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 (7).
Àãàòà Êðèñòè. (7 ñòð.êíèãè)
“
What
(÷òî)?”
All
three
men
leaned
forward
eagerly
(âñå òðîå ìóæ÷èí ñ íåòåðïåíèåì ïîäàëèñü âïåðåä;
eager — æàæäóùèé /÷åãî-ëèáî/; íåòåðïåëèâûé;
ýíåðãè÷íûé).
Hardman went on
(Õàðäìàí
ïðîäîëæàë
).
“A small man
(÷åëîâåê
íåáîëüøîãî
ðîñòà
) — dark
(ñìóãëûé
; dark —
òåìíûé,
÷åðíûé;
ñìóãëûé,
òåìíûé)
— with a womanish kind of voice (
ñ
æåíîïîäîáíûì =
ïèñêëÿâûì/
âûñîêèì
ãîëîñîì;
womanish — æåíñêèé
, õàðàêòåðíûé
äëÿ
æåíùèíû
; ïðåíåáð
. áàáèé
, æåíîïîäîáíûé
; kind — ñîðò
, êëàññ
, ðàçíîâèäíîñòü
). That’s what the old man said
(òàê
ñòàðèê
ñêàçàë
). Said, too, that he didn’t think
(ñêàçàë
, òàê
æå
, ÷òî
îí
íå
äóìàåò
) it would be the first night out
(÷òî
ýòî
ñëó÷èòüñÿ
â
ïåðâóþ
æå
íî÷ü
). More likely the second or third
(áîëåå
âåðîÿòíî,
âî
âòîðóþ
èëè
òðåòüþ
).”
“He knew something
(îí
çíàë
÷òî
-òî
),” said M. Bouc.
“He certainly knew more than he told his secretary
(îí
îïðåäåëåííî
çíàë
áîëüøå
, ÷åì
îí
ðàññêàçàë
ñâîåìó
ñåêðåòàðþ
),”
ñommented Poirot thoughtfully
(çàäóì÷èâî
çàìåòèë
Ïóàðî
; to
ñomment —
êîììåíòèðîâàòü,
òîëêîâàòü;
âûñêàçûâàòüñÿ,
ñîîáùàòü
ñâîå
ìíåíèå)
. “Did he tell you anything about this enemy of his
(îí
âàì
÷òî
-íèáóäü
ñîîáùèë
îá
ýòîì
ñâîåì
âðàãå
)? Did he, for instance, say
(íå
ãîâîðèë
ëè
îí
, íàïðèìåð
)
why his life was threatened
(ïî÷åìó
åãî
æèçíè
óãðîæàþò
; threat —
óãðîçà; to threaten —
óãðîæàòü)
?”
womanish ['wVmqnIS]
enemy ['enqmI]
threatened ['Tretnd]
“What?”
All three men leaned forward eagerly.
Hardman went on.
“A small man — dark — with a womanish kind of voice. That’s what the
old man said. Said, too, that he didn’t think it would be the first night out, more likely the second or third.”
“He knew something,” said M. Bouc.
“He certainly knew more than he told his secretary,”
commented Poirot thoughtfully. “Did he tell you anything about this enemy of his? Did he, for
instance, say why his life was threatened?”
“No, he was kinda reticent
(îí
âðîäå
êàê
óìàë÷èâàë
; kinda = kind of, reticent —
ìîë÷àëèâûé,
ñêðûòíûé)
about that part of it (
îá
ýòîì: «
ýòîé
÷àñòè /
èñòîðèè/»)
. j
ust said the fellow was out for his blood (
ïðîñòî
ñêàçàë,
÷òî
ýòîò
ïàðåíü
æàæäåò
åãî
êðîâè;
to be out for blood — æàæäàòü
êðîâè
, blood — êðîâü
) and meant to get it
(è
äåéñòâèòåëüíî
ñîáèðàåòñÿ
åå
ïðîëèòü
: «äîñòàòü
»; to mean —
íàìåðåâàòüñÿ,
èìåòü
â
âèäó)
.”
“A small man
(ìóæ÷èíà
íåâûñîêîãî
ðîñòà
; small —
ìàëåíüêèé,
íåáîëüøîé)
— dark (
ñìóãëûé)
— with a womanish voice (
æåíîïîäîáíûé
ãîëîñ)
,” repeated Poirot thoughtfully (
çàäóì÷èâî
ïîâòîðèë
Ïóàðî)
. Then, fixing a sharp glance on Hardman (
çàòåì,
óñòàâèâøèñü
íà
Õàðäìàíà
ïðîíèöàòåëüíûì
âçãëÿäîì;
to fix — óêðåïëÿòü
, çàêðåïëÿòü
; íåîòðûâíî
ñìîòðåòü
, óñòðåìèòü
âçãëÿä
; sharp — îñòðûé
, îòòî÷åííûé
; ïðîíèöàòåëüíûé
, íàáëþäàòåëüíûé
), he asked
(îí
ñïðîñèë
): “You knew who he really was, of course
(âû
, êîíå÷íî
æå
, çíàëè
, êåì
îí
áûë
íà
ñàìîì
äåëå
)?”
“Which, Mister
(êòî
, ìèñòåð
...)?”
“Ratchett (/
ìèñòåð/
Ðýò÷åòò)
. You
recognised
him
(âû óçíàëè åãî)?”
“
I
don’
t
get
you
(ÿ âàñ íå ïîíèìàþ; to
get
— äîñòàâàòü, äîáûâàòü; ïîíèìàòü, ïîñòèãàòü
).”
“
Ratchett
was
Cassetti,
the
Armstrong
murderer
(Ðýò÷åòò áûë Êàññåòòè, óáèéöåé /ðåáåíêà/ Àðìñòðîíãîâ)
.”
kinda ['kaIndq]
reticent
['retIs(q)nt] fixing
['fIksIN]
“No, he was kinda reticent about that part of it.
just said the fellow was out for his blood and meant to get it.”
“A small man — dark — with a womanish voice,” repeated Poirot thoughtfully.
Then, fixing a sharp glance on Hardman, he asked: “You knew who he really was, of course?”
“Which, Mister?”
“Ratchett. You recognised him?”
“I don’t get you.”
“Ratchett was Cassetti, the Armstrong murderer.”
Mr. Hardman gave vent to a prolonged whistle
(ìèñòåð
Õàðäìàí
ïðèñâèñòíóë
; vent —
âõîäíîå
èëè
âûõîäíîå
îòâåðñòèå;
âûõîä,
âûðàæåíèå)
.
“That
certainly
is
some
surprise
(
âîò
òàê
ñþðïðèç;
surprise —
óäèâëåíèå,
èçóìëåíèå;
íåîæèäàííîñòü,
ñþðïðèç)
!” he
said
. “Yes, sir! No, I didn’t recognise him
(íåò
ñýð
, ÿ
åãî
íå
óçíàë
). I was away out West
(ÿ
áûë
â
îòúåçäå
, íà
Çàïàäå
; to be away —
îòñóòñòâîâàòü; West —
çàïàä;
çä.
Çàïàä, çàïàäíûå øòàòû, çàïàäíàÿ ÷àñòü ÑØÀ
)
when
that
case
came
on
(êîãäà ýòî äåëî ñëóøàëîñü â ñóäå;
to
come (
came,
come)
on
— íàñòóïàòü, íàäâèãàòüñÿ; ñëóøàòüñÿ /î äåëå â ñóäå/
). I
suppose
I
saw
photos
of
him
in
the
papers
(ïîëàãàþ, ÷òî ÿ âèäåë åãî ôîòîãðàôèè â ãàçåòàõ)
, but
I
wouldn
’t
recognise
my
own
mother
(íî ÿ áû íå óçíàë è ñîáñòâåííîé ìàòåðè)
when
a
newspaper
photographer
got
through
with
her
(ïîñëå òîãî, êàê ñ íåé ïîðàáîòàë áû / ðàñïðàâèëñÿ
áû ôîòîãðàô èç ãàçåòû; to
get
(got
) through
— ïðîéòè ÷åðåç /÷òî-ëèáî/; ñïðàâèòüñÿ /ñ ÷åì-ëèáî/; çàêîí÷èòü /÷òî-ëèáî/
).
Well,
I
don’
t
doubt
that
a
few
people
had
it
in
for
Cassetti
all
right
(÷òî æ, ÿ íå ñîìíåâàþñü, ÷òî ìíîãèå èìåëè çóá íà Êàññåòòè, ýòî òî÷íî;
to
have
it
in
for
smb. — âçúåñòüñÿ, îáîçëèòüñÿ íà êîãî-ëèáî,
èìåòü íà êîãî-ëèáî çóá)
.”
prolonged
[prq'lO
Nd] whistle
['wIs(q)l] photographer
[fq'tO
grqfq]
Mr. Hardman gave vent to a prolonged whistle.
“That certainly is some surprise!” he said. “Yes, sir! No, I didn’t
recognise him. I was away out West when that case came on. I suppose I saw photos of him in the papers, but I wouldn’t recognise my own mother when a newspaper photographer got through with her. Well, I don’t doubt that
a few people had it in for Cassetti all right.”
“Do you know of anyone connected with the Armstrong case
(çíàåòå
ëè
âû
êîãî
-íèáóäü
, ñâÿçàííîãî
ñ
äåëîì
Àðìñòðîíãîâ
) who answers to that description
(êîòîðûé
ñîîòâåòñòâóåò
ýòîìó
îïèñàíèþ
; to answer —
îòâå÷àòü;
ñîîòâåòñòâîâàòü,
óäîâëåòâîðÿòü /
÷åìó-
ëèáî/)
: small
(íåâûñîêîãî
ðîñòà
) — dark
(ñìóãëûé
) — womanish voice
(ïèñêëÿâûé
ãîëîñ
)?”
Hardman reflected a minute or two
(Õàðäìàí
ðàçìûøëÿë
ìèíóòó
èëè
äâå
; to reflect —
îòðàæàòü;
ðàçìûøëÿòü,
ðàçäóìûâàòü)
. “It’s hard to say (
ñëîæíî
ñêàçàòü)
. Pretty nearly everyone (
ïî÷òè
÷òî
âñå;
pretty — äîâîëüíî
, äîñòàòî÷íî
, nearly — ïî÷òè
) connected with that case is dead
(ñâÿçàííûå
ñ
ýòèì
äåëîì
, óìåðëè
: «ìåðòâû
»).”
“There was the girl who threw herself out of the window
(áûëà
òàì
äåâóøêà
, êîòîðàÿ
âûáðîñèëàñü
èç
îêíà
), remember
(ïîìíèòå
).”
“
Sure
(òî÷íî).
That’
s
a
good
point,
that
(ýòî /âû/ â òî÷êó = à ýòî õîðîøàÿ ìûñëü;
point — òî÷êà; ñóòü, ñìûñë; ìûñëü, òî÷êà çðåíèÿ
).
She was a foreigner of some kind (
îíà
áûëà /
êàêàÿ-
òî/
èíîñòðàíêà)
. Maybe
she
had
some
wop
relations
(ìîæåò, ó íåå è áûëè êàêèå-íèáóäü ðîäñòâåííèêè-èòàëüÿøêè;
wop — ïðåçðèòåëüíîå ïðîçâèùå, äàâàåìîå àìåðèêàíöàìè
èììèãðàíòàì èç Èòàëèè èëè èç äðóãèõ þæíûõ åâðîïåéñêèõ ñòðàí;
relation
— îòíîøåíèå, ñâÿçü; ðîäñòâåííèê, ðîäñòâåííèöà
).
But
you’
ve
got
to
remember
(íî âû äîëæíû ïîìíèòü)
that
there
were
other
cases
(÷òî áûëè è äðóãèå ñëó÷àè /ïîõèùåíèé/)
besides
the
Armstrong
one
(êðîìå ñëó÷àÿ ñ Àðìñòðîíãàìè)
. Cassetti
had
been
running
this
kidnapping
stunt
(Êàññåòòè çàïðàâëÿë ýòèìè òðþêàìè ñ ïîõèùåíèÿìè;
to
run — áåæàòü; ðóêîâîäèòü /ó÷ðåæäåíèåì è ò.ï./,
âåñòè /äåëî, ïðåäïðèÿòèå è ò.ï./; stunt
— ýôôåêòíîå ñïîðòèâíîå âûñòóïëåíèå; òðþê, ôîêóñ
)
for
some
time
(äîâîëüíî äîëãî).
You
can’
t
concentrate
on
that
only
(âàì íå ñòîèò: «âû íå ìîæåòå» ñîñðåäîòî÷èòüñÿ òîëüêî íà ýòîì /ñëó÷àå/)
.”
reflected [rI'flektId]
window ['wIndqV]
relationship [rI'leIS(q)nSIp]
concentrate ['k
Ons(q)ntreIt]
Do you know of anyone connected with the Armstrong case who answers to that
description: small — dark — womanish voice?”
Hardman reflected a minute or two. “It’s hard to say. Pretty nearly everyone
connected with that case is dead.”
“There was the girl who threw herself out of the window, remember.”
“Sure. That’s a good point, that. She was a foreigner of some kind. Maybe
she had some wop relations. But you’ve got to remember that there were other cases besides the Armstrong one. Cassetti had been running this kidnapping stunt for some time. You can’t concentrate on that only.”
“Ah, but we have reason to believe
(íî
ó
íàñ
åñòü
ïðè÷èíû
/îñíîâàíèÿ
ïîëàãàòü
; to believe —
âåðèòü;
äóìàòü,
ïîëàãàòü,
ñ÷èòàòü)
that this crime is connected with the Armstrong case
(÷òî
ýòî
ïðåñòóïëåíèå
ñâÿçàíî
èìåííî
ñ
äåëîì
Àðìñòðîíãîâ
).”
Mr. Hardman cocked an inquiring eye
(ìèñòåð
Õàðäìàí
âîïðîøàþùå
âçãëÿíóë
: «ïîäíÿë
âîïðîøàþùèé
âçãëÿä
»; cock —
ïåòóõ;
âûðàçèòåëüíûé
æåñò,
äâèæåíèå /
ââåðõ/; to cock —
ïîäíèìàòü; to cock the eye —
ðàçã.
ìíîãîçíà÷èòåëüíî
âçãëÿíóòü,
ïîäìèãíóòü; to inquire —
ñïðàøèâàòü,
óçíàâàòü)
. Poirot did not respond (
Ïóàðî
íå
îòâåòèë)
. The American shook his head (
àìåðèêàíåö
ïîêà÷àë
ãîëîâîé)
.
“I can’t call to mind anybody (
ÿ
íå
ìîãó
ïðèïîìíèòü
íèêîãî)
answering that description in the Armstrong case (
ñîîòâåòñòâóþùåãî
ýòîìó
îïèñàíèþ
â
äåëå
Àðìñòðîíãîâ)
,” he said slowly (
ñêàçàë
îí
ìåäëåííî)
. “
But
of
course
I
wasn’
t
in
it
(íî, êîíå÷íî æå, ÿ íå ïðèíèìàë ó÷àñòèÿ â ýòîì äåëå;
to
be
in — íàõîäèòüñÿ, áûòü äîìà, íà ìåñòå; ïðèíèìàòü
ó÷àñòèå â ÷åì-ëèáî, áûòü îñâåäîìëåííûì î ÷åì-ëèáî)
and
didn
’t
know
much
about
it
(è ìàëî ÷òî çíàþ: «è íå çíàþ ìíîãîãî» î íåì)
.”
“
Well,
continue
your
narrative,
Mr.
Hardman
(÷òî æ, ïðîäîëæàéòå ñâîé ðàññêàç, ìèñòåð Õàðäìàí;
to narrate — ðàññêàçûâàòü, ïîâåñòâîâàòü;
narrative — ðàññêàç, ïîâåñòü; èçëîæåíèå /ôàêòîâ,
ñîáûòèé/, ïîâåñòâîâàíèå)
.”
believe [bI'li:v]
inquiring [In'kwaI(q)rIN]
narrative ['nxrqtIv]
Ah, but we have reason to believe that this crime is connected with the Armstrong
case.”
Mr. Hardman cocked an inquiring eye. Poirot did not respond. The American shook
his head.
“I can’t call to mind anybody answering that description in the Armstrong
case,” he said slowly. “But of course I wasn’t in it and didn’t know much about it.”
“Well, continue your narrative, Mr. Hardman.”
“
There’
s
very
little
to
tell
(ðàññêàçûâàòü îñîáî íå÷åãî: «î÷åíü ìàëî»)
. I
got
my
sleep
in
the
daytime
(ÿ ïîñïàë äíåì;
sleep — ñîí;
to
get
some
sleep — âçäðåìíóòü, ñîñíóòü
)
and
stayed
awake
on
the
watch
at
night
(à íî÷üþ íå ñïàë: «îñòàâàëñÿ áîäðñòâóþùèì» è êàðàóëèë;
to
stay — îñòàâàòüñÿ, íå óõîäèòü; ïðåáûâàòü,
îñòàâàòüñÿ /â êàêîì-ëèáî ñîñòîÿíèè èëè ïîëîæåíèè/; watch
— ïðèñòàëüíîå íàáëþäåíèå; âûñìàòðèâàíèå; äåæóðñòâî
).
Nothing
suspicious
happened
the
first
night
(â ïåðâóþ íî÷ü íå ïðîèçîøëî íè÷åãî ïîäîçðèòåëüíîãî)
. Last
night
was
the
same
(òî æå ñàìîå è ïðîøëîé íî÷üþ)
, as
far
as
I
was
concerned
(êàê ìíå ïîêàçàëîñü: «÷òî êàñàåòñÿ ìåíÿ»;
to
concern — êàñàòüñÿ /â ðàññêàçå/, îïèñûâàòü;
êàñàòüñÿ, èìåòü êàñàòåëüñòâî, îòíîøåíèå)
. I
had
my
door
a
little
ajar
(äâåðü ó ìåíÿ áûëà ÷óòü ïðèîòêðûòà;
ajar — ïðèîòêðûòûé, íåïëîòíî çàêðûòûé
)
and
watched
(è ÿ ñìîòðåë/âåë íàáëþäåíèå)
. No
stranger
passed
(íèêòî ïîñòîðîííèé íå ïðîõîäèë;
stranger — íåçíàêîìåö; ïîñòîðîííèé ÷åëîâåê
).”
“You are sure of that, Mr. Hardman
(âû
â
ýòîì
óâåðåíû
, ìèñòåð
Õàðäìàí
)?”
“
I’
m
plumb
certain
(ÿ àáñîëþòíî óâåðåí;
plumb — îòâåñ; ïðÿìîé; àáñîëþòíûé; ýìîö.-óñèë.
ñîâåðøåííî, îêîí÷àòåëüíî, ñîâñåì)
. Nobody got on that train from outside
(íèêòî
íå
çàáèðàëñÿ
â
ïîåçä
ñíàðóæè
), and nobody came along the train
(è
íèêòî
íå
ïðèõîäèë
/â
âàãîí
/) from the rear carriages
(èç
çàäíèõ
âàãîíîâ
). I
’ll
take
my
oath
on
that
(ÿ ãîòîâ â ýòîì ïîêëÿñòüñÿ;
to
take
an
oath — äàòü êëÿòâó, ïîêëÿñòüñÿ;
oath — êëÿòâà, ïðèñÿãà
).”
suspicious
[sq'spISqs] ajar
[q'dZQ:] plumb
[plAm] oath
[qVT]
“There’s very little to tell. I got my sleep in the daytime and stayed
awake on the watch at night. Nothing suspicious happened the first night. Last night was the same, as far as I was concerned. I had my door a little ajar and watched. No stranger passed.”
“You are sure of that, Mr. Hardman?”
“I’m plumb certain. Nobody got on that train from outside, and nobody came
along the train from the rear carriages. I’ll take my oath on that.”
“Could you see the conductor from your position
(âû
ìîãëè
âèäåòü
ïðîâîäíèêà
ñ
âàøåé
ïîçèöèè
)?”
“Sure
(êîíå÷íî
). He sits on that little seat
(îí
ñèäèò
íà
òîì
ìàëåíüêîì
ñòóëü÷èêå
) almost flush with my door
(ïî÷òè
÷òî
âïðèòûê
ñ
ìîåé
äâåðüþ
; flush —
âïëîòíóþ)
.”
“
Did
he
leave
that
seat
at
all
(îí âñåãäà ñèäåë: «ïîêèäàë ëè îí» íà ñâîåì ìåñòå)
after
the
train
stopped
at
Vincovci
(ïîñëå òîãî, êàê ïîåçä îñòàíàâëèâàëñÿ â Âèíêîâöàõ)
?”
“That was the last station
(ýòî
ïîñëåäíÿÿ
îñòàíîâêà
)? Why, yes, he answered a couple of bells
(êàê
æå
, äà
, îí
îòçûâàëñÿ
íà
ïàðó
çâîíêîâ
; to answer —
îòâå÷àòü;
îòêëèêàòüñÿ,
ðåàãèðîâàòü)
— that would be just after the train came to a halt for good
(ýòî
áûëî
êàê
ðàç
ïîñëå
òîãî
, êàê
ïîåçä
îêîí÷àòåëüíî
âñòàë
; halt —
îñòàíîâêà,
ïðèâàë; to come (came, come) to a halt —
îñòàíîâèòüñÿ; for good —
íàâñåãäà,
îêîí÷àòåëüíî)
. Then, after that, he went past me (
çàòåì,
ïîñëå
ýòîãî,
îí
ïðîøåë
ìèìî
ìåíÿ)
into the rear coach (
â
çàäíèé
âàãîí)
— was there about a quarter of an hour (
ïðîáûë
òàì
îêîëî
÷åòâåðòè
÷àñà)
. There was a bell ringing like mad (/
ïîòîì/
êàêîé-
òî
çâîíîê
çàçâåíåë
÷òî
áûëî
ñèë;
mad — ñóìàñøåäøèé
, ïîìåøàííûé
; like mad — êàê
áåçóìíûé
; ðàçã
. èçî
âñåõ
ñèë
; îò
âñåé
äóøè
; ñ
ýíòóçèàçìîì
) and he came back running
(è
îí
áåãîì
âåðíóëñÿ
íàçàä
). I stepped out into the corridor to see
(ÿ
øàãíóë
â
êîðèäîð
, ÷òîáû
ïîãëÿäåòü
; to step —
øàãàòü,
ñòóïàòü)
what it was all about (
èç-
çà
÷åãî
øóì-
òî: «
â
÷åì
áûëî
äåëî»)
— felt a mite nervous, you understand (
íåìíîæå÷êî
âñòðåâîæèëñÿ: «
÷óâñòâîâàë
ñåáÿ
÷óòî÷êó
îáåñïîêîåííûì»,
âû
æå
ïîíèìàåòå;
mite — èñò
. ïîëóøêà
, ãðîø
; ðàçã
. ÷óòî÷êà
, êàïåëüêà
) — but it was only the American dame
(íî
ýòî
áûëà
âñåãî
ëèøü
òà
àìåðèêàíêà
).
almost ['O:lmqVst]
quarter ['kwO:tq]
nervous ['nq:vqs]
“Could you see the conductor from your position?”
“Sure. He sits on that little seat almost flush with my door.”
“Did he leave that seat at all after the train stopped at Vincovci?”
“That was the last station? Why, yes, he answered a couple of bells — that
would be just after the train came to a halt for good. Then, after that, he went past me into the rear coach — was there about a quarter of an hour. There was a bell ringing like mad and he came back running. I stepped out
into the corridor to see what it was all about — felt a mite nervous, you understand — but it was only the American dame.
She
was
raising
hell
(îíà óñòðîèëà ñêàíäàë;
to
raise
hell — óñòðîèòü ñêàíäàë, ïîäíÿòü øóì;
to
raise — ïîäíèìàòü; íà÷èíàòü, ïîäíèìàòü, çàòåâàòü;
hell — àä, ïðåèñïîäíÿÿ
)
about
something
or
other
(èç-çà òîãî èëè äðóãîãî = èç-çà ÷åãî-òî)
, I
grinned
(ÿ /òîëüêî/ óõìûëüíóëñÿ)
. Then
he
went
on
to
another
compartment
and
came
back
(çàòåì îí ïîøåë ê äðóãîìó êóïå è âåðíóëñÿ)
and
got
a
bottle
of
mineral
water
for
someone
(è îòíåñ êîìó-òî áóòûëêó ìèíåðàëüíîé âîäû;
to
get (
got) — äîñòàâàòü; äîñòàâàòü è ïðèíîñèòü
).
After
that
he
settled
down
in
his
seat
(ïîñëå ýòîãî îí óñåëñÿ íà ñâîå ìåñòî;
to
settle
down — ïîñåëÿòüñÿ; óñòðàèâàòüñÿ, óñàæèâàòüñÿ
)
till
he
went
up
to
the
far
end
(ïîêà íå ïîøåë â äàëüíèé êîíåö /âàãîíà/)
to
make
somebody
’s
bed
up
(÷òîáû ïîñòåëèòü êîìó-òî ïîñòåëü)
. I
don
’t
think
he
stirred
after
that
(íå äóìàþ, ÷òî ïîñëå ýòîãî îí ïîøåâåëèëñÿ;
to
stir — øåâåëèòü(ñÿ)
, äâèãàòü(ñÿ)
) until
about
five
o
’clock
this
morning
(äî ïÿòè ÷àñîâ óòðà)
.”
“Did he doze off at all
(îí
/êîãäà
-íèáóäü
/ äðåìàë
)?”
“That
I
can
’t
say
(íå ìîãó ñêàçàòü)
. He may have
(âîçìîæíî
/äðåìàë
/).”
Poirot nodded (
Ïóàðî
êèâíóë)
. Automatically his hands straightened the papers on the table
(åãî
ðóêè
íåïðîèçâîëüíî
/ìåõàíè÷åñêè
ïðèâîäèëè
â
ïîðÿäîê
áóìàãè
íà
ñòîëå
; to straighten —
âûïðÿìëÿòü,
ðàñïðàâëÿòü;
âûïðàâëÿòü,
ïðèâîäèòü
â
ïîðÿäîê)
. He
picked
up
the
official
card
once
more
(îí åùå ðàç âçÿë â ðóêè âèçèòíóþ êàðòî÷êó;
to
pick
up — ïîäíèìàòü, ïîäáèðàòü,
official — ñëóæåáíûé, äîëæíîñòíîé; îôèöèàëüíûé
).
grin
[grIn] stir
[stq:] straighten
['streItn] official
[q'fIS(q)l]
She was raising hell about something or other, I grinned. Then he went on to
another compartment and came back and got a bottle of mineral water for someone. After that he settled down in his seat till he went up to the far end to make somebody’s bed up. I don’t think he stirred after that until
about five o’clock this morning.”
“Did he doze off at all?”
“That I can’t say. He may have.”
Poirot nodded. Automatically his hands straightened the papers on the table.
He picked up the official card once more.
“Be so good as just to initial this
(áóäüòå
òàê
äîáðû
/ëþáåçíû
, ïîñòàâüòå
çäåñü
ñâîè
èíèöèàëû
),” he said.
The
other
complied
(Õàðäìàí ðàñïèñàëñÿ: «äðóãîé /ìóæ÷èíà/ ïîä÷èíèëñÿ»;
to
comply — èñïîëíÿòü, ïîä÷èíÿòüñÿ
).
“
There
is
no
one,
I
suppose,
who
can
confirm
(íåò íèêîãî, ÿ ïîëàãàþ, êòî ìîã áû ïîäòâåðäèòü)
your
story
of
your
identity
, Mr
. Hardman
(âàøè ñëîâà îòíîñèòåëüíî âàøåé ëè÷íîñòè, ìèñòåð
Õàðäìàí; story — ïîâåñòü, ðàññêàç;
çàÿâëåíèå, ÷òî-ëèáî ñêàçàííîå)
?”
“On this train (
â
ýòîì
ïîåçäå)
? Well,
not
exactly
(íàâðÿä
ëè
).
Unless
it
might
be
young
MacQueen
(ðàçâå
òîëüêî
ìîëîäîé
Ìàêêóèí
).
I
know
him
well
enough
(ÿ
åãî
äîñòàòî÷íî
õîðîøî
çíàþ
) —
I’
ve
seen
him
in
his
father’
s
office
in
New
York
(ÿ
âèäåë
/âñòðå÷àë
åãî
â
îôèñå
åãî
îòöà
; office
— ñëóæáà
, ìåñòî
, äîëæíîñòü
; êîíòîðà
, îôèñ
, êàíöåëÿðèÿ
).
But
that’
s
not
to
say
he’
ll
remember
me
(íî
íå
ìîãó
ñêàçàòü
, âñïîìíèò
ëè
îí
ìåíÿ
)
from
a
crowd
of
other
operatives
(èç
ìíîæåñòâà
äðóãèõ
ñûùèêîâ
; crowd
— òîëïà
; ìíîæåñòâî
, ìàññà
).
No,
Mr.
Poirot,
you’
ll
have
to
wait
and
cable
New
York
(íåò
, ìèñòåð
Ïóàðî
, âàì
ïðèäåòñÿ
ïîäîæäàòü
è
òåëåãðàôèðîâàòü
â
Íüþ
-Éîðê
; cable
— êàíàò
, òðîñ
, êàáåëü
; to
cable
— òåëåãðàôèðîâàòü
/ïî
ïîäâîäíîìó
êàáåëþ
/)
when
the
snow
lets
up
(êîãäà
ìû
âûáåðåìñÿ
îòñþäà
: «êîãäà
ñíåã
äàñò
íàì
åõàòü
»; to
let
up
— îñëàáåâàòü
, ñõîäèòü
íà
íåò
).
But
it’
s
O.
K.
(íî ýòî ïðàâäà = íî íå áåñïîêîéòåñü;
O.
K. — âñå â ïîðÿäêå, õîðîøî, ïðàâèëüíî
)
I’
m
not
telling
the
tale
(ÿ íå ëãó; tale
— ðàññêàç, èñòîðèÿ; ðàçã. ñïëåòíè, âûäóìêè, âðàêè, ñêàçêè, ëîæü
).
Well,
so
long,
gentlemen
(÷òî æ, ïîêà/óâèäèìñÿ, ãîñïîäà)
. Pleased
to
have
met
you
, Mr
. Poirot
(ðàä áûë ñ âàìè ïîçíàêîìèòüñÿ, ìèñòåð Ïóàðî;
to
meet (
met) — âñòðå÷àòü; çíàêîìèòüñÿ
).”
initial
[I'nIS(q)l]
comply [kqm'plaI]
enough [I'nAf]
crowd [kraVd]
“Be so good as just to initial this,” he said.
The other complied.
“There is no one, I suppose, who can confirm your story of your identity,
Mr. Hardman?”
“On this train? Well, not exactly. Unless it might be young MacQueen. I know
him well enough — I’ve seen him in his father’s office in New York. But that’s not to say he’ll remember me from a crowd of other operatives. No, Mr. Poirot, you’ll have to wait and cable New York when the snow
lets up. But it’s O.K. I’m not telling the tale. Well, so long, gentlemen. Pleased to have met you, Mr. Poirot.”
Poirot proffered his cigarette case (
Ïóàðî
ïðåäëîæèë /
åìó/
ñâîé
ïîðòñèãàð;
case — ÿùèê
, êîðîáêà
; ôóòëÿð
).
“But
perhaps
you
prefer
a
pipe
(èëè, âîçìîæíî, âû ïðåäïî÷èòàåòå òðóáêó)
?”
“
Not
me
(/òîëüêî/ íå ÿ).”
He
helped
himself
(îí âçÿë ñèãàðåòó; to
help
— ïîìîãàòü; to
help
oneself
to
smth
. — óãîùàòüñÿ ÷åì-ëèáî; áðàòü ñåáå /êóøàíüå, íàïèòîê è ò.ï./
),
then
strode
briskly
off
(ïîñëå ÷åãî óäàëèëñÿ áîäðûì øàãîì;
to
stride (
strode,
stridden) — øàãàòü /áîëüøèìè øàãàìè/; brisk — æèâîé,
ïðîâîðíûé).
The
three
men
looked
at
each
other
(òðîå ìóæ÷èí ïåðåãëÿíóëèñü: «âçãëÿíóëè äðóã íà äðóãà»)
.
“
You
think
he
is
genuine
(âû äóìàåòå, îí äåéñòâèòåëüíî ñûùèê: «îí íàñòîÿùèé»;
genuine — ïîäëèííûé, èñòèííûé, íàñòîÿùèé
)?”
asked
Dr.
Constantine.
“Yes
, yes
. I
know
the
type
(ÿ çíàþ ýòîò òèï;
type — òèï, òèïè÷íûé îáðàçåö èëè ïðåäñòàâèòåëü
/÷åãî-ëèáî/).
Besides, it is a story that would be very easy to disprove
(êðîìå
òîãî
, ýòó
èñòîðèþ
ìîæíî
áóäåò
î÷åíü
ëåãêî
îïðîâåðãíóòü
).”
“He has given us
(îí
äàë
íàì
) a piece of very interesting evidence
(î÷åíü
èíòåðåñíûå
ïîêàçàíèÿ
; piece —
êóñîê,
÷àñòü)
,” said M. Bouc.
“Yes, indeed
(íåñîìíåííî
).”
“A small man
(ìóæ÷èíà
íåâûñîêîãî
ðîñòà
) — dark
(ñìóãëûé
) — with a high-pitched voice
(ñ
ïèñêëÿâûì
ãîëîñîì
; high-pitched — âûñîêèé
, ïðîíçèòåëüíûé
/î
çâóêå
/; pitch — áðîñîê
; âûñîòà
/òîíà
, çâóêà
/)
,” said M. Bouc thoughtfully (
çàäóì÷èâî
ñêàçàë
ìñüå
Áóê)
.
“
A
description
which
applies
to
no
one
on
the
train
(îïèñàíèå, êîòîðîå íå ïîäõîäèò íè ê êîìó â ïîåçäå;
to
apply — îáðàùàòüñÿ ñ ïðîñüáîé; ïðèìåíÿòü,
áûòü ïðèìåíèìûì; êàñàòüñÿ, îòíîñèòüñÿ)
,” said
Poirot
.
proffer ['prOfq]
cigarette ["sIgq'ret]
genuine ['dZenjVIn]
piece [pi:s]
high-pitched ["haI'pItSt]
voice [vOIs]
description [dIs'krIpS(q)n]
apply [q'plaI]
Poirot proffered his cigarette case. “But perhaps you prefer a pipe?”
