Íà
Ãëàâíóþ
ÃÄÇ:
Àíãëèéñêèé
ÿçûê Àëãåáðà Ãåîìåòðèÿ Ôèçèêà Õèìèÿ Ðóññêèé
ÿçûê Íåìåöêèé
ÿçûê
Ïîäãîòîâêà ê ýêçàìåíàì (ÅÃÝ) Ïðîãðàììû è ïîñîáèÿ Êðàòêîå ñîäåðæàíèå Îíëàéí ó÷åáíèêè
Øïàðãàëêè Ðåôåðàòû Ñî÷èíåíèÿ Ýíöèêëîïåäèè Òîïèêè ñ ïåðåâîäàìè
ÎÃËÀÂËÅÍÈÅ (ñïèñîê ïðîèçâåäåíèé)
Óáèéñòâî â Âîñòî÷íîì Ýêñïðåññå (6).
Àãàòà Êðèñòè. (6 ñòð.êíèãè)
“Well, you see, Madame, someone in a scarlet kimono
(íó
, âèäèòå
ëè
, ìàäàì
, íåêòî
â
àëîì
êèìîíî
) entered either your or Mr. Ratchett’s compartment last night
(âîøåë
èëè
â
âàøå
/êóïå
/ èëè
â
êóïå
ìèñòåðà
Ðýò÷åòòà
ïðîøëîé
íî÷üþ
). It is, as you said just now, very difficult
(ýòî
, êàê
âû
òîëüêî
÷òî
ñêàçàëè
, î÷åíü
òðóäíî
) when all the doors are shut
(êîãäà
âñå
äâåðè
çàêðûòû
) to know which compartment is which
(çíàòü
, ãäå
÷üå
êóïå
: «êîòîðîå
êóïå
åñòü
÷üå
»).”
“Well, no one in a scarlet dressing-gown
(íó
óæ
, íèêòî
â
àëîì
õàëàòå
) came into my compartment
(íå
çàõîäèë
â
ìîå
êóïå
).”
“Then she must have gone into Mr. Ratchett’s
(òîãäà
îíà
, äîëæíî
áûòü
, çàøëà
â
/êóïå
/ ìèñòåðà
Ðýò÷åòòà
).”
Mrs. Hubbard pursed her lips together
(ìèññèñ
Õàááàðä
ïîäæàëà
ãóáû
; to purse —
ìîðùèòü,
ñîáèðàòü
â
ñêëàäêó)
and said grimly (
è
ìðà÷íî
ïðîèçíåñëà)
: “That wouldn’t surprise me any (
ýòî
ìåíÿ
ñîâñåì
íå
óäèâèëî
áû)
.”
either ['aIDq]
difficult ['dIfIk(q)lt]
purse [pq:s]
surprise [sq'praIz]
“Well, you see, Madame, someone in a scarlet kimono entered either your or
Mr. Ratchett’s compartment last night. It is, as you said just now, very difficult when all the doors are shut to know which compartment is which.”
“Well, no one in a scarlet dressing-gown came into my compartment.”
“Then she must have gone into Mr. Ratchett’s.”
Mrs. Hubbard pursed her lips together and said grimly: “That wouldn’t surprise
me any.”
Poirot leaned forward (
Ïóàðî
ïîäàëñÿ
âïåðåä)
. “
So
you
heard
a
woman’
s
voice
next
door
(çíà÷èò, âû ñëûøàëè æåíñêèé ãîëîñ â ñîñåäíåì êóïå: «ïî ñîñåäñòâó»)
?”
“
I
don’
t
know
how
you
guessed
that,
Mr.
Poirot
(íå çíàþ, êàê âû îá ýòîì äîãàäàëèñü, ìèñòåð Ïóàðî)
. I
don
’t
really
(äåéñòâèòåëüíî, íå çíàþ)
. But
— well
— as
a
matter
of
fact
, I
did
(íî — ÷òî æ — íà ñàìîì äåëå, ÿ ñëûøàëà)
.”
“
But
when
I
asked
you
just
now
(íî êîãäà ÿ òîëüêî ÷òî ñïðîñèë âàñ)
if
you
heard
anything
next
door
(ñëûøàëè ëè âû ÷òî-íèáóäü çà ñîñåäíåé äâåðüþ)
, you
only
said
you
heard
Mr
. Ratchett
snoring
(âû ñêàçàëè òîëüêî, ÷òî ñëûøàëè, êàê ìèñòåð Ðýò÷åòò
õðàïèò).”
“
Well, that
was
true enough
(íó, ýòî /òîæå/ ïðàâäà;
true — âåðíûé, ïðàâèëüíûé,
enough — äîñòàòî÷íî; äîâîëüíî, äî íåêîòîðîé ñòåïåíè
). He
did
snore part
of
the time
(îí äåéñòâèòåëüíî õðàïåë íåêîòîðîå âðåìÿ;
to do
(did,
done) — äåëàòü; ïðè ãëàãîëå óïîòðåáëÿåòñÿ äëÿ óñèëåíèÿ;
part — ÷àñòü, äîëÿ
). As
for
the other
(à ÷òî êàñàåòñÿ äðóãîé /÷àñòè âðåìåíè/ — ”
Mrs. Hubbard
got
rather embarrassed
(ìèññèñ Õàááàðä îò÷àñòè ñìóòèëàñü; to
get (
got) — äîñòàâàòü; êàê ãëàãîë-ñâÿçêà â ñîñòàâíîì èìåííîì ñêàçóåìîì — ñòàíîâèòüñÿ;
to embarrass
— áåñïîêîèòü, ñìóùàòü; ïðèâîäèòü â çàìåøàòåëüñòâ
î). “
It isn
’t
a very
nice
thing to
speak
about (ýòî íå î÷åíü-òî ïðèÿòíàÿ âåùü, ÷òîáû î íåé ãîâîðèòü = î
òàêèõ âåùàõ íå î÷åíü ïðèÿòíî ãîâîðèòü).”
heard
[hq:d] voice
[vOIs] embarrass
[Im'bxrqs]
Poirot leaned forward. “So you heard a woman’s voice next door?”
“I don’t know how you guessed that, Mr. Poirot. I don’t really. But —
well — as a matter of fact, I did.”
“But when I asked you just now if you heard anything next door, you only
said you heard Mr. Ratchett snoring.”
“Well, that was true enough. He did snore part of the time. As for the other
— ” Mrs. Hubbard got rather embarrassed. “It isn’t a very nice thing to speak about.”
“
What
time
was
it
when
you
heard
a
woman’
s
voice
(êîòîðûé áûë ÷àñ,
êîãäà
âû
óñëûøàëè
æåíñêèé
ãîëîñ
)?”
“
I
can’
t
tell
you
(íå ìîãó âàì ñêàçàòü).
I
just
woke
up
for
a
minute
(ÿ âñåãî-òî ïðîñíóëàñü íà ìãíîâåíèå;
to
wake (
woke,
woken)
)
and
heard
a
woman
talking
(è óñëûøàëà, êàê ðàçãîâàðèâàåò êàêàÿ-òî æåíùèíà)
, and
it
was
plain
enough
where
she
was
(è áûëî ÿñíî: «âïîëíå ÿñíî», ãäå îíà íàõîäèëàñü)
. So
I
just
thought
(òàê ÷òî ÿ ïðîñòî ïîäóìàëà)
, ‘Well
, that
’s
the
kind
of
man
he
is
(âîò îí, çíà÷èò, êàêîé òèï: «÷åëîâåê»)
! I’m not surprised
(ÿ
íå
óäèâëåíà
)’ — and then I went to sleep again
(è
çàòåì
ÿ
ñíîâà
çàñíóëà
). And
I
’m
sure
I
should
never
have
mentioned
anything
of
the
kind
(è ÿ óâåðåíà, ÷òî ÿ íè çà ÷òî íå óïîìÿíóëà áû íè
î ÷åì ïîäîáíîì) to
three
strange
gentlemen
(òðåì íåçíàêîìûì äæåíòëüìåíàì/ãîñïîäàì)
if
you
hadn
’t
dragged
it
out
of
me
(åñëè áû âû ñàìè íå âûòàùèëè ýòî èç ìåíÿ = íå çàñòàâèëè
ìåíÿ ýòî ðàññêàçàòü; to
drag
— òàùèòü /âîëîêîì/, âîëî÷èòü; âûòÿíóòü, âûòàùèòü
).”
minute
['mInIt] plain
[pleIn] enough
[I'nAf]
“What time was it when you heard a woman’s voice?”
“I can’t tell you. I just woke up for a minute and heard a woman talking,
and it was plain enough where she was. So I just thought, ‘Well, that’s the kind of man he is! I’m not surprised’ — and then I went to sleep again. And I’m sure I should never have mentioned anything of the kind
to three strange gentlemen if you hadn’t dragged it out of me.”
“
Was
it
before
the
scare
(ýòî áûëî äî òîãî, êàê âû èñïóãàëèñü: «äî èñïóãà»)
about
the
man
in
your
compartment
, or
after
(èç-çà ìóæ÷èíû â âàøåì êóïå èëè ïîñëå)
?”
“
Why,
that’
s
like
what
you
said
just
now
(ýõ, ýòî æå òî æå ñàìîå, ÷òî âû òîëüêî ÷òî ñêàçàëè)
! He
wouldn
’t
have
had
a
woman
talking
to
him
(îí íå ìîã áû ðàçãîâàðèâàòü ñ êàêîé-òî æåíùèíîé)
if
he
were
dead
, would
he
(åñëè áû îí áûë ìåðòâ, íå òàê ëè)
?”
“
Pardon
(èçâèíèòå).
You
must
think
me
very
stupid,
Madame
(âû, äîëæíî áûòü äóìàåòå, ÷òî ÿ î÷åíü ãëóï/áåñòîëêîâ, ìàäàì)
.”
“I
guess
even
you
get
kinda
muddled
now
and
then
(ÿ ïîëàãàþ, ÷òî äàæå âàì, íó, ñëó÷àåòñÿ çàïóòàòüñÿ
âðåìÿ îò âðåìåíè: «òåïåðü è òîãäà»; to
muddle
— ïóòàòü, ñìåøèâàòü, âíîñèòü áåñïîðÿäîê; to get (got) — äîñòàâàòü; êàê ãëàãîë-ñâÿçêà â ñîñòàâíîì
èìåííîì ñêàçóåìîì — ñòàíîâèòüñÿ)
. I
just
can
’t
get
over
(ÿ ïðîñòî íå ìîãó ïðèéòè â ñåáÿ/ïîâåðèòü)
its
being
that
monster
Cassetti
(÷òî îí áûë ýòèì ÷óäîâèùåì Êàññåòòè;
monster — óðîä; ÷óäîâèùå, ìîíñòð
).
What my daughter will say (
÷òî
ñêàæåò
ìîÿ
äî÷ü)
— ”
pardon ['pQ:dn]
stupid
['stju:pId] kinda
['kaIndq]
muddle [mAdl]
monster
['mO
nstq]
“Was it before the scare about the man in your compartment, or after?”
“Why, that’s like what you said just now! He wouldn’t have had a woman
talking to him if he were dead, would he?”
“Pardon. You must think me very stupid, Madame.”
“I guess even you get kinda muddled now and then. I just can’t get over
its being that monster Cassetti. What my daughter will say — ”
Poirot managed adroitly to help the good lady
(Ïóàðî
óäàëîñü
ëîâêî
ïîìî÷ü
äàìå
; to manage —
ðóêîâîäèòü,
óïðàâëÿòü;
ñóìåòü /
ñäåëàòü/,
ñïðàâèòüñÿ,
óõèòðèòüñÿ; adroitly —
ëîâêî,
ïðîâîðíî,
óìåëî)
to replace the contents of her handbag (
ñëîæèòü
ñîäåðæèìîå
åå
ñóìî÷êè
îáðàòíî;
to replace — ñòàâèòü
èëè
êëàñòü
îáðàòíî
, íà
ìåñòî
), and he then shepherded her towards the door
(è
çàòåì
ïðîâîäèë
åå
äî
äâåðè
; to shepherd —
ïàñòè /
îâåö/;
ïðîâîäèòü,
ïðîâåñòè)
.
At
the
last
moment,
he
said
(íî, ïðåæäå ÷åì îíà âûøëà: «â ïîñëåäíèé ìèã», îí ñêàçàë)
:
“
You
have
dropped
your
handkerchief,
Madame
(âû óðîíèëè âàø íîñîâîé ïëàòîê, ìàäàì;
drop — êàïëÿ;
to
drop — êàïàòü, ñòåêàòü êàïëÿìè; ïàäàòü; ðîíÿòü
).”
Mrs. Hubbard looked at the little scrap of cambric
(ìèññèñ
Õàááàðä
âçãëÿíóëà
íà
ìàëåíüêèé
êëî÷îê
áàòèñòà
) he held out to her
(÷òî
îí
ïðîòÿãèâàë
åé
; to hold (held) out
).
“
That’
s
not
mine,
Mr.
Poirot
(ýòî íå ìîé, ìèñòåð Ïóàðî)
. I
’ve
got
mine
right
here
(ìîé ïëàòîê ïðè ìíå: «ó ìåíÿ åñòü ìîé /ïëàòîê/ ïðÿìî
çäåñü»).”
manage
['mxnIdZ] adroitly
[q'drOItlI] shepherd
['Sepqd] cambric
['keImbrIk, 'kxmbrIk]
Poirot managed adroitly to help the good lady to replace the contents of her
handbag, and he then shepherded her towards the door.
At the last moment, he said:
“You have dropped your handkerchief, Madame.”
Mrs. Hubbard looked at the little scrap of cambric he held out to her.
“That’s not mine, Mr. Poirot. I’ve got mine right here.”
“Pardon. I thought as it had the initial H on it
(ÿ
ïîäóìàë
, ÷òî
ðàç
íà
íåì
èíèöèàë
H /íà÷àëüíàÿ
áóêâà
ôàìèëèè
Hubbard/) — ”
“
Well,
now,
that’
s
funny
(äà óæ, ýòî çàáàâíî; funny
— ñìåøíîé; ñòðàííûé; ðàçã. ïîäîçðèòåëüíûé
),
but
it’
s
certainly
not
mine
(íî ýòî îïðåäåëåííî íå ìîé)
. Mine
are
marked
C
.M
.H
. (ìîè ïîìå÷åíû /èíèöèàëàìè/
C.
M.
H.)
, and
they
’re
sensible
things
(è îíè ïðàêòè÷íûå /âåùè/;
sensible — ðàçóìíûé, çäðàâîìûñëÿùèé
) —
not
expensive
Paris
fallals
(à íå äîðîãèå ïàðèæñêèå áåçäåëóøêè;
fallal — óêðàøåíèå, áëåñòÿùàÿ áåçäåëóøêà
).
What
good
is
a
handkerchief
like
that
(êàêîé ïðîê îò òàêîãî íîñîâîãî ïëàòêà;
good — äîáðî, áëàãî; ïîëüçà
)
to
anybody’
s
nose
(÷üåìó-ëèáî íîñó)?”
None
of
the
three
men
seemed
to
have
an
answer
to
this
question
(íèêòî èç òðåõ ìóæ÷èí, êàçàëîñü, íå èìåë îòâåòà íà ýòîò âîïðîñ)
and
Mrs
. Hubbard
sailed
out
triumphantly
(è ìèññèñ Õàááàðä òîðæåñòâóþùå ïðîøåñòâîâàëà
èç /âàãîíà-ðåñòîðàíà/; to
sail
— ïëàâàòü, ñîâåðøàòü ïëàâàíèå; «ïëûòü», ìåäëåííî è ïëàâíî äâèãàòüñÿ, øåñòâîâàòü
).
initial [I'nIS(q)l]
sensible ['sensqb(q)l]
expensive [Ik'spensIv]
fallal [fx'lxl]
triumphantly [traI'Amf(q)ntlI]
“Pardon. I thought as it had the initial H on it — ”
“Well, now, that’s funny, but it’s certainly not mine. Mine are marked
C.M.H., and they’re sensible things — not expensive Paris fallals. What good is a handkerchief like that to anybody’s nose?”
None of the three men seemed to have an answer to this question and Mrs. Hubbard
sailed out triumphantly.
5
THE EVIDENCE OF THE SWEDISH LADY
(
ïîêàçàíèÿ
øâåäêè
)
M. Bouc was handling the button
(ìñüå
Áóê
äåðæàë
â
ðóêàõ
òó
ñàìóþ
ïóãîâèöó
; to handle —
îáðàùàòüñÿ /
ñ
÷åì-
ëèáî
èëè
ñ
êåì-
ëèáî/;
òðîãàòü,
êàñàòüñÿ
ðóêàìè)
that Mrs. Hubbard had left behind her (
êîòîðóþ
îñòàâèëà /
ïîñëå
ñåáÿ/
ìèññèñ
Õàááàðä;
to leave (left))
.
“This button
(ýòà
ïóãîâèöà
). I cannot understand it
(íå
ìîãó
ýòîãî
ïîíÿòü
). Does it mean that after all
(çíà÷èò
ëè
ýòî
, ÷òî
âñå
æå
), Pierre Michel is involved in some way
(Ïüåð
Ìèøåëü
çàìåøàí
â
ýòî
/äåëî
/ êàêèì
-ëèáî
îáðàçîì
; to involve —
âêëþ÷àòü,
ñîäåðæàòü;
âîâëåêàòü,
âòÿãèâàòü,
âïóòûâàòü; way —
ïóòü,
äîðîãà;
îòíîøåíèå,
àñïåêò)
?” he asked. He paused, then continued (
îí
çàìîë÷àë,
çàòåì
ïðîäîëæèë)
, as Poirot did not reply (
òàê
êàê
Ïóàðî
íå
îòâåòèë)
. “What have you to say, my friend (
÷òî
âû
ñêàæåòå,
ìîé
äðóã)
?”
“That button, it suggests possibilities
(ýòà
ïóãîâèöà
, îíà
íàâîäèò
íà
/ðàçíûå
/ ïðåäïîëîæåíèÿ
; to suggest —
ïðåäëàãàòü,
ñîâåòîâàòü;
âíóøàòü /
ìûñëü/,
ïîäñêàçûâàòü /
ìûñëü,
èäåþ/,
íàìåêàòü
è
ò.
ï.; possibility —
âîçìîæíîñòü,
âåðîÿòíîñòü)
,” said Poirot thoughtfully (
ñêàçàë
Ïóàðî
çàäóì÷èâî)
. “Let us interview next the Swedish lady (
äàâàéòå
äàëüøå
ïîáåñåäóåì
ñî
øâåäêîé;
to interview — èíòåðâüþèðîâàòü
; ïðîâîäèòü
áåñåäó
; next — ïîòîì
, çàòåì
, ïîñëå
) before we discuss the evidence
(ïðåæäå
÷åì
ìû
îáñóäèì
òå
ïîêàçàíèÿ
) that we have heard
(÷òî
ìû
óæå
óñëûøàëè
).”
handling ['hxndlIN]
behind [bI'haInd]
possibility ["p
Osq'bIlItI]
M. Bouc was handling the button that Mrs. Hubbard had left behind her.
“This button. I cannot understand it. Does it mean that after all, Pierre
Michel is involved in some way?” he asked. He paused, then continued, as Poirot did not reply. “What have you to say, my friend?”
“That button, it suggests possibilities,” said Poirot thoughtfully. “Let
us interview next the Swedish lady before we discuss the evidence that we have heard.”
He
sorted
through
the
pile
of
passports
(îí ïåðåáðàë ïà÷êó ïàñïîðòîâ;
to
sort — ðàçáèðàòü, ñîðòèðîâàòü;
through — çä. óêàçûâàåò íà ñîâåðøåíèå äåéñòâèÿ
îò íà÷àëà äî êîíöà)
in
front
of
him
(/ëåæàâøóþ/ ïåðåä íèì)
. “Ah
! here
we
are
(à, âîò ÷òî íàì íóæíî /î ïàñïîðòå/;
here — çäåñü; âîò
).
Greta
Ohlsson,
age
forty-
nine
(Ãðåòà Îëüñîí, âîçðàñò: ñîðîê äåâÿòü ëåò)
.”
M.
Bouc
gave
directions
to
the
restaurant
attendant
(ìñüå Áóê îòäàë ïðèêàçàíèÿ îôèöèàíòó)
, and
presently
the
lady
with
the
yellowish
grey
bun
of
hair
(è âñêîðå äàìó ñ æåëòîâàòûì ïó÷êîì ñåäûõ âîëîñ;
grey — ñåðûé; ñåäîé;
bun — ñäîáíàÿ áóëî÷êà; ïó÷îê /æåíñêàÿ ïðè÷åñêà/
)
and
the
long,
mild,
sheep-
like
face
(ñ äëèííûì, êðîòêèì ëèöîì, êàê ó îâöû;
mild — ìÿãêèé; êðîòêèé, òèõèé
)
was
ushered
in
(ïðèâåëè /â âàãîí-ðåñòîðàí/;
to
usher — ââîäèòü, ïðîâîæàòü, ñîïðîâîæäàòü
).
She
peered
short-
sightedly
at
Poirot through
her
glasses
(îíà áëèçîðóêî âñìàòðèâàëàñü â Ïóàðî ñêâîçü ñâîè î÷êè)
, but
was
quite
calm
(íî áûëà âïîëíå ñïîêîéíîé;
calm — áåçâåòðåííûé, òèõèé /î ïîãîäå è ò.ï./;
ñïîêîéíûé, òèõèé /î ÷åëîâåêå/)
.
through [Tru:]
direction [d(a)I'rekS(q)n]
restaurant ['rest(q)|r
ON,
—
rOnt] yellowish
['jelqVIS] usher
['ASq] short-sightedly
["SO:t'saItIdlI]
He sorted through the pile of passports in front of him. “Ah! here we are.
Greta Ohlsson, age forty-nine.”
M. Bouc gave directions to the restaurant attendant, and presently the lady
with the yellowish grey bun of hair and the long, mild, sheep-like face was ushered in. She peered short-sightedly at Poirot through her glasses, but was quite calm.
It transpired (
âûÿñíèëîñü;
to transpire — ñòàíîâèòüñÿ
èçâåñòíûì
; îáíàðóæèâàòüñÿ
, âûÿñíÿòüñÿ
) that she understood and spoke French
(÷òî
îíà
ïîíèìàëà
è
ãîâîðèëà
ïî
-ôðàíöóçñêè
), so the conversation took place in that language
(ïîýòîìó
ðàçãîâîð
âåëñÿ
íà
ýòîì
ÿçûêå
; to take (took, taken) place —
ñëó÷àòüñÿ,
ïðîèñõîäèòü)
. Poirot first asked her the questions (
ñïåðâà
Ïóàðî
çàäàë
åé
âîïðîñû)
to which he already knew the answers (
íà
êîòîðûå
îí
óæå
çíàë
îòâåòû)
— her name (/
î
åå/
èìåíè)
, age (
âîçðàñòå)
, and address (
è
àäðåñå)
. He
then
asked
her
her
occupation
(çàòåì îí ñïðîñèë åå î ðîäå åå çàíÿòèé)
.
transpire [trxn'spaIq]
language ['lxNgwIdZ]
occupation ["
OkjV'peIS(q)n]
It transpired that she understood and spoke French, so the conversation took
place in that language. Poirot first asked her the questions to which he already knew the answers — her name, age, and address. He then asked her her occupation.
She
was,
she
told
him
(îíà áûëà, ñ åå ñëîâ: «êàê îíà åìó ñêàçàëà»)
, matron
in
a
missionary
school
near
Stamboul
(ýêîíîìêîé â ìèññèîíåðñêîé øêîëå íåäàëåêî îò
Ñòàìáóëà; matron — çàìóæíÿÿ æåíùèíà;
ýêîíîìêà).
She
was
a
trained
nurse
(îíà áûëà ìåäèöèíñêîé ñåñòðîé /ïî îáðàçîâàíèþ/;
nurse — íÿíÿ, íÿíüêà;
to
train — âîñïèòûâàòü; îáó÷àòü, ãîòîâèòü /ê ÷åìó-ëèáî/
).
“
You
know,
of
course,
of
what
took
place
last
night,
Mademoiselle
(âû çíàåòå, êîíå÷íî æå, ÷òî ñëó÷èëîñü ïðîøëîé íî÷üþ, ìàäåìóàçåëü)
?”
“Naturally
(åñòåñòâåííî
). It is very dreadful
(ýòî
î÷åíü
óæàñíî
). And the American lady tells me
(à
àìåðèêàíñêàÿ
ëåäè
ãîâîðèò
ìíå
) that the murderer was actually in her compartment
(÷òî
óáèéöà
äàæå
áûë
â
åå
êóïå
).”
“I hear, Mademoiselle
(/íàñêîëüêî
/ ÿ
çíàþ
, ìàäåìóàçåëü
; to hear —
ñëûøàòü,
óñëûøàòü;
óçíàòü)
, that you were the last person (
âû
áûëè
ïîñëåäíåé;
person — ÷åëîâåê
, ëè÷íîñòü
; îñîáà
, ñóáúåêò
) to see the murdered man alive
(êòî
âèäåë
óáèòîãî
æèâûì
)?”
“I do not know
(ÿ
íå
çíàþ
). It may be so
(ìîæåò
áûòü
è
òàê
). I opened the door of his compartment by mistake
(ÿ
îòêðûëà
äâåðü
åãî
êóïå
ïî
îøèáêå
). I
was
much
ashamed
(ìíå áûëî î÷åíü ñòûäíî;
ashamed — ïðèñòûæåííûé
).
It was a most awkward mistake (
ýòî
áûëà
÷ðåçâû÷àéíî
íåëîâêàÿ
îøèáêà)
.”
matron
['meItrqn] missionary
['mISqn(q)rI] nurse
[nq:s] dreadful
['dredS(q)l] ashamed
[q'SeImd] awkward
['O:kwqd]
She was, she told him, matron in a missionary school near Stamboul. She was
a trained nurse.
“You know, of course, of what took place last night, Mademoiselle?”
“Naturally. It is very dreadful. And the American lady tells me that the
murderer was actually in her compartment.”
“I hear, Mademoiselle, that you were the last person to see the murdered
man alive?”
“I do not know. It may be so. I opened the door of his compartment by mistake.
I was much ashamed. It was a most awkward mistake.”
“
You
actually
saw
him
(âû äåéñòâèòåëüíî âèäåëè åãî)
?”
“Yes. He was reading a book
(äà
, îí
÷èòàë
êíèãó
). I apologised quickly and withdrew
(ÿ
áûñòðî
èçâèíèëàñü
è
óøëà
; to withdraw (withdrew, withdrawn) —
îòíèìàòü,
îòäåðãèâàòü;
óõîäèòü,
óäàëÿòüñÿ)
.”
“Did he say anything to you
(îí
âàì
÷òî
-íèáóäü
ñêàçàë
)?”
A slight flush showed
(íåáîëüøîé
ðóìÿíåö
ïîÿâèëñÿ
; flush —
âíåçàïíûé
ïðèëèâ /
âîäû/;
âíåçàïíàÿ
êðàñêà,
ïðèëèâ
êðîâè /
ê
ëèöó/; to show —
ïîêàçûâàòü;
ïîÿâëÿòüñÿ)
on the worthy lady’s cheek (
íà
ùåêàõ
ïî÷òåííîé
äàìû;
worthy — äîñòîéíûé
; ïî÷òåííûé
, äîñòîéíûé
).
“He laughed and said a few words
(îí
ðàññìåÿëñÿ
è
ñêàçàë
íåñêîëüêî
ñëîâ
). I — I did not quite catch them
(ÿ
íå
âïîëíå
èõ
ðàññëûøàëà
; to catch —
ïîéìàòü;
óëîâèòü
ñìûñë;
ðàññëûøàòü)
.”
“And what did you do after that, Mademoiselle
(è
÷òî
âû
ñäåëàëè
ïîñëå
ýòîãî
, ìàäåìóàçåëü
)?” asked Poirot, passing from the subject tactfully
(òàêòè÷íî
óõîäÿ
îò
ýòîé
òåìû
; subject —
ïðåäìåò,
òåìà /
ðàçãîâîðà
è
ò.
ï./
).
actually ['xktS(V)qlI]
apologize [q'p
OlqdZaIz]
withdrew [wID'dru:]
worthy ['wq:DI]
subject ['sAbdZIkt]
“You actually saw him?”
“Yes. He was reading a book. I apologised quickly and withdrew.”
“Did he say anything to you?”
A slight flush showed on the worthy lady’s cheek.
“He laughed and said a few words. I — I did not quite catch them.”
“And what did you do after that, Mademoiselle?” asked Poirot, passing from
the subject tactfully.
“I went in to the American lady, Mrs. Hubbard
(ÿ
ïîøëà
â
/êóïå
/ ê
àìåðèêàíñêîé
ëåäè
, ìèññèñ
Õàááàðä
). I asked her for some aspirin
(ÿ
ïîïðîñèëà
ó
íåå
àñïèðèíà
; to ask —
ñïðàøèâàòü; (
ïî)
ïðîñèòü) and she gave it to me
(è
îíà
äàëà
åãî
ìíå
).”
“Did she ask you
(ñïðàøèâàëà
ëè
îíà
ó
âàñ
) whether the communicating door between her compartment and that of Mr. Ratchett was
bolted (çàêðûòà
ëè
íà
çàñîâ
ñìåæíàÿ
äâåðü
ìåæäó
åå
êóïå
è
/êóïå
/ ìèñòåðà
Ðýò÷åòòà
; to communicate —
ñîîáùàòü,
ïåðåäàâàòü;
ñîîáùàòüñÿ,
áûòü
ñìåæíûì /
î
êîìíàòàõ,
äîìàõ
è
ò.
ï.
)?”
“
Yes.”
“
And
was
it
(è îíà áûëà /çàêðûòà íà çàñîâ/)
?”
“
Yes.”
“
And
after
that
(à /÷òî âû ñäåëàëè/ ïîñëå òîãî)
?”
“
After
that
I
went
back
to
my
compartment
(ïîòîì ÿ âåðíóëàñü â ñâîå êóïå)
, took
the
aspirin
(ïðèíÿëà àñïèðèí;
to
take (
took,
taken) — áðàòü; ïðèíèìàòü /ïèùó, ëåêàðñòâî/
),
and
lay
down
(è ëåãëà /ñïàòü/;
to
lie (
lay,
lain)
).”
whether
['weDq] communicating
[kq'mju:nIkeItIN] aspirin
['xsprIn]
“I went in to the American lady, Mrs. Hubbard. I asked her for some aspirin
and she gave it to me.”
“Did she ask you whether the communicating door between her compartment and
that of Mr. Ratchett was bolted?”
“Yes.”
“And was it?”
“Yes.”
“And after that?”
“After that I went back to my compartment, took the aspirin, and lay down.”
“
What
time
was
all
this
(â êîòîðîì ÷àñó âñå ýòî áûëî)
?”
“
When
I
got
into
bed
(êîãäà ÿ ëåãëà â ïîñòåëü)
it
was
five
minutes
to
eleven
(áûëî áåç ïÿòè ìèíóò îäèííàäöàòü)
. I
know
because
I
looked
at
my
watch
(ÿ çíàþ, ïîòîìó ÷òî ÿ âçãëÿíóëà íà ñâîè ÷àñû;
watch — ÷àñû /íàðó÷íûå, êàðìàííûå/)
before
I
wound
it
up
(ïåðåä òåì êàê çàâåñòè èõ;
to
wind (
wound) — âèòüñÿ, èçâèâàòüñÿ; çàâîäèòü /÷àñû/
).”
“Did you go to sleep quickly
(âû
áûñòðî
çàñíóëè
)?”
“
Not
very
quickly
(íå î÷åíü áûñòðî).
My
head
got
better
(ìîÿ ãîëîâà ïåðåñòàëà áîëåòü;
to
get
better — ïîïðàâëÿòüñÿ /ïîñëå áîëåçíè/
),
but
I
lay
awake
some
time
(íî ÿ ëåæàëà áåç ñíà íåêîòîðîå âðåìÿ;
awake — áîäðñòâóþùèé, ïðîñíóâøèéñÿ
).”
“
Had
the
train
come
to
a
stop
(ïîåçä óæå îñòàíîâèëñÿ;
stop — îñòàíîâêà, çàäåðæêà; îñòàíîâêà /àâòîáóñà,
è ò.ï./)
before
you
went
to
sleep
(äî òîãî, êàê âû óñíóëè)
?”
“I do not think so (
íå
äóìàþ)
. We
stopped,
I
think,
at
a
station
(ìû îñòàíîâèëèñü, ÿ äóìàþ, íà ñòàíöèè)
just
as
I
was
getting
drowsy
(êàê ðàç êîãäà ÿ çàñûïàëà: «ñòàíîâèëàñü ñîíëèâîé»)
.”
quickly ['kwIklI]
awake [q'weIk]
drowsy ['draVzI]
“What time was all this?”
“When I got into bed it was five minutes to eleven. I know because I looked
at my watch before I wound it up.”
“Did you go to sleep quickly?”
“Not very quickly. My head got better, but I lay awake some time.”
“Had the train come to a stop before you went to sleep?”
“I do not think so. We stopped, I think, at a station just as I was getting
drowsy.”
“That
would
be
Vincovci
(ýòî /äîëæíî áûòü/ áûëè Âèíêîâöû)
. Now your compartment, Mademoiselle
(òåïåðü
, âàøå
êóïå
, ìàäåìóàçåëü
), is this one
(ýòî
îíî
)?” He indicated it on the plan
(îí
óêàçàë
åãî
íà
ïëàíå
/÷åðòåæà
).
“
That
is
so,
yes
(äà, ýòî òàê = ýòî îíî).”
“
You
had
the
upper
or
the
lower
berth
(ó âàñ âåðõíÿÿ èëè íèæíÿÿ ïîëêà;
berth — êîéêà /íà ïàðîõîäå/; ñïàëüíîå ìåñòî,
ïîëêà /â âàãîíå è ò.ï./)
?”
“The lower berth, No. 10
(íèæíÿÿ
ïîëêà
, /ìåñòî
/ íîìåð
10).”
“
And
you
had
a
companion
(ñ âàìè â êóïå êòî-íèáóäü åäåò: «ó âàñ åñòü ïîïóò÷èê»)
?’
“
Yes,
a
young
English
lady
(äà, ìîëîäàÿ àíãëèéñêàÿ ëåäè = àíãëè÷àíêà)
. Very
nice
(î÷åíü ìèëàÿ)
, very
amiable
(î÷åíü äðóæåëþáíàÿ)
. She
had
travelled
from
Baghdad
(îíà åäåò èç Áàãäàäà;
to
travel — ïóòåøåñòâîâàòü; åçäèòü, åõàòü
).”
indicated
['IndIkeItId] upper
['Apq] lower
['lqVq] berth
[bq:T] amiable
['eImIqb(q)l]
“That would be Vincovci. Now your compartment, Mademoiselle, is this one?”
He indicated it on the plan.
“That is so, yes.”
“You had the upper or the lower berth?”
“The lower berth, No. 10.”
“And you had a companion?’
“Yes, a young English lady. Very nice, very amiable. She had travelled from
Baghdad.”
“After the train left Vincovci
(ïîñëå
òîãî
, êàê
ïîåçä
âûåõàë
èç
Âèíêîâöîâ
), did she leave the compartment
(îíà
ïîêèäàëà
êóïå
)?”
“No, I am sure she did not
(íåò
, ÿ
óâåðåíà
, ÷òî
íåò
).”
“
Why
are
you
sure
if
you
were
asleep
(ïî÷åìó = êàê
âû ìîæåòå áûòü óâåðåíû, åñëè âû ñïàëè)
?”
“
I sleep
very
lightly (ÿ ñïëþ î÷åíü ÷óòêî;
lightly — ñëåãêà, åäâà; ÷óòü-÷óòü; ÷óòêî /î ñíå/
). I
am
used to
waking
at a
sound
(ÿ ïðèâûêëà ïðîñûïàòüñÿ îò ëþáîãî çâóêà;
to be
/get
used + to
do
smth. — èìåòü îáûêíîâåíèå/ïðèâû÷êó äåëàòü ÷òî-ëèáî; ïðèâûêàòü
). I
am
sure that
if
she had
come
down (ÿ óâåðåíà, ÷òî åñëè áû îíà ñïóñòèëàñü)
from
the berth
above
(ñ âåðõíåé ïîëêè; above
— â ïðîñòðàíñòâåííîì çíà÷åíèè óêàçûâàåò íà ìåñòîíàõîæäåíèå íàä ÷åì-ëèáî
) I
should
have awakened
(ÿ áû ïðîñíóëàñü)
.”
“Did you yourself leave the compartment
(âû
ñàìè
ïîêèäàëè
êóïå
)?”
“
Not
until
this
morning
(íå /ïîêèäàëà/ äî ñàìîãî óòðà)
.”
lightly
['laItlI] sound
[saVnd] awaken
[q'weIkqn]
“After the train left Vincovci, did she leave the compartment?”
“No, I am sure she did not.”
“Why are you sure if you were asleep?”
“I sleep very lightly. I am used to waking at a sound. I am sure that if
she had come down from the berth above I should have awakened.”
“Did you yourself leave the compartment?”
“Not until this morning.”
“Have you a scarlet silk kimono, Mademoiselle
(ó
âàñ
åñòü
àëîå
øåëêîâîå
êèìîíî
, ìàäåìóàçåëü
)?”
“
No,
indeed
(íåò, êîíå÷íî; indeed
— â äåéñòâèòåëüíîñòè, ôàêòè÷åñêè; /óñèëåíèå/ áåçóñëîâíî, êîíå÷íî
).
I
have
a
good
comfortable
dressing-
gown
of
Jaeger
material
(ó ìåíÿ åñòü õîðîøèé è óäîáíûé õàëàò èç òêàíè «Åãåðü»;
Jaeger — ôèðìåííîå íàçâàíèå øåðñòÿíîãî òðèêîòàæà
äëÿ áåëüÿ «Åãåðü», material
— ìàòåðèàë, âåùåñòâî; òåêñò.òêàíü, ìàòåðèÿ
).”
“And
the
lady
with
you
, Miss
Debenham
(à ó ëåäè, /÷òî åäåò/ ñ âàìè, ìèññ Äåáåíõýì)
? What colour is her dressing-gown
(êàêîãî
öâåòà
åå
õàëàò
)?’
“A pale mauve abba
(/ó
íåå
/ áëåäíî
-ðîçîâî
-ëèëîâàÿ
àáà
; aba = abba —
òêàíü
èç
âåðáëþæüåé
èëè
êîçüåé
øåðñòè;
àáà,
ñâîáîäíàÿ
âåðõíÿÿ
îäåæäà
èç
âåðáëþæüåé
èëè
êîçüåé
øåðñòè)
such as you buy in the East (
òàêàÿ,
êàêóþ /
îáû÷íî/
ïîêóïàþò
íà
Âîñòîêå)
.”
Poirot nodded
(Ïóàðî
êèâíóë
). Then he asked in a friendly tone
(çàòåì
îí
ñïðîñèë
äðóæåëþáíûì
òîíîì
): “Why are you taking this journey
(ïî÷åìó
âû
ñîâåðøàåòå
ýòî
ïóòåøåñòâèå
; journey —
ïîåçäêà,
ïóòåøåñòâèå /
ïðåèì.
ñóõîïóòíîå/
)? A holiday
(îòïóñê
; holiday —
ïðàçäíèê;
äåíü
îòäûõà;
îòïóñê,
êàíèêóëû)
?”
“Yes, I am going home for a holiday
(äà
, ÿ
åäó
äîìîé
, â
îòïóñê
). But first I am going to Lausanne
(íî
ñïåðâà
ÿ
ñîáèðàþñü
â
Ëîçàííó
) to stay with a sister
(÷òîáû
ïîãîñòèòü
ó
ñåñòðû
; to stay —
îñòàâàòüñÿ,
íå
óõîäèòü;
îñòàíàâëèâàòüñÿ,
ãîñòèòü)
for a week or so (
ñ
íåäåëþ
èëè
îêîëî
òîãî)
.”
mademoiselle ["mxdqmwq'zel]
Jaeger ['jeIgq]
mauve [mqVv]
aba
[q'bQ:, Q:'bQ:] journey
['dZq
:nI]
“Have you a scarlet silk kimono, Mademoiselle?”
“No, indeed. I have a good comfortable dressing-gown of Jaeger material.”
“And the lady with you, Miss Debenham? What colour is her dressing-gown?’
“A pale mauve aba such as you buy in the East.”
Poirot nodded. Then he asked in a friendly tone: “Why are you taking this
journey? A holiday?”
“Yes, I am going home for a holiday. But first I am going to Lausanne to
stay with a sister for a week or so.”
“Perhaps you will be so amiable
(áóäüòå
òàê
ëþáåçíû
) as to write me down
(çàïèøèòå
äëÿ
ìåíÿ
) the name and address of your sister
(èìÿ
è
àäðåñ
âàøåé
ñåñòðû
)?’
“With pleasure
(ñ
óäîâîëüñòâèåì
).”
She took the paper and pencil
(îíà
âçÿëà
áóìàãó
è
êàðàíäàø
) he gave her
(/êîòîðûå
/ îí
åé
äàë
) and wrote down the name and address
(è
çàïèñàëà
èìÿ
è
àäðåñ
) as requested
(êàê
/åå
/ ïðîñèëè
; to request —
ïðîñèòü /
ïîçâîëåíèÿ
è
ò.
ï./;
ïðåäïèñûâàòü,
ïðåäëàãàòü /
ñäåëàòü
÷òî-
ëèáî/
).
“Have you ever been in America, Mademoiselle
(âû
áûâàëè
â
Àìåðèêå
, ìàäåìóàçåëü
)?”
“No. I very nearly went once (
îäíàæäû
ÿ
ïî÷òè
÷òî
ïîåõàëà /
òóäà/)
. I was to go with an invalid lady (
ÿ
äîëæíà
áûëà
ïîåõàòü
ñ
îäíîé
áîëüíîé
äàìîé;
to be + èíôèíèòèâ
— âûðàæàåò
äîëæåíñòâîâàíèå
, îáóñëîâëåííîå
äîãîâîðåííîñòüþ
, ïëàíàìè
, invalid — áîëåçíåííûé
, íåòðóäîñïîñîáíûé
, íåïîëíîöåííûé
), but the plan was cancelled
(íî
ýòîò
ïëàí
îòìåíèëè
; to cancel —
âû÷åðêèâàòü,
âûìàðûâàòü;
àííóëèðîâàòü,
îòìåíÿòü)
at the last moment (
â
ïîñëåäíèé
ìîìåíò)
. I much regretted this (
ÿ
î÷åíü
ñîæàëåëà
îá
ýòîì)
. They are very good, the Americans (
îíè
î÷åíü
õîðîøèå,
àìåðèêàíöû)
. They
give
much
money
to
found
schools
and
hospitals
(îíè äàþò/æåðòâóþò ìíîãî äåíåã íà ñîçäàíèå/ñîäåðæàíèå øêîë è áîëüíèö;
to
found — îñíîâûâàòü /ãîðîä/; ó÷ðåäèòü íà ñâîè
ñðåäñòâà, ñîçäàòü ôîíä äëÿ ñîäåðæàíèÿ /áîëüíèöû è ò.ï./).
And
they
are
very
practical
(è îíè î÷åíü ïðàêòè÷íûå;
practical — ïðàêòè÷åñêèé; ïðàêòè÷íûé, äåëüíûé
).”
pleasure ['pleZq]
pencil ['pens(q)l]
request [rI'kwest]
cancel ['kxns(q)l]
regret [rI'gret]
practical ['prxktIk(q)l]
“Perhaps you will be so amiable as to write me down the name and address
of your sister?’
“With pleasure.”
She took the paper and pencil he gave her and wrote down the name and address
as requested.
“Have you ever been in America, Mademoiselle?”
“No. I very nearly went once. I was to go with an invalid lady, but the plan
was cancelled at the last moment. I much regretted this. They are very good, the Americans. They give much money to found schools and hospitals. And they are very practical.”
“
Do
you
remember
hearing
of
the
Armstrong
kidnapping
case
(âû /íå/ ïîìíèòå, ñëûøàëè /ëè âû/î äåëå, î ïîõèùåíèè Àðìñòðîíã)
?”
“No, what was that
(íåò
, à
÷òî
ýòî
)?”
Poirot explained
(Ïóàðî
îáúÿñíèë
).
Greta Ohlsson was indignant
(Ãðåòà
Îëüñîí
áûëà
âîçìóùåíà
). Her yellow bun of hair quivered with her emotion
(åå
æåëòûé
ïó÷îê
/âîëîñ
/ äðîæàë
îò
âîçáóæäåíèÿ
; to quiver —
äðîæàòü
ìåëêîé
äðîæüþ,
òðÿñòèñü,
òðåïåòàòü; emotion —
÷óâñòâî,
ýìîöèÿ;
äóøåâíîå
âîëíåíèå,
âîçáóæäåíèå)
.
“
That
there
are
in
the
world
such
evil
men
(è áûâàþò æå: «òî, ÷òî» â ìèðå áûâàþò òàêèå çëûå ëþäè)
! It
tries
one
’s
faith
(ýòî ïîäâåðãàåò âåðó èñïûòàíèþ;
to
try — ïûòàòüñÿ, ñòàðàòüñÿ; ïîäâåðãàòü èñïûòàíèþ,
ïðîáîâàòü, ïðîâåðÿòü)
. The
poor
mother
(áåäíàÿ ìàòü)
— my
heart
aches
for
her
(ìîå ñåðäöå áîëèò çà íåå;
to
ache — áîëåòü, èñïûòûâàòü áîëü; áîëåòü, ñîñòðàäàòü,
ïåðåæèâàòü /î ÷åì-ëèáî/)
.”
indignant
[In'dIgnqnt] yellow
['jelqV] quivered
['kwIvqd] faith
[feIT] ache
[eIk]
“Do you remember hearing of the Armstrong kidnapping case?”
“No, what was that?”
Poirot explained.
Greta Ohlsson was indignant. Her yellow bun of hair quivered with her emotion.
“That there are in the world such evil men! It tries one’s faith. The poor
mother — my heart aches for her.”
The amiable Swede departed
(äðóæåëþáíàÿ
øâåäêà
óøëà
), her kindly face flushed
(åå
äîáðîäóøíîå
ëèöî
ðàñêðàñíåëîñü
; to flush —
âñïûõíóòü,
ïîêðàñíåòü;
ðàñêðàñíåòüñÿ)
, her eyes suffused with tears (
åå
ãëàçà
íàïîëíèëèñü
ñëåçàìè;
to suffuse — çàëèâàòü
/ñëåçàìè
, ñâåòîì
/; íàïîëíÿòü
, çàïîëíÿòü
).
Poirot was writing busily
(Ïóàðî
äåëîâèòî
ïèñàë
; busy —
çàíÿòîé,
íåñâîáîäíûé;
äåÿòåëüíûé)
on a sheet of paper (
íà
ëèñòå
áóìàãè;
sheet — ïðîñòûíÿ
; ëèñò
/áóìàãè
, ìåòàëëà
è
ò
.ï
./)
.
“What is it you write there, my friend
(÷òî
ýòî
âû
òàì
ïèøèòå
, ìîé
äðóã
)?” asked M. Bouc
(ñïðîñèë
ìñüå
Áóê
).
“
Mon cher, it is my habit
(äðóã
ìîé
, ÿ
ïðèâûê
; habit —
ïðèâû÷êà,
îáû÷àé,
îáûêíîâåíèå)
to be neat and orderly (
áûòü
àêêóðàòíûì
è
ïîñëåäîâàòåëüíûì)
. I make here a little chronological table of events
(ÿ
çäåñü
ñîñòàâëÿþ
íåáîëüøóþ
õðîíîëîãè÷åñêóþ
òàáëè÷êó
ñîáûòèé
; table —
ñòîë;
òàáëèöà)
.”
He finished writing and passed the paper to M. Bouc
(îí
çàêîí÷èë
ïèñàòü
è
ïåðåäàë
áóìàãó
ìñüå
Áóêó
; to pass —
èäòè,
ïðîõîäèòü;
ïåðåäàâàòü)
.
flushed
[flASt] suffuse
[sq'fju:z] tear
[teq] busily
['bIzIlI] chronological
["krO
nq"lO
dZIk(q)l]
The amiable Swede departed, her kindly face flushed, her eyes suffused with
tears.
Poirot was writing busily on a sheet of paper.
“What is it you write there, my friend?” asked M. Bouc.
“Mon cher, it is my habit to be neat and orderly. I make here a little chronological
table of events.”
He finished writing and passed the paper to M. Bouc.
9.15
Train
leaves
Belgrade
(ïîåçä îòïðàâëÿåòñÿ èç Áåëãðàäà)
.
about 9.40
Valet leaves Ratchett with sleeping draught beside him.
(îêîëî 9.40
ñëóãà óõîäèò îò Ðýò÷åòòà, /îñòàâèâ/ ñíîòâîðíîå ðÿäîì ñ íèì)
about 10.00
MacQueen
leaves
Ratchett.
(îêîëî 10.00
Ìàêêóèí óõîäèò îò Ðýò÷åòòà)
about 10.40
Greta Ohlsson sees Ratchett (last seen alive). N.B. He was awake reading a book.
(îêîëî 10.40 Ãðåòà Îëüñîí âèäèò Ðýò÷åòòà (â ïîñëåäíèé ðàç
óâèäåí æèâûì). N.
B.: îí íå ñïàë è ÷èòàë êíèãó;
N.
B. =
nota
bene — ïðèìå÷àíèå /îòìåòêà íà ïîëÿõ êíèãè
è ò.ï./; awake — áîäðñòâóþùèé, ïðîñíóâøèéñÿ
)
0.10
Train
leaves
Vincovci (
late).
(0.10 Ïîåçä îòïðàâëÿåòñÿ èç Âèíêîâöîâ (ñ îïîçäàíèåì);
late — îïîçäàâøèé, çàïîçäàâøèé, ïîçäíèé
)
0.30
Train runs into a snowdrift.
(0.30 Ïîåçä
ïîïàäàåò â ñíåæíûé çàíîñ; to
run
— áåæàòü, áåãàòü; to
run
into
smth
. — íàëåòåòü, íàñêàêèâàòü, íàòàëêèâàòüñÿ íà ÷òî-ëèáî, ñòàëêèâàòüñÿ ñ ÷åì-ëèáî
)
0.37 Ratchett’s bell rings. Conductor answers it.
Ratchett says: “Ce n’est rien.
Je
me
suis
trompé
.”
(0.37
çâåíèò çâîíîê Ðýò÷åòòà. Ïðîâîäíèê îòêëèêíóëñÿ íà íåãî. Ðýò÷åòò
ãîâîðèò /ïî-ôðàíöóçñêè/: «Íå áåñïîêîéòåñü, ÿ îøèáñÿ»)
about 1.17 Mrs. Hubbard thinks man is in her carriage. Rings
for
conductor
.
(îêîëî 1.17
Ìèññèñ Õàááàðä äóìàåò, ÷òî â åå êóïå ìóæ÷èíà. Çâîíèò, ÷òîáû
âûçâàòü ïðîâîäíèêà)
draught [
drQ:
ft]
alive [
q'
laIv]
snowdrift ['
snqVdrIft]
carriage ['
kxrIdZ]
9.15
Train leaves Belgrade.
about 9.40
Valet leaves Ratchett with sleeping draught beside him.
about 10.00
MacQueen leaves Ratchett.
about 10.40
Greta Ohlsson sees Ratchett (last seen alive). N.B. He was awake reading a book.
0.10
Train leaves Vincovci (late).
0.30
Train runs into a snowdrift.
0.37
Ratchett’s bell rings. Conductor answers it.
Ratchett says: “Ce n’est rien.
Je me suis trompé.”
about 1.17
Mrs. Hubbard thinks man is in her carriage. Rings for conductor.
M. Bouc nodded approval
(ìñüå
Áóê
êèâíóë
â
çíàê
ñîãëàñèÿ
; approval —
îäîáðåíèå)
.
“That is very clear
(ýòî
î÷åíü
ÿñíî
),” he said.
“
There
is
nothing
there
that
strikes
you
as
at
all
odd
(íåò /â ñïèñêå/ íè÷åãî, ÷òî áû êàçàëîñü âàì õîòü ñêîëüêî-íèáóäü ñòðàííûì;
to
strike — óäàðÿòü, áèòü; ïîðàæàòü, ïðîèçâîäèòü
âïå÷àòëåíèå, ïðèâëåêàòü âíèìàíèå; odd
— íå÷åòíûé; ñòðàííûé, íåîáû÷íûé
)?”
“
No,
it
seems
all
quite
clear
(íåò, âñå êàæåòñÿ âïîëíå ÿñíûì;
clear — ÿñíûé, ñâåòëûé; ÿñíûé, íå âûçûâàþùèé
ñîìíåíèé)
and
aboveboard
(è ÷åñòíûì/îòêðûòûì).
It
seems
quite
plain
(êàæåòñÿ âïîëíå î÷åâèäíûì)
that
the
crime
was
committed
at
1.15 (÷òî ïðåñòóïëåíèå áûëî ñîâåðøåííî â 1.15)
. The
evidence
of
the
watch
shows
us
that
(ýòî äîêàçûâàþò íàì ÷àñû êàê óëèêà;
to
show — ïîêàçûâàòü; âûÿâëÿòü, óñòàíàâëèâàòü
),
and
Mrs.
Hubbard’
s
story
fits
in
(è èñòîðèÿ ìèññèñ Õàááàðä ñîâïàäàåò;
to
fit
in — âñòàâëÿòü /íà ìåñòî/; ñîîòâåòñòâîâàòü,
ïîäõîäèòü).
For
my
mind
(ïî ìîåìó ìíåíèþ; mind
— óì, ðàçóì; /îòêðîâåííîå/ ìíåíèå, âçãëÿä
),
I
will
make
a
guess
at
the
identity
of
the
murderer
(ÿ ïðåäïîëîæó: «âûñêàæó äîãàäêó î» ëè÷íîñòü óáèéöû)
. I
say
, my
friend
(ïîñëóøàéòå, ìîé äðóã;
to
say — ãîâîðèòü, ñêàçàòü;
I
say — ïîñëóøàéòå! Ýé! /îêëèê èëè âîñêëèöàíèå,
ðàññ÷èòàííûå íà ïðèâëå÷åíèå âíèìàíèÿ ñîáåñåäíèêà/)
, that
it
is
the
big
Italian
(ýòî — âûñîêèé èòàëüÿíåö)
. He
comes
from
America
(îí èç Àìåðèêè;
to
come (
came,
come) — ïðèõîäèòü; ïðèåçæàòü; áûòü ðîäîì /îòêóäà-ëèáî/
) —
from
Chicago
(èç ×èêàãî) —
and
remember
an
Italian’
s
weapon
is
the
knife
(è ïîìíèòå, ÷òî íîæ — ýòî îðóäèå èòàëüÿíöåâ: «÷òî èòàëüÿíñêîå îðóæèå — ýòî íîæ»)
, and
he
stabs
not
once
but
several
times
(è îí íàíåñ óäàð êèíæàëîì íå îäèí, à íåñêîëüêî
ðàç).”
“That is true
(ýòî
ïðàâäà
).”
approval
[q'pru:v(q)l] odd
[O
d] aboveboard
[q"bAv'bO:d] guess
[ges] identity
[aI'dentItI] weapon
['wepqn] knife
[naIf] true
[tru:]
M. Bouc nodded approval.
“That is very clear,” he said.
“There is nothing there that strikes you as at all odd?”
“No, it seems all quite clear and aboveboard. It seems quite plain that the
crime was committed at 1.15. The evidence of the watch shows us that, and Mrs. Hubbard’s story fits in. For my mind, I will make a guess at the identity of the murderer. I say, my friend, that it is the big Italian. He comes
from America — from Chicago — and remember an Italian’s weapon is the knife, and he stabs not once but several times.”
“That is true.”
“Without a doubt, that is the solution of the mystery
(áåç
âñÿêîãî
ñîìíåíèÿ
, ýòî
ðàçãàäêà
òàéíû
; to solve —
ðåøàòü,
ðàçðåøàòü;
ðàñïóòûâàòü; solution —
ðåøåíèå,
ðàçðåøåíèå /
ïðîáëåìû
è
ò.
ï./,
îáúÿñíåíèå)
. Doubtless he and this Ratchett were in this kidnapping business together
(íåñîìíåííî
, ÷òî
îí
è
ýòîò
Ðýò÷åòò
áûëè
â
ýòîì
áèçíåñå
ñ
ïîõèùåíèåì
ëþäåé
âìåñòå
). Cassetti is an Italian name
(Êàññåòòè
— èòàëüÿíñêîå
èìÿ
). In some way
(êàêèì
-òî
îáðàçîì
) Ratchett did on him what they call the double-cross
(Ðýò÷åòò
, ÷òî
íàçûâàåòñÿ
, íàäóë
/ïðîâåë
åãî
; double-cross —
îáìàí,
õèòðîñòü,
óëîâêà; to call —
êðè÷àòü;
íàçûâàòü,
çâàòü)
. The Italian tracks him down (
ýòîò
ñàìûé
èòàëüÿíåö
âûñëåæèâàåò
åãî;
track — ñëåä
; âûñëåæèâàíèå
/ïðåñòóïíèêà
, áåãëåöà
è
ò
.ï
./; to track — ñëåäèòü
, âûñëåæèâàòü
), sends him warning letters first
(ñïåðâà
îòïðàâëÿåò
åìó
óãðîæàþùèå
ïèñüìà
; to warn —
ïðåäóïðåæäàòü;
ïðåäîñòåðåãàòü)
, and finally revenges himself upon him (
è,
â
êîíöå
êîíöîâ,
ìñòèò
åìó;
revenge — ìåñòü
, îòìùåíèå
, to revenge — ìñòèòü
, îòîìñòèòü
) in a brutal way
(æåñòîêèì
/çâåðñêèì
îáðàçîì
; brute —
æèâîòíîå,
òâàðü)
. It is all quite simple (
âñå
î÷åíü
ïðîñòî)
.”
Poirot shook his head doubtfully
(Ïóàðî
ñ
ñîìíåíèåì
ïîêà÷àë
ãîëîâîé
; to shake (shook, shaken) —
òðÿñòè,
âñòðÿõèâàòü;
êà÷àòü; doubt —
ñîìíåíèå,
íåðåøèòåëüíîñòü)
.
without
[wI'DaVt] doubt
[daVt] solution
[sq'lu:S(q)n] mystery
['mIst(q)rI] revenge
[rI'vendZ] brutal
[bru:tl]
“Without a doubt, that is the solution of the mystery. Doubtless he and this
Ratchett were in this kidnapping business together. Cassetti is an Italian name. In some way Ratchett did on him what they call the double-cross. The Italian tracks him down, sends him warning letters first, and finally revenges
himself upon him in a brutal way. It is all quite simple.”
Poirot shook his head doubtfully.
“It is hardly so simple as that, I fear
(âðÿä
ëè
âñå
òàê
ïðîñòî
/êàê
âû
ñêàçàëè
/, áîþñü
),” he murmured
(ïðîáîðìîòàë
îí
).
“
Me,
I
am
convinced
it
is
the
truth
(ÿ óáåæäåí, ÷òî ýòî òàê è åñòü: «ýòî ïðàâäà»;
to
convince — óáåæäàòü, óâåðÿòü
),”
said
M.
Bouc,
becoming
more
and
more
enamoured
of
his
theory
(âñå áîëüøå è áîëüøå óâëåêàÿñü ñâîåé òåîðèåé/ïðåäïîëîæåíèåì: «ñòàíîâÿñü áîëåå è áîëåå
î÷àðîâàííûì/óâëå÷åííûì»; to
enamour
— âîçáóæäàòü ëþáîâü, î÷àðîâûâàòü; óâëåêàòü, ïðèâîäèòü â âîñòîðã, â âîñõèùåíèå
).
“
And
what
about
the
valet
with
the
toothache
(à êàê íàñ÷åò ñëóãè ñ çóáíîé áîëüþ)
who
swears
that
the
Italian
never
left
the
compartment
(êîòîðûé êëÿíåòñÿ, ÷òî èòàëüÿíåö âîâñå íå âûõîäèë
èç êóïå)?”
“
That
is
the
difficulty
(â ýòîì òî è çàãâîçäêà;
difficulty — òðóäíîñòü; ïðåïÿòñòâèå, ïîìåõà;
çàòðóäíåíèå).”
simple
['sImp(q)l] convinced
[kqn'vInst] enamour
[I'nxmq] toothache
['tu:TeIk] difficulty
['dIfIk(q)ltI]
“It is hardly so simple as that, I fear,” he murmured.
“Me, I am convinced it is the truth,” said M. Bouc, becoming more and more
enamoured of his theory.
“And what about the valet with the toothache who swears that the Italian
never left the compartment?”
“That is the difficulty.”
Poirot twinkled
(â
/ãëàçàõ
/ Ïóàðî
ìåëüêíóë
îãîíåê
).
“Yes, it is annoying, that
(äà
, ýòî
äîñàäíî
; to annoy —
äîñàæäàòü,
äîêó÷àòü)
. Unlucky for your theory (
íåóäà÷íî
äëÿ
âàøåé
òåîðèè;
luck — ñóäüáà
, ñëó÷àé
; ñ÷àñòüå
, óäà÷à
, âåçåíüå
), and extremely lucky for our Italian friend
(è
÷ðåçâû÷àéíî
óäà÷íî
äëÿ
íàøåãî
èòàëüÿíñêîãî
äðóãà
) that M. Ratchett’s valet should have had the toothache
(÷òî
ñëóãà
ìèñòåðà
Ðýò÷åòò
äîëæåí
áûë
ìàÿòüñÿ
çóáíîé
áîëüþ
= ÷òî
ó
ñëóãè
ìèñòåðà
Ðýò÷åòòà
áîëåëè
çóáû
).”
“It will be explained
(ýòî
ìîæíî
áóäåò
êàê
-òî
îáúÿñíèòü
),” said M. Bouc with magnificent certainty
(ñêàçàë
ìñüå
Áóê
ñ
çàìå÷àòåëüíîé
óâåðåííîñòüþ
; magnificent —
âåëèêîëåïíûé,
ïûøíûé; certainty —
íåñîìíåííûé
ôàêò;
óâåðåííîñòü)
.
Poirot shook his head again
(Ïóàðî
ñíîâà
ïîêà÷àë
ãîëîâîé
).
“No, it is hardly so simple as that
(íåò
, âðÿä
ëè
âñå
òàê
ïðîñòî
),” he murmured again
(ñíîâà
ïðîáîðìîòàë
îí
).
twinkle
['twINk(q)l] annoying
[q'nOIIN] unlucky
[An'lAkI] extremely
[Ik'stri:mlI] magnificent
[mxg'nIfIs(q)nt] certainty
['sq:tntI]
Poirot twinkled.
“Yes, it is annoying, that. Unlucky for your theory, and extremely lucky
for our Italian friend that M. Ratchett’s valet should have had the toothache.”
“It will be explained,” said M. Bouc with magnificent certainty.
Poirot shook his head again.
“No, it is hardly so simple as that,” he murmured again.
6
THE EVIDENCE OF THE RUSSIAN PRINCESS
(
Ïîêàçàíèÿ
ðóññêîé
êíÿãèíè)
“Let us hear
(äàâàéòå
ïîñëóøàåì
) what Pierre Michel has to say about this button
(÷òî
ìîæåò
ñêàçàòü
Ïüåð
Ìèøåëü
îá
ýòîé
ïóãîâèöå
),” he said.
The
Wagon
Lit
conductor
was
recalled
(âíîâü âûçâàëè ïðîâîäíèêà ñïàëüíîãî âàãîíà;
to
recall — îòçûâàòü /ïîñëà, äåïóòàòà è ò.ï./; âûçûâàòü
îáðàòíî, ïðèêàçàòü âåðíóòüñÿ)
. He
looked
at
them
inquiringly
(îí âîïðîñèòåëüíî ñìîòðåë íà íèõ;
to
inquire — ñïðàøèâàòü, óçíàâàòü
).
M.
Bouc
cleared
his
throat
(ìñüå Áóê îòêàøëÿëñÿ: «ïðî÷èñòèë ãîðëî»;
to
clear — î÷èùàòü;
throat — ãîðëî, ãîðòàíü
).
“Michel,” he said, “here is a button from your tunic
(âîò
ïóãîâèöà
îò
âàøåãî
/ôîðìåííîãî
/ ïèäæàêà
). It was found
(îíà
áûëà
îáíàðóæåíà
; to find (found) —
íàõîäèòü,
îòûñêèâàòü;
îáíàðóæèâàòü)
in the American lady’s compartment (
â
êóïå
àìåðèêàíêè)
. What
have
you
to
say
for
yourself
about
it
(÷òî âû ìîæåòå ñêàçàòü îá ýòîì â ñâîþ çàùèòó;
to
have
smth.
to
say
for
oneself — ñêàçàòü ÷òî-ëèáî â ñâîþ çàùèòó, â
ñâîå îïðàâäàíèå)
?”
The
conductor
’s
hand
went
automatically
(ðóêà ïðîâîäíèêà íåïðîèçâîëüíî ïîòÿíóëàñü;
automatic — àâòîìàòè÷åñêèé; ìàøèíàëüíûé; íåïðîèçâîëüíûé
)
to
his
tunic
(ê /åãî/ ôîðìåííîìó ïèäæàêó)
. “I have lost no button, Monsieur
(ÿ
íå
òåðÿë
íèêàêèõ
ïóãîâèö
, ìñüå
; to lose (lost) —
òåðÿòü)
,” he said. “There must be some mistake (
ýòî,
äîëæíî
áûòü,
êàêàÿ-
òî
îøèáêà)
.”
inquiringly
[In'kwaI(q)rINlI] throat
[TrqVt] tunic
['tju:nIk] automatically
["O:tq'mxtIk(q)lI]
“Let us hear what Pierre Michel has to say about this button,” he said.
The Wagon Lit conductor was recalled. He looked at them inquiringly.
M. Bouc cleared his throat.
“Michel,” he said, “here is a button from your tunic. It was found in
the American lady’s compartment. What have you to say for yourself about it?”
The conductor’s hand went automatically to his tunic. “I have lost no button,
Monsieur,” he said. “There must be some mistake.”
“That is very odd
(ýòî
î÷åíü
ñòðàííî
).”
“
I
cannot
account
for
it,
Monsieur
(íå ìîãó îáúÿñíèòü ýòîãî, ìñüå;
to
account (
for) — ñ÷èòàòü, ïðèçíàâàòü; îòâå÷àòü, íåñòè
îòâåòñòâåííîñòü; îáúÿñíÿòü)
.” The
man
seemed
astonished
(ïðîâîäíèê êàçàëñÿ óäèâëåííûì)
, but
not
in
any
way
guilty
(íî íèêîèì îáðàçîì âèíîâàòûì;
guilt — âèíà, âèíîâíîñòü
)
or
confused
(èëè ñìóùåííûì; confusion
— ñìóùåíèå, çàìåøàòåëüñòâî
).
M.
Bouc
said
meaningly
(ìñüå Áóê ñêàçàë ìíîãîçíà÷èòåëüíî/âûðàçèòåëüíî;
meaning — çíà÷åíèå, ñìûñë
): “
Owing
to
the
circumstances
(èñõîäÿ èç îáñòîÿòåëüñòâ;
owing
to — áëàãîäàðÿ, âñëåäñòâèå, ïî ïðè÷èíå
)
in
which
it
was
found
(ïðè êîòîðûõ îíà áûëà îáíàðóæåíà)
, it
seems
fairly
certain
(êàæåòñÿ äîâîëüíî îïðåäåëåííûì/áåññïîðíûì òî;
fairly — ÷åñòíî, ñïðàâåäëèâî; äîâîëüíî,
â èçâåñòíîé ñòåïåíè)
that
this
button
was
dropped
(÷òî ýòà ïóãîâèöà áûëà îáðîíåíà;
to
drop — êàïàòü; ðîíÿòü
)
by
the
man
(òåì ñàìûì ìóæ÷èíîé)
who
was
in
Mrs.
Hubbard’
s
compartment
last
night
(êîòîðûé áûë â êóïå ìèññèñ Õàááàðä ïðîøëîé íî÷üþ)
when
she
rang
the
bell
(êîãäà îíà çâîíèëà â çâîíîê)
.”
account
[q'kaVnt] astonish
[q'stO
nIS] guilty
['gIltI] confused
[kqn'fju:zd] meaningly
['mi:nINlI] circumstance
['sq:kqmstxns, 'sq:kqmstqns]
“That is very odd.”
“I cannot account for it, Monsieur.” The man seemed astonished, but not
in any way guilty or confused.
M. Bouc said meaningly: “Owing to the circumstances in which it was found,
it seems fairly certain that this button was dropped by the man who was in Mrs. Hubbard’s compartment last night when she rang the bell.”
“But, Monsieur, there was no one there (
íî,
ìñüå,
òàì
íèêîãî
íå
áûëî)
. The
lady
must
have
imagined
it
(ëåäè, äîëæíî áûòü, ïîêàçàëîñü: «âûäóìàëà ýòî»;
to
imagine — âîîáðàæàòü, ïðåäñòàâëÿòü ñåáå; âûäóìûâàòü,
ñî÷èíÿòü).”
“She did not imagine it, Michel
(îíà
íå
ïðèäóìàëà
ýòî
, Ìèøåëü
). The assassin of M. Ratchett passed that way
(óáèéöà
ìèñòåðà
Ðýò÷åòòà
ïðîøåë
òåì
ïóòåì
) — and dropped that button
(è
îáðîíèë
ýòó
ïóãîâèöó
).”
As the significance of M. Bouc’s words
(êîãäà
çíà÷åíèå
/ñìûñë
ñëîâ
ìñüå
Áóêà
) became plain to him
(äîøëî
: «ñäåëàëîñü
ÿñíûì
» äî
íåãî
), Pierre Michel flew into a violent state of agitation
(Ïüåð
Ìèøåëü
ïðèøåë
â
ñîñòîÿíèå
ñèëüíîãî
âîëíåíèÿ
; to fly (flew, flown) —
ëåòàòü,
ëåòåòü; to fly into a state —
ïðèõîäèòü
â
êàêîå-
ëèáî
ñîñòîÿíèå; violent —
íåèñòîâûé,
ÿðîñòíûé;
ñèëüíûé,
îñòðûé,
ðåçêèé; to agitate —
âîëíîâàòü,
âîçáóæäàòü)
.
assassin [q'sxsIn]
significance [sIg'nIfIkqns]
violent ['vaIqlqnt]
agitation ["xdZI'teIS(q)n]
“But, Monsieur, there was no one there. The lady must have imagined it.”
“She did not imagine it, Michel. The assassin of M. Ratchett passed that
way — and dropped that button.”
As the significance of M. Bouc’s words became plain to him, Pierre Michel
flew into a violent state of agitation.
“It is not true, Monsieur (
ýòî
íåïðàâäà,
ìñüå)
; it is not true!” he cried (
âîñêëèêíóë
îí;
to cry — êðè÷àòü
, îðàòü
; âîñêëèöàòü
).
“You
are
accusing
me
of
the
crime
(âû îáâèíÿåòå ìåíÿ â ýòîì ïðåñòóïëåíèè)
. Me
, I
am
innocent
(Ãîñïîäè, ÿ æå íåâèíîâåí;
innocent — íåâèííûé; íåâèíîâíûé
).
I
am
absolutely
innocent
(ÿ ñîâåðøåííî íåâèíîâåí)
! Why
should
I
want
to
kill
a
Monsieur
(çà÷åì áû ìíå ïîíàäîáèëîñü óáèâàòü ìñüå)
whom
I
have
never
seen
before
(êîòîðîãî ÿ íèêîãäà ðàíüøå íå âèäåë)
?”
“
Where
were
you
when
Mrs.
Hubbard’
s
bell
rang
(ãäå âû áûëè, êîãäà çâåíåë çâîíîê ìèññèñ Õàááàðä)
?”
“
I
told
you,
Monsieur
(ÿ ñêàçàë âàì, ìñüå),
in
the
next
coach
(â ñîñåäíåì âàãîíå; coach
— êàðåòà, ýêèïàæ; ïàññàæèðñêèé âàãîí, ðàçäåëåííûé íà êóïå
)
talking
to
my
colleague
(ðàçãîâàðèâàë ñ ìîèì êîëëåãîé)
.”
“We will send for him
(ìû
ïîøëåì
çà
íèì
).”
