Óáèéñòâî â «Âîñòî÷íîì ýêñïðåññå» Êðèñòè Àãàòà

10. The Evidence Of The Italian

(ïîêàçàíèÿ èòàëüÿíöà)

“And now (à òåïåðü),” said Poirot with a twinkle in his eye (ñêàçàë Ïóàðî /è/ â åãî ãëàçàõ /ìåëüêíóë/ çàäîðíûé îãîíåê; twinkle — ìåðöàíèå; îãîíåê /â ãëàçàõ/), “we will delight the heart of M. Bouc (ìû ïîðàäóåì ñåðäöå ìñüå Áóêà; delight — âîñòîðã, âîñõèùåíèå; to delight — äîñòàâëÿòü íàñëàæäåíèå, âîñõèùàòü, óñëàæäàòü) and see the Italian (è âñòðåòèìñÿ ñ èòàëüÿíöåì).”

Antonio Foscarelli came into the dining-car (Àíòîíèî Ôîñêàðåëëè âîøåë â âàãîí ðåñòîðàí) with a swift, cat-like tread (áûñòðîé, ìÿãêîé ïîõîäêîé; cat-like — ïîõîæèé íà êîøêó; ìÿãêèé, íåñëûøíûé /î øàãàõ/). His face beamed (åãî ëèöî ñèÿëî; beam — ëó÷; to beam — èñïóñêàòü ëó÷è, ñâåòèòü; ñèÿòü, óëûáàòüñÿ ëó÷åçàðíîé óëûáêîé). It was a typical Italian face (ó íåãî áûëî òèïè÷íîå ëèöî èòàëüÿíöà: «ýòî áûëî òèïè÷íîå èòàëüÿíñêîå ëèöî»), sunny-looking (ñèÿþùåå; sunny — ñîëíå÷íûé; âåñåëûé, ðàäîñòíûé; looking — çä. êàê êîìïîíåíò ñëîæíîãî ñëîâà — èìåþùèé òàêîé-òî âèä) and swarthy (è ñìóãëîå).

He spoke French well and fluently (îí ïðàâèëüíî è áåãëî ãîâîðèë ïî-ôðàíöóçñêè; fluent — ïëàâíûé, ãëàäêèé, áåãëûé; ñâîáîäíî ãîâîðÿùèé) with only a slight accent (ñ íåáîëüøèì ëèøü àêöåíòîì; accent — óäàðåíèå; ïðîèçíîøåíèå, àêöåíò).

“Your name is Antonio Foscarelli (âàñ çîâóò Àíòîíèî Ôîñêàðåëëè)?”

“Yes, Monsieur.”

“You are, I see, a naturalised American subject (âû, êàê ÿ âèæó, ïðèíÿëè àìåðèêàíñêîå ãðàæäàíñòâî è ÿâëÿåòåñü ïîääàííûì ÑØÀ: «íàòóðàëèçîâàííûé àìåðèêàíñêèé ïîääàííûé»; to naturalize — íàòóðàëèçîâàòü(ñÿ), ïðèíÿòü (â) ãðàæäàíñòâî; subject — ïðåäìåò, òåìà /ðàçãîâîðà è ò.ï./, ïîääàííûé)?”

The American grinned (àìåðèêàíåö óõìûëüíóëñÿ). “Yes, Monsieur. It is better for my business (òàê ëó÷øå äëÿ ìîåãî áèçíåñà).”

delight [dlat] heart [h:t] tread [tred] typical [tpk()l] swarthy [sw:] fluent [flu:nt] accent [ks()nt] naturalized [nt()rlazd]

“And now,” said Poirot with a twinkle in his eye, “we will delight the heart of M. Bouc and see the Italian.”

Antonio Foscarelli came into the dining-car with a swift, cat-like tread. His face beamed. It was a typical Italian face, sunny-looking and swarthy.

He spoke French well and fluently with only a slight accent.

“Your name is Antonio Foscarelli?”

“Yes, Monsieur.”

“You are, I see, a naturalised American subject?”

The American grinned. “Yes, Monsieur. It is better for my business.”

“You are an agent for Ford motor cars (âû ÿâëÿåòåñü ïðåäñòàâèòåëåì /ïî ïðîäàæå/ àâòîìîáèëåé Ôîðäà; for — çä. óêàçûâàåò íà ëèöî, â ïîëüçó êîòîðîãî ñîâåðøàþòñÿ äåéñòâèÿ: äëÿ êîãî-ëèáî)?”

“Yes, you see (äà, âèäèòå ëè) — ”

A voluble exposition followed (ïîñëåäîâàëî ìíîãîñëîâíîå îáúÿñíåíèå). At the end of it anything that the three men did not know (ê êîíöó êîòîðîãî âñå òî, ÷òî òðîå ìóæ÷èí íå çíàëè) about Foscarelli’s business methods (î äåëîâûõ ìåòîäàõ Ôîñêàðåëëè), his journeys (åãî ïîåçäêàõ), his income (åãî äîõîäàõ), and his opinion of the United States (è åãî ìíåíèè î Ñîåäèíåííûõ Øòàòàõ) and most European countries (è áîëüøèíñòâå åâðîïåéñêèõ ñòðàí) seemed a negligible factor (ñâåëîñü, ïðàêòè÷åñêè, ê íóëþ: «êàçàëîñü íè÷òîæíûì ôàêòîðîì»; to neglect — ïðåíåáðåãàòü; íå îáðàùàòü âíèìàíèÿ; negligible — íè÷òîæíûé, íå ïðèíèìàåìûé â ðàñ÷åò, íåçíà÷èòåëüíûé). This was not a man who had to have information dragged from him (îí íå áûë ÷åëîâåêîì ó êîòîðîãî íàäî áûëî âûòÿãèâàòü èíôîðìàöèþ/ñâåäåíèÿ; to drag — òàùèòü âîëîêîì, âîëî÷èòü; /out/ — âûòÿíóòü, âûòàùèòü). It gushed out (îíà ëèëàñü ïîòîêîì; gush — ñèëüíûé, âíåçàïíî âîçíèêøèé ïîòîê, ëèâåíü; to gush — õëûíóòü, ëèòüñÿ ïîòîêîì, õëåñòàòü).

agent [ed()nt] voluble [vljb()l] negligible [neldb()l] gush []

“You are an agent for Ford motor cars?”

“Yes, you see — ”

A voluble exposition followed. At the end of it anything that the three men did not know about Foscarelli’s business methods, his journeys, his income, and his opinion of the United States and most European countries seemed a negligible factor. This was not a man who had to have information dragged from him. It gushed out.

His good-natured, childish face (åãî äîáðîäóøíîå, äåòñêîå = ïðîñòîäóøíîå ëèöî; childish — ðåáÿ÷åñêèé, èíôàíòèëüíûé; äåòñêèé) beamed with satisfaction (ñèÿëî îò óäîâîëüñòâèÿ; satisfaction — óäîâëåòâîðåíèå; óäîâîëüñòâèå, ðàäîñòü) as, with a last eloquent gesture (êîãäà, ïîñëåäíèì êðàñíîðå÷èâûì æåñòîì), he paused and wiped his forehead with a handkerchief (îí îñòàíîâèëñÿ è âûòåð ëîá íîñîâûì ïëàòêîì).

