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 (5).
Àãàòà Êðèñòè. (5 ñòð.êíèãè)
I
believe
that
that
match
(ÿ ïîëàãàþ, ÷òî ýòà ñïè÷êà)
was
used
by
the
murderer
(áûëà èñïîëüçîâàíà =
ñîææåíà óáèéöåé;
to
use — óïîòðåáëÿòü, ïîëüçîâàòüñÿ, ïðèìåíÿòü
),
not
by
Mr.
Ratchett
(à íå ìèñòåðîì Ðýò÷åòòîì)
. It
was
used
to
burn
(îíà áûëà èñïîëüçîâàíà äëÿ òîãî, ÷òîáû ñæå÷ü)
an
incriminating
paper
of
some
kind
(íåêèé: «íåêîòîðîãî ðîäà» ðàçîáëà÷àþùèé äîêóìåíò;
to
incriminate — èíêðèìèíèðîâàòü, ðàçîáëà÷àòü;
paper — áóìàãà; äîêóìåíò
).
Possibly
a
note
(âîçìîæíî, çàïèñêó).
If
so,
there
was
something
in
that
note
(åñëè ýòî òàê, òî â ýòîé çàïèñêå áûëî íå÷òî)
, some
mistake
(êàêàÿ-òî îøèáêà;
mistake — îøèáêà; íåäîðàçóìåíèå; çàáëóæäåíèå
),
some
error
(íåêîå óïóùåíèå; error
— îøèáêà; çàáëóæäåíèå; ëîæíîå ïðåäñòàâëåíèå
),
that
left
a
possible
clue
to
the
assailant
(êîòîðîå îñòàâëÿëî âîçìîæíóþ óëèêó /óêàçûâàþùóþ/ íà íàïàäàâøåãî;
to
assail — íàñòóïàòü; íàïàäàòü
).
I
am
going
to
try
to
discover
(ÿ ïîïûòàþñü îáíàðóæèòü;
to
discover — îòêðûâàòü, äåëàòü îòêðûòèå; îáíàðóæèâàòü,
íàõîäèòü)
what
that
something
was
(÷åì æå áûëî ýòî íå÷òî)
.”
genuine
['dZenjVIn] wrong
[rO
N] incriminating
[In'krImIneItIN] assailant [
q'seIlent]
“But where does the hat-box come in?” asked the doctor, still puzzled.
“Ah! I am coming to that. As I say, these clues — the watch stopped at
a quarter past one, the handkerchief, the pipe-cleaner — they may be genuine, or they may be faked. As to that I cannot yet tell. But there is one clue here which — though again I may be wrong — I believe has not been
faked. I mean this flat match, M. le docteur. I believe that that match was used by the murderer, not by Mr. Ratchett. It was used to burn an incriminating paper of some kind. Possibly a note. If so, there was something in
that note, some mistake, some error, that left a possible clue to the assailant. I am going to try to discover what that something was.”
He went out of the compartment
(îí
âûøåë
èç
êóïå
) and returned a few moments later
(è
âåðíóëñÿ
÷óòü
ïîçæå
; late (later, latest) —
ïîçäíî)
with a small spirit stove (
ñ
íåáîëüøîé
ñïèðòîâêîé;
spirit — ñïèðò
; stove — ïå÷ü
, ïå÷êà
) and a pair of curling-tongs
(è
ïàðîé
ùèïöîâ
= ùèïöàìè
äëÿ
çàâèâêè
âîëîñ
; to curl —
çàâèâàòü,
êðóòèòü; tongs —
ùèïöû)
.
“
I
use
them
for
the
moustaches
(ÿ èñïîëüçóþ èõ äëÿ /çàâèâêè/ óñîâ)
,” he
said
, referring
to
the
latter
(óêàçûâàÿ íà ïîñëåäíèå;
to
refer — ïîñûëàòü, îòñûëàòü /ê êîìó-ëèáî, ÷åìó-ëèáî;
ññûëàòüñÿ /íà êîãî-ëèáî, ÷òî-ëèáî/
).
The
doctor
watched
him
(äîêòîð íàáëþäàë çà íèì)
with
great
interest
(ñ áîëüøèì èíòåðåñîì)
. Poirot
flattened
out
the
two
humps
of
wire
(Ïóàðî ðàñïðÿìèë äâå ïîëóñôåðû èç ïðîâîëîêè;
to
flatten — äåëàòü ïëîñêèì; ðàçãëàæèâàòü;
hump — âûïóêëîñòü, õîëì; áóãîð
),
and
with
great
care
(è ñ îãðîìíîé îñòîðîæíîñòüþ;
care — çàáîòà, ïîïå÷åíèå; âíèìàòåëüíîñòü,
òùàòåëüíîñòü)
wriggled
the
charred
scrap
of
paper
(àêêóðàòíî ïîëîæèë îáóãëèâøèéñÿ êëî÷îê áóìàãè;
to
wriggle — èçâèâàòüñÿ /î ÷åðâå, çìåå/; èçãèáàòüñÿ;
îñòîðîæíî êëàñòü)
on
to
one
of
them
(íà îäíó èç íèõ)
. He
clapped
the
other
(îí íàëîæèë äðóãóþ /ïðîâîëî÷íóþ ïîëóñôåðó/;
to
clap — õëîïàòü, àïëîäèðîâàòü; õëîïàòü /äâåðüìè,
êðûëüÿìè è ò.ï./) on
top
of
it
(ïîâåðõ íåå;
top — âåðõóøêà, âåðøèíà; âåðõíÿÿ ÷àñòü
)
and
then
(è çàòåì),
holding
both
pieces
together
with
the
tongs
(óäåðæèâàÿ äâå ÷àñòè âìåñòå ùèïöàìè;
piece — êóñîê, ÷àñòü
),
held
the
whole
thing
(/ñòàë/ äåðæàòü âñþ ýòó êîíñòðóêöèþ;
thing — âåùü, ïðåäìåò
)
over
the
flame
of
the
spirit-
lamp
(íàä ïëàìåíåì ñïèðòîâêè;
lamp — ëàìïà, ôîíàðü
).
“
It
is
a
very
makeshift
affair,
this
(ýòî î÷åíü êóñòàðíîå çàíÿòèå;
makeshift — êóñòàðíûé, ñàìîäåëüíûé; âðåìåííûé;
affair — äåëî; çàíÿòèå
),”
he
said
over
his
shoulder
(ñêàçàë îí ÷åðåç ïëå÷î)
. “Let
us
hope
(äàâàéòå áóäåì íàäåÿòüñÿ)
that
it
will
answer
our
purpose
(÷òî îíî ñãîäèòñÿ äëÿ íàøåé öåëè;
to
answer — îòâå÷àòü; ñîîòâåòñòâîâàòü, óäîâëåòâîðÿòü
/÷åìó-ëèáî/).”
spirit ['spIrIt]
curling
tongs ['kq:lINt
ONz]
moustache [mq'stQ:S]
wriggle ['rIg(q)l]
makeshift ['meIkSIft]
affair [q'feq]
purpose ['pq:pqs]
He went out of the compartment and returned a few moments later with a small
spirit stove and a pair of curling-tongs.
“I use them for the moustaches,” he said, referring to the latter.
The doctor watched him with great interest. Poirot flattened out the two humps
of wire, and with great care wriggled the charred scrap of paper on to one of them. He clapped the other on top of it and then, holding both pieces together with the tongs, held the whole thing over the flame of the spirit-lamp.
“It is a very makeshift affair, this,” he said over his shoulder. “Let
us hope that it will answer our purpose.”
The doctor watched the proceedings attentively (
äîêòîð
âíèìàòåëüíî
íàáëþäàë
çà /
åãî/
äåéñòâèÿìè;
proceeding(s) — ïîâåäåíèå
, ïîñòóïîê
; ðàáîòà
, äåÿòåëüíîñòü
; attention — âíèìàíèå
, âíèìàòåëüíîñòü
, attentive — âíèìàòåëüíûé
). The metal began to glow
(ìåòàëë
/ïðîâîëîêà
/ íà÷àë
íàêàëÿòüñÿ
). Suddenly he saw
(âíåçàïíî
îí
óâèäåë
) faint indications of letters
(ñëàáûå
î÷åðòàíèÿ
áóêâ
; faint —
ñëàáûé,
îñëàáåâøèé;
ñëàáûé,
òóñêëûé,
íåîò÷åòëèâûé; indication —
ïðèçíàê,
ñèìïòîì,
çíàê)
. Words
formed
themselves
slowly
(ñëîâà ìåäëåííî ïðîÿâëÿëèñü: «ôîðìèðîâàëèñü»)
— words
of
fire
(ñëîâà èç ïëàìåíè)
.
It was a very tiny scrap (
êëî÷îê /
áóìàãè/
áûë
êðîøå÷íûì)
. Only
three
words
(òîëüêî òðè ñëîâà)
and
part
of
another
showed
(è ÷àñòü åùå îäíîãî ïîÿâèëèñü;
to
show — ïîêàçûâàòü; ïîêàçûâàòüñÿ, ïîÿâëÿòüñÿ
).
— ...
member
little
Daisy
Armstrong
— ...
îìíè
ìàëåíüêóþ
Äåéçè
Àðìñòðîíã
proceeding [prq'si:dIN]
attentive [q'tentIv]
indication ["IndI'keIS(q)n]
scrap [skrxp]
The doctor watched the proceedings attentively. The metal began to glow. Suddenly
he saw faint indications of letters. Words formed themselves slowly — words of fire.
It was a very tiny scrap. Only three words and part of another showed.
— ...member little Daisy Armstrong
“Ah!” Poirot gave a sharp exclamation
(àãà
! — âîñêëèêíóë
Ïóàðî
; to exclaim —
âîñêëèöàòü; exclamation —
âîñêëèöàíèå; sharp —
îñòðûé;
ðåçêèé,
ïðîíçèòåëüíûé /
î
çâóêå/
).
“It tells you something
(ýòî
âàì
÷òî
-íèáóäü
ãîâîðèò
)?” asked the doctor
(ñïðîñèë
äîêòîð
).
Poirot’s eyes were shining
(ãëàçà
Ïóàðî
ñâåðêàëè
; to shine —
ñâåòèòü,
ñèÿòü;
áëåñòåòü,
ñâåðêàòü)
. He laid down the tongs carefully (
îí
îñòîðîæíî
ïîëîæèë
ùèïöû;
to lay (laid) — êëàñòü
, ïîëîæèòü
).
“Yes,” he said. “
I
know
the
dead
man’
s
real
name
(ÿ çíàþ íàñòîÿùåå èìÿ óáèòîãî;
dead — ìåðòâûé;
real — äåéñòâèòåëüíûé, ðåàëüíûé; íàñòîÿùèé,
ïîäëèííûé).
I
know
why
he
had
to
leave
America
(ÿ çíàþ, ïî÷åìó åìó ïðèøëîñü ïîêèíóòü Àìåðèêó;
has
to
do
smth. — âûðàæàåò äîëæåíñòâîâàíèå
).”
“
What
was
his
name
(è êàê æå åãî çîâóò)?”
“
Cassetti
(Êàññåòòè).”
“
Cassetti?”
Constantine
knitted
his
brows
(Êîíñòàíòèí íàõìóðèëñÿ;
to
knit — âÿçàòü; õìóðèòü /áðîâè/;
to
knit
one'
s
brow — íàõìóðèòü áðîâè, õìóðèòüñÿ
). “
It
brings
back
to
me
something
(ýòî /èìÿ/ íàïîìèíàåò ìíå î ÷åì-òî
; to
bring
back
— ïðèíîñèòü îáðàòíî; âîñêðåøàòü â ïàìÿòè, íàïîìèíàòü
).
Some
years
ago
(íåñêîëüêî ëåò íàçàä).
I
cannot
remember
(íå ìîãó âñïîìíèòü). ...
It
was
a
case
in
America,
was
it
not
(áûëî êàêîå-òî äåëî â Àìåðèêå, íå òàê ëè;
case — ñëó÷àé, îáñòîÿòåëüñòâî; ñóäåáíîå äåëî
)?”
“Yes,” said Poirot. “
A
case
in
America.”
shining ['SaInIN]
real [rIql]
America [q'merIkq]
“Ah!” Poirot gave a sharp exclamation.
“It tells you something?” asked the doctor.
Poirot’s eyes were shining. He laid down the tongs carefully.
“Yes,” he said. “I know the dead man’s real name. I know why he had to leave America.”
“What was his name?”
“Cassetti.”
“Cassetti?” Constantine knitted his brows. “It brings back to me something.
Some years ago. I cannot remember. ... It was a case in America, was it not?”
“Yes,” said Poirot. “A case in America.”
Further than that
(î
áîëüøåì
) Poirot was not disposed to be communicative
(Ïóàðî
íå
áûë
ñêëîíåí
ðàñïðîñòðàíÿòüñÿ
; to dispose —
ðàñïîëàãàòü; disposed —
ðàñïîëîæåííûé;
íàñòðîåííûé,
ñêëîííûé; to communicate —
ñîîáùàòü,
ïåðåäàâàòü)
. He looked round him (
îí
îãëÿäåëñÿ /
âîêðóã
ñåáÿ/)
as he went on (
ïðîäîëæàÿ /
ãîâîðèòü/;
to go (went, gone) on — èäòè
äàëüøå
; ïðîäîëæàòü
):
“We
will
go
into
all
that
presently
(ìû ê ýòîìó åùå ïåðåéäåì âñêîðå;
to
go
into
smth. — òùàòåëüíî ðàçáèðàòü ÷òî-ëèáî, âíèêàòü,
ðàññëåäîâàòü)
. Let us first make sure
(ñïåðâà
äàâàéòå
óáåäèìñÿ
; sure —
óâåðåííûé)
that we have seen all (
÷òî
ìû
óâèäåëè
âñå)
there is to be seen here (
÷òî
çäåñü
ìîæíî
óâèäåòü)
.”
Quickly and deftly
(áûñòðî
è
ëîâêî
) he went once more
(îí
åùå
ðàç
îáûñêàë
; to go (went, gone) through smth. —
òùàòåëüíî
ðàçáèðàòü
÷òî-
ëèáî;
îáûñêèâàòü,
îáøàðèâàòü
÷òî-
ëèáî)
through the pockets of the dead man’s clothes (
êàðìàíû
îäåæäû
óáèòîãî
ìóæ÷èíû)
but found nothing there of interest (
íî
íå
íàøåë
òàì
íè÷åãî
èíòåðåñíîãî; to find (found)
). He tried the communicating door (
îí
ïîïðîáîâàë
ñìåæíóþ
äâåðü;
to try — ïûòàòüñÿ
, ñòàðàòüñÿ
; ïðîâåðÿòü
íà
îïûòå
; try the door — ïîïðîáóéòå
/çàïåðòà
ëè
/ äâåðü
) which led through to the next compartment
(êîòîðàÿ
âåëà
â
ñîñåäíåå
êóïå
; to lead (led); next —
ñëåäóþùèé;
áëèæàéøèé,
ñîñåäíèé)
, but it was bolted on the other side (
íî
îíà
áûëà
çàïåðòà
íà
çàñîâ
èçíóòðè: «
ñ
äðóãîé
ñòîðîíû»;
bolt — çàñîâ
, çàäâèæêà
; to bolt — çàïèðàòü
íà
çàñîâ
).
communicative [kq'mju:nIkqtIv]
presently ['prez(q)ntlI]
quickly ['kwIklI]
deftly ['deftlI]
Further than that Poirot was not disposed to be communicative. He looked round
him as he went on:
“We will go into all that presently. Let us first make sure that we have
seen all there is to be seen here.”
Quickly and deftly he went once more through the pockets of the dead man’s
clothes but found nothing there of interest. He tried the communicating door which led through to the next compartment, but it was bolted on the other side.
“There is one thing
(åñòü
îäíà
âåùü
) that I do not understand
(êîòîðóþ
ÿ
íå
ïîíèìàþ
),” said Dr. Constantine. “If the murderer did not escape through the window
(åñëè
óáèéöà
íå
ñáåæàë
÷åðåç
îêíî
), and if this communicating door was bolted
(è
åñëè
ñìåæíàÿ
äâåðü
áûëà
çàïåðòà
) on the other side
(ñ
äðóãîé
ñòîðîíû
), and if the door into the corridor
(è
åñëè
äâåðü
â
êîðèäîð
) was not only locked on the inside
(áûëà
íå
òîëüêî
çàïåðòà
íà
çàìîê
èçíóòðè
; lock —
çàìîê,
çàòâîð; to lock —
çàïèðàòü
íà
çàìîê; inside —
âíóòðü,
âíóòðè)
but chained (
íî
è
çàêðûòà
íà
öåïî÷êó;
chain — öåïü
, öåïî÷êà
; to chain — ñêðåïëÿòü
öåïüþ
; çàêðûòü
íà
öåïî÷êó
/äâåðü
/), how then did the murderer
(êàê
æå
òîãäà
óáèéöà
) leave the compartment
(ïîêèíóë
êóïå
)?”
“That is what the audience says
(êàê
ðàç
ýòî
è
ãîâîðèò
ïóáëèêà
/çðèòåëè
) when a person bound hand and foot
(êîãäà
÷åëîâåêà
, ñâÿçàííîãî
ïî
ðóêàì
è
íîãàì
; to bind (bound) —
âÿçàòü,
ñâÿçûâàòü)
is shut into a cabinet (
çàïèðàþò
â
ÿùèê;
cabinet — ãîðêà
, øêàô÷èê
; ôóòëÿð
, ÿùèê
) — and disappears
(è
/îí
/ èñ÷åçàåò
).”
bolt [bqVlt]
chain [tSeIn]
audience ['O:dIqns]
cabinet ['kxb
(I)nIt]
disappear ["dIsq'pIq]
“There is one thing that I do not understand,” said Dr. Constantine. “If
the murderer did not escape through the window, and if this communicating door was bolted on the other side, and if the door into the corridor was not only locked on the inside but chained, how then did the murderer leave
the compartment?”
“That is what the audience says when a person bound hand and foot is shut
into a cabinet — and disappears.”
“You mean
(òî
åñòü
...) — ?”
“I mean,” explained Poirot
(òî
åñòü
, îáúÿñíèë
Ïóàðî
), “that if the murderer intended us to believe
(åñëè
óáèéöà
çàäóìàë
òàê
, ÷òîáû
ìû
ïîâåðèëè
; to intend —
íàìåðåâàòüñÿ;
ñîáèðàòüñÿ,
èìåòü
â
âèäó)
that he had escaped by way of the window (
÷òî
îí
ñáåæàë
÷åðåç
îêíî;
way — ïóòü
, äîðîãà
; ìåòîä
, ñïîñîá
; by way of — ïî
, ÷åðåç
), he would naturally make it appear
(îí
, åñòåñòâåííî
, ñäåëàë
áû
, ÷òîáû
âûãëÿäåëî
òàê
; to appear —
ïîÿâëÿòüñÿ,
ïîêàçûâàòüñÿ;
ïðåäñòàâëÿòüñÿ,
ïðîèçâîäèòü
âïå÷àòëåíèå)
that the other two exits were impossible (
÷òî
äâà
äðóãèõ
âûõîäà
áûëè
íåâîçìîæíû)
. Like the ‘disappearing person’ in the cabinet
(êàê
è
«èñ÷åçàþùèé
÷åëîâåê
» â
ÿùèêå
), it is a trick
(ýòî
ôîêóñ
/òðþê
; trick —
õèòðîñòü,
îáìàí;
ôîêóñ,
òðþê)
. It is our business to find out (
ýòî
íàøå
äåëî —
âûÿñíèòü;
to find out — ðàçóçíàòü
, âûÿñíèòü
) how the trick is done
(êàê
ýòîò
òðþê
âûïîëíåí
).
He locked the communicating door
(îí
çàïåð
íà
êëþ÷
ñìåæíóþ
äâåðü
) on their side
(ñî
ñâîåé
: «ñ
èõ
» ñòîðîíû
) — “in case
(íà
òîò
ñëó÷àé
),” he said, “the excellent Mrs. Hubbard
(åñëè
ïðåêðàñíîé
ìèññèñ
Õàááàðä
; excellent —
ïðåâîñõîäíûé,
îòëè÷íûé)
should take it into her head (
âçáðåäåò
â
ãîëîâó;
to take smth. into one's head, — âáèòü
ñåáå
÷òî
-ëèáî
â
ãîëîâó
) to acquire first-hand details of the crime
(ïîëó÷èòü
èç
ïåðâûõ
ðóê
ïîäðîáíîñòè
ïðåñòóïëåíèÿ
; first-hand —
íåïîñðåäñòâåííûé,
ïðÿìîé; /
ïîëó÷åííûé/
èç
ïåðâûõ
ðóê
) to write to her daughter
(÷òîáû
íàïèñàòü
ñâîåé
äî÷åðè
).”
He looked round once more
(îí
åùå
ðàç
îãëÿíóëñÿ
).
“There is nothing more to do here, I think (
äóìàþ,
áîëüøå
çäåñü
äåëàòü
íå÷åãî)
. Let
us
rejoin
M.
Bouc
(äàâàéòå ïðèñîåäèíèìñÿ =
âåðíåìñÿ ê ìñüå Áóêó)
.”
intend [In'tend]
believe [bI'li:v]
naturally ['nxtS(q)rqlI]
excellent ['eks
(q)lqnt]
acquire [q'kwaIq]
daughter ['dO:tq]
re-join ["ri:'dZOIn]
“You mean — ?”
“I mean,” explained Poirot, “that if the murderer intended us to believe
that he had escaped by way of the window, he would naturally make it appear that the other two exits were impossible. Like the ‘disappearing person’ in the cabinet, it is a trick. It is our business to find out how the
trick is done.
He locked the communicating door on their side — “in case,” he said,
“the excellent Mrs. Hubbard should take it into her head to acquire first-hand details of the crime to write to her daughter.”
He looked round once more.
“There is nothing more to do here, I think. Let us rejoin M. Bouc.”
8
THE ARMSTRONG KIDNAPPING CASE
(
Äåëî
î
ïîõèùåíèè /
Äåéçè/
Àðìñòðîíã;
to kidnap — ïîõèùàòü
ëþäåé
/äëÿ
ïîëó÷åíèÿ
âûêóïà
/)
They
found
M.
Bouc
finishing
an
omelet
(îíè çàñòàëè ìñüå Áóêà /êîãäà òîò/ çàêàí÷èâàë =
äîåäàë îìëåò;
to
find (
found) — íàõîäèòü, îòûñêèâàòü; çàñòàòü, íàéòè
/ãäå-ëèáî, çà êàêèì-ëèáî çàíÿòèåì/)
.
“I
thought
it
best
(ÿ ïîäóìàë, ÷òî áóäåò ëó÷øå âñåãî)
to
have
lunch
served
immediately
(ïðèêàçàòü íåìåäëåííî ïîäàòü ëåí÷;
to have smth. done — âåëåòü, ïðèêàçàòü ñäåëàòü ÷òî-ëèáî äëÿ ñåáÿ;
to
serve — ñëóæèòü, áûòü ñëóãîé; ïîäàâàòü /íà
ñòîë/, ðàçíîñèòü /ïèùó/)
in
the
restaurant
car
(â âàãîíå-ðåñòîðàíå)
,” he
said
. “Afterwards
it
will
be
cleared
(ïîñëå ýòîãî åãî =
âàãîí-ðåñòîðàí îñâîáîäÿò;
to
clear — î÷èùàòü; îñâîáîæäàòü, óáèðàòü
)
and
M.
Poirot
can
conduct
(è ìñüå Ïóàðî ñìîæåò ïðîâåñòè;
to
conduct — âåñòè, ñîïðîâîæäàòü; âåñòè, ïðîâîäèòü
)
his
examination
of
the
passengers
there
(òàì îïðîñ ïàññàæèðîâ;
examination — îñìîòð; þð. äîïðîñ ñâèäåòåëÿ èëè
ïîäñóäèìîãî).
In the meantime (
òåì
âðåìåíåì)
I have ordered them to bring us three (
ÿ
ïðèêàçàë
ïðèíåñòè
íàì
òðîèì)
some food here (
ñþäà
íåìíîãî
åäû)
.”
“An excellent idea
(îòëè÷íàÿ
ìûñëü
),” said Poirot.
omelet, omelette ['
OmlIt]
immediately [I'mi:dIqtlI]
examination [Ig"zxmI'neIS(q)n]
They found M. Bouc finishing an omelet.
“I thought it best to have lunch served immediately in the restaurant car,”
he said. “Afterwards it will be cleared and M. Poirot can conduct his examination of the passengers there. In the meantime I have ordered them to bring us three some food here.”
“An excellent idea,” said Poirot.
None of the three men was hungry
(íèêòî
èç
òðåõ
ìóæ÷èí
íå
áûë
ãîëîäåí
), and the meal was soon eaten
(è
âñêîðå
áëþäà
áûëè
ñúåäåíû
= îáåä
íå
çàíÿë
ó
íèõ
ìíîãî
âðåìåíè
; meal —
ïðèíÿòèå
ïèùè,
åäà)
; but not till they were sipping their coffee (
è
òîëüêî
êîãäà: «
íî
íå
äî
òåõ
ïîð,
ïîêà»
îíè /
óæå/
ïîòÿãèâàëè
êîôå;
to sip — ïèòü
ìàëåíüêèìè
ãëîòêàìè
; ïîòÿãèâàòü
/âèíî
è
ò
.ï
./)
did M. Bouc mention the subject (
ìñüå
Áóê
óïîìÿíóë
î
ïðåäìåòå;
subject — ïðåäìåò
, òåìà
/ðàçãîâîðà
è
ò
.ï
./)
that was occupying all their minds (
êîòîðûé
çàíèìàë
èõ
óìû;
to occupy — çàíèìàòü
/ìåñòî
/; ïîãëîùàòü
/ìûñëè
/, çàíèìàòü
/óì
/)
.
“
Eh
bien
(ôð.
íó, ÷òî)?”
he
asked
(ñïðîñèë îí).
“
Eh
bien,
I
have
discovered
the
identity
of
the
victim
(ÿ óñòàíîâèë: «îáíàðóæèë» ëè÷íîñòü æåðòâû;
identity — òîæäåñòâåííîñòü; ëè÷íîñòü
).
I
know
why
(ÿ çíàþ ïî÷åìó)
it
was
imperative
he
should
leave
America
(åìó áûëî íåîáõîäèìî óåõàòü èç Àìåðèêè: «ýòî áûëî íåîáõîäèìî, ÷òîáû îí óåõàë èç Àìåðèêè»;
imperative — ïîâåëèòåëüíûé, âëàñòíûé;
íàñòîÿòåëüíûé, íåîáõîäèìûé)
.”
subject ['sAbdZIkt]
mind [maInd]
identity [aI'dentItI]
imperative [Im'perqtIv]
None of the three men was hungry, and the meal was soon eaten; but not till
they were sipping their coffee did M. Bouc mention the subject that was occupying all their minds.
“Eh bien
?” he asked.
“
Eh bien, I have discovered the identity of the victim. I know why it was imperative he should
leave America.”
“
Who
was
he
(êåì æå îí áûë)?”
“
Do
you
remember
reading
of
the
Armstrong
baby
(íå ÷èòàëè ëè âû: «ïðèïîìèíàåòå ëè âû ÷òåíèå» î ðåáåíêå Àðìñòðîíãîâ
; to
read
— ÷èòàòü)
? This is the man
(ýòî
òîò
ñàìûé
÷åëîâåê
) who murdered little Daisy Armstrong
(êîòîðûé
óáèë
ìàëåíüêóþ
Äåéçè Àðìñòðîíã)
. Cassetti
(Êàññåòòè)
.”
“
I
recall
it
now
(òåïåðü ÿ ïðèïîìèíàþ /îá ýòîì/;
to
recall — âñïîìèíàòü, ïðèïîìèíàòü
).
A
shocking
affair
(óæàñíîå äåëî; shock
— óäàð, òîë÷îê;
ïîòðÿñåíèå, óäàð; shocking
— øîêèðóþùèé; âîçìóòèòåëüíûé, óæàñàþùèé
) —
though
I
cannot
remember
the
details
(õîòÿ ÿ íå ìîãó âñïîìíèòü ïîäðîáíîñòåé;
detail — äåòàëü, ïîäðîáíîñòü
).”
murder ['mq:dq]
recall [rI'kO:l]
affair [q'feq]
“Who was he?”
“Do you remember reading of the Armstrong baby? This is the man who murdered
little Daisy Armstrong. Cassetti.”
“I recall it now. A shocking affair — though I cannot remember the details.”
“Colonel Armstrong was an Englishman — a V.C. (
ïîëêîâíèê
Àðìñòðîíã
áûë
àíãëè÷àíèí,
êàâàëåð
îðäåíà
Âèêòîðèè;
V.C. = Victoria Cross — 1) Êðåñò
Âèêòîðèè
/âûñøàÿ
âîåííàÿ
íàãðàäà
â
Âåëèêîáðèòàíèè
/, 2) êàâàëåð
ýòîãî
îðäåíà
). He was half American
(îí
áûë
íàïîëîâèíó
àìåðèêàíåö
), his mother having been a daughter of W. K. Van der Halt
(åãî
ìàòü
áûëà
äî÷åðüþ
Ó. Ê. Âàí äåð Õîëòà)
, the
Wall
Street
millionaire
(ìèëëèîíåðà ñ Óîëë-ñòðèò;
Wall
Street — 1) óëèöà â Íüþ-Éîðêå, ãäå íàõîäèòñÿ
áèðæà; 2) àìåðèêàíñêèé ôèíàíñîâûé êàïèòàë, ôèíàíñîâàÿ îëèãàðõèÿ
).
He
married
the
daughter
of
Linda
Arden
(îí /Àðìñòðîíã/ æåíèëñÿ íà äî÷åðè Ëèíäû Àðäåí;
to
marry — æåíèòüñÿ, âûõîäèòü çàìóæ
),
the
most
famous
tragic
American
actress
(ñàìîé çíàìåíèòîé òðàãè÷åñêîé àêòðèñû Àìåðèêè)
of
her
day
(òîãî: «åå» âðåìåíè;
day — äåíü; âðåìÿ, ýïîõà, ýðà
).
They
lived
in
America
(îíè æèëè â Àìåðèêå)
and
had
one
child
(è ó íèõ áûë îäèí ðåáåíîê)
— a
girl
whom
they
idolized
(äåâî÷êà, êîòîðóþ îíè áîãîòâîðèëè;
idol — èäîë, áîæåñòâî; êóìèð;
to
idolize — áîãîòâîðèòü, äåëàòü êóìèðîì, ïðåêëîíÿòüñÿ
).
When
she
was
three
years
old
(êîãäà åé áûëî òðè ãîäà)
she
was
kidnapped
(îíà áûëà ïîõèùåíà)
, and
an
impossibly
high
sum
demanded
(è íåâåðîÿòíî âûñîêàÿ ñóììà áûëà ïîòðåáîâàíà)
as
the
price
of
her
return
(êàê öåíà çà åå âîçâðàùåíèå)
. I
will
not
weary
you
(ÿ íå áóäó óòîìëÿòü âàñ;
to
weary — óòîìëÿòü, íàäîåäàòü
)
with
all
the
intricacies
that
followed
(âñåìè ñëîæíîñòÿìè, êîòîðûå ïîñëåäîâàëè;
intricacy — çàïóòàííîñòü, ñëîæíîñòü; çàòðóäíèòåëüíîñòü
).
colonel ['kq:n(q)l]
millionaire ["mIljq'neq]
famous ['feImqs]
idolize ['aId
(q)laIz]
intricacy ['IntrIkqsI]
“Colonel Armstrong was an Englishman — a V.C. He was half American, his
mother having been a daughter of W. K. Van der Halt, the Wall Street millionaire. He married the daughter of Linda Arden, the most famous tragic American actress of her day. They lived in America and had one child — a girl
whom they idolized. When she was three years old she was kidnapped, and an impossibly high sum demanded as the price of her return. I will not weary you with all the intricacies that followed.
I will come to the moment
(ÿ
ïåðåéäó
ê
òîìó
ñàìîìó
ìîìåíòó
) when, after the parents had paid over the enormous sum
(êîãäà
, ïîñëå
òîãî
êàê
ðîäèòåëè
âûïëàòèëè
îãðîìíåéøóþ
ñóììó
) of two hundred thousand dollars
(â
äâåñòè
òûñÿ÷
äîëëàðîâ
), the child’s dead body was discovered
(áûëî
îáíàðóæåíî
ìåðòâîå
òåëî
= òðóï
ðåáåíêà
); it had been dead for at least a fortnight
(îí
/ðåáåíîê
/ áûë
ìåðòâ
ïî
ìåíüøåé
ìåðå
äâå
íåäåëè
). Public indignation rose to fever point
(îáùåñòâåííîå
âîçìóùåíèå
/íåãîäîâàíèå
äîñòèãëî
êðàéíîñòè
; to rise (rose, risen) —
âîñõîäèòü;
ïîäíèìàòüñÿ;
fever — æàð
, ëèõîðàäêà
, íåðâíîå
âîçáóæäåíèå
; point — òî÷êà
; ïîðîã
; óðîâåíü
). And there was worse to follow
(ïîñëåäîâàëî
åùå
õóäøåå
). Mrs. Armstrong was expecting another baby
(ìèññèñ
Àðìñòðîíã
îæèäàëà
/åùå
îäíîãî
/ ðåáåíêà
). Following the shock of the discovery
(âñëåä
çà
øîêîì
îò
îòêðûòèÿ
/îáíàðóæåíèÿ
/ìåðòâîé
äåâî÷êè
/), she gave birth prematurely to a dead child
(îíà
ïðåæäåâðåìåííî
ðîäèëà
ìåðòâîãî
ðåáåíêà
; birth —
ðîæäåíèå;
ðîäû;
to give birth to —
ðîäèòü,
ïðîèçâåñòè
íà
ñâåò)
and herself died (
è
óìåðëà
ñàìà)
. Her broken-hearted husband shot himself (
åå
óáèòûé
ãîðåì
ìóæ
çàñòðåëèëñÿ;
to break (broke, broken) — ëîìàòü
; ðàçáèâàòü
; heart — ñåðäöå
; broken-hearted — ñ ðàçáèòûì
ñåðäöåì
; to shoot (shot) — ñòðåëÿòü
).”
enormous [I'nO:mqs]
indignation ["IndIg'neIS(q)n]
prematurely ["premq|'tSVqlI,
—
'tjVqlI] broken-hearted
["brqVkqn'hQ:tId]
I will come to the moment when, after the parents had paid over the enormous
sum of two hundred thousand dollars, the child’s dead body was discovered; it had been dead for at least a fortnight. Public indignation rose to fever point. And there was worse to follow. Mrs. Armstrong was expecting another
baby. Following the shock of the discovery, she gave birth prematurely to a dead child, and herself died. Her broken-hearted husband shot himself.”
