Óáèéñòâî â «Âîñòî÷íîì ýêñïðåññå» Êðèñòè Àãàòà

M. Bouc himself was sitting on the small seat (ñàì ìñüå Áóê ñèäåë íà ìàëåíüêîì ñòóëü÷èêå) in the opposite corner (â ïðîòèâîïîëîæíîì /îò äâåðè/ óãëó). In the corner next the window (â óãëó ðÿäîì ñ îêíîì), facing him (ëèöîì ê íåìó; face — ëèöî; to face — íàõîäèòüñÿ ëèöîì ê), was a small dark man (íàõîäèëñÿ ñìóãëûé ìóæ÷èíà íåáîëüøîãî ðîñòà; small — ìàëåíüêèé, íåáîëüøîé; dark — òåìíûé, ÷åðíûé; ñìóãëûé) looking out at the snow (êîòîðûé ñìîòðåë /â îêíî/, íà ñíåã). Standing up (/â êóïå/ ñòîÿëè) and quite preventing Poirot (è ñîâåðøåííî ìåøàëè Ïóàðî; o prevent /from/ — ïðåäîòâðàùàòü; ìåøàòü, ïðåïÿòñòâîâàòü, íå äîïóñêàòü) from advancing any farther (ïðîäâèíóòüñÿ õîòü íà ñêîëüêî-íèáóäü âïåðåä: «äàëüøå»; to advance — ïðîäâèãàòüñÿ, èäòè âïåðåä) were a big man in blue uniform (êðóïíûé ìóæ÷èíà â ñèíåé óíèôîðìå) (the chef de train (íà÷àëüíèê ïîåçäà)) and his own Wagon Lit conductor (è ïðîâîäíèê åãî ñïàëüíîãî âàãîíà; own — ñâîé ñîáñòâåííûé; ïðèíàäëåæàùèé êîìó èëè ÷åìó-ëèáî).

“Ah! my good friend (à, ìîé äîáðûé äðóã),” cried M. Bouc (âîñêëèêíóë ìñüå Áóê; to cry — ïëàêàòü; âîñêëèöàòü, âñêðèêèâàòü). “Come in (âõîäèòå). We have need of you (âû íàì íóæíû: «ìû íóæäàåìñÿ â âàñ»; need — íàäîáíîñòü, íóæäà).”

opposite [pzt] prevent [prvent] blue [blu:]

M. Bouc himself was sitting on the small seat in the opposite corner. In the corner next the window, facing him, was a small dark man looking out at the snow. Standing up and quite preventing Poirot from advancing any farther were a big man in blue uniform (the chef de train) and his own Wagon Lit conductor.

“Ah! my good friend,” cried M. Bouc. “Come in. We have need of you.”

The little man in the window (ìàëåíüêèé ÷åëîâåê ó îêíà) shifted along the seat (ïîäâèíóëñÿ /íà ñèäåíèè/; to shift — ïåðåìåùàòü(ñÿ), ïåðåäâèãàòü(ñÿ)), and Poirot squeezed past the other two men (è Ïóàðî ïðîòèñíóëñÿ ìèìî äâóõ äðóãèõ ìóæ÷èí; to squeeze — ñæèìàòü, ñòèñêèâàòü; âòèñêèâàòüñÿ, âïèõèâàòüñÿ, ïðîòèñêèâàòüñÿ) and sat down facing his friend (è ñåë ëèöîì ê ñâîåìó äðóãó).

The expression on M. Bouc’s face (âûðàæåíèå íà ëèöå ìñüå Áóêà) gave him (çàñòàâèëî åãî), as he would have expressed it (êàê îí ýòî îïèñàë áû), furiously to think (ÿðîñòíî/íåèñòîâî = ñèëüíî çàäóìàòüñÿ). It was clear (áûëî ÿñíî) that something out of the common had happened (÷òî ïðîèçîøëî íå÷òî èç ðÿäà âîí âûõîäÿùåå; common — îáùèé, ñîâìåñòíûé; îáûêíîâåííûé, îáû÷íûé; out of — çä. óêàçûâàåò íà îòêëîíåíèå îò íîðìû, îáû÷íîãî ïîðÿäêà âåùåé è ò.ï.; to happen — ñëó÷àòüñÿ, ïðîèñõîäèòü).

“What has occurred (÷òî ñëó÷èëîñü; to occur — ñëó÷àòüñÿ, ïðîèñõîäèòü)?” he asked (ñïðîñèë îí).

“You may well ask that (âû èìååòå âñå îñíîâàíèÿ ñïðàøèâàòü /îá ýòîì/; well — õîðîøî; âïîëíå). First this snow (ñïåðâà/ñíà÷àëà ýòîò ñíåãîïàä) — this stoppage (ýòà îñòàíîâêà/çàäåðæêà). And now (à òåïåðü) — ”

He paused (îí ñäåëàë ïàóçó) — and a sort of strangled gasp (íå÷òî âðîäå ïðèäóøåííîãî âçäîõà; sort — âèä, ðîä; ñîðò; to strangle — çàäóøèòü; çàäûõàòüñÿ; gasp — çàòðóäíåííîå äûõàíèå; óäóøüå) came from the Wagon Lit conductor (âûðâàëîñü ó ïðîâîäíèêà ñïàëüíîãî âàãîíà).

“And now what (è òåïåðü ÷òî)?”

squeeze [skwi:z] furiously [fj()rsl] occur [k:] stoppage [stpd] gasp [:sp]

The little man in the window shifted along the seat, and Poirot squeezed past: the other two men and sat down facing his friend.

The expression on M. Bouc’s face gave him, as he would have expressed it, furiously to think. It was clear that something out of the common had happened.

“What has occurred?” he asked.

“You may well ask that. First this snow — this stoppage. And now — ”

He paused — and a sort of strangled gasp came from the Wagon Lit conductor.

“And now what?”

“And now a passenger lies dead (è òåïåðü îäèí èç ïàññàæèðîâ ëåæèò ìåðòâûé; to lie — ëåæàòü) in his berth (íà ñâîåì ñïàëüíîì ìåñòå = â ñâîåì êóïå; berth — êîéêà /íà ïàðîõîäå/; ñïàëüíîå ìåñòî, ïîëêà /â âàãîíå/) — stabbed (çàêîëîòûé êèíæàëîì; to stab — íàíîñèòü óäàð /íîæîì, êèíæàëîì/; çàêîëîòü, çàðåçàòü).”

M. Bouc spoke (ìñüå Áóê ãîâîðèë) with a kind of calm desperation (ñ íåêèì ñïîêîéíûì îò÷àÿíèåì; a kind of — ïî÷òè, êàê áû; ÷òî-òî âðîäå; calm — ñïîêîéíûé, òèõèé, íåâîçìóòèìûé; desperate — îò÷àÿííûé, áåçðàññóäíûé; desperation — áåçðàññóäñòâî, îò÷àÿíèå).

“A passenger (ïàññàæèð)? Which passenger (êàêîé ïàññàæèð)?”

“An American (îäèí àìåðèêàíåö). A man called (ìóæ÷èíà, ïî èìåíè; to call — êðè÷àòü; íàçûâàòü, çâàòü) — called — ” he consulted some notes (îí ñïðàâèëñÿ â êàêèõ-òî çàïèñÿõ; to consult — ñîâåòîâàòüñÿ; ñïðàâëÿòüñÿ; note (pl. notes) — çàìåòêà, çàïèñü) in front of him (/ëåæàâøèõ/ ïåðåä íèì). “Ratchett. That is right — Ratchett (âñå âåðíî — Ðýò÷åòò; right — ïðàâûé, ñïðàâåäëèâûé; âåðíûé, ïðàâèëüíûé)?”

“Yes, Monsieur,” the Wagon Lit man gulped (çàäûõàÿñü, âûäàâèë ïðîâîäíèê ñïàëüíîãî âàãîíà; to gulp — ïðîãëàòûâàòü; çàäûõàòüñÿ, äàâèòüñÿ).

Poirot looked at him (Ïóàðî âçãëÿíóë íà íåãî). He was as white as chalk (îí áûë áåëåå ìåëà: «áåëûé, êàê ìåë»).

“You had better let that man sit down (âû áû ëó÷øå ïîçâîëèëè ïðîâîäíèêó ïðèñåñòü; to let smb. do smth. — ðàçðåøèòü, ïîçâîëèòü êîìó-ëèáî ñäåëàòü ÷òî-ëèáî),” he said. “He may faint otherwise (â ïðîòèâíîì ñëó÷àå, îí ìîæåò óïàñòü â îáìîðîê; to faint — îñëàáåâàòü /îò óñòàëîñòè, ãîëîäà è ò.ï./; ïàäàòü â îáìîðîê, òåðÿòü ñîçíàíèå).”

passenger [psnd, — s()nd] desperation [despre()n] gulp [lp] chalk [t:k] otherwise [waz]

“And now a passenger lies dead in his berth — stabbed.”

M. Bouc spoke with a kind of calm desperation.

“A passenger? Which passenger?”

