Ãëàâíàÿ

Ïîïóëÿðíàÿ ïóáëèêàöèÿ

Íàó÷íàÿ ïóáëèêàöèÿ

Ñëó÷àéíàÿ ïóáëèêàöèÿ

Îáðàòíàÿ ñâÿçü

ÒÎÐ 5 ñòàòåé:

Ìåòîäè÷åñêèå ïîäõîäû ê àíàëèçó ôèíàíñîâîãî ñîñòîÿíèÿ ïðåäïðèÿòèÿ

Ïðîáëåìà ïåðèîäèçàöèè ðóññêîé ëèòåðàòóðû ÕÕ âåêà. Êðàòêàÿ õàðàêòåðèñòèêà âòîðîé ïîëîâèíû ÕÕ âåêà

Öåíîâûå è íåöåíîâûå ôàêòîðû

Õàðàêòåðèñòèêà øëèôîâàëüíûõ êðóãîâ è åå ìàðêèðîâêà

Ñëóæåáíûå ÷àñòè ðå÷è. Ïðåäëîã. Ñîþç. ×àñòèöû

ÊÀÒÅÃÎÐÈÈ:






Àíãëèéñêèé ÿçûê ñ Àãàòîé Êðèñòè 14 ñòðàíèöà




“In fact, Colonel Arbuthnot, you prefer law and order (íà ñàìîì äåëå, ïîëêîâíèê Àðáýòíîò, âû ïðåäïî÷èòàåòå çàêîí è ïîðÿäîê; law and order — ïðàâîïîðÿäîê; çàêîííîñòü) to private vengeance (ëè÷íîìó îòìùåíèþ)?” responsible [rI'spOnsqb(q)l] swine [swaIn] electrocute [I'lektrqkju:t] vengeance ['vendZ(q)ns] “The man who was killed last night was the man responsible for the murder of Colonel Armstrong’s child.”Arbuthnot’s face grew rather grim. “Then in my opinion the swine deserved what he got. Though I would have preferred to see him properly hanged — or electrocuted, I suppose, over there.”“In fact, Colonel Arbuthnot, you prefer law and order to private vengeance?” “Well, you can’t go about (íó, íåëüçÿ æå æèòü; to go about — ðàñõàæèâàòü, õîäèòü òóäà è ñþäà, ñëîíÿòüñÿ) having blood feuds (ñ êðîâàâîé âðàæäîé; blood — êðîâü; feud — íàñëåäñòâåííàÿ âðàæäà) and stabbing each other like Corsicans or the Mafia (è ðåçàòü äðóã äðóãà, ïîäîáíî êîðñèêàíöàì èëè ìàôèè),” said the Colonel. “Say what you like, trial by jury (ãîâîðèòå ÷òî õîòèòå, íî ñóä ïðèñÿæíûõ; trial — èñïûòàíèå, ïðîáà; ñóäåáíîå ñëåäñòâèå, ñóä; jury — ïðèñÿæíûå çàñåäàòåëè, ñóä ïðèñÿæíûõ) is a sound system (ýòî çäðàâàÿ/ðàçóìíàÿ ñèñòåìà; sound — çäîðîâûé, êðåïêèé; ðàçóìíûé, ïðàâèëüíûé, ëîãè÷íûé).”Poirot looked at him thoughtfully for a minute or two (Ïóàðî çàäóì÷èâî ñìîòðåë íà íåãî ìèíóòó-äðóãóþ).

“Yes,” he said. “I am sure that would be your view (ÿ óâåðåí, ÷òî âû òàê è äóìàåòå: «÷òî òàêîâà è åñòü âàøà òî÷êà çðåíèÿ»; view — âèä, ïåéçàæ; âçãëÿä, ìíåíèå, òî÷êà çðåíèÿ). Well, Colonel Arbuthnot, I do not think there is anything more I have to ask you (÷òî æ, ïîëêîâíèê Àðáýòíîò, íå äóìàþ, ÷òî åñòü åùå ÷òî-òî, î ÷åì ÿ äîëæåí âàñ ñïðîñèòü). There is nothing you yourself can recall last night (íåò ëè íè÷åãî òàêîãî, ÷òî âû ñàìè ìîæåòå ïðèïîìíèòü î ïðîøëîé íî÷è) that in any way struck you (÷òî õîòü êàê-òî ïîêàçàëîñü âàì; to strike (struck; stricken) — óäàðÿòü, áèòü; ïîðàæàòü, ïðîèçâîäèòü âïå÷àòëåíèå, ïðèâëåêàòü âíèìàíèå) — or shall we say strikes you now, looking back (èëè, ñêàçàòü, êàæåòñÿ âàì ñåé÷àñ, /êîãäà âû/ ìûñëåííî îáðàùàåòåñü ê ïðîøëîìó; to look back — îãëàäûâàòüñÿ; îáðàùàòüñÿ ê ïðîøëîìó /ìûñëåííî/, âñïîìèíàòü) — as suspicious (ïîäîçðèòåëüíûì)?”

