Íà
Ãëàâíóþ
ÃÄÇ:
Àíãëèéñêèé
ÿçûê Àëãåáðà Ãåîìåòðèÿ Ôèçèêà Õèìèÿ Ðóññêèé
ÿçûê Íåìåöêèé
ÿçûê
Ïîäãîòîâêà ê ýêçàìåíàì (ÅÃÝ) Ïðîãðàììû è ïîñîáèÿ Êðàòêîå ñîäåðæàíèå Îíëàéí ó÷åáíèêè
Øïàðãàëêè Ðåôåðàòû Ñî÷èíåíèÿ Ýíöèêëîïåäèè Òîïèêè ñ ïåðåâîäàìè
ÎÃËÀÂËÅÍÈÅ (ñïèñîê ïðîèçâåäåíèé)
Óáèéñòâî â Âîñòî÷íîì Ýêñïðåññå (3).
Àãàòà Êðèñòè. (3 ñòð.êíèãè)
3
POIROT
REFUSES
A
CASE
(Ïóàðî îòêàçûâàåòñÿ îò äåëà;
case — ñëó÷àé â ïðàêòèêå, îáñòîÿòåëüñòâî;
äåëî)
M.
Hercule
Poirot
was
a
little
late
(ìñüå Ýðêþëü Ïóàðî ñëåãêà çàïîçäàë)
in
entering
the
luncheon
-car
(ñ ïðèõîäîì â âàãîí-ðåñòîðàí;
enter — âõîäèòü
)
on
the
following
day
(íà ñëåäóþùèé äåíü).
He
had
risen
early
(îí âñòàë ðàíî; to
rise
(rose
, risen
) — ïîäíèìàòüñÿ)
, had
breakfasted
almost
alone
(ïîçàâòðàêàë ïî÷òè ÷òî â îäèíî÷åñòâå)
, and
had
spent
the
morning
(è ïðîâåë óòðî;
to
spend (
spent) — òðàòèòü, ðàñõîäîâàòü; ïðîâîäèòü /âðåìÿ/
)
going
over
the
notes
of
the
case
(ïðîñìàòðèâàÿ çàìåòêè òîãî ñàìîãî äåëà;
to
go
over — ïîéòè /êóäà-ëèáî/; ïðîñìàòðèâàòü, èçó÷àòü
â äåòàëÿõ; case — ñëó÷àé; /ñóäåáíîå/
äåëî)
that
was
recalling
him
to
London
(êîòîðîå ïðèçûâàëî åãî âåðíóòüñÿ â Ëîíäîí;
to
recall — îòçûâàòü /ïîñëà, äåïóòàòà/; âûçûâàòü
îáðàòíî, ïðèçûâàòü âåðíóòüñÿ)
. He
had
seen
little
of
his
travelling
companion
(îí ìàëî/ïî÷òè íå âèäåë ñâîåãî ïîïóò÷èêà: «ïóòåøåñòâóþùåãî
ñïóòíèêà»).
luncheon
['lAntS(q)n] almost
['O:lmqVst] London
['lAndqn]
M. Hercule Poirot was a little late in entering the luncheon-car on the following
day. He had risen early, had breakfasted almost alone, and had spent the morning going over the notes of the case that was recalling him to London. He had seen little of his travelling companion.
M. Bouc, who was already seated (
ìñüå
Áóê,
êîòîðûé
óæå
ñåë /
çà
îáåäåííûé
ñòîëèê/;
to seat — ñàæàòü
, óñàæèâàòü
), gesticulated a greeting
(ïðèâåòñòâåííî
ìàõíóë
ðóêîé
: «ïðîæåñòèêóëèðîâàë
ïðèâåòñòâèå
») and summoned his friend
(è
ïðèãëàñèë
ñâîåãî
äðóãà
; to summon —
âûçâàòü,
ïîçâàòü;
ïðèãëàñèòü)
to the empty place opposite him (/
ïðèñåñòü/
íà
ñâîáîäíîå
ìåñòî
íàïðîòèâ;
empty — ïóñòîé
, íåçàïîëíåííûé
; íåçàíÿòûé
). Poirot sat down
(Ïóàðî
ïðèñåë
) and soon found himself in the favoured position
(è
âñêîðå
î÷óòèëñÿ
â
ïðèâèëåãèðîâàííîì
/âûãîäíîì
ïîëîæåíèè
; to find (found) —
íàõîäèòü; to find oneself in a state —
îêàçàòüñÿ,
î÷óòèòüñÿ
â
êàêîì-
ëèáî
ïîëîæåíèè; favour —
áëàãîñêëîííîñòü,
ðàñïîëîæåíèå)
of being at the table (
îò
òîãî,
÷òî
íàõîäèëñÿ
çà
ñòîëîì)
which was served first (
êîòîðûé
îáñëóæèâàëñÿ
â
ïåðâóþ
î÷åðåäü;
to serve — ñëóæèòü
; îáñëóæèâàòü
) and with the choicest morsels
(è
ñàìûìè
îòáîðíûìè
/èçûñêàííûìè
áëþäàìè
; morsel —
êóñî÷åê; «
âêóñíåíüêîå»,
âêóñíîå
áëþäî)
. The
food,
too,
was
unusually
good
(åäà, ê òîìó æå, áûëà íåîáûêíîâåííî õîðîøà)
.
summon
['sAmqn] favoured
['feIvqd] morsel
['mO:s(q)l]
M. Bouc, who was already seated, gesticulated a greeting and summoned his friend
to the empty place opposite him. Poirot sat down and soon found himself in the favoured position of being at the table which was served first and with the choicest morsels. The food, too, was unusually good.
It was not till they were eating a delicate cream cheese
(òîëüêî
êîãäà
: «ýòî
áûëî
íå
äî
òåõ
ïîð
, ïîêà
» îíè
åëè
íåæíûé
ñëèâî÷íûé
ñûð
; delicate —
óòîí÷åííûé,
èçûñêàííûé;
òîíêèé,
íåæíûé)
that M. Bouc allowed his attention (
ìñüå
Áóê
ïîçâîëèë
ñâîåìó
âíèìàíèþ)
to wander to matters other than nourishment (
ïåðåéòè
ê
äðóãèì
äåëàì,
îòëè÷íûì
îò /
ïðèíÿòèÿ/
ïèùè;
to wander — áëóæäàòü
; other than — èíîé
, äðóãîé
). He was at the stage of a meal
(îí
íàõîäèëñÿ
íà
òîé
ñòàäèè
îáåäà
; stage —
ôàçà,
ïåðèîä,
ñòàäèÿ)
when one becomes philosophic (
êîãäà /
÷åëîâåêà/
òÿíåò
ïîôèëîñîôñòâîâàòü;
philosophic — ôèëîñîôñêèé
; ìóäðûé
).
“Ah!” he sighed (
ýõ! —
âçäîõíóë
îí)
. “
If
I
had
but
the
pen
of
a
Balzac
(åñëè áû ÿ îáëàäàë ëèòåðàòóðíûì ïåðîì =
òàëàíòîì Áàëüçàêà;
pen — /ïèñ÷åå/ ïåðî; ëèòåðàòóðíûé ñòèëü
)!
I
would
depict
this
scene
(ÿ áû îïèñàë ýòó ñöåíó;
to
depict — ðèñîâàòü, èçîáðàæàòü; îïèñûâàòü;
scene — ìåñòî äåéñòâèÿ /â ïüåñå, ðîìàíå; ñîáûòèÿ/;
ñöåíà, ýïèçîä)
.” He
waved
a
hand
(îí ìàõíóë ðóêîé;
to
wave — ðàçâåâàòüñÿ /î ôëàãå/; ïîäàâàòü çíàê
/ðóêîé/).
“It is an idea, that
(à
ýòî
ìûñëü
; idea —
èäåÿ,
ìûñëü)
,” said Poirot.
cheese
[tSi:z] nourishment
['nArISmqnt] scene
[si:n]
It was not till they were eating a delicate cream cheese that M. Bouc allowed
his attention to wander to matters other than nourishment. He was at the stage of a meal when one becomes philosophic.
“Ah!” he sighed. “If I had but the pen of a Balzac! I would depict this
scene.” He waved a hand.
“It is an idea, that,” said Poirot.
“
Ah,
you
agree
(à, âû ñîãëàñíû)?
It
has
not
been
done,
I
think
(ýòîãî åùå /íèêòî/ íå äåëàë, ÿ ïîëàãàþ: «ýòî åùå íå áûëî ñäåëàíî»;
to
do (
did,
done)
)? And
yet
(è âñå æå)
— it
lends
itself
to
romance
(â ýòîì åñòü ñâîÿ ðîìàíòèêà;
to
lend — äàâàòü âçàéìû; îòäàâàòü;
to
lend
itself
to
smth. — ñëóæèòü ÷åìó-ëèáî, áûòü ïðèãîäíûì,
ïîäõîäÿùèì äëÿ ÷åãî-ëèáî; romance
— ðûöàðñêèé ðîìàí; ðîìàíòèêà
),
my
friend
(ìîé äðóã).
All
around
us
are
people
(íàñ îêðóæàþò ëþäè: «âîêðóã íàñ ïîâñþäó ëþäè»)
, of
all
classes
, of
all
nationalities
, of
all
ages
(âñåâîçìîæíûõ ñîñëîâèé, íàöèîíàëüíîñòåé è âîçðàñòîâ;
class — êëàññ (ñîöèàëüíûé)
, ñîñëîâèå).
For
three
days
these
people
(íà öåëûõ òðè äíÿ ýòè ëþäè)
, these
strangers
to
one
another
(ýòè ïîñòîðîííèå äðóã äðóãó ëþäè;
stranger — íåçíàêîìåö; ïîñòîðîííèé ÷åëîâåê,
íå ÷ëåí ñåìüè)
, are
brought
together
(ñîáðàíû âîåäèíî;
to
bring (
brought) — ïðèíîñèòü; ïðèâîäèòü;
together — âìåñòå; â îäíó ãðóïïó, âîåäèíî
).
They
sleep
and
eat
under
one
roof
(îíè ñïÿò è åäÿò ïîä îäíîé êðûøåé)
, they
cannot
get
away
from
each
other
(èì íèêóäà íå äåòüñÿ äðóã îò äðóãà: «îíè íå ìîãóò
óñêîëüçíóòü äðóã îò äðóãà»; to
get
away
— óäðàòü, óëèçíóòü)
. At
the
end
of
three
days
they
part
(è â êîíöå ýòèõ òðåõ äíåé îíè ðàññòàíóòñÿ;
to
part — ðàçäåëÿòü; ðàçëó÷àòüñÿ, ðàññòàâàòüñÿ
),
they
go
their
several
ways
(îíè ïîéäóò ñâîèìè ðàçíûìè ïóòÿìè = ïîéäóò êàæäûé ñâîèì ïóòåì;
several — íåñêîëüêî; ðàçíûé, ðàçëè÷íûé
),
never
perhaps
to
see
each
other
again
(âîçìîæíî, ÷òîáû áîëüøå íèêîãäà áîëüøå íå óâèäåòü äðóã äðóãà)
.”
romance
nationality ["nxSq'nxlItI]
brought [brO:t]
“Ah, you agree? It has not been done, I think? And yet — it lends itself
to romance, my friend. All around us are people, of all classes, of all nationalities, of all ages. For three days these people, these strangers to one another, are brought together. They sleep and eat under one roof, they
cannot get away from each other. At the end of three days they part, they go their several ways, never perhaps to see each other again.”
“
And
yet
(è âñå æå),”
said
Poirot, “
suppose
an
accident
(ïðåäïîëîæèì, ÷òî êàêîé-íèáóäü íåñ÷àñòíûé ñëó÷àé/êàòàñòðîôà)
— ”
“
Ah,
no,
my
friend —
(íó óæ íåò, äðóã ìîé)”
“
From
your
point
of
view
it
would
be
regrettable
(ñ âàøåé òî÷êè çðåíèÿ ýòî áûëî áû ïå÷àëüíî/ïðèñêîðáíî;
view — âèä, ïåéçàæ; âçãëÿä, ìíåíèå, òî÷êà çðåíèÿ
; to
regret
— ñîæàëåòü /î ÷åì-ëèáî/
),
I
agree
(ÿ ñîãëàñåí).
But
nevertheless
(íî âñå æå)
let
us
just
for
one
moment
suppose
it
(äàâàéòå âñåãî ëèøü íà îäíî ìãíîâåíèå äîïóñòèì ýòî)
. Then
, perhaps
, all
these
here
(òîãäà, âîçìîæíî, âñå ýòè /ëþäè/ çäåñü)
are
linked
together
(/áóäóò/ ñâÿçàíû äðóã ñ äðóãîì;
to
link — ñîåäèíÿòü, ñâÿçûâàòü
) —
by
death
(ñìåðòüþ).”
“Some
more
wine
(åùå íåìíîãî âèíà)
,” said
M
. Bouc
, hastily
pouring
it
out
(ñêàçàë ìñüå Áóê, ïîñïåøíî íàëèâàÿ åãî /â áîêàë/;
to
pour — ëèòü; íàëèâàòü
). “
You
are
morbid,
mon
cher
(âû íàñòðîåíû ìðà÷íî, äðóã ìîé;
morbid — áîëåçíåííûé /î âèäå/; áîëåçíåííî âïå÷àòëèòåëüíûé,
ñêëîííûé ê ìåëàíõîëèè; ïñèõè÷åñêè íåçäîðîâûé)
. It is, perhaps the digestion
(ýòî
, âîçìîæíî
, èç
-çà
ïèùåâàðåíèÿ
).”
accident
['xksId(q)nt] regrettable
[rI'gretqb(q)l] digestion
[d(a)I'dZestS(q)n]
“And yet,” said Poirot, “suppose an accident — ”
“Ah, no, my friend — ”
“From your point of view it would be regrettable, I agree. But nevertheless
let us just for one moment suppose it. Then, perhaps, all these here are linked together — by death.”
“Some more wine,” said M. Bouc, hastily pouring it out. “You are morbid,
mon cher. It is, perhaps the digestion.”
“It is true
(ýòî
ïðàâäà
),” agreed Poirot
(ñîãëàñèëñÿ
Ïóàðî
), “that the food in Syria
(÷òî
ïèùà
â
Ñèðèè
) was not perhaps quite suited to my stomach
(âîçìîæíî
, íå
âïîëíå
ïîäõîäèëà
ìîåìó
æåëóäêó
; to suit —
óäîâëåòâîðÿòü
òðåáîâàíèÿì;
ïîäõîäèòü,
óñòðàèâàòü)
.”
He
sipped
his
wine
(îí îòïèë âèíà;
to
sip — ïèòü ìàëåíüêèìè ãëîòêàìè; ïîòÿãèâàòü
/âèíî è ò.ï./).
Then,
leaning
back
(çàòåì, îòêèíóâøèñü íàçàä /íà ñòóëå/)
, he
ran
his
eye
thoughtfully
round
the
dining
-car
(îí îáåæàë âíèìàòåëüíî âçãëÿäîì âåñü âàãîí-ðåñòîðàí;
to
run (
ran,
run);
eye — ãëàç; âçãëÿä, âçîð;
to
think (
thought) — äóìàòü,
thoughtfully — âíèìàòåëüíî;
round — óêàçûâàåò íà äâèæåíèå ïî êðóãó: ïî
êðóãó, êðóãîì
).
There
were
thirteen
people
seated
there
(â íåì áûëî òðèíàäöàòü ÷åëîâåê)
and
, as
M
. Bouc
had
said
(è, êàê óæå ñêàçàë ìñüå Áóê)
, of
all
classes
and
nationalities
(/ýòî áûëè ëþäè/ âñåõ ñîñëîâèé è íàöèîíàëüíîñòåé)
. He began to study them
(îí
íà÷àë
èçó÷àòü
èõ
).
stomach
['stAmqk] thoughtfully
['TO:tf(q)lI] class
[klQ:s]
“It is true,” agreed Poirot, “that the food in Syria was not perhaps
quite suited to my stomach.”
He sipped his wine. Then, leaning back, he ran his eye thoughtfully round the
dining-car. There were thirteen people seated there and, as M. Bouc had said, of all classes and nationalities. He began to study them.
At the table opposite them were three men
(çà
ñòîëèêîì
íàïðîòèâ
ñèäåëè
òðîå
ìóæ÷èí
; to be (was, were; been) —
áûòü;
íàõîäèòüñÿ,
ïðèñóòñòâîâàòü)
. They were, he guessed, single travelers (
ýòî
áûëè,
êàê
åìó
ïîêàçàëîñü: «
îí
äîãàäàëñÿ»,
ïóòåøåñòâóþùèå
â
îäèíî÷åñòâå /
ìóæ÷èíû/;
single — åäèíñòâåííûé
; îäèíî÷íûé
, íåïàðíûé
) graded and placed there
(âûäåëåííûå
/èç
îñòàëüíûõ
ïàññàæèðîâ
/ è
ðàññàæåííûå
òàì
; to grade —
ðàñïîëàãàòü
ïî
ñòåïåíÿì;
îòíîñèòü
ê
êàêîé-
ëèáî
ãðóïïå; to place —
ñòàâèòü;
ðàçìåùàòü)
by the unerring judgment of the restaurant attendants
(íàìåòàííûì
ãëàçîì
: «áåçîøèáî÷íûì
ñóäîì
» îôèöèàíòîâ
; to err —
îøèáàòüñÿ,
çàáëóæäàòüñÿ; to judge —
ñóäèòü;
îöåíèâàòü; judgment —
þð.
ðàçáèðàòåëüñòâî;
ñóæäåíèå,
ìíåíèå;
restaurant attendant — îôèöèàíò
). A big swarthy Italian was picking his teeth with gusto
(êðóïíûé
/âûñîêèé
çàãîðåëûé
èòàëüÿíåö
ñìà÷íî
êîâûðÿë
â
çóáàõ
; big —
áîëüøîé,
êðóïíûé;
âûñîêèé;
to pick — âûáèðàòü
; êîâûðÿòü
; tooth (pl. teeth), gusto —
óäîâîëüñòâèå,
ñìàê). Opposite him a spare neat Englishman
(íàïðîòèâ
íåãî
/ñèäåë
/ õóäîé
àêêóðàòíûé
àíãëè÷àíèí
; spare —
çàïàñíîé;
õóäîùàâûé,
òîùèé)
had the expressionless disapproving face (
ñ
íè÷åãî
íå
âûðàæàþùèì
íåîäîáðèòåëüíûì
ëèöîì;
expression — âûðàæåíèå
; âûðàçèòåëüíîñòü
; to approve — îäîáðÿòü
; to disapprove — íå
îäîáðÿòü
, îñóæäàòü
) of the well-trained servant
(õîðîøî
âûøêîëåííîãî
ñëóãè
; to train —
âîñïèòûâàòü;
ó÷èòü,
îáó÷àòü; trained —
âûó÷åííûé,
âûøêîëåííûé,
îáó÷åííûé)
. Next to the Englishman was a big American (
ðÿäîì
ñ
àíãëè÷àíèíîì
ðàñïîëîæèëñÿ
âûñîêèé/
êðóïíûé
àìåðèêàíåö)
in a loud suit (
â
êîñòþìå
ÿðêèõ
òîíîâ;
loud — ãðîìêèé
; ðàçã
. êðè÷àùèé
, áðîñàþùèéñÿ
â
ãëàçà
/î
êðàñêàõ
, îäåæäå
è
ò
.ï
./)
— possibly a commercial traveler (
âîçìîæíî,
êîììèâîÿæåð;
commercial — òîðãîâûé
, êîììåð÷åñêèé
).
guess
[ges] unerring
[An'q:rIN] judgment
['dZAdZmqnt] gusto
['gAst|qV]
At the table opposite them were three men. They were, he guessed, single travellers
graded and placed there by the unerring judgment of the restaurant attendants. A big swarthy Italian was picking his teeth with gusto. Opposite him a spare neat Englishman had the expressionless disapproving face of the well-trained
servant. Next to the Englishman was a big American in a loud suit — possibly a commercial traveller.
“You’ve got to put it over big
(íóæíî
äåéñòâîâàòü
: «äîáèâàòüñÿ
óñïåõà
» ñ
ðàçìàõîì
; to put over —
ñîîáùàòü;
äîáèòüñÿ
óñïåõà,
çàâîåâàòü
ïîïóëÿðíîñòü; big —
ðàçã.
õâàñòëèâî;
ñ
ðàçìàõîì,
ïî-
êðóïíîìó)
,” he was saying in a loud, nasal voice (
ãîâîðèë
îí
ãðîìêèì,
ãíóñàâûì
ãîëîñîì;
nasal — íîñîâîé
; ãíóñàâûé
).
The Italian removed his toothpick
(èòàëüÿíåö
âûòàùèë
çóáî÷èñòêó
; to remove —
ïåðåäâèãàòü;
óáèðàòü)
to gesticulate with it freely (
÷òîáû
ñâîáîäíî
ðàçìàõèâàòü: «
æåñòèêóëèðîâàòü»
åþ;
freely — ñâîáîäíî
, âîëüíî
).
“Sure
(êîíå÷íî
),” he said. “That whatta I say alla de time
(= that is what I say all the time; ýòî
êàê
ðàç
òî
, î
÷åì
ÿ
è
ãîâîðþ
âñå
âðåìÿ
= îá
ýòîì
ÿ
è
òâåðæó
).”
The Englishman looked out of the window and coughed
(àíãëè÷àíèí
âûãëÿíóë
â
îêíî
è
êàøëÿíóë
).
Poirot’s eye passed on
(âçãëÿä
Ïóàðî
äâèíóëñÿ
äàëüøå
; to pass on —
ïðîõîäèòü
äàëüøå)
.
nasal
['neIz(q)l] toothpick
['tu:TpIk] gesticulate
[dZe'stIkjVleIt] cough
[kO
f]
“You’ve got to put it over big,” he was saying in a loud, nasal voice.
The Italian removed his toothpick to gesticulate with it freely.
“Sure,” he said. “That whatta I say alla de time.”
The Englishman looked out of the window and coughed.
Poirot’s eye passed on.