“
Mon Dieu, what a tragedy
(Áîæå
ìîé
, êàêàÿ
òðàãåäèÿ
). I remember now
(òåïåðü
ÿ
âñïîìèíàþ
),” said M. Bouc. “There was also another death
(âåäü
ïîãèá
êòî
-òî
åùå
), if I remember rightly
(åñëè
ÿ
ïîìíþ
ïðàâèëüíî
/òî÷íî
)?”
“Yes, an unfortunate French or Swiss nursemaid (
äà,
íåñ÷àñòíàÿ
íÿíüêà —
ôðàíöóæåíêà
èëè
øâåéöàðêà;
fortune — ñ÷àñòüå
, óäà÷à
; nurse — íÿíÿ
, íÿíüêà
). The
police
were
convinced
(ïîëèöèÿ áûëà óáåæäåíà)
that
she
had
some
knowledge
of
the
crime
(÷òî îíà ÷òî-òî çíàëà: «èìåëà ñâåäåíèÿ» î ïðåñòóïëåíèè;
knowledge — çíàíèå; îñâåäîìëåííîñòü,
ñâåäåíèÿ).
They
refused
to
believe
(îíè îòêàçûâàëèñü âåðèòü)
her
hysterical
denials
(åå èñòåðè÷íûì îòðèöàíèÿì;
denial — îòðèöàíèå; þð. îòðèöàíèå âèíîâíîñòè,
îòðèöàíèå ïðè÷àñòíîñòè ê ïðåñòóïëåíèþ)
. Finally
, in
a
fit
of
despair
(â êîíöå êîíöîâ, â ïðèïàäêå îò÷àÿíèÿ)
the
poor
girl
threw
herself
from
a
window
(áåäíàÿ äåâóøêà âûáðîñèëàñü èç îêíà
; poor
— áåäíûé, íåèìóùèé; áåäíûé, íåñ÷àñòíûé;
to
throw (
threw,
thrown)
— áðîñàòü(ñÿ)
) and
was
killed
(è ïîãèáëà;
to
kill — óáèâàòü, ëèøàòü æèçíè
).
It
was
proved
afterwards
(âïîñëåäñòâèè áûëî äîêàçàíî;
to
prove — äîêàçûâàòü; ïîäòâåðæäàòü
)
that
she
had
been
absolutely
innocent
of
any
complicity
in
the
crime
(÷òî îíà áûëà àáñîëþòíî íåïðè÷àñòíà: «íåâèíîâíà â ïðè÷àñòíîñòè» ê ïðåñòóïëåíèþ;
innocent — íåâèííûé; íåâèíîâíûé;
complicity — ñîó÷àñòèå /â ïðåñòóïëåíèè/
).”
“It is not good to think of
(ïîäóìàòü
íåïðèÿòíî
= ñòðàøíî
; good —
õîðîøèé;
ïðèÿòíûé)
,” said M. Bouc.
rightly ['raItlI]
nursemaid ['nq:smeId]
knowledge ['n
OlIdZ]
hysterical [hI'sterIk(q)l]
denial [dI'naI
(q)l]
despair [dIs'peq]
innocent ['Inqs
(q)nt]
complicity [kqm'plIsItI]
“
Mon Dieu, what a tragedy. I remember now,” said M. Bouc. “There was also another death,
if I remember rightly?”
“Yes, an unfortunate French or Swiss nursemaid. The police were convinced
that she had some knowledge of the crime. They refused to believe her hysterical denials. Finally, in a fit of despair the poor girl threw herself from a window and was killed. It was proved afterwards that she had been absolutely
innocent of any complicity in the crime.”
“It is not good to think of,” said M. Bouc.
“About six months later
(ìåñÿöåâ
øåñòü
ñïóñòÿ
= ãäå
-òî
÷åðåç
ïîëãîäà
), this man Cassetti was arrested
(ýòîò
Êàññåòòè
áûë
àðåñòîâàí
) as the head of the gang
(êàê
ãëàâàðü
øàéêè
; head —
ãîëîâà;
ãëàâà,
ðóêîâîäèòåëü,
íà÷àëüíèê)
who had kidnapped the child (
÷òî
ïîõèòèëà
ðåáåíêà)
. They had used the same methods in the past (
â
ïðîøëîì
îíè
óæå
èñïîëüçîâàëè
òàêèå
ìåòîäû)
. If the police seemed likely to get on their trail
(åñëè
êàçàëîñü
, ÷òî
ïîëèöèÿ
ìîæåò
íàïàñòü
íà
èõ
ñëåä
; to get on —
íàäåâàòü;
äîáèðàòüñÿ /
äî
÷åãî-
ëèáî,
êîãî-
ëèáî/; trail —
ñëåä,
õâîñò)
, they killed their prisoner (
îíè
óáèâàëè
ñâîåãî
ïëåííèêà;
prison — òþðüìà
; prisoner — çàêëþ÷åííûé
; ïëåííèê
, ÷åëîâåê
, ëèøåííûé
ñâîáîäû
äåéñòâèÿ
è
ò
.ï
.), hid the body
(ïðÿòàëè
òåëî
; to hide (hid, hidden)
), and continued to extract as much money as possible
(è
ïðîäîëæàëè
âûòÿãèâàòü
êàê
ìîæíî
áîëüøå
äåíåã
) before the crime was discovered
(äî
òîãî
, êàê
ïðåñòóïëåíèå
ðàñêðûâàëîñü
).
method ['meTqd]
prisoner ['prIz(q)nq]
continued [kqn'tInju:d]
extract [Ik'strxkt]
“About six months later, this man Cassetti was arrested as the head of the
gang who had kidnapped the child. They had used the same methods in the past. If the police seemed likely to get on their trail, they killed their prisoner, hid the body, and continued to extract as much money as possible
before the crime was discovered.
“Now, I will make clear to you this, my friend
(òàê
âîò
, ÿ
ðàçúÿñíþ
âàì
âîò
÷òî
, ìîé
äðóã
). Cassetti
was
the
man
(Êàññåòòè è áûë òåì ñàìûì ÷åëîâåêîì /÷òî óáèë äåâî÷êó/)
! But
by
means
of
the
enormous
wealth
(íî ñ ïîìîùüþ îãðîìíîãî ñîñòîÿíèÿ: «áîãàòñòâà»;
means — ñðåäñòâî, ñïîñîá;
by
means
of — ïðè ïîìîùè, ïîñðåäñòâîì
)
he
had
piled
up
(÷òî îí íàêîïèë; pile
— êó÷à, ãðóäà; ðàçã. ñîñòîÿíèå, êó÷à äåíåã;
to
pile
up — íàêàïëèâàòü, óâåëè÷èâàòü
),
and
owing
to
the
secret
hold
(è áëàãîäàðÿ òàéíîìó âëèÿíèþ;
hold — óäåðæèâàíèå, çàõâàò; âëàñòü, âëèÿíèå
)
he
had
over
various
persons
(êîòîðûì îí îáëàäàë íà ðàçëè÷íûõ ëþäåé)
, he
was
acquitted
on
some
technical
inaccuracy
(îí áûë îïðàâäàí áëàãîäàðÿ êàêîé-òî ôîðìàëüíîé
íåòî÷íîñòè; technical
— òåõíè÷åñêèé, ïðîìûøëåííûé; ôîðìàëüíûé, ôîðìàëüíî-þðèäè÷åñêèé
).
Notwithstanding
that
(íåñìîòðÿ íà ýòî),
he
would
have
been
lynched
by
the
populace
(îí âñå ðàâíî áûë áû ëèí÷åâàí ïðîñòûìè ëþäüìè/òîëïîé;
to
lynch — ëèí÷åâàòü, ðàñïðàâëÿòüñÿ ñàìîñóäîì)
had
he
not
been
clever
enough
(åñëè áû îí íå ñîîáðàçèë: «îêàçàëñÿ äîñòàòî÷íî
óìåí») to
give
them
the
slip
(óñêîëüçíóòü îò íèõ;
to give smb. the slip — èçáåãàòü êîãî-ëèáî; óñêîëüçíóòü, óëèçíóòü îò êîãî-ëèáî;
slip — ñêîëüæåíèå
).
It is now clear to me what happened (
òåïåðü
ìíå
ÿñíî,
÷òî
ïðîèçîøëî)
. He changed his name and left America (
îí
ñìåíèë
ñâîå
èìÿ
è
óåõàë
èç
Àìåðèêè)
. Since then he has been a gentleman of leisure (
ñ
òåõ
ñàìûõ
ïîð,
îí
âåë
ïðàçäíóþ
æèçíü: «
áûë
äæåíòëüìåíîì
ñî
ñâîáîäíûì
âðåìåíåì»;
leisure — äîñóã
, ñâîáîäíîå
âðåìÿ
), travelling abroad
(ïóòåøåñòâóÿ
çà
ãðàíèöåé
) and living on his rents
(è
æèâÿ
íà
ïðîöåíòû
; rent —
êâàðòèðíàÿ
ïëàòà;
ðåíòà;
äîõîä
îò
íåäâèæèìîñòè)
.”
wealth [welT]
technical ['teknIk(q)l]
inaccuracy [I'nxkjVrqsI]
notwithstanding ["n
OtwIT|'stxndIN, "n
OtwID-]
lynch [lIntS]
populace ['p
OpjVlqs] leisure ['leZq]
“Now, I will make clear to you this, my friend. Cassetti was the man! But
by means of the enormous wealth he had piled up, and owing to the secret hold he had over various persons, he was acquitted on some technical inaccuracy. Notwithstanding that, he would have been lynched by the populace had
he not been clever enough to give them the slip. It is now clear to me what happened. He changed his name and left America. Since then he has been a gentleman of leisure, travelling abroad and living on his rents.”
“
Ah!
quel
animal
(
ôð. àõ, êàêîå æèâîòíîå)
!” M
. Bouc
’s
tone
was
redolent
of
heartfelt
disgust
(ãîëîñ ìñüå Áóêà áûë ïîëîí èñêðåííåãî îòâðàùåíèÿ;
redolent — ïðèÿòíûé, îïüÿíÿþùèé /î çàïàõå/;
ïîëíûé /÷óâñòâà è ò.ï./)
. “I
cannot
regret
that
he
is
dead
(ìíå íå æàëü: «ÿ íå ìîãó ñîæàëåòü», ÷òî îí ìåðòâ)
— not
at
all
(íè÷óòü)
!”
“
I
agree
with
you
(ÿ ñîãëàñåí ñ âàìè).”
“Tout
de
m
ême
(
ôð. è âñå æå)
, it
is
not
necessary
(íåò íèêàêîé íåîáõîäèìîñòè â òîì;
necessary — íåîáõîäèìûé, íóæíûé
)
that
he
should
be
killed
on
the
Orient
Express
(÷òîáû óáèâàòü åãî: «÷òî åìó ñëåäîâàëî áûòü óáèòûì» â Âîñòî÷íîì ýêñïðåññå)
. There are other places
(åñòü
æå
äðóãèå
ìåñòà
).”
Poirot smiled a little (
Ïóàðî
ñëåãêà
óëûáíóëñÿ)
. He
realised
that
M.
Bouc
was
biased
in
the
matter
(îí ïîíÿë, ÷òî ìñüå Áóê áûë ïðèñòðàñòåí â ýòîì äåëå;
to
realize — îñóùåñòâëÿòü, âûïîëíÿòü; ïðåäñòàâëÿòü
ñåáå, îñîçíàâàòü; to
bias
— ñêëîíÿòü; îêàçûâàòü âëèÿíèå /÷àùå ïëîõîå/;
biased — ïðèñòðàñòíûé, ïðåäóáåæäåííûé
).
redolent ['redqlqnt]
heartfelt ['hQ:tfelt]
disgust [dIs'gAst]
biased ['baIqst]
“
Ah! quel animal!” M. Bouc’s tone was redolent of heartfelt disgust. “I cannot regret that
he is dead — not at all!”
“I agree with you.”
“
Tout de même, it is not necessary that he should be killed on the Orient Express. There are
other places.”
Poirot smiled a little. He realised that M. Bouc was biased in the matter.
“The question we have now to ask ourselves is this
(âîïðîñ
, êîòîðûé
ìû
äîëæíû
ñåáå
ñåé÷àñ
çàäàòü
, òàêîé
),” he said. “Is this murder
(ÿâëÿåòñÿ
ëè
ýòî
óáèéñòâî
) the work of some rival gang
(äåëîì
êàêîé
-ëèáî
êîíêóðèðóþùåé
áàíäû
; rival —
ñîïåðíèê,
êîíêóðåíò)
whom Cassetti had double-crossed in the past (
êîòîðóþ
Êàññåòòè íàäóë/îáìàíóë â ïðîøëîì)
, or
is
it
an
act
of
private
vengeance
(èëè ýòî äåëî ëè÷íîé ìåñòè/âîçìåçäèÿ;
private — ÷àñòíûé; ëè÷íûé
)?”
He
explained
his
discovery
of
the
few
words
(è îí îáúÿñíèë, êàê îáíàðóæèë íåñêîëüêî ñëîâ)
on
the
charred
fragment
of
paper
(íà ñîææåííîì êëî÷êå áóìàãè;
fragment — îáëîìîê, îñêîëîê, êóñîê
).
rival ['raIv(q)l]
vengeance ['vendZ(q)ns]
discovery [dIs'kAv(q)rI]
“The question we have now to ask ourselves is this,” he said. “Is this
murder the work of some rival gang whom Cassetti had double-crossed in the past, or is it an act of private vengeance?”
He explained his discovery of the few words on the charred fragment of paper.
“If I am right in my assumption
(åñëè
ÿ
ïðàâ
â
ñâîåì
ïðåäïîëîæåíèè
; assumption —
ïðèíÿòèå
íà
ñåáÿ /
îòâåòñòâåííîñòè
è
ò.
ï./;
ïðåäïîëîæåíèå,
äîïóùåíèå)
, then, the letter was burnt by the murderer (
òîãäà
ïèñüìî
áûëî
ñîææåíî
óáèéöåé;
to burn (burnt, burned))
. Why (
ïî÷åìó)
? Because it mentioned the name ‘Armstrong’ (
ïîòîìó,
÷òî
â
íåì
óïîìèíàëîñü
èìÿ "
Àðìñòðîíã")
, which is the clue to the mystery (
êîòîðîå
è
ÿâëÿåòñÿ
êëþ÷îì
ê
ðàçãàäêå
âñåé
òàéíû;
mystery — òàéíà
; ðàçã
. äåòåêòèâíûé
ðîìàí
).”
“Are there any members of the Armstrong family living
(à
æèâ
ëè
êòî
-íèáóäü
èç
ñåìüè
Àðìñòðîíãîâ
)?”
“That, unfortunately, I do not know
(ýòîãî
, ê
ñîæàëåíèþ
, ÿ
íå
çíàþ
). I think
(ìíå
êàæåòñÿ
) I remember reading of a younger sister of Mrs. Armstrong’s
(ÿ
ïîìíþ
, ÷òî
÷èòàë
î
ìëàäøåé
ñåñòðå
ìèññèñ
Àðìñòðîíã
; young —
ìîëîäîé,
þíûé;
ìëàäøèé /
î
÷ëåíàõ
îäíîé
ñåìüè/
).”
assumption [q'sAmpS(q)n]
mystery ['mIst(q)rI]
unfortunately [An'fO:tSVnItlI]
“If I am right in my assumption, then, the letter was burnt by the murderer.
Why? Because it mentioned the name ‘Armstrong,’ which is the clue to the mystery.”
“Are there any members of the Armstrong family living?”
“That, unfortunately, I do not know. I think I remember reading of a younger
sister of Mrs. Armstrong’s.”
Poirot went on to relate
(Ïóàðî
ïðîäîëæàë
ðàññêàçûâàòü
) the joint conclusions of himself and Dr. Constantine
(ñîâìåñòíûå
âûâîäû
/ê
êîòîðûì
ïðèøëè
/ îí
ñàì
è
äîêòîð
Êîíñòàíòèí
; joint —
ñîåäèíåííûé,
îáúåäèíåííûé;
ñîâìåñòíûé,
êîëëåêòèâíûé; conclusion —
îêîí÷àíèå;
óìîçàêëþ÷åíèå,
âûâîä)
. M. Bouc brightened (
ìñüå
Áóê
îáðàäîâàëñÿ;
to brighten — ïðîÿñíÿòüñÿ
; íàïîëíÿòü
ðàäîñòüþ
) at the mention of the broken watch
(ïðè
óïîìèíàíèè
î
ñëîìàííûõ
÷àñàõ
).
“That seems to give us
(ýòî
, ïî
âñåé
âèäèìîñòè
, äàåò
íàì
) the time of the crime very exactly
(î÷åíü
òî÷íîå
âðåìÿ
ïðåñòóïëåíèÿ
).”
“Yes,” said Poirot. “It is very convenient
(ýòî
î÷åíü
óäîáíî
).”
There was an indescribable something in his tone
(â
òîíå
åãî
ãîëîñà
áûëî
÷òî
-òî
íå
ïîääàþùååñÿ
îïèñàíèþ
; to describe —
îïèñûâàòü,
èçîáðàæàòü)
that made both the other two (
÷òî
çàñòàâèëî
äâóõ
äðóãèõ /
ìóæ÷èí/;
to make (made) smb. do smth. — çàñòàâëÿòü
, âûíóæäàòü
, ïîáóæäàòü
êîãî
-ëèáî
äåëàòü
÷òî
-ëèáî
) look at him curiously
(âçãëÿíóòü
íà
íåãî
ñ
ëþáîïûòñòâîì
; curiosity —
ëþáîçíàòåëüíîñòü;
ëþáîïûòñòâî)
.
conclusion [kqn'klu:Z(q)n]
brighten ['braItn]
indescribable ["IndIs'kraIbqb(q)l]
Poirot went on to relate the joint conclusions of himself and Dr. Constantine.
M. Bouc brightened at the mention of the broken watch.
“That seems to give us the time of the crime very exactly.”
“Yes,” said Poirot. “It is very convenient.”
There was an indescribable something in his tone that made both the other two
look at him curiously.
“You say
(âû
ãîâîðèòå
) that you yourself heard
(÷òî
âû
ñàìè
ñëûøàëè
) Ratchett speak to the conductor
(êàê
Ðýò÷åòò
ãîâîðèë
ñ
ïðîâîäíèêîì
) at twenty minutes to one
(áåç
äâàäöàòè
ìèíóò
÷àñ
)?” asked M. Bouc.
Poirot related just what had occurred
(Ïóàðî
ïåðåñêàçàë
òî
, ÷òî
ïðîèçîøëî
).
“Well,” said M. Bouc, “that proves at least that Cassetti
(ýòî
äîêàçûâàåò
, ïî
ìåíüøåé
ìåðå
, ÷òî
Êàññåòòè
) — or Ratchett, as I shall continue to call him
( — èëè
Ðýò÷åòò
, êàê
ÿ
áóäó
ïðîäîëæàòü
åãî
íàçûâàòü
) — was certainly alive
(òî÷íî
áûë
æèâ
) at twenty minutes to one
(áåç
äâàäöàòè
÷àñ
).”
“Twenty-three minutes to one
(áåç
äâàäöàòè
òðåõ
ìèíóò
÷àñ
), to be precise
(/åñëè
/ áûòü
òî÷íûì
).”
‘Then at twelve thirty-seven (
òîãäà,
â
äâåíàäöàòü
÷àñîâ
òðèäöàòü
ñåìü
ìèíóò)
, to put it formally (
âûðàæàÿñü
îôèöèàëüíî/
ôîðìàëüíî;
to put — êëàñòü
, ñòàâèòü
; èçëàãàòü
, ôîðìóëèðîâàòü
/ìûñëè
, çàìå÷àíèÿ
è
ò
.ï
./)
, Mr. Ratchett was alive (
ìèñòåð
Ðýò÷åòò
áûë
æèâ)
. That
is
one
fact,
at
least
(ýòî îäèí ôàêò, ïî ìåíüøåé ìåðå/âî âñÿêîì ñëó÷àå)
.”
continue [kqn'tInju:]
certainly ['sq:tnlI]
precise [prI'saIs]
“You say that you yourself heard Ratchett speak to the conductor at twenty
minutes to one?” asked M. Bouc.
Poirot related just what had occurred.
“Well,” said M. Bouc, “that proves at least that Cassetti — or Ratchett,
as I shall continue to call him — was certainly alive at twenty minutes to one.”
“Twenty-three minutes to one, to be precise.”
‘Then at twelve thirty-seven, to put it formally, Mr. Ratchett was alive.
That is one fact, at least.”
Poirot did not reply
(Ïóàðî
íå
îòâå÷àë
). He sat looking thoughtfully
(îí
ñèäåë
, çàäóì÷èâî
óñòàâèâøèñü
) in front of him
(ïåðåä
ñîáîé
; front —
ïåð¸ä,
ïåðåäíÿÿ
ñòîðîíà)
.
There was a tap on the door
(â
äâåðü
ïîñòó÷àëè
; tap —
ëåãêèé
óäàð,
ñòóê)
and the restaurant attendant entered (
è
âîøåë
îôèöèàíò: «
ñëóæèòåëü
ðåñòîðàíà»)
.
“The restaurant car is free now, Monsieur
(âàãîí
-ðåñòîðàí
ñåé÷àñ
ñâîáîäåí
, ìñüå
),” he said.
“
We
will
go
there
(ìû ïîéäåì òóäà),”
said
M.
Bouc,
rising
(ñêàçàë ìñüå Áóê, ïîäíèìàÿñü)
.
“I may accompany you
(ìîãó
ëè
ÿ
ñîïðîâîæäàòü
âàñ
)?” asked Constantine.
“Certainly, my dear doctor
(êîíå÷íî
, /ìîé
/ äîðîãîé
äîêòîð
). Unless M. Poirot has any objection
(åñëè
òîëüêî
ó
ìñüå
Ïóàðî
åñòü
êàêèå
-ëèáî
âîçðàæåíèÿ
; to object —
âîçðàæàòü,
ïðîòåñòîâàòü
)?”
“Not at all
(âîâñå
íåò
). Not at all,” said Poirot.
After a little politeness
(ïîñëå
íåáîëüøîãî
/îáìåíà
/ ëþáåçíîñòÿìè
; polite —
âåæëèâûé,
ó÷òèâûé,
îáõîäèòåëüíûé)
in the matter of precedence (
â
âîïðîñå =
èç-
çà
ïîñëåäîâàòåëüíîñòè
/â
êîòîðîé
âûõîäèòü
èç
êóïå
/; matter —
âåùåñòâî;
âîïðîñ,
äåëî;
ïðè÷èíà,
îñíîâàíèå; precedence —
ïðåäøåñòâîâàíèå;
ñòàðøèíñòâî;
ïåðâåíñòâî)
— “Après vous, Monsieur
(
ôð.
ïîñëå
âàñ
, ìñüå
)” — “Mais non, après vous
(ôð
.
íåò-
íåò,
ïîñëå
âàñ)
” — they left the compartment (
îíè
âûøëè
èç
êóïå)
.
attendant [q'tendqnt]
accompany [q'kAmp(q)nI]
objection [qb'dZekS(q)n]
politeness [pq'laItnIs]
precedence ['presId(q)ns]
Poirot did not reply. He sat looking thoughtfully in front of him.
There was a tap on the door and the restaurant attendant entered.
“The restaurant car is free now, Monsieur,” he said.
“We will go there,” said M. Bouc, rising.
“I may accompany you?” asked Constantine.
“Certainly, my dear doctor. Unless M. Poirot has any objection?”
“Not at all. Not at all,” said Poirot.
After a little politeness in the matter of precedence — “
Après vous, Monsieur” — “
Mais non, après vous” — they left the compartment.
PART
II
THE
EVIDENCE
(
ïîêàçàíèÿ ñâèäåòåëåé;
evidence — îñíîâàíèå, äàííûå; äîêàçàòåëüñòâî;
ïîêàçàíèÿ ñâèäåòåëÿ èëè îáâèíÿåìîãî)
1
THE EVIDENCE OF THE WAGON LIT CONDUCTOR
(
ïîêàçàíèÿ ïðîâîäíèêà ñïàëüíîãî
âàãîíà; conductor — êîíäóêòîð /òðàìâàÿ,
àâòîáóñà/; ïðîâîäíèê âàãîíà)
In
the
restaurant
car
all
was
in
readiness
(â âàãîíå-ðåñòîðàíå âñå áûëî íàãîòîâå;
ready — ãîòîâûé, ïîäãîòîâëåííûé;
readiness — ïîäãîòîâëåííîñòü, ãîòîâíîñòü
).
Poirot and M. Bouc sat together (
Ïóàðî
è
ìñüå
Áóê
ñèäåëè
âìåñòå)
on one side of a table (
ñ
îäíîé
ñòîðîíû
ñòîëà)
. The
doctor
sat
across
the
aisle
(äîêòîð ñèäåë /çà ñòîëîì/ ÷åðåç ïðîõîä = ïî äðóãóþ ñòîðîíó ïðîõîäà;
across — ïîïåðåê; ïî òó ñòîðîíó, íà òîé ñòîðîíå
).
On
the
table
in
front
of
Poirot
was
a
plan
of
the
Istanbul-
Calais
coach
(íà ñòîëå ïåðåä Ïóàðî ëåæàë: «íàõîäèëñÿ» ïëàí âàãîíà Ñòàìáóë — Êàëå;
plan — ïëàí, ïðîãðàììà äåéñòâèé; ÷åðòåæ, ñõåìà
)
with
the
names
of
the
passengers marked
in
red
ink
(ñ èìåíàìè ïàññàæèðîâ = èìåíà ïàññàæèðîâ áûëè ïîìå÷åíû êðàñíûìè ÷åðíèëàìè;
to
mark — ñòàâèòü çíàê, ìåòêó; îòìå÷àòü, îáîçíà÷àòü
).
The
passports
and
tickets
were
in
a
pile
(ïàñïîðòà è áèëåòû ëåæàëè ñòîïêîé;
pile — êó÷à, ãðóäà; ñâÿçêà; ñòîïêà
)
at
one
side
(íà îäíîé ñòîðîíå /ñòîëà/)
. There
was
writing
paper
(òàêæå /íà ñòîëå ëåæàëè/ ïèñ÷àÿ áóìàãà;
to
write — ïèñàòü
),
ink
(÷åðíèëà),
pen
(ðó÷êà),
and
pencils
(è êàðàíäàøè).
readiness
['redInIs] aisle
[aIl] passenger
['pxsIndZq, —
s(q)ndZq]
In the restaurant car all was in readiness.
Poirot and M. Bouc sat together on one side of a table. The doctor sat across
the aisle.
On the table in front of Poirot was a plan of the Istanbul-Calais coach with
the names of the passengers marked in red ink. The passports and tickets were in a pile at one side. There was writing paper, ink, pen, and pencils.
“Excellent (
âåëèêîëåïíî)
,” said Poirot. “We can open our Court of Inquiry
(ìû
ìîæåì
íà÷àòü
ðàáîòó
íàøåé
ñëåäñòâåííîé
êîìèññèè
; to open —
îòêðûâàòü;
íà÷èíàòü
ðàáîòó; court —
ñóä;
ñóäåáíîå
çàñåäàíèå; inquiry —
íàâåäåíèå
ñïðàâîê;
þð.
ðàññëåäîâàíèå /
äåëà/
) without more ado
(áåç
äîëãèõ
ðàçãîâîðîâ
; ado —
ñóåòà,
ñóìàòîõà;
õëîïîòû,
çàòðóäíåíèÿ)
. First, I think, we should take the evidence (
â
ïåðâóþ
î÷åðåäü,
ÿ
äóìàþ,
ìû
äîëæíû
äîïðîñèòü;
to take the evidence of smb. — äîïðàøèâàòü
êîãî
-ëèáî
è
ïðîòîêîëèðîâàòü
/ôèêñèðîâàòü
/ åãî
ïîêàçàíèÿ
) of the Wagon Lit conductor
(ïðîâîäíèêà
ñïàëüíîãî
âàãîíà
). You
probably
know
something
about
the
man
(âû, âîçìîæíî, çíàåòå ÷òî-íèáóäü îá ýòîì ÷åëîâåêå)
. What
character
has
he
(÷òî ó íåãî çà õàðàêòåð)
? Is
he
a
man
on
whose
word
you
would
place
reliance
(òàêîé ëè îí ÷åëîâåê, íà ñëîâî êîòîðîãî âû áû ïîëîæèëèñü;
to
place — ñòàâèòü, ïîìåùàòü; âîçëàãàòü /íàäåæäû,
äàâëåíèå, äîâåðèå è ò.ï./; reliance
— äîâåðèå, óâåðåííîñòü
)?”
court
[kO:t] inquiry
[In'kwaI(q)rI] evidence
['evId(q)ns] reliance
[rI'laIqns]
“Excellent,” said Poirot. “We can open our Court of Inquiry without more
ado. First, I think, we should take the evidence of the Wagon Lit conductor. You probably know something about the man. What character has he? Is he a man on whose word you would place reliance?”
“
I
should
say
so,
most
assuredly
(åùå áû, êîíå÷íî: «ÿ áû ñêàçàë òàê», íåñîìíåííî;
to
assure — óâåðÿòü, çàâåðÿòü
).
Pierre
Michel
has
been
employed
by
the
company
(Ïüåð Ìèøåëü ñëóæèò â êîìïàíèè;
to
employ — ïðåäîñòàâëÿòü ðàáîòó; íàíèìàòü;
to
be
employed — ðàáîòàòü ïî íàéìó; ñëóæèòü /ó êîãî-ëèáî/
)
for
over
fifteen
years
(áîëåå ïÿòíàäöàòè ëåò)
. He is a Frenchman
(îí
ôðàíöóç
) — lives near Calais
(æèâåò
íåäàëåêî
îò
Êàëå
). Thoroughly
respectable
and
honest
(ñîâåðøåííî óâàæàåìûé è ÷åñòíûé /÷åëîâåê/;
to
respect — óâàæàòü, ïî÷èòàòü
).
Not,
perhaps,
remarkable
for
brains
(âîçìîæíî, íå îòëè÷àåòñÿ óìîì;
remarkable — çàìå÷àòåëüíûé; îòëè÷àþùèéñÿ, çíàìåíèòûé
/÷åì-ëèáî/; brain — ãîëîâíîé ìîçã; ðàññóäîê,
óìñòâåííûå ñïîñîáíîñòè, èíòåëëåêò)
.”
Poirot
nodded
comprehendingly
(Ïóàðî ïîíèìàþùèå êèâíóë;
to
comprehend — ïîíèìàòü, óðàçóìåòü)
.
“
Good
(õîðîøî),”
he
said. “
Let
us
see
him
(äàâàéòå ñ íèì âñòðåòèìñÿ;
to
see — âèäåòü; âèäåòüñÿ, âñòðå÷àòüñÿ
).”
assuredly
[q'SV(q)rIdlI] thoroughly
['TArqlI] honest
['O
nIst]
“I should say so, most assuredly. Pierre Michel has been employed by the
company for over fifteen years. He is a Frenchman — lives near Calais. Thoroughly respectable and honest. Not, perhaps, remarkable for brains.”
Poirot nodded comprehendingly. “Good,” he said. “Let us see him.”
Pierre Michel had recovered some of his assurance
(Ïüåð
Ìèøåëü
ñíîâà
îáðåë
íåêîòîðóþ
óâåðåííîñòü
; to recover —
ïîëó÷àòü
îáðàòíî;
âíîâü
îáðåòàòü; assurance —
óâåðåíèå,
ãàðàíòèÿ;
óâåðåííîñòü
â
ñåáå)
, but he was still extremely nervous (
íî
îí
âñå
åùå
÷ðåçâû÷àéíî
íåðâíè÷àë;
nervous — íåðâíûé
, îòíîñÿùèéñÿ
ê
íåðâàì
; áîÿçëèâûé
, ñëàáîíåðâíûé
, áåñïîêîÿùèéñÿ
/î
÷åì
-ëèáî
/)
.
“I hope Monsieur will not think
(ÿ
íàäåþñü
, ÷òî
ìñüå
íå
ïîäóìàåò
) that there has been any negligence on my part
(÷òî
ñ
ìîåé
ñòîðîíû
áûëà
/êàêàÿ
-ëèáî
/ íåðàäèâîñòü
/õàëàòíîñòü
; negligence —
íåáðåæíîñòü;
íåîñòîðîæíîñòü,
íåäîñìîòð)
,” he said anxiously (
ñêàçàë
îí
òðåâîæíî)
, his eyes going from Poirot to M. Bouc (
åãî
âçãëÿä /
ïðè
ýòîì/
ïåðåõîäèë
ñ
Ïóàðî
íà
ìñüå
Áóêà;
eye — ãëàç
; âçãëÿä
, âçîð
). “It is a terrible thing that has happened
(òî
÷òî
ñëó÷èëîñü
— ýòî
óæàñíî
; thing —
âåùü,
ïðåäìåò;
ñîáûòèå)
. I hope Monsieur does not think (
ÿ
íàäåþñü,
÷òî
ìñüå
íå
äóìàåò)
that it reflects on me (
÷òî
ýòî
áðîñàåò
íà
ìåíÿ
òåíü;
to reflect — îòðàæàòü
; ïîäðûâàòü
äîâåðèå
/ê
êîìó
-ëèáî
, ÷åìó
-ëèáî
/, áðîñàòü
òåíü
, âûçûâàòü
ñîìíåíèÿ
) in any way
(êàêèì
ëèáî
îáðàçîì
; way —
ïóòü,
äîðîãà;
îáðàç
äåéñòâèÿ;
ñïîñîá)
?”
assurance
[q'SV(q)rqns] negligence
['neglIdZ(q)ns] anxiously
['xNklqslI]
Pierre Michel had recovered some of his assurance, but he was still extremely
nervous.
“I hope Monsieur will not think that there has been any negligence on my
part,” he said anxiously, his eyes going from Poirot to M. Bouc. “It is a terrible thing that has happened. I hope Monsieur does not think that it reflects on me in any way?”
Having soothed the man’s fears (
óñïîêîèâ
ïðîâîäíèêà;
to soothe — óñïîêàèâàòü
, óòåøàòü
; fear — ñòðàõ
, áîÿçíü
; îïàñåíèå
), Poirot began his questions
(Ïóàðî
íà÷àë
/çàäàâàòü
/ ñâîè
âîïðîñû
). He first elicited Michel’s name and address
(ñïåðâà
îí
âûÿñíèë
/ïîëíîå
/ èìÿ
Ìèøåëÿ
è
àäðåñ
; to elicit —
èçâëåêàòü,
âûÿâëÿòü)
, his length of service (
ñðîê
åãî
ñëóæáû =
ñòàæ
ðàáîòû;
length — äëèíà
; ïðîòÿæåííîñòü
/âî
âðåìåíè
/, äëèòåëüíîñòü
, ïðîäîëæèòåëüíîñòü
), and the length of time he had been on this particular route
(è
ïðîäîëæèòåëüíîñòü
âðåìåíè
, â
òå÷åíèå
êîòîðîãî
îí
ïðîðàáîòàë
íà
äàííîì
êîíêðåòíîì
ìàðøðóòå
; particular —
îñîáûé,
îñîáåííûé)
. These
particulars
he
already
knew
(ýòè ïîäðîáíîñòè îí óæå çíàë)
, but
the
routine
questions
(íî ýòè ïîëîæåííûå/øàáëîííûå âîïðîñû;
routine — çàâåäåííûé ïîðÿäîê, óñòàíîâèâøàÿñÿ
ïðàêòèêà; routine — ïîëîæåííûé, ñîîòâåòñòâóþùèé
çàâåäåííîìó ïîðÿäêó)
served
to
put
the
man
at
his
ease
(ñëóæèëè äëÿ òîãî, ÷òîáû ïðîâîäíèê ïî÷óâñòâîâàë
ñåáÿ ñâîáîäíî; to put smb. at his ease — èçáàâèòü êîãî-ëèáî îò ñìóùåíèÿ, óñïîêîèòü êîãî-ëèáî;
ease — ñâîáîäà, íåïðèíóæäåííîñòü
).
“And
now
(à òåïåðü)
,” went
on
Poirot
(ïðîäîëæàë Ïóàðî)
, “let
us
come
to
the
events
of
last
night
(äàâàéòå ïåðåéäåì ê ñîáûòèÿì ïðîøåäøåé íî÷è;
last — ïîñëåäíèé; ïðîøëûé
).
M. Ratchett retired to bed (
ìèñòåð
Ðýò÷åòò
îòïðàâèëñÿ
ñïàòü;
to retire — óäàëÿòüñÿ
, óõîäèòü
; ëîæèòüñÿ
ñïàòü
, bed — êðîâàòü
, ïîñòåëü
) — when
(êîãäà
)?”
soothe
[su:D] elicit
[I'lIsIt] particular
[pq'tIkjVlq] routine
[ru:'ti:n]
Having soothed the man’s fears, Poirot began his questions. He first elicited
Michel’s name and address, his length of service, and the length of time he had been on this particular route. These particulars he already knew, but the routine questions served to put the man at his ease.
“And now,” went on Poirot, “let us come to the events of last night.
M. Ratchett retired to bed — when?”
“Almost immediately after dinner, Monsieur (
ïî÷òè
÷òî
ñðàçó
ïîñëå
óæèíà,
ìñüå;
immediately — íåçàìåäëèòåëüíî
, òîò÷àñ
; dinner — îáåä
). Actually
before
we
left
Belgrade
(ôàêòè÷åñêè ïåðåä òåì, êàê ìû âûåõàëè èç Áåëãðàäà)
. So
he
did
on
the
previous
night
(òàêæå îí ïîñòóïèë è íàêàíóíå âå÷åðîì;
previous — ïðåäûäóùèé, ïðåäøåñòâóþùèé
).
He
had
directed
me
(îí îòäàë ìíå ðàñïîðÿæåíèå;
to
direct — íàïðàâëÿòü; ïðåäïèñûâàòü, äàâàòü
óêàçàíèå, ðàñïîðÿæåíèå)
to
make
up
the
bed
while
he
was
at
dinner
(ðàññòåëèòü ïîñòåëü, ïîêà îí óæèíàë;
to
be
at
dinner — îáåäàòü, áûòü çà ñòîëîì
),
and
I
did
so
(÷òî ÿ è ñäåëàë).”
“Did anybody go into his compartment afterwards
(êòî
-íèáóäü
çàõîäèë
â
åãî
êóïå
ïîñëå
ýòîãî
)?”
“His valet, Monsieur, and the young American gentleman
(åãî
ñëóãà
, ìñüå
, è
ìîëîäîé
àìåðèêàíåö
; gentleman —
äæåíòëüìåí;
ãîñïîäèí,
ìóæ÷èíà)
, his secretary (
åãî
ñåêðåòàðü)
.”
“
Anyone
else
(êòî-íèáóäü åùå)?”
“
No,
Monsieur,
not
that
I
know
of
(íåò, ìñüå, íàñêîëüêî ìíå èçâåñòíî, íåò;
to
know — çíàòü, èìåòü ïðåäñòàâëåíèå, áûòü â
êóðñå äåëà).”
previous
['pri:vIqs] afterwards
['Q:ftqwqdz] valet
['vxlIt, —
leI]
secretary
['sekrqt(q)rI]
“Almost immediately after dinner, Monsieur. Actually before we left Belgrade.
So he did on the previous night. He had directed me to make up the bed while he was at dinner, and I did so.”
“Did anybody go into his compartment afterwards?”
“His valet, Monsieur, and the young American gentleman, his secretary.”
“Anyone else?”
“No, Monsieur, not that I know of.”
“Good (
õîðîøî)
. And
that
is
the
last
(ýòî áûë ïîñëåäíèé /ðàç/)
you
saw
or
heard
of
him
(êîãäà âû åãî âèäåëè èëè ñëûøàëè)
?”
“No, Monsieur. You forget he rang his bell about twenty to one
(âû
çàáûâàåòå
, îí
ïîçâîíèë
â
êîëîêîëü÷èê
/çâîíîê
ãäå
-òî
áåç
äâàäöàòè
÷àñ
; to ring (rang, rung) —
çâåíåòü,
çâîíèòü)
— soon after we had stopped (
âñêîðå
ïîñëå
òîãî,
êàê
ìû
îñòàíîâèëèñü)
.”
“What happened exactly
(÷òî
èìåííî
ïðîèçîøëî
)?”
“I knocked at the door
(ÿ
ïîñòó÷àë
â
äâåðü
), but he called out
(íî
îí
çàêðè÷àë
= îòêëèêíóëñÿ
) and said he had made a mistake
(è
ñêàçàë
, ÷òî
îí
âûçâàë
ìåíÿ
ïî
îøèáêå
: «îøèáñÿ
»; mistake —
îøèáêà)
.”
“
In
English
or
in
French
(ïî-àíãëèéñêè èëè ïî-ôðàíöóçñêè)
?”
“
In
French
(ïî-ôðàíöóçñêè).”
“
What
were
his
words
exactly
(÷òî èìåííî îí ñêàçàë: «êàêèå òî÷íî áûëè åãî ñëîâà»)
?”
“Ce
n
’est
rien
(íå áåñïîêîéòåñü: «ýòî íè÷åãî»)
. Je me suis trompé
(
ÿ
îøèáñÿ)
.”
“Quite right
(ñîâåðøåííî
âåðíî
),” said Poirot. “That is what I heard
(èìåííî
ýòî
ÿ
ñëûøàë
). And then you went away
(è
çàòåì
âû
óøëè
)?”
“Yes, Monsieur.”
heard [h
q:d]
knock [n
Ok]
mistake [mI'steIk]
“Good. And that is the last you saw or heard of him?”
“No, Monsieur. You forget he rang his bell about twenty to one — soon after
we had stopped.”
“What happened exactly?”
“I knocked at the door, but he called out and said he had made a mistake.”
“In English or in French?”
“In French.”
“What were his words exactly?”
“
Ce n’est rien. Je me suis trompé.”
“Quite right,” said Poirot. “That is what I heard. And then you went
away?”
“
Yes,
Monsieur.”
“
Did
you
go
back
to
your
seat
(âû âåðíóëèñü íà ñâîå ìåñòî;
seat — ìåñòî /äëÿ ñèäåíèÿ/; ñòóë, ñêàìåéêà,
êðåñëî)?”
“
No,
Monsieur,
I
went
first
to
answer
another
bell
(ñïåðâà ÿ ïîñïåøèë îòêëèêíóòüñÿ íà äðóãîé çâîíîê;
to
answer — îòâå÷àòü; îòêëèêàòüñÿ, ðåàãèðîâàòü
)
that
had
just
rung
(êîòîðûé êàê ðàç çâîíèë)
.”
“Now, Michel, I am going to ask you an important question
(òåïåðü
, Ìèøåëü
, ÿ
ñîáèðàþñü
çàäàòü
âàì
âàæíûé
âîïðîñ
). Where
were
you
at
a
quarter
past
one
(ãäå âû áûëè â ÷åòâåðòü âòîðîãî;
quarter — ÷åòâåðòü, ÷åòâåðòàÿ ÷àñòü; ÷åòâåðòü
÷àñà, ïÿòíàäöàòü ìèíóò)
?’
“
I,
Monsieur?
I
was
at
my
little
seat
at
the
end
(ÿ ñèäåë íà ñâîåì /ìàëåíüêîì/ ñòóëü÷èêå â êîíöå /âàãîíà/)
— facing
up
the
corridor
(ëèöîì ê êîðèäîðó;
to
face — íàõîäèòüñÿ ëèöîì ê; áûòü îáðàùåííûì
ê).”
“You are sure
(âû
óâåðåíû
)?”
“
Mais
oui
(êîíå÷íî æå) —
at
least
(âî âñÿêîì ñëó÷àå) — ”
“Yes?”
answer
['Q:nsq] quarter
['kwO:tq] sure
[SVq]
“Did you go back to your seat?”
“No, Monsieur, I went first to answer another bell that had just rung.”
“Now, Michel, I am going to ask you an important question. Where were you
at a quarter past one?’
“I, Monsieur? I was at my little seat at the end — facing up the corridor.”
“You are sure?”
“
Mais oui — at least — ”
“Yes?”
“I went into the next coach (
ÿ
óõîäèë
â
ñîñåäíèé
âàãîí;
next — ñëåäóþùèé
; áëèæàéøèé
, ñîñåäíèé
), the Athens coach
(àôèíñêèé
âàãîí
), to speak to my colleague there
(÷òîáû
ïîãîâîðèòü
òàì
ñî
ñâîèì
êîëëåãîé
). We
spoke
about
the
snow
(ìû ðàçãîâàðèâàëè î ñíåãå/ñíåãîïàäå)
. That
was
at
some
time
soon
after
one
o
’clock
(ýòî áûëî ãäå-òî: «â êàêîå-òî âðåìÿ» âñêîðå ïîñëå
÷àñà /íî÷è/). I
cannot
say
exactly
(ÿ íå ìîãó ñêàçàòü òî÷íî)
.”
“
And
you
returned —
when
(è êîãäà âû âîçâðàòèëèñü)
?”
“
One
of
my
bells
rang,
Monsieur
(îäèí èç ìîèõ êîëîêîëü÷èêîâ/çâîíêîâ çàçâåíåë, ìñüå)
— I
remember
(ÿ ïîìíþ)
— I
told
you
(ÿ /óæå/ ãîâîðèë âàì)
. It
was
the
American
lady
(ýòî áûëà àìåðèêàíñêàÿ äàìà)
. She
had
rung
several
times
(îíà ïîçâîíèëà íåñêîëüêî ðàç;
time — âðåìÿ; ðàç, ñëó÷àé
).”
“I recollect
(ÿ
ïðèïîìèíàþ
),” said Poirot. “And after that
(è
ïîñëå
ýòîãî
)?”
colleague
['kO
li:g] exactly
[Ig'zxktlI] recollect
["ri:kq'lekt]
“I went into the next coach, the Athens coach, to speak to my colleague there.
We spoke about the snow. That was at some time soon after one o’clock. I cannot say exactly.”
“And you returned — when?”
“One of my bells rang, Monsieur — I remember — I told you. It was the
American lady. She had rung several times.”
“I recollect,” said Poirot. “And after that?”
“After that, Monsieur
(ïîñëå
ýòîãî
, ìñüå
)? I answered your bell
(ÿ
îòêëèêíóëñÿ
íà
âàø
çâîíîê
) and brought you some mineral water
(è
ïðèíåñ
âàì
íåìíîãî
ìèíåðàëüíîé
âîäû
). Then, about half an hour later
(çàòåì
, ãäå
-òî
ïîë÷àñà
ñïóñòÿ
; half —
ïîëîâèíà)
, I made up the bed in one of the other compartments
(ÿ
ïîñòåëèë
ïîñòåëü
â
îäíîì
èç
/äðóãèõ
/ êóïå
) — that of the young American gentleman, Mr. Ratchett’s secretary
(/â
êóïå
/ ìîëîäîãî
àìåðèêàíöà
, ñåêðåòàðÿ
ìèñòåðà
Ðýò÷åòòà
).”
“Was Mr. MacQueen alone in his compartment
(ìèñòåð
Ìàêêóèí
áûë
îäèí
â
ñâîåì
êóïå
) when you went to make up his bed
(êîãäà
âû
ïðèøëè
ñòåëèòü
åãî
ïîñòåëü
)?”
“The English Colonel from No. 15 was with him
(ñ
íèì
áûë
àíãëèéñêèé
ïîëêîâíèê
èç
êóïå
¹15). They had been sitting talking
(îíè
ñèäåëè
è
ðàçãîâàðèâàëè
).”
brought
[brO:t]
mineral ['mIn(q)rql]
colonel ['k
q:n(q)l]
“After that, Monsieur? I answered your bell and brought you some mineral
water. Then, about half an hour later, I made up the bed in one of the other compartments — that of the young American gentleman, Mr. Ratchett’s secretary.”
“Was Mr. MacQueen alone in his compartment when you went to make up his bed?”
“The English Colonel from No. 15 was with him. They had been sitting talking.”
“What did the Colonel do
(÷òî
äåëàë
ïîëêîâíèê
) when he left Mr. MacQueen
(êîãäà
îí
óøåë
îò
Ìàêêóèíà
)?”
“He went back to his own compartment
(îí
âåðíóëñÿ
â
ñâîå
êóïå
).”
“No. 15
(/êóïå
/ íîìåð
15) — that is quite close to your seat, is it not
(ýòî
î÷åíü
áëèçêî
ñ
âàøèì
ìåñòîì
, íå
òàê
ëè
)?”
“Yes, Monsieur, it is the second compartment
(ýòî
âòîðîå
êóïå
) from that end of the corridor
(ñ
òîãî
êîíöà
êîðèäîðà
).”
“His bed was already made up
(åãî
ïîñòåëü
óæå
áûëà
çàñòåëåíà
)?”
“Yes, Monsieur. I had made it up
(ÿ
çàñòåëèë
åå
) while he was at dinner
(ïîêà
îí
óæèíàë
).”
“
What
time
was
all
this
(â êàêîå âðåìÿ âñå ýòî ïðîèñõîäèëî)
?”
“I could not say exactly, Monsieur (
ÿ
íå
ìîãó
ñêàçàòü
òî÷íî,
ìñüå)
. Not
later
than
two
o’
clock
certainly
(íî íåñîìíåííî, íå ïîçæå ÷åì äâà ÷àñà /íî÷è/)
.”
quite
[kwaIt] second
['sekqnd] certainly
['sq:tnlI]
“What did the Colonel do when he left Mr. MacQueen?”
“He went back to his own compartment.”
“No. 15 — that is quite close to your seat, is it not?”
“Yes, Monsieur, it is the second compartment from that end of the corridor.”
“His bed was already made up?”
“Yes, Monsieur. I had made it up while he was at dinner.”
“What time was all this?”
“I could not say exactly, Monsieur. Not later than two o’clock certainly.”
“And after that
(à
ïîñëå
ýòîãî
)?”
“After that, Monsieur, I sat in my seat till morning
(ÿ
ñèäåë
íà
ñâîåì
ìåñòå
äî
ñàìîãî
óòðà
).”
“You did not go again
(âû
áîëüøå
íå
ïîøëè
; again —
ñíîâà,
âíîâü,
îïÿòü)
into the Athens coach (
â
àôèíñêèé
âàãîí)
?”
“No, Monsieur.”
“Perhaps you slept
(âîçìîæíî
âû
çàñíóëè
; to sleep (slept) —
ñïàòü)
?”
“I do not think so, Monsieur
(íå
äóìàþ
, ìñüå
). The train being at a standstill
(òî
÷òî
ïîåçä
ñòîÿë
; standstill —
îñòàíîâêà,
ïàóçà)
prevented me from dozing off (
ïîìåøàëî
ìíå
çàäðåìàòü;
to prevent /from/ — ïðåäîòâðàùàòü
; ìåøàòü
, íå
äîïóñêàòü
; doze — äðåìîòà
; to doze — äðåìàòü
, êëåâàòü
íîñîì
) as I usually do
(êàê
ÿ
îáû÷íî
äåëàþ
).”
standstill
['stxnd"stIl]
prevent [prI'vent]
usually
['ju:ZVqlI, 'ju:Z(q)lI]
“And after that?”
“After that, Monsieur, I sat in my seat till morning.”
“You did not go again into the Athens coach?”
“No, Monsieur.”
“Perhaps you slept?”
“I do not think so, Monsieur. The train being at a standstill prevented me
from dozing off as I usually do.”
“
Did
you
see
any
of
the
passengers
(âû íå âèäåëè, êàê êòî-íèáóäü èç ïàññàæèðîâ)
moving
up
or
down
the
corridor
(ïðîõîäèë: «äâèãàëñÿ» ïî êîðèäîðó â êàêóþ-ëèáî
ñòîðîíó; up
and
down — ââåðõ è âíèç; âçàä è âïåðåä, òóäà è ñþäà
)?”
The
man
reflected
(ïðîâîäíèê çàäóìàëñÿ;
to
reflect — îòðàæàòü; ðàçìûøëÿòü, ðàçäóìûâàòü
). “
One
of
the
ladies
went
to
the
toilet
(îäíà èç äàì õîäèëà â òóàëåò;
toilet — òóàëåò, îäåâàíèå; òóàëåò, óáîðíàÿ
)
at
the
far
end,
I
think
(/ðàñïîëîæåííûé/ â äàëüíåì êîíöå /âàãîíà/, ìíå êàæåòñÿ)
.”
“Which lady
(êàêàÿ
äàìà
)?”
“I do not know, Monsieur (
ÿ
íå
çíàþ,
ìñüå)
. It was far down the corridor (
ýòî
áûëî
äàëåêî
ïî
êîðèäîðó)
and she had her back to me (
è
îíà
áûëà
ñïèíîé
êî
ìíå)
. She
had
on
a
kimono
of
scarlet
(íà íåé áûëî àëîå êèìîíî;
to
have (
had)
on — áûòü îäåòûì /âî ÷òî-ëèáî
/: «èìåòü íà /ñåáå/»)
with
dragons
on
it
(ñ äðàêîíàìè /íà íåì/)
.”
Poirot nodded
(Ïóàðî
êèâíóë
).
“And after that?
(à
ïîñëå
ýòîãî
)”
“
Nothing,
Monsieur,
until
the
morning
(íè÷åãî
, ìñüå
, äî
ñàìîãî
óòðà
).”
toilet
['tOIlIt] kimono
[kI'mqVnqV] dragon
['drxgqn]
“Did you see any of the passengers moving up or down the corridor?”
The man reflected. “One of the ladies went to the toilet at the far end,
I think.”
“Which lady?”
“I do not know, Monsieur. It was far down the corridor and she had her back
to me. She had on a kimono of scarlet with dragons on it.”
Poirot nodded. “And after that?”
“Nothing, Monsieur, until the morning.”
“You are sure
(âû
óâåðåíû
)?”
“Ah, pardon — you yourself, Monsieur
(àõ
, èçâèíèòå
— âû
ñàìè
, ìñüå
; to pardon —
ïðîùàòü,
èçâèíÿòü)
, opened your door and looked out for a second (
îòêðûëè
âàøó
äâåðü
è
âûãëÿíóëè
íà
ñåêóíäó)
.”
“Good, my friend (
õîðîøî,
ìîé
äðóã)
,” said Poirot. “
I
wondered
(ìíå áûëî èíòåðåñíî;
wonder — ÷óäî; óäèâëåíèå, èçóìëåíèå;
to
wonder — èíòåðåñîâàòüñÿ, æåëàòü çíàòü, çàäàâàòü
ñåáå âîïðîñ)
whether
you
would
remember
that
(âñïîìíèòå ëè âû ýòî).
By
the
way,
I
was
awakened
by
(ìåæäó ïðî÷èì, ÿ áûë ðàçáóæåí ÷åì-òî)
what
sounded
like
something
heavy
(÷òî çâó÷àëî òàê, ñëîâíî ÷òî-òî òÿæåëîå)
falling
against
my
door
(óïàëî íà ìîþ äâåðü;
to
fall — ïàäàòü; ðóøèòüñÿ, îáâàëèâàòüñÿ;
against — ïðîòèâ, íàïðîòèâ; çä. óêàçûâàåò íà
ñîïðèêîñíîâåíèå èëè ñòîëêíîâåíèå ñ ÷åì-ëèáî)
. Have
you
any
idea
(íå çíàåòå ëè âû: «åñòü ëè ó âàñ êàêàÿ-ëèáî èäåÿ/ìíåíèå»;
to
have — èìåòü /òæ. ïðåäñòàâëåíèå, ìíåíèå, ïðàâî
è ò.ï./)
what
that
could
have
been
(÷òî áû ýòî ìîãëî áûòü)
?”
The
man
stared
at
him
(ïðîâîäíèê ñìîòðåë íà íåãî â èçóìëåíèè;
to
stare — ïðèñòàëüíî ñìîòðåòü, óñòàâèòüñÿ; ñìîòðåòü
â èçóìëåíèè). “
There
was
nothing,
Monsieur
(íè÷åãî íå áûëî, ìñüå).
Nothing,
I
am
positive
of
it
(íè÷åãî, ÿ â ýòîì óâåðåí;
positive — íåñîìíåííûé, îïðåäåëåííûé; óâåðåííûé
/â ÷åì-ëèáî/, óáåæäåííûé â ïðàâèëüíîñòè /÷åãî-ëèáî/)
.”
yourself
[jq'self] awaken
[q'weIkqn] positive
['pO
zItIv]
“You are sure?”
“Ah, pardon — you yourself, Monsieur, opened your door and looked out for
a second.”
“Good, my friend,” said Poirot. “I wondered whether you would remember
that. By the way, I was awakened by what sounded like something heavy falling against my door. Have you any idea what that could have been?”
The man stared at him. “There was nothing, Monsieur. Nothing, I am positive
of it.”
“Then I must have had the cauchemar
(â
òàêîì
ñëó÷àå
, ìåíÿ
, äîëæíî
áûòü
, ìó÷èë
êîøìàð
; cauchemar —
ôð.
êîøìàð)
,” said Poirot philosophically (
ñêàçàë
Ïóàðî
ôèëîñîôñêè)
.
“Unless
(åñëè
òîëüêî
),” put in M. Bouc
(âìåøàëñÿ
/â
ðàçãîâîð
/ ìñüå
Áóê
; to put in —
ïðåðûâàòü,
âìåøèâàòüñÿ /
â
ðàçãîâîð/
), “it was something in the compartment next door
(ýòî
íå
áûëî
÷òî
-òî
â
êóïå
ïî
ñîñåäñòâó
; next door —
ïî
ñîñåäñòâó,
ðÿäîì; door —
äâåðü)
that you heard (
÷òî
âû
ñëûøàëè)
.”
Poirot took no notice of the suggestion (
Ïóàðî
íå
îáðàòèë
íèêàêîãî
âíèìàíèÿ
íà
ýòî
ïðåäïîëîæåíèå;
to take (took, taken), notice — èçâåùåíèå
; âíèìàíèå
; to take notice — îáðàùàòü
âíèìàíèå
, çàìå÷àòü
). Perhaps
he
did
not
wish
to
(âîçìîæíî, ÷òî îí íå õîòåë /äåëàòü ýòîãî/)
before
the
Wagon
Lit
conductor
(ïåðåä ïðîâîäíèêîì ñïàëüíîãî âàãîíà)
.
philosophically ["fIlq's
OfIk(q)lI]
unless [An|'les, qn-]
suggestion [sq'dZestS(q)n]
“Then I must have had the cauchemar,” said Poirot philosophically.
“Unless,” put in M. Bouc, “it was something in the compartment next door
that you heard.”
Poirot took no notice of the suggestion. Perhaps he did not wish to before
the Wagon Lit conductor.
“Let us pass to another point (
äàâàéòå
ïåðåéäåì
ê
ñëåäóþùåìó: «
äðóãîìó»
ïóíêòó;
point — òî÷êà
; ïóíêò
; âîïðîñ
),” he said.
“Supposing
that
last
night
an
assassin
joined
the
train
(ïðåäïîëîæèì, ÷òî ïðîøëîé íî÷üþ íåêèé óáèéöà ñåë
â ïîåçä; assassin — óáèéöà ïîëèòè÷åñêîãî
èëè îáùåñòâåííîãî äåÿòåëÿ; íàåìíûé óáèéöà; to
assassinate
— óáèâàòü ïîëèòè÷åñêèõ èëè îáùåñòâåííûõ äåÿòåëåé /ïî èäåéíûì ìîòèâàì èëè çà äåíüãè/,
to
join — ñîåäèíÿòü; ïðèñîåäèíÿòüñÿ, âõîäèòü
â êîìïàíèþ).
Is
it
quite
certain
that
he
could
not
have
left
it
(ýòî ñîâåðøåííî òî÷íî, ÷òî îí íå ñìîã áû ïîêèíóòü åãî = ïîåçä)
after
committing
the
crime
(ïîñëå ñîâåðøåíèÿ ïðåñòóïëåíèÿ)
?”
Pierre
Michel
shook
his
head
(Ïüåð Ìèøåëü çàêà÷àë ãîëîâîé;
to
shake (
shook,
shaken) — òðÿñòè, âñòðÿõèâàòü; êà÷àòü; to shake
one's head — ïîêà÷àòü ãîëîâîé /â çíàê ñîìíåíèÿ, óêîðèçíû è ò.ï./
).
“
Nor
that
he
can
be
concealed
on
it
somewhere
(è ÷òî îí íå ìîæåò ïðÿòàòüñÿ: «áûòü ñïðÿòàííûì» ãäå-íèáóäü â ïîåçäå;
to
conceal — ïðÿòàòü, óêðûâàòü
)?”
assassin [q'sxsIn]
join
[dZOIn] conceal
[kqn'si:l]
“Let us pass to another point,” he said. “Supposing that last night an
assassin joined the train. Is it quite certain that he could not have left it after committing the crime?”
Pierre Michel shook his head.
“Nor that he can be concealed on it somewhere?”
“It has been well searched
(ïîåçä
áûë
òùàòåëüíî
äîñìîòðåí
; well —
õîðîøî,
îòëè÷íî;
òùàòåëüíî, to search —
èñêàòü;
îáûñêèâàòü,
äîñìàòðèâàòü)
,” said M. Bouc. “Abandon that idea, my friend (
îñòàâüòå
ýòó
èäåþ,
äðóã
ìîé;
to abandon — ïîêèäàòü
; çàáðîñèòü
).”
“Besides
(êðîìå
òîãî
),” said Michel, “no one could get on to the sleeping-car
(íèêòî
íå
ìîã
áû
ñåñòü
â
ñïàëüíûé
âàãîí
; to get on smth. —
âçáèðàòüñÿ,
âëåçàòü;
ñàäèòüñÿ /
â
òðàìâàé,
ïîåçä
è
ò.
ï./
) without my seeing them
(áåç
òîãî
, ÷òîáû
ÿ
èõ
íå
óâèäåë
).”
“
When
was
the
last
stop
(êîãäà áûëà ïîñëåäíÿÿ îñòàíîâêà)
?”
“
Vincovci
(â Âèíêîâöàõ).”
“
What
time
was
that
(â êàêîå âðåìÿ ýòî áûëî)
?”
“
We
should
have
left
there
at 11.58
(ìû äîëæíû áûëè îòïðàâèòüñÿ /îòòóäà/ â 11.58;
to
leave (
left) — óõîäèòü, óåçæàòü
),
but
owing
to
the
weather
(íî èç-çà ïîãîäíûõ óñëîâèé;
owing to — áëàãîäàðÿ, âñëåäñòâèå, ïî ïðè÷èíå;
weather — ïîãîäà; ãðîçà, áóðÿ, øòîðì, íåïîãîäà
)
we
were
twenty
minutes
late
(ìû çàäåðæàëèñü íà äâàäöàòü ìèíóò;
late — îïîçäàâøèé, çàïîçäàâøèé
).”
search
[sq:tS] abandon
[q'bxndqn] weather
['weDq]
“It has been well searched,” said M. Bouc. “Abandon that idea, my friend.”
“Besides,” said Michel, “no one could get on to the sleeping-car without
my seeing them.”
“When was the last stop?”
“Vincovci.”
“What time was that?”
“We should have left there at 11.58, but owing to the weather we were twenty
minutes late.”
“
Someone
might
have
come
along
(êòî-íèáóäü ìîã áû ïðèéòè)
from
the
ordinary
part
of
the
train
(èç äðóãèõ âàãîíîâ /ïîåçäà/: «èç îáû÷íîé =
íå ñïàëüíîé ÷àñòè ïîåçäà»)
?”
“
No,
Monsieur.
After
the
service
of
dinner
(ïîñëå òîãî, êàê ïîäàí óæèí: «îáåä»;
service — ñëóæáà, óñëóæåíèå; ïîäà÷à /áëþä/
),
the
door
between
the
ordinary
carriages
and
the
sleeping-
cars
is
locked
(äâåðü ìåæäó îáû÷íûìè è ñïàëüíûìè âàãîíàìè çàïèðàåòñÿ íà çàìîê)
.”
“
Did
you
yourself
descend
from
the
train
at
Vincovci
(âû ñàìè âûõîäèëè èç ïîåçäà â Âèíêîâöàõ;
to
descend — ñïóñêàòüñÿ, ñõîäèòü
)?”
“
Yes,
Monsieur.
I
got
down
onto
the
platform
as
usual
(ÿ ñîøåë íà ïåððîí êàê îáû÷íî;
to
get (
got)
down — ñïóñêàòüñÿ, ñõîäèòü, ñëåçàòü
)
and
stood
by
the
step
(è ñòîÿë ó ñòóïåíüêè;
step — øàã; ñòóïåíü; ïîäíîæêà /ýêèïàæà/
)
up
into
the
train
(/âåäóùåé/ â ïîåçä).
The
other
conductors
did
the
same
(äðóãèå ïðîâîäíèêè ñäåëàëè òî æå ñàìîå)
.”
ordinary
['O:d(q)nrI] descend
[dI'send] platform
['plxtfO:m]
“Someone might have come along from the ordinary part of the train?”
“No, Monsieur. After the service of dinner, the door between the ordinary
carriages and the sleeping-cars is locked.”
“Did you yourself descend from the train at Vincovci?”
“Yes, Monsieur. I got down onto the platform as usual and stood by the step
up into the train. The other conductors did the same.”
“What about the forward door
(à
êàê
íàñ÷åò
ïåðåäíåé
äâåðè
)
— the one near the restaurant car (
òîé,
÷òî
ðÿäîì
ñ
âàãîíîì-
ðåñòîðàíîì;
near — áëèçêî
, íåäàëåêî
, ïîäëå
)?”
“It is always fastened on the inside
(îíà
âñåãäà
çàêðûòà
èçíóòðè
; to fasten —
çàâÿçûâàòü,
ñêðåïëÿòü;
çàïèðàòü)
.”
“
It
is
not
so
fastened
now
(ñåé÷àñ åå çàêðûòîé íå íàçîâåøü: «îíà íå òàê óæ è çàêðûòà»)
.”
The
man
looked
surprised
(ïðîâîäíèê âûãëÿäåë óäèâëåííûì;
to
look — ñìîòðåòü; âûãëÿäåòü, èìåòü âèä;
surprise — óäèâëåíèå, èçóìëåíèå;
to
surprise — óäèâëÿòü, ïîðàæàòü
);
then
his
face
cleared
(çàòåì åãî ëèöî ïðîÿñíèëîñü;
to
clear — î÷èùàòü; ñòàíîâèòüñÿ ÿñíûì
). “
Doubtless
one
of
the
passengers
opened
it
(áåç ñîìíåíèÿ, îäèí èç ïàññàæèðîâ îòêðûë åå;
doubt — ñîìíåíèå; íåðåøèòåëüíîñòü
)
to
look
out
on
the
snow
(÷òîáû ïîñìîòðåòü íà ñíåã)
.”
forward [
'fO:wqd]
fasten [
'fQ:s(q)n]
doubtless ['
daVtlIs]
“What about the forward door — the one near the restaurant car?”
“It is always fastened on the inside.”
“It is not so fastened now.”
The man looked surprised; then his face cleared. “Doubtless one of the passengers
opened it to look out on the snow.”
“Probably
(âîçìîæíî
),” said Poirot.
He tapped thoughtfully on the table
(îí
çàäóì÷èâî
ñòó÷àë
ïî
ñòîëó
; to tap —
ëåãêî
óäàðÿòü,
ñòóêàòü;
ñòó÷àòü)
for a minute or two (
ìèíóòó
èëè
äâå)
.
“Monsieur does not blame me
(ìñüå
íå
îáâèíÿåò
ìåíÿ
)?” said the man timidly
(ñïðîñèë
ïðîâîäíèê
ðîáêî
; timid —
çàñòåí÷èâûé,
íåóâåðåííûé,
ðîáêèé)
.
Poirot smiled on him kindly
(Ïóàðî
äðóæåëþáíî
åìó
óëûáíóëñÿ
; kindly —
äîáðûé,
ìÿãêèé,
äîáðîäóøíûé)
.
“You
have
had
the
evil
chance
, my
friend
(âàì ïðîñòî íå ïîâåçëî: «âû èìåëè äóðíîé ñëó÷àé»,
ìîé äðóã; evil — çëîé; çëîâåùèé, äóðíîé,
íåáëàãîïðèÿòíûé; chance
— ñëó÷àéíîñòü; âîçìîæíîñòü; ñ÷àñòëèâûé ñëó÷àé
),”
he
said. “
Ah!
one
other
point
while
I
remember
it
(àõ, åùå îäèí ìîìåíò, ïîêà íå çàáûë: «ïîêà ÿ ïîìíþ î íåì»)
. You
said
that
another
bell
rang
(âû ñêàçàëè, ÷òî çâîíèë äðóãîé çâîíîê;
bell — êîëîêîëü÷èê; çâîíîê;
to
ring (
rang,
rung)
) just
as
you
were
knocking
at
M
. Ratchett
’s
door
(êàê ðàç êîãäà âû ñòó÷àëè â äâåðü ìèñòåðà Ðýò÷åòòà)
. In
fact
, I
heard
it
myself
(íà ñàìîì äåëå, ÿ è ñàì åãî ñëûøàë)
. Whose was it
(êòî
çâîíèë
: «÷åé
/çâîíîê
/ ýòî
áûë
»)?”
“It was the bell of Madame la Princesse Dragomiroff
(ýòî
áûë
çâîíîê
ìàäàì
êíÿãèíè
Äðàãîìèðîâîé
). She
desired
me
to
summon
her
maid
(îíà õîòåëà, ÷òîáû ÿ ïîçâàë åå ãîðíè÷íóþ;
to
desire — æåëàòü; èñïûòûâàòü æåëàíèå, õîòåòü
).”
timidly
['tImIdlI] chance
[tSQ:ns] desire
[dI'zaIq]
“Probably,” said Poirot.
He tapped thoughtfully on the table for a minute or two.
“Monsieur does not blame me?” said the man timidly.
Poirot smiled on him kindly.
“You have had the evil chance, my friend,” he said. “Ah! one other point
while I remember it. You said that another bell rang just as you were knocking at M. Ratchett’s door. In fact I heard it myself. Whose was it?”