“So you see (èòàê, âû âèäèòå),” he said. “I do big business (ó ìåíÿ áîëüøîé áèçíåñ/äîõîäíîå äåëî). I am up to date (ÿ èäó â íîãó ñî âðåìåíåì; up to date — ñâîåâðåìåííûé, íîâåéøèé; îòâå÷àþùèé ñîâðåìåííûì òðåáîâàíèÿì). I understand salesmanship (ÿ ðàçáèðàþñü â ïðîäàæàõ; to understand — ïîíèìàòü; çíàòü, áûòü ñâåäóùèì /â ÷åì-ëèáî/, ñìûñëèòü; salesman — ïðîäàâåö, òîðãîâåö; salesmanship — ïðîôåññèÿ ïðîäàâöà; óìåíèå ïðîäàâàòü; ñáûò)!”

good-natured [dnetd] eloquent [elkwnt] gesture [dest] salesmanship [selzmnp]

His good-natured, childish face beamed with satisfaction as, with a last eloquent gesture, he paused and wiped his forehead with a handkerchief.

“So you see,” he said. “I do big business. I am up to date. I understand salesmanship!”

“You have been in the United States, then (â òàêîì ñëó÷àå, âû áûâàëè â Ñîåäèíåííûõ Øòàòàõ), for the last ten years on and off (çà ïîñëåäíèå äåñÿòü ëåò âðåìÿ îò âðåìåíè).”

“Yes, Monsieur. Ah! well do I remember the day (îòëè÷íî ïîìíþ ÿ òîò äåíü) I first took the boat (êîãäà ÿ âïåðâûå ñå íà êîðàáëü; boat — ëîäêà, øëþïêà; ñóäíî, êîðàáëü) — to go to America, so far away (÷òîáû åõàòü â Àìåðèêó, òàê äàëåêî)! My mother, my little sister (ìîÿ ìàòü, ìîÿ ñåñòðåíêà; little — ìàëåíüêèé; ìèëûé, ñëàâíûé /÷àñòî èìååò ëàñêàòåëüíîå çíà÷åíèå è ïåðåäàåòñÿ óìåíüøèòåëüíûì ñóôôèêñîì/; ìëàäøèé) — ”

Poirot cut short (Ïóàðî ïðåðâàë; to cut short — îáðûâàòü, âíåçàïíî ïðåðûâàòü) the flood of reminiscence (ïîòîê âîñïîìèíàíèé; flood — íàâîäíåíèå, ïîëîâîäüå; ïîòîê).

“During your sojourn in the United States (âî âðåìÿ âàøåãî /âðåìåííîãî/ ïðåáûâàíèÿ â Ñîåäèíåííûõ Øòàòàõ), did you ever come across the deceased (âû êîãäà-íèáóäü âñòðå÷àëèñü ñ ïîêîéíûì; to come across smb. — ñëó÷àéíî âñòðåòèòü êîãî-ëèáî)?”

flood [fld] reminiscence [remns()ns] sojourn [sd:n] deceased [dsi:st]

“You have been in the United States, then, for the last ten years on and off.”

“Yes, Monsieur. Ah! well do I remember the day I first took the boat — to go to America, so far away! My mother, my little sister — ”

Poirot cut short the flood of reminiscence.

“During your sojourn in the United States, did you ever come across the deceased?”

“Never (íèêîãäà). But I know the type (íî ÿ çíàþ ýòîò òèï /ëþäåé/). Oh, yes.” He snapped his fingers expressively (è îí âûðàçèòåëüíî ùåëêíóë ïàëüöàìè; to snap — õâàòàòü, êóñàòü; ùåëêàòü, ëÿçãàòü, õëîïàòü /÷åì-ëèáî/). “It is very respectable (î÷åíü ïðåäñòàâèòåëüíûå; to respect — óâàæàòü, ïî÷èòàòü; respectable — ïî÷òåííûé, ðåñïåêòàáåëüíûé), very well-dressed (î÷åíü õîðîøî îäåòûå), but underneath it is all wrong (íî ïîä âñåì ýòèì âñå ñîâåðøåííî íå òàê; underneath — çä. óêàçûâàåò íà ìàñêó, ëè÷èíó è ò.ï. — ïîä; wrong — íåïðàâèëüíûé, íåâåðíûé). Out of my experience I should say (ïî ñâîåìó îïûòó ÿ áû ñêàçàë) he was the big crook (÷òî îí áûë áîëüøèì ìîøåííèêîì; big — áîëüøîé, êðóïíûé; âàæíûé, çíà÷èòåëüíûé, crook — êðþê, êðþ÷îê; ðàçã. ïðîõîäèìåö, ïëóò, îáìàíùèê). I give you my opinion for what it is worth (ÿ äàþ âàì ñâîå ìíåíèå çà åãî ñòîèìîñòü = âîò ÷òî ÿ äóìàþ — õîòèòå âåðüòå, õîòèòå íåò; worth — ñòîÿùèé, èìåþùèé öåííîñòü èëè ñòîèìîñòü).”

“Your opinion is quite right (âàøå ìíåíèå ñîâåðøåííî âåðíî = âû ñîâåðøåííî ïðàâû),” said Poirot drily (ñêàçàë Ïóàðî ñóõî). “Ratchett was Cassetti, the kidnapper (Ðýò÷åòò áûë Êàññåòòè, ïîõèòèòåëåì ëþäåé).”

expressively [kspresvl] respectable [rspektb()l] underneath [ndni:] worth [w:]

“Never. But I know the type. Oh, yes.” He snapped his fingers expressively. “It is very respectable, very well-dressed, but underneath it is all wrong. Out of my experience I should say he was the big crook. I give you my opinion for what it is worth.”

“Your opinion is quite right,” said Poirot drily. “Ratchett was Cassetti, the kidnapper.”

“What did I tell you (÷òî ÿ âàì ãîâîðèë)? I have learned to be very acute (ÿ íàó÷èëñÿ áûòü î÷åíü ïðîíèöàòåëüíûì; acute — îñòðûé; ïðîíèöàòåëüíûé) — to read the face (÷èòàòü /ëþäåé/ ïî ëèöàì). It is necessary (ýòî íåîáõîäèìî). Only in America do they teach you (òîëüêî â Àìåðèêå òåáÿ íàó÷àò) the proper way to sell (ïðàâèëüíûì ìåòîäàì òîðãîâëè; proper — ïðèñóùèé; ïðàâèëüíûé, íàäëåæàùèé; to sell — ïðîäàâàòü, òîðãîâàòü). I — ”

“You remember the Armstrong case (âû ïîìíèòå äåëî Àðìñòðîíãîâ)?”

“I do not quite remember (ÿ íå ñîâñåì ïîìíþ). The name, yes (à èìÿ — äà, /ïîìíþ/)? It was a little girl, a baby, was it not (ýòî áûëà ìàëåíüêàÿ äåâî÷êà /ñîâñåì åùå/ ðåáåíîê, íå òàê ëè)?”