“Not me.” He helped himself, then strode briskly off.
The three men looked at each other.
“You think he is genuine?” asked Dr. Constantine.
“Yes, yes. I know the type. Besides, it is a story that would be very easy
to disprove.”
“He has given us a piece of very interesting evidence,” said M. Bouc.
“Yes, indeed.”
“A small man — dark — with a high-pitched voice,” said M. Bouc thoughtfully.
“A description which applies to no one on the train,” said Poirot.
10
THE EVIDENCE OF THE ITALIAN
(
ïîêàçàíèÿ
èòàëüÿíöà
)
“And now
(à
òåïåðü
),” said Poirot with a twinkle in his eye
(ñêàçàë
Ïóàðî
/è
/ â
åãî
ãëàçàõ
/ìåëüêíóë
/ çàäîðíûé
îãîíåê
; twinkle —
ìåðöàíèå;
îãîíåê /
â
ãëàçàõ/
), “we will delight the heart of M. Bouc
(ìû
ïîðàäóåì
ñåðäöå
ìñüå
Áóêà
; delight —
âîñòîðã,
âîñõèùåíèå;
to delight — äîñòàâëÿòü
íàñëàæäåíèå
, âîñõèùàòü
, óñëàæäàòü
) and see the Italian
(è
âñòðåòèìñÿ
ñ
èòàëüÿíöåì
).”
Antonio Foscarelli came into the dining-car (
Àíòîíèî
Ôîñêàðåëëè
âîøåë
â
âàãîí
ðåñòîðàí)
with a swift, cat-like tread (
áûñòðîé,
ìÿãêîé
ïîõîäêîé;
cat-like — ïîõîæèé
íà
êîøêó
; ìÿãêèé
, íåñëûøíûé
/î
øàãàõ
/)
. His
face
beamed
(åãî ëèöî ñèÿëî; beam
— ëó÷; to
beam
— èñïóñêàòü ëó÷è, ñâåòèòü; ñèÿòü, óëûáàòüñÿ ëó÷åçàðíîé óëûáêîé
).
It
was
a
typical
Italian
face
(ó íåãî áûëî òèïè÷íîå ëèöî èòàëüÿíöà: «ýòî áûëî òèïè÷íîå èòàëüÿíñêîå ëèöî»)
, sunny
-looking
(ñèÿþùåå;
sunny — ñîëíå÷íûé; âåñåëûé, ðàäîñòíûé;
looking — çä. êàê êîìïîíåíò ñëîæíîãî ñëîâà
— èìåþùèé òàêîé-òî âèä)
and
swarthy
(è ñìóãëîå)
.
He
spoke
French
well
and
fluently
(îí ïðàâèëüíî è áåãëî ãîâîðèë ïî-ôðàíöóçñêè;
fluent — ïëàâíûé, ãëàäêèé, áåãëûé; ñâîáîäíî
ãîâîðÿùèé)
with
only
a
slight
accent
(ñ íåáîëüøèì ëèøü àêöåíòîì;
accent — óäàðåíèå; ïðîèçíîøåíèå, àêöåíò
).
“Your name is Antonio Foscarelli
(âàñ
çîâóò
Àíòîíèî
Ôîñêàðåëëè
)?”
“
Yes,
Monsieur.”
“
You
are,
I
see,
a
naturalised
American
subject
(âû, êàê ÿ âèæó, ïðèíÿëè àìåðèêàíñêîå ãðàæäàíñòâî è ÿâëÿåòåñü ïîääàííûì ÑØÀ: «íàòóðàëèçîâàííûé
àìåðèêàíñêèé ïîääàííûé»; to
naturalize
— íàòóðàëèçîâàòü(ñÿ), ïðèíÿòü (â) ãðàæäàíñòâî;
subject — ïðåäìåò, òåìà /ðàçãîâîðà è ò.ï./, ïîääàííûé
)?”
The American grinned
(àìåðèêàíåö
óõìûëüíóëñÿ
). “Yes, Monsieur. It is better for my business
(òàê
ëó÷øå
äëÿ
ìîåãî
áèçíåñà
).”
delight
[dI'laIt] heart
[hQ:t] tread
[tred] typical
['tIpIk(q)l] swarthy
['swO:DI] fluent
['flu:qnt] accent
['xks(q)nt] naturalized
['nxtS(q)rqlaIzd]
“And now,” said Poirot with a twinkle in his eye, “we will delight the
heart of M. Bouc and see the Italian.”
Antonio Foscarelli came into the dining-car with a swift, cat-like tread. His
face beamed. It was a typical Italian face, sunny-looking and swarthy.
He spoke French well and fluently with only a slight accent.
“Your name is Antonio Foscarelli?”
“Yes, Monsieur.”
“You are, I see, a naturalised American subject?”
The American grinned. “Yes, Monsieur. It is better for my business.”
“
You
are
an
agent
for
Ford
motor
cars
(âû ÿâëÿåòåñü ïðåäñòàâèòåëåì /ïî ïðîäàæå/ àâòîìîáèëåé Ôîðäà;
for — çä. óêàçûâàåò íà ëèöî, â ïîëüçó êîòîðîãî
ñîâåðøàþòñÿ äåéñòâèÿ: äëÿ êîãî-ëèáî)
?”
“
Yes,
you
see
(äà, âèäèòå ëè) — ”
A
voluble
exposition
followed
(ïîñëåäîâàëî ìíîãîñëîâíîå îáúÿñíåíèå)
. At
the
end
of
it
anything
that
the
three
men
did
not
know
(ê êîíöó êîòîðîãî âñå òî, ÷òî òðîå ìóæ÷èí íå çíàëè)
about
Foscarelli
’s
business
methods
(î äåëîâûõ ìåòîäàõ Ôîñêàðåëëè)
, his
journeys
(åãî ïîåçäêàõ)
, his
income
(åãî äîõîäàõ)
, and
his
opinion
of
the
United
States
(è åãî ìíåíèè î Ñîåäèíåííûõ Øòàòàõ
) and
most
European
countries
(è áîëüøèíñòâå åâðîïåéñêèõ ñòðàí)
seemed
a
negligible
factor
(ñâåëîñü, ïðàêòè÷åñêè, ê íóëþ: «êàçàëîñü íè÷òîæíûì
ôàêòîðîì»; to
neglect — ïðåíåáðåãàòü; íå îáðàùàòü âíèìàíèÿ;
negligible — íè÷òîæíûé, íå ïðèíèìàåìûé
â ðàñ÷åò, íåçíà÷èòåëüíûé)
. This
was
not
a
man
who
had
to
have
information
dragged
from
him
(îí íå áûë ÷åëîâåêîì ó êîòîðîãî íàäî áûëî âûòÿãèâàòü
èíôîðìàöèþ/ñâåäåíèÿ; to
drag
— òàùèòü âîëîêîì, âîëî÷èòü; /
out/ — âûòÿíóòü, âûòàùèòü
).
It
gushed
out
(îíà ëèëàñü ïîòîêîì;
gush — ñèëüíûé, âíåçàïíî âîçíèêøèé ïîòîê,
ëèâåíü; to
gush — õëûíóòü, ëèòüñÿ ïîòîêîì, õëåñòàòü
).
agent
['eIdZ(q)nt] voluble
['vO
ljVb(q)l] negligible
['neglIdZqb(q)l] gush
[gAS]
“You are an agent for Ford motor cars?”
“Yes, you see — ”
A voluble exposition followed. At the end of it anything that the three men
did not know about Foscarelli’s business methods, his journeys, his income, and his opinion of the United States and most European countries seemed a negligible factor. This was not a man who had to have information dragged
from him. It gushed out.
His good-natured, childish face
(åãî
äîáðîäóøíîå
, äåòñêîå
= ïðîñòîäóøíîå
ëèöî
; childish —
ðåáÿ÷åñêèé,
èíôàíòèëüíûé;
äåòñêèé)
beamed with satisfaction (
ñèÿëî
îò
óäîâîëüñòâèÿ;
satisfaction — óäîâëåòâîðåíèå
; óäîâîëüñòâèå
, ðàäîñòü
) as, with a last eloquent gesture
(êîãäà
, ïîñëåäíèì
êðàñíîðå÷èâûì
æåñòîì
), he paused and wiped his forehead with a handkerchief
(îí
îñòàíîâèëñÿ
è
âûòåð
ëîá
íîñîâûì
ïëàòêîì
).
“So you see (
èòàê,
âû
âèäèòå)
,” he said. “
I
do
big
business
(ó ìåíÿ áîëüøîé áèçíåñ/äîõîäíîå äåëî)
. I
am
up
to
date
(ÿ èäó â íîãó ñî âðåìåíåì;
up
to
date — ñâîåâðåìåííûé, íîâåéøèé; îòâå÷àþùèé
ñîâðåìåííûì òðåáîâàíèÿì)
. I
understand
salesmanship
(ÿ ðàçáèðàþñü â ïðîäàæàõ;
to
understand — ïîíèìàòü; çíàòü, áûòü ñâåäóùèì /â
÷åì-ëèáî/, ñìûñëèòü; salesman
— ïðîäàâåö, òîðãîâåö;
salesmanship — ïðîôåññèÿ ïðîäàâöà; óìåíèå ïðîäàâàòü;
ñáûò)!”
good-natured ["gVd'neItSqd]
eloquent ['elqkwqnt]
gesture ['dZestSq]
salesmanship ['seIlzmqnSIp]
His good-natured, childish face beamed with satisfaction as, with a last eloquent
gesture, he paused and wiped his forehead with a handkerchief.
“So you see,” he said. “I do big business. I am up to date. I understand
salesmanship!”
“You have been in the United States, then
(â
òàêîì
ñëó÷àå
, âû
áûâàëè
â
Ñîåäèíåííûõ
Øòàòàõ
), for the last ten years on and off
(çà
ïîñëåäíèå
äåñÿòü
ëåò
âðåìÿ
îò
âðåìåíè
).”
“Yes, Monsieur. Ah! well do I remember the day (
îòëè÷íî
ïîìíþ
ÿ
òîò
äåíü)
I first took the boat (
êîãäà
ÿ
âïåðâûå
ñåë
íà
êîðàáëü;
boat — ëîäêà
, øëþïêà
; ñóäíî
, êîðàáëü
) — to go to America, so far away
(÷òîáû
åõàòü
â
Àìåðèêó
, òàê
äàëåêî
)! My
mother
, my
little
sister
(ìîÿ ìàòü, ìîÿ ñåñòðåíêà;
little — ìàëåíüêèé; ìèëûé, ñëàâíûé /÷àñòî èìååò
ëàñêàòåëüíîå çíà÷åíèå è ïåðåäàåòñÿ óìåíüøèòåëüíûì ñóôôèêñîì/; ìëàäøèé
) — ”
Poirot
cut
short
(Ïóàðî ïðåðâàë; to cut short — îáðûâàòü, âíåçàïíî
ïðåðûâàòü)
the
flood
of
reminiscence
(ïîòîê âîñïîìèíàíèé;
flood — íàâîäíåíèå, ïîëîâîäüå; ïîòîê
).
“
During
your
sojourn
in
the
United
States
(âî âðåìÿ âàøåãî /âðåìåííîãî/ ïðåáûâàíèÿ â Ñîåäèíåííûõ Øòàòàõ)
, did
you
ever
come
across
the
deceased
(âû êîãäà-íèáóäü âñòðå÷àëèñü ñ ïîêîéíûì;
to come across smb. — ñëó÷àéíî âñòðåòèòü êîãî-ëèáî
)?”
flood
[flAd] reminiscence
["remI'nIs(q)ns] sojourn
['sO
dZq:n] deceased
[dI'si:st]
“You have been in the United States, then, for the last ten years on and
off.”
“Yes, Monsieur. Ah! well do I remember the day I first took the boat —
to go to America, so far away! My mother, my little sister — ”
Poirot cut short the flood of reminiscence.
“During your sojourn in the United States, did you ever come across the deceased?”
“
Never
(íèêîãäà).
But
I
know
the
type
(íî ÿ çíàþ ýòîò òèï /ëþäåé/)
. Oh
, yes
.” He
snapped
his
fingers
expressively
(è îí âûðàçèòåëüíî ùåëêíóë ïàëüöàìè;
to
snap — õâàòàòü, êóñàòü; ùåëêàòü, ëÿçãàòü, õëîïàòü
/÷åì-ëèáî/). “
It
is
very
respectable
(î÷åíü ïðåäñòàâèòåëüíûå;
to
respect — óâàæàòü, ïî÷èòàòü;
respectable — ïî÷òåííûé, ðåñïåêòàáåëüíûé
),
very
well-
dressed
(î÷åíü õîðîøî îäåòûå),
but
underneath
it
is
all
wrong
(íî ïîä âñåì ýòèì âñå ñîâåðøåííî íå òàê;
underneath — çä. óêàçûâàåò íà ìàñêó, ëè÷èíó è
ò.ï. — ïîä; wrong — íåïðàâèëüíûé, íåâåðíûé
).
Out
of
my
experience
I
should
say
(ïî ñâîåìó îïûòó ÿ áû ñêàçàë)
he
was
the
big
crook
(÷òî îí áûë áîëüøèì ìîøåííèêîì;
big — áîëüøîé, êðóïíûé; âàæíûé, çíà÷èòåëüíûé,
crook — êðþê, êðþ÷îê; ðàçã. ïðîõîäèìåö,
ïëóò, îáìàíùèê)
. I
give
you
my
opinion
for
what
it
is
worth
(ÿ äàþ âàì ñâîå ìíåíèå çà åãî ñòîèìîñòü =
âîò ÷òî ÿ äóìàþ — õîòèòå âåðüòå, õîòèòå
íåò; worth — ñòîÿùèé, èìåþùèé öåííîñòü
èëè ñòîèìîñòü)
.”
“
Your
opinion
is
quite
right
(âàøå ìíåíèå ñîâåðøåííî âåðíî = âû ñîâåðøåííî ïðàâû)
,” said
Poirot
drily
(ñêàçàë Ïóàðî ñóõî)
. “Ratchett
was
Cassetti
, the
kidnapper
(Ðýò÷åòò áûë Êàññåòòè, ïîõèòèòåëåì ëþäåé)
.”
expressively
[Ik'spresIvlI] respectable
[rI'spektqb(q)l] underneath
["Andq'ni:T] worth
[wq:T]
“Never. But I know the type. Oh, yes.” He snapped his fingers expressively.
“It is very respectable, very well-dressed, but underneath it is all wrong. Out of my experience I should say he was the big crook. I give you my opinion for what it is worth.”
“Your opinion is quite right,” said Poirot drily. “Ratchett was Cassetti,
the kidnapper.”
“What did I tell you
(÷òî
ÿ
âàì
ãîâîðèë
)? I have learned to be very acute
(ÿ
íàó÷èëñÿ
áûòü
î÷åíü
ïðîíèöàòåëüíûì
; acute —
îñòðûé;
ïðîíèöàòåëüíûé)
— to read the face (
÷èòàòü /
ëþäåé/
ïî
ëèöàì)
. It is necessary (
ýòî
íåîáõîäèìî)
. Only in America do they teach you (
òîëüêî
â
Àìåðèêå
òåáÿ
íàó÷àò)
the proper way to sell (
ïðàâèëüíûì
ìåòîäàì
òîðãîâëè;
proper — ïðèñóùèé
; ïðàâèëüíûé
, íàäëåæàùèé
; to sell — ïðîäàâàòü
, òîðãîâàòü
). I — ”
“You remember the Armstrong case
(âû
ïîìíèòå
äåëî
Àðìñòðîíãîâ
)?”
“I do not quite remember (
ÿ
íå
ñîâñåì
ïîìíþ)
. The
name,
yes
(à èìÿ — äà, /ïîìíþ/)?
It
was
a
little
girl,
a
baby,
was
it
not
(ýòî áûëà ìàëåíüêàÿ äåâî÷êà /ñîâñåì åùå/ ðåáåíîê, íå òàê ëè)
?”
“
Yes,
a
very
tragic
affair
(äà, î÷åíü òðàãè÷åñêàÿ/óæàñíàÿ èñòîðèÿ;
affair — äåëî; ðàçã. ñîáûòèå, èñòîðèÿ
).”
The
Italian
seemed
the
first
person
(èòàëüÿíåö îêàçàëñÿ ïåðâûì ÷åëîâåêîì)
to
demur
to
this
view
(êîòîðûé íå ñîãëàñèëñÿ: «âîçðàæàë ïðîòèâ» ñ òàêîé
òî÷êîé çðåíèÿ).
acute
[q'kju:t] affair
[q'feq] demur
[dI'mq:]
“What did I tell you? I have learned to be very acute — to read the face.
It is necessary. Only in America do they teach you the proper way to sell. I — ”
“You remember the Armstrong case?”
“I do not quite remember. The name, yes? It was a little girl, a baby, was
it not?”
“Yes, a very tragic affair.”
The Italian seemed the first person to demur to this view.
“Ah! well, these things they happen
(à
, òàêèå
âåùè
, îíè
ñëó÷àþòñÿ
; thing —
âåùü,
ïðåäìåò;
ñîáûòèå)
,” he said philosophically (
ôèëîñîôñêè
ñêàçàë
îí)
, “in a great civilisation such as America (
â
òàêîé
âåëèêîé
ñòðàíå: «
öèâèëèçàöèè»,
êàê
Àìåðèêà)
— ”
Poirot cut him short
(Ïóàðî
ïðåðâàë
åãî
). “Did you ever come across any members of the Armstrong family
(âû
êîãäà
-íèáóäü
âñòðå÷àëèñü
ñ
êåì
-íèáóäü
èç
÷ëåíîâ
ñåìüè
Àðìñòðîíãîâ
)?”
“No, I do not think so (
íåò,
íå
äóìàþ)
. It is difficult to say (
òðóäíî
ñêàçàòü)
. I
will
give
you
some
figures
(ÿ ïðèâåäó âàì íåêîòîðûå öèôðû)
. Last
year
alone
(òîëüêî çà ïîñëåäíèé =
ïðîøëûé ãîä)
, I
sold
(ÿ ïðîäàë)
— ”
“
Monsieur,
pray
confine
yourself
to
the
point
(ìñüå, ïðîøó âàñ, ïðèäåðæèâàéòåñü ñóòè äåëà;
to
confine — îãðàíè÷èâàòü;
point — òî÷êà; ãëàâíîå, ñóòü, ñìûñë, «ñîëü»
).”
The Italian’s hands flung themselves out
(èòàëüÿíåö
âñïëåñíóë
ðóêàìè
; to fling (flung) —
ìåòàòü,
áðîñàòü,
ðàçáðàñûâàòü)
in a gesture of apology (
èçâèíÿÿñü: «
æåñòîì,
âûðàæàþùèì
èçâèíåíèå»)
. “A thousand pardons (
òûñÿ÷à
èçâèíåíèé)
.”
civilization
["sIv(q)laI'zeIS(q)n] figure
['fIgq] apology
[q'pO
lqdZI]
“Ah! well, these things they happen,” he said philosophically, “in a
great civilisation such as America — ”
Poirot cut him short. “Did you ever come across any members of the Armstrong
family?”
“No, I do not think so. It is difficult to say. I will give you some figures.
Last year alone, I sold — ”
“Monsieur, pray confine yourself to the point.”
The Italian’s hands flung themselves out in a gesture of apology. “A thousand
pardons.”
“Tell me, if you please, your exact movements
(ñêàæèòå
ìíå
, ïîæàëóéñòà
, âàøè
òî÷íûå
äåéñòâèÿ
) last night from dinner onwards
(ïðîøëûì
âå÷åðîì
: «íî÷üþ
», ïîñëå
óæèíà
).”
“
With
pleasure
(ñ óäîâîëüñòâèåì).
I
stay
here
as
long
as
I
can
(ÿ îñòàâàëñÿ òóò /â ðåñòîðàíå/ òàê äîëãî, êàê òîëüêî ìîã)
. It
is
more
amusing
(çäåñü âåñåëåå;
to
amuse — çàáàâëÿòü, ðàçâëåêàòü; ïðîâîäèòü /ïðèÿòíî/
âðåìÿ, êîðîòàòü äîñóã)
. I
talk
to
the
American
gentleman
at
my
table
(ÿ ðàçãîâàðèâàë ñ àìåðèêàíöåì, /÷òî ñèäåë/ çà ìîèì
ñòîëèêîì). He
sells
typewriter
ribbons
(îí ïðîäàåò ëåíòû äëÿ ïèøóùèõ ìàøèíîê)
. Then I go back to my compartment
(çàòåì
ÿ
âåðíóëñÿ
â
ñâîå
êóïå
). It is empty
(òàì
áûëî
ïóñòî
). The miserable John Bull
(ýòîò
æàëêèé
Äæîí
Áóëëü
; John Bull —
Äæîí
Áóëëü /
ïðîçâèùå
òèïè÷íîãî
àíãëè÷àíèíà/
) who shares it with me
(÷òî
åäåò
âìåñòå
ñî
ìíîé
; to share —
äåëèòü,
ðàñïðåäåëÿòü;
ïîëüçîâàòüñÿ
ñîâìåñòíî)
is away attending to his master (
ïðèñëóæèâàë
ñâîåìó
õîçÿèíó;
to attend — ïîñåùàòü
, ïðèñóòñòâîâàòü
; îáñëóæèâàòü
). At last he comes back
(íàêîíåö
îí
âîçâðàùàåòñÿ
) — very long face as usual
(ñ
óíûëîì
ëèöîì
, êàê
îáû÷íî
; long face —
óíûëîå,
ìðà÷íîå
ëèöî,
âûòÿíóòàÿ
ôèçèîíîìèÿ)
. He
will
not
talk
(ðàçãîâàðèâàòü îí íå ñòàë)
— says
yes
and
no
(ãîâîðèò «äà» è «íåò»)
. A
miserable
race
, the
English
(æàëêèé íàðîä, ýòè àíãëè÷àíå;
race — ðàñà; ðîä, ïëåìÿ, íàðîä
) —
not
sympathetic
(íåáëàãîæåëàòåëüíûé;
sympathetic — ñî÷óâñòâåííûé, ïîëíûé ñî÷óâñòâèÿ;
áëàãîæåëàòåëüíûé, îäîáðèòåëüíûé)
. He
sits
in
the
corner
(îí ñàäèòñÿ â óãîë)
, very
stiff
(î÷åíü íàïðÿæåííûé)
, reading
a
book
(/è/ ÷èòàåò êíèãó)
. Then
the
conductor
comes
and
makes
our
beds
(çàòåì ïðèõîäèò ïðîâîäíèê è ñòåëèò íàøè ïîñòåëè)
.”
pleasure
['pleZq] amusing
[q'mju:zIN] typewriter
['taIp"raItq] miserable
['mIz(q)rqb(q)l] sympathetic
["sImpq'TetIk]
“Tell me, if you please, your exact movements last night from dinner onwards.”
“With pleasure. I stay here as long as I can. It is more amusing. I talk
to the American gentleman at my table. He sells typewriter ribbons. Then I go back to my compartment. It is empty. The miserable John Bull who shares it with me is away attending to his master. At last he comes back — very
long face as usual. He will not talk — says yes and no. A miserable race, the English — not sympathetic. He sits in the corner, very stiff, reading a book, Then the conductor comes and makes our beds.”
“
Nos. 4
and 5
(/ìåñòà/ íîìåð 4 è 5),”
murmured
Poirot
(ïðîáîðìîòàë Ïóàðî).
“
Exactly —
the
end
compartment
(òî÷íî — ïîñëåäíåå êóïå;
end — êîíåö, îêîí÷àíèå; êîíåö, êðàé, ñòîðîíà
).
Mine is the upper berth (
ìîÿ
ïîëêà
âåðõíÿÿ)
. I get up there (
ÿ
çàáèðàþñü
íà
íåå)
. I smoke and read (
ÿ
êóðþ
è
÷èòàþ)
. The little Englishman has, I think, the toothache
(ó
ýòîãî
íè÷òîæíîãî
àíãëè÷àíèíà
áîëÿò
, ìíå
ïîäóìàëîñü
, çóáû
; little —
ìàëåíüêèé,
íåáîëüøîé /
î
ðàçìåðå/;
íè÷òîæíûé,
îãðàíè÷åííûé; toothache —
çóáíàÿ
áîëü; ache —
áîëü /
ïðîäîëæèòåëüíàÿ,
òóïàÿ/
). He
gets
out
a
little
bottle
of
stuff
(îí äîñòàåò ìàëåíüêóþ áóòûëî÷êó ñ êàêèì-òî ëåêàðñòâîì;
stuff — ìàòåðèàë, âåùåñòâî; ðàçã. ëåêàðñòâî,
ìèêñòóðà)
that
smells
very
strong
(ñ î÷åíü ñèëüíûì /íåïðèÿòíûì/ çàïàõîì: «êîòîðîå âîíÿåò î÷åíü ñèëüíî»;
to
smell — îáîíÿòü, ÷óâñòâîâàòü çàïàõ; äóðíî
ïàõíóòü, âîíÿòü)
. He
lies
in
bed
and
groans
(è âîò îí ëåæèò â ïîñòåëè è ñòîíåò/îõàåò)
. Presently
I
sleep
(âñêîðå ÿ çàñûïàþ)
. Whenever
I
wake
I
hear
him
groaning
(è, âñÿêèé ðàç, êîãäà ÿ ïðîñûïàþñü, ÿ ñëûøó, êàê
îí ñòîíåò).”
“
Do
you
know
if
he
left
the
carriage
at
all
during
the
night
(âû íå çíàåòå, îí âîîáùå ïîêèäàë êóïå íî÷üþ;
during — â ïðîäîëæåíèå, â òå÷åíèå
)?”
“I do not think so
(íå
äóìàþ
). That, I should hear
(ÿ
áû
ýòî
óñëûøàë
). The light from the corridor
(ýòîò
ñâåò
èç
êîðèäîðà
/åñëè
îòêðûòü
äâåðü
/) — one wakes up automatically
(/îò
íåãî
/ àâòîìàòè÷åñêè
ïðîñûïàåøüñÿ
) thinking it is the customs examination at some frontier
(äóìàÿ
, ÷òî
ýòî
êàêîé
-íèáóäü
òàìîæåííûé
äîñìîòð
íà
î÷åðåäíîé
ãðàíèöå
).”
berth
[bq:T] toothache
['tu:TeIk] groan
[grqVn] automatically
["O:tq'mxtIk(q)lI] examination
[Ig"zxmI'neIS(q)n] frontier
['frAntIq]
“Nos. 4 and 5,” murmured Poirot.
“Exactly — the end compartment. Mine is the upper berth. I get up there.
I smoke and read. The little Englishman has, I think, the toothache. He gets out a little bottle of stuff that smells very strong. He lies in bed and groans. Presently I sleep. Whenever I wake I hear him groaning.”
“Do you know if he left the carriage at all during the night?”
“I do not think so. That, I should hear. The light from the corridor —
one wakes up automatically thinking it is the customs examination at some frontier.”
“
Did
he
ever
speak
of
his
master
(îí êîãäà-íèáóäü ãîâîðèë î ñâîåì õîçÿèíå)
? Ever
express
any
animus
against
him
(âûðàæàë ëè êàêóþ-íèáóäü íåäîáðîæåëàòåëüíîñòü
ïî îòíîøåíèþ ê íåìó)?”
“
I
tell
you
he
did
not
speak
(ãîâîðþ æå âàì, îí íå ðàçãîâàðèâàë /ñî ìíîé/)
. He
was
not
sympathetic
(îí íå áûë áëàãîæåëàòåëüíî /íàñòðîåí/)
. A
fish
(/íåì/ êàê ðûáà)
.”
“You smoke, you say — a pipe, cigarettes, cigar
(÷òî
âû
êóðèòå
— òðóáêó
, ñèãàðåòû
, ñèãàðó
)?”
“Cigarettes only
(òîëüêî
ñèãàðåòû
).”
Poirot proffered one
(Ïóàðî
ïðåäëîæèë
/åìó
ñèãàðåòó
/), which he accepted
(êîòîðóþ
òîò
âçÿë
; to accept —
ïðèíèìàòü,
áðàòü /
ïðåäëîæåííîå/)
.
“Have you ever been to Chicago
(âû
êîãäà
-íèáóäü
áûëè
â
×èêàãî
)?” inquired M. Bouc
(ñïðîñèë
ìñüå
Áóê
).
“Oh! yes — a fine city
(ïðåêðàñíûé
ãîðîä
) — but I know best New York, Cleveland, Detroit
(íî
ÿ
ëó÷øå
çíàþ
Íüþ
-Éîðê
, Êëèâëåíä
, Äåòðîéò
). You have been to the States
(âû
áûâàëè
â
Øòàòàõ
)? No? You should go
(íåò
? âàì
ñëåäóåò
ïîåõàòü
). It
(ýòî
) — ”
animus ['xnImqs]
sympathetic ["sImpq'TetIk]
accepted [qk'septId]
inquire [In'kwaIq]
“Did he ever speak of his master? Ever express any animus against him?”
“I tell you he did not speak. He was not sympathetic. A fish.”
“You smoke, you say — a pipe, cigarettes, cigar?”
“Cigarettes only.”
Poirot proffered one, which he accepted.
“Have you ever been to Chicago?” inquired M. Bouc.
“Oh! yes — a fine city — but I know best New York, Cleveland, Detroit.
You have been to the States? No? You should go. It — ”
Poirot pushed a sheet of paper across to him
(Ïóàðî
ïîäòîëêíóë
åìó
ëèñòîê
áóìàãè
÷åðåç
/ñòîë
/; sheet —
ïðîñòûíÿ;
ëèñò /
áóìàãà,
ìåòàëë
è
ò.
ï./)
.
“If you will sign this
(ïîäïèøèòå
ýòî
), and put your permanent address, please
(è
óêàæèòå
âàø
ïîñòîÿííûé
àäðåñ
, ïîæàëóéñòà
).”
The
Italian
wrote
with
a
flourish
(èòàëüÿíåö íàïèñàë /÷òî åãî ïîïðîñèëè/ ñ ðîñ÷åðêàìè;
flourish — ðàçìàõèâàíèå, ïîìàõèâàíèå; ðîñ÷åðê
/ïåðà/, çàâèòóøêà)
. Then
he
rose
(çàòåì îí ïîäíÿëñÿ)
, his
smile
as
engaging
as
ever
(ñ êàê âñåãäà îáâîðîæèòåëüíîé óëûáêîé;
engaging — ïðèâëåêàòåëüíûé, îáàÿòåëüíûé, ðàñïîëàãàþùèé
).
“That is all
(ýòî
âñå
)? You
do
not
require
me
further
(ÿ âàì áîëüøå íå íóæåí;
to
require — òðåáîâàòü, ïðèêàçûâàòü; íóæäàòüñÿ
/â ÷åì-ëèáî/, òðåáîâàòü /÷åãî-ëèáî/)
? Good
day
to
you
, Messieurs
(äî ñâèäàíèÿ: «äîáðîãî âàì äíÿ», ãîñïîäà)
. I
wish
we
could
get
out
of
the
snow
(ìíå áû õîòåëîñü, ÷òîáû ìû ñìîãëè âûáðàòüñÿ èç
ñíåæíûõ /çàíîñîâ/). I
have
an
appointment
in
Milan
(ó ìåíÿ /íàçíà÷åíà/ âñòðå÷à â Ìèëàíå;
appointment — íàçíà÷åíèå /íà äîëæíîñòü, ïîñò/;
âñòðå÷à, ñâèäàíèå)
.” He
shook
his
head
sadly
(îí ïå÷àëüíî ïîêà÷àë ãîëîâîé;
sad — ïå÷àëüíûé, ãðóñòíûé, óíûëûé
). “
I
shall
lose
the
business
(ÿ óïóùó êëèåíòà; to
lose
(lost
) — òåðÿòü; óïóñòèòü, íå âîñïîëüçîâàòüñÿ;
business — äåëî; àìåð. êëèåíòóðà, ïîêóïàòåëè
).”
He departed (
îí
óäàëèëñÿ)
.
Poirot looked at his friend
(Ïóàðî
âçãëÿíóë
íà
ñâîåãî
äðóãà
).
permanent
['pq:mqnqnt] flourish
['flArIS] require
[rI'kwaIq]
Poirot pushed a sheet of paper across to him.
“If you will sign this, and put your permanent address, please.”
The Italian wrote with a flourish. Then he rose, his smile as engaging as ever.
“That is all? You do not require me further? Good day to you, Messieurs.
I wish we could get out of the snow. I have an appointment in Milan.” He shook his head sadly. “I shall lose the business.” He departed.
Poirot looked at his friend.
“He has been a long time in America
(îí
äîëãîå
âðåìÿ
ïðîáûë
â
Àìåðèêå
),” said M. Bouc, “and he is an Italian
(è
îí
èòàëüÿíåö
), and Italians use the knife
(à
èòàëüÿíöû
âñåãäà
èñïîëüçóþò
íîæ
)! And they are great liars
(è
âñå
îíè
âåëèêèå
ëæåöû
)! I do not like Italians
(ÿ
íå
ëþáëþ
èòàëüÿíöåâ
).”
“
Ça se voit
(ôð
.
îíî
è
âèäíî)
,” said Poirot with a smile (
ñêàçàë
Ïóàðî
ñ
óëûáêîé)
. “Well, it may be that you are right (
÷òî
æ,
ìîæåò
áûòü,
âû
è
ïðàâû)
, but I will point out to you, my friend (
íî
ÿ
îáðàùó
âàøå
âíèìàíèå
íà
òî,
äðóã
ìîé;
to point (out) — óêàçûâàòü
, ïîêàçûâàòü
; óêàçûâàòü
, îáðàùàòü
÷üå
-ëèáî
âíèìàíèå
, ïîä÷åðêèâàòü
), that there is absolutely no evidence
(÷òî
íåò
ñîâåðøåííî
íèêàêèõ
óëèê
; evidence —
îñíîâàíèå,
äàííûå;
þð.
äîêàçàòåëüñòâî,
óëèêà)
against the man (
ïðîòèâ
ýòîãî
÷åëîâåêà)
.”
knife
[naIf] liar
['laIq] absolutely
["xbsq'lu:tlI] evidence
['evId(q)ns]
“He has been a long time in America,” said M. Bouc, “and he is an Italian,
and Italians use the knife! And they are great liars! I do not like Italians.”
