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ÎÃËÀÂËÅÍÈÅ (ñïèñîê ïðîèçâåäåíèé)

Óáèéñòâî â Âîñòî÷íîì Ýêñïðåññå (9).

Àãàòà Êðèñòè. (9 ñòð.êíèãè)

Dr. Constantine’s thoughts ran thus (òàêèì âîò îáðàçîì øëè äîêòîðà Êîíñòàíòèíà ; to run (ran, run) — áåæàòü) :

“ He is queer, this little man (îí ñòðàííûé, ýòîò êîðîòûøêà; queer — ñòðàííûé, íåîáû÷íûé; ñòðàííûé, ÷óäàêîâàòûé, ýêñöåíòðè÷íûé; little — ìàëåíüêèé, íåáîëüøîé /î ðàçìåðå/; íåâûñîêèé, íåáîëüøîãî ðîñòà ). A genius (ãåíèé; genius — îäàðåííîñòü; ãåíèàëüíûé ÷åëîâåê )? Or a crank (èëè ÷óäàê; crank — ïðè÷óäà, ïðèõîòü; ÷óäàê, ÷åëîâåê ñ ïðè÷óäàìè )? Will he solve this mystery (ðàçðåøèò ëè îí ýòó òàéíó) ? Impossible (íåâîçìîæíî) — I can see no way out of it (ÿ íå âèæó íè îäíîãî ðåøåíèÿ: «íå ìîãó âèäåòü íè îäíîãî âûõîäà èç íåå /òàéíû/»). It is all too confusing (âñå ñëèøêîì çàïóòàíî; to confuse — ñìóùàòü; çàïóòûâàòü, óñëîæíÿòü ). ... Everyone is lying, perhaps (âîçìîæíî, ÷òî âñå ëãóò: «êàæäûé âðåò/îáìàíûâàåò») . ... But even then (íî äàæå â òàêîì ñëó÷àå) , that does not help one (ýòî íå î÷åíü-òî /íàì/ ïîìîãàåò) . If they are all lying , it is just as confusing (åñëè îíè âñå âðóò, ýòî íàñòîëüêî æå çàïóòûâàåò äåëî) as if they were speaking the truth (êàê åñëè áû îíè âñå ãîâîðèëè ïðàâäó) . Odd about those wounds (/è êàê/ ñòðàííî ñ ýòèìè ðàíàìè; odd — íå÷åòíûé; ñòðàííûé, íåîáû÷íûé ). I cannot understand it (íå ìîãó ïîíÿòü). ... It would be easier to understand if he had been shot (áûëî áû ëåã÷å ïîíÿòü, åñëè áû åãî çàñòðåëèëè; to shoot ( shot) — ñòðåëÿòü; ïîïàñòü, ïîðàçèòü /èç îãíåñòðåëüíîãî îðóæèÿ/) — after all, the term ‘ gunman’ must mean that they shoot with a gun (â êîíöå êîíöîâ, âûðàæåíèå "âîîðóæåííûé áàíäèò" äîëæíî îçíà÷àòü, ÷òî îí ñòðåëÿåò: «îíè ñòðåëÿþò» èç îãíåñòðåëüíîãî îðóæèÿ; gun — îðóäèå, ïóøêà; ðóæüå; àìåð. ðàçã. ðåâîëüâåð, ïèñòîëåò ).

 

course [kO:s] traverse [trq'vq:s] queer [kwIq] genius ['dZi:nIqs]

 

And from there on, M. Bouc’s thoughts went along a well-worn course which they had already traversed some hundred times.

Dr. Constantine’s thoughts ran thus:

“He is queer, this little man. A genius? Or a crank? Will he solve this mystery? Impossible — I can see no way out of it. It is all too confusing. ... Everyone is lying, perhaps. ... But even then, that does not help one. If they are all lying, it is just as confusing as if they were speaking the truth. Odd about those wounds. I cannot understand it. ... It would be easier to understand if he had been shot — after all, the term ‘gunman’ must mean that they shoot with a gun.

 

A curious country, America (ëþáîïûòíàÿ ñòðàíà , Àìåðèêà ). I should like to go there (ìíå áû õîòåëîñü òóäà ïîåõàòü ). It is so progressive (îíà òàêàÿ ïåðåäîâàÿ /ïðîãðåññèâíàÿ ). When I get home (êîãäà âåðíóñü äîìîé ; to get home — ïîïàñòü äîìîé, äîáðàòüñÿ äî äîìó) I must get hold of Demetrius Zagone ( ÿ äîëæåí îáÿçàòåëüíî âñòðåòèòüñÿ ñ Äåìåòðèóñîì Çàãîíå; hold — óäåðæèâàíèå ; çàõâàò , õâàòêà ; to get hold of smb. — çàñòàòü êîãî -ëèáî /íà ìåñòå , äîìà è ò .ï ./) — he has been to America ( îí áûâàë â Àìåðèêå) , he has all the modern ideas ( îí çíàåò âñå ïåðåäîâûå èäåè: « ó íåãî åñòü âñå ñîâðåìåííûå èäåè») . ... I wonder what Zia is doing at this moment ( èíòåðåñíî, ÷òî ñåé÷àñ Çèà äåëàåò) . If my wife ever finds out ( åñëè ìîÿ æåíà êîãäà- íèáóäü óçíàåò; to find out — ðàçóçíàòü , âûÿñíèòü ) — ”

His thoughts went on to entirely private matters (è åãî ìûñëè ïåðåøëè ê âñåöåëî ëè÷íûì äåëàì ). ...

 

progressive [prq'gresIv] entirely [In'taIqlI] private ['praIvIt]

 

A curious country, America. I should like to go there. It is so progressive. When I get home I must get hold of Demetrius Zagone — he has been to America, he has all the modern ideas. ... I wonder what Zia is doing at this moment. If my wife ever finds out — ”

His thoughts went on to entirely private matters. ...

 

Hercule Poirot sat very still (Ýðêþëü Ïóàðî ñèäåë /î÷åíü / íåïîäâèæíî ).

One might have thought he was asleep (ìîæíî áûëî ïîäóìàòü , ÷òî îí ñïèò ).

And then, suddenly, after a quarter of an hour’s complete immobility (à çàòåì , âíåçàïíî , ïîñëå ïÿòíàäöàòè ìèíóò : «÷åòâåðòè ÷àñà » ïîëíîé íåïîäâèæíîñòè ) his eyebrows began to move slowly up his forehead (åãî áðîâè ìåäëåííî ïîïîëçëè ââåðõ : «åãî áðîâè íà÷àëè äâèãàòüñÿ ìåäëåííî ââåðõ åãî ëáà »). A little sigh escaped him (îí ñëåãêà âçäîõíóë: «îí èñïóñòèë ñëàáûé âçäîõ»; to escape — áåæàòü /èç çàêëþ÷åíèÿ/; âûðûâàòüñÿ /î ñëîâàõ, ñòîíå/) . He murmured beneath his breath (îí áîðìîòàë øåïîòîì ; beneath one's breath — òèõî, øåïîòîì; breath — äûõàíèå; âçäîõ) .

“ But after all, why not (íî, â êîíöå êîíöîâ, ïî÷åìó áû è íåò) ? And if so (è åñëè /ýòî/ òàê) — why , if so , that would explain everything (áà, äà åñëè ýòî òàê, òî ýòî âñå îáúÿñíÿåò) .”

His eyes opened (ãëàçà åãî îòêðûëèñü). They were green like a cat’ s (îíè áûëè çåëåíûå, êàê ó êîøêè) . He said softly (îí òèõî ñêàçàë; soft — ìÿãêèé; òèõèé, ñïîêîéíûé ): “ Eh bien (ôð. òàê). I have thought (ÿ ïîäóìàë = âñå îáäóìàë) . And you (à âû) ?”

 

immobility ["ImqV'bIlItI] beneath [bI'ni:T] breath [breT]

 

Hercule Poirot sat very still.

One might have thought he was asleep.

And then, suddenly, after a quarter of an hour’s complete immobility his eyebrows began to move slowly up his forehead. A little sigh escaped him. He murmured beneath his breath.

“But after all, why not? And if so — why, if so, that would explain everything.”

His eyes opened. They were green like a cat’s. He said softly: “ Eh bien. I have thought. And you?”

 

Lost in their reflections (ïîãðóæåííûå â ñâîè ðàçìûøëåíèÿ ; to lose (lost) — òåðÿòü; óãëóáèòüñÿ, ïîãðóçèòüñÿ âî ÷òî- ëèáî; reflection — îòðàæåíèå; ðàçìûøëåíèå, ðàçäóìüå) , both men started violently ( îáà / ìóæ÷èíû/ ñèëüíî âçäðîãíóëè / îò íåîæèäàííîñòè/; violent — íåèñòîâûé , ÿðîñòíûé ; ñèëüíûé , ðåçêèé ).

“I have thought also (ÿ òîæå îáäóìûâàë ),” said M. Bouc, just a shade guiltily (ñ íåìíîãî âèíîâàòûì âèäîì ; shade — òåíü, ïîëóìðàê; òåíü, íàìåê; guilty — âèíà; ñîçíàíèå âèíû; guiltily — âèíîâàòî) . “But I have arrived at no conclusion ( íî ÿ íå ïðèøåë íè ê êàêîìó âûâîäó) . The elucidation of crime ( ðàñêðûòèå ïðåñòóïëåíèé; to elucidate — ïðîëèâàòü ñâåò , ðàçúÿñíÿòü ; elucidation — ðàçúÿñíåíèå , ïîÿñíåíèå ) is your métier (ýòî âàøà ïðîôåññèÿ ; métier — ôð. ðîä äåÿòåëüíîñòè, çàíÿòèå, ðåìåñëî) , not mine ( à íå ìîÿ) , my friend.”

 

reflection [rI'flekS(q)n] guiltily ['gIltIlI] elucidation [I"lu:sI'deIS(q)n]

metier ['me(I)tIeI]

 

Lost in their reflections, both men started violently.

“I have thought also,” said M. Bouc, just a shade guiltily. “But I have arrived at no conclusion. The elucidation of crime is your métier, not mine, my friend.”

 

“I, too, have reflected ( ÿ òîæå ðàçìûøëÿë; to reflect — îòðàæàòü ; ðàçìûøëÿòü , ðàçäóìûâàòü ) with great earnestness (ñî âñåé ñåðüåçíîñòüþ ; great — áîëüøîé, çíà÷èòåëüíûé; earnest — ñåðüåçíîñòü, íåøóòî÷íîñòü) ,” said the doctor, unblushingly recalling his thoughts (áåççàñòåí÷èâî îòâëåêàÿñü : «îòâëåêàÿ ñâîè ìûñëè »; to blush — êðàñíåòü, ñìóùàòüñÿ, ñòûäèòüñÿ; to recall — îòçûâàòü / ïîñëà, äåïóòàòà è ò. ï./; âûâîäèòü / èç êàêîãî- ëèáî ñîñòîÿíèÿ/, îòâëåêàòü / îò ÷åãî- ëèáî/ ) from certain pornographic details (îò íåêîòîðûõ íåïðèñòîéíûõ : «ïîðíîãðàôè÷åñêèõ » ïîäðîáíîñòåé ). “I have thought of many possible theories , but not one (ÿ ïîäóìàë î ìíîæåñòâå âîçìîæíûõ òåîðèé, íî /òàê è íå ïðèäóìàë/ òîé òåîðèè) that really satisfies me (êîòîðàÿ áû ìåíÿ äåéñòâèòåëüíî óäîâëåòâîðèëà) .”

Poirot nodded amiably (Ïóàðî äðóæåñêè êèâíóë) . His nod seemed to say (åãî êèâîê, êàçàëîñü, ãîâîðèë) :

“ Quite right (ñîâåðøåííî âåðíî). That is the proper thing to say (òàê è ñëåäîâàëî ñêàçàòü: «ýòî ïðàâèëüíûå/íàäëåæàùèå ñëîâà, êîòîðûå íàäî ñêàçàòü»; proper — ïðèñóùèé, ñâîéñòâåííûé; ïðàâèëüíûé, íàäëåæàùèé). You have given me the cue I expected (âû èçðåêëè: «äàëè ìíå òàêóþ ðåïëèêó» /÷òî/ ÿ è îæèäàë; cue — òåàòð. ðåïëèêà; àëëþçèÿ, íàìåê ).”

 

unblushing [" An' blASIN] pornographic [" pO: nq' grxfIk] theory [' TI( q) rI]

 

“I , too , have reflected with great earnestness ,” said the doctor, unblushingly recalling his thoughts from certain pornographic details. “I have thought of many possible theories, but not one that really satisfies me.”

Poirot nodded amiably. His nod seemed to say:

“Quite right. That is the proper thing to say. You have given me the cue I expected.”

 

He sat very upright (îí ñåë î÷åíü ïðÿìî ; upright — ïðÿìî, âåðòèêàëüíî) , threw out his chest ( âûïÿòèë ãðóäü; to throw (threw, thrown) out — âûáðàñûâàòü ; äåëàòü âûïóêëûì ; chest — ÿùèê , ñóíäóê ; àíàò . ãðóäíàÿ êëåòêà , ãðóäü ), caressed his moustache (ïðèãëàäèë óñû ; to caress — ëàñêàòü; ãëàäèòü) and spoke in the manner of a practised speaker ( è çàãîâîðèë â ìàíåðå îïûòíîãî îðàòîðà; to practise — òðåíèðîâàòüñÿ , ïðàêòèêîâàòüñÿ ; speaker — ãîâîðÿùèé ; âûñòóïàþùèé /íà ñîáðàíèè /, îðàòîð ) addressing a public meeting (âûñòóïàþùåãî ñ ðå÷üþ íà ñîáðàíèè ; to address — àäðåñîâàòü, íàïðàâëÿòü; âûñòóïàòü) .

“My friends, I have reviewed the facts in my mind (äðóçüÿ ìîè , ÿ ïðîàíàëèçèðîâàë â óìå âñå ôàêòû ; to review — ðàññìàòðèâàòü, ïåðåñìàòðèâàòü, ðàçáèðàòü) , and have also gone over to myself ( è ïîâòîðèë ïðî ñåáÿ; to go over — ïîéòè , ñõîäèòü ; ïåðå÷èòûâàòü , ïîâòîðÿòü /÷òî -ëèáî /) the evidence of the passengers ( ïîêàçàíèÿ ïàññàæèðîâ) — with this result ( è ïðèøåë ê òàêîìó âûâîäó: « ñ òàêèì ðåçóëüòàòîì») : I see, nebulously as yet, a certain explanation ( ÿ âèæó, ïîêà åùå ñìóòíî, îïðåäåëåííîå îáúÿñíåíèå) that would cover the facts as we know them ( êîòîðîå îõâàòèò âñå ôàêòû, êîòîðûå íàì èçâåñòíû: « êàê ìû èõ çíàåì»; to cover — ïîêðûâàòü , çàêðûâàòü ; ïîêðûâàòü , îõâàòûâàòü , îòíîñèòüñÿ ê ). It is a very curious explanation (ýòî î÷åíü ñòðàííîå = íåîáû÷íîå îáúÿñíåíèå ), and I cannot be sure as yet that it is the true one (è ïîêà ÿ íå ìîãó áûòü óâåðåííûì , ÷òî ýòî âåðíîå /îáúÿñíåíèå /). To find out definitely (÷òîáû îïðåäåëåííî ýòî âûÿñíèòü) I shall have to make certain experiments (ÿ äîëæåí áóäó ïðîâåñòè îïðåäåëåííûå ýêñïåðèìåíòû) .

upright ['ApraIt] caress [kq'res] moustache [mq'stQ:S] nebulous ['nebjVlqs]

 

He sat very upright, threw out his chest, caressed his moustache and spoke in the manner of a practised speaker addressing a public meeting.

“My friends, I have reviewed the facts in my mind, and have also gone over to myself the evidence of the passengers — with this result: I see, nebulously as yet, a certain explanation that would cover the facts as we know them. It is a very curious explanation, and I cannot be sure as yet that it is the true one. To find out definitely I shall have to make certain experiments.

“ I would like first to mention certain points (äëÿ íà÷àëà ìíå áû õîòåëîñü óïîìÿíóòü îïðåäåëåííûå ìîìåíòû) which appear to me suggestive (êîòîðûå êàæóòñÿ ìíå íàâîäÿùèìè íà /îïðåäåëåííûå âûâîäû/; to appear — ïîÿâëÿòüñÿ, ïîêàçûâàòüñÿ; êàçàòüñÿ, ïðåäñòàâëÿòüñÿ ). Let us start with a remark made to me by M. Bouc (äàâàéòå íà÷íåì ñî ñëîâ, ñêàçàííûõ ìíå ìñüå Áóêîì; to make a remark — ñäåëàòü, âûñêàçàòü çàìå÷àíèå ) in this very place (â ýòîì æå ñàìîì ìåñòå = â âàãîíå-ðåñòîðàíå) on the occasion of our first lunch together on the train (ïî ñëó÷àþ íàøåãî ïåðâîãî ñîâìåñòíîãî îáåäà â ïîåçäå) . He commented on the fact (îí âûñêàçàë ñâîå ìíåíèå îòíîñèòåëüíî òîãî ôàêòà; to comment — êîììåíòèðîâàòü, òîëêîâàòü; âûñêàçûâàòüñÿ, ñîîáùàòü ñâîå ìíåíèå ) that we were surrounded by people of all classes (÷òî ìû îêðóæåíû ëþäüìè âñåõ ñîñëîâèé: «îáùåñòâåííûõ êëàññîâ»), of all ages (âñåõ âîçðàñòîâ), of all nationalities (âñåõ íàöèîíàëüíîñòåé). That is a fact somewhat rare at this time of year (÷òî ñëó÷àåòñÿ äîâîëüíî ðåäêî: «ýòî ñîáûòèå íåìíîãî ðåäêîå» â ýòî âðåìÿ ãîäà) . The Athens-Paris and the Bucharest-Paris coaches for instance, are almost empty (âàãîíû « Àôèíû-Ïàðèæ » è « Áóõàðåñò-Ïàðèæ », ê ïðèìåðó, ïî÷òè ïóñòû) . Remember also , the passenger who failed to turn up (âñïîìíèòå òàêæå òîãî ïàññàæèðà, êîòîðûé òàê è íå ïîÿâèëñÿ; to fail — òåðïåòü íåóäà÷ó, to fail to do smth. — íå ñóìåòü, áûòü íå â ñîñòîÿíèè ñäåëàòü ÷òî-ëèáî; to turn up — ïîäíèìàòü(ñÿ) êâåðõó, âíåçàïíî ïîÿâëÿòüñÿ, ïðèõîäèòü, ïðèåçæàòü ). He is, I think , significant (îí, êàê ìíå êàæåòñÿ, âàæåí; significant — çíàìåíàòåëüíûé, âàæíûé; ñóùåñòâåííûé ).

suggestive [sq'dZestIv] occasion [q'keIZ(q)n] nationality ["nxSq'nxlItI]

significant [sIg'nIfIkqnt]

 

“I would like first to mention certain points which appear to me suggestive. Let us start with a remark made to me by M. Bouc in this very place on the occasion of our first lunch together on the train. He commented on the fact that we were surrounded by people of all classes, of all ages, of all nationalities. That is a fact somewhat rare at this time of year. The Athens-Paris and the Bucharest-Paris coaches, for instance, are almost empty. Remember also, the passenger who failed to turn up. He is, I think, significant.

Then there are some minor points (çàòåì, åñòü åùå äåòàëè: « íåêîòîðûå ìåëêèå ìîìåíòû »; minor — íåçíà÷èòåëüíûé , âòîðîñòåïåííûé ) that strike me as suggestive (êîòîðûå êàæóòñÿ ìíå ñóùåñòâåííûìè : «íàâîäÿùèìè íà ðàçìûøëåíèÿ»; to strike — óäàðÿòü , áèòü; ïîðàæàòü, ïðîèçâîäèòü âïå÷àòëåíèå , ïðèâëåêàòü âíèìàíèå ) — for instance, the position of Mrs. Hubbard’s sponge-bag (íàïðèìåð, ïîëîæåíèå ñóìî÷êè /äëÿ âàííûõ ïðèíàäëåæíîñòåé/ ìèññèñ Õàááàðä ), the name of Mrs. Armstrong’s mother (ôàìèëèÿ ìàòåðè ìèññèñ Àðìñòðîíã ; name — èìÿ , ôàìèëèÿ ), the detective methods of M. Hardman (ñûñêíûå ìåòîäû ìèñòåðà Õàðäìàíà) , the suggestion of M. MacQueen ( ïðåäïîëîæåíèå ìèñòåðà Ìàêêóèíà ) that Ratchett himself destroyed the charred note we found (÷òî Ðýò÷åòò ñàì óíè÷òîæèë òó îáóãëèâøóþñÿ çàïèñêó, êîòîðóþ ìû íàøëè; to destroy — ðàçðóøàòü; óíè÷òîæàòü; to char — îáæèãàòü, îáóãëèâàòü (ñÿ) ), Princess Dragomiroff’s Christian name ( èìÿ êíÿãèíè Äðàãîìèðîâîé ; Christian name — èìÿ, äàííîå ïðè êðåùåíèè; èìÿ /â îòëè÷èå îò ôàìèëèè/ ), and a grease spot on a Hungarian passport (è æèðíîå ïÿòíî íà âåíãåðñêîì ïàñïîðòå; grease — òîïëåíîå ñàëî, æèð).”

 

minor ['maInq] suggestive [sq'dZestIv] destroy [dIs'trOI] char [tSQ:] grease [gri:s]

 

Then there are some minor points that strike me as suggestive — for instance, the position of Mrs. Hubbard’s sponge-bag, the name of Mrs. Armstrong’s mother, the detective methods of M. Hardman, the suggestion of M. MacQueen that Ratchett himself destroyed the charred note we found, Princess Dragomiroff’s Christian name, and a grease spot on a Hungarian passport.”

 

The two men stared at him (äâîå ìóæ÷èí óñòàâèëèñü íà íåãî /â óäèâëåíèè/) .

“ Do they suggest anything to you, those points (îíè ãîâîðÿò âàì î ÷åì-íèáóäü, ýòè äåòàëè; to suggest — ïðåäëàãàòü, ñîâåòîâàòü; íàìåêàòü, íàâîäèòü /íà ìûñëü/, ãîâîðèòü, îçíà÷àòü) ?” asked Poirot .

“ Not a thing (íè÷åãî),” said M. Bouc frankly (èñêðåííå ñêàçàë ìñüå Áóê; frank — îòêðîâåííûé, èñêðåííèé, îòêðûòûé ).

“ And M. le docteur (à âàì, ãîñïîäèí äîêòîð) ?”

“ I do not understand in the least what you are talking of (ÿ âîîáùå íå ïîíèìàþ, î ÷åì âû ãîâîðèòå; not in the least — íè â ìàëåéøåé ñòåïåíè, íè÷óòü, íèñêîëüêî ).”

M. Bouc, meanwhile, seizing upon the one tangible thing (òåì âðåìåíåì, ìñüå Áóê, óõâàòèâøèñü çà îäíó âåùåñòâåííóþ äåòàëü; tangible — îñÿçàåìûé; ìàòåðèàëüíûé, ðåàëüíûé, âåùåñòâåííûé) his friend had mentioned (î êîòîðîé óïîìÿíóë åãî äðóã) , was sorting through the passports (óæå ïåðåáèðàë ïàñïîðòà; to sort — ðàçáèðàòü, ñîðòèðîâàòü; through — çä. óêàçûâàåò íà ñîâåðøåíèå äåéñòâèÿ îò íà÷àëà äî êîíöà) . With a grunt (õìûêíóâ; grunt — õðþêàíüå; âîð÷àíèå ) he picked up that of Count and Countess Andrenyi and opened it (îí âçÿë â ðóêè ïàñïîðò ãðàôà è ãðàôèíè Àíäðåíè è îòêðûë åãî; to pick up — ïîäíèìàòü, ïîäáèðàòü ).

 

meanwhile ['mi:nwaIl] tangible ['txndZqb(q)l] through [Tru:]

 

The two men stared at him.

“Do they suggest anything to you, those points?” asked Poirot.

“Not a thing,” said M. Bouc frankly.

“And M. le docteur?”

“I do not understand in the least what you are talking of.”

M. Bouc, meanwhile, seizing upon the one tangible thing his friend had mentioned, was sorting through the passports. With a grunt he picked up that of Count and Countess Andrenyi and opened it.

 

“Is this what you mean (âû ýòî èìååòå â âèäó )? This dirty mark (ýòî ãðÿçíîå ïÿòíî ; mark — çíàê; ñëåä, îòïå÷àòîê) ?”

“ Yes. It is a fairly fresh grease spot (ýòî ñîâåðøåííî ñâåæåå æèðíîå ïÿòíî; fairly — ÷åñòíî, ñïðàâåäëèâî; ýìîö.-óñèë. ñîâåðøåííî, ÿâíî, âåñüìà). You notice where it occurs (âû çàìåòèëè, ãäå îíî ðàñïîëîæèëîñü; to occur — ñëó÷àòüñÿ, ïðîèñõîäèòü; âñòðå÷àòüñÿ, ïîïàäàòüñÿ)?”

“At the beginning of the description of the Count’s wife (â íà÷àëå îïèñàíèÿ æåíû ãðàôà ) — her Christian name, to be exact (íà åå èìåíè , åñëè áûòü òî÷íûì ). But I confess that I still do not see the point (íî ÿ /äîëæåí/ ïðèçíàòü, ÷òî ÿ âñå åùå íå âèæó â ÷åì ñóòü).”

 

dirty ['dq:tI] Christian ['krIstSqn, 'krIstIqn]

 

“Is this what you mean? This dirty mark?”

“Yes. It is a fairly fresh grease spot. You notice where it occurs?”

“At the beginning of the description of the Count’s wife — her Christian name, to be exact. But I confess that I still do not see the point.”

 

“I am going to approach it from another angle (ÿ ïîäîéäó ê ýòîìó /âîïðîñó/ ñ äðóãîé ñòîðîíû; angle — óãîë; ñòîðîíà, îòâåò /âîïðîñà, äåëà è ò.ï./). Let us go back to the handkerchief found at the scene of the crime (äàâàéòå âåðíåìñÿ íàçàä , ê ïëàòêó , îáíàðóæåííîìó íà ìåñòå ïðåñòóïëåíèÿ ). As we stated not long ago (êàê ìû íå òàê äàâíî óñòàíîâèëè ; to state — èçëàãàòü, çàÿâëÿòü; óñòàíàâëèâàòü, òî÷íî îïðåäåëÿòü) , three people are associated with the letter H ( òðè ÷åëîâåêà ñâÿçàíû ñ áóêâîé Í; to associate — îáúåäèíÿòüñÿ /â îáùåñòâî , áëîê , ñîþç /; àññîöèèðîâàòü , íàïîìèíàòü ): Mrs. Hubbard, Miss Debenham and the maid (è ñëóæàíêà ), Hildegarde Schmidt. Now let us regard that handkerchief from another point of view (òåïåðü äàâàéòå ðàññìîòðèì ýòîò íîñîâîé ïëàòîê ñ äðóãîé òî÷êè çðåíèÿ ). It is, my friends, an extremely expensive handkerchief (ýòî , äðóçüÿ ìîè , ÷ðåçâû÷àéíî äîðîãîñòîÿùèé ïëàòîê ) — an objet de luxe (ôð . ïðåäìåò ðîñêîøè) , hand-made, embroidered in Paris ( ðó÷íîé ðàáîòû, óêðàøåííûé âûøèâêîé â Ïàðèæå) . Which of the passengers, apart from the initial ( êîìó èç ïàññàæèðîâ, åñëè íå îáðàùàòü âíèìàíèÿ íà èíèöèàë; apart from — êðîìå , íå ñ÷èòàÿ , íå ãîâîðÿ î ), was likely to own such a handkerchief (ñêîðåå âñåãî , ïðèíàäëåæèò òàêîé ïëàòîê ; to own — èìåòü, âëàäåòü, îáëàäàòü) ?

 

angle ['xNg(q)l] extremely [Ik'stri:mlI] expensive [Ik'spensIv]

 

“I am going to approach it from another angle. Let us go back to the handkerchief found at the scene of the crime. As we stated not long ago, three people are associated with the letter H: Mrs. Hubbard, Miss Debenham and the maid, Hildegarde Schmidt. Now let us regard that handkerchief from another point of view. It is, my friends, an extremely expensive handkerchief — an objet de luxe, hand-made, embroidered in Paris. Which of the passengers, apart from the initial, was likely to own such a handkerchief?

 

Not Mrs. Hubbard, a worthy woman ( íå ìèññèñ Õàááàðä, ïî÷òåííîé æåíùèíå; worthy — äîñòîéíûé , çàñëóæèâàþùèé ; ïî÷òåííûé ) with no pretensions to reckless extravagance in dress (áåç âñÿêèõ ïðåòåíçèé íà áåçðàññóäíûå êðàéíîñòè â îäåæäå ; extravagance — ðàñòî÷èòåëüñòâî; ïðåóâåëè÷åíèå) . Not Miss Debenham ( íå ìèññ Äåáåíõýì) — that class of Englishwoman ( àíãëè÷àíêè åå êðóãà: « êëàññà») has a dainty linen handkerchief ( ïîëüçóþòñÿ èçÿùíûìè ëüíÿíûìè ïëàòêàìè) , not an expensive wisp of cambric ( à íå äîðîãîñòîÿùèìè êëî÷êàìè áàòèñòà; wisp — ïó÷îê , êëîê /ñîëîìû , ñåíà /; íå÷òî õðóïêîå , ëåãêîå ) costing perhaps two hundred francs (êîòîðûå , âïîëíå âîçìîæíî , ñòîÿò äâåñòè ôðàíêîâ /çà øòóêó /; to cost — ñòîèòü, îáõîäèòüñÿ) . And certainly not the maid (è óæ êîíå÷íî, íå /ìîæåò ïðèíàäëåæàòü/ ñëóæàíêå) . But there are two women on the train who would be likely to own such a handkerchief (íî â ýòîì ïîåçäå åñòü äâå æåíùèíû , êîòîðûå ìîãëè áû îáëàäàòü òàêèì ïëàòêîì ). Let us see if we can connect them in any way with the letter H (äàâàéòå ïîñìîòðèì , ñìîæåì ëè ìû ñâÿçàòü èõ êàê -íèáóäü ñ áóêâîé Í ). The two women I refer to (äâå æåíùèíû, î êîòîðûõ ÿ ãîâîðþ; to refer — ïîñûëàòü, îòñûëàòü /ê êîìó-ëèáî, ÷åìó-ëèáî/; óïîìèíàòü /÷òî-ëèáî, êîãî-ëèáî/; ãîâîðèòü /î êîì-ëèáî, ÷åì-ëèáî/, ïîäðàçóìåâàòü ) are Princess Dragomiroff (ýòî ïðèíöåññà Äðàãîìèðîâà) — ”

“ Whose Christian name is Natalia (êîòîðóþ çîâóò Íàòàëèÿ) ,” put in M . Bouc ironically (èðîíè÷íî âñòàâèë ìñüå Áóê; to put in — ïðåðûâàòü, âìåøèâàòüñÿ /â ðàçãîâîð/ ).

pretension [prI'tenS(q)n] extravagance [Ik'strxvqgqns] ironically [aI'r OnIk(q)lI]

 

Not Mrs. Hubbard, a worthy woman with no pretensions to reckless extravagance in dress. Not Miss Debenham — that class of Englishwoman has a dainty linen handkerchief, not an expensive wisp of cambric costing perhaps two hundred francs. And certainly not the maid. But there are two women on the train who would be likely to own such a handkerchief. Let us see if we can connect them in any way with the letter H. The two women I refer to are Princess Dragomiroff — ”

“Whose Christian name is Natalia,” put in M. Bouc ironically.

“Exactly (âîò èìåííî). And her Christian name, as I said just now (è åå èìÿ , êàê ÿ òîëüêî ÷òî ñêàçàë), is decidedly suggestive (ðåøèòåëüíî íàâîäèò íà ðàçìûøëåíèÿ ). The other woman is Countess Andrenyi (âòîðàÿ æåíùèíà — ýòî ãðàôèíÿ Àíäðåíè) . And at once something strikes us ( è òóò æå êîå-÷òî ïðèõîäèò íàì â ãîëîâó; to strike (struck; stricken) — óäàðÿòü , áèòü; ïîðàæàòü; ïðèõîäèòü â ãîëîâó) — ”

“ You (âàì)!”

“Me , then (çíà÷èò, ìíå) . Her Christian name on her passport is disfigured by a blob of grease (åå èìÿ â ïàñïîðòå èñïîð÷åíî ïÿòíîì æèðà ; to disfigure — îáåçîáðàæèâàòü; ïîðòèòü; blob — êàïëÿ; öâåòíîå ïÿòíî) . j ust an accident, anyone would say (ïðîñòàÿ ñëó÷àéíîñòü — /òàê/ ñêàçàë áû ëþáîé; accident — íåñ÷àñòíûé ñëó÷àé; ñëó÷àé, ñëó÷àéíîñòü ). But consider that Christian name, Elena ( íî ïîñìîòðèòå íà ýòî èìÿ — Åëåíà) . Suppose that, instead of Elena, it were Helena ( ïðåäïîëîæèì, ÷òî âìåñòî Åëåíà òàì áûëî / èìÿ/ Õåëåíà) . That capital H could be turned into a capital E ( çàãëàâíóþ áóêâó Í ìîæíî áûëî ïåðåïðàâèòü â çàãëàâíóþ Å; to turn smth. into smth. — ïðåâðàùàòü ÷òî -ëèáî âî ÷òî -ëèáî ) and then run over the small ‘e’ next to it quite easily (è çàòåì äîâîëüíî ëåãêî çàåõàòü íà ñòðî÷íóþ /áóêâó / "å ", ñëåäóþùóþ çà íåé ) — and then a spot of grease dropped (è çàòåì ðîíÿåòñÿ êàïëÿ æèðà ) to cover up the alteration (÷òîáû ïðèêðûòü ýòî èçìåíåíèå ; to cover up — ïîêðûâàòü, çàêðûâàòü; ïðÿòàòü, ñêðûâàòü) .”