“Yes, a very tragic affair (äà, î÷åíü òðàãè÷åñêàÿ/óæàñíàÿ èñòîðèÿ; affair — äåëî; ðàçã. ñîáûòèå, èñòîðèÿ).”

The Italian seemed the first person (èòàëüÿíåö îêàçàëñÿ ïåðâûì ÷åëîâåêîì) to demur to this view (êîòîðûé íå ñîãëàñèëñÿ: «âîçðàæàë ïðîòèâ» ñ òàêîé òî÷êîé çðåíèÿ).

acute [kju:t] affair [fe] demur [dm:]

“What did I tell you? I have learned to be very acute — to read the face. It is necessary. Only in America do they teach you the proper way to sell. I — ”

“You remember the Armstrong case?”

“I do not quite remember. The name, yes? It was a little girl, a baby, was it not?”

“Yes, a very tragic affair.”

The Italian seemed the first person to demur to this view.

“Ah! well, these things they happen (à, òàêèå âåùè, îíè ñëó÷àþòñÿ; thing — âåùü, ïðåäìåò; ñîáûòèå),” he said philosophically (ôèëîñîôñêè ñêàçàë îí), “in a great civilisation such as America (â òàêîé âåëèêîé ñòðàíå: «öèâèëèçàöèè», êàê Àìåðèêà) — ”

Poirot cut him short (Ïóàðî ïðåðâàë åãî). “Did you ever come across any members of the Armstrong family (âû êîãäà-íèáóäü âñòðå÷àëèñü ñ êåì-íèáóäü èç ÷ëåíîâ ñåìüè Àðìñòðîíãîâ)?”

“No, I do not think so (íåò, íå äóìàþ). It is difficult to say (òðóäíî ñêàçàòü). I will give you some figures (ÿ ïðèâåäó âàì íåêîòîðûå öèôðû). Last year alone (òîëüêî çà ïîñëåäíèé = ïðîøëûé ãîä), I sold (ÿ ïðîäàë) — ”

“Monsieur, pray confine yourself to the point (ìñüå, ïðîøó âàñ, ïðèäåðæèâàéòåñü ñóòè äåëà; to confine — îãðàíè÷èâàòü; point — òî÷êà; ãëàâíîå, ñóòü, ñìûñë, «ñîëü»).”

The Italian’s hands flung themselves out (èòàëüÿíåö âñïëåñíóë ðóêàìè; to fling (flung) — ìåòàòü, áðîñàòü, ðàçáðàñûâàòü) in a gesture of apology (èçâèíÿÿñü: «æåñòîì, âûðàæàþùèì èçâèíåíèå»). “A thousand pardons (òûñÿ÷à èçâèíåíèé).”

civilization [sv()laze()n] figure [f] apology [pld]

“Ah! well, these things they happen,” he said philosophically, “in a great civilisation such as America — ”

Poirot cut him short. “Did you ever come across any members of the Armstrong family?”

“No, I do not think so. It is difficult to say. I will give you some figures. Last year alone, I sold — ”

“Monsieur, pray confine yourself to the point.”

The Italian’s hands flung themselves out in a gesture of apology. “A thousand pardons.”

“Tell me, if you please, your exact movements (ñêàæèòå ìíå, ïîæàëóéñòà, âàøè òî÷íûå äåéñòâèÿ) last night from dinner onwards (ïðîøëûì âå÷åðîì: «íî÷üþ», ïîñëå óæèíà).”

“With pleasure (ñ óäîâîëüñòâèåì). I stay here as long as I can (ÿ îñòàâàëñÿ òóò /â ðåñòîðàíå/ òàê äîëãî, êàê òîëüêî ìîã). It is more amusing (çäåñü âåñåëåå; to amuse — çàáàâëÿòü, ðàçâëåêàòü; ïðîâîäèòü /ïðèÿòíî/ âðåìÿ, êîðîòàòü äîñóã). I talk to the American gentleman at my table (ÿ ðàçãîâàðèâàë ñ àìåðèêàíöåì, /÷òî ñèäåë/ çà ìîèì ñòîëèêîì). He sells typewriter ribbons (îí ïðîäàåò ëåíòû äëÿ ïèøóùèõ ìàøèíîê). Then I go back to my compartment (çàòåì ÿ âåðíóëñÿ â ñâîå êóïå). It is empty (òàì áûëî ïóñòî). The miserable John Bull (ýòîò æàëêèé Äæîí Áóëëü; John Bull — Äæîí Áóëëü /ïðîçâèùå òèïè÷íîãî àíãëè÷àíèíà/) who shares it with me (÷òî åäåò âìåñòå ñî ìíîé; to share — äåëèòü, ðàñïðåäåëÿòü; ïîëüçîâàòüñÿ ñîâìåñòíî) is away attending to his master (ïðèñëóæèâàë ñâîåìó õîçÿèíó; to attend — ïîñåùàòü, ïðèñóòñòâîâàòü; îáñëóæèâàòü). At last he comes back (íàêîíåö îí âîçâðàùàåòñÿ) — very long face as usual (ñ óíûëîì ëèöîì, êàê îáû÷íî; long face — óíûëîå, ìðà÷íîå ëèöî, âûòÿíóòàÿ ôèçèîíîìèÿ). He will not talk (ðàçãîâàðèâàòü îí íå ñòàë) — says yes and no (ãîâîðèò «äà» è «íåò»). A miserable race, the English (æàëêèé íàðîä, ýòè àíãëè÷àíå; race — ðàñà; ðîä, ïëåìÿ, íàðîä) — not sympathetic (íåáëàãîæåëàòåëüíûé; sympathetic — ñî÷óâñòâåííûé, ïîëíûé ñî÷óâñòâèÿ; áëàãîæåëàòåëüíûé, îäîáðèòåëüíûé). He sits in the corner (îí ñàäèòñÿ â óãîë), very stiff (î÷åíü íàïðÿæåííûé), reading a book (/è/ ÷èòàåò êíèãó). Then the conductor comes and makes our beds (çàòåì ïðèõîäèò ïðîâîäíèê è ñòåëèò íàøè ïîñòåëè).”

pleasure [ple] amusing [mju:z] typewriter [taprat]miserable [mz()rb()l] sympathetic [smpetk]

“Tell me, if you please, your exact movements last night from dinner onwards.”

“With pleasure. I stay here as long as I can. It is more amusing. I talk to the American gentleman at my table. He sells typewriter ribbons. Then I go back to my compartment. It is empty. The miserable John Bull who shares it with me is away attending to his master. At last he comes back — very long face as usual. He will not talk — says yes and no. A miserable race, the English — not sympathetic. He sits in the corner, very stiff, reading a book, Then the conductor comes and makes our beds.”

“Nos. 4 and 5 (/ìåñòà/ íîìåð 4 è 5),” murmured Poirot (ïðîáîðìîòàë Ïóàðî).