“An American. A man called — called — ” he consulted some notes in front of him. “Ratchett. That is right — Ratchett?”

“Yes, Monsieur,” the Wagon Lit man gulped.

Poirot looked at him. He was as white as chalk.

“You had better let that man sit down,” he said. “He may faint otherwise.”

The chef de train moved slightly (íà÷àëüíèê ïîåçäà ñëåãêà ïîäâèíóëñÿ) and the Wagon Lit man sank down in the corner (è ïðîâîäíèê ñïàëüíîãî âàãîíà îïóñòèëñÿ /íà ñèäåíüå/ â óãëó; to sink (sank, sunk) — òîíóòü; îïóñêàòüñÿ, ïàäàòü) and buried his face in his hands (è çàêðûë ëèöî ðóêàìè; to bury — õîðîíèòü; ïîãðóæàòü; ïðÿòàòü, ñêðûâàòü).

“Brr!” said Poirot. “This is serious (ýòî ñåðüåçíî)!”

“Certainly it is serious (êîíå÷íî ýòî ñåðüåçíî). To begin with, a murder (íà÷àòü ñ òîãî, ÷òî óáèéñòâî) — that in itself is a calamity (ýòî ñàìî ïî ñåáå áåäñòâèå/êàòàñòðîôà) of the first water (ïåðâîé/èñêëþ÷èòåëüíîé âåëè÷èíû; of the first water — ÷èñòîé âîäû /î áðèëëèàíòàõ/; èñêëþ÷èòåëüíûé, çàìå÷àòåëüíûé; water — âîäà, ò.æ. êàê êà÷åñòâî äðàãîöåííîãî êàìíÿ). But not only that (íî è íå òîëüêî ýòî), the circumstances are unusual (ñàìè îáñòîÿòåëüñòâà íåîáû÷íû/èñêëþ÷èòåëüíû). Here we are (âîò ìû), brought to a standstill (îñòàíîâèëèñü /â ñíåæíûõ çàíîñàõ/; to bring (brought) to a standstill — îñòàíàâëèâàòü). We may be here for hours (ìû ìîæåì ïðîáûòü çäåñü /ìíîãèå/ ÷àñû) — and not only hours (è íå òîëüêî ÷àñû) — days (äíè)! Another circumstance (äðóãîå îáñòîÿòåëüñòâî) — passing through most countries (ïðè ïåðåäâèæåíèè ïî /òåððèòîðèè/ áîëüøèíñòâà ñòðàí; to pass — èäòè, ïðîõîäèòü, ïðîåçæàòü; through — çä. óêàçûâàåò íà äâèæåíèå ÷åðåç êàêóþ-ëèáî ñðåäó, òåððèòîðèþ) we have the police of that country on the train (ó íàñ â ïîåçäå íàõîäèòñÿ: «ó íàñ â ïîåçäå åñòü» ïîëèöèÿ = ïðåäñòàâèòåëè ïîëèöèè ýòîé ñòðàíû). But in Jugo-Slavia, no (íî íå â Þãîñëàâèè). You comprehend (âû ïîíèìàåòå)?”

buried [berd] calamity [klmt] circumstance [s:kmstns, s:kmstns] comprehend [kmprhend]

The chef de train moved slightly and the Wagon Lit man sank down in the corner and buried his face in his hands.

“Brr!” said Poirot. “This is serious!”

“Certainly it is serious. To begin with, a murder — that in itself is a calamity of the first water. But not only that, the circumstances are unusual. Here we are, brought to a standstill. We may be here for hours — and not only hours — days! Another circumstance — passing thrugh most countries we have the police of that country on the train. But in Jugo-Slavia, no. You comprehend?”

“It is a position of great difficulty (ïîëîæåíèå î÷åíü çàòðóäíèòåëüíîå: «ýòî ñèòóàöèÿ îãðîìíîé òðóäíîñòè»; position — ìåñòîíàõîæäåíèå; ïîëîæåíèå, ñèòóàöèÿ; great — áîëüøîé, îãðîìíûé, çíà÷èòåëüíûé),” said Poirot.

“There is worse to come (äàëüøå åùå õóæå: «õóäøåå åùå ïðåäñòîèò»; to come — ïðèõîäèòü; îæèäàòüñÿ, ïðåäñòîÿòü). Dr. Constantine — I forgot, I have not introduced you (äîêòîð Êîíñòàíòèí — ÿ çàáûë, ÿ íå ïðåäñòàâèë âàñ; to forget (forgot, forgotten) — çàáûòü, íå ïîìíèòü; óïóñòèòü èç âèäó; to introduce — ââîäèòü, âñòàâëÿòü; ïðåäñòàâëÿòü, ââîäèòü /â îáùåñòâî/). Dr. Constantine, M. Poirot.”

The little dark man bowed (íåâûñîêèé ñìóãëûé ìóæ÷èíà ïîêëîíèëñÿ), and Poirot returned the bow (è Ïóàðî îòâåòèë íà ïîêëîí; to return — âîçâðàùàòüñÿ, èäòè îáðàòíî; îòâå÷àòü /òåì æå/).

“Dr. Constantine is of the opinion (Äîêòîð Êîíñòàíòèí ïîëàãàåò; opinion — ìíåíèå, âçãëÿä, óáåæäåíèå; to be of opinion that … — ïîëàãàòü, ÷òî) that death occurred at about 1 a.m. (÷òî ñìåðòü íàñòóïèëà îêîëî ÷àñà íî÷è; to occur — ñëó÷àòüñÿ, ïðîèñõîäèòü; a.m. — ñîêð. îò ëàò. ante meridiem — äî ïîëóäíÿ).”

“It is difficult to speak exactly (òðóäíî ãîâîðèòü òî÷íî) in these matters (â òàêèõ ñëó÷àÿõ; matter — âåùåñòâî; äåëî, âîïðîñ; íåïðèÿòíîå äåëî),” said the doctor, “but I think I can say definitely (íî ÿ äóìàþ, ÷òî ÿ ìîãó ñêàçàòü îïðåäåëåííî; to define — îïðåäåëÿòü, äàâàòü òî÷íîå îïðåäåëåíèå) that death occurred (÷òî ñìåðòü íàñòóïèëà) between midnight (ìåæäó ïîëóíî÷üþ) and two in the morning (è äâóìÿ ÷àñàìè íî÷è: «óòðà»).”

introduce [ntrdju:s] death [de] definitely [defntl]

“It is a position of great difficulty,” said Poirot.

“There is worse to come. Dr. Constantine — I forgot, I have not introduced you. Dr. Constantine, M. Poirot.”

The little dark man bowed, and Poirot returned the bow.

“Dr. Constantine is of the opinion that death occurred at about 1 a.m.”

“It is difficult to speak exactly in these matters,” said the doctor, “but I think I can say definitely that death occurred between midnight and two in the morning.”

“When was this M. Ratchett last seen alive (êîãäà ýòîãî ìèñòåðà Ðýò÷åòòà â ïîñëåäíèé ðàç âèäåëè æèâûì; last — ïîñëå âñåõ; â ïîñëåäíèé ðàç)?” asked Poirot (ñïðîñèë Ïóàðî).

“He is known to have been alive (èçâåñòíî, ÷òî îí áûë æèâ; to know (knew, known) — çíàòü, îáëàäàòü çíàíèÿìè; pass. áûòü èçâåñòíûì) at about twenty minutes to one (ïðèìåðíî áåç äâàäöàòè ìèíóò ÷àñ), when he spoke to the conductor (êîãäà îí ðàçãîâàðèâàë ñ ïðîâîäíèêîì),” said M. Bouc.

“That is quite correct (ñîâåðøåííî âåðíî),” said Poirot. “I myself heard what passed (ÿ ñàì ñëûøàë, ÷òî ïðîèçîøëî; to pass — èäòè, ïðîõîäèòü; ïðîèñõîäèòü, ñëó÷àòüñÿ, èìåòü ìåñòî). That is the last thing known (ýòî ïîñëåäíåå, ÷òî èçâåñòíî; thing — âåùü, ïðåäìåò; ñîáûòèå, ÿâëåíèå; to know — çíàòü)?”

“Yes.”

Poirot turned toward the doctor (Ïóàðî ïîâåðíóëñÿ ê äîêòîðó), who continued (êîòîðûé ïðîäîëæèë).

alive [lav] heard [h:d] continued [kntnju:d]

“When was this M. Ratchett last seen alive?” asked Poirot.

“He is known to have been alive at about twenty minutes to one, when he spoke to the conductor,” said M. Bouc.

“That is quite correct,” said Poirot. “I myself heard what passed. That is the last thing known?”

“Yes.”

Poirot turned toward the doctor, who continued.