 

decidedly [dI'saIdIdlI] disfigured [dIs'fIgqd] accident ['xksId(q)nt] capital ['kxpItl] alteration ["O:ltq'reIS(q)n]

 

“Exactly. And her Christian name, as I said just now, is decidedly suggestive. The other woman is Countess Andrenyi. And at once something strikes us — ”

“You!”

“Me, then. Her Christian name on her passport is disfigured by a blob of grease. just an accident, anyone would say. But consider that Christian name. Elena. Suppose that, instead of Elena, it were Helena. That capital H could be turned into a capital E and then run over the small ‘e’ next to it quite easily — and then a spot of grease dropped to cover up the alteration.”

 

“Helena!” cried M. Bouc (âîñêëèêíóë ìñüå Áóê ). “It is an idea, that (à ýòî ìûñëü ).”

“Certainly it is an idea (êîíå÷íî , ýòî ìûñëü )! I look about for any confirmation, however slight, of my idea (ÿ îãëÿäûâàþñü /âîêðóã / â ïîèñêàõ ëþáîãî ïîäòâåðæäåíèÿ , õîòÿ áû ñàìîãî íåçíà÷èòåëüíîãî , ýòîé ìîåé ìûñëè ; slight — õóäîùàâûé, òîíêèé; ñëàáûé, íåçíà÷èòåëüíûé) — and I find it ( è ÿ íàõîæó åãî) . One of the luggage labels on the Countess’s baggage is slightly damp (îäíà èç íàêëååê íà ÷åìîäàíû íà áàãàæå ãðàôèíè îêàçûâàåòñÿ ñëåãêà âëàæíîé ). It is one that happens to run over the first initial on top of the case (ýòî òà ñàìàÿ íàêëåéêà êîòîðàÿ , îêàçûâàåòñÿ , íàåçæàåò íà ïåðâûé èíèöèàë /ðàñïîëîæåííûé / íà êðûøêå ÷åìîäàíà ; to happen — ñëó÷àòüñÿ, ïðîèñõîäèòü; îêàçûâàòüñÿ / ñëó÷àéíî/ ). That label has been soaked off (ýòà íàêëåéêà áûëà íàìî÷åíà è îòêëååíà ; to soak — ìî÷èòü, çàìà÷èâàòü; off — çä. óêàçûâàåò íà îòäåëåíèå îò ÷åãî- ëèáî) and put on again in a different place ( è ñíîâà íàêëååíà â äðóãîì ìåñòå; to put — êëàñòü ; ñòàâèòü , ïîìåùàòü , ðàçìåùàòü ).”

“You begin to convince me (âû ïî÷òè óáåäèëè ìåíÿ; to begin — íà÷èíàòü, ïðèñòóïàòü /ê ÷åìó-ëèáî/ ),” said M. Bouc. “But the Countess Andrenyi — surely ( íî ãðàôèíÿ Àíäðåíè — íåñîìíåííî) — ”

 

idea [aI'dIq] damp [dxmp] convince [kqn'vIns]

 

“Helena!” cried M. Bouc. “It is an idea, that.”

“Certainly it is an idea! I look about for any confirmation, however slight, of my idea — and I find it. One of the luggage labels on the Countess’s baggage is slightly damp. It is one that happens to run over the first initial on top of the case. That label has been soaked off and put on again in a different place.”

“You begin to convince me,” said M. Bouc. “But the Countess Andrenyi — surely — ”

 

“Ah, now, mon vieux, you must turn yourself round (à , òåïåðü , ñòàðèíà , âû äîëæíû ðàçâåðíóòüñÿ ; to turn round — îáîðà÷èâàòüñÿ, ïîâîðà÷èâàòüñÿ) and approach an entirely different angle of the case (è ïîäîéòè ñ ñîâåðøåííî äðóãîé ñòîðîíû ê ýòîìó äåëó ; angle — óãîë; ñòîðîíà, àñïåêò / äåëà, âîïðîñà è ò. ï./ ). How was this murder intended to appear to everybody (êàêèì îáðàçîì ýòî óáèéñòâî äîëæíî áûëî ïðåäñòàòü: «çàìûøëÿëîñü ïðåäñòàòü» ïåðåä âñåìè; to intend — íàìåðåâàòüñÿ, õîòåòü; ïðåäïîëàãàòü /ñäåëàòü ÷òî-ëèáî/ )? Do not forget that the snow has upset all the murderer’ s original plan (íå çàáûâàéòå, ÷òî ñíåãîïàä ðàññòðîèë âñå ïåðâîíà÷àëüíûå ïëàíû óáèéöû; to upset — îïðîêèäûâàòü; ðàññòðàèâàòü, íàðóøàòü /ïîðÿäîê è ò.ï./) . Let us imagine, for a little minute, that there is no snow (äàâàéòå ïðåäñòàâèì ñåáå íà ìãíîâåíèå , ÷òî ñíåãà íåò ), that the train proceeded on its normal course (è ÷òî ïîåçä ñëåäóåò ñâîèì îáû÷íûì êóðñîì ; to proceed — ïðîäîëæàòü / ïóòü/ ). What, then, would have happened (÷òî ïðîèçîøëî áû òîãäà ; to happen — ñëó÷àòüñÿ, ïðîèñõîäèòü) ?

 

approach [q'prqVtS] entirely [In'taIqlI] proceed [prq'si:d]

 

“Ah, now, mon vieux, you must turn yourself round and approach an entirely different angle of the case. How was this murder intended to appear to everybody? Do not forget that the snow has upset all the murderer’s original plan. Let us imagine, for a little minute, that there is no snow, that the train proceeded on its normal course. What, then, would have happened?

 

“The murder, let us say ( óáèéñòâî, ñêàæåì/ íàïðèìåð) , would still have been discovered in all probability at the Italian frontier (âñå æå áûëî áû îáíàðóæåíî , ïî âñåé âåðîÿòíîñòè , íà èòàëüÿíñêîé ãðàíèöå ; to discover — äåëàòü îòêðûòèå; îáíàðóæèâàòü, íàõîäèòü) early this morning ( ñåãîäíÿ ðàíî óòðîì) . Much of the same evidence ( ïî÷òè òàêèå æå ïîêàçàíèÿ; much — î÷åíü ; ïðèáëèçèòåëüíî , ïðèìåðíî ) would have been given to the Italian police (áûëè áû ïðåäîñòàâëåíû èòàëüÿíñêîé ïîëèöèè ). The threatening letters would have been produced by M. MacQueen (ìèñòåðîì Ìàêêóèíîì áûëè áû ïðåäúÿâëåíû óãðîæàþùèå ïèñüìà ; letter — áóêâà; ïèñüìî) ; M. Hardman would have told his story ( ìèñòåð Õàðäìàí ðàññêàçàë áû ñâîþ èñòîðèþ) ; Mrs. Hubbard would have been eager to tell how a man passed through her compartment (ìèññèñ Õàááàðä æàæäàëà áû ðàññêàçàòü , êàê ÷åðåç åå êóïå ïðîøåë êàêîé -òî ìóæ÷èíà ); the button would have been found (îáíàðóæèëàñü áû ïóãîâèöà ). I imagine (ÿ ïîëàãàþ; to imagine — âîîáðàæàòü; ïðåäïîëàãàòü, äóìàòü, ïîëàãàòü) that two things only would have been different (÷òî òîëüêî äâà ìîìåíòà áûëè áû äðóãèìè; different — ðàçëè÷íûé, ðàçíûé; èíîé, äðóãîé ). The man would have passed through Mrs. Hubbard’ s compartment just before one o’ clock (ìóæ÷èíà ïðîøåë áû ÷åðåç êóïå ìèññèñ Õàááàðä íåçàäîëãî = çà íåñêîëüêî ìèíóò äî ÷àñó íî÷è) — and the Wagon Lit uniform (è óíèôîðìà /ïðîâîäíèêà êîìïàíèè/ ñïàëüíûõ âàãîíîâ) would have been found cast off in one of the toilets (áûëà áû íàéäåíà âûáðîøåííîé â îäíîì èç òóàëåòîâ; to cast off — áðîñàòü, ïîêèäàòü /êîãî-ëèáî/; îòáðàñûâàòü, âûáðàñûâàòü).”

 

frontier ['frAntIq] threatening ['TretnIN] different ['dIf(q)rqnt]

 

“The murder, let us say, would still have been discovered in all probability at the Italian frontier early this morning. Much of the same evidence would have been given to the Italian police. The threatening letters would have been produced by M. MacQueen; M. Hardman would have told his story; Mrs. Hubbard would have been eager to tell how a man passed through her compartment; the button would have been found. I imagine that two things only would have been different. The man would have passed through Mrs. Hubbard’s compartment just before one o’clock — and the Wagon Lit uniform would have been found cast off in one of the toilets.”

 

“ You mean (âû õîòèòå ñêàçàòü)?”

“I mean that the murder was planned to look like an outside job (ÿ õî÷ó ñêàçàòü, ÷òî ýòî óáèéñòâî áûëî çàïëàíèðîâàíî /òàêèì îáðàçîì/, ÷òîáû /îíî/ áûëî ïîõîæå íà äåëî /ðóê íåêîåãî/ ïîñòîðîííåãî /÷åëîâåêà/; outside — íàðóæíûé, âíåøíèé; âíåøíèé, ïîñòîðîííèé ). It would have been presumed (ïðåäïîëîæèëè áû) that the assassin had left the train at Brod (÷òî óáèéöà ïîêèíóë ïîåçä â Áðîäå) where it is timed to arrive at 0.58 (êóäà îí äîëæåí áûë ïðèáûòü â 0.58; time — âðåìÿ; to time — âûáèðàòü âðåìÿ; íàçíà÷àòü èëè óñòàíàâëèâàòü âðåìÿ). Somebody would probably have passed a strange Wagon Lit conductor in the corridor (êòî-íèáóäü, âîçìîæíî, ïðîøåë áû ìèìî ñòðàííîãî ïðîâîäíèêà ñïàëüíûõ âàãîíîâ â êîðèäîðå) . The uniform would be left in a conspicuous place (óíèôîðìà áûëà áû îñòàâëåíà â êàêîì-íèáóäü çàìåòíîì ìåñòå; conspicuous — âèäèìûé, çàìåòíûé, áðîñàþùèéñÿ â ãëàçà) so as to show clearly just how the trick had been played (äëÿ òîãî ÷òîáû ÿñíî ïîêàçàòü, êàê èìåííî ýòîò ôîêóñ áûë ïðîäåëàí; trick — õèòðîñòü, îáìàí; ôîêóñ, òðþê; to play — èãðàòü, ðåçâèòüñÿ; ïîñòóïàòü, äåéñòâîâàòü ). No suspicion would have attached to the passengers (íèêàêèå ïîäîçðåíèÿ íå ïàëè áû íà ïàññàæèðîâ; to attach — ïðèêðåïëÿòü, ïðèñîåäèíÿòü; ïðèïèñûâàòü ). That, my friends, was how the affair was intended to appear to the outside world (âîò , äðóçüÿ ìîè , êàê ýòî äåëî äîëæíî áûëî ïðåäñòàòü âñåìó : «âíåøíåìó » ìèðó ).

 

assassin [q'sxsIn] conspicuous [kqn'spIkjVqs] appear [q'pIq]

 

“You mean?”

“I mean that the murder was planned to look like an outside job. It would have been presumed that the assassin had left the train at Brod where it is timed to arrive at 0.58. Somebody would probably have passed a strange Wagon Lit conductor in the corridor. The uniform would be left in a conspicuous place so as to show clearly just how the trick had been played. No suspicion would have attached to the passengers. That, my friends, was how the affair was intended to appear to the outside world.

 

“ But the accident to the train changes everything (íî ïðîèñøåñòâèå ñ ïîåçäîì = íî òî ÷òî ïîåçä çàñòðÿë â ñíåæíûõ çàíîñàõ, ìåíÿåò âñå; accident — íåñ÷àñòíûé ñëó÷àé, êàòàñòðîôà, àâàðèÿ ). Doubtless we have here the reason why the man remained in the compartment with his victim so long (íåñîìíåííî, â ýòîì è çàêëþ÷àåòñÿ ïðè÷èíà: «ìû çäåñü èìååì ïðè÷èíó», ïî÷åìó ýòîò ÷åëîâåê îñòàâàëñÿ â êóïå ñî ñâîåé æåðòâîé òàê äîëãî). He was waiting for the train to go on ( îí æäàë, êîãäà ïîåçä òðîíåòñÿ: « ïîåäåò äàëüøå») . But at last he realized that the train was not going on (íî âîò, íàêîíåö, îí ïîíÿë, ÷òî ïîåçä äàëüøå íå ïîéäåò; to realize — îñóùåñòâèòü, âûïîëíèòü; ÿñíî ïîíèìàòü, îñîçíàâàòü). Different plans would have to be made (íåîáõîäèìî ñîñòàâèòü íîâûé ïëàí; to make a plan — ïðèäóìàòü /ðàçðàáîòàòü/ ïëàí ). The murderer would now be known to be still on the train (/âåäü/ áóäåò ïîíÿòíî: «èçâåñòíî», ÷òî óáèéöà âñå åùå â ïîåçäå) .”

“Yes, yes,” said M. Bouc impatiently ( ñêàçàë ìñüå Áóê íåòåðïåëèâî) . “ I see all that (ÿ âñå ýòî ïîíèìàþ; to see — âèäåòü; ïîíèìàòü, ñîçíàâàòü). But where does the handkerchief come in (íî ïëàòîê-òî òóò ïðè÷åì; to come in — ïðèõîäèòü, ïðèáûâàòü; èìåòü îòíîøåíèå /ê ÷åìó-ëèáî/)?”

 

accident ['xksId(q)nt] victim ['vIktIm] impatient [Im'peIS(q)nt]

 

“But the accident to the train changes everything. Doubtless we have here the reason why the man remained in the compartment with his victim so long. He was waiting for the train to go on. But at last he realised that the train was not going on. Different plans would have to be made. The murderer would now be known to be still on the train.”

“Yes, yes,” said M. Bouc impatiently. “I see all that. But where does the handkerchief come in?”

 

“I am returning to it by a somewhat circuitous route (ÿ âîçâðàùàþñü ê íåìó íåìíîãî îêîëüíûì ïóòåì ; route — ìàðøðóò; ïóòü, êóðñ) . To begin with, you must realize that the threatening letters were in the nature of a blind (íà÷íåì ñ òîãî , ÷òî âû äîëæíû ïîíÿòü , ÷òî óãðîæàþùèå ïèñüìà áûëè ÷åì -òî âðîäå îáìàíêè = äëÿ îòâîäà ãëàç ; nature — ïðèðîäà, ìèð; ðîä, ñîðò, êëàññ; in the nature of — íå÷òî ïîõîæåå íà; blind — øòîðà, ìàðêèçà; ïðåäëîã, îòãîâîðêà, îáìàí) . They might have been lifted bodily out ( îíè äîëæíî áûòü áûëè öåëèêîì ñïèñàíû; to lift — ïîäíèìàòü ; ñîâåðøàòü ïëàãèàò , èçûìàòü ; bodily — ëè÷íî , ñîáñòâåííîé ïåðñîíîé ; öåëèêîì ) of an indifferently written American crime novel (èç ïîñðåäñòâåííî íàïèñàííîãî àìåðèêàíñêîãî äåòåêòèâà : «ðîìàíà î ïðåñòóïëåíèè »; indifferently — áåçðàçëè÷íî; ïîñðåäñòâåííî, íåâàæíî) . They are not real (îíè íå íàñòîÿùèå). They are, in fact, simply intended for the police (îíè, íà ñàìîì äåëå, ïðîñòî ïðåäíàçíà÷àëèñü äëÿ ïîëèöèè; to intend — íàìåðåâàòüñÿ; ïðåäíàçíà÷àòü /äëÿ êîãî-ëèáî, äëÿ êàêîé-ëèáî öåëè/). What we have to ask ourselves is (âîò î ÷åì ìû äîëæíû ñïðîñèòü ñåáÿ) : ‘Did they deceive Ratchett (îáìàíóëè ëè ýòè ïèñüìà: «îíè» Ðýò÷åòòà) ?’ On the face of it (íà ïåðâûé âçãëÿä; face — ëèöî, ôèçèîíîìèÿ; âíåøíèé âèä; on the face of it — ñóäÿ ïî âíåøíåìó âèäó, ïîõîæå íà òî, ÷òî) , the answer seems to be ‘No ’ (îòâåò áóäåò "íåò") . His instructions to Hardman seem to point (åãî èíñòðóêöèè Õàðäìàíó, êàæåòñÿ, óêàçûâàþò; instruction — îáó÷åíèå; èíñòðóêöèè, óêàçàíèÿ ) to a definite ‘ private’ enemy (íà îïðåäåëåííîãî "ëè÷íîãî" âðàãà) , of whose identity he was well aware (ëè÷íîñòü êîòîðîãî åìó áûëà õîðîøî èçâåñòíà; aware — îñîçíàþùèé /÷òî-ëèáî/, çíàþùèé /÷òî-ëèáî/ ).

 

blind [blaInd] indifferently [In'dIf(q)rqntlI] instruction [In'strAkS(q)n]

 

“I am returning to it by a somewhat circuitous route. To begin with, you must realise that the threatening letters were in the nature of a blind. They might have been lifted bodily out of an indifferently written American crime novel. They are not real. They are, in fact, simply intended for the police. What we have to ask ourselves is: ‘Did they deceive Ratchett?’ On the face of it, the answer seems to be ‘No’. His instructions to Hardman seem to point to a definite ‘private’ enemy, of whose identity he was well aware.

 

That is, if we accept Hardman’s story as true ( ýòî åñëè ìû ïðèìåì èñòîðèþ Õàðäìàíà çà ïðàâäó; true — âåðíûé , ïðàâèëüíûé ). But Ratchett certainly received one letter of a very different character (íî Ðýò÷åòò îïðåäåëåííî ïîëó÷èë îäíî ïèñüìî ñîâåðøåííî äðóãîãî õàðàêòåðà ) — the one containing a reference to the Armstrong baby (ïèñüìî , â êîòîðîì óïîìèíàëàñü äî÷êà Àðìñòðîíãîâ : «òî , â êîòîðîì ñîäåðæèòñÿ óïîìèíàíèå î ðåáåíêå Àðìñòðîíãîâ »; to contain — ñîäåðæàòü; reference — ññûëêà / íà êîãî- ëèáî, ÷òî- ëèáî/; óïîìèíàíèå / î ÷åì- ëèáî, êîì- ëèáî/ ), a fragment of which we found in his compartment (îáðûâîê êîòîðîãî ìû íàøëè â ýòîì êóïå ; fragment — îáëîìîê, îñêîëîê; ôðàãìåíò, îòðûâîê) . In case Ratchett had not realised it sooner ( íà òîò ñëó÷àé, åñëè Ðýò÷åòò íå ïîíÿë ýòîãî ðàíüøå) , this was to make sure ( ýòî ïèñüìî áûëî ïðåäíàçíà÷åíî, ÷òîáû áûòü óâåðåííûì; to make sure — óáåäèòüñÿ , óäîñòîâåðèòüñÿ ) that he understood the reason of the threats against his life (÷òî îí ïîíÿë ïðè÷èíó óãðîç åãî æèçíè ; against — ïðîòèâ) . That letter, as I have said all along, was not intended to be found (ýòî ïèñüìî, êàê ÿ âñå âðåìÿ ãîâîðèë, íå áûëî ïðåäíàçíà÷åíî äëÿ òîãî, ÷òîáû åãî íàøëè: «÷òîáû áûòü íàéäåííûì»). The murderer’s first care was to destroy it ( ïåðâîé çàáîòîé óáèéöû áûëî óíè÷òîæèòü åãî) . This, then, was the second hitch in his plans ( çíà÷èò, ýòî áûë âòîðîé ïðîñ÷åò â åãî ïëàíàõ; hitch — òîë÷îê , ðûâîê ; ïîìåõà , ïðåïÿòñòâèå , çàäåðæêà ). The first was the snow (ïåðâûé ñëó÷èëñÿ /èç-çà/ ñíåæíûõ çàíîñîâ) , the second was our reconstruction of that fragment (à âòîðîé /èç-çà/ òîãî, ÷òî ìû âîññòàíîâèëè: «èç-çà íàøåãî âîññòàíîâëåíèÿ» ýòîò îáðûâîê /ïèñüìà/; reconstruction — ïåðåñòðîéêà, ïåðåóñòðîéñòâî; âîññòàíîâëåíèå, âîññîçäàíèå ).

 

character ['kxrIktq] reference ['ref(q)rqns] threat [Tret] destroy [dIs'trOI] reconstruction ["ri:kqn'strAkS(q)n]

 

That is, if we accept Hardman’s story as true. But Ratchett certainly received one letter of a very different character — the one containing a reference to the Armstrong baby, a fragment of which we found in his compartment. In case Ratchett had not realised it sooner, this was to make sure that he understood the reason of the threats against his life. That letter, as I have said all along, was not intended to be found. The murderer’s first care was to destroy it. This, then, was the second hitch in his plans. The first was the snow, the second was our reconstruction of that fragment.

 

“That the note was destroyed so carefully can mean only one thing (òî , ÷òî ýòà çàïèñêà áûëà óíè÷òîæåíà ñ òàêîé òùàòåëüíîñòüþ , ìîæåò îçíà÷àòü òîëüêî îäíî ; carefully — îñòîðîæíî; òùàòåëüíî, âíèìàòåëüíî) . There must be on the train someone so intimately connected with the Armstrong family (÷òî â ïîåçäå äîëæåí íàõîäèòüñÿ êòî -òî íàñòîëüêî áëèçêî ñâÿçàííûé ñ ñåìüåé Àðìñòðîíãîâ ; intimate — ãëóáîêèé, ñîêðîâåííûé; áëèçêèé, äðóæåñêèé) that the finding of that note would immediately direct suspicion upon that person (÷òî îáíàðóæåíèå òîé çàïèñêè íåìåäëåííî áû áðîñèëî ïîäîçðåíèÿ íà ýòîãî ÷åëîâåêà ; to direct — íàïðàâëÿòü, íàâîäèòü) .

“Now we come to the other two clues that we found (òåïåðü ìû ïåðåéäåì ê äâóì äðóãèì óëèêàì , êîòîðûå ìû îáíàðóæèëè ; clue — êëþ÷ ê ðàçãàäêå; óëèêà) . I pass over the pipe- cleaner (ÿ óìîë÷ó î åðøèêå äëÿ ÷èñòêè òðóáîê; to pass over — ïåðåïðàâëÿòüñÿ; ïðîïóñêàòü, îñòàâëÿòü áåç âíèìàíèÿ, îáõîäèòü ìîë÷àíèåì) . We have already said a good deal about that (î íåì ìû óæå ìíîãî ñêàçàëè; deal — íåêîòîðîå êîëè÷åñòâî; ðàçã. áîëüøîå êîëè÷åñòâî, ìàññà, êó÷à) . Let us pass on to the handkerchief (äàâàéòå ïåðåéäåì ê íîñîâîìó ïëàòêó ). Taken at its simplest (åñëè ðàññìàòðèâàòü åãî ñ ñàìîé ïðîñòîé òî÷êè çðåíèÿ ) it is a clue which directly incriminates someone whose initial is H (ýòî óëèêà , êîòîðàÿ íàïðÿìóþ îáâèíÿåò êîãî -òî , ÷åé èíèöèàë Í ), and it was dropped there unwittingly by that person (è îí áûë ñëó÷àéíî òàì îáðîíåí ýòèì ÷åëîâåêîì ; (un)wittingly — ( íå) ïðåäíàìåðåííî, ( íå) óìûøëåííî) .”

 

carefully ['keqf(q)lI] immediately [I'mi:dIqtlI] handkerchief ['hxNkqtSIf] incriminate [In'krImIneIt] unwitting ["An'wItIN]

 

“That the note was destroyed so carefully can mean only one thing. There must be on the train someone so intimately connected with the Armstrong family that the finding of that note would immediately direct suspicion upon that person.

“Now we come to the other two clues that we found. I pass over the pipe-cleaner. We have already said a good deal about that. Let us pass on to the handkerchief. Taken at its simplest it is a clue which directly incriminates someone whose initial is H, and it was dropped there unwittingly by that person.”

 

“Exactly (òî÷íî ),” said Dr. Constantine. “She finds out that she has dropped the handkerchief (îíà îáíàðóæèâàåò , ÷òî îíà îáðîíèëà íîñîâîé ïëàòîê ) and immediately takes steps to conceal her Christian name (è íåìåäëåííî ïðåäïðèíèìàåò ìåðû , ÷òîáû ñêðûòü ñâîå èìÿ ; step — øàã; ìåðà, äåéñòâèå, øàã; to conceal — ïðÿòàòü, óêðûâàòü; ñêðûâàòü, óòàèâàòü) .”

“ How fast you go (êàê âû ñïåøèòå: «äâèãàåòåñü áûñòðî») ! You arrive at a conclusion much sooner than I would permit myself to do (âû ïðèõîäèòå ê âûâîäàì ãîðàçäî áûñòðåå, ÷åì ÿ áû ïîçâîëèë ñåáå /ïîñòóïèòü òàê/).”

“ Is there any other alternative (à ÷òî, åñòü êàêàÿ-íèáóäü /äðóãàÿ/ àëüòåðíàòèâà) ?”

 

exactly [Ig'zxktlI] conceal [kqn'si:l] alternative [O:l'tq:nqtIv]

 

“Exactly,” said Dr. Constantine. “She finds out that she has dropped the handkerchief and immediately takes steps to conceal her Christian name.”

“How fast you go! You arrive at a conclusion much sooner than I would permit myself to do.”

“Is there any other alternative?”

 

‘Certainly there is (êîíå÷íî åñòü ). Suppose, for instance, that you have committed a crime (ïðåäïîëîæèì , íàïðèìåð , ÷òî âû ñîâåðøèëè ïðåñòóïëåíèå ) and wish to cast the blame for it on someone else (è õîòèòå ñâàëèòü âèíó /çà íåãî / íà êîãî -íèáóäü äðóãîãî ; to cast — áðîñàòü, êèäàòü, øâûðÿòü; áðîñàòü, îòáðàñûâàòü / ñâåò, òåíü è ò. ï./; blame — ïîðèöàíèå, óïðåê; âèíà) . Well, there is on the train a certain person connected intimately with the Armstrong family (÷òî æ , â ïîåçäå åñòü îäèí ÷åëîâåê , áëèçêî ñâÿçàííûé ñ ñåìåéñòâîì Àðìñòðîíãîâ ; certain — îïðåäåëåííûé; îäèí, íåêèé) — a woman (/ ýòî/ æåíùèíà) . Suppose, then, that you leave there a handkerchief belonging to that woman (òîãäà ïðåäïîëîæèì , ÷òî âû îñòàâëÿåòå òàì íîñîâîé ïëàòîê , ïðèíàäëåæàùèé ýòîé æåíùèíå ). She will be questioned (åå áóäóò äîïðàøèâàòü : «îíà áóäåò äîïðîøåíà »), her connection with the Armstrong family will be brought out (åå ñâÿçü ñ ñåìüåé Àðìñòðîíãîâ áóäåò îáíàðóæåíà ; to bring (brought) out — âûÿâëÿòü , îáíàðóæèâàòü ) — et voilà ( è âîò âàì) : motive ( ìîòèâ) — and an incriminating article of evidence ( è îáâèíÿþùàÿ óëèêà; article — ïðåäìåò , âåùü ; evidence — îñíîâàíèå , äàííûå ; þð . äîêàçàòåëüñòâà , óëèêà ).”

“But in such a case (íî â òàêîì ñëó÷àå ),” objected the doctor (âîçðàçèë äîêòîð ), “the person indicated, being innocent (óêàçàííàÿ îñîáà , áóäó÷è íåâèíîâíîé ), would not take steps to conceal her identity (íå ñòàëà áû ïðåäïðèíèìàòü ìåðû , ÷òîáû ñêðûòü ñâîþ ëè÷íîñòü ).”

 

belonging [bI'lO NIN] brought [brO:t] article ['Q:tIk(q)l] innocent ['Inqs(q)nt] conceal [kqn'si:l] identity [aI'dentItI]

 

‘Certainly there is. Suppose, for instance, that you have committed a crime and wish to cast the blame for it on someone else. Well, there is on the train a certain person connected intimately with the Armstrong family — a woman. Suppose, then, that you leave there a handkerchief belonging to that woman. She will be questioned, her connection with the Armstrong family will be brought out — et voilà : motive — and an incriminating article of evidence.”

“But in such a case,” objected the doctor, “the person indicated, being innocent, would not take steps to conceal her identity.”

 

“Ah, really (ïðàâäà )? That is what you think (âû òàê äóìàåòå )? That is, truly, the opinion of the police court (âåðíî , ýòî õîä ìûñëåé : «ìíåíèå » ñóäà /ïðèñÿæíûõ /). But I know human nature, my friend (íî ÿ çíàþ ÷åëîâå÷åñêóþ ïðèðîäó , ìîé äðóã ), and I tell you that (è âîò ÷òî ÿ âàì ñêàæó ), suddenly confronted with the possibility (âíåçàïíî ñòîëêíóâøèñü ñ âîçìîæíîñòüþ ; to confront — ñòîÿòü ïðîòèâ; ñòîëêíóòüñÿ) of being tried for murder ( áûòü ñóäèìûì çà óáèéñòâî; to try — ïûòàòüñÿ , ñòàðàòüñÿ ; ñóäèòü , ïðèâëåêàòü ê ñóäåáíîé îòâåòñòâåííîñòè ), the most innocent person will lose his head and do the most absurd things (/äàæå / ñàìûé íåâèííûé ÷åëîâåê ïîòåðÿåò ãîëîâó è áóäåò äåëàòü ñàìûå íåëåïûå âåùè ). No, no, the grease spot and the changed label do not prove guilt (íåò , æèðíîå ïÿòíî è èçìåíåííûé ÿðëûê /íà ÷åìîäàíå / íå äîêàçûâàþò âèíû ) — they only prove that the Countess Andrenyi is anxious for some reason to conceal her identity (îíè òîëüêî äîêàçûâàþò , ÷òî ãðàôèíÿ Àíäðåíè ñòðàñòíî ñòðåìèòñÿ ïî êàêîé -òî ïðè÷èíå ñêðûòü ñâîþ ëè÷íîñòü ; anxious — áåñïîêîÿùèéñÿ; ñòðàñòíî æåëàþùèé / ÷åãî- ëèáî/ ).”

“What do you think her connection with the Armstrong family can be (êàê âû äóìàåòå , êàêîé ìîæåò áûòü åå ñâÿçü ñ ñåìüåé Àðìñòðîíãîâ )? She has never been in America, she says (îíà íå áûâàëà â Àìåðèêå , êàê îíà ãîâîðèò ).”

 

confront [kqn'frAnt] anxious ['xNkSqs] identity [aI'dentItI]

 

“Ah, really? That is what you think? That is, truly, the opinion of the police court. But I know human nature, my friend, and I tell you that, suddenly confronted with the possibility of being tried for murder, the most innocent person will lose his head and do the most absurd things. No, no, the grease spot and the changed label do not prove guilt — they only prove that the Countess Andrenyi is anxious for some reason to conceal her identity.”

“What do you think her connection with the Armstrong family can be? She has never been in America, she says.”

 

“Exactly, and she speaks English with a foreign accent (òî÷íî , è îíà ãîâîðèò ïî -àíãëèéñêè ñ àêöåíòîì : «ñ èíîñòðàííûì àêöåíòîì »), and she has a very foreign appearance (è ó íåå î÷åíü èíîñòðàííàÿ = ýêçîòè÷åñêàÿ âíåøíîñòü ) which she exaggerates (êîòîðóþ îíà âñÿ÷åñêè ïîä÷åðêèâàåò ; to exaggerate — ïðåóâåëè÷èâàòü; ÷ðåçìåðíî ïîä÷åðêèâàòü) . But it should not be difficult to guess who she is (íî áóäåò íåñëîæíî äîãàäàòüñÿ , êòî îíà òàêàÿ ). I mentioned just now the name of Mrs. Armstrong’s mother (ÿ òîëüêî ÷òî óïîìÿíóë èìÿ ìàòåðè ìèññèñ Àðìñòðîíã ). It was ‘Linda Arden’ and she was a very celebrated actress (åå çâàëè : «îíî áûëî » Ëèíäà Àðäåí , è îíà áûëà î÷åíü çíàìåíèòîé àêòðèñîé ) — among other things a Shakespearean actress (è , ìåæäó ïðî÷èì , øåêñïèðîâñêàÿ àêòðèñà = èñïîëíèòåëüíèöà øåêñïèðîâñêèõ ðîëåé ). Think of As You Like It (ïîäóìàéòå î «Êàê âàì ýòî ïîíðàâèòñÿ »), with the Forest of Arden and Rosalind (ñ Àðäåíñêèì Ëåñîì è Ðîçàëèíäîé ). It was there she got the inspiration for her acting name (èìåííî òàì îíà ïî÷åðïíóëà âäîõíîâåíèå äëÿ ñâîåãî ñöåíè÷åñêîãî ïñåâäîíèìà: «àêòåðñêîãî èìåíè»; to act — äåéñòâîâàòü; èñïîëíÿòü ðîëü, èãðàòü; acting — èñïîëíÿþùèé îáÿçàííîñòè; òåàòð. ïðåäíàçíà÷åííûé äëÿ èñïîëíèòåëåé, àêòåðñêèé) .

