Óáèéñòâî â «Âîñòî÷íîì ýêñïðåññå» Êðèñòè Àãàòà
“Qu’est-ce qu’il y a?” he began laboriously. “Pourquoi — ?”
With a vigorous gesture Poirot motioned him to the seat in the corner. He took it and began once more.
“Pourquoi — ?” Then checking himself and relapsing into his own tongue: “What’s up on the train? Has anything happened?”
He looked from one man to another (îí ïåðåâîäèë âçãëÿä ñ îäíîãî íà äðóãîãî).
Poirot nodded (Ïóàðî êèâíóë).
“Exactly (âîò èìåííî; exactly — òî÷íî; ðàçã. äà, ñîâåðøåííî âåðíî /âûðàæàåò ñîãëàñèå ñî ñêàçàííûì/). Something has happened (÷òî-òî ñëó÷èëîñü). Prepare yourself for a shock (ïðèãîòîâüòåñü ê ïîòðÿñåíèþ; shock — óäàð, òîë÷îê; ïîòðÿñåíèå, óäàð; ìåä. øîê). Your employer, M. Ratchett, is dead (âàø õîçÿèí, ìèñòåð Ðýò÷åòò — ìåðòâ; to employ — ïðåäîñòàâëÿòü ðàáîòó, íàíèìàòü; employer — íàíèìàòåëü; õîçÿèí)!”
MacQueen’s mouth pursed itself into a whistle (Ìàêêóèí ïðèñâèñòíóë: «ðîò Ìàêêóèíà ïîäæàëñÿ â ñâèñòå»; to purse — ìîðùèòü, ñîáèðàòü â ñêëàäêó; to purse one's mouth — ïîäæàòü ãóáû). Except that (åñëè íå ñ÷èòàòü òîãî; except — èñêëþ÷àÿ; çà èñêëþ÷åíèåì; óñòîé÷èâîå ñî÷åòàíèå: except that — êðîìå òîãî, çà èñêëþ÷åíèåì òîãî) his eyes grew a shade brighter (÷òî ãëàçà åãî ñëåãêà çàáëåñòåëè: «åãî ãëàçà ñòàëè ÷óòî÷êó ÿð÷å»; to grow (grew, grown) — ðàñòè, óâåëè÷èâàòüñÿ; êàê ãëàãîë-ñâÿçêà â ñîñòàâíîì èìåííîì ñêàçóåìîì — äåëàòüñÿ, ñòàíîâèòüñÿ; shade — òåíü, ïîëóìðàê; íåçíà÷èòåëüíîå êîëè÷åñòâî /÷åãî-ëèáî/, ÷óòü-÷óòü, êàïåëüêó; bright — ÿðêèé, áëåñòÿùèé), he showed no signs of shock or distress (îí íå âûêàçàë /íèêàêèõ ïðèçíàêîâ/ íè ïîòðÿñåíèÿ, íè îãîð÷åíèÿ; to show — ïîêàçûâàòü; ïðîÿâëÿòü, îáíàðóæèâàòü; distress — ãîðå, áåäà; ïðè÷èíà ñòðàäàíèé, îãîð÷åíèé).
“So they got him after all (çíà÷èò, îíè âñå æå äîáðàëèñü äî íåãî; after all — ïîñëå; â êîíöå êîíöîâ, âñå æå; to get — äîñòàâàòü; äîáðàòüñÿ äî êîãî-ëèáî, óáðàòü êîãî-ëèáî),” he said.
prepare [prpe] purse [p:s] whistle [ws()l]
He looked from one man to another.
Poirot nodded. “Exactly. Something has happened. Prepare yourself for a shock. Your employer, M. Ratchett, is dead!”
MacQueen’s mouth pursed itself into a whistle. Except that his eyes grew a shade brighter, he showed no signs of shock or distress.
“So they got him after all,” he said.
“What exactly do you mean (÷òî èìåííî âû èìååò â âèäó) by that phrase, Mr. MacQueen (ãîâîðÿ ýòî: «ýòîé ôðàçîé/âûðàæåíèåì», ìèñòåð Ìàêêóèí)?”
MacQueen hesitated (Ìàêêóèí êîëåáàëñÿ; to hesitate — ñîìíåâàòüñÿ; íå ðåøàòüñÿ).
“You are assuming (âû ïîëàãàåòå; to assume — ïðèíèìàòü, áðàòü /íà ñåáÿ/; ïðåäïîëàãàòü, äîïóñêàòü),” said Poirot, “that M. Ratchett was murdered (÷òî ìèñòåð Ðýò÷åòò áûë óáèò; to murder — óáèâàòü /æåñòîêî, çâåðñêè/, ñîâåðøàòü /óìûøëåííîå, ïðåäíàìåðåííîå/ óáèéñòâî)?”
“Wasn’t he (à ðàçâå íåò)?” This time MacQueen did show surprise (íà ýòîò ðàç Ìàêêóèí óäèâèëñÿ: «ïðîÿâèë óäèâëåíèå»). “Why, yes (íó, äà),” he said slowly (ñêàçàë îí ìåäëåííî). “That’s just what I did think (ÿ èìåííî òàê è ïîäóìàë: «ýòî êàê ðàç òî, ÷òî ÿ ïîäóìàë»). Do you mean (âû ÷òî, èìååòå â âèäó) he just died in his sleep (÷òî îí ïðîñòî óìåð âî ñíå)? Why, the old man was as tough as (áà, äà ñòàðèê áûë çäîðîâ êàê; tough — æåñòêèé; êðåïêèé, êðåïêîãî òåëîñëîæåíèÿ; âûíîñëèâûé) — as tough (çäîðîâ êàê ) — ”
He stopped (îí çàïíóëñÿ; to stop — îñòàíàâëèâàòü; çàìîëêàòü, äåëàòü ïàóçó), at a loss for a simile (íå â ñîñòîÿíèè ïîäîáðàòü íóæíîå/ïîäõîäÿùåå ñðàâíåíèå; loss — ïîòåðÿ, ëèøåíèå; to be at a loss — ðàñòåðÿòüñÿ, ñìåøàòüñÿ).
phrase [frez] surprise [spraz] tough [tf]
“What exactly do you mean by that phrase, Mr. MacQueen?”
MacQueen hesitated.
“You are assuming,” said Poirot, “that M. Ratchett was murdered?”
“Wasn’t he?” This time MacQueen did show surprise. “Why, yes,” he said slowly. “That’s just what I did think. Do you mean he just died in his sleep? Why, the old man was as tough as — as tough — ”
He stopped, at a loss for a simile.
“No, no,” said Poirot. “Your assumption was quite right (âàøå ïðåäïîëîæåíèå áûëî ñîâåðøåííî âåðíûì; assumption — ïðèíÿòèå íà ñåáÿ /îòâåòñòâåííîñòè è ò.ï./; ïðåäïîëîæåíèå, äîïóùåíèå; to assume). M. Ratchett was murdered (ìèñòåð Ðýò÷åòò áûë óáèò). Stabbed (çàêîëîò/çàðåçàí; stab — óäàð /íîæîì, êèíæàëîì/; to stab — íàíîñèòü óäàð; ðàíèòü /îñòðûì îðóæèåì/, çàêîëîòü). But I should like to know (íî ìíå áû õîòåëîñü çíàòü) why you were so sure (ïî÷åìó âû áûëè íàñòîëüêî óâåðåíû) it was murder (÷òî ýòî áûëî óáèéñòâî), and not just — death (à íå ïðîñòî ñìåðòü).”
MacQueen hesitated (Ìàêêóèí êîëåáàëñÿ). “I must get this clear (ÿ äîëæåí òî÷íî çíàòü; to get — äîñòàâàòü; ïîíèìàòü, ïîñòèãàòü; clear — ÿñíî; ýìîö. — óñèë. ñîâñåì, ñîâåðøåííî),” he said. “Who exactly are you (êòî èìåííî âû òàêîé)? And where do you come in (è êàêîå âû ê ýòîìó èìååòå îòíîøåíèå; to come in — ïðèõîäèòü; èìåòü îòíîøåíèå /ê ÷åìó-ëèáî/)?”
“I represent the Compagnie Internationale des Wagons Lits (ÿ ïðåäñòàâëÿþ Ìåæäóíàðîäíóþ êîìïàíèþ ñïàëüíûõ âàãîíîâ; to represent — èçîáðàæàòü /â êàêîì-ëèáî àñïåêòå/; áûòü ïðåäñòàâèòåëåì, ïðåäñòàâëÿòü).” Poirot paused (Ïóàðî âûäåðæàë ïàóçó), then added (çàòåì äîáàâèë), “I am a detective (ÿ äåòåêòèâ/ñûùèê). My name is Hercule Poirot (ìåíÿ çîâóò Ýðêþëü Ïóàðî).”
assumption [smp()n] death [de] clear [kl]
“No, no,” said Poirot. “Your assumption was quite right. M. Ratchett was murdered. Stabbed. But I should like to know why you were so sure it was murder, and not just — death.”
MacQueen hesitated. “I must get this clear,” he said. “Who exactly are you? And where do you come in?”
“I represent the Compagnie Internationale des Wagons Lits.” Poirot paused, then added, “I am a detective. My name is Hercule Poirot.”
If he expected an effect (åñëè îí ðàññ÷èòûâàë /ïðîèçâåñòè/ âïå÷àòëåíèå; to expect — îæèäàòü; ðàññ÷èòûâàòü, íàäåÿòüñÿ; effect — ðåçóëüòàò, ñëåäñòâèå; ýôôåêò, âïå÷àòëåíèå) he did not get one (òî îí åãî íå ïðîèçâåë: «îí íå ïîëó÷èë /æåëàåìîãî/ ýôôåêòà»). MacQueen said merely (Ìàêêóèí ïðîñòî ñêàçàë), “Oh! yes?” and waited for him to go on (è æäàë, ÷òî òîò ïðîäîëæèò /ãîâîðèòü/).
“You know the name perhaps (âîçìîæíî, âàì çíàêîìî: «âû çíàåòå» ýòî èìÿ)?”
“Why, it does seem kind of familiar (ïîæàëóé, îíî êàæåòñÿ íåìíîãî çíàêîìûì; why — ìåæäîåòèå: êàê! áà!; ïîæàëóé /âûðàæàåò êîëåáàíèå/; familiar — áëèçêèé, èíòèìíûé; çíàêîìûé, ïðèâû÷íûé). Only I always thought (òîëüêî ÿ âñåãäà äóìàë) it was a woman’s dressmaker (÷òî ýòî èìÿ äàìñêîãî ïîðòíîãî).”
Hercule Poirot looked at him with distaste (Ýðêþëü Ïóàðî âçãëÿíóë íà íåãî ñ íåóäîâîëüñòâèåì; distaste — íåïðèÿçíü, îòâðàùåíèå).
“It is incredible (ýòî íåâåðîÿòíî/íåñëûõàííî)!” he said.
“What’s incredible (÷òî íåâåðîÿòíî)?”
“Nothing (íè÷åãî). Let us advance with the matter in hand (äàâàéòå çàéìåìñÿ îáñóæäàåìûì äåëîì; to advance — ïðîäâèãàòüñÿ, èäòè âïåðåä; the matter in hand — ïîâåñòêà äíÿ; âîïðîñ, êîòîðûé îáñóæäàåòñÿ, òåêóùàÿ ïðîáëåìà). I want you to tell me, M. MacQueen (ÿ õî÷ó, ÷òîáû âû ðàññêàçàëè ìíå, ìèñòåð Ìàêêóèí), all that you know about the dead man (âñå, ÷òî âû çíàåòå îá óáèòîì; dead man — ïîêîéíèê). You were not related to him (âû íå áûëè åìó ðîäñòâåííèêîì; to relate — ðàññêàçûâàòü; ñîñòîÿòü â ðîäñòâå; related — ñâÿçàííûé; ðîäñòâåííûé, ñâÿçàííûé ðîäñòâîì)?”
“No. I am — was — his secretary (ÿ åãî — áûë åãî — ñåêðåòàðåì).”
merely [ml] familiar [fml] dress-maker [dresmek] incredible [nkredb()l]
If he expected an effect he did not get one. MacQueen said merely, “Oh! yes?” and waited for him to go on.
“You know the name perhaps?”
“Why, it does seem kind of familiar. Only I always thought it was a woman’s dressmaker.”
Hercule Poirot looked at him with distaste. “It is incredible!” he said.
“What’s incredible?”
“Nothing. Let us advance with the matter in hand. I want you to tell me, M. MacQueen, all that you know about the dead man. You were not related to him?”
“No. I am — was — his secretary.”
“For how long have you held that post (êàê äîëãî âû çàíèìàåòå ýòó äîëæíîñòü; to hold (held) — äåðæàòü; post — ïîñò, äîëæíîñòü, ïîëîæåíèå)?”
“Just over a year (÷óòü áîëüøå ãîäà).”
“Please give me all the information you can (ñîîáùèòå ìíå, ïîæàëóéñòà, âñå ñâåäåíèÿ, êîòîðûå âû ìîæåòå /ñîîáùèòü/; information — èíôîðìàöèÿ, ñâåäåíèÿ, äàííûå).”
“Well, I met Mr. Ratchett (íó, ÿ ïîçíàêîìèëñÿ ñ ìèñòåðîì Ðýò÷åòòîì; to meet (met) — âñòðå÷àòü; çíàêîìèòüñÿ) just over a year ago (íåìíîãèì áîëåå ãîäà íàçàä) when I was in Persia (êîãäà ÿ áûë â Ïåðñèè) — ”
Poirot interrupted (Ïóàðî ïðåðâàë/ïåðåáèë åãî).
“What were you doing there (÷òî âû òàì äåëàëè)?’
“I had come over from New York (ÿ ïðèåõàë èç Íüþ-Éîðêà; to come over — ïðèåõàòü èçäàëåêà) to look into an oil concession (÷òîáû ðàçîáðàòüñÿ â ðàáîòå îäíîé íåôòÿíîé êîíöåññèè; to look into a matter — ðàçáèðàòüñÿ â äåëå, ðàññìàòðèâàòü ïðîáëåìó; oil — ìàñëî /ðàñòèòåëüíîå èëè ìèíåðàëüíîå/; íåôòü). I don’t suppose (ÿ íå äóìàþ) you want to hear all about that (÷òî âû çàõîòèòå ñëóøàòü îá ýòîì â ïîäðîáíîñòÿõ: «âñå»). My friends and I had been let in rather badly over it (ìåíÿ è ìîèõ äðóçåé çäîðîâî íàãðåëè íà ýòîì äåëå; to let in — âïóñêàòü /â äîì/; îáìàíûâàòü, íàäóâàòü, ââîäèòü â óáûòêè). Mr. Ratchett was in the same hotel (ìèñòåð Ðýò÷åòò ïðîæèâàë â òîì æå îòåëå /÷òî è ÿ/). He had just had a row with his secretary (îí êàê ðàç ðàçðóãàëñÿ ñî ñâîèì ñåêðåòàðåì; row — øóì, ãâàëò; øóìíàÿ ññîðà, ñïîð; to have a row with smb. — ïîñêàíäàëèòü/ïîðóãàòüñÿ ñ êåì-ëèáî). He offered me the job (îí ïðåäëîæèë ìíå ýòó ðàáîòó) and I took it (è ÿ ñîãëàñèëñÿ: «âçÿëñÿ çà íåå»; to take (took, taken)). I was at a loose end (ÿ áûë íà ìåëè; at a loose end — áåç îïðåäåëåííîé ðàáîòû, áåç äåëà; loose — ñâîáîäíûé; íåñâÿçàííûé) and glad to find a well-paid job (è áûë ðàä íàéòè õîðîøî îïëà÷èâàåìóþ ðàáîòó; to pay — ïëàòèòü; ready — ãîòîâûé; èìåþùèéñÿ íàãîòîâå, ïîä ðóêîé, íå çàñòàâëÿþùèé ñåáÿ æäàòü èëè èñêàòü) ready made, as it were (áåç ïðîáëåì: «óæå ãîòîâóþ»; as it were — òàê ñêàçàòü, íåêîòîðûì îáðàçîì).”
interrupted [ntrptd] concession [knse()n] loose [lu:s]
“For how long have you held that post?”
“Just over a year.”
“Please give me all the information you can.”
“Well, I met Mr. Ratchett just over a year ago when I was in Persia — ”
Poirot interrupted.
“What were you doing there?’
“I had come over from New York to look into an oil concession. I don’t suppose you want to hear all about that. My friends and I had been let in rather badly over it. Mr. Ratchett was in the same hotel. He had just had a row with his secretary. He offered me the job and I took it. I was at a loose end and glad to find a well-paid job ready made, as it were.”
“And since then (è ñ òåõ ïîð)?”
“We’ve travelled about (ìû ïóòåøåñòâîâàëè; about — çä. óêàçûâàåò íà äâèæåíèå â ðàçíûõ íàïðàâëåíèÿõ ïî êàêîé-ëèáî îãðàíè÷åííîé òåððèòîðèè /ïî êîìíàòå, ãîðîäó, ñòðàíå è ò.ï./: òóäà è ñþäà, ïî). Mr. Ratchett wanted to see the world (ìèñòåð Ðýò÷åòò õîòåë ïîãëÿäåòü ìèð). He was hampered by knowing no languages (åìó ìåøàëî òî, ÷òî îí íå çíàë /èíîñòðàííûå/ ÿçûêè; to hamper — ìåøàòü, ïðåïÿòñòâîâàòü; ñòåñíÿòü äâèæåíèå). I acted more as a courier (ÿ áîëüøå âûñòóïàë â ðîëè ãèäà-ïåðåâîä÷èêà; to act — äåéñòâîâàòü; /as/ ðàáîòàòü, ñëóæèòü; äåéñòâîâàòü â êà÷åñòâå; courier — êóðüåð; àãåíò, îáñëóæèâàþùèé ïóòåøåñòâåííèêîâ; to courier — îáñëóæèâàòü, ñîïðîâîæäàòü òóðèñòîâ èëè ïóòåøåñòâåííèêîâ) than as a secretary (÷åì ñåêðåòàðÿ). It was a pleasant life (æèçíü áûëà ïðèÿòíîé).”
“Now tell me as much as you can (à òåïåðü ðàññêàæèòå ìíå âñå: «ñòîëüêî, ñêîëüêî», ÷òî ñìîæåòå) about your employer (î âàøåì õîçÿèíå).”
