Óáèéñòâî â «Âîñòî÷íîì ýêñïðåññå» Êðèñòè Àãàòà
“Well, of course, that is true. And now, Mademoiselle, may I ask you the reason for these evasions?”
“I should have thought the reason leapt to the eye, M. Poirot (ìíå êàçàëîñü, ÷òî ïðè÷èíà áðîñàåòñÿ â ãëàçà, ìñüå Ïóàðî; to leap (leapt, leaped) — ïðûãàòü, ñêàêàòü).”
“It does not leap to mine, Mademoiselle (ìíå íå áðîñèëàñü: «îíà íå áðîñèëàñü â ìîè /ãëàçà/», ìàäåìóàçåëü).”
She said in a quiet even voice (îíà îòâåòèëà ñïîêîéíûì, ðîâíûì ãîëîñîì) with a trace of hardness in it (íî íåìíîãî ðåçêî: «ñî ñëåäàìè ñóðîâîñòè /â íåì/»; hard — òâåðäûé; ðåçêèé, ãðóáûé, íåïðèÿòíûé; hardness — òâåðäîñòü, êðåïîñòü; ñóðîâîñòü, æåñòîêîñòü), “I have my living to get (ÿ äîëæíà çàðàáàòûâàòü ñåáå íà æèçíü; living — ñðåäñòâà ê ñóùåñòâîâàíèþ; to get — äîñòàâàòü, äîáûâàòü; çàðàáàòûâàòü, ïîëó÷àòü).”
“You mean (òî åñòü) — ?”
She raised her eyes and looked him full in the face (îíà ïîäíÿëà ãëàçà è ïîñìîòðåëà åìó ïðÿìî â ëèöî). “How much do you know, M. Poirot (÷òî âû çíàåòå, ìñüå Ïóàðî; how much — ñêîëüêî), of the fight (î òîì, êàê ñëîæíî: «î áîðüáå çà»; fight — áîé, áèòâà; áîðüáà) to get and keep decent employment (ïîëó÷èòü è óäåðæàòü ïðèëè÷íîå ìåñòî; to keep — äåðæàòü, èìåòü, õðàíèòü; óäåðæàòü, ñîõðàíèòü; employment — ðàáîòà /ïî íàéìó/, ñëóæáà)? Do you think that a girl who had been detained in connection with a murder case (íåóæåëè âû äóìàåòå, ÷òî äåâóøêå, êîòîðàÿ áûëà çàäåðæàíà â ñâÿçè ñ äåëîì îá óáèéñòâå; to detain — çàäåðæèâàòü; àðåñòîâûâàòü, ñîäåðæàòü ïîä ñòðàæåé), whose name and perhaps photograph (÷üå èìÿ è, âîçìîæíî, ôîòîãðàôèè) were reproduced in the English papers (ïå÷àòàëèñü â àíãëèéñêèõ ãàçåòàõ; to reproduce — ïðîèçâîäèòü; âîñïðîèçâîäèòü, ðåïðîäóöèðîâàòü; paper — áóìàãà; ãàçåòà, æóðíàë) — do you think that any nice ordinary middle-class woman would want to engage that girl as governess to her daughters (íåóæåëè âû äóìàåòå, ÷òî ïîðÿäî÷íàÿ õîçÿéêà: «ñëàâíàÿ îáûêíîâåííàÿ æåíùèíà» èç çàæèòî÷íîé ñåìüè çàõî÷åò íàíÿòü ýòó äåâóøêó â êà÷åñòâå ãóâåðíàíòêè äëÿ ñâîèõ äî÷åðåé; middle-class — îòíîñÿùèéñÿ ê ñðåäíèì ñëîÿì îáùåñòâà, çàæèòî÷íûé, áóæóàçíûé)?”
leapt [lept] leap [li:p] decent [di:s()nt] detained [dtend] photograph [ftr:f] middle class [mdlkl:s]
“I should have thought the reason leapt to the eye, M. Poirot.”
“It does not leap to mine, Mademoiselle.”
She said in a quiet even voice with a trace of hardness in it, “I have my living to get.”
“You mean — ?”
She raised her eyes and looked him full in the face. “How much do you know, M. Poirot, of the fight to get and keep decent employment? Do you think that a girl who had been detained in connection with a murder case, whose name and perhaps photograph were reproduced in the English papers — do you think that any nice ordinary middle-class woman would want to engage that girl as governess to her daughters?”
“I do not see why not (à ïî÷åìó áû è íåò: «íå ïîíèìàþ, ïî÷åìó íåò») — if no blame attached to you (åñëè âû /îêàæåòåñü/ íè â ÷åì íå âèíîâàòû; blame — ïîðèöàíèå, óïðåê; âèíà, îòâåòñòâåííîñòü; to attach — ïðèêðåïëÿòü, ïðèñîåäèíÿòü; áûòü ñâîéñòâåííûì, ïðèñóùèì).”
“Oh, blame (î, âèíà) — it is not blame (äåëî íå â âèíîâíîñòè) — it is the publicity (äåëî â îãëàñêå; publicity — ïóáëè÷íîñòü, ãëàñíîñòü; èçâåñòíîñòü, ñëàâà)! So far, M. Poirot, I have succeeded in life (äî ñèõ ïîð, ìñüå Ïóàðî, ÿ ïðåóñïåâàëà â æèçíè; to succeed — äîñòèãíóòü öåëè, äîáèòüñÿ; ïðåóñïåâàòü, ïðîöâåòàòü). I have had well-paid (ó ìåíÿ áûëè õîðîøî îïëà÷èâàåìûå), pleasant posts (ïðèÿòíûå ìåñòà ðàáîòû; post — ïîñò, äîëæíîñòü, ïîëîæåíèå). I was not going to risk the position I had attained (ÿ íå ñîáèðàëàñü ðèñêîâàòü òåì ïîëîæåíèåì, êîòîðîãî ÿ äîñòèãëà) when no good end could have been served (êîãäà íåò îñîáîé íåîáõîäèìîñòè: «êîãäà íåò íèêàêîé ïîëüçû»; to serve an end — ñëóæèòü êàêîé-ëèáî öåëè, áûòü ïîëåçíûì; end — êîíåö, îêîí÷àíèå; öåëü, íàìåðåíèÿ; to serve — ñëóæèòü; ãîäèòüñÿ, ïîäõîäèòü).”
“I will venture to suggest, Mademoiselle (ÿ îñìåëþñü ïðåäïîëîæèòü, ìàäåìóàçåëü; to venture — ðèñêîâàòü, ñòàâèòü íà êàðòó; îòâàæèòüñÿ, ðåøèòüñÿ, îñìåëèòüñÿ), that I would have been the best judge of that, not you (÷òî ëó÷øå îá ýòîì ñóäèòü ìíå, à íå âàì).”
She shrugged her shoulders (îíà ïîæàëà ïëå÷àìè).
publicity [pblst] succeed [sksi:d] venture [vent]
“I do not see why not — if no blame attached to you.”
“Oh, blame — it is not blame — it is the publicity! So far, M. Poirot, I have succeeded in life. I have had well-paid, pleasant posts. I was not going to risk the position I had attained when no good end could have been served.”
“I will venture to suggest, Mademoiselle, that I would have been the best judge of that, not you.”
She shrugged her shoulders.
“For instance, you could have helped me (íàïðèìåð, âû ìîãëè áû ïîìî÷ü ìíå) in the matter of identification (â âîïðîñå ñ îïîçíàíèåì /íåêîòîðûõ ïàññàæèðîâ/; identification — îòîæäåñòâëåíèå; îïîçíàíèå, îïðåäåëåíèå).”
“What do you mean (÷òî âû õîòèòå ñêàçàòü)?”
“Is it possible, Mademoiselle (âîçìîæíî ëè ýòî, ìàäåìóàçåëü), that you did not recognise in the Countess Andrenyi, Mrs. Armstrong’s young sister (÷òî âû íå óçíàëè â ãðàôèíå Àíäðåíè ìëàäøóþ ñåñòðó ìèññèñ Àðìñòðîíã) whom you taught in New York (êîòîðóþ âû ó÷èëè â Íüþ-Éîðêå; to teach (taught))?”
“Countess Andrenyi? No.” She shook her head (îíà ïîêà÷àëà ãîëîâîé). “It may seem extraordinary to you (âàì ýòî ìîæåò ïîêàçàòüñÿ íåîáû÷íûì) — but I did not recognise her (íî ÿ íå óçíàëà åå). She was not grown up (îíà áûëà åùå ïîäðîñòêîì: «îíà íå áûëà âçðîñëîé»; to grow (grew, grown) — ðàñòè, óâåëè÷èâàòüñÿ; ðàñòè, âûðàñòàòü; grown up — âçðîñëûé /÷åëîâåê/), you see, when I knew her (âèäèòå ëè, êîãäà ÿ åå çíàëà). That was over three years ago (ýòî áûëî áîëåå òðåõ ëåò íàçàä). It is true that the Countess reminded me of someone (ýòî ïðàâäà, ÷òî ãðàôèíÿ íàïîìíèëà ìíå êîãî-òî); it puzzled me (ýòî ìåíÿ îçàäà÷èëî = ÿ ëîìàëà ãîëîâó, êîãî æå îíà ìíå íàïîìíèëà; to puzzle — îçàäà÷èâàòü, ñòàâèòü â òóïèê; ëîìàòü ãîëîâó /íàä ÷åì-ëèáî/). But she looks so foreign (íî îíà âûãëÿäèò òàê ýêçîòè÷íî; foreign — èíîñòðàííûé, ÷óæåçåìíûé, çàãðàíè÷íûé) — I never connected her with the little American schoolgirl (ÿ íèêîèì îáðàçîì íå ñâÿçàëà åå ñ òîé ìàëåíüêîé àìåðèêàíñêîé øêîëüíèöåé; never — íèêîãäà; ýìîö. — óñèë. íèñêîëüêî, íèêîèì îáðàçîì). I only glanced at her casually when coming into the restaurant car (ÿ òîëüêî ìèìîõîäîì âçãëÿíóëà íà íåå, êîãäà /îíà/ çàõîäèëà â âàãîí-ðåñòîðàí), and I noticed her clothes more than her face (è ÿ áîëüøå îáðàòèëà âíèìàíèå íà åå îäåæäó, ÷åì íà åå ëèöî).” She smiled faintly (îíà ñëåãêà óëûáíóëàñü). “Women do (æåíùèíû òàê ïîñòóïàþò: «äåëàþò»)! And then — well — I had my own preoccupations (è, ê òîìó æå, íó, ó ìåíÿ áûëè ñâîè ñîáñòâåííûå çàáîòû; preoccupation — çàâëàäåíèå èìóùåñòâîì ðàíüøå äðóãîãî; îçàáî÷åííîñòü, ïîãëîùåííîñòü /÷åì-ëèáî/, çàáîòà).”
identification [adentfke()n] taught [t:t] extraordinary [kstr:d()n()r] schoolgirl [sku:l:l] preoccupation [prkjpe()n]
“For instance, you could have helped me in the matter of identification.”
“What do you mean?”
“Is it possible, Mademoiselle, that you did not recognise in the Countess Andrenyi, Mrs. Armstrong’s young sister whom you taught in New York?”
“Countess Andrenyi? No.” She shook her head. “It may seem extraordinary to you — but I did not recognise her. She was not grown up, you see, when I knew her. That was over three years ago. It is true that the Countess reminded me of someone; it puzzled me. But she looks so foreign — I never connected her with the little American schoolgirl. I only glanced at her casually when coming into the restaurant car, and I noticed her clothes more than her face.” She smiled faintly. “Women do! And then — well — I had my own preoccupations.”
“You will not tell me your secret, Mademoiselle (âû íå ðàññêàæåòå ìíå âàø ñåêðåò, ìàäåìóàçåëü)?”
Poirot’s voice was very gentle and persuasive (ãîëîñ ó Ïóàðî áûë î÷åíü ìÿãêèé è óáåæäàþùèé; to persuade — óáåæäàòü, ñêëîíÿòü, óãîâàðèâàòü).
She said in a low voice (îíà ñêàçàëà òèõèì ãîëîñîì = îíà òèõî îòâåòèëà; low — íèçêèé, íåâûñîêèé; òèõèé, íåãðîìêèé), “I can’t (ÿ íå ìîãó) — I can’t.”
And suddenly, without warning (è âíåçàïíî, áåç ïðåäóïðåæäåíèÿ = ñîâåðøåííî íåîæèäàííî; to warn — ïðåäóïðåæäàòü), she broke down (îíà ïîòåðÿëà ñàìîîáëàäàíèå; to break (broke, broken) — ëîìàòü; ðàçðûâàòü; to break down — ñëîìàòü, ðàçðóøèòü; íå âûäåðæàòü, ðàñïëàêàòüñÿ), dropping her face down upon her outstretched arms (óðîíèâ ãîëîâó: «ëèöî» âíèç íà âûòÿíóòûå ðóêè; to outstretch — ïðîòÿãèâàòü, âûòÿãèâàòü) and crying as though her heart would break (è çàïëàêàâ òàê, ñëîâíî åå ñåðäöå ðàçðûâàëîñü).
The Colonel sprang up and stood awkwardly beside her (ïîëêîâíèê âñêî÷èë è íåëîâêî âñòàë ðÿäîì ñ íåé).
secret [si:krt] persuasive [pswesv] outstretched [atstrett] awkwardly [:kwdl]
“You will not tell me your secret, Mademoiselle?”
Poirot’s voice was very gentle and persuasive.
She said in a low voice, “I can’t — I can’t.”
And suddenly, without warning, she broke down, dropping her face down upon her outstretched arms and crying as though her heart would break.
The Colonel sprang up and stood awkwardly beside her.
“I — look here (ÿ — ïîñëóøàéòå; look here — â ãðàìì. çíà÷åíèè ìåæäîìåòèÿ: ïîñëóøàéòå! ýé! /ïðèâëåêàåò âíèìàíèå ñîáåñåäíèêà/) — ”
He stopped (îí çàïíóëñÿ; to stop — îñòàíàâëèâàòü, çàäåðæèâàòü; îñòàíàâëèâàòüñÿ, çàìîëêàòü, äåëàòü ïàóçó) and turning round scowled fiercely at Poirot (è, ïîâåðíóâøèñü /êðóãîì/, áðîñèë ñâèðåïûé âçãëÿä íà Ïóàðî; to scowl — ñåðäèòî ñìîòðåòü; fierce — ñâèðåïûé, ëþòûé, æåñòîêèé).
“I’ll break every bone in your damned body (ÿ ïåðåëîìàþ ñå êîñòè â âàøåì ÷åðòîâîì òåëå = ÿ âàñ â ïîðîøîê ñîòðó; damned — ýìîö. — óñèë. ÷åðòîâ, ïðîêëÿòûé), you dirty little whipper-snapper (âû, ïîäëîå ìåëêîå íè÷òîæåñòâî; dirty — ãðÿçíûé, íå÷èñòûé; íèçêèé, ïîäëûé, ãðÿçíûé),” he said.
“Monsieur,” protested M. Bouc (ìñüå, — ïðîòåñòóÿ, çàÿâèë ìñüå Áóê; to protest — ïðîòåñòîâàòü, âîçðàæàòü).
Arbuthnot had turned back to the girl (Àðáýòíîò /ñíîâà/ ïîâåðíóëñÿ ê äåâóøêå). “Mary — for God’s sake (Ìýðè, ðàäè Áîãà) — ”
She sprang up (îíà âñêî÷èëà). “It’s nothing (ïóñòÿêè). I’m all right (ÿ â ïîðÿäêå; to be all right — áûòü â ïîðÿäêå, ÷óâñòâîâàòü ñåáÿ õîðîøî). You don’t need me any more (ÿ âàì áîëüøå íå íóæíà), do you, M. Poirot (íå òàê ëè, ìñüå Ïóàðî)? If you do (åñëè ÿ /âàì íóæíà/), you must come and find me (âû çíàåòå, ãäå ìåíÿ íàéòè: «âû äîëæíû ïðèéòè è íàéòè ìåíÿ»). Oh, what an idiot (î, êàêóþ èäèîòêó) — what an idiot I’m making of myself (êàêóþ èäèîòêó ÿ èç ñåáÿ äåëàþ = ÿ âûãëÿæó êàê èäèîòêà)!” She hurried out of the car (è îíà ïîñïåøèëà èç âàãîíà-ðåñòîðàíà; to hurry — ñïåøèòü, òîðîïèòüñÿ).
damned [dmd] whippersnapper [wpsnp] idiot [dt]
“I — look here — ”
He stopped and turning round scowled fiercely at Poirot.
“I’ll break every bone in your damned body, you dirty little whipper-snapper,” he said.
“Monsieur,” protested M. Bouc.
Arbuthnot had turned back to the girl. “Mary — for God’s sake — ”
She sprang up. “It’s nothing. I’m all right. You don’t need me any more, do you, M. Poirot? If you do, you must come and find me. Oh, what an idiot — what an idiot I’m making of myself!” She hurried out of the car.
Arbuthnot, before following her, turned once more on Poirot (Àðáýòíîò, ïðåæäå ÷åì ïîñëåäîâàòü çà íåé, åùå ðàç íàáðîñèëñÿ íà Ïóàðî; to turn — ïîâîðà÷èâàòü, to turn on smb. — íàáðàñûâàòüñÿ íà êîãî-ëèáî).
“Miss Debenham’s got nothing to do with this business (ìèññ Äåáåíõýì íå èìååò ê ýòîìó äåëó íèêàêîãî îòíîøåíèÿ; to have to do with smb., smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî) — nothing, do you hear (íèêàêîãî, ñëûøèòå âû)? And if she’s worried (è åñëè /âû áóäåòå/ åé íàäîåäàòü; to worry — íàäîåäàòü, áåñïîêîèòü ÷åì-ëèáî, äîñàæäàòü) and interfered with (è äîêó÷àòü; to interfere — ìåøàòü, ñëóæèòü ïðåïÿòñòâèåì; íàäîåäàòü, äîêó÷àòü /êîìó-ëèáî/), you’ll have me to deal with (âàì ïðèäåòñÿ èìåòü äåëî ñî ìíîé; to deal — ðàñïðåäåëÿòü, ðàçäàâàòü; èìåòü äåëî /ñ êåì-ëèáî/).” He strode out (è îí âûøåë /áîëüøèìè øàãàìè/ èç /âàãîíà-ðåñòîðàíà/; to stride (strode, stridden)).
“I like to see an angry Englishman (ìíå íðàâèòñÿ ñìîòðåòü íà ñåðäèòîãî àíãëè÷àíèíà = êàê àíãëè÷àíå ñåðäÿòñÿ),” said Poirot. “They are very amusing (îíè òàêèå çàáàâíûå). The more emotional they feel (÷åì áîëüøå ýìîöèé îíè èñïûòûâàþò; emotional — ñâÿçàííûé ñ ýìîöèÿìè; âïå÷àòëèòåëüíûé, íåðâíûé), the less command they have of language (òåì õóæå îíè âëàäåþò ÿçûêîì = òåì ìåíüøå îíè ïîäáèðàþò âûðàæåíèÿ; command — ïðèêàç, ïðèêàçàíèå; ãîñïîäñòâî, âëàñòü).”
business [bzns] interfere [ntf] emotional [m()nl]
Arbuthnot, before following her, turned once more on Poirot.
“Miss Debenham’s got nothing to do with this business — nothing, do you hear? And if she’s worried and interfered with, you’ll have me to deal with.” He strode out.
“I like to see an angry Englishman,” said Poirot. “They are very amusing. The more emotional they feel, the less command they have of language.”
But M. Bouc was not interested in the emotional reactions of Englishmen (íî ìñüå Áóêà íå èíòåðåñîâàëà ýìîöèîíàëüíàÿ ðåàêöèÿ: «ðåàêöèè» àíãëè÷àí; to interest — èíòåðåñîâàòü; interested — çàèíòåðåñîâàííûé). He was overcome by admiration of his friend (îí áûë îõâà÷åí âîñõèùåíèåì ñâîèì äðóãîì; to overcome (overcame, overcome) — ïîáîðîòü, ïîáåäèòü; îõâàòèòü, îáóÿòü /î ÷óâñòâàõ/).
“Mon cher, vous tes patant (ôð. äðóã ìîé, âû íåïîäðàæàåìû)!” he cried (âîñêëèêíóë îí; to cry — êðè÷àòü, îðàòü; âîñêëèöàòü). “Another miraculous guess (åùå îäíà óäèâèòåëüíàÿ äîãàäêà; miracle — ÷óäî; óäèâèòåëüíàÿ âåùü, âûäàþùååñÿ ñîáûòèå; miraculous — ÷óäîòâîðíûé; ÷óäåñíûé, óäèâèòåëüíûé).”
“It is incredible how you think of these things (ýòî /ïðîñòî/ íåâåðîÿòíî, êàê âû äîäóìûâàåòåñü äî òàêèõ âåùåé),” said Dr. Constantine admiringly (âîñõèùåííî ñêàçàë äîêòîð Êîíñòàíòèí).
“Oh, I claim no credit this time (î, íà ýòîò ðàç, ÿ íå ñòàâëþ ýòî ñåáå â çàñëóãó = ýòî íå ìîÿ çàñëóãà; to claim — òðåáîâàòü /êàê ïðèíàäëåæàùåå ïî ïðàâó/; ïðåòåíäîâàòü, çàÿâëÿòü ïðàâà /íà ÷òî-ëèáî/; credit — âåðà, äîâåðèå; ÷åñòü, çàñëóãà). It was not a guess (ýòî íå áûëà /ìîÿ/ äîãàäêà = ìíå è ãàäàòü íå ïðèøëîñü). Countess Andrenyi practically told me (â ñóùíîñòè, ãðàôèíÿ Àíäðåíè /ñàìà/ ðàññêàçàëà ìíå).”
reaction [rk()n] admiration [dmre()n] miraculous [mrkjls] incredible [nkredb()l] admiring [dma()r]
But M. Bouc was not interested in the emotional reactions of Englishmen. He was overcome by admiration of his friend.
“Mon cher, vous tes patant!” he cried. “Another miraculous guess.”
“It is incredible how you think of these things,” said Dr. Constantine admiringly.
“Oh, I claim no credit this time. It was not a guess. Countess Andrenyi practically told me.”
“Comment (ôð. êàêèì îáðàçîì)? Surely not (êîíå÷íî æå íåò = íå ìîæåò áûòü)?”
“You remember, I asked her about her governess or companion (ïîìíèòå, ÿ ñïðîñèë åå î åå ãóâåðíàíòêå èëè êîìïàíüîíêå)? I had already decided in my mind (ïðî ñåáÿ ÿ óæå ðåøèë; mind — óì, ðàçóì; ìûñëè, äóìû) that if Mary Debenham were mixed up in the matter (÷òî åñëè Ìýðè Äåáåíõýì áûëà çàìåøàíà â ýòîì äåëå), she must have figured in the household in some such capacity (îíà äîëæíà áûëà ïðèñóòñòâîâàòü â äîìå â êàêîì-òî ïîäîáíîì êà÷åñòâå; to figure — èçîáðàæàòü /ãðàôè÷åñêè è ò.ï./; ôèãóðèðîâàòü, ó÷àñòâîâàòü; capacity — åìêîñòü, âìåñòèìîñòü; äîëæíîñòü, êà÷åñòâî, ïîëîæåíèå).”
“Yes, but the Countess Andrenyi described a totally different person (äà, íî ãðàôèíÿ Àíäðåíè îïèñàëà ñîâåðøåííî äðóãóþ îñîáó).”
“Exactly (òî÷íî). A tall middle-aged woman with red hair (âûñîêóþ æåíùèíó ñðåäíèõ ëåò ñ ðûæèìè âîëîñàìè) — in fact, the exact opposite in every respect of Miss Debenham (ïî ñóòè, ïîëíóþ ïðîòèâîïîëîæíîñòü Ìýðè Äåáåíõýì âî âñåõ îòíîøåíèÿõ; respect — óâàæåíèå; îòíîøåíèå, êàñàòåëüñòâî), so much so as to be quite remarkable (íàñòîëüêî íåïîõîæóþ: «òàêóþ /ïðîòèâîïîëîæíóþ/», ÷òî ýòî îêàçàëîñü âåñüìà ïðèìå÷àòåëüíî/çàìåòíî). But then she had to invent a name quickly (íî çàòåì åé ïðèøëîñü áûñòðî âûäóìàòü èìÿ; to invent — èçîáðåòàòü, ñîçäàâàòü; âûäóìûâàòü, ñî÷èíÿòü), and there it was that the unconscious association of ideas (è âîò òàê âûøëî, ÷òî ïîäñîçíàòåëüíàÿ àññîöèàöèÿ èäåé; unconscious — íàõîäÿùèéñÿ áåç ñîçíàíèÿ; ïñèõîë. íåîñîçíàííûé, áåññîçíàòåëüíûé) gave her away (âûäàëà åå; to give (gave, given) away — îòäàâàòü, äàðèòü; ðàçã. âûäàâàòü, ïðåäàâàòü, ïðîãîâîðèòüñÿ, ïîäâåñòè). She said, Miss Freebody, you remember (îíà ñêàçàëà — ìèññ Ôðèáîäè — êàê âû ïîìíèòå).”
household [hashld] capacity [kpst] middle-aged [mdledd] remarkable [rm:kb()l] unconscious [nkns] association [sse()n; se()n]
“Comment? Surely not?”
“You remember, I asked her about her governess or companion? I had already decided in my mind that if Mary Debenham were mixed up in the matter, she must have figured in the household in some such capacity.”
“Yes, but the Countess Andrenyi described a totally different person.”
“Exactly. A tall middle-aged woman with red hair — in fact, the exact opposite in every respect of Miss Debenham, so much so as to be quite remarkable. But then she hadto invent a name quickly, and there it was that the unconscious association of ideas gave her away. She said, Miss Freebody, you remember.”
“Yes (íó è)?”
“Eh bien, you may not know it (òàê âîò, âû, ìîæåò, è íå çíàåòå ýòîãî), but there is a shop in London (íî â Ëîíäîíå åñòü ìàãàçèí) that was called until recently Debenham & Freebody (êîòîðûé, äî íåäàâíåãî âðåìåíè íàçûâàëñÿ Äåáåíõýì è Ôðèáîäè). With the name Debenham running in her head (ñ ôàìèëèåé Äåáåíõýì, êîòîðàÿ êðóòèòñÿ ó íåå â ãîëîâå; to run — áåæàòü; ìåëüêàòü, ïðîíîñèòüñÿ), the Countess clutches at another name quickly (ãðàôèíÿ áûñòðî ïûòàåòñÿ ïîäûñêàòü: «óõâàòèòüñÿ çà» äðóãîå èìÿ; to clutch — ñõâàòèòü, ñòèñíóòü; ñõâàòèòüñÿ, óõâàòèòüñÿ; to clutch at — õâàòàòüñÿ /çà âîçìîæíîñòü è ò.ï./), and the first that comes is Freebody (è ïåðâîå, ÷òî ïðèõîäèò /åé â ãîëîâó/ — ýòî Ôðèáîäè). Naturally I understood immediately (åñòåñòâåííî, ÿ /âñå/ íåìåäëåííî ïîíÿë).”
“That is yet another lie (âîò åùå îäíà ëîæü). Why did she do it (ïî÷åìó îíà ýòî ñäåëàëà)?’
“Possibly more loyalty (âîçìîæíî, îïÿòü èç-çà âåðíîñòè; more — áîëüøå, áîëåå; åùå, îïÿòü, ñíîâà). It makes things a little difficult (ýòî íåìíîãî óñëîæíÿåò âñå äåëî).”
“Ma foi (ôð. íó è íó)!” said M. Bouc with violence (íåèñòîâî çàÿâèë ìñüå Áóê; violence — íàñèëèå, ïðèíóæäåíèå; ñèëà, íåèñòîâñòâî, ÿðîñòü). “But does everybody on this train tell lies (íåóæåëè âñå â ýòîì ïîåçäå ëãóò)?”
“That (ýòî),” said Poirot, “is what we are about to find out (ìû è ñîáèðàåìñÿ âûÿñíèòü; to be about to do smth. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü ÷òî-ëèáî; to find out — ðàçóçíàòü, âûÿñíèòü).”
London [lndn] recently [ri:s()ntl] loyalty [llt] violence [valns]
“Yes?”
“Eh bien, you may not know it, but there is a shop in London that was called until recently Debenham & Freebody. With the name Debenham running in her head, the Countess clutches at another name quickly, and the first that comes is Freebody. Naturally I understood immediately.”
“That is yet another lie. Why did she do it?’
“Possibly more loyalty. It makes things a little difficult.”
“Ma foi!” said M. Bouc with violence. “But does everybody on this train tell lies?”
“That,” said Poirot, “is what we are about to find out.”
8. Further Surprising Revelations
(Íîâûå óäèâèòåëüíûå îòêðûòèÿ; further — áîëåå îòäàëåííûé; äîïîëíèòåëüíûé, äîáàâî÷íûé, íîâûé; to surprise — óäèâëÿòü, ïîðàæàòü; to reveal — îáíàðóæèâàòü; îòêðûâàòü, ðàçîáëà÷àòü)
“Nothing would surprise me now (òåïåðü ìåíÿ óæå íè÷åãî íå óäèâèò),” said M. Bouc. “Nothing (íè÷åãî)! Even if everybody in the train proved to have been in the Armstrong household (äàæå åñëè êàæäûé â ýòîì ïîåçäå áûë, êàê îêàæåòñÿ, äîìî÷àäöåì èëè ñëóãîé Àðìñòðîíãîâ; to prove — äîêàçûâàòü; îêàçûâàòüñÿ; household — ñåìüÿ, äîìî÷àäöû, äîìàøíèå /âêëþ÷àÿ ñëóã/), I should not express surprise (ÿ íå óäèâëþñü: «íå âûêàæó óäèâëåíèÿ»).”
“That is a very profound remark (ýòî î÷åíü ìåòêîå: «ãëóáîêîå» çàìå÷àíèå; profound — ãëóáîêèé, îñíîâàòåëüíûé),” said Poirot. “Would you like to see what your favorite suspect, the Italian, has to say for himself (íå õîòèòå ëè ïîñëóøàòü: «âçãëÿíóòü», ÷òî ñàìûé, ïî-âàøåìó, ïîäîçðèòåëüíûé ïàññàæèð: «ïîäîçðåâàåìûé», èòàëüÿíåö ìîæåò ñêàçàòü î ñåáå; to have smth. to say for oneself — ñêàçàòü ÷òî-ëèáî â ñâîþ çàùèòó /â ñâîå îïðàâäàíèå/; ðàññêàçûâàòü êîå-÷òî î ñåáå)?”
“You are going to make another of these famous guesses of yours (âû îïÿòü ñîáèðàåòåñü ïðîäåìîíñòðèðîâàòü: «ñäåëàòü» åùå îäíó èç âàøèõ çíàìåíèòûõ äîãàäîê)?”
“Precisely (ñîâåðøåííî âåðíî/èìåííî).”
profound [prfand] suspect [sspekt] precisely [prsasl]
“Nothing would surprise me now,” said M. Bouc. “Nothing! Even if everybody in the train proved to have been in the Armstrong household, I should not express surprise.”
“That is a very profound remark,” said Poirot. “Would you like to see what your favorite suspect, the Italian, has to say for himself?”
“You are going to make another of these famous guesses of yours?”
“Precisely.”
“It is really a most extraordinary case (âîò óæ, äåéñòâèòåëüíî, ÷ðåçâû÷àéíî íåîáû÷íîå äåëî; extraordinary — íåîáû÷íûé, çàìå÷àòåëüíûé, âûäàþùèéñÿ; íåîáû÷íûé, óäèâèòåëüíûé),” said Constantine.
“No, it is most natural (íåò, îíî ÷ðåçâû÷àéíî îáû÷íîå; natural — åñòåñòâåííûé, ïðèðîäíûé; îáû÷íûé, íîðìàëüíûé, ïîíÿòíûé).”
M. Bouc flung up his arms in comic despair (ìñüå Áóê âñïëåñíóë ðóêàìè â êîìè÷åñêîì/çàáàâíîì îò÷àÿíèè; to fling (flung) — ìåòàòü, áðîñàòü; to fling up — áðîñèòü, îñòàâèòü; ïîäáðîñèòü). “If this is what you call natural, mon ami (åñëè âû íàçûâàåòå ýòî /äåëî/ îáû÷íûì, ìîé äðóã) — ” Words failed him (îí íå íàøåëñÿ, ÷òî åùå ñêàçàòü: «åìó íå õâàòèëî ñëîâ»; to fail — òåðïåòü íåóäà÷ó; áûòü íåäîñòàòî÷íûì, íå õâàòàòü).
Poirot had by this time requested the dining-car attendant to fetch Antonio Foscarelli (ê òîìó âðåìåíè = òåì âðåìåíåì Ïóàðî ïîïðîñèë îôèöèàíòà: «ñëóæàùåãî âàãîíà-ðåñòîðàíà» ñõîäèòü çà Àíòîíèî Ôîñêàðåëëè; to fetch — ñõîäèòü è ïðèíåñòè, ñõîäèòü è ïðèâåñòè).
extraordinary [kstr:d()n()r] natural [nt()rl] despair [dspe] request [rkwest]
“It is really a most extraordinary case,” said Constantine.
“No, it is most natural.”
M. Bouc flung up his arms in comic despair. “If this is what you call natural, mon ami — ” Words failed him.
Poirot had by this time requested the dining-car attendant to fetch Antonio Foscarelli.
The big Italian had a wary look in his eye as he came in (ó ðîñëîãî èòàëüÿíöà áûëî íàñòîðîæåííîå âûðàæåíèå â ãëàçàõ = âèä áûë íàñòîðîæåííûé, êîãäà îí âîøåë; wary — îñòîðîæíûé; ïîäîçðèòåëüíûé, íåäîâåð÷èâûé; look — âçãëÿä; âûðàæåíèå). He shot nervous glances (îí áðîñàë áûñòðûå íåðâíûå âçãëÿäû; to shoot (shot) — ñòðåëÿòü, âåñòè îãîíü; áðîñàòü, êèäàòü) from side to side (ïî ñòîðîíàì: «èç ñòîðîíû â ñòîðîíó») like a trapped animal (êàê çàãíàííîå â çàïàäíþ æèâîòíîå; trap — êàïêàí; ëîâóøêà, çàïàäíÿ; to trap — ñòàâèòü êàïêàíû, ëîâóøêè; çàìàíèâàòü â ëîâóøêó, óñòðàèâàòü çàïàäíþ).
“What do you want (÷òî âû /îò ìåíÿ/ õîòèòå)?” he said. “I have nothing more to tell you (ìíå âàì áîëüøå íå÷åãî ñêàçàòü âàì) — nothing, do you hear (íå÷åãî, ñëûøèòå âû)? Per Dio (èòàë. åé-áîãó: «Ãîñïîäîì /êëÿíóñü/») — ” He struck his hand on the table (îí ñòóêíóë êóëàêîì: «ðóêîé» ïî ñòîëó; to strike (struck, stricken) — óäàðÿòü, áèòü).
“Yes, you have something more to tell us (íåò, âû ìîæåò ðàññêàçàòü íàì êîå-÷òî åùå),” said Poirot firmly (òâåðäî ñêàçàë Ïóàðî; firm — òâåðäûé; ðåøèòåëüíûé, íàñòîé÷èâûé). “The truth (ïðàâäó)!”
“The truth?” He shot an uneasy glance at Poirot (îí áðîñèë áåñïîêîéíûé âçãëÿä íà Ïóàðî; uneasy — íåóäîáíûé; áåñïîêîéíûé, òðåâîæíûé). All the assurance (/âñÿ/ ñàìîóâåðåííîñòü; assurance — óâåðåíèå, çàâåðåíèå; ñàìîóâåðåííîñòü, íàãëîñòü) and geniality (è âåñåëîñòü; geniality — äîáðîäóøèå, ðàäóøèå, âåñåëîñòü) had gone out of his manner (â íåì òóò æå èñ÷åçëè: «óøëè èç åãî ïîâåäåíèÿ»).
animal [nm()l] assurance [()rns] geniality [di:nlt]
The big Italian had a wary look in his eye as he came in. He shot nervous glances from side to side like a trapped animal.
“What do you want?” he said. “I have nothing more to tell you — nothing, do you hear? Per Dio — ” He struck his hand on the table.
“Yes, you have something more to tell us,” said Poirot firmly. “The truth!”
“The truth?” He shot an uneasy glance at Poirot. All the assurance and geniality had gone out of his manner.
“Mais oui (ôð. âîò èìåííî). It may be that I know it already (ìæåò ñòàòüñÿ òàê, ÷òî ÿ åå óæå çíàþ). But it will be a point in your favour (íî ýòî áóäåò î÷êî â âàøó ïîëüçó = íî âàì çà÷òåòñÿ; point — òî÷êà; ñïîðò. î÷êî; favour — áëàãîñêëîííîñòü, ðàñïîëîæåíèå; in favour (of) — â çàùèòó; â ïîëüçó /êîãî-ëèáî/) if it comes from you spontaneously (åñëè âû äîáðîâîëüíî îáî âñåì ðàññêàæåòå: «åñëè îíà /ïðàâäà/ áóäåò èñõîäèòü îò âàñ äîáðîâîëüíî»; spontaneously — ñàìîïðîèçâîëüíûé, ñòèõèéíûé; äîáðîâîëüíûé, íå ïðèíóæäåííûé).”
“You talk like the American police (âû ãîâîðèòå, êàê àìåðèêàíñêàÿ ïîëèöèÿ). ‘Come clean (ïðèçíàâàéñÿ/âûêëàäûâàé íà÷èñòîòó; to come clean — ïîëíîñòüþ ïðèçíàòüñÿ /â ÷åì-ëèáî/, ðàñêîëîòüñÿ)’ — that is what they say (âîò ÷òî îíè ãîâîðÿò) — ‘come clean.’ ”
“Ah! so you have had experience of the New York police (à, çíà÷èò, âû èìåëè îïûò /îáùåíèÿ/ñ ïîëèöèåé Íüþ-Éîðêà)?”
“No, no, never. They could not prove a thing against me (îíè íå ñìîãëè íè÷åãî äîêàçàòü ïðîòèâ ìåíÿ) — but it was not for want of trying (íî ýòî ñëó÷èëîñü íå èç-çà íåäîñòàòêà /èõ/ óñèëèé = õîòÿ îíè î÷åíü ñòàðàëèñü; for want of smth. — èç-çà íåäîñòàòêà, îòñóòñòâèÿ, íåõâàòêè ÷åãî-ëèáî; to try — ïûòàòüñÿ, ñòàðàòüñÿ).”
Poirot said quietly (Ïóàðî ñêàçàë ñïîêîéíî): “That was in the Armstrong case, was it not (ýòî áûëî â äåëå Àðìñòðîíãîâ, íå òàê ëè)? You were the chauffeur (âû áûëè øîôåðîì)?”
already [:lred] spontaneous [spntens] chauffeur [f, f:]
“Mais oui. It may be that I know it already. But it will be a point in your favour if it comes from you spontaneously.”
“You talk like the American police. ‘Come clean’ — that is what they say — ‘come clean.’ ”
“Ah! so you have had experience of the New York police?”
“No, no, never. They could not prove a thing against me — but it was not for want of trying.”
Poirot said quietly: “That was in the Armstrong case, was it not? You were the chauffeur?”
His eyes met those of the Italian (åãî ãëàçà âñòðåòèëèñü ñ ãëàçàìè èòàëüÿíöà = èõ âçãëÿäû ïåðåñåêëèñü). The bluster went out of the big man (áàõâàëüñòâî ïîêèíóëî ýòîãî ðîñëîãî ìóæ÷èíó; bluster — ðåâ áóðè; ãðîìêèå ñëîâà, áàõâàëüñòâî, õâàñòîâñòâî). He was like a pricked balloon (îí áûë ïîõîæ íà ñäóòûé: «ïðîêîëîòûé» âîçäóøíûé øàðèê; to prick — êîëîòü; ïðîêàëûâàòü).
“Since you know (ðàç óæ âû çíàåòå) — why ask me (çà÷åì ìåíÿ ñïðàøèâàòü)?”
“Why did you lie this morning (ïî÷åìó âû ñîëãàëè ñåãîäíÿ óòðîì)?”
“Business reasons (èç äåëîâûõ ñîîáðàæåíèé; reason — ïðè÷èíà, îñíîâàíèå; ìîòèâ, ñîîáðàæåíèå, îïðàâäàíèå). Besides, I do not trust the Jugo-Slav police (êðîìå òîãî, ÿ íå äîâåðÿþ þãîñëàâñêîé ïîëèöèè). They hate the Italians (îíè íåíàâèäÿò èòàëüÿíöåâ). They would not have given me justice (îíè áû íå îòíåñëèñü êî ìíå ïî ñïðàâåäëèâîñòè).”
prick [prk] balloon [blu:n] Jugoslav [ju:()sl:v] justice [dsts]
His eyes met those of the Italian. The bluster went out of the big man. He was like a pricked balloon.
“Since you know — why ask me?”
“Why did you lie this morning?”
“Business reasons. Besides, I do not trust the Jugo-Slav police. They hate the Italians. They would not have given me justice.”
“Perhaps it is exactly justice (ìîæåò áûòü, êàê ðàç ïî ñïðàâåäëèâîñòè) that they would have given you (îíè áû âàì è âîçäàëè)!”
“No, no, I had nothing to do with this business last night (ÿ íå èìåþ íèêàêîãî îòíîøåíèÿ ê ýòîìó â÷åðàøíåìó äåëó: «äåëó ïðîøëîé íî÷è»). I never left my carriage (ÿ íè ðàçó íå âûøåë èç ñâîåãî êóïå). The long-faced Englishman (òîò àíãëè÷àíèí ñ óíûëûì ëèöîì; long — äëèííûé; long-faced — ñ ïðîäîëãîâàòûì ëèöîì; ñ âûòÿíóòîé ôèçèîíîìèåé, ñ óíûëûì âèäîì), he can tell you so (ìîæåò âàì ýòî ïîäòâåðäèòü; to tell — ðàññêàçûâàòü; çàâåðÿòü, óâåðÿòü, óòâåðæäàòü). It was not I who killed this pig (ýòî íå ÿ óáèë òîãî íåãîäÿÿ; pig — ñâèíüÿ, áîðîâ; ðàçã. ñâèíüÿ, íàõàë, íàãëåö) — this Ratchett (Ðýò÷åòòà). You cannot prove anything against me (ó âàñ íà ìåíÿ íè÷åãî íåò: «íå ìîæåòå íè÷åãî äîêàçàòü ïðîòèâ ìåíÿ»).”
Poirot was writing something on a sheet of paper (Ïóàðî ÷òî-òî ïèñàë íà ëèñòå áóìàãè; sheet — ïðîñòûíÿ; ëèñò /áóìàãè, ìåòàëà è ò.ï./). He looked up and said quietly (îí ïîäíÿë ãëàçà è ñïîêîéíî ñêàçàë): “Very good (î÷åíü õîðîøî). You can go (âû ìîæåòå èäòè).”
Foscarelli lingered uneasily (Ôîñêàðåëëè òðåâîæíî òîïòàëñÿ íà ìåñòå: «ìåøêàë»; to linger — çàäåðæèâàòüñÿ, çàñèæèâàòüñÿ; ìåäëèòü, ìåøêàòü; òÿíóòü âðåìÿ). “You realise that it was not I (âû ïîíèìàåòå, ÷òî ýòî áûë íå ÿ; to realize — îñóùåñòâëÿòü, âûïîëíÿòü; ïðåäñòàâëÿòü ñåáå, ÿñíî ïîíèìàòü, îñîçíàâàòü)? That I could have had nothing to do with it (÷òî ÿ íå ìîã èìåòü ê ýòîìó /óáèéñòâó/ íèêàêîãî îòíîøåíèÿ; to have to do with smb., smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî)!”
“I said that you could go (ÿ ñêàçàë, ÷òî âû ìîæåòå èäòè).”
pig [p] prove [pru:v] linger [ln] uneasily [ni:zl]
“Perhaps it is exactly justice that they would have given you!”
“No, no, I had nothing to do with this business last night. I never left my carriage. The long-faced Englishman, he can tell you so. It was not I who killed this pig — this Ratchett. You cannot prove anything against me.”
Poirot was writing something on a sheet of paper. He looked up and said quietly: “Very good. You can go.”
Foscarelli lingered uneasily. “You realise that it was not I? That I could have had nothing to do with it!”
“I said that you could go.”
“It is a conspiracy (ýòî çàãîâîð). You are going to frame me (âû ñîáèðàåòåñü ìåíÿ ïîäñòàâèòü; to frame — ñîçäàâàòü, âûðàáàòûâàòü; ðàçã. ôàáðèêîâàòü /äåëî, îáâèíåíèå/, ëîæíî îáâèíÿòü êîãî-ëèáî, ïîäòàñîâûâàòü ôàêòû; ïîäñòàâëÿòü êîãî-ëèáî)? All for a pig of a man who should have gone to the chair (è âñå èç-çà ýòîãî ìåðçàâöà, êîòîðîãî ñëåäîâàëî îòïðàâèòü íà /ýëåêòðè÷åñêèé/ ñòóë; chair — ñòóë, êðåñëî; àìåð.ðàçã. ýëåêòðè÷åñêèé ñòóë)! It was an infamy that he did not (ïðîñòî ïîçîð, ÷òî åãî íå îòïðàâèëè). If it had been me (âîò åñëè áû ýòî áûë ÿ /íà åãî ìåñòå/) — if I had been arrested (åñëè áû ìåíÿ àðåñòîâàëè) — ”
“But it was not you (íî ýòî æå áûëè íå âû). You had nothing to do with the kidnapping of the child (âû íå èìåëè íèêàêîãî îòíîøåíèÿ ê ïîõèùåíèþ ðåáåíêà).”
“What is that you are saying (äà ÷òî âû òàêîå ãîâîðèòå)? Why, that little one (âåäü òà ìàëûøêà) — she was the delight of the house (îíà áûëà ëþáèìèöåé âñåãî äîìà; delight — âîñòîðã, âîñõèùåíèå; èñòî÷íèê íàñëàæäåíèÿ). Tonio, she called me (Òîíèî — çâàëà îíà ìåíÿ). And she would sit in the car (ñÿäåò, áûâàëî, â ìàøèíó; would — çä. âûðàæàåò ÷àñòî ïîâòîðÿþùååñÿ èëè ïðèâû÷íîå äåéñòâèå: áûâàëî, êàê ïðàâèëî) and pretend to hold the wheel (è äåëàåò âèä, ÷òî äåðæèò ðóëü = âåäåò ìàøèíó; to pretend — ïðèòâîðÿòüñÿ, äåëàòü âèä; èãðàòü, äåëàòü ïîíàðîøêó /â äåòñêèõ èãðàõ è ò.ï./; wheel — êîëåñî, êîëåñèêî; ðóëåâîå êîëåñî). All the household worshipped her (âñå äîìàøíèå îáîæàëè åå; to worship — ïîêëîíÿòüñÿ, ïî÷èòàòü; îáîæàòü, áîãîòâîðèòü)! Even the police came to understand that (äàæå ïîëèöèÿ ïîíÿëà ýòî; to come to do smth. — íà÷èíàòü äåëàòü ÷òî-ëèáî). Ah, the beautiful little one (àõ, ïðåëåñòü, ÷òî çà ìàëûøêà)!
conspiracy [knsprs] infamy [nfm] delight [dlat] worship [w:p]
“It is a conspiracy. You are going to frame me? All for a pig of a man who should have gone to the chair! It was an infamy that he did not. If it had been me — if I had been arrested — ”
“But it was not you. You had nothing to do with the kidnapping of the child.”
“What is that you are saying? Why, that little one — she was the delight of the house. Tonio, she called me. And she would sit in the car and pretnd to hold the wheel. All the household worshipped her! Even the police came to understand that. Ah, the beautiful little one!”
His voice had softened (åãî ãîëîñ ñòàë òèøå; to soften — ñìÿã÷àòüñÿ; ñòàíîâèòüñÿ ìÿã÷å, äîáðåå, íåæíåå; ñíèæàòü, ïîíèæàòü, ïðèãëóøàòü çâóê; ñìÿã÷àòü çâóê). The tears came into his eyes (â ãëàçàõ ïîÿâèëèñü ñëåçû). Then he wheeled round abruptly on his heel (çàòåì îí ðåçêî ïîâåðíóëñÿ íà êàáëóêàõ; to wheel — êàòèòü, ïîäêàòèòü; ïîâîðà÷èâàòüñÿ, âåðòåòüñÿ; heel — ïÿòêà, ïÿòà; êàáëóê) and strode out of the dining-car (è áîëüøèìè øàãàìè âûøåë èç âàãîíà-ðåñòîðàíà; to stride (strode, stridden)).
“Pietro (Ïüåòðî),” called Poirot (ïîçâàë Ïóàðî).
The dining-car attendant came at a run (ïîäáåæàë îôèöèàíò; run — áåã, ïðîáåã; at a run — áåãîì).
“The No. 10 — the Swedish lady (/ïîçîâèòå/ øâåäñêóþ äàìó — ìåñòî íîìåð 10).”
“Bien, Monsieur (ñëóøàþñü, ìñüå).”
“Another (åùå îäíà)?” cried M. Bouc (âîñêëèêíóë ìñüå Áóê). “Ah, no — it is not possible (íåò, ýòî íåâîçìîæíî). I tell you it is not possible (ãîâîðþ âàì, ýòî íåâîçìîæíî).”
abruptly [brptl] Swedish [swi:d] another [n]
His voice had softened. The tears came into his eyes. Then he wheeled round abruptly on his heel and strode out of the dining-car.
“Pietro,” called Poirot.
The dining-car attendant came at a run.
“The No. 10 — the Swedish lady.”
“Bien, Monsieur.”
“Another?” cried M. Bouc. “Ah, no — it is not possible. I tell you it is not possible.”
“Mon cher — we have to know (äðóã ìîé, ìû äîëæíû /âñå/ óçíàòü). Even if in the end everybody on the train proves to have had a motive for killing Ratchett, we have to know (åñëè äàæå â êîíöå êîíöîâ îêàæåòñÿ, ÷òî ó êàæäîãî ïàññàæèðà /â ýòîì ïîåçäå/ áûë ìîòèâ äëÿ óáèéñòâà Ðýò÷åòòà, ìû äîëæíû çíàòü /îá ýòîì/; to prove — äîêàçûâàòü; îêàçûâàòüñÿ). Once we know (êîãäà ìû áóäåì çíàòü; once — êàê òîëüêî), we can settle once for all where the guilt lies (ìû ñìîæåì ðåøèòü ðàç è íàâñåãäà, êòî æå âèíîâàò; guilt — âèíà, âèíîâíîñòü; to lie — ëåæàòü; çàêëþ÷àòüñÿ, áûòü /â ÷åì-ëèáî/).”
“My head is spinning (ó ìåíÿ ãîëîâà êðóãîì èäåò; to spin — êðóòèòü(ñÿ), âåðòåòü(ñÿ)),” groaned M. Bouc (ïðîñòîíàë ìñüå Áóê).
Greta Ohlsson was ushered in sympathetically by the attendant (îôèöèàíò ó÷òèâî ââåë Ãðåòó Îëüñîí /â âàãîí-ðåñòîðàí/). She was weeping bitterly (îíà ãîðüêî ïëàêàëà; bitterly — ãîðüêî; ýìîö. — óñèë. ñèëüíî, î÷åíü).
settle [setl] guilt [lt] spinning [spn] usher [] sympathetically [smpetk()l] weeping [wi:p] bitterly [btl]
“Mon cher — we have to know. Even if in the end everybody on the train proves to have had a motive for killing Ratchett, we have to know. Once we know, we can settle once for all where the guilt lies.”
“My head is spinning,” groaned M. Bouc.
Greta Ohlsson was ushered in sympathetically by the attendant. She was weeping bitterly.
She collapsed on the seat (îíà ðóõíóëà íà ñòóë; to collapse — ðóøèòüñÿ, îáâàëèâàòüñÿ; ñâàëèòüñÿ /â ðåçóëüòàòå óäàðà, íàïðÿæåíèÿ/; seat — ìåñòî /äëÿ ñèäåíèÿ/; ñòóë, ñêàìüÿ, êðåñëî) facing Poirot (íàïðîòèâ: «ëèöîì ê» Ïóàðî; to face — íàõîäèòüñÿ ëèöîì ê; áûòü îáðàùåííûì ê) and wept steadily into a large handkerchief (è ïðîäîëæèëà ïëàêàòü â áîëüøîé ïëàòîê; to weep (wept); steady — ïðî÷íûé, òâåðäûé; óñòîé÷èâûé, ïîñòîÿííûé, ñòàáèëüíûé).
“Now do not distress yourself, Mademoiselle (íå òåðçàéòåñü, ìàäåìóàçåëü; to distress — ïðè÷èíÿòü ãîðå, ñòðàäàíèå; ìó÷èòü, òðåâîæèòü). Do not distress yourself,” Poirot patted her on the shoulder (Ïóàðî ïîãëàäèë åå ïî ïëå÷ó; to pat — ïîõëîïûâàòü /êîãî-ëèáî/, øëåïàòü, ïîãëàäèòü /êîãî-ëèáî/). “Just a few little words of truth (ïðîñòî /ñêàæèòå íàì/ íåñêîëüêî ñëîâå÷åê ïðàâäû), that is all (âîò è âñå). You were the nurse who was in charge of little Daisy Armstrong (âû áûëè òîé ñàìîé íÿíåé, êîòîðàÿ çàáîòèëàñü î ìàëåíüêîé Äåéçè Àðìñòðîíã; charge — íàãðóçêà, çàãðóçêà; çàáîòà, ïîïå÷åíèå; to be in charge of — èìåòü /êîãî-ëèáî/ íà ïîïå÷åíèè èëè /÷òî-ëèáî/ íà õðàíåíèè, îòâå÷àòü çà êîãî-ëèáî, ÷òî-ëèáî)?”
collapse [klps] distress [dstres] charge [t:d]
She collapsed on the seat facing Poirot and wept steadily into a large handkerchief.
“Now do not distress yourself, Mademoiselle. Do not distress yourself,” Poirot patted her on the shoulder. “Just a few little words of truth, that is all. You were the nurse who was in charge of little Daisy Armstrong?”
“It is true (ýòî ïðàâäà) — it is true,” wept the wretched woman (âñõëèïíóëà íåñ÷àñòíàÿ æåíùèíà). “Ah, she was an angel (àõ, îíà áûëà àíãåëî÷êîì) — a little sweet trustful angel (ïðåëåñòíûì äîâåð÷èâûì àíãåëî÷êîì; sweet — ñëàäêèé; ìèëûé, ïðåëåñòíûé; to trust — äîâåðÿòü, âåðèòü). She knew nothing but kindness and love (îíà íå çíàëà /â æèçíè/ íè÷åãî, êðîìå äîáðîòû è ëþáâè; to know (knew, known) — çíàòü; èñïûòàòü, ïåðåæèòü) — and she was taken away by that wicked man (à åå ïîõèòèë ýòîò çëîäåé; to take (took, taken) away — óáèðàòü, çàáèðàòü, óíîñèòü, óâîäèòü; wicked — çëîé, çëîáíûé) — cruelly treated (æåñòîêî ñ íåé îáðàùàëñÿ) — and her poor mother (à åå áåäíàÿ ìàòü) — and the other little one who never lived at all (è äðóãîé ìàëûø, êîòîðûé òàê è íå ðîäèëñÿ: «êîòîðûé íèêîãäà è íå æèë»). You cannot understand (âàì íå ïîíÿòü: «âû íå ìîæåòå ïîíÿòü») — you cannot know — if you had been there as I was (åñëè áû âû áûëè òàì /êàê áûëà ÿ/) — if you had seen the whole terrible tragedy (åñëè áû âû âèäåëè âñþ ýòó óæàñíóþ òðàãåäèþ)! I ought to have told you the truth about myself this morning (ìíå ñëåäîâàëî âàì ðàññêàçàòü âñþ ïðàâäó î ñåáå ñåãîäíÿ óòðîì). But I was afraid (íî ÿ áîÿëàñü; afraid — èñïóãàííûé, íàïóãàííûé; áîÿùèéñÿ) — afraid. I did so rejoice that that evil man was dead (ÿ òàê îáðàäîâàëàñü, ÷òî ýòîò çëîäåé óìåð) — that he could not any more kill or torture little children (÷òî îí áîëüøå íå ñìîæåò óáèâàòü èëè ìó÷èòü ìàëåíüêèõ äåòåé). Ah! I cannot speak (àõ, ÿ íå ìîãó ãîâîðèòü) — I have no words (ó ìåíÿ íåò ñëîâ). …”
wretched [retd] angel [end()l] trustful [trst()l] wicked [wkd] cruelly [kru:l] terrible [terb()l] rejoice [rds] torture [t:t]
“It is true — it is true,” wept the wretched woman. “Ah, she was an angel — a little sweet trustful angel. She knew nothing but kindness and love — and she was taken away by that wicked man — cruelly treated — and her poor mother — and the other little one who never lived at all. You cannot understand — you cannot know — if you had been there as I was — if you had seen the whole terrible tragedy! I ought to have told you the truth about myself this morning. But I was afraid — afraid. I did so rejoice that that evil man was dead — that he could not any more kill or torture little children. Ah! I cannot speak — I have no words. …”
She wept with more vehemence than ever (îíà çàïëàêàëà ñ åùå áîëüøåé ñèëîé; vehemence — ñèëà, ñòðàñòíîñòü, ãîðÿ÷íîñòü; more than ever — áîëåå ÷åì êîãäà-ëèáî).
Poirot continued to pat her gently on the shoulder (Ïóàðî ïðîäîëæàë ëàñêîâî ïîãëàæèâàòü åå ïî ïëå÷ó). “There (íó, íó; there — çä. â ãðàì. çíà÷åíèè ìåæäîìåòèÿ, ñëóæèò äëÿ ïðèâëå÷åíèÿ âíèìàíèÿ) — there — I comprehend (ÿ ïîíèìàþ) — I comprehend everything (ÿ ïîíèìàþ âñå) — everything, I tell you (âñå, ãîâîðþ ÿ âàì). I will ask you no more questions (ÿ áîëüøå íå çàäàì âàì íè îäíîãî âîïðîñà). It is enough that you have admitted what I know to be the truth (äîñòàòî÷íî òîãî, ÷òî âû ïðèçíàëè òî, ÷òî, êàê ÿ çíàþ, ïðàâäà). I understand, I tell you (ÿ ïîíèìàþ, ãîâîðþ âàì).”
By now inarticulate with sobs (òåïåðü óæå, çàõëåáûâàÿñü â ðûäàíèÿõ; inaticulate — íå÷ëåíîðàçäåëüíûé, íåâíÿòíûé, áåññâÿçíûé), Greta Ohlsson rose and groped her way towards the door (Ãðåòà Îëüñîí ïîäíÿëàñü è îùóïüþ íàïðàâèëàñü ê äâåðè; to grope — îùóïûâàòü, èäòè îùóïüþ). As she reached it she collided with a man coming in (êîãäà îíà äîáðàëàñü äî íåå, îíà ñòîëêíóëàñü ñ ìóæ÷èíîé, êîòîðûé âõîäèë /â âàãîí-ðåñòîðàí/).
vehemence [vmns] comprehend [kmprhend] inarticulate [n:tkjlt] reach [ri:t] collide [klad]
She wept with more vehemence than ever.
Poirot continued to pat her gently on the shoulder. “There — there — I comprehend — I comprehend everything — everything, I tell you. I will ask you no more questions. It is enough that you have admitted what I know to be the truth. I understand, I tell you.”
By now inarticulate with sobs, Greta Ohlsson rose and groped her way towards the door. As she reached it she collided with a man coming in.
It was the valet — Masterman (ýòî áûë ñëóãà /Ðýò÷åòòà/ — Ìàñòåðìýí).
He came straight up to Poirot (îí ïîäîøåë ïðÿìî ê Ïóàðî; to come (came, come) up — ïîäõîäèòü) and spoke in his usual quiet, unemotional voice (è çàãîâîðèë ñâîèì îáû÷íûì ñïîêîéíûì, áåññòðàñòíûì ãîëîñîì).
“I hope I’m not intruding, sir (ÿ íàäåþñü, ÷òî íå ïîìåøàþ âàì, ñýð; to intrude — âòîðãàòüñÿ, áåñöåðåìîííî âìåøèâàòüñÿ). I thought it best to come along at once, sir, and tell you the truth (ÿ ïîäóìàë, ÷òî áóäåò ëó÷øå âñåãî íåìåäëåííî ïðèéòè /ê âàì/, ñýð, è ðàññêàçàòü âàì ïðàâäó). I was Colonel Armstrong’s batman in the War, sir (ñýð, âî âðåìÿ âîéíû ÿ áûë äåíùèêîì ïîëêîâíèêà Àðìñòðîíãà), and afterwards I was his valet in New York (à ïîñëå ýòîãî ÿ ñëóæèë ó íåãî ñëóãîé: «áûë åãî ñëóãîé» â Íüþ-Éîðêå). I’m afraid I concealed that fact this morning (áîþñü, ÷òî ÿ ñêðûë ýòîò ôàêò ñåãîäíÿ óòðîì; to conceal — ïðÿòàòü, óêðûâàòü; ñêðûâàòü, óòàèâàòü). It was very wrong of me, sir (ÿ áûë /î÷åíü/ íåïðàâ, ñýð; wrong — íåïðàâèëüíûé, íåâåðíûé, îøèáî÷íûé), and I thought I’d better come and make a clean breast of it (è ÿ ïîäóìàë, ÷òî ìíå ëó÷øå âñåãî ïðèéòè è ÷èñòîñåðäå÷íî ïðèçíàòüñÿ â ýòîì; breast — ãðóäü; ñîâåñòü, äóøà; to make a clean breast of smth. — âñå âûëîæèòü, ïîëíîñòüþ ïðèçíàòüñÿ â ÷åì-ëèáî). But I hope, sir, that you’re not suspecting Tonio in any way (íî ÿ íàäåþñü, ñýð, ÷òî âû íèêîèì îáðàçîì íå ïîäîçðåâàåòå Òîíèî). Old Tonio, sir, wouldn’t hurt a fly (ñýð, ñòàðèíà Òîíèî, îí è ìóõè íå îáèäèò; to hurt — ïðè÷èíÿòü áîëü; ïîâðåäèòü, óøèáèòü, óäàðèòü). And I can swear positively that he never left the carriage all last night (è ÿ íåñîìíåííî ìîãó ïîêëÿñòüñÿ, ÷òî îí íè ðàçó íå âûøåë èç êóïå çà âñþ ïðîøëóþ íî÷ü). So, you see, sir, he couldn’t have done it (ïîýòîìó, âû ïîíèìàåòå, ñýð, îí íå ìîã ñäåëàòü ýòîãî; to see — âèäåòü; ïîíèìàòü, ñîçíàâàòü). Tonio may be a foreigner, sir (Òîíèî, îí õîòÿ è èíîñòðàíåö: «îí ìîæåò áûòü èíîñòðàíöåì», ñýð), but he’s a very gentle creature (íî îí î÷åíü äîáðûé: «äîáðàÿ äóøà»; gentle — ìÿãêèé, äîáðûé, êðîòêèé; creature — ñîçäàíèå, òâîðåíèå; ÷åëîâåê, ñîçäàíèå /îáûêí. ñ ýïèòåòîì/). Not like those nasty murdering Italians one reads about (íå òàêîé, êàê òå ìåðçêèå èòàëüÿíñêèå óáèéöû: «ãîòîâûå ê óáèéñòâó èòàëüÿíöû», î êîòîðûõ ÷èòàåøü /â ãàçåòàõ/; murder — óìûøëåííîå óáèéñòâî; to murder — óáèâàòü /æåñòîêî, çâåðñêè/).”
valet [vlt, — le] unemotional [nm()nl] intrude [ntru:d] concealed [knsi:ld] positively [pztvl] foreigner [frn] creature [kri:t]
It was the valet — Masterman.
He came straight up to Poirot and spoke in his usual quiet, unemotional voice.
×èòàòü áåñïëàòíî äðóãèå êíèãè:
