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 (9).
Àãàòà Êðèñòè. (9 ñòð.êíèãè)
Dr. Constantine’s thoughts ran thus
(òàêèì
âîò
îáðàçîì
øëè
äîêòîðà
Êîíñòàíòèíà
; to run (ran, run) —
áåæàòü)
:
“
He
is
queer,
this
little
man
(îí ñòðàííûé, ýòîò êîðîòûøêà;
queer — ñòðàííûé, íåîáû÷íûé; ñòðàííûé, ÷óäàêîâàòûé,
ýêñöåíòðè÷íûé; little
— ìàëåíüêèé, íåáîëüøîé /î ðàçìåðå/; íåâûñîêèé, íåáîëüøîãî ðîñòà
).
A
genius
(ãåíèé; genius
— îäàðåííîñòü; ãåíèàëüíûé ÷åëîâåê
)?
Or
a
crank
(èëè ÷óäàê; crank
— ïðè÷óäà, ïðèõîòü; ÷óäàê, ÷åëîâåê ñ ïðè÷óäàìè
)?
Will
he
solve
this
mystery
(ðàçðåøèò ëè îí ýòó òàéíó)
? Impossible
(íåâîçìîæíî)
— I
can
see
no
way
out
of
it
(ÿ íå âèæó íè îäíîãî ðåøåíèÿ: «íå ìîãó âèäåòü íè
îäíîãî âûõîäà èç íåå /òàéíû/»).
It
is
all
too
confusing
(âñå ñëèøêîì çàïóòàíî;
to
confuse — ñìóùàòü; çàïóòûâàòü, óñëîæíÿòü
). ...
Everyone
is
lying,
perhaps
(âîçìîæíî, ÷òî âñå ëãóò: «êàæäûé âðåò/îáìàíûâàåò»)
. ... But
even
then
(íî äàæå â òàêîì ñëó÷àå)
, that
does
not
help
one
(ýòî íå î÷åíü-òî /íàì/ ïîìîãàåò)
. If
they
are
all
lying
, it
is
just
as
confusing
(åñëè îíè âñå âðóò, ýòî íàñòîëüêî æå çàïóòûâàåò
äåëî) as
if
they
were
speaking
the
truth
(êàê åñëè áû îíè âñå ãîâîðèëè ïðàâäó)
. Odd
about
those
wounds
(/è êàê/ ñòðàííî ñ ýòèìè ðàíàìè;
odd — íå÷åòíûé; ñòðàííûé, íåîáû÷íûé
).
I
cannot
understand
it
(íå ìîãó ïîíÿòü). ...
It
would
be
easier
to
understand
if
he
had
been
shot
(áûëî áû ëåã÷å ïîíÿòü, åñëè áû åãî çàñòðåëèëè;
to
shoot (
shot) — ñòðåëÿòü; ïîïàñòü, ïîðàçèòü /èç îãíåñòðåëüíîãî
îðóæèÿ/) —
after
all,
the
term ‘
gunman’
must
mean
that
they
shoot
with
a
gun
(â êîíöå êîíöîâ, âûðàæåíèå "âîîðóæåííûé áàíäèò" äîëæíî îçíà÷àòü, ÷òî îí ñòðåëÿåò:
«îíè ñòðåëÿþò» èç îãíåñòðåëüíîãî îðóæèÿ; gun
— îðóäèå, ïóøêà; ðóæüå; àìåð. ðàçã. ðåâîëüâåð, ïèñòîëåò
).
course [kO:s]
traverse [trq'vq:s]
queer [kwIq]
genius ['dZi:nIqs]
And from there on, M. Bouc’s thoughts went along a well-worn course which
they had already traversed some hundred times.
Dr. Constantine’s thoughts ran thus:
“He is queer, this little man. A genius? Or a crank? Will he solve this mystery?
Impossible — I can see no way out of it. It is all too confusing. ... Everyone is lying, perhaps. ... But even then, that does not help one. If they are all lying, it is just as confusing as if they were speaking the truth.
Odd about those wounds. I cannot understand it. ... It would be easier to understand if he had been shot — after all, the term ‘gunman’ must mean that they shoot with a gun.
A curious country, America
(ëþáîïûòíàÿ
ñòðàíà
, Àìåðèêà
). I should like to go there
(ìíå
áû
õîòåëîñü
òóäà
ïîåõàòü
). It is so progressive
(îíà
òàêàÿ
ïåðåäîâàÿ
/ïðîãðåññèâíàÿ
). When I get home
(êîãäà
âåðíóñü
äîìîé
; to get home —
ïîïàñòü
äîìîé,
äîáðàòüñÿ
äî
äîìó)
I must get hold of Demetrius Zagone (
ÿ
äîëæåí
îáÿçàòåëüíî
âñòðåòèòüñÿ
ñ
Äåìåòðèóñîì
Çàãîíå;
hold — óäåðæèâàíèå
; çàõâàò
, õâàòêà
; to get hold of smb. — çàñòàòü
êîãî
-ëèáî
/íà
ìåñòå
, äîìà
è
ò
.ï
./)
— he has been to America (
îí
áûâàë
â
Àìåðèêå)
, he has all the modern ideas (
îí
çíàåò
âñå
ïåðåäîâûå
èäåè: «
ó
íåãî
åñòü
âñå
ñîâðåìåííûå
èäåè»)
. ... I wonder what Zia is doing at this moment (
èíòåðåñíî,
÷òî
ñåé÷àñ
Çèà
äåëàåò)
. If my wife ever finds out (
åñëè
ìîÿ
æåíà
êîãäà-
íèáóäü
óçíàåò;
to find out — ðàçóçíàòü
, âûÿñíèòü
) — ”
His thoughts went on to entirely private matters
(è
åãî
ìûñëè
ïåðåøëè
ê
âñåöåëî
ëè÷íûì
äåëàì
). ...
progressive
[prq'gresIv] entirely
[In'taIqlI] private
['praIvIt]
A curious country, America. I should like to go there. It is so progressive.
When I get home I must get hold of Demetrius Zagone — he has been to America, he has all the modern ideas. ... I wonder what Zia is doing at this moment. If my wife ever finds out — ”
His thoughts went on to entirely private matters. ...
Hercule Poirot sat very still
(Ýðêþëü
Ïóàðî
ñèäåë
/î÷åíü
/ íåïîäâèæíî
).
One might have thought he was asleep
(ìîæíî
áûëî
ïîäóìàòü
, ÷òî
îí
ñïèò
).
And then, suddenly, after a quarter of an hour’s complete immobility
(à
çàòåì
, âíåçàïíî
, ïîñëå
ïÿòíàäöàòè
ìèíóò
: «÷åòâåðòè
÷àñà
» ïîëíîé
íåïîäâèæíîñòè
) his eyebrows began to move slowly up his forehead
(åãî
áðîâè
ìåäëåííî
ïîïîëçëè
ââåðõ
: «åãî
áðîâè
íà÷àëè
äâèãàòüñÿ
ìåäëåííî
ââåðõ
åãî
ëáà
»). A
little
sigh
escaped
him
(îí ñëåãêà âçäîõíóë: «îí èñïóñòèë ñëàáûé âçäîõ»;
to
escape — áåæàòü /èç çàêëþ÷åíèÿ/; âûðûâàòüñÿ
/î ñëîâàõ, ñòîíå/)
. He murmured beneath his breath
(îí
áîðìîòàë
øåïîòîì
; beneath one's breath —
òèõî,
øåïîòîì; breath —
äûõàíèå;
âçäîõ)
.
“
But
after
all,
why
not
(íî, â êîíöå êîíöîâ, ïî÷åìó áû è íåò)
? And
if
so
(è åñëè /ýòî/ òàê)
— why
, if
so
, that
would
explain
everything
(áà, äà åñëè ýòî òàê, òî ýòî âñå îáúÿñíÿåò)
.”
His
eyes
opened
(ãëàçà åãî îòêðûëèñü).
They
were
green
like
a
cat’
s
(îíè áûëè çåëåíûå, êàê ó êîøêè)
. He
said
softly
(îí òèõî ñêàçàë;
soft — ìÿãêèé; òèõèé, ñïîêîéíûé
): “
Eh
bien
(ôð.
òàê).
I
have
thought
(ÿ ïîäóìàë = âñå îáäóìàë)
. And
you
(à âû)
?”
immobility ["ImqV'bIlItI]
beneath [bI'ni:T]
breath [breT]
Hercule Poirot sat very still.
One might have thought he was asleep.
And then, suddenly, after a quarter of an hour’s complete immobility his
eyebrows began to move slowly up his forehead. A little sigh escaped him. He murmured beneath his breath.
“But after all, why not? And if so — why, if so, that would explain everything.”
His eyes opened. They were green like a cat’s. He said softly: “
Eh bien. I have thought. And you?”
Lost in their reflections
(ïîãðóæåííûå
â
ñâîè
ðàçìûøëåíèÿ
; to lose (lost) —
òåðÿòü;
óãëóáèòüñÿ,
ïîãðóçèòüñÿ
âî
÷òî-
ëèáî; reflection —
îòðàæåíèå;
ðàçìûøëåíèå,
ðàçäóìüå)
, both men started violently (
îáà /
ìóæ÷èíû/
ñèëüíî
âçäðîãíóëè /
îò
íåîæèäàííîñòè/;
violent — íåèñòîâûé
, ÿðîñòíûé
; ñèëüíûé
, ðåçêèé
).
“I have thought also
(ÿ
òîæå
îáäóìûâàë
),” said M. Bouc, just a shade guiltily
(ñ
íåìíîãî
âèíîâàòûì
âèäîì
; shade —
òåíü,
ïîëóìðàê;
òåíü,
íàìåê; guilty —
âèíà;
ñîçíàíèå
âèíû; guiltily —
âèíîâàòî)
. “But I have arrived at no conclusion (
íî
ÿ
íå
ïðèøåë
íè
ê
êàêîìó
âûâîäó)
. The elucidation of crime (
ðàñêðûòèå
ïðåñòóïëåíèé;
to elucidate — ïðîëèâàòü
ñâåò
, ðàçúÿñíÿòü
; elucidation — ðàçúÿñíåíèå
, ïîÿñíåíèå
) is your métier
(ýòî
âàøà
ïðîôåññèÿ
; métier —
ôð.
ðîä
äåÿòåëüíîñòè,
çàíÿòèå,
ðåìåñëî)
, not mine (
à
íå
ìîÿ)
, my friend.”
reflection
[rI'flekS(q)n] guiltily
['gIltIlI] elucidation
[I"lu:sI'deIS(q)n]
metier
['me(I)tIeI]
Lost in their reflections, both men started violently.
“I have thought also,” said M. Bouc, just a shade guiltily. “But I have
arrived at no conclusion. The elucidation of crime is your métier, not mine, my friend.”
“I, too, have reflected (
ÿ
òîæå
ðàçìûøëÿë;
to reflect — îòðàæàòü
; ðàçìûøëÿòü
, ðàçäóìûâàòü
) with great earnestness
(ñî
âñåé
ñåðüåçíîñòüþ
; great —
áîëüøîé,
çíà÷èòåëüíûé; earnest —
ñåðüåçíîñòü,
íåøóòî÷íîñòü)
,” said the doctor, unblushingly recalling his thoughts
(áåççàñòåí÷èâî
îòâëåêàÿñü
: «îòâëåêàÿ
ñâîè
ìûñëè
»; to blush —
êðàñíåòü,
ñìóùàòüñÿ,
ñòûäèòüñÿ; to recall —
îòçûâàòü /
ïîñëà,
äåïóòàòà
è
ò.
ï./;
âûâîäèòü /
èç
êàêîãî-
ëèáî
ñîñòîÿíèÿ/,
îòâëåêàòü /
îò
÷åãî-
ëèáî/
) from certain pornographic details
(îò
íåêîòîðûõ
íåïðèñòîéíûõ
: «ïîðíîãðàôè÷åñêèõ
» ïîäðîáíîñòåé
).
“I
have
thought
of
many
possible
theories
, but
not
one
(ÿ ïîäóìàë î ìíîæåñòâå âîçìîæíûõ òåîðèé, íî /òàê
è íå ïðèäóìàë/ òîé òåîðèè)
that
really
satisfies
me
(êîòîðàÿ áû ìåíÿ äåéñòâèòåëüíî óäîâëåòâîðèëà)
.”
Poirot
nodded
amiably
(Ïóàðî äðóæåñêè êèâíóë)
. His
nod
seemed
to
say
(åãî êèâîê, êàçàëîñü, ãîâîðèë)
:
“
Quite
right
(ñîâåðøåííî âåðíî).
That
is
the
proper
thing
to
say
(òàê è ñëåäîâàëî ñêàçàòü: «ýòî ïðàâèëüíûå/íàäëåæàùèå ñëîâà, êîòîðûå íàäî ñêàçàòü»;
proper — ïðèñóùèé, ñâîéñòâåííûé; ïðàâèëüíûé,
íàäëåæàùèé).
You
have
given
me
the
cue
I
expected
(âû èçðåêëè: «äàëè ìíå òàêóþ ðåïëèêó» /÷òî/ ÿ è îæèäàë;
cue — òåàòð. ðåïëèêà; àëëþçèÿ, íàìåê
).”
unblushing ["
An'
blASIN]
pornographic ["
pO:
nq'
grxfIk]
theory ['
TI(
q)
rI]
“I
, too
, have
reflected
with
great
earnestness
,” said
the doctor, unblushingly recalling his thoughts from certain pornographic details. “I have thought
of many possible theories, but not one that really satisfies me.”
Poirot nodded amiably. His nod seemed to say:
“Quite right. That is the proper thing to say. You have given me the cue
I expected.”
He sat very upright
(îí
ñåë
î÷åíü
ïðÿìî
; upright —
ïðÿìî,
âåðòèêàëüíî)
, threw out his chest (
âûïÿòèë
ãðóäü;
to throw (threw, thrown) out — âûáðàñûâàòü
; äåëàòü
âûïóêëûì
; chest — ÿùèê
, ñóíäóê
; àíàò
. ãðóäíàÿ
êëåòêà
, ãðóäü
), caressed his moustache
(ïðèãëàäèë
óñû
; to caress —
ëàñêàòü;
ãëàäèòü)
and spoke in the manner of a practised speaker (
è
çàãîâîðèë
â
ìàíåðå
îïûòíîãî
îðàòîðà;
to practise — òðåíèðîâàòüñÿ
, ïðàêòèêîâàòüñÿ
; speaker — ãîâîðÿùèé
; âûñòóïàþùèé
/íà
ñîáðàíèè
/, îðàòîð
) addressing a public meeting
(âûñòóïàþùåãî
ñ
ðå÷üþ
íà
ñîáðàíèè
; to address —
àäðåñîâàòü,
íàïðàâëÿòü;
âûñòóïàòü)
.
“My friends, I have reviewed the facts in my mind
(äðóçüÿ
ìîè
, ÿ
ïðîàíàëèçèðîâàë
â
óìå
âñå
ôàêòû
; to review —
ðàññìàòðèâàòü,
ïåðåñìàòðèâàòü,
ðàçáèðàòü)
, and have also gone over to myself (
è
ïîâòîðèë
ïðî
ñåáÿ;
to go over — ïîéòè
, ñõîäèòü
; ïåðå÷èòûâàòü
, ïîâòîðÿòü
/÷òî
-ëèáî
/)
the evidence of the passengers (
ïîêàçàíèÿ
ïàññàæèðîâ)
— with this result (
è
ïðèøåë
ê
òàêîìó
âûâîäó: «
ñ
òàêèì
ðåçóëüòàòîì»)
: I see, nebulously as yet, a certain explanation (
ÿ
âèæó,
ïîêà
åùå
ñìóòíî,
îïðåäåëåííîå
îáúÿñíåíèå)
that would cover the facts as we know them (
êîòîðîå
îõâàòèò
âñå
ôàêòû,
êîòîðûå
íàì
èçâåñòíû: «
êàê
ìû
èõ
çíàåì»;
to cover — ïîêðûâàòü
, çàêðûâàòü
; ïîêðûâàòü
, îõâàòûâàòü
, îòíîñèòüñÿ
ê
). It is a very curious explanation
(ýòî
î÷åíü
ñòðàííîå
= íåîáû÷íîå
îáúÿñíåíèå
), and I cannot be sure as yet that it is the true one
(è
ïîêà
ÿ
íå
ìîãó
áûòü
óâåðåííûì
, ÷òî
ýòî
âåðíîå
/îáúÿñíåíèå
/). To
find
out
definitely
(÷òîáû îïðåäåëåííî ýòî âûÿñíèòü)
I
shall
have
to
make
certain
experiments
(ÿ äîëæåí áóäó ïðîâåñòè îïðåäåëåííûå ýêñïåðèìåíòû)
.
upright
['ApraIt] caress
[kq'res] moustache
[mq'stQ:S] nebulous
['nebjVlqs]
He sat very upright, threw out his chest, caressed his moustache and spoke
in the manner of a practised speaker addressing a public meeting.
“My friends, I have reviewed the facts in my mind, and have also gone over
to myself the evidence of the passengers — with this result: I see, nebulously as yet, a certain explanation that would cover the facts as we know them. It is a very curious explanation, and I cannot be sure as yet that
it is the true one. To find out definitely I shall have to make certain experiments.
“
I would
like
first to
mention
certain points
(äëÿ íà÷àëà ìíå áû õîòåëîñü óïîìÿíóòü îïðåäåëåííûå ìîìåíòû)
which
appear to
me
suggestive (êîòîðûå êàæóòñÿ ìíå íàâîäÿùèìè íà /îïðåäåëåííûå âûâîäû/;
to appear
— ïîÿâëÿòüñÿ, ïîêàçûâàòüñÿ; êàçàòüñÿ, ïðåäñòàâëÿòüñÿ
). Let
us
start with
a remark
made
to me
by
M. Bouc
(äàâàéòå íà÷íåì ñî ñëîâ, ñêàçàííûõ ìíå ìñüå Áóêîì;
to make
a
remark — ñäåëàòü, âûñêàçàòü çàìå÷àíèå
) in
this
very place
(â ýòîì æå ñàìîì ìåñòå = â âàãîíå-ðåñòîðàíå)
on
the occasion
of
our first
lunch
together on
the
train (ïî ñëó÷àþ íàøåãî ïåðâîãî ñîâìåñòíîãî îáåäà â ïîåçäå)
. He
commented on
the
fact (îí âûñêàçàë ñâîå ìíåíèå îòíîñèòåëüíî òîãî ôàêòà;
to comment
— êîììåíòèðîâàòü, òîëêîâàòü; âûñêàçûâàòüñÿ, ñîîáùàòü ñâîå ìíåíèå
) that
we
were surrounded
by
people of
all
classes (÷òî ìû îêðóæåíû ëþäüìè âñåõ ñîñëîâèé: «îáùåñòâåííûõ
êëàññîâ»), of
all ages
(âñåõ âîçðàñòîâ),
of all
nationalities
(âñåõ íàöèîíàëüíîñòåé).
That is
a fact
somewhat
rare at
this
time of
year
(÷òî ñëó÷àåòñÿ äîâîëüíî ðåäêî: «ýòî ñîáûòèå íåìíîãî ðåäêîå» â ýòî âðåìÿ ãîäà)
. The Athens-Paris and the Bucharest-Paris coaches for instance, are almost empty
(âàãîíû «
Àôèíû-Ïàðèæ
» è «
Áóõàðåñò-Ïàðèæ
», ê
ïðèìåðó, ïî÷òè
ïóñòû)
. Remember also
, the
passenger who
failed
to turn
up
(âñïîìíèòå òàêæå òîãî ïàññàæèðà, êîòîðûé òàê è íå ïîÿâèëñÿ;
to fail
— òåðïåòü íåóäà÷ó, to
fail
to do
smth. — íå ñóìåòü, áûòü íå â ñîñòîÿíèè ñäåëàòü
÷òî-ëèáî; to
turn up
— ïîäíèìàòü(ñÿ) êâåðõó, âíåçàïíî ïîÿâëÿòüñÿ, ïðèõîäèòü, ïðèåçæàòü
). He
is,
I think
, significant
(îí, êàê ìíå êàæåòñÿ, âàæåí; significant
— çíàìåíàòåëüíûé, âàæíûé; ñóùåñòâåííûé
).
suggestive
[sq'dZestIv] occasion
[q'keIZ(q)n] nationality
["nxSq'nxlItI]
significant
[sIg'nIfIkqnt]
“I would like first to mention certain points which appear to me suggestive.
Let us start with a remark made to me by M. Bouc in this very place on the occasion of our first lunch together on the train. He
commented on the fact that we were surrounded by people of all classes, of all ages, of all nationalities.
That is a fact somewhat rare at this time of year. The Athens-Paris and the Bucharest-Paris coaches, for instance, are almost empty. Remember also, the passenger who failed to turn up. He is, I think, significant.
Then there are some minor points
(çàòåì,
åñòü åùå
äåòàëè: «
íåêîòîðûå
ìåëêèå ìîìåíòû
»; minor — íåçíà÷èòåëüíûé
, âòîðîñòåïåííûé
) that strike me as suggestive
(êîòîðûå
êàæóòñÿ ìíå
ñóùåñòâåííûìè
: «íàâîäÿùèìè
íà
ðàçìûøëåíèÿ»;
to strike — óäàðÿòü
, áèòü;
ïîðàæàòü, ïðîèçâîäèòü
âïå÷àòëåíèå
, ïðèâëåêàòü
âíèìàíèå
) — for instance, the position of Mrs. Hubbard’s sponge-bag
(íàïðèìåð,
ïîëîæåíèå
ñóìî÷êè /äëÿ
âàííûõ
ïðèíàäëåæíîñòåé/
ìèññèñ Õàááàðä
), the name of Mrs. Armstrong’s mother
(ôàìèëèÿ
ìàòåðè ìèññèñ
Àðìñòðîíã
; name — èìÿ
, ôàìèëèÿ
), the detective methods of M. Hardman
(ñûñêíûå
ìåòîäû ìèñòåðà
Õàðäìàíà)
, the suggestion of M. MacQueen (
ïðåäïîëîæåíèå
ìèñòåðà Ìàêêóèíà
) that Ratchett himself destroyed the charred note we found
(÷òî
Ðýò÷åòò ñàì
óíè÷òîæèë
òó
îáóãëèâøóþñÿ
çàïèñêó, êîòîðóþ
ìû
íàøëè; to destroy —
ðàçðóøàòü;
óíè÷òîæàòü; to char —
îáæèãàòü, îáóãëèâàòü
(ñÿ)
), Princess Dragomiroff’s Christian name (
èìÿ êíÿãèíè
Äðàãîìèðîâîé
; Christian name —
èìÿ, äàííîå
ïðè
êðåùåíèè; èìÿ
/â
îòëè÷èå îò
ôàìèëèè/
), and a grease spot on a Hungarian passport
(è
æèðíîå ïÿòíî
íà
âåíãåðñêîì
ïàñïîðòå;
grease — òîïëåíîå
ñàëî,
æèð).”
minor
['maInq] suggestive
[sq'dZestIv] destroy
[dIs'trOI] char
[tSQ:] grease
[gri:s]
Then there are some minor points that strike me as suggestive — for instance,
the position of Mrs. Hubbard’s sponge-bag, the name of Mrs. Armstrong’s mother, the detective methods of M. Hardman, the suggestion of M. MacQueen that Ratchett himself destroyed the charred note we found, Princess Dragomiroff’s
Christian name, and a grease spot on a Hungarian passport.”
The
two
men
stared
at
him
(äâîå ìóæ÷èí óñòàâèëèñü íà íåãî /â óäèâëåíèè/)
.
“
Do
they
suggest
anything
to
you,
those
points
(îíè ãîâîðÿò âàì î ÷åì-íèáóäü, ýòè äåòàëè;
to
suggest — ïðåäëàãàòü, ñîâåòîâàòü; íàìåêàòü,
íàâîäèòü /íà ìûñëü/, ãîâîðèòü, îçíà÷àòü)
?” asked
Poirot
.
“
Not
a
thing
(íè÷åãî),”
said
M.
Bouc
frankly
(èñêðåííå ñêàçàë ìñüå Áóê;
frank — îòêðîâåííûé, èñêðåííèé, îòêðûòûé
).
“
And
M.
le
docteur
(à âàì, ãîñïîäèí äîêòîð)
?”
“
I
do
not
understand
in
the
least
what
you
are
talking
of
(ÿ âîîáùå íå ïîíèìàþ, î ÷åì âû ãîâîðèòå;
not
in
the
least — íè â ìàëåéøåé ñòåïåíè, íè÷óòü, íèñêîëüêî
).”
M.
Bouc,
meanwhile,
seizing
upon
the
one
tangible
thing
(òåì âðåìåíåì, ìñüå Áóê, óõâàòèâøèñü çà îäíó âåùåñòâåííóþ äåòàëü;
tangible — îñÿçàåìûé; ìàòåðèàëüíûé, ðåàëüíûé,
âåùåñòâåííûé)
his
friend
had
mentioned
(î êîòîðîé óïîìÿíóë åãî äðóã)
, was
sorting
through
the
passports
(óæå ïåðåáèðàë ïàñïîðòà;
to
sort — ðàçáèðàòü, ñîðòèðîâàòü;
through — çä. óêàçûâàåò íà ñîâåðøåíèå äåéñòâèÿ
îò íà÷àëà äî êîíöà)
. With
a
grunt
(õìûêíóâ;
grunt — õðþêàíüå; âîð÷àíèå
)
he
picked
up
that
of
Count
and
Countess
Andrenyi
and
opened
it
(îí âçÿë â ðóêè ïàñïîðò ãðàôà è ãðàôèíè Àíäðåíè è îòêðûë åãî;
to
pick
up — ïîäíèìàòü, ïîäáèðàòü
).
meanwhile ['mi:nwaIl]
tangible ['txndZqb(q)l]
through [Tru:]
The two men stared at him.
“Do they suggest anything to you, those points?” asked Poirot.
“Not a thing,” said M. Bouc frankly.
“And M. le docteur?”
“I do not understand in the least what you are talking of.”
M. Bouc, meanwhile, seizing upon the one tangible thing his friend had mentioned,
was sorting through the passports. With a grunt he picked up that of Count and Countess Andrenyi and opened it.
“Is this what you mean
(âû
ýòî
èìååòå
â
âèäó
)? This dirty mark
(ýòî
ãðÿçíîå
ïÿòíî
; mark —
çíàê;
ñëåä,
îòïå÷àòîê)
?”
“
Yes.
It
is
a
fairly
fresh
grease
spot
(ýòî ñîâåðøåííî ñâåæåå æèðíîå ïÿòíî;
fairly — ÷åñòíî, ñïðàâåäëèâî; ýìîö.-óñèë. ñîâåðøåííî,
ÿâíî, âåñüìà).
You
notice
where
it
occurs
(âû çàìåòèëè, ãäå îíî ðàñïîëîæèëîñü;
to
occur — ñëó÷àòüñÿ, ïðîèñõîäèòü; âñòðå÷àòüñÿ,
ïîïàäàòüñÿ)?”
“At the beginning of the description of the Count’s wife
(â
íà÷àëå
îïèñàíèÿ
æåíû
ãðàôà
) — her Christian name, to be exact
(íà
åå
èìåíè
, åñëè
áûòü
òî÷íûì
). But
I
confess
that
I
still
do
not
see
the
point
(íî ÿ /äîëæåí/ ïðèçíàòü, ÷òî ÿ âñå åùå íå âèæó â
÷åì ñóòü).”
dirty
['dq:tI] Christian
['krIstSqn, 'krIstIqn]
“Is this what you mean? This dirty mark?”
“Yes. It is a fairly fresh grease spot. You notice where it occurs?”
“At the beginning of the description of the Count’s wife — her Christian
name, to be exact. But I confess that I still do not see the point.”
“I
am
going
to
approach
it
from
another
angle
(ÿ ïîäîéäó ê ýòîìó /âîïðîñó/ ñ äðóãîé ñòîðîíû;
angle — óãîë; ñòîðîíà, îòâåò /âîïðîñà, äåëà
è ò.ï./).
Let us go back to the handkerchief found at the scene of the crime
(äàâàéòå
âåðíåìñÿ
íàçàä
, ê
ïëàòêó
, îáíàðóæåííîìó
íà
ìåñòå
ïðåñòóïëåíèÿ
). As we stated not long ago
(êàê
ìû
íå
òàê
äàâíî
óñòàíîâèëè
; to state —
èçëàãàòü,
çàÿâëÿòü;
óñòàíàâëèâàòü,
òî÷íî
îïðåäåëÿòü)
, three people are associated with the letter H (
òðè
÷åëîâåêà
ñâÿçàíû
ñ
áóêâîé
Í;
to associate — îáúåäèíÿòüñÿ
/â
îáùåñòâî
, áëîê
, ñîþç
/; àññîöèèðîâàòü
, íàïîìèíàòü
): Mrs. Hubbard, Miss Debenham and the maid
(è
ñëóæàíêà
), Hildegarde Schmidt. Now let us regard that handkerchief from another point of view
(òåïåðü
äàâàéòå
ðàññìîòðèì
ýòîò
íîñîâîé
ïëàòîê
ñ
äðóãîé
òî÷êè
çðåíèÿ
). It is, my friends, an extremely expensive handkerchief
(ýòî
, äðóçüÿ
ìîè
, ÷ðåçâû÷àéíî
äîðîãîñòîÿùèé
ïëàòîê
) — an
objet de luxe
(ôð
.
ïðåäìåò
ðîñêîøè)
, hand-made, embroidered in Paris (
ðó÷íîé
ðàáîòû,
óêðàøåííûé
âûøèâêîé
â
Ïàðèæå)
. Which of the passengers, apart from the initial (
êîìó
èç
ïàññàæèðîâ,
åñëè
íå
îáðàùàòü
âíèìàíèÿ
íà
èíèöèàë;
apart from — êðîìå
, íå
ñ÷èòàÿ
, íå
ãîâîðÿ
î
), was likely to own such a handkerchief
(ñêîðåå
âñåãî
, ïðèíàäëåæèò
òàêîé
ïëàòîê
; to own —
èìåòü,
âëàäåòü,
îáëàäàòü)
?
angle
['xNg(q)l] extremely
[Ik'stri:mlI] expensive
[Ik'spensIv]
“I am going to approach it from another angle. Let us go back to the handkerchief
found at the scene of the crime. As we stated not long ago, three people are associated with the letter H: Mrs. Hubbard, Miss Debenham and the maid, Hildegarde Schmidt. Now let us regard that handkerchief from another point
of view. It is, my friends, an extremely expensive handkerchief — an objet de luxe, hand-made, embroidered in Paris. Which of the passengers, apart from the initial, was likely to own such a handkerchief?
Not Mrs. Hubbard, a worthy woman (
íå
ìèññèñ
Õàááàðä,
ïî÷òåííîé
æåíùèíå;
worthy — äîñòîéíûé
, çàñëóæèâàþùèé
; ïî÷òåííûé
) with no pretensions to reckless extravagance in dress
(áåç
âñÿêèõ
ïðåòåíçèé
íà
áåçðàññóäíûå
êðàéíîñòè
â
îäåæäå
; extravagance —
ðàñòî÷èòåëüñòâî;
ïðåóâåëè÷åíèå)
. Not Miss Debenham (
íå
ìèññ
Äåáåíõýì)
— that class of Englishwoman (
àíãëè÷àíêè
åå
êðóãà: «
êëàññà»)
has a dainty linen handkerchief (
ïîëüçóþòñÿ
èçÿùíûìè
ëüíÿíûìè
ïëàòêàìè)
, not an expensive wisp of cambric (
à
íå
äîðîãîñòîÿùèìè
êëî÷êàìè
áàòèñòà;
wisp — ïó÷îê
, êëîê
/ñîëîìû
, ñåíà
/; íå÷òî
õðóïêîå
, ëåãêîå
) costing perhaps two hundred francs
(êîòîðûå
, âïîëíå
âîçìîæíî
, ñòîÿò
äâåñòè
ôðàíêîâ
/çà
øòóêó
/; to cost —
ñòîèòü,
îáõîäèòüñÿ)
. And
certainly
not
the
maid
(è óæ êîíå÷íî, íå /ìîæåò ïðèíàäëåæàòü/ ñëóæàíêå)
. But there are two women on the train who would be likely to own such a handkerchief
(íî
â
ýòîì
ïîåçäå
åñòü
äâå
æåíùèíû
, êîòîðûå
ìîãëè
áû
îáëàäàòü
òàêèì
ïëàòêîì
). Let us see if we can connect them in any way with the letter H
(äàâàéòå
ïîñìîòðèì
, ñìîæåì
ëè
ìû
ñâÿçàòü
èõ
êàê
-íèáóäü
ñ
áóêâîé
Í
). The
two
women
I
refer
to
(äâå æåíùèíû, î êîòîðûõ ÿ ãîâîðþ;
to
refer — ïîñûëàòü, îòñûëàòü /ê êîìó-ëèáî, ÷åìó-ëèáî/;
óïîìèíàòü /÷òî-ëèáî, êîãî-ëèáî/; ãîâîðèòü /î êîì-ëèáî, ÷åì-ëèáî/, ïîäðàçóìåâàòü
)
are
Princess
Dragomiroff
(ýòî ïðèíöåññà Äðàãîìèðîâà)
— ”
“
Whose
Christian
name
is
Natalia
(êîòîðóþ çîâóò Íàòàëèÿ)
,” put
in
M
. Bouc
ironically
(èðîíè÷íî âñòàâèë ìñüå Áóê;
to
put
in — ïðåðûâàòü, âìåøèâàòüñÿ /â ðàçãîâîð/
).
pretension [prI'tenS(q)n]
extravagance [Ik'strxvqgqns]
ironically [aI'r
OnIk(q)lI]
Not Mrs. Hubbard, a worthy woman with no pretensions to reckless extravagance
in dress. Not Miss Debenham — that class of Englishwoman has a dainty linen handkerchief, not an expensive wisp of cambric costing perhaps two hundred francs. And certainly not the maid. But there are two women on the train
who would be likely to own such a handkerchief. Let us see if we can connect them in any way with the letter H. The two women I refer to are Princess Dragomiroff — ”
“Whose Christian name is Natalia,” put in M. Bouc ironically.
“Exactly
(âîò
èìåííî). And her Christian name, as I said just now
(è
åå èìÿ
, êàê
ÿ òîëüêî
÷òî
ñêàçàë), is decidedly suggestive
(ðåøèòåëüíî
íàâîäèò
íà ðàçìûøëåíèÿ
). The other woman is Countess Andrenyi
(âòîðàÿ
æåíùèíà —
ýòî ãðàôèíÿ
Àíäðåíè)
. And at once something strikes us (
è òóò
æå
êîå-÷òî
ïðèõîäèò
íàì â
ãîëîâó;
to strike (struck; stricken) — óäàðÿòü
, áèòü;
ïîðàæàòü; ïðèõîäèòü
â
ãîëîâó) — ”
“
You
(âàì)!”
“Me
, then
(çíà÷èò, ìíå)
. Her Christian name on her passport is disfigured by a blob of grease
(åå
èìÿ
â
ïàñïîðòå
èñïîð÷åíî
ïÿòíîì
æèðà
; to disfigure —
îáåçîáðàæèâàòü;
ïîðòèòü; blob —
êàïëÿ;
öâåòíîå
ïÿòíî)
. j
ust
an
accident,
anyone
would
say
(ïðîñòàÿ ñëó÷àéíîñòü — /òàê/ ñêàçàë áû ëþáîé;
accident — íåñ÷àñòíûé ñëó÷àé; ñëó÷àé, ñëó÷àéíîñòü
).