At a small table (
çà
íåáîëüøèì
ñòîëèêîì)
, sitting very upright, was one of the ugliest old ladies
(ñèäÿ
î÷åíü
ïðÿìî
= î÷åíü
ïðÿìî
ñèäåëà
îäíà
èç
ñàìûõ
óðîäëèâûõ
ïîæèëûõ
ëåäè
; upright —
âåðòèêàëüíûé;
äåðæàùèéñÿ
ïðÿìî;
ugly — áåçîáðàçíûé
, óðîäëèâûé
) he had ever seen
(êîòîðóþ
îí
êîãäà
-ëèáî
âèäåë
). It was an ugliness of distinction
(ýòî
áûëà
àðèñòîêðàòè÷åñêàÿ
óðîäëèâîñòü
= â
ýòîé
óðîäëèâîñòè
áûëî
íå÷òî
àðèñòîêðàòè÷åñêîå
; distinction —
ðàçëè÷èå;
çíàòíîñòü;
èíäèâèäóàëüíîñòü,
îðèãèíàëüíîñòü)
— it fascinated rather than repelled (
îíà
ñêîðåå
ïðèòÿãèâàëà,
íåæåëè
îòòàëêèâàëà;
to fascinate — î÷àðîâûâàòü
; óâëåêàòü
, âûçûâàòü
èíòåðåñ
; ïðèòÿãèâàòü
; to repel — îòãîíÿòü
; îòòàëêèâàòü
). She
sat
very
upright
(
îíà
ñèäåëà
î÷åíü
ïðÿìî)
. Round
her
neck
was
a
collar
of
very
large
pearls
(
íà
åå
øåå: «
âîêðóã
åå
øåè»
áûëî
îæåðåëüå
èç
î÷åíü
êðóïíûõ
æåì÷óæèí;
collar —
âîðîòíèê;
îæåðåëüå)
which
, improbable
though
it
seemed
, were
real
(
êîòîðûå,
õîòÿ
ýòî
è
êàçàëîñü
íåâåðîÿòíûì/
íåïðàâäîïîäîáíûì,
áûëè
íàñòîÿùèìè;
probable —
âåðîÿòíûé;
ïðàâäîïîäîáíûé;
real —
äåéñòâèòåëüíûé;
íàñòîÿùèé,
íàòóðàëüíûé)
. Her
hands
were
covered
with
rings
(
åå
ïàëüöû: «
ðóêè»
áûëè
óíèçàíû: «
ïîêðûòû»
êîëüöàìè;
hand —
ðóêà,
êèñòü
ðóêè;
to
cover —
ïîêðûâàòü)
. Her
sable
coat
was
pushed
back
on
her
shoulders
(
ñîáîëüÿ
øóáà
áûëà
íàáðîøåíà
íà
åå
ïëå÷è;
coat —
ïèäæàê;
âåðõíÿÿ
îäåæäà,
ïàëüòî;
to
push —
òîëêàòü,
ïèõàòü;
to
push
back —
îòáðàñûâàòü,
îòòàëêèâàòü
íàçàä)
. A
very
small
and
expensive
black
toque
(
î÷åíü
ìàëåíüêàÿ
è
äîðîãàÿ
÷åðíàÿ
øëÿïêà;
toque —
òîê /
æåíñêàÿ
øëÿïà
áåç
ïîëåé/
)
was
hideously
unbecoming
to
the
yellow,
toad-
like
face
beneath
it
(óæàñíî
íå
øëà
/íå
ïîäõîäèëà
ê
æåëòîìó
, æàáüåìó
ëèöó
ïîä
íåé
= øëÿïêîé
; hideously
— ýìîö
.-óñèë
. îòâðàòèòåëüíî
, ñòðàøíî
; toad
— æàáà
; ãàäèíà
).
She
was
speaking
now
to
the
restaurant
attendant
(â
äàííûé
ìîìåíò
îíà
ãîâîðèëà
ñ
îôèöèàíòîì
: «ñëóæàùèì
ðåñòîðàíà
»)
in
a
clear
(îò÷åòëèâûì
; clear
— ÿñíûé
; çâîíêèé
, ÷èñòûé
/î
çâóêå
/)
, courteous
(
âåæëèâûì)
, but
completely
autocratic
tone
(
íî
ñîâåðøåííî
âëàñòíûì
òîíîì;
autocratic —
àâòîêðàòè÷åñêèé;
äèêòàòîðñêèé;
âëàñòíûé)
.
upright
['ApraIt] ugly
['AglI] ugliness
['AglInIs] pearl
[pq:l] toque
[tqVk] hideously
['hIdIqslI] courteous
['kq:tIqs] autocratic
["O:tq'krxtIk]
At a small table, sitting very upright, was one of the ugliest old ladies he
had ever seen. It was an ugliness of distinction — it fascinated rather than repelled. She sat very upright. Round her neck was a collar of very large pearls which, improbable though it seemed, were real. Her hands were
covered with rings. Her sable coat was pushed back on her shoulders. A very small and expensive black toque was hideously unbecoming to the yellow, toad-like face beneath it.
She was speaking now to the restaurant attendant in a clear, courteous, but
completely autocratic tone.
“You will be sufficiently amiable to place in my compartment
(âû
áóäåòå
äîñòàòî÷íî
ëþáåçíûì
, ÷òîáû
= áóäüòå
òàê
ëþáåçíû
— ïîñòàâüòå
â
ìîåì
êóïå
) a bottle of mineral water and a large glass of orange juice
(áóòûëêó
ìèíåðàëüíîé
âîäû
è
áîëüøîé
ñòàêàí
àïåëüñèíîâîãî
ñîêà
; glass —
ñòåêëî;
ñòàêàí,
áîêàë)
. You will arrange that I shall have chicken cooked without sauces
(ðàñïîðÿäèòåñü
, ÷òîáû
ìíå
ïðèãîòîâèëè
êóðèöó
áåç
ñîóñîâ
/ïðèïðàâ
; to arrange —
ïðèâîäèòü
â
ïîðÿäîê;
ïðèíèìàòü
ìåðû,
äàâàòü
ðàñïîðÿæåíèÿ;
to have smth. done — âûðàæàåò
äåéñòâèå
, ñîâåðøåííîå
ïî
èíèöèàòèâå
èëè
ïîáóæäåíèþ
êàêîãî
-ëèáî
ëèöà
: âåëåòü
, ïðèêàçàòü
ñäåëàòü
÷òî
-ëèáî
äëÿ
ñåáÿ
; to cook — ãîòîâèòü
ïèùó
, ñòðÿïàòü
: âàðèòü
, æàðèòü
, ïå÷ü
è
ò
.ï
.)
for dinner this evening (
ê
óæèíó
ñåãîäíÿ
âå÷åðîì;
dinner — îáåä
) — also some boiled fish
(à
òàêæå
íåìíîãî
âàðåíîé
ðûáû
; to boil —
êèïÿòèòü;
âàðèòü)
.”
The attendant replied respectfully that it should be done
(îôèöèàíò
ïî÷òèòåëüíî
/âåæëèâî
îòâåòèë
,
÷òî
âñå
áóäåò
ñäåëàíî;
to respect — óâàæàòü
, ïî÷èòàòü
).
She gave a slight gracious nod of the head (
îíà
ñíèñõîäèòåëüíî
êèâíóëà: «
äàëà
ëåãêèé
áëàãîñêëîííûé
êèâîê
ãîëîâîé»;
nod — êèâîê
/çíàê
ñîãëàñèÿ
èëè
ïðèâåòñòâèÿ
/; slight — ñëàáûé
, ëåãêèé
) and rose
(è
ïîäíÿëàñü
). Her
glance
caught
Poirot
’s
(åå âçãëÿä ïåðåñåêñÿ ñî /âçãëÿäîì/ Ïóàðî;
to
catch (
caught) — ïîéìàòü, ñõâàòèòü; çàñòèãíóòü
)
and
swept
over
him
(è ñêîëüçíóë ìèìî íåãî;
to
sweep (
swept) — ìåñòè, ïîäìåòàòü; íåñòèñü, ì÷àòüñÿ
)
with
the
nonchalance
of
the
uninterested
aristocrat
(ñ áåçðàçëè÷èåì ðàâíîäóøíîé àðèñòîêðàòêè;
nonchalance — áåççàáîòíîñòü; ðàâíîäóøèå
).
sufficiently
[sq'fIS(q)ntlI]
amiable ['eImIqb(q)l]
juice [dZu:s]
sauce [sO:s]
gracious ['greISqs]
“You will be sufficiently amiable to place in my compartment a bottle of
mineral water and a large glass of orange juice. You will arrange that I shall have chicken cooked without sauces for dinner this evening — also some boiled fish.”
The attendant replied respectfully that it should be done.
She gave a slight gracious nod of the head and rose. Her glance caught Poirot’s
and swept over him with the nonchalance of the uninterested aristocrat.
“That is Princess Dragomiroff
(ýòî
êíÿãèíÿ
Äðàãîìèðîâà
; princess —
ïðèíöåññà;
êíÿãèíÿ,
êíÿæíà)
,” said M. Bouc in a low tone (
ñêàçàë
ìñüå
Áóê
òèõî: «
íèçêèì
òîíîì»)
. “She is a Russian (
îíà
ðóññêàÿ)
. Her husband realised all his money (
åå
ìóæ
ïåðåâåë
â
íàëè÷íûå
âñå
ñâîè
ñðåäñòâà;
to realize — îñóùåñòâèòü
; êîì
. ðåàëèçîâàòü
, ïðåâðàòèòü
â
äåíüãè
; money — äåíüãè
) before the Revolution
(äî
Ðåâîëþöèè
) and invested it abroad
(è
âëîæèë
èõ
çàãðàíèöåé
; to invest —
èíâåñòèðîâàòü,
âêëàäûâàòü
êàïèòàë)
. She is extremely rich (
îíà
÷ðåçâû÷àéíî
áîãàòà)
. A cosmopolitan (
êîñìîïîëèòêà;
cosmopolitan = cosmopolite — êîñìîïîëèò
, ÷åëîâåê
ìèðà
).”
Poirot nodded
(Ïóàðî
êèâíóë
; to nod —
êèâàòü
ãîëîâîé)
. He had heard of Princess Dragomiroff (
îí
óæå
ñëûøàë
î
êíÿãèíå
Äðàãîìèðîâîé)
.
“She is a personality
(îíà
— /ñèëüíàÿ
/ ëè÷íîñòü
),” said M. Bouc. “Ugly as sin
(óðîäëèâà
, êàê
/ñìåðòíûé
/ ãðåõ
; sin —
ãðåõ)
but she makes herself felt (
íî
óìååò
ïðîèçâåñòè
âïå÷àòëåíèå;
to make oneself (íàïð
. known) — ñäåëàòü
òàê
, ÷òîáû
î
òåáå
óçíàëè
, çàñòàâèòü
ãîâîðèòü
î
ñåáå
; to feel (felt) — òðîãàòü
, ùóïàòü
; to make feel —
âûçûâàòü
îùóùåíèå,
ïðîèçâîäèòü
âïå÷àòëåíèå)
. You agree (
âû
ñîãëàñíû)
?”
Poirot agreed
(Ïóàðî
ñîãëàñèëñÿ
).
husband ['hAzbqnd]
realize ['rIqlaIz]
cosmopolitan ["k
Ozmq'p
OlItn]
princess ["prIn'ses]
“That is Princess Dragomiroff,” said M. Bouc in a low tone. “She is a
Russian. Her husband realised all his money before the Revolution and invested it abroad. She is extremely rich. A cosmopolitan.”
Poirot nodded. He had heard of Princess Dragomiroff.
“She is a personality,” said M. Bouc. “Ugly as sin but she makes herself
felt. You agree?”
Poirot agreed.
At another of the large tables
(çà
äðóãèì
èç
áîëüøèõ
ñòîëîâ
= çà
äðóãèì
áîëüøèì
ñòîëèêîì
) Mary Debenham was sitting with two other women
(ñèäåëà
Ìýðè
Äåáåíõýì
ñ
äâóìÿ
äðóãèìè
æåíùèíàìè
). One of them was tall and middle-aged
(îäíà
èç
íèõ
áûëà
âûñîêîé
, ñðåäíèõ
ëåò
), in a plaid blouse
(â
êëåò÷àòîé
áëóçå
) and tweed skirt
(è
òâèäîâîé
þáêå
). She had a mass of faded yellow hair
(/íà
ãîëîâå
/ ó
íåå
áûëà
êîïíà
âûöâåòøèõ
ñâåòëûõ
âîëîñ
; mass —
ìàññà;
êó÷à; to fade —
âÿíóòü;
âûãîðàòü,
âûöâåòàòü; yellow —
æåëòûé;
ñ
çîëîòèñòûì
îòëèâîì /
î
âîëîñàõ/
) unbecomingly arranged in a large bun
(óëîæåííûõ
â
áîëüøîé
ïó÷îê
, êîòîðûé
åé
íå
øåë
; unbecoming —
íåïîäõîäÿùèé;
íå
èäóùèé
ê
ëèöó; to arrange —
ïðèâîäèòü
â
ïîðÿäîê; bun —
ñäîáíàÿ
áóëî÷êà;
ïó÷îê /
æåíñêàÿ
ïðè÷åñêà/
), wore glasses
(/îíà
/ íîñèëà
î÷êè
; to wear (wore, worn) —
áûòü
îäåòûì;
íîñèòü)
, and had a long mild amiable face rather like a sheep
(è
ó
íåå
áûëî
âûòÿíóòîå
: «äëèííîå
» ìÿãêîå
äðóæåëþáíîå
ëèöî
, ïî÷òè
êàê
ó
îâöû
: «ñêîðåå
ïîäîáíîå
îâöå
»). She was listening to the third woman
(îíà
ñëóøàëà
òðåòüþ
æåíùèíó
), a stout
(òó÷íóþ
), pleasant-faced, elderly person
(ñèìïàòè÷íóþ
: «ñ
ïðèÿòíûì
ëèöîì
» ïîæèëóþ
îñîáó
; person —
÷åëîâåê,
ëè÷íîñòü;
îñîáà)
who was talking in a slow clear monotone (
êîòîðàÿ
ãîâîðèëà
ìåäëåííî,
÷åòêî
è
ìîíîòîííî;
monotone — ìîíîòîííîñòü
, îäíîîáðàçíàÿ
ïîâòîðÿåìîñòü
) which showed no signs of pausing for breath
(íå
ïîäàâàÿ
íèêàêèõ
ïðèçíàêîâ
ïàóç
, ÷òîáû
ïåðåâåñòè
äûõàíèå
; to show —
ïîêàçûâàòü;
ïðîÿâëÿòü,
îáíàðóæèâàòü; to show signs of smth. —
îáíàðóæèâàòü
ïðèçíàêè
÷åãî-
ëèáî;
to pause — äåëàòü
ïàóçó
, ïåðåðûâ
, breath — äûõàíèå
) or coming to a stop
(èëè
ñîáèðàåòñÿ
çàìîë÷àòü
: «ïîäõîäèò
ê
îñòàíîâêå
»; stop —
îñòàíîâêà,
çàäåðæêà;
ïðåêðàùåíèå,
êîíåö)
.
plaid
[plxd] unbecomingly
["AnbI'kAmINlI] amiable
['eImIqb(q)l] monotone
['mO
nqtqVn]
At another of the large tables Mary Debenham was sitting with two other women.
One of them was tall and middle-aged, in a plaid blouse and tweed skirt. She had a mass of faded yellow hair unbecomingly arranged in a large bun, wore glasses, and had a long mild amiable face rather like a sheep. She was
listening to the third woman, a stout, pleasant-faced, elderly person who was talking in a slow clear monotone which showed no signs of pausing for breath or coming to a stop.
“ — and so my daughter said
(è
òîãäà
ìîÿ
äî÷ü
ñêàçàëà
), ‘Why
(âåäü
),’ she said, ‘you just can’t apply American methods in this country
(íåâîçìîæíî
ïðèìåíÿòü
àìåðèêàíñêèå
ìåòîäû
â
ýòîé
ñòðàíå
; to apply —
îáðàùàòüñÿ
ñ
ïðîñüáîé;
èñïîëüçîâàòü,
ïðèìåíÿòü)
. It’s natural to the folks here (
ëþäÿì, /
æèâóùèì/
çäåñü
ñâîéñòâåííî;
natural — åñòåñòâåííûé
; ïðèñóùèé
) to be indolent
(áûòü
ëåíèâûìè
/ïðàçäíûìè
),’ she said. ‘They just haven’t got any hustle in them
(ó
íèõ
ïðîñòî
íåò
íèêàêîé
âíóòðåííåé
ýíåðãèè
; hustle —
òîëêîòíÿ,
äàâêà;
ðàçã.
ýíåðãè÷íàÿ
äåÿòåëüíîñòü,
ýíåðãèÿ,
íàïîð)
— ’ But all the same (
íî
âñå
ðàâíî)
you’d be surprised to know what our college there is doing
(âû
áû
óäèâèëèñü
, óçíàâ
, ÷åì
çàíèìàåòñÿ
òàì
íàø
êîëëåäæ
; college —
óíèâåðñèòåòñêèé
êîëëåäæ /
â
Âåëèêîáðèòàíèè/;
áëàãîòâîðèòåëüíîå
ó÷åáíîå
çàâåäåíèå,
ó÷èëèùå)
. They’ve got a fine staff of teachers (
ó
íèõ
ïðåêðàñíûé
øòàò
ó÷èòåëåé)
. I
guess
there’
s
nothing
like
education
(ÿ ïîëàãàþ, ÷òî íåò íè÷åãî ëó÷øå îáðàçîâàíèÿ: «íåò íè÷åãî, ïîäîáíîãî îáðàçîâàíèþ»;
to
guess — ïðåäïîëàãàòü, äîãàäûâàòüñÿ
).
We’
ve
got
to
apply
our
Western
ideals
(ìû äîëæíû ïðèìåíÿòü íàøè çàïàäíûå èäåàëû)
and
teach
the
East
to
recognise
them
(è íàó÷èòü Âîñòîê ïðèçíàâàòü/öåíèòü èõ;
to
recognize — óçíàâàòü; âûðàæàòü ïðèçíàíèå, îäîáðåíèå
).
My daughter says (
ìîÿ
äî÷ü
ãîâîðèò)
— ”
The train plunged into a tunnel
(ïîåçä
íûðíóë
â
òóííåëü
). The calm, monotonous voice was drowned
(è
ñïîêîéíûé
ìîíîòîííûé
ãîëîñ
áûë
çàãëóøåí
; calm —
ñïîêîéíûé,
òèõèé; to drown —
òîíóòü;
çàãëóøàòü,
ïåðåñèëèâàòü)
.
method
['meTqd] indolent
['Indqlqnt] hustle
['hAs(q)l]
“ — and so my daughter said, ‘Why,’ she said, ‘you just can’t apply
American methods in this country. It’s natural to the folks here to be indolent,’ she said. ‘They just haven’t got any hustle in them — ’ But all the same you’d be surprised to know what our college there is
doing. They’ve got a fine staff of teachers. I guess there’s nothing like education. We’ve got to apply our Western ideals and teach the East to recognise them. My daughter says — ”
The train plunged into a tunnel. The calm, monotonous voice was drowned.
At the next table, a small one
(çà
ñëåäóþùèì
ñòîëèêîì
, ìàëåíüêèì
ñòîëèêîì
), sat Colonel Arbuthnot — alone
(ñèäåë
ïîëêîâíèê
Àðáýòíîò
— îäèí
; alone —
îäèí,
â
îäèíî÷åñòâå)
. His gaze was fixed (
åãî
ïðèñòàëüíûé
âçãëÿä
áûë
óñòðåìëåí;
to fix — óêðåïëÿòü
; íåîòðûâíî
ñìîòðåòü
, óñòðåìèòü
âçãëÿä
) upon the back of Mary Debenham’s head
(íà
çàòûëîê
Ìýðè
Äåáåíõåì
; back —
ñïèíà;
çàäíÿÿ,
òûëüíàÿ
÷àñòü
÷åãî-
ëèáî)
. They
were
not
sitting
together
(îíè ñèäåëè ïîðîçíü: «íå ñèäåëè âìåñòå»)
. Yet
it
could
easily
have
been
managed
(õîòÿ ýòî ëåãêî ìîæíî áûëî óñòðîèòü;
to
manage — ðóêîâîäèòü, óïðàâëÿòü; ñóìåòü ñäåëàòü
÷òî-ëèáî, ñïðàâèòüñÿ)
. Why
(ïî÷åìó
)?
plunge
[plAndZ] tunnel
['tAnl] monotonous
[mq'nO
t(q)nqs]
At the next table, a small one, sat Colonel Arbuthnot — alone. His gaze was
fixed upon the back of Mary Debenham’s head. They were not sitting together. Yet it could easily have been managed. Why?
Perhaps, Poirot thought (
âîçìîæíî,
äóìàë
Ïóàðî)
, Mary Debenham had demurred (
Ìýðè
Äåáåíõýì
ïðîÿâèëà
êîëåáàíèå;
to demur — êíèæí
. êîëåáàòüñÿ, íå ðåøàòüñÿ; ñîìíåâàòüñÿ, ðàçäóìûâàòü;
âîçðàæàòü,
ïðîòåñòîâàòü)
. A governess learns to be careful (
ãóâåðíàíòêè /
áûñòðî/
ó÷àòñÿ
áûòü
îñòîðîæíûìè;
to learn — èçó÷àòü
; óñâàèâàòü
, ó÷èòüñÿ
). Appearances are important
(âíåøíèé
âèä
âàæåí
; appearance —
âíåøíèé
âèä; pl.
ïðèëè÷èÿ,
âíåøíÿÿ
ñòîðîíà
æèçíè,
áûòà)
. A
girl
with
her
living
to
get
(äåâóøêà, êîòîðîé ïðèõîäèòñÿ ñàìîé çàðàáàòûâàòü ñåáå íà æèçíü;
living — ñðåäñòâà ê ñóùåñòâîâàíèþ
)
has
to
be
discreet
(äîëæíà áûòü áëàãîðàçóìíîé;
discreet — îñòîðîæíûé, áëàãîðàçóìíûé, ñêðîìíûé
).
His glance shifted to the other side of the carriage
(åãî
âçãëÿä
ïåðåìåñòèëñÿ
íà
äðóãóþ
ñòîðîíó
âàãîíà
). At the far end, against the wall
(â
äàëüíåì
êîíöå
ó
ñòåíû
; against —
çä.
óêàçûâàåò
íà
ìåñòîïîëîæåíèå
îêîëî
÷åãî-
ëèáî,
ðÿäîì
ñ
÷åì-
ëèáî:
ó)
, was a middle-aged woman (
ñèäåëà
æåíùèíà
ñðåäíèõ
ëåò)
dressed in black (
îäåòàÿ
â
÷åðíîå)
with a broad, expressionless face (
ñ
øèðîêèì,
íè÷åãî
íå
âûðàæàþùèì
ëèöîì;
expression — âûðàæåíèå
/òæ
. è
ëèöà
, ãëàç
è
ò
.ï
./)
. German or Scandinavian, he thought (
íåìêà
èëè
ñêàíäèíàâêà,
ïîäóìàë
îí)
. Probably the German lady’s-maid (
âîçìîæíî,
òà
ñàìàÿ
íåìêà-
êàìåðèñòêà)
.
demur
['dI'mq:] appearance
[q'pI(q)rqns] discreet
[dIs'kri:t] expressionless
[Ik'spreS(q)nlIs]
Perhaps, Poirot thought, Mary Debenham had demurred. A governess learns to
be careful. Appearances are important. A girl with her living to get has to be discreet.
His glance shifted to the other side of the carriage. At the far end, against
the wall, was a middle-aged woman dressed in black with a broad, expressionless face. German or Scandinavian, he thought. Probably the German lady’s-maid.