“It was the bell of Madame la Princesse Dragomiroff. She desired me to summon
her maid.”
“
And
you
did
so
(è âû òàê è ñäåëàëè)?”
“
Yes,
Monsieur.”
Poirot
studied
the
plan
in
front
of
him
thoughtfully
(Ïóàðî çàäóì÷èâî ðàññìàòðèâàë /ëåæàùèé/ ïåðåä
íèì ïëàí /âàãîíà/; to
study
— èçó÷àòü, èññëåäîâàòü; ðàññìàòðèâàòü
).
Then he inclined his head (
çàòåì
îí
íàêëîíèë
ãîëîâó)
.
“That is all
(ýòî
âñå
),” he said, “for the moment
(ïîêà
= íà
äàííîå
âðåìÿ
).”
“Thank you, Monsieur.”
The man rose
(ïðîâîäíèê
âñòàë
). He looked at M. Bouc
(îí
âçãëÿíóë
íà
ìñüå
Áóêà
).
“Do not distress yourself
(íå
òðåâîæüòåñü
; to distress —
ïðè÷èíÿòü
ãîðå,
ñòðàäàíèå;
ìó÷èòü,
òðåâîæèòü)
,” said the latter kindly (
ñêàçàë
ïîñëåäíèé =
ìñüå
Áóê
äîáðîäóøíî)
; “I cannot see that there has been any negligence
(ÿ
íå
âèæó
íèêàêîãî
íåäîñìîòðà
: «÷òî
áûëà
êàêàÿ
-ëèáî
íåáðåæíîñòü
») on your part
(ñ
âàøåé
ñòîðîíû
; part —
÷àñòü,
äîëÿ;
ñòîðîíà /
â
ñïîðå,
ïðîöåññå
è
ò.
ï./
).”
Gratified
(îáðàäîâàííûé
; to gratify —
óäîâëåòâîðÿòü;
ðàäîâàòü)
, Pierre Michel left the compartment (
Ïüåð
Ìèøåëü
âûøåë
èç
êóïå)
.
studied
['stAdId] inclined
[In'klaInd] negligence
['neglIdZ(q)ns]
“And you did so?”
“Yes, Monsieur.”
Poirot studied the plan in front of him thoughtfully. Then he inclined his
head.
“That is all,” he said, “for the moment.”
“Thank you, Monsieur.”
The man rose. He looked at M. Bouc.
“Do not distress yourself,” said the latter kindly; “I cannot see that
there has been any negligence on your part.”
Gratified, Pierre Michel left the compartment.
2
THE EVIDENCE OF THE SECRETARY
(
Ïîêàçàíèÿ
ñåêðåòàðÿ)
For a minute or two Poirot remained lost in thought
(ìèíóòó
èëè
äâå
Ïóàðî
îñòàâàëñÿ
ïîãðóæåííûì
â
ñâîè
ìûñëè
; to lose (lost)
— òåðÿòü
; to be lost in smth. — èñ÷åçíóòü
; áûòü
ïîãðóæåííûì
âî
÷òî
-ëèáî
, ñ
ãîëîâîé
óéòè
âî
÷òî
-ëèáî
).
“I think,” he said at last
(ñêàçàë
îí
íàêîíåö
), “that it would be well to have a further word with Mr. MacQueen
(÷òî
áûëî
áû
õîðîøî
ïîãîâîðèòü
äàëåå
ñ
ìèñòåðîì
Ìàêêóèíîì
; to have a word with smb. —
ïîãîâîðèòü
ñ
êåì-
ëèáî; word —
ñëîâî;
ðå÷ü,
ðàçãîâîð,
ñëîâà)
, in view of what we now know (
ñ
ó÷åòîì
òîãî,
÷òî
ìû
ñåé÷àñ
çíàåì;
view — âèä
, ïåéçàæ
; âçãëÿä
, òî÷êà
çðåíèÿ
; in view of — ââèäó
/÷åãî
-ëèáî
/, ïðèíèìàÿ
âî
âíèìàíèå
/÷òî
-ëèáî
/)
.”
The
young
American
appeared
promptly
(ìîëîäîé àìåðèêàíåö ÿâèëñÿ íåìåäëåííî;
to
appear — ïîÿâëÿòüñÿ, ïîêàçûâàòüñÿ
).
“Well,” he said, “how are things going
(íó
, êàê
äåëà
)?”
remain [rI'meIn]
thought [TO:t]
further ['fq:Dq]
view [vju:]
appear [q'pIq]
For a minute or two Poirot remained lost in thought.
“I think,” he said at last, “that it would be well to have a further
word with Mr. MacQueen, in view of what we now know.”
The young American appeared promptly.
“Well,” he said, “how are things going?”
“
Not
too
badly
(íå òàê óæ è ïëîõî; bad
— ïëîõîé, äóðíîé; ñ îòðèöàíèåì: íåïëîõîé, íåäóðíîé
).
Since
our
last
conversation
(ïîñëå íàøåãî ïîñëåäíåãî ðàçãîâîðà;
since — ñ òåõ ïîð; ïîñëå /êàêîãî-òî ìîìåíòà/
),
I
have
learnt
something
(ÿ êîå-÷òî óçíàë; to
learn
(learned
, learnt
) — èçó÷àòü, ó÷èòü /÷òî-ëèáî/; óçíàâàòü
) —
the
identity
of
Mr.
Ratchett
(ëè÷íîñòü ìèñòåðà Ðýò÷åòòà)
.”
Hector
MacQueen
leaned
forward
interestedly
(Ãåêòîð Ìàêêóèí ïîäàëñÿ âïåðåä çàèíòåðåñîâàííî;
to
lean — íàêëîíÿòüñÿ, íàãèáàòüñÿ
).
“
Yes?”
he
said.
“ ‘
Ratchett
(/ôàìèëèÿ/ Ðýò÷åòò),’
as
you
suspected
(êàê âû è ïîäîçðåâàëè),
was
merely
an
alias
(áûëà âñåãî ëèøü âûìûøëåííûì èìåíåì)
. The
man
‘Ratchett
’ was
Cassetti
(ýòîò ÷åëîâåê, "Ðýò÷åòò" áûë Êàññåòòè)
, who
ran
the
celebrated
kidnapping
stunts
(êîòîðûé ïðîâîðà÷èâàë òå íåáåçûçâåñòíûå òðþêè
ñ ïîõèùåíèåì ëþäåé; to
run
(ran
, run
) — áåæàòü; ðóêîâîäèòü /ó÷ðåæäåíèåì/; âåñòè /äåëî, ïðåäïðèÿòèå/,
stunt — ýôôåêòíîå ñïîðòèâíîå âûñòóïëåíèå;
òðþê, ôîêóñ) —
including
the
famous
affair
of
little
Daisy
Armstrong
(âêëþ÷àÿ çíàìåíèòîå äåëî î ìàëåíüêîé Äåéçè Àðìñòðîíã;
to
include — ñîäåðæàòü, âêëþ÷àòü, èìåòü â ñâîåì
ñîñòàâå).”
identity [aI'dentItI]
interestedly ['IntrIstIdlI]
alias ['eIlIqs]
celebrated ['selIbreItId]
“Not too badly. Since our last conversation, I have learnt something —
the identity of Mr. Ratchett.”
Hector MacQueen leaned forward interestedly. “Yes?” he said.
“ ‘Ratchett,’ as you suspected, was merely an alias. The man ‘Ratchett’
was Cassetti, who ran the celebrated kidnapping stunts — including the famous affair of little Daisy Armstrong.”
An expression of utter astonishment (
âûðàæåíèå
ñîâåðøåííåéøåãî
óäèâëåíèÿ;
expression — âûðàæåíèå
/÷óâñòâà
è
ò
.ï
./; âûðàæåíèå
/ëèöà
, ãëàç
è
ò
.ï
./)
appeared on MacQueen’s face (
ïîÿâèëîñü
íà
ëèöå
Ìàêêóèíà)
. Then
it
darkened
(çàòåì îíî ïîìðà÷íåëî;
dark — òåìíûé, ÷åðíûé;
to
darken — äåëàòü òåìíûì; îìðà÷àòüñÿ, õìóðèòüñÿ
).
“
The
damned
skunk
(ïðîêëÿòûé ìåðçàâåö;
damned — ýìîö.-óñèë. ÷åðòîâ, ïðîêëÿòûé,
skunk — çîîë. ñêóíñ; ðàçã. ïîäëåö, äðÿíü, ìåðçàâåö
)!”
he
exclaimed
(âîñêëèêíóë îí).
“
You
had
no
idea
of
this,
Mr.
MacQueen
(âû îá ýòîì íå äîãàäûâàëèñü, ìèñòåð Ìàêêóèí;
idea — èäåÿ, ìûñëü; ïðåäñòàâëåíèå, ïîíÿòèå;
ïðåäïîëîæåíèå, äîãàäêà)
?”
“
No,
sir,”
said
the
young
American
decidedly
(ñêàçàë ìîëîäîé àìåðèêàíåö ðåøèòåëüíî;
to
decide — ðåøàòü, ïðèíèìàòü ðåøåíèå; íå êîëåáàòüñÿ
). “
If
I
had
(åñëè áû ÿ /äîãàäûâàëñÿ/)
, I
’d
have
cut
off
my
right
hand
(ÿ áû ñêîðåå îòðóáèë ñâîþ ïðàâóþ ðóêó;
to
cut — ðåçàòü;
to
cut
off — îáðåçàòü, îòðåçàòü, îòðóáàòü
)
before
it
had
a
chance
to
do
secretarial
work
for
him
(ïðåæäå ÷åì ó íåå /ðóêè/
áûëà áû âîçìîæíîñòü âûïîëíÿòü äëÿ íåãî ñåêðåòàðñêóþ ðàáîòó)
!”
expression
[Ik'spreS(q)n] astonishment
[q'stO
nISmqnt] exclaim
[Ik'skleIm] secretarial
["sekrq'te(q)rIql]
An expression of utter astonishment appeared on MacQueen’s face. Then it
darkened. “The damned skunk!” he exclaimed.
“You had no idea of this, Mr. MacQueen?”
“No, sir,” said the young American decidedly. “If I had, I’d have cut
off my right hand before it had a chance to do secretarial work for him!”
“You feel strongly
(âû
ñèëüíî
ïåðåæèâàåòå
; to feel —
òðîãàòü,
ùóïàòü;
ïåðåæèâàòü,
èñïûòûâàòü)
about the matter, Mr. MacQueen (
èç-
çà
ýòîãî,
ìèñòåð
Ìàêêóèí;
matter — âåùåñòâî
; äåëî
; ïîâîä
, ïðè÷èíà
)?”
“
I
have
a
particular
reason
for
doing
so
(ó ìåíÿ åñòü îñîáàÿ ïðè÷èíà äëÿ ýòîãî: «ïîñòóïàòü òàê»)
. My
father
was
the
district
attorney
(ìîé îòåö áûë îêðóæíûì ïðîêóðîðîì;
district — îêðóã; þð. ñóäåáíûé îêðóã;
attorney — àäâîêàò; ïðîêóðîð
)
who
handled
the
case,
Mr.
Poirot
(êîòîðûé âåë ýòî äåëî, ìñüå Ïóàðî;
to
handle — îáðàùàòüñÿ /ñ ÷åì-ëèáî, êåì-ëèáî/; âåñòè
/äåëî/).
I
saw
Mrs.
Armstrong
more
than
once
(ÿ ÷àñòî: «áîëüøå ÷åì îäèí ðàç» âèäåë ìèññèñ Àðìñòðîíã)
— she
was
a
lovely
woman
(îíà áûëà î÷àðîâàòåëüíîé/ìèëîé æåíùèíîé)
. So
gentle
and
heartbroken
(òàêîé ìÿãêîé/êðîòêîé è óáèòîé ãîðåì)
.” His
face
darkened
(åãî ëèöî îìðà÷èëîñü)
. “If
ever
a
man
deserved
what
he
got
(åñëè êòî-òî è çàñëóæèë òî, ÷òî ïîëó÷èë;
to
deserve — çàñëóæèâàòü, áûòü äîñòîéíûì;
to
get (
got) — äîñòàâàòü; ïîëó÷èòü
),
Ratchett —
or
Cassetti —
is
the
man
(òî Ðýò÷åòò — èëè Êàññåòòè — èìåííî ýòîò ÷åëîâåê)
. I
’m
rejoiced
at
his
end
(ÿ ðàä åãî ñìåðòè: «åãî êîíöó»;
to
rejoice — ðàäîâàòü(ñÿ),
end — êîíåö; ñìåðòü, êîí÷èíà
).
Such
a
man
wasn’
t
fit
to
live
(òàêîé ÷åëîâåê íå áûë äîñòîèí îñòàâàòüñÿ â æèâûõ;
fit — ïðèãîäíûé, ïîäõîäÿùèé; äîñòîéíûé;
to
live — æèòü, ñóùåñòâîâàòü
)!”
particular [pq'tIkjVlq]
attorney [q'tq:nI]
heartbroken ['hQ:t"brqVkqn]
deserve [dI'zq:v]
rejoice [rI'dZOIs]
“You feel strongly about the matter, Mr. MacQueen?”
“I have a particular reason for doing so. My father was the district attorney
who handled the case, Mr. Poirot. I saw Mrs. Armstrong more than once — she was a lovely woman. So gentle and heartbroken.” His face darkened. “If ever a man deserved what he got, Ratchett — or Cassetti — is the
man. I’m rejoiced at his end. Such a man wasn’t fit to live!”
“You almost feel
(âû
ïî÷òè
÷òî
óâåðåíû
; to feel —
òðîãàòü,
ùóïàòü;
ïîëàãàòü,
ñ÷èòàòü)
as though you would have been willing (
ñëîâíî
âû
áûëè
ãîòîâû;
willing — ãîòîâûé
, ñêëîííûé
, ñîãëàñíûé
/ñäåëàòü
÷òî
-ëèáî
/)
to do the good deed yourself (
ñàìè
âûïîëíèòü
ýòî
äîáðîå
äåëî;
deed — ïîñòóïîê
, äåéñòâèå
)?”
“I do. I — ” He paused
(îí
çàïíóëñÿ
; to pause —
äåëàòü
ïàóçó,
ïåðåðûâ)
, then added rather guiltily (
çàòåì
äîáàâèë,
äîâîëüíî
âèíîâàòûì /
òîíîì/;
guilt — âèíà
, âèíîâíîñòü
), “Seems I’m kind of incriminating myself
(êàæåòñÿ
, ÷òî
ÿ
âðîäå
êàê
îáâèíÿþ
ñàì
ñåáÿ
; kind of —
âðîäå,
êàê
áóäòî; to incriminate —
èíêðèìèíèðîâàòü,
âìåíÿòü
â
âèíó)
.”
“I should be more inclined to suspect you, Mr. MacQueen
(ÿ
áûë
áû
áîëåå
ñêëîíåí
ïîäîçðåâàòü
âàñ
, ìèñòåð
Ìàêêóèí
; to incline —
íàêëîíÿòü;
ñêëîíÿòüñÿ,
òÿãîòåòü)
, if you displayed an inordinate sorrow (
åñëè
áû
âû
ïîêàçûâàëè/
äåìîíñòðèðîâàëè
÷ðåçìåðíóþ
ïå÷àëü;
inordinate — áåñïîðÿäî÷íûé
; íåñäåðæàííûé
, íåïîìåðíûé
) at your employer’s decease
(èç
-çà
êîí÷èíû
âàøåãî
ðàáîòîäàòåëÿ
/õîçÿèíà
).”
guiltily
['gIltIlI] incriminating
[In'krImIneItIN] inordinate
[I'nO:d(q)nIt] decease
[dI'si:s]
“You almost feel as though you would have been willing to do the good deed
yourself?”
“I do. I — ” He paused, then added rather guiltily, “Seems I’m kind
of incriminating myself.”
“I should be more inclined to suspect you, Mr. MacQueen, if you displayed
an inordinate sorrow at your employer’s decease.”
“I don’t think I could do that (
íå
äóìàþ,
÷òî
ÿ
ìîã
áû
ñäåëàòü
ýòî)
even to save myself from the chair (
äàæå
äëÿ
òîãî,
÷òîáû
ñïàñòè
ñåáÿ
îò /
ýëåêòðè÷åñêîãî/
ñòóëà;
chair — ñòóë
, êðåñëî
; àìåð
. ðàçã
. ýëåêòðè÷åñêèé
ñòóë
),” said MacQueen grimly
(ñêàçàë
Ìàêêóèí
ìðà÷íî
; grim —
æåñòîêèé;
çëîâåùèé,
óæàñíûé,
ìðà÷íûé)
. Then he added (
çàòåì
îí
äîáàâèë)
: “If I’m not being unduly curious (
íå
áóäó
ëè
ÿ
èçëèøíå
ëþáîïûòíûì,
åñëè /
ñïðîøó/;
unduly — ÷ðåçìåðíî
; íåïðàâèëüíî
), just how did you figure this out
(êàê
èìåííî
âû
âûÿñíèëè
ýòî
; to figure —
èçîáðàæàòü /
ãðàôè÷åñêè/;
ñ÷èòàòü,
ïîëàãàòü; to figure out —
âû÷èñëÿòü;
ïîíèìàòü,
ïîñòèãàòü)
? Cassetti’
s
identity,
I
mean
(ëè÷íîñòü Êàññåòòè, ÿ èìåþ â âèäó)
.”
“By a fragment of a letter
(ïî
îáðûâêó
ïèñüìà
) found in his compartment
(îáíàðóæåííîìó
â
åãî
êóïå
; to find (found) —
íàõîäèòü,
îòûñêèâàòü)
.”
“
But
surely
(íî, âåäü...) —
I
mean
(/òî åñòü/, ÿ èìåþ â âèäó)
— that
was
rather
careless
of
the
old
man
(ýòî áûëî äîâîëüíî-òàêè áåñïå÷íî ñî ñòîðîíû ñòàðèêà;
careless — íåáðåæíûé, íåâíèìàòåëüíûé;
áåñïå÷íûé, ëåãêîìûñëåííûé)
?”
“
That
depends
(ýòî çàâèñèò),”
said
Poirot, “
on
the
point
of
view
(îò òî÷êè çðåíèÿ = êàê íà ýòî âçãëÿíóòü)
.”
unduly [An'dju:lI]
figure ['fIgq]
fragment ['frxgmqnt]
careless ['keqlIs]
“I don’t think I could do that even to save myself from the chair,” said
MacQueen grimly. Then he added: “If I’m not being unduly curious, just how did you figure this out? Cassetti’s identity, I mean.”
“By a fragment of a letter found in his compartment.”
“But surely — I mean — that was rather careless of the old man?”
“That depends,” said Poirot, “on the point of view.”
The young man seemed
(ìîëîäîé
÷åëîâåê
, êàçàëîñü
) to find this remark
(ïîñ÷èòàë
ýòî
çàìå÷àíèå
; to find —
íàõîäèòü,
îáíàðóæèâàòü;
ñ÷èòàòü,
íàõîäèòü)
rather baffling (
äîâîëüíî-
òàêè
îáåñêóðàæèâàþùèì;
to baffle — îçàäà÷èâàòü
, ñáèâàòü
ñ
òîëêó
). He stared at Poirot as though trying to make him out
(îí
óñòàâèëñÿ
íà
Ïóàðî
ñëîâíî
ïûòàÿñü
ïîíÿòü
åãî
; to make out —
ñîñòàâëÿòü;
ïîíÿòü,
ðàçîáðàòüñÿ)
.
“The task before me (
çàäà÷à /
ñòîÿùàÿ/
ïåðåäî
ìíîé)
,” said Poirot, “is to make sure (
ýòî
âûÿñíèòü;
sure — óâåðåííûé
; óáåäèâøèéñÿ
; to make sure of — óäîñòîâåðèòüñÿ
â
÷åì
-ëèáî
; âûÿñíèòü
÷òî
-ëèáî
) of the movements of every one on the train
(äåéñòâèÿ
êàæäîãî
/ïàññàæèðà
èëè
ñëóæàùåãî
/ â
ýòîì
ïîåçäå
; movement(s)
— äâèæåíèå
; äåéñòâèÿ
, ïîâåäåíèå
). No offence need be taken (
íå
íóæíî
îáèæàòüñÿ;
offence — íàðóøåíèå
, ïðîñòóïîê
; îáèäà
, îñêîðáëåíèå
; to take offence — îáèæàòüñÿ
), you understand
(âû
/æå
/ ïîíèìàåòå
). It
is
only
a
matter
of
routine
(ýòî âñåãî ëèøü çàâåäåííûé ïîðÿäîê/íè÷åãî íå çíà÷àùàÿ
ôîðìàëüíîñòü).”
“
Sure
(êîíå÷íî).
Get
right
on
with
it
(äàâàéòå, ïðèñòóïàéòå /ê ýòîìó çàâåäåííîìó ïîðÿäêó/;
to
get
on — ïðîäâèãàòüñÿ;
right — ïðÿìî, ñðàçó
)
and
let
me
clear
my
character
(è ïîçâîëüòå ìíå âîññòàíîâèòü/î÷èñòèòü ìîþ ðåïóòàöèþ;
to
clear — î÷èùàòü; îïðàâäûâàòü, î÷èùàòü îò ïîäîçðåíèé;
character — õàðàêòåð, íðàâ; ðåïóòàöèÿ
)
if
I
can
(åñëè ïîëó÷èòñÿ: «åñëè ÿ ñìîãó»)
.”
“
I
need
hardly
ask
you
the
number
of
your
compartment
(âðÿä ëè ìíå íåîáõîäèìî ñïðàøèâàòü íîìåð âàøåãî êóïå)
,” said
Poirot
, smiling
(ñêàçàë Ïóàðî, óëûáàÿñü)
, “since
I
shared
it
with
you
for
a
night
(òàê êàê ÿ åõàë ñ âàìè â íåì îäíó íî÷ü = áûë âàøèì
ñîñåäîì îäíó íî÷ü; to
share
— äåëèòü, ðàñïðåäåëÿòü; ïîëüçîâàòüñÿ ñîâìåñòíî
).
It
is
the
second-
class
compartment
Nos. 6
and 7
(ýòî êóïå âòîðîãî êëàññà, ìåñòà 6 è 7)
, and
after
my
departure
(è ïîñëå ìîåãî óõîäà)
you
had
it
to
yourself
(âû îñòàëèñü â íåì îäèí: «âû èìåëè åãî äëÿ ñåáÿ
îäíîãî»).”
“That’s right
(ñîâåðøåííî
âåðíî
).”
baffling ['bxflIN]
routine [ru:'ti:n]
character ['kxrIktq]
shared [Seqd]
departure
[dI'pQ:tSq]
The young man seemed to find this remark rather baffling. He stared at Poirot
as though trying to make him out.
“The task before me,” said Poirot, “is to make sure of the movements
of every one on the train. No offence need be taken, you understand. It is only a matter of routine.”
“Sure. Get right on with it and let me clear my character if I can.”
“I need hardly ask you the number of your compartment,” said Poirot, smiling,
“since I shared it with you for a night. It is the second-class compartment Nos. 6 and 7, and after my departure you had it to yourself.”
“That’s right.”
“Now, Mr. MacQueen, I want you to describe your movements last night
(à
òåïåðü
, ìèñòåð
Ìàêêóèí
, ÿ
õî÷ó
, ÷òîáû
âû
îïèñàëè
ñâîè
äåéñòâèÿ
â
ïðîøëóþ
íî÷ü
; night —
íî÷ü;
âå÷åð)
from the time of leaving the dining-car (/
íà÷èíàÿ/
ñî
âðåìåíè,
êàê /
âû/
âûøëè
èç
âàãîíà-
ðåñòîðàíà)
.”
“
That’
s
quite
easy
(ýòî /áóäåò/ äîâîëüíî ëåãêî)
. I
went
back
to
my
compartment
(ÿ âåðíóëñÿ â ñâîå êóïå)
, read
a
bit
(ïî÷èòàë íåìíîãî;
bit — êóñîê; íåáîëüøîå êîëè÷åñòâî, íåìíîãî
),
got
out
on
the
platform
at
Belgrade
(âûøåë íà ïëàòôîðìó â Áåëãðàäå)
, decided
it
was
too
cold
(ðåøèë, ÷òî /òàì áûëî/ ñëèøêîì õîëîäíî)
, and
got
in
again
(è âåðíóëñÿ íàçàä;
to
get
in — âõîäèòü, âëåçàòü
).
I
talked
for
a
while
to
a
young
English
lady
(ÿ íåêîòîðîå âðåìÿ ïîãîâîðèë ñ ìîëîäîé àíãëè÷àíêîé;
while — âðåìÿ, ïðîìåæóòîê âðåìåíè
)
who
is
in
the
compartment
next
to
mine
(êîòîðàÿ /åäåò/ â ñîñåäíåì êóïå: «â êóïå, ñîñåäíèì ñ ìîèì»;
next — ñëåäóþùèé; áëèæàéøèé, ñîñåäíèé
).
Then
I
fell
into
conversation
(çàòåì ÿ âñòóïèë â ðàçãîâîð = ðàçãîâîðèëñÿ;
to
fall (
fell,
fallen) — ïàäàòü; ïðèõîäèòü, âïàäàòü â êàêîå-ëèáî
ñîñòîÿíèå)
with
that
Englishman,
Colonel
Arbuthnot
(ñ òåì àíãëè÷àíèíîì, ïîëêîâíèêîì Àðáýòíîòîì)
— as
a
matter
of
fact
I
think
you
passed
us
(ñîáñòâåííî ãîâîðÿ, ìíå êàæåòñÿ, ÷òî âû ïðîøëè
ìèìî íàñ; to
pass — èäòè, ïðîõîäèòü; ïðîõîäèòü ìèìî, ìèíîâàòü
)
as
we
were
talking
(êîãäà ìû ðàçãîâàðèâàëè)
. Then
I
went
in
to
Mr
. Ratchett
(çàòåì ÿ çàøåë ê ìèñòåðó Ðýò÷åòòó)
and
, as
I
told
you
, took
down
some
memoranda
of
letters
(è, êàê ÿ óæå ñêàçàë âàì, çàïèñàë, ÷òîáû íå çàáûòü,
åãî óêàçàíèÿ íà ñ÷åò ïèñåì; to
take
(took
, taken
) down
— çàïèñûâàòü; memorandum (pl
. memoranda
) — ìåìîðàíäóì, ïàìÿòíàÿ çàïèñêà
)
he
wanted
written
(êîòîðûå îí õîòåë /÷òîáû ÿ/ íàïèñàë /è îòïðàâèë/;
to
write (
wrote,
written)
— ïèñàòü; ñîîáùàòü â ïèñüìåííîé ôîðìå, íàïèñàòü
è îòïðàâèòü ïèñüìî)
. I
said
good
-night
to
him
(ÿ ïîæåëàë åìó äîáðîé íî÷è)
and
left
him
(è óøåë: «è îñòàâèë åãî»;
to
leave (
left) — óõîäèòü; ïîêèäàòü, îñòàâëÿòü
).
describe [dIs'kraIb]
conversation ["k
Onvq'seIS(q)n]
memoranda ["memq'rxndq]
“Now, Mr. MacQueen, I want you to describe your movements last night from
the time of leaving the dining-car.”
“That’s quite easy. I went back to my compartment, read a bit, got out
on the platform at Belgrade, decided it was too cold, and got in again. I talked for a while to a young English lady who is in the compartment next to mine. Then I fell into conversation with that Englishman, Colonel Arbuthnot
— as a matter of fact I think you passed us as we were talking. Then I went in to Mr. Ratchett and, as I told you, took down some memoranda of letters he wanted written. I said good-night to him and left him.
Colonel Arbuthnot was still standing in the corridor
(ïîëêîâíèê
Àðáýòíîò
âñå
åùå
ñòîÿë
â
êîðèäîðå
). His compartment was already made up for the night
(/ïîñòåëü
/ â
åãî
êóïå
óæå
áûëà
ðàññòåëåíà
/íà
íî÷ü
/), so I suggested that he should come along to mine
(ïîýòîìó
ÿ
ïðåäëîæèë
, ÷òîáû
îí
ïîøåë
ñî
ìíîé
â
ìîå
/êóïå
/; to come (came, come) along —
èäòè
âìåñòå /
ñ
êåì-
ëèáî/
). I
ordered
a
couple
of
drinks
(ÿ çàêàçàë íàì ïî ñòàêàí÷èêó
; couple
— ïàðà; drink
— ïèòüå; ñïèðòíîé íàïèòîê
)
and
we
got
right
down
to
it
(è ìû âûïèëè: «è ìû ïðÿìî è ïðèñòóïèëè ê íèì»;
to
get (
got)
down — ñïóñêàòüñÿ; ñåðüåçíî çàíÿòüñÿ /÷åì-ëèáî/,
ïðèñòóïèòü /ê ÷åìó-ëèáî/)
. Discussed
world
politics
and
the
Government
of
India
(îáñóäèëè ìèðîâóþ ïîëèòèêó è ïðàâèòåëüñòâî Èíäèè)
and
our
own
troubles
(è íàøè ñîáñòâåííûå ïðîáëåìû;
trouble — áåñïîêîéñòâî; çàòðóäíåíèÿ
)
with
Prohibition
(/ñâÿçàííûå/ ñ ñóõèì çàêîíîì;
prohibition — çàïðåùåíèå; çàïðåùåíèå ïðîäàæè
ñïèðòíûõ íàïèòêîâ)
and
the
Wall
Street
crisis
(è êðèçèñîì íà Óîëë-ñòðèò)
. I
don
’t
as
a
rule
cotton
to
Britishers
(êàê ïðàâèëî =
îáû÷íî ÿ íå î÷åíü ëàæó ñ áðèòàíöàìè;
rule — ïðàâèëî; ïðèâû÷êà, îáû÷àé;
cotton — õëîïîê;
to
cotton — ðàçã. ëàäèòü, óæèâàòüñÿ
) —
they’
re
a
stiff-
necked
lot
(îíè âñå òàêèå âûñîêîìåðíûå/÷îïîðíûå;
stiff — æåñòêèé; õîëîäíûé, ÷îïîðíûé;
neck — øåÿ;
lot — ãðóïïà, êîìïàíèÿ /êàêèõ-ëèáî ëþäåé/
) —
but
I
liked
this
one
(íî ýòîò ìíå ïîíðàâèëñÿ;
to
like — ëþáèòü /÷òî-ëèáî/, õîðîøî èëè îäîáðèòåëüíî
îòíîñèòüñÿ ê ÷åìó-ëèáî, êîìó-ëèáî)
.”
discuss
[dIs'kAs] politics
['pO
lItIks] prohibition
["prqVhI'bIS(q)n] crisis
['kraIsIs] stiff-necked
["stIf'nekt]
Colonel Arbuthnot was still standing in the corridor. His compartment was already
made up for the night, so I suggested that he should come along to mine. I ordered a couple of drinks and we got right down to it. Discussed world politics and the Government of India and our own troubles with Prohibition
and the Wall Street crisis. I don’t as a rule cotton to Britishers — they’re a stiff-necked lot — but I liked this one.”
“
Do
you
know
what
time
it
was
(âû íå çíàåòå, ñêîëüêî áûëî âðåìåíè)
when
he
left
you
(êîãäà îí óøåë îò âàñ)
?”
“
Pretty
late
(äîâîëüíî ïîçäíî).
Nearly
two
o’
clock,
I
should
say
(îêîëî äâóõ ÷àñîâ, ÿ áû ñêàçàë)
.”
“
You
noticed
that
the
train
had
stopped
(âû çàìåòèëè, ÷òî ïîåçä óæå îñòàíîâèëñÿ)
?”
‘
Oh,
yes.
We
wondered
a
bit
(ìû ñëåãêà óäèâèëèñü;
to
wonder — èíòåðåñîâàòüñÿ, æåëàòü çíàòü; èçóìëÿòüñÿ,
ïîðàæàòüñÿ).
Looked
out
and
saw
the
snow
lying
very
thick
(âûãëÿíóëè /â îêíî/ è óâèäåëè, ÷òî ñíåã ëåæèò òîëñòûì /ñëîåì/;
thick — òîëñòûé; òîëñòûì ñëîåì; â áîëüøîì êîëè÷åñòâå
),
but
we
didn’
t
think
it
was
serious
(íî ìû íå äóìàëè, ÷òî âñå òàê ñåðüåçíî)
.”
“
What
happened
(÷òî áûëî /ïîñëå òîãî/;
to
happen — ñëó÷àòüñÿ, ïðîèñõîäèòü
)
when
Colonel
Arbuthnot
finally
said
good
night
(êàê ïîëêîâíèê Àðáýòíîò îêîí÷àòåëüíî ïîïðîùàëñÿ;
to
say
good
night — ïîæåëàòü ñïîêîéíîé íî÷è, ïîïðîùàòüñÿ
)?”
“He went along to his compartment
(îí
ïîøåë
â
ñâîå
êóïå
) and I called to the conductor
(à
ÿ
ïîçâàë
êîíäóêòîðà
) to make up my bed
(/÷òîáû
îí
/ ðàññòåëèë
ìíå
ïîñòåëü
).”
“Where were you whilst he was making it
(ãäå
âû
áûëè
, ïîêà
îí
ñòåëèë
/ïîñòåëü
/)?”
“Standing just outside the door in the corridor
(ñòîÿë
ïðÿìî
çà
äâåðüþ
, ñíàðóæè
, â
êîðèäîðå
) smoking a cigarette
(è
êóðèë
ñèãàðåòó
).”
notice ['nqVtIs]
wonder ['wAndq]
serious ['sI(q)rIqs]
“Do you know what time it was when he left you?”
“Pretty late. Nearly two o’clock, I should say.”
“You noticed that the train had stopped?”
‘Oh, yes. We wondered a bit. Looked out and saw the snow lying very thick,
but we didn’t think it was serious.”
“What happened when Colonel Arbuthnot finally said good night?”
“He went along to his compartment and I called to the conductor to make up
my bed.”
“Where were you whilst he was making it?”
“Standing just outside the door in the corridor smoking a cigarette.”
“And then
(à
ïîòîì
)?”
“And then I went to bed
(à
ïîòîì
ÿ
ëåã
ñïàòü
; to go to bed — ëîæèòüñÿ
ñïàòü
, bed — ïîñòåëü
, ëîæå
) and slept till morning
(è
ïðîñïàë
äî
ñàìîãî
óòðà
; to sleep (slept)
).”
“
During
the
evening
(â òå÷åíèå âå÷åðà; during
— â ïðîäîëæåíèå, â òå÷åíèå
)
did
you
leave
the
train
at
all
(âû êîãäà-íèáóäü âûõîäèëè èç ïîåçäà)
?”
“
Arbuthnot
and
I
thought
(ÿ è Àðáýòíîò äóìàëè)
we
’d
get
out
at
(÷òî ìû ñîéäåì â)
— what
was
the
name
of
the
place
(êàê íàçûâàëîñü òî ìåñòî;
name — èìÿ; íàçâàíèå
)? —
Vincovci
(â Âèíêîâöàõ) —
to
stretch
our
legs
a
bit
(ñëåãêà ðàçìÿòü íîãè;
to
stretch — ðàñòÿãèâàòü; âûòÿãèâàòü
).