 

foreign ['fO rIn] accent ['xks(q)nt] appearance [q'pI(q)rqns] exaggerate [Ig'zxdZqreIt] Shakespearian [SeIk'spI(q)rIqn]

 

“Exactly, and she speaks English with a foreign accent, and she has a very foreign appearance which she exaggerates. But it should not be difficult to guess who she is. I mentioned just now the name of Mrs. Armstrong’s mother. It was ‘Linda Arden,’ and she was a very celebrated actress — among other things a Shakespearean actress. Think of As You Like It, with the Forest of Arden and Rosalind. It was there she got the inspiration for her acting name.

 

‘Linda Arden,’ the name by which she was known all over the world (Ëèíäà Àðäåí — ýòî èìÿ , ïîä êîòîðûì îíà áûëà èçâåñòíà ïî âñåìó ìèðó ), was not her real name (íå áûëî åå íàñòîÿùèì èìåíåì ). It may have been Goldenberg (/ôàìèëèÿ åå / ìîãëà áûòü Ãîëüäåíáåðã ); it is quite likely that she had Central European blood in her veins (âïîëíå âåðîÿòíî , ÷òî â åå âåíàõ òåêëà öåíòðàëüíî -åâðîïåéñêàÿ êðîâü ) — a strain of Jewish, perhaps (âîçìîæíî , íåáîëüøîå êîëè÷åñòâî åâðåéñêîé /êðîâè /; strain — ïðîèñõîæäåíèå, ðîä; ÷åðòî÷êà, ýëåìåíò, íåáîëüøîå êîëè÷åñòâî) . Many nationalities drift to America (/ïðåäñòàâèòåëè/ ìíîãèõ íàöèîíàëüíîñòåé ïåðåáðàëèñü â Àìåðèêó; to drift — îòíîñèòü èëè ãíàòü /âåòðîì, òå÷åíèåì/; îòíîñèòüñÿ, ïåðåìåùàòüñÿ /ïî âåòðó, òå÷åíèþ/) . I suggest to you , gentlemen , that that young sister of Mrs . Armstrong ’s (ÿ ïðåäïîëîæó, ãîñïîäà, ÷òî òà ìëàäøàÿ ñåñòðà ìèññèñ Àðìñòðîíã), little more than a child at the time of the tragedy (íåìíîãèì áîëüøå ÷åì ðåáåíîê = ïî÷òè ðåáåíîê âî âðåìÿ òðàãåäèè), was Helena Goldenberg , the younger daughter of Linda Arden (áûëà Åëåíîé Ãîëüäåíáåðã, ìëàäøåé äî÷åðüþ Ëèíäû Àðäåí), and that she married Count Andrenyi when he was an attach é in Washington (è ÷òî îíà âûøëà çàìóæ çà ãðàôà Àíäðåíè, êîãäà îí ñëóæèë àòòàøå â Âàøèíãòîíå).”

 

European ["jV(q)rq'pIqn] Jewish ['dZu:IS] tragedy ['trxdZIdI] attache [q'txSeI]

 

‘Linda Arden,’ the name by which she was known all over the world, was not her real name. It may have been Goldenberg; it is quite likely that she had Central European blood in her veins — a strain of Jewish, perhaps. Many nationalities drift to America. I suggest to you, gentlemen, that that young sister of Mrs. Armstrong’s, little more than a child at the time of the tragedy, was Helena Goldenberg, the younger daughter of Linda Arden, and that she married Count Andrenyi when he was an attaché in Washington.”

 

“But Princess Dragomiroff says that the girl married an Englishman (íî êíÿãèíÿ Äðàãîìèðîâà ãîâîðèò , ÷òî äåâóøêà âûøëà çàìóæ çà àíãëè÷àíèíà ).”

“Whose name she cannot remember (èìåíè êîòîðîãî îíà íå ïîìíèò) ! I ask you , my friends , is that really likely (ÿ ñïðàøèâàþ âàñ, äðóçüÿ ìîè, äåéñòâèòåëüíî ëè òàêîå âîçìîæíî)? Princess Dragomiroff loved Linda Arden (êíÿãèíÿ Äðàãîìèðîâà ëþáèëà Ëèíäó Àðäåí) as great ladies do love great artists (êàê àðèñòîêðàòêè: «áëàãîðîäíûå äàìû» ëþáÿò âåëèêèõ àêòðèñ). She was godmother to one of the actress’s daughters (îíà áûëà êðåñòíîé ìàòåðüþ îäíîé èç äî÷åðåé àêòðèñû ). Would she forget so quickly the married name of the other daughter (çàáóäåò ëè îíà ñòîëü áûñòðî ôàìèëèþ ïî ìóæó äðóãîé äî÷åðè ; married — æåíàòûé, çàìóæíÿÿ; áðà÷íûé, ñóïðóæåñêèé) ? It is not likely ( ýòî ìàëîâåðîÿòíî) . No, I think we can safely say that Princess Dragomiroff was lying (íåò , ÿ äóìàþ , ÷òî ìû ìîæåì ñ óâåðåííîñòüþ ñêàçàòü , ÷òî êíÿãèíÿ Äðàãîìèðîâà ëãàëà ; safely — áëàãîïîëó÷íî; áåç ðèñêà, áåçîïàñíî) .

 

princess ["prIn'ses] godmother ['gO d"mADq] lying ['laIIN]

 

“But Princess Dragomiroff says that the girl married an Englishman.”

“Whose name she cannot remember! I ask you, my friends, is that really likely? Princess Dragomiroff loved Linda Arden as great ladies do love great artists. She was godmother to one of the actress’s daughters. Would she forget so quickly the married name of the other daughter? It is not likely. No, I think we can safely say that Princess Dragomiroff was lying.

 

 

She knew Helena was on the train (îíà çíàëà , ÷òî Åëåíà â ïîåçäå ), she had seen her (îíà âèäåëà åå ). She realised at once, as soon as she heard who Ratchett really was (îíà òóò æå ïîíÿëà , êàê òîëüêî îíà óñëûøàëà , êåì â äåéñòâèòåëüíîñòè áûë Ðýò÷åòò ), that Helena would be suspected (÷òî Õåëåíà îêàæåòñÿ ïîä ïîäîçðåíèåì ; to suspect — ïîäîçðåâàòü) . And so, when we question her as to the sister ( òàê ÷òî, êîãäà ìû ñïðàøèâàåì åå î ñåñòðå; as to — îòíîñèòåëüíî , î ; ÷òî êàñàåòñÿ ), she promptly lies (îíà òóò æå ëæåò ) — is vague (/ãîâîðèò / óêëîí÷èâî ; vague — íåîïðåäåëåííûé, òóìàííûé, to be vague about smth. — âûñêàçûâàòüñÿ íåîïðåäåëåííî) , cannot remember (/ ÷òî/ íå ìîæåò âñïîìíèòü) , but ‘thinks Helena married an Englishman’ ( íî " äóìàåò, ÷òî Õåëåíà âûøëà çàìóæ çà àíãëè÷àíèíà") — a suggestion as far away from the truth as possible (/òî åñòü âûñêàçûâàåò / ïðåäïîëîæåíèå íàñòîëüêî äàëåêîå îò ïðàâäû , íàñêîëüêî ýòî âîçìîæíî ).”

One of the restaurant attendants came through the door at the end (îäèí èç îôèöèàíòîâ âîøåë ÷åðåç äâåðü â êîíöå /âàãîíà /) and approached them (è ïîäîøåë ê íèì ). He addressed M. Bouc (îí îáðàòèëñÿ ê ìñüå Áóêó ).

 

vague [veIg] truth [tru:T] approach [q'prqVtS]

 

She knew Helena was on the train, she had seen her. She realised at once, as soon as she heard who Ratchett really was, that Helena would be suspected. And so, when we question her as to the sister, she promptly lies — is vague, cannot remember, but ‘thinks Helena married an Englishman’ — a suggestion as far away from the truth as possible.”

One of the restaurant attendants came through the door at the end and approached them. He addressed M. Bouc.

 

“The dinner, Monsieur, shall I serve it (ïîäàâàòü ëè óæèí , ìñüå )? It is ready some little time (îí ãîòîâ óæå íåêîòîðîå âðåìÿ ).”

M. Bouc looked at Poirot (ìñüå Áóê âçãëÿíóë íà Ïóàðî) . The latter nodded (òîò êèâíóë; latter — áîëåå ïîçäíèé; ïîñëåäíèé /èç äâóõ íàçâàííûõ/, âòîðîé ). “ By all means (êîíå÷íî; means — ñðåäñòâî, ñïîñîá; by all means — ëþáûìè ñðåäñòâàìè; êîíå÷íî, ïîæàëóéñòà ), let dinner be served (ïóñòü ïîäàþò óæèí).”

The attendant vanished through the doors at the other end (îôèöèàíò èñ÷åç çà äâåðÿìè â äðóãîì êîíöå /âàãîíà -ðåñòîðàíà /). His bell could be heard ringing (ïîñëûøàëñÿ çâîí êîëîêîëü÷èêà : «åãî êîëîêîëü÷èê ìîæíî áûëî óñëûøàòü çâåíÿùèì ») and his voice upraised (è åãî ãðîìêèé ãîëîñ ; to upraise — ïîäíèìàòü) :

Premier service (ïåðâàÿ î÷åðåäü ). Le dîner est servi. Premier dîner (ôð . óæèí ïîäàí; ïåðâàÿ î÷åðåäü) — First service.”

vanished ['vxnISt] upraise [Ap'reIz]

 

“The dinner, Monsieur, shall I serve it? It is ready some little time.”

M. Bouc looked at Poirot. The latter nodded. “By all means, let dinner be served.”

The attendant vanished through the doors at the other end. His bell could be heard ringing and his voice upraised:

Premier service. Le dîner est servi. Premier dîner — First service.”

4

 

THE GREASE SPOT ON A HUNGARIAN PASSPORT

(Æèðíîå ïÿòíî íà âåíãåðñêîì ïàñïîðòå)

 

Poirot shared a table with M. Bouc and the doctor (Ïóàðî ñèäåë çà îäíèì ñòîëîì ñ ìñüå Áóêîì è äîêòîðîì; to share — äåëèòü, ðàñïðåäåëÿòü; ïîëüçîâàòüñÿ ñîâìåñòíî).

The company assembled in the restaurant car (êîìïàíèÿ, ñîáðàâøàÿñÿ â âàãîíå-ðåñòîðàíå; to assemble — ñîçûâàòü, ñîáèðàòü(ñÿ) ) was a very subdued one (áûëà î÷åíü ïîäàâëåíà = íàñòðîåíèå ó ñîáðàâøèõñÿ â âàãîíå-ðåñòîðàíå áûëî ïîäàâëåííûì; to subdue — ïîêîðÿòü, ïîäàâëÿòü ). They spoke little (ãîâîðèëè /îíè/ ìàëî). Even the loquacious Mrs. Hubbard was unnaturally quiet (äàæå ñëîâîîõîòëèâàÿ ìèññèñ Õàááàðä áûëà íååñòåñòâåííî ìîë÷àëèâà; quiet — òèõèé, áåñøóìíûé, íåñëûøíûé ). She murmured as she sat (ñàäÿñü, îíà ïðîáîðìîòàëà: «îíà ïðîáîðìîòàëà, êîãäà îíà ñàäèëàñü») :

“ I don’ t feel as though I had the heart to eat anything (ìíå êàæåòñÿ, ÷òî ìíå êóñîê â ãîðëî íå ïîëåçåò: «ó ìåíÿ íåò îùóùåíèÿ, ÷òî ÿ ðåøóñü ñúåñòü ÷òî-íèáóäü»; heart — ñåðäöå; ìóæåñòâî, ñìåëîñòü; to have heart to do smth. — ðåøèòüñÿ ñäåëàòü ÷òî-ëèáî ),” and then partook of everything offered her (è çàòåì îòâåäàëà âñåãî, ÷òî áûëî åé ïðåäëîæåíî: «ïðåäëîæåííîãî åé»; to partake ( partook, partaken) — ïðèíèìàòü ó÷àñòèå; îòâåäàòü /÷åãî-ëèáî/, ïîåñòü), encouraged by the Swedish lady (ïîîùðÿåìàÿ øâåäêîé) who seemed to regard her as a special charge (êîòîðàÿ, êàçàëîñü, âçÿëà åå ïîä îñîáóþ îïåêó: «ðàññìàòðèâàëà åå êàê îñîáóþ ïîäîïå÷íóþ»; charge — íàãðóçêà, çàãðóçêà; çàáîòà, ïîïå÷åíèå; ëèöî, ñîñòîÿùåå íà ïîïå÷åíèè ).

 

assemble [q'semb(q)l] subdued [sAb'dju:d, sqb-] loquacious [lq(V)'kweISqs] encourage [In'kArIdZ]

 

Poirot shared a table with M. Bouc and the doctor.

The company assembled in the restaurant car was a very subdued one. They spoke little. Even the loquacious Mrs. Hubbard was unnaturally quiet. She murmured as she sat:

“I don’t feel as though I had the heart to eat anything,” and then partook of everything offered her, encouraged by the Swedish lady who seemed to regard her as a special charge.

 

Before the meal was served (ïåðåä ïîäà÷åé áëþä ; meal — ïðèíÿòèå ïèùè, åäà) , Poirot had caught the chief attendant by the sleeve and murmured something to him (Ïóàðî , óõâàòèâ = çàäåðæàâ ìåòðäîòåëÿ : «ãëàâíîãî îôèöèàíòà » çà ðóêàâ , ïðîáîðìîòàë åìó ÷òî -òî ). Constantine made a pretty good guess (/äîêòîð / Êîíñòàíòèí äîâîëüíî ëåãêî äîãàäàëñÿ ; guess — äîãàäêà, ïðåäïîëîæåíèå) as to what the instructions had been ( îòíîñèòåëüíî ÷åãî áûëè èíñòðóêöèè / Ïóàðî/) when he noticed that the Count and Countess Andrenyi were always served last (êîãäà îí çàìåòèë , ÷òî ãðàô è ãðàôèíÿ Àíäðåíè /âñåãäà / îáñëóæèâàëèñü ïîñëåäíèìè ; to serve — ñëóæèòü, áûòü ñëóãîé; îáñëóæèâàòü) and that at the end of the meal there was a delay in making out their bill (è ÷òî â êîíöå óæèíà : «ïðèíÿòèÿ ïèùè » áûëà çàäåðæêà ñ âûïèñêîé èõ ñ÷åòà ; to make out — ñîñòàâëÿòü; âûïèñûâàòü) . It therefore came about ( ïî ýòîé ïðè÷èíå ñëó÷èëîñü òàê; to come (came, come) about — ïðîèñõîäèòü , ñëó÷àòüñÿ ) that the Count and Countess were the last left in the restaurant car (÷òî ãðàô è ãðàôèíÿ Àíäðåíè îêàçàëèñü ïîñëåäíèìè , îñòàâøèìèñÿ â âàãîíå -ðåñòîðàíå ).

When they rose at length (êîãäà îíè , íàêîíåö , ïîäíÿëèñü ; length — äëèíà; ïðîòÿæåííîñòü) and moved in the direction of the door ( è äâèíóëèñü â íàïðàâëåíèè äâåðè = ê âûõîäó) , Poirot sprang up and followed them ( Ïóàðî âñêî÷èë è ïîñëåäîâàë çà íèìè) .

 

chief [tSi:f] therefore ['DeqfO:] length [leNT]

 

Before the meal was served, Poirot had caught the chief attendant by the sleeve and murmured something to him. Constantine made a pretty good guess as to what the instructions had been when he noticed that the Count and Countess Andrenyi were always served last and that at the end of the meal there was a delay in making out their bill. It therefore came about that the Count and Countess were the last left in the restaurant car.

When they rose at length and moved in the direction of the door, Poirot sprang up and followed them.

 

“Pardon, Madame, you have dropped your handkerchief (ïðîøó ïðîùåíèÿ , ìàäàì , âû óðîíèëè ïëàòîê ).”

He was holding out to her the tiny monogrammed square (îí ïðîòÿãèâàë åé êðîøå÷íûé êëî÷îê /áàòèñòà / /ñ âûøèòîé / ìîíîãðàììîé ; to hold — äåðæàòü; to hold out — ïðîòÿãèâàòü; square — êâàäðàò; ïðåäìåò ÷åòûðåõóãîëüíîé ôîðìû) .

She took it, glanced at it, then handed it back to him (îíà âçÿëà åãî , âçãëÿíóëà íà íåãî , è çàòåì âåðíóëà åãî åìó ). “You are mistaken, Monsieur (âû îøèáëèñü , ìñüå ; to mistake (mistook, mistaken) — îøèáàòüñÿ, çàáëóæäàòüñÿ) , that is not my handkerchief ( ýòî íå ìîé ïëàòîê) .”

“Not your handkerchief (íå âàø ïëàòîê )? Are you sure (âû óâåðåíû )?”

“Perfectly sure, Monsieur (ñîâåðøåííî óâåðåíà , ìñüå ).”

“And yet, Madame (è âñå æå , ìàäàì ), it has your initial (íà íåì âàø èíèöèàë ; initial — çàãëàâíàÿ áóêâà; èíèöèàëû) — the initial H ( çàãëàâíàÿ áóêâà Í) .”

 

pardon [pQ:dn] monogram ['mO nqgrxm] handkerchief ['hxNkqtSIf]

 

“Pardon, Madame, you have dropped your handkerchief.”

He was holding out to her the tiny monogrammed square.

She took it, glanced at it, then handed it back to him. “You are mistaken, Monsieur, that is not my handkerchief.”

“Not your handkerchief? Are you sure?”

“Perfectly sure, Monsieur.”

“And yet, Madame, it has your initial — the initial H.”

 

The Count made a sudden movement ( ãðàô ïîñïåøíî äâèíóëñÿ / ê íåìó/; sudden — âíåçàïíûé ; ñòðåìèòåëüíûé , ïîñïåøíûé ; movement — äâèæåíèå ). Poirot ignored him (/íî/ Ïóàðî íå îáðàòèë íà íåãî âíèìàíèÿ) . His eyes were fixed on the Countess ’s face (åãî âçãëÿä áûë óñòðåìëåí íà ëèöî ãðàôèíè; eye — ãëàç, îêî; âçãëÿä, âçîð; to fix — óêðåïëÿòü, çàêðåïëÿòü; íåîòðûâíî ñìîòðåòü, óñòðåìèòü âçãëÿä) .

Looking steadily at him (ãëÿäÿ íà íåãî ñïîêîéíî; steady — ïðî÷íûé, òâåðäûé; íåïîêîëåáèìûé, òâåðäûé, ñïîêîéíûé) she replied (îíà îòâåòèëà):

“I do not understand, Monsieur (ÿ /âàñ / íå ïîíèìàþ , ìñüå ). My initials are E. A (ìîè èíèöèàëû — Å .À .).”

“ I think not (ÿ äóìàþ, ÷òî ýòî íå òàê) . Your name is Helena — not Elena (Âàñ çîâóò: «âàøå èìÿ» Õåëåíà — à íå Åëåíà) . Helena Goldenberg , the younger daughter of Linda Arden (Õåëåíà Ãîëüäåíáåðã, ìëàäøàÿ äî÷ü Ëèíäû Àðäåí; young — ìîëîäîé, þíûé; ìëàäøèé, ìîëîäîé /î ÷ëåíàõ îäíîé ñåìüè/) — Helena Goldenberg , the sister of Mrs . Armstrong (ñåñòðà ìèññèñ Àðìñòðîíã) .”

There was a dead silence for a minute or two (ìèíóòó èëè äâå ñòîÿëà ìåðòâàÿ òèøèíà; dead — ìåðòâûé; ýìîö.-óñèë. ïîëíûé, ñîâåðøåííûé, ãëóáîêèé ). Both the Count and the Countess had gone deadly white (îáà — è ãðàô, è ãðàôèíÿ — /ñìåðòåëüíî/ ïîáëåäíåëè; white — áåëûé, áëåäíûé; to go — èäòè, çä. êàê ãëàãîë-ñâÿçêà â ñîñòàâíîì èìåííîì ñêàçóåìîì — äåëàòüñÿ, ñòàíîâèòüñÿ; deadly — ñìåðòåëüíûé, ñìåðòîíîñíûé; ýìîö.-óñèë. óæàñíûé, ÷ðåçâû÷àéíûé ).

 

ignore [Ig'nO:] deadly ['dedlI] white [waIt]

 

The Count made a sudden movement. Poirot ignored him. His eyes were fixed on the Countess’s face.

Looking steadily at him she replied:

“I do not understand, Monsieur. My initials are E. A.”

“I think not. Your name is Helena — not Elena. Helena Goldenberg, the younger daughter of Linda Arden — Helena Goldenberg, the sister of Mrs. Armstrong.”

There was a dead silence for a minute or two. Both the Count and the Countess had gone deadly white.

 

Poirot said in a gentler tone (Ïóàðî ñêàçàë , áîëåå ìÿãêèì òîíîì ): “It is of no use denying (îòðèöàòü íå èìååò ñìûñëà ; use — óïîòðåáëåíèå, èñïîëüçîâàíèå; ïîëüçà, òîëê, âûãîäà; to be of no use — áûòü áåñïîëåçíûì, to deny — îòðèöàòü, îòâåðãàòü) . That is the truth, is it not ( ýòî ïðàâäà, íå òàê ëè) ?”

The Count burst out furiously (ãðàô â áåøåíñòâå âîñêëèêíóë ; to burst — âçðûâàòüñÿ; to burst out — âñêëèêíóë; fury — ÿðîñòü, íåèñòîâñòâî, áåøåíñòâî) , “I demand, Monsieur ( ÿ ñïðàøèâàþ, ìñüå; to demand — òðåáîâàòü ; íàñòîé÷èâî òðåáîâàòü îòâåòà , ñïðàøèâàòü ), by what right you (ïî êàêîìó ïðàâó ; right — ïðàâèëüíîñòü, ïðàâîòà; ïðàâî, ïðèâèëåãèÿ) — ”

She interrupted him (îíà ïðåðâàëà åãî; to interrupt — ïðåðûâàòü /õîä, òå÷åíèå ÷åãî-ëèáî/; ïåðåáèâàòü, ïðåðûâàòü /ãîâîðÿùåãî/ ), putting up a small hand towards his mouth (ïîäíîñÿ: «ïîäíèìàÿ» /ñâîþ/ ìàëåíüêóþ ðó÷êó ê åãî ðòó; to put — êëàñòü, ñòàâèòü; to put up — ïîäíèìàòü; towards — çä. óêàçûâàåò íà äâèæåíèå ïî íàïðàâëåíèþ ê ïðåäìåòó: /ïî íàïðàâëåíèþ/ ê) .

“No, Rudolph. Let me speak (ïîçâîëü ìíå ñêàçàòü ). It is useless to deny what this gentleman says (áåñïîëåçíî îòðèöàòü òî , ÷òî ãîâîðèò ýòîò äæåíòëüìåí ). We had better sit down and talk the matter out (íàì ëó÷øå ïðèñåñòü è ðàçîáðàòüñÿ â ýòîé ñèòóàöèè ; to talk — ðàçãîâàðèâàòü, áåñåäîâàòü; to talk out — èñ÷åðïàòü òåìó, äîéòè äî ñóòè; matter — âåùåñòâî; äåëî, âîïðîñ) .”

Her voice had changed ( åå ãîëîñ èçìåíèëñÿ) . It still had the southern richness of tone ( â íåì âñå åùå áûëî þæíîå áîãàòñòâî èíòîíàöèé; south — þã ; tone — òîí , çâóê ; îêðàñêà ãîëîñà , èíòîíàöèÿ , ìîäóëÿöèÿ ), but it had become suddenly more clear-cut (íî âíåçàïíî îí ñòàë áîëåå ÷åòêèì ; clear-cut — ÿñíî î÷åð÷åííûé; ÷åòêèé, îïðåäåëåííûé) and incisive ( è ðåçêèì; incisive — ðåæóùèé ; îñòðûé , ðåçêèé ). It was , for the first time , a definitely American voice (âïåðâûå îí çâó÷àë ñ îïðåäåëåííî àìåðèêàíñêèìè èíòîíàöèÿìè: «ýòî áûë, â ïåðâûé ðàç, îïðåäåëåííî àìåðèêàíñêèé ãîëîñ») .

 

deny [dI'naI] furiously ['fjV(q)rIqslI] interrupted ["Intq'rAptId] southern ['sADqn] richness ['rItSnIs] incisive [In'saIsIv]

 

Poirot said in a gentler tone: “It is of no use denying. That is the truth, is it not?”

The Count burst out furiously, “I demand, Monsieur, by what right you — ”

She interrupted him, putting up a small hand towards his mouth.

“No, Rudolph. Let me speak. It is useless to deny what this gentleman says. We had better sit down and talk the matter out.”

Her voice had changed. It still had the southern richness of tone, but it had become suddenly more clear-cut and incisive. It was, for the first time, a definitely American voice.

 

The Count was silenced (ãðàô çàìîë÷àë ; to silence — çàñòàâèòü çàìîë÷àòü) . He obeyed the gesture of her hand ( îí ïîâèíîâàëñÿ äâèæåíèþ åå ðóêè; to obey — ñëóøàòüñÿ , ïîâèíîâàòüñÿ , ïîä÷èíÿòüñÿ ) and they both sat down opposite Poirot (è îíè îáà ñåëè íàïðîòèâ Ïóàðî ).

“Your statement, Monsieur, is quite true (âàøå óòâåðæäåíèå , ìñüå , ñîâåðøåííî âåðíî ; statement — âûñêàçûâàíèå, èçëîæåíèå; çàÿâëåíèå, óòâåðæäåíèå) ,” said the Countess ( ñêàçàëà ãðàôèíÿ) . “I am Helena Goldenberg, the younger sister of Mrs. Armstrong (ÿ — Õåëåíà Ãîëüäåíáåðã , ìëàäøàÿ ñåñòðà ìèññèñ Àðìñòðîíã ).”

“You did not acquaint me with that fact this morning, Madame la Comtesse (âû íå ñîîáùèëè ìíå ýòîãî ôàêòà ñåãîäíÿ óòðîì , ìàäàì ãðàôèíÿ ; to acquaint — çíàêîìèòü, îçíàêîìèòü; ñîîáùàòü, èíôîðìèðîâàòü) .”

“No.”

“In fact, all that your husband and you told me was a tissue of lies (íà ñàìîì äåëå , âñå , ÷òî âàø ìóæ è âû ðàññêàçàëè ìíå , îêàçàëîñü ïàóòèíîé ëæè ; tissue — òîíêàÿ äîðîãàÿ òêàíü; ïàóòèíà, ñåòü, ñïëåòåíèå) .”

“Monsieur!” cried the Count angrily (ñåðäèòî âîñêëèêíóë ãðàô ; to cry — êðè÷àòü, îðàòü; âîñêëèöàòü, âñêðèêíóòü; angry — ñåðäèòûé, ãíåâíûé) .

silence ['saIlqns] obey [q(V)'beI] acquaint [q'kweInt] tissue ['tISu:, 'tIsju:]

 

The Count was silenced. He obeyed the gesture of her hand and they both sat down opposite Poirot.

“Your statement, Monsieur, is quite true,” said the Countess. “I am Helena Goldenberg, the younger sister of Mrs. Armstrong.”

“You did not acquaint me with that fact this morning, Madame la Comtesse.”

“No.”

“In fact, all that your husband and you told me was a tissue of lies.”

“Monsieur!” cried the Count angrily.

“Do not be angry, Rudolph (íå ñåðäèñü, Ðóäîëüô ). M. Poirot puts the fact rather brutally (ìñüå Ïóàðî äîâîëüíî ðåçêî âûðàçèëñÿ; to put — êëàñòü , ñòàâèòü; èçëàãàòü, ôîðìóëèðîâàòü /ìûñëè, çàìå÷àíèÿ è ò .ï./; brute — æèâîòíîå, òâàðü ; brutal — æåñòîêèé , çâåðñêèé; ãðóáûé; æåñòîêèé , ãîðüêèé ), but what he says is undeniable (íî òî, ÷òî îí ãîâîðèò, íåîñïîðèìî = ýòî ïðàâäà; to deny — îòðèöàòü, îòâåðãàòü ; deniable — ñïîðíûé ; undeniable — íåîñïîðèìûé , ÿâíûé) .”

“ I am glad you admit the fact so freely, Madame (ÿ ðàä, ÷òî âû òàê ïðÿìî ïðèçíàåòåñü: «ïðèçíàåòå ýòîò ôàêò», ìàäàì; freely — ñâîáîäíî, âîëüíî; îòêðûòî, îòêðîâåííî ). Will you now tell me your reasons for that (íå ðàññêàæèòå ëè âû ìíå ñåé÷àñ î /âàøèõ/ ïðè÷èíàõ äëÿ ýòîãî = ïîáóäèâøèõ âàñ ñîëãàòü) , and also for altering your Christian name on your passport (à òàêæå èçìåíèòü âàøå èìÿ â ïàñïîðòå; Christian name — èìÿ, äàííîå ïðè êðåùåíèè; èìÿ /â îòëè÷èå îò ôàìèëèè/)?”

“ That was my doing entirely (ýòî âñåöåëî äåëî ìîèõ ðóê = ýòî ïîëíîñòüþ ìîÿ âèíà; doing — äåëàíèå, äåëî ),” put in the Count (âìåøàëñÿ /â ðàçãîâîð/ ãðàô) .

Helena said quietly (Õåëåíà ñêàçàëà ñïîêîéíî) :

“ Surely, M. Poirot (íåñîìíåííî, ìñüå Ïóàðî) , you can guess my reason (âû ìîæåòå äîãàäàòüñÿ î ìîåé ïðè÷èíå) — our reason (î íàøåé ïðè÷èíå) . This man who was killed (ýòîò ìóæ÷èíà, êîòîðûé áûë óáèò) is the man who murdered my baby niece (ýòî òîò ñàìûé ÷åëîâåê, êîòîðûé óáèë ìîþ ìàëåíüêóþ ïëåìÿííèöó; to murder — óáèâàòü /æåñòîêî, çâåðñêè/, ñîâåðøàòü /óìûøëåííîå, ïðåäíàìåðåííîå/ óáèéñòâî) , who killed my sister (óáèë ìîþ ñåñòðó) , who broke my brother -in -law ’s heart (êîòîðûé ðàçáèë ñåðäöå ìîåãî çÿòÿ; brother- in- law — çÿòü /ìóæ ñåñòðû/; in- law — ðîäíÿ ñî ñòîðîíû ìóæà èëè æåíû; law — çàêîí ). Three of the people I loved best (òðîå èç òåõ /ëþäåé/, êîòîðûõ ÿ ëþáèëà áîëüøå âñåãî; best — íàèëó÷øèì îáðàçîì; áîëüøå âñåãî ) and who made up my home (è êîòîðûå ñîñòàâëÿëè ìîþ ñåìüþ; home — äîì, æèëèùå; ñåìüÿ, äîìàøíèé êðóã, ñåìåéíàÿ æèçíü) — my world (ìîé ìèð)!”

 

brutal ['bru:tl] undeniable ["AndI'naIqb(q)l] brother-in-law ['brAD(q)rIn"lO:]

 

“Do not be angry, Rudolph. M. Poirot puts the fact rather brutally, but what he says is undeniable.”

“I am glad you admit the fact so freely, Madame. Will you now tell me your reasons for that, and also for altering your Christian name on your passport?”

“That was my doing entirely,” put in the Count.

Helena said quietly: “Surely, M. Poirot, you can guess my reason — our reason. This man who was killed is the man who murdered my baby niece, who killed my sister, who broke my brother-in-law’s heart. Three of the people I loved best and who made up my home — my world!”

 

Her voice rang out passionately (åå ãîëîñ ïðîçâó÷àë ñòðàñòíî = â åå ãîëîñå çâó÷àëà ñòðàñòü ; to ring (rang, rung) — çâåíåòü , çâó÷àòü ; to ring out — ïðîçâó÷àòü , ðàçäàòüñÿ ). She was a true daughter of that mother (îíà áûëà èñòèííîé äî÷åðüþ ñâîåé ìàòåðè ) the emotional force of whose acting (÷üÿ âîëíóþùàÿ ñèëà àêòåðñêîé èãðû ; emotional — ñâÿçàííûé ñ ýìîöèÿìè; âîëíóþùèé; to act — äåéñòâîâàòü, ïîñòóïàòü; òåàòð. èñïîëíÿòü / ðîëü/, èãðàòü) had moved huge audiences to tears ( òðîãàëà äî ñëåç ïåðåïîëíåííûå çðèòåëüñêèå çàëû: « îãðîìíîå / êîëè÷åñòâî/ çðèòåëåé»; to move smb. to tears — ðàñòðîãàòü êîãî -ëèáî äî ñëåç , äîâåñòè äî ñëåç ; huge — îãðîìíûé , ãðîìàäíûé ; audience — ïóáëèêà , çðèòåëè , àóäèòîðèÿ ).