But consider that Christian name, Elena (
íî
ïîñìîòðèòå
íà
ýòî
èìÿ —
Åëåíà)
. Suppose that, instead of Elena, it were Helena (
ïðåäïîëîæèì,
÷òî
âìåñòî
Åëåíà
òàì
áûëî /
èìÿ/
Õåëåíà)
. That capital H could be turned into a capital E (
çàãëàâíóþ
áóêâó
Í
ìîæíî
áûëî
ïåðåïðàâèòü
â
çàãëàâíóþ
Å;
to turn smth. into smth. — ïðåâðàùàòü
÷òî
-ëèáî
âî
÷òî
-ëèáî
) and then run over the small ‘e’ next to it quite easily
(è
çàòåì
äîâîëüíî
ëåãêî
çàåõàòü
íà
ñòðî÷íóþ
/áóêâó
/ "å
", ñëåäóþùóþ
çà
íåé
) — and then a spot of grease dropped
(è
çàòåì
ðîíÿåòñÿ
êàïëÿ
æèðà
) to cover up the alteration
(÷òîáû
ïðèêðûòü
ýòî
èçìåíåíèå
; to cover up —
ïîêðûâàòü,
çàêðûâàòü;
ïðÿòàòü,
ñêðûâàòü)
.”
decidedly [dI'saIdIdlI]
disfigured [dIs'fIgqd]
accident ['xksId(q)nt]
capital ['kxpItl]
alteration
["O:ltq'reIS(q)n]
“Exactly. And her Christian name, as I said just now, is decidedly suggestive.
The other woman is Countess Andrenyi. And at once something strikes us — ”
“You!”
“Me, then. Her Christian name on her passport is disfigured by a blob of
grease. just an accident, anyone would say. But consider that
Christian name. Elena. Suppose that, instead of Elena, it were Helena. That capital H could be turned into a capital E and then run over the small ‘e’ next to it quite easily — and then a spot of grease dropped to cover
up the alteration.”
“Helena!” cried M. Bouc
(âîñêëèêíóë
ìñüå
Áóê
). “It is an idea, that
(à
ýòî
ìûñëü
).”
“Certainly it is an idea
(êîíå÷íî
, ýòî
ìûñëü
)! I look about for any confirmation, however slight, of my idea
(ÿ
îãëÿäûâàþñü
/âîêðóã
/ â
ïîèñêàõ
ëþáîãî
ïîäòâåðæäåíèÿ
, õîòÿ
áû
ñàìîãî
íåçíà÷èòåëüíîãî
, ýòîé
ìîåé
ìûñëè
; slight —
õóäîùàâûé,
òîíêèé;
ñëàáûé,
íåçíà÷èòåëüíûé)
— and I find it (
è
ÿ
íàõîæó
åãî)
. One of the luggage labels on the Countess’s baggage is slightly damp
(îäíà
èç
íàêëååê
íà
÷åìîäàíû
íà
áàãàæå
ãðàôèíè
îêàçûâàåòñÿ
ñëåãêà
âëàæíîé
). It is one that happens to run over the first initial on top of the case
(ýòî
òà
ñàìàÿ
íàêëåéêà
êîòîðàÿ
, îêàçûâàåòñÿ
, íàåçæàåò
íà
ïåðâûé
èíèöèàë
/ðàñïîëîæåííûé
/ íà
êðûøêå
÷åìîäàíà
; to
happen —
ñëó÷àòüñÿ,
ïðîèñõîäèòü;
îêàçûâàòüñÿ /
ñëó÷àéíî/
). That label has been soaked off
(ýòà
íàêëåéêà
áûëà
íàìî÷åíà
è
îòêëååíà
; to soak —
ìî÷èòü,
çàìà÷èâàòü; off —
çä.
óêàçûâàåò
íà
îòäåëåíèå
îò
÷åãî-
ëèáî)
and put on again in a different place (
è
ñíîâà
íàêëååíà
â
äðóãîì
ìåñòå;
to put — êëàñòü
; ñòàâèòü
, ïîìåùàòü
, ðàçìåùàòü
).”
“You
begin
to
convince
me
(âû ïî÷òè óáåäèëè ìåíÿ;
to
begin — íà÷èíàòü, ïðèñòóïàòü /ê ÷åìó-ëèáî/
),”
said
M.
Bouc.
“But the Countess Andrenyi — surely (
íî
ãðàôèíÿ
Àíäðåíè —
íåñîìíåííî)
— ”
idea
[aI'dIq] damp
[dxmp] convince
[kqn'vIns]
“Helena!” cried M. Bouc. “It is an idea, that.”
“Certainly it is an idea! I look about for any confirmation, however slight,
of my idea — and I find it. One of the luggage labels on the Countess’s baggage is slightly damp. It is one that happens to run over the first initial on top of the case. That label has been soaked off and put on again
in a different place.”
“You begin to convince me,” said M. Bouc. “But the Countess Andrenyi
— surely — ”
“Ah, now,
mon vieux, you must turn yourself round
(à
, òåïåðü
, ñòàðèíà
, âû
äîëæíû
ðàçâåðíóòüñÿ
; to turn round —
îáîðà÷èâàòüñÿ,
ïîâîðà÷èâàòüñÿ)
and approach an entirely different angle of the case
(è
ïîäîéòè
ñ
ñîâåðøåííî
äðóãîé
ñòîðîíû
ê
ýòîìó
äåëó
; angle —
óãîë;
ñòîðîíà,
àñïåêò /
äåëà,
âîïðîñà
è
ò.
ï./
). How
was
this
murder
intended
to
appear
to
everybody
(êàêèì îáðàçîì ýòî óáèéñòâî äîëæíî áûëî ïðåäñòàòü:
«çàìûøëÿëîñü ïðåäñòàòü» ïåðåä âñåìè; to
intend
— íàìåðåâàòüñÿ, õîòåòü; ïðåäïîëàãàòü /ñäåëàòü ÷òî-ëèáî/
)?
Do
not
forget
that
the
snow
has
upset
all
the
murderer’
s
original
plan
(íå çàáûâàéòå, ÷òî ñíåãîïàä ðàññòðîèë âñå ïåðâîíà÷àëüíûå ïëàíû óáèéöû;
to
upset — îïðîêèäûâàòü; ðàññòðàèâàòü, íàðóøàòü
/ïîðÿäîê è ò.ï./)
. Let us imagine, for a little minute, that there is no snow
(äàâàéòå
ïðåäñòàâèì
ñåáå
íà
ìãíîâåíèå
, ÷òî
ñíåãà
íåò
), that the train proceeded on its normal course
(è
÷òî
ïîåçä
ñëåäóåò
ñâîèì
îáû÷íûì
êóðñîì
; to proceed —
ïðîäîëæàòü /
ïóòü/
). What, then, would have happened
(÷òî
ïðîèçîøëî
áû
òîãäà
; to
happen —
ñëó÷àòüñÿ,
ïðîèñõîäèòü)
?
approach
[q'prqVtS] entirely
[In'taIqlI] proceed
[prq'si:d]
“Ah, now,
mon vieux, you must turn yourself round and approach an entirely different angle of the case.
How was this murder intended to appear to everybody? Do not forget that the snow has upset all the murderer’s original plan. Let us imagine, for a little minute, that there is no snow, that the train proceeded on its normal
course. What, then, would have happened?
“The murder, let us say (
óáèéñòâî,
ñêàæåì/
íàïðèìåð)
, would still have been discovered in all probability at the Italian frontier
(âñå
æå
áûëî
áû
îáíàðóæåíî
, ïî
âñåé
âåðîÿòíîñòè
, íà èòàëüÿíñêîé
ãðàíèöå
; to discover —
äåëàòü
îòêðûòèå;
îáíàðóæèâàòü,
íàõîäèòü)
early this morning (
ñåãîäíÿ
ðàíî
óòðîì)
. Much of the same evidence (
ïî÷òè
òàêèå
æå
ïîêàçàíèÿ;
much — î÷åíü
; ïðèáëèçèòåëüíî
, ïðèìåðíî
) would have been given to the Italian police
(áûëè
áû
ïðåäîñòàâëåíû
èòàëüÿíñêîé
ïîëèöèè
). The threatening letters would have been produced by M. MacQueen
(ìèñòåðîì
Ìàêêóèíîì
áûëè
áû
ïðåäúÿâëåíû
óãðîæàþùèå
ïèñüìà
; letter —
áóêâà;
ïèñüìî)
; M. Hardman would have told his story (
ìèñòåð
Õàðäìàí
ðàññêàçàë
áû
ñâîþ
èñòîðèþ)
; Mrs. Hubbard would have been eager to tell how a man passed through her compartment
(ìèññèñ
Õàááàðä
æàæäàëà
áû
ðàññêàçàòü
, êàê
÷åðåç
åå
êóïå
ïðîøåë
êàêîé
-òî
ìóæ÷èíà
); the button would have been found
(îáíàðóæèëàñü
áû
ïóãîâèöà
). I
imagine
(ÿ ïîëàãàþ;
to
imagine — âîîáðàæàòü; ïðåäïîëàãàòü, äóìàòü,
ïîëàãàòü)
that
two
things
only
would
have
been
different
(÷òî òîëüêî äâà ìîìåíòà áûëè áû äðóãèìè;
different — ðàçëè÷íûé, ðàçíûé; èíîé, äðóãîé
).
The
man
would
have
passed
through
Mrs.
Hubbard’
s
compartment
just
before
one
o’
clock
(ìóæ÷èíà ïðîøåë áû ÷åðåç êóïå ìèññèñ Õàááàðä íåçàäîëãî =
çà íåñêîëüêî ìèíóò äî ÷àñó íî÷è)
— and
the
Wagon
Lit
uniform
(è óíèôîðìà /ïðîâîäíèêà êîìïàíèè/ ñïàëüíûõ âàãîíîâ)
would
have
been
found
cast
off
in
one
of
the
toilets
(áûëà áû íàéäåíà âûáðîøåííîé â îäíîì èç òóàëåòîâ;
to
cast
off — áðîñàòü, ïîêèäàòü /êîãî-ëèáî/; îòáðàñûâàòü,
âûáðàñûâàòü).”
frontier
['frAntIq] threatening
['TretnIN] different
['dIf(q)rqnt]
“The murder, let us say, would still have been discovered in all probability
at the Italian frontier early this morning. Much of the same evidence would have been given to the Italian police. The threatening letters would have been produced by M. MacQueen; M. Hardman would have told his story; Mrs.
Hubbard would have been eager to tell how a man passed through her compartment; the button would have been found. I imagine that two things only would have been different. The man would have passed through Mrs. Hubbard’s
compartment just before one o’clock — and the Wagon Lit uniform would have been found cast off in one of the toilets.”
“
You
mean
(âû õîòèòå ñêàçàòü)?”
“I
mean
that
the
murder
was
planned
to
look
like
an
outside
job
(ÿ õî÷ó ñêàçàòü, ÷òî ýòî óáèéñòâî áûëî çàïëàíèðîâàíî
/òàêèì îáðàçîì/, ÷òîáû /îíî/ áûëî ïîõîæå íà äåëî /ðóê íåêîåãî/ ïîñòîðîííåãî /÷åëîâåêà/;
outside — íàðóæíûé, âíåøíèé; âíåøíèé, ïîñòîðîííèé
).
It
would
have
been
presumed
(ïðåäïîëîæèëè áû)
that
the
assassin
had
left
the
train
at
Brod
(÷òî óáèéöà ïîêèíóë ïîåçä â Áðîäå)
where
it
is
timed
to
arrive
at
0.58 (êóäà îí äîëæåí áûë ïðèáûòü â 0.58;
time — âðåìÿ;
to
time — âûáèðàòü âðåìÿ; íàçíà÷àòü èëè óñòàíàâëèâàòü
âðåìÿ).
Somebody
would
probably
have
passed
a
strange
Wagon
Lit
conductor
in
the
corridor
(êòî-íèáóäü, âîçìîæíî, ïðîøåë áû ìèìî ñòðàííîãî ïðîâîäíèêà ñïàëüíûõ âàãîíîâ â êîðèäîðå)
. The
uniform
would
be
left
in
a
conspicuous
place
(óíèôîðìà áûëà áû îñòàâëåíà â êàêîì-íèáóäü çàìåòíîì
ìåñòå; conspicuous — âèäèìûé, çàìåòíûé,
áðîñàþùèéñÿ â ãëàçà)
so
as
to
show
clearly
just
how
the
trick
had
been
played
(äëÿ òîãî ÷òîáû ÿñíî ïîêàçàòü, êàê èìåííî ýòîò
ôîêóñ áûë ïðîäåëàí; trick
— õèòðîñòü, îáìàí; ôîêóñ, òðþê;
to
play — èãðàòü, ðåçâèòüñÿ; ïîñòóïàòü, äåéñòâîâàòü
).
No
suspicion
would
have
attached
to
the
passengers
(íèêàêèå ïîäîçðåíèÿ íå ïàëè áû íà ïàññàæèðîâ;
to
attach — ïðèêðåïëÿòü, ïðèñîåäèíÿòü; ïðèïèñûâàòü
).
That, my friends, was how the affair was intended to appear to the outside world
(âîò
, äðóçüÿ
ìîè
, êàê
ýòî
äåëî
äîëæíî
áûëî
ïðåäñòàòü
âñåìó
: «âíåøíåìó
» ìèðó
).
assassin
[q'sxsIn] conspicuous
[kqn'spIkjVqs] appear
[q'pIq]
“You mean?”
“I mean that the murder was planned to look like an outside job. It would
have been presumed that the assassin had left the train at Brod where it is timed to arrive at 0.58. Somebody would probably have passed a strange Wagon Lit conductor in the corridor. The uniform would be left in a conspicuous
place so as to show clearly just how the trick had been played. No suspicion would have attached to the passengers. That, my friends, was how the affair was intended to appear to the outside world.
“
But
the
accident
to
the
train
changes
everything
(íî ïðîèñøåñòâèå ñ ïîåçäîì = íî òî ÷òî ïîåçä çàñòðÿë â ñíåæíûõ çàíîñàõ, ìåíÿåò âñå;
accident — íåñ÷àñòíûé ñëó÷àé, êàòàñòðîôà, àâàðèÿ
).
Doubtless
we
have
here
the
reason
why
the
man
remained
in
the
compartment
with
his
victim
so
long
(íåñîìíåííî, â ýòîì è çàêëþ÷àåòñÿ ïðè÷èíà: «ìû çäåñü èìååì ïðè÷èíó», ïî÷åìó ýòîò ÷åëîâåê
îñòàâàëñÿ â êóïå ñî ñâîåé æåðòâîé òàê äîëãî).
He was waiting for the train to go on (
îí
æäàë,
êîãäà
ïîåçä
òðîíåòñÿ: «
ïîåäåò
äàëüøå»)
. But
at
last
he
realized
that
the
train
was
not
going
on
(íî âîò, íàêîíåö, îí ïîíÿë, ÷òî ïîåçä äàëüøå íå ïîéäåò;
to
realize — îñóùåñòâèòü, âûïîëíèòü; ÿñíî ïîíèìàòü,
îñîçíàâàòü).
Different
plans
would
have
to
be
made
(íåîáõîäèìî ñîñòàâèòü íîâûé ïëàí;
to
make
a
plan — ïðèäóìàòü /ðàçðàáîòàòü/ ïëàí
).
The
murderer
would
now
be
known
to
be
still
on
the
train
(/âåäü/ áóäåò ïîíÿòíî: «èçâåñòíî», ÷òî óáèéöà âñå åùå â ïîåçäå)
.”
“Yes, yes,” said M. Bouc impatiently (
ñêàçàë
ìñüå
Áóê
íåòåðïåëèâî)
. “
I
see
all
that
(ÿ âñå ýòî ïîíèìàþ; to see — âèäåòü; ïîíèìàòü,
ñîçíàâàòü).
But
where
does
the
handkerchief
come
in
(íî ïëàòîê-òî òóò ïðè÷åì;
to
come
in — ïðèõîäèòü, ïðèáûâàòü; èìåòü îòíîøåíèå
/ê ÷åìó-ëèáî/)?”
accident
['xksId(q)nt] victim
['vIktIm] impatient
[Im'peIS(q)nt]
“But the accident to the train changes everything. Doubtless we have here
the reason why the man remained in the compartment with his victim so long. He was waiting for the train to go on. But at last he realised that the train was not going on. Different plans would have to be made. The murderer
would now be known to be still on the train.”
“Yes, yes,” said M. Bouc impatiently. “I see all that. But where does
the handkerchief come in?”
“I am returning to it by a somewhat circuitous route
(ÿ
âîçâðàùàþñü
ê
íåìó
íåìíîãî
îêîëüíûì
ïóòåì
; route —
ìàðøðóò;
ïóòü,
êóðñ)
. To begin with, you must realize that the threatening letters were in the nature of a blind
(íà÷íåì
ñ
òîãî
, ÷òî
âû
äîëæíû
ïîíÿòü
, ÷òî
óãðîæàþùèå
ïèñüìà
áûëè
÷åì
-òî
âðîäå
îáìàíêè
= äëÿ
îòâîäà
ãëàç
; nature —
ïðèðîäà,
ìèð;
ðîä,
ñîðò,
êëàññ; in the nature of —
íå÷òî
ïîõîæåå
íà; blind —
øòîðà,
ìàðêèçà;
ïðåäëîã,
îòãîâîðêà,
îáìàí)
. They might have been lifted bodily out (
îíè
äîëæíî
áûòü
áûëè
öåëèêîì
ñïèñàíû;
to lift — ïîäíèìàòü
; ñîâåðøàòü
ïëàãèàò
, èçûìàòü
; bodily — ëè÷íî
, ñîáñòâåííîé
ïåðñîíîé
; öåëèêîì
) of an indifferently written American crime novel
(èç
ïîñðåäñòâåííî
íàïèñàííîãî
àìåðèêàíñêîãî
äåòåêòèâà
: «ðîìàíà
î
ïðåñòóïëåíèè
»; indifferently —
áåçðàçëè÷íî;
ïîñðåäñòâåííî,
íåâàæíî)
. They
are
not
real
(îíè íå íàñòîÿùèå).
They
are,
in
fact,
simply
intended
for
the
police
(îíè, íà ñàìîì äåëå, ïðîñòî ïðåäíàçíà÷àëèñü äëÿ ïîëèöèè;
to
intend — íàìåðåâàòüñÿ; ïðåäíàçíà÷àòü /äëÿ
êîãî-ëèáî, äëÿ êàêîé-ëèáî öåëè/).
What
we
have
to
ask
ourselves
is
(âîò î ÷åì ìû äîëæíû ñïðîñèòü ñåáÿ)
: ‘Did
they
deceive
Ratchett
(îáìàíóëè ëè ýòè ïèñüìà: «îíè» Ðýò÷åòòà)
?’ On
the
face
of
it
(íà ïåðâûé âçãëÿä;
face — ëèöî, ôèçèîíîìèÿ; âíåøíèé âèä; on the face
of it — ñóäÿ ïî âíåøíåìó âèäó, ïîõîæå íà òî, ÷òî)
, the
answer
seems
to
be
‘No
’ (îòâåò áóäåò "íåò")
. His
instructions
to
Hardman
seem
to
point
(åãî èíñòðóêöèè Õàðäìàíó, êàæåòñÿ, óêàçûâàþò;
instruction — îáó÷åíèå; èíñòðóêöèè, óêàçàíèÿ
)
to
a
definite ‘
private’
enemy
(íà îïðåäåëåííîãî "ëè÷íîãî" âðàãà)
, of
whose
identity
he
was
well
aware
(ëè÷íîñòü êîòîðîãî åìó áûëà õîðîøî èçâåñòíà;
aware — îñîçíàþùèé /÷òî-ëèáî/, çíàþùèé /÷òî-ëèáî/
).
blind [blaInd]
indifferently [In'dIf(q)rqntlI]
instruction [In'strAkS(q)n]
“I am returning to it by a somewhat circuitous route. To begin with, you
must realise that the threatening letters were in the nature of a blind. They might have been lifted bodily out of an indifferently written American crime novel. They are not real. They are, in fact, simply intended for the
police. What we have to ask ourselves is: ‘Did they deceive Ratchett?’ On the face of it, the answer seems to be ‘No’. His instructions to Hardman seem to point to a definite ‘private’ enemy, of whose identity
he was well aware.
That is, if we accept Hardman’s story as true (
ýòî
åñëè
ìû
ïðèìåì
èñòîðèþ
Õàðäìàíà
çà
ïðàâäó;
true — âåðíûé
, ïðàâèëüíûé
). But Ratchett certainly received one letter of a very different character
(íî
Ðýò÷åòò
îïðåäåëåííî
ïîëó÷èë
îäíî
ïèñüìî
ñîâåðøåííî
äðóãîãî
õàðàêòåðà
) — the one containing a reference to the Armstrong baby
(ïèñüìî
, â
êîòîðîì
óïîìèíàëàñü
äî÷êà
Àðìñòðîíãîâ
: «òî
, â
êîòîðîì
ñîäåðæèòñÿ
óïîìèíàíèå
î
ðåáåíêå
Àðìñòðîíãîâ
»; to contain —
ñîäåðæàòü; reference —
ññûëêà /
íà
êîãî-
ëèáî,
÷òî-
ëèáî/;
óïîìèíàíèå /
î
÷åì-
ëèáî,
êîì-
ëèáî/
), a fragment of which we found in his compartment
(îáðûâîê
êîòîðîãî
ìû
íàøëè
â
ýòîì
êóïå
; fragment —
îáëîìîê,
îñêîëîê;
ôðàãìåíò,
îòðûâîê)
. In case Ratchett had not realised it sooner (
íà
òîò
ñëó÷àé,
åñëè
Ðýò÷åòò
íå
ïîíÿë
ýòîãî
ðàíüøå)
, this was to make sure (
ýòî
ïèñüìî
áûëî
ïðåäíàçíà÷åíî,
÷òîáû
áûòü
óâåðåííûì;
to make sure — óáåäèòüñÿ
, óäîñòîâåðèòüñÿ
) that he understood the reason of the threats against his life
(÷òî
îí
ïîíÿë
ïðè÷èíó
óãðîç
åãî
æèçíè
; against —
ïðîòèâ)
. That
letter,
as
I
have
said
all
along,
was
not
intended
to
be
found
(ýòî ïèñüìî, êàê ÿ âñå âðåìÿ ãîâîðèë, íå áûëî ïðåäíàçíà÷åíî äëÿ òîãî, ÷òîáû åãî íàøëè:
«÷òîáû áûòü íàéäåííûì»).
The murderer’s first care was to destroy it (
ïåðâîé
çàáîòîé
óáèéöû
áûëî
óíè÷òîæèòü
åãî)
. This, then, was the second hitch in his plans (
çíà÷èò,
ýòî
áûë
âòîðîé
ïðîñ÷åò
â
åãî
ïëàíàõ;
hitch — òîë÷îê
, ðûâîê
; ïîìåõà
, ïðåïÿòñòâèå
, çàäåðæêà
). The
first
was
the
snow
(ïåðâûé ñëó÷èëñÿ /èç-çà/ ñíåæíûõ çàíîñîâ)
, the
second
was
our
reconstruction
of
that
fragment
(à âòîðîé /èç-çà/ òîãî, ÷òî ìû âîññòàíîâèëè: «èç-çà
íàøåãî âîññòàíîâëåíèÿ» ýòîò îáðûâîê /ïèñüìà/; reconstruction
— ïåðåñòðîéêà, ïåðåóñòðîéñòâî; âîññòàíîâëåíèå, âîññîçäàíèå
).
character ['kxrIktq]
reference ['ref(q)rqns]
threat [Tret]
destroy [dIs'trOI]
reconstruction ["ri:kqn'strAkS(q)n]
That is, if we accept Hardman’s story as true. But Ratchett certainly received
one letter of a very different character — the one containing a reference to the Armstrong baby, a fragment of which we found in his compartment. In case Ratchett had not realised it sooner, this was to make sure that he
understood the reason of the threats against his life. That letter, as I have said all along, was not intended to be found. The murderer’s first care was to destroy it. This, then, was the second hitch in his plans. The
first was the snow, the second was our reconstruction of that fragment.
“That the note was destroyed so carefully can mean only one thing
(òî
, ÷òî
ýòà
çàïèñêà
áûëà
óíè÷òîæåíà
ñ
òàêîé
òùàòåëüíîñòüþ
, ìîæåò
îçíà÷àòü
òîëüêî
îäíî
; carefully —
îñòîðîæíî;
òùàòåëüíî,
âíèìàòåëüíî)
. There must be on the train someone so intimately connected with the Armstrong family
(÷òî
â
ïîåçäå
äîëæåí
íàõîäèòüñÿ
êòî
-òî
íàñòîëüêî
áëèçêî
ñâÿçàííûé
ñ
ñåìüåé
Àðìñòðîíãîâ
; intimate —
ãëóáîêèé,
ñîêðîâåííûé;
áëèçêèé,
äðóæåñêèé)
that the finding of that note would immediately direct suspicion upon that person
(÷òî
îáíàðóæåíèå
òîé
çàïèñêè
íåìåäëåííî
áû
áðîñèëî
ïîäîçðåíèÿ
íà
ýòîãî
÷åëîâåêà
; to direct —
íàïðàâëÿòü,
íàâîäèòü)
.
“Now we come to the other two clues that we found
(òåïåðü
ìû
ïåðåéäåì
ê
äâóì
äðóãèì
óëèêàì
, êîòîðûå
ìû
îáíàðóæèëè
; clue —
êëþ÷
ê
ðàçãàäêå;
óëèêà)
. I
pass
over
the
pipe-
cleaner
(ÿ óìîë÷ó î åðøèêå äëÿ ÷èñòêè òðóáîê;
to
pass
over — ïåðåïðàâëÿòüñÿ; ïðîïóñêàòü, îñòàâëÿòü
áåç âíèìàíèÿ, îáõîäèòü ìîë÷àíèåì)
. We
have
already
said
a
good
deal
about
that
(î íåì ìû óæå ìíîãî ñêàçàëè;
deal — íåêîòîðîå êîëè÷åñòâî; ðàçã. áîëüøîå
êîëè÷åñòâî, ìàññà, êó÷à)
. Let us pass on to the handkerchief
(äàâàéòå
ïåðåéäåì
ê
íîñîâîìó
ïëàòêó
). Taken at its simplest
(åñëè
ðàññìàòðèâàòü
åãî
ñ
ñàìîé
ïðîñòîé
òî÷êè
çðåíèÿ
) it is a clue which directly incriminates someone whose initial is H
(ýòî
óëèêà
, êîòîðàÿ
íàïðÿìóþ
îáâèíÿåò
êîãî
-òî
, ÷åé
èíèöèàë
Í
), and it was dropped there unwittingly by that person
(è
îí
áûë
ñëó÷àéíî
òàì
îáðîíåí
ýòèì
÷åëîâåêîì
; (un)wittingly — (
íå)
ïðåäíàìåðåííî, (
íå)
óìûøëåííî)
.”
carefully ['keqf(q)lI]
immediately [I'mi:dIqtlI]
handkerchief ['hxNkqtSIf]
incriminate [In'krImIneIt]
unwitting
["An'wItIN]
“That the note was destroyed so carefully can mean only one thing. There
must be on the train someone so intimately connected with the Armstrong family that the finding of that note would immediately direct suspicion upon that person.
“Now we come to the other two clues that we found. I pass over the pipe-cleaner.
We have already said a good deal about that. Let us pass on to the handkerchief. Taken at its simplest it is a clue which directly incriminates someone whose initial is H, and it was dropped there unwittingly by that person.”
“Exactly
(òî÷íî
),” said Dr. Constantine. “She finds out that she has dropped the handkerchief
(îíà
îáíàðóæèâàåò
, ÷òî
îíà
îáðîíèëà
íîñîâîé
ïëàòîê
) and immediately takes steps to conceal her Christian name
(è
íåìåäëåííî
ïðåäïðèíèìàåò
ìåðû
, ÷òîáû
ñêðûòü
ñâîå
èìÿ
; step —
øàã;
ìåðà,
äåéñòâèå,
øàã; to conceal —
ïðÿòàòü,
óêðûâàòü;
ñêðûâàòü,
óòàèâàòü)
.”
“
How
fast
you
go
(êàê âû ñïåøèòå: «äâèãàåòåñü áûñòðî»)
! You
arrive
at
a
conclusion
much
sooner
than
I
would
permit
myself
to
do
(âû ïðèõîäèòå ê âûâîäàì ãîðàçäî áûñòðåå, ÷åì ÿ
áû ïîçâîëèë ñåáå /ïîñòóïèòü òàê/).”
“
Is
there
any
other
alternative
(à ÷òî, åñòü êàêàÿ-íèáóäü /äðóãàÿ/ àëüòåðíàòèâà)
?”
exactly
[Ig'zxktlI] conceal
[kqn'si:l] alternative
[O:l'tq:nqtIv]
“Exactly,” said Dr. Constantine. “She finds out that she has dropped
the handkerchief and immediately takes steps to conceal her Christian name.”
“How fast you go! You arrive at a conclusion much sooner than I would permit
myself to do.”
“Is there any other alternative?”
‘Certainly there is
(êîíå÷íî
åñòü
). Suppose, for instance, that you have committed a crime
(ïðåäïîëîæèì
, íàïðèìåð
, ÷òî
âû
ñîâåðøèëè
ïðåñòóïëåíèå
) and wish to cast the blame for it on someone else
(è
õîòèòå
ñâàëèòü
âèíó
/çà
íåãî
/ íà
êîãî
-íèáóäü
äðóãîãî
; to cast —
áðîñàòü,
êèäàòü,
øâûðÿòü;
áðîñàòü,
îòáðàñûâàòü /
ñâåò,
òåíü
è
ò.
ï./; blame —
ïîðèöàíèå,
óïðåê;
âèíà)
. Well, there is on the train a certain person connected intimately with the Armstrong family
(÷òî
æ
, â
ïîåçäå
åñòü
îäèí
÷åëîâåê
, áëèçêî
ñâÿçàííûé
ñ
ñåìåéñòâîì
Àðìñòðîíãîâ
; certain —
îïðåäåëåííûé;
îäèí,
íåêèé)
— a woman (/
ýòî/
æåíùèíà)
. Suppose, then, that you leave there a handkerchief belonging to that woman
(òîãäà
ïðåäïîëîæèì
, ÷òî
âû
îñòàâëÿåòå
òàì
íîñîâîé
ïëàòîê
, ïðèíàäëåæàùèé
ýòîé
æåíùèíå
). She will be questioned
(åå
áóäóò
äîïðàøèâàòü
: «îíà
áóäåò
äîïðîøåíà
»), her connection with the Armstrong family will be brought out
(åå
ñâÿçü
ñ
ñåìüåé
Àðìñòðîíãîâ
áóäåò
îáíàðóæåíà
; to bring (brought)
out — âûÿâëÿòü
, îáíàðóæèâàòü
) — et
voilà
(
è
âîò
âàì)
: motive (
ìîòèâ)
— and an incriminating article of evidence (
è
îáâèíÿþùàÿ
óëèêà;
article — ïðåäìåò
, âåùü
; evidence — îñíîâàíèå
, äàííûå
; þð
. äîêàçàòåëüñòâà
, óëèêà
).”
“But in such a case
(íî
â
òàêîì
ñëó÷àå
),” objected the doctor
(âîçðàçèë
äîêòîð
), “the person indicated, being innocent
(óêàçàííàÿ
îñîáà
, áóäó÷è
íåâèíîâíîé
), would not take steps to conceal her identity
(íå
ñòàëà
áû
ïðåäïðèíèìàòü
ìåðû
, ÷òîáû
ñêðûòü
ñâîþ
ëè÷íîñòü
).”
belonging
[bI'lO
NIN] brought
[brO:t] article
['Q:tIk(q)l] innocent
['Inqs(q)nt] conceal
[kqn'si:l] identity
[aI'dentItI]
‘Certainly there is. Suppose, for instance, that you have committed a crime
and wish to cast the blame for it on someone else. Well, there is on the train a certain person connected intimately with the Armstrong family — a woman. Suppose, then, that you leave there a handkerchief belonging to that
woman. She will be questioned, her connection with the Armstrong family will be brought out — et
voilà
: motive — and an incriminating article of evidence.”
“But in such a case,” objected the doctor, “the person indicated, being
innocent, would not take steps to conceal her identity.”
“Ah, really
(ïðàâäà
)? That is what you think
(âû
òàê
äóìàåòå
)? That is, truly, the opinion of the police court
(âåðíî
, ýòî
õîä
ìûñëåé
: «ìíåíèå
» ñóäà
/ïðèñÿæíûõ
/). But I know human nature, my friend
(íî
ÿ
çíàþ
÷åëîâå÷åñêóþ
ïðèðîäó
, ìîé
äðóã
), and I tell you that
(è
âîò
÷òî
ÿ
âàì
ñêàæó
), suddenly confronted with the possibility
(âíåçàïíî
ñòîëêíóâøèñü
ñ
âîçìîæíîñòüþ
; to confront —
ñòîÿòü
ïðîòèâ;
ñòîëêíóòüñÿ)
of being tried for murder (
áûòü
ñóäèìûì
çà
óáèéñòâî;
to try — ïûòàòüñÿ
, ñòàðàòüñÿ
; ñóäèòü
, ïðèâëåêàòü
ê
ñóäåáíîé
îòâåòñòâåííîñòè
), the most innocent person will lose his head and do the most absurd things
(/äàæå
/ ñàìûé
íåâèííûé
÷åëîâåê
ïîòåðÿåò
ãîëîâó
è
áóäåò
äåëàòü
ñàìûå
íåëåïûå
âåùè
). No, no, the grease spot and the changed label do not prove guilt
(íåò
, æèðíîå
ïÿòíî
è
èçìåíåííûé
ÿðëûê
/íà
÷åìîäàíå
/ íå
äîêàçûâàþò
âèíû
) — they only prove that the Countess Andrenyi is anxious for some reason to conceal
her identity (îíè
òîëüêî
äîêàçûâàþò
, ÷òî
ãðàôèíÿ
Àíäðåíè
ñòðàñòíî
ñòðåìèòñÿ
ïî
êàêîé
-òî
ïðè÷èíå
ñêðûòü
ñâîþ
ëè÷íîñòü
; anxious —
áåñïîêîÿùèéñÿ;
ñòðàñòíî
æåëàþùèé /
÷åãî-
ëèáî/
).”
“What do you think her connection with the Armstrong family can be
(êàê
âû
äóìàåòå
, êàêîé
ìîæåò
áûòü
åå
ñâÿçü
ñ
ñåìüåé
Àðìñòðîíãîâ
)? She has never been in America, she says
(îíà
íå
áûâàëà
â
Àìåðèêå
, êàê
îíà
ãîâîðèò
).”
confront
[kqn'frAnt] anxious
['xNkSqs] identity
[aI'dentItI]
“Ah, really? That is what you think? That is, truly, the opinion of the police
court. But I know human nature, my friend, and I tell you that, suddenly confronted with the possibility of being tried for murder, the most innocent person will lose his head and do the most absurd things. No, no, the grease
spot and the changed label do not prove guilt — they only prove that the Countess Andrenyi is anxious for some reason to conceal her identity.”
“What do you think her connection with the Armstrong family can be? She has
never been in America, she says.”
“Exactly, and she speaks English with a foreign accent
(òî÷íî
, è
îíà
ãîâîðèò
ïî
-àíãëèéñêè
ñ
àêöåíòîì
: «ñ
èíîñòðàííûì
àêöåíòîì
»), and she has a very foreign appearance
(è
ó
íåå
î÷åíü
èíîñòðàííàÿ
= ýêçîòè÷åñêàÿ
âíåøíîñòü
) which she exaggerates
(êîòîðóþ
îíà
âñÿ÷åñêè
ïîä÷åðêèâàåò
; to exaggerate —
ïðåóâåëè÷èâàòü;
÷ðåçìåðíî
ïîä÷åðêèâàòü)
. But it should not be difficult to guess who she is
(íî
áóäåò
íåñëîæíî
äîãàäàòüñÿ
, êòî
îíà
òàêàÿ
). I mentioned just now the name of Mrs. Armstrong’s mother
(ÿ
òîëüêî
÷òî
óïîìÿíóë
èìÿ
ìàòåðè
ìèññèñ
Àðìñòðîíã
). It was ‘Linda Arden’ and she was a very celebrated actress
(åå
çâàëè
: «îíî
áûëî
» Ëèíäà
Àðäåí
, è
îíà
áûëà
î÷åíü
çíàìåíèòîé
àêòðèñîé
) — among other things a Shakespearean actress
(è
, ìåæäó
ïðî÷èì
, øåêñïèðîâñêàÿ
àêòðèñà
= èñïîëíèòåëüíèöà
øåêñïèðîâñêèõ
ðîëåé
). Think of As You Like It
(ïîäóìàéòå
î
«Êàê
âàì
ýòî
ïîíðàâèòñÿ
»), with the Forest of Arden and Rosalind
(ñ
Àðäåíñêèì
Ëåñîì
è
Ðîçàëèíäîé
). It
was
there
she
got
the
inspiration
for
her
acting
name
(èìåííî òàì îíà ïî÷åðïíóëà âäîõíîâåíèå äëÿ ñâîåãî
ñöåíè÷åñêîãî ïñåâäîíèìà: «àêòåðñêîãî èìåíè»; to
act
— äåéñòâîâàòü; èñïîëíÿòü ðîëü, èãðàòü;
acting — èñïîëíÿþùèé îáÿçàííîñòè; òåàòð. ïðåäíàçíà÷åííûé
äëÿ èñïîëíèòåëåé, àêòåðñêèé)
.
foreign
['fO
rIn] accent
['xks(q)nt] appearance
[q'pI(q)rqns] exaggerate
[Ig'zxdZqreIt] Shakespearian
[SeIk'spI(q)rIqn]
“Exactly, and she speaks English with a foreign accent, and she has a very
foreign appearance which she exaggerates. But it should not be difficult to guess who she is. I mentioned just now the name of Mrs. Armstrong’s mother. It was ‘Linda Arden,’ and she was a very celebrated actress —
among other things a Shakespearean actress. Think of As You Like It, with the Forest of Arden and Rosalind. It was there she got the inspiration for her acting name.
