Óáèéñòâî â «Âîñòî÷íîì ýêñïðåññå» Êðèñòè Àãàòà
MacQueen gave his name (îí ñîîáùèë ñâîå èìÿ) — Hector Willard MacQueen (Ãåêòîð Óèëëàðä Ìàêêóèí) — and an address in New York (è àäðåñ â Íüþ-Éîðêå).
Poirot leaned back against the cushions (Ïóàðî îòêèíóëñÿ íà ïîäóøêè; to lean — íàêëîíÿòüñÿ, íàãèáàòüñÿ; to lean back — îòêèíóòüñÿ íàçàä).
“That is all for the present, Mr. MacQueen (ïîêà ýòî âñå, ìèñòåð Ìàêêóèí; present — íàñòîÿùåå /âðåìÿ/; for the present — ïîêà, íà ýòîò ðàç),” he said. “I should be obliged (ÿ áûë áû /âàì/ áëàãîäàðåí; obliged — îáÿçàííûé, âûíóæäåííûé; áûòü áëàãîäàðíûì) if you would keep the matter of Mr. Ratchett’s death to yourself for a little time (åñëè áû âû íèêîìó íå ðàññêàçûâàëè î ñìåðòè ìèñòåðà Ðýò÷åòòà íåêîòîðîå âðåìÿ; to keep — äåðæàòü, èìåòü, õðàíèòü; to keep smth. to oneself — íå äåëèòüñÿ ÷åì-ëèáî, óìîë÷àòü î ÷åì-ëèáî; matter — âåùåñòâî; äåëî, âîïðîñ).”
“His valet, Masterman (åãî ñëóãå, Ìàñòåðìýíó), will have to know (ïðèäåòñÿ óçíàòü).”
“He probably knows already (âåðîÿòíî, ÷òî îí óæå çíàåò),” said Poirot dryly (ñêàçàë Ïóàðî ñóõî). “If so, try to get him (åñëè ýòî òàê, ïîïûòàéòåñü óãîâîðèòü åãî; to get smb. to do smth. — çàñòàâëÿòü, óáåæäàòü, óãîâàðèâàòü êîãî-ëèáî äåëàòü ÷òî-ëèáî) to hold his tongue (ïðèäåðæàòü ÿçûê /çà çóáàìè/).”
cushion [k()n] present [prez()nt] obliged [bladd] tongue [t]
MacQueen gave his name — Hector Willard MacQueen — and an address in New York.
Poirot leaned back against the cushions.
“That is all for the present, Mr. MacQueen,” he said. “I should be obliged if you would keep the matter of Mr. Ratchett’s death to yourself for a little time.”
“His valet, Masterman, will have to know.”
“He probably knows already,” said Poirot dryly. “If so, try to get him to hold his tongue.”
“That oughtn’t to be difficult (ýòî áóäåò íåñëîæíî). He’s a Britisher (îí áðèòàíåö/àíãëè÷àíèí) and, as he calls it (è, êàê îí ýòî ñàì íàçûâàåò; to call — êðè÷àòü; çâàòü, íàçûâàòü), he ‘keeps to himself’ (îí «äåðæèòñÿ îñîáíÿêîì»; to keep — äåðæàòü; ïîääåðæèâàòü /êîìïàíèþ/, âîäèòü /äðóæáó/; to keep to oneself — äåðæàòüñÿ îñîáíÿêîì, ñòîðîíèòüñÿ ëþäåé). He has a low opinion of Americans (îí /ïðèäåðæèâàåòñÿ/ íåâûñîêîãî/ïëîõîãî ìíåíèÿ îá àìåðèêàíöàõ), and no opinion at all (è óæ âîâñå íèêàêîãî ìíåíèÿ) of any other nationality (î /ëþäÿõ/ ëþáîé äðóãîé íàöèîíàëüíîñòè).”
“Thank you, Mr. MacQueen.”
The American left the carriage (àìåðèêàíåö âûøåë èç êóïå).
“Well (íó)?” demanded M. Bouc (ñïðîñèë ìñüå Áóê; to demand — òðåáîâàòü; ñïðàøèâàòü, çàäàâàòü âîïðîñ). “You believe what he says, this young man (âû âåðèòå òîìó, ÷òî îí ãîâîðèò, ýòîò ìîëîäîé ÷åëîâåê)?”
Britisher [brt] American [merkn] nationality [nnlt]
“That oughtn’t to be difficult. He’s a Britisher and, as he calls it, he ‘keeps to himself.’ He has a low opinion of Americans, and no opinion at all of any other nationality.”
“Thank you, Mr. MacQueen.”
The American left the carriage.
“Well?” demanded M. Bouc. “You believe what he says, this young man?”
“He seems honest and straightforward (îí êàæåòñÿ ÷åñòíûì/èñêðåííèì è ïðÿìûì/îòêðîâåííûì). He did not pretend (îí íå ïðèòâîðÿëñÿ) to any affection for his employer (÷òî ïðèâÿçàí: «/ïèòàåò/ ïðèâÿçàííîñòü» ê ñâîåìó õîçÿèíó), as he probably would have done (êàê îí âåðîÿòíî áû ïðèòâîðÿëñÿ: «äåëàë») had he been involved in any way (áóäü îí õîòü êàê-òî: «êàêèì ëèáî îáðàçîì» çàìåøàí; to involve — âêëþ÷àòü, ñîäåðæàòü; âîâëåêàòü, âïóòûâàòü, âìåøèâàòü). It is true, Mr. Ratchett did not tell him (ïðàâäà, ìèñòåð Ðýò÷åòò íå ñêàçàë åìó) that he had tried to enlist my services (÷òî îí ïîïûòàëñÿ çàðó÷èòüñÿ ìîèìè óñëóãàìè; to enlist — /äîáðîâîëüíî/ ïîñòóïàòü íà âîåííóþ ñëóæáó; çàðó÷èòüñÿ /ñîäåéñòâèåì, ïîääåðæêîé/, çàâåðáîâàòü /ñîþçíèêà/) and failed (è ïîòåðïåë íåóäà÷ó), but I do not think (íî ÿ íå äóìàþ) that that is really a suspicious circumstance (÷òî ýòî, íà ñàìîì äåëå, òàêîå óæ ïîäîçðèòåëüíîå îáñòîÿòåëüñòâî; suspicion — ïîäîçðåíèå; suspicious — ïîäîçðèòåëüíûé). I fancy Mr. Ratchett was a gentleman (ÿ ïîëàãàþ, ÷òî ìèñòåð Ðýò÷åòò áûë òàêèì äæåíòëüìåíîì) who kept his own counsel on every possible occasion (êîòîðûé âñåãäà áûë ñåáå íà óìå: «ñîâåòîâàëñÿ òîëüêî ñ ñîáîé ïî ëþáîìó âîçìîæíîìó ñëó÷àþ»; to keep one's own counsel — ñêðûâàòü ÷òî-ëèáî, ïîìàëêèâàòü /î ÷åì-ëèáî/, counsel — îáñóæäåíèå, ñîâåùàíèå; ñîâåò).”
honest [nst] straightforward [stretf:wd] suspicious [ssps] circumstance [s:kmstns, s:kmstns]
“He seems honest and straightforward. He did not pretend to any affection for his employer, as he prbably would have done had he been involved in any way. It is true, Mr. Ratchett did not tell him that he had tried to enlist my services and failed, but I do not think that that is really a suspicious circumstance. I fancy Mr. Ratchett was a gentleman who kept his own counsel on every possible occasion.”
“So you pronounce one person at least (èòàê, âû îáúÿâëÿåòå, ïî ìåíüøåé ìåðå, îäíîãî ÷åëîâåêà) innocent of the crime (íåâèíîâíûì â ñîâåðøåíèè ýòîãî ïðåñòóïëåíèÿ; innocent — íåâèííûé, íåïîðî÷íûé; íåâèíîâíûé),” said M. Bouc jovially (ñêàçàë ìñüå Áóê æèâî/âåñåëî).
Poirot cast on him a look of reproach (Ïóàðî áðîñèë íà íåãî âçãëÿä /ïîëíûé/ óïðåêà; to cast (cast) — áðîñàòü, êèäàòü, øâûðÿòü; reproach — óïðåê, óêîð, îñóæäåíèå).
“Me, I suspect everybody (ÿ? äà ÿ /âñåãäà/ ïîäîçðåâàþ êàæäîãî) till the last minute (äî ñàìîé ðàçâÿçêè: «ïîñëåäíåé ìèíóòû»),” he said. “All the same (òåì íå ìåíåå), I must admit (ÿ äîëæåí ïðèçíàòü) that I cannot see this sober, long-headed MacQueen (÷òî ÿ íå ìîãó ïðåäñòàâèòü ýòîãî ñäåðæàííîãî è ïðîíèöàòåëüíîãî Ìàêêóèíà; sober — òðåçâûé; õëàäíîêðîâíûé; ðàññóäèòåëüíûé; long-headed — äëèííîãîëîâûé; õèòðûé; ïðåäóñìîòðèòåëüíûé) losing his head (òåðÿþùèì ãîëîâó; to lose — òåðÿòü) and stabbing his victim twelve or fourteen times (è çàêàëûâàþùèì ñâîþ æåðòâó ðàç äâåíàäöàòü èëè ÷åòûðíàäöàòü). It is not in accord with his psychology (ýòî íå ñîîòâåòñòâóåò åãî õàðàêòåðó; accord — ñîãëàñèå, åäèíñòâî, ãàðìîíèÿ; in accord with smth. — â ñîîòâåòñòâèè ñ ÷åì-ëèáî, ñîãëàñíî ÷åìó-ëèáî; psychology — ïñèõîëîãèÿ; ïñèõèêà, îñîáåííîñòè õàðàêòåðà, äóøåâíûé ñêëàä) — not at all (ñîâåðøåííî /íå ñîîòâåòñòâóåò/).”
“No (íåò, /íå ñîîòâåòñòâóåò/),” said M. Bouc thoughtfully (ñêàçàë ìñüå Áóê çàäóì÷èâî). “That is the act of a man (ýòî äåÿíèå ÷åëîâåêà; act — äåëî, ïîñòóïîê; àêò, äåÿíèå) driven almost crazy (äîâåäåííîãî ïî÷òè äî áåçóìèÿ; to drive — âîäèòü, âåñòè; to drive smb. into a state — äîâåñòè êîãî-ëèáî äî êàêîãî-ëèáî ñîñòîÿíèÿ; crazy — ñóìàñøåäøèé, áåçóìíûé) with a frenzied hate (áåøåííîé íåíàâèñòüþ; to frenzy — ïðèâîäèòü â áåøåíñòâî, äîâîäèòü äî áåçóìèÿ) — it suggests rather the Latin temperament (ñêîðåå, â ãîëîâó ïðèõîäèò /ìûñëü/ î ñòðàñòíîì þæíîì: «ëàòèíîàìåðèêàíñêîì» òåìïåðàìåíòå, to suggest — ïðåäëàãàòü; ïðèõîäèòü /â ãîëîâó/, íàïðàøèâàòüñÿ; Latin — ëàòûíü; ëàòèíîàìåðèêàíåö èëè æèòåëü þãî-çàïàäíîé ÷àñòè Åâðîïû; temperament — õàðàêòåð, íðàâ; òåìïåðàìåíò, ñòðàñòü). Or else it suggests (èëè, èíà÷å, íàïðàøèâàåòñÿ /èäåÿ/), as our friend the chef de train insisted (íà êîòîðîé íàñòàèâàë íàø äðóã, íà÷àëüíèê ïîåçäà; to insist — íàñòîé÷èâî óòâåðæäàòü; íàñòàèâàòü) — a woman (î æåíùèíå).”
pronounce [prnans] innocent [ns()nt] jovially [dvl] reproach [rprt] victim [vktm] psychology [sakld] frenzied [frenzd]
“So you pronounce one person at least innocent of the crime,” said M. Bouc jovially.
Poirot cast on him a look of reproach.
“Me, I suspect everybody till the last minute,” he said. “All the same, I must admit that I cannot see this sober, long-headed MacQueen losing his head and stabbing his victim twelve or fourteen times. It is not in accord with his psychology — not at all.”
“No,” said M. Bouc thoughtfully. “That is the act of a man driven almost crazy with a frenzied hate — it suggests rather the Latin temperament. Or else it suggests, as our friend the chef de train insisted — a woman.”
7. The Body
(Òåëî; body — òåëî, ïëîòü; òðóï, òåëî)
Followed by Dr. Constantine, Poirot made his way to the next coach (ñîïðîâîæäàåìûé äîêòîðîì Êîíñòàíòèíîì, Ïóàðî îòïðàâèëñÿ â ñîñåäíèé âàãîí; to follow — ñëåäîâàòü, èäòè çà êåì-ëèáî) and to the compartment occupied by the murdered man (â êóïå, êîòîðîå çàíèìàë óáèòûé ìóæ÷èíà; to occupy — çàíèìàòü /ìåñòî, ïðîñòðàíñòâî è ò.ï./; to murder — óáèâàòü). The conductor came (ïðèøåë ïðîâîäíèê) and unlocked the door for them with his key (è îòêðûë äëÿ íèõ äâåðü êëþ÷îì; to lock — çàïèðàòü íà çàìîê; to unlock — îòïèðàòü).
The two men passed inside (äâîå ìóæ÷èí âîøëè âíóòðü). Poirot turned inquiringly to his companion (Ïóàðî âîïðîñèòåëüíî îáåðíóëñÿ ê ñâîåìó ñïóòíèêó; to turn — ïîâîðà÷èâàòü/ñÿ/; to inquire — ñïðàøèâàòü, óçíàâàòü).
“How much has been disarranged in this compartment (ìíîãîå ëè áûëî ïåðåñòàâëåíî â ýòîì êóïå; to arrange — ïðèâîäèòü â ïîðÿäîê; to disarrange — ðàññòðàèâàòü, ïðèâîäèòü â áåñïîðÿäîê)?”
“Nothing has been touched (íè÷åãî íå òðîãàëè). I was careful not to move the body (ÿ áûë îñòîðîæåí è íå ïåðåäâèãàë òåëî; careful — çàáîòëèâûé; îñòîðîæíûé, îñìîòðèòåëüíûé; to be careful to do smth. — íå ïðåìèíóòü ñäåëàòü ÷òî-ëèáî) in making my examination (ïîêà ïðîâîäèë îñìîòð; to make (an) examination — îñìîòðåòü, îñâèäåòåëüñòâîâàòü).
key [ki:] inquiringly [nkwa()rl] disarrange [dsren(d)] examination [zmne()n]
Followed by Dr. Constantine, Poirot made his way to the next coach and to the compartment occupied by the murdered man. The conductor came and unlocked the door for them with his key.
The two men passed inside. Poirot turned inquiringly to his companion.
“How much has been disarranged in this compartment?”
“Nothing has been touched. I was careful not to move the body in making my examination.”
Poirot nodded (Ïóàðî êèâíóë). He looked round him (îí îãëÿäåëñÿ âîêðóã /ñåáÿ/).
The first thing that struck the senses (ïåðâîå, ÷òî ïðîèçâîäèëî âïå÷àòëåíèå íà ÷óâñòâà = ÷óâñòâîâàëîñü; to strike (struck, stricken) — óäàðÿòü, áèòü; ïîðàæàòü, ïðèâëåêàòü âíèìàíèå) was the intense cold (áûë ñèëüíûé õîëîä; intense — ñèëüíûé; ãëóáîêèé, çíà÷èòåëüíûé). The window was pushed down (îêíî áûëî îïóùåíî; to push — òîëêàòü, ïèõàòü) as far as it would go (äî îòêàçà: «òàê äàëåêî, êàê îíî ïîéäåò»), and the blind was drawn up (è øòîðêà áûëà ïîäíÿòà; to draw (drew, drawn) up — íàòÿãèâàòü; ïîäíèìàòü /øòîðû è ò.ï./).
“Brrr,” observed Poirot (îòìåòèë Ïóàðî; to observe — íàáëþäàòü /çà ÷åì-ëèáî/; ñäåëàòü çàìå÷àíèå, âûñêàçàòüñÿ).
The other smiled appreciatively (äîêòîð: «äðóãîé» ïîíèìàþùèå óëûáíóëñÿ; to appreciate — öåíèòü; ïîíèìàòü çíà÷åíèå, îöåíèâàòü ïî äîñòîèíñòâó).
“I did not like to close it (ìíå íå õîòåëîñü çàêðûâàòü åãî),” he said.
Poirot examined the window carefully (Ïóàðî òùàòåëüíî îáñëåäîâàë îêíî; to examine — ðàññìàòðèâàòü, îñìàòðèâàòü; îáñëåäîâàòü; carefully — îñòîðîæíî; òùàòåëüíî, âíèìàòåëüíî).
intense [ntens] appreciatively [pri:tvl] carefully [kef()l]
Poirot nodded. He looked round him.
The first thing that struck the senses was the intense cold. The window was pushed down as far as it would go, and the blind was drawn up.
“Brrr,” observed Poirot.
The other smiled appreciatively.
“I did not like to close it,” he said.
Poirot examined the window carefully.
“You are right (âû ïðàâû),” he announced (îáúÿâèë îí). “Nobody left the carriage this way (íèêòî íå ïîêèäàë ýòîãî êóïå ýòèì ïóòåì). Possibly (âîçìîæíî) the open window was intended to suggest (÷òî îòêðûòîå îêíî è áûëî ïðåäíàçíà÷åíî äëÿ òîãî, ÷òîáû âíóøèòü /íàì ìûñëü/; to intend — íàìåðåâàòüñÿ; ïðåäïîëàãàòü /ñäåëàòü ÷òî-ëèáî/; to suggest — ïðåäëàãàòü; âíóøàòü /ìûñëü è ò.ï./, ïîäñêàçûâàòü, íàìåêàòü) that somebody did (÷òî êòî-òî òàê è ïîñòóïèë); but if so (íî åñëè ýòî òàê), the snow has defeated the murderer’s intention (òî ñíåã ðàçðóøèë ïëàíû: «íàìåðåíèÿ» óáèéöû; to defeat — íàíîñèòü ïîðàæåíèå; ðàññòðàèâàòü, ñðûâàòü /ïëàíû, çàìûñëû è ò.ï./; intention — íàìåðåíèå, óìûñåë).”
He examined the frame of the window carefully (îí òùàòåëüíî îáñëåäîâàë îêîííóþ ðàìó; frame — êàðêàñ, îñòîâ; ðàà). Taking a small case from his pocket (âûíóâ ìàëåíüêóþ êîðîáî÷êó èç ñâîåãî êàðìàíà; to take — áðàòü, õâàòàòü) he blew a little powder over the frame (îí ðàññûïàë íåìíîãî ïîðîøêà ïî ðàìå; to blow (blew, blown) — äóòü, âåÿòü /î âåòðå/; ðàçáðàñûâàòü, ðàçâåèâàòü /ëèñòüÿ, áóìàãó è ò.ï./).
announce [nans] defeated [dfi:td] intention [nten()n] powder [pad]
“You are right,” he announced. “Nobody left the carriage this way. Possibly the open window was intended to suggest that somebody did; but if so, the snow has defeated the murderer’s intention.”
He examined the frame of the window carefully. Taking a small case from his pocket he blew a little powder over the frame.
“No fingerprints at all (ñîâåðøåííî íèêàêèõ îòïå÷àòêîâ ïàëüöåâ; finger — ïàëåö; print — ñëåä, îòïå÷àòîê),” he said. “That means it has been wiped (ýòî îçíà÷àåò, ÷òî îíà = ðàìà âûòåðòà). Well, if there had been fingerprints (îäíàêî, åñëè áû /íà íåé/ è áûëè áû îòïå÷àòêè /ïàëüöåâ/) they would have told us very little (îíè áû ðàññêàçàëè íàì î÷åíü íåìíîãîå). They would have been those of Mr. Ratchett or his valet (èëè åãî ñëóãè) or the conductor (ýòî áûëè áû îòïå÷àòêè ìèñòåðà Ðýò÷åòòà èëè ïðîâîäíèêà). Criminals do not make mistakes of that kind nowadays (ïðåñòóïíèêè â íàøå âðåìÿ íå äîïóñêàþò ïîäîáíûõ îøèáîê: «îøèáîê â ýòîì ðîäå»; kind — ñîðò, êëàññ, ðàçðÿä).
fingerprint [fprnt] valet [v|lt, — le] criminal [krmn()l]
“No fingerprints at all,” he said. “That means it has been wiped. Well, if there had been fingerprints they would have told us very little. They would have been those of Mr. Ratchett or his valet or the conductor. Criminals do not make mistakes of that kind nowadays.
“And that being so (à ðàç òàê),” he added cheerfully (äîáàâèë îí áîäðî; cheerful — áîäðûé, íåóíûâàþùèé, âåñåëûé), “we might as well shut the window (ìû âïîëíå ìîæåì çàêðûòü îêíî; as well — ñ òàêèì æå óñïåõîì; æåëàòåëüíî, ëó÷øå). Positively (íåñîìíåííî) it is the cold storage in here (çäåñü ïðîñòî õîëîäèëüíèê; storage — õðàíåíèå; ñêëàä)!”
He suited the action to the word (îí ïîäêðåïèë /ñâîè/ ñëîâà äåëîì; to suit — óäîâëåòâîðÿòü òðåáîâàíèÿì; action — äåéñòâèå; word — ñëîâî; to suit the action to the word — ïîäêðåïëÿòü ñëîâà äåëàìè) and then turned his attention (è çàòåì îáðàòèë ñâîå âíèìàíèå; to turn — ïîâîðà÷èâàòü; to turn smth. to smth., to smb. — îáðàùàòü, íàïðàâëÿòü /ìûñëè, âíèìàíèå/ íà ÷òî-ëèáî èëè ê êîìó-ëèáî) for the first time (â ïåðâûé ðàç) to the motionless figure (íà íåïîäâèæíóþ ôèãóðó; motion — äâèæåíèå; figure — öèôðà, ÷èñëî; ôèãóðà, ÷åëîâåê) lying in the bunk (ëåæàâøóþ íà ïîëêå; bunk — êîéêà; ñïàëüíîå ìåñòî).
cheerfully [tf()l] storage [st:rd] motionless [m()nls]
“And that being so,” he added cheerfully, “we might as well shut the window. Positively it is the cold storage in here!”
He suited the action to the word and then turned his attention for the first time to the motionless figure lying in the bunk.
Ratchett lay on his back (Ðýò÷åòò ëåæàë íà ñïèíå; to lie (lay, lain)). His pyjama jacket (åãî ïèæàìíàÿ êóðòêà), stained with rusty patches (ïîêðûòàÿ ðæàâûìè ïÿòíàìè /êðîâè/; to stain — ïÿòíàòü, ïîêðûâàòü ïÿòíàìè; rust — ðæàâ÷èíà; rusty — ïîêðûòûé ðæàâ÷èíîé, ðæàâûé; patch — çàïëàòà, ëîñêóò; ìåä. ïÿòíî), had been unbuttoned (áûëà ðàññòåãíóòà; button — ïóãîâèöà; to button — çàñòåãèâàòü /íà ïóãîâèöû/; to unbutton — ðàññòåãèâàòü /ïóãîâèöû/) and thrown back (è ðàñïàõíóòà: «îòáðîøåíà íàçàä»; to throw (threw, thrown) — áðîñàòü, êèäàòü).
“I had to see (ÿ äîëæåí áûë îñìîòðåòü) the nature of the wounds (õàðàêòåð ðàíåíèé; nature — ïðèðîäà, ìèð; ðîä, ñîðò, êëàññ, òèï), you see (ïîíèìàåòå),” explained the doctor (îáúÿñíèë äîêòîð).
Poirot nodded (Ïóàðî êèâíóë). He bent over the body (îí ñêëîíèëñÿ íàä òåëîì; to bend (bent) — ãíóòü(ñÿ), ñãèáàòü(ñÿ); íàêëîíÿòü(ñÿ)). Finally he straightened himself (íàêîíåö îí âûïðÿìèëñÿ; to straighten — âûïðÿìëÿòü(ñÿ), ðàçãèáàòü(ñÿ)) with a slight grimace (ëèöî åãî ñëåãêà ñêðèâèëîñü: «ñ ëåãêîé ãðèìàñîé»; slight — ñëàáûé, íåçíà÷èòåëüíûé).
pyjamas [pd:mz] jacket [dkt] straighten [stretn] grimace [rmes, rms]
Ratchett lay on his back. His pyjama jacket, stained with rusty patches, had been unbuttoned and thrown back.
“I had to see the nature of the wounds, you see,” explained the doctor.
Poirot nodded. He bent over the body. Finally he straightened himself with a slight grimace.
“It is not pretty (íåïðèãëÿäíàÿ êàðòèíà/ìàëîïðèÿòíîå çðåëèùå; pretty — ìèëûé, ïðèâëåêàòåëüíûé, ïðèÿòíûé),” he said. “Someone must have stood there (íåêòî, äîëæíî áûòü, ñòîÿë òàì) and stabbed him again and again (è íàíîñèë åìó óäàðû ñíîâà è ñíîâà). How many wounds are there exactly (ñêîëüêî æå òàì âñåãî: «òî÷íî» ðàí)?”
“I make it twelve (ïî-ìîåìó, äâåíàäöàòü; to make — äåëàòü, èçãîòîâëÿòü; ñ÷èòàòü, ïîëàãàòü). One or two are so slight (îäíà èëè äâå íàñòîëüêî íåçíà÷èòåëüíû) as to be practically scratches (÷òî ïðàêòè÷åñêè ÿâëÿþòñÿ öàðàïèíàìè). On the other hand (ñ äðóãîé ñòîðîíû), at least three (ïî ìåíüøåé ìåðå òðè /ðàíû/) would be capable of causing death (ìîãëè áû îêàçàòüñÿ ñìåðòåëüíûìè: «ñïîñîáíûìè ñòàòü ïðè÷èíîé ñìåðòè»; capable — ñïîñîáíûé, îäàðåííûé; ñïîñîáíûé íà ÷òî-ëèáî; cause — ïðè÷èíà, îñíîâàíèå; to cause — áûòü ïðè÷èíîé, ñëóæèòü ïîâîäîì).”
Something in the doctor’s tone (÷òî-òî â òîíå/ãîëîñå äîêòîðà) caught Poirot’s attention (ïðèâëåêëî âíèìàíèå Ïóàðî; to catch (caught) — ïîéìàòü, ñõâàòèòü; ïðèâëå÷ü /âíèìàíèå/, ïîðàçèòü /âîîáðàæåíèå/). He looked at him sharply (îí âíèìàòåëüíî âçãëÿíóë íà íåãî; sharp — îñòðûé; ïðîíèöàòåëüíûé, íàáëþäàòåëüíûé; sharply — ðåçêî; âíèìàòåëüíî). The little Greek was standing (ïðèçåìèñòûé ãðåê ñòîÿë) staring down at the body (óñòàâèâøèñü íà òåëî; to stare — ïðèñòàëüíî ñìîòðåòü, óñòàâèòüñÿ) with a puzzled frown (îçàäà÷åííî íàñóïèâøèñü; puzzle — òðóäíûé âîïðîñ, çàãàäêà; to puzzle — îçàäà÷èâàòü, ïðèâîäèòü â çàìåøàòåëüñòâî; frown — ñäâèíóòûå áðîâè; õìóðûé âèä).
wound [wu:nd] cause [k:z] puzzle [pz()l]
“It is not pretty,” he said. “Someone must have stood there and stabbed him again and again. How many wounds are there exactly?”
“I make it twelve. One or two are so slight as to be practically scratches. On the other hand, at least three would be capable of causing death.”
Something in the doctor’s tone caught Poirot’s attention. He looked at him sharply. The little Greek was standing staring down at the body with a puzzled frown.
“Something strikes you as odd (÷òî-òî êàæåòñÿ âàì ñòðàííûì; to strike — óäàðÿòü, áèòü; ïîðàæàòü, ïðîèçâîäèòü âïå÷àòëåíèå; odd — íå÷åòíûé; ñòðàííûé, íåîáû÷íûé), does it not (íå òàê ëè)?” he asked gently (ìÿãêî ñïðîñèë îí). “Speak, my friend (ãîâîðèòå, äðóã ìîé). There is something here (çäåñü åñòü ÷òî-òî òàêîå) that puzzles you (÷òî îçàäà÷èâàåò âàñ)?”
“You are right (âû ïðàâû),” acknowledged the other (ïðèçíàëñÿ äîêòîð: «äðóãîé /èç äâóõ/»).
“What is it (è ÷òî ýòî)?”
“You see these two wounds (/âû/ âèäèòå ýòè äâå ðàíû) — here and here (çäåñü è çäåñü) — ” He pointed (îí ïîêàçàë /ïàëüöåì/; to point — óêàçûâàòü, ïîêàçûâàòü /ïàëüöåì, ðóêîé/). “They are deep (îíè ãëóáîêèå). Each cut (êàæäûé /èç ýòèõ/ óäàðîâ; cut — ïîðåç, ðàçðåç, ðåçàíàÿ ðàíà; ñèëüíûé óäàð /ìå÷îì, êíóòîì è ò.ï./) must have severed blood vessels (äîëæíî áûòü ïåðåðåçàë /íåñêîëüêî/ êðîâåíîñíûõ ñîñóäîâ; to sever — îòäåëÿòü, îòðåçàòü; ðàçðåçàòü, ïåðåðåçàòü) — and yet the edges do not gape (è âñå æå êðàÿ /ðàí/ íå ðàçîøëèñü; edge — îñòðèå; êðàé, êðîìêà; to gape — øèðîêî ðàåâàòü ðîò; çèÿòü). They have not bled (ðàíû: «îíè» íå êðîâîòî÷èëè; to bleed (bled) — êðîâîòî÷èòü, èñòåêàòü êðîâüþ) as one would have expected (êàê ìîæíî áûëî áû ýòîãî îæèäàòü).”
gently [dentl] acknowledged [knldd] vessel [ves()l] bled [bled]
“Something strikes you as odd, does it not?” he asked gently. “Speak, my friend. There is something here that puzzles you?”
“You are right,” acknowledged the other.
“What is it?”
“You see these two wounds — here and here — ” He pointed. “They are deep. Each cut must have severed blood vessels — and yet the edges do not gape. They have not bled as one would have expected.”
“Which suggests (÷òî íàâîäèò íà ìûñëü; to suggest — ïðåäëàãàòü; âíóøàòü, ïîäñêàçûâàòü /ìûñëü, èäåþ è ò.ï./)?”
“That the man was already dead (÷òî ýòîò ÷åëîâåê óæå áûë ìåðòâ) — some little time dead (ìåðòâ êàêîå-òî âðåìÿ) — when they were delivered (êîãäà îíè áûëè íàíåñåíû; to deliver — ïåðåäàâàòü, âðó÷àòü; íàíîñèòü /óäàð/). But that is surely absurd (íî ýòî æå, íåñîìíåííî, íåëåïî).”
“It would seem so (ïî âñåé âèäèìîñòè, òàê; to seem — êàçàòüñÿ, ïðåäñòàâëÿòüñÿ),” said Poirot thoughtfully (ñêàçàë Ïóàðî çàäóì÷èâî; thought — ìûøëåíèå; thoughtful — çàäóì÷èâûé). “Unless our murderer (åñëè òîëüêî íàø óáèéöà) figured to himself (íå ïîñ÷èòàë; to figure — èçîáðàæàòü /ãðàôè÷åñêè, äèàãðàììîé è ò.ï./; ïðåäñòàâëÿòü ñåáå, ñ÷èòàòü, ïîëàãàòü) that he had not accomplished his job properly (÷òî îí íå çàâåðøèë ñâîå äåëî äîëæíûì îáðàçîì; to accomplish — âûïîëíÿòü; çàâåðøàòü, äîâîäèòü äî êîíöà; job — ðàáîòà, äåëî, òðóä) and came back (è /íå/ âåðíóëñÿ) to make quite sure (÷òîáû íàâåðíÿêà óáåäèòüñÿ; sure — óâåðåííûé) — but that is manifestly absurd (íî ýòî æå î÷åâèäíî íåëåïî)! Anything else (÷òî-íèáóäü åùå)?”
already [:lred] absurd [bs:d] accomplished [kmplt] manifestly [mnfestl]
“Which suggests?”
“That the man was already dead — some little time dead — when they were delivered. But that is surely absurd.”
“It would seem so,” said Poirot thoughtfully. “Unless our murderer figured to himself that he had not accomplished his job properly and came back to make quite sure — but that is manifestly absurd! Anything else?”
“Well, just one thing (íó, òîëüêî /åùå/ îäíà äåòàëü; thing — âåùü, ïðåäìåò; äåòàëü, îñîáåííîñòü).”
“And that (è êàêàÿ)?”
“You see this wound here (âèäèòå ýòó ðàíó, çäåñü) — under the right arm (íèæå ïðàâîé ïîäìûøêè; under one's arm — ïîä ìûøêîé; arm — ðóêà /îò ïëå÷à äî êèñòè/) — near the right shoulder (ðÿäîì ñ ïðàâûì ïëå÷îì). Take this pencil of mine (âîçüìèòå ìîé êàðàíäàø). Could you deliver such a blow (ìîãëè áû âû íàíåñòè òàêîé óäàð)?”
Poirot poised his hand (Ïóàðî ïîäíÿë äëÿ óäàðà = çàíåñ ðóêó; to poise — óäåðæèâàòü â ðàâíîâåñèè; äåðæàòü íàãîòîâå, ïðèãîòîâèòü äëÿ áðîñêà, óäàðà /êîïüå, ìå÷ è ò.ï./).
“Prcisment (âîò èìåííî),” he said. “I see (/ÿ/ ïîíèìàþ). With the right hand (ïðàâîé ðóêîé) it is exceedingly difficult (ýòî /ñäåëàòü/ ÷ðåçâû÷àéíî òðóäíî), almost impossible (ïî÷òè ÷òî íåâîçìîæíî; (im)possible — (íå)âîçìîæíûé, (íå)âûïîëíèìûé). One would have to strike backhanded (ïðèøëîñü áû óäàðÿòü òûëüíîé ñòîðîíîé ðóêè = óäàðÿòü áûëî áû íåëîâêî; backhanded — óäàð, íàíåñåííûé òûëüíîé ñòîðîíîé ðóêè; íåëîâêèé, íåóêëþæèé), as it were (òàê ñêàçàòü). But if the blow were struck (íî åñëè óäàð áûë íàíåñåí; to strike (struck, stricken) — óäàðÿòü, áèòü) with the left hand (ëåâîé ðóêîé) — ”
exceedingly [ksi:dl] impossible [mpsb()l] backhanded [bkhndd]
“Well, just one thing.”
“And that?”
“You see this wound here — under the right arm — near the right shoulder. Take this pencil of mine. Could you deliver such a blow?”
Poirot poised his hand.
“Prcisment,” he said. “I see. With the right hand it is exceedingly difficult, almost impossible. One would have to strike backhanded, as it were. But if the blow were struck with the left hand — ”
“Exactly, M. Poirot (âîò èìåííî, ìñüå Ïóàðî). That blow was almost certainly struck (ýòîò óäàð áûë ïî÷òè ÷òî íàâåðíÿêà íàíåñåí) with the left hand (ëåâîé ðóêîé).”
“So that our murderer is left-handed (òàê ÷òî æå, /íàø/ óáèéöà — ëåâøà)? No, it is more difficult than that (íåò, /äåëî/ êóäà ñëîæíåå; difficult — òðóäíûé, òÿæåëûé), is it not (íå òàê ëè)?”
“As you say, M. Poirot (âîò èìåííî, ìñüå Ïóàðî). Some of these other blows (íåêîòîðûå èç ýòèõ îñòàëüíûõ óäàðîâ) are just as obviously right-handed (ñîâåðøåííî îäíîçíà÷íî íàíåñåíû ïðàâîé ðóêîé).”
“Two people (/èõ áûëî/ äâîå). We are back at two people again (ìû ñíîâà âåðíóëèñü ê äâóì ïåðñîíàì; to be back — âåðíóòüñÿ),” murmured the detective (ïðîáîðìîòàë äåòåêòèâ). He asked abruptly (âíåçàïíî îí ñïðîñèë): “Was the electric light on (ýëåêòðè÷åñêèé ñâåò áûë âêëþ÷åí; to be on — ãîðåòü, áûòü çàææåííûì, âêëþ÷åííûì /î ñâåòå, ãàçå, è ò.ï./)?”
left-handed [lefthndd] obviously [bvsl] abruptly [brptl]
“Exactly, M. Poirot. That blow was almost certainly struck with the left hand.”
“So that our murderer is left-handed? No, it is more difficult than that, is it not?”
“As you say, M. Poirot. Some of these other blows are just as obviously right-handed.”
“Two people. We are back at two people again,” murmured the detective. He asked abruptly: “Was the electric light on?”
“It is difficult to say (òðóäíî ñêàçàòü). You see, it is turned off by the conductor (âèäèòå ëè, /ñâåò/ îòêëþ÷àåòñÿ ïðîâîäíèêîì; to turn off — ñâîðà÷èâàòü /íà äðóãóþ äîðîãó/; ãàñèòü /ñâåò/, âûêëþ÷àòü) every morning about ten o’clock (êàæäîå óòðî, îêîëî äåñÿòè ÷àñîâ).”
“The switches will tell us (íàì ïîäñêàæåò âûêëþ÷àòåëü; switch — ïðóò, õëûñò; ýë. âûêëþ÷àòåëü, ïåðåêëþ÷àòåëü),” said Poirot.
He examined the switch of the top light (îí îáñëåäîâàë âûêëþ÷àòåëü âåðõíåé ëàìïû; light — ñâåò; èñòî÷íèê ñâåòà, îãîíü, ëàìïà è ò.ï.) and also the roll back bed-head light (à òàêæå ëàìïó ó èçãîëîâüÿ êðîâàòè; bed — êðîâàòü; head — ãîëîâà). The former was turned off (ïåðâàÿ áûëà âûêëþ÷åíà; former — ïðåæíèé; ïåðâûé /èç äâóõ/). The latter was closed (âòîðàÿ áûëà âêëþ÷åíà: «çàìêíóòà»; latter — áîëåå ïîçäíèé; ïîñëåäíèé /èç äâóõ íàçâàííûõ/, âòîðîé; to close — çàêðûâàòü; ýë. çàìûêàòü /öåïü/; closed — çàêðûòûé; ýë. íàõîäÿùèéñÿ ïîä òîêîì).
difficult [dfk()lt] examine [zmn] switch [swt]
“It is difficult to say. You see, it is turned off by the conductor every morning about ten o’clock.”
“The switches will tell us,” said Poirot.
He examined the switch of the top light and also the roll-back bed-head light. The former was turned off. The latter was closed.
“Eh bien (÷òî æ),” he said thoughtfully (ïðîèçíåñ îí çàäóì÷èâî). “We have here a hypothesis (çäåñü ó íàñ ãèïîòåçà/ïðåäïîëîæåíèå) of the First and the Second Murderer (î Ïåðâîì è Âòîðîì Óáèéöå), as the great Shakespeare would put it (êàê ñêàçàë áû âåëèêèé Øåêñïèð; great — áîëüøîé, îãðîìíûé; âåëèêèé; to put — êëàñòü, ñòàâèòü; èçëàãàòü, âûðàæàòü, ôîðìóëèðîâàòü /ìûñëè, çàìå÷àíèÿ è ò.ï./). The First Murderer stabbed his victim (Ïåðâûé Óáèéöà çàêîëîë ñâîþ æåðòâó; to stab — íàíîñèòü óäàð /íîæîì, êèíæàëîì/; ðàíèòü, çàêîëîòü) and left the compartment (è âûøåë èç êóïå), turning off the light (ïîãàñèâ ñâåò). The Second Murderer came in (âîøåë Âòîðîé Óáèéöà) in the dark (â òåìíîòå), did not see that his or her work had been done (íå óâèäåë, ÷òî åãî èëè åå ðàáîòà óæå âûïîëíåíà), and stabbed at least twice (è íàíîñèò ïî ìåíüøåé ìåðå äâà óäàðà; twice — äâàæäû, äâà ðàçà) at a deadbody (ïî ìåðòâîìó òåëó). Que pensez-vous de a (ôð. ÷òî âû îá ýòîì äóìàåòå)?”
“Magnificent (âåëèêîëåïíî)!” said the little doctor with enthusiasm (ñêàçàë íåâûñîêèé/ìàëåíüêèé äîêòîð âîîäóøåâëåííî).
hypothesis [hapss] magnificent [mnfs()nt] enthusiasm [nju:zz()m]
“Eh bien,” he said thoughtfully. “We have here a hypothesis of the First and the Second Murderer, as the great Shakespeare would put it. The First Murderer stabbed his victim and left the compartment, turning off the light. The Second Murderer came in in the dark, did not see that his or her work had been done, and stabbed at least twice at a dead body. Que pensez-vous de a?”
“Magnificent!” said the little doctor with enthusiasm.
The other’s eyes twinkled (ãëàçà Ïóàðî: «âòîðîãî» áëåñíóëè; twinkle — ìåðöàíèå; îãîíåê /â ãëàçàõ/; to twinkle — ìåðöàòü, ñâåðêàòü).
“You think so (âû òàê äóìàåòå)? I am glad (ÿ ðàä). It sounded to me (ìíå ýòî /îáúÿñíåíèå/ ïîêàçàëîñü; to sound — çâó÷àòü, èçäàâàòü çâóê; çâó÷àòü, ñîçäàâàòü âïå÷àòëåíèå, êàçàòüñÿ) a little like the nonsense (ñëåãêà ïîõîæèì íà ÷åïóõó; nonsense — âçäîð, åðóíäà, áåññìûñëèöà).”
“What other explanation can there be (êàêîå æå åùå ìîæåò áûòü îáúÿñíåíèå; to explain — îáúÿñíÿòü; explanation — îáúÿñíåíèå, ðàçúÿñíåíèå)?”
“That is just what I am asking myself (ýòî êàê ðàç òî, î ÷åì ÿ ñïðàøèâàþ ñåáÿ = èìåííî ýòîò âîïðîñ ÿ è çàäàþ ñåáå). Have we here a coincidence (ó íàñ çäåñü ñëó÷àéíîå ñòå÷åíèå îáñòîÿòåëüñòâ; coincidence — ñîâïàäåíèå; ñëó÷àéíîå ñòå÷åíèå îáñòîÿòåëüñòâ), or what (èëè ÷òî)? Are there any other inconsistencies (åñòü ëè åùå êàêèå-íèáóäü ïðîòèâîðå÷èÿ; inconsistency — íåñîâìåñòèìîñòü, íåñîîáðàçíîñòü, ïðîòèâîðå÷èå), such as would point (êîòîðûå áû óêàçûâàëè íà òî) to two people being concerned (÷òî çàìåøàíû /èìåííî/ äâà ÷åëîâåêà; to concern — êàñàòüñÿ, îïèñûâàòü; çàòðàãèâàòü, èìåòü îòíîøåíèå; concerned — èìåþùèé îòíîøåíèå ê ÷åìó-ëèáî, ñâÿçàííûé ñ ÷åì-ëèáî)?”
nonsense [nns()ns] explanation [eksplne()n] inconsistency [nknsst()ns]
The other’s eyes twinkled.
“You think so? I am glad. It sounded to me a little like the nonsense.”
“What other explanation can there be?”
“That is just what I am asking myself. Have we here a coincidence, or what? Are there any other inconsistencies, such as would point to two people being concerned?”
“I think I can say yes (äóìàþ, ÷òî ìîãó îòâåòèòü ïîëîæèòåëüíî: «ñêàçàòü äà»; to say yes — ñêàçàòü «äà», äàâàòü ñîãëàñèå; ïîäòâåðæäàòü /çàÿâëåíèå, ñîîáùåíèå/). Some of these blows (íåêîòîðûå èç óäàðîâ), as I have already said (êàê ÿ óæå ñêàçàë), point to a weakness (óêàçûâàþò íà ôèçè÷åñêóþ ñëàáîñòü; weak — ñëàáûé /ôèçè÷åñêè/, áåññèëüíûé) — a lack of strength (/íà/ íåäîñòàòîê ñèëû) or a lack of determination (èëè íà íåäîñòàòîê ðåøèìîñòè). They are feeble, glancing blows (ýòî ñëàáûå, ñêîëüçÿùèå óäàðû; to glance — ìåëüêîì âçãëÿíóòü; ñêîëüçíóòü ïî ïîâåðõíîñòè /î õîëîäíîì îðóæèè è ò.ï./). But this one here (íî âîò ýòîò óäàð, çäåñü) — and this one (è ýòîò) — ” Again he pointed (îí ñíîâà óêàçàë). “Great strength was needed for those blows (äëÿ ýòèõ óäàðîâ ïîòðåáîâàëàñü êîëîññàëüíàÿ ñèëà; to need — íóæäàòüñÿ, èìåòü íàäîáíîñòü; òðåáîâàòü). They have penetrated the muscle (îíè ïðîøëè ñêâîçü ìûøöû; to penetrate — ïðîíèêàòü âíóòðü; âêëèíèâàòüñÿ, ïðîðûâàòüñÿ).”
weakness [wi:kns] strength [stre, stren] determination [dt:mne()n]
“I think I can say yes. Some of these blows, as I have already said, point to a weakness — a lack of strength or a lack of determination. They are feeble, glancing blows. But this one here — and this one — ” Again he pointed. “Great strength was needed for those blows. They have penetrated the muscle.”
“They were, in your opinion (îíè áûëè, ïî âàøåìó ìíåíèþ), delivered by a man (íàíåñåíû ìóæ÷èíîé)?”
“Most certainly (íàâåðíÿêà: «â âûñøåé ñòåïåíè íåñîìíåííî»).”
“They could not have been delivered by a woman (îíè íå ìîãëè áûòü íàíåñåíû æåíùèíîé)?”
“A young, vigorous, athletic woman (/íåêàÿ/ ìîëîäàÿ, ñèëüíàÿ, ìóñêóëèñòàÿ æåíùèíà; athletic — ñïîðòèâíûé; àòëåòè÷åñêèé, ñèëüíûé, ìóñêóëèñòûé) might have struck them (ìîãëà áû íàíåñòè èõ; to strike (struck, stricken) — óäàðÿòü, áèòü), especially if she were in the grip of a strong emotion (îñîáåííî, åñëè îíà íàõîäèëàñü âî âëàñòè ñèëüíîãî ÷óâñòâà; grip — ñõâàòûâàíèå, ñæàòèå; âëàñòü, òèñêè); but it is (íî ýòî) in my opinion (ïî ìîåìó ìíåíèþ) highly unlikely (âåñüìà ìàëîâåðîÿòíî; unlikely — íåïðàâäîïîäîáíûé, íåâåðîÿòíûé).”
Poirot was silent a moment or two (Ïóàðî ìîë÷àë ïàðó ìèíóò; silent — ìîë÷àëèâûé, áåçìîëâíûé; moment — ìîìåíò, ìèã, ìèíóòà).
vigorous [v()rs] athletic [letk] silent [salnt]
“They were, in your opinion, delivered by a man?”
“Most certainly.”
“They could not have been delivered by a woman?”
“A young, vigorous, athletic woman might have struck them, especially if she were in the grip of a strong emotion; but it is in my opinion highly unlikely.”
Poirot was silent a moment or two.
The other asked anxiously (äîêòîð: «âòîðîé /ìóæ÷èíà/» ñïðîñèë íåòåðïåëèâî; anxious — áåñïîêîÿùèéñÿ; ñòðåìÿùèéñÿ /ê ÷åìó-ëèáî/), “You understand my point (âû ïîíèìàåòå ìîþ ìûñëü = âû ìåíÿ ïîíÿëè; point — òî÷êà; ìûñëü, ïîçèöèÿ, òî÷êà çðåíèÿ)?”
“Perfectly (âïîëíå; perfect — ñîâåðøåííûé, áåçóïðå÷íûé),” said Poirot. “The matter begins (ýòî äåëî íà÷èíàåò; matter — âåùåñòâî; äåëî, âîïðîñ) to clear itself up wonderfully (óäèâèòåëüíûì îáðàçîì ïðîÿñíÿòüñÿ; to clear up — ïðîÿñíèòüñÿ /î ïîãîäå/, âûÿñíèòü, ðàñêðûòü; wonder — ÷óäî; èçóìëåíèå, óäèâëåíèå)! The murderer was a man of great strength (óáèéöà áûë ìóæ÷èíîé, /îáëàäàþùèì/ îãðîìíîé ñèëîé) — he was feeble (îí æå áûë ñëàáûì) — it was a woman (ýòî áûëà æåíùèíà) — it was a right-handed person (ýòî áûë ïðàâøà; person — ÷åëîâåê, ëè÷íîñòü) — it was a left-handed person (ýòî áûë ëåâøà). Ah! c’est rigolo, tout a (ôð. àõ, äà ýòî æå ïðîñòî ñìåøíî)!” He spoke with sudden anger (ãîâîðèë îí ñ âíåçàïíûì ðàçäðàæåíèåì; anger — ãíåâ, ÿðîñòü, êðàéíåå ðàçäðàæåíèå). “And the victim (à æåðòâà) — what does he do in all this (÷òî îí äåëàåò ïðè âñåì ïðè ýòîì)? Does he cry out (îí êðè÷èò; to cry out — âñêðèêíóòü, âûêðèêèâàòü)? Does he struggle (îí áîðåòñÿ)? Does he defend himself (çàùèùàåò ëè îí ñåáÿ)?”
wonderful [wndf()l] feeble [fi:b()l] victim [vktm] struggle [str()l]
The other asked anxiously, “You understand my point?”
“Perfectly,” said Poirot. “The matter begins to clear itself up wonderfully! The murderer was a man of great strength — he was feeble — it was a woman — it was a right-handed person — it was a left-handed person. Ah! c’est rigolo, tout a!” He spoke with sudden anger. “And the victim — what does he do in all this? Does he cry out? Does he struggle? Does he defend himself?”
He slipped his hand under the pillow (îí áûñòðî ñóíóë ðóêó ïîä ïîäóøêó; to slip — ñêîëüçèòü, ïëàâíî èëè áûñòðî ïåðåäâèãàòüñÿ) and drew out the automatic pistol (è âûòàùèë /àâòîìàòè÷åñêèé/ ïèñòîëåò; to draw (drew, drawn) — òàùèòü, âîëî÷èòü, òÿíóòü) which Ratchett had shown him (êîòîðûé Ðýò÷åòò ïîêàçûâàë åìó; to show (showed, shown)) the day before (íàêàíóíå: «äíåì ðàíüøå»).
“Fully loaded, you see (ïîëíîñòüþ çàðÿæåí, âèäèòå; to load — ãðóçèòü, íàãðóæàòü; çàðÿæàòü /îðóæèå/),” he said.
They looked round them (îíè îãëÿíóëèñü /êðóãîì/). Ratchett’s day clothing (ïîâñåäíåâíàÿ: «äíåâíàÿ» îäåæäà Ðýò÷åòòà) was hanging from the hooks on the wall (âèñåëà íà êðþ÷êàõ íà ñòåíå). On te small table (íà ìàëåíüêîì ñòîëèêå) formed by the lid of the wash basin (îáðàçîâàííîì èç êðûøêè óìûâàëüíîé ðàêîâèíû; to form — ïðèäàâàòü ôîðìó; ñîñòàâëÿòü, îáðàçîâûâàòü) were various objects (ðàñïîëàãàëèñü ðàçíîîáðàçíûå âåùèöû). False teeth in a glass of water (èñêóññòâåííûå çóáû â ñòàêàíå âîäû; false — ëîæíûé, íåâåðíûé; ïîääåëüíûé, ôàëüøèâûé; glass — ñòåêëî; ñòàêàí). Another glass, empty (åùå îäèí ñòàêàí, ïóñòîé). A bottle of mineral water (áóòûëêà ìèíåðàëüíîé âîäû). A large flask (áîëüøàÿ ôëÿæêà). An ash-tray (ïåïåëüíèöà; ash — çîëà, ïåïåë; tray — ïîäíîñ) containing the butt of a cigar (ñ îêóðêîì ñèãàðû: «ñîäåðæàùàÿ îêóðîê ñèãàðû»; butt — òîëñòûé êîíåö /èíñòðóìåíòà, îðóäèÿ èëè îðóæèÿ/; îêóðîê) and some charred fragments of paper (è íåñêîëüêî îáóãëèâøèõñÿ êóñî÷êîâ áóìàãè; to char — îáæèãàòü, îáóãëèâàòü(ñÿ); fragment — îáëîìîê, îñêîëîê, êóñîê); also two burnt matches (äà åùå äâå îáãîðåëûå ñïè÷êè; to burn (burnt, burned) — æå÷ü, ñæèãàòü; burnt — ãîðåëûé, ææåíûé).
pillow [pl] automatic [:tmtk] pistol [pstl] various [ve()rs] false [f:ls] char [t:]
He slipped his hand under the pillow and drew out the automatic pistol which Ratchett had shown him the day before.
“Fully loaded, you see,” he said.
They looked round them. Ratchett’s day clothing was hanging from the hooks on the wall. On the small table formed by the lid of the wash basin were various objects. False teeth in a glass of water. Another glass, empty. A bottle of mineral water. A large flask. An ash-tray containing the butt of a cigar and some charred fragments of paper; also two burnt matches.
The doctor picked up the empty glass (äîêòîð âçÿë /ñî ñòîëèêà/ ïóñòîé ñòàêàí; to pick up — ïîäíèìàòü, ïîäáèðàòü) and sniffed it (è ïîíþõàë åãî; to sniff — ñîïåòü, øìûãàòü íîñîì; íþõàòü).
“Here is the explanation (âîò è îáúÿñíåíèå) of the victim’s inertia (âÿëîñòè/áåçäåéñòâèÿ æåðòâû; inertia — ôèç. èíåðöèÿ; èíåðòíîñòü, âÿëîñòü),” he said quietly (ñêàçàë îí òèõî).
“Drugged (óñûïëåí; drug — ëåêàðñòâî; ñíîòâîðíîå; to drug — ïîäìåøèâàòü íàðêîòèêè èëè ÿä; äàâàòü ÷òî-ëèáî, îêàçûâàþùåå äåéñòâèå, ïîäîáíîå íàðêîòèêàì)?”
“Yes.”
Poirot nodded (Ïóàðî êèâíóë). He picked up the two matches (îí ïîäíÿë äâå ñïè÷êè) and scrutinised them carefully (è òùàòåëüíî ðàññìàòðèâàë èõ; to scrutinize — âíèìàòåëüíî ðàññìàòðèâàòü, ðàçãëÿäûâàòü).
“You have a clue then (çíà÷èò, ó âàñ åñòü óëèêà)?” demanded the little doctor eagerly (íåòåðïåëèâî ïîòðåáîâàë îòâåòà ìàëåíüêèé äîêòîð; to demand — òðåáîâàòü; íàñòîé÷èâî òðåáîâàòü îòâåòà, ñïðàøèâàòü; eager — ñòðàñòíî ñòðåìÿùèéñÿ ê ÷åìó-ëèáî, æàæäóùèé, íåòåðïåëèâûé).
“Those two matches are of different shapes (ýòè äâå ñïè÷êè èìåþò ðàçíóþ ôîðìó),” said Poirot. “One is flatter than the other (îäíà áîëåå ïëîñêàÿ, ÷åì äðóãàÿ; flat — ïëîñêèé, ðîâíûé, ãëàäêèé). You see (âû âèäèòå)?”
sniff [snf] inertia [n:] scrutinize [skru:tnaz] clue [klu:]
The doctor picked up the empty glass and sniffed it.
“Here is the explanation of the victim’s inertia,” he said quietly.
“Drugged?”
“Yes.”
Poirot nodded. He picked up the two matches and scrutinised them carefully.
“You have a clue then?” demanded the little doctor eagerly.
“Those two matches are of different shapes,” said Poirot. “One is flatter than the other. You see?”
“It is the kind (/ñïè÷êè/ òàêîãî âèäà: «ýòà /ñïè÷êà/ òàêîãî âèäà») you get on the train (/ìîæíî/ êóïèòü â ïîåçäå; to get — äîñòàâàòü; ïîêóïàòü, ïðèîáðåòàòü),” said the doctor. “In paper covers (â áóìàæíîé îáåðòêå).”
Poirot was feeling in the pockets (Ïóàðî îùóïûâàë êàðìàíû; to feel — òðîãàòü, ùóïàòü; øàðèòü, èñêàòü îùóïüþ) of Ratchett’s clothing (íà îäåæäå Ðýò÷åòòà). Presently he pulled out a box of matches (âñêîðå îí âûòàùèë êîðîáîê ñïè÷åê). He compared them carefully (îí òùàòåëüíî ñðàâíèë èõ) with the burnt ones (ñ îáãîðåëûìè ñïè÷êàìè; one = match — çä. óïîòðåáëÿåòñÿ âî èçáåæàíèå ïîâòîðåíèÿ).
“The rounder one (òà ÷òî ïîêðóãëåå) is a match struck by Mr. Ratchett (ýòî ñïè÷êà, êîòîðóþ çàæåã ìèñòåð Ðýò÷åòò; to strike (struck, stricken) — óäàðÿòü, áèòü; âûñåêàòü /îãîíü/, çàæèãàòü),” he said. “Let us see (äàâàéòå-êà ïîñìîòðèì) if he had also the flatter kind (áûëè ëè ó íåãî è áîëåå ïëîñêèå ñïè÷êè).”
But a further search (íî äàëüíåéøèé ïîèñê) showed no other matches (íå âûÿâèë íèêàêèõ äðóãèõ ñïè÷åê; to show — ïîêàçûâàòü; âûÿâëÿòü, óñòàíàâëèâàòü).
cover [kv] clothing [kl] carefully [kef()l]
“It is the kind you get on the train,” said the doctor. “In paper covers.”
Poirot was feeling in the pockets of Ratchett’s clothing. Presently he pulled out a box of matches. He compared them carefully with the burnt ones.
“The rounder one is a match struck by Mr. Ratchett,” he said. “Let us see if he had also the flatter kind.”
But a further search showed no other matches.
Poirot’s eyes were darting about the compartment (ãëàçà Ïóàðî ìåòàëèñü ïî êóïå; eye — ãëàç, îêî; âçãëÿä, âçîð; to dart — ïîì÷àòüñÿ ñòðåëîé; áðîñàòü, ìåòàòü /òæ.ïåðåí./). They were bright and sharp (îíè áûëè ÿðêèå è ïðîíèöàòåëüíûå; sharp — îñòðûé; ïðîíèöàòåëüíûé, íàáëþäàòåëüíûé) like a bird’s (êàê ó ïòèöû). One felt (÷óâñòâîâàëîñü; to feel (felt) — òðîãàòü; ÷óâñòâîâàòü, îùóùàòü) that nothing could escape their scrutiny (÷òî íè÷òî íå ñìîæåò èçáåæàòü èõ âíèìàòåëüíîãî èçó÷àþùåãî âçãëÿäà; to escape — áåæàòü /èç çàêëþ÷åíèÿ/; èçáåæàòü /îïàñíîñòè è ò.ï./; óñêîëüçàòü /î ñìûñëå è ò.ï./).
With a little exclamation (ñ ëåãêèì âîñêëèöàíèåì; to exclaim — âîñêëèöàòü) he bent (îí íàãíóëñÿ; to bend (bent)) and picked up something from the floor (è ïîäíÿë ÷òî-òî ñ ïîëà).
It was a small square of cambric (ýòî áûë íåáîëüøîé êóñîê áàòèñòà; square — êâàäðàò; ïðåäìåò ÷åòûðåõóãîëüíîé ôîðìû), very dainty (î÷åíü èçÿùíûé). In the corner (â óãîëêå) was an embroidered initial — H (áûëà âûøèòà çàãëàâíàÿ áóêâà — Í; initial — íà÷àëüíàÿ áóêâà; èíèöèàë).
scrutiny [skru:tn] exclamation [eksklme()n] cambric [kembrk, kmbrk] embroider [mbrd] initial [n()l]
Poirot’s eyes were darting about the compartment. They were bright and sharp like a bird’s. One felt that nothing could escape their scrutiny.
With a little exclamation he bent and picked up something from the floor.
It was a small square of cambric, very dainty. In the corner was an embroidered initial — H.
“A woman’s handkerchief (æåíñêèé íîñîâîé ïëàòîê),” said the doctor. “Our friend the chef de train was right (íàø äðóã íà÷àëüíèê ïîåçäà áûë ïðàâ). There is a woman concerned in this (â ýòîì äåéñòâèòåëüíî çàìåøàíà æåíùèíà; to concern — êàñàòüñÿ /â ðàññêàçå/; èìåòü êàñàòåëüñòâî, îòíîøåíèå).”
“And most conveniently (è êàê âåñüìà óäîáíî) she leaves her handkerchief behind (îíà îñòàâëÿåò = çàáûâàåò ñâîé íîñîâîé ïëàòîê; to leave behind — çàáûâàòü, îñòàâëÿòü /ãäå-ëèáî/)!” said Poirot. “Exactly as it happens (òî÷íî òàê, êàê ýòî ñëó÷àåòñÿ) in the books (â êíèãàõ) and on the films (è â êèíî; film — ïëåíêà; êèíîôèëüì; êèíî) — and to make things even easier for us (è, ÷òîáû åùå áîëüøå îáëåã÷èòü íàì çàäà÷ó; easy — ëåãêèé, íåòðóäíûé; to make — äåëàòü; thing — âåùü; ÿâëåíèå; îáñòîÿòåëüñòâî; äåëî; ñîáûòèå), it is marked with an initial (îí ïîìå÷åí èíèöèàëîì; to mark — ñòàâèòü çíàê, ìåòêó).”
“What a stroke of luck for us (êàêàÿ óäà÷à /äëÿ íàñ/; stroke — óäàð; íåîæèäàííûé ñëó÷àé; luck — ñóäüáà, ñëó÷àé; ñ÷àñòüå, óñïåõ, âåçåíüå)!” exclaimed the doctor (âîñêëèêíóë äîêòîð).