She went on more quietly (îíà ïðîäîëæàëà áîëåå ñïîêîéíî) .

“ Of all the people on the train (èç âñåõ ïàññàæèðîâ: «ëþäåé â ïîåçäå») I alone had probably the best motive for killing him (ó ìåíÿ îäíîé, âîçìîæíî, áûë ñàìûé çíà÷èòåëüíûé ìîòèâ äëÿ åãî óáèéñòâà; best — ëó÷øèé; áîëüøèé; ãëàâíûé ).”

“And you did not kill him, Madame (à âû åãî íå óáèëè , ìàäàì )?”

“I swear to you, M. Poirot (êëÿíóñü âàì , ìñüå Ïóàðî ) — and my husband knows (è ìîé ìóæ çíàåò ýòî ) — and will swear also (è òîæå ïîêëÿíåòñÿ ) — that much as I may have been tempted to do so (÷òî , êàê áû ñèëüíî ìíå íå õîòåëîñü áû ñäåëàòü ýòî ; to tempt — óãîâàðèâàòü, ñêëîíÿòü; ñîáëàçíÿòü, èñêóøàòü) , I never lifted a hand against that man ( ÿ íå ïîäíèìàëà ðóêè íà ýòîãî ÷åëîâåêà; to lift one's hand against smb. — ïîäíÿòü íà êîãî -ëèáî ðóêó ).”

 

passionate ['pxS(q)nIt] audience ['O:dIqns] probably ['prO bqblI]

 

Her voice rang out passionately. She was a true daughter of that mother the emotional force of whose acting had moved huge audiences to tears.

She went on more quietly.

“Of all the people on the train I alone had probably the best motive for killing him.”

“And you did not kill him, Madame?”

“I swear to you, M. Poirot — and my husband knows — and will swear also — that much as I may have been tempted to do so, I never lifted a hand against that man.”

 

“I, too, gentlemen ( ÿ òîæå, ãîñïîäà) ,” said the Count ( ñêàçàë ãðàô) . “I give you my word of honour ( ÿ äàþ âàì ñëîâî ÷åñòè; honour — ÷åñòü , ÷åñòíîñòü ) that last night Helena never left her compartment (÷òî ïðîøëîé íî÷üþ Õåëåíà íå ïîêèäàëà ñâîåãî êóïå; last — ïîñëåäíèé; ïðîøëûé; to leave (left )) . She took a sleeping draught exactly as I said (îíà ïðèíÿëà ñíîòâîðíîå — èìåííî òàê, êàê ÿ óæå ãîâîðèë). She is utterly and entirely innocent (îíà àáñîëþòíî: «ñîâåðøåííî è ïîëíîñòüþ» íåâèíîâíà; utter — ïîëíûé, ñîâåðøåííûé, àáñîëþòíûé ).”

Poirot looked from one to the other of them (Ïóàðî ïåðåâîäèë âçãëÿä ñ îäíîé íà äðóãîãî /èç íèõ /).

“On my word of honour (÷åñòíîå ñëîâî ),” repeated the Count (ïîâòîðèë ãðàô ).

Poirot shook his head slightly (Ïóàðî ñëåãêà ïîêà÷àë ãîëîâîé ).

 

honour ['O nq] innocent ['Inqs(q)nt] slightly ['slaItlI]

 

“I, too, gentlemen.” said the Count. “I give you my word of honour that last night Helena never left her compartment. She took a sleeping draught exactly as I said. She is utterly and entirely innocent.”

Poirot looked from one to the other of them.

“On my word of honour,” repeated the Count.

Poirot shook his head slightly.

 

“And yet you took it upon yourself to alter the name in the passport (è âñå æå âû ðåøèëèñü íà òî , ÷òîáû èçìåíèòü èìÿ â ïàñïîðòå ; to take (took, taken) upon oneself — áðàòü íà ñåáÿ / îòâåòñòâåííîñòü, îáÿçàòåëüñòâà/ )?”

“Monsieur Poirot,” the Count said earnestly (ñêàçà ãðàô èñêðåííå ; earnest — ñåðüåçíûé ; óáåæäåííûé , èñêðåííèé ) and passionately ( è ïûëêî ; passionate — ñòðàñòíûé, ïûëêèé), “consider my position (âîéäèòå â ìîå ïîëîæåíèå ; to consider — ðàññìàòðèâàòü, îáñóæäàòü; ïðîÿâëÿòü óâàæåíèå /ê êîìó- ëèáî/, ñ÷èòàòüñÿ /ñ êåì-ëèáî /). Do you think I could stand the thought (íåóæåëè âû äóìàåòå , ÷òî ÿ ìîã ñìèðèòüñÿ ñ ìûñëüþ; to stand — ñòîÿòü; âûíîñèòü , òåðïåòü, ìèðèòüñÿ) of my wife dragged through a sordid police case ( ÷òîáû ìîÿ æåíà áûëà âîâëå÷åíà â êàêîå-òî ãðÿçíîå ïîëèöåéñêîå = óãîëîâíîå äåëî; to drag — âîëî÷èòü; ìó÷èòü , òåðçàòü; ïà÷êàòü, ìàðàòü ; case — ñëó÷àé , îáñòîÿòåëüñòâî ; ñóäåáíîå äåëî)? She was innocent, I knew it (îíà íåâèíîâíà, ÿ çíàþ ýòî) , but what she said was true (íî òî, ÷òî îíà ñêàçàëà — ïðàâäà) — because of her connection with the Armstrong family she would have been immediately suspected (èç -çà åå ñâÿçè ñ ñåìåéñòâîì Àðìñòðîíãîâ åå áû íåìåäëåííî íà÷àëè ïîäîçðåâàòü; connection — ñâÿçü , ñîåäèíåíèå ; ðîäñòâî ). She would have been questioned (åå áû ñòàëè äîïðàøèâàòü; to question — çàäàâàòü âîïðîñû; äîïðàøèâàòü) — arrested, perhaps (âîçìîæíî, äàæå àðåñòîâàëè áû) . Since some evil chance had taken us on the same train as this man Ratchett (ðàç óæ êàêîé-òî çëîé ðîê ïðèâåë íàñ íà òîò æå ñàìûé ïîåçä, ÷òî è ýòîãî Ðýò÷åòòà; evil — çëîé, çëîâðåäíûé; çëîâåùèé, äóðíîé; chance — ñëó÷àéíîñòü, ñëó÷àé; ñóäüáà, ïðåâðàòíîñòè ñóäüáû ), there was, I felt sure, but one thing for it (/ó íàñ/ áûë, ÿ áûë óâåðåí, òîëüêî îäèí âûõîä) . I admit, Monsieur, that I lied to you ( ÿ ïðèçíàþ , ìñüå, ÷òî ÿ ñîëãàë âàì) — all, that is, save in one thing (îáî âñåì, çà èñêëþ÷åíèåì îäíîé âåùè). My wife never left her compartment last night (ìîÿ æåíà íå âûõîäèëà èç ñâîåãî êóïå ïðîøëîé íî÷üþ; never — íèêîãäà; íè ðàçó ).”

 

sordid ['sO:dId] immediately [I'mi:dIqtlI] arrested [q'restId]

 

“And yet you took it upon yourself to alter the name in the passport?”

“Monsieur Poirot,” the Count said earnestly and passionately, “consider my position. Do you think I could stand the thought of my wife dragged through a sordid police case? She was innocent, I knew it, but what she said was true — because of her connection with the Armstrong family she would have been immediately suspected. She would have been questioned — arrested, perhaps. Since some evil chance had taken us on the same train as this man Ratchett, there was, I felt sure, but one thing for it. I admit, Monsieur, that I lied to you — all, that is, save in one thing. My wife never left her compartment last night.”

 

He spoke with an earnestness that it was hard to gainsay (îí ãîâîðèë ñ òàêîé ñåðüåçíîñòüþ /èñêðåííîñòüþ , ÷òî â íåå áûëî ñëîæíî íå ïîâåðèòü : «÷òî â íåé ñëîæíî áûëî óñîìíèòüñÿ »; to gainsay — îòðèöàòü, îïðîâåðãàòü) .

“I do not say that I disbelieve you, Monsieur ( ÿ íå ãîâîðþ, ÷òî íå âåðþ âàì, ìñüå) ,” said Poirot slowly ( ìåäëåííî ñêàçàë Ïóàðî) . “ Your family is, I know, a proud and ancient one (âàø ðîä, êàê ìíå èçâåñòíî: «ÿ çíàþ», áëàãîðîäíûé è äðåâíèé /ðîä/; proud — ãîðäûé; âûñîêèé, áëàãîðîäíûé ). It would be bitter indeed for you (äëÿ âàñ ýòî äåéñòâèòåëüíî áûëî áû ìó÷èòåëüíî; bitter — ãîðüêèé; ìó÷èòåëüíûé ) to have your wife dragged into an unpleasant police case (åñëè áû âàøà æåíà áûëà âîâëå÷åíà â íåïðèÿòíîå óãîëîâíîå äåëî) . With that I can sympathise (â ýòîì ÿ ðàçäåëÿþ âàøè ÷óâñòâà; to sympathise — ñî÷óâñòâîâàòü, ñîñòðàäàòü ). But how then do you explain the presence of your wife’ s handkerchief actually in the dead man’ s compartment (íî êàê æå òîãäà âû îáúÿñíÿåòå ïðèñóòñòâèå íîñîâîãî ïëàòêà âàøåé æåíû íåïîñðåäñòâåííî â êóïå óáèòîãî)?”

 

gainsay ["geIn'seI] disbelieve ["dIsbI'li:v] ancient ['eInS(q)nt] sympathize ['sImpqTaIz] presence ['prez(q)ns]

 

He spoke with an earnestness that it was hard to gainsay.

“I do not say that I disbelieve you, Monsieur,” said Poirot slowly. “Your family is, I know, a proud and ancient one. It would be bitter indeed for you to have your wife dragged into an unpleasant police case. With that I can sympathise. But how then do you explain the presence of your wife’s handkerchief actually in the dead man’s compartment?”

 

“That handkerchief is not mine, Monsieur (ýòîò ïëàòîê íå ìîé , ìñüå ),” said the Countess.

“In spite of the initial H (íåñìîòðÿ íà èíèöèàë Í )?”

“In spite of the initial. I have handkerchiefs not unlike that (ó ìåíÿ ïîõîæèå ïëàòêè : «íå íåïîõîæèå »), but not one that is exactly of that pattern (íî íå ñîâñåì , ñ äðóãèì ðèñóíêîì : «íî íå òàêèå , êîòîðûå ñ òî÷íî òàêèì æå ðèñóíêîì »; pattern — îáðàçåö, ïðèìåð; âûêðîéêà; ðèñóíîê, óçîð) . I know, of course, that I cannot hope to make you believe me (ÿ çíàþ , êîíå÷íî , ÷òî ÿ íå ìîãó íàäåÿòüñÿ , ÷òî ñìîãó çàñòàâèòü âàñ ïîâåðèòü ìíå ; to make + infin. — çàñòàâëÿòü äåëàòü ÷òî- ëèáî) , but I assure you that it is so ( íî ÿ óâåðÿþ âàñ, ÷òî ýòî òàê) . That handkerchief is not mine ( ýòî íå ìîé ïëàòîê) .”

“It may have been placed there by someone in order to incriminate you (ìîã áû îí áûòü ïîäáðîøåí òóäà = â êóïå óáèòîãî êåì -òî äëÿ òîãî , ÷òîáû ïåðåâåñòè âèíó íà âàñ ; to place — ñòàâèòü, ïîìåùàòü, ðàçìåùàòü) ?”

She smiled a little ( îíà ñëåãêà óëûáíóëàñü) . “You are enticing me to admit ( âû ïðåäëàãàåòå ìíå ïðèçíàòü; to entice — ñîáëàçíÿòü , óâëåêàòü , îáîëüùàòü ) that, after all, it is mine (÷òî , â êîíöå êîíöîâ , ýòî ìîé /ïëàòîê /)? But indeed , M . Poirot , it isn ’t (íî â ñàìîì äåëå, ìñüå Ïóàðî, ýòî íå òàê) .” She spoke with great earnestness (îíà ãîâîðèëà ñî âñåé ñåðüåçíîñòüþ; great — áîëüøîé, îãðîìíûé; ñèëüíûé, ãëóáîêèé /î ÷óâñòâàõ è ò.ï./) .

“Then why, if the handkerchief was not yours (òîãäà ïî÷åìó , åñëè ýòî íå âàø íîñîâîé ïëàòîê ), did you alter the name in the passport (âû èçìåíèëè èìÿ â ïàñïîðòå )?”

 

pattern ['pxtn] assure [q'SVq] incriminate [In'krImIneIt]

 

“That handkerchief is not mine, Monsieur,” said the Countess.

“In spite of the initial H?”

“In spite of the initial. I have handkerchiefs not unlike that, but not one that is exactly of that pattern. I know, of course, that I cannot hope to make you believe me, but I assure you that it is so. That handkerchief is not mine.”

“It may have been placed there by someone in order to incriminate you?”

She smiled a little. “You are enticing me to admit that, after all, it is mine? But indeed, M. Poirot, it isn’t.” She spoke with great earnestness.

“Then why, if the handkerchief was not yours, did you alter the name in the passport?”

 

The Count answered this (íà ýòîò /âîïðîñ/ îòâåòèë ãðàô) .

“ Because we heard that a handkerchief had been found with the initial H on it (ïîòîìó ÷òî ìû óñëûøàëè, ÷òî áûë íàéäåí íåêèé íîñîâîé ïëàòîê ñ èíèöèàëîì Í íà íåì) . We talked the matter over together (ìû âìåñòå îáñóäèëè ýòîò âîïðîñ; to talk — ðàçãîâàðèâàòü, áåñåäîâàòü; to talk over — îáñóæäàòü /ïîäðîáíî/, äèñêóòèðîâàòü ) before we came to be interviewed (ïðåæäå ÷åì ìû ïðèøëè /ñþäà, â âàãîí-ðåñòîðàí/, ÷òîáû áûòü äîïðîøåííûìè = íà áåñåäó) . I pointed out to Helena (ÿ îáðàòèë âíèìàíèå Õåëåíû; to point — óêàçûâàòü, ïîêàçûâàòü; óêàçûâàòü, îáðàùàòü /÷üå-ëèáî/ âíèìàíèå, ïîä÷åðêèâàòü) that if it were seen that her Christian name began with an H (÷òî åñëè óâèäÿò, ÷òî åå èìÿ íà÷èíàåòñÿ ñ Í) she would immediately be subjected to much more rigorous questioning (÷òî åå íåìåäëåííî ïîäâåðãíóò ãîðàçäî áîëåå ñòðîãîìó äîïðîñó; to subject — ïîä÷èíÿòü, ïîêîðÿòü; ïîäâåðãàòü ). And the thing was so simple (äà è äåëî áûëî òàêèì ïðîñòûì) — to alter Helena to Elena (èçìåíèòü Õåëåíó íà Åëåíó) , was easily done (÷òî è áûëî áåç òðóäà ñäåëàíî) .”

“ You have, M. le Comte, the makings of a very fine criminal (âû, ìñüå ãðàô, îáëàäàåòå çàäàòêàìè î÷åíü õîðîøåãî ïðåñòóïíèêà; making — ñîçäàíèå, ñòàíîâëåíèå; çàäàòêè, íåîáõîäèìûå êà÷åñòâà),” remarked Poirot dryly (ñóõî çàìåòèë Ïóàðî; dry — ñóõîé; ñóõîé, ñäåðæàííûé, õîëîäíûé ). “ A great natural ingenuity (êîëîññàëüíàÿ âðîæäåííàÿ èçîáðåòàòåëüíîñòü; natural — åñòåñòâåííûé, ïðèðîäíûé; âðîæäåííûé, ïðèñóùèé), and an apparently remorseless determination (è ÿâíî áåçîãëÿäíàÿ ðåøèòåëüíîñòü; remorse — óãðûçåíèÿ ñîâåñòè, ðàñêàÿíèå; remorseless — áåçæàëîñòíûé, áåñïîùàäíûé, æåñòîêèé; íå èñïûòûâàþùèé ðàñêàÿíèÿ, íå èñïûòûâàþùèé óãðûçåíèé ñîâåñòè ) to mislead justice (ââîäèòü ïðàâîñóäèå â çàáëóæäåíèå; justice — ñïðàâåäëèâîñòü; ïðàâîñóäèå, þñòèöèÿ ).”

 

rigorous ['rIgqrqs] criminal ['krImIn(q)l] ingenuity ["IndZI'nju:ItI] apparently [q'pxrqntlI] remorseless [rI'mO:slIs] justice ['dZAstIs]

 

The Count answered this.

“Because we heard that a handkerchief had been found with the initial H on it. We talked the matter over together before we came to be interviewed. I pointed out to Helena that if it were seen that her Christian name began with an H she would immediately be subjected to much more rigorous questioning. And the thing was so simple — to alter Helena to Elena, was easily done.”

“You have, M. le Comte, the makings of a very fine criminal,” remarked Poirot dryly. “A great natural ingenuity, and an apparently remorseless determination to mislead justice.”

 

“Oh, no, no.” The girl leaned forward ( ìîëîäàÿ æåíùèíà ïîäàëàñü âïåðåä) . “M. Poirot, he’s explained to you how it was ( ìñüå Ïóàðî, îí æå îáúÿñíèë âàì, êàê âñå áûëî) .” She broke from French into English ( îíà ïåðåøëà ñ ôðàíöóçñêîãî íà àíãëèéñêèé; to break (broke, broken) — ëîìàòü ; ñáèâàòüñÿ , ñðûâàòüñÿ ). “I was scared (ÿ èñïóãàëàñü ; scared — íàïóãàííûé, èñïóãàííûé) — absolutely dead scared ( ñîâåðøåííî ïåðåïóãàëàñü, äî ñìåðòè; dead — ìåðòâûé , óìåðøèé ; ýìîö .-óñèë . ñìåðòåëüíî , óæàñíî ), you understand (âû æå ïîíèìàåòå ). It had been so awful (âñå áûëî òàê óæàñíî ) — that time (â òîò ðàç ; time — âðåìÿ; ðàç, ñëó÷àé) — and to have it all raked up again ( è âîðîøèòü âñå ýòî ñíîâà; to rake up — ñãðåáàòü , çàãðåáàòü ; âîðîøèòü /âîñïîìèíàíèÿ è ò .ï ./; rake — ãðàáëè ). And to be suspected (è íàõîäèòüñÿ ïîä ïîäîçðåíèåì : «áûòü ïîäîçðåâàåìîé ») and perhaps thrown into prison (è , âîçìîæíî , ñåñòü â òþðüìó : «è , âîçìîæíî , áûòü áðîøåííîé â òþðüìó »; to throw (threw, thrown) — áðîñàòü , øâûðÿòü ). I was just scared stiff, M. Poirot ( ÿ áûëà íàïóãàíà äî ñìåðòè, ìñüå Ïóàðî; to scare smb. stiff — íàïóãàòü êîãî -ëèáî äî ñìåðòè ; stiff — òóãîé , íåãèáêèé , íåýëàñòè÷íûé , æåñòêèé ; îêîñòåíåâøèé , îäåðåâåíåëûé ). Can ’t you understand at all (íåóæåëè âû íå ìîæåòå ýòîãî ïîíÿòü; at all — íèñêîëüêî )?”

Her voice was lovely (ãîëîñ åå áûë î÷àðîâàòåëåí) — deep (íèçêèé; deep — ãëóáîêèé; íèçêèé, ïîëíûé, ãðóäíîé /î ãîëîñå/) — rich (ãðóäíîé; rich — áîãàòûé; íèçêèé, ãëóáîêèé, ìÿãêèé /î çâóêå/ ) — pleading (óìîëÿþùèé), the voice of the daughter of Linda Arden, the actress (ãîëîñ äî÷åðè àêòðèñû Ëèíäû Àðäåí) .

Poirot looked gravely at her (Ïóàðî ñåðüåçíî âçãëÿíóë íà íåå; grave — ñåðüåçíûé, âåñêèé, âàæíûé; ñåðüåçíûé ).

 

forward ['fO:wqd] absolutely ["xbsq'lu:tlI] awful ['O:f(q)l] prison ['prIz(q)n]

 

“Oh, no, no.” The girl leaned forward. “M. Poirot, he’s explained to you how it was.” She broke from French into English. “I was scared — absolutely dead scared, you understand. It had been so awful — that time — and to have it all raked up again. And to be suspected and perhaps thrown into prison. I was just scared stiff, M. Poirot. Can’t you understand at all?”

Her voice was lovely — deep — rich — pleading, the voice of the daughter of Linda Arden, the actress.

Poirot looked gravely at her.

 

“If I am to believe you, Madame (åñëè ÿ ïîâåðþ âàì , ìàäàì ) — and I do not say that I will not believe you (à ÿ íå ãîâîðþ , ÷òî ÿ íå ïîâåðþ âàì ) — then you must help me (òîãäà âû äîëæíû ïîìî÷ü ìíå ).”

“Help you (ïîìî÷ü âàì )?”

“Yes. The reason for the murder lies in the past (ïðè÷èíà óáèéñòâà êðîåòñÿ â ïðîøëîì ; to lie — ëåæàòü; çàêëþ÷àòüñÿ, áûòü / â ÷åì- ëèáî/ ) — in that tragedy which broke up your home (â òîé ñàìîé òðàãåäèè , ÷òî ðàçðóøèëà âàøó ñåìüþ ; to break (broke, broken) up — ðàñôîðìèðîâûâàòü, ðàçãîíÿòü; ðàçðóøàòü / ñåìüþ, äîì/ ) and saddened your young life (è îïå÷àëèëà âàøó þíóþ æèçíü ; sad — ïå÷àëüíûé, ãðóñòíûé; to sadden — ïå÷àëèòü, îïå÷àëèâàòü) . Take me back into the past, Mademoiselle ( ðàññêàæèòå ìíå î ïðîøëîì, ìàäåìóàçåëü; to take back — îòâîäèòü , îòâîçèòü ; íàïîìèíàòü /ïðîøëîå /) , that I may find there the link ( ÷òîáû ÿ ìîã îáíàðóæèòü òàì ñâÿçóþùåå çâåíî; link — çâåíî /öåïè /; ñâÿçóþùåå çâåíî , ñâÿçü ) that explains the whole thing (êîòîðîå îáúÿñíèò âñå äåëî ).”

 

madame ['mxdQ:m, mq'dQ:m] mademoiselle ["mxdqmwq'zel]

 

“If I am to believe you, Madame — and I do not say that I will not believe you — then you must help me.”

“Help you?”

“Yes. The reason for the murder lies in the past — in that tragedy which broke up your home and saddened your young life. Take me back into the past, Mademoiselle, that I may find there the link that explains the whole thing.”

 

“What can there be to tell you ( ÷òî òóò ðàññêàçûâàòü) ? They are all dead ( îíè âñå óìåðëè) .” She repeated mournfully ( îíà ïîâòîðèëà ñêîðáíî; to mourn — îïëàêèâàòü , ñêîðáåòü ): “All dead — all dead — Robert, Sonia — darling, darling Daisy (âñå — è Ðîáåðò , è Ñîíÿ , è äîðîãàÿ Äåéçè ). She was so sweet (îíà áûëà òàêàÿ ìèëàÿ ; sweet — ñëàäêèé; ðàçã. ìèëûé, ïðåëåñòíûé) — so happy ( òàêàÿ ñ÷àñòëèâàÿ) — she had such lovely curls ( ó íåå áûëè òàêèå ïðåëåñòíûå êóäðÿøêè; curl — ëîêîí , çàâèòîê ). We were all just crazy about her (ìû âñå áûëè ïðîñòî áåç óìà îò íåå; crazy — ñóìàñøåäøèé, áåçóìíûé; ñèëüíî óâëå÷åííûé /÷åì-ëèáî, êåì-ëèáî/) .”

“There was another victim, Madame (áûëà è äðóãàÿ æåðòâà , ìàäàì ). An indirect victim, you might say (êîñâåííàÿ æåðòâà , ìîæíî ñêàçàòü ; indirect — íåïðÿìîé; êîñâåííûé) .”

mournfully ['mO:nf(q)lI] darling ['dQ:lIN] victim ['vIktIm]

 

“What can there be to tell you? They are all dead.” She repeated mournfully: “All dead — all dead — Robert, Sonia — darling, darling Daisy. She was so sweet — so happy — she had such lovely curls. We were all just crazy about her.”

“There was another victim, Madame. An indirect victim, you might say.”

“ Poor Susanne (áåäíàÿ Ñþçàííà; poor — áåäíûé, íåèìóùèé; áåäíûé, íåñ÷àñòíûé )? Yes, I had forgotten about her (äà, ÿ çàáûëà î íåé). The police questioned her (åå äîïðàøèâàëà ïîëèöèÿ). They were convinced (îíè = ïîëèöåéñêèå áûëè óáåæäåíû ) that she had something to do with it (÷òî îíà áûëà êàê- òî â ýòîì çàìåøàíà; to have to do with smb., smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî , ÷åìó- ëèáî). Perhaps she had (âîçìîæíî, ÷òî è áûëà) — but if so only innocently (íî åñëè è òàê, òî òîëüêî íåâèííî) . She had, I believe, chatted idly with someone (îíà, ÿ äóìàþ, áåñïå÷íî áîëòàëà ñ êåì-òî; to believe — âåðèòü; äóìàòü, ïîëàãàòü; idly — ëåíèâî, ïðàçäíî; idle — íåçàíÿòûé, íåðàáîòàþùèé; ïðàçäíûé, ïóñòîé ), giving information as to the time of Daisy’ s outings (ñîîáùàÿ ñâåäåíèÿ îòíîñèòåëüíî âðåìåíè, êîãäà Äåéçè /èäåò/ íà ïðîãóëêó; outing — çàãîðîäíàÿ ïðîãóëêà, ïèêíèê ). The poor thing got terribly wrought up (áåäíÿæêà áûëà óæàñíî âçáóäîðàæåíà; to work (worked, wrought) up — îáðàáàòûâàòü, îòäåëûâàòü; âîçáóæäàòü, ðàçæèãàòü /÷óâñòâà, ñòðàñòè/; wrought-up — âîçáóæäåííûé, âçâèí÷åííûé) — she thought she was being held responsible (îíà äóìàëà, ÷òî åå ñ÷èòàþò îòâåòñòâåííîé /çà ïðîèçîøåäøåå/; to hold (held) — äåðæàòü; ïîëàãàòü, ñ÷èòàòü, íàõîäèòü ).” She shuddered (îíà ñîäðîãíóëàñü; to shudder — äðîæàòü, âçäðàãèâàòü, ñîäðîãàòüñÿ ). “She threw herself out of the window (îíà âûáðîñèëàñü èç îêíà; to throw (threw, thrown)) . Oh! it was horrible (î, ýòî áûëî óæàñíî).”

She buried her face in her hands (îíà çàêðûëà ëèöî ðóêàìè; to bury — õîðîíèòü, ïîãðåáàòü; ïîãðóæàòü, ïðÿòàòü, ñêðûâàòü).

 

forgotten [fq'gO tn] wrought [rO:t] responsible [rI'spO nsqb(q)l]

 

“Poor Susanne? Yes, I had forgotten about her. The police questioned her. They were convinced that she had something to do with it. Perhaps she had — but if so only innocently. She had, I believe, chatted idly with someone, giving information as to the time of Daisy’s outings. The poor thing got terribly wrought up — she thought she was being held responsible.” She shuddered. “She threw herself out of the window. Oh! it was horrible.”

She buried her face in her hands.

 

“ What nationality was she, Madame (êòî îíà áûëà ïî íàöèîíàëüíîñòè, ìàäàì) ?”

“ She was French (îíà áûëà ôðàíöóæåíêà) .”

“ What was her last name (êàêàÿ ó íåå áûëà ôàìèëèÿ) ?”

“ It’ s absurd, but I can’ t remember (ýòî íåëåïî, íî ÿ íå ìîãó âñïîìíèòü) — we all called her Susanne (ìû âñå çâàëè åå Ñþçàííîé) . A pretty , laughing girl (õîðîøåíüêàÿ, âåñåëàÿ äåâóøêà; to laugh — ñìåÿòüñÿ; laughing — ñìåþùèéñÿ, óëûáàþùèéñÿ, âåñåëûé ). She was devoted to Daisy (îíà òàê ëþáèëà Äåéçè; to devote — ïîñâÿùàòü, îòäàâàòü ñåáÿ öåëèêîì; devoted — ïðåäàííûé, íåæíûé, ëþáÿùèé ).”

“ She was the nursery- maid (îíà áûëà ãîðíè÷íîé; nursery- maid — íÿíüêà /äëÿ ÷åðíîé ðàáîòû/, äåâóøêà, ïîìîãàþùàÿ óõàæèâàòü çà äåòüìè; ãîðíè÷íàÿ) , was she not (íå òàê ëè) ?”

“Yes.”

 

nationality ["nxSq'nxlItI] laughing ['lQ:fIN] nurserymaid ['nq:s(q)rImeId]

 

“What nationality was she, Madame?”

“She was French.”

“What was her last name?”

“It’s absurd, but I can’t remember — we all called her Susanne. A pretty, laughing girl. She was devoted to Daisy.”

“She was the nursery-maid, was she not?”

“Yes.”

 

“Who was the nurse (à êòî áûë íÿíåé ; nurse — íÿíÿ; êîðìèëèöà) ?”

“She was a trained hospital nurse (îíà áûëà äèïëîìèðîâàííîé ìåäñåñòðîé ; trained — âûó÷åííûé, îáó÷åííûé; hospital — áîëüíèöà, ëå÷åáíèöà) . Stengelberg her name was ( åå ôàìèëèÿ áûëà Øòåíãåëüáåðã) . She too was devoted to Daisy — and to my sister (îíà òîæå áûëà ïðåäàíà = ëþáèëà Äåéçè è ìîþ ñåñòðó ).”

“Now, Madame, I want you to think carefully before you answer this question (à òåïåðü , ìàäàì , ÿ õî÷ó , ÷òîáû âû òùàòåëüíî ïîäóìàëè , ïðåæäå ÷åì îòâåòèòå íà ýòîò âîïðîñ ). Have you , since you were on this train , seen anyone that you recognised (ñ òîãî ñàìîãî ìîìåíòà, êàê âû ñåëè: «îêàçàëèñü» â ýòîò ïîåçä, âèäåëè ëè âû êîãî-íèáóäü çíàêîìîãî: «êîãî âû óçíàëè») ?”

 

nurse [nq:s] hospital ['hO spItl] recognized ['rekqgnaIzd]

 

“Who was the nurse?”

“She was a trained hospital nurse. Stengelberg her name was. She too was devoted to Daisy — and to my sister.”

“Now, Madame, I want you to think carefully before you answer this question. Have you, since you were on this train, seen anyone that you recognised?”

 

She stared at him (îíà óñòàâèëàñü íà íåãî /â èçóìëåíèè/) . “I? No, no one at all (íåò , íèêîãî ).”

“What about Princess Dragomiroff (à êàê æå êíÿãèíÿ Äðàãîìèðîâà )?”

“Oh! her ( î, îíà) . I know her, of course ( ÿ çíàþ åå, êîíå÷íî) . I thought you meant anyone (ÿ ïîäóìàëà, ÷òî âû èìååòå â âèäó êîãî-òî) — anyone from (êîãî-òî èç) — from that time (èç òîãî âðåìåíè) .”

“ So I did, Madame (à ÿ ýòî è èìåë â âèäó, ìàäàì) . Now think carefully (íó æå, ïîäóìàéòå âíèìàòåëüíî) . Some years have passed , remember (ïîìíèòå, ÷òî ïðîøëî ñòîëüêî ëåò) . The person might have altered his or her appearance (ýòîò ÷åëîâåê ìîã èçìåíèòüñÿ: «èçìåíèòü ñâîþ âíåøíîñòü») .”

 

carefully ['keqf(q)lI] altered ['O:ltqd] appearance [q'pI(q)rqns]

 

She stared at him. “I? No, no one at all.”

“What about Princess Dragomiroff?”

“Oh! her. I know her, of course. I thought you meant anyone — anyone from — from that time.”

“So I did, Madame. Now think carefully. Some years have passed, remember. The person might have altered his or her appearance.”

 

Helena pondered deeply (Õåëåíà ãëóáîêî çàäóìàëàñü ; to ponder — îáäóìûâàòü; ðàçìûøëÿòü) . Then she said: “No — I am sure — there is no one (íåò , — ÿ óâåðåíà , — íèêîãî ).”

“ You yourself — you were a young girl at the time (à ó âàñ /ñàìîé/ — â òî âðåìÿ âû áûëè ìàëåíüêîé äåâî÷êîé) — did you have no one to superintend your studies (íå áûëî ëè êîãî-òî, êòî áû íàáëþäàë çà âàøèì îáó÷åíèåì; to superintend — óïðàâëÿòü, çàâåäîâàòü; êîíòðîëèðîâàòü /êîãî-ëèáî, ÷òî-ëèáî/, ñìîòðåòü, íàäçèðàòü; study — èçó÷åíèå, èññëåäîâàíèå; ïðèîáðåòåíèå çíàíèé, ó÷åíèå, çàíÿòèÿ ) or to look after you (èëè ïðèñìàòðèâàë áû çà âàìè; to look after smb. — ïðèñìàòðèâàòü, óõàæèâàòü çà êåì-ëèáî, çàáîòèòüñÿ î êîì-ëèáî )?”

