Óáèéñòâî â «Âîñòî÷íîì ýêñïðåññå» Êðèñòè Àãàòà
“It may be so. But I could not rid myself of the impression that evil had passed me by very close.”
“That respectable American gentleman?”
“That respectable American gentleman.”
“Well,” said M. Bouc cheerfully, “it may be so. There is much evil in the world.”
At that moment the door opened and the concierge came towards them. He looked concerned and apologetic.
“It is extraordinary, Monsieur,” he said to Poirot (ýòî ÷òî-òî íåâåðîÿòíîå, ìñüå — ñêàçàë îí Ïóàðî). “There is not one first-class sleeping berth (íè îäíîãî ñïàëüíîãî ìåñòà â /âàãîíå/ ïåðâîãî êëàññà; berth — êîéêà /íà ïàðîõîäå/; ñïàëüíîå ìåñòî, ïîëêà /â âàãîíå/) to be had on the train (/íåëüçÿ/ äîñòàòü íà ýòîò ïîåçä).”
“Comment?” cried M. Bouc (êàê òàê? âñêðè÷àë ìñüå Áóê; to cry — êðè÷àòü; âîñêëèöàòü, âñêðèêíóòü; comment — ôð. êàê; êàê òàê). “At this time of year (â ýòî âðåìÿ ãîäà)? Ah, without doubt (à, áåç âñÿêîãî ñîìíåíèÿ) there is some party of journalists (êàêàÿ-íèáóäü ãðóïïà æóðíàëèñòîâ; party — îòðÿä, êîìàíäà; ãðóïïà, êîìïàíèÿ) — of politicians (èëè ïîëèòèêîâ) — ?”
“I don’t know, sir (ÿ íå çíàþ, ñýð),” said the concierge (ñêàçàë êîíñüåðæ), turning to him respectfully (ïîâîðà÷èâàÿñü ê íåìó óâàæèòåëüíî; to respect — óâàæàòü, ïî÷èòàòü). “But that’s how it is (íî èìåííî òàê è îáñòîèò äåëî).”
extraordinary [kstr:d()n()r] berth [b:] journalist [d:n()lst] politician [plt()n]
“It is extraordinary, Monsieur,” he said to Poirot. “There is not one first-class sleeping berth to be had on the train.”
“Comment?” cried M. Bouc. “At this time of year? Ah, without doubt there is some party of journalists — of politicians — ?”
“I don’t know, sir,” said the concierge, turning to him respectfully. “But that’s how it is.”
“Well, well (íó, íó).” M. Bouc turned to Poirot (ìñüå Áóê ïîâåðíóëñÿ ê Ïóàðî). “Have no fear, my friend (íå áîéòåñü, äðóã ìîé; fear — ñòðàõ, áîÿçíü). We will arrange something (ìû ÷òî-íèáóäü ïðèäóìàåì: «óñòðîèì»; to arrange — ïðèâîäèòü â ïîðÿäîê; óëàäèòü, óñòðîèòü). There is always one compartment, the No. 16 (âñåãäà åñòü îäíî êóïå — êóïå ïîä íîìåðîì 16), which is not engaged (êîòîðîå /íèêîãäà/ íå çàíÿòî; to engage — íàíèìàòü; çàíèìàòü; engaged — îáðó÷åííûé; çàíÿòûé). The conductor sees to that (ïðîâîäíèê ñëåäèò çà ýòèì; to see to smth. — ñëåäèòü, ïðèñìàòðèâàòü çà ÷åì-ëèáî)!” He smiled (îí óëûáíóëñÿ), then glanced up at the clock (çàòåì áûñòðî âçãëÿíóë íà ÷àñû). “Come (ïîéäåìòå),” he said, “it is time we started (ñàìîå âðåìÿ íàì îòïðàâèòñÿ â ïóòü).”
At the station M. Bouc was greeted (íà ñòàíöèè ìñüå Áóê áûë âñòðå÷åí; to greet — çäîðîâàòüñÿ, ïðèâåòñòâîâàòü; âñòðå÷àòü /âîçãëàñàìè è ò.ï./) with respectful empressement (ñ ïî÷òèòåëüíîé óñëóæëèâîñòüþ; empressement — ôð. óñåðäèå, ðâåíèå, óñëóæëèâîñòü) by the brown-uniformed Wagon Lit conductor (ïðîâîäíèêîì ñïàëüíîãî âàãîíà â êîðè÷íåâîé óíèôîðìå).
fear [f] engaged [nedd] empressement [:presm:] uniformed [ju:nf:md]
“Well, well.” M. Bouc turned to Poirot. “Have no fear, my friend. We will arrange something. There is always one compartment, the No. 16, which is not engaged. The conductor sees to that!” He smiled, then glanced up at the clock. “Come,” he said, “it is time we started.”
At the station M. Bouc was greeted with respectful empressement by the brown-uniformed Wagon Lit conductor.
“Good evening, Monsieur. Your compartment is the No. 1 (âàøå êóïå — íîìåð 1).”
He called to the porters (îí ïîçâàë íîñèëüùèêîâ; porter — íîñèëüùèê /îñîá. â ãîñòèíèöå, íà âîêçàëå/, ãðóç÷èê) and they wheeled their load (è îíè ïîêàòèëè /íà òåëåæêå/ èõ áàãàæ; to wheel — êàòèòü, âåçòè; load — ãðóç; íîøà) halfway along the carriage (ê ñåðåäèíå ïàññàæèðñêîãî âàãîíà) on which the tin plates (íà êîòîðîì æåñòÿíûå òàáëè÷êè; tin — îëîâÿííûé; æåñòÿíîé; plate — òàðåëêà; ïëàñòèíêà, äîùå÷êà) proclaimed its destination (ãîâîðèëè î ìåñòå åãî íàçíà÷åíèÿ; to proclaim — îáúÿâëÿòü, ïðîâîçãëàøàòü):
ISTANBUL TRIESTE CALAIS
(Ñòàìáóë — Òðèåñò — Êàëå)
wheel [wi:l] carriage [krd] proclaim [prklem]
“Good evening, Monsieur. Your compartment is the No. 1.”
He called to the porters and they wheeled their load halfway along the carriage on which the tin plates proclaimed its destination:
ISTANBUL TRIESTE CALAIS
“You are full up to-night (ó âàñ ñåãîäíÿ âñå ìåñòà çàíÿòû: «âû íàáèòû áèòêîì ñåãîäíÿ âå÷åðîì»; full — ïîëíûé; íàïîëíåííûé, çàïîëíåííûé; full up — áèòêîì íàáèòûé), I hear (ÿ ñëûøàë: «ÿ ñëûøó»; to hear heard))?”
“It is incredible, Monsieur (ýòî íåâåðîÿòíî/íåñëûõàííî, ìñüå). All the world elects to travel to-night (âåñü ìèð ðåøèë îòïðàâèòüñÿ â ïóòåøåñòâèå ñåãîäíÿ âå÷åðîì; to elect — âûáèðàòü /ãîëîñîâàíèåì/; äåëàòü âûáîð, ïðèíèìàòü ðåøåíèå)!”
“All the same (âñå ðàâíî/òåì íå ìåíåå) you must find room for this gentleman here (âû äîëæíû íàéòè ìåñòî äëÿ âîò ýòîãî ãîñïîäèíà; room — êîìíàòà, çàë; ìåñòî, ïðîñòðàíñòâî). He is a friend of mine (îí ìîé äðóã). He can have the No. 16 (îí ìîæåò ñåñòü â êóïå 16).”
“It is taken, Monsieur (îíî çàíÿòî, ìñüå; to take (took, taken) — áðàòü; çàíèìàòü /ìåñòî/).”
“What (÷òî)? The No. 16?”
A glance of understanding passed between them (îíè îáìåíÿëèñü ïîíèìàþùèìè âçãëÿäàìè; to pass — èäòè, ïðîõîäèòü; îáìåíÿòüñÿ /ïðèâåòñòâèÿìè, âçãëÿäàìè è ò.ï./), and the conductor smiled (è êîíäóêòîð óëûáíóëñÿ). He was a tall sallow man (ýòî: «îí» áûë âûñîêèé ÷åëîâåê ñ çåìëèñòûì öâåòîì ëèöà; sallow — æåëòîâàòûé, áîëåçíåííûé, çåìëèñòûé /î öâåòå ëèöà/) of middle age (ñðåäíåãî âîçðàñòà).
incredible [nkredb()l] elect [lekt] sallow [sl]
“You are full up to-night, I hear?”
“It is incredible, Monsieur. All the world elects to travel to-night!”
“All the same you must find room for this gentleman here. He is a friend of mine. He can have the No. 16.”
“It is taken, Monsieur.”
“What? The No. 16?”
A glance of understanding passed between them, and the conductor smiled. He was a tall sallow man of middle age.
“But yes, Monsieur. As I told you (êàê ÿ âàì óæå ñêàçàë), we are full — full — everywhere (ìû çàïîëíåíû, çàïîëíåíû âî âñåõ âàãîíàõ: «âåçäå»).”
“But what passes itself (íî ÷òî æå ïðîèñõîäèò; to pass — èäòè, ïðîõîäèòü; ïðîèñõîäèòü, ñëó÷àòüñÿ, èìåòü ìåñòî /ôðàçà â öåëîì — êàëüêà ñ ôðàíöóçñêîãî/)?” demanded M. Bouc angrily (ñåðäèòî ïîòðåáîâàë îòâåòà ìñüå Áóê; to demand — òðåáîâàòü; íàñòîé÷èâî òðåáîâàòü îòâåòà). “There is a conference somewhere (÷òî, ãäå-òî /ïðîõîäèò/ êîíôåðåíöèÿ)? It is a party (èëè ýòî äåëåãàöèÿ; party — îòðÿä, êîìàíäà; ãðóïïà)?”
“No, Monsieur. It is only chance (ýòî âñåãî ëèøü ñëó÷àéíîñòü). It just happens (ïðîñòî òàê âûøëî) that many people (÷òî ìíîãèå: «ìíîãî ëþäåé») have elected to travel to-night (ðåøèëè åõàòü /èìåííî/ ñåãîäíÿ âå÷åðîì).”
M. Bouc made a clicking sound of annoyance (ìñüå Áóê ðàçäðàæåííî öîêíóë: «ìñüå Áóê èçäàë öîêàþùèé çâóê ðàçäðàæåíèÿ»; to click — ùåëêàòü; annoyance — äîñàäà, íåïðèÿòíîñòü, ðàçäðàæåíèå).
conference [knf()rns] chance [t:ns] annoyance [nns]
“But yes, Monsieur. As I told you, we are full — full — everywhere.”
“But what passes itself?” demanded M. Bouc angrily. “There is a conference somewhere? It is a party?”
“No, Monsieur. It is only chance. It just happens that many people have elected to travel to-night.”
M. Bouc made a clicking sound of annoyance.
“At Belgrade (â Áåëãðàäå),” he said, “there will be the slip coach from Athens (áóäåò /ïîäöåïëåí/ âàãîí èç Àôèí; to slip — ñêîëüçèòü; æ. — ä. îòöåïëÿòü âàãîí; slip coach — æ. — ä. îòöåïíîé âàãîí). There will also be the Bucharest-Paris coach (à òàêæå âàãîí Áóõàðåñò-Ïàðèæ). But we do not reach Belgrade until to-morrow evening (íî ìû íå ïðèáóäåì â Áåëãðàä äî çàâòðàøíåãî âå÷åðà = íî â Áåëãðàäå ìû áóäåì òîëüêî çàâòðà âå÷åðîì; to reach — ïðîòÿãèâàòü; äîñòèãàòü /ìåñòà íàçíà÷åíèÿ/, äîåçæàòü). The problem is for to-night (ïðîáëåìà â ñåãîäíÿøíåé íî÷è). There is no second-class berth free (íåò ëè ñâîáîäíîãî ìåñòà âî âòîðîì êëàññå; berth — êîéêà /íà ïàðîõîäå/; ñïàëüíîå ìåñòî, ïîëêà /â âàãîíå/)?”
“There is a second-class berth, Monsieur (ñïàëüíîå ìåñòî âî âòîðîì êëàññå åñòü, ìñüå) — ”
“Well, then (íó, òîãäà) — ”
“But it is a lady’s berth (íî ýòî ìåñòî äëÿ æåíùèíû; lady — ëåäè, äàìà, ãîñïîæà). there is already a German woman in the compartment (â êóïå óæå åäåò îäíà íåìêà) — a lady’s maid (êàìåðèñòêà/ëè÷íàÿ ãîðíè÷íàÿ äàìû; maid — ñëóæàíêà, ãîðíè÷íàÿ).”
“L-l, that is awkward (ýõ, êàê ýòî íåóäîáíî; awkward — íåóêëþæèé; íåóäîáíûé, çàòðóäíèòåëüíûé),” said M. Bouc.
Paris [prs] second class [sekndkl:s] awkward [:kwd]
“At Belgrade,” he said, “there will be the slip coach from Athens. There will also be the Bucharest-Paris coach. But we do not reach Belgrade until to-morrow evening. The problem is for to-night. There is no second-class berth free?”
“There is a second-class berth, Monsieur — ”
“Well, then — ”
“But it is a lady’s berth. There is already a German woman in the compartment — a lady’s maid.”
“L — l, that is awkward,” said M. Bouc.
“Do not distress yourself, my friend (íå òðåâîæüòåñü/ðàññòðàèâàéòåñü, äðóã ìîé; to distress — ïðè÷èíÿòü ãîðå, ñòðàäàíèå; òðåâîæèòü),” said Poirot. “I must travel in an ordinary carriage (ÿ ìîãó ïîåõàòü â îáû÷íîì âàãîíå; to travel — ïóòåøåñòâîâàòü; åõàòü; carriage — ýêèïàæ; ïàññàæèðñêèé âàãîí).”
“Not at all (íåò, íåò). Not at all.” He turned once more to the conductor (îí ñíîâà: «åùå ðàç» ïîâåðíóëñÿ ê ïðîâîäíèêó). “Everyone has arrived (âñå /ïàññàæèðû/ ïðèáûëè)?”
“It is true (ïðàâäà òî),” said the man (îòâåòèë òîò), “that there is one passenger (÷òî åñòü îäèí ïàññàæèð) who has not yet arrived (êîòîðûé åùå íå ïðèáûë).” He spoke slowly (îí ãîâîðèë ìåäëåííî; to speak (spoke, spoken)), with hesitation (íåðåøèòåëüíî; to hesitate — êîëåáàòüñÿ, ñîìíåâàòüñÿ; áûòü íåðåøèòåëüíûì).
“But speak then (íó, ãîâîðèòå æå)!”
“No. 7 berth — a second-class (ìåñòî íîìåð 7 — âî âòîðîì êëàññå). The gentleman has not yet come (äæåíòëüìåí åùå íå ïðèáûë), and it is four minutes to nine (à ñåé÷àñ óæå áåç ÷åòûðåõ /ìèíóò/ äåâÿòü).”
distress [dstres] ordinary [:d()nr] carriage [krd] hesitation [hezte()n]
“Do not distress yourself, my friend,” said Poirot. “I must travel in an ordinary carriage.”
“Not at all. Not at all.” He turned once more to the conductor. “Everyone has arrived?”
“It is true,” said the man, “that there is one passenger who has not yet arrived.” He spoke slowly, with hesitation.
“But speak then!”
“No. 7 berth — a second-class. The gentleman has not yet come, and it is four minutes to nine.”
“Who is it (êòî îí òàêîé)?”
“An Englishman (êàêîé-òî àíãëè÷àíèí),” the conductor consulted his list (ïðîâîäíèê ñâåðèëñÿ ñî ñâîèì ñïèñêîì; to consult — ñîâåòîâàòüñÿ; ñïðàâëÿòüñÿ). “A M. Harris (íåêèé ìèñòåð Õàððèñ).”
“A name of good omen (èìÿ, êîòîðîå ÿâëÿåòñÿ äîáðûì çíàêîì/ïðåäçíàìåíîâàíèåì),” said Poirot. “I read my Dickens (ÿ ïîìíþ Äèêêåíñà: «÷èòàë ìîåãî Äèêêåíñà»). M. Harris he will not arrive (ýòîò ìèñòåð Õàððèñ, îí íå ïîÿâèòñÿ; to arrive — ïðèáûâàòü, ïðèåçæàòü).”
“Put Monsieur’s luggage in No. 7 (ïîñòàâüòå áàãàæ ìñüå â ñåäüìîå êóïå),” said M. Bouc. “If this M. Harris arrives (åñëè ýòîò ìèñòåð Õàððèñ ïðèáóäåò) we will tell him (ìû åìó ñêàæåì) that he is too late (÷òî îí îïîçäàë: «/ïðèøåë/ ñëèøêîì ïîçäíî»; late — îïîçäàâøèé, çàïîçäàâøèé) — that berths cannot be retained so long (÷òî ñïàëüíûå ìåñòà íå ìîãóò ïðèäåðæèâàòüñÿ òàê äîëãî; to retain — óäåðæèâàòü, ñäåðæèâàòü) — we will arrange the matter (ìû óëàäèì ýòîò âîïðîñ; to arrange — ïðèâîäèòü â ïîðÿäîê; óëàäèòü, óðåãóëèðîâàòü; matter — âåùåñòâî; äåëî, âîïðîñ; íåïðèÿòíîå äåëî, òðóäíîñòü) one way or another (òàê èëè èíà÷å; way — ïóòü, äîðîãà; âîçìîæíîñòü, ïóòü, ñðåäñòâî). What do I care for a M. Harris (êàêîå ìíå äåëî äî êàêîãî-òî ìèñòåðà Õàððèñà; to care — çàáîòèòüñÿ; áåñïîêîèòüñÿ, âîëíîâàòüñÿ)?”
“As Monsieur pleases (êàê ìñüå óãîäíî; toplease — æåëàòü, õîòåòü, èçâîëèòü),” said the conductor. He spoke to Poirot’s porter (îí îáðàòèëñÿ ê íîñèëüùèêó /áàãàæà/ Ïóàðî), directing him where to go (óêàçûâàÿ åìó, êóäà èäòè; to direct — íàïðàâëÿòü, íàâîäèòü; ïîêàçûâàòü äîðîãó). Then he stood aside from the steps (çàòåì îí îòîøåë â ñòîðîíó îò ñòóïåíåê; step — øàã; ñòóïåíü, ïðèñòóïêà, ïîäíîæêà) to let Poirot enter the train (÷òîáû ïîçâîëèòü Ïóàðî âîéòè â âàãîí).
consult [knslt] omen [mn] retain [rten] care [ke]
“Who is it?”
“An Englishman,” the conductor consulted his list. “A M. Harris.”
“A name of good omen,” said Poirot. “I read my Dickens. M. Harris he will not arrive.”
“Put Monsieur’s luggage in No. 7,” said M. Bouc. “If this M. Harris arrives we will tell him that he is too late — that berths cannot be retained so long — we will arrange the matter one way or another. What do I care for a M. Harris?”
“As Monsieur pleases,” said the conductor. He spoke to Poirot’s porter, directing him where to go. Then he stood aside from the steps to let Poirot enter the train.
“Tout fait au bout, Monsieur (ôð. â ñàìîì êîíöå, ìñüå),” he called (êðèêíóë îí). “The end compartment but one (ïðåäïîñëåäíåå êóïå: «ïîñëåäíåå êðîìå îäíîãî»; end — êîíåö, îêîí÷àíèå; last but one — ïðåäïîñëåäíèé).”
Poirot passed along the corridor (Ïóàðî ïîøåë ïî êîðèäîðó), a somewhat slow progress (ïðîäâèãàÿñü íåñêîëüêî ìåäëåííî; progress — ïðîãðåññ, ðàçâèòèå; ïðîäâèæåíèå), since most of the people travelling (òàê êàê áîëüøèíñòâî èç ïàññàæèðîâ: «ëþäåé, êîòîðûå ïóòåøåñòâîâàëè») were standing outside their carriages (ñòîÿëè â êîðèäîðå: «ñòîÿëè ñíàðóæè ñâîèõ êóïå»).
His polite “Pardons” were uttered (åãî âåæëèâûå «Ïðîñòèòå» ñëûøàëèñü: «ïðîèçíîñèëèñü»; to utter — èçäàâàòü /çâóê/, ïðîèçíîñèòü) with the regularity of clockwork (ñ ðàçìåðåííîñòüþ ÷àñîâîãî ìåõàíèçìà; regular — ïðàâèëüíûé, ðàçìåðåííûé, ðåãóëÿðíûé). At last he reached the compartment indicated (íàêîíåö, îí äîáðàëñÿ äî óêàçàííîãî /åìó/ êóïå; to indicate — óêàçûâàòü, ïîêàçûâàòü). Inside it, reaching up to a suitcase, was the tall young American of the Tokatlian (âíóòðè íåãî, /êàê ðàç â ýòîò ìîìåíò îí/ òÿíóëñÿ ê ÷åìîäàíó, îêàçàëñÿ: «áûë» âûñîêèé ìîëîäîé àìåðèêàíåö èç îòåëÿ «Òîêàòëèàí»; to reach — ïðîòÿãèâàòü; äîñòàâàòü, áðàòü; to reach up to smth. — òÿíóòüñÿ çà, äîòÿãèâàòüñÿ).
utter [t] regularity [rejlrt] suitcase [s(j)u:tkes]
“Tout fait au bout, Monsieur,” he called. “The end compartment but one.”
Poirot passed along the corridor, a somewhat slow progress, since most of the people travelling were standing outside their carriages.
His polite “Pardons” were uttered with the regularity of clockwork. At last he reached the compartment indicated. Inside it, reaching up to a suitcase, was the tall young American of the Tokatlian.
He frowned as Poirot entered (êîãäà Ïóàðî âîøåë, îí íàõìóðèëñÿ; to frown — õìóðèòü áðîâè; íàñóïèòüñÿ).
“Excuse me (ïðîñòèòå),” he said. “I think you’ve made a mistake (ÿ äóìàþ, ÷òî âû îøèáëèñü; mistake — îøèáêà, íåäîðàçóìåíèå; to make a mistake — îøèáèòüñÿ).” Then, laboriously in French (çàòåì, ñ òðóäîì, íà ôðàíöóçñêîì; laboriously — òðóäíûé; òðóäîëþáèâûé; óñåðäíûé; labour — òðóä, ðàáîòà): “Je crois qua vous avez un erreur. (ôð. ïîëàãàþ, ÷òî ó âàñ åñòü îøèáêà — ã-í Ìàêêóèí ñòðîèò ôðàíöóçñêóþ ôðàçó, äåëàÿ êàëüêó ñ àíãëèéñêîãî)”
Poirot replied in English (Ïóàðî îòâåòèë íà àíãëèéñêîì).
“You are Mr. Harris (âû ìèñòåð Õàððèñ)?”
“No, my name is MacQueen. I — (íåò, ìåíÿ çîâóò Ìàêêóèí. ß…; name — èìÿ, ôàìèëèÿ)”
frown [fran] laboriously [lb:rsl] reply [rpla]
He frowned as Poirot entered.
“Excuse me,” he said. “I think you’ve made a mistake.” Then, laboriously in French: “Je crois qua vous avez un erreur.”
Poirot replied in English. “You are Mr. Harris?”
“No, my name is MacQueen. I — ”
But at that moment (íî â ýòîò ñàìûé ìîìåíò) the voice of the Wagon Lit conductor spoke (ðàçäàëñÿ: «çàãîâîðèë» ãîëîñ êîíäóêòîðà ñïàëüíîãî âàãîíà) from over Poirot’s shoulder (èç-çà ïëå÷à Ïóàðî) — an apologetic, rather breathless voice (ãîëîñ /áûë/ èçâèíÿþùèìñÿ, îò÷àñòè çàïûõàâøèìñÿ; apologetic — èçâèíÿþùèéñÿ, ÷óâñòâóþùèé âèíó; to apologize — èçâèíÿòüñÿ; breathless — çàïûõàâøèéñÿ; çàòàèâøèé äûõàíèå; to breathe — äûøàòü).
“There is no other berth on the train, Monsieur (â ïîåçäå íåò äðóãîãî /ñâîáîäíîãî/ ñïàëüíîãî ìåñòà, ìñüå). The gentleman has to come in here (ýòîìó äæåíòëüìåíó ïðèäåòñÿ åõàòü: «çàéòè» çäåñü).”
He was hauling up the corridor window (îí ïîäíèìàë îêíî â êîðèäîð; to haul up — ïîäíèìàòü; to haul — òàùèòü, òÿíóòü) as he spoke (ïîêà ãîâîðèë) and began to lift in Poirot’s luggage (è íà÷àë ïîäíèìàòü /â êóïå/ áàãàæ Ïóàðî; to begin (began, begun)).
voice [vs] shoulder [ld] breathless [brels] haul [h:l]
But at that moment the voice of the Wagon Lit conductor spoke from over Poirot’s shoulder — an apologetic, rather breathless voice.
“There is no other berth on the train, Monsieur. The gentleman has to come in here.”
He was hauling up the corridor window as he spoke and began to lift in Poirot’s luggage.
Poirot noticed the apology in his tone (Ïóàðî çàìåòèë èçâèíåíèå â åãî òîíå) with some amusement (ñ íåêîòîðûì èçóìëåíèåì; amusement — çàáàâà, óäîâîëüñòâèå; èçóìëåíèå, óäèâëåíèå). Doubtless the man had been promised a good tip (íåñîìíåííî, ÷òî åìó: «ýòîìó ÷åëîâåêó» áûëè îáåùàíû õîðîøèå ÷àåâûå; doubt — ñîìíåíèå, íåðåøèòåëüíîñòü; tip — ðàçã. ÷àåâûå, íåáîëüøîé äåíåæíûé ïîäàðîê) if he could keep the compartment (åñëè îí ñìîæåò ïðèäåðæàòü/ñîõðàíèòü êóïå; to keep — äåðæàòü, èìåòü, õðàíèòü) for the sole use of the other traveler (äëÿ èñêëþ÷èòåëüíîãî/åäèíîëè÷íîãî ïîëüçîâàíèÿ òåì ïàññàæèðîì /ò.å. ã-íîì Ìàêêóèíîì/; use — óïîòðåáëåíèå, èñïîëüçîâàíèå, ïðèìåíåíèå). However, even the most munificent of tips (îäíàêî, äàæå ñàìûå ùåäðûå ÷àåâûå) lose their effect (óòðà÷èâàþò ñâîþ ñèëó; to lose — òåðÿòü, óòðàòèòü; effect — ðåçóëüòàò; äåéñòâåííîñòü, ñèëà) when a Director of the Company is on board (êîãäà â âàãîíå: «íà áîðòó» ïðèñóòñòâóåò äèðåêòîð êîìïàíèè; board — äîñêà; áîðò /êîðàáëÿ/) and issues his orders (è îòäàåò ñâîè /ñîáñòâåííûå/ ïðèêàçàíèÿ; to issue — âûïóñêàòü, ïóñêàòü â îáðàùåíèå /äåíüãè/; èçäàâàòü /óêàçû è ò.ï./; order — ïîðÿäîê; ïðèêàç, ðàñïîðÿæåíèå).
The conductor emerged from the compartment (ïðîâîäíèê âûøåë èç êóïå; to emerge — ïîÿâëÿòüñÿ; to emerge from — âûéòè), having swung the suitcases up onto the racks (çàêèíóâ ÷åìîäàíû íà ïîëêè; to swing (swung) — êà÷àòü, êîëåáàòü; çàáðàñûâàòü, çàêèäûâàòü; rack — âåøàëêà /ñ êðþ÷êàìè/; ïîëêà, ñåòêà äëÿ âåùåé /â âàãîíàõ, àâòîáóñàõ è ò.ï./).
apology [pld] doubtless [datls] munificent [mju:nfs()nt] issue [u:, sju:]
Poirot noticed the apology in his tone with some amusement. Doubtless the man had been promised a good tip if he could keep the compartment for the sole use of the other traveller. However, even the most munificent of tips lose their effect when a Director of the Company is on board and issues his orders.
The conductor emerged from the compartment, having swung the suitcases up onto the racks.
“Voil, Monsieur,” he said (íó, âîò è âñå, ìñüå, — ñêàçàë îí). “All is arranged (âñå ïðèâåäåíî â ïîðÿäîê = âñå â ïîðÿäêå). Yours is the upper berth, the No. 7 (âàøå ìåñòî — âåðõíåå, ïîä íîìåðîì 7). We start in one minute (ìû îòïðàâëÿåìñÿ ÷åðåç ìèíóòó).”
He hurried off down the corridor (è îí ïîñïåøíî óäàëèëñÿ ïî êîðèäîðó; to hurry — ñïåøèòü, òîðîïèòüñÿ). Poirot re-entered the compartment (Ïóàðî ñíîâà âîøåë/âåðíóëñÿ â êóïå).
“A phenomenon I have seldo seen (ÿâëåíèå/ôåíîìåí, êîòîðûé ÿ âèäåë íå ÷àñòî; seldom — ðåäêî),” he said cheerfully (ñêàçàë îí áîäðî). “A Wagon Lit conductor himself puts up the luggage (êîíäóêòîð ñïàëüíîãî âàãîíà ëè÷íî ïîäíèìàåò áàãàæ)! It is unheard of (íåñëûõàííîå äåëî)!”
His fellow traveller smiled (åãî ïîïóò÷èê óëûáíóëñÿ; fellow — ðàçã. ïàðåíü). He had evidently got over his annoyance (îí î÷åâèäíî/ÿâíî óæå íå ñåðäèëñÿ: «ïðåîäîëåë ñâîå ðàçäðàæåíèå»; to get (got) over — çàêîí÷èòü ÷òî-ëèáî, ðàçäåëàòüñÿ ñ ÷åì-ëèáî) — had probably decided that it was no good (âîçìîæíî, ðåøèâ, ÷òî íåò íèêàêîãî ñìûñëà) to take the matter otherwise than philosophically (îòíîñèòüñÿ ê ýòîé ñèòóàöèè èíà÷å, êàê ôèëîñîôñêè; matter — âåùåñòâî; íåïðèÿòíîñòü, òðóäíîñòü).
“The train’s remarkably full (ïîåçä íåîáû÷àéíî ïåðåïîëíåí),” he said.
phenomenon [fnmnn] unheard [nh:d] otherwise [waz] philosophically [flsfk()l]
“Voil, Monsieur,” he said. “All is arranged. Yours is the upper berth, the No. 7. We start in one minute.”
He hurried off down the corridor. Poirot re-entered the compartment.
“A phenomenon I have seldom seen,” he said cheerfully. “A Wagon Lit conductor himself puts up the luggage! It is unheard of!”
His fellow traveller smiled. He had evidently got over his annoyance — had probably decided that it was no good to take the matter otherwise than philosophically. “The train’s remarkably full,” he said.
A whistle blew (ðàçäàëñÿ ñâèñòîê; to blow (blew, blown) — äóòü, âåÿòü /î âåòðå/; èçäàâàòü çâóê /î äóõîâîì èíñòðóìåíòå/, ñâèñòåòü /î ñèðåíå, ñâèñòêå/), there was a long melancholy cry from the engine (ïàðîâîç èçäàë äîëãèé óíûëûé/òîñêëèâûé ãóäîê; long — äëèííûé; äîëãèé; cry — êðèê, âîïëü, ïëà÷ü; engine — ìàøèíà, äâèãàòåëü; ëîêîìîòèâ). Both men stepped out into the corridor (îáà ìóæ÷èíû âûøëè â êîðèäîð; to step out — âûõîäèòü). Outside a voice shouted (ãîëîñ íà óëèöå ïðîêðè÷àë; outside — ñíàðóæè, íà óëèöå, âíå äîìà, ïîìåùåíèÿ), “En voiture (ôð. ïî âàãîíàì)!”
“We’re off (/âîò/ ìû è îòïðàâèëèñü; to be off — óõîäèòü, îòïðàâëÿòüñÿ),” said MacQueen.
But they were not quite off (íî ýòî áûëî íå ñîâñåì òàê: «îíè åùå íå âïîëíå îòïðàâèëèñü»). The whistle blew again (âíîâü ðàçäàëñÿ ñâèñòîê).
“I say, sir (ïîñëóøàéòå, ñýð; to say — ãîâîðèòü; I say — ïîñëóøàéòå, ýé — îêëèê èëè âîñêëèöàíèå, ðàññ÷èòàííûå íà ïðèâëå÷åíèå âíèìàíèÿ ñîáåñåäíèêà),” said the young man suddenly (ñêàçàë ìîëîäîé ÷åëîâåê âíåçàïíî). “If you’d rather have the lower berth (åñëè áû âû çàíÿëè íèæíþþ ïîëêó; one had rather — ÿ /òû, îí è ò.ï./ áû ïðåäïî÷åë) — easier and all that (/îíà/ óäîáíåå, è âîîáùå…; easy — ëåãêèé, íåòðóäíûé; óäîáíûé, ïðèÿòíûé) — well, that’s all right by me (â îáùåì, ÿ áûë áû íå ïðîòèâ; all right — äîñòàòî÷íûé; ïîäõîäÿùèé, íå âûçûâàþùèé âîçðàæåíèé).”
A likeable young fellow (/êàêîé/ ïðèÿòíûé ìîëîäîé ÷åëîâåê).
whistle [ws()l] blew [blu:] melancholy [melnk()l] suddenly [sd()nl] likeable [lakb()l]
A whistle blew, there was a long melancholy cry from the engine. Both men stepped out into the corridor. Outside a voice shouted, “En voiture!”
“We’re off,” said MacQueen.
But they were not quite off. The whistle blew again.
“I say, sir,” said the young man suddenly. “If you’d rather have the lower berth — easier and all that — well, that’s all right by me.”
A likeable young fellow.
“No, no,” protested Poirot (íåò, íåò! — çàïðîòåñòîâàë Ïóàðî). “I would not deprive you (ÿ áû íå ëèøèë âàñ) — ”
“That’s all right (/äà/ âñå â ïîðÿäêå) — ”
“You are too amiable (âû ñëèøêîì ëþáåçíû) — ”
Polite protests on both sides (âåæëèâûå âîçðàæåíèÿ ñ îáåèõ ñòîðîí).
“It is for one night only (ýòî òîëüêî íà îäíó íî÷ü),” explained Poirot (îáúÿñíèë Ïóàðî). “At Belgrade (â Áåëãðàäå) — ”
“Oh! I see (î, ÿ ïîíèìàþ; to see — âèäåòü; ïîíèìàòü, ñîçíàâàòü). You’re getting out at Belgrade (âû ñõîäèòå â Áåëãðàäå; to get out — âûõîäèòü, âûñàæèâàòüñÿ) — ”
“Not exactly (íå ñîâñåì; exactly — òî÷íî). You see (âèäèòå ëè) — ”
There was a sudden jerk (/ïîåçä/ âíåçàïíî äåðíóëñÿ: «áûë âíåçàïíûé òîë÷îê»). Both men swung round to the window (îáà ìóæ÷èíû îáåðíóëèñü ê îêíó; to swing (swung) — êà÷àòüñÿ, êîëåáàòüñÿ; ïîâîðà÷èâàòüñÿ, ðàçâîðà÷èâàòüñÿ), looking out at the long lighted platform as it slid slowly past them (ãëÿäÿ êàê äëèííûé, îñâåùåííûé ïåððîí ìåäëåííî ïðîïëûë ìèìî íèõ; to light — çàæèãàòü; îñâåùàòü; to slide (slid) — ñêîëüçèòü, äâèãàòüñÿ ïëàâíî).
The Orient Express had started (Âîñòî÷íûé ýêñïðåññ îòïðàâèëñÿ) on its three-day journey across Europe (â ñâîå òðåõäíåâíîå ïóòåøåñòâèå ïî Åâðîïå).
deprive [dprav] amiable [emb()l] exactly [zktl] jerk [d:k]
“No, no,” protested Poirot. “I would not deprive you — ”
“That’s all right — ”
“You are too amiable — ”
Polite protests on both sides.
“It is for one night only,” explained Poirot. “At Belgrade — ”
“Oh! I see. You’re getting out at Belgrade — ”
“Not exactly. You see — ”
There was a sudden jerk. Both men swung round to the window, looking out at the long lighted platform as it slid slowly past them.
The Orient Express had started on its three-day journey across Europe.
3. Poirot Refuses A Case
(Ïóàðî îòêàçûâàåòñÿ îò äåëà; case — ñëó÷àé â ïðàêòèêå, îáñòîÿòåëüñòâî; äåëî)
M. Hercule Poirot was a little late (ìñüå Ýðêþëü Ïóàðî ñëåãêà çàïîçäàë) in entering the luncheon-car (ñ ïðèõîäîì â âàãîí-ðåñòîðàí; enter — âõîäèòü) on the following day (íà ñëåäóþùèé äåíü). He had risen early (îí âñòàë ðàíî; to rise (rose, risen) — ïîäíèìàòüñÿ), had breakfasted almost alone (ïîçàâòðàêàë ïî÷òè ÷òî â îäèíî÷åñòâå), and had spent the morning (è ïðîâåë óòðî; to spend (spent) — òðàòèòü, ðàñõîäîâàòü; ïðîâîäèòü /âðåìÿ/) going over the notes of the case (ïðîñìàòðèâàÿ çàìåòêè òîãî ñàìîãî äåëà; to go over — ïîéòè /êóäà-ëèáî/; ïðîñìàòðèâàòü, èçó÷àòü â äåòàëÿõ; case — ñëó÷àé; /ñóäåáíîå/ äåëî) that was recalling him to London (êîòîðîå ïðèçûâàëî åãî âåðíóòüñÿ â Ëîíäîí; to recall — îòçûâàòü /ïîñëà, äåïóòàòà/; âûçûâàòü îáðàòíî, ïðèçûâàòü âåðíóòüñÿ). He had seen little of his travelling companion (îí ìàëî/ïî÷òè íå âèäåë ñâîåãî ïîïóò÷èêà: «ïóòåøåñòâóþùåãî ñïóòíèêà»).
luncheon [lnt()n] almost [:lmst] London [lndn]
M. Hercule Poirot was a little late in entering the luncheon-car on the following day. He had risen early, had breakfasted almost alone, and had spent the morning going over the notes of the case that was recalling him to London. He had seen little of his travelling companion.
M. Bouc, who was already seated (ìñüå Áóê, êîòîðûé óæå ñåë /çà îáåäåííûé ñòîëèê/; to seat — ñàæàòü, óñàæèâàòü), gesticulated a greeting (ïðèâåòñòâåííî ìàõíóë ðóêîé: «ïðîæåñòèêóëèðîâàë ïðèâåòñòâèå») and summoned his friend (è ïðèãëàñèë ñâîåãî äðóãà; to summon — âûçâàòü, ïîçâàòü; ïðèãëàñèòü) to the empty place opposite him (/ïðèñåñòü/ íà ñâîáîäíîå ìåñòî íàïðîòèâ; empty — ïóñòîé, íåçàïîëíåííûé; íåçàíÿòûé). Poirot sat down (Ïóàðî ïðèñåë) and soon found himself in the favoured position (è âñêîðå î÷óòèëñÿ â ïðèâèëåãèðîâàííîì/âûãîäíîì ïîëîæåíèè; to find (found) — íàõîäèòü; to find oneself in a state — îêàçàòüñÿ, î÷óòèòüñÿ â êàêîì-ëèáî ïîëîæåíèè; favour — áëàãîñêëîííîñòü, ðàñïîëîæåíèå) of being at the table (îò òîãî, ÷òî íàõîäèëñÿ çà ñòîëîì) which was served first (êîòîðûé îáñëóæèâàëñÿ â ïåðâóþ î÷åðåäü; to serve — ñëóæèòü; îáñëóæèâàòü) and with the choicest morsels (è ñàìûìè îòáîðíûìè/èçûñêàííûìè áëþäàìè; morsel — êóñî÷åê; «âêóñíåíüêîå», âêóñíîå áëþäî). The ood, too, was unusually good (åäà, ê òîìó æå, áûëà íåîáûêíîâåííî õîðîøà).
summon [smn] favoured [fevd] morsel [m:s()l]
M. Bouc, who was already seated, gesticulated a greeting and summoned his friend to the empty place opposite him. Poirot sat down and soon found himself in the favoured position of being at the table which was served first and with the choicest morsels. The food, too, was unusually good.
It was not till they were eating a delicate cream cheese (òîëüêî êîãäà: «ýòî áûëî íå äî òåõ ïîð, ïîêà» îíè åëè íåæíûé ñëèâî÷íûé ñûð; delicate — óòîí÷åííûé, èçûñêàííûé; òîíêèé, íåæíûé) that M. Bouc allowed his attention (ìñüå Áóê ïîçâîëèë ñâîåìó âíèìàíèþ) to wander to matters other than nourishment (ïåðåéòè ê äðóãèì äåëàì, îòëè÷íûì îò /ïðèíÿòèÿ/ ïèùè; to wander — áëóæäàòü; other than — èíîé, äðóãîé). He was at the stage of a meal (îí íàõîäèëñÿ íà òîé ñòàäèè îáåäà; stage — ôàçà, ïåðèîä, ñòàäèÿ) when one becomes philosophic (êîãäà /÷åëîâåêà/ òÿíåò ïîôèëîñîôñòâîâàòü; philosophic — ôèëîñîôñêèé; ìóäðûé).
“Ah!” he sighed (ýõ! — âçäîõíóë îí). “If I had but the pen of a Balzac (åñëè áû ÿ îáëàäàë ëèòåðàòóðíûì ïåðîì = òàëàíòîì Áàëüçàêà; pen — /ïèñ÷åå/ ïåðî; ëèòåðàòóðíûé ñòèëü)! I would depict this scene (ÿ áû îïèñàë ýòó ñöåíó; to depict — ðèñîâàòü, èçîáðàæàòü; îïèñûâàòü; scene — ìåñòî äåéñòâèÿ /â ïüåñå, ðîìàíå; ñîáûòèÿ/; ñöåíà, ýïèçîä).” He waved a hand (îí ìàõíóë ðóêîé; to wave — ðàçâåâàòüñÿ /î ôëàãå/; ïîäàâàòü çíàê /ðóêîé/).
“It is an idea, that (à ýòî ìûñëü; idea — èäåÿ, ìûñëü),” said Poirot.
cheese [ti:z] nourishment [nrmnt] scene [si:n]
It was not till they were eating a delicate cream cheese that M. Bouc allowed his attention to wander to matters other than nourishment. He was at the stage of a meal when one becomes philosophic.
“Ah!” he sighed. “If I had but the pen of a Balzac! I would depict this scene.” He waved a hand.
“It is an idea, that,” said Poirot.
“Ah, you agree (à, âû ñîãëàñíû)? It has not been done, I think (ýòîãî åùå /íèêòî/ íå äåëàë, ÿ ïîëàãàþ: «ýòî åùå íå áûëî ñäåëàíî»; to do (did, done))? And yet (è âñå æå) — it lends itself to romance (â ýòîì åñòü ñâîÿ ðîìàíòèêà; to lend — äàâàòü âçàéìû; îòäàâàòü; to lend itself to smth. — ñëóæèòü ÷åìó-ëèáî, áûòü ïðèãîäíûì, ïîäõîäÿùèì äëÿ ÷åãî-ëèáî; romance — ðûöàðñêèé ðîìàí; ðîìàíòèêà), my friend (ìîé äðóã). All around us are people (íàñ îêðóæàþò ëþäè: «âîêðóã íàñ ïîâñþäó ëþäè»), of all classes, of all nationalities, of all ages (âñåâîçìîæíûõ ñîñëîâèé, íàöèîíàëüíîñòåé è âîçðàñòîâ; class — êëàññ (ñîöèàëüíûé), ñîñëîâèå). For three days these people (íà öåëûõ òðè äíÿ ýòè ëþäè), these strangers to one another (ýòè ïîñòîðîííèå äðóã äðóãó ëþäè; stranger — íåçíàêîìåö; ïîñòîðîííèé ÷åëîâåê, íå ÷ëåí ñåìüè), are brought together (ñîáðàíû âîåäèíî; to bring (brought) — ïðèíîñèòü; ïðèâîäèòü; together — âìåñòå; â îäíó ãðóïïó, âîåäèíî). They sleep and eat under one roof (îíè ñïÿò è åäÿò ïîä îäíîé êðûøåé), they cannot get away from each other (èì íèêóäà íå äåòüñÿ äðóã îò äðóãà: «îíè íå ìîãóò óñêîëüçíóòü äðóã îò äðóãà»; to get away — óäðàòü, óëèçíóòü). At the end of three days they part (è â êîíöå ýòèõ òðåõ äíåé îíè ðàññòàíóòñÿ; to part — ðàçäåëÿòü; ðàçëó÷àòüñÿ, ðàññòàâàòüñÿ), they go their several ways (îíè ïîéäóò ñâîèìè ðàçíûìè ïóòÿìè = ïîéäóò êàæäûé ñâîèì ïóòåì; several — íåñêîëüêî; ðàçíûé, ðàçëè÷íûé), never perhaps to see each other again (âîçìîæíî, ÷òîáû áîëüøå íèêîãäà áîëüøå íå óâèäåòü äðóã äðóãà).”
romance [r()mns] nationality [nnlt] brought [br:t]
“Ah, you agree? It has not been done, I think? And yet — it lends itself to romance, my friend. All around us are people, of all classes, of all nationalities, of all ages. For three days these people, these strangers to one another, are brought together. They sleep and eat under one roof, they cannot get away from each other. At the end of three days they part, they go their several ways, never perhaps to see each other again.”
“And yet (è âñå æå),” said Poirot, “suppose an accident (ïðåäïîëîæèì, ÷òî êàêîé-íèáóäü íåñ÷àñòíûé ñëó÷àé/êàòàñòðîôà) — ”
“Ah, no, my friend — (íó óæ íåò, äðóã ìîé)”
“From your point of view it would be regrettable (ñ âàøåé òî÷êè çðåíèÿ ýòî áûëî áû ïå÷àëüíî/ïðèñêîðáíî; view — âèä, ïåéçàæ; âçãëÿä, ìíåíèå, òî÷êà çðåíèÿ; to regret — ñîæàëåòü /î ÷åì-ëèáî/), I agree (ÿ ñîãëàñåí). But nevertheless (íî âñå æå) let us just for one moment suppose it (äàâàéòå âñåãî ëèøü íà îäíî ìãíîâåíèå äîïóñòèì ýòî). Then, perhaps, all these here (òîãäà, âîçìîæíî, âñå ýòè /ëþäè/ çäåñü) are linked together (/áóäóò/ ñâÿçàíû äðóã ñ äðóãîì; to link — ñîåäèíÿòü, ñâÿçûâàòü) — by death (ñìåðòüþ).”
“Some more wine (åùå íåìíîãî âèíà),” said M. Bouc, hastily pouring it out (ñêàçàë ìñüå Áóê, ïîñïåøíî íàëèâàÿ åãî /â áîêàë/; to pour — ëèòü; íàëèâàòü). “You are morbid, mon cher (âû íàñòðîåíû ìðà÷íî, äðóã ìîé; morbid — áîëåçíåííûé /î âèäå/; áîëåçíåííî âïå÷àòëèòåëüíûé, ñêëîííûé ê ìåëàíõîëèè; ïñèõè÷åñêè íåçäîðîâûé). It is, perhaps the digestion (ýòî, âîçìîæíî, èç-çà ïèùåâàðåíèÿ).”
accident [ksd()nt] regrettable [rretb()l] digestion [d(a)dest()n]
“And yet,” said Poirot, “suppose an accident — ”
“Ah, no, my friend — ”
“From your point of view it would be regrettable, I agree. But nevertheless let us just for one moment suppose it. Then, perhaps, all these here are linked together — by death.”
“Some more wine,” said M. Bouc, hastily pouring it out. “You are morbid, mon cher. It is, perhaps the digestion.”
“It is true (ýòî ïðàâäà),” agreed Poirot (ñîãëàñèëñÿ Ïóàðî), “that the food in Syria (÷òî ïèùà â Ñèðèè) was not perhaps quite suited to my stomach (âîçìîæíî, íå âïîëíå ïîäõîäèëà ìîåìó æåëóäêó; to suit — óäîâëåòâîðÿòü òðåáîâàíèÿì; ïîäõîäèòü, óñòðàèâàòü).”
He sipped his wine (îí îòïèë âèíà; to sip — ïèòü ìàëåíüêèìè ãëîòêàìè; ïîòÿãèâàòü /âèíî è ò.ï./). Then, leaning back (çàòåì, îòêèíóâøèñü íàçàä /íà ñòóëå/), he ran his eye thoughtfully round the dining-car (îí îáåæàë âíèìàòåëüíî âçãëÿäîì âåñü âàãîí-ðåñòîðàí; to run (ran, run); eye — ãëàç; âçãëÿä, âçîð; to think (thought) — äóìàòü, thoughtfully — âíèìàòåëüíî; round — óêàçûâàåò íà äâèæåíèå ïî êðóãó: ïî êðóãó, êðóãîì). There were thirteen people seated there (â íåì áûëî òðèíàäöàòü ÷åëîâåê) and, as M. Bouc had said (è, êàê óæå ñêàçàë ìñüå Áóê), of all classes and nationalities (/ýòî áûëè ëþäè/ âñåõ ñîñëîâèé è íàöèîíàëüíîñòåé). He began to study them (îí íà÷àë èçó÷àòü èõ).
stomach [stmk] thoughtfully [:tf()l] class [kl:s]
“It is true,” agreed Poirot, “that the food in Syria was not perhaps quite suited to my stomach.”
He sipped his wine. Then, leaning back, he ran his eye thoughtfully round the dining-car. There were thirteen people seated there and, as M. Bouc had said, of all classes and nationalities. He began to study them.
At the table opposite them were three men (çà ñòîëèêîì íàïðîòèâ ñèäåëè òðîå ìóæ÷èí; to be (was, were; been) — áûòü; íàõîäèòüñÿ, ïðèñóòñòâîâàòü). They were, he guessed, single travelers (ýòî áûëè, êàê åìó ïîêàçàëîñü: «îí äîãàäàëñÿ», ïóòåøåñòâóþùèå â îäèíî÷åñòâå /ìóæ÷èíû/; single — åäèíñòâåííûé; îäèíî÷íûé, íåïàðíûé) graded and placed there (âûäåëåííûå /èç îñòàëüíûõ ïàññàæèðîâ/ è ðàññàæåííûå òàì; to grade — ðàñïîëàãàòü ïî ñòåïåíÿì; îòíîñèòü ê êàêîé-ëèáî ãðóïïå; to place — ñòàâèòü; ðàçìåùàòü) by the unerring judgment of the restaurant attendants (íàìåòàííûì ãëàçîì: «áåçîøèáî÷íûì ñóäîì» îôèöèàíòîâ; to err — îøèáàòüñÿ, çàáëóæäàòüñÿ; to judge — ñóäèòü; îöåíèâàòü; judgment — þð. ðàçáèðàòåëüñòâî; ñóæäåíèå, ìíåíèå; restaurant attendant — îôèöèàíò). A big swarthy Italian was picking his teeth ith gusto (êðóïíûé/âûñîêèé çàãîðåëûé èòàëüÿíåö ñìà÷íî êîâûðÿë â çóáàõ; big — áîëüøîé, êðóïíûé; âûñîêèé; to pick — âûáèðàòü; êîâûðÿòü; tooth (pl. teeth), gusto — óäîâîëüñòâèå, ñìàê). Opposite him a spare neat Englishman (íàïðîòèâ íåãî /ñèäåë/ õóäîé àêêóðàòíûé àíãëè÷àíèí; spare — çàïàñíîé; õóäîùàâûé, òîùèé) had the expressionless disapproving face (ñ íè÷åãî íå âûðàæàþùèì íåîäîáðèòåëüíûì ëèöîì; expression — âûðàæåíèå; âûðàçèòåëüíîñòü; to approve — îäîáðÿòü; to disapprove — íå îäîáðÿòü, îñóæäàòü) of the well-trained servant (õîðîøî âûøêîëåííîãî ñëóãè; to train — âîñïèòûâàòü; ó÷èòü, îáó÷àòü; trained — âûó÷åííûé, âûøêîëåííûé, îáó÷åííûé). Next to the Englishman was a big American (ðÿäîì ñ àíãëè÷àíèíîì ðàñïîëîæèëñÿ âûñîêèé/êðóïíûé àìåðèêàíåö) in a loud suit (â êîñòþìå ÿðêèõ òîíîâ; loud — ãðîìêèé; ðàçã. êðè÷àùèé, áðîñàþùèéñÿ â ãëàçà /î êðàñêàõ, îäåæäå è ò.ï./) — possibly a commercial traveler (âîçìîæíî, êîììèâîÿæåð; commercial — òîðãîâûé, êîììåð÷åñêèé).
guess [es] unerring [n:r] judgment [ddmnt] gusto [st|]
At the table opposite them were three men. They were, he guessed, single travellers graded and placed there by the unerring judgment of the restaurant attendants. A big swarthy Italian was picking his teeth with gusto. Opposite him a spare neat Englishman had the expressionless disapproving face of the well-trained servant. Next to the Englishman was a big American in a loud suit — possibly a commercial traveller.
“You’ve got to put it over big (íóæíî äåéñòâîâàòü: «äîáèâàòüñÿ óñïåõà» ñ ðàçìàõîì; to put over — ñîîáùàòü; äîáèòüñÿ óñïåõà, çàâîåâàòü ïîïóëÿðíîñòü; big — ðàçã. õâàñòëèâî; ñ ðàçìàõîì, ïî-êðóïíîìó),” he was saying in a loud, nasal voice (ãîâîðèë îí ãðîìêèì, ãíóñàâûì ãîëîñîì; nasal — íîñîâîé; ãíóñàâûé).
The Italian removed his toothpick (èòàëüÿíåö âûòàùèë çóáî÷èñòêó; to remove — ïåðåäâèãàòü; óáèðàòü) to gesticulate with it freely (÷òîáû ñâîáîäíî ðàçìàõèâàòü: «æåñòèêóëèðîâàòü» åþ; freely — ñâîáîäíî, âîëüíî).
“Sure (êîíå÷íî),” he said. “That whatta I say alla de time (= that is what I say all the time; ýòî êàê ðàç òî, î ÷åì ÿ è ãîâîðþ âñå âðåìÿ = îá ýòîì ÿ è òâåðæó).”
The Englishman looked out of the window and coughed (àíãëè÷àíèí âûãëÿíóë â îêíî è êàøëÿíóë).
Poirot’s eye passed on (âçãëÿä Ïóàðî äâèíóëñÿ äàëüøå; to pass on — ïðîõîäèòü äàëüøå).
nasal [nez()l] toothpick [tu:pk] gesticulate [destkjlet] cough [kf]
“You’ve got to put it over big,” he was saying in a loud, nasal voice.
The Italian removed his toothpick to gesticulate with it freely.
“Sure,” he said. “That whatta I say alla de time.”
The Englishman looked out of the window and coughed.
Poirot’s eye passed on.
At a small table (çà íåáîëüøèì ñòîëèêîì), sitting very upright, was one of the ugliest old ladies (ñèäÿ î÷åíü ïðÿìî = î÷åíü ïðÿìî ñèäåëà îäíà èç ñàìûõ óðîäëèâûõ ïîæèëûõ ëåäè; upright — âåðòèêàëüíûé; äåðæàùèéñÿ ïðÿìî; ugly — áåçîáðàçíûé, óðîäëèâûé) he had ever seen (êîòîðóþ îí êîãäà-ëèáî âèäåë). It was an ugliness of distinction (ýòî áûëà àðèñòîêðàòè÷åñêàÿ óðîäëèâîñòü = â ýòîé óðîäëèâîñòè áûëî íå÷òî àðèñòîêðàòè÷åñêîå; distinction — ðàçëè÷èå; çíàòíîñòü; èíäèâèäóàëüíîñòü, îðèãèíàëüíîñòü) — it fascinated rather than repelled (îíà ñêîðåå ïðèòÿãèâàëà, íåæåëè îòòàëêèâàëà; to fascinate — î÷àðîâûâàòü; óâëåêàòü, âûçûâàòü èíòåðåñ; ïðèòÿãèâàòü; to repel — îòãîíÿòü; îòòàëêèâàòü). She sat very upright (îíà ñèäåëà î÷åíü ïðÿìî). Round her neck was a collar of very large pearls (íà åå øåå: «âîêðóã åå øåè» áûëî îæåðåëüå èç î÷åíü êðóïíûõ æåì÷óæèí; collar — âîðîòíèê; îæåðåëüå) which, improbable though it seemed, were real (êîòîðûå, õîòÿ ýòî è êàçàëîñü íåâåðîÿòíûì/íåïðàâäîïîäîáíûì, áûëè íàñòîÿùèìè; probable — âåðîÿòíûé; ïðàâäîïîäîáíûé; real — äåéñòâèòåëüíûé; íàñòîÿùèé, íàòóðàëüíûé). Her hands were covered with rings (åå ïàëüöû: «ðóêè» áûëè óíèçàíû: «ïîêðûòû» êîëüöàìè; hand — ðóêà, êèñòü ðóêè; to cover — ïîêðûâàòü). Her sable coat was pushed back on her shoulders (ñîáîëüÿ øóáà áûëà íàáðîøåíà íà åå ïëå÷è; coat — ïèäæàê; âåðõíÿÿ îäåæäà, ïàëüòî; to push — òîëêàòü, ïèõàòü; to push back — îòáðàñûâàòü, îòòàëêèâàòü íàçàä). A very small and expensive black toque (î÷åíü ìàëåíüêàÿ è äîðîãàÿ ÷åðíàÿ øëÿïêà; toque — òîê /æåíñêàÿ øëÿïà áåç ïîëåé/) was hideously unbecoming to the yellow, toad-like face beneath it (óæàñíî íå øëà/íå ïîäõîäèëà ê æåëòîìó, æàáüåìó ëèöó ïîä íåé = øëÿïêîé; hideously — ýìîö. — óñèë. îòâðàòèòåëüíî, ñòðàøíî; toad — æàáà; ãàäèíà).
She was speaking now to the restaurant attendant (â äàííûé ìîìåíò îíà ãîâîðèëà ñ îôèöèàíòîì: «ñëóæàùèì ðåñòîðàíà») in a clear (îò÷åòëèâûì; clear — ÿñíûé; çâîíêèé, ÷èñòûé /î çâóêå/), courteous (âåæëèâûì), but completely autocratic tone (íî ñîâåðøåííî âëàñòíûì òîíîì; autocratic — àâòîêðàòè÷åñêèé; äèêòàòîðñêèé; âëàñòíûé).
upright [prat] ugly [l] ugliness [lns] pearl [p:l] toque [tk] hideously [hdsl] courteous [k:ts] autocratic [:tkrtk]
At a small table, sitting very upright, was one of the ugliest old ladies he had ever seen. It was an ugliness of distinction — it fascinated rather than repelled. She sat very upright. Round her neck was a collar of very large pearls which, improbable though it seemed, were real. Her hands were covered with rings. Her sable coat was pushed back on her shoulders. A very small and expensive black toque was hideously unbecoming to the yellow, toad-like face beneath it.
She was speaking now to the restaurant attendant in a clear, courteous, but completely autocratic tone.
×èòàòü áåñïëàòíî äðóãèå êíèãè:
