Óáèéñòâî â «Âîñòî÷íîì ýêñïðåññå» Êðèñòè Àãàòà

“And then you went to bed and to sleep?”

“I went to bed, sir, but I didn’t sleep.”

“Why didn’t you sleep?”

“I had the toothache, sir.”

“Oh, l-l — that is painful.”

“Most painful, sir.”

“Did you do anything for it (âû ÷òî-íèáóäü ñäåëàëè äëÿ ýòîãî = âû ïðèíÿëè ÷òî-íèáóäü îò çóáíîé áîëè)?”

“I applied a little oil of cloves, sir (ÿ ïðèëîæèë íåìíîãî ãâîçäè÷íîãî ìàñëà, ñýð; to apply — îáðàùàòüñÿ ñ ïðîñüáîé; ïðèêëàäûâàòü, ïðèëàãàòü; cloves — ãâîçäèêà /ïðÿíîñòü/), which relieved the pain a little (êîòîðîå ñëåãêà îáëåã÷èëî áîëü), but I was still not able to get to sleep (íî ÿ âñå åùå íå ìîã çàñíóòü; able — ñïîñîáíûé; to be able to — ìî÷ü, áûòü â ñîñòîÿíèè /ñäåëàòü ÷òî-ëèáî/; to get to do smth. — íà÷èíàòü äåëàòü ÷òî-ëèáî). I turned the light on (ÿ âêëþ÷èë ëàìïó; light — ñâåò; èñòî÷íèê ñâåòà, îãîíü, ëàìïà è ò.ï.) above my head (íàä /ñâîåé/ ãîëîâîé) and continued to read (è ïðîäîëæèë ÷èòàòü) — to take my mind off (÷òîáû îòâëå÷üñÿ; to take one's mind off smth. — ïåðåñòàòü äóìàòü î ÷åì-ëèáî, îòâëå÷ü ìûñëè îò ÷åãî-ëèáî, çàáûòü ÷òî-ëèáî), as it were (òàê ñêàçàòü: «êàê ýòî áûëî»).”

“And did you not go to sleep at all (è âû ÷òî, âîîáùå íå çàñíóëè)?”

“Yes, sir (íåò, ñýð; yes — äà; â îòâåòàõ, âûðàæàþùèõ íåñîãëàñèå ñ óòâåðæäåíèåì, ñîäåðæàùèìñÿ â âîïðîñå — íåò), I dropped off (ÿ çàñíóë; to drop off — âûõîäèòü ïî îäíîìó; îòõîäèòü êî ñíó) about four in the morning (îêîëî ÷åòûðåõ ÷àñîâ óòðà).”

“And your companion (à âàø ñîñåä; companion — òîâàðèù; ñïóòíèê, ñëó÷àéíûé ñîñåä, ïîïóò÷èê)?”

“The Italian fellow (èòàëüÿíåö)? Oh, he just snored (îí-òî êàê ðàç õðàïåë).”

applied [plad] oil [l] clove [klv] relieve [rli:v] snore [sn:]

“Did you do anything for it?”

“I applied a little oil of cloves, sir, which relieved the pain a little, but I was still not able to get to sleep. I turned the light on above my head and continued to read — to take my mind off, as it were.”

“And did you not go to sleep at all?”

“Yes, sir, I dropped off about four in the morning.”

“And your companion?”

“The Italian fellow? Oh, he just snored.”

“He did not leave the compartment at all (îí íè ðàçó íå ïîêèäàë êóïå; at all — íèñêîëüêî; íèêîãäà) during the night (çà âñþ íî÷ü)?”

“No, sir.”

“Did you (à âû /ïîêèäàëè/)?”

“No, sir.”

“Did you hear anything during the night (âû ÷òî-íèáóäü ñëûøàëè íî÷üþ; during — â ïðîäîëæåíèå, â òå÷åíèå, âî âðåìÿ)?”

“I don’t think so, sir (ìíå êàæåòñÿ íåò, ñýð). Nothing unusual, I mean (íè÷åãî íåîáû÷íîãî, ÿ èìåþ â âèäó). The train being at a standstill (îò òîãî, ÷òî ïîåçä ñòîÿë; standstill — îñòàíîâêà, ïàóçà; çàòèøüå) made it all very quiet (âñå ñòàëî òàêèì òèõèì; quiet — òèõèé, áåñøóìíûé).”

Poirot was silent a moment or two (Ïóàðî ïîìîë÷àë ìèíóòó èëè äâå; silent — ìîë÷àëèâûé, áåññëîâåñíûé). Then he spoke (çàòåì îí ñêàçàë).

during [djr] nothing [n] silent [salnt]

“He did not leave the compartment at all during the night?”

“No, sir.”

“Did you?”

“No, sir.”

“Did you hear anything during the night?”

“I don’t think so, sir. Nothing unusual, I mean. The train being at a standstill made it all very quiet.”

Poirot was silent a moment or two. Then he spoke.

“Well, I think there is very little more to be said (÷òî æ, ÿ äóìàþ, ÷òî ãîâîðèòü áîëüøå íå î ÷åì; little — ìàëî, ïî÷òè íèñêîëüêî; little more — íåìíîãèì áîëüøå). You cannot throw any light upon the tragedy (âû íå ìîæåòå ïðîëèòü õîòü êàêîé-òî ñâåò íà ýòó òðàãåäèþ; to throw — áðîñàòü, êèäàòü; íàïðàâëÿòü, ïîñûëàòü; to throw light on smth. — áðîñàòü ñâåò íà ÷òî-ëèáî; ïðîëèâàòü ñâåò íà ÷òî-ëèáî)?”

“I’m afraid not (áîþñü, ÷òî íåò; afraid — èñïóãàííûé, íàïóãàííûé, áîÿùèéñÿ). I’m sorry, sir (ìíå î÷åíü æàëü, ñýð; sorry — îãîð÷åííûé, ñîæàëåþùèé).”

“As far as you know, was there any quarrel (íàñêîëüêî âàì èçâåñòíî, áûëà ëè êàêàÿ-íèáóäü ññîðà/ñïîð) or bad blood (èëè âðàæäà; bad — ïëîõîé, äóðíîé, ñêâåðíûé; blood — êðîâü; bad blood — âðàæäà, ññîðà, âðàæäåáíîñòü) between your master and Mr. MacQueen (ìåæäó âàøèì õîçÿèíîì è ìèñòåðîì Ìàêêóèíîì)?”

“Oh! no, sir. Mr. MacQueen was a very pleasant gentleman (ìèñòåð Ìàêêóèí áûë î÷åíü ñëàâíûì/ìèëûì äæåíòëüìåíîì).”

throw [r] tragedy [trdd] afraid [fred] quarrel [kwrl] blood [bld] pleasant [plez()nt]

“Well, I think there is very little more to be said. You cannot throw any light upon the tragedy?”

“I’m afraid not. I’m sorry, sir.”

“As far as you know, was there any quarrel or bad blood between your master and Mr. MacQueen?”

“Oh! no, sir. Mr. MacQueen was a very pleasant gentleman.”

“Where were you in service (ó êîãî âû ñëóæèëè; service — óñëóæåíèå; to be in (smb.'s) service — áûòü ñëóãîé, ñëóæèòü /ó êîãî-ëèáî/) before you came to Mr. Ratchett (ïðåæäå ÷åì âû ïîñòóïèëè ê ìèñòåðó Ðýò÷åòòó; to come (came, come) — ïðèõîäèòü; âñòóïàòü /â äîëæíîñòü è ò.ï./)?