‘Linda Arden,’ the name by which she was known all over the world
(Ëèíäà
Àðäåí
— ýòî
èìÿ
, ïîä
êîòîðûì
îíà
áûëà
èçâåñòíà
ïî
âñåìó
ìèðó
), was not her real name
(íå
áûëî
åå
íàñòîÿùèì
èìåíåì
). It may have been Goldenberg
(/ôàìèëèÿ
åå
/ ìîãëà
áûòü
Ãîëüäåíáåðã
); it is quite likely that she had Central European blood in her veins
(âïîëíå
âåðîÿòíî
, ÷òî
â
åå
âåíàõ
òåêëà
öåíòðàëüíî
-åâðîïåéñêàÿ
êðîâü
) — a strain of Jewish, perhaps
(âîçìîæíî
, íåáîëüøîå
êîëè÷åñòâî
åâðåéñêîé
/êðîâè
/; strain —
ïðîèñõîæäåíèå,
ðîä;
÷åðòî÷êà,
ýëåìåíò,
íåáîëüøîå
êîëè÷åñòâî)
. Many
nationalities
drift
to
America
(/ïðåäñòàâèòåëè/ ìíîãèõ íàöèîíàëüíîñòåé ïåðåáðàëèñü â Àìåðèêó;
to
drift — îòíîñèòü èëè ãíàòü /âåòðîì, òå÷åíèåì/;
îòíîñèòüñÿ, ïåðåìåùàòüñÿ /ïî âåòðó, òå÷åíèþ/)
. I
suggest
to
you
, gentlemen
, that
that
young
sister
of
Mrs
. Armstrong
’s
(ÿ ïðåäïîëîæó, ãîñïîäà, ÷òî òà ìëàäøàÿ ñåñòðà ìèññèñ
Àðìñòðîíã), little
more
than
a
child
at
the
time
of
the
tragedy
(íåìíîãèì áîëüøå ÷åì ðåáåíîê = ïî÷òè ðåáåíîê âî
âðåìÿ òðàãåäèè), was
Helena
Goldenberg
, the
younger
daughter
of
Linda
Arden
(áûëà Åëåíîé Ãîëüäåíáåðã, ìëàäøåé äî÷åðüþ Ëèíäû
Àðäåí), and
that
she
married
Count
Andrenyi
when
he
was
an
attach
é in
Washington
(è ÷òî îíà âûøëà çàìóæ çà ãðàôà Àíäðåíè, êîãäà
îí ñëóæèë àòòàøå â Âàøèíãòîíå).”
European
["jV(q)rq'pIqn] Jewish
['dZu:IS] tragedy
['trxdZIdI] attache
[q'txSeI]
‘Linda Arden,’ the name by which she was known all over the world, was
not her real name. It may have been Goldenberg; it is quite likely that she had Central European blood in her veins — a strain of Jewish, perhaps. Many nationalities drift to America. I suggest to you, gentlemen, that that
young sister of Mrs. Armstrong’s, little more than a child at the time of the tragedy, was Helena Goldenberg, the younger daughter of Linda Arden, and that she married Count Andrenyi when he was an attaché in Washington.”
“But Princess Dragomiroff says that the girl married an Englishman
(íî
êíÿãèíÿ
Äðàãîìèðîâà
ãîâîðèò
, ÷òî
äåâóøêà
âûøëà
çàìóæ
çà
àíãëè÷àíèíà
).”
“Whose
name
she
cannot
remember
(èìåíè êîòîðîãî îíà íå ïîìíèò)
! I
ask
you
, my
friends
, is
that
really
likely
(ÿ ñïðàøèâàþ âàñ, äðóçüÿ ìîè, äåéñòâèòåëüíî ëè
òàêîå âîçìîæíî)? Princess
Dragomiroff
loved
Linda
Arden
(êíÿãèíÿ Äðàãîìèðîâà ëþáèëà Ëèíäó Àðäåí)
as
great
ladies
do
love
great
artists
(êàê àðèñòîêðàòêè: «áëàãîðîäíûå äàìû» ëþáÿò âåëèêèõ
àêòðèñ). She was godmother to one of the actress’s daughters
(îíà
áûëà
êðåñòíîé
ìàòåðüþ
îäíîé
èç
äî÷åðåé
àêòðèñû
). Would she forget so quickly the married name of the other daughter
(çàáóäåò
ëè
îíà
ñòîëü
áûñòðî
ôàìèëèþ
ïî
ìóæó
äðóãîé
äî÷åðè
; married —
æåíàòûé,
çàìóæíÿÿ;
áðà÷íûé,
ñóïðóæåñêèé)
? It is not likely (
ýòî
ìàëîâåðîÿòíî)
. No, I think we can safely say that Princess Dragomiroff was lying
(íåò
, ÿ
äóìàþ
, ÷òî
ìû
ìîæåì
ñ
óâåðåííîñòüþ
ñêàçàòü
, ÷òî
êíÿãèíÿ
Äðàãîìèðîâà
ëãàëà
; safely —
áëàãîïîëó÷íî;
áåç
ðèñêà,
áåçîïàñíî)
.
princess
["prIn'ses] godmother
['gO
d"mADq] lying
['laIIN]
“But Princess Dragomiroff says that the girl married an Englishman.”
“Whose name she cannot remember! I ask you, my friends, is that really likely?
Princess Dragomiroff loved Linda Arden as great ladies do love great artists. She was godmother to one of the actress’s daughters. Would she forget so quickly the married name of the other daughter? It is not likely. No,
I think we can safely say that Princess Dragomiroff was lying.
She knew Helena was on the train
(îíà
çíàëà
, ÷òî
Åëåíà
â
ïîåçäå
), she had seen her
(îíà
âèäåëà
åå
). She realised at once, as soon as she heard who Ratchett really was
(îíà
òóò
æå
ïîíÿëà
, êàê
òîëüêî
îíà
óñëûøàëà
, êåì
â
äåéñòâèòåëüíîñòè
áûë
Ðýò÷åòò
), that Helena would be suspected
(÷òî
Õåëåíà
îêàæåòñÿ
ïîä
ïîäîçðåíèåì
; to suspect —
ïîäîçðåâàòü)
. And so, when we question her as to the sister (
òàê
÷òî,
êîãäà
ìû
ñïðàøèâàåì
åå
î
ñåñòðå;
as to — îòíîñèòåëüíî
, î
; ÷òî
êàñàåòñÿ
), she promptly lies
(îíà
òóò
æå
ëæåò
) — is vague
(/ãîâîðèò
/ óêëîí÷èâî
; vague —
íåîïðåäåëåííûé,
òóìàííûé, to be vague about smth. —
âûñêàçûâàòüñÿ
íåîïðåäåëåííî)
, cannot remember (/
÷òî/
íå
ìîæåò
âñïîìíèòü)
, but ‘thinks Helena married an Englishman’ (
íî "
äóìàåò,
÷òî
Õåëåíà
âûøëà
çàìóæ
çà
àíãëè÷àíèíà")
— a suggestion as far away from the truth as possible
(/òî
åñòü
âûñêàçûâàåò
/ ïðåäïîëîæåíèå
íàñòîëüêî
äàëåêîå
îò
ïðàâäû
, íàñêîëüêî
ýòî
âîçìîæíî
).”
One of the restaurant attendants came through the door at the end
(îäèí
èç
îôèöèàíòîâ
âîøåë
÷åðåç
äâåðü
â
êîíöå
/âàãîíà
/) and approached them
(è
ïîäîøåë
ê
íèì
). He addressed M. Bouc
(îí
îáðàòèëñÿ
ê
ìñüå
Áóêó
).
vague
[veIg] truth
[tru:T] approach
[q'prqVtS]
She knew Helena was on the train, she had seen her. She realised at once, as
soon as she heard who Ratchett really was, that Helena would be suspected. And so, when we question her as to the sister, she promptly lies — is vague, cannot remember, but ‘thinks Helena married an Englishman’ — a
suggestion as far away from the truth as possible.”
One of the restaurant attendants came through the door at the end and approached
them. He addressed M. Bouc.
“The dinner, Monsieur, shall I serve it
(ïîäàâàòü
ëè
óæèí
, ìñüå
)? It is ready some little time
(îí
ãîòîâ
óæå
íåêîòîðîå
âðåìÿ
).”
M.
Bouc
looked
at
Poirot
(ìñüå Áóê âçãëÿíóë íà Ïóàðî)
. The
latter
nodded
(òîò êèâíóë;
latter
— áîëåå ïîçäíèé; ïîñëåäíèé /èç äâóõ íàçâàííûõ/, âòîðîé
). “
By
all
means
(êîíå÷íî; means
— ñðåäñòâî, ñïîñîá; by
all
means
— ëþáûìè ñðåäñòâàìè; êîíå÷íî, ïîæàëóéñòà
),
let
dinner
be
served
(ïóñòü ïîäàþò óæèí).”
The attendant vanished through the doors at the other end
(îôèöèàíò
èñ÷åç
çà
äâåðÿìè
â
äðóãîì
êîíöå
/âàãîíà
-ðåñòîðàíà
/). His bell could be heard ringing
(ïîñëûøàëñÿ
çâîí
êîëîêîëü÷èêà
: «åãî
êîëîêîëü÷èê
ìîæíî
áûëî
óñëûøàòü
çâåíÿùèì
») and his voice upraised
(è
åãî
ãðîìêèé
ãîëîñ
; to upraise —
ïîäíèìàòü)
:
“
Premier service
(ïåðâàÿ
î÷åðåäü
).
Le dîner est servi.
Premier dîner
(ôð
.
óæèí
ïîäàí;
ïåðâàÿ
î÷åðåäü)
— First service.”
vanished
['vxnISt] upraise
[Ap'reIz]
“The dinner, Monsieur, shall I serve it? It is ready some little time.”
M. Bouc looked at Poirot. The latter nodded. “By all means, let dinner be
served.”
The attendant vanished through the doors at the other end. His bell could be
heard ringing and his voice upraised:
“Premier service. Le dîner est servi.
Premier dîner — First service.”
4
THE GREASE SPOT ON A HUNGARIAN PASSPORT
(Æèðíîå ïÿòíî íà âåíãåðñêîì ïàñïîðòå)
Poirot
shared
a
table
with
M.
Bouc
and
the
doctor
(Ïóàðî ñèäåë çà îäíèì ñòîëîì ñ ìñüå Áóêîì è äîêòîðîì;
to
share — äåëèòü, ðàñïðåäåëÿòü; ïîëüçîâàòüñÿ
ñîâìåñòíî).
The
company
assembled
in
the
restaurant
car
(êîìïàíèÿ, ñîáðàâøàÿñÿ â âàãîíå-ðåñòîðàíå;
to
assemble — ñîçûâàòü, ñîáèðàòü(ñÿ)
) was
a
very
subdued
one
(áûëà î÷åíü ïîäàâëåíà = íàñòðîåíèå ó ñîáðàâøèõñÿ
â âàãîíå-ðåñòîðàíå áûëî ïîäàâëåííûì; to
subdue
— ïîêîðÿòü, ïîäàâëÿòü
).
They
spoke
little
(ãîâîðèëè /îíè/ ìàëî).
Even
the
loquacious
Mrs.
Hubbard
was
unnaturally
quiet
(äàæå ñëîâîîõîòëèâàÿ ìèññèñ Õàááàðä áûëà íååñòåñòâåííî ìîë÷àëèâà;
quiet — òèõèé, áåñøóìíûé, íåñëûøíûé
).
She
murmured
as
she
sat
(ñàäÿñü, îíà ïðîáîðìîòàëà: «îíà ïðîáîðìîòàëà, êîãäà îíà ñàäèëàñü»)
:
“
I
don’
t
feel
as
though
I
had
the
heart
to
eat
anything
(ìíå êàæåòñÿ, ÷òî ìíå êóñîê â ãîðëî íå ïîëåçåò: «ó ìåíÿ íåò îùóùåíèÿ, ÷òî ÿ ðåøóñü ñúåñòü
÷òî-íèáóäü»; heart
— ñåðäöå; ìóæåñòâî, ñìåëîñòü;
to
have
heart
to
do
smth. — ðåøèòüñÿ ñäåëàòü ÷òî-ëèáî
),”
and
then
partook
of
everything
offered
her
(è çàòåì îòâåäàëà âñåãî, ÷òî áûëî åé ïðåäëîæåíî: «ïðåäëîæåííîãî åé»;
to
partake (
partook,
partaken) — ïðèíèìàòü ó÷àñòèå; îòâåäàòü /÷åãî-ëèáî/,
ïîåñòü),
encouraged
by
the
Swedish
lady
(ïîîùðÿåìàÿ øâåäêîé)
who
seemed
to
regard
her
as
a
special
charge
(êîòîðàÿ, êàçàëîñü, âçÿëà åå ïîä îñîáóþ îïåêó: «ðàññìàòðèâàëà åå êàê îñîáóþ ïîäîïå÷íóþ»;
charge — íàãðóçêà, çàãðóçêà; çàáîòà, ïîïå÷åíèå; ëèöî, ñîñòîÿùåå íà ïîïå÷åíèè
).
assemble
[q'semb(q)l] subdued
[sAb'dju:d, sqb-] loquacious
[lq(V)'kweISqs] encourage
[In'kArIdZ]
Poirot shared a table with M. Bouc and the doctor.
The company assembled in the restaurant car was a very subdued one. They spoke
little. Even the loquacious Mrs. Hubbard was unnaturally quiet. She murmured as she sat:
“I don’t feel as though I had the heart to eat anything,” and then partook
of everything offered her, encouraged by the Swedish lady who seemed to regard her as a special charge.
Before the meal was served
(ïåðåä
ïîäà÷åé
áëþä
; meal —
ïðèíÿòèå
ïèùè,
åäà)
, Poirot had caught the chief attendant by the sleeve and murmured something to him
(Ïóàðî
, óõâàòèâ
= çàäåðæàâ
ìåòðäîòåëÿ
: «ãëàâíîãî
îôèöèàíòà
» çà
ðóêàâ
, ïðîáîðìîòàë
åìó
÷òî
-òî
). Constantine made a pretty good guess
(/äîêòîð
/ Êîíñòàíòèí
äîâîëüíî
ëåãêî
äîãàäàëñÿ
; guess —
äîãàäêà,
ïðåäïîëîæåíèå)
as to what the instructions had been (
îòíîñèòåëüíî
÷åãî
áûëè
èíñòðóêöèè /
Ïóàðî/)
when he noticed that the Count and Countess Andrenyi were always served last
(êîãäà
îí
çàìåòèë
, ÷òî
ãðàô
è
ãðàôèíÿ
Àíäðåíè
/âñåãäà
/ îáñëóæèâàëèñü
ïîñëåäíèìè
; to serve —
ñëóæèòü,
áûòü
ñëóãîé;
îáñëóæèâàòü)
and that at the end of the meal there was a delay in making out their bill
(è
÷òî
â
êîíöå
óæèíà
: «ïðèíÿòèÿ
ïèùè
» áûëà
çàäåðæêà
ñ
âûïèñêîé
èõ
ñ÷åòà
; to make out —
ñîñòàâëÿòü;
âûïèñûâàòü)
. It therefore came about (
ïî
ýòîé
ïðè÷èíå
ñëó÷èëîñü
òàê;
to come (came, come) about — ïðîèñõîäèòü
, ñëó÷àòüñÿ
) that the Count and Countess were the last left in the restaurant car
(÷òî
ãðàô
è
ãðàôèíÿ
Àíäðåíè
îêàçàëèñü
ïîñëåäíèìè
, îñòàâøèìèñÿ
â
âàãîíå
-ðåñòîðàíå
).
When they rose at length
(êîãäà
îíè
, íàêîíåö
, ïîäíÿëèñü
; length —
äëèíà;
ïðîòÿæåííîñòü)
and moved in the direction of the door (
è
äâèíóëèñü
â
íàïðàâëåíèè
äâåðè =
ê
âûõîäó)
, Poirot sprang up and followed them (
Ïóàðî
âñêî÷èë
è
ïîñëåäîâàë
çà
íèìè)
.
chief [tSi:f]
therefore ['DeqfO:]
length [leNT]
Before the meal was served, Poirot had caught the chief attendant by the sleeve
and murmured something to him. Constantine made a pretty good guess as to what the instructions had been when he noticed that the Count and Countess Andrenyi were always served last and that at the end of the meal there was
a delay in making out their bill. It therefore came about that the Count and Countess were the last left in the restaurant car.
When they rose at length and moved in the direction of the door, Poirot sprang
up and followed them.
“Pardon, Madame, you have dropped your handkerchief
(ïðîøó
ïðîùåíèÿ
, ìàäàì
, âû
óðîíèëè
ïëàòîê
).”
He was holding out to her the tiny monogrammed square
(îí
ïðîòÿãèâàë
åé
êðîøå÷íûé
êëî÷îê
/áàòèñòà
/ /ñ
âûøèòîé
/ ìîíîãðàììîé
; to hold —
äåðæàòü; to hold out —
ïðîòÿãèâàòü; square —
êâàäðàò;
ïðåäìåò
÷åòûðåõóãîëüíîé
ôîðìû)
.
She took it, glanced at it, then handed it back to him
(îíà
âçÿëà
åãî
, âçãëÿíóëà
íà
íåãî
, è
çàòåì
âåðíóëà
åãî
åìó
). “You are mistaken, Monsieur
(âû
îøèáëèñü
, ìñüå
; to mistake (mistook, mistaken) —
îøèáàòüñÿ,
çàáëóæäàòüñÿ)
, that is not my handkerchief (
ýòî
íå
ìîé
ïëàòîê)
.”
“Not your handkerchief
(íå
âàø
ïëàòîê
)? Are you sure
(âû
óâåðåíû
)?”
“Perfectly sure, Monsieur
(ñîâåðøåííî
óâåðåíà
, ìñüå
).”
“And yet, Madame
(è
âñå
æå
, ìàäàì
), it has your initial
(íà
íåì
âàø
èíèöèàë
; initial —
çàãëàâíàÿ
áóêâà;
èíèöèàëû)
— the initial H (
çàãëàâíàÿ
áóêâà
Í)
.”
pardon
[pQ:dn] monogram
['mO
nqgrxm] handkerchief
['hxNkqtSIf]
“Pardon, Madame, you have dropped your handkerchief.”
He was holding out to her the tiny monogrammed square.
She took it, glanced at it, then handed it back to him. “You are mistaken,
Monsieur, that is not my handkerchief.”
“Not your handkerchief? Are you sure?”
“Perfectly sure, Monsieur.”
“And yet, Madame, it has your initial — the initial H.”
The Count made a sudden movement (
ãðàô
ïîñïåøíî
äâèíóëñÿ /
ê
íåìó/;
sudden — âíåçàïíûé
; ñòðåìèòåëüíûé
, ïîñïåøíûé
; movement — äâèæåíèå
). Poirot
ignored
him
(/íî/ Ïóàðî íå îáðàòèë íà íåãî âíèìàíèÿ)
. His
eyes
were
fixed
on
the
Countess
’s
face
(åãî âçãëÿä áûë óñòðåìëåí íà ëèöî ãðàôèíè;
eye — ãëàç, îêî; âçãëÿä, âçîð;
to
fix — óêðåïëÿòü, çàêðåïëÿòü; íåîòðûâíî ñìîòðåòü,
óñòðåìèòü âçãëÿä)
.
Looking
steadily
at
him
(ãëÿäÿ íà íåãî ñïîêîéíî;
steady — ïðî÷íûé, òâåðäûé; íåïîêîëåáèìûé, òâåðäûé,
ñïîêîéíûé)
she
replied
(îíà îòâåòèëà):
“I do not understand, Monsieur
(ÿ
/âàñ
/ íå
ïîíèìàþ
, ìñüå
). My initials are E. A
(ìîè
èíèöèàëû
— Å
.À
.).”
“
I
think
not
(ÿ äóìàþ, ÷òî ýòî íå òàê)
. Your
name
is
Helena
— not
Elena
(Âàñ çîâóò: «âàøå èìÿ» Õåëåíà — à íå Åëåíà)
. Helena
Goldenberg
, the
younger
daughter
of
Linda
Arden
(Õåëåíà Ãîëüäåíáåðã, ìëàäøàÿ äî÷ü Ëèíäû Àðäåí;
young — ìîëîäîé, þíûé; ìëàäøèé, ìîëîäîé
/î ÷ëåíàõ îäíîé ñåìüè/)
— Helena
Goldenberg
, the
sister
of
Mrs
. Armstrong
(ñåñòðà ìèññèñ Àðìñòðîíã)
.”
There
was
a dead
silence
for a
minute
or two
(ìèíóòó èëè äâå ñòîÿëà ìåðòâàÿ òèøèíà;
dead — ìåðòâûé; ýìîö.-óñèë. ïîëíûé, ñîâåðøåííûé, ãëóáîêèé
). Both
the
Count and
the
Countess had
gone
deadly white
(îáà — è ãðàô, è ãðàôèíÿ — /ñìåðòåëüíî/ ïîáëåäíåëè;
white — áåëûé, áëåäíûé;
to go
— èäòè, çä. êàê ãëàãîë-ñâÿçêà â ñîñòàâíîì èìåííîì ñêàçóåìîì — äåëàòüñÿ, ñòàíîâèòüñÿ;
deadly — ñìåðòåëüíûé, ñìåðòîíîñíûé; ýìîö.-óñèë. óæàñíûé, ÷ðåçâû÷àéíûé
).
ignore
[Ig'nO:] deadly
['dedlI] white
[waIt]
The Count made a sudden movement. Poirot ignored him. His eyes were fixed on
the Countess’s face.
Looking steadily at him she replied:
“I do not understand, Monsieur. My initials are E. A.”
“I think not. Your name is Helena — not Elena. Helena Goldenberg, the younger
daughter of Linda Arden — Helena Goldenberg, the sister of Mrs. Armstrong.”
There was a dead silence for a minute or two. Both the Count and the Countess
had gone deadly white.
Poirot said in a gentler tone
(Ïóàðî
ñêàçàë
, áîëåå
ìÿãêèì
òîíîì
): “It is of no use denying
(îòðèöàòü
íå
èìååò
ñìûñëà
; use —
óïîòðåáëåíèå,
èñïîëüçîâàíèå;
ïîëüçà,
òîëê,
âûãîäà; to be of no use —
áûòü
áåñïîëåçíûì, to deny —
îòðèöàòü,
îòâåðãàòü)
. That is the truth, is it not (
ýòî
ïðàâäà,
íå
òàê
ëè)
?”
The Count burst out furiously
(ãðàô
â
áåøåíñòâå
âîñêëèêíóë
; to burst —
âçðûâàòüñÿ; to burst out —
âñêëèêíóë; fury —
ÿðîñòü,
íåèñòîâñòâî,
áåøåíñòâî)
, “I demand, Monsieur (
ÿ
ñïðàøèâàþ,
ìñüå;
to demand — òðåáîâàòü
; íàñòîé÷èâî
òðåáîâàòü
îòâåòà
, ñïðàøèâàòü
), by what right you
(ïî
êàêîìó
ïðàâó
; right —
ïðàâèëüíîñòü,
ïðàâîòà;
ïðàâî,
ïðèâèëåãèÿ)
— ”
She
interrupted
him
(îíà ïðåðâàëà åãî; to
interrupt
— ïðåðûâàòü /õîä, òå÷åíèå ÷åãî-ëèáî/; ïåðåáèâàòü, ïðåðûâàòü /ãîâîðÿùåãî/
),
putting
up
a
small
hand
towards
his
mouth
(ïîäíîñÿ: «ïîäíèìàÿ» /ñâîþ/ ìàëåíüêóþ ðó÷êó ê åãî ðòó;
to
put — êëàñòü, ñòàâèòü;
to
put
up — ïîäíèìàòü;
towards — çä. óêàçûâàåò íà äâèæåíèå ïî íàïðàâëåíèþ
ê ïðåäìåòó: /ïî íàïðàâëåíèþ/ ê)
.
“No, Rudolph. Let me speak
(ïîçâîëü
ìíå
ñêàçàòü
). It is useless to deny what this gentleman says
(áåñïîëåçíî
îòðèöàòü
òî
, ÷òî
ãîâîðèò
ýòîò
äæåíòëüìåí
). We had better sit down and talk the matter out
(íàì
ëó÷øå
ïðèñåñòü
è
ðàçîáðàòüñÿ
â
ýòîé
ñèòóàöèè
; to talk —
ðàçãîâàðèâàòü,
áåñåäîâàòü; to talk out —
èñ÷åðïàòü
òåìó,
äîéòè
äî
ñóòè; matter —
âåùåñòâî;
äåëî,
âîïðîñ)
.”
Her voice had changed (
åå
ãîëîñ
èçìåíèëñÿ)
. It still had the southern richness of tone (
â
íåì
âñå
åùå
áûëî
þæíîå
áîãàòñòâî
èíòîíàöèé;
south — þã
; tone — òîí
, çâóê
; îêðàñêà
ãîëîñà
, èíòîíàöèÿ
, ìîäóëÿöèÿ
), but it had become suddenly more clear-cut
(íî
âíåçàïíî
îí
ñòàë
áîëåå
÷åòêèì
; clear-cut —
ÿñíî
î÷åð÷åííûé;
÷åòêèé,
îïðåäåëåííûé)
and incisive (
è
ðåçêèì;
incisive — ðåæóùèé
; îñòðûé
, ðåçêèé
). It
was
, for
the
first
time
, a
definitely
American
voice
(âïåðâûå îí çâó÷àë ñ îïðåäåëåííî àìåðèêàíñêèìè
èíòîíàöèÿìè: «ýòî áûë, â ïåðâûé ðàç, îïðåäåëåííî àìåðèêàíñêèé ãîëîñ»)
.
deny [dI'naI]
furiously ['fjV(q)rIqslI]
interrupted ["Intq'rAptId]
southern ['sADqn]
richness ['rItSnIs]
incisive [In'saIsIv]
Poirot said in a gentler tone: “It is of no use denying. That is the truth,
is it not?”
The Count burst out furiously, “I demand, Monsieur, by what right you —
”
She interrupted him, putting up a small hand towards his mouth.
“No, Rudolph. Let me speak. It is useless to deny what this gentleman says.
We had better sit down and talk the matter out.”
Her voice had changed. It still had the southern richness of tone, but it had
become suddenly more clear-cut and incisive. It was, for the first time, a definitely American voice.
The Count was silenced
(ãðàô
çàìîë÷àë
; to silence —
çàñòàâèòü
çàìîë÷àòü)
. He obeyed the gesture of her hand (
îí
ïîâèíîâàëñÿ
äâèæåíèþ
åå
ðóêè;
to obey — ñëóøàòüñÿ
, ïîâèíîâàòüñÿ
, ïîä÷èíÿòüñÿ
) and they both sat down opposite Poirot
(è
îíè
îáà
ñåëè
íàïðîòèâ
Ïóàðî
).
“Your statement, Monsieur, is quite true
(âàøå
óòâåðæäåíèå
, ìñüå
, ñîâåðøåííî
âåðíî
; statement —
âûñêàçûâàíèå,
èçëîæåíèå;
çàÿâëåíèå,
óòâåðæäåíèå)
,” said the Countess (
ñêàçàëà
ãðàôèíÿ)
. “I am Helena Goldenberg, the younger sister of Mrs. Armstrong
(ÿ
— Õåëåíà
Ãîëüäåíáåðã
, ìëàäøàÿ
ñåñòðà
ìèññèñ
Àðìñòðîíã
).”
“You did not acquaint me with that fact this morning, Madame la Comtesse
(âû
íå
ñîîáùèëè
ìíå
ýòîãî
ôàêòà
ñåãîäíÿ
óòðîì
, ìàäàì
ãðàôèíÿ
; to acquaint —
çíàêîìèòü,
îçíàêîìèòü;
ñîîáùàòü,
èíôîðìèðîâàòü)
.”
“No.”
“In fact, all that your husband and you told me was a tissue of lies
(íà
ñàìîì
äåëå
, âñå
, ÷òî
âàø
ìóæ
è
âû
ðàññêàçàëè
ìíå
, îêàçàëîñü
ïàóòèíîé
ëæè
; tissue —
òîíêàÿ
äîðîãàÿ
òêàíü;
ïàóòèíà,
ñåòü,
ñïëåòåíèå)
.”
“Monsieur!” cried the Count angrily
(ñåðäèòî
âîñêëèêíóë
ãðàô
; to cry —
êðè÷àòü,
îðàòü;
âîñêëèöàòü,
âñêðèêíóòü; angry —
ñåðäèòûé,
ãíåâíûé)
.
silence
['saIlqns] obey
[q(V)'beI] acquaint
[q'kweInt] tissue
['tISu:, 'tIsju:]
The Count was silenced. He obeyed the gesture of her hand and they both sat
down opposite Poirot.
“Your statement, Monsieur, is quite true,” said the Countess. “I am Helena
Goldenberg, the younger sister of Mrs. Armstrong.”
“You did not acquaint me with that fact this morning, Madame la Comtesse.”
“No.”
“In fact, all that your husband and you told me was a tissue of lies.”
“Monsieur!” cried the Count angrily.
“Do not be angry, Rudolph
(íå
ñåðäèñü, Ðóäîëüô
). M. Poirot puts the fact rather brutally
(ìñüå
Ïóàðî äîâîëüíî
ðåçêî
âûðàçèëñÿ;
to put — êëàñòü
, ñòàâèòü;
èçëàãàòü, ôîðìóëèðîâàòü
/ìûñëè,
çàìå÷àíèÿ
è ò
.ï./; brute —
æèâîòíîå, òâàðü
; brutal — æåñòîêèé
, çâåðñêèé;
ãðóáûé; æåñòîêèé
, ãîðüêèé
), but what he says is undeniable
(íî
òî, ÷òî
îí
ãîâîðèò, íåîñïîðèìî
= ýòî
ïðàâäà; to deny —
îòðèöàòü, îòâåðãàòü
; deniable — ñïîðíûé
; undeniable — íåîñïîðèìûé
, ÿâíûé)
.”
“
I
am
glad
you
admit
the
fact
so
freely,
Madame
(ÿ ðàä, ÷òî âû òàê ïðÿìî ïðèçíàåòåñü: «ïðèçíàåòå ýòîò ôàêò», ìàäàì;
freely — ñâîáîäíî, âîëüíî; îòêðûòî, îòêðîâåííî
).
Will
you
now
tell
me
your
reasons
for
that
(íå ðàññêàæèòå ëè âû ìíå ñåé÷àñ î /âàøèõ/ ïðè÷èíàõ äëÿ ýòîãî = ïîáóäèâøèõ âàñ ñîëãàòü)
, and
also
for
altering
your
Christian
name
on
your
passport
(à òàêæå èçìåíèòü âàøå èìÿ â ïàñïîðòå;
Christian
name — èìÿ, äàííîå ïðè êðåùåíèè; èìÿ /â îòëè÷èå
îò ôàìèëèè/)?”
“
That
was
my
doing
entirely
(ýòî âñåöåëî äåëî ìîèõ ðóê = ýòî ïîëíîñòüþ ìîÿ âèíà;
doing — äåëàíèå, äåëî
),”
put
in
the
Count
(âìåøàëñÿ /â ðàçãîâîð/ ãðàô)
.
Helena
said
quietly
(Õåëåíà ñêàçàëà ñïîêîéíî)
:
“
Surely,
M.
Poirot
(íåñîìíåííî, ìñüå Ïóàðî)
, you
can
guess
my
reason
(âû ìîæåòå äîãàäàòüñÿ î ìîåé ïðè÷èíå)
— our
reason
(î íàøåé ïðè÷èíå)
. This
man
who
was
killed
(ýòîò ìóæ÷èíà, êîòîðûé áûë óáèò)
is
the
man
who
murdered
my
baby
niece
(ýòî òîò ñàìûé ÷åëîâåê, êîòîðûé óáèë ìîþ ìàëåíüêóþ
ïëåìÿííèöó; to
murder — óáèâàòü /æåñòîêî, çâåðñêè/, ñîâåðøàòü
/óìûøëåííîå, ïðåäíàìåðåííîå/ óáèéñòâî)
, who
killed
my
sister
(óáèë ìîþ ñåñòðó)
, who
broke
my
brother
-in
-law
’s
heart
(êîòîðûé ðàçáèë ñåðäöå ìîåãî çÿòÿ;
brother-
in-
law — çÿòü /ìóæ ñåñòðû/;
in-
law — ðîäíÿ ñî ñòîðîíû ìóæà èëè æåíû;
law — çàêîí
).
Three
of
the
people
I
loved
best
(òðîå èç òåõ /ëþäåé/, êîòîðûõ ÿ ëþáèëà áîëüøå âñåãî;
best — íàèëó÷øèì îáðàçîì; áîëüøå âñåãî
)
and
who
made
up
my
home
(è êîòîðûå ñîñòàâëÿëè ìîþ ñåìüþ;
home — äîì, æèëèùå; ñåìüÿ, äîìàøíèé êðóã, ñåìåéíàÿ
æèçíü) —
my
world
(ìîé ìèð)!”
brutal
['bru:tl] undeniable
["AndI'naIqb(q)l] brother-in-law
['brAD(q)rIn"lO:]
“Do not be angry, Rudolph. M. Poirot puts the fact rather brutally, but what
he says is undeniable.”
“I am glad you admit the fact so freely, Madame. Will you now tell me your
reasons for that, and also for altering your Christian name on your passport?”
“That was my doing entirely,” put in the Count.
Helena said quietly: “Surely, M. Poirot, you can guess my reason — our
reason. This man who was killed is the man who murdered my baby niece, who killed my sister, who broke my brother-in-law’s heart. Three of the people I loved best and who made up my home — my world!”
Her voice rang out passionately
(åå
ãîëîñ
ïðîçâó÷àë
ñòðàñòíî
= â
åå
ãîëîñå
çâó÷àëà
ñòðàñòü
; to ring (rang, rung) — çâåíåòü
, çâó÷àòü
; to ring out — ïðîçâó÷àòü
, ðàçäàòüñÿ
). She was a true daughter of that mother
(îíà
áûëà
èñòèííîé
äî÷åðüþ
ñâîåé
ìàòåðè
) the emotional force of whose acting
(÷üÿ
âîëíóþùàÿ
ñèëà
àêòåðñêîé
èãðû
; emotional —
ñâÿçàííûé
ñ
ýìîöèÿìè;
âîëíóþùèé; to act —
äåéñòâîâàòü,
ïîñòóïàòü;
òåàòð.
èñïîëíÿòü /
ðîëü/,
èãðàòü)
had moved huge audiences to tears (
òðîãàëà
äî
ñëåç
ïåðåïîëíåííûå
çðèòåëüñêèå
çàëû: «
îãðîìíîå /
êîëè÷åñòâî/
çðèòåëåé»;
to move smb. to tears — ðàñòðîãàòü
êîãî
-ëèáî
äî
ñëåç
, äîâåñòè
äî
ñëåç
; huge — îãðîìíûé
, ãðîìàäíûé
; audience — ïóáëèêà
, çðèòåëè
, àóäèòîðèÿ
).
She
went
on
more
quietly
(îíà ïðîäîëæàëà áîëåå ñïîêîéíî)
.
“
Of
all
the
people
on
the
train
(èç âñåõ ïàññàæèðîâ: «ëþäåé â ïîåçäå»)
I
alone
had
probably
the
best
motive
for
killing
him
(ó ìåíÿ îäíîé, âîçìîæíî, áûë ñàìûé çíà÷èòåëüíûé
ìîòèâ äëÿ åãî óáèéñòâà; best
— ëó÷øèé; áîëüøèé; ãëàâíûé
).”
“And you did not kill him, Madame
(à
âû
åãî
íå
óáèëè
, ìàäàì
)?”
“I swear to you, M. Poirot
(êëÿíóñü
âàì
, ìñüå
Ïóàðî
) — and my husband knows
(è
ìîé
ìóæ
çíàåò
ýòî
) — and will swear also
(è
òîæå
ïîêëÿíåòñÿ
) — that much as I may have been tempted to do so
(÷òî
, êàê
áû
ñèëüíî
ìíå
íå
õîòåëîñü
áû
ñäåëàòü
ýòî
; to tempt —
óãîâàðèâàòü,
ñêëîíÿòü;
ñîáëàçíÿòü,
èñêóøàòü)
, I never lifted a hand against that man (
ÿ
íå
ïîäíèìàëà
ðóêè
íà
ýòîãî
÷åëîâåêà;
to lift one's hand against smb. — ïîäíÿòü
íà
êîãî
-ëèáî
ðóêó
).”
passionate
['pxS(q)nIt] audience
['O:dIqns] probably
['prO
bqblI]
Her voice rang out passionately. She was a true daughter of that mother the
emotional force of whose acting had moved huge audiences to tears.
She went on more quietly.
“Of all the people on the train I alone had probably the best motive for
killing him.”
“And you did not kill him, Madame?”
“I swear to you, M. Poirot — and my husband knows — and will swear also
— that much as I may have been tempted to do so, I never lifted a hand against that man.”
“I, too, gentlemen (
ÿ
òîæå,
ãîñïîäà)
,” said the Count (
ñêàçàë
ãðàô)
. “I give you my word of honour (
ÿ
äàþ
âàì
ñëîâî
÷åñòè;
honour — ÷åñòü
, ÷åñòíîñòü
) that last night Helena never left her compartment
(÷òî
ïðîøëîé
íî÷üþ
Õåëåíà íå ïîêèäàëà ñâîåãî êóïå;
last
— ïîñëåäíèé; ïðîøëûé;
to
leave
(left
))
. She
took
a
sleeping
draught
exactly
as
I
said
(îíà ïðèíÿëà ñíîòâîðíîå — èìåííî òàê, êàê ÿ óæå
ãîâîðèë). She
is
utterly
and
entirely
innocent
(îíà àáñîëþòíî: «ñîâåðøåííî è ïîëíîñòüþ» íåâèíîâíà;
utter — ïîëíûé, ñîâåðøåííûé, àáñîëþòíûé
).”
Poirot looked from one to the other of them
(Ïóàðî
ïåðåâîäèë
âçãëÿä
ñ
îäíîé
íà
äðóãîãî
/èç
íèõ
/).
“On my word of honour
(÷åñòíîå
ñëîâî
),” repeated the Count
(ïîâòîðèë
ãðàô
).
Poirot shook his head slightly
(Ïóàðî
ñëåãêà
ïîêà÷àë
ãîëîâîé
).
honour
['O
nq] innocent
['Inqs(q)nt] slightly
['slaItlI]
“I, too, gentlemen.” said the Count. “I give you my word of honour that
last night Helena never left her compartment. She took a sleeping draught exactly as I said. She is utterly and entirely innocent.”
Poirot looked from one to the other of them.
“On my word of honour,” repeated the Count.
Poirot shook his head slightly.
“And yet you took it upon yourself to alter the name in the passport
(è
âñå
æå
âû
ðåøèëèñü
íà
òî
, ÷òîáû
èçìåíèòü
èìÿ
â
ïàñïîðòå
; to take (took, taken) upon oneself —
áðàòü
íà
ñåáÿ /
îòâåòñòâåííîñòü,
îáÿçàòåëüñòâà/
)?”
“Monsieur Poirot,” the Count said earnestly
(ñêàçà
ãðàô èñêðåííå
; earnest — ñåðüåçíûé
; óáåæäåííûé
, èñêðåííèé
) and passionately (
è ïûëêî
; passionate —
ñòðàñòíûé,
ïûëêèé), “consider my position
(âîéäèòå
â ìîå
ïîëîæåíèå
; to consider —
ðàññìàòðèâàòü,
îáñóæäàòü;
ïðîÿâëÿòü
óâàæåíèå /ê
êîìó-
ëèáî/, ñ÷èòàòüñÿ
/ñ
êåì-ëèáî
/). Do you think I could stand the thought
(íåóæåëè
âû äóìàåòå
, ÷òî
ÿ ìîã
ñìèðèòüñÿ
ñ
ìûñëüþ; to stand —
ñòîÿòü; âûíîñèòü
, òåðïåòü,
ìèðèòüñÿ)
of my wife dragged through a sordid police case (
÷òîáû ìîÿ
æåíà
áûëà âîâëå÷åíà
â
êàêîå-òî
ãðÿçíîå
ïîëèöåéñêîå =
óãîëîâíîå
äåëî; to drag —
âîëî÷èòü; ìó÷èòü
, òåðçàòü;
ïà÷êàòü, ìàðàòü
; case — ñëó÷àé
, îáñòîÿòåëüñòâî
; ñóäåáíîå
äåëî)? She was innocent, I knew it
(îíà
íåâèíîâíà,
ÿ çíàþ
ýòî)
, but what she said was true (íî
òî,
÷òî îíà
ñêàçàëà —
ïðàâäà) — because of her connection with the Armstrong family she would have been immediately
suspected (èç
-çà
åå ñâÿçè
ñ
ñåìåéñòâîì
Àðìñòðîíãîâ
åå áû
íåìåäëåííî
íà÷àëè
ïîäîçðåâàòü;
connection — ñâÿçü
, ñîåäèíåíèå
; ðîäñòâî
). She
would have
been
questioned (åå áû ñòàëè äîïðàøèâàòü;
to question
— çàäàâàòü âîïðîñû; äîïðàøèâàòü)
— arrested,
perhaps (âîçìîæíî, äàæå àðåñòîâàëè áû)
. Since
some evil
chance
had taken
us
on the
same
train as
this
man Ratchett
(ðàç óæ êàêîé-òî çëîé ðîê ïðèâåë íàñ íà òîò æå ñàìûé ïîåçä, ÷òî è ýòîãî Ðýò÷åòòà;
evil — çëîé, çëîâðåäíûé; çëîâåùèé, äóðíîé;
chance — ñëó÷àéíîñòü, ñëó÷àé; ñóäüáà, ïðåâðàòíîñòè ñóäüáû
), there
was,
I felt
sure,
but one
thing
for it
(/ó íàñ/ áûë, ÿ áûë óâåðåí, òîëüêî îäèí âûõîä)
. I admit, Monsieur, that I lied to you (
ÿ ïðèçíàþ
, ìñüå,
÷òî ÿ
ñîëãàë
âàì) — all, that is, save in one thing
(îáî
âñåì, çà
èñêëþ÷åíèåì
îäíîé
âåùè). My
wife
never left
her
compartment last
night
(ìîÿ æåíà íå âûõîäèëà èç ñâîåãî êóïå ïðîøëîé íî÷üþ;
never — íèêîãäà; íè ðàçó
).”
sordid ['sO:dId]
immediately [I'mi:dIqtlI]
arrested [q'restId]
“And yet you took it upon yourself to alter the name in the passport?”
“Monsieur Poirot,” the Count said earnestly and passionately, “consider
my position. Do you think I could stand the thought of my wife dragged through a sordid police case? She was innocent, I knew it, but what she said was true — because of her connection with the Armstrong family she would
have been immediately suspected. She would have been questioned — arrested, perhaps. Since some evil chance had taken us on the same train as this man Ratchett, there was, I felt sure, but one thing for it. I admit, Monsieur,
that I lied to you — all, that is, save in one thing. My wife never left her compartment last night.”
He spoke with an earnestness that it was hard to gainsay
(îí
ãîâîðèë
ñ
òàêîé
ñåðüåçíîñòüþ
/èñêðåííîñòüþ
, ÷òî
â
íåå
áûëî
ñëîæíî
íå
ïîâåðèòü
: «÷òî
â
íåé
ñëîæíî
áûëî
óñîìíèòüñÿ
»; to gainsay —
îòðèöàòü,
îïðîâåðãàòü)
.
“I do not say that I disbelieve you, Monsieur (
ÿ
íå
ãîâîðþ,
÷òî
íå
âåðþ
âàì,
ìñüå)
,” said Poirot slowly (
ìåäëåííî
ñêàçàë
Ïóàðî)
. “
Your
family
is,
I
know,
a
proud
and
ancient
one
(âàø ðîä, êàê ìíå èçâåñòíî: «ÿ çíàþ», áëàãîðîäíûé è äðåâíèé /ðîä/;
proud — ãîðäûé; âûñîêèé, áëàãîðîäíûé
).
It
would
be
bitter
indeed
for
you
(äëÿ âàñ ýòî äåéñòâèòåëüíî áûëî áû ìó÷èòåëüíî;
bitter — ãîðüêèé; ìó÷èòåëüíûé
)
to
have
your
wife
dragged
into
an
unpleasant
police
case
(åñëè áû âàøà æåíà áûëà âîâëå÷åíà â íåïðèÿòíîå óãîëîâíîå äåëî)
. With
that
I
can
sympathise
(â ýòîì ÿ ðàçäåëÿþ âàøè ÷óâñòâà;
to
sympathise — ñî÷óâñòâîâàòü, ñîñòðàäàòü
).
But
how
then
do
you
explain
the
presence
of
your
wife’
s
handkerchief
actually
in
the
dead
man’
s
compartment
(íî êàê æå òîãäà âû îáúÿñíÿåòå ïðèñóòñòâèå íîñîâîãî ïëàòêà âàøåé æåíû íåïîñðåäñòâåííî
â êóïå óáèòîãî)?”
gainsay ["geIn'seI]
disbelieve ["dIsbI'li:v]
ancient ['eInS(q)nt]
sympathize
['sImpqTaIz]
presence ['prez(q)ns]
He spoke with an earnestness that it was hard to gainsay.
“I do not say that I disbelieve you, Monsieur,” said Poirot slowly. “Your
family is, I know, a proud and ancient one. It would be bitter indeed for you to have your wife dragged into an unpleasant police case. With that I can sympathise. But how then do you explain the presence of your wife’s
handkerchief actually in the dead man’s compartment?”
“That handkerchief is not mine, Monsieur
(ýòîò
ïëàòîê
íå
ìîé
, ìñüå
),” said the Countess.
“In spite of the initial H
(íåñìîòðÿ
íà
èíèöèàë
Í
)?”
“In spite of the initial. I have handkerchiefs not unlike that
(ó
ìåíÿ
ïîõîæèå
ïëàòêè
: «íå
íåïîõîæèå
»), but not one that is exactly of that pattern
(íî
íå
ñîâñåì
, ñ
äðóãèì
ðèñóíêîì
: «íî
íå
òàêèå
, êîòîðûå
ñ
òî÷íî
òàêèì
æå
ðèñóíêîì
»; pattern —
îáðàçåö,
ïðèìåð;
âûêðîéêà;
ðèñóíîê,
óçîð)
. I know, of course, that I cannot hope to make you believe me
(ÿ
çíàþ
, êîíå÷íî
, ÷òî
ÿ
íå
ìîãó
íàäåÿòüñÿ
, ÷òî
ñìîãó
çàñòàâèòü
âàñ
ïîâåðèòü
ìíå
; to make + infin. —
çàñòàâëÿòü
äåëàòü
÷òî-
ëèáî)
, but I assure you that it is so (
íî
ÿ
óâåðÿþ
âàñ,
÷òî
ýòî
òàê)
. That handkerchief is not mine (
ýòî
íå
ìîé
ïëàòîê)
.”
“It may have been placed there by someone in order to incriminate you
(ìîã
áû
îí
áûòü
ïîäáðîøåí
òóäà
= â
êóïå
óáèòîãî
êåì
-òî
äëÿ
òîãî
, ÷òîáû
ïåðåâåñòè
âèíó
íà
âàñ
; to place —
ñòàâèòü,
ïîìåùàòü,
ðàçìåùàòü)
?”
She smiled a little (
îíà
ñëåãêà
óëûáíóëàñü)
. “You are enticing me to admit (
âû
ïðåäëàãàåòå
ìíå
ïðèçíàòü;
to entice — ñîáëàçíÿòü
, óâëåêàòü
, îáîëüùàòü
) that, after all, it is mine
(÷òî
, â
êîíöå
êîíöîâ
, ýòî
ìîé
/ïëàòîê
/)? But
indeed
, M
. Poirot
, it
isn
’t
(íî â ñàìîì äåëå, ìñüå Ïóàðî, ýòî íå òàê)
.” She
spoke
with
great
earnestness
(îíà ãîâîðèëà ñî âñåé ñåðüåçíîñòüþ;
great — áîëüøîé, îãðîìíûé; ñèëüíûé, ãëóáîêèé
/î ÷óâñòâàõ è ò.ï./)
.
“Then why, if the handkerchief was not yours
(òîãäà
ïî÷åìó
, åñëè
ýòî
íå
âàø
íîñîâîé
ïëàòîê
), did you alter the name in the passport
(âû
èçìåíèëè
èìÿ
â
ïàñïîðòå
)?”
pattern ['pxtn]
assure [q'SVq]
incriminate [In'krImIneIt]
“That handkerchief is not mine, Monsieur,” said the Countess.
“In spite of the initial H?”
“In spite of the initial. I have handkerchiefs not unlike that, but not one
that is exactly of that pattern. I know, of course, that I cannot hope to make you believe me, but I assure you that it is so. That handkerchief is not mine.”
“It may have been placed there by someone in order to incriminate you?”
She smiled a little. “You are enticing me to admit that, after all, it is
mine? But indeed, M. Poirot, it isn’t.” She spoke with great earnestness.
“Then why, if the handkerchief was not yours, did you alter the name in the
passport?”
The
Count
answered
this
(íà ýòîò /âîïðîñ/ îòâåòèë ãðàô)
.
“
Because
we
heard
that
a
handkerchief
had
been
found
with
the
initial
H
on
it
(ïîòîìó ÷òî ìû óñëûøàëè, ÷òî áûë íàéäåí íåêèé íîñîâîé ïëàòîê ñ èíèöèàëîì Í íà íåì)
. We
talked
the
matter
over
together
(ìû âìåñòå îáñóäèëè ýòîò âîïðîñ;
to
talk — ðàçãîâàðèâàòü, áåñåäîâàòü;
to
talk
over — îáñóæäàòü /ïîäðîáíî/, äèñêóòèðîâàòü
)
before
we
came
to
be
interviewed
(ïðåæäå ÷åì ìû ïðèøëè /ñþäà, â âàãîí-ðåñòîðàí/, ÷òîáû áûòü äîïðîøåííûìè = íà áåñåäó)
. I
pointed
out
to
Helena
(ÿ îáðàòèë âíèìàíèå Õåëåíû;
to
point — óêàçûâàòü, ïîêàçûâàòü; óêàçûâàòü,
îáðàùàòü /÷üå-ëèáî/ âíèìàíèå, ïîä÷åðêèâàòü)
that
if
it
were
seen
that
her
Christian
name
began
with
an
H
(÷òî åñëè óâèäÿò, ÷òî åå èìÿ íà÷èíàåòñÿ ñ Í)
she
would
immediately
be
subjected
to
much
more
rigorous
questioning
(÷òî åå íåìåäëåííî ïîäâåðãíóò ãîðàçäî áîëåå ñòðîãîìó
äîïðîñó; to
subject — ïîä÷èíÿòü, ïîêîðÿòü; ïîäâåðãàòü
).
And
the
thing
was
so
simple
(äà è äåëî áûëî òàêèì ïðîñòûì)
— to
alter
Helena
to
Elena
(èçìåíèòü Õåëåíó íà Åëåíó)
, was
easily
done
(÷òî è áûëî áåç òðóäà ñäåëàíî)
.”
“
You
have,
M.
le
Comte,
the
makings
of
a
very
fine
criminal
(âû, ìñüå ãðàô, îáëàäàåòå çàäàòêàìè î÷åíü õîðîøåãî ïðåñòóïíèêà;
making — ñîçäàíèå, ñòàíîâëåíèå; çàäàòêè, íåîáõîäèìûå
êà÷åñòâà),”
remarked
Poirot
dryly
(ñóõî çàìåòèë Ïóàðî;
dry — ñóõîé; ñóõîé, ñäåðæàííûé, õîëîäíûé
). “
A
great
natural
ingenuity
(êîëîññàëüíàÿ âðîæäåííàÿ èçîáðåòàòåëüíîñòü;
natural — åñòåñòâåííûé, ïðèðîäíûé; âðîæäåííûé,
ïðèñóùèé),
and
an
apparently
remorseless
determination
(è ÿâíî áåçîãëÿäíàÿ ðåøèòåëüíîñòü;
remorse — óãðûçåíèÿ ñîâåñòè, ðàñêàÿíèå;
remorseless — áåçæàëîñòíûé, áåñïîùàäíûé, æåñòîêèé;
íå èñïûòûâàþùèé ðàñêàÿíèÿ, íå èñïûòûâàþùèé óãðûçåíèé ñîâåñòè
)
to
mislead
justice
(ââîäèòü ïðàâîñóäèå â çàáëóæäåíèå;
justice — ñïðàâåäëèâîñòü; ïðàâîñóäèå, þñòèöèÿ
).”
rigorous
['rIgqrqs] criminal
['krImIn(q)l] ingenuity
["IndZI'nju:ItI] apparently
[q'pxrqntlI] remorseless
[rI'mO:slIs] justice
['dZAstIs]
The Count answered this.
“Because we heard that a handkerchief had been found with the initial H on
it. We talked the matter over together before we came to be interviewed. I pointed out to Helena that if it were seen that her Christian name began with an H she would immediately be subjected to much more rigorous questioning.
And the thing was so simple — to alter Helena to Elena, was easily done.”
“You have, M. le Comte, the makings of a very fine criminal,” remarked
Poirot dryly. “A great natural ingenuity, and an apparently remorseless determination to mislead justice.”
“Oh, no, no.” The girl leaned forward (
ìîëîäàÿ
æåíùèíà
ïîäàëàñü
âïåðåä)
. “M. Poirot, he’s explained to you how it was (
ìñüå
Ïóàðî,
îí
æå
îáúÿñíèë
âàì,
êàê
âñå
áûëî)
.” She broke from French into English (
îíà
ïåðåøëà
ñ
ôðàíöóçñêîãî
íà
àíãëèéñêèé;
to break (broke, broken) — ëîìàòü
; ñáèâàòüñÿ
, ñðûâàòüñÿ
). “I was scared
(ÿ
èñïóãàëàñü
; scared —
íàïóãàííûé,
èñïóãàííûé)
— absolutely dead scared (
ñîâåðøåííî
ïåðåïóãàëàñü,
äî
ñìåðòè;
dead — ìåðòâûé
, óìåðøèé
; ýìîö
.-óñèë
. ñìåðòåëüíî
, óæàñíî
), you understand
(âû
æå
ïîíèìàåòå
). It had been so awful
(âñå
áûëî
òàê
óæàñíî
) — that time
(â
òîò
ðàç
; time —
âðåìÿ;
ðàç,
ñëó÷àé)
— and to have it all raked up again (
è
âîðîøèòü
âñå
ýòî
ñíîâà;
to rake up — ñãðåáàòü
, çàãðåáàòü
; âîðîøèòü
/âîñïîìèíàíèÿ
è
ò
.ï
./; rake — ãðàáëè
). And to be suspected
(è
íàõîäèòüñÿ
ïîä
ïîäîçðåíèåì
: «áûòü
ïîäîçðåâàåìîé
») and perhaps thrown into prison
(è
, âîçìîæíî
, ñåñòü
â
òþðüìó
: «è
, âîçìîæíî
, áûòü
áðîøåííîé
â
òþðüìó
»; to throw (threw, thrown)
— áðîñàòü
, øâûðÿòü
). I was just scared stiff, M. Poirot (
ÿ
áûëà
íàïóãàíà
äî
ñìåðòè,
ìñüå
Ïóàðî;
to scare smb. stiff — íàïóãàòü
êîãî
-ëèáî
äî
ñìåðòè
; stiff — òóãîé
, íåãèáêèé
, íåýëàñòè÷íûé
, æåñòêèé
; îêîñòåíåâøèé
, îäåðåâåíåëûé
). Can
’t
you
understand
at
all
(íåóæåëè âû íå ìîæåòå ýòîãî ïîíÿòü;
at
all — íèñêîëüêî
)?”
Her
voice
was
lovely
(ãîëîñ åå áûë î÷àðîâàòåëåí)
— deep
(íèçêèé;
deep — ãëóáîêèé; íèçêèé, ïîëíûé, ãðóäíîé /î
ãîëîñå/) —
rich
(ãðóäíîé; rich
— áîãàòûé; íèçêèé, ãëóáîêèé, ìÿãêèé /î çâóêå/
) —
pleading
(óìîëÿþùèé),
the
voice
of
the
daughter
of
Linda
Arden,
the
actress
(ãîëîñ äî÷åðè àêòðèñû Ëèíäû Àðäåí)
.
Poirot
looked
gravely
at
her
(Ïóàðî ñåðüåçíî âçãëÿíóë íà íåå;
grave — ñåðüåçíûé, âåñêèé, âàæíûé; ñåðüåçíûé
).
forward
['fO:wqd] absolutely
["xbsq'lu:tlI] awful
['O:f(q)l] prison
['prIz(q)n]
“Oh, no, no.” The girl leaned forward. “M. Poirot, he’s explained to
you how it was.” She broke from French into English. “I was scared — absolutely dead scared, you understand. It had been so awful — that time — and to have it all raked up again. And to be suspected and perhaps thrown
into prison. I was just scared stiff, M. Poirot. Can’t you understand at all?”
Her voice was lovely — deep — rich — pleading, the voice of the daughter
of Linda Arden, the actress.
Poirot looked gravely at her.
“If I am to believe you, Madame
(åñëè
ÿ
ïîâåðþ
âàì
, ìàäàì
) — and I do not say that I will not believe you
(à
ÿ
íå
ãîâîðþ
, ÷òî
ÿ
íå
ïîâåðþ
âàì
) — then you must help me
(òîãäà
âû
äîëæíû
ïîìî÷ü
ìíå
).”
“Help you
(ïîìî÷ü
âàì
)?”
“Yes. The reason for the murder lies in the past
(ïðè÷èíà
óáèéñòâà
êðîåòñÿ
â
ïðîøëîì
; to lie —
ëåæàòü;
çàêëþ÷àòüñÿ,
áûòü /
â
÷åì-
ëèáî/
) — in that tragedy which broke up your home
(â
òîé
ñàìîé
òðàãåäèè
, ÷òî
ðàçðóøèëà
âàøó
ñåìüþ
; to break (broke, broken) up —
ðàñôîðìèðîâûâàòü,
ðàçãîíÿòü;
ðàçðóøàòü /
ñåìüþ,
äîì/
) and saddened your young life
(è
îïå÷àëèëà
âàøó
þíóþ
æèçíü
; sad —
ïå÷àëüíûé,
ãðóñòíûé; to sadden —
ïå÷àëèòü,
îïå÷àëèâàòü)
. Take me back into the past, Mademoiselle (
ðàññêàæèòå
ìíå
î
ïðîøëîì,
ìàäåìóàçåëü;
to take back — îòâîäèòü
, îòâîçèòü
; íàïîìèíàòü
/ïðîøëîå
/)
, that I may find there the link (
÷òîáû
ÿ
ìîã
îáíàðóæèòü
òàì
ñâÿçóþùåå
çâåíî;
link — çâåíî
/öåïè
/; ñâÿçóþùåå
çâåíî
, ñâÿçü
) that explains the whole thing
(êîòîðîå
îáúÿñíèò
âñå
äåëî
).”
madame
['mxdQ:m, mq'dQ:m] mademoiselle
["mxdqmwq'zel]
“If I am to believe you, Madame — and I do not say that I will not believe
you — then you must help me.”
“Help you?”
“Yes. The reason for the murder lies in the past — in that tragedy which
broke up your home and saddened your young life. Take me back into the past, Mademoiselle, that I may find there the link that explains the whole thing.”
“What can there be to tell you (
÷òî
òóò
ðàññêàçûâàòü)
? They are all dead (
îíè
âñå
óìåðëè)
.” She repeated mournfully (
îíà
ïîâòîðèëà
ñêîðáíî;
to mourn — îïëàêèâàòü
, ñêîðáåòü
): “All dead — all dead — Robert, Sonia — darling, darling Daisy
(âñå
— è
Ðîáåðò
, è
Ñîíÿ
, è
äîðîãàÿ
Äåéçè
). She was so sweet
(îíà
áûëà
òàêàÿ
ìèëàÿ
; sweet —
ñëàäêèé;
ðàçã.
ìèëûé,
ïðåëåñòíûé)
— so happy (
òàêàÿ
ñ÷àñòëèâàÿ)
— she had such lovely curls (
ó
íåå
áûëè
òàêèå
ïðåëåñòíûå
êóäðÿøêè;
curl — ëîêîí
, çàâèòîê
). We
were
all
just
crazy
about
her
(ìû âñå áûëè ïðîñòî áåç óìà îò íåå;
crazy — ñóìàñøåäøèé, áåçóìíûé; ñèëüíî óâëå÷åííûé
/÷åì-ëèáî, êåì-ëèáî/)
.”
“There was another victim, Madame
(áûëà
è
äðóãàÿ
æåðòâà
, ìàäàì
). An indirect victim, you might say
(êîñâåííàÿ
æåðòâà
, ìîæíî
ñêàçàòü
; indirect —
íåïðÿìîé;
êîñâåííûé)
.”
mournfully
['mO:nf(q)lI] darling
['dQ:lIN] victim
['vIktIm]
“What can there be to tell you? They are all dead.” She repeated mournfully:
“All dead — all dead — Robert, Sonia — darling, darling Daisy. She was so sweet — so happy — she had such lovely curls. We were all just crazy about her.”
“There was another victim, Madame. An indirect victim, you might say.”
“
Poor Susanne
(áåäíàÿ Ñþçàííà;
poor — áåäíûé, íåèìóùèé; áåäíûé, íåñ÷àñòíûé
)? Yes, I had forgotten about her
(äà,
ÿ çàáûëà
î
íåé). The police questioned her
(åå
äîïðàøèâàëà
ïîëèöèÿ). They were convinced
(îíè =
ïîëèöåéñêèå
áûëè óáåæäåíû
) that she had something to do with it
(÷òî
îíà áûëà
êàê-
òî â
ýòîì
çàìåøàíà;
to have to do with smb., smth. — èìåòü
îòíîøåíèå
ê
êîìó-ëèáî
, ÷åìó-
ëèáî). Perhaps
she
had (âîçìîæíî, ÷òî è áûëà)
— but
if so
only
innocently (íî åñëè è òàê, òî òîëüêî íåâèííî)
. She
had, I
believe,
chatted idly
with
someone (îíà, ÿ äóìàþ, áåñïå÷íî áîëòàëà ñ êåì-òî;
to believe
— âåðèòü; äóìàòü, ïîëàãàòü; idly
— ëåíèâî, ïðàçäíî; idle
— íåçàíÿòûé, íåðàáîòàþùèé; ïðàçäíûé, ïóñòîé
), giving
information
as to
the
time of
Daisy’
s outings
(ñîîáùàÿ ñâåäåíèÿ îòíîñèòåëüíî âðåìåíè, êîãäà Äåéçè /èäåò/ íà ïðîãóëêó;
outing — çàãîðîäíàÿ ïðîãóëêà, ïèêíèê
). The
poor
thing got
terribly
wrought up
(áåäíÿæêà áûëà óæàñíî âçáóäîðàæåíà;
to work
(worked,
wrought) up
— îáðàáàòûâàòü, îòäåëûâàòü; âîçáóæäàòü, ðàçæèãàòü /÷óâñòâà, ñòðàñòè/;
wrought-up
— âîçáóæäåííûé, âçâèí÷åííûé)
— she
thought she
was
being held
responsible
(îíà äóìàëà, ÷òî åå ñ÷èòàþò îòâåòñòâåííîé /çà ïðîèçîøåäøåå/;
to hold
(held) — äåðæàòü; ïîëàãàòü, ñ÷èòàòü, íàõîäèòü
).” She
shuddered
(îíà ñîäðîãíóëàñü; to
shudder — äðîæàòü, âçäðàãèâàòü, ñîäðîãàòüñÿ
). “She
threw
herself out
of
the window
(îíà âûáðîñèëàñü èç îêíà;
to throw
(threw,
thrown))
. Oh!
it was
horrible
(î, ýòî áûëî óæàñíî).”
She
buried
her
face
in
her
hands
(îíà çàêðûëà ëèöî ðóêàìè;
to
bury — õîðîíèòü, ïîãðåáàòü; ïîãðóæàòü, ïðÿòàòü,
ñêðûâàòü).
forgotten
[fq'gO
tn] wrought
[rO:t] responsible
[rI'spO
nsqb(q)l]
“Poor Susanne? Yes, I had forgotten about her. The police questioned her.
They were convinced that she had something to do with it. Perhaps she had — but if so only innocently. She had, I believe, chatted idly with someone, giving information as to the time of Daisy’s outings. The poor thing
got terribly wrought up — she thought she was being held responsible.” She shuddered. “She threw herself out of the window. Oh! it was horrible.”
She buried her face in her hands.
“
What
nationality
was
she,
Madame
(êòî îíà áûëà ïî íàöèîíàëüíîñòè, ìàäàì)
?”
“
She
was
French
(îíà áûëà ôðàíöóæåíêà)
.”
“
What
was
her
last
name
(êàêàÿ ó íåå áûëà ôàìèëèÿ)
?”
“
It’
s
absurd,
but
I
can’
t
remember
(ýòî íåëåïî, íî ÿ íå ìîãó âñïîìíèòü)
— we
all
called
her
Susanne
(ìû âñå çâàëè åå Ñþçàííîé)
. A
pretty
, laughing
girl
(õîðîøåíüêàÿ, âåñåëàÿ äåâóøêà;
to
laugh — ñìåÿòüñÿ;
laughing — ñìåþùèéñÿ, óëûáàþùèéñÿ, âåñåëûé
).
She
was
devoted
to
Daisy
(îíà òàê ëþáèëà Äåéçè;
to
devote — ïîñâÿùàòü, îòäàâàòü ñåáÿ öåëèêîì;
devoted — ïðåäàííûé, íåæíûé, ëþáÿùèé
).”
“
She
was
the
nursery-
maid
(îíà áûëà ãîðíè÷íîé;
nursery-
maid — íÿíüêà /äëÿ ÷åðíîé ðàáîòû/, äåâóøêà,
ïîìîãàþùàÿ óõàæèâàòü çà äåòüìè; ãîðíè÷íàÿ)
, was
she
not
(íå òàê ëè)
?”
“Yes.”
nationality
["nxSq'nxlItI] laughing
['lQ:fIN] nurserymaid
['nq:s(q)rImeId]
“What nationality was she, Madame?”
“She was French.”
“What was her last name?”
“It’s absurd, but I can’t remember — we all called her Susanne. A pretty,
laughing girl. She was devoted to Daisy.”
“She was the nursery-maid, was she not?”
“Yes.”
“Who was the nurse
(à
êòî
áûë
íÿíåé
; nurse —
íÿíÿ;
êîðìèëèöà)
?”
“She was a trained hospital nurse
(îíà
áûëà
äèïëîìèðîâàííîé
ìåäñåñòðîé
; trained —
âûó÷åííûé,
îáó÷åííûé; hospital —
áîëüíèöà,
ëå÷åáíèöà)
. Stengelberg her name was (
åå
ôàìèëèÿ
áûëà
Øòåíãåëüáåðã)
. She too was devoted to Daisy — and to my sister
(îíà
òîæå
áûëà
ïðåäàíà
= ëþáèëà
Äåéçè
è
ìîþ
ñåñòðó
).”
“Now, Madame, I want you to think carefully before you answer this question
(à
òåïåðü
, ìàäàì
, ÿ
õî÷ó
, ÷òîáû
âû
òùàòåëüíî
ïîäóìàëè
, ïðåæäå
÷åì
îòâåòèòå
íà
ýòîò
âîïðîñ
). Have
you
, since
you
were
on
this
train
, seen
anyone
that
you
recognised
(ñ òîãî ñàìîãî ìîìåíòà, êàê âû ñåëè: «îêàçàëèñü»
â ýòîò ïîåçä, âèäåëè ëè âû êîãî-íèáóäü çíàêîìîãî: «êîãî âû óçíàëè»)
?”
nurse
[nq:s] hospital
['hO
spItl] recognized
['rekqgnaIzd]
“Who was the nurse?”
“She was a trained hospital nurse. Stengelberg her name was. She too was
devoted to Daisy — and to my sister.”
“Now, Madame, I want you to think carefully before you answer this question.
Have you, since you were on this train, seen anyone that you recognised?”
She
stared
at
him
(îíà óñòàâèëàñü íà íåãî /â èçóìëåíèè/)
. “I? No, no one at all
(íåò
, íèêîãî
).”
“What about Princess Dragomiroff
(à
êàê
æå
êíÿãèíÿ
Äðàãîìèðîâà
)?”
“Oh! her (
î,
îíà)
. I know her, of course (
ÿ
çíàþ
åå,
êîíå÷íî)
. I
thought
you
meant
anyone
(ÿ ïîäóìàëà, ÷òî âû èìååòå â âèäó êîãî-òî)
— anyone
from
(êîãî-òî èç)
— from
that
time
(èç òîãî âðåìåíè)
.”
“
So
I
did,
Madame
(à ÿ ýòî è èìåë â âèäó, ìàäàì)
. Now
think
carefully
(íó æå, ïîäóìàéòå âíèìàòåëüíî)
. Some
years
have
passed
, remember
(ïîìíèòå, ÷òî ïðîøëî ñòîëüêî ëåò)
. The
person
might
have
altered
his
or
her
appearance
(ýòîò ÷åëîâåê ìîã èçìåíèòüñÿ: «èçìåíèòü ñâîþ âíåøíîñòü»)
.”
carefully
['keqf(q)lI] altered
['O:ltqd] appearance
[q'pI(q)rqns]
She stared at him. “I? No, no one at all.”
“What about Princess Dragomiroff?”
“Oh! her. I know her, of course. I thought you meant anyone — anyone from
— from that time.”
“So I did, Madame. Now think carefully. Some years have passed, remember.
The person might have altered his or her appearance.”
Helena pondered deeply
(Õåëåíà
ãëóáîêî
çàäóìàëàñü
; to ponder —
îáäóìûâàòü;
ðàçìûøëÿòü)
. Then she said: “No — I am sure — there is no one
(íåò
, — ÿ
óâåðåíà
, — íèêîãî
).”
“
You
yourself —
you
were
a
young
girl
at
the
time
(à ó âàñ /ñàìîé/ — â òî âðåìÿ âû áûëè ìàëåíüêîé äåâî÷êîé)
— did
you
have
no
one
to
superintend
your
studies
(íå áûëî ëè êîãî-òî, êòî áû íàáëþäàë çà âàøèì îáó÷åíèåì;
to
superintend — óïðàâëÿòü, çàâåäîâàòü; êîíòðîëèðîâàòü
/êîãî-ëèáî, ÷òî-ëèáî/, ñìîòðåòü, íàäçèðàòü; study
— èçó÷åíèå, èññëåäîâàíèå; ïðèîáðåòåíèå çíàíèé, ó÷åíèå, çàíÿòèÿ
)
or
to
look
after
you
(èëè ïðèñìàòðèâàë áû çà âàìè;
to look after smb. — ïðèñìàòðèâàòü, óõàæèâàòü çà êåì-ëèáî, çàáîòèòüñÿ î êîì-ëèáî
)?”
