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 (8).
Àãàòà Êðèñòè. (8 ñòð.êíèãè)
“Let me pass if you please,” said M. Bouc.
Squeezing his rotundity past the obstructing passengers he entered the compartment,
Poirot close behind him.
“I am glad you have come, Monsieur,” said the conductor with a sigh of
relief. “Everyone has been trying to enter. The American lady — such screams as she gave — ma foi, I thought she too had been murdered! I came at a run, and there she was screaming like a mad woman; and she cried out
that she must fetch you, and she departed screeching at the top of her voice and telling everybody whose carriage she passed what had occurred.”
He added, with a gesture of the hand
(îí
äîáàâèë
, /ñîïðîâîäèâ
ñëîâà
/ æåñòîì
ðóêè
): “It is in there, Monsieur
(îí
âîò
òàì
, ìñüå
). I have not touched it
(ÿ
åãî
íå
òðîãàë
).”
Hanging on the handle of the door
(íà
ðó÷êå
äâåðè
/âèñåë
/) that gave access to the next compartment
(êîòîðàÿ
âåëà
â
ñîñåäíåå
êóïå
; access —
äîñòóï;
ïîäõîä)
was a large-checked rubber sponge-bag (/
âèñåëà/
ðåçèíîâàÿ
ñóìî÷êà /
äëÿ
âàííûõ
ïðèíàäëåæíîñòåé/
â
êðóïíóþ
êëåòêó;
checked — îñòàíîâëåííûé
, çàäåðæàííûé
; â
êëåòêó
/î
òêàíè
/)
. Below it on the floor (
ïîä
íåé,
íà
ïîëó)
, just where it had fallen from Mrs. Hubbard’s hand
(èìåííî
òàì
, ãäå
îí
âûïàë
èç
ðóê
ìèññèñ
Õàááàðä
), was a straight-bladed dagger
(ëåæàë
êèíæàë
ñ
ïðÿìûì
ëåçâèåì
; blade —
ëåçâèå,
êëèíîê)
— a cheap affair (
äåøåâàÿ
øòóêîâèíà;
affair — äåëî
; ðàçã
. øòóêà
), sham Oriental
(ïîääåëêà
ïîä
âîñòî÷íûé
/ñòèëü
/) with an embossed hilt
(ñ
÷åêàííîé
ðóêîÿòêîé
; to emboss —
âûáèâàòü,
÷åêàíèòü)
and a tapering blade (
è
çàîñòðåííûì
êëèíêîì;
tapering — ñóæàþùèéñÿ
ê
êîíöó
, êîíè÷åñêèé
, çàîñòðåííûé
). The blade was stained
(êëèíîê
áûë
èñïà÷êàí
; to stain —
ïÿòíàòü,
ïîêðûâàòü
ïÿòíàìè)
with patches (
ïÿòíàìè;
patch — çàïëàòà
; ïÿòíî
/íåïðàâèëüíîé
ôîðìû
/)
of what looked like rust (
êîòîðûå
âûãëÿäåëè,
êàê
ðæàâ÷èíà)
.
Poirot picked it up delicately
(Ïóàðî
îñòîðîæíî
ïîäíÿë
åãî
).
large
[lQ:dZ] checked
[tSekt] floor
[flO:] straight
[streIt] bladed
['bleIdId] delicately
['delIkItlI]
He added, with a gesture of the hand: “It is in there, Monsieur. I have not
touched it.”
Hanging on the handle of the door that gave access to the next compartment
was a large-checked rubber sponge-bag. Below it on the floor, just where it had fallen from Mrs. Hubbard’s hand, was a straight-bladed dagger — a cheap affair, sham Oriental with an embossed hilt and a tapering blade.
The blade was stained with patches of what looked like rust.
Poirot picked it up delicately.
“Yes,” he murmured (
ïðîáîðìîòàë
îí)
. “There is no mistake (
îøèáêè
áûòü
íå
ìîæåò)
. Here
is
our
missing
weapon
all
right
(à âîò è íàøå íåäîñòàþùåå îðóäèå óáèéñòâà;
to
miss — ïðîìàõíóòüñÿ, ïðîìàçàòü; íåäîñòàâàòü,
ïðîïàäàòü; all
right — â êîíöå ïðåäëîæåíèé, âûðàæàþùèõ ìíåíèå
ãîâîðÿùåãî, íîñèò ýìîöèîíàëüíî-óñèëèòåëüíûé îòòåíîê)
— eh
, doctor
(òàê, äîêòîð)
?”
The doctor examined it
(äîêòîð
îáñëåäîâàë
êèíæàë
: «åãî
»).
“
You
need
not
be
so
careful
(âàì íå îáÿçàòåëüíî áûòü òàêèì îñòîðîæíûì;
to
need — íóæäàòüñÿ; âûðàæàåò äîëæåíñòâîâàíèå,
îáÿçàííîñòü /â ñî÷åòàíèè ñ èíôèíèòèâîì áåç ÷àñòèöû to
/)
,” said
Poirot
. “There
will
be
no
fingerprints
on
it
save
those
of
Mrs
. Hubbard
(íà íåì íå áóäåò íèêàêèõ îòïå÷àòêîâ ïàëüöåâ, çà
èñêëþ÷åíèåì /îòïå÷àòêîâ/ ìèññèñ Õàááàðä).”
Constantine’
s
examination
did
not
take
long
(îñìîòð Êîíñòàíòèíà íå çàíÿë ìíîãî âðåìåíè;
long — äîëãèé ñðîê, äëèòåëüíûé ïåðèîä
).
“It is the weapon all right (
ýòî
òî÷íî
îðóäèå /
óáèéñòâà/)
,” he said. “
It
would
account
for
any
of
the
wounds
(èì ìîãëà áûòü íàíåñåíà ëþáàÿ èç ðàí;
to
account /
for/ — ñ÷èòàòü, ïðèçíàâàòü; îòâå÷àòü; îáúÿñíÿòü
).”
“I implore you, my friend, do not say that
(óìîëÿþ
âàñ
, ìîé
äðóã
, íå
ãîâîðèòå
òàê
)!” The doctor looked astonished
(äîêòîð
âûãëÿäåë
óäèâëåííûì
; to astonish —
óäèâëÿòü,
èçóìëÿòü)
.
“Already we are heavily overburdened by coincidence
(ìû
è
òàê
óæå
ñëèøêîì
ïåðåãðóæåíû
ñîâïàäåíèÿìè
; heavily —
òÿæåëî;
ñèëüíî,
èíòåíñèâíî,
ìíîãî; to overburden —
ïåðåãðóæàòü,
íàãðóæàòü
ñâåðõ
ìåðû;
îòÿãîùàòü)
. Two people decided to stab M. Ratchett last night
(äâà
÷åëîâåêà
ðåøèëè
çàêîëîòü
ìèñòåðà
Ðýò÷åòòà
ïðîøëîé
íî÷üþ
). It is too much of a good thing
(/
è/
ýòî
óæ
÷åðåñ÷óð;
it is too much of a good thing — õîðîøåãî
ïîíåìíîæêó
, ýòî
óæ
ñëèøêîì
) that both of them should select the same weapon
(÷òî
îáà
âûáðàëè
îäíî
è
òî
æå
îðóäèå
).”
weapon ['wepqn]
fingerprint ['fINgq"prInt]
wound [wu:nd]
implore [Im'plO:]
coincidence [kqV'InsId(q)ns]
“Yes,” he murmured. “There is no mistake. Here is our missing weapon
all right — eh, doctor?”
The doctor examined it.
“You need not be so careful,” said Poirot. “There will be no fingerprints
on it save those of Mrs. Hubbard.” Constantine’s examination did not take long.
“It is the weapon all right,” he said. “It would account for any of the
wounds.”
“I implore you, my friend, do not say that!” The doctor looked astonished.
“Already we are heavily overburdened by coincidence. Two people decided to
stab M. Ratchett last night. It is too much of a good thing that both of them should select the same weapon.”
“As to that, the coincidence is not perhaps so great as it seems
(÷òî
êàñàåòñÿ
ýòîãî
, ñîâïàäåíèå
, âîçìîæíî
, íå
òàê
âåëèêî
, êàê
êàæåòñÿ
),” said the doctor. “Thousands of these sham Eastern daggers
(òûñÿ÷è
ýòèõ
êèíæàëîâ
â
âîñòî÷íîì
/ñòèëå
/) are made and shipped to the bazaars of Constantinople
(èçãîòàâëèâàþòñÿ
è
ïîñòàâëÿþòñÿ
íà
áàçàðû
â
Êîíñòàíòèíîïîëå
; ship —
êîðàáëü,
ñóäíî; to ship —
ïåðåâîçèòü,
îòïðàâëÿòü /
ãðóç/,
îòãðóæàòü
ïî
âîäå;
ïîñòàâëÿòü /
òîâàð/
).”
“You console me a little, but only a little
(âû
íåìíîãî
óòåøèëè
ìåíÿ
, íî
òîëüêî
íåìíîãî
),” said Poirot.
He looked thoughtfully at the door in front of him (
îí
çàäóì÷èâî
âçãëÿíóë
íà
äâåðü
ïåðåä
ñîáîé)
, then, lifting off the sponge-bag (
çàòåì,
ñíÿâ
ñóìî÷êó;
to lift — ïîäíèìàòü
; ñíèìàòü
), he tried the handle
(îí
ïîäåðãàë
ðó÷êó
; to try —
ïûòàòüñÿ,
ñòàðàòüñÿ;
ïðîâåðÿòü
íà
îïûòå; try the door —
ïîïðîáóéòå,
çàêðûòà
ëè
äâåðü)
. The
door
did
not
budge
(äâåðü íå ïîääàëàñü;
to
budge — øåâåëèòüñÿ; ïîøåâåëüíóòü, ñäâèíóòü
ñ ìåñòà).
About
a
foot
above
the
handle
(ãäå-òî íà ôóò âûøå ðó÷êè;
foot — íîãà, ñòóïíÿ; çä. ìåðà äëèíû, îê. 30,48
ñì)
was
the
door
bolt
(áûë ðàñïîëîæåí äâåðíîé çàñîâ)
. Poirot
drew
it
back
(Ïóàðî îòîäâèíóë åãî;
to
draw (
drew,
drawn)
back
— îòîäâèãàòü, îòâîäèòü íàçàä
) and
tried
again
(è ïîäåðãàë ñíîâà)
, but
still
the
door
remained
fast
(íî äâåðü áûëà âñå åùå çàêðûòà;
to
remain — îñòàâàòüñÿ; ñîõðàíÿòüñÿ, îñòàâàòüñÿ
â êàêîì-ëèáî ñîñòîÿíèè; fast
— ïðî÷íûé, êðåïêèé; ïðî÷íî çàêðåïëåííûé, çàêðûòûé
).
bazaar
[bq'zQ:] console
[kqn'sqVl] budge
[bAdZ]
“As to that, the coincidence is not perhaps so great as it seems,” said
the doctor. “Thousands of these sham Eastern daggers are made and shipped to the bazaars of Constantinople.”
“You console me a little, but only a little,” said Poirot.
He looked thoughtfully at the door in front of him, then, lifting off the sponge-bag,
he tried the handle. The door did not budge. About a foot above the handle was the door bolt. Poirot drew it back and tried again, but still the door remained fast.
“We locked it
(ìû
çàïåðëè
åå
íà
çàìîê
; lock —
çàìîê,
çàïîð,
çàòâîð; to lock —
çàïèðàòü
íà
çàìîê)
from the other side, you remember (
ñ
äðóãîé
ñòîðîíû,
âû
ïîìíèòå)
,” said the doctor.
“That is true
(âåðíî
),” said Poirot absently
(ñêàçàë
Ïóàðî
ðàññåÿííî
; absent —
îòñóòñòâóþùèé;
ðàññåÿííûé)
. He seemed to be thinking about something else (
îí,
êàçàëîñü,
äóìàë
î
÷åì-
òî
äðóãîì)
. His brow was furrowed (
ëîá
åãî
ïîêðûëñÿ
ìîðùèíàìè =
ñìîðùèëñÿ;
brow — áðîâü
; ëîá
, ÷åëî
; to furrow — ïàõàòü
; ïîêðûâàòü
ìîðùèíàìè
) as though in perplexity
(ñëîâíî
â
íåäîóìåíèè
= ñëîâíî
îí
áûë
îçàäà÷åí
; to perplex —
ñòàâèòü
â
òóïèê,
ïðèâîäèòü
â
íåäîóìåíèå,
îçàäà÷èâàòü)
.
“It
agrees
, does
it
not
(âñå ñõîäèòñÿ, íå òàê ëè;
to
agree — ñîãëàøàòüñÿ; ñîãëàñîâûâàòü, ãàðìîíèðîâàòü
)?”
said
M.
Bouc.
“The man passes through this carriage (
ìóæ÷èíà
ïðîõîäèò
÷åðåç
ýòî
êóïå)
. As he shuts the communicating door behind him (
êîãäà
îí
çàêðûâàåò
çà
ñîáîé
ñìåæíóþ
äâåðü;
to communicate — ñîîáùàòü
, ïåðåäàâàòü
; ñîîáùàòüñÿ
, áûòü
ñìåæíûì
/î êîìíàòàõ
, äîìàõ
, òåððèòîðèè
è
ò
.ï
./)
he feels the sponge-bag (
îí
íàùóïûâàåò
ñóìî÷êó;
to feel — òðîãàòü
, ùóïàòü
; øàðèòü
, èñêàòü
îùóïüþ
). A thought comes to him
(åìó
/â
ãîëîâó
/ ïðèõîäèò
ìûñëü
) and he quickly slips the blood-stained knife inside
(è
îí
áûñòðåíüêî
ñóåò
çàïÿòíàííûé
êðîâüþ
íîæ
âíóòðü
/ñóìî÷êè
/; to slip —
ñêîëüçèòü,
ïëàâíî
èëè
áûñòðî
ïåðåäâèãàòüñÿ; to slip smth. into smth. —
íåçàìåòíî,
ïîòèõîíüêó
âñóíóòü
÷òî-
ëèáî
êóäà-
ëèáî)
. Then, all unwitting (
çàòåì,
íå
ïîäîçðåâàÿ;
unwitting — íå
çíàþùèé
/÷åãî
-ëèáî
/; to wit — çíàòü
, âåäàòü
) that he has awakened Mrs. Hubbard
(÷òî
îí
ðàçáóäèë
ìèññèñ
Õàááàðä
), he slips out
(îí
ïðîêðàäûâàåòñÿ
; to slip —
ñêîëüçèòü,
ïëàâíî
èëè
áûñòðî
ïåðåäâèãàòüñÿ;
äâèãàòüñÿ
òèõî
èëè
íåçàìåòíî)
through the other door into the corridor (
÷åðåç
äðóãóþ
äâåðü
â
êîðèäîð)
.”
absently
['xbs(q)ntlI] furrow
['fArqV] perplexity
[pq'pleksItI] bloodstained
['blAdsteInd] knife
[naIf]
“We locked it from the other side, you remember,” said the doctor.
“That is true,” said Poirot absently. He seemed to be thinking about something
else. His brow was furrowed as though in perplexity.
“It agrees, does it not?” said M. Bouc. “The man passes through this
carriage. As he shuts the communicating door behind him he feels the sponge-bag. A thought comes to him and he quickly slips the blood-stained knife inside. Then, all unwitting that he has awakened Mrs. Hubbard, he slips out
through the other door into the corridor.”
“
As
you
say
(âîò èìåííî: «êàê âû ãîâîðèòå»)
,” murmured
Poirot
(ïðîáîðìîòàë Ïóàðî)
. “That
is
how
it
must
have
happened
(âîò êàê âñå äîëæíî áûòü ïðîèçîøëî)
.” But
the
puzzled
look
did
not
leave
his
face
(íî îçàäà÷åííîå âûðàæåíèå íå ïîêèíóëî åãî ëèöî;
look
— âçãëÿä; âûðàæåíèå
; to
leave
— óõîäèòü, óåçæàòü; ïîêèäàòü, áðîñàòü, îñòàâëÿòü
).
“
But
what
is
it
(íî ÷òî òàêîå = â ÷åì æå äåëî)
?” demanded
M
. Bouc
(/òðåáîâàòåëüíî/ ñïðîñèë ìñüå Áóê;
to
demand — òðåáîâàòü, ïðåäúÿâëÿòü òðåáîâàíèÿ;
íàñòîé÷èâî òðåáîâàòü îòâåòà, çàäàâàòü âîïðîñ)
. “There
is
something
, is
there
not
, that
does
not
satisfy
you
(/åñòü/ ÷òî-òî, íå òàê ëè, ÷òî âàñ íå óñòðàèâàåò;
to
satisfy — óäîâëåòâîðÿòü; óáåæäàòü, äîêàçûâàòü
)?”
Poirot
darted
a
quick
look
at
him
(Ïóàðî áðîñèë íà íåãî áûñòðûé âçãëÿä;
to
dart — ïðîì÷àòüñÿ ñòðåëîé, ðèíóòüñÿ; áðîñàòü,
ìåòàòü /òæ. ïåðåí./)
.
“
The same
point
does not
strike
you (à òîò æå ñàìûé =
ýòîò ìîìåíò íå ïðèâëåê âàøå âíèìàíèå;
to strike
(struck; stricken) — óäàðÿòü, áèòü; ïîðàæàòü, ïðîèçâîäèòü âïå÷àòëåíèå, ïðèâëåêàòü âíèìàíèå
)? No, evidently not
(íåò,
î÷åâèäíî íåò
). Well, it is a small matter (
÷òî æ
, ýòî
ïóñòÿê).”
The conductor looked into the carriage
(â
êóïå
çàãëÿíóë
ïðîâîäíèê
). “The American lady is coming back
(àìåðèêàíñêàÿ
äàìà
âîçâðàùàåòñÿ
).”
satisfy
['sxtIsfaI] evidently
['evId(q)ntlI] carriage
['kxrIdZ]
“As you say,” murmured Poirot. “That is how it must have happened.”
But the puzzled look did not leave his face.
“But what is it?” demanded M. Bouc. “There is something, is there not,
that does not satisfy you?”
Poirot darted a quick look at him.
“The same point does not strike you? No, evidently not. Well, it is a small
matter.”
The conductor looked into the carriage. “The American lady is coming back.”
Dr
. Constantine
looked
rather
guilty
(âèä ó äîêòîðà Êîíñòàíòèíà áûë âèíîâàòûé;
to
look — ñìîòðåòü; âûãëÿäåòü, èìåòü âèä;
guilty — âèíîâíûé; âèíîâàòûé
).
He
had,
he
felt,
treated
Mrs.
Hubbard
rather
cavalierly
(îí ÷óâñòâîâàë, ÷òî îáîøåëñÿ ñ ìèññèñ Õàááàðä äîâîëüíî áåñöåðåìîííî;
cavalierly — âûñîêîìåðíî, íàäìåííî; áåñöåðåìîííî
).
But
she
had
no
reproaches
for
him
(íî ó íåå íå áûëî ê íåìó óïðåêîâ = íî îíà è íå äóìàëà åãî óïðåêàòü;
reproach — óïðåê, óêîð, ïîïðåê, îñóæäåíèå
).
Her energies were concentrated on another matter (
åå
ýíåðãèÿ
áûëà
íàïðàâëåíà
íà
äðóãîå)
.
“
I’
m
going
to
say
one
thing
right
out
(ÿ ñêàæó êîå-÷òî ïðÿìî/áåç îáèíÿêîâ;
right — ñïðàâåäëèâî; ïðÿìî;
out — çä. óêàçûâàåò íà ÷åòêîñòü, ÿñíîñòü,
ãðîìêîñòü è ò.ï.)
,” she
said
breathlessly
(ñêàçàëà îíà, çàïûõàâøèñü;
breath — äûõàíèå;
to
breathe — äûøàòü;
breathless — çàïûõàâøèéñÿ, çàäûõàþùèéñÿ
)
as
she
arrived
in
the
doorway
(êàê òîëüêî îíà ïîÿâèëàñü â äâåðÿõ;
doorway — âõîä â ïîìåùåíèå
). “
I’
m
not
going
on
any
longer
in
this
compartment
(ÿ â ýòîì êóïå áîëüøå íå îñòàíóñü: «ÿ áîëüøå íå áóäó íàõîäèòüñÿ â ýòîì êóïå»;
to
go
on — èäòè äàëüøå, ïðîäîëæàòü ïóòü; ïðîäîëæàòü;
any
longer — áîëüøå /íå/
)!
Why,
I
wouldn’
t
sleep
in
it
to-
night
(áà, ÿ íå ñòàíó ñïàòü â ýòîì êóïå /ñåãîäíÿ íî÷üþ/)
if
you
paid
me
a
million
dollars
(äàæå åñëè áû âû çàïëàòèëè ìíå ìèëëèîí äîëëàðîâ)
.”
“But, Madame
(íî
, ìàäàì
) — ”
guilty
['gIltI]
cavalierly ["kxvq'lIqlI]
energy ['enqdZI]
million ['mIljqn]
Dr. Constantine looked rather guilty. He had, he felt, treated Mrs. Hubbard
rather cavalierly. But she had no reproaches for him. Her energies were concentrated on another matter.
“I’m going to say one thing right out,” she said breathlessly as she
arrived in the doorway. “I’m not going on any longer in this compartment! Why, I wouldn’t sleep in it to-night if you paid me a million dollars.”
“But, Madame — ”
“I know what you are going to say (
ÿ
çíàþ,
÷òî
âû
ìíå
ñêàæåòå;
to be going to do smth. — ñîáèðàòüñÿ
, íàìåðåâàòüñÿ
ñäåëàòü
÷òî
-ëèáî
), and I’m telling you right now
(è
/ïîýòîìó
/ ÿ
ãîâîðþ
âàì
ïðÿìî
ñåé÷àñ
) that I won’t do any such thing
(÷òî
ÿ
íå
îñòàíóñü
çäåñü
: «ÿ
íå
ñäåëàþ
íè÷åãî
ïîäîáíîãî
»; thing —
âåùü;
äåéñòâèå,
ïîñòóïîê)
! Why, I’d rather sit up all night in the corridor
(äà
ÿ
óæ
ëó÷øå
ïðîñèæó
âñþ
íî÷ü
â
êîðèäîðå
).” She began to cry
(îíà
çàïëàêàëà
: «íà÷àëà
ïëàêàòü
»).
“Oh
, if
my
daughter
could
only
know
(î, åñëè áû òîëüêî ìîÿ äî÷ü çíàëà)
— if
she
could
see
me
now
, why
(åñëè áû îíà òîëüêî ìîãëà ìåíÿ âèäåòü, âåäü)
— ”
Poirot
interrupted
firmly
(Ïóàðî ðåøèòåëüíî ïðåðâàë /åå/;
firm — òâåðäûé; ðåøèòåëüíûé, íàñòîé÷èâûé;
to
interrupt — ïðåðûâàòü, ïðèîñòàíàâëèâàòü /õîä,
òå÷åíèå ÷åãî-ëèáî/; ïåðåáèâàòü, ïðåðûâàòü /ãîâîðÿùåãî/)
.
rather ['rQ:Dq]
daughter ['dO:tq]
interrupted
["Intq'rAptId]
“I know what you are going to say, and I’m telling you right now that I
won’t do any such thing! Why, I’d rather sit up all night in the corridor.” She began to cry. “Oh, if my daughter could only know — if she could see me now, why — ”
Poirot interrupted firmly.
“You misunderstand, Madame (
âû /
ìåíÿ/
íåïðàâèëüíî
ïîíÿëè,
ìàäàì)
. Your
demand
is
most
reasonable
(âàøå òðåáîâàíèå ñîâåðøåííî: «î÷åíü» îáîñíîâàííî;
reasonable — ðàçóìíûé, ðàññóäèòåëüíûé; îáîñíîâàííûé
).
Your
baggage
shall
be
changed
at
once
to
another
compartment
(âàø áàãàæ íåìåäëåííî ïåðåíåñóò â äðóãîå êóïå;
to
change /
to/ — ìåíÿòü, èçìåíÿòü; îáìåíèâàòüñÿ, ìåíÿòüñÿ
/÷åì-ëèáî/).”
Mrs.
Hubbard
lowered
her
handkerchief
(ìèññèñ Õàááàðä îòíÿëà íîñîâîé ïëàòîê /îò ãëàç/;
to
lower — ñïóñêàòü, îïóñêàòü
).
“i
s that so (
ïðàâäà)
? Oh! I
feel
better
right
away
(ìíå ñðàçó ñòàëî ëó÷øå: «ÿ ÷óâñòâóþ ñåáÿ ëó÷øå íåìåäëåííî»)
. But
surely
it
’s
all
full
(íî, êîíå÷íî æå, âñå ìåñòà çàíÿòû;
full — ïîëíûé, íàëèòûé äî êðàåâ; íàïîëíåííûé,
çàïîëíåííûé),
unless
one
of
the
gentlemen
(åñëè òîëüêî êòî-íèáóäü èç äæåíòëüìåíîâ)
— ”
M.
Bouc
spoke
(çàãîâîðèë ìñüå Áóê).
“Your baggage, Madame, shall be moved out of this coach altogether
(âàø
áàãàæ
, ìàäàì
, áóäåò
ïåðåíåñåí
èç
ýòîãî
âàãîíà
; to move —
äâèãàòü,
ïåðåäâèãàòü,
ïåðåìåùàòü)
. You shall have a compartment in the next coach (
ó
âàñ
áóäåò
êóïå
â
ñîñåäíåì
âàãîíå;
to have — èìåòü
; ïîëó÷àòü
), which was put on at Belgrade
(êîòîðûé
áûë
ïðèöåïëåí
â
Áåëãðàäå
; to put (put) on —
íàäåâàòü;
ïðèáàâëÿòü,
óâåëè÷èâàòü)
.”
“Why, that’s splendid
(÷òî
æ
, ïðåêðàñíî
). I’m not an extra nervous woman
(ÿ
íå
ñëèøêîì
óæ
ñëàáîíåðâíàÿ
/æåíùèíà
/; extra —
îñîáî,
äîïîëíèòåëüíî; nervous —
íåðâíûé;
áîÿçëèâûé,
ðîáêèé,
ñëàáîíåðâíûé)
, but to sleep in that compartment (
íî
ñïàòü
â
ýòîì
êóïå)
next door to a dead man (
ðÿäîì
ñ
ïîêîéíèêîì;
next door — ïî
ñîñåäñòâó
, ðÿäîì
)!” She shivered
(îíà
ïîåæèëàñü
; to shiver —
äðîæàòü,
âçäðàãèâàòü)
. “It would drive me plumb crazy (
ýòî
ìåíÿ
ñîâñåì
ñ
óìà
ñâåäåò;
to drive — âîäèòü
, âåçòè
, ïðàâèòü
; to drive smb. into a state — äîâåñòè
êîãî
-ëèáî
äî
êàêîãî
-ëèáî
ñîñòîÿíèÿ
; plumb — âåðòèêàëüíî
, ïåðïåíäèêóëÿðíî
; ñîâåðøåííî
, îêîí÷àòåëüíî
; crazy — ñóìàñøåäøèé
, áåçóìíûé
).”
altogether
["O:ltq'geDq] splendid
['splendId] nervous
['nq:vqs] shiver
['SIvq] plumb
[plAm]
“You misunderstand, Madame. Your demand is most reasonable. Your baggage
shall be changed at once to another compartment.”
Mrs. Hubbard lowered her handkerchief. “
is that so? Oh! I feel better right away. But surely it’s all full, unless
one of the gentlemen — ”
M. Bouc spoke.
“Your baggage, Madame, shall be moved out of this coach altogether. You shall
have a compartment in the next coach, which was put on at Belgrade.”
“Why, that’s splendid. I’m not an extra nervous woman, but to sleep in
that compartment next door to a dead man!” She shivered. “It would drive me plumb crazy.”
“Michel,” called M. Bouc
(ïîçâàë
/ïðîâîäíèêà
/ ìñüå
Áóê
). “Move this baggage into a vacant compartment in the Athens-Paris coach
(ïåðåíåñèòå
ýòîò
áàãàæ
â
ñâîáîäíîå
êóïå
â
âàãîíå
Àôèíû
-Ïàðèæ
; vacant —
ïóñòîé,
íåçàïîëíåííûé;
íåçàíÿòûé,
ñâîáîäíûé)
.”
“Yes, Monsieur. The same one as this — the No. 3
(â
òàêîå
æå
êóïå
/êàê
è
ýòî
/ — íîìåð
3)?”
“No,” said Poirot before his friend could reply
(ñêàçàë
Ïóàðî
, ïðåæäå
, ÷åì
åãî
äðóã
óñïåë
: «ñìîã
» îòâåòèòü
). “I think it would be better for Madame
(ìíå
êàæåòñÿ
, ÷òî
äëÿ
ìàäàì
áóäåò
ëó÷øå
) to have a different number altogether
(åñëè
è
íîìåð
ó
åå
êóïå
áóäåò
äðóãîé
; different —
ðàçëè÷íûé;
èíîé,
äðóãîé; number —
÷èñëî,
êîëè÷åñòâî; (No.)
íîìåð /
äîìà,
êóïå,
êàþòû,
àóäèòîðèè
è
ò.
ï./
). The No. 12, for instance
(íàïðèìåð
, /êóïå
/ ïîä
íîìåðîì
12).”
“
Bien, Monsieur
(õîðîøî
, ìñüå
).”
The conductor seized the luggage
(ïðîâîäíèê
ñõâàòèë
áàãàæ
). Mrs. Hubbard turned gratefully to Poirot
(ìèññèñ
Õàááàðä
ïðèçíàòåëüíî
îáðàòèëàñü
ê
Ïóàðî
; to turn /to smb./ —
ïîâîðà÷èâàòü;
îáðàùàòüñÿ /
ê
êîìó-
ëèáî/; grateful —
áëàãîäàðíûé,
ïðèçíàòåëüíûé; gratefully —
áëàãîäàðíî,
ñ
áëàãîäàðíîñòüþ)
.
vacant
['veIkqnt] seize
[si:z] gratefully
['greItf(q)lI]
“Michel,” called M. Bouc. “Move this baggage into a vacant compartment
in the Athens-Paris coach.”
“Yes, Monsieur. The same one as this — the No. 3?”
“No,” said Poirot before his friend could reply. “I think it would be
better for Madame to have a different number altogether. The No. 12, for instance.”
“Bien, Monsieur.”
The conductor seized the luggage. Mrs. Hubbard turned gratefully to Poirot.
“
That’
s
very
kind
and
delicate
of
you
(ýòî î÷åíü ëþáåçíî è òàêòè÷íî ñ âàøåé ñòîðîíû;
kind — äîáðûé; ëþáåçíûé, âíèìàòåëüíûé;
delicate — óòîí÷åííûé, èçûñêàííûé; ó÷òèâûé,
òàêòè÷íûé, âåæëèâûé)
. I
appreciate
it
, I
assure
you
(ÿ /âàì/ ïðèçíàòåëüíà, óâåðÿþ âàñ;
to
appreciate — öåíèòü, âûñîêî ñòàâèòü; áûòü ïðèçíàòåëüíûì,
áëàãîäàðíûì /çà ÷òî-ëèáî/)
.”
“
Do
not
mention
it,
Madame
(íå ñòîèò áëàãîäàðíîñòè, ìàäàì;
to
mention — óïîìèíàòü, ññûëàòüñÿ íà
).
We
will
come
with
you
(ìû ïîéäåì /âìåñòå/ ñ âàìè)
and
see
you
comfortably
installed
(è óáåäèìñÿ, ÷òî âàñ óäîáíî óñòðîèëè;
to
install — îôèöèàëüíî ââîäèòü â äîëæíîñòü; óñòðàèâàòü,
ïîìåùàòü).”
Mrs.
Hubbard
was
escorted
by
the
three
men
(òðîå ìóæ÷èí ïðîâîäèëè ìèññèñ Õàááàðä: «ìèññèñ Õàááàðä áûëà ñîïðîâîæäåíà òðåìÿ ìóæ÷èíàìè»;
to
escort — ñîïðîâîæäàòü; ïðîâîæàòü
)
to
her
new
home
(äî åå íîâîãî æèëèùà;
home — äîì, æèëèùå, îáèòàëèùå
).
She
looked
round
her
happily
(îíà ñ÷àñòëèâî îãëÿäåëàñü âîêðóã)
. “This
is
fine
(çäåñü î÷åíü õîðîøî: «ýòî ïðåêðàñíîå /êóïå/»;
fine — ÿñíûé, õîðîøèé /î ïîãîäå/; ïðåêðàñíûé,
ïðåâîñõîäíûé)
.”
“
It
suits
you,
Madame
(êóïå: «îíî» âàñ óñòðàèâàåò, ìàäàì;
to
suit — óäîâëåòâîðÿòü òðåáîâàíèÿì; ïîäõîäèòü,
óñòðàèâàòü)?
It
is,
you
see,
exactly
like
the
compartment
you
have
left
(îíî, êàê âû âèäèòå, ñîâåðøåííî òàêîå æå, êàê òî ñàìîå êóïå, êîòîðîå âû /òîëüêî ÷òî/ ïîêèíóëè)
.”
appreciate
[q'pri:SIeIt] install
[In'stO:l] suit
[s(j)u:t]
“That’s very kind and delicate of you. I appreciate it, I assure you.”
“Do not mention it, Madame. We will come with you and see you comfortably
installed.”
Mrs. Hubbard was escorted by the three men to her new home. She looked round
her happily. “This is fine.”
“It suits you, Madame? It is, you see, exactly like the compartment you have
left.”
“
That’
s
so
(âåðíî: «ýòî òàê») —
only
it
faces
the
other
way
(òîëüêî îíî îáðàùåíî â äðóãóþ ñòîðîíó /ïî õîäó äâèæåíèÿ, îòíîñèòåëüíî ëîêîìîòèâà/;
to
face — íàõîäèòüñÿ ëèöîì ê; áûòü îáðàùåííûì
ê).
But
that
doesn’
t
matter
(íó, äà ýòî íå âàæíî; to
matter
— /÷àùå â îòðèö. è âîïðîñ. ïðåäëîæåíèÿõ/ èìåòü çíà÷åíèå
),
for
these
trains
go
first
one
way
(ïîòîìó ÷òî ýòè ïîåçäà åäóò ñíà÷àëà â îäíó ñòîðîíó;
way — ïóòü, äîðîãà; íàïðàâëåíèå
)
and
then
the
other
(è çàòåì â äðóãóþ).
I
said
to
my
daughter
(ÿ ñêàçàëà ñâîåé äî÷åðè)
, ‘I
want
a
carriage
facing
the
engine
(ìíå íóæíî êóïå /ñî ñïàëüíûì ìåñòîì/ îáðàùåííûì
ê ëîêîìîòèâó = ÿ õî÷ó åõàòü ïî õîäó ïîåçäà; to
want
— õîòåòü, æåëàòü; íóæäàòüñÿ /â ÷åì-ëèáî/;
engine — ìàøèíà, äâèãàòåëü; ëîêîìîòèâ, ïàðîâîç
).’
And
she
said
(à îíà ñêàçàëà), ‘
Why,
Mamma,
that’
ll
be
no
good
to
you
(÷òî òû, ìàìà, ýòî áåñïîëåçíî: «îò ýòîãî òåáå íå áóäåò íèêàêîãî òîëêó»;
good — äîáðî, áëàãî; ïîëüçà
),
for
if
you
go
to
sleep
one
way
(ïîòîìó ÷òî åñëè òû ëîæèøüñÿ ñïàòü /è åäåøü/ â îäíîì íàïðàâëåíèè)
, when
you
wake
up
, the
train
’s
going
the
other
(êîãäà òû ïðîñíåøüñÿ, ïîåçä áóäåò åõàòü â äðóãîì)
!’ And
it
was
quite
true
what
she
said
(è ýòî ñîâåðøåííî âåðíî, òî, ÷òî îíà ñêàçàëà)
. Why
, last
evening
we
went
into
Belgrade
one
way
(âåäü ïðîøëûì âå÷åðîì ìû âúåõàëè â Áåëãðàä â îäíîì
íàïðàâëåíèè) and
out
the
other
(è âûåõàëè óæå â äðóãîì)
.”
“
At
any
rate,
Madame
(â ëþáîì ñëó÷àå, ìàäàì;
rate — íîðìà, ðàçìåð; at any rate — ïî ìåíüøåé ìåðå,
â ëþáîì ñëó÷àå)
, you
are
quite
happy
(âû âïîëíå äîâîëüíû;
happy — ñ÷àñòëèâûé; äîâîëüíûé, âåñåëûé
)
and
contented
now
(è óäîâëåòâîðåíû òåïåðü;
contented — äîâîëüíûé, óäîâëåòâîðåííûé
)?”
true
[tru:] happy
['hxpI] contented
[kqn'tentId]
“That’s so — only it faces the other way. But that doesn’t matter,
for these trains go first one way and then the other. I said to my daughter, ‘I want a carriage facing the engine.’ And she said, ‘Why, Mamma, that’ll be no good to you, for if you go to sleep one way, when you wake
up, the train’s going the other!’ And it was quite true what she said. Why, last evening we went into Belgrade one way and out the other.”
“At any rate, Madame, you are quite happy and contented now?”
“
Well,
no,
I
wouldn’
t
say
that
(íó, íåò, ÿ áû òàê íå ñêàçàëà)
. Here
we
are
stuck
in
a
snowdrift
(âîò, ìû çäåñü çàñòðÿëè â ñíåæíîì çàíîñå;
to
stick (
stuck) — íàêëåèâàòü, ïðèêëåèâàòü; çàñòðåâàòü,
óâÿçàòü)
and
nobody
doing
anything
about
it
(è íèêòî íè÷åãî ñ ýòèì íå äåëàåò)
, and
my
boat
sailing
the
day
after
to
-morrow
(à ìîé êîðàáëü îòïëûâàåò ïîñëåçàâòðà)
.”
“
Madame,”
said
M.
Bouc, “
we
are
all
in
the
same
case
(ìû âñå â òàêîì æå ïîëîæåíèè;
case — ñëó÷àé, îáñòîÿòåëüñòâî; ïîëîæåíèå
/äåë/) —
every
one
of
us
(êàæäûé èç íàñ).”
“
Well,
that’
s
true
(÷òî æ, ýòî ïðàâäà),”
admitted
Mrs.
Hubbard
(ñîãëàñèëàñü ìèññèñ Õàááàðä;
to
admit — ïðèçíàâàòü, äîïóñêàòü
). “
But
nobody
else
has
had
a
murderer
(íî íè ó êîãî áîëüøå íå ïîáûâàë óáèéöà;
to
have — èìåòü; íàõîäèòüñÿ, èìåòüñÿ; ïåðåæèâàòü
/ñîáûòèÿ è ò.ï./)
walking
right
through
her
compartment
in
the
middle
of
the
night
(è íå ïðîøåëñÿ ïðÿìî ïî /åå/ êóïå ïîñðåäè íî÷è;
middle — ñåðåäèíà
).
“
What
still
puzzles
me,
Madame
(÷òî âñå åùå îçàäà÷èâàåò ìåíÿ, ìàäàì)
,” said
Poirot
, “is
how
the
man
got
into
your
compartment
(/òàê ýòî òî/, êàê ýòîò ÷åëîâåê çàáðàëñÿ â âàøå
êóïå) if
the
communicating
door
was
bolted
as
you
say
(åñëè ñìåæíàÿ äâåðü áûëà çàïåðòà íà çàäâèæêó,
êàê âû ãîâîðèòå). You
are
sure
that
it
was
bolted
(âû óâåðåíû, ÷òî îíà áûëà çàïåðòà /íà çàäâèæêó)
?”
snowdrift ['snqVdrIft]
through [Tru:]
communicating [kq'mju:nIkeItIN]
“Well, no, I wouldn’t say that. Here we are stuck in a snowdrift and nobody
doing anything about it, and my boat sailing the day after to-morrow.”
“Madame,” said M. Bouc, “we are all in the same case — every one of
us.”
“Well, that’s true,” admitted Mrs. Hubbard. “But nobody else has had
a murderer walking right through her compartment in the middle of the night.
“What still puzzles me, Madame,” said Poirot, “is how the man got into
your compartment if the communicating door was bolted as you say. You are sure that it was bolted?”
“Why, the Swedish lady tried it before my eyes
(êàê
æå
, øâåäêà
ïîòðîãàëà
/äâåðü
, çàïåðòà
ëè
/ îíà
ó
ìåíÿ
íà
ãëàçàõ
: «ïåðåä
ìîèìè
ãëàçàìè
»; to try —
ïûòàòüñÿ,
ñòàðàòüñÿ;
ïðîâåðÿòü
íà
îïûòå)
.”
“Let us just reconstruct that little scene
(äàâàéòå
ïðîñòî
âîññîçäàäèì
ýòó
/íåáîëüøóþ
/ ñöåíó
; to reconstruct —
ïåðåñòðàèâàòü,
ðåêîíñòðóèðîâàòü;
âîññòàíàâëèâàòü,
âîññîçäàâàòü)
. You were lying in your bunk (
âû
ëåæàëè
íà
ñâîåé
ïîëêå)
— so (
òàê)
— and you could not see for yourself, you say (
è
ñàìè
âèäåòü
íå
ìîãëè,
òàê: «
âû
ãîâîðèòå»)
?”
“
No, because
of
the sponge
-bag
(íå /ìîãëà/, èç-çà ñóìî÷êè äëÿ âàííûõ ïðèíàäëåæíîñòåé;
sponge — ãóáêà
). Oh
! my,
I shall
have
to get
a new
sponge-
bag (î Áîæå, ìíå ïðèäåòñÿ êóïèòü íîâóþ ñóìî÷êó;
to get
— äîñòàâàòü, äîáûâàòü; ïîêóïàòü, ïðèîáðåòàòü
). It
makes
me feel
sick
at my
stomach
(ìåíÿ íà÷èíàåò òîøíèòü: «ýòî çàñòàâëÿåò ìåíÿ ÷óâñòâîâàòü òîøíîòó â æåëóäêå»;
stomach — æåëóäîê; æèâîò
) to
look
at this
one
(/êîãäà ÿ/ ñìîòðþ íà ýòó /ñóìî÷êó/).”
Poirot picked up the sponge-bag and hung it on the handle
(Ïóàðî
ïîäíÿë
ñóìî÷êó
è
ïîâåñèë
åå
íà
ðó÷êó
; to hang (hung, hanged)
) of the communicating door into the next carriage (
ñìåæíîé
äâåðè, /
âåäóùåé/
â
ñîñåäíåå
êóïå)
.
reconstruct
["ri:kqn'strAkt] scene
[si:n] lying
['laIIN] stomach
['stAmqk]
“Why, the Swedish lady tried it before my eyes.”
“Let us just reconstruct that little scene. You were lying in your bunk —
so — and you could not see for yourself, you say?”
“No, because of the sponge-bag. Oh! my, I shall have to get a new sponge-bag.
It makes me feel sick at my stomach to look at this one.”
Poirot picked up the sponge-bag and hung it on the handle of the communicating
door into the next carriage.
“
Pré
cisé
ment
(ôð.
ñîâåðøåííî âåðíî).