Beyond her
(çà
íåé
) were a couple leaning forward
(ñèäåëà
ïàðà
, ñêëîíèâøàÿñÿ
äðóã
ê
äðóãó
: «âïåðåä
»; to lean forward —
íàêëîíèòüñÿ,
ïîäàòüñÿ
âïåðåä)
and talking animatedly together (
è
îæèâëåííî
ðàçãîâàðèâàâøàÿ /
äðóã
ñ
äðóãîì/;
to animate — îæèâèòü
; îæèâëÿòü
). The man wore English clothes
(íà
ìóæ÷èíå
áûëà
îäåæäà
/êîñòþì
àíãëèéñêîãî
ïîêðîÿ
; to wear (wore, worn) —
íîñèòü,
áûòü
îäåòûì; clothes —
îäåæäà,
ïëàòüå)
of loose tweed (
èç
ïðîñòîðíîãî
òâèäà;
loose — ñâîáîäíûé
; íåïðèëåãàþùèé
, øèðîêèé
/îá
îäåæäå
/)
, but he was not English (
íî
îí
íå
áûë
àíãëè÷àíèíîì)
. Though only the back of his head was visible to Poirot
(õîòÿ
Ïóàðî
è
áûë
âèäåí
òîëüêî
åãî
çàòûëîê
; back of head —
çàòûëîê; visible —
âèäèìûé,
çðèìûé)
, the shape of it (
åãî
ôîðìà)
and the set of the shoulders (
è
ëèíèÿ
åãî
ïëå÷;
set — îáùèå
î÷åðòàíèÿ
, ëèíèÿ
) betrayed him
(âûäàâàëè
åãî
; to betray —
èçìåíÿòü;
âûäàâàòü)
. A big man (
êðóïíûé
ìóæ÷èíà)
, well-
made (
õîðîøî
ñëîæåííûé)
. He turned his head suddenly (
âíåçàïíî
îí
ïîâåðíóë
ãîëîâó)
and Poirot saw his profile (
è
Ïóàðî
óâèäåë
åãî
ïðîôèëü)
. A very handsome man (
î÷åíü
êðàñèâûé
ìóæ÷èíà;
handsome — êðàñèâûé
/î
ìóæ÷èíàõ
/, ñòàòíûé
) of thirty-odd
(ëåò
çà
òðèäöàòü
; odd —
íå÷åòíûé;
íåìíîãèì
áîëüøèé)
with a big fair moustache (
ñ
áîëüøèìè
ñâåòëûìè
óñàìè;
fair — ÷åñòíûé
; áåëîêóðûé
, ñâåòëûé
).
animated
['xnImeItId]
visible ['vIzqb(q)l]
betray [bI'treI]
Beyond her were a couple leaning forward and talking animatedly together. The
man wore English clothes of loose tweed, but he was not English. Though only the back of his head was visible to Poirot, the shape of it and the set of the shoulders betrayed him. A big man, well
-made. He turned his head suddenly and Poirot saw his profile. A very handsome man of thirty-odd
with a big fair moustache.
The woman opposite him
(æåíùèíà
/ñèäÿùàÿ
/ íàïðîòèâ
íåãî
) was a mere girl
(áûëà
ïðîñòî
äåâ÷óøêîé
; mere —
óñèë.
ïðîñòîé,
íå
áîëåå
÷åì,
ñóùèé)
— twenty at a guess (
ïðèìåðíî
ëåò
äâàäöàòè;
guess — äîãàäêà
, ïðåäïîëîæåíèå
; at a guess — ïðèáëèçèòåëüíî
, ïî
ãðóáîìó
ïîäñ÷åòó
). A tight-fitting little black coat and skirt
(ïëîòíî
îáëåãàþùèé
ìàëåíüêèé
÷åðíûé
êîñòþì
: «ïèäæàê
è
þáêà
»; tight —
òóãîé,
ïëîòíî
ïðèãíàííûé; fitting —
ïîäõîäÿùèé; to fit —
ñîîòâåòñòâîâàòü;
ïðèìåðÿòü,
ïîäãîíÿòü /
îäåæäó/; coat and skirt —
æåíñêèé
êîñòþì)
, white satin blouse (
áåëàÿ
àòëàñíàÿ
áëóçêà)
, small chic black toque (
ìàëåíüêàÿ
ýëåãàíòíàÿ
÷åðíàÿ
øëÿïêà;
toque — òîê
/æåíñêàÿ
øëÿïà
áåç
ïîëåé
/)
perched at the fashionable outrageous angle (
íàäåòàÿ/
çàëîìëåííàÿ
ïîä
ìîäíûì,
íåâîîáðàçèìûì
óãëîì;
to perch — ñàäèòüñÿ
íà
íàñåñò
; ïîìåùàòü
, ðàñïîëàãàòü
âûñîêî
, "öåïëÿòü
", outrageous — âîçìóòèòåëüíûé
; ÷ðåçìåðíûé
). She had a beautiful foreign-looking face
(ó
íåå
áûëî
ïðåêðàñíîå
ëèöî
èíîñòðàíêè
; foreign —
èíîñòðàííûé,
÷óæåçåìíûé; looking — /
êàê
êîìïîíåíò
ñëîæíûõ
ñëîâ/
âûãëÿäÿùèé
îïðåäåëåííûì
îáðàçîì)
, dead-white skin (
ìàòîâàÿ
áëåäíàÿ/
áåëàÿ
êîæà;
dead — ìåðòâûé
; òóñêëûé
, ìàòîâûé
), large brown eyes
(áîëüøèå
êàðèå
ãëàçà
), jet black hair
(è
÷åðíûå
áëåñòÿùèå
âîëîñû; jet —
ãàãàò,
÷åðíûé
ÿíòàðü;
áëåñòÿùåãî
÷åðíîãî
öâåòà
). She was smoking a cigarette
(îíà
êóðèëà
ñèãàðåòó
; to smoke —
äûìèòü;
êóðèòü)
in a long holder (
â
äëèííîì
ìóíäøòóêå;
holder — äåðæàòåëü
). Her manicured hands
(íà
åå
óõîæåííûõ
ðóêàõ
; to manicure —
äåëàòü
ìàíèêþð)
had deep red nails (
íîãòè
áûëè
òåìíî-
êðàñíîãî
öâåòà;
deep — ãëóáîêèé
; íàñûùåííûé
, òåìíûé
/î
êðàñêàõ
, öâåòå
/)
. She wore one large emerald (
îíà
íîñèëà
îäèí
áîëüøîé
èçóìðóä;
to wear (wore, worn)) set in platinum
(îïðàâëåííûé
â
ïëàòèíó
; to set (set) —
ñòàâèòü,
ïîìåùàòü;
âñòàâëÿòü
â
îïðàâó /
äðàãîöåííûå
êàìíè/
). There was coquetry in her glance and voice
(â
åå
âçãëÿäå
è
ãîëîñå
ñêâîçèëî
êîêåòñòâî
).
chic
[Si(:)k] outrageous
[aVt'reIdZqs] manicure
['mxnIkjVq] emerald
['em(q)rqld] platinum
['plxtInqm] coquetry
['kO
kItrI]
The woman opposite him was a mere girl — twenty at a guess. A tight-fitting
little black coat and skirt, white satin blouse, small chic black toque perched at the fashionable outrageous angle. She had a beautiful foreign-looking face, dead-white skin, large brown eyes, jet black hair. She was smoking
a cigarette in a long holder. Her manicured hands had deep red nails. She wore one large emerald set in platinum. There was coquetry in her glance and voice.
“Elle est jolie — et chic
(ôð
. êðàñàâèöà
è
êàêàÿ
ýëåãàíòíàÿ
),” murmured Poirot
(ïðîáîðìîòàë
Ïóàðî
).
“Husband
and
wife
— eh
(ìóæ è æåíà, íå ïðàâäà ëè)
?”
M.
Bouc
nodded
(ìñüå Áóê êèâíóë). “
Hungarian
Embassy,
I
believe
(/èç/ âåíãåðñêîãî ïîñîëüñòâà, ÿ ïîëàãàþ;
to
believe — âåðèòü; äóìàòü, ïîëàãàòü, ñ÷èòàòü
),”
he
said. “
A
handsome
couple
(êðàñèâàÿ ïàðà).”
There
were
only
two
more
lunchers
(/îñòàâàëèñü/ åùå òîëüêî äâîå îáåäàþùèõ;
to
lunch — çàâòðàêàòü èëè îáåäàòü â ñåðåäèíå
äíÿ) —
Poirot’
s
fellow
traveller
MacQueen
(ïîïóò÷èê Ïóàðî Ìàêêóèí)
and
his
employer
Mr
. Ratchett
(è åãî ðàáîòîäàòåëü, ìèñòåð Ðýò÷åòò;
to
employ — ïðåäîñòàâëÿòü ðàáîòó, íàíèìàòü
).
The
latter
sat
facing
Poirot
(ïîñëåäíèé /èç äâóõ/ ñèäåë ëèöîì ê Ïóàðî;
to
face — íàõîäèòüñÿ ëèöîì ê;
face — ëèöî, ôèçèîíîìèÿ
),
and
for
the
second
time
(è âîò óæå âî âòîðîé ðàç;
time — âðåìÿ; ðàç, ñëó÷àé
)
Poirot
studied
that
unprepossessing
face
(Ïóàðî èçó÷àë/ðàññìàòðèâàë ýòî íå ðàñïîëàãàþùåå ê ñåáå ëèöî;
to
prepossess — îõâàòûâàòü /î ÷óâñòâå/; ïðîèçâîäèòü
/áëàãîïðèÿòíîå/ âïå÷àòëåíèå)
, noting
the
false
benevolence
of
the
brow
(çàìå÷àÿ ôàëüøèâî áëàãîæåëàòåëüíîå âûðàæåíèå
ëèöà; to
note — çàìå÷àòü, îáðàùàòü âíèìàíèå;
benevolence — áëàãîæåëàòåëüíîñòü; äîáðîñåðäå÷èå,
brow — áðîâü; âûðàæåíèå ëèöà, âèä
)
and
the
small,
cruel
eyes
(è ìàëåíüêèå æåñòîêèå ãëàçà)
.
Hungarian [hAN'ge(q)rIqn]
embassy ['embqsI]
unprepossessing ["Anpri:pq'zesIN]
benevolence [bI'nev(q)lqns]
cruel
['kru:ql]
“Elle est jolie — et chic
,” murmured Poirot. “Husband and wife — eh?”
M. Bouc nodded. “Hungarian Embassy, I believe,” he said. “A handsome
couple.”
There were only two more lunchers — Poirot’s fellow traveller MacQueen
and his employer Mr. Ratchett. The latter sat facing Poirot, and for the second time Poirot studied that unprepossessing face, noting the false benevolence of the brow and the small, cruel eyes.
Doubtless M. Bouc saw a change
(íåñîìíåííî
, ìñüå
Áóê
óâèäåë
ïåðåìåíó
) in his friend’s expression
(â
âûðàæåíèè
/ëèöà
/ ñâîåãî
äðóãà
).
“It is at your wild animal you look
(ýòî
âû
íà
ñâîåãî
äèêîãî
çâåðÿ
ñìîòðèòå
)?” he asked.
Poirot nodded
(Ïóàðî
êèâíóë
).
As his coffee was brought to him
(êîãäà
åìó
ïðèíåñëè
åãî
êîôå
), M. Bouc rose to his feet
(ìñüå
Áóê
ïîäíÿëñÿ
íà
íîãè
). Having started before Poirot
(íà÷àâ
/îáåäàòü
/ ðàíüøå
Ïóàðî
) he had finished some time ago
(îí
óæå
çàêîí÷èë
/åñòü
/ íåêîòîðîå
âðåìÿ
òîìó
íàçàä
).
“I return to my compartment (
ïîéäó
â
ñâîå
êóïå)
,” he said. “
Come
along
presently
(ïðèõîäèòå ñðàçó æå /ïîñëå îáåäà/)
and
converse
with
me
(è ïîáîëòàéòå ñî ìíîé;
to
converse — ðàçãîâàðèâàòü; îáùàòüñÿ
).”
“With pleasure
(ñ
óäîâîëüñòâèåì
).”
doubtless
['daVtlIs] animal
['xnIm(q)l] converse
[kqn'vq:s]
Doubtless M. Bouc saw a change in his friend’s expression.
“It is at your wild animal you look?” he asked.
Poirot nodded.
As his coffee was brought to him, M. Bouc rose to his feet. Having started
before Poirot he had finished some time ago.
“I return to my compartment,” he said. “Come along presently and converse
with me.”
“With pleasure.”
Poirot sipped his coffee
(Ïóàðî
âûïèë
êîôå
íåáîëüøèìè
ãëîòêàìè
) and ordered a liqueur
(è
çàêàçàë
ëèêåð
; to order —
ïðèêàçûâàòü;
çàêàçûâàòü)
. The attendant was passing from table to table (
îôèöèàíò
ïåðåõîäèë
îò
ñòîëèêà
ê
ñòîëèêó;
attendant — ñïóòíèê
; îáñëóæèâàþùåå
ëèöî
, ñëóãà
) with his box of money
(ñ
êîðîáêîé
äëÿ
/ñáîðà
/ äåíåã
), accepting payment for bills
(ïðèíèìàÿ
ïëàòó
ïî
ñ÷åòàì
; to accept —
ïðèíèìàòü,
áðàòü)
. The elderly American lady’s voice (
ãîëîñ
ïîæèëîé
àìåðèêàíñêîé
äàìû)
rose shrill and plaintive (
ñîðâàëñÿ: «
ïîäíÿëñÿ»
íà
çàóíûâíûé
âèçã;
shrill — ïðîíçèòåëüíûé
, ðåçêèé
, âèçãëèâûé
; plaintive — ïå÷àëüíûé
, ãðóñòíûé
).
“My daughter said (
ìîÿ
äî÷ü
ñêàçàëà)
: ‘Take a book of food tickets (
âîçüìè/
ïðèîáðåòè
êíèæêó
ñ
òàëîíàìè
íà
ïèòàíèå;
ticket — áèëåò
; êâèòàíöèÿ
, òàëîí
) and you’ll have no trouble
(è
ó
òåáÿ
íå
áóäåò
çàáîò
; trouble —
áåñïîêîéñòâî,
âîëíåíèå;
çàòðóäíåíèå)
— no trouble at all (
âîîáùå
íèêàêèõ
çàáîò)
.’ Now,
that
isn’
t
so
(à òåïåðü /âûõîäèò/, ÷òî ýòî íå òàê)
. Seems
they
have
to
have
a
ten
per
cent
tip
(îêàçûâàåòñÿ, îíè äîëæíû ïîëó÷èòü ÷àåâûå äåñÿòü
ïðîöåíòîâ /ïî ñ÷åòó/) and
then
there
’s
that
bottle
of
mineral
water
(à åùå è áóòûëêà ìèíåðàëüíîé âîäû /òîæå îïëà÷èâàåòñÿ
îòäåëüíî/) — and
a
queer
sort
of
water
too
(è ñòðàííàÿ ê òîìó æå âîäà êàêàÿ-òî;
sort — âèä, ðîä, ñîðò
).
They
didn’
t
have
any
Evian
or
Vichy
(ó íèõ íåò «Ýâèàí» èëè «Âèøè»)
, which
seems
queer
to
me
(÷òî ìíå êàæåòñÿ ñòðàííûì/ïîäîçðèòåëüíûì)
.”
liqueur
[lI'kjVq] plaintive
['pleIntIv] per
cent
[pq'sent] queer
[kwIq]
Poirot sipped his coffee and ordered a liqueur. The attendant was passing from
table to table with his box of money, accepting payment for bills. The elderly American lady’s voice rose shrill and plaintive.
“My daughter said: ‘Take a book of food tickets and you’ll have no trouble
— no trouble at all.’ Now, that isn’t so. Seems they have to have a ten per cent tip, and then there’s that bottle of mineral water — and a queer sort of water too. They didn’t have any Evian or Vichy, which seems
queer to me.”
“It is — they must
(ýòî
— îíè
äîëæíû
) — how do you say
(êàê
âû
ñêàçàëè
)? — serve the water of the country
(ïîäàâàòü
íà
ñòîë
âîäó
ýòîé
ñòðàíû
= ìåñòíóþ
âîäó
; to serve —
ñëóæèòü,
áûòü
ñëóãîé;
ïîäàâàòü /
íà
ñòîë/,
ðàçíîñèòü /
ïèùó,
íàïèòêè/
),” explained the sheep-faced lady
(îáúÿñíèëà
äàìà
ñ
ëèöîì
îâöû
).
“Well
, it
seems
queer
to
me
(÷òî æ, ìíå ýòî êàæåòñÿ ñòðàííûì/ïîäîçðèòåëüíûì)
.” She
looked
distastefully
(îíà ñ îòâðàùåíèåì âçãëÿíóëà;
distasteful — íåïðèÿòíûé,
òîøíîòâîðíûé, ïðîòèâíûé)
at
the
heap
of
small
change
(íà êó÷êó ìåëî÷è;
change — ïåðåìåíà, èçìåíåíèå; ðàçìåííàÿ ìîíåòà,
ñäà÷à; small
change — ìåëêèå äåíüãè
)
on
the
table
in
front
of
her
(íà ñòîëå ïåðåä íåé). “
Look
at
all
this
peculiar
stuff
(âçãëÿíèòå íà âñå ýòè ñòðàííûå äåíüãè: «øòóêè»;
peculiar — ñïåöèôè÷åñêèé; ñòðàííûé, íåîáû÷íûé;
stuff — ìàòåðèàë; âåùü, øòóêà; ðàçã.
äåíüãè)
he’
s
given
me
(÷òî îí ìíå íàäàâàë).
Dinars
or
something
(äèíàðû èëè ÷òî-òî âðîäå)
. Just
a
lot
of
rubbish
(ïðîñòî êó÷à ìóñîðà;
lot — æðåáèé; ðàçã. áîëüøîå êîëè÷åñòâî, ìíîæåñòâî
),
it
looks
like
(âûãëÿäèò èìåííî òàê)!
My daughter said (
ìîÿ
äî÷ü
ñêàçàëà)
— ”
distasteful
[dIs'teIstf(q)l] peculiar
[pI'kju:lIq] dinar
['di:nQ:] rubbish
['rAbIS]
“It is — they must — how do you say? — serve the water of the country,”
explained the sheep-faced lady.
“Well, it seems queer to me.” She looked distastefully at the heap of small
change on the table in front of her. “Look at all this peculiar stuff he’s given me. Dinars or something. Just a lot of rubbish, it looks like! My daughter said — ”
Mary Debenham pushed back her chair
(Ìýðè
Äåáåíõýì
îòîäâèíóëà
ñâîé
ñòóë
; to push —
òîëêàòü,
ïèõàòü; to push back —
îòòàëêèâàòü
íàçàä;
îòîäâèãàòü)
and left with a slight bow to the other two (
è
óäàëèëàñü,
ñëåãêà
ïîêëîíèâøèñü
äâóì
äðóãèì /
æåíùèíàì/;
to leave (left) — óõîäèòü
, óåçæàòü
; slight — òîíêèé
; ñëàáûé
, íåçíà÷èòåëüíûé
; bow — ïîêëîí
). Colonel Arbuthnot got up
(ïîëêîâíèê
Àðáýòíîò
ïîäíÿëñÿ
) and followed her
(è
ïîñëåäîâàë
çà
íåé
). Gathering up her despised money
(ïîäáèðàÿ
ñâîè
ïðåçðåííûå
äåíüãè
; to gather —
ñîáèðàòü; to gather up —
ïîäáèðàòü /
÷òî-
ëèáî
ñ
ïîëà,
çåìëè
è
ò.
ï./, to despise —
ïðåçèðàòü)
the American woman followed suit (
àìåðèêàíêà
ïîñëåäîâàëà /
èõ/
ïðèìåðó;
suit — ïðîøåíèå
, õîäàòàéñòâî
; to follow suit — ñëåäîâàòü
ïðèìåðó
, ïîäðàæàòü
), followed by the other one like a sheep
(/çà
íåé
/ ïîñëåäîâàëà
äðóãàÿ
/æåíùèíà
/, ïîõîæàÿ
íà
îâöó
). The Hungarians had already departed
(âåíãðû
/ê
òîìó
âðåìåíè
/ óæå
óøëè
; to depart —
îòáûâàòü;
óõîäèòü)
. The restaurant car was empty (
âàãîí-
ðåñòîðàí
áûë
ïóñòûì;
car — àâòîìîáèëü
; æåëåçíîäîðîæíûé
âàãîí
) save for Poirot and Ratchett and MacQueen
(çà
èñêëþ÷åíèåì
Ïóàðî
, Ðýò÷åòòà
è
Ìàêêóèíà
; save —
êðîìå,
çà
èñêëþ÷åíèåì)
.
Ratchett spoke to his companion
(Ðýò÷åòò
ñêàçàë
/÷òî
-òî
/ ñâîåìó
ñïóòíèêó
; to speak (spoke, spoken)
), who got up (
êîòîðûé
ïîäíÿëñÿ)
and left the car (
è
ïîêèíóë
âàãîí;
to leave (left))
. Then he rose himself (
çàòåì
îí
ñàì
âñòàë;
to rise (rose, risen))
, but instead of following MacQueen (
íî
âìåñòî
òîãî,
÷òîáû
ïîñëåäîâàòü
çà
Ìàêêóèíîì)
he dropped unexpectedly (
îí
íåîæèäàííî
îïóñòèëñÿ;
to drop — êàïàòü
; îïóñêàòüñÿ
; to expect — îæèäàòü
) into the seat opposite Poirot
(íà
ñòóë
: «ìåñòî
» íàïðîòèâ
Ïóàðî
).
chair
[tSeq] despise
[dIs'paIz] instead
[In'sted] unexpected
["AnIk'spektId]
Mary Debenham pushed back her chair and left with a slight bow to the other
two. Colonel Arbuthnot got up and followed her. Gathering up her despised money the American woman followed suit, followed by the other one like a sheep. The Hungarians had already departed. The restaurant car was empty save
for Poirot and Ratchett and MacQueen.
Ratchett spoke to his companion, who got up and left the car. Then he rose
himself, but instead of following MacQueen he dropped unexpectedly into the seat opposite Poirot.
“Can you oblige me with a light
(íå
îäîëæèòå
îãîíüêà
/ïðèêóðèòü
/; to oblige —
îáÿçûâàòü;
äåëàòü
îäîëæåíèå; light —
ñâåò;
îãîíü,
ïëàìÿ,
èñêðà)
?” he said. His voice was soft (
îí
ãîâîðèë
âïîëãîëîñà;
soft — ìÿãêèé
; íåæíûé
, åëå
óëîâèìûé
, òèõèé
) — faintly nasal
(ñëåãêà
â
íîñ
; nasal —
íàçàëüíûé;
ãíóñàâûé)
. “My name is Ratchett (
ìåíÿ
çîâóò
Ðýò÷åòò: «
ìîÿ
ôàìèëèÿ
Ðýò÷åòò»)
.”
Poirot bowed slightly
(Ïóàðî
ñëåãêà
êèâíóë
). He slipped his hand into his pocket
(îí
ñóíóë
ðóêó
â
êàðìàí
; to slip —
ñêîëüçèòü; to slip smth. into smth. —
íåçàìåòíî,
ïîòèõîíüêó
âñóíóòü
÷òî-
ëèáî
êóäà-
ëèáî)
and produced a matchbox (
è
äîñòàë
êîðîáîê
ñïè÷åê;
to produce — ïðåäúÿâëÿòü
) which he handed to the other man
(êîòîðûé
îí
è
âðó÷èë
äðóãîìó
ìóæ÷èíå
; hand —
ðóêà; to hand —
ïåðåäàâàòü,
âðó÷àòü)
, who took it (
êîòîðûé
âçÿë
åãî;
to take (took, taken))
but did not strike a light (
íî
ñïè÷êó
íå
çàæåã: «
ñïè÷êîé
íå
÷èðêíóë»;
to strike — óäàðÿòü
, áèòü
; âûñåêàòü
/îãîíü
/, çàæèãàòü
).
“I think
(ÿ
äóìàþ
),” he went on
(ïðîäîëæèë
îí
), “that I have the pleasure
(÷òî
ÿ
èìåþ
óäîâîëüñòâèå
) of speaking to Mr. Hercule Poirot
(ãîâîðèòü
ñ
ìèñòåðîì
Ýðêþëåì
Ïóàðî
). Is that so
(ýòî
òàê
)?”
Poirot bowed again
(Ïóàðî
ñíîâà
êèâíóë
). “You have been correctly informed, Monsieur
(âàñ
ïðàâèëüíî
ïðîèíôîðìèðîâàëè
, ìñüå
; to inform —
ñîîáùàòü,
èçâåùàòü,
èíôîðìèðîâàòü)
.”
oblige
[q'blaIdZ] matchbox
['mxtSbO
ks] pleasure
['pleZq]
“Can you oblige me with a light?” he said. His voice was soft — faintly
nasal. “My name is Ratchett.”
Poirot bowed slightly. He slipped his hand into his pocket and produced a matchbox
which he handed to the other man, who took it but did not strike a light.
“I think,” he went on, “that I have the pleasure of speaking to Mr. Hercule
Poirot. Is that so?”
Poirot bowed again. “You have been correctly informed, Monsieur.”
The detective was conscious
(äåòåêòèâ
÷óâñòâîâàë
; conscious —
ñîçíàþùèé,
ïîíèìàþùèé;
îùóùàþùèé)
of those strange shrewd eyes (
÷òî
òå
õîëîäíûå
ïðîíèöàòåëüíûå
ãëàçà;
strange — íåçíàêîìûé
; ñäåðæàííûé
, õîëîäíûé
) summing him up
(îöåíèâàþò
åãî
; to sum up —
ðåçþìèðîâàòü;
îöåíèâàòü)
before the other spoke again (
ïåðåä
òåì,
êàê
âòîðîé /
ìóæ÷èíà/
çàãîâîðèë
ñíîâà;
other — åùå
îäèí
; âòîðîé
, äðóãîé
/èç
äâóõ
èëè
òðåõ
/)
.
“
In
my
country
(â ìîåé ñòðàíå = ó ìåíÿ íà ðîäèíå)
,” he
said
, “we
come
to
the
point
quickly
(ìû áûñòðî ïåðåõîäèì ê ñóòè äåëà;
point — òî÷êà; ãëàâíîå, ñóòü
).
Mr.
Poirot,
I
want
you
to
take
on
a
job
for
me
(ìñüå Ïóàðî, ÿ õî÷ó, ÷òîáû âû âçÿëèñü äëÿ ìåíÿ çà îäíó ðàáîòåíêó;
to
take
on — áðàòü /ðàáîòó/, áðàòüñÿ /çà äåëî/;
job — ðàáîòà, äåëî, òðóä
).”
Hercule
Poirot’
s
eyebrows
went
up
a
trifle
(áðîâè Ýðêþëÿ Ïóàðî ñëåãêà ïîäíÿëèñü;
to
go
up — ïîäíèìàòüñÿ;
trifle — ïóñòÿê;
a
trifle — íåìíîãî, ñëåãêà, ÷óòü-÷óòü
).
“
My
clientè
le,
Monsieur
(ìîÿ êëèåíòóðà, ìñüå),
is
limited
nowadays
(â íàñòîÿùåå âðåìÿ îãðàíè÷åíà;
to
limit — îãðàíè÷èâàòü, ñòàâèòü ïðåäåë
).
I
undertake
very
few
cases
(ÿ íå áåðóñü çà ìíîãî äåë: «ïðèíèìàþñü çà ìàëî äåë»;
to
undertake — ïðåäïðèíèìàòü; áðàòü íà ñåáÿ /îïðåäåëåííûå
îáÿçàòåëüñòâà, ôóíêöèè)
.”
“
Why,
naturally,
I
understand
that
(íó, êîíå÷íî/åñòåñòâåííî ÿ ïîíèìàþ ýòî)
. But
this
, Mr
. Poirot
, means
big
money
(íî ýòîò /ñëó÷àé/, ìñüå Ïóàðî, ñóëèò áîëüøèå äåíüãè;
to
mean — íàìåðåâàòüñÿ; îçíà÷àòü, çíà÷èòü, ñóëèòü
).”
He
repeated
again
(îí ñíîâà ïîâòîðèë)
in
his
soft,
persuasive
voice
(ñâîèì òèõèì, óáåæäàþùèì/óáåäèòåëüíûì ãîëîñîì;
to
persuade — óáåæäàòü, ñêëîíÿòü, óãîâàðèâàòü
), “
Big
money
(/ñëûøèòå/, áîëüøèå).”
conscious ['k
OnSqs]
job [dZ
Ob]
trifle ['traIf(q)l]
persuasive [pq'sweIsIv]
The detective was conscious of those strange shrewd eyes summing him up before
the other spoke again.
“In my country,” he said, “we come to the point quickly. Mr. Poirot,
I want you to take on a job for me.”
Hercule Poirot’s eyebrows went up a trifle.
“My clientèle, Monsieur, is limited nowadays. I undertake very few cases.”
“Why, naturally, I understand that. But this, Mr. Poirot, means big money.”
He repeated again in his soft, persuasive voice, “Big money.”
Hercule Poirot was silent a minute or two
(Ýðêþëü
Ïóàðî
ïîìîë÷àë
ìèíóòó
-äâå
; silent —
ìîë÷àëèâûé,
áåçìîëâíûé)
. Then he said (
çàòåì
îí
ñêàçàë)
: “What is it you wish me (
÷òî
æå
âû
õîòèòå
÷òîáû
ÿ)
to do for you, Monsieur — er — Ratchett (
ñäåëàë
äëÿ
âàñ,
ìñüå —
ý —
Ðýò÷åòò)
?”
“Mr. Poirot, I am a rich man (
ìñüå
Ïóàðî,
ÿ
áîãàòûé
÷åëîâåê)
— a very rich man (
î÷åíü
áîãàòûé
÷åëîâåê)
. Men
in
that
position
have
enemies
(ëþäè â ìîåì: «òàêîì» ïîëîæåíèè èìåþò âðàãîâ;
position — ïîëîæåíèå, ìåñòî; /âûñîêîå/ îáùåñòâåííîå
ïîëîæåíèå; enemy — âðàã, íåäðóã, ïðîòèâíèê
).
I
have
an
enemy
(ó ìåíÿ åñòü âðàã).”
“
Only
one
enemy
(âñåãî ëèøü îäèí)?”
“
Just
what
do
you
mean
(÷òî âû õîòèòå ñêàçàòü;
to
mean — íàìåðåâàòüñÿ, èìåòü â âèäó
)
by
that
question
(ýòèì âîïðîñîì)?”
asked
Ratchett
sharply
(ñïðîñèë Ðýò÷åòò ðåçêî;
sharp — îñòðûé; ðåçêèé
).
“
Monsieur,
in
my
experience
(ìñüå, ïî ñâîåìó îïûòó)
when
a
man
is
in
a
position
to
have
, as
you
say
, enemies
(êîãäà ÷åëîâåê íàõîäèòñÿ â òàêîì ïîëîæåíèè, ÷òî
èìååò, êàê âû ãîâîðèòå, âðàãîâ),
then
it
does
not
usually
resolve
itself
(òî îáû÷íî ýòî íå ñâîäèòñÿ;
to
resolve — ðåøàòü; ïðåâðàùàòü /âî ÷òî-ëèáî/, ñâîäèòü
/ê ÷åìó-ëèáî/)
into
one
enemy
only
(òîëüêî ê îäíîìó âðàãó)
.”
Ratchett
seemed
relieved
(Ðýò÷åòò, êàçàëîñü, ïî÷óâñòâîâàë îáëåã÷åíèå;
to
relieve — îáëåã÷àòü; óñïîêàèâàòü
)
by
Poirot’
s
answer
(îò îòâåòà Ïóàðî).
He
said
quickly
(îí áûñòðî ñêàçàë):
“
Why,
yes,
I
appreciate
that
point
(àõ, äà, ÿ ïîíèìàþ, êóäà âû êëîíèòå: «òó ìûñëü»;
to
appreciate — öåíèòü; îöåíèâàòü ïî äîñòîèíñòâó,
ïîíèìàòü çíà÷åíèå; point
— òî÷êà; ìûñëü, ïîçèöèÿ, òî÷êà çðåíèÿ
).
Enemy
or
enemies
(/îäèí/ âðàã èëè /ìíîãî/ âðàãîâ)
— it
doesn
’t
matter
(ýòî íå èìååò çíà÷åíèÿ)
. What
does
matter
is
my
safety
(÷òî äåéñòâèòåëüíî èìååò çíà÷åíèå — ýòî ìîÿ áåçîïàñíîñòü)
.”
“Safety
(áåçîïàñíîñòü
)?”
enemy ['enqmI]
question ['kwestS(q)n]
experience [Ik'spI(q)rIqns]
Hercule Poirot was silent a minute or two. Then he said: “What is it you
wish me to do for you, Monsieur — er — Ratchett?”
“Mr. Poirot, I am a rich man — a very rich man. Men in that position have
enemies. I have an enemy.”
“Only one enemy?”
“Just what do you mean by that question?” asked Ratchett sharply.
“Monsieur, in my experience when a man is in a position to have, as you say,
enemies, then it does not usually resolve itself into one enemy only.”
Ratchett seemed relieved by Poirot’s answer. He said quickly:
“Why, yes, I appreciate that point. Enemy or enemies — it doesn’t matter.
What does matter is my safety.”
“Safety?”
“My life has been threatened, Mr. Poirot (
ìîåé
æèçíè
ãðîçèò
îïàñíîñòü,
ìñüå
Ïóàðî;
to threaten — óãðîæàòü
, ãðîçèòü
). Now I’m a man who can take pretty good care of himself
(íó
, ÿ
-òî
÷åëîâåê
, êîòîðûé
ìîæåò
õîðîøåíüêî
ïîçàáîòèòüñÿ
î
ñàìîì
ñåáå
; care —
çàáîòà,
ïîïå÷åíèå; to take care of smb. —
çàáîòèòüñÿ
î
êîì-
ëèáî)
.” From the pocket of his coat (
èç
êàðìàíà /
ñâîåãî/
ïèäæàêà)
his hand brought a small automatic (
åãî
ðóêà
äîñòàëà
ìàëåíüêèé
àâòîìàòè÷åñêèé
ïèñòîëåò;
automatic — àâòîìàòè÷åñêèé
ìåõàíèçì
; àìåð
. àâòîìàòè÷åñêèé
ïèñòîëåò
) into sight
(â
ïîëå
çðåíèÿ
; to bring into sight —
äåëàòü
âèäèìûì)
for a moment (
íà
êàêîå-
òî
ìãíîâåíèå)
. He
continued
grimly
(îí ïðîäîëæàë ìðà÷íî;
grimly — æåñòîêî; ñóðîâî; çëîâåùå
). “
I
don’
t
think
I’
m
the
kind
of
man
(íå äóìàþ, ÷òî ÿ òîò ÷åëîâåê;
kind — ñîðò, êëàññ; õàðàêòåð /÷åëîâåêà/, ëè÷íîñòü
)
to
be
caught
napping
(êîòîðîãî ìîæíî çàñòàòü âðàñïëîõ;
to
catch (
caught) — ïîéìàòü;
to
nap — âçäðåìíóòü; to be caught napping — áûòü çàñòèãíóòûì
âðàñïëîõ).
But,
as
I
look
at
it
(íî, êàê ìíå êàæåòñÿ: «êàê ÿ ñìîòðþ íà ýòî»)
, I
might
as
well
make
assurance
doubly
sure
(ÿ âïîëíå ìîã áû âäâîéíå ñåáÿ çàñòðàõîâàòü = ïîäñòðàõîâàòüñÿ;
assurance — óâåðåíèå; óâåðåííîñòü;
doubly — âäâîéíå, âäâîå
).
I
fancy
(ÿ ïîëàãàþ;
to
fancy — âîîáðàæàòü; ïðåäïîëàãàòü
)
you’
re
the
man
for
my
money
(÷òî âû èìåííî òîò ÷åëîâåê, êîòîðûé ìíå íóæåí: «âû ÷åëîâåê çà ìîè äåíüãè»)
, Mr
. Poirot
. And
remember
— big
money
(è ïîìíèòå — çà áîëüøèå äåíüãè)
.”
Poirot
looked
at
him
thoughtfully
(Ïóàðî ñìîòðåë íà íåãî çàäóì÷èâî;
thought — ìûøëåíèå; ìûñëü, èäåÿ
)
for
some
minutes
(íåñêîëüêî ìèíóò).
His
face
was
completely
expressionless
(åãî ëèöî ñîâåðøåííî íè÷åãî íå âûðàæàëî: «áûëî ñîâåðøåííî íåâûðàçèòåëüíûì»)
. The
other
could
have
had
no
clue
(åãî ñîáåñåäíèê: «äðóãîé» íå ìîã èìåòü íè ìàëåéøåãî
ïîíÿòèÿ; clue — êëþ÷ ê ðàçãàäêå, ïóòåâîäíàÿ
íèòü)
as
to
what
thoughts
were
passing
in
that
mind
(î òîì, ÷òî òâîðèëîñü â åãî ãîëîâå: «êàêèå ìûñëè ïðîõîäèëè»)
.
threaten ['Tretn]
continue [kqn'tInju:]
assurance [q'SV(q)rqns]
“My life has been threatened, Mr. Poirot. Now I’m a man who can take pretty
good care of himself.” From the pocket of his coat his hand brought a small automatic into sight for a moment. He continued grimly. “I don’t think I’m the kind of man to be caught napping. But, as I look at it, I might
as well make assurance doubly sure. I fancy you’re the man for my money, Mr. Poirot. And remember — big money.”
Poirot looked at him thoughtfully for some minutes. His face was completely
expressionless. The other could have had no clue as to what thoughts were passing in that mind.
“I regret, Monsieur
(ÿ
ñîæàëåþ
, ìñüå
),” he said at length
(ñêàçàë
îí
ðàñòÿãèâàÿ
ñëîâà
: «äîëãî
»; length —
äëèíà;
ðàññòîÿíèå)
, “that I cannot oblige you (
÷òî
ÿ
íå
ìîãó
ïîìî÷ü
âàì;
to oblige — îáÿçûâàòü
; îêàçûâàòü
óñëóãó
, ïîìîùü
, ïîìîãàòü
).”
The
other
looked
at
him
shrewdly
(äðóãîé ìóæ÷èíà ïðîíèöàòåëüíî âçãëÿíóë íà íåãî)
. “Name
your
figure
, then
(òîãäà, íàçîâèòå âàøó ñóììó;
shrewdly — ïðîíèöàòåëüíî;
figure
— öèôðà, ÷èñëî; ðàçã. öåíà
),”
he
said.
Poirot shook his head
(Ïóàðî
ïîêà÷àë
ãîëîâîé
; to shake (shook, shaken)
— òðÿñòè
; êà÷àòü
).
“You do not understand, Monsieur
(âû
íå
ïîíèìàåòå
, ìñüå
). I have been very fortunate in my profession
(ÿ
áûë
î÷åíü
óäà÷ëèâ
â
ñâîåé
ïðîôåññèè
). I have made enough money
(ÿ
çàðàáîòàë
äîñòàòî÷íî
äåíåã
) to satisfy both my needs
(÷òîáû
óäîâëåòâîðÿòü
êàê
ñâîè
ïîòðåáíîñòè
; need —
íàäîáíîñòü;
ïîòðåáíîñòü)
and my caprices (
òàê
è
ñâîè
êàïðèçû/
ïðè÷óäû)
. I take now only such cases as — interest me (
ñåé÷àñ
ÿ
áåðó
òîëüêî
òàêèå
ñëó÷àè,
êîòîðûå —
èíòåðåñóþò
ìåíÿ)
.”
regret
[rI'gret] oblige
[q'blaIdZ] shrewdly
['Sru:dlI] fortunate
['fO:tS(q)nqt] caprice
[kq'pri:s]
“I regret, Monsieur,” he said at length, “that I cannot oblige you.”
The other looked at him shrewdly. “Name your figure, then,” he said.
Poirot shook his head.
“You do not understand, Monsieur. I have been very fortunate in my profession.
I have made enough money to satisfy both my needs and my caprices. I take now only such cases as — interest me.”
“You’ve got a pretty good nerve
(ó
âàñ
äîâîëüíî
êðåïêèå
íåðâû
; pretty —
äîâîëüíî,
â
çíà÷èòåëüíîé
ñòåïåíè; good —
õîðîøèé;
ýìîö.-
óñèë.
ñèëüíûé,
áîëüøîé,
êðåïêèé)
,” said Ratchett. “Will twenty thousand dollars tempt you
(ñîáëàçíÿò
ëè
âàñ
äâàäöàòü
òûñÿ÷
äîëëàðîâ
; to tempt —
óãîâàðèâàòü,
ñêëîíÿòü;
ñîáëàçíÿòü)
?”
“It will not
(íåò
).”
“If you’re holding out for more (
åñëè
âû
äîáèâàåòåñü
áîëüøåé /
ñóììû/;
to hold out (for) — ïðîòÿãèâàòü
; òðåáîâàòü
, äîáèâàòüñÿ
), you won’t get it
(òî
âû
åå
íå
ïîëó÷èòå
). I
know
what
a
thing
’s
worth
to
me
(ÿ çíàþ, ÷òî ïî÷åì: «ñêîëüêî âåùü îáõîäèòñÿ ìíå»;
worth — öåííîñòü, çíà÷åíèå; öåíà, ñòîèìîñòü
).”
“
I,
also,
M.
Ratchett
(ÿ òîæå /çíàþ/, ìñüå Ðýò÷åòò)
.”
“
What’
s
wrong
with
my
proposition
(ïî÷åìó æå âàì íå ïîäõîäèò ìîå ïðåäëîæåíèå: «÷òî íå òàê â ìîåì ïðåäëîæåíèè»;
wrong — íåïðàâèëüíûé; íåïîäõîäÿùèé,
proposition — óòâåðæäåíèå, çàÿâëåíèå; /äåëîâîå/
ïðåäëîæåíèå)?”
Poirot rose
(Ïóàðî
âñòàë
; to rise (rose, risen) —
ïîäíèìàòüñÿ)
. “If you will forgive me (
åñëè
âû
ïðîñòèòå
ìåíÿ;
to forgive — ïðîùàòü
) for being personal
(çà
òî
/÷òî
ÿ
/ ïåðåõîæó
íà
ëè÷íîñòè
; personal —
ëè÷íûé;
çàäåâàþùèé,
çàòðàãèâàþùèé
ëè÷íîñòü)
— I do not like your face, M. Ratchett (
ìíå
íå
íðàâèòñÿ
âàøå
ëèöî,
ìñüå
Ðýò÷åòò)
,” he said.
And with that he left the restaurant car
(è
ñ
ýòèì
îí
âûøåë
èç
âàãîíà
-ðåñòîðàíà
; to leave (left) —
óõîäèòü,
óåçæàòü)
.
nerve [nq:v]
thousand ['TaVz(q)nd]
proposition ["pr
Opq'zIS(q)n]
“You’ve got a pretty good nerve,” said Ratchett. “Will twenty thousand
dollars tempt you?”
“It will not.”
“If you’re holding out for more, you won’t get it. I know what a thing’s
worth to me.”
“I, also, M. Ratchett.”
“What’s wrong with my proposition?”
Poirot rose. “If you will forgive me for being personal — I do not like
your face, M. Ratchett,” he said.
And with that he left the restaurant car.
4
A CRY IN THE NIGHT
(
Êðèê
â
íî÷è)
The Simplon Orient Express arrived at Belgrade
(Ñèìïëîíñêèé
Âîñòî÷íûé
ýêñïðåññ
ïðèáûë
â
Áåëãðàä
) at a quarter to nine that evening
(òåì
âå÷åðîì
, áåç
÷åòâåðòè
äåâÿòü
). It
was
not
due
to
depart
again
until
9.15 (îí íå äîëæåí áûë ñíîâà òðîíóòñÿ ñ ìåñòà äî
9.15 = îí îòïðàâëÿëñÿ ëèøü â 9.15; due
— äîëæíûé; îæèäàåìûé;
to
depart — îòáûâàòü, îòïðàâëÿòüñÿ /î ïîåçäàõ/
),
so
Poirot
descended
to
the
platform
(ïîýòîìó Ïóàðî ñïóñòèëñÿ íà ïåððîí)
. He
did
not
, however
, remain
there
long
(îäíàêî îí íå îñòàëñÿ òàì íàäîëãî)
. The
cold
was
bitter
(õîëîä áûë ñèëüíûé;
bitter — ãîðüêèé; ñèëüíûé, ðåçêèé
),
and
though
the
platform
itself
was
protected
(è, õîòÿ ñàì ïåððîí è áûë óêðûò: «çàùèùåí»;
to
protect — çàùèùàòü, îõðàíÿòü
),
heavy
snow
was
falling
outside
(ñíàðóæè âàëèë ñèëüíûé ñíåã;
heavy — òÿæåëûé; îáèëüíûé, áîãàòûé;
to
fall — ïàäàòü
).
He returned to his compartment (
îí
âåðíóëñÿ
ê
ñâîåìó
êóïå)
. The conductor, who was on the platform (
ïðîâîäíèê,
êîòîðûé
íàõîäèëñÿ
íà
ïåððîíå)
stamping his feet (
ïðèòîïûâàÿ
íîãàìè;
to stamp — ñòàâèòü
øòàìï
; òîïàòü
/íîãàìè
/)
and waving his arms (
è
ðàçìàõèâàÿ
ðóêàìè;
to wave — ðàçâåâàòüñÿ
/î
ôëàãå
/; ðàçìàõèâàòü
, ìàõàòü
) to keep warm
(÷òîáû
ñîãðåòüñÿ
; to keep —
äåðæàòü;
êàê
ãëàãîë-
ñâÿçêà
â
ñîñòàâíîì
èìåííîì
ñêàçóåìîì:
ïðåáûâàòü,
îñòàâàòüñÿ
â
êàêîì-
ëèáî
ñîñòîÿíèè; warm —
òåïëûé,
æàðêèé)
, spoke to him (
çàãîâîðèë
ñ
íèì)
.
“Your valises have been moved, Monsieur
(âàøè
ñàêâîÿæè
áûëè
ïåðåíåñåíû
, ìñüå
; to move —
äâèãàòü,
ïåðåìåùàòü)
. To the compartment No. 1 (
â
êóïå
ïîä
íîìåðîì 1)
, the compartment of M. Bouc (
êóïå
ìñüå
Áóêà)
.”
quarter ['kwO:tq]
platform ['plxtfO:m]
valise [vq'li:z]
The Simplon Orient Express arrived at Belgrade at a quarter to nine that evening.
It was not due to depart again until 9.15, so Poirot descended to the platform. He did not, however, remain there long. The cold was bitter, and though the platform itself was protected, heavy snow was falling outside. He
returned to his compartment. The conductor, who was on the platform stamping his feet and waving his arms to keep warm, spoke to him.
“Your valises have been moved, Monsieur. To the compartment No. 1, the compartment
of M. Bouc.”
“But where is Monsieur Bouc, then
(à
ãäå
æå
ìñüå
Áóê
)?”
“He has moved into the coach from Athens
(îí
ïåðååõàë
/ïåðåñåëèëñÿ
â
ïàññàæèðñêèé
âàãîí
èç
Àôèí
) which has just been put on
(êîòîðûé
òîëüêî
÷òî
ïðèöåïèëè
; to put on —
íàäåâàòü;
ïðèáàâëÿòü)
.”