“With Sir Henry Tomlinson, sir, in Grosvenor Square (ó ñýðà Ãåíðè Òîìëèíñîíà, ñýð, íà Ãðîñâåíîð-ñêâåð; sir — ñýð, ñóäàðü /â îáðàùåíèè/; (Sir) — ðûöàðü èëè áàðîíåò /òèòóë ïåðåä èìåíåì/; square — êâàäðàò; ïëîùàäü; ñêâåð).”

“Why did you leave him (ïî÷åìó âû óøëè îò íåãî)?”

“He was going to East Africa, sir (îí ñîáèðàëñÿ â Âîñòî÷íóþ Àôðèêó), and did not require my services any longer (è áîëüøå íå íóæäàëñÿ â ìîèõ óñëóãàõ; to require — òðåáîâàòü, ïðèêàçûâàòü; íóæäàòüñÿ /â ÷åì-ëèáî/). But I am sure he will speak for me, sir (íî ÿ óâåðåí, îí çàìîëâèò çà ìåíÿ ñëîâå÷êî, ñýð; to speak for smb. — ãîâîðèòü çà /âìåñòî/ êîãî-ëèáî; âûñêàçàòüñÿ â çàùèòó êîãî-ëèáî). I was with him some years (ÿ ñëóæèë ó íåãî íåñêîëüêî ëåò; to be with smb., smth. — ðàáîòàòü ó êîãî-ëèáî, ãäå-ëèáî /ïî íàéìó/).”

“And you have been with Mr. Ratchett — how long (êàê äîëãî âû ïðîñëóæèëè ó ìèñòåðà Ðýò÷åòòà)?”

“Just over nine months, sir (íåìíîãèì áîëüøå äåâÿòè ìåñÿöåâ, ñýð).”

“Thank you, Masterman. By the way (ìåæäó ïðî÷èì), are you a pipe-smoker (âû êóðèòå òðóáêó; smoker — êóðèëüùèê)?”

service [s:vs] square [skwe] require [rkwa] month [mn]

“Where were you in service before you came to Mr. Ratchett?”

“With Sir Henry Tomlinson, sir, in Grosvenr Square.”

“Why did you leave him?”

“He was going to East Africa, sir, and did not require my services any longer. But I am sure he will speak for me, sir. I was with him some years.”

“And you have been with Mr. Ratchett — how long?”

“Just over nine months, sir.”

“Thank you, Masterman. By the way, are you a pipe-smoker?”

“No, sir. I only smoke cigarettes (ÿ êóðþ òîëüêî ñèãàðåòû) — gaspers, sir (äåøåâûå ñèãàðåòû, ñýð; to gasp — äûøàòü ñ òðóäîì, çàäûõàòüñÿ; gasper — ðàçã. äåøåâàÿ ñèãàðåòà).”

“Thank you, that will do (ñïàñèáî, ýòîãî äîñòàòî÷íî).”

Poirot gave him a nod of dismissal (Ïóàðî êèâêîì îòïóñòèë åãî; to give (gave, given), a nod — êèâîê /â çíàê ñîãëàñèÿ èëè ïðèâåòñòâèÿ/; dismissal — ðîñïóñê; ïðåäëîæåíèå èëè ðàçðåøåíèå óéòè; to dismiss — îòïóñêàòü, ðàñïóñêàòü).

The valet hesitated a moment (ñëóãà ìãíîâåíèå ïîêîëåáàëñÿ).

“You’ll excuse me, sir, but the elderly American lady (ïðîñòèòå ìåíÿ, ñýð, íî òà ïîæèëàÿ àìåðèêàíêà) is in what I might describe as a state, sir (â òàêîì, êàê ÿ ìîã áû ýòî îïèñàòü, âîçáóæäåííîì ñîñòîÿíèè, ñýð; state — ñîñòîÿíèå, ïîëîæåíèå; íàïðÿæåííîå èëè âîçáóæäåííîå ñîñòîÿíèå). She’s saying she knows all about the murderer (îíà ãîâîðèò, ÷òî îíà çíàåò âñå îá óáèéöå). She’s in a very excitable condition, sir (îíà î÷åíü âîëíóåòñÿ: «â î÷åíü âîçáóäèìîì ñîñòîÿíèè», ñýð; to excite — âîçáóæäàòü, âîëíîâàòü; condition — ñîñòîÿíèå, ïîëîæåíèå, óñëîâèå; ñîñòîÿíèå çäîðîâüÿ).”

cigarette [sret] gasper [:sp] dismissal [dsms()l] hesitate [heztet] describe [dskrab] murderer [m:d()r] excitable [ksatb()l]

“No, sir. I only smoke cigarettes — gaspers, sir.”

“Thank you, that will do.”

Poirot gave him a nod of dismissal.

The valet hesitated a moment.

“You’ll excuse me, sir, but the elderly American lady is in what I might describe as a state, sir. She’s saying she knows all about the murderer. She’s in a very excitable condition, sir.”

“In that case (â òàêîì ñëó÷àå),” said Poirot, smiling (ñêàçàë Ïóàðî, óëûáàÿñü), “we had better see her next (íàì ëó÷øå áû âñòðåòèòüñÿ ñ íåé /ñëåäóþùåé/).”

“Shall I tell her, sir (ìíå ñêàçàòü åé îá ýòîì = ïðèãëàñèòü åå, ñýð)? She’s been demanding to see someone in authority (îíà òðåáóåò âñòðå÷è: «óâèäåòü/âñòðåòèòüñÿ» ñ êåì-íèáóäü èç íà÷àëüñòâà; authority — âëàñòü; âëàñòè, íà÷àëüñòâî, àäìèíèñòðàöèÿ) for a long time (óæå äîëãîå âðåìÿ; long — äëèííûé; äîëãèé, ïðîäîëæèòåëüíûé). The conductor’s been trying to pacify her (ïðîâîäíèê ïûòàåòñÿ óñïîêîèòü åå; to pacify — óìèðîòâîðÿòü, óñïîêàèâàòü).”

“Send her to us, my friend (ïðèãëàñèòå åå ê íàì, ìîé äðóã; to send — ïîñûëàòü, îòïðàâëÿòü; âûçûâàòü, ïðèãëàñèòü),” said Poirot. “We will listen to her story now (ñåé÷àñ ìû âûñëóøàåì åå èñòîðèþ; story — ïîâåñòü, ðàññêàç; çàÿâëåíèå, ÷òî-ëèáî ñêàçàííîå, ÷üè-ëèáî ñëîâà).”

demand [dm:nd] authority [:rt] pacify [psfa] listen [ls()n]

“In that case,” said Poirot, smiling, “we had better see her next.”

“Shall I tell her, sir? She’s been demanding to see someone in authority for a long time. The conductor’s been trying to pacify her.”

“Send her to us, my friend,” said Poirot. “We will listen to her story now.”

4. The Evidence Of The American Lady

(ïîêàçàíèÿ àìåðèêàíêè; lady — ëåäè, äàìà, ãîñïîæà)

Mrs. Hubbard arrived in the dining-car (ìèññèñ Õàááàðä âîðâàëàñü â âàãîí-ðåñòîðàí; to arrive — ïðèáûâàòü, ïðèåçæàòü) in such a state of breathless excitement (â ñîñòîÿíèè òàêîãî çàäûõàþùåãîñÿ âîëíåíèÿ = çàïûõàâøàÿñÿ è âîçáóæäåííàÿ; breath — äûõàíèå) that she was hardly able to articulate her words (÷òî îíà åäâà áûëà ñïîñîáíà ãîâîðèòü: «îò÷åòëèâî ïðîèçíîñèòü ñëîâà»; to articulate — ïðîèçíîñèòü îò÷åòëèâî, ÿñíî).