I
see
(ïîíèìàþ; to
see
— âèäåòü; ïîíèìàòü, ñîçíàâàòü
),”
he
said. “
The
bolt
is
just
underneath
the
handle
(çàñîâ êàê ðàç ïîä ðó÷êîé)
— the
sponge
-bag
masks
it
(ñóìî÷êà ñêðûâàåò åãî;
to
mask — ìàñêèðîâàòü, ñêðûâàòü
).
You
could
not
see
from
where
you
were
lying
(âû íå ìîãëè âèäåòü îòòóäà, ãäå âû ëåæàëè)
whether
the
bolt
was
turned
or
not
(áûë ëè çàñîâ ïîâåðíóò èëè íåò)
.”
“
Why,
that’
s
just
what
I’
ve
been
telling
you
(âåäü èìåííî ýòî ÿ âàì è ãîâîðþ)
!”
“And the Swedish lady, Miss Ohlsson, stood so (
à
øâåäêà,
ìèññ
Îëüñîí,
ñòîÿëà
âîò
òàê)
, between you and the door (
ìåæäó
âàìè
è
äâåðüþ)
. She
tried
it
(îíà ïîäåðãàëà äâåðü)
and
told
you
it
was
bolted
(è ñêàçàëà, ÷òî îíà áûëà çàêðûòà íà çàñîâ)
.”
“That’s so
(âåðíî
).”
underneath ["Andq'ni:T]
whether ['weDq]
Swedish ['swi:dIS]
“
Précisément. I see,” he said. “The bolt is just underneath the handle —
the sponge-bag masks it. You could not see from where you were lying whether the bolt was turned or not.”
“Why, that’s just what I’ve been telling you!”
“And the Swedish lady, Miss Ohlsson, stood so, between you and the door.
She tried it and told you it was bolted.”
“That’s so.”
“All the same, Madame, she may have made an error
(òåì
íå
ìåíåå
, ìàäàì
, îíà
ìîãëà
îøèáèòüñÿ
: «ñäåëàòü
îøèáêó
»). You
see
what
I
mean
(âèäèòå, ÷òî ÿ õî÷ó ñêàçàòü)
.” Poirot
seemed
anxious
to
explain
(Ïóàðî, êàçàëîñü, íå òåðïåëîñü îáúÿñíèòü /÷òî îí
èìåë â âèäó/; anxious
— áåñïîêîÿùèéñÿ; ñòðåìÿùèéñÿ /ê ÷åì-ëèáî/, ñòðàñòíî æåëàþùèé /÷åãî-ëèáî/
). “
The
bolt
is
just
a
projection
of
metal —
so
(çàñîâ ýòî âñåãî ëèøü ìåòàëëè÷åñêèé âûñòóï — âîò;
projection — âûäàþùàÿñÿ ÷àñòü, âûñòóï
).
When it is turned to the right, the door is locked (
êîãäà
îí
ïîâåðíóò
âïðàâî,
äâåðü
çàêðûòà)
. When it is left straight, the door is unlocked (
êîãäà
îí
ðàñïîëîæåí
ïðÿìî,
äâåðü
íå
çàïåðòà)
. Possibly she merely tried the door (
âîçìîæíî,
îíà
ïðîñòî
ïîäåðãàëà
äâåðü)
, and as it was locked on the other side (
è
îòòîãî,
÷òî
îíà
áûëà
çàïåðòà
ñ
äðóãîé
ñòîðîíû)
she may have assumed (
îíà
ìîãëà
çàêëþ÷èòü;
to assume — ïðèíèìàòü
, áðàòü
/íà
ñåáÿ
/; ïðåäïîëàãàòü
, äîïóñêàòü
, çàêëþ÷àòü
) that it was locked on your side
(÷òî
äâåðü
áûëà
çàïåðòà
ñ
âàøåé
ñòîðîíû
; side —
ñòåíêà,
ñòåíà;
÷àñòü,
ïîëîâèíà,
ñòîðîíà)
.”
“
Well,
I
guess
that
would
be
rather
stupid
of
her
(÷òî æ, ïîëàãàþ, ÷òî ýòî áûëî áû äîâîëüíî ãëóïî ñ åå ñòîðîíû)
.”
“Madame, the most kind, the most amiable
(ìàäàì
, ñàìûå
äîáðûå
, ñàìûå
áëàãîæåëàòåëüíûå
/ëþäè
/), are not always the cleverest
(íå
âñåãäà
ñàìûå
óìíûå
).”
“That’s so, of course
(ýòî
òàê
, êîíå÷íî
).”
error
['erq] anxious
['xNkSqs] projection
[prq'dZekS(q)n] assumed
[q'sju:md] stupid
['stju:pId]
“All the same, Madame, she may have made an error. You see what I mean.”
Poirot seemed anxious to explain. “The bolt is just a projection of metal — so. When it is turned to the right, the door is locked. When it is left straight, the door is unlocked. Possibly she merely tried the door, and
as it was locked on the other side she may have assumed that it was locked on your side.”
“Well, I guess that would be rather stupid of her.”
“Madame, the most kind, the most amiable, are not always the cleverest.”
“That’s so, of course.”
“By the way, Madame, did you travel out to Smyrna this way
(ìåæäó
ïðî÷èì
, ìàäàì
, âû
åõàëè
â
Ñìèðíó
ýòèì
æå
ïóòåì
)?”
“No. I sailed right to Stamboul
(ÿ
ïëûëà
/íà
êîðàáëå
/ ïðÿìî
äî
Ñòàìáóëà
), and a friend of my daughter’s
(è
äðóã
ìîåé
äî÷åðè
), Mr. Johnson
(a perfectly lovely man (ñîâåðøåííî
î÷àðîâàòåëüíûé
ìóæ÷èíà
), I’d like to have you know him
(æàëü
, ÷òî
âû
åãî
íå
çíàåòå
: «ìíå
áû
õîòåëîñü
, ÷òî
áû
âû
ñ
íèì
ïîçíàêîìèëèñü
»)
), met me and showed me all round Stamboul (
âñòðåòèë
ìåíÿ
è
ïîêàçàë
ìíå
âåñü
Ñòàìáóë;
to show /round/ a place — ïðîâîæàòü
êîãî
-ëèáî
, êóäà
-ëèáî
; ïîêàçûâàòü
êîìó
-ëèáî
ãîðîä
, çíàêîìèòü
êîãî
-ëèáî
ñ
ãîðîäîì
). But it was a very disappointing city
(íî
ãîðîä
ìåíÿ
ðàçî÷àðîâàë
: «íî
ýòî
áûë
î÷åíü
ðàçî÷àðîâûâàþùèé
ãîðîä
»; to disappoint —
ðàçî÷àðîâûâàòü,
íå
îïðàâäûâàòü
íàäåæä)
— all tumbling down (
âåñü
â
ðóèíàõ;
to tumble — óïàñòü
; îáðóøèâàòüñÿ
; to tumble down — ñâàëèòüñÿ
, óïàñòü
; ðàçâàëèòüñÿ
, ïðåâðàòèòüñÿ
â
ðóèíû
); and as for those mosques
(à
÷òî
êàñàåòñÿ
òåõ
ìå÷åòåé
), and putting on those great shuffling things
(è
/íåîáõîäèìîñòè
/ íàäåâàòü
òå
îãðîìíûå
øàðêàþùèå
øòóêîâèíû
; to put on —
íàäåâàòü; to shuffle —
øàðêàòü,
âîëî÷èòü
íîãè; thing —
âåùü,
ïðåäìåò)
over your shoes (
ïîâåðõ
îáóâè;
shoe — òóôëÿ
, ïîëóáîòèíîê
, áàøìàê
) — where was I
(íà
÷åì
ÿ
îñòàíîâèëàñü
: «ãäå
ÿ
áûëà
»)?”
disappointing
["dIsq'pOIntIN] tumbling
['tAmblIN] mosque
[mO
sk]
“By the way, Madame, did you travel out to Smyrna this way?”
“No. I sailed right to Stamboul, and a friend of my daughter’s, Mr. Johnson
(a perfectly lovely man, I’d like to have you know him, met me and showed me all round Stamboul. But it was a very disappointing city — all tumbling
down; and as for those mosques, and putting on those great shuffling things over your shoes — where was I?”
“You
were
saying
that
Mr
. Johnson
met
you
(âû ãîâîðèëè, ÷òî âàñ âñòðåòèë ìèñòåð Äæîíñîí)
.”
“
That’
s
so
(âåðíî),
and
he
saw
me
on
board
a
French
Messageries
boat
(è îí ïîñàäèë ìåíÿ íà ôðàíöóçñêîå òîðãîâîå ñóäíî;
to
see (
saw,
seen)
smb.
to
some
place — ïðîâîæàòü, ñîïðîâîæäàòü êîãî-ëèáî
êóäà-ëèáî; board — äîñêà; áîðò /êîðàáëÿ/;
on
board — íà êîðàáëå, íà áîðòó;
messagerie — ôð. òðàíñïîðòíîå ïðåäïðèÿòèå ïî
ïåðåâîçêå ãðóçîâ) for
Smyrna
(/èäóùèé/ â Ñìèðíó)
, and
my
daughter
’s
husband
was
waiting
right
on
the
quay
(è ìóæ ìîåé äî÷åðè =
è ìîé çÿòü îæèäàë ìåíÿ ïðÿìî ó ïðè÷àëà)
. What
he
’ll
say
when
he
hears
about
all
this
(÷òî îí ñêàæåò, êîãäà óñëûøèò/óçíàåò îáî âñåì ýòîì)
! My
daughter
said
this
would
be
just
the
safest
, easiest
way
(ìîÿ äî÷ü ãîâîðèëà, ÷òî ýòî áóäåò êàê ðàç ñàìûé
áåçîïàñíûé è óäîáíûé ïóòü; easy
— ëåãêèé, íåòðóäíûé; óäîáíûé, ïðèÿòíûé;
way — ïóòü, äîðîãà, ìàðøðóò; îáðàç äåéñòâèÿ,
ìåòîä, ñïîñîá)
imaginable
(êîòîðûé ìîæíî òîëüêî ïðåäñòàâèòü
; to
imagine
— èçîáðàæàòü; ïðåäñòàâëÿòü ñåáå, âîîáðàæàòü;
imaginable — âîîáðàçèìûé, ìûñëèìûé
). ‘
You
just
sit
in
your
carriage
(òû ïðîñòî ñèäèøü â ñâîåì êóïå)
,’ she
said
, ‘and
you
land
right
in
Paris
(è âûñàæèâàåøüñÿ óæå ïðÿìî â Ïàðèæå)
, and
there
the
American
Express
will
meet
you
(è òàì òåáÿ âñòðåòèò Àìåðèêýí Ýêñïðåññ)
.’ And
, oh
, dear
, what
am
I
to
do
about
cancelling
(è, î Áîæå, ÷òî æå ìíå äåëàòü ñ îòìåíîé = êàê æå ìíå
îòìåíèòü; dear — çä. ìåæäîìåòèå; to
cancel — âû÷åðêèâàòü /íàïèñàííîå/; àííóëèðîâàòü,
îòìåíÿòü)
my
steamship
passage
(ìîé áèëåò íà ïàðîõîä;
steam — /âîäÿíîé/ ïàð;
ship — êîðàáëü, ñóäíî,
passage — ïðîõîæäåíèå; ïëàòà çà ïðîåçä /íà ïàðîõîäå,
ñàìîëåòå/)?
I
ought
to
let
them
know
(ÿ äîëæíà ïîñòàâèòü èõ â èçâåñòíîñòü;
to let smb. know — äàòü çíàòü, ñîîáùèòü êîìó-ëèáî ÷òî-ëèáî
).
I
can’
t
possibly
make
it
now
(âî âñÿêîì ñëó÷àå, ÿ íå ìîãó ñäåëàòü ýòîãî ñåé÷àñ
; possibly
— âîçìîæíî; óñèë. â ëþáîì ñëó÷àå, ëþáûì ïóòåì
).
This
is
just
too
terrible
(ýòî ïðîñòî óæàñíî) — ”
Mrs.
Hubbard
showed
signs
of
tears
once
more
(ìèññèñ Õàááàðä ñíîâà çàïëàêàëà: «ñíîâà îáíàðóæèëà ïðèçíàêè ñëåç»;
to
show — ïîêàçûâàòü; ïðîÿâëÿòü, îáíàðóæèâàòü;
sign — ïðèçíàê, ïðèìåòà
).
quay
[ki:] imaginable
[I'mxdZ(q)nqb(q)l] steamship
['sti:m"SIp] passage
['pxsIdZ]
“You were saying that Mr. Johnson met you.”
“That’s so, and he saw me on board a French Messageries boat for Smyrna,
and my daughter’s husband was waiting right on the quay. What he’ll say when he hears about all this! My daughter said this would be just the safest, easiest way imaginable. ‘You just sit in your carriage,’ she said,
‘and you land right in Paris, and there the American Express will meet you.’ And, oh, dear, what am I to do about cancelling my steamship passage? I ought to let them know. I can’t possibly make it now. This is just
too terrible — ”
Mrs. Hubbard showed signs of tears once more.
Poirot, who had been fidgeting slightly
(Ïóàðî
, êîòîðûé
óæå
ñëåãêà
åðçàë
/íà
ìåñòå
/; to fidget —
áåñïîêîéíî
äâèãàòüñÿ,
âåðòåòüñÿ,
åðçàòü)
seized his opportunity (
óõâàòèëñÿ
çà
ýòó
âîçìîæíîñòü =
âîñïîëüçîâàëñÿ
óäîáíûì
ñëó÷àåì;
to seize — õâàòàòü
; óõâàòèòüñÿ
, âîñïîëüçîâàòüñÿ
).
“You
have
had
a
shock
, Madame
(âû ïåðåæèëè òàêîå ïîòðÿñåíèå, ìàäàì;
shock — óäàð, òîë÷îê; ïîòðÿñåíèå, óäàð
).
The restaurant attendant shall be instructed (
îôèöèàíò: «
ñëóæàùèé
ðåñòîðàíà»
ïîëó÷èò
óêàçàíèÿ;
to instruct — ó÷èòü
, îáó÷àòü
; èíñòðóêòèðîâàòü
, ïîðó÷àòü
, äàâàòü
óêàçàíèÿ
) to bring you along some tea and some biscuits
(ïðèíåñòè
âàì
÷àþ
ñ
ïå÷åíüåì
; biscuit —
ñóõîå
ïå÷åíüå,
êðåêåð)
.”
“I don’t know that I’m so set on tea
(ÿ
íå
çíàþ
, õî÷ó
ëè
ÿ
òàê
ñèëüíî
÷àþ
; to be set on smth. —
î÷åíü
õîòåòü
÷åãî-
ëèáî)
,” said Mrs. Hubbard tearfully (
ñêâîçü
ñëåçû
ñêàçàëà
ìèññèñ
Õàááàðä;
tearful — ïëà÷óùèé
, ïîëíûé
ñëåç
). “That’s more an English habit
(ýòî
, ñêîðåå
, îáû÷àé
àíãëè÷àí
; habit —
ïðèâû÷êà;
îáû÷àé)
.”
“Coffee, then, Madame (
òîãäà
êîôå,
ìàäàì)
. You
need
some
stimulant
(âàì íåîáõîäèìî ÷òî-íèáóäü ñòèìóëèðóþùåå;
stimulant — âîçáóæäàþùåå ñðåäñòâî, ñòèìóëÿòîð
) — ”
“
That
cognac’
s
made
my
head
feel
mighty
funny
(îò ýòîãî êîíüÿêà ãîëîâà ó ìåíÿ êàê-òî î÷åíü íåïðèâû÷íî êðóæèòñÿ;
funny — ñìåøíîé, çàáàâíûé;
to
feel
funny — ÷óâñòâîâàòü íåïðèâû÷íîå âîçáóæäåíèå;
÷óâñòâîâàòü íåäîìîãàíèå)
.
I
think
I
would
like
some
coffee
(äóìàþ, ÿ áû âûïèëà íåìíîãî êîôå;
I
would
like — ÿ õîòåë/à/ áû, ìíå áû õîòåëîñü
).”
fidget
['fIdZIt] instruct
[In'strAkt] biscuit
['bIskIt] tearful
['tIqf(q)l] stimulant
['stImjVlqnt]
Poirot, who had been fidgeting slightly, seized his opportunity.
“You have had a shock, Madame. The restaurant attendant shall be instructed
to bring you along some tea and some biscuits.”
“I don’t know that I’m so set on tea,” said Mrs. Hubbard tearfully.
“That’s more an English habit.”
“Coffee, then, Madame. You need some stimulant — ”
“That cognac’s made my head feel mighty funny. I think I would like some
coffee.”
“
Excellent
(îòëè÷íî).
You
must
revive
your
forces
(âû äîëæíû âîññòàíîâèòü: «âîñêðåñèòü/îæèâèòü» ñâîè ñèëû)
.”
“
My,
what
a
funny
expression
(Áîæå, êàêîå ñìåøíîå âûðàæåíèå;
expression — âûðàæåíèå /÷åãî-ëèáî/; âûðàæåíèå,
îáîðîò ðå÷è, ôðàçà)
!”
“
But
first,
Madame,
a
little
matter
of
routine
(íî ñïåðâà, ìàäàì, íåáîëüøîé ôîðìàëüíûé/ðóòèííûé âîïðîñ)
. You
permit
that
I
make
a
search
of
your
baggage
(âû ïîçâîëèòå, ÷òîáû ìû ïðîâåëè îáûñê = îáûñêàëè
âàø áàãàæ; search
— ïîèñê(è); îáûñê)
?”
“
What
for
(äëÿ ÷åãî)?”
“
We
are
about
(ìû ñîáèðàåìñÿ; to
be
about
to
do
smth
. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü ÷òî-ëèáî
)
to
commence
a
search
of
all
the
passengers’
luggage
(íà÷àòü îáûñê áàãàæà ó âñåõ ïàññàæèðîâ)
. I
do
not
want
to
remind
you
of
an
unpleasant
experience
(ÿ íå õî÷ó íàïîìèíàòü âàì î òîì íåïðèÿòíîì ñëó÷àå;
experience — /æèçíåííûé/ îïûò; ñëó÷àé,
ïðèêëþ÷åíèå; âïå÷àòëåíèå, ïåðåæèâàíèå)
, but
your
sponge
-bag
— remember
(íî âàøà ñóìî÷êà /äëÿ âàííûõ ïðèíàäëåæíîñòåé/
— ïîìíèòå).”
“
Mercy
(ìèëîñåðäíûé Áîæå; mercy
— ìèëîñåðäèå, ñîñòðàäàíèå
)!
Perhaps
you’
d
better
(ïîæàëóé, ÷òî ýòî è ê ëó÷øåìó: «âàì áû ëó÷øå /ïðîâåñòè îáûñê»)
! I
just
couldn
’t
bear
(ÿ ïðîñòî íå ñìîãó âûíåñòè;
to
bear — ïåðåíîñèòü, ïåðåâîçèòü; òåðïåòü, âûíîñèòü,
ìèðèòüñÿ /ñ ÷åì-ëèáî/)
to
get
any
more
surprises
of
that
kind
(åùå îäèí ñþðïðèç òàêîãî ðîäà;
surprise — óäèâëåíèå, èçóìëåíèå; íåîæèäàííîñòü,
ñþðïðèç).”
commence
[kq'mens] unpleasant
[An'plez(q)nt] mercy
['mq:sI]
“Excellent. You must revive your forces.”
“My, what a funny expression!”
“But first, Madame, a little matter of routine. You permit that I make a
search of your baggage?”
“What for?”
“We are about to commence a search of all the passengers’ luggage. I do
not want to remind you of an unpleasant experience, but your sponge-bag — remember.”
“Mercy! Perhaps you’d better! I just couldn’t bear to get any more surprises
of that kind.”
The examination was quickly over (
îñìîòð
áûñòðî
çàêîí÷èëñÿ;
to be over — îêîí÷èòüñÿ
, çàâåðøèòüñÿ
). Mrs. Hubbard was travelling with the minimum of luggage
(ìèññèñ
Õàááàðä
ïóòåøåñòâîâàëà
ñ
ìèíèìóìîì
áàãàæà
) — a hat-box
(øëÿïíîé
êàðòîíêîé
; box —
êîðîáêà)
, a cheap suitcase (
äåøåâûì
÷åìîäàíîì)
, and a well-burdened travelling bag (
è
òóãî
íàáèòûì
ñàêâîÿæåì;
to burden — íàãðóæàòü
; travelling bag —
ñàêâîÿæ,
÷åìîäàí)
. The contents of all three were simple and straightforward
(ñîäåðæèìîå
âñåõ
òðåõ
/ïðåäìåòîâ
áàãàæà
/ áûëî
íåçàìûñëîâàòûì
è
ïðîñòûì
; simple —
ïðîñòîé,
íåòðóäíûé;
ñêðîìíûé,
íåçàòåéëèâûé; straightforward —
ïðÿìîé,
íåïîñðåäñòâåííûé;
ïðîñòîé)
, and the examination would not have taken more than a couple of minutes
(îñìîòð
íå
çàíÿë
áû
è
äâóõ
ìèíóò
; to take (took, taken) —
áðàòü,
õâàòàòü;
òðåáîâàòü,
îòíèìàòü /
òæ.
âðåìÿ/
) had not Mrs. Hubbard delayed matters
(åñëè
áû
ìèññèñ
Õàááàðä
íå
çàòÿãèâàëà
äåëî
; to delay —
çàäåðæèâàòü)
by insisting on due attention being paid to photographs of “my daughter”
(íàñòàèâàÿ
íà
òîì
, ÷òîáû
äîëæíîå
âíèìàíèå
áûëî
óäåëåíî
ôîòîãðàôèÿì
«ìîåé
äî÷åðè
»; to pay (paid) —
ïëàòèòü,
çàïëàòèòü)
and of two rather ugly children (
è
äâóõ
äîâîëüíî
óðîäëèâûõ
äåòåé)
— “my daughter’s children («
äåòè
ìîåé
äî÷åðè»)
. Aren’
t
they
cunning
(íå ïðàâäà ëè, îíè ïðåëåñòíûå;
cunning — êîâàðíûé, õèòðûé; àìåð. ðàçã. ïðåëåñòíûé,
ïðèâëåêàòåëüíûé)
?”
minimum
['mInImqm]
suitcase ['s(j)u:tkeIs]
burden [bq:dn]
straightforward ["streIt'fO:wqd]
delayed [dI'leId]
due [dju:]
ugly ['AglI]
The examination was quickly over. Mrs. Hubbard was travelling with the minimum
of luggage — a hat-box, a cheap suitcase, and a well-burdened travelling bag. The contents of all three were simple and straightforward, and the examination would not have taken more than a couple of minutes had not Mrs.
Hubbard delayed matters by insisting on due attention being paid to photographs of “my daughter” and of two rather ugly children — “my daughter’s children. Aren’t they cunning?”
15
THE EVIDENCE OF THE PASSENGERS’ LUGGAGE
(
Áàãàæ
ïàññàæèðîâ: «
óëèêè/
ïîêàçàíèÿ
áàãàæà
ïàññàæèðîâ»)
Having delivered himself of various polite insincerities
(ïðîèçíåñÿ
ðàçëè÷íûå
âåæëèâûå
íåèñêðåííîñòè
; to deliver —
ïåðåäàâàòü,
âðó÷àòü; /
òæ. deliver oneself/
ïðîèçíîñèòü,
÷èòàòü,
âûñêàçûâàòüñÿ; insincerity —
íåèñêðåííîñòü,
ëèöåìåðèå)
, and having told Mrs. Hubbard (
è
ñêàçàâ
ìèññèñ
Õàááàðä)
that he would order coffee to be brought to her (
÷òî
îí
ïðèêàæåò
ïîäàòü
åé
êîôå)
, Poirot was able to take his leave (
Ïóàðî
ñìîã
óéòè;
to be able to … — ìî÷ü
, áûòü
â
ñîñòîÿíèè
, â
ñèëàõ
; leave — ðàçðåøåíèå
, ïîçâîëåíèå
; ïðîùàíèå
, ðàññòàâàíèå
; to take (one's) leave — ïðîùàòüñÿ
, óõîäèòü
) accompanied by his two friends
(ñîïðîâîæäàåìûé
äâóìÿ
äðóçüÿìè
).
“Well, we have made a start (
÷òî
æ,
ìû
ïîëîæèëè
íà÷àëî /
îáûñêó/;
to make (made) a start — íà÷èíàòü
) and drawn a blank
(è
âûòÿíóëè
ïóñòîé
áèëåò
= ïîòåðïåëè
íåóäà÷ó
; blank —
ïóñòîå
ìåñòî /
îñîá.
íà
áóìàãå/;
ïóñòîé
ëîòåðåéíûé
áèëåò)
,” observed M. Bouc (
çàìåòèë
ìñüå
Áóê;
to observe — íàáëþäàòü
, ñëåäèòü
/çà
÷åì
-ëèáî
/; ñäåëàòü
çàìå÷àíèå
, âûñêàçàòüñÿ
).
“Whom
shall
we
attack
next
(çà êîãî ïðèìåìñÿ: «êîãî àòàêóåì» ñåé÷àñ;
to
attack — íàïàäàòü, àòàêîâàòü;
next — ïîòîì, çàòåì, ïîñëå
)?”
“It would be simplest, I think
(ÿ
äóìàþ
, áóäåò
ïðîùå
âñåãî
), just to proceed along the train, carriage by carriage
(ïðîñòî
ïðîäîëæàòü
èäòè
ïî
ïîåçäó
êóïå
çà
êóïå
). That means that we start with No. 16
(ýòî
çíà÷èò
, ÷òî
ìû
íà÷íåì
ñ
êóïå
íîìåð
16) — the amiable Mr. Hardman
(ëþáåçíîãî
ìèñòåðà
Õàðäìàíà
).”
Mr. Hardman, who was smoking a cigar
(ìèñòåð
Õàðäìàí
, êîòîðûé
êóðèë
ñèãàðó
), welcomed them affably
(ëþáåçíî
ïîïðèâåòñòâîâàë
èõ
; to welcome —
ïðèâåòñòâîâàòü /
ãîñòÿ/,
ðàäóøíî
ïðèíèìàòü; affable —
ïðèâåòëèâûé,
ó÷òèâûé,
ëþáåçíûé)
.
various ['ve(q)rIqs]
insincerity ["InsIn'serItI]
carriage ['kxrIdZ]
amiable
['eImIqb(q)l] affably
['xfqblI]
Having delivered himself of various polite insincerities, and having told Mrs.
Hubbard that he would order coffee to be brought to her, Poirot was able to take his leave accompanied by his two friends.
“Well, we have made a start and drawn a blank,” observed M. Bouc. “Whom
shall we attack next?”
“It would be simplest, I think, just to proceed along the train, carriage
by carriage. That means that we start with No. 16 — the amiable Mr. Hardman.”
Mr. Hardman, who was smoking a cigar, welcomed them affably.
“Come right in, gentlemen (
çàõîäèòå,
ãîñïîäà)
. That
is,
if
it’
s
humanly
possible
(òî åñòü, åñëè ýòî â ÷åëîâå÷åñêèõ ñèëàõ;
humanly — ïî-÷åëîâå÷åñêè; â ïðåäåëàõ ÷åëîâå÷åñêèõ
ñèë; possible — âîçìîæíûé, âåðîÿòíûé;
âîçìîæíûé, îñóùåñòâèìûé)
. It
’s
just
a
mite
cramped
in
here
(çäåñü íåìíîãî òåñíîâàòî;
mite — èñò. ïîëóøêà, ãðîø; ÷óòî÷êà, êàïåëüêà;
to
cramp — ñòåñíÿòü, îãðàíè÷èâàòü;
cramped — ñòèñíóòûé; òåñíûé
)
for
a
party
(äëÿ òàêîé êîìïàíèè;
party — îòðÿä, êîìàíäà; êîìïàíèÿ
).”
M.
Bouc
explained
the
object
of
their
visit
(ìñüå Áóê îáúÿñíèë öåëü èõ âèçèòà;
object — ïðåäìåò, âåùü; /êîíå÷íàÿ/ öåëü, íàìåðåíèå
),
and
the
big
detective
nodded
comprehendingly
(è ðîñëûé ñûùèê ïîíèìàþùå êèâíóë;
big — áîëüøîé, êðóïíûé; âûñîêèé;
to
comprehend — ïîíèìàòü, óðàçóìåòü
).
“
That’
s
O.
K.
(õîðîøî).
To
tell
the
truth
I’
ve
been
wondering
(ñêàçàòü ïî ïðàâäå, ÿ óæå ðàçäóìûâàë;
to
wonder — èíòåðåñîâàòüñÿ, æåëàòü çíàòü, çàäàâàòü
ñåáå âîïðîñ)
you
didn’
t
get
down
to
it
sooner
(/ïî÷åìó/ âû íå çàíÿëèñü ýòèì ðàíüøå;
to
get
down — ñïóñêàòüñÿ, ñõîäèòü; ñåðüåçíî çàíÿòüñÿ
/÷åì-ëèáî/, ïðèñòóïèòü /ê ÷åìó-ëèáî/)
. Here
are
my
keys
, gentlemen
(âîò ìîè êëþ÷è, ãîñïîäà)
, and
if
you
like
to
search
my
pockets
too
, why
, you
’re
welcome
(è åñëè âû õîòèòå òàêæå îáûñêàòü ìîè êàðìàíû, ÷òî
æ, ìèëîñòè ïðîñèì). Shall
I
reach
the
grips
down
for
you
(ìíå ñïóñòèòü âíèç äîðîæíûå ñóìêè, ÷òîáû âû /ñìîãëè
èõ îñìîòðåòü/: «äëÿ âàñ»; to
reach
— ïðîòÿãèâàòü, âûòÿãèâàòü; äîñòàâàòü, áðàòü;
grip — ñõâàòûâàíèå, ñæàòèå; àìåð. ðàçã. ñàêâîÿæ,
äîðîæíàÿ ñóìêà)
?”
“The conductor will do that
(ýòî
ñäåëàåò
ïðîâîäíèê
). Michel!”
The contents of Mr. Hardman’s two “grips” were soon examined and passed
(ñîäåðæèìîå
äâóõ
ñàêâîÿæåé
ìèñòåðà
Õàðäìàíà
áûëî
âñêîðå
îñìîòðåíî
è
íå
âûçâàëî
ïîäîçðåíèé
: «è
ïðîøëî
»; to pass —
èäòè,
ïðîõîäèòü;
ïðîéòè /
öåíçóðó,
äîñìîòð
è
ò.
ï./
). They contained, perhaps, an undue proportion of spirituous liquor
(îíè
ñîäåðæàëè
, ïîæàëóé
, ÷ðåçìåðíîå
êîëè÷åñòâî
ñïèðòíîãî
; proportion —
ïðîïîðöèÿ;
îòíîñèòåëüíîå
ñîäåðæàíèå,
êîëè÷åñòâî
èëè
÷èñëî)
. Mr.
Hardman
winked
(ìèñòåð Õàðäìàí ïîäìèãíóë)
.
humanly ['hju:mqnlI]
object ['
ObdZ|ekt,
—
Ikt] comprehend
["kO
mprI'hend] spirituous
['spIrItSVqs] liquor
['lIkq]
“Come right in, gentlemen. That is, if it’s humanly possible. It’s just
a mite cramped in here for a party.”
M. Bouc explained the object of their visit, and the big detective nodded comprehendingly.
“That’s O.K. To tell the truth I’ve been wondering you didn’t get down
to it sooner. Here are my keys, gentlemen, and if you like to search my pockets too, why, you’re welcome. Shall I reach the grips down for you?”
“The conductor will do that. Michel!”
The contents of Mr. Hardman’s two “grips” were soon examined and passed.
They contained, perhaps, an undue proportion of spirituous liquor. Mr. Hardman winked.
“It’s not often they search your grips at the frontiers
(íå
òàê
óæ
÷àñòî
äîñìàòðèâàþò
ñàêâîÿæè
íà
ãðàíèöàõ
; to search —
èñêàòü,
îòûñêèâàòü;
äîñìàòðèâàòü,
ïðîâîäèòü
äîñìîòð /
îñîá.
òàìîæåííûé/
) — not if you fix the conductor
(íåò
, åñëè
òû
äîãîâîðèëñÿ
ñ
ïðîâîäíèêîì
; to fix —
óêðåïëÿòü,
çàêðåïëÿòü;
ñë.
ïîäñòðàèâàòü /
ïóòåì
ïîäêóïà/, «
äîãîâàðèâàòüñÿ»
). I handed out a wad of Turkish notes right away
(ÿ
òóò
æå
âðó÷èë
/åìó
/ ïà÷êó
òóðåöêèõ
áàíêíîò
; to hand —
ïåðåäàâàòü,
âðó÷àòü; wad —
êîìîê;
ðàçã.
ïà÷êà
áóìàæíûõ
äåíåã; note —
çàìåòêà,
çàïèñü;
áàíêíîòà,
áàíêîâñêèé
áèëåò)
, and there’s been no trouble so far (
è
ïîêà
åùå
íå
áûëî
íèêàêèõ
íåïðèÿòíîñòåé;
trouble — áåñïîêîéñòâî
, âîëíåíèå
; ñêàíäàë
, íåïðèÿòíîñòü
;
so far — äî
ñèõ
ïîð
).”
“And at Paris
(à
â
Ïàðèæå
)?”
Mr. Hardman winked again (
ìèñòåð
Õàðäìàí
ñíîâà
ïîäìèãíóë)
. “By the time I get to Paris (
ê
òîìó
âðåìåíè,
êîãäà
ÿ
ïðèåäó
â
Ïàðèæ;
to get to a place — ïîïàäàòü
, ïðèáûâàòü
êóäà
-ëèáî
, äîáèðàòüñÿ
äî
êàêîãî
-ëèáî
ìåñòà
),” he said, “what’s left over
(òî
, ÷òî
îñòàíåòñÿ
) of this little lot
(îò
ýòîé
íåáîëüøîé
ïàðòèè
; lot —
æðåáèé;
ïàðòèÿ,
ñåðèÿ /
òîâàðîâ,
èçäåëèé/
) will go into a bottle
(óìåñòèòüñÿ
â
áóòûëî÷êå
) labelled hairwash
(ñ
íàäïèñüþ
«øàìïóíü äëÿ âîëîñ»;
to
label — ïðèêðåïëÿòü ÿðëûê, ýòèêåòêó;
hairwash — ðàçã. ìûòüå ãîëîâû, ñðåäñòâî äëÿ
ìûòüÿ ãîëîâû, øàìïóíü)
.”
frontier
['frAntIq] Turkish
['tq:kIS] labelled
['leIb(q)ld] hairwash
['heqwO
S]
“It’s not often they search your grips at the frontiers — not if you
fix the conductor. I handed out a wad of Turkish notes right away, and there’s been no trouble so far.”
“And at Paris?”
Mr. Hardman winked again. “By the time I get to Paris,” he said, “what’s
left over of this little lot will go into a bottle labelled hairwash.”
“You are not a believer in Prohibition, Monsieur Hardman
(âû
íå
ñòîðîííèê
ñóõîãî
çàêîíà
, ìñüå
Õàðäìàí
; believer —
ðåë.
âåðóþùèé;
ñòîðîííèê,
çàùèòíèê)
,” said M. Bouc with a smile (
ñêàçàë
ìñüå
Áóê
ñ
óëûáêîé)
.
“Well,” said Hardman, “I can’t say Prohibition has ever worried me
any (íå
ìîãó
ñêàçàòü
, ÷òî
ñóõîé
çàêîí
õîòü
êàê
-òî
ìåíÿ
áåñïîêîèë
).”
“
Ah!”
said
M.
Bouc. “
The
speakeasy
(ïîäïîëüíûå êàáà÷êè;
speakeasy — êàáàê ñ íåëåãàëüíîé ïðîäàæåé ñïèðòíûõ
íàïèòêîâ /îñîá. ïðè ñóõîì çàêîíå/)
.” He
pronounced
the
word
with
care
(îí ïðîèçíåñ ýòî ñëîâîñî÷åòàíèå: «ýòî ñëîâî» ñ
îñòîðîæíîñòüþ; to
pronounce
— îáúÿâëÿòü, ïðîâîçãëàøàòü; ïðîèçíîñèòü, àðòèêóëèðîâàòü
),
savouring
it
(ñìàêóÿ åãî). “
Your
American
terms
(âàøè àìåðèêàíñêèå âûðàæåíèÿ;
term — ïåðèîä, ñðîê; âûðàæåíèå, ñëîâî
)
are
so
quaint
(òàêèå îðèãèíàëüíûå;
quaint — ïðè÷óäëèâûé, çàìûñëîâàòûé
),
so
expressive
(òàêèå âûðàçèòåëüíûå),”
he
said.
“Me, I would much like to go to America
(î
, ìíå
áû
î÷åíü
õîòåëîñü
ñúåçäèòü
â
Àìåðèêó
),” said Poirot.
“
You’
d
learn
(âû áû íàó÷èëèñü)
a
few
go-
ahead
methods
over
there
(íåñêîëüêèì ïåðåäîâûì ìåòîäàì òàì;
go-
ahead — ýíåðãè÷íûé, ïðåäïðèèì÷èâûé; ìåíÿþùèéñÿ,
áóðíûé /îá ýïîõå/;
over
there — âîí òàì; òàì â Åâðîïå /íå â Àìåðèêå/,
òæ. òàì â Àìåðèêå /íå â Åâðîïå/)
,” said
Hardman
. “Europe
needs
waking
up
(Åâðîïå íåîáõîäèìî ïðîñíóòüñÿ)
. She
’s
half
asleep
(îíà ïîëóñîííàÿ)
.”
believer
[bI'li:vq] prohibition
["prqVhI'bIS(q)n] speak
-easy
['spi:k"i:zI] savour
['seIvq] quaint
[kweInt] go-ahead
["gqVq'hed]
“You are not a believer in Prohibition, Monsieur Hardman,” said M. Bouc
with a smile.
“Well,” said Hardman, “I can’t say Prohibition has ever worried me
any.”
“Ah!” said M. Bouc. “The speakeasy.” He pronounced the word with care,
savouring it. “Your American terms are so quaint, so expressive,” he said.
“Me, I would much like to go to America,” said Poirot.
“You’d learn a few go-ahead methods over there,” said Hardman. “Europe
needs waking up. She’s half asleep.”
“It is true that America is the country of progress
(ýòî
âåðíî
, ÷òî
Àìåðèêà
— ñòðàíà
ïðîãðåññà
),” agreed Poirot
(ñîãëàñèëñÿ
Ïóàðî
). “There is much that I admire about Americans
(â
àìåðèêàíöàõ
î÷åíü
ìíîãî
òàêîãî
, ÷åì
ÿ
âîñõèùàþñü
; much — ìíîãîå
; to admire — âîñõèùàòüñÿ
, âîñòîðãàòüñÿ
). Only — I am perhaps old-fashioned
(òîëüêî
, âîçìîæíî
, ÿ
ñòàðîìîäåí
; fashion —
îáðàç,
ìàíåðà,
âèä;
ìîäà)
— but me (
íî
ÿ)
, I find the American women less charming than my own countrywomen
(ÿ
íàõîæó
/ñ÷èòàþ
àìåðèêàíîê
: «àìåðèêàíñêèõ
æåíùèí
» ìåíåå
î÷àðîâàòåëüíûìè
, ÷åì
ìîèõ
/ñîáñòâåííûå
/ ñîîòå÷åñòâåííèö
). The French or the Belgian girl
(ôðàíöóæåíêà
èëè
áåëüãèéêà
), coquettish, charming
(êîêåòëèâàÿ
, î÷àðîâàòåëüíàÿ
) — I think there is no one to touch her
(ìíå
êàæåòñÿ
, íèêòî
ñ
íåé
íå
ñðàâíèòñÿ
; to touch —
êàñàòüñÿ,
ñòðîãàòü;
ðàâíÿòüñÿ,
èäòè
â
ñðàâíåíèå
ñ)
.”
Hardman turned away to peer out at the snow for a minute
(Õàðäìàí
îòâåðíóëñÿ
, ÷òîáû
ñ
ìèíóòó
ïîñìîòðåòü
íà
ñíåã
; to peer —
âãëÿäûâàòüñÿ,
âñìàòðèâàòüñÿ)
.
charming
['tSQ:mIN] countrywoman
['kAntrI|"wVmqn] coquettish
[kqV|'ketIS, kO
-]
“It is true that America is the country of progress,” agreed Poirot. “There
is much that I admire about Americans. Only — I am perhaps old-fashioned — but me, I find the American women less charming than my own countrywomen. The French or the Belgian girl, coquettish, charming — I think there
is no one to touch her.”
Hardman turned away to peer out at the snow for a minute.
“Perhaps you’re right, M. Poirot (
âîçìîæíî,
âû
ïðàâû,
ìñüå
Ïóàðî)
,” he said. “
But
I
guess
every
nation
(íî ÿ äóìàþ, ÷òî /ìóæ÷èíû/ êàæäîé ñòðàíû: «êàæäûé íàðîä»;
to
guess — äîãàäûâàòüñÿ, ïðåäïîëàãàòü; àìåð.
ðàçã. äóìàòü, ñ÷èòàòü, ïîëàãàòü;
nation — íàðîä, íàöèÿ; ñòðàíà, ãîñóäàðñòâî,
íàöèÿ)
likes
its
own
girls
best
(áîëüøå âñåãî ëþáÿò ñâîèõ äåâóøåê = ñîîòå÷åñòâåííèö)
.” He
blinked
as
though
the
snow
hurt
his
eyes
(îí ìèãíóë, ñëîâíî ñíåã ñëåïèë åìó ãëàçà: «ñëîâíî
åãî ãëàçàì áûëî áîëüíî îò ñíåãà»; to
hurt
— ïðè÷èíÿòü áîëü)
.
“
Kind
of
dazzling,
isn’
t
it
(íåìíîãî ñëåïèò, íå òàê ëè;
kind
of — âðîäå, êàê áóäòî, ïî÷òè ÷òî
)?”
he
remarked
(çàìåòèë îí). “
Say,
gentlemen,
this
business
is
getting
on
my
nerves
(ïîñëóøàéòå, ãîñïîäà, ýòî äåëî ìåíÿ ðàçäðàæàåò: «äåéñòâóåò ìíå íà íåðâû»)
. Murder
and
the
snow
and
all
(
óáèéñòâî,
è
ñíåã,
è
âñå
ýòî)
. And
nothing
doing
(
è
áåçäåëèå)
. Just
hanging
about
and
killing
time
(
ïðîñòî
áåçäåëüíè÷àåøü
è
óáèâàåøü
âðåìÿ;
to
hang
about —
ñëîíÿòüñÿ,
áîëòàòüñÿ,
øàòàòüñÿ;
áåçäåëüíè÷àòü)
. I
’d
like
to
get
busy
after
someone
or
something
(è ìíå õîòåëîñü áû çàíÿòüñÿ êåì-òî èëè ÷åì-òî;
to get busy — íà÷àòü çàíèìàòüñÿ ÷åì-ëèáî, íà÷àòü äåéñòâîâàòü;
busy — çàíÿòîé, íåñâîáîäíûé; ïîãëîùåííûé
/÷åì-ëèáî/, ðàáîòàþùèé /íàä ÷åì-ëèáî/)
.”
“
The
true
Western
spirit
of
hustle
(èñòèííî çàïàäíûé äóõ ýíåðãè÷íîé äåÿòåëüíîñòè;
hustle — òîëêîòíÿ, äàâêà; ýíåðãèÿ, íàïîð
),”
said
Poirot
with
a
smile
(ñêàçàë Ïóàðî ñ óëûáêîé)
.
guess
[ges] dazzle
['dxzl] nerve
[nq:v] hustle
['hAs(q)l]
“Perhaps you’re right, M. Poirot,” he said. “But I guess every nation
likes its own girls best.” He blinked as though the snow hurt his eyes.
“Kind of dazzling, isn’t it?” he remarked. “Say, gentlemen, this business
is getting on my nerves. Murder and the snow and all. And nothing doing. Just hanging about and killing time. I’d like to get busy after someone or something.”
“The true Western spirit of hustle,” said Poirot with a smile.
The conductor replaced the bags
(ïðîâîäíèê
ïîëîæèë
ñóìêè
/÷åìîäàíû
íà
ìåñòî
) and they moved on to the next compartment
(è
îíè
ïåðåøëè
ê
ñëåäóþùåìó
êóïå
). Colonel Arbuthnot was sitting in a corner
(ïîëêîâíèê
Àðáýòíîò
ñèäåë
â
óãëó
/êóïå
/) smoking a pipe and reading a magazine
(êóðÿ
òðóáêó
è
÷èòàÿ
æóðíàë
).
Poirot explained their errand (
Ïóàðî
îáúÿñíèë
ñâîþ: «
èõ»
çàäà÷ó;
errand — ïîðó÷åíèå
, çàäàíèå
). The
Colonel
made
no
demur
(ïîëêîâíèê íå âîçðàæàë;
demur — âîçðàæåíèå, ïðîòåñò
).
He
had
two
heavy
leather
suitcases
(ó íåãî áûëî äâà òÿæåëûõ êîæàíûõ ÷åìîäàíà)
.
“
The
rest
of
my
kit
(îñòàâøàÿñÿ ÷àñòü ìîåãî áàãàæà;
kit — âîåí. ðàíåö, âåùìåøîê; ñïîðòèâíîå, òóðèñòñêîå
ñíàðÿæåíèå, íåîáõîäèìûé êîìïëåêò ïðèíàäëåæíîñòåé /äëÿ ñïîðòà, ïóòåøåñòâèÿ è ò.ï./
)
has
gone
by
long
sea
(îòïðàâëåíà ìîðåì; to
go
by
"long
sea
" — åõàòü ïàðîõîäîì;
long — äëèííûé,
sea — ìîðå
),”
he
explained
(îáúÿñíèë îí).
magazine
["mxgq'zi:n] errand
['erqnd] demur
['dI'mq:] leather
['leDq]
The conductor replaced the bags and they moved on to the next compartment.
Colonel Arbuthnot was sitting in a corner smoking a pipe and reading a magazine.
Poirot explained their errand. The Colonel made no demur. He had two heavy
leather suitcases.
“The rest of my kit has gone by long sea,” he explained.
Like most Army men
(êàê
è
áîëüøèíñòâî
âîåííûõ
; army —
âîåííûé,
àðìåéñêèé)
the Colonel was a neat packer (/
âåùè/
ó
ïîëêîâíèêà
áûëè
àêêóðàòíî
óëîæåíû;
to pack — óïàêîâûâàòü
, óêëàäûâàòü
âåùè
; packer — óïàêîâùèê
). The examination of his baggage took only a few minutes
(îñìîòð
åãî
áàãàæà
çàíÿë
òîëüêî
íåñêîëüêî
ìèíóò
). Poirot noted a packet of pipe-cleaners
(Ïóàðî
îáðàòèë
âíèìàíèå
íà
óïàêîâêó
åðøèêîâ
äëÿ
÷èñòêè
òðóáîê
; packet —
ïàêåò,
ñâÿçêà)
.
“
You
always
use
the
same
kind
(âû âñåãäà èñïîëüçóåòå òàêèå åðøèêè: «îäèí è òîò æå ñîðò /åðøèêîâ/»)
?” he
asked
.
“
Usually
(îáû÷íî).
If
I
can
get ’
em
(’em
= them
; åñëè ÿ ìîãó äîñòàòü èõ)
.”
“
Ah!”
Poirot
nodded
(Ïóàðî êèâíóë).
These
pipe-
cleaners
corresponded
exactly
(ýòè åðøèêè òî÷íî ñîâïàäàëè;
to
correspond — ñîîòâåòñòâîâàòü; ïðåäñòàâëÿòü
ñîáîþ, ðàâíÿòüñÿ, áûòü àíàëîãè÷íûì)
with
the
one
he
had
found
on
the
floor
of
the
dead
man
’s
compartment
(ñ òåì /åðøèêîì/ êîòîðûé îí îáíàðóæèë íà ïîëó êóïå
óáèòîãî).
Dr.
Constantine
remarked
as
much
(äîêòîð Êîíñòàíòèí îòìåòèë òî æå ñàìîå;
to
remark — çàìå÷àòü, íàáëþäàòü; äåëàòü çàìå÷àíèå,
âûñêàçûâàòüñÿ /î ÷åì-ëèáî/)
when
they
were
out
in
the
corridor
again
(êîãäà îíè ñíîâà îêàçàëèñü â êîðèäîðå)
.
packet
['pxkIt] pipe-cleaner
['paIp"kli:nq] correspond
["kO
rI'spO
nd]
Like most Army men the Colonel was a neat packer. The examination of his baggage
took only a few minutes. Poirot noted a packet of pipe-cleaners.
“You always use the same kind?” he asked.
“Usually. If I can get ’em.”
“Ah!” Poirot nodded. These pipe-cleaners corresponded exactly with the
one he had found on the floor of the dead man’s compartment.
Dr. Constantine remarked as much when they were out in the corridor again.
“Tout de même
(
è
âñå-
òàêè)
,” murmured Poirot (
ïðîáîðìîòàë
Ïóàðî)
, “I can hardly believe it (
ÿ
åäâà
ìîãó
â
ýòî
ïîâåðèòü)
. It
is
not
dans
son
caractè
re,
and
when
you
have
said
that,
you
have
said
everything
(ýòî íà íåãî íå ïîõîæå: «íå â åãî õàðàêòåðå», à åñëè òàê, òî è äîáàâèòü íå÷åãî: «à êîãäà
âû ñêàçàëè îá ýòîì, âû ñêàçàëè âñå»).”
The door of the next compartment was closed (
äâåðü
ñëåäóþùåãî
êóïå
áûëà
çàêðûòà)
. It was that occupied by Princess Dragomiroff (
åãî
çàíèìàëà
êíÿãèíÿ
Äðàãîìèðîâà: «
ýòî
áûëî
òî /
êóïå/,
çàíÿòîå
êíÿãèíåé»)
. They knocked on the door and the Princess’s deep voice called “
Entrez!”
(îíè ïîñòó÷àëè â äâåðü è íèçêèé ãîëîñ êíÿãèíè îòâåòèë: «Âîéäèòå!»;
deep — ãëóáîêèé; íèçêèé, ïîëíûé, ãðóäíîãî
òåìáðà /î çâóêå, ãîëîñå/; to
call
— êðè÷àòü; âûçûâàòü, çâàòü ê ñåáå, ïðèãëàøàòü
)
M.
Bouc
was
spokesman
(ìñüå á
óê âûñòóïèë îò ëèöà /èõ íåáîëüøîé äåëåãàöèè/;
spokesman — ïðåäñòàâèòåëü, äåëåãàò, âûñòóïàþùèé
/îò ãðóïïû ëèö/)
. He
was
very
deferential
and
polite
(îí áûë î÷åíü ïî÷òèòåëåí è âåæëèâ)
as
he
explained
their
errand
(êîãäà îí îáúÿñíÿë öåëü èõ âèçèòà: «èõ çàäàíèå»)
.
princess
["prIn'ses] voice
[vOIs] deferential
["defq'renS(q)l]
“
Tout de même,” murmured Poirot, “I can hardly believe it. It is not
dans son caractère, and when you have said that, you have said everything.”
The door of the next compartment was closed. It was that occupied by Princess
Dragomiroff. They knocked on the door and the Princess’s deep voice called “Entrez
!”
M. Bouc was spokesman. He was very deferential and polite as he explained their
errand.
The Princess listened to him in silence
(êíÿãèíÿ
ñëóøàëà
åãî
ìîë÷à
: «â
ìîë÷àíèè
»), her small toad-like face quite impassive
(åå
íåáîëüøîå
æàáüå
ëè÷èêî
/áûëî
/ ñîâåðøåííî
áåññòðàñòíûì
; impassive —
àïàòè÷íûé,
áåçðàçëè÷íûé;
íåâîçìóòèìûé,
áåññòðàñòíûé)
.
“If it is necessary, Messieurs (
åñëè
ýòî
íåîáõîäèìî,
ãîñïîäà)
,” she said quietly (
ñêàçàëà
îíà
ñïîêîéíî)
when he had finished (
êîãäà
îí
çàêîí÷èë)
, “that is all there is to it (
òî
âñå
î÷åíü
ïðîñòî;
that's all there is to it — âîò
è
âñå
, âîò
è
âñÿ
íåäîëãà
). My
maid
has
the
keys
(êëþ÷è ó ìîåé ñëóæàíêè)
. She
will
attend
to
it
with
you
(îíà âî âñåì ïîìîæåò âàì;
to
attend /
to/ — ïîñåùàòü, ïðèñóòñòâîâàòü; çàáîòèòüñÿ
/î ÷åì-ëèáî/; îáñëóæèâàòü)
.”
“
Does
your
maid
always
carry
your
keys,
Madame
(âàøè êëþ÷è âñåãäà èìååò ïðè ñåáå âàøà ñëóæàíêà, ìàäàì;
to
carry — íåñòè, íîñèòü; èìåòü ïðè ñåáå, íîñèòü
ñ ñîáîé)?”
asked
Poirot.
“
Certainly,
Monsieur
(êîíå÷íî, ìñüå).”
“
And
if,
during
the
night
at
one
of
the
frontiers
(à ÷òî, åñëè íî÷üþ, íà êàêîé-íèáóäü: «íà îäíîé èç» ãðàíèöå;
during — â ïðîäîëæåíèå, â òå÷åíèå
),
the
customs
officials
(òàìîæåííèêè; customs
— òàìîæåííûå ïîøëèíû; òàìîæåííîå óïðàâëåíèå;
official — äîëæíîñòíîå ëèöî, ÷èíîâíèê, ñëóæàùèé
)
should
require
a
piece
of
luggage
to
be
opened
(ïîòðåáóþò îòêðûòü ÷òî-íèáóäü èç áàãàæà;
piece — êóñîê, ÷àñòü; îòäåëüíûé ïðåäìåò, øòóêà
)?”
silence ['saIlqns]
key [ki:]
customs ['kAstqmz]
official [q'fIS(q)l]
require [rI'kwaIq]
The Princess listened to him in silence, her small toad-like face quite impassive.
“If it is necessary, Messieurs,” she said quietly when he had finished,
“that is all there is to it. My maid has the keys. She will attend to it with you.”
“Does your maid always carry your keys, Madame?” asked Poirot.
“Certainly, Monsieur.”
“And if, during the night at one of the frontiers, the customs officials
should require a piece of luggage to be opened?”
The old lady shrugged her shoulders
(ïîæèëàÿ
äàìà
ïîæàëà
ïëå÷àìè
). “It is very unlikely
(ýòî
ìàëîâåðîÿòíî
). But in such a case, the conductor would fetch her
(íî
â
òàêîì
ñëó÷àå
, ïðîâîäíèê
ïîéäåò
çà
íåé
).”
“You trust her, then, implicitly, Madame
(çíà÷èò
, âû
áåçîãîâîðî÷íî
åé
äîâåðÿåòå
, ìàäàì
; implicitly —
êîñâåííî,
íåïðÿìî;
áåçîãîâîðî÷íî)
?”
“I
have
told
you
so
already
(ÿ âàì îá ýòîì óæå ãîâîðèëà: «ñêàçàëà âàì òàê»)
,” said
the
Princess
quietly
(ñïîêîéíî ñêàçàëà êíÿãèíÿ)
. “I do not employ people whom I do not trust
(ÿ
íå
ïðèíèìàþ
íà
ñëóæáó
ëþäåé
, êîòîðûì
ÿ
íå
äîâåðÿþ
).”
“Yes,” said Poirot thoughtfully (
ñêàçàë
Ïóàðî
çàäóì÷èâî)
. “
Trust
is
indeed
something
in
these
days
(äîâåðèå äåéñòâèòåëüíî ÷åãî-òî ñòîèò â íàøè äíè;
something — ÷òî-òî, êîå-÷òî; íå÷òî âàæíîå
).
It
is
perhaps
better
to
have
a
homely
woman
(âîçìîæíî, ÷òî ëó÷øå èìåòü /â óñëóæåíèè/ ïðîñòóþ/ñêðîìíóþ æåíùèíó)
whom
one
can
trust
(êîòîðîé ìîæíî äîâåðÿòü)
than
a
more
chic
maid
(÷åì áîëåå ýëåãàíòíóþ ñëóæàíêó)
— for
example
, some
smart
Parisienne
(íàïðèìåð, êàêóþ-íèáóäü èçÿùíóþ ïàðèæàíêó;
smart — áûñòðûé, ýíåðãè÷íûé; íàðÿäíûé, èçÿùíûé,
ýëåãàíòíûé).”
implicitly
[Im'plIsItlI] trust
[trAst] chic
[Si(:)
k] Parisienne
["pxrI'zjen]
The old lady shrugged her shoulders. “It is very unlikely. But in such a
case, the conductor would fetch her.”
“You trust her, then, implicitly, Madame?”
“I have told you so already,” said the Princess quietly. “I do not employ
people whom I do not trust.”
“Yes,” said Poirot thoughtfully. “Trust is indeed something in these
days. It is perhaps better to have a homely woman whom one can trust than a more chic maid — for example, some smart Parisienne.”
He
saw
the
dark
intelligent
eyes
(îí óâèäåë /êàê åå/ òåìíûå óìíûå ãëàçà)
come
slowly
round
(ìåäëåííî îáðàòèëèñü /â åãî ñòîðîíó/;
round — çä. óêàçûâàåò íà èçìåíåíèå íàïðàâëåíèÿ
èëè äâèæåíèå â ïðîòèâîïîëîæíóþ ñòîðîíó)
and
fasten
themselves
upon
his
face
(è îñòàíîâèëèñü íà åãî ëèöå;
to
fasten — ñâÿçûâàòü, ñêðåïëÿòü; óñòðåìëÿòü,
ñîñðåäîòà÷èâàòü /âçãëÿä, âíèìàíèå è ò.ï./)
. “What
exactly
are
you
implying
, M
. Poirot
(÷òî èìåííî âû õîòèòå ñêàçàòü, ìñüå Ïóàðî;
to
imply — ïîäðàçóìåâàòü; íàìåêàòü, äàâàòü ïîíÿòü
)?”
“Nothing, Madame
(íè÷åãî
, ìàäàì
). I? Nothing.”
“But yes. You think, do you not
(âû
äóìàåòå
, íå
òàê
ëè
), that I should have a smart Frenchwoman
(÷òî
ìíå
íåîáõîäèìà
: «ìíå
ñëåäîâàëî
âçÿòü
» ýëåãàíòíàÿ
ôðàíöóæåíêà
; to have —
èìåòü;
âçÿòü,
ïðèíÿòü /
â
äðóçüÿ,
â
ó÷åíèêè,
â
óñëóæåíèå
è
ò.
ï./
) to attend to my toilet
(÷òîáû
çàíèìàòüñÿ
ìîèìè
òóàëåòàìè
; toilet —
òóàëåò,
îäåâàíèå;
êîñòþì,
òóàëåò)
?”
“It would be perhaps more usual, Madame
(ýòî
, âîçìîæíî
, áûëî
áû
áîëåå
îáû÷íî
, ìàäàì
).” She shook her head
(îíà
ïîêà÷àëà
ãîëîâîé
).
“Schmidt
is
devoted
to
me
(Øìèäò ïðåäàíà ìíå;
to
devote — ïîñâÿùàòü, îòäàâàòü /ñåáÿ/ öåëèêîì
).”
Her
voice
dwelt
lingeringly
on
the
words
(åå ãîëîñ îñîáåííî ïîä÷åðêíóë ýòè ñëîâà: «åå ãîëîñ äîëãî çàäåðæàëñÿ íà ýòèõ ñëîâàõ»;
to
dwell (
dwelt) — îáèòàòü, æèòü; îñòàíàâëèâàòüñÿ, çàäåðæèâàòüñÿ
/î âçãëÿäå è ò.ï./; to
linger
— çàäåðæèâàòüñÿ, çàñèæèâàòüñÿ
).
“Devotion — c’est impayable
(
ïðåäàííîñòü —
îíà
áåñöåííà)
.”
intelligent
[In'telIdZ(q)nt] fasten
['fQ:s(q)n] toilet
['tOIlIt] lingeringly
['lINg(q)rINlI]
He saw the dark intelligent eyes come slowly round and fasten themselves upon
his face. “What exactly are you implying, M. Poirot?”
“Nothing, Madame. I? Nothing.”
“But yes. You think, do you not, that I should have a smart Frenchwoman to
attend to my toilet?”
“It would be perhaps more usual, Madame.” She shook her head. “Schmidt
is devoted to me.” Her voice dwelt lingeringly on the words. “Devotion — c’est impayable
.”
The German woman had arrived with the keys
(ïðèøëà
íåìêà
ñ
êëþ÷àìè
). The Princess spoke to her in her own language
(êíÿãèíÿ
çàãîâîðèëà
ñ
íåé
íà
åå
ðîäíîì
ÿçûêå
; own —
ïðèíàäëåæàùèé /
êîìó-
ëèáî
èëè
÷åìó-
ëèáî/;
ñîáñòâåííûé,
ðîäíîé)
, telling her to open the valises (
ïðèêàçûâàÿ
åé
îòêðûòü
÷åìîäàíû;
to tell — ðàññêàçûâàòü
; âåëåòü
, ïðèêàçûâàòü
; valise — ñàêâîÿæ
, ÷åìîäàí
) and help the gentlemen in their search
(è
ïîìî÷ü
ãîñïîäàì
â
èõ
ïîèñêàõ
). She herself remained in the corridor
(îíà
ñàìà
îñòàëàñü
â
êîðèäîðå
) looking out at the snow
(ñìîòðÿ
/íà
óëèöó
/ íà
ñíåã
), and Poirot remained with her
(ñ
íåé
æå
îñòàëñÿ
è
Ïóàðî
), leaving M. Bouc to the task of searching the luggage
(ïðåäîñòàâèâ
ìñüå
Áóêó
çàäà÷ó
ïî
îáûñêó
áàãàæà
; to leave —
óõîäèòü,
óåçæàòü;
ïðåäîñòàâèòü,
ïîðó÷èòü)
.
She
regarded
him
with
a
grim
smile
(îíà ïîñìîòðåëà íà íåãî ñ ìðà÷íîé óëûáêîé;
to
regard — ðàññìàòðèâàòü, ñ÷èòàòü; /âíèìàòåëüíî/
ñìîòðåòü, ðàçãëÿäûâàòü; grim
— æåñòîêèé, áåñïîùàäíûé; çëîâåùèé, ìðà÷íûé
).
“
Well,
Monsieur,
do
you
not
wish
to
see
(÷òî ìñüå, ðàçâå âû íå õîòèòå óâèäåòü)
what
my
valises
contain
(÷òî /ñîäåðæèòñÿ/ â ìîèõ ÷åìîäàíàõ)
?”
He
shook
his
head
(îí ïîêà÷àë ãîëîâîé). “
Madame,
it
is
a
formality,
that
is
all
(ìàäàì, ýòî âñåãî ëèøü ôîðìàëüíîñòü, íè÷åãî áîëüøå: «ýòî âñå»)
.”
“
Are
you
so
sure
(âû òàê /â ýòîì/ óâåðåíû)
?”
“
In
your
case,
yes
(â âàøåì ñëó÷àå, äà).”
“And yet I knew and loved Sonia Armstrong
(à
âåäü
ÿ
çíàëà
è
ëþáèëà
Ñîíþ
Àðìñòðîíã
). What do you think, then
(÷òî
âû
íà
ýòî
äóìàåòå
)? That I would not soil my hands
(÷òî
ÿ
áû
íå
ñòàëà
ìàðàòü
ñâîè
ðóêè
; to soil —
ïà÷êàòü(
ñÿ),
ãðÿçíèòü(
ñÿ),
ìàðàòü(
ñÿ)
) with killing such canaille as that man Cassetti
(óáèéñòâîì
òàêîãî
íåãîäÿÿ
, êàê
ýòîò
Êàññåòòè
; canaille —
ôð.
ñáðîä,
÷åðíü,
îòðåáüå)
? Well, perhaps you are right (
÷òî
æ,
âîçìîæíî,
âû
è
ïðàâû)
.”
valise
[vq'li:z] luggage
['lAgIdZ] canaille
[kq'neIl, kq'naI]
The German woman had arrived with the keys. The Princess spoke to her in her
own language, telling her to open the valises and help the gentlemen in their search. She herself remained in the corridor looking out at the snow, and Poirot remained with her, leaving M. Bouc to the task of searching the
luggage.
She regarded him with a grim smile.
“Well, Monsieur, do you not wish to see what my valises contain?”
He shook his head. “Madame, it is a formality, that is all.”
“Are you so sure?”
“In your case, yes.”
“And yet I knew and loved Sonia Armstrong. What do you think, then? That
I would not soil my hands with killing such canaille as that man Cassetti? Well, perhaps you are right.”
She was silent a minute or two
(ìèíóòó
èëè
äâå
îíà
ìîë÷àëà
; silent —
ìîë÷àëèâûé,
áåññëîâåñíûé)
. Then she said (
çàòåì
îíà
ñêàçàëà)
:
“With such a man as that (
ñ
òàêèì
÷åëîâåêîì,
êàê /
îí/)
, do you know what I should have liked to do (
çíàåòå,
÷òî
áû
ÿ
ñäåëàëà: «
ìíå
õîòåëîñü
ñäåëàòü»)
? I should have liked to call to my servants (
ÿ
áû
ïîçâàëà
ñâîèõ
ñëóã)
: ‘Flog this man to death (
çàñåêèòå
åãî
äî
ñìåðòè;
to flog — ïîðîòü
, ñå÷ü
, áèòü
ïëåòüþ
, êíóòîì
) and fling him out
(è
âûáðîñüòå
åãî
; to fling —
ìåòàòü,
áðîñàòü,
øâûðÿòü)
on the rubbish heap (
íà
ñâàëêó: «
êó÷ó
ìóñîðà»;
rubbish — ìóñîð
, ñîð
, õëàì
; heap — êó÷à
, ãðóäà
)!’ That
is
the
way
things
were
done
(âîò êàê ïîñòóïàëè: «ýòî òîò ñïîñîá, êîòîðûì ðåøàëèñü
òàêèå äåëà») when
I
was
young
, Monsieur
(êîãäà ÿ áûëà ìîëîäà, ìñüå)
.”
Still
he
did
not
speak
(îí âñå åùå ìîë÷àë: «íå ãîâîðèë»)
, just
listened
attentively
(òîëüêî âíèìàòåëüíî ñëóøàë)
.
She
looked
at
him
with
a
sudden
impetuosity
(îíà âçãëÿíóëà íà íåãî ñ íåîæèäàííîé èìïóëüñèâíîñòüþ)
. “You
do
not
say
anything
, M
. Poirot
(âû íè÷åãî íå ãîâîðèòå, ìñüå Ïóàðî)
. What is it that you are thinking, I wonder
(î
÷åì
æå
âû
äóìàåòå
, èíòåðåñíî
çíàòü
)?”
He looked at her with a very direct glance
(îí
âçãëÿíóë
íà
íåå
ïðÿìî
â
ãëàçà
: «î÷åíü
ïðÿìûì
âçãëÿäîì
»). “I think, Madame, that your strength is in your will
(ÿ
äóìàþ
, ìàäàì
, ÷òî
âàøà
ñèëà
â
âàøåé
âîëå
; strength —
ñèëà;
ñèëüíàÿ
ñòîðîíà,
äîñòîèíñòâî, will —
âîëÿ,
ñèëà
âîëè)
— not in your arm (
à
íå
â
âàøèõ
ðóêàõ)
.”
death [deT]
rubbish ['rAbIS]
impetuosity [Im"petSV'
OsItI]
strength [streNT, strenT]
She was silent a minute or two. Then she said:
“With such a man as that, do you know what I should have liked to do? I should
have liked to call to my servants: ‘Flog this man to death and fling him out on the rubbish heap!’ That is the way things were done when I was young, Monsieur.”
Still he did not speak, just listened attentively.
She looked at him with a sudden impetuosity. “You do not say anything, M.
Poirot. What is it that you are thinking, I wonder?”
He looked at her with a very direct glance. “I think, Madame, that your strength
is in your will — not in your arm.”
She
glanced
down at
her
thin, black
-clad
arms (îíà âçãëÿíóëà íà ñâîè õóäûå ðóêè, çàòÿíóòûå â ÷åðíîå /òðàóðíîå/
ïëàòüå; to
clothe (
clothed, óñò. clad
) — îäåâàòü; black
— ÷åðíûé öâåò, ÷åðíîòà; ÷åðíîå ïëàòüå, òðàóðíîå ïëàòüå;
arm — ðóêà /îò ïëå÷à äî êèñòè/
) ending
in
those claw
-like
yellow hands
with
the rings
on
the fingers
(çàêàí÷èâàâøèåñÿ ïîõîæèìè íà êîãòè æåëòîâàòûìè êèñòÿìè: «ïîõîæèìè íà êîãòèñòûå
ëàïêè êèñòÿìè ðóê» ñ êîëüöàìè íà ïàëüöàõ; claw
— êîãîòü, ëàïà ñ êîãòÿìè; êëåøíÿ; — like
— â ñëîæíûõ ïðèëàãàòåëüíûõ, îáðàçîâàííûõ îò ñóùåñòâèòåëüíûõ, èìååò çíà÷åíèå — ïîäîáíûé ÷åìó-ëèáî;
íàïîìèíàþùèé ÷òî-ëèáî; hand — ðóêà, êèñòü ðóêè
).
“It is true (
ýòî
âåðíî)
,” she said. “
I
have
no
strength
in
these —
none
(â íèõ /ðóêàõ/ ó ìåíÿ íåò íèêàêîé ñèëû)
. I
do
not
know
whether
I
am
sorry
or
glad
(ÿ äàæå íå çíàþ, ñîæàëåþ ëè ÿ /îá ýòîì/ èëè ðàäóþñü
/ýòîìó/).”
Then
she
turned
abruptly
back
towards
her
carriage
(çàòåì îíà ðåçêî ïîâåðíóëàñü /è âåðíóëàñü íàçàä/ â ñâîå êóïå;
abrupt — âíåçàïíûé, íåîæèäàííûé; ðåçêèé /î
ìàíåðàõ è ò.ï./;
toward — ïî íàïðàâëåíèþ ê
)
where
the
maid
was
busily
packing
up
the
cases
(ãäå åå ñëóæàíêà äåëîâèòî óïàêîâûâàëà âåùè â ÷åìîäàíû;
case — ÿùèê, êîðîáêà; ñóìêà, ÷åìîäàí, äîðîæíûé
íåñåññåð).
The
Princess
cut
short
M.
Bouc’
s
apologies
(êíÿãèíÿ îáîðâàëà èçâèíåíèÿ ìñüå Áóêà;
to
cut (
cut) — ðåçàòü, ðàçðåçàòü;
short — ðåçêî; ïðåæäåâðåìåííî, äî ñðîêà
).
“There is no need for you to apologise, Monsieur
(íåò
íèêàêîé
íàäîáíîñòè
èçâèíÿòüñÿ
, ìñüå
),” she said. “A murder has been committed
(áûëî
ñîâåðøåíî
óáèéñòâî
). Certain actions have to be performed
(îïðåäåëåííûå
äåéñòâèÿ
äîëæíû
áûòü
âûïîëíåíû
). That is all there is to it
(âîò
è
âñå
= è
íå
î
÷åì
òóò
ãîâîðèòü
).”
“
Vous êtes bien aimable, Madame
(ôð
.
âû
î÷åíü
ëþáåçíû,
ìàäàì)
.”
claw
[klO:] abruptly
[q'brAptlI] busily
['bIzIlI] apology
[q'pO
lqdZI]
She glanced down at her thin, black-clad arms ending in those claw-like yellow
hands with the rings on the fingers.
“It is true,” she said. “I have no strength in these — none. I do not
know whether I am sorry or glad.”
Then she turned abruptly back towards her carriage where the maid was busily
packing up the cases.
The Princess cut short M. Bouc’s apologies.
“There is no need for you to apologise, Monsieur,” she said. “A murder
has been committed. Certain actions have to be performed. That is all there is to it.”
“
Vous êtes bien aimable, Madame.”
She inclined her head slightly
(îíà
íåìíîãî
ñêëîíèëà
ãîëîâó
/â
çíàê
ïðîùàíèÿ
/; to incline —
íàêëîíÿòü,
íàãèáàòü;
ñêëîíÿòü)
as they departed (
êîãäà
îíè
óõîäèëè)
.
The doors of the next two carriages were shut
(äâåðè
ñëåäóþùèõ
äâóõ
êóïå
áûëè
çàïåðòû
). M. Bouc paused
(ìñüå
Áóê
îñòàíîâèëñÿ
; to pause —
äåëàòü
ïàóçó,
ïåðåðûâ;
îñòàíàâëèâàòüñÿ)
and scratched his head (
è
ïî÷åñàë
ãîëîâó)
.
“Diable
(
÷åðò)
!” he said. “This may be awkward (
ýòî
ìîæåò
áûòü
çàòðóäíèòåëüíî;
awkward —
íåóêëþæèé,
íåëîâêèé;
íåëîâêèé,
íåóäîáíûé,
çàòðóäíèòåëüíûé)
. These
are
diplomatic
passports
(ó ýòèõ /ïàññàæèðîâ/: «ýòè» äèïëîìàòè÷åñêèå ïàñïîðòà)
. Their
luggage
is
exempt
(èõ áàãàæ íå ïîäëåæèò /äîñìîòðó/;
exempt — ñâîáîäíûé, îñâîáîæäåííûé /îò ÷åãî-ëèáî/;
ïîëüçóþùèéñÿ îñîáûìè ëüãîòàìè, ïðèâèëåãèðîâàííûé)
.”
inclined [In'klaInd]
pause [pO:z]
scratch [skrxtS]
awkward ['O:kwqd]
diplomatic ["dIplq'mxtIk]
exempt [Ig'zempt]
She inclined her head slightly as they departed.
The doors of the next two carriages were shut. M. Bouc paused and scratched
his head.
“
Diable!” he said. “This may be awkward. These are diplomatic passports. Their luggage is
exempt.”
“
From
customs
examination,
yes
(îò òàìîæåííîãî äîñìîòðà, äà)
. But
a
murder
is
different
(íî óáèéñòâî — ýòî äðóãîå /äåëî/;
different — ðàçëè÷íûé, ðàçíûé; èíîé, äðóãîé,
îñîáûé).”
“
I
know
(ÿ çíàþ).
All
the
same
(è âñå æå) —
we
do
not
want
to
have
complications
(ìû æå íå õîòèì îñëîæíåíèé;
to
complicate — îñëîæíÿòü, çàïóòûâàòü;
complication — ñëîæíîñòü, çàïóòàííîñòü, çàòðóäíåíèå
).”
“
Do
not
distress
yourself,
my
friend
(íå áåñïîêîéòåñü, äðóã ìîé;
to
distress — ïðè÷èíÿòü ãîðå, ñòðàäàíèå; ìó÷èòü,
òðåâîæèòü; to
distress
oneself — áåñïîêîèòüñÿ, òåðçàòüñÿ
).
The Count and Countess will be reasonable (
ãðàô
è
ãðàôèíÿ
áóäóò
áëàãîðàçóìíû)
. See
how
amiable
Princess
Dragomiroff
was
about
it
(âèäåëè, êàê ëþáåçíà áûëà êíÿãèíÿ Äðàãîìèðîâà /â ñâÿçè ñ îáûñêîì/;
about — çä. óêàçûâàåò íà îáúåêò ðàçãîâîðà,
îáñóæäåíèÿ, çàáîò è ò.ï. — î, îòíîñèòåëüíî, íàñ÷åò)
.”
complication ["k
OmplI'keIS(q)n]
reasonable ['ri:z(q)nqb(q)l]
amiable ['eImIqb(q)l]
“From customs examination, yes. But a murder is different.”
“I know. All the same — we do not want to have complications.”
“Do not distress yourself, my friend. The Count and Countess will be reasonable.
See how amiable Princess Dragomiroff was about it.”
“She is truly
grande dame (
îíà, íåñîìíåííî
, àðèñòîêðàòêà
; truly — ïðàâäèâî
, âåðíî;
äåéñòâèòåëüíî,
ïîäëèííî, ïî
-íàñòîÿùåìó
). These two are also of the same position
(ýòè
äâîå çàíèìàþò
òàêîå
æå âûñîêîå
ïîëîæåíèå
â
îáùåñòâå;
position — ïîëîæåíèå
, ìåñòîíàõîæäåíèå
; /âûñîêîå/
îáùåñòâåííîå
ïîëîæåíèå)
, but the Count impressed me as a man of somewhat truculent disposition (
íî ãðàô
ïðîèçâåë
íà ìåíÿ
âïå÷àòëåíèå
÷åëîâåêà
íåìíîãî ñâèðåïîãî
íðàâà)
. He was
not
pleased when
you
insisted on
questioning
his wife
(åìó íå ïîíðàâèëîñü, êîãäà âû íàñòàèâàëè /íà òîì, ÷òîáû/ äîïðîñèòü åãî æåíó;
to question
— ñïðàøèâàòü, çàäàâàòü âîïðîñû; äîïðàøèâàòü, îïðàøèâàòü
). And
this
will annoy
him
still further
(à ýòî åãî åùå áîëüøå ðàçîçëèò;
to annoy
— äîñàæäàòü, äîêó÷àòü; ðàçäðàæàòü, áåñïîêîèòü;
further — äàëüøå, äàëåå
). Suppose
— eh? —
we omit
them
(à ÷òî åñëè — ý — ìû èõ ïðîïóñòèì; suppose
— åñëè /áû/, ïðåäïîëîæèì /÷òî/, äîïóñòèì /÷òî/;
to omit
— óïóñêàòü /÷òî-ëèáî/; ïðîïóñêàòü, íå âêëþ÷àòü
). After
all,
they can
have
nothing to
do
with the
matter
(â êîíöå êîíöîâ, îíè, ìîæåò áûòü, íèêàê íå ñâÿçàíû ñ ýòèì äåëîì;
to have
to
do with
smb.,
smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî
). Why
should
I stir
up
(çà÷åì ìíå âîçáóæäàòü = íàâëåêàòü íà ñåáÿ;
to stir
/up/ — øåâåëèòü, äâèãàòü; âîëíîâàòü, âîçáóæäàò
ü) needless
trouble
for myself
(íåíóæíûå /ìíå/ íåïðèÿòíîñòè)
?”
“I do not agree with you
(ÿ
íå ñîãëàñåí
ñ
âàì),” said Poirot. “I feel sure
(ÿ
óâåðåí; sure —
óâåðåííûé)
that Count Andrenyi will be reasonable (
÷òî ãðàô
Àíäðåíè
ïîâåäåò ñåáÿ
ðàçóìíî)
. At any
rate
let us
make
the attempt
(â ëþáîì ñëó÷àå, äàâàéòå ïîïûòàåìñÿ: «ñäåëàåì ïîïûòêó»)
.”
And
before
M.
Bouc
could
reply
(è ïðåæäå ÷åì ìñüå Áóê ñìîã îòâåòèòü)
, he
rapped
sharply
on
the
door
of
No
. 13 (îí ðåçêî ïîñòó÷àë â äâåðü êóïå ïîä íîìåðîì
13; to
rap — ñëåãêà óäàðÿòü; ñòó÷àòü, ïîñòóêèâàòü
).
A voice from within cried “
Entrez!”
(ãîëîñ
èçíóòðè
êðèêíóë
«Âîéäèòå
!»).
truculent ['trAkjVlqnt]
disposition ["dIspq'zIS(q)n]
annoy [q'nOI]
omit [q(V)'mIt]
needless ['ni:dlqs]
attempt [q'tempt]
“She is truly
grande dame. These two are also of the same position, but the Count impressed me as a man of
somewhat truculent disposition. He was not pleased when you insisted on questioning his wife. And this will annoy him still further. Suppose — eh? — we omit them. After all, they can have nothing to do with the matter.
Why should I stir up needless trouble for myself?”
“I do not agree with you,” said Poirot. “I feel sure that Count Andrenyi
will be reasonable. At any rate let us make the attempt.”
And before M. Bouc could reply, he rapped sharply on the door of No. 13.
A voice from within cried “
Entrez!”
The Count was sitting in the corner near the door (
ãðàô
ñèäåë
â
óãëó,
ðÿäîì
ñ
äâåðüþ)
reading a newspaper (
÷èòàÿ
ãàçåòó)
. The Countess was curled up (
ãðàôèíÿ
ñâåðíóëàñü /
êàëà÷èêîì/;
to curl /up/ — çàâèâàòü
, êðóòèòü
; ñêðó÷èâàòü
(ñÿ
), ñâåðòûâàòüñÿ
) in the opposite corner near the window
(â
ïðîòèâîïîëîæíîì
óãëó
ó
îêíà
). There
was
a
pillow
behind
her
head
(ó íåå ïîä ãîëîâîé áûëà ïîäóøêà;
behind — çä. óêàçûâàåò íà ïîëîæåíèå íåïîñðåäñòâåííî
çà êàêèì-ëèáî ïðåäìåòîì: çà, ïîçàäè, ñçàäè)
and
she
seemed
to
have
been
asleep
(è îíà, êàçàëîñü, ñïàëà;
asleep — ñïÿùèé
).
“
Pardon,
Monsieur
le
Comte
(èçâèíèòå, ìñüå ãðàô),”
began
Poirot
(íà÷àë Ïóàðî). “
Pray
forgive
this
intrusion
(ïðîñèì ïðîñòèòü /íàñ/ çà ýòî âòîðæåíèå;
intrusion — âòîðæåíèå, ïðèõîä áåç ïðèãëàøåíèÿ
).
It
is
that
we
are
making
a
search
(äåëî â òîì, ÷òî ìû ïðîâîäèì îáûñê)
of
all
the
baggage
on
the
train
(âñåãî áàãàæà â ïîåçäå = áàãàæà âñåõ ïàññàæèðîâ)
. In
most
cases
a
mere
formality
(â áîëüøèíñòâå ñëó÷àåâ ýòî ïðîñòàÿ ôîðìàëüíîñòü)
. But
it
has
to
be
done
(íî åå íåîáõîäèìî âûïîëíèòü)
. M
. Bouc
suggests
that
(ìñüå Áóê ïðåäïîëàãàåò, ÷òî;
to
suggest — ïðåäëàãàòü, ñîâåòîâàòü; âíóøàòü /ìûñëü/,
íàìåêàòü, ãîâîðèòü)
, as
you
have
a
diplomatic
passport
(ðàç ó âàñ äèïëîìàòè÷åñêèé ïàñïîðò)
, you
might
reasonably
claim
(òî âû ðàçóìíî ìîãëè áû çàÿâèòü î ñâîåì ïðàâå/ïîòðåáîâàòü;
claim — òðåáîâàíèå, ïðåòåíçèÿ; ïðàâî
íà ÷òî-ëèáî; to
claim — òðåáîâàòü /îáûêí. êàê ïðèíàäëåæàùåå
ïî ïðàâó/)
to
be
exempt
from
such
a
search
(áûòü îñâîáîæäåííûì îò òàêîãî îáûñêà;
to
claim
to
be
exempt — òðåáîâàòü /äëÿ ñåáÿ/ ëüãîòû, èñêëþ÷åíèÿ
).”
The
Count
considered
for
a
moment
(ãðàô íà ìãíîâåíèå çàäóìàëñÿ;
to
consider — ðàññìàòðèâàòü, îáñóæäàòü; îáäóìûâàòü
).
newspaper ['nju:s"peIpq]
intrusion [In'tru:Z(q)n]
reasonably ['ri:z(q)nqblI]
The Count was sitting in the corner near the door reading a newspaper. The
Countess was curled up in the opposite corner near the window. There was a pillow behind her head and she seemed to have been asleep.
“Pardon, Monsieur le Comte,” began Poirot. “Pray forgive this intrusion. It is that we are
making a search of all the baggage on the train. In most cases a mere formality. But it has to be done. M. Bouc suggests that, as you have a diplomatic passport, you might reasonably claim to be exempt from such a search.”
The Count considered for a moment.
“Thank you,” he said. “But I do not think that I care
(íî
ÿ
íå
äóìàþ
, ÷òî
áû
ìíå
õîòåëîñü
; to care —
çàáîòèòüñÿ,
óõàæèâàòü;
èìåòü
æåëàíèå,
õîòåòü)
to have an exception made in my case (
÷òîáû
äëÿ
ìåíÿ
äåëàëîñü
èñêëþ÷åíèå: «
÷òîáû
èñêëþ÷åíèå
áûëî
ñäåëàíî
â
ìîåì
ñëó÷àå»)
. I should prefer that our baggage should be examined
(ÿ
áû
äàæå
ïðåäïî÷åë
, ÷òîáû
íàø
áàãàæ
áûë
áû
äîñìîòðåí
) like that of the other passengers
(êàê
è
áàãàæ
äðóãèõ
ïàññàæèðîâ
).”
He turned to his wife
(îí
îáðàòèëñÿ
ê
ñâîåé
æåíå
). “You do not object, I hope, Elena
(ÿ
íàäåþñü
, òû
íå
âîçðàæàåøü
, Åëåíà
)?”
“Not at all
(âîâñå
íåò
),” said the Countess without hesitation
(ñêàçàëà
ãðàôèíÿ
áåç
êîëåáàíèÿ
).
A rapid and somewhat perfunctory search followed
(ïîñëåäîâàë
áûñòðûé
è
íåìíîãî
ïîâåðõíîñòíûé
îáûñê
; perfunctory —
íåáðåæíûé,
íåâíèìàòåëüíûé,
ïîâåðõíîñòíûé)
. Poirot seemed to be trying to mask an embarrassment
(Ïóàðî
, êàçàëîñü
, ïûòàëñÿ
ñêðûòü
ñìóùåíèå
; to mask —
ìàñêèðîâàòü,
ñêðûâàòü; to embarrass —
áåñïîêîèòü,
ñìóùàòü,
ïðèâîäèòü
â
çàìåøàòåëüñòâî)
by making various small pointless remarks (
äåëàÿ
ðàçëè÷íûå
ìåëêèå
áåññìûñëåííûå
çàìå÷àíèÿ;
pointless — òóïîé
, íåçàîñòðåííûé
; áåññìûñëåííûé
, áåñöåëüíûé
; pointless remark — çàìå÷àíèå
íå
ïî
ñóùåñòâó
), such as
(íàïðèìåð
, òàêèå
):
“Here is a label all wet
(çäåñü
âîò
áèðêà
ñîâåðøåíî
ñûðàÿ
; label —
ÿðëûê,
ýòèêåòêà;
áèðêà,
íàêëåéêà; wet —
ìîêðûé,
âëàæíûé;
ñûðîé)
on your suitcase, Madame (
íà
âàøåì
÷åìîäàíå,
ìàäàì)
,” as he lifted down (
êîãäà
îí
ñïóñêàë;
to lift — ïîäíèìàòü
; ïåðåìåùàòü
) a blue morocco case with initials on it and a coronet
(ñèíèé
ñàôüÿíîâûé
÷åìîäàí÷èê
ñ
èíèöèàëàìè
/íà
íåì
/ è
/ãðàôñêîé
/ êîðîíîé
).
exception [Ik'sepS(q)n]
hesitation ["hezI'teIS(q)n]
perfunctory [pq'fANkt(q)rI]
embarrassment [Im'bxrqsmqnt]
Morocco [mq'r
OkqV]
coronet
['kO
rqnIt]
“Thank you,” he said. “But I do not think that I care to have an exception
made in my case. I should prefer that our baggage should be examined like that of the other passengers.”
He turned to his wife. “You do not object, I hope, Elena?”
“Not at all,” said the Countess without hesitation.
A rapid and somewhat perfunctory search followed. Poirot seemed to be trying
to mask an embarrassment by making various small pointless remarks, such as:
“Here is a label all wet on your suitcase, Madame,” as he lifted down a
blue morocco case with initials on it and a coronet.
The
Countess
did
not
reply
to
this
observation
(ãðàôèíÿ íå îòâåòèëà íà ýòî çàìå÷àíèå;
observation — íàáëþäåíèå; çàìå÷àíèå, âûñêàçûâàíèå
).
She
seemed,
indeed,
rather
bored
(íà íåå, êàçàëîñü, íàãîíÿëî òîñêó;
bore — ñêóêà;
to
bore — íàäîåäàòü, íàñêó÷èòü
)
by
the
whole
proceeding
(âñå ïðîèñõîäÿùåå; proceeding
— ïîâåäåíèå, ïîñòóïîê; ðàáîòà, äåÿòåëüíîñòü /êîìèññèè è ò.ï./
),
remaining
curled
up
in
her
corner
(/îíà/ îñòàâàëàñü â óãëó, ñâåðíóâøèñü êàëà÷èêîì)
and
staring
dreamily
out
through
the
window
(è ïîëóñîííî ñìîòðåëà /íàðóæó/ â îêíî;
to
stare — ïðèñòàëüíî ñìîòðåòü, óñòàâèòüñÿ
)
whilst
the
men
searched
her
luggage
in
the
compartment
next
door
(ïîêà ìóæ÷èíû îáûñêèâàëè åå áàãàæ â êóïå ïî ñîñåäñòâó)
.
Poirot
finished
his
search
by
opening
the
little
cupboard
above
the
washbasin
(Ïóàðî çàêîí÷èë ñâîé îñìîòð òåì, ÷òî îòêðûë ìàëåíüêèé øêàô÷èê íàä óìûâàëüíîé ðàêîâèíîé;
to
wash — ìûòü;
basin — ìèñêà, /ïëîñêàÿ/ ÷àøà, òàç
)
and
taking
a
rapid
glance
(è áðîñèë áåãëûé âçãëÿä;
rapid — áûñòðûé, ñêîðûé
)
at
its
contents
(íà åãî ñîäåðæèìîå) —
a
sponge
(ãóáêà),
face
cream
(êðåì äëÿ ëèöà),
powder
(ïóäðà; powder
— ïîðîøîê; ïóäðà)
and
a
small
bottle
labelled
trional
(è íåáîëüøàÿ áóòûëî÷êà ñ ýòèêåòêîé «òðèîíàë»;
to
label — ïðèêðåïëÿòü ÿðëûê, ýòèêåòêó; íàêëåèâàòü,
ïðèêëåèâàòü).
observation ["
Obzq'veIS(q)n]
proceeding [prq'si:dIN]
dreamily ['dri:mIlI]
cupboard ['kApbqd]
washbasin ['w
OS"beIs(q)n]
The Countess did not reply to this observation. She seemed, indeed, rather
bored by the whole proceeding, remaining curled up in her corner and staring dreamily out through the window whilst the men searched her luggage in the compartment next door.
Poirot finished his search by opening the little cupboard above the washbasin
and taking a rapid glance at its contents — a sponge, face cream, powder and a small bottle labelled trional.
Then with polite remarks on either side
(ñ
âåæëèâûìè
ôðàçàìè
: «çàìå÷àíèÿìè
» ñ
îáåèõ
ñòîðîí
), the search party withdrew
(ãðóïïà
, ïðîâîäèâøàÿ
îáûñê
, óäàëèëàñü
; party —
îòðÿä,
êîìàíäà;
ãðóïïà,
ïàðòèÿ; to withdraw (withdrew, withdrawn) —
îòíèìàòü,
îòäåðãèâàòü;
óõîäèòü,
óäàëÿòüñÿ)
.
Mrs. Hubbard’s compartment
(êóïå
ìèññèñ
Õàááàðä
), that of the dead man
(êóïå
óáèòîãî
), and Poirot’s own
(è
êóïå
ñàìîãî
Ïóàðî
; own —
ñâîé
ñîáñòâåííûé,
ïðèíàäëåæàùèé /
êîìó-
ëèáî
èëè
÷åìó-
ëèáî/
) came next
(øëè
äàëüøå
/ñëåäîâàëè
).
They now came to the second-class carriages
(òåïåðü
îíè
ïåðåøëè
ê
êóïå
âòîðîãî
êëàññà
). The first one, Nos. 10 and 11
(ïåðâîå
êóïå
, ñ
/ìåñòàìè
/ íîìåð
10 è
11), was occupied by Mary Debenham, who was reading a book
(áûëî
çàíÿòî
Ìýðè
Äåáåíõýì
, êîòîðàÿ
÷èòàëà
êíèãó
), and Greta Ohlsson, who was fast asleep
(è
Ãðåòîé
Îëüñîí
, êîòîðàÿ
êðåïêî
ñïàëà
; fast —
ïðî÷íî,
êðåïêî,
òâåðäî)
but woke with a start at their entrance (
íî
âçäðîãíóëà
è
ïðîñíóëàñü
ïðè
èõ
âõîäå =
êîãäà
îíè
âîøëè;
start — íà÷àëî
; âçäðàãèâàíèå
, ðûâîê
).
Poirot
repeated
his
formula
(Ïóàðî ïîâòîðèë ñâîþ ôîðìóëó = çàðàíåå çàãîòîâëåííóþ
ôðàçó). The
Swedish
lady
seemed
agitated
(øâåäêà, êàçàëîñü, çàâîëíîâàëàñü;
to
agitate — âîëíîâàòü, âîçáóæäàòü
),
Mary
Debenham
calmly
indifferent
(Ìýðè Äåáåíõýì /êàçàëàñü/ ñïîêîéíîé è áåçðàçëè÷íîé)
. He addressed himself to the Swedish lady
(îí
îáðàòèëñÿ
ê
øâåäêå
).
withdrew [wID'dru:]
formula ['fO:mjVlq]
agitated ['xdZIteItId]
indifferent [In'dIf(q)rqnt]
Then with polite remarks on either side, the search party withdrew.
Mrs. Hubbard’s compartment, that of the dead man, and Poirot’s own came
next.
They now came to the second-class carriages. The first one, Nos. 10 and 11,
was occupied by Mary Debenham, who was reading a book, and Greta Ohlsson, who was fast asleep but woke with a start at their entrance.
Poirot repeated his formula. The Swedish lady seemed agitated, Mary Debenham
calmly indifferent. He addressed himself to the Swedish lady.
“If you permit, Mademoiselle (
åñëè
âû
ïîçâîëèòå,
ìàäåìóàçåëü)
, we will examine your baggage first (
ìû
ñïåðâà
îñìîòðèì
âàø
áàãàæ)
, and then perhaps you would be so good as to see how the American lady is getting on
(à
çàòåì
, âîçìîæíî
, âû
áóäåòå
íàñòîëüêî
ëþáåçíû
è
ïîñìîòðèòå
, êàê
òàì
÷óâñòâóåò
ñåáÿ
òà
àìåðèêàíñêàÿ
ëåäè
; to get on —
íàäåâàòü;
ïîïðàâëÿòüñÿ,
ïðèõîäèòü
â
ñåáÿ)
. We have moved her into one of the carriages in the next coach
(ìû
ïåðåñåëèëè
åå
â
îäíî
èç
êóïå
â
ñîñåäíåì
âàãîíå
; to move —
äâèãàòü,
ïåðåäâèãàòü;
ïåðåâîçèòü,
ïåðåñåëÿòü)
, but she is still very much upset (
íî
îíà
âñå
åùå
î÷åíü
ñèëüíî
ðàññòðîåíà/
âñòðåâîæåíà;
upset — îïðîêèíóòûé
; ðàññòðîåííûé
, âñòðåâîæåííûé
) as the result of her discovery
(â
ðåçóëüòàòå
åå
îòêðûòèÿ
; to discover —
îòêðûâàòü,
äåëàòü
îòêðûòèå)
. I
have
ordered
coffee
to
be
sent
to
her
(ÿ ïðèêàçàë, ÷òîáû åé ïîäàëè êîôå)
, but
I
think
she
is
of
those
(íî ìíå êàæåòñÿ, ÷òî îíà èç òåõ /æåíùèí/)
to
whom
someone
to
talk
to
(äëÿ êîòîðûõ êòî-íèáóäü, ñ êåì ìîæíî ïîãîâîðèòü)
is
a
necessity
of
the
first
order
(ýòî íåîáõîäèìîñòü ïåðâîãî ñîðòà = ñàìàÿ áîëüøàÿ
íåîáõîäèìîñòü; order
— ïîðÿäîê, ïîñëåäîâàòåëüíîñòü; ðîä, ñîðò, ñâîéñòâî
).”
The
good
lady
was
instantly
sympathetic
(ýòà äîáðàÿ æåíùèíà ìãíîâåííî ïðåèñïîëíèëàñü ñî÷óâñòâèÿ)
. She
would
go
immediately
(îíà íåìåäëåííî îòïðàâèòñÿ /ê àìåðèêàíêå/)
. It
must
have
been
indeed
a
terrible
shock
to
the
nerves
(äåéñòâèòåëüíî, ýòî äîëæíî áûòü áûëî óæàñíîå ïîòðÿñåíèå
äëÿ íåðâíîé ñèñòåìû), and
already
the
poor
lady
was
upset
by
the
journey
and
leaving
her
daughter
(è ê òîìó æå áåäíàÿ äàìà óæå áûëà ðàññòðîåíà ñàìèì
ïóòåøåñòâèåì è ðàññòàâàíèåì ñ äî÷åðüþ).
Ah,
yes,
certainly
she
would
go
at
once
(î äà, êîíå÷íî æå, îíà îòïðàâèòñÿ íåìåäëåííî)
— her
case
was
not
locked
(åå ÷åìîäàí íå çàïåðò)
— and
she
would
take
with
her
some
sal
ammoniac
(è îíà âîçüìåò ñ ñîáîé íåìíîãî íàøàòûðÿ)
.
result [rI'zAlt]
discovery [dIs'kAv(q)rI]
necessity [nI'sesItI]
sympathetic ["sImpq'TetIk]
sal ammoniac
["sxlq'mqVnIxk]
“If you permit, Mademoiselle, we will examine your baggage first, and then
perhaps you would be so good as to see how the American lady is getting on. We have moved her into one of the carriages in the next coach, but she is still very much upset as the result of her discovery. I have ordered coffee
to be sent to her, but I think she is of those to whom someone to talk to is a necessity of the first order.”
The good lady was instantly sympathetic. She would go immediately. It must
have been indeed a terrible shock to the nerves, and already the poor lady was upset by the journey and leaving her daughter. Ah, yes, certainly she would go at once — her case was not locked — and she would take with
her some sal ammoniac.
She
bustled
off
(è îíà ïîñïåøíî óäàëèëàñü;
to
bustle — ñóåòèòüñÿ, ñïåøèòü,
off — óêàçûâàåò çàâåðøåííîñòü äåéñòâèÿ è
äâèæåíèå ïðî÷ü)
. Her
possessions
were
soon
examined
(åå ïîæèòêè áûëè áûñòðî îñìîòðåíû;
possession — âëàäåíèå, îáëàäàíèå;
possessions — èìóùåñòâî, ñîáñòâåííîñòü
).
They
were
meagre
in
the
extreme
(îíè áûëè ÷ðåçâû÷àéíî ñêóäíû;
meager — õóäîé, òîùèé; íåäîñòàòî÷íûé, ñêóäíûé;
extreme — êðàéíîñòü, ÷ðåçìåðíîñòü)
. She
had
evidently
not
yet
noticed
(î÷åâèäíî, ÷òî îíà âñå åùå íå çàìåòèëà)
the
missing
wires
from
the
hat
-box
(íåäîñòàþùèõ ïðîâîëî÷íûõ /êàðêàñîâ/ èç øëÿïíîé
êàðòîíêè).
Miss Debenham had put her book down
(ìèññ
Äåáåíõýì
îòëîæèëà
ñâîþ
êíèãó
). She was watching Poirot
(îíà
íàáëþäàëà
çà
Ïóàðî
). When
he
asked
her
, she
handed
over
her
keys
(êîãäà îí îáðàòèëñÿ ê íåé, îíà ïåðåäàëà åìó ñâîè
êëþ÷è; to
hand
over — ïåðåäàâàòü, âðó÷àòü
).
Then, as he lifted down a case and opened it (
çàòåì,
êîãäà
îí
ñïóñòèë: «
ïîäíÿë
âíèç»
åå
÷åìîäàí
è
îòêðûë
åãî)
, she said:
“Why did you send her away, M. Poirot
(ïî÷åìó
âû
îòîñëàëè
åå
, ìñüå
Ïóàðî
)?”
“
I,
Mademoiselle!
Why,
to
minister
to
the
American
lady
(êàê æå, îêàçûâàòü ïîìîùü àìåðèêàíêå;
to
minister — ñëóæèòü, ïðèñëóæèâàòü; ïîìîãàòü,
îêàçûâàòü ïîìîùü)
.”
“
An
excellent
pretext
(îòëè÷íûé
ïðåäëîã
/îòãîâîðêà
) —
but
a
pretext
all
the
same
(íî
, òåì
íå
ìåíåå
, ïðåäëîã
).”
bustle
['bAs(q)l] possession
[pq'zeS(q)n] meagre
['mi:gq] pretext
['pri:tekst]
She bustled off. Her possessions were soon examined. They were meagre in the
extreme. She had evidently not yet noticed the missing wires from the hat-box.
Miss Debenham had put her book down. She was watching Poirot. When he asked
her, she handed over her keys. Then, as he lifted down a case and opened it, she said:
“Why did you send her away, M. Poirot?”
“I, Mademoiselle! Why, to minister to the American lady.”
“An excellent pretext — but a pretext all the same.”
“I don’t understand you, Mademoiselle
(ÿ
íå
ïîíèìàþ
âàñ
, ìàäåìóàçåëü
).”
“
I
think
you
understand
me
very
well
(ÿ äóìàþ, ÷òî âû î÷åíü õîðîøî ìåíÿ ïîíèìàåòå)
.” She
smiled
(óëûáíóëàñü îíà)
. “You
wanted
to
get
me
alone
(âû õîòåëè îñòàòüñÿ ñî ìíîé íàåäèíå: «çàïîëó÷èòü
ìåíÿ â îäèíî÷åñòâå»). Wasn
’t
that
it
(íå òàê ëè)
?”
“
You
are
putting
words
into
my
mouth,
Mademoiselle
(âû ïðèïèñûâàåòå ìíå òî, ÷åãî ÿ íå ãîâîðèë, ìàäåìóàçåëü;
to
put
words
into
smb.'
s
mouth — áóêâ. âëîæèòü ñëîâà â ÷üè-ëèáî óñòà;
ïîäñêàçûâàòü êîìó-ëèáî, ÷òî íàäî ãîâîðèòü)
.”
“And
ideas
into
your
head
(è ìûñëè â âàøåé ãîëîâå /ÿ òîæå âàì ïðèïèñûâàþ/)
? No, I don’t think so
(íåò
, íå
äóìàþ
). The ideas are already there
(ìûñëè
óæå
òàì
). That is right, isn’t it
(âåðíî
, íå
òàê
ëè
)?”
“Mademoiselle, we have a proverb
(ìàäåìóàçåëü
, ó
íàñ
åñòü
ïîñëîâèöà
) — ”
“
Qui
s’
excuse
s’
accuse
(ôð.
êòî ñåáÿ îïðàâäûâàåò, òîò ñåáÿ îáâèíÿåò)
— is
that
what
you
were
going
to
say
(âû âåäü ýòî ñîáèðàëèñü ñêàçàòü)
? You
must
give
me
the
credit
(âû äîëæíû ïðèçíàòü çà ìíîé;
credit — âåðà, äîâåðèå; ÷åñòü, çàñëóãà; to give
smb. credit for smth. — ïðèçíàâàòü ÷òî-ëèáî çà êåì-ëèáî)
for
a
certain
amount
of
observation
and
common
sense
(/íàëè÷èå/ îïðåäåëåííîãî êîëè÷åñòâà íàáëþäàòåëüíîñòè
è çäðàâîãî ñìûñëà). For
some
reason
or
other
you
have
got
it
into
your
head
(ïî òîé èëè èíîé ïðè÷èíå âû âáèëè ñåáå â ãîëîâó)
that
I
know
something
about
this
sordid
business
(÷òî ÿ ÷òî-òî çíàþ îá ýòîì îòâðàòèòåëüíîì äåëå)
— this
murder
of
a
man
I
never
saw
before
(ýòîì óáèéñòâå ÷åëîâåêà, êîòîðîãî ÿ íèêîãäà ðàíüøå
íå âèäåëà).”
“
You
are
imagining
things,
Mademoiselle
(âû âûäóìûâàåòå/ýòî âàì êàæåòñÿ, ìàäåìóàçåëü;
to
imagine — âîîáðàæàòü, ïðåäñòàâëÿòü ñåáå; âûäóìûâàòü,
ñî÷èíÿòü).”
mouth [maVT]
proverb ['pr
Ov
q:b]
sordid ['sO:dId]
“I don’t understand you, Mademoiselle.”
“I think you understand me very well.” She smiled. “You wanted to get
me alone. Wasn’t that it?”
“You are putting words into my mouth, Mademoiselle.”
“And ideas into your head? No, I don’t think so. The ideas are already
there. That is right, isn’t it?”
“Mademoiselle, we have a proverb — ”
“
Qui s’excuse s’accuse — is that what you were going to say? You must give me the credit
for a certain amount of observation and common sense. For some reason or other you have got it into your head that I know something about this sordid business — this murder of a man I never saw before.”
“You are imagining things, Mademoiselle.”
“No, I am not imagining things at all (
íåò,
íè÷åãî
ÿ
íå
âûäóìûâàþ)
. But
it
seems
to
me
that
a
lot
of
time
is
wasted
(íî ìíå êàæåòñÿ, ÷òî êó÷à âðåìåíè ïîòåðÿíà;
to
waste — ðàñòî÷àòü, ðàñòðà÷èâàòü, íàïðàñíî
òðàòèòü /äåíüãè/, òåðÿòü /âðåìÿ/)
by
not
speaking
the
truth
(îòòîãî, ÷òî íå ãîâîðèòñÿ ïðàâäà;
by — çä. óêàçûâàåò íà ñðåäñòâî, îðóäèå —
ïîñðåäñòâîì, ïðè ïîìîùè)
— by
beating
about
the
bush
(÷òî õîäèì âñå âîêðóã äà îêîëî;
to
beat
about
the
bush — âèëÿòü, ãîâîðèòü îáèíÿêàìè, ïîäõîäèòü
ê äåëó èçäàëåêà; bush
— êóñò)
instead
of
coming
straight
out
with
things
(âìåñòî òîãî, ÷òîáû ïðÿìî îáî âñåì ðàññêàçàòü;
to
come
out — ïîÿâëÿòüñÿ; îáíàðóæèâàòüñÿ, ñòàíîâèòüñÿ
èçâåñòíûì; âûñòóïèòü /ñ çàÿâëåíèåì, óòâåðæäåíèåì è ò.ï./)
.”
“And you do not like the waste of time
(à
âû
íå
ëþáèòå
òåðÿòü
âðåìÿ
äàðîì
). No, you like to come straight to the point
(íåò
, âàì
íðàâèòñÿ
ïîäõîäèòü
ïðÿìî
ê
ñóòè
äåëà
; to come to the point —
ãîâîðèòü
ïî
ñóùåñòâó
äåëà)
. You
like
the
direct
method
(âàì íðàâèòñÿ ïðÿìîé ìåòîä = ïðÿìîòà/îòêðîâåííîñòü)
. Eh bien
, I will give it to you, the direct method (
÷òî
æ,
âû
åå
ïîëó÷èòå,
ïðÿìîòó: «
ïðÿìîé
ìåòîä»)
. I will ask you the meaning of certain words (
ÿ
ñïðîøó
ó
âàñ
î
çíà÷åíèè/
ñìûñëå
îïðåäåëåííûõ
ñëîâ)
that I overheard on the journey from Syria (
êîòîðûå
ÿ
ñëó÷àéíî
ïîäñëóøàë
ïî
ïóòè
èç
Ñèðèè)
. I had got out of the train to do what the English call ‘stretch the legs’
(ÿ
âûøåë
èç
ïîåçäà
, ÷òîáû
, êàê
ãîâîðÿò
àíãëè÷àíå
, "ðàçìÿòü
íîãè
"; to stretch —
ðàñòÿãèâàòü,
âûòÿãèâàòü)
at the station of Konya (
íà
ñòàíöèè
â
Êîíüå)
. Your
voice
and
the
Colonel’
s,
Mademoiselle
(âàø ãîëîñ, ìàäåìóàçåëü, è /ãîëîñ/ ïîëêîâíèêà)
, they
came
to
me
out
of
the
night
(îíè äîíåñëèñü: «äîøëè» äî ìåíÿ èç íî÷è)
. You said to him
(âû
ñêàçàëè
åìó
), ‘Not now
(íå
ñåé÷àñ
). Not now. When
it
’s
all
over
(êîãäà âñå çàêîí÷èòñÿ;
to
be
over — îêîí÷èòüñÿ, çàâåðøèòüñÿ
).
When
it’
s
behind
us
(êîãäà ýòî áóäåò ïîçàäè íàñ = êîãäà ýòî îñòàíåòñÿ ïîçàäè)
.’ What did you mean by those words, Mademoiselle
(÷òî
âû
õîòåëè
ñêàçàòü
òåìè
ñëîâàìè
, ìàäåìóàçåëü
)?”
instead [In'sted]
stretch [stretS]
colonel ['kq:n(q)l]
behind [bI'haInd]
“No, I am not imagining things at all. But it seems to me that a lot of time
is wasted by not speaking the truth — by beating about the bush instead of coming straight out with things.”
“And you do not like the waste of time. No, you like to come straight to
the point. You like the direct method. Eh bien
, I will give it to you, the direct method. I will ask you the meaning of certain words that I overheard on the journey from Syria. I had got out of the train to do
what the English call ‘stretch the legs’ at the station of Konya. Your voice and the Colonel’s, Mademoiselle, they came to me out of the night. You said to him, ‘Not now. Not now. When it’s all over. When it’s
behind us.’ What did you mean by those words, Mademoiselle?”
She
asked
very
quietly
(îíà ñïðîñèëà î÷åíü ñïîêîéíî)
, “Do
you
think
I
meant
— murder
(âû äóìàåòå, ÷òî ÿ èìåëà â âèäó óáèéñòâî)
?”
“It is I who am asking you, Mademoiselle
(ýòî
ÿ
âàñ
ñïðàøèâàþ
, ìàäåìóàçåëü
).”
She sighed
(îíà
âçäîõíóëà
) — was lost a minute in thought
(íà
ìèíóòó
/îíà
/ ïîãðóçèëàñü
â
ðàçìûøëåíèÿ
; to lose (lost) —
òåðÿòü; to be lost in smth. —
áûòü
ïîãðóæåííûì
âî
÷òî-
ëèáî,
ñ
ãîëîâîé
óéòè
âî
÷òî-
ëèáî)
. Then, as though rousing herself, she said (
çàòåì,
ñëîâíî
î÷íóâøèñü,
îíà
ñêàçàëà;
to rouse — âñïóãèâàòü
/äè÷ü
/; ïîáóæäàòü
, ïîäñòðåêàòü
; to rouse oneself — âñòðÿõíóòüñÿ
, ïðåîäîëåòü
ñâîþ
âÿëîñòü
, ëåíü
):
“
Those
words
had
a
meaning,
Monsieur
(ó òåõ ñëîâ áûë ñìûñë, ìñüå)
, but
not
one
that
I
can
tell
you
(íî íå òàêîé, êîòîðûé ÿ ìîãëà áû ñêàçàòü âàì = íî
ÿ íå ìîãó ñêàçàòü âàì êàêîé).
I
can
only
give
you
my
solemn
word
of
honour
(ÿ òîëüêî ìîãó äàòü âàì /ñâîå òîðæåñòâåííîå/ ÷åñòíîå ñëîâî;
solemn — ñåðüåçíûé; òîðæåñòâåííûé;
honour — ÷åñòü, ÷åñòíîñòü
)
that
I
had
never
set
eyes
on
this
man
Ratchett in
my
life
(÷òî ÿ íèêîãäà â /ìîåé/ æèçíè â ãëàçà íå âèäåëà ýòîãî Ðýò÷åòòà;
to set eyes on smth., smb
. — óâèäåòü, çàìåòèòü ÷òî-ëèáî, êîãî-ëèáî
)
until
I
saw
him
on
this
train
(ïîêà ÿ íå óâèäåëà åãî â ýòîì ïîåçäå)
.”
“
And —
you
refuse
to
explain
those
words
(è — âû îòêàçûâàåòåñü îáúÿñíèòü òå ñëîâà)
?”
“
Yes,
if
you
like
to
put
it
that
way
(äà, åñëè âàì óãîäíî òàê âûðàçèòüñÿ;
to
put — êëàñòü, ñòàâèòü; èçëàãàòü, ôîðìóëèðîâàòü
/ìûñëè, çàìå÷àíèÿ è ò.ï./)
— I
refuse
(ÿ îêàçûâàþñü)
. They
had
to
do
with
(îíè èìåëè îòíîøåíèå ê;
to
have
to
do
with
smb.,
smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî
) —
with
a
task
I
had
undertaken
(ê îäíîìó äåëó, êîòîðîå ÿ âçÿëàñü âûïîëíèòü;
task — çàäà÷à, çàäàíèå; äåëî, îáÿçàííîñòü;
to
undertake (
undertook,
undertaken) — ïðåäïðèíèìàòü; áðàòü íà ñåáÿ /îïðåäåëåííûå
îáÿçàòåëüñòâà, ôóíêöèè è ò.ï./)
.”
quietly ['kwaIqtlI]
murder ['mq:dq]
solemn ['s
Olqm]
honour ['
Onq]
She asked very quietly, “Do you think I meant — murder?”
“It is I who am asking you, Mademoiselle.”
She sighed — was lost a minute in thought. Then, as though rousing herself,
she said:
“Those words had a meaning, Monsieur, but not one that I can tell you. I
can only give you my solemn word of honour that I had never set eyes on this man Ratchett in my life until I saw him on this train.”
“And — you refuse to explain those words?”
“Yes, if you like to put it that way — I refuse. They had to do with —
with a task I had undertaken.”
“A task that is now ended
(äåëó
, êîòîðîå
òåïåðü
çàêîí÷åíî
)?”
“What do you mean
(÷òî
âû
èìååòå
â
âèäó
)?”
“It is ended, is it not
(îíî
çàêîí÷åíî
, íå
òàê
ëè
)?”
“Why should you think so
(ïî÷åìó
âû
òàê
äóìàåòå
)?”
“Listen, Mademoiselle (
ïîñëóøàéòå,
ìàäåìóàçåëü)
, I will recall to you another incident (
ÿ
íàïîìíþ
âàì
î
äðóãîì
ñëó÷àå;
to recall — âñïîìèíàòü
; íàïîìèíàòü
). There was a delay to the train
(ïîåçä
çàïàçäûâàë
: «áûëà
çàäåðæêà
ïîåçäà
») on the day we were to reach Stamboul
(â
òîò
äåíü
, êîãäà
ìû
äîëæíû
áûëè
ïðèáûòü
â
Ñòàìáóë
; to reach —
ïðîòÿãèâàòü,
âûòÿãèâàòü /
îñîá.
ðóêó/;
äîñòèãàòü /
ìåñòà
íàçíà÷åíèÿ/,
äîåçæàòü,
äîáèðàòüñÿ)
. You were very agitated, Mademoiselle (
âû
áûëè
î÷åíü
âçâîëíîâàíû,
ìàäåìóàçåëü)
. You,
so
calm
(âû, òàêàÿ ñïîêîéíàÿ),
so
self-
controlled
(òàêàÿ ñäåðæàííàÿ; self
-control
— ñàìîîáëàäàíèå, ñäåðæàííîñòü, óìåíèå âëàäåòü ñîáîé
).
You
lost
that
calm
(âû óòðàòèëè òî ñïîêîéñòâèå)
.”
“
I
did
not
want
to
miss
my
connection
(ìíå íå õîòåëîñü íå óñïåòü =
ÿ õîòåëà óñïåòü ñäåëàòü ïåðåñàäêó;
to
miss
one'
s
connection — íå óñïåòü ïåðåñåñòü íà äðóãîé ïîåçä
/ñàìîëåò è ò.ï./; connection
— ñâÿçü, ñîåäèíåíèå; ïåðåñàäêà
).”
incident ['InsId(q)nt]
delay [dI'leI]
agitated ['xdZIteItId]
self-control ["selfkqn'trqVl]
“A task that is now ended?”
“What do you mean?”
“It is ended, is it not?”
“Why should you think so?”
“Listen, Mademoiselle, I will recall to you another incident. There was a
delay to the train on the day we were to reach Stamboul. You were very agitated, Mademoiselle. You, so calm, so self-controlled. You lost that calm.”
“I did not want to miss my connection.”
“
So
you
said
(òàê ãîâîðèòå: «ñêàçàëè» âû)
. But
, Mademoiselle
, the
Orient
Express
leaves
Stamboul
every
day
of
the
week
(íî, ìàäåìóàçåëü, Âîñòî÷íûé ýêñïðåññ âûåçæàåò
èç Ñòàìáóëà êàæäûé äåíü /íåäåëè/).
Even
if
you
had
missed
the
connection
(äàæå åñëè áû âû è íå óñïåëè ñäåëàòü ïåðåñàäêó)
it
would
only
have
been
a
matter
of
twenty
-four
hours
’ delay
(òî ýòî áûëî áû äåëîì âñåãî ëèøü äâàäöàòè÷åòûðåõ÷àñîâîé
çàäåðæêè = çàäåðæêè íà ñóòêè).”
Miss
Debenham
for
the
first
time
showed
signs
of
losing
her
temper
(ìèññ Äåáåíõýì âïåðâûå: «â ïåðâûé ðàç» ïðîÿâèëà ïðèçíàêè íåòåðïåíèÿ;
to
lose
one'
s
temper — ïîòåðÿòü ñàìîîáëàäàíèå, âûéòè èç
ñåáÿ, âñïûëèòü)
.
“
You
do
not
seem
to
realize
(âû, êàæåòñÿ, íå ïîíèìàåòå)
that
one
may
have
friends
awaiting
one
’s
arrival
in
London
(÷òî ó ÷åëîâåêà ìîãóò áûòü äðóçüÿ, îæèäàþùèå åãî
ïðèáûòèÿ â Ëîíäîí), and
that
a
day
’s
delay
upsets
arrangements
(è ÷òî çàäåðæêà íà äåíü íàðóøàåò ïëàíû;
to
upset — îïðîêèäûâàòü; ðàññòðàèâàòü, íàðóøàòü
/ïîðÿäîê è ò.ï./; arrangement
— ïðèâåäåíèå â ïîðÿäîê; äîãîâîðåííîñòü, ñîãëàøåíèå
)
and
causes
a
lot
of
annoyance
(è ïðè÷èíÿåò êó÷ó íåïðèÿòíîñòåé;
to
cause — áûòü ïðè÷èíîé, ñëóæèòü ïîâîäîì, âûçûâàòü,
ïðè÷èíÿòü; a
lot — æðåáèé; ðàçã. áîëüøîå êîëè÷åñòâî, ìíîæåñòâî;
annoyance — äîñàäà, ðàçäðàæåíèå, íåïðèÿòíîñòü
).”
sign [saIn]
await
[q'weIt]
arrival [q'raIv(q)l]
arrangement
[q'reIndZmqnt]
cause [kO:z]
annoyance
[q'nOIqns]
“So you said. But, Mademoiselle, the Orient Express leaves Stamboul every
day of the week. Even if you had missed the connection it would only have been a matter of twenty-four hours’ delay.”
Miss Debenham for the first time showed signs of losing her temper.
“You do not seem to realise that one may have friends awaiting one’s arrival
in London, and that a day’s delay upsets arrangements and causes a lot of annoyance.”
“Ah
, it
is
like
that
(à, âîò êàê äåëî îáñòîèò: «âîò çíà÷èò êàê»;
like
that — òàêèì îáðàçîì
)?
There are friends awaiting your arrival (
äðóçüÿ
îæèäàþò
âàøåãî
ïðèáûòèÿ)
? You do not want to cause them inconvenience (
è
âû
íå
õîòèòå
ïðè÷èíÿòü
èì
íåóäîáñòâ;
(in)convenience — (íå
)óäîáñòâî
)?”
“
Naturally
(åñòåñòâåííî).”
“
And
yet —
it
is
curious
(è âñå æå ñòðàííî; curious
— ëþáîçíàòåëüíûé, ïûòëèâûé; ñòðàííûé, ÷óäíîé
) — ”
“What is curious
(÷òî
ñòðàííî
)?”
“On this train — again we have a delay
(ñ
ýòèì
ïîåçäîì
— ñíîâà
ó
íàñ
çàäåðæêà
). And this time a more serious delay
(è
íà
ýòîò
ðàç
áîëåå
ñåðüåçíàÿ
çàäåðæêà
), since there is no possibility of sending a telegram to your friends
(ïîòîìó
êàê
íåò
âîçìîæíîñòè
îòïðàâèòü
âàøèì
äðóçüÿì
òåëåãðàììó
) or of getting them on the long
(èëè
ñâÿçàòüñÿ
ñ
íèìè
ïî
ìåæäó
-; to get on —
íàäåâàòü;
ñâÿçûâàòüñÿ,
âñòóïàòü
â
êîíòàêò)
— the long (
ìåæäó-)
— ”
“Long
distance
(ìåæäóãîðîäíîé ñâÿçè;
long
distance — ñâÿçü ïî ìàãèñòðàëüíîìó êàáåëþ;
ìåæäóíàðîäíàÿ èëè ìåæäóãîðîäíÿÿ ñâÿçü)
? The
telephone
, you
mean
(
âû
õîòèòå
ñêàçàòü
ïî
òåëåôîíó)
.”
inconvenience ["
Inkqn'
vi:
nIqns]
naturally ['
nxtS(
q)
rqlI]
curious ['kjV(q)rIqs]
“Ah, it is like that? There are friends awaiting your arrival? You do not
want to cause them inconvenience?”
“Naturally.”
“And yet — it is curious — ”
“What is curious?”
“On this train — again we have a delay. And this time a more serious delay,
since there is no possibility of sending a telegram to your friends or of getting them on the long — the long — ”
“Long distance? The telephone, you mean.”
“Ah, yes, the portmanteau call
(à
, äà
, ìåæäóãîðîäíûé
çâîíîê
: «÷åìîäàííûé
çâîíîê
»; portmanteau —
÷åìîäàí,
ñêëàäíàÿ
äîðîæíàÿ
ñóìêà; call —
êðèê;
òåëåôîííûé
âûçîâ,
çâîíîê
èëè
ðàçãîâîð)
, as you say in England (
êàê
âû
â
Àíãëèè
ãîâîðèòå)
.”
Mary Debenham smiled a little in spite of herself
(Ìýðè
Äåáåíõýì
ñëåãêà
óëûáíóëàñü
íåâîëüíî
: «íåñìîòðÿ
íà
ñåáÿ
»). “Trunk call
(ìåæäóãîðîäíûé
çâîíîê
; trunk —
ñòâîë
äåðåâà;
ìàãèñòðàëü /
æåëåçíîäîðîæíàÿ,
òåëåôîííàÿ,
òåëåãðàôíàÿ/; trunk —
äîðîæíûé
ñóíäóê,
÷åìîäàí; trunk call —
ìåæäóãîðîäíûé
òåëåôîííûé
âûçîâ)
,” she corrected (
ïîïðàâèëà
îíà)
. “Yes, as you say, it is extremely annoying (
äà,
êàê
âû
ñêàçàëè,
ýòî
÷ðåçâû÷àéíî
ðàçäðàæàåò)
not to be able to get any word through, either by telephone or by telegraph
(/êîãäà
/ íå
èìååøü
âîçìîæíîñòè
ïåðåäàòü
âåñòî÷êó
ëèáî
ïî
òåëåôîíó
, ëèáî
ïî
òåëåãðàôó
; to get through —
äîõîäèòü /
äî
êîãî-
ëèáî/;
ïåðåäàâàòü /
êîìó-
ëèáî/; word —
ñëîâî;
âåñòè,
èçâåñòèå,
ñîîáùåíèå)
.”
portmanteau [pO:t'mxn|tqV]
telephone ['telIfqVn]
telegraph ['telIgrQ:f]
“Ah, yes, the portmanteau call, as you say in England.”
Mary Debenham smiled a little in spite of herself. “Trunk call,” she corrected.
“Yes, as you say, it is extremely annoying not to be able to get any word through, either by telephone or by telegraph.”
“And yet, Mademoiselle, this time your manner is quite different
(è
âñå
æå
, ìàäåìóàçåëü
, íà
ýòîò
ðàç
âàøå
ïîâåäåíèå
ñîâåðøåííî
äðóãîå
; manner —
ìåòîä,
ñïîñîá;
ìàíåðà,
ïîâåäåíèå)
. You
no
longer
betray
the
impatience
(âû áîëüøå íå ïðîÿâëÿåòå íåòåðïåíèÿ;
to
betray — èçìåíÿòü, ñòàíîâèòüñÿ ïðåäàòåëåì;
âûäàâàòü; ïðîÿâëÿòü (÷óâñòâà); (im
)patience
— (íå)òåðïåíèå, (íå)òåðïåëèâîñòü
).
You
are
calm
and
philosophical
(âû ñïîêîéíû è óðàâíîâåøåíû;
philosophical — ôèëîñîôñêèé; ñ ôèëîñîôñêèì îòíîøåíèåì
ê æèçíè, ìóäðûé, óðàâíîâåøåííûé)
.”
Mary
Debenham
flushed (Ìýðè Äåáåíõýì ïîêðàñíåëà)
and
bit her
lip
(è ïðèêóñèëà ãóáó; to
bite (
bit, bitten
) — êóñàòü, æàëèòü; to bite one's lips — êóñàòü ãóáû, íåðâíè÷àòü
). She
no
longer felt
inclined
to smile
(åé áîëüøå íå õîòåëîñü óëûáàòüñÿ: «îíà áîëüøå íå ÷óâñòâîâàëà ñêëîííîñòü óëûáàòüñÿ»;
inclined — íàêëîííûé; ïðîÿâëÿþùèé ñêëîííîñòü èëè òåíäåíöèþ /ê ÷åìó-ëèáî/
).
“You do not answer, Mademoiselle
(âû
íå
îòâå÷àåòå
, ìàäåìóàçåëü
)?”
“
I
am
sorry
(èçâèíèòå).
I
did
not
know
that
there
was
anything
to
answer
(ÿ íå çíàëà, ÷òî íàäî ÷òî-íèáóäü îòâå÷àòü: «÷òî åñòü ÷òî-òî, ÷òî íàäî ñêàçàòü â îòâåò»)
.”
“
Your
change
of
attitude,
Mademoiselle
(âàøà ïåðåìåíà îòíîøåíèÿ, ìàäåìóàçåëü = /êàê âû îáúÿñíèòå/ òàêóþ ïåðåìåíó âàøåãî îòíîøåíèÿ
/ê çàäåðæêå ïîåçäà/, ìàäåìóàçåëü; attitude
— ïîçèöèÿ, îòíîøåíèå
).”
“
Don’
t
you
think
that
you
are
making
rather
a
fuss
about
nothing,
M.
Poirot
(âàì íå êàæåòñÿ, ÷òî âû ïîäíèìàåòå ñòîëüêî øóìó èç íè÷åãî, ìñüå Ïóàðî;
fuss — íåðâíîå, âîçáóæäåííîå ñîñòîÿíèå; ñóåòà,
ñóìàòîõà; to
make
a
fuss — ïîäíèìàòü øóì, ñóåòèòüñÿ
)?”
Poirot
spread
out
his
hands
in
an
apologetic
gesture
(Ïóàðî ðàçâåë ðóêàìè, ñëîâíî èçâèíÿÿñü: «â îïðàâäûâàþùåìñÿ æåñòå»;
to
spread (
spread) — ðàñïðîñòðàíÿòü /ïî ïîâåðõíîñòè/;
ðàçâîäèòü, ðàçäâèãàòü)
.
betray [
bI'
treI]
impatience
[Im
'peIS
(q
)ns
] philosophical
["fIlq
's
OfIk
(q
)l
] attitude
['xtItju
:d
] apologetic
[q
"p
Olq
'dZetIk
]
“And yet, Mademoiselle, this time your manner is quite different. You no
longer betray the impatience. You are calm and philosophical.”
Mary Debenham flushed and bit her lip. She no longer felt inclined to smile.
“You do not answer, Mademoiselle?”
“I am sorry. I did not know that there was anything to answer.”
“Your change of attitude, Mademoiselle.”
“Don’t you think that you are making rather a fuss about nothing, M. Poirot?”
Poirot spread out his hands in an apologetic gesture.
“It is perhaps a fault with us detectives
(âîçìîæíî
, ýòî
íàø
, ñûùèêîâ
, íåäîñòàòîê
). We
expect
the
behaviour
to
be
always
consistent
(íàì êàæåòñÿ: «ìû îæèäàåì», ÷òî /÷åëîâåê/ âåäåò
ñåáÿ âñåãäà îäèíàêîâî; to
expect
— îæèäàòü; ðàññ÷èòûâàòü; ðàçã. ïðåäïîëàãàòü;
behaviour
— ïîâåäåíèå, ïîñòóïêè;
consistent — ñîâìåñòèìûé, ñîîáðàçíûé; ïîñëåäîâàòåëüíûé
).
We
do
not
allow
for
changes
of
mood
(ìû íå ó÷èòûâàåì: «äîïóñêàåì» ïåðåìåíû íàñòðîåíèÿ;
to
allow /
for/ — ïîçâîëÿòü, ðàçðåøàòü; ïðåäóñìàòðèâàòü,
ïðèíèìàòü âî âíèìàíèå)
.”
Mary Debenham made no reply
(Ìýðè
Äåáåíõýì
íå
îòâåòèëà
; reply —
îòâåò)
.
“
You
know
Colonel
Arbuthnot
well,
Mademoiselle
(âû õîðîøî çíàåòå ïîëêîâíèêà Àðáýòíîòà, ìàäåìóàçåëü)
?”
He
fancied
(åìó ïîêàçàëîñü; to
fancy
— âîîáðàæàòü, ïðåäñòàâëÿòü ñåáå
)
that
she
was
relieved
by
the
change
of
subject
(÷òî îíà îáðàäîâàëàñü ïåðåìåíå òåìû;
to
relieve — îáëåã÷àòü, îñëàáëÿòü; óñïîêàèâàòü,
óòåøàòü).
“I met him for the first time on this journey
(âïåðâûå
ÿ
ñ
íèì
ïîçíàêîìèëàñü
â
ýòîì
ïóòåøåñòâèè
).”
“Have you any reason to suspect that he may have known this man Ratchett
(åñòü
ëè
ó
âàñ
êàêàÿ
-ëèáî
ïðè÷èíà
ïîäîçðåâàòü
, ÷òî
îí
ìîã
áû
çíàòü
ýòîãî
Ðýò÷åòòà
)?”
She
shook
her
head
decisively
(îíà ðåøèòåëüíî ïîêà÷àëà ãîëîâîé;
decisive — îêîí÷àòåëüíûé, ðåøàþùèé; ðåøèòåëüíûé,
èñïîëíåííûé ðåøèìîñòè)
. “I
am
quite
sure
he
didn
’t
(ÿ ñîâåðøåííî óâåðåíà, ÷òî îí íå /çíàë åãî/)
.”
fault [fO:lt]
behaviour [bI'heIvIq]
consistent [kqn'sIst(q)nt]
relieve [rI'li:v]
decisively [dI'saIsIvlI]
“It is perhaps a fault with us detectives. We expect the behaviour to be
always consistent. We do not allow for changes of mood.”
Mary Debenham made no reply.
“You know Colonel Arbuthnot well, Mademoiselle?”
He fancied that she was relieved by the change of subject.
“I met him for the first time on this journey.”
“Have you any reason to suspect that he may have known this man Ratchett?”
She shook her head decisively. “I am quite sure he didn’t.”
“
Why
are
you
sure
(ïî÷åìó âû /òàê/ óâåðåíû)
?”
“
By
the
way
he
spoke
(ïî òîìó, êàê îí ãîâîðèë)
.”
“And
yet
, Mademoiselle
, we
found
a
pipe
-cleaner
on
the
floor
of
the
dead
man
’s
compartment
(è âñå æå, ìàäåìóàçåëü, ìû íàøëè åðøèê äëÿ ÷èñòêè
òðóáîê íà ïîëó â êóïå óáèòîãî: «óìåðøåãî ìóæ÷èíû»).
And Colonel Arbuthnot is the only man on the train who smokes a pipe
(à
ïîëêîâíèê
Àðáýòíîò
— åäèíñòâåííûé
ìóæ÷èíà
â
ïîåçäå
, êîòîðûé
êóðèò
òðóáêó
).”
He
watched
her
narrowly
(îí ïðèñòàëüíî íàáëþäàë çà íåé;
narrow — óçêèé, òåñíûé; òùàòåëüíûé, òî÷íûé
),
but
she
displayed
neither
surprise
nor
emotion
(íî îíà íå ïðîÿâèëà íè óäèâëåíèÿ, íè äóøåâíîãî âîëíåíèÿ;
to
display — ïîêàçûâàòü, äåìîíñòðèðîâàòü; ïðîÿâëÿòü;
emotion — ÷óâñòâî, ýìîöèÿ; äóøåâíîå âîëíåíèå,
âîçáóæäåíèå),
merely
said
(ïðîñòî ñêàçàëà):
“
Nonsense
(âçäîð).
It’
s
absurd
(ýòî íåëåïî).
Colonel
Arbuthnot
is
the
last
man
in
the
world
(ïîëêîâíèê Àðáýòíîò ýòî ñàìûé íåïîäõîäÿùèé ÷åëîâåê âî âñåì ìèðå;
last — ïîñëåäíèé; ñàìûé íåïîäõîäÿùèé, ñàìûé
íåæåëàòåëüíûé èëè íåîæèäàííûé)
to
be
mixed
up
in
a
crime
(÷òîáû áûòü çàìåøàííûì â ïðåñòóïëåíèè;
to
mix — ñìåøèâàòü, ìåøàòü; /
up
in/ âïóòûâàòü
) —
especially
a
theatrical
kind
of
crime
like
this
(îñîáåííî â òàêîì òåàòðàëüíîì ïðåñòóïëåíèè, êàê ýòî;
theatrical — òåàòðàëüíûé, ñöåíè÷åñêèé; íååñòåñòâåííûé,
íàïûùåííûé, ïîêàçíîé)
.”
narrowly ['nxrqVlI]
neither ['naIDq]
absurd [qb'sq:d]
theatrical [TI'xtrIk(q)l]
“Why are you sure?”
“By the way he spoke.”
“And yet, Mademoiselle, we found a pipe-cleaner on the floor of the dead
man’s compartment. And Colonel Arbuthnot is the only man on the train who smokes a pipe.”
He watched her narrowly, but she displayed neither surprise nor emotion, merely
said:
“Nonsense. It’s absurd. Colonel Arbuthnot is the last man in the world
to be mixed up in a crime — especially a theatrical kind of crime like this.”
It was so much what Poirot himself thought
(ýòî
áûëî
òàê
ïîõîæå
íà
òî
, ÷òî
äóìàë
ñàì
Ïóàðî
) that he found himself on the point of agreeing with her
(÷òî
îí
óæå
ñîáèðàëñÿ
ñîãëàñèòüñÿ
ñ
íåé
; to find oneself doing smth. —
ñäåëàòü
÷òî-
ëèáî
íåîæèäàííî
äëÿ
ñåáÿ; to be on the point of doing smth. —
ñîáèðàòüñÿ
÷òî-
ëèáî
ñäåëàòü; point —
òî÷êà;
ïîðîã,
êðàé,
ãðàíü)
. He said instead (
âìåñòî
ýòîãî
îí
ñêàçàë)
:
“I must remind you that you do not know him very well, Mademoiselle
(ÿ
äîëæåí
âàì
íàïîìíèòü
, ÷òî
âû
íå
î÷åíü
õîðîøî
åãî
çíàåòå
, ìàäåìóàçåëü
).”
She shrugged her shoulders (
îíà
ïîæàëà
ïëå÷àìè)
. “
I
know
the
type
well
enough
(ÿ çíàþ ýòîò òèï ëþäåé äîñòàòî÷íî õîðîøî;
type — òèï, òèïè÷íûé îáðàçåö èëè ïðåäñòàâèòåëü
/÷åãî-ëèáî/).”
He
said
very
gently
(îí ñêàçàë î÷åíü ìÿãêî/ëàñêîâî)
:
“
You
still
refuse
to
tell
me
the
meaning
of
those
words
(âû âñå åùå îòêàçûâàåòåñü îáúÿñíèòü: «ðàññêàçàòü» ìíå çíà÷åíèå òåõ ñëîâ)
: ‘When
it
’s
behind
us
(êîãäà ýòî áóäåò ïîçàäè /íàñ/)
’?”
enough [I'nAf]
gently ['dZentlI]
refuse [rI'fju:z]
It was so much what Poirot himself thought that he found himself on the point
of agreeing with her. He said instead:
“I must remind you that you do not know him very well, Mademoiselle.”
She shrugged her shoulders. “I know the type well enough.”
He said very gently:
“You still refuse to tell me the meaning of those words: ‘When it’s behind
us’?”
She replied coldly
(îíà
õîëîäíî
îòâåòèëà
), “I have nothing more to say
(ìíå
áîëüøå
íå÷åãî
ñêàçàòü
).”
“It does not matter
(ýòî
íå
èìååò
çíà÷åíèÿ
),” said Hercule Poirot. “I shall find out
(ÿ
óçíàþ
/ñàì
/).”
He bowed and left the compartment, closing the door after him
(îí
ïîêëîíèëñÿ
è
âûøåë
èç
êóïå
, çàêðûâ
çà
ñîáîé
äâåðü
).
“
Was
that
wise,
my
friend
(áûëî ëè ýòî áëàãîðàçóìíî, ìîé äðóã;
wise — ìóäðûé, óìóäðåííûé; áëàãîðàçóìíûé,
çäðàâîìûñëÿùèé)
?” asked
M
. Bouc
. “You
have
put
her
on
her
guard
(âû çàñòàâèëè åå íàñòîðîæèòüñÿ åå;
guard — îõðàíà, ñòðàæà; îñòîðîæíîñòü, îñìîòðèòåëüíîñòü,
áäèòåëüíîñòü; to
put
smb
. on
one
’s
guard
— çàñòàâèòü êîãî-ëèáî íàñòîðîæèòüñÿ
) —
and
through
her,
you
have
put
the
Colonel
on
his
guard
also
(è ÷åðåç íåå âû òàêæå çàñòàâèëè íàñòîðîæèòüñÿ è ïîëêîâíèêà;
through — çä. óêàçûâàåò íà ïîñðåäíèêà — ÷åðåç
).”
“Mon
ami
, if
you
wish
to
catch
a
rabbit
you
put
a
ferret
into
the
hole
(
ôð. äðóã ìîé, åñëè õî÷åøü ïîéìàòü êðîëèêà,
òî çàïóñêàåøü â íîðó õîðüêà; hole
— äûðà, îòâåðñòèå; íîðà, áåðëîãà, ëîãîâî
),
and
if
the
rabbit
is
there
(è åñëè êðîëèê òàì = â íîðå)
— he
runs
(òî îí ïîáåæèò)
. That is all I have done
(èìåííî
ýòî
ÿ
è
ñäåëàë
).”
guard [gQ:d]
rabbit ['rxbIt]
ferret ['ferIt]
She replied coldly, “I have nothing more to say.”
“It does not matter,” said Hercule Poirot. “I shall find out.”
He bowed and left the compartment, closing the door after him.
“Was that wise, my friend?” asked M. Bouc. “You have put her on her guard
— and through her, you have put the Colonel on his guard also.”
“
Mon ami, if you wish to catch a rabbit you put a ferret into the hole, and if the rabbit is
there — he runs. That is all I have done.”
They entered the compartment of Hildegarde Schmidt
(îíè
âîøëè
â
êóïå
Õèëüäåãàðäû
Øìèäò
).
The woman was standing in readiness
(æåíùèíà
ñòîÿëà
, ãîòîâàÿ
/ê
îáûñêó
/; in readiness —
â
ãîòîâíîñòè,
íàãîòîâå)
, her face respectful but unemotional (
åå
ëèöî
áûëî
ïî÷òèòåëüíûì,
íî
áåññòðàñòíûì)
.
Poirot took a quick glance through the contents of the small case on the seat
(Ïóàðî
áåãëî
ïðîñìîòðåë
ñîäåðæèìîå
ìàëåíüêîãî
÷åìîäàí÷èêà
íà
ñèäåíèè
). Then he motioned to the attendant to get down the bigger suitcase from the rack
(çàòåì
îí
çíàêîì
ïîêàçàë
ïðîâîäíèêó
, ÷òîáû
òîò
ñïóñòèë
âíèç
áîëüøèé
÷åìîäàí
ñ
ïîëêè
; ; motion —
äâèæåíèå;
òåëîäâèæåíèå,
æåñò; to motion —
ïîêàçàòü
æåñòîì,
çíàêîì)
.
“The keys
(êëþ÷è
)?” he said.
“It is not locked, Monsieur
(îí
íå
çàïåðò
, ìñüå
).”
readiness ['redInIs]
respectful [rI'spektf(q)l]
unemotional ["AnI'mqVS(q)nql]
They entered the compartment of Hildegarde Schmidt.
The woman was standing in readiness, her face respectful but unemotional.
Poirot took a quick glance through the contents of the small case on the seat.
Then he motioned to the attendant to get down the bigger suitcase from the rack.
“The keys?” he said.
“It is not locked, Monsieur.”
Poirot undid the hasps
(Ïóàðî
ðàññòåãíóë
çàñòåæêè
; to undo (undid, undone) —
ðàçâÿçûâàòü,
ðàññòåãèâàòü; hasp —
çàïîð,
çàñîâ;
çàñòåæêà /
àëüáîìà,
÷åìîäàíà
è
ò.
ï./
) and lifted the lid
(è
ïîäíÿë
êðûøêó
).
“Aha!” he said, and turning to M. Bouc
(è
, îáðàùàÿñü
ê
ìñüå
Áóêó
, ñêàçàë
), “You remember what I said
(ïîìíèòå
, ÷òî
ÿ
/âàì
/ ãîâîðèë
)? Look here a little moment
(âçãëÿíèòå
-êà
ñþäà
/íà
ìèíóòêó
/)!”
On the top of the suitcase was a hastily rolled-up
(íà
ñàìîì
âåðõó
÷åìîäàíà
ëåæàëà
ïîñïåøíî
ñêîìêàííàÿ
; to roll up —
ñêàòûâàòü,
ñâåðòûâàòü)
brown Wagon Lit uniform (
êîðè÷íåâàÿ
óíèôîðìà /
ïðîâîäíèêà
êîìïàíèè/
ñïàëüíûõ
âàãîíîâ)
.
The stolidity of the German woman underwent a sudden change
(áåññòðàñòíîñòü
íåìêè
âíåçàïíî
óëåòó÷èëàñü
: «ïîäâåðãëàñü
âíåçàïíîé
ïåðåìåíå
»; to undergo (underwent, undergone) —
èñïûòûâàòü,
ïåðåíîñèòü;
ïîäâåðãàòüñÿ)
.
hasp [hxsp]
suitcase ['s(j)u:tkeIs]
wagon-lit
["vxgO
n'li:] underwent
["Andq'went]
Poirot undid the hasps and lifted the lid.
“Aha!” he said, and turning to M. Bouc, “You remember what I said? Look
here a little moment!”
On the top of the suitcase was a hastily rolled-up brown Wagon Lit uniform.
The stolidity of the German woman underwent a sudden change.
“Ach!” she cried (
çàêðè÷àëà
îíà)
. “That is not mine (
ýòî
íå
ìîå)
. I did not put it there (
ÿ
åå
òóäà
íå
êëàëà)
. I
have
never
looked
in
that
case
(ÿ íè ðàçó íå çàãëÿäûâàëà â ýòîò ÷åìîäàí;
never — íèêîãäà; íè ðàçó
)
since
we
left
Stamboul
(ñ òîãî ìîìåíòà, êîãäà ìû âûåõàëè èç Ñòàìáóëà)
. Indeed
, indeed
, it
is
true
(êîíå÷íî æå, êîíå÷íî, ýòî ïðàâäà;
indeed — â äåéñòâèòåëüíîñòè, ôàêòè÷åñêè; /óñèëåíèå/
áåçóñëîâíî, êîíå÷íî)
!” She
looked
from
one
to
another
of
the
men
pleadingly
(îíà óìîëÿþùå ñìîòðåëà òî íà îäíîãî ìóæ÷èíó, òî
íà äðóãîãî; to
plead
— þð. âûñòóïàòü â ñóäå; ïðèçûâàòü, ïðîñèòü, óìîëÿòü
).
Poirot took her gently by the arm and soothed her
(Ïóàðî
ëàñêîâî
âçÿë
åå
çà
ðóêó
è
/ñòàë
/ óòåøàòü
åå
).
“
No,
no,
all
is
well
(íåò, âñå â ïîðÿäêå; well
— çäîðîâûé; õîðîøèé, â óäîâëåòâîðèòåëüíîì ñîñòîÿíèè
).
We
believe
you
(ìû
âåðèì
âàì
).
Do
not
be
agitated
(íå
âîëíóéòåñü
; to
agitate
— âîëíîâàòü
, âîçáóæäàòü
).
I
am
sure
you
did
not
hide
the
uniform
there
(ÿ
óâåðåí
, ÷òî
âû
íå
ïðÿòàëè
òàì
ýòîé
óíèôîðìû
)
as
I
am
sure
that
you
are
a
good
cook
(òàê
æå
, êàê
ÿ
óâåðåí
â
òîì
, ÷òî
âû
õîðîøàÿ
êóõàðêà
).
See
(ïîíÿòíî; to
see
— âèäåòü; ïîíèìàòü, ñîçíàâàòü
).
You
are
a
good
cook,
are
you
not
(âû õîðîøàÿ êóõàðêà, íå òàê ëè)
?”
pleadingly ['pli:dINlI]
soothe [su:D]
agitated ['xdZIteItId]
uniform ['ju:nIfO:m]
“Ach!” she cried. “That is not mine. I did not put it there. I have never
looked in that case since we left Stamboul. Indeed, indeed, it is true!” She looked from one to another of the men pleadingly.
Poirot took her gently by the arm and soothed her.
“No, no, all is well. We believe you. Do not be agitated. I am sure you did
not hide the uniform there as I am sure that you are a good cook. See. You are a good cook, are you not?”
Bewildered, the woman smiled in spite of herself (
ñìóùåííàÿ/
îçàäà÷åííàÿ,
æåíùèíà
íåâîëüíî: «
íåñìîòðÿ
íà
ñåáÿ»
óëûáíóëàñü)
, “Yes, indeed, all my ladies have said so (
äà,
êîíå÷íî,
âñå
ìîè
õîçÿéêè
òàê
ãîâîðèëè;
lady — ëåäè
, äàìà
, ãîñïîæà
; õîçÿéêà
). I
— ”
She
stopped,
her
mouth
open
(îíà çàìîë÷àëà, îòêðûëà ðîò: «åå ðîò îòêðûòûé»;
to
stop — îñòàíàâëèâàòü, çàäåðæèâàòü; îñòàíàâëèâàòüñÿ,
çàìîëêàòü),
looking
frightened
again
(è ñíîâà ñòàëà âûãëÿäåòü èñïóãàííîé)
.
“No, no,” said Poirot. “I assure you all is well
(óâåðÿþ
âàñ
, âñå
â
ïîðÿäêå
). See, I will tell you how this happened
(ïîñëóøàéòå
, ÿ
âàì
ðàññêàæó
, êàê
ýòî
ñëó÷èëîñü
). This man, the man you saw in Wagon Lit uniform, comes out of the dead man’s compartment
(ýòîò
ìóæ÷èíà
, òîò
ñàìûé
ìóæ÷èíà
, êîòîðîãî
âû
âèäåëè
â
óíèôîðìå
/ïðîâîäíèêà
/ ñïàëüíûõ
âàãîíîâ
, âûõîäèò
èç
êóïå
óáèòîãî
). He collides with you
(îí
ñòàëêèâàåòñÿ
ñ
âàìè
). That is bad luck for him
(åìó
íå
ïîâåçëî
; bad luck —
íåóäà÷à,
íåâåçåíèå; luck —
ñóäüáà,
ñëó÷àé;
ñ÷àñòüå,
óäà÷à,
óñïåõ)
. He has hoped that no one will see him (
îí
íàäåÿëñÿ,
÷òî
åãî
íèêòî
íå
óâèäèò)
. What
to
do
next
(÷òî æå äåëàòü /äàëüøå
/; next
— ïîòîì, çàòåì, ïîñëå
)?
He
must
get
rid
of
his
uniform
(îí äîëæåí èçáàâèòüñÿ îò ýòîé óíèôîðìû;
to
rid — îñâîáîæäàòü, èçáàâëÿòü;
to
get
rid
of
smth.,
smb. — îòäåëàòüñÿ, èçáàâèòüñÿ /îò ÷åãî-ëèáî,
êîãî-ëèáî/).
It
is
now
not
a
safeguard
(òåïåðü ýòî óæå íå ãàðàíòèÿ /áåçîïàñíîñòè/;
safeguard — ãàðàíòèÿ, îõðàíà, ìåðà ïðåäîñòîðîæíîñòè
),
but
a
danger
(à, íàîáîðîò, óãðîçà /ðàçîáëà÷åíèÿ/;
danger — îïàñíîñòü; óãðîçà
).”
bewildered [bI'wIldqd]
frightened ['fraItnd]
collide
[kq'laId] safeguard
['seIfgQ:d] danger
['deIndZq]
Bewildered, the woman smiled in spite of herself, “Yes, indeed, all my ladies
have said so. I — ”
She stopped, her mouth open, looking frightened again.
“No, no,” said Poirot. “I assure you all is well. See, I will tell you
how this happened. This man, the man you saw in Wagon Lit uniform, comes out of the dead man’s compartment. He collides with you. That is bad luck for him. He has hoped that no one will see him. What to do next? He must
get rid of his uniform. It is now not a safeguard, but a danger.”
His glance went to M. Bouc and Dr. Constantine, who were listening attentively
(åãî
âçãëÿä
ïåðåøåë
= îí
âçãëÿíóë
íà
ìñüå
Áóêà
è
äîêòîðà
Êîíñòàíòèíà
êîòîðûå
âíèìàòåëüíî
/åãî
/ ñëóøàëè
).
“
There
is
the
snow,
you
see
(ïîíèìàåòå, èäåò ñíåã: «âîò åñòü ñíåã»;
you
see — ïîíèìàåòå, âèäèòå ëè
).
The
snow
which
confuses
all
his
plans
(ñíåã, êîòîðûé ïóòàåò âñå åãî ïëàíû;
to
confuse — ñìóùàòü, ïðèâîäèòü â çàìåøàòåëüñòâî;
ñìåøèâàòü, çàïóòûâàòü)
. Where
can
he
hide
these
clothes
(ãäå æå îí ìîæåò ñïðÿòàòü ýòîò êîñòþì;
clothes — îäåæäà, ïëàòüå
)?
All
the
compartments
are
full
(âñå êóïå çàíÿòû; full
— ïîëíûé, íàëèòûé äî êðàåâ; íàïîëíåííûé, çàïîëíåííûé
).
No,
he
passes
one
whose
door
is
open
(íåò, /òóò/ îí ïðîõîäèò ìèìî /êóïå/, äâåðü â êîòîðîå îòêðûòà)
, showing
it
to
be
unoccupied
(îíî, ïî-âèäèìîìó, íå çàíÿòî;
to
show — ïîêàçûâàòü; ïðîÿâëÿòü, îáíàðóæèâàòü
).
It
must
be
the
one
belonging
to
the
woman
with
whom
he
has
just
collided
(ýòî, äîëæíî áûòü, êóïå, ïðèíàäëåæàùåå òîé ñàìîé æåíùèíå, ñ êîòîðîé îí òîëüêî ÷òî ñòîëêíóëñÿ
/â êîðèäîðå/; to
belong
— ïðèíàäëåæàòü, áûòü ñîáñòâåííîñòüþ
).
He
slips
in
(îí ïðîêðàäûâàåòñÿ /â êóïå/;
to
slip — ñêîëüçèòü; ïëàâíî èëè áûñòðî ïåðåäâèãàòüñÿ;
äâèãàòüñÿ òèõî èëè íåçàìåòíî)
, removes
the
uniform
(ñíèìàåò ýòó ôîðìó;
to
remove — ïåðåäâèãàòü, ïåðåìåùàòü; ñíèìàòü
)
and
jams
it
hurriedly
into
a
suitcase
on
the
rack
(è ïîñïåøíî çàñîâûâàåò åå â ÷åìîäàí /ëåæàùèé/ íà ïîëêå;
to
jam — ñæèìàòü, ñäàâëèâàòü; çàãðîìîæäàòü,
çàáèâàòü, íàáèâàòü áèòêîì)
. It
may
be
some
time
before
it
is
discovered
(ìîæåò áûòü = âîçìîæíî, ïðîéäåò íåêîòîðîå âðåìÿ,
ïðåæäå ÷åì åå /ôîðìó/ îáíàðóæàò; to
discover
— îòêðûâàòü, äåëàòü îòêðûòèå; îáíàðóæèâàòü, íàõîäèòü
).”
listening ['lIs(q)nIN] at
tentive [q'tentIv]
confuse [kqn'fju:z]
unoccupied [An'
OkjVpaId]
hurriedly
['hArIdlI]
His glance went to M. Bouc and Dr. Constantine, who were listening attentively.
“There is the snow, you see. The snow which confuses all his plans. Where
can he hide these clothes? All the compartments are full. No, he passes one whose door is open, showing it to be unoccupied. It must be the one belonging to the woman with whom he has just collided. He slips in, removes the
uniform and jams it hurriedly into a suitcase on the rack. It may be some time before it is discovered.”
“And then
(à
÷òî
ïîòîì
)?” said M. Bouc.
“
That
we
must
discuss
(ýòî ìû /åùå/ äîëæíû îáñóäèòü)
,” Poirot
said
with
a
warning
glance
(ñêàçàë Ïóàðî è ïðåäîñòåðåãàþùå âçãëÿíóë /íà íåãî/:
«ñ ïðåäîñòåðåãàþùèì âçãëÿäîì»; to
warn
— ïðåäóïðåæäàòü; ïðåäîñòåðåãàòü
).
He held up the tunic
(îí
ïîäíÿë
/ôîðìåííûé
/ ïèäæàê
; to hold (held) —
äåðæàòü)
. A button, the third down, was missing (
ïóãîâèöû,
òðåòüåé
ñíèçó,
íåäîñòàâàëî)
. Poirot slipped his hand into the pocket and took out a conductor’s pass-key
(Ïóàðî
ñóíóë
ðóêó
â
êàðìàí
è
âûòàùèë
îáùèé
êëþ÷
/êîòîðûì
ïîëüçóþòñÿ
/ ïðîâîäíèêè
; pass-key —
îáùèé
êëþ÷ /
îòêðûâàþùèé
âñå
çàìêè
â
ãîñòèíèöå,
â
âàãîíå
è
ò.
ï./
), used to unlock the doors of the compartments
(êîòîðûé
èñïîëüçóåòñÿ
äëÿ
îòêðûòèÿ
äâåðåé
/âñåõ
/ êóïå
; to unlock —
îòêðûâàòü,
îòïèðàòü /
êëþ÷îì/
).
“Here is the explanation of how one man was able to pass through locked doors
(âîò
è
îáúÿñíåíèå
òîãî
, êàê
ýòîò
÷åëîâåê
ìîã
ïðîõîäèòü
ñêâîçü
çàêðûòûå
äâåðè
; to explain —
îáúÿñíÿòü)
,” said M. Bouc. “Your questions to Mrs. Hubbard were unnecessary
(âàøè
âîïðîñû
ìèññèñ
Õàááàðä
áûëè
èçëèøíèìè
; (un)necessary — (
íå)
íóæíûé)
. Locked or not locked (
çàïåðòà
ëè
îíà /
áûëà/
èëè
íåò)
, the man could easily get through the communicating door
(òîò
÷åëîâåê
ìîã
ëåãêî
ïðîéòè
÷åðåç
ñìåæíóþ
äâåðü
). After
all
, if
a
Wagon
Lit
uniform
(â êîíöå êîíöîâ, åñëè /ó íåãî áûëà/ óíèôîðìà /ïðîâîäíèêà/
ñïàëüíûõ âàãîíîâ), why
not
a
Wagon
Lit
key
(ïî÷åìó áû åìó /íå èìåòü/ îáùåãî êëþ÷à /Êîìïàíèè
ñïàëüíûõ âàãîíîâ/)?”
warning ['wO:nIN]
tunic ['tju:nIk]
passkey ['pQ:ski:]
unnecessary [An'nesqs(q)rI]
“And then?” said M. Bouc.
“That we must discuss,” Poirot said with a warning glance.
He held up the tunic. A button, the third down, was missing. Poirot slipped
his hand into the pocket and took out a conductor’s pass-key, used to unlock the doors of the compartments.
“Here is the explanation of how one man was able to pass through locked doors,”
said M. Bouc. “Your questions to Mrs. Hubbard were unnecessary. Locked or not locked, the man could easily get through the communicating door. After all, if a Wagon Lit uniform, why not a Wagon Lit key?”
“
Why
not
indeed
(äåéñòâèòåëüíî, ïî÷åìó áû è íåò)
?” returned
Poirot
(îòâåòèë Ïóàðî;
to
return — âîçâðàùàòüñÿ, èäòè îáðàòíî; îòâå÷àòü,
âîçðàæàòü).
“
We
might
have
known
it,
really
(ïðàâî, íàì ñëåäîâàëî îá ýòîì äîãàäàòüñÿ: «çíàòü»)
. You
remember
that
Michel
said
(âû ïîìíèòå, ÷òî Ìèøåëü ñêàçàë)
that
the
door
into
the
corridor
of
Mrs
. Hubbard
’s
compartment
was
locked
(÷òî äâåðü â êîðèäîð êóïå ìèññèñ Õàááàðä áûëà
çàêðûòà) when
he
came
in
answer
to
her
bell
(êîãäà îí ïðèøåë, ÷òîáû îòâåòèòü íà åå çâîíîê =
êîãäà îí ïðèøåë íà åå âûçîâ).”
“That is so, Monsieur
(ýòî
òàê
, ìñüå
),” said the conductor
(ñêàçàë
ïðîâîäíèê
). “That is why I thought the lady must have been dreaming
(âîò
ïî÷åìó
ÿ
ïîäóìàë
, ÷òî
äàìå
, äîëæíî
áûòü
, ïîìåðåùèëîñü
: «ïðèñíèëîñü
»; to dream —
âèäåòü
ñîí)
.”
“
But
now
it
is
easy
(íî òåïåðü âñå ïðîñòî;
easy — ëåãêèé, íåòðóäíûé
),”
continued
M.
Bouc
(ïðîäîëæàë ìñüå Áóê). “
Doubtless
(íåñîìíåííî; doubt
— ñîìíåíèå, íåðåøèòåëüíîñòü
)
he
meant
to
relock
the
communicating
door,
also
(îí íàìåðåâàëñÿ ñíîâà çàïåðåòü è ñìåæíóþ äâåðü)
, but
perhaps
he
heard
some
movement
from
the
bed
(íî, âîçìîæíî, îí óñëûøàë êàêèå-òî äâèæåíèÿ â êðîâàòè
= ÷òî êòî-òî ïîøåâåëèëñÿ â êðîâàòè)
and
it
startled
him
(è ýòî åãî âñïóãíóëî;
to
startle — èñïóãàòü, âñòðåâîæèòü
).”
monsieur [mq'sjq:]
doubtless ['daVtlIs]
startle ['stQ:tl]
“Why not indeed?” returned Poirot.
“We might have known it, really. You remember that Michel said that the door
into the corridor of Mrs. Hubbard’s compartment was locked when he came in answer to her bell.”
“That is so, Monsieur,” said the conductor. “That is why I thought the
lady must have been dreaming.”
“But now it is easy,” continued M. Bouc. “Doubtless he meant to relock
the communicating door, also, but perhaps he heard some movement from the bed and it startled him.”
“We have now
(òåïåðü
íàì
íàäî
),” said Poirot, “only to find the scarlet kimono
(òîëüêî
íàéòè
àëîå
êèìîíî
).”
“True
(âåðíî
). And these last two compartments are occupied by men
(à
/ýòè
/ äâà
ïîñëåäíèå
êóïå
çàíÿòû
ìóæ÷èíàìè
).”
“We will search all the same
(ìû
â
ëþáîì
ñëó÷àå
/èõ
= êóïå
/ îáûùåì
).”
“Oh! assuredly
(î
, íåñîìíåííî
). Besides, I remember what you said
(êðîìå
òîãî
, ÿ
ïîìíþ
, ÷òî
âû
ñêàçàëè
).”
Hector MacQueen acquiesced willingly in the search
(Ãåêòîð
Ìàêêóèí
îõîòíî
ñîãëàñèëñÿ
íà
îáûñê
; willingly —
îõîòíî,
ñ
ãîòîâíîñòüþ)
. “I’d just as soon you did (
óæ
ñêîðåå
áû
âû
ìåíÿ
îáûñêàëè;
I would just as soon — ÿ
áû
îõîòíî
/ñäåëàë
÷òî
-ëèáî
/)
,” he said with a rueful smile (
ñêàçàë
îí
ñî
ñêîðáíîé
óëûáêîé;
rueful — ïå÷àëüíûé
, ãîðåñòíûé
, óäðó÷åííûé
). “I feel I’m definitely the most suspicious character on the train
(ÿ
ïîëàãàþ
, ÷òî
ÿ
îïðåäåëåííî
ñàìàÿ
ïîäîçðèòåëüíàÿ
ëè÷íîñòü
â
ïîåçäå
; to suspect —
ïîäîçðåâàòü; character —
õàðàêòåð,
íðàâ;
ôèãóðà,
ëè÷íîñòü)
. You’ve only got to find a will (
âàì
äîñòàòî÷íî
íàéòè
çàâåùàíèå)
in which the old man left me all his money (
â
êîòîðîì
ñòàðèê
îñòàâèë
ìíå
âñå
ñâîè
äåíüãè)
, and that’ll just about fix things (
è
ýòî,
ïðàêòè÷åñêè,
ðåøèò
äåëî;
just about — ïðèìåðíî
, ïî÷òè
÷òî
; to fix — óêðåïëÿòü
, çàêðåïëÿòü
; ðàçã
. óñòðàèâàòü
, äåëàòü
).”
M. Bouc bent a suspicious glance upon him
(ìñüå
Áóê
âçãëÿíóë
íà
íåãî
íåäîâåð÷èâî
; to bend (bent)
— ãíóòü
, ñãèáàòü
; îáðàòèòü
/âçîð
, âíèìàíèå
è
ò
.ï
./).
occupied ['
OkjVpaId]
assuredly [q'SV(q)rIdlI]
acquiesce ["xkwI'es]
rueful ['ru:f(q)l]
suspicious
[sq'spISqs]
character ['kxrIktq]
“We have now,” said Poirot, “only to find the scarlet kimono.”
“True. And these last two compartments are occupied by men.”
“We will search all the same.”
“Oh! assuredly. Besides, I remember what you said.”
Hector MacQueen acquiesced willingly in the search. “I’d just as soon you
did,” he said with a rueful smile. “I feel I’m definitely the most suspicious character on the train. You’ve only got to find a will in which the old man left me all his money, and that’ll just about fix things.”
M. Bouc bent a suspicious glance upon him.
“That’s only my fun
(ýòî
ÿ
òàê
øó÷ó
; fun —
âåñåëüå,
çàáàâà,
ðàçâëå÷åíèå)
,” added MacQueen hastily (
ïîñïåøíî
äîáàâèë
Ìàêêóèí)
. “
He’
d
never
have
left
me
a
cent,
really
(ïî ïðàâäå, îí íèêîãäà íå îñòàâèë áû ìíå è öåíòà)
. I was just useful to him — languages and so on
(ÿ
ïðîñòî
áûë
åìó
ïîëåçåí
— ÿçûêè
è
âñå
òàêîå
). You’re likely to be out of luck, you know
(òåáå
, ñêîðåå
âñåãî
, íå
áóäåò
âåçòè
, çíàåòå
ëè
; be out of luck —
íå
âåçòè,
íå
èìåòü
ñ÷àñòüÿ,
óäà÷è,
óñïåõà)
, if you don’t speak anything but good American (
åñëè
òû
íå
ãîâîðèøü
íè
íà /
êàêîì
ÿçûêå/,
êðîìå /
àíãëèéñêîãî/
ñ
áåçóïðå÷íûì
àìåðèêàíñêèì /
àêöåíòîì/: «
êðîìå
õîðîøåãî/
áåçóïðå÷íîãî
àìåðèêàíñêîãî»)
. I’m no linguist myself (
ÿ
ñàì
íå
òàêîé
óæ
çíàòîê
ÿçûêîâ)
, but I know what I call Shopping and Hotel (
íî
ÿ
çíàþ,
òî,
÷òî
ÿ
íàçûâàþ /
äèàëåêòàìè/
ìàãàçèíîâ
è
ãîñòèíèö;
shop — ëàâêà
, ìàãàçèí
; shopping — ïîñåùåíèå
ìàãàçèíîâ
ñ
öåëüþ
ïîêóïêè
) — snappy bits in French and German and Italian
(íåìíîãî
íà
ôðàíöóçñêîì
, íåìåöêîì
è
èòàëüÿíñêîì
; snappy —
áûñòðûé,
ýíåðãè÷íûé;
îòðûâèñòûé,
îòðûâî÷íûé; bit —
êóñîê,
êóñî÷åê;
íåìíîãî,
÷óòü-
÷óòü)
.”
hastily ['heIstIlI]
cent
[sent]
language ['lxNgwIdZ]
linguist ['lINgwIst]
“That’s only my fun,” added MacQueen hastily. “He’d never have left
me a cent, really. I was just useful to him — languages and so on. You’re likely to be out of luck, you know, if you don’t speak anything but good American. I’m no linguist myself, but I know what I call Shopping and
Hotel — snappy bits in French and German and Italian.”
His voice was a little louder than usual
(ãîëîñ
åãî
çâó÷àë
: «áûë
» íåìíîãî
ãðîì÷å
, ÷åì
îáû÷íî
). It was as though he were slightly uneasy over the search in spite of his expressed
willingness (áûëî
ïîõîæå
íà
òî
, ÷òî
îí
ñëåãêà
òðåâîæèëñÿ
èç
-çà
îáûñêà
, íåñìîòðÿ
íà
âûðàæåííóþ
ãîòîâíîñòü
/ê
íåìó
/; uneasy —
íåóäîáíûé;
áåñïîêîéíûé;
ñìóùåííûé,
íåëîâêèé)
.
Poirot emerged (
ïîÿâèëñÿ
Ïóàðî)
. “Nothing (
íè÷åãî)
,” he said. “
Not
even
a
compromising
bequest
(äàæå íèêàêîãî êîìïðîìåòèðóþùåãî /âàñ/ çàâåùàíèÿ;
bequest — þð. çàâåùàòåëüíûé îòêàç íåäâèæèìîñòè;
íàñëåäñòâî)!”
MacQueen
sighed
(Ìàêêóèí âçäîõíóë). “
Well,
that’
s
a
load
off
my
mind
(÷òî æ, ïðîñòî ãîðà ñ ïëå÷;
a
load
off
one'
s
mind — ãîðà ñ ïëå÷, êàìåíü ñ äóøè ñâàëèëñÿ;
load — ãðóç; áðåìÿ;
mind — óì, ðàçóì; äóõ, äóøà
),”
he
said
humorously
(ñêàçàë îí øóòëèâî).
They moved on to the last compartment
(îíè
ïåðåøëè
â
ïîñëåäíåå
êóïå
). The examination of the luggage of the big Italian and of the valet
(îñìîòð
áàãàæà
ðîñëîãî
èòàëüÿíöà
è
ñëóãè
) yielded no result
(íå
äàë
íèêàêèõ
ðåçóëüòàòîâ
; to yield —
ïðîèçâîäèòü,
ïðèíîñèòü,
äàâàòü /
ïëîäû,
óðîæàé,
äîõîä
è
ò.
ï./
).
willingness ['wIlINnIs]
emerge [I'mq:dZ]
compromise ['k
OmprqmaIz]
bequest [bI'kwest]
humorously
['hju:m(q)rqslI]
yield [ji:ld]
His voice was a little louder than usual. It was as though he were slightly
uneasy over the search in spite of his expressed willingness.
Poirot emerged. “Nothing,” he said. “Not even a compromising bequest!”
MacQueen sighed. “Well, that’s a load off my mind,” he said humorously.
They moved on to the last compartment. The examination of the luggage of the
big Italian and of the valet yielded no result.
The three men stood at the end of the coach looking at each other
(òðîå
ìóæ÷èí
ñòîÿëè
â
êîíöå
âàãîíà
è
ïåðåãëÿäûâàëèñü
: «ñìîòðåëè
äðóã
íà
äðóãà
»).
“What next
(÷òî
æå
äàëüøå
)?” said M. Bouc.
“We will go back to the dining-car (
ìû
âåðíåìñÿ
â
âàãîí
ðåñòîðàí)
,” said Poirot. “
We
know
now
all
that
we
can
know
(òåïåðü ìû çíàåì âñå, ÷òî ìû ìîãëè óçíàòü)
. We
have
the
evidence
of
the
passengers
(ìû âûñëóøàëè ïàññàæèðîâ: «ó íàñ åñòü ïîêàçàíèÿ
ïàññàæèðîâ»), the
evidence
of
their
baggage
(ìû îñìîòðåëè áàãàæ: «/ó íàñ åñòü/ ñâèäåòåëüñòâà/äîêàçàòåëüñòâà
èõ áàãàæà»), the
evidence
of
our
eyes
(ìû ñàìè âèäåëè âñå ñâîèìè ãëàçàìè: «/ó íàñ åñòü/
ñâèäåòåëüñòâà/äîêàçàòåëüñòâà /óâèäåííûå/ íàøèìè ãëàçàìè»). ...
We
can
expect
no
further
help
(áîëüøå ïîìîùè æäàòü íå ïðèõîäèòñÿ: «ìû íå ìîæåì îæèäàòü íèêàêîé äàëüíåéøåé ïîìîùè»)
. It
must
be
our
part
now
(òåïåðü íàø ÷åðåä;
part — ÷àñòü, äîëÿ; ó÷àñòèå /â ðàáîòå è ò.ï/,
îáÿçàííîñòü, äåëî)
to
use
our
brains
(õîðîøåíüêî ïîøåâåëèòü ìîçãàìè;
to use — óïîòðåáëÿòü, ïîëüçîâàòüñÿ, ïðèìåíÿòü; brain — ãîëîâíîé ìîçã; óìñòâåííûå ñïîñîáíîñòè,
èíòåëëåêò).”
coach [kqVtS]
evidence ['evId(q)ns]
brain [breIn]
The three men stood at the end of the coach looking at each other.
“What next?” said M. Bouc.
“We will go back to the dining-car,” said Poirot. “We know now all that
we can know. We have the evidence of the passengers, the evidence of their baggage, the evidence of our eyes. ... We can expect no further help. It must be our part now to use our brains.”
He felt in his pocket for his cigarette case (
îí
ïîèñêàë
â
ñâîåì
êàðìàíå
ïîðòñèãàð;
to feel (felt) for smth. — íàùóïûâàòü
÷òî
-ëèáî
; èñêàòü
÷òî
-ëèáî
îùóïüþ
). It
was
empty
(îí îêàçàëñÿ ïóñòîé)
.
“I
will
join
you
in
a
moment
(ÿ ïðèñîåäèíþñü ê âàì ÷åðåç ìèíóòó;
to
join — ñîåäèíÿòü, ñâÿçûâàòü; ïðèñîåäèíÿòüñÿ,
âõîäèòü â êîìïàíèþ)
,” he
said
. “I shall need the cigarettes
(ìíå
ïîíàäîáÿòñÿ
ñèãàðåòû
). This is a very difficult, a very curious affair
(ýòî
î÷åíü
òðóäíîå
, î÷åíü
ëþáîïûòíîå
äåëî
). Who
wore
that
scarlet
kimono
(êòî áûë îäåò â àëîå êèìîíî;
to
wear (
wore,
worn) — áûòü îäåòûì /âî ÷òî-ëèáî/, íîñèòü /îäåæäó
è ò.ï./)?