Poirot went in search of his friend
(Ïóàðî
îòïðàâèëñÿ
íà
ïîèñêè
ñâîåãî
äðóãà
; search —
ïîèñê(
è)
). M. Bouc waved his protestations aside (
ìñüå
Áóê
îòìàõíóëñÿ
îò
åãî
âîçðàæåíèé;
to wave aside — îòìàõíóòüñÿ
îò
÷åãî
-ëèáî
; îòêëîíèòü
, îòâåðãíóòü
; protestation — òîðæåñòâåííîå
çàÿâëåíèå
; ïðîòåñò
, âîçðàæåíèå
).
“It is nothing (
÷òî
çà
ïóñòÿêè;
nothing — ïóñòÿê
, ìåëî÷ü
). It is nothing. It is more convenient like this
(òàê
äàæå
óäîáíåå
). You are going through to England
(âû
ñëåäóåòå
íàïðÿìóþ
äî
Àíãëèè
; through —
íàñêâîçü;
çä.
îçíà÷àåò
äâèæåíèå
äî
êîíå÷íîãî
ïóíêòà:
ïðÿìî,
äî
ìåñòà,
äî
ïóíêòà
íàçíà÷åíèÿ)
, so it is better that you should stay in the through coach to Calais
(ïîýòîìó
áóäåò
ëó÷øå
, åñëè
âû
îñòàíåòåñü
â
ïðÿìîì
/áåñïåðåñàäî÷íîì
âàãîíå
äî
Êàëå
). Me, I am very well here
(à
ÿ
— ìíå
çäåñü
î÷åíü
õîðîøî
). It is most peaceful
(çäåñü
î÷åíü
òèõî
; most —
óñèë.
î÷åíü,
âåñüìà; peace —
ìèð;
ïîêîé,
ñïîêîéñòâèå; peaceful —
ìèðíûé;
òèõèé,
ñïîêîéíûé)
. This
coach
is
empty
save
for
myself
(â ýòîì âàãîíå íèêîãî íåò êðîìå ìåíÿ: «ýòîò âàãîí ïóñò çà èñêëþ÷åíèåì ìåíÿ»)
and
one
little
Greek
doctor
(è îäíîãî ñëàâíîãî äîêòîðà-ãðåêà;
little — ìàëåíüêèé; ìèëûé, ñëàâíûé
).
Ah! my friend, what a night (
àõ,
ìîé
äðóã,
÷òî
çà
íî÷ü)
! They say there has not been so much snow for years
(ãîâîðÿò
, ÷òî
óæå
äàâíî
íå
âûïàäàëî
ñòîëüêî
ñíåãà
). Let
us
hope
we
shall
not
be
held
up
(áóäåì íàäåÿòüñÿ, ÷òî ìû íå çàñòðÿíåì: «íå áóäåì
çàäåðæàíû»; to
hold (
held) /
up/ — äåðæàòü; óäåðæèâàòü, çàäåðæèâàòü, îñòàíàâëèâàòü
).
I
am
not
too
happy
about
it
(ÿ îò ýòîãî íå â âîñòîðãå;
happy — ñ÷àñòëèâûé, äîâîëüíûé; â âîñòîðãå
îò ÷åãî-ëèáî),
I
can
tell
you
(ìîãó âàì ñêàçàòü).”
Athens
['xTqnz] protestation
["prO
tI'steIS(q)n] convenient
[kqn'vi:nIqnt]
“But where is Monsieur Bouc, then?”
“He has moved into the coach from Athens which has just been put on.”
Poirot went in search of his friend. M. Bouc waved his protestations aside.
“It is nothing. It is nothing. It is more convenient like this. You are going
through to England, so it is better that you should stay in the through coach to Calais. Me, I am very well here. It is most peaceful. This coach is empty save for myself and one little Greek doctor. Ah! my friend, what a
night! They say there has not been so much snow for years. Let us hope we shall not be held up. I am not too happy about it, I can tell you.”
At 9.15 punctually
(òî÷íî
â
9.15; punctually —
ïóíêòóàëüíî,
òî÷íî)
the train pulled out of the station (
ïîåçä
îòîøåë
îò
ñòàíöèè;
to pull — òÿíóòü
, òàùèòü
; to pull out — îòõîäèòü
îò
ñòàíöèè
/î
ïîåçäå
/)
, and shortly afterwards Poirot got up (
è
âñêîðå
ïîñëå
ýòîãî
Ïóàðî
ïîäíÿëñÿ)
, said good night to his friend (
ïîæåëàë
äîáðîé
íî÷è
ñâîåìó
äðóãó)
, and made his way along the corridor (
è
íàïðàâèëñÿ
ïî
êîðèäîðó)
back into his own coach (
â
ñâîé
ñîáñòâåííûé
âàãîí)
which was in front (
êîòîðûé
ðàñïîëàãàëñÿ
âïåðåäè;
front — ïåðåä
, ïåðåäíÿÿ
ñòîðîíà
) next to the dining-car
(ðÿäîì
ñ
âàãîíîì
-ðåñòîðàíîì
).
On this, the second day of the journey (
â
ýòîò,
âòîðîé
äåíü
ïóòåøåñòâèÿ)
, barriers were breaking down (
áàðüåðû /
îáùåíèÿ
ìåæäó
ïàññàæèðàìè/
ðàçðóøàëèñü;
to break down — ñëîìàòü
, ðàçðóøèòü
). Colonel Arbuthnot was standing at the door of his compartment
(ïîëêîâíèê
Àðáýòíîò
ñòîÿë
ó
äâåðè
ñâîåãî
êóïå
) talking to MacQueen
(ðàçãîâàðèâàÿ
ñ
Ìàêêóèíîì
). When MacQueen saw Poirot
(êîãäà
Ìàêêóèí
óâèäåë
Ïóàðî
) he broke off something he was saying
(îí
âíåçàïíî
ïðåðâàë
ñâîþ
ðå÷ü
: «÷òî
-òî
, ÷òî
îí
ãîâîðèë
»; to break (broke, broken) off —
îòëàìûâàòü;
âíåçàïíî
ïðåðâàòü /
ðàçãîâîð,
çíàêîìñòâî
è
ò.
ï./
). He
looked
very
much
surprised
(îí âûãëÿäåë î÷åíü óäèâëåííûì;
to
look — ñìîòðåòü; âûãëÿäåòü, èìåòü âèä;
surprise — óäèâëåíèå, èçóìëåíèå
).
“Why
(áà)
,” he
cried
(âîñêëèêíóë îí;
to
cry — êðè÷àòü; âîñêëèöàòü
), “
I
thought
you’
d
left
us
(ÿ ïîäóìàë, ÷òî âû íàñ ïîêèíóëè)
. You said you were getting off at Belgrade
(âû
ñêàçàëè
, ÷òî
âû
ñõîäèòå
â
Áåëãðàäå
; to get off —
ñëåçàòü,
âûëåçàòü;
ñõîäèòü)
.”
“You misunderstood me
(âû
ìåíÿ
íåïðàâèëüíî
ïîíÿëè
; to misunderstand (misunderstood)
),” said Poirot, smiling
(ñêàçàë
Ïóàðî
, óëûáàÿñü
). “I remember now
(òåïåðü
ÿ
ïîìíþ
), the train started from Stamboul
(ïîåçä
îòïðàâèëñÿ
èç
Ñòàìáóëà
) just as we were talking about it
(êàê
ðàç
â
òîò
ìîìåíò
, êîãäà
ìû
ðàçãîâàðèâàëè
îá
ýòîì
).”
afterwards
['Q:ftqwqd(z)
] barrier
['bxrIq] misunderstood
["mIsAndq'stVd]
At 9.15 punctually the train pulled out of the station, and shortly afterwards
Poirot got up, said good night to his friend, and made his way along the corridor back into his own coach which was in front next to the dining-car.
On this, the second day of the journey, barriers were breaking down. Colonel
Arbuthnot was standing at the door of his compartment talking to MacQueen. When MacQueen saw Poirot he broke off something he was saying. He looked very much surprised.
“Why,” he cried, “I thought you’d left us. You said you were getting
off at Belgrade.”
“You misunderstood me,” said Poirot, smiling. “I remember now, the train
started from Stamboul just as we were talking about it.”
“
But,
man,
your
baggage
(íî, äðóã ìîé, âàø áàãàæ;
man — ìóæ÷èíà, ÷åëîâåê; ïðèÿòåëü /â îáðàùåíèè/
).
It’
s
gone
(îí èñ÷åç; gone
— ïðîïàùèé, ïîòåðÿííûé
).”
“
It
has
been
moved
into
another
compartment
(îí áûë ïåðåíåñåí â äðóãîå êóïå;
to
move — äâèãàòü, ïåðåäâèãàòü
),
that
is
all
(âîò è âñå).”
“
Oh!
I
see
(à, ïîíèìàþ; to
see
— âèäåòü; ïîíèìàòü, ñîçíàâàòü
).”
He
resumed
his
conversation
with
Arbuthnot
(îí âîçîáíîâèë ñâîé ðàçãîâîð ñ Àðáýòíîòîì;
to
resume — ïîëó÷àòü, áðàòü îáðàòíî; âîçîáíîâëÿòü,
ïðîäîëæàòü),
and
Poirot
passed
on
down
the
corridor
(è Ïóàðî ïîøåë äàëüøå ïî êîðèäîðó;
to
pass
on — ïðîõîäèòü äàëüøå
).
Two
doors
from
his
own
compartment
(â äâóõ äâåðÿõ îò åãî ñîáñòâåííîãî êóïå)
, the
elderly
American
, Mrs
. Hubbard
(ïîæèëàÿ àìåðèêàíêà, ìèññèñ Õàááàðä)
, was
standing
talking
to
the
sheep
-like
lady
(ñòîÿëà è ðàçãîâàðèâàëà ñ ïîõîæåé íà îâöó äàìîé;
like — â ñëîæíûõ ñëîâàõ: ïîäîáíûé
÷åìó-ëèáî, íàïîìèíàþùèé ÷òî-ëèáî)
, who
was
a
Swede
(êîòîðàÿ áûëà øâåäêîé)
. Mrs
. Hubbard
was
pressing
a
magazine
on
the
other
(ìèññèñ Õàááàðä íàâÿçûâàëà äðóãîé /æåíùèíå/ æóðíàë;
to
press — æàòü, íàæèìàòü;
to
press
smth.
on
smb. — íàâÿçûâàòü
).
baggage ['bxgIdZ]
resume
[rI'zju:m] magazine
["mxgq'zi:n]
“But, man, your baggage. It’s gone.”
“It has been moved into another compartment, that is all.”
“Oh! I see.”
He resumed his conversation with Arbuthnot, and Poirot passed on down the corridor.
Two doors from his own compartment, the elderly American, Mrs. Hubbard, was
standing talking to the sheep-like lady, who was a Swede. Mrs. Hubbard was pressing a magazine on the other.
“No, do take it, my dear
(íåò
, îáÿçàòåëüíî
âîçüìèòå
åãî
, äîðîãóøà
),” she said. “I’ve got plenty of other things to read
(ó
ìåíÿ
åñòü
ìíîãî
÷åãî
äðóãîãî
ïî÷èòàòü
; plenty —
èçîáèëèå;
ìíîæåñòâî,
èçáûòîê; thing —
âåùü,
ïðåäìåò)
. My, isn’t the cold something frightful (
Áîæå
ìîé,
ðàçâå
õîëîä
íå
ñòðàøíûé =
óæàñíûé
õîëîä,
ïðàâäà;
fright — èñïóã
)?” She nodded amicably to Poirot
(îíà
äðóæåñêè
êèâíóëà
Ïóàðî
).
“You are most kind
(âû
î÷åíü
ëþáåçíû
; kind —
äîáðûé;
ëþáåçíûé)
,” said the Swedish lady (
ñêàçàëà
øâåäêà: «
øâåäñêàÿ
äàìà»)
.
“
Not
at
all
(íå ñòîèò áëàãîäàðíîñòè: «âîâñå íåò»)
. I
hope
you
’ll
sleep
well
(ÿ íàäåþñü, ÷òî âû áóäåòå õîðîøî ñïàòü)
and
that
your
head
will
be
better
in
the
morning
(è ÷òî óòðîì âàøà ãîëîâíàÿ /áîëü/ ïðîéäåò: «ãîëîâà
áóäåò ëó÷øå»).”
“It
is
the
cold
only
(ýòî âñåãî ëèøü õîëîä/ïðîñòóäà;
cold — õîëîä, ñòóæà; ïðîñòóäà, íàñìîðê
).
I make now myself a cup of tea (
ÿ
ñäåëàþ
ñåáå
ñåé÷àñ
÷àøêó
÷àÿ)
.”
“Have you got some aspirin
(ó
âàñ
åñòü
àñïèðèí
)? Are you sure now
(âû
óâåðåíû
)? I’ve got plenty
(ó
ìåíÿ
/åãî
/ ìíîãî
). Well, good night, my dear
(íó
, ñïîêîéíîé
íî÷è
, äîðîãóøà
).”
frightful ['fraItf(q)l]
amicably ['xmIkqblI]
Swedish ['swi:dIS]
aspirin ['xsprIn]
“No, do take it, my dear,” she said. “I’ve got plenty of other things
to read. My, isn’t the cold something frightful?” She nodded amicably to Poirot.
“You are most kind,” said the Swedish lady.
“Not at all. I hope you’ll sleep well and that your head will be better
in the morning.”
“It is the cold only. I make now myself a cup of tea.”
“Have you got some aspirin? Are you sure now? I’ve got plenty. Well, good
night, my dear.”
She turned to Poirot conversationally
(îíà
ïîâåðíóëàñü
ê
Ïóàðî
ñ
ãîòîâíîñòüþ
çàãîâîðèòü
: «ñëîâîîõîòëèâî
»; conversation —
ðàçãîâîð,
áåñåäà; conversational —
ðàçãîâîðíûé;
ðàçãîâîð÷èâûé)
as the other woman departed (
êàê
òîëüêî
äðóãàÿ
æåíùèíà
óøëà;
to depart — îòáûâàòü
/î
ïîåçäå
/; óõîäèòü
).
“Poor creature
(áåäíÿæêà
: «áåäíîå
ñîçäàíèå
»), she’s a Swede
(îíà
øâåäêà
). As far as I can make out
(íàñêîëüêî
ÿ
ìîãó
ðàçîáðàòü
; to make out —
ñîñòàâëÿòü;
ïîíÿòü,
ðàçîáðàòüñÿ)
she’s a kind of missionary (
îíà
êàêàÿ-
òî
ìèññèîíåðêè;
a kind of — ÷òî
-òî
âðîäå
, íå÷òî
ïîõîæåå
). A
teaching
one
(ó÷èòåëüíèöà-ìèññèîíåðêà;
to
teach — ó÷èòü, îáó÷àòü; áûòü ó÷èòåëåì
).
A
nice
creature
(ìèëîå ñîçäàíèå; nice
— õîðîøèé, ïðèÿòíûé; ìèëûé, ñëàâíûé
),
but
doesn’
t
talk
much
English
(íî ïëîõî: «íå ìíîãî» ãîâîðèò ïî-àíãëèéñêè)
. She was most interested in what I told her
(åé
áûëî
èíòåðåñíî
, ÷òî
ÿ
ðàññêàçàëà
åé
) about my daughter
(î
ñâîåé
äî÷åðè
).”
conversational ["k
Onvq'seIS(q)nql]
creature ['kri:tSq]
missionary ['mISqn(q)rI]
daughter ['dO:tq]
She turned to Poirot conversationally as the other woman departed.
“Poor creature, she’s a Swede. As far as I can make out she’s a kind
of missionary. A teaching one. A nice creature, but doesn’t talk much English. She was most interested in what I told her about my daughter.”
Poirot, by now
(Ïóàðî
ê
íàñòîÿùåìó
âðåìåíè
), knew all about Mrs. Hubbard’s daughter
(óæå
çíàë
âñå
î
äî÷åðè
ìèññèñ
Õàááàðä
). Everyone on the train
(êàæäûé
â
ýòîì
ïîåçäå
) who could understand English did
(êòî
ìîã
ïîíèìàòü
àíãëèéñêèé
, çíàë
/î
íåé
/)! How she and her husband
(/î
òîì
/ êàê
îíà
è
åå
ìóæ
) were on the staff of a big American college in Smyrna
(áûëè
â
øòàòå
ñîòðóäíèêîâ
êàêîãî
-òî
áîëüøîãî
àìåðèêàíñêîãî
êîëëåäæà
â
Ñìèðíå
), and how this was Mrs. Hubbard’s first journey to the East
(è
î
òîì
, ÷òî
ýòî
áûëî
ïåðâîå
ïóòåøåñòâèå
ìèññèñ
Õàááàðä
íà
Âîñòîê
), and what she thought of the Turks
(è
/î
òîì
/ ÷òî
îíà
äóìàëà
î
òóðêàõ
) and their slipshod ways
(è
îá
èõ
ïðèâû÷êå
íåðÿøëèâî
îäåâàòüñÿ
; slipshod —
íåðÿøëèâî
îäåòûé;
íåàêêóðàòíûé; way —
ïóòü,
äîðîãà;
óêëàä,
îáû÷àé,
ïðèâû÷êà)
and the condition of their roads (
è
î
ñîñòîÿíèè
èõ
äîðîã)
.
college ['k
OlIdZ]
Turk [t
q:k]
slipshod ['slIpS
Od]
Poirot, by now, knew all about Mrs. Hubbard’s daughter. Everyone on the train
who could understand English did! How she and her husband were on the staff of a big American college in Smyrna, and how this was Mrs. Hubbard’s first journey to the East, and what she thought of the Turks and their slipshod
ways and the condition of their roads.
The door next to them opened
(äâåðü
ðÿäîì
ñ
íèìè
îòêðûëàñü
) and the thin pale manservant stepped out
(è
õóäîé
áëåäíûé
ñëóãà
âûøåë
/â
êîðèäîð
/; to step —
øàãàòü,
ñòóïàòü)
. Inside (
âíóòðè /
êóïå/)
, Poirot caught a glimpse of Mr. Ratchett (
Ïóàðî
ìåëüêîì
óâèäåë
ìèñòåðà
Ðýò÷åòòà;
to catch (caught) a glimpse of smb., smth. —
óâèäåòü
êîãî-
ëèáî,
÷òî-
ëèáî
ìåëüêîì, to catch —
ïîéìàòü,
ñõâàòèòü; glimpse —
ìåëüêàíèå,
ïðîáëåñê;
áûñòðûé
âçãëÿä)
sitting up in bed (
ñèäÿùåãî
íà
ïîñòåëè)
. He saw Poirot (
îí /
òîæå/
óâèäåë
Ïóàðî)
and his face changed (
è
åãî
ëèöî
èçìåíèëîñü)
, darkening with anger (
ïîìðà÷íåâ
îò
ãíåâà/
ÿðîñòè;
to darken — äåëàòü
òåìíûì
; îìðà÷àòüñÿ
, õìóðèòüñÿ
). Then the door was shut
(çàòåì
äâåðü
çàõëîïíóëàñü
; to shut (shut)
— çàòâîðÿòü
, çàêðûâàòü
).
Mrs. Hubbard drew Poirot a little aside
(ìèññèñ
Õàááàðä
îòâåëà
Ïóàðî
÷óòü
â
ñòîðîíó
; to draw (drew, drawn) —
òàùèòü,
âîëî÷èòü;
òÿíóòü)
.
man-servant
['mxn"sq
:vqnt]
caught [kO:t]
glimpse [glImps]
The door next to them opened and the thin pale manservant stepped out. Inside,
Poirot caught a glimpse of Mr. Ratchett sitting up in bed. He saw Poirot and his face changed, darkening with anger. Then the door was shut.
Mrs. Hubbard drew Poirot a little aside.
“You know, I’m dead scared of that man (
âû
çíàåòå,
ÿ
î÷åíü
áîþñü
òîãî
÷åëîâåêà;
dead — ýìîö
.-óñèë
. äî
ñìåðòè
, êðàéíå
; to scare — èñïóãàòü
(ñÿ
),
íàïóãàòü(
ñÿ)
). Oh!
not
the
valet —
the
other
(î, íå ñëóãó — òîãî, äðóãîãî)
. His
master
(åãî õîçÿèíà;
master — õîçÿèí, âëàäåëåö, ãîñïîäèí
).
Master,
indeed
(õîçÿèí, âîò óæ)!
There’
s
something
wrong
about
that
man
(ñ ýòèì ÷åëîâåêîì ÷òî-òî íå òàê;
wrong — íåïðàâèëüíûé; íåñîîòâåòñòâóþùèé;
íåóäîâëåòâîðèòåëüíûé)
. My
daughter
always
says
(ìîÿ äî÷ü âñåãäà ãîâîðèò)
I
’m
very
intuitive
(÷òî ÿ îáëàäàþ î÷åíü /ðàçâèòîé/ èíòóèöèåé;
intuitive — èíòóèòèâíûé; îáëàäàþùèé èíòóèöèåé
). ‘
When
Mamma
gets
a
hunch
(êîãäà ó ìàìû âîçíèêàþò ïðåä÷óâñòâèÿ;
hunch — ãîðá; àìåð. ðàçã. ïðåä÷óâñòâèå, èíòóèöèÿ,
íàèòèå),
she’
s
dead
right
(òîãäà îíà ñîâåðøåííî ïðàâà)
,’ that
’s
what
my
daughter
says
(âîò ÷òî ãîâîðèò ìîÿ äî÷ü)
. And
I
’ve
got
a
hunch
about
that
man
(à ó ìåíÿ ïðåä÷óâñòâèÿ ïî îòíîøåíèþ ê ýòîìó ÷åëîâåêó)
. He
’s
next
door
to
me
(îí /åäåò/ ðÿäîì ñî ìíîé;
next
door — ïî ñîñåäñòâó, ðÿäîì;
next — ñëåäóþùèé; áëèæàéøèé, ñîñåäíèé;
door — äâåðü
)
and
I
don’
t
like
it
(è ìíå ýòî íå íðàâèòñÿ)
. I
put
my
grips
(ÿ ïîëîæèëà ñâîè äîðîæíûå ñóìêè;
grip — ñõâàòûâàíèå, ñæàòèå; àìåð. ðàçã. ñàêâîÿæ,
äîðîæíàÿ ñóìêà)
against
the
communicating
door
(íàïðîòèâ = ó ñìåæíîé: «ñîîáùàþùåéñÿ» äâåðè;
ðàíüøå êóïå èìåëè âíóòðè ñìåæíûå äâåðè
)
last
night
(ïðîøëîé íî÷üþ).
I
thought
I
heard
him
trying
the
handle
(ìíå ïîêàçàëîñü, ÷òî îí äåðãàë äâåðíóþ ðó÷êó: «ïðîâåðÿåò ðó÷êó»;
to
think (
thought) — äóìàòü; ïðåäñòàâëÿòü ñåáå, âîîáðàæàòü
; to
try
— ïûòàòüñÿ; ïîäâåðãàòü èñïûòàíèþ, ïðîáîâàòü, ïðîâåðÿòü
).