“Exactly — the end compartment (òî÷íî — ïîñëåäíåå êóïå; end — êîíåö, îêîí÷àíèå; êîíåö, êðàé, ñòîðîíà). Mine is the upper berth (ìîÿ ïîëêà âåðõíÿÿ). I get up there (ÿ çàáèðàþñü íà íåå). I smoke and read (ÿ êóðþ è ÷èòàþ). The little Englishman has, I think, the toothache (ó ýòîãî íè÷òîæíîãî àíãëè÷àíèíà áîëÿò, ìíå ïîäóìàëîñü, çóáû; little — ìàëåíüêèé, íåáîëüøîé /î ðàçìåðå/; íè÷òîæíûé, îãðàíè÷åííûé; toothache — çóáíàÿ áîëü; ache — áîëü /ïðîäîëæèòåëüíàÿ, òóïàÿ/). He gets out a little bottle of stuff (îí äîñòàåò ìàëåíüêóþ áóòûëî÷êó ñ êàêèì-òî ëåêàðñòâîì; stuff — ìàòåðèàë, âåùåñòâî; ðàçã. ëåêàðñòâî, ìèêñòóðà) that smells very strong (ñ î÷åíü ñèëüíûì /íåïðèÿòíûì/ çàïàõîì: «êîòîðîå âîíÿåò î÷åíü ñèëüíî»; to smell — îáîíÿòü, ÷óâñòâîâàòü çàïàõ; äóðíî ïàõíóòü, âîíÿòü). He lies in bed and groans (è âîò îí ëåæèò â ïîñòåëè è ñòîíåò/îõàåò). Presently I sleep (âñêîðå ÿ çàñûïàþ). Whenever I wake I hear him groaning (è, âñÿêèé ðàç, êîãäà ÿ ïðîñûïàþñü, ÿ ñëûøó, êàê îí ñòîíåò).”

“Do you know if he left the carriage at all during the night (âû íå çíàåòå, îí âîîáùå ïîêèäàë êóïå íî÷üþ; during — â ïðîäîëæåíèå, â òå÷åíèå)?”

“I do not think so (íå äóìàþ). That, I should hear (ÿ áû ýòî óñëûøàë). The light from the corridor (ýòîò ñâåò èç êîðèäîðà /åñëè îòêðûòü äâåðü/) — one wakes up automatically (/îò íåãî/ àâòîìàòè÷åñêè ïðîñûïàåøüñÿ) thinking it is the customs examination at some frontier (äóìàÿ, ÷òî ýòî êàêîé-íèáóäü òàìîæåííûé äîñìîòð íà î÷åðåäíîé ãðàíèöå).”

berth [b:] toothache [tu:ek] groan [rn] automatically [:tmtk()l] examination [zmne()n] frontier [frnt]

“Nos. 4 and 5,” murmured Poirot.

“Exactly — the end compartment. Mine is the upper berth. I get up there. I smoke and read. The little Englishman has, I think, the toothache. He gets out a little bottle of stuff that smells very strong. He lies in bed and groans. Presently I sleep. Whenever I wake I hear him groaning.”

“Do you know if he left the carriage at all during the night?”

“I do not think so. That, I should hear. The light from the corridor — one wakes up automatically thinking it is the customs examination at some frontier.”

“Did he ever speak of his master (îí êîãäà-íèáóäü ãîâîðèë î ñâîåì õîçÿèíå)? Ever express any animus against him (âûðàæàë ëè êàêóþ-íèáóäü íåäîáðîæåëàòåëüíîñòü ïî îòíîøåíèþ ê íåìó)?”

“I tell you he did not speak (ãîâîðþ æå âàì, îí íå ðàçãîâàðèâàë /ñî ìíîé/). He was not sympathetic (îí íå áûë áëàãîæåëàòåëüíî /íàñòðîåí/). A fish (/íåì/ êàê ðûáà).”

“You smoke, you say — a pipe, cigarettes, cigar (÷òî âû êóðèòå — òðóáêó, ñèãàðåòû, ñèãàðó)?”

“Cigarettes only (òîëüêî ñèãàðåòû).”

Poirot proffered one (Ïóàðî ïðåäëîæèë /åìó ñèãàðåòó/), which he accepted (êîòîðóþ òîò âçÿë; to accept — ïðèíèìàòü, áðàòü /ïðåäëîæåííîå/).

“Have you ever been to Chicago (âû êîãäà-íèáóäü áûëè â ×èêàãî)?” inquired M. Bouc (ñïðîñèë ìñüå Áóê).

“Oh! yes — a fine city (ïðåêðàñíûé ãîðîä) — but I know best New York, Cleveland, Detroit (íî ÿ ëó÷øå çíàþ Íüþ-Éîðê, Êëèâëåíä, Äåòðîéò). You have been to the States (âû áûâàëè â Øòàòàõ)? No? You should go (íåò? âàì ñëåäóåò ïîåõàòü). It (ýòî) — ”

animus [nms] sympathetic [smpetk] accepted [kseptd] inquire [nkwa]

“Did he ever speak of his master? Ever express any animus against him?”

“I tell you he did not speak. He was not sympathetic. A fish.”

“You smoke, you say — a pipe, cigarettes, cigar?”

“Cigarettes only.”

Poirot proffered one, which he accepted.

“Have you ever been to Chicago?” inquired M. Bouc.

“Oh! yes — a fine city — but I know best New York, Cleveland, Detroit. You have been to the States? No? You should go. It — ”

Poirot pushed a sheet of paper across to him (Ïóàðî ïîäòîëêíóë åìó ëèñòîê áóìàãè ÷åðåç /ñòîë/; sheet — ïðîñòûíÿ; ëèñò /áóìàãà, ìåòàëë è ò.ï./).

“If you will sign this (ïîäïèøèòå ýòî), and put your permanent address, please (è óêàæèòå âàø ïîñòîÿííûé àäðåñ, ïîæàëóéñòà).”

The Italian wrote with a flourish (èòàëüÿíåö íàïèñàë /÷òî åãî ïîïðîñèëè/ ñ ðîñ÷åðêàìè; flourish — ðàçìàõèâàíèå, ïîìàõèâàíèå; ðîñ÷åðê /ïåðà/, çàâèòóøêà). Then he rose (çàòåì îí ïîäíÿëñÿ), his smile as engaging as ever (ñ êàê âñåãäà îáâîðîæèòåëüíîé óëûáêîé; engaging — ïðèâëåêàòåëüíûé, îáàÿòåëüíûé, ðàñïîëàãàþùèé).

“That is all (ýòî âñå)? You do not require me further (ÿ âàì áîëüøå íå íóæåí; to require — òðåáîâàòü, ïðèêàçûâàòü; íóæäàòüñÿ /â ÷åì-ëèáî/, òðåáîâàòü /÷åãî-ëèáî/)? Good day to you, Messieurs (äî ñâèäàíèÿ: «äîáðîãî âàì äíÿ», ãîñïîäà). I wish we could get out of the snow (ìíå áû õîòåëîñü, ÷òîáû ìû ñìîãëè âûáðàòüñÿ èç ñíåæíûõ /çàíîñîâ/). I have an appointment in Milan (ó ìåíÿ /íàçíà÷åíà/ âñòðå÷à â Ìèëàíå; appointment — íàçíà÷åíèå /íà äîëæíîñòü, ïîñò/; âñòðå÷à, ñâèäàíèå).” He shook his head sadly (îí ïå÷àëüíî ïîêà÷àë ãîëîâîé; sad — ïå÷àëüíûé, ãðóñòíûé, óíûëûé). “I shall lose the business (ÿ óïóùó êëèåíòà; to lose (lost) — òåðÿòü; óïóñòèòü, íå âîñïîëüçîâàòüñÿ; business — äåëî; àìåð. êëèåíòóðà, ïîêóïàòåëè).” He departed (îí óäàëèëñÿ).