“Now just tell me this (òàê âîò, ñêàæèòå-êà ìíå) — who’s in authority here (êòî çäåñü çà ãëàâíîãî; authority — âëàñòü)? I’ve got some very important information (ó ìåíÿ åñòü î÷åíü âàæíûå ñâåäåíèÿ), very important indeed (â ñàìîì äåëå, î÷åíü âàæíûå), and I’m going to tell it (è ÿ õî÷ó ñîîáùèòü èõ; to be going to do smth. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü ÷òî-ëèáî) to someone in authority (òîìó, êòî çäåñü ãëàâíûé) just as soon as I can (êàê ìîæíî ñêîðåå: «òàê ñêîðî, êàê ÿ ìîãó»). If you gentlemen (åñëè âû, ãîñïîäà) — ”

dining-car [dank:] breathless [brels] excitement [ksatmnt] articulate [:tkjlet]

Mrs. Hubbard arrived in the dining-car in such a state of breathless excitement that she was hardly able to articulate her words.

“Now just tell me this — who’s in authority here? I’ve got some very important information, very important indeed, and I’m going to tell it to someone in authority just as soon as I can. If you gentlemen — ”

Her wavering glance (åå íåðåøèòåëüíûé âçãëÿä; to waver — êîëûõàòüñÿ /î ïëàìåíè, òåíè/; êîëåáàòüñÿ, ïðîÿâëÿòü íåðåøèòåëüíîñòü) fluctuated between the three men (ìåòàëñÿ ìåæäó òðåìÿ ìóæ÷èíàìè; to fluctuate — êîëåáàòüñÿ; áûòü íåóñòîé÷èâûì, íåðåøèòåëüíûì). Poirot leaned forward (Ïóàðî ïîäàëñÿ âïåðåä).

“Tell it to me, Madame (ðàññêàæèòå èõ ìíå, ìàäàì),” he said. “But first, pray be seated (íî ñïåðâà, ïðîøó âàñ: «óìîëÿþ», ïðèñàæèâàéòåñü; to pray — ìîëèòüñÿ; ïðîñèòü /â îáðàùåíèè, ÷àñòî êàê ââîäíîå ñëîâî/).”

Mrs. Hubbard plumped heavily down (îíà òÿæåëî ïëþõíóëàñü; to plump — øëåïàòü(ñÿ)) on to the seat opposite to him (íà ñèäåíèå íàïðîòèâ íåãî; seat — ìåñòî /äëÿ ñèäåíèÿ/; ñòóë, ñêàìüÿ, êðåñëî).

“What I’ve got to tell you is just this (ÿ äîëæíà âàì ñîîáùèòü âîò ÷òî; to have got to do smth. — áûòü äîëæíûì ÷òî-ëèáî ñäåëàòü). There was a murder on the train last night (ïðîøëîé íî÷üþ â ïîåçäå ïðîèçîøëî óáèéñòâî), and the murderer was right there in my compartment (è óáèéöà áûë ïðÿìî â ìîåì êóïå)!”

She paused (îíà çàìîë÷àëà; to pause — äåëàòü ïàóçó, ïåðåðûâ; îñòàíàâëèâàòüñÿ) to give dramatic em to her words (÷òîáû ïðèäàòü ñâîèì ñëîâàì äîëæíûé ýôôåêò: «ïðèäàòü äðàìàòè÷åñêîå óäàðåíèå åå ñëîâàì»; dramatic — òåàòðàëüíûé; ýôôåêòíûé, áðîñàþùèéñÿ â ãëàçà; em — óäàðåíèå; ÿðêîñòü /÷óâñòâ/, ðåçêîñòü, âûðàçèòåëüíîñòü /æåñòîâ è ò.ï./).

fluctuate [flktet] heavily [hevl] em [emfss]

Her wavering glance fluctuated between the three men. Poirot leaned forward.

“Tell it to me, Madame,” he said. “But first, pray be seated.”

Mrs. Hubbard plumped heavily down on to the seat opposite to him.

“What I’ve got to tell you is just this. There was a murder on the train last night, and the murderer was right there in my compartment!”

She paused to give dramatic em to her words.

“You are sure of this, Madame (âû â ýòîì óâåðåíû, ìàäàì)?”

“Of course I’m sure (êîíå÷íî æå, óâåðåíà)! The idea (ïîäóìàòü òîëüêî; idea — èäåÿ, ìûñëü; the idea! — ÷òî çà çàòåÿ /ôàíòàçèÿ/; ïîäóìàòü òîëüêî)! I know what I’m talking about (ÿ çíàþ, î ÷åì ãîâîðþ). I’ll tell you everything there is to tell (ÿ ðàññêàæó âàì âñå, ÷òî çíàþ: «âñå, ÷òî åñòü ðàññêàçûâàòü»). I’d gotten into bed (ÿ ëåãëà â ïîñòåëü) and gone to sleep (è çàñíóëà), and suddenly I woke up (è âíåçàïíî ÿ ïðîñíóëàñü; to wake (woke, waked)) — everything was dark (/âñå/ áûëî òåìíî) — and I knew (è ÿ ïîíÿëà; to know (knew, known) — çíàòü; îñîçíàâàòü, ïîíèìàòü) there was a man in my compartment (÷òî â ìîåì êóïå áûë ìóæ÷èíà). I was just so scared (ÿ áûëà íàñòîëüêî èñïóãàíà; scare — ïàíèêà, ïàíè÷åñêèé ñòðàõ; to scare — èñïóãàòü, íàïóãàòü) I couldn’t scream (÷òî /ÿ/ íå ìîãëà êðè÷àòü; to scream — ïðîíçèòåëüíî êðè÷àòü, âîïèòü), if you know what I mean (åñëè âû ïîíèìàåòå, ÷òî ÿ èìåþ â âèäó). I just lay there and thought (ÿ ïðîñòî ëåæëà è äóìàëà), ‘Mercy, I’m going to be killed (Ãîñïîäè ìèëîñåðäíûé, ìåíÿ æå /ñåé÷àñ/ óáüþò; mercy — ìèëîñåðäèå, ñîñòðàäàíèå; Ãîñïîäè, Áîæå ìîé)!’ I just can’t describe to you how I felt (ÿ ïðîñòî íå ìîãó âàì îïèñàòü, ÷òî ÿ ÷óâñòâîâàëà; to feel (felt) — òðîãàòü, ùóïàòü; ÷óâñòâîâàòü, îùóùàòü). These nasty trains, I thought (ýòè îòâðàòèòåëüíûå ïîåçäà, äóìàëà ÿ), and all the outrages (è âñå òå àêòû íàñèëèÿ; outrage — ãðóáîå íàðóøåíèå /çàêîíà èëè ÷üèõ-ëèáî ïðàâ/; íàñèëèå) I’d read of (î êîòîðûõ ÿ ÷èòàëà). And I thought (è ÿ ïîäóìàëà), ‘Well, anyway, he won’t get my jewellery (÷òî æ, âî âñÿêîì ñëó÷àå, îí íå ïîëó÷èò ìîè äðàãîöåííîñòè; jewel — äðàãîöåííûé êàìåíü; þâåëèðíàÿ âåùü)’ — because, you see, I’d put that in a stocking (ïîòîìó ÷òî, âèäèòå ëè, ÿ ïîëîæèëà èõ â ÷óëîê) and hidden it under my pillow (è ñïðÿòàëà åãî ïîä ïîäóøêîé; to hide (hid, hidden)) — which isn’t any too comfortable (÷òî, êîíå÷íî, âîâñå íå óäîáíî; comfort — óòåøåíèå, ïîääåðæêà; êîìôîðò, óþò), by the way (êñòàòè); kinda bumpy (äîâîëüíî æåñòêî; kinda /ïðîñò./ = kind of; bump — ãëóõîé óäàð, ñòîëêíîâåíèå; to bump — óäàðÿòüñÿ, óäàðÿòü; bumpy — óõàáèñòûé, òðÿñêèé /î äîðîãå/), if you know what I mean. But that’s neither here nor there (íî ýòî íè ê ñåëó íè ê ãîðîäó: «íè çäåñü íè òàì» = ÿ îòâëåêëàñü). Where was I (íà ÷åì ÿ îñòàíîâèëàñü)?”

scared [sked] mercy [m:s] outrage [atred] jewellery [du:lr] kinda [kand]

“You are sure of this, Madame?”