“Ça se voit,” said Poirot with a smile “Well, it may be that you are
right, but I will point out to you, my friend, that there is absolutely no evidence against the man.”
“
And
what
about
the
psychology
(à êàê æå íàñ÷åò ïñèõîëîãèè)
? Do
not
Italians
stab
(ðàçâå èòàëüÿíöû /îáû÷íî/ íå ðåæóò /ñâîèõ âðàãîâ/;
to
stab — íàíîñèòü óäàð /íîæîì, êèíæàëîì/)
?”
“Assuredly (
êîíå÷íî)
,” said Poirot. “Especially in the heat of a quarrel
(îñîáåííî
â
ðàçãàð
ññîðû
; heat —
æàðà,
çíîé;
ðàçãàð)
. But this — this is a different kind of crime (
íî
ýòî —
ýòî
ñîâåðøåííî
äðóãîé
òèï
ïðåñòóïëåíèÿ)
. I have the little idea, my friend (
åñòü
ó
ìåíÿ
òàêàÿ
èäåéêà/
ìûñëèøêà)
, that this is a crime very carefully planned (
÷òî
ýòî
ïðåñòóïëåíèå
î÷åíü
òùàòåëüíî
ñïëàíèðîâàíî)
and staged (
è
îðãàíèçîâàíî;
to stage — ñòàâèòü
/ïüåñó
, îïåðó
/; îðãàíèçîâûâàòü
, îñóùåñòâëÿòü
). It is a far-sighted
(ýòî
äàëüíîâèäíîå
= õîðîøî
ïðîäóìàííîå
; far-sighted —
äàëüíîçîðêèé;
äàëüíîâèäíûé,
ïðîçîðëèâûé)
, long-headed crime (
è
õèòðîå
ïðåñòóïëåíèå;
long-headed — äëèííîãîëîâûé
; ïðîíèöàòåëüíûé
, õèòðûé
).
it
is
not
— how
shall
I
express
it
(ýòî íå — êàê áû ýòî ñêàçàòü;
to
express — âûðàæàòü; âûñêàçûâàòüñÿ, âûðàæàòü
ñâîè ìûñëè)? —
a
Latin
crime
(íå ëàòèíñêîå ïðåñòóïëåíèå = íå â äóõå þæàí;
Latin — ëàòèíñêèé ÿçûê; ëàòèíîàìåðèêàíåö
èëè æèòåëü þæíîé ÷àñòè Åâðîïû)
. It
is
a
crime
that
shows
traces
of
a
cool
(ýòî ïðåñòóïëåíèå, â êîòîðîì âèäíû ñëåäû õëàäíîêðîâíîãî;
to
show — ïîêàçûâàòü;
trace — ñëåä, îòïå÷àòîê /íîãè, ëàïû è ò.ï./; ñëåäû,
ïðèçíàêè /÷åãî-ëèáî/; cool
— ïðîõëàäíûé, ñâåæèé; ñïîêîéíûé, íåâîçìóòèìûé, õëàäíîêðîâíûé
),
resourceful
(íàõîä÷èâîãî/èçîáðåòàòåëüíîãî;
resource — ìàòåðèàëüíûå çàïàñû, ðåñóðñû; íàõîä÷èâîñòü,
èçîáðåòàòåëüíîñòü)
, deliberate
brain
(ðàñ÷åòëèâîãî óìà;
deliberate — ïðåäíàìåðåííûé, ïðåäóìûøëåííûé;
îáäóìàííûé, âçâåøåííûé; brain
— ãîëîâíîé ìîçã; ðàññóäîê, èíòåëëåêò, óì
) —
I
think
an
Anglo-
Saxon
brain
(ÿ äóìàþ, àíãëîñàêñîíñêîãî óìà)
— ”
He
picked
up
the
last
two
passports
(îí âçÿë â ðóêè äâà ïîñëåäíèõ ïàñïîðòà;
to
pick
up — ïîäíèìàòü, ïîäáèðàòü
).
“
Let
us
now
(òåïåðü äàâàéòå; let
— ïóñêàòü; let
us
— äàâàéòå)
,” he
said
, “see
Miss
Mary
Debenham
(âñòðåòèìñÿ ñ ìèññ Äåáåíõýì)
.”
psychology [
saI'
kO
lqdZI]
assuredly [
q'
SV(
q)
rIdlI]
quarrel ['
kwO
rql]
far
-sighted
["fQ
:'saItId
] longheaded
["l
ON
'hedId
]
resourceful [
rI'
zO:
sf(
q)
l,
rI'
sO:
s-]
deliberate [
dI'
lIb(
q)
rIt]
Anglo
-Saxon
["xNglqV
'sxks
(q
)n
]
“And what about the psychology? Do not Italians stab?”
“Assuredly,” said Poirot. “Especially in the heat of a quarrel. But this
— this is a different kind of crime. I have the little idea, my friend, that this is a crime very carefully planned and staged. It is a far-sighted, long-headed crime.
it is not — how shall I express it? — a Latin crime. It is a crime
that shows traces of a cool, resourceful, deliberate brain — I think an Anglo-Saxon brain — ”
He picked up the last two passports.
“Let us now,” he said, “see Miss Mary Debenham.”
11
THE EVIDENCE OF MISS DEBENHAM
(
ïîêàçàíèÿ
ìèññ
Äåáåíõýì
)
When Mary Debenham entered the dining-car (
êîãäà
Ìýðè
Äåáåíõýì
âîøëà
â
âàãîí-
ðåñòîðàí)
she confirmed Poirot’s previous estimate of her (
Ïóàðî
óáåäèëñÿ,
÷òî
îí
íå
îøèáñÿ
â
ñâîåé
ïåðâîíà÷àëüíîé
îöåíêå /
îòíîñèòåëüíî
íåå/: «
îíà
ïîäòâåðäèëà
ïðåäâàðèòåëüíóþ
îöåíêó
Ïóàðî»;
previous — ïðåäûäóùèé
, ïðåäøåñòâóþùèé
). She was very neatly dressed
(îíà
áûëà
î÷åíü
îïðÿòíî
/àêêóðàòíî
îäåòà
) in a little black suit
(â
/ìàëåíüêèé
= ïî
ôèãóðå
/ ÷åðíûé
êîñòþì
) with a French grey shirt
(è
ñåðóþ
/ôðàíöóçñêóþ
/ áëóçêó
), and the smooth waves of her dark head
(è
åå
ãëàäêèå
òåìíûå
çàâèòûå
âîëîñû
: «è
ãëàäêèå
âîëíû
åå
òåìíûõ
âîëîñ
»; unruffled —
ãëàäêèé /
î
ïîâåðõíîñòè
ìîðÿ
è
ò.
ï./; wave —
âîëíà,
âàë;
âîëíèñòîñòü,
çàâèâêà; to wave —
ðàçâåâàòüñÿ /
î
ôëàãå/;
âèòüñÿ,
çàâèâàòü /
î
âîëîñàõ/; waved —
âîëíèñòûé /
î
ëèíèè,
âîëîñàõ/; head —
ãîëîâà)
were neat and unruffled (
áûëè
àêêóðàòíî
è
ãëàäêî /
óëîæåíû/;
to ruffle — ãîôðèðîâàòü
, ïëîèòü
, ñîáèðàòü
â
ñêëàäêè
). Her
manner
was
as
calm
(åå ïîâåäåíèå áûëî òàêèì æå ñïîêîéíûì;
manner — ìåòîä, ñïîñîá; ìàíåðà, ïîâåäåíèå;
calm — áåçâåòðåííûé, òèõèé /î ïîãîäå è ò.ï./;
ñïîêîéíûé, ðîâíûé)
and
unruffled
as
her
hair
(è íåâîçìóòèìûì, êàê è åå ïðè÷åñêà;
unruffled — ãëàäêèé /î ïîâåðõíîñòè ìîðÿ è ò.ï./;
ñïîêîéíûé, òèõèé; hair
— âîëîñû)
.
She
sat
down
opposite
Poirot
and
M.
Bouc
(îíà ñåëà íàïðîòèâ Ïóàðî è ìñüå Áóêà)
and
looked
at
them
inquiringly
(è âîïðîñèòåëüíî âçãëÿíóëà íà íèõ;
to
inquire — ñïðàøèâàòü, óçíàâàòü
).
previous
['pri:vIqs] suit
[s(j)u:t] unruffled
[An'rAf(q)ld] calm
[kQ:m] inquiringly
[In'kwaI(q)rINlI]
When Mary Debenham entered the dining-car she confirmed Poirot’s previous
estimate of her. She was very neatly dressed in a little black suit with a French grey shirt, and the smooth waves of her dark head were neat and unruffled. Her manner was as calm and unruffled as her hair.
She sat down opposite Poirot and M. Bouc and looked at them inquiringly.
“Your name is Mary Hermione Debenham
(âàñ
çîâóò
Ìýðè
Õåðìèîíà
Äåáåíõýì
; name —
èìÿ;
ôàìèëèÿ)
and you are twenty-six years of age (
è
âàì
äâàäöàòü
øåñòü
ëåò)
?” began Poirot (
íà÷àë
Ïóàðî)
.
“Yes.”
“English
(àíãëè÷àíêà
)?”
“Yes.”
“Will you be so kind, Mademoiselle
(áóäüòå
òàê
ëþáåçíû
, ìàäåìóàçåëü
), as to write down your permanent address
(çàïèøèòå
âàø
ïîñòîÿííûé
àäðåñ
) on this piece of paper
(íà
ýòîì
ëèñòå
áóìàãè
; piece —
êóñîê,
÷àñòü;
îòäåëüíûé
ïðåäìåò,
øòóêà)
?”
She
complied
(îíà íàïèñàëà; to
comply
— èñïîëíÿòü; ïîä÷èíÿòüñÿ
).
Her
writing
was
clear
and
legible
(åå ïî÷åðê áûë ÷åòêèì è ðàçáîð÷èâûì;
writing — ïèñàíèå /îñîá. îò ðóêè/; ïî÷åðê;
clear — ÿñíûé, ñâåòëûé; îò÷åòëèâûé
).
permanent
['pq:mqnqnt] address
[q'dres] clear
[klIq] legible
['ledZqb(q)l]
“Your name is Mary Hermione Debenham and you are twenty-six years of age?”
began Poirot.
“Yes.”
“English?”
“Yes.”
“Will you be so kind, Mademoiselle, as to write down your permanent address
on this piece of paper?”
She complied. Her writing was clear and legible.
“And now, Mademoiselle, what have you to tell us of the affair last night
(à
òåïåðü
, ìàäåìóàçåëü
, ÷òî
âû
ìîæåòå
ðàññêàçàòü
íàì
î
ñîáûòèÿõ
ïðîøëîé
íî÷è
)?”
“I am afraid I have nothing to tell you
(áîþñü
, ìíå
âàì
íå÷åãî
ðàññêàçûâàòü
). I went to bed
(ÿ
ëåãëà
/â
ïîñòåëü
/) and slept
(è
çàñíóëà
).”
“Does it distress you very much, Mademoiselle
(âàñ
ñèëüíî
òðåâîæèò
, ìàäåìóàçåëü
; to distress —
ïðè÷èíÿòü
ãîðå;
ìó÷èòü,
òðåâîæèò)
, that a crime has been committed on this train (
òî,
÷òî
â /
ýòîì/
ïîåçäå
ïðîèçîøëî
ïðåñòóïëåíèå;
to commit — ñîâåðøàòü
/÷àùå
äóðíîå
/)
?”
The question was clearly unexpected
(âîïðîñ
áûë
ÿâíî
íåîæèäàííûì
; clearly —
îò÷åòëèâî;
ÿñíî; to expect —
îæèäàòü,
æäàòü)
. Her grey eyes widened a little (
åå
ñåðûå
ãëàçà
ñëåãêà
ðàñøèðèëèñü)
.
“I don’t quite understand you
(ÿ
âàñ
íå
âïîëíå
ïîíèìàþ
)?”
afraid
[q'freId] distress
[dIs'tres] committed
[kq'mItId] unexpected
["AnIk'spektId] widen
[waIdn]
“And now, Mademoiselle, what have you to tell us of the affair last night?”
“I am afraid I have nothing to tell you. I went to bed and slept.”
“Does it distress you very much, Mademoiselle, that a crime has been committed
on this train?”
The question was clearly unexpected. Her grey eyes widened a little.
“I don’t quite understand you?”
“It was a perfectly simple question
(ýòî
áûë
ñîâåðøåííî
ïðîñòîé
âîïðîñ
) that I asked you, Mademoiselle
(êîòîðûé
ÿ
âàì
çàäàë
, ìàäåìóàçåëü
). I will repeat it
(ÿ
ïîâòîðþ
åãî
). Are you very much distressed
(âû
î÷åíü
ñèëüíî
ðàññòðîåíû
èç
-çà
òîãî
) that a crime should have been committed on this train
(÷òî
ïðåñòóïëåíèå
áûëî
ñîâåðøåííî
â
ýòîì
ïîåçäå
)?”
“I
have
not
really
thought
about
it
from
that
point
of
view
(ÿ, íà ñàìîì äåëå, íå äóìàëà îá ýòîì /ïðåñòóïëåíèè/
ñ ýòîé òî÷êè çðåíèÿ). No, I cannot say that I am at all distressed
(íåò
, íå
ìîãó
ñêàçàòü
, ÷òî
ÿ
õîòü
êàê
-òî
îáåñïîêîåíà
).”
“
A
crime
(ïðåñòóïëåíèå) —
it
is
all
in
the
day’
s
work
to
you,
eh
(äëÿ âàñ â ïîðÿäêå âåùåé, äà;
all
in
the
day'
s
work — âñå íîðìàëüíî, ýòî âñå â ïîðÿäêå âåùåé;
work — ðàáîòà, òðóä
)?”
“
It
is
naturally
an
unpleasant
thing
to
have
happen
(åñòåñòâåííî, ñëó÷èëîñü íåïðèÿòíîå ñîáûòèå)
,” said
Mary
Debenham
quietly
(ñïîêîéíî ñêàçàëà Ìýðè Äåáåíõýì)
.
perfectly
['pq:fIktlI] repeat
[rI'pi:t] unpleasant
[An'plez(q)nt]
“It was a perfectly simple question that I asked you, Mademoiselle. I will
repeat it. Are you very much distressed that a crime should have been committed on this train?”
“I have not really thought about it from that point of view. No, I cannot
say that I am at all distressed.”
“A crime — it is all in the day’s work to you, eh?”
“It is naturally an unpleasant thing to have happen,” said Mary Debenham
quietly.
“You are very Anglo-Saxon, Mademoiselle (
âû
òèïè÷íàÿ/
÷èñòîêðîâíàÿ
àíãëè÷àíêà,
ìàäåìóàçåëü;
Anglo-Saxon — àíãëîñàêñ
; ÷èñòîêðîâíûé
àíãëè÷àíèí
).
Vous
n’é
prouvez
pas
d’é
motion
(ôð.
âû íå îäîáðÿåòå ïðîÿâëåíèÿ ÷óâñòâ)
.”
She smiled a little (
îíà
ñëåãêà
óëûáíóëàñü)
. “I am afraid I cannot have hysterics (
áîþñü,
ÿ
íå
ñìîãó
óñòðîèòü
èñòåðèêó)
to prove my sensibility (
÷òîáû
äîêàçàòü
íà÷èëèå
ó
ìåíÿ
÷óâñòâ/
ýìîöèé)
. After
all,
people
die
every
day
(â êîíöå êîíöîâ, ëþäè óìèðàþò êàæäûé äåíü)
.”
“
They
die,
yes
(äà, îíè óìèðàþò).
But
murder
is
a
little
more
rare
(íî óáèéñòâî íåìíîãî áîëåå ðåäêîå /ñîáûòèå/)
.”
“
Oh,
certainly
(î, êîíå÷íî).”
“
You
were
not
acquainted
(âû íå áûëè çíàêîìû; to
acquaint
— çíàêîìèòü; ïîçíàêîìèòü, ïðåäñòàâèòü
)
with
the
dead
man
(ñ ïîêîéíûì; dead
— ìåðòâûé, óìåðøèé)
?”
“
I
saw
him
for
the
first
time
(ÿ óâèäåëà åãî âïåðâûå: «â ïåðâûé ðàç»)
when
lunching
here
yesterday
(â÷åðà çà îáåäîì;
lunch — ëåí÷, âòîðîé çàâòðàê;
to
lunch — çàâòðàêàòü èëè îáåäàòü â ñåðåäèíå
äíÿ).”
hysterics
[hI'sterIks] sensibility
["sensq'bIlItI] acquaint
[q'kweInt]
“You are very Anglo-Saxon, Mademoiselle.
Vous n’éprouvez pas d’émotion.”
She smiled a little. “I am afraid I cannot have hysterics to prove my sensibility.
After all, people die every day.”
“They die, yes. But murder is a little more rare.”
“Oh! certainly.”
“You were not acquainted with the dead man?”
“I saw him for the first time when lunching here yesterday.”
“
And how
did
he strike
you
(è êàêîå îí ïðîèçâåë íà âàñ âïå÷àòëåíèå;
to strike
(struck; stricken) — óäàðÿòü, áèòü; ïîðàæàòü, ïðîèçâîäèòü âïå÷àòëåíèå, ïðèâëåêàòü âíèìàíè
å)?”
“
I
hardly
noticed
him
(åäâà ëè ÿ îáðàòèëà íà íåãî âíèìàíèå)
.”
“He did not impress you as an evil personality
(îí
íå
ïðîèçâåë
íà
âàñ
âïå÷àòëåíèå
çëîãî
÷åëîâåêà
)?”
She shrugged her shoulders slightly (
îíà
ñëåãêà
ïîæàëà
ïëå÷àìè)
. “
Really,
I
cannot
say
I
thought
about
it
(ïðàâî æå, íå ìîãó ñêàçàòü, ÷òî ÿ äóìàëà îá ýòîì;
really — äåéñòâèòåëüíî, â äåéñòâèòåëüíîñòè;
/êàê ââîäíîå ñëîâî/ ïðàâî, ïî ïðàâäå ãîâîðÿ)
.”
Poirot
looked
at
her
keenly
(Ïóàðî õèòðî âçãëÿíóë íà íåå;
keen — îñòðûé, îñòðî îòòî÷åííûé; õèòðûé, ïðîíèöàòåëüíûé
).
personality
["pq:sq'nxlItI] shoulder [
'SqVldq]
slightly ['slaItlI]
“And how did he strike you?”
“I hardly noticed him.”
“He did not impress you as an evil personality?”
She shrugged her shoulders slightly. “Really, I cannot say I thought about
it.”
Poirot looked at her keenly.
“
You
are,
I
think,
a
little
bit
contemptuous
(âû, ÿ äóìàþ, íåìíîãî ïðåçèðàåòå;
contemptuous — ïðåçðèòåëüíûé, âûñîêîìåðíûé
)
of
the
way
I
prosecute
my
inquiries
(òî, êàê ÿ ïðîâîæó ðàññëåäîâàíèå;
way — ïóòü, äîðîãà; îáðàç äåéñòâèÿ, ìåòîä,
ñïîñîá; to
prosecute
— âåñòè, ïðîâîäèòü; þð. ïðåñëåäîâàòü â ñóäåáíîì èëè óãîëîâíîì ïîðÿäêå, âåñòè äåëî, ïðîöåññ;
inquiry — íàâåäåíèå ñïðàâîê; þð. ðàññëåäîâàíèå
/äåëà/),”
he
said
with
a
twinkle
(ñêàçàë îí ñ /îçîðíûì/ îãîíüêîì â ãëàçàõ)
. “Not
so
, you
think
, would
an
English
inquiry
be
conducted
(âû äóìàåòå, ÷òî íå òàê ïðîâîäèëîñü áû àíãëèéñêîå
ðàññëåäîâàíèå; to
conduct
— âåñòè, ñîïðîâîæäàòü /ïî ìóçåþ è ò.ï./; âåñòè, ïðîâîäèòü
).
There
everything
would
be
cut
and
dried
(âñå áûëî áû ïî øàáëîíó;
cut
and
dried — çàðàíåå ïîäãîòîâëåííûé; øàáëîííûé,
ñòàíäàðòíûé: «íàðåçàíûé è âûñóøåííûé»)
— it
would
be
all
kept
to
the
facts
(âñå áû ïðèäåðæèâàëîñü ôàêòîâ;
to
keep (
kept) — äåðæàòü, èìåòü; /
to/ ïðèäåðæèâàòüñÿ /òåìû, èíñòðóêöèè è ò.ï./
) — a
well
-ordered
business
(óïîðÿäî÷åííîå/õîðîøî îðãàíèçîâàííîå äåëî;
to
order — ïðèêàçûâàòü; ïðèâîäèòü â ïîðÿäîê
).
But
I,
Mademoiselle,
have
my
little
originalities
(íî ó ìåíÿ, ìàäåìóàçåëü, åñòü ñâîè ïðè÷óäû;
originality — ïîäëèííîñòü; ñàìîáûòíîñòü, îðèãèíàëüíîñòü;
÷óäà÷åñòâî).
I
look
first
at
my
witness
(ñïåðâà ÿ ñìîòðþ íà /ìîåãî/ ñâèäåòåëÿ)
, I
sum
up
his
or
her
character
(ñîñòàâëÿþ ìíåíèå î åãî èëè åå õàðàêòåðå;
to
sum
up — ðåçþìèðîâàòü, ñóììèðîâàòü; îöåíèòü
),
and
I
frame
my
questions
accordingly
(è â ñîîòâåòñòâèè ñ ýòèì ÿ çàäàþ ñâîè âîïðîñû;
to
frame — ñîçäàâàòü; âûðàæàòü â ñëîâàõ, ôîðìóëèðîâàòü;
accordingly — ñîîòâåòñòâåííî
).
just
a
little
minute
ago
I
am
asking
questions
of
a
gentleman
(âñåãî ëèøü ìèíóòó íàçàä ÿ çàäàþ âîïðîñû ãîñïîäèíó)
who
wants
to
tell
me
all
his
ideas
on
every
subject
(êîòîðûé æåëàåò ðàññêàçàòü ìíå âñå ñâîè ìûñëè
ïî êàæäîìó ïðåäìåòó /ðàçãîâîðà/).
contemptuous
[kqn'temptSVqs] prosecute
['prO
sIkju:t] well-ordered
["wel'O:dqd] originality
[q"rIdZI'nxlItI] accordingly
[q'kO:dINlI]
“You are, I think, a little bit contemptuous of the way I prosecute my inquiries,”
he said with a twinkle. “Not so, you think, would an English inquiry be conducted. There everything would be cut and dried — it would be all kept to the facts — a well-ordered business. But I, Mademoiselle, have my little
originalities. I look first at my witness, I sum up his or her character, and I frame my questions accordingly.
just a little minute ago I am asking questions of a gentleman who wants
to tell me all his ideas on every subject.
Well,
him
I
keep
strictly
to
the
point
(÷òî æ, åãî ÿ /çàñòàâëÿþ/ ãîâîðèòü ñòðîãî ïî ñóùåñòâó;
to keep to the point — áëèæå ê äåëó, /ãîâîðèòü/ ïî ñóùåñòâó
).
I
want
him
to
answer
yes
or
no
(ÿ õî÷ó, ÷òî áû îí îòâå÷àë «äà» èëè «íåò»)
. This
or
that
(ëèáî òî, ëèáî äðóãîå)
. And
then
you
come
(è çàòåì ïðèõîäèòå âû)
. I
see
at
once
that
you
will
be
orderly
(ÿ ñðàçó æå âèæó, ÷òî âû áóäåòå ñïîêîéíû;
orderly — àêêóðàòíûé, îïðÿòíûé; ñïîêîéíûé,
ïîñëóøíûé)
and
methodical
(è ìåòîäè÷íû; methodical
— ñèñòåìàòè÷åñêèé; ìåòîäè÷íûé
).
You
will
confine
yourself
(âû áóäåòå ïðèäåðæèâàòüñÿ;
to
confine — îãðàíè÷èâàòü
)
to
the
matter
in
hand
(òîëüêî /òîãî, ÷òî îòíîñèòñÿ ê/ ýòîìó äåëó;
in
hand — â ðóêàõ, â íàëè÷èè; â ðàáîòå, â ñòàäèè
ðàññìîòðåíèÿ)
. Your
answers
will
be
brief
(âàøè îòâåòû áóäóò êðàòêèìè;
brief — êîðîòêèé, íåäîëãèé
)
and
to
the
point
(è ïî äåëó; point
— òî÷êà; ãëàâíîå, ñóòü, ñìûñë
).
And
because,
Mademoiselle,
human
nature
is
perverse
(è îòòîãî, ìàäåìóàçåëü, ÷òî ÷åëîâå÷åñêàÿ ïðèðîäà êàïðèçíà;
perverse — ïîðî÷íûé, èçâðàùåííûé; íåñãîâîð÷èâûé,
ñâîåíðàâíûé),
I
ask
of
you
quite
different
questions
(ÿ çàäàþ âàì ñîâåðøåííî äðóãèå âîïðîñû)
. I
ask
what
you
feel
, what
you
think
(ÿ ñïðàøèâàþ î òîì, ÷òî âû ÷óâñòâóåòå, ÷òî âû äóìàåòå)
. It
does
not
please
you
, this
method
(
âàì
íå
íðàâèòñÿ
ýòîò
ìåòîä)
?”
strictly ['strIktlI]
methodical [mI'T
OdIk(q)l]
perverse [pq'vq:s]
Well, him I keep strictly to the point. I want him to answer yes or no. This
or that. And then you come. I see at once that you will be orderly and methodical. You will confine yourself to the matter in hand. Your answers will be brief and to the point. And because, Mademoiselle, human nature is perverse,
I ask of you quite different questions. I ask what you feel, what you think. It does not please you, this method?”
“If
you
will
forgive
my
saying
so
(åñëè âû ìåíÿ èçâèíèòå, çà òî, ÷òî ÿ òàê ãîâîðþ)
, it
seems
somewhat
of
a
waste
of
time
(ýòîò /ìåòîä/ êàæåòñÿ ìíå ïóñòîé òðàòîé âðåìåíè;
waste — ðàñòðà÷èâàíèå, íåíóæíàÿ èëè
èçëèøíÿÿ òðàòà, ðàñòî÷èòåëüñòâî)
. Whether or not I liked Mr. Ratchett’s face
(òî
, íðàâèëîñü
ëè
ìíå
ëèöî
ìèñòåðà
Ðýò÷åòòà
èëè
íåò
) does not seem likely to be helpful in finding out
(âðÿä
ëè
ïîìîæåò
íàéòè
; to find out —
ðàçóçíàòü,
âûÿñíèòü;
ðàçîáëà÷èòü,
óëè÷èòü /
êîãî-
ëèáî/
) who killed him
(åãî
óáèéöó
).”
“Do you know who the man Ratchett really was, Mademoiselle
(çíàåòå
ëè
âû
, êåì
ýòîò
÷åëîâåê
, Ðýò÷åòò
, áûë
íà
ñàìîì
äåëå
, ìàäåìóàçåëü
)?”
She nodded
(îíà
êèâíóëà
). “Mrs. Hubbard has been telling everyone
(ìèññèñ
Õàááàðä
óæå
âñåì
ðàññêàçàëà
).”
“And what do you think of the Armstrong affair
(à
÷òî
âû
äóìàåòå
î
äåëå
Àðìñòðîíãîâ
)?”
“It was quite abominable
(ýòî
áûëî
ñîâåðøåííî
óæàñíî
),” said the girl crisply
(ñêàçàëà
äåâóøêà
òâåðäî
; crisp —
õðóñòÿùèé,
ðàññûï÷àòûé;
ðåøèòåëüíûé /
î
ìàíåðå
è
ò.
ï./; crisply —
ðåøèòåëüíî,
òâåðäî /
ãîâîðèòü/
).
Poirot looked at her thoughtfully
(Ïóàðî
çàäóì÷èâî
ïîñìîòðåë
íà
íåå
).
abominable
[q'bO
mInqb(q)l] crisply
['krIsplI] thoughtfully
['TO:tf(q)lI]
“If you will forgive my saying so, it seems somewhat of a waste of time.
Whether or not I liked Mr. Ratchett’s face does not seem likely to be helpful in finding out who killed him.”
“Do you know who the man Ratchett really was, Mademoiselle?”
She nodded. “Mrs. Hubbard has been telling everyone.”
“And what do you think of the Armstrong affair?”
“It was quite abominable,” said the girl crisply.
Poirot looked at her thoughtfully.
“You are travelling from Baghdad, I believe, Miss Debenham
(âû
,
ïîëàãàþ,
åäåòå
èç
Áàãäàäà,
ìèññ
Äåáåíõýì)
?”
“Yes.”
“To London
(â
Ëîíäîí
)?”
“
Yes.”
“What have you been doing in Baghdad
(÷åì
âû
çàíèìàëèñü
â
Áàãäàäå
)?”
“
I
have
been
acting
as
governess
to
two
children
(ÿ áûëà ãóâåðíàíòêîé ó äâóõ äåòåé;
to
act — äåéñòâîâàòü, ïîñòóïàòü, /
to/ ðàáîòàòü, ñëóæèòü, äåéñòâîâàòü â êà÷åñòâå
).”
“
Are
you
returning
to
your
post
after
your
holiday
(âû âåðíåòåñü íà ñâîþ äîëæíîñòü ïîñëå âàøåãî îòïóñêà;
holiday — ïðàçäíèê, äåíü îòäûõà; îòïóñê, êàíèêóëû
)?”
“I am not sure
(ÿ
íå
óâåðåíà
).”
“Why is that
(ïî÷åìó
ýòî
)?”
“Baghdad is rather out of things
(/ìíå
/ Áàãäàä
, ïîæàëóé
, íåèíòåðåñåí
; out of things —
îòæèâøèé,
íåñîâðåìåííûé,
íåèíòåðåñíûé)
. I think I should prefer a post in London (
ÿ
äóìàþ,
ÿ
áû
ïðåäïî÷ëà
ìåñòî /
ãóâåðíàíòêè/
â
Ëîíäîíå)
if I can hear of a suitable one (
åñëè
ÿ
ñìîãó
óçíàòü
î
ïîäõîäÿùåé
äîëæíîñòè)
.”
governess
['gAvqnIs] sure
[SVq] suitable
['s(j)u:tqb(q)l]
“You are travelling from Baghdad, I believe, Miss Debenham?”
“Yes.”
“To London?”
“Yes.”
“What have you been doing in Baghdad?”
“I have been acting as governess to two children.”
“Are you returning to your post after your holiday?”
“I am not sure.”
“Why is that?”
“Baghdad is rather out of things. I think I should prefer a post in London
if I can hear of a suitable one.”
“I see
(ïîíèìàþ
). I thought, perhaps
(ÿ
ïîäóìàë
, ÷òî
âîçìîæíî
), you might be going to be married
(âû
, ìîæåò
áûòü
, ñîáåðåòåñü
âûéòè
çàìóæ
).
”
Miss Debenham did not reply
(ìèññ
Äåáåíõýì
íå
îòâåòèëà
). She raised her eyes and looked Poirot full in the face
(îíà
ïîäíÿëà
ãëàçà
è
âçãëÿíóëà
ïðÿìî
Ïóàðî
â
ëèöî
/â
ãëàçà
). The glance said plainly
(âçãëÿä
îò÷åòëèâî
ãîâîðèë
): “You are impertinent
(íå
âàøåãî
óìà
äåëî
: «âû
äåðçêè
»; impertinent —
äåðçêèé,
íàãëûé,
íàõàëüíûé,
ãðóáûé)
.”
“What is your opinion of the lady who shares your compartment
(÷òî
âû
äóìàåòå
: «êàêîâî
âàøå
ìíåíèå
» î
òîé
äàìå
, ÷òî
åäåò
ñ
âàìè
â
îäíîì
êóïå
) — Miss Ohlsson
(ìèññ
Îëüñîí
)?”
“
She
seems
a
pleasant
(îíà /ìíå/ êàæåòñÿ ïðèÿòíîé)
, simple
creature
(áåñõèòðîñòíîé æåíùèíîé;
simple — ïðîñòîé, íåòðóäíûé; ïðîñòîäóøíûé,
áåñõèòðîñòíûé; ïðîñòîâàòûé, íåäàëåêèé; creature
— ñîçäàíèå, òâîðåíèå; ÷åëîâåê, ñîçäàíèå /îáûêí. ñ ýïèòåòîì/
).”
married ['mxrId]
glance [glQ:ns]
impertinent [Im'pq:tInqnt]
creature
['kri:tSq]
“I see. I thought, perhaps, you might be going to be married.”
Miss Debenham did not reply. She raised her eyes and looked Poirot full in
the face. The glance said plainly: “You are impertinent.”
“What is your opinion of the lady who shares your compartment — Miss Ohlsson?”
“She seems a pleasant, simple creature.”
“What colour is her dressing-gown
(êàêîãî
öâåòà
åå
õàëàò
)?”
Mary
Debenham
stared
(Ìýðè Äåáåíõýì óñòàâèëàñü /íà íåãî/ â èçóìëåíèè)
. “A
kind
of
brownish
colour
(÷òî-òî êîðè÷íåâàòîå: «êàêîãî-òî êîðè÷íåâàòîãî
öâåòà») — natural
wool
(èç íàòóðàëüíîé øåðñòè;
natural — åñòåñòâåííûé, ïðèðîäíûé; íàñòîÿùèé,
íàòóðàëüíûé).”
“
Ah!
I
may
mention
without
indiscretion,
I
hope
(íàäåþñü, ÿ ìîãó óïîìÿíóòü /íå ïîêàçàâøèñü/ íåâåæëèâûì: «áåç íåñêðîìíîñòè»;
indiscretion — íåñêðîìíîñòü; íåó÷òèâîñòü
),
that
I
noticed
the
colour
of
your
dressing-
gown
(÷òî ÿ îáðàòèë âíèìàíèå íà öâåò âàøåãî õàëàòà)
on
the
way
from
Aleppo
to
Stamboul
(íà ïóòè èç Àëåïïî â Ñòàìáóë)
. A
pale
mauve
, I
believe
(áëåäíûé ðîçîâàòî-ëèëîâûé, ÿ ïîëàãàþ)
.”