“ Oh! yes, I had a dragon (î, äà, ó ìåíÿ áûëà äóýíüÿ; dragon — äðàêîí; äóýíüÿ ) — a sort of governess to me (/îíà áûëà/ êåì-òî âðîäå ãóâåðíàíòêè äëÿ ìåíÿ) and secretary to Sonia combined (è ñåêðåòàðåì Ñîíè, â îäíîì ëèöå; to combine — îáúåäèíÿòü, ñî÷åòàòü ). She was English (îíà áûëà àíãëè÷àíêîé) — or rather Scotch (èëè, ñêîðåå, øîòëàíäêîé) a big red -haired woman ( êðóïíàÿ ðûæåâîëîñàÿ æåíùèíà ).”

“What was her name (êàê åå çâàëè )?”

“ Miss Freebody (ìèññ Ôðèáîäè).”

“ Young or old (/îíà áûëà/ ìîëîäàÿ èëè ñòàðàÿ) ?”

“ She seemed frightfully old to me (ìíå îíà êàçàëàñü óæàñíî ñòàðîé; fright — èñïóã; frightfully — óæàñíî, ñòðàøíî; ýìîö.-óñèë. óæàñíî, î÷åíü ). I suppose she couldn ’t have been more than forty (ïîëàãàþ, åé íå ìîãëî áûòü áîëüøå ñîðîêà ëåò) . Susanne, of course , used to look after my clothes (Ñþçàííà, êîíå÷íî, îáû÷íî ñëåäèëà çà ìîåé îäåæäîé; used + to do smth. — èìåòü â ïðîøëîì îáûêíîâåíèå äåëàòü ÷òî-ëèáî ) and maid me (è ïðèñëóæèâàëà ìíå; maid — ñëóæàíêà, ãîðíè÷íàÿ, ïðèñëóãà ).”

 

superintend ["s(j)u:p(q)rIn'tend] governess ['gAvqnIs] secretary ['sekrqt(q)rI] frightfully ['fraItf(q)lI] clothes [klqV(D)z]

 

Helena pondered deeply. Then she said: “No — I am sure — there is no one.”

“You yourself — you were a young girl at the time — did you have no one to superintend your studies or to look after you?”

“Oh! yes, I had a dragon — a sort of governess to me and secretary to Sonia combined. She was English — or rather Scotch; a big red-haired woman.”

“What was her name?”

“Miss Freebody.”

“Young or old?”

“She seemed frightfully old to me. I suppose she couldn’t have been more than forty. Susanne, of course, used to look after my clothes and maid me.”

 

“And there were no other inmates of the house (è äðóãèõ æèëüöîâ â äîìå íå áûëî ; inmate — îáèòàòåëü / ìîíàñòûðÿ, ïðèþòà è ò. ï./; æèëåö) ?”

“Only servants (òîëüêî ñëóãè ).”

“And you are certain (è âû óâåðåíû ; certain — îïðåäåëåííûé, íåèçìåííûé; óâåðåííûé, óáåæäåííûé) , quite certain, Madame, that you have recognised no one on the train (âïîëíå óâåðåíû , ìàäàì , ÷òî âû íèêîãî íå óçíàëè èç ïàññàæèðîâ : «íèêîãî â ýòîì ïîåçäå »)?”

She replied earnestly (îíà ñåðüåçíî îòâåòèëà ): “No one, Monsieur. No one at all (ñîâñåì íèêîãî ).”

inmate ['InmeIt] servant ['sq:v(q)nt] earnestly ['q:nIstlI]

 

“And there were no other inmates of the house?”

“Only servants.”

“And you are certain, quite certain, Madame, that you have recognised no one on the train?”

She replied earnestly: “No one, Monsieur. No one at all.”

5

 

THE CHRISTIAN NAME OF PRINCESS DRAGOMIROFF

( Èìÿ êíÿãèíè Äðàãîìèðîâîé)

 

When the Count and Countess had departed (êîãäà ãðàô è ãðàôèíÿ óøëè ; to depart — îòáûâàòü, îòïðàâëÿòüñÿ / î ïîåçäàõ/; óõîäèòü, óåçæàòü) , Poirot looked across at the other two ( Ïóàðî âçãëÿíóë / ÷åðåç ñòîë/ íà äâóõ äðóãèõ / ìóæ÷èí/) .

“ You see (âû âèäèòå),” he said “ we make progress (ìû äåëàåì óñïåõè; progress — ïðîãðåññ, ðàçâèòèå; óñïåõè, äîñòèæåíèÿ ).”

“ Excellent work (îòëè÷íàÿ ðàáîòà),” said M. Bouc cordially (ïûëêî: «ñåðäå÷íî» ñêàçàë ìñüå Áóê; cordially — ñåðäå÷íî, ðàäóøíî; ïûëêî, ñòðàñòíî ). “ On my part, I should never have dreamed of suspecting Count and Countess Andrenyi (÷òî êàñàåòñÿ ìåíÿ, ìíå áû íèêîãäà è â ãîëîâó íå ïðèøëî ïîäîçðåâàòü ãðàôà è ãðàôèíþ Àíäðåíè; part — ÷àñòü, äîëÿ; ñòîðîíà /òæ. â ñïîðå/; to dream — âèäåòü ñîí; äóìàòü, ïîìûøëÿòü ). I will admit I thought them quite hors de combat (ÿ äîëæåí ïðèçíàòü: «ÿ ïðèçíàþ», ÿ äóìàë, ÷òî îíè âíå èãðû; hors de combat — ôð. âíå èãðû: «ñðàæåíèÿ» ). I suppose there is no doubt that she committed the crime (ïîëàãàþ, ÷òî ñåé÷àñ íåò ñîìíåíèé, ÷òî îíà ñîâåðøèëà ýòî ïðåñòóïëåíèå) ? It is rather sad (/äîâîëüíî/ ïðèñêîðáíî; sad — ïå÷àëüíûé, ãðóñòíûé, óíûëûé ). Still, they will not guillotine her (è âñå æå åå íå ïðèãîâîðÿò ê ñìåðòè; to guillotine — ãèëüîòèíèðîâàòü ). There are extenuating circumstances (íàëèöî: «åñòü» ñìÿã÷àþùèå âèíó îáñòîÿòåëüñòâà; to extenuate — îñëàáëÿòü, óìåíüøàòü, ñìÿã÷àòü /âèíó/ ). A few years’ imprisonment (íåñêîëüêî ëåò òþðåìíîãî çàêëþ÷åíèÿ) — that will be all (âîò è âñå /÷òî áóäåò = æäåò åå/; prison — òþðüìà; to imprison — çàêëþ÷àòü â òþðüìó, ëèøàòü ñâîáîäû ).”

“ In fact you are quite certain of her guilt (ïî ñóòè, âû âïîëíå óâåðåíû â åå âèíîâíîñòè) .”

 

excellent [' eks( q) lqnt] cordially [' kO: dIqlI] hors de combat [" O: dq' kO mbQ:] guillotine ['gIlqti :n ] extenuating [Ik 'stenjVeItIN ] imprisonment [ Im' prIz( q) nmqnt]

 

When the Count and Countess had departed, Poirot looked across at the other two.

“You see,” he said “we make progress.”

“Excellent work,” said M. Bouc cordially. “On my part, I should never have dreamed of suspecting Count and Countess Andrenyi. I will admit I thought them quite hors de combat . I suppose there is no doubt that she committed the crime? It is rather sad. Still, they will not guillotine her. There are extenuating circumstances. A few years’ imprisonment — that will be all.”

“In fact you are quite certain of her guilt.”

 

“ My dear friend (ìîé äîðîãîé äðóã) — surely there is no doubt of it (êîíå÷íî æå, â ýòîì íèêòî íå ñîìíåâàåòñÿ: «íåò íèêàêèõ ñîìíåíèé â ýòîì») ? I thought your reassuring manner (ÿ ïîäóìàë, ÷òî âàøå óñïîêàèâàþùåå ïîâåäåíèå; to reassure — /âíîâü/ çàâåðÿòü, óáåæäàòü; óâåùåâàòü, óñïîêàèâàòü) was only to smooth things over (áûëî íàöåëåíî òîëüêî íà òî: «áûëî òîëüêî äëÿ òîãî, ÷òîáû», ÷òîáû ñãëàäèòü âñþ ñèòóàöèþ; to smooth — ïðèãëàæèâàòü, ñãëàæèâàòü; óñòðàíÿòü, ñãëàæèâàòü) till we are dug out of the snow (äî òåõ ïîð, ïîêà íàñ íå âûêîïàþò èç ñíåæíûõ çàíîñîâ; to dig ( dug) — êîïàòü, ðûòü; âûêàïûâàòü ) and the police take charge (è çà äåëî âîçüìåòñÿ ïîëèöèÿ; charge — íàãðóçêà, çàãðóçêà; çàáîòà, ïîïå÷åíèå, íàäçîð; to take charge of smb., smth. — âçÿòü íà ñåáÿ çàáîòó î êîì-ëèáî, ÷åì-ëèáî; îñóùåñòâëÿòü êîíòðîëü /íàäçîð/ çà êåì-ëèáî, ÷åì-ëèáî) .”

“ You do not believe the Count’ s positive assertion (çíà÷èò, âû íå âåðèòå â êàòåãîðè÷åñêîå çàÿâëåíèå ãðàôà; positive — íåñîìíåííûé, îïðåäåëåííûé; ðåøèòåëüíûé, êàòåãîðè÷åñêèé; to assert — óòâåðæäàòü, çàÿâëÿòü ) — on his word of honor (â åãî ÷åñòíîå ñëîâî) — that his wife is innocent (÷òî åãî æåíà íåâèíîâíà) ?”

Mon cher — naturally — what else could he say (äðóã ìîé — /ýòî æå/ åñòåñòâåííî — ÷òî åùå îí ìîã ñêàçàòü) ? He adores his wife (îí îáîæàåò ñâîþ æåíó ). He wants to save her (îí õî÷åò ñïàñòè åå )! He tells his lie very well (îí î÷åíü õîðîøî ëæåò ; to tell a lie — ñîëãàòü, ñêàçàòü íåïðàâäó) — quite in the grand seigneur manner ( âïîëíå â ìàíåðå / ñâîéñòâåííîé/ âàæíûì ïåðñîíàì; grand — ãðàíäèîçíûé , áîëüøîé ; âàæíûé , çíàòíûé ; seigneur = seignior — èñò . ôåîäàë ; àðèñòîêðàò , âåëüìîæà ). But what else than a lie could it be (íî ÷åì åùå , êðîìå ëæè , ìîæåò ýòî áûòü )?”

 

surely ['SVqlI] smooth [smu:D] charge [tSQ:dZ] assertion [q'sq:S(q)n] innocent ['Inqs(q)nt] grand [grxnd] seigneur [se'njq :]

 

“My dear friend — surely there is no doubt of it? I thought your reassuring manner was only to smooth things over till we are dug out of the snow and the police take charge.”

“You do not believe the Count’s positive assertion — on his word of honor — that his wife is innocent?”

Mon cher — naturally — what else could he say? He adores his wife. He wants to save her! He tells his lie very well — quite in the grand seigneur manner. But what else than a lie could it be?”

 

“Well, you know, I had the preposterous idea (íó , çíàåòå ëè , åñòü ó ìåíÿ òàêàÿ íåëåïàÿ ìûñëü ) that it might be the truth (÷òî ýòî ìîãëî áû áûòü ïðàâäîé ).”

“No, no. The handkerchief, remember (ïîìíèòå , íîñîâîé ïëàòîê ). The handkerchief clinches the matter (ïëàòîê ðåøàåò âñå äåëî ; to clinch — çàãèáàòü / ãâîçäü/; îêîí÷àòåëüíî ðåøàòü, äîãîâàðèâàòüñÿ) .”

“ Oh, I am not so sure about the handkerchief (î, ÿ íå òàê óæ óâåðåí îòíîñèòåëüíî ýòîãî ïëàòêà) . You remember , I always told you that there were two possibilities (âû ïîìíèòå, ÿ âñåãäà ãîâîðèë âàì, ÷òî áûëî äâà âàðèàíòà; possibility — âîçìîæíîñòü, âåðîÿòíîñòü ) as to the ownership of the handkerchief (êàñàòåëüíî âëàäåíèÿ ýòèì ïëàòêîì = ÷òî ó ïëàòêà áûëè äâå âîçìîæíûõ âëàäåëèöû; ownership — ñîáñòâåííîñòü, ïðàâî ñîáñòâåííîñòè; âëàäåíèå).”

“ All the same (è âñå-òàêè) — ”

M . Bouc broke off (ìñüå Áóê âíåçàïíî çàìîë÷àë; to break ( broke, broken) — ëîìàòü; to break off — îòëàìûâàòü; âíåçàïíî ïðåðâàòü /ðàçãîâîð, çíàêîìñòâî è ò.ï./) . The door at the end had opened (äâåðü â êîíöå /âàãîíà / îòâîðèëàñü ), and Princess Dragomiroff entered the dining-car (è â âàãîí -ðåñòîðàí âîøëà êíÿãèíÿ Äðàãîìèðîâà ). She came straight to them (îíà ïîäîøëà ïðÿìî ê íèì ) and all three men rose to their feet (è âñå òðîå ìóæ÷èí âñòàëè : «ïîäíÿëèñü íà íîãè »).

 

preposterous [prI'pO st(q)rqs] clinch [klIntS] ownership ['qVnqSIp]

 

“Well, you know, I had the preposterous idea that it might be the truth.”

“No, no. The handkerchief, remember. The handkerchief clinches the matter.”

“Oh, I am not so sure about the handkerchief. You remember, I always told you that there were two possibilities as to the ownership of the handkerchief.”

“All the same — ”

M. Bouc broke off. The door at the end had opened, and Princess Dragomiroff entered the dining-car. She came straight to them and all three men rose to their feet.

 

She spoke to Poirot, ignoring the others (îíà îáðàòèëàñü: «çàãîâîðèëà ñ» ê Ïóàðî, íå îáðàùàÿ âíèìàíèÿ íà îñòàëüíûõ /ìóæ÷èí/) .

“I believe, Monsieur (ÿ ïîëàãàþ , ìñüå ),” she said, “that you have a handkerchief of mine (÷òî ó âàñ ìîé ïëàòîê ).”

Poirot shot a glance of triumph at the other two (Ïóàðî áðîñèë òîðæåñòâóþùèé âçãëÿä íà äâóõ äðóãèõ /ìóæ÷èí /; to shoot (shot) — ñòðåëÿòü, âåñòè îãîíü; áðîñàòü, êèäàòü, øâûðÿòü; triumph — ïîáåäà, òîðæåñòâî, òðèóìô; ðàäîñòü ïîáåäû) .

“Is this it, Madame (ýòî îí , ìàäàì )?”

He produced the little square of fine cambric (îí ïðîòÿíóë åé ìàëåíüêèé êëî÷îê òîíêîãî áàòèñòà ; to produce — ïðåäúÿâëÿòü, ïðåäñòàâëÿòü; ïðèíîñèòü, äàâàòü; square — êâàäðàò; ïðåäìåò ÷åòûðåõóãîëüíîé ôîðìû; fine — ÿñíûé, õîðîøèé, ñóõîé / î ïîãîäå/; òîíêèé) .

“That is it (äà , ýòî îí ). It has my initial in the corner (íà íåì â óãëó ìîé èíèöèàë ).”

 

ignore [Ig'nO:] triumph ['traIqmf] square [skweq] cambric ['keImbrIk, 'kxmbrIk]

 

She spoke to Poirot, ignoring the others.

“I believe, Monsieur,” she said, “that you have a handkerchief of mine.”

Poirot shot a glance of triumph at the other two.

“Is this it, Madame?”

He produced the little square of fine cambric.

“That is it. It has my initial in the corner.”

 

“But, Madame la Princesse, that is the letter H (íî , ìàäàì êíÿãèíÿ , ýòî æå áóêâà Í ),” said M. Bouc. “Your Christian name — pardon me — is Natalia (ïðîøó ìåíÿ èçâèíèòü , íî âàøå èìÿ Íàòàëèÿ ).”

She gave him a cold stare (îíà õîëîäíî óñòàâèëàñü íà íåãî; stare — ïðèñòàëüíûé âçãëÿä; cold — õîëîäíûé; õîëîäíûé, íåïðèâåòëèâûé, ñóõîé).

“That is correct, Monsieur (âåðíî , ìñüå ). My handkerchiefs are always initialed in the Russian characters (ìîè ïëàòêè âñåãäà ïîìå÷åíû èíèöèàëàìè /íàïèñàííûìè / ðóññêèìè áóêâàìè ; character — õàðàêòåð, íðàâ; ëèòåðà, áóêâà, öèôðà, ïå÷àòíûé çíàê) . H is N in Russian ( Í — ýòî N ïî- ðóññêè) .”

M. Bouc was somewhat taken aback (ìñüå Áóê íåñêîëüêî îïåøèë ; to take (took, taken) aback — ïîðàçèòü, îøåëîìèòü, çàõâàòèòü âðàñïëîõ) . There was something about this indomitable old lady (áûëî â ýòîé íåóìîëèìîé ïîæèëîé äàìå íå÷òî ; indomitable — íåóêðîòèìûé) which made him feel flustered ( ÷òî çàñòàâëÿëî åãî ÷óâñòâîâàòü ñåáÿ âçâîëíîâàííî; fluster — âîëíåíèå , ñìÿòåíèå ) and uncomfortable (è íåëîâêî ; comfort — óòåøåíèå, ïîääåðæêà) .

 

initial [I'nIS(q)l] character ['kxrIktq] indomitable [In'dO mItqb(q)l] flustered ['flAstqd]

 

“But, Madame la Princesse, that is the letter H,” said M. Bouc. “Your Christian name — pardon me — is Natalia.”

She gave him a cold stare.

“That is correct, Monsieur. My handkerchiefs are always initialled in the Russian characters. H is N in Russian.”

M. Bouc was somewhat taken aback. There was something about this indomitable old lady which made him feel flustered and uncomfortable.

 

“You did not tell us that this handkerchief was yours at the inquiry this morning (âû íå ñêàçàëè íàì , ÷òî ýòî âàø ïëàòîê , ïðè ðàçãîâîðå ñåãîäíÿ óòðîì ; inquiry — íàâåäåíèå ñïðàâîê, ðàññïðàøèâàíèå; þð. ðàññëåäîâàíèå / äåëà/ ).”

“You did not ask me (âû íå ñïðàøèâàëè ìåíÿ /î ïëàòêå /),” said the Princess drily (ñóõî îòâåòèëà êíÿãèíÿ ).

“Pray be seated, Madame (ïðîøó âàñ , ïðèñàæèâàéòåñü , ìàäàì ),” said Poirot.

She sighed (îíà âçäîõíóëà). “ I may as well, I suppose (ìîæíî è ïðèñåñòü, ÿ ïîëàãàþ; may as well — ìîæíî âïîëíå /ñäåëàòü ÷òî-ëèáî/ ).” She sat down (îíà ñåëà).

“ You need not make a long business of this, Messieurs (ãîñïîäà, âû ìîæåòå íå çàòÿãèâàòü ýòî äåëî; long — äëèííûé; äîëãèé, ïðîäîëæèòåëüíûé ).

 

inquiry [In'kwaI(q)rI] drily ['draIlI] sigh [saI]

 

“You did not tell us that this handkerchief was yours at the inquiry this morning.”

“You did not ask me,” said the Princess drily.

“Pray be seated, Madame,” said Poirot.

She sighed. “I may as well, I suppose.” She sat down.

“You need not make a long business of this, Messieurs.”

 

Your next question will be ( âàø ñëåäóþùèé âîïðîñ áóäåò) — How did my handkerchief come to be lying by a murdered man’s body (êàê ñëó÷èëîñü , ÷òî âàø ïëàòîê ëåæàë ðÿäîì ñ òåëîì óáèòîãî )! My reply to that is (ìîé îòâåò íà ýòî òàêîé = ÿ îòâå÷ó íà ýòî) that I have no idea (÷òî ÿ íå èìåþ /íè ìàëåéøåãî/ ïðåäñòàâëåíèÿ) .”

“ You have really no idea (âû äåéñòâèòåëüíî íå çíàåòå) ?”

“ None whatever (íè ìàëåéøåãî).”

“ You will excuse me, Madame, but how much can we rely upon the truthfulness of your replies (èçâèíèòå ìåíÿ, ìàäàì, íàñêîëüêî ìû ìîæåì ïîëàãàòüñÿ íà ïðàâäèâîñòü âàøèõ îòâåòîâ) ?”

Poirot said the words very softly (Ïóàðî ïðîèçíåñ ýòè ñëîâà î÷åíü ìÿãêî) .

 

handkerchief ['hxNkqtSIf] reply [rI'plaI] idea [aI'dIq]

 

Your next question will be — How did my handkerchief come to be lying by a murdered man’s body! My reply to that is that I have no idea.”

“You have really no idea?”

“None whatever.”

“You will excuse me, Madame, but how much can we rely upon the truthfulness of your replies?”

Poirot said the words very softly.

 

Princess Dragomiroff answered contemptuously (êíÿãèíÿ Äðàãîìèðîâà ïðåçðèòåëüíî /âûñîêîìåðíî îòâåòèëà ). “I suppose you mean because I did not tell you that Helena Andrenyi was Mrs. Armstrong’s sister (ÿ ïîëàãàþ , âû èìååòå â âèäó , ïîòîìó ÷òî ÿ íå ñêàçàëà âàì , ÷òî Õåëåíà Àíäðåíè — ñåñòðà ìèññèñ Àðìñòðîíã )?”

“ In fact (íà ñàìîì äåëå; fact — ôàêò, ñîáûòèå; èñòèíà, ðåàëüíîñòü, äåéñòâèòåëüíîñòü ) you deliberately lied to us in the matter (âû íàìåðåííî ñîëãàëè íàì â ýòîì âîïðîñå; matter — âåùåñòâî; äåëî, âîïðîñ ).”

“ Certainly (êîíå÷íî). I would do the same again (ÿ áû è ñíîâà òàê ïîñòóïèëà: «ÿ áû ñäåëàëà òî æå ñàìîå ñíîâà») . Her mother was my friend (åå ìàòü áûëà ìîåé ïîäðóãîé) . I believe , Messieurs , in loyalty (ÿ âåðþ, ãîñïîäà, â ïðåäàííîñòü/âåðíîñòü) — to one ’s friends and one ’s family and one ’s caste (ñâîèì äðóçüÿì, ñâîåé ñåìüå, ñâîåìó êðóãó; caste — /â Èíäèè/ êàñòà; êàñòà, çàìêíóòàÿ ãðóïïà /ïðîôåññèîíàëüíàÿ, ñîöèàëüíàÿ è ò.ï./, ïðèâèëåãèðîâàííîå îáùåñòâåííîå ïîëîæåíèå ).”

“ You do not believe in doing your utmost (âû íå âåðèòå /â òî, ÷òî âû äîëæíû/ äåëàòü âñå âîçìîæíîå; utmost — áîëüøåå, ïðåäåë âîçìîæíîãî ) to further the ends of justice (÷òîáû ñïîñîáñòâîâàòü òîðæåñòâó ïðàâîñóäèÿ: «öåëÿì ïðàâîñóäèÿ»; to further — ïðîäâèãàòü; ñîäåéñòâîâàòü; end — êîíåö, îêîí÷àíèå; öåëü; justice — ñïðàâåäëèâîñòü; ïðàâîñóäèå, þñòèöèÿ )?”

“ In this case I consider that justice (â ýòîì ñëó÷àå, ÿ ñ÷èòàþ, ÷òî ïðàâîñóäèå; to consider — ðàññìàòðèâàòü, îáñóæäàòü; ïîëàãàòü, ñ÷èòàòü) — strict justice (èñòèííîå ïðàâîñóäèå; strict — òî÷íûé, îïðåäåëåííûé, ñòðîãèé ) — has been done (ñâåðøèëîñü).”

Poirot leaned forward (Ïóàðî ïîäàëñÿ âïåðåä; to lean — íàêëîíÿòüñÿ, íàãèáàòüñÿ ).

 

contemptuous [kqn'temptSVqs] deliberately [dI'lIb(q)rItlI] loyalty ['lOIqltI] justice ['dZAstIs]

 

Princess Dragomiroff answered contemptuously. “I suppose you mean because I did not tell you that Helena Andrenyi was Mrs. Armstrong’s sister?”

“In fact you deliberately lied to us in the matter.”

“Certainly. I would do the same again. Her mother was my friend. I believe, Messieurs, in loyalty — to one’s friends and one’s family and one’s caste.”

“You do not believe in doing your utmost to further the ends of justice?”

“In this case I consider that justice — strict justice — has been done.”

Poirot leaned forward.

 

“You see my difficulty, Madame (âû æå ïîíèìàåòå , â êàêîì ÿ çàòðóäíåíèè , ìàäàì ; difficulty — òðóäíîñòü; ïðåïÿòñòâèå; çàòðóäíåíèå) . In this matter of the handkerchief, even, am I to believe you (äàæå â ýòîì äåëå ñ ïëàòêîì , ñòîèò ëè ìíå âåðèòü âàì )? Or are you shielding your friend’s daughter (èëè âû âûãîðàæèâàåòå äî÷ü âàøåé ïîäðóãè ; to shield — çàùèùàòü, ïðèêðûâàòü; ñïàñàòü, âûãîðàæèâàòü) ?”

“Oh ! I see what you mean (î, ïîíèìàþ, ÷òî âû õîòèòå ñêàçàòü) .” Her face broke into a grim smile (íà åå ëèöå îòðàçèëàñü ìðà÷íàÿ óëûáêà; to break ( broke, broken) — ëîìàòü; to break into smth. — âíåçàïíî íà÷èíàòü ÷òî-ëèáî ). “ Well, Messieurs, this statement of mine can be easily proved (÷òî æ, ãîñïîäà, ýòî ìîå çàÿâëåíèå ìîæíî ëåãêî äîêàçàòü; statement — âûñêàçûâàíèå, èçëîæåíèå; çàÿâëåíèå, óòâåðæäåíèå). I will give you the address of the people in Paris who make my handkerchiefs (ÿ äàì âàì àäðåñ ëþäåé â Ïàðèæå , êîòîðûå äåëàþò ìîè ïëàòêè ). You have only to show them the one in question (âàì íàäî áóäåò òîëüêî ïîêàçàòü èì ýòîò ïëàòîê , î êîòîðîì èäåò ðå÷ü ; question — âîïðîñ; ïðîáëåìà, äåëî, îáñóæäàåìûé âîïðîñ) and they will inform you that it was made to my order over a year ago (è îíè ñîîáùàò âàì , ÷òî îí áûë èçãîòîâëåí ïî ìîåìó çàêàçó áîëüøå ãîäà íàçàä ; order — ïîðÿäîê; çàêàç) . The handkerchief is mine, Messieurs ( ãîñïîäà, ýòî ìîé ïëàòîê) .”

She rose (îíà âñòàëà ).

“ Have you anything further you wish to ask me (æåëàåòå ëè âû ñïðîñèòü ìåíÿ î ÷åì-íèáóäü åùå: «ó âàñ åñòü ÷òî-íèáóäü äîïîëíèòåëüíîå, î ÷åì âû æåëàåòå ñïðîñèòü ìåíÿ»; further — áîëåå îòäàëåííûé; äîïîëíèòåëüíûé, äîáàâî÷íûé )?”

 

shielding ['Si:ldIN] daughter ['dO:tq] messieurs [meI'sjq:(z) ]

 

“You see my difficulty, Madame. In this matter of the handkerchief, even, am I to believe you? Or are you shielding your friend’s daughter?”

“Oh! I see what you mean.” Her face broke into a grim smile. “Well, Messieurs, this statement of mine can be easily proved. I will give you the address of the people in Paris who make my handkerchiefs. You have only to show them the one in question and they will inform you that it was made to my order over a year ago. The handkerchief is mine, Messieurs.”

She rose.

“Have you anything further you wish to ask me?”

 

“Your maid, Madame (âàøà ñëóæàíêà , ìàäàì ), did she recognise this handkerchief (óçíàëà ëè îíà ýòîò ïëàòîê ) when we showed it to her this morning (êîãäà ìû ïîêàçàëè åé åãî ñåãîäíÿ óòðîì )?”

“ She must have done so (îíà äîëæíà áûëà óçíàòü: «ñäåëàòü òàê») . She saw it and said nothing (îíà âèäåëà åãî è íè÷åãî íå ñêàçàëà) ? Ah , well , that shows that she too can be loyal (íó, ÷òî æå, ýòî ïîêàçûâàåò, ÷òî îíà òîæå ìîæåò áûòü ïðåäàííîé).”

With a slight inclination of her head (ñëåãêà ñêëîíèâ ãîëîâó /â çíàê ïðîùàíèÿ/; inclination — íàêëîíåíèå, íàêëîí; to incline — íàêëîíÿòü, íàãèáàòü ) she passed out of the dining- car (îíà âûøëà èç âàãîíà-ðåñòîðàíà) .

“ So that was it (çíà÷èò, òàê îíî è áûëî) ,” murmured Poirot softly (òèõî ïðîáîðìîòàë Ïóàðî; soft — ìÿãêèé; íåæíûé, òîíêèé, òèõèé ). “ I noticed just a trifling hesitation (ÿ çàìåòèë ëèøü ìàëåéøåå êîëåáàíèå; trifle — ïóñòÿê, ìåëî÷ü, áåçäåëèöà; trifling — ïóñòÿ÷íûé, íåçíà÷èòåëüíûé ) when I asked the maid if she knew to whom the handkerchief belonged (êîãäà ÿ ñïðîñèë ñëóæàíêó /î òîì/ çíàåò ëè îíà, êîìó ïðèíàäëåæèò ïëàòîê) . She was uncertain whether or not to admit that it was her mistress ’s (îíà íå áûëà óâåðåíà, ïðèçíàâàòü åé èëè íåò, ÷òî ýòî ïëàòîê åå õîçÿéêè). But how does that fit in with that strange central idea of mine (íî íàñêîëüêî ýòî ñîîòâåòñòâóåò ìîåé íåîáû÷íîé îñíîâíîé èäåå; to fit in — âñòàâëÿòü /íà ìåñòî/, ïðèãîíÿòü; ñîîòâåòñòâîâàòü, ïîäõîäèòü; strange — íåçíàêîìûé, íåèçâåñòíûé; íåîáû÷íûé, íåîáûêíîâåííûé; central — ðàñïîëîæåííûé â öåíòðå, öåíòðàëüíûé; îñíîâíîé, ñàìûé âàæíûé )? Yes, it might well be (äà, ýòî âïîëíå âîçìîæíî) .”

“ Ah!” said M. Bouc with a characteristic gesture (ñêàçàë ìñüå Áóê ñ õàðàêòåðíûì æåñòîì) . “She is a terrible old lady , that (ýòà ñòàðóõà, îíà âíóøàåò ñòðàõ; terrible — ñòðàøíûé, óæàñíûé; âíóøàþùèé ñòðàõ, óæàñ)!”

 

loyal ['lOIql] inclination ["InklI'neIS(q)n] trifling ['traIflIN] characteristic ["kxrIktq'rIstIk]

 

“Your maid, Madame, did she recognise this handkerchief when we showed it to her this morning?”

“She must have done so. She saw it and said nothing? Ah, well, that shows that she too can be loyal.”

With a slight inclination of her head she passed out of the dining-car.

“So that was it,” murmured Poirot softly. “I noticed just a trifling hesitation when I asked the maid if she knew to whom the handkerchief belonged. She was uncertain whether or not to admit that it was her mistress’s. But how does that fit in with that strange central idea of mine? Yes, it might well be.”

“Ah!” said M. Bouc with a characteristic gesture. “She is a terrible old lady, that!”

 

“Could she have murdered Ratchett (ìîãëà ëè îíà óáèòü Ðýò÷åòòà )?” asked Poirot of the doctor (ñïðîñèë Ïóàðî ó äîêòîðà ).

He shook his head (òîò ïîêà÷àë ãîëîâîé ).

“Those blows (òå óäàðû ) — the ones delivered with great force (òå , ÷òî áûëè íàíåñåíû ñ îãðîìíîé ñèëîé ; to deliver — ïåðåäàâàòü, âðó÷àòü; íàíîñèòü / óäàð/ ) penetrating the muscle (÷òî ïðîøëè â ìûøöû ; to penetrate — ïðîíèêàòü âíóòðü, ïðîõîäèòü) — never, never could anyone with so frail a physique inflict them (íèêîãäà , íå ñìîã áû íàíåñòè èõ êòî -íèáóäü ñ òàêèì õðóïêèì òåëîñëîæåíèåì ; frail — õðóïêèé, íåïðî÷íûé; ñëàáûé, áîëåçíåííûé) .”

“But the feebler ones (à áîëåå ñëàáûå /óäàðû /)?”

“The feebler ones, yes (áîëåå ñëàáûå äà ).”

 

penetrating ['penItreItIN] muscle ['mAs(q)l] physique [fI'zi:k]

 

“Could she have murdered Ratchett?” asked Poirot of the doctor.

He shook his head.

“Those blows — the ones delivered with great force penetrating the muscle — never, never could anyone with so frail a physique inflict them.”

“But the feebler ones?”

“The feebler ones, yes.”