“Of course I’m sure! The idea! I know what I’m talking about. I’ll tell you everything there is to tell. I’d gotten into bed and gone to sleep, and suddenly I woke up — everything was dark — and I knew there was a man in my compartment. I was just so scared I couldn’t scream, if you know what I mean. I just lay there and thought, ‘Mercy, I’m going to be killed!’ I just can’t describe to you how I felt. These nasty trains, I thought, and all the outrages I’d read of. And I thought, ‘Well, anyway, he won’t get my jewellery’ — because, you see, I’d put that in a stocking and hidden it under my pillow — which isn’t any too comfortable, by the way; kinda bumpy, if you know what I mean. But that’s neither here nor there. Where was I?”

“You realised, Madame (âû ïîíÿëè, ìàäàì; to realize — îñóùåñòâèòü, âûïîëíèòü; ÿñíî ïîíèìàòü, îñîçíàâàòü), that there was a man in your compartment (÷òî â âàøåì êóïå áûë ìóæ÷èíà).”

“Yes, well, I just lay there (ÿ, òàê âîò, ÿ ïðîñòî ëåæàëà) with my eyes closed (ñ çàêðûòûìè ãëàçàìè), and wondered what I’d do (è âñå äóìàëà, ÷òî æå ìíå ñäåëàòü; to wonder — èíòåðåñîâàòüñÿ; æåëàòü çíàòü, çàäàâàòüñÿ âîïðîñîì). And I thought, well, I’m just thankful (è åùå ÿ äóìàëà, ÷òî æ, õîòÿ áû ÿ ðàäà = ñëàâà Áîãó; thankful — áëàãîäàðíûé; äîâîëüíûé /÷åì-ëèáî/; óñò. ñëàâà Áîãó; to thank — áëàãîäàðèòü) that my daughter doesn’t know the plight I’m in (÷òî ìîÿ äî÷ü íå çíàåò, â êàêîé ïåðåïëåò ÿ ïîïàëà: «ÿ åñòü»; plight — ñîñòîÿíèå, ïîëîæåíèå /îáûê. ïëîõîå, òðóäíîå/). And then, somehow, I got my wits about me (à ïîòîì, êàêèì-òî îáðàçîì, ÿ ñîáðàëàñü ñ ìûñëÿìè; wit(s) — óì, ðàçóì) and I felt about with my hand (è ñòàëà øàðèòü âîêðóã ðóêîé; to feel (felt) — òðîãàòü; øàðèòü, èñêàòü îùóïüþ) and I pressed the bell for the conductor (è íàæàëà íà çâîíîê, ÷òîáû ïîçâàòü ïðîâîäíèêà). I pressed it and I pressed it (ÿ æàëà è æàëà íà íåãî), but nothing happened (íî íè÷åãî íå ïðîèñõîäèëî) — and I can tell you (è, ìîãó âàì ñêàçàòü), I thought my heart was going to stop beating (ÿ äóìàëà, ÷òî ìîå ñåðäöå ïåðåñòàíåò áèòüñÿ; to stop — îñòàíàâëèâàòü, çàäåðæèâàòü; ïðåêðàùàòü, êîí÷àòü; to beat — áèòü, óäàðÿòü; áèòüñÿ, òðåïåòàòü, ïóëüñèðîâàòü).

plight [plat] thankful [kf()l] daughter [d:t] happen [hpn]

“You realised, Madame, that there was a man in your compartment.”

“Yes, well, I just lay there with my eyes closed, and wondered what I’d do. And I thought, well, I’m just thankful that my daughter doesn’t know the plight I’m in. And then, somehow, I got my wits about me and I felt about with my hand and I pressed the bell for the conductor. I pressed it and I pressed it, but nothing happened — and I can tell you, I thought my heart was going to stop beating.

‘Mercy,’ I said to myself (Áîæå ìèëîñòèâûé, ñêàçàëà ÿ ñåáå), ‘maybe they’ve murdered every single soul on the train (/îíè/ äîëæíî áûòü, óáèëè âñåõ áåç èñêëþ÷åíèÿ â ýòîì ïîåçäå; every — êàæäûé, âñÿêèé; single — åäèíñòâåííûé, îäèí; êàæäûé, ëþáîé áåç èñêëþ÷åíèÿ; soul — äóøà, ñåðäöå; ÷åëîâåê).’ It was at a standstill anyhow (â ëþáîì ñëó÷àå, ïîåçä ñòîÿë; standstill — îñòàíîâêà, ïàóçà) and there was a nasty quiet feel in the air (è â âîçäóõå áûëà êàêàÿ-òî îòâðàòèòåëüíîå îùóùåíèå áåçìîëâèÿ; feel — îñÿçàíèå; îáñòàíîâêà; îùóùåíèå). But I just went on pressing that bell (è ÿ ïðîñòî ïðîäîëæàëà íàæèìàòü íà òîò çâîíîê; to go on — èäòè äàëüøå, ïðîäîëæàòü) and oh! the relief when I heard footsteps (è î! îáëåã÷åíèå, êîãäà ÿ óñëûøàëà øàãè; footstep — øàã, ïîñòóïü; çâóê øàãîâ) coming running down the corridor (ïðèáëèæàâøèåñÿ áåãîì ïî êîðèäîðó) and a knock on the door (è ñòóê â äâåðü)! ‘Come in (âîéäèòå),’ I screamed (çàêðè÷àëà ÿ), and I switched on the lights (è âêëþ÷èëà ñâåò; to switch — ýë. ïåðåêëþ÷àòü; to switch on — âêëþ÷àòü) at the same time (â òî æå ñàìîå âðåìÿ). And would you believe it (è, âû íå ïîâåðèòå: «ïîâåðèòå ëè âû â ýòî»), there wasn’t a soul there (òàì íå áûëî íå äóøè)!”

This seemed to Mrs. Hubbard to be a dramatic climax (ýòîò /ìîìåíò/ êàçàëîñü, äëÿ ìèññèñ Õàááàðä, áûë äðàìàòè÷åñêîé êóëüìèíàöèåé /èñòîðèè/) rather than an anticlimax (à âîâñå íå ðàçî÷àðîâàíèåì; climax — âûñøàÿ òî÷êà, êóëüìèíàöèîííûé ïóíêò, ðàçâÿçêà; anticlimax — ñïàä, ðàçâÿçêà íàïðÿæåíèÿ; ðàçî÷àðîâàíèå).

myself [maself] anyhow [enha] nasty [n:st] air [e] relief [rli:f] climax [klamks] anticlimax [ntklamks]

‘Mercy,’ I said to myself, ‘maybe they’ve murdered every single soul on the train.’ It was at a standstill anyhow and there was a nasty quiet feel in the air. But I just went on pressing that bell and oh! the relief when I heard footsteps coming running down the corridor and a knock on the door! ‘Come in,’ I screamed, and I switched on the lights at the same time. And would you believe it, there wasn’t a soul there!”

This seemed to Mrs. Hubbard to be a dramatic climax rather than an anticlimax.