“Yes, that is right
(äà
, âåðíî
).”
brownish ['braVnIS]
indiscretion ["IndI'skreS(q)n]
mauve [mqVv]
“What colour is her dressing-gown?”
Mary Debenham stared. “A kind of brownish colour — natural wool.”
“Ah! I may mention without indiscretion, I hope, that I noticed the colour
of your dressing-gown on the way from Aleppo to Stamboul. A pale mauve, I believe.”
“Yes, that is right.”
“Have you any other dressing-gown, Mademoiselle
(ó
âàñ
åñòü
åùå
äðóãîé
õàëàò
)? A scarlet dressing-gown, for example
(àëûé
õàëàò
, íàïðèìåð
)?”
“No, that is not mine
(íåò
, ýòî
íå
ìîé
/õàëàò
/).”
Poirot leant forward (
Ïóàðî
ïîäàëñÿ
âïåðåä;
to lean (leaned, leant) —
íàêëîíÿòüñÿ,
íàãèáàòüñÿ). He
was
like
a
cat
(îí áûë ïîõîæ íà êîòà)
pouncing
on
a
mouse
(áðîñàþùåãîñÿ íà ìûøü;
to
pounce — íàëåòàòü, íàáðàñûâàòüñÿ, àòàêîâàòü
).
“Whose, then
(÷åé
, òîãäà
)?’
The girl drew back a little, startled (
äåâóøêà
îòïðÿíóëà
èñïóãàííî;
to draw (drew, drawn) back — îòîäâèãàòü
, îòâîäèòü
íàçàä
; to startle — èñïóãàòü
, íàïóãàòü
, âñòðåâîæèòü
).
“I
don
’t
know
(ÿ íå çíàþ)
. What
do
you
mean
(÷òî âû õîòèòå ñêàçàòü)
?”
“
You
do
not
say
(âû íå ñêàçàëè), ‘
No,
I
have
no
such
thing
(íåò, ó ìåíÿ íåò òàêîãî /õàëàòà/)
.’ You
say
(âû ãîâîðèòå)
, ‘That
is
not
mine
(ýòîò /õàëàò/ íå ìîé)
.’ Meaning
(èìåÿ â âèäó)
that
such
a
thing
(÷òî òàêîé /õàëàò/;
thing — âåùü, ïðåäìåò; íîñèëüíûå âåùè, îäåæäà,
ïðåäìåòû îäåæäû)
does
belong
to
someone
else
(äåéñòâèòåëüíî ïðèíàäëåæèò êîìó-òî åùå)
.”
She nodded
(îíà
êèâíóëà
).
scarlet
['skQ:lIt] forward
['fO:wqd] pounce
[paVns]
“Have you any other dressing-gown, Mademoiselle? A scarlet dressing-gown,
for example?”
“No, that is not mine.”
Poirot leant forward. He was like a cat pouncing on a mouse.
“Whose, then?’
The girl drew back a little, startled. “I don’t know. What do you mean?”
“You do not say, ‘No, I have no such thing.’ You say, ‘That is not
mine.’ Meaning that such a thing does belong to someone else.”
She nodded.
“Somebody else on this train
(êîìó
-òî
åùå
â
ýòîì
ïîåçäå
)?”
‘Yes.”
“Whose is it
(÷åé
æå
îí
)?”
“
I
told
you
just
now
(ÿ òîëüêî ÷òî ñêàçàë âàì)
: I
don
’t
know
(ÿ íå çíàþ)
. I
woke
up
this
morning
about
five
o
’clock
(ñåãîäíÿ óòðîì ÿ ïðîñíóëàñü îêîëî ïÿòè ÷àñîâ)
with
the
feeling
that
the
train
had
been
standing
still
for
a
long
time
(ñ îùóùåíèåì, ÷òî ïîåçä ñòîèò óæå äîëãîå âðåìÿ;
to
stand
still — îñòàíàâëèâàòüñÿ, ïðåêðàùàòü äâèæåíèå
).
I
opened
the
door
and
looked
out
into
the
corridor
(ÿ îòêðûëà äâåðü è âûãëÿíóëà â êîðèäîð)
, thinking
we
might
be
at
a
station
(äóìàÿ, ÷òî ìû, ìîæåò áûòü, ñòîèì íà âîêçàëå/ñòàíöèè)
. I
saw
someone
in
a
scarlet
kimono
(ÿ óâèäåëà êîãî-òî â àëîì êèìîíî)
some
way
down
the
corridor
(íà íåêîòîðîì ðàññòîÿíèè, òàì ïî êîðèäîðó)
.”
“
And
you
don’
t
know
who
it
was
(è âû íå çíàåòå, êòî ýòî áûë)
? Was
she
fair
(áûëà ëè îíà ñâåòëîâîëîñîé;
fair — áåëîêóðûé, ñâåòëûé
),
or
dark
(èëè òåìíî/âîëîñîé/),
or
grey-
haired
(èëè ñåäîé; grey
— ñåðûé; ñåäîé)
?”
“
I
can’
t
say
(íå ìîãó ñêàçàòü).
She
had
on
a
shingle
cap
(íà íåé áûë /íî÷íîé/ ÷åï÷èê;
to
have
on — áûòü îäåòûì /âî ÷òî-ëèáî/;
shingle — êðîâåëüíàÿ äðàíêà; êîðîòêàÿ äàìñêàÿ
ñòðèæêà; cap — øàïêà, ãîëîâíîé óáîð;
êîëïàê, ÷åïåö)
and
I
only
saw
the
back
of
her
head
(è ÿ òîëüêî è óâèäåëà åå çàòûëîê)
.”
“
And
in
build
(à òåëîñëîæåíèå)?”
“
Tallish
and
slim
(äîâîëüíî âûñîêàÿ è ñòðîéíàÿ)
, I
should
judge
(íàñêîëüêî ÿ ìîãó ñóäèòü;
to
judge — ñóäèòü, âûíîñèòü ïðèãîâîð; ñîñòàâëÿòü
ìíåíèå, îöåíèâàòü)
, but
it
’s
difficult
to
say
(íî òðóäíî ñêàçàòü)
. The
kimono
was
embroidered
with
dragons
(êèìîíî áûëî ðàñøèòî äðàêîíàìè;
to
embroider — âûøèâàòü, óêðàøàòü âûøèâêîé
).”
grey-haired
["greI'heqd] shingle
['SINg(q)l] build
[bIld] judge
[dZAdZ]
embroider [Im'brOIdq]
“Somebody else on this train?”
‘Yes.”
“Whose is it?”
“I told you just now: I don’t know. I woke up this morning about five o’clock
with the feeling that the train had been standing still for a long time. I opened the door and looked out into the corridor, thinking we might be at a station. I saw someone in a scarlet kimono some way down the corridor.”
“And you don’t know who it was? Was she fair, or dark, or grey-haired?”
“I can’t say. She had on a shingle cap and I only saw the back of her head.”
“And in build?”
“Tallish and slim, I should judge, but it’s difficult to say. The kimono
was embroidered with dragons.”
“Yes, yes, that is right — dragons (/
ýòî/
âåðíî —
äðàêîíàìè)
.” He was silent a minute (
ñ
ìèíóòó
îí
ìîë÷àë)
. He murmured to himself (
îí
ïðîáîðìîòàë
ïðî
ñåáÿ)
. “I cannot understand. I
cannot
understand
(íå ïîíèìàþ: «ÿ íå ìîãó ïîíÿòü»)
. None
of
this
makes
sense
(íè÷åãî èç ýòîãî íå èìååò ñìûñëà = âçäîð êàêîé-òî;
to
make
sense — èìåòü ñìûñë, áûòü íóæíûì;
sense — ÷óâñòâî; ðàçóì, çäðàâûé ñìûñë, çíà÷åíèå
).”
Then,
looking
up,
he
said
(çàòåì, ïîäíÿâ âçãëÿä, îí ñêàçàë)
: “I
need
not
keep
you
further
, Mademoiselle
(íå áóäó âàñ áîëüøå: «äîëüøå» çàäåðæèâàòü, ìàäåìóàçåëü)
.”
“
Oh!”
She
seemed
rather
taken
aback
(îíà, êàçàëîñü, äîâîëüíî îïåøèëà;
to
take (
took,
taken)
aback — ïîðàçèòü, îøåëîìèòü, çàñòàòü âðàñïëîõ
)
but
rose
promptly
(çàòåì áûñòðî ïîäíÿëàñü)
.
In
the
doorway,
however
(â äâåðÿõ, îäíàêî; doorway
— âõîä â ïîìåùåíèå)
, she
hesitated
a
minute
(îíà çàìåøêàëàñü íà ìèíóòó;
to
hesitate — êîëåáàòüñÿ, ñîìíåâàòüñÿ
)
and
then
came
back
(è çàòåì âåðíóëàñü).
dragon
['drxgqn] further
['fq:Dq] doorway
['dO:weI]
“Yes, yes, that is right — dragons.” He was silent a minute. He murmured
to himself. “I cannot understand. I cannot understand. None of this makes sense.”
Then, looking up, he said: “I need not keep you further, Mademoiselle.”
“Oh!” She seemed rather taken aback but rose promptly.
In the doorway, however, she hesitated a minute and then came back.
“The Swedish lady — Miss Ohlsson, is it? — seems rather worried
(ýòà
øâåäêà
— ìèññ
Îëüñîí
, òàê
— âûãëÿäèò
äîâîëüíî
îçàáî÷åííîé
; to worry —
íàäîåäàòü,
äîñàæäàòü;
áåñïîêîèòü(
ñÿ)
, âîëíîâàòü
(ñÿ
)). She
says
you
told
her
(îíà ãîâîðèò, ÷òî âû ñêàçàëè åé)
she
was
the
last
person
(÷òî îíà áûëà ïîñëåäíåé)
to
see
this
man
alive
(êòî âèäåë ýòîãî ÷åëîâåêà æèâûì)
. She
thinks
, I
believe
, that
you
suspect
her
on
that
account
(îíà äóìàåò, ìíå êàæåòñÿ, ÷òî âû èç-çà ýòîãî: «ïî
ýòîé ïðè÷èíå» åå ïîäîçðåâàåòå; account
— ñ÷åò; îñíîâàíèå, ïðè÷èíà
).
Can’
t
I
tell
her
that
she
has
made
a
mistake
(ìîãó ëè ÿ ñêàçàòü åé, ÷òî îíà çàáëóæäàåòñÿ: «äîïóñòèëà îøèáêó»)
? Really
, you
know
, she
is
the
kind
of
creature
(äåéñòâèòåëüíî, çíàåòå ëè, îíà òàêîå ñóùåñòâî;
kind — ñîðò, êëàññ, ðàçíîâèäíîñòü
)
who
wouldn’
t
hurt
a
fly
(êîòîðîå è ìóõè íå îáèäèò;
to
hurt — ïðè÷èíÿòü áîëü; ïîâðåäèòü, óøèáèòü,
óäàðèòü).”
She smiled a little as she spoke (
îíà
ñëåãêà
óëûáàëàñü,
ïîêà
ãîâîðèëà)
.
worried
['wArId] suspect
[sV'spekt] account
[q'kaVnt] creature
['kri:tSq]
“The Swedish lady — Miss Ohlsson, is it? — seems rather worried. She
says you told her she was the last person to see this man alive. She thinks, I believe, that you suspect her on that account. Can’t I tell her that she has made a mistake? Really, you know, she is the kind of creature who
wouldn’t hurt a fly.” She smiled a little as she spoke.
“What time was it that she went to fetch the aspirin
(â
êîòîðîì
÷àñó
îíà
ïîøëà
çà
àñïèðèíîì
: «âçÿòü
àñïèðèí
»;
to fetch — ñõîäèòü
è
ïðèíåñòè
) from Mrs. Hubbard
(ê
: «ó
» ìèññèñ
Õàááàðä
)?”
“
Just
after
half-
past
ten
(ñðàçó æå ïîñëå ïîëîâèíû îäèííàäöàòîãî)
.”
“
She
was
away —
how
long
(êàê äîëãî îíà îòñóòñòâîâàëà: «îíà îòñóòñòâîâàëà — êàê äîëãî»;
to
be
away — îòñóòñòâîâàòü
)?”
“About five minutes
(îêîëî
ïÿòè
ìèíóò
).”
“Did she leave the compartment again during the night
(îíà
åùå
ïîêèäàëà
êóïå
íî÷üþ
; during —
â
òå÷åíèå,
âî
âðåìÿ)
?”
“
No.”
Poirot
turned
to
the
doctor
(Ïóàðî îáðàòèëñÿ ê äîêòîðó;
to
turn /
to
smb./ — ïîâîðà÷èâàòü; îáðàùàòüñÿ ê êîìó-ëèáî
).
“Could Ratchett have been killed as early as that
(Ðýò÷åòòà
ìîãëè
óáèòü
òàê
ðàíî
)?”
The doctor shook his head
(äîêòîð
ïîêà÷àë
ãîëîâîé
).
“Then I think you can reassure your friend, Mademoiselle
(òîãäà
ÿ
äóìàþ
, âû
ìîæåòå
óñïîêîèòü
âàøó
ïîäðóãó
, ìàäåìóàçåëü
; reassure — /
âíîâü/
çàâåðÿòü;
óâåùåâàòü,
óñïîêàèâàòü,
ïîäáàäðèâàòü)
.”
“Thank you.” She smiled suddenly at him
(îíà
íåîæèäàííî
óëûáíóëàñü
åìó), a smile that invited sympathy
(óëûáêîé,
âûçûâàþùåé: «
ïðèãëàøàþùåé»
ñèìïàòèþ;
to invite — ïðèãëàøàòü
, çâàòü;
ðàñïîëàãàòü /
ê ÷åìó
-ëèáî/, sympathy —
ñèìïàòèÿ, ðàñïîëîæåíèå
). “
She’s
like
a sheep
, you
know (îíà ïîõîæà íà îâå÷êó, çíàåòå ëè)
. She
gets anxious
(îíà áåñïîêîèòüñÿ;
anxious — áåñïîêîÿùèéñÿ, òðåâîæàùèéñÿ
) and
bleats
(è íîåò; to
bleat — áëåÿòü, ìû÷àòü; ðàçã. íûòü, æàëîâàòüñÿ
).”
She turned and went out
(îíà
ïîâåðíóëàñü
è
âûøëà
).
fetch [fetS]
aspirin ['xsprIn]
reassure ["ri:q'SVq]
invite [In'vaIt]
sympathy ['sImpqTI]
anxious ['xNkSqs]
bleat [bli:t]
“What time was it that she went to fetch the aspirin from Mrs. Hubbard?”
“Just after half-past ten.”
“She was away — how long?”
“About five minutes.”
“Did she leave the compartment again during the night?”
“No.”
Poirot turned to the doctor. “Could Ratchett have been killed as early as
that?”
The doctor shook his head.
“Then I think you can reassure your friend, Mademoiselle.”
“Thank you.” She smiled suddenly at him, a smile that invited sympathy.
“She’s like a sheep, you know. She gets anxious and bleats.”
She turned and went out.
12
THE EVIDENCE OF THE GERMAN LADY’S-MAID
(
ïîêàçàíèÿ íåìêè-ãîðíè÷íîé)
M.
Bouc
was
looking
at
his
friend
curiously
(ìñüå Áóê ñ ëþáîïûòñòâîì ñìîòðåë íà ñâîåãî äðóãà;
curious — ëþáîçíàòåëüíûé, ïûòëèâûé; ëþáîïûòíûé
).
“I do not quite understand you, mon vieux
(
ÿ
íå
âïîëíå
âàñ
ïîíèìàþ,
ñòàðèíà)
. You
were
trying
to
do —
what
(âû ïûòàëèñü ÷òî-òî ñäåëàòü — íî ÷òî)
?”
“
I
was
searching
for
a
flaw,
my
friend
(ÿ èñêàë èçúÿí/ñëàáîå ìåñòî, ìîé äðóã;
flaw — òðåùèíà /â äðàãîöåííîì êàìíå, â ñòåêëå,
ôàðôîðå/; èçúÿí, íåäîñòàòîê, äåôåêò, ñëàáîå ìåñòî)
.”
“
A
flaw
(èçúÿí)?”
“
Yes —
in
the
armour
of
a
young
lady’
s
self-
possession
(äà, â áðîíå ñàìîîáëàäàíèÿ/õëàäíîêðîâèÿ ìîëîäîé ëåäè;
armour — áðîíÿ; ùèò, çàùèòà, îïîðà;
possession — âëàäåíèå, îáëàäàíèå
).
I
wished
to
shake
her
sang-
froid
(ÿ õîòåë ïîêîëåáàòü åå íåâîçìóòèìîñòü
; to
shake
— òðÿñòè, âñòðÿõèâàòü; ïîêîëåáàòü, îñëàáèòü, ïîäîðâàòü;
sang-
froid — ôð. õëàäíîêðîâèå, íåâîçìóòèìîñòü
).
Did I succeed (
ïðåóñïåë
ëè
ÿ /
â
ýòîì/)
? I do not know (
íå
çíàþ)
. But
I
know
this
(íî ÿ çíàþ âîò ÷òî):
she
did
not
expect
me
to
tackle
the
matter
as
I
did
(îíà íå îæèäàëà, ÷òî ÿ /èìåííî/ òàê ïðèìóñü çà ýòî äåëî: «÷òî ÿ áóäó çàíèìàòüñÿ ýòèì äåëîì
òàê, êàê ÿ èì çàíèìàëñÿ»;
to
tackle — õâàòàòü, îñòàíàâëèâàòü; ýíåðãè÷íî
áðàòüñÿ /çà ÷òî-ëèáî/, çàíèìàòüñÿ /÷åì-ëèáî/, ðàáîòàòü /íàä ÷åì-ëèáî/
).”
searching
['sq:tSIN] self-possession
["selfpq'zeS(q)n] sangfroid
["sO
N'frwQ:]
M. Bouc was looking at his friend curiously.
“I do not quite understand you,
mon vieux. You were trying to do — what?”
“I was searching for a flaw, my friend.”
“A flaw?”
“Yes — in the armour of a young lady’s self-possession. I wished to shake
her sang-froid. Did I succeed? I do not know. But I know this: she did not expect me to tackle the matter as I did.”
“
You
suspect
her
(âû ïîäîçðåâàåòå åå),”
said
M.
Bow
slowly
(ìåäëåííî ñêàçàë ìñüå Áóê)
. “But
why
(íî ïî÷åìó)
? She
seems
a
very
charming
young
lady
(îíà êàæåòñÿ î÷åíü î÷àðîâàòåëüíîé ìîëîäîé äàìîé
; charm
— îáàÿíèå, î÷àðîâàíèå;
to
charm — î÷àðîâûâàòü, ïëåíÿòü
) —
the
last
person
in
the
world
(ïîñëåäíèé ÷åëîâåê âî âñåì ìèðå;
last — ïîñëåäíèé; ñàìûé íåïîäõîäÿùèé, ñàìûé
íåîæèäàííûé)
to
be
mixed
up
(/êîòîðûé ìîã/ áû áûòü çàìåøàí;
to
mix
up — õîðîøî ïåðåìåøèâàòü; âïóòûâàòü /âî ÷òî-ëèáî/
)
in
a
crime
of
this
kind
(â ïðåñòóïëåíèè òàêîãî ðîäà)
.”
“I agree (
ÿ
ñîãëàñåí)
,” said Constantine. “
She
is
cold
(îíà õëàäíîêðîâíà; cold
— õîëîäíûé; ñïîêîéíûé, óðàâíîâåøåííûé
).
She
has
not
emotions
(îíà íå âûäàåò ñâîèõ ÷óâñòâ = ñäåðæàííàÿ;
emotion — ÷óâñòâî, ýìîöèÿ; äóøåâíîå âîëíåíèå,
âîçáóæäåíèå).
She
would
not
stab
a
man
(îíà íå ñòàëà áû çàêàëûâàòü ÷åëîâåêà êèíæàëîì)
— she
would
sue
him
in
the
law
courts
(îíà áû ïîäàëà íà íåãî â ñóä;
to
sue — ïðåñëåäîâàòü ñóäåáíûì ïîðÿäêîì, âîçáóæäàòü
äåëî, ïðåäúÿâëÿòü èñê; law
court
— ñóä; law
— çàêîí, ïðàâî; court
— äâîð; c
óä)
.”
Poirot sighed
(Ïóàðî
âçäîõíóë
).
charming
['tSQ:mIN] emotion
[I'mqVS(q)n] sue
[s(j)u:] law court
['lO:kO:t]
“You suspect her,” said M. Bow slowly. “But why? She seems a very charming
young lady — the last person in the world to be mixed up in a crime of this kind.”
“I agree,” said Constantine. “She is cold. She has not emotions. She
would not stab a man — she would sue him in the law courts.”
Poirot sighed.
“You must, both of you
(âû
îáà
äîëæíû
: «âû
äîëæíû
, îáà
èç
âàñ
»), get rid of your obsession
(èçáàâèòüñÿ
îò
ñâîåé
íàâÿç÷èâîé
èäåè
; to rid —
îñâîáîæäàòü,
èçáàâëÿòü)
that this is an unpremeditated (
÷òî
ýòî
íåïðåäíàìåðåííîå;
to premeditate — îáäóìûâàòü
, ïðîäóìûâàòü
çàðàíåå
) and sudden crime
(è
íåïðåäóìûøëåííîå
: «âíåçàïíîå
» ïðåñòóïëåíèå
). As for the reasons why I suspect Miss Debenham
(÷òî
æå
êàñàåòñÿ
ïðè÷èí
, ïî÷åìó
ÿ
ïîäîçðåâàþ
Ìèññ
Äåáåíõýì
), there are two
(òî
èõ
äâå
). One is because of something that I overheard
(îäíà
/ïðè÷èíà
âîçíèêàåò
/ âñëåäñòâèå
òîãî
, ÷òî
ÿ
íå÷àÿííî
ïîäñëóøàë
; to overhear (overheard) —
ïîäñëóøèâàòü;
íå÷àÿííî
óñëûøàòü)
, and that you do not as yet know (
è
ýòîãî
âû
åùå
ïîêà
íå
çíàåòå)
.”
He retailed to them
(îí
ïåðåñêàçàë
èì
; to retail —
ïðîäàâàòü
â
ðîçíèöó;
ïåðåñêàçûâàòü,
ïîâòîðÿòü)
the curious interchange of phrases (
òîò
ëþáîïûòíûé
îáìåí
ôðàçàìè;
interchange — âçàèìíûé
îáìåí
/ïèñüìàìè
, ïîäàðêàìè
, ìíåíèÿìè
è
ò
.ä
./)
he had overheard on the journey from Aleppo (
êîòîðûé
îí
ïîäñëóøàë
íà
ïóòè
èç
Àëåïïî;
journey — ïîåçäêà
, ïóòåøåñòâèå
).
obsession
[qb'seS(q)n] unpremeditated
["AnprI'medIteItId] overheard
["qVvq'hq:d] interchange
['IntqtSeIndZ]
“You must, both of you, get rid of your obsession that this is an unpremeditated
and sudden crime. As for the reasons why I suspect Miss Debenham, there are two. One is because of something that I overheard, and that you do not as yet know.”
He retailed to them the curious interchange of phrases he had overheard on
the journey from Aleppo.
“That is curious, certainly (
ýòî
îïðåäåëåííî
ëþáîïûòíî)
,” said M. Bouc when he had finished (
ñêàçàë
ìñüå
Áóê
êîãäà
Ïóàðî: «
îí»
çàêîí÷èë)
. “
It
needs
explaining
(ýòî òðåáóåò îáúÿñíåíèé)
. If
it
means
what
you
suspect
it
means
(åñëè ýòî îçíà÷àåò /èìåííî/ òî, ÷òî âû è ïîäîçðåâàåòå:
«÷òî âû äóìàåòå ýòî îçíà÷àåò»),
then
they
are
both
of
them
(òîãäà îíè îáà; both
— îáà, îáå, è òîò è äðóãîé
)
in
it
together
(çàìåøàíû â ýòîì âìåñòå;
to
be
in — íàõîäèòüñÿ, áûòü äîìà, íà ìåñòå; ïðèíèìàòü
ó÷àñòèå â ÷åì-ëèáî)
— she
and
the
stiff
Englishman
(îíà è ýòîò ÷îïîðíûé àíãëè÷àíèí;
stiff — æåñòêèé, êðåïêèé; õîëîäíûé, ÷îïîðíûé
).”
Poirot
nodded
(Ïóàðî êèâíóë).
“
And
that
is
just
what
is
not
borne
out
by
the
facts
(à ýòî êàê ðàç òî, ÷òî íå ïîäòâåðæäàåòñÿ ôàêòàìè;
to
bear (
bore;
borne,
born)
out — ïîääåðæèâàòü, ïîäòâåðæäàòü, ïîäêðåïëÿòü
),”
he
said. “
See
you,
if
they
were
both
in
this
together
(âèäèòå ëè, åñëè áû îíè îáà áûëè â ýòîì çàìåøàíû)
, what
should
we
expect
to
find
(÷òî áû ìû îáíàðóæèëè;
to
expect — îæèäàòü, æäàòü; ðàçã. ïðåäïîëàãàòü,
ïîëàãàòü, äóìàòü)
? That
each
of
them
would
provide
an
alibi
for
the
other
(òî, ÷òî êàæäûé èç íèõ îáåñïå÷èâàåò äðóãîìó àëèáè;
to
provide — ñíàáæàòü; ïðåäîñòàâëÿòü, äàâàòü
).
Is not that so (
íå
òàê
ëè)
? But no — that does not happen (
íî
íåò —
ýòîãî
íå
ïðîèñõîäèò)
. Miss Debenham’s alibi is provided by a Swedish woman
(àëèáè
ìèññ
Äåáåíõýì
îáåñïå÷èâàåòñÿ
íåêîåé
øâåäêîé
) whom she has never seen before
(êîòîðóþ
îíà
íèêîãäà
ðàíüøå
íå
âèäåëà
), and Colonel Arbuthnot’s alibi is vouched for by MacQueen
(à
çà
àëèáè
ïîëêîâíèêà
Àðáýòíîòà
ðó÷àåòñÿ
Ìàêêóèí
; to vouch /for/ —
ðó÷àòüñÿ,
ïîðó÷èòüñÿ)
, the dead man’s secretary (
ñåêðåòàðü
óáèòîãî)
. No
, that
solution
of
the
puzzle
is
too
easy
(íåò, òàêîå ðåøåíèå ýòîé ãîëîâîëîìêè ñëèøêîì ïðîñòîå;
to
solve — ðåøàòü, ðàçðåøàòü, îáúÿñíÿòü;
puzzle — òðóäíûé âîïðîñ, çàäà÷à, ïðîáëåìà;
ãîëîâîëîìêà).”
curious
['kjV(q)rIqs] borne
[bO:n] vouch
[vaVtS] puzzle
['pAz(q)l]
“That is curious, certainly,” said M. Bouc when he had finished. “It
needs explaining. If it means what you suspect it means, then they are both of them in it together — she and the stiff Englishman.”
Poirot nodded.
“And that is just what is not borne out by the facts,” he said. “See
you, if they were both in this together, what should we expect to find? That each of them would provide an alibi for the other. Is not that so? But no — that does not happen. Miss Debenham’s alibi is provided by a Swedish
woman whom she has never seen before, and Colonel Arbuthnot’s alibi is vouched for by MacQueen, the dead man’s secretary. No, that solution of the puzzle is too easy.”
“You said there was another reason
(âû
ñêàçàëè
, ÷òî
/ó
âàñ
áûëà
/ è
äðóãàÿ
ïðè÷èíà
) for your suspicions of her
(äëÿ
âàøèõ
ïîäîçðåíèé
/åå
/),” M. Bouc, reminded him
(íàïîìíèë
åìó
ìñüå
Áóê
; to remind —
íàïîìèíàòü,
áûòü
ïîõîæèì;
íàïîìèíàòü,
äåëàòü
íàïîìèíàíèå)
.
Poirot
smiled
(Ïóàðî óëûáíóëñÿ).
“
Ah!
but
that
is
only
psychological
(à, íî ýòà /ïðè÷èíà/ òîëüêî ñ òî÷êè çðåíèÿ ïñèõîëîãèè)
. I
ask
myself
, is
it
possible
(ÿ ñïðàøèâàþ ñåáÿ, âîçìîæíî ëè)
for
Miss
Debenham
to
have
planned
this
crime
(÷òîáû ìèññ Äåáåíõýì ñïëàíèðîâàëà ýòî ïðåñòóïëåíèå)
? Behind
this
business
(çà ýòèì äåëîì
; behind
— çä. óêàçûâàåò íà ÷üþ-ëèáî ïîääåðæêó — çà
),
I
am
convinced
(ÿ óáåæäåí; to
convince
— óáåæäàòü, óâåðÿòü
),
there
is
a
cool
(ñòîèò õîëîäíûé; cool
— ïðîõëàäíûé, ñâåæèé; ñïîêîéíûé, íåâîçìóòèìûé, õëàäíîêðîâíûé
),
intelligent
(õîðîøî ñîîáðàæàþùèé;
intelligent — óìíûé, ðàçóìíûé; ñîîáðàçèòåëüíûé,
ñìûøëåíûé),
resourceful
brain
(èçîáðåòàòåëüíûé ìîçã)
. Miss
Debenham
answers
to
that
description
(/è/ ìèññ Äåáåíõýì ñîîòâåòñòâóåò òàêîìó îïèñàíèþ;
to
answer — îòâå÷àòü; ñîîòâåòñòâîâàòü, îòâå÷àòü,
óäîâëåòâîðÿòü /÷åìó-ëèáî/)
.”
suspicion [sq'spI
S(q)n]
remind [rI'maInd]
psychological ["saIkq'l
OdZIk(q)l]
intelligent [In'telIdZ(q)nt]
resourceful [rI'zO:sf(q)l, rI'sO:s-]
“You said there was another reason for your suspicions of her,” M. Bouc,
reminded him.
Poirot smiled.
“Ah! but that is only psychological. I ask myself, is it possible for Miss
Debenham to have planned this crime? Behind this business, I am convinced, there is a cool, intelligent, resourceful brain. Miss Debenham answers to that description.”
M. Bouc shook his head (
ìñüå
Áóê
ïîêà÷àë
ãîëîâîé)
. “
I
think
you
are
wrong,
my
friend
(ÿ äóìàþ, ÷òî âû íåïðàâû, ìîé äðóã;
wrong — íåïðàâèëüíûé, íåâåðíûé, îøèáî÷íûé;
to be wrong — îøèáàòüñÿ, áûòü íåïðàâûì â ÷åì-ëèáî)
. I
do
not
see
that
young
English
girl
as
a
criminal
(ÿ íå ìîãó ïðåäñòàâèòü ñåáå ýòó ìîëîäóþ àíãëè÷àíêó
ïðåñòóïíèöåé).”
“Ah! Well,” said Poirot, picking up the last passport
(áåðÿ
â
ðóêè
ïîñëåäíèé
ïàñïîðò
; to pick up —
ïîäíèìàòü,
ïîäáèðàòü)
. “To the final name on our list (/
ïåðåéäåì/
ê
ïîñëåäíåìó
èìåíè
â
íàøåì
ñïèñêå)
. Hildegarde Schmidt, lady’s-maid (
Õèëüäåãàðäà
Øìèäò,
ãîðíè÷íàÿ/
ñëóæàíêà;
lady's maid — êàìåðèñòêà
, ëè÷íàÿ
ãîðíè÷íàÿ
/äàìû
/)
.”
Summoned by the attendant
(ïðèãëàøåííàÿ
/âûçâàííàÿ
îôèöèàíòîì
; attendant —
ñîïðîâîæäàþùåå
ëèöî;
îáñëóæèâàþùåå
ëèöî)
, Hildegarde Schmidt came into the restaurant car (
Õèëüäåãàðäà
Øìèäò
âîøëà
â
âàãîí-
ðåñòîðàí)
and stood waiting respectfully (
è
ñòîÿëà,
ïî÷òèòåëüíî
îæèäàÿ)
.
criminal ['krImIn(q)l]
passport ['pQ:spO:t]
restaurant ['rest(q)|r
ON,
—
rO
nt]
M. Bouc shook his head. “I think you are wrong, my friend. I do not see that
young English girl as a criminal.”
“Ah! Well,” said Poirot, picking up the last passport. “To the final
name on our list. Hildegarde Schmidt, lady’s-maid.”
Summoned by the attendant, Hildegarde Schmidt came into the restaurant car
and stood waiting respectfully.
Poirot
motioned
her
to
sit
down
(Ïóàðî æåñòîì ïðèãëàñèë åå ñåñòü;
motion — äâèæåíèå; òåëîäâèæåíèå, æåñò;
to
motion — ïîêàçàòü æåñòîì, çíàêîì
).
She
did
so
(îíà ñåëà: «ñäåëàëà òàê»)
, folding
her
hands
and
waiting
placidly
(ñëîæèâ ðóêè è ñïîêîéíî îæèäàÿ)
till
he
questioned
her
(êîãäà îí /íà÷íåò/ çàäàâàòü åé âîïðîñû)
. She
seemed
a
placid
creature
altogether
(îíà âîîáùå êàçàëàñü ñïîêîéíîé æåíùèíîé;
creature — ñîçäàíèå, òâîðåíèå; ÷åëîâåê, ñîçäàíèå
/îáûêí. ñ ýïèòåòîì/)
— eminently
respectable
(â âûñøåé ñòåïåíè ïî÷òåííîé)
, perhaps
not
over
-intelligent
(/õîòÿ/, âîçìîæíî, è íå ñëèøêîì óìíîé;
over — â ñëîæíûõ ñëîâàõ èìååò çíà÷åíèå: ñâåðõó,
âûøå, áîëüøå; ÷ðåçìåðíî, ñëèøêîì)
.
Poirot’
s
methods
with
Hildegarde
Schmidt
(ìåòîäû Ïóàðî ñ Õèëüäåãàðäîé Øìèäò)
were
a
complete
contrast
(áûëè ñîâåðøåííî ïðîòèâîïîëîæíû: «áûëè ïîëíûì
êîíòðàñòîì»; contrast
— êîíòðàñò, ðàçëè÷èå, ïðîòèâîïîëîæíîñòü
)
to
his
handling
of
Mary
Debenham
(åãî îáðàùåíèþ ñ Ìýðè Äåáåíõýì)
.
placid
['plxsId] eminently
['emInqntlI] contrast
['kO
ntrQ:st]
Poirot motioned her to sit down.