 

“I am thinking ( ÿ äóìàþ) ,” said Poirot, “of the incident this morning when I said to her that the strength was in her will rather than in her arm (î òîì ñëó÷àå ñåãîäíÿ óòðîì , êîãäà ÿ ñêàçàë åé , ÷òî ñèëà áûëà â åå âîëå , à íå â åå ðóêå ). It was in the nature of a trap (ýòî áûëî íå÷òî âðîäå ëîâóøêè ; nature — ïðèðîäà, ìèð; ðîä, ñîðò, êëàññ; trap — êàïêàí; çàïàäíÿ, ëîâóøêà) , that remark ( òî / ìîå/ çàìå÷àíèå) . I wanted to see if she would look down at her right or her left arm (ÿ õîòåë ïîñìîòðåòü , ïîñìîòðèò ëè îíà íà ñâîþ ïðàâóþ èëè ñâîþ ëåâóþ ðóêè ). She did neither (îíà íå ñäåëàëà íè òîãî, íè äðóãîãî) . She looked at them both (îíà ïîñìîòðåëà íà îáå /ðóêè/: «íà èõ îáå») . But she made a strange reply (íî îíà ñòðàííî îòâåòèëà ; reply — îòâåò) . She said, ‘No, I have no strength in these ( ó ìåíÿ â íèõ íåò ñèëû) . I do not know whether to be sorry or glad ( ÿ íå çíàþ, ñîæàëåòü èëè ðàäîâàòüñÿ) .’ A curious remark that (ýòî ëþáîïûòíîå çàìå÷àíèå; curious — ëþáîçíàòåëüíûé; ëþáîïûòíûé ). It confirms me in my belief about the crime (îíî óêðåïëÿåò ìåíÿ â ìîèõ äîãàäêàõ îòíîñèòåëüíî ïðåñòóïëåíèÿ; to confirm — ïîäòâåðæäàòü; ïîäêðåïëÿòü, ïîääåðæèâàòü; belief — âåðà, äîâåðèå; ðàçã. ìíåíèå, óáåæäåíèå, ïîíèìàíèå) .”

 

incident ['InsId(q)nt] strength [streNT, strenT] neither ['naIDq] whether ['weDq]

 

“I am thinking,” said Poirot, “of the incident this morning when I said to her that the strength was in her will rather than in her arm. It was in the nature of a trap, that remark. I wanted to see if she would look down at her right or her left arm. She did neither. She looked at them both. But she made a strange reply. She said, ‘No, I have no strength in these. I do not know whether to be sorry or glad.’ A curious remark that. It confirms me in my belief about the crime.”

 

“It did not settle the point about the left-handedness (ýòî íå ðàçðåøèëî âîïðîñ î ëåâøå : «î ëåâîðóêîñòè »).”

“No. By the way, did you notice (ìåæäó ïðî÷èì , âû îáðàòèëè âíèìàíèå ) that Count Andrenyi keeps his handkerchief in his right-hand breast pocket (÷òî ó ãðàôà Àíäðåíè åãî ïëàòîê òîð÷èò èç /åãî / ïðàâîãî íàãðóäíîãî êàðìàíà : «÷òî ãðàô Àíäðåíè õðàíèò /äåðæèò ñâîé ïëàòîê â ïðàâîì íàãðóäíîì êàðìàíå »)?”

M. Bouc shook his head (ìñüå Áóê ïîêà÷àë ãîëîâîé ). His mind reverted (åãî óì âíîâü /è âíîâü / îáðàùàëñÿ ; to revert — âîçâðàùàòüñÿ / â ïðåæíåå ñîñòîÿíèå/; îáðàùàòüñÿ âíîâü, âîçâðàùàòüñÿ / ê ìûñëè, ïåðâîíà÷àëüíîé òåìå ðàçãîâîðà/ ) to the astonishing revelations of the last half-hour (ê óäèâèòåëüíûì îòêðûòèÿì ïîñëåäíåãî ïîëó÷àñà ; to astonish — óäèâëÿòü, èçóìëÿòü) . He murmured ( îí áîðìîòàë) :

“Lies — and again lies (ëîæü , è ñíîâà ëîæü ; lie — ëîæü) . It amazes me ( ìåíÿ óäèâëÿåò; to amaze — ïîðàæàòü , èçóìëÿòü , óäèâëÿòü ), the number of lies we had told to us this morning (òî êîëè÷åñòâî ëæè , êîòîðîå íàì ðàññêàçàëè ñåãîäíÿ óòðîì ).”

“ There are more still to discover (è åùå áîëüøå /íàì ïðåäñòîèò/ îáíàðóæèòü; still — âñå åùå, ïî-ïðåæíåìó; êðîìå òîãî, åùå ),” said Poirot cheerfully (áîäðî ñêàçàë Ïóàðî).

“ You think so (âû òàê äóìàåòå)?”

 

left-handed ["left'hxndId] astonishing [q'stO nISIN] revelation ["revq'leIS(q)n] amaze [q'meIz] cheerfully ['tSIqf(q)lI]

 

“It did not settle the point about the left-handedness.”

“No. By the way, did you notice that Count Andrenyi keeps his handkerchief in his right-hand breast pocket?”

M. Bouc shook his head. His mind reverted to the astonishing revelations of the last half-hour. He murmured:

“Lies — and again lies. It amazes me, the number of lies we had told to us this morning.”

“There are more still to discover,” said Poirot cheerfully.

“You think so?”

 

“I shall be very much disappointed if it is not so (ÿ áóäó î÷åíü ðàçî÷àðîâàí , åñëè ýòî áóäåò íå òàê ).”

“Such duplicity is terrible ( òàêàÿ äâóëè÷íîñòü óæàñíà) ,” said M. Bouc. “ But it seems to please you (íî îíà, êàæåòñÿ, äîñòàâëÿåò âàì óäîâîëüñòâèå; to please — æåëàòü, õîòåòü; óãîæäàòü, äîñòàâëÿòü óäîâîëüñòâèå) ,” he added reproachfully (äîáàâèë îí ñ óêîðèçíîé; to reproach — óïðåêàòü, óêîðÿòü ).

“ It has this advantage (ó äâóëè÷íîñòè åñòü òàêîå ïðåèìóùåñòâî) ,” said Poirot . “If you confront anyone who has lied with the truth (åñëè ïðåäúÿâèòü êîìó-òî, êòî ñîëãàë âàì, ïðàâäó; to confront — ñòîÿòü ïðîòèâ, âñòðåòèòüñÿ ëèöîì ê ëèöó; þð. ïðåäúÿâëÿòü) , he will usually admit it (îáû÷íî îí ïðèçíàåò åå) — often out of sheer surprise (çà÷àñòóþ èç-çà ïîëíåéøåé íåîæèäàííîñòè; sheer — íàñòîÿùèé, ñóùèé; àáñîëþòíûé, ïîëíåéøèé; surprise — óäèâëåíèå, èçóìëåíèå; íåîæèäàííîñòü, ñþðïðèç). It is only necessary to guess right (åäèíñòâåííîå, ÷òî íåîáõîäèìî — òàê ýòî ïðàâèëüíî óãàäàòü; right — ñïðàâåäëèâî; âåðíî, ïðàâèëüíî ) to produce your effect (÷òîáû ïðîèçâåñòè ýôôåêò) .

 

disappointed ["dIsq'pOIntId] duplicity [dju(:) 'plIsItI] reproachful [rI'prqVtSf(q)l] advantage [qd'vQ:ntIdZ]

 

“I shall be very much disappointed if it is not so.”

“Such duplicity is terrible,” said M. Bouc. “But it seems to please you,” he added reproachfully.

“It has this advantage,” said Poirot. “If you confront anyone who has lied with the truth, he will usually admit it — often out of sheer surprise. It is only necessary to guess right to produce your effect.

 

“ That is the only way to conduct this case (ýòî åäèíñòâåííûé ñïîñîá ðàññëåäîâàòü ýòî äåëî: «ïðîâåñòè ýòî äåëî»; to conduct — âåñòè, ñîïðîâîæäàòü /ïî ìóçåþ/; âåñòè, ðóêîâîäèòü, ïðîâîäèòü) . I select each passenger in turn (ÿ âûáèðàþ êàæäîãî ïàññàæèðà ïî î÷åðåäè; turn — îáîðîò, ïîâîðîò; î÷åðåäü ), consider his or her evidence (îáäóìûâàþ åãî èëè åå ïîêàçàíèÿ) , and say to myself (è ãîâîðþ ñåáå) , ‘If so and so is lying (åñëè òàêîé-òî ëæåò; so and so — òàêîé-òî, èìÿðåê /âìåñòî èìåíè, íàçâàíèÿ, íîìåðà è ò.ï./) , on what point is he lying (òî â ÷åì: «â êàêîì ïóíêòå îí ëæåò»; point — òî÷êà; ïóíêò, ìîìåíò; âîïðîñ, äåëî ), and what is the reason for the lie (è ÷òî çà ïðè÷èíà äëÿ ýòîé ëæè) ?’ And I answer (è ÿ îòâå÷àþ) , ‘If he is lying (åñëè îí ëæåò) — if , you mark (çàìåòüòå, åñëè; to mark — ñòàâèòü çíàê, ìåòêó; çàìå÷àòü, çàïîìèíàòü ) — it could only be for such a reason (òî ýòî ìîæåò áûòü òîëüêî ïî òàêîé-òî ïðè÷èíå) and on such a point (è â òîì-òî) .’ We have done that once very successfully with Countess Andrenyi (îäíàæäû ìû óæå ïðîäåëàëè ýòî î÷åíü óñïåøíî ñ ãðàôèíåé Àíäðåíè; success — óñïåõ, óäà÷à) . We shall now proceed to try the same method on several other persons (ñåé÷àñ ìû ïðîäîëæèì ïðèìåíÿòü òîò æå ñàìûé ìåòîä íà íåñêîëüêèõ äðóãèõ ëþäÿõ; to proceed — ïðîäîëæàòü ïóòü; ïðîäîëæàòü /äåëàòü ÷òî-ëèáî/; to try — ïûòàòüñÿ; ïðîáîâàòü, îïðîáîâàòü ).”

“ And supposing, my friend, that your guess happens to be wrong (à ïðåäïîëîæèì, ìîé äðóã, ÷òî âàøà äîãàäêà îêàæåòñÿ íåâåðíîé; to happen — ñëó÷àòüñÿ, ïðîèñõîäèòü; îêàçûâàòüñÿ /ñëó÷àéíî/; wrong — íåïðàâèëüíûé, íåâåðíûé, îøèáî÷íûé)?”

“ Then one person, at any rate (òîãäà ñ îäíîãî ÷åëîâåêà, âî âñÿêîì ñëó÷àå) , will be completely freed from suspicion (áóäóò ïîëíîñòüþ ñíÿòû ïîäîçðåíèÿ; to free — îñâîáîæäàòü; to suspect — ïîäîçðåâàòü ).”

“ Ah! — a process of elimination (à, ìåòîä èñêëþ÷åíèÿ; elimination — óäàëåíèå, èñêëþ÷åíèå; îòñåâ, âûáûâàíèå; elimination process — ïðîöåññ îòáîðà /êàíäèäàòîâ è ò.ï./ ïóòåì îòñåâà ìåíåå ïðèãîäíûõ ).”

“ Exactly (òî÷íî).”

“ And whom do we tackle next (è êåì ìû ñåé÷àñ çàéìåìñÿ; to tackle — õâàòàòü, îñòàíàâëèâàòü; èìåòü äåëî /ñ êåì-ëèáî/; next — ïîòîì, çàòåì, ïîñëå )?”

“We are going to tackle (ìû çàéìåìñÿ) that pukka sahib , Colonel Arbuthnot (ýòèì èñòèííûì äæåíòëüìåíîì, ïîëêîâíèêîì Àðáýòíîòîì; pukka — èíä.ðàçã. íàñòîÿùèé; sahib — ñàõèá, ãîñïîäèí /îáðàùåíèå ê èíîñòðàíöó â êîëîíèàëüíîé Èíäèè/).”

successfully [sqk'sesS(q)lI] wrong [rO N] completely [kqm'pli:tlI] suspicion [sq'spIS(q)n] elimination [I"lImI'neIS(q)n] pukka ['pAkq] sahib [sQ:b, 'sQ:(h)Ib] colonel ['kq:n(q)l]

 

“That is the only way to conduct this case. I select each passenger in turn, consider his or her evidence, and say to myself, ‘If so and so is lying, on what point is he lying, and what is the reason for the lie?’ And I answer, ‘If he is lying — if, you mark — it could only be for such a reason and on such a point.’ We have done that once very successfully with Countess Andrenyi. We shall now proceed to try the same method on several other persons.”

“And supposing, my friend, that your guess happens to be wrong?”

“Then one person, at any rate, will be completely freed from suspicion.”

“Ah! — a process of elimination.”

“Exactly.”

“And whom do we tackle next?”

“We are going to tackle that pukka sahib, Colonel Arbuthnot.”

6

 

A SECOND INTERVIEW WITH COLONEL ARBUTHNOT

(Âòîðàÿ áåñåäà ñ ïîëêîâíèêîì Àðáýòíîòîì)

 

Colonel Arbuthnot was clearly annoyed (ïîëêîâíèê Àðáýòíîò áûë ÿâíî ðàçäðàæåí /òåì/; clearly — çâîíêî, îò÷åòëèâî; îò÷åòëèâî, ÿñíî; to annoy — äîñàæäàòü, äîêó÷àòü; ðàçäðàæàòü, áåñïîêîèòü ) at being summoned to the dining- car for a second interview (÷òî åãî âûçâàëè â âàãîí-ðåñòîðàí äëÿ âòîðîé áåñåäû; to summon — âûçâàòü, ïîçâàòü, ïðèãëàñèòü ). His face wore a most forbidding expression (íà åãî ëèöå áûëî ÷ðåçâû÷àéíî íåïðèâåòëèâîå âûðàæåíèå; to wear ( wore, worn) — áûòü îäåòûì /âî ÷òî-ëèáî/; èìåòü âèä; forbidding — îòòàëêèâàþùèé, íåïðèâëåêàòåëüíûé; íåäðóæåëþáíûé, íåïðèâåòëèâûé /î âçãëÿäå è ò.ä./) as he sat down and said (êîãäà îí ñåë è ñêàçàë) :

“ Well (íó)?”

“ All my apologies for troubling you a second time (òûñÿ÷à èçâèíåíèé: «âñå ìîè èçâèíåíèÿ» çà /òî ÷òî ïðèõîäèòñÿ/ áåñïîêîèòü âàñ âî âòîðîé ðàç; to trouble — òðåâîæèòü, âîëíîâàòü, ðàññòðàèâàòü ),” said Poirot. “ But there is still some information that I think you might be able to give us (íî âñå åùå åñòü íåêàÿ èíôîðìàöèÿ, êîòîðóþ, êàê ìíå êàæåòñÿ, âû ñìîæåòå íàì ïðåäîñòàâèòü) .”

“ Indeed (â ñàìîì äåëå)? I hardly think so (ÿ òàê íå äóìàþ; hardly — åäâà; åäâà ëè, âðÿä ëè ).”

 

forbidding [fq'bIdIN] apology [q'pO lqdZI] might [maIt]

 

Colonel Arbuthnot was clearly annoyed at being summoned to the dining-car for a second interview. His face wore a most forbidding expression as he sat down and said:

“Well?”

“All my apologies for troubling you a second time,” said Poirot. “But there is still some information that I think you might be able to give us.”

“Indeed? I hardly think so.”

 

“ To begin with (ïðåæäå âñåãî: «íà÷àòü ñ òîãî, ÷òî») , you see this pipe -cleaner (âèäèòå ýòîò åðøèê äëÿ ÷èñòêè òðóáîê) ?”

“ Yes.”

“ Is it one of yours (ýòî âàø åðøèê: «ýòî îäèí èç âàøèõ /åðøèêîâ/) ?”

“ Don’ t know (íå çíàþ). I don’ t put a private mark on them, you know (ÿ íå ñòàâëþ íà íèõ ëè÷íûõ ìåòîê, çíàåòå ëè; private — ÷àñòíûé; ëè÷íûé, ñîáñòâåííûé; mark — çíàê; ìåòêà ).”

“ Are you aware, Colonel Arbuthnot (çíàåòå ëè âû, ïîëêîâíèê Àðáýòíîò; aware — îñîçíàþùèé /÷òî-ëèáî/, çíàþùèé /÷òî-ëèáî/ ), that you are the only man amongst the passengers in the Stamboul- Calais carriage who smokes a pipe (÷òî âû åäèíñòâåííûé /÷åëîâåê/, ñðåäè ïàññàæèðîâ âàãîíà Ñòàìáóë — Êàëå, êòî êóðèò òðóáêó) ?”

“ In that case it probably is one of mine (â òàêîì ñëó÷àå, ýòî, âåðîÿòíî, ìîé: «îäèí èç ìîèõ» åðøèê) .”

“ Do you know where it was found (çíàåòå ëè âû, ãäå îí áûë íàéäåí) ?”

“ Not the least idea (/íå èìåþ/ íå ìàëåéøåãî ïðåäñòàâëåíèÿ; idea — èäåÿ, ìûñëü; ïðåäñòàâëåíèå, ïîíÿòèå ).”

 

aware [q'weq] amongst [q'mANst] probably ['prO bqblI]

 

“To begin with, you see this pipe-cleaner?”

“Yes.”

“Is it one of yours?”

“Don’t know. I don’t put a private mark on them, you know.”

“Are you aware, Colonel Arbuthnot, that you are the only man amongst the passengers in the Stamboul-Calais carriage who smokes a pipe?”

“In that case it probably is one of mine.”

“Do you know where it was found?”

“Not the least idea.”

 

“It was found by the body of the murdered man (îí áûë íàéäåí ðÿäîì ñ òåëîì óáèòîãî /ìóæ÷èíû /; by — ìèìî; áëèçêî, ðÿäîì) .”

Colonel Arbuthnot raised his eyebrows (ïîëêîâíèê Àðáýòíîò /â èçóìëåíèè / ïîäíÿë áðîâè ; to raise the eyebrows — ïîäíÿò áðîâè / â çíàê óäèâëåíèÿ, íåäîâîëüñòâà è ò. ï./ ).

“Can you tell us, Colonel Arbuthnot (íå ìîãëè áû âû ðàññêàçàòü íàì , ïîëêîâíèê Àðáýòíîò ), how it is likely to have got there (êàê îí /åðøèê / ìîã òóäà ïîïàñòü ; likely — âåðîÿòíî, to get (got) — äîñòàâàòü, äîáûâàòü; ïîïàñòü, óãîäèòü) ?”

“ If you mean, did I drop it there myself, no, I didn’ t (åñëè âû õîòèòå ñêàçàòü, íå îáðîíèë ëè ÿ åãî òàì ñàì, òî íåò, ÿ íå ðîíÿë) .”

“Did you go into Mr. Ratchett’s compartment at any time (âû çàõîäèëè â êóïå ìèñòåðà Ðýò÷åòòà êîãäà -íèáóäü )?”

“ I never even spoke to the man (ÿ íèêîãäà äàæå íå ãîâîðèë ñ ýòèì ÷åëîâåêîì; never — íèêîãäà; íè ðàçó ).”

“ You never spoke to him and you did not murder him (âû ñ íèì íè ðàçó íå ðàçãîâàðèâàëè è âû åãî íå óáèâàëè) ?”

The colonel’ s eyebrows went up again sardonically (áðîâè ïîëêîâíèêà ñíîâà ïîøëè ââåðõ, íàñìåøëèâî; sardonically — ñàðäîíè÷åñêè, çëîáíî, ÿçâèòåëüíî ).

 

raised [reIzd] eyebrow ['aIbraV] murder ['mq:dq] sardonically [sQ:'dO nIk(q)lI]

 

“It was found by the body of the murdered man.”

Colonel Arbuthnot raised his eyebrows.

“Can you tell us, Colonel Arbuthnot, how it is likely to have got there?”

“If you mean, did I drop it there myself, no, I didn’t.”

“Did you go into Mr. Ratchett’s compartment at any time?”

“I never even spoke to the man.”

“You never spoke to him and you did not murder him?”

The colonel’s eyebrows went up again sardonically.

 

“If I had, I should hardly be likely to acquaint you with the fact (åñëè áû ÿ /åãî óáèë /, ÿ âðÿä ëè áû ñîîáùèë âàì îá ýòîì /ôàêòå /; to acquaint — çíàêîìèòü; ñîîáùàòü, èçâåùàòü) . As a matter of fact I didn’t murder the fellow ( ïî ïðàâäå ãîâîðÿ, ÿ íå óáèâàë åãî; fellow — ÷åëîâåê , ïàðåíü , ìàëûé ).”

“Ah, well,” murmured Poirot ( ïðîáîðìîòàë Ïóàðî) . “ It is of no consequence (ýòî íå âàæíî; consequence — ñëåäñòâèå, ïîñëåäñòâèå; çíà÷åíèå, âàæíîñòü ).”

“ I beg your pardon (ïðîøó ïðîùåíèÿ; to beg — ïðîñèòü; óìîëÿòü, ìîëèòü; pardon — ïðîùåíèå, èçâèíåíèå )?”

“I said that it was of no consequence (ÿ ñêàçàë , ÷òî ýòî íå âàæíî ).”

“Oh!” Arbuthnot looked taken aback ( Àðáýòíîò âûãëÿäåë ñìóùåííûì: « îïåøèâøèì»; to take (took, taken) aback — ïîðàçèòü , îøåëîìèòü , çàõâàòèòü âðàñïëîõ ). He eyed Poirot uneasily (îí òðåâîæíî ñìîòðåë íà Ïóàðî; to eye — ðàçãëÿäûâàòü, ðàññìàòðèâàòü, uneasily — íåóäîáíî; áåñïîêîéíî, òðåâîæíî ).

 

acquaint [q'kweInt] consequence ['kO nsIkwqns] uneasily [An'i:zIlI]

 

“If I had, I should hardly be likely to acquaint you with the fact. As a matter of fact I didn’t murder the fellow.”

“Ah, well,” murmured Poirot. “It is of no consequence.”

“I beg your pardon?”

“I said that it was of no consequence.”

“Oh!” Arbuthnot looked taken aback. He eyed Poirot uneasily.

 

“Because, you see (ïîòîìó ÷òî , çíàåòå ëè ),” continued the little man (ïðîäîëæàë êîðîòûøêà ), “the pipe-cleaner, it is of no importance (ýòîò åðøèê äëÿ ÷èñòêè òðóáîê çíà÷åíèÿ íå èìååò ; importance — çíà÷åíèå, âàæíîñòü, çíà÷èòåëüíîñòü) . I can myself think of eleven other excellent explanations of its presence (ÿ ñàì ìîãó ïðèäóìàòü îäèííàäöàòü äðóãèõ îòëè÷íûõ îáúÿñíåíèé åãî ïðèñóòñòâèÿ /â êóïå óáèòîãî /; to explain — îáúÿñíÿòü; presence — ïðèñóòñòâèå, íàëè÷èå) .”

Arbuthnot stared at him (Àðáýòíîò óñòàâèëñÿ íà íåãî ).

“What I really wished to see you about was quite another matter (òî , ðàäè ÷åãî ÿ íà ñàìîì äåëå õîòåë âàñ óâèäåòü , ýòî ñîâåðøåííî äðóãîå äåëî ),” went on Poirot (ïðîäîëæàë Ïóàðî ). “Miss Debenham may have told you, perhaps, that I overheard some words (ìèññ Äåáåíõýì , âîçìîæíî ñêàçàëà âàì , ÷òî ÿ ñëó÷àéíî óñëûøàë íåêîòîðûå ñëîâà ; to overhear (overheard) ) spoken to you at the station of Konya (/ êîòîðûå áûëè/ ñêàçàíû âàì íà âîêçàëå â Êîíüå) ?”

 

importance [Im'pO:t(q)ns] presence ['prez(q)ns] overheard ["qVvq'hq:d]

 

“Because, you see,” continued the little man, “the pipe-cleaner, it is of no importance. I can myself think of eleven other excellent explanations of its presence.”

Arbuthnot stared at him.

“What I really wished to see you about was quite another matter,” went on Poirot. “Miss Debenham may have told you, perhaps, that I overheard some words spoken to you at the station of Konya?”

 

Arbuthnot did not reply (Àðáýòíîò íå îòâåòèë ).

“ She said (îíà ñêàçàëà /âàì/), ‘ Not now (íå ñåé÷àñ). When it’ s all over (êîãäà âñå áóäåò êîí÷åíî; to be over — îêîí÷èòüñÿ, çàâåðøèòüñÿ ). When it’ s behind us (êîãäà ýòî áóäåò ïîçàäè /íàñ/) !’ Do you know to what those words referred (çíàåòå ëè âû, ê ÷åìó îòíîñèëèñü ýòè ñëîâà: «î ÷åì øëà ðå÷ü»; to refer — ïîñûëàòü, îòñûëàòü /ê êîìó-ëèáî, ÷åìó-ëèáî/; èìåòü îòíîøåíèå, îòíîñèòüñÿ /ê ÷åìó-ëèáî, êîìó-ëèáî/) ?”

“ I am sorry, M. Poirot, but I must refuse to answer that question (ìíå æàëü, ìñüå Ïóàðî, íî ÿ âûíóæäåí îòêàçàòüñÿ îòâå÷àòü íà ýòîò âîïðîñ; sorry — îãîð÷åííûé, ñîæàëåþùèé ).”

Pourquoi (ôð. ïî÷åìó)?”

The Colonel said stiffly (ïîëêîâíèê ñêàçàë õîëîäíî/íåîõîòíî; stiff — æåñòêèé, êðåïêèé; õîëîäíûé, ÷îïîðíûé; stiffly — õîëîäíî, ÷îïîðíî, íàòÿíóòî ), “ I suggest that you ask Miss Debenham herself for the meaning of those words (ÿ ïðåäëàãàþ, ÷òîáû âû ñïðîñèëè = âàì ñëåäóåò ñïðîñèòü ó ñàìîé ìèññ Äåáåíõýì î çíà÷åíèè/ñìûñëå ýòèõ ñëîâ) .”

“ I have done so (ÿ òàê è ñäåëàë).”

“ And she refused to tell you (è îíà íå ñêàçàëà: «îòêàçàëàñü ñêàçàòü» âàì) ?”

“Yes.”

 

refer [rI'fq :] stiffly ['stIflI] refused [rI'fju:zd]

 

Arbuthnot did not reply.

“She said, ‘Not now. When it’s all over. When it’s behind us!’ Do you know to what those words referred?”

“I am sorry, M. Poirot, but I must refuse to answer that question.”

Pourquoi?”

The Colonel said stiffly, “I suggest that you ask Miss Debenham herself for the meaning of those words.”

“I have done so.”

“And she refused to tell you?”

“Yes.”

 

“Then I should think it would have been perfectly plain (òîãäà , ìíå êàæåòñÿ , äîëæíî áûòü ñîâåðøåííî ÿñíûì ; plain — ÿñíûé, îò÷åòëèâûé; ÿâíûé, î÷åâèäíûé) — even to you ( äàæå äëÿ âàñ) — that my lips are sealed ( ÷òî ÿ äîëæåí ìîë÷àòü: « íà ìîèõ óñòàõ ïå÷àòü / ìîë÷àíèÿ/»; lip — ãóáà ; seal — ïå÷àòü , êëåéìî ; to seal — ïðèêëàäûâàòü , ñòàâèòü ïå÷àòü ).”

“You will not give away a lady’s secret (âû íå âûäàäèòå òàéíó äàìû ; to give away — îòäàâàòü, äàðèòü; âûäàâàòü, ïðåäàâàòü) ?”

“ You can put it that way, if you like (ìîæíî ñêàçàòü è òàê, åñëè âàì óãîäíî; to put — êëàñòü, ñòàâèòü; èçëàãàòü, ôîðìóëèðîâàòü /ìûñëè, çàìå÷àíèÿ è ò.ï./; way — ïóòü, äîðîãà; îáðàç äåéñòâèÿ ).”

“ Miss Debenham told me that they referred (ìèññ Äåáåíõýì ñêàçàëà ìíå, ÷òî îíè /ñëîâà/ îòíîñÿòñÿ) to a private matter of her own (ê åå ëè÷íîìó äåëó; own — ñîáñòâåííîñòü, ïðèíàäëåæíîñòü ).”

“ Then why not accept her word for it (â òàêîì ñëó÷àå, ïî÷åìó áû íå ïîâåðèòü åé íà ñëîâî; to accept — ïðèíèìàòü, áðàòü /ïðåäëîæåííîå/; âåðèòü )?”

“ Because, Colonel Arbuthnot, Miss Debenham is what one might call a highly suspicious character (ïîòîìó, ïîëêîâíèê Àðáýòíîò, ÷òî ìèññ Äåáåíõýì — ìîæíî òàê ñêàçàòü — ÷ðåçâû÷àéíî ïîäîçðèòåëüíàÿ îñîáà; to call —íàçûâàòü, çâàòü; suspicious — ïîäîçðèòåëüíûé, íåäîâåð÷èâûé; âûçûâàþùèé ïîäîçðåíèÿ, ïîäîçðèòåëüíûé; character — õàðàêòåð, íðàâ; ôèãóðà, ëè÷íîñòü ).”

 

perfectly ['pq :fIktlI] sealed [si:ld] secret ['si:krIt] highly ['haIlI]

 

“Then I should think it would have been perfectly plain — even to you — that my lips are sealed.”

“You will not give away a lady’s secret?”

“You can put it that way, if you like.”

“Miss Debenham told me that they referred to a private matter of her own.”

“Then why not accept her word for it?”

“Because, Colonel Arbuthnot, Miss Debenham is what one might call a highly suspicious character.”

 

“ Nonsense (÷åïóõà),” said the Colonel with warmth (ñêàçàë ïîëêîâíèê ñ ãîðÿ÷íîñòüþ; warmth — òåïëî, òåïëîòà; ãîðÿ÷íîñòü, çàïàëü÷èâîñòü ).

“It is not nonsense (ýòî íå ÷åïóõà ).”

“ You have nothing whatever against her (ó âàñ íåò àáñîëþòíî íè÷åãî ïðîòèâ íåå; whatever — ÷òî áû íè; íèêàêîé, âîîáùå íå, ñîâñåì íå).”

“ Not the fact that Miss Debenham was companion governess in the Armstrong household at the time of the kidnapping of little Daisy Armstrong (à òîò ôàêò: «/äàæå/ íå òîò ôàêò», ÷òî ìèññ Äåáåíõýì áûëà ãóâåðíàíòêîé â ñåìüå Àðìñòðîíãîâ âî âðåìÿ ïîõèùåíèÿ ìàëåíüêîé Äåéçè Àðìñòðîíã; companion — òîâàðèù; êîìïàíüîí(êà) ; household — ñåìüÿ, äîìî÷àäöû /âêëþ÷àÿ ñëóã/; companion governess — ãóâåðíàíòêà, ïîìîùíèöà ãóâåðíàíòêè )?”

There was a minute’ s dead silence (ñ ìèíóòó ñòîÿëà ìåðòâàÿ òèøèíà; dead — ìåðòâûé, óìåðøèé; ýìîö.-óñèë. ïîëíûé, ñîâåðøåííûé, ãëóáîêèé) .

Poirot nodded his head gently (Ïóàðî ìÿãêî êèâíóë ãîëîâîé ).

 

warmth [wO:mT] companion [kqm'pxnIqn] gently ['dZentlI]

 

“Nonsense,” said the Colonel with warmth.

“It is not nonsense.”

“You have nothing whatever against her.”

“Not the fact that Miss Debenham was companion governess in the Armstrong household at the time of the kidnapping of little Daisy Armstrong?”

There was a minute’s dead silence.

Poirot nodded his head gently.

 

“You see ( âèäèòå) ,” he said. “ We know more than you think (ìû çíàåì áîëüøå, ÷åì âû äóìàåòå) . If Miss Debenham is innocent (åñëè ìèññ Äåáåíõýì íåâèíîâíà) , why did she conceal that fact (ïî÷åìó îíà ñêðûëà ýòîò ôàêò; to conceal — ïðÿòàòü, óêðûâàòü; ñêðûâàòü, óòàèâàòü )? Why did she tell me that she had never been in America (ïî÷åìó îíà ñêàçàëà ìíå, ÷òî îíà íèêîãäà íå áûâàëà â Àìåðèêå) ?”

The Colonel cleared his throat (ïîëêîâíèê îòêàøëÿëñÿ: «ïðî÷èñòèë ãîðëî»; to clear — î÷èùàòü; throat — ãîðëî, ãîðòàíü ). “ Aren’ t you possibly making a mistake (íå ìîæåò âûéòè òàê, ÷òî âû âñå-òàêè îøèáàåòåñü; mistake — îøèáêà )?”

“I am making no mistake (ÿ íå îøèáàþñü ). Why did Miss Debenham lie to me (ïî÷åìó ìèññ Äåáåíõýì ñîëãàëà ìíå )?”

Colonel Arbuthnot shrugged his shoulders ( ïîëêîâíèê Àðáýòíîò ïîæàë ïëå÷àìè) . “ You had better ask her (âàì ñëåäóåò ñïðîñèòü ó íåå) . I still think that you are wrong (ÿ ïî-ïðåæíåìó ñ÷èòàþ, ÷òî âû îøèáàåòåñü; wrong — íåïðàâèëüíûé, íåâåðíûé, îøèáî÷íûé ).”

 

innocent ['Inqs(q)nt] conceal [kqn'si:l] throat [TrqVt]

 

“You see,” he said. “We know more than you think. If Miss Debenham is innocent, why did she conceal that fact? Why did she tell me that she had never been in America?”