Poirot looked at his friend (Ïóàðî âçãëÿíóë íà ñâîåãî äðóãà).

permanent [p:mnnt] flourish [flr] require [rkwa]

Poirot pushed a sheet of paper across to him.

“If you will sign this, and put your permanent address, please.”

The Italian wrote with a flourish. Then he rose, his smile as engaging as ever.

“That is all? You do not require me further? Good day to you, Messieurs. I wish we could get out of the snow. I have an appointment in Milan.” He shook his head sadly. “I shall lose the business.” He departed.

Poirot looked at his friend.

“He has been a long time in America (îí äîëãîå âðåìÿ ïðîáûë â Àìåðèêå),” said M. Bouc, “and he is an Italian (è îí èòàëüÿíåö), and Italians use the knife (à èòàëüÿíöû âñåãäà èñïîëüçóþò íîæ)! And they are great liars (è âñå îíè âåëèêèå ëæåöû)! I do not like Italians (ÿ íå ëþáëþ èòàëüÿíöåâ).”

a se voit (ôð. îíî è âèäíî),” said Poirot with a smile (ñêàçàë Ïóàðî ñ óëûáêîé). “Well, it may be that you are right (÷òî æ, ìîæåò áûòü, âû è ïðàâû), but I will point out to you, my friend (íî ÿ îáðàùó âàøå âíèìàíèå íà òî, äðóã ìîé; to point (out) — óêàçûâàòü, ïîêàçûâàòü; óêàçûâàòü, îáðàùàòü ÷üå-ëèáî âíèìàíèå, ïîä÷åðêèâàòü), that there is absolutely no evidence (÷òî íåò ñîâåðøåííî íèêàêèõ óëèê; evidence — îñíîâàíèå, äàííûå; þð. äîêàçàòåëüñòâî, óëèêà) against the man (ïðîòèâ ýòîãî ÷åëîâåêà).”

knife [naf] liar [la] absolutely [bslu:tl] evidence [evd()ns]

“He has been a long time in America,” said M. Bouc, “and he is an Italian, and Italians use the knife! And they are great liars! I do not like Italians.”

“a se voit,” said Poirot with a smile “Well, it may be that you are right, but I will point out to you, my friend, that there is absolutely no evidence against the man.”

<>“And what about the psychology (à êàê æå íàñ÷åò ïñèõîëîãèè)? Do not Italians stab (ðàçâå èòàëüÿíöû /îáû÷íî/ íå ðåæóò /ñâîèõ âðàãîâ/; to stab — íàíîñèòü óäàð /íîæîì, êèíæàëîì/)?”

“Assuredly (êîíå÷íî),” said Poirot. “Especially in the heat of a quarrel (îñîáåííî â ðàçãàð ññîðû; heat — æàðà, çíîé; ðàçãàð). But this — this is a different kind of crime (íî ýòî — ýòî ñîâåðøåííî äðóãîé òèï ïðåñòóïëåíèÿ). I have the little idea, my friend (åñòü ó ìåíÿ òàêàÿ èäåéêà/ìûñëèøêà), that this is a crime very carefully planned (÷òî ýòî ïðåñòóïëåíèå î÷åíü òùàòåëüíî ñïëàíèðîâàíî) and staged (è îðãàíèçîâàíî; to stage — ñòàâèòü /ïüåñó, îïåðó/; îðãàíèçîâûâàòü, îñóùåñòâëÿòü). It is a far-sighted (ýòî äàëüíîâèäíîå = õîðîøî ïðîäóìàííîå; far-sighted — äàëüíîçîðêèé; äàëüíîâèäíûé, ïðîçîðëèâûé), long-headed crime (è õèòðîå ïðåñòóïëåíèå; long-headed — äëèííîãîëîâûé; ïðîíèöàòåëüíûé, õèòðûé). it is not — how shall I express it (ýòî íå — êàê áû ýòî ñêàçàòü; to express — âûðàæàòü; âûñêàçûâàòüñÿ, âûðàæàòü ñâîè ìûñëè)? — a Latin crime (íå ëàòèíñêîå ïðåñòóïëåíèå = íå â äóõå þæàí; Latin — ëàòèíñêèé ÿçûê; ëàòèíîàìåðèêàíåö èëè æèòåëü þæíîé ÷àñòè Åâðîïû). It is a crime that shows traces of a cool (ýòî ïðåñòóïëåíèå, â êîòîðîì âèäíû ñëåäû õëàäíîêðîâíîãî; to show — ïîêàçûâàòü; trace — ñëåä, îòïå÷àòîê /íîãè, ëàïû è ò.ï./; ñëåäû, ïðèçíàêè /÷åãî-ëèáî/; cool — ïðîõëàäíûé, ñâåæèé; ñïîêîéíûé, íåâîçìóòèìûé, õëàäíîêðîâíûé), resourceful (íàõîä÷èâîãî/èçîáðåòàòåëüíîãî; resource — ìàòåðèàëüíûå çàïàñû, ðåñóðñû; íàõîä÷èâîñòü, èçîáðåòàòåëüíîñòü), deliberate brain (ðàñ÷åòëèâîãî óìà; deliberate — ïðåäíàìåðåííûé, ïðåäóìûøëåííûé; îáäóìàííûé, âçâåøåííûé; brain — ãîëîâíîé ìîçã; ðàññóäîê, èíòåëëåêò, óì) — I think an Anglo-Saxon brain (ÿ äóìàþ, àíãëîñàêñîíñêîãî óìà) — ”

He picked up the last two passports (îí âçÿë â ðóêè äâà ïîñëåäíèõ ïàñïîðòà; to pick up — ïîäíèìàòü, ïîäáèðàòü).

“Let us now (òåïåðü äàâàéòå; let — ïóñêàòü; let us — äàâàéòå),” he said, “see Miss Mary Debenham (âñòðåòèìñÿ ñ ìèññ Äåáåíõýì).”

psychology [sakld] assuredly [()rdl] quarrel [kwrl] far-sighted [f:satd] longheaded [lhedd] resourceful [rz:sf()l, rs:s-] deliberate [dlb()rt] Anglo-Saxon [lsks()n]

“And what about the psychology? Do not Italians stab?”

“Assuredly,” said Poirot. “Especially in the heat of a quarrel. But this — this is a different kind of crime. I have the little idea, my friend, that this is a crime very carefully planned and staged. It is a far-sighted, long-headed crime. it is not — how shall I express it? — a Latin crime. It is a crime that shows traces of a cool, resourceful, deliberate brain — I think an Anglo-Saxon brain — ”

He picked up the last two passports.

“Let us now,” he said, “see Miss Mary Debenham.”

11. The Evidence Of Miss Debenham

(ïîêàçàíèÿ ìèññ Äåáåíõýì)

When Mary Debenham entered the dining-car (êîãäà Ìýðè Äåáåíõýì âîøëà â âàãîí-ðåñòîðàí) she confirmed Poirot’s previous estimate of her (Ïóàðî óáåäèëñÿ, ÷òî îí íå îøèáñÿ â ñâîåé ïåðâîíà÷àëüíîé îöåíêå /îòíîñèòåëüíî íåå/: «îíà ïîäòâåðäèëà ïðåäâàðèòåëüíóþ îöåíêó Ïóàðî»; previous — ïðåäûäóùèé, ïðåäøåñòâóþùèé). She was very neatly dressed (îíà áûëà î÷åíü îïðÿòíî/àêêóðàòíî îäåòà) in a little black suit (â /ìàëåíüêèé = ïî ôèãóðå/ ÷åðíûé êîñòþì) with a French grey shirt (è ñåðóþ /ôðàíöóçñêóþ/ áëóçêó), and the smooth waves of her dark head (è åå ãëàäêèå òåìíûå çàâèòûå âîëîñû: «è ãëàäêèå âîëíû åå òåìíûõ âîëîñ»; unruffled — ãëàäêèé /î ïîâåðõíîñòè ìîðÿ è ò.ï./; wave — âîëíà, âàë; âîëíèñòîñòü, çàâèâêà; to wave — ðàçâåâàòüñÿ /î ôëàãå/; âèòüñÿ, çàâèâàòü /î âîëîñàõ/; waved — âîëíèñòûé /î ëèíèè, âîëîñàõ/; head — ãîëîâà) were neat and unruffled (áûëè àêêóðàòíî è ãëàäêî /óëîæåíû/; to ruffle — ãîôðèðîâàòü, ïëîèòü, ñîáèðàòü â ñêëàäêè). Her manner was as calm (åå ïîâåäåíèå áûëî òàêèì æå ñïîêîéíûì; manner — ìåòîä, ñïîñîá; ìàíåðà, ïîâåäåíèå; calm — áåçâåòðåííûé, òèõèé /î ïîãîäå è ò.ï./; ñïîêîéíûé, ðîâíûé) and unruffled as her hair (è íåâîçìóòèìûì, êàê è åå ïðè÷åñêà; unruffled — ãëàäêèé /î ïîâåðõíîñòè ìîðÿ è ò.ï./; ñïîêîéíûé, òèõèé; hair — âîëîñû).

She sat down opposite Poirot and M. Bouc (îíà ñåëà íàïðîòèâ Ïóàðî è ìñüå Áóêà) and looked at them inquiringly (è âîïðîñèòåëüíî âçãëÿíóëà íà íèõ; to inquire — ñïðàøèâàòü, óçíàâàòü).

previous [pri:vs] suit [s(j)u:t] unruffled [nrf()ld] calm [k:m] inquiringly [nkwa()rl]

When Mary Debenham entered the dining-car she confirmed Poirot’s previous estimate of her. She was very neatly dressed in a little black suit with a French grey shirt, and the smooth waves of her dark head were neat and unruffled. Her manner was as calm and unruffled as her hair.

She sat down opposite Poirot and M. Bouc and looked at them inquiringly.

“Your name is Mary Hermione Debenham (âàñ çîâóò Ìýðè Õåðìèîíà Äåáåíõýì; name — èìÿ; ôàìèëèÿ) and you are twenty-six years of age (è âàì äâàäöàòü øåñòü ëåò)?” began Poirot (íà÷àë Ïóàðî).

“Yes.”

“English (àíãëè÷àíêà)?”

“Yes.”

“Will you be so kind, Mademoiselle (áóäüòå òàê ëþáåçíû, ìàäåìóàçåëü), as to write down your permanent address (çàïèøèòå âàø ïîñòîÿííûé àäðåñ) on this piece of paper (íà ýòîì ëèñòå áóìàãè; piece — êóñîê, ÷àñòü; îòäåëüíûé ïðåäìåò, øòóêà)?”

She complied (îíà íàïèñàëà; to comply — èñïîëíÿòü; ïîä÷èíÿòüñÿ). Her writing was clear and legible (åå ïî÷åðê áûë ÷åòêèì è ðàçáîð÷èâûì; writing — ïèñàíèå /îñîá. îò ðóêè/; ïî÷åðê; clear — ÿñíûé, ñâåòëûé; îò÷åòëèâûé).

permanent [p:mnnt] address [dres] clear [kl] legible [ledb()l]

“Your name is Mary Hermione Debenham and you are twenty-six years of age?” began Poirot.

“Yes.”

“English?”

“Yes.”

“Will you be so kind, Mademoiselle, as to write down your permanent address on this piece of paper?”

She complied. Her writing was clear and legible.

“And now, Mademoiselle, what have you to tell us of the affair last night (à òåïåðü, ìàäåìóàçåëü, ÷òî âû ìîæåòå ðàññêàçàòü íàì î ñîáûòèÿõ ïðîøëîé íî÷è)?”

“I am afraid I have nothing to tell you (áîþñü, ìíå âàì íå÷åãî ðàññêàçûâàòü). I went to bed (ÿ ëåãëà /â ïîñòåëü/) and slept (è çàñíóëà).”

“Does it distress you very much, Mademoiselle (âàñ ñèëüíî òðåâîæèò, ìàäåìóàçåëü; to distress — ïðè÷èíÿòü ãîðå; ìó÷èòü, òðåâîæèò), that a crime has been committed on this train (òî, ÷òî â /ýòîì/ ïîåçäå ïðîèçîøëî ïðåñòóïëåíèå; to commit — ñîâåðøàòü /÷àùå äóðíîå/)?”

The question was clearly unexpected (âîïðîñ áûë ÿâíî íåîæèäàííûì; clearly — îò÷åòëèâî; ÿñíî; to expect — îæèäàòü, æäàòü). Her grey eyes widened a little (åå ñåðûå ãëàçà ñëåãêà ðàñøèðèëèñü).

“I don’t quite understand you (ÿ âàñ íå âïîëíå ïîíèìàþ)?”

afraid [fred] distress [dstres] committed [kmtd] unexpected [nkspektd] widen [wadn]

“And now, Mademoiselle, what have you to tell us of the affair last night?”

“I am afraid I have nothing to tell you. I went to bed and slept.”

“Does it distress you very much, Mademoiselle, that a crime has been committed on this train?”

The question was clearly unexpected. Her grey eyes widened a little.

“I don’t quite understand you?”

“It was a perfectly simple question (ýòî áûë ñîâåðøåííî ïðîñòîé âîïðîñ) that I asked you, Mademoiselle (êîòîðûé ÿ âàì çàäàë, ìàäåìóàçåëü). I will repeat it (ÿ ïîâòîðþ åãî). Are you very much distressed (âû î÷åíü ñèëüíî ðàññòðîåíû èç-çà òîãî) that a crime should have been committed on this train (÷òî ïðåñòóïëåíèå áûëî ñîâåðøåííî â ýòîì ïîåçäå)?”