She did so, folding her hands and waiting placidly till he questioned her.
She seemed a placid creature altogether — eminently respectable, perhaps not over-intelligent.
Poirot’s methods with Hildegarde Schmidt were a complete contrast to his
handling of Mary Debenham.
He
was
at
his
kindest
(îí áûë ñàìà äîáðîòà: «áûë ïðè ñâîåì íàèäîáðåéøåì»;
kind (
kinder,
kindest) — äîáðûé, äîáðîæåëàòåëüíûé
)
and
most
genial
(è ñàìà ñåðäå÷íîñòü;
most
— áîëüøå âñåãî; óñèë. î÷åíü, âåñüìà;
genial — äîáðîäóøíûé, ñåðäå÷íûé, ðàäóøíûé
),
setting
the
woman
at
her
ease
(/äëÿ òîãî, ÷òîáû/ æåíùèíà ïîñêîðåå ïî÷óâñòâîâàëà ñåáÿ ñâîáîäíî;
ease — ñâîáîäà, íåïðèíóæäåííîñòü;
to
set — ñòàâèòü, ïîìåùàòü, êëàñòü; ïðèâîäèòü
â êàêîå-ëèáî ñîñòîÿíèå)
. Then
, having
got
her
to
write
down
her
name
and
address
(çàòåì, ïîïðîñèâ åå íàïèñàòü ñâîå èìÿ è àäðåñ)
, he
slid
gently
into
his
questions
(îí îñòîðîæíî ïåðåøåë ê /ñâîèì/ âîïðîñàì;
gentle — ìÿãêèé, äîáðûé, êðîòêèé;
gently — ìÿãêî, òèõî, ñïîêîéíî; ëåãêî, îñòîðîæíî;
to
slide (
slid) — ñêîëüçèòü, äâèãàòüñÿ ïëàâíî, /
into/ ïîñòåïåííî âïàäàòü â êàêîå-ëèáî ñîñòîÿíèå
).
The
interview
took
place
in
German
(âîïðîñû çàäàâàëèñü íà íåìåöêîì ÿçûêå: «áåñåäà ïðîõîäèëà íà íåìåöêîì ÿçûêå»;
to
take (
took,
taken)
place
— ñëó÷àòüñÿ, ïðîèñõîäèòü).
“We
want
to
know
as
much
as
possible
(ìû õîòèì çíàòü êàê ìîæíî áîëüøå;
possible — âîçìîæíûé, âåðîÿòíûé; âîçìîæíûé,
îñóùåñòâèìûé)
about
what
happened
last
night
(î òîì, ÷òî ñëó÷èëîñü ïðîøëîé íî÷üþ)
,” he
said
. “We
know
that
you
cannot
give
us
much
information
(ìû çíàåì, ÷òî âû íå ìîæåòå äàòü íàì ìíîãî èíôîðìàöèè)
bearing
on
the
crime
itself
(èìåþùåé îòíîøåíèå íåïîñðåäñòâåííî ê óáèéñòâó;
to
bear
on — ïåðåíîñèòü, ïåðåâîçèòü; èìåòü îòíîøåíèå
/ê ÷åìó-ëèáî/, áûòü ñâÿçàííûì ñ /÷åì-ëèáî/)
, but
you
may
have
seen
or
heard
something
(íî âû ìîãëè âèäåòü èëè ñëûøàòü ÷òî-òî)
that
, while
conveying
nothing
to
you
(÷òî, õîòÿ è íå ãîâîðèò íè÷åãî âàì;
to
convey — ïåðåâîçèòü, òðàíñïîðòèðîâàòü; âûðàæàòü
),
may
be
valuable
to
us
(ìîæåò áûòü ÷ðåçâû÷àéíî öåííûì äëÿ íàñ;
valuable — öåííûé, äîðîãîé, äîðîãîñòîÿùèé; ÷ðåçâû÷àéíî
ïîëåçíûé èëè âàæíûé)
. You understand
(âû
ïîíèìàåòå
)?”
genial
['dZi:nIql] conveying
[kqn'veIIN] valuable
['vxljV(q)b(q)l]
He was at his kindest and most genial, setting the woman at her ease. Then,
having got her to write down her name and address, he slid gently into his questions.
The interview took place in German.
“We want to know as much as possible about what happened last night,” he
said. “We know that you cannot give us much information bearing on the crime itself, but you may have seen or heard something that, while conveying nothing to you, may be valuable to us. You understand?”
She
did
not
seem
to
(îíà, êàçàëîñü, íå ïîíèìàëà)
. Her broad, kindly face remained set in its expression
(åå
øèðîêîå
, äîáðîå
ëèöî
ñîõðàíèëî
ñâîå
âûðàæåíèå
: «îñòàëîñü
çàñòûâøèì
â
ñâîåì
âûðàæåíèè
»; to remain —
îñòàâàòüñÿ;
ñîõðàíÿòüñÿ,
îñòàâàòüñÿ
â
êàêîì
ëèáî
ïîëîæåíèè; set —
íåïîäâèæíûé,
çàñòûâøèé)
of placid stupidity (
áåçìÿòåæíîé
ïðîñòîòû: «
ãëóïîñòè»;
stupid — ãëóïûé
, òóïîé
, áåñòîëêîâûé
) as she answered
(êîãäà
îíà
îòâåòèëà
):
“I do not know anything, Monsieur
(ÿ
íè÷åãî
íå
çíàþ
, ìñüå
).”
“Well, for instance you know
(íó
, íàïðèìåð
, âû
çíàåòå
) that your mistress sent for you last night
(÷òî
âàøà
õîçÿéêà
ïîñûëàëà
çà
âàìè
ïðîøëîé
íî÷üþ
; to send (sent) for —
âûçûâàòü,
ïðèãëàñèòü)
.”
“
That,
yes.”
“
Do
you
remember
the
time
(âû ïîìíèòå, âî ñêîëüêî ýòî áûëî: «âû ïîìíèòå âðåìÿ»)
?”
“I do not, Monsieur. I was asleep, you see
(ÿ
ñïàëà
, âèäèòå
ëè
; asleep —
ñïÿùèé)
, when the attendant came (
êîãäà
ïðèøåë
ïðîâîäíèê)
and told me (
è
ñêàçàë
ìíå /
îá
ýòîì/)
.”
stupidity
[stju:'pIdItI] instance
['Instqns] mistress
['mIstrIs]
She did not seem to. Her broad, kindly face remained set in its expression
of placid stupidity as she answered:
“I do not know anything, Monsieur.”
“Well, for instance you know that your mistress sent for you last night.”
“That, yes.”
“Do you remember the time?”
“I do not, Monsieur. I was asleep, you see, when the attendant came and told
me.”
“
Yes,
yes.
Was
it
usual
for
you
to
be
sent
for
(äëÿ âàñ ýòî áûëî îáû÷íûì, ÷òî çà âàìè ïîñûëàþò)
in
this
way
(òàêèì âîò îáðàçîì;
way — ïóòü, äîðîãà; îáðàç äåéñòâèÿ, ìåòîä,
ñïîñîá)?”
“
It
was
not
unusual,
Monsieur
(ýòî íå áûëî /÷åì-òî/ íåîáû÷íûì, ìñüå)
. The
gracious
lady
often
required
attention
at
night
(/ìîåé ìèëîñòèâîé/ ãîñïîæå ÷àñòî òðåáóåòñÿ âíèìàíèå
íî÷üþ; to
require — òðåáîâàòü, ïðèêàçûâàòü; íóæäàòüñÿ
/â ÷åì-ëèáî/, òðåáîâàòü /÷åãî-ëèáî/; attention
— âíèìàíèå, âíèìàòåëüíîñòü; çàáîòà, âíèìàòåëüíîñòü, óõîä
).
She
did
not
sleep
well
(îíà íå õîðîøî = ïëîõî
ñïèò).”
“Eh
bien
(
ôð. õîðîøî)
, then
, you
received
the
summons
(èòàê, âû ïîëó÷èëè ïðèêàçàíèå /ÿâèòüñÿ ê õîçÿéêå/;
summons — âûçîâ /îáûêí. â ñóä/; òðåáîâàíèå
ñäåëàòü ÷òî-ëèáî èëè áûòü ãäå-ëèáî)
and
you
got
up
(è âû âñòàëè)
. Did you put on a dressing-gown
(âû
íàäåëè
õàëàò
)?”
“
No,
Monsieur,
I
put
on
a
few
clothes
(íåò, ìñüå, ÿ îäåëàñü ïîëíîñòüþ: «íàäåëà íåñêîëüêî ïðåäìåòîâ îäåæäû»;
clothes — îäåæäà, ïëàòüå
).
I
would
not
like
to
go
in
to
her
Excellency
in
my
dressing-
gown
(ìíå íå õîòåëîñü áû âîéòè ê åå ïðåâîñõîäèòåëüñòâó â õàëàòå;
excellence
— ïðåèìóùåñòâî, ïðåîáëàäàíèå, ïðåâîñõîäñòâî; ïðåâîñõîäèòåëüñòâî
).”
required [rI'kwaIqd]
received [rI'si:vd]
clothes [klqV(D)z]
excellency ['eks(q)lqnsI]
“Yes, yes. Was it usual for you to be sent for in this way?”
“It was not unusual, Monsieur. The gracious lady often required attention
at night. She did not sleep well.”
“
Eh bien, then, you received the summons and you got up. Did you put on a dressing-gown?”
“No, Monsieur, I put on a few clothes. I would not like to go in to her Excellency
in my dressing-gown.”
“
And
yet
it
is
a
very
nice
dressing-
gown
(è âñå æå, ýòî î÷åíü ýëåãàíòíûé õàëàò;
nice — õîðîøèé, ïðèÿòíûé; èçÿùíûé, ñäåëàííûé
ñî âêóñîì) —
scarlet,
is
it
not
(àëûé, íå òàê ëè)?”
She
stared
at
him
(îíà óñòàâèëàñü íà íåãî ñ óäèâëåíèåì)
. “It is a dark blue flannel dressing-gown, Monsieur
(ó
ìåíÿ
: «ýòî
» òåìíî
-ñèíèé
ôëàíåëåâûé
õàëàò
).”
“Ah! continue
(à
! ïðîäîëæàéòå
) A little pleasantry
(íåáîëüøàÿ
øóòêà
; pleasantry —
øóòëèâîñòü,
âåñåëîñòü;
øóòêà,
øóòëèâîå
çàìå÷àíèå)
on my part (
ñ
ìîåé
ñòîðîíû)
, that is all (
âîò
è
âñå)
. So you went along to Madame la Princesse (
èòàê,
âû
ïîøëè
ê
ìàäàì
êíÿãèíå)
. And what did you do (
è
÷òî
âû
äåëàëè)
when you got there (
êîãäà
âû
ïðèøëè
òóäà)
?”
“I gave her massage, Monsieur
(ÿ
ñäåëàëà åé
ìàññàæ,
ìñüå), and then I read aloud
(è
ïîñëå ýòîãî
ÿ
÷èòàëà /åé
/ âñëóõ)
. I do not read aloud very well (
ÿ íå
î÷åíü
õîðîøî ÷èòàþ
âñëóõ)
, but her Excellency says that is all the better (
íî åå
ïðåâîñõîäèòåëüñòâî
ãîâîðèò,
÷òî ýòî
è
ê ëó÷øåìó
) — so it sends her better to sleep
(÷òî
îíà ëó÷øå
îò
ýòîãî çàñûïàåò
; to send — ïîñûëàòü
, ïðèñûëàòü
; ïðèâîäèòü
â
êàêîå-ëèáî
ñîñòîÿíèå
; to send smb. to sleep — óñûïèòü
êîãî-
ëèáî). When she became sleepy, Monsieur
(êîãäà
îíà ñòàëà
äðåìàòü: «
ñòàëà ñîííîé
»), she told me to go (
îíà ñêàçàëà
ìíå
óéòè), so I closed the book
(òàê
÷òî ÿ
çàêðûëà
êíèãó) and I returned to my own compartment
(è
âåðíóëàñü
â ñâîå
ñîáñòâåííîå
êóïå)
.”
pleasantry ['plez(q)ntrI]
massage ['mxsQ:Z]
sleepy ['sli:pI]
“And yet it is a very nice dressing-gown — scarlet, is it not?”
She stared at him. “It is a dark blue flannel dressing-gown, Monsieur.”
“Ah! continue. A little pleasantry on my part, that is all. So you went along
to Madame la Princesse. And what did you do when you got there?”
“I gave her massage, Monsieur, and then I read aloud. I do not read aloud
very well, but her Excellency says that is all the better — so it sends her better to sleep. When she became sleepy, Monsieur, she told me to go, so I closed the book and I returned to my own compartment.”
“Do you know what time that was
(âû
çíàåòå
, âî
ñêîëüêî
ýòî
áûëî
)?”
“No, Monsieur.”
“Well, how long had you been with Madame la Princesse
(÷òî
æ
, êàê
äîëãî
âû
ïðîáûëè
ó
ìàäàì
êíÿãèíè
)?”
“About half an hour, Monsieur
(îêîëî
ïîëó÷àñà
, ìñüå
).”
“Good, continue
(õîðîøî
, ïðîäîëæàéòå
).”
“First, I fetched her Excellency an extra rug (
ñíà÷àëà
ÿ /
ñõîäèëà/
è
ïðèíåñëà
åå
ïðåâîñõîäèòåëüñòâó
åùå
îäèí
ïëåä;
extra — äîáàâî÷íûé
, äîïîëíèòåëüíûé
; rug — êîâðèê
; ïëåä
) from my compartment
(èç
ìîåãî
êóïå
). It
was
very
cold
in
spite
of
the
heating
(áûëî î÷åíü õîëîäíî, íåñìîòðÿ íà îòîïëåíèå;
heating — íàãðåâàíèå; îòîïëåíèå
).
I
arranged
the
rug
over
her
(ÿ óêðûëà åå ïëåäîì; to
arrange
— ïðèâîäèòü â ïîðÿäîê; ðàñïîëàãàòü â îïðåäåëåííîì ïîðÿäêå;
over — çä. óêàçûâàåò íà íàäåâàíèå, íàòÿãèâàíèå
/÷åãî-ëèáî/ è ò.ï. — íà)
, and
she
wished
me
good
night
(è îíà ïîæåëàëà ìíå äîáðîé íî÷è;
to
wish — æåëàòü, õîòåòü; ïîæåëàòü, æåëàòü /êîìó-ëèáî
÷òî-ëèáî/).
I
poured
her
out
some
mineral
water
(ÿ íàëèëà åé /â ñòàêàí/ íåìíîãî ìèíåðàëüíîé âîäû)
. Then
I
turned
out
the
light
(çàòåì ÿ ïîãàñèëà ñâåò;
to
turn
out — âûâîðà÷èâàòü /êàðìàíû è ò.ï./; ãàñèòü
/ñâåò/, âûêëþ÷èòü /ãàç/)
and
left
her
(è óøëà îò íåå)
.
“And then
(è
çàòåì
)?”
continue
[kqn'tInju:] extra
['ekstrq] pour
[pO:]
“Do you know what time that was?”
“No, Monsieur.”
“Well, how long had you been with Madame la Princesse?”
“About half an hour, Monsieur.”
“Good, continue.”
“First, I fetched her Excellency an extra rug from my compartment. It was
very cold in spite of the heating. I arranged the rug over her, and she wished me good night. I poured her out some mineral water. Then I turned out the light and left her.
“And then?”
“There is nothing more, Monsieur
(ýòî
âñå
: «áîëüøå
íè÷åãî
», ìñüå
). I returned to my carriage and went to sleep
(ÿ
âåðíóëàñü
â
ñâîå
êóïå
è
ëåãëà
ñïàòü
).”
“And you met no one in the corridor
(è
âû
íèêîãî
íå
âñòðåòèëè
â
êîðèäîðå
)?”
“No, Monsieur.”
“You did not, for instance, see
(âû
íå
âèäåëè
, íàïðèìåð
) a lady in a scarlet kimono with dragons on it
(êàêîé
-íèáóäü
äàìû
â
àëîì
êèìîíî
ðàñøèòîì
äðàêîíàìè
: «ñ
äðàêîíàìè
íà
íåì
»)?”
Her
mild
eyes
bulged
at
him
(îíà èçóìëåííî âçãëÿíóëà íà íåãî ñâîèìè êðîòêèìè
ãëàçàìè: «åå äîáðûå ãëàçà âûïÿòèëèñü íà íåãî»; mild
— ìÿãêèé, êðîòêèé, òèõèé;
to
bulge — âûïÿ÷èâàòü, âûïèðàòü
). “
No,
indeed,
Monsieur
(íåò, âîâñå: «â ñàìîì äåëå» íåò, ìñüå)
. There
was
nobody
about
(íèêîãî íå áûëî ðÿäîì;
to
be
about — áûòü ïîáëèçîñòè)
except
the
attendant
(çà èñêëþ÷åíèåì ïðîâîäíèêà)
. Everyone was asleep
(âñå
ñïàëè
).”
“But you did see the conductor
(íî
âû
äåéñòâèòåëüíî
âèäåëè
ïðîâîäíèêà
)?”
“Yes, Monsieur.”
“What was he doing
(÷òî
îí
äåëàë
)?”
“He came out of one of the compartments, Monsieur
(îí
âûøåë
èç
êàêîãî
-òî
êóïå
«èç
îäíîãî
èç
êóïå
», ìñüå
).”
carriage
['kxrIdZ] corridor
['kO
rIdO:] bulge
[bAldZ] attendant
[q'tendqnt]
“There is nothing more, Monsieur. I returned to my carriage and went to sleep.”
“And you met no one in the corridor?”
“No, Monsieur.”
“You did not, for instance, see a lady in a scarlet kimono with dragons on
it?”
Her mild eyes bulged at him. “No, indeed, Monsieur. There was nobody about
except the attendant. Everyone was asleep.”
“But you did see the conductor?”
“Yes, Monsieur.”
“What was he doing!”
“He came out of one of the compartments, Monsieur.”
“What
(÷òî
)?” M. Bouc leaned forward
(ìñüå
Áóê
ïîäàëñÿ
âïåðåä
). “Which one
(èç
êàêîãî
)?”
Hildegarde Schmidt looked frightened again
(Õèëüäåãàðäà
Øìèäò
ñíîâà
âûãëÿäåëà
èñïóãàííîé
; to frighten —
ïóãàòü)
, and Poirot cast a reproachful glance at his friend
(è
Ïóàðî
áðîñèë
íà
ñâîåãî
äðóãà
óêîðèçíåííûé
âçãëÿä
; to cast (cast) —
áðîñàòü,
êèäàòü,
øâûðÿòü;
áðîñàòü /
âçãëÿäû
è
ò.
ï./; to reproach —
óïðåêàòü,
êîðèòü,
áðàíèòü)
.
“Naturally
(åñòåñòâåííî
),” he said. “The conductor often has to answer bells at night
(ïðîâîäíèêó
÷àñòî
ïðèõîäèòñÿ
îòçûâàòüñÿ
íà
çâîíêè
ïî
íî÷àì
). Do you remember which compartment it was
(âû
ïîìíèòå
, êàêîå
ýòî
áûëî
êóïå
)?”
“It
was
about
the
middle
of
the
coach
, Monsieur
(îíî áûëî ãäå-òî â ñåðåäèíå âàãîíà, ìñüå;
about — çä. óêàçûâàåò íà ïðèáëèçèòåëüíîñòü:
îêîëî, ïðèáëèçèòåëüíî, ïî÷òè)
. Two or three doors from Madame la Princesse
(/êóïå
â
/ äâóõ
èëè
òðåõ
äâåðÿõ
îò
/êóïå
/ ìàäàì
).”
“Ah! tell us, if you please, exactly where this was
(à
, ðàññêàæèòå
íàì
, ïîæàëóéñòà
, ãäå
ýòî
òî÷íî
ïðîèçîøëî
) and what happened
(è
÷òî
/èìåííî
/ ïðîèçîøëî
)?”
frightened
['fraItnd] reproachful
[rI'prqVtSf(q)l] naturally
['nxtS(q)rqlI] coach
[kqVtS]
“What?” M. Bouc leaned forward. “Which one?”
Hildegarde Schmidt looked frightened again, and Poirot cast a reproachful glance
at his friend.
“Naturally,” he said. “The conductor often has to answer bells at night.
Do you remember which compartment it was?”
“It was about the middle of the coach, Monsieur. Two or three doors from
Madame la Princesse.”
“Ah! tell us, if you please, exactly where this was and what happened?”
“He
nearly
ran
into
me
, Monsieur
(îí ÷óòü íå íàëåòåë íà ìåíÿ, ìñüå;
to
run
into
smth.,
smb. — íàëåòåòü, íàñêàêèâàòü, íàòàëêèâàòüñÿ
íà êîãî-ëèáî, ÷òî-ëèáî)
. It was when I was returning from my compartment
(ýòî
áûëî
òîãäà
, êîãäà
ÿ
âîçâðàùàëàñü
èç
ñâîåãî
êóïå
) to that of the Princess with the rug
(â
êóïå
êíÿãèíè
ñ
ïëåäîì
).”
“And he came out of a compartment and almost collided with you
(à
îí
âûøåë
èç
êàêîãî
-òî
êóïå
è
åäâà
íå
ñòîëêíóëñÿ
ñ
âàìè
). In which direction was he going
(â
êàêîì
íàïðàâëåíèè
îí
øåë
)?”
“Towards
me
, Monsieur
(â ìîþ ñòîðîíó = ìíå íàâñòðå÷ó, ìñüå;
towards — çä. óêàçûâàåò íà äâèæåíèå ïî íàïðàâëåíèþ
ê ïðåäìåòó /ïî íàïðàâëåíèþ/ ê)
. He
apologized
and
passed
on
down
the
corridor
(îí èçâèíèëñÿ è ïðîøåë äàëüøå ïî êîðèäîðó;
to
pass
on — ïðîõîäèòü äàëüøå
)
towards
the
dining-
car
(ïî íàïðàâëåíèþ ê âàãîíó-ðåñòîðàíó)
. A
bell
began
ringing
(çàçâîíèë: «íà÷àë çâåíåòü» êàêîé-òî çâîíîê)
, but
I
do
not
think
he
answered
it
(íî ÿ íå äóìàþ, ÷òî îí îòîçâàëñÿ íà íåãî)
.” She paused and then said
(îíà
çàìîë÷àëà
, çàòåì
ñêàçàëà
): “I do not understand
(ÿ
íå
ïîíèìàþ
). How is it
(êàê
ýòî
) — ”
Poirot spoke reassuringly
(Ïóàðî
ñêàçàë
îáîäðèòåëüíî
; to reassure —
âíîâü
çàâåðÿòü;
óâåùåâàòü,
óñïîêàèâàòü,
ïîäáàäðèâàòü)
.
collide
[kq'laId] direction
[d(a)I'rekS(q)n] apologize
[q'pO
lqdZaIz] reassuring
["ri:q'SV(q)rIN]
“He nearly ran into me, Monsieur. It was when I was returning from my compartment
to that of the Princess with the rug.”
“And he came out of a compartment and almost collided with you. In which
direction was he going?”
“Towards me, Monsieur. He apologised and passed on down the corridor towards
the dining-car. A bell began ringing, but I do not think he answered it.” She paused and then said: “I do not understand. How is it — ”
Poirot spoke reassuringly.
“It is just a question of time (
ýòî
ïðîñòî
âîïðîñ
î
âðåìåíè =
ìû
ïðîñòî
âûâåðÿåì
âðåìÿ)
,” he said. “
All
a
matter
of
routine
(âñå ýòî — ïðîñòàÿ ôîðìàëüíîñòü;
matter — âåùåñòâî; äåëî, âîïðîñ;
routine — çàâåäåííûé ïîðÿäîê; íè÷åãî íå çíà÷àùàÿ
ôîðìàëüíîñòü)
. This
poor
conductor
(/ýòîò/ áåäíûé ïðîâîäíèê;
poor — áåäíûé, íåèìóùèé; áåäíûé, íåñ÷àñòíûé
),
he
seems
to
have
had
a
busy
night
(ó íåãî, êàæåòñÿ, áûëà íàïðÿæåííàÿ íî÷ü;
busy — çàíÿòîé, íåñâîáîäíûé; íàïðÿæåííûé,
èíòåíñèâíûé) —
first
waking
you
(ñïåðâà /åìó íàäî áûëî/ ðàçáóäèòü âàñ;
to
wake — ïðîñûïàòüñÿ; áóäèòü
)
and
then
answering
bells
(à çàòåì îòâå÷àòü íà çâîíêè)
.”
“
It
was
not
the
same
conductor
(ýòî áûë íå òîò æå ñàìûé ïðîâîäíèê)
who
woke
me
, Monsieur
(÷òî ðàçáóäèë ìåíÿ, ìñüå)
. It
was
another
one
(ýòî áûë äðóãîé ïðîâîäíèê)
.”
“Ah
! another
one
(à, äðóãîé ïðîâîäíèê)
! Had you seen him before
(âû
åãî
ðàíüøå
âèäåëè
)?”
“No, Monsieur.”
“
Ah! —
do
you
think
you
would
recognise
him
(êàê âû äóìàåòå, âû áû åãî óçíàëè)
if
you
saw
him
(åñëè áû óâèäåëè åãî)
?”
“I think so, Monsieur
(äóìàþ
äà
: «òàê
», ìñüå
).”
question ['kwestS(q)n]
routine [ru:'ti:n]
recognize ['rekqgnaIz]
“It is just a question of time,” he said. “All a matter of routine. This
poor conductor, he seems to have had a busy night — first waking you and then answering bells.”
“It was not the same conductor who woke me, Monsieur. It was another one.”
“Ah! another one! Had you seen him before?”
“No, Monsieur.”
“Ah! — do you think you would recognise him if you saw him?”
“I think so, Monsieur.”
Poirot murmured something in M. Bouc’s ear
(Ïóàðî
ïðîáîðìîòàë
÷òî
-òî
íà
óõî
ìñüå
Áóêó
). The latter got up
(òîò
: «ïîñëåäíèé
» âñòàë
) and went to the door
(è
ïîøåë
ê
äâåðè
) to give an order
(÷òîáû
îòäàòü
ðàñïîðÿæåíèå
).
Poirot was continuing his questions in an easy, friendly manner
(Ïóàðî
ïðîäîëæàë
/çàäàâàòü
/ ñâîè
âîïðîñû
â
ñïîêîéíîé
, äðóæåñêîé
ìàíåðå
; easy —
ëåãêèé,
íåòðóäíûé;
ñïîêîéíûé,
íåòîðîïëèâûé)
.
“Have you ever been to America, Fräulein Schmidt
(âû
áûâàëè
â
Àìåðèêå
, ôðåéëåéí
Øìèäò
)?”
“Never, Monsieur
(íèêîãäà
, ìñüå
). It must be a fine country
(äîëæíî
áûòü
, ýòî
ïðåêðàñíàÿ
ñòðàíà
).”
ear
[Iq] friendly
['frendlI] country
['kAntrI]
Poirot murmured something in M. Bouc’s ear. The latter got up and went to
the door to give an order.
Poirot was continuing his questions in an easy, friendly manner.
“Have you ever been to America, Fräulein Schmidt?”
“Never, Monsieur. It must be a fine country.”
“You have heard, perhaps
(âîçìîæíî
, âû
ñëûøàëè
), who this man who was killed really was
(êåì
áûë
óáèòûé
: «ýòîò
ìóæ÷èíà
, êîòîðûé
áûë
óáèò
» íà
ñàìîì
äåëå
) — that he was responsible for the death of a little child
(÷òî
îí
áûë
îòâåòñòâåííûì
çà
ñìåðòü
ìàëåíüêîãî
ðåáåíêà
)?”
“Yes, I have heard, Monsieur
(äà
, ÿ
ñëûøàëà
, ìñüå
). It
was
abominable
— wicked
(ýòî áûëî îòâðàòèòåëüíî — óæàñíî;
wicked — çëîé, çëîáíûé, ïîðî÷íûé, äóðíîé
).
The
good
God
should
not
allow
such
things
(ìèëîñòèâûé Ãîñïîäü íå äîëæåí äîïóñêàòü òàêîãî;
to
allow — ïîçâîëÿòü, ðàçðåøàòü; äîïóñêàòü;
thing — âåùü; ñîáûòèå, äåéñòâèå, ïîñòóïîê
).
We are not so wicked as that in Germany (
ìû
â
Ãåðìàíèè
íå
íàñòîëüêî
çëûå)
.”
Tears had come into the woman’s eyes
(ñëåçû
íàâåðíóëèñü
íà
ãëàçàõ
ó
æåíùèíû
). Her strong, motherly soul was moved
(åå
ñèëüíàÿ
, ìàòåðèíñêàÿ
äóøà
áûëà
òðîíóòà
; to move —
äâèãàòü;
òðîãàòü,
âîëíîâàòü)
.
“
It
was
an
abominable
crime
(/äà/, ýòî áûëî îòâðàòèòåëüíîå/óæàñíîå ïðåñòóïëåíèå)
,” said
Poirot
gravely
(ïå÷àëüíî ñêàçàë Ïóàðî;
grave — ñåðüåçíûé, âåñêèé; ìðà÷íûé, ïå÷àëüíûé
).
He
drew
a
scrap
of
cambric
from
his
pocket
(îí âûòàùèë êëî÷îê áàòèñòà èç ñâîåãî êàðìàíà)
and
handed
it
to
her
(è âðó÷èë åãî åé;
hand — ðóêà, êèñòü ðóêè;
to
hand — ïåðåäàâàòü, âðó÷àòü
).
responsible
[rI'spO
nsqb(q)l] death
[deT] abominable
[q'bO
mInqb(q)l] wicked
['wIkId] motherly
['mADqlI] cambric
['keImbrIk, 'kxmbrIk]
“You have heard, perhaps, who this man who was killed really was — that
he was responsible for the death of a little child?”
“Yes, I have heard, Monsieur. It was abominable — wicked. The good God
should not allow such things. We are not so wicked as that in Germany.”
Tears had come into the woman’s eyes. Her strong, motherly soul was moved.
“It was an abominable crime,” said Poirot gravely.
He drew a scrap of cambric from his pocket and handed it to her.
“Is this your handkerchief, Fräulein Schmidt
(ýòî
âàø
ïëàòî÷åê
, ôðåéëåéí
Øìèäò
)?”
There was a moment’s silence (
íà
ìãíîâåíèå /
âîöàðèëàñü/
òèøèíà)
as the woman examined it (
ïîêà
æåíùèíà
ðàññìàòðèâàëà
åãî)
. She
looked
up
after
a
minute
(ìãíîâåíèå ñïóñòÿ: «ïîñëå ìèíóòû» îíà ïîäíÿëà ãëàçà)
. The
colour
had
mounted
a
little
in
her
face
(êðîâü ñëåãêà ïðèëèëà ê åå ëèöó;
colour — öâåò, òîí; öâåò ëèöà, ðóìÿíåö;
to
mount — âçáèðàòüñÿ, âîñõîäèòü, ïîäíèìàòüñÿ
).
“Ah
! no
, indeed
(íåò, â ñàìîì äåëå, íåò)
. It is not mine, Monsieur
(ýòî
íå
ìîé
, ìñüå
).”
“It has the initial H, you see
(íà
íåì
èíèöèàë
"Í
", âèäèòå
). That is why I thought it was yours
(âîò
ïî÷åìó
ÿ
ïîäóìàë
, ÷òî
îí
âàø
).”
“Ah! Monsieur, it is a lady’s handkerchief, that
(àõ
, ìñüå
, ýòî
íîñîâîé
ïëàòîê
êàêîé
-íèáóäü
äàìû
). A very expensive handkerchief
(/ýòî
/ î÷åíü
äîðîãîé
íîñîâîé
ïëàòîê
). Embroidered by hand
(ñ
ðó÷íîé
âûøèâêîé
; to embroider —
âûøèâàòü,
óêðàøàòü
âûøèâêîé; embroidery —
âûøèâàíèå;
âûøèâêà; by hand —
ðó÷íûì
ñïîñîáîì,
âðó÷íóþ)
. It
comes
from
Paris,
I
should
say
(èç
Ïàðèæà
, ÿ
áû
ñêàçàëà
).”
“It is not yours and you do not know whose it is
(ýòî
íå
âàø
/ïëàòîê
/, è
âû
íå
çíàåòå
, ÷åé
îí
)?”
“I? Oh! no, Monsieur
(ÿ
? î
, íåò
, ìñüå
).”
handkerchief
['hxNkqtSIf] silence
['saIlqns] colour
['kAlq] expensive
[Ik'spensIv]
“Is this your handkerchief, Fräulein Schmidt?”
There was a moment’s silence as the woman examined it. She looked up after
a minute. The colour had mounted a little in her face.
“Ah! no, indeed. It is not mine, Monsieur.”
“It has the initial H, you see. That is why I thought it was yours.”
“Ah! Monsieur, it is a lady’s handkerchief, that. A very expensive handkerchief.
Embroidered by hand. It comes from Paris, I should say.”
“It is not yours and you do not know whose it is?”
“I? Oh! no, Monsieur.”
Of the three listening
(èç
òðåõ
/÷åëîâåê
, êîòîðûå
/ ñëûøàëè
/ýòîò
îòâåò
/), only Poirot caught the nuance of hesitation in the reply
(òîëüêî
Ïóàðî
óëîâèë
íþàíñ
/îòòåíîê
ñîìíåíèÿ
â
ýòîì
îòâåòå
).
M
. Bouc
whispered
in
his
ear
(ìñüå Áóê ïðîøåïòàë /÷òî-òî/ åìó íà óõî)
. Poirot nodded and said to the woman
(Ïóàðî
êèâíóë
è
ñêàçàë
æåíùèíå
= ñëóæàíêå
):
“The three sleeping-car attendants are coming in
(òðè
ïðîâîäíèêà
: «ñëóæàùèõ
» ñïàëüíûõ
âàãîíîâ
/ñåé÷àñ
/ âîéäóò
/ñþäà
/). Will you be so kind as to tell me
(áóäåòå
ëè
âû
ñòîëü
ëþáåçíû
ñêàçàòü
ìíå
) which is the one you met last night
(êòî
/èç
íèõ
/ òîò
ñàìûé
/ïðîâîäíèê
/, êîòîðîãî
âû
âñòðåòèëè
ïðîøëîé
íî÷üþ
) as you were going with the rug to the Princess
(êîãäà
âû
øëè
ñ
ïëåäîì
ê
êíÿãèíå
)?”