“And what happened next, Madame (è ÷òî æå ïðîèçîøëî ïîòîì, ìàäàì)?”

“Why, I told the man (íó êàê æå, ÿ ðàññêàçàëà ïðîâîäíèêó) what had happened and he didn’t seem to believe me (÷òî ïðîèçîøëî, à îí, êàçàëîñü, íå ïîâåðèë ìíå). Seemed to imagine (îí, íàâåðíîå, ïîäóìàë; to imagine — âîîáðàæàòü, ïðåäñòàâëÿòü) I’d dreamed the whole thing (÷òî ìíå âñÿ ýòà èñòîðèÿ ïðèñíèëàñü; to dream — âèäåòü ñîí; thing — âåùü, ïðåäìåò; ñîáûòèå). I made him look under the seat (ÿ çàñòàâèëà åãî çàãëÿíóòü ïîä ïîëêó; to make smb. do smth. — çàñòàâëÿòü, âûíóæäàòü, ïîáóæäàòü êîãî-ëèáî äåëàòü ÷òî-ëèáî; seat — ìåñòî /äëÿ ñèäåíèÿ/; ñòóë, êðåñëî è ò.ï.), though he said there wasn’t room for a man to squeeze himself in there (õîòÿ îí è ñêàçàë, ÷òî òàì íå áûëî ìåñòà, ÷òîáû êòî-òî: «ìóæ÷èíà» ñìîã òóäà ïîìåñòèòüñÿ: «âòèñíóòüñÿ»; room — êîìíàòà, çàë; ìåñòî, ïðîñòðàíñòâî; to squeeze — ñæèìàòü, ñäàâëèâàòü; âòèñêèâàòü(ñÿ), âïèõèâàòü(ñÿ)). It was plain enough (è òàê áûëî ÿñíî; plain — ÿñíûé, îò÷åòëèâûé; ÿâíûé, î÷åâèäíûé, enough — äîñòàòî÷íî) that the man had got away (÷òî ìóæ÷èíà ñáåæàë; to get (got) away — óäðàòü, óñêîëüçíóòü) — but there had been a man there (íî òàì = ó ìåíÿ â êóïå äåéñòâèòåëüíî áûë ìóæ÷èíà), and it just made me mad (è ìåíÿ ýòî ïðîñòî âçáåñèëî; to make (made) smb. mad — ðàññåðäèòü êîãî-ëèáî; mad — ñóìàñøåäøèé; áåøåíûé, íåèñòîâûé) he way the conductor tried to soothe me down (òî, êàê ïðîâîäíèê ïûòàëñÿ óñïîêîèòü ìåíÿ; way — ïóòü, äîðîãà; îáðàç äåéñòâèÿ, ìåòîä, ñïîñîá, ìàíåðà ïîâåäåíèÿ)! I’m not one to imagine things, Mr. (ÿ íå òàêîé ÷åëîâåê, êîòîðûé ïðèäóìûâàåò /íåáûëèöû/, ìèñòåð) — I don’t think I know your name (íå äóìàþ, ÷òî çíàþ êàê âàñ çîâóò: «âàøåãî èìåíè»)?”

believe [bli:v] imagine [mdn] squeeze [skwi:z] enough [nf]

“And what happened next, Madame?”

“Why, I told the man what had happened and he didn’t seem to believe me. Seemed to imagine I’d dreamed the whole thing. I made him look under the seat, though he said there wasn’t room for a man to squeeze himself in there. It was plain enough that the man had got away — but there had been a man there, and it just made me mad the way the conductor tried to soothe me down! I’m not one to imagine things, Mr. — I don’t think I know your name?”

“Poirot, Madame; and this is M. Bouc, a director of the company (à ýòî — ìñüå Áóê, äèðåêòîð /æåëåçíîäîðîæíîé/ êîìïàíèè; company — îáùåñòâî; ýê. êîìïàíèÿ, òîâàðèùåñòâî), and Dr. Constantine.”

Mrs. Hubbard murmured (ìèññèñ Õàááàðä ïðîáîðìîòàëà), “Pleased to meet you, I’m sure (ðàäà ñ âàìè ïîçíàêîìèòüñÿ, î÷åíü: «óâåðåíà â ýòîì»; to meet (met) — âñòðå÷àòü; çíàêîìèòüñÿ),” to all three of them in an abstracted manner (âñåì èì òðîèì ñ ðàññåÿííûì âèäîì; to abstract — îòíèìàòü; ðàññìàòðèâàòü îòâëå÷åííî; abstracted — ïîãðóæåííûé â ìûñëè; ðàññåÿííûé, manner — ìåòîä, ñïîñîá; ìàíåðà, ïîâåäåíèå) and then plunged once more (è çàòåì ñíîâà: «åùå ðàç» ïðåäàëàñü; to plunge — íûðÿòü; ïóñêàòüñÿ /âî ÷òî-ëèáî/, íà÷èíàòü) into her recital (ñâîåìó ðàññêàçó; recital — èçëîæåíèå; ïîâåñòâîâàíèå, ïîäðîáíîå îïèñàíèå).

“Now I’m just not going to pretend (÷òî æ, ÿ íå ñîáèðàþñü ïðèòâîðÿòüñÿ) I was as bright as I might have been (÷òî ÿ áûëà íàñòîëüêî ñïîñîáíîé, íàñêîëüêî ìîãëà áû áûòü = ÷òî ÿ áûëà î÷åíü ñîîáðàçèòåëüíîé; bright — ÿðêèé, áëåñòÿùèé; ñïîñîáíûé, ñìûøëåíûé). I got it into my head (ÿ ïîäóìàëà: «ìíå âçáðåëî â ãîëîâó»; to get (got) smth. into one’s head — ðàçã. âáèòü ñåáå â ãîëîâó ÷òî-ëèáî) that it was the man from next door (÷òî ýòî /ìîã áûòü/ ìóæ÷èíà èç ñîñåäíåãî /êóïå/; next door — ïî ñîñåäñòâó, ðÿäîì) — the poor fellow who’s been killed (òîò áåäíÿãà, êîòîðîãî óáèëè; poor — áåäíûé, íåèìóùèé; áåäíûé, íåñ÷àñòíûé). I told the conductor (ÿ âåëåëà ïðîâîäíèêó; to tell (told) — ðàññêàçûâàòü; âåëåòü, ïðèêàçûâàòü) to look at the door between the compartments (âçãëÿíóòü íà äâåðü ìåæäó êóïå), and sure enough it wasn’t bolted (è, êîíå÷íî æå, îíà íå áûëà çàïåðòà; to bolt — çàïèðàòü íà çàñîâ). Well, I soon saw to that (íó, ÿ òóò æå ïðîñëåäèëà çà ýòèì; soon — ñêîðî, âñêîðå; to see to smth., smb. — ñëåäèòü, ïðèñìàòðèâàòü çà ÷åì-ëèáî, êåì-ëèáî). I told him to bolt it then and there (ÿ âåëåëà åìó çàïåðåòü åå íà çàñîâ íåìåäëåííî: «òîãäà è òàì»), and after he’d gone out (è ïîñëå òîãî, êàê îí âûøåë) I got up (ÿ ïîäíÿëàñü) and put a suitcase against it to make sure (è ïðèäâèíóëà ê íåé ÷åìîäàí äëÿ áîëüøåé âåðíîñòè).”

murmur [m:m] abstracted [bstrktd] recital [rsatl] suitcase [s(j)u:tkes]

“Poirot, Madame; and this is M. Bouc, a director of the company, and Dr. Constantine.”

Mrs. Hubbard murmured, “Pleased to meet you, I’m sure,” to all three of them in an abstracted manner and then plunged once more into her recital.

“Now I’m just not going to pretend I was as bright as I might have been. I got it into my head that it was the man from next door — the poor fellow who’s been killed. I told the conductor to look at the door between the compartments, and sure enough it wasn’t bolted. Well, I soon saw to that. I told him to bolt it then and there, and after he’d gone out I got up and put a suitcase against it to make sure.”

“What time was this, Mrs. Hubbard (â êàêîì ÷àñó ýòî áûëî, ìèññèñ Õàááàðä)?”

“Well, I’m sure I can’t tell you (íó, óâåðåíà, ÷òî íå ìîãó âàì ñêàçàòü). I never looked to see (òàê è íå âçãëÿíóëà /íà ÷àñû/; never — íèêîãäà; ýìîö. — óñèë. íèñêîëüêî, íèêîèì îáðàçîì; to see — âèäåòü; óçíàâàòü, âûÿñíÿòü). I was so upset (ÿ áûëà òàê ðàññòðîåíà).”

“And what is your theory now (à ÷òî âû äóìàåòå ñåé÷àñ: «êàêîå âàøå ìíåíèå ñåé÷àñ»; theory — òåîðèÿ; ðàçã. ïðåäïîëîæåíèå, äîãàäêà, îñîáîå ìíåíèå, âçãëÿä)?”

“Why, I should say it was just as plain as plain could be (íó, ÿ áû ñêàçàëà, ÷òî âñå ÿñíî /êàê äåíü/: «òàê ÿñíî, êàê òîëüêî ìîãëî áû áûòü ÿñíî»). The man in my compartment was the murderer (òîò ìóæ÷èíà, ÷òî áûë â ìîåì êóïå, áûë óáèéöåé). Who else could he be (êåì åùå îí ìîã áûòü)?”

“And you think he went back (è âû äóìàåòå, ÷òî îí âåðíóëñÿ; to go (went, gone) back — âîçâðàùàòüñÿ /íà ïðåæíåå ìåñòî/) into the adjoining compartment (â ñîñåäíåå êóïå; to adjoin — ïðèìûêàòü, ïðèëåãàòü, ãðàíè÷èòü)?”

“How do I know where he went (îòêóäà ìíå çíàòü, êóäà îí ïîøåë)? I had my eyes tight shut (ó ìåíÿ ãëàçà áûëè /ïëîòíî/ çàêðûòû = ÿ çàæìóðèëàñü; tight — òóãî çàâÿçàííûé; ïëîòíûé; ïëîòíî çàêðûòûé).”

“He might have slipped out (îí ìîã áû âûñêîëüçíóòü /íàðóæó/; to slip out — âûéòè, âûáåæàòü /íà óëèöó/) through the door into the corridor (÷åðåç äâåðü â êîðèäîð).”

“Well, I couldn’t say (íó, íå ìîãó ñêàçàòü). You see, I had my eyes tight shut (âèäèòå ëè ó ìåíÿ ãëàçà áûëè ïëîòíî çàêðûòû).”

theory [()r] murderer [m:d()r] adjoining [dn] tight [tat]

“What time was this, Mrs. Hubbard?”

“Well, I’m sure I can’t tell you. I never looked to see. I was so upset.”

“And what is your theory now?”

“Why, I should say it was just as plain as plain could be. The man in my compartment was the murderer. Who else could he be?”

“And you think he went back into the adjoining compartment?”

“How do I know where he went? I had my eyes tight shut.”

“He might have slipped out through the door into the corridor.”

“Well, I couldn’t say. You see, I had my eyes tight shut.”

Mrs. Hubbard sighed convulsively (ìèññèñ Õàááàðä ñóäîðîæíî âçäîõíóëà; convulsive — ñóäîðîæíûé, êîíâóëüñèâíûé).

“Mercy, I was scared (Áîæå ìèëîñåðäíûé, ÿ /òàê/ ïåðåïóãàëàñü)! If my daughter only knew (åñëè áû ìîÿ äî÷ü òîëüêî çíàëà) — ”

“You do not think, Madame, that what you heard (à âû íå äóìàåòå, ìàäàì, ÷òî òî, ÷òî âû ñëûøàëè) was the noise of someone moving about next door (áûëî øóìîì îò ÷üåãî-ëèáî äâèæåíèÿ ïî ñîñåäñòâó) — in the murdered man’s compartment (â êóïå óáèòîãî ìóæ÷èíû)?”

“No, I do not, Mr. — what is it? — Poirot (íåò, íå äóìàþ, ìèñòåð — êàê òàì — Ïóàðî). The man was right there (ýòîò ìóæ÷èíà áûë ïðÿìî òàì; right — ñïðàâåäëèâî; ïðÿìî; ýìîö. — óñèë. ñîâåðøåííî, ïîëíîñòüþ) in the same compartment with me (â òîì æå êóïå ñî ìíîé). And what’s more I’ve got proof of it (è, áîëåå òîãî, ó ìåíÿ åñòü òîìó äîêàçàòåëüñòâî/ïîäòâåðæäåíèå).”

sigh [sa] convulsively [knvlsvl] noise [nz]

Mrs. Hubbard sighed convulsively.

“Mercy, I was scared! If my daughter only knew — ”

“You do not think, Madame, that what you heard was the noise of someone moving about next door — in the murdered man’s compartment?”

“No, I do not, Mr. — what is it? — Poirot. The man was right there in the same compartment with me. And what’s more I’ve got proof of it.”

Triumphantly (òîðæåñòâóþùå; triumph — ïîáåäà, òîðæåñòâî; triumphant — ïîáåäîíîñíûé; ëèêóþùèé), she hauled a large handbag into view (îíà âûòàùèëà /íà âñåîáùåå îáîçðåíèå/ áîëüøóþ äàìñêóþ ñóìêó; to haul — òÿíóòü, òàùèòü; hand — ðóêà; bag — ìåøîê; ñóìà; ïîðòôåëü, ñóìêà; view — âèä, ïåéçàæ; âèäèìîñòü, ïîëå çðåíèÿ) and proceeded to burrow in its interior (è íà÷àëà: «ïåðåøëà ê» ðûòüñÿ â åå ñîäåðæèìîì; to burrow — ðûòü íîðó, õîä; ðûòüñÿ /â êèãàõ, àðõèâàõ è ò.ä./; interior — âíóòðåííîñòü; ïðîñòðàíñòâî /âíóòðè ÷åãî-ëèáî/).

She took out in turn (îíà äîñòàëà /èç ñóìî÷êè/ ïî î÷åðåäè; to take (took, taken), turn — îáîðîò; î÷åðåäü) two large clean handkerchiefs (äâà áîëüøèõ ÷èñòûõ íîñîâûõ ïëàòêà), a pair of horn-rimmed glasses (ïàðó î÷êîâ = î÷êè â ðîãîâîé îïðàâå; horn — ðîã; rim — îáîäîê, êðàé), a bottle of aspirin (ôëàêîí àñïèðèíà), a packet of Glauber’s Salts (ïàêåò ãëàóáåðîâîé ñîëè), a celluloid tube of bright green peppermints (öåëëóëîèäíûé òþáèê ñ ÿðêî-çåëåíûìè ìÿòíûìè ëåäåíöàìè; tube — òðóáà, òðóáêà; òþáèê; peppermint — ìÿòà ïåðå÷íàÿ; ìÿòíàÿ êîíôåòà), a bunch of keys (ñâÿçêó êëþ÷åé; bunch — ñâÿçêà, ïó÷îê), a pair of scissors (íîæíèöû; pair — ïàðà, ïàðíûå ïðåäìåòû; âåùü, ñîñòîÿùàÿ èç äâóõ ÷àñòåé), a book of American Express cheques (êíèæêó ñ ÷åêàìè Àìåðèêàí Ýêñïðåññ), a snapshot of an extraordinarily plain-looking child (ôîòîãðàôèÿ íåîáû÷àéíî íåêðàñèâîãî ðåáåíêà; plain — ÿñíûé, îò÷åòëèâûé; íåâçðà÷íûé, íåêðàñèâûé; looking — /êàê êîìïîíåíò ñëîæíûõ ñëîâ/ èìåþùèé îïðåäåëåííûé âèä), some letters (íåñêîëüêî ïèñåì), five strings of pseudo-Oriental beads (ïÿòü íèòîê áóñ /â/ ïñåâäî-âîñòî÷íîì /ñòèëå/; string — âåðåâêà, áå÷åâêà; íèòêà; bead — áóñèíà; áóñû; pseudo — ëîæíûé), and a small metal object (è ìàëåíüêèé ìåòàëëè÷åñêèé ïðåäìåò) — a button (ïóãîâèöó).