blood [blAd] feud [fju:d] mafia ['mxfIq] trial ['traIql] jury ['dZV(q)rI] system ['sIstIm] suspicious [sq'spISqs] “Well, you can’t go about having blood feuds and stabbing each other like Corsicans or the Mafia,” said the Colonel. “Say what you like, trial by jury is a sound system.”Poirot looked at him thoughtfully for a minute or two.“Yes,” he said. “I am sure that would be your view. Well, Colonel Arbuthnot, I do not think there is anything more I have to ask you. There is nothing you yourself can recall last night that in any way struck you — or shall we say strikes you now, looking back — as suspicious?” Arbuthnot considered for a moment or two (Àðáýòíîò çàäóìàëñÿ íà ïàðó ìãíîâåíèé: «íà ìãíîâåíèå èëè äâà»; to consider — ðàññìàòðèâàòü, îáñóæäàòü; îáäóìûâàòü).“No,” he said. “Nothing at all (ñîâñåì íè÷åãî). Unless (ðàçâå òîëüêî) — ” he hesitated (îí êîëåáàëñÿ/íå ðåøàëñÿ).“But yes, continue, I pray of you (íó, ïðîäîëæàéòå æå, ïðîøó âàñ; to pray — ìîëèòüñÿ; ïðîñèòü /â îáðàùåíèè/).”“Well, it’s nothing really (íó, íà ñàìîì äåëå, ýòî ïóñòÿê),” said the Colonel slowly (ìåäëåííî ñêàçàë Ïîëêîâíèê). “But you said anything (íî âû ñêàçàëè ÷òî óãîäíî).”“Yes, yes. Go on (ïðîäîëæàéòå).”“Oh! it’s nothing (ýòî åðóíäà). A mere detail (ïðîñòàÿ ïîäðîáíîñòü = ìåëî÷ü). But as I got back to my compartment (íî êîãäà ÿ âîçâðàùàëñÿ â ñâîå êóïå) I noticed that the door of the one beyond mine (ÿ îáðàòèë âíèìàíèå, ÷òî äâåðü /êóïå/ çà ìîèì) — the end one, you know (ïîñëåäíåãî êóïå, çíàåòå ëè) — ”“Yes, No. 16.” continue [kqn'tInju:] detail ['di:teIl] beyond [bI'jOnd] Arbuthnot considered for a moment or two.“No,” he said. “Nothing at all. Unless — ” he hesitated.“But yes, continue, I pray of you.”“Well, it’s nothing really,” said the Colonel slowly. “But you said anything.”“Yes, yes. Go on.”“Oh! it’s nothing. A mere detail. But as I got back to my compartment I noticed that the door of the one beyond mine — the end one, you know — ”“Yes, No. 16.” “Well, the door of it was not quite closed (òàê âîò, äâåðü ýòîãî êóïå áûëà íå ïîëíîñòüþ çàêðûòà). And the fellow inside peered out (è ìàëûé âíóòðè /êóïå/ âûãëÿäûâàë â êîðèäîð; to peer — âãëÿäûâàòüñÿ, âñìàòðèâàòüñÿ) in a furtive sort of way (óêðàäêîé: «êàêèì-òî âîðîâàòûì îáðàçîì»; furtive — ñêðûòûé; êðàäóùèéñÿ, õèòðûé, âîðîâàòûé). Then he pulled the door too quickly (çàòåì îí çàõëîïíóë: «ïîòÿíóë» äâåðü ñëèøêîì áûñòðî; to pull — òÿíóòü, òàùèòü). Of course I know there’s nothing in that (êîíå÷íî æå ÿ ïîíèìàþ, ÷òî â ýòîì íè÷åãî /îñîáåííîãî/ íåò) — but it just struck me as a bit odd (íî ýòî ïðîñòî ïîêàçàëîñü ìíå íåìíîãî ñòðàííûì; odd — íå÷åòíûé; ñòðàííûé, íåîáû÷íûé). I mean, it’s quite usual (ÿ õî÷ó ñêàçàòü, ýòî ñîâåðøåííî íîðìàëüíî) to open a door and stick your head out (îòêðûòü äâåðü è âûñóíóòü ãîëîâó /íàðóæó/; to stick (stuck) — âòûêàòü; ðàçã. âûñîâûâàòü, âûñòàâëÿòü) if you want to see anything (åñëè õî÷åøü ÷òî-íèáóäü óâèäåòü). But it was the furtive way he did it (íî èìåííî òîò âîðîâàòûé âèä, /ñ êîòîðûì/ îí äåëàë ýòî) that caught my attention (âîò ÷òî ïðèâëåêëî ìîå âíèìàíèå).”“Ye-es,” said Poirot doubtfully (ì-äà, ñêàçàë Ïóàðî íåîïðåäåëåííî/íåóâåðåííî). furtive ['fq:tIv] caught [kO:t] doubtful ['daVtf(q)l] “Well, the door of it was not quite closed. And the fellow inside peered out in a furtive sort of way. Then he pulled the door too quickly. Of course I know there’s nothing in that — but it just struck me as a bit odd. I mean, it’s quite usual to open a door and stick your head out if you want to see anything. But it was the furtive way he did it that caught my attention.”