“The window of M. Ratchett’s compartment (îêíî â êóïå ìèñòåðà Ðýò÷åòòà) was found wide open (áûëî îáíàðóæåíî ðàñïàõíóòûì; to find (found) — íàõîäèòü, îòûñêèâàòü; wide open — ðàñïàõíóòûé, îòêðûòûé íàñòåæü; wide — øèðîêî, ïîâñþäó; íàñòåæü), leading one to suppose (çàñòàâëÿÿ ïðåäïîëîæèòü; to lead — âåñòè, ïîêàçûâàòü ïóòü; óáåäèòü, ñêëîíèòü /ê ÷åìó-ëèáî/, çàñòàâèòü) that the murderer escaped that way (÷òî óáèéöà ñáåæàë èìåííî òåì ïóòåì; to escape — áåæàòü /èç çàêëþ÷åíèÿ/, óáåãàòü /èç òþðüìû è ò.ï./). But in my opinion (íî, ïî ìîåìó ìíåíèþ) that open window is a blind (÷òî ðàñïàõíóòîå îêíî ëèøü äëÿ îòâîäà ãëàç; blind — øòîðà, ìàðêèçà; ïðåäëîã, îòãîâîðêà, îáìàí). Anyone departing that way (êòî óãîäíî, ïîêèäàÿ /êóïå/ òåì ïóòåì = ÷åðåç îêíî; to depart — îòáûâàòü /î ïîåçäå/; óõîäèòü, ïîêèäàòü) would have left distinct traces (äîëæåí áûë îñòàâèòü îò÷åòëèâûå ñëåäû; to leave (left) — óõîäèòü; îñòàâëÿòü ïîñëå ñåáÿ; distinct — ÿñíûé, îò÷åòëèâûé) in the snow (íà ñíåãó). There were none (à òàì íå áûëî íèêàêèõ /ñëåäîâ/).”

“The crime was discovered — when (ïðåñòóïëåíèå áûëî îáíàðóæåíî — êîãäà; to discover — îòêðûâàòü, äåëàòü îòêðûòèå; îáíàðóæèâàòü, íàõîäèòü)?” asked Poirot (ñïðîñèë Ïóàðî).

leading [li:d] murderer [m:d()r] escape [skep] blind [bland]

“The window of M. Ratchett’s compartment was found wide open, leading one to suppose that the murderer escaped that way. But in my opinion that open window is a blind. Anyone departing that way would have left distinct traces in the snow. There were none.”

“The crime was discovered — when?” asked Poirot.

“Michel!”

The Wagon Lit conductor sat up (ïðîâîäíèê ñïàëüíîãî âàãîíà âûïðÿìèëñÿ; to sit (sat) up — ñàäèòüñÿ; âûïðÿìëÿòüñÿ /ñèäÿ â êðåñëå è ò.ï./). His face still looked pale and frightened (åãî ëèöî âñå åùå âûãëÿäåëî áëåäíûì è èñïóãàííûì; fright — èñïóã; to frighten — ïóãàòü).

“Tell this gentleman (ðàññêàæèòå ýòîìó äæåíòëüìåíó) exactly what occurred (÷òî èìåííî ïðîèçîøëî; exactly — òî÷íî; êàê ðàç, èìåííî),” ordered M. Bouc (ïðèêàçàë ìñüå Áóê; to order — ïðèêàçûâàòü, ðàñïîðÿæàòüñÿ).

The man spoke somewhat jerkily (ìóæ÷èíà çàãîâîðèë, íåìíîãî îòðûâèñòî = ñáèâ÷èâî; somewhat — íåìíîãî, äî íåêîòîðîé ñòåïåíè, îò÷àñòè; jerk — ðåçêîå äâèæåíèå, òîë÷îê, ðûâîê; âçäðàãèâàíèå; jerkily — òîë÷êàìè, ðûâêàìè; ñóäîðîæíî, îòðûâèñòî).

“The valet of this M. Ratchett (ñëóãà ýòîãî ìèñòåðà Ðýò÷åòòà), he tapped several times at the door (îí ñòó÷àë â äâåðü íåñêîëüêî ðàç; time — âðåìÿ; ðàç, ñëó÷àé) this morning (ñåãîäíÿ óòðîì). There was no answer (îòâåòà íå áûëî). Then, half an hour ago (òîãäà, ãäå-òî ñ ïîë÷àñà íàçàä), the restaurant car attendant came (ïðèøåë îôèöèàíò èç âàãîíà-ðåñòîðàíà). He wanted to know (îí õîòåë óçíàòü) if Monsieur was taking djeuner (ñîáèðàåòñÿ ëè ìñüå çàâòðàêàòü; to take (took, taken) — áðàòü, õâàòàòü; ïðèíèìàòü /ïèùó, ëåêàðñòâî è ò.ï./; djeuner — ôð. çàâòðàêàòü). It was eleven o’clock (áûëî /óæå/ îäèííàäöàòü ÷àñîâ), you comprehend (/âû/ ïîíèìàåòå).

frightened [fratnd] jerkily [d:kl] answer [: ns]

“Michel!”

The Wagon Lit conductor sat up. His face still looked pale and frightened.

“Tell this gentleman exactly what occurred,” ordered M. Bouc.

The man spoke somewhat jerkily.

“The valet of this M. Ratchett, he tapped several times at the door this morning. There was no answer. Then, half an hour ago, the restaurant car attendant came. He wanted to know if Monsieur was taking djeuner. It was eleven o’clock, you comprehend.

“I open the door for him (ÿ îòêðûâàþ åìó äâåðü) with my key (ñâîèì êëþ÷îì). But there is a chain, too (íî íà äâåðè: «òàì» åùå è öåïî÷êà; too — òàêæå, òîæå; ê òîìó æå), and that is fastened (è îíà çàêðåïëåíà = äâåðü çàêðûòà è íà öåïî÷êó òîæå; to fasten — ñâÿçûâàòü; çàïèðàòü; çàñòåãèâàòü). There is no answer (îòâåòà íèêàêîãî) and it is very still in there (è òàì âíóòðè î÷åíü òèõî; still — íåïîäâèæíûé; òèõèé, áåçìîëâíûé), and cold — but cold (è õîëîäíî — î÷åíü õîëîäíî). With the window open (ñ îêíîì ðàñïàõíóòûì) and snow drifting in (è ñíåãîì, ëåòÿùèì âíóòðü; to drift — îòíîñèòü, ãíàòü /âåòîì, òå÷åíèåì/; íàñûïàòü /ñóãðîáû/, çàíîñèòü /ñíåãîì/). I thought (ÿ ïîäóìàë) the gentleman had had a fit, perhaps (÷òî, âîçìîæíî, äæåíòëüìåíà õâàòèë óäàð; fit — ïðèïàäîê, ïðèñòóï). I got the chef de train (ÿ ïðèâåë íà÷àëüíèêà ïîåçäà; to get (got) — äîñòàâàòü, äîáûâàòü; ââîäèòü êîãî-ëèáî êóäà-ëèáî). We broke the chain (ìû ñîðâàëè öåïî÷êó; to break (broke, broken) — ëîìàòü; ðàçðûâàòü, ïðîðûâàòü) and went in (è âîøëè âíóòðü). He was — Ah! c’tait terrible (îí áûë — àõ — ôð. ýòî óæàñíî)!”

He buried his face in his hands again (îí ñíîâà çàêðûë ñâîå ëèöî ðóêàìè; to bury — õîðîíèòü; ïðÿòàòü, ñêðûâàòü).

“The door was locked (äâåðü áûëà çàêðûòà /è/ íà çàìîê; lock — çàìîê, çàòâîð; to lock — çàïèðàòü íà çàìîê) and chained on the inside (è íà öåïî÷êó èçíóòðè; to chain — ñêðåïëÿòü öåïüþ; çàêðûâàòü íà öåïî÷êó /äâåðü/),” said Poirot thoughtfully (ïðîèçíåñ Ïóàðî çàäóì÷èâî). “It was not suicide — eh (ýòî íå áûëî ñàìîóáèéñòâîì, íå òàê ëè)?”

chain [ten] fasten [f:s()n] suicide [s(j)u:sad]

“I open the door for him with my key. But there is a chain, too, and that is fastened. There is no answer and it is very still in there, and cold — but cold. With the window open and snow drifting in. I thought the gentleman had had a fit, perhaps. I got the chef de train. We broke the chain and went in. He was — Ah! c’tait terrible!”

He buried his face in his hands again.

“The door was locked and chained on the inside,” said Poirot thoughtfully. “It was not suicide — eh?”

The Greek doctor gave a sardonic laugh (äîêòîð-ãðåê ÿçâèòåëüíî óñìåõíóëñÿ; laugh — ñìåõ; sardonic — çëîáíûé, ñàðäîíè÷åñêèé). “Does a man who commits suicide (ðàçâå ÷åëîâåê, êîòîðûé êîí÷àåò æèçíü ñàìîóáèéñòâîì; to commit — ñîâåðøàòü /÷àùå äóðíîå/) stab himself in ten — twelve — fifteen places (çàêàëûâàåò ñåáÿ â äåñÿòè — äâåíàäöàòè — ïÿòíàäöàòè ìåñòàõ)?” he asked (ñïðîñèë îí).

Poirot’s eyes opened (Ïóàðî óäèâèëñÿ: «/øèðîêî/ ðàñïàõíóë ãëàçà»; to open one's eyes — óäèâëÿòüñÿ, èçóìëÿòüñÿ). “That is great ferocity (êàêàÿ êîëîññàëüíàÿ æåñòîêîñòü; great — áîëüøîé, îãðîìíûé; ñèëüíûé, ãëóáîêèé, êîëîññàëüíûé /î ÷óâñòâàõ, ñîñòîÿíèÿõ, ñâîéñòâàõ è ò.ï./),” he said.

“It is a woman (ýòî — æåíùèíà),” said the chef de train (ñêàçàë íà÷àëüíèê ïîåçäà), speaking for the first time (çàãîâîðèâøèé â ïåðâûé ðàç). “Depend upon it (áóäüòå óâåðåíû; to depend — çàâèñåòü; ïîëàãàòüñÿ, ðàññ÷èòûâàòü, íàäåÿòüñÿ; depend upon it — ðàçã. áóäüòå óâåðåíû /÷òî/, óâåðÿþ âàñ /÷òî/), it was a woman (÷òî ýòî áûëà æåíùèíà). Only a woman would stab like that (òîëüêî æåíùèíà çàêîëîëà áû òàêèì îáðàçîì).”

Dr. Constantine screwed up his face thoughtfully (äîêòîð Êîíñòàíòèí çàäóì÷èâî ïîìîðùèëñÿ; to screw up — çàâèí÷èâàòü; ìîðùèòü /ëîá/, ïîäæèìàòü /ãóáû/; to screw up one's face — ñìîðùèòüñÿ, ñêðèâèòüñÿ).

“She must have been a very strong woman (îíà äîëæíà áûëà áûòü î÷åíü ñèëüíîé æåíùèíîé = äîëæíî áûòü, ýòî áûëà î÷åíü ñèëüíàÿ æåíùèíà),” he said. “It is not my desire to speak technically (ÿ áû íå õîòåë ãîâîðèòü ñïåöèàëüíûìè òåðìèíàìè; desire — /ñèëüíîå/ æåëàíèå; technically — òåõíè÷åñêè; â ñïåöèàëüíîì ñìûñëå) — that is only confusing (ýòî òîëüêî ñáèâàåò ñ òîëêó; to confuse — ñìóùàòü; çàïóòûâàòü, óñëîæíÿòü); but I can assure you (íî ÿ ìîãó âàñ óâåðèòü) that one or two of the blows (÷òî îäèí èëè äâà èç òåõ óäàðîâ) were delivered with such force (áûëè íàíåñåíû ñ òàêîé ñèëîé; to deliver — ïåðåäàâàòü, âðó÷àòü; íàíîñèòü /óäàð/) as to drive them through (÷òî îíè ïðîíçèëè íàñêâîçü; to drive through — ïðîíçàòü, ïðîáèâàòü) hard belts of bone and muscle (òâåðäûå /òêàíè/ êîñòåé è ìóñêóëîâ; belt — ïîÿñ, êóøàê, ðåìåíü).”

sardonic [s:dnk] laugh [l:f] ferocity [frst] stab [stb] screwed [skru:d] desire [dza] technically [teknk()l] muscle [ms()l]

The Greek doctor gave a sardonic laugh. “Does a man who commits suicide stab himself in ten — twelve — fifteen places?” he asked.

Poirot’s eyes opened. “That is great ferocity,” he said.

“It is a woman,” said the chef de train, speaking for the first time. “Depend upon it, it was a woman. Only a woman would stab like that.”

Dr. Constantine screwed up his face thoughtfully.

“She must have been a very strong woman,” he said. “It is not my desire to speak technically — that is only confusing; but I can assure you that one or two of the blows were delivered with such force as to drive them through hard belts of bone and muscle.”

“It was clearly not a scientific crime (ýòî ÿâíî áûëî íå ïðîôåññèîíàëüíîå ïðåñòóïëåíèå; science — íàóêà; âûñîêèé êëàññ, ìàñòåðñòâî; scientific — íàó÷íûé; âûñîêîãî êëàññà, òåõíè÷íûé),” said Poirot.

“It was most unscientific (ýòî áûëî ñîâåðøåííî íåïðîôåññèîíàëüíîå /ïðåñòóïëåíèå/),” returned Dr. Constantine (îòâåòèë äîêòîð Êîíñòàíòèí; to return — âîçâðàùàòüñÿ; îòâå÷àòü, âîçðàæàòü). “The blows seem to have been delivered (êàæåòñÿ, ÷òî óäàðû áûëè íàíåñåíû) haphazard (ñëó÷àéíî/âñëåïóþ/íàîáóì; haphazard — ñëó÷àé, ÷èñòàÿ ñëó÷àéíîñòü) and at random (è êóäà ïðèäåòñÿ; random — íåîïðåäåëåííîñòü; at random — íàîáóì, íàóãàä, íàóäà÷ó). Some have glanced off (íåêîòîðûå /óäàðû/ ëèøü ñëåãêà çàäåëè /åãî/; to glance off — ñëåãêà, ïîõîäÿ çàäåòü), doing hardly any damage (åäâà ëè ïðè÷èíÿÿ /åìó/ êàêîé-ëèáî âðåä; damage — âðåä, ïîâðåæäåíèå). It is as though somebody had shut his eyes (áóäòî êòî-òî çàêðûë ãëàçà; to shut — çàòâîðÿòü, çàêðûâàòü) and then in a frenzy (è çàòåì, â áåøåíñòâå; frenzy — áåçóìèå; íåèñòîâñòâî) struck blindly again and again (ñíîâà è ñíîâà óäàðÿë âñëåïóþ/áåçðàññóäíî; to strike (struck, stricken) — óäàðÿòü, áèòü; blind — ñëåïîé, íåçðÿ÷èé; äåéñòâóþùèé âñëåïóþ; áåññìûñëåííûé, áåçðàññóäíûé; blindly — áåçðàññóäíî; ìàøèíàëüíî).”

scientific [santfk] haphazard [hphzd] random [rndm] damage [dmd] frenzy[frenz]

“It was clearly not a scientific crime,” said Poirot.

“It was most unscientific,” returned Dr. Constantine. “The blows seem to have been delivered haphazard and at random. Some have glanced off, doing hardly any damage. It is as though somebody had shut his eyes and then in a frenzy struck blindly again and again.”

C’est une femme (ôð. ýòî — æåíùèíà),” said the chef de train again (ñíîâà ñêàçàë = ïîâòîðèë íà÷àëüíèê ïîåçäà). “Women are like that (æåíùèíû — îíè òàêèå). When they are enraged (êîãäà îíè â ÿðîñòè; rage — ÿðîñòü, ãíåâ, áåøåíñòâî; to enrage — ïðèâîäèòü â ÿðîñòü, â áåøåíñòâî) they have great strength (îíè îáëàäàþò îãðîìíîé ñèëîé).” He nodded so sagely (îí çàêèâàë ãîëîâîé òàê ãëóáîêîìûñëåííî; sage — ìóäðûé; èìåþùèé ó÷åíûé âèä) that everyone suspected (÷òî êàæäûé çàïîäîçðèë) a personal experience of his own (/â åãî ñëîâàõ/ ëè÷íûé æèçíåííûé îïûò).

“I have, perhaps, something (ó ìåíÿ åñòü, âîçìîæíî, êîå-÷òî) to contribute to your store of knowledge (äîáàâèòü â /âàø/ çàïàñ çíàíèé = ê èìåþùèìñÿ ñâåäåíèÿì; to contribute — æåðòâîâàòü /äåíüãè è ò.ï./; äåëàòü âêëàä /â íàóêó è ò.ï./; knowledge — çíàíèÿ; îñâåäîìëåííîñòü, ñâåäåíèÿ),” said Poirot. “M. Ratchett spoke to me yesterday (ìñüå Ðýò÷åòò â÷åðà ãîâîðèë ñî ìíîþ; to speak (spoke, spoken)). He told me (îí ðàññêàçàë ìíå; to tell (told)), as far as I was able to understand him (íàñêîëüêî ÿ ñìîã ïîíÿòü åãî; to be able to … — ìî÷ü, áûòü â ñîñòîÿíèè / â ñèëàõ/), that he was in danger of his life (÷òî îí îïàñàëñÿ çà ñâîþ æèçíü; danger — îïàñíîñòü; to be in danger — áûòü â îïàñíîñòè).”

enraged [nredd] strength [stre, stren] experience [ksp()rns] contribute [kntrbju:t]

C’est une femme,” said the chef de train again. “Women are like that. When they are enraged they have great strength.” He nodded s sagely that everyone suspected a personal experience of his own.

“I have, perhaps, something to contribute to your store of knowledge,” said Poirot. “M. Ratchett spoke to me yesterday. He told me, as far as I was able to understand him, that he was in danger of his life.”