The three men entered
(âîøëè
òðîå
ìóæ÷èí
). Pierre Michel
(Ïüåð
Ìèøåëü
), the big blond conductor of the Athens-Paris coach
(êðóïíûé
áëîíäèí
, ïðîâîäíèê
âàãîíà
Àôèíû
-Ïàðèæ
), and the stout burly conductor
(è
ãðóçíûé
, êðåïêèé
ïðîâîäíèê
; stout —
êðåïêèé,
ïðî÷íûé;
ïîëíûé,
òó÷íûé,
äîðîäíûé; burly —
ïëîòíûé,
äîðîäíûé;
êðåïêèé)
of the Bucharest one (
áóõàðåñòñêîãî
âàãîíà)
.
listening ['lIs(q)nIN]
caught
[kO:t] nuance
['nju:Q:ns] hesitation
["hezI'teIS(q)n] burly
['bq:lI]
Of the three listening, only Poirot caught the nuance of hesitation in the
reply.
M. Bouc whispered in his ear. Poirot nodded and said to the woman:
“The three sleeping-car attendants are coming in. Will you be so kind as
to tell me which is the one you met last night as you were going with the rug to the Princess?”
The three men entered. Pierre Michel, the big blond conductor of the Athens-Paris
coach, and the stout burly conductor of the Bucharest one.
Hildegarde Schmidt looked at them
(Õèëüäåãàðäà
Øìèäò
âçãëÿíóëà
íà
íèõ
) and immediately shook her head
(è
òîò÷àñ
çàêà÷àëà
ãîëîâîé
; immediately —
íåçàìåäëèòåëüíî,
íåìåäëåííî)
.
“No, Monsieur,” she said. “
None
of
these
is
the
man
I
saw
last
night
(íèêòî èç ýòèõ /ëþäåé/ íå ÿâëÿåòñÿ òåì, êîòîðîãî ÿ âèäåëà ïðîøëîé íî÷üþ)
.”
“But these are the only conductors on the train
(íî
ýòî
: «ýòè
» — åäèíñòâåííûå
ïðîâîäíèêè
â
ýòîì
ïîåçäå
). You must be mistaken
(âû
, äîëæíî
áûòü
, îøèáàåòåñü
).”
“I
am
quite
sure
, Monsieur
(ÿ ñîâåðøåííî óáåæäåíà, ìñüå)
. These
are
all
tall
, big
men
(ýòè /ëþäè/ — âñå âûñîêèå, êðóïíûå ìóæ÷èíû)
. The
one
I
saw
was
small
and
dark
(òîò, êîòîðîãî ÿ âèäåëà, áûë íåâûñîêîãî ðîñòà è
ñìóãëûé/÷åðíîâîëîñûé).
He
had
a
little
moustache
(ó íåãî áûëè ìàëåíüêèå óñû)
. His
voice
when
he
said
‘Pardon
’ (åãî ãîëîñ, êîãäà îí ñêàçàë "ïðîñòèòå")
was
weak
, like
a
woman
’s
(áûë òîíêèì, êàê ó æåíùèíû)
. Indeed, I remember him very well, Monsieur
(íà
ñàìîì
äåëå
, ÿ
ïîìíþ
åãî
î÷åíü
õîðîøî
, ìñüå
).”
immediately
[I'mi:dIqtlI] mistaken
[mI'steIkqn] moustache
[mq'stQ:S]
Hildegarde Schmidt looked at them and immediately shook her head.
“No, Monsieur,” she said. “None of these is the man I saw last night.”
“But these are the only conductors on the train. You must be mistaken.”
“I am quite sure, Monsieur. These are all tall, big men. The one I saw was
small and dark. He had a little moustache. His voice when he said ‘Pardon’ was weak, like a woman’s. Indeed, I remember him very well, Monsieur.”
13
SUMMARY
OF
THE
PASSENGERS’
EVIDENCE
(Âûâîäû èç ïîêàçàíèé ïàññàæèðîâ;
summary — êðàòêîå èçëîæåíèå; ñâîäêà, ðåçþìå
)
“
A
small
dark
man
with
a
womanish
voice
(íåâûñîêîãî ðîñòà ñìóãëûé ìóæ÷èíà ñ æåíîïîäîáíûì/ïèñêëÿâûì ãîëîñîì)
,” said
M
. Bouc
.
The three conductors and Hildegarde Schmidt had been dismissed
(òðè
ïðîâîäíèêà
è
Õèëüäåãàðäà
Øìèäò
áûëè
îòïóùåíû
).
M. Bouc made a despairing gesture
(ìñüå
Áóê îò÷àÿííî
ìàõíóë
ðóêîé; to despair —
îò÷àèâàòüñÿ,
òåðÿòü íàäåæäó
; gesture — æåñò
, òåëîäâèæåíèå
).
“But I understand nothing
(íî
ÿ íè÷åãî
íå
ïîíèìàþ) — but nothing, of all of this
(íó
ñîâñåì íè÷åãî
, èç
âñåãî ýòîãî
)! The enemy that this Ratchett spoke of
(òîò
ñàìûé âðàã
, î
êîòîðîì ãîâîðèë
ýòîò
Ðýò÷åòò), he was then on the train after all
(çíà÷èò,
îí âñå
-òàêè
áûë â
ïîåçäå;
after all — ïîñëå
, íåñìîòðÿ
íà; â
êîíöå
êîíöîâ, âñå
æå)
? But where is he now (íî
ãäå
æå îí
ñåé÷àñ)
? How can he have vanished into thin air (
êàê æå
îí
ìîã = íå
ìîã
æå îí
ðàñòâîðèòüñÿ
â
âîçäóõå;
to vanish — ñêðûâàòüñÿ
èç
âèäó, èñ÷åçàòü
; air — âîçäóõ
, àòìîñôåðà
; to vanish into thin air — èñ÷åçíóòü
áåññëåäíî
, ðàñòàÿòü
êàê äûì
)? My
head, it
whirls
(ìîÿ ãîëîâà, îíà êðóãîì èäåò = ó ìåíÿ ãîëîâà êðóãîì èäåò;
whirl — êðóæåíèå; âèõðü;
to whirl
— âåðòåòü(ñÿ), êðóæèòü(ñÿ))
. Say something, then, my friend, I implore you
(ñêàæèòå
æå ÷òî
-íèáóäü,
äðóã ìîé
, ÿ
âàñ óìîëÿþ
). Show
me how
the
impossible can
be
possible (îáúÿñíèòå ìíå, êàê íåâîçìîæíîå ìîæåò áûòü âîçìîæíûì;
to show
— ïîêàçûâàòü; îáúÿñíÿòü, ó÷èòü)
!”
womanish
['wVmqnIS] dismiss
[dIs'mIs] despairing
[dIs'peqrIN] vanished
['vxnISt] whirl
[wq:l]
“A small dark man with a womanish voice,” said M. Bouc.
The three conductors and Hildegarde Schmidt had been dismissed.
M. Bouc made a despairing gesture. “But I understand nothing — but nothing,
of all of this! The enemy that this Ratchett spoke of, he was then on the train after all? But where is he now? How can he have vanished into thin air? My head, it whirls. Say something, then, my friend, I implore you. Show
me how the impossible can be possible!”
“It is a good phrase that
(ëó÷øå
íå
ñêàæåøü
: «ýòî
õîðîøàÿ
ôðàçà
»; phrase —
ôðàçà,
ñëîâîñî÷åòàíèå;
ìåòêîå
âûðàæåíèå)
,” said Poirot. “The impossible cannot have happened
(íåâîçìîæíîå
íå
ìîãëî
ñëó÷èòüñÿ
), therefore the impossible must be possible
(ñëåäîâàòåëüíî
, íåâîçìîæíîå
äîëæíî
áûòü
âîçìîæíûì
) in spite of appearances
(íåñìîòðÿ
íà
âèäèìîñòü
; appearance —
âíåøíèé
âèä,
âíåøíîñòü;
âèäèìîñòü,
ìàñêà)
.”
“Explain to me, then, quickly, what actually happened
(òîãäà
îáúÿñíèòå
ìíå
âêðàòöå
: «áûñòðî
», ÷òî
íà
ñàìîì
äåëå
ïðîèçîøëî
) on the train last night
(â
ýòîì
ïîåçäå
ïðîøëîé
íî÷üþ
).”
“I am not a magician, mon cher
(ÿ
íå
âîëøåáíèê
, äðóã
ìîé
). I
am
, like
you
, a
very
puzzled
man
(ÿ, êàê è âû, î÷åíü îçàäà÷åí: «î÷åíü îçàäà÷åííûé
÷åëîâåê»; puzzle — òðóäíûé âîïðîñ,
ïðîáëåìà, çàäà÷à; to
puzzle
— îçàäà÷èâàòü, ïðèâîäèòü â çàìåøàòåëüñòâî, ñòàâèòü â òóïèê
).
This
affair
advances
(ýòî äåëî ðàçâèâàåòñÿ;
to
advance — ïðîäâèãàòüñÿ, èäòè âïåðåä; äåëàòü
óñïåõè, ïðîäâèãàòüñÿ, ðàçâèâàòüñÿ)
in
a
very
strange
manner
(î÷åíü ñòðàííûì îáðàçîì;
strange — íåçíàêîìûé, íåèçâåñòíûé; ñòðàííûé,
íåîáû÷íûé, ÷óäíîé)
.”
phrase [freIz]
appearance [q'pI(q)rqns]
quickly ['kwIklI]
magician [mq'dZIS(q)n
]
“It is a good phrase that,” said Poirot. “The impossible cannot have
happened, therefore the impossible must be possible in spite of appearances.”
“Explain to me, then, quickly, what actually happened on the train last night.”
“I am not a magician, mon cher. I am, like you, a very puzzled man. This
affair advances in a very strange manner.”
“It does not advance at all (
âîâñå
îíî
íå
ðàçâèâàåòñÿ)
. It
stays
where
it
was
(îíî ñòîèò íà ìåñòå: «ãäå è áûëî»;
to
stay — îñòàâàòüñÿ, íå óõîäèòü; ïðåáûâàòü,
îñòàâàòüñÿ /â êàêîì-ëèáî ñîñòîÿíèè èëè ïîëîæåíèè/)
.”
Poirot shook his head
(Ïóàðî
ïîêà÷àë
ãîëîâîé
).
“No
, that
is
not
true
(íåò, ýòî íå òàê: «ïðàâäà»)
. We
are
more
advanced
(ìû ïðîäâèíóëèñü)
. We
know
certain
things
(ìû çíàåì êîå-÷òî: «îïðåäåëåííûå âåùè/ôàêòû»)
. We have heard the evidence of the passengers
(ìû
âûñëóøàëè
ïîêàçàíèÿ
ïàññàæèðîâ
).”
“
And
what
has
that
told
us
(è ÷òî ýòî íàì äàëî; to
tell
(told
) — ðàññêàçûâàòü; ãîâîðèòü, ñîîáùàòü
)?
Nothing
at
all
(ñîâåðøåííî íè÷åãî).”
“
I
would
not
say
that,
my
friend
(ÿ áû òàê íå ñêàçàë, ìîé äðóã)
.”
“
I
exaggerate,
perhaps
(âîçìîæíî, ÿ ïðåóâåëè÷èâàþ)
. The
American
Hardman
(ýòîò àìåðèêàíåö Õàðäìàí)
, and
the
German
maid
(è ýòà íåìêà-ñëóæàíêà)
— yes
, they
have
added
something
to
our
knowledge
(äà, îíè äîáàâèëè êîå-÷òî ê íàøèì ñâåäåíèÿì;
knowledge — çíàíèå, ïîçíàíèÿ, ýðóäèöèÿ; îñâåäîìëåííîñòü,
ñâåäåíèÿ).
That
is
to
say,
they
have
made
the
whole
business
(òî åñòü, îíè ñäåëàëè âñå ýòî äåëî)
more
unintelligible
than
it
was
(áîëåå íåïîíÿòíûì, ÷åì îíî áûëî = îíè åùå áîëüøå
çàïóòàëè âñå äåëî; intelligible
— ïîíÿòíûé, äîñòóïíûé äëÿ ïîíèìàíèÿ
).”
true
[tru:] advanced
[qd'vQ:nst] exaggerate
[Ig'zxdZqreIt] knowledge
['nO
lIdZ] unintelligible
["AnIn'telIdZqb(q)l]
“It does not advance at all. It stays where it was.”
Poirot shook his head. “No, that is not true. We are more advanced. We know
certain things. We have heard the evidence of the passengers.”
“And what has that told us? Nothing at all.”
“I would not say that, my friend.”
“I exaggerate, perhaps. The American Hardman, and the German maid — yes,
they have added something to our knowledge. That is to say, they have made the whole business more unintelligible than it was.”
“No, no, no,” said Poirot soothingly
(ñêàçàë
Ïóàðî
óñïîêàèâàþùå
; to soothe —
óñïîêàèâàòü,
óòåøàòü)
.
M. Bouc turned upon him
(ìñüå
Áóê
íàêèíóëñÿ
íà
íåãî
; to turn on /upon/ smb. —
íàáðàñûâàòüñÿ
íà
êîãî-
ëèáî)
. “Speak, then, let us hear (
òîãäà
ãîâîðèòå,
ïîçâîëüòå
íàì
óñëûøàòü;
to let smb. know /hear, etc/ smth. — äàòü
çíàòü
, ñîîáùèòü
êîìó
-ëèáî
÷òî
-ëèáî
, äàòü
êîìó
-ëèáî
âîçìîæíîñòü
óáåäèòüñÿ
â
÷åì
-ëèáî
, óñëûøàòü
÷òî
-ëèáî
è
ò
.ï
.) the wisdom of Hercule Poirot
(ìóäðîñòü
Ýðêþëÿ
Ïóàðî
; wise —
ìóäðûé,
ïðåìóäðûé)
.”
“
Did
I
not
tell
you
(ðàçâå ÿ íå ñêàçàë âàì)
that
I
was
, like
you
, a
very
puzzled
man
(÷òî ÿ, êàê è âû, î÷åíü îçàäà÷åí: «î÷åíü îçàäà÷åííûé
÷åëîâåê»)? But
at
least
we
can
face
our
problem
(íî, ïî ìåíüøåé ìåðå, ìû ìîæåì ñìåëî âçãëÿíóòü
â ëèöî íàøåé ïðîáëåìå; to
face
— íàõîäèòüñÿ ëèöîì ê; âñòðå÷àòü /÷òî-ëèáî/ ñìåëî, ñìîòðåòü â ëèöî /÷åìó-ëèáî/ áåç ñòðàõà
).
We
can
arrange
such
facts
as
we
have
(ìû ìîæåì ðàñïîëîæèòü òå ôàêòû, ÷òî ó íàñ åñòü;
to
arrange — ïðèâîäèòü â ïîðÿäîê; ðàñïîëàãàòü
â îïðåäåëåííîì ïîðÿäêå)
with
order
and
method
(â /îïðåäåëåííîì/ ïîðÿäêå è ïî /îïðåäåëåííîé/ ñèñòåìå;
method — ìåòîä, ñïîñîá; ñèñòåìà, ïîðÿäîê
).”
“
Pray
continue,
Monsieur
(ïðîøó âàñ, ïðîäîëæàéòå, ìñüå;
to
pray — ìîëèòüñÿ; ïðîñèòü /â îáðàùåíèè, êàê
ââîäíîå ñëîâî/)
,” said
Dr
. Constantine
.
soothingly ['su:DINlI]
wisdom ['wIzdqm]
method ['meTqd]
“No, no, no,” said Poirot soothingly.
M. Bouc turned upon him. “Speak, then, let us hear the wisdom of Hercule
Poirot.”
“Did I not tell you that I was, like you, a very puzzled man? But at least
we can face our problem. We can arrange such facts as we have with order and method.”
“Pray continue, Monsieur,” said Dr. Constantine.
Poirot cleared his throat
(Ïóàðî
îòêàøëÿëñÿ
: «ïðî÷èñòèë
ãîðëî
»; to clear —
î÷èùàòü)
and straightened a piece of blotting-paper (
è
ðàñïðàâèë
êëî÷îê/
ëèñòîê
ïðîìîêàòåëüíîé
áóìàãè; piece —
êóñîê,
÷àñòü;
øòóêà,
îòäåëüíûé
ïðåäìåò; blot —
ïÿòíî;
êëÿêñà,
ïîìàðêà; to blot —
äåëàòü
êëÿêñû;
ñòèðàòü,
âû÷åðêèâàòü
íàïèñàííîå)
.
“
Let
us
review
the
case
(äàâàéòå åùå ðàç ïîñìîòðèì íà äåëî;
to
review — ðàññìàòðèâàòü, äåëàòü îáçîð;
case — ñëó÷àé, îáñòîÿòåëüñòâî, ïîëîæåíèå
äåë)
as
it
stands
at
this
moment
(êàêèì îíî ïðåäñòàâëÿåòñÿ ñåé÷àñ: «â äàííûé ìîìåíò»;
to
stand — ñòîÿòü; îáñòîÿòü /î äåëàõ è ò.ï./, íàõîäèòüñÿ
â îïðåäåëåííîì ïîëîæåíèè)
. First
, there
are
certain
indisputable
facts
(âî-ïåðâûõ, åñòü îïðåäåëåííûå áåññïîðíûå ôàêòû;
to
dispute — îáñóæäàòü; ñòàâèòü ïîä ñîìíåíèå,
îñïàðèâàòü).
This
man,
Ratchett
or
Cassetti,
was
stabbed
in
twelve
places
(ýòîò ÷åëîâåê, Ðýò÷åòò, îí æå Êàññåòòè, áûë çàêîëîò â äâåíàäöàòè ìåñòàõ = ïîëó÷èë äâåíàäöàòü
íîæåâûõ ðàí) and
died
last
night
(è óìåð ïðîøëîé íî÷üþ)
. That
is
fact
one
(ýòî ôàêò íîìåð îäèí)
.”
“
I
grant
it
you
(íå âîçðàæàþ; to
grant
— äàðîâàòü, æàëîâàòü; äîïóñêàòü, ïðèçíàâàòü, ïîäòâåðæäàòü ïðàâèëüíîñòü /÷åãî-ëèáî/
) —
I
grant
it,
mon
vieux
(íå âîçðàæàþ, ñòàðèíà),”
said
M.
Bouc
with
a
gesture
of
irony
(ñêàçàë ìñüå Áóê ñ èðîíèåé;
gesture — æåñò, òåëîäâèæåíèå; äåéñòâèå
).
Hercule
Poirot
was
not
at
all
put
out
(Ýðêþëÿ Ïóàðî ýòî âîâñå íå ñìóòèëî;
to
put
out — âûòÿãèâàòü, âûñîâûâàòü; ðàññòðàèâàòü,
âûáèâàòü èç êîëåè, âûâîäèòü èç ðàâíîâåñèÿ)
. He
continued
calmly
(îí íåâîçìóòèìî ïðîäîëæèë;
calm — ñïîêîéíûé, òèõèé, íåâîçìóòèìûé /î ÷åëîâåêå/
).
throat [TrqVt]
straighten ['streItn]
indisputable ["IndI'spju:tqb(q)l]
irony ['aI(q)rqnI]
Poirot cleared his throat and straightened a piece of blotting-paper.
“Let us review the case as it stands at this moment. First, there are certain
indisputable facts. This man, Ratchett or Cassetti, was stabbed in twelve places and died last night. That is fact one.”
“I grant it you — I grant it,
mon vieux,” said M. Bouc with a gesture of irony.
Hercule Poirot was not at all put out. He continued calmly.
“I will pass over for the moment
(â
äàííóþ
ìèíóòó
ÿ
îïóùó
; to pass over —
ïåðåïðàâëÿòüñÿ;
ïðîïóñêàòü,
îñòàâëÿòü
áåç
âíèìàíèÿ,
îáõîäèòü
ìîë÷àíèåì)
certain rather peculiar appearances (
îïðåäåëåííûå
äîâîëüíî
ñòðàííûå
îáñòîÿòåëüñòâà;
peculiar — ñïåöèôè÷åñêèé
; ñòðàííûé
, ýêñöåíòðè÷íûé
, íåîáû÷íûé
; appearance — âíåøíèé
âèä
, âíåøíîñòü
; ÿâëåíèå
/îáûêí
. ñòðàííîå
/)
which Dr. Constantine and I have already discussed together
(êîòîðûå
ìû
óæå
îáñóäèëè
âìåñòå
ñ
äîêòîðîì
Êîíñòàíòèíîì
). I will come to them presently
(âñêîðå
ÿ
ïåðåéäó
ê
íèì
). The next fact of importance, to my mind, is the time of the crime
(ñëåäóþùèé
âàæíûé
ôàêò
, ïî
-ìîåìó
, ýòî
âðåìÿ
ïðåñòóïëåíèÿ
; importance —
çíà÷åíèå,
âàæíîñòü; mind —
óì,
ðàçóì;
ìíåíèå,
âçãëÿä)
.”
“
That,
again,
is
one
of
the
few
things
(ýòî, îïÿòü æå, îäèí èç íåìíîãèõ ôàêòîâ)
we
do
know
(êîòîðûå ìû äåéñòâèòåëüíî çíàåì)
,” said
M
. Bouc
. “The
crime
was
committed
at
a
quarter
past
one
this
morning
(ïðåñòóïëåíèå áûëî ñîâåðøåíî ýòîé íî÷üþ: «óòðîì»,
â ÷åòâåðòü âòîðîãî). Everything
goes
to
show
that
that
was
so
(âñå óêàçûâàåò íà òî, ÷òî ýòî òàê è áûëî;
to
go
to
show
that … — ñâèäåòåëüñòâîâàòü
).”
peculiar
[pI'kju:lIq] importance
[Im'pO:t(q)ns] quarter
['kwO:tq]
“I will pass over for the moment certain rather peculiar appearances which
Dr. Constantine and I have already discussed together. I will come to them presently. The next fact of importance, to my mind, is the time of the crime.”
“That, again, is one of the few things we do know,” said M. Bouc. “The
crime was committed at a quarter past one this morning. Everything goes to show that that was so.”
“Not everything (
íå
âñå)
. You
exaggerate
(âû ïðåóâåëè÷èâàåòå).
There
is,
certainly,
a
fair
amount
of
evidence
(êîíå÷íî, äîñòàòî÷íîå êîëè÷åñòâî óëèê;
fair — ÷åñòíûé, ñïðàâåäëèâûé; äîñòàòî÷íî
õîðîøèé, ñíîñíûé; evidence
— îñíîâàíèå, äàííûå; þð. äîêàçàòåëüñòâî, óëèêà
)
to
support
that
view
(êîòîðûå ïîäòâåðæäàþò ýòó òî÷êó çðåíèÿ;
to
support — ïîääåðæèâàòü; ïîäòâåðæäàòü, ñëóæèòü
äîêàçàòåëüñòâîì)
.”
“
I
am
glad
you
admit
that
at
least
(ÿ ðàä, ÷òî âû, ïî ìåíüøåé ìåðå, ïðèçíàåòå ýòî)
.”
Poirot
went
on
calmly
(Ïóàðî ñïîêîéíî ïðîäîëæàë)
, unperturbed
by
the
interruption
(/îñòàâàÿñü/ íåâîçìóòèìûì ïîñëå òàêîãî âìåøàòåëüñòâà;
to
perturb — ñìóùàòü, òðåâîæèòü, áåñïîêîèòü;
to
interrupt — ïðåðûâàòü, ïðèîñòàíàâëèâàòü /õîä,
òå÷åíèå ÷åãî-ëèáî/; ïåðåáèâàòü, ïðåðûâàòü /ãîâîðÿùåãî/)
. “We have before us three possibilities
(ïåðåä
íàìè
òðè
âîçìîæíîñòè
).
amount [q'maVnt]
unperturbed ["Anpq'tq:bd]
interruption ["Intq'rApS(q)n]
“Not everything. You exaggerate. There is, certainly, a fair amount of evidence
to support that view.”
“I am glad you admit that at least.”
Poirot went on calmly, unperturbed by the interruption. “We have before us
three possibilities.
“(1) — that the crime was committed, as you say, at a quarter past one
(ïåðâàÿ
— ïðåñòóïëåíèå
áûëî
ñîâåðøåíî
, êàê
âû
ãîâîðèòå
, â
÷åòâåðòü
âòîðîãî
). This is supported by the evidence of the watch
(ýòî
ïîäòâåðæäàåòñÿ
óëèêîé
— ÷àñàìè
), by the evidence of Mrs. Hubbard
(ïîêàçàíèÿìè
ìèññèñ
Õàááàðä
; evidence —
îñíîâàíèå,
äàííûå;
þð.
ïîêàçàíèå
ñâèäåòåëÿ
èëè
îáâèíÿåìîãî)
, and by the evidence of the German woman, Hildegarde Schmidt
(è
ïîêàçàíèÿìè
ýòîé
íåìêè
, Õèëüäåãàðäû
Øìèäò
). It
agrees
with
the
evidence
of
Dr
. Constantine
(ýòî ñîâïàäàåò ñ ïîêàçàíèÿìè äîêòîðà Êîíñòàíòèíà;
to
agree — ñîãëàøàòüñÿ, äîãîâàðèâàòüñÿ; ñîîòâåòñòâîâàòü
).
“(2) —
that
the
crime
was
committed
later
(/âòîðàÿ âîçìîæíîñòü/ — ïðåñòóïëåíèå áûëî ñîâåðøåíî ïîçæå)
, and
that
the
evidence
of
the
watch
was
deliberately
faked
(è ÷òî /ïîêàçàíèÿ/ ÷àñîâ, êàê óëèêè, áûëè óìûøëåííî
èçìåíåíû; to
fake
— ïîääåëûâàòü, ôàëüñèôèöèðîâàòü, ôàáðèêîâàòü
)
in
order
to
mislead
(äëÿ òîãî, ÷òîáû ââåñòè /íàñ/ â çàáëóæäåíèå;
to
mislead — ââîäèòü â çàáëóæäåíèå, îáìàíûâàòü
).
evidence ['evId(q)ns]
deliberately [dI'lIb(q)rItlI]
mislead [mIs'li:d]
“(1) — that the crime was committed, as you say, at a quarter past one.
This is supported by the evidence of the watch, by the evidence of Mrs. Hubbard, and by the evidence of the German woman, Hildegarde Schmidt. It agrees with the evidence of Dr. Constantine.
“(2) — that the crime was committed later, and that the evidence of the
watch was deliberately faked in order to mislead.
“(3) — that the crime was committed earlier
(/òðåòüÿ
âîçìîæíîñòü
/ — ïðåñòóïëåíèå
áûëî
ñîâåðøåíî
ðàíüøå
), and the evidence faked for the same reason as above
(è
óëèêà
áûëà
ñôàáðèêîâàíà
ïî
òîé
æå
ñàìîé
ïðè÷èíå
, ÷òî
óêàçàíà
âûøå
; above —
íàâåðõó;
ðàíåå,
âûøå /
â
òåêñòå,
â
ðå÷è/
).
“Now if we accept possibility (1)
(òàê
âîò
, åñëè
ìû
ïðèìåì
ïåðâîå
ïðåäïîëîæåíèå
: «âîçìîæíîñòü
») as the most likely to have occurred
(êàê
íàèáîëåå
âåðîÿòíîå
; likely —
âåðîÿòíûé,
âîçìîæíûé,
ïðàâäîïîäîáíûé, to occur —
ñëó÷àòüñÿ,
ïðîèñõîäèòü)
, and the one supported by most evidence (
è
ïîäòâåðæäàåìîå
áîëüøåé
÷àñòüþ
ïîêàçàíèé/
óëèê;
most — íàèáîëüøåå
êîëè÷åñòâî
, áîëüøàÿ
÷àñòü
), we must also accept certain facts
(ìû
òàêæå
äîëæíû
ïðèçíàòü
îïðåäåëåííûå
ôàêòû
; to accept —
ïðèíèìàòü,
áðàòü /
ïðåäëîæåííîå/;
ñîãëàøàòüñÿ,
ïðèçíàâàòü
) arising from it
(âûòåêàþùèå
èç
ýòîãî
; to arise (arose, arisen) —
âîçíèêàòü,
ïîÿâëÿòüñÿ; /from/
ïðîèñòåêàòü,
ÿâëÿòüñÿ
ðåçóëüòàòîì)
. If
the
crime
was
committed
at
a
quarter
past
one
(åñëè
ïðåñòóïëåíèå
áûëî
ñîâåðøåííî
â
÷åòâåðòü
âòîðîãî
),
the
murderer
cannot
have
left
the
train
(òî
óáèéöà
íå
ìîã
ïîêèíóòü
ïîåçä
),
and
the
questions
arise
(è
âñòàþò
âîïðîñû
):
Where
is
he
(ãäå
îí
)?
And who is he (
è
êòî
îí)
?
occur
[q'kq:] question
['kwestS(q)n]
arise [q'raIz]
“(3) — that the crime was committed earlier, and the evidence faked for
the same reason as above.
“Now if we accept possibility (1) as the most likely to have occurred, and the one supported by most evidence, we must also accept certain facts arising from it. If
the crime was committed at a quarter past one, the murderer cannot have left the train, and the questions arise: Where is he? And
who
is
he
?
“
To
begin
with,
let
us
examine
the
evidence
carefully
(äëÿ íà÷àëà: «íà÷àòü ñ», äàâàéòå òùàòåëüíî ðàçáåðåìñÿ â ïîêàçàíèÿõ
; to
examine
— ðàññìàòðèâàòü; ïðîâåðÿòü, èññëåäîâàòü, èçó÷àòü
).
We
first
hear
of
the
existence
of
this
man
(â ïåðâûé ðàç ìû ñëûøèì =
ìû óçíàåì î ñóùåñòâîâàíèè ýòîãî ÷åëîâåêà;
to
hear — ñëûøàòü, óñëûøàòü; óñëûøàòü, óçíàòü;
to
exist — áûòü, ñóùåñòâîâàòü
) —
the
small
dark
man
with
a
womanish
voice
(íåâûñîêîãî ñìóãëîãî ìóæ÷èíû ñ æåíîïîäîáíûì ãîëîñîì)
— from
the
man
Hardman
(îò ýòîãî Õàðäìàíà)
. He
says
that
Ratchett
told
him
of
this
person
(îí óòâåðæäàåò, ÷òî Ðýò÷åòò ðàññêàçàë åìó îá ýòîì
÷åëîâåêå) and
employed
him
to
watch
out
for
the
man
(è íàíÿë åãî, ÷òîáû ñëåäèòü çà ýòèì ÷åëîâåêîì /è
îõðàíÿòü îò íåãî/; to
watch
(out
, for
) — íàáëþäàòü, ñëåäèòü; ñòåðå÷ü, êàðàóëèòü; áûòü íà÷åêó, íàñòîðîæå
).
There
is
no
evidence
to
support
this
(íåò íèêàêèõ äîêàçàòåëüñòâ, ïîäòâåðæäàþùèõ ýòî)
; we
have
only
Hardman
’s
word
for
it
(ó íàñ åñòü òîëüêî ñëîâà ñàìîãî Õàðäìàíà = ìû äîëæíû
âåðèòü Õàðäìàíó íà ñëîâî).
Let
us
next
examine
the
question
(äàâàéòå ñëåäîì ðàññìîòðèì òàêîé âîïðîñ)
: Is
Hardman
the
person
he
pretends
to
be
(ÿâëÿåòñÿ ëè Õàðäìàí òåì, çà êîãî îí ñåáÿ âûäàåò:
«êîòîðûì îí ïðåòâîðÿåòñÿ áûòü»; to
pretend
— ïðèòâîðÿòüñÿ, äåëàòü âèä; ïðèêèäûâàòüñÿ, ðàçûãðûâàòü èç ñåáÿ
) —
an
operative
of
a
New
York
detective
a
gency
(äåòåêòèâîì èç Íüþ-Éîðêñêîãî ñûñêíîãî àãåíòñòâà)
?
examine
[Ig'zxmIn] existence
[Ig'zIst(q)ns] operative
['O
p(q)rqtIv]
“To begin with, let us examine the evidence carefully. We first hear of the
existence of this man — the small dark man with a womanish voice — from the man Hardman. He says that Ratchett told him of this person and employed him to watch out for the man. There is no evidence to support this; we
have only Hardman’s word for it. Let us next examine the question: Is Hardman the person he pretends to be an operative of a New York
detective
agency?
“
What
to
my
mind
is
so
interesting
in
this
case
(ïî ìîåìó /ìíåíèþ/, ÷òî òàê èíòåðåñíî â ýòîì äåëå)
is
that
we
have
none
of
the
facilities
(òàê ýòî òî, ÷òî ó íàñ íåò òåõ: «íèêàêèõ èç» ñðåäñòâ;
facility — ëåãêîñòü, íåñëîæíîñòü; âîçìîæíîñòè,
ëüãîòû; îáîðóäîâàíèÿ, ñðåäñòâà, óñòðîéñòâà)
afforded
to
the
police
(÷òî äîñòóïíû ïîëèöèè;
to
afford — èìåòü âîçìîæíîñòü, áûòü â ñîñòîÿíèè
/ñäåëàòü ÷òî-ëèáî/; ïðåäîñòàâëÿòü, äàâàòü)
. We
cannot
investigate
the
bona
fides
(ìû íå ìîæåì ïðîâåðèòü ÷åñòíîñòü;
to
investigate — ðàññëåäîâàòü, ðàññìàòðèâàòü /äåëî/,
ïîëó÷èòü ñâåäåíèÿ /î êîì-ëèáî, î ÷åì-ëèáî/)
of
any
of
these
people
(íèêîãî èç ýòèõ ëþäåé)
. We
have
to
rely
solely
on
deduction
(ìû äîëæíû ïîëàãàòüñÿ èñêëþ÷èòåëüíî íà /íàøè/
óìîçàêëþ÷åíèÿ; deduction
— âû÷èòàíèå, óäåðæàíèå; âûâîä, óìîçàêëþ÷åíèå
).