Where is it now (
ãäå
îíî
ñåé÷àñ)
? I
wish
I
knew
(õîòåëîñü áû ìíå çíàòü: «ÿ æåëàþ, /÷òîáû/ ÿ çíàë áû»;
to
know (
knew,
known)
).
There
is
something
in
this
case
(÷òî-òî åñòü â ýòîì äåëå)
— some
factor
(êàêîé-òî ýëåìåíò;
factor — ôàêòîð, äâèæóùàÿ ñèëà; ôàêòîð, ñîñòàâíîé
ýëåìåíò) —
that
escapes
me
(êîòîðûé óñêîëüçàåò îò ìåíÿ;
to
escape — áåæàòü /èç çàêëþ÷åíèÿ/; óñêîëüçàòü
/î ñìûñëå è ò.ï./)
! It
is
difficult
because
it
has
been
made
difficult
(/äåëî/ ýòî òðóäíîå, ïîòîìó ÷òî îíî /ñïåöèàëüíî/
áûëî ñäåëàíî òðóäíûì = åãî íàðî÷íî çàïóòàëè).
But
we
will
discuss
it
(íî
ìû
ýòî
îáñóäèì
).
Pardon
me
a
moment
(ïðîñòèòå
, ÿ
/áóäó
/ ÷åðåç
ìèíóòêó
).”
cigarette
case ["
sIgq'
retkeIs]
factor ['
fxktq]
escape [
I'
skeIp]
pardon ['pQ:dn]
He felt in his pocket for his cigarette case. It was empty.
“I will join you in a moment,” he said. “I shall need the cigarettes.
This is a very difficult, a very curious affair. Who wore that scarlet kimono? Where is it now? I wish I knew. There is something in this case — some factor — that escapes me! It is difficult because it has been made difficult.
But we will discuss it. Pardon me a moment.”
He went hurriedly along the corridor (
è
îí
ïîñïåøíî
íàïðàâèëñÿ
ïî
êîðèäîðó)
to his own compartment (
â
ñâîå /
ñîáñòâåííîå/
êóïå)
. He
had,
he
knew,
a
further
supply
of
cigarettes
in
one
of
his
valises
(ó íåãî áûë, îí çíàë = îí ïîìíèë, /äîïîëíèòåëüíûé/ çàïàñ ñèãàðåò â îäíîì èç åãî ñàêâîÿæåé;
further — áîëåå îòäàëåííûé; äîïîëíèòåëüíûé,
äîáàâî÷íûé).
He
got
it
down
and
snapped
back
the
lock
(îí ñïóñòèë åãî /ñàêâîÿæ/ è ùåëêíóë çàìêîì: «îòâåë çàìîê ñ ùåë÷êîì íàçàä»;
to
snap — õâàòàòü, êóñàòü; ùåëêàòü, ëÿçãàòü;
back — ñçàäè, ïîçàäè; îáðàòíî, íàçàä
).
Then
he
sat
back
on
his
heels
(çàòåì îí ïîïÿòèëñÿ: «îí âñòàë íàçàä íà ñâîèõ ïÿòêàõ»)
and
stared
(è óñòàâèëñÿ â èçóìëåíèè /íà ñàêâîÿæ/;
to
stare — ïðèñòàëüíî ñìîòðåòü; ñìîòðåòü â èçóìëåíèè
).
Neatly
folded
(àêêóðàòíî ñëîæåííîå;
to
fold — ñêëàäûâàòü, ñãèáàòü, çàãèáàòü
)
on
the
top
of
the
case
was
a
thin
scarlet
silk
kimono
embroidered
with
dragons
(íà ñàìîì âåðõó ëåæàëî òîíêîå øåëêîâîå àëîå êèìîíî, ðàñøèòîå äðàêîíàìè;
thin — òîíêèé, õóäîé; ïðîçðà÷íûé, òîíêèé
).
“
So
(àõ, âîò êàê),”
he
murmured
(ïðîáîðìîòàë îí).
“It is like that (
âîò
çíà÷èò
êàê)
. A
defiance
(âûçîâ; defiance
— âûçûâàþùåå ïîâåäåíèå; âûçîâ /íà ñïîð, íà áîé/
).
Very
well,
I
take
it
up
(î÷åíü õîðîøî, ÿ ïðèíèìàþ åãî;
to
take
up — ïîäíèìàòü; ïðèíèìàòü /âûçîâ, ïàðè è ò.ï./
).”
hurriedly ['hArIdlI]
supply [sq'plaI]
defiance [dI'faIqns]
He went hurriedly along the corridor to his own compartment. He had, he knew,
a further supply of cigarettes in one of his valises.
He got it down and snapped back the lock.
Then he sat back on his heels and stared.
Neatly folded on the top of the case was a thin scarlet silk kimono embroidered
with dragons.
“So,” he murmured. “It is like that. A defiance. Very well, I take it
up.”
PART III
HERCULE POIROT SITS BACK AND THINKS
(Ýðêþëü Ïóàðî óñàæèâàåòñÿ è ðàçìûøëÿåò;
to
sit
back — îòêèäûâàòüñÿ /íà ñïèíêó êðåñëà è ò.ï./
ðàññëàáëÿòüñÿ; to
sit
back
and
think
about
smth
. — ñïîêîéíî îáäóìûâàòü ÷òî-ëèáî
)
1
WHICH
OF
THEM?
(Êòî /æå/ èç íèõ)
M.
Bouc.
and
Dr.
Constantine
were
talking
together
when
Poirot
entered
the
dining-
car
(ìñüå Áóê è äîêòîð Êîíñòàíòèí ðàçãîâàðèâàëè /äðóã ñ äðóãîì/, êîãäà Ïóàðî âîøåë â âàãîí-ðåñòîðàí;
to
dine — îáåäàòü
).
M.
Bouc
was
looking
depressed
(ìñüå Áóê âûãëÿäåë ïîäàâëåííûì)
.
“
Le
voilà
(
ôð. à âîò è îí)
,” said
the
latter
when
he
saw
Poirot
(ñêàçàë îí: «ïîñëåäíèé», êîãäà îí óâèäåë Ïóàðî;
latter — áîëåå ïîçäíèé, ïîñëåäíèé;
ïîñëåäíèé /èç äâóõ íàçâàííûõ/, âòîðîé)
. Then
he
added
, as
his
friend
sat
down
(çàòåì îí äîáàâèë, êîãäà åãî äðóã óñåëñÿ)
, “If
you
solve
this
case
, mon
cher
, I
shall
indeed
believe
in
miracles
(ÿ òî÷íî ïîâåðþ â ÷óäåñà åñëè âû ðàñêðîåòå ýòî
ïðåñòóïëåíèå, ìîé äðóã; to
solve
a
case
— ðåøèòü äåëî; ðàñêðûòü ïðåñòóïëåíèå /î ïîëèöèè/
)!”
“
It
worries
you,
this
case
(/çíà÷èò/, îíî ìó÷àåò/òåðçàåò âàñ, ýòî äåëî = ýòî äåëî íå äàåò âàì ïîêîÿ;
to
worry)
?”
“
Naturally
it
worries
me
(êîíå÷íî æå /îíî/ ìó÷àåò /ìåíÿ/)
. I
cannot
make
head
or
tail
of
it
(ÿ ñîâåðøåííî â íåì çàïóòàëñÿ;
to
make
head
or
tail
of
smth. — ïîíÿòü ÷òî-ëèáî, ðàçîáðàòüñÿ â ÷åì-ëèáî;
head — ãîëîâà;
tail — õâîñò
).”
depressed
[dI'prest] miracle
['mIrqk(q)l] worry
['wArI]
M. Bouc. and Dr. Constantine were talking together when Poirot entered the
dining-car. M. Bouc was looking depressed.
“
Le
voilà,” said the latter when he saw Poirot. Then he added, as his friend sat down,
“If you solve this case, mon cher, I shall indeed believe in miracles!”
“It worries you, this case?”
“Naturally it worries me. I cannot make head or tail of it.”
“I agree
(ÿ
ñîãëàñåí
),” said the doctor. He looked at Poirot with interest
(îí
ñ
èíòåðåñîì
ïîñìîòðåë
íà
Ïóàðî
). “To be frank
(îòêðîâåííî
ãîâîðÿ
: «/åñëè
/ áûòü
îòêðîâåííûì
»),” he said, “I cannot see what you are going to do next
(íå
ìîãó
ïðåäñòàâèòü
, ÷òî
æå
âû
áóäåòå
äåëàòü
äàëüøå
).”
“No!” said Poirot thoughtfully
(çàäóì÷èâî
ñêàçàë
Ïóàðî
; thought —
ìûøëåíèå;
ìûñëü,
èäåÿ,
ìíåíèå)
.
He took out his cigarette case and lit one of his tiny cigarettes
(îí
âûòàùèë
ñâîé
ïîðòñèãàð
è
çàêóðèë
îäíó
èç
ñâîèõ
êðîøå÷íûõ
ñèãàðåò
; to light (lit, lighted) —
çàæèãàòü;
ïðèêóðèâàòü /
ñèãàðåòó,
ïàïèðîñó
è
ò.
ï./
). His
eyes
were
dreamy
(ãëàçà åãî áûëè çàäóì÷èâûìè;
to
dream — âèäåòü ñîí; ìå÷òàòü, ãðåçèòü /î ÷åì-ëèáî/,
dreamy — ìå÷òàòåëüíûé, ïîëíûé ãðåç,
íå îò ìèðà ñåãî)
.
“
That,
to
me,
is
the
interest
of
this
case
(ýòî äëÿ ìåíÿ /êàê ðàç/ è ïðåäñòàâëÿåò èíòåðåñ â ýòîì äåëå;
interest — èíòåðåñ; çíà÷åíèå, èíòåðåñ
),”
he
said. “
We
are
cut
off
(ìû îòðåçàíû; to
cut
off
— îáðåçàòü, îòðåçàòü; îòðåçàòü /ïóòü/, èçîëèðîâàòü
)
from
all
the
normal
routes
of
procedure
(îò âñåõ îáû÷íûõ ñðåäñòâ âåäåíèÿ ðàññëåäîâàíèÿ;
route — ìàðøðóò; ñðåäñòâî, ïóòü;
procedure — ïðîöåäóðà; þð. ñóäåáíîå ïðîèçâîäñòâî
).
Are
these
people
whose
evidence
we
have
taken
speaking
the
truth,
or
lying
(ýòè ëþäè, ÷üè ïîêàçàíèÿ ìû âûñëóøàëè, ãîâîðÿò ïðàâäó èëè ëãóò;
to
lie (
lied;
lying) — ëãàòü, ñîëãàòü, îáìàíûâàòü
)?
We
have
no
means
of
finding
out
(ó íàñ íåò íèêàêèõ ñðåäñòâ/ñïîñîáîâ ÷òîáû âûÿñíèòü ýòî)
— except
such
means
as
we
can
devise
ourselves
(çà èñêëþ÷åíèåì òåõ ñðåäñòâ, êîòîðûå ìû ñàìè ìîæåì
ïðèäóìàòü; to
devise — ïðèäóìûâàòü, èçîáðåòàòü, ðàçðàáàòûâàòü
).
It
is
an
exercise,
this,
of
the
brain
(à ýòî /òðåáóåò/ ïðèìåíåíèÿ óìñòâåííûõ ñïîñîáíîñòåé = èçîáðåòàòåëüíîñòè;
exercise — óïðàæíåíèå, òðåíèðîâêà; îñóùåñòâëåíèå,
ïðèìåíåíèå, ïðîÿâëåíèå; brain
— ãîëîâíîé ìîçã; ðàññóäîê, ðàçóì, èíòåëëåêò
).”
thoughtfully
['TO:tf(q)lI] procedure
[prq'si:dZq] ourselves
[aVq'selvz] exercise
['eksqsaIz]
“I agree,” said the doctor. He looked at Poirot with interest. “To be
frank,” he said, “I cannot see what you are going to do next.”
“No!” said Poirot thoughtfully.
He took out his cigarette case and lit one of his tiny cigarettes. His eyes
were dreamy.
“That, to me, is the interest of this case,” he said. “We are cut off
from all the normal routes of procedure. Are these people whose evidence we have taken speaking the truth, or lying? We have no means of finding out — except such means as we can devise ourselves. It is an exercise, this,
of the brain.”
“That is all very fine (
âñå
ýòî
î÷åíü
õîðîøî)
,” said M. Bouc. “
But
what
have
you
to
go
upon
(íî ÷òî æå ó âàñ åñòü /äëÿ ðàñêðûòèÿ äåëà/ = ó âàñ æå íåò íèêàêèõ äàííûõ;
to
go
on
smth. — ðóêîâîäñòâîâàòüñÿ ÷åì-ëèáî, ñëåäîâàòü
÷åìó-ëèáî)?”
“
I
told
you
just
now
(ÿ æå âàì òîëüêî ÷òî ñêàçàë)
. We
have
the
evidence
of
the
passengers
(ó íàñ åñòü ïîêàçàíèÿ ïàññàæèðîâ)
and
the
evidence
of
our
own
eyes
(è òî, ÷òî ìû âèäåëè ñâîèìè ñîáñòâåííûìè ãëàçàìè)
.”
“
Pretty
evidence —
that
of
the
passengers
(õîðîøåíüêèå ïîêàçàíèÿ — /÷òî äàëè íàì/ ïàññàæèðû;
pretty — ìèëûé, ïðåëåñòíûé; èðîí. õîðîøåíüêèé,
âåñåëåíüêèé)!
It
told
us
just
nothing
at
all
(îíè /ïîêàçàíèÿ/ íàì âîîáùå íè÷åãî íå ðàññêàçàëè/íå ñîîáùèëè)
.”
Poirot shook his head
(Ïóàðî
ïîêà÷àë
ãîëîâîé
).
“I do not agree, my friend
(ÿ
íå
ñîãëàñåí
, ìîé
äðóã
). The evidence of the passengers gave us several points of interest
(ïîêàçàíèÿ
ïàññàæèðîâ
ïðåäîñòàâèëè
íàì
íåñêîëüêî
èíòåðåñíûõ
äåòàëåé
; point —
òî÷êà;
îòëè÷èòåëüíàÿ,
õàðàêòåðíàÿ
÷åðòà; point of interest —
èíòåðåñíàÿ/
ëþáîïûòíàÿ
îñîáåííîñòü)
.”
“Indeed (
íó
äà)
,” said M. Bouc sceptically (
ñêàçàë
ìñüå
Áóê
ñêåïòè÷åñêè)
. “
I
did
not
observe
it
(ÿ ýòîãî íå çàìåòèë; to
observe
— íàáëþäàòü, ñëåäèòü /çà ÷åì-ëèáî/; çàìå÷àòü, îáðàùàòü âíèìàíèå
).”
“That is because you did not listen
(ýòî
ïîòîìó
, ÷òî
âû
íå
ñëóøàëè
).”
evidence
['evId(q)ns] observe
[qb'zq:v] listen
['lIs(q)n]
“That is all very fine,” said M. Bouc. “But what have you to go upon?”
“I told you just now. We have the evidence of the passengers and the evidence
of our own eyes.”
“Pretty evidence — that of the passengers! It told us just nothing at all.”
Poirot shook his head.
“I do not agree, my friend. The evidence of the passengers gave us several
points of interest.”
“Indeed,” said M. Bouc sceptically. “I did not observe it.”
“That is because you did not listen.”
“
Well,
tell
me,
what
did
I
miss
(÷òî æ, ðàññêàæèòå ìíå, ÷òî æå ÿ íå óñëûøàë;
to
miss — ïðîìàõíóòüñÿ, ïðîìàçàòü; íå óñëûøàòü,
ïðîñëóøàòü, ïðîïóñòèòü ìèìî óøåé)
?”
“
I
will
just
take
one
instance
(ÿ ïðèâåäó ëèøü îäèí ïðèìåð)
— the
first
evidence
we
heard
, that
of
the
young
MacQueen
(ïåðâûå ïîêàçàíèÿ, êîòîðûå ìû âûñëóøàëè, /ïîêàçàíèÿ/
ìîëîäîãî Ìàêêóèíà). He
uttered
, to
my
mind
, one
very
significant
phrase
(îí ïðîèçíåñ, ïî-ìîåìó, îäíó î÷åíü âàæíóþ ôðàçó;
significant — çíàìåíàòåëüíûé, âàæíûé
).”
“About the letters
(î
ïèñüìàõ
)?”
“No, not about the letters. As
far
as
I
can
remember
, his
words
were
(íàñêîëüêî ÿ ïîìíþ, îí ñêàçàë òàê: «åãî ñëîâàìè
áûëî»): ‘We
travelled
about
(ìû ìíîãî ïóòåøåñòâîâàëè;
about — çä. óêàçûâàåò íà äâèæåíèå â ðàçíûõ
íàïðàâëåíèÿõ ïî êàêîé-ëèáî îãðàíè÷åííîé òåððèòîðèè /êîìíàòå, ãîðîäó, ñòðàíå è ò.ï./
).
Mr. Ratchett wanted to see the world (
ìèñòåð
Ðýò÷åòò
õîòåë
ïîñìîòðåòü
ìèð)
. He was hampered by knowing no languages (
åìó
ìåøàëî
íåçíàíèå
ÿçûêîâ: «
çíàíèå
íèêàêèõ
ÿçûêîâ»;
to hamper — ìåøàòü
, ïðåïÿòñòâîâàòü
, çàòðóäíÿòü
, ñòåñíÿòü
äâèæåíèå
). I
acted
more
as
a
courier
than
a
secretary
(ÿ áûë áîëüøå ãèäîì-ïåðåâîä÷èêîì, ÷åì ñåêðåòàðåì;
to
act /
as/ — äåéñòâîâàòü, ïîñòóïàòü; ðàáîòàòü, ñëóæèòü,
äåéñòâîâàòü â êà÷åñòâå; courier
— êóðüåð, ïîñûëüíûé; àãåíò, îáñëóæèâàþùèé ïóòåøåñòâåííèêîâ
).’
”
utter
['Atq] significant
[sIg'nIfIkqnt] phrase
[freIz] courier
['kVrIq]
“Well, tell me, what did I miss?”
“I will just take one instance — the first evidence we heard, that of the
young MacQueen. He uttered, to my mind, one very significant phrase.”
“About the letters?”
“No, not about the letters. As far as I can remember, his words were: ‘We
travelled about. Mr. Ratchett wanted to see the world. He was hampered by knowing no languages. I acted more as a courier than a secretary.’ ”
He looked from the doctor’s face to that of M. Bouc
(îí
ïåðåâåë
âçãëÿä
ñ
/ëèöà
/ äîêòîðà
íà
/ëèöî
/ ìñüå
Áóêà
).
“
What
(êàê; what
— ÷òî?! íó è …! âûðàæàåò óäèâëåíèå, ðàçî÷àðîâàíèå, ãíåâ è ò.ï. è ÷àñòî ïðåäøåñòâóåò âîïðîñó
)?
You
still
do
not
see
(âû âñå åùå íå ïîíÿëè;
to
see — âèäåòü; ïîíèìàòü, ñîçíàâàòü
)?
That
is
inexcusable
(ýòî íåïðîñòèòåëüíî;
to
excuse — èçâèíÿòü, ïðîùàòü
) —
for
you
had
a
second
chance
again
just
now
when
he
said
(òàê êàê ó âàñ áûë âòîðîé øàíñ, ñíîâà, òîëüêî ÷òî, êîãäà îí ñêàçàë)
, ‘You
’re
likely
to
be
out
of
luck
if
you
don
’t
speak
anything
but
good
American
(òåáå, ñêîðåå âñåãî, íå áóäåò âåçòè, åñëè òû íå
ãîâîðèøü íè íà /êàêîì ÿçûêå/, êðîìå /àíãëèéñêîãî/ ñ ñèëüíûì àìåðèêàíñêèì /àêöåíòîì/)
.’ ”
“
You
mean
(âû èìååòå â âèäó) — ?”
M.
Bouc
still
looked
puzzled
(ìñüå Áóê âñå åùå âûãëÿäåë îçàäà÷åííûì)
.
“Ah
, it
is
that
you
want
it
given
to
you
in
words
of
one
syllable
(à, çíà÷èò, âû õîòèòå, ÷òîáû ýòî ðàññêàçàëè =
îáúÿñíèëè âàì â îäíîñëîæíûõ ñëîâàõ = ïðîñòî
è ïîíÿòíî; syllable
— ñëîã; in
words
of
one
syllable
— âûðàæåííûé ïðîñòî, ÿñíî, íåäâóñìûñëåííûõ
).
Well,
here
it
is
(÷òî æ, âîò îíî)!
M.
Ratchett
spoke
no
French
(ìèñòåð Ðýò÷åòò íå ãîâîðèë ïî-ôðàíöóçñêè)
. Yet
, when
the
conductor
came
(è âñå æå, êîãäà ïðèøåë ïðîâîäíèê)
in
answer
to
his
bell
last
night
(â îòâåò íà åãî çâîíîê ïðîøëîé íî÷üþ;
answer — îòâåò, âîçðàæåíèå; îòâåòíîå äåéñòâèå
),
it
was
a
voice
speaking
in
French
that
told
him
that
it
was
a
mistake
(òî èìåííî: «ýòî áûë» ãîëîñ, ãîâîðÿùèé ïî-ôðàíöóçñêè, ñêàçàë åìó, ÷òî ýòî îøèáêà)
and
that
he
was
not
wanted
(è ÷òî îí =
åãî ïîìîùü íå òðåáóåòñÿ)
. It
was
, moreover
, a
perfectly
idiomatic
phrase
that
was
used
(áîëåå òîãî, áûëî èñïîëüçîâàíî ñîâåðøåííî èäèîìàòè÷åñêîå/ðàçãîâîðíîå
âûðàæåíèå), not
one
that
a
man
knowing
only
a
few
words
of
French
would
have
selected
(à íå òàêîå, êîòîðîå âûáðàë áû ÷åëîâåê, çíàþùèé
âñåãî íåñêîëüêî ñëîâ ïî-ôðàíöóçñêè).
‘Ce n’est rien
. Je me suis trompé
.’ ”
inexcusable
["InIk'skju:zqb(q)l] syllable
['sIlqb(q)l] idiomatic
["IdIq'mxtIk]
He looked from the doctor’s face to that of M. Bouc.
“What? You still do not see? That is inexcusable — for you had a second
chance again just now when he said, ‘You’re likely to be out of luck if you don’t speak anything but good American.’ ”
“You mean — ?” M. Bouc still looked puzzled.
“Ah, it is that you want it given to you in words of one syllable. Well,
here it is! M. Ratchett spoke no French. Yet, when the conductor came in answer to his bell last night, it was a voice speaking in French that told him that it was a mistake and that he was not wanted. It was, moreover, a
perfectly idiomatic phrase that was used, not one that a man knowing only a few words of French would have selected. ‘
Ce n’est rien. Je me suis trompé.’ ”
“It is true
(âåðíî
),” cried Constantine excitedly
(âçâîëíîâàííî
âîñêëèêíóë
Êîíñòàíòèí
; to cry —
êðè÷àòü;
âîñêëèöàòü; to excite —
âîçáóæäàòü,
âîëíîâàòü)
. “
We
should
have
seen
that
(ìû äîëæíû áûëè îáðàòèòü íà ýòî âíèìàíèå: «ýòî óâèäåòü»)
! I
remember
your
laying
stress
on
the
words
(ÿ ïîìíþ, ÷òî âû îñîáî ïîä÷åðêíóëè ýòè ñëîâà;
to
lay
stress (
up)
on
smth. — ïîä÷åðêèâàòü, ïðèäàâàòü îñîáîå çíà÷åíèå;
to
lay — êëàñòü, ïîëîæèòü; ïðèäàâàòü /çíà÷åíèå
è ò.ï./; stress — äàâëåíèå, íàæèì; çíà÷åíèå
)
when
you
repeated
them
to
us
(êîãäà âû ïîâòîðÿëè èõ äëÿ íàñ)
. Now
I
understand
your
reluctance
to
rely
upon
the
evidence
of
the
dented
watch
(òåïåðü ÿ ïîíèìàþ âàøå íåæåëàíèå ïîëàãàòüñÿ íà
ïîêàçàíèÿ ïîìÿòûõ ÷àñîâ; to
dent
— âäàâëèâàòü, âìèíàòü
).
Already, at twenty-three minutes to one (
âåäü
áåç
äâàäöàòè
òðåõ
ìèíóò
÷àñ)
, Ratchett was dead (
Ðýò÷åòò
óæå
áûë
ìåðòâ)
— ”
“And it was his murderer speaking
(è
ãîâîðèë
åãî
óáèéöà
)!” finished M. Bouc impressively
(âûðàçèòåëüíî
çàêîí÷èë
/ôðàçó
/ ìñüå
Áóê
; to impress —
ïðîèçâîäèòü
âïå÷àòëåíèå,
ïîðàæàòü)
.
Poirot raised a deprecating hand
(Ïóàðî
ïðîòåñòóþùåå
ïîäíÿë
ðóêó
; to raise —
ïîäíèìàòü; to deprecate —
ýíåðãè÷íî
âîçðàæàòü,
ïðîòåñòîâàòü)
.
excitedly
[Ik'saItIdlI] repeated
[rI'pi:tId] reluctance
[rI'lAktqns] deprecating
['deprIkeItIN]
“It is true,” cried Constantine excitedly. “We should have seen that!
I remember your laying stress on the words when you repeated them to us. Now I understand your reluctance to rely upon the evidence of the dented watch. Already, at twenty-three minutes to one, Ratchett was dead — ”
“And it was his murderer speaking!” finished M. Bouc impressively.
Poirot raised a deprecating hand.
“
Let
us
not
go
too
fast
(äàâàéòå íå áóäåì òîðîïèòüñÿ: «èäòè ñëèøêîì áûñòðî»)
. And
do
not
let
us
assume
more
(è äàâàéòå íå áóäåì ïðåäïîëàãàòü áîëüøåãî;
to
assume — ïðèíèìàòü, áðàòü /íà ñåáÿ/; ïðåäïîëàãàòü,
äîïóñêàòü)
than
we
actually
know
(÷åì ìû íà ñàìîì äåëå çíàåì)
. It
is
safe
, I
think
, to
say
(ìíå êàæåòñÿ, âåðíåå /âñåãî/ ñêàçàòü;
safe — áåçîïàñíûé; íåñîìíåííûé, âåðíûé
)
that
at
that
time —
twenty-
three
minutes
to
one —
some
other
person
was
in
Ratchett’
s
compartment
(÷òî â òî âðåìÿ — áåç äâàäöàòè òðåõ ìèíóò ÷àñ — íåêèé äðóãîé ÷åëîâåê íàõîäèëñÿ â êóïå
Ðýò÷åòòà), and
that
that
person
either
was
French
or
could
speak
the
French
language
fluently
(è ÷òî ýòîò ÷åëîâåê ëèáî áûë ôðàíöóçîì, èëè ìîã
áåãëî ãîâîðèòü íà ôðàíöóçñêîì ÿçûêå).”
“
You
are
very
cautious,
mon
vieux
(âû î÷åíü îñòîðîæíû, ñòàðèíà;
caution — îñòîðîæíîñòü, îñìîòðèòåëüíîñòü
) — ”
“
One
should
advance
only
a
step
at
a
time
(íå íóæíî ñïåøèòü: «íóæíî /äåëàòü/ òîëüêî îäèí øàã âïåðåä çà îäèí ðàç»;
to
advance — ïðîäâèãàòüñÿ
).
We
have
no
actual
evidence
(ó íàñ íåò íèêàêèõ ôàêòè÷åñêèõ äîêàçàòåëüñòâ)
that
Ratchett
was
dead
at
that
time
(÷òî Ðýò÷åòò áûë ìåðòâ â ýòî âðåìÿ)
.”
assume
[q'sju:m] language
['lxNgwIdZ] fluent
['flu:qnt] cautious
['kO:Sqs]
“Let us not go too fast. And do not let us assume more than we actually know.
It is safe, I think, to say that at that time — twenty-three minutes to one — some other person was in Ratchett’s compartment, and that that person either was French or could speak the French language fluently.”
“You are very cautious,
mon vieux — ”
“One should advance only a step at a time. We have no actual evidence that
Ratchett was dead at that time.”
“
There
is
the
cry
that
awakened
you
(à êàê æå êðèê: «åñòü êðèê», êîòîðûé ðàçáóäèë âàñ)
.”
“Yes, that is true
(äà
, âåðíî
).”
“In one way (
ñ
îäíîé
ñòîðîíû)
,” said M. Bouc thoughtfully (
ñêàçàë
ìñüå
Áóê
çàäóì÷èâî)
, “this discovery does not affect things very much
(ýòî
îòêðûòèå
íå
î÷åíü
ñèëüíî
âëèÿåò
íà
ïîëîæåíèå
âåùåé
; thing(s) —
âåùü,
ïðåäìåò;
îáñòîÿòåëüñòâà,
îáñòàíîâêà)
. You
heard
someone
moving
about
next
door
(âû ñëûøàëè, êàê êòî-òî õîäèò /â êóïå/ ïî ñîñåäñòâó
; to
move
— äâèãàòü(ñÿ), ïåðåäâèãàòü(ñÿ)
).
That
someone
was
not
Ratchett,
but
the
other
man
(ýòîò êòî-òî áûë íå Ðýò÷åòò, à äðóãîé ÷åëîâåê)
. Doubtless
, he
is
washing
blood
from
his
hands
(íåñîìíåííî, /â ýòîò ìîìåíò/ îí ñìûâàåò êðîâü ñî
ñâîèõ ðóê), clearing
up
after
the
crime
(ïðèâîäèò âñå â ïîðÿäîê ïîñëå ïðåñòóïëåíèÿ;
to
clear
up — ïðèâåñòè â ïîðÿäîê
),
burning
the
incriminating
letter
(ñæèãàåò êîìïðîìåòèðóþùåå ïèñüìî)
. Then
he
waits
till
all
is
still
(çàòåì îí æäåò, ïîêà âñå ñòèõíåò;
still — íåïîäâèæíûé, ñïîêîéíûé; òèõèé, áåñøóìíûé
),
and,
when
he
thinks
it
is
safe
(è êîãäà îí äóìàåò, ÷òî áåçîïàñíî)
and
the
coast
is
clear
(è ïóòü ñâîáîäåí;
the
coast
is
clear — ïóòü ñâîáîäåí, ïðåïÿòñòâèé íåò;
coast — ìîðñêîé áåðåã, ïîáåðåæüå;
clear — ÿñíûé, ñâåòëûé; ñâîáîäíûé, áåñïðåïÿòñòâåííûé
),
he
locks
and
chains
Ratchett’
s
door
on
the
inside
(îí çàïèðàåò èçíóòðè äâåðü êóïå Ðýò÷åòòà íà çàìîê è öåïî÷êó;
lock — çàìîê, çàïîð;
to
lock — çàïèðàòü íà çàìîê;
chain — öåïü, öåïî÷êà;
to
chain — ñêðåïëÿòü öåïüþ; çàêðûòü íà öåïî÷êó
/äâåðü/),
unlocks
the
communicating
door
through
into
Mrs.
Hubbard’
s
compartment
(îòïèðàåò ñìåæíóþ äâåðü /âåäóùóþ/ â êóïå ìèññèñ Õàááàðä)
and
slips
out
that
way
(è óñêîëüçàåò ýòèì ïóòåì;
to
slip — ñêîëüçèòü; óñêîëüçàòü, óäèðàòü)
. In
fact
, it
is
exactly
as
we
thought
(íà ñàìîì äåëå, ìû òî÷íî òàê è äóìàëè)
, with
the
difference
that
Ratchett
was
killed
about
half
an
hour
earlier
(ñ òîé ëèøü ðàçíèöåé, ÷òî Ðýò÷åòò áûë óáèò ãäå-òî
íà ïîë÷àñà ðàíüøå) and
the
watch
put
on
to
a
quarter
past
one
(÷òî /ñòðåëêè/ ÷àñîâ áûëè ïåðåäâèíóòû âïåðåä íà
÷åòâåðòü âòîðîãî, ÷òîáû ñîçäàòü = îáåñïå÷èòü
àëèáè; to
put
on
— íàäåâàòü; ïåðåäâèãàòü âïåðåä /ñòðåëêè ÷àñîâ/
)
to
create
an
alibi.”
awaken
[q'weIkqn] discovery
[dIs'kAv(q)rI] blood
[blAd] coast
[kqVst] alibi
['xlIbaI]
“There is the cry that awakened you.”
“Yes, that is true.”
“In one way,” said M. Bouc thoughtfully, “this discovery does not affect
things very much. You heard someone moving about next door. That someone was not Ratchett, but the other man. Doubtless he is washing blood from his hands, clearing up after the crime, burning the incriminating letter. Then
he waits till all is still, and, when he thinks it is safe and the coast is clear, he locks and chains Ratchett’s door on the inside, unlocks the communicating door through into Mrs. Hubbard’s compartment and slips out
that way. In fact, it is exactly as we thought, with the difference that Ratchett was killed about half an hour earlier and the watch put on to a quarter past one to create an alibi.”
“
Not
such
a
famous
alibi
(íå òàêîå óæ õîðîøåå àëèáè;
famous — çíàìåíèòûé, ïðîñëàâëåííûé; ðàçã. îòëè÷íûé,
ïðåâîñõîäíûé)
,” said
Poirot
. “The
hands
of
the
watch
pointed
to
1.15 (ñòðåëêè ÷àñîâ óêàçûâàþò íà 1.15;
hand — ðóêà, êèñòü ðóêè; ñòðåëêà /÷àñîâ, áàðîìåòðà
è ò.ï./) —
the
exact
time
when
the
intruder
actually
left
the
scene
of
the
crime
(/òî åñòü/ òî÷íîå âðåìÿ, êîãäà çëîóìûøëåííèê ôàêòè÷åñêè ïîêèíóë ìåñòî ïðåñòóïëåíèÿ;
to
intrude — âòîðãàòüñÿ; ïðîíèêàòü êóäà-ëèáî /îñîá.
ñ öåëüþ âîðîâñòâà/, ÿâëÿòüñÿ áåç ïðèãëàøåíèÿ; intruder
— íàâÿç÷èâûé ÷åëîâåê, íåçâàíûé ãîñòü
).”
“True (
âåðíî)
,” said M. Bouc, a little confused (
ñëåãêà
ñìóùåííûé)
. “
What
then
does
the
watch
convey
to
you
(î ÷åì æå òîãäà ÷àñû ãîâîðÿò âàì;
to
convey — ïåðåâîçèòü, òðàíñïîðòèðîâàòü; âûðàæàòü
)?”
“
If
the
hands
were
altered
(åñëè ñòðåëêè áûëè ïåðåäâèíóòû;
to
alter — èçìåíÿòü, ïåðåäåëûâàòü, ìåíÿòü
) —
I
say
if
(ÿ ïîä÷åðêèâàþ: «ãîâîðþ» åñëè)
— then
the
time
at
which
they
were
set
must
have
a
significance
(òîãäà òî ñàìîå âðåìÿ, íà êîòîðîå îíè áûëè óñòàíîâëåíû,
äîëæíî èìåòü ñâîå çíà÷åíèå).
The
natural
reaction
would
be
to
suspect
anyone
(åñòåñòâåííîé ðåàêöèåé áûëî áû ïîäîçðåâàòü êàæäîãî)
who
had
a
reliable
alibi
for
the
time
indicated
(ó êîãî åñòü íàäåæíîå àëèáè íà óêàçàííîå âðåìÿ;
to
indicate — óêàçûâàòü, ïîêàçûâàòü
) —
in
this
case, 1.15
(â ýòîì ñëó÷àå, íà 1.15).”
“Yes, yes,” said the doctor. “
That
reasoning
is
good
(ýòî õîðîøåå ðàññóæäåíèå;
reason — ïðè÷èíà, îñíîâàíèå;
to
reason — ðàçìûøëÿòü, ðàññóæäàòü /ëîãè÷åñêè/;
reasoning — ðàññóæäåíèå, ëîãè÷åñêèé õîä
ìûñëè).”
famous
['feImqs] intruder
[In'tru:dq] scene
[si:n] convey
[kqn'veI] significance
[sIg'nIfIkqns]
“Not such a famous alibi,” said Poirot. “The hands of the watch pointed
to 1.15 — the exact time when the intruder actually left the scene of the crime.”
“True,” said M. Bouc, a little confused. “What then does the watch convey
to you?”
“If the hands were altered — I say if — then the time at which they were
set must have a significance. The natural reaction would be to suspect anyone who had a reliable alibi for the time indicated — in this case, 1.15.”
“Yes, yes,” said the doctor. “That reasoning is good.”
“We must also pay a little attention to the time the intruder entered the
compartment (ìû
òàêæå
äîëæíû
îáðàòèòü
/íåìíîãî
/ âíèìàíèå
íà
âðåìÿ
, â
êîòîðîå
çëîóìûøëåííèê
: «íåïðîøåííûé
ãîñòü
» âîøåë
â
êóïå
). When
had
he
an
opportunity
of
doing
so
(êîãäà ó íåãî áûëà âîçìîæíîñòü ñäåëàòü ýòî;
opportunity — óäîáíûé ñëó÷àé, áëàãîïðèÿòíàÿ
âîçìîæíîñòü)?
Unless
we
are
to
assume
the
complicity
of
the
real
conductor
(åñëè ìû òîëüêî íå ïðåäïîëîæèì ñîó÷àñòèå /â ïðåñòóïëåíèè/ íàñòîÿùåãî ïðîâîäíèêà)
, there
was
only
one
time
when
he
could
have
done
so
(áûëî òîëüêî îäíî âðåìÿ, êîãäà îí ìîã ïðîíèêíóòü
â êóïå: «ñäåëàòü ýòî») —
during
the
time
the
train
stopped
at
Vincovci
(â òî ñàìîå âðåìÿ, êîãäà ïîåçä ñòîÿë â Âèíêîâöàõ;
during — â ïðîäîëæåíèå, â òå÷åíèå
).
After
the
train
left
Vincovci
the
conductor
was
sitting
facing
the
corridor
(ïîñëå òîãî, êàê ïîåçä âûøåë èç Âèíêîâöîâ, ïðîâîäíèê ñèäåë ëèöîì ê êîðèäîðó;
to
face — íàõîäèòüñÿ ëèöîì ê, áûòü îáðàùåííûì
ê),
and
whereas
any
one
of
the
passengers
would
pay
little
attention
to
a
Wagon
Lit
attendant
(è, òîãäà êàê ëþáîé èç ïàññàæèðîâ íå îáðàòèò îñîáîãî âíèìàíèÿ: «îáðàòèò íåìíîãî âíèìàíèÿ»
íà ïðîâîäíèêà ñïàëüíîãî âàãîíà),
the
one
person
who
would
notice
an
impostor
(åäèíñòâåííûé, êòî îáðàòèò âíèìàíèå íà ñàìîçâàíöà;
impostor — ÷åëîâåê, âûäàþùèé ñåáÿ çà äðóãîå
ëèöî)
is
the
real
conductor
(ýòî íàñòîÿùèé ïðîâîäíèê)
. But
during
the
halt
at
Vincovci
the
conductor
is
out
on
the
platform
(íî âî âðåìÿ ñòîÿíêè â Âèíêîâöàõ ïðîâîäíèê âûõîäèò
íà ïåððîí/ïëàòôîðìó; to
be
out
— íå áûòü äîìà, íà ìåñòå, îòñóòñòâîâàòü
).
The coast is clear (
ïóòü
ñâîáîäåí)
.”
complicity
[kqm'plIsItI] whereas
[we(q)'rxz] impostor
[Im'pO
stq]
“We must also pay a little attention to the time the intruder entered the
compartment. When had he an opportunity of doing so? Unless we are to assume the complicity of the real conductor, there was only one time when he could have done so — during the time the train stopped at Vincovci. After
the train left Vincovci the conductor was sitting facing the corridor, and whereas any one of the passengers would pay little attention to a Wagon Lit attendant, the one person who would notice an impostor is the real conductor.
But during the halt at Vincovci the conductor is out on the platform. The coast is clear.”
“And by our former reasoning (
à
èñõîäÿ
èç
íàøèõ
ïðåäûäóùèõ
ðàçìûøëåíèé;
by — çä
. óêàçûâàåò
íà
ñîîòâåòñòâèå
÷åìó
-ëèáî
; former — ïðåæíèé
, áûâøèé
; ïðåäøåñòâóþùèé
), it must be one of the passengers
(ýòî
äîëæåí
áûòü
îäèí
èç
ïàññàæèðîâ
),” said M. Bouc.
“We
come
back
to
where
we
were
(ìû âîçâðàùàåìñÿ íà òî æå ñàìîå ìåñòî: «ãäå ìû
áûëè»). Which
of
them
(êòî æå èç íèõ)
?”
Poirot
smiled
(Ïóàðî óëûáíóëñÿ).
“I have made a list
(ÿ
ñîñòàâèë
ñïèñîê
),” he said. “If you like to see it
(åñëè
õîòèòå
, âçãëÿíèòå
íà
íåãî
), it will perhaps refresh your memory
(âîçìîæíî
, îí
îñâåæèò
âàøó
ïàìÿòü
; to refresh —
îñâåæàòü,
ïîäêðåïëÿòü;
ïîâòîðÿòü,
îñâåæàòü
â
ïàìÿòè)
.”
The doctor and M. Bouc pored over the list together
(äîêòîð
è
ìñüå
Áóê
âìåñòå
ñîñðåäîòî÷åííî
èçó÷àëè
ñïèñîê
; to pore /over/ —
îáäóìûâàòü,
ñîñðåäîòî÷åííî
èçó÷àòü,
ïîãðóçèòüñÿ /
âî
÷òî-
ëèáî/
). It was written out neatly
(ñïèñîê
áûë
íàïèñàí
àêêóðàòíûì
/ïî÷åðêîì
/; to write out —
âûïèñûâàòü /
èç
òåêñòà/;
èçëàãàòü
íà
áóìàãå,
îôîðìëÿòü
ïèñüìåííî)
in a methodical manner (
è
ñèñòåìàòèçèðîâàí: «
â
ñèñòåìàòè÷åñêîì/
ìåòîäè÷íîì
âèäå»;
manner — ìåòîä
, ñïîñîá
, îáðàç
äåéñòâèÿ
) in the order in which the passengers had been interviewed
(â
òîì
ïîðÿäêå
, â
êîòîðîì
ïàññàæèðû
áûëè
äîïðîøåíû
; to interview —
èíòåðâüþèðîâàòü;
ïðîâîäèòü
áåñåäó,
îïðîñ)
.
perhaps
[pq'hxps] methodical
[mI'TO
dIk(q)l] manner
['mxnq]
“And by our former reasoning, it must be one of the passengers,” said M.
Bouc. “We come back to where we were. Which of them?”
Poirot smiled.
“I have made a list,” he said. “If you like to see it, it will perhaps
refresh your memory.”
The doctor and M. Bouc pored over the list together. It was written out neatly
in a methodical manner in the order in which the passengers had been interviewed.
HECTOR MACQUEEN, American subject
(àìåðèêàíñêèé
ïîääàííûé
), Berth No. 6
(ñïàëüíîå
ìåñòî
¹ 6), Second Class
(âòîðîãî
êëàññà
).