But
it
was
bitterly
cold
(íî áûëî óæàñíî õîëîäíî;
bitter — ãîðüêèé; ñèëüíûé, ðåçêèé
) —
a
blizzard
on
(îáðóøèëñÿ ñíåæíûé áóðàí;
to
be
on — âíåçàïíî íàñòóïèòü, ïîäîñïåòü
).
We
soon
hopped
back
again
(è âñêîðå ìû ñíîâà çàñêî÷èëè íàçàä /â ïîåçä/;
to
hop — ïðûãàòü, ñêàêàòü íà îäíîé íîãå; âñêàêèâàòü
/â ïîåçä è ò.ï./)
.”
“By which door did you leave the train
(÷åðåç
êàêóþ
äâåðü
âû
âûøëè
èç
ïîåçäà
)?”
“By the one nearest to our compartment
(÷åðåç
òó
, ÷òî
áëèæå
âñåãî
ê
íàøåìó
êóïå
).”
“The one next to the dining-car
(òó
, ÷òî
ðÿäîì
ñ
âàãîíîì
-ðåñòîðàíîì
)?”
“Yes.”
stretch
[stretS] bitterly
['bItqlI] blizzard
['blIzqd]
“And then?”
“And then I went to bed and slept till morning.”
“During the evening did you leave the train at all?”
“Arbuthnot and I thought we’d get out at — what was the name of the place?
— Vincovci — to stretch our legs a bit. But it was bitterly cold — a blizzard on. We soon hopped back again.”
“By which door did you leave the train?”
“By the one nearest to our compartment.”
“The one next to the dining-car?”
“
Yes.”
“
Do
you
remember
if
it
was
bolted
(âû íå ïîìíèòå, áûëà ëè îíà çàïåðòà;
bolt — çàñîâ, çàäâèæêà,
to
bolt — çàïèðàòü íà çàñîâ
)?”
MacQueen
considered
(Ìàêêóèí çàäóìàëñÿ; to
consider
— ðàññìàòðèâàòü, îáñóæäàòü; îáäóìûâàòü
).
“
Why,
yes,
I
seem
to
remember
it
was
(êàê âàì ñêàçàòü, ìíå, ïîæàëóé, ïîìíèòñÿ, ÷òî äà /îíà áûëà çàïåðòà/)
. At
least
there
was
a
kind
of
bar
(âî âñÿêîì ñëó÷àå, áûë òàì êàêîé-òî çàñîâ;
bar — áðóñîê, êóñîê; çàñîâ, ùåêîëäà
)
that
fitted
across
the
handle
(êîòîðûé ïðîõîäèë ÷åðåç ðó÷êó;
to
fit — ñîîòâåòñòâîâàòü; ïðèñïîñàáëèâàòü,
ïðèëàæèâàòü; óñòàíàâëèâàòü, ìîíòèðîâàòü)
. Is
that
what
you
mean
(âû ýòî èìååòå â âèäó)
?”
“
Yes.
On
getting
back
into
the
train
(âåðíóâøèñü íàçàä â ïîåçä;
to
get
back — âåðíóòüñÿ
)
did
you
replace
that
bar
(âû óñòàíîâèëè ýòîò çàñîâ íà ìåñòî;
to
replace — ñòàâèòü èëè êëàñòü îáðàòíî, íà ìåñòî
)?”
“
Why,
no —
I
don’
t
think
I
did
(ïîæàëóé, íåò, ìíå êàæåòñÿ, ÷òî ÿ ýòîãî íå äåëàë)
. I got in last
(ÿ
çàøåë
ïîñëåäíèì
). No
, I
don
’t
seem
to
remember
doing
so
(íåò, ìíå êàæåòñÿ, ÿ íå ïîìíþ, ÷òî äåëàë ÷òî-òî ïîäîáíîå)
.” He
added
suddenly
(îí âíåçàïíî äîáàâèë)
, “Is
that
an
important
point
(ýòî ÷òî, âàæíûé ìîìåíò = ýòî âàæíî;
point — òî÷êà; ïóíêò, ìîìåíò, âîïðîñ
)?”
considered [kqn'sIdqd]
replace [rI'pleIs]
suddenly ['sAd(q)nlI]
important
[Im'pO:t(q)nt]
“Do you remember if it was bolted?”
MacQueen considered.
“Why, yes, I seem to remember it was. At least there was a kind of bar that
fitted across the handle. Is that what you mean?”
“Yes. On getting back into the train did you replace that bar?”
“Why, no — I don’t think I did. I got in last. No, I don’t seem to
remember doing so.” He added suddenly, “Is that an important point?”
“It may be
(ìîæåò
áûòü
/âàæíûì
/). Now, I presume, Monsieur, that while you and Colonel Arbuthnot were sitting talking
(èòàê
, ÿ
ïîëàãàþ
, ìñüå
, ÷òî
ïîêà
âû
è
ïîëêîâíèê
Àðáýòíîò
ñèäåëè
è
ðàçãîâàðèâàëè
) the door of your compartment into the corridor was open
(äâåðü
âàøåãî
êóïå
/âåäóùàÿ
/ â
êîðèäîð
áûëà
îòêðûòà
)?”
Hector MacQueen nodded
(Ãåêòîð
Ìàêêóèí
êèâíóë
; to nod —
êèâàòü
ãîëîâîé)
.
“I want you, if you can, to tell me
(ÿ
õî÷ó
÷òîáû
âû
, åñëè
ñìîæåòå
, ñêàçàëè
ìíå
) if anyone passed along that corridor
(íå
ïðîõîäèë
ëè
êòî
-íèáóäü
ïî
êîðèäîðó
) after the train left Vincovci
(ïîñëå
òîãî
, êàê
ïîåçä
âûåõàë
èç
Âèíêîâöîâ
) up to the time
(äî
òîãî
ñàìîãî
âðåìåíè
; up to —
çä.
óêàçûâàåò
íà
âðåìåííîé
ïðåäåë —
âïëîòü
äî)
you parted company for the night (
êàê
âû
ðàññòàëèñü /
÷òîáû
îòïðàâèòüñÿ
ñïàòü: «
íà
íî÷ü»/;
to part — ðàçäåëÿòü
; ðàññòàâàòüñÿ
; company — îáùåñòâî
, êîìïàíèÿ
).”
MacQueen drew his brows together
(Ìàêêóèí
íàõìóðèë
áðîâè
; to draw (drew, drawn) —
òàùèòü,
âîëî÷èòü;
ïåðåìåùàòüñÿ,
ïåðåäâèãàòüñÿ /
â
êàêîå-
ëèáî
ïîëîæåíèå/; brow —
áðîâü; together —
âìåñòå;
âîåäèíî)
.
“I think the conductor passed along once (
ìíå
êàæåòñÿ,
÷òî
îäèí
ðàç
ïðîøåë
ïðîâîäíèê)
,” he said, “coming from the direction of the dining-car
(/îí
/ øåë
â
íàïðàâëåíèè
îò
âàãîíà
-ðåñòîðàíà
; direction —
íàïðàâëåíèå)
. And
a
woman
passed
the
other
way
(è êàêàÿ-òî æåíùèíà ïðîøëà â äðóãîì =
îáðàòíîì íàïðàâëåíèè)
, going
towards
it
(íàïðàâëÿÿñü ê íåìó /âàãîíó-ðåñòîðàíó/)
.”
presume [prI'zju:m]
drew [dru:]
once [wAns]
direction [d(a)I'rekS(q)n]
“It may be. Now, I presume, Monsieur, that while you and Colonel Arbuthnot
were sitting talking the door of your compartment into the corridor was open?”
Hector MacQueen nodded.
“I want you, if you can, to tell me if anyone passed along that corridor
after the train left Vincovci up to the time you parted company for the night.”
MacQueen drew his brows together.
“I think the conductor passed along once,” he said, “coming from the
direction of the dining-car. And a woman passed the other way, going towards it.”
“
Which
woman
(êàêàÿ æåíùèíà)?”
“
I
couldn’
t
say
(íå ìîãó ñêàçàòü).
I
didn’
t
really
notice
(ÿ, íà ñàìîì äåëå, íå îáðàòèë âíèìàíèÿ)
. You
see
I
was
arguing
a
point
with
Arbuthnot
(âèäèòå ëè, ÿ êàê ðàç ñïîðèë ñ Àðáýòíîòîì ïî îäíîìó
âîïðîñó; to
argue — ñïîðèòü;
point — òî÷êà; âîïðîñ, äåëî
).
I
just
seem
to
remember
a
glimpse
of
some
scarlet
silk
affair
(ìíå êàæåòñÿ, ÿ ïðîñòî çàïîìíèë, êàê íå÷òî àëîå è øåëêîâîå;
glimpse — ìåëüêàíèå, ïðîáëåñê; ìèìîëåòíîå çðèòåëüíîå
âïå÷àòëåíèå; affair
— äåëî; ðàçã. ñîáûòèå, èñòîðèÿ, øòóêà
)
passing
the
door
(ïðîìåëüêíóëî ìèìî äâåðè;
to
pass — èäòè, ïðîõîäèòü; ìèíîâàòü
).
I
didn’
t
look
(ÿ íå âñìàòðèâàëñÿ),
and
anyway
I
wouldn’
t
have
seen
the
person’
s
face
(è, âî âñÿêîì ñëó÷àå, ÿ áû è íå óâèäåë ëèöà ýòîé îñîáû)
. As
you
know
, my
carriage
faces
the
dining
-car
end
of
the
train
(êàê âû çíàåòå, ìîå êóïå îáðàùåíî ê âàãîíó-ðåñòîðàíó:
«òîìó êîíöó ïîåçäà /÷òî âåäåò/ ê âàãîíó-ðåñòîðàíó»; to
face
— íàõîäèòüñÿ ëèöîì ê, áûòü îáðàùåííûì ê
),
so
a
woman
going
along
the
corridor
in
that
direction
(òàê ÷òî æåíùèíà, èäóùàÿ ïî êîðèäîðó â òîì íàïðàâëåíèè)
would
have
her
back
to
me
(îêàçàëàñü áû ñïèíîé êî ìíå
)
as
soon
as
she’
d
passed
(êàê òîëüêî ïðîøëà áû ìèìî /ìåíÿ/)
.”
argue
['Q:gju:] glimpse
[glImps] scarlet
['skQ:lIt] carriage
['kxrIdZ]
“Which woman?”
“I couldn’t say. I didn’t really notice. You see I was arguing a point
with Arbuthnot. I just seem to remember a glimpse of some scarlet silk affair passing the door. I didn’t look, and anyway I wouldn’t have seen the person’s face. As you know, my carriage faces the dining-car end of the
train, so a woman going along the corridor in that direction would have her back to me as soon as she’d passed.”
Poirot nodded
(Ïóàðî
êèâíóë
). “She was going to the toilet, I presume
(îíà
íàïðàâëÿëàñü
â
òóàëåò
, ÿ
ïîëàãàþ
)?”
“
I
suppose
so
(âåðîÿòíî, äà; to
suppose
— ïîëàãàòü, äóìàòü, ñ÷èòàòü
).”
“
And
you
saw
her
return
(è âû âèäåëè, êàê îíà âîçâðàùàëàñü)
?”
“
Well,
no,
now
that
you
mention
it
(íåò, òåïåðü, êîãäà âû óïîìÿíóëè îá ýòîì)
, I
didn
’t
notice
her
returning
(ÿ íå çàìåòèë, ÷òîáû îíà âîçâðàùàëàñü: «åå âîçâðàùàþùóþñÿ»)
but
I
suppose
she
must
have
done
so
(íî ïîëàãàþ, ÷òî îíà äîëæíà áûëà áû /âåðíóòüñÿ/)
.”
“
One
more
question
(åùå îäèí âîïðîñ).
Do
you
smoke
a
pipe,
Mr.
MacQueen
(âû êóðèòå òðóáêó, ìèñòåð Ìàêêóèí;
pipe — òðóáà; êóðèòåëüíàÿ òðóáêà
)?”
“No, sir, I do not.”
return
[rI'tq:n] suppose
[sq'pqVz] question
['kwestS(q)n]
Poirot nodded. “She was going to the toilet, I presume?”
“I suppose so.”
“And you saw her return?”
“Well, no, now that you mention it, I didn’t notice her returning but I
suppose she must have done so.”
“One more question. Do you smoke a pipe, Mr. MacQueen?”
“No, sir, I do not.”
Poirot paused a moment (
Ïóàðî
íà
ìãíîâåíèå
çàìîë÷àë)
. “I think that is all at present (
ÿ
äóìàþ,
÷òî
ïîêà
ýòî
âñå;
at present — â
íàñòîÿùåå
âðåìÿ
). I should now like to see the valet of Mr. Ratchett
(ñåé÷àñ
ÿ
áû
õîòåë
âñòðåòèòüñÿ
ñî
ñëóãîé
ìèñòåðà
Ðýò÷åòòà
). By
the
way
, did
both
you
and
he
always
travel
second
-class
(ìåæäó ïðî÷èì, âñåãäà ëè âû îáà — è îí è âû — ïóòåøåñòâîâàëè
âòîðûì êëàññîì)?”
“He did (
îí
âñåãäà;
to do (did, done) = çä
. travelled)
. But I usually went first (
à
ÿ
îáû÷íî
åõàë
ïåðâûì)
— if possible in the compartment adjoining Mr. Ratchett’s
(åñëè
âîçìîæíî
, òî
â
êóïå
ðÿäîì
ñ
ìèñòåðîì
Ðýò÷åòòîì
; to adjoin —
ïðèìûêàòü,
ãðàíè÷èòü; adjoining —
ïðèìûêàþùèé,
ñîñåäíèé)
. Then he had most of his baggage put in my compartment
(òîãäà
îí
ðàçìåùàë
áîëüøóþ
÷àñòü
ñâîåãî
áàãàæà
â
ìîåì
êóïå
; to put —
êëàñòü,
ñòàâèòü,
ïîëîæèòü)
and yet could get at both it and me easily (
è
ê
òîìó
æå, /
îí/
ìîã
ëåãêî
äîáðàòüñÿ
êàê
äî
íåãî /
áàãàæà/,
òàê
è
äî
ìåíÿ;
to get at smb., smth. — äîáèðàòüñÿ
äî
êîãî
-ëèáî
, ÷åãî
-ëèáî
; both — îáà
, îáå
, è
òîò
è
äðóãîé
) whenever he chose
(êîãäà
åìó
áûëî
óãîäíî
; whenever —
êîãäà
áû
íè,
âñÿêèé
ðàç
êîãäà;
to choose (chose, chosen) —
âûáèðàòü;
ðàçã.
õîòåòü,
æåëàòü)
. But
on
this
occasion
(íî â ýòîò ðàç: «íî â ýòîì ñëó÷àå»;
occasion — ñëó÷àé
)
all
the
first-
class
berths
were
booked
(âñå ñïàëüíûå ìåñòà ïåðâîãî êëàññà áûëè ðàñêóïëåíû;
berth — êîéêà /íà ïàðîõîäå/, ñïàëüíîå ìåñòî,
ïîëêà /â âàãîíå è ò.ï./; to
book
— çàíîñèòü â êíèãó, çàïèñûâàòü; çàêàçûâàòü çàðàíåå, áðàòü áèëåò /æåëåçíîäîðîæíûé è
ò.ï./)
except
the
one
that
he
took
(çà èñêëþ÷åíèåì îäíîãî, êîòîðîå îí è çàíÿë;
to
take (
took,
taken) — áðàòü, õâàòàòü; çàíèìàòü /ìåñòî/
).”
“I comprehend
(/ÿ
/ ïîíèìàþ
). Thank you, Mr. MacQueen.”
pause
[pO:z] present
['prez(q)nt] valet
['vx|lIt, —
leI]
adjoining [q'dZOInIN]
occasion [q'keIZ(q)n]
Poirot paused a moment. “I think that is all at present. I should now like
to see the valet of Mr. Ratchett. By the way, did both you and he always travel second-class?”
“He did. But I usually went first — if possible in the compartment adjoining
Mr. Ratchett’s. Then he had most of his baggage put in my compartment and yet could get at both it and me easily whenever he chose. But on this occasion all the first-class berths were booked except the one that he took.”
“I comprehend. Thank you, Mr. MacQueen.”
3
THE EVIDENCE OF THE VALET
(
ïîêàçàíèÿ
ñëóãè
)
The American was succeeded by the pale Englishman
(çà
àìåðèêàíöåì
ïîñëåäîâàë
áëåäíûé
àíãëè÷àíèí
; to succeed —
äîñòèãíóòü
öåëè;
ñëåäîâàòü /
çà
÷åì-
ëèáî/,
ñìåíÿòü,
ïðèõîäèòü
íà
ñìåíó)
with the inexpressive face (
ñ
íè÷åãî
íå
âûðàæàþùèì
ëèöîì;
to express — âûðàæàòü
) whom Poirot had already noticed on the day before
(íà
êîòîðîãî
Ïóàðî
óæå
îáðàòèë
âíèìàíèå
íàêàíóíå
: «äíåì
ðàíüøå
»). He
stood
waiting
very
correctly
(îí ñòîÿë è î÷åíü ó÷òèâî îæèäàë;
correct — ïðàâèëüíûé, âåðíûé; êîððåêòíûé, ó÷òèâûé,
âîñïèòàííûé).
Poirot motioned to him to sit down (
Ïóàðî
æåñòîì
ïðèãëàñèë
åãî
ïðèñåñòü;
to motion — ïîêàçàòü
æåñòîì
, çíàêîì
).
“You are, I understand, the valet of M. Ratchett
(âû
, êàê
ÿ
ïîíèìàþ
, ñëóãà
ìèñòåðà
Ðýò÷åòòà
).”
“
Yes,
sir.”
“
Your
name
(êàê âàñ çîâóò: «âàøå èìÿ»)
?”
“Edward Henry Masterman
(Ýäâàðä
Ãåíðè
Ìàñòåðìýí
).”
“
Your
age
(ñêîëüêî âàì ëåò: «âàø âîçðàñò»)
?”
“
Thirty-
nine
(òðèäöàòü äåâÿòü).”
“
And
your
home
address
(ãäå âû æèâåòå: «è âàø äîìàøíèé àäðåñ»)
?”
“21
Friar
Street,
Clerkenwell
(Êëåðêåíóýëë, óëèöà Ôðàéàð, äîì 21;
friar — èñò. ìîíàõ /íèùåíñòâóþùåãî îðäåíà/
).”
succeed
[sqk'si:d] inexpressive
["InIk'spresIv] correctly
[kq'rektlI]
The American was succeeded by the pale Englishman with the inexpressive face
whom Poirot had already noticed on the day before. He stood waiting very correctly. Poirot motioned to him to sit down.
“You are, I understand, the valet of M. Ratchett.”
“Yes, sir.”
“Your name?”
“Edward Henry Masterman.”
“Your age?”
“Thirty-nine.”
“And your home address?”
“21 Friar Street, Clerkenwell.”
“You have heard
(âû
óæå
çíàåòå
; to hear (heard) —
ñëûøàòü;
óñëûøàòü,
óçíàòü)
that your master has been murdered (
÷òî
âàø
õîçÿèí
áûë
óáèò;
master — õîçÿèí
; ãîñïîäèí
)?”
“Yes, sir. A very shocking occurrence
(/î÷åíü
/ óæàñíîå
ïðîèñøåñòâèå
; shocking —
îòâðàòèòåëüíûé,
ãàäêèé;
ïîòðÿñàþùèé,
óæàñàþùèé; occurrence —
ñëó÷àé,
ÿâëåíèå;
ïðîèñøåñòâèå)
.”
“
Will
you
now
tell
me,
please
(íå ñêàæèòå ëè âû ìíå ñåé÷àñ, ïîæàëóéñòà)
, at
what
hour
you
last
saw
M
. Ratchett
(â êîòîðîì ÷àñó âû âèäåëè ìèñòåðà Ðýò÷åòòà â ïîñëåäíèé
ðàç; last — ïîñëå âñåõ; â ïîñëåäíèé
ðàç)?”
The valet considered
(ñëóãà
çàäóìàëñÿ
; to consider —
âçâåøèâàòü,
îáäóìûâàòü)
.
“It must have been about nine o’clock, sir (
äîëæíî
áûòü,
áûëî
ãäå-
òî
îêîëî
äåâÿòè
÷àñîâ,
ñýð)
, last night (
â÷åðà
âå÷åðîì;
last night — ïðîøëàÿ
íî÷ü
; â÷åðà
âå÷åðîì
). That
or
a
little
after
(/â ýòî âðåìÿ/ èëè íåìíîãî ïîçæå)
.”
“
Tell
me
in
your
own
words
(ðàññêàæèòå ìíå ñâîèìè ñîáñòâåííûìè ñëîâàìè)
exactly
what
happened
(÷òî òî÷íî ïðîèçîøëî;
to
happen — ñëó÷àòüñÿ, ïðîèñõîäèòü
).”
master
['mQ:stq] murder
['mq:dq] occurrence
[q'kArqns]
“You have heard that your master has been murdered?”
“Yes, sir. A very shocking occurrence.”
“Will you now tell me, please, at what hour you last saw M. Ratchett?”
The valet considered.
“It must have been about nine o’clock, sir, last night. That or a little
after.”
“Tell me in your own words exactly what happened.”
“I went in to Mr. Ratchett as usual, sir
(ÿ
çàøåë
ê
ìèñòåðó
Ðýò÷åòòó
/â
êóïå
/ êàê
îáû÷íî
, ñýð
), and attended to his wants
(è
ïðèñëóæèâàë
åìó
; to attend —
ïîñåùàòü;
ïðèñëóæèâàòü,
îáñëóæèâàòü; want —
íåäîñòàòîê;
ïîòðåáíîñòü,
íóæäà /
â
÷åì-
ëèáî/
).”
“
What
were
your
duties
exactly
(êàêîâû òî÷íî áûëè âàøè îáÿçàííîñòè;
duty — äîëã, ìîðàëüíîå îáÿçàòåëüñòâî; ôóíêöèÿ,
îáÿçàííîñòü)?”
“
To
fold
or
hang
up
his
clothes,
sir
(ñëîæèòü èëè ðàçâåñèòü /íà âåøàëêå/ åãî îäåæäó, ñýð;
to
fold — ñêëàäûâàòü, ñãèáàòü
),
put
his
dental
plate
in
water
(ïîëîæèòü åãî âñòàâíóþ ÷åëþñòü â âîäó;
dental — çóáíîé;
plate — òàðåëêà; çóáíîé ïðîòåç
)
and
see
that
he
had
everything
(è ïîçàáîòèòüñÿ, ÷òîáû ó íåãî áûëî âñå;
to
see /
to
smth.,
smb./ — âèäåòü; ñëåäèòü, ïðèñìàòðèâàòü çà
÷åì-ëèáî)
he
wanted
for
the
night
(÷òî åìó áûëî íåîáõîäèìî /íà íî÷ü
/; to
want
— õîòåòü; íóæäàòüñÿ, èñïûòûâàòü íåäîñòàòîê, ïîòðåáíîñòü /â ÷åì-ëèáî, êîì-ëèáî/
).”
“
Was
his
manner
much
the
same
as
usual
(áûëî ëè åãî ïîâåäåíèå /ïî÷òè/ òàêèì æå, êàê îáû÷íî;
manner — ìåòîä, ñïîñîá; ìàíåðà, ïîâåäåíèå
)?”
The
valet
considered
a
moment
(ñëóãà íà ìãíîâåíèå çàäóìàëñÿ;
to
consider — ðàññìàòðèâàòü; îáäóìûâàòü
).
“
Well,
sir,
I
think
he
was
upset
(íó, ñýð, ÿ äóìàþ, îí áûë ðàññòðîåí;
upset — îïðîêèíóòûé; ðàññòðîåííûé, âñòðåâîæåííûé
).”
“
In
what
way —
upset
(êàêèì îáðàçîì — ðàññòðîåí;
way — ïóòü, äîðîãà; îòíîøåíèå, àñïåêò
)?”
usual
['ju:ZVql, 'ju:Z(q)l] duty
['dju:tI] clothes
[klqV(D)z] dental
['dentl]
“I went in to Mr. Ratchett as usual, sir, and attended to his wants.”
“What were your duties exactly?”
“To fold or hang up his clothes, sir, put his dental plate in water and see
that he had everything he wanted for the night.”
“Was his manner much the same as usual?”
The valet considered a moment.
“Well, sir, I think he was upset.”
“
In
what
way —
upset?”
“
Over
a
letter
(èç-çà ïèñüìà; over
— çä. óêàçûâàåò íà ïðåäìåò ìûñëè, ñïîðà, îáñóæäåíèÿ è ò.ï. — îòíîñèòåëüíî, ïî ïîâîäó,
êàñàòåëüíî)
he’
d
been
reading
(êîòîðîå îí ÷èòàë).
He
asked
me
if
it
was
I
who
had
put
it
in
his
compartment
(îí ñïðîñèë ìåíÿ, íå ÿ ëè: «áûë ëè ýòî ÿ, êòî» ïîëîæèë åãî =
ïèñüìî â åãî êóïå)
. Of
course
I
told
him
(êîíå÷íî, ÿ ñêàçàë åìó)
I
hadn
’t
done
any
such
thing
(÷òî ÿ íè÷åãî ïîäîáíîãî íå äåëàë;
thing — âåùü, ïðåäìåò; äåéñòâèå, ïîñòóïîê
),
but
he
swore
at
me
(íî îí îáðóãàë ìåíÿ; to
swear
(swore
, sworn
) — êëÿñòüñÿ; ðóãàòüñÿ, ñêâåðíîñëîâèòü
)
and
found
fault
with
everything
I
did
(è ïðèäèðàëñÿ êî âñåìó, ÷òî ÿ äåëàë;
to
find (
found) — íàõîäèòü, îòûñêèâàòü;
fault — íåäîñòàòîê, äåôåêò; îøèáêà, ïðîìàõ
).”
“
Was
that
unusual
(ýòî áûëî íåîáû÷íî /äëÿ íåãî/)
?”
“
Oh,
no,
sir.
He
lost
his
temper
easily
(îí ëåãêî òåðÿë ñàìîîáëàäàíèå;
to
loose (
lost),
temper — íðàâ, õàðàêòåð; ñäåðæàííîñòü, ñàìîîáëàäàíèå
) —
as
I
say,
it
just
depended
(êàê ÿ ãîâîðþ, ýòî òîëüêî çàâèñåëî /îò òîãî/)
what
had
happened
to
upset
him
(÷òî /èìåííî/ áûëî /ïðè÷èíîé/ åãî ðàññòðîéñòâà;
to
happen
to
do
smth. — ñëó÷èòüñÿ, âûøëî òàê, ÷òî...
).”
swore
[swO:] fault
[fO:lt] easily
['i:zIlI]
“Over a letter he’d been reading. He asked me if it was I who had put it
in his compartment. Of course I told him I hadn’t done any such thing, but he swore at me and found fault with everything I did.”
“Was that unusual?”
“Oh, no, sir. He lost his temper easily — as I say, it just depended what
had happened to upset him.”
“Did your master ever take a sleeping draught
(âàø
õîçÿèí
êîãäà
-íèáóäü
ïðèíèìàë
ñíîòâîðíîå
; to take —
áðàòü,
õâàòàòü;
ïðèíèìàòü /
ïèùó,
ëåêàðñòâî/; sleeping —
ñïÿùèé;
ñíîòâîðíûé; draught —
òÿãà,
òÿãîâîå
óñèëèå;
äîçà
æèäêîãî
ëåêàðñòâà)
?”
Dr. Constantine leaned forward a little
(äîêòîð
Êîíñòàíòèí
ñëåãêà
ïîäàëñÿ
âïåðåä
; to lean —
íàêëîíÿòüñÿ,
íàãèáàòüñÿ)
.
“
Always
when
travelling
by
train,
sir
(âñåãäà, êîãäà ïóòåøåñòâîâàë/åõàë íà ïîåçäå, ñýð)
. He
said
he
couldn
’t
sleep
otherwise
(îí ãîâîðèë, ÷òî èíà÷å îí íå ìîæåò ñïàòü)
.”
“
Do
you
know
what
drug
he
was
in
the
habit
of
taking
(çíàåòå ëè âû, êàêîå ëåêàðñòâî îí îáû÷íî ïðèíèìàë;
to
be
in
the
habit
of
doing
smth. — èìåòü îáûêíîâåíèå äåëàòü ÷òî-ëèáî;
habit — ïðèâû÷êà, îáû÷àé
)?”
“I
couldn
’t
say
, I
’m
sure
, sir
(íå ìîãó ñ óâåðåííîñòüþ ñêàçàòü, ñýð;
sure — óâåðåííûé
).
There
was
no
name
on
the
bottle
(íà ïóçûðüêå íå áûëî íàçâàíèÿ;
bottle — áóòûëêà; ôëàêîí, ïóçûðåê
) —
just ‘
The
Sleeping
Draught
to
be
taken
at
bedtime
(ïðîñòî "ñ
íîòâîðíîå, ïðèíèìàòü ïåðåä ñíîì";
bed — ïîñòåëü;
time — âðåìÿ;
bedtime — âðåìÿ ëîæèòüñÿ ñïàòü
).’
”
draught
[drQ:ft] otherwise
['ADqwaIz] habit
['hxbIt]
“Did your master ever take a sleeping draught?”
Dr. Constantine leaned forward a little.
“Always when travelling by train, sir. He said he couldn’t sleep otherwise.”
“Do you know what drug he was in the habit of taking?”
“I couldn’t say, I’m sure, sir. There was no name on the bottle — just
‘The Sleeping Draught to be taken at bedtime.’ ”
“Did he take it last night
(îí
ïðèíÿë
åãî
ïðîøëîé
íî÷üþ
)?”
“Yes, sir. I poured it into a glass
(ÿ
íàëèë
åãî
â
ñòàêàí
; glass —
ñòåêëî;
ñòàêàí)
and put it on top of the toilet table (
è
ïîñòàâèë
åãî
íà
êðûøêó
òóàëåòíîãî
ñòîëèêà;
top — âåðõóøêà
, âåðøèíà
; âåðõíÿÿ
ïîâåðõíîñòü
) ready for him
(íàãîòîâå
/äëÿ
íåãî
/; ready —
ãîòîâûé,
ïîäãîòîâëåííûé,
ïðèãîòîâëåííûé)
.”
“
You
didn’
t
actually
see
(âû /âåäü/ ëè÷íî ýòîãî íå âèäåëè;
actually — ôàêòè÷åñêè, íà ñàìîì äåëå, â äåéñòâèòåëüíîñòè
)
him
drink
it
(êàê îí åãî ïèë)?”
“No, sir.”
“What happened next
(÷òî
áûëî
: «ïðîèçîøëî
» ïîòîì
)?”
“
I
asked
if
there
was
anything
further
(ÿ ñïðîñèë, íå íàäî ëè åìó åùå ÷åãî: «íå áûëî ëè åùå ÷åãî-íèáóäü äàëüøå»)
, and
also
asked
what
time
he
would
like
to
be
called
in
the
morning
(à òàêæå ñïðîñèë, â êàêîå âðåìÿ îí áû õîòåë áûòü
ðàçáóæåííûì /ñëåäóþùèì/ óòðîì = â êàêîå âðåìÿ óòðîì åãî ðàçáóäèòü;
to
call — êðè÷àòü, çàêðè÷àòü; áóäèòü, ðàçáóäèòü
).
He
said
he
didn’
t
want
to
be
disturbed
(îí ñêàçàë, ÷òî íå õî÷åò, ÷òîáû åãî áåñïîêîèëè;
to
disturb — íàðóøàòü õîä, äâèæåíèå; âîëíîâàòü,
òðåâîæèòü, áåñïîêîèòü)
till
he
rang
(äî òåõ ïîð, ïîêà îí /ñàì íå/ ïîçâîíèò;
to
ring (
rang,
rung)
).”
pour
[pO:] glass
[glQ:s] toilet
['tOIlIt] actually
['xktS(V)qlI]
disturbed [dIs'tq:bd]
“Did he take it last night?”
“Yes, sir. I poured it into a glass and put it on top of the toilet table
ready for him.”
“You didn’t actually see him drink it?”
“No, sir.”
“What happened next?”
“I asked if there was anything further, and also asked what time he would
like to be called in the morning. He said he didn’t want to be disturbed till he rang.”
“
Was
that
usual
(ýòî áûëî îáû÷íî = òàê ÷àñòî áûâàëî)
?”
“
Quite
usual,
sir
(ñîâåðøåííî îáû÷íî, ñýð)
. When
he
was
ready
to
get
up
(êîãäà îí áûë ãîòîâ âñòàâàòü)
he
used
to
ring
the
bell
for
the
conductor
(îí îáû÷íî çâîíèë â êîëîêîëü÷èê/çâîíîê ïðîâîäíèêó;
used +
to
do
smth. — èìåòü â ïðîøëîì îáûêíîâåíèå äåëàòü
÷òî-ëèáî)
and
then
send
him
for
me
(è çàòåì îòïðàâëÿë/ïîñûëàë åãî çà ìíîé)
.”
“
Was
he
usually
an
early
or
a
late
riser
(/êàê/ îí îáû÷íî âñòàâàë
— ðàíî èëè ïîçäíî;
to
rise (
rose,
risen) — âîñõîäèòü; âñòàâàòü /íà íîãè/, ïîäíèìàòüñÿ;
âñòàâàòü /ïîñëå ñíà/; riser
— òîò, êòî âñòàåò, âñòàþùèé
)?”
“
It
depended,
sir,
on
his
mood
(ýòî çàâèñåëî, ñýð, îò åãî íàñòðîåíèÿ/ðàñïîëîæåíèÿ äóõà)
. Sometimes
he
’d
get
up
for
breakfast
(èíîãäà îí âñòàâàë ê çàâòðàêó)
, sometimes
he
wouldn
’t
get
up
(èíîãäà îí íå âñòàâàë)
till
just
on
lunch
time
(äî ñàìîãî îáåäà;
lunch — ëåí÷, âòîðîé çàâòðàê /èëè îáåä/ â ñåðåäèíå
äíÿ; lunchtime — âðåìÿ âòîðîãî çàâòðàêà
/ïðèìåðíî 12-14 ÷àñîâ/)
.”
riser ['raIzq]
breakfast ['brekfqst]
lunch [lAntS]
“Was that usual?”
“Quite usual, sir. When he was ready to get up he used to ring the bell for
the conductor and then send him for me.”
“Was he usually an early or a late riser?”
“It depended, sir, on his mood. Sometimes he’d get up for breakfast, sometimes
he wouldn’t get up till just on lunch time.”