That,
to
me,
makes
the
matter
(ýòî äëÿ ìåíÿ äåëàåò /ðàññëåäîâàíèå/ âñåãî ýòîãî äåëà)
very
much
more
interesting
(ãîðàçäî èíòåðåñíåå)
. There
is
no
routine
work
(íèêàêèõ øàáëîíîâ)
. It
is
all
a
matter
of
the
intellect
(òîëüêî ðàáîòà óìà;
intellect — èíòåëëåêò, óì, ðàññóäîê; óìñòâåííûå
ñïîñîáíîñòè, ìîçãè)
. I
ask
myself
(ÿ ñïðàøèâàþ ñåáÿ)
: Can
we
accept
(ìîæåì ëè ìû ïîâåðèòü;
to
accept — ïðèíèìàòü, áðàòü /ïðåäëîæåííîå/; âåðèòü
)
Hardman’
s
account
of
himself
(ðàññêàçó Õàðäìàíà î ñåáå ñàìîì;
account — ñ÷åò; îïèñàíèå, ðàññêàç
)?
I
make
my
decision
(ÿ ðåøàþ: «ïðèíèìàþ ðåøåíèå»;
decision — ðåøåíèå
)
and
I
answer ‘
Yes’
(è îòâå÷àþ: "äà").
I
am
of
the
opinion
that
we
can
accept
Hardman’
s
account
of
himself
(ÿ /ïðèäåðæèâàþñü/ òîãî ìíåíèÿ, ÷òî ìû ìîæåì âåðèòü ðàññêàçó Õàðäìàíà î ñåáå)
.”
“
You
rely
on
the
intuition
(âû ïîëàãàåòåñü íà èíòóèöèþ/÷óòüå)
? What
the
Americans
call
‘the
hunch
’ (/íà òî/, ÷òî àìåðèêàíöû íàçûâàþò "íþõ";
to
call — êðè÷àòü; íàçûâàòü, çâàòü,
hunch — ãîðá; àìåð. ðàçã. ïðåä÷óâñòâèå, ïîäîçðåíèå,
èíòóèöèÿ, íþõ)
?” asked
Dr
. Constantine
.
facility
[fq'sIlItI] police
[pq'li:s] inv
estigate [In'vestIgeIt]
bona fides ["bqVnq'faIdIz]
deduction [dI'dAkS(q)n]
decision [dI'sIZ(q)n]
“What to my mind is so interesting in this case is that we have none of the
facilities afforded to the police. We cannot investigate the bona fides of any of these people. We have to rely solely on deduction. That, to me, makes the matter very much more interesting. There is no routine work. It is
all a matter of the intellect. I ask myself: Can we accept Hardman’s account of himself? I make my decision and I answer ‘Yes.’ I am of the opinion that we can accept Hardman’s account of himself.”
“You rely on the intuition? What the Americans call ‘the hunch’?” asked
Dr. Constantine.
“Not at all (
âîâñå
íåò)
. I
regard
the
probabilities
(ÿ ïðèíèìàþ âî âíèìàíèå âñå âîçìîæíîñòè;
to
regard — ðàññìàòðèâàòü, ñ÷èòàòü; ñìîòðåòü,
ðàçãëÿäûâàòü; ïðèíèìàòü âî âíèìàíèå, ñ÷èòàòüñÿ)
. Hardman
is
travelling
with
a
false
passport
(Õàðäìàí ïóòåøåñòâóåò ñ ôàëüøèâûì ïàñïîðòîì;
false — ëîæíûé, íåâåðíûé, îøèáî÷íûé;
ôàëüøèâûé, ïîääåëüíûé)
— that
will
at
once
make
him
an
object
of
suspicion
(ýòî íåìåäëåííî äåëàåò åãî îáúåêòîì äëÿ ïîäîçðåíèé;
object — ïðåäìåò, âåùü; îáúåêò, ïðåäìåò;
to
suspect — ïîäîçðåâàòü
).
The
first
thing
that
the
police
will
do
when
they
do
arrive
upon
the
scene
(ïåðâîå, ÷òî ñäåëàåò ïîëèöèÿ, êîãäà îíà ïðèáóäåò íà ìåñòî /ïðåñòóïëåíèÿ/;
scene — ìåñòî äåéñòâèÿ /â ðîìàíå, ïüåñå è.ï./;
ìåñòî /ñîáûòèÿ, ïðîèñøåñòâèÿ è ò.ï./)
is
to
detain
Hardman
and
cable
as
to
(òàê ýòî çàäåðæèò Õàðäìàíà è áóäåò òåëåãðàôèðîâàòü
îòíîñèòåëüíî òîãî) whether
his
account
of
himself
is
true
(âåðåí ëè åãî ðàññêàç î ñåáå;
true — âåðíûé, ïðàâèëüíûé; íàñòîÿùèé, ïîäëèííûé,
èñòèííûé).
In
the
case
of
many
of
the
passengers
(â ñëó÷àå äðóãèõ: «ìíîãèõ» ïàññàæèðîâ)
, to
establish
their
bona
fides
will
be
difficult
(áóäåò òðóäíî ïðîâåðèòü /èõ/ ëè÷íîñòè;
to
establish — îñíîâûâàòü, ó÷ðåæäàòü; óñòàíàâëèâàòü,
âûÿñíÿòü, îïðåäåëÿòü; bona
fides
— ÷åñòíîå íàìåðåíèå; äîáðîñîâåñòíîñòü, ÷åñòíîñòü
);
in
most
cases
it
will
probably
not
be
attempted
(â áîëüøèíñòâå ñëó÷àåâ ýòî, âîçìîæíî, è íå áóäóò ïûòàòüñÿ /ñäåëàòü/)
, especially
since
there
seems
nothing
in
the
way
of
suspicion
(îñîáåííî îòòîãî, ÷òî, êàæåòñÿ, íè÷åãî ïîäîçðèòåëüíîãî;
way — ïóòü, äîðîãà; îòíîøåíèå, àñïåêò
)
attaching
to
them
(â íèõ íåò; to
attach
— ïðèêðåïëÿòü, ïðèñîåäèíÿòü; áûòü ñâîéñòâåííûì, ïðèñóùèì
).
But
in
Hardman’
s
case
it
is
simple
(íî â ñëó÷àå ñ Õàðäìàíîì âñå ïðîñòî)
. Either
he
is
the
person
he
represents
himself
to
be
(îí ëèáî òîò ÷åëîâåê, çà êîòîðîãî ñåáÿ âûäàåò;
to
represent — èçîáðàæàòü èëè ïðåäñòàâëÿòü /â êàêîì-ëèáî
àñïåêòå/; èçîáðàæàòü /êîãî-ëèáî/, âûäàâàòü /çà êîãî-ëèáî/)
, or
he
is
not
(ëèáî íåò)
. Therefore
I
say
that
all
will
prove
to
be
in
order
(ïî ýòîé ïðè÷èíå ÿ ãîâîðþ, ÷òî âñå /÷òî îí ãîâîðèò/
îêàæåòñÿ â ïîëíîì ïîðÿäêå; to
prove
— äîêàçûâàòü; îêàçûâàòüñÿ
).”
“
You
acquit
him
of
suspicion
(âû ñíèìàåòå ñ íåãî ïîäîçðåíèÿ;
to
acquit — îïðàâäûâàòü; îñâîáîæäàòü /îò îáÿçàòåëüñòâà,
äîëãà, îáåùàíèÿ è ò.ï./, ñíèìàòü /îòâåòñòâåííîñòü è ò.ï./)
?”
probability ["pr
Obq'bIlItI]
suspicion [sq'spIl(q)n]
scene [si:n]
establish [I'stxblIS
] represent [
"reprI'zent]
“Not at all. I regard the probabilities. Hardman is travelling with a false
passport — that will at once make him an object of suspicion. The first thing that the police will do when they do arrive upon the scene is to detain Hardman and cable as to whether his account of himself is true. In the
case of many of the passengers, to establish their bona fides will be difficult; in most cases it will probably not be attempted, especially since there seems nothing in the way of suspicion attaching to them. But in Hardman’s
case it is simple. Either he is the person he represents himself to be, or he is not. Therefore I say that all will prove to be in order.”
“You acquit him of suspicion?”
“Not at all
(âîâñå
íåò
). You
misunderstand
me
(âû ìåíÿ íåïðàâèëüíî ïîíÿëè)
. For
all
I
know
, any
American
detective
(íàñêîëüêî ÿ çíàþ, ó ëþáîãî àìåðèêàíñêîãî ñûùèêà;
for
all
I
know
— ïîñêîëüêó ÿ íå èìåþ ïðîòèâîïîëîæíûõ ñâåäåíèé; ìîæåò áûòü
)
might
have
his
own
private
reasons
for
wishing
to
murder
Ratchett
(ìîãóò áûòü ñâîè ñîáñòâåííûå: «ëè÷íûå» ïðè÷èíû æåëàòü óáèéñòâà Ðýò÷åòòà)
. No
, what
I
am
saying
is
(íåò, ÿ ïðîñòî õî÷ó ñêàçàòü: «òî, ÷òî ÿ ãîâîðþ åñòü»)
that
I
think
we
can
accept
Hardman
’s
own
account
of
himself
(÷òî ìû ìîæåì âåðèòü ðàññêàçó Õàðäìàíà î ñåáå)
. This
story
, then
, that
he
tells
(à ïîòîì, ýòà èñòîðèÿ, êîòîðóþ îí ðàññêàçûâàåò)
of
Ratchett
’s
seeking
him
out
and
employing
him
(÷òî Ðýò÷åòò ðàçûñêàë åãî è íàíÿë åãî)
is
not
unlikely
(íå òàêàÿ óæ íåâåðîÿòíàÿ;
unlikely — íåïðàâäîïîäîáíûé, íåâåðîÿòíûé, ìàëîâåðîÿòíûé
),
and
is
most
probably
(è, ñêîðåå âñåãî: «íàèáîëåå âåðîÿòíî»)
— though
not
of
course
certainly
— true
(õîòÿ, êîíå÷íî, íå áåçóñëîâíî — ïðàâäèâà)
. If
we
are
going
to
accept
it
as
true
(åñëè ìû ñîáèðàåìñÿ ïðèíÿòü åå êàê ïðàâäèâóþ)
, we
must
see
if
there
is
any
confirmation
of
it
(ìû äîëæíû âûÿñíèòü, åñòü ëè åé êàêèå-íèáóäü ïîäòâåðæäåíèÿ/äîêàçàòåëüñòâà;
to
confirm
— ïîäòâåðæäàòü)
. We
find
it
in
rather
an
unlikely
place
(è ìû íàõîäèì åãî â äîâîëüíî íåîæèäàííîì: «íåâåðîÿòíîì»
ìåñòå) — in
the
evidence
of
Hildegarde
Schmidt
(â ïîêàçàíèÿõ Õèëüäåãàðäû Øìèäò)
. Her
description
of
the
man
she
saw
in
Wagon
Lit
uniform
(åå îïèñàíèå ÷åëîâåêà, êîòîðîãî îíà âèäåëà â óíèôîðìå
/ïðîâîäíèêà/ ñïàëüíîãî âàãîíà)
tallies
exactly
(ñîâïàäàåò /ñî ñëîâàìè Õàðäìàíà/;
to
tally — ñîîòâåòñòâîâàòü, áûòü ñîçâó÷íûì
).
Is
there
any
further
confirmation
of
these
two
stories
(åñòü ëè åùå êàêîå-íèáóäü ïîäòâåðæäåíèå äâóõ ýòèõ èñòîðèé;
story — ïîâåñòü, ðàññêàç; çàÿâëåíèå, ÷òî-ëèáî
ñêàçàííîå, ÷üè-ëèáî ñëîâà)
? There is
(åñòü
). There is the button that Mrs. Hubbard found in her compartment
(åñòü
ïóãîâèöà
, êîòîðóþ
ìèññèñ
Õàááàðä
íàøëà
â
ñâîåì
êóïå
). And there is also another corroborating statement
(åñòü
òàêæå
åùå
îäíî
ïîäòâåðæäàþùåå
ïîêàçàíèå
; to corroborate —
ïîäòâåðæäàòü,
ïîäêðåïëÿòü /
òåîðèþ, ìíåíèå
è
ò.
ï./;
þð.
ïîäêðåïèòü
îäíî
äîêàçàòåëüñòâî
äðóãèì; statement —
âûñêàçûâàíèå,
èçëîæåíèå;
þð.
ïîêàçàíèå)
which you may not have noticed (
êîòîðîå
âû,
ìîæåò
áûòü,
íå
çàìåòèëè)
.”
misunderstand
["mIsAndq'stxnd] private
['praIvIt] confirmation
["kO
nfq'meIS(q)n] tally
['txlI] corroboration
[kq"rO
bq'reIS(q)n]
“Not at all. You misunderstand me. For all I know, any American detective
might have his own private reasons for wishing to murder Ratchett. No, what I am saying is that I think we can accept Hardman’s own account of himself. This story, then, that he tells of Ratchett’s seeking him out and
employing him is not unlikely, and is most probably — though not of course certainly — true. If we are going to accept it as true, we must see if there is any confirmation of it. We find it in rather an unlikely place
— in the evidence of Hildegarde Schmidt. Her description of the man she saw in Wagon Lit uniform tallies exactly. Is there any further confirmation of these two stories? There is. There is the button that Mrs. Hubbard found
in her compartment. And there is also another corroborating statement which you may not have noticed.”
“What is that
(êàêîå
: «÷òî
ýòî
»)?”
“The fact that both Colonel Arbuthnot and Hector MacQueen mention
(òîò
ôàêò
, ÷òî
îáà
— è
ïîëêîâíèê
Àðáýòíîò
è
Ãåêòîð
Ìàêêóèí
, óïîìÿíóëè
î
òîì
) that the conductor passed their carriage
(÷òî
ïðîâîäíèê
ïðîøåë
ìèìî
èõ
êóïå
). They attached no importance to the fact
(îíè
íå
ïðèäàëè
ýòîìó
îáñòîÿòåëüñòâó
/ôàêòó
íèêàêîãî
çíà÷åíèÿ
; to attach —
ïðèêðåïëÿòü;
ïðèïèñûâàòü,
ïðèäàâàòü)
, but, Messieurs (
íî,
ãîñïîäà)
, Pierre Michel has declared that he did not leave his seat
(Ïüåð
Ìèøåëü
çàÿâèë
, ÷òî
îí
íå
âñòàâàë
ñî
ñâîåãî
ìåñòà
) except on certain specified occasions
(çà
èñêëþ÷åíèåì
ñïåöèàëüíî
îãîâîðåííûõ
ñëó÷àåâ
; to specify —
òî÷íî
îïðåäåëÿòü;
îãîâàðèâàòü,
ñïåöèàëüíî
óïîìèíàòü,
íàçûâàòü)
— none of which would take him down to the far end of the coach
(íè
îäèí
èç
êîòîðûõ
íå
ïðèâåë
áû
åãî
â
äàëüíèé
êîíåö
âàãîíà
; to take smb. to a place —
ïðèâîäèòü
êîãî-
ëèáî
êóäà-
ëèáî)
past the compartment in which Arbuthnot and MacQueen were sitting
(ìèìî
òîãî
êóïå
, â
êîòîðîì
ñèäåëè
Àðáýòíîò
è
Ìàêêóèí
).
importance
[Im'pO:t(q)ns] specified
['spesIfaId] occasion
[q'keIZ(q)n]
“What is that?”
“The fact that both Colonel Arbuthnot and Hector MacQueen mention that the
conductor passed their carriage. They attached no importance to the fact, but, Messieurs, Pierre Michel has declared that he did not leave his seat except on certain specified occasions — none of which would take him down
to the far end of the coach past the compartment in which Arbuthnot and MacQueen were sitting.
“Therefore this story
(ñëåäîâàòåëüíî
, ýòîò
ðàññêàç
), the story of a small dark man with a womanish voice dressed in Wagon Lit uniform
(ðàññêàç
î
íåâûñîêîì
ñìóãëîì
÷åëîâåêå
ñ
æåíîïîäîáíûì
ãîëîñîì
, îäåòûì
â
óíèôîðìó
/êîìïàíèè
/ ñïàëüíûõ
âàãîíîâ
), rests on the testimony
(ïîäêðåïëÿåòñÿ
ïîêàçàíèÿìè
; to rest —
îòäûõàòü,
ëåæàòü;
îáîñíîâûâàòü;
îïèðàòüñÿ /
íà
êîãî-
ëèáî,
÷òî-
ëèáî/; testimony —
þð.
ïîêàçàíèÿ
ñâèäåòåëÿ;
ñâèäåòåëüñêîå
ïîêàçàíèå
êàê
äîêàçàòåëüñòâî)
, direct or indirect (
ïðÿìûìè
èëè
êîñâåííûìè;
indirect — íåïðÿìîé
; êîñâåííûé
), of four witnesses
(÷åòûðåõ
ñâèäåòåëåé
).”
“One small point
(îäèí
ìàëåíüêèé
ìîìåíò
),” said Dr. Constantine. “If Hildegarde Schmidt’s story is true
(åñëè
èñòîðèÿ
Õèëüäåãàðäû
Øìèäò
ïðàâäèâà
), how is it that the real conductor
(êàê
âûõîäèò
òàê
, ÷òî
íàñòîÿùèé
ïðîâîäíèê
) did not mention having seen her
(íå
óïîìÿíóë
î
òîì
, ÷òî
âèäåë
åå
) when he came to answer Mrs. Hubbard’s bell
(êîãäà
îí
øåë
, ÷òîáû
îòâåòèòü
íà
çâîíîê
ìèññèñ
Õàááàðä
)?”
testimony
['testImqnI] witness
['wItnIs] mention
['menS(q)n]
“Therefore this story, the story of a small dark man with a womanish voice
dressed in Wagon Lit uniform, rests on the testimony, direct or indirect, of four witnesses.”
“One small point,” said Dr. Constantine. “If Hildegarde Schmidt’s story
is true, how is it that the real conductor did not mention having seen her when he came to answer Mrs. Hubbard’s bell?”
“That is explained, I think
(ýòî
îáúÿñíèìî
, ÿ
äóìàþ
). When he arrived to answer Mrs. Hubbard
(êîãäà
îí
ïðèøåë
, ÷òîáû
îòâåòèòü
/íà
âûçîâ
/ ìèññèñ
Õàááàðä
), the maid was in with her mistress
(ñëóæàíêà
íàõîäèëàñü
â
êóïå
, ñî
ñâîåé
õîçÿéêîé
; to be in —
íàõîäèòüñÿ,
áûòü
äîìà,
íà
ìåñòå)
. When she finally returned to her own compartment (
êîãäà
îíà
íàêîíåö
âåðíóëàñü
â
ñâîå
ñîáñòâåííîå
êóïå)
, the conductor was in with Mrs. Hubbard (
òî
êîíäóêòîð
áûë
â
êóïå,
ñ
ìèññèñ
Õàááàðä)
.”
M. Bouc had been waiting with difficulty
(ìñüå
Áóê
ñ
òðóäîì
äîæèäàëñÿ
; difficulty —
òðóäíîñòü)
until they had finished (
êîãäà
îíè
çàêîí÷àò /
ãîâîðèòü/)
.
“Yes, yes, my friend,” he said impatiently to Poirot
(ñêàçàë
îí
Ïóàðî
íåòåðïåëèâî
).
“But
whilst
I
admire
your
caution
(õîòÿ ÿ è âîñõèùàþñü âàøåé ïðåäóñìîòðèòåëüíîñòüþ;
whilst =
while — çä. ââîäèò ïðåäëîæåíèå ñ ïðîòèâîïîëîæíûì
çíà÷åíèåì ðàçã. õîòÿ, íåñìîòðÿ íà)
, your
method
of
advancing
a
step
at
a
time
(è âàøåé ìåòîäè÷íîñòüþ/ïîñëåäîâàòåëüíîñòüþ: «ìåòîäîì
ïðîäâèãàòüñÿ îäíèì øàãîì çà îäèí ðàç»),
I
submit
(ÿ çàÿâëÿþ; to
submit
— ïîä÷èíÿòüñÿ; þð. ïðåäëàãàòü /ñâîþ òî÷êó çðåíèÿ è ò.ï./, óòâåðæäàòü, çàÿâëÿòü
)
that
you
have
not
yet
touched
(÷òî âû âñå åùå íå êîñíóëèñü;
to
touch — êàñàòüñÿ, òðîãàòü; çàòðàãèâàòü /òåìó,
âîïðîñ/)
the
point
at
issue
(ñïîðíîãî âîïðîñà; issue
— âûïóñê, èçäàíèå; âîïðîñ, ïðîáëåìà; þð. âîïðîñ, ñîñòàâëÿþùèé ïðåäìåò ñïîðà
).
We
are
all
agreed
(ìû âñå ñîãëàñèëèñü;
to
agree — ñîãëàøàòüñÿ, ñõîäèòüñÿ âî ìíåíèÿõ
)
that
this
person
exists
(÷òî ýòîò ÷åëîâåê ñóùåñòâóåò)
. The
point
is
, where
did
he
go
(âîïðîñ â òîì, êóäà îí äåëñÿ;
point — òî÷êà; ïóíêò, ìîìåíò; âîïðîñ, äåëî;
ñóòü, ñàìîå ãëàâíîå)
?”
Poirot
shook
his
head
reprovingly
(Ïóàðî íåîäîáðèòåëüíî ïîêà÷àë ãîëîâîé;
to
reprove — äåëàòü âûãîâîð, êîðèòü; îñóæäàòü,
íå îäîáðÿòü).
impatient [Im'peIS(q)nt]
admire [qd'maIq]
caution ['kO:S(q)n]
issue ['ISu:, 'Isju:]
“That is explained, I think. When he arrived to answer Mrs. Hubbard, the
maid was in with her mistress. When she finally returned to her own compartment, the conductor was in with Mrs. Hubbard.”
M. Bouc had been waiting with difficulty until they had finished.
“Yes, yes, my friend,” he said impatiently to Poirot. “But whilst I admire
your caution, your method of advancing a step at a time, I submit that you have not yet touched the point at issue. We are all agreed that this person exists. The point is, where did he go?”
Poirot shook his head reprovingly.
“
You
are
in
error
(âû îøèáàåòåñü; error
— îøèáêà, çàáëóæäåíèå, ëîæíîå ïðåäñòàâëåíèå
).
You are inclined to put the cart before the horse (
âû
ñêëîííû
âïðÿãàòü
òåëåãó
ïåðåä
ëîøàäüþ
= ïðèíèìàòü ïðè÷èíó çà ñëåäñòâèå;
to
incline — íàêëîíÿòü, íàãèáàòü; ñêëîíÿòüñÿ,
òÿãîòåòü).
Before
I
ask
myself
(ïðåæäå, ÷åì çàäàòü ñåáå âîïðîñ)
, ‘Where
did
this
man
vanish
to
(êóäà èñ÷åç ýòîò ÷åëîâåê;
to
vanish — ñêðûâàòüñÿ èç âèäó, èñ÷åçàòü, ïðîïàäàòü
)?’
I
ask
myself
(ÿ ñïðàøèâàþ ñåáÿ), ‘
Did
such
a
man
really
exist
(à ñóùåñòâîâàë ëè òàêîé ÷åëîâåê íà ñàìîì äåëå)
?’ Because
, you
see
, if
the
man
were
an
invention
(ïîòîìó ÷òî, âèäèòå ëè, åñëè ýòîò ÷åëîâåê áûë âûìûñëîì;
invention — èçîáðåòåíèå, ñîçäàíèå; âûäóìêà,
èçìûøëåíèå, âûìûñåë;
to
invent — èçîáðåòàòü, ñîçäàâàòü; âûäóìûâàòü,
ïðèäóìûâàòü)
— a
fabrication
(âûäóìêîé;
fabrication — ïðîèçâîäñòâî, èçãîòîâëåíèå; âûäóìêà,
ëîæü; to
fabricate — âûäóìûâàòü, ñî÷èíÿòü, ôàáðèêîâàòü
) —
how
much
easier
to
make
him
disappear
(íàñêîëüêî ëåã÷å /áóäåò/ çàñòàâèòü åãî èñ÷åçíóòü)
! So
I
try
to
establish
first
(ïîýòîìó äëÿ íà÷àëà ÿ ïûòàþñü âûÿñíèòü;
to
establish — îñíîâûâàòü, ó÷ðåæäàòü; óñòàíàâëèâàòü,
âûÿñíÿòü, îïðåäåëÿòü)
that
there
really
is
(÷òî íà ñàìîì äåëå ñóùåñòâóåò)
such
a
flesh
-and
-blood
person
(òàêîé ÷åëîâåê, èç ïëîòè è êðîâè;
flesh-
and-
blood — ëþäè, ðîä ÷åëîâå÷åñêèé; ïëîòü è êðîâü
).”
error
['erq] fabrication
["fxbrI'keIS(q)n] flesh and blood
["fleSqn(d)'blAd]
“You are in error. You are inclined to put the cart before the horse. Before
I ask myself, ‘Where did this man vanish to?’ I ask myself, ‘Did such a man really exist?’ Because, you see, if the man were an invention — a fabrication — how much easier to make him disappear! So I try to establish
first that there really is such a flesh-and-blood person.”
“
And
having
arrived
at
the
fact
(è, óæå ïðèäÿ ê òîìó ôàêòó = óñòàíîâèâ;
to
arrive — ïðèáûâàòü, ïðèåçæàòü; äîñòèãàòü /÷åãî-ëèáî/,
ïðèõîäèòü /ê ÷åìó-ëèáî/)
that
there
is
(÷òî òàêîâîé ñóùåñòâóåò)
— eh
bien
, where
is
he
now
(
ôð. ÷òî æ, ãäå æå îí ñåé÷àñ)
?”
“
There
are
only
two
answers
to
that,
mon
cher
(íà ýòî åñòü òîëüêî äâà îòâåòà, ìîé äðóã)
. Either
he
is
still
hidden
on
the
train
(ëèáî îí âñå åùå ïðÿ÷åòñÿ: «ñïðÿòàí» â ïîåçäå;
to
hide (
hid,
hidden) — ïðÿòàòü(ñÿ), ñêðûâàòü(ñÿ)
) in
a
place
of
such
extraordinary
ingenuity
(â ìåñòå òàêîé íåîáû÷àéíîé èçîáðåòàòåëüíîñòè
= â íàñòîëüêî íåâåðîÿòíîì ìåñòå)
that
we
cannot
even
think
of
it
(÷òî îíî íàì äàæå â ãîëîâó íå ïðèõîäèò)
; or
else
he
is
, as
one
might
say
, two
persons
(èëè îí, åñëè òàê ìîæíî âûðàçèòüñÿ, ÿâëÿåòñÿ äâóìÿ
ëþäüìè). That
is
, he
is
both
himself
(à èìåííî, îí îäíîâðåìåííî;
both …
and — íå òîëüêî … íî è …
) —
the
man
feared
by
M.
Ratchett
(è òîò ÷åëîâåê, êîòîðîãî áîÿëñÿ Ðýò÷åòò;
to
fear — áîÿòüñÿ, ïóãàòüñÿ; îïàñàòüñÿ
) —
and
a
passenger
on
the
train
(è îäèí èç ïàññàæèðîâ ïîåçäà)
so
well
disguised
(òàê õîðîøî çàìàñêèðîâàííûé;
disguise — ìàñêèðîâêà, èçìåíåíèå âíåøíåãî âèäà;
to
disguise — ìàñêèðîâàòü, èçìåíÿòü âíåøíîñòü,
ïåðåîäåâàòü)
that
M.
Ratchett
did
not
recognise
him
(÷òî ìèñòåð Ðýò÷åòò íå óçíàë åãî)
.”
extraordinary
[Ik'strO:d(q)n(q)rI] ingenuity
["IndZI'nju:ItI] disguised
[dIs'gaIzd]
“And having arrived at the fact that there is —
Eh bien, where is he now?”
“There are only two answers to that, mon cher. Either he is still hidden
on the train in a place of such extraordinary ingenuity that we cannot even think of it; or else he is, as one might say, two persons. That is, he is both himself — the man feared by M. Ratchett — and a passenger on the
train so well disguised that M. Ratchett did not recognise him.”
“It is an idea, that (
à
ýòî
ìûñëü)
,” said M. Bouc, his face lighting up (
åãî
ëèöî
çàñèÿëî; to light —
çàæèãàòü;
îñâåùàòüñÿ;
îçàðÿòüñÿ,
ñèÿòü /
î
ãëàçàõ,
ëèöå/
). Then it clouded over again
(çàòåì
îíî
ñíîâà
îìðà÷èëîñü
; cloud —
îáëàêî,
òó÷à; to cloud —
ïîêðûâàòü
îáëàêàìè,
òó÷àìè;
îìðà÷àòüñÿ)
. “
But
there
is
one
objection
(íî åñòü îäíî âîçðàæåíèå;
objection — âîçðàæåíèå, íåñîãëàñèå; îñíîâàíèå
èëè ïîâîä äëÿ âîçðàæåíèé)
— ”
Poirot
took
the
words
out
of
his
mouth
(Ïóàðî ïðåäâîñõèòèë åãî /ñëåäóþùèå/ ñëîâà;
to
take (
took,
taken)
the
words
out
of
smb.'
s
mouth — ñêàçàòü òî, ÷òî õîòåë ñêàçàòü äðóãîé;
mouth — ðîò, óñòà
).
“The
height
of
the
man
(ðîñò ýòîãî ÷åëîâåê;
height — âûñîòà, âûøèíà; ðîñò
).
It
is
that
you
would
say
(ýòî âû õîòåëè ñêàçàòü)
? With
the
exception
of
Mr
. Ratchett
’s
valet
, all
the
passengers
are
big
men
(çà èñêëþ÷åíèåì ñëóãè ìèñòåðà Ðýò÷åòòà, âñå ïàññàæèðû
— êðóïíûå ìóæ÷èíû) — the
Italian
(èòàëüÿíåö)
, Colonel
Arbuthnot
(ïîëêîâíèê Àðáýòíîò)
, Hector
MacQueen
, Count
Andrenyi
(ãðàô Àíäðåíè)
. Well
, that
leaves
us
the
valet
(÷òî æ, íàì îñòàåòñÿ ñëóãà: «ýòî îñòàâëÿåò íàì
ñëóãó») — not
a
very
likely
supposition
(íå î÷åíü âåðîÿòíîå ïðåäïîëîæåíèå;
to
suppose — ïîëàãàòü, äóìàòü; ïðåäïîëàãàòü, äîïóñêàòü
).
But there is another possibility (
íî
åñòü
è
äðóãàÿ
âîçìîæíîñòü)
. Remember the ‘womanish’ voice (
ïîìíèòå «
æåíîïîäîáíûé»
ãîëîñ)
. That gives us a choice of alternatives (
ýòî
äàåò
íàì
âîçìîæíîñòü
âûáîðà;
choice — âûáîð
, îòáîð
; àëüòåðíàòèâà
, âîçìîæíîñòü
âûáîðà
; alternative — àëüòåðíàòèâà
, âûáîð
èç
äâóõ
âîçìîæíîñòåé
; îäíî
èç
äâóõ
). The man may be disguised as a woman
(ýòîò
ìóæ÷èíà
ìîæåò
áûòü
ïåðåîäåò
æåíùèíîé
), or, alternatively
(èëè
, â
êà÷åñòâå
àëüòåðíàòèâû
), he may actually be a woman
(îí
íà
ñàìîì
äåëå
ìîæåò
áûòü
æåíùèíîé
). A tall woman dressed in men’s clothes would look small
(âûñîêàÿ
æåíùèíà
, îäåòàÿ
â
ìóæñêîé
êîñòþì
, êàçàëàñü
áû
íåâûñîêîé
; clothes —
îäåæäà,
ïëàòüå)
.”
lighting ['laItIN]
objection [qb'dZekS(q)n]
mouth [maVT]
height [haIt]
supposition ["sApq'zIS(q)n]
alternative [O:l'tq:nqtIv]
“It is an idea, that,” said M. Bouc, his face lighting up. Then it clouded
over again. “But there is one objection — ”
Poirot took the words out of his mouth.
“The height of the man. It is that you would say? With the exception of Mr.
Ratchett’s valet, all the passengers are big men — the Italian, Colonel Arbuthnot, Hector MacQueen, Count Andrenyi. Well, that leaves us the valet — not a very likely supposition. But there is another possibility. Remember
the ‘womanish’ voice. That gives us a choice of alternatives. The man may be disguised as a woman, or, alternatively, he may actually be a woman. A tall woman dressed in men’s clothes would look small.”
“But surely Ratchett would have known
(íî
, íåñîìíåííî
, Ðýò÷åòò
áû
çíàë
) — ”
“Perhaps
he
did
know
(âîçìîæíî îí /äåéñòâèòåëüíî/ çíàë)
. Perhaps
, already
, this
woman
had
attempted
his
life
(âîçìîæíî, ÷òî ýòà æåíùèíà óæå ïîêóøàëàñü íà åãî
æèçíü; to
attempt — ïûòàòüñÿ, ïðîáîâàòü; ïûòàòüñÿ ïðåîäîëåòü
/÷òî-ëèáî/, çàõâàòèòü èëè óíè÷òîæèòü /÷òî-ëèáî/)
, wearing
a
man
’s
clothes
(îäåòàÿ â ìóæñêîé êîñòþì;
to
wear — áûòü îäåòûì /âî ÷òî-ëèáî/, íîñèòü /îäåæäó
è ò.ï./)
the
better
to
accomplish
her
purpose
(÷òîáû ëó÷øå äîâåñòè äî êîíöà çàäóìàííîå;
to
accomplish — âûïîëíÿòü; çàâåðøàòü, äîâåñòè äî
êîíöà; purpose — öåëü, íàìåðåíèå, çàìûñåë
).