Do
you
know
(çíàåòå ÷òî),
I
shouldn’
t
be
a
bit
surprised
(ÿ íèñêîëüêî íå óäèâëþñü;
bit — êóñîê; íåáîëüøîå êîëè÷åñòâî, íåìíîãî;
to
surprise — óäèâëÿòü, ïîðàæàòü
)
if
that
man
turned
out
to
be
a
murderer
(åñëè ýòîò ÷åëîâåê îêàæåòñÿ óáèéöåé;
to
turn
out — âûâîðà÷èâàòü /êàðìàíû/; îêàçàòüñÿ, îáíàðóæèòüñÿ
) —
one
of
these
train
robbers
(îäíèì èç òåõ ãðàáèòåëåé ïîåçäîâ;
to
rob — ãðàáèòü, îáêðàäûâàòü
)
you
read
about
(î êîòîðûõ ÷èòàåøü /â ãàçåòàõ/)
. I
daresay
I
’m
foolish
(ïîëàãàþ, ÷òî ýòî ãëóïî ñ ìîåé ñòîðîíû;
to
dare — ñìåòü;
I
dare
say — óñòîé÷èâîå ñî÷åòàíèå: ÿ ïîëàãàþ, ìíå
êàæåòñÿ; foolish — ãëóïûé; äóðàöêèé
),
but
there
it
is
(íî òàê îíî è åñòü).
I’
m
absolutely
scared
to
death
of
the
man
(ÿ ñîâåðøåííî = ïðîñòî
äî ñìåðòè áîþñü ýòîãî ÷åëîâåêà;
to
scare — èñïóãàòü, íàïóãàòü;
scared — íàïóãàííûé, èñïóãàííûé
)!
My
daughter
said
(ìîÿ äî÷ü ãîâîðèëà)
I’
d
have
an
easy
journey
(÷òî ó ìåíÿ áóäåò ïðèÿòíîå: «ëåãêîå» ïóòåøåñòâèå;
easy — ëåãêèé, íåòðóäíûé; óäîáíûé, ïðèÿòíûé
),
but
somehow
(íî ïî÷åìó-òî; somehow
— òåì èëè èíûì îáðàçîì; ïî÷åìó-òî
)
I
don’
t
feel
happy
about
it
(ÿ íå ÷óâñòâóþ ñåáÿ âïîëíå äîâîëüíîé èì = îíî ìåíÿ íå ðàäóåò;
happy — ñ÷àñòëèâûé; äîâîëüíûé
).
It
may
be
foolish
(ìîæåò áûòü, ýòî ãëóïî)
, but
I
feel
(íî ÿ ÷óâñòâóþ ñåáÿ òàê;
to
feel — òðîãàòü, ùóïàòü; ÷óâñòâîâàòü, îùóùàòü
)
as
if
anything
might
happen
(ñëîâíî ÷òî-òî ìîæåò ñëó÷èòñÿ;
anything — ÷òî-íèáóäü /â óñëîâíûõ è âîïðîñèòåëüíûõ
ïðåäëîæåíèÿõ/)
— anything
at
all
(âñå ÷òî óãîäíî;
anything — âñå, âñå ÷òî óãîäíî /â óòâåðäèòåëüíûõ
ïðåäëîæåíèÿõ/)
. And
how
that
nice
young
fellow
(è êàê òîò ìèëûé ìîëîäîé ÷åëîâåê;
fellow — ðàçã. ÷åëîâåê, ïàðåíü
)
can
bear
to
be
his
secretary
(óìóäðÿåòñÿ ðàáîòàòü ó íåãî ñåêðåòàðåì;
to
bear — ïåðåíîñèòü, ïåðåâîçèòü; òåðïåòü, âûíîñèòü,
ìèðèòüñÿ /ñ ÷åì-ëèáî/)
, I
can
’t
think
(äàæå íå ïðåäñòàâëÿþ: «íå ìîãó ïðåäñòàâèòü»;
to
think — äóìàòü; ïðåäñòàâëÿòü ñåáå, âîîáðàæàòü
).”
scared [skeqd]
valet ['vxlIt,
—
leI] intuitive
[In'tju:ItIv] hunch
[hAntS]
“You know, I’m dead scared of that man. Oh! not the valet — the other.
His master. Master, indeed! There’s something wrong about that man. My daughter always says I’m very intuitive. ‘When Mamma gets a hunch, she’s dead right,’ that’s what my daughter says. And I’ve got a hunch
about that man. He’s next door to me and I don’t like it. I put my grips against the communicating door last night. I thought I heard him trying the handle. Do you know, I shouldn’t be a bit surprised if that man turned
out to be a murderer — one of these train robbers you read about. I daresay I’m foolish, but there it is. I’m absolutely scared to death of the man! My daughter said I’d have an easy journey, but somehow I don’t
feel happy about it. It may be foolish, but I feel as if anything might happen — anything at all. And how that nice young fellow can bear to be his secretary, I can’t think.”
Colonel Arbuthnot and MacQueen were coming towards them
(ïîëêîâíèê
Àðáýòíîò
è
Ìàêêóèí
øëè
ê
íèì
; towards = toward —
óêàçûâàåò
íà
äâèæåíèå
ïî
íàïðàâëåíèþ
ê
ïðåäìåòó —
ïî
íàïðàâëåíèþ
ê)
down the corridor (
ïî
êîðèäîðó)
.
“Come into my carriage (
ïîéäåì
â
ìîå
êóïå)
,” MacQueen was saying (
ãîâîðèë
Ìàêêóèí)
. “
It
isn’
t
made
up
for
the
night
yet
(â íåì åùå íå ðàçëîæåíà ïîñòåëü /íà íî÷ü/;
to
make (
made)
up
a
bed — óñòðîèòüñÿ íà íî÷ëåã, ïîñòåëèòü ïîñòåëü;
bed — êðîâàòü, ïîñòåëü, ëîæå
).
Now
what
I
want
to
get
right
(èòàê, ÷òî ÿ õî÷ó óÿñíèòü äëÿ ñåáÿ;
to
get
smth.
right — ïîíÿòü ïðàâèëüíî
)
about
your
policy
in
India
(î âàøåé ïîëèòèêå â Èíäèè)
is
this
(/òàê ýòî/ âîò ÷òî)
— ”
The
two
men
passed
(äâîå ìóæ÷èí ïðîøëè ìèìî;
to
pass — èäòè; ïðîõîäèòü ìèìî, ìèíîâàòü
)
and
went
on
down
the
corridor
(è íàïðàâèëèñü äàëüøå ïî êîðèäîðó;
to
go (
went,
gone)
on — èäòè äàëüøå, ïðîäîëæàòü ïóòü
)
to
MacQueen’
s
carriage
(ê êóïå Ìàêêóèíà).
Mrs
. Hubbard
said
good
night
to
Poirot
(ìèññèñ Õàááàðä ïîæåëàëà Ïóàðî ñïîêîéíîé íî÷è)
. “I
guess
I
’ll
go
right
to
bed
and
read
(ïîéäó, ïîæàëóé, ïðèëÿãó: «îòïðàâëþñü ïðÿìèêîì
â ïîñòåëü» è ïî÷èòàþ),”
she
said.
“Good night.”
“Good night, Madame.”
carriage
['kxrIdZ] policy
['pO
lIsI] I
ndia ['IndIq]
Colonel Arbuthnot and MacQueen were coming towards them down the corridor.
“Come into my carriage,” MacQueen was saying. “It isn’t made up for
the night yet. Now what I want to get right about your policy in India is this — ”
The two men passed and went on down the corridor to MacQueen’s carriage.
Mrs. Hubbard said good night to Poirot. “I guess I’ll go right to bed and
read,” she said. “Good night.”
“Good night, Madame.”
Poirot passed into his own compartment
(Ïóàðî
ïîøåë
â
ñâîå
/ñîáñòâåííîå
/ êóïå
), which was the next one beyond Ratchett’s
(êîòîðîå
ðàñïîëàãàëîñü
çà
êóïå
Ðýò÷åòòà
; which —
êàêîé;
êîòîðûé)
. He undressed (
îí
ðàçäåëñÿ)
and got into bed (
è
ëåã
â
ïîñòåëü)
, read for about half an hour (
ïî÷èòàë
ãäå-
òî
ñ
ïîë÷àñà)
and then turned out the light (
è
çàòåì
âûêëþ÷èë =
ïîãàñèë
ñâåò;
to turn — ïîâîðà÷èâàòü
; to turn out — âûêëþ÷àòü
, ãàñèòü
/ñâåò
/)
.
He awoke some hours later
(îí
ïðîñíóëñÿ
÷åðåç
íåñêîëüêî
÷àñîâ
: «íåñêîëüêèìè
÷àñàìè
ïîçæå
»; to awake (awoke, awaked)
— áóäèòü
; ïðîñûïàòüñÿ
), awoke with a start (
âçäðîãíóë
è
ïðîñíóëñÿ;
start — íà÷àëî
; âçäðàãèâàíèå
, ðûâîê
). He knew
(îí
îñîçíàâàë
; to know (knew, known) —
çíàòü;
îñîçíàâàòü,
ïîíèìàòü)
what it was that had wakened him (
îò
÷åãî
îí
ïðîñíóëñÿ: «
÷òî
áûëî
òî,
÷òî
ðàçáóäèëî
åãî»;
to wake (woke, woken) — ïðîñûïàòüñÿ
; áóäèòü
) — a loud groan
(/îò
/ ãðîìêîãî
ñòîíà
), almost a cry
(ïî÷òè
÷òî
êðèêà
), somewhere close at hand
(ãäå
-òî
ñîâñåì
ðÿäîì
; close at hand —
áëèçêî,
ðÿäîì,
ïîä
ðóêîé; close —
áëèçêî)
. At the same moment (
â
òîò
æå
ñàìûé
ìîìåíò)
the ting of a bell sounded sharply (
ðàçäàëñÿ
ïðîíçèòåëüíûé
çâóê
êîëîêîëü÷èêà;
ting — çâîí
, çâÿêàíüå
; bell — êîëîêîë
, êîëîêîëü÷èê
; to sound — çâó÷àòü
, èçäàâàòü
çâóê
).
beyond
[bI'jO
nd] groan
[grqVn] sharply
['SQ:plI]
Poirot passed into his own compartment, which was the next one beyond Ratchett’s.
He undressed and got into bed, read for about half an hour and then turned out the light.
He awoke some hours later, awoke with a start. He knew what it was that had
wakened him — a loud groan, almost a cry, somewhere close at hand. At the same moment the ting of a bell sounded sharply.
Poirot sat up
(Ïóàðî
ñåë
íà
ïîñòåëè
; to sit (sat) up —
ñàäèòüñÿ,
ïðèïîäíèìàòüñÿ /
èç
ëåæà÷åãî
ïîëîæåíèÿ/
) and switched on the light
(è
âêëþ÷èë
ñâåò
; to switch on —
âêëþ÷àòü; to switch off —
âûêëþ÷àòü)
. He noticed (
îí
îáðàòèë
âíèìàíèå)
that the train was at a standstill (
÷òî
ïîåçä
ñòîÿë;
standstill — îñòàíîâêà
, ïàóçà
) — presumably at a station
(ïðåäïîëîæèòåëüíî
íà
êàêîé
-òî
ñòàíöèè
; to presume —
ïîëàãàòü,
ïðåäïîëàãàòü)
.
That cry had startled him (
ýòîò
êðèê
èñïóãàë/
âñòðåâîæèë
åãî)
. He remembered that it was Ratchett (
îí
ïîìíèë
î
òîì,
÷òî
èìåííî
Ðýò÷åòò)
who had the next compartment (
çàíèìàë
ñîñåäíåå
êóïå;
next — ñëåäóþùèé
; áëèæàéøèé
, ñîñåäíèé
). He got out of bed
(îí
âñòàë
ñ
ïîñòåëè
; to get (got) out —
âûõîäèòü,
âûëåçàòü)
and opened the door (
è
îòêðûë
äâåðü)
just as the Wagon Lit conductor (
êàê
ðàç
â
òî
ñàìîå
âðåìÿ,
êîãäà
ïðîâîäíèê
ñïàëüíîãî
âàãîíà)
came hurrying along the corridor (
ïîñïåøíî
ïðîøåë
ïî
êîðèäîðó;
to hurry — ñïåøèòü
, òîðîïèòüñÿ
) and knocked on Ratchett’s door
(è
ñòó÷àëñÿ
â
äâåðü
/êóïå
/ Ðýò÷åòòà
). Poirot kept his door open a crack
(Ïóàðî
îñòàâèë
ñâîþ
äâåðü
÷óòü
ïðèîòêðûòîé
; to keep (kept) —
äåðæàòü;
óäåðæèâàòü /
ïîëîæåíèå/,
ñîõðàíÿòü; crack —
òðåñê;
òðåùèíà,
ùåëü;
to be open a crack — áûòü
åäâà
ïðèîòêðûòîé
) and watched
(è
íàáëþäàë
). The
conductor
tapped
a
second
time
(ïðîâîäíèê ïîñòó÷àë âî âòîðîé ðàç;
to
tap — ëåãêî óäàðÿòü; ñòó÷àòü;
time — âðåìÿ; ðàç, ñëó÷àé
).
presumably
[prI'zju:mqblI] knock
[nO
k] watch
[wO
tS]
Poirot sat up and switched on the light. He noticed that the train was at a
standstill — presumably at a station.
That cry had startled him. He remembered that it was Ratchett who had the next
compartment. He got out of bed and opened the door just as the Wagon Lit conductor came hurrying along the corridor and knocked on Ratchett’s door. Poirot kept his door open a crack and watched. The conductor tapped a second
time.
A bell rang (
çàçâîíèë
çâîíîê/
êîëîêîëü÷èê;
to ring (rang, rung) — çâåíåòü
, çâó÷àòü
; çâîíèòü
) and a light showed
(è
çàæåãñÿ
: «ïîêàçàëñÿ
» ñâåò
; to show —
ïîêàçûâàòü;
ïîÿâëÿòüñÿ)
over another door farther down (
íàä
äðóãîé
äâåðüþ,
äàëüøå
ïî
êîðèäîðó)
. The conductor glanced over his shoulder (
ïðîâîäíèê
áðîñèë
áûñòðûé
âçãëÿä
÷åðåç
ïëå÷î =
îãëÿíóëñÿ;
to glance — ìåëüêîì
âçãëÿíóòü
, áûñòðî
ïîñìîòðåòü
). At the same moment
(â
òîò
æå
ñàìûé
ìîìåíò
) a voice from within the next compartment called out
(ãîëîñ
èç
ñîñåäíåãî
êóïå
ñêàçàë
; within —
âíóòðè, to call out —
çàêðè÷àòü)
: “Ce n’est rien.
Je me suis trompé (
íè÷åãî
ñòðàøíîãî,
ÿ
îøèáñÿ)
.”
“
Bien, Monsieur.” The conductor scurried off again
(ôð
. õîðîøî
, ìñüå
; êîíäóêòîð
ñíîâà
ïîñïåøíî
äâèíóëñÿ
/ïî
êîðèäîðó
/; to scurry —
ïîñïåøíî
äâèãàòüñÿ,
áåæàòü)
, to knock at the door (
÷òîáû
ïîñòó÷àòü
â
òó
ñàìóþ
äâåðü)
where the light was showing (
ãäå
ãîðåë
ñâåò)
.
Poirot returned to bed (
Ïóàðî
ñíîâà
ëåã: «
âåðíóëñÿ»
â
ïîñòåëü)
, his mind relieved (
óñïîêîåííûé: «
åãî
ðàçóì
óñïîêîèâøèéñÿ»;
to relieve — îáëåã÷àòü
; óñïîêàèâàòü
, óòåøàòü
; to relieve smb.'s mind — óñïîêîèòü
, óòåøèòü
êîãî
-ëèáî
), and switched off the light
(è
âûêëþ÷èë
/ïîãàñèë
ñâåò
).
He glanced at his watch (
îí
áûñòðî
âçãëÿíóë
íà
ñâîè
÷àñû)
. It was just twenty-three minutes to one (
áûëî
áåç
äâàäöàòè
òðåõ
ìèíóò
÷àñ)
.
scurry
['skArI] relieve
[rI'li:v] switch
[swItS]
A bell rang and a light showed over another door farther down. The conductor
glanced over his shoulder. At the same moment a voice from within the next compartment called out: “Ce n’est rien. Je me suis trompé
.”
“Bien, Monsieur.” The conductor scurried off again, to knock at the door
where the light was showing.
Poirot returned to bed, his mind relieved, and switched off the light. He glanced
at his watch. It was just twenty-three minutes to one.
5
THE CRIME
(
Ïðåñòóïëåíèå)
He found it difficult (
åìó
îêàçàëîñü
ñëîæíî: «
îí
íàøåë
ñëîæíûì»;
to find — íàõîäèòü
; ñ÷èòàòü
, íàõîäèòü
) to go to sleep again at once
(ñðàçó
æå
ñíîâà
çàñíóòü
; sleep —
ñîí; to go to sleep —
çàñíóòü)
. For
one
thing
(âî-ïåðâûõ/ïðåæäå âñåãî)
he
missed
the
motion
of
the
train
(åìó íåäîñòàâàëî ïîêà÷èâàíèÿ ïîåçäà;
to
miss — ïðîìàõíóòüñÿ; ÷óâñòâîâàòü, îùóùàòü
îòñóòñòâèå ÷åãî-ëèáî; motion
— äâèæåíèå; õîä /ìàøèíû, ïîåçäà, ÷àñîâ è ò.ï./
).
If
it
was
a
station
outside
(åñëè ñíàðóæè áûëà ñòàíöèÿ;
station — ìåñòî; âîêçàë, æåëåçíîäîðîæíàÿ ñòàíöèÿ
),
it
was
curiously
quiet
(òî áûëî íåîáû÷àéíî òèõî;
curiously — ëþáîïûòíî; íåîáû÷àéíî, î÷åíü
).
By
contrast
(è, íàïðîòèâ; contrast
— êîíòðàñò, ðàçëè÷èå; ñîïîñòàâëåíèå
)
the
noises
on
the
train
(çâóêè: «øóìû» ïîåçäà;
noise — øóì, ãàì, êðèê
)
seemed
unusually
loud
(êàçàëèñü íåîáû÷àéíî ãðîìêèìè;
usual — îáûêíîâåííûé, îáû÷íûé
).
He
could
hear
Ratchett
moving
about
next
door
(îí ìîã ñëûøàòü, êàê Ðýò÷åòò ïåðåäâèãàåòñÿ â ñîñåäíåì êóïå: «ïî ñîñåäñòâó/ðÿäîì» ;
to
move
about — ïåðåõîäèòü/ïåðååçæàòü ñ ìåñòà íà ìåñòî
) —
a
click
as
he
pulled
down
the
washbasin
(çâóê çàòû÷êè, îïóùåííîé â ðàêîâèíó óìûâàëüíèêà;
to
pull
down — äåðíóòü âíèç; îïóñòèòü
),
the
sound
of
the
tap
running
(çâóê òåêóùåé èç êðàíà âîäû;
tap — ïðîáêà, çàòû÷êà; êðàí /âîäîïðîâîäíûé,
ãàçîâûé è ò.ï./; to
run
— áåæàòü; òå÷ü, ëèòüñÿ
),
a
splashing
noise
(âñïëåñê âîäû; splash
— ïëåñê, âñïëåñê; áðûçãè
),
then
another
click
as
the
basin
shut
to
again
(çàòåì åùå îäèí ùåë÷îê — ñëîâíî ðàêîâèíó ñíîâà çàòêíóëè /çàòû÷êîé/;
basin — ìèñêà; ïëîñêàÿ ÷àøà; òàç
).
Footsteps
passed
up
the
corridor
outside
(ñíàðóæè, â êîðèäîðå ðàçäàëèñü: «ïðîøëè» øàãè)
, the
shuffling
footsteps
(øàðêàþùèå øàãè;
to
shuffle — øàðêàòü, âîëî÷èòü íîãè;
footstep — øàã, ïîñòóïü; çâóê øàãîâ
)
of
someone
in
bedroom
slippers
(êîãî-òî â ñïàëüíûõ òàïî÷êàõ;
someone — êòî-òî, êòî-ëèáî;
slippers — êîìíàòíûå òóôëè, òàïî÷êè
).
difficult ['dIfIk(q)lt]
unusual [An'ju:|ZVql,
—
Z(q)l] washbasin
['wO
S"beIs(q)n]
He found it difficult to go to sleep again at once. For one thing he missed
the motion of the train. If it was a station outside, it was curiously quiet. By contrast the noises on the train seemed unusually loud. He could hear Ratchett moving about next door — a click as he pulled down the washbasin,
the sound of the tap running, a splashing noise, then another click as the basin shut to again. Footsteps passed up the corridor outside, the shuffling footsteps of someone in bedroom slippers.
Hercule Poirot lay awake (
Ýðêþëü
Ïóàðî
íå
ñïàë: «
ëåæàë
áåç
ñíà»;
to lie (lay, lain); awake — áîäðñòâóþùèé
, ïðîñíóâøèéñÿ
) staring at the ceiling
(óñòàâèâøèñü
â
ïîòîëîê
; to stare —
ïðèñòàëüíî
ñìîòðåòü,
óñòàâèòüñÿ)
. Why was the station outside so silent (
ïî÷åìó
æå
ñòàíöèÿ
ñíàðóæè
áûëà
òàêîé
òèõîé;
silent — ìîë÷àëèâûé
; òèõèé
, áåñøóìíûé
)? His throat felt dry
(â
ãîðëå
ó
íåãî
ïåðåñîõëî
; throat —
ãîðëî; to feel (felt) dry —
î÷åíü
õîòåòü
ïèòü; dry —
ñóõîé;
ðàçã.
èñïûòûâàþùèé
æàæäó)
. He had forgotten to ask (
îí
çàáûë
ïîïðîñèòü /
ïðèíåñòè/;
to ask — ñïðàøèâàòü
; ïðîñèòü
) for his usual bottle of mineral water
(ñâîþ
îáû÷íóþ
áóòûëêó
ìèíåðàëüíîé
âîäû
). He looked at his watch again
(îí
ñíîâà
âçãëÿíóë
íà
ñâîè
÷àñû
). Just after a quarter past one
(òîëüêî
÷åòâåðòü
âòîðîãî
). He would ring for the conductor
(îí
ïîçâîíèò
ïðîâîäíèêó
; to ring —
çâåíåòü;
çâó÷àòü;
çâîíèòü)
and ask for some mineral water (
è
ïîïðîñèò
ìèíåðàëüíîé
âîäû)
. His finger went out to the bell (
åãî
ïàëåö
ïîòÿíóëñÿ
ê
çâîíêó;
to go out — âûõîäèòü
/èç
ïîìåùåíèÿ
/; îòïðàâëÿòüñÿ
), but he paused
(íî
îí
çàìåð
; to pause —
äåëàòü
ïàóçó;
îñòàíàâëèâàòüñÿ)
as in the stillness (
òàê
êàê
â
òèøèíå)
he heard a ting (
îí
óñëûøàë
çâÿêàíüå /
çâîíêà/)
. The
man
couldn’
t
answer
every
bell
at
once
(ïðîâîäíèê: «÷åëîâåê» íå ìîã æå îòâåòèòü îäíîâðåìåííî íà êàæäûé çâîíîê;
bell — êîëîêîë; çâîí; çâîíîê;
at
once — ñðàçó, íåìåäëåííî; â îäíî è òî æå âðåìÿ
).
Ting
(äçèíü
). ... Ting. ... Ting. ...
ceiling
['si:lIN] silent
['saIlqnt] pause
[pO:z]
Hercule Poirot lay awake staring at the ceiling. Why was the station outside so silent? His throat felt dry. He had forgotten to ask for his usual bottle of mineral
water. He looked at his watch again. Just after a quarter past one. He would ring for the conductor and ask for some mineral water. His finger went out to the bell, but he paused as in the stillness he heard a ting. The man
couldn’t answer every bell at once.