triumphantly [tramf()ntl] burrow [br] interior [nt()r] horn-rimmed [h:nrmd] Glauber's salt(s) [labzs:lt(s)] celluloid [seljld] peppermint [pepmnt] scissors [szz] cheque [tek] pseudo [sju:d] Oriental [:|rentl, -]

Triumphantly, she hauled a large handbag into view and proceeded to burrow in its interior.

She took out in turn two large clean handkerchiefs, a pair of horn-rimmed glasses, a bottle of aspirin, a packet of Glauber’s Salts, a celluloid tube of bright green peppermints, a bunch of keys, a pair of scissors, a book of American Express cheques, a snapshot of an extraordinarily plain-looking child, some letters, five strings of pseudo-Oriental beads, and a small metal object — a button.

“You see this button (âû âèäèòå ýòó ïóãîâèöó)? Well, it’s not one of my buttons (òàê âîò, ýòî íå ìîÿ ïóãîâèöà: «íè îäíà èç ìîèõ ïóãîâèö»). It’s not off anything I’ve got (îíà íå îòîðâàëàñü íè îò ÷åãî, ÷òî ó ìåíÿ åñòü; to be off — óõîäèòü, îòïðàâëÿòüñÿ; îòîðâàòüñÿ, îòëåòåòü). I found it this morning (ÿ íàøëà åå ñåãîäíÿ óòðîì) when I got up (êîãäà âñòàëà).”

As she placed it on the table (êîãäà îíà ïîëîæèëà åå íà ñòîë; to place — ñòàâèòü, ïîìåùàòü, ðàçìåùàòü), M. Bouc leaned forward (ìñüå Áóê íàêëîíèëñÿ âïåðåä) and gave an exclamation (è âîñêëèêíóë; exclamation — âîñêëèöàíèå). “But this is a button from the tunic of a Wagon Lit attendant (íî ýòî æå ïóãîâèöà îò /ôîðìåííîãî/ ïèäæàêà ñëóæàùåãî /êîìïàíèè/ ñïàëüíûõ âàãîíîâ; tunic — áëóçêà /îáûêí. ñ ïîÿñîì/; âîåí. êèòåëü, ìóíäèð, ãèìíàñòåðêà)!”

“There way be a natural explanation for that (íî ýòî ìîæíî ëåãêî îáúÿñíèòü: «ýòîìó ìîæåò áûòü åñòåñòâåííîå îáúÿñíåíèå»; natural — åñòåñòâåííûé, ïðèðîäíûé; îáû÷íûé, íîðìàëüíûé; to explain — îáúÿñíÿòü),” said Poirot.

button [btn] exclamation [eksklme()n] tunic [tju:nk] natural [nt()rl]

“You see this button? Well, it’s not one of my buttons. It’s not off anything I’ve got. I found it this morning when I got up.”

As she placed it on the table, M. Bouc. leaned forward and gave an exclamation. “But this is a button from the tunic of a Wagon Lit attendant!”

“There way be a natural explanation for that,” said Poirot.

He turned gently to the lady (îí ó÷òèâî îáðàòèëñÿ ê äàìå; gently — ìÿãêî, òèõî, ñïîêîéíî; to turn — ïîâîðà÷èâàòü(ñÿ); to turn to smb. — îáðàùàòüñÿ ê êîìó-ëèáî).

“This button, Madame, may have dropped from the conductor’s uniform (ýòà ïóãîâèöà, ìàäàì, ìîãëà îòëåòåòü ñ ïèäæàêà ïðîâîäíèêà; to drop — êàïàòü; ïàäàòü, ðîíÿòü), either when he searched your cabin (ëèáî òîãäà, êîãäà îí îñìàòðèâàë âàøå êóïå; to search — èñêàòü; îáûñêèâàòü) or when he was making the bed up last night (èëè æå êîãäà ñòåëèë ïîñòåëü ïðîøëîé íî÷üþ).”

“I just don’t know what’s the matter with all you people (ïðîñòî è íå çíàþ, ÷òî ýòî ñî âñåìè âàìè; matter — âåùåñòâî; äåëî; íåïðèÿòíîå äåëî, òðóäíîñòü; people — íàðîä, íàöèÿ; àìåð. æàðã. ÷åëîâåê, îñîáà /â îáðàùåíèè/). Seems as though you don’t want to do anything (êàæåòñÿ, ñëîâíî âû íå õîòèòå íè÷åãî äåëàòü) but make objections (êðîìå êàê âîçðàæàòü; to object — âîçðàæàòü, ïðîòåñòîâàòü). Now listen here (òàê âîò, ïîñëóøàéòå-êà, /âíèìàòåëüíî/; here — çäåñü, òóò; ñþäà). I was reading a magazine last night (â÷åðà âå÷åðîì: «íî÷üþ» ÿ ÷èòàëà æóðíàë) before I went to sleep (ïåðåä òåì êàê óñíóòü). Before I turned the light out (ïåðåä òåì, êàê âûêëþ÷èòü ñâåò; to turn out — âûâîðà÷èâàòü /êàðìàíû è ò.ï./; ãàñèòü /ñâåò/, âûêëþ÷àòü /ãàç/), I placed that magazine on a little case (ÿ ïîëîæèëà ýòîò æóðíàë íà ìàëåíüêèé ÷åìîäàí; case — ÿùèê, êîðîáêà; ñóìêà, ÷åìîäàí) that was standing on the floor near the window (êîòîðûé ñòîÿë íà ïîëó ó îêíà). Have you got that (/âû/ ïîíÿëè /ýòî/; to get (got) — äîñòàâàòü, äîáûâàòü; ïîíèìàòü, ïîñòèãàòü)?”

They assured her that they had (îíè óâåðèëè åå, ÷òî îíè /ïîíÿëè/).

gently [dentl] uniform [ju:nf:m] objection [bdek()n] magazine [mzi:n]

He turned gently to the lady.

“This button, Madame, may have dropped from the conductor’s uniform, either when he searched your cabin or when he was making the bed up last night.”

“I just don’t know what’s the matter with all you people. Seems as though you don’t want to do anything but make objections. Now listen here. I was reading a magazine last night before I went to sleep. Before I turned the light out, I placed that magazine on a little case that was standing on the floor near the window. Have you got that?”

They assured her that they had.