Ratchett
may
have
guessed
that
she
would
use
the
same
trick
again
(Ðýò÷åòò ìîã ïðåäïîëîæèòü/äîãàäàòüñÿ, ÷òî îíà ñíîâà ïðèáåãíåò ê ýòîé õèòðîñòè;
to
use — óïîòðåáëÿòü, ïðèìåíÿòü; ïðèáåãàòü /ê
÷åìó-ëèáî/, ïîëüçîâàòüñÿ /÷åì-ëèáî/; trick
— õèòðîñòü, îáìàí; ëîâêèé ïðèåì, óëîâêà
),
so
he
tells
Hardman
to
look
for
a
man
(ïîýòîìó îí ïîðó÷àåò: «ãîâîðèò» Õàðäìàíó èñêàòü ìóæ÷èíó;
to look for smb. — èñêàòü êîãî-ëèáî
).
But he mentions, however, a womanish voice (
îäíàêî,
îí
óïîìèíàåò
î
æåíîïîäîáíîì
ãîëîñå)
.”
“It is a possibility
(/ýòî
/ âîçìîæíî
),” said M. Bouc. “But
(íî
) — ”
“Listen, my friend, I think that I should now tell you
(ïîñëóøàéòå
, ìîé
äðóã
, ÿ
äóìàþ
, ÷òî
òåïåðü
ìíå
áû
ñëåäîâàëî
ðàññêàçàòü
âàì
) of certain inconsistencies
(î
íåêîòîðûõ
íåóâÿçêàõ
; inconsistency —
íåñîâìåñòèìîñòü; inconsistent —
ïðîòèâîðå÷àùèé
÷åìó-
ëèáî;
ïðîòèâîðå÷èâûé)
noticed by Dr. Constantine (
ïîäìå÷åííûõ
äîêòîðîì
Êîíñòàíòèíîì)
.”
surely
['SVqlI] perhaps
[pq'hxps] accomplish
[q'kAmplIS] purpose
['pq:pqs] inconsistency
["Inkqn'sIst(q)nsI]
“But surely Ratchett would have known — ”
“Perhaps he did know. Perhaps, already, this woman had attempted his life,
wearing a man’s clothes the better to accomplish her purpose. Ratchett may have guessed that she would use the same trick again, so he tells Hardman to look for a man. But he mentions, however, a womanish voice.”
“It is a possibility,” said M. Bouc. “But — ”
“Listen, my friend, I think that I should now tell you of certain inconsistencies
noticed by Dr. Constantine.”
He retailed at length the conclusions (
îí
ïîäðîáíî
ïåðåñêàçàë
î
òåõ
âûâîäàõ;
to retail — ïðîäàâàòü
â
ðîçíèöó
; ïåðåñêàçûâàòü
, ïîâòîðÿòü
; length — äëèíà
, at length — äåòàëüíî
, ïîäðîáíî
, ïðîñòðàííî
; conclusion — îêîí÷àíèå
, çàâåðøåíèå
; óìîçàêëþ÷åíèå
, âûâîä
) that he and the doctor had arrived at together
(ê
êîòîðûì
îíè
ïðèøëè
âìåñòå
ñ
äîêòîðîì
: «ê
êîòîðûì
îí
è
äîêòîð
ïðèøëè
âìåñòå
») from the nature of the dead man’s wounds
(ïî
õàðàêòåðó
ðàí
/íà
óáèòîì
/; nature —
ïðèðîäà,
ìèð;
ñóùíîñòü,
íàòóðà,
õàðàêòåð; dead —
ìåðòâûé,
óìåðøèé
). M
. Bouc
groaned
and
held
his
head
again
(ìñüå Áóê çàñòîíàë è ñíîâà ñõâàòèëñÿ çà ãîëîâó)
.
“I know (
çíàþ)
,” said Poirot sympathetically (
ñêàçàë
Ïóàðî
ñî÷óâñòâåííî)
. “
I
know
exactly
how
you
feel
(çíàþ, êàêîâî âàì ñåé÷àñ: «êàê âû ñåáÿ ÷óâñòâóåòå»)
. The
head
spins
, does
it
not
(ãîëîâà êðóãîì, íå òàê ëè;
to
spin — êðóòèòü(ñÿ), âåðòåòü(ñÿ), êðóæèòüñÿ
)?”
“
The
whole
thing
is
a
fantasy
(âñå ýòî áðåä êàêîé-òî;
whole — öåëûé, ïîëíûé; âåñü, öåëûé;
fantasy — âîîáðàæåíèå, ôàíòàçèÿ; íåîáîñíîâàííîå
ïðåäïîëîæåíèå, áðåä)
!” cried
M
. Bouc
(âñêðè÷àë ìñüå Áóê)
.
retail ['ri:teIl]
length [leNT]
conclusion [kqn'klu:Z(q)n]
sympathetically ["sImpq'TetIk(q)lI]
fantasy ['fxntqsI]
He retailed at length the conclusions that he and the doctor had arrived at
together from the nature of the dead man’s wounds. M. Bouc groaned and held his head again. “I know,” said Poirot sympathetically. “I know exactly how you feel. The head spins, does it not?”
“The whole thing is a fantasy!” cried M. Bouc.
“
Exactly
(âîò èìåííî; exactly
— òî÷íî; äà, ñîâåðøåííî âåðíî, âîò èìåííî /âûðàæàåò ñîãëàñèå ñî ñêàçàííûì/
).
It
is
absurd
(ýòî íåëåïî) —
improbable
(íåâåðîÿòíî) —
it
cannot
be
(ýòîãî íå ìîæåò áûòü).
So
I
myself
have
said
(ÿ è ñàì òàê ñêàçàë).
And yet, my friend, there it is (
è
âñå
æå,
äðóã
ìîé,
ýòî
òàê)
! One
cannot
escape
from
the
facts
(íåëüçÿ óáåæàòü îò ôàêòîâ = îò ôàêòîâ íèêóäà íå äåíåøüñÿ;
to
escape — áåæàòü /èç çàêëþ÷åíèÿ/; èçáåæàòü, ñïàñòèñü,
îòäåëàòüñÿ).”
“It is madness
(ýòî
áåçóìèå
)!”
“Is
it
not
(à /ðàçâå/ íå òàê)
? It
is
so
mad
, my
friend
, that
sometimes
I
am
haunted
by
the
sensation
(ýòî íàñòîëüêî áåçóìíî, ìîé äðóã, ÷òî èíîãäà ìåíÿ
ïðåñëåäóåò îùóùåíèå/÷óâñòâî; to
haunt
— ÷àñòî ïîñåùàòü; ïðåñëåäîâàòü, òåðçàòü, íå äàâàòü ïîêîÿ /î ìûñëÿõ è ò.ï./
)
that
really
it
must
be
very
simple
(÷òî, íà ñàìîì äåëå, ýòî /äåëî/ äîëæíî áûòü î÷åíü ïðîñòûì)
. ... But that is only one of my ‘little ideas’
(íî
ýòî
òîëüêî
îäíà
èç
ìîèõ
"èäååê
")!”
“Two murderers
(äâîå
óáèéö
),” groaned M. Bouc
(ïðîñòîíàë
ìñüå
Áóê
). “And on the Orient Express
(è
/ýòî
/ â
Âîñòî÷íîì
ýêñïðåññå
) — ”
The thought almost made him weep
(îò
ýòîé
ìûñëè
îí
÷óòü
íå
ðàçðûäàëñÿ
; to weep —
ïëàêàòü; to make smb. do smth. —
çàñòàâëÿòü,
âûíóæäàòü,
ïîáóæäàòü
êîãî-
ëèáî
äåëàòü
÷òî-
ëèáî)
.
absurd
[qb'sq
:d] madness
['mxdnIs] orient
['O:rIqnt, 'O
rI-]
“Exactly. It is absurd — improbable — it cannot be. So I myself have
said. And yet, my friend, there it is! One cannot escape from the facts.”
“It is madness!”
“Is it not? It is so mad, my friend, that sometimes I am haunted by the sensation
that really it must be very simple. ... But that is only one of my ‘little ideas’!”
“Two murderers,” groaned M. Bouc. “And on the Orient Express — ”
The thought almost made him weep.
“And now let us make the fantasy more fantastic
(à
òåïåðü
äàâàéòå
ñäåëàåì
ýòó
ôàíòàçèþ
åùå
áîëåå
íåðåàëüíîé
; fantastic —
ïðè÷óäëèâûé,
ôàíòàñòè÷åñêèé;
âîîáðàæàåìûé,
íåðåàëüíûé)
,” said Poirot cheerfully (
áîäðî
ñêàçàë
Ïóàðî)
. “Last night on the train, there are two mysterious strangers
(ïðîøëîé
íî÷üþ
â
ïîåçäå
ïîÿâëÿþòñÿ
äâîå
òàèíñòâåííûõ
íåçíàêîìöåâ
). There is the Wagon Lit attendant answering to the description
(ýòî
ñëóæèòåëü
= ïðîâîäíèê
/êîìïàíèè
/ ñïàëüíûõ
âàãîíîâ
ñîîòâåòñòâóþùèé
îïèñàíèþ
; to answer —
îòâå÷àòü;
ñîîòâåòñòâîâàòü,
îòâå÷àòü,
óäîâëåòâîðÿòü /
÷åìó-
ëèáî/
) given us by M. Hardman
(äàííîìó
íàì
ìèñòåðîì
Õàðäìàíîì
), and seen by Hildegarde Schmidt, Colonel Arbuthnot and M. MacQueen
(è
êîòîðîãî
âèäåëè
Õèëüäåãàðäà
Øìèäò
, ïîëêîâíèê
Àðáýòíîò
è
ìèñòåð
Ìàêêóèí
). There is also a woman in a red kimono
(òàêæå
íåêàÿ
æåíùèíà
â
êðàñíîì
êèìîíî
) — a tall slim woman
(âûñîêàÿ
ñòðîéíàÿ
æåíùèíà
), seen by Pierre Michel, Miss Debenham, M. MacQueen and myself
(êîòîðóþ
âèäåëè
Ïüåð
Ìèøåëü
, ìèññ
Äåáåíõýì
, ìèñòåð
Ìàêêóèí
è
ÿ
ñàì
) (and smelt, I may say, by Colonel Arbuthnot!)
(è óíþõàë, ìîæíî òàê ñêàçàòü, ïîëêîâíèê Àðáýòíîò;
to
smell (
smelt) — îáîíÿòü, ÷óâñòâîâàòü çàïàõ
).
Who
was
she
(êòî îíà)?
No
one
on
the
train
admits
(íèêòî â ïîåçäå = íèêòî èç ïàññàæèðîâ
íå ïðèçíàåòñÿ; to
admit
— ïðèçíàâàòü, äîïóñêàòü
)
to
having
a
scarlet
kimono
(÷òî ó íåãî/íåå åñòü àëîå êèìîíî)
. She
, too
, has
vanished
(îíà òîæå èñ÷åçàåò)
. Was
she
one
and
the
same
with
the
spurious
Wagon
Lit
attendant
(áûëà îíà îäíèì è òåì æå /ëèöîì/ ñ ìíèìûì ïðîâîäíèêîì
/êîìïàíèè/ Ñïàëüíûõ Âàãîíîâ; spurious
— ïîääåëüíûé, ïîäëîæíûé
)?
Or
was
she
some
quite
distinct
personality
(èëè îíà áûëà ñîâåðøåííî äðóãèì ÷åëîâåêîì;
distinct — ÿñíûé, ÿâñòâåííûé; îòäåëüíûé, îñîáûé,
èíäèâèäóàëüíûé)
? Where are they, these two
(ãäå
æå
îíè
, ýòè
äâîå
)? And incidentally, where are the Wagon Lit uniform and the scarlet kimono
(è
, â
ýòîé
ñâÿçè
, ãäå
æå
óíèôîðìà
/ïðîâîäíèêà
/ Ñïàëüíûõ
Âàãîíîâ
è
àëîå
êèìîíî
; incidentally —
ñëó÷àéíî;
ìåæäó
ïðî÷èì,
â
ñâÿçè
ñ
ýòèì)
?”
cheerfully
['tSIqf(q)lI] mysterious
[mI'stI(q)rIqs] vanished
['vxnISt] spurious
['spjV(q)rIqs] incidentally
["InsI'dent(q)lI]
“And now let us make the fantasy more fantastic,” said Poirot cheerfully.
“Last night on the train, there are two mysterious strangers. There is the Wagon Lit attendant answering to the description given us by M. Hardman, and seen by Hildegarde Schmidt, Colonel Arbuthnot and M. MacQueen. There
is also a woman in a red kimono — a tall slim woman, seen by Pierre Michel, Miss Debenham, M. MacQueen and myself (and smelt, I may say, by Colonel Arbuthnot!). Who was she? No one on the train admits to having a scarlet
kimono. She, too, has vanished. Was she one and the same with the spurious Wagon Lit attendant? Or was she some quite distinct personality? Where are they, these two? And incidentally, where are the Wagon Lit uniform and the
scarlet kimono?”
“Ah! that is something definite
(ýòî
êîå
-÷òî
îïðåäåëåííîå
).” M
. Bouc
sprang
up
eagerly
(ýíåðãè÷íî âñêî÷èë ìñüå Áóê;
eager — ñòðàñòíî ñòðåìÿùèéñÿ /ê ÷åìó-ëèáî/;
ýíåðãè÷íûé, îñòðûé)
. “We must search all the passengers’ luggage
(ìû
äîëæíû
îáûñêàòü
áàãàæ
âñåõ
ïàññàæèðîâ
; to search —
èñêàòü,
îòûñêèâàòü;
îáûñêèâàòü,
îáøàðèâàòü)
. Yes, that will be something (
äà,
ýòî
áóäåò
óæå
êîå-
÷òî)
.”
Poirot rose also (
Ïóàðî
òîæå
âñòàë)
. “
I
will
make
a
prophecy
(ÿ /ïîçâîëþ ñåáå/ ñäåëàòü ïðåäñêàçàíèå)
,” he
said
.
“
You
know
where
they
are
(âû çíàåòå, ãäå îíè /óíèôîðìà è êèìîíî/)
?”
“I have a little idea
(ó
ìåíÿ
åñòü
èäåéêà
).”
“
Where,
then
(ãäå æå, òîãäà)?”
“
You
will
find
the
scarlet
kimono
in
the
baggage
of
one
of
the
men
(âû íàéäåòå àëîå êèìîíî â áàãàæå îäíîãî èç ìóæ÷èí)
, and
you
will
find
the
uniform
of
the
Wagon
Lit
conductor
in
the
baggage
of
Hildegarde
Schmidt
(è âû íàéäåòå óíèôîðìó ïðîâîäíèêà /êîìïàíèè/ Ñïàëüíûõ
Âàãîíîâ â áàãàæå Õèëüäåãàðäû Øìèäò).”
“Hildegarde Schmidt? You think
(âû
äóìàåòå
) — ”
definite
['defInIt] luggage
['lAgIdZ] prophecy
['prO
fIsI]
“Ah! that is something definite.” M. Bouc sprang up eagerly. “We must
search all the passengers’ luggage. Yes, that will be something.”
Poirot rose also. “I will make a prophecy,” he said.
“You know where they are?”
“I have a little idea.”
“Where, then?”
“You will find the scarlet kimono in the baggage of one of the men, and you
will find the uniform of the Wagon Lit conductor in the baggage of Hildegarde Schmidt.”
“Hildegarde Schmidt? You think — ”
“Not what you are thinking
(/ñîâñåì/
íå òî
, ÷òî
âû äóìàåòå
). I
will put
it
like this
(ñêàæó òàê; to
put — êëàñòü, ñòàâèòü; èçëàãàòü, ôîðìóëèðîâàòü
/ìûñëè, çàìå÷àíèÿ è ò.ï./).
If Hildegarde
Schmidt
is guilty
, the
uniform may
be
found in
her
baggage (åñëè Õèëüäåãàðäà Øìèäò âèíîâíà, òî óíèôîðìà ìîæåò áûòü
íàéäåíà â åå áàãàæå). But
if
she is
innocent,
it certainly
will
be (íî åñëè îíà íåâèíîâíà, îíà òî÷íî áóäåò /òàì íàéäåíà/)
.”
“
But
how
(íî êàê æå) — ”
began
M.
Bouc
and
stopped
(íà÷àë ìñüå Áóê è îñòàíîâèëñÿ)
. “What is this noise that approaches
(÷òî
ýòî
çà
øóì
/ïðèáëèæàåòñÿ
/)?” he cried
(âîñêëèêíóë
îí
).
“It
resembles
a
locomotive
in
motion
(îí íàïîìèíàåò ëîêîìîòèâ â äâèæåíèè = íàïîìèíàåò
øóì ïðèáëèæàþùåãîñÿ ëîêîìîòèâà; motion
— äâèæåíèå; õîä /ìàøèíû, ÷àñîâ è ò.ï./
).”
guilty
['gIltI] baggage
['bxgIdZ] innocent
['Inqs(q)nt] approach
[q'prqVtS] resemble
[rI'zemb(q)l] locomotive
["lqVkq'mqVtIv]
“Not what you are thinking. I will put it like this. If Hildegarde Schmidt
is guilty, the uniform may be found in her baggage. But if she is innocent, it certainly will be.”
“But how — ” began M. Bouc and stopped. “What is this noise that approaches?”
he cried. “It resembles a locomotive in motion.”
The noise drew nearer (
øóì
ïðèáëèæàëñÿ;
to draw (drew, drawn) near —
ïðèáëèæàòüñÿ). It
consisted
of
shrill
cries
and
protests
in
a
woman
’s
voice
(îí ñîñòîÿë èç ïðîíçèòåëüíûõ êðèêîâ è ïðîòåñòîâ/âîçðàæåíèé
/âûêðèêèâàåìûõ/ æåíñêèì ãîëîñîì).
The
door
at
the
end
of
the
dining-
car
burst
open
(äâåðü â êîíöå âàãîíà-ðåñòîðàíà ðàñïàõíóëàñü;
to
burst — âçðûâàòüñÿ, ðàçðûâàòüñÿ; ïðîðûâàòü;
to
burst
open — çä. ðàñïàõèâàòü
).
Mrs.
Hubbard
burst
in
(âîðâàëàñü ìèññèñ Õàááàðä;
to
burst — âçðûâàòüñÿ, ðàçðûâàòüñÿ; âðûâàòüñÿ
).
“It
’s
too
horrible
(ýòî óæàñíî;
horror — îòâðàùåíèå è ñòðàõ, óæàñ;
horrible — ñòðàøíûé, óæàñàþùèé; ýìîö.-óñèë. óæàñíûé,
îòâðàòèòåëüíûé)
!” she
cried
(êðè÷àëà îíà)
. It
’s
just
too
horrible
(ýòî ïðîñòî óæàñíî)
. In
my
sponge
-bag
(â ìîåé ñóìî÷êå äëÿ âàííûõ ïðèíàäëåæíîñòåé;
sponge — ãóáêà;
sponge-
bag — íåïðîìîêàåìûé ìåøî÷åê äëÿ ìûëà, ãóáêè
è ò.ï.).
My sponge-bag! A great knife (
îãðîìíûé
íîæ)
— all over blood (
âåñü
â
êðîâè)
.”
And suddenly toppling forward (
è,
âíåçàïíî
ïîâàëèâøèñü /
âïåðåä/;
to topple — ïàäàòü
, îïðîêèäûâàòüñÿ
, âàëèòüñÿ
), she fainted heavily on M. Bouc’s shoulder
(îíà
ãðóçíî
óïàëà
â
îáìîðîê
íà
ïëå÷î
ìñüå
Áóêà
; to faint —
îñëàáåâàòü /
îò
óñòàëîñòè,
ãîëîäà
è
ò.
ï./;
ïàäàòü
â
îáìîðîê,
òåðÿòü
ñîçíàíèå)
.
consist [kqn'sIst]
shrill
[SrIl] voice
[vOIs] horrible
['hO
rqb(q)l] sponge-bag
['spAndZbxg]
blood [blAd]
The noise drew nearer. It consisted of shrill cries and protests in a woman’s
voice. The door at the end of the dining-car burst open. Mrs. Hubbard burst in.
“It’s too horrible!” she cried. It’s just too horrible. In my sponge-bag.
My sponge-bag! A great knife — all over blood.
”
And suddenly toppling forward, she fainted heavily on M. Bouc’s shoulder.
14
THE
EVIDENCE
OF
THE
WEAPON
(
óëèêà: îðóæèå)
With
more
vigour
than
chivalry
(ñêîðåå ýíåðãè÷íî, ÷åì ãàëàíòíî: «ñêîðåå ñ ýíåðãè÷íîñòüþ ÷åì ñ áëàãîðîäñòâîì»;
vigour — ñèëà, ìîùü; ðåøèòåëüíîñòü, ýíåðãè÷íîñòü
/äåéñòâèé è ò.ï./; chivalry
— ðûöàðñòâî, ðûöàðñêèé äóõ, áëàãîðîäñòâî è îòâàãà
),
M.
Bouc
deposited
the
fainting
lady
(ìñüå Áóê óñàäèë äàìó â îáìîðîêå;
to
deposit — êëàñòü â áàíê èëè â ñáåðåãàòåëüíóþ
êàññó, îòäàâàòü íà õðàíåíèå; êëàñòü, îñòàâëÿòü)
with
her
head
on
the
table
(/ïîëîæèâ/ åå ãîëîâó íà ñòîë)
. Dr
. Constantine
yelled
for
one
of
the
restaurant
attendants
(äîêòîð Êîíñòàíòèí êðèêíóë /è ïîçâàë/ îäíîãî èç
îôèöèàíòîâ: «ñëóæàùèõ ðåñòîðàíà»),
who
came
at
a
run
(êîòîðûé ïðèáåæàë /íà çîâ/)
.
“Keep her head so (
äåðæèòå
åé
ãîëîâó
âîò
òàê)
,” said the doctor. “
If
she
revives
give
her
a
little
cognac
(åñëè îíà ïðèäåò â ñîçíàíèå, äàéòå åé íåìíîãî êîíüÿêà;
to
revive — âîçðîæäàòüñÿ, âîñêðåñàòü; ïðèõîäèòü
â ñåáÿ, â ñîçíàíèå)
. You
understand
(âû ïîíÿëè)
?”
Then
he
hurried
off
(çàòåì îí ïîñïåøèë èç /âàãîíà-ðåñòîðàíà/;
to
hurry — ñïåøèòü, òîðîïèòüñÿ
)
after
the
other
two
(âñëåä çà äâóìÿ äðóãèìè /ìóæ÷èíàìè/)
. His
interest
lay
wholly
in
the
crime
(åãî èíòåðåñîâàëî òîëüêî ïðåñòóïëåíèå: «åãî èíòåðåñ
çàêëþ÷àëñÿ öåëèêîì â ïðåñòóïëåíèè»; to
lie
(lay
, lain
) — ëåæàòü; çàêëþ÷àòüñÿ, áûòü /â ÷åì-ëèáî/
) —
swooning
middle-
aged
ladies
did
not
interest
him
at
all
(äàìû ñðåäíèõ ëåò â ñîñòîÿíèè îáìîðîêà âîâñå åãî íå èíòåðåñîâàëè;
to
swoon — ïàäàòü â îáìîðîê;
swooning — îáìîðî÷íûé
).
vigour
['vIgq] chivalry
['SIv(q)lrI] yell
[jel] cognac
['kO
njxk] swooning
['swu:nIN] middle-aged
["mIdl'eIdZd]
With more vigour than chivalry, M. Bouc deposited the fainting lady with her
head on the table. Dr. Constantine yelled for one of the restaurant attendants, who came at a run.
“Keep her head so,” said the doctor. “If she revives give her a little
cognac. You understand?”
Then he hurried off after the other two. His interest lay wholly in the crime
— swooning middle-aged ladies did not interest him at all.
It is possible that Mrs. Hubbard revived rather more quickly by these methods
(âîçìîæíî
, ÷òî
ìèññèñ
Õàááàðä
ïðèøëà
â
ñîçíàíèå
ãîðàçäî
áûñòðåå
: «áîëåå
áûñòðî
» áëàãîäàðÿ
ýòèì
ìåòîäàì
) than she might otherwise have done
(÷åì
îíà
ìîãëà
áû
/ïðèõîäèòü
â
ñåáÿ
/ â
èíîì
ñëó÷àå
). A few minutes later she was sitting up
(íåñêîëüêî
ìèíóò
ñïóñòÿ
îíà
óæå
ñèäåëà
; to sit up —
ñàäèòüñÿ,
ïðèïîäíèìàòüñÿ /
èç
ëåæà÷åãî
ïîëîæåíèÿ/
), sipping cognac from a glass
(ïîòÿãèâàÿ
êîíüÿê
èç
ðþìêè
; to sip —
ïèòü
ìàëåíüêèìè
ãëîòêàìè,
ïîòÿãèâàòü /
âèíî
è
ò.
ï./; glass —
ñòåêëî;
ðþìêà,
áîêàë)
proffered by the attendant (
ïðåäëîæåííîé
îôèöèàíòîì;
to proffer — ïðåäëàãàòü
), and talking once more
(è
ñíîâà
ðàçãîâàðèâàëà
).
“I just can’t tell you how terrible it was
(ïðîñòî
íå ìîãó
ñêàçàòü,
íàñêîëüêî
ýòî áûëî
óæàñíî;
terrible — ñòðàøíûé
, óæàñíûé;
ýìîö.-óñèë
. íåîáûêíîâåííûé
, êîøìàðíûé
, æóòêèé)
! I don’t suppose anybody on this train (
ïîëàãàþ, ÷òî
íèêòî
â ýòîì
ïîåçäå)
can understand my feelings (íå
ìîæåò
ïîíÿòü ìîèõ
÷óâñòâ)
. I’ve
always
been very
, very
sensitive (ÿ âñåãäà áûëà î÷åíü, î÷åíü ÷óâñòâèòåëüíàÿ)
ever
since I
was
a child
(ñ ñàìîãî äåòñòâà: «ñ òîãî ñàìîãî ìîìåíòà, êîãäà ÿ áûëà ðåáåíêîì»)
. The
mere sight
of
blood — ugh
(îäèí òîëüêî âèä êðîâè — áðð;
mere — óñèë. ïðîñòîé, ÷èñòûé, íå áîëåå ÷åì;
sight — çðåíèå; âèä
)! Why
, even
now (âåäü äàæå ñåé÷àñ)
I get
faint
(ÿ ÷óòü â îáìîðîê íå ïàäàþ; faint
— îáìîðîê; faint
— ñëàáûé; èñïûòûâàþùèé ñëàáîñòü, ãîëîâîêðóæåíèå
) when
I think
about
it (êîãäà äóìàþ îá ýòîì)
!”
The attendant proffered the glass again
(îôèöèàíò
ñíîâà
ïðîòÿíóë
: «ïðåäëîæèë
» åé
ðþìêó
).
“
Encore un peu, Madame
(ôð
.
åùå
íåìíîæêî,
ìàäàì)
?”
“D’you think I’d better (
äóìàåòå,
ñòó
èò)
? I’
m
a
lifelong
teetotaller
(ÿ âîîáùå íå ïüþ: «ïîæèçíåííàÿ òðåçâåííèöà»)
. I
never
touch
spirits
or
wine
at
any
time
(ÿ íèêîãäà íå ïðèòðàãèâàþñü íè ê êðåïêèì ñïèðòíûì
íàïèòêàì, íè ê âèíó, íèêîãäà: «íè â êàêîå âðåìÿ»; spirits
— ñïèðò; ñïèðòíîé íàïèòîê, àëêîãîëü
).
All my family are abstainers (
âñå
â
ìîåé
ñåìüå
íåïüþùèå;
to abstain — âîçäåðæèâàòüñÿ
). Still
, perhaps
as
this
is
only
medicinal
(è âñå æå, âîçìîæíî, åñëè ýòî âñåãî ëèøü ëåêàðñòâî;
medicinal — ëåêàðñòâåííûé, öåëåáíûé
) — ”
She sipped once more
(îíà
ñíîâà
ãëîòíóëà
/êîíüÿêó
/).
revive [rI'vaIv]
proffer ['pr
Ofq]
teetotaller ["ti:'tqVt(q)lq]
spirit ['spIrIt]
abstainer
[qb'steInq]
medicinal [mI'dIs(q)nql]
It is possible that Mrs. Hubbard revived rather more quickly by these methods
than she might otherwise have done. A few minutes later she was sitting up, sipping cognac from a glass proffered by the attendant, and talking once more.
“I just can’t tell you how terrible it was! I don’t suppose anybody on
this train can understand my feelings. I’ve always been very, very sensitive ever since I was a child. The mere sight of blood — ugh! Why, even now I get faint when I think about it!”
The attendant proffered the glass again. “
Encore un peu, Madame?”
“D’you think I’d better? I’m a lifelong teetotaller. I never touch spirits or wine at any
time. All my family are abstainers. Still, perhaps as this is only medicinal — ”
She sipped once more.
In the meantime Poirot and M. Bouc, closely followed by Dr. Constantine
(òåì
âðåìåíåì
Ïóàðî
, ìñüå
Áóê
è
ñëåäîâàâøèé
íåîòñòóïíî
çà
íèìè
äîêòîð
Êîíñòàíòèí
; closely —
áëèçêî; to follow —
ñëåäîâàòü,
èäòè /
çà
êåì-
ëèáî,
÷åì-
ëèáî/; to follow smb. close —
ñëåäîâàòü
çà
êåì-
ëèáî
ïî
ïÿòàì)
, had hurried out of the restaurant car (
ïîñïåøèëè
èç
âàãîíà-
ðåñòîðàíà)
and along the corridor of the Stamboul coach (
ïî
êîðèäîðó
ñòàìáóëüñêîãî
âàãîíà)
towards Mrs. Hubbard’s compartment (
ïî
íàïðàâëåíèþ
ê
êóïå
ìèññèñ
Õàááàðä)
.
Every traveller on the train
(êàæäûé
ïóòåøåñòâåííèê
= âñå
åäóùèå
â
ýòîì
ïîåçäå
) seemed to be congregated outside the door
(êàçàëîñü
, ñîáðàëèñü
â
êîðèäîðå
: «ñíàðóæè
äâåðåé
»; to congregate —
ñîáèðàòü(
ñÿ),
ñõîäèòüñÿ)
. The conductor, a harassed look on his face (
ïðîâîäíèê,
ñ
âñòðåâîæåííûì
âûðàæåíèåì
ëèöà;
harassed — âñòðåâîæåííûé
, îáåñïîêîåííûé
; èçíóðåííûé
, èçìîæäåííûé
), was keeping them back
(ïûòàëñÿ
ñäåðæàòü
èõ
; to keep back —
äåðæàòüñÿ
ñçàäè;
óäåðæèâàòü,
çàäåðæèâàòü)
.
“
Mais il n’y a rien à voir
(ôð
.
çäåñü
íåò
íè÷åãî
èíòåðåñíîãî)
,” he said, and repeated the sentiment in several other languages
(è
ïîâòîðÿë
ýòî
ìíåíèå
íà
íåñêîëüêèõ
/äðóãèõ
/ ÿçûêàõ
; sentiment —
÷óâñòâî;
ìíåíèå,
îòíîøåíèå,
íàñòðîåíèå)
.
hurried ['hArId]
congregate ['k
ONgrIgeIt]
harassed ['hxrqst]
sentiment ['sentImqnt]
In the meantime Poirot and M. Bouc, closely followed by Dr. Constantine, had
hurried out of the restaurant car and along the corridor of the Stamboul coach towards Mrs. Hubbard’s compartment.
Every traveller on the train seemed to be congregated outside the door. The
conductor, a harassed look on his face, was keeping them back.
“
Mais il n’y a rien à voir,” he said, and repeated the sentiment in several other
languages.
“Let me pass if you please
(ïîçâîëüòå
ïðîéòè
, áóäüòå
ëþáåçíû
),” said M. Bouc.
Squeezing his rotundity
(ïðîòèñêèâàÿñü
ñâîåé
ïîëíîé
/ôèãóðîé
/; to squeeze —
ñæèìàòü,
ñäàâëèâàòü;
âòèñêèâàòü(
ñÿ),
âïèõèâàòü(
ñÿ),
ïðîïèõèâàòü(
ñÿ); rotundity —
ïîëíîòà,
îêðóãëåííîñòü)
past the obstructing passengers (
ñêâîçü
òîëïÿùèõñÿ
ïàññàæèðîâ;
to obstruct — ïðåãðàæäàòü
, ñîçäàâàòü
ïðåïÿòñòâèå
; ïðåïÿòñòâîâàòü
, çàòðóäíÿòü
/ïðîõîä
è
ò
.ï
./)
he entered the compartment, Poirot close behind him
(îí
âîøåë
â
êóïå
, Ïóàðî
ïðîòèñíóëñÿ
âñëåä
çà
íèì
: «áëèçêî
ïîçàäè
íåãî
»).
“I am glad you have come, Monsieur
(ÿ
ðàä, ÷òî
âû
ïðèøëè, ìñüå
),” said the conductor with a sigh of relief
(ñêàçàë
ïðîâîäíèê
ñî âçäîõîì
îáëåã÷åíèÿ
). “Everyone has been trying to enter
(êàæäûé
ïûòàåòñÿ âîéòè
). The American lady (
ýòà àìåðèêàíêà
) — such screams as she gave
(îíà
òàê ïðîíçèòåëüíî
êðè÷àëà;
scream — ïðîíçèòåëüíûé
êðèê,
âîïëü, âèçã
) — ma foi
, I thought she too had been murdered (
ôð.
Ãîñïîäè, ÿ
ïîäóìàë,
÷òî åå
òîæå
óáèâàþò)! I came at a run
(ÿ
òóò æå
ïðèáåæàë;
run — áåã,
ïðîáåã; at a run —
áåãîì), and there she was screaming like a mad woman
(à
îíà âñå
åùå
âîïèëà ñëîâíî
ñóìàñøåäøàÿ
; mad — ïîìåøàííûé
, ñóìàñøåäøèé
); and she cried out that she must fetch you
(è
êðè÷àëà, ÷òî
îíà
äîëæíà ïðèâåñòè
âàñ)
, and she departed screeching at the top of her voice (
è îíà
óøëà,
âîïÿ âî
âåñü
ãîëîñ; top —
âåðõóøêà, âåðøèíà
; âûñøàÿ
ñòåïåíü)
and telling everybody whose carriage she passed what had occurred (
è ãîâîðÿ
êàæäîìó,
÷üå êóïå
îíà
ïðîõîäèëà,
÷òî ñëó÷èëîñü
).”
rotundity
[rqV'tAndItI] obstruct
[qb'strAkt] relief
[rI'li:f] screech
[skri:tS]
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