“ ‘Bumped off (/åãî/ óáðàëè/óêîêîøèëè; to bump off — ðàçã. óáèòü, óáðàòü)’ — that is the American expression, is it not (òàêîå àìåðèêàíñêîå âûðàæåíèå, íå òàê ëè; expression — âûðàæåíèå /÷åãî-ëèáî/; îáîðîò ðå÷è, ôðàçà)?” asked M. Bouc (ñïðîñèë ìñüå Áóê). “Then it is not a woman (òîãäà ýòî íå æåíùèíà). It is a ‘gangster’ or a ‘gunman’ (ýòî «ãàíãñòåð» èëè «áàíäèò»; gang — áðèãàäà; áàíäà, øàéêà; gun — îðóäèå; ðóæüå; gunman — âîîðóæåííûé áàíäèò, óáèéöà).”

The chef de train looked pained (íà÷àëüíèê ïîåçäà èìåë îáèæåííûé âèä; to pain — ìó÷èòü, îãîð÷àòü; pained — ñòðàäàëü÷åñêèé; îáèæåííûé) at seeing his theory come to nought (âèäÿ, ÷òî åãî òåîðèÿ ñîøëà íà íåò; nought — íè÷òî; to come to nought — êîí÷èòüñÿ íè÷åì).

“If so (åñëè ýòî òàê),” said Poirot, “it seems to have been done (òî êàæåòñÿ, âñå áûëî èñïîëíåíî) very amateurishly (î÷åíü ëþáèòåëüñêè; amateur — ëþáèòåëü, íåïðîôåññèîíàë; ïðåíåáð. äèëåòàíò).” His tone expressed professional disapproval (åãî òîí = ãîëîñ âûðàæàë ïðîôåññèîíàëüíîå íåîäîáðåíèå; to disapprove — íå îäîáðÿòü, îñóæäàòü; to approve — îäîáðÿòü, ñ÷èòàòü ïðàâèëüíûì).

gangster [st] theory [()r] nought [n:t] amateurishly [mtrl, mtjrl, mt:rl] disapproval [dspru:v()l]

“ ‘Bumped off’ — that is the American expression, is it not?” asked M. Bouc. “Then it is not a woman. It is a ‘gangster’ or a ‘gunman.’ ”

The chef de train looked pained at seeing his theory come to nought.

“If so,” said Poirot, “it seems to have been done very amateurishly.” His tone expressed professional disapproval.

“There is a large American on the train (â ïîåçäå åäåò êàêîé-òî êðóïíûé/ðîñëûé àìåðèêàíåö).” said M. Bouc, pursuing his idea (ñêàçàë ìñüå Áóê, ðàçâèâàÿ ñâîþ ìûñëü/èäåþ; to pursue — ïðåñëåäîâàòü /êîãî-ëèáî/; ïðèäåðæèâàòüñÿ êàêîãî-ëèáî ïëàíà, ïðîäîëæàòü /çàíÿòèå, îáñóæäåíèå è ò.ï./). “A common-looking man (âûãëÿäèò îí îáûêíîâåííî; common — îáùèé; îáû÷íûé, êàê âñå, ïðîñòîíàðîäíûé; to look — ñìîòðåòü; èìåòü âèä, âûãëÿäåòü) with terrible clothes (è îäåæäà óæàñíàÿ; terrible — ñòðàøíûé, óæàñíûé; ýìîö. — óñèë. êîøìàðíûé, æóòêèé). He chews the gum (îí æóåò æâà÷êó; gum — ñìîëà; = chewing gum — æåâàòåëüíàÿ ðåçèíêà), which I believe (÷òî, êàê ÿ ïîëàãàþ; to believe — âåðèòü; äóìàòü, ïîëàãàòü, ñ÷èòàòü) is not done in good circles (íå äåëàåòñÿ â ïðèëè÷íîì îáùåñòâå; good — õîðîøèé; èìåþùèé õîðîøóþ ðåïóòàöèþ; âîñïèòàííûé; circle — êðóã; êðóã /ëþäåé/, ãðóïïà; /îáùåñòâåííûå/ êðóãè). You know whom I mean (âû çíàåòå, êîãî ÿ èìåþ â âèäó)?”

The Wagon Lit conductor (ïðîâîäíèê ñïàëüíîãî âàãîíà) to whom he had appealed (ê êîòîðîìó îí îáðàùàëñÿ; to appeal — àïåëëèðîâàòü; âûçâàòü, îáðàùàòüñÿ ñ ïðèçûâîì) nodded (êèâíóë ãîëîâîé â çíàê ñîãëàñèÿ; nod — êèâîê /çíàê ñîãëàñèÿ èëè ïðèâåòñòâèÿ/).

“Oui, Monsieur, the No. 16 (äà, ìñüå, ìåñòî íîìåð 16). But it cannot have been he (íî ýòî íå ìîã áûòü îí). I should have seen him (ÿ áû óâèäåë, êàê îí) enter or leave the compartment (çàõîäèò èëè âûõîäèò èç êóïå; to leave — óõîäèòü, óåçæàòü).”

“You might not (âû ìîãëè è íå óâèäåòü). You might not. But we will go into that presently (íî ìû âñêîðå ïåðåéäåì ê ýòîìó; to go into smth. — òùàòåëüíî ðàçáèðàòü, ðàññëåäîâàòü ÷òî-ëèáî, âíèêàòü). The question is, what to do (âîïðîñ â òîì, ÷òî æå äåëàòü)?” He looked at Poirot (îí âçãëÿíóë íà Ïóàðî).

Poirot looked back at him (Ïóàðî ïîñìîòðåë íà íåãî; back — çä. óêàçûâàåò íà îòâåòíîå äåéñòâèå).

pursue [psju:] chew [tu:] circle [s:k()l] presently [prez()ntl]

“There is a large American on the train,.” said M. Bouc, pursuing his idea. “A common-looking man with terrible clothes. He chews the gum, which I believe is not done in good circles. You know whom I mean?”

The Wagon Lit conductor to whom he had appealed nodded.

“Oui, Monsieur, the No. 16. But it cannot have been he. I should have seen him enter or leave the compartment.”

“You might not. You might not. But we will go into that presently. The question is, what to do?” He looked at Poirot.

Poirot looked back at him.

“Come, my friend (íó æå, ìîé äðóã),” said M. Bouc. “You comprehend (âû ïîíèìàåòå) what I am about to ask of you (î ÷åì ÿ ñîáèðàþñü âàñ ïîïðîñèòü; to be about to do smth. — ñîáèðàòüñÿ, íàìåðåâàòüñÿ ñäåëàòü ÷òî-ëèáî). I know your powers (ÿ çíàþ âàøè ñïîñîáíîñòè; power — ñèëà, ìîùü; /óìñòâåííàÿ èëè ôèçè÷åñêàÿ/ ñïîñîáíîñòü). Take command of this investigation (ïðèìèòå íà ñåáÿ ðóêîâîäñòâî ýòèì ðàññëåäîâàíèåì; command — ïðèêàç; óïðàâëåíèå, ðóêîâîäñòâî; to investigate — ðàññëåäîâàòü, ðàññìàòðèâàòü /äåëî/)! No, no, do not refuse (íåò, íåò, íå îòêàçûâàéòåñü). See, to us it is serious (ïîíèìàåòå, äëÿ íàñ ýòî ñåðüåçíî/íå øóòêè; to see — âèäåòü; ïîíèìàòü, ñîçíàâàòü) — I speak for the Compagnie Internationale des Wagons Lits (ÿ ãîâîðþ îò èìåíè Ìåæäóíàðîäíîé êîìïàíèè ñïàëüíûõ âàãîíîâ; to speak for smb. — ãîâîðèòü çà êîãî-òî, ïðåäñòàâëÿòü êîãî-òî, âûðàæàòü ÷üå-ëèáî ìíåíèå). By the time the Jugo-Slavian police arrive (ê òîìó âðåìåíè, êîãäà ïðèáóäåò þãîñëàâñêàÿ ïîëèöèÿ), how simple (êàê ïðîñòî /áóäåò/) if we can present them with the solution (åñëè ìû ñìîæåì ïðåäñòàâèòü èì îáúÿñíåíèå; to present — ïðåïîäíîñèòü, äàðèòü; ïðåäñòàâèòü, ïðåäúÿâèòü; solution — ðåøåíèå; ðàçðåøåíèå /ïðîáëåìû è ò.ï./; îáúÿñíåíèå)! Otherwise delays (â ïðîòèâíîì ñëó÷àå — ïðîâîëî÷êè; delay — çàäåðæêà; çàìåäëåíèå, ïðîìåäëåíèå), annoyances (íåïðèÿòíîñòè; annoyance — äîñàäà, ðàçäðàæåíèå), a million and one inconveniences (/öåëûé/ ìèëëèîí è îäíî íåóäîáñòâî/áåñïîêîéñòâî). Perhaps, who knows (âîçìîæíî, êòî çíàåò), serious annoyance to innocent persons (ñåðüåçíûå íåïðèÿòíîñòè äëÿ íåâèííûõ ëþäåé; innocent — íåâèííûé, íåâèíîâíûé). Instead — you solve the mystery (âìåñòî /âñåãî ýòîãî/ — âû ðàñïóòûâàåòå ýòó òàéíó; to solve — ðåøàòü; îáúÿñíÿòü; ðàçâÿçûâàòü)! We say (ìû ãîâîðèì), ‘A murder has occurred (ïðîèçîøëî óáèéñòâî) — this is the criminal (âîò ïðåñòóïíèê)!’”

power [pa] investigation [nveste()n] refuse [rfju:z] Jugoslavian [ju:()sl:vn] annoyance [nns] inconvenience [nknvi:nns] mystery [mst()r]

“Come, my friend,” said M. Bouc. “You comprehend what I am about to ask of you. I know your powers. Take command of this investigation! No, no, do not refuse. See, to us it is serious — I speak for the Compagnie Internationale des Wagons Lits. By the time the Jugo-Slavian police arrive, how simple if we can present them with the solution! Otherwise delays, annoyances, a million and one inconveniences. Perhaps, who knows, serious annoyance to innocent persons. Instead — you solve the mystery! We say, ‘A murder has occurred — this is the criminal!’”

“And suppose I do not solve it (à ÷òî åñëè: «ïðåäïîëîæèì», ÿ íå ðàñïóòàþ /ýòî äåëî/)?”

“Ah, mon cher (àõ, ìîé äðóã)!” M. Bouc’s voice became positively caressing (ãîëîñ ìñüå Áóêà ñòàë îïðåäåëåííî ëàñêîâûì; positively — áåçóñëîâíî; òî÷íî; ñîâåðøåííî; to caress — ëàñêàòü; ãëàäèòü). “I know your reputation (ÿ çíàþ âàøó ðåïóòàöèþ). I know something of your methods (ÿ çíàþ êîå-÷òî î âàøèõ ìåòîäàõ). This is the ideal case for you (äëÿ âàñ ýòî èäåàëüíûé ñëó÷àé). To look up the antecedents of all these people (÷òîáû âûÿñíèòü ïðîøëîå âñåõ ýòèõ ëþäåé; to look up — ïîäíèìàòü ãëàçà; èñêàòü /â ñëîâàðå, ñïðàâî÷íèêå è ò.ï./, íàâîäèòü ñïðàâêè; antecedents — ïðåäøåñòâóþùåå; ïðîøëàÿ æèçíü, ïðîøëîå), t discover their bona fides (îáíàðóæèòü = óáåäèòüñÿ â èõ ÷åñòíîñòè/ïîðÿäî÷íîñòè; bona fides — ÷åñòíîå íàìåðåíèå; ÷åñòíîñòü) — all that takes time (íà âñå ýòî ïîòðåáóåòñÿ âðåìÿ) and endless inconvenience (è áåñêîíå÷íûå íåóäîáñòâà/áåñïîêîéñòâà; end — êîíåö, îêîí÷àíèå). But have I not heard you say often (íî ðàçâå ÿ íå ñëûøàë, êàê âû ÷àñòî ãîâîðèëè) that to solve a case (÷òî äëÿ òîãî, ÷òîáû ðàñêðûòü ïðåñòóïëåíèå; to solve a case — ðåøèòü äåëî; ðàñêðûòü ïðåñòóïëåíèå /î ïîëèöèè/) a man has only to lie back in his chair (÷åëîâåêó òîëüêî è íóæíî, ÷òî îòêèíóòüñÿ /íà ñïèíêó/ êðåñëà; to lie back — îòêèíóòüñÿ /íà ïîäóøêó, ñïèíêó ñòóëà è ò.ï./) and think (è ïîäóìàòü)? Do that (ñäåëàéòå ýòî). Interview the passengers on the train (ðàññïðîñèòå ïàññàæèðîâ ïîåçäà; to interview — áðàòü èíòåðâüþ; ïðîâîäèòü áåñåäó), view the body (îñìîòðèòå òåëî/òðóï), examine what clues there are (èçó÷èòå âñå óëèêè /êîòîðûå åñòü/; to examine — ðàññìàòðèâàòü; îáñëåäîâàòü, èçó÷àòü; clue — êëþ÷ ê ðàçãàäêå; óëèêà), and then (è òîãäà) — well, I have faith in you (÷òî æ, ÿ â âàñ âåðþ; faith — âåðà, äîâåðèå)! I am assured (ÿ óâåðåí) that it is no idle boast of yours (÷òî ýòî íå ïðîñòî ïðàçäíîå õâàñòîâñòâî ñ âàøåé ñòîðîíû; idle — íåçàíÿòûé, íåðàáîòàþùèé; ïðàçäíûé, ïóñòîé, íåîáîñíîâàííûé; to boast — õâàñòàòü, ïîõâàëÿòüñÿ). Lie back and think (îòêèíóòüñÿ /â êðåñëå/ è äóìàòü) — use (as I have heard you say so often) (âîñïîëüçîâàòüñÿ, êàê âû ñàìè ÷àñòî ïîâòîðÿåòå) the little grey cells of the mind (ìàëåíüêèìè ñåðûìè êëåòî÷êàìè ìîçãà; cell — êàìåðà, îòñåê; êëåòêà, ÿ÷åéêà; mind — óì, ðàçóì) — and you will know (è âû ðàçáåðåòåñü; to know — çíàòü; îáëàäàòü çíàíèÿìè, ðàçáèðàòüñÿ)!”

reputation [repjte()n] antecedent [ntsi:d()nt] bona fides [bnfadz] examine [zmn] clue [klu:] idle [adl]

“And suppose I do not solve it?”

Ah, mon cher!” M. Bouc’s voice became positively caressing. “I know your reputation. I know something of your methods. This is the ideal case for you. To look up the antecedents of all these people, to discover their bona fides — all that takes time and endless inconvenience. But have I not heard you say often that to solve a case a man has only to lie back in his chair and think? Do that. Interview the passengers on the train, view the body, examine what clues there are, and then — well, I have faith in you! I am assured that it is no idle boast of yours. Lie back and think — use (as I have heard you say so often) the little grey cells of the mind — and you will know!”

He leaned forward (îí ïîäàëñÿ âïåðåä; to lean — íàêëîíÿòüñÿ, íàãèáàòüñÿ), looking affectionately at the detective (ëàñêîâî óñòàâèâøèñü íà äåòåêòèâà; affection — ïðèâÿçàííîñòü, ëþáîâü; ýìîöèÿ, ÷óâñòâî).

“Your faith touches me, my friend (âàøà âåðà òðîãàåò ìåíÿ, äðóã ìîé; to touch — êàñàòüñÿ; òðîãàòü, âîëíîâàòü),” said Poirot emotionally (ñêàçàë Ïóàðî ñ ÷óâñòâîì/ýìîöèîíàëüíî). “As you say (êàê âû ãîâîðèòå), this cannot be a difficult case (ýòî íå ìîæåò áûòü òðóäíûì ñëó÷àåì). I myself last night (ÿ ñàì ïðîøëîé íî÷üþ; last — ïîñëåäíèé; ïðîøëûé) — but we will not speak of that now (íî ñåé÷àñ ìû íå áóäåì ãîâîðèòü îá ýòîì). In truth (â ñàìîì äåëå/ïî ïðàâäå ãîâîðÿ; truth — ïðàâäà), this problem intrigues me (ýòà ïðîáëåìà èíòðèãóåò/èíòåðåñóåò ìåíÿ; to intrigue — èíòðèãîâàòü, âåñòè èíòðèãè; çàèíòðèãîâûâàòü). I was reflecting (ÿ /êàê ðàç/ ðàçìûøëÿë; to reflect — îòðàæàòü; ðàçìûøëÿòü, ðàçäóìûâàòü), not half an hour ago (íå áîëåå ïîëó÷àñà íàçàä), that many hours of boredom lay ahead (÷òî ïðåäñòîÿò ìíîãèå ÷àñû ñêóêè; boredom — ñêóêà, òîñêà; to lie (lay, lain) — ëåæàòü; ðàñïîëàãàòüñÿ; ahead — âïåðåä, âïåðåäè) whilst we are stuck here (ïîêà ìû çäåñü ñòîèì: «çàñòðÿëè»; to stick (stuck) — íàêëåèâàòü; çàñòðåâàòü, óâÿçàòü). And now (à ñåé÷àñ) — a problem lies ready to my hand (ïðÿìî ïîä ðóêîé íàõîäèòñÿ ïðîáëåìà/çàãàäêà; ready — ãîòîâûé; íàãîòîâå, ïîä ðóêîé, íå çàñòàâëÿþùèé ñåáÿ æäàòü).”

affectionately [fek()ntl] detective [dtektv] faith [fe] intrigue [ntri:] boredom [b:dm]

He leaned forward, looking affectionately at the detective.

“Your faith touches me, my friend,” said Poirot emotionally. “As you say, this cannot be a difficult case. I myself last night — but we will not speak of that now. In truth, this problem intrigues me. I was reflecting, not half an hour ago, that many hours of boredom lay ahead whilst we are stuck here. And now — a problem lies ready to my hand.”

“You accept then (çíà÷èò âû ñîãëàñíû; to accept — ïðèíèìàòü, áðàòü /ïðåäëîæåííîå/; ñîãëàøàòüñÿ)?” said M. Bouc eagerly (ñïðîñèë ìñüå Áóê íåòåðïåëèâî/ýíåðãè÷íî; eager — ñòðàñòíî ñòðåìÿùèéñÿ, æàæäóùèé; íåòåðïåëèâûé).

C’est entendu. You place the matter in my hands (ôð. Ðåøåíî! ïðåäîñòàâüòå ýòî äåëî ìíå; to place — ñòàâèòü; ïîìåùàòü, îòäàâàòü /êóäà-ëèáî/; to place a matter in smb.'s hands — îòäàòü äåëî â ÷üè-ëèáî ðóêè).”

“Good (õîðîøî) — we are all at your service (ìû âñå â âàøåì ðàñïîðÿæåíèè; service — óñëóæåíèå; óñëóãà, îäîëæåíèå, ïîìîùü).”

“To begin with (ïðåæäå âñåãî: «íà÷íåì ñ òîãî, ÷òî»), I should like a plan of the Istanbul-Calais coach (ìíå áû õîòåëîñü /ïîëó÷èòü/ ïëàí/ñõåìó âàãîíà Ñòàìáóë-Êàëå), with a note of the people (ñ óêàçàíèåì ëþäåé; note — çàìåòêà, çàïèñü, ïðèìå÷àíèå) who occupied the several compartments (êîòîðûå çàíèìàëè êàæäîå êóïå; several — íåñêîëüêî; îòäåëüíûé, îòäåëüíî âçÿòûé), and I should also like to see their passports (ÿ áû òàê æå õîòåë âçãëÿíóòü íà èõ ïàñïîðòà) and their tickets (è èõ áèëåòû).”

“Michel will get you those (ýòî âàì ïðèíåñåò Ìèøåëü).”

The Wagon Lit conductor left the compartment (ïðîâîäíèê ñïàëüíîãî âàãîíà âûøåë èç êóïå; to leave (left)).

“What other passengers are there on the train (êòî åùå: «êàêèå åùå ïàññàæèðû» íàõîäèòñÿ â ïîåçäå)?” asked Poirot.

eager [i:] service [s:vs]

“You accept then?” said M. Bouc eagerly.

“C’est entendu. You place the matter in my hands.”

“Good — we are all at your service.”

“To begin with, I should like a plan of the Istanbul-Calais coach, with a note of the people who occupied the several compartments, and I should also like to see their passports and their tickets.”

“Michel will get you those.”

The Wagon Lit conductor left the compartment.

“What other passengers are there on the train?” asked Poirot.

“In this coach (â ýòîì âàãîíå; coach — êàðåòà, ýêèïàæ; ïàññàæèðñêèé âàãîí, ðàçäåëåííûé íà êóïå) Dr. Constantine and I are the only travelers (äîêòîð Êîíñòàíòèí è ÿ — åäèíñòâåííûå ïàññàæèðû: «ïóòåøåñòâóþùèå»). In the coach from Bucharest (â âàãîíå èç Áóõàðåñòà) is an old gentleman with a lame leg (åäåò õðîìîé ïîæèëîé äæåíòëüìåí; lame — õðîìîé; ïîâðåæäåííûé, èçóâå÷åííûé /îáûêí. î íîãå/; leg — íîãà /îò áåäðà äî ñòóïíè/). He is well known to the conductor (ïðîâîäíèê åãî õîðîøî çíàåò; known — îáùåèçâåñòíûé, to know (knew, known)). Beyond that (êðîìå ýòîãî) are the ordinary carriages (åñòü åùå îáû÷íûå ïàññàæèðñêèå âàãîíû; carriage — ýêèïàæ, êàðåòà; ïàññàæèðñêèé âàãîí), but these do not concern us (íî îíè ê íàì íå îòíîñÿòñÿ; to concern — êàñàòüñÿ /â ðàññêàçå/; èìåòü êàñàòåëüñòâî, îòíîøåíèå), since they were locked (òàê êàê îíè áûëè çàïåðòû íà êëþ÷) after dinner had been served (ïîñëå òîãî, êàê áûë ïîäàí óæèí; dinner — îáåä; to serve — ñëóæèòü; ïîäàâàòü /íà ñòîë/, ðàçíîñèòü /ïèùó/) last night (ïðîøëûì âå÷åðîì). Forward of the Istanbul-Calais coach (âïåðåäè âàãîíà Ñòàìáóë — Êàëå) there is only the dining-car (òîëüêî âàãîí-ðåñòîðàí).”

coach [kt] traveller [trv()l] concern [kns:n]

“In this coach Dr. onstantine and I are the only travellers. In the coach from Bucharest is an old gentleman with a lame leg. He is well known to the conductor. Beyond that are the ordinary carriages, but these do not concern us, since they were locked after dinner had been served last night. Forward of the Istanbul-Calais coach there is only the dining-car.”

“Then it seems (çíà÷èò, ïî-âèäèìîìó; to seem — êàçàòüñÿ, ïðåäñòàâëÿòüñÿ),” said Poirot slowly (ñêàçàë Ïóàðî ìåäëåííî), “as though we must look for our murderer (ìû äîëæíû èñêàòü íàøåãî óáèéöó; to look for smb., smth. — èñêàòü êîãî-ëèáî, ÷òî-ëèáî) in the Istanbul-Calais coach (â âàãîíå Ñòàìáóë — Êàëå).” He turned to the doctor (îí ïîâåðíóëñÿ ê äîêòîðó). “That is what you were hinting, I think (âû íà ýòî íàìåêàëè, ÿ ïîëàãàþ; to hint — íàìåêàòü, äàâàòü ïîíÿòü)?”

The Greek nodded (ãðåê êèâíóë). “At half an hour after midnight (÷åðåç ïîë÷àñà ïîñëå ïîëóíî÷è) we ran into the snowdrift (ìû ïîïàëè â ñíåæíûé çàíîñ; to run (ran, run) — áåæàòü, áåãàòü; to run into smth. — ïîïàäàòü â êàêîå-ëèáî ïîëîæåíèå). No one can have left the train since then (íèêòî íå ñìîã áû ïîêèíóòü ïîåçä ñ òîãî ñàìîãî ìîìåíòà).”

M. Bouc said solemnly (ìñüå Áóê ñêàçàë ñåðüåçíî; solemn — òîðæåñòâåííûé; âàæíûé, ñåðüåçíûé), “The murderer is with us (óáèéöà ñðåäè íàñ: «ñ íàìè») — on the train now (ñåé÷àñ, â ýòîì ïîåçäå). …”

though [] turn [t:n] midnight [mdnat] solemn [slm]

“Then it seems,” said Poirot slowly, “as though we must look for our murderer in the Istanbul-Calais coach.” He turned to the doctor. “That is what you were hinting, I think?”

The Greek nodded. “At half an hour after midnight we ran into the snowdrift. No one can have left the train since then.”

M. Bouc said solemnly, “The murderer is with us — on the train now. …”

6. A Woman

(Æåíùèíà)

“First of all (ïðåæäå âñåãî),” said Poirot, “I should like a word or two (ÿ áû õîòåë îáìåíÿòüñÿ ïàðîé ñëîâ: «ñëîâîì èëè äâóìÿ») with young Mr. MacQueen (ñ ìîëîäûì ìèñòåðîì Ìàêêóèíîì). He may be able (îí, âîçìîæíî â ñèëàõ; to be able to … — ìî÷ü, áûòü â ñîñòîÿíèè, â ñèëàõ) to give us valuable information (ñîîáùèòü: «äàòü» íàì âàæíóþ èíôîðìàöèþ/ñâåäåíèÿ; value — öåííîñòü, âàæíîñòü, ïîëåçíîñòü; valuable — öåííûé, äîðîãîé; ÷ðåçâû÷àéíî ïîëåçíûé èëè âàæíûé).”

“Certainly (íåïðåìåííî),” said M. Bouc. He turned to the chef de train (îí îáðàòèëñÿ ê íà÷àëüíèêó ïîåçäà; to turn — ïîâîðà÷èâàòü; to turn to smb. — îáðàùàòüñÿ ê êîìó-ëèáî). “Get Mr. MacQueen to come here (ïðèâåäèòå ñþäà ìèñòåðà Ìàêêóèíà; to get smb. to do smth. — çàñòàâëÿòü, óáåæäàòü, óãîâàðèâàòü êîãî-ëèáî äåëàòü ÷òî-ëèáî).”

The chef de train left the carriage (íà÷àëüíèê ïîåçäà âûøåë èç êóïå).

The conductor returned (âåðíóëñÿ ïðîâîäíèê) with a bundle of passports and tickets (ñ ïà÷êîé ïàñïîðòîâ è áèëåòîâ; bundle — óçåë; ñâÿçêà, ïà÷êà). M. Bouc took them from him (ìñüå Áóê âçÿë èõ /ó íåãî).

valuable [vlj()b()l] chef [ef] carriage [krd]

“First of all,” said Poirot, “I should like a word or two with young Mr. MacQueen. He may be able to give us valuable information.”

“Certainly,” said M. Bouc. He turned to the chef de train. “Get Mr. MacQueen to come here.”

The chef de train left the carriage.

The conductor returned with a bundle of passports and tickets. M. Bouc took them from him.

“Thank you, Michel (áëàãîäàðþ âàñ, Ìèøåëü). It would be best now, I think (ñåé÷àñ áûëî áû ëó÷øå âñåãî, ÿ ïîëàãàþ), if you were to go back to your post (åñëè áû âû âåðíóëèñü íà ñâîé ïîñò = â ñâîé âàãîí; to go back — âîçâðàùàòüñÿ /íà ïðåæíåå ìåñòî/; post — ïîñò, äîëæíîñòü; âîåí. ïîñò). We will take your evidence formally later (ïîçæå ìû çàïèøåì âàøè ñâèäåòåëüñêèå ïîêàçàíèÿ ïî âñåé ôîðìå; evidence — äàííûå, ôàêòû; þð. ïîêàçàíèÿ ñâèäåòåëÿ èëè îáâèíÿåìîãî; to take the evidence of smb. — äîïðàøèâàòü êîãî-ëèáî è ïðîòîêîëèðîâàòü /ôèêñèðîâàòü/ åãî ïîêàçàíèÿ; formally — îôèöèàëüíî; ñ ñîáëþäåíèåì ïðèíÿòûõ ïðàâèë è íîðì; ïî âñåé ôîðìå).”

“Very good, Monsieur (õîðîøî, ìñüå; very good — î÷åíü õîðîøî, îòëè÷íî; õîðîøî /ñîãëàñèå/; ñëóøàþñü! /îòâåò íà ïðèêàçàíèå/),” said Michel, and in his turn left the carriage (è â ñâîþ î÷åðåäü = òîæå âûøåë èç êóïå; turn — îáîðîò; î÷åðåäü).

“After we have seen young MacQueen (ïîñëå òîãî, êàê ìû âñòðåòèìñÿ ñ ìîëîäûì Ìàêêóèíîì; to see (saw, seen) — âèäåòü; âèäåòüñÿ, âñòðå÷àòüñÿ),” said Poirot, “perhaps M. le docteur will come with me (âîçìîæíî, ãîñïîäèí äîêòîð ïîéäåò ñî ìíîé) to the dead man’s carriage (â êóïå óáèòîãî: «ìåðòâîãî ìóæ÷èíû»).”

“Certainly (íåñîìíåííî).”

“After we have finished there (ïîñëå òîãî, êàê ìû çàêîí÷èì òàì; to finish — êîí÷àòü, çàêàí÷èâàòü, çàâåðøàòü) — ”

evidence [evd()ns] perhaps [phps] certainly [s:tnl]

“Thank you, Michel. It would be best now, I think, if you were to go back to your post. We will take your evidence formally later.”

“Very good, Monsieur,” said Michel, and in his turn left the carriage.

“After we have seen young MacQueen,” said Poirot, “perhaps M. le docteur will come with me to the dead man’s carriage.”

“Certainly.”

“After we have finished there — ”

But at this moment (íî â ýòîò ñàìûé ìîìåíò) the chef de train returned with Hector MacQueen (âåðíóëñÿ íà÷àëüíèê ïîåçäà ñ Ãåêòîðîì Ìàêêóèíîì; to return — âîçâðàùàòüñÿ, èäòè îáðàòíî).

M. Bouc rose (ìñüå Áóê âñòàë; to rise (rose, risen) — âñòàâàòü /íà íîãè/, ïîäíèìàòüñÿ).

“We are a little cramped here (ìû çäåñü íåìíîãî â òåñíîòå; to cramp — ñòåñíÿòü, îãðàíè÷èâàòü /ðîñò, äâèæåíèå è ò.ï./; to be cramped /for room/ — æèòü èëè ðàáîòàòü â òåñíîòå, ïîâåðíóòüñÿ íåãäå),” he said pleasantly (ñêàçàë îí ëþáåçíî; pleasant — ïðèÿòíûé; ìèëûé, ñëàâíûé). “Take my seat, Mr. MacQueen (ñàäèòåñü íà ìîå ìåñòî, ìèñòåð Ìàêêóèí; seat — ìåñòî /äëÿ ñèäåíèÿ/, to take a seat — ñàäèòüñÿ, çàíèìàòü ìåñòî). M. Poirot will sit opposite you — so (ìñüå Ïóàðî ñÿäåò íàïðîòèâ âàñ — òàê).”

He turned to the chef de train (îí îáðàòèëñÿ ê íà÷àëüíèêó ïîåçäà). “Clear all the people out of the restaurant car (îñâîáîäèòå âàãîí-ðåñòîðàí /îò âñåõ ëþäåé/; to clear — î÷èùàòü; îñâîáîæäàòü, óáèðàòü; to clear the room of people — îñâîáîäèòü/î÷èñòèòü êîìíàòó îò ëþäåé),” he said, “and let it be left free for M. Poirot (è ïóñòü îí îñòàåòñÿ ñâîáîäíûì äëÿ ìñüå Ïóàðî; to leave (left) — îñòàâëÿòü â êàêîì-ëèáî ïîëîæåíèè èëè ñîñòîÿíèè; free — ñâîáîäíûé; íåçàíÿòûé). You will conduct your interviews there, mon cher (âû âåäü áóäåòå ïðîâîäèòü èíòåðâüþ = áåñåäîâàòü òàì, ìîé äðóã; to conduct — âåñòè, ñîïðîâîæäàòü; ïðîâîäèòü)?”

“It would be the most convenient, yes (äà, ýòî áûëî áû î÷åíü óäîáíî),” agreed Poirot (ñîãëàñèëñÿ Ïóàðî).

pleasantly [plez()ntl] opposite [pzt] interview [ntvju:]

But at this moment the chef de train returned with Hector MacQueen.

M. Bouc rose. “We are a little cramped here,” he said pleasantly. “Take my seat, Mr. MacQueen. M. Poirot will sit opposite you — so.”

He turned to the chef de train. “Clear all the people out of the restaurant car,” he said, “and let it be left free for M. Poirot. You will conduct your interviews there, mon cher?”

“It would be the most convenient, yes,” agreed Poirot.

MacQueen had stood looking from one to the other (Ìàêêóèí ñòîÿë, ïåðåâîäÿ âçãëÿä ñ îäíîãî íà äðóãîãî), not quite following (íå âïîëíå ïîíèìàÿ; to follow — ñëåäîâàòü, èäòè /çà êåì-ëèáî/; ïîíèìàòü, âíèìàòåëüíî ñëåäèòü /çà õîäîì ìûñëè, ñëîâàìè/; ñëóøàòü) the rapid flow of French (áûñòðûé ïîòîê ôðàíöóçñêîãî /ÿçûêà/; flow — òå÷åíèå, ïîòîê; õîä, òå÷åíèå).

Q’est-ce qu’il y a (â ÷åì äåëî)?” he began laboriously (íà÷àë îí ñòàðàòåëüíî; labour — òðóä; laborious — òðóäíûé; òðóäîëþáèâûé; óñåðäíûé). “Pourquoi (ïî÷åìó) — ?”

With a vigorous gesture (ðåøèòåëüíûì æåñòîì; vigorous — ñèëüíûé, áîäðûé; ðåøèòåëüíûé) Poirot motioned him to the seat (Ïóàðî ïðèãëàñèë åãî çàíÿòü ìåñòî; to motion — ïîêàçàòü æåñòîì, çíàêîì; to motion smb. to a seat — æåñòîì ïðèãëàñèòü êîãî-ëèáî ñåñòü) in the corner (â óãëó /êóïå/). He took it (= he took a seat; îí ñåë; to take (took, taken)) and began once more (è ñíîâà íà÷àë; to begin (began, begun)).

Pourquoi (ïî÷åìó) — ?” Then checking himself (çàòåì, íåäîãîâîðèâ; to check — îñòàíàâëèâàòü, ñäåðæèâàòü; to check oneself — îñòàíîâèòüñÿ, óäåðæàòüñÿ, ñäåðæàòüñÿ) and relapsing into his own tongue (/ïðîèçíåñ/, ïåðåõîäÿ íà ñâîé ðîäíîé ÿçûê; to relapse — ñíîâà âïàäàòü â êàêîå-ëèáî ñîñòîÿíèå; áðàòüñÿ çà ñòàðîå, âîçâðàùàòüñÿ ê ÷åìó-ëèáî): “What’s up on the train (÷òî ïðîèñõîäèò â ïîåçäå; to be up — âñòàòü, ïðîñíóòüñÿ; ñëó÷àòüñÿ; what's up? — ÷òî ïðîèñõîäèò?)? Has anything happened (÷òî-òî ñëó÷èëîñü)?”

quite [kwat] laboriously [lb:rsl] vigorous [v()rs] tongue [t]

MacQueen had stood looking from one to the other, not quite following the rapid flow of French.

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