“I have not really thought about it from that point of view (ÿ, íà ñàìîì äåëå, íå äóìàëà îá ýòîì /ïðåñòïëåíèè/ ñ ýòîé òî÷êè çðåíèÿ). No, I cannot say that I am at all distressed (íåò, íå ìîãó ñêàçàòü, ÷òî ÿ õîòü êàê-òî îáåñïîêîåíà).”

“A crime (ïðåñòóïëåíèå) — it is all in the day’s work to you, eh (äëÿ âàñ â ïîðÿäêå âåùåé, äà; all in the day's work — âñå íîðìàëüíî, ýòî âñå â ïîðÿäêå âåùåé; work — ðàáîòà, òðóä)?”

“It is naturally an unpleasant thing to have happen (åñòåñòâåííî, ñëó÷èëîñü íåïðèÿòíîå ñîáûòèå),” said Mary Debenham quietly (ñïîêîéíî ñêàçàëà Ìýðè Äåáåíõýì).

perfectly [p:fktl] repeat [rpi:t] unpleasant [nplez()nt]

“It was a perfectly simple question that I asked you, Mademoiselle. I will repeat it. Are you very much distressed that a crime should have been committed on this train?”

“I have not really thought about it from that point of view. No, I cannot say that I am at all distressed.”

“A crime — it is all in the day’s work to you, eh?”

“It is naturally an unpleasant thing to have happen,” said Mary Debenham quietly.

“You are very Anglo-Saxon, Mademoiselle (âû òèïè÷íàÿ/÷èñòîêðîâíàÿ àíãëè÷àíêà, ìàäåìóàçåëü; Anglo-Saxon — àíãëîñàêñ; ÷èñòîêðîâíûé àíãëè÷àíèí). Vous n’prouvez pas d’motion (ôð. âû íå îäîáðÿåòå ïðîÿâëåíèÿ ÷óâñòâ).”

She smiled a little (îíà ñëåãêà óëûáíóëàñü). “I am afraid I cannot have hysterics (áîþñü, ÿ íå ñìîãó óñòðîèòü èñòåðèêó) to prove my sensibility (÷òîáû äîêàçàòü íà÷èëèå ó ìåíÿ ÷óâñòâ/ýìîöèé). After all, people die every day (â êîíöå êîíöîâ, ëþäè óìèðàþò êàæäûé äåíü).”

“They die, yes (äà, îíè óìèðàþò). But murder is a little more rare (íî óáèéñòâî íåìíîãî áîëåå ðåäêîå /ñîáûòèå/).”

“Oh, certainly (î, êîíå÷íî).”

“You were not acquainted (âû íå áûëè çíàêîìû; to acquaint — çíàêîìèòü; ïîçíàêîìèòü, ïðåäñòàâèòü) with the dead man (ñ ïîêîéíûì; dead — ìåðòâûé, óìåðøèé)?”

“I saw him for the first time (ÿ óâèäåëà åãî âïåðâûå: «â ïåðâûé ðàç») when lunching here yesterday (â÷åðà çà îáåäîì; lunch — ëåí÷, âòîðîé çàâòðàê; to lunch — çàâòðàêàòü èëè îáåäàòü â ñåðåäèíå äíÿ).”

hysterics [hsterks] sensibility [sensblt] acquaint [kwent]

“You are very Anglo-Saxon, Mademoiselle. Vous n’prouvez pas d’motion.”

She smiled a little. “I am afraid I cannot have hysterics to prove my sensibility. After all, people die every day.”

“They die, yes. But murder is a little more rare.”

“Oh! certainly.”

“You were not acquainted with the dead man?”

“I saw him for the first time when lunching here yesterday.”

“And how did he strike you (è êàêîå îí ïðîèçâåë íà âàñ âïå÷àòëåíèå; to strike (struck; stricken) — óäàðÿòü, áèòü; ïîðàæàòü, ïðîèçâîäèòü âïå÷àòëåíèå, ïðèâëåêàòü âíèìàíèå)?”

“I hardly noticed him (åäâà ëè ÿ îáðàòèëà íà íåãî âíèìàíèå).”

“He did not impress you as an evil personality (îí íå ïðîèçâåë íà âàñ âïå÷àòëåíèå çëîãî ÷åëîâåêà)?”

She shrugged her shoulders slightly (îíà ñëåãêà ïîæàëà ïëå÷àìè). “Really, I cannot say I thought about it (ïðàâî æå, íå ìîãó ñêàçàòü, ÷òî ÿ äóìàëà îá ýòîì; really — äåéñòâèòåëüíî, â äåéñòâèòåëüíîñòè; /êàê ââîäíîå ñëîâî/ ïðàâî, ïî ïðàâäå ãîâîðÿ).”

Poirot looked at her keenly (Ïóàðî õèòðî âçãëÿíóë íà íåå; keen — îñòðûé, îñòðî îòòî÷åííûé; õèòðûé, ïðîíèöàòåëüíûé).

personality [p:snlt] shoulder [ld] slightly [slatl]

“And how did he strike you?”

“I hardly noticed him.”

“He did not impress you as an evil personality?”

She shrugged her shoulders slightly. “Really, I cannot say I thought about it.”

Poirot looked at her keenly.

“You are, I think, a little bit contemptuous (âû, ÿ äóìàþ, íåìíîãî ïðåçèðàåòå; contemptuous — ïðåçðèòåëüíûé, âûñîêîìåðíûé) of the way I prosecute my inquiries (òî, êàê ÿ ïðîâîæó ðàññëåäîâàíèå; way — ïóòü, äîðîãà; îáðàç äåéñòâèÿ, ìåòîä, ñïîñîá; to prosecute — âåñòè, ïðîâîäèòü; þð. ïðåñëåäîâàòü â ñóäåáíîì èëè óãîëîâíîì ïîðÿäêå, âåñòè äåëî, ïðîöåññ; inquiry — íàâåäåíèå ñïðàâîê; þð. ðàññëåäîâàíèå /äåëà/),” he said with a twinkle (ñêàçàë îí ñ /îçîðíûì/ îãîíüêîì â ãëàçàõ). “Not so, you think, would an English inquiry be conducted (âû äóìàåòå, ÷òî íå òàê ïðîâîäèëîñü áû àíãëèéñêîå ðàññëåäîâàíèå; to conduct — âåñòè, ñîïðîâîæäàòü /ïî ìóçåþ è ò.ï./; âåñòè, ïðîâîäèòü). There everything would be cut and dried (âñå áûëî áû ïî øàáëîíó; cut and dried — çàðàíåå ïîäãîòîâëåííûé; øàáëîííûé, ñòàíäàðòíûé: «íàðåçàíûé è âûñóøåííûé») — it would be all kept to the facts (âñå áû ïðèäåðæèâàëîñü ôàêòîâ; to keep (kept) — äåðæàòü, èìåòü; /to/ ïðèäåðæèâàòüñÿ /òåìû, èíñòðóêöèè è ò.ï./) — a well-ordered business (óïîðÿäî÷åííîå/õîðîøî îðãàíèçîâàííîå äåëî; to order — ïðèêàçûâàòü; ïðèâîäèòü â ïîðÿäîê). But I, Mademoiselle, have my little originalities (íî ó ìåíÿ, ìàäåìóàçåëü, åñòü ñâîè ïðè÷óäû; originality — ïîäëèííîñòü; ñàìîáûòíîñòü, îðèãèíàëüíîñòü; ÷óäà÷åñòâî). I look first at my witness (ñïåðâà ÿ ñìîòðþ íà /ìîåãî/ ñâèäåòåëÿ), I sum up his or her character (ñîñòàâëÿþ ìíåíèå î åãî èëè åå õàðàêòåðå; to sum up — ðåçþìèðîâàòü, ñóììèðîâàòü; îöåíèòü), and I frame my questions accordingly (è â ñîîòâåòñòâèè ñ ýòèì ÿ çàäàþ ñâîè âîïðîñû; to frame — ñîçäàâàòü; âûðàæàòü â ñëîâàõ, ôîðìóëèðîâàòü; accordingly — ñîîòâåòñòâåííî). just a little minute ago I am asking questions of a gentleman (âñåãî ëèøü ìèíóòó íàçàä ÿ çàäàþ âîïðîñû ãîñïîäèíó) who wants to tell me all his ideas on every subject (êîòîðûé æåëàåò ðàññêàçàòü ìíå âñå ñâîè ìûñëè ïî êàæäîìó ïðåäìåòó /ðàçãîâîðà/).

contemptuous [kntempts] prosecute [prskju:t] well-ordered [wel:dd] originality [rdnlt] accordingly [k:dl]

“You are, I think, a little bit contemptuous of the way I prosecute my inquiries,” he said with a twinkle. “Not so, you think, would an English inquiry be conducted. There everything would be cut and dried — it would be all kept to the facts — a well-ordered business. But I, Mademoiselle, have my little originalities. I look first at my witness, I sum up his or her character, and I frame my questions accordingly. just a little minute ago I am asking questions of a gentleman who wants to tell me all his ideas on every subject.

Well, him I keep strictly to the point (÷òî æ, åãî ÿ /çàñòàâëÿþ/ ãîâîðèòü ñòðîãî ïî ñóùåñòâó; to keep to the point — áëèæå ê äåëó, /ãîâîðèòü/ ïî ñóùåñòâó). I want him to answer yes or no (ÿ õî÷ó, ÷òî áû îí îòâå÷àë «äà» èëè «íåò»). This or that (ëèáî òî, ëèáî äðóãîå). And then you come (è çàòåì ïðèõîäèòå âû). I see at once that you will be orderly (ÿ ñðàçó æå âèæó, ÷òî âû áóäåòå ñïîêîéíû; orderly — àêêóðàòíûé, îïðÿòíûé; ñïîêîéíûé, ïîñëóøíûé) and methodical (è ìåòîäè÷íû; methodical — ñèñòåìàòè÷åñêèé; ìåòîäè÷íûé). You will confine yourself (âû áóäåòå ïðèäåðæèâàòüñÿ; to confine — îãðàíè÷èâàòü) to the matter in hand (òîëüêî /òîãî, ÷òî îòíîñèòñÿ ê/ ýòîìó äåëó; in hand — â ðóêàõ, â íàëè÷èè; â ðàáîòå, â ñòàäèè ðàññìîòðåíèÿ). Your answers will be brief (âàøè îòâåòû áóäóò êðàòêèìè; brief — êîðîòêèé, íåäîëãèé) and to the point (è ïî äåëó; point — òî÷êà; ãëàâíîå, ñóòü, ñìûñë). And because, Mademoiselle, human nature is perverse (è îòòîãî, ìàäåìóàçåëü, ÷òî ÷åëîâå÷åñêàÿ ïðèðîäà êàïðèçíà; perverse — ïîðî÷íûé, èçâðàùåííûé; íåñãîâîð÷èâûé, ñâîåíðàâíûé), I ask of you quite different questions (ÿ çàäàþ âàì ñîâåðøåííî äðóãèå âîïðîñû). I ask what you feel, what you think (ÿ ñïðàøèâàþ î òîì, ÷òî âû ÷óâñòâóåòå, ÷òî âû äóìàåòå). It does not please you, this method (âàì íå íðàâèòñÿ ýòîò ìåòîä)?”

strictly [strktl] methodical [mdk()l] perverse [pv:s]

Well, him I keep strictly to the point. I want him to answer yes or no. This or that. And then you come. I see at once that you will be orderly and methodical. You will confine yourself to the matter in hand. Your answers will be brief and to the poit. And because, Mademoiselle, human nature is perverse, I ask of you quite different questions. I ask what you feel, what you think. It does not please you, this method?”

“If you will forgive my saying so (åñëè âû ìåíÿ èçâèíèòå, çà òî, ÷òî ÿ òàê ãîâîðþ), it seems somewhat of a waste of time (ýòîò /ìåòîä/ êàæåòñÿ ìíå ïóñòîé òðàòîé âðåìåíè; waste — ðàñòðà÷èâàíèå, íåíóæíàÿ èëè èçëèøíÿÿ òðàòà, ðàñòî÷èòåëüñòâî). Whether or not I liked Mr. Ratchett’s face (òî, íðàâèëîñü ëè ìíå ëèöî ìèñòåðà Ðýò÷åòòà èëè íåò) does not seem likely to be helpful in finding out (âðÿä ëè ïîìîæåò íàéòè; to find out — ðàçóçíàòü, âûÿñíèòü; ðàçîáëà÷èòü, óëè÷èòü /êîãî-ëèáî/) who killed him (åãî óáèéöó).”

“Do you know who the man Ratchett really was, Mademoiselle (çíàåòå ëè âû, êåì ýòîò ÷åëîâåê, Ðýò÷åòò, áûë íà ñàìîì äåëå, ìàäåìóàçåëü)?”

She nodded (îíà êèâíóëà). “Mrs. Hubbard has been telling everyone (ìèññèñ Õàááàðä óæå âñåì ðàññêàçàëà).”

“And what do you think of the Armstrong affair (à ÷òî âû äóìàåòå î äåëå Àðìñòðîíãîâ)?”

“It was quite abominable (ýòî áûëî ñîâåðøåííî óæàñíî),” said the girl crisply (ñêàçàëà äåâóøêà òâåðäî; crisp — õðóñòÿùèé, ðàññûï÷àòûé; ðåøèòåëüíûé /î ìàíåðå è ò.ï./; crisply — ðåøèòåëüíî, òâåðäî /ãîâîðèòü/).

Poirot looked at her thoughtfully (Ïóàðî çàäóì÷èâî ïîñìîòðåë íà íåå).

abominable [bmnb()l] crisply [krspl] thoughtfully [:tf()l]

“If you will forgive my saying so, it seems somewhat of a waste of time. Whether or not I liked Mr. Ratchett’s face does not seem likely to be helpful in finding out who killed him.”

“Do you know who the man Ratchett really was, Mademoiselle?”

She nodded. “Mrs. Hubbard has been telling everyone.”

“And what do you think of the Armstrong affair?”

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