“Do so, Monsieur
(ïîøëèòå
: «ñäåëàéòå
ýòî
», ìñüå
), I implore you, do so
(ÿ
óìîëÿþ
âàñ
, ïîøëèòå
).”
accuse [q'kju:z]
innocent ['Inqs(q)nt]
colleague ['k
Oli:g]
implore [Im'plO:]
“It is not true, Monsieur; it is not true!” he cried. “You are accusing
me of the crime. Me, I am innocent. I am absolutely innocent! Why should I want to kill a Monsieur whom I have never seen before?”
“Where were you when Mrs. Hubbard’s bell rang?”
“I told you, Monsieur, in the next coach talking to my colleague.”
“We will send for him.”
“Do so, Monsieur, I implore you, do so.”
The conductor of the next coach was summoned (
áûë
âûçâàí
ïðîâîäíèê
ñîñåäíåãî
âàãîíà)
. He immediately confirmed Pierre Michel’s statement
(îí
íåçàìåäëèòåëüíî
ïîäòâåðäèë
ïîêàçàíèÿ
Ïüåðà
Ìèøåëÿ
; statement —
âûñêàçûâàíèå,
èçëîæåíèå;
þð.
ïîêàçàíèå)
. He added that the conductor from the Bucharest coach
(îí
äîáàâèë
, ÷òî
ïðîâîäíèê
èç
áóõàðåñòñêîãî
âàãîíà
) had also been there
(òàêæå
áûë
òàì
). The three of them had been discussing the situation
(îíè
òðîå
îáñóæäàëè
ñèòóàöèþ
/îáñòàíîâêó
) caused by the snow
(ñëîæèâøóþñÿ
èç
-çà
ñíåãîïàäà
; cause —
ïðè÷èíà,
îñíîâàíèå; to cause —
áûòü
ïðè÷èíîé,
ñëóæèòü
ïîâîäîì)
. They had been talking some ten minutes (
îíè
áåñåäîâàëè
ãäå-
òî
äåñÿòü
ìèíóò)
when Michel fancied (
êîãäà
Ìèøåëþ
ïîêàçàëîñü;
to fancy — âîîáðàæàòü
, ïðåäñòàâëÿòü
ñåáå
; ïðåäïîëàãàòü
; âîîáðàæàòü
) he heard a bell
(÷òî
îí
ñëûøàë
çâîíîê
; to hear (heard)
). As he opened the doors (
êîãäà
îí
îòêðûë
äâåðè)
connecting the two coaches (
ñîåäèíÿþùèå
äâà
âàãîíà =
â
ñâîé
âàãîí;
to connect — ñîåäèíÿòü
, ñâÿçûâàòü
), they had all heard it plainly
(îíè
âñå
ÿñíî
/îò÷åòëèâî
óñëûøàëè
åãî
) — a bell ringing repeatedly
(çâîíîê
, âñå
åùå
: «ïîâòîðÿåìî
» çâåíÿùèé
; to repeat —
ïîâòîðÿòü)
. Michel
had
run
post-
haste
to
answer
it
(Ìèøåëü
ñ
îñîáîé
ïîñïåøíîñòüþ
=
áûñòðî ïîáåæàë ÷òîáû îòêëèêíóòüñÿ íà
íåãî; post-
haste — ïîñïåøíî, áûñòðî
).
immediately
[I'mi:dIqtlI]
confirmed [kqn'fq:md]
cause [kO:z]
fancied ['fxnsId]
repeatedly [rI'pi:tIdlI]
posthaste ["pqVst'heIst]
The conductor of the next coach was summoned. He immediately confirmed Pierre
Michel’s statement. He added that the conductor from the Bucharest coach had also been there. The three of them had been discussing the situation caused by the snow. They had been talking some ten minutes when Michel fancied
he heard a bell. As he opened the doors connecting the two coaches, they had all heard it plainly — a bell ringing repeatedly. Michel had run post-haste to answer it.
“So you see, Monsieur, I am not guilty
(âû
âèäèòå
, ìñüå
, ÿ
íå
âèíîâåí
),” cried Michel anxiously
(ñ
âîëíåíèåì
êðè÷àë
Ìèøåëü
).
“
And
this
button
from
a
Wagon
Lit
tunic
(à ýòà ïóãîâèöà ñ ôîðìåííîãî ïèäæàêà /êîìïàíèè/ ñïàëüíûõ âàãîíîâ)
, how
do
you
explain
it
(êàê âû åå îáúÿñíÿåòå)
?”
“I
cannot
, Monsieur
(ÿ íå ìîãó /îáúÿñíèòü/, ìñüå)
. It is a mystery to me
(äëÿ
ìåíÿ
ýòî
òàéíà
). All my buttons are intact
(âñå
ìîè
ïóãîâèöû
öåëû
; intact —
íåïîâðåæäåííûé,
íåâðåäèìûé,
íåòðîíóòûé)
.”
Both of the other conductors also declared
(îáà
äðóãèõ
ïðîâîäíèêà
òîæå
çàÿâèëè
) that they had not lost a button
(÷òî
îíè
íå
òåðÿëè
ïóãîâèö
); also that they had not been
(à
òàê
æå
òî
, ÷òî
îíè
íå
áûëè
) inside Mrs. Hubbard’s compartment at any time
(âíóòðè
êóïå
ìèññèñ
Õàááàðä
íèêîãäà
: «â
ëþáîå
âðåìÿ
»).
“Calm yourself, Michel
(óñïîêîéòåñü
, Ìèøåëü
),” said M. Bouc, “and cast your mind back to the moment
(è
âñïîìíèòå
òîò
ñàìûé
ìîìåíò
; to cast —
áðîñàòü,
êèäàòü;
ðåäê.
îáäóìûâàòü,
ðàçìûøëÿòü; mind —
óì,
ðàçóì;
ïàìÿòü)
when you ran to answer Mrs. Hubbard’s bell (
êîãäà
âû
áåæàëè,
÷òîáû
îòêëèêíóòüñÿ
íà
çâîíîê
ìèññèñ
Õàááàðä)
. Did you meet anyone at all in the corridor (
âû,
âîîáùå,
âñòðåòèëè
êîãî-
íèáóäü
â
êîðèäîðå)
?”
“No, Monsieur.”
guilty
['gIltI] anxiously
['xNklqslI] declared
[dI'kleqd]
“So you see, Monsieur, I am not guilty,” cried Michel anxiously.
“And this button from a Wagon Lit tunic, how do you explain it?”
“I cannot, Monsieur. It is a mystery to me. All my buttons are intact.”
Both of the other conductors also declared that they had not lost a button;
also that they had not been inside Mrs. Hubbard’s compartment at any time.
“Calm yourself, Michel,” said M. Bouc, “and cast your mind back to the
moment when you ran to answer Mrs. Hubbard’s bell. Did you meet anyone at all in the corridor?”
“No, Monsieur.”
“Did you see anyone going away from you
(âèäåëè
ëè
âû
êîãî
-íèáóäü
óäàëÿþùåãîñÿ
îò
âàñ
; to go away —
óõîäèòü)
down the corridor in the other direction (
ïî
êîðèäîðó
â
äðóãîì
íàïðàâëåíèè)
?”
“Again, no, Monsieur
(îïÿòü
æå
íåò
, ìñüå
).”
“Odd
(ñòðàííî
),” said M. Bouc.
“Not so very (
äà
íå
î÷åíü)
,” said Poirot. “It is a question of time (
ýòî
âîïðîñ
âðåìåíè)
. Mrs. Hubbard wakes to find someone in her compartment
(ìèññèñ
Õàááàðä
ïðîñûïàåòñÿ
è
îáíàðóæèâàåò
êîãî
-òî
â
ñâîåì
êóïå
). For
a
minute
or
two
she
lies
paralysed
(ìèíóòó èëè äâå îíà ëåæèò ïàðàëèçîâàííàÿ /ñòðàõîì/)
, her
eyes
shut
(åå ãëàçà /ïðè ýòîì/ çàêðûòû)
. Probably it was then that the man slipped out into the corridor
(âîçìîæíî
, ÷òî
èìåííî
òîãäà
: «ýòî
áûëî
òîãäà
, êîãäà
» ýòîò
ìóæ÷èíà
âûñêîëüçíóë
â
êîðèäîð
; to slip out —
âûéòè,
âûáåæàòü /
íà
óëèöó/
). Then
she
starts
ringing
the
bell
(çàòåì îíà íà÷èíàåò çâîíèòü â çâîíîê;
to
start — îòïðàâëÿòüñÿ, ïóñêàòüñÿ â ïóòü; íà÷èíàòü,
ïðèñòóïàòü /ê ÷åìó-ëèáî/)
. But the conductor does not come at once
(íî
ïðîâîäíèê
íå
ïðèõîäèò
ñðàçó
æå
). It is only the third or fourth peal that he hears
(îí
ñëûøèò
òîëüêî
òðåòèé
èëè
÷åòâåðòûé
ïåðåçâîí
; peal —
çâîí
êîëîêîëîâ,
ïåðåçâîí,
òðåçâîí)
. I
should
say
myself
that
there
was
ample
time
(äîëæåí ñêàçàòü, ÷òî âðåìåíè áûëî ïðåäîñòàòî÷íî;
ample — îáèëüíûé, áîãàòûé; /âïîëíå/ äîñòàòî÷íûé
/äëÿ ÷åãî-ëèáî/)
— ”
lie [laI]
paralyse ['pxrqlaIz]
fourth [fO:T]
ample ['xmp(q)l]
“Did you see anyone going away from you down the corridor in the other direction?”
“Again, no, Monsieur.”
“Odd,” said M. Bouc.
“Not so very,” said Poirot. “It is a question of time. Mrs. Hubbard wakes
to find someone in her compartment. For a minute or two she lies paralysed, her eyes shut. Probably it was then that the man slipped out into the corridor. Then she starts ringing the bell. But the conductor does not come
at once. It is only the third or fourth peal that he hears. I should say myself that there was ample time — ”
“For what
(äëÿ
÷åãî
)? For what,
mon cher (
äëÿ
÷åãî,
äðóã
ìîé)
! Remember, there are thick drifts of snow (
ïîìíèòå,
÷òî
áîëüøèå
ñóãðîáû
ñíåãà;
thick — òîëñòûé
, drift — ìåäëåííîå
òå÷åíèå
; ñóãðîá
/ñíåãà
/, íàíîñ
/ïåñêà
/)
all round the train (
îêðóæàþò: «
ñî
âñåõ
ñòîðîí»
ïîåçä)
.”
“There are two courses open
(åñòü
äâà
ïóòè
, îòêðûòûõ
/äîñòóïíûõ
; course —
êóðñ,
íàïðàâëåíèå;
òå÷åíèå,
ïóòü; open —
îòêðûòûé,
ðàñêðûòûé;
äîñòóïíûé)
to our mysterious assassin (
íàøåìó
òàèíñòâåííîìó
óáèéöå)
,” said Poirot slowly (
ñêàçàë
Ïóàðî
ìåäëåííî)
. “He could retreat into either of the toilets (
îí
ìîã
óäàëèòüñÿ
â
îäèí
èç
òóàëåòîâ;
to retreat — îòõîäèòü
, îòñòóïàòü
; óäàëÿòüñÿ
, óõîäèòü
) or — he could disappear
(èëè
— îí
ìîã
ñêðûòüñÿ
; to disappear —
èñ÷åçíóòü)
into one of the compartments (
â
îäíîì
èç
êóïå)
.”
“
But
they
were
all
occupied
(íî âñå îíè áûëè çàíÿòû;
to
occupy — çàíèìàòü /ìåñòî, ïðîñòðàíñòâî è ò.ï./
).”
“
Yes.”
“
You
mean
that
he
could
retreat
(âû èìååòå â âèäó, ÷òî îí ìîã óäàëèòüñÿ)
into
his
own
compartment
(â ñâîå ñîáñòâåííîå êóïå)
?”
Poirot nodded
(Ïóàðî
êèâíóë
).
thick [TIk]
course [kO:s]
mysterious [mI'stI(q)rIqs]
toilet ['tOIlIt]
occupied ['
OkjVpaId]
“For what? For what, mon cher! Remember, there are thick drifts of snow all
round the train.”
“There are two courses open to our mysterious assassin,” said Poirot slowly.
“He could retreat into either of the toilets or — he could disappear into one of the compartments.”
“But they were all occupied.”
“Yes.”
“You mean that he could retreat into his own compartment?”
Poirot nodded.
“It fits
(âñå
ñîâïàäàåò
; to fit —
ñîîòâåòñòâîâàòü,
ãîäèòüñÿ;
ñîâïàäàòü,
òî÷íî
ïîäõîäèòü)
— it fits;’ murmured M. Bouc (
ñîâïàäàåò, —
ïðîáîðìîòàë
ìñüå
Áóê)
. “During that ten minutes’ absence of the conductor
(çà
òå
äåñÿòü
ìèíóò
îòñóòñòâèÿ
ïðîâîäíèêà
; during —
â
ïðîäîëæåíèå,
â
òå÷åíèå)
, the murderer comes from his own compartment (
óáèéöà
âûõîäèò
èç
ñâîåãî
ñîáñòâåííîãî
êóïå)
, goes into Ratchett’s (
èäåò
â /
êóïå/
Ðýò÷åòòà)
, kills him (
óáèâàåò
åãî)
, locks and chains the door on the inside (
çàïèðàåò
äâåðü
íà
çàìîê
è
íà
öåïî÷êó
èçíóòðè;
lock — çàìîê
, çàïîð
, çàòâîð
; chain — öåïü
, öåïî÷êà
), goes out through Mrs. Hubbard’s compartment
(âûõîäèò
÷åðåç
êóïå
ìèññèñ
Õàááàðä
), and is back safely in his own compartment
(è
áëàãîïîëó÷íî
âîçâðàùàåòñÿ
â
ñâîå
ñîáñòâåííîå
êóïå
; safe —
áåçîïàñíûé;
íàäåæíûé;
áëàãîïîëó÷íûé)
by the time the conductor arrives (
äî
òîãî,
êàê: «
êî
âðåìåíè»
ïðèõîäèò
ïðîâîäíèê;
to arrive — ïðèáûâàòü
, ïðèåçæàòü
).”
absence
['xbs(q)ns] through
[Tru:] safely
['seIflI]
“It fits — it fits;’ murmured M. Bouc. “During that ten minutes’
absence of the conductor, the murderer comes from his own compartment, goes into Ratchett’s, kills him, locks and chains the door on the inside, goes out through Mrs. Hubbard’s compartment, and is back safely in his own
compartment by the time the conductor arrives.”
Poirot murmured
(Ïóàðî
ïðîáîðìîòàë
): “It is not quite so simple as that
(òóò
âñå
íå
òàê
ïðîñòî
), my friend. Our friend the doctor here
(âîò
, íàø
äðóã
äîêòîð
; here —
çäåñü,
òóò;
âîò)
will tell you so (
ïîäòâåðäèò: «
ñêàæåò
âàì
òàê»)
.”
With a gesture M. Bouc signified
(æåñòîì
= äâèæåíèåì
ðóêè
ìñüå
Áóê
ïîêàçàë
; to signify —
âûðàæàòü,
ïîêàçûâàòü)
that the three conductors might depart (
÷òî
òðè
ïðîâîäíèêà
ìîãóò
óäàëèòüñÿ)
.
“
We
have
still
to
see
eight
passengers
(íàì âñå åùå ïðåäñòîèò âñòðåòèòüñÿ ñ âîñåìüþ ïàññàæèðàìè;
to
see — âèäåòü; âèäåòüñÿ, âñòðå÷àòüñÿ
),”
said
Poirot. “
Five
first-
class
passengers
(ïÿòü ïàññàæèðîâ ïåðâîãî êëàññà)
— Princess
Dragomiroff
(êíÿãèíÿ Äðàãîìèðîâà)
, Count
and
Countess
Andrenyi
(ãðàô è ãðàôèíÿ Àíäðåíè)
, Colonel
Arbuthnot
(ïîëêîâíèê Àðáýòíîò)
, and
Mr
. Hardman
(è ìèñòåð Õàðäìàí)
. Three
second
-class
passengers
(òðè ïàññàæèðà âòîðîãî êëàññà)
— Miss
Debenham
(ìèññ Äåáåíõýì)
, Antonio
Foscarelli
(Àíòîíèî Ôîñêàðåëëè)
, and
the
lady
’s
-maid
(è ãîðíè÷íàÿ/ñëóæàíêà /êíÿãèíè/)
, Fr
äulein
Schmidt
(ôðåéëåéí Øìèäò)
.”
gesture ['dZestSq]
signified ['sIgnIfaId]
passenger ['pxsIndZq,
—
s(q)ndZq]
Poirot murmured: “It is not quite so simple as that, my friend. Our friend
the doctor here will tell you so.”
With a gesture M. Bouc signified that the three conductors might depart.
“We have still to see eight passengers,” said Poirot. “Five first-class
passengers — Princess Dragomiroff, Count and Countess Andrenyi, Colonel Arbuthnot, and Mr. Hardman. Three second-class passengers — Miss Debenham, Antonio Foscarelli, and the lady’s-maid, Fräulein Schmidt.”
“
Whom
will
you
see
first
(ñ êåì âû âñòðåòèòåñü â ïåðâóþ î÷åðåäü)
— the
Italian
(ñ èòàëüÿíöåì)
?”
“
How
you
harp
on
your
Italian
(çàëàäèëè ñî ñâîèì èòàëüÿíöåì;
harp — àðôà,
to
harp — èãðàòü íà àðôå; òâåðäèòü, áóáíèòü îäíî
è òî æå)!
No,
we
will
start
at
the
top
of
the
tree
(íåò, ìû íà÷íåì ñ ñàìîé çíàòíîé ïåðñîíû: «ñ âåðõóøêè äåðåâà»;
to
be
at
the
top
of
the
tree — áûòü âî ãëàâå /÷åãî-ëèáî/; çàíèìàòü
âèäíîå ïîëîæåíèå)
. Perhaps
Madame
la
Princesse
will
be
so
good
(áóäåò ëè ìàäàì êíÿãèíÿ òàê äîáðà)
as
to
spare
us
a
few
moments
of
her
time
(÷òîáû óäåëèòü íàì íåñêîëüêî ìèíóò ñâîåãî âðåìåíè;
to
spare — áåðå÷ü, ñáåðåãàòü; óäåëÿòü /÷òî-ëèáî
êîìó-ëèáî/).
Convey
that
message
to
her,
Michel
(Ìèøåëü, ïåðåäàéòå åé ýòî ïîñëàíèå = ïðîñüáó;
to
convey — ïåðåâîçèòü; ñîîáùàòü, ïåðåäàâàòü;
message — ñîîáùåíèå, äîíåñåíèå
).”
“
Oui, Monsieur
(äà
, ìñüå
),” said the conductor, who was just leaving the car
(êîòîðûé
êàê
ðàç
âûõîäèë
èç
âàãîíà
).
“
Tell
her
we
can
wait
on
her
in
her
compartment
(ïåðåäàéòå åé, ÷òî ìû ìîæåì íàíåñòè âèçèò â åå êóïå;
to
wait — æäàòü, îæèäàòü; îôèö.ðåäê. ïðåäñòàâëÿòüñÿ
/êîìó-ëèáî/, ÿâëÿòüñÿ /ê êîìó-ëèáî/, íàíîñèòü âèçèò)
if
she
does
not
wish
to
put
herself
to
the
trouble
of
coming
here
(åñëè îíà íå ñîèçâîëèò ïðèéòè: «íå çàõî÷åò îáðåìåíÿòü
ñåáÿ ïðèõîäîì» ñþäà; to put smb. to trouble — ïðè÷èíÿòü êîìó-ëèáî áåñïîêîéñòâî;
trouble — áåñïîêîéñòâî, âîëíåíèå, òðåâîãà
),”
called
M.
Bouc
(êðèêíóë /âñëåä/ ìñüå Áóê)
.
convey [kqn'veI]
message
['mesIdZ] trouble
['trAb(q)l]
“Whom will you see first — the Italian?”
“How you harp on your Italian! No, we will start at the top of the tree.
Perhaps Madame la Princesse will be so good as to spare us a few moments of her time. Convey that message to her, Michel.”
“Oui, Monsieur,” said the conductor, who was just leaving the car.
“Tell her we can wait on her in her compartment if she does not wish to put
herself to the trouble of coming here,” called M. Bouc.
But Princess Dragomiroff declined to take this course
(íî
êíÿãèíÿ
Äðàãîìèðîâà
îòêëîíèëà
òàêîé
ñöåíàðèé
: «ëèíèþ
ïîâåäåíèÿ
»; to decline —
îïóñêàòüñÿ;
èäòè
âíèç;
îòêëîíÿòü,
îòâåðãàòü;
course — êóðñ
, íàïðàâëåíèå
; ëèíèÿ
ïîâåäåíèÿ
). She appeared in the dining-car
(îíà
ïîÿâèëàñü
â
âàãîíå
-ðåñòîðàíå
), inclined her head slightly
(ñëåãêà
ñêëîíèëà
ãîëîâó
/â
çíàê
ïðèâåòñòâèÿ
/; to incline —
íàêëîíÿòü,
íàãèáàòü;
ñêëîíÿòü)
and sat down opposite Poirot (
è
ñåëà
íàïðîòèâ
Ïóàðî)
.
Her small toad-like face
(åå
ìàëåíüêîå
æàáüå
ëèöî
) looked even yellower than the day before
(âûãëÿäåëî
åùå
æåëòåå
, ÷åì
íàêàíóíå
: «äíåì
ðàíüøå
»). She was certainly ugly
(îíà
áûëà
îïðåäåëåííî
óðîäëèâà
), and yet, like the toad
(è
âñå
æå
, êàê
è
ó
æàáû
; like —
òàê,
êàê
êòî-
ëèáî,
êàê
÷òî-
ëèáî)
, she had eyes like jewels (
åå
ãëàçà
áûëè
ïîõîæè
íà
äðàãîöåííûå
êàìíè;
like — ïîäîáíûé
, ïîõîæèé
), dark and imperious
(òåìíûå
è
âëàñòíûå
), revealing latent energy
(ñâèäåòåëüñòâóþùèå
î
ñêðûòîé
ýíåðãèè
/ñèëå
; to reveal —
ïîêàçûâàòü,
îáíàðóæèâàòü)
and an intellectual force (
è
ñèëå
óìà: «
óìñòâåííîé
ñèëå/
ìîùè»)
that could be felt at once (
êîòîðûå
íåìåäëåííî
îùóùàëèñü)
.
decline [dI'klaIn]
slightly ['slaItlI]
toad [tqVd]
ugly ['AglI]
jewel ['dZu:ql]
imperious [Im'pI(q)rIqs]
latent ['leIt(q)nt]
energy ['enqdZI]
intellectual ["IntI'lektSVql]
But Princess Dragomiroff declined to take this course. She appeared in the
dining-car, inclined her head slightly and sat down opposite Poirot.
Her small toad-like face looked even yellower than the day before. She was
certainly ugly, and yet, like the toad, she had eyes like jewels, dark and imperious, revealing latent energy and an intellectual force that could be felt at once.
Her voice was deep
(ãîëîñ
ó
íåå
áûë
íèçêèé
; deep —
ãëóáîêèé)
, very distinct (
î÷åíü
÷åòêèé;
distinct — îò÷åòëèâûé
, ÿñíûé
), with a slight grating quality in it
(ñ
ëåãêîé
õðèïîòöîé
: «õðèïëûì
êà÷åñòâîì
»; grating —
ñêðèïó÷èé,
ðåçêèé; quality —
êà÷åñòâî,
ñîðò;
ñâîéñòâî;
òåìáð)
.
She cut short
(îíà
îáîðâàëà
; to cut —
ðåçàòü;
ïðåñåêàòü; short —
êîðîòêî;
ðåçêî,
êðóòî;
ïðåæäåâðåìåííî,
äî
ñðîêà)
a flowery phrase of apology from M. Bouc (
ïûøíóþ: «
öâåòèñòóþ/
âèòèåâàòóþ»
ôðàçó
ñ
èçâèíåíèÿìè
ìñüå
Áóêà)
.
“You need not offer apologies, Messieurs
(íå
íóæíî
ïðèíîñèòü
èçâèíåíèÿ
, ãîñïîäà
; to offer —
ïðåäëàãàòü;
âûðàæàòü,
ïðåäëàãàòü; apology —
èçâèíåíèå)
. I understand (
íàñêîëüêî
ÿ
çíàþ)
a murder has taken place (
ïðîèçîøëî
óáèéñòâî;
to take place — ñëó÷àòüñÿ
, ïðîèñõîäèòü
). Naturally you must interview all the passengers
(åñòåñòâåííî
, ÷òî
âû
äîëæíû
îïðîñèòü
âñåõ
ïàññàæèðîâ
). I shall be glad to give you all the assistance
(ÿ
áóäó
ðàäà
îêàçàòü
âàì
ëþáîå
ñîäåéñòâèå
/ïîìîùü
) in my power
(÷òî
â
ìîèõ
ñèëàõ
).”
“You are most amiable, Madame
(âû
î÷åíü
ëþáåçíû
, ìàäàì
),” said Poirot.
“Not at all
(âîâñå
íåò
). It is a duty
(ýòî
/ìîé
/ äîëã
). What do you wish to know
(÷òî
âû
õîòèòå
çíàòü
)?”
distinct [dIs'tIN
(k)t]
quality ['kw
OlItI]
phrase [freIz]
apology [q'p
OlqdZI]
Her voice was deep, very distinct, with a slight grating quality in it.
She cut short a flowery phrase of apology from M. Bouc.
“You need not offer apologies, Messieurs. I understand a murder has taken
place. Naturally you must interview all the passengers. I shall be glad to give you all the assistance in my power.”
“You are most amiable, Madame,” said Poirot.
“Not at all. It is a duty. What do you wish to know?”
“Your full Christian names (
âàøå
ïîëíîå
èìÿ;
Christian name — èìÿ
, äàííîå
ïðè
êðåùåíèè
) and address, Madame
(è
àäðåñ
, ìàäàì
). Perhaps
you
would
prefer
(âîçìîæíî, âû çàõîòèòå;
to
prefer — ïðåäïî÷èòàòü, îòäàâàòü ïðåäïî÷òåíèå
)
to
write
them
yourself
(çàïèñàòü èõ ñàìè)?”
Poirot
proffered
a
sheet
of
paper
and
pencil
(Ïóàðî ïðåäëîæèë /åé/ ëèñò áóìàãè è êàðàíäàø)
, but
the
Princess
waved
them
aside
(íî êíÿãèíÿ îòìàõíóëàñü: «îòêëîíèëà èõ â ñòîðîíó»;
to
wave
aside — îòñòðàíèòü /ðóêîé/
).
“You
can
write
it
(âû ìîæåòå çàïèñàòü èõ /ñàìè/)
,” she
said
. “There
is
nothing
difficult
(íè÷åãî ñëîæíîãî: «òðóäíîãî»)
. Natalia
Dragomiroff
, 17 Avenue
Kl
éber
, Paris
(Íàòàëüÿ Äðàãîìèðîâà, Ïàðèæ, àâåíþ Êëåáåð
, äîì
17).”
“You are travelling home from Constantinople, Madame
(âû
åäåòå
äîìîé
èç
Êîíñòàíòèíîïîëÿ
, ìàäàì
)?”
“
Yes.
I
have
been
staying
at
the
Austrian
Embassy
(ÿ ãîñòèëà â àâñòðèéñêîì ïîñîëüñòâå;
to
stay — îñòàâàòüñÿ, íå óõîäèòü; îñòàíàâëèâàòüñÿ,
ãîñòèòü).
My
maid
is
with
me
(ñî ìíîé /åäåò/ ìîÿ ñëóæàíêà/ãîðíè÷íàÿ)
.”
Christian
['krIstSqn, 'krIstIqn] prefer
[prI'fq:] Austrian
['O
strIqn] embassy
['embqsI]
“Your full Christian names and address, Madame. Perhaps you would prefer
to write them yourself?”
Poirot proffered a sheet of paper and pencil, but the Princess waved them aside.
“You can write it,” she said. “There is nothing difficult. Natalia Dragomiroff,
17 Avenue Kléber, Paris.”
“You are travelling home from Constantinople, Madame?”
“Yes. I have been staying at the Austrian Embassy. My maid is with me.”
“Would you be so good
(íå
áóäåòå
ëè
âû
ñòîëü
ëþáåçíû
) as to give me a brief account of your movements
(è
íå
îïèøèòå
ëè
âêðàòöå
, ÷åì
âû
çàíèìàëèñü
: «âàøè
äåéñòâèÿ
»; account —
ñ÷åò;
îò÷åò,
äîêëàä,
ñîîáùåíèå; to give an account of smth. —
äåëàòü
îò÷åò
î
÷åì-
ëèáî,
îïèñûâàòü
÷òî-
ëèáî,
äàâàòü
ñâåäåíèÿ
î
÷åì-
ëèáî)
last night from dinner onwards (
ïðîøëîé
íî÷üþ,
íà÷èíàÿ
ïîñëå
óæèíà: «
îáåäà»)
?”
“Willingly
(îõîòíî;
willing — ãîòîâûé, ñêëîííûé, ðàñïîëîæåííûé
).
I
directed
the
conductor
(ÿ äàëà ðàñïîðÿæåíèå ïðîâîäíèêó;
to
direct — íàïðàâëÿòü; ïðåäïèñûâàòü, äàâàòü
óêàçàíèå, ðàñïîðÿæåíèå)
to
make
up
my
bed
whilst
I
was
in
the
dining
-car
(ïîñòåëèòü ìîþ ïîñòåëü, ïîêà ÿ áûëà â âàãîíå-ðåñòîðàíå)
. I
retired
to
bed
immediately
after
dinner
(ñðàçó æå ïîñëå óæèíà ÿ ëåãëà â ïîñòåëü;
to
retire — óäàëÿòüñÿ, óõîäèòü; ëîæèòüñÿ ñïàòü
).
I read until the hour of eleven (
ÿ
÷èòàëà
÷àñîâ
äî
îäèííàäöàòè)
, when I turned out my light (
ïîñëå
÷åãî: «
êîãäà»
âûêëþ÷èëà
ñâåò)
. I
was
unable
to
sleep
(ÿ íå ìîãëà çàñíóòü; unable
— íåñïîñîáíûé; able
— ñïîñîáíûé, îáëàäàþùèé ñïîñîáíîñòüþ
)
owing
to
certain
rheumatic
pains
(èç-çà ïîñòîÿííûõ ðåâìàòè÷åñêèõ áîëåé = èç-çà ðåâìàòèçìà;
certain — îïðåäåëåííûé, íåèçìåííûé, ïîñòîÿííûé
)
from
which
I
suffer
(îò êîòîðîãî ÿ ñòðàäàþ)
. At
about
a
quarter
to
one
I
rang
for
my
maid
(/îêîëî/ áåç ÷åòâåðòè ÷àñ ÿ çâîíêîì âûçâàëà ñâîþ
ãîðíè÷íóþ). She
massaged
me
(îíà ñäåëàëà ìíå ìàññàæ)
and
then
read
aloud
(è çàòåì ÷èòàëà ìíå âñëóõ;
aloud — âñëóõ
)
till
I
felt
sleepy
(ïîêà ìåíÿ íå ñòàëî êëîíèòü êî ñíó: «ÿ ïî÷óâñòâîâàëà ñåáÿ ñîíëèâîé»
).
I cannot say exactly
(íå
ìîãó
ñêàçàòü
òî÷íî
), when she left me
(êîãäà
îíà
óøëà
îò
ìåíÿ
). It may have been half an hour afterward
(ìîæåò
áûòü
, ïîë÷àñà
ñïóñòÿ
), it may have been later
(ìîãëî
áûòü
, è
ïîçæå
).”
brief
[bri:f] onwards
['O
nwqdz] willingly
['wIlINlI] rheumatic
[ru:'mxtIk] massage
['mxsQ:Z]
“Would you be so good as to give me a brief account of your movements last
night from dinner onwards?”
“Willingly. I directed the conductor to make up my bed whilst I was in the
dining-car. I retired to bed immediately after dinner. I read until the hour of eleven, when I turned out my light. I was unable to sleep owing to certain rheumatic pains from which I suffer. At about a quarter to one I rang
for my maid. She massaged me and then read aloud till I felt sleepy. I cannot say exactly, when she left me. It may have been half an hour afterward, it may have been later.”
“
The
train
had
stopped
then
(òîãäà ïîåçä óæå ñòîÿë: «óæå îñòàíîâèëñÿ òîãäà»)
?”
“The train had stopped
(ïîåçä
óæå
ñòîÿë
).”
“You heard nothing
(âû
íè÷åãî
íå
ñëûøàëè
) — nothing unusual during the time, Madame
(íè÷åãî
íåîáû÷íîãî
âñå
ýòî
âðåìÿ
, ìàäàì
)?”
“
I
heard
nothing
unusual
(ÿ íå ñëûøàëà íè÷åãî íåîáû÷íîãî)
.”
“What is your maid’s name
(êàê
çîâóò
âàøó
ñëóæàíêó
)?”
“Hildegarde Schmidt
(Õèëüäåãàðäà
Øìèäò
).”
“She has been with you long
(îíà
äàâíî
ñëóæèò
ó
âàñ
; to be with smb., smth. —
ðàáîòàòü
ó
êîãî-
ëèáî,
ãäå-
ëèáî /
ïî
íàéìó/
)?”
“
Fifteen
years
(ïÿòíàäöàòü ëåò).”
“
You
consider
her
trustworthy
(âû ñ÷èòàåòå åå çàñëóæèâàþùåé äîâåðèÿ = âû åé äîâåðÿåòå;
to
consider — ðàññìàòðèâàòü, îáñóæäàòü; ïîëàãàòü,
ñ÷èòàòü)?”
“
Absolutely
(ïîëíîñòüþ).
Her
people
(åå ñåìüÿ; people
— íàðîä, íàöèÿ; ðîäíûå, ðîäñòâåííèêè, ðîäèòåëè
)
come
from
an
estate
(ðîäîì èç ïîìåñòüÿ)
of
my
late
husband’
s
in
Germany
(ìîåãî ïîêîéíîãî ìóæà, â Ãåðìàíèè;
late — îïîçäàâøèé; ïîêîéíûé
).”
unusual
[An'ju:|ZVql, —
Z(q)l]
trustworthy ['trAst"wq:DI]
absolutely ["xbsq'lu:tlI]
“The train had stopped then?”
“The train had stopped.”
“You heard nothing — nothing unusual during the time, Madame?”
“I heard nothing unusual.”
“What is your maid’s name?”
“Hildegarde Schmidt.”
“She has been with you long?”
“Fifteen years.”
“You consider her trustworthy?”
“Absolutely. Her people come from an estate of my late husband’s in Germany.”
“You have been in America, I presume, Madame
(âû
áûâàëè
â
Àìåðèêå
, ÿ
ïîëàãàþ
, ìàäàì
)?”
The abrupt change of subject
(òàêàÿ
âíåçàïíàÿ
/íåîæèäàííàÿ
ñìåíà
òåìû
/ðàçãîâîðà
/) made the old lady raise her eyebrows
(çàñòàâèëà
ïîæèëóþ
äàìó
óäèâèòüñÿ
; to raise the eyebrows —
ïîäíÿòü
áðîâè /
â
çíàê
óäèâëåíèÿ,
íåäîâîëüñòâà
è
ò.
ï.
/). “Many times
(ìíîãî
ðàç
; time —
âðåìÿ;
ðàç,
ñëó÷àé)
.”
“Were you at any time acquainted
(âû
áûëè
êîãäà
-ëèáî
: «â
êàêîå
-íèáóäü
âðåìÿ
» çíàêîìû
) with a family of the name of Armstrong
(ñ
ñåìüåé
ïî
ôàìèëèè
Àðìñòðîíã
) — a family in which a tragedy occurred
(ñåìüåé
, â
êîòîðîé
ñëó÷èëàñü
òðàãåäèÿ
)?”
With some emotion in her voice
(ñ
íåêîòîðûì
âîëíåíèåì
â
ãîëîñå
) the old lady said
(ïîæèëàÿ
äàìà
ñêàçàëà
): “You speak of friends of mine, Monsieur
(âû
ãîâîðèòå
î
ìîèõ
äðóçüÿõ
, ìñüå
).”
presume [prI'zju:m]
abrupt [q'brApt]
tragedy ['trxdZIdI]
emotion [I'mqVS(q)n]
“You have been in America, I presume, Madame?”
The abrupt change of subject made the old lady raise her eyebrows. “Many
times.”
“Were you at any time acquainted with a family of the name of Armstrong —
a family in which a tragedy occurred?”
With some emotion in her voice the old lady said: “You speak of friends of
mine, Monsieur.”
“You knew Colonel Armstrong well, then
(çíà÷èò
, âû
õîðîøî
çíàëè
ïîëêîâíèêà
Àðìñòðîíãà
)?”
“I knew him slightly (
ÿ
çíàëà
åãî
íåìíîãî)
, but his wife, Sonia Armstrong, was my god-daughter
(íî
åãî
æåíà
, Ñîíÿ
Àðìñòðîíã
, áûëà
ìîåé
êðåñòíèöåé
; god —
áîã; daughter —
äî÷ü)
. I was on terms of friendship with her mother (
ÿ
áûëà
â
äðóæåñêèõ
îòíîøåíèÿõ =
äðóæèëà
ñ
åå
ìàòåðüþ;
term — ïåðèîä
, ñðîê
; îòíîøåíèÿ
; friendship — äðóæáà
), the actress, Linda Arden
(àêòðèñîé
Ëèíäîé
Àðäåí
). Linda Arden was a great genius
(Ëèíäà
Àðäåí
áûëà
î÷åíü
òàëàíòëèâîé
: «êîëîññàëüíûì
òàëàíòîì
»; genius —
îäàðåííîñòü,
ãåíèàëüíîñòü;
òàëàíò)
, one of the greatest tragic actresses in the world
(îäíîé
èç
âåëè÷àéøèõ
òðàãè÷åñêèõ
àêòðèñ
ìèðà
). As
Lady
Macbeth
(/â ðîëè/ Ëåäè Ìàêáåò)
, as
Magda
(/â ðîëè/ Ìàãäû)
, there
was
no
one
to
touch
her
(íèêòî íå ìîã ñ íåé ñðàâíèòüñÿ;
to
touch — êàñàòüñÿ, òðîãàòü; ðàâíÿòüñÿ, èäòè
â ñðàâíåíèå).
I
was
not
only
an
admirer
of
her
art
(ÿ áûëà íå òîëüêî ïîêëîííèöåé åå òàëàíòà: «ìàñòåðñòâà»;
to
admire — âîñõèùàòüñÿ, âîñòîðãàòüñÿ;
art — èñêóññòâî; óìåíèå, ìàñòåðñòâî
),
I
was
a
personal
friend
(ÿ áûëà åå ëè÷íîé = áëèçêîé
ïîäðóãîé).”
god-daughter
['gO
d"dO:tq] friendship
['frendSIp] genius
['dZi:nIqs] admirer
[qd'maI(q)rq]
“You knew Colonel Armstrong well, then?”
“I knew him slightly, but his wife, Sonia Armstrong, was my god-daughter.
I was on terms of friendship with her mother, the actress, Linda Arden. Linda Arden was a great genius, one of the greatest tragic actresses in the world. As Lady Macbeth, as Magda, there was no one to touch her. I was not
only an admirer of her art, I was a personal friend.”
“She is dead
(îíà
óìåðëà
; dead —
ìåðòâûé,
óìåðøèé)
?”
“No, no, she is alive, but she lives in complete retirement
(îíà
æèâà
, íî
îíà
æèâåò
â
ïîëíîì
óåäèíåíèè
; retirement —
îòñòàâêà;
óåäèíåíèå,
óåäèíåííàÿ
æèçíü)
. Her health is very delicate (
ó
íåå
î÷åíü
ñëàáîå
çäîðîâüå;
delicate — óòîí÷åííûé
, èçûñêàííûé
; ñëàáûé
, áîëåçíåííûé
), and she has to lie on a sofa most of the time
(è
îíà
âûíóæäåíà
ëåæàòü
â
ïîñòåëè
: «íà
äèâàíå
» áîëüøóþ
÷àñòü
âðåìåíè
).”
“There was, I think, a second daughter
(/ó
íåå
/ áûëà
, ìíå
êàæåòñÿ
, âòîðàÿ
äî÷ü
)?”
“Yes, much younger than Mrs. Armstrong
(äà
, ãîðàçäî
ìëàäøå
/÷åì
/ ìèññèñ
Àðìñòðîíã
; young —
ìîëîäîé;
ìëàäøèé /
î
÷ëåíàõ
îäíîé
ñåìüè/
).”
“And she is alive
(è
îíà
æèâà
)?”
“Certainly
(ðàçóìååòñÿ
).”
retirement [rI'taIqmqnt]
health [helT]
delicate ['delIkIt]
“She is dead?”
“No, no, she is alive, but she lives in complete retirement. Her health is
very delicate, and she has to lie on a sofa most of the time.”
“There was, I think, a second daughter?”
“Yes, much younger than Mrs. Armstrong.”
“And she is alive?”
“Certainly.”
“Where is she
(ãäå
îíà
)?”
The old woman bent an acute glance at him
(ïîæèëàÿ
äàìà
îáðàòèëà
ñâîé
ïðîíèöàòåëüíûé
âçãëÿä
íà
íåãî
; to bend (bent) —
ãíóòü,
ñãèáàòü;
îáðàòèòü /
âçîð,
âíèìàíèå
è
ò.
ï./; acute —
îñòðûé;
ïðîíèöàòåëüíûé)
.
“I must ask you the reason for these questions
(ÿ
äîëæíà
ñïðîñèòü
âàñ
î
ïðè÷èíå
ýòèõ
âîïðîñîâ
). What have they to do
(êàêîå
îíè
èìåþò
îòíîøåíèå
; to have to do with smb., smth. —
èìåòü
îòíîøåíèå
ê
êîìó-
ëèáî,
÷åìó-
ëèáî)
with the matter in hand (
ñ
äàííûì
äåëîì;
the matter in hand — âîïðîñ
, î
êîòîðîì
èäåò
ðå÷ü
) — the murder on this train
(óáèéñòâîì
â
ýòîì
ïîåçäå
)?”
“They are connected in this way, Madame
(îíè
ñâÿçàíû
òàêèì
âîò
îáðàçîì
, ìàäàì
; way —
ïóòü,
äîðîãà;
îòíîøåíèå,
àñïåêò)
: the man who was murdered (
ìóæ÷èíà,
êîòîðûé
áûë
óáèò)
was the man responsible for the kidnapping and murder of Mrs. Armstrong’s child
(áûë
òåì
ñàìûì
÷åëîâåêîì
, îòâåòñòâåííûì
çà
ïîõèùåíèå
è
óáèéñòâî
ðåáåíêà
ìèññèñ
Àðìñòðîíã
).”
“Ah!”
acute [q'kju:t]
connected [kq'nektId]
responsible [rI'sp
Onsqb(q)l]
“Where is she?”
The old woman bent an acute glance at him.
“I must ask you the reason for these questions. What have they to do with
the matter in hand — the murder on this train?”
“They are connected in this way, Madame: the man who was murdered was the
man responsible for the kidnapping and murder of Mrs. Armstrong’s child.”
“Ah!”
The straight brows came together
(ïðÿìûå
áðîâè
íàõìóðèëèñü
: «ñîøëèñü
âìåñòå
»). Princess Dragomiroff drew herself a little more erect
(êíÿãèíÿ
Äðàãîìèðîâà
/ñëåãêà
/ âûïðÿìèëàñü
; to draw (drew, drawn) —
òàùèòü,
âîëî÷èòü;
âûòÿãèâàòüñÿ,
âûïðÿìëÿòüñÿ; erect —
ïðÿìîé)
.
“In my view, then
(â
òàêîì
ñëó÷àå
, ïî
-ìîåìó
; view —
âèä,
ïåéçàæ;
âçãëÿä,
ìíåíèå,
ñóæäåíèå)
, this murder is an entirely admirable happening (
ýòî
óáèéñòâî —
âñåöåëî
çàìå÷àòåëüíîå
ñîáûòèå)
! You will pardon my slightly biased point of view (
âû
èçâèíèòå /
ìåíÿ/
çà
ìîå
ñëåãêà
ïðåäâçÿòîå
ìíåíèå;
biased — ïðèñòðàñòíûé
, ïðåäóáåæäåííûé
).”
straight
[streIt] erect
[I'rekt] entirely
[In'taIqlI] admirable
['xdm(q)rqb(q)l] slightly
['slaItlI] biased
['baIqst]
The straight brows came together. Princess Dragomiroff drew herself a little
more erect.
“In my view, then, this murder is an entirely admirable happening! You will
pardon my slightly biased point of view.”
“It is most natural, Madame
(ýòî
âïîëíå
åñòåñòâåííî
, ìàäàì
). And now to return to the question you did not answer
(à
òåïåðü
/äàâàéòå
/ âåðíåìñÿ
ê
âîïðîñó
, íà
êîòîðûé
âû
íå
îòâåòèëè
). Where is the younger daughter of Linda Arden, the sister of Mrs. Armstrong
(ãäå
ìëàäøàÿ
äî÷ü
Ëèíäû
Àðäåí
, ñåñòðà
ìèññèñ
Àðìñòðîíã
)?”
“
I
honestly
cannot
tell
you,
Monsieur
(ÿ äåéñòâèòåëüíî íå ìîãó âàì ñêàçàòü, ìñüå;
honestly — ÷åñòíî; óñèë. ïðàâäà, ïî ÷åñòè
).
I
have
lost
touch
(ÿ óòðàòèëà ñâÿçü; touch
— ïðèêîñíîâåíèå; îáùåíèå, ñâÿçü, êîíòàêò
)
with
the
younger
generation
(ñ ìëàäøèì ïîêîëåíèåì)
. I
believe
she
married
an
Englishman
(ìíå êàæåòñÿ, ÷òî îíà âûøëà çà ìóæ çà êàêîãî-òî
àíãëè÷àíèíà; to
believe
— âåðèòü; äóìàòü, ïîëàãàòü, ñ÷èòàòü
)
some
years
ago
and
went
to
England
(íåñêîëüêî ëåò íàçàä è óåõàëà â Àíãëèþ)
, but
at
the
moment
I
cannot
recollect
the
name
(íî ïðÿìî ñåé÷àñ: «â äàííûé ìîìåíò» ÿ íå ìîãó âñïîìíèòü
åãî èìÿ/ôàìèëèþ).”
honestly
['O
nIstlI] generation
["dZenq'reIS(q)n] married
['mxrId]
“It is most natural, Madame. And now to return to the question you did not
answer. Where is the younger daughter of Linda Arden, the sister of Mrs. Armstrong?”
“I honestly cannot tell you, Monsieur. I have lost touch with the younger
generation. I believe she married an Englishman some years ago and went to England, but at the moment I cannot recollect the name.”
She paused a minute and then said
(îíà
çàìîë÷àëà
íà
ìãíîâåíèå
è
çàòåì
ñêàçàëà
):
“Is there anything further you want to ask me, gentlemen
(âû
õîòèòå
ñïðîñèòü
ìåíÿ
î
÷åì
-íèáóäü
åùå
, ãîñïîäà
)?”
“Only one thing, Madame
(òîëüêî
îäèí
âîïðîñ
, ìàäàì
; thing —
âåùü,
ïðåäìåò;
íå÷òî,
÷òî-
òî)
, a somewhat personal question (
íåìíîãî
ëè÷íûé
âîïðîñ)
. The colour of your dressing-gown (
öâåò
âàøåãî
õàëàòà)
.”
She raised her eyebrows slightly
(îíà
ñëåãêà
ïîäíÿëà
áðîâè
).
“I
must
suppose
you
have
a
reason
(ÿ ïîëàãàþ: «äîëæíà ïðåäïîëîæèòü», ó âàñ åñòü ïðè÷èíà)
for
such
a
question
(äëÿ òàêîãî âîïðîñà)
. My dressing-gown is of blue satin
(ìîé
õàëàò
— èç
ñèíåãî
àòëàñà
).”
“
There
is
nothing
more,
Madame
(ýòî âñå: «íåò áîëüøå íè÷åãî», ìàäàì)
. I
am
much
obliged
to
you
(ÿ î÷åíü âàì áëàãîäàðåí;
obliged — îáÿçàííûé, âûíóæäåííûé; áûòü áëàãîäàðíûì
)
for
answering
my
questions
so
promptly
(çà òî, ÷òî âû îòâå÷àëè íà ìîè âîïðîñû ñ òàêîé ãîòîâíîñòüþ: «áûñòðî/ñðàçó»;
prompt — áûñòðûé, ïðîâîðíûé; áåçîòëàãàòåëüíûé
).”
further
['fq:Dq] personal
['pq:s(q)nql] colour
['kAlq] eyebrow
['aIbraV] satin
['sxtIn] obliged
[q'blaIdZd]
She paused a minute and then said:
“Is there anything further you want to ask me, gentlemen?”
“Only one thing, Madame, a somewhat personal question. The colour of your
dressing-gown.”
She raised her eyebrows slightly. “I must suppose you have a reason for such
a question. My dressing-gown is of blue satin.”
“There is nothing more, Madame. I am much obliged to you for answering my
questions so promptly.”
She made a slight gesture (
îíà
ñëåãêà
ïîâåëà: «
ñäåëàëà
æåñò»)
with her heavily beringed hand (
ðóêîé,
óíèçàííîé
êîëüöàìè;
heavily — òÿæåëî
; ñèëüíî
, èíòåíñèâíî
, ìíîãî
; ring — êîëüöî
; beringed
— îêîëüöîâàííûé
, óíèçàííûé
êîëüöàìè
). Then
as
she
rose
(çàòåì, êîãäà îíà ïîäíÿëàñü)
, and
the
others
rose
with
her
(è âñå îñòàëüíûå ïîäíÿëèñü âìåñòå ñ íåé)
, she
stopped
(îíà îñòàíîâèëàñü/çàäåðæàëàñü)
.
“You will excuse me, Monsieur (
èçâèíèòå
ìåíÿ,
ìñüå)
,” she said, “but may I ask your name (
ìîãó
ëè
ÿ
ñïðîñèòü,
êàê
âàñ
çîâóò)
? Your
face
is
somehow
familiar
to
me
(âàøå ëèöî ïî÷åìó-òî ìíå çíàêîìî;
somehow — òåì èëè èíûì îáðàçîì; ïî÷åìó-òî;
familiar — áëèçêèé, èíòèìíûé; õîðîøî çíàêîìûé
/ñ ÷åì-ëèáî/).”
“
My
name,
Madame,
is
Hercule
Poirot
(ìåíÿ çîâóò, ìàäàì, Ýðêþëü Ïóàðî)
— at
your
service
(ê âàøèì óñëóãàì;
service — óñëóæåíèå; óñëóãà, îäîëæåíèå, ïîìîùü
).”
heavily
['hevIlI] excuse
[Ik'skju:z] familiar
[fq'mIlIq] service
['sq:vIs]
She made a slight gesture with her heavily beringed hand. Then as she rose,
and the others rose with her, she stopped.
“You will excuse me, Monsieur,” she said, “but may I ask your name? Your
face is somehow familiar to me.”
“My name, Madame, is Hercule Poirot — at your service.”
She was silent a minute, then
(îíà
íåìíîãî
ïîìîë÷àëà
, çàòåì
/ïðîèçíåñëà
/; silent — ìîë÷àëèâûé
, áåññëîâåñíûé
): “Hercule Poirot,” she said. “Yes. I remember now
(òåïåðü
ÿ
âñïîìíèëà
). This is Destiny
(ýòî
Ñóäüáà
).”
She walked away
(îíà
óäàëèëàñü
; to walk —
õîäèòü,
èäòè
ïåøêîì)
, very erect (/
äåðæàñü/
î÷åíü
ïðÿìî)
, a little stiff in her movements (
äâèæåíèÿ
åå
áûëè
íåìíîãî
ñêîâàíû;
stiff — æåñòêèé
, òóãîé
; îêî÷åíåâøèé
, íàïðÿæåííûé
, çàñòûâøèé
).
“
Voilà
une grande dame
(ôð
.
âîò
íàñòîÿùàÿ
àðèñòîêðàòêà)
,” said M. Bouc. “What do you think of her, my friend
(÷òî
âû
î
íåé
äóìàåòå
, ìîé
äðóã
)?”
But Hercule Poirot merely shook his head
(íî
Ýðêþëü
Ïóàðî
òîëüêî
ïîêà÷àë
ãîëîâîé
).
“
I
am
wondering
(õîòåëîñü áû ìíå çíàòü;
to
wonder — èíòåðåñîâàòüñÿ, æåëàòü çíàòü, çàäàâàòüñÿ
âîïðîñîì),”
he
said, “
what
she
meant
by
Destiny
(÷òî îíà èìåëà ââèäó, /êîãäà ãîâîðèëà î/ Ñóäüáå;
to
mean — íàìåðåâàòüñÿ; ïîäðàçóìåâàòü, èìåòü
â âèäó; destiny — ñóäüáà, äîëÿ; ñóäüáà,
íåèçáåæíîñòü, ðîê)
.”
silent
['saIlqnt] destiny
['destInI] merely
['mIqlI]
She was silent a minute, then: “Hercule Poirot,” she said. “Yes. I remember
now. This is Destiny.”
She walked away, very erect, a little stiff in her movements.
“Voilà une grande dame
,” said M. Bouc. “What do you think of her, my friend?”
But Hercule Poirot merely shook his head.
“I am wondering,” he said, “what she meant by Destiny.”
7
THE EVIDENCE OF COUNT AND COUNTESS ANDRENYI
(Ïîêàçàíèÿ ãðàôà è ãðàôèíè Àíäðåíè)
Count and Countess Andrenyi were next summoned
(ñëåäóþùèìè
ïðèãëàñèëè
ãðàôà
è
ãðàôèíþ
Àíäðåíè
; to summon —
âûçâàòü,
ïîçâàòü;
ïðèãëàñèòü)
. The Count, however, entered the dining-car alone (
îäíàêî
â
âàãîí-
ðåñòîðàí
ãðàô
ïðèøåë
â
îäèíî÷åñòâå;
to enter — âõîäèòü
).
There was no doubt that he was a fine-looking man
(íå
áûëî
íèêàêèõ
ñîìíåíèé
, ÷òî
îí
áûë
êðàñèâûé
ìóæ÷èíà
) seen face to face
(óâèäåííûé
âáëèçè
= ïðè
áëèæàéøåì
ðàññìîòðåíèè
; face to face —
ëèöîì
ê
ëèöó;
ëè÷íî,
íàåäèíå)
. He was at least six feet in height (
îí
áûë,
ïî
ìåíüøåé
ìåðå,
øåñòè
ôóòîâ
ðîñòîì;
foot (feet) — íîãà
, ñòóïíÿ
; ôóò
— ìåðà
äëèíû
, îê
. 30,48 ñì
, height — âûñîòà
, âûøèíà
; ðîñò
), with broad shoulders
(ñ
øèðîêèìè
ïëå÷àìè
) and slender hips
(è
óçêèìè
áåäðàìè
). He was dressed in very well-cut English tweeds
(îí
áûë
îäåò
â
îòëè÷íî
ñêðîåííûé
òâèäîâûé
êîñòþì
àíãëèéñêîãî
/ïîêðîÿ
/; cut —
ðàçðåçàííûé,
ñðåçàííûé;
ñêðîåííûé; to cut —
ðåçàòü;
êðîèòü; tweed —
òâèä /
ìàòåðèÿ/;
îäåæäà
èç
òâèäà)
and might have been taken for an Englishman (
è /
åãî/
ìîæíî
áûëî
áû
ïðèíÿòü
çà
àíãëè÷àíèíà;
to take (took, taken) smb. for smb. —
ïðèíèìàòü
êîãî-
ëèáî
çà
êîãî-
ëèáî) had it not been for the length of his moustache
(åñëè
áû
íå
äëèíà
åãî
óñîâ
= íå
åãî
äëèííûå
óñû
) and something in the line of the cheekbone
(è
íå÷òî
/íåóëîâèìîå
/ â
ëèíèè
åãî
ñêóë
; line —
ëèíèÿ;
êîíòóð,
î÷åðòàíèå, cheek —
ùåêà, bone —
êîñòü)
.
count [kaVnt]
countess ['kaVntIs]
height
[haIt] shoulder
['SqVldq] length
[leNT] cheekbone
['tSi:kbqVn]
Count and Countess Andrenyi were next summoned. The Count, however, entered
the dining-car alone.
There was no doubt that he was a fine-looking man seen face to face. He was
at least six feet in height, with broad shoulders and slender hips. He was dressed in very well-cut English tweeds and might have been taken for an Englishman had it not been for the length of his moustache and something in
the line of the cheekbone.
“
Well,
Messieurs
(èòàê, ãîñïîäà),”
he
said, “
what
can
I
do
for
you
(÷åì ìîãó áûòü âàì ïîëåçåí: «÷òî ÿ ìîãó äëÿ âàñ ñäåëàòü»)
?”
“
You
understand,
Monsieur
(âû æå ïîíèìàåòå, ìñüå)
,” said
Poirot
, “that
in
view
of
what
has
occurred
(÷òî ñ ó÷åòîì òîãî, ÷òî ïðîèçîøëî;
in
view
of — ââèäó /÷åãî-ëèáî/, ïðèíèìàÿ âî âíèìàíèå
/÷òî-ëèáî/, ó÷èòûâàÿ /÷òî-ëèáî/)
I
am
obliged
(ÿ âûíóæäåí;
to
oblige — îáÿçûâàòü, çàñòàâëÿòü;
obliged — îáÿçàííûé, âûíóæäåííûé
)
to
put
certain
questions
to
all
the
passengers
(çàäàòü îïðåäåëåííûå âîïðîñû âñåì ïàññàæèðàì)
.”
“
Perfectly
(âïîëíå /ïîíèìàþ/; perfect
— ñîâåðøåííûé, áåçóïðå÷íûé
),
perfectly,”
said
the
Count
easily
(ñ ãîòîâíîñòüþ îòîçâàëñÿ ãðàô;
easily — ëåãêî, ñâîáîäíî; îõîòíî, ñ ãîòîâíîñòüþ
). “
I
quite
understand
your
position
(ÿ âïîëíå ïîíèìàþ âàøå ïîëîæåíèå)
. Not
, I
fear
, that
my
wife
and
I
can
do
much
to
assist
you
(áîþñü, îäíàêî, ÷òî ìîÿ æåíà è ÿ íè÷åì íå ñìîæåì
ïîìî÷ü âàì: «íå òî, ÿ áîþñü, ÷òîáû ìîÿ æåíà è ÿ ìîæåì ñäåëàòü ìíîãîå, ÷òîáû ïîìî÷ü âàì»;
to
assist — ïîìîãàòü, ñîäåéñòâîâàòü
).
We
were
asleep
(ìû ñïàëè; asleep
— ñïÿùèé)
and
heard
nothing
at
all
(è âîîáùå íè÷åãî íå ñëûøàëè)
.”
messieurs [meI'sjq:
(z)]
obliged
[q'blaIdZd] perfectly
['pq:fIktlI]
position [pq'zIS(q)n]
assist [q'sIst]
“Well, Messieurs,” he said, “what can I do for you?”
“You understand, Monsieur,” said Poirot, “that in view of what has occurred
I am obliged to put certain questions to all the passengers.”
“Perfectly, perfectly,” said the Count easily. “I quite understand your
position. Not, I fear, that my wife and I can do much to assist you. We were asleep and heard nothing at all.”
“Are you aware
(âàì
çíàêîìà
; aware —
îñîçíàþùèé /
÷òî-
ëèáî/,
çíàþùèé /
÷òî-
ëèáî/
) of the identity of the deceased, Monsieur
(ëè÷íîñòü
óáèòîãî
, ìñüå
; identity —
òîæäåñòâåííîñòü;
ëè÷íîñòü; deceased —
ïîêîéíûé,
óìåðøèé)
?”
“I understood (
ÿ
òàê
ïîíÿë)
it was the big American (
ýòî
áûë
òîò
ðîñëûé
àìåðèêàíåö;
big — áîëüøîé
, êðóïíûé
; âûñîêèé
) — a man with a decidedly unpleasant face
(ìóæ÷èíà
ñ
ðåøèòåëüíî
/îïðåäåëåííî
íåïðèÿòíûì
ëèöîì
; to decide —
ðåøàòü)
. He
sat
at
that
table
(îí ñèäåë çà òåì âîí ñòîëèêîì)
at
meal
times
(âî âðåìÿ ïðèåìîâ ïèùè = êîãäà îí åë)
.” He
indicated
with
a
nod
of
his
head
(îí óêàçàë êèâêîì ãîëîâû)
the
table
at
which
Ratchett
and
MacQueen
had
sat
(íà òîò ñòîëèê, çà êîòîðûì /âî âðåìÿ óæèíà/ ñèäåëè
Ðýò÷åòò è Ìàêêóèí).
“Yes, yes, Monsieur, you are perfectly correct
(ìñüå
, âû
ñîâåðøåííî
ïðàâû
). I meant
(íî
ÿ
èìåë
ââèäó
/äðóãîå
/) — did you know the name of the man
(çíàåòå
ëè
âû
èìÿ
ýòîãî
÷åëîâåêà
)?”
“No.” The Count looked thoroughly puzzled
(ãðàô
âûãëÿäåë
ñîâåðøåííî
îçàäà÷åííûì
; puzzle —
òðóäíûé
âîïðîñ,
çàäà÷à; to puzzle —
îçàäà÷èâàòü,
ïðèâîäèòü
â
çàìåøàòåëüñòâî)
by Poirot’s queries (
âîïðîñàìè
Ïóàðî)
.
aware
[q'weq] identity
[aI'dentItI] deceased
[dI'si:st] thoroughly
['TArqlI] query
['kwI(q)rI]
“Are you aware of the identity of the deceased, Monsieur?”
“I understood it was the big American — a man with a decidedly unpleasant
face. He sat at that table at meal times.” He indicated with a nod of his head the table at which Ratchett and MacQueen had sat.
“Yes, yes, Monsieur, you are perfectly correct. I meant — did you know
the name of the man?”
“No.” The Count looked thoroughly puzzled by Poirot’s queries.
“If you want to know his name
(åñëè
âû
õîòèòå
óçíàòü
åãî
èìÿ
),” he said, “surely it is on his passport
(íàâåðíÿêà
îíî
åñòü
â
åãî
ïàñïîðòå
)?”
“The name on his passport is Ratchett (
èìÿ, /
óêàçàííîå/
â
åãî
ïàñïîðòå —
Ðýò÷åòò)
,” said Poirot. “
But
that,
Monsieur,
is
not
his
real
name
(íî ýòî, ìñüå, íå åãî íàñòîÿùåå èìÿ;
real — äåéñòâèòåëüíûé, ðåàëüíûé; íàñòîÿùèé,
ïîäëèííûé).
He
is
the
man
Cassetti,
who
was
responsible
(îí òîò ñàìûé /÷åëîâåê/ Êàññåòòè, êîòîðûé áûë îðãàíèçàòîðîì: «îòâåòñòâåííûì»)
for
a
celebrated
kidnapping
outrage
in
America
(èçâåñòíûõ: «çíàìåíèòûõ» ñëó÷àåâ ñ ïîõèùåíèåì
è óáèéñòâàìè ëþäåé â Àìåðèêå; outrage
— ãðóáîå íàðóøåíèå /çàêîíà èëè ÷üèõ-ëèáî ïðàâ/; íàñèëèå; ðàçã. âîçìóòèòåëüíûé ñëó÷àé
).”
responsible
[rI'spO
nsqb(q)l]
celebrated ['selIbreItId]
outrage ['aVtreIdZ]
“If you want to know his name,” he said, “surely it is on his passport?”
“The name on his passport is Ratchett,” said Poirot. “But that, Monsieur,
is not his real name. He is the man Cassetti, who was responsible for a celebrated kidnapping outrage in America.”
He watched the Count closely
(îí
âíèìàòåëüíî
íàáëþäàë
çà
Ãðàôîì
; closely —
áëèçêî;
âíèìàòåëüíî)
as he spoke (
êîãäà
îí
ãîâîðèë
ýòî)
, but the latter seemed quite unaffected (
íî
òîò
êàçàëñÿ
ñîâåðøåííî
ðàâíîäóøíûì;
to affect — âîçäåéñòâîâàòü
, âëèÿòü
; unaffected — ïðîñòîé
, íåïðèíóæäåííûé
; áåçó÷àñòíûé
, ðàâíîäóøíûé
; íå
ïîäâåðãøèéñÿ
âëèÿíèþ
) by this piece of news
(ê
ýòîé
íîâîñòè
; piece —
êóñîê,
÷àñòü; a piece of news —
íîâîñòü)
. He merely opened his eyes a little (
îí
òîëüêî
íåìíîãî
óäèâèëñÿ: «
îòêðûë
ãëàçà»;
to open one's eyes — óäèâëÿòüñÿ
, èçóìëÿòüñÿ
).
“Ah!” he said. “
That
certainly
should
throw
light
(ýòî îïðåäåëåííî äîëæíî ïðîëèòü ñâåò)
upon
the
matter
(íà âñå ýòî äåëî)
. An
extraordinary
country
, America
(óäèâèòåëüíàÿ ñòðàíà, Àìåðèêà;
extraordinary — íåîáû÷àéíûé, çàìå÷àòåëüíûé; íåîáû÷íûé,
óäèâèòåëüíûé)
.”
“You have been there, perhaps, Monsieur le Comte
(âû
, âîçìîæíî
, áûâàëè
òàì
, ìñüå
ãðàô
)?”
“I was in Washington for a year
(ÿ
ïðîâåë
ãîä
â
Âàøèíãòîíå
).”
unaffected
["Anq'fektId] piece
[pi:s] extraordinary
[Ik'strO:d(q)n(q)rI]
He watched the Count closely as he spoke, but the latter seemed quite unaffected
by this piece of news. He merely opened his eyes a little.
“Ah!” he said. “That certainly should throw light upon the matter. An
extraordinary country, America.”
“You have been there, perhaps, Monsieur le Comte?”
“I was in Washington for a year.”
“You knew, perhaps, the Armstrong family
(âîçìîæíî
, âû
çíàëè
ñåìüþ
Àðìñòðîíãîâ
)?”
“Armstrong — Armstrong — it is difficult to recall
(òðóäíî
âñïîìíèòü
). One met so many
(âñòðå÷àåøü
ñòîëüêî
ëþäåé
).” He smiled, shrugged his shoulders
(îí
óëûáíóëñÿ
, ïîæàë
ïëå÷àìè
). “But to come back to the matter in hand, gentlemen
(íî
âåðíåìñÿ
ê
îáñóæäàåìîìó
âîïðîñó
, ãîñïîäà
; in hand —
â
ðóêàõ;
â
ðàáîòå,
â
ñòàäèè
ðàññìîòðåíèÿ)
,” he said. “What more can I do to assist you (
÷òî
åùå
ÿ
ìîãó
ñäåëàòü,
÷òîáû
ïîìî÷ü
âàì)
?”
“You retired to rest — when, Monsieur le Comte
(âû
îòïðàâèëèñü
ñïàòü
: «îòäûõàòü
» — âî
ñêîëüêî
, ìñüå
ãðàô
; to retire /to bed, to rest, for the night / —
ëîæèòüñÿ
ñïàòü; rest —
ïîêîé,
îòäûõ,
ñîí)
?”
Hercule Poirot’s eyes stole to his plan
(Ýðêþëü
Ïóàðî
óêðàäêîé
âçãëÿíóë
íà
ñâîé
ïëàí
/âàãîíà
/: «ãëàçà
/âçãëÿä
Ýðêþëÿ
Ïóàðî
óêðàäêîé
ñêîëüçíóë
íà
ïëàí
»; to steal (stole, stolen) —
âîðîâàòü,
êðàñòü;
äåëàòü /
÷òî-
ëèáî/
íåçàìåòíî,
óêðàäêîé)
. Count and Countess Andrenyi occupied compartment Nos. 12 and 13 adjoining
(ãðàô
è
ãðàôèíÿ
Àíäðåíè
çàíèìàëè
ñìåæíûå
êóïå
ïîä
íîìåðàìè
12 è
13; to occupy —
çàíèìàòü /
ìåñòî,
ïðîñòðàíñòâî
è
ò.
ï./; to adjoin —
ïðèìûêàòü,
ïðèëåãàòü)
.
shrug
[SrAg] retired
[rI'taIqd] adjoining
[q'dZOInIN]
“You knew, perhaps, the Armstrong family?”
“Armstrong — Armstrong — it is difficult to recall. One met so many.”
He smiled, shrugged his shoulders. “But to come back to the matter in hand, gentlemen,” he said. “What more can I do to assist you?”
“You retired to rest — when, Monsieur le Comte?”
Hercule Poirot’s eyes stole to his plan. Count and Countess Andrenyi occupied
compartment Nos. 12 and 13 adjoining.
“We had one compartment made up for the night (
íàì
ïîñòåëèëè /
ïîñòåëü/
íà
íî÷ü
â
îäíîì
êóïå;
to have smth. done — âåëåòü
, ïðèêàçàòü
ñäåëàòü
÷òî
-ëèáî
äëÿ
ñåáÿ
) whilst we were in the dining-car
(ïîêà
ìû
áûëè
â
âàãîíå
-ðåñòîðàíå
). On
returning
we
sat
in
the
other
(ïî âîçâðàùåíèè ìû ïîñèäåëè â äðóãîì /êóïå/)
for
a
while
(êàêîå-òî âðåìÿ;
while — âðåìÿ, ïðîìåæóòîê âðåìåíè
) — ”
“Which number would that be
(â
êàêîì
êóïå
ýòî
áûëî
)?”
“No
. 13 (â 13-òîì)
. We
played
piquet
together
(ìû /âìåñòå/ èãðàëè â ïèêåò /êàðòî÷íàÿ èãðà/)
. At about eleven o’clock my wife retired for the night
(îêîëî
îäèííàäöàòè
÷àñîâ
ìîÿ
æåíà
ïîøëà
ñïàòü
). The conductor made up my compartment
(ïðîâîäíèê
ðàññòåëèë
/ïîñòåëü
/ â
ìîåì
êóïå
) and I also went to bed
(è
ÿ
òàêæå
ëåã
ñïàòü
). I slept soundly until morning
(äî
ñàìîãî
óòðà
ÿ
êðåïêî
ñïàë
; to sleep (slept), soundly —
îáîñíîâàííî,
ñåðüåçíî;
áåñïðîáóäíî,
êðåïêî)
.”
“Did you notice the stopping of the train
(âû
çàìåòèëè
, ÷òî ïîåçä
îñòàíîâèëñÿ
)?”
“
I
was
not
aware
of
it
(ÿ íå çíàë îá ýòîì; aware
— îñîçíàþùèé /÷òî-ëèáî/, çíàþùèé /÷òî-ëèáî/
)
till
this
morning
(äî ñàìîãî óòðà).”
“And your wife
(à
âàøà
æåíà
)?”
whilst
[waIlst] piquet
[pI'ket] soundly
['saVndlI]
“We had one compartment made up for the night whilst we were in the dining-car.
On returning we sat in the other for a while — ”
“Which number would that be?”
“No. 13. We played piquet together. At about eleven o’clock my wife retired
for the night. The conductor made up my compartment and I also went to bed. I slept soundly until morning.”
“Did you notice the stopping of the train?”
“I was not aware of it till this morning.”
“And your wife?”
The Count smiled
(ãðàô
óëûáíóëñÿ
). “My wife always takes a sleeping draught
(ìîÿ
æåíà
âñåãäà
ïðèíèìàåò
ñíîòâîðíîå
) when travelling by train
(êîãäà
ïóòåøåñòâóåò
ïîåçäîì
). She took her usual dose of trional
(îíà
ïðèíÿëà
ñâîþ
îáû÷íóþ
äîçó
òðèîíàëà
).”
He paused
(îí
çàìîë÷àë
). “I am sorry
(ìíå
æàëü
; sorry —
îãîð÷åííûé,
ñîæàëåþùèé)
I am not able (
÷òî
ÿ
íå
ìîãó;
able — ñïîñîáíûé
; to be able to — ìî÷ü
, áûòü
â
ñîñòîÿíèè
) to assist you in any way
(õîòü
÷åì
-òî
ïîìî÷ü
âàì
).”
Poirot passed him a sheet of paper
(Ïóàðî
ïåðåäàë
åìó
ëèñò
áóìàãè
) and a pen
(è
ðó÷êó
).
“Thank you, Monsieur le Comte
(áëàãîäàðþ
âàñ
, ìñüå
ãðàô
). It is a formality
(ýòî
ôîðìàëüíîñòü
), but will you just let me have your name and address
(ïîçâîëèòå
ëè
âû
ìíå
ïðîñòî
ïîëó÷èòü
âàøå
èìÿ
è
àäðåñ
)?”
The Count wrote slowly and carefully
(ãðàô
ïèñàë
ìåäëåííî
è
òùàòåëüíî
; carefully —
îñòîðîæíî;
âíèìàòåëüíî)
.
sheet
[Si:t] formality
[fO:'mxlItI] carefully
['keqf(q)lI]
The Count smiled. “My wife always takes a sleeping draught when travelling
by train. She took her usual dose of trional.”
He paused. “I am sorry I am not able to assist you in any way.”
Poirot passed him a sheet of paper and a pen.
“Thank you, Monsieur le Comte. It is a formality, but will you just let me have your name and
address?”
The Count wrote slowly and carefully.
“It is just as well that I should write this for you
(ïîæàëóé
õîðîøî
, ÷òî
ÿ
/ñàì
/ çàïèøó
/èõ
/ äëÿ
âàñ
),” he said pleasantly
(ñêàçàë
îí
ëþáåçíî
). “The spelling of my country estate
(íàçâàíèå
: «ïðàâîïèñàíèå
» ìîåãî
ïîìåñòüÿ
; to spell —
ïðîèçíîñèòü
èëè
ïèñàòü
ñëîâî
ïî
áóêâàì; country —
ñòðàíà;
äåðåâíÿ,
ñåëüñêàÿ
ìåñòíîñòü, estate —
ïîìåñòüå,
èìåíèå)
is a little difficult for those unacquainted with the language
(/îíî
/ íåìíîãî
òðóäíîå
äëÿ
òåõ
, êòî
íåçíàêîì
ñ
/âåíãåðñêèì
/ ÿçûêîì
; (un)acquainted — (
íå)
çíàêîìûé /
ñ
êåì-
ëèáî,
÷åì-
ëèáî/
).”
He passed the paper across to Poirot
(îí
ïåðåäàë
áóìàãó
÷åðåç
/ñòîë
/ Ïóàðî
) and rose
(è
ïîäíÿëñÿ
).
“It will be quite unnecessary for my wife (
ìîåé
æåíå
áóäåò
ñîâåðøåííî
íåîáÿçàòåëüíî;
unnecessary — íåíóæíûé
, èçëèøíèé
) to come here
(ïðèõîäèòü
ñþäà
),” he said.
“She
can
tell
you
nothing
more
than
I
have
(îíà ðàññêàæåò âàì òî æå ñàìîå: «îíà íå ñìîæåò
âàì ðàññêàçàòü íè÷åãî áîëüøå, ÷åì /ðàññêàçàë/ ÿ»).”
pleasantly ['plez(q)ntlI]
unacquainted ["Anqk'weIntId]
unnecessary [An'nesqs(q)rI]
“It is just as well that I should write this for you,” he said pleasantly.
“The spelling of my country estate is a little difficult for those unacquainted with the language.”
He passed the paper across to Poirot and rose.
“It will be quite unnecessary for my wife to come here,” he said. “She
can tell you nothing more than I have.”
A little gleam came into Poirot’s eye
(ãëàçà
Ïóàðî
çàáëåñòåëè
: «ñëàáûé
áëåñê
âñïûõíóë
â
ãëàçàõ
Ïóàðî
»; gleam —
ñëàáûé
ñâåò,
ïðîáëåñê;
ïðîáëåñê,
âñïûøêà /
íàäåæäû
è
ò.
ï./
).
“Doubtless
(ðàçóìååòñÿ;
doubt — ñîìíåíèå, íåðåøèòåëüíîñòü;
doubtless — âíå âñÿêèõ ñîìíåíèé
),
doubtless,”
he
said.
“But
all
the
same
I
think
(
íî
âñå
æå
ÿ
äóìàþ)
I
should
like
to
have
just
one
little
word
with
Madame
la
Comtesse
(
ìíå
ïðèäåòñÿ
êðàòêî
ïåðåãîâîðèòü
ñ
ìàäàì
ãðàôèíåé;
to
have
a
word
with
smb. —
ïîãîâîðèòü
ñ
êåì-
ëèáî)
.”
“
I
assure
you
it
is
quite
unnecessary
(ÿ
óâåðÿþ
âàñ
, ýòî
ñîâåðøåííî
èçëèøíå
).”
The
Count’
s
voice
rang
out
authoritatively
(ãîëîñ
ãðàôà
ïðîçâó÷àë
âëàñòíî
/ðåøèòåëüíî
; to
ring
(rang
, rung
) out
— ïðîçâó÷àòü
, ðàçäàòüñÿ
; authoritatively
— àâòîðèòåòíî
; âëàñòíî
).
Poirot
blinked
gently
at
him
(Ïóàðî ñïîêîéíî/ó÷òèâî ïîñìîòðåë íà íåãî èç-ïîä ïîëóîïóùåííûõ ðåñíèö;
to
blink — ìèãàòü, ìîðãàòü; ñìîòðåòü, ïîñìàòðèâàòü
).
“It will be a mere formality
(ýòî
áóäåò
ïðîñòàÿ
ôîðìàëüíîñòü
),” he said. “But, you understand, it is necessary for my report
(âû
æå
ïîíèìàåòå
, ýòî
íåîáõîäèìî
äëÿ
ìîåãî
îò÷åòà
; report —
äîêëàä,
ñîîáùåíèå;
îò÷åò)
.”
“
As
you
please
(êàê âàì áóäåò óãîäíî;
to
please — æåëàòü, õîòåòü, èçâîëèòü
).”
doubtless ['daVtlIs]
assure [q'SVq]
authoritatively [O:'TOrItqtIvlI]
formality [fO:'mxlItI]
A little gleam came into Poirot’s eye.
“Doubtless, doubtless,” he said. “But all the same I think I should like
to have just one little word with Madame la Comtesse.”
“I assure you it is quite unnecessary.” The Count’s voice rang out authoritatively.
Poirot blinked gently at him.
“It will be a mere formality,” he said. “But, you understand, it is necessary
for my report.”
“As you please.”
The Count gave way grudgingly
(ãðàô
íåîõîòíî óñòóïèë
; to give (gave, given) way —
îòñòóïàòü,
óñòóïàòü, ñäàâàòüñ
ÿ). He made a short foreign bow
(îí
ðåçêî ïîêëîíèëñÿ
íà
èíîñòðàííûé
ìàíåð; bow —
ïîêëîí; short —
êîðîòêèé; êðàòêèé
) and left the dining-car (
è âûøåë
èç
âàãîíà-ðåñòîðàíà
).
Poirot reached out a hand to a passport (
Ïóàðî
ïðîòÿíóë
ðóêó
çà
ïàñïîðòîì;
to reach out — ïîòÿíóòüñÿ
/çà
÷åì
-ëèáî
/)
. It set out the Count’s names and titles (
â
íåì
çíà÷èëèñü
èìåíà
ãðàôà
è /
åãî/
òèòóëû;
to set (set) out — ïîìåùàòü
, ñòàâèòü
; /ïîäðîáíî
/ èçëàãàòü
; title — çàãëàâèå
, íàçâàíèå
; òèòóë
, çâàíèå
). He
passed
on
to
the
further
information
(îí ïåðåøåë ê äàëüíåéøåé èíôîðìàöèè = îí ñòàë ÷èòàòü
äàëüøå). “Accompanied
by
wife
(â ñîïðîâîæäåíèè æåíû;
to
accompany — ñîïðîâîæäàòü, ñîïóòñòâîâàòü
);
Christian
name,
Elena
Maria
(èìÿ /ïðè êðåùåíèè/ — Åëåíà Ìàðèÿ)
; maiden
name
, Goldenberg
(äåâè÷üÿ ôàìèëèÿ — Ãîëüäåíáåðã;
maiden — íåçàìóæíÿÿ, äåâóøêà; äåâè÷èé
);
age,
twenty
(âîçðàñò — äâàäöàòü ëåò)
.” A
spot
of
grease
(æèðíîå ïÿòíî;
grease — òîïëåíîå ñàëî; æèð
)
had
been
dropped
on
it
at
some
time
(áûëî êîãäà-òî ïîñàæåíî ïðÿìî íà íåì /èìåíè æåíû/;
to
drop — êàïàòü, ñòåêàòü êàïëÿìè
)
by
a
careless
official
(êàêèì-òî íåáðåæíûì/íåàêêóðàòíûì ÷èíîâíèêîì)
.
grudgingly
['grAdZINlI] foreign
['fO
rIn] grease
[gri:s] official
[q'fIS(q)l]
The Count gave way grudgingly. He made a short foreign bow and left the dining-car.
Poirot reached out a hand to a passport. It set out the Count’s names and
titles. He passed on to the further information. “Accompanied by, wife; Christian name, Elena Maria; maiden name, Goldenberg; age, twenty.” A spot of grease had been dropped on it at some time by a careless official.
“A diplomatic passport (
äèïëîìàòè÷åñêèé
ïàñïîðò)
,” said M. Bouc. “
We
must
be
careful,
my
friend
(ìû äîëæíû áûòü îñòîðîæíûìè, ìîé äðóã)
, to
give
no
offence
(÷òîáû íå îáèäåòü /èõ/;
offence — íàðóøåíèå /÷åãî-ëèáî/; îáèäà, îñêîðáëåíèå
).
These
people
can
have
nothing
to
do
with
the
murder
(ýòè ëþäè íå ìîãóò èìåòü íè÷åãî îáùåãî ñ ýòèì óáèéñòâîì;
to
have
to
do
with
smb.,
smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî
).”
“
Be
easy
(íå áåñïîêîéòåñü; easy
— ëåãêî, áåç òðóäà; ñïîêîéíî, íåòîðîïëèâî
),
mon
vieux
(ôð.
ñòàðèíà),
I
will
be
most
tactful
(ÿ áóäó î÷åíü òàêòè÷íûì)
. A
mere
formality
(ïðîñòàÿ ôîðìàëüíîñòü)
.”
His
voice
dropped
(îí ïîíèçèë ãîëîñ; to
drop
— êàïàòü; ïàäàòü, ñíèæàòüñÿ, ñïàäàòü, ñòèõàòü
)
as
the
Countess
Andrenyi
entered
the
dining-
car
(êîãäà â âàãîí-ðåñòîðàí âîøëà ãðàôèíÿ Àíäðåíè)
. She
looked
timid
and
extremely
charming
(îíà âûãëÿäåëà íåóâåðåííî è â âûñøåé ñòåïåíè î÷àðîâàòåëüíî;
to
charm — î÷àðîâûâàòü, ïëåíÿòü
).
diplomatic
["dIplq'mxtIk] offence
[q'fens] tactful
['txktf(q)l] extremely
[Ik'stri:mlI] charming
['tSQ:mIN]
“A diplomatic passport,” said M. Bouc. “We must be careful, my friend,
to give no offence. These people can have nothing to do with the murder.”
“Be easy,
mon vieux, I will be most tactful. A mere formality.”
His voice dropped as the Countess Andrenyi entered the dining-car. She looked
timid and extremely charming.
“You wish to see me, Messieurs
(âû
õîòåëè
âèäåòü
ìåíÿ
, ãîñïîäà
)?”
“A mere formality, Madam la Comtesse (
ïðîñòàÿ
ôîðìàëüíîñòü,
ìàäàì
ãðàôèíÿ)
.” Poirot
rose
gallantly
(Ïóàðî ãàëàíòíî ïîäíÿëñÿ)
, bowed
her
into
the
seat
(è ñ ïîêëîíîì óêàçàë åé íà ìåñòî;
to
bow — êëàíÿòüñÿ; êèâíóòü, íàêëîíîì ãîëîâû
âûðàçèòü /÷òî-ëèáî/)
opposite
him
(íàïðîòèâ ñåáÿ)
. “It
is
only
to
ask
you
(/ìû õîòèì/ òîëüêî ñïðîñèòü âàñ)
if
you
saw
(íå âèäåëè ëè âû)
or
heard
(èëè íå ñëûøàëè)
anything
last
night
that
may
throw
light
(÷òî-íèáóäü ïðîøëîé íî÷üþ, ÷òî ìîãëî áû ïðîëèòü
ñâåò; to
throw — áðîñàòü
)
upon
this
matter
(íà ýòî äåëî).”
“Nothing at all, Monsieur
(ñîâñåì
íè÷åãî
, ìñüå
). I was asleep
(ÿ
ñïàëà
).”
gallantly
['gxlqntlI] night
[naIt] light
[laIt]
“You wish to see me, Messieurs?”
“A mere formality, Madam la Comtesse.” Poirot rose gallantly, bowed her
into the seat opposite him. “It is only to ask you if you saw or heard anything last night that may throw light upon this matter.”
“Nothing at all, Monsieur. I was asleep.”
“You did not hear, for instance
(âû
íå
ñëûøàëè
, íàïðèìåð
), a commotion going on
(êàêîé
øóì
ñòîÿë
; commotion —
âîëíåíèå,
áåñïîêîéñòâî;
øóì; to go on —
èäòè
äàëüøå;
ïðîèñõîäèòü,
ñëó÷àòüñÿ)
in the compartment next to yours (
â
ñîñåäíåì
êóïå)
? The American lady who occupies it (
ó
àìåðèêàíêè,
êîòîðàÿ
çàíèìàåò
åãî)
had quite an attack of hysterics (
áûë
ïðîñòî-
òàêè
èñòåðè÷åñêèé
ïðèïàäîê;
attack — íàïàäåíèå
; ìåä
. ïðèñòóï
, ïðèïàäîê
) and rang for the conductor
(è
/îíà
/ âûçâàëà
ïðîâîäíèêà
).”
“I heard nothing, Monsieur
(ÿ
íè÷åãî
íå
ñëûøàëà
, ìñüå
). You see, I had taken a sleeping draught
(âèäèòå
ëè
, ÿ
ïðèíÿëà
ñíîòâîðíîå
).”
“
Ah!
I
comprehend
(à, ïîíèìàþ).
Well,
I
need
not
detain
you
further
(÷òî æ, íå áóäó âàñ áîëüøå çàäåðæèâàòü;
to
need — íóæäàòüñÿ; ÷óâñòâîâàòü íåîáõîäèìîñòü
).”
Then,
as
she
rose
swiftly
(çàòåì, êîãäà îíà ïîñïåøíî âñòàëà /äîáàâèë/)
— “Just
one
little
minute
(îäíó ìèíóòî÷êó)
. These
particulars
(ýòè ïîäðîáíîñòè äëÿ îò÷åòà)
— your
maiden
name
(âàøà äåâè÷üÿ ôàìèëèÿ)
, age
and
so
on
(âîçðàñò è òàê äàëåå)
— they
are
correct
(îíè âåðíû = óêàçàíû âåðíî)
?”
“Quite correct, Monsieur
(ñîâåðøåííî
âåðíî
, ìñüå
).”
instance
['Instqns] commotion
[kq'mqVS(q)n] hysterics
[hI'sterIks] particular
[pq'tIkjVlq]
“You did not hear, for instance, a commotion going on in the compartment
next to yours? The American lady who occupies it had quite an attack of hysterics and rang for the conductor.”
“I heard nothing, Monsieur. You see, I had taken a sleeping draught.”
“Ah! I comprehend. Well, I need not detain you further.” Then, as she rose
swiftly — “Just one little minute. These particulars — your maiden name, age and so on — they are correct?”
“Quite correct, Monsieur.”
“Perhaps you will sign
(/òîãäà
/, áóäüòå
äîáðû
, ïîñòàâüòå
ïîäïèñü
; to sign —
ïîäïèñûâàòü)
this memorandum to that effect, then (
íà
ýòîì /
ïàìÿòíîì/
ëèñòêå,
÷òî
âû
ñîãëàñíû;
effect — ðåçóëüòàò
, ñëåäñòâèå
).”
She signed quickly
(îíà
áûñòðî
ïîäïèñàëà
), in a graceful slanting hand-writing
(èçÿùíûì
íàêëîííûì
ïî÷åðêîì
) — Elena Andrenyi.
“Did you accompany your husband to America, Madame
(âû
ñîïðîâîæäàëè
âàøåãî
ìóæà
â
Àìåðèêó
, ìàäàì
)?”
“No, Monsieur.” She smiled, flushed a little
(îíà
óëûáíóëàñü
, ñëåãêà
âñïûõíóâ
/ïîêðàñíåâ
). “We were not married then
(òîãäà
ìû
íå
áûëè
æåíàòû
); we have been married only a year
(ìû
æåíàòû
âñåãî
ãîä
).”
“Ah, yes, thank you, Madame. By the way, does your husband smoke
(ìåæäó
ïðî÷èì
, âàø
ìóæ
êóðèò
)?”
She
stared
at
him
(îíà ïîñìîòðåëà íà íåãî ñ èçóìëåíèåì;
to
stare — ïðèñòàëüíî ñìîòðåòü; ñìîòðåòü â èçóìëåíèè
)
as
she
stood
(òàê êàê îíà âñòàëà)
poised
for
departure
(ñîáèðàÿñü: «ãîòîâàÿ» óéòè;
departure — îòúåçä, óõîä
).
“Yes.”
“A pipe
(òðóáêó
)?”
“No. Cigarettes and cigars
(ñèãàðåòû
è
ñèãàðû
).”
“Ah! Thank you.”
memorandum ["memq'rxn|dqm]
graceful ['greIsf(q)l]
flushed [flASt]
poised [pOIzd]
departure [dI'pQ:tSq]
“Perhaps you will sign this memorandum to that effect, then.”
She signed quickly, in a graceful slanting hand-writing — Elena Andrenyi.
“Did you accompany your husband to America, Madame?”
“No, Monsieur.” She smiled, flushed a little. “We were not married then;
we have been married only a year.”
“Ah, yes, thank you, Madame. By the way, does your husband smoke?”
She stared at him as she stood poised for departure.
“Yes.”
“A pipe?”
“No. Cigarettes and cigars.”
“Ah! Thank you.”
She lingered (
îíà
ïîìåäëèëà;
to linger — çàäåðæèâàòüñÿ
; ìåäëèòü
, ìåøêàòü
; êîëåáàòüñÿ
), her eyes watching him curiously
(åå
ãëàçà
íàáëþäàëè
çà
íèì
ñ
ëþáîïûòñòâîì
). Lovely eyes they were
(êðàñèâûå
òî
áûëè
ãëàçà
), dark
(òåìíûå
) and almond-shaped
(ìèíäàëåâèäíûå
; almond —
ìèíäàëü, shape —
ôîðìà,
î÷åðòàíèå)
with very long black lashes (
ñ
î÷åíü
äëèííûìè
÷åðíûìè
ðåñíèöàìè;
lash — ïëåòü
, õëûñò
; lash
= eyelash — ðåñíèöà
) that swept the exquisite pallor of her cheeks
(êîòîðûå
êàñàëèñü
óòîí÷åííîé
áåëèçíû
åå
ùåê
; to sweep (swept)
— ìåñòè
, ïîäìåòàòü
; êàñàòüñÿ
). Her lips, very scarlet (
åå
ãóáû, /
î÷åíü/
ÿðêî-
êðàñíûå)
in the foreign fashion (/
íàêðàøåííûå/
ïî
èíîñòðàííîé
ìîäå;
fashion — îáðàç
, ìàíåðà
; ìîäà
), were parted just a little
(áûëè
ñëåãà
ïðèîòêðûòû
; to part —
ðàçäåëÿòü,
äåëèòü
íà
÷àñòè;
ðàçúåäèíÿòüñÿ)
. She
looked
exotic
and
beautiful
(ó íåå áûë ýêçîòè÷íûé/÷óæåçåìíûé è ïðåêðàñíûé âèä)
.
linger
['lIngq] curiously
['kjV(q)rIqslI] almond
-shaped
["Q:mqnd'SeIpt] exquisite
[Ik'skwIzIt, 'ekskwIzIt] pallor
['pxlq] exotic
[Ig'zO
tIk]
She lingered, her eyes watching him curiously. Lovely eyes they were, dark
and almond-shaped with very long black lashes that swept the exquisite pallor of her cheeks. Her lips, very scarlet in the foreign fashion, were parted just a little. She looked exotic and beautiful.
“Why did you ask me that
(ïî÷åìó
âû
ñïðîñèëè
ìåíÿ
îá
ýòîì
)?”
“Madame,” Poirot waved an airy hand
(Ïóàðî
èçÿùíî
âçìàõíóë
ðóêîé
; airy —
ïîëíûé
âîçäóõà;
èçÿùíûé,
âîçäóøíûé,
ãðàöèîçíûé)
, “detectives have to ask all sorts of questions (
äåòåêòèâàì
ïðèõîäèòñÿ
çàäàâàòü
ðàçíûå: «
âñåõ
ñîðòîâ»
âîïðîñû)
. For instance, perhaps you will tell me (
íàïðèìåð,
âû,
âîçìîæíî,
ñêàæåòå
ìíå)
the colour of your dressing-gown (
êàêîãî
öâåòà
âàø
õàëàò)
?”
She
stared
at
him
(îíà óñòàâèëàñü íà íåãî /ñ èçóìëåíèåì/)
. Then
she
laughed
(çàòåì îíà ðàññìåÿëàñü)
. “i
t
is
corn-
coloured
chiffon
(ìîé õàëàò: «îí» èç çîëîòèñòîãî øèôîíà;
corn — ñîáèð. çåðíî;
colour — öâåò, òîí, îòòåíîê;
corn-
coloured — öâåòà ñïåëîé êóêóðóçû, áëåäíî-æåëòûé,
çîëîòèñòûé).
Is that really important (
ýòî
äåéñòâèòåëüíî
âàæíî)
?”
“Very important, Madame
(î÷åíü
âàæíî
, ìàäàì
).”
She
asked
curiously
(îíà ñïðîñèëà ñ ëþáîïûòñòâîì)
: “Are
you
really
a
detective
, then
(çíà÷èò, âû äåéñòâèòåëüíî äåòåêòèâ/ñûùèê)
?”
“At your service, Madame
(ê
âàøèì
óñëóãàì
, ìàäàì
).”
colour
['kAlq] chiffon
['SIfO
n] detective
[dI'tektIv]
“Why did you ask me that?”
“Madame,” Poirot waved an airy hand, “detectives have to ask all sorts
of questions. For instance, perhaps you will tell me the colour of your dressing-gown?”
She stared at him. Then she laughed. “
it is corn-coloured chiffon. Is that really important?”
“Very important, Madame.”
She asked curiously: “Are you really a detective, then?”
“At your service, Madame.”
“I thought
(à
ÿ
äóìàëà
) there were no detectives on the train
(÷òî
â
ýòîì
ïîåçäå
íåò
ñûùèêîâ
) when it passed through Jugo-Slavia
(êîãäà
îí
ïðîõîäèò
ïî
Þãîñëàâèè
)
— not until one got to Italy (
ïîêà
íå
ïðèåçæàåò
â
Èòàëèþ)
.”
“I am not a Jugo-Slavian detective, Madame
(ÿ
íå
þãîñëàâñêèé
äåòåêòèâ
, ìàäàì
). I am an international detective
(ÿ
ìåæäóíàðîäíûé
äåòåêòèâ
).”
“You belong to the League of Nations
(âû
ñëóæèòå
Ëèãå
Íàöèé
; to belong —
ïðèíàäëåæàòü,
áûòü
ñîáñòâåííîñòüþ;
ïðèíàäëåæàòü,
áûòü
÷àñòüþ)
?”
“I belong to the world, Madame (
ÿ
ñëóæó
ìèðó,
ìàäàì)
,” said Poirot dramatically (
òåàòðàëüíî
ñîîáùèë
Ïóàðî;
dramatically — äðàìàòè÷åñêè
, òåàòðàëüíî
). He
went
on
(îí ïðîäîëæèë)
: “I
work
mainly
in
London
(ãëàâíûì îáðàçîì, ÿ ðàáîòàþ â Ëîíäîíå)
. You
speak
English
(âû ãîâîðèòå ïî-àíãëèéñêè)
?” he
added
in
that
language
(äîáàâèë îí íà àíãëèéñêîì: «ýòîì» ÿçûêå)
.
international
["Intq'nxS(q)nql] belong
[bI'lO
N] league
[li:g] dramatically
[drq'mxtIk(q)lI]
“I thought there were no detectives on the train when it passed through Jugo-Slavia
— not until one got to Italy.”
“I am not a Jugo-Slavian detective, Madame. I am an international detective.”
“You belong to the League of Nations?”
“I belong to the world, Madame,” said Poirot dramatically. He went on:
“I work mainly in London. You speak English?” he added in that language.
“I speak a leetle, yes
(ÿ
ãîâîðüþ
íèåìíîãî
; leetle = little
).” Her
accent
was
charming
(åå àêöåíò áûë î÷àðîâàòåëüíûì;
accent — óäàðåíèå; ïðîèçíîøåíèå, àêöåíò
).
Poirot bowed once more (
Ïóàðî
ñíîâà
ïîêëîíèëñÿ)
.
“We will not detain you further, Madame
(ìû
âàñ
áîëüøå
íå
çàäåðæèì
, ìàäàì
). You see, it was not so very terrible
(âèäèòå
, ýòî
áûëî
íå
òàê
óæ
óæàñíî
).”
She smiled, inclined her head
(îíà
óëûáíóëàñü
, ñêëîíèëà
ãîëîâó
/â
çíàê
ïðîùàíèÿ
/; to incline —
íàêëîíÿòü,
íàãèáàòü;
ñêëîíÿòü)
and departed (
è
óøëà)
.
“Elle est jolie femme
(
ôð.
êðàñèâàÿ
æåíùèíà
),” said M. Bouc appreciatively
(ñêàçàë
ìñüå
Áóê
ñ
âèäîì
çíàòîêà
; to appreciate —
öåíèòü;
õîðîøî
ðàçáèðàòüñÿ /
â
÷åì-
ëèáî/;
áûòü
çíàòîêîì,
öåíèòåëåì)
. He
sighed
(îí âçäîõíóë). “
Well,
that
did
not
advance
us
much
(îäíàêî, ýòî íàñ íå ñèëüíî ïðèáëèçèëî /ê ðàçãàäêå/;
to
advance — ïðîäâèãàòüñÿ, èäòè âïåðåä; ñïîñîáñòâîâàòü
/÷åìó-ëèáî/; ïðèáëèæàòü, óñêîðÿòü)
.”
“
No,”
said
Poirot. “
Two
people
who
saw
nothing
(äâîå ÷åëîâåê, êîòîðûå íè÷åãî íå âèäåëè)
and
heard
nothing
(è íè÷åãî íå ñëûøàëè)
.”
“
Shall
we
now
see
the
Italian
(ìîæåò, ìû òåïåðü âñòðåòèìñÿ ñ èòàëüÿíöåì)
?”
Poirot
did
not
reply
for
a
moment
(Ïóàðî îòâåòèë íå ñðàçó: «íå îòâå÷àë êàêîå-òî ìãíîâåíèå»)
. He was studying a grease spot
(îí
èçó÷àë
æèðíîå
ïÿòíî
) on a Hungarian diplomatic passport
(íà
âåíãåðñêîì
äèïëîìàòè÷åñêîì
ïàñïîðòå
).
accent
['xks(q)nt] appreciative
[q'pri:SqtIv] advance
[qd'vQ:ns] Hungarian
[hAN'ge(q)rIqn]
“I speak a leetle, yes.” Her accent was charming. Poirot bowed once more.
“We will not detain you further, Madame. You see, it was not so very terrible.”
She smiled, inclined her head and departed.
“Elle est jolie femme
,” said M. Bouc appreciatively. He sighed. “Well, that did not advance us much.”
“No,” said Poirot. “Two people who saw nothing and heard nothing.”
“Shall we now see the Italian?”
Poirot did not reply for a moment. He was studying a grease spot on a Hungarian
diplomatic passport.
8
THE EVIDENCE OF COLONEL ARBUTHNOT
(
ïîêàçàíèÿ
ïîëêîâíèêà
Àðáýòíîòà
)
Poirot roused himself
(Ïóàðî
âûøåë
èç
çàäóì÷èâîñòè
: «âñòðÿõíóëñÿ
»; to rouse —
âñïóãèâàòü,
ïîäíèìàòü /
äè÷ü/;
ïîáóæäàòü,
ïîäñòðåêàòü; to rouse oneself —
âñòðÿõíóòüñÿ,
ïðåîäîëåòü
ñåáÿ,
ñâîþ
ëåíü)
with a slight start (
ñëåãêà
âçäðîãíóâ =
Ïóàðî
âçäðîãíóë
è
âûøåë
èç
çàäóì÷èâîñòè;
start — íà÷àëî
; âçäðàãèâàíèå
, ðûâîê
). His eyes twinkled a little
(åãî
ãëàçà
áëåñíóëè
; to twinkle —
ìåðöàòü,
ñâåðêàòü)
as they met the eager ones of M. Bouc (
êîãäà
îíè
âñòðåòèëèñü
ñ
íåòåðïåëèâûì
âçãëÿäîì
ìñüå
Áóêà;
eager — ñòðàñòíî
ñòðåìÿùèéñÿ
/ê
÷åìó
-ëèáî
/, ñòðåìÿùèéñÿ
/ê
÷åìó
-ëèáî
/; íåòåðïåëèâûé
).
“Ah! my dear old friend
(/ìîé
ñòàðûé
/ äîðîãîé
äðóã
),” he said, “you see I have become what they call the snob
(âèäèòå
ëè
, ÿ
ñòàë
, ÷òî
íàçûâàåòñÿ
, ñíîáîì
)! The first class, I feel
(ïåðâîìó
êëàññó
, ÿ
ïîëàãàþ
) it should be attended to
(íåîáõîäèìî
óäåëèòü
âíèìàíèå
; to attend /to/ —
ïîñåùàòü,
ïðèñóòñòâîâàòü;
óäåëÿòü
âíèìàíèå;
îáñëóæèâàòü)
before the second class (
ïðåæäå,
÷åì
âòîðîìó
êëàññó)
. Next, I think, we will interview the good-looking Colonel Arbuthnot
(ñëåäóþùèì
, äóìàþ
, ìû
îïðîñèì
/ïîáåñåäóåì
ñ
ñèìïàòè÷íûì
ïîëêîâíèêîì
Àðáýòíîòîì
).”
Finding the Colonel’s French
(îáíàðóæèâ
, ÷òî
ôðàíöóçñêèé
ïîëêîâíèêà
= ïîçíàíèÿ
ïîëêîâíèêà
âî
ôðàíöóçñêîì
ÿçûêå
) to be of a severely limited description
(áûë
ñèëüíî
îãðàíè÷åííîãî
ðîäà
= îêàçàëèñü
âåñüìà
îãðàíè÷åííûìè
; severely —
ñòðîãî,
ñóðîâî;
ñèëüíî,
÷ðåçâû÷àéíî; description —
îïèñàíèå,
èçîáðàæåíèå;
âèä,
ðîä)
, Poirot conducted his interrogatory in English (
Ïóàðî
ïðîâîäèë /
ñâîé/
äîïðîñ =
çàäàâàë
âîïðîñû
íà
àíãëèéñêîì;
interrogatory — âîïðîñ
; äîçíàíèå
, äîïðîñ
).
limited ['lImItId]
description [dIs'krIpS(q)n]
interrogatory ["Intq'r
Ogqt(q)rI]
Poirot roused himself with a slight start. His eyes twinkled a little as they
met the eager ones of M. Bouc.
“Ah! my dear old friend,” he said, “you see I have become what they call
the snob! The first class, I feel it should be attended to before the second class. Next, I think, we will interview the good-looking Colonel Arbuthnot.”
Finding the Colonel’s French to be of a severely limited description, Poirot
conducted his interrogatory in English.
Arbuthnot’s name (
èìÿ
Àðáýòíîòà)
, age (/
åãî/
âîçðàñò)
, home address (
äîìàøíèé
àäðåñ)
and exact military standing (
è
òî÷íîå
âîèíñêîå
çâàíèå;
standing — ïîëîæåíèå
, ðàíã
) were all ascertained
(/âñå
/ áûëè
óñòàíîâëåíû
= óòî÷íåíû
; to ascertain —
âûÿñíÿòü;
óñòàíàâëèâàòü)
. Poirot
proceeded
(Ïóàðî ïðîäîëæèë; to
proceed
— ïðîäîëæàòü /ïóòü/; ïðîäîëæàòü /ãîâîðèòü è ò.ï./
):
“
It
is
that
you
come
home
from
India
(âåðíî ëè, ÷òî âû íàïðàâëÿåòåñü äîìîé èç Èíäèè)
on
what
is
called
the
leave
(â, êàê ýòî íàçûâàåòñÿ, îòïóñê;
leave — ðàçðåøåíèå, ïîçâîëåíèå; îòïóñê; âîåí.
óâîëüíåíèå) —
what
we
can
call
en
permission
(èëè, êàê ìû ýòî íàçûâàåì, — â óâîëüíåíèå;
permission — ïîçâîëåíèå, ðàçðåøåíèå
)?”
Colonel
Arbuthnot,
uninterested
in
what
a
pack
of
foreigners
called
anything
(ïîëêîâíèê Àðáýòíîò, êîòîðîìó ñîâåðøåííî íå áûëî äåëà äî òîãî: «íåèíòåðåñîâàâøèéñÿ
òåì», êàê è ÷òî êàêèå-òî òàì èíîñòðàíöû íàçûâàþò; pack
— òþê, ñâÿçêà; ãðóïïà, êó÷êà
),
replied
with
true
British
brevity
(îòâåòèë ñ èñòèííî áðèòàíñêîé êðàòêîñòüþ;
true — âåðíûé, ïðàâèëüíûé; ïîäëèííûé, èñòèííûé;
brevity — êðàòêîñòü, íåäîëãîâå÷íîñòü;
íåìíîãîñëîâèå)
, “Yes
.”
military
['mIlIt(q)rI] ascertain
["xsq'teIn] brevity
['brevItI]
Arbuthnot’s name, age, home address and exact military standing were all
ascertained. Poirot proceeded:
“It is that you come home from India on what is called the leave — what
we can call en permission?”
Colonel Arbuthnot, uninterested in what a pack of foreigners called anything,
replied with true British brevity, “Yes.”
“But you do not come home
(íî
âû
íå
åäåòå
äîìîé
) on the P. & O. boat
(íà
êîðàáëå
/«Ïàðîõîäíîé
Êîìïàíèè
Ïîëóîñòðîâà
è
Âîñòîêà
»/; P. & O. = Peninsular and Oriental Steam Navigation Company,
boat — ëîäêà,
øëþïêà;
ñóäíî,
êîðàáëü)
?”
“
No.”
“
Why
not
(îò÷åãî æå íåò)?”
“
I
chose
to
come
(ÿ ïðåäïî÷åë ïîåõàòü;
to
choose (
chose,
chosen) — âûáèðàòü; ïðåäïî÷èòàòü, ðåøàòü
)
by
the
overland
route
(ïî ñóøå: «ñóõîïóòíûì ìàðøðóòîì»)
for
reasons
of
my
own
(ïî ñóãóáî ëè÷íûì ïðè÷èíàì;
own — ñîáñòâåííîñòü, ïðèíàäëåæíîñòü;
own — ñâîé ñîáñòâåííûé
).”
(“And
that
(à ýòî),”
his
manner
seemed
to
say
(êàçàëîñü, ãîâîðèë åãî âèä;
manner — ìåòîä, ñïîñîá; ìàíåðà, ïîâåäåíèå
), “
is
one
for
you
(òåáå = âîò òåáå, ïîëó÷è)
, you
interfering
little
jackanapes
(òû, íàçîéëèâûé ìàëåíüêèé âûñêî÷êà;
to
interfere — ìåøàòü, ñëóæèòü ïðåïÿòñòâèåì; íàäîåäàòü,
äîêó÷àòü; jackanapes
— íàõàë, âûñêî÷êà)
.”)
reason
['ri:z(q)n] interfering
["Intq'fI(q)rIN] jackanapes
['dZxkqneIps]
“But you do not come home on the P. & O. boat?”
“No.”
“Why not?”
“I chose to come by the overland route for reasons of my own.”
(“And that,” his manner seemed to say, “is one for you, you interfering
little jackanapes.”)
“You came straight through from India
(âû
åõàëè
íàïðÿìóþ
èç
Èíäèè
)?”
The Colonel replied drily
(ïîëêîâíèê
ñóõî
/õîëîäíî
îòâåòèë
): “I stopped for one night to see Ur of the Chaldees
(ÿ
äåëàë
îñòàíîâêó
íà
îäíó
íî÷ü
, ÷òîáû
óâèäåòü
/äðåâíåâàâèëîíñêèé
ãîðîä
/ Óð
Õàëäåéñêèé
; Chaldee = Chaldean —
õàëäåé)
, and for three days in Baghdad with the A.O.C. (
è
íà
òðè
äíÿ /
îñòàíîâèëñÿ/
â
Áàãäàäå ñ íà÷àëüíèêîì
àâèàöèè;
A.O.C. = Air Officer Commanding — íà÷àëüíèê
àâèàöèè
), who happens to be an old friend of mine
(êîòîðûé
ïðèõîäèòñÿ
ìíå
ñòàðûì
äðóãîì
; to happen —
ñëó÷àòüñÿ,
ïðîèñõîäèòü;
îêàçûâàòüñÿ /
ñëó÷àéíî/;
ïîñ÷àñòëèâèòüñÿ)
.”
“
You
stopped
three
days
in
Baghdad
(âû ãîñòèëè òðè äíÿ â Áàãäàäå;
to
stop — îñòàíàâëèâàòü, çàäåðæèâàòü; ðàçã. îñòàíàâëèâàòüñÿ
/íà íåïðîäîëæèòåëüíîå âðåìÿ/, ãîñòèòü)
. I
understand
(íàñêîëüêî ÿ çíàþ;
to
understand — ïîíèìàòü; óñëûøàòü, óçíàòü
)
that
the
young
English
lady,
Miss
Debenham,
also
comes
from
Baghdad
(òà ìîëîäàÿ àíãëè÷àíêà, ìèññ Äýáåíõýì, òîæå åäåò èç Áàãäàäà)
. Perhaps
you
met
her
there
(âîçìîæíî, âû òàì ñ íåé âñòðå÷àëèñü)
?”
colonel
['kq:n(q)l] Chaldee
[(")kxl'di:] Baghdad
['bxgdxd]
“You came straight through from India?”
The Colonel replied drily: “I stopped for one night to see Ur of the Chaldees,
and for three days in Baghdad with the A.O.C., who happens to be an old friend of mine.”
“You stopped three days in Baghdad. I understand that the young English lady,
Miss Debenham, also comes from Baghdad. Perhaps you met her there?”
“No, I did not. I first met Miss Debenham
(ÿ
â
ïåðâûé
ðàç
âñòðåòèë
ìèññ
Äýáåíõýì
) when she and I shared the railway convoy car
(êîãäà
ìû
âìåñòå
: «îíà
è
ÿ
» åõàëè
â
æåëåçíîäîðîæíîì
/îõðàíÿåìîì
/ âàãîíå
; to share —
äåëèòü,
ðàñïðåäåëÿòü;
ïîëüçîâàòüñÿ
ñîâìåñòíî; convoy —
ñîïðîâîæäåíèå,
îõðàíà)
from Kirkuk to Nissibin (
èç
Êèðêóêà
â
Íèññèáèí)
.”
Poirot leaned forward
(Ïóàðî
ïîäàëñÿ
âïåðåä
). He became persuasive
(îí
ñòàë
óáåæäàþùèì
= íàñòîé÷èâûì
; to persuade —
óáåæäàòü,
ñêëîíÿòü,
óãîâàðèâàòü)
and a little more foreign (
è /
ïðèíÿë/
íåìíîãî
èçëèøíå
èíîñòðàííóþ
ìàíåðó;
to become (became, become) — äåëàòüñÿ
, ñòàíîâèòüñÿ
; ïðèíèìàòü
âèä
, foreign — èíîñòðàííûé
, ÷óæåçåìíûé
, çàãðàíè÷íûé
) than he need have been
(÷åì
ýòî
òðåáîâàëîñü
; to need —
íóæäàòüñÿ,
èìåòü
íàäîáíîñòü;
òðåáîâàòü)
.
“
Monsieur,
I
am
about
to
appeal
to
you
(ìñüå, ÿ ñîáèðàþñü îáðàòèòüñÿ ê âàì ñ ïðîñüáîé;
to
be
about
to
do
smth. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü
÷òî-ëèáî, to
appeal — àïåëëèðîâàòü, âçûâàòü; ïðîñèòü
).
You and Miss Debenham are the only two English people on the train
(âû
è
ìèññ
Äýáåíõýì
— åäèíñòâåííûå
àíãëè÷àíå
â
ýòîì
ïîåçäå
). It
is
necessary
that
I
should
ask
you
each
(ýòî ïðîñòî íåîáõîäèìî, ÷òîáû ÿ ñïðîñèë ó êàæäîãî
èç âàñ) your
opinion
of
the
other
(âàøå ìíåíèå äðóã î äðóãå: «î äðóãîì»)
.”
railway
['reIlweI]
convoy ['k
OnvOI]
persuasive [pq'sweIsIv]
“No, I did not. I first met Miss Debenham when she and I shared the railway
convoy car from Kirkuk to Nissibin.”
Poirot leaned forward. He became persuasive and a little more foreign than
he need have been.
“Monsieur, I am about to appeal to you. You and Miss Debenham are the only
two English people on the train. It is necessary that I should ask you each your opinion of the other.”
“Highly irregular
(÷ðåçâû÷àéíî
íåïîðÿäî÷íàÿ
/ïðîñüáà
/; irregular —
íåïðàâèëüíûé;
íåîáû÷íûé;
íåïîðÿäî÷íûé)
,” said Colonel Arbuthnot coldly (
ñêàçàë
ïîëêîâíèê
Àðáýòíîò
õîëîäíî)
.
“Not so
(âîâñå
íåò
). You see, this crime
(âèäèòå
ëè
, ýòî
ïðåñòóïëåíèå
), it was most probably committed by a woman
(îíî
, ïî
âñåé
âåðîÿòíîñòè
, áûëî
ñîâåðøåíî
æåíùèíîé
; probably —
âåðîÿòíî)
. The man was stabbed (
ýòîò
ìóæ÷èíà
áûë
çàêîëîò;
to stab — íàíîñèòü
óäàð
/íîæîì
, êèíæàëîì
è
ò
.ï
./; çàêîëîòü
) no fewer than twelve times
(íå
ìåíåå
äâåíàäöàòè
ðàç
). Even the
chef de train said at once
(äàæå
íà÷àëüíèê
ïîåçäà
ñðàçó
ñêàçàë
), ‘It is a woman
(ýòî
/ñäåëàëà
/ æåíùèíà
).’ Well, then, what is my first task
(èòàê
, ñëåäîâàòåëüíî
, êàêîâà
ìîÿ
ïåðâàÿ
çàäà÷à
)? To give all the women
(îãëÿäåòü
âñåõ
æåíùèí
) travelling on the Istanbul-Calais coach
(åäóùèõ
â
âàãîíå
Ñòàìáóë
-Êàëå
) what Americans call the ‘once-over’
(êàê
ãîâîðÿò
àìåðèêàíöû
, /ìîæíî
/ "áåãëî
"; once-over —
áåãëîå
îçíàêîìëåíèå,
áûñòðûé,
íî
âíèìàòåëüíûé
âçãëÿä; to give smb. the once-over —
áûñòðî,
íî
âíèìàòåëüíî
îãëÿäåòü
êîãî-
ëèáî)
. But
to
judge
of
an
Englishwoman
is
difficult
(íî ñóäèòü îá àíãëè÷àíêàõ ñëîæíî: «òðóäíî»;
to
judge — ñóäèòü, âûíîñèòü ïðèãîâîð; ñîñòàâëÿòü
ìíåíèå, îöåíèâàòü)
. They
are
very
reserved
(îíè î÷åíü ñäåðæàííûå;
reserved — çàïàñíûé, ðåçåðâíûé; ñêðûòíûé, ñäåðæàííûé,
çàìêíóòûé),
the
English
(ýòè àíãëè÷àíå).
So
I
appeal
to
you,
Monsieur
(ïîýòîìó ÿ îáðàùàþñü ê âàì, ìñüå)
, in
the
interest
of
justice
(â èíòåðåñàõ ïðàâîñóäèÿ;
justice — ñïðàâåäëèâîñòü; ïðàâîñóäèå
).
What sort of person is this Miss Debenham (
êàêîé
îíà
÷åëîâåê,
ýòà
ìèññ
Äåáåíõýì)
? What do you know about her (
÷òî
âû
çíàåòå
î
íåé)
?”
irregular [I'regjVlq]
reserved [rI'zq:vd]
justice ['dZAstIs]
“Highly irregular,” said Colonel Arbuthnot coldly.
“Not so. You see, this crime, it was most probably committed by a woman.
The man was stabbed no fewer than twelve times. Even the chef de train
said at once, ‘It is a woman.’ Well, then, what is my first task? To give all the women travelling on the Istanbul-Calais coach what Americans call the ‘once-over.’
But to judge of an Englishwoman is difficult. They are very reserved, the English. So I appeal to you, Monsieur, in the interest of justice. What sort of person is this Miss Debenham? What do you know about her?”
“Miss Debenham,” said the Colonel with some warmth
(ñêàçàë
ïîëêîâíèê
ñ
íåêîòîðîé
ãîðÿ÷íîñòüþ
; warmth —
òåïëî,
òåïëîòà;
ãîðÿ÷íîñòü,
çàïàëü÷èâîñòü)
, “is a lady (
ìèññ
Äåáåíõýì — /
íàñòîÿùàÿ/
ëåäè)
.”
“Ah!” said Poirot with every appearance
(ñêàçàë
Ïóàðî
ñ
òàêèì
âèäîì
; appearance —
âíåøíèé
âèä,
âíåøíîñòü,
íàðóæíîñòü)
of being much gratified (
÷òî
îí
ïîëíîñòüþ
óäîâëåòâîðåí;
to gratify — óäîâëåòâîðÿòü
; ðàäîâàòü
). “So you do not think that she is likely to be implicated
(çíà÷èò
, âû
íå
äóìàåòå
, ÷òî
îíà
êàê
-òî
çàìåøàíà
; likely —
âåðîÿòíûé,
âîçìîæíûé, to implicate —
âîâëåêàòü,
âïóòûâàòü)
in this crime (
â
ýòîì
ïðåñòóïëåíèè)
?”
“The idea is absurd
(ýòà
ìûñëü
íåëåïà
/àáñóðäíà
),” said Arbuthnot. “The man was a perfect stranger
(ýòîò
÷åëîâåê
áûë
åé
ñîâåðøåííî
íåçíàêîì
; stranger —
íåçíàêîìåö)
— she had never seen him before (
îíà
íèêîãäà
ðàíüøå
åãî
íå
âèäåëà)
.”
“Did she tell you so
(îíà
âàì
ýòî
ñêàçàëà
)?”
“She did (
äà)
. She ñ
ommented
at
once
(îíà ñðàçó æå çàìåòèëà /â ðàçãîâîðå/;
to
comment — êîììåíòèðîâàòü, òîëêîâàòü; âûñêàçûâàòüñÿ,
ñîîáùàòü ñâîå ìíåíèå)
upon
his
somewhat
unpleasant
appearance
(÷òî ó íåãî êàêàÿ-òî íåïðèÿòíàÿ âíåøíîñòü)
. If
a
woman
is
concerned
(åñëè /çäåñü/ çàìåøàíà êàêàÿ-òî æåíùèíà;
to
concern — êàñàòüñÿ /â ðàññêàçå/; êàñàòüñÿ, èìåòü
êàñàòåëüñòâî, îòíîøåíèå)
, as
you
seem
to
think
(to
my
mind
(êàê âû, ïî ìîåìó, äóìàåòå)
without
any
evidence
(áåç êàêèõ-ëèáî îñíîâàíèé;
mind — óì, ðàçóì; /îòêðîâåííîå/ ìíåíèå, âçãëÿä
)
but
on
a
mere
assumption
(à ïðîñòî ïðåäïîëàãàÿ;
assumption — ïðèíÿòèå íà ñåáÿ /îòâåòñòâåííîñòè
è ò.ï./; ïðåäïîëîæåíèå, äîïóùåíèå)
), I
can
assure
you
(ìîãó âàñ óâåðèòü)
that
Miss
Debenham
could
not
possibly
be
implicated
(÷òî ìèññ Äåáåíõýì ñîâåðøåííî íå ìîæåò áûòü çàìåøàíà)
.”
warmth
[wO:mT] appearance
[q'pI(q)rqns] gratify
['grxtIfaI]
“Miss Debenham,” said the Colonel with some warmth, “is a lady.”
“Ah!” said Poirot with every appearance of being much gratified. “So
you do not think that she is likely to be implicated in this crime?”
“The idea is absurd,” said Arbuthnot. “The man was a perfect stranger
— she had never seen him before.”
“Did she tell you so?”
“She did. She
commented at once upon his somewhat unpleasant appearance. If a woman is concerned, as you seem
to think (to my mind without any evidence but on a mere assumption), I can assure you that Miss Debenham could not possibly be implicated.”
“You feel warmly in the matter
(âû
ãîðÿ÷î
ïåðåæèâàåòå
ýòî
äåëî
; to feel —
òðîãàòü;
ïåðåæèâàòü,
èñïûòûâàòü)
,” said Poirot with a smile (
ñêàçàë
Ïóàðî
ñ
óëûáêîé)
.
Colonel
Arbuthnot
gave
him
a
cold
stare
(ïîëêîâíèê Àðáýòíîò õîëîäíî óñòàâèëñÿ íà íåãî;
stare — ïðèñòàëüíûé âçãëÿä;
cold — õîëîäíûé; íåïðèâåòëèâûé, ñóõîé
). “
I
really
don’
t
know
what
you
mean
(ÿ ñîâåðøåííî íå ïîíèìàþ, ÷òî âû èìååòå â âèäó)
,” he
said
.
The stare seemed to abash Poirot
(ýòîò
âçãëÿä
,
êàçàëîñü,
ñìóòèë
Ïóàðî
). He dropped his eyes
(îí
îïóñòèë
ãëàçà
; to drop —
êàïàòü;
îïóñêàòü,
ïîòóïèòü /
âçîð/
) and began fiddling with the papers
(è
íà÷àë
âåðòåòü
áóìàãè
; to fiddle —
èãðàòü
íà
ñêðèïêå;
âåðòåòü
â
ðóêàõ,
èãðàòü /
÷åì-
ëèáî/
) in front of him
(/ëåæàâøèå
/ ïåðåä
íèì
).
“All this is by the way
(ýòî
âñå
òàê
, ìåæäó
ïðî÷èì
),” he said. “Let us be practical
(äàâàéòå
áóäåì
ïðàêòè÷íûìè
) and come to facts
(è
ïåðåéäåì
ê
ôàêòàì
). This crime, we have reason to believe
(ýòî
ïðåñòóïëåíèå
, ó
íàñ
åñòü
ïðè÷èíà
ïîëàãàòü
), took place at a quarter past one
(ïðîèçîøëî
â
÷åòâåðòü
âòîðîãî
; to take (took, taken)
place — ïðîèñõîäèòü
, ñëó÷àòüñÿ
) last night (
ïðîøëîé
íî÷üþ)
. It is part of the necessary routine (
ýòî
÷àñòü
íåîáõîäèìûõ
ôîðìàëüíîñòåé;
part — ÷àñòü
, äîëÿ
; routine — çàâåäåííûé
ïîðÿäîê
, óñòàíîâèâøàÿñÿ
ïðàêòèêà
; ôîðìàëüíîñòü
) to ask everyone on the train
(ñïðàøèâàòü
êàæäîãî
â
ýòîì
ïîåçäå
) what he or she was doing at that time
(÷òî
îí
èëè
îíà
äåëàëè
â
ýòî
âðåìÿ
).”
abash
[q'bxS] fiddling
['fIdlIN] necessary
['nesIs(q)rI] routine
[ru:'ti:n]
“You feel warmly in the matter,” said Poirot with a smile.
Colonel Arbuthnot gave him a cold stare. “I really don’t know what you
mean,” he said.
The stare seemed to abash Poirot. He dropped his eyes and began fiddling with
the papers in front of him.
“All this is by the way,” he said. “Let us be practical and come to facts.
This crime, we have reason to believe, took place at a quarter past one last night. It is part of the necessary routine to ask everyone on the train what he or she was doing at that time.”
“Quite
so
(íåñîìíåííî: «âïîëíå òàê»)
. At a quarter past one
(â
÷åòâåðòü
âòîðîãî
; past —
çä.
âî
âðåìåííîì
çíà÷åíèè
óêàçûâàåò
íà
âðåìÿ
ïî
÷àñàì:
ïîñëå)
, to the best of my belief (
íàñêîëüêî
ìíå
ïîìíèòñÿ;
best — ñàìîå
ëó÷øåå
, âûñøàÿ
ñòåïåíü
/÷åãî
-ëèáî
/; belief — âåðà
, äîâåðèå
; ðàçã
. ìíåíèå
, óáåæäåíèå
, ïîíèìàíèå
), I was talking to the young American fellow
(ÿ
ðàçãîâàðèâàë
ñ
òåì
ìîëîäûì
àìåðèêàíöåì
; fellow —
ðàçã.
÷åëîâåê,
ïàðåíü,
ìàëûé)
— secretary to the dead man (
ñåêðåòàðåì
óáèòîãî: «
ìåðòâîãî
÷åëîâåêà»)
.”
“Ah! were you in his compartment
(âû
áûëè
â
åãî
êóïå
), or was he in yours
(èëè
îí
áûë
â
âàøåì
)?”
“I was in his
(ÿ
áûë
â
åãî
).”
“That is the young man of the name of MacQueen
(ýòî
òîò
ñàìûé
ìîëîäîé
÷åëîâåê
ïî
ôàìèëèè
Ìàêêóèí
)?”
“Yes.”
“He was a friend or acquaintance of yours
(îí
/âàø
/ äðóã
èëè
çíàêîìûé
; acquaintance —
çíàêîìñòâî;
çíàêîìûé,
çíàêîìàÿ)
?”
“
No,
I
never
saw
him
(íåò, ÿ íèêîãäà åãî ðàíüøå íå âèäåë)
before
this
journey
(äî ýòîãî ïóòåøåñòâèÿ)
. We
fell
into
casual
conversation
yesterday
(ìû â÷åðà ñëó÷àéíî ðàçãîâîðèëèñü;
to
fall (
fell,
fallen) — ïàäàòü;
to
fall
in(
to)
a
state — ïðèõîäèòü, âïàäàòü â êàêîå-ëèáî ñîñòîÿíèå;
conversation — ðàçãîâîð, áåñåäà
)
and
both
became
interested
(è îáà çàèíòåðåñîâàëèñü)
. I
don
’t
as
a
rule
like
Americans
(ìíå, êàê ïðàâèëî, íå íðàâÿòñÿ àìåðèêàíöû;
rule — ïðàâèëî, íîðìà; ïðèâû÷êà, îáû÷àé
) —
haven’
t
any
use
for ’
em
(íå õî÷ó èìåòü ñ íèìè äåëî;
use — óïîòðåáëåíèå, èñïîëüçîâàíèå;
to
have
no
use
for — íå âûíîñèòü, ïðåçèðàòü /êîãî-ëèáî/; íå
õîòåòü èìåòü äåëî /ñ êåì-ëèáî/) —
”
belief [bI'li:f]
acquaintance [q'kweIntqns]
rule [ru:l]
“Quite so. At a quarter past one, to the best of my belief, I was talking
to the young American fellow — secretary to the dead man.”
“Ah! were you in his compartment, or was he in yours?”
“I was in his.”
“That is the young man of the name of MacQueen?”
“Yes.”
“He was a friend or acquaintance of yours?”
“No, I never saw him before this journey. We fell into casual conversation
yesterday and both became interested. I don’t as a rule like Americans — haven’t any use for ’em — ”
Poirot smiled, remembering MacQueen’s strictures on “Britishers”
(Ïóàðî
óëûáíóëñÿ
, âñïîìíèâ
ñóðîâóþ
êðèòèêó
Ìàêêóèíà
/ïî
ïîâîäó
/ "áðèòàíöåâ
"; stricture —
ñòðîãàÿ
êðèòèêà,
îñóæäåíèå)
“ —
but
I
liked
this
young
fellow
(íî ýòîò ìîëîäîé ÷åëîâåê ìíå ïîíðàâèëñÿ)
. He
’d
got
hold
of
some
tomfool
idiotic
ideas
(îí íàáðàëñÿ êàêèõ-òî äóðàöêèõ ãëóïûõ èäåé;
to
get (
got)
hold
of — áðàòü, õâàòàòü /÷òî-ëèáî/; çàâëàäåòü
/÷åì-ëèáî/; tomfool — äóðàê; øóò)
about
the
situation
in
India
(î ïîëîæåíèè â
èíäèè)
. That
’s
the
worst
of
Americans
(ýòî ñàìîå ïëîõîå â àìåðèêàíöàõ)
— they
’re
so
sentimental
and
idealistic
(îíè òàêèå ñåíòèìåíòàëüíûå/÷óâñòâèòåëüíûå è èäåàëèñòè÷åñêèå)
. Well
, he
was
interested
in
what
I
had
to
tell
him
(÷òî æ, îí çàèíòåðåñîâàëñÿ òåì, ÷òî ÿ ìîã åìó ðàññêàçàòü)
. I
’ve
had
nearly
thirty
years
’ experience
of
the
country
(ÿ ïî÷òè òðèäöàòü ëåò ïðîâåë â ýòîé ñòðàíå;
experience — /æèçíåííûé/ îïûò; îïûò ðàáîòû, ñòàæ
).
And
I
was
interested
in
what
he
had
to
tell
me
(à ìíå áûëî èíòåðåñíî, ÷òî îí ìíå ìîæåò ðàññêàçàòü)
about
the
working
of
Prohibition
in
America
(î äåéñòâèè ñóõîãî çàêîíà â Àìåðèêå;
working — ðàáîòà, äåéñòâèå, ôóíêöèîíèðîâàíèå
).
Then
we
got
down
to
world
politics
in
general
(çàòåì ìû ïåðåøëè ê ìèðîâîé ïîëèòèêå â öåëîì;
to
get (
got)
down — ñïóñêàòüñÿ, ñõîäèòü; ñåðüåçíî çàíÿòüñÿ
/÷åì-ëèáî/, ïðèñòóïèòü /ê ÷åìó-ëèáî/; general
— îáùèé; ðàñïðîñòðàíåííûé, îáùåïðèíÿòûé
).
I
was
quite
surprised
(ÿ î÷åíü óäèâèëñÿ; surprise
— óäèâëåíèå, èçóìëåíèå;
to
surprise — óäèâëÿòü, ïîðàæàòü
)
to
look
at
my
watch
(âçãëÿíóâ íà ñâîè ÷àñû)
and
find
it
was
a
quarter
to
two
(è îáíàðóæèâ, ÷òî áûëî áåç ÷åòâåðòè äâà)
.”
stricture
['strIktSq] tomfool
[tO
m'fu:l] idioti
ñ
["IdI'O
tIk] experience
[Ik'spI(q)rIqns] prohibition
["prqVhI'bIS(q)n]
Poirot smiled, remembering MacQueen’s strictures on “Britishers.”
“ — but I liked this young fellow. He’d got hold of some tomfool idiotic
ideas about the situation in India. That’s the worst of Americans — they’re so sentimental and idealistic. Well, he was interested in what I had to tell him. I’ve had nearly thirty years’ experience of the country.
And I was interested in what he had to tell me about the working of Prohibition in America. Then we got down to world politics in general. I was quite surprised to look at my watch and find it was a quarter to two.”
“That is the time you broke up this conversation
(â
ýòî
ñàìîå
âðåìÿ
âû
çàêîí÷èëè
ðàçãîâîð
; to break (broke, broken) —
ëîìàòü;
ïðåðûâàòü,
âðåìåííî
ïðåêðàùàòü)
?”
“Yes.”
“What did you do then
(÷òî
âû
äåëàëè
ïîòîì
)?”
“Walked along to my own compartment
(ïîøåë
â
ñâîå
/ñîáñòâåííîå
/ êóïå
) and turned in
(è
ëåã
ñïàòü
; to turn in —
ïîâîðà÷èâàòü
âîâíóòðü;
ðàçã.
ëîæèòüñÿ
ñïàòü)
.”
“Your bed was made up ready
(âàøà
ïîñòåëü
óæå
áûëà
ðàññòåëåíà
)?”
“Yes.”
“That is the compartment
(âîò
ýòî
êóïå
) — let me see
(äàéòå
ïîäóìàòü
) — No. 15 — the one next but one
(êóïå
÷åðåç
îäíî
êóïå
= ïðåäïîñëåäíåå
êóïå
) to the end away from the dining-car
(îò
òîãî
êîíöà
/âàãîíà
/, êîòîðûé
âäàëè
îò
âàãîíà
-ðåñòîðàíà
= â
ïðîòèâîïîëîæíîì
îò
âàãîíà
-ðåñòîðàíà
êîíöå
âàãîíà
)?”
“Yes.”
“Where was the conductor when you went to your compartment
(ãäå
áûë
ïðîâîäíèê
, êîãäà
âû
øëè
ê
ñåáå
â
êóïå
)?”
“Sitting
at
the
end
at
a
little
table
(îí ñèäåë: «ñèäÿùèé» â êîíöå /âàãîíà/ çà ìàëåíüêèì
ñòîëèêîì). As a matter of fact MacQueen called him
(ïî
ïðàâäå
ñêàçàòü
, åãî
ïîçâàë
Ìàêêóèí
) just as I went in to my own compartment
(êàê
ðàç
òîãäà
, êîãäà
ÿ
âõîäèë
â
ñâîå
êóïå
).”
“Why did he call him
(çà÷åì
îí
åãî
ïîçâàë
)?”
“To make up his bed, I suppose (
ðàññòåëèòü
ïîñòåëü,
ÿ
ïîëàãàþ)
. The
compartment
hadn’
t
been
made
up
for
the
night
(êóïå íå áûëî ïîäãîòîâëåíî ê íî÷è = ïîñòåëü íå áûëà ïîñòåëåíà)
.”
ready
['redI] dining-car
['daInINkQ:] conductor
[kqn'dAktq]
“That is the time you broke up this conversation?”
“Yes.”
“What did you do then?”
“Walked along to my own compartment and turned in.”
“Your bed was made up ready?”
“Yes.”
“That is the compartment — let me see — No. 15 — the one next but one
to the end away from the dining-car?”
“Yes.”
“Where was the conductor when you went to your compartment?”
“Sitting at the end at a little table. As a matter of fact MacQueen called
him just as I went in to my own compartment.”
“Why did he call him?”
“To make up his bed, I suppose. The compartment hadn’t been made up for
the night.”
“Now, Colonel Arbuthnot, I want you to think carefully
(òåïåðü
, ïîëêîâíèê
Àðáýòíîò
, ÿ
õî÷ó
÷òîáû
âû
õîðîøåíüêî
ïîäóìàëè
). During the time you were talking to Mr. MacQueen
(çà
âñå
òî
âðåìÿ
, ÷òî
âû
ðàçãîâàðèâàëè
ñ
ìèñòåðîì
Ìàêêóèíîì
), did anyone pass along the corridor
(êòî
-íèáóäü
ïðîõîäèë
ïî
êîðèäîðó
) outside the door
(ìèìî
: «ñíàðóæè
» /âàøåé
/ äâåðè
)?”
“A good many people, I should think (
ìíîæåñòâî
ëþäåé,
íàâåðíîå)
. I
wasn’
t
paying
attention
(ÿ íå îáðàùàë âíèìàíèÿ;
to
pay — ïëàòèòü, çàïëàòèòü;
attention — âíèìàíèå, âíèìàòåëüíîñòü
).”
“
Ah!
but
I
am
referring
to
(à, íî ÿ æå ãîâîðþ î; to
refer
/to
/ — ïîñûëàòü, îòñûëàòü /ê êîìó-ëèáî, ÷åìó-ëèáî/; óïîìèíàòü, ãîâîðèòü /î êîì-ëèáî, ÷åì-ëèáî/,
ïîäðàçóìåâàòü)
— let
us
say
(ñêàæåì/íàïðèìåð)
, the
last
hour
and
a
half
of
your
conversation
(î ïîñëåäíèõ ïîëóòîðà ÷àñàõ âàøåãî ðàçãîâîðà)
. You
got
out
at
Vincovci
, didn
’t
you
(âû âûõîäèëè /èç ïîåçäà/ â Âèíêîâöàõ, íå òàê ëè;
to
get (
got)
out
— âûõîäèòü, âûëåçàòü, âûñàæèâàòüñÿ
)?”
carefully
['keqf(q)lI] outside
['aVtsaId] paying
['peIIN] conversation
["kO
nvq'seIS(q)n]
“Now, Colonel Arbuthnot, I want you to think carefully. During the time you
were talking to Mr. MacQueen, did anyone pass along the corridor outside the door?”
“A good many people, I should think. I wasn’t paying attention.”
“Ah! but I am referring to — let us say, the last hour and a half of your
conversation. You got out at Vincovci, didn’t you?”
“Yes, but only for about a minute
(äà
, íî
òîëüêî
íà
ìèíóòêó
). There was a blizzard on
(áûëà
ìåòåëü
). The cold was something frightful
(ìîðîç
áûë
ïðîñòî
óæàñíûé
; fright —
èñïóã; frightful —
ñòðàøíûé,
óæàñíûé)
. Made one quite thankful to get back to the fug (
áûëî
ïðèÿòíî
âåðíóòüñÿ: «
äåëàåò
ëþáîãî
äîâîëüíî
áëàãîäàðíûì»
â
ýòó
äóõîòó;
thankful — áëàãîäàðíûé
; äîâîëüíûé
, ðàäóþùèéñÿ
/÷åìó
-ëèáî
/)
, though as a rule I think (
õîòÿ
îáû÷íî: «
êàê
ïðàâèëî»,
ÿ
ñ÷èòàþ)
the way these trains are overheated (
òî,
êàêèì
îáðàçîì
ýòè
ïîåçäà
ñëèøêîì
æàðêî
òîïÿòñÿ;
to heat — íàãðåâàòü
; òîïèòü
, îòàïëèâàòü
; to overheat — ïåðåãðåâàòü
, ïåðåêàëèâàòü
) is something scandalous
(ýòî
÷òî
-òî
âîçìóòèòåëüíîå
; scandalous —
ïîçîðíûé,
ñêàíäàëüíûé;
âîçìóòèòåëüíûé; scandal —
ïîçîðíûé,
ïîñòûäíûé
ôàêò;
âîçìóùåíèå /
êàêèì-
ëèáî
ïîçîðíûì
ôàêòîì/
).”
M.
Bouc
sighed
(ìñüå Áóê âçäîõíóë). “
It
is
very
difficult
to
please
everybody
(î÷åíü òðóäíî óãîäèòü âñåì;
to
please — æåëàòü, õîòåòü; óãîæäàòü, äîñòàâëÿòü
óäîâîëüñòâèå)
,” he
said
. “The English they open everything
(àíãëè÷àíå
—
îíè
âñå
îòêðûâàþò)
— then others, they come along and shut everything
(à
äðóãèå
ïðèõîäÿò
è
âñå
çàêðûâàþò
). It
is
very
difficult
(âñå ýòî î÷åíü íåïðîñòî = íà âñåõ íå óãîäèøü)
.”
minute
['mInIt]
blizzard ['blIzqd]
frightful
['fraItf(q)l] rule
[ru:l] scandalous
['skxnd(q)lqs]
“Yes, but only for about a minute. There was a blizzard on. The cold was
something frightful. Made one quite thankful to get back to the fug, though as a rule I think the way these trains are overheated is something scandalous.”
M. Bouc sighed. “It is very difficult to please everybody,” he said. “The
English they open everything — then others, they come along and shut everything. It is very difficult.”
Neither Poirot nor Colonel Arbuthnot paid any attention to him
(íè
Ïóàðî
, íè
ïîëêîâíèê
Àðáýòíîò
íå
îáðàòèëè
íà
íåãî
íèêàêîãî
âíèìàíèÿ
).
“Now, Monsieur, cast your mind back
(òåïåðü
, ìñüå
, ïîñòàðàéòåñü
âñïîìíèòü
; to cast one's mind back —
âñïîìíèòü
ïðîøëîå; to cast —
áðîñàòü,
êèäàòü; mind —
óì,
ðàçóì;
ïàìÿòü)
,” said Poirot encouragingly (
îáîäðÿþùå
ñêàçàë
Ïóàðî;
to encourage — îáîäðÿòü
, âîîäóøåâëÿòü
). “It was cold outside
(ñíàðóæè
áûëî
õîëîäíî
). You have returned to the train
(âû
âåðíóëèñü
â
ïîåçä
). You sit down again
(âû
ñíîâà
ñèäèòå
), you smoke
(âû
êóðèòå
) — perhaps a cigarette
(ìîæåò
áûòü
, ñèãàðåòó
) — perhaps a pipe
(ìîæåò
áûòü
, òðóáêó
) — ”
He paused for the fraction of a second
(îí
ïîìîë÷àë
êàêóþ
-òî
äîëþ
ñåêóíäû
; fraction —
ìàò.
äðîáü
; ÷àñòü
, ÷àñòèöà
, äîëÿ
).
“
A
pipe
for
me
(ÿ êóðèë òðóáêó: «òðóáêà äëÿ ìåíÿ»)
. MacQueen
smoked
cigarettes
(Ìàêêóèí êóðèë ñèãàðåòû)
.”
“The train starts again
(ïîåçä
ñíîâà
òðîãàåòñÿ
). You smoke your pipe
(âû
êóðèòå
âàøó
òðóáêó
). You discuss the state of Europe
(âû
îáñóæäàåòå
ïîëîæåíèå
/äåë
/ â
Åâðîïå
) — of the world
(â
ìèðå
). It is late now
(òåïåðü
óæå
ïîçäíî
). Most people have retired for the night
(áîëüøèíñòâî
/ëþäåé
/ óæå
óäàëèëèñü
íà
ïîêîé
; to retire to bed /to rest, for the night/ —
ïîéòè
ñïàòü,
óäàëèòüñÿ
íà
ïîêîé)
. Does
anyone
pass
the
door
(ïðîõîäèò êòî-íèáóäü ìèìî äâåðè)
? Think
(ïîäóìàéòå
).”
encouragingly
[In'kArIdZINlI] perhaps
[pq'hxps] discuss
[dIs'kAs]
Neither Poirot nor Colonel Arbuthnot paid any attention to him.
“Now, Monsieur, cast your mind back,” said Poirot encouragingly. “It
was cold outside. You have returned to the train. You sit down again, you smoke — perhaps a cigarette — perhaps a pipe — ”
He paused for the fraction of a second.
“A pipe for me. MacQueen smoked cigarettes.”
“The train starts again. You smoke your pipe. You discuss the state of Europe
— of the world. It is late now. Most people have retired for the night. Does anyone pass the door? Think.”
Arbuthnot frowned in the effort of remembrance
(Àðáýòíîò
íàõìóðèëñÿ
, ñèëÿñü
âñïîìíèòü
; effort —
óñèëèå,
íàïðÿæåíèå; remembrance —
ïàìÿòü;
âîñïîìèíàíèå)
.
“Difficult to say
(òðóäíî
ñêàçàòü
),” he said. “You see I wasn’t paying any attention
(âèäèòå
ëè
, ÿ
íå
îáðàùàë
âíèìàíèÿ
).”
“But you have the soldier’s observation for detail
(íî
âû
æå
îáëàäàåòå
âîåííîé
íàáëþäàòåëüíîñòüþ
/ê
äåòàëÿì
/; soldier —
ñîëäàò;
âîåííîñëóæàùèé,
âîåííûé; to observe —
íàáëþäàòü,
ñëåäèòü;
çàìå÷àòü)
. You
notice
without
noticing
(âû âñå çàìå÷àåòå, äàæå íå îáðàùàÿ âíèìàíèÿ)
, so
to
speak
(òàê ñêàçàòü)
.”