“
Oh!
yes,
I
had
a
dragon
(î, äà, ó ìåíÿ áûëà äóýíüÿ;
dragon — äðàêîí; äóýíüÿ
) —
a
sort
of
governess
to
me
(/îíà áûëà/ êåì-òî âðîäå ãóâåðíàíòêè äëÿ ìåíÿ)
and
secretary
to
Sonia
combined
(è ñåêðåòàðåì Ñîíè, â îäíîì ëèöå;
to
combine — îáúåäèíÿòü, ñî÷åòàòü
).
She
was
English
(îíà áûëà àíãëè÷àíêîé)
— or
rather
Scotch
(èëè, ñêîðåå, øîòëàíäêîé)
a
big
red
-haired
woman
(
êðóïíàÿ ðûæåâîëîñàÿ æåíùèíà
).”
“What was her name
(êàê
åå
çâàëè
)?”
“
Miss
Freebody
(ìèññ Ôðèáîäè).”
“
Young
or
old
(/îíà áûëà/ ìîëîäàÿ èëè ñòàðàÿ)
?”
“
She seemed
frightfully
old to
me
(ìíå îíà êàçàëàñü óæàñíî ñòàðîé; fright
— èñïóã; frightfully
— óæàñíî, ñòðàøíî; ýìîö.-óñèë. óæàñíî, î÷åíü
). I
suppose
she couldn
’t
have been
more
than forty
(ïîëàãàþ, åé íå ìîãëî áûòü áîëüøå ñîðîêà ëåò)
. Susanne,
of course
, used
to look
after
my clothes
(Ñþçàííà, êîíå÷íî, îáû÷íî ñëåäèëà çà ìîåé îäåæäîé;
used + to
do
smth. — èìåòü â ïðîøëîì îáûêíîâåíèå äåëàòü ÷òî-ëèáî
) and
maid
me (è ïðèñëóæèâàëà ìíå;
maid — ñëóæàíêà, ãîðíè÷íàÿ, ïðèñëóãà
).”
superintend
["s(j)u:p(q)rIn'tend] governess
['gAvqnIs] secretary
['sekrqt(q)rI] frightfully
['fraItf(q)lI] clothes
[klqV(D)z]
Helena pondered deeply. Then she said: “No — I am sure — there is no
one.”
“You yourself — you were a young girl at the time — did you have no one
to superintend your studies or to look after you?”
“Oh! yes, I had a dragon — a sort of governess to me and secretary to Sonia
combined. She was English — or rather Scotch; a big red-haired woman.”
“What was her name?”
“Miss Freebody.”
“Young or old?”
“She seemed frightfully old to me. I suppose she couldn’t have been more
than forty. Susanne, of course, used to look after my clothes and maid me.”
“And there were no other inmates of the house
(è
äðóãèõ
æèëüöîâ
â
äîìå
íå
áûëî
; inmate —
îáèòàòåëü /
ìîíàñòûðÿ,
ïðèþòà
è
ò.
ï./;
æèëåö)
?”
“Only servants
(òîëüêî
ñëóãè
).”
“And you are certain
(è
âû
óâåðåíû
; certain —
îïðåäåëåííûé,
íåèçìåííûé;
óâåðåííûé,
óáåæäåííûé)
, quite certain, Madame, that you have recognised no one on the train
(âïîëíå
óâåðåíû
, ìàäàì
, ÷òî
âû
íèêîãî
íå
óçíàëè
èç
ïàññàæèðîâ
: «íèêîãî
â
ýòîì
ïîåçäå
»)?”
She replied earnestly
(îíà
ñåðüåçíî
îòâåòèëà
): “No one, Monsieur. No one at all
(ñîâñåì
íèêîãî
).”
inmate
['InmeIt] servant
['sq:v(q)nt] earnestly
['q:nIstlI]
“And there were no other inmates of the house?”
“Only servants.”
“And you are certain, quite certain, Madame, that you have recognised no
one on the train?”
She replied earnestly: “No one, Monsieur. No one at all.”
5
THE CHRISTIAN NAME OF PRINCESS DRAGOMIROFF
(
Èìÿ
êíÿãèíè
Äðàãîìèðîâîé)
When the Count and Countess had departed
(êîãäà
ãðàô
è
ãðàôèíÿ
óøëè
; to depart —
îòáûâàòü,
îòïðàâëÿòüñÿ /
î
ïîåçäàõ/;
óõîäèòü,
óåçæàòü)
, Poirot looked across at the other two (
Ïóàðî
âçãëÿíóë /
÷åðåç
ñòîë/
íà
äâóõ
äðóãèõ /
ìóæ÷èí/)
.
“
You
see
(âû âèäèòå),”
he
said “
we
make
progress
(ìû äåëàåì óñïåõè; progress
— ïðîãðåññ, ðàçâèòèå; óñïåõè, äîñòèæåíèÿ
).”
“
Excellent
work
(îòëè÷íàÿ ðàáîòà),”
said
M.
Bouc
cordially
(ïûëêî: «ñåðäå÷íî» ñêàçàë ìñüå Áóê;
cordially — ñåðäå÷íî, ðàäóøíî; ïûëêî, ñòðàñòíî
). “
On
my
part,
I
should
never
have
dreamed
of
suspecting
Count
and
Countess
Andrenyi
(÷òî êàñàåòñÿ ìåíÿ, ìíå áû íèêîãäà è â ãîëîâó íå ïðèøëî ïîäîçðåâàòü ãðàôà è ãðàôèíþ Àíäðåíè;
part — ÷àñòü, äîëÿ; ñòîðîíà /òæ. â ñïîðå/;
to
dream — âèäåòü ñîí; äóìàòü, ïîìûøëÿòü
).
I
will
admit
I
thought
them
quite
hors
de
combat
(ÿ äîëæåí ïðèçíàòü: «ÿ ïðèçíàþ», ÿ äóìàë, ÷òî îíè âíå èãðû;
hors
de
combat — ôð. âíå èãðû: «ñðàæåíèÿ»
).
I
suppose
there
is
no
doubt
that
she
committed
the
crime
(ïîëàãàþ, ÷òî ñåé÷àñ íåò ñîìíåíèé, ÷òî îíà ñîâåðøèëà ýòî ïðåñòóïëåíèå)
? It
is
rather
sad
(/äîâîëüíî/ ïðèñêîðáíî;
sad — ïå÷àëüíûé, ãðóñòíûé, óíûëûé
).
Still,
they
will
not
guillotine
her
(è âñå æå åå íå ïðèãîâîðÿò ê ñìåðòè;
to
guillotine — ãèëüîòèíèðîâàòü
).
There
are
extenuating
circumstances
(íàëèöî: «åñòü» ñìÿã÷àþùèå âèíó îáñòîÿòåëüñòâà;
to
extenuate — îñëàáëÿòü, óìåíüøàòü, ñìÿã÷àòü /âèíó/
).
A
few
years’
imprisonment
(íåñêîëüêî ëåò òþðåìíîãî çàêëþ÷åíèÿ)
— that
will
be
all
(âîò è âñå /÷òî áóäåò = æäåò åå/;
prison — òþðüìà;
to
imprison — çàêëþ÷àòü â òþðüìó, ëèøàòü ñâîáîäû
).”
“
In
fact
you
are
quite
certain
of
her
guilt
(ïî ñóòè, âû âïîëíå óâåðåíû â åå âèíîâíîñòè)
.”
excellent ['
eks(
q)
lqnt]
cordially ['
kO:
dIqlI]
hors
de
combat ["
O:
dq'
kO
mbQ:]
guillotine
['gIlqti
:n
] extenuating
[Ik
'stenjVeItIN
]
imprisonment [
Im'
prIz(
q)
nmqnt]
When the Count and Countess had departed, Poirot looked across at the other
two.
“You see,” he said “we make progress.”
“Excellent work,” said M. Bouc cordially. “On my part, I should never
have dreamed of suspecting Count and Countess Andrenyi. I will admit I thought them quite hors de combat
. I suppose there is no doubt that she committed the crime? It is rather sad. Still, they will not guillotine her. There are extenuating circumstances. A few years’
imprisonment — that will be all.”
“In fact you are quite certain of her guilt.”
“
My
dear
friend
(ìîé äîðîãîé äðóã) —
surely
there
is
no
doubt
of
it
(êîíå÷íî æå, â ýòîì íèêòî íå ñîìíåâàåòñÿ: «íåò íèêàêèõ ñîìíåíèé â ýòîì»)
? I
thought
your
reassuring
manner
(ÿ ïîäóìàë, ÷òî âàøå óñïîêàèâàþùåå ïîâåäåíèå;
to
reassure — /âíîâü/ çàâåðÿòü, óáåæäàòü; óâåùåâàòü,
óñïîêàèâàòü)
was
only
to
smooth
things
over
(áûëî íàöåëåíî òîëüêî íà òî: «áûëî òîëüêî äëÿ òîãî, ÷òîáû», ÷òîáû ñãëàäèòü âñþ ñèòóàöèþ;
to
smooth — ïðèãëàæèâàòü, ñãëàæèâàòü; óñòðàíÿòü,
ñãëàæèâàòü)
till
we
are
dug
out
of
the
snow
(äî òåõ ïîð, ïîêà íàñ íå âûêîïàþò èç ñíåæíûõ çàíîñîâ;
to
dig (
dug) — êîïàòü, ðûòü; âûêàïûâàòü
)
and
the
police
take
charge
(è çà äåëî âîçüìåòñÿ ïîëèöèÿ;
charge — íàãðóçêà, çàãðóçêà; çàáîòà, ïîïå÷åíèå,
íàäçîð; to
take
charge
of
smb.,
smth. — âçÿòü íà ñåáÿ çàáîòó î êîì-ëèáî, ÷åì-ëèáî;
îñóùåñòâëÿòü êîíòðîëü /íàäçîð/ çà êåì-ëèáî, ÷åì-ëèáî)
.”
“
You
do
not
believe
the
Count’
s
positive
assertion
(çíà÷èò, âû íå âåðèòå â êàòåãîðè÷åñêîå çàÿâëåíèå ãðàôà;
positive — íåñîìíåííûé, îïðåäåëåííûé; ðåøèòåëüíûé,
êàòåãîðè÷åñêèé; to
assert
— óòâåðæäàòü, çàÿâëÿòü
) —
on
his
word
of
honor
(â åãî ÷åñòíîå ñëîâî) —
that
his
wife
is
innocent
(÷òî åãî æåíà íåâèíîâíà)
?”
“Mon
cher
—
naturally —
what
else
could
he
say
(äðóã ìîé — /ýòî æå/ åñòåñòâåííî — ÷òî åùå îí ìîã ñêàçàòü)
? He adores his wife
(îí
îáîæàåò
ñâîþ
æåíó
). He wants to save her
(îí
õî÷åò
ñïàñòè
åå
)! He tells his lie very well
(îí
î÷åíü
õîðîøî
ëæåò
; to tell a lie —
ñîëãàòü,
ñêàçàòü
íåïðàâäó)
— quite in the grand seigneur manner (
âïîëíå
â
ìàíåðå /
ñâîéñòâåííîé/
âàæíûì
ïåðñîíàì;
grand — ãðàíäèîçíûé
, áîëüøîé
; âàæíûé
, çíàòíûé
; seigneur = seignior — èñò
. ôåîäàë
; àðèñòîêðàò
, âåëüìîæà
). But what else than a lie could it be
(íî
÷åì
åùå
, êðîìå
ëæè
, ìîæåò
ýòî
áûòü
)?”
surely ['SVqlI]
smooth [smu:D]
charge [tSQ:dZ]
assertion [q'sq:S(q)n]
innocent
['Inqs(q)nt] grand
[grxnd] seigneur
[se'njq
:]
“My dear friend — surely there is no doubt of it? I thought your reassuring
manner was only to smooth things over till we are dug out of the snow and the police take charge.”
“You do not believe the Count’s positive assertion — on his word of honor
— that his wife is innocent?”
“
Mon cher — naturally — what else could he say? He adores his wife. He wants to save her!
He tells his lie very well — quite in the grand seigneur manner. But what else than a lie could it be?”
“Well, you know, I had the preposterous idea
(íó
, çíàåòå
ëè
, åñòü
ó
ìåíÿ
òàêàÿ
íåëåïàÿ
ìûñëü
) that it might be the truth
(÷òî
ýòî
ìîãëî
áû
áûòü
ïðàâäîé
).”
“No, no. The handkerchief, remember
(ïîìíèòå
, íîñîâîé
ïëàòîê
). The handkerchief clinches the matter
(ïëàòîê
ðåøàåò
âñå
äåëî
; to clinch —
çàãèáàòü /
ãâîçäü/;
îêîí÷àòåëüíî
ðåøàòü,
äîãîâàðèâàòüñÿ)
.”
“
Oh,
I
am
not
so
sure
about
the
handkerchief
(î, ÿ íå òàê óæ óâåðåí îòíîñèòåëüíî ýòîãî ïëàòêà)
. You
remember
, I
always
told
you
that
there
were
two
possibilities
(âû ïîìíèòå, ÿ âñåãäà ãîâîðèë âàì, ÷òî áûëî äâà
âàðèàíòà; possibility
— âîçìîæíîñòü, âåðîÿòíîñòü
)
as
to
the
ownership
of
the
handkerchief
(êàñàòåëüíî âëàäåíèÿ ýòèì ïëàòêîì = ÷òî ó ïëàòêà áûëè äâå âîçìîæíûõ âëàäåëèöû;
ownership — ñîáñòâåííîñòü, ïðàâî ñîáñòâåííîñòè;
âëàäåíèå).”
“
All
the
same
(è âñå-òàêè) — ”
M
. Bouc
broke
off
(ìñüå Áóê âíåçàïíî çàìîë÷àë;
to
break (
broke,
broken) — ëîìàòü;
to
break
off — îòëàìûâàòü; âíåçàïíî ïðåðâàòü /ðàçãîâîð,
çíàêîìñòâî è ò.ï./)
. The door at the end had opened
(äâåðü
â
êîíöå
/âàãîíà
/ îòâîðèëàñü
), and Princess Dragomiroff entered the dining-car
(è
â
âàãîí
-ðåñòîðàí
âîøëà
êíÿãèíÿ
Äðàãîìèðîâà
). She came straight to them
(îíà
ïîäîøëà
ïðÿìî
ê
íèì
) and all three men rose to their feet
(è
âñå
òðîå
ìóæ÷èí
âñòàëè
: «ïîäíÿëèñü
íà
íîãè
»).
preposterous
[prI'pO
st(q)rqs] clinch
[klIntS] ownership
['qVnqSIp]
“Well, you know, I had the preposterous idea that it might be the truth.”
“No, no. The handkerchief, remember. The handkerchief clinches the matter.”
“Oh, I am not so sure about the handkerchief. You remember, I always told
you that there were two possibilities as to the ownership of the handkerchief.”
“All the same — ”
M. Bouc broke off. The door at the end had opened, and Princess Dragomiroff
entered the dining-car. She came straight to them and all three men rose to their feet.
She
spoke
to
Poirot,
ignoring
the
others
(îíà îáðàòèëàñü: «çàãîâîðèëà ñ» ê Ïóàðî, íå îáðàùàÿ âíèìàíèÿ íà îñòàëüíûõ /ìóæ÷èí/)
.
“I believe, Monsieur
(ÿ
ïîëàãàþ
, ìñüå
),” she said, “that you have a handkerchief of mine
(÷òî
ó
âàñ
ìîé
ïëàòîê
).”
Poirot shot a glance of triumph at the other two
(Ïóàðî
áðîñèë
òîðæåñòâóþùèé
âçãëÿä
íà
äâóõ
äðóãèõ
/ìóæ÷èí
/; to shoot (shot) —
ñòðåëÿòü,
âåñòè
îãîíü;
áðîñàòü,
êèäàòü,
øâûðÿòü; triumph —
ïîáåäà,
òîðæåñòâî,
òðèóìô;
ðàäîñòü
ïîáåäû)
.
“Is this it, Madame
(ýòî
îí
, ìàäàì
)?”
He produced the little square of fine cambric
(îí
ïðîòÿíóë
åé
ìàëåíüêèé
êëî÷îê
òîíêîãî
áàòèñòà
; to produce —
ïðåäúÿâëÿòü,
ïðåäñòàâëÿòü;
ïðèíîñèòü,
äàâàòü; square —
êâàäðàò;
ïðåäìåò
÷åòûðåõóãîëüíîé
ôîðìû; fine —
ÿñíûé,
õîðîøèé,
ñóõîé /
î
ïîãîäå/;
òîíêèé)
.
“That is it
(äà
, ýòî
îí
). It has my initial in the corner
(íà
íåì
â
óãëó
ìîé
èíèöèàë
).”
ignore
[Ig'nO:] triumph
['traIqmf] square
[skweq] cambric
['keImbrIk, 'kxmbrIk]
She spoke to Poirot, ignoring the others.
“I believe, Monsieur,” she said, “that you have a handkerchief of mine.”
Poirot shot a glance of triumph at the other two.
“Is this it, Madame?”
He produced the little square of fine cambric.
“That is it. It has my initial in the corner.”
“But, Madame la Princesse, that is the letter H
(íî
, ìàäàì
êíÿãèíÿ
, ýòî
æå
áóêâà
Í
),” said M. Bouc. “Your Christian name — pardon me — is Natalia
(ïðîøó
ìåíÿ
èçâèíèòü
, íî
âàøå
èìÿ
Íàòàëèÿ
).”
She
gave
him
a
cold
stare
(îíà õîëîäíî óñòàâèëàñü íà íåãî;
stare — ïðèñòàëüíûé âçãëÿä;
cold — õîëîäíûé; õîëîäíûé, íåïðèâåòëèâûé,
ñóõîé).
“That is correct, Monsieur
(âåðíî
, ìñüå
). My handkerchiefs are always initialed in the Russian characters
(ìîè
ïëàòêè
âñåãäà
ïîìå÷åíû
èíèöèàëàìè
/íàïèñàííûìè
/ ðóññêèìè
áóêâàìè
; character —
õàðàêòåð,
íðàâ;
ëèòåðà,
áóêâà,
öèôðà,
ïå÷àòíûé
çíàê)
. H is N in Russian (
Í —
ýòî N
ïî-
ðóññêè)
.”
M. Bouc was somewhat taken aback
(ìñüå
Áóê
íåñêîëüêî
îïåøèë
; to take (took, taken) aback —
ïîðàçèòü,
îøåëîìèòü,
çàõâàòèòü
âðàñïëîõ)
. There was something about this indomitable old lady
(áûëî
â
ýòîé
íåóìîëèìîé
ïîæèëîé
äàìå
íå÷òî
; indomitable —
íåóêðîòèìûé)
which made him feel flustered (
÷òî
çàñòàâëÿëî
åãî
÷óâñòâîâàòü
ñåáÿ
âçâîëíîâàííî;
fluster — âîëíåíèå
, ñìÿòåíèå
) and uncomfortable
(è
íåëîâêî
; comfort —
óòåøåíèå,
ïîääåðæêà)
.
initial
[I'nIS(q)l] character
['kxrIktq] indomitable
[In'dO
mItqb(q)l] flustered
['flAstqd]
“But, Madame la Princesse, that is the letter H,” said M. Bouc. “Your
Christian name — pardon me — is Natalia.”
She gave him a cold stare.
“That is correct, Monsieur. My handkerchiefs are always initialled in the
Russian characters. H is N in Russian.”
M. Bouc was somewhat taken aback. There was something about this indomitable
old lady which made him feel flustered and uncomfortable.
“You did not tell us that this handkerchief was yours at the inquiry this
morning (âû
íå
ñêàçàëè
íàì
, ÷òî
ýòî
âàø
ïëàòîê
, ïðè
ðàçãîâîðå
ñåãîäíÿ
óòðîì
; inquiry —
íàâåäåíèå
ñïðàâîê,
ðàññïðàøèâàíèå;
þð.
ðàññëåäîâàíèå /
äåëà/
).”
“You did not ask me
(âû
íå
ñïðàøèâàëè
ìåíÿ
/î
ïëàòêå
/),” said the Princess drily
(ñóõî
îòâåòèëà
êíÿãèíÿ
).
“Pray be seated, Madame
(ïðîøó
âàñ
, ïðèñàæèâàéòåñü
, ìàäàì
),” said Poirot.
She
sighed
(îíà âçäîõíóëà). “
I
may
as
well,
I
suppose
(ìîæíî è ïðèñåñòü, ÿ ïîëàãàþ;
may
as
well — ìîæíî âïîëíå /ñäåëàòü ÷òî-ëèáî/
).”
She
sat
down
(îíà ñåëà).
“
You
need
not
make
a
long
business
of
this,
Messieurs
(ãîñïîäà, âû ìîæåòå íå çàòÿãèâàòü ýòî äåëî;
long — äëèííûé; äîëãèé, ïðîäîëæèòåëüíûé
).
inquiry
[In'kwaI(q)rI] drily
['draIlI] sigh
[saI]
“You did not tell us that this handkerchief was yours at the inquiry this
morning.”
“You did not ask me,” said the Princess drily.
“Pray be seated, Madame,” said Poirot.
She sighed. “I may as well, I suppose.” She sat down.
“You need not make a long business of this, Messieurs.”
Your next question will be (
âàø
ñëåäóþùèé
âîïðîñ
áóäåò)
— How did my handkerchief come to be lying by a murdered man’s body
(êàê
ñëó÷èëîñü
, ÷òî
âàø
ïëàòîê
ëåæàë
ðÿäîì
ñ
òåëîì
óáèòîãî
)! My
reply
to
that
is
(ìîé îòâåò íà ýòî òàêîé = ÿ îòâå÷ó íà ýòî)
that
I
have
no
idea
(÷òî ÿ íå èìåþ /íè ìàëåéøåãî/ ïðåäñòàâëåíèÿ)
.”
“
You
have
really
no
idea
(âû äåéñòâèòåëüíî íå çíàåòå)
?”
“
None
whatever
(íè ìàëåéøåãî).”
“
You
will
excuse
me,
Madame,
but
how
much
can
we
rely
upon
the
truthfulness
of
your
replies
(èçâèíèòå ìåíÿ, ìàäàì, íàñêîëüêî ìû ìîæåì ïîëàãàòüñÿ íà ïðàâäèâîñòü âàøèõ îòâåòîâ)
?”
Poirot
said
the
words
very
softly
(Ïóàðî ïðîèçíåñ ýòè ñëîâà î÷åíü ìÿãêî)
.
handkerchief ['hxNkqtSIf]
reply [rI'plaI]
idea [aI'dIq]
Your next question will be — How did my handkerchief come to be lying by
a murdered man’s body! My reply to that is that I have no idea.”
“You have really no idea?”
“None whatever.”
“You will excuse me, Madame, but how much can we rely upon the truthfulness
of your replies?”
Poirot said the words very softly.
Princess Dragomiroff answered contemptuously
(êíÿãèíÿ
Äðàãîìèðîâà
ïðåçðèòåëüíî
/âûñîêîìåðíî
îòâåòèëà
). “I suppose you mean because I did not tell you that Helena Andrenyi was Mrs. Armstrong’s
sister (ÿ
ïîëàãàþ
, âû
èìååòå
â
âèäó
, ïîòîìó
÷òî
ÿ
íå
ñêàçàëà
âàì
, ÷òî
Õåëåíà
Àíäðåíè
— ñåñòðà
ìèññèñ
Àðìñòðîíã
)?”
“
In
fact
(íà ñàìîì äåëå; fact
— ôàêò, ñîáûòèå; èñòèíà, ðåàëüíîñòü, äåéñòâèòåëüíîñòü
)
you
deliberately
lied
to
us
in
the
matter
(âû íàìåðåííî ñîëãàëè íàì â ýòîì âîïðîñå;
matter — âåùåñòâî; äåëî, âîïðîñ
).”
“
Certainly
(êîíå÷íî).
I
would
do
the
same
again
(ÿ áû è ñíîâà òàê ïîñòóïèëà: «ÿ áû ñäåëàëà òî æå ñàìîå ñíîâà»)
. Her
mother
was
my
friend
(åå ìàòü áûëà ìîåé ïîäðóãîé)
. I
believe
, Messieurs
, in
loyalty
(ÿ âåðþ, ãîñïîäà, â ïðåäàííîñòü/âåðíîñòü)
— to
one
’s
friends
and
one
’s
family
and
one
’s
caste
(ñâîèì äðóçüÿì, ñâîåé ñåìüå, ñâîåìó êðóãó;
caste — /â Èíäèè/ êàñòà; êàñòà, çàìêíóòàÿ ãðóïïà
/ïðîôåññèîíàëüíàÿ, ñîöèàëüíàÿ è ò.ï./, ïðèâèëåãèðîâàííîå îáùåñòâåííîå ïîëîæåíèå
).”
“
You
do
not
believe
in
doing
your
utmost
(âû íå âåðèòå /â òî, ÷òî âû äîëæíû/ äåëàòü âñå âîçìîæíîå;
utmost — áîëüøåå, ïðåäåë âîçìîæíîãî
)
to
further
the
ends
of
justice
(÷òîáû ñïîñîáñòâîâàòü òîðæåñòâó ïðàâîñóäèÿ: «öåëÿì ïðàâîñóäèÿ»;
to
further — ïðîäâèãàòü; ñîäåéñòâîâàòü;
end — êîíåö, îêîí÷àíèå; öåëü;
justice — ñïðàâåäëèâîñòü; ïðàâîñóäèå, þñòèöèÿ
)?”
“
In
this
case
I
consider
that
justice
(â ýòîì ñëó÷àå, ÿ ñ÷èòàþ, ÷òî ïðàâîñóäèå;
to
consider — ðàññìàòðèâàòü, îáñóæäàòü; ïîëàãàòü,
ñ÷èòàòü) —
strict
justice
(èñòèííîå ïðàâîñóäèå;
strict — òî÷íûé, îïðåäåëåííûé, ñòðîãèé
) —
has
been
done
(ñâåðøèëîñü).”
Poirot
leaned
forward
(Ïóàðî ïîäàëñÿ âïåðåä;
to
lean — íàêëîíÿòüñÿ, íàãèáàòüñÿ
).
contemptuous
[kqn'temptSVqs] deliberately
[dI'lIb(q)rItlI] loyalty
['lOIqltI] justice
['dZAstIs]
Princess Dragomiroff answered contemptuously. “I suppose you mean because
I did not tell you that Helena Andrenyi was Mrs. Armstrong’s sister?”
“In fact you deliberately lied to us in the matter.”
“Certainly. I would do the same again. Her mother was my friend. I believe,
Messieurs, in loyalty — to one’s friends and one’s family and one’s caste.”
“You do not believe in doing your utmost to further the ends of justice?”
“In this case I consider that justice — strict justice — has been done.”
Poirot leaned forward.
“You see my difficulty, Madame
(âû
æå
ïîíèìàåòå
, â
êàêîì
ÿ
çàòðóäíåíèè
, ìàäàì
; difficulty —
òðóäíîñòü;
ïðåïÿòñòâèå;
çàòðóäíåíèå)
. In this matter of the handkerchief, even, am I to believe you
(äàæå
â
ýòîì
äåëå
ñ
ïëàòêîì
, ñòîèò
ëè
ìíå
âåðèòü
âàì
)? Or are you shielding your friend’s daughter
(èëè
âû
âûãîðàæèâàåòå
äî÷ü
âàøåé
ïîäðóãè
; to shield —
çàùèùàòü,
ïðèêðûâàòü;
ñïàñàòü,
âûãîðàæèâàòü)
?”
“Oh
! I
see
what
you
mean
(î, ïîíèìàþ, ÷òî âû õîòèòå ñêàçàòü)
.” Her
face
broke
into
a
grim
smile
(íà åå ëèöå îòðàçèëàñü ìðà÷íàÿ óëûáêà;
to
break (
broke,
broken) — ëîìàòü;
to
break
into
smth. — âíåçàïíî íà÷èíàòü ÷òî-ëèáî
). “
Well,
Messieurs,
this
statement
of
mine
can
be
easily
proved
(÷òî æ, ãîñïîäà, ýòî ìîå çàÿâëåíèå ìîæíî ëåãêî äîêàçàòü;
statement — âûñêàçûâàíèå, èçëîæåíèå; çàÿâëåíèå,
óòâåðæäåíèå).
I will give you the address of the people in Paris who make my handkerchiefs
(ÿ
äàì
âàì
àäðåñ
ëþäåé
â
Ïàðèæå
, êîòîðûå
äåëàþò
ìîè
ïëàòêè
). You have only to show them the one in question
(âàì
íàäî
áóäåò
òîëüêî
ïîêàçàòü
èì
ýòîò
ïëàòîê
, î
êîòîðîì
èäåò
ðå÷ü
; question —
âîïðîñ;
ïðîáëåìà,
äåëî,
îáñóæäàåìûé
âîïðîñ)
and they will inform you that it was made to my order over a year ago
(è
îíè
ñîîáùàò
âàì
, ÷òî
îí
áûë
èçãîòîâëåí
ïî
ìîåìó
çàêàçó
áîëüøå
ãîäà
íàçàä
; order —
ïîðÿäîê;
çàêàç)
. The handkerchief is mine, Messieurs (
ãîñïîäà,
ýòî
ìîé
ïëàòîê)
.”
She rose
(îíà
âñòàëà
).
“
Have
you
anything
further
you
wish
to
ask
me
(æåëàåòå ëè âû ñïðîñèòü ìåíÿ î ÷åì-íèáóäü åùå: «ó âàñ åñòü ÷òî-íèáóäü äîïîëíèòåëüíîå,
î ÷åì âû æåëàåòå ñïðîñèòü ìåíÿ»; further
— áîëåå îòäàëåííûé; äîïîëíèòåëüíûé, äîáàâî÷íûé
)?”
shielding
['Si:ldIN] daughter
['dO:tq] messieurs
[meI'sjq:(z)
]
“You see my difficulty, Madame. In this matter of the handkerchief, even,
am I to believe you? Or are you shielding your friend’s daughter?”
“Oh! I see what you mean.” Her face broke into a grim smile. “Well, Messieurs,
this statement of mine can be easily proved. I will give you the address of the people in Paris who make my handkerchiefs. You have only to show them the one in question and they will inform you that it was made to my order
over a year ago. The handkerchief is mine, Messieurs.”
She rose.
“Have you anything further you wish to ask me?”
“Your maid, Madame
(âàøà
ñëóæàíêà
, ìàäàì
), did she recognise this handkerchief
(óçíàëà
ëè
îíà
ýòîò
ïëàòîê
) when we showed it to her this morning
(êîãäà
ìû
ïîêàçàëè
åé
åãî
ñåãîäíÿ
óòðîì
)?”
“
She
must
have
done
so
(îíà äîëæíà áûëà óçíàòü: «ñäåëàòü òàê»)
. She
saw
it
and
said
nothing
(îíà âèäåëà åãî è íè÷åãî íå ñêàçàëà)
? Ah
, well
, that
shows
that
she
too
can
be
loyal
(íó, ÷òî æå, ýòî ïîêàçûâàåò, ÷òî îíà òîæå ìîæåò
áûòü ïðåäàííîé).”
With
a
slight
inclination
of
her
head
(ñëåãêà ñêëîíèâ ãîëîâó /â çíàê ïðîùàíèÿ/;
inclination — íàêëîíåíèå, íàêëîí;
to
incline — íàêëîíÿòü, íàãèáàòü
)
she
passed
out
of
the
dining-
car
(îíà âûøëà èç âàãîíà-ðåñòîðàíà)
.
“
So
that
was
it
(çíà÷èò, òàê îíî è áûëî)
,” murmured
Poirot
softly
(òèõî ïðîáîðìîòàë Ïóàðî;
soft — ìÿãêèé; íåæíûé, òîíêèé, òèõèé
). “
I
noticed
just
a
trifling
hesitation
(ÿ çàìåòèë ëèøü ìàëåéøåå êîëåáàíèå;
trifle — ïóñòÿê, ìåëî÷ü, áåçäåëèöà;
trifling — ïóñòÿ÷íûé, íåçíà÷èòåëüíûé
)
when
I
asked
the
maid
if
she
knew
to
whom
the
handkerchief
belonged
(êîãäà ÿ ñïðîñèë ñëóæàíêó /î òîì/ çíàåò ëè îíà, êîìó ïðèíàäëåæèò ïëàòîê)
. She
was
uncertain
whether
or
not
to
admit
that
it
was
her
mistress
’s
(îíà íå áûëà óâåðåíà, ïðèçíàâàòü åé èëè íåò, ÷òî
ýòî ïëàòîê åå õîçÿéêè).
But
how
does
that
fit
in
with
that
strange
central
idea
of
mine
(íî íàñêîëüêî ýòî ñîîòâåòñòâóåò ìîåé íåîáû÷íîé îñíîâíîé èäåå;
to
fit
in — âñòàâëÿòü /íà ìåñòî/, ïðèãîíÿòü; ñîîòâåòñòâîâàòü,
ïîäõîäèòü; strange — íåçíàêîìûé, íåèçâåñòíûé;
íåîáû÷íûé, íåîáûêíîâåííûé; central
— ðàñïîëîæåííûé â öåíòðå, öåíòðàëüíûé; îñíîâíîé, ñàìûé âàæíûé
)?
Yes,
it
might
well
be
(äà, ýòî âïîëíå âîçìîæíî)
.”
“
Ah!”
said
M.
Bouc
with
a
characteristic
gesture
(ñêàçàë ìñüå Áóê ñ õàðàêòåðíûì æåñòîì)
. “She
is
a
terrible
old
lady
, that
(ýòà ñòàðóõà, îíà âíóøàåò ñòðàõ;
terrible — ñòðàøíûé, óæàñíûé; âíóøàþùèé ñòðàõ,
óæàñ)!”
loyal
['lOIql] inclination
["InklI'neIS(q)n] trifling
['traIflIN] characteristic
["kxrIktq'rIstIk]
“Your maid, Madame, did she recognise this handkerchief when we showed it
to her this morning?”
“She must have done so. She saw it and said nothing? Ah, well, that shows
that she too can be loyal.”
With a slight inclination of her head she passed out of the dining-car.
“So that was it,” murmured Poirot softly. “I noticed just a trifling
hesitation when I asked the maid if she knew to whom the handkerchief belonged. She was uncertain whether or not to admit that it was her mistress’s. But how does that fit in with that strange central idea of mine? Yes,
it might well be.”
“Ah!” said M. Bouc with a characteristic gesture. “She is a terrible
old lady, that!”
“Could she have murdered Ratchett
(ìîãëà
ëè
îíà
óáèòü
Ðýò÷åòòà
)?” asked Poirot of the doctor
(ñïðîñèë
Ïóàðî
ó
äîêòîðà
).
He shook his head
(òîò
ïîêà÷àë
ãîëîâîé
).
“Those blows
(òå
óäàðû
) — the ones delivered with great force
(òå
, ÷òî
áûëè
íàíåñåíû
ñ
îãðîìíîé
ñèëîé
; to deliver —
ïåðåäàâàòü,
âðó÷àòü;
íàíîñèòü /
óäàð/
) penetrating the muscle
(÷òî
ïðîøëè
â
ìûøöû
; to penetrate —
ïðîíèêàòü
âíóòðü,
ïðîõîäèòü)
— never, never could anyone with so frail a physique inflict them
(íèêîãäà
, íå
ñìîã
áû
íàíåñòè
èõ
êòî
-íèáóäü
ñ
òàêèì
õðóïêèì
òåëîñëîæåíèåì
; frail —
õðóïêèé,
íåïðî÷íûé;
ñëàáûé,
áîëåçíåííûé)
.”
“But the feebler ones
(à
áîëåå
ñëàáûå
/óäàðû
/)?”
“The feebler ones, yes
(áîëåå
ñëàáûå
—
äà
).”
penetrating
['penItreItIN] muscle
['mAs(q)l] physique
[fI'zi:k]
“Could she have murdered Ratchett?” asked Poirot of the doctor.
He shook his head.
“Those blows — the ones delivered with great force penetrating the muscle
— never, never could anyone with so frail a physique inflict them.”
“But the feebler ones?”
“The feebler ones, yes.”