“Ye-es,” said Poirot doubtfully. “I told you (ÿ ñêàçàë âàì) there was nothing to it (÷òî ýòî ÿéöà âûåäåííîãî íå ñòîèò; there's nothing to it — ïðîùå ïðîñòîãî; â ýòîì íåò íèêàêîé ïðåìóäðîñòè; ýòî ÿéöà âûåäåííîãî íå ñòîèò),” said Arbuthnot, apologetically (ñêàçàë Àðáýòíîò èçâèíÿþùèìñÿ òîíîì; apologetically — èçâèíÿÿñü, ïðèçíàâàÿ ñâîþ âèíó, îøèáêó). “But you know what it is (íó âû çíàåòå, êàê ýòî /áûâàåò/) — early hours of the morning (ðàííåå óòðî: «ðàííèå ÷àñû óòðà») — everything very still (/âñå/ î÷åíü òèõî). The thing had a sinister look (ýòî âûãëÿäåëî êàê-òî çëîâåùå; look — âçãëÿä; âèä, íàðóæíîñòü) — like a detective story (êàê â äåòåêòèâíîì ðîìàíå; story — ïîâåñòü, ðàññêàç). All nonsense really (íà ñàìîì äåëå, âñå ýòî ÷åïóõà; nonsense — âçäîð, ÷åïóõà, áåññìûñëèöà).”He rose (îí ïîäíÿëñÿ). “Well, if you don’t want me any more (÷òî æ, åñëè ÿ âàì áîëüøå íå íóæåí) — ”“Thank you, Colonel Arbuthnot, there is nothing else (áëàãîäàðþ âàñ, ïîëêîâíèê Àðáýòíîò, áîëüøå íè÷åãî).”The soldier hesitated for a minute (âîåííûé êîëåáàëñÿ ìèíóòó). His first natural distaste for being questioned by “foreigners” (åãî ïåðâàÿ åñòåñòâåííàÿ íåïðèÿçíü/îòâðàùåíèå îò òîãî, ÷òî åãî äîïðàøèâàëè "èíîñòðàíöû"; to question — ñïðàøèâàòü, çàäàâàòü âîïðîñû; äîïðàøèâàòü, îïðàøèâàòü, question — âîïðîñ) had evaporated (óëåòó÷èëàñü; to evaporate — èñïàðÿòü(ñÿ); óëåòó÷èâàòüñÿ, èñ÷åçàòü áåç ñëåäà). apologetically [q"pOlq'dZetIk(q)lI] sinister ['sInIstq] evaporate [I'vxpqreIt] “I told you there was nothing to it,” said Arbuthnot, apologetically. “But you know what it is — early hours of the morning — everything very still. The thing had a sinister look — like a detective story. All nonsense really.”He rose. “Well, if you don’t want me any more — ”“Thank you, Colonel Arbuthnot, there is nothing else.”The soldier hesitated for a minute. His first natural distaste for being questioned by “foreigners” had evaporated. “About Miss Debenham (÷òî êàñàåòñÿ ìèññ Äåáåíõýì),” he said rather awkwardly (ñêàçàë îí äîâîëüíî íåñêëàäíî; awkward — íåóêëþæèé; íåëîâêèé). “You can take it from me (ìîæåòå ìíå ïîâåðèòü; to take — áðàòü, õâàòàòü; take it from me! — óæ ÿ-òî çíàþ! ìîæåòå íå ñîìíåâàòüñÿ!) that she’s all right (÷òî îíà ÷åñòíûé è ïîðÿäî÷íûé /÷åëîâåê/ = îíà íå ïðè÷åì). She’s a pukka sahib (îíà èñòèííàÿ ëåäè; pukka sahib — èíä. ðàçã. èñòèííûé äæåíòëüìåí).”Flushing a little (ñëåãêà ïîêðàñíåâ; to flush — âñïûõíóòü, ïîêðàñíåòü), he withdrew (îí óäàëèëñÿ; to withdraw (withdrew, withdrawn) — îòíèìàòü, îòäåðãèâàòü; óõîäèòü, óäàëÿòüñÿ).“What (÷òî),” asked Dr. Constantine with interest (ñïðîñèë äîêòîð Êîíñòàíòèí ñ èíòåðåñîì), “does a pukka sahib mean (ýòî îçíà÷àåò — pukka sahib)?”“It means (ýòî çíà÷èò),” said Poirot, “that Miss Debenham’s father and brothers were at the same kind of school (÷òî îòåö è áðàòüÿ ìèññ Äåáåíõýì ó÷èëèñü â òåõ æå ó÷åáíûõ çàâåäåíèÿõ; school — øêîëà, ó÷åáíîå çàâåäåíèå) as Colonel Arbuthnot was (÷òî è ïîëêîâíèê Àðáýòíîò).”“Oh!” said Dr. Constantine, disappointed (ñêàçàë äîêòîð Êîíñòàíòèí, ðàçî÷àðîâàííûé; to disappoint — ðàçî÷àðîâûâàòü, íå îïðàâäûâàòü íàäåæä). “Then it has nothing to do (òîãäà ýòî /âîâñå/ íèêàê íå ñâÿçàíî; to have to do with smb., smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî) with the crime at all (ñ ïðåñòóïëåíèåì).”“Exactly (òî÷íî),” said Poirot. awkwardly ['O:kwqdlI] pukka ['pAkq] Sahib [sQ:b, 'sQ:(h)Ib] “About Miss Debenham,” he said rather awkwardly. “You can take it from me that she’s all right. She’s a pukka sahib.”Flushing a little, he withdrew.“What,” asked Dr. Constantine with interest, “does a pukka sahib mean?”“It means,” said Poirot, “that Miss Debenham’s father and brothers were at the same kind of school as Colonel Arbuthnot was.”“Oh!” said Dr. Constantine, disappointed. “Then it has nothing to do with the crime at all.”“Exactly”, said Poirot. He fell into a reverie (îí ïîãðóçèëñÿ â çàäóì÷èâîñòü; to fall in(to) a state — ïðèõîäèòü, âïàäàòü â êàêîå-ëèáî ñîñòîÿíèå, reverie — ìå÷òàíèå), beating a light tattoo on the table (ëåãêî áàðàáàíÿ ïàëüöàìè ïî ñòîëó; tattoo — âîåí. ñèãíàë âå÷åðíåé çàðè; ñòóê, îòáèâàíèå òàêòà /íîãîé, ïàëüöàìè/). Then he looked up (çàòåì îí ïîäíÿë ãëàçà).“Colonel Arbuthnot smokes a pipe (ïîëêîâíèê Àðáýòíîò êóðèò òðóáêó),” he said. “In the compartment of Mr. Ratchett (â êóïå ìèñòåðà Ðýò÷åòòà) I found a pipe-cleaner (ÿ íàøåë åðøèê äëÿ ÷èñòêè òðóáêè). Mr. Ratchett smoked only cigars (ìèñòåð Ðýò÷åòò êóðèë òîëüêî ñèãàðû).”“You think (âû äóìàåòå) —?”“He is the only man so far who admits to smoking a pipe (ïîêà îí åäèíñòâåííûé ìóæ÷èíà, êîòîðûé ïðèçíàåò, ÷òî êóðèò òðóáêó). And he knew of Colonel Armstrong (è îí çíàë î ïîëêîâíèêå Àðìñòðîíãå) — perhaps actually did know him (âîçìîæíî, íà ñàìîì äåëå áûë ñ íèì çíàêîì), though he won’t admit it (õîòÿ îí íå ïðèçíàåòñÿ â ýòîì).”“So you think it possible (òàê âû ñ÷èòàåòå âîçìîæíûì) —?”Poirot shook his head violently (Ïóàðî ðåøèòåëüíî ïîêà÷àë ãîëîâîé; violently — íåèñòîâûé, ÿðîñòíûé; ñèëüíûé, ðåçêèé). reverie ['revqrI] tattoo [tx'tu:, tq-] violent ['vaIqlqnt] He fell into a reverie, beating a light tattoo on the table. Then he looked up.“Colonel Arbuthnot smokes a pipe,” he said. “In the compartment of Mr. Ratchett I found a pipe-cleaner. Mr. Ratchett smoked only cigars.”“You think —?”“He is the only man so far who admits to smoking a pipe. And he knew of Colonel Armstrong — perhaps actually did know him, though he won’t admit it.”“So you think it possible —?”Poirot shook his head violently. “That is just it (ýòî ïðîñòî) — it is impossible (ýòî íåâîçìîæíî) — quite impossible (ñîâåðøåííî íåâîçìîæíî) — that an honourable (÷òîáû òàêîé áëàãîðîäíûé; honour — ÷åñòü, ÷åñòíîñòü; áëàãîðîäñòâî), slightly stupid (íåìíîãî íåäàëåêèé; stupid — ãëóïûé, òóïîé, áåñòîëêîâûé), upright Englishman (ïîðÿäî÷íûé àíãëè÷àíèí; upright — âåðòèêàëüíûé, ïðÿìîé; ÷åñòíûé, ñïðàâåäëèâûé) should stab an enemy (çàêîëîë âðàãà/íåäðóãà) twelve times with a knife (íîæîì /öåëûõ/ äâåíàäöàòü ðàç)! Do you not feel, my friends (âû íå ÷óâñòâóåòå, äðóçüÿ ìîè), how impossible it is (íàñêîëüêî ýòî íåâåðîÿòíî; impossible — íåâîçìîæíûé, íåâûïîëíèìûé; íåâåðîÿòíûé, íåïðàâäîïîäîáíûé)?”“That is the psychology (ýòî âñå ïñèõîëîãèÿ),” said M. Bouc.“And one must respect the psychology (è ïñèõîëîãèþ ñëåäóåò óâàæàòü). This crime has a signature (ó ýòîãî ïðåñòóïëåíèÿ åñòü àâòîãðàô = ïî÷åðê; to sign — ïîäïèñûâàòü; signature — /ñîáñòâåííîðó÷íàÿ/ ïîäïèñü, àâòîãðàô), and it is certainly not the signature of Colonel Arbuthnot (è ýòî òî÷íî íå ïî÷åðê ïîëêîâíèêà Àðáýòíîòà). But now to our next interview (íî òåïåðü /äàâàéòå ïåðåéäåì/ ê íàøåé ñëåäóþùåé áåñåäå).”This time M. Bouc did not mention the Italian (íà ýòîò ðàç ìñüå Áóê íå /ñòàë/ óïîìèíàòü èòàëüÿíöà). But he thought of him (íî îí ïîäóìàë î íåì).

 

honourable ['On(q)rqb(q)l] upright ['ApraIt] knife [naIf] psychology [saI'kOlqdZI] signature ['sIgnItSq] “That is just it — it is impossible — quite impossible — that an honourable, slightly stupid, upright Englishman should stab an enemy twelve times with a knife! Do you not feel, my friends, how impossible it is?”“That is the psychology,” said M. Bouc.“And one must respect the psychology. This crime has a signature, and it is certainly not the signature of Colonel Arbuthnot. But now to our next interview.”This time M. Bouc did not mention the Italian. But he thought of him.

 

THE EVIDENCE OF MR. HARDMAN(ïîêàçàíèÿ ìèñòåðà Õàðäìàíà) The last of the first-class passengers (ïîñëåäíèì èç ïàññàæèðîâ ïåðâîãî êëàññà) to be interviewed, Mr. Hardman (ñ êîòîðûì ïðåäñòîÿëî ïîáåñåäîâàòü — ìèñòåð Õàðäìàí; to interview — èíòåðâüþèðîâàòü; ïðîâîäèòü áåñåäó), was the big flamboyant American (áûë êðóïíûé ðàçðÿæåííûé/íàïûùåííûé àìåðèêàíåö; flamboyant — ÿðêèé, áðîñàþùèéñÿ â ãëàçà; öâåòèñòûé, âû÷óðíûé) who had shared a table (êîòîðûé ñèäåë çà îäíèì ñòîëèêîì; to share — äåëèòü, ðàñïðåäåëÿòü; ïîëüçîâàòüñÿ ñîâìåñòíî) with the Italian and the valet (ñ èòàëüÿíöåì è ñëóãîé).He wore a somewhat loud check suit (îí áûë îäåò â íåìíîãî êðè÷àùèé êîñòþì èç êëåò÷àòîé òêàíè; to wear (wore, worn) — íîñèòü /íà ñåáå/, áûòü îäåòûì âî ÷òî-ëèáî; loud — ãðîìêèé, çâó÷íûé; ðàçã. êðè÷àùèé, ÿðêèé, áðîñàþùèéñÿ â ãëàçà /î êðàñêàõ, îäåæäå è ò.ï./; check — êëåò÷àòàÿ òêàíü, øîòëàíäêà), a pink shirt (ðîçîâóþ ðóáàøêó), and a flashy tie-pin (/â ãàëñòóêå áûëà/ àëÿïîâàòàÿ áóëàâêà; flashy — ïîêàçíîé, êðè÷àùèé; äåøåâûé; tie — áå÷åâêà, ëåíòà, øíóð; ãàëñòóê, pin — áóëàâêà; tie-pin — áóëàâêà äëÿ ãàëñòóêà), and was rolling something round his tongue (è ÷åãî-òî æåâàë: «è îí ÷òî-òî ïåðåêàòûâàë âîêðóã ÿçûêà»; to roll — êàòèòü; êàòàòü) as he entered the dining-car (êîãäà îí âîøåë â âàãîí-ðåñòîðàí). He had a big (ó íåãî áûëî áîëüøîå), fleshy (ìÿñèñòîå; flesh — ïëîòü, ìÿñî), coarse-featured face (ëèöî ñ ãðóáûìè ÷åðòàìè; feature — ÷åðòû ëèöà; featured — çä. êàê êîìïîíåíò ñëîæíîãî ñëîâà — èìåþùèé òàêèå-òî ÷åðòû ëèöà), with a good-humoured expression (è äîáðîäóøíûì âûðàæåíèåì; humour — þìîð; íàñòðîåíèå; äóøåâíûé íàñòðîé; expression — âûðàæåíèå /÷åãî-ëèáî/; âûðàæåíèå /ëèöà, ãëàç è ò.ï./). interview ['Intqvju:] flamboyant [flxm'bOIqnt] tongue [tAN] coarse [kO:s] featured ['fi:tSqd] good-humoured ["gVd'hju:mqd] The last of the first-class passengers to be interviewed, Mr. Hardman, was the big flamboyant American who had shared a table with the Italian and the valet.He wore a somewhat loud check suit, a pink shirt, and a flashy tie-pin, and was rolling something round his tongue as he entered the dining-car. He had a big, fleshy, coarse-featured face, with a good-humoured expression. “Morning, gentlemen (äîáðîå óòðî = çäðàâñòâóéòå, ãîñïîäà),” he said. “What can I do for you (÷åì ìîãó áûòü âàì ïîëåçíûì)?”“You have heard of this murder, Mr. — er — Hardman (âû óæå ñëûøàëè/çíàåòå îá ýòîì óáèéñòâå, ìèñòåð — ý — Õàðäìàí)?”“Sure (êîíå÷íî).” He shifted the chewing gum deftly (îí ëîâêî ïåðåêàòèë æåâàòåëüíóþ ðåçèíêó; to shift — ïåðåìåùàòü, ïåðåäâèãàòü; to chew — æåâàòü, ïåðåæåâûâàòü; gum — ñìîëà, ðàçã. ðåçèíà, êàó÷óê).“We are of necessity interviewing all the passengers on the train (íàì íåîáõîäèìî îïðîñèòü âñåõ ïàññàæèðîâ ýòîãî ïîåçäà; necessity — íåîáõîäèìîñòü, íóæäà; to be of necessity — áûòü âûíóæäåííûì).”“That’s all right by me (ÿ íå ïðîòèâ; all right — óäîâëåòâîðèòåëüíûé; ïîäõîäÿùèé, íå âûçûâàþùèé âîçðàæåíèé). Guess that’s the only way to tackle the job (äóìàþ, ÷òî ýòî åäèíñòâåííûé ñïîñîá ðàçîáðàòüñÿ ñ ýòèì äåëîì; to guess — äîãàäûâàòüñÿ; ðàçã. äóìàòü, ñ÷èòàòü; to tackle — õâàòàòü; ðåøàòü /÷òî-ëèáî/, ðàáîòàòü /íàä ÷åì-ëèáî/, job — ðàáîòà, äåëî, òðóä; ïîëîæåíèå âåùåé, ñèòóàöèÿ).”Poirot consulted the passport lying in front of him (Ïóàðî ñïðàâèëñÿ â ïàñïîðòå, ëåæàâøèì ïåðåä íèì; to consult — ñîâåòîâàòüñÿ; ñïðàâëÿòüñÿ). chewing gum ['tSu:INgAm] guess [ges] job [dZOb] “Morning, gentlemen,” he said. “What can I do for you?”“You have heard of this murder, Mr. — er — Hardman?”“Sure.” He shifted the chewing gum deftly.“We are of necessity interviewing all the passengers on the train.”“That’s all right by me. Guess that’s the only way to tackle the job.”Poirot consulted the passport lying in front of him. “You are Cyrus Bethman Hardman, United States subject (âû Ñàéðåñ Áåòìàí Õàðäìàí, ïîääàííûé Ñîåäèíåííûõ Øòàòîâ; subject — ïðåäìåò, òåìà /ðàçãîâîðà è ò.ï./; ïîääàííûé), forty-one years of age (ñîðîêà îäíîãî ãîäà; age — âîçðàñò), travelling salesman for typewriting ribbons (êîììèâîÿæåð: «ñòðàíñòâóþùèé òîðãîâåö», ïðîäàåòå ëåíòû äëÿ ïèøóùèõ ìàøèí; sale — ïðîäàæà, ñáûò; to type — ïèñàòü, ïå÷àòàòü íà ìàøèíêå; typewriter — ïèøóùàÿ ìàøèíêà)?”“O.K. That’s me (ýòî ÿ).”“you are travelling from Stamboul to Paris (âû åäåòå èç Ñòàìáóëà â Ïàðèæ)?”“That’s so (èìåííî òàê).”“Reason (/êàêîâà/ ïðè÷èíà /ïîåçäêè/)?”“Business (áèçíåñ; business — äåëî, ïîñòîÿííîå çàíÿòèå; òîðãîâëÿ, êîììåð÷åñêàÿ äåÿòåëüíîñòü, áèçíåñ).”“Do you always travel first-class, Mr. Hardman (âû âñåãäà ïóòåøåñòâóåòå ïåðâûì êëàññîì, ìèñòåð Õàðäìàí)?”“Yes, sir. The firm pays my travelling expenses (ôèðìà îïëà÷èâàåò ìîè äîðîæíûå ðàñõîäû; to pay — ïëàòèòü, çàïëàòèòü; îïëà÷èâàòü /ðàáîòó, ñ÷åòà è ò.ï./; expense — ðàñõîä, òðàòà; ðàñõîäû, èçäåðæêè).“ He winked (îí ïîäìèãíóë).“Now, Mr. Hardman, we come to the events of last night (òåïåðü, ìèñòåð Õàðäìàí, ìû ïåðåéäåì ê ñîáûòèÿì ïðîøëîé íî÷è).”The American nodded (àìåðèêàíåö êèâíóë). subject ['sAbdZIkt] typewriting ['taIp"raItIN] reason ['ri:z(q)n] business ['bIznIs] expense [Ik'spens] “You are Cyrus Bethman Hardman, United States subject, forty-one years of age, travelling salesman for typewriting ribbons?”“O.K. That’s me.”“You are travelling from Stamboul to Paris?”“That’s so.”“Reason?”“Business.”“Do you always travel first-class, Mr. Hardman?”“Yes, sir. The firm pays my travelling expenses. “ He winked.“Now, Mr. Hardman, we come to the events of last night.”The American nodded. “What can you tell us about the matter (÷òî âû ìîæåòå ðàññêàçàòü íàì îá ýòîì äåëå)?”“Exactly nothing at all (ñîâåðøåííî íè÷åãî).”“Ah, that is a pity (à, êàê æàëü; pity — æàëîñòü, ñîñòðàäàíèå, ñîæàëåíèå). Perhaps, Mr. Hardman, you will tell us exactly (âîçìîæíî, ìèñòåð Õàðäìàí, âû íàì ðàññêàæåòå â òî÷íîñòè âñå) what you did last night (÷åì âû çàíèìàëèñü ïðîøëîé íî÷üþ = â÷åðà âå÷åðîì) from dinner onwards (ïîñëå óæèíà: «íà÷èíàÿ ñ /âðåìåíè ïîñëå/ óæèíà»; onward — âïåðåä, äàëüøå)?”For the first time the American did not seem ready (âïåðâûå: «â ïåðâûé ðàç» àìåðèêàíåö, êàçàëîñü, íå áûë ãîòîâ) with his reply (îòâåòèòü: «ñî ñâîèì îòâåòîì»). At last he said (íàêîíåö îí ñêàçàë): “Excuse me, gentlemen, but just who are you (èçâèíèòå ìåíÿ, ãîñïîäà, íî âû êòî òàêèå)? Put me wise (ââåäèòå ìåíÿ â êóðñ äåëà; to put smb. wise — ñîîáùèòü, ðàññêàçàòü êîìó-ëèáî î ÷åì-ëèáî, îáúÿñíèòü ÷òî-ëèáî, îòêðûòü êîìó-ëèáî ãëàçà íà ÷òî-ëèáî, wise — ìóäðûé; àìåð. ðàçã. îñâåäîìëåííûé, çíàþùèé).”“This is M. Bouc, a director of the Compagnie des Wagons Lits (äèðåêòîð Êîìïàíèè ñïàëüíûõ âàãîíîâ). This gentleman is the doctor who examined the body (ýòîò ãîñïîäèí — äîêòîð, êîòîðûé îáñëåäîâàë òåëî; to examine — ðàññìàòðèâàòü; ìåä. îñìàòðèâàòü, îáñëåäîâàòü).” ready ['redI] excuse [Ik'skju:z] wise [waIz] “What can you tell us about the matter?”“Exactly nothing at all.”“Ah, that is a pity. Perhaps, Mr. Hardman, you will tell us exactly what you did last night from dinner onwards?”For the first time the American did not seem ready with his reply. At last he said: “Excuse me, gentlemen, but just who are you? Put me wise.”“This is M. Bouc, a director of the Compagnie des Wagons Lits. This gentleman is the doctor who examined the body.” “And you yourself (à âû ñàìè)?”“I am Hercule Poirot. I am engaged by the company (êîìïàíèÿ íàíÿëà ìåíÿ; to engage — íàíèìàòü, ïðèíèìàòü íà ðàáîòó) to investigate this matter (÷òîáû ðàññëåäîâàòü ýòî óáèéñòâî: «äåëî»; matter — âåùåñòâî; äåëî, âîïðîñ).”“I’ve heard of you (ÿ ñëûøàë î âàñ),” said Mr. Hardman. He reflected a minute or two longer (îí ïîðàçìûøëÿë åùå ñ ìèíóòó-äâå /äîëüøå/; to reflect — îòðàæàòü; ðàçìûøëÿòü, ðàçäóìûâàòü). “Guess I’d better come clean (ïîæàëóé, ìíå ëó÷øå âûëîæèòü âñå íà÷èñòîòó; to come clean — ïîëíîñòüþ ïðèçíàâàòüñÿ /â ÷åì-ëèáî/, âûêëàäûâàòü íà÷èñòîòó).”“It will certainly be advisable for you (âàì, êîíå÷íî æå, ðåêîìåíäóåòñÿ; advisable — ðåêîìåíäóåìûé, öåëåñîîáðàçíûé) to tell us all you know (ðàññêàçàòü íàì âñå, ÷òî âû çíàåòå),” said Poirot drily (õîëîäíî ñêàçàë Ïóàðî; dry — ñóõîé; ñäåðæàííûé, õîëîäíûé, áåññòðàñòíûé).

 

engaged [In'geIdZd] investigate [In'vestIgeIt] advisable [qd'vaIzqb(q)l] “And you yourself?”“I am Hercule Poirot. I am engaged by the company to investigate this matter.”“I’ve heard of you,” said Mr. Hardman. He reflected a minute or two longer. “Guess I’d better come clean.”“It will certainly be advisable for you to tell us all you know,” said Poirot drily.

 

“You’d have said a mouthful (çîëîòûå ñëîâà; mouthful — ïîëíûé ðîò /÷åãî-ëèáî/; you've said a mouthful — çîëîòûå âàøè ñëîâà) if there was anything I did know (åñëè áû ÿ /åùå/ ÷òî-òî çíàë). But I don’t (íî ÿ íå /çíàþ/). I know nothing at all (ÿ ñîâñåì íè÷åãî íå çíàþ) — just as I said (êàê ÿ óæå ñêàçàë). But I ought to know something (íî ìíå ïîëàãàåòñÿ õîòü ÷òî-òî çíàòü). That’s what makes me sore (âîò ÷òî ìåíÿ çëèò; sore — áîëåçíåííûé, ÷óâñòâèòåëüíûé; ðàçã. ñåðäèòûé, ðàçäðàæåííûé, îáèæåííûé). I ought to (ïîëàãàåòñÿ).”

“Please explain, Mr. Hardman (ïîæàëóéñòà, îáúÿñíèòå/ñü/, ìèñòåð Õàðäìàí).” mouthful ['maVTf(q)l] sore [sO:] ought [O:t] “You’d have said a mouthful if there was anything I did know. But I don’t. I know nothing at all — just as I said. But I ought to know something. That’s what makes me sore. I ought to.”“Please explain, Mr. Hardman.” Mr. Hardman sighed (ìèñòåð Õàðäìàí âçäîõíóë), removed the chewing gum (âûíóë /èçî ðòà/ æåâàòåëüíóþ ðåçèíêó; to remove — ïåðåäâèãàòü; óáèðàòü), and dived into a pocket (è ñóíóë åå â êàðìàí; to dive — ïðûãàòü â âîäó, íûðÿòü; çàñîâûâàòü, çàïóñêàòü ðóêó). At the same time his whole personality (â òî æå ñàìîå âðåìÿ âñÿ åãî ëè÷íîñòü) seemed to undergo a change (êàçàëîñü, ïðåòåðïåëà èçìåíåíèå = èçìåíèëàñü; to undergo — èñïûòûâàòü; ïîäâåðãàòüñÿ; change — ïåðåìåíà, èçìåíåíèå). He became less of a stage character (îí ñòàë ìåíüøå /ïîõîæ/ íà òåàòðàëüíîãî ëîìàêó; stage — ñöåíà, òåàòðàëüíûå ïîäìîñòêè; stage — ñöåíà; ñöåíè÷åñêèé, òåàòðàëüíûé; character — õàðàêòåð, íðàâ; ãåðîé, ïåðñîíàæ, äåéñòâóþùåå ëèöî) and more of a real person (è áîëüøå íà ðåàëüíîãî ÷åëîâåêà). The resonant nasal tones of his voice (çâó÷íûå ãíóñàâûå èíòîíàöèè åãî ãîëîñà; resonant — ðàçäàþùèéñÿ, çâó÷àùèé; çâó÷íûé, çâîíêèé, tone — òîí, çâóê; èíòîíàöèÿ, ìîäóëÿöèÿ) became modified (ñìÿã÷èëèñü: «ñòàëè ñìÿã÷åííûìè»; to modify — ìîäèôèöèðîâàòü, âèäîèçìåíÿòü; ñìÿã÷àòü, ñíèæàòü).“That passport’s a bit of bluff (ýòîò ïàñïîðò — îí âðîäå êàê ïîääåëêà; bit — êóñîê; íåáîëüøîå êîëè÷åñòâî, ÷óòü-÷óòü; bluff — îáìàí, áëåô),” he said. “That’s who I really am (âîò êòî ÿ íà ñàìîì äåëå).”Poirot scrutinized the card flipped across to him (Ïóàðî âíèìàòåëüíî ðàññìàòðèâàë âèçèòíóþ êàðòî÷êó, áðîøåííóþ åìó ÷åðåç /ñòîë/; card — êàðòà /èãðàëüíàÿ/; âèçèòíàÿ êàðòî÷êà, îòêðûòêà; to flip — ñëåãêà óäàðèòü, ùåëêíóòü; ïîäáðàñûâàòü â âîçäóõ /ìîíåòó è ò.ï./). M. Bouc peered over his shoulder (ìñüå Áóê çàãëÿíóë åìó ÷åðåç ïëå÷î; to peer — âãëÿäûâàòüñÿ; çàãëÿäûâàòü). Mr Cyrus B.HardmanMcNeil’s Detective AgencyNew York. ã-í Ñàéðåñ Á. Õàðäìàíäåòåêòèâíîå àãåíòñòâî ÌàêíåéëàÍüþ-Éîðê sigh [saI] personality ["pq:sq'nxlItI] resonant ['rezqnqnt] nasal ['neIz(q)l] scrutinize ['skru:tInaIz] Mr. Hardman sighed, removed the chewing gum, and dived into a pocket. At the same time his whole personality seemed to undergo a change. He became less of a stage character and more of a real person. The resonant nasal tones of his voice became modified.“That passport’s a bit of bluff,” he said. “That’s who I really am.”Poirot scrutinised the card flipped across to him. M. Bouc peered over his shoulder. Poirot knew the name (Ïóàðî çíàë ýòî íàçâàíèå; to know (knew, known); name — èìÿ, ôàìèëèÿ; íàçâàíèå, íàèìåíîâàíèå) as that of one of the best-known and most reputable (êàê /íàçâàíèå/ îäíîãî èç ñàìûõ èçâåñòíûõ è î÷åíü óâàæàåìûõ) private detective agencies in New York (÷àñòíûõ äåòåêòèâíûõ/ñûñêíûõ àãåíòñòâ Íüþ-Éîðêà).“Now, Mr. Hardman,” he said, “let us hear the meaning of this (à òåïåðü, ìèñòåð Õàðäìàí, ïîçâîëüòå íàì óçíàòü, ÷òî âñå ýòî çíà÷èò: «çíà÷åíèå ýòîãî»).”

“Sure (êîíå÷íî). Things came about this way (âñå ñëó÷èëîñü ñëåäóþùèì îáðàçîì; to come (came, come) about — ïðîèñõîäèòü, ñëó÷àòüñÿ). I’d come over to Europe (ÿ îêàçàëñÿ â Åâðîïå; to come over — ïåðåõîäèòü /íà ÷üþ-ëèáî ñòîðîíó/; ïðèåõàòü èçäàëåêà) trailing a couple of crooks (âûñëåæèâàÿ ïàðî÷êó ìîøåííèêîâ; trail — ñëåä, õâîñò; to trail — èäòè ïî ñëåäó; âûñëåæèâàòü; crook — êðþê, êðþ÷îê; ðàçã. ïëóò, îáìàíùèê, ìîøåííèê) — nothing to do with this business (íå èìåþùèõ íèêàêîãî îòíîøåíèÿ ê ýòîìó äåëó; to have to do with smb., smth. — èìåòü îòíîøåíèå ê êîìó-ëèáî, ÷åìó-ëèáî). The chase ended in Stamboul (ïðåñëåäîâàíèå çàêîí÷èëîñü/ïîãîíÿ çàêîí÷èëàñü â Ñòàìáóëå). I wired the Chief (ÿ îòïðàâèë òåëåãðàììó øåôó; wire — ïðîâîëîêà; àìåð. ðàçã. òåëåãðàììà; to wire — ñêðåïëÿòü ïðîâîëîêîé; òåëåãðàôèðîâàòü) and got his instructions to return (è ïîëó÷èë èíñòðóêöèè âîçâðàùàòüñÿ), and I would have been making my tracks back (è /ñåé÷àñ/ ÿ áû óæå äåðæàë ïóòü íàçàä; to make tracks — äàòü òÿãó, íàâîñòðèòü ëûæè, óëèçíóòü; track — ñëåä; êóðñ) to little old New York (â ñòàðûé äîáðûé Íüþ-Éîðê; little — ìàëåíüêèé, íåáîëüøîé; ìèëûé, ñëàâíûé) when I got this (êîãäà ÿ ïîëó÷èë âîò ýòî).”

He pushed across a letter (è îí ïîäòîëêíóë /ê Ïóàðî/ ïèñüìî ÷åðåç /ñòîë/). reputable ['repjVtqb(q)l] agency ['eIdZ(q)nsI] couple ['kAp(q)l] instruction [In'strAkS(q)n] Poirot knew the name as that of one of the best-known and most reputable private detective agencies in New York.“Now, Mr. Hardman,” he said, “let us hear the meaning of this.”“Sure. Things came about this way. I’d come over to Europe trailing a couple of crooks — nothing to do with this business. The chase ended in Stamboul. I wired the Chief and got his instructions to return, and I would have been making my tracks back to little old New York when I got this.”He pushed across a letter. The heading at the top was the Tokatlian Hotel.(çàãîëîâîê íàâåðõó ëèñòêà áûë îòåëü «Òîêàòëèàí» = ýòî áûë ôèðìåííûé áëàíê îòåëÿ «Òîêàòëèàí»; top — âåðõóøêà, âåðøèíà; âåðõíÿÿ ÷àñòü, heading — çàãëàâèå, çàãîëîâîê) Dear Sir (óâàæàåìûé ñýð; dear — äîðîãîé, ìèëûé; â óñòíîì èëè ïèñüìåííîì îáðàùåíèè — äîðîãîé, ãëóáîêîóâàæàåìûé),You have been pointed out to me (ìíå óêàçàëè íà âàñ: «âû áûëè óêàçàíû ìíå») as an operative of the McNeil Detective Agency (êàê íà ÷àñòíîãî äåòåêòèâà ñûñêíîãî áþðî Ìàêíåéëà; operative — êâàëèôèöèðîâàííûé ðàáî÷èé; ñûùèê, ÷àñòíûé äåòåêòèâ). Kindly report at my suite (ïðîøó /âàñ/ ïðèáûòü â ìîé íîìåð; kindly — äîáðîæåëàòåëüíî; ëþáåçíî /â ôîðìóëàõ âåæëèâîñòè/; to report — ñîîáùàòü, ðàññêàçûâàòü; ÿâëÿòüñÿ, ïðèáûâàòü /êóäà-ëèáî/; suite — ñâèòà; íîìåð-ëþêñ /èç íåñêîëüêèõ êîìíàò/) at four o’clock this afternoon (ñåãîäíÿ äíåì, â ÷åòûðå ÷àñà). It was signed “S. E. RATCHETT” (îíî áûëî ïîäïèñàíî: Ñ.Ý.Ðýò÷åòò). “ Eh bien (íó è ÷òî)?” operative ['Op(q)rqtIv] report [rI'pO:t] suite [swi:t] THE TOKATLLAN HOTEL Dear Sir,You have been pointed out to me as an operative of the McNeil Detective Agency. Kindly report at my suite at four o’clock this afternoon.S. E. RATCHETT “ Eh bien?” “I reported at the time stated (ÿ ïðèøåë: «äîëîæèë /î ïðèáûòèè/» â íàçíà÷åííîå