“
So
that
you
weren’
t
alarmed
(òàê ÷òî âàñ íå íàñòîðîæèëî: «âû íå áûëè âñòðåâîæåíû»;
alarm — òðåâîãà, ñèãíàë îïàñíîñòè,
to
alarm — ïîäíÿòü òðåâîãó; âñòðåâîæèòü, âçâîëíîâàòü
)
when
the
morning
wore
on
(êîãäà óòðî òÿíóëîñü;
to
wear (
wore,
worn) — áûòü îäåòûì /âî ÷òî-ëèáî/; ïðîäâèãàòüñÿ,
ïðèáëèæàòüñÿ /î âðåìåíè/; to
wear
on
— ìåäëåííî òÿíóòüñÿ, ïðîõîäèòü
)
and
no
summons
came
(à /âàñ/ íå âûçûâàëè: «è íèêàêèå âûçîâû íå ïîñòóïàëè»;
summons — âûçîâ /îáûêí. â ñóä);
to
summon — âûçûâàòü, ïðèãëàñèòü, ïîçâàòü
)?”
“
No,
sir.”
“
Did
you
know
that
your
master
had
enemies
(âû çíàëè î òîì, ÷òî ó âàøåãî õîçÿèíà áûëè âðàãè;
enemy — âðàã, íåäðóã, ïðîòèâíèê
)?”
“
Yes,
sir.”
The
man
spoke
quite
unemotionally
(ìóæ÷èíà ãîâîðèë ñîâåðøåííî áåññòðàñòíî;
emotion — ÷óâñòâî, ýìîöèÿ; äóøåâíîå âîëíåíèå;
emotionally — ýìîöèîíàëüíî; ñ ÷óâñòâîì,
ñ âîëíåíèåì).
“
How
did
you
know
(îòêóäà âû /ýòî/ çíàëè)?”
“
I
had
heard
him
discussing
some
letters,
sir,
with
Mr.
MacQueen
(ÿ ñëûøàë, êàê îí îáñóæäàë êàêèå-òî ïèñüìà, ñýð, ñ ìèñòåðîì Ìàêêóèíîì)
.”
“Had you an affection for your employer, Masterman
(âû
áûëè
ïðèâÿçàíû
ê
ñâîåìó
ðàáîòîäàòåëþ
/õîçÿèíó
, Ìàñòåðìýí
; affection —
ïðèâÿçàííîñòü,
ëþáîâü,
ðàñïîëîæåíèå; to employ —
ïðåäîñòàâëÿòü
ðàáîòó,
íàíèìàòü)
?”
alarmed
[q'lQ:md] enemy
['enqmI] unemotionally
["AnI'mqVS(q)nqllI] discuss
[dIs'kAs] affection
[q'fekS(q)n] employer
[Im'plOIq]
“So that you weren’t alarmed when the morning wore on and no summons came?”
“No, sir.”
“Did you know that your master had enemies?”
“Yes, sir.” The man spoke quite unemotionally.
“How did you know?”
“I had heard him discussing some letters, sir, with Mr. MacQueen.”
“Had you an affection for your employer, Masterman?”
Masterman’s face became, if possible
(ëèöî
Ìàñòåðìýíà
ñòàëî
, åñëè
/òàêîå
/ âîçìîæíî
; to become (became, become) —
äåëàòüñÿ,
ñòàíîâèòüñÿ,
ïðåâðàùàòüñÿ)
, even more inexpressive (
åùå
áîëåå
íåâûðàçèòåëüíûì;
to express — âûðàæàòü
) than it was normally
(÷åì
îíî
áûëî
â
íîðìàëüíîì
ñîñòîÿíèè
= ÷åì
îáû÷íî
).
“I
should
hardly
like
to
say
that
, sir
(ìíå íå õîòåëîñü áû ãîâîðèòü îá ýòîì, ñýð;
hardly — åäâà; íàñèëó; åäâà ëè
).
He was a generous employer (
îí
áûë
ùåäðûì
õîçÿèíîì;
generous — âåëèêîäóøíûé
; ùåäðûé
).”
“
But
you
didn’
t
like
him
(íî âàì îí íå íðàâèëñÿ)
?”
“
Shall we
put
it (ìîãëè áû ìû ñôîðìóëèðîâàòü ýòî òàê = ñêàæåì òàê;
to put
— êëàñòü, ñòàâèòü; èçëàãàòü, ôîðìóëèðîâàòü /ìûñëè, çàìå÷àíèÿ è ò.ï./
) that
I don
’t
care very
much
for Americans
, sir
(ÿ âîîáùå íå ëþáëþ àìåðèêàíöåâ, ñýð; to
care — çàáîòèòüñÿ, óõàæèâàòü /çà êåì-ëèáî/; ëþáèòü,
ïèòàòü èíòåðåñ /ê êîìó-ëèáî, ÷åìó-ëèáî/)
?”
“Have you ever been in America
(âû
êîãäà
-íèáóäü
áûâàëè
â
Àìåðèêå
)?”
“No, sir.”
“Do you remember reading in the paper
(ïîìíèòå
ëè
âû
, êàê
÷èòàëè
â
ãàçåòàõ
; paper —
áóìàãà;
ãàçåòà,
æóðíàë)
of the Armstrong kidnapping case (
î
äåëå
î
ïîõèùåíèè
Àðìñòðîíã)
?”
inexpressive
["InIk'spresIv] generous
['dZen(q)rqs] kidnapping
['kIdnxpIN]
Masterman’s face became, if possible, even more inexpressive than it was
normally.
“I should hardly like to say that, sir. He was a generous employer.”
“But you didn’t like him?”
“Shall we put it that I don’t care very much for Americans, sir?”
“Have you ever been in America?”
“No, sir.”
“Do you remember reading in the paper of the Armstrong kidnapping case?”
A little colour came into the man’s cheeks
(ùåêè
ìóæ÷èíû
ñëåãêà
ïîêðàñíåëè
: «ëåãêèé
ðóìÿíåö
ïîÿâèëñÿ
íà
ùåêàõ
ìóæ÷èíû
»; colour —
öâåò,
òîí;
öâåò
ëèöà,
ðóìÿíåö; to come (came, come) —
ïðèõîäèòü,
èäòè;
ïîÿâëÿòüñÿ,
âîçíèêàòü)
.
“
Yes,
indeed,
sir
(äà, êîíå÷íî æå, ñýð).
A
little
baby
girl,
wasn’
t
it
(ìàëåíüêàÿ äåâî÷êà, íå òàê ëè;
baby — ìëàäåíåö, ðåáåíîê, äèòÿ
)?
A
very
shocking
affair
(/î÷åíü/ óæàñíàÿ èñòîðèÿ;
affair — äåëî; ðàçã. ñîáûòèå, èñòîðèÿ
).”
“Did you know that your employer, Mr. Ratchett
(âû
çíàëè
î
òîì
, ÷òî
âàø
õîçÿèí
, ìèñòåð
Ðýò÷åòò
), was the principal instigator in that affair
(áûë
ãëàâíûì
çà÷èíùèêîì
â
òîì
äåëå
)?”
“
No,
indeed,
sir
(êîíå÷íî æå íåò, ñýð).”
The
valet’
s
tone
held
positive
warmth
(ãîëîñ ñëóãè áûë ïîëîí óâåðåííîé ãîðÿ÷íîñòüþ;
to
hold (
held) — äåðæàòü; âìåùàòü, ñîäåðæàòü â ñåáå;
warmth — òåïëî, òåïëîòà; ãîðÿ÷íîñòü,
çàïàëü÷èâîñòü)
and
feeling
(è âîëíåíèåì;
feeling — îùóùåíèå, ÷óâñòâî; âîëíåíèå, âîçáóæäåíèå
)
for
the
first
time
(âïåðâûå: «â ïåðâûé ðàç» /çà âñå âðåìÿ/)
. “I
can
hardly
believe
it
, sir
(ÿ åäâà ëè ìîãó â ýòî ïîâåðèòü, ñýð)
.”
colour
['kAlq] cheek
[tSi:k] shocking
['SO
kIN] principal
['prInsIp(q)l] instigator
['InstIgeItq] warmth
[wO:mT]
A little colour came into the man’s cheeks.
“Yes, indeed, sir. A little baby girl, wasn’t it? A very shocking affair.”
“Did you know that your employer, Mr. Ratchett, was the principal instigator
in that affair?”
“No, indeed, sir.” The valet’s tone held positive warmth and feeling
for the first time. “I can hardly believe it, sir.”
“Nevertheless, it is true (
òåì
íå
ìåíåå,
ýòî
ïðàâäà)
. Now,
to
pass
to
your
own
movements
last
night
(òåïåðü ïåðåéäåì ê âàøèì ñîáñòâåííûì äåéñòâèÿì ïðîøëîé íî÷üþ;
movement(
s) — äâèæåíèå, ïåðåìåùåíèå; äåéñòâèÿ, ïîâåäåíèå
).
A
matter
of
routine,
you
understand
(ïðîñòàÿ ôîðìàëüíîñòü: «âîïðîñ çàâåäåííîãî ïîðÿäêà», âû æå ïîíèìàåòå)
. What
did
you
do
after
leaving
your
master
(÷òî âû äåëàëè ïîñëå òîãî, êàê âûøëè îò ñâîåãî
õîçÿèíà)?”
“
I
told
Mr.
MacQueen,
sir,
that
the
master
wanted
him
(ÿ ñîîáùèë ìèñòåðó Ìàêêóèíó, ñýð, ÷òî åãî õî÷åò âèäåòü õîçÿèí;
to
want — õîòåòü; òðåáîâàòü, âûçûâàòü /êîãî-ëèáî/,
õîòåòü âèäåòü /êîãî-ëèáî/)
. Then
I
went
to
my
own
compartment
(ïîñëå ýòîãî ÿ ïîøåë â ñâîå /ñîáñòâåííîå/ êóïå)
and
read
(è /ñòàë/ ÷èòàòü)
.”
“Your compartment was
(âàøå
êóïå
) — ”
“The end second-class one, sir
(/ýòî
êóïå
/ âòîðîãî
êëàññà
, ñýð
). Next to the dining-car
(ðÿäîì
ñ
âàãîíîì
-ðåñòîðàíîì
).”
Poirot was looking at his plan
(Ïóàðî
ñìîòðåë
â
/ñâîé
/ ïëàí
).
nevertheless
["nevqDq'les] matter
['mxtq] master
['mQ:stq]
“Nevertheless, it is true. Now, to pass to your own movements last night.
A matter of routine, you understand. What did you do after leaving your master?”
“I told Mr. MacQueen, sir, that the master wanted him. Then I went to my
own compartment and read.”
“Your compartment was — ”
“The end second-class one, sir. Next to the dining-car.”
Poirot was looking at his plan.
“
I
see
(ïîíÿòíî; to
see
— âèäåòü; ïîíèìàòü, îñîçíàâàòü
) —
and
you
had
which
berth
(è êàêîå ó âàñ ìåñòî;
berth — êîéêà; ñïàëüíîå ìåñòî, ïîëêà
)?”
“The lower one, sir
(íèæíåå
, ñýð
).”
“
That
is
No. 4
(ýòî /ìåñòî/ ïîä íîìåðîì 4)
?”
“Yes, sir.”
“Is there anyone in with you
(ñ
âàìè
åùå
êòî
-íèáóäü
åñòü
= åäåò
)?”
“Yes, sir. A big Italian fellow
(êðóïíûé
èòàëüÿíåö
; fellow —
ðàçã.
÷åëîâåê,
ïàðåíü,
ìàëûé)
.”
“
Does
he
speak
English
(îí ãîâîðèò ïî-àíãëèéñêè)
?”
“
Well,
a
kind
of
English,
sir
(íó, /îí ãîâîðèò/ íà ÷åì-òî, íàïîìèíàþùèì àíãëèéñêèé, ñýð;
kind — ñîðò, êëàññ,
a
kind
of — ïî÷òè, êàê áû; ÷òî-òî âðîäå, íå÷òî ïîõîæåå
).”
The
valet’
s
tone
was
deprecating
(ãîëîñ ñëóãè çâó÷àë íåîäîáðèòåëüíî;
to
deprecate — ýíåðãè÷íî âîçðàæàòü; ðåçêî îñóæäàòü
). “
He’
s
been
in
America
(îí áûë â Àìåðèêå) —
Chicago,
I
understand
(â ×èêàãî, êàê ÿ ïîíÿë: «ÿ ïîíèìàþ»)
.”
“
Do
you
and
he
talk
together
much
(âû
ìíîãî
ñ
íèì
ðàçãîâàðèâàåòå
)?”
“No, sir. I prefer to read
(ÿ
ïðåäïî÷èòàþ
÷èòàòü
).”
berth
[bq:T] lower
['lqVq] fellow
['felqV] deprecating
['deprIkeItIN] prefer
[prI'fq:]
“I see — and you had which berth?”
“The lower one, sir.”
“That is No. 4?”
“Yes, sir.”
“Is there anyone in with you?”
“Yes, sir. A big Italian fellow.”
“Does he speak English?”
“Well, a kind of English, sir.” The valet’s tone was deprecating. “He’s
been in America — Chicago, I understand.”
“Do you and he talk together much?”
“No, sir. I prefer to read.”
Poirot smiled
(Ïóàðî
óëûáíóëñÿ
). He could visualize the scene
(îí
ñìîã
ìûñëåííî
ïðåäñòàâèòü
ñåáå
òàêóþ
ñöåíó
; scene —
ìåñòî
äåéñòâèÿ /
â
ïüåñå/;
ñöåíà,
ýïèçîä,
ïðîèñøåñòâèå)
— the large, voluble Italian (
êðóïíûé,
ãîâîðëèâûé
èòàëüÿíåö)
, and the snub direct administered by the gentleman’s gentleman
(è
îòêðûòîå
ïðåíåáðåæèòåëüíîå
îòíîøåíèå
ãîñïîäñêîãî
ñëóãè
; direct —
ïðÿìîé;
îòêðûòûé,
î÷åâèäíûé; to administer —
óïðàâëÿòü,
âåñòè
äåëà;
ïðèìåíÿòü /
ìåðû
âîçäåéñòâèÿ
è
ò.
ï./; gentleman’s gentleman —
êàìåðäèíåð,
ñëóãà,
ëàêåé)
.
“
And
what,
may
I
ask,
are
you
reading
(à ÷òî, ïîçâîëüòå ñïðîñèòü: «ìîæíî ìíå ñïðîñèòü», âû ÷èòàåòå)
?” he
inquired
(ñïðîñèë îí)
.
“At present, sir, I am reading Love’s Captive, by Mrs. Arabella Richardson
(â
íàñòîÿùåå
âðåìÿ
, ñýð
, ÿ
÷èòàþ
«Ïëåííèêà ëþáâè» /ìèññèñ/ Àðàáåëëû Ðè÷àðäñîí;
by — çä. óêàçûâàåò íà àâòîðà
).”
“
A
good
story
(õîðîøàÿ êíèãà = è êàê âàì êíèãà?;
story — ïîâåñòü, ðàññêàç; ñþæåò; èñòîðèÿ
)?”
“
I find
it
highly enjoyable
, sir
(ÿ íàõîæó/ñ÷èòàþ åå âåñüìà ïðèÿòíîé, ñýð;
to find
— íàõîäèòü, îáíàðóæèâàòü; ñ÷èòàòü, íàõîäèòü;
to enjoy
— ëþáèòü /÷òî-ëèáî/, ïîëó÷àòü óäîâîëüñòâèå /îò ÷åãî-ëèáî/;
enjoyable — ïðèÿòíûé, äîñòàâëÿþùèé óäîâîëüñòâèå
).”
visualize
['vIZVqlaIz] scene
[si:n] voluble
['vO
ljVb(q)l] administered
[qd"mInIstqd] inquire
[In'kwaIq] captive
['kxptIv] enjoyable
[In'dZOIqb(q)l]
Poirot smiled. He could visualize the scene — the large, voluble Italian,
and the snub direct administered by the gentleman’s gentleman.
“And what, may I ask, are you reading?” he inquired.
“At present, sir, I am reading Love’s Captive, by Mrs. Arabella Richardson.”
“A good story?”
“I find it highly enjoyable, sir.”
“Well, let us continue
(÷òî
æ
, äàâàéòå
ïðîäîëæèì
). You returned to your compartment
(âû
âåðíóëèñü
â
ñâîå
êóïå
) and read Love’s Captive till — when
(è
äî
êàêîãî
âðåìåíè
÷èòàëè
«Ïëåííèêà
ëþáâè
»; when —
êîãäà)
?”
“At about ten thirty, sir, this Italian wanted to go to bed
(îêîëî
ïîëîâèíû
îäèííàäöàòîãî
: «â
äåñÿòü
òðèäöàòü
», ñýð
, ýòîò
èòàëüÿíåö
ïîæåëàë
ëå÷ü
ñïàòü
; bed —
êðîâàòü,
ïîñòåëü)
. So the conductor came (
ïîýòîìó
ïðèøåë
ïðîâîäíèê)
and made the beds up (
è
ïîñòåëèë /
íàì/
ïîñòåëè)
.”
“And then you went to bed and to sleep
(è
òîãäà
âû
ëåãëè
/â
ïîñòåëü
/ è
çàñíóëè
)?”
“
I
went
to
bed,
sir,
but
I
didn’
t
sleep
(ÿ ëåã /â ïîñòåëü/, ñýð, íî ÿ íå çàñíóë)
.”
“
Why
didn’
t
you
sleep
(ïî÷åìó æå âû íå ñïàëè)
?”
“
I
had
the
toothache,
sir
(ó ìåíÿ áîëåë çóá, ñýð;
tooth — çóá;
ache — áîëü /îñîá. ïðîäîëæèòåëüíàÿ è òóïàÿ/;
toothache — çóáíàÿ áîëü
).”
“
Oh,
là-
là
(îõ)
— that
is
painful
(ýòî áîëüíî;
painful — ïðè÷èíÿþùèé áîëü; ìó÷èòåëüíûé, òÿãîñòíûé;
pain — áîëü
).”
“Most painful, sir
(î÷åíü
áîëüíî
, ñýð
).”
continue [
kqn'
tInju:]
toothache ['
tu:
TeIk]
painful ['
peInf(
q)
l]
“Well, let us continue. You returned to your compartment and read Love’s
Captive till — when?”
“At about ten thirty, sir, this Italian wanted to go to bed. So the conductor
came and made the beds up.”
“And then you went to bed and to sleep?”
“I went to bed, sir, but I didn’t sleep.”
“Why didn’t you sleep?”
“I had the toothache, sir.”
“Oh,
là-là — that is painful.”
“
Most
painful,
sir.”
“
Did
you
do
anything
for
it
(âû ÷òî-íèáóäü ñäåëàëè äëÿ ýòîãî = âû ïðèíÿëè ÷òî-íèáóäü îò çóáíîé áîëè)
?”
“
I
applied
a
little
oil
of
cloves,
sir
(ÿ ïðèëîæèë íåìíîãî ãâîçäè÷íîãî ìàñëà, ñýð;
to
apply — îáðàùàòüñÿ ñ ïðîñüáîé; ïðèêëàäûâàòü,
ïðèëàãàòü; cloves — ãâîçäèêà /ïðÿíîñòü/
),
which
relieved
the
pain
a
little
(êîòîðîå ñëåãêà îáëåã÷èëî áîëü)
, but
I
was
still
not
able
to
get
to
sleep
(íî ÿ âñå åùå íå ìîã çàñíóòü;
able — ñïîñîáíûé; to be able to — ìî÷ü, áûòü â ñîñòîÿíèè
/ñäåëàòü ÷òî-ëèáî/; to
get
to
do
smth
. — íà÷èíàòü äåëàòü ÷òî-ëèáî
).
I
turned
the
light
on
(ÿ âêëþ÷èë ëàìïó; light
— ñâåò; èñòî÷íèê ñâåòà, îãîíü, ëàìïà è ò.ï.
)
above
my
head
(íàä /ñâîåé/ ãîëîâîé)
and
continued
to
read
(è ïðîäîëæèë ÷èòàòü) —
to
take
my
mind
off
(÷òîáû îòâëå÷üñÿ; to
take
one
's
mind
off
smth
. — ïåðåñòàòü äóìàòü î ÷åì-ëèáî, îòâëå÷ü ìûñëè îò ÷åãî-ëèáî, çàáûòü ÷òî-ëèáî
),
as
it
were
(òàê ñêàçàòü: «êàê ýòî áûëî»)
.”
“And did you not go to sleep at all
(è
âû
÷òî
, âîîáùå
íå
çàñíóëè
)?”
“
Yes,
sir
(íåò, ñýð; yes
— äà; â îòâåòàõ, âûðàæàþùèõ íåñîãëàñèå ñ óòâåðæäåíèåì, ñîäåðæàùèìñÿ â âîïðîñå — íåò
),
I
dropped
off
(ÿ çàñíóë; to
drop
off
— âûõîäèòü ïî îäíîìó; îòõîäèòü êî ñíó
)
about
four
in
the
morning
(îêîëî ÷åòûðåõ ÷àñîâ óòðà)
.”
“
And
your
companion
(à âàø ñîñåä; companion
— òîâàðèù; ñïóòíèê, ñëó÷àéíûé ñîñåä, ïîïóò÷èê
)?”
“The Italian fellow (
èòàëüÿíåö)
? Oh,
he
just
snored
(îí
-òî
êàê
ðàç
õðàïåë
).”
applied
[q'plaId] oil
[OIl] clove
[klqVv] relieve
[rI'li:v] snore
[snO:]
“Did you do anything for it?”
“I applied a little oil of cloves, sir, which relieved the pain a little,
but I was still not able to get to sleep. I turned the light on above my head and continued to read — to take my mind off, as it were.”
“And did you not go to sleep at all?”
“Yes, sir, I dropped off about four in the morning.”
“And your companion?”
“The Italian fellow? Oh, he just snored.”
“He did not leave the compartment at all
(îí
íè
ðàçó
íå
ïîêèäàë
êóïå
; at all —
íèñêîëüêî;
íèêîãäà)
during the night (
çà
âñþ
íî÷ü)
?”
“No, sir.”
“Did you
(à
âû
/ïîêèäàëè
/)?”
“
No,
sir.”
“
Did
you
hear
anything
during
the
night
(âû ÷òî-íèáóäü ñëûøàëè íî÷üþ;
during — â ïðîäîëæåíèå, â òå÷åíèå, âî âðåìÿ
)?”
“
I don
’t
think so
, sir
(ìíå êàæåòñÿ íåò, ñýð).
Nothing unusual
, I
mean (íè÷åãî íåîáû÷íîãî, ÿ èìåþ â âèäó)
. The
train being
at
a standstill
(îò òîãî, ÷òî ïîåçä ñòîÿë;
standstill — îñòàíîâêà, ïàóçà; çàòèøüå
) made
it
all very
quiet
(âñå ñòàëî òàêèì òèõèì; quiet
— òèõèé, áåñøóìíûé)
.”
Poirot
was
silent
a
moment
or
two
(Ïóàðî ïîìîë÷àë ìèíóòó èëè äâå;
silent — ìîë÷àëèâûé, áåññëîâåñíûé
).
Then he spoke (
çàòåì
îí
ñêàçàë)
.
during
['djVqrIN] nothing
['nATIN] silent
['saIlqnt]
“He did not leave the compartment at all during the night?”
“No, sir.”
“Did you?”
“No, sir.”
“Did you hear anything during the night?”
“I don’t think so, sir. Nothing unusual, I mean. The train being at a standstill
made it all very quiet.”
Poirot was silent a moment or two. Then he spoke.
“Well, I think there is very little more to be said
(÷òî
æ
, ÿ
äóìàþ
, ÷òî
ãîâîðèòü
áîëüøå
íå
î
÷åì
; little —
ìàëî,
ïî÷òè
íèñêîëüêî; little more —
íåìíîãèì
áîëüøå)
. You
cannot
throw
any
light
upon
the
tragedy
(âû íå ìîæåòå ïðîëèòü õîòü êàêîé-òî ñâåò íà ýòó òðàãåäèþ;
to
throw — áðîñàòü, êèäàòü; íàïðàâëÿòü, ïîñûëàòü;
to
throw
light
on
smth. — áðîñàòü ñâåò íà ÷òî-ëèáî; ïðîëèâàòü
ñâåò íà ÷òî-ëèáî)
?”
“
I’
m
afraid
not
(áîþñü, ÷òî íåò; afraid
— èñïóãàííûé, íàïóãàííûé, áîÿùèéñÿ
).
I’
m
sorry,
sir
(ìíå î÷åíü æàëü, ñýð;
sorry — îãîð÷åííûé, ñîæàëåþùèé
).”
“
As
far
as
you
know,
was
there
any
quarrel
(íàñêîëüêî âàì èçâåñòíî, áûëà ëè êàêàÿ-íèáóäü ññîðà/ñïîð)
or
bad
blood
(èëè âðàæäà;
bad — ïëîõîé, äóðíîé, ñêâåðíûé;
blood — êðîâü;
bad
blood — âðàæäà, ññîðà, âðàæäåáíîñòü
)
between
your
master
and
Mr.
MacQueen
(ìåæäó âàøèì õîçÿèíîì è ìèñòåðîì Ìàêêóèíîì)
?”
“
Oh!
no,
sir.
Mr.
MacQueen
was
a
very
pleasant
gentleman
(ìèñòåð Ìàêêóèí áûë î÷åíü ñëàâíûì/ìèëûì äæåíòëüìåíîì)
.”
throw
[TrqV] tragedy
['trxdZIdI] afraid
[q'freId] quarrel
['kwO
rql] blood
[blAd] pleasant
['plez(q)nt]
“Well, I think there is very little more to be said. You cannot throw any
light upon the tragedy?”
“I’m afraid not. I’m sorry, sir.”
“As far as you know, was there any quarrel or bad blood between your master
and Mr. MacQueen?”
“Oh! no, sir. Mr. MacQueen was a very pleasant gentleman.”
“Where were you in service
(ó
êîãî
âû
ñëóæèëè
; service —
óñëóæåíèå; to be in (smb.'s) service —
áûòü
ñëóãîé,
ñëóæèòü /
ó
êîãî-
ëèáî/
) before you came to Mr. Ratchett
(ïðåæäå
÷åì
âû
ïîñòóïèëè
ê
ìèñòåðó
Ðýò÷åòòó
; to come (came, come) —
ïðèõîäèòü;
âñòóïàòü /
â
äîëæíîñòü
è
ò.
ï./
)?”
“With Sir Henry Tomlinson, sir, in Grosvenor Square
(ó
ñýðà
Ãåíðè
Òîìëèíñîíà
, ñýð
, íà
Ãðîñâåíîð
-ñêâåð
; sir —
ñýð,
ñóäàðü /
â
îáðàùåíèè/; (Sir) —
ðûöàðü
èëè
áàðîíåò /
òèòóë
ïåðåä
èìåíåì/; square —
êâàäðàò;
ïëîùàäü;
ñêâåð)
.”
“Why did you leave him
(ïî÷åìó
âû
óøëè
îò
íåãî
)?”
“He was going to East Africa, sir (
îí
ñîáèðàëñÿ
â
Âîñòî÷íóþ
Àôðèêó),
and
did
not
require
my
services
any
longer
(è áîëüøå íå íóæäàëñÿ â ìîèõ óñëóãàõ;
to
require — òðåáîâàòü, ïðèêàçûâàòü; íóæäàòüñÿ
/â ÷åì-ëèáî/).
But
I
am
sure
he
will
speak
for
me,
sir
(íî ÿ óâåðåí, îí çàìîëâèò çà ìåíÿ ñëîâå÷êî, ñýð;
to
speak
for
smb. — ãîâîðèòü çà /âìåñòî/ êîãî-ëèáî; âûñêàçàòüñÿ
â çàùèòó êîãî-ëèáî)
. I
was
with
him
some
years
(ÿ ñëóæèë ó íåãî íåñêîëüêî ëåò;
to
be
with
smb.,
smth. — ðàáîòàòü ó êîãî-ëèáî, ãäå-ëèáî /ïî íàéìó/
).”
“
And
you
have
been
with
Mr.
Ratchett —
how
long
(êàê äîëãî âû ïðîñëóæèëè ó ìèñòåðà Ðýò÷åòòà)
?”
“
Just
over
nine
months,
sir
(íåìíîãèì áîëüøå äåâÿòè ìåñÿöåâ, ñýð)
.”
“Thank you, Masterman. By the way
(ìåæäó
ïðî÷èì
), are you a pipe-smoker
(âû
êóðèòå
òðóáêó
; smoker —
êóðèëüùèê)
?”
service ['sq:vIs]
square [skweq]
require [rI'kwaIq]
month [mAnT]
“Where were you in service before you came to Mr. Ratchett?”
“With Sir Henry Tomlinson, sir, in Grosvenor Square.”
“Why did you leave him?”
“He was going to East Africa, sir, and did not require my services any longer.
But I am sure he will speak for me, sir. I was with him some years.”
“And you have been with Mr. Ratchett — how long?”
“Just over nine months, sir.”
“Thank you, Masterman. By the way, are you a pipe-smoker?”
“No, sir. I only smoke cigarettes
(ÿ
êóðþ
òîëüêî
ñèãàðåòû
) — gaspers, sir
(äåøåâûå
ñèãàðåòû
, ñýð
; to gasp —
äûøàòü
ñ
òðóäîì,
çàäûõàòüñÿ; gasper —
ðàçã.
äåøåâàÿ
ñèãàðåòà)
.”
“Thank you, that will do
(ñïàñèáî
, ýòîãî
äîñòàòî÷íî
).”
Poirot gave him a nod of dismissal
(Ïóàðî
êèâêîì
îòïóñòèë
åãî
; to give (gave, given), a nod —
êèâîê /
â
çíàê
ñîãëàñèÿ
èëè
ïðèâåòñòâèÿ/; dismissal —
ðîñïóñê;
ïðåäëîæåíèå
èëè
ðàçðåøåíèå
óéòè; to dismiss —
îòïóñêàòü,
ðàñïóñêàòü)
.
The valet hesitated a moment
(ñëóãà
ìãíîâåíèå
ïîêîëåáàëñÿ
).
“You’ll excuse me, sir, but the elderly American lady
(ïðîñòèòå
ìåíÿ
, ñýð
, íî
òà
ïîæèëàÿ
àìåðèêàíêà
) is in what I might describe as a state, sir
(â
òàêîì
, êàê
ÿ
ìîã
áû
ýòî
îïèñàòü
, âîçáóæäåííîì
ñîñòîÿíèè
, ñýð
; state —
ñîñòîÿíèå,
ïîëîæåíèå;
íàïðÿæåííîå
èëè
âîçáóæäåííîå
ñîñòîÿíèå)
. She’s saying she knows all about the murderer (
îíà
ãîâîðèò,
÷òî
îíà
çíàåò
âñå
îá
óáèéöå)
. She’s in a very excitable condition, sir (
îíà
î÷åíü
âîëíóåòñÿ: «
â
î÷åíü
âîçáóäèìîì
ñîñòîÿíèè»,
ñýð;
to excite — âîçáóæäàòü
, âîëíîâàòü
; condition — ñîñòîÿíèå
, ïîëîæåíèå
, óñëîâèå
; ñîñòîÿíèå
çäîðîâüÿ
).”
cigarette ["sIgq'ret]
gasper ['gQ:spq]
dismissal [dIs'mIs(q)l]
hesitate ['hezIteIt]
describe [dIs'kraIb]
murderer ['mq:d(q)rq]
excitable [Ik'saItqb(q)l]
“No, sir. I only smoke cigarettes — gaspers, sir.”
“Thank you, that will do.”
Poirot gave him a nod of dismissal.
The valet hesitated a moment.
“You’ll excuse me, sir, but the elderly American lady is in what I might
describe as a state, sir. She’s saying she knows all about the murderer. She’s in a very excitable condition, sir.”
“
In
that
case
(â òàêîì ñëó÷àå),”
said
Poirot,
smiling
(ñêàçàë Ïóàðî, óëûáàÿñü)
, “we
had
better
see
her
next
(íàì ëó÷øå áû âñòðåòèòüñÿ ñ íåé /ñëåäóþùåé/)
.”
“
Shall
I
tell
her,
sir
(ìíå ñêàçàòü åé îá ýòîì = ïðèãëàñèòü åå, ñýð)
? She
’s
been
demanding
to
see
someone
in
authority
(îíà òðåáóåò âñòðå÷è: «óâèäåòü/âñòðåòèòüñÿ» ñ
êåì-íèáóäü èç íà÷àëüñòâà; authority
— âëàñòü; âëàñòè, íà÷àëüñòâî, àäìèíèñòðàöèÿ
)
for
a
long
time
(óæå äîëãîå âðåìÿ; long
— äëèííûé; äîëãèé, ïðîäîëæèòåëüíûé
).
The
conductor’
s
been
trying
to
pacify
her
(ïðîâîäíèê ïûòàåòñÿ óñïîêîèòü åå;
to
pacify — óìèðîòâîðÿòü, óñïîêàèâàòü
).”
“
Send
her
to
us,
my
friend
(ïðèãëàñèòå åå ê íàì, ìîé äðóã;
to
send — ïîñûëàòü, îòïðàâëÿòü; âûçûâàòü, ïðèãëàñèòü
),”
said
Poirot. “
We
will
listen
to
her
story
now
(ñåé÷àñ ìû âûñëóøàåì åå èñòîðèþ;
story — ïîâåñòü, ðàññêàç; çàÿâëåíèå, ÷òî-ëèáî
ñêàçàííîå, ÷üè-ëèáî ñëîâà)
.”
demand [dI'mQ:nd]
authority [O:'T
OrItI]
pacify ['pxsIfaI]
listen ['lIs(q)n]
“In that case,” said Poirot, smiling, “we had better see her next.”
“Shall I tell her, sir? She’s been demanding to see someone in authority
for a long time. The conductor’s been trying to pacify her.”
“Send her to us, my friend,” said Poirot. “We will listen to her story
now.”
4
THE EVIDENCE OF THE AMERICAN LADY
(
ïîêàçàíèÿ àìåðèêàíêè;
lady — ëåäè, äàìà, ãîñïîæà
)
Mrs.
Hubbard
arrived
in
the
dining-
car
(ìèññèñ Õàááàðä âîðâàëàñü â âàãîí-ðåñòîðàí;
to
arrive — ïðèáûâàòü, ïðèåçæàòü
)
in
such
a
state
of
breathless
excitement
(â ñîñòîÿíèè òàêîãî çàäûõàþùåãîñÿ âîëíåíèÿ = çàïûõàâøàÿñÿ è âîçáóæäåííàÿ;
breath — äûõàíèå
)
that
she
was
hardly
able
to
articulate
her
words
(÷òî îíà åäâà áûëà ñïîñîáíà ãîâîðèòü: «îò÷åòëèâî ïðîèçíîñèòü ñëîâà»;
to
articulate — ïðîèçíîñèòü îò÷åòëèâî, ÿñíî
).
“Now
just
tell
me
this
(òàê âîò, ñêàæèòå-êà ìíå)
— who
’s
in
authority
here
(êòî çäåñü çà ãëàâíîãî;
authority — âëàñòü
)?
I’
ve
got
some
very
important
information
(ó ìåíÿ åñòü î÷åíü âàæíûå ñâåäåíèÿ)
, very
important
indeed
(â ñàìîì äåëå, î÷åíü âàæíûå)
, and
I
’m
going
to
tell
it
(è ÿ õî÷ó ñîîáùèòü èõ;
to be going to do smth. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü ÷òî-ëèáî
)
to
someone
in
authority
(òîìó, êòî çäåñü ãëàâíûé)
just
as
soon
as
I
can
(êàê ìîæíî ñêîðåå: «òàê ñêîðî, êàê ÿ ìîãó»)
. If you gentlemen
(åñëè
âû
, ãîñïîäà
) — ”
dining-car
['daInINkQ:] breathless
['breTlIs] excitement
[Ik'saItmqnt] articulate
[Q:'tIkjVleIt]
Mrs. Hubbard arrived in the dining-car in such a state of breathless excitement
that she was hardly able to articulate her words.
“Now just tell me this — who’s in authority here? I’ve got some very
important information, very important indeed, and I’m going to tell it to someone in authority just as soon as I can. If you gentlemen — ”
Her wavering glance
(åå
íåðåøèòåëüíûé
âçãëÿä
; to waver —
êîëûõàòüñÿ /
î
ïëàìåíè,
òåíè/;
êîëåáàòüñÿ,
ïðîÿâëÿòü
íåðåøèòåëüíîñòü)
fluctuated between the three men (
ìåòàëñÿ
ìåæäó
òðåìÿ
ìóæ÷èíàìè;
to fluctuate — êîëåáàòüñÿ
; áûòü
íåóñòîé÷èâûì
, íåðåøèòåëüíûì
). Poirot leaned forward
(Ïóàðî
ïîäàëñÿ
âïåðåä
).
“Tell it to me, Madame (
ðàññêàæèòå
èõ
ìíå,
ìàäàì)
,” he said. “
But
first,
pray
be
seated
(íî ñïåðâà, ïðîøó âàñ: «óìîëÿþ», ïðèñàæèâàéòåñü;
to
pray — ìîëèòüñÿ; ïðîñèòü /â îáðàùåíèè, ÷àñòî
êàê ââîäíîå ñëîâî/)
.”
Mrs.
Hubbard
plumped
heavily
down
(îíà òÿæåëî ïëþõíóëàñü;
to
plump — øëåïàòü(ñÿ)
) on
to
the
seat
opposite
to
him
(íà ñèäåíèå íàïðîòèâ íåãî;
seat — ìåñòî /äëÿ ñèäåíèÿ/; ñòóë, ñêàìüÿ, êðåñëî
).
“What
I
’ve
got
to
tell
you
is
just
this
(ÿ äîëæíà âàì ñîîáùèòü âîò ÷òî;
to
have
got
to
do
smth. — áûòü äîëæíûì ÷òî-ëèáî ñäåëàòü
).
There was a murder on the train last night (
ïðîøëîé
íî÷üþ
â
ïîåçäå
ïðîèçîøëî
óáèéñòâî)
, and the murderer was right there in my compartment
(è
óáèéöà
áûë
ïðÿìî
â
ìîåì
êóïå
)!”
She
paused
(îíà çàìîë÷àëà; to
pause
— äåëàòü ïàóçó, ïåðåðûâ; îñòàíàâëèâàòüñÿ
)
to
give
dramatic
emphasis
to
her
words
(÷òîáû ïðèäàòü ñâîèì ñëîâàì äîëæíûé ýôôåêò: «ïðèäàòü äðàìàòè÷åñêîå óäàðåíèå åå ñëîâàì»;
dramatic — òåàòðàëüíûé; ýôôåêòíûé,
áðîñàþùèéñÿ â ãëàçà; emphasis
— óäàðåíèå; ÿðêîñòü /÷óâñòâ/, ðåçêîñòü, âûðàçèòåëüíîñòü /æåñòîâ è ò.ï./
).
fluctuate
['flAktSVeIt] heavily
['hevIlI] emphasis
['emfqsIs]
Her wavering glance fluctuated between the three men. Poirot leaned forward.
“Tell it to me, Madame,” he said. “But first, pray be seated.”
Mrs. Hubbard plumped heavily down on to the seat opposite to him.
“What I’ve got to tell you is just this. There was a murder on the train
last night, and the murderer was right there in my compartment!”
She paused to give dramatic emphasis to her words.
“You are sure of this, Madame
(âû
â
ýòîì
óâåðåíû
, ìàäàì
)?”
“Of
course
I
’m
sure
(êîíå÷íî æå, óâåðåíà)
! The
idea
(ïîäóìàòü òîëüêî;
idea — èäåÿ, ìûñëü; the idea! — ÷òî çà çàòåÿ /ôàíòàçèÿ/;
ïîäóìàòü òîëüêî)
! I know what I’m talking about
(ÿ
çíàþ
, î
÷åì
ãîâîðþ
). I
’ll
tell
you
everything
there
is
to
tell
(ÿ ðàññêàæó âàì âñå, ÷òî çíàþ: «âñå, ÷òî åñòü ðàññêàçûâàòü»)
. I
’d
gotten
into
bed
(ÿ ëåãëà â ïîñòåëü)
and
gone
to
sleep
(è çàñíóëà)
, and
suddenly
I
woke
up
(è âíåçàïíî ÿ ïðîñíóëàñü;
to
wake (
woke,
waked)
) —
everything
was
dark
(/âñå/ áûëî òåìíî) —
and
I
knew
(è ÿ ïîíÿëà; to
know
(knew
, known
) — çíàòü; îñîçíàâàòü, ïîíèìàòü
)
there
was
a
man
in
my
compartment
(÷òî â ìîåì êóïå áûë ìóæ÷èíà)
. I
was
just
so
scared
(ÿ áûëà íàñòîëüêî èñïóãàíà;
scare — ïàíèêà, ïàíè÷åñêèé ñòðàõ;
to
scare — èñïóãàòü, íàïóãàòü
)
I
couldn’
t
scream
(÷òî /ÿ/ íå ìîãëà êðè÷àòü;
to
scream — ïðîíçèòåëüíî êðè÷àòü, âîïèòü
),
if
you
know
what
I
mean
(åñëè âû ïîíèìàåòå, ÷òî ÿ èìåþ â âèäó)
. I
just
lay
there
and
thought
(ÿ ïðîñòî ëåæàëà è äóìàëà)
, ‘Mercy
, I
’m
going
to
be
killed
(Ãîñïîäè ìèëîñåðäíûé, ìåíÿ æå /ñåé÷àñ/ óáüþò;
mercy — ìèëîñåðäèå, ñîñòðàäàíèå; Ãîñïîäè,
Áîæå ìîé)!’
I
just
can’
t
describe
to
you
how
I
felt
(ÿ ïðîñòî íå ìîãó âàì îïèñàòü, ÷òî ÿ ÷óâñòâîâàëà;
to
feel (
felt) — òðîãàòü, ùóïàòü; ÷óâñòâîâàòü, îùóùàòü
).
These
nasty
trains,
I
thought
(ýòè îòâðàòèòåëüíûå ïîåçäà, äóìàëà ÿ)
, and
all
the
outrages
(è âñå òå àêòû íàñèëèÿ;
outrage — ãðóáîå íàðóøåíèå /çàêîíà èëè ÷üèõ-ëèáî
ïðàâ/; íàñèëèå)
I
’d
read
of
(î êîòîðûõ ÿ ÷èòàëà)
. And
I
thought
(è ÿ ïîäóìàëà)
, ‘Well
, anyway
, he
won
’t
get
my
jewellery
(÷òî æ, âî âñÿêîì ñëó÷àå, îí íå ïîëó÷èò ìîè äðàãîöåííîñòè;
jewel — äðàãîöåííûé êàìåíü; þâåëèðíàÿ
âåùü)’ —
because,
you
see,
I’
d
put
that
in
a
stocking
(ïîòîìó ÷òî, âèäèòå ëè, ÿ ïîëîæèëà èõ â ÷óëîê)
and
hidden
it
under
my
pillow
(è ñïðÿòàëà åãî ïîä ïîäóøêîé;
to
hide (
hid,
hidden)
) — which
isn
’t
any
too
comfortable
(÷òî, êîíå÷íî, âîâñå íå óäîáíî;
comfort — óòåøåíèå, ïîääåðæêà; êîìôîðò, óþò
),
by
the
way
(êñòàòè);
kinda
bumpy
(äîâîëüíî æåñòêî; kinda
/ïðîñò./ = kind
of
; bump
— ãëóõîé óäàð, ñòîëêíîâåíèå;
to
bump — óäàðÿòüñÿ, óäàðÿòü;
bumpy — óõàáèñòûé, òðÿñêèé /î äîðîãå/
),
if
you
know
what
I
mean.
But
that’
s
neither
here
nor
there
(íî ýòî íè ê ñåëó íè ê ãîðîäó: «íè çäåñü íè òàì» = ÿ îòâëåêëàñü)
. Where was I
(íà
÷åì
ÿ
îñòàíîâèëàñü
)?”
scared
[skeqd] mercy
['mq:sI] outrage
['aVtreIdZ] jewellery
['dZu:qlrI] kinda
['kaIndq]
“You are sure of this, Madame?”
“Of course I’m sure! The idea! I know what I’m talking about. I’ll
tell you everything there is to tell. I’d gotten into bed and gone to sleep, and suddenly I woke up — everything was dark — and I knew there was a man in my compartment. I was just so scared I couldn’t scream, if you
know what I mean. I just lay there and thought, ‘Mercy, I’m going to be killed!’ I just can’t describe to you how I felt. These nasty trains, I thought, and all the outrages I’d read of. And I thought, ‘Well, anyway,
he won’t get my jewellery’ — because, you see, I’d put that in a stocking and hidden it under my pillow — which isn’t any too comfortable, by the way; kinda bumpy, if you know what I mean. But that’s neither
here nor there. Where was I?”
“You realised, Madame
(âû
ïîíÿëè
, ìàäàì
; to realize —
îñóùåñòâèòü,
âûïîëíèòü;
ÿñíî
ïîíèìàòü,
îñîçíàâàòü)
, that there was a man in your compartment (
÷òî
â
âàøåì
êóïå
áûë
ìóæ÷èíà)
.”
“
Yes,
well,
I
just
lay
there
(ÿ, òàê âîò, ÿ ïðîñòî ëåæàëà)
with
my
eyes
closed
(ñ çàêðûòûìè ãëàçàìè)
, and
wondered
what
I
’d
do
(è âñå äóìàëà, ÷òî æå ìíå ñäåëàòü;
to
wonder — èíòåðåñîâàòüñÿ; æåëàòü çíàòü, çàäàâàòüñÿ
âîïðîñîì).
And
I
thought,
well,
I’
m
just
thankful
(è åùå ÿ äóìàëà, ÷òî æ, õîòÿ áû ÿ ðàäà = ñëàâà Áîãó;
thankful — áëàãîäàðíûé; äîâîëüíûé /÷åì-ëèáî/;
óñò. ñëàâà Áîãó; to
thank
— áëàãîäàðèòü)
that
my
daughter
doesn
’t
know
the
plight
I
’m
in
(÷òî ìîÿ äî÷ü íå çíàåò, â êàêîé ïåðåïëåò ÿ ïîïàëà:
«ÿ åñòü»; plight — ñîñòîÿíèå, ïîëîæåíèå
/îáûê. ïëîõîå, òðóäíîå/)
. And
then
, somehow
, I
got
my
wits
about
me
(à ïîòîì, êàêèì-òî îáðàçîì, ÿ ñîáðàëàñü ñ ìûñëÿìè;
wit(
s)
— óì, ðàçóì)
and
I
felt
about
with
my
hand
(è ñòàëà øàðèòü âîêðóã ðóêîé;
to
feel (
felt) — òðîãàòü; øàðèòü, èñêàòü îùóïüþ
)
and
I
pressed
the
bell
for
the
conductor
(è íàæàëà íà çâîíîê, ÷òîáû ïîçâàòü ïðîâîäíèêà)
. I
pressed
it
and
I
pressed
it
(ÿ æàëà è æàëà íà íåãî)
, but
nothing
happened
(íî íè÷åãî íå ïðîèñõîäèëî)
— and
I
can
tell
you
(è, ìîãó âàì ñêàçàòü)
, I
thought
my
heart
was
going
to
stop
beating
(ÿ äóìàëà, ÷òî ìîå ñåðäöå ïåðåñòàíåò áèòüñÿ;
to
stop — îñòàíàâëèâàòü, çàäåðæèâàòü; ïðåêðàùàòü,
êîí÷àòü; to
beat — áèòü, óäàðÿòü; áèòüñÿ, òðåïåòàòü, ïóëüñèðîâàòü
).
plight [plaIt]
thankful ['TxNkf(q)l]
daughter ['dO:tq]
happen ['hxpqn]
“You realised, Madame, that there was a man in your compartment.”
“Yes, well, I just lay there with my eyes closed, and wondered what I’d
do. And I thought, well, I’m just thankful that my daughter doesn’t know the plight I’m in. And then, somehow, I got my wits about me and I felt about with my hand and I pressed the bell for the conductor. I pressed
it and I pressed it, but nothing happened — and I can tell you, I thought my heart was going to stop beating.
‘Mercy,’ I said to myself (
Áîæå
ìèëîñòèâûé,
ñêàçàëà
ÿ
ñåáå)
, ‘maybe they’ve murdered every single soul on the train
(/îíè
/ äîëæíî
áûòü
, óáèëè
âñåõ
áåç
èñêëþ÷åíèÿ
â
ýòîì
ïîåçäå
; every —
êàæäûé,
âñÿêèé; single —
åäèíñòâåííûé,
îäèí;
êàæäûé,
ëþáîé
áåç
èñêëþ÷åíèÿ; soul —
äóøà,
ñåðäöå;
÷åëîâåê)
.’ It was at a standstill anyhow (
â
ëþáîì
ñëó÷àå,
ïîåçä
ñòîÿë;
standstill — îñòàíîâêà
, ïàóçà
) and there was a nasty quiet feel in the air
(è
â
âîçäóõå
áûëà
êàêàÿ
-òî
îòâðàòèòåëüíîå
îùóùåíèå
áåçìîëâèÿ
; feel —
îñÿçàíèå;
îáñòàíîâêà;
îùóùåíèå)
. But I just went on pressing that bell (
è
ÿ
ïðîñòî
ïðîäîëæàëà
íàæèìàòü
íà
òîò
çâîíîê;
to go on — èäòè
äàëüøå
, ïðîäîëæàòü
) and oh! the relief when I heard footsteps
(è
î
! îáëåã÷åíèå
, êîãäà
ÿ
óñëûøàëà
øàãè
; footstep —
øàã,
ïîñòóïü;
çâóê
øàãîâ)
coming running down the corridor (
ïðèáëèæàâøèåñÿ
áåãîì
ïî
êîðèäîðó)
and a knock on the door (
è
ñòóê
â
äâåðü)
! ‘Come in (
âîéäèòå)
,’ I screamed (
çàêðè÷àëà
ÿ)
, and I switched on the lights (
è
âêëþ÷èëà
ñâåò;
to switch — ýë
. ïåðåêëþ÷àòü
; to switch on — âêëþ÷àòü
) at the same time
(â
òî
æå
ñàìîå
âðåìÿ
). And
would
you
believe
it
(è, âû íå ïîâåðèòå: «ïîâåðèòå ëè âû â ýòî»)
, there
wasn
’t
a
soul
there
(òàì íå áûëî íå äóøè)
!”
This
seemed
to
Mrs.
Hubbard
to
be
a
dramatic
climax
(ýòîò /ìîìåíò/ êàçàëîñü, äëÿ ìèññèñ Õàááàðä, áûë äðàìàòè÷åñêîé êóëüìèíàöèåé /èñòîðèè/)
rather
than
an
anticlimax
(à âîâñå íå ðàçî÷àðîâàíèåì;
climax — âûñøàÿ òî÷êà, êóëüìèíàöèîííûé ïóíêò, ðàçâÿçêà; anticlimax — ñïàä, ðàçâÿçêà íàïðÿæåíèÿ;
ðàçî÷àðîâàíèå)
.
myself
[maI'self] anyhow
['enIhaV] nasty
['nQ:stI] air
[eq] relief
[rI'li:f] climax
['klaImqks] anticlimax
["xntI'klaImxks]
‘Mercy,’ I said to myself, ‘maybe they’ve murdered every single soul
on the train.’ It was at a standstill anyhow and there was a nasty quiet feel in the air. But I just went on pressing that bell and oh! the relief when I heard footsteps coming running down the corridor and a knock on the
door! ‘Come in,’ I screamed, and I switched on the lights at the same time. And would you believe it, there wasn’t a soul there!”
This seemed to Mrs. Hubbard to be a dramatic climax rather than an anticlimax.
“And what happened next, Madame
(è
÷òî
æå
ïðîèçîøëî
ïîòîì
, ìàäàì
)?”
“Why, I told the man (
íó
êàê
æå,
ÿ
ðàññêàçàëà
ïðîâîäíèêó)
what had happened and he didn’t seem to believe me
(÷òî
ïðîèçîøëî
, à
îí
, êàçàëîñü
, íå
ïîâåðèë
ìíå
). Seemed to imagine
(îí
, íàâåðíîå
, ïîäóìàë
; to imagine —
âîîáðàæàòü,
ïðåäñòàâëÿòü)
I’d dreamed the whole thing (
÷òî
ìíå
âñÿ
ýòà
èñòîðèÿ
ïðèñíèëàñü;
to dream — âèäåòü
ñîí
; thing — âåùü
, ïðåäìåò
; ñîáûòèå
). I made him look under the seat
(ÿ
çàñòàâèëà
åãî
çàãëÿíóòü
ïîä
ïîëêó
; to make smb. do smth. —
çàñòàâëÿòü,
âûíóæäàòü,
ïîáóæäàòü
êîãî-
ëèáî
äåëàòü
÷òî-
ëèáî; seat —
ìåñòî /
äëÿ
ñèäåíèÿ/;
ñòóë,
êðåñëî
è
ò.
ï.
), though he said there wasn’t room for a man to squeeze himself in there
(õîòÿ
îí
è
ñêàçàë
, ÷òî
òàì
íå
áûëî
ìåñòà
, ÷òîáû
êòî
-òî
: «ìóæ÷èíà
» ñìîã
òóäà
ïîìåñòèòüñÿ
: «âòèñíóòüñÿ
»; room —
êîìíàòà,
çàë;
ìåñòî,
ïðîñòðàíñòâî;
to squeeze —
ñæèìàòü,
ñäàâëèâàòü;
âòèñêèâàòü(
ñÿ)
, âïèõèâàòü
(ñÿ
)). It was plain enough
(è
òàê
áûëî
ÿñíî
; plain —
ÿñíûé,
îò÷åòëèâûé;
ÿâíûé,
î÷åâèäíûé, enough —
äîñòàòî÷íî)
that the man had got away (
÷òî
ìóæ÷èíà
ñáåæàë;
to get (got) away — óäðàòü
, óñêîëüçíóòü
) — but there had been a man there
(íî
òàì
= ó
ìåíÿ
â
êóïå
äåéñòâèòåëüíî
áûë
ìóæ÷èíà
), and it just made me mad
(è
ìåíÿ
ýòî
ïðîñòî
âçáåñèëî
; to make (made) smb. mad —
ðàññåðäèòü
êîãî-
ëèáî; mad —
ñóìàñøåäøèé;
áåøåíûé,
íåèñòîâûé)
the way the conductor tried to soothe me down (
òî,
êàê
ïðîâîäíèê
ïûòàëñÿ
óñïîêîèòü
ìåíÿ;
way — ïóòü
, äîðîãà
; îáðàç
äåéñòâèÿ
, ìåòîä
, ñïîñîá
, ìàíåðà
ïîâåäåíèÿ
)! I
’m
not
one
to
imagine
things
, Mr
. (ÿ íå òàêîé ÷åëîâåê, êîòîðûé ïðèäóìûâàåò /íåáûëèöû/,
ìèñòåð) — I
don
’t
think
I
know
your
name
(íå äóìàþ, ÷òî çíàþ êàê âàñ çîâóò: «âàøåãî èìåíè»)
?”
believe
[bI'li:v] imagine
[I'mxdZIn] squeeze
[skwi:z] enough
[I'nAf]
“And what happened next, Madame?”
“Why, I told the man what had happened and he didn’t seem to believe me.
Seemed to imagine I’d dreamed the whole thing. I made him look under the seat, though he said there wasn’t room for a man to squeeze himself in there. It was plain enough that the man had got away — but there had been
a man there, and it just made me mad the way the conductor tried to soothe me down! I’m not one to imagine things, Mr. — I don’t think I know your name?”
“Poirot, Madame; and this is M. Bouc, a director of the company
(à
ýòî
— ìñüå
Áóê
, äèðåêòîð
/æåëåçíîäîðîæíîé
/ êîìïàíèè
; company —
îáùåñòâî;
ýê.
êîìïàíèÿ,
òîâàðèùåñòâî)
, and Dr. Constantine.”
Mrs. Hubbard murmured
(ìèññèñ
Õàááàðä
ïðîáîðìîòàëà
), “Pleased to meet you, I’m sure
(ðàäà
ñ
âàìè
ïîçíàêîìèòüñÿ
, î÷åíü
: «óâåðåíà
â
ýòîì
»; to meet (met) —
âñòðå÷àòü;
çíàêîìèòüñÿ)
,” to all three of them in an abstracted manner (
âñåì
èì
òðîèì
ñ
ðàññåÿííûì
âèäîì;
to abstract — îòíèìàòü
; ðàññìàòðèâàòü
îòâëå÷åííî
; abstracted — ïîãðóæåííûé
â
ìûñëè
; ðàññåÿííûé
, manner — ìåòîä
, ñïîñîá
; ìàíåðà
, ïîâåäåíèå
) and then plunged once more
(è
çàòåì
ñíîâà
: «åùå
ðàç
» ïðåäàëàñü
; to plunge —
íûðÿòü;
ïóñêàòüñÿ /
âî
÷òî-
ëèáî/,
íà÷èíàòü)
into her recital (
ñâîåìó
ðàññêàçó;
recital — èçëîæåíèå
; ïîâåñòâîâàíèå
, ïîäðîáíîå
îïèñàíèå
).
“
Now
I’
m
just
not
going
to
pretend
(÷òî æ, ÿ íå ñîáèðàþñü ïðèòâîðÿòüñÿ)
I
was
as
bright
as
I
might
have
been
(÷òî ÿ áûëà íàñòîëüêî ñïîñîáíîé, íàñêîëüêî ìîãëà
áû áûòü = ÷òî ÿ áûëà î÷åíü ñîîáðàçèòåëüíîé; bright
— ÿðêèé, áëåñòÿùèé; ñïîñîáíûé, ñìûøëåíûé
).
I
got
it
into
my
head
(ÿ ïîäóìàëà: «ìíå âçáðåëî â ãîëîâó»;
to
get (
got)
smth.
into
one’
s
head — ðàçã. âáèòü ñåáå â ãîëîâó ÷òî-ëèáî
)
that
it
was
the
man
from
next
door
(÷òî ýòî /ìîã áûòü/ ìóæ÷èíà èç ñîñåäíåãî /êóïå/;
next
door — ïî ñîñåäñòâó, ðÿäîì
) —
the
poor
fellow
who’
s
been
killed
(òîò áåäíÿãà, êîòîðîãî óáèëè;
poor — áåäíûé, íåèìóùèé; áåäíûé, íåñ÷àñòíûé
).
I
told
the
conductor
(ÿ âåëåëà ïðîâîäíèêó;
to
tell (
told) — ðàññêàçûâàòü; âåëåòü, ïðèêàçûâàòü
)
to
look
at
the
door
between
the
compartments
(âçãëÿíóòü íà äâåðü ìåæäó êóïå)
, and
sure
enough
it
wasn
’t
bolted
(è, êîíå÷íî æå, îíà íå áûëà çàïåðòà;
to
bolt — çàïèðàòü íà çàñîâ
).
Well,
I
soon
saw
to
that
(íó, ÿ òóò æå ïðîñëåäèëà çà ýòèì;
soon — ñêîðî, âñêîðå;
to
see
to
smth.,
smb. — ñëåäèòü, ïðèñìàòðèâàòü çà ÷åì-ëèáî,
êåì-ëèáî).
I
told
him
to
bolt
it
then
and
there
(ÿ âåëåëà åìó çàïåðåòü åå íà çàñîâ íåìåäëåííî: «òîãäà è òàì»)
, and
after
he
’d
gone
out
(è ïîñëå òîãî, êàê îí âûøåë)
I
got
up
(ÿ ïîäíÿëàñü)
and
put
a
suitcase
against
it
to
make
sure
(è ïðèäâèíóëà ê íåé ÷åìîäàí äëÿ áîëüøåé âåðíîñòè)
.”
murmur ['mq:mq]
abstracted [qb'strxktId]
recital [rI'saItl]
suitcase ['s(j)u:tkeIs]
“Poirot, Madame; and this is M. Bouc, a director of the company, and Dr.
Constantine.”
Mrs. Hubbard murmured, “Pleased to meet you, I’m sure,” to all three
of them in an abstracted manner and then plunged once more into her recital.
“Now I’m just not going to pretend I was as bright as I might have been.
I got it into my head that it was the man from next door — the poor fellow who’s been killed. I told the conductor to look at the door between the compartments, and sure enough it wasn’t bolted. Well, I soon saw to that.
I told him to bolt it then and there, and after he’d gone out I got up and put a suitcase against it to make sure.”
“What time was this, Mrs. Hubbard
(â
êàêîì
÷àñó
ýòî
áûëî
, ìèññèñ
Õàááàðä
)?”
“Well, I’m sure I can’t tell you (
íó,
óâåðåíà,
÷òî
íå
ìîãó
âàì
ñêàçàòü)
. I
never
looked
to
see
(òàê è íå âçãëÿíóëà /íà ÷àñû/;
never — íèêîãäà; ýìîö.-óñèë. íèñêîëüêî, íèêîèì
îáðàçîì; to
see — âèäåòü; óçíàâàòü, âûÿñíÿòü
).
I
was
so
upset
(ÿ áûëà òàê ðàññòðîåíà)
.”
“
And
what
is
your
theory
now
(à ÷òî âû äóìàåòå ñåé÷àñ: «êàêîå âàøå ìíåíèå ñåé÷àñ»;
theory — òåîðèÿ; ðàçã. ïðåäïîëîæåíèå, äîãàäêà,
îñîáîå ìíåíèå, âçãëÿä)
?”
“Why
, I
should
say
it
was
just
as
plain
as
plain
could
be
(íó, ÿ áû ñêàçàëà, ÷òî âñå ÿñíî /êàê äåíü/: «òàê ÿñíî,
êàê òîëüêî ìîãëî áû áûòü ÿñíî»).
The
man
in
my
compartment
was
the
murderer
(òîò
ìóæ÷èíà
, ÷òî
áûë
â
ìîåì
êóïå
, áûë
óáèéöåé
).
Who
else
could
he
be
(êåì
åùå
îí
ìîã
áûòü
)?”
“
And
you
think
he
went
back
(è
âû
äóìàåòå
, ÷òî
îí
âåðíóëñÿ
; to
go
(went
, gone
) back
— âîçâðàùàòüñÿ
/íà
ïðåæíåå
ìåñòî
/)
into
the
adjoining
compartment
(
â
ñîñåäíåå
êóïå;
to
adjoin —
ïðèìûêàòü,
ïðèëåãàòü,
ãðàíè÷èòü)
?”
“
How
do
I
know
where
he
went
(îòêóäà ìíå çíàòü, êóäà îí ïîøåë)
? I
had
my
eyes
tight
shut
(ó ìåíÿ ãëàçà áûëè /ïëîòíî/ çàêðûòû = ÿ çàæìóðèëàñü;
tight — òóãî çàâÿçàííûé; ïëîòíûé;
ïëîòíî çàêðûòûé)
.”
“
He
might
have
slipped
out
(îí ìîã áû âûñêîëüçíóòü /íàðóæó/;
to
slip
out — âûéòè, âûáåæàòü /íà óëèöó/
)
through
the
door
into
the
corridor
(÷åðåç äâåðü â êîðèäîð)
.”
“
Well,
I
couldn’
t
say
(íó, íå ìîãó ñêàçàòü).
You
see,
I
had
my
eyes
tight
shut
(âèäèòå ëè ó ìåíÿ ãëàçà áûëè ïëîòíî çàêðûòû)
.”
theory
['TI(q)rI] murderer
['mq:d(q)rq] adjoining
[q'dZOInIN] tight
[taIt]
“What time was this, Mrs. Hubbard?”
“Well, I’m sure I can’t tell you. I never looked to see. I was so upset.”
“And what is your theory now?”
“Why, I should say it was just as plain as plain could be. The man in my
compartment was the murderer. Who else could he be?”
“And you think he went back into the adjoining compartment?”
“How do I know where he went? I had my eyes tight shut.”
“He might have slipped out through the door into the corridor.”
“Well, I couldn’t say. You see, I had my eyes tight shut.”
Mrs. Hubbard sighed convulsively
(ìèññèñ
Õàááàðä
ñóäîðîæíî
âçäîõíóëà
; convulsive —
ñóäîðîæíûé,
êîíâóëüñèâíûé)
.
“
Mercy,
I
was
scared
(Áîæå ìèëîñåðäíûé, ÿ /òàê/ ïåðåïóãàëàñü)
! If
my
daughter
only
knew
(åñëè áû ìîÿ äî÷ü òîëüêî çíàëà)
— ”
“
You
do
not
think,
Madame,
that
what
you
heard
(à âû íå äóìàåòå, ìàäàì, ÷òî òî, ÷òî âû ñëûøàëè)
was
the
noise
of
someone
moving
about
next
door
(áûëî øóìîì îò ÷üåãî-ëèáî äâèæåíèÿ ïî ñîñåäñòâó)
— in
the
murdered
man
’s
compartment
(â êóïå óáèòîãî ìóæ÷èíû)
?”
“No, I do not, Mr. — what is it? — Poirot (
íåò,
íå
äóìàþ,
ìèñòåð —
êàê
òàì —
Ïóàðî)
. The
man
was
right
there
(ýòîò ìóæ÷èíà áûë ïðÿìî òàì;
right — ñïðàâåäëèâî; ïðÿìî; ýìîö.-óñèë. ñîâåðøåííî,
ïîëíîñòüþ)
in
the
same
compartment
with
me
(â òîì æå êóïå ñî ìíîé).
And
what’
s
more
I’
ve
got
proof
of
it
(è, áîëåå òîãî, ó ìåíÿ åñòü òîìó äîêàçàòåëüñòâî/ïîäòâåðæäåíèå)
.”
sigh
[saI] convulsively
[kqn'vAlsIvlI] noise
[nOIz]
Mrs. Hubbard sighed convulsively.
“Mercy, I was scared! If my daughter only knew — ”
“You do not think, Madame, that what you heard was the noise of someone moving
about next door — in the murdered man’s compartment?”
“No, I do not, Mr. — what is it? — Poirot. The man was right there in
the same compartment with me. And what’s more I’ve got proof of it.”
Triumphantly
(òîðæåñòâóþùå
; triumph —
ïîáåäà,
òîðæåñòâî; triumphant —
ïîáåäîíîñíûé;
ëèêóþùèé)
, she hauled a large handbag into view (
îíà
âûòàùèëà /
íà
âñåîáùåå
îáîçðåíèå/
áîëüøóþ
äàìñêóþ
ñóìêó;
to haul — òÿíóòü
, òàùèòü
; hand — ðóêà
; bag — ìåøîê
; ñóìà
; ïîðòôåëü
, ñóìêà
; view — âèä
, ïåéçàæ
; âèäèìîñòü
, ïîëå
çðåíèÿ
) and proceeded to burrow in its interior
(è
íà÷àëà
: «ïåðåøëà
ê
» ðûòüñÿ
â
åå
ñîäåðæèìîì
; to burrow —
ðûòü
íîðó,
õîä;
ðûòüñÿ /
â
êíèãàõ,
àðõèâàõ
è
ò.
ä./; interior —
âíóòðåííîñòü;
ïðîñòðàíñòâî /
âíóòðè
÷åãî-
ëèáî/
).
She took out in turn
(îíà
äîñòàëà
/èç
ñóìî÷êè
/ ïî
î÷åðåäè
; to take (took, taken), turn —
îáîðîò;
î÷åðåäü)
two large clean handkerchiefs (
äâà
áîëüøèõ
÷èñòûõ
íîñîâûõ
ïëàòêà)
, a pair of horn-rimmed glasses (
ïàðó
î÷êîâ =
î÷êè
â
ðîãîâîé
îïðàâå;
horn — ðîã
; rim — îáîäîê
, êðàé
), a bottle of aspirin
(ôëàêîí
àñïèðèíà
), a packet of Glauber’s Salts
(ïàêåò
ãëàóáåðîâîé
ñîëè
), a celluloid tube of bright green peppermints
(öåëëóëîèäíûé
òþáèê
ñ
ÿðêî
-çåëåíûìè
ìÿòíûìè
ëåäåíöàìè
; tube —
òðóáà,
òðóáêà;
òþáèê; peppermint —
ìÿòà
ïåðå÷íàÿ;
ìÿòíàÿ
êîíôåòà)
, a bunch of keys (
ñâÿçêó
êëþ÷åé;
bunch — ñâÿçêà
, ïó÷îê
), a pair of scissors
(íîæíèöû
; pair —
ïàðà,
ïàðíûå
ïðåäìåòû;
âåùü,
ñîñòîÿùàÿ
èç
äâóõ
÷àñòåé)
, a book of American Express cheques (
êíèæêó
ñ
÷åêàìè
Àìåðèêàí
Ýêñïðåññ)
, a snapshot of an extraordinarily plain-looking child
(ôîòîãðàôèÿ
íåîáû÷àéíî
íåêðàñèâîãî
ðåáåíêà
; plain —
ÿñíûé,
îò÷åòëèâûé;
íåâçðà÷íûé,
íåêðàñèâûé; looking — /
êàê
êîìïîíåíò
ñëîæíûõ
ñëîâ/
èìåþùèé
îïðåäåëåííûé
âèä)
, some letters (
íåñêîëüêî
ïèñåì)
, five strings of pseudo-Oriental beads (
ïÿòü
íèòîê
áóñ /
â/
ïñåâäî-
âîñòî÷íîì /
ñòèëå/;
string — âåðåâêà
, áå÷åâêà
; íèòêà
; bead — áóñèíà
; áóñû
; pseudo — ëîæíûé
), and a small metal object
(è
ìàëåíüêèé
ìåòàëëè÷åñêèé
ïðåäìåò
) — a button
(ïóãîâèöó
).
triumphantly
[traI'Amf(q)ntlI] burrow
['bArqV] interior
[In'tI(q)rIq] horn-rimmed
["hO:n'rImd] Glauber's
salt(s) ['glaVbqz'sO:lt(s)] celluloid
['seljVlOId] peppermint
['pepqmInt] scissors
['sIzqz] cheque
[tSek] pseudo
['sju:dqV] Oriental
["O:|rI'entl, "O-]
Triumphantly, she hauled a large handbag into view and proceeded to burrow
in its interior.
