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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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