“I am thinking (
ÿ
äóìàþ)
,” said Poirot, “of the incident this morning when I said to her that the strength was in her will rather than in her arm
(î
òîì
ñëó÷àå
ñåãîäíÿ
óòðîì
, êîãäà
ÿ
ñêàçàë
åé
, ÷òî
ñèëà
áûëà
â
åå
âîëå
, à
íå
â
åå
ðóêå
). It was in the nature of a trap
(ýòî
áûëî
íå÷òî
âðîäå
ëîâóøêè
; nature —
ïðèðîäà,
ìèð;
ðîä,
ñîðò,
êëàññ; trap —
êàïêàí;
çàïàäíÿ,
ëîâóøêà)
, that remark (
òî /
ìîå/
çàìå÷àíèå)
. I wanted to see if she would look down at her right or her left arm
(ÿ
õîòåë
ïîñìîòðåòü
, ïîñìîòðèò
ëè
îíà
íà
ñâîþ
ïðàâóþ
èëè
ñâîþ
ëåâóþ
ðóêè
). She
did
neither
(îíà íå ñäåëàëà íè òîãî, íè äðóãîãî)
. She
looked
at
them
both
(îíà ïîñìîòðåëà íà îáå /ðóêè/: «íà èõ îáå»)
. But she made a strange reply
(íî
îíà
ñòðàííî
îòâåòèëà
; reply —
îòâåò)
. She said, ‘No, I have no strength in these (
ó
ìåíÿ
â
íèõ
íåò
ñèëû)
. I do not know whether to be sorry or glad (
ÿ
íå
çíàþ,
ñîæàëåòü
èëè
ðàäîâàòüñÿ)
.’ A
curious
remark
that
(ýòî ëþáîïûòíîå çàìå÷àíèå;
curious — ëþáîçíàòåëüíûé; ëþáîïûòíûé
).
It
confirms
me
in
my
belief
about
the
crime
(îíî óêðåïëÿåò ìåíÿ â ìîèõ äîãàäêàõ îòíîñèòåëüíî ïðåñòóïëåíèÿ;
to
confirm — ïîäòâåðæäàòü; ïîäêðåïëÿòü, ïîääåðæèâàòü;
belief — âåðà, äîâåðèå; ðàçã. ìíåíèå,
óáåæäåíèå, ïîíèìàíèå)
.”
incident
['InsId(q)nt] strength
[streNT, strenT] neither
['naIDq] whether
['weDq]
“I am thinking,” said Poirot, “of the incident this morning when I said
to her that the strength was in her will rather than in her arm. It was in the nature of a trap, that remark. I wanted to see if she would look down at her right or her left arm. She did neither. She looked at them both. But
she made a strange reply. She said, ‘No, I have no strength in these. I do not know whether to be sorry or glad.’ A curious remark that. It confirms me in my belief about the crime.”
“It did not settle the point about the left-handedness
(ýòî
íå
ðàçðåøèëî
âîïðîñ
î
ëåâøå
: «î
ëåâîðóêîñòè
»).”
“No. By the way, did you notice
(ìåæäó
ïðî÷èì
, âû
îáðàòèëè
âíèìàíèå
) that Count Andrenyi keeps his handkerchief in his right-hand breast pocket
(÷òî
ó
ãðàôà
Àíäðåíè
åãî
ïëàòîê
òîð÷èò
èç
/åãî
/ ïðàâîãî
íàãðóäíîãî
êàðìàíà
: «÷òî
ãðàô
Àíäðåíè
õðàíèò
/äåðæèò
ñâîé
ïëàòîê
â
ïðàâîì
íàãðóäíîì
êàðìàíå
»)?”
M. Bouc shook his head
(ìñüå
Áóê
ïîêà÷àë
ãîëîâîé
). His mind reverted
(åãî
óì
âíîâü
/è
âíîâü
/ îáðàùàëñÿ
; to revert —
âîçâðàùàòüñÿ /
â
ïðåæíåå
ñîñòîÿíèå/;
îáðàùàòüñÿ
âíîâü,
âîçâðàùàòüñÿ /
ê
ìûñëè,
ïåðâîíà÷àëüíîé
òåìå
ðàçãîâîðà/
) to the astonishing revelations of the last half-hour
(ê
óäèâèòåëüíûì
îòêðûòèÿì
ïîñëåäíåãî
ïîëó÷àñà
; to astonish —
óäèâëÿòü,
èçóìëÿòü)
. He murmured (
îí
áîðìîòàë)
:
“Lies — and again lies
(ëîæü
, è
ñíîâà
ëîæü
; lie —
ëîæü)
. It amazes me (
ìåíÿ
óäèâëÿåò;
to amaze — ïîðàæàòü
, èçóìëÿòü
, óäèâëÿòü
), the number of lies we had told to us this morning
(òî
êîëè÷åñòâî
ëæè
, êîòîðîå
íàì
ðàññêàçàëè
ñåãîäíÿ
óòðîì
).”
“
There
are
more
still
to
discover
(è åùå áîëüøå /íàì ïðåäñòîèò/ îáíàðóæèòü;
still — âñå åùå, ïî-ïðåæíåìó; êðîìå òîãî, åùå
),”
said
Poirot
cheerfully
(áîäðî ñêàçàë Ïóàðî).
“
You
think
so
(âû òàê äóìàåòå)?”
left-handed
["left'hxndId] astonishing
[q'stO
nISIN] revelation
["revq'leIS(q)n] amaze
[q'meIz] cheerfully
['tSIqf(q)lI]
“It did not settle the point about the left-handedness.”
“No. By the way, did you notice that Count Andrenyi keeps his handkerchief
in his right-hand breast pocket?”
M. Bouc shook his head. His mind reverted to the astonishing revelations of
the last half-hour. He murmured:
“Lies — and again lies. It amazes me, the number of lies we had told to
us this morning.”
“There are more still to discover,” said Poirot cheerfully.
“You think so?”
“I shall be very much disappointed if it is not so
(ÿ
áóäó
î÷åíü
ðàçî÷àðîâàí
, åñëè
ýòî
áóäåò
íå
òàê
).”
“Such duplicity is terrible (
òàêàÿ
äâóëè÷íîñòü
óæàñíà)
,” said M. Bouc. “
But
it
seems
to
please
you
(íî îíà, êàæåòñÿ, äîñòàâëÿåò âàì óäîâîëüñòâèå;
to
please — æåëàòü, õîòåòü; óãîæäàòü, äîñòàâëÿòü
óäîâîëüñòâèå)
,” he
added
reproachfully
(äîáàâèë îí ñ óêîðèçíîé;
to
reproach — óïðåêàòü, óêîðÿòü
).
“
It
has
this
advantage
(ó äâóëè÷íîñòè åñòü òàêîå ïðåèìóùåñòâî)
,” said
Poirot
. “If
you
confront
anyone
who
has
lied
with
the
truth
(åñëè ïðåäúÿâèòü êîìó-òî, êòî ñîëãàë âàì, ïðàâäó;
to
confront — ñòîÿòü ïðîòèâ, âñòðåòèòüñÿ ëèöîì
ê ëèöó; þð. ïðåäúÿâëÿòü)
, he
will
usually
admit
it
(îáû÷íî îí ïðèçíàåò åå)
— often
out
of
sheer
surprise
(çà÷àñòóþ èç-çà ïîëíåéøåé íåîæèäàííîñòè;
sheer — íàñòîÿùèé, ñóùèé; àáñîëþòíûé, ïîëíåéøèé;
surprise — óäèâëåíèå, èçóìëåíèå; íåîæèäàííîñòü,
ñþðïðèç).
It
is
only
necessary
to
guess
right
(åäèíñòâåííîå, ÷òî íåîáõîäèìî — òàê ýòî ïðàâèëüíî óãàäàòü;
right — ñïðàâåäëèâî; âåðíî, ïðàâèëüíî
)
to
produce
your
effect
(÷òîáû ïðîèçâåñòè ýôôåêò)
.
disappointed
["dIsq'pOIntId] duplicity
[dju(:)
'plIsItI] reproachful
[rI'prqVtSf(q)l] advantage
[qd'vQ:ntIdZ]
“I shall be very much disappointed if it is not so.”
“Such duplicity is terrible,” said M. Bouc. “But it seems to please you,”
he added reproachfully.
“It has this advantage,” said Poirot. “If you confront anyone who has
lied with the truth, he will usually admit it — often out of sheer surprise. It is only necessary to guess right to produce your effect.
“
That
is
the
only
way
to
conduct
this
case
(ýòî åäèíñòâåííûé ñïîñîá ðàññëåäîâàòü ýòî äåëî: «ïðîâåñòè ýòî äåëî»;
to
conduct — âåñòè, ñîïðîâîæäàòü /ïî ìóçåþ/; âåñòè,
ðóêîâîäèòü, ïðîâîäèòü)
. I
select
each
passenger
in
turn
(ÿ âûáèðàþ êàæäîãî ïàññàæèðà ïî î÷åðåäè;
turn — îáîðîò, ïîâîðîò; î÷åðåäü
),
consider
his
or
her
evidence
(îáäóìûâàþ åãî èëè åå ïîêàçàíèÿ)
, and
say
to
myself
(è ãîâîðþ ñåáå)
, ‘If
so
and
so
is
lying
(åñëè òàêîé-òî ëæåò;
so
and
so — òàêîé-òî, èìÿðåê /âìåñòî èìåíè, íàçâàíèÿ,
íîìåðà è ò.ï./)
, on
what
point
is
he
lying
(òî â ÷åì: «â êàêîì ïóíêòå îí ëæåò»;
point — òî÷êà; ïóíêò, ìîìåíò; âîïðîñ, äåëî
),
and
what
is
the
reason
for
the
lie
(è ÷òî çà ïðè÷èíà äëÿ ýòîé ëæè)
?’ And
I
answer
(è ÿ îòâå÷àþ)
, ‘If
he
is
lying
(åñëè îí ëæåò)
— if
, you
mark
(çàìåòüòå, åñëè;
to
mark — ñòàâèòü çíàê, ìåòêó; çàìå÷àòü, çàïîìèíàòü
) —
it
could
only
be
for
such
a
reason
(òî ýòî ìîæåò áûòü òîëüêî ïî òàêîé-òî ïðè÷èíå)
and
on
such
a
point
(è â òîì-òî)
.’ We
have
done
that
once
very
successfully
with
Countess
Andrenyi
(îäíàæäû ìû óæå ïðîäåëàëè ýòî î÷åíü óñïåøíî ñ
ãðàôèíåé Àíäðåíè; success
— óñïåõ, óäà÷à)
. We
shall
now
proceed
to
try
the
same
method
on
several
other
persons
(ñåé÷àñ ìû ïðîäîëæèì ïðèìåíÿòü òîò æå ñàìûé ìåòîä
íà íåñêîëüêèõ äðóãèõ ëþäÿõ; to
proceed
— ïðîäîëæàòü ïóòü; ïðîäîëæàòü /äåëàòü ÷òî-ëèáî/;
to
try — ïûòàòüñÿ; ïðîáîâàòü, îïðîáîâàòü
).”
“
And
supposing,
my
friend,
that
your
guess
happens
to
be
wrong
(à ïðåäïîëîæèì, ìîé äðóã, ÷òî âàøà äîãàäêà îêàæåòñÿ íåâåðíîé;
to
happen — ñëó÷àòüñÿ, ïðîèñõîäèòü; îêàçûâàòüñÿ
/ñëó÷àéíî/; wrong — íåïðàâèëüíûé, íåâåðíûé,
îøèáî÷íûé)?”
“
Then
one
person,
at
any
rate
(òîãäà ñ îäíîãî ÷åëîâåêà, âî âñÿêîì ñëó÷àå)
, will
be
completely
freed
from
suspicion
(áóäóò ïîëíîñòüþ ñíÿòû ïîäîçðåíèÿ;
to
free — îñâîáîæäàòü;
to
suspect — ïîäîçðåâàòü
).”
“
Ah! —
a
process
of
elimination
(à, ìåòîä èñêëþ÷åíèÿ;
elimination — óäàëåíèå, èñêëþ÷åíèå; îòñåâ, âûáûâàíèå;
elimination process — ïðîöåññ îòáîðà /êàíäèäàòîâ è ò.ï./ ïóòåì îòñåâà ìåíåå ïðèãîäíûõ
).”
“
Exactly
(òî÷íî).”
“
And
whom
do
we
tackle
next
(è êåì ìû ñåé÷àñ çàéìåìñÿ;
to
tackle — õâàòàòü, îñòàíàâëèâàòü; èìåòü äåëî
/ñ êåì-ëèáî/; next — ïîòîì, çàòåì, ïîñëå
)?”
“We
are
going
to
tackle
(ìû çàéìåìñÿ)
that
pukka
sahib
, Colonel
Arbuthnot
(ýòèì èñòèííûì äæåíòëüìåíîì, ïîëêîâíèêîì Àðáýòíîòîì;
pukka — èíä.ðàçã. íàñòîÿùèé;
sahib — ñàõèá, ãîñïîäèí /îáðàùåíèå ê èíîñòðàíöó
â êîëîíèàëüíîé Èíäèè/).”
successfully
[sqk'sesS(q)lI] wrong
[rO
N] completely
[kqm'pli:tlI] suspicion
[sq'spIS(q)n] elimination
[I"lImI'neIS(q)n] pukka
['pAkq] sahib
[sQ:b, 'sQ:(h)Ib] colonel
['kq:n(q)l]
“That is the only way to conduct this case. I select each passenger in turn,
consider his or her evidence, and say to myself, ‘If so and so is lying, on what point is he lying, and what is the reason for the lie?’ And I answer, ‘If he is lying — if, you mark — it could only be for such a
reason and on such a point.’ We have done that once very successfully with Countess Andrenyi. We shall now proceed to try the same method on several other persons.”
“And supposing, my friend, that your guess happens to be wrong?”
“Then one person, at any rate, will be completely freed from suspicion.”
“Ah! — a process of elimination.”
“Exactly.”
“And whom do we tackle next?”
“We are going to tackle that pukka sahib, Colonel Arbuthnot.”
6
A SECOND INTERVIEW WITH COLONEL ARBUTHNOT
(Âòîðàÿ áåñåäà ñ ïîëêîâíèêîì Àðáýòíîòîì)
Colonel
Arbuthnot
was
clearly
annoyed
(ïîëêîâíèê Àðáýòíîò áûë ÿâíî ðàçäðàæåí /òåì/;
clearly — çâîíêî, îò÷åòëèâî; îò÷åòëèâî, ÿñíî;
to
annoy — äîñàæäàòü, äîêó÷àòü; ðàçäðàæàòü, áåñïîêîèòü
)
at
being
summoned
to
the
dining-
car
for
a
second
interview
(÷òî åãî âûçâàëè â âàãîí-ðåñòîðàí äëÿ âòîðîé áåñåäû;
to
summon — âûçâàòü, ïîçâàòü, ïðèãëàñèòü
).
His
face
wore
a
most
forbidding
expression
(íà åãî ëèöå áûëî ÷ðåçâû÷àéíî íåïðèâåòëèâîå âûðàæåíèå;
to
wear (
wore,
worn) — áûòü îäåòûì /âî ÷òî-ëèáî/; èìåòü âèä;
forbidding — îòòàëêèâàþùèé, íåïðèâëåêàòåëüíûé;
íåäðóæåëþáíûé, íåïðèâåòëèâûé /î âçãëÿäå è ò.ä./)
as
he
sat
down
and
said
(êîãäà îí ñåë è ñêàçàë)
:
“
Well
(íó)?”
“
All
my
apologies
for
troubling
you
a
second
time
(òûñÿ÷à èçâèíåíèé: «âñå ìîè èçâèíåíèÿ» çà /òî ÷òî ïðèõîäèòñÿ/ áåñïîêîèòü âàñ âî âòîðîé
ðàç; to
trouble — òðåâîæèòü, âîëíîâàòü, ðàññòðàèâàòü
),”
said
Poirot. “
But
there
is
still
some
information
that
I
think
you
might
be
able
to
give
us
(íî âñå åùå åñòü íåêàÿ èíôîðìàöèÿ, êîòîðóþ, êàê ìíå êàæåòñÿ, âû ñìîæåòå íàì ïðåäîñòàâèòü)
.”
“
Indeed
(â ñàìîì äåëå)?
I
hardly
think
so
(ÿ òàê íå äóìàþ; hardly
— åäâà; åäâà ëè, âðÿä ëè
).”
forbidding
[fq'bIdIN] apology
[q'pO
lqdZI] might
[maIt]
Colonel Arbuthnot was clearly annoyed at being summoned to the dining-car for
a second interview. His face wore a most forbidding expression as he sat down and said:
“Well?”
“All my apologies for troubling you a second time,” said Poirot. “But
there is still some information that I think you might be able to give us.”
“Indeed? I hardly think so.”
“
To
begin
with
(ïðåæäå âñåãî: «íà÷àòü ñ òîãî, ÷òî»)
, you
see
this
pipe
-cleaner
(âèäèòå ýòîò åðøèê äëÿ ÷èñòêè òðóáîê)
?”
“
Yes.”
“
Is
it
one
of
yours
(ýòî âàø åðøèê: «ýòî îäèí èç âàøèõ /åðøèêîâ/)
?”
“
Don’
t
know
(íå çíàþ).
I
don’
t
put
a
private
mark
on
them,
you
know
(ÿ íå ñòàâëþ íà íèõ ëè÷íûõ ìåòîê, çíàåòå ëè;
private — ÷àñòíûé; ëè÷íûé, ñîáñòâåííûé;
mark — çíàê; ìåòêà
).”
“
Are
you
aware,
Colonel
Arbuthnot
(çíàåòå ëè âû, ïîëêîâíèê Àðáýòíîò;
aware — îñîçíàþùèé /÷òî-ëèáî/, çíàþùèé /÷òî-ëèáî/
),
that
you
are
the
only
man
amongst
the
passengers
in
the
Stamboul-
Calais
carriage
who
smokes
a
pipe
(÷òî âû åäèíñòâåííûé /÷åëîâåê/, ñðåäè ïàññàæèðîâ âàãîíà Ñòàìáóë — Êàëå, êòî êóðèò òðóáêó)
?”
“
In
that
case
it
probably
is
one
of
mine
(â òàêîì ñëó÷àå, ýòî, âåðîÿòíî, ìîé: «îäèí èç ìîèõ» åðøèê)
.”
“
Do
you
know
where
it
was
found
(çíàåòå ëè âû, ãäå îí áûë íàéäåí)
?”
“
Not
the
least
idea
(/íå èìåþ/ íå ìàëåéøåãî ïðåäñòàâëåíèÿ;
idea — èäåÿ, ìûñëü; ïðåäñòàâëåíèå, ïîíÿòèå
).”
aware
[q'weq] amongst
[q'mANst] probably
['prO
bqblI]
“To begin with, you see this pipe-cleaner?”
“Yes.”
“Is it one of yours?”
“Don’t know. I don’t put a private mark on them, you know.”
“Are you aware, Colonel Arbuthnot, that you are the only man amongst the
passengers in the Stamboul-Calais carriage who smokes a pipe?”
“In that case it probably is one of mine.”
“Do you know where it was found?”
“Not the least idea.”
“It was found by the body of the murdered man
(îí
áûë
íàéäåí
ðÿäîì
ñ
òåëîì
óáèòîãî
/ìóæ÷èíû
/; by —
ìèìî;
áëèçêî,
ðÿäîì)
.”
Colonel Arbuthnot raised his eyebrows
(ïîëêîâíèê
Àðáýòíîò
/â
èçóìëåíèè
/ ïîäíÿë
áðîâè
; to raise the eyebrows —
ïîäíÿò
áðîâè /
â
çíàê
óäèâëåíèÿ,
íåäîâîëüñòâà
è
ò.
ï./
).
“Can you tell us, Colonel Arbuthnot
(íå
ìîãëè
áû
âû
ðàññêàçàòü
íàì
, ïîëêîâíèê
Àðáýòíîò
), how it is likely to have got there
(êàê
îí
/åðøèê
/ ìîã
òóäà
ïîïàñòü
; likely —
âåðîÿòíî, to get (got) —
äîñòàâàòü,
äîáûâàòü;
ïîïàñòü,
óãîäèòü)
?”
“
If
you
mean,
did
I
drop
it
there
myself,
no,
I
didn’
t
(åñëè âû õîòèòå ñêàçàòü, íå îáðîíèë ëè ÿ åãî òàì ñàì, òî íåò, ÿ íå ðîíÿë)
.”
“Did you go into Mr. Ratchett’s compartment at any time
(âû
çàõîäèëè
â
êóïå
ìèñòåðà
Ðýò÷åòòà
êîãäà
-íèáóäü
)?”
“
I
never
even
spoke
to
the
man
(ÿ íèêîãäà äàæå íå ãîâîðèë ñ ýòèì ÷åëîâåêîì;
never — íèêîãäà; íè ðàçó
).”
“
You
never
spoke
to
him
and
you
did
not
murder
him
(âû ñ íèì íè ðàçó íå ðàçãîâàðèâàëè è âû åãî íå óáèâàëè)
?”
The
colonel’
s
eyebrows
went
up
again
sardonically
(áðîâè ïîëêîâíèêà ñíîâà ïîøëè ââåðõ, íàñìåøëèâî;
sardonically — ñàðäîíè÷åñêè, çëîáíî, ÿçâèòåëüíî
).
raised
[reIzd] eyebrow
['aIbraV] murder
['mq:dq] sardonically
[sQ:'dO
nIk(q)lI]
“It was found by the body of the murdered man.”
Colonel Arbuthnot raised his eyebrows.
“Can you tell us, Colonel Arbuthnot, how it is likely to have got there?”
“If you mean, did I drop it there myself, no, I didn’t.”
“Did you go into Mr. Ratchett’s compartment at any time?”
“I never even spoke to the man.”
“You never spoke to him and you did not murder him?”
The colonel’s eyebrows went up again sardonically.
“If I had, I should hardly be likely to acquaint you with the fact
(åñëè
áû
ÿ
/åãî
óáèë
/, ÿ
âðÿä
ëè
áû
ñîîáùèë
âàì
îá
ýòîì
/ôàêòå
/; to acquaint —
çíàêîìèòü;
ñîîáùàòü,
èçâåùàòü)
. As a matter of fact I didn’t murder the fellow (
ïî
ïðàâäå
ãîâîðÿ,
ÿ
íå
óáèâàë
åãî;
fellow — ÷åëîâåê
, ïàðåíü
, ìàëûé
).”
“Ah, well,” murmured Poirot (
ïðîáîðìîòàë
Ïóàðî)
. “
It
is
of
no
consequence
(ýòî íå âàæíî; consequence
— ñëåäñòâèå, ïîñëåäñòâèå; çíà÷åíèå, âàæíîñòü
).”
“
I
beg
your
pardon
(ïðîøó ïðîùåíèÿ; to
beg
— ïðîñèòü; óìîëÿòü, ìîëèòü;
pardon — ïðîùåíèå, èçâèíåíèå
)?”
“I said that it was of no consequence
(ÿ
ñêàçàë
, ÷òî
ýòî
íå
âàæíî
).”
“Oh!” Arbuthnot looked taken aback (
Àðáýòíîò
âûãëÿäåë
ñìóùåííûì: «
îïåøèâøèì»;
to take (took, taken) aback — ïîðàçèòü
, îøåëîìèòü
, çàõâàòèòü
âðàñïëîõ
). He
eyed
Poirot
uneasily
(îí òðåâîæíî ñìîòðåë íà Ïóàðî;
to
eye — ðàçãëÿäûâàòü, ðàññìàòðèâàòü,
uneasily — íåóäîáíî; áåñïîêîéíî, òðåâîæíî
).
acquaint
[q'kweInt] consequence
['kO
nsIkwqns] uneasily
[An'i:zIlI]
“If I had, I should hardly be likely to acquaint you with the fact. As a
matter of fact I didn’t murder the fellow.”
“Ah, well,” murmured Poirot. “It is of no consequence.”
“I beg your pardon?”
“I said that it was of no consequence.”
“Oh!” Arbuthnot looked taken aback. He eyed Poirot uneasily.
“Because, you see
(ïîòîìó
÷òî
, çíàåòå
ëè
),” continued the little man
(ïðîäîëæàë
êîðîòûøêà
), “the pipe-cleaner, it is of no importance
(ýòîò
åðøèê
äëÿ
÷èñòêè
òðóáîê
çíà÷åíèÿ
íå
èìååò
; importance —
çíà÷åíèå,
âàæíîñòü,
çíà÷èòåëüíîñòü)
. I can myself think of eleven other excellent explanations of its presence
(ÿ
ñàì
ìîãó
ïðèäóìàòü
îäèííàäöàòü
äðóãèõ
îòëè÷íûõ
îáúÿñíåíèé
åãî
ïðèñóòñòâèÿ
/â
êóïå
óáèòîãî
/; to explain —
îáúÿñíÿòü; presence —
ïðèñóòñòâèå,
íàëè÷èå)
.”
Arbuthnot stared at him
(Àðáýòíîò
óñòàâèëñÿ
íà
íåãî
).
“What I really wished to see you about was quite another matter
(òî
, ðàäè
÷åãî
ÿ
íà
ñàìîì
äåëå
õîòåë
âàñ
óâèäåòü
, ýòî
ñîâåðøåííî
äðóãîå
äåëî
),” went on Poirot
(ïðîäîëæàë
Ïóàðî
). “Miss Debenham may have told you, perhaps, that I overheard some words
(ìèññ
Äåáåíõýì
, âîçìîæíî
ñêàçàëà
âàì
, ÷òî
ÿ
ñëó÷àéíî
óñëûøàë
íåêîòîðûå
ñëîâà
; to overhear (overheard)
) spoken to you at the station of Konya (/
êîòîðûå
áûëè/
ñêàçàíû
âàì
íà
âîêçàëå
â
Êîíüå)
?”
importance
[Im'pO:t(q)ns] presence
['prez(q)ns] overheard
["qVvq'hq:d]
“Because, you see,” continued the little man, “the pipe-cleaner, it is
of no importance. I can myself think of eleven other excellent explanations of its presence.”
Arbuthnot stared at him.
“What I really wished to see you about was quite another matter,” went
on Poirot. “Miss Debenham may have told you, perhaps, that I overheard some words spoken to you at the station of Konya?”
Arbuthnot did not reply
(Àðáýòíîò
íå
îòâåòèë
).
“
She
said
(îíà ñêàçàëà /âàì/), ‘
Not
now
(íå ñåé÷àñ).
When
it’
s
all
over
(êîãäà âñå áóäåò êîí÷åíî;
to
be
over — îêîí÷èòüñÿ, çàâåðøèòüñÿ
).
When
it’
s
behind
us
(êîãäà ýòî áóäåò ïîçàäè /íàñ/)
!’ Do
you
know
to
what
those
words
referred
(çíàåòå ëè âû, ê ÷åìó îòíîñèëèñü ýòè ñëîâà: «î ÷åì
øëà ðå÷ü»; to
refer — ïîñûëàòü, îòñûëàòü /ê êîìó-ëèáî, ÷åìó-ëèáî/;
èìåòü îòíîøåíèå, îòíîñèòüñÿ /ê ÷åìó-ëèáî, êîìó-ëèáî/)
?”
“
I
am
sorry,
M.
Poirot,
but
I
must
refuse
to
answer
that
question
(ìíå æàëü, ìñüå Ïóàðî, íî ÿ âûíóæäåí îòêàçàòüñÿ îòâå÷àòü íà ýòîò âîïðîñ;
sorry — îãîð÷åííûé, ñîæàëåþùèé
).”
“
Pourquoi
(ôð.
ïî÷åìó)?”
The
Colonel
said
stiffly
(ïîëêîâíèê ñêàçàë õîëîäíî/íåîõîòíî;
stiff — æåñòêèé, êðåïêèé; õîëîäíûé, ÷îïîðíûé;
stiffly — õîëîäíî, ÷îïîðíî, íàòÿíóòî
), “
I
suggest
that
you
ask
Miss
Debenham
herself
for
the
meaning
of
those
words
(ÿ ïðåäëàãàþ, ÷òîáû âû ñïðîñèëè =
âàì ñëåäóåò ñïðîñèòü
ó ñàìîé ìèññ Äåáåíõýì î çíà÷åíèè/ñìûñëå ýòèõ ñëîâ)
.”
“
I
have
done
so
(ÿ òàê è ñäåëàë).”
“
And
she
refused
to
tell
you
(è îíà íå ñêàçàëà: «îòêàçàëàñü ñêàçàòü» âàì)
?”
“Yes.”
refer
[rI'fq
:] stiffly
['stIflI] refused
[rI'fju:zd]
Arbuthnot did not reply.
“She said, ‘Not now. When it’s all over. When it’s behind us!’ Do
you know to what those words referred?”
“I am sorry, M. Poirot, but I must refuse to answer that question.”
“
Pourquoi?”
The Colonel said stiffly, “I suggest that you ask Miss Debenham herself for
the meaning of those words.”
“I have done so.”
“And she refused to tell you?”
“Yes.”
“Then I should think it would have been perfectly plain
(òîãäà
, ìíå
êàæåòñÿ
, äîëæíî
áûòü
ñîâåðøåííî
ÿñíûì
; plain —
ÿñíûé,
îò÷åòëèâûé;
ÿâíûé,
î÷åâèäíûé)
— even to you (
äàæå
äëÿ
âàñ)
— that my lips are sealed (
÷òî
ÿ
äîëæåí
ìîë÷àòü: «
íà
ìîèõ
óñòàõ
ïå÷àòü /
ìîë÷àíèÿ/»;
lip — ãóáà
; seal — ïå÷àòü
, êëåéìî
; to seal — ïðèêëàäûâàòü
, ñòàâèòü
ïå÷àòü
).”
“You will not give away a lady’s secret
(âû
íå
âûäàäèòå
òàéíó
äàìû
; to give away —
îòäàâàòü,
äàðèòü;
âûäàâàòü,
ïðåäàâàòü)
?”
“
You can
put
it that
way,
if you
like
(ìîæíî ñêàçàòü è òàê, åñëè âàì óãîäíî;
to put
— êëàñòü, ñòàâèòü; èçëàãàòü, ôîðìóëèðîâàòü /ìûñëè, çàìå÷àíèÿ è ò.ï./;
way — ïóòü, äîðîãà; îáðàç äåéñòâèÿ
).”
“
Miss
Debenham
told
me
that
they
referred
(ìèññ Äåáåíõýì ñêàçàëà ìíå, ÷òî îíè /ñëîâà/ îòíîñÿòñÿ)
to
a
private
matter
of
her
own
(ê åå ëè÷íîìó äåëó;
own — ñîáñòâåííîñòü, ïðèíàäëåæíîñòü
).”
“
Then
why
not
accept
her
word
for
it
(â òàêîì ñëó÷àå, ïî÷åìó áû íå ïîâåðèòü åé íà ñëîâî;
to
accept — ïðèíèìàòü, áðàòü /ïðåäëîæåííîå/; âåðèòü
)?”
“
Because,
Colonel
Arbuthnot,
Miss
Debenham
is
what
one
might
call
a
highly
suspicious
character
(ïîòîìó, ïîëêîâíèê Àðáýòíîò, ÷òî ìèññ Äåáåíõýì — ìîæíî òàê ñêàçàòü — ÷ðåçâû÷àéíî ïîäîçðèòåëüíàÿ
îñîáà; to
call —íàçûâàòü, çâàòü;
suspicious — ïîäîçðèòåëüíûé, íåäîâåð÷èâûé; âûçûâàþùèé
ïîäîçðåíèÿ, ïîäîçðèòåëüíûé; character
— õàðàêòåð, íðàâ; ôèãóðà, ëè÷íîñòü
).”
perfectly
['pq
:fIktlI] sealed
[si:ld] secret
['si:krIt] highly
['haIlI]
“Then I should think it would have been perfectly plain — even to you —
that my lips are sealed.”
“You will not give away a lady’s secret?”
“You can put it that way, if you like.”
“Miss Debenham told me that they referred to a private matter of her own.”
“Then why not accept her word for it?”
“Because, Colonel Arbuthnot, Miss Debenham is what one might call a highly
suspicious character.”
“
Nonsense
(÷åïóõà),”
said
the
Colonel
with
warmth
(ñêàçàë ïîëêîâíèê ñ ãîðÿ÷íîñòüþ;
warmth — òåïëî, òåïëîòà; ãîðÿ÷íîñòü, çàïàëü÷èâîñòü
).
“It is not nonsense
(ýòî
íå
÷åïóõà
).”
“
You
have
nothing
whatever
against
her
(ó âàñ íåò àáñîëþòíî íè÷åãî ïðîòèâ íåå;
whatever — ÷òî áû íè; íèêàêîé, âîîáùå íå, ñîâñåì
íå).”
“
Not
the
fact
that
Miss
Debenham
was
companion
governess
in
the
Armstrong
household
at
the
time
of
the
kidnapping
of
little
Daisy
Armstrong
(à òîò ôàêò: «/äàæå/ íå òîò ôàêò», ÷òî ìèññ Äåáåíõýì áûëà ãóâåðíàíòêîé â ñåìüå Àðìñòðîíãîâ
âî âðåìÿ ïîõèùåíèÿ ìàëåíüêîé Äåéçè Àðìñòðîíã; companion
— òîâàðèù; êîìïàíüîí(êà)
; household
— ñåìüÿ, äîìî÷àäöû /âêëþ÷àÿ ñëóã/;
companion
governess — ãóâåðíàíòêà, ïîìîùíèöà ãóâåðíàíòêè
)?”
There
was
a
minute’
s
dead
silence
(ñ ìèíóòó ñòîÿëà ìåðòâàÿ òèøèíà;
dead — ìåðòâûé, óìåðøèé; ýìîö.-óñèë. ïîëíûé,
ñîâåðøåííûé, ãëóáîêèé)
.
Poirot nodded his head gently
(Ïóàðî
ìÿãêî
êèâíóë
ãîëîâîé
).
warmth
[wO:mT] companion
[kqm'pxnIqn]
gently ['dZentlI]
“Nonsense,” said the Colonel with warmth.
“It is not nonsense.”
“You have nothing whatever against her.”
“Not the fact that Miss Debenham was companion governess in the Armstrong
household at the time of the kidnapping of little Daisy Armstrong?”
There was a minute’s dead silence.
Poirot nodded his head gently.
“You see (
âèäèòå)
,” he said. “
We
know
more
than
you
think
(ìû çíàåì áîëüøå, ÷åì âû äóìàåòå)
. If
Miss
Debenham
is
innocent
(åñëè ìèññ Äåáåíõýì íåâèíîâíà)
, why
did
she
conceal
that
fact
(ïî÷åìó îíà ñêðûëà ýòîò ôàêò;
to
conceal — ïðÿòàòü, óêðûâàòü; ñêðûâàòü, óòàèâàòü
)?
Why
did
she
tell
me
that
she
had
never
been
in
America
(ïî÷åìó îíà ñêàçàëà ìíå, ÷òî îíà íèêîãäà íå áûâàëà â Àìåðèêå)
?”
The
Colonel
cleared
his
throat
(ïîëêîâíèê îòêàøëÿëñÿ: «ïðî÷èñòèë ãîðëî»;
to
clear — î÷èùàòü;
throat — ãîðëî, ãîðòàíü
). “
Aren’
t
you
possibly
making
a
mistake
(íå ìîæåò âûéòè òàê, ÷òî âû âñå-òàêè îøèáàåòåñü;
mistake — îøèáêà
)?”
“I am making no mistake
(ÿ
íå
îøèáàþñü
). Why did Miss Debenham lie to me
(ïî÷åìó
ìèññ
Äåáåíõýì
ñîëãàëà
ìíå
)?”
Colonel Arbuthnot shrugged his shoulders (
ïîëêîâíèê
Àðáýòíîò
ïîæàë
ïëå÷àìè)
. “
You
had
better
ask
her
(âàì ñëåäóåò ñïðîñèòü ó íåå)
. I
still
think
that
you
are
wrong
(ÿ ïî-ïðåæíåìó ñ÷èòàþ, ÷òî âû îøèáàåòåñü;
wrong — íåïðàâèëüíûé, íåâåðíûé, îøèáî÷íûé
).”
innocent ['Inqs(q)nt]
conceal [kqn'si:l]
throat [TrqVt]
“You see,” he said. “We know more than you think. If Miss Debenham is
innocent, why did she conceal that fact? Why did she tell me that she had never been in America?”
The Colonel cleared his throat. “Aren’t you possibly making a mistake?”
“I am making no mistake. Why did Miss Debenham lie to me?”
Colonel Arbuthnot shrugged his shoulders. “You had better ask her. I still
think that you are wrong.”
Poirot raised his voice and called
(Ïóàðî
ïîâûñèë
ãîëîñ
è
ïîçâàë
= Ïóàðî
ãðîìêî
ïîçâàë
/îôèöèàíòà
/; to raise —
ïîäíèìàòü;
èçäàâàòü /
çâóê/,
ïîäàâàòü /
ãîëîñ/; to call —
êðè÷àòü;
çâàòü,
ïîçâàòü,
ïîäîçâàòü)
. One of the restaurant attendants came (
ïîäîøåë
îäèí
èç
îôèöèàíòîâ;
attendant — ñîïðîâîæäàþùåå
ëèöî
; îáñëóæèâàþùåå
ëèöî
, ñëóæèòåëü
) from the far end of the car
(èç
äàëüíåãî
êîíöà
âàãîíà
).
“Go and ask the English lady in No. 11
(ïîéäèòå
è
ïîçîâèòå
àíãëè÷àíêó
èç
êóïå
11) if she will be good enough to come here
(íå
áóäåò
ëè
îíà
òàê
äîáðà
/÷òîáû
/ ïðèéòè
ñþäà
).”
“
Bien, Monsieur
(ôð
.
õîðîøî,
ìñüå)
.”
The man departed
(îôèöèàíò
óøåë
). The four men sat in silence
(÷åòâåðî
ìóæ÷èí
ñèäåëè
â
òèøèíå
). Colonel Arbuthnot’s face looked as though it were carved out of wood
(ëèöî
ïîëêîâíèêà
Àðáýòíîòà
âûãëÿäåëî
òàê
, ñëîâíî
îíî
áûëî
âûðåçàíî
èç
äåðåâà
; wood —
ëåñ,
ðîùà;
äðåâåñèíà,
äåðåâî /
ìàòåðèàë/
), rigid and impassive
(çàñòûâøèì
è
áåññòðàñòíûì
; rigid —
æåñòêèé,
íåãíóùèéñÿ;
íåïîäâèæíûé; impassive —
àïàòè÷íûé,
áåçó÷àñòíûé;
íåâîçìóòèìûé,
áåññòðàñòíûé)
.
The man returned
(îôèöèàíò
âåðíóëñÿ
).
“The lady is just coming, Monsieur
(äàìà
ñåé÷àñ
ïðèäåò
, ìñüå
).”
“Thank you.”
A minute or two later Mary Debenham entered the dining-car
(ìèíóòó
èëè
äâå
ñïóñòÿ
â
âàãîí
-ðåñòîðàí
âîøëà
Ìýðè
Äåáåíõýì
).
restaurant
['rest(q)|rO
N, —
r
Ont]
carve [kQ:v]
rigid ['rIdZId]
impassive [Im'pxsIv]
Poirot raised his voice and called. One of the restaurant attendants came from
the far end of the car.
“Go and ask the English lady in No. 11 if she will be good enough to come
here.”
“
Bien, Monsieur.”
The man departed. The four men sat in silence. Colonel Arbuthnot’s face looked
as though it were carved out of wood, rigid and impassive.
The man returned.
“The lady is just coming, Monsieur.”
“Thank you.”
A minute or two later Mary Debenham entered the dining-car.
7
THE
IDENTITY
OF
MARY
DEBENHAM
(/
óñòàíîâëåíèå/ ëè÷íîñòè Ìýðè
Äåáåíõýì; identity
— òîæäåñòâåííîñòü, èäåíòè÷íîñòü; ëè÷íîñòü
)
She
wore
no
hat
(îíà áûëà áåç øëÿïêè;
to
wear (
wore,
worn) — áûòü îäåòûì /âî ÷òî-ëèáî/, íîñèòü /îäåæäó
è ò.ï./).
Her
head
was
thrown
back
(åå ãîëîâà áûëà îòêèíóòà íàçàä;
to
throw (
threw,
thrown)
back — áðîñàòü îáðàòíî, íàçàä; îòáðàñûâàòü
íàçàä)
as
though
in
defiance
(âûçûâàþùå: «ñëîâíî ñ âûçîâîì»;
defiance — âûçûâàþùåå ïîâåäåíèå; âûçîâ /íà ñïîð,
áîé/).
The
sweep
of
her
hair
back
from
her
face
(îòáðîøåííûå ñî ëáà âîëîñû;
sweep — âûìåòàíèå, ïîäìåòàíèå; ðàçìàõ, âçìàõ
),
the
curve
of
her
nostril
(èçãèá åå íîçäðåé; curve
— êðèâàÿ /ëèíèÿ/; èçãèá
)
suggested
the
figure-
head
of
a
ship
(íàïîìèíàëè ôèãóðó íà íîñó êîðàáëÿ;
to
suggest — ïðåäëàãàòü, ñîâåòîâàòü; âûçûâàòü
/àññîöèàöèþ è ò.ï./, ïîäñêàçûâàòü /ìûñëü, èäåþ è ò.ï./; figure
-head
— ìîð. íîñîâîå óêðàøåíèå, ôèãóðà íà íîñó êîðàáëÿ
)
plunging
gallantly
into
a
rough
sea
(ñìåëî âðåçàþùóþñÿ â áóøóþùåå ìîðå;
to
plunge — íûðÿòü; ïîãðóæàòü(ñÿ), îêóíàòü(ñÿ);
çàðûâàòüñÿ íîñîì â âîëíû /î ñóäíå/; rough
— íåðîâíûé, øåðîõîâàòûé; áóðíûé, áóøóþùèé /î ìîðå/
).
In
that
moment
she
was
beautiful
(â ýòîò ìîìåíò îíà áûëà ïðåêðàñíà)
.
Her
eyes
went
to
Arbuthnot
for
a
minute
(îíà âçãëÿíóëà íà Àðáýòíîòà íà ìãíîâåíèå: «åå
âçîð îáðàòèëñÿ íà Àðáýòíîòà») —
just
a
minute
(âñåãî ëèøü íà ìãíîâåíèå)
. She said to Poirot, “You wished to see me
(âû
õîòåëè
ìåíÿ
âèäåòü
)?”
defiance
[dI'faIqns] nostril
['nO
strIl] figurehead
['fIgqhed] gallantly
['gxlqntlI] rough
[rAf]
She wore no hat. Her head was thrown back as though in defiance. The sweep
of her hair back from her face, the curve of her nostril suggested the figure-head of a ship plunging gallantly into a rough sea. In that moment she was beautiful.
Her eyes went to Arbuthnot for a minute — just a minute. She said to Poirot,
“You wished to see me?”
“I wished to ask you, Mademoiselle
(ÿ
õîòåë
ñïðîñèòü
âàñ
, ìàäåìóàçåëü
), why you lied to us this morning
(ïî÷åìó
âû
ñîëãàëè
íàì
ñåãîäíÿ
óòðîì
: «ýòèì
óòðîì
»)?”
“Lied to you (
ñîëãàëà
âàì)
? I
don’
t
know
what
you
mean
(ÿ íå ïîíèìàþ, î ÷åì âû ãîâîðèòå;
to
mean — íàìåðåâàòüñÿ, èìåòü â âèäó; ïîäðàçóìåâàòü,
õîòåòü ñêàçàòü)
.”
“
You
concealed
the
fact
(âû óòàèëè òîò ôàêò; to
conceal
— ïðÿòàòü, óêðûâàòü; ñêðûâàòü, óòàèâàòü
)
that
at
the
time
of
the
Armstrong
tragedy
you
were
actually
living
in
the
house
(÷òî â òî âðåìÿ, êîãäà /ñëó÷èëàñü/ òðàãåäèÿ â ñåìüå Àðìñòðîíãîâ, âû íà ñàìîì-òî äåëå ïðîæèâàëè
â /èõ/ äîìå). You
told
me
that
you
had
never
been
in
America
(âû ñêàçàëè ìíå, ÷òî âû íèêîãäà íå áûëè â Àìåðèêå)
.”
He
saw
her
flinch
for
a
moment
(îí óâèäåë, ÷òî îíà /íà ìãíîâåíèå/ âçäðîãíóëà;
flinch — îòñòóïëåíèå; âçäðàãèâàíèå, äðîæü;
to
flinch — âçäðàãèâàòü, ïåðåäåðíóòüñÿ /îò áîëè
è ò.ï./)
and
then
recover
herself
(íî çàòåì ïðèøëà â ñåáÿ = òóò æå âçÿëà ñåáÿ â ðóêè;
to
recover — ïîëó÷àòü îáðàòíî; îïðàâëÿòüñÿ /îò
÷åãî-ëèáî/, ïðèõîäèòü â ñåáÿ)
.
“
Yes,”
she
said. “
That
is
true
(ýòî ïðàâäà; true
— âåðíûé, ïðàâèëüíûé, èñòèííûé
).”
concealed
[kqn'si:ld] tragedy
['trxdZIdI] actually
['xktS(V)qlI] recover
[rI'kAvq]
“I wished to ask you, Mademoiselle, why you lied to us this morning?”
“Lied to you? I don’t know what you mean.”
“You concealed the fact that at the time of the Armstrong tragedy you were
actually living in the house. You told me that you had never been in America.”
He saw her flinch for a moment and then recover herself.
“Yes,” she said. “That is true.”
“No, Mademoiselle, it was false
(íåò
, ìàäåìóàçåëü
, ýòî
íåïðàâäà
; false —
ëîæíûé,
íåâåðíûé,
îøèáî÷íûé)
.”
“You misunderstood me
(âû
ìåíÿ
íåïðàâèëüíî
ïîíÿëè
; to misunderstand (misunderstood)
). I mean that it is true that I lied to you (
ÿ
õî÷ó
ñêàçàòü,
ýòî
ïðàâäà,
÷òî
ÿ
ñîëãàëà
âàì)
.”
“
Ah,
you
admit
it
(à, âû ïðèçíàåòå ýòî)?”
Her
lips
curved
into
a
smile
(åå ãóáû ñêðèâèëèñü â óëûáêå;
to
curve — ãíóòü(ñÿ), ñãèáàòü(ñÿ), èçãèáàòü(ñÿ
)). “
Certainly,
since
you
have
found
me
out
(êîíå÷íî, ðàç óæ âû ìåíÿ ðàçîáëà÷èëè;
to
find (
found)
out — ðàçóçíàòü, âûÿñíèòü; ðàçîáëà÷èòü, óëè÷èòü
/êîãî-ëèáî/).”
“
You
are
at
least
frank,
Mademoiselle
(âû, ïî êðàéíåé ìåðå, îòêðîâåííû, ìàäåìóàçåëü)
.”
“
There
does
not
seem
anything
else
for
me
to
be
(ìíå, êàæåòñÿ, íè÷åãî áîëüøå íå îñòàåòñÿ: «êàæåòñÿ, íåò ÷åãî-íèáóäü åùå, êàêîé ÿ ìîãëà
áû áûòü»).”
“Well, of course, that is true
(÷òî
æ
, êîíå÷íî
, ýòî
òàê
). And now, Mademoiselle, may I ask you the reason for these evasions
(à
òåïåðü
, ìàäåìóàçåëü
, ìîãó
ëè
ÿ
ñïðîñèòü
ó
âàñ
ïðè÷èíó
ýòèõ
óâèëèâàíèé
; evasion —
óêëîíåíèå /
îò
èñïîëíåíèÿ
äîëãà
è
ò.
ï./;
óâåðòêà,
óëîâêà,
óêëîí÷èâûé
îòâåò)
?”
false
[fO:ls] misunderstood
["mIsAndq'stVd] curved
[kq:vd] evasion
[I'veIZ(q)n]
“No, Mademoiselle, it was false.”
“You misunderstood me. I mean that it is true that I lied to you.”
“Ah, you admit it?”
Her lips curved into a smile. “Certainly, since you have found me out.”
“You are at least frank, Mademoiselle.”
“There does not seem anything else for me to be.”
“Well, of course, that is true. And now, Mademoiselle, may I ask you the
reason for these evasions?”
“I should have thought the reason leapt to the eye, M. Poirot
(ìíå
êàçàëîñü
, ÷òî
ïðè÷èíà
áðîñàåòñÿ
â
ãëàçà
, ìñüå
Ïóàðî
; to leap (leapt, leaped) —
ïðûãàòü,
ñêàêàòü)
.”
“
It
does
not
leap
to
mine,
Mademoiselle
(ìíå íå áðîñèëàñü: «îíà íå áðîñèëàñü â ìîè /ãëàçà/», ìàäåìóàçåëü)
.”
She
said
in
a
quiet
even
voice
(îíà îòâåòèëà ñïîêîéíûì, ðîâíûì ãîëîñîì)
with
a
trace
of
hardness
in
it
(íî íåìíîãî ðåçêî: «ñî ñëåäàìè ñóðîâîñòè /â íåì/»;
hard — òâåðäûé; ðåçêèé, ãðóáûé, íåïðèÿòíûé;
hardness — òâåðäîñòü, êðåïîñòü; ñóðîâîñòü,
æåñòîêîñòü), “
I
have
my
living
to
get
(ÿ äîëæíà çàðàáàòûâàòü ñåáå íà æèçíü;
living — ñðåäñòâà ê ñóùåñòâîâàíèþ;
to
get — äîñòàâàòü, äîáûâàòü; çàðàáàòûâàòü,
ïîëó÷àòü).”
“You mean
(òî
åñòü
) — ?”
She raised her eyes and looked him full in the face
(îíà
ïîäíÿëà
ãëàçà
è
ïîñìîòðåëà
åìó
ïðÿìî
â
ëèöî
). “How much do you know, M. Poirot
(÷òî
âû
çíàåòå
, ìñüå
Ïóàðî
; how much —
ñêîëüêî)
, of the fight (
î
òîì,
êàê
ñëîæíî: «
î
áîðüáå
çà»;
fight — áîé
, áèòâà
; áîðüáà
) to get and keep decent employment
(ïîëó÷èòü
è
óäåðæàòü
ïðèëè÷íîå
ìåñòî
; to keep —
äåðæàòü,
èìåòü,
õðàíèòü;
óäåðæàòü,
ñîõðàíèòü; employment —
ðàáîòà /
ïî
íàéìó/,
ñëóæáà)
? Do you think that a girl who had been detained in connection with a murder case
(íåóæåëè
âû
äóìàåòå
, ÷òî
äåâóøêå
, êîòîðàÿ
áûëà
çàäåðæàíà
â
ñâÿçè
ñ
äåëîì
îá
óáèéñòâå
; to detain —
çàäåðæèâàòü;
àðåñòîâûâàòü,
ñîäåðæàòü
ïîä
ñòðàæåé)
, whose name and perhaps photograph (
÷üå
èìÿ
è,
âîçìîæíî,
ôîòîãðàôèè)
were reproduced in the English papers (
ïå÷àòàëèñü
â
àíãëèéñêèõ
ãàçåòàõ;
to reproduce — ïðîèçâîäèòü
; âîñïðîèçâîäèòü
, ðåïðîäóöèðîâàòü
; paper — áóìàãà
; ãàçåòà
, æóðíàë
) — do you think that any nice ordinary middle-class woman would want to engage that
girl as governess to her daughters (
íåóæåëè
âû
äóìàåòå,
÷òî
ïîðÿäî÷íàÿ
õîçÿéêà: «
ñëàâíàÿ
îáûêíîâåííàÿ
æåíùèíà»
èç
çàæèòî÷íîé
ñåìüè
çàõî÷åò
íàíÿòü
ýòó
äåâóøêó
â
êà÷åñòâå
ãóâåðíàíòêè
äëÿ
ñâîèõ
äî÷åðåé;
middle-class — îòíîñÿùèéñÿ
ê
ñðåäíèì
ñëîÿì
îáùåñòâà
, çàæèòî÷íûé
, áóðæóàçíûé
)?”
leapt
[lept] leap
[li:p] decent
['di:s(q)nt] detained
[dI'teInd] photograph
['fqVtqgrQ:f] middle class
["mIdl'klQ:s]
“I should have thought the reason leapt to the eye, M. Poirot.”
“It does not leap to mine, Mademoiselle.”
She said in a quiet even voice with a trace of hardness in it, “I have my
living to get.”
“You mean — ?”
She raised her eyes and looked him full in the face. “How much do you know,
M. Poirot, of the fight to get and keep decent employment? Do you think that a girl who had been detained in connection with a murder case, whose name and perhaps photograph were reproduced in the English papers — do you
think that any nice ordinary middle-class woman would want to engage that girl as governess to her daughters?”
“
I
do
not
see
why
not
(à ïî÷åìó áû è íåò: «íå ïîíèìàþ, ïî÷åìó íåò»)
— if
no
blame
attached
to
you
(åñëè âû /îêàæåòåñü/ íè â ÷åì íå âèíîâàòû;
blame — ïîðèöàíèå, óïðåê; âèíà, îòâåòñòâåííîñòü;
to
attach — ïðèêðåïëÿòü, ïðèñîåäèíÿòü; áûòü ñâîéñòâåííûì,
ïðèñóùèì).”
“
Oh,
blame
(î, âèíà) —
it
is
not
blame
(äåëî íå â âèíîâíîñòè) —
it
is
the
publicity
(äåëî â îãëàñêå; publicity
— ïóáëè÷íîñòü, ãëàñíîñòü; èçâåñòíîñòü, ñëàâà
)!
So
far,
M.
Poirot,
I
have
succeeded
in
life
(äî ñèõ ïîð, ìñüå Ïóàðî, ÿ ïðåóñïåâàëà â æèçíè;
to
succeed — äîñòèãíóòü öåëè, äîáèòüñÿ; ïðåóñïåâàòü,
ïðîöâåòàòü).
I
have
had
well-
paid
(ó ìåíÿ áûëè õîðîøî îïëà÷èâàåìûå)
, pleasant
posts
(ïðèÿòíûå ìåñòà ðàáîòû;
post — ïîñò, äîëæíîñòü, ïîëîæåíèå
).
I
was
not
going
to
risk
the
position
I
had
attained
(ÿ íå ñîáèðàëàñü ðèñêîâàòü òåì ïîëîæåíèåì, êîòîðîãî ÿ äîñòèãëà)
when
no
good
end
could
have
been
served
(êîãäà íåò îñîáîé íåîáõîäèìîñòè: «êîãäà íåò íèêàêîé
ïîëüçû»; to serve an end — ñëóæèòü êàêîé-ëèáî öåëè, áûòü ïîëåçíûì;
end — êîíåö, îêîí÷àíèå; öåëü, íàìåðåíèÿ;
to
serve — ñëóæèòü; ãîäèòüñÿ, ïîäõîäèòü
).”
“
I
will
venture
to
suggest,
Mademoiselle
(ÿ îñìåëþñü ïðåäïîëîæèòü, ìàäåìóàçåëü;
to
venture — ðèñêîâàòü, ñòàâèòü íà êàðòó; îòâàæèòüñÿ,
ðåøèòüñÿ, îñìåëèòüñÿ)
, that
I
would
have
been
the
best
judge
of
that
, not
you
(÷òî ëó÷øå îá ýòîì ñóäèòü ìíå, à íå âàì)
.”
She shrugged her shoulders
(îíà
ïîæàëà
ïëå÷àìè
).
publicity
[pA'blIsItI] succeed
[sqk'si:d] venture
['ventSq]
“I do not see why not — if no blame attached to you.”
“Oh, blame — it is not blame — it is the publicity! So far, M. Poirot,
I have succeeded in life. I have had well-paid, pleasant posts. I was not going to risk the position I had attained when no good end could have been served.”
“I will venture to suggest, Mademoiselle, that I would have been the best
judge of that, not you.”
She shrugged her shoulders.
“For instance, you could have helped me
(íàïðèìåð
, âû
ìîãëè
áû
ïîìî÷ü
ìíå
) in the matter of identification
(â
âîïðîñå
ñ
îïîçíàíèåì
/íåêîòîðûõ
ïàññàæèðîâ
/; identification —
îòîæäåñòâëåíèå;
îïîçíàíèå,
îïðåäåëåíèå)
.”
“
What
do
you
mean
(÷òî âû õîòèòå ñêàçàòü)
?”
“
Is
it
possible,
Mademoiselle
(âîçìîæíî ëè ýòî, ìàäåìóàçåëü)
, that
you
did
not
recognise
in
the
Countess
Andrenyi
, Mrs
. Armstrong
’s
young
sister
(÷òî âû íå óçíàëè â ãðàôèíå Àíäðåíè ìëàäøóþ ñåñòðó
ìèññèñ Àðìñòðîíã) whom
you
taught
in
New
York
(êîòîðóþ âû ó÷èëè â Íüþ-Éîðêå;
to
teach (
taught)
)?”
“Countess Andrenyi? No.” She shook her head (
îíà
ïîêà÷àëà
ãîëîâîé)
. “It may seem extraordinary to you (
âàì
ýòî
ìîæåò
ïîêàçàòüñÿ
íåîáû÷íûì)
— but I did not recognise her (
íî
ÿ
íå
óçíàëà
åå)
. She
was
not
grown
up
(îíà áûëà åùå ïîäðîñòêîì: «îíà íå áûëà âçðîñëîé»;
to
grow (
grew,
grown) — ðàñòè, óâåëè÷èâàòüñÿ; ðàñòè, âûðàñòàòü;
grown
up — âçðîñëûé /÷åëîâåê/
),
you
see,
when
I
knew
her
(âèäèòå ëè, êîãäà ÿ åå çíàëà)
. That
was
over
three
years
ago
(ýòî áûëî áîëåå òðåõ ëåò íàçàä)
. It
is
true
that
the
Countess
reminded
me
of
someone
(ýòî ïðàâäà, ÷òî ãðàôèíÿ íàïîìíèëà ìíå êîãî-òî)
; it
puzzled
me
(ýòî ìåíÿ îçàäà÷èëî = ÿ ëîìàëà ãîëîâó, êîãî æå îíà
ìíå íàïîìíèëà; to
puzzle
— îçàäà÷èâàòü, ñòàâèòü â òóïèê; ëîìàòü ãîëîâó /íàä ÷åì-ëèáî/
).
But
she
looks
so
foreign
(íî îíà âûãëÿäèò òàê ýêçîòè÷íî;
foreign — èíîñòðàííûé, ÷óæåçåìíûé, çàãðàíè÷íûé
) —
I
never
connected
her
with
the
little
American
schoolgirl
(ÿ íèêîèì îáðàçîì íå ñâÿçàëà åå ñ òîé ìàëåíüêîé àìåðèêàíñêîé øêîëüíèöåé;
never — íèêîãäà; ýìîö.-óñèë. íèñêîëüêî, íèêîèì
îáðàçîì).
I
only
glanced
at
her
casually
when
coming
into
the
restaurant
car
(ÿ òîëüêî ìèìîõîäîì âçãëÿíóëà íà íåå, êîãäà /îíà/ çàõîäèëà â âàãîí-ðåñòîðàí)
, and
I
noticed
her
clothes
more
than
her
face
(è ÿ áîëüøå îáðàòèëà âíèìàíèå íà åå îäåæäó, ÷åì
íà åå ëèöî).” She
smiled
faintly
(îíà ñëåãêà óëûáíóëàñü)
. “Women
do
(æåíùèíû òàê ïîñòóïàþò: «äåëàþò»)
! And
then
— well
— I
had
my
own
preoccupations
(è, ê òîìó æå, íó, ó ìåíÿ áûëè ñâîè ñîáñòâåííûå çàáîòû;
preoccupation — çàâëàäåíèå èìóùåñòâîì
ðàíüøå äðóãîãî; îçàáî÷åííîñòü, ïîãëîùåííîñòü /÷åì-ëèáî/, çàáîòà
).”
identification [aI"dentIfI'keIS(q)n]
taught [tO:t]
extraordinary [Ik'strO:d(q)n(q)rI]
schoolgirl ['sku:lgq:l]
preoccupation
[prI"O
kjV'peIS(q)n]
“For instance, you could have helped me in the matter of identification.”
“What do you mean?”
“Is it possible, Mademoiselle, that you did not recognise in the Countess
Andrenyi, Mrs. Armstrong’s young sister whom you taught in New York?”
“Countess Andrenyi? No.” She shook her head. “It may seem extraordinary
to you — but I did not recognise her. She was not grown up, you see, when I knew her. That was over three years ago. It is true that the Countess reminded me of someone; it puzzled me. But she looks so foreign — I never
connected her with the little American schoolgirl. I only glanced at her casually when coming into the restaurant car, and I noticed her clothes more than her face.” She smiled faintly. “Women do! And then — well —
I had my own preoccupations.”
“You will not tell me your secret, Mademoiselle
(âû
íå
ðàññêàæåòå
ìíå
âàø
ñåêðåò
, ìàäåìóàçåëü
)?”
Poirot’s voice was very gentle and persuasive
(ãîëîñ
ó
Ïóàðî
áûë
î÷åíü
ìÿãêèé
è
óáåæäàþùèé
; to persuade —
óáåæäàòü,
ñêëîíÿòü,
óãîâàðèâàòü)
.
She
said
in
a
low
voice
(îíà ñêàçàëà òèõèì ãîëîñîì = îíà òèõî îòâåòèëà;
low — íèçêèé, íåâûñîêèé; òèõèé, íåãðîìêèé
), “
I
can’
t
(ÿ íå ìîãó) —
I
can’
t.”
And
suddenly,
without
warning
(è âíåçàïíî, áåç ïðåäóïðåæäåíèÿ = ñîâåðøåííî íåîæèäàííî;
to
warn — ïðåäóïðåæäàòü
),
she
broke
down
(îíà ïîòåðÿëà ñàìîîáëàäàíèå;
to
break (
broke,
broken) — ëîìàòü; ðàçðûâàòü;
to
break
down — ñëîìàòü, ðàçðóøèòü; íå âûäåðæàòü, ðàñïëàêàòüñÿ
),
dropping
her
face
down
upon
her
outstretched
arms
(óðîíèâ ãîëîâó: «ëèöî» âíèç íà âûòÿíóòûå ðóêè;
to
outstretch — ïðîòÿãèâàòü, âûòÿãèâàòü
)
and
crying
as
though
her
heart
would
break
(è çàïëàêàâ òàê, ñëîâíî åå ñåðäöå ðàçðûâàëîñü)
.
The Colonel sprang up and stood awkwardly beside her
(ïîëêîâíèê
âñêî÷èë
è
íåëîâêî
âñòàë
ðÿäîì
ñ
íåé
).
secret
['si:krIt] persuasive
[pq'sweIsIv] outstretched
["aVt'stretSt] awkwardly
['O:kwqdlI]
“You will not tell me your secret, Mademoiselle?”
Poirot’s voice was very gentle and persuasive.
She said in a low voice, “I can’t — I can’t.”
And suddenly, without warning, she broke down, dropping her face down upon
her outstretched arms and crying as though her heart would break.
The Colonel sprang up and stood awkwardly beside her.
“
I —
look
here
(ÿ — ïîñëóøàéòå; look
here
— â ãðàìì. çíà÷åíèè ìåæäîìåòèÿ: ïîñëóøàéòå! ýé! /ïðèâëåêàåò âíèìàíèå ñîáåñåäíèêà/
) — ”
He
stopped
(îí çàïíóëñÿ; to
stop
— îñòàíàâëèâàòü, çàäåðæèâàòü; îñòàíàâëèâàòüñÿ, çàìîëêàòü, äåëàòü ïàóçó
)
and
turning
round
scowled
fiercely
at
Poirot
(è, ïîâåðíóâøèñü /êðóãîì/, áðîñèë ñâèðåïûé âçãëÿä íà Ïóàðî;
to
scowl — ñåðäèòî ñìîòðåòü;
fierce — ñâèðåïûé, ëþòûé, æåñòîêèé
).
“
I’
ll
break
every
bone
in
your
damned
body
(ÿ ïåðåëîìàþ âñå êîñòè â âàøåì ÷åðòîâîì òåëå = ÿ âàñ â ïîðîøîê ñîòðó;
damned — ýìîö.-óñèë. ÷åðòîâ, ïðîêëÿòûé
),
you
dirty
little
whipper-
snapper
(âû, ïîäëîå ìåëêîå íè÷òîæåñòâî;
dirty — ãðÿçíûé, íå÷èñòûé; íèçêèé, ïîäëûé,
ãðÿçíûé),”
he
said.
“
Monsieur,”
protested
M.
Bouc
(ìñüå, — ïðîòåñòóÿ, çàÿâèë ìñüå Áóê;
to
protest — ïðîòåñòîâàòü, âîçðàæàòü
).
Arbuthnot had turned back to the girl
(Àðáýòíîò
/ñíîâà
/ ïîâåðíóëñÿ
ê
äåâóøêå
). “Mary — for God’s sake
(Ìýðè
, ðàäè
Áîãà
) — ”
She sprang up (
îíà
âñêî÷èëà)
. “
It’
s
nothing
(ïóñòÿêè).
I’
m
all
right
(ÿ â ïîðÿäêå; to be all right — áûòü â ïîðÿäêå,
÷óâñòâîâàòü ñåáÿ õîðîøî)
. You
don
’t
need
me
any
more
(ÿ âàì áîëüøå íå íóæíà)
, do
you
, M
. Poirot
(íå òàê ëè, ìñüå Ïóàðî)
? If
you
do
(åñëè ÿ /âàì íóæíà/)
, you
must
come
and
find
me
(âû çíàåòå, ãäå ìåíÿ íàéòè: «âû äîëæíû ïðèéòè è
íàéòè ìåíÿ»). Oh, what an idiot
(î
, êàêóþ
èäèîòêó
) — what an idiot I’m making of myself
(êàêóþ
èäèîòêó
ÿ
èç
ñåáÿ
äåëàþ
= ÿ âûãëÿæó êàê èäèîòêà)
!” She
hurried
out
of
the
car
(è îíà ïîñïåøèëà èç âàãîíà-ðåñòîðàíà;
to
hurry — ñïåøèòü, òîðîïèòüñÿ
).
damned
[dxmd] whippersnapper
['wIpq"snxpq] idiot
['IdIqt]
“I — look here — ”
He stopped and turning round scowled fiercely at Poirot.
“I’ll break every bone in your damned body, you dirty little whipper-snapper,”
he said.
“Monsieur,” protested M. Bouc.
Arbuthnot had turned back to the girl. “Mary — for God’s sake — ”
She sprang up. “It’s nothing. I’m all right. You don’t need me any
more, do you, M. Poirot? If you do, you must come and find me. Oh, what an idiot — what an idiot I’m making of myself!” She hurried out of the car.
Arbuthnot, before following her, turned once more on Poirot
(Àðáýòíîò
, ïðåæäå
÷åì
ïîñëåäîâàòü
çà
íåé
, åùå
ðàç
íàáðîñèëñÿ
íà
Ïóàðî
; to turn —
ïîâîðà÷èâàòü, to turn on smb. —
íàáðàñûâàòüñÿ
íà
êîãî-
ëèáî)
.
“Miss Debenham’s got nothing to do with this business
(ìèññ
Äåáåíõýì íå
èìååò
ê ýòîìó
äåëó
íèêàêîãî îòíîøåíèÿ
; to have to do with smb., smth. —
èìåòü îòíîøåíèå
ê
êîìó-ëèáî
, ÷åìó-
ëèáî) — nothing, do you hear
(íèêàêîãî,
ñëûøèòå âû
)? And
if she
’s
worried (è åñëè /âû áóäåòå/ åé íàäîåäàòü;
to worry
— íàäîåäàòü, áåñïîêîèòü ÷åì-ëèáî, äîñàæäàòü
) and
interfered
with (è äîêó÷àòü;
to interfere
— ìåøàòü, ñëóæèòü ïðåïÿòñòâèåì; íàäîåäàòü, äîêó÷àòü /êîìó-ëèáî/
), you
’ll
have me
to
deal with
(âàì ïðèäåòñÿ èìåòü äåëî ñî ìíîé;
to deal
— ðàñïðåäåëÿòü, ðàçäàâàòü; èìåòü äåëî /ñ êåì-ëèáî/
).” He
strode
out (è îí âûøåë /áîëüøèìè øàãàìè/ èç /âàãîíà-ðåñòîðàíà/;
to stride
(strode,
stridden)).
“
I
like
to
see
an
angry
Englishman
(ìíå íðàâèòñÿ ñìîòðåòü íà ñåðäèòîãî àíãëè÷àíèíà = êàê àíãëè÷àíå ñåðäÿòñÿ)
,” said
Poirot
. “They
are
very
amusing
(îíè òàêèå çàáàâíûå)
. The
more
emotional
they
feel
(÷åì áîëüøå ýìîöèé îíè èñïûòûâàþò;
emotional — ñâÿçàííûé ñ ýìîöèÿìè; âïå÷àòëèòåëüíûé,
íåðâíûé),
the
less
command
they
have
of
language
(òåì õóæå îíè âëàäåþò ÿçûêîì = òåì ìåíüøå îíè ïîäáèðàþò âûðàæåíèÿ;
command — ïðèêàç, ïðèêàçàíèå; ãîñïîäñòâî, âëàñòü
).”
business
['bIznIs] interfere
["Intq'fIq] emotional
[I'mqVS(q)nql]
Arbuthnot, before following her, turned once more on Poirot.
“Miss Debenham’s got nothing to do with this business — nothing, do you
hear? And if she’s worried and interfered with, you’ll have me to deal with.” He strode out.
“I like to see an angry Englishman,” said Poirot. “They are very amusing.
The more emotional they feel, the less command they have of language.”
But M. Bouc was not interested in the emotional reactions of Englishmen
(íî
ìñüå
Áóêà
íå
èíòåðåñîâàëà
ýìîöèîíàëüíàÿ
ðåàêöèÿ
: «ðåàêöèè
» àíãëè÷àí
; to interest —
èíòåðåñîâàòü; interested —
çàèíòåðåñîâàííûé)
. He was overcome by admiration of his friend (
îí
áûë
îõâà÷åí
âîñõèùåíèåì
ñâîèì
äðóãîì;
to overcome (overcame, overcome) — ïîáîðîòü
, ïîáåäèòü
; îõâàòèòü
, îáóÿòü
/î
÷óâñòâàõ
/)
.
“Mon cher, vous êtes épatant
(
ôð.
äðóã
ìîé,
âû
íåïîäðàæàåìû)
!” he cried (
âîñêëèêíóë
îí;
to cry — êðè÷àòü
, îðàòü
; âîñêëèöàòü
).
“Another
miraculous
guess
(åùå îäíà óäèâèòåëüíàÿ äîãàäêà;
miracle — ÷óäî; óäèâèòåëüíàÿ âåùü, âûäàþùååñÿ
ñîáûòèå; miraculous — ÷óäîòâîðíûé; ÷óäåñíûé,
óäèâèòåëüíûé)
.”
“
It
is
incredible
how
you
think
of
these
things
(ýòî /ïðîñòî/ íåâåðîÿòíî, êàê âû äîäóìûâàåòåñü äî òàêèõ âåùåé)
,” said
Dr
. Constantine
admiringly
(âîñõèùåííî ñêàçàë äîêòîð Êîíñòàíòèí)
.
“
Oh,
I
claim
no
credit
this
time
(î, íà ýòîò ðàç, ÿ íå ñòàâëþ ýòî ñåáå â çàñëóãó = ýòî íå ìîÿ çàñëóãà;
to
claim — òðåáîâàòü /êàê ïðèíàäëåæàùåå ïî ïðàâó/;
ïðåòåíäîâàòü, çàÿâëÿòü ïðàâà /íà ÷òî-ëèáî/; credit
— âåðà, äîâåðèå; ÷åñòü, çàñëóãà
).
It
was
not
a
guess
(ýòî íå áûëà /ìîÿ/ äîãàäêà = ìíå è ãàäàòü íå ïðèøëîñü)
. Countess
Andrenyi
practically
told
me
(â ñóùíîñòè, ãðàôèíÿ Àíäðåíè /ñàìà/ ðàññêàçàëà
ìíå).”
reaction [rI'xkS(q)n]
admiration
["xdmq'reIS(q)n]
miraculous [mI'rxkjVlqs]
incredible [In'kredqb(q)l]
admiring [qd'maI(q)rIN]
But M. Bouc was not interested in the emotional reactions of Englishmen. He
was overcome by admiration of his friend.
“
Mon cher, vous êtes épatant!” he cried. “Another miraculous guess.”