She took out in turn two large clean handkerchiefs, a pair of horn-rimmed glasses,
a bottle of aspirin, a packet of Glauber’s Salts, a celluloid tube of bright green peppermints, a bunch of keys, a pair of scissors, a book of American Express cheques, a snapshot of an extraordinarily plain-looking child,
some letters, five strings of pseudo-Oriental beads, and a small metal object — a button.
“You
see
this
button
(âû âèäèòå ýòó ïóãîâèöó)
? Well
, it
’s
not
one
of
my
buttons
(òàê âîò, ýòî íå ìîÿ ïóãîâèöà: «íè îäíà èç ìîèõ
ïóãîâèö»). It
’s
not
off
anything
I
’ve
got
(îíà íå îòîðâàëàñü íè îò ÷åãî, ÷òî ó ìåíÿ åñòü;
to
be
off — óõîäèòü, îòïðàâëÿòüñÿ; îòîðâàòüñÿ,
îòëåòåòü).
I found it this morning (
ÿ
íàøëà
åå
ñåãîäíÿ
óòðîì)
when I got up (
êîãäà
âñòàëà)
.”
As she placed it on the table
(êîãäà
îíà ïîëîæèëà
åå
íà ñòîë
; to place — ñòàâèòü
, ïîìåùàòü,
ðàçìåùàòü)
, M. Bouc leaned forward (ìñüå
Áóê
íàêëîíèëñÿ
âïåðåä) and gave an exclamation
(è
âîñêëèêíóë;
exclamation — âîñêëèöàíèå
). “But this is a button from the tunic of a Wagon Lit attendant
(íî
ýòî æå
ïóãîâèöà
îò /ôîðìåííîãî
/ ïèäæàêà
ñëóæàùåãî /
êîìïàíèè/ ñïàëüíûõ
âàãîíîâ;
tunic — áëóçêà
/îáûêí.
ñ ïîÿñîì
/; âîåí.
êèòåëü, ìóíäèð
, ãèìíàñòåðêà
)!”
“
There
way
be
a
natural
explanation
for
that
(íî ýòî ìîæíî ëåãêî îáúÿñíèòü: «ýòîìó ìîæåò áûòü åñòåñòâåííîå îáúÿñíåíèå»;
natural — åñòåñòâåííûé, ïðèðîäíûé; îáû÷íûé,
íîðìàëüíûé; to
explain — îáúÿñíÿòü
),”
said
Poirot.
button ['bAtn]
exclamation ["eksklq'meIS(q)n]
tunic ['tju:nIk]
natural ['nxtS(q)rql]
“You see this button? Well, it’s not one of my buttons. It’s not off
anything I’ve got. I found it this morning when I got up.”
As she placed it on the table, M. Bouc. leaned forward and gave an exclamation.
“But this is a button from the tunic of a Wagon Lit attendant!”
“There way be a natural explanation for that,” said Poirot.
He turned gently to the lady
(îí
ó÷òèâî
îáðàòèëñÿ
ê
äàìå
; gently —
ìÿãêî,
òèõî,
ñïîêîéíî; to turn —
ïîâîðà÷èâàòü(
ñÿ); to turn to smb. —
îáðàùàòüñÿ
ê
êîìó-
ëèáî)
.
“This button, Madame, may have dropped from the conductor’s uniform
(ýòà
ïóãîâèöà
, ìàäàì
, ìîãëà
îòëåòåòü
ñ
ïèäæàêà
ïðîâîäíèêà
; to drop —
êàïàòü;
ïàäàòü,
ðîíÿòü)
, either when he searched your cabin (
ëèáî
òîãäà,
êîãäà
îí
îñìàòðèâàë
âàøå
êóïå;
to search — èñêàòü
; îáûñêèâàòü
) or when he was making the bed up last night
(èëè
æå
êîãäà
ñòåëèë
ïîñòåëü
ïðîøëîé
íî÷üþ
).”
“
I just
don’
t know
what’
s the
matter
with all
you
people (ïðîñòî è íå çíàþ, ÷òî ýòî ñî âñåìè âàìè;
matter — âåùåñòâî; äåëî; íåïðèÿòíîå äåëî, òðóäíîñòü;
people — íàðîä, íàöèÿ; àìåð. æàðã. ÷åëîâåê, îñîáà /â îáðàùåíèè/
). Seems
as
though you
don’
t want
to
do anything
(êàæåòñÿ, ñëîâíî âû íå õîòèòå íè÷åãî äåëàòü)
but
make objections
(êðîìå êàê âîçðàæàòü;
to object
— âîçðàæàòü, ïðîòåñòîâàòü)
. Now
listen here
(òàê âîò, ïîñëóøàéòå-êà, /âíèìàòåëüíî/;
here — çäåñü, òóò; ñþäà
). I was reading a magazine last night
(â÷åðà
âå÷åðîì: «íî÷üþ
» ÿ
÷èòàëà æóðíàë
) before I went to sleep (
ïåðåä òåì
êàê
óñíóòü). Before I turned the light out
(ïåðåä
òåì, êàê
âûêëþ÷èòü
ñâåò;
to turn out — âûâîðà÷èâàòü
/êàðìàíû
è ò
.ï./;
ãàñèòü /ñâåò
/, âûêëþ÷àòü
/ãàç/
), I placed that magazine on a little case
(ÿ
ïîëîæèëà ýòîò
æóðíàë
íà ìàëåíüêèé
÷åìîäàí;
case — ÿùèê,
êîðîáêà; ñóìêà
, ÷åìîäàí)
that was standing on the floor near the window (
êîòîðûé ñòîÿë
íà
ïîëó ó
îêíà)
. Have you
got
that (/âû/ ïîíÿëè /ýòî/;
to get
(got) — äîñòàâàòü, äîáûâàòü; ïîíèìàòü, ïîñòèãàòü
)?”
They assured her that they had
(îíè
óâåðèëè
åå
, ÷òî
îíè
/ïîíÿëè
/).
gently
['dZentlI] uniform
['ju:nIfO:m] objection
[qb'dZekS(q)n] magazine
["mxgq'zi:n]
He turned gently to the lady.
“This button, Madame, may have dropped from the conductor’s uniform, either
when he searched your cabin or when he was making the bed up last night.”
“I just don’t know what’s the matter with all you people. Seems as though
you don’t want to do anything but make objections. Now listen here. I was reading a magazine last night before I went to sleep. Before I turned the light out, I placed that magazine on a little case that was standing on
the floor near the window. Have you got that?”
They assured her that they had.
“
Very
well
then
(÷òî æ, î÷åíü õîðîøî;
then — òîãäà, â òî âðåìÿ; â òàêîì ñëó÷àå, òîãäà
).
The
conductor
looked
under
the
seat
(ïðîâîäíèê çàãëÿäûâàë ïîä ïîëêó)
from
near
the
door
(/ñòîÿ/ ó äâåðè;
from — â ïðîñòðàíñòâåííîì çíà÷åíèè óêàçûâàåò
íà èñõîäíûé ïóíêò: äåéñòâèÿ èëè äâèæåíèÿ; ïðè îïðåäåëåíèè èëè îòñ÷åòå ðàññòîÿíèÿ
),
and
then
he
came
in
and
bolted
the
door
between
me
and
the
next
compartment
(çàòåì îí âîøåë è çàêðûë íà çàñîâ äâåðü ìåæäó ìîèì è ñîñåäíèì êóïå)
, but
he
never
went
near
the
window
(íî îí âîîáùå íå ïîäõîäèë áëèçêî ê îêíó;
never — íèêîãäà; ýìîö.-óñèë. íèñêîëüêî, íèêîèì
îáðàçîì).
Well,
this
morning
that
button
was
lying
right
on
top
of
the
magazine
(òàê âîò, ýòèì óòðîì ýòà ïóãîâèöà ëåæàëà ïðÿìî íà æóðíàëå;
top — âåðõóøêà, âåðøèíà; âåðõíÿÿ ïîâåðõíîñòü
).
What
do
you
call
that
(÷òî âû íà ýòî ñêàæåòå: «êàê âû ýòî íàçîâåòå»)
, I
should
like
to
know
(õîòåëîñü áû ìíå çíàòü)
?”
“
That,
Madame,
I
call
evidence
(íà ýòî ÿ ñêàæó, ìàäàì, ÷òî ýòî óëèêà: «ýòî, ìàäàì, íàçûâàåòñÿ óëèêîé»;
evidence — îñíîâàíèå, äàííûå; þð. äîêàçàòåëüñòâî,
óëèêà),”
said
Poirot.
The answer seemed to appease the lady
(ýòîò
îòâåò
, êàçàëîñü
, óñïîêîèë
äàìó
; to appease —
óñïîêàèâàòü,
óìèðîòâîðÿòü)
.
“It makes me madder than a hornet (
ìåíÿ
óæàñíî
áåñèò: «
ÿ
ñòàíîâëþñü
áåøåíåå/
íåèñòîâåå,
÷åì
îñà»;
to make smb., smth. + ïðèëàãàòåëüíîå — ïðåâðàùàòü,
ïðèâîäèòü â êàêîå-ëèáî ñîñòîÿíèå; hornet
— øåðøåíü; îñà)
to
be
disbelieved
(êîãäà ìíå íå âåðÿò)
,” she
explained
(îáúÿñíèëà îíà)
.
evidence
['evId(q)ns] appease
[q'pi:z] hornet
['hO:nIt] disbelieve
["dIsbI'li:v]
“Very well then. The conductor looked under the seat from near the door,
and then he came in and bolted the door between me and the next compartment, but he never went near the window. Well, this morning that button was lying right on top of the magazine. What do you call that, I should like to
know?”
“That, Madame, I call evidence,” said Poirot.
The answer seemed to appease the lady.
“It makes me madder than a hornet to be disbelieved,” she explained.
“You have given us (
âû
äàëè
íàì)
most interesting and valuable evidence (
÷ðåçâû÷àéíî
èíòåðåñíóþ
è
âàæíóþ
óëèêó;
value — öåííîñòü
, âàæíîñòü
, ïîëåçíîñòü
),” said Poirot soothingly
(ñêàçàë
Ïóàðî
óñïîêàèâàþùå
).
“Now
may
I
ask
you
a
few
questions
(à òåïåðü, ìîãó ëè ÿ çàäàòü âàì íåñêîëüêî âîïðîñîâ)
?”
“
Why,
certainly
(äà, êîíå÷íî).”
“
How
was
it,
since
you
were
nervous
of
this
man
Ratchett
(êàê ñëó÷èëîñü òàê, ðàç óæ âû òàê áîÿëèñü ýòîãî ñàìîãî Ðýò÷åòòà;
since — çä. òàê êàê, ïîñêîëüêó, ðàç;
nervous — íåðâíûé, îòíîñÿùèéñÿ ê íåðâàì; áîÿçëèâûé,
ðîáêèé, ñëàáîíåðâíûé)
, that
you
hadn
’t
already
bolted
the
door
between
the
compartments
(÷òî âû /çàðàíåå/ íå çàêðûëè äâåðü íà çàñîâ ìåæäó
êóïå)?”
“
I
had
(ÿ çàêðûëà),”
returned
Mrs.
Hubbard
promptly
(òóò æå îòâåòèëà ìèññèñ Õàááàðä;
to
return — âîçâðàùàòüñÿ, èäòè îáðàòíî; îòâå÷àòü,
âîçðàæàòü, prompt — áûñòðûé; íåìåäëåííûé
).
“
Oh,
you
had
(à, òàê âû çàêðûëè)?”
valuable
['vxljV(q)b(q)l] soothingly
['su:DINlI] nervous
['nq:vqs] promptly
['prO
mptlI]
“You have given us most interesting and valuable evidence,” said Poirot
soothingly. “Now may I ask you a few questions?”
“Why, certainly.”
“How was it, since you were nervous of this man Ratchett, that you hadn’t
already bolted the door between the compartments?”
“I had,” returned Mrs. Hubbard promptly.
“Oh, you had?”
“Well, as a matter of fact I asked that Swedish creature
(íó
, ïî
ïðàâäå
ñêàçàòü
, ÿ
ñïðîñèëà
òó
øâåäêó
; creature —
ñîçäàíèå,
òâîðåíèå;
÷åëîâåê)
— a pleasant soul (
ìèëîå
ñîçäàíèå;
soul — äóøà
, ñåðäöå
; ÷åëîâåê
) — if it was bolted, and she said it was
(çàïåðòà
ëè
îíà
/äâåðü
/ íà
çàñîâ
, è
îíà
ñêàçàëà
, ÷òî
çàïåðòà
).”
“
How
was
it
you
couldn’
t
see
for
yourself
(êàê ñëó÷èëîñü òàê, ÷òî âû íå ìîãëè óáåäèòüñÿ â ýòîì ñàìè;
to
see
for
oneself — óáåäèòüñÿ /â ÷åì-ëèáî/ ñàìîìó
)?”
“
Because
I
was
in
bed
(îòòîãî, ÷òî ÿ áûëà â ïîñòåëè)
and
my
spongebag
was
hanging
on
the
door
-handle
(è ìîé /íåïðîìîêàåìûé/ ìåøî÷åê äëÿ ãóáêè /è ìûëà/
âèñåë íà äâåðíîé ðó÷êå; sponge
— ãóáêà)
.”
“
What
time
was
it
when
you
asked
her
(êîòîðûé áûë ÷àñ, êîãäà âû ïîïðîñèëè åå)
to
do
this
for
you
(ñäåëàòü ýòî /äëÿ âàñ/)
?”
“Now let me think (
äàéòå-
êà
ïîäóìàòü)
. It must have been round about half-past ten (
äîëæíî
áûòü
áûëî
ãäå-
òî
îêîëî
ïîëîâèíû
îäèííàäöàòîãî)
or a quarter to eleven (
èëè
áåç
ïÿòíàäöàòè
ìèíóò
îäèííàäöàòü)
. She’
d
come
along
to
see
(îíà ïðèøëà /êî ìíå/, ÷òîáû óçíàòü;
to
see — âèäåòü; óçíàâàòü, âûÿñíÿòü
)
if
I
had
an
aspirin
(åñòü ëè ó ìåíÿ àñïèðèí)
. I
told
her
where
to
find
it
(ÿ ñêàçàëà åé, ãäå åãî íàéòè)
and
she
got
it
out
of
my
grip
(è îíà âçÿëà åãî èç ìîåãî ñàêâîÿæà;
grip — ñõâàòûâàíèå, ñæàòèå; àìåð. ðàçã. äîðîæíàÿ
ñóìêà).”
Swedish
['swi:dIS]
creature ['kri:tSq]
pleasant
['plez(q)nt] sponge bag
['spAndZbxg]
door-handle ['dO:"hxndl]
aspirin ['xsprIn]
grip [grIp]
“Well, as a matter of fact I asked that Swedish creature — a pleasant soul
— if it was bolted, and she said it was.”
“How was it you couldn’t see for yourself?”
“Because I was in bed and my spongebag was hanging on the door-handle.”
“What time was it when you asked her to do this for you?”
“Now let me think. It must have been round about half-past ten or a quarter
to eleven. She’d come along to see if I had an aspirin. I told her where to find it and she got it out of my grip.”
“You yourself were in bed
(âû
ñàìè
ëåæàëè
â
ïîñòåëè
)?”
“Yes.”
Suddenly she laughed
(âíåçàïíî
îíà
ðàññìåÿëàñü
). “Poor soul
(áåäíÿæêà
; poor —
áåäíûé,
íåèìóùèé;
áåäíûé,
íåñ÷àñòíûé)
— she was so upset (
îíà
áûëà
òàê
ðàññòðîåíà)
! You see, she’d opened the door of the next compartment
(âèäèòå
ëè
, îíà
îòêðûëà
äâåðü
ñîñåäíåãî
êóïå
) by mistake
(ïî
îøèáêå
).”
“Mr. Ratchett’s
(/êóïå
/ ìèñòåðà
Ðýò÷åòòà
)?”
“Yes. You know how difficult it is
(âû
æå
çíàåòå
, êàê
ýòî
ñëîæíî
; difficult —
òðóäíûé)
as you come along the train (
êîãäà
èäåøü
ïî
âàãîíó: «
ïîåçäó»)
and all the doors are shut (
è
âñå
äâåðè
çàêðûòû)
. She opened his by mistake (
îíà
îòêðûëà
åãî /
äâåðü/
ïî
îøèáêå)
. She was very distressed about it (
îíà
î÷åíü
èç-
çà
ýòîãî
ïåðåæèâàëà;
to distress — ïðè÷èíÿòü
ãîðå
, ñòðàäàíèå
; òðåâîæèòü
). He
’d
laughed
, it
seemed
(êàçàëîñü, îí ðàññìåÿëñÿ)
, and
I
guess
he
said
something
(è ÿ ïîëàãàþ, îí ñêàçàë ÷òî-òî;
to
guess — äîãàäûâàòüñÿ, ïðåäïîëàãàòü; àìåð.
ðàçã. äóìàòü, ñ÷èòàòü, ïîëàãàòü)
not
quite
nice
(íå î÷åíü ïðèÿòíîå/ïðèñòîéíîå;
nice — õîðîøèé, ïðèÿòíûé; òàêòè÷íûé, óìåñòíûé
).
Poor
thing,
she
certainly
was
upset
(áåäíÿæêà, îíà äåéñòâèòåëüíî áûëà ðàññòðîåíà;
upset — îïðîêèíóòûé; ðàññòðîåííûé, âñòðåâîæåííûé
).
‘Oh! I make mistake (
î,
ÿ
äåëàòü
îøèáêà;
I make mistake = I’ve made a mistake
),’ she said. ‘I ashamed make mistake
(ìíå
ñòûäíî
äåëàòü
îøèáêà
; I ashamed make mistake = I’m ashamed of making a mistake
). Not nice man
(íåïðèÿòíûé
÷åëîâåê
; not nice man = /he’s/ not a nice man
),’ she said. ‘He say
(îí
ãîâîðèòü
; he say = he said
/says
), “You too old
(òû
ñëèøêîì
ñòàðûé
; you too old = you’re too old
).” ’ ”
laugh [lQ:f]
mistake [mI'steIk]
distressed [dIs'trest]
“You yourself were in bed?”
“Yes.”
Suddenly she laughed. “Poor soul — she was so upset! You see, she’d opened
the door of the next compartment by mistake.”
“Mr. Ratchett’s?”
“Yes. You know how difficult it is as you come along the train and all the
doors are shut. She opened his by mistake. She was very distressed about it. He’d laughed, it seemed, and I guess he said something not quite nice. Poor thing, she certainly was upset. ‘Oh! I make mistake,’ she said.
‘I ashamed make mistake. Not nice man,’ she said. ‘He say, “You too old.” ’ ”
Dr. Constantine sniggered
(äîêòîð
Êîíñòàíòèí
õèõèêíóë
), and Mrs. Hubbard immediately froze him with a glance
(è
ìèññèñ
Õàááàðä
íåìåäëåííî
ñìåðèëà
åãî
ëåäÿíûì
âçãëÿäîì
: «îõëàäèëà
åãî
âçãëÿäîì
»; to freeze (froze, frozen) —
çàìåðçàòü,
ïðåâðàùàòüñÿ
â
ëåä;
äåéñòâîâàòü
îõëàæäàþùå)
.
“He wasn’t a nice kind of man
(îí
íå
áûë
ïðèÿòíûì
÷åëîâåêîì
; kind —
ñîðò,
êëàññ,
ðàçíîâèäíîñòü)
,” she said, “to say a thing like that to a lady
(÷òîáû
ñêàçàòü
òàêîå
äàìå
; thing —
âåùü,
ïðåäìåò;
íå÷òî,
÷òî-
òî)
. It’s not right to laugh at such things (
íåõîðîøî
ñìåÿòüñÿ
íàä
òàêèìè
âåùàìè;
right — ñïðàâåäëèâî
; âåðíî
, ïðàâèëüíî
).” Dr. Constantine hastily apologized
(äîêòîð
Êîíñòàíòèí
ïîñïåøíî
èçâèíèëñÿ
; haste —
ïîñïåøíîñòü,
òîðîïëèâîñòü)
.
“Did you hear any noise
(âû
ñëûøàëè
êàêîé
-ëèáî
øóì
) from Mr. Ratchett’s compartment after that
(â
êóïå
ìèñòåðà
Ðýò÷åòòà
ïîñëå
ýòîãî
)?” asked Poirot.
“Well — not exactly
(íó
— íå
ñîâñåì
).”
“What do you mean by that, Madame
(÷òî
âû
èìååòå
/ýòèì
/ â
âèäó
, ìàäàì
)?”
“Well — ” She paused
(îíà
ñäåëàëà
ïàóçó
). “He snored
(îí
õðàïåë
).”
“Ah! — he snored, did he
(àõ
îí
õðàïåë
, âîò
êàê
)?”
“
Terribly (óæàñíî;
terrible — ñòðàøíûé, óæàñíûé; ýìîö.-óñèë. íåîáûêíîâåííûé, êîøìàðíûé
). The
night
before (íî÷üþ íàêàíóíå)
, it
kept me
awake
(ÿ íå ìîãëà èç-çà ýòîãî çàñíóòü; to
keep (
kept) — äåðæàòü, èìåòü, õðàíèòü; êàê ãëàãîë-ñâÿçêà â ñîñòàâíîì èìåííîì ñêàçóåìîì:
ïðåáûâàòü, îñòàâàòüñÿ â êàêîì-ëèáî ñîñòîÿíèè; awake
— áîäðñòâóþùèé, ïðîñíóâøèéñÿ)
.”
snigger
['snIgq] hastily
['heIstIlI] apologize
[q'pO
lqdZaIz]
Dr. Constantine sniggered, and Mrs. Hubbard immediately froze him with a glance.
“He wasn’t a nice kind of man,” she said, “to say a thing like that
to a lady. It’s not right to laugh at such things.” Dr. Constantine hastily apologised.
“Did you hear any noise from Mr. Ratchett’s compartment after that?”
asked Poirot.
“Well — not exactly.”
“What do you mean by that, Madame?”
“Well — ” She paused. “He snored.”
“Ah! — he snored, did he?”
“Terribly. The night before, it kept me awake.”
“You didn’t hear him snore
(âû
íå
ñëûøàëè
, êàê
îí
õðàïèò
) after you had had the scare
(ïîñëå
òîãî
, êàê
èñïóãàëèñü
; scare —
ïàíèêà,
ïàíè÷åñêèé
ñòðàõ)
about a man being in your compartment (
èç-
çà
òîãî,
÷òî
â
âàøåì
êóïå
áûë
ìóæ÷èíà)
?”
“Why, Mr. Poirot, how could I
(êàê
æå
ÿ
ìîãëà
, ìèñòåð
Ïóàðî
)? He was dead
(îí
áûë
ìåðòâ
).”
“Ah, yes, truly (
à,
äà,
âåðíî)
,” said Poirot. He
appeared
confused
(îí êàçàëñÿ ñìóùåííûì;
to
appear — ïîÿâëÿòüñÿ, ïîêàçûâàòüñÿ; êàçàòüñÿ,
ïðîèçâîäèòü âïå÷àòëåíèå)
.
“Do you remember the affair of the Armstrong kidnapping, Mrs. Hubbard
(âû
ïîìíèòå
äåëî
î
ïîõèùåíèè
Àðìñòðîíã
, ìèññèñ
Õàááàðä
)?” he asked.
“
Yes,
indeed
I
do
(äà, êîíå÷íî æå, ÿ /ïîìíþ/)
. And
how
the
wretch
that
did
it
(è êàê òîò ïîäëåö, êîòîðûé ñîâåðøèë åãî;
wretch — íåñ÷àñòíûé, æàëêèé ÷åëîâåê; íåãîäÿé,
ïîäëåö)
escaped
scot-
free
(âûøåë ñóõèì èç âîäû;
to
escape — áåæàòü /èç çàêëþ÷åíèÿ/; ñïàñòèñü, îòäåëàòüñÿ;
scot-
free — áåçíàêàçàííûé; íåâðåäèìûé
)!
My
(Áîã ìîé; my
— ìîé, ìîÿ, ìîè, ìîå; â ãðàìì. çíà÷åíèè ìåæäîìåòèÿ âûðàæàåò óäèâëåíèå, èñïóã, âîñõèùåíèå
è ò.ï.),
I’
d
have
liked
to
get
my
hands
on
him
(ìíå áû î÷åíü õîòåëîñü çàïîëó÷èòü åãî â /ñâîè/ ðóêè = ïîïàäèñü îí ìíå â ðóêè!)
.”
truly
['tru:lI] confused
[kqn'fju:zd] wretch
[retS] scotfree
["skO
t'fri:]
“You didn’t hear him snore after you had had the scare about a man being
in your compartment?”
“Why, Mr. Poirot, how could I? He was dead.”
“Ah, yes, truly,” said Poirot. He appeared confused.
“Do you remember the affair of the Armstrong kidnapping, Mrs. Hubbard?”
he asked.
“Yes, indeed I do. And how the wretch that did it escaped scot-free! My,
I’d have liked to get my hands on him.”
“
He
has
not
escaped
(îí íå èçáåæàë /íàêàçàíèÿ/)
. He is dead
(îí
ìåðòâ
). He
died
last
night
(îí óìåð ïðîøëîé íî÷üþ)
.”
“
You
don’
t
mean
(âû æå íå õîòèòå ñêàçàòü, ÷òî;
to
mean — íàìåðåâàòüñÿ; ïîäðàçóìåâàòü, èìåòü
â âèäó) — ?’
Mrs.
Hubbard
half
rose
(ìèññèñ Õàááàðä /íàïîëîâèíó/ ïðèïîäíÿëàñü)
from
her
chair
in
excitement
(â âîëíåíèè ñî ñâîåãî ñòóëà/êðåñëà)
.
“
But yes
, I
do (êàê ðàç èìåííî ýòî ÿ è õî÷ó ñêàçàòü;
yes — äà; â îòâåòàõ, âûðàæàþùèõ íåñîãëàñèå ñ óòâåðæäåíèåì, ñîäåðæàùèìñÿ â
âîïðîñå — íåò).
Ratchett was
the
man (Ðýò÷åòò è áûë òåì ñàìûì ÷åëîâåêîì)
.”
“
Well!
Well,
to
think
of
that
(âîò òåáå è ðàç, ïîäóìàòü òîëüêî)
! I
must
write
and
tell
my
daughter
(ÿ äîëæíà íàïèñàòü è ðàññêàçàòü ñâîåé äî÷åðè)
. Now
, didn
’t
I
tell
you
last
night
(âîò, ðàçâå ÿ íå ãîâîðèëà âàì â÷åðà âå÷åðîì)
that
that
man
had
an
evil
face
(÷òî ó òîãî ÷åëîâåêà çëîå ëèöî;
evil — çëîé; ðàçâðàòíûé, ïîðî÷íûé; çëîâåùèé,
äóðíîé)?
I
was
right,
you
see
(ÿ áûëà ïðàâà, âèäèòå).
My
daughter
always
says
(ìîÿ äî÷ü âñåãäà ãîâîðèò)
: ‘When
Mamma
’s
got
a
hunch
(êîãäà ó ìàìû ïðåä÷óâñòâèå;
hunch — ãîðá; àìåð. ðàçã. ïðåä÷óâñòâèå, ïîäîçðåíèå,
èíòóèöèÿ)
you
can
bet
your
bottom
dollar
it’
s
O.
K.
(òî ìîæíî äàòü ãîëîâó íà îòñå÷åíèå: «òû ìîæåøü äåðæàòü ïàðè íà ñâîé ïîñëåäíèé äîëëàð»,
÷òî òàê îíî è åñòü; to
bet
— äåðæàòü ïàðè, áèòüñÿ îá çàêëàä;
bottom — ñàìûé íèæíèé; ïîñëåäíèé, êðàéíèé;
to
bet
one'
s
bottom
dollar — áûòü àáñîëþòíî óâåðåííûì â ÷åì-ëèáî;
O.
K. — âñå â ïîðÿäêå, õîðîøî, ïðàâèëüíî
)’ ”
excitement
[Ik'saItmqnt] write
[raIt] bottom
['bO
tqm] dollar
['dO
lq]
“He has not escaped. He is dead. He died last night.”
“You don’t mean — ?’ Mrs. Hubbard half rose from her chair in excitement.
“But yes, I do. Ratchett was the man.”
“Well! Well, to think of that! I must write and tell my daughter. Now, didn’t
I tell you last night that that man had an evil face? I was right, you see. My daughter always says: ‘When Mamma’s got a hunch you can bet your bottom dollar it’s O.K.’ ”
“Were you acquainted
(âû
áûëè
çíàêîìû
; to acquaint —
çíàêîìèòü;
ïîçíàêîìèòü,
ïðåäñòàâèòü)
with any of the Armstrong family, Mrs. Hubbard (
ñ
êåì-
íèáóäü
èç
ñåìüè
Àðìñòðîíãîâ,
ìèññèñ
Õàááàðä)
?”
“No. They moved in a very exclusive circle (
îíè
âðàùàëèñü
â
î÷åíü
óçêèõ/
ïðèâèëåãèðîâàííûõ
êðóãàõ;
to move — äâèãàòü
(ñÿ
), ïåðåäâèãàòü
(ñÿ
), exclusive — èñêëþ÷èòåëüíûé
; ïðåñòèæíûé
; circle — êðóã
; /îáùåñòâåííûå
/ êðóãè
). But I’ve always heard
(íî
ÿ
âñåãäà
ñëûøàëà
) that Mrs. Armstrong was a perfectly lovely woman
(÷òî
ìèññèñ
Àðìñòðîíã
áûëà
ñîâåðøåííî
ïðåëåñòíîé
æåíùèíîé
) and that her husband worshipped her
(è
÷òî
ìóæ
åå
áîãîòâîðèë
; to worship —
ïîêëîíÿòüñÿ;
îáîæàòü,
áîãîòâîðèòü)
.”
“Well, Mrs. Hubbard, you have helped us very much
(÷òî
æ
, ìèññèñ
Õàááàðä
, âû
íàì
î÷åíü
ïîìîãëè
) — very much indeed
(íà
ñàìîì
äåëå
, î÷åíü
/ïîìîãëè
/). Perhaps you will give me your full name
(áóäüòå
äîáðû
, ñîîáùèòå
: «äàéòå
» ìíå
âàøå
ïîëíîå
èìÿ
; perhaps —
ìîæåò
áûòü,
âîçìîæíî;
ïîæàëóéñòà,
áóäüòå
äîáðû /
â
ïðîñüáàõ/
)?”
“
Why,
certainly
(äà, êîíå÷íî æå).
Caroline
Martha
Hubbard
(Êàðîëèíà Ìàðòà Õàááàðä)
.”
acquaint [q'kweInt]
exclusive [Ik'sklu:sIv]
circle ['sq:k(q)l]
worship ['w
q:SIp]
“Were you acquainted with any of the Armstrong family, Mrs. Hubbard?”
“No. They moved in a very exclusive circle. But I’ve always heard that
Mrs. Armstrong was a perfectly lovely woman and that her husband worshipped her.”
“Well, Mrs. Hubbard, you have helped us very much — very much indeed. Perhaps
you will give me your full name?”
“Why, certainly. Caroline Martha Hubbard.”
“Will you write your address down here
(çàïèøèòå
, ïîæàëóéñòà
, âàø
àäðåñ
âîò
çäåñü
)?”
Mrs. Hubbard did so (
ìèññèñ
Õàááàðä
çàïèñàëà: «
ñäåëàëà
ýòî»)
, without ceasing to speak (
íå
ïåðåñòàâàÿ
ãîâîðèòü;
to cease — ïðåêðàùàòü
, îñòàíàâëèâàòü
).
“I
just
can
’t
get
over
it
(ÿ ïðîñòî íå ìîãó ïðèéòè â ñåáÿ: «ñâûêíóòüñÿ ñ
ýòèì»; to get over smth. — çä. ïåðåíîñèòü, ñâûêàòüñÿ ñ ìûñëüþ
).
Cassetti —
on
this
train
(Êàññåòòè — â ýòîì ïîåçäå)
. I
had
a
hunch
about
that
man
, didn
’t
I
, Mr
. Poirot
(ó ìåíÿ áûëî ïðåä÷óâñòâèå îòíîñèòåëüíî ýòîãî
÷åëîâåêà, íå òàê ëè, ìèñòåð Ïóàðî)?”
“Yes, indeed, Madame. By the way
(êñòàòè
), have you a scarlet silk dressing-gown
(ó
âàñ
åñòü
àëûé
øåëêîâûé
õàëàò
)?”
“
Mercy,
what
a
funny
question
(Áîæå ìèëîñåðäíûé, ÷òî çà ñòðàííûé âîïðîñ;
funny — ñìåøíîé, çàáàâíûé; ñòðàííûé, íåïîíÿòíûé
)!
Why,
no.
I’
ve
got
two
dressing-
gowns
with
me
(ó ìåíÿ ñ ñîáîé äâà õàëàòà)
— a
pink
flannel
one
(îäèí ðîçîâûé ôëàíåëåâûé)
that
’s
kind
of
cosy
for
on
board
ship
(îí âðîäå êàê óäîáíûé äëÿ ïîåçäîê: «íà áîðòó ñóäíà»)
, and
one
my
daughter
gave
me
as
a
present
(è äðóãîé /õàëàò/, êîòîðûé ìíå ïîäàðèëà äî÷ü: «äàëà
â êà÷åñòâå ïîäàðêà») —
a
kind
of
local
affair
in
purple
silk
(íå÷òî âðîäå íàöèîíàëüíîé /øòóêîâèíû/ èç ïóðïóðíîãî øåëêà;
local
— ìåñòíûé, affair
— äåëî; ðàçã. èñòîðèÿ; ñîáûòèå; øòóêà
).
But
what
in
creation
do
you
want
to
know
about
my
dressing-
gowns
for
(íî, ïî÷åìó, ðàäè âñåãî æèâîãî, âû ñïðàøèâàåòå: «õîòèòå çíàòü î» ìîèõ õàëàòàõ;
creation — ñîçèäàíèå, òâîð÷åñòâî; âîçâ. ìèðîçäàíèå;
ñîáèð. âñå æèâîå; ðåë. ñîòâîðåíèå ìèðà)
?”
cease
[si:s] dressing-gown
['dresINgaVn] flannel
['flxnl] purple
['pq:p(q)l] creation
[krI'eIS(q)n]
“Will you write your address down here?”
Mrs. Hubbard did so, without ceasing to speak. “I just can’t get over it.
Cassetti — on this train. I had a hunch about that man, didn’t I, Mr. Poirot?”
“Yes, indeed, Madame. By the way, have you a scarlet silk dressing-gown?”
“Mercy, what a funny question! Why, no. I’ve got two dressing-gowns with
me — a pink flannel one that’s kind of cosy for on board ship, and one my daughter gave me as a present — a kind of local affair in purple silk. But what in creation do you want to know about my dressing-gowns for?”
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