The young man shrugged his shoulders (ìîëîäîé ÷åëîâåê ïîæàë ïëå÷àìè). A perplexed expression passed over his face (íà åãî ëèöå ïðîìåëüêíóëî íåäîóìåâàþùåå âûðàæåíèå; perplexed — îøåëîìëåííûé, ñáèòûé ñ òîëêó; to pass /over/ — èäòè, ïðîõîäèòü; ïðîìåëüêíóòü, ïîÿâèòüñÿ).
“That’s not so easy (ýòî íå òàê-òî ïðîñòî).”
“What was his full name (êàêîå åãî ïîëíîå èìÿ)?”
“Samuel Edward Ratchett (Ñýìþýë Ýäóàðä Ðýò÷åòò).”
hampered [hmpd] language [lwd] courier [kr] employer [mpl]
“And since then?”
“We’ve travelled about. Mr. Ratchett wanted to see the world. He was hampered by knowing no languages. I acted more as a courier than as a secretary. It was a pleasant life.”
“Now tell me as much as you can about your employer.”
The young man shrugged his shoulders. A perplexed expression passed over his face.
“That’s not so easy.”
“What was his full name?”
“Samuel Edward Ratchett.”
“He was an American citizen (îí áûë àìåðèêàíñêèì ãðàæäàíèíîì)?”
“Yes.”
“What part of America did he come from (èç êàêîãî øòàòà: «èç êàêîé ÷àñòè» Àìåðèêè îí áûë ðîäîì; to come /from/ — ïðèõîäèòü; ïðîèñõîäèòü, èìåòü ïðîèñõîæäåíèå)?”
“I don’t know (ÿ íå çíàþ).”
“Well, tell me what you do know (÷òî æ, òîãäà ðàññêàæèòå ìíå òî, ÷òî âû çíàåòå).”
“The actual truth is, Mr. Poirot (â äåéñòâèòåëüíîñòè/ïî ïðàâäå ãîâîðÿ, ìèñòåð Ïóàðî), that I know nothing at all (ÿ âîîáùå íè÷åãî /î íåì/ íå çíàþ)! Mr. Ratchett never spoke of himself (ìèñòåð Ðýò÷åòò íèêîãäà íå ãîâîðèë íè î ñåáå) or of his life in America (íè î ñâîåé æèçíè â Àìåðèêå).”
“Why do you think that was (ïî÷åìó, êàê âû äóìàåòå: «ïî÷åìó, âû äóìàåòå, ýòî áûëî òàê»)?”
“I don’t know. I imagined (íå çíàþ, ìíå êàçàëîñü; to imagine — âîîáðàæàòü, ïðåäñòàâëÿòü ñåáå; ïðåäïîëàãàòü, ïîëàãàòü) that he might be ashamed of his beginnings (÷òî îí ìîã ñòûäèòüñÿ ñâîåãî ïðîèñõîæäåíèÿ; shame — ñòûä; ashamed — ïðèñòûæåííûé; to be ashamed of smth. — ñòûäèòüñÿ ÷åãî-ëèáî; beginning — íà÷àëî; èñõîäíàÿ òî÷êà, èñòîêè, ïðîèñõîæäåíèå). Some men are (íåêîòîðûå ëþäè ñòåñíÿþòñÿ: «åñòü /òàêèå/»).”
“Does that strike you (ýòî êàæåòñÿ âàì; to strie — óäàðÿòü, áèòü; ïîðàæàòü; ïðèâëåêàòü âíèìàíèå, êàçàòüñÿ) as a satisfactory solution (óäîâëåòâîðèòåëüíûì/äîñòàòî÷íûì îáúÿñíåíèåì; to solve — ðåøàòü; îáúÿñíÿòü; solution — ðåøåíèå, ðàçðåøåíèå /ïðîáëåìû è ò.ï./, îáúÿñíåíèå)?”
“Frankly, it doesn’t (îòêðîâåííî ãîâîðÿ, íåò; frank — îòêðîâåííûé, èñêðåííèé; frankly — ïðÿìî, îòêðûòî, îòêðîâåííî).”
citizen [stz()n] truth [tru:] ashamed [emd] satisfactory [stsfkt()r]
“He was an American citizen?”
“Yes.”
“What part of America did he come from?”
“I don’t know.”
“Well, tell me what you do know.”
“The actual truth is, Mr. Poirot, that I know nothing at all! Mr. Ratchett never spoke of himself or of his life in America.”
“Why do you think that was?”
“I don’t know. I imagined that he might be ashamed of his beginnings. Some men are.”
“Does that strike you as a satisfactory solution?”
“Frankly, it doesn’t.”
“Has he any relatives (ó íåãî åñòü ðîäñòâåííèêè; relative — ðîäñòâåííèê, ðîäñòâåííèöà)?”
“He never mentioned any (îí íèêîãäà íå óïîìèíàë íè îá îäíîì; any — â îòðèö.ïðåäëîæåíèÿõ: íèêàêîé, íè îäèí).”
Poirot pressed the point (Ïóàðî íàñòàèâàë íà ñâîåì; to press — æàòü, íàäàâëèâàòü; íàñòàèâàòü; point — òî÷êà; ìîìåíò; âîïðîñ; ñóòü; òî÷êà çðåíèÿ).
“You must have formed some theory, Mr. MacQueen (/íî/ ó âàñ äîëæíà áûëà ñëîæèòüñÿ õîòü êàêàÿ-íèáóäü òåîðèÿ /ïî ýòîìó ïîâîäó/, ìèñòåð Ìàêêóèí; to form — ïðèäàâàòü ôîðìó; ñîçäàâàòü, ñîñòàâëÿòü, ôîðìóëèðîâàòü; theory — òåîðèÿ; ðàçã. ïðåäïîëîæåíèå, äîãàäêà).”