Motive
(ìîòèâ
) — Possibly arising out of association with dead man
(âîçìîæíî
, îáóñëàâëèâàåòñÿ
: «âîçíèêàåò
» ñâÿçüþ
ñ
óáèòûì
; to arise /out of/ —
âîçíèêàòü,
ïîÿâëÿòüñÿ;
ïðîèñòåêàòü,
ÿâëÿòüñÿ
ðåçóëüòàòîì, association —
îáùåñòâî,
àññîöèàöèÿ;
îáùåíèå,
áëèçîñòü;
ñâÿçü)
?
Alibi (
àëèáè)
— From midnight to 2 A.M. (
ñ
ïîëóíî÷è
äî 2
÷àñîâ
íî÷è;
a.m. — ante meridiem — äî
ïîëóäíÿ
; ðàçã
. óòðî
)
(Midnight to 1.30 vouched for by Col. Arbuthnot (
ñ
ïîëóíî÷è
äî 1.30
ïîäòâåðæäàåòñÿ
ïîëêîâíèêîì
Àðáýòíîòîì;
to vouch /for/ — ðó÷àòüñÿ
, ïîðó÷èòüñÿ
; ïîäòâåðæäàòü
/îñîá
. äîêóìåíòàìè
/)
, and 1. 15
to 2
vouched
for
by
conductor
(è ñ 1.15 äî 2 ïîäòâåðæäàåòñÿ ïðîâîäíèêîì)
.)
Evidence
against
him
(óëèêè ïðîòèâ íåãî) —
None
(íèêàêèõ).
Suspicious
circumstances
(ïîäîçðèòåëüíûå îáñòîÿòåëüñòâà)
— None
.
subject ['sAbdZIkt]
association [q"sqVsI'eIS(q)n, q"sqVSI'eIS(q)n]
vouch [
vaVtS]
suspicious [
sq'
spISqs]
circumstance ['
sq
:kqmstxns
, 's
q:
kqmstqns]
HECTOR MACQUEEN, American subject, Berth No. 6, Second Class.
Motive — Possibly arising out of association with dead man?
Alibi — From midnight to 2 A.M.
(Midnight to 1.30 vouched for by Col. Arbuthnot, and 1. 15 to 2 vouched for by conductor.)
Evidence against him — None.
Suspicious circumstances — None.
CONDUCTOR PIERRE MICHEL, French subject
(ïðîâîäíèê
Ïüåð
Ìèøåëü
, ôðàíöóçñêèé
ïîääàííûé
).
Motive — None.
Alibi — From midnight to 2 A.M.
(ñ
ïîëóíî÷è
äî
2 íî÷è
)
(Seen by H. P. in corridor (óâèäåí
Ý
.Ï
. â
êîðèäîðå
) at same time as voice spoke from Ratchett’s compartment at 12.37
(â
òîæå
ñàìîå
âðåìÿ
, êîãäà
ðàçäàëñÿ
ãîëîñ
: «ãîëîñ
ãîâîðèë
» èç
êóïå
Ðýò÷åòòà
â
12.37). From 1 A.M. to 1.16 vouched for by other two conductors
(ñ
1 íî÷è
äî
1.16 ïîäòâåðæäàåòñÿ
äâóìÿ
äðóãèìè
ïðîâîäíèêàìè
).)
Evidence against him
(óëèêè
ïðîòèâ
íåãî
) — None
(îòñóòñòâóþò
).
Suspicious
circumstances
(ïîäîçðèòåëüíûå îáñòîÿòåëüñòâà)
— The
Wagon
Lit
uniform
found
(íàéäåííàÿ óíèôîðìà /ïðîâîäíèêà/ ñïàëüíûõ âàãîíîâ)
is
a
point
in
his
favor
(äåòàëü â åãî ïîëüçó;
favour — áëàãîñêëîííîñòü, ðàñïîëîæåíèå;
in
favour
of — â çàùèòó /êîãî-ëèáî/; â ïîëüçó /êîãî-ëèáî/
)
since
it
seems
to
have
been
intended
to
throw
suspicion
on
him
(òàê êàê, êàæåòñÿ, ÷òî îíà ïðåäíàçíà÷àëàñü /äëÿ òîãî, ÷òîáû/ áðîñèòü ïîäîçðåíèÿ íà íåãî;
to
intend — íàìåðåâàòüñÿ, õîòåòü, ñîáèðàòüñÿ;
ïðåäíàçíà÷àòüñÿ /äëÿ êîãî-ëèáî èëè äëÿ êàêîé-ëèáî öåëè/)
.
conductor
[kqn'dAktq] motive
['mqVtIv] alibi
['xlIbaI]
CONDUCTOR PIERRE MICHEL, French subject.
Motive — None.
Alibi — From midnight to 2 A.M.
(Seen by H. P. in corridor at same time as voice spoke from Ratchett’s compartment at 12.37. From 1 A.M. to 1.16 vouched for by other two conductors.)
Evidence against him — None.
Suspicious circumstances — The Wagon Lit uniform found is a point in his
favor since it seems to have been intended to throw suspicion on him.
EDWARD MASTERMAN, English subject
(àíãëèéñêèé
ïîääàííûé
), Berth No. 4, Second Class
(ñïàëüíîå
ìåñòî
¹ 4, âòîðîé
êëàññ
).
Motive — Possibly arising out of connection with deceased
(âîçìîæíî
, ïðîèñòåêàåò
èç
ñâÿçè
/îáùåíèÿ
ñ
ïîêîéíûì
; connection —
ñâÿçü,
ñîåäèíåíèå)
, whose valet he was (
÷üèì
ñëóãîé
îí
áûë)
.
Alibi — From midnight to 2 A.M. (
ñ
ïîëóíî÷è
äî 2
íî÷è)
(Vouched for by Antonio Foscarelli) (
ïîäòâåðæäàåòñÿ
Àíòîíèî
Ôîñêàðåëëè)
.
Evidence
against
him
or
suspicious
circumstances
(óëèêè ïðîòèâ íåãî èëè ïîäîçðèòåëüíûå îáñòîÿòåëüñòâà)
— None
, except
that
he
is
the
only
man
of
the
right
height
or
size
(íèêàêèõ, çà èñêëþ÷åíèåì òîãî, ÷òî îí åäèíñòâåííûé
ìóæ÷èíà ïîäõîäÿùåãî ðîñòà è ðàçìåðà;
height — âûñîòà, âûøèíà; ðîñò;
size — ðàçìåð, âåëè÷èíà, îáúåì; íîìåð, ðàçìåð
/ïðåäìåòîâ îäåæäû/)
to
have
worn
the
Wagon
Lit
uniform
(äëÿ óíèôîðìû: «÷òîáû íàäåòü óíèôîðìó» ïðîâîäíèêà
ñïàëüíûõ âàãîíîâ). On the other hand
(ñ
äðóãîé
ñòîðîíû
), it is unlikely that he speaks French well
(ìàëîâåðîÿòíî
, ÷òî
îí
õîðîøî
ãîâîðèò
ïî
-ôðàíöóçñêè
).
berth
[bq
:T] deceased
[dI'si:st] height
[haIt]
EDWARD MASTERMAN, English subject, Berth No. 4, Second Class.
Motive — Possibly arising out of connection with deceased, whose valet he
was.
Alibi — From midnight to 2 A.M. (Vouched for by Antonio Foscarelli.)
Evidence against him or suspicious circumstances — None, except that he is
the only man of the right height or size to have worn the Wagon Lit uniform. On the other hand, it is unlikely that he speaks French well.
MRS. HUBBARD, American subject, Berth No. 3, First Class
(ìèññèñ
Õàááàðä
, àìåðèêàíñêàÿ
ïîääàííàÿ
, ñïàëüíîå
ìåñòî
¹3, ïåðâûé
êëàññ
).
Motive — None.
Alibi — From midnight to 2 A.M. — None.
Evidence against her or suspicious circumstances — Story of man in her compartment
is substantiated by the evidence of Hardman (
èñòîðèÿ
î
ìóæ÷èíå
â
åå
êóïå
ïîäêðåïëÿåòñÿ
ïîêàçàíèÿìè
Õàðäìàíà;
to substantiate — îáîñíîâûâàòü
/÷òî
-ëèáî
/, ïðèâîäèòü
äîñòàòî÷íûå
îñíîâàíèÿ
, ïîäêðåïëÿòü
äîêàçàòåëüñòâàìè
) and that of the woman Schmidt
(è
/ïîêàçàíèÿìè
/ ñëóæàíêè
Øìèäò
; woman —
æåíùèíà;
ðàáîòíèöà,
ñëóæàíêà)
.
midnight
['mIdnaIt] substantiate
[sqb'stxnSIeIt]
MRS. HUBBARD, American subject, Berth No. 3, First Class.
Motive — None.
Alibi — From midnight to 2 A.M. — None.
Evidence against her or suspicious circumstances — Story of man in her compartment
is substantiated by the evidence of Hardman and that of the woman Schmidt.
GRETA OHLSSON, Swedish subject, Berth No. 10, Second Class
(Ãðåòà
Îëüñåí
, øâåäñêàÿ
ïîääàííàÿ
, ïîëêà
¹ 10, âòîðîé
êëàññ
).
Motive — None.
Alibi — From midnight to 2 A.M. (Vouched for by Mary Debenham
) (ñ
ïîëóíî÷è
äî
2 óòðà
— ïîäòâåðæäàåòñÿ
Ìýðè
Äåáåíõýì
).
Note
(ïðèìå÷àíèå):
Was
last
to
see
Ratchett
alive
(áûëà ïîñëåäíåé, êòî âèäåë Ðýò÷åòòà æèâûì)
.
Swedish
['swi:dIS]
alive [q'laIv]
GRETA OHLSSON, Swedish subject, Berth No. 10, Second Class.
Motive — None.
Alibi — From midnight to 2 A.M. (Vouched for by Mary Debenham.)
Note: Was last to see Ratchett alive.
PRINCESS DRAGOMIROFF, Naturalised French subject
(êíÿãèíÿ
Äðàãîìèðîâà
, íàòóðàëèçîâàííàÿ
ôðàíöóçñêàÿ
ïîääàííàÿ
; to naturalize —
íàòóðàëèçîâàòü,
ïðèíÿòü
â
ãðàæäàíñòâî;
íàòóðàëèçîâàòüñÿ,
ïðèíÿòü
èíîñòðàííîå
ãðàæäàíñòâî)
, Berth No. 14, First Class (
ñïàëüíîå
ìåñòî ¹14,
ïåðâûé
êëàññ)
.
Motive — Was intimately acquainted with Armstrong family
(áûëà
áëèçêî
çíàêîìà
ñ
ñåìüåé
Àðìñòðîíãîâ
; intimate —
ãëóáîêèé,
ñîêðîâåííûé;
áëèçêèé,
äðóæåñòâåííûé,
ïðèÿòåëüñêèé)
, and godmother to Sonia Armstrong (
è
êðåñòíîé
ìàòåðüþ
Ñîíè
Àðìñòðîíã)
.
Alibi — from midnight to 2 A.M. (Vouched for by conductor and maid
) (ñ
ïîëóíî÷è
äî
2 óòðà
— ïîäòâåðæäàåòñÿ
ïðîâîäíèêîì
è
ãîðíè÷íîé
).
Evidence against her or suspicious circumstances — None.
naturalized
['nxtS(q)rqlaIzd] intimate
['IntImIt] acquaint
[q'kweInt] godmother
['gO
d"mADq]
PRINCESS DRAGOMIROFF, Naturalised French subject, Berth No. 14, First Class.
Motive — Was intimately acquainted with Armstrong family, and godmother to
Sonia Armstrong.
Alibi — from midnight to 2 A.M. (Vouched for by conductor and maid.)
Evidence against her or suspicious circumstances — None.
COUNT ANDRENYI, Hungarian subject
(ãðàô
Àíäðåíè
, âåíãåðñêèé
ïîäàííûé
), Diplomatic passport
(äèïëîìàòè÷åñêèé
ïàñïîðò
), Berth No. 13, First Class
(ñïàëüíîå
ìåñòî
¹13, ïåðâûé
êëàññ
).
Motive — None.
Alibi — Midnight to 2 A.M. (Vouched for by conductor)
(ïîäòâåðæäàåòñÿ
ïðîâîäíèêîì
) — this does not cover period from 1 to 1.15
(íî
íå
îòíîñèòñÿ
ê
ïåðèîäó
ñ
1 íî÷è
äî
1.15).
count
[kaVnt] Hungarian
[hAN'ge(q)rIqn] diplomatic
["dIplq'mxtIk]
COUNT ANDRENYI, Hungarian subject, Diplomatic passport, Berth No. 13, First
Class.
Motive — None.
Alibi — Midnight to 2 A.M. (Vouched for by conductor — this does not cover
period from 1 to 1.15.)
COUNTESS
ANDRENYI,
As
above,
Berth 12
(ãðàôèíÿ Àíäðåíè, ñìîòðè âûøå, ñïàëüíîå ìåñòî 12)
.
Motive — None.
Alibi — Midnight to 2 A.M. Took trional and slept
(ïðèíÿëà
òðèîíàë
è
ñïàëà
). (Vouched for by husband
(ïîäòâåðæäàåòñÿ
ìóæåì
). Trional bottle in her cupboard
(áóòûëî÷êà
ñ
òðèîíàëîì
â
åå
øêàô÷èêå
).)
countess
['kaVntIs] bottle
[bO
tl] cupboard
['kApbqd]
COUNTESS ANDRENYI, As above, Berth 12.
Motive — None.
Alibi — Midnight to 2 A.M. Took trional and slept. (Vouched for by husband.
Trional bottle in her cupboard.)
COLONEL ARBUTHNOT, British subject, Berth No. 15, First Class
(ïîëêîâíèê
Àðáýòíîò
, áðèòàíñêèé
ïîääàííûé
, ñïàëüíîå
ìåñòî
¹15, ïåðâûé
êëàññ
).
Motive — None.
Alibi — Midnight to 2 A.M. Talked with MacQueen till 1.30
(ðàçãîâàðèâàë
ñ
Ìàêêóèíîì
äî
1.30). Went to own compartment and did not leave it
(îòïðàâèëñÿ
â
ñâîå
/ñîáñòâåííîå
/ êóïå
è
íå
ïîêèäàë
åãî
). (Substantiated by MacQueen and conductor
) (
ïîäòâåðæäàåòñÿ
Ìàêêóèíîì
è
ïðîâîäíèêîì)
.
Evidence
against
him
or
suspicious
circumstances
(óëèêè ïðîòèâ íåãî èëè ïîäîçðèòåëüíûå îáñòîÿòåëüñòâà)
— Pipe
-cleaner
(åðøèê äëÿ ÷èñòêè òðóáîê)
.
colonel
['kq:n(q)l] substantiate
[sqb'stxnSIeIt] pipe-cleaner
['paIp"kli:nq]
COLONEL ARBUTHNOT, British subject, Berth No. 15, First Class.
Motive — None.
Alibi — Midnight to 2 A.M. Talked with MacQueen till 1.30. Went to own compartment
and did not leave it. (Substantiated by MacQueen and conductor.)
Evidence against him or suspicious circumstances — Pipe-cleaner.
CYRUS HARDMAN, American subject, Berth No. 16
(Ñàéðåñ
Õàðäìàí
, àìåðèêàíñêèé
ïîääàííûé
, ïîëêà
¹16).
Motive —
None
known
(íåèçâåñòíû: «íèêàêèõ èçâåñòíûõ»)
.
Alibi — Midnight to 2 A.M. Did not leave compartment
(íå
ïîêèäàë
êóïå
).
(Substantiated
by
conductor
) (ïîäòâåðæäàåòñÿ ïîêàçàíèÿìè ïðîâîäíèêà)
except
for
period
1 to
1.15 (èñêëþ÷àÿ ïåðèîä ñ 1 äî 1.15)
.
Evidence against him or suspicious circumstances — None.
none
[nAn] except
[Ik'sept] period
['pI(q)rIqd]
CYRUS HARDMAN, American subject, Berth No. 16.
Motive — None known.
Alibi — Midnight to 2 A.M. Did not leave compartment. (Substantiated by conductor
except for period 1 to 1.15.)
Evidence against him or suspicious circumstances — None.
ANTONIO FOSCARELLI, American subject (Italian by birth)
(Àíòîíèî
Ôîñêàðåëëè
, àìåðèêàíñêèé
ïîäàííûé
/èòàëüÿíåö
ïî
ðîæäåíèþ
= ïî
ïðîèñõîæäåíèþ
/), Berth No. 5, Second Class
(ïîëêà
¹5, âòîðîé
êëàññ
).
Motive — None known
(íåèçâåñòíû
).
Alibi — Midnight to 2 A.M. (Vouched for by Edward Masterman
) (ïîäòâåðæäàåòñÿ
Ýäâàðäîì
Ìàñòåðìýíîì
).
Evidence
against
him
or
suspicious
circumstances
(óëèêè ïðîòèâ íåãî èëè ïîäîçðèòåëüíûå îáñòîÿòåëüñòâà)
— None
, except
that
weapon
used
might
be
said
to
suit
his
temperament
(íèêàêèõ, çà èñêëþ÷åíèåì òîãî, ÷òî ïðèìåíåííîå
îðóæèå, åñëè ìîæíî òàê âûðàçèòüñÿ: «ìîæåò áûòü ñêàçàíî, /÷òî/», ïîäõîäèò ê åãî òåìïåðàìåíòó;
to
suit — óäîâëåòâîðÿòü òðåáîâàíèÿì; ïîäõîäèòü
) (
Vide
M.
Bouc.)
(ñîãëàñíî ìñüå Áóêó;
vide — ëàò. ñìîòðè
)
birth
[bq:T] weapon
['wepqn] suit
[s(j)u:t] vide
['vaIdI]
ANTONIO FOSCARELLI, American subject (Italian by birth), Berth No. 5, Second
Class.
Motive — None known.
Alibi — Midnight to 2 A.M. (Vouched for by Edward Masterman.)
Evidence against him or suspicious circumstances — None, except that weapon
used might be said to suit his temperament (Vide M. Bouc.)
MARY DEBENHAM, British subject, Berth No. 11, Second Class
(Ìýðè
Äåáåíõýì
, áðèòàíñêàÿ
ïîääàííàÿ
, ïîëêà
¹11, âòîðîé
êëàññ
).
Motive — None
Alibi — Midnight to 2 A.M. (Vouched for by Greta Ohlsson)
(ïîäòâåðæäàåòñÿ
Ãðåòîé
Îëüñåí
).
Evidence
against
her
or
suspicious
circumstances
(óëèêè ïðîòèâ íåå èëè ïîäîçðèòåëüíûå îáñòîÿòåëüñòâà)
— conversation
overheard
by
H
. P
. (ðàçãîâîð, ïîäñëóøàííûé Ý.Ï.)
, and
her
refusal
to
explain
it
(è åå îòêàç îáúÿñíèòü åãî)
.
circumstance
['sq:kqmstxns, 'sq:kqmstqns] refusal
[rI'fju:z(q)l]
MARY DEBENHAM, British subject, Berth No. 11, Second Class.
Motive — None
Alibi — Midnight to 2 A.M. (Vouched for by Greta Ohlsson.)
Evidence against her or suspicious circumstances — conversation overheard
by H. P., and her refusal to explain it.
HILDEGARDE SCHMIDT, German subject, Berth No. 8, Second Class
(Õèëüäåãàðäà
Øìèäò
, íåìåöêàÿ
ïîäàííàÿ
, ïîëêà
¹8, âòîðîé
êëàññ
).
Motive — None.
Alibi — Midnight to 2 A.M. (Vouched for by conductor and her mistress)
(ïîäòâåðæäàåòñÿ
ïðîâîäíèêîì
è
åå
õîçÿéêîé
). Went to bed
(ëåãëà
ñïàòü
). Was aroused by conductor at 12.38 approx.
(áûëà
ðàçáóæåíà
ïðîâîäíèêîì
îê
.12.38; to arouse —
áóäèòü,
ïðîáóæäàòü; approx. = approximately —
ïðèáëèçèòåëüíî)
and went to mistress (
è
ïîøëà
ê
õîçÿéêå)
.
German
['dZq:mqn]
mistress ['mIstrIs]
approximately
[q'prO
ksImItlI]
HILDEGARDE SCHMIDT, German subject, Berth No. 8, Second Class.
Motive — None.
Alibi — Midnight to 2 A.M. (Vouched for by conductor and her mistress.) Went
to bed. Was aroused by conductor at 12.38 approx. and went to mistress.
NOTE
(ïðèìå÷àíèå
): — The evidence of the passengers is supported by the statement of the conductor
(ïîêàçàíèÿ
ïàññàæèðîâ
ïîäòâåðæäàþòñÿ
çàÿâëåíèåì
/óòâåðæäåíèåì
ïðîâîäíèêà
; to support —
ïîääåðæèâàòü,
ïîäïèðàòü;
ïîäòâåðæäàòü,
ñëóæèòü
äîêàçàòåëüñòâîì)
that no one entered or left Mr. Ratchett’s compartment from midnight to 1 o’clock
(÷òî
íèêòî
íå
âõîäèë
è
íå
âûõîäèë
èç
êóïå
ìèñòåðà
Ðýò÷åòòà
îò
ïîëóíî÷è
äî
1 ÷àñà
íî÷è
) (when he himself went into the next coach
(êîãäà
îí
ñàì
óøåë
â
ñîñåäíèé
âàãîí
)) and from 1.15 to 2 o’clock
(è
ñ
1.15 äî
2 ÷àñîâ
).
“That document, you understand
(ýòîò
äîêóìåíò
, êàê
âû
ïîíèìàåòå
),” said Poirot, “is a mere
précis of the evidence we heard
(ýòî
ïðîñòî
êðàòêîå
èçëîæåíèå
òåõ
/ñâèäåòåëüñêèõ
/ ïîêàçàíèé
, ÷òî
ìû
âûñëóøàëè
; précis —
ôð.
êðàòêîå
èçëîæåíèå,
êîíñïåêò)
, arranged in that way for convenience (
èçëîæåííîå
òàê
äëÿ
óäîáñòâà;
to arrange — ïðèâîäèòü
â
ïîðÿäîê
; ðàñïîëàãàòü
â
îïðåäåëåííîì
ïîðÿäêå
).”
With a grimace, M. Bouc handed it back (
ñ
ãðèìàñîé /
íà
ëèöå/,
ìñüå
Áóê
âåðíóë /
ñïèñîê/;
to hand — ïåðåäàâàòü
, âðó÷àòü
; to hand back — âîçâðàùàòü
, îòäàâàòü
â
ðóêè
/êîìó
-ëèáî
/)
. “
It
is
not
illuminating
(îí íå ïðîëèâàåò ñâåò /íà ýòî äåëî/;
to
illuminate — îñâåùàòü; ðàçúÿñíÿòü, èñòîëêîâûâàòü,
áðîñàòü ñâåò /íà ÷òî-ëèáî/)
,” he
said
.
“
Perhaps
you
may
find
this
more
to
your
taste
(âîçìîæíî ýòî âû ñî÷òåòå áîëåå ïî /ñâîåìó/ âêóñó)
,” said
Poirot
, with
a
slight
smile
(ñ ëåãêîé óëûáêîé)
as
he
handed
him
a
second
sheet
of
paper
(âðó÷àÿ åìó âòîðîé ëèñòîê áóìàãè;
sheet — ïðîñòûíÿ; ëèñò /áóìàãè, ìåòàëëà è ò.ï./
).
supported
[sq"pO:tId] précis
['preIsi:] arrange
[q'reIndZ]
NOTE: — The evidence of the passengers is supported by the statement of the
conductor that no one entered or left Mr. Ratchett’s compartment from midnight to 1 o’clock (when he himself went into the next coach) and from 1.15 to 2 o’clock.
“That document, you understand,” said Poirot, “is a mere précis
of the evidence we heard, arranged in that way for convenience.”
grimace
[grI'meIs, 'grImqs]
illuminating [I'l(j)u:mIneItIN]
slight
[slaIt]
With a grimace, M. Bouc handed it back. “It is not illuminating,” he said.
“Perhaps you may find this more to your taste,” said Poirot, with a slight
smile as he handed him a second sheet of paper.
2
TEN QUESTIONS
(
äåñÿòü
âîïðîñîâ
)
On the paper was written:
(íà /ëèñòêå/ áóìàãè áûëî íàïèñàíî)
THINGS
NEEDING
EXPLANATION
(
ïðåäìåòû è ÿâëåíèÿ, òðåáóþùèå
îáúÿñíåíèÿ)
1. The
handkerchief
marked
with
the
initial
H
(íîñîâîé ïëàòîê, ïîìå÷åííûé èíèöèàëîì Í;
mark — çíàê; ìåòêà;
to
mark — ñòàâèòü çíàê, ìåòêó
).
Whose is it (
÷åé
îí)
?
2. The pipe-cleaner
(åðøèê
äëÿ
÷èñòêè
òðóáîê
). Was it dropped by Colonel Arbuthnot
(áûë
ëè
îí
îáðîíåí
ïîëêîâíèêîì
Àðáýòíîòîì
; to drop —
êàïàòü,
ñòåêàòü
êàïëÿìè;
ðîíÿòü)
? Or by someone else (
èëè
êåì-
ëèáî
åùå)
?
3. Who wore the scarlet kimono
(êòî
áûë
îäåò
â
àëîå
êèìîíî
)?
4.
Who
was
the
man
or
woman
(êòî áûëè òîò ìóæ÷èíà èëè òà æåíùèíà)
masquerading
in
Wagon
Lit
uniform
(÷òî ïåðåîäåëèñü â óíèôîðìó /ïðîâîäíèêà/ ñïàëüíîãî
âàãîíà; to
masquerade — ïðèòâîðÿòüñÿ, âûäàâàòü ñåáÿ /çà
êîãî-ëèáî/)?
5. Why do the hands of the watch point to 1.15
(ïî÷åìó
ñòðåëêè
÷àñîâ
óêàçûâàþò
íà
1.15)?
6.
Was
the
murder
committed
at
that
time
(áûëî ëè óáèéñòâî ñîâåðøåíî â ýòî ñàìîå âðåìÿ)
?
7.
Was
it
earlier
(áûëî ëè îíî /ñîâåðøåíî/ ðàíüøå)
?
8.
Was
it
later
(áûëî ëè îíî /ñîâåðøåíî/ ïîçæå)
?
9.
Can
we
be
sure
(ìîæåì ëè ìû áûòü óâåðåíû)
that
Ratchett
was
stabbed
by
more
than
one
person
(÷òî Ðýò÷åòò áûë çàêîëîò áîëåå ÷åì îäíèì ÷åëîâåêîì)
?
10. What other explanation of his wounds can there be
(êàêèå
åùå
ìîãóò
áûòü
îáúÿñíåíèÿ
åãî
ðàí
)?
thing
[TIN] masquerade
["mxskq'reId] explanation
["eksplq'neIS(q)n]
wound
[wu:nd]
THINGS NEEDING EXPLANATION
1. The handkerchief marked with the initial H. Whose is it?
2. The pipe-cleaner. Was it dropped by Colonel Arbuthnot? Or by someone else?
3. Who wore the scarlet kimono?
4. Who was the man or woman masquerading in Wagon Lit uniform?
5. Why do the hands of the watch point to 1.15?
6. Was the murder committed at that time?
7. Was it earlier?
8. Was it later?
9. Can we be sure that Ratchett was stabbed by more than one person?
10. What other explanation of his wounds can there be?
“Well, let us see what we can do (
÷òî
æ,
äàâàéòå
ïîñìîòðèì,
÷òî
ìû
ìîæåì
ñäåëàòü)
,” said M. Bouc, brightening a little (
íåìíîãî
îáðàäîâàâøèñü;
to brighten — ïðîÿñíÿòüñÿ
; íàïîëíÿòü
ðàäîñòüþ
, ðàäîâàòü
) at this challenge to his wits
(ýòîìó
âûçîâó
åãî
óìñòâåííûì
ñïîñîáíîñòÿì
; challenge —
âûçîâ /
íà
ñîñòÿçàíèå,
ñîðåâíîâàíèå
è
ò.
ï./; wits —
óì,
ðàçóì)
. “
The
handkerchief,
to
begin
with
(íà÷íåì ñ íîñîâîãî ïëàòêà: «íîñîâîé ïëàòîê, âî-ïåðâûõ)
. Let
us
by
all
means
(äàâàéòå, âî ÷òî áû òî íè ñòàëî;
means — ñðåäñòâî, ñïîñîá
)
be
orderly
and
methodical
(áóäåì ïîñëåäîâàòåëüíûìè è ìåòîäè÷íûìè;
orderly — àêêóðàòíûé, îïðÿòíûé; îðãàíèçîâàííûé;
ïîñëåäîâàòåëüíûé; methodical
— ñèñòåìàòè÷åñêèé; ìåòîäè÷åñêèé
).”
“
Assuredly
(íåñîìíåííî),”
said
Poirot,
nodding
his
head
in
a
satisfied
fashion
(êèâàÿ ãîëîâîé ñ äîâîëüíûì âèäîì;
to
satisfy — óäîâëåòâîðÿòü; äîñòàâëÿòü óäîâîëüñòâèå;
satisfied — óäîâëåòâîðåííûé, äîâîëüíûé;
fashion — îáðàç, ìàíåðà, âèä
).
M.
Bouc
continued
somewhat
didactically
(ìñüå Áóê ïðîäîëæèë, íåìíîãî íðàâîó÷èòåëüíî;
didactic — äèäàêòè÷åñêèé; ïîó÷èòåëüíûé; íðàâîó÷èòåëüíûé
).
challenge
['tSxlIndZ] methodical
[mI'TO
dIk(q)l] didactically
[daI'dxktIkqlI]
“Well, let us see what we can do,” said M. Bouc, brightening a little at
this challenge to his wits. “The handkerchief, to begin with. Let us by all means be orderly and methodical.”
“Assuredly,” said Poirot, nodding his head in a satisfied fashion.
M. Bouc continued somewhat didactically.
“The initial H is connected with three people
(èíèöèàë
Í
ñâÿçàí
ñ
òðåìÿ
ëþäüìè
) — Mrs. Hubbard, Miss Debenham, whose second name is Hermione
(ìèññèñ
Õàááàðä
, ìèññ
Äåáåíõýì
, ó
êîòîðîé
âòîðîå
èìÿ
Õåðìèîíà
; whose —
÷åé,
÷üÿ,
÷üå,
÷üè)
, and the maid Hildegarde Schmidt (
è
ñëóæàíêîé
Õèëüäåãàðäîé
Øìèäò)
.”
“
Ah!
And
of
those
three
(à! è /ñ êåì æå/ èç ýòèõ òðåõ)
?”
“It is difficult to say (
òðóäíî
ñêàçàòü)
. But
I
think
I
should
vote
for
Miss
Debenham
(íî ÿ äóìàþ, ÿ áû âûáðàë ìèññ Äåáåíõýì;
to
vote /
for/ — ãîëîñîâàòü, áàëëîòèðîâàòü; ðàçã. ñòîÿòü
/çà ÷òî-ëèáî/, âûðàæàòü ìíåíèå)
. For
all
one
knows
(êòî åãî çíàåò;
for
all
I
know — ïîñêîëüêó ÿ íå èìåþ ïðîòèâîïîëîæíûõ
ñâåäåíèé; ìîæåò áûòü)
she
may
be
called
by
her
second
name
and
not
her
first
(åå, ìîæåò áûòü, çîâóò ïî åå âòîðîìó èìåíè, à íå
ïî ïåðâîìó). Also
there
is
already
some
suspicion
attaching
to
her
(ê òîìó æå, îíà óæå è òàê âûçûâàåò: «åé ïðèñóùå»
ó íàñ îïðåäåëåííûå ïîäîçðåíèÿ; to
attach
/to/ — ïðèêðåïëÿòü, ïðèñîåäèíÿòü; ïðèïèñûâàòü, ïðèäàâàòü; áûòü ñâîéñòâåííûì, ïðèñóùèì
).
That
conversation
you
overheard,
mon
cher
(òîò ðàçãîâîð, êîòîðûé âû ñëó÷àéíî óñëûøàëè, ìîé äðóã)
, was
certainly
a
little
curious
(áûë îïðåäåëåííî íåìíîãî ñòðàííûì;
curious — ñòðàííûé, êóðüåçíûé, ÷óäíîé
),
and
so
is
her
refusal
to
explain
it
(è òàê æå /ñòðàíåí/ åå îòêàç îáúÿñíèòü åãî)
.”
Hermione
[hq:'maIqnI] attach
[q'txtS] conversation
["kO
nvq'seIS(q)n]
“The initial H is connected with three people — Mrs. Hubbard, Miss Debenham,
whose second name is Hermione, and the maid Hildegarde Schmidt.”
“Ah! And of those three?”
“It is difficult to say. But I think I should vote for Miss Debenham. For
all one knows she may be called by her second name and not her first. Also there is already some suspicion attaching to her. That conversation you overheard, mon cher, was certainly a little curious, and so is her refusal
to explain it.”
“
As
for
me,
I
plump
for
the
American
(÷òî êàñàåòñÿ ìåíÿ, ÿ ãîëîñóþ çà àìåðèêàíêó;
to
plump /
for/ — øëåïàòü, øâûðÿòü; ãîëîñîâàòü òîëüêî
çà îäíîãî êàíäèäàòà /ïðè âîçìîæíîñòè îòäàòü ãîëîñ íåñêîëüêèì/, âûñòóïàòü «çà»
),”
said
Dr.
Constantine. “
It
is
a
very
expensive
handkerchief,
that
(ýòî î÷åíü äîðîãîé íîñîâîé ïëàòîê)
; and
Americans
, as
all
the
world
knows
(à àìåðèêàíöàì, êàê âñåìó ìèðó èçâåñòíî: «êàê âåñü
ìèð çíàåò»), do
not
care
what
they
pay
(âñå ðàâíî, ñêîëüêî ïëàòèòü: «ñêîëüêî îíè ïëàòÿò»;
to
care — çàáîòèòüñÿ /î êîì-ëèáî, ÷åì-ëèáî/; áåñïîêîèòüñÿ,
òðåâîæèòüñÿ, âîëíîâàòüñÿ)
.”
“
So
you
both
eliminate
the
maid
(çíà÷èò, âû îáà èñêëþ÷àåòå ñëóæàíêó)
?” asked
Poirot
(ñïðîñèë Ïóàðî)
.
“
Yes.
As
she
herself
said
(êàê îíà ñàìà ñêàçàëà),
it
is
the
handkerchief
of
a
member
of
the
upper
classes
(ýòî òàêîé ïëàòîê, /êîòîðûé ïðèíàäëåæèò/ àðèñòîêðàòêå: «ïðåäñòàâèòåëüíèöå âûñøèõ ñëîåâ
îáùåñòâà»; member
— ÷ëåí, the
upper
classes
— «âûñøèå êëàññû» — àðèñòîêðàòèÿ, äâîðÿíñòâî; âûñøåå ñîñëîâèå; êðóïíàÿ áóðæóàçèÿ
).”
“
And
the
second
question —
the
pipe-
cleaner
(à /òåïåðü/ âòîðîé âîïðîñ — åðøèê äëÿ ÷èñòêè òðóáîê)
. Did
Colonel
Arbuthnot
drop
it
, or
somebody
else
(óðîíèë ëè åãî ïîëêîâíèê Àðáýòíîò èëè êòî-òî åùå)
?”
expensive
[Ik'spensIv] eliminate
[I'lImIneIt] member
['membq]
“As for me, I plump for the American,” said Dr. Constantine. “It is a
very expensive handkerchief, that; and Americans, as all the world knows, do not care what they pay.”
“So you both eliminate the maid?” asked Poirot.
“Yes. As she herself said, it is the handkerchief of a member of the upper
classes.”
“And the second question — the pipe-cleaner. Did Colonel Arbuthnot drop
it, or somebody else?”
“That is more difficult
(ýòî
áîëåå
ñëîæíûé
/âîïðîñ
/). The English, they do not stab
(àíãëè÷àíå
/îáû÷íî
/ íå
íàíîñÿò
óäàðû
êèíæàëîì
). You are right there
(â
ýòîì
âû
ïðàâû
). I incline to the view
(ÿ
ñêëîíÿþñü
ê
òîé
òî÷êå
çðåíèÿ
; to incline —
íàêëîíÿòü,
íàãèáàòü;
ñêëîíÿòüñÿ,
òÿãîòåòü; view —
âèä,
ïåéçàæ;
âçãëÿä,
ìíåíèå,
òî÷êà
çðåíèÿ)
that someone else dropped the pipe-cleaner (
÷òî
êòî-
òî
åùå
îáðîíèë
ýòîò
åðøèê)
— and did so to incriminate the long-legged Englishman
(è
ñäåëàë
ýòî
, ÷òîáû
îáâèíèòü
ýòîãî
äëèííîíîãîãî
àíãëè÷àíèíà
; to incriminate —
èíêðèìèíèðîâàòü,
âìåíÿòü
â
âèíó;
îáâèíÿòü)
.”
difficult
['dIfIk(q)lt]
stab [stxb]
incriminate
[In'krImIneIt] long-legged
["lO
N'leg(I)d]
“That is more difficult. The English, they do not stab. You are right there.
I incline to the view that someone else dropped the pipe-cleaner — and did so to incriminate the long-legged Englishman.”
“As you said, M. Poirot (
êàê
âû /
óæå/
ñêàçàëè,
ìñüå
Ïóàðî)
,” put in the doctor (
âñòàâèë
â
ðàçãîâîð
äîêòîð)
, “two clues is too much carelessness (
äâå
óëèêè —
ýòî
ñëèøêîì
óæ
áîëüøàÿ
íåáðåæíîñòü;
clue — êëþ÷
ê
ðàçãàäêå
; óëèêà
). I
agree
with
M
. Bouc
(ÿ ñîãëàñåí ñ ìñüå Áóêîì)
. The
handkerchief
was
a
genuine
oversight
(/îáðîíåííûé/ íîñîâîé ïëàòîê áûë íàñòîÿùåé îïëîøíîñòüþ;
genuine — ïîäëèííûé, èñòèííûé, íàñòîÿùèé
) —
hence
none
of
the
women
will
admit
that
it
is
hers
(ïîýòîìó íè îäíà èç æåíùèí íå ïðèçíàåòñÿ, ÷òî ýòî åå /ïëàòîê/;
hence — ñ ýòèõ ïîð; ñëåäîâàòåëüíî, â ðåçóëüòàòå
).
The
pipe-
cleaner
is
a
faked
clue
(åðøèê æå — ýòî ñôàáðèêîâàííàÿ óëèêà;
to
fake — ïîääåëûâàòü, ôàáðèêîâàòü;
faked — ôàëüøèâûé, ïîääåëüíûé
).
In
support
of
that
theory
(â ïîääåðæêó ýòîé äîãàäêè;
theory — òåîðèÿ; ðàçã. ïðåäïîëîæåíèå, äîãàäêà,
îñîáîå ìíåíèå
, you
notice
that
Colonel
Arbuthnot
shows
no
embarrassment
and
admits
freely
to
smoking
a
pipe
(îáðàòèòå âíèìàíèå, ÷òî ïîëêîâíèê Àðáýòíîò íå
ïðîÿâëÿåò íèêàêîãî ñìóùåíèÿ/çàìåøàòåëüñòâà è ïðÿìî ïðèçíàåòñÿ â òîì, ÷òî êóðèò òðóáêó;
freely — ñâîáîäíî, âîëüíî; îòêðûòî, îòêðîâåííî
)
and
using
that
type
of
cleaner
(è ïîëüçóåòñÿ ýòèì òèïîì åðøèêîâ)
.”
“
You
reason
well
(âû õîðîøî ðàññóæäàåòå ëîãè÷íî)
,” said
Poirot
.
“
Question
No. 3 —
Who
wore
the
scarlet
kimono
(âîïðîñ íîìåð òðè — êòî áûë îäåò â àëîå êèìîíî?”
went
on
M.
Bouc (ïðîäîëæàë ìñüå Áóê)
. “As
to
that
, I
will
confess
(÷òî êàñàåòñÿ ýòîãî, ÿ ïðèçíàþñü)
I
have
not
the
slightest
idea
(÷òî íå èìåþ íè ìàëåéøåãî ïðåäñòàâëåíèÿ;
idea — èäåÿ, ìûñëü; ïðåäñòàâëåíèå, ïîíÿòèå
).
Have
you
any
views
on
the
subject,
Dr.
Constantine
(ó âàñ åñòü êàêèå-ëèáî ñîîáðàæåíèÿ íà ýòó òåìó, äîêòîð Êîíñòàíòèí;
view — âèä, ïåéçàæ; âçãëÿä, ìíåíèå, ñóæäåíèå,
òî÷êà çðåíèÿ; subject
— ïðåäìåò, òåìà /ðàçãîâîðà è ò.ï./
)?”
“None
(íèêàêèõ
).”
carelessness ['keqlIsnIs]
genuine ['dZenjVIn]
oversight ['qVvqsaIt]
theory ['TI(q)rI]
“As you said, M. Poirot,” put in the doctor, “two clues is too much carelessness.
I agree with M. Bouc. The handkerchief was a genuine oversight — hence none of the women will admit that it is hers. The pipe-cleaner is a faked clue. In support of that theory, you notice that Colonel Arbuthnot shows no
embarrassment and admits freely to smoking a pipe and using that type of cleaner.”
“You reason well,” said Poirot.
“Question No. 3 — Who wore the scarlet kimono?” went on M. Bouc. “As
to that, I will confess I have not the slightest idea. Have you any views on the subject, Dr. Constantine?”
“None.”
“
Then
we
confess
ourselves
beaten
there
(çíà÷èò, çäåñü ìû ïðèçíàåì ñåáÿ ïîáåæäåííûìè;
beaten — áèòûé, èçáèòûé; ðàçáèòûé, ïîáåæäåííûé
).
The
next
question
has,
at
any
rate,
possibilities
(ó ñëåäóþùåãî âîïðîñà, ïî ìåíüøåé ìåðå, åñòü âàðèàíòû;
possibility — âîçìîæíîñòü, âåðîÿòíîñòü
).
Who
was
the
man
or
the
woman
(êòî — ìóæ÷èíà èëè æåíùèíà)
masquerading
in
Wagon
Lit
uniform
(ïåðåîäåâàëñÿ: «âûäàâàë ñåáÿ çà» â óíèôîðìó ïðîâîäíèêà
ñïàëüíûõ âàãîíîâ)? Well
, one
can
list
with
certainty
a
number
of
people
(÷òî æ, ñ óâåðåííîñòüþ ìîæíî âíåñòè â ñïèñîê îïðåäåëåííîå
êîëè÷åñòâî ëþäåé; certainty
— íåñîìíåííûé ôàêò; óâåðåííîñòü
)
that
it
could
not
have
been
(êîòîðûå íå ìîãëè ýòîãî ñäåëàòü: «êîòîðûå íå ìîãëè áûòü»)
. Hardman
(Õàðäìàí)
, Colonel
Arbuthnot
(ïîëêîâíèê Àðáýòíîò)
, Foscarelli
(Ôîñêàðåëëè)
, Count
Andrenyi
and
Hector
MacQueen
(ãðàô Àíäðåíè è Ãåêòîð Ìàêêóèí)
are
all
too
tall
(âñå /îíè/ ñëèøêîì âûñîêèå)
. Mrs
. Hubbard
(ìèññèñ Õàááàðä)
, Hildegarde
Schmidt
and
Greta
Ohlsson
(Õèëüäåãàðäà Øìèä è Ãðåòà Îëüñîí)
are
too
broad
(/îíè/ ñëèøêîì øèðîêèå = ïîëíûå)
. That
leaves
the
valet
(çíà÷èò, îñòàþòñÿ ñëóãà: «ýòî îñòàâëÿåò /íàì/ ñëóãó»)
, Miss
Debenham
(ìèññ Äåáåíõýì)
, Princess
Dragomiroff
(êíÿãèíÿ Äðàãîìèðîâó)
and
Countess
Andrenyi
(è ãðàôèíÿ Àíäðåíè)
— and
none
of
them
sounds
likely
(è íèêòî èç íèõ íå êàæåòñÿ âåðîÿòíûì/âîçìîæíûì
= ïîäîçðèòåëüíûì; to
sound
— çâó÷àòü, èçäàâàòü çâóê; çâó÷àòü, ñîçäàâàòü âïå÷àòëåíèå, êàçàòüñÿ
)!
Greta
Ohlsson
in
one
case
(Ãðåòà Îëüñîí â îäíîì ñëó÷àå)
, and
Antonio
Foscarelli
in
the
other
(è Àíòîíèî Ôîñêàðåëëè â äðóãîì)
, both
swear
that
Miss
Debenham
and
the
valet
never
left
their
compartments
(îáà êëÿíóòñÿ, ÷òî ìèññ Äåáåíõýì è ñëóãà íè ðàçó
íå ïîêèäàëè ñâîèõ êóïå; never
— íèêîãäà; íå ðàçó, to
leave
(left
))
. Hildegarde
Schmidt
swears
that
the
Princess
was
in
hers
(Õèëüäåãàðäà Øìèäò êëÿíåòñÿ, ÷òî êíÿãèíÿ áûëà
â ñâîåì /êóïå/), and
Count
Andrenyi
has
told
us
that
his
wife
took
a
sleeping
draught
(è ãðàô Àíäðåíè ñêàçàë íàì, ÷òî åãî æåíà ïðèíÿëà
ñíîòâîðíîå). Therefore
it
seems
impossible
that
it
can
be
anybody
(ïî ýòîé ïðè÷èíå êàæåòñÿ íåâîçìîæíûì, ÷òî ýòî
ìîæåò áûòü êòî-íèáóäü /èç íèõ/) —
which
is
absurd
(÷òî /òàêæå/ àáñóðäíî)!”
masquerade
["mxskq'reId] swear
[sweq] draught
[drQ:ft] absurd
[qb'sq:d]
“Then we confess ourselves beaten there. The next question has, at any rate,
possibilities. Who was the man or the woman masquerading in Wagon Lit uniform? Well, one can list with certainty a number of people that it could not have been. Hardman, Colonel Arbuthnot, Foscarelli, Count Andrenyi and Hector
MacQueen are all too tall. Mrs. Hubbard, Hildegarde Schmidt and Greta Ohlsson are too broad. That leaves the valet, Miss Debenham, Princess Dragomiroff and Countess Andrenyi — and none of them sounds likely! Greta Ohlsson
in one case, and Antonio Foscarelli in the other, both swear that Miss Debenham and the valet never left their compartments. Hildegarde Schmidt swears that the Princess was in hers, and Count Andrenyi has told us that his
wife took a sleeping draught. Therefore it seems impossible that it can be anybody — which is absurd!”
“As our old friend Euclid says
(êàê
ãîâîðèò
íàø
ñòàðûé
äðóã
Åâêëèä
),” murmured Poirot
(ïðîáîðìîòàë
Ïóàðî
).
“It must be one of those four (
ýòî
äîëæåí
áûòü
êòî-
òî
èç
ýòèõ
÷åòûðåõ)
,” said Dr. Constantine. “
Unless
it
is
someone
from
outside
(åñëè ýòî íå êòî-òî ïîñòîðîííèé: «êòî-òî ñî ñòîðîíû»;
outside — íàðóæíûé, âíåøíèé; âíåøíèé, ïîñòîðîííèé;
outside — íàðóæíàÿ ÷àñòü èëè ñòîðîíà;
âíåøíèé ìèð)
who
has
found
a
hiding-
place
(êòî íàøåë êàêîå-òî òàéíîå óêðûòèå;
to
hide — ïðÿòàòüñÿ;
hiding-
place — òàéíèê; òàéíîå óáåæèùå
) —
and
that
we
agreed
was
impossible
(à ýòî, êàê ìû óæå ñîãëàñèëèñü, íåâîçìîæíî)
.”
M. Bouc had passed on to the next question on the list
(ìñüå
Áóê
ïåðåøåë
ê
ñëåäóþùåìó
âîïðîñó
ñïèñêà
).
“No. 5 — Why do the hands of the broken watch point to 1.15
(íîìåð
5 — ïî÷åìó
ñòðåëêè
ñëîìàííûõ
÷àñîâ
ïîêàçûâàþò
1.15)? I can see two explanations of that
(ÿ
âèæó
: «ìîãó
âèäåòü
» ýòîìó
äâà
îáúÿñíåíèÿ
). Either it was done by the murderer to establish an alibi
(ýòî
áûëî
ñäåëàíî
ëèáî
óáèéöåé
, ÷òîáû
ñîçäàòü
/ñåáå
/ àëèáè
; to establish —
îñíîâûâàòü,
ó÷ðåæäàòü;
ñîçäàâàòü,
óñòðàèâàòü)
, and afterwards, when he meant to leave the compartment
(è
ïîçæå
, êîãäà
îí
/êàê
ðàç
/ ñîáèðàëñÿ
óéòè
èç
êóïå
; to mean (meant) —
íàìåðåâàòüñÿ,
èìåòü
â
âèäó)
, he was prevented (
åìó
ïîìåøàëè;
to prevent — ïðåäîòâðàùàòü
, ïðåäóïðåæäàòü
; ìåøàòü
, ïðåïÿòñòâîâàòü
) by hearing people moving about
(/òàê
êàê
îí
/ óñëûøàë
, ÷òî
/â
êîðèäîðå
/ õîäÿò
ëþäè
); or else
(èëè
...) — wait
(ïîäîæäèòå
) — I have an idea coming
(ìíå
/â
ãîëîâó
/ êàê
ðàç
ïðèõîäèò
îäíà
ìûñëü
) — ”
The other two waited respectfully while M. Bouc struggled in mental agony
(äâîå
äðóãèõ
/ìóæ÷èí
/ ïî÷òèòåëüíî
îæèäàëè
, ïîêà
ìñüå
Áóê
áèëñÿ
â
èíòåëëåêòóàëüíûõ
ìóêàõ
; to struggle —
áîðîòüñÿ;
äåëàòü
óñèëèÿ,
ñòàðàòüñÿ
èçî
âñåõ
ñèë; mental —
óìñòâåííûé;
ïðîèçâîäèìûé
â
óìå,
ìûñëåííûé)
.
Euclid
['ju:klId] respectfully
[rI'spektf(q)lI] agony
['xgqnI]
“As our old friend Euclid says,” murmured Poirot.
“It must be one of those four,” said Dr. Constantine. “Unless it is someone
from outside who has found a hiding-place — and that we agreed was impossible.”
M. Bouc had passed on to the next question on the list.
“No. 5 — Why do the hands of the broken watch point to 1.15? I can see
two explanations of that. Either it was done by the murderer to establish an alibi, and afterwards, when he meant to leave the compartment, he was prevented by hearing people moving about; or else — wait — I have an idea
coming — ”
The other two waited respectfully while M. Bouc struggled in mental agony.
“I
have
it
(âîò;
to
have — èìåòü; ðàçã. óñâàèâàòü, ïîíèìàòü; íàéòè
ðåøåíèå),”
he
said
at
last
(ñêàçàë îí íàêîíåö). “
It
was
not
the
Wagon
Lit
murderer
who
tampered
with
the
watch
(ýòî áûë íå óáèéöà /â ôîðìå ïðîâîäíèêà/ ñïàëüíûõ âàãîíîâ, ÷òî ïåðåâåë ñòðåëêè ÷àñîâ: «÷òî
ïðèëîæèë ðóêó ê ÷àñàì»; to
tamper
— òðîãàòü, ñîâàòüñÿ /âî ÷òî-ëèáî/, ïîðòèòü
)!
It was the person we have called the Second Murderer
(ýòî
áûë
÷åëîâåê
, êîòîðîãî
ìû
íàçâàëè
Âòîðûì
Óáèéöåé
) — the left-handed person
(ëåâøà
) — in other words the woman in the scarlet kimono
(äðóãèìè
ñëîâàìè
, æåíùèíà
â
àëîì
êèìîíî
). She arrives later
(îíà
ïðèõîäèò
ïîçæå
) and moves back the hands of the watch
(è
ïåðåâîäèò
ñòðåëêè
÷àñîâ
íàçàä
) in order to make an alibi for herself
(äëÿ
òîãî
, ÷òîáû
ñîçäàòü
ñåáå
àëèáè
).”
“Bravo,” said Dr. Constantine. “It is well imagined, that
(õîðîøî
ïðèäóìàíî
; to imagine —
âîîáðàæàòü,
ïðåäñòàâëÿòü
ñåáå;
äîãàäûâàòüñÿ,
ïîíèìàòü)
.”
tamper
['txmpq] bravo
['brQ:vqV] imagine
[I'mxdZIn]
“I have it,” he said at last. “It was not the Wagon Lit murderer who
tampered with the watch! It was the person we have called the Second Murderer — the left-handed person — in other words the woman in the scarlet kimono. She arrives later and moves back the hands of the watch in order
to make an alibi for herself.”
“Bravo,” said Dr. Constantine. “It is well imagined, that.”
“In fact
(ïî
ñóòè),” said Poirot, “she stabbed him in the dark
(îíà
çàêîëîëà åãî
â
òåìíîòå), not realizing that he was dead already
(íå
îñîçíàâàÿ,
÷òî îí
óæå
áûë ìåðòâ
; to realize —
îñóùåñòâèòü,
âûïîëíèòü;
ïðåäñòàâëÿòü
ñåáå, ÿñíî
ïîíèìàòü,
îñîçíàâàòü)
, but somehow deduced that he had a watch in his pyjama pocket (
íî êàêèì
-òî
îáðàçîì îíà
ñäåëàëà
âûâîä, ÷òî
ó
íåãî â
êàðìàíå
ïèæàìû ëåæàëè
÷àñû)
, took it out (äîñòàëà
èõ)
, put back the hands blindly (âñëåïóþ
ïåðåâåëà
ñòðåëêè íàçàä
; blind — ñëåïîé
, íåçðÿ÷èé; blindly —
áåçðàññóäíî;
ìàøèíàëüíî)
, and gave it the requisite dent (
è îñòàâèëà
íà
íèõ òðåáóåìóþ
âìÿòèíó)
.”
M
. Bouc
looked
at
him
coldly
(ìñüå Áóê õîëîäíî âçãëÿíóë íà íåãî)
. “Have you anything better to suggest, yourself
(âû
ñàìè
ìîæåòå
ïðåäëîæèòü
÷òî
-íèáóäü
ïîëó÷øå
)?” he asked.
“At the moment — no
(â
äàííûé
ìîìåíò
— íåò
),” admitted Poirot
(ïðèçíàëñÿ
Ïóàðî
). “All the same
(è
âñå
-òàêè
),” he went on
(ïðîäîëæàë
îí
), “I do not think you have either of you appreciated
(ìíå
êàæåòñÿ
, ÷òî
íèêòî
èç
âàñ
íå
îöåíèë
; either —
ëþáîé /
èç
äâóõ/;
è
òîò
è
äðóãîé,
îáà, to appreciate —
öåíèòü;
îöåíèâàòü
ïî
äîñòîèíñòâó)
the most interesting point about that watch (
ñàìîãî
èíòåðåñíîãî /
ìîìåíòà/
â
ýòèõ
÷àñàõ)
.”
deduce
[dI'dju:s] pyjamas
[pq'dZQ:mqz] blindly
['blaIndlI] requisite
['rekwIzIt] appreciated
[q'pri:SIeItId]
“In fact,” said Poirot, “she stabbed him in the dark, not realizing that
he was dead already, but somehow deduced that he had a watch in his pyjama pocket, took it out, put back the hands blindly, and gave it the requisite dent.”
M. Bouc looked at him coldly. “Have you anything better to suggest, yourself?” he asked.
“At the moment — no,” admitted Poirot. “All the same,” he went on,
“I do not think you have either of you appreciated the most interesting point about that watch.”
“
Does
question
No. 6
deal
with
it
(ñ ýòèì êàê-òî ñâÿçàí âîïðîñ ¹6;
to
deal — ðàñïðåäåëÿòü, ðàçäàâàòü; èìåòü äåëî
/ñ ÷åì-ëèáî/)?”
asked
the
doctor
(ñïðîñèë äîêòîð). “
To
that
question
(ñ ýòèì âîò âîïðîñîì) —
Was
the
murder
committed
at
that
time, 1.15
(áûëî ëè ïðåñòóïëåíèå ñîâåðøåíî â ýòî âðåìÿ — â 1.15)
? — I
answer
, ‘No
’ (ÿ îòâå÷àþ: "íåò")
.”
“I agree
(ÿ
ñîãëàñåí
),” said M. Bouc.
“’Was
it
earlier
(áûëî /ëè îíî ñîâåðøåíî/ ðàíüøå)
?’ is
the
next
question
(ýòî ñëåäóþùèé âîïðîñ)
. I say — Yes
(ÿ
ãîâîðþ
— äà
)! You, too, doctor
(âû
òîæå
, äîêòîð
)?”
The doctor nodded
(äîêòîð
êèâíóë
). “Yes, but the question ‘Was it later?’
(äà, íî íà âîïðîñ "Áûëî /ëè îíî ñîâåðøåíî/ ïîçæå?")
can
also
be
answered
in
the
affirmative
(òàêæå ìîæíî îòâåòèòü óòâåðäèòåëüíî)
. I
agree
with
your
theory
, M
. Bouc
(ÿ ñîãëàñåí ñ âàøåé òåîðèåé)
, and
so
, I
think
, does
M
. Poirot
(è òàê æå /ñîãëàñåí/, ÿ äóìàþ, è ìñüå Ïóàðî)
, although
he
does
not
wish
to
commit
himself
(õîòÿ îí íå õî÷åò ñâÿçûâàòü ñåáÿ /ñîãëàñèåì/;
to
commit — ñîâåðøàòü /÷àùå äóðíîå/; ïðèíèìàòü
íà ñåáÿ îáÿçàòåëüñòâà, ñâÿçûâàòü ñåáÿ ñëîâîì è ò.ï.)
. The First Murderer came earlier than 1.15
(Ïåðâûé
Óáèéöà
ïðèøåë
ðàíüøå
1.15), but the Second Murderer came after 1.15
(à
Âòîðîé
Óáèéöà
ïðèøåë
ïîçæå
1.15). And as regards the question of left-handedness
(à
÷òî
êàñàåòñÿ
âîïðîñà
î
ëåâøå
; to regard —
ðàññìàòðèâàòü,
ñ÷èòàòü;
êàñàòüñÿ,
èìåòü
îòíîøåíèå; left-handed —
äåëàþùèé
âñå
ëåâîé
ðóêîé; handedness —
ïñèõîë.
ïðèâû÷êà
ïîëüçîâàòüñÿ
ïðåèìóùåñòâåííî
îäíîé /
ïðàâîé
èëè
ëåâîé/
ðóêîé)
, ought we not to take steps to ascertain which of the passengers is left-handed
(íàì
áû
ñëåäîâàëî
ïðåäïðèíÿòü
îïðåäåëåííûå
ìåðû
, ÷òîáû
âûÿñíèòü
, êòî
èç
ïàññàæèðîâ
ëåâøà
; step —
øàã;
ìåðà,
äåéñòâèå,
øàã)
?”
question
['kwestS(q)n] affirmative
[q'fq:mqtIv] ascertain
["xsq'teIn]
“Does question No. 6 deal with it?” asked the doctor. “To that question
— Was the murder committed at that time, 1.15? — I answer No.”
“I agree,” said M. Bouc. “’Was it earlier?’ is the next question.
I say — Yes! You, too, doctor?”
The doctor nodded. “Yes, but the question ‘Was it later?’ can also be
answered in the affirmative. I agree with your theory, M. Bouc, and so, I think, does M. Poirot, although he does not wish to commit himself. The First Murderer came earlier than 1. 15, but the Second Murderer came after 1.15.
And as regards the question of left-handedness, ought we not to take steps to ascertain which of the passengers is left-handed?”
“I have not completely neglected that point
(ÿ
íå
/ïîëíîñòüþ
/ óïóñòèë
ýòîò
ìîìåíò
; to neglect —
ïðåíåáðåãàòü /
÷åì-
ëèáî/;
óïóñêàòü,
çàáûâàòü)
,” said Poirot. “You may have noticed that I made each passenger write either a signature or an address
(âû
, íàâåðíîå
, çàìåòèëè
, ÷òî
ÿ
çàñòàâèë
êàæäîãî
ïàññàæèðà
ëèáî
ïîñòàâèòü
: «íàïèñàòü
» ïîäïèñü
, ëèáî
/íàïèñàòü
/ àäðåñ
). That is not conclusive
(ýòîãî
ìàëî
äëÿ
îêîí÷àòåëüíûõ
çàêëþ÷åíèé
: «ýòî
íå
îêîí÷àòåëüíî
»; conclusive —
çàêëþ÷èòåëüíûé;
ðåøàþùèé,
îêîí÷àòåëüíûé)
, because some people do certain actions with the right hand and others with the left
(ïîòîìó
÷òî
íåêîòîðûå
ëþäè
âûïîëíÿþò
îïðåäåëåííûå
äåéñòâèÿ
ïðàâîé
ðóêîé
, à
äðóãèå
— ëåâîé
). Some write right-handed
(íåêîòîðûå
ïèøóò
ïðàâîé
ðóêîé
), but play golf left-handed
(íî
èãðàþò
â
ãîëüô
ëåâîé
ðóêîé
). Still, it is something
(è
âñå
æå
, ýòî
êîå
-÷òî
). Every person questioned took the pen in his or her right hand
(êàæäûé
îïðîøåííûé
/÷åëîâåê
/ áðàë
ðó÷êó
â
ïðàâóþ
ðóêó
: «â
åãî
èëè
åå
ïðàâóþ
ðóêó
») — with the exception of Princess Dragomiroff, who refused to write
(çà
èñêëþ÷åíèåì
êíÿãèíè
Äðàãîìèðîâîé
, êîòîðàÿ
îòêàçàëàñü
ïèñàòü
).”
“Princess Dragomiroff — impossible
(êíÿãèíÿ
Äðàãîìèðîâà
— /ýòî
/ íåâîçìîæíî
),” said M. Bouc.
neglected
[nI'glektId] signature
['sIgnItSq] conclusive
[kqn'klu:sIv]
“I have not completely neglected that point,” said Poirot. “You may have
noticed that I made each passenger write either a signature or an address. That is not conclusive, because some people do certain actions with the right hand and others with the left. Some write right-handed, but play golf
left-handed. Still, it is something. Every person questioned took the pen in his or her right hand — with the exception of Princess Dragomiroff, who refused to write.”
“Princess Dragomiroff — impossible,” said M. Bouc.
“I doubt if she would have had the strength to inflict that left-handed blow
(ÿ
ñîìíåâàþñü
, ÷òîáû
ó
íåå
áûëà
òàêàÿ
ñèëà
, ÷òîáû
íàíåñòè
òîò
óäàð
ëåâîé
ðóêîé
),” said Dr. Constantine dubiously
(ñ
ñîìíåíèåì
ñêàçàë
äîêòîð
Êîíñòàíòèí
). ‘That particular wound had been inflicted with considerable force
(èìåííî
òà
ðàíà
áûëà
íàíåñåíà
ñî
çíà÷èòåëüíîé
ñèëîé
; particular —
îñîáûé,
îñîáåííûé)
.”
“
More
force
than
a
woman
could
use
(ñ áîëüøåé ñèëîé, ÷åì ìîãëà áû ïðèìåíèòü æåíùèíà)
?”
“
No,
I
would
not
say
that
(íåò, ýòîãî ÿ áû íå ñêàçàë)
. But
I
think
more
force
than
an
elderly
woman
could
display
(íî ÿ äóìàþ, ñ áîëüøåé ñèëîé, ÷åì ìîãëà áû ïðîÿâèòü
ïîæèëàÿ æåíùèíà; to
display
— ïîêàçûâàòü, äåìîíñòðèðîâàòü; ïðîÿâëÿòü
),
and
Princess
Dragomiroff’
s
physique
is
particularly
frail
(à òåëîñëîæåíèå êíÿãèíè Äðàãîìèðîâîé îñîáåííî õðóïêîå)
.”
“
It
might
be
a
question
(à, ìîæåò áûòü, âñå äåëî;
question — âîïðîñ; ïðîáëåìà, äåëî, îáñóæäàåìûé
âîïðîñ)
of
the
influence
of
mind
over
body
(âî âëèÿíèè äóøè íà òåëî;
mind — óì, ðàçóì; äóõ, äóøà
),”
said
Poirot. “
Princess
Dragomiroff
has
great
personality
(êíÿãèíÿ Äðàãîìèðîâà — âûäàþùàÿñÿ ëè÷íîñòü;
great — áîëüøîé, îãðîìíûé; âåëèêèé
)
and
immense
will-
power
(è îáëàäàåò êîëîññàëüíîé ñèëîé âîëè;
will — âîëÿ, ñèëà âîëè;
power — ñèëà, ìîùü
).
But
let
us
pass
from
that
for
the
moment
(íî äàâàéòå ïåðåéäåì /îò ýòîãî/ â äàííûé ìîìåíò = ïîêà;
to
pass — èäòè, ïðîõîäèòü; îòõîäèòü, óêëîíÿòüñÿ
).”
dubiously
['dju:bIqslI] particular
[pq'tIkjVlq] inflict
[In'flIkt] considerable
[kqn'sId(q)rqb(q)l] physique
[fI'zi:k] influence
['InflVqns]
“I doubt if she would have had the strength to inflict that left-handed blow,”
said Dr. Constantine dubiously. ‘That particular wound had been inflicted with considerable force.”
“More force than a woman could use?”
“No, I would not say that. But I think more force than an elderly woman could
display, and Princess Dragomiroff’s physique is particularly frail.”
“It might be a question of the influence of mind over body,” said Poirot.
“Princess Dragomiroff has great personality and immense will-power. But let us pass from that for the moment.”
“To questions Nos. 9 and 10
(ê
âîïðîñàì
9 è
10)? Can we be sure that Ratchett was stabbed by more than one person
(ìîæåì
ëè
ìû
áûòü
óâåðåíû
, ÷òî
Ðýò÷åòò
áûë
çàêîëîò
áîëåå
÷åì
îäíèì
÷åëîâåêîì
= íå
îäíèì
, à
íåñêîëüêèìè
ëþäüìè
), and what other explanation of the wounds can there be
(è
êàê
åùå
ìîæíî
îáúÿñíèòü
ðàíû
)? In my opinion, medically speaking
(ïî
ìîåìó
ìíåíèþ
, ãîâîðÿ
ñ
ìåäèöèíñêîé
òî÷êè
çðåíèÿ
), there can be no other explanation of those wounds
(íå
ìîæåò
áûòü
íèêàêîãî
äðóãîãî
îáúÿñíåíèÿ
ýòèõ
ðàíåíèé
). To suggest that one man struck first feebly
(ïðåäïîëîæèòü
, ÷òî
îäèí
/è
òîò
æå
/ ÷åëîâåê
ñíà÷àëà
óäàðèë
ñëàáî
; to strike (struck; stricken) —
óäàðÿòü,
áèòü)
and then with violence (
à
çàòåì
ñ
ñèëîé;
violence — íàñèëèå
, ïðèíóæäåíèå
; ñèëà
, íåèñòîâñòâî
, ÿðîñòü
), first with the right hand and then with the left
(ñíà÷àëà
ïðàâîé
ðóêîé
, à
çàòåì
ëåâîé
), and after an interval of perhaps half an hour inflicted fresh wounds on a dead body
(ñ
èíòåðâàëîì
, âîçìîæíî
, â
ïîë÷àñà
íàíîñèë
íîâûå
ðàíû
ïî
ìåðòâîìó
òåëó
) — well, it does not make sense
(÷òî
æ
, ýòî
ëèøåíî
âñÿêîãî
ñìûñëà
; to make sense —
èìåòü
ñìûñë)
.”
“No,” said Poirot. “It does not make sense
(ëèøåíî
, — ñêàçàë
Ïóàðî
). And you think that two murderers do make sense
(à
âû
äóìàåòå
, ÷òî
äâîå
óáèéö
èìåþò
ñìûñë
)?”
wound
[wu:nd] medically
['medIk(q)lI] violence
['vaIqlqns] interval
['Intqv(q)l]
“To questions Nos. 9 and 10? Can we be sure that Ratchett was stabbed by
more than one person, and what other explanation of the wounds can there be? In my opinion, medically speaking, there can be no other explanation of those wounds. To suggest that one man struck first feebly and then with violence,
first with the right hand and then with the left, and after an interval of perhaps half an hour inflicted fresh wounds on a dead body — well, it does not make sense.”
“No,” said Poirot. “It does not make sense. And you think that two murderers
do make sense?”
“As you yourself have said, what other explanation can there be
(êàê
âû
æå
ñàìè
ñêàçàëè
, êàêîå
åùå
îáúÿñíåíèå
ìîæåò
áûòü
)?”
Poirot stared straight ahead of him
(Ïóàðî
óñòàâèëñÿ
ïðÿìî
ïåðåä
ñîáîé
). “That is what I ask myself
(èìåííî
îá
ýòîì
ÿ
ñåáÿ
è
ñïðàøèâàþ
),” he said. “That is what I never cease to ask myself
(èìåííî
îá
ýòîì
ÿ
íå
ïåðåñòàþ
ñåáÿ
ñïðàøèâàòü
; never —
íèêîãäà; to cease —
ïðåêðàùàòü,
îñòàíàâëèâàòü)
.”
He leaned back in his seat
(îí
îòêèíóëñÿ
íà
ñïèíêó
êðåñëà
; to lean —
íàêëîíÿòüñÿ,
íàãèáàòüñÿ; to lean back —
îòêèíóòüñÿ /
íàçàä/
).
“From now on (
íà÷èíàÿ
ñ
ýòîãî
ìîìåíòà;
from now on — âïðåäü
, â
äàëüíåéøåì
), it is all here
(âñå
çäåñü
).” He tapped himself on the forehead
(îí
ïîñòó÷àë
ñåáÿ
ïî
ëáó
).
“We
have
thrashed
it
all
out
(ìû âñå ýòî îáñòîÿòåëüíî îáñóäèëè;
to
thrash — ìîëîòèòü;
to
thrash
out — ïðîðàáàòûâàòü, "âåíòèëèðîâàòü"
/âîïðîñ è ò.ï./)
. The facts are all in front of us
(âñå
ôàêòû
ïåðåä
íàìè
) — neatly arranged with order and method
(àêêóðàòíî
ðàñïîëîæåííûå
ïî
ïîðÿäêó
è
ñèñòåìå
). The passengers have sat here one by one
(çäåñü
ñèäåëè
ïàññàæèðû
, îäèí
çà
äðóãèì
), giving their evidence
(äàâàÿ
ñâîè
ïîêàçàíèÿ
). We
know
all
that
can
be
known
(ìû çíàåì âñå, ÷òî ìîæåò áûòü óçíàííûì = ÷òî ìîæíî
áûëî óçíàòü) — from
outside
(ñî ñòîðîíû)
...
He
gave
M.
Bouc
an
affectionate
smile
(îí ëàñêîâî = äðóæåñêè óëûáíóëñÿ ìñüå Áóêó;
affection — ïðèâÿçàííîñòü, ëþáîâü, ðàñïîëîæåíèå
).
cease
[si:s] forehead
['fO
rId, 'fO:hed] thrash
[TrxS]
“As you yourself have said, what other explanation can there be?”
Poirot stared straight ahead of him. “That is what I ask myself,” he said.
“That is what I never cease to ask myself.”
He leaned back in his seat.
“From now on, it is all here.” He tapped himself on the forehead. “We
have thrashed it all out. The facts are all in front of us — neatly arranged with order and method. The passengers have sat here, one by one, giving their evidence. We know all that can be known — from outside ...
He gave M. Bouc an affectionate smile.
“It has been a little joke between us, has it not
(ìû
, áûâàëî
, âìåñòå
øóòèëè
, íå
òàê
ëè
; joke —
àíåêäîò,
øóòêà; between —
çä.
óêàçûâàåò
íà
ñîâìåñòíîñòü
óñèëèé:
âìåñòå)
, — this business of sitting back (
î
òîì,
÷òîáû
óñåñòüñÿ
ïîóäîáíåå;
business — äåëî
, ïîñòîÿííîå
çàíÿòèå
; ðàçã
. äåëî
, ñëó÷àé
, âîïðîñ
; to sit back — îòêèäûâàòüñÿ
/íà
ñïèíêó
êðåñëà
è
ò
.ï
./; ðàññëàáëÿòüñÿ
) and thinking out the truth
(è
äîäóìàòüñÿ
äî
ïðàâäû
; to think out —
ïðîäóìàòü;
äîäóìàòü
äî
êîíöà,
äîáðàòüñÿ
äî
ñóòè)
? Well, I am about to put my theory into practice (
÷òî
æ,
ÿ
ñîáèðàþñü
ïðîâåðèòü
ìîþ
òåîðèþ
íà
ïðàêòèêå;
to be about to do smth. — ñîáèðàòüñÿ
, íàìåðåâàòüñÿ
ñäåëàòü
÷òî
-òî
; to put theory into practice — ïðîâîäèòü
òåîðèþ
â
æèçíü
) — here before your eyes
(ïðÿìî
íà
âàøèõ
ãëàçàõ
). You
two
must
do
the
same
(âû îáà: «äâîå» äîëæíû ñäåëàòü òî æå ñàìîå)
. Let
us
all
three
close
our
eyes
and
think
(äàâàéòå âñå âìåñòå: «âñå âòðîåì» çàêðîåì ãëàçà
è ïîäóìàåì). ... ”
“One
or
more
of
those
passengers
killed
Ratchett
(îäèí èëè íåñêîëüêî: «áîëüøå» èç ïàññàæèðîâ óáèëè
Ðýò÷åòòà). Which of them
(êòî
æå
èç
íèõ
)?”
joke
[dZqVk] truth
[tru:T] theory
['TI(q)rI] practice
['prxktIs]
“It has been a little joke between us, has it not — this business of sitting
back and thinking out the truth? Well, I am about to put my theory into practice — here before your eyes. You two must do the same. Let us all three close our eyes and think. ...
“One or more of those passengers killed Ratchett. Which of them?”
3
CERTAIN SUGGESTIVE POINTS
(Íåêîòîðûå ìîìåíòû, íàâîäÿùèå íà ðàçìûøëåíèÿ;
to
suggest — ïðåäëàãàòü, ñîâåòîâàòü; âíóøàòü,
íàâîäèòü /íà ìûñëü/; suggestive
— âûçûâàþùèé ìûñëè
)
It
was
quite
a
quarter
of
an
hour
before
anyone
spoke
(ïðîøëà ïî÷òè ÷åòâåðòü ÷àñà, ïðåæäå ÷åì êòî-íèáóäü /èç íèõ/ çàãîâîðèë)
.
M.
Bouc
and
Dr.
Constantine
had
started
by
trying
to
obey
Poirot’
s
instructions
(ìñüå Áóê è äîêòîð Êîíñòàíòèí íà÷àëè ñ òîãî, ÷òî ïîïûòàëèñü ïîñëåäîâàòü íàñòàâëåíèÿì
Ïóàðî; by — çä. óêàçûâàåò íà ñðåäñòâî,
îðóäèå; to
obey — ñëóøàòüñÿ, ïîâèíîâàòüñÿ; ðóêîâîäñòâîâàòüñÿ
/÷åì-ëèáî/, ñëåäîâàòü)
. They
had
endeavoured
to
see
through
a
maze
(îíè ïðèëàãàëè âñå óñèëèÿ, ÷òîáû ðàçãàäàòü ïóòàíèöó;
to
see
through — áûòü, ïðèñóòñòâîâàòü /ãäå-ëèáî/ äî
êîíöà; ðàçãàäûâàòü, ðàñïîçíàâàòü /êîãî-ëèáî, ÷òî-ëèáî/; maze
— ëàáèðèíò; ïóòàíèöà
)
of
conflicting
particulars
(èç ïðîòèâîðå÷èâûõ ôàêòîâ;
conflict — êîíôëèêò, ñòîëêíîâåíèå; ïðîòèâîðå÷èå;
particular — ÷àñòíîñòü, ïîäðîáíîñòü, äåòàëü
)
to
a
clear
and
outstanding
solution
(/è ïðèéòè/ ê ÷åòêîìó è ãåíèàëüíîìó: «âûäàþùåìóñÿ» ðåøåíèþ;
clear — ÿñíûé, ñâåòëûé; ÿñíûé, ïîíÿòíûé, íå
âûçûâàþùèé ñîìíåíèé; outstanding
— âûäàþùèéñÿ, çíàìåíèòûé; îñòàþùèéñÿ íåðàçðåøåííûì, ñïîðíûé
).
obey
[q(V)'beI] instruction
[In'strAkS(q)n] endeavour
[In'devq]
It was quite a quarter of an hour before anyone spoke.
M. Bouc and Dr. Constantine had started by trying to obey Poirot’s instructions.
They had endeavoured to see through a maze of conflicting particulars to a clear and outstanding solution.
M. Bouc’s thoughts had run something as follows
(ìûñëè
ìñüå
Áóêà
øëè
/ïðîäâèãàëèñü
ïðèìåðíî
òàêèì
îáðàçîì
; to run (ran, run) —
áåæàòü; as follows —
êàê
ñëåäóåò
íèæå,
ñëåäóþùèì
îáðàçîì)
:
“
Assuredly
I
must
think
(êîíå÷íî, ÿ äîëæåí ïîäóìàòü)
. But
as
far
as
that
goes
I
have
already
thought
(îäíàêî, ÷òî êàñàåòñÿ ýòîãî, ÿ óæå /âñå/ ïåðåäóìàë)
. ... Poirot
obviously
thinks
that
this
English
girl
is
mixed
up
in
the
matter
(î÷åâèäíî, ÷òî Ïóàðî äóìàåò, ÷òî ýòà àíãëèéñêàÿ
äåâóøêà = ìîëîäàÿ àíãëè÷àíêà
çàìåøàíà â ýòîì äåëå;
to
mix — ñìåøèâàòü, ìåøàòü;
to
mix
up — õîðîøî ïåðåìåøèâàòü; âïóòûâàòü
).
I
cannot
help
feeling
(à ÿ ÷óâñòâóþ: «ÿ íå ìîãó íå ÷óâñòâîâàòü»;
cannot
help
doing
smth
. — áûòü íå â ñîñòîÿíèè óäåðæàòüñÿ îò ÷åãî-ëèáî
)
that
that
is
most
unlikely
(÷òî ýòî î÷åíü ìàëîâåðîÿòíî;
unlikely — íåïðàâäîïîäîáíûé, íåâåðîÿòíûé
). ...
The
English
are
extremely
cold
(àíãëè÷àíêè ÷ðåçâû÷àéíî õëàäíîêðîâíûå;
cold — õîëîäíûé; ñïîêîéíûé, óðàâíîâåøåííûé
).
Probably
it
is
because
they
have
no
figures
(âîçìîæíî, ýòî îòòîãî, ÷òî ó íèõ óæàñíûå ôèãóðû: «ó íèõ íåò ôèãóð»;
figure — öèôðà, ÷èñëî; ôèãóðà, âíåøíèé âèä,
òåëîñëîæåíèå)
. ... But
that
is
not
the
point
(íî ñóòü íå â ýòîì;
point — òî÷êà; ãëàâíîå, ñóòü, ñìûñë
).
It
seems
that
the
Italian
could
not
have
done
it
(êàæåòñÿ, ÷òî èòàëüÿíåö íå ìîã ñîâåðøèòü ýòîãî)
— a
pity
(æàëü;
pity — æàëîñòü, ñîñòðàäàíèå; ïå÷àëüíûé ôàêò
).
I
suppose
the
English
valet
is
not
lying
when
he
said
the
other
never
left
the
compartment
(ïðåäïîëîæèì, ÷òî ýòîò ñëóãà, àíãëè÷àíèí íå ëæåò, êîãäà ñêàçàë, ÷òî äðóãîé /ìóæ÷èíà/ =
èòàëüÿíåö íè ðàçó íå âûøåë èç êóïå)?
assuredly
[q'SV(q)rIdlI] obviously
['O
bvIqslI] figure
['fIgq]
M. Bouc’s thoughts had run something as follows:
“Assuredly I must think. But as far as that goes I have already thought.
... Poirot obviously thinks that this English girl is mixed up in the matter. I cannot help feeling that that is most unlikely. ... The English are extremely cold. Probably it is because they have no figures. ... But that
is not the point. It seems that the Italian could not have done it — a pity. I suppose the English valet is not lying when he said the other never left the compartment?
But
why
should
he
(íî ñ ÷åãî áû åìó /ëãàòü/)
! It
is
not
easy
to
bribe
the
English
(àíãëè÷àí òðóäíî: «íå /òàê/ ëåãêî» ïîäêóïèòü;
to
bribe — ïðåäëàãàòü, äàâàòü âçÿòêó; ïîäêóïàòü
);
they
are
so
unapproachable
(îíè òàêèå íåïîäñòóïíûå;
to
approach — ïîäõîäèòü, ïðèáëèæàòüñÿ; îáðàùàòüñÿ
/ê êîìó-ëèáî ñ ïðîñüáîé, ïðåäëîæåíèåì/)
. The
whole
thing
is
most
unfortunate
(âñå ýòî äåëî ÷ðåçâû÷àéíî äîñàäíî/íåêñòàòè;
thing — âåùü, ïðåäìåò; äåëî;
unfortunate — íåñ÷àñòíûé; íåóäà÷íûé; íåóìåñòíûé,
íåïîäõîäÿùèé)
. I
wonder
, when
we
shall
get
out
of
this
(õîòåëîñü áû ìíå çíàòü, êîãäà ìû îòñþäà âûáåðåìñÿ;
to
wonder — èíòåðåñîâàòüñÿ, æåëàòü çíàòü;
to
get
out
of
a
place — âûõîäèòü îòêóäà-ëèáî, âûëåçàòü;
to
get
out
of
a
state/
a
condition — âûéòè èç êàêîãî-ëèáî ïîëîæåíèÿ/ñîñòîÿíèÿ
).
There
must
be
some
rescue
work
in
progress
(äîëæíû æå âåñòèñü êàêèå-íèáóäü ñïàñàòåëüíûå ðàáîòû;
rescue — ñïàñåíèå, îñâîáîæäåíèå;
progress — ïðîãðåññ; òå÷åíèå, ðàçâèòèå
).
They
are
so
slow
in
these
countries
(ëþäè: «îíè» òàê ìåäëèòåëüíû â ýòèõ ñòðàíàõ;
slow — ìåäëåííûé, íåáûñòðûé; íåòîðîïëèâûé,
ìåäëèòåëüíûé)
... it
is
hours
before
anyone
thinks
of
doing
anything
(/ïðîéäóò/ ÷àñû, ïðåæäå ÷åì êòî-íèáóäü íà÷íåò øåâåëèòüñÿ:
«ïîäóìàåò ÷òî-íèáóäü ñäåëàòü»).
And
the
police
of
these
countries
(è ïîëèöèÿ ýòèõ ñòðàí;
police — ïîëèöèÿ; ïîëèöåéñêèå
),
they
will
be
most
trying
to
deal
with
(ñ íèìè áóäåò ÷ðåçâû÷àéíî òðóäíî èìåòü äåëî;
trying — óòîìèòåëüíûé, òðóäíûé;
to
deal /
with/ — ðàñïðåäåëÿòü, ðàçäàâàòü; èìåòü äåëî
/ñ êåì-ëèáî/) —
puffed
up
with
importance
(/îíè òàêèå/ íàäìåííûå îò /ñîáñòâåííîé/ âàæíîñòè;
to
puff — äóòü ïîðûâàìè; ÷ðåçìåðíî è íåçàñëóæåííî
ðàñõâàëèâàòü, âûçûâàòü ãîðäîñòü; puffed
up
— íàäóòûé, ðàçäóòûé; ñàìîäîâîëüíûé, íàäóòûé, êè÷ëèâûé
),
touchy,
on
their
dignity
(îáèä÷èâûå, /òðåáóþò/ ê ñåáå óâàæåíèÿ;
dignity — äîñòîèíñòâî
).
They
will
make
a
grand
affair
of
all
this
(îíè ðàçäóþò ãðàíäèîçíóþ èñòîðèþ èç ýòîãî äåëà: «èç âñåãî ýòîãî»;
affair — äåëî; ðàçã. ñîáûòèå, èñòîðèÿ
).
It
is
not
often
that
such
a
chance
comes
their
way
(íå òàê óæ ÷àñòî òàêîé øàíñ âûïàäàåò íà èõ äîëþ;
to
come
one'
s
way — âûïàñòü íà ÷üþ-ëèáî äîëþ /î ÷åì-íèáóäü
áëàãîïðèÿòíîì/)
. It will be in all the newspapers
(ýòî
áóäåò
âî
âñåõ
ãàçåòàõ
). ...”
unapproachable
["Anq'prqVtSqb(q)l] unfortunate
[An'fO:tSVnIt]
rescue ['reskju:]
importance [Im'pO:t(q)ns]
touchy ['tAtSI]
dignity ['dIgnItI]
But why should he! It is not easy to bribe the English; they are so unapproachable.
The whole thing is most unfortunate. I wonder when we shall get out of this. There must be some rescue work in progress. They are so slow in these countries ... it is hours before anyone thinks of doing anything. And the police
of these countries, they will be most trying to deal with — puffed up with importance, touchy, on their dignity. They will make a grand affair of all this. It is not often that such a chance comes their way. It will be in
all the newspapers. ...”
And from there on, M. Bouc’s thoughts went along a well-worn course
(è
íà÷èíàÿ
ñ
ýòîãî
ìîìåíòà
ìûñëè
ìñüå
Áóêà
ïîøëè
ïî
ïðîòîðåííîìó
ïóòè
; well-worn —
ñèëüíî
èçíîøåííûé;
èñòàñêàííûé,
èçáèòûé)
which they had already traversed some hundred times
(ïî
êîòîðîìó
îíè
óæå
ïåðåäâèãàëèñü
ìíîãîêðàòíî
; to traverse —
ïåðåñåêàòü;
ïåðåìåùàòüñÿ,
äâèãàòüñÿ; time —
âðåìÿ;
ðàç,
ñëó÷àé)
.
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