The Colonel cleared his throat. “Aren’t you possibly making a mistake?”

“I am making no mistake. Why did Miss Debenham lie to me?”

Colonel Arbuthnot shrugged his shoulders. “You had better ask her. I still think that you are wrong.”

 

Poirot raised his voice and called (Ïóàðî ïîâûñèë ãîëîñ è ïîçâàë = Ïóàðî ãðîìêî ïîçâàë /îôèöèàíòà /; to raise — ïîäíèìàòü; èçäàâàòü / çâóê/, ïîäàâàòü / ãîëîñ/; to call — êðè÷àòü; çâàòü, ïîçâàòü, ïîäîçâàòü) . One of the restaurant attendants came ( ïîäîøåë îäèí èç îôèöèàíòîâ; attendant — ñîïðîâîæäàþùåå ëèöî ; îáñëóæèâàþùåå ëèöî , ñëóæèòåëü ) from the far end of the car (èç äàëüíåãî êîíöà âàãîíà ).

“Go and ask the English lady in No. 11 (ïîéäèòå è ïîçîâèòå àíãëè÷àíêó èç êóïå 11) if she will be good enough to come here (íå áóäåò ëè îíà òàê äîáðà /÷òîáû / ïðèéòè ñþäà ).”

Bien, Monsieur (ôð . õîðîøî, ìñüå) .”

The man departed (îôèöèàíò óøåë ). The four men sat in silence (÷åòâåðî ìóæ÷èí ñèäåëè â òèøèíå ). Colonel Arbuthnot’s face looked as though it were carved out of wood (ëèöî ïîëêîâíèêà Àðáýòíîòà âûãëÿäåëî òàê , ñëîâíî îíî áûëî âûðåçàíî èç äåðåâà ; wood — ëåñ, ðîùà; äðåâåñèíà, äåðåâî / ìàòåðèàë/ ), rigid and impassive (çàñòûâøèì è áåññòðàñòíûì ; rigid — æåñòêèé, íåãíóùèéñÿ; íåïîäâèæíûé; impassive — àïàòè÷íûé, áåçó÷àñòíûé; íåâîçìóòèìûé, áåññòðàñòíûé) .

The man returned (îôèöèàíò âåðíóëñÿ ).

“The lady is just coming, Monsieur (äàìà ñåé÷àñ ïðèäåò , ìñüå ).”

“Thank you.”

A minute or two later Mary Debenham entered the dining-car (ìèíóòó èëè äâå ñïóñòÿ â âàãîí -ðåñòîðàí âîøëà Ìýðè Äåáåíõýì ).

restaurant ['rest(q)|rO N, — r Ont] carve [kQ:v] rigid ['rIdZId] impassive [Im'pxsIv]

 

Poirot raised his voice and called. One of the restaurant attendants came from the far end of the car.

“Go and ask the English lady in No. 11 if she will be good enough to come here.”

Bien, Monsieur.”

The man departed. The four men sat in silence. Colonel Arbuthnot’s face looked as though it were carved out of wood, rigid and impassive.

The man returned.

“The lady is just coming, Monsieur.”

“Thank you.”

A minute or two later Mary Debenham entered the dining-car.

7

 

THE IDENTITY OF MARY DEBENHAM

(/ óñòàíîâëåíèå/ ëè÷íîñòè Ìýðè Äåáåíõýì; identity — òîæäåñòâåííîñòü, èäåíòè÷íîñòü; ëè÷íîñòü )

 

She wore no hat (îíà áûëà áåç øëÿïêè; to wear ( wore, worn) — áûòü îäåòûì /âî ÷òî-ëèáî/, íîñèòü /îäåæäó è ò.ï./). Her head was thrown back (åå ãîëîâà áûëà îòêèíóòà íàçàä; to throw ( threw, thrown) back — áðîñàòü îáðàòíî, íàçàä; îòáðàñûâàòü íàçàä) as though in defiance (âûçûâàþùå: «ñëîâíî ñ âûçîâîì»; defiance — âûçûâàþùåå ïîâåäåíèå; âûçîâ /íà ñïîð, áîé/). The sweep of her hair back from her face (îòáðîøåííûå ñî ëáà âîëîñû; sweep — âûìåòàíèå, ïîäìåòàíèå; ðàçìàõ, âçìàõ ), the curve of her nostril (èçãèá åå íîçäðåé; curve — êðèâàÿ /ëèíèÿ/; èçãèá ) suggested the figure- head of a ship (íàïîìèíàëè ôèãóðó íà íîñó êîðàáëÿ; to suggest — ïðåäëàãàòü, ñîâåòîâàòü; âûçûâàòü /àññîöèàöèþ è ò.ï./, ïîäñêàçûâàòü /ìûñëü, èäåþ è ò.ï./; figure -head — ìîð. íîñîâîå óêðàøåíèå, ôèãóðà íà íîñó êîðàáëÿ ) plunging gallantly into a rough sea (ñìåëî âðåçàþùóþñÿ â áóøóþùåå ìîðå; to plunge — íûðÿòü; ïîãðóæàòü(ñÿ), îêóíàòü(ñÿ); çàðûâàòüñÿ íîñîì â âîëíû /î ñóäíå/; rough — íåðîâíûé, øåðîõîâàòûé; áóðíûé, áóøóþùèé /î ìîðå/ ). In that moment she was beautiful (â ýòîò ìîìåíò îíà áûëà ïðåêðàñíà) .

Her eyes went to Arbuthnot for a minute (îíà âçãëÿíóëà íà Àðáýòíîòà íà ìãíîâåíèå: «åå âçîð îáðàòèëñÿ íà Àðáýòíîòà») — just a minute (âñåãî ëèøü íà ìãíîâåíèå) . She said to Poirot, “You wished to see me (âû õîòåëè ìåíÿ âèäåòü )?”

 

defiance [dI'faIqns] nostril ['nO strIl] figurehead ['fIgqhed] gallantly ['gxlqntlI] rough [rAf]

 

She wore no hat. Her head was thrown back as though in defiance. The sweep of her hair back from her face, the curve of her nostril suggested the figure-head of a ship plunging gallantly into a rough sea. In that moment she was beautiful.

Her eyes went to Arbuthnot for a minute — just a minute. She said to Poirot, “You wished to see me?”

 

“I wished to ask you, Mademoiselle (ÿ õîòåë ñïðîñèòü âàñ , ìàäåìóàçåëü ), why you lied to us this morning (ïî÷åìó âû ñîëãàëè íàì ñåãîäíÿ óòðîì : «ýòèì óòðîì »)?”

“Lied to you ( ñîëãàëà âàì) ? I don’ t know what you mean (ÿ íå ïîíèìàþ, î ÷åì âû ãîâîðèòå; to mean — íàìåðåâàòüñÿ, èìåòü â âèäó; ïîäðàçóìåâàòü, õîòåòü ñêàçàòü) .”

“ You concealed the fact (âû óòàèëè òîò ôàêò; to conceal — ïðÿòàòü, óêðûâàòü; ñêðûâàòü, óòàèâàòü ) that at the time of the Armstrong tragedy you were actually living in the house (÷òî â òî âðåìÿ, êîãäà /ñëó÷èëàñü/ òðàãåäèÿ â ñåìüå Àðìñòðîíãîâ, âû íà ñàìîì-òî äåëå ïðîæèâàëè â /èõ/ äîìå). You told me that you had never been in America (âû ñêàçàëè ìíå, ÷òî âû íèêîãäà íå áûëè â Àìåðèêå) .”

He saw her flinch for a moment (îí óâèäåë, ÷òî îíà /íà ìãíîâåíèå/ âçäðîãíóëà; flinch — îòñòóïëåíèå; âçäðàãèâàíèå, äðîæü; to flinch — âçäðàãèâàòü, ïåðåäåðíóòüñÿ /îò áîëè è ò.ï./) and then recover herself (íî çàòåì ïðèøëà â ñåáÿ = òóò æå âçÿëà ñåáÿ â ðóêè; to recover — ïîëó÷àòü îáðàòíî; îïðàâëÿòüñÿ /îò ÷åãî-ëèáî/, ïðèõîäèòü â ñåáÿ) .

“ Yes,” she said. “ That is true (ýòî ïðàâäà; true — âåðíûé, ïðàâèëüíûé, èñòèííûé ).”

 

concealed [kqn'si:ld] tragedy ['trxdZIdI] actually ['xktS(V)qlI] recover [rI'kAvq]

 

“I wished to ask you, Mademoiselle, why you lied to us this morning?”

“Lied to you? I don’t know what you mean.”

“You concealed the fact that at the time of the Armstrong tragedy you were actually living in the house. You told me that you had never been in America.”

He saw her flinch for a moment and then recover herself.

“Yes,” she said. “That is true.”

 

“No, Mademoiselle, it was false (íåò , ìàäåìóàçåëü , ýòî íåïðàâäà ; false — ëîæíûé, íåâåðíûé, îøèáî÷íûé) .”

“You misunderstood me (âû ìåíÿ íåïðàâèëüíî ïîíÿëè ; to misunderstand (misunderstood) ). I mean that it is true that I lied to you ( ÿ õî÷ó ñêàçàòü, ýòî ïðàâäà, ÷òî ÿ ñîëãàëà âàì) .”

“ Ah, you admit it (à, âû ïðèçíàåòå ýòî)?”

Her lips curved into a smile (åå ãóáû ñêðèâèëèñü â óëûáêå; to curve — ãíóòü(ñÿ), ñãèáàòü(ñÿ), èçãèáàòü(ñÿ )). “ Certainly, since you have found me out (êîíå÷íî, ðàç óæ âû ìåíÿ ðàçîáëà÷èëè; to find ( found) out — ðàçóçíàòü, âûÿñíèòü; ðàçîáëà÷èòü, óëè÷èòü /êîãî-ëèáî/).”

“ You are at least frank, Mademoiselle (âû, ïî êðàéíåé ìåðå, îòêðîâåííû, ìàäåìóàçåëü) .”

“ There does not seem anything else for me to be (ìíå, êàæåòñÿ, íè÷åãî áîëüøå íå îñòàåòñÿ: «êàæåòñÿ, íåò ÷åãî-íèáóäü åùå, êàêîé ÿ ìîãëà áû áûòü»).”

“Well, of course, that is true (÷òî æ , êîíå÷íî , ýòî òàê ). And now, Mademoiselle, may I ask you the reason for these evasions (à òåïåðü , ìàäåìóàçåëü , ìîãó ëè ÿ ñïðîñèòü ó âàñ ïðè÷èíó ýòèõ óâèëèâàíèé ; evasion — óêëîíåíèå / îò èñïîëíåíèÿ äîëãà è ò. ï./; óâåðòêà, óëîâêà, óêëîí÷èâûé îòâåò) ?”

 

false [fO:ls] misunderstood ["mIsAndq'stVd] curved [kq:vd] evasion [I'veIZ(q)n]

 

“No, Mademoiselle, it was false.”

“You misunderstood me. I mean that it is true that I lied to you.”

“Ah, you admit it?”

Her lips curved into a smile. “Certainly, since you have found me out.”

“You are at least frank, Mademoiselle.”

“There does not seem anything else for me to be.”

“Well, of course, that is true. And now, Mademoiselle, may I ask you the reason for these evasions?”

 

“I should have thought the reason leapt to the eye, M. Poirot (ìíå êàçàëîñü , ÷òî ïðè÷èíà áðîñàåòñÿ â ãëàçà , ìñüå Ïóàðî ; to leap (leapt, leaped) — ïðûãàòü, ñêàêàòü) .”

“ It does not leap to mine, Mademoiselle (ìíå íå áðîñèëàñü: «îíà íå áðîñèëàñü â ìîè /ãëàçà/», ìàäåìóàçåëü) .”

She said in a quiet even voice (îíà îòâåòèëà ñïîêîéíûì, ðîâíûì ãîëîñîì) with a trace of hardness in it (íî íåìíîãî ðåçêî: «ñî ñëåäàìè ñóðîâîñòè /â íåì/»; hard — òâåðäûé; ðåçêèé, ãðóáûé, íåïðèÿòíûé; hardness — òâåðäîñòü, êðåïîñòü; ñóðîâîñòü, æåñòîêîñòü), “ I have my living to get (ÿ äîëæíà çàðàáàòûâàòü ñåáå íà æèçíü; living — ñðåäñòâà ê ñóùåñòâîâàíèþ; to get — äîñòàâàòü, äîáûâàòü; çàðàáàòûâàòü, ïîëó÷àòü).”

“You mean (òî åñòü ) — ?”

She raised her eyes and looked him full in the face (îíà ïîäíÿëà ãëàçà è ïîñìîòðåëà åìó ïðÿìî â ëèöî ). “How much do you know, M. Poirot (÷òî âû çíàåòå , ìñüå Ïóàðî ; how much — ñêîëüêî) , of the fight ( î òîì, êàê ñëîæíî: « î áîðüáå çà»; fight — áîé , áèòâà ; áîðüáà ) to get and keep decent employment (ïîëó÷èòü è óäåðæàòü ïðèëè÷íîå ìåñòî ; to keep — äåðæàòü, èìåòü, õðàíèòü; óäåðæàòü, ñîõðàíèòü; employment — ðàáîòà / ïî íàéìó/, ñëóæáà) ? Do you think that a girl who had been detained in connection with a murder case (íåóæåëè âû äóìàåòå , ÷òî äåâóøêå , êîòîðàÿ áûëà çàäåðæàíà â ñâÿçè ñ äåëîì îá óáèéñòâå ; to detain — çàäåðæèâàòü; àðåñòîâûâàòü, ñîäåðæàòü ïîä ñòðàæåé) , whose name and perhaps photograph ( ÷üå èìÿ è, âîçìîæíî, ôîòîãðàôèè) were reproduced in the English papers ( ïå÷àòàëèñü â àíãëèéñêèõ ãàçåòàõ; to reproduce — ïðîèçâîäèòü ; âîñïðîèçâîäèòü , ðåïðîäóöèðîâàòü ; paper — áóìàãà ; ãàçåòà , æóðíàë ) — do you think that any nice ordinary middle-class woman would want to engage that girl as governess to her daughters ( íåóæåëè âû äóìàåòå, ÷òî ïîðÿäî÷íàÿ õîçÿéêà: « ñëàâíàÿ îáûêíîâåííàÿ æåíùèíà» èç çàæèòî÷íîé ñåìüè çàõî÷åò íàíÿòü ýòó äåâóøêó â êà÷åñòâå ãóâåðíàíòêè äëÿ ñâîèõ äî÷åðåé; middle-class — îòíîñÿùèéñÿ ê ñðåäíèì ñëîÿì îáùåñòâà , çàæèòî÷íûé , áóðæóàçíûé )?”

 

leapt [lept] leap [li:p] decent ['di:s(q)nt] detained [dI'teInd] photograph ['fqVtqgrQ:f] middle class ["mIdl'klQ:s]

 

“I should have thought the reason leapt to the eye, M. Poirot.”

“It does not leap to mine, Mademoiselle.”

She said in a quiet even voice with a trace of hardness in it, “I have my living to get.”

“You mean — ?”

She raised her eyes and looked him full in the face. “How much do you know, M. Poirot, of the fight to get and keep decent employment? Do you think that a girl who had been detained in connection with a murder case, whose name and perhaps photograph were reproduced in the English papers — do you think that any nice ordinary middle-class woman would want to engage that girl as governess to her daughters?”

 

“ I do not see why not (à ïî÷åìó áû è íåò: «íå ïîíèìàþ, ïî÷åìó íåò») — if no blame attached to you (åñëè âû /îêàæåòåñü/ íè â ÷åì íå âèíîâàòû; blame — ïîðèöàíèå, óïðåê; âèíà, îòâåòñòâåííîñòü; to attach — ïðèêðåïëÿòü, ïðèñîåäèíÿòü; áûòü ñâîéñòâåííûì, ïðèñóùèì).”

“ Oh, blame (î, âèíà) — it is not blame (äåëî íå â âèíîâíîñòè) — it is the publicity (äåëî â îãëàñêå; publicity — ïóáëè÷íîñòü, ãëàñíîñòü; èçâåñòíîñòü, ñëàâà )! So far, M. Poirot, I have succeeded in life (äî ñèõ ïîð, ìñüå Ïóàðî, ÿ ïðåóñïåâàëà â æèçíè; to succeed — äîñòèãíóòü öåëè, äîáèòüñÿ; ïðåóñïåâàòü, ïðîöâåòàòü). I have had well- paid (ó ìåíÿ áûëè õîðîøî îïëà÷èâàåìûå) , pleasant posts (ïðèÿòíûå ìåñòà ðàáîòû; post — ïîñò, äîëæíîñòü, ïîëîæåíèå ). I was not going to risk the position I had attained (ÿ íå ñîáèðàëàñü ðèñêîâàòü òåì ïîëîæåíèåì, êîòîðîãî ÿ äîñòèãëà) when no good end could have been served (êîãäà íåò îñîáîé íåîáõîäèìîñòè: «êîãäà íåò íèêàêîé ïîëüçû»; to serve an end — ñëóæèòü êàêîé-ëèáî öåëè, áûòü ïîëåçíûì; end — êîíåö, îêîí÷àíèå; öåëü, íàìåðåíèÿ; to serve — ñëóæèòü; ãîäèòüñÿ, ïîäõîäèòü ).”

“ I will venture to suggest, Mademoiselle (ÿ îñìåëþñü ïðåäïîëîæèòü, ìàäåìóàçåëü; to venture — ðèñêîâàòü, ñòàâèòü íà êàðòó; îòâàæèòüñÿ, ðåøèòüñÿ, îñìåëèòüñÿ) , that I would have been the best judge of that , not you (÷òî ëó÷øå îá ýòîì ñóäèòü ìíå, à íå âàì) .”

She shrugged her shoulders (îíà ïîæàëà ïëå÷àìè ).

 

publicity [pA'blIsItI] succeed [sqk'si:d] venture ['ventSq]

 

“I do not see why not — if no blame attached to you.”

“Oh, blame — it is not blame — it is the publicity! So far, M. Poirot, I have succeeded in life. I have had well-paid, pleasant posts. I was not going to risk the position I had attained when no good end could have been served.”

“I will venture to suggest, Mademoiselle, that I would have been the best judge of that, not you.”

She shrugged her shoulders.

 

“For instance, you could have helped me (íàïðèìåð , âû ìîãëè áû ïîìî÷ü ìíå ) in the matter of identification (â âîïðîñå ñ îïîçíàíèåì /íåêîòîðûõ ïàññàæèðîâ /; identification — îòîæäåñòâëåíèå; îïîçíàíèå, îïðåäåëåíèå) .”

“ What do you mean (÷òî âû õîòèòå ñêàçàòü) ?”

“ Is it possible, Mademoiselle (âîçìîæíî ëè ýòî, ìàäåìóàçåëü) , that you did not recognise in the Countess Andrenyi , Mrs . Armstrong ’s young sister (÷òî âû íå óçíàëè â ãðàôèíå Àíäðåíè ìëàäøóþ ñåñòðó ìèññèñ Àðìñòðîíã) whom you taught in New York (êîòîðóþ âû ó÷èëè â Íüþ-Éîðêå; to teach ( taught) )?”

“Countess Andrenyi? No.” She shook her head ( îíà ïîêà÷àëà ãîëîâîé) . “It may seem extraordinary to you ( âàì ýòî ìîæåò ïîêàçàòüñÿ íåîáû÷íûì) — but I did not recognise her ( íî ÿ íå óçíàëà åå) . She was not grown up (îíà áûëà åùå ïîäðîñòêîì: «îíà íå áûëà âçðîñëîé»; to grow ( grew, grown) — ðàñòè, óâåëè÷èâàòüñÿ; ðàñòè, âûðàñòàòü; grown up — âçðîñëûé /÷åëîâåê/ ), you see, when I knew her (âèäèòå ëè, êîãäà ÿ åå çíàëà) . That was over three years ago (ýòî áûëî áîëåå òðåõ ëåò íàçàä) . It is true that the Countess reminded me of someone (ýòî ïðàâäà, ÷òî ãðàôèíÿ íàïîìíèëà ìíå êîãî-òî) ; it puzzled me (ýòî ìåíÿ îçàäà÷èëî = ÿ ëîìàëà ãîëîâó, êîãî æå îíà ìíå íàïîìíèëà; to puzzle — îçàäà÷èâàòü, ñòàâèòü â òóïèê; ëîìàòü ãîëîâó /íàä ÷åì-ëèáî/ ). But she looks so foreign (íî îíà âûãëÿäèò òàê ýêçîòè÷íî; foreign — èíîñòðàííûé, ÷óæåçåìíûé, çàãðàíè÷íûé ) — I never connected her with the little American schoolgirl (ÿ íèêîèì îáðàçîì íå ñâÿçàëà åå ñ òîé ìàëåíüêîé àìåðèêàíñêîé øêîëüíèöåé; never — íèêîãäà; ýìîö.-óñèë. íèñêîëüêî, íèêîèì îáðàçîì). I only glanced at her casually when coming into the restaurant car (ÿ òîëüêî ìèìîõîäîì âçãëÿíóëà íà íåå, êîãäà /îíà/ çàõîäèëà â âàãîí-ðåñòîðàí) , and I noticed her clothes more than her face (è ÿ áîëüøå îáðàòèëà âíèìàíèå íà åå îäåæäó, ÷åì íà åå ëèöî).” She smiled faintly (îíà ñëåãêà óëûáíóëàñü) . “Women do (æåíùèíû òàê ïîñòóïàþò: «äåëàþò») ! And then — well — I had my own preoccupations (è, ê òîìó æå, íó, ó ìåíÿ áûëè ñâîè ñîáñòâåííûå çàáîòû; preoccupation — çàâëàäåíèå èìóùåñòâîì ðàíüøå äðóãîãî; îçàáî÷åííîñòü, ïîãëîùåííîñòü /÷åì-ëèáî/, çàáîòà ).”

 

identification [aI"dentIfI'keIS(q)n] taught [tO:t] extraordinary [Ik'strO:d(q)n(q)rI] schoolgirl ['sku:lgq:l] preoccupation [prI"O kjV'peIS(q)n]

 

“For instance, you could have helped me in the matter of identification.”

“What do you mean?”

“Is it possible, Mademoiselle, that you did not recognise in the Countess Andrenyi, Mrs. Armstrong’s young sister whom you taught in New York?”

“Countess Andrenyi? No.” She shook her head. “It may seem extraordinary to you — but I did not recognise her. She was not grown up, you see, when I knew her. That was over three years ago. It is true that the Countess reminded me of someone; it puzzled me. But she looks so foreign — I never connected her with the little American schoolgirl. I only glanced at her casually when coming into the restaurant car, and I noticed her clothes more than her face.” She smiled faintly. “Women do! And then — well — I had my own preoccupations.”

 

“You will not tell me your secret, Mademoiselle (âû íå ðàññêàæåòå ìíå âàø ñåêðåò , ìàäåìóàçåëü )?”

Poirot’s voice was very gentle and persuasive (ãîëîñ ó Ïóàðî áûë î÷åíü ìÿãêèé è óáåæäàþùèé ; to persuade — óáåæäàòü, ñêëîíÿòü, óãîâàðèâàòü) .

She said in a low voice (îíà ñêàçàëà òèõèì ãîëîñîì = îíà òèõî îòâåòèëà; low — íèçêèé, íåâûñîêèé; òèõèé, íåãðîìêèé ), “ I can’ t (ÿ íå ìîãó) — I can’ t.”

And suddenly, without warning (è âíåçàïíî, áåç ïðåäóïðåæäåíèÿ = ñîâåðøåííî íåîæèäàííî; to warn — ïðåäóïðåæäàòü ), she broke down (îíà ïîòåðÿëà ñàìîîáëàäàíèå; to break ( broke, broken) — ëîìàòü; ðàçðûâàòü; to break down — ñëîìàòü, ðàçðóøèòü; íå âûäåðæàòü, ðàñïëàêàòüñÿ ), dropping her face down upon her outstretched arms (óðîíèâ ãîëîâó: «ëèöî» âíèç íà âûòÿíóòûå ðóêè; to outstretch — ïðîòÿãèâàòü, âûòÿãèâàòü ) and crying as though her heart would break (è çàïëàêàâ òàê, ñëîâíî åå ñåðäöå ðàçðûâàëîñü) .

The Colonel sprang up and stood awkwardly beside her (ïîëêîâíèê âñêî÷èë è íåëîâêî âñòàë ðÿäîì ñ íåé ).

 

secret ['si:krIt] persuasive [pq'sweIsIv] outstretched ["aVt'stretSt] awkwardly ['O:kwqdlI]

 

“You will not tell me your secret, Mademoiselle?”

Poirot’s voice was very gentle and persuasive.

She said in a low voice, “I can’t — I can’t.”

And suddenly, without warning, she broke down, dropping her face down upon her outstretched arms and crying as though her heart would break.

The Colonel sprang up and stood awkwardly beside her.

 

“ I — look here (ÿ — ïîñëóøàéòå; look here — â ãðàìì. çíà÷åíèè ìåæäîìåòèÿ: ïîñëóøàéòå! ýé! /ïðèâëåêàåò âíèìàíèå ñîáåñåäíèêà/ ) — ”

He stopped (îí çàïíóëñÿ; to stop — îñòàíàâëèâàòü, çàäåðæèâàòü; îñòàíàâëèâàòüñÿ, çàìîëêàòü, äåëàòü ïàóçó ) and turning round scowled fiercely at Poirot (è, ïîâåðíóâøèñü /êðóãîì/, áðîñèë ñâèðåïûé âçãëÿä íà Ïóàðî; to scowl — ñåðäèòî ñìîòðåòü; fierce — ñâèðåïûé, ëþòûé, æåñòîêèé ).

“ I’ ll break every bone in your damned body (ÿ ïåðåëîìàþ âñå êîñòè â âàøåì ÷åðòîâîì òåëå = ÿ âàñ â ïîðîøîê ñîòðó; damned — ýìîö.-óñèë. ÷åðòîâ, ïðîêëÿòûé ), you dirty little whipper- snapper (âû, ïîäëîå ìåëêîå íè÷òîæåñòâî; dirty — ãðÿçíûé, íå÷èñòûé; íèçêèé, ïîäëûé, ãðÿçíûé),” he said.

“ Monsieur,” protested M. Bouc (ìñüå, — ïðîòåñòóÿ, çàÿâèë ìñüå Áóê; to protest — ïðîòåñòîâàòü, âîçðàæàòü ).

Arbuthnot had turned back to the girl (Àðáýòíîò /ñíîâà / ïîâåðíóëñÿ ê äåâóøêå ). “Mary — for God’s sake (Ìýðè , ðàäè Áîãà ) — ”

She sprang up ( îíà âñêî÷èëà) . “ It’ s nothing (ïóñòÿêè). I’ m all right (ÿ â ïîðÿäêå; to be all right — áûòü â ïîðÿäêå, ÷óâñòâîâàòü ñåáÿ õîðîøî) . You don ’t need me any more (ÿ âàì áîëüøå íå íóæíà) , do you , M . Poirot (íå òàê ëè, ìñüå Ïóàðî) ? If you do (åñëè ÿ /âàì íóæíà/) , you must come and find me (âû çíàåòå, ãäå ìåíÿ íàéòè: «âû äîëæíû ïðèéòè è íàéòè ìåíÿ»). Oh, what an idiot (î , êàêóþ èäèîòêó ) — what an idiot I’m making of myself (êàêóþ èäèîòêó ÿ èç ñåáÿ äåëàþ = ÿ âûãëÿæó êàê èäèîòêà) !” She hurried out of the car (è îíà ïîñïåøèëà èç âàãîíà-ðåñòîðàíà; to hurry — ñïåøèòü, òîðîïèòüñÿ ).

 

damned [dxmd] whippersnapper ['wIpq"snxpq] idiot ['IdIqt]

 

“I — look here — ”

He stopped and turning round scowled fiercely at Poirot.

“I’ll break every bone in your damned body, you dirty little whipper-snapper,” he said.

“Monsieur,” protested M. Bouc.

Arbuthnot had turned back to the girl. “Mary — for God’s sake — ”

She sprang up. “It’s nothing. I’m all right. You don’t need me any more, do you, M. Poirot? If you do, you must come and find me. Oh, what an idiot — what an idiot I’m making of myself!” She hurried out of the car.

 

Arbuthnot, before following her, turned once more on Poirot (Àðáýòíîò , ïðåæäå ÷åì ïîñëåäîâàòü çà íåé , åùå ðàç íàáðîñèëñÿ íà Ïóàðî ; to turn — ïîâîðà÷èâàòü, to turn on smb. — íàáðàñûâàòüñÿ íà êîãî- ëèáî) .

“Miss Debenham’s got nothing to do with this business (ìèññ Äåáåíõýì íå èìååò ê ýòîìó äåëó íèêàêîãî îòíîøåíèÿ ; to have to do with smb., smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî , ÷åìó- ëèáî) — nothing, do you hear (íèêàêîãî, ñëûøèòå âû )? And if she ’s worried (è åñëè /âû áóäåòå/ åé íàäîåäàòü; to worry — íàäîåäàòü, áåñïîêîèòü ÷åì-ëèáî, äîñàæäàòü ) and interfered with (è äîêó÷àòü; to interfere — ìåøàòü, ñëóæèòü ïðåïÿòñòâèåì; íàäîåäàòü, äîêó÷àòü /êîìó-ëèáî/ ), you ’ll have me to deal with (âàì ïðèäåòñÿ èìåòü äåëî ñî ìíîé; to deal — ðàñïðåäåëÿòü, ðàçäàâàòü; èìåòü äåëî /ñ êåì-ëèáî/ ).” He strode out (è îí âûøåë /áîëüøèìè øàãàìè/ èç /âàãîíà-ðåñòîðàíà/; to stride (strode, stridden)).

“ I like to see an angry Englishman (ìíå íðàâèòñÿ ñìîòðåòü íà ñåðäèòîãî àíãëè÷àíèíà = êàê àíãëè÷àíå ñåðäÿòñÿ) ,” said Poirot . “They are very amusing (îíè òàêèå çàáàâíûå) . The more emotional they feel (÷åì áîëüøå ýìîöèé îíè èñïûòûâàþò; emotional — ñâÿçàííûé ñ ýìîöèÿìè; âïå÷àòëèòåëüíûé, íåðâíûé), the less command they have of language (òåì õóæå îíè âëàäåþò ÿçûêîì = òåì ìåíüøå îíè ïîäáèðàþò âûðàæåíèÿ; command — ïðèêàç, ïðèêàçàíèå; ãîñïîäñòâî, âëàñòü ).”

 

business ['bIznIs] interfere ["Intq'fIq] emotional [I'mqVS(q)nql]

 

Arbuthnot, before following her, turned once more on Poirot.

“Miss Debenham’s got nothing to do with this business — nothing, do you hear? And if she’s worried and interfered with, you’ll have me to deal with.” He strode out.

“I like to see an angry Englishman,” said Poirot. “They are very amusing. The more emotional they feel, the less command they have of language.”

 

But M. Bouc was not interested in the emotional reactions of Englishmen (íî ìñüå Áóêà íå èíòåðåñîâàëà ýìîöèîíàëüíàÿ ðåàêöèÿ : «ðåàêöèè » àíãëè÷àí ; to interest — èíòåðåñîâàòü; interested — çàèíòåðåñîâàííûé) . He was overcome by admiration of his friend ( îí áûë îõâà÷åí âîñõèùåíèåì ñâîèì äðóãîì; to overcome (overcame, overcome) — ïîáîðîòü , ïîáåäèòü ; îõâàòèòü , îáóÿòü /î ÷óâñòâàõ /) .

Mon cher, vous êtes épatant ( ôð. äðóã ìîé, âû íåïîäðàæàåìû) !” he cried ( âîñêëèêíóë îí; to cry — êðè÷àòü , îðàòü ; âîñêëèöàòü ). “Another miraculous guess (åùå îäíà óäèâèòåëüíàÿ äîãàäêà; miracle — ÷óäî; óäèâèòåëüíàÿ âåùü, âûäàþùååñÿ ñîáûòèå; miraculous — ÷óäîòâîðíûé; ÷óäåñíûé, óäèâèòåëüíûé) .”

“ It is incredible how you think of these things (ýòî /ïðîñòî/ íåâåðîÿòíî, êàê âû äîäóìûâàåòåñü äî òàêèõ âåùåé) ,” said Dr . Constantine admiringly (âîñõèùåííî ñêàçàë äîêòîð Êîíñòàíòèí) .

“ Oh, I claim no credit this time (î, íà ýòîò ðàç, ÿ íå ñòàâëþ ýòî ñåáå â çàñëóãó = ýòî íå ìîÿ çàñëóãà; to claim — òðåáîâàòü /êàê ïðèíàäëåæàùåå ïî ïðàâó/; ïðåòåíäîâàòü, çàÿâëÿòü ïðàâà /íà ÷òî-ëèáî/; credit — âåðà, äîâåðèå; ÷åñòü, çàñëóãà ). It was not a guess (ýòî íå áûëà /ìîÿ/ äîãàäêà = ìíå è ãàäàòü íå ïðèøëîñü) . Countess Andrenyi practically told me (â ñóùíîñòè, ãðàôèíÿ Àíäðåíè /ñàìà/ ðàññêàçàëà ìíå).”

 

reaction [rI'xkS(q)n] admiration ["xdmq'reIS(q)n] miraculous [mI'rxkjVlqs] incredible [In'kredqb(q)l] admiring [qd'maI(q)rIN]

 

But M. Bouc was not interested in the emotional reactions of Englishmen. He was overcome by admiration of his friend.