The
Colonel
thought
again
(ïîëêîâíèê ñíîâà çàäóìàëñÿ)
, but
shook
his
head
(íî ïîêà÷àë ãîëîâîé;
to
shake (
shook,
shaken) — òðÿñòè; êà÷àòü /ãîëîâîé/
).
“
I
couldn’
t
say
(íå ìîãó ñêàçàòü).
I
don’
t
remember
anyone
passing
(ÿ íå ïîìíþ, ÷òîáû êòî-íèáóäü ïðîõîäèë ìèìî)
except
the
conductor
(çà èñêëþ÷åíèåì ïðîâîäíèêà)
. Wait
a
minute
(ïîäîæäèòå ìèíóòêó)
— and
there
was
a
woman
, I
think
(è áûëà êàêàÿ-òî æåíùèíà, ìíå êàæåòñÿ)
.”
remembrance [rI'membrqns]
soldier ['sqVldZq]
observation ["
Obzq'veIS(q)n]
Arbuthnot frowned in the effort of remembrance.
“Difficult to say,” he said. “You see I wasn’t paying any attention.”
“But you have the soldier’s observation for detail. You notice without
noticing, so to speak.”
The Colonel thought again, but shook his head.
“I couldn’t say. I don’t remember anyone passing except the conductor.
Wait a minute — and there was a woman, I think.”
“
You
saw
her
(âû åå âèäåëè)?
Was
she
old —
young
(îíà áûëà ñòàðàÿ — èëè ìîëîäàÿ)
?”
“
Didn’
t
see
her
(/ÿ/ íå âèäåë åå).
Wasn’
t
looking
that
way
(íå ñìîòðåë â òó ñòîðîíó;
way — ïóòü, äîðîãà; íàïðàâëåíèå
).
just
a
rustle
(ïðîñòî /áûëî/ øóðøàíèå/øåëåñò)
and
a
sort
of
smell
of
scent
(è ÷òî-òî âðîäå çàïàõà äóõîâ;
smell — îáîíÿíèå; çàïàõ;
scent — çàïàõ, àðîìàò; äóõè
).”
“Scent
(äóõîâ
)? A good scent
(õîðîøèõ
äóõîâ
)?”
“Well
, rather
fruity
(íó, ïîæàëóé, ïðèòîðíûå: «ôðóêòîâûå»;
fruity — ôðóêòîâûé, íàïîìèíàþùèé ôðóêòû /ïî
âêóñó, çàïàõó è ò.ï./; ðàçã. ñî÷íûé, ãóñòîé)
, if
you
know
what
I
mean
(åñëè âû ïîíèìàåòå, î ÷åì ÿ)
. I
mean
you
’d
smell
it
(ÿ õî÷ó ñêàçàòü, ÷òî âû ó÷óåòå åãî;
to
smell — îáîíÿòü; ÷óâñòâîâàòü çàïàõ
)
a
hundred
yards
away
(çà ñîòíþ ÿðäîâ; yard
— ÿðä, ìåðà äëèíû, ðàâíàÿ 3 ôóòàì, îê. 91,44 ñì
).
But mind you (
íî
ó÷òèòå)
,” the Colonel went on hastily (
ïðîäîëæàë
ïîëêîâíèê
ïîñïåøíî)
, “this may have been earlier in the evening (
ýòî
ìîãëî
áûòü
è
ðàíüøå
â
òîò
âå÷åð)
. You see, as you said just now (
âèäèòå
ëè,
êàê
âû
òîëüêî
÷òî
ñêàçàëè)
, it was just one of those things (
ýòî
áûëà
îäíà
èç
òåõ
âåùåé)
you notice without noticing (
êîòîðóþ
çàìå÷àåøü,
íå
îáðàùàÿ /
ñïåöèàëüíî/
âíèìàíèÿ)
, so to speak (
åñëè
ìîæíî
òàê
ñêàçàòü)
. Some time that evening I said to myself (
â
êàêîå-
òî
âðåìÿ
òåì
âå÷åðîì
ÿ
ñêàçàë
ñåáå =
ïîäóìàë)
— ‘Woman — scent — got it on pretty thick (
æåíùèíà —
äóõè —
äîâîëüíî
ñèëüíî
íàäóøèëàñü;
to get (got) on — íàäåâàòü
; thick — òîëñòûé
; òîëñòûì
ñëîåì
; â
áîëüøîì
êîëè÷åñòâå
, ãóñòî
, îáèëüíî
).’ But when it was I can’t be sure
(íî
êîãäà
ýòî
áûëî
, íå
ìîãó
áûòü
óâåðåí
), except that
(çà
èñêëþ÷åíèåì
òîãî
) — why, yes
(ïîæàëóé
, äà
), it must have been after Vincovci
(ýòî
äîëæíî
áûëî
áûòü
ïîñëå
Âèíêîâöîâ
).”
rustle
[-rAs(q)l] scent
[sent] fruity
['fru:tI] yard
[jQ:d]
“You saw her? Was she old — young?”
“Didn’t see her. Wasn’t looking that way.
just a rustle and a sort of smell of scent.”
“Scent? A good scent?”
“Well, rather fruity, if you know what I mean. I mean you’d smell it a
hundred yards away. But mind you,” the Colonel went on hastily, “this may have been earlier in the evening. You see, as you said just now, it was just one of those things you notice without noticing, so to speak. Some
time that evening I said to myself — ‘Woman — scent — got it on pretty thick.’ But when it was I can’t be sure, except that — why, yes, it must have been after Vincovci.”
“Why
(ïî÷åìó
)?”
“Because I remember (
ïîòîìó
÷òî
ÿ
ïîìíþ)
— sniffing (
ïî÷óÿë /
çàïàõ
äóõîâ/;
to sniff — ñîïåòü
, øìûãàòü
íîñîì
; îáîíÿòü
, ÷óÿòü
), you know
(çíàåòå
ëè
) — just when I was talking
(êàê
ðàç
òîãäà
, êîãäà
ÿ
ãîâîðèë
) about the utter washout
(î
òîì
, êàêèì
ïîëíåéøèì
ïðîâàëîì
; washout —
ïðîìûâêà;
ðàçã.
ïðîâàë /
íà
ýêçàìåíå/,
íåóäà÷à,
ôèàñêî)
Stalin’s Five Year Plan was turning out (
îáîðà÷èâàëñÿ
ñòàëèíñêèé
ïÿòèëåòíèé
ïëàí;
to turn out — âûâîðà÷èâàòü
/êàðìàíû
è
ò
.ï
./; çàêîí÷èòüñÿ
/òàêèì
-òî
/ ðåçóëüòàòîì
, îêàçàòüñÿ
). I know the idea
(ìíå
êàæåòñÿ
, ÷òî
ìûñëü
) — woman
(î
æåíùèíå
/è
åå
äóõàõ
/) — brought the idea of the position of women in Russia into my mind
(ïðèâåëà
çà
ñîáîé
ìûñëü
î
ïîëîæåíèè
æåíùèí
â
Ðîññèè
â
ìîå
ñîçíàíèå
: «ðàçóì
»; mind —
óì,
ðàçóì)
. And
I
know
we
hadn’
t
got
on
to
Russia
until
pretty
near
the
end
of
our
talk
(à ÿ ïîìíþ: «çíàþ», ÷òî ìû äîáðàëèñü /â ðàçãîâîðå/ äî Ðîññèè òîëüêî â ñàìîì êîíöå íàøåãî
ðàçãîâîðà).”
“
You
can’
t
pin
it
down
(âû íå ìîæåòå óñòàíîâèòü /âðåìÿ/;
to
pin
down — ïðèêàëûâàòü; òî÷íî îïðåäåëèòü, óñòàíîâèòü
)
more
definitely
than
that
(áîëåå îïðåäåëåííî)?”
“
N-
no.
It
must
have
been
roughly
within
the
last
half-
hour
(ýòî, äîëæíî áûòü, áûëî ïðèáëèçèòåëüíî â ïîñëåäíèå ïîë÷àñà;
roughly — ãðóáî; ïðèáëèçèòåëüíî
).”
“
It
was
after
the
train
had
stopped
(ýòî áûëî ïîñëå òîãî, êàê ïîåçä îñòàíîâèëñÿ)
?”
The
other
nodded
(ïîëêîâíèê: «äðóãîé /ìóæ÷èíà/» êèâíóë)
. “Yes
, I
’m
almost
sure
it
was
(äà, ÿ ïî÷òè â ýòîì óâåðåí)
.”
“
Well,
we
will
pass
from
that
(÷òî æ, äàâàéòå óéäåì îò ýòîãî = ïåðåéäåì ê äðóãèì âîïðîñàì)
. Have
you
ever
been
in
America
, Colonel
Arbuthnot
(âû êîãäà-íèáóäü áûâàëè â Àìåðèêå, ïîëêîâíèê Àðáýòíîò)
?”
“
Never
(íèêîãäà).
Don’
t
want
to
go
(è íå õî÷ó åõàòü).”
washout
['wO
SaVt] brought
[brO:t] definitely
['defInItlI] roughly
['rAflI]
“Why?”
“Because I remember — sniffing, you know — just when I was talking about
the utter washout Stalin’s Five Year Plan was turning out. I know the idea — woman — brought the idea of the position of women in Russia into my mind. And I know we hadn’t got on to Russia until pretty near the end
of our talk.”
“You can’t pin it down more definitely than that?”
“N-no. It must have been roughly within the last half-hour.”
“It was after the train had stopped?”
The other nodded. “Yes, I’m almost sure it was.”
“Well, we will pass from that. Have you ever been in America, Colonel Arbuthnot?”
“Never. Don’t want to go.”
“
Did
you
ever
know
a
Colonel
Armstrong
(âû çíàëè êîãäà-íèáóäü íåêîåãî ïîëêîâíèêà Àðìñòðîíãà)
?”
“Armstrong — Armstrong — I’ve known two or three Armstrongs
(ÿ
áûë
çíàêîì
ñ
äâóìÿ
èëè
òðåìÿ
Àðìñòðîíãàìè
). There
was
Tommy
Armstrong
in
the
60th
(áûë â øåñòèäåñÿòîì /ïîëêó/ Òîììè Àðìñòðîíã)
— you
don
’t
mean
him
(âû íå åãî ëè èìååòå â âèäó)
? And Selby Armstrong
(è
Ñåëáè
Àðìñòðîíã
) — he was killed on the Somme
(îí
áûë
óáèò
íà
/ðåêå
/ Ñîììå
).”
“I mean the Colonel Armstrong
(ÿ
èìåë
â
âèäó
òîãî
ïîëêîâíèêà
Àðìñòðîíãà
) who married an American wife
(êîòîðûé
æåíèëñÿ
íà
àìåðèêàíêå
) and whose only child was kidnapped and killed
(è
÷åé
åäèíñòâåííûé
ðåáåíîê
áûë
ïîõèùåí
è
óáèò
).”
“Ah, yes, I remember reading about that
(àõ
, äà
, ÿ
ïîìíþ
, ÷òî
÷èòàë
îá
ýòîì
) — shocking affair
(óæàñíîå
äåëî
). I don’t think I actually ever came across the fellow
(íå
äóìàþ
, ÷òî
ÿ
êîãäà
-ëèáî
âñòðå÷àëñÿ
ñ
ýòèì
ìàëûì
; to come across smb. —
ñëó÷àéíî
âñòðåòèòü
êîãî-
ëèáî)
, though of course I knew of him (
õîòÿ
êîíå÷íî
ÿ
çíàë
î
íåì)
. Toby Armstrong. Nice fellow (
ñëàâíûé
ìàëûé)
. Everybody liked him (
âñå
åãî
ëþáèëè)
. He had a very distinguished career (
îí
ñäåëàë
áëèñòàòåëüíóþ
êàðüåðó;
distinguished — èçâåñòíûé
, âûäàþùèéñÿ
). Got the V.C.
(ïîëó÷èë
= áûë
íàãðàæäåí
Êðåñòîì
Âèêòîðèè
; V.C. = Victoria Cross —
Êðåñò
Âèêòîðèè,
âûñøàÿ
âîåííàÿ
íàãðàäà
â
Âåëèêîáðèòàíèè)
”
married
['mxrId] actually
['xktS(V)qlI] distinguished
[dIs'tINgwISt]
“Did you ever know a Colonel Armstrong?”
“Armstrong — Armstrong — I’ve known two or three Armstrongs. There
was Tommy Armstrong in the 60th — you don’t mean him? And Selby Armstrong — he was killed on the Somme.”
“I mean the Colonel Armstrong who married an American wife and whose only
child was kidnapped and killed.”
“Ah, yes, I remember reading about that — shocking affair. I don’t think
I actually ever came across the fellow, though of course I knew of him. Toby Armstrong. Nice fellow. Everybody liked him. He had a very distinguished career. Got the V.C.”
“The man who was killed last night
(ìóæ÷èíà
, êîòîðûé
áûë
óáèò
ïðîøëîé
íî÷üþ
) was the man responsible for the murder of Colonel Armstrong’s child
(áûë
÷åëîâåêîì
, îòâåòñòâåííûì
çà
óáèéñòâî
ðåáåíêà
ïîëêîâíèêà
Àðìñòðîíãà
).”
Arbuthnot’s face grew rather grim
(ëèöî
Àðáýòíîòà
ñäåëàëîñü
äîâîëüíî ñóðîâûì
; grim — æåñòîêèé
, áåçæàëîñòíûé
; ñóðîâûé
). “Then in my opinion (
òîãäà, ïî
ìîåìó
ìíåíèþ) the swine deserved what he got
(ýòà
ñâèíüÿ çàñëóæèëà
òî,
÷òî ïîëó÷èëà
= ïîëó÷èëà
ïî
çàñëóãàì;
the swine — ñâèíüÿ
; ñâèíüÿ,
õàì). Though
I would
have
preferred (õîòÿ ÿ áû ïðåäïî÷åë)
to
see him
properly
hanged (óâèäåòü åãî ïîâåøåííûì ïî ïðèãîâîðó ñóäà: «äîëæíûì îáðàçîì»;
properly — ïðàâèëüíî, êàê ñëåäóåò;
to hang
(hung,
hanged) — âåøàòü; âåøàòü, êàçíèòü
) — or
electrocuted,
I suppose
, over
there (èëè êàçíåííûì íà ýëåêòðè÷åñêîì ñòóëå, êàê ÿ ïîëàãàþ /êàçíÿò/
òàì, â Àìåðèêå; over
there — âîí òàì; â Åâðîïå /íå â Àìåðèêå; ãîâîðÿò, êîãäà íàõîäÿòñÿ â Àìåðèêå/,
â Àìåðèêå /íå â Åâðîïå; ãîâîðÿò, êîãäà íàõîäÿòñÿ â Åâðîïå/)
.”
“
In
fact,
Colonel
Arbuthnot,
you
prefer
law
and
order
(íà ñàìîì äåëå, ïîëêîâíèê Àðáýòíîò, âû ïðåäïî÷èòàåòå çàêîí è ïîðÿäîê;
law
and
order — ïðàâîïîðÿäîê; çàêîííîñòü
)
to
private
vengeance
(ëè÷íîìó îòìùåíèþ)?”
responsible
[rI'spO
nsqb(q)l] swine
[swaIn] electrocute
[I'lektrqkju:t]
vengeance ['vendZ(q)ns]
“The man who was killed last night was the man responsible for the murder
of Colonel Armstrong’s child.”
Arbuthnot’s face grew rather grim. “Then in my opinion the swine deserved
what he got. Though I would have preferred to see him properly hanged — or electrocuted, I suppose, over there.”
“In fact, Colonel Arbuthnot, you prefer law and order to private vengeance?”
“Well, you can’t go about
(íó
, íåëüçÿ
æå
æèòü
; to go about —
ðàñõàæèâàòü,
õîäèòü
òóäà
è
ñþäà,
ñëîíÿòüñÿ)
having blood feuds (
ñ
êðîâàâîé
âðàæäîé;
blood — êðîâü
; feud — íàñëåäñòâåííàÿ
âðàæäà
) and stabbing each other like Corsicans or the Mafia
(è
ðåçàòü
äðóã
äðóãà
, ïîäîáíî
êîðñèêàíöàì
èëè
ìàôèè
),” said the Colonel. “Say what you like, trial by jury
(ãîâîðèòå
÷òî
õîòèòå
, íî
ñóä
ïðèñÿæíûõ
; trial —
èñïûòàíèå,
ïðîáà;
ñóäåáíîå
ñëåäñòâèå,
ñóä; jury —
ïðèñÿæíûå
çàñåäàòåëè,
ñóä
ïðèñÿæíûõ)
is a sound system (
ýòî
çäðàâàÿ/
ðàçóìíàÿ
ñèñòåìà;
sound — çäîðîâûé
, êðåïêèé
; ðàçóìíûé
, ïðàâèëüíûé
, ëîãè÷íûé
).”
Poirot looked at him thoughtfully for a minute or two
(Ïóàðî
çàäóì÷èâî
ñìîòðåë
íà
íåãî
ìèíóòó
-äðóãóþ
).
“
Yes,” he
said. “
I am
sure
that would
be
your view
(ÿ óâåðåí, ÷òî âû òàê è äóìàåòå: «÷òî òàêîâà è åñòü âàøà òî÷êà çðåíèÿ»;
view — âèä, ïåéçàæ; âçãëÿä, ìíåíèå, òî÷êà çðåíèÿ
). Well
, Colonel
Arbuthnot, I
do
not think
there
is anything
more
I have
to
ask you
(÷òî æ, ïîëêîâíèê Àðáýòíîò, íå äóìàþ, ÷òî åñòü åùå ÷òî-òî, î ÷åì ÿ äîëæåí âàñ ñïðîñèòü)
. There
is nothing
you
yourself can
recall
last night
(íåò ëè íè÷åãî òàêîãî, ÷òî âû ñàìè ìîæåòå ïðèïîìíèòü î ïðîøëîé íî÷è)
that
in any
way
struck you
(÷òî õîòü êàê-òî ïîêàçàëîñü âàì;
to strike
(struck; stricken) — óäàðÿòü, áèòü; ïîðàæàòü, ïðîèçâîäèòü âïå÷àòëåíèå, ïðèâëåêàòü âíèìàíèå
) — or
shall
we say
strikes
you now
, looking
back (èëè, ñêàçàòü, êàæåòñÿ âàì ñåé÷àñ, /êîãäà âû/ ìûñëåííî îáðàùàåòåñü
ê ïðîøëîìó; to
look back
— îãëàäûâàòüñÿ; îáðàùàòüñÿ ê ïðîøëîìó /ìûñëåííî/, âñïîìèíàòü
) — as
suspicious
(ïîäîçðèòåëüíûì)?”
blood
[blAd] feud
[fju:d] mafia
['mxfIq]
trial ['traIql]
jury
['dZV(q)rI] system
['sIstIm]
suspicious [sq'spISqs]
“Well, you can’t go about having blood feuds and stabbing each other like
Corsicans or the Mafia,” said the Colonel. “Say what you like, trial by jury is a sound system.”
Poirot looked at him thoughtfully for a minute or two.
“Yes,” he said. “I am sure that would be your view. Well, Colonel Arbuthnot,
I do not think there is anything more I have to ask you. There is nothing you yourself can recall last night that in any way struck you — or shall we say strikes you now, looking back — as suspicious?”
Arbuthnot
considered
for
a
moment
or
two
(Àðáýòíîò çàäóìàëñÿ íà ïàðó ìãíîâåíèé: «íà ìãíîâåíèå èëè äâà»;
to
consider — ðàññìàòðèâàòü, îáñóæäàòü; îáäóìûâàòü
).
“No,” he said. “Nothing at all (
ñîâñåì
íè÷åãî)
. Unless
(ðàçâå òîëüêî) — ”
he
hesitated
(îí êîëåáàëñÿ/íå ðåøàëñÿ)
.
“
But
yes,
continue,
I
pray
of
you
(íó, ïðîäîëæàéòå æå, ïðîøó âàñ;
to
pray — ìîëèòüñÿ; ïðîñèòü /â îáðàùåíèè/
).”
“
Well,
it’
s
nothing
really
(íó, íà ñàìîì äåëå, ýòî ïóñòÿê)
,” said
the
Colonel
slowly
(ìåäëåííî ñêàçàë Ïîëêîâíèê)
. “But
you
said
anything
(íî âû ñêàçàëè
÷òî óãîäíî)
.”
“
Yes,
yes.
Go
on
(ïðîäîëæàéòå).”
“Oh
! it
’s
nothing
(ýòî åðóíäà)
. A
mere
detail
(ïðîñòàÿ ïîäðîáíîñòü = ìåëî÷ü)
. But as I got back to my compartment
(íî
êîãäà
ÿ
âîçâðàùàëñÿ
â
ñâîå
êóïå
) I noticed that the door of the one beyond mine
(ÿ
îáðàòèë
âíèìàíèå
, ÷òî
äâåðü
/êóïå
/ çà
ìîèì
) — the end one, you know
(ïîñëåäíåãî
êóïå
, çíàåòå
ëè
) — ”
“Yes, No. 16.”
continue
[kqn'tInju:] detail
['di:teIl] beyond
[bI'jO
nd]
Arbuthnot considered for a moment or two.
“No,” he said. “Nothing at all. Unless — ” he hesitated.
“But yes, continue, I pray of you.”
“Well, it’s nothing really,” said the Colonel slowly. “But you said
anything.”
“Yes, yes. Go on.”
“Oh! it’s nothing. A mere detail. But as I got back to my compartment I
noticed that the door of the one beyond mine — the end one, you know — ”
“Yes, No. 16.”
“Well, the door of it was not quite closed (
òàê
âîò,
äâåðü
ýòîãî
êóïå
áûëà
íå
ïîëíîñòüþ
çàêðûòà)
. And the fellow inside peered out (
è
ìàëûé
âíóòðè /
êóïå/
âûãëÿäûâàë
â
êîðèäîð;
to peer — âãëÿäûâàòüñÿ
, âñìàòðèâàòüñÿ
) in a furtive sort of way
(óêðàäêîé
: «êàêèì
-òî
âîðîâàòûì
îáðàçîì
»; furtive —
ñêðûòûé;
êðàäóùèéñÿ,
õèòðûé,
âîðîâàòûé)
. Then he pulled the door too quickly (
çàòåì
îí
çàõëîïíóë: «
ïîòÿíóë»
äâåðü
ñëèøêîì
áûñòðî;
to pull — òÿíóòü
, òàùèòü
). Of
course
I
know
there
’s
nothing
in
that
(êîíå÷íî æå ÿ ïîíèìàþ, ÷òî â ýòîì íè÷åãî /îñîáåííîãî/
íåò) — but
it
just
struck
me
as
a
bit
odd
(íî ýòî ïðîñòî ïîêàçàëîñü ìíå íåìíîãî ñòðàííûì;
odd — íå÷åòíûé; ñòðàííûé, íåîáû÷íûé
).
I
mean,
it’
s
quite
usual
(ÿ õî÷ó ñêàçàòü, ýòî ñîâåðøåííî íîðìàëüíî)
to
open
a
door
and
stick
your
head
out
(îòêðûòü äâåðü è âûñóíóòü ãîëîâó /íàðóæó/;
to
stick (
stuck) — âòûêàòü; ðàçã. âûñîâûâàòü, âûñòàâëÿòü
)
if
you
want
to
see
anything
(åñëè õî÷åøü ÷òî-íèáóäü óâèäåòü)
. But
it
was
the
furtive
way
he
did
it
(íî èìåííî òîò âîðîâàòûé âèä, /ñ êîòîðûì/ îí äåëàë
ýòî) that
caught
my
attention
(âîò ÷òî ïðèâëåêëî ìîå âíèìàíèå)
.”
“
Ye-
es,”
said
Poirot
doubtfully
(ì-äà, ñêàçàë Ïóàðî íåîïðåäåëåííî/íåóâåðåííî)
.
furtive
['fq:tIv] caught
[kO:t] doubtful
['daVtf(q)l]
“Well, the door of it was not quite closed. And the fellow inside peered
out in a furtive sort of way. Then he pulled the door too quickly. Of course I know there’s nothing in that — but it just struck me as a bit odd. I mean, it’s quite usual to open a door and stick your head out if you
want to see anything. But it was the furtive way he did it that caught my attention.”
“Ye-es,” said Poirot doubtfully.
“I told you (
ÿ
ñêàçàë
âàì)
there was nothing to it (
÷òî
ýòî
ÿéöà
âûåäåííîãî
íå
ñòîèò;
there's nothing to it — ïðîùå
ïðîñòîãî
; â
ýòîì
íåò
íèêàêîé
ïðåìóäðîñòè
; ýòî
ÿéöà
âûåäåííîãî
íå
ñòîèò
),” said Arbuthnot, apologetically
(ñêàçàë
Àðáýòíîò
èçâèíÿþùèìñÿ
òîíîì
; apologetically —
èçâèíÿÿñü,
ïðèçíàâàÿ
ñâîþ
âèíó,
îøèáêó)
. “But you know what it is (
íó
âû
çíàåòå,
êàê
ýòî /
áûâàåò/)
— early hours of the morning
(ðàííåå
óòðî
: «ðàííèå
÷àñû
óòðà
»)
— everything very still (/
âñå/
î÷åíü
òèõî)
. The thing had a sinister look (
ýòî
âûãëÿäåëî
êàê-
òî
çëîâåùå;
look — âçãëÿä
; âèä
, íàðóæíîñòü
) — like a detective story
(êàê
â
äåòåêòèâíîì
ðîìàíå
; story —
ïîâåñòü,
ðàññêàç)
. All
nonsense
really
(íà ñàìîì äåëå, âñå ýòî ÷åïóõà;
nonsense — âçäîð, ÷åïóõà, áåññìûñëèöà
).”
He rose
(îí
ïîäíÿëñÿ
). “Well, if you don’t want me any more
(÷òî
æ
, åñëè
ÿ
âàì
áîëüøå
íå
íóæåí
) — ”
“Thank you, Colonel Arbuthnot, there is nothing else
(áëàãîäàðþ
âàñ
, ïîëêîâíèê
Àðáýòíîò
, áîëüøå
íè÷åãî
).”
The soldier hesitated for a minute
(âîåííûé
êîëåáàëñÿ
ìèíóòó
). His first natural distaste for being questioned by “foreigners”
(åãî
ïåðâàÿ
åñòåñòâåííàÿ
íåïðèÿçíü
/îòâðàùåíèå
îò
òîãî
, ÷òî
åãî
äîïðàøèâàëè
"èíîñòðàíöû
"; to question —
ñïðàøèâàòü,
çàäàâàòü
âîïðîñû;
äîïðàøèâàòü,
îïðàøèâàòü, question —
âîïðîñ)
had evaporated (
óëåòó÷èëàñü;
to evaporate — èñïàðÿòü
(ñÿ
); óëåòó÷èâàòüñÿ
, èñ÷åçàòü
áåç
ñëåäà
).
apologetically
[q"pO
lq'dZetIk(q)lI] sinister
['sInIstq] evaporate
[I'vxpqreIt]
“I told you there was nothing to it,” said Arbuthnot, apologetically. “But
you know what it is — early hours of the morning — everything very still. The thing had a sinister look — like a detective story. All nonsense really.”
He rose. “Well, if you don’t want me any more — ”
“Thank you, Colonel Arbuthnot, there is nothing else.”
The soldier hesitated for a minute. His first natural distaste for being questioned
by “foreigners” had evaporated.
“About Miss Debenham (
÷òî
êàñàåòñÿ
ìèññ
Äåáåíõýì)
,” he said rather awkwardly (
ñêàçàë
îí
äîâîëüíî
íåñêëàäíî;
awkward — íåóêëþæèé
; íåëîâêèé
). “You can take it from me
(ìîæåòå
ìíå
ïîâåðèòü
; to take —
áðàòü,
õâàòàòü; take it from me! —
óæ
ÿ-
òî
çíàþ!
ìîæåòå íå ñîìíåâàòüñÿ!
)
that
she’
s
all
right
(÷òî îíà ÷åñòíûé è ïîðÿäî÷íûé /÷åëîâåê/ = îíà íå ïðè÷åì)
. She
’s
a
pukka
sahib
(îíà èñòèííàÿ ëåäè;
pukka
sahib — èíä. ðàçã. èñòèííûé äæåíòëüìåí
).”
Flushing
a
little
(ñëåãêà ïîêðàñíåâ; to
flush
— âñïûõíóòü, ïîêðàñíåòü
),
he
withdrew
(îí óäàëèëñÿ; to
withdraw
(withdrew
, withdrawn
) — îòíèìàòü, îòäåðãèâàòü; óõîäèòü, óäàëÿòüñÿ
).
“
What
(÷òî),”
asked
Dr.
Constantine
with
interest
(ñïðîñèë äîêòîð Êîíñòàíòèí ñ èíòåðåñîì)
, “does
a
pukka
sahib
mean
(ýòî îçíà÷àåò —
pukka
sahib)
?”
“
It
means
(ýòî çíà÷èò),”
said
Poirot, “
that
Miss
Debenham’
s
father
and
brothers
were
at
the
same
kind
of
school
(÷òî îòåö è áðàòüÿ ìèññ Äåáåíõýì ó÷èëèñü â òåõ æå ó÷åáíûõ çàâåäåíèÿõ;
school — øêîëà, ó÷åáíîå çàâåäåíèå
)
as
Colonel
Arbuthnot
was
(÷òî è ïîëêîâíèê Àðáýòíîò)
.”
“
Oh!”
said
Dr.
Constantine,
disappointed
(ñêàçàë äîêòîð Êîíñòàíòèí, ðàçî÷àðîâàííûé;
to
disappoint — ðàçî÷àðîâûâàòü, íå îïðàâäûâàòü
íàäåæä). “
Then
it
has
nothing
to
do
(òîãäà ýòî /âîâñå/ íèêàê íå ñâÿçàíî;
to
have
to
do
with
smb.,
smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî
)
with
the
crime
at
all
(ñ ïðåñòóïëåíèåì).”
“
Exactly
(òî÷íî),”
said
Poirot.
awkwardly ['
O:
kwqdlI]
pukka ['
pAkq]
Sahib [
sQ:
b, '
sQ:
(h
)Ib
]
“About Miss Debenham,” he said rather awkwardly. “You can take it from
me that she’s all right. She’s a pukka sahib.”
Flushing a little, he withdrew.
“What,” asked Dr. Constantine with interest, “does a pukka sahib mean?”
“It means,” said Poirot, “that Miss Debenham’s father and brothers
were at the same kind of school as Colonel Arbuthnot was.”
“Oh!” said Dr. Constantine, disappointed. “Then it has nothing to do
with the crime at all.”
“Exactly”, said Poirot.
He fell into a reverie
(îí
ïîãðóçèëñÿ
â
çàäóì÷èâîñòü
; to fall in(to) a state —
ïðèõîäèòü,
âïàäàòü
â
êàêîå-
ëèáî
ñîñòîÿíèå, reverie —
ìå÷òàíèå)
, beating a light tattoo on the table (
ëåãêî
áàðàáàíÿ
ïàëüöàìè
ïî
ñòîëó;
tattoo — âîåí
. ñèãíàë
âå÷åðíåé
çàðè
; ñòóê
, îòáèâàíèå
òàêòà
/íîãîé
, ïàëüöàìè
/)
. Then he looked up (
çàòåì
îí
ïîäíÿë
ãëàçà)
.
“Colonel Arbuthnot smokes a pipe
(ïîëêîâíèê
Àðáýòíîò
êóðèò
òðóáêó
),” he said. “In the compartment of Mr. Ratchett
(â
êóïå
ìèñòåðà
Ðýò÷åòòà
) I found a pipe-cleaner
(ÿ
íàøåë
åðøèê
äëÿ
÷èñòêè
òðóáêè
). Mr. Ratchett smoked only cigars
(ìèñòåð
Ðýò÷åòò
êóðèë
òîëüêî
ñèãàðû
).”
“You think
(âû
äóìàåòå
) — ?”
“He is the only man so far who admits to smoking a pipe
(ïîêà
îí
åäèíñòâåííûé
ìóæ÷èíà
, êîòîðûé
ïðèçíàåò
, ÷òî
êóðèò
òðóáêó
). And he knew of Colonel Armstrong
(è
îí
çíàë
î
ïîëêîâíèêå
Àðìñòðîíãå
) — perhaps actually did know him
(âîçìîæíî
, íà
ñàìîì
äåëå
áûë
ñ
íèì
çíàêîì
), though he won’t admit it
(õîòÿ
îí
íå
ïðèçíàåòñÿ
â
ýòîì
).”
“So you think it possible
(òàê
âû
ñ÷èòàåòå
âîçìîæíûì
) — ?”
Poirot shook his head violently
(Ïóàðî
ðåøèòåëüíî
ïîêà÷àë
ãîëîâîé
; violently —
íåèñòîâûé,
ÿðîñòíûé;
ñèëüíûé,
ðåçêèé)
.
reverie ['revqrI]
tattoo [tx'tu:, tq-]
violent ['vaIqlqnt]
He fell into a reverie, beating a light tattoo on the table. Then he looked
up.
“Colonel Arbuthnot smokes a pipe,” he said. “In the compartment of Mr.
Ratchett I found a pipe-cleaner. Mr. Ratchett smoked only cigars.”
“You think — ?”
“He is the only man so far who admits to smoking a pipe. And he knew of Colonel
Armstrong — perhaps actually did know him, though he won’t admit it.”
“So you think it possible — ?”
Poirot shook his head violently.
“That is just it (
ýòî
ïðîñòî)
— it is impossible (
ýòî
íåâîçìîæíî)
— quite impossible (
ñîâåðøåííî
íåâîçìîæíî)
— that an honourable (
÷òîáû
òàêîé
áëàãîðîäíûé;
honour — ÷åñòü
, ÷åñòíîñòü
; áëàãîðîäñòâî
), slightly stupid
(íåìíîãî
íåäàëåêèé
; stupid —
ãëóïûé,
òóïîé,
áåñòîëêîâûé)
, upright Englishman (
ïîðÿäî÷íûé
àíãëè÷àíèí;
upright — âåðòèêàëüíûé
, ïðÿìîé
; ÷åñòíûé
, ñïðàâåäëèâûé
) should stab an enemy
(çàêîëîë
âðàãà
/íåäðóãà
) twelve times with a knife
(íîæîì
/öåëûõ
/ äâåíàäöàòü
ðàç
)! Do
you
not
feel
, my
friends
(âû íå ÷óâñòâóåòå, äðóçüÿ ìîè)
, how
impossible
it
is
(íàñêîëüêî ýòî íåâåðîÿòíî;
impossible — íåâîçìîæíûé, íåâûïîëíèìûé; íåâåðîÿòíûé,
íåïðàâäîïîäîáíûé)
?”
“That is the psychology
(ýòî
âñå
ïñèõîëîãèÿ
),” said M. Bouc.
“And one must respect the psychology (
è
ïñèõîëîãèþ
ñëåäóåò
óâàæàòü)
. This crime has a signature (
ó
ýòîãî
ïðåñòóïëåíèÿ
åñòü
àâòîãðàô =
ïî÷åðê;
to sign — ïîäïèñûâàòü
; signature — /ñîáñòâåííîðó÷íàÿ
/ ïîäïèñü
, àâòîãðàô
), and it is certainly not the signature of Colonel Arbuthnot
(è
ýòî
òî÷íî
íå
ïî÷åðê
ïîëêîâíèêà
Àðáýòíîòà
). But
now
to
our
next
interview
(íî òåïåðü /äàâàéòå ïåðåéäåì/ ê íàøåé ñëåäóþùåé
áåñåäå).”
This
time
M.
Bouc
did
not
mention
the
Italian
(íà ýòîò ðàç ìñüå Áóê íå /ñòàë/ óïîìèíàòü èòàëüÿíöà)
. But
he
thought
of
him
(íî îí ïîäóìàë î íåì)
.
honourable
['O
n(q)rqb(q)l] upright
['ApraIt] knife
[naIf] psychology
[saI'kO
lqdZI] signature
['sIgnItSq]
“That is just it — it is impossible — quite impossible — that an honourable,
slightly stupid, upright Englishman should stab an enemy twelve times with a knife! Do you not feel, my friends, how impossible it is?”
“That is the psychology,” said M. Bouc.
“And one must respect the psychology. This crime has a signature, and it
is certainly not the signature of Colonel Arbuthnot. But now to our next interview.”
This time M. Bouc did not mention the Italian. But he thought of him.
