Óáèéñòâî â «Âîñòî÷íîì ýêñïðåññå» Êðèñòè Àãàòà
“Yes, Monsieur. The same one as this — the No. 3 (â òàêîå æå êóïå /êàê è ýòî/ — íîìåð 3)?”
“No,” said Poirot before his friend could reply (ñêàçàë Ïóàðî, ïðåæäå, ÷åì åãî äðóã óñïåë: «ñìîã» îòâåòèòü). “I think it would be better for Madame (ìíå êàæåòñÿ, ÷òî äëÿ ìàäàì áóäåò ëó÷øå) to have a different number altogether (åñëè è íîìåð ó åå êóïå áóäåò äðóãîé; different — ðàçëè÷íûé; èíîé, äðóãîé; number — ÷èñëî, êîëè÷åñòâî; (No.) íîìåð /äîìà, êóïå, êàþòû, àóäèòîðèè è ò.ï./). The No. 12, for instance (íàïðèìåð, /êóïå/ ïîä íîìåðîì 12).”
“Bien, Monsieur (õîðîøî, ìñüå).”
The conductor seized the luggage (ïðîâîäíèê ñõâàòèë áàãàæ). Mrs. Hubbard turned gratefully to Poirot (ìèññèñ Õàááàðä ïðèçíàòåëüíî îáðàòèëàñü ê Ïóàðî; to turn /to smb./ — ïîâîðà÷èâàòü; îáðàùàòüñÿ /ê êîìó-ëèáî/; grateful — áëàãîäàðíûé, ïðèçíàòåëüíûé; gratefully — áëàãîäàðíî, ñ áëàãîäàðíîñòüþ).
vacant [veknt] seize [si:z] gratefully [retf()l]
“Michel,” called M. Bouc. “Move this baggage into a vacant compartment in the Athens-Paris coach.”
“Yes, Monsieur. The same one as this — the No. 3?”
“No,” said Poirot before his friend could reply. “I think it would be better for Madame to have a different number altogether. The No. 12, for instance.”
“Bien, Monsieur.”
The conductor seized the luggage. Mrs. Hubbard turned gratefully to Poirot.
“That’s very kind and delicate of you (ýòî î÷åíü ëþáåçíî è òàêòè÷íî ñ âàøåé ñòîðîíû; kind — äîáðûé; ëþáåçíûé, âíèìàòåëüíûé; delicate — óòîí÷åííûé, èçûñêàííûé; ó÷òèâûé, òàêòè÷íûé, âåæëèâûé). I appreciate it, I assure you (ÿ /âàì/ ïðèçíàòåëüíà, óâåðÿþ âàñ; to appreciate — öåíèòü, âûñîêî ñòàâèòü; áûòü ïðèçíàòåëüíûì, áëàãîäàðíûì /çà ÷òî-ëèáî/).”
“Do not mention it, Madame (íå ñòîèò áëàãîäàðíîñòè, ìàäàì; to mention — óïîìèíàòü, ññûëàòüñÿ íà). We will come with you (ìû ïîéäåì /âìåñòå/ ñ âàìè) and see you comfortably installed (è óáåäèìñÿ, ÷òî âàñ óäîáíî óñòðîèëè; to install — îôèöèàëüíî ââîäèòü â äîëæíîñòü; óñòðàèâàòü, ïîìåùàòü).”
Mrs. Hubbard was escorted by the three men (òðîå ìóæ÷èí ïðîâîäèëè ìèññèñ Õàááàðä: «ìèññèñ Õàááàðä áûëà ñîïðîâîæäåíà òðåìÿ ìóæ÷èíàìè»; to escort — ñîïðîâîæäàòü; ïðîâîæàòü) to her new home (äî åå íîâîãî æèëèùà; home — äîì, æèëèùå, îáèòàëèùå). She looked round her happily (îíà ñ÷àñòëèâî îãëÿäåëàñü âîêðóã). “This is fine (çäåñü î÷åíü õîðîøî: «ýòî ïðåêðàñíîå/êóïå/»; fine — ÿñíûé, õîðîøèé /î ïîãîäå/; ïðåêðàñíûé, ïðåâîñõîäíûé).”
“It suits you, Madame (êóïå: «îíî» âàñ óñòðàèâàåò, ìàäàì; to suit — óäîâëåòâîðÿòü òðåáîâàíèÿì; ïîäõîäèòü, óñòðàèâàòü)? It is, you see, exactly like the compartment you have left (îíî, êàê âû âèäèòå, ñîâåðøåííî òàêîå æå, êàê òî ñàìîå êóïå, êîòîðîå âû /òîëüêî ÷òî/ ïîêèíóëè).”
appreciate [pri:et] install [nst:l] suit [s(j)u:t]
“That’s very kind and delicate of you. I appreciate it, I assure you.”
“Do not mention it, Madame. We will come with you and see you comfortably installed.”
Mrs. Hubbard was escorted by the three men to her new home. She looked round her happily. “This is fine.”
“It suits you, Madame? It is, you see, exactly like the compartment you have left.”
“That’s so (âåðíî: «ýòî òàê») — only it faces the other way (òîëüêî îíî îáðàùåíî â äðóãóþ ñòîðîíó /ïî õîäó äâèæåíèÿ, îòíîñèòåëüíî ëîêîìîòèâà/; to face — íàõîäèòüñÿ ëèöîì ê; áûòü îáðàùåííûì ê). But that doesn’t matter (íó, äà ýòî íå âàæíî; to matter — /÷àùå â îòðèö. è âîïðîñ. ïðåäëîæåíèÿõ/ èìåòü çíà÷åíèå), for these trains go first one way (ïîòîìó ÷òî ýòè ïîåçäà åäóò ñíà÷àëà â îäíó ñòîðîíó; way — ïóòü, äîðîãà; íàïðàâëåíèå) and then the other (è çàòåì â äðóãóþ). I said to my daughter (ÿ ñêàçàëà ñâîåé äî÷åðè), ‘I want a carriage facing the engine (ìíå íóæíî êóïå /ñî ñïàëüíûì ìåñòîì/ îáðàùåííûì ê ëîêîìîòèâó = ÿ õî÷ó åõàòü ïî õîäó ïîåçäà; to want — õîòåòü, æåëàòü; íóæäàòüñÿ /â ÷åì-ëèáî/; engine — ìàøèíà, äâèãàòåëü; ëîêîìîòèâ, ïàðîâîç).’ And she said (à îíà ñêàçàëà), ‘Why, Mamma, that’ll be no good to you (÷òî òû, ìàìà, ýòî áåñïîëåçíî: «îò ýòîãî òåáå íå áóäåò íèêàêîãî òîëêó»; good — äîáðî, áëàãî; ïîëüçà), for if you go to sleep one way (ïîòîìó ÷òî åñëè òû ëîæèøüñÿ ñïàòü /è åäåøü/ â îäíîì íàïðàâëåíèè), when you wake up, the train’s going the other (êîãäà òû ïðîñíåøüñÿ, ïîåçä áóäåò åõàòü â äðóãîì)!’ And it was quite true what she said (è ýòî ñîâåðøåííî âåðíî, òî, ÷òî îíà ñêàçàëà). Why, last evening we went into Belgrade one way (âåäü ïðîøëûì âå÷åðîì ìû âúåõàëè â Áåëãðàä â îäíîì íàïðàâëåíèè) and out the other (è âûåõàëè óæå â äðóãîì).”
“At any rate, Madame (â ëþáîì ñëó÷àå, ìàäàì; rate — íîðìà, ðàçìåð; at any rate — ïî ìåíüøåé ìåðå, â ëþáîì ñëó÷àå), you are quite happy (âû âïîëíå äîâîëüíû; happy — ñ÷àñòëèâûé; äîâîëüíûé, âåñåëûé) and contented now (è óäîâëåòâîðåíû òåïåðü; contented — äîâîëüíûé, óäîâëåòâîðåííûé)?”
true [tru:] happy [hp] contented [kntentd]
“That’s so — only it faces the other way. But that doesn’t matter, for these trains go first one way and then the other. I said to my daughter, ‘I want a carriage facing the engine.’ And she said, ‘Why, Mamma, that’ll be no good to you, for if you go to sleep one way, when you wake up, the train’s going the other!’ And it was quite true what she said. Why, last evening we went into Belgrade one way and out the other.”
“At any rate, Madame, you are quite happy and contented now?”
“Well, no, I wouldn’t say that (íó, íåò, ÿ áû òàê íå ñêàçàëà). Here we are stuck in a snowdrift (âîò, ìû çäåñü çàñòðÿëè â ñíåæíîì çàíîñå; to stick (stuck) — íàêëåèâàòü, ïðèêëåèâàòü; çàñòðåâàòü, óâÿçàòü) and nobody doing anything about it (è íèêòî íè÷åãî ñ ýòèì íå äåëàåò), and my boat sailing the day after to-morrow (à ìîé êîðàáëü îòïëûâàåò ïîñëåçàâòðà).”
“Madame,” said M. Bouc, “we are all in the same case (ìû âñå â òàêîì æå ïîëîæåíèè; case — ñëó÷àé, îáñòîÿòåëüñòâî; ïîëîæåíèå /äåë/) — every one of us (êàæäûé èç íàñ).”
“Well, that’s true (÷òî æ, ýòî ïðàâäà),” admitted Mrs. Hubbard (ñîãëàñèëàñü ìèññèñ Õàááàðä; to admit — ïðèçíàâàòü, äîïóñêàòü). “But nobody else has had a murderer (íî íè ó êîãî áîëüøå íå ïîáûâàë óáèéöà; to have — èìåòü; íàõîäèòüñÿ, èìåòüñÿ; ïåðåæèâàòü /ñîáûòèÿ è ò.ï./) walking right through her compartment in the middle of the night (è íå ïðîøåëñÿ ïðÿìî ïî /åå/ êóïå ïîñðåäè íî÷è; middle — ñåðåäèíà).
“What still puzzles me, Madame (÷òî âñå åùå îçàäà÷èâàåò ìåíÿ, ìàäàì),” said Poirot, “is how the man got into your compartment (/òàê ýòî òî/, êàê ýòîò ÷åëîâåê çàáðàëñÿ â âàøå êóïå) if the communicating door was bolted as you say (åñëè ñìåæíàÿ äâåðü áûëà çàïåðòà íà çàäâèæêó, êàê âû ãîâîðèòå). You are sure that it was bolted (âû óâåðåíû, ÷òî îíà áûëà çàïåðòà /íà çàäâèæêó)?”
snowdrift [sndrft] through [ru:] communicating [kmju:nket]
“Well, no, I wouldn’t say that. Here we are stuck in a snowdrift and nobody doing anything about it, and my boat sailing the day after to-morrow.”
“Madame,” said M. Bouc, “we are all in the same case — every one of us.”
“Well, that’s true,” admitted Mrs. Hubbard. “But nobody else has had a murderer walking right through her compartment in the middle of the night.
“What still puzzles me, Madame,” said Poirot, “is how the man got into your compartment if the communicating door was bolted as you say. You are sure that it was bolted?”
“Why, the Swedish lady tried it before my eyes (êàê æå, øâåäêà ïîòðîãàëà /äâåðü, çàïåðòà ëè/ îíà ó ìåíÿ íà ãëàçàõ: «ïåðåä ìîèìè ãëàçàìè»; to try — ïûòàòüñÿ, ñòàðàòüñÿ; ïðîâåðÿòü íà îïûòå).”
“Let us just reconstruct that little scene (äàâàéòå ïðîñòî âîññîçäàäèì ýòó /íåáîëüøóþ/ ñöåíó; to reconstruct — ïåðåñòðàèâàòü, ðåêîíñòðóèðîâàòü; âîññòàíàâëèâàòü, âîññîçäàâàòü). You were lying in your bunk (âû ëåæàëè íà ñâîåé ïîëêå) — so (òàê) — and you could not see for yourself, you say (è ñàìè âèäåòü íå ìîãëè, òàê: «âû ãîâîðèòå»)?”
“No, because of the sponge-bag (íå /ìîãëà/, èç-çà ñóìî÷êè äëÿ âàííûõ ïðèíàäëåæíîñòåé; sponge — ãóáêà). Oh! my, I shall have to get a new sponge-bag (î Áîæå, ìíå ïðèäåòñÿ êóïèòü íîâóþ ñóìî÷êó; to get — äîñòàâàòü, äîáûâàòü; ïîêóïàòü, ïðèîáðåòàòü). It makes me feel sick at my stomach (ìåíÿ íà÷èíàåò òîøíèòü: «ýòî çàñòàâëÿåò ìåíÿ ÷óâñòâîâàòü òîøíîòó â æåëóäêå»; stomach — æåëóäîê; æèâîò) to look at this one (/êîãäà ÿ/ ñìîòðþ íà ýòó /ñóìî÷êó/).”
Poirot picked up the sponge-bag and hung it on the handle (Ïóàðî ïîäíÿë ñóìî÷êó è ïîâåñèë åå íà ðó÷êó; to hang (hung, hanged)) of the communicating door into the next carriage (ñìåæíîé äâåðè, /âåäóùåé/ â ñîñåäíåå êóïå).
reconstruct [ri:knstrkt] scene [si:n] lying [la] stomach [stmk]
“Why, the Swedish lady tried it before my eyes.”
“Let us just reconstruct that little scene. You were lying in your bunk — so — and you could not see for yourself, you say?”
“No, because of the sponge-bag. Oh! my, I shall have to get a new sponge-bag. It makes me feel sick at my stomach to look at this one.”
Poirot picked up the sponge-bag and hung it on the handle of the communicating door into the next carriage.
“Prcisment (ôð. ñîâåðøåííî âåðíî). I see (ïîíèìàþ; to see — âèäåòü; ïîíèìàòü, ñîçíàâàòü),” he said. “The bolt is just underneath the handle (çàñîâ êàê ðàç ïîä ðó÷êîé) — the sponge-bag masks it (ñóìî÷êà ñêðûâàåò åãî; to mask — ìàñêèðîâàòü, ñêðûâàòü). You could not see from where you were lying (âû íå ìîãëè âèäåòü îòòóäà, ãäå âû ëåæàëè) whether the bolt was turned or not (áûë ëè çàñîâ ïîâåðíóò èëè íåò).”
“Why, that’s just what I’ve been telling you (âåäü èìåííî ýòî ÿ âàì è ãîâîðþ)!”
“And the Swedish lady, Miss Ohlsson, stood so (à øâåäêà, ìèññ Îëüñîí, ñòîÿëà âîò òàê), between you and the door (ìåæäó âàìè è äâåðüþ). She tried it (îíà ïîäåðãàëà äâåðü) and told you it was bolted (è ñêàçàëà, ÷òî îíà áûëà çàêðûòà íà çàñîâ).”
“That’s so (âåðíî).”
underneath [ndni:] whether [we] Swedish [swi:d]
“Prcisment. I see,” he said. “The bolt is just underneath the handle — the sponge-bag masks it. You could not see frm where you were lying whether the bolt was turned or not.”
“Why, that’s just what I’ve been telling you!”
“And the Swedish lady, Miss Ohlsson, stood so, between you and the door. She tried it and told you it was bolted.”
“That’s so.”
“All the same, Madame, she may have made an error (òåì íå ìåíåå, ìàäàì, îíà ìîãëà îøèáèòüñÿ: «ñäåëàòü îøèáêó»). You see what I mean (âèäèòå, ÷òî ÿ õî÷ó ñêàçàòü).” Poirot seemed anxious to explain (Ïóàðî, êàçàëîñü, íå òåðïåëîñü îáúÿñíèòü /÷òî îí èìåë â âèäó/; anxious — áåñïîêîÿùèéñÿ; ñòðåìÿùèéñÿ /ê ÷åì-ëèáî/, ñòðàñòíî æåëàþùèé /÷åãî-ëèáî/). “The bolt is just a projection of metal — so (çàñîâ ýòî âñåãî ëèøü ìåòàëëè÷åñêèé âûñòóï — âîò; projection — âûäàþùàÿñÿ ÷àñòü, âûñòóï). When it is turned to the right, the door is locked (êîãäà îí ïîâåðíóò âïðàâî, äâåðü çàêðûòà). When it is left straight, the door is unlocked (êîãäà îí ðàñïîëîæåí ïðÿìî, äâåðü íå çàïåðòà). Possibly she merely tried the door (âîçìîæíî, îíà ïðîñòî ïîäåðãàëà äâåðü), and as it was locked on the other side (è îòòîãî, ÷òî îíà áûëà çàïåðòà ñ äðóãîé ñòîðîíû) she may have assumed (îíà ìîãëà çàêëþ÷èòü; to assume — ïðèíèìàòü, áðàòü /íà ñåáÿ/; ïðåäïîëàãàòü, äîïóñêàòü, çàêëþ÷àòü) that it was locked on your side (÷òî äâåðü áûëà çàïåðòà ñ âàøåé ñòîðîíû; side — ñòåíêà, ñòåíà; ÷àñòü, ïîëîâèíà, ñòîðîíà).”
“Well, I guess that would be rather stupid of her (÷òî æ, ïîëàãàþ, ÷òî ýòî áûëî áû äîâîëüíî ãëóïî ñ åå ñòîðîíû).”
“Madame, the most kind, the most amiable (ìàäàì, ñàìûå äîáðûå, ñàìûå áëàãîæåëàòåëüíûå /ëþäè/), are not always the cleverest (íå âñåãäà ñàìûå óìíûå).”
“That’s so, of course (ýòî òàê, êîíå÷íî).”
error [er] anxious [ks] projection [prdek()n] assumed [sju:md] stupid [stju:pd]
“All the same, Madame, she may have made an error. You see what I mean.” Poirot seemed anxious to explain. “The bolt is just a projection of metal — so. When it is turned to the right, the door is locked. When it is left straight, the door is unlocked. Possibly she merely tried the door, and as it was locked on the other side she may have assumed that it was locked on your side.”
“Well, I guess that would be rather stupid of her.”
“Madame, the most kind, the most amiable, are not always the cleverest.”
“That’s so, of course.”
“By the way, Madame, did you travel out to Smyrna this way (ìåæäó ïðî÷èì, ìàäàì, âû åõàëè â Ñìèðíó ýòèì æå ïóòåì)?”
“No. I sailed right to Stamboul (ÿ ïëûëà /íà êîðàáëå/ ïðÿìî äî Ñòàìáóëà), and a friend of my daughter’s (è äðóã ìîåé äî÷åðè), Mr. Johnson (a perfectly lovely man (ñîâåðøåííî î÷àðîâàòåëüíûé ìóæ÷èíà), I’d like to have you know him (æàëü, ÷òî âû åãî íå çíàåòå: «ìíå áû õîòåëîñü, ÷òî áû âû ñ íèì ïîçíàêîìèëèñü»)), met me and showed me all round Stamboul (âñòðåòèë ìåíÿ è ïîêàçàë ìíå âåñü Ñòàìáóë; to show /round/ a place — ïðîâîæàòü êîãî-ëèáî, êóäà-ëèáî; ïîêàçûâàòü êîìó-ëèáî ãîðîä, çíàêîìèòü êîãî-ëèáî ñ ãîðîäîì). But it was a very disappointing city (íî ãîðîä ìåíÿ ðàçî÷àðîâàë: «íî ýòî áûë î÷åíü ðàçî÷àðîâûâàþùèé ãîðîä»; to disappoint — ðàçî÷àðîâûâàòü, íå îïðàâäûâàòü íàäåæä) — all tumbling down (âåñü â ðóèíàõ; to tumble — óïàñòü; îáðóøèâàòüñÿ; to tumble down — ñâàëèòüñÿ, óïàñòü; ðàçâàëèòüñÿ, ïðåâðàòèòüñÿ â ðóèíû); and as for those mosques (à ÷òî êàñàåòñÿ òåõ ìå÷åòåé), and putting on those great shuffling things (è /íåîáõîäèìîñòè/ íàäåâàòü òå îãðîìíûå øàðêàþùèå øòóêîâèíû; to put on — íàäåâàòü; to shuffle — øàðêàòü, âîëî÷èòü íîãè; thing — âåùü, ïðåäìåò) over your shoes (ïîâåðõ îáóâè; shoe — òóôëÿ, ïîëóáîòèíîê, áàøìàê) — where was I (íà ÷åì ÿ îñòàíîâèëàñü: «ãäå ÿ áûëà»)?”
disappointing [dspnt] tumbling [tmbl] mosque [msk]
“By the way, Madame, did you travel out to Smyrna this way?”
“No. I sailed right to Stamboul, and a friend of my daughter’s, Mr. Johnson (a perfectly lovely man, I’d like to have you know him, met me and showed me all round Stamboul. But it was a very disappointing city — all tumbling down; and as for those mosques, and putting on those great shuffling things over your shoes — where was I?”
“You were saying that Mr. Johnson met you (âû ãîâîðèëè, ÷òî âàñ âñòðåòèë ìèñòåð Äæîíñîí).”
“That’s so (âåðíî), and he saw me on board a French Messageries boat (è îí ïîñàäèë ìåíÿ íà ôðàíöóçñêîå òîðãîâîå ñóäíî; to see (saw, seen) smb. to some place — ïðîâîæàòü, ñîïðîâîæäàòü êîãî-ëèáî êóäà-ëèáî; board — äîñêà; áîðò /êîðàáëÿ/; on board — íà êîðàáëå, íà áîðòó; messagerie — ôð. òðàíñïîðòíîå ïðåäïðèÿòèå ïî ïåðåâîçêå ãðóçîâ) for Smyrna (/èäóùèé/ â Ñìèðíó), and my daughter’s husband was waiting right on the quay (è ìóæ ìîåé äî÷åðè = è ìîé çÿòü îæèäàë ìåíÿ ïðÿìî ó ïðè÷àëà). What he’ll say when he hears about all this (÷òî îí ñêàæåò, êîãäà óñëûøèò/óçíàåò îáî âñåì ýòîì)! My daughter said this would be just the safest, easiest way (ìîÿ äî÷ü ãîâîðèëà, ÷òî ýòî áóäåò êàê ðàç ñàìûé áåçîïàñíûé è óäîáíûé ïóòü; easy — ëåãêèé, íåòðóäíûé; óäîáíûé, ïðèÿòíûé; way — ïóòü, äîðîãà, ìàðøðóò; îáðàç äåéñòâèÿ, ìåòîä, ñïîñîá) imaginable (êîòîðûé ìîæíî òîëüêî ïðåäñòàâèòü; to imagine — èçîáðàæàòü; ïðåäñòàâëÿòü ñåáå, âîîáðàæàòü; imaginable — âîîáðàçèìûé, ìûñëèìûé). ‘You just sit in your carriage (òû ïðîñòî ñèäèøü â ñâîåì êóïå),’ she said, ‘and you land right in Paris (è âûñàæèâàåøüñÿ óæå ïðÿìî â Ïàðèæå), and there the American Express will meet you (è òàì òåáÿ âñòðåòèò Àìåðèêýí Ýêñïðåññ).’ And, oh, dear, what am I to do about cancelling (è, î Áîæå, ÷òî æå ìíå äåëàòü ñ îòìåíîé = êàê æå ìíå îòìåíèòü; dear — çä. ìåæäîìåòèå; to cancel — âû÷åðêèâàòü /íàïèñàííîå/; àííóëèðîâàòü, îòìåíÿòü) my steamship passage (ìîé áèëåò íà ïàðîõîä; steam — /âîäÿíîé/ ïàð; ship — êîðàáëü, ñóäíî, passage — ïðîõîæäåíèå; ïëàòà çà ïðîåçä /íà ïàðîõîäå, ñàìîëåòå/)? I ought to let them know (ÿ äîëæíà ïîñòàâèòü èõ â èçâåñòíîñòü; to let smb. know — äàòü çíàòü, ñîîáùèòü êîìó-ëèáî ÷òî-ëèáî). I can’t possibly make it now (âî âñÿêîì ñëó÷àå, ÿ íå ìîãó ñäåëàòü ýòîãî ñåé÷àñ; possibly — âîçìîæíî; óñèë. â ëþáîì ñëó÷àå, ëþáûì ïóòåì). This is just too terrible (ýòî ïðîñòî óæàñíî) — ”
Mrs. Hubbard showed signs of tears once more (ìèññèñ Õàááàðä ñíîâà çàïëàêàëà: «ñíîâà îáíàðóæèëà ïðèçíàêè ñëåç»; to show — ïîêàçûâàòü; ïðîÿâëÿòü, îáíàðóæèâàòü; sign — ïðèçíàê, ïðèìåòà).
quay [ki:] imaginable [md()nb()l] steamship [sti:mp] passage [psd]
“You were saying that Mr. Johnson met you.”
“That’s so, and he saw me on board a French Messageries boat for Smyrna, and my daughter’s husband was waiting right on the quay. What he’ll say when he hears about all this! My daughter said this would be just the safest, easiest way imaginable. ‘You just sit in your carriage,’ she said, ‘and you land right in Paris, and there the American Express will meet you.’ And, oh, dear, what am I to do about cancelling my steamship passage? I ought to let them know. I can’t possibly make it now. This is just too terrible — ”
Mrs. Hubbard showed signs of tears once more.
Poirot, who had been fidgeting slightly (Ïóàðî, êîòîðûé óæå ñëåãêà åðçàë /íà ìåñòå/; to fidget — áåñïîêîéíî äâèãàòüñÿ, âåðòåòüñÿ, åðçàòü) seized his opportunity (óõâàòèëñÿ çà ýòó âîçìîæíîñòü = âîñïîëüçîâàëñÿ óäîáíûì ñëó÷àåì; to seize — õâàòàòü; óõâàòèòüñÿ, âîñïîëüçîâàòüñÿ).
“You have had a shock, Madame (âû ïåðåæèëè òàêîå ïîòðÿñåíèå, ìàäàì; shock — óäàð, òîë÷îê; ïîòðÿñåíèå, óäàð). The restaurant attendant shall be instructed (îôèöèàíò: «ñëóæàùèé ðåñòîðàíà» ïîëó÷èò óêàçàíèÿ; to instruct — ó÷èòü, îáó÷àòü; èíñòðóêòèðîâàòü, ïîðó÷àòü, äàâàòü óêàçàíèÿ) to bring you along some tea and some biscuits (ïðèíåñòè âàì ÷àþ ñ ïå÷åíüåì; biscuit — ñóõîå ïå÷åíüå, êðåêåð).”
“I don’t know that I’m so set on tea (ÿ íå çíàþ, õî÷ó ëè ÿ òàê ñèëüíî ÷àþ; to be set o smth. — î÷åíü õîòåòü ÷åãî-ëèáî),” said Mrs. Hubbard tearfully (ñêâîçü ñëåçû ñêàçàëà ìèññèñ Õàááàðä; tearful — ïëà÷óùèé, ïîëíûé ñëåç). “That’s more an English habit (ýòî, ñêîðåå, îáû÷àé àíãëè÷àí; habit — ïðèâû÷êà; îáû÷àé).”
“Coffee, then, Madame (òîãäà êîôå, ìàäàì). You need some stimulant (âàì íåîáõîäèìî ÷òî-íèáóäü ñòèìóëèðóþùåå; stimulant — âîçáóæäàþùåå ñðåäñòâî, ñòèìóëÿòîð) — ”
“That cognac’s made my head feel mighty funny (îò ýòîãî êîíüÿêà ãîëîâà ó ìåíÿ êàê-òî î÷åíü íåïðèâû÷íî êðóæèòñÿ; funny — ñìåøíîé, çàáàâíûé; to feel funny — ÷óâñòâîâàòü íåïðèâû÷íîå âîçáóæäåíèå; ÷óâñòâîâàòü íåäîìîãàíèå). I think I would like some coffee (äóìàþ, ÿ áû âûïèëà íåìíîãî êîôå; I would like — ÿ õîòåë/à/ áû, ìíå áû õîòåëîñü).”
fidget [fdt] instruct [nstrkt] biscuit [bskt] tearful [tf()l] stimulant [stmjlnt]
Poirot, who had been fidgeting slightly, seized his opportunity.
“You have had a shock, Madame. The restaurant attendant shall be instructed to bring you along some tea and some biscuits.”
“I don’t know that I’m so set on tea,” said Mrs. Hubbard tearfully. “That’s more an English habit.”
“Coffee, then, Madame. You need some stimulant — ”
“That cognac’s made my head feel mighty funny. I think I would like some coffee.”
“Excellent (îòëè÷íî). You must revive your forces (âû äîëæíû âîññòàíîâèòü: «âîñêðåñèòü/îæèâèòü» ñâîè ñèëû).”
“My, what a funny expression (Áîæå, êàêîå ñìåøíîå âûðàæåíèå; expression — âûðàæåíèå /÷åãî-ëèáî/; âûðàæåíèå, îáîðîò ðå÷è, ôðàçà)!”
“But first, Madame, a little matter of routine (íî ñïåðâà, ìàäàì, íåáîëüøîé ôîðìàëüíûé/ðóòèííûé âîïðîñ). You permit that I make a search of your baggage (âû ïîçâîëèòå, ÷òîáû ìû ïðîâåëè îáûñê = îáûñêàëè âàø áàãàæ; search — ïîèñê(è); îáûñê)?”
“What for (äëÿ ÷åãî)?”
“We are about (ìû ñîáèðàåìñÿ; to be about to do smth. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü ÷òî-ëèáî) to commence a search of all the passengers’ luggage (íà÷àòü îáûñê áàãàæà ó âñåõ ïàññàæèðîâ). I do not want to remind you of an unpleasant experience (ÿ íå õî÷ó íàïîìèíàòü âàì î òîì íåïðèÿòíîì ñëó÷àå; experience — /æèçíåííûé/ îïûò; ñëó÷àé, ïðèêëþ÷åíèå; âïå÷àòëåíèå, ïåðåæèâàíèå), but your sponge-bag — remember (íî âàøà ñóìî÷êà /äëÿ âàííûõ ïðèíàäëåæíîñòåé/ — ïîìíèòå).”
“Mercy (ìèëîñåðäíûé Áîæå; mercy — ìèëîñåðäèå, ñîñòðàäàíèå)! Perhaps you’d better (ïîæàëóé, ÷òî ýòî è ê ëó÷øåìó: «âàì áû ëó÷øå /ïðîâåñòè îáûñê»)! I just couldn’t bear (ÿ ïðîñòî íå ñìîãó âûíåñòè; to bear — ïåðåíîñèòü, ïåðåâîçèòü; òåðïåòü, âûíîñèòü, ìèðèòüñÿ /ñ ÷åì-ëèáî/) to get any more surprises of that kind (åùå îäèí ñþðïðèç òàêîãî ðîäà; surprise — óäèâëåíèå, èçóìëåíèå; íåîæèäàííîñòü, ñþðïðèç).”
commence [kmens] unpleasant [nplez()nt] mercy [m:s]
“Excellent. You must revive your forces.”
“My, what a funny expression!”
“But first, Madame, a little matter of routine. You permit that I make a search of your baggage?”
“What for?”
“We are about to commence a search of all the passengers’ luggage. I do not want to remind you of an unpleasant experience, but your sponge-bag — remember.”
“Mercy! Perhaps you’d better! I just couldn’t bear to get any more surprises of that kind.”
The examination was quickly over (îñìîòð áûñòðî çàêîí÷èëñÿ; to be over — îêîí÷èòüñÿ, çàâåðøèòüñÿ). Mrs. Hubbard was travelling with the minimum of luggage (ìèññèñ Õàááàðä ïóòåøåñòâîâàëà ñ ìèíèìóìîì áàãàæà) — a hat-box (øëÿïíîé êàðòîíêîé; box — êîðîáêà), a cheap suitcase (äåøåâûì ÷åìîäàíîì), and a well-burdened travelling bag (è òóãî íàáèòûì ñàêâîÿæåì; to burden — íàãðóæàòü; travelling bag — ñàêâîÿæ, ÷åìîäàí). The contents of all three were simple and straightforward (ñîäåðæèìîå âñåõ òðåõ /ïðåäìåòîâ áàãàæà/ áûëî íåçàìûñëîâàòûì è ïðîñòûì; simple — ïðîñòîé, íåòðóäíûé; ñêðîìíûé, íåçàòåéëèâûé; straightforward — ïðÿìîé, íåïîñðåäñòâåííûé; ïðîñòîé), and the examination would not have taken more than a couple of minutes (îñìîòð íå çàíÿë áû è äâóõ ìèíóò; to take (took, taken) — áðàòü, õâàòàòü; òðåáîâàòü, îòíèìàòü /òæ. âðåìÿ/) had not Mrs. Hubbard delayed matters (åñëè áû ìèññèñ Õàááàðä íå çàòÿãèâàëà äåëî; to delay — çàäåðæèâàòü) by insisting on due attention being paid to photographs of “my daughter” (íàñòàèâàÿ íà òîì, ÷òîáû äîëæíîå âíèìàíèå áûëî óäåëåíî ôîòîãðàôèÿì «ìîåé äî÷åðè»; to pay (paid) — ïëàòèòü, çàïëàòèòü) and of two rather ugly children (è äâóõ äîâîëüíî óðîäëèâûõ äåòåé) — “my daughter’s children («äåòè ìîåé äî÷åðè»). Aren’t they cunning (íå ïðàâäà ëè, îíè ïðåëåñòíûå; cunning — êîâàðíûé, õèòðûé; àìåð. ðàçã. ïðåëåñòíûé, ïðèâëåêàòåëüíûé)?”
minimum [mnmm] suitcase [s(j)u:tkes] burden [b:dn] straightforward [stretf:wd] delayed [dled] due [dju:] ugly [l]
The examination was quickly over. Mrs. Hubbard was travelling with the minimum of luggage — a hat-box, a cheap suitcase, and a well-burdened travelling bag. The contents of all three were simple and straightforward, and the examination would not have taken more than a couple of minutes had not Mrs. Hubbard delayed matters by insisting on due attention being paid to photographs of “my daughter” and of two rather ugly children — “my daughter’s children. Aren’t they cunning?”
15. The Evidence Of The Passengers’ Luggage
(Áàãàæ ïàññàæèðîâ: «óëèêè/ïîêàçàíèÿ áàãàæà ïàññàæèðîâ»)
Having delivered himself of various polite insincerities (ïðîèçíåñÿ ðàçëè÷íûå âåæëèâûå íåèñêðåííîñòè; to deliver — ïåðåäàâàòü, âðó÷àòü; /òæ. deliver oneself/ ïðîèçíîñèòü, ÷èòàòü, âûñêàçûâàòüñÿ; insincerity — íåèñêðåííîñòü, ëèöåìåðèå), and having told Mrs. Hubbard (è ñêàçàâ ìèññèñ Õàááàðä) that he would order coffee to be brought to her (÷òî îí ïðèêàæåò ïîäàòü åé êîôå), Poirot was able to take his leave (Ïóàðî ñìîã óéòè; to be able to … — ìî÷ü, áûòü â ñîñòîÿíèè, â ñèëàõ; leave — ðàçðåøåíèå, ïîçâîëåíèå; ïðîùàíèå, ðàññòàâàíèå; to take (one's) leave — ïðîùàòüñÿ, óõîäèòü) accompanied by his two friends (ñîïðîâîæäàåìûé äâóìÿ äðóçüÿìè).
“Well, we have made a start (÷òî æ, ìû ïîëîæèëè íà÷àëî /îáûñêó/; to make (made) a start — íà÷èíàòü) and drawn a blank (è âûòÿíóëè ïóñòîé áèëåò = ïîòåðïåëè íåóäà÷ó; blank — ïóñòîå ìåñòî /îñîá. íà áóìàãå/; ïóñòîé ëîòåðåéíûé áèëåò),” observed M. Bouc (çàìåòèë ìñüå Áóê; to observe — íàáëþäàòü, ñëåäèòü /çà ÷åì-ëèáî/; ñäåëàòü çàìå÷àíèå, âûñêàçàòüñÿ). “Whom shall we attack next (çà êîãî ïðèìåìñÿ: «êîãî àòàêóåì» ñåé÷àñ; to attack — íàïàäàòü, àòàêîâàòü; next — ïîòîì, çàòåì, ïîñëå)?”
“It would be simplest, I think (ÿ äóìàþ, áóäåò ïðîùå âñåãî), just to proceed along the train, carriage by carriage (ïðîñòî ïðîäîëæàòü èäòè ïî ïîåçäó êóïå çà êóïå). That means that we start with No. 16 (ýòî çíà÷èò, ÷òî ìû íà÷íåì ñ êóïå íîìåð 16) — the amiable Mr. Hardman (ëþáåçíîãî ìèñòåðà Õàðäìàíà).”
Mr. Hardman, who was smoking a cigar (ìèñòåð Õàðäìàí, êîòîðûé êóðèë ñèãàðó), welcomed them affably (ëþáåçíî ïîïðèâåòñòâîâàë èõ; to welcome — ïðèâåòñòâîâàòü /ãîñòÿ/, ðàäóøíî ïðèíèìàòü; affable — ïðèâåòëèâûé, ó÷òèâûé, ëþáåçíûé).
various [ve()rs] insincerity [nsnsert] carriage [krd] amiable [emb()l] affably [fbl]
Having delivered himself of various polite insincerities, and having told Mrs. Hubbard that he would order coffee to be brought to her, Poirot was able to take his leave accompanied by his two friends.
“Well, we have made a start and drawn a blank,” observed M. Bouc. “Whom shall we attack next?”
“It would be simplest, I think, just to proceed along the train, carriage by carriage. That means that we start with No. 16 — the amiable Mr. Hardman.”
Mr. Hardman, who was smoking a cigar, welcomed them affably.
“Come right in, gentlemen(çàõîäèòå, ãîñïîäà). That is, if it’s humanly possible (òî åñòü, åñëè ýòî â ÷åëîâå÷åñêèõ ñèëàõ; humanly — ïî-÷åëîâå÷åñêè; â ïðåäåëàõ ÷åëîâå÷åñêèõ ñèë; possible — âîçìîæíûé, âåðîÿòíûé; âîçìîæíûé, îñóùåñòâèìûé). It’s just a mite cramped in here (çäåñü íåìíîãî òåñíîâàòî; mite — èñò. ïîëóøêà, ãðîø; ÷óòî÷êà, êàïåëüêà; to cramp — ñòåñíÿòü, îãðàíè÷èâàòü; cramped — ñòèñíóòûé; òåñíûé) for a party (äëÿ òàêîé êîìïàíèè; party — îòðÿä, êîìàíäà; êîìïàíèÿ).”
M. Bouc explained the object of their visit (ìñüå Áóê îáúÿñíèë öåëü èõ âèçèòà; object — ïðåäìåò, âåùü; /êîíå÷íàÿ/ öåëü, íàìåðåíèå), and the big detective nodded comprehendingly (è ðîñëûé ñûùèê ïîíèìàþùå êèâíóë; big — áîëüøîé, êðóïíûé; âûñîêèé; to comprehend — ïîíèìàòü, óðàçóìåòü).
“That’s O.K. (õîðîøî). To tell the truth I’ve been wondering (ñêàçàòü ïî ïðàâäå, ÿ óæå ðàçäóìûâàë; to wonder — èíòåðåñîâàòüñÿ, æåëàòü çíàòü, çàäàâàòü ñåáå âîïðîñ) you didn’t get down to it sooner (/ïî÷åìó/ âû íå çàíÿëèñü ýòèì ðàíüøå; to get down — ñïóñêàòüñÿ, ñõîäèòü; ñåðüåçíî çàíÿòüñÿ /÷åì-ëèáî/, ïðèñòóïèòü /ê ÷åìó-ëèáî/). Here are my keys, gentlemen (âîò ìîè êëþ÷è, ãîñïîäà), and if you like to search my pockets too, why, you’re welcome (è åñëè âû õîòèòå òàêæå îáûñêàòü ìîè êàðìàíû, ÷òî æ, ìèëîñòè ïðîñèì). Shall I reach the grips down for you (ìíå ñïóñòèòü âíèç äîðîæíûå ñóìêè, ÷òîáû âû /ñìîãëè èõ îñìîòðåòü/: «äëÿ âàñ»; to reach — ïðîòÿãèâàòü, âûòÿãèâàòü; äîñòàâàòü, áðàòü; grip — ñõâàòûâàíèå, ñæàòèå; àìåð. ðàçã. ñàêâîÿæ, äîðîæíàÿ ñóìêà)?”
“The conductor will do that (ýòî ñäåëàåò ïðîâîäíèê). Michel!”
The contents of Mr. Hardman’s two “grips” were soon examined and passed (ñîäåðæèìîå äâóõ ñàêâîÿæåé ìèñòåðà Õàðäìàíà áûëî âñêîðå îñìîòðåíî è íå âûçâàëî ïîäîçðåíèé: «è ïðîøëî»; to pass — èäòè, ïðîõîäèòü; ïðîéòè /öåíçóðó, äîñìîòð è ò.ï./). They contained, perhaps, an undue proportion of spirituous liquor (îíè ñîäåðæàëè, ïîæàëóé, ÷ðåçìåðíîå êîëè÷åñòâî ñïèðòíîãî; proportion — ïðîïîðöèÿ; îòíîñèòåëüíîå ñîäåðæàíèå, êîëè÷åñòâî èëè ÷èñëî). Mr. Hardman winked (ìèñòåð Õàðäìàí ïîäìèãíóë).
humanly [hju:mnl] object [bd|ekt, — kt] comprehend [kmprhend] spirituous [sprts] liquor [lk]
“Come right in, gentlemen. That is, if it’s humanly possible. It’s just a mite cramped in here for a party.”
M. Bouc explained the object of their visit, and the big detective nodded comprehendingly.
“That’s O.K. To tell the truth I’ve been wondering you didn’t get down to it sooner. Here are my keys, gentlemen, and if you like to search my pockets too, why, you’re welcome. Shall I reach the grips down for you?”
“The conductor will do that. Michel!”
The contents of Mr. Hardman’s two “grips” were soon examined and passed. They contained, perhaps, an undue proportion of spirituous liquor. Mr. Hardman winked.
“It’s not often they search your grips at the frontiers (íå òàê óæ ÷àñòî äîñìàòðèâàþò ñàêâîÿæè íà ãðàíèöàõ; to search — èñêàòü, îòûñêèâàòü; äîñìàòðèâàòü, ïðîâîäèòü äîñìîòð /îñîá. òàìîæåííûé/) — not if you fix the conductor (íåò, åñëè òû äîãîâîðèëñÿ ñ ïðîâîäíèêîì; to fix — óêðåïëÿòü, çàêðåïëÿòü; ñë. ïîäñòðàèâàòü /ïóòåì ïîäêóïà/, «äîãîâàðèâàòüñÿ»). I handed out a wad of Turkish notes right away (ÿ òóò æå âðó÷èë /åìó/ ïà÷êó òóðåöêèõ áàíêíîò; to hand — ïåðåäàâàòü, âðó÷àòü; wad — êîìîê; ðàçã. ïà÷êà áóìàæíûõ äåíåã; note — çàìåòêà, çàïèñü; áàíêíîòà, áàíêîâñêèé áèëåò), and there’s been no trouble so far (è ïîêà åùå íå áûëî íèêàêèõ íåïðèÿòíîñòåé; trouble — áåñïîêîéñòâî, âîëíåíèå; ñêàíäàë, íåïðèÿòíîñòü; so far — äî ñèõ ïîð).”
“And at Paris (à â Ïàðèæå)?”
Mr. Hardman winked again (ìèñòåð Õàðäìàí ñíîâà ïîäìèãíóë). “By the time I get to Paris (ê òîìó âðåìåíè, êîãäà ÿ ïðèåäó â Ïàðèæ; to get to a place — ïîïàäàòü, ïðèáûâàòü êóäà-ëèáî, äîáèðàòüñÿ äî êàêîãî-ëèáî ìåñòà),” he said, “what’s left over (òî, ÷òî îñòàíåòñÿ) of this little lot (îò ýòîé íåáîëüøîé ïàðòèè; lot — æðåáèé; ïàðòèÿ, ñåðèÿ /òîâàðîâ, èçäåëèé/) will go into a bottle (óìåñòèòüñÿ â áóòûëî÷êå) labelled hairwash (ñ íàäïèñüþ «øàìïóíü äëÿ âîëîñ»; to label — ïðèêðåïëÿòü ÿðëûê, ýòèêåòêó; hairwash — ðàçã. ìûòüå ãîëîâû, ñðåäñòâî äëÿ ìûòüÿ ãîëîâû, øàìïóíü).”
frontier [frnt] Turkish [t:k] labelled [leb()ld] hairwash [hew]
“It’s not often they search your grips at the frontiers — not if you fix the conductor. I handed out a wad of Turkish notes right away, and there’s been no trouble so far.”
“And at Paris?”
Mr. Hardman winked again. “By the time I get to Paris,” he said, “what’s left over of this little lot will go into a bottle labelled hairwash.”
“You are not a believer in Prohibition, Monsieur Hardman (âû íå ñòîðîííèê ñóõîãî çàêîíà, ìñüå Õàðäìàí; believer — ðåë. âåðóþùèé; ñòîðîííèê, çàùèòíèê),” said M. Bouc with a smile (ñêàçàë ìñüå Áóê ñ óëûáêîé).
“Well,” said Hardman, “I can’t say Prohibition has ever worried me any (íå ìîãó ñêàçàòü, ÷òî ñóõîé çàêîí õîòü êàê-òî ìåíÿ áåñïîêîèë).”
“Ah!” said M. Bouc. “The speakeasy (ïîäïîëüíûå êàáà÷êè; speakeasy — êàáàê ñ íåëåãàëüíîé ïðîäàæåé ñïèðòíûõ íàïèòêîâ /îñîá. ïðè ñóõîì çàêîíå/).” He pronounced the word with care (îí ïðîèçíåñ ýòî ñëîâîñî÷åòàíèå: «ýòî ñëîâî» ñ îñòîðîæíîñòüþ; to pronounce — îáúÿâëÿòü, ïðîâîçãëàøàòü; ïðîèçíîñèòü, àðòèêóëèðîâàòü), savouring it (ñìàêóÿ åãî). “Your American terms (âàøè àìåðèêàíñêèå âûðàæåíèÿ; term — ïåðèîä, ñðîê; âûðàæåíèå, ñëîâî) are so quaint (òàêèå îðèãèíàëüíûå; quaint — ïðè÷óäëèâûé, çàìûñëîâàòûé), so expressive (òàêèå âûðàçèòåëüíûå),” he said.
“Me, I would much like to go to America (î, ìíå áû î÷åíü õîòåëîñü ñúåçäèòü â Àìåðèêó),” said Poirot.
“You’d learn (âû áû íàó÷èëèñü) a few go-ahead methods over there (íåñêîëüêèì ïåðåäîâûì ìåòîäàì òàì; go-ahead — ýíåðãè÷íûé, ïðåäïðèèì÷èâûé; ìåíÿþùèéñÿ, áóðíûé /îá ýïîõå/; over there — âîí òàì; òàì â Åâðîïå /íå â Àìåðèêå/, òæ. òàì â Àìåðèêå /íå â Åâðîïå/),” said Hardman. “Europe needs waking up (Åâðîïå íåîáõîäèìî ïðîñíóòüñÿ). She’s half asleep (îíà ïîëóñîííàÿ).”
believer [bli:v] prohibition [prhb()n] speak-easy [spi:ki:z] savour [sev] quaint [kwent] go-ahead [hed]
“You are not a believer in Prohibition, Monsieur Hardman,” said M. Bouc with a smile.
“Well,” said Hardman, “I can’t say Prohibition has ever worried me any.”
“Ah!” said M. Bouc. “The speakeasy.” He pronounced the word with care, savouring it. “Your American terms are so quaint, so expressive,” he said.
“Me, I would much like to go to America,” said Poirot.
“You’d learn a few go-ahead methods over there,” said Hardman. “Europe needs waking up. She’s half asleep.”
“It is true that America is the country of progress (ýòî âåðíî, ÷òî Àìåðèêà — ñòðàíà ïðîãðåññà),” agreed Poirot (ñîãëàñèëñÿ Ïóàðî). “There is much that I admire about Americans (â àìåðèêàíöàõ î÷åíü ìíîãî òàêîãî, ÷åì ÿ âîñõèùàþñü; much — ìíîãîå; to admire — âîñõèùàòüñÿ, âîñòîðãàòüñÿ). Only — I am perhaps old-fashioned (òîëüêî, âîçìîæíî, ÿ ñòàðîìîäåí; fashion — îáðàç, ìàíåðà, âèä; ìîäà) — but me (íî ÿ), I find the American women less charming than my own countrywomen (ÿ íàõîæó/ñ÷èòàþ àìåðèêàíîê: «àìåðèêàíñêèõ æåíùèí» ìåíåå î÷àðîâàòåëüíûìè, ÷åì ìîèõ /ñîáñòâåííûå/ ñîîòå÷åñòâåííèö). The French or the Belgian girl (ôðàíöóæåíêà èëè áåëüãèéêà), coquettish, charming (êîêåòëèâàÿ, î÷àðîâàòåëüíàÿ) — I think there is no one to touch her (ìíå êàæåòñÿ, íèêòî ñ íåé íå ñðàâíèòñÿ; to touch — êàñàòüñÿ, ñòðîãàòü; ðàâíÿòüñÿ, èäòè â ñðàâíåíèå ñ).”
Hardman turned away to peer out at the snow for a minute (Õàðäìàí îòâåðíóëñÿ, ÷òîáû ñ ìèíóòó ïîñìîòðåòü íà ñíåã; to peer — âãëÿäûâàòüñÿ, âñìàòðèâàòüñÿ).
charming [t:m] countrywoman [kntr|wmn] coquettish [k|ket, k-]
“It is true tha America is the country of progress,” agreed Poirot. “There is much that I admire about Americans. Only — I am perhaps old-fashioned — but me, I find the American women less charming than my own countrywomen. The French or the Belgian girl, coquettish, charming — I think there is no one to touch her.”
Hardman turned away to peer out at the snow for a minute.
“Perhaps you’re right, M. Poirot (âîçìîæíî, âû ïðàâû, ìñüå Ïóàðî),” he said. “But I guess every nation (íî ÿ äóìàþ, ÷òî /ìóæ÷èíû/ êàæäîé ñòðàíû: «êàæäûé íàðîä»; to guess — äîãàäûâàòüñÿ, ïðåäïîëàãàòü; àìåð. ðàçã. äóìàòü, ñ÷èòàòü, ïîëàãàòü; nation — íàðîä, íàöèÿ; ñòðàíà, ãîñóäàðñòâî, íàöèÿ) likes its own girls best (áîëüøå âñåãî ëþáÿò ñâîèõ äåâóøåê = ñîîòå÷åñòâåííèö).” He blinked as though the snow hurt his eyes (îí ìèãíóë, ñëîâíî ñíåã ñëåïèë åìó ãëàçà: «ñëîâíî åãî ãëàçàì áûëî áîëüíî îò ñíåãà»; to hurt — ïðè÷èíÿòü áîëü).
“Kind of dazzling, isn’t it (íåìíîãî ñëåïèò, íå òàê ëè; kind of — âðîäå, êàê áóäòî, ïî÷òè ÷òî)?” he remarked (çàìåòèë îí). “Say, gentlemen, this business is getting on my nerves (ïîñëóøàéòå, ãîñïîäà, ýòî äåëî ìåíÿ ðàçäðàæàåò: «äåéñòâóåò ìíå íà íåðâû»). Murder and the snow and all (óáèéñòâî, è ñíåã, è âñå ýòî). And nothing doing (è áåçäåëèå). Just hanging about and killing time (ïðîñòî áåçäåëüíè÷àåøü è óáèâàåøü âðåìÿ; to hang about — ñëîíÿòüñÿ, áîëòàòüñÿ, øàòàòüñÿ; áåçäåëüíè÷àòü). I’d like to get busy after someone or something (è ìíå õîòåëîñü áû çàíÿòüñÿ êåì-òî èëè ÷åì-òî; to get busy — íà÷àòü çàíèìàòüñÿ ÷åì-ëèáî, íà÷àòü äåéñòâîâàòü; busy — çàíÿòîé, íåñâîáîäíûé; ïîãëîùåííûé /÷åì-ëèáî/, ðàáîòàþùèé /íàä ÷åì-ëèáî/).”
“The true Western spirit of hustle (èñòèííî çàïàäíûé äóõ ýíåðãè÷íîé äåÿòåëüíîñòè; hustle — òîëêîòíÿ, äàâêà; ýíåðãèÿ, íàïîð),” said Poirot with a smile (ñêàçàë Ïóàðî ñ óëûáêîé).
guess [es] dazzle [dzl] nerve [n:v] hustle [hs()l]
“Perhaps you’re right, M. Poirot,” he said. “But I guess every nation likes its own girls best.” He blinked as though the snow hurt his eyes.
“Kind of dazzling, isn’t it?” he remarked. “Say, gentlemen, this business is getting on my nerves. Murder and the snow and all. And nothing doing. Just hanging about and killing time. I’d like to get busy after someone or something.”
“The true Western spirit of hustle,” said Poirot with a smile.
The conductor replaced the bags (ïðîâîäíèê ïîëîæèë ñóìêè/÷åìîäàíû íà ìåñòî) and they moved on to the next compartment (è îíè ïåðåøëè ê ñëåäóþùåìó êóïå). Colonel Arbuthnot was sitting in a corner (ïîëêîâíèê Àðáýòíîò ñèäåë â óãëó /êóïå/) smoking a pipe and reading a magazine (êóðÿ òðóáêó è ÷èòàÿ æóðíàë).
Poirot explained their errand (Ïóàðî îáúÿñíèë ñâîþ: «èõ» çàäà÷ó; errand — ïîðó÷åíèå, çàäàíèå). The Colonel made no demur (ïîëêîâíèê íå âîçðàæàë; demur — âîçðàæåíèå, ïðîòåñò). He had two heavy leather suitcases (ó íåãî áûëî äâà òÿæåëûõ êîæàíûõ ÷åìîäàíà).
“The rest of my kit (îñòàâøàÿñÿ ÷àñòü ìîåãî áàãàæà; kit — âîåí. ðàíåö, âåùìåøîê; ñïîðòèâíîå, òóðèñòñêîå ñíàðÿæåíèå, íåîáõîäèìûé êîìïëåêò ïðèíàäëåæíîñòåé /äëÿ ñïîðòà, ïóòåøåñòâèÿ è ò.ï./) has gone by long sea (îòïðàâëåíà ìîðåì; to go by "long sea" — åõàòü ïàðîõîäîì; long — äëèííûé, sea — ìîðå),” he explained (îáúÿñíèë îí).
magazine [mzi:n] errand [ernd] demur [dm:] leather [le]
The conductor replaced the bags and they moved on to the next compartment. Colonel Arbuthnot was sitting in a corner smoking a pipe and reading a magazine.
Poirot explained their errand. The Colonel made no demur. He had two heavy leather suitcases.
“The rest of my kit has gone by long sea,” he explained.
Like most Army men (êàê è áîëüøèíñòâî âîåííûõ; army — âîåííûé, àðìåéñêèé) the Colonel was a neat packer (/âåùè/ ó ïîëêîâíèêà áûëè àêêóðàòíî óëîæåíû; to pack — óïàêîâûâàòü, óêëàäûâàòü âåùè; packer — óïàêîâùèê). The examination of his baggage took only a few minutes (îñìîòð åãî áàãàæà çàíÿë òîëüêî íåñêîëüêî ìèíóò). Poirot noted a packet of pipe-cleaners (Ïóàðî îáðàòèë âíèìàíèå íà óïàêîâêó åðøèêîâ äëÿ ÷èñòêè òðóáîê; packet — ïàêåò, ñâÿçêà).
“You always use the same kind (âû âñåãäà èñïîëüçóåòå òàêèå åðøèêè: «îäèí è òîò æå ñîðò /åðøèêîâ/»)?” he asked.
“Usually (îáû÷íî). If I can get ’em (’em = them; åñëè ÿ ìîãó äîñòàòü èõ).”
“Ah!” Poirot nodded (Ïóàðî êèâíóë). These pipe-cleaners corresponded exactly (ýòè åðøèêè òî÷íî ñîâïàäàëè; to correspond — ñîîòâåòñòâîâàòü; ïðåäñòàâëÿòü ñîáîþ, ðàâíÿòüñÿ, áûòü àíàëîãè÷íûì) with the one he had found on the floor of the dead man’s compartment (ñ òåì /åðøèêîì/ êîòîðûé îí îáíàðóæèë íà ïîëó êóïå óáèòîãî).
Dr. Constantine remarked as much (äîêòîð Êîíñòàíòèí îòìåòèë òî æå ñàìîå; to remark — çàìå÷àòü, íàáëþäàòü; äåëàòü çàìå÷àíèå, âûñêàçûâàòüñÿ /î ÷åì-ëèáî/) when they were out in the corridor again (êîãäà îíè ñíîâà îêàçàëèñü â êîðèäîðå).
packet [pkt] pipe-cleaner [papkli:n] correspond [krspnd]
Like most Army men the Colonel was a neat packer. The examination of his baggage took only a few minutes. Poirot noted a packet of pipe-cleaners.
“You always use the same kind?” he asked.
“Usually. If I can get ’em.”
“Ah!” Poirot nodded. These pipe-cleaners corresponded exactly with the one he had found on the floor of the dead man’s compartment.
Dr. Constantine remarked as much when they were out in the corridor again.
“Tout de mme (è âñå-òàêè),” murmured Poirot (ïðîáîðìîòàë Ïóàðî), “I can hardly believe it (ÿ åäâà ìîãó â ýòî ïîâåðèòü). It is not dans son caractre, and when you have said that, you have said everything (ýòî íà íåãî íå ïîõîæå: «íå â åãî õàðàêòåðå», à åñëè òàê, òî è äîáàâèòü íå÷åãî: «à êîãäà âû ñêàçàëè îá ýòîì, âû ñêàçàëè âñå»).”
The door of the next compartment was closed (äâåðü ñëåäóþùåãî êóïå áûëà çàêðûòà). It was that occupied by Princess Dragomiroff (åãî çàíèìàëà êíÿãèíÿ Äðàãîìèðîâà: «ýòî áûëî òî /êóïå/, çàíÿòîå êíÿãèíåé»). They knocked on the door and the Princess’s deep voice called “Entrez!” (îíè ïîñòó÷àëè â äâåðü è íèçêèé ãîëîñ êíÿãèíè îòâåòèë: «Âîéäèòå!»; deep — ãëóáîêèé; íèçêèé, ïîëíûé, ãðóäíîãî òåìáðà /î çâóêå, ãîëîñå/; to call — êðè÷àòü; âûçûâàòü, çâàòü ê ñåáå, ïðèãëàøàòü)
M. Bouc was spokesman (ìñüå áóê âûñòóïèë îò ëèöà /èõ íåáîëüøîé äåëåãàöèè/; spokesman — ïðåäñòàâèòåëü, äåëåãàò, âûñòóïàþùèé /îò ãðóïïû ëèö/). He was very deferential and polite (îí áûë î÷åíü ïî÷òèòåëåí è âåæëèâ) as he explained their errand (êîãäà îí îáúÿñíÿë öåëü èõ âèçèòà: «èõ çàäàíèå»).
princess [prnses] voice [vs] deferential [defren()l]
“Tout de mme,” murmured Poirot, “I can hardly believe it. It is not dans son caractre, and when you have said that, you have said everything.”
The door of the next compartment was closed. It was that occupied by Princess Dragomiroff. They knocked on the door and the Princess’s deep voice called “Entrez!”
M. Bouc was spokesman. He was very deferential and polite as he explained their errand.
The Princess listened to him in silence (êíÿãèíÿ ñëóøàëà åãî ìîë÷à: «â ìîë÷àíèè»), her small toad-like face quite impassive (åå íåáîëüøîå æàáüå ëè÷èêî /áûëî/ ñîâåðøåííî áåññòðàñòíûì; impassive — àïàòè÷íûé, áåçðàçëè÷íûé; íåâîçìóòèìûé, áåññòðàñòíûé).
“If it is necessary, Messieurs (åñëè ýòî íåîáõîäèìî, ãîñïîäà),” she said quietly (ñêàçàëà îíà ñïîêîéíî) when he had finished (êîãäà îí çàêîí÷èë), “that is all there is to it (òî âñå î÷åíü ïðîñòî; that's all there is to it — âîò è âñå, âîò è âñÿ íåäîëãà). My maid has the keys (êëþ÷è ó ìîåé ñëóæàíêè). She will attend to it with you (îíà âî âñåì ïîìîæåò âàì; to attend /to/ — ïîñåùàòü, ïðèñóòñòâîâàòü; çàáîòèòüñÿ /î ÷åì-ëèá/; îáñëóæèâàòü).”
“Does your maid always carry your keys, Madame (âàøè êëþ÷è âñåãäà èìååò ïðè ñåáå âàøà ñëóæàíêà, ìàäàì; to carry — íåñòè, íîñèòü; èìåòü ïðè ñåáå, íîñèòü ñ ñîáîé)?” asked Poirot.
“Certainly, Monsieur (êîíå÷íî, ìñüå).”
“And if, during the night at one of the frontiers (à ÷òî, åñëè íî÷üþ, íà êàêîé-íèáóäü: «íà îäíîé èç» ãðàíèöå; during — â ïðîäîëæåíèå, â òå÷åíèå), the customs officials (òàìîæåííèêè; customs — òàìîæåííûå ïîøëèíû; òàìîæåííîå óïðàâëåíèå; official — äîëæíîñòíîå ëèöî, ÷èíîâíèê, ñëóæàùèé) should require a piece of luggage to be opened (ïîòðåáóþò îòêðûòü ÷òî-íèáóäü èç áàãàæà; piece — êóñîê, ÷àñòü; îòäåëüíûé ïðåäìåò, øòóêà)?”
silence [salns] key [ki:] customs [kstmz] official [f()l] require [rkwa]
The Princess listened to him in silence, her small toad-like face quite impassive.
“If it is necessary, Messieurs,” she said quietly when he had finished, “that is all there is to it. My maid has the keys. She will attend to it with you.”
“Does your maid always carry your keys, Madame?” asked Poirot.
“Certainly, Monsieur.”
“And if, during the night at one of the frontiers, the customs officials should require a piece of luggage to be opened?”
The old lady shrugged her shoulders (ïîæèëàÿ äàìà ïîæàëà ïëå÷àìè). “It is very unlikely (ýòî ìàëîâåðîÿòíî). But in such a case, the conductor would fetch her (íî â òàêîì ñëó÷àå, ïðîâîäíèê ïîéäåò çà íåé).”
“You trust her, then, implicitly, Madame (çíà÷èò, âû áåçîãîâîðî÷íî åé äîâåðÿåòå, ìàäàì; implicitly — êîñâåííî, íåïðÿìî; áåçîãîâîðî÷íî)?”
“I have told you so already (ÿ âàì îá ýòîì óæå ãîâîðèëà: «ñêàçàëà âàì òàê»),” said the Princess quietly (ñïîêîéíî ñêàçàëà êíÿãèíÿ). “I do not employ people whom I do not trust (ÿ íå ïðèíèìàþ íà ñëóæáó ëþäåé, êîòîðûì ÿ íå äîâåðÿþ).”
“Yes,” said Poirot thoughtfully (ñêàçàë Ïóàðî çàäóì÷èâî). “Trust is indeed something in these days (äîâåðèå äåéñòâèòåëüíî ÷åãî-òî ñòîèò â íàøè äíè; something — ÷òî-òî, êîå-÷òî; íå÷òî âàæíîå). It is perhaps better to have a homely woman (âîçìîæíî, ÷òî ëó÷øå èìåòü /â óñëóæåíèè/ ïðîñòóþ/ñêðîìíóþ æåíùèíó) whom one can trust (êîòîðîé ìîæíî äîâåðÿòü) than a more chic maid (÷åì áîëåå ýëåãàíòíóþ ñëóæàíêó) — for example, some smart Parisienne (íàïðèìåð, êàêóþ-íèáóäü èçÿùíóþ ïàðèæàíêó; smart — áûñòðûé, ýíåðãè÷íûé; íàðÿäíûé, èçÿùíûé, ýëåãàíòíûé).”
implicitly [mplstl] trust [trst] chic [i(:)k] Parisienne [przjen]
The old lady shrugged her shoulders. “It is very unlikely. But in such a case, the conductor would fetch her.”
“You trust her, then, implicitly, Madame?”
“I have told you so already,” said the Princess quietly. “I do not employ people whom I do not trust.”
“Yes,” said Poirot thoughtfully. “Trust is indeed something in these days. It is perhaps better to have a homely woman whom one can trust than a more chic maid — for example, some smart Parisienne.”
He saw the dark intelligent eyes (îí óâèäåë /êàê åå/ òåìíûå óìíûå ãëàçà) come slowly round (ìåäëåííî îáðàòèëèñü /â åãî ñòîðîíó/; round — çä. óêàçûâàåò íà èçìåíåíèå íàïðàâëåíèÿ èëè äâèæåíèå â ïðîòèâîïîëîæíóþ ñòîðîíó) and fasten themselves upon his face (è îñòàíîâèëèñü íà åãî ëèöå; to fasten — ñâÿçûâàòü, ñêðåïëÿòü; óñòðåìëÿòü, ñîñðåäîòà÷èâàòü /âçãëÿä, âíèìàíèå è ò.ï./). “What exactly are you implying, M. Poirot (÷òî èìåííî âû õîòèòå ñêàçàòü, ìñüå Ïóàðî; to imply — ïîäðàçóìåâàòü; íàìåêàòü, äàâàòü ïîíÿòü)?”
“Nothing, Madame (íè÷åãî, ìàäàì). I? Nothing.”
“But yes. You think, do you not (âû äóìàåòå, íå òàê ëè), that I should have a smart Frenchwoman (÷òî ìíå íåîáõîäèìà: «ìíå ñëåäîâàëî âçÿòü» ýëåãàíòíàÿ ôðàíöóæåíêà; to have — èìåòü; âçÿòü, ïðèíÿòü /â äðóçüÿ, â ó÷åíèêè, â óñëóæåíèå è ò.ï./) to attend to my toilet (÷òîáû çàíèìàòüñÿ ìîèìè òóàëåòàìè; toilet — òóàëåò, îäåâàíèå; êîñòþì, òóàëåò)?”
“It would be perhaps more usual, Madame (ýòî, âîçìîæíî, áûëî áû áîëåå îáû÷íî, ìàäàì).” She shook her head (îíà ïîêà÷àëà ãîëîâîé). “Schmidt is devoted to me (Øìèäò ïðåäàíà ìíå; to devote — ïîñâÿùàòü, îòäàâàòü /ñåáÿ/ öåëèêîì).” Her voice dwelt lingeringly on the words (åå ãîëîñ îñîáåííî ïîä÷åðêíóë ýòè ñëîâà: «åå ãîëîñ äîëãî çàäåðæàëñÿ íà ýòèõ ñëîâàõ»; to dwell (dwelt) — îáèòàòü, æèòü; îñòàíàâëèâàòüñÿ, çàäåðæèâàòüñÿ /î âçãëÿäå è ò.ï./; to linger — çàäåðæèâàòüñÿ, çàñèæèâàòüñÿ). “Devotion — c’est impayable (ïðåäàííîñòü — îíà áåñöåííà).”