Ting. ... Ting. ... Ting. ...
It sounded again and again (
ñíîâà
è
ñíîâà
çâó÷àë /
çâîíîê/)
. Where
was
the
man
(ãäå æå ýòîò ïðîâîäíèê)
? Somebody
was
getting
impatient
(êòî-òî óæå ïðîÿâëÿë íåòåðïåíèå: «ñòàíîâèëñÿ íåòåðïåëèâûì»;
impatient — íåòåðïåëèâûé; ðàçäðàæåííûé
).
Ti-
i-
i-
ing!
Whoever
it
was
(êòî áû ýòî íè áûë),
was
keeping
a
finger
solidly
on
the
push-
button
(îí íå ñíèìàë ïàëüöà: «íåïðåðûâíî äåðæàë ïàëåö» ñ êíîïêè /çâîíêà/;
solid — òâåðäûé; íåïðåðûâíûé, ïîñòîÿííûé;
push-
button — íàæèìíàÿ êíîïêà
).
Suddenly
with
a
rush
(âíåçàïíî, âïîïûõàõ;
rush — ñòðåìèòåëüíîå äâèæåíèå; íàïðÿæåíèå,
ñïåøêà),
his
footsteps
echoing
up
the
aisle
(çâóê åãî øàãîâ ãóëêî ðàçäàâàëñÿ ïî ïðîõîäó;
to
echo — ïîâòîðÿòü, îòðàæàòü çâóê; îãëàøàòüñÿ
ýõîì; aisle — áîêîâîé ïðèäåë /õðàìà/;
êîðèäîð /â âàãîíå ïîåçäà/)
, the
man
came
(ïîÿâèëñÿ ïðîâîäíèê;
to
come (
came,
come) — ïðèõîäèòü
).
He
knocked
at
a
door
(îí ïîñòó÷àëñÿ â äâåðü)
not
far
from
Poirot
’s
own
(íåäàëåêî îò äâåðè Ïóàðî;
own — ñâîé ñîáñòâåííûé; ïðèíàäëåæàùèé /êîìó-ëèáî
èëè ÷åìó-ëèáî/)
.
Then
came
voices
(çàòåì äîíåñëèñü ãîëîñà;
to
come (
came,
come) — ïðèõîäèòü; äîõîäèòü, äîñòèãàòü
) —
the
conductor’
s
(/ãîëîñ/ ïðîâîäíèêà),
deferential
(ïî÷òèòåëüíûé),
apologetic
(èçâèíÿþùèéñÿ);
and
a
woman’
s
(è /ãîëîñ/ æåíùèíû),
insistent
(íàñòîé÷èâûé)
and
voluble
(è ìíîãîñëîâíûé).
Mrs. Hubbard!
impatient [Im'peIS(q)nt]
echoing ['ekqVIN]
deferential ["defq'renS(q)l]
voluble ['v
OljVb(q)l]
It sounded again and again. Where was the man? Somebody was getting impatient.
Ti-i-i-ing!
Whoever it was, was keeping a finger solidly on the push-button.
Suddenly with a rush, his footsteps echoing up the aisle, the man came. He
knocked at a door not far from Poirot’s own.
Then came voices — the conductor’s, deferential, apologetic; and a woman’s,
insistent and voluble.
Mrs. Hubbard!
Poirot smiled to himself
(Ïóàðî
óëûáíóëñÿ
).
The altercation (
ïåðåáðàíêà/
ïðåïèðàòåëüñòâî)
— if it was one (
åñëè
ýòî
âñå-
òàêè
áûëà
ïåðåáðàíêà)
— went on for some time (
ïðîäîëæàëàñü
íåêîòîðîå
âðåìÿ;
to go (went, gone) on — èäòè
äàëüøå
; ïðîäîëæàòü
(ñÿ
))
. Its proportions were (
êîëè÷åñòâåííûå
ñîîòíîøåíèÿ
â
íåé
áûëè /
òàêîâû/)
ninety per cent of Mrs. Hubbard’s (
äåâÿíîñòî
ïðîöåíòîâ /
ïðèíàäëåæàëè/
ìèññèñ
Õàááàðä)
to a soothing ten per cent of the conductor’s (
ïðîòèâ
äåñÿòè
óñïîêàèâàþùèõ
ïðîöåíòîâ
ïðîâîäíèêà;
to soothe — óñïîêàèâàòü
, óòåøàòü
). Finally
(â êîíöå êîíöîâ)
the
matter
seemed
to
be
adjusted
(äåëî, êàçàëîñü, áûëî óëàæåíî;
matter — âåùåñòâî; äåëî; íåïðèÿòíîñòü, òðóäíîñòü;
to
adjust — ïðèâîäèòü â ïîðÿäîê; óëàæèâàòü
).
Poirot
heard
distinctly
(Ïóàðî îò÷åòëèâî ñëûøàë /ôðàçó/)
a
“Bonne
nuit
, Madame
(ñïîêîéíîé íî÷è, ìàäàì)
,” and
a
closing
door
(è /çâóê/ çàêðûâàåìîé äâåðè;
to
close — çàêðûâàòü
).
He
pressed
his
own
finger
on
the
bell
(îí íàæàë /êíîïêó/ çâîíêà: «îí íàæàë ñâîèì ñîáñòâåííûì ïàëüöåì çâîíîê»)
.
proportion
[prq'pO:S(q)n] soothing
['su:DIN] adjusted
[q'dZAstId]
Poirot smiled to himself.
The altercation — if it was one — went on for some time. Its proportions
were ninety per cent of Mrs. Hubbard’s to a soothing ten per cent of the conductor’s. Finally the matter seemed to be adjusted. Poirot heard distinctly a “
Bonne nuit, Madame,” and a closing door.
He pressed his own finger on the bell.
The
conductor
arrived
promptly
(ïðîâîäíèê íåìåäëåííî ïîÿâèëñÿ;
to
arrive — ïðèáûâàòü, ïðèåçæàòü
).
He
looked
hot
and
worried
(îí âûãëÿäåë ðàçãîðÿ÷åííûì è îáåñïîêîåííûì;
to
look — ñìîòðåòü; èìåòü âèä, âûãëÿäåòü;
hot — ãîðÿ÷èé; âîçáóæäåííûé, íàïðÿæåííûé;
to
worry — íàäîåäàòü; áåñïîêîèòüñÿ, âîëíîâàòüñÿ
).
“
De
l’
eau
miné
rale,
s’
il
vous
plaî
t
(ìèíåðàëüíîé âîäû, ïîæàëóéñòà)
.”
“
Bien,
Monsieur
(õîðîøî, ìñüå).”
Perhaps
a
twinkle
in
Poirot’
s
eye
(âîçìîæíî, îãîíåê â ãëàçàõ Ïóàðî;
twinkle — ìåðöàíèå; îãîíåê /â ãëàçàõ/
)
led
him
to
unburden
himself
(çàñòàâèë ïðîâîäíèêà: «åãî» èçëèòü äóøó;
to
lead (
led) — âåñòè, ïîêàçûâàòü ïóòü; ïðèâîäèòü /ê
÷åìó-ëèáî/, áûòü ïðè÷èíîé /÷åãî-ëèáî/, âûçâàòü /÷òî-ëèáî/; to
unburden
— îáëåã÷àòü íîøó; îáëåã÷èòü äóøó, âûñêàçàòüñÿ;
burden — íîøà; áðåìÿ
). “
La
dame
amé
ricaine
(ôð.
ýòà àìåðèêàíñêàÿ äàìà)
— ”
“
Yes
(äà)?”
worried ['wArId]
twinkle ['twINk(q)l]
unburden [An'bq:dn]
The conductor arrived promptly. He looked hot and worried.
“
De l’eau minérale, s’il vous plaît
.”
“
Bien, Monsieur.” Perhaps a twinkle in Poirot’s eye led him to unburden himself. “
La dame américaine — ”
“Yes?”
He wiped his forehead (
îí =
ïðîâîäíèê
âûòåð /
ïîò/
ñî
ëáà;
to wipe — âûòèðàòü
, îáòèðàòü
).
“Imagine
to
yourself
(òîëüêî ïðåäñòàâüòå ñåáå)
the
time
I
have
had
with
her
(êàê ìíå ïðèøëîñü ñ íåé ïîìó÷èòüñÿ;
time — âðåìÿ; âðåìÿ /ñ òî÷êè çðåíèÿ òîãî, êàê
îíî ïðîâîäèòñÿ — õîðîøî, ïëîõî è ò.ï./, âðåìÿïðîâîæäåíèå; what
a
time
I
had
with
smb
.! — óæ êàê îí /îíà, îíè/ èçâîäèë ìåíÿ
)!
She
insists
(îíà íàñòàèâàåò; to
insist
— íàñòîé÷èâî óòâåðæäàòü, íàñòàèâàòü
) —
but
insists
(èìåííî íàñòàèâàåò) —
that
there
is
a
man
in
her
compartment
(÷òî â åå êóïå íàõîäèòñÿ êàêîé-òî ìóæ÷èíà)
! Figure
to
yourself
, Monsieur
(ïðåäñòàâüòå ñåáå, ìñüå;
to
figure — èçîáðàæàòü /ãðàôè÷åñêè/; ïðåäñòàâëÿòü
ñåáå).
In
a
space
of
this
size
(ýòî â êóïå-òî: «ïðîñòðàíñòâå» òàêîãî ðàçìåðà;
space — ïðîòÿæåííîñòü, ïëîùàäü
).”
He
swept
a
hand
round
(îí îáâåë ðóêîé âîêðóã;
to
sweep (
swept) — ìåñòè, ïîäìåòàòü; îõâàòûâàòü, îêèäûâàòü
/âçãëÿäîì/). “
Where
would
he
conceal
himself
(ãäå áû îí ìîã ñïðÿòàòüñÿ;
to
conceal — ïðÿòàòü, óêðûâàòü;
to
conceal
oneself — ïðÿòàòüñÿ, ñêðûâàòüñÿ
)?
I
argue
with
her
(ÿ ñïîðþ ñ íåé).
I
point
out
(îáðàùàþ åå âíèìàíèå;
to
point /
out/ — óêàçûâàòü; îáðàùàòü âíèìàíèå, ïîä÷åðêèâàòü
)
that
it
is
impossible
(÷òî ýòî íåâîçìîæíî).
She
insists
(îíà íàñòàèâàåò).
She
woke
up
(îíà ïðîñíóëàñü; to
wake
(woke
, woken
)),
and
there
was
a
man
there
(à òàì, äåñêàòü, áûë êàêîé-òî ìóæ÷èíà)
. And
how
, I
ask
(è êàê, ñïðàøèâàþ ÿ)
, did
he
get
out
(îí âûøåë)
and
leave
the
door
bolted
behind
him
(è îñòàâèë çà ñîáîé çàïåðòóþ äâåðü;
to
bolt — çàïèðàòü íà çàñîâ
)?
But
she
will
not
listen
to
reason
(íî îíà íå õî÷åò ñëóøàòü ãîëîñ ðàçóìà;
reason — ïðè÷èíà; çäðàâûé ñìûñë, áëàãîðàçóìèå
).
As
though
there
were
not
enough
(ñëîâíî íå äîñòàòî÷íî)
to
worry
us
already
(÷òî ìû óæå è òàê îáåñïîêîåíû)
. This
snow
(ýòîò ñíåãîïàä;
snow — ñíåã; ñíåãîïàä
) — ”
“Snow?”
conceal [kqn'si:l]
reason ['ri:z(q)n]
enough [I'nAf]
He wiped his forehead. “Imagine to yourself the time I have had with her!
She insists — but insists — that there is a man in her compartment! Figure to yourself, Monsieur. In a space of this size.” He swept a hand round. “Where would he conceal himself? I argue with her. I point out that
it is impossible. She insists. She woke up, and there was a man there. And how, I ask, did he get out and leave the door bolted behind him? But she will not listen to reason. As though there were not enough to worry us already.
This snow — ”
“Snow?”
“But yes, Monsieur. Monsieur has not noticed (
íó,
äà!
ìñüå
ðàçâå
íå
çàìåòèë)
? The train has stopped (
ïîåçä
ñòîèò)
. We have run into a snowdrift (
ìû
ïîïàëè
â
ñíåæíûé
çàíîñ;
snowdrift — ñóãðîá
; ñíåæíûé
çàíîñ
; to run (ran, run) — áåæàòü
; to run into smth. — íàëåòåòü
, íàñêàêèâàòü
, íàòàëêèâàòüñÿ
íà
÷òî
-ëèáî
). Heaven
knows
(îäíîìó Áîãó èçâåñòíî;
heaven — íåáåñà, íåáî; ïðîâèäåíèå, Áîã
)
how
long
we
shall
be
here
(êàê äîëãî ìû çäåñü ïðîáóäåì)
. I
remember
once
(ÿ ïîìíþ êàê-òî ðàç)
being
snowed
up
for
seven
days
(êàê íàñ çàíåñëî ñíåãîì íà íåäåëþ: «ñåìü äíåé»;
to
snow
up =
to
snow
in — çàíîñèòü, çàâàëèâàòü ñíåãîì
).”
“
Where
are
we
(ãäå ìû íàõîäèìñÿ)?”
“
Between
Vincovci
and
Brod
(ìåæäó Âèíêîâöàìè è Áðîäîì;
Vincovci — Âèíêîâöû,
Brod — Áðîä (ãîðîäà â Þãîñëàâèè)
).”
“
Là-là,” said Poirot vexedly
(ý
-õå
! ñêàçàë
Ïóàðî
ðàçäðàæåííî
; to vex —
äîñàæäàòü;
ðàçäðàæàòü,
ñåðäèòü)
.
The man withdrew
(ïðîâîäíèê
óäàëèëñÿ
; to withdraw (withdrew, withdrawn) —
îòíèìàòü,
îòäåðãèâàòü;
óõîäèòü,
óäàëÿòüñÿ)
and returned with the water (
è
âåðíóëñÿ
ñ
âîäîé)
.
“
Bon soir, Monsieur
(ñïîêîéíîé
íî÷è
, ìñüå
).”
snowdrift
['snqVdrIft] heaven
['hev(q)n] withdrew
[wID'dru:]
“But yes, Monsieur. Monsieur has not noticed? The train has stopped. We have
run into a snowdrift. Heaven knows how long we shall be here. I remember once being snowed up for seven days.”
“Where are we?”
“Between Vincovci and Brod.”
“
Là-là,” said Poirot vexedly.
The man withdrew and returned with the water.
“
Bon soir, Monsieur.”
Poirot drank a glass of water
(Ïóàðî
âûïèë
ñòàêàí
âîäû
; to drink (drank, drunk), glass —
ñòåêëî;
ñòàêàí,
áîêàë)
and composed himself to sleep (
è
ñîáðàëñÿ: «
óñïîêîèëñÿ»
çàñíóòü;
to compose — ñîñòàâëÿòü
; óëàæèâàòü
, óñïîêàèâàòü
).
He was just dropping off
(îí
êàê
ðàç
çàñûïàë
; to drop off —
âûõîäèòü;
îòõîäèòü
êî
ñíó)
when something again woke him (
êîãäà
åãî
ñíîâà
÷òî-
òî
ðàçáóäèëî)
. This time it was (
íà
ýòîò
ðàç /
ýòî
áûëî
òàê/)
as though something heavy (
ñëîâíî
÷òî-
òî
òÿæåëîå)
had fallen with a thud against the door (
íàâàëèëîñü: «
óïàëî»
ñ
ãëóõèì
ñòóêîì
íà
äâåðü /
åãî
êóïå/;
to fall (fell, fallen) — ïàäàòü
; thud — ãëóõîé
çâóê
, ñòóê
/îò
ïàäåíèÿ
òÿæåëîãî
ïðåäìåòà
/)
.
He sprang up
(îí
âñêî÷èë
; to spring (sprang, sprung) —
ñêàêàòü,
ïðûãàòü)
, opened it (
îòêðûë
åå =
äâåðü)
and looked out (
è
âûãëÿíóë
íàðóæó)
. Nothing (
íè÷åãî)
. But to his right (
íî
ñïðàâà;
right — ïðàâàÿ
ñòîðîíà
), some distance down the corridor
(íà
íåêîòîðîì
ðàññòîÿíèè
äàëüøå
ïî
êîðèäîðó
), a woman wrapped in a scarlet kimono
(êàêàÿ
-òî
æåíùèíà
, óêóòàííàÿ
â
àëîå
êèìîíî
; to wrap — îêóòûâàòü
, óêóòûâàòü
) was retreating from him
(óäàëÿëàñü
îò
íåãî
; to retreat —
îòõîäèòü;
óäàëÿòüñÿ,
óõîäèòü)
. At the other end (
â
äðóãîì
êîíöå /
âàãîíà/)
, sitting on his little seat (
ñèäÿ
íà
ñâîåì
ìàëåíüêîì
ñòóëü÷èêå;
seat — ìåñòî
/äëÿ
ñèäåíèÿ
/; ñòóë
, ñêàìåéêà
, êðåñëî
), the conductor was entering up figures
(ïðîâîäíèê
çàïèñûâàë
êàêèå
-òî
öèôðû
; to enter —
âõîäèòü;
âïèñûâàòü,
âíîñèòü; to enter up —
ôèêñèðîâàòü,
çàïèñûâàòü)
on large sheets of paper (
íà
áîëüøèå
ëèñòû
áóìàãè;
sheet — ïðîñòûíÿ
; ëèñò
/áóìàãè
/)
. Everything was deathly quiet (
áûëî
òèõî,
êàê
íà
êëàäáèùå: «
ñìåðòåëüíî
òèõî»;
death — ñìåðòü
).
thud
[TAd] distance
['dIst(q)ns] wrapped
[rxpt] kimono
[kI'mqVnqV] deathly
['deTlI]
Poirot drank a glass of water and composed himself to sleep.
He was just dropping off when something again woke him. This time it was as
though something heavy had fallen with a thud against the door.
He sprang up, opened it and looked out. Nothing. But to his right, some distance
down the corridor, a woman wrapped in a scarlet kimono was retreating from him. At the other end, sitting on his little seat, the conductor was entering up figures on large sheets of paper. Everything was deathly quiet.
“Decidedly
(áåññïîðíî
; to decide —
ðåøàòü; decidedly —
ðåøèòåëüíî;
ÿâíî,
áåññïîðíî)
I suffer from the nerves (
íåðâû
ó
ìåíÿ
øàëÿò: «
ÿ
ñòðàäàþ
îò
íåðâîâ»;
to suffer — ñòðàäàòü
, èñïûòûâàòü
),” said Poirot and retired to bed again
(ñêàçàë
Ïóàðî
è
ñíîâà
âåðíóëñÿ
â
ïîñòåëü
). This time he slept till morning
(íà
ýòîò
ðàç
îí
ïðîñïàë
äî
óòðà
; to sleep (slept)
).
When he awoke
(êîãäà
îí
ïðîñíóëñÿ
; to awake (awoke, awaked)
) the train was still at a standstill (
ïîåçä
âñå
åùå
ñòîÿë;
standstill — îñòàíîâêà
, ïàóçà
). He raised a blind
(îí
ïîäíÿë
øòîðêó
) and looked out
(è
âûãëÿíóë
íàðóæó
). Heavy banks of snow
(îãðîìíûå
ñóãðîáû
; heavy —
òÿæåëûé;
êðóïíûé,
áîëüøîé,
ìàññèâíûé; bank —
âàë;
íàíîñ,
çàíîñ; snow banks —
ñóãðîáû,
ñíåæíûå
çàíîñû)
surrounded the train (
îêðóæàëè
ïîåçä)
.
He glanced at his watch
(îí
âçãëÿíóë
íà
/ñâîè
/ ÷àñû
) and saw that it was past nine o’clock
(è
óâèäåë
, ÷òî
áûëî
óæå
áîëüøå
äåâÿòè
/÷àñîâ
óòðà
/; past —
ïîçæå,
çà,
ïîñëå)
.
At a quarter to ten
(áåç
÷åòâåðòè
äåñÿòü
), neat
(îïðÿòíûé
/àêêóðàòíûé
), spruce
(ùåãîëåâàòûé
/ýëåãàíòíûé
) and dandified
(è
áåçóïðå÷íî
îäåòûé
; to dandify —
ïðèíàðÿæàòü,
ïðèäàâàòü
ùåãîëüñêîé
âèä; dandy —
äåíäè,
ùåãîëü,
ôðàíò;
áåçóïðå÷íî
îäåòûé
÷åëîâåê)
as ever (
êàê
âñåãäà)
, he made his way to the restaurant car (
îí
íàïðàâèëñÿ
â
âàãîí-
ðåñòîðàí)
, where a chorus of woe was going on (
ãäå
öàðèëî
óíûíèå: «
ãäå
ïðîèñõîäèëî
âñåîáùåå/
åäèíîãëàñíîå
ãîðå»;
chorus — õîð
/ãîëîñîâ
è
ò
.ï
./; woe — ãîðå
, ñêîðáü
, ïå÷àëü
).
decidedly [dI'saIdIdlI]
nerve [nq:v]
retired [rI'taIqd]
chorus ['kO:rqs]
“Decidedly I suffer from the nerves,” said Poirot and retired to bed again.
This time he slept till morning.
When he awoke the train was still at a standstill. He raised a blind and looked
out. Heavy banks of snow surrounded the train.
He glanced at his watch and saw that it was past nine o’clock.
At a quarter to ten, neat, spruce and dandified as ever, he made his way to
the restaurant car, where a chorus of woe was going on.
Any barriers there might have been between the passengers
(ëþáûå
= âñå
áàðüåðû
, êîòîðûå
åùå
îñòàâàëèñü
ìåæäó
ïàññàæèðàìè
) had now quite broken down
(òåïåðü
ñîâåðøåííî
ðàçðóøèëèñü
; to break (broke, broken) down —
ñëîìàòü,
ðàçðóøèòü)
. All were united (
âñå
áûëè
îáúåäèíåíû;
to unite — ñîåäèíÿòü
; îáúåäèíÿòü
) by a common misfortune
(îáùèì
íåñ÷àñòüåì
). Mrs. Hubbard was loudest
(ìèññèñ
Õàááàðä
áûëà
ñàìîé
ãðîìêîé
/øóìëèâîé
) in her lamentations
(â
ñâîèõ
æàëîáàõ
/ñåòîâàíèÿõ
; to lament —
ïëàêàòü;
ñîêðóøàòüñÿ,
ñåòîâàòü)
.
“My daughter said (
ìîÿ
äî÷ü
ãîâîðèëà)
it would be the easiest way in the world (
÷òî
ýòî
áóäåò
ñàìûé
ëåãêèé/
óäîáíûé
ïóòü/
ìàðøðóò
â
ìèðå)
. Just
sit
in
the
train
(ïðîñòî ñèäè â ïîåçäå)
until
I
got
to
Paris
(äî òåõ ïîð, ïîêà íå ïðèáóäåøü â Ïàðèæ;
to
get (
got) — äîñòàâàòü;
to
get
to
a
place — ïîïàäàòü, ïðèáûâàòü êóäà-ëèáî, äîáèðàòüñÿ
äî êàêîãî-ëèáî ìåñòà)
. And
now
we
may
be
here
for
days
and
days
(à òåïåðü ìû ìîæåì çàñòðÿòü çäåñü íà ìíîãèå-ìíîãèå
äíè),” she
wailed
(æàëîâàëàñü îíà;
to
wail — âîïèòü; ñåòîâàòü, æàëîâàòüñÿ
). “
And
my
boat
sails
day
after
to-
morrow
(à ìîé ïàðîõîä îòïëûâàåò ïîñëåçàâòðà;
boat — ëîäêà; ñóäíî, êîðàáëü;
to
sail — ïëàâàòü; ïëûòü ïîä ïàðóñàìè; îòïëûâàòü,
îòõîäèòü /î ñóäíå/)
. How
am
I
going
to
catch
it
now
(êàê æå ìíå íà íåãî òåïåðü óñïåòü;
to
catch — ïîéìàòü, ñõâàòèòü; óñïåòü, ïîñïåòü
/íà ïîåçä, ñàìîëåò è ò.ï./)
? Why
, I
can
’t
even
wire
(áà, ÿ äàæå íå ìîãó îòïðàâèòü òåëåãðàììó;
to
wire — òåëåãðàôèðîâàòü;
wire — ïðîâîëîêà
)
to
cancel
my
passage
(÷òîáû àííóëèðîâàòü/îòìåíèòü áèëåò;
to
cancel — âû÷åðêèâàòü /íàïèñàííîå/; àííóëèðîâàòü;
passage — ïðîõîä; ïëàòà çà ïðîåçä /íà
ïàðîõîäå, ñàìîëåòå/)
. I
’m
just
too
mad
(ÿ ïðîñòî âíå ñåáÿ;
mad — ñóìàñøåäøèé; ðàçã. ðàññåðæåííûé, âíå
ñåáÿ)
to
talk
about
it
(÷òîáû ãîâîðèòü îá ýòîì)
!”
misfortune
[mIs'fO:tS(q)n] lamentation
["lxmqn'teIS(q)n] cancel
['kxns(q)l]
Any barriers there might have been between the passengers had now quite broken
down. All were united by a common misfortune. Mrs. Hubbard was loudest in her lamentations.
“My daughter said it would be the easiest way in the world. Just sit in the
train until I got to Paris. And now we may be here for days and days,” she wailed. “And my boat sails day after to-morrow. How am I going to catch it now? Why, I can’t even wire to cancel my passage. I’m just too mad
to talk about it!”
The Italian said
(èòàëüÿíåö
ñêàçàë
) that he had urgent business himself in Milan
(÷òî
ó
íåãî
ñàìîãî
ñðî÷íîå
/íåîòëîæíîå
äåëî
â
Ìèëàíå
). The large American said
(êðóïíûé
àìåðèêàíåö
ñêàçàë
) that that was “too bad, Ma’am,”
(÷òî
«åìó
î÷åíü
æàëü
, ìýì
»; it's too bad! —
êàê
æàëü: «
ýòî
ñëèøêîì
ïëîõî»
) and soothingly expressed a hope
(è
óñïîêàèâàþùå
âûðàçèë
íàäåæäó
; to soothe —
óñïîêàèâàòü,
óòåøàòü)
that the train might make up time (
÷òî
ïîåçä,
ìîæåò
áûòü,
íàâåðñòàåò
âðåìÿ
â
ïóòè;
to make up — ñîñòàâëÿòü
; âîñïîëíÿòü
, âîçìåùàòü
).
“My sister — her children wait me
(ìîÿ
ñåñòðà
— åå
äåòè
æäàòü
ìåíÿ
; çäåñü
è
äàëüøå
øâåäêà
ãîâîðèò
íà
ëîìàíîì
àíãëèéñêîì
),” said the Swedish lady
(ñêàçàëà
øâåäêà
: «øâåäñêàÿ
äàìà
»), and wept
(è
çàïëàêàëà
; to weep (wept)
). “
I
get
no
word
to
them
(ÿ íå ïåðåäàòü èì íè ñëîâà)
. What they think
(÷òî
îíè
äóìàòü
)? They will say
(îíè
ñêàæóò
) bad things have happen to me
(÷òî
ïëîõèå
âåùè
ñëó÷àòüñÿ
ñî
ìíîé
).”
urgent
['q:dZ(q)nt] soothingly
['su:DINlI] happen
['hxpqn]
The Italian said that he had urgent business himself in Milan. The large American
said that that was “too bad, Ma’am,” and soothingly expressed a hope that the train might make up time.
“My sister — her children wait me,” said the Swedish lady, and wept.
“I get no word to them. What they think? They will say bad things have happen to me.”
“How long shall we be here
(êàê
äîëãî
ìû
çäåñü
ïðîáóäåì
)?” demanded Mary Debenham
(íàñòîé÷èâî
ñïðîñèëà
Ìýðè
Äýáåíõýì
; to demand —
òðåáîâàòü;
ñïðàøèâàòü,
íàñòîé÷èâî
òðåáîâàòü
îòâåòà)
. “Doesn’t anybody know (
ðàçâå
íèêòî
íå
çíàåò)
?”
Her voice sounded impatient
(åå
ãîëîñ
çâó÷àë
íåòåðïåëèâî
; (im)patient — (
íå)
òåðïåëèâûé)
, but Poirot noted (
íî
Ïóàðî
îáðàòèë
âíèìàíèå)
that there were no signs (
÷òî /
ó
íåå/
íå
áûëî
íèêàêèõ
ïðèçíàêîâ;
sign — ïðèçíàê
, ïðèìåòà
) of that almost feverish anxiety
(òîé
ïî÷òè
÷òî
ëèõîðàäî÷íîé
òðåâîãè
/áîÿçíè
; fever —
ëèõîðàäêà;
íåðâíîå
âîçáóæäåíèå)
which she had displayed (
êîòîðóþ
îíà
ïðîÿâëÿëà;
to display — ïîêàçûâàòü
; äåìîíñòðèðîâàòü
, ïðîÿâëÿòü
) during the check to the Taurus Express
(âî
âðåìÿ
/ïðåäûäóùåé
/ îñòàíîâêè
ýêñïðåññà
«Òàâðû
»; check —
ïðåïÿòñòâèå;
îñòàíîâêà,
çàäåðæêà)
.
Mrs.
Hubbard
was
off
again
(ìèññèñ Õàááàðä ñíîâà íà÷àëà /î ñâîåì/;
to
be
off — óõîäèòü; ðàçã. íà÷àòü ãîâîðèòü äîëãî
è íóäíî).
demand
[dI'mQ:nd] impatient
[Im'peIS(q)nt] feverish
['fi:v(q)rIS] anxiety
[xN'zaIqtI] check
[tSek]
“How long shall we be here?” demanded Mary Debenham. “Doesn’t anybody
know?”
Her voice sounded impatient, but Poirot noted that there were no signs of that
almost feverish anxiety which she had displayed during the check to the Taurus Express.
Mrs. Hubbard was off again.
“
There
isn’
t
anybody
(íåò íè îäíîãî)
knows
a
thing
(êòî çíàåò õîòü ÷òî-íèáóäü)
on
this
train
(íà ýòîì ïîåçäå)
. And
nobody
’s
trying
to
do
anything
(è íèêòî íå ïûòàåòñÿ ÷òî-íèáóäü ïðåäïðèíÿòü)
. Just
a
pack
of
useless
foreigners
(ïðîñòî êó÷à íèêóäà íå ãîäíûõ èíîñòðàíöåâ;
pack — òþê, ñâÿçêà; ãðóïïà, êó÷êà;
useless — áåñïîëåçíûé; íåïðèãîäíûé
).
Why,
if
this
were
at
home
(âåäü åñëè áû ýòî ñëó÷èëîñü /ó ìåíÿ/ íà ðîäèíå;
home — äîì, æèëèùå; ðîäèíà
),
there’
d
be
someone
(òî òàì íàøåëñÿ áû êòî-íèáóäü)
at
least
trying
to
do
something
(êòî, ïî êðàéíåé ìåðå, ïîïûòàëñÿ áû ñäåëàòü ÷òî-ëèáî)
!”
Arbuthnot
turned
to
Poirot
(Àðáýòíîò ïîâåðíóëñÿ ê Ïóàðî)
and
spoke
in
careful
British
French
(è çàãîâîðèë íà ñòàðàòåëüíîì áðèòàíñêîì ôðàíöóçñêîì;
careful — çàáîòëèâûé; ñòàðàòåëüíûé,
òùàòåëüíûé).
“
Vous ê
tes
un
directeur
de
la
ligne,
je
crois,
Monsieur
(ôð.
íàñêîëüêî ÿ ïîíèìàþ, âû óïðàâëÿþùèé ýòîé êîìïàíèè, ìñüå)
. Vous
pouvez
nous
dire
(
ôð. íå ìîæåòå ëè âû ñêàçàòü)
— ”
Smiling,
Poirot
corrected
him
(óëûáàÿñü, Ïóàðî ïîïðàâèë åãî;
to
correct — èñïðàâëÿòü; êîððåêòèðîâàòü
).
“
No,
no,”
he
said
in
English
(íåò-íåò, — ñêàçàë îí ïî-àíãëèéñêè)
. “It
is
not
I
(ýòî íå ÿ)
. You
confound
me
with
my
friend
, M
. Bouc
(âû ïåðåïóòàëè ìåíÿ ñ ìîèì äðóãîì, ìñüå Áóêîì;
to
confound — ñìóùàòü, ñáèâàòü ñ òîëêó; ñìåøèâàòü,
ñïóòûâàòü).”
“
Oh,
I’
m
sorry
(î, èçâèíèòå).”
useless ['ju:slIs]
foreigner ['f
OrInq]
careful ['keqf(q)l]
“There isn’t anybody knows a thing on this train. And nobody’s trying
to do anything. Just a pack of useless foreigners. Why, if this were at home, there’d be someone at least trying to do something!”
Arbuthnot turned to Poirot and spoke in careful British French.
“Vous êtes un directeur de la ligne, je crois, Monsieur.
Vous pouvez nous dire — ”
Smiling, Poirot corrected him.
“No, no,” he said in English. “It is not I. You confound me with my friend,
M. Bouc.”
“Oh, I’m sorry”
“Not at all
(íè÷åãî
ñòðàøíîãî
). It is most natural
(ýòî
âïîëíå
åñòåñòâåííî
). I am now in the compartment
(ñåé÷àñ
ÿ
/åäó
/ â
òîì
êóïå
) that he had formerly
(êîòîðîå
ðàíüøå
çàíèìàë
îí
).”
M. Bouc was not present in the restaurant car
(ìñüå
Áóêà
â
âàãîíå
-ðåñòîðàíå
íå
áûëî
; present —
ïðèñóòñòâóþùèé)
. Poirot looked about (
Ïóàðî
îãëÿäåëñÿ;
to look about — îãëÿäûâàòüñÿ
âîêðóã
, îçèðàòüñÿ
) to notice who else was absent
(÷òîáû
çàìåòèòü
, êòî
åùå
îòñóòñòâîâàë
; absent —
îòñóòñòâóþùèé)
.
Princess Dragomiroff was missing
(íå
áûëî
êíÿãèíè
Äðàãîìèðîâîé
; to miss —
ïðîìàõíóòüñÿ;
ïðîïóñòèòü,
íå
ÿâèòüñÿ)
, and the Hungarian couple (
è
âåíãåðñêîé
ïàðû;
couple — ïàðà
, ïàðíûå
ïðåäìåòû
; ïàðà
/ñóïðóãè
, æåíèõ
è
íåâåñòà
/)
. Also Ratchett (
òàêæå /
íå
áûëî/
Ðýò÷åòòà)
, his valet (
åãî
ñëóãè)
, and the German lady’s-maid (
è
íåìêè-
êàìåðèñòêè)
.
The Swedish lady wiped her eyes
(øâåäêà
âûòåðëà
ãëàçà
).
“I am foolish
(ÿ
ãëóïàÿ
),” she said. “I am bad to cry
(ÿ
ïëîõîé
ïëàêàòü
). All is for the best
(âñå
ê
ëó÷øåìó
), whatever happen
(÷òîáû
íå
ñëó÷èëîñü
).”
formery
['fO:mqlI] notice
['nqVtIs] absent
['xbs(q)nt]
“Not at all. It is most natural. I am now in the compartment that he had
formerly.”
M. Bouc was not present in the restaurant car. Poirot looked about to notice
who else was absent.
Princess Dragomiroff was missing, and the Hungarian couple. Also Ratchett,
his valet, and the German lady’s-maid.
The Swedish lady wiped her eyes.
“I am foolish,” she said. “I am bad to cry. All is for the best, whatever
happen.”
This Christian spirit, however
(ýòîò
õðèñòèàíñêèé
äóõ
, îäíàêî
), was far from being shared
(íèêòî
íå
ðàçäåëÿë
: «áûë
äàëåêèì
îò
òîãî
, ÷òîáû
áûòü
ðàçäåëåííûì
»; to share —
äåëèòü;
ðàçäåëÿòü /
ìíåíèå,
âêóñû
è
ò.
ï./
).
“That’s all very well (
âñå
ýòî
î÷åíü
õîðîøî)
,” said MacQueen restlessly (
ñêàçàë
Ìàêêóèí
áåñïîêîéíî;
rest — ïîêîé
, îòäûõ
).
“We
may
be
here
for
days
(ìû ìîæåì çàñòðÿòü: «áûòü» çäåñü íà íåñêîëüêî
äíåé).”
“
What
is
this
country
anyway
(à ÷òî ýòî çà ñòðàíà, êñòàòè)
?” demanded
Mrs
. Hubbard
tearfully
(ñëåçëèâî ñïðîñèëà ìèññèñ Õàááàðä;
tear — ñëåçà;
tearful — ïëà÷óùèé, ïîëíûé ñëåç
).
On
being
told
it
was
Jugo
-Slavia
(êîãäà åé ñêàçàëè, ÷òî ýòî áûëà Þãîñëàâèÿ)
, she
said
: “Oh
! one
of
these
Balkan
things
(î, îäíà èç ýòèõ áàëêàíñêèõ ñòðàí;
thing — âåùü, ïðåäìåò, ñóùåñòâî è ò.ï.
).
What can you expect (
÷òî
æå
îæèäàòü-
òî)
?”
“You are the only patient one, Mademoiselle
(âû
åäèíñòâåííàÿ
òåðïåëèâàÿ
/ïàññàæèðêà
/, ìàäìóàçåëü
),” said Poirot to Miss Debenham.
She shrugged her shoulders slightly
(îíà
ñëåãêà
ïîæàëà
ïëå÷àìè
; to shrug —
ïîæèìàòü /
ïëå÷àìè/
). “What can one do
(÷òî
òóò
ïîäåëàåøü
)?”
“You are a philosopher, Mademoiselle
(âû
ôèëîñîô
, ìàäìóàçåëü
).”
Christian ['krIstSqn, 'krIstIqn]
shared [Seqd]
tearful ['tIqf(q)l]
patient ['peIS(q)nt]
This Christian spirit, however, was far from being shared.
“That’s all very well,” said MacQueen restlessly. “We may be here for
days.”
“What is this country anyway?” demanded Mrs. Hubbard tearfully.
On being told it was Jugo-Slavia, she said: “Oh! one of these Balkan things.
What can you expect?”
“You are the only patient one, Mademoiselle,” said Poirot to Miss Debenham.
She shrugged her shoulders slightly. “What can one do?”
“You are a philosopher, Mademoiselle.”
“
That
implies
a
detached
attitude
(ýòî ïðåäïîëàãàåò áåñïðèñòðàñòíîå îòíîøåíèå;
to
imply — ïîäðàçóìåâàòü; îçíà÷àòü;
detached — îòäåëüíûé; íåïðåäóáåæäåííûé
).
I
think
my
attitude
(ÿ ñ÷èòàþ, ÷òî ìîå îòíîøåíèå)
is
more
selfish
(áîëåå ýãîèñòè÷íîå)
. I
have
learned
(ÿ ïðîñòî íàó÷èëàñü)
to
save
myself
useless
emotion
(èçáàâëÿòü/óáåðåãàòü ñåáÿ îò áåñïîëåçíûõ ýìîöèé;
to
save — ñïàñàòü, óáåðåãàòü
).”
She was speaking more to herself
(îíà
ãîâîðèëà
/ñêîðåå
/ áîëüøå
ñ
ñîáîé
) than to him
(÷åì
ñ
íèì
). She was not even looking at him
(îíà
äàæå
íå
ñìîòðåëà
íà
íåãî
). Her gaze went past him
(åå
ïðèñòàëüíûé
âçãëÿä
øåë
= áûë
íàïðàâëåí
ìèìî
íåãî
), out of the window
(çà
îêíî
) to where the snow lay in heavy masses
(òóäà
, ãäå
ëåæàë
ñíåã
, îãðîìíûìè
ñóãðîáàìè
; mass —
ìàññà;
êó÷à,
ãðóäà,
ãëûáà)
.
“You are a strong character, Mademoiselle
(ó
âàñ
ñèëüíûé
õàðàêòåð
, ìàäìóàçåëü
),” said Poirot gently
(ó÷òèâî
ñêàçàë
Ïóàðî
; gently —
ìÿãêî,
ñïîêîéíî)
. “You are, I think (
ó
âàñ,
ÿ
äóìàþ)
, the strongest character amongst us (
ñàìûé
ñèëüíûé
õàðàêòåð
èç
âñåõ
íàñ)
.”
detached
[dI'txtSt] attitude
['xtItju:d] useless
['ju:slIs] mass
[mxs]
“That implies a detached attitude. I think my attitude is more selfish. I
have learned to save myself useless emotion.”
She was speaking more to herself than to him. She was not even looking at him.
Her gaze went past him, out of the window to where the snow lay in heavy masses.
“You are a strong character, Mademoiselle,” said Poirot gently. “You
are, I think, the strongest character amongst us.”
“
Oh!
no.
No,
indeed
(íåò, â ñàìîì äåëå).
I
know
one
far
(ÿ çíàþ êîå-êîãî = îäíîãî ÷åëîâåêà, /êîòîðûé/ ãîðàçäî;
one — îäèí; êàêîé-òî, íåêòî
),
far
stronger
than
I
am
(ãîðàçäî ñèëüíåå ÷åì ÿ)
.”
“And that is
(è
ýòî
) — ?”
She seemed suddenly to come to herself
(îíà
, êàçàëîñü
, âíåçàïíî
ïðèøëà
â
ñåáÿ
; to come to oneself —
ïðèéòè
â
ñîçíàíèå;
ïðèéòè
â
ñåáÿ;
îáðåñòè
ñïîñîáíîñòü
çäðàâî
ðàññóæäàòü)
, to realize (
÷òîáû
ïîíÿòü;
to realize — îñóùåñòâèòü
; ïðåäñòàâëÿòü
ñåáå
, ÿñíî
ïîíèìàòü
) that she was talking to a stranger and foreigner
(÷òî
îíà
ãîâîðèëà
ñ
íåçíàêîìöåì
, /ê
òîìó
æå
/ èíîñòðàíöåì
), with whom, until this morning
(ñ
êîòîðûì
, äî
ýòîãî
ñàìîãî
óòðà
), she had exchanged only half a dozen sentences
(îíà
îáìåíÿëàñü
òîëüêî
ïîëóäþæèíîé
ïðåäëîæåíèé
; to exchange —
ìåíÿòü;
îáìåíèâàòü(
ñÿ); half —
ïîëîâèíà; dozen —
äþæèíà)
.
She laughed
(îíà
çàñìåÿëàñü
), a polite but estranging laugh
(âåæëèâûì
, íî
õîëîäíûì
ñìåõîì
; to estrange —
îòäàëÿòü,
äåëàòü
÷óæäûì; estranging —
îòäåëÿþùèé;
õîëîäíûé (
îá
îòíîøåíèè)
).
exchange [Iks'tSeIndZ]
estrange [I'streIndZ]
laugh [lQ:f]
“Oh! no. No, indeed. I know one far, far stronger than I am.”
“And that is — ?”
She seemed suddenly to come to herself, to realise that she was talking to
a stranger and foreigner, with whom, until this morning, she had exchanged only half a dozen sentences.
She laughed, a polite but estranging laugh.
“Well — that old lady, for instance
(íó
, òà
ñòàðàÿ
äàìà
, íàïðèìåð
). You have probably noticed her
(âû
, âîçìîæíî
, çàìåòèëè
åå
). A very ugly old lady
(î÷åíü
óðîäëèâàÿ
ïîæèëàÿ
ëåäè
) but rather fascinating
(íî
âïîëíå
ïðèâëåêàåò
âíèìàíèå
; to fascinate —
î÷àðîâûâàòü;
óâëåêàòü,
âûçûâàòü
ãëóáîêèé
èíòåðåñ)
. She has only to lift a little finger (
ñòîèò
åé
òîëüêî
øåâåëüíóòü
ìèçèíöåì: «
ïîäíÿòü
ìàëåíüêèé
ïàëåö»)
and ask for something in a polite voice (
è
ïîïðîñèòü
÷åãî-
íèáóäü
âåæëèâûì
ãîëîñîì)
— and the whole train runs (
è
âåñü
ïîåçä
áåæèò /
èñïîëíÿòü
ïðîñüáó/)
.”
“It runs also for my friend M. Bouc (
âåñü
ïîåçä: «
îí»
áåæèò
è
äëÿ
ìîåãî
äðóãà
ìñüå
Áóêà)
,” said Poirot. “
But
that
is
because
(íî ýòî îò òîãî)
he
is
a
director
of
the
line
(÷òî îí óïðàâëÿþùèé ýòîé æåëåçíîé äîðîãè;
line — ëèíèÿ; æ.-ä. ðåëüñîâûé ïóòü
),
not
because
he
has
a
strong
character
(à íå èç-çà òîãî, ÷òî îí îáëàäàåò ñèëüíûì õàðàêòåðîì)
.”
Mary
Debenham
smiled
(Ìýðè Äåáåíõýì óëûáíóëàñü)
.
ugly ['AglI]
fascinating ['fxsIneItIN]
character ['kxrIktq]
“Well — that old lady, for instance. You have probably noticed her. A very
ugly old lady but rather fascinating. She has only to lift a little finger and ask for something in a polite voice — and the whole train runs.”
“It runs also for my friend M. Bouc,” said Poirot. “But that is because
he is a director of the line, not because he has a strong character.”
Mary Debenham smiled.
The morning wore away (
óòðî
çàêîí÷èëîñü;
to wear (wore, worn) away — ñòèðàòüñÿ
; èñòåêàòü
/î
âðåìåíè
/)
. Several people, Poirot amongst them (
íåñêîëüêî
÷åëîâåê: «
ëþäåé»,
è
Ïóàðî
ñðåäè
íèõ)
, remained in the dining-car (
îñòàëèñü
â
âàãîíå-
ðåñòîðàíå)
. The
communal
life
was
felt
(÷óâñòâîâàëîñü, ÷òî îáùåíèå /â êîìïàíèè/: «îáùåñòâåííàÿ æèçíü»;
communal — îáùèííûé, îáùåñòâåííûé, îòíîñÿùèéñÿ
ê îáùèíå; to
feel (
felt) — òðîãàòü; ÷óâñòâîâàòü, îùóùàòü
),
at
the
moment
(â ýòîò ñàìûé ìîìåíò),
to
pass
the
time
better
(/ïîìîæåò/ ëó÷øå ñêîðîòàòü âðåìÿ;
to
pass — èäòè, ïðîõîäèòü; ïðîòåêàòü, ïðîõîäèòü
/î âðåìåíè/).
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