“It is incredible how you think of these things,” said Dr. Constantine
admiringly.
“Oh, I claim no credit this time. It was not a guess. Countess Andrenyi practically
told me.”
“
Comment
(ôð.
êàêèì îáðàçîì)?
Surely
not
(êîíå÷íî æå íåò = íå ìîæåò áûòü)
?”
“You remember, I asked her about her governess or companion
(ïîìíèòå
, ÿ
ñïðîñèë
åå
î
åå
ãóâåðíàíòêå
èëè
êîìïàíüîíêå
)? I had already decided in my mind
(ïðî
ñåáÿ
ÿ
óæå
ðåøèë
; mind —
óì,
ðàçóì;
ìûñëè,
äóìû)
that if Mary Debenham were mixed up in the matter (
÷òî
åñëè
Ìýðè
Äåáåíõýì
áûëà
çàìåøàíà
â
ýòîì
äåëå)
, she must have figured in the household in some such capacity
(îíà
äîëæíà
áûëà
ïðèñóòñòâîâàòü
â
äîìå
â
êàêîì
-òî
ïîäîáíîì
êà÷åñòâå
; to figure —
èçîáðàæàòü /
ãðàôè÷åñêè
è
ò.
ï./;
ôèãóðèðîâàòü,
ó÷àñòâîâàòü; capacity —
åìêîñòü,
âìåñòèìîñòü;
äîëæíîñòü,
êà÷åñòâî,
ïîëîæåíèå)
.”
“Yes, but the Countess Andrenyi described a totally different person
(äà
, íî
ãðàôèíÿ
Àíäðåíè
îïèñàëà
ñîâåðøåííî
äðóãóþ
îñîáó
).”
“Exactly (
òî÷íî)
. A tall middle-aged woman with red hair (
âûñîêóþ
æåíùèíó
ñðåäíèõ
ëåò
ñ
ðûæèìè
âîëîñàìè)
— in fact, the exact opposite in every respect of Miss Debenham
(ïî
ñóòè
, ïîëíóþ
ïðîòèâîïîëîæíîñòü
Ìýðè
Äåáåíõýì
âî
âñåõ
îòíîøåíèÿõ
; respect —
óâàæåíèå;
îòíîøåíèå,
êàñàòåëüñòâî)
, so much so as to be quite remarkable
(íàñòîëüêî
íåïîõîæóþ
:
«òàêóþ
/ïðîòèâîïîëîæíóþ
/»,
÷òî
ýòî
îêàçàëîñü
âåñüìà
ïðèìå÷àòåëüíî/
çàìåòíî)
. But then she had to invent a name quickly (
íî
çàòåì
åé
ïðèøëîñü
áûñòðî
âûäóìàòü
èìÿ;
to invent — èçîáðåòàòü
, ñîçäàâàòü
; âûäóìûâàòü
, ñî÷èíÿòü
), and there it was that the unconscious association of ideas
(è
âîò
òàê
âûøëî
, ÷òî
ïîäñîçíàòåëüíàÿ
àññîöèàöèÿ
èäåé
; unconscious —
íàõîäÿùèéñÿ
áåç
ñîçíàíèÿ;
ïñèõîë.
íåîñîçíàííûé,
áåññîçíàòåëüíûé)
gave her away (
âûäàëà
åå;
to give (gave, given) away — îòäàâàòü
, äàðèòü
; ðàçã
. âûäàâàòü
, ïðåäàâàòü
, ïðîãîâîðèòüñÿ
, ïîäâåñòè
). She
said
, Miss
Freebody
, you
remember
(îíà ñêàçàëà — ìèññ Ôðèáîäè — êàê âû ïîìíèòå)
.”
household ['haVshqVld]
capacity [kq'pxsItI]
middle-aged ["mIdl'eIdZd]
remarkable [rI'mQ:kqb(q)l]
unconscious [An'k
OnSqs]
association
[q"sqVsI'eIS(q)n; q"sqVSI'eIS(q)n]
“
Comment? Surely not?”
“You remember, I asked her about her governess or companion? I had already
decided in my mind that if Mary Debenham were mixed up in the matter, she must have figured in the household in some such capacity.”
“Yes, but the Countess Andrenyi described a totally different person.”
“Exactly. A tall middle-aged woman with red hair — in fact, the exact opposite
in every respect of Miss Debenham, so much so as to be quite remarkable. But then she had to invent a name quickly, and there it was that the unconscious association of ideas gave her away. She said, Miss Freebody, you remember.”
“Yes
(íó
è
)?”
“
Eh bien, you may not know it
(òàê
âîò
, âû
, ìîæåò
, è
íå
çíàåòå
ýòîãî
), but there is a shop in London
(íî
â
Ëîíäîíå
åñòü
ìàãàçèí
) that was called until recently Debenham & Freebody
(êîòîðûé
, äî
íåäàâíåãî
âðåìåíè
íàçûâàëñÿ
Äåáåíõýì
è
Ôðèáîäè
). With the name Debenham running in her head
(ñ
ôàìèëèåé
Äåáåíõýì
, êîòîðàÿ
êðóòèòñÿ
ó
íåå
â
ãîëîâå
; to run —
áåæàòü;
ìåëüêàòü,
ïðîíîñèòüñÿ)
, the Countess clutches at another name quickly (
ãðàôèíÿ
áûñòðî
ïûòàåòñÿ
ïîäûñêàòü: «
óõâàòèòüñÿ
çà»
äðóãîå
èìÿ;
to clutch — ñõâàòèòü
, ñòèñíóòü
; ñõâàòèòüñÿ
, óõâàòèòüñÿ
; to clutch at — õâàòàòüñÿ
/çà
âîçìîæíîñòü
è
ò
.ï
./)
, and the first that comes is Freebody (
è
ïåðâîå,
÷òî
ïðèõîäèò /
åé
â
ãîëîâó/
—
ýòî
Ôðèáîäè)
. Naturally I understood immediately (
åñòåñòâåííî,
ÿ /
âñå/
íåìåäëåííî
ïîíÿë)
.”
“That is yet another lie (
âîò
åùå
îäíà
ëîæü)
. Why
did
she
do
it
(ïî÷åìó îíà ýòî ñäåëàëà)
?’
“Possibly
more
loyalty
(âîçìîæíî, îïÿòü èç-çà âåðíîñòè;
more — áîëüøå, áîëåå; åùå, îïÿòü, ñíîâà
).
It makes things a little difficult (
ýòî
íåìíîãî
óñëîæíÿåò
âñå
äåëî)
.”
“Ma
foi
(
ôð. íó è íó)
!” said
M
. Bouc
with
violence
(íåèñòîâî çàÿâèë ìñüå Áóê;
violence — íàñèëèå, ïðèíóæäåíèå; ñèëà, íåèñòîâñòâî,
ÿðîñòü).
“But does everybody on this train tell lies (
íåóæåëè
âñå
â
ýòîì
ïîåçäå
ëãóò)
?”
“That
(ýòî
),” said Poirot, “is what we are about to find out
(ìû
è
ñîáèðàåìñÿ
âûÿñíèòü
; to be about to do smth. —
ñîáèðàòüñÿ,
íàìåðåâàòüñÿ
ñäåëàòü
÷òî-
ëèáî; to find out —
ðàçóçíàòü,
âûÿñíèòü)
.”
London ['lAndqn]
recently ['ri:s(q)ntlI]
loyalty ['lOIqltI]
violence ['vaIqlqns]
“Yes?”
“
Eh bien, you may not know it, but there is a shop in London that was called until recently Debenham
& Freebody. With the name Debenham running in her head, the Countess clutches at another name quickly, and the first that comes is Freebody. Naturally I understood immediately.”
“That is yet another lie. Why did she do it?’
“Possibly more loyalty. It makes things a little difficult.”
“
Ma foi!” said M. Bouc with violence. “But does everybody on this train tell lies?”
“That,” said Poirot, “is what we are about to find out.”
8
FURTHER
SURPRISING
REVELATIONS
(Íîâûå óäèâèòåëüíûå îòêðûòèÿ;
further — áîëåå îòäàëåííûé; äîïîëíèòåëüíûé,
äîáàâî÷íûé, íîâûé; to
surprise
— óäèâëÿòü, ïîðàæàòü;
to
reveal — îáíàðóæèâàòü; îòêðûâàòü, ðàçîáëà÷àòü
)
“Nothing would surprise me now
(òåïåðü
ìåíÿ
óæå
íè÷åãî
íå
óäèâèò
),” said M. Bouc. “Nothing
(íè÷åãî
)! Even if everybody in the train proved to have been in the Armstrong household
(äàæå
åñëè
êàæäûé
â
ýòîì
ïîåçäå
áûë
, êàê
îêàæåòñÿ
, äîìî÷àäöåì
èëè
ñëóãîé
Àðìñòðîíãîâ
; to prove —
äîêàçûâàòü;
îêàçûâàòüñÿ; household —
ñåìüÿ,
äîìî÷àäöû,
äîìàøíèå /
âêëþ÷àÿ
ñëóã/
), I should not express surprise
(ÿ
íå
óäèâëþñü
: «íå
âûêàæó
óäèâëåíèÿ
»).”
“That is a very profound remark
(ýòî
î÷åíü
ìåòêîå
: «ãëóáîêîå
» çàìå÷àíèå
; profound —
ãëóáîêèé,
îñíîâàòåëüíûé)
,” said Poirot. “Would you like to see what your favorite suspect, the Italian, has to say for himself
(íå
õîòèòå
ëè
ïîñëóøàòü
: «âçãëÿíóòü
», ÷òî
ñàìûé
, ïî
-âàøåìó
, ïîäîçðèòåëüíûé
ïàññàæèð
: «ïîäîçðåâàåìûé
», èòàëüÿíåö
ìîæåò
ñêàçàòü
î
ñåáå
; to have smth. to say for oneself —
ñêàçàòü
÷òî-
ëèáî
â
ñâîþ
çàùèòó /
â
ñâîå
îïðàâäàíèå/;
ðàññêàçûâàòü
êîå-
÷òî
î
ñåáå)
?”
“
You
are
going
to
make
another
of
these
famous
guesses
of
yours
(âû îïÿòü ñîáèðàåòåñü ïðîäåìîíñòðèðîâàòü: «ñäåëàòü» åùå îäíó èç âàøèõ çíàìåíèòûõ äîãàäîê)
?”
“Precisely
(ñîâåðøåííî
âåðíî
/èìåííî
).”
profound
[prq'faVnd] suspect
['sAspekt] precisely
[prI'saIslI]
“Nothing would surprise me now,” said M. Bouc. “Nothing! Even if everybody
in the train proved to have been in the Armstrong household, I should not express surprise.”
“That is a very profound remark,” said Poirot. “Would you like to see
what your favorite suspect, the Italian, has to say for himself?”
“You are going to make another of these famous guesses of yours?”
“Precisely.”
“It is really a most extraordinary case
(âîò
óæ
, äåéñòâèòåëüíî
, ÷ðåçâû÷àéíî
íåîáû÷íîå
äåëî
; extraordinary —
íåîáû÷íûé,
çàìå÷àòåëüíûé,
âûäàþùèéñÿ;
íåîáû÷íûé,
óäèâèòåëüíûé)
,” said Constantine.
“
No,
it
is
most
natural
(íåò, îíî ÷ðåçâû÷àéíî îáû÷íîå;
natural — åñòåñòâåííûé, ïðèðîäíûé; îáû÷íûé,
íîðìàëüíûé, ïîíÿòíûé)
.”
M.
Bouc
flung
up
his
arms
in
comic
despair
(ìñüå Áóê âñïëåñíóë ðóêàìè â êîìè÷åñêîì/çàáàâíîì îò÷àÿíèè;
to
fling (
flung) — ìåòàòü, áðîñàòü;
to
fling
up — áðîñèòü, îñòàâèòü; ïîäáðîñèòü
). “
If
this
is
what
you
call
natural,
mon
ami
(åñëè âû íàçûâàåòå ýòî /äåëî/ îáû÷íûì, ìîé äðóã)
— ” Words
failed
him
(îí íå íàøåëñÿ, ÷òî åùå ñêàçàòü: «åìó íå õâàòèëî
ñëîâ»; to
fail — òåðïåòü íåóäà÷ó; áûòü íåäîñòàòî÷íûì,
íå õâàòàòü).
Poirot
had
by
this
time
requested
the
dining-
car
attendant
to
fetch
Antonio
Foscarelli
(ê òîìó âðåìåíè = òåì âðåìåíåì Ïóàðî ïîïðîñèë îôèöèàíòà: «ñëóæàùåãî âàãîíà-ðåñòîðàíà»
ñõîäèòü çà Àíòîíèî Ôîñêàðåëëè; to
fetch
— ñõîäèòü è ïðèíåñòè, ñõîäèòü è ïðèâåñòè
).
extraordinary
[Ik'strO:d(q)n(q)rI] natural
['nxtS(q)rql] despair
[dIs'peq] request
[rI'kwest]
“It is really a most extraordinary case,” said Constantine.
“No, it is most natural.”
M. Bouc flung up his arms in comic despair. “If this is what you call natural,
mon ami — ” Words failed him.
Poirot had by this time requested the dining-car attendant to fetch Antonio
Foscarelli.
The
big
Italian
had
a
wary
look
in
his
eye
as
he
came
in
(ó ðîñëîãî èòàëüÿíöà áûëî íàñòîðîæåííîå âûðàæåíèå â ãëàçàõ = âèä áûë íàñòîðîæåííûé,
êîãäà îí âîøåë; wary
— îñòîðîæíûé; ïîäîçðèòåëüíûé, íåäîâåð÷èâûé;
look — âçãëÿä; âûðàæåíèå
).
He
shot
nervous
glances
(îí áðîñàë áûñòðûå íåðâíûå âçãëÿäû;
to
shoot (
shot) — ñòðåëÿòü, âåñòè îãîíü; áðîñàòü, êèäàòü
)
from
side
to
side
(ïî ñòîðîíàì: «èç ñòîðîíû â ñòîðîíó»)
like
a
trapped
animal
(êàê çàãíàííîå â çàïàäíþ æèâîòíîå;
trap — êàïêàí; ëîâóøêà, çàïàäíÿ;
to
trap — ñòàâèòü êàïêàíû, ëîâóøêè; çàìàíèâàòü
â ëîâóøêó, óñòðàèâàòü çàïàäíþ)
.
“What do you want
(÷òî
âû
/îò
ìåíÿ
/ õîòèòå
)?” he said. “I have nothing more to tell you
(ìíå
âàì
áîëüøå
íå÷åãî
ñêàçàòü
âàì
) — nothing, do you hear
(íå÷åãî
, ñëûøèòå
âû
)?
Per Dio
(èòàë
.
åé-
áîãó: «
Ãîñïîäîì /
êëÿíóñü/»)
— ” He struck his hand on the table (
îí
ñòóêíóë
êóëàêîì: «
ðóêîé»
ïî
ñòîëó;
to strike (struck, stricken) — óäàðÿòü
, áèòü
).
“Yes, you have something more to tell us
(íåò
, âû
ìîæåò
ðàññêàçàòü
íàì
êîå
-÷òî
åùå
),” said Poirot firmly
(òâåðäî
ñêàçàë
Ïóàðî
; firm —
òâåðäûé;
ðåøèòåëüíûé,
íàñòîé÷èâûé)
. “The truth (
ïðàâäó)
!”
“The truth?” He shot an uneasy glance at Poirot
(îí
áðîñèë
áåñïîêîéíûé
âçãëÿä
íà
Ïóàðî
; uneasy —
íåóäîáíûé;
áåñïîêîéíûé,
òðåâîæíûé)
. All the assurance (/
âñÿ/
ñàìîóâåðåííîñòü;
assurance — óâåðåíèå
, çàâåðåíèå
; ñàìîóâåðåííîñòü
, íàãëîñòü
) and geniality
(è
âåñåëîñòü
; geniality —
äîáðîäóøèå,
ðàäóøèå,
âåñåëîñòü)
had gone out of his manner (
â
íåì
òóò
æå
èñ÷åçëè: «
óøëè
èç
åãî
ïîâåäåíèÿ»
).
animal
['xnIm(q)l] assurance
[q'SV(q)rqns] geniality
["dZi:nI'xlItI]
The big Italian had a wary look in his eye as he came in. He shot nervous glances
from side to side like a trapped animal.
“What do you want?” he said. “I have nothing more to tell you — nothing,
do you hear? Per Dio — ” He struck his hand on the table.
“Yes, you have something more to tell us,” said Poirot firmly. “The truth!”
“The truth?” He shot an uneasy glance at Poirot. All the assurance and
geniality had gone out of his manner.
“
Mais
oui
(ôð.
âîò èìåííî).
It
may
be
that
I
know
it
already
(ìîæåò ñòàòüñÿ òàê, ÷òî ÿ åå óæå çíàþ)
. But
it
will
be
a
point
in
your
favour
(íî ýòî áóäåò î÷êî â âàøó ïîëüçó = íî âàì çà÷òåòñÿ;
point — òî÷êà; ñïîðò. î÷êî;
favour — áëàãîñêëîííîñòü, ðàñïîëîæåíèå;
in
favour (
of)
— â çàùèòó; â ïîëüçó /êîãî-ëèáî/
) if
it
comes
from
you
spontaneously
(åñëè âû äîáðîâîëüíî îáî âñåì ðàññêàæåòå: «åñëè
îíà /ïðàâäà/ áóäåò èñõîäèòü îò âàñ äîáðîâîëüíî»; spontaneously
— ñàìîïðîèçâîëüíûé, ñòèõèéíûé; äîáðîâîëüíûé, íå ïðèíóæäåííûé
).”
“You
talk
like
the
American
police
(âû ãîâîðèòå, êàê àìåðèêàíñêàÿ ïîëèöèÿ)
. ‘Come
clean
(ïðèçíàâàéñÿ/âûêëàäûâàé íà÷èñòîòó;
to
come
clean — ïîëíîñòüþ ïðèçíàòüñÿ /â ÷åì-ëèáî/,
ðàñêîëîòüñÿ)’ —
that
is
what
they
say
(âîò ÷òî îíè ãîâîðÿò) — ‘
come
clean.’
”
“Ah! so you have had experience of the New York police
(à
, çíà÷èò
, âû
èìåëè
îïûò
/îáùåíèÿ
/ñ
ïîëèöèåé
Íüþ
-Éîðêà
)?”
“
No,
no,
never.
They
could
not
prove
a
thing
against
me
(îíè íå ñìîãëè íè÷åãî äîêàçàòü ïðîòèâ ìåíÿ)
— but
it
was
not
for
want
of
trying
(íî ýòî ñëó÷èëîñü íå èç-çà íåäîñòàòêà /èõ/ óñèëèé
= õîòÿ îíè î÷åíü ñòàðàëèñü; for
want
of
smth
. — èç-çà íåäîñòàòêà, îòñóòñòâèÿ, íåõâàòêè ÷åãî-ëèáî;
to
try — ïûòàòüñÿ, ñòàðàòüñÿ
).”
Poirot
said
quietly
(Ïóàðî ñêàçàë ñïîêîéíî)
: “That
was
in
the
Armstrong
case
, was
it
not
(ýòî áûëî â äåëå Àðìñòðîíãîâ, íå òàê ëè)
? You were the chauffeur
(âû
áûëè
øîôåðîì
)?”
already
[O:l'redI] spontaneous
[spO
n'teInIqs] chauffeur
['SqVfq, SqV'fq:]
“
Mais oui. It may be that I know it already. But it will be a point in your favour if it comes
from you spontaneously.”
“You talk like the American police. ‘Come clean’ — that is what they
say — ‘come clean.’ ”
“Ah! so you have had experience of the New York police?”
“No, no, never. They could not prove a thing against me — but it was not
for want of trying.”
Poirot said quietly: “That was in the Armstrong case, was it not? You were
the chauffeur?”
His eyes met those of the Italian (
åãî
ãëàçà
âñòðåòèëèñü
ñ
ãëàçàìè
èòàëüÿíöà =
èõ
âçãëÿäû
ïåðåñåêëèñü)
. The bluster went out of the big man (
áàõâàëüñòâî
ïîêèíóëî
ýòîãî
ðîñëîãî
ìóæ÷èíó;
bluster — ðåâ
áóðè
; ãðîìêèå
ñëîâà
, áàõâàëüñòâî
, õâàñòîâñòâî
). He
was
like
a
pricked
balloon
(îí áûë ïîõîæ íà ñäóòûé: «ïðîêîëîòûé» âîçäóøíûé
øàðèê; to
prick — êîëîòü; ïðîêàëûâàòü
).
“
Since
you
know
(ðàç óæ âû çíàåòå) —
why
ask
me
(çà÷åì ìåíÿ ñïðàøèâàòü)
?”
“
Why
did
you
lie
this
morning
(ïî÷åìó âû ñîëãàëè ñåãîäíÿ óòðîì)
?”
“
Business
reasons
(èç äåëîâûõ ñîîáðàæåíèé;
reason — ïðè÷èíà, îñíîâàíèå; ìîòèâ, ñîîáðàæåíèå,
îïðàâäàíèå).
Besides,
I
do
not
trust
the
Jugo-
Slav
police
(êðîìå òîãî, ÿ íå äîâåðÿþ þãîñëàâñêîé ïîëèöèè)
. They
hate
the
Italians
(îíè íåíàâèäÿò èòàëüÿíöåâ)
. They
would
not
have
given
me
justice
(îíè áû íå îòíåñëèñü êî ìíå ïî ñïðàâåäëèâîñòè)
.”
prick [prIk]
balloon [bq'lu:n]
Jugoslav ["ju:gq(V)'slQ:v]
justice ['dZAstIs]
His eyes met those of the Italian. The bluster went out of the big man. He
was like a pricked balloon.
“Since you know — why ask me?”
“Why did you lie this morning?”
“Business reasons. Besides, I do not trust the Jugo-Slav police. They hate
the Italians. They would not have given me justice.”
“Perhaps it is exactly justice
(ìîæåò
áûòü
, êàê
ðàç
ïî
ñïðàâåäëèâîñòè
) that they would have given you
(îíè
áû
âàì
è
âîçäàëè
)!”
“No, no, I had nothing to do with this business last night
(ÿ
íå
èìåþ
íèêàêîãî
îòíîøåíèÿ
ê
ýòîìó
â÷åðàøíåìó
äåëó
: «äåëó
ïðîøëîé
íî÷è
»). I
never
left
my
carriage
(ÿ íè ðàçó íå âûøåë èç ñâîåãî êóïå)
. The
long
-faced
Englishman
(òîò àíãëè÷àíèí ñ óíûëûì ëèöîì;
long — äëèííûé;
long-
faced — ñ ïðîäîëãîâàòûì ëèöîì; ñ âûòÿíóòîé
ôèçèîíîìèåé, ñ óíûëûì âèäîì)
, he
can
tell
you
so
(ìîæåò âàì ýòî ïîäòâåðäèòü;
to
tell — ðàññêàçûâàòü; çàâåðÿòü, óâåðÿòü, óòâåðæäàòü
).
It
was
not
I
who
killed
this
pig
(ýòî íå ÿ óáèë òîãî íåãîäÿÿ;
pig — ñâèíüÿ, áîðîâ; ðàçã. ñâèíüÿ, íàõàë, íàãëåö
) —
this
Ratchett
(Ðýò÷åòòà).
You
cannot
prove
anything
against
me
(ó âàñ íà ìåíÿ íè÷åãî íåò: «íå ìîæåòå íè÷åãî äîêàçàòü ïðîòèâ ìåíÿ»)
.”
Poirot
was
writing
something
on
a
sheet
of
paper
(Ïóàðî ÷òî-òî ïèñàë íà ëèñòå áóìàãè;
sheet — ïðîñòûíÿ; ëèñò /áóìàãè, ìåòàëà è ò.ï./
).
He
looked
up
and
said
quietly
(îí ïîäíÿë ãëàçà è ñïîêîéíî ñêàçàë)
: “Very
good
(î÷åíü õîðîøî)
. You
can
go
(âû ìîæåòå èäòè)
.”
Foscarelli
lingered
uneasily (Ôîñêàðåëëè òðåâîæíî òîïòàëñÿ íà ìåñòå: «ìåøêàë»;
to linger
— çàäåðæèâàòüñÿ, çàñèæèâàòüñÿ; ìåäëèòü, ìåøêàòü; òÿíóòü âðåìÿ
). “You
realise
that it
was
not I
(âû ïîíèìàåòå, ÷òî ýòî áûë íå ÿ;
to realize
— îñóùåñòâëÿòü, âûïîëíÿòü; ïðåäñòàâëÿòü ñåáå, ÿñíî ïîíèìàòü, îñîçíàâàòü
)? That
I could
have
had nothing
to
do with
it
(÷òî ÿ íå ìîã èìåòü ê ýòîìó /óáèéñòâó/ íèêàêîãî îòíîøåíèÿ;
to have
to
do with
smb.,
smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî
)!”
“I said that you could go
(ÿ
ñêàçàë
, ÷òî
âû
ìîæåòå
èäòè
).”
pig
[pIg] prove
[pru:v] linger
['lIngq] uneasily
[An'i:zIlI]
“Perhaps it is exactly justice that they would have given you!”
“No, no, I had nothing to do with this business last night. I never left
my carriage. The long-faced Englishman, he can tell you so. It was not I who killed this pig — this Ratchett. You cannot prove anything against me.”
Poirot was writing something on a sheet of paper. He looked up and said quietly:
“Very good. You can go.”
Foscarelli lingered uneasily. “You realise that it was not I? That I could
have had nothing to do with it!”
“I said that you could go.”
“It is a conspiracy (
ýòî
çàãîâîð)
. You
are
going
to
frame
me
(âû ñîáèðàåòåñü ìåíÿ ïîäñòàâèòü;
to
frame — ñîçäàâàòü, âûðàáàòûâàòü; ðàçã. ôàáðèêîâàòü
/äåëî, îáâèíåíèå/, ëîæíî îáâèíÿòü êîãî-ëèáî, ïîäòàñîâûâàòü ôàêòû; ïîäñòàâëÿòü êîãî-ëèáî
)?
All
for
a
pig
of
a
man
who
should
have
gone
to
the
chair
(è âñå èç-çà ýòîãî ìåðçàâöà, êîòîðîãî ñëåäîâàëî îòïðàâèòü íà /ýëåêòðè÷åñêèé/ ñòóë;
chair — ñòóë, êðåñëî; àìåð.ðàçã. ýëåêòðè÷åñêèé
ñòóë)!
It was an infamy that he did not (
ïðîñòî
ïîçîð,
÷òî
åãî
íå
îòïðàâèëè)
. If
it
had
been
me
(âîò åñëè áû ýòî áûë ÿ /íà åãî ìåñòå/)
— if
I
had
been
arrested
(åñëè áû ìåíÿ àðåñòîâàëè)
— ”
“But
it
was
not
you
(íî ýòî æå áûëè íå âû)
. You had nothing to do with the kidnapping of the child
(âû
íå
èìåëè
íèêàêîãî
îòíîøåíèÿ
ê
ïîõèùåíèþ
ðåáåíêà
).”
“What is that you are saying
(äà
÷òî
âû
òàêîå
ãîâîðèòå
)? Why, that little one
(âåäü
òà
ìàëûøêà
) — she was the delight of the house
(îíà
áûëà
ëþáèìèöåé
âñåãî
äîìà
; delight —
âîñòîðã,
âîñõèùåíèå;
èñòî÷íèê
íàñëàæäåíèÿ)
. Tonio, she called me (
Òîíèî
— çâàëà
îíà
ìåíÿ
). And she would sit in the car
(ñÿäåò
, áûâàëî
, â
ìàøèíó
; would —
çä.
âûðàæàåò
÷àñòî
ïîâòîðÿþùååñÿ
èëè
ïðèâû÷íîå
äåéñòâèå:
áûâàëî,
êàê
ïðàâèëî)
and pretend to hold the wheel (
è
äåëàåò
âèä,
÷òî
äåðæèò
ðóëü =
âåäåò
ìàøèíó;
to pretend — ïðèòâîðÿòüñÿ
, äåëàòü
âèä
; èãðàòü
, äåëàòü
ïîíàðîøêó
/â
äåòñêèõ
èãðàõ
è
ò
.ï
./; wheel — êîëåñî
, êîëåñèêî
; ðóëåâîå
êîëåñî
). All
the
household
worshipped
her
(âñå äîìàøíèå îáîæàëè åå;
to
worship — ïîêëîíÿòüñÿ, ïî÷èòàòü; îáîæàòü, áîãîòâîðèòü
)!
Even the police came to understand that (
äàæå
ïîëèöèÿ
ïîíÿëà
ýòî;
to come to do smth. — íà÷èíàòü
äåëàòü
÷òî
-ëèáî
). Ah, the beautiful little one
(àõ
, ïðåëåñòü
, ÷òî
çà
ìàëûøêà
)!
conspiracy
[kqn'spIrqsI] infamy
['InfqmI] delight
[dI'laIt] worship
['wq:SIp]
“It is a conspiracy. You are going to frame me? All for a pig of a man who
should have gone to the chair! It was an infamy that he did not. If it had been me — if I had been arrested — ”
“But it was not you. You had nothing to do with the kidnapping of the child.”
“What is that you are saying? Why, that little one — she was the delight
of the house. Tonio, she called me. And she would sit in the car and pretend to hold the wheel. All the household worshipped her! Even the police came to understand that. Ah, the beautiful little one!”
His voice had softened
(åãî
ãîëîñ
ñòàë
òèøå
; to soften —
ñìÿã÷àòüñÿ;
ñòàíîâèòüñÿ
ìÿã÷å,
äîáðåå,
íåæíåå;
ñíèæàòü,
ïîíèæàòü,
ïðèãëóøàòü
çâóê;
ñìÿã÷àòü
çâóê)
. The tears came into his eyes (
â
ãëàçàõ
ïîÿâèëèñü
ñëåçû)
. Then he wheeled round abruptly on his heel (
çàòåì
îí
ðåçêî
ïîâåðíóëñÿ
íà
êàáëóêàõ;
to wheel — êàòèòü
, ïîäêàòèòü
; ïîâîðà÷èâàòüñÿ
, âåðòåòüñÿ
; heel — ïÿòêà
, ïÿòà
; êàáëóê
) and strode out of the dining-car
(è
áîëüøèìè
øàãàìè
âûøåë
èç
âàãîíà
-ðåñòîðàíà
; to stride (strode, stridden)
).
“Pietro
(Ïüåòðî
),” called Poirot
(ïîçâàë
Ïóàðî
).
The dining-car attendant came at a run
(ïîäáåæàë
îôèöèàíò
; run —
áåã,
ïðîáåã; at a run —
áåãîì)
.
“The No. 10 — the Swedish lady
(/ïîçîâèòå
/ øâåäñêóþ
äàìó
— ìåñòî
íîìåð
10).”
“
Bien, Monsieur
(ñëóøàþñü
, ìñüå
).”
“Another
(åùå
îäíà
)?” cried M. Bouc
(âîñêëèêíóë
ìñüå
Áóê
). “Ah, no — it is not possible
(íåò
, ýòî
íåâîçìîæíî
). I tell you it is not possible
(ãîâîðþ
âàì
, ýòî
íåâîçìîæíî
).”
abruptly [q'brAptlI]
Swedish ['swi:dIS]
another [q'nADq]
His voice had softened. The tears came into his eyes. Then he wheeled round
abruptly on his heel and strode out of the dining-car.
“Pietro,” called Poirot.
The dining-car attendant came at a run.
“The No. 10 — the Swedish lady.”
“
Bien, Monsieur.”
“Another?” cried M. Bouc. “Ah, no — it is not possible. I tell you
it is not possible.”
“Mon cher
— we have to know (
äðóã
ìîé,
ìû
äîëæíû /
âñå/
óçíàòü)
. Even if in the end everybody on the train proves to have had a motive for killing Ratchett, we have to know
(åñëè
äàæå
â
êîíöå
êîíöîâ
îêàæåòñÿ
, ÷òî
ó
êàæäîãî
ïàññàæèðà
/â
ýòîì
ïîåçäå
/ áûë
ìîòèâ
äëÿ
óáèéñòâà
Ðýò÷åòòà
, ìû
äîëæíû
çíàòü
/îá
ýòîì
/; to prove —
äîêàçûâàòü;
îêàçûâàòüñÿ)
. Once
we
know
(êîãäà ìû áóäåì çíàòü;
once — êàê òîëüêî
),
we
can
settle
once
for
all
where
the
guilt
lies
(ìû ñìîæåì ðåøèòü ðàç è íàâñåãäà, êòî æå âèíîâàò;
guilt — âèíà, âèíîâíîñòü;
to
lie — ëåæàòü; çàêëþ÷àòüñÿ, áûòü /â ÷åì-ëèáî/
).”
“
My
head
is
spinning
(ó ìåíÿ ãîëîâà êðóãîì èäåò;
to
spin — êðóòèòü(ñÿ)
, âåðòåòü(ñÿ)
),” groaned
M
. Bouc
(ïðîñòîíàë ìñüå Áóê)
.
Greta Ohlsson was ushered in sympathetically by the attendant
(îôèöèàíò
ó÷òèâî
ââåë
Ãðåòó
Îëüñîí
/â
âàãîí
-ðåñòîðàí
/). She was weeping bitterly
(îíà
ãîðüêî
ïëàêàëà
; bitterly —
ãîðüêî;
ýìîö.-
óñèë.
ñèëüíî,
î÷åíü)
.
settle
['setl] guilt
[gIlt] spinning
['spInIN] usher
['ASq] sympathetically
["sImpq'TetIk(q)lI] weeping
['wi:pIN] bitterly
['bItqlI]
“
Mon cher — we have to know. Even if in the end everybody on the train proves to have had a
motive for killing Ratchett, we have to know. Once we know, we can settle once for all where the guilt lies.”
“My head is spinning,” groaned M. Bouc.
Greta Ohlsson was ushered in sympathetically by the attendant. She was weeping
bitterly.
She collapsed on the seat
(îíà
ðóõíóëà
íà
ñòóë
; to collapse —
ðóøèòüñÿ,
îáâàëèâàòüñÿ;
ñâàëèòüñÿ /
â
ðåçóëüòàòå
óäàðà,
íàïðÿæåíèÿ/; seat —
ìåñòî /
äëÿ
ñèäåíèÿ/;
ñòóë,
ñêàìüÿ,
êðåñëî)
facing Poirot (
íàïðîòèâ: «
ëèöîì
ê»
Ïóàðî;
to face — íàõîäèòüñÿ
ëèöîì
ê
; áûòü
îáðàùåííûì
ê
) and wept steadily into a large handkerchief
(è
ïðîäîëæèëà
ïëàêàòü
â
áîëüøîé
ïëàòîê
; to weep (wept); steady —
ïðî÷íûé,
òâåðäûé;
óñòîé÷èâûé,
ïîñòîÿííûé,
ñòàáèëüíûé)
.
“Now do not distress yourself, Mademoiselle (
íå
òåðçàéòåñü,
ìàäåìóàçåëü;
to distress — ïðè÷èíÿòü
ãîðå
, ñòðàäàíèå
; ìó÷èòü
, òðåâîæèòü
). Do not distress yourself,” Poirot patted her on the shoulder
(Ïóàðî
ïîãëàäèë
åå
ïî
ïëå÷ó
; to pat —
ïîõëîïûâàòü /
êîãî-
ëèáî/,
øëåïàòü,
ïîãëàäèòü /
êîãî-
ëèáî/
).
“Just
a
few
little
words
of
truth
(ïðîñòî /ñêàæèòå íàì/ íåñêîëüêî ñëîâå÷åê ïðàâäû)
, that
is
all
(âîò è âñå)
. You
were
the
nurse
who
was
in
charge
of
little
Daisy
Armstrong
(âû áûëè òîé ñàìîé íÿíåé, êîòîðàÿ çàáîòèëàñü î
ìàëåíüêîé Äåéçè Àðìñòðîíã; charge
— íàãðóçêà, çàãðóçêà; çàáîòà, ïîïå÷åíèå;
to
be
in
charge
of — èìåòü /êîãî-ëèáî/ íà ïîïå÷åíèè èëè /÷òî-ëèáî/
íà õðàíåíèè, îòâå÷àòü çà êîãî-ëèáî, ÷òî-ëèáî)
?”
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