9
THE EVIDENCE OF MR. HARDMAN
(
ïîêàçàíèÿ
ìèñòåðà
Õàðäìàíà
)
The last of the first-class passengers
(ïîñëåäíèì
èç
ïàññàæèðîâ
ïåðâîãî
êëàññà
) to be interviewed, Mr. Hardman
(ñ
êîòîðûì
ïðåäñòîÿëî
ïîáåñåäîâàòü
— ìèñòåð
Õàðäìàí
; to interview —
èíòåðâüþèðîâàòü;
ïðîâîäèòü
áåñåäó)
, was the big flamboyant American (
áûë
êðóïíûé
ðàçðÿæåííûé/
íàïûùåííûé
àìåðèêàíåö;
flamboyant — ÿðêèé
, áðîñàþùèéñÿ
â
ãëàçà
; öâåòèñòûé
, âû÷óðíûé
) who had shared a table
(êîòîðûé
ñèäåë
çà
îäíèì
ñòîëèêîì
; to share —
äåëèòü,
ðàñïðåäåëÿòü;
ïîëüçîâàòüñÿ
ñîâìåñòíî)
with the Italian and the valet (
ñ
èòàëüÿíöåì
è
ñëóãîé)
.
He wore a somewhat loud check suit
(îí
áûë
îäåò
â
íåìíîãî
êðè÷àùèé
êîñòþì
èç
êëåò÷àòîé
òêàíè
; to wear (wore, worn) —
íîñèòü /
íà
ñåáå/,
áûòü
îäåòûì
âî
÷òî-
ëèáî; loud —
ãðîìêèé,
çâó÷íûé;
ðàçã.
êðè÷àùèé,
ÿðêèé,
áðîñàþùèéñÿ
â
ãëàçà /
î
êðàñêàõ,
îäåæäå
è
ò.
ï./; check —
êëåò÷àòàÿ
òêàíü,
øîòëàíäêà)
, a pink shirt (
ðîçîâóþ
ðóáàøêó)
, and a flashy tie-pin (/
â
ãàëñòóêå
áûëà/
àëÿïîâàòàÿ
áóëàâêà;
flashy — ïîêàçíîé
, êðè÷àùèé
; äåøåâûé
; tie — áå÷åâêà
, ëåíòà
, øíóð
; ãàëñòóê
, pin — áóëàâêà
; tie-pin — áóëàâêà
äëÿ
ãàëñòóêà
), and was rolling something round his tongue
(è
÷åãî
-òî
æåâàë
: «è
îí
÷òî
-òî
ïåðåêàòûâàë
âîêðóã
ÿçûêà
»; to roll —
êàòèòü;
êàòàòü)
as he entered the dining-car (
êîãäà
îí
âîøåë
â
âàãîí-
ðåñòîðàí)
. He had a big (
ó
íåãî
áûëî
áîëüøîå)
, fleshy (
ìÿñèñòîå;
flesh — ïëîòü
, ìÿñî
), coarse-featured face
(ëèöî
ñ
ãðóáûìè
÷åðòàìè
; feature —
÷åðòû
ëèöà; featured —
çä.
êàê
êîìïîíåíò
ñëîæíîãî
ñëîâà —
èìåþùèé
òàêèå-
òî
÷åðòû
ëèöà)
, with a good-humoured expression (
è
äîáðîäóøíûì
âûðàæåíèåì;
humour — þìîð
; íàñòðîåíèå
; äóøåâíûé
íàñòðîé
; expression — âûðàæåíèå
/÷åãî
-ëèáî
/; âûðàæåíèå
/ëèöà
, ãëàç
è
ò
.ï
./)
.
interview
['Intqvju:] flamboyant
[flxm'bOIqnt] tongue
[tAN] coarse
[kO:s] featured
['fi:tSqd] good-humoured
["gVd'hju:mqd]
The last of the first-class passengers to be interviewed, Mr. Hardman, was
the big flamboyant American who had shared a table with the Italian and the valet.
He wore a somewhat loud check suit, a pink shirt, and a flashy tie-pin, and
was rolling something round his tongue as he entered the dining-car. He had a big, fleshy, coarse-featured face, with a good-humoured expression.
“
Morning,
gentlemen
(äîáðîå óòðî
= çäðàâñòâóéòå
, ãîñïîäà
),”
he
said. “
What
can
I
do
for
you
(÷åì
ìîãó
áûòü
âàì
ïîëåçíûì
)?”
“
You
have
heard
of
this
murder,
Mr. —
er —
Hardman
(âû
óæå
ñëûøàëè
/çíàåòå
îá
ýòîì
óáèéñòâå
, ìèñòåð
— ý
— Õàðäìàí
)?”
“
Sure
(êîíå÷íî
).”
He
shifted
the
chewing
gum
deftly
(îí
ëîâêî
ïåðåêàòèë
æåâàòåëüíóþ
ðåçèíêó
; to
shift
— ïåðåìåùàòü
, ïåðåäâèãàòü
; to
chew
— æåâàòü
, ïåðåæåâûâàòü
; gum
— ñìîëà
, ðàçã
. ðåçèíà
, êàó÷óê
).
“
We
are
of
necessity
interviewing
all
the
passengers
on
the
train
(íàì
íåîáõîäèìî
îïðîñèòü
âñåõ
ïàññàæèðîâ
ýòîãî
ïîåçäà
; necessity
— íåîáõîäèìîñòü
, íóæäà
; to
be
of
necessity
— áûòü
âûíóæäåííûì
).”
“
That’
s
all
right
by
me
(ÿ íå ïðîòèâ; all
right
— óäîâëåòâîðèòåëüíûé; ïîäõîäÿùèé, íå âûçûâàþùèé âîçðàæåíèé
).
Guess
that’
s
the
only
way
to
tackle
the
job
(äóìàþ, ÷òî ýòî åäèíñòâåííûé ñïîñîá ðàçîáðàòüñÿ ñ ýòèì äåëîì;
to
guess — äîãàäûâàòüñÿ; ðàçã. äóìàòü, ñ÷èòàòü;
to
tackle — õâàòàòü; ðåøàòü /÷òî-ëèáî/, ðàáîòàòü
/íàä ÷åì-ëèáî/, job
— ðàáîòà, äåëî, òðóä; ïîëîæåíèå âåùåé, ñèòóàöèÿ
).”
Poirot
consulted
the
passport
lying
in
front
of
him
(Ïóàðî ñïðàâèëñÿ â ïàñïîðòå, ëåæàâøèì ïåðåä íèì;
to
consult — ñîâåòîâàòüñÿ; ñïðàâëÿòüñÿ
).
chewing gum ['tSu:INgAm]
guess [ges]
job [dZ
Ob]
“Morning, gentlemen,” he said. “What can I do for you?”
“You have heard of this murder, Mr. — er — Hardman?”
“Sure.” He shifted the chewing gum deftly.
“We are of necessity interviewing all the passengers on the train.”
“That’s all right by me. Guess that’s the only way to tackle the job.”
Poirot consulted the passport lying in front of him.
“You are Cyrus Bethman Hardman, United States subject
(âû
Ñàéðåñ
Áåòìàí
Õàðäìàí
, ïîääàííûé
Ñîåäèíåííûõ
Øòàòîâ
; subject —
ïðåäìåò,
òåìà /
ðàçãîâîðà
è
ò.
ï./;
ïîääàííûé)
, forty-one years of age (
ñîðîêà
îäíîãî
ãîäà;
age — âîçðàñò
), travelling salesman for typewriting ribbons
(êîììèâîÿæåð
: «ñòðàíñòâóþùèé
òîðãîâåö
», ïðîäàåòå
ëåíòû
äëÿ
ïèøóùèõ
ìàøèí
; sale —
ïðîäàæà,
ñáûò; to type —
ïèñàòü,
ïå÷àòàòü
íà
ìàøèíêå; typewriter —
ïèøóùàÿ
ìàøèíêà)
?”
“O.K. That’s me
(ýòî
ÿ
).”
“
you are travelling from Stamboul to Paris
(âû
åäåòå
èç
Ñòàìáóëà
â
Ïàðèæ
)?”
“
That’
s
so
(èìåííî òàê).”
“
Reason
(/êàêîâà/ ïðè÷èíà /ïîåçäêè/)
?”
“
Business
(áèçíåñ; business
— äåëî, ïîñòîÿííîå çàíÿòèå; òîðãîâëÿ, êîììåð÷åñêàÿ äåÿòåëüíîñòü, áèçíåñ
).”
“
Do
you
always
travel
first-
class,
Mr.
Hardman
(âû âñåãäà ïóòåøåñòâóåòå ïåðâûì êëàññîì, ìèñòåð Õàðäìàí)
?”
“Yes
, sir
. The
firm
pays
my
travelling
expenses
(ôèðìà îïëà÷èâàåò ìîè äîðîæíûå ðàñõîäû;
to
pay — ïëàòèòü, çàïëàòèòü; îïëà÷èâàòü /ðàáîòó,
ñ÷åòà è ò.ï./; expense
— ðàñõîä, òðàòà; ðàñõîäû, èçäåðæêè
).“
He winked (
îí
ïîäìèãíóë)
.
“Now, Mr. Hardman, we come to the events of last night
(òåïåðü
, ìèñòåð
Õàðäìàí
, ìû
ïåðåéäåì
ê
ñîáûòèÿì
ïðîøëîé
íî÷è
).”
The American nodded
(àìåðèêàíåö
êèâíóë
).
subject ['sAbdZIkt]
typewriting ['taIp"raItIN]
reason ['ri:z(q)n]
business ['bIznIs]
expense [Ik'spens]
“You are Cyrus Bethman Hardman, United States subject, forty-one years of
age, travelling salesman for typewriting ribbons?”
“O.K. That’s me.”
“You are travelling from Stamboul to Paris?”
“That’s so.”
“Reason?”
“Business.”
“Do you always travel first-class, Mr. Hardman?”
“Yes, sir. The firm pays my travelling expenses. “ He winked.
“Now, Mr. Hardman, we come to the events of last night.”
The American nodded.
“What can you tell us about the matter
(÷òî
âû
ìîæåòå
ðàññêàçàòü
íàì
îá
ýòîì
äåëå
)?”
“Exactly nothing at all
(ñîâåðøåííî
íè÷åãî
).”
“
Ah,
that
is
a
pity
(à, êàê æàëü; pity
— æàëîñòü, ñîñòðàäàíèå, ñîæàëåíèå
).
Perhaps,
Mr.
Hardman,
you
will
tell
us
exactly
(âîçìîæíî, ìèñòåð Õàðäìàí, âû íàì ðàññêàæåòå â òî÷íîñòè âñå)
what
you
did
last
night
(÷åì âû çàíèìàëèñü ïðîøëîé íî÷üþ = â÷åðà âå÷åðîì)
from
dinner
onwards
(ïîñëå óæèíà: «íà÷èíàÿ ñ /âðåìåíè ïîñëå/ óæèíà»;
onward — âïåðåä, äàëüøå
)?”
For
the
first
time
the
American
did
not
seem
ready
(âïåðâûå: «â ïåðâûé ðàç» àìåðèêàíåö, êàçàëîñü, íå áûë ãîòîâ)
with
his
reply
(îòâåòèòü: «ñî ñâîèì îòâåòîì»)
. At last he said
(íàêîíåö
îí
ñêàçàë
): “Excuse me, gentlemen, but just who are you
(èçâèíèòå
ìåíÿ
, ãîñïîäà
, íî
âû
êòî
òàêèå
)? Put
me
wise
(ââåäèòå ìåíÿ â êóðñ äåëà;
to
put
smb.
wise — ñîîáùèòü, ðàññêàçàòü êîìó-ëèáî î ÷åì-ëèáî,
îáúÿñíèòü ÷òî-ëèáî, îòêðûòü êîìó-ëèáî ãëàçà íà ÷òî-ëèáî, wise
— ìóäðûé; àìåð. ðàçã. îñâåäîìëåííûé, çíàþùèé
).”
“This is M. Bouc, a director of the Compagnie des Wagons Lits
(äèðåêòîð
Êîìïàíèè
ñïàëüíûõ
âàãîíîâ
). This gentleman is the doctor who examined the body
(ýòîò
ãîñïîäèí
— äîêòîð
, êîòîðûé
îáñëåäîâàë
òåëî
; to examine —
ðàññìàòðèâàòü;
ìåä.
îñìàòðèâàòü,
îáñëåäîâàòü)
.”
ready ['redI]
excuse [Ik'skju:z]
wise [waIz]
“What can you tell us about the matter?”
“Exactly nothing at all.”
“Ah, that is a pity. Perhaps, Mr. Hardman, you will tell us exactly what
you did last night from dinner onwards?”
For the first time the American did not seem ready with his reply. At last
he said: “Excuse me, gentlemen, but just who are you? Put me wise.”
“This is M. Bouc, a director of the Compagnie des Wagons Lits. This gentleman
is the doctor who examined the body.”
“And you yourself
(à
âû
ñàìè
)?”
“I am Hercule Poirot. I am engaged by the company
(êîìïàíèÿ
íàíÿëà
ìåíÿ
; to engage —
íàíèìàòü,
ïðèíèìàòü
íà
ðàáîòó)
to investigate this matter (
÷òîáû
ðàññëåäîâàòü
ýòî
óáèéñòâî: «
äåëî»;
matter — âåùåñòâî
; äåëî
, âîïðîñ
).”
“I’ve heard of you (
ÿ
ñëûøàë
î
âàñ)
,” said Mr. Hardman. He reflected a minute or two longer
(îí
ïîðàçìûøëÿë
åùå
ñ
ìèíóòó
-äâå
/äîëüøå
/; to reflect —
îòðàæàòü;
ðàçìûøëÿòü,
ðàçäóìûâàòü)
. “
Guess
I’
d
better
come
clean
(ïîæàëóé, ìíå ëó÷øå âûëîæèòü âñå íà÷èñòîòó;
to
come
clean — ïîëíîñòüþ ïðèçíàâàòüñÿ /â ÷åì-ëèáî/,
âûêëàäûâàòü íà÷èñòîòó)
.”
“
It
will
certainly
be
advisable
for
you
(âàì, êîíå÷íî æå, ðåêîìåíäóåòñÿ;
advisable — ðåêîìåíäóåìûé, öåëåñîîáðàçíûé
)
to
tell
us
all
you
know
(ðàññêàçàòü íàì âñå, ÷òî âû çíàåòå)
,” said
Poirot
drily
(õîëîäíî ñêàçàë Ïóàðî;
dry — ñóõîé; ñäåðæàííûé, õîëîäíûé, áåññòðàñòíûé
).
engaged [In'geIdZd]
investigate [In'vestIgeIt]
advisable [qd'vaIzqb(q)l]
“And you yourself?”
“I am Hercule Poirot. I am engaged by the company to investigate this matter.”
“I’ve heard of you,” said Mr. Hardman. He reflected a minute or two longer.
“Guess I’d better come clean.”
“It will certainly be advisable for you to tell us all you know,” said
Poirot drily.
“You’d have said a mouthful
(çîëîòûå
ñëîâà; mouthful —
ïîëíûé ðîò
/÷åãî-
ëèáî/; you've said a mouthful —
çîëîòûå âàøè
ñëîâà)
if there was anything I did know (
åñëè áû
ÿ /
åùå/ ÷òî
-òî
çíàë). But
I don
’t
(íî ÿ íå /çíàþ/). I
know
nothing at
all
(ÿ ñîâñåì íè÷åãî íå çíàþ) —
just as
I said
(êàê ÿ óæå ñêàçàë)
. But
I ought
to
know something
(íî ìíå ïîëàãàåòñÿ õîòü ÷òî-òî çíàòü)
. That’
s what
makes
me sore
(âîò ÷òî ìåíÿ çëèò;
sore — áîëåçíåííûé, ÷óâñòâèòåëüíûé; ðàçã. ñåðäèòûé, ðàçäðàæåííûé, îáèæåííûé
). I
ought
to (ïîëàãàåòñÿ)
.”
“
Please
explain,
Mr.
Hardman
(ïîæàëóéñòà, îáúÿñíèòå/ñü/, ìèñòåð Õàðäìàí)
.”
mouthful
['maVTf(q)l] sore
[sO:] ought
[O:t]
“You’d have said a mouthful if there was anything I did know. But I don’t.
I know nothing at all — just as I said. But I ought to know something. That’s what makes me sore. I ought to.”
“Please explain, Mr. Hardman.”
Mr. Hardman sighed (
ìèñòåð
Õàðäìàí
âçäîõíóë)
, removed the chewing gum (
âûíóë /
èçî
ðòà/
æåâàòåëüíóþ
ðåçèíêó;
to remove — ïåðåäâèãàòü
; óáèðàòü
), and dived into a pocket
(è
ñóíóë
åå
â
êàðìàí
; to dive —
ïðûãàòü
â
âîäó,
íûðÿòü;
çàñîâûâàòü,
çàïóñêàòü
ðóêó)
. At the same time his whole personality (
â
òî
æå
ñàìîå
âðåìÿ
âñÿ
åãî
ëè÷íîñòü)
seemed to undergo a change (
êàçàëîñü,
ïðåòåðïåëà
èçìåíåíèå =
èçìåíèëàñü;
to undergo — èñïûòûâàòü
; ïîäâåðãàòüñÿ
; change — ïåðåìåíà
, èçìåíåíèå
). He
became
less
of
a
stage
character
(îí ñòàë ìåíüøå /ïîõîæ/ íà òåàòðàëüíîãî ëîìàêó;
stage — ñöåíà, òåàòðàëüíûå ïîäìîñòêè;
stage — ñöåíà; ñöåíè÷åñêèé, òåàòðàëüíûé;
character — õàðàêòåð, íðàâ; ãåðîé, ïåðñîíàæ,
äåéñòâóþùåå ëèöî)
and
more
of
a
real
person
(è áîëüøå íà ðåàëüíîãî ÷åëîâåêà)
. The
resonant
nasal
tones
of
his
voice
(çâó÷íûå ãíóñàâûå èíòîíàöèè åãî ãîëîñà;
resonant — ðàçäàþùèéñÿ, çâó÷àùèé; çâó÷íûé, çâîíêèé,
tone — òîí, çâóê; èíòîíàöèÿ, ìîäóëÿöèÿ
)
became
modified
(ñìÿã÷èëèñü: «ñòàëè ñìÿã÷åííûìè»;
to
modify — ìîäèôèöèðîâàòü, âèäîèçìåíÿòü; ñìÿã÷àòü,
ñíèæàòü).
“
That
passport’
s
a
bit
of
bluff
(ýòîò ïàñïîðò — îí âðîäå êàê ïîääåëêà;
bit — êóñîê; íåáîëüøîå êîëè÷åñòâî, ÷óòü-÷óòü;
bluff — îáìàí, áëåô
),”
he
said. “
That’
s
who
I
really
am
(âîò êòî ÿ íà ñàìîì äåëå)
.”
Poirot
scrutinized
the
card
flipped
across
to
him
(Ïóàðî âíèìàòåëüíî ðàññìàòðèâàë âèçèòíóþ êàðòî÷êó, áðîøåííóþ åìó ÷åðåç /ñòîë/;
card — êàðòà /èãðàëüíàÿ/; âèçèòíàÿ êàðòî÷êà,
îòêðûòêà; to
flip — ñëåãêà óäàðèòü, ùåëêíóòü; ïîäáðàñûâàòü
â âîçäóõ /ìîíåòó è ò.ï./)
. M
. Bouc
peered
over
his
shoulder
(ìñüå Áóê çàãëÿíóë åìó ÷åðåç ïëå÷î;
to
peer — âãëÿäûâàòüñÿ; çàãëÿäûâàòü
).
Mr Cyrus B.Hardman
McNeil’s Detective Agency
New
York.
ã-í Ñàéðåñ Á. Õàðäìàí
äåòåêòèâíîå àãåíòñòâî Ìàêíåéëà
Íüþ-
Éîðê
sigh
[saI] personality
["pq:sq'nxlItI] resonant
['rezqnqnt] nasal
['neIz(q)l] scrutinize
['skru:tInaIz]
Mr. Hardman sighed, removed the chewing gum, and dived into a pocket. At the
same time his whole personality seemed to undergo a change. He became less of a stage character and more of a real person. The resonant nasal tones of his voice became modified.
“That passport’s a bit of bluff,” he said. “That’s who I really am.”
Poirot scrutinised the card flipped across to him. M. Bouc peered over his
shoulder.
Poirot knew the name
(Ïóàðî
çíàë
ýòî
íàçâàíèå
; to know (knew, known); name —
èìÿ,
ôàìèëèÿ;
íàçâàíèå,
íàèìåíîâàíèå)
as that of one of the best-known and most reputable
(êàê
/íàçâàíèå
/ îäíîãî
èç
ñàìûõ
èçâåñòíûõ
è
î÷åíü
óâàæàåìûõ
) private detective agencies in New York
(÷àñòíûõ
äåòåêòèâíûõ
/ñûñêíûõ
àãåíòñòâ
Íüþ
-Éîðêà
).
“
Now,
Mr.
Hardman,”
he
said, “
let
us
hear
the
meaning
of
this
(à òåïåðü, ìèñòåð Õàðäìàí, ïîçâîëüòå íàì óçíàòü, ÷òî âñå ýòî çíà÷èò: «çíà÷åíèå ýòîãî»)
.”
“
Sure (êîíå÷íî)
. Things
came about
this
way (âñå ñëó÷èëîñü ñëåäóþùèì îáðàçîì;
to come
(came,
come) about
— ïðîèñõîäèòü, ñëó÷àòüñÿ)
. I’
d come
over
to Europe
(ÿ îêàçàëñÿ â Åâðîïå;
to come
over — ïåðåõîäèòü /íà ÷üþ-ëèáî ñòîðîíó/; ïðèåõàòü
èçäàëåêà)
trailing a
couple
of crooks
(âûñëåæèâàÿ ïàðî÷êó ìîøåííèêîâ;
trail — ñëåä, õâîñò;
to trail
— èäòè ïî ñëåäó; âûñëåæèâàòü; crook
— êðþê, êðþ÷îê; ðàçã. ïëóò, îáìàíùèê, ìîøåííèê
) — nothing
to
do with
this
business (íå èìåþùèõ íèêàêîãî îòíîøåíèÿ ê ýòîìó äåëó;
to have
to
do with
smb.,
smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî
). The
chase
ended in
Stamboul
(ïðåñëåäîâàíèå çàêîí÷èëîñü/ïîãîíÿ çàêîí÷èëàñü â Ñòàìáóëå)
. I
wired the
Chief
(ÿ îòïðàâèë òåëåãðàììó øåôó; wire
— ïðîâîëîêà; àìåð. ðàçã. òåëåãðàììà; to
wire — ñêðåïëÿòü ïðîâîëîêîé; òåëåãðàôèðîâàòü
) and
got
his instructions
to
return (è ïîëó÷èë èíñòðóêöèè âîçâðàùàòüñÿ)
, and
I would
have
been making
my
tracks back
(è /ñåé÷àñ/ ÿ áû óæå äåðæàë ïóòü íàçàä;
to make tracks — äàòü òÿãó, íàâîñòðèòü ëûæè, óëèçíóòü;
track — ñëåä; êóðñ
) to
little
old New
York
(â ñòàðûé äîáðûé Íüþ-Éîðê; little
— ìàëåíüêèé, íåáîëüøîé; ìèëûé, ñëàâíûé
) when
I got
this
(êîãäà ÿ ïîëó÷èë âîò ýòî).”
He
pushed
across
a
letter
(è îí ïîäòîëêíóë /ê Ïóàðî/ ïèñüìî ÷åðåç /ñòîë/)
.
reputable ['repjVtqb(q)l]
agency ['eIdZ(q)nsI]
couple ['kAp(q)l]
instruction [In'strAkS(q)n]
Poirot knew the name as that of one of the best-known and most reputable private
detective agencies in New York.
“Now, Mr. Hardman,” he said, “let us hear the meaning of this.”
“Sure. Things came about this way. I’d come over to Europe trailing a couple
of crooks — nothing to do with this business. The chase ended in Stamboul. I wired the Chief and got his instructions to return, and I would have been making my tracks back to little old New York when I got this.”
He pushed across a letter.
The heading at the top was the Tokatlian Hotel.
(çàãîëîâîê íàâåðõó ëèñòêà áûë îòåëü
«Òîêàòëèàí» = ýòî áûë ôèðìåííûé áëàíê îòåëÿ «Òîêàòëèàí»; top
— âåðõóøêà, âåðøèíà; âåðõíÿÿ ÷àñòü,
heading — çàãëàâèå, çàãîëîâîê
)
Dear
Sir
(óâàæàåìûé ñýð; dear
— äîðîãîé, ìèëûé; â óñòíîì èëè ïèñüìåííîì îáðàùåíèè — äîðîãîé, ãëóáîêîóâàæàåìûé
),
You
have
been
pointed
out
to
me
(ìíå óêàçàëè íà âàñ: «âû áûëè óêàçàíû ìíå»)
as
an
operative
of
the
McNeil
Detective
Agency
(êàê íà ÷àñòíîãî äåòåêòèâà ñûñêíîãî áþðî Ìàêíåéëà;
operative — êâàëèôèöèðîâàííûé ðàáî÷èé;
ñûùèê, ÷àñòíûé äåòåêòèâ)
. Kindly
report
at
my
suite
(ïðîøó /âàñ/ ïðèáûòü â ìîé íîìåð;
kindly — äîáðîæåëàòåëüíî; ëþáåçíî /â ôîðìóëàõ
âåæëèâîñòè/; to
report — ñîîáùàòü, ðàññêàçûâàòü; ÿâëÿòüñÿ,
ïðèáûâàòü /êóäà-ëèáî/; suite
— ñâèòà; íîìåð-ëþêñ /èç íåñêîëüêèõ êîìíàò/
)
at
four
o’
clock
this
afternoon
(ñåãîäíÿ äíåì, â ÷åòûðå ÷àñà)
.
It
was
signed “
S.
E.
RATCHETT”
(îíî áûëî ïîäïèñàíî: Ñ.Ý.Ðýò÷åòò)
.
“
Eh
bien
(íó è ÷òî)?”
operative ['
Op(q)rqtIv]
report [rI'pO:t]
suite [swi:t]
THE TOKATLLAN HOTEL
Dear Sir,
You have been pointed out to me as an operative of the McNeil Detective Agency.
Kindly report at my suite at four o’clock this afternoon.
S. E. RATCHETT
“
Eh bien?”
“I reported at the time stated
(ÿ
ïðèøåë
: «äîëîæèë
/î
ïðèáûòèè
/» â
íàçíà÷åííîå
âðåìÿ
; to state —
èçëàãàòü,
çàÿâëÿòü;
óñòàíàâëèâàòü,
òî÷íî
îïðåäåëÿòü)
, and Mr. Ratchett put me wise to the situation (
è
ìèñòåð
Ðýò÷åòò
ââåë
ìåíÿ
â
êóðñ
äåëà: «
îçíàêîìèë
ìåíÿ
ñ
ñèòóàöèåé»)
. He showed me a couple of letters (
îí
ïîêàçàë
ìíå
ïàðó
ïèñåì)
he’d got (
êîòîðûå
îí
ïîëó÷èë /
äî
ýòîãî/)
.”
“
He
was
alarmed
(îí áûë âñòðåâîæåí; to
alarm
— ïîäíÿòü òðåâîãó; âçâîëíîâàòü, íàïóãàòü
)?”
“Pretended
not
to
be
(äåëàë âèä, ÷òî íåò;
to
pretend — ïðèòâîðÿòüñÿ, äåëàòü âèä
),
but
he
was
rattled
(íî îí áûë íàïóãàí; to
rattle
— òðåùàòü, ãðîõîòàòü; ðàçã. âçâîëíîâàòü, ñìóòèòü, ïðèïóãíóòü
),
all
right
(íåñîìíåííî).
He
put
up
a
proposition
to
me
(îí ñäåëàë ìíå ïðåäëîæåíèå;
to
put
up — ïîäíèìàòü; îðãàíèçîâûâàòü, óñòðàèâàòü;
proposition — óòâåðæäåíèå, çàÿâëåíèå;
ïðåäëîæåíèå /äåëîâîå/, ïðåäïðèÿòèå)
. I
was
to
travel
by
the
same
train
(ÿ äîëæåí áûë åõàòü òåì æå ñàìûì ïîåçäîì)
as
he
did
to
Paris
(÷òî è îí äî Ïàðèæà;
Paris =
Paris)
and
see
that
nobody
got
him
(è ñëåäèòü, ÷òîáû äî íåãî íèêòî íå äîáðàëñÿ)
. Well
, gentlemen
, I
did
travel
by
the
same
train
(÷òî æ, ãîñïîäà, ÿ äåéñòâèòåëüíî åõàë íà òîì æå
ñàìîì ïîåçäå), and
in
spite
of
me
, somebody
did
get
him
(è, íåñìîòðÿ íà ìîå /ïðèñóòñòâèå/, êòî-òî äåéñòâèòåëüíî
äîáðàëñÿ äî íåãî). I
certainly
feel
sore
about
it
(âîò óæ òî÷íî, ÿ çîë èç-çà ýòîãî;
sore — áîëåçíåííûé, ÷óâñòâèòåëüíûé; ðàçã. ñåðäèòûé, ðàçäðàæåííûé, îáèæåííûé
).
It
doesn’
t
look
any
too
good
for
me
(ýòî íå î÷åíü õîðîøî äëÿ ìîåé /ðåïóòàöèè/;
to
look — ñìîòðåòü; âûãëÿäåòü, èìåòü âèä
).”
situation
["sItSV'eIS(q)n] alarmed
[q'lQ:md] rattle
['rxtl]
“I reported at the time stated, and Mr. Ratchett put me wise to the situation.
He showed me a couple of letters he’d got.”
“He was alarmed?”
“Pretended not to be, but he was rattled, all right. He put up a proposition
to me. I was to travel by the same train as he did to Paris and see that nobody got him. Well, gentlemen, I did travel by the same train, and in spite of me, somebody did get him. I certainly feel sore about it. It doesn’t
look any too good for me.”
“Did he give you any indication
(îí
âàì
êàê
-íèáóäü
íàìåêíóë
; indication —
ïðèçíàê,
ñèìïòîì,
óêàçàíèå; to indicate —
óêàçûâàòü;
êðàòêî
âûðàæàòü;
íàìå÷àòü
â
îáùèõ
÷åðòàõ)
of the line you were to take (
êàêîé
ëèíèè
ïîâåäåíèÿ
ïðèäåðæèâàòüñÿ;
line — ëèíèÿ
; îáðàç
äåéñòâèÿ
, ëèíèÿ
ïîâåäåíèÿ
)?”
“
Sure
(êîíå÷íî).
He
had
it
all
taped
out
(îí âñå çàðàíåå ïîäãîòîâèë;
to
tape — ñâÿçûâàòü òåñüìîé;
to
have
smth.
taped — áûòü õîçÿèíîì ïîëîæåíèÿ; èìåòü âñå
íàãîòîâå).
It was his idea that I should travel (/
èìåííî/
ó
íåãî
áûëà
ìûñëü
÷òî
ÿ
äîëæåí
áûë
åõàòü)
in the compartment alongside his (
â
êóïå
ðÿäîì
ñ
íèì)
. Well,
that
blew
up
(íó, ñ ýòèì íè÷åãî íå âûøëî;
to
blow (
blew,
blown)
up — ðàçðóøàòü, ðàññòðàèâàòü
)
right
at
the
start
(ïðÿìî ñ ñàìîãî íà÷àëà)
. The
only
place
I
could
get
(åäèíñòâåííîå ìåñòî, êîòîðîå ÿ ñìîã äîñòàòü)
was
berth
No
. 16 (áûëî ìåñòî ïîä íîìåðîì 16;
berth — êîéêà /íà ïàðîõîäå/; ñïàëüíîå ìåñòî,
ïîëêà),
and
I
had
a
job
getting
that
(è òî ìíå ïðèøëîñü ïîòðóäèòüñÿ, ÷òîáû äîñòàòü åãî)
. I
guess
the
conductor
likes
(ìíå êàæåòñÿ, ïðîâîäíèêó íðàâèòñÿ)
to
keep
that
compartment
up
his
sleeve
(äåðæàòü ýòî êóïå ïðî çàïàñ;
sleeve — ðóêàâ;
to
keep
smth.
up
one’
s
sleeve — ïîïðèäåðæàòü, ïðèïðÿòàòü
).
But
that’
s
neither
here
nor
there
(íî ÿ îòâëåêñÿ: «íî ýòî íè çäåñü, íè òàì»)
. When
I
looked
all
round
the
situation
(êîãäà ÿ îãëÿäåë âñþ îáñòàíîâêó)
, it
seemed
to
me
that
No
. 16 was
a
pretty
good
strategic
position
(ìíå ïîêàçàëîñü, ÷òî êóïå íîìåð 16 áûëî äîâîëüíî
íåïëîõèì ñòðàòåãè÷åñêèì ìåñòîì; position
— ïîëîæåíèå, ìåñòîíàõîæäåíèå; âîåí. ïîçèöèÿ, ðàñïîëîæåíèå, ðóáåæ
).
indication
["IndI'keIS(q)n] alongside
[q"lO
N'saId] strategic
[strq'ti:dZIk]
“Did he give you any indication of the line you were to take?”
“Sure. He had it all taped out. It was his idea that I should travel in the
compartment alongside his. Well, that blew up right at the start. The only place I could get was berth No. 16, and I had a job getting that. I guess the conductor likes to keep that compartment up his sleeve. But that’s
neither here nor there. When I looked all round the situation, it seemed to me that No. 16 was a pretty good strategic position.
There was only the dining-car in front of the Stamboul sleeping-car
(ïåðåä
ñòàìáóëüñêèì
ñïàëüíûì
âàãîíîì
áûë
òîëüêî
âàãîí
-ðåñòîðàí
), and the door onto the platform at the front end
(à
äâåðü
íà
ïëàòôîðìó
ó
ïåðåäíåãî
êîíöà
/âàãîíà
/ = áëèæíÿÿ
äâåðü
íà
ïëàòôîðìó
) was barred at night
(çàêðûâàëàñü
íî÷üþ
íà
çàñîâ
). The only way a thug could come
(åäèíñòâåííûì
ïóòåì
, êîòîðûì
ìîã
áû
ïðèéòè
áàíäèò
; thug —
óáèéöà /
èç-
çà
óãëà/;
ãîëîâîðåç,
ãàíãñòåð,
áàíäèò)
was through the rear-end door to the platform (
áûë
÷åðåç
äàëüíþþ
äâåðü: «
äâåðü
â
çàäíåì
êîíöå /
âàãîíà/»
íà
ïëàòôîðìó)
, or along the train from the rear (
èëè
÷åðåç /
äðóãîé
âàãîí/
ïîåçäà: «
ïî
ïîåçäó»
ñ
äàëüíåé: «
çàäíåé»
ñòîðîíû)
, and in either case (
â
ëþáîì
èç
ýòèõ
ñëó÷àåâ)
he’d have to pass right by my compartment (
åìó
áû
ïðèøëîñü
ïðîéòè
ïðÿìî
ìèìî
ìîåãî
êóïå)
.”
“
You
had
no
idea,
I
suppose
(âû, ÿ ïîëàãàþ, íå èìåëè ïðåäñòàâëåíèÿ;
idea — èäåÿ, ìûñëü; ïðåäñòàâëåíèå, ïîíÿòèå
),
of
the
identity
of
the
possible
assailant
(î ëè÷íîñòè âîçìîæíîãî/ïðåäïîëàãàåìîãî óáèéöû;
assailant — ïðîòèâíèê, íàïàäàþùàÿ ñòîðîíà
)?”
“Well, I knew what he looked like
(íó
, ÿ
çíàë
êàê
îí
âûãëÿäèò
). Mr. Ratchett described him to me
(ìèñòåð
Ðýò÷åòò
îïèñàë
åãî
ìíå
).”
barred [bQ:d]
identity [aI'dentItI]
assailant [q'seIlent]
There was only the dining-car in front of the Stamboul sleeping-car, and the
door onto the platform at the front end was barred at night. The only way a thug could come was through the rear-end door to the platform, or along the train from the rear, and in either case he’d have to pass right by my
compartment.”
“You had no idea, I suppose, of the identity of the possible assailant?”
“Well, I knew what he looked like. Mr. Ratchett described him to me.”
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