“Very well then (÷òî æ, î÷åíü õîðîøî; then — òîãäà, â òî âðåìÿ; â òàêîì ñëó÷àå, òîãäà). The conductor looked under the seat (ïðîâîäíèê çàãëÿäûâàë ïîä ïîëêó) from near the door (/ñòîÿ/ ó äâåðè; from — â ïðîñòðàíñòâåííîì çíà÷åíèè óêàçûâàåò íà èñõîäíûé ïóíêò: äåéñòâèÿ èëè äâèæåíèÿ; ïðè îïðåäåëåíèè èëè îòñ÷åòå ðàññòîÿíèÿ), and then he came in and bolted the door between me and the next compartment (çàòåì îí âîøåë è çàêðûë íà çàñîâ äâåðü ìåæäó ìîèì è ñîñåäíèì êóïå), but he never went near the window (íî îí âîîáùå íå ïîäõîäèë áëèçêî ê îêíó; never — íèêîãäà; ýìîö. — óñèë. íèñêîëüêî, íèêîèì îáðàçîì). Well, this morning that button was lying right on top of the magazine (òàê âîò, ýòèì óòðîì ýòà ïóãîâèöà ëåæàëà ïðÿìî íà æóðíàëå; top — âåðõóøêà, âåðøèíà; âåðõíÿÿ ïîâåðõíîñòü). What do you call that (÷òî âû íà ýòî ñêàæåòå: «êàê âû ýòî íàçîâåòå»), I should like to know (õîòåëîñü áû ìíå çíàòü)?”

“That, Madame, I call evidence (íà ýòî ÿ ñêàæó, ìàäàì, ÷òî ýòî óëèêà: «ýòî, ìàäàì, íàçûâàåòñÿ óëèêîé»; evidence — îñíîâàíèå, äàííûå; þð. äîêàçàòåëüñòâî, óëèêà),” said Poirot.

The answer seemed to appease the lady (ýòîò îòâåò, êàçàëîñü, óñïîêîèë äàìó; to appease — óñïîêàèâàòü, óìèðîòâîðÿòü).

“It makes me madder than a hornet (ìåíÿ óæàñíî áåñèò: «ÿ ñòàíîâëþñü áåøåíåå/íåèñòîâåå, ÷åì îñà»; to make smb., smth. + ïðèëàãàòåëüíîå — ïðåâðàùàòü, ïðèâîäèòü â êàêîå-ëèáî ñîñòîÿíèå; hornet — øåðøåíü; îñà) to be disbelieved (êîãäà ìíå íå âåðÿò),” she explained (îáúÿñíèëà îíà).

evidence [evd()ns] appease [pi:z] hornet [h:nt] disbelieve [dsbli:v]

“Very well then. The conductor looked under the seat from near the door, and then he came in and bolted the door between me and the next compartment, but he never went near the window. Well, this morning that button waslying right on top of the magazine. What do you call that, I should like to know?”

“That, Madame, I call evidence,” said Poirot.

The answer seemed to appease the lady.

“It makes me madder than a hornet to be disbelieved,” she explained.

“You have given us (âû äàëè íàì) most interesting and valuable evidence (÷ðåçâû÷àéíî èíòåðåñíóþ è âàæíóþ óëèêó; value — öåííîñòü, âàæíîñòü, ïîëåçíîñòü),” said Poirot soothingly (ñêàçàë Ïóàðî óñïîêàèâàþùå). “Now may I ask you a few questions (à òåïåðü, ìîãó ëè ÿ çàäàòü âàì íåñêîëüêî âîïðîñîâ)?”

“Why, certainly (äà, êîíå÷íî).”

“How was it, since you were nervous of this man Ratchett (êàê ñëó÷èëîñü òàê, ðàç óæ âû òàê áîÿëèñü ýòîãî ñàìîãî Ðýò÷åòòà; since — çä. òàê êàê, ïîñêîëüêó, ðàç; nervous — íåðâíûé, îòíîñÿùèéñÿ ê íåðâàì; áîÿçëèâûé, ðîáêèé, ñëàáîíåðâíûé), that you hadn’t already bolted the door between the compartments (÷òî âû /çàðàíåå/ íå çàêðûëè äâåðü íà çàñîâ ìåæäó êóïå)?”

“I had (ÿ çàêðûëà),” returned Mrs. Hubbard promptly (òóò æå îòâåòèëà ìèññèñ Õàááàðä; to return — âîçâðàùàòüñÿ, èäòè îáðàòíî; îòâå÷àòü, âîçðàæàòü, prompt — áûñòðûé; íåìåäëåííûé).

“Oh, you had (à, òàê âû çàêðûëè)?”

valuable [vlj()b()l] soothingly [su:l] nervous [n:vs] promptly [prmptl]

“You have given us most interesting and valuable evidence,” said Poirot soothingly. “Now may I ask you a few questions?”

“Why, certainly.”

“How was it, since you were nervous of this man Ratchett, that you hadn’t already bolted the door between the compartments?”

“I had,” returned Mrs. Hubbard promptly.

“Oh, you had?”

“Well, as a matter of fact I asked that Swedish creature (íó, ïî ïðàâäå ñêàçàòü, ÿ ñïðîñèëà òó øâåäêó; creature — ñîçäàíèå, òâîðåíèå; ÷åëîâåê) — a pleasant soul (ìèëîå ñîçäàíèå; soul — äóøà, ñåðäöå; ÷åëîâåê) — if it was bolted, and she said it was (çàïåðòà ëè îíà /äâåðü/ íà çàñîâ, è îíà ñêàçàëà, ÷òî çàïåðòà).”

“How was it you couldn’t see for yourself (êàê ñëó÷èëîñü òàê, ÷òî âû íå ìîãëè óáåäèòüñÿ â ýòîì ñàìè; to see for oneself — óáåäèòüñÿ /â ÷åì-ëèáî/ ñàìîìó)?”

“Because I was in bed (îòòîãî, ÷òî ÿ áûëà â ïîñòåëè) and my spongebag was hanging on the door-handle (è ìîé /íåïðîìîêàåìûé/ ìåøî÷åê äëÿ ãóáêè /è ìûëà/ âèñåë íà äâåðíîé ðó÷êå; sponge — ãóáêà).”

“What time was it when you asked her (êîòîðûé áûë ÷àñ, êîãäà âû ïîïðîñèëè åå) to do this for you (ñäåëàòü ýòî /äëÿ âàñ/)?”

“Now let me think (äàéòå-êà ïîäóìàòü). It must have been round about half-past ten (äîëæíî áûòü áûëî ãäå-òî îêîëî ïîëîâèíû îäèííàäöàòîãî) or a quarter to eleven (èëè áåç ïÿòíàäöàòè ìèíóò îäèííàäöàòü). She’d come along to see (îíà ïðèøëà /êî ìíå/, ÷òîáû óçíàòü; to see — âèäåòü; óçíàâàòü, âûÿñíÿòü) if I had an aspirin (åñòü ëè ó ìåíÿ àñïèðèí). I told her where to find it (ÿ ñêàçàëà åé, ãäå åãî íàéòè) and she got it out of my grip (è îíà âçÿëà åãî èç ìîåãî ñàêâîÿæà; grip — ñõâàòûâàíèå, ñæàòèå; àìåð. ðàçã. äîðîæíàÿ ñóìêà).”

Swedish [swi:d] creature [kri:t] pleasant [plez()nt] sponge bag [spndb] door-handle [d:hndl] aspirin [sprn] grip [rp]

“Well, as a matter of fact I asked that Swedish creature — a pleasant soul — if it was bolted, and she said it was.”

“How was it you couldn’t see for yourself?”

“Because I was in bed and my spongebag was hanging on the door-handle.”

“What time was it when you asked her to do this for you?”

“Now let me think. It must have been round about half-past ten or a quarter to eleven. She’d come along to see if I had an aspirin. I told her where to find it and she got it out of my grip.”

“You yourself were in bed (âû ñàìè ëåæàëè â ïîñòåëè)?”

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