Mon cher, vous êtes épatant!” he cried. “Another miraculous guess.”

“It is incredible how you think of these things,” said Dr. Constantine admiringly.

“Oh, I claim no credit this time. It was not a guess. Countess Andrenyi practically told me.”

 

Comment (ôð. êàêèì îáðàçîì)? Surely not (êîíå÷íî æå íåò = íå ìîæåò áûòü) ?”

“You remember, I asked her about her governess or companion (ïîìíèòå , ÿ ñïðîñèë åå î åå ãóâåðíàíòêå èëè êîìïàíüîíêå )? I had already decided in my mind (ïðî ñåáÿ ÿ óæå ðåøèë ; mind — óì, ðàçóì; ìûñëè, äóìû) that if Mary Debenham were mixed up in the matter ( ÷òî åñëè Ìýðè Äåáåíõýì áûëà çàìåøàíà â ýòîì äåëå) , she must have figured in the household in some such capacity (îíà äîëæíà áûëà ïðèñóòñòâîâàòü â äîìå â êàêîì -òî ïîäîáíîì êà÷åñòâå ; to figure — èçîáðàæàòü / ãðàôè÷åñêè è ò. ï./; ôèãóðèðîâàòü, ó÷àñòâîâàòü; capacity — åìêîñòü, âìåñòèìîñòü; äîëæíîñòü, êà÷åñòâî, ïîëîæåíèå) .”

“Yes, but the Countess Andrenyi described a totally different person (äà , íî ãðàôèíÿ Àíäðåíè îïèñàëà ñîâåðøåííî äðóãóþ îñîáó ).”

“Exactly ( òî÷íî) . A tall middle-aged woman with red hair ( âûñîêóþ æåíùèíó ñðåäíèõ ëåò ñ ðûæèìè âîëîñàìè) — in fact, the exact opposite in every respect of Miss Debenham (ïî ñóòè , ïîëíóþ ïðîòèâîïîëîæíîñòü Ìýðè Äåáåíõýì âî âñåõ îòíîøåíèÿõ ; respect — óâàæåíèå; îòíîøåíèå, êàñàòåëüñòâî) , so much so as to be quite remarkable (íàñòîëüêî íåïîõîæóþ : «òàêóþ /ïðîòèâîïîëîæíóþ /», ÷òî ýòî îêàçàëîñü âåñüìà ïðèìå÷àòåëüíî/ çàìåòíî) . But then she had to invent a name quickly ( íî çàòåì åé ïðèøëîñü áûñòðî âûäóìàòü èìÿ; to invent — èçîáðåòàòü , ñîçäàâàòü ; âûäóìûâàòü , ñî÷èíÿòü ), and there it was that the unconscious association of ideas (è âîò òàê âûøëî , ÷òî ïîäñîçíàòåëüíàÿ àññîöèàöèÿ èäåé ; unconscious — íàõîäÿùèéñÿ áåç ñîçíàíèÿ; ïñèõîë. íåîñîçíàííûé, áåññîçíàòåëüíûé) gave her away ( âûäàëà åå; to give (gave, given) away — îòäàâàòü , äàðèòü ; ðàçã . âûäàâàòü , ïðåäàâàòü , ïðîãîâîðèòüñÿ , ïîäâåñòè ). She said , Miss Freebody , you remember (îíà ñêàçàëà — ìèññ Ôðèáîäè — êàê âû ïîìíèòå) .”

 

household ['haVshqVld] capacity [kq'pxsItI] middle-aged ["mIdl'eIdZd] remarkable [rI'mQ:kqb(q)l] unconscious [An'k OnSqs] association [q"sqVsI'eIS(q)n; q"sqVSI'eIS(q)n]

 

Comment? Surely not?”

“You remember, I asked her about her governess or companion? I had already decided in my mind that if Mary Debenham were mixed up in the matter, she must have figured in the household in some such capacity.”

“Yes, but the Countess Andrenyi described a totally different person.”

“Exactly. A tall middle-aged woman with red hair — in fact, the exact opposite in every respect of Miss Debenham, so much so as to be quite remarkable. But then she had to invent a name quickly, and there it was that the unconscious association of ideas gave her away. She said, Miss Freebody, you remember.”

 

“Yes (íó è )?”

Eh bien, you may not know it (òàê âîò , âû , ìîæåò , è íå çíàåòå ýòîãî ), but there is a shop in London (íî â Ëîíäîíå åñòü ìàãàçèí ) that was called until recently Debenham & Freebody (êîòîðûé , äî íåäàâíåãî âðåìåíè íàçûâàëñÿ Äåáåíõýì è Ôðèáîäè ). With the name Debenham running in her head (ñ ôàìèëèåé Äåáåíõýì , êîòîðàÿ êðóòèòñÿ ó íåå â ãîëîâå ; to run — áåæàòü; ìåëüêàòü, ïðîíîñèòüñÿ) , the Countess clutches at another name quickly ( ãðàôèíÿ áûñòðî ïûòàåòñÿ ïîäûñêàòü: « óõâàòèòüñÿ çà» äðóãîå èìÿ; to clutch — ñõâàòèòü , ñòèñíóòü ; ñõâàòèòüñÿ , óõâàòèòüñÿ ; to clutch at — õâàòàòüñÿ /çà âîçìîæíîñòü è ò .ï ./) , and the first that comes is Freebody ( è ïåðâîå, ÷òî ïðèõîäèò / åé â ãîëîâó/ ýòî Ôðèáîäè) . Naturally I understood immediately ( åñòåñòâåííî, ÿ / âñå/ íåìåäëåííî ïîíÿë) .”

“That is yet another lie ( âîò åùå îäíà ëîæü) . Why did she do it (ïî÷åìó îíà ýòî ñäåëàëà) ?’

“Possibly more loyalty (âîçìîæíî, îïÿòü èç-çà âåðíîñòè; more — áîëüøå, áîëåå; åùå, îïÿòü, ñíîâà ). It makes things a little difficult ( ýòî íåìíîãî óñëîæíÿåò âñå äåëî) .”

Ma foi ( ôð. íó è íó) !” said M . Bouc with violence (íåèñòîâî çàÿâèë ìñüå Áóê; violence — íàñèëèå, ïðèíóæäåíèå; ñèëà, íåèñòîâñòâî, ÿðîñòü). “But does everybody on this train tell lies ( íåóæåëè âñå â ýòîì ïîåçäå ëãóò) ?”

“That (ýòî ),” said Poirot, “is what we are about to find out (ìû è ñîáèðàåìñÿ âûÿñíèòü ; to be about to do smth. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü ÷òî- ëèáî; to find out — ðàçóçíàòü, âûÿñíèòü) .”

London ['lAndqn] recently ['ri:s(q)ntlI] loyalty ['lOIqltI] violence ['vaIqlqns]

 

“Yes?”

Eh bien, you may not know it, but there is a shop in London that was called until recently Debenham & Freebody. With the name Debenham running in her head, the Countess clutches at another name quickly, and the first that comes is Freebody. Naturally I understood immediately.”

“That is yet another lie. Why did she do it?’

“Possibly more loyalty. It makes things a little difficult.”

Ma foi!” said M. Bouc with violence. “But does everybody on this train tell lies?”

“That,” said Poirot, “is what we are about to find out.”

8

 

FURTHER SURPRISING REVELATIONS

(Íîâûå óäèâèòåëüíûå îòêðûòèÿ; further — áîëåå îòäàëåííûé; äîïîëíèòåëüíûé, äîáàâî÷íûé, íîâûé; to surprise — óäèâëÿòü, ïîðàæàòü; to reveal — îáíàðóæèâàòü; îòêðûâàòü, ðàçîáëà÷àòü )

 

“Nothing would surprise me now (òåïåðü ìåíÿ óæå íè÷åãî íå óäèâèò ),” said M. Bouc. “Nothing (íè÷åãî )! Even if everybody in the train proved to have been in the Armstrong household (äàæå åñëè êàæäûé â ýòîì ïîåçäå áûë , êàê îêàæåòñÿ , äîìî÷àäöåì èëè ñëóãîé Àðìñòðîíãîâ ; to prove — äîêàçûâàòü; îêàçûâàòüñÿ; household — ñåìüÿ, äîìî÷àäöû, äîìàøíèå / âêëþ÷àÿ ñëóã/ ), I should not express surprise (ÿ íå óäèâëþñü : «íå âûêàæó óäèâëåíèÿ »).”

“That is a very profound remark (ýòî î÷åíü ìåòêîå : «ãëóáîêîå » çàìå÷àíèå ; profound — ãëóáîêèé, îñíîâàòåëüíûé) ,” said Poirot. “Would you like to see what your favorite suspect, the Italian, has to say for himself (íå õîòèòå ëè ïîñëóøàòü : «âçãëÿíóòü », ÷òî ñàìûé , ïî -âàøåìó , ïîäîçðèòåëüíûé ïàññàæèð : «ïîäîçðåâàåìûé », èòàëüÿíåö ìîæåò ñêàçàòü î ñåáå ; to have smth. to say for oneself — ñêàçàòü ÷òî- ëèáî â ñâîþ çàùèòó / â ñâîå îïðàâäàíèå/; ðàññêàçûâàòü êîå- ÷òî î ñåáå) ?”

“ You are going to make another of these famous guesses of yours (âû îïÿòü ñîáèðàåòåñü ïðîäåìîíñòðèðîâàòü: «ñäåëàòü» åùå îäíó èç âàøèõ çíàìåíèòûõ äîãàäîê) ?”

“Precisely (ñîâåðøåííî âåðíî /èìåííî ).”

 

profound [prq'faVnd] suspect ['sAspekt] precisely [prI'saIslI]

 

“Nothing would surprise me now,” said M. Bouc. “Nothing! Even if everybody in the train proved to have been in the Armstrong household, I should not express surprise.”

“That is a very profound remark,” said Poirot. “Would you like to see what your favorite suspect, the Italian, has to say for himself?”

“You are going to make another of these famous guesses of yours?”

“Precisely.”

 

“It is really a most extraordinary case (âîò óæ , äåéñòâèòåëüíî , ÷ðåçâû÷àéíî íåîáû÷íîå äåëî ; extraordinary — íåîáû÷íûé, çàìå÷àòåëüíûé, âûäàþùèéñÿ; íåîáû÷íûé, óäèâèòåëüíûé) ,” said Constantine.

“ No, it is most natural (íåò, îíî ÷ðåçâû÷àéíî îáû÷íîå; natural — åñòåñòâåííûé, ïðèðîäíûé; îáû÷íûé, íîðìàëüíûé, ïîíÿòíûé) .”

M. Bouc flung up his arms in comic despair (ìñüå Áóê âñïëåñíóë ðóêàìè â êîìè÷åñêîì/çàáàâíîì îò÷àÿíèè; to fling ( flung) — ìåòàòü, áðîñàòü; to fling up — áðîñèòü, îñòàâèòü; ïîäáðîñèòü ). “ If this is what you call natural, mon ami (åñëè âû íàçûâàåòå ýòî /äåëî/ îáû÷íûì, ìîé äðóã) — ” Words failed him (îí íå íàøåëñÿ, ÷òî åùå ñêàçàòü: «åìó íå õâàòèëî ñëîâ»; to fail — òåðïåòü íåóäà÷ó; áûòü íåäîñòàòî÷íûì, íå õâàòàòü).

Poirot had by this time requested the dining- car attendant to fetch Antonio Foscarelli (ê òîìó âðåìåíè = òåì âðåìåíåì Ïóàðî ïîïðîñèë îôèöèàíòà: «ñëóæàùåãî âàãîíà-ðåñòîðàíà» ñõîäèòü çà Àíòîíèî Ôîñêàðåëëè; to fetch — ñõîäèòü è ïðèíåñòè, ñõîäèòü è ïðèâåñòè ).

 

extraordinary [Ik'strO:d(q)n(q)rI] natural ['nxtS(q)rql] despair [dIs'peq] request [rI'kwest]

 

“It is really a most extraordinary case,” said Constantine.

“No, it is most natural.”

M. Bouc flung up his arms in comic despair. “If this is what you call natural, mon ami — ” Words failed him.

Poirot had by this time requested the dining-car attendant to fetch Antonio Foscarelli.

 

The big Italian had a wary look in his eye as he came in (ó ðîñëîãî èòàëüÿíöà áûëî íàñòîðîæåííîå âûðàæåíèå â ãëàçàõ = âèä áûë íàñòîðîæåííûé, êîãäà îí âîøåë; wary — îñòîðîæíûé; ïîäîçðèòåëüíûé, íåäîâåð÷èâûé; look — âçãëÿä; âûðàæåíèå ). He shot nervous glances (îí áðîñàë áûñòðûå íåðâíûå âçãëÿäû; to shoot ( shot) — ñòðåëÿòü, âåñòè îãîíü; áðîñàòü, êèäàòü ) from side to side (ïî ñòîðîíàì: «èç ñòîðîíû â ñòîðîíó») like a trapped animal (êàê çàãíàííîå â çàïàäíþ æèâîòíîå; trap — êàïêàí; ëîâóøêà, çàïàäíÿ; to trap — ñòàâèòü êàïêàíû, ëîâóøêè; çàìàíèâàòü â ëîâóøêó, óñòðàèâàòü çàïàäíþ) .

“What do you want (÷òî âû /îò ìåíÿ / õîòèòå )?” he said. “I have nothing more to tell you (ìíå âàì áîëüøå íå÷åãî ñêàçàòü âàì ) — nothing, do you hear (íå÷åãî , ñëûøèòå âû )? Per Dio (èòàë . åé- áîãó: « Ãîñïîäîì / êëÿíóñü/») — ” He struck his hand on the table ( îí ñòóêíóë êóëàêîì: « ðóêîé» ïî ñòîëó; to strike (struck, stricken) — óäàðÿòü , áèòü ).

“Yes, you have something more to tell us (íåò , âû ìîæåò ðàññêàçàòü íàì êîå -÷òî åùå ),” said Poirot firmly (òâåðäî ñêàçàë Ïóàðî ; firm — òâåðäûé; ðåøèòåëüíûé, íàñòîé÷èâûé) . “The truth ( ïðàâäó) !”

“The truth?” He shot an uneasy glance at Poirot (îí áðîñèë áåñïîêîéíûé âçãëÿä íà Ïóàðî ; uneasy — íåóäîáíûé; áåñïîêîéíûé, òðåâîæíûé) . All the assurance (/ âñÿ/ ñàìîóâåðåííîñòü; assurance — óâåðåíèå , çàâåðåíèå ; ñàìîóâåðåííîñòü , íàãëîñòü ) and geniality (è âåñåëîñòü ; geniality — äîáðîäóøèå, ðàäóøèå, âåñåëîñòü) had gone out of his manner ( â íåì òóò æå èñ÷åçëè: « óøëè èç åãî ïîâåäåíèÿ» ).

 

animal ['xnIm(q)l] assurance [q'SV(q)rqns] geniality ["dZi:nI'xlItI]

 

The big Italian had a wary look in his eye as he came in. He shot nervous glances from side to side like a trapped animal.

“What do you want?” he said. “I have nothing more to tell you — nothing, do you hear? Per Dio — ” He struck his hand on the table.

“Yes, you have something more to tell us,” said Poirot firmly. “The truth!”

“The truth?” He shot an uneasy glance at Poirot. All the assurance and geniality had gone out of his manner.

 

Mais oui (ôð. âîò èìåííî). It may be that I know it already (ìîæåò ñòàòüñÿ òàê, ÷òî ÿ åå óæå çíàþ) . But it will be a point in your favour (íî ýòî áóäåò î÷êî â âàøó ïîëüçó = íî âàì çà÷òåòñÿ; point — òî÷êà; ñïîðò. î÷êî; favour — áëàãîñêëîííîñòü, ðàñïîëîæåíèå; in favour ( of) — â çàùèòó; â ïîëüçó /êîãî-ëèáî/ ) if it comes from you spontaneously (åñëè âû äîáðîâîëüíî îáî âñåì ðàññêàæåòå: «åñëè îíà /ïðàâäà/ áóäåò èñõîäèòü îò âàñ äîáðîâîëüíî»; spontaneously — ñàìîïðîèçâîëüíûé, ñòèõèéíûé; äîáðîâîëüíûé, íå ïðèíóæäåííûé ).”

“You talk like the American police (âû ãîâîðèòå, êàê àìåðèêàíñêàÿ ïîëèöèÿ) . ‘Come clean (ïðèçíàâàéñÿ/âûêëàäûâàé íà÷èñòîòó; to come clean — ïîëíîñòüþ ïðèçíàòüñÿ /â ÷åì-ëèáî/, ðàñêîëîòüñÿ)’ — that is what they say (âîò ÷òî îíè ãîâîðÿò) — ‘ come clean.’ ”

“Ah! so you have had experience of the New York police (à , çíà÷èò , âû èìåëè îïûò /îáùåíèÿ /ñ ïîëèöèåé Íüþ -Éîðêà )?”

“ No, no, never. They could not prove a thing against me (îíè íå ñìîãëè íè÷åãî äîêàçàòü ïðîòèâ ìåíÿ) — but it was not for want of trying (íî ýòî ñëó÷èëîñü íå èç-çà íåäîñòàòêà /èõ/ óñèëèé = õîòÿ îíè î÷åíü ñòàðàëèñü; for want of smth . — èç-çà íåäîñòàòêà, îòñóòñòâèÿ, íåõâàòêè ÷åãî-ëèáî; to try — ïûòàòüñÿ, ñòàðàòüñÿ ).”

Poirot said quietly (Ïóàðî ñêàçàë ñïîêîéíî) : “That was in the Armstrong case , was it not (ýòî áûëî â äåëå Àðìñòðîíãîâ, íå òàê ëè) ? You were the chauffeur (âû áûëè øîôåðîì )?”

 

already [O:l'redI] spontaneous [spO n'teInIqs] chauffeur ['SqVfq, SqV'fq:]

 

Mais oui. It may be that I know it already. But it will be a point in your favour if it comes from you spontaneously.”

“You talk like the American police. ‘Come clean’ — that is what they say — ‘come clean.’ ”

“Ah! so you have had experience of the New York police?”

“No, no, never. They could not prove a thing against me — but it was not for want of trying.”

Poirot said quietly: “That was in the Armstrong case, was it not? You were the chauffeur?”

 

His eyes met those of the Italian ( åãî ãëàçà âñòðåòèëèñü ñ ãëàçàìè èòàëüÿíöà = èõ âçãëÿäû ïåðåñåêëèñü) . The bluster went out of the big man ( áàõâàëüñòâî ïîêèíóëî ýòîãî ðîñëîãî ìóæ÷èíó; bluster — ðåâ áóðè ; ãðîìêèå ñëîâà , áàõâàëüñòâî , õâàñòîâñòâî ). He was like a pricked balloon (îí áûë ïîõîæ íà ñäóòûé: «ïðîêîëîòûé» âîçäóøíûé øàðèê; to prick — êîëîòü; ïðîêàëûâàòü ).

“ Since you know (ðàç óæ âû çíàåòå) — why ask me (çà÷åì ìåíÿ ñïðàøèâàòü) ?”

“ Why did you lie this morning (ïî÷åìó âû ñîëãàëè ñåãîäíÿ óòðîì) ?”

“ Business reasons (èç äåëîâûõ ñîîáðàæåíèé; reason — ïðè÷èíà, îñíîâàíèå; ìîòèâ, ñîîáðàæåíèå, îïðàâäàíèå). Besides, I do not trust the Jugo- Slav police (êðîìå òîãî, ÿ íå äîâåðÿþ þãîñëàâñêîé ïîëèöèè) . They hate the Italians (îíè íåíàâèäÿò èòàëüÿíöåâ) . They would not have given me justice (îíè áû íå îòíåñëèñü êî ìíå ïî ñïðàâåäëèâîñòè) .”

 

prick [prIk] balloon [bq'lu:n] Jugoslav ["ju:gq(V)'slQ:v] justice ['dZAstIs]

 

His eyes met those of the Italian. The bluster went out of the big man. He was like a pricked balloon.

“Since you know — why ask me?”

“Why did you lie this morning?”

“Business reasons. Besides, I do not trust the Jugo-Slav police. They hate the Italians. They would not have given me justice.”

 

“Perhaps it is exactly justice (ìîæåò áûòü , êàê ðàç ïî ñïðàâåäëèâîñòè ) that they would have given you (îíè áû âàì è âîçäàëè )!”

“No, no, I had nothing to do with this business last night (ÿ íå èìåþ íèêàêîãî îòíîøåíèÿ ê ýòîìó â÷åðàøíåìó äåëó : «äåëó ïðîøëîé íî÷è »). I never left my carriage (ÿ íè ðàçó íå âûøåë èç ñâîåãî êóïå) . The long -faced Englishman (òîò àíãëè÷àíèí ñ óíûëûì ëèöîì; long — äëèííûé; long- faced — ñ ïðîäîëãîâàòûì ëèöîì; ñ âûòÿíóòîé ôèçèîíîìèåé, ñ óíûëûì âèäîì) , he can tell you so (ìîæåò âàì ýòî ïîäòâåðäèòü; to tell — ðàññêàçûâàòü; çàâåðÿòü, óâåðÿòü, óòâåðæäàòü ). It was not I who killed this pig (ýòî íå ÿ óáèë òîãî íåãîäÿÿ; pig — ñâèíüÿ, áîðîâ; ðàçã. ñâèíüÿ, íàõàë, íàãëåö ) — this Ratchett (Ðýò÷åòòà). You cannot prove anything against me (ó âàñ íà ìåíÿ íè÷åãî íåò: «íå ìîæåòå íè÷åãî äîêàçàòü ïðîòèâ ìåíÿ») .”

Poirot was writing something on a sheet of paper (Ïóàðî ÷òî-òî ïèñàë íà ëèñòå áóìàãè; sheet — ïðîñòûíÿ; ëèñò /áóìàãè, ìåòàëà è ò.ï./ ). He looked up and said quietly (îí ïîäíÿë ãëàçà è ñïîêîéíî ñêàçàë) : “Very good (î÷åíü õîðîøî) . You can go (âû ìîæåòå èäòè) .”

Foscarelli lingered uneasily (Ôîñêàðåëëè òðåâîæíî òîïòàëñÿ íà ìåñòå: «ìåøêàë»; to linger — çàäåðæèâàòüñÿ, çàñèæèâàòüñÿ; ìåäëèòü, ìåøêàòü; òÿíóòü âðåìÿ ). “You realise that it was not I (âû ïîíèìàåòå, ÷òî ýòî áûë íå ÿ; to realize — îñóùåñòâëÿòü, âûïîëíÿòü; ïðåäñòàâëÿòü ñåáå, ÿñíî ïîíèìàòü, îñîçíàâàòü )? That I could have had nothing to do with it (÷òî ÿ íå ìîã èìåòü ê ýòîìó /óáèéñòâó/ íèêàêîãî îòíîøåíèÿ; to have to do with smb., smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî )!”

“I said that you could go (ÿ ñêàçàë , ÷òî âû ìîæåòå èäòè ).”

 

pig [pIg] prove [pru:v] linger ['lIngq] uneasily [An'i:zIlI]

 

“Perhaps it is exactly justice that they would have given you!”

“No, no, I had nothing to do with this business last night. I never left my carriage. The long-faced Englishman, he can tell you so. It was not I who killed this pig — this Ratchett. You cannot prove anything against me.”

Poirot was writing something on a sheet of paper. He looked up and said quietly: “Very good. You can go.”

Foscarelli lingered uneasily. “You realise that it was not I? That I could have had nothing to do with it!”

“I said that you could go.”

 

“It is a conspiracy ( ýòî çàãîâîð) . You are going to frame me (âû ñîáèðàåòåñü ìåíÿ ïîäñòàâèòü; to frame — ñîçäàâàòü, âûðàáàòûâàòü; ðàçã. ôàáðèêîâàòü /äåëî, îáâèíåíèå/, ëîæíî îáâèíÿòü êîãî-ëèáî, ïîäòàñîâûâàòü ôàêòû; ïîäñòàâëÿòü êîãî-ëèáî )? All for a pig of a man who should have gone to the chair (è âñå èç-çà ýòîãî ìåðçàâöà, êîòîðîãî ñëåäîâàëî îòïðàâèòü íà /ýëåêòðè÷åñêèé/ ñòóë; chair — ñòóë, êðåñëî; àìåð.ðàçã. ýëåêòðè÷åñêèé ñòóë)! It was an infamy that he did not ( ïðîñòî ïîçîð, ÷òî åãî íå îòïðàâèëè) . If it had been me (âîò åñëè áû ýòî áûë ÿ /íà åãî ìåñòå/) — if I had been arrested (åñëè áû ìåíÿ àðåñòîâàëè) — ”

“But it was not you (íî ýòî æå áûëè íå âû) . You had nothing to do with the kidnapping of the child (âû íå èìåëè íèêàêîãî îòíîøåíèÿ ê ïîõèùåíèþ ðåáåíêà ).”

“What is that you are saying (äà ÷òî âû òàêîå ãîâîðèòå )? Why, that little one (âåäü òà ìàëûøêà ) — she was the delight of the house (îíà áûëà ëþáèìèöåé âñåãî äîìà ; delight — âîñòîðã, âîñõèùåíèå; èñòî÷íèê íàñëàæäåíèÿ) . Tonio, she called me ( Òîíèî çâàëà îíà ìåíÿ ). And she would sit in the car (ñÿäåò , áûâàëî , â ìàøèíó ; would — çä. âûðàæàåò ÷àñòî ïîâòîðÿþùååñÿ èëè ïðèâû÷íîå äåéñòâèå: áûâàëî, êàê ïðàâèëî) and pretend to hold the wheel ( è äåëàåò âèä, ÷òî äåðæèò ðóëü = âåäåò ìàøèíó; to pretend — ïðèòâîðÿòüñÿ , äåëàòü âèä ; èãðàòü , äåëàòü ïîíàðîøêó /â äåòñêèõ èãðàõ è ò .ï ./; wheel — êîëåñî , êîëåñèêî ; ðóëåâîå êîëåñî ). All the household worshipped her (âñå äîìàøíèå îáîæàëè åå; to worship — ïîêëîíÿòüñÿ, ïî÷èòàòü; îáîæàòü, áîãîòâîðèòü )! Even the police came to understand that ( äàæå ïîëèöèÿ ïîíÿëà ýòî; to come to do smth. — íà÷èíàòü äåëàòü ÷òî -ëèáî ). Ah, the beautiful little one (àõ , ïðåëåñòü , ÷òî çà ìàëûøêà )!

 

conspiracy [kqn'spIrqsI] infamy ['InfqmI] delight [dI'laIt] worship ['wq:SIp]

 

“It is a conspiracy. You are going to frame me? All for a pig of a man who should have gone to the chair! It was an infamy that he did not. If it had been me — if I had been arrested — ”

“But it was not you. You had nothing to do with the kidnapping of the child.”

“What is that you are saying? Why, that little one — she was the delight of the house. Tonio, she called me. And she would sit in the car and pretend to hold the wheel. All the household worshipped her! Even the police came to understand that. Ah, the beautiful little one!”

 

His voice had softened (åãî ãîëîñ ñòàë òèøå ; to soften — ñìÿã÷àòüñÿ; ñòàíîâèòüñÿ ìÿã÷å, äîáðåå, íåæíåå; ñíèæàòü, ïîíèæàòü, ïðèãëóøàòü çâóê; ñìÿã÷àòü çâóê) . The tears came into his eyes ( â ãëàçàõ ïîÿâèëèñü ñëåçû) . Then he wheeled round abruptly on his heel ( çàòåì îí ðåçêî ïîâåðíóëñÿ íà êàáëóêàõ; to wheel — êàòèòü , ïîäêàòèòü ; ïîâîðà÷èâàòüñÿ , âåðòåòüñÿ ; heel — ïÿòêà , ïÿòà ; êàáëóê ) and strode out of the dining-car (è áîëüøèìè øàãàìè âûøåë èç âàãîíà -ðåñòîðàíà ; to stride (strode, stridden) ).

“Pietro (Ïüåòðî ),” called Poirot (ïîçâàë Ïóàðî ).

The dining-car attendant came at a run (ïîäáåæàë îôèöèàíò ; run — áåã, ïðîáåã; at a run — áåãîì) .

“The No. 10 — the Swedish lady (/ïîçîâèòå / øâåäñêóþ äàìó — ìåñòî íîìåð 10).”

Bien, Monsieur (ñëóøàþñü , ìñüå ).”

“Another (åùå îäíà )?” cried M. Bouc (âîñêëèêíóë ìñüå Áóê ). “Ah, no — it is not possible (íåò , ýòî íåâîçìîæíî ). I tell you it is not possible (ãîâîðþ âàì , ýòî íåâîçìîæíî ).”

 

abruptly [q'brAptlI] Swedish ['swi:dIS] another [q'nADq]

 

His voice had softened. The tears came into his eyes. Then he wheeled round abruptly on his heel and strode out of the dining-car.

“Pietro,” called Poirot.

The dining-car attendant came at a run.

“The No. 10 — the Swedish lady.”

Bien, Monsieur.”

“Another?” cried M. Bouc. “Ah, no — it is not possible. I tell you it is not possible.”

 

Mon cher — we have to know ( äðóã ìîé, ìû äîëæíû / âñå/ óçíàòü) . Even if in the end everybody on the train proves to have had a motive for killing Ratchett, we have to know (åñëè äàæå â êîíöå êîíöîâ îêàæåòñÿ , ÷òî ó êàæäîãî ïàññàæèðà /â ýòîì ïîåçäå / áûë ìîòèâ äëÿ óáèéñòâà Ðýò÷åòòà , ìû äîëæíû çíàòü /îá ýòîì /; to prove — äîêàçûâàòü; îêàçûâàòüñÿ) . Once we know (êîãäà ìû áóäåì çíàòü; once — êàê òîëüêî ), we can settle once for all where the guilt lies (ìû ñìîæåì ðåøèòü ðàç è íàâñåãäà, êòî æå âèíîâàò; guilt — âèíà, âèíîâíîñòü; to lie — ëåæàòü; çàêëþ÷àòüñÿ, áûòü /â ÷åì-ëèáî/ ).”

“ My head is spinning (ó ìåíÿ ãîëîâà êðóãîì èäåò; to spin — êðóòèòü(ñÿ) , âåðòåòü(ñÿ) ),” groaned M . Bouc (ïðîñòîíàë ìñüå Áóê) .

Greta Ohlsson was ushered in sympathetically by the attendant (îôèöèàíò ó÷òèâî ââåë Ãðåòó Îëüñîí /â âàãîí -ðåñòîðàí /). She was weeping bitterly (îíà ãîðüêî ïëàêàëà ; bitterly — ãîðüêî; ýìîö.- óñèë. ñèëüíî, î÷åíü) .

 

settle ['setl] guilt [gIlt] spinning ['spInIN] usher ['ASq] sympathetically ["sImpq'TetIk(q)lI] weeping ['wi:pIN] bitterly ['bItqlI]

 

 “ Mon cher — we have to know. Even if in the end everybody on the train proves to have had a motive for killing Ratchett, we have to know. Once we know, we can settle once for all where the guilt lies.”

“My head is spinning,” groaned M. Bouc.

Greta Ohlsson was ushered in sympathetically by the attendant. She was weeping bitterly.

 

She collapsed on the seat (îíà ðóõíóëà íà ñòóë ; to collapse — ðóøèòüñÿ, îáâàëèâàòüñÿ; ñâàëèòüñÿ / â ðåçóëüòàòå óäàðà, íàïðÿæåíèÿ/; seat — ìåñòî / äëÿ ñèäåíèÿ/; ñòóë, ñêàìüÿ, êðåñëî) facing Poirot ( íàïðîòèâ: « ëèöîì ê» Ïóàðî; to face — íàõîäèòüñÿ ëèöîì ê ; áûòü îáðàùåííûì ê ) and wept steadily into a large handkerchief (è ïðîäîëæèëà ïëàêàòü â áîëüøîé ïëàòîê ; to weep (wept); steady — ïðî÷íûé, òâåðäûé; óñòîé÷èâûé, ïîñòîÿííûé, ñòàáèëüíûé) .

“Now do not distress yourself, Mademoiselle ( íå òåðçàéòåñü, ìàäåìóàçåëü; to distress — ïðè÷èíÿòü ãîðå , ñòðàäàíèå ; ìó÷èòü , òðåâîæèòü ). Do not distress yourself,” Poirot patted her on the shoulder (Ïóàðî ïîãëàäèë åå ïî ïëå÷ó ; to pat — ïîõëîïûâàòü / êîãî- ëèáî/, øëåïàòü, ïîãëàäèòü / êîãî- ëèáî/ ). “Just a few little words of truth (ïðîñòî /ñêàæèòå íàì/ íåñêîëüêî ñëîâå÷åê ïðàâäû) , that is all (âîò è âñå) . You were the nurse who was in charge of little Daisy Armstrong (âû áûëè òîé ñàìîé íÿíåé, êîòîðàÿ çàáîòèëàñü î ìàëåíüêîé Äåéçè Àðìñòðîíã; charge — íàãðóçêà, çàãðóçêà; çàáîòà, ïîïå÷åíèå; to be in charge of — èìåòü /êîãî-ëèáî/ íà ïîïå÷åíèè èëè /÷òî-ëèáî/ íà õðàíåíèè, îòâå÷àòü çà êîãî-ëèáî, ÷òî-ëèáî) ?”

 


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