“Well, yes, I did (íó, äà: «ÿ /ñëîæèë òåîðèþ/»). For one thing (ïðåæäå âñåãî), I don’t believe (ÿ íå âåðþ) Ratchett was his real name (÷òî ôàìèëèÿ Ðýò÷åòò áûëà åãî íàñòîÿùåé ôàìèëèåé; real — äåéñòâèòåëüíûé; íàñòîÿùèé, ïîäëèííûé). I think he left America (ÿ äóìàþ, ÷òî îí óåõàë èç Àìåðèêè) definitely in order (îïðåäåëåííî ñ öåëüþ; definite — îïðåäåëåííûé, ÿñíûé, òî÷íûé; order — ïîðÿäîê; in order to — äëÿ òîãî, ÷òîáû) to escape someone or something (ñáåæàòü îò êîãî-òî èëè ÷åãî-òî). I think he was successful (ÿ äóìàþ, ÷òî åìó ýòî óäàâàëîñü: «îí áûë óñïåøíûì»; success — óñïåõ, óäà÷à, successful — óñïåøíûé, èìåþùèé óñïåõ) — until a few weeks ago (äî íåäàâíåãî âðåìåíè: «äî íåñêîëüêèõ íåäåëü íàçàä»).”
“And then (à ïîòîì)?”
relative [reltv] definitely [defntl] escape [skep] successful [sksesf()l]
“Has he any relatives?”
“He never mentioned any.”
Poirot pressed the point.
“You must have formed some theory, Mr. MacQueen.”
“Well, yes, I did. For one thing, I don’t believe Ratchett was his real name. I think he left America definitely in order to escape someone or something. I think he was successful — until a few weeks ago.”
“And then?”
“He began to get letters (îí íà÷àë ïîëó÷àòü ïèñüìà) — threatening letters (óãðîæàþùèå ïèñüìà; to threaten — óãðîæàòü, ãðîçèòü; letter — áóêâà; ïèñüìî, ïîñëàíèå).”
“Did you see them (âû èõ âèäåëè)?”
“Yes. It was my business (äà, ýòî âõîäèëî â ìîè îáÿçàííîñòè; business — äåëî; îáÿçàííîñòü, äîëã) to attend to his correspondence (çàíèìàòüñÿ åãî êîððåñïîíäåíöèåé/ïåðåïèñêîé; to attend — ïîñåùàòü; çàáîòèòüñÿ /î ÷åì-ëèáî/, ñëåäèòü /çà ÷åì-ëèáî/). The first letter came a fortnight ago (ïåðâîå ïèñüìî ïðèøëî íåäåëè äâå íàçàä; fortnight — äâå íåäåëè, ÷åòûðíàäöàòü äíåé).”
“Were these letters destroyed (ýòè ïèñüìà áûëè óíè÷òîæåíû; to destroy — ðàçðóøàòü; óíè÷òîæàòü)?”
“No, I think I’ve got a couple still (íåò, ÿ äóìàþ, ÷òî ó ìåíÿ âñå åùå åñòü ïàðî÷êà; couple — ïàðà, ïàðíûå ïðåäìåòû, äâà) in my files (ó ìåíÿ â áóìàãàõ; file — ñêîðîñøèâàòåëü /äëÿ áóìàã/; ïîäøèòûå äîêóìåíòû, áóìàãè) — one I know Ratchett tore up (îäíî /ïèñüìî/, ÿ çíàþ, Ðýò÷åòò ðàçîðâàë; to tear (tore, torn) up — ðàçðûâàòü, ïîðâàòü) in a rage (â ïðèñòóïå ÿðîñòè). Shall I get them for you (ìíå ïðèíåñòè èõ âàì)?”
“If you would be so good (áóäüòå òàê ëþáåçíû; good — õîðîøèé; ìèëûé, ëþáåçíûé).”
threatening [retn] correspondence [krspnd()ns] fortnight [f:tnat] destroy [dstr]
“He began to get letters — threatening letters.”
“Did you see them?”
“Yes. It was my business to attend to his correspondence. The first letter came a fortnight ago.”
“Were these letters destroyed?”
“No, I think I’ve got a couple still in my files — one I know Ratchett tore up in a rage. Shall I get them for you?”
“If you would be so good.”
MacQueen left the compartment (Ìàêêóèí âûøåë èç êóïå). He returned a few minutes later (îí âåðíóëñÿ íåñêîëüêî ìèíóò ñïóñòÿ) and laid down two sheets of rather dirty notepaper before Poirot (è ïîëîæèë /íà ñòîë/ äâà ëèñòà äîâîëüíî ãðÿçíîé áóìàãè /äëÿ çàïèñåé/ ïåðåä Ïóàðî; to lay (laid) down — êëàñòü, ïîëîæèòü notepaper — ïî÷òîâàÿ áóìàãà; áóìàãà äëÿ çàïèñåé).
The first letter ran as follows (ïåðâîå ïèñüìî ãëàñèëî ñëåäóþùåå; to run (ran, run) — áåæàòü; ãëàñèòü; to follow — ñëåäîâàòü, èäòè /çà êåì-ëèáî, ÷åì-ëèáî/; as follows — êàê ñëåäóåò íèæå; ñëåäóþùèì îáðàçîì):
Thought you’d double-cross us (äóìàë íàäóòü íàñ; double-cross — ðàçã. îáìàí, õèòðîñòü; to double-cross — ðàçã. îáìàíûâàòü, íàäóâàòü) and get away with it (è /òåáå/ ýòî ñîéäåò ñ ðóê; to get away — óäðàòü, óñêîëüçíóòü; /with/ ðàçã. ñäåëàòü ÷òî-ëèáî íåçàìåòíî, ïðîâåðíóòü êàêîå-ëèáî äåëüöå), did you (íå òàê ëè)? Not on your life (íè â êîåì ñëó÷àå; life — æèçíü). We’re out to GET you, Ratchett (ìû ñîáèðàåìñÿ äîñòàòü òåáÿ, Ðýò÷åòò; to be out to do smth. — ñîáèðàòüñÿ ñäåëàòü ÷òî-ëèáî), and we WILL get you (è ìû äîñòàíåì òåáÿ)!
There was no signature (ïîäïèñè íå áûëî; to sign — ïîäïèñûâàòü, signature — /ñîáñòâåííîðó÷íàÿ/ ïîäïèñü).
note-paper [ntpep] double-cross [dblkrs] signature [snt]
MacQueen left the compartment. He returned a few minutes later and laid down two sheets of rather dirty notepaper before Poirot.
The first letter ran as follows:
Thought you’d double-cross us and get away with it, did you? Not on your life. We’re out to GET you, Ratchett, and we WILL get you!
There was no signature.
With no ñomment beyond raised eyebrows (ïîäíÿâ áðîâè /â èçóìëåíèè/, íî íè÷åãî íå ñêàçàâ: «áåç êàêèõ-ëèáî êîììåíòàðèåâ êðîìå ïîäíÿòûõ /â èçóìëåíèè/ áðîâåé»; to raise — ïîäíèìàòü; to raise one's eyebrows — ïîäíÿòü áðîâè /â çíàê èçóìëåíèÿ/), Poirot picked up the second letter (Ïóàðî âçÿë âòîðîå ïèñüìî; to pick up — ïîäíèìàòü, ïîäáèðàòü).
We’re going to take you for a ride, Ratchett (ìû òåáÿ ïðèøüåì, Ðýò÷åòò; ride — ïðîãóëêà /íà âåëîñèïåäå, àâòîìîáèëå, âåðõîì è ò.ï./, åçäà; to take smb. for a ride — âçÿòü êîãî-ëèáî ñ ñîáîé íà ïðîãóëêó; ïðèêîí÷èòü /óêîêîøèòü/ êîãî-ëèáî). Some time soon (î÷åíü ñêîðî). We’re going to GET you — see (ìû äîñòàíåì òåáÿ, ïîíÿë)?
Poirot laid the letter down (Ïóàðî ïîëîæèë ïèñüìî /íà ñòîë/; to lay (laid)).
“The style is monotonous (ñëîã îäíîîáðàçíûé/ìîíîòîííûé; style — ñòèëü, ñëîã, ñïîñîá âûðàæåíèÿ)!” he said. “More so than the handwriting (áîëåå îäíîîáðàçíûé, ÷åì ïî÷åðê).”
MacQueen stared at him (Ìàêêóèí óñòàâèëñÿ íà íåãî).
raise [rez] monotonous [mnt()ns] handwriting [hndrat]
With no ñomment beyond raised eyebrows, Poirot picked up the second letter.
We’re going to take you for a ride, Ratchett. Some time soon. We’re going to GET you — see?
Poirot laid the letter down.
“The style is monotonous!” he said. “More so than the handwriting.”
MacQueen stared at him.
“You would not observe (âû âðÿä ëè ýòî çàìåòèëè; would — çä. âûðàæàåò ïðåäïîëîæåíèå, ñîìíåíèå; to observe — íàáëþäàòü, ñëåäèòü; çàìå÷àòü, îáðàùàòü âíèìàíèå),” said Poirot pleasantly (ëþáåçíî ñêàçàë Ïóàðî). “It requires the eye of one (çäåñü òðåáóòñÿ /îïûòíûé/ ãëàç ÷åëîâåêà) used to such things (ïðèâûêøåãî ê òàêèì âåùàì; used — èñïîëüçîâàííûé; /to/ ïðèâûêøèé). This letter was not written by one person, M. MacQueen (ýòî ïèñüìî áûëî íàïèñàíî íå îäíèì ÷åëîâåêîì, ìñüå Ìàêêóèí; to write (wrote, written) — ïèñàòü, written — ïèñüìåííûé; íàïèñàííûé). Two or more persons wrote it (äâà ÷åëîâåêà, èëè áîëüøå íàïèñàëè åãî) — each writing one letter of a word at a time (êàæäûé ïèñàë ïî áóêâå â ñëîâå ïî î÷åðåäè). Also, the letters are printed (ê òîìó æå, áóêâû ïå÷àòíûå; to print — ïå÷àòàòü; ïèñàòü ïå÷àòíûìè áóêâàìè). That makes the task (ýòî äåëàåò çàäà÷ó) of identifying the handwriting (îïðåäåëåíèÿ ïî÷åðêà = óñòàíîâëåíèÿ ëè÷íîñòè ïèñàâøåãî; to identify — îòîæäåñòâëÿòü; îïîçíàâàòü, óñòàíàâëèâàòü ëè÷íîñòü) much more difficult (ãîðàçäî áîëåå òðóäíîé).” He paused, then said (îí çàìîë÷àë, çàòåì ñêàçàë; to pause — äåëàòü ïàóçó; îñòàíàâëèâàòüñÿ): “Did you know (âû çíàëè î òîì) that M. Ratchett had applied for help to me (÷òî ìñüå Ðýò÷åòò îáðàùàëñÿ êî ìíå çà ïîìîùüþ; to apply — îáðàùàòüñÿ ñ ïðîñüáîé, ïðîñèòü)?”
“To you (ê âàì)?”
observe [bz:v] require [rkwa] identify [adentfa] apply [pla] applied [plad]
“You would not observe,” said Poirot pleasantly. “It requires the eye of one used to such things. This letter was not written by one person, M. MacQueen. Two or more persons wrote it — each writing one letter of a word at a time. Also, the letters are printed. That makes the task of identifying the handwriting much more difficult.” He paused, then said: “Did you know that M. Ratchett had applied for help to me?”
“To you?”
MacQueen’s astonished tone (óäèâëåííûé òîí Ìàêêóèíà; to astonish — óäèâëÿòü, èçóìëÿòü) told Poirot quite certainly (ñîâåðøåííî îïðåäåëåííî ñêàçàë Ïóàðî) that the young man had not known of it (÷òî ìîëîäîé ÷åëîâåê íè÷åãî îá ýòîì íå çíàë).
The detective nodded (äåòåêòèâ êèâíóë). “Yes. He was alarmed (äà, îí áûë âñòðåâîæåí; to alarm — ïîäíÿòü òðåâîãó; âñòðåâîæèòü, âçâîëíîâàòü). Tell me (ñêàæèòå /ìíå/), how did he act (êàê îí ñåáÿ âåë; to act — äåéñòâîâàòü, ïîñòóïàòü; âåñòè ñåáÿ) when he received the first letter (êîãäà îí ïîëó÷èë ïåðâîå ïèñüìî)?”
MacQueen hesitated (Ìàêêóèí êîëåáàëñÿ).
astonish [stn] alarmed [l:md] receive [rsi:v]
MacQueen’s astonished tone told Poirot quite certainly that the young man had not known of it.
The detective nodded. “Yes. He was alarmed. Tell me, how did he act when he received the first letter?”
MacQueen hesitated.
“It’s difficult to say (òðóäíî ñêàçàòü). He — he — passed it off with a laugh (îí, /íó, â îáùåì/ îí ëèøü ïîñìåÿëñÿ; to pass off — èñ÷åçàòü; îñòàâëÿòü áåç âíèìàíèÿ, íå çàìå÷àòü; laugh — ñìåõ) in that quiet way of his (â ñâîåé ñïîêîéíîé ìàíåðå; quiet — òèõèé, ñïîêîéíûé; way — ïóòü, äîðîãà; ìàíåðà ïîâåäåíèÿ). But somehow (íî êàêèì-òî îáðàçîì) — ” he gave a slight shiver (îí ñëåãêà âçäðîãíóë; shiver — äðîæü, òðåïåò) — “I felt (ÿ ïî÷óâñòâîâàë; to feel (felt) — òðîãàòü, ùóïàòü; ÷óâñòâîâàòü) that there was a good deal going on (÷òî ìíîãî ÷åãî ïðîèñõîäèëî; deal — íåêîòîðîå êîëè÷åñòâî; áîëüøîå êîëè÷åñòâî, ìàññà, êó÷à; to go on — èäòè äàëüøå; ïðîèñõîäèòü, ñëó÷àòüñÿ) underneath the quietness (ïîä ýòèì ñïîêîéñòâèåì; quietness — òèøèíà; ïîêîé).”
laugh [l:f] slight [slat] shiver [v] underneath [ndni:] quietness [kwatns]
“It’s difficult to say. He — he — passed it off with a laugh in that quiet way of his. But somehow — ” he gave a slight shiver — “I felt that there was a good deal going on underneath the quietness.”
Poirot nodded (Ïóàðî êèâíóë). Then he asked an unexpected question (çàòåì îí çàäàë íåîæèäàííûé âîïðîñ; to expect — îæèäàòü, æäàòü).
“Mr. MacQueen, will you tell me (ìèñòåð Ìàêêóèí, ñêàæèòå ìíå), quite honestly (òîëüêî: «âïîëíå» ÷åñòíî; honest — ÷åñòíûé; ïðàâäèâûé), exactly how you regarded your employer (êàê èìåííî âû îòíîñèëèñü ê ñâîåìó õîçÿèíó; to regard — ñ÷èòàòü, ðàññìàòðèâàòü)? Did you like him (îí âàì íðàâèëñÿ; to like — ëþáèòü /÷òî-ëèáî/; õîðîøî èëè îäîáðèòåëüíî îòíîñèòüñÿ ê êîìó-ëèáî, ÷åìó-ëèáî)?”
Hector MacQueen took a moment or two (Ãåêòîð Ìàêêóèí ïîìåäëèë ïàðó ìãíîâåíèé; moment — ìîìåíò, ìèã, ìãíîâåíèå) before replying (ïåðåä òåì êàê îòâåòèòü).
“No,” he said at last (íåò, — ñêàçàë îí íàêîíåö). “I did not (îí ìíå íå íðàâèëñÿ).”
unexpected [nkspektd] honestly [nstl] regard [r:d]
Poirot nodded. Then he asked an unexpected question.
“Mr. MacQueen, will you tell me, quite honestly, exactly how you regarded your employer? Did you like him?”
Hector MacQueen took a moment or two before replying.
“No,” he said at last. “I did not.”
“Why (ïî÷åìó)?”
“I can’t exactly say (íå ìîãó òî÷íî ñêàçàòü). He was always quite pleasant in his manner (îí âñåãäà äåðæàëñÿ âïîëíå ëþáåçíî; manner — ìåòîä, ñïîñîá; ìàíåðà äåðæàòüñÿ, ïîâåäåíèå).” He paused, then said (îí çàìîë÷àë, çàòåì ñêàçàë): “I’ll tell you the truth, Mr. Poirot (ÿ ñêàæó âàì ïðàâäó, ìñüå Ïóàðî). I disliked and distrusted him (îí ìíå íå íðàâèëñÿ, è ÿ íå äîâåðÿë åìó; to dislike — èñïûòûâàòü íåïðèÿçíü; to distrust — íå äîâåðÿòü; to trust — äîâåðÿòü). He was, I am sure (îí áûë, ÿ â ýòîì óâåðåí), a cruel and dangerous man (æåñòîêèì è îïàñíûì ÷åëîâåêîì). I must admit, though (õîòÿ, ÿ äîëæåí ïðèçíàòü), that I have no reasons (÷òî ó ìåíÿ íåò íèêàêèõ îñíîâàíèé) to advance for my opinion (÷òîáû âûäâèíóòü èõ = êîòîðûå ìîæíî áûëî áû âûäâèíóòü â ïîäòâåðæäåíèå ìîåãî ìíåíèÿ).”
why [wa] distrust [dstrst] cruel [kru:l] dangerous [dendrs] though []
“Why?”
“I can’t exactly say. He was always quite pleasant in his manner.” He paused, then said: “I’ll tell you the truth, Mr. Poirot. I disliked and distrusted him. He was, I am sure, a cruel and dangerous man. I must admit, though, that I have no reasons to advance for my opinion.”
“Thank you, Mr. MacQueen. One further question (åùå îäèí âîïðîñ; further — áîëåå îòäàëåííûé; äîïîëíèòåëüíûé, äîáàâî÷íûé): when did you last see Mr. Ratchett alive (êîãäà âû â ïîñëåäíèé ðàç âèäåëè ìèñòåðà Ðýò÷åòòîì æèâûì)?”
“Last evening about (â÷åðà âå÷åðîì, ãäå-òî îêîëî; last — ïîñëåäíèé; ïðîøëûé) — ” he thought for a minute (îí çàäóìàëñÿ íà ìãíîâåíèå; minute — ìèíóòà; êîðîòêèé ïðîìåæóòîê âðåìåíè, ìîìåíò) — “ten o’clock (äåñÿòè ÷àñîâ), I should say (ÿ áû ñêàçàë). I went into his compartment (ÿ çàøåë ê íåìó â êóïå) to take down some memoranda from him (÷òîáû ñäåëàòü äëÿ íåãî íåñêîëüêî çàìåòîê; to take down — çàïèñûâàòü; memorandum (pl. memoranda) — ìåìîðàíäóì, ïàìÿòíàÿ çàïèñêà, çàìåòêà).”
“On what subject (íà êàêóþ òåìó; subject — ïðåäìåò, òåìà /ðàçãîâîðà è ò.ï./)?”
alive [lav] thought [:t] memoranda [memrnd] subject [sbdkt]
“Thank you, Mr. MacQueen. One further question: when did you last see Mr. Ratchett alive?”
“Last evening about — ” he thought for a minute — “ten o’clock, I should say. I went into his compartment to take down some memoranda from him.”
“On what subject?”
“Some tiles and antique pottery (/ïî ïîâîäó/ íåêîòîðûõ èçðàçöîâ è ñòàðèííîé êåðàìèêè; tile — ïëèòêà, ÷åðåïèöà, èçðàçåö; pottery — ãîí÷àðíàÿ ìàñòåðñêàÿ; êåðàìèêà, ãîí÷àðíûå èçäåëèÿ) that he bought in Persia (êîòîðûå îí êóïèë â Ïåðñèè; to buy (bought)). What had been delivered (òî ÷òî äîñòàâèëè; to deliver — ïåðåäàâàòü; ðàçíîñèòü, äîñòàâëÿòü) was not what he had purchased (áûëî íå òåì, ÷òî îí ïîêóïàë). There has been a long, vexatious correspondence on the subject (íà ýòó òåìó âåëàñü ïðîäîëæèòåëüíàÿ íåïðèÿòíàÿ ïåðåïèñêà; long — äëèííûé äîëãèé, äëèòåëüíûé; to vex — äîñàæäàòü, ðàçäðàæàòü; vexation — äîñàäà, ðàçäðàæåíèå; íåïðèÿòíîñòü).”
“And that was the last time (è ýòî áûë ïîñëåäíèé ðàç) Mr. Ratchett was seen alive (êîãäà ìèñòåðà Ðýò÷åòòà âèäåëè æèâûì)?”
“Yes, I suppose so (äà, ïîëàãàþ ÷òî òàê).”
“Do you know (çíàåòå ëè âû) when Mr. Ratchett received the last threatening letter (êîãäà ìèñòåð Ðýò÷åòò ïîëó÷èë ïîñëåäíåå óãðîæàþùåå ïèñüìî)?”
“On the morning of the day (óòðîì òîãî äíÿ) we left Constantinople (êîãäà ìû âûåõàëè èç Êîíñòàíòèíîïîëÿ).”
antique [nti:k] bought [b:t] purchase [p:ts] vexatious [vekses]
“Some tiles and antique pottery that he bought in Persia. What had been delivered was not what he had purchased. There has been a long, vexatious correspondence on the subject.”
“And that was the last time Mr. Ratchett was seen alive?”
“Yes, I suppose so.”
“Do you know when Mr. Ratchett received the last threatening letter?”
“On the morning of the day we left Constantinople.”
“There is one more question (åñòü åùå îäèí âîïðîñ) I must ask you, Mr. MacQueen (êîòîðûé ÿ äîëæåí çàäàòü âàì, ìèñòåð Ìàêêóèí). Were you on good terms (âû áûëè â õîðîøèõ îòíîøåíèÿõ; term — ïåðèîä, ñðîê; terms — îòíîøåíèÿ) with your employer (ñ âàøèì ðàáîòîäàòåëåì/õîçÿèíîì)?”
The young man’s eyes twinkled suddenly (íåîæèäàííî â ãëàçàõ ìîëîäîãî ÷åëîâåêà áëåñíóëè îãîíüêè; twinkle — ìåðöàíèå; îãîíåê /â ãëàçàõ/; to twinkle — ìåðöàòü; ìîðãàòü, ìèãàòü).
“This is where I’m supposed to go all goosefleshy down the back (çäåñü, ÿ äóìàþ, ìíå ïîëàãàåòñÿ ïîêðûòüñÿ ãóñèíîé êîæåé = î÷åâèäíî, çäåñü ó ìåíÿ äîëæíû ïîéòè ìóðàøêè ïî ñïèíå; to suppose — ïîëàãàòü, äóìàòü; to be supposed to do smth. — èìåòü îïðåäåëåííûå îáÿçàííîñòè, çàáîòû è ò.ï.; goose — ãóñü, ãóñûíÿ; flesh — òåëî, ìÿñî; gooseflesh — ãóñèíàÿ êîæà /îò õîëîäà, ñòðàõà è ò.ï./). In the words of a bestseller (êàê ïèøóò â áåñòñåëëåðàõ: «ñëîâàìè áåñòñåëëåðà»; bestseller — õîäêàÿ, ñåíñàöèîííàÿ êíèãà: «ëó÷øå âñåãî ïðîäàþùàÿñÿ»; to sell — ïðîäàâàòü), ‘You’ve nothing on me (ó âàñ íè÷åãî íà ìåíÿ íåò; to have nothing on smb. — íå èìåòü íè÷åãî ïðîòèâ êîãî-ëèáî; íå èìåòü íà êîãî-ëèáî êîìïðîìåòèðóþùåãî ìàòåðèàëà).’ Ratchett and I were on perfectly good terms (Ðýò÷åòò è ÿ áûëè â ñîâåðøåííî õîðîøèõ = ïðåêðàñíûõ îòíîøåíèÿõ).”
“Perhaps, Mr. MacQueen, you will give me your full name (áóäüòå äîáðû, ìèñòåð Ìàêêóèí, äàéòå = íàçîâèòå ìíå âàøå ïîëíîå èìÿ; perhaps — ìîæåò áûòü; ïîæàëóéñòà, áóäüòå äîáðû /â ïðîñüáàõ/) and your address in America (è âàø àäðåñ â Àìåðèêå).”
twinkle [twk()l] goose-fleshly [u:sfle] best-seller [bestsel]
“There is one more question I must ask you, Mr. MacQueen. Were you on good terms with your employer?”
The young man’s eyes twinkled suddenly.
“This is where I’m supposed to go all goosefleshy down the back. In the words of a bestseller, ‘You’ve nothing on me.’ Ratchett and I were on perfectly good terms.”
“Perhaps, Mr. MacQueen, you will give me your full name and your address in America.”