïåõîì
; æåëàòåëüíî
, ëó÷øå
). Positively
(íåñîìíåííî
) it is the cold storage in here
(çäåñü
ïðîñòî
õîëîäèëüíèê
; storage —
õðàíåíèå;
ñêëàä)
!”
He suited the action to the word
(îí
ïîäêðåïèë
/ñâîè
/ ñëîâà
äåëîì
; to suit — óäîâëåòâîðÿòü
òðåáîâàíèÿì
; action — äåéñòâèå
; word — ñëîâî
; to suit the action to the word — ïîäêðåïëÿòü
ñëîâà
äåëàìè
) and then turned his attention
(è
çàòåì
îáðàòèë
ñâîå
âíèìàíèå
; to turn —
ïîâîðà÷èâàòü; to turn smth. to smth., to smb. —
îáðàùàòü,
íàïðàâëÿòü /
ìûñëè,
âíèìàíèå/
íà
÷òî-
ëèáî
èëè
ê
êîìó-
ëèáî)
for the first time (
â
ïåðâûé
ðàç)
to the motionless figure (
íà
íåïîäâèæíóþ
ôèãóðó;
motion — äâèæåíèå
; figure — öèôðà
, ÷èñëî
; ôèãóðà
, ÷åëîâåê
) lying in the bunk
(ëåæàâøóþ
íà
ïîëêå
; bunk —
êîéêà;
ñïàëüíîå
ìåñòî)
.
cheerfully ['tSIqf(q)lI]
storage ['stO:rIdZ]
motionless ['mqVS(q)nlIs]
“And that being so,” he added cheerfully, “we might as well shut the
window. Positively it is the cold storage in here!”
He suited the action to the word and then turned his attention for the first
time to the motionless figure lying in the bunk.
Ratchett lay on his back
(Ðýò÷åòò
ëåæàë
íà
ñïèíå
; to lie (lay, lain)
). His pyjama jacket
(åãî
ïèæàìíàÿ
êóðòêà
), stained with rusty patches
(ïîêðûòàÿ
ðæàâûìè
ïÿòíàìè
/êðîâè
/; to stain —
ïÿòíàòü,
ïîêðûâàòü
ïÿòíàìè; rust —
ðæàâ÷èíà; rusty —
ïîêðûòûé
ðæàâ÷èíîé,
ðæàâûé; patch —
çàïëàòà,
ëîñêóò;
ìåä.
ïÿòíî)
, had been unbuttoned (
áûëà
ðàññòåãíóòà;
button — ïóãîâèöà
; to button — çàñòåãèâàòü
/íà
ïóãîâèöû
/; to unbutton — ðàññòåãèâàòü
/ïóãîâèöû
/) and thrown back
(è
ðàñïàõíóòà
: «îòáðîøåíà
íàçàä
»; to throw (threw, thrown) —
áðîñàòü,
êèäàòü)
.
“I had to see
(ÿ
äîëæåí
áûë
îñìîòðåòü
) the nature of the wounds
(õàðàêòåð
ðàíåíèé
; nature —
ïðèðîäà,
ìèð;
ðîä,
ñîðò,
êëàññ,
òèï)
, you see (
ïîíèìàåòå)
,” explained the doctor (
îáúÿñíèë
äîêòîð)
.
Poirot nodded
(Ïóàðî
êèâíóë
). He bent over the body
(îí
ñêëîíèëñÿ
íàä
òåëîì
; to bend (bent) —
ãíóòü(
ñÿ),
ñãèáàòü(
ñÿ);
íàêëîíÿòü(
ñÿ)
). Finally he straightened himself
(íàêîíåö
îí
âûïðÿìèëñÿ
; to straighten —
âûïðÿìëÿòü(
ñÿ)
, ðàçãèáàòü
(ñÿ
)) with a slight grimace
(ëèöî
åãî
ñëåãêà
ñêðèâèëîñü
: «ñ
ëåãêîé
ãðèìàñîé
»; slight —
ñëàáûé,
íåçíà÷èòåëüíûé)
.
pyjamas [pq'dZQ:mqz]
jacket
['dZxkIt] straighten
['streItn] grimace
[grI'meIs, 'grImqs]
Ratchett lay on his back. His pyjama jacket, stained with rusty patches, had
been unbuttoned and thrown back.
“I had to see the nature of the wounds, you see,” explained the doctor.
Poirot nodded. He bent over the body. Finally he straightened himself with
a slight grimace.
“
It
is
not
pretty
(íåïðèãëÿäíàÿ êàðòèíà/ìàëîïðèÿòíîå çðåëèùå;
pretty — ìèëûé, ïðèâëåêàòåëüíûé, ïðèÿòíûé
),”
he
said. “
Someone
must
have
stood
there
(íåêòî, äîëæíî áûòü, ñòîÿë òàì)
and
stabbed
him
again
and
again
(è íàíîñèë åìó óäàðû ñíîâà è ñíîâà)
. How
many
wounds
are
there
exactly
(ñêîëüêî æå òàì âñåãî: «òî÷íî» ðàí)
?”
“
I
make
it
twelve
(ïî-ìîåìó, äâåíàäöàòü;
to
make — äåëàòü, èçãîòîâëÿòü; ñ÷èòàòü, ïîëàãàòü
).
One
or
two
are
so
slight
(îäíà èëè äâå íàñòîëüêî íåçíà÷èòåëüíû)
as
to
be
practically
scratches
(÷òî ïðàêòè÷åñêè ÿâëÿþòñÿ öàðàïèíàìè)
. On
the
other
hand
(ñ äðóãîé ñòîðîíû)
, at
least
three
(ïî ìåíüøåé ìåðå òðè /ðàíû/)
would
be
capable
of
causing
death
(ìîãëè áû îêàçàòüñÿ ñìåðòåëüíûìè: «ñïîñîáíûìè
ñòàòü ïðè÷èíîé ñìåðòè»; capable
— ñïîñîáíûé, îäàðåííûé; ñïîñîáíûé íà ÷òî-ëèáî;
cause — ïðè÷èíà, îñíîâàíèå;
to
cause — áûòü ïðè÷èíîé, ñëóæèòü ïîâîäîì
).”
Something
in
the
doctor’
s
tone
(÷òî-òî â òîíå/ãîëîñå äîêòîðà)
caught
Poirot
’s
attention
(ïðèâëåêëî âíèìàíèå Ïóàðî;
to
catch (
caught) — ïîéìàòü, ñõâàòèòü; ïðèâëå÷ü /âíèìàíèå/,
ïîðàçèòü /âîîáðàæåíèå/)
. He
looked
at
him
sharply
(îí âíèìàòåëüíî âçãëÿíóë íà íåãî;
sharp — îñòðûé; ïðîíèöàòåëüíûé, íàáëþäàòåëüíûé;
sharply — ðåçêî; âíèìàòåëüíî
).
The
little
Greek
was
standing
(ïðèçåìèñòûé ãðåê ñòîÿë)
staring
down
at
the
body
(óñòàâèâøèñü íà òåëî
; to
stare
— ïðèñòàëüíî ñìîòðåòü, óñòàâèòüñÿ
)
with
a
puzzled
frown
(îçàäà÷åííî íàñóïèâøèñü;
puzzle — òðóäíûé âîïðîñ, çàãàäêà;
to
puzzle — îçàäà÷èâàòü, ïðèâîäèòü â çàìåøàòåëüñòâî;
frown — ñäâèíóòûå áðîâè; õìóðûé âèä
).
wound [wu:nd]
cause [kO:z]
puzzle ['pAz(q)l]
“It is not pretty,” he said. “Someone must have stood there and stabbed
him again and again. How many wounds are there exactly?”
“I make it twelve. One or two are so slight as to be practically scratches.
On the other hand, at least three would be capable of causing death.”
Something in the doctor’s tone caught Poirot’s attention. He looked at
him sharply. The little Greek was standing staring down at the body with a puzzled frown.
“
Something
strikes
you
as
odd
(÷òî-òî êàæåòñÿ âàì ñòðàííûì;
to
strike — óäàðÿòü, áèòü; ïîðàæàòü, ïðîèçâîäèòü
âïå÷àòëåíèå; odd — íå÷åòíûé; ñòðàííûé,
íåîáû÷íûé), does
it
not
(íå òàê ëè)
?” he
asked
gently
(ìÿãêî ñïðîñèë îí)
. “Speak
, my
friend
(ãîâîðèòå, äðóã ìîé)
. There
is
something
here
(çäåñü åñòü ÷òî-òî òàêîå)
that
puzzles
you
(÷òî îçàäà÷èâàåò âàñ)
?”
“
You
are
right
(âû ïðàâû),”
acknowledged
the
other
(ïðèçíàëñÿ äîêòîð: «äðóãîé /èç äâóõ/»)
.
“
What
is
it
(è ÷òî ýòî)?”
“
You
see
these
two
wounds
(/âû/ âèäèòå ýòè äâå ðàíû)
— here
and
here
(çäåñü è çäåñü)
— ” He
pointed
(îí ïîêàçàë /ïàëüöåì/;
to
point — óêàçûâàòü, ïîêàçûâàòü /ïàëüöåì, ðóêîé/
). “
They
are
deep
(îíè ãëóáîêèå).
Each
cut
(êàæäûé /èç ýòèõ/ óäàðîâ;
cut — ïîðåç, ðàçðåç, ðåçàíàÿ ðàíà; ñèëüíûé
óäàð /ìå÷îì, êíóòîì è ò.ï./)
must
have
severed
blood
vessels
(äîëæíî áûòü ïåðåðåçàë /íåñêîëüêî/ êðîâåíîñíûõ
ñîñóäîâ; to
sever — îòäåëÿòü, îòðåçàòü; ðàçðåçàòü, ïåðåðåçàòü
) —
and
yet
the
edges
do
not
gape
(è âñå æå êðàÿ /ðàí/ íå ðàçîøëèñü;
edge — îñòðèå; êðàé, êðîìêà;
to
gape — øèðîêî ðàçåâàòü ðîò; çèÿòü
).
They
have
not
bled
(ðàíû: «îíè» íå êðîâîòî÷èëè;
to
bleed (
bled) — êðîâîòî÷èòü, èñòåêàòü êðîâüþ
)
as
one
would
have
expected
(êàê ìîæíî áûëî áû ýòîãî îæèäàòü)
.”
gently ['dZentlI]
acknowledged [qk'n
OlIdZd]
vessel ['ves(q)l]
bled [bled]
“Something strikes you as odd, does it not?” he asked gently. “Speak,
my friend. There is something here that puzzles you?”
“You are right,” acknowledged the other.
“What is it?”
“You see these two wounds — here and here — ” He pointed. “They are
deep. Each cut must have severed blood vessels — and yet the edges do not gape. They have not bled as one would have expected.”
“Which suggests
(÷òî
íàâîäèò
íà
ìûñëü
; to suggest —
ïðåäëàãàòü;
âíóøàòü,
ïîäñêàçûâàòü /
ìûñëü,
èäåþ
è
ò.
ï./)
?”
“That the man was already dead (
÷òî
ýòîò
÷åëîâåê
óæå
áûë
ìåðòâ)
— some little time dead (
ìåðòâ
êàêîå-
òî
âðåìÿ)
— when they were delivered (
êîãäà
îíè
áûëè
íàíåñåíû;
to deliver — ïåðåäàâàòü
, âðó÷àòü
; íàíîñèòü
/óäàð
/)
. But
that
is
surely
absurd
(íî ýòî æå, íåñîìíåííî, íåëåïî)
.”
“It
would
seem
so
(ïî âñåé âèäèìîñòè, òàê;
to
seem — êàçàòüñÿ, ïðåäñòàâëÿòüñÿ
),”
said
Poirot
thoughtfully
(ñêàçàë Ïóàðî çàäóì÷èâî;
thought — ìûøëåíèå;
thoughtful — çàäóì÷èâûé
). “
Unless
our
murderer
(åñëè òîëüêî íàø óáèéöà)
figured
to
himself
(íå ïîñ÷èòàë;
to
figure — èçîáðàæàòü /ãðàôè÷åñêè, äèàãðàììîé
è ò.ï./; ïðåäñòàâëÿòü ñåáå, ñ÷èòàòü, ïîëàãàòü)
that
he
had
not
accomplished
his
job
properly
(÷òî îí íå çàâåðøèë ñâîå äåëî äîëæíûì îáðàçîì;
to
accomplish — âûïîëíÿòü; çàâåðøàòü, äîâîäèòü
äî êîíöà; job — ðàáîòà, äåëî, òðóä
)
and
came
back
(è /íå/ âåðíóëñÿ)
to
make
quite
sure
(÷òîáû íàâåðíÿêà óáåäèòüñÿ;
sure — óâåðåííûé
) —
but
that
is
manifestly
absurd
(íî ýòî æå î÷åâèäíî íåëåïî)
! Anything else
(÷òî
-íèáóäü
åùå
)?”
already [O:l'redI]
absurd [qb'sq:d]
accomplished [q'kAmplISt]
manifestly ['mxnIfestlI]
“Which suggests?”
“That the man was already dead — some little time dead — when they were
delivered. But that is surely absurd.”
“It would seem so,” said Poirot thoughtfully. “Unless our murderer figured to himself that he had not accomplished his job properly and came back to make quite
sure — but that is manifestly absurd! Anything
else?”
“
Well,
just
one
thing
(íó, òîëüêî /åùå/ îäíà äåòàëü;
thing — âåùü, ïðåäìåò; äåòàëü, îñîáåííîñòü
).”
“
And
that
(è êàêàÿ)?”
“You
see
this
wound
here
(âèäèòå ýòó ðàíó, çäåñü)
— under
the
right
arm
(íèæå ïðàâîé ïîäìûøêè;
under
one'
s
arm — ïîä ìûøêîé;
arm — ðóêà /îò ïëå÷à äî êèñòè/
) —
near
the
right
shoulder
(ðÿäîì ñ ïðàâûì ïëå÷îì)
. Take this pencil of mine
(âîçüìèòå
ìîé
êàðàíäàø
). Could you deliver such a blow
(ìîãëè
áû
âû
íàíåñòè
òàêîé
óäàð
)?”
Poirot
poised
his
hand
(Ïóàðî ïîäíÿë äëÿ óäàðà =
çàíåñ ðóêó;
to
poise — óäåðæèâàòü â ðàâíîâåñèè; äåðæàòü íàãîòîâå,
ïðèãîòîâèòü äëÿ áðîñêà, óäàðà /êîïüå, ìå÷ è ò.ï./)
.
“Pr
écis
ément
(âîò èìåííî)
,” he
said
. “I
see
(/ÿ/ ïîíèìàþ)
. With
the
right
hand
(ïðàâîé ðóêîé)
it
is
exceedingly
difficult
(ýòî /ñäåëàòü/ ÷ðåçâû÷àéíî òðóäíî)
, almost
impossible
(ïî÷òè ÷òî íåâîçìîæíî;
(im
)possible
— (íå)
âîçìîæíûé, (íå)
âûïîëíèìûé).
One
would
have
to
strike
backhanded
(ïðèøëîñü áû óäàðÿòü òûëüíîé ñòîðîíîé ðóêè = óäàðÿòü áûëî áû íåëîâêî;
backhanded — óäàð, íàíåñåííûé òûëüíîé ñòîðîíîé
ðóêè; íåëîâêèé, íåóêëþæèé)
, as
it
were
(òàê ñêàçàòü)
. But if the blow were struck
(íî
åñëè
óäàð
áûë
íàíåñåí
; to strike (struck, stricken) —
óäàðÿòü,
áèòü)
with the left hand (
ëåâîé
ðóêîé)
— ”
exceedingly
[Ik'si:dINlI] impossible
[Im'pO
sqb(q)l] backhanded
["bxk'hxndId]
“Well, just one thing.”
“And that?”
“You see this wound here — under the right arm — near the right shoulder.
Take this pencil of mine. Could you deliver such a blow?”
Poirot poised his hand.
“
Précisément,” he said. “I see. With the right hand it is exceedingly difficult, almost
impossible. One would have to strike backhanded, as it were. But if the blow were struck with the left hand — ”
“Exactly
, M
. Poirot
(âîò èìåííî, ìñüå Ïóàðî)
. That blow was almost certainly struck
(ýòîò
óäàð
áûë
ïî÷òè
÷òî
íàâåðíÿêà
íàíåñåí
) with the left hand
(ëåâîé
ðóêîé
).”
“So that our murderer is left-handed
(òàê
÷òî
æå
, /íàø
/ óáèéöà
— ëåâøà
)? No, it is more difficult than that
(íåò
, /äåëî
/ êóäà
ñëîæíåå
; difficult —
òðóäíûé,
òÿæåëûé)
, is it not (
íå
òàê
ëè)
?”
“As you say, M. Poirot
(âîò
èìåííî
, ìñüå
Ïóàðî
). Some of these other blows
(íåêîòîðûå
èç
ýòèõ
îñòàëüíûõ
óäàðîâ
) are just as obviously right-handed
(ñîâåðøåííî
îäíîçíà÷íî
íàíåñåíû
ïðàâîé
ðóêîé
).”
“
Two
people
(/èõ áûëî/ äâîå).
We are back at two people again (
ìû
ñíîâà
âåðíóëèñü
ê
äâóì
ïåðñîíàì;
to be back — âåðíóòüñÿ
),” murmured the detective
(ïðîáîðìîòàë
äåòåêòèâ
). He
asked
abruptly
(âíåçàïíî îí ñïðîñèë)
: “Was
the
electric
light
on
(ýëåêòðè÷åñêèé ñâåò áûë âêëþ÷åí;
to
be
on — ãîðåòü, áûòü çàææåííûì, âêëþ÷åííûì /î
ñâåòå, ãàçå, è ò.ï./)
?”
left-handed ["left'hxndId]
obviously ['
ObvIqslI]
abruptly [q'brAptlI]
“Exactly, M. Poirot. That blow was almost certainly struck with the left
hand.”
“So that our murderer is left-handed? No, it is more difficult than that,
is it not?”
“As you say, M. Poirot. Some of these other blows are just as obviously right-handed.”
“Two people. We are back at two people again,” murmured the detective.
He asked abruptly: “Was the electric light on?”
“It is difficult to say
(òðóäíî
ñêàçàòü
). You see, it is turned off by the conductor
(âèäèòå
ëè
, /ñâåò
/ îòêëþ÷àåòñÿ
ïðîâîäíèêîì
; to turn off —
ñâîðà÷èâàòü /
íà
äðóãóþ
äîðîãó/;
ãàñèòü /
ñâåò/,
âûêëþ÷àòü)
every morning about ten o’clock (
êàæäîå
óòðî,
îêîëî
äåñÿòè
÷àñîâ)
.”
“The switches will tell us
(íàì
ïîäñêàæåò
âûêëþ÷àòåëü
; switch —
ïðóò,
õëûñò;
ýë.
âûêëþ÷àòåëü,
ïåðåêëþ÷àòåëü)
,” said Poirot.
He examined the switch of the top light (
îí
îáñëåäîâàë
âûêëþ÷àòåëü
âåðõíåé
ëàìïû;
light — ñâåò
; èñòî÷íèê
ñâåòà
, îãîíü
, ëàìïà
è
ò
.ï
.) and also the roll back bed-head light
(à
òàêæå
ëàìïó
ó
èçãîëîâüÿ
êðîâàòè
; bed —
êðîâàòü; head —
ãîëîâà)
. The
former
was
turned
off
(ïåðâàÿ áûëà âûêëþ÷åíà;
former — ïðåæíèé; ïåðâûé /èç äâóõ/
).
The
latter
was
closed
(âòîðàÿ áûëà âêëþ÷åíà: «çàìêíóòà»;
latter — áîëåå ïîçäíèé; ïîñëåäíèé /èç äâóõ
íàçâàííûõ/, âòîðîé; to
close
— çàêðûâàòü; ýë. çàìûêàòü /öåïü/;
closed — çàêðûòûé; ýë. íàõîäÿùèéñÿ ïîä òîêîì
).
difficult ['dIfIk(q)lt]
examine [Ig'zxmIn]
switch [swItS]
“It is difficult to say. You see, it is turned off by the conductor every
morning about ten o’clock.”
“The switches will tell us,” said Poirot.
He examined the switch of the top light and also the roll-back bed-head light.
The former was turned off. The latter was closed.
“Eh bien
(
÷òî
æ)
,” he said thoughtfully (
ïðîèçíåñ
îí
çàäóì÷èâî)
. “We have here a hypothesis (
çäåñü
ó
íàñ
ãèïîòåçà/
ïðåäïîëîæåíèå)
of the First and the Second Murderer (
î
Ïåðâîì
è
Âòîðîì
Óáèéöå)
, as the great Shakespeare would put it (
êàê
ñêàçàë
áû
âåëèêèé
Øåêñïèð;
great — áîëüøîé
, îãðîìíûé
; âåëèêèé
; to put — êëàñòü
, ñòàâèòü
; èçëàãàòü
, âûðàæàòü
, ôîðìóëèðîâàòü
/ìûñëè
, çàìå÷àíèÿ
è
ò
.ï
./)
. The First Murderer stabbed his victim (
Ïåðâûé
Óáèéöà
çàêîëîë
ñâîþ
æåðòâó;
to stab — íàíîñèòü
óäàð
/íîæîì
, êèíæàëîì
/; ðàíèòü
, çàêîëîòü
) and left the compartment
(è
âûøåë
èç
êóïå
), turning off the light
(ïîãàñèâ
ñâåò
). The Second Murderer came in
(âîøåë
Âòîðîé
Óáèéöà
) in the dark
(â
òåìíîòå
), did not see that his or her work had been done
(íå
óâèäåë
, ÷òî
åãî
èëè
åå
ðàáîòà
óæå
âûïîëíåíà
), and stabbed at least twice
(è
íàíîñèò
ïî
ìåíüøåé
ìåðå
äâà
óäàðà
; twice —
äâàæäû,
äâà
ðàçà)
at a dead body (
ïî
ìåðòâîìó
òåëó)
. Que
pensez
-vous
de
ça
(
ôð. ÷òî âû îá ýòîì äóìàåòå)
?”
“
Magnificent
(âåëèêîëåïíî)!”
said
the
little
doctor
with
enthusiasm
(ñêàçàë íåâûñîêèé/ìàëåíüêèé äîêòîð âîîäóøåâëåííî)
.
hypothesis [haI'p
OTIsIs]
magnificent [mxg'nIfIs(q)nt]
enthusiasm [In'Tju:zIxz(q)m]
“
Eh bien,” he said thoughtfully. “We have here a hypothesis of the First and the Second Murderer,
as the great Shakespeare would put it. The First Murderer stabbed his victim and left the compartment, turning off the light. The Second Murderer came in in the dark, did not see that his or her work had been done, and stabbed
at least twice at a dead body. Que pensez-vous de ça
?”
“Magnificent!” said the little doctor with enthusiasm.
The other’s eyes twinkled
(ãëàçà
Ïóàðî
: «âòîðîãî
» áëåñíóëè
; twinkle —
ìåðöàíèå;
îãîíåê /
â
ãëàçàõ/; to twinkle —
ìåðöàòü,
ñâåðêàòü)
.
“You
think
so
(âû òàê äóìàåòå)
? I am glad
(ÿ
ðàä
). It sounded to me
(ìíå
ýòî
/îáúÿñíåíèå
/ ïîêàçàëîñü
; to sound —
çâó÷àòü,
èçäàâàòü
çâóê;
çâó÷àòü,
ñîçäàâàòü
âïå÷àòëåíèå,
êàçàòüñÿ)
a little like the nonsense (
ñëåãêà
ïîõîæèì
íà
÷åïóõó;
nonsense — âçäîð
, åðóíäà
, áåññìûñëèöà
).”
“What other explanation can there be
(êàêîå
æå
åùå
ìîæåò
áûòü
îáúÿñíåíèå
; to explain —
îáúÿñíÿòü; explanation —
îáúÿñíåíèå,
ðàçúÿñíåíèå)
?”
“
That
is
just
what
I
am
asking
myself
(ýòî êàê ðàç òî, î ÷åì ÿ ñïðàøèâàþ ñåáÿ = èìåííî ýòîò âîïðîñ ÿ è çàäàþ ñåáå)
. Have
we
here
a
coincidence
(ó íàñ çäåñü ñëó÷àéíîå ñòå÷åíèå îáñòîÿòåëüñòâ;
coincidence — ñîâïàäåíèå; ñëó÷àéíîå
ñòå÷åíèå îáñòîÿòåëüñòâ)
, or
what
(èëè ÷òî)
? Are
there
any
other
inconsistencies
(åñòü ëè åùå êàêèå-íèáóäü ïðîòèâîðå÷èÿ;
inconsistency — íåñîâìåñòèìîñòü, íåñîîáðàçíîñòü, ïðîòèâîðå÷èå
),
such
as
would
point
(êîòîðûå áû óêàçûâàëè íà òî)
to
two
people
being
concerned
(÷òî çàìåøàíû /èìåííî/ äâà ÷åëîâåêà;
to
concern — êàñàòüñÿ, îïèñûâàòü; çàòðàãèâàòü,
èìåòü îòíîøåíèå; concerned
— èìåþùèé îòíîøåíèå ê ÷åìó-ëèáî, ñâÿçàííûé ñ ÷åì-ëèáî
)?”
nonsense ['n
Ons(q)ns]
explanation ["eksplq'neIS(q)n]
inconsistency ["Inkqn'sIst(q)nsI]
The other’s eyes twinkled.
“You think so? I am glad. It sounded to me a little like the nonsense.”
“What other explanation can there be?”
“That is just what I am asking myself. Have we here a coincidence, or what?
Are there any other inconsistencies, such as would point to two people being concerned?”
“
I
think
I
can
say
yes
(äóìàþ, ÷òî ìîãó îòâåòèòü ïîëîæèòåëüíî: «ñêàçàòü äà»;
to
say
yes — ñêàçàòü «äà», äàâàòü ñîãëàñèå; ïîäòâåðæäàòü
/çàÿâëåíèå, ñîîáùåíèå/
).
Some
of
these
blows
(íåêîòîðûå èç óäàðîâ),
as
I
have
already
said
(êàê ÿ óæå ñêàçàë),
point
to
a
weakness
(óêàçûâàþò íà ôèçè÷åñêóþ ñëàáîñòü;
weak — ñëàáûé /ôèçè÷åñêè/, áåññèëüíûé
) —
a
lack
of
strength
(/íà/ íåäîñòàòîê ñèëû)
or
a
lack
of
determination
(èëè íà íåäîñòàòîê ðåøèìîñòè)
. They
are
feeble
, glancing
blows
(ýòî ñëàáûå, ñêîëüçÿùèå óäàðû;
to
glance — ìåëüêîì âçãëÿíóòü; ñêîëüçíóòü ïî
ïîâåðõíîñòè /î õîëîäíîì îðóæèè è ò.ï./)
. But this one here
(íî
âîò
ýòîò
óäàð
, çäåñü
) — and this one
(è
ýòîò
) — ” Again he pointed
(îí
ñíîâà
óêàçàë
).
“Great
strength
was
needed
for
those
blows
(äëÿ ýòèõ óäàðîâ ïîòðåáîâàëàñü êîëîññàëüíàÿ ñèëà;
to
need — íóæäàòüñÿ, èìåòü íàäîáíîñòü; òðåáîâàòü
).
They
have
penetrated
the
muscle
(îíè ïðîøëè ñêâîçü ìûøöû;
to
penetrate — ïðîíèêàòü âíóòðü; âêëèíèâàòüñÿ,
ïðîðûâàòüñÿ).”
weakness ['wi:knIs]
strength [streNT, strenT]
determination
[dI"tq:mI'neIS(q)n]
“I think I can say yes. Some of these blows, as I have already said, point
to a weakness — a lack of strength or a lack of determination. They are feeble, glancing blows. But this one here — and this one — ” Again he pointed. “Great strength was needed for those blows. They have penetrated
the muscle.”
“They were, in your opinion
(îíè
áûëè
, ïî
âàøåìó
ìíåíèþ
), delivered by a man
(íàíåñåíû
ìóæ÷èíîé
)?”
“
Most
certainly
(íàâåðíÿêà: «â âûñøåé ñòåïåíè íåñîìíåííî»)
.”
“They could not have been delivered by a woman
(îíè
íå
ìîãëè
áûòü
íàíåñåíû
æåíùèíîé
)?”
“A young, vigorous, athletic woman
(/íåêàÿ
/ ìîëîäàÿ
, ñèëüíàÿ
, ìóñêóëèñòàÿ
æåíùèíà
; athletic —
ñïîðòèâíûé;
àòëåòè÷åñêèé,
ñèëüíûé,
ìóñêóëèñòûé)
might have struck them (
ìîãëà
áû
íàíåñòè
èõ;
to strike (struck, stricken) — óäàðÿòü
, áèòü
), especially if she were in the grip of a strong emotion
(îñîáåííî
, åñëè
îíà
íàõîäèëàñü
âî
âëàñòè
ñèëüíîãî
÷óâñòâà
; grip — ñõâàòûâàíèå,
ñæàòèå;
âëàñòü,
òèñêè)
; but it is (
íî
ýòî)
in my opinion (
ïî
ìîåìó
ìíåíèþ)
highly unlikely (
âåñüìà
ìàëîâåðîÿòíî;
unlikely — íåïðàâäîïîäîáíûé
, íåâåðîÿòíûé
).”
Poirot was silent a moment or two
(Ïóàðî
ìîë÷àë
ïàðó
ìèíóò
; silent —
ìîë÷àëèâûé,
áåçìîëâíûé; moment —
ìîìåíò,
ìèã,
ìèíóòà)
.
vigorous ['vIg(q)rqs]
athletic [xT'letIk]
silent ['saIlqnt]
“They were, in your opinion, delivered by a man?”
“Most certainly.”
“They could not have been delivered by a woman?”
“A young, vigorous, athletic woman might have struck them, especially if
she were in the grip of a strong emotion; but it is in my opinion highly unlikely.”
Poirot was silent a moment or two.
The
other
asked
anxiously
(äîêòîð: «âòîðîé /ìóæ÷èíà/» ñïðîñèë íåòåðïåëèâî;
anxious — áåñïîêîÿùèéñÿ; ñòðåìÿùèéñÿ /ê ÷åìó-ëèáî/
), “
You
understand
my
point
(âû ïîíèìàåòå ìîþ ìûñëü = âû ìåíÿ ïîíÿëè;
point — òî÷êà; ìûñëü, ïîçèöèÿ, òî÷êà çðåíèÿ
)?”
“Perfectly
(âïîëíå;
perfect — ñîâåðøåííûé, áåçóïðå÷íûé
),”
said
Poirot. “
The
matter
begins
(ýòî äåëî íà÷èíàåò; matter
— âåùåñòâî; äåëî, âîïðîñ
)
to
clear
itself
up
wonderfully
(óäèâèòåëüíûì îáðàçîì ïðîÿñíÿòüñÿ;
to
clear
up — ïðîÿñíèòüñÿ /î ïîãîäå/, âûÿñíèòü, ðàñêðûòü;
wonder — ÷óäî; èçóìëåíèå, óäèâëåíèå
)!
The
murderer
was
a
man
of
great
strength
(óáèéöà áûë ìóæ÷èíîé, /îáëàäàþùèì/ îãðîìíîé ñèëîé)
— he
was
feeble
(îí æå áûë ñëàáûì)
— it
was
a
woman
(ýòî áûëà æåíùèíà)
— it
was
a
right
-handed
person
(ýòî áûë ïðàâøà;
person — ÷åëîâåê, ëè÷íîñòü
) —
it
was
a
left-
handed
person
(ýòî áûë ëåâøà).
Ah!
c’
est
rigolo,
tout ç
a
(ôð.
àõ, äà ýòî æå ïðîñòî ñìåøíî)
!” He
spoke
with
sudden
anger
(ãîâîðèë îí ñ âíåçàïíûì ðàçäðàæåíèåì;
anger — ãíåâ, ÿðîñòü, êðàéíåå ðàçäðàæåíèå
).
“And the victim (
à
æåðòâà)
— what does he do in all this (
÷òî
îí
äåëàåò
ïðè
âñåì
ïðè
ýòîì)
? Does he cry out (
îí
êðè÷èò;
to cry out — âñêðèêíóòü
, âûêðèêèâàòü
)? Does he struggle
(îí
áîðåòñÿ
)? Does he defend himself
(çàùèùàåò
ëè
îí
ñåáÿ
)?”
wonderful ['wAndqf(q)l]
feeble ['fi:b(q)l]
victim ['vIktIm]
struggle ['strAg(q)l]
The other asked anxiously, “You understand my point?”
“Perfectly,” said Poirot. “The matter begins to clear itself up wonderfully!
The murderer was a man of great strength — he was feeble — it was a woman — it was a right-handed person — it was a left-handed person.
Ah! c’est rigolo, tout ça!” He spoke with sudden anger. “And the victim — what does
he do in all this? Does he cry out? Does he struggle? Does he defend himself?”
He slipped his hand under the pillow
(îí
áûñòðî
ñóíóë
ðóêó
ïîä
ïîäóøêó
; to slip —
ñêîëüçèòü,
ïëàâíî
èëè
áûñòðî
ïåðåäâèãàòüñÿ)
and drew out the automatic pistol (
è
âûòàùèë /
àâòîìàòè÷åñêèé/
ïèñòîëåò;
to draw (drew, drawn) — òàùèòü
, âîëî÷èòü
, òÿíóòü
) which Ratchett had shown him
(êîòîðûé
Ðýò÷åòò
ïîêàçûâàë
åìó
; to show (showed, shown)
) the day before (
íàêàíóíå: «
äíåì
ðàíüøå»)
.
“Fully loaded, you see
(ïîëíîñòüþ
çàðÿæåí
, âèäèòå
; to load —
ãðóçèòü,
íàãðóæàòü;
çàðÿæàòü /
îðóæèå/
),” he said.
They looked round them
(îíè
îãëÿíóëèñü
/êðóãîì
/). Ratchett’s day clothing
(ïîâñåäíåâíàÿ
: «äíåâíàÿ
» îäåæäà
Ðýò÷åòòà
) was hanging from the hooks on the wall
(âèñåëà
íà
êðþ÷êàõ
íà
ñòåíå
). On the small table
(íà
ìàëåíüêîì
ñòîëèêå
) formed by the lid of the wash basin
(îáðàçîâàííîì
èç
êðûøêè
óìûâàëüíîé
ðàêîâèíû
; to form —
ïðèäàâàòü
ôîðìó;
ñîñòàâëÿòü,
îáðàçîâûâàòü)
were various objects (
ðàñïîëàãàëèñü
ðàçíîîáðàçíûå
âåùèöû)
. False
teeth
in
a
glass
of
water
(èñêóññòâåííûå çóáû â ñòàêàíå âîäû;
false — ëîæíûé, íåâåðíûé; ïîääåëüíûé, ôàëüøèâûé;
glass — ñòåêëî; ñòàêàí
).
Another glass, empty (
åùå
îäèí
ñòàêàí,
ïóñòîé)
. A bottle of mineral water (
áóòûëêà
ìèíåðàëüíîé
âîäû)
. A large flask (
áîëüøàÿ
ôëÿæêà)
. An ash-tray (
ïåïåëüíèöà;
ash — çîëà
, ïåïåë
; tray — ïîäíîñ
) containing the butt of a cigar
(ñ
îêóðêîì
ñèãàðû
: «ñîäåðæàùàÿ
îêóðîê
ñèãàðû
»; butt —
òîëñòûé
êîíåö /
èíñòðóìåíòà,
îðóäèÿ
èëè
îðóæèÿ/;
îêóðîê)
and some charred fragments of paper (
è
íåñêîëüêî
îáóãëèâøèõñÿ
êóñî÷êîâ
áóìàãè;
to char — îáæèãàòü
, îáóãëèâàòü
(ñÿ
); fragment — îáëîìîê
, îñêîëîê
, êóñîê
); also two burnt matches
(äà
åùå
äâå
îáãîðåëûå
ñïè÷êè
; to burn (burnt, burned) —
æå÷ü,
ñæèãàòü; burnt —
ãîðåëûé,
ææåíûé)
.
pillow ['pIlqV]
automatic ["O:tq'mxtIk]
pistol ['pIstl]
various ['ve(q)rIqs]
false [fO:ls]
char [tSQ:]
He slipped his hand under the pillow and drew out the automatic pistol which
Ratchett had shown him the day before.
“Fully loaded, you see,” he said.
They looked round them. Ratchett’s day clothing was hanging from the hooks
on the wall. On the small table formed by the lid of the wash basin were various objects. False teeth in a glass of water. Another glass, empty. A bottle of mineral water. A large flask. An ash-tray containing the butt of
a cigar and some charred fragments of paper; also two burnt matches.
The doctor picked up the empty glass
(äîêòîð
âçÿë
/ñî
ñòîëèêà
/ ïóñòîé
ñòàêàí
; to pick up —
ïîäíèìàòü,
ïîäáèðàòü)
and sniffed it (
è
ïîíþõàë
åãî;
to sniff — ñîïåòü
, øìûãàòü
íîñîì
; íþõàòü
).
“Here is the explanation
(âîò
è
îáúÿñíåíèå
) of the victim’s inertia
(âÿëîñòè
/áåçäåéñòâèÿ
æåðòâû
; inertia —
ôèç.
èíåðöèÿ;
èíåðòíîñòü,
âÿëîñòü)
,” he said quietly (
ñêàçàë
îí
òèõî)
.
“
Drugged
(óñûïëåí; drug
— ëåêàðñòâî; ñíîòâîðíîå;
to
drug — ïîäìåøèâàòü íàðêîòèêè èëè ÿä; äàâàòü
÷òî-ëèáî, îêàçûâàþùåå äåéñòâèå, ïîäîáíîå íàðêîòèêàì)
?”
“Yes.”
Poirot nodded
(Ïóàðî
êèâíóë
). He picked up the two matches
(îí
ïîäíÿë
äâå
ñïè÷êè
) and scrutinised them carefully
(è
òùàòåëüíî
ðàññìàòðèâàë
èõ
; to scrutinize —
âíèìàòåëüíî
ðàññìàòðèâàòü,
ðàçãëÿäûâàòü)
.
“You have a clue then
(çíà÷èò
, ó
âàñ
åñòü
óëèêà
)?” demanded the little doctor eagerly
(íåòåðïåëèâî
ïîòðåáîâàë
îòâåòà
ìàëåíüêèé
äîêòîð
; to demand —
òðåáîâàòü;
íàñòîé÷èâî
òðåáîâàòü
îòâåòà,
ñïðàøèâàòü; eager —
ñòðàñòíî
ñòðåìÿùèéñÿ
ê
÷åìó-
ëèáî,
æàæäóùèé,
íåòåðïåëèâûé)
.
“Those two matches are of different shapes
(ýòè
äâå
ñïè÷êè
èìåþò
ðàçíóþ
ôîðìó
),” said Poirot. “One is flatter than the other
(îäíà
áîëåå
ïëîñêàÿ
, ÷åì
äðóãàÿ
; flat —
ïëîñêèé,
ðîâíûé,
ãëàäêèé)
. You see (
âû
âèäèòå)
?”
sniff [snIf]
inertia [I'nq:Sq]
scrutinize ['skru:tInaIz]
clue [klu:]
The doctor picked up the empty glass and sniffed it.
“Here is the explanation of the victim’s inertia,” he said quietly.
“Drugged?”
“Yes.”
Poirot nodded. He picked up the two matches and scrutinised them carefully.
“You have a clue then?” demanded the little doctor eagerly.
“Those two matches are of different shapes,” said Poirot. “One is flatter
than the other. You see?”
“It is the kind
(/ñïè÷êè
/ òàêîãî
âèäà
: «ýòà
/ñïè÷êà
/ òàêîãî
âèäà
») you get on the train
(/ìîæíî
/ êóïèòü
â
ïîåçäå
; to get —
äîñòàâàòü;
ïîêóïàòü,
ïðèîáðåòàòü)
,” said the doctor. “In paper covers (
â
áóìàæíîé
îáåðòêå)
.”
Poirot was feeling in the pockets
(Ïóàðî
îùóïûâàë
êàðìàíû
; to feel —
òðîãàòü,
ùóïàòü;
øàðèòü,
èñêàòü
îùóïüþ)
of Ratchett’s clothing (
íà
îäåæäå
Ðýò÷åòòà)
. Presently he pulled out a box of matches (
âñêîðå
îí
âûòàùèë
êîðîáîê
ñïè÷åê)
. He compared them carefully (
îí
òùàòåëüíî
ñðàâíèë
èõ)
with the burnt ones (
ñ
îáãîðåëûìè
ñïè÷êàìè;
one = match — çä
. óïîòðåáëÿåòñÿ
âî
èçáåæàíèå
ïîâòîðåíèÿ
).
“The rounder one
(òà
÷òî
ïîêðóãëåå
) is a match struck by Mr. Ratchett
(ýòî
ñïè÷êà
, êîòîðóþ
çàæåã
ìèñòåð
Ðýò÷åòò
; to strike (struck, stricken) —
óäàðÿòü,
áèòü;
âûñåêàòü /
îãîíü/,
çàæèãàòü)
,” he said. “Let us see (
äàâàéòå-
êà
ïîñìîòðèì)
if he had also the flatter kind (
áûëè
ëè
ó
íåãî
è
áîëåå
ïëîñêèå
ñïè÷êè)
.”
But
a
further
search
(íî äàëüíåéøèé ïîèñê)
showed
no
other
matches
(íå âûÿâèë íèêàêèõ äðóãèõ ñïè÷åê;
to
show — ïîêàçûâàòü; âûÿâëÿòü, óñòàíàâëèâàòü
).
cover ['kAvq]
clothing ['klqVDIN]
carefully ['keqf(q)lI]
“It is the kind you get on the train,” said the doctor. “In paper covers.”
Poirot was feeling in the pockets of Ratchett’s clothing. Presently he pulled
out a box of matches. He compared them carefully with the burnt ones.
“The rounder one is a match struck by Mr. Ratchett,” he said. “Let us
see if he had also the flatter kind.”
But a further search showed no other matches.
Poirot’s eyes were darting about the compartment (
ãëàçà
Ïóàðî
ìåòàëèñü
ïî
êóïå;
eye — ãëàç
, îêî
; âçãëÿä
, âçîð
; to dart — ïîì÷àòüñÿ
ñòðåëîé
; áðîñàòü
, ìåòàòü
/òæ
.ïåðåí
./)
. They
were
bright
and
sharp
(îíè áûëè ÿðêèå è ïðîíèöàòåëüíûå;
sharp — îñòðûé; ïðîíèöàòåëüíûé, íàáëþäàòåëüíûé
)
like
a
bird’
s
(êàê ó ïòèöû).
One
felt
(÷óâñòâîâàëîñü; to
feel
(felt
) — òðîãàòü; ÷óâñòâîâàòü, îùóùàòü
)
that
nothing
could
escape
their
scrutiny
(÷òî íè÷òî íå ñìîæåò èçáåæàòü èõ âíèìàòåëüíîãî èçó÷àþùåãî âçãëÿäà;
to
escape — áåæàòü /èç çàêëþ÷åíèÿ/; èçáåæàòü /îïàñíîñòè
è ò.ï./; óñêîëüçàòü /î ñìûñëå è ò.ï./)
.
With a little exclamation
(ñ
ëåãêèì
âîñêëèöàíèåì
; to exclaim —
âîñêëèöàòü)
he bent (
îí
íàãíóëñÿ;
to bend (bent))
and picked up something from the floor (
è
ïîäíÿë
÷òî-
òî
ñ
ïîëà)
.
It was a small square of cambric
(ýòî
áûë
íåáîëüøîé
êóñîê
áàòèñòà
; square —
êâàäðàò;
ïðåäìåò
÷åòûðåõóãîëüíîé
ôîðìû)
, very dainty (
î÷åíü
èçÿùíûé)
. In the corner (
â
óãîëêå)
was an embroidered initial — H (
áûëà
âûøèòà
çàãëàâíàÿ
áóêâà —
Í;
initial — íà÷àëüíàÿ
áóêâà
; èíèöèàë
).
scrutiny ['skru:tInI]
exclamation ["eksklq'meIS(q)n]
cambric
['keImbrIk, 'kxmbrIk] embroider
[Im'brOIdq] initial
[I'nIS(q)l]
Poirot’s eyes were darting about the compartment. They were bright and sharp
like a bird’s. One felt that nothing could escape their scrutiny.
With a little exclamation he bent and picked up something from the floor.
It was a small square of cambric, very dainty. In the corner was an embroidered
initial — H.
“A woman’s handkerchief (
æåíñêèé
íîñîâîé
ïëàòîê)
,” said the doctor. “Our friend the chef de train was right
(íàø
äðóã
íà÷àëüíèê
ïîåçäà
áûë
ïðàâ
). There
is
a
woman
concerned
in
this
(â ýòîì äåéñòâèòåëüíî çàìåøàíà æåíùèíà;
to
concern — êàñàòüñÿ /â ðàññêàçå/; èìåòü êàñàòåëüñòâî,
îòíîøåíèå).”
“
And most
conveniently
(è êàê âåñüìà óäîáíî)
she leaves
her
handkerchief behind
(îíà îñòàâëÿåò =
çàáûâàåò ñâîé íîñîâîé ïëàòîê;
to leave
behind — çàáûâàòü, îñòàâëÿòü /ãäå-ëèáî
/)!” said
Poirot. “
Exactly as
it
happens (òî÷íî òàê, êàê ýòî ñëó÷àåòñÿ)
in
the books
(â êíèãàõ)
and on
the
films (è â êèíî;
film — ïëåíêà; êèíîôèëüì; êèíî
) — and
to
make things
even
easier for
us
(è, ÷òîáû åùå áîëüøå îáëåã÷èòü íàì çàäà÷ó;
easy — ëåãêèé, íåòðóäíûé;
to make
— äåëàòü; thing
— âåùü; ÿâëåíèå; îáñòîÿòåëüñòâî; äåëî; ñîáûòèå
), it
is
marked with
an
initial (îí ïîìå÷åí èíèöèàëîì;
to mark
— ñòàâèòü çíàê, ìåòêó)
.”
“
What
a
stroke
of
luck
for
us
(êàêàÿ óäà÷à /äëÿ íàñ/;
stroke — óäàð; íåîæèäàííûé ñëó÷àé;
luck — ñóäüáà, ñëó÷àé; ñ÷àñòüå, óñïåõ, âåçåíüå
)!”
exclaimed
the
doctor
(âîñêëèêíóë äîêòîð).
“Is it not
(íå
òàê
ëè
)?” said Poirot.
handkerchief ['hxNkqtSIf]
conveniently [kqn'vi:nIqntlI]
exclaim [Ik'skleIm]
“A woman’s handkerchief,” said the doctor. “Our friend the chef de
train was right. There is a woman concerned in this.”
“And most conveniently she leaves her handkerchief behind!” said Poirot.
“Exactly as it happens in the books and on the films — and to make things even easier for us, it is marked with an initial.”
“What a stroke of luck for us!” exclaimed the doctor.
“Is it not?” said Poirot.
Something in his tone
(÷òî-
òî â
åãî
ãîëîñå; tone —
òîí, çâóê
; îêðàñêà
ãîëîñà, ãîëîñ
) surprised the doctor (
óäèâèëî äîêòîðà
; surprise — óäèâëåíèå
, èçóìëåíèå
), but before he could ask for elucidation
(íî
äî òîãî
, êàê
îí ñìîã
ïîïðîñèòü
ðàçúÿñíåíèé
; to elucidate —
ïðîëèâàòü
ñâåò; ïîÿñíÿòü
) Poirot had made another dive onto the floor
(Ïóàðî
ñíîâà áðîñèëñÿ
íà
ïîë; dive —
ïðûæîê â
âîäó /
îáûêí. ãîëîâîé
/; âíåçàïíîå
äâèæåíèå,
ðûâîê, áðîñîê
).
This time he held out
(íà
ýòîò
ðàç
îí
ïðîòÿíóë
; to hold (held)
out — ïðîòÿãèâàòü
) on the palm of his hand (
íà
ëàäîíè
ðóêè)
— a pipe-cleaner (
åðøèê
äëÿ
÷èñòêè
òðóáêè;
pipe — òðóáà
; êóðèòåëüíàÿ
òðóáêà
; cleaner — ïðèñïîñîáëåíèå
äëÿ
î÷èñòêè
).
“It is perhaps the property of Mr. Ratchett
(âîçìîæíî
, ýòî
ñîáñòâåííîñòü
ìèñòåðà
Ðýò÷åòòà
)?” suggested the doctor
(ïðåäïîëîæèë
äîêòîð
).
“There was no pipe
(íèêàêîé
òðóáêè
íå
áûëî
) in any of his pockets
(â
åãî
êàðìàíàõ
; any
— /
â
îòðèöàòåëüíûõ
ïðåäëîæåíèÿõ/
íèêàêîé,
íè
îäèí)
, and no tobacco (
è
íèêàêîãî
òàáàêà)
or tobacco pouch (
èëè
êèñåòà
äëÿ
òàáàêà;
pouch — ñóìêà
, ìåøî÷åê
; êèñåò
äëÿ
òàáàêà
).”
“Then it is a clue
(òîãäà
ýòî
óëèêà
).”
elucidation [I"lu:sI'deIS(q)n]
pipe-cleaner ['paIp"kli:nq]
tobacco [tq'bxkqV]
pouch [paVtS]
Something in his tone surprised the doctor, but before he could ask for elucidation
Poirot had made another dive onto the floor.
This time he held out on the palm of his hand — a pipe-cleaner.
“It is perhaps the property of Mr. Ratchett?” suggested the doctor.
“There was no pipe in any of his pockets, and no tobacco or tobacco pouch.”
“Then it is a clue.”
“
Oh!
decidedly
(î, áåññïîðíî; to
decide
— ðåøàòü; decided
— îïðåäåëåííûé; áåññïîðíûé, ÿâíûé
).
And
again
dropped
most
conveniently
(è ñíîâà, îáðîíåííûé áîëåå ÷åì ïîäõîäÿùå;
to
drop — êàïàòü, ñòåêàòü êàïëÿìè; ïàäàòü; ðîíÿòü
).
A
masculine
clue
(ìóæñêàÿ óëèêà),
this
time
(íà ýòîò ðàç; time
— âðåìÿ; ðàç, ñëó÷àé
),
you
note
(îáðàòèòå âíèìàíèå)!
One
cannot
complain
(íåâîçìîæíî ïîæàëîâàòüñÿ)
of
having
no
clues
in
this
case
(íà îòñóòñòâèå óëèê â ýòîì äåëå
; case
— ñëó÷àé; îáñòîÿòåëüñòâî; /ñóäåáíîå/ äåëî
).
There are clues here in abundance (
çäåñü
óëèêè
â
èçáûòêå/
èçîáèëèè)
. By
the
way
(ìåæäó ïðî÷èì),
what
have
you
done
with
the
weapon
(÷òî âû ñäåëàëè ñ îðóäèåì /ïðåñòóïëåíèÿ/;
weapon — îðóæèå, áîåâîå ñðåäñòâî; îðóäèå
)?”
“There
was
no
sign
of
any
weapon
(íå áûëî íèêàêîãî ñëåäà êàêîãî-ëèáî îðóäèÿ;
sign — ïðèçíàê, ïðèìåòà; ñâèäåòåëüñòâî
).
The murderer must have taken it away with him (
óáèéöà,
äîëæíî
áûòü,
çàáðàë
åãî
ñ
ñîáîé;
to take (took, taken) — áðàòü
, õâàòàòü
).”
“
I
wonder
why
(èíòåðåñíî, ïî÷åìó; to
wonder
— èíòåðåñîâàòüñÿ, æåëàòü çíàòü, çàäàâàòüñÿ âîïðîñîì
),”
mused
Poirot
(çàäóì÷èâî ïðîáîðìîòàë Ïóàðî;
to
muse — íàõîäèòüñÿ â çàäóì÷èâîñòè; çàäóì÷èâî
ãîâîðèòü, áîðìîòàòü â ðàçäóìüå)
.
decidedly [dI'saIdIdlI]
masculine ['mxskjVlIn]
abundance [q'bAndqns]
weapon ['wepqn]
“Oh! decidedly. And again dropped most conveniently. A masculine clue, this
time, you note! One cannot complain of having no clues in this case. There are clues here in abundance. By the way, what have you done with the weapon?”
“There was no sign of any weapon. The murderer must have taken it away with
him.”
“I wonder why,” mused Poirot.
“Ah!” The doctor had been delicately exploring
(äîêòîð
îñòîðîæíî
èçó÷àë
; delicate —
óòîí÷åííûé;
òðåáóþùèé
îñòîðîæíîãî
îáðàùåíèÿ; to explore —
èññëåäîâàòü,
èçó÷àòü)
the pyjama pockets of the dead man (
êàðìàíû
íà
ïèæàìå
ìåðòâåöà)
.
“I overlooked this
(ÿ
ýòî
ïðîãëÿäåë
; to overlook —
íå
çàìå÷àòü,
ïðîãëÿäåòü)
,” he said. “I unbuttoned the jacket (
ÿ
ðàññòåãíóë
ïóãîâèöû
íà
êóðòêå /
ïèæàìû/)
and threw it straight back (
è
ñðàçó
îòáðîñèë
åå
íàçàä;
to throw (threw, thrown))
.”
From the breast pocket
(èç
íàãðóäíîãî
êàðìàíà
; breast —
ãðóäü)
he brought out a gold watch (
îí
äîñòàë
çîëîòûå
÷àñû;
to bring (brought) — ïðèíîñèòü
). The case was dented savagely
(êîðïóñ
áûë
ñèëüíî
ïîãíóò
; case —
ÿùèê,
êîðîáêà;
êîðïóñ /
÷àñîâ
è
ò.
ï./; to dent —
âäàâëèâàòü,
âìèíàòü;
îñòàâëÿòü
âûáîèíó; savage —
äèêèé;
ñâèðåïûé)
, and the hands pointed to a quarter past one (
è
ñòðåëêè
óêàçûâàëè
íà
÷åòâåðòü
âòîðîãî;
hand — ðóêà
, êèñòü
ðóêè
; ñòðåëêà
/÷àñîâ
, áàðîìåòðà
è
ò
.ï
./).
exploring [Ik'splO:rIN]
savagely ['sxvIdZlI]
quarter ['kwO:tq]
“Ah!” The doctor had been delicately exploring the pyjama pockets of the
dead man.
“I overlooked this,” he said. “I unbuttoned the jacket and threw it straight
back.”
From the breast pocket he brought out a gold watch. The case was dented savagely,
and the hands pointed to a quarter past one.
“You see
(âû
âèäèòå
)?” cried Constantine eagerly
(íåòåðïåëèâî
âîñêëèêíóë
Êîíñòàíòèí
; to cry —
êðè÷àòü;
âñêðèêíóòü)
. “This gives us the hour of the crime (
ýòî
äàåò =
ñîîáùàåò
íàì
÷àñ
óáèéñòâà)
. It agrees with my calculations (
îíî
ñîãëàñóåòñÿ
ñ
ìîèìè
ïîäñ÷åòàìè;
to agree — ñîãëàøàòüñÿ
; ñîãëàñîâûâàòü
; to calculate — âû÷èñëÿòü
, ïîäñ÷èòûâàòü
). Between midnight and two in the morning
(ìåæäó
ïîëóíî÷üþ
è
äâóìÿ
÷àñàìè
óòðà
) is what I said
(ãîâîðèë
ÿ
), and probably about one o’clock
(è
, âîçìîæíî
, îêîëî
÷àñà
íî÷è
), though it is difficult to be exact
(õîòÿ
òðóäíî
áûòü
òî÷íûì
) in these matters
(â
òàêèõ
äåëàõ
).
Eh bien, here is confirmation
(÷òî
æ
, âîò
è
ïîäòâåðæäåíèå
; to confirm —
ïîäòâåðæäàòü)
. A quarter past one (
÷åòâåðòü
âòîðîãî)
. That was the hour of the crime (
ýòî
è
áûë
÷àñ
ïðåñòóïëåíèÿ)
.”
“It is possible, yes
(äà
, ýòî
âîçìîæíî
). It is certainly possible
(ýòî
îïðåäåëåííî
âîçìîæíî
).”
hour ['aVq]
calculation ["kxlkjV'leIS(q)n]
midnight ['mIdnaIt]
“You see?” cried Constantine eagerly. “This gives us the hour of the
crime. It agrees with my calculations. Between midnight and two in the morning is what I said, and probably about one o’clock, though it is difficult to be exact in these matters.
Eh bien, here is confirmation. A quarter past one. That was the hour of the crime.”
“It is possible, yes. It is certainly possible.”
The doctor looked at him curiously
(äîêòîð
âçãëÿíóë
íà
íåãî
ñ
ëþáîïûòñòâîì
; curious —
ëþáîçíàòåëüíûé;
ëþáîïûòíûé)
. “You will pardon me, M. Poirot (
ïðîñòèòå
ìåíÿ,
ìñüå
Ïóàðî)
, but I do not quite understand you (
íî
ÿ
íå
âïîëíå
âàñ
ïîíèìàþ)
.”
“I do not understand myself
(ÿ
ñàì
íå
ïîíèìàþ
),” said Poirot. “I understand nothing at all
(ÿ
âîîáùå
íè÷åãî
íå
ïîíèìàþ
). And, as you perceive
(è
, êàê
âû
ïîíèìàåòå
; to perceive —
ïîíèìàòü;
îùóùàòü,
÷óâñòâîâàòü)
, it worries me (
ýòî
ìåíÿ
áåñïîêîèò;
to worry — íàäîåäàòü
; áåñïîêîèòü
, âîëíîâàòü
).”
pardon ['pQ:dn]
perceive [pq'si:v]
worry ['wArI]
The doctor looked at him curiously. “You will pardon me, M. Poirot, but I
do not quite understand you.”
“I do not understand myself,” said Poirot. “I understand nothing at all.
And, as you perceive, it worries me.”
He sighed
(îí
âçäîõíóë
) and bent over the little table
(è
ñêëîíèëñÿ
íàä
ìàëåíüêèì
ñòîëèêîì
) examining the charred fragment of paper
(ðàññìàòðèâàÿ
îáóãëèâøèåñÿ
êëî÷êè
áóìàãè
). He murmured to himself
(îí
ïðîáîðìîòàë
ïðî
ñåáÿ
), “What I need at this moment
(òî
, ÷òî
ìíå
íóæíî
â
ýòîò
ñàìûé
ìîìåíò
) is an old-fashioned woman’s hat-box
(òàê
ýòî
ñòàðîìîäíàÿ
êàðòîíêà
äëÿ
äàìñêîé
øëÿïû
; fashion —
îáðàç,
ìàíåðà;
ìîäà; hat —
øëÿïà, box —
êîðîáêà)
.”
Dr. Constantine was at a loss
(äîêòîð
Êîíñòàíòèí
ðàñòåðÿëñÿ
; loss —
ïîòåðÿ,
ëèøåíèå, to be at a loss —
ðàñòåðÿòüñÿ,
ñìåøàòüñÿ;
áûòü
â
çàìåøàòåëüñòâå)
to know (/
è
íå/
çíàë)
what to make of this singular remark (
÷òî
è
ïîäóìàòü
îá
ýòîì
ñòðàííîì
çàìå÷àíèè;
singular — èñêëþ÷èòåëüíûé
; ñòðàííûé
, íåîáû÷íûé
). In any case
(â
ëþáîì
ñëó÷àå
) Poirot gave him no time for questions
(Ïóàðî
íå
äàë
åìó
âðåìåíè
íà
ðàññïðîñû
; question —
âîïðîñ)
. Opening the door into the corridor (
îòêðûâ
äâåðü
â
êîðèäîð)
, he called for the conductor (
îí
ïîçâàë
ïðîâîäíèêà)
.
The man arrived at a run
(ïðîâîäíèê
ïðèáåæàë
: «÷åëîâåê
ïîÿâèëñÿ
áåãîì
»; to arrive —
ïðèáûâàòü,
ïðèåçæàòü; run —
áåã,
ïðîáåã; at a run —
áåãîì)
.
old-fashioned ["qVld'fxS(q)nd]
singular ['sINgjVlq]
conductor [kqn'dAktq]
He sighed and bent over the little table examining the charred fragment of
paper. He murmured to himself, “What I need at this moment is an old-fashioned woman’s hat-box.”
Dr. Constantine was at a loss to know what to make of this singular remark.
In any case Poirot gave him no time for questions. Opening the door into the corridor, he called for the conductor.
The man arrived at a run.
“How many women are there in this coach
(ñêîëüêî
æåíùèí
â
ýòîì
âàãîíå
)?”
The conductor counted on his fingers
(ïðîâîäíèê
íà÷àë
ñ÷èòàòü
íà
ïàëüöàõ
).
“One, two, three — six, Monsieur
(îäíà
, äâå
, òðè
— øåñòü
, ìñüå
). The old American lady
(ïîæèëàÿ
àìåðèêàíñêàÿ
äàìà
= àìåðèêàíêà
), a Swedish lady
(øâåäêà
), the young English lady
(ìîëîäàÿ
àíãëè÷àíêà
), the Countess Andrenyi
(ãðàôèíÿ
Àíäðåíè
; countess —
ãðàôèíÿ /
ñóïðóãà
ãðàôà,
â
ò.
÷.
àíãëèéñêîãî/; count —
ãðàô /
íåàíãëèéñêèé
òèòóë/; earl —
ãðàô /
òèòóë
â
Âåëèêîáðèòàíèè/)
, and Madame la Princesse Dragomiroff (
è
ìàäàì
êíÿãèíÿ
Äðàãîìèðîâà)
and her maid (
è
åå
ñëóæàíêà/
ãîðíè÷íàÿ)
.”
Poirot considered
(Ïóàðî
îáäóìûâàë
).
“They all have hat-boxes, yes
(ó
íèõ
ó
âñåõ
åñòü
øëÿïíûå
êàðòîíêè
, äà
)?”
“Yes, Monsieur.”
coach [kqVtS]
lady ['leIdI]
countess ['kaVntIs]
“How many women are there in this coach?”
The conductor counted on his fingers.
“One, two, three — six, Monsieur. The old American lady, a Swedish lady,
the young English lady, the Countess Andrenyi, and Madame la Princesse Dragomiroff and her maid.”
Poirot considered.
“They all have hat-boxes, yes?”
“Yes, Monsieur.”
“Then bring me
(òîãäà
ïðèíåñèòå
ìíå
) — let me see
(äàéòå
ïîäóìàòü
; to see —
âèäåòü;
îáäóìûâàòü)
— yes, the Swedish lady’s (
äà,
êàðòîíêó
øâåäêè)
and that of the lady’s-maid (
è
êàðòîíêó
ëè÷íîé
ãîðíè÷íîé /
êíÿãèíè/)
. Those two are the only hope (
ýòè
äâå —
åäèíñòâåííàÿ
íàäåæäà)
. You will tell them (
âû
ñêàæåòå
èì)
it is a customs regulation (
÷òî
ýòî
òàìîæåííûå
ïðàâèëà;
customs — òàìîæåííûå
ïîøëèíû
, regulation — ðåãóëèðîâàíèå
; ïðàâèëà
, èíñòðóêöèè
) — something
(÷òî
-íèáóäü
) — anything that occurs to you
(âñå
, ÷òî
ïðèäåò
âàì
â
ãîëîâó
; to occur —
ñëó÷àòüñÿ,
ïðîèñõîäèòü;
ïðèõîäèòü
íà
óì,
â
ãîëîâó)
.”
“That will be all right, Monsieur (
âñå
áóäåò
â
ïîðÿäêå,
ìñüå)
. Neither
lady
(íè îäíà èç äàì)
is
in
her
compartment
(íå íàõîäèòñÿ â ñâîåì êóïå)
at
the
moment
(â äàííûé ìîìåíò âðåìåíè)
.”
“
Then
be
quick
(òîãäà ïîòîðîïèòåñü;
quick — áûñòðûé, ñêîðûé
).”
regulation ["regjV'leIS(q)n]
neither ['naIDq]
quick [kwIk]
“Then bring me — let me see — yes, the Swedish lady’s and that of the
lady’s-maid. Those two are the only hope. You will tell them it is a customs regulation — something — anything that occurs to you.”
“That will be all right, Monsieur. Neither lady is in her compartment at
the moment.”
“Then be quick.”
The conductor departed
(ïðîâîäíèê
óøåë
). He returned with the two hat-boxes
(îí
âåðíóëñÿ
ñ
äâóìÿ
øëÿïíûìè
êàðòîíêàìè
). Poirot opened that of the maid
(Ïóàðî
îòêðûë
êàðòîíêó
ëè÷íîé
ñëóæàíêè
/êíÿãèíè
/), and tossed it aside
(è
îòáðîñèë
åå
â
ñòîðîíó
; to toss —
áðîñàòü,
êèäàòü,
ìåòàòü)
. Then he opened the Swedish lady’s (
çàòåì
îí
îòêðûë
êàðòîíêó
øâåäêè)
and uttered an exclamation of satisfaction (
è
èçäàë
óäîâëåòâîðåííîå
âîñêëèöàíèå;
to utter — èçäàâàòü
/çâóê
/; satisfaction — óäîâëåòâîðåíèå
, óäîâëåòâîðåííîñòü
). Removing the hats carefully
(îñòîðîæíî
äîñòàâ
øëÿïû
; to remove —
ïåðåäâèãàòü;
óáèðàòü,
óíîñèòü)
, he disclosed (
îí
îáíàðóæèë;
to disclose — ðàñêðûâàòü
, îáíàæàòü
; îáíàðóæèâàòü
, íàõîäèòü
) round humps of wire-netting
(ñôåðè÷åñêèå
ïîëóñôåðû
: «âûïóêëîñòè
» èç
ïðîâîëî÷íîé
ñåòêè
; wire —
ïðîâîëîêà, net —
ñåòü)
.
toss [t
Os]
hump [hAmp]
wire netting ["waIq'netIN]
The conductor departed. He returned with the two hat-boxes. Poirot opened that
of the maid, and tossed it aside. Then he opened the Swedish lady’s and uttered an exclamation of satisfaction. Removing the hats carefully, he disclosed round humps of wire-netting.
“Ah, here is what we need
(à
, âîò
òî
, ÷òî
íàì
íóæíî
)! About fifteen years ago
(ëåò
ïÿòíàäöàòü
òîìó
íàçàä
) hat-boxes were made like this
(øëÿïíûå
êîðîáêè
äåëàëè
èìåííî
òàê
; to make (made) —
äåëàòü,
èçãîòîâëÿòü)
. You skewered through the hat (
øëÿïà
ïðîêàëûâàëàñü
íàñêâîçü;
to skewer — íàñàæèâàòü
íà
âåðòåë
; ïðîíçàòü
, ïðîíèçûâàòü
) with a hatpin
(øëÿïíîé
áóëàâêîé
) on to this hump of wire-netting
(/è
êðåïèëàñü
/ ê
ýòîé
ñôåðå
èç
ïðîâîëî÷íîé
ñåòêè
).”
As he spoke
(ïîêà
îí
ãîâîðèë
) he was skillfully removing
(îí
óìåëî
äîñòàâàë
; skill —
ìàñòåðñòâî,
èñêóñíîñòü; skilful —
èñêóñíûé,
ëîâêèé,
îïûòíûé)
two of the attached humps (
äâå
èç
ïðèêðåïëåííûõ
ñôåð;
to attach — ïðèêðåïëÿòü
, ñêðåïëÿòü
). Then he repacked the hat-box
(çàòåì
îí
ñíîâà
óïàêîâàë
/øëÿïû
/ â
êàðòîíêè
; to pack —
óïàêîâûâàòü,
óêëàäûâàòü
âåùè; to repack —
óïàêîâàòü
çàíîâî)
and told the conductor (
è
âåëåë
ïðîâîäíèêó)
to return both boxes (
âåðíóòü
îáå
êàðòîíêè)
where they belonged (
òóäà,
ãäå
îíè
è
áûëè);
to belong — ïðèíàäëåæàòü
, áûòü
ñîáñòâåííîñòüþ
; îòíîñèòüñÿ
, èìåòü
îòíîøåíèå
).
skewer ['skju:q]
through [Tru:]
attached [q'txtSt]
belong [bI'l
ON]
“Ah, here is what we need! About fifteen years ago hat-boxes were made like
this. You skewered through the hat with a hatpin on to this hump of wire-netting.”
As he spoke he was skillfully removing two of the attached humps. Then he repacked
the hat-box and told the conductor to return both boxes where they belonged.
When the door was shut once more
(êîãäà
äâåðü
ñíîâà
çàêðûëàñü
; to shut —
çàòâîðÿòü,
çàêðûâàòü; once more —
åùå
ðàç)
he turned to his companion (
îí
ïîâåðíóëñÿ
ê
ñâîåìó
ñïóòíèêó;
companion — òîâàðèù
; ñîáåñåäíèê
; ñïóòíèê
).
“See
you
, my
dear
doctor
(ïîíèìàåòå ëè, ìîé äîðîãîé äîêòîð)
, me
, I
am
not
one
(ÿ íå òîò ÷åëîâåê)
to
rely
upon
the
expert
procedure
(/êîòîðûé/ ïîëàãàåòñÿ íà ýêñïåðòíûå ïðîöåäóðû
= ýêñïåðòèçû). It
is
the
psychology
I
seek
(ÿ ïûòàþñü ðàçîáðàòüñÿ: «íàéòè» â ïñèõîëîãèè;
to
seek — èñêàòü, ðàçûñêèâàòü, ïûòàòüñÿ íàéòè
),
not
the
fingerprint
(à íå â îòïå÷àòêàõ ïàëüöåâ)
or
the
cigarette
ash
(èëè ñèãàðåòíîì ïåïëå)
. But
in
this
case
(íî â ýòîì ñëó÷àå)
I
would
welcome
(ÿ áû ïðèâåòñòâîâàë)
a
little
scientific
assistance
(íåáîëüøóþ íàó÷íóþ ïîìîùü)
. This compartment is full of clues
(ýòî
êóïå
íàïîëíåíî
óëèêàìè
), but can I be sure
(íî
ìîãó
ëè
ÿ
áûòü
óâåðåííûì
) that those clues
(÷òî
ýòè
óëèêè
) are really what they seem to be
(äåéñòâèòåëüíî
ÿâëÿþòñÿ
òåì
, ÷åì
îíè
êàæóòñÿ
)?”
“I do not quite understand you, M. Poirot
(ÿ
íå
âïîëíå
âàñ
ïîíèìàþ
, ìñüå
Ïóàðî
).”
expert ['ekspq:t]
procedure
[prq'si:dZq] scientific
["saIqn'tIfIk]
When the door was shut once more he turned to his companion.
“See you, my dear doctor, me, I am not one to rely upon the expert procedure.
It is the psychology I seek, not the fingerprint or the cigarette ash. But in this case I would welcome a little scientific assistance. This compartment is full of clues, but can I be sure that those clues are really what
they seem to be?”
“I do not quite understand you, M. Poirot.”
“Well
, to
give
you
an
example
(íó, íàïðèìåð: «÷òîáû äàòü âàì ïðèìåð»)
— we
find
a
woman
’s
handkerchief
(ìû íàõîäèì æåíñêèé íîñîâîé ïëàòîê)
. Did
a
woman
drop
it
(óðîíèëà ëè åãî æåíùèíà;
to
drop — êàïàòü, ñòåêàòü êàïëÿìè; ðîíÿòü
)?
Or
did
a
man
(èëè, ìîæåò, ìóæ÷èíà),
committing
the
crime
(ñîâåðøèâøèé ïðåñòóïëåíèå;
to
commit — ñîâåðøàòü /÷àùå äóðíîå/
),
say
to
himself
(ãîâîðèò ñåáå): ‘
I
will
make
this
look
(ÿ ñäåëàþ òàê, ÷òî áû ýòî âûãëÿäåëî)
like
a
woman
’s
crime
(êàê ïðåñòóïëåíèå, /ñîâåðøåííîå/ æåíùèíîé)
. I
will
stab
my
enemy
(ÿ çàêîëþ ìîåãî íåäðóãà)
an
unnecessary
number
of
times
(èçëèøíåå êîëè÷åñòâî ðàç)
, making
some
of
the
blows
feeble
and
ineffective
(äåëàÿ íåêîòîðûå èç óäàðîâ ñëàáûìè è íåýôôåêòèâíûìè
= áåçâðåäíûìè), and
I
will
drop
this
handkerchief
(è ÿ îáðîíþ ýòîò íîñîâîé ïëàòîê /òàì/)
where
no
one
can
miss
it
(ãäå íèêòî íå ñìîæåò åãî ïðîãëÿäåòü;
to
miss — ïðîìàõíóòüñÿ; ïðîéòè ìèìî, íå çàìåòèòü
)’?
That
is
one
possibility
(ýòà îäíà âîçìîæíîñòü/âåðîÿòíîñòü)
. Then
there
is
another
(êðîìå òîãî, ñóùåñòâóåò è äðóãàÿ /âîçìîæíîñòü/)
. Did
a
woman
kill
him
(ìîæåò, æåíùèíà óáèëà åãî)
, and
did
she
deliberately
drop
a
pipe
-cleaner
(è îáðîíèëà ïðåäíàìåðåííî åðøèê äëÿ ÷èñòêè òðóáêè)
to
make
it
look
like
a
man
’s
work
(÷òîáû ýòî âûãëÿäåëî: «çàñòàâèòü ýòî âûãëÿäåòü»
êàê äåëî /ðóê/ ìóæ÷èíû; work
— ðàáîòà, òðóä; äåéñòâèå, ïîñòóïîê
)?
Or
are
we
seriously
to
suppose
(èëè ìû ÷òî, ñåðüåçíî /äîëæíû/ äóìàòü)
that
two
people
(÷òî äâîå ÷åëîâåê)
, a
man
and
a
woman
(ìóæ÷èíà è æåíùèíà)
, were
separately
concerned
(çàìåøàíû /â ýòîì/ ïî îòäåëüíîñòè;
separate — îòäåëüíûé, èçîëèðîâàííûé
),
and
that
each
was
so
careless
(è ÷òî êàæäûé èç íèõ áûë íàñòîëüêî íåáðåæåí/íåâíèìàòåëåí)
as
to
drop
a
clue
(÷òîáû óðîíèòü óëèêó)
to
his
or
her
identity
(ïî êîòîðîé ìîæíî îïîçíàòü åãî èëè åå;
to
identify — îòîæäåñòâëÿòü; îïîçíàâàòü, óñòàíàâëèâàòü
ëè÷íîñòü; identity — òîæäåñòâåííîñòü;
ïîäëèííîñòü; ëè÷íîñòü)
? It is a little too much of a coincidence, that
(ýòî
ñëèøêîì
óæ
ìíîãî
äëÿ
ñîâïàäåíèé
, òàê
-òî
)!”
example [Ig'zQ:mp(q)l]
unnecessary [An'nesqs(q)rI]
deliberately [dI'lIb(q)rItlI]
separately ['sep(q)rItlI]
coincidence [kqV'InsId(q)ns]
“Well, to give you an example — we find a woman’s handkerchief. Did a
woman drop it? Or did a man, committing the crime, say to himself: ‘I will make this look like a woman’s crime. I will stab my enemy an unnecessary number of times, making some of the blows feeble and ineffective, and
I will drop this handkerchief where no one can miss it’? That is one possibility. Then there is another. Did a woman kill him, and did she deliberately drop a pipe-cleaner to make it look like a man’s work? Or are we seriously
to suppose that two people, a man and a woman, were separately concerned, and that each was so careless as to drop a clue to his or her identity? It is a little too much of a coincidence, that!”
“But where does the hat-box come in
(íî
ïðè÷åì
òóò
øëÿïíàÿ
êîðîáêà
; to come in —
ïðèõîäèòü,
ïðèáûâàòü;
èìåòü
îòíîøåíèå /
ê
÷åìó-
ëèáî/
)?” asked the doctor, still puzzled
(ñïðîñèë
äîêòîð
, âñå
åùå
îçàäà÷åííî
; puzzle —
òðóäíûé
âîïðîñ;
çàìåøàòåëüñòâî,
ñìóùåíèå; to puzzle —
îçàäà÷èâàòü;
ïðèâîäèòü
â
çàìåøàòåëüñòâî)
.
“Ah! I am coming to that (
à,
ÿ
ïîäõîæó
ê
ýòîìó)
. As I say (
êàê
ÿ
è
ãîâîðþ)
, these clues (
ýòè
óëèêè)
— the watch stopped at a quarter past one (
÷àñû,
îñòàíîâèâøèåñÿ
â
÷åòâåðòü
âòîðîãî)
, the handkerchief (
íîñîâîé
ïëàòîê)
, the pipe-cleaner (
åðøèê
äëÿ
÷èñòêè
òðóáîê)
— they may be genuine (
îíè
ìîãóò
áûòü
íàñòîÿùèìè/
ïîäëèííûìè)
, or they may be faked (
èëè
îíè
ìîãóò
áûòü
ñôàáðèêîâàííûìè;
fake — ïîääåëêà
, ïîäëîã
; to fake — ïîääåëûâàòü
; ôàëüñèôèöèðîâàòü
, ôàáðèêîâàòü
). As
to
that
(÷òî êàñàåòñÿ ýòîãî)
I
cannot
yet
tell
(ÿ ïîêà íå ìîãó ñêàçàòü)
. But
there
is
one
clue
here
(íî çäåñü åñòü îäíà óëèêà)
which
— though
again
I
may
be
wrong
(êîòîðàÿ — õîòÿ ÿ ñíîâà ìîãó îøèáàòüñÿ;
wrong — íåïðàâèëüíûé, íåâåðíûé, îøèáî÷íûé
) —
I
believe
(ÿ óâåðåí; to
believe
— âåðèòü; ïîëàãàòü, ñ÷èòàòü
)
has
not
been
faked
(íå áûëà ñôàáðèêîâàíà)
. I
mean
this
flat
match
, M
. le
docteur
(ÿ èìåþ â âèäó ýòó ïëîñêóþ ñïè÷êó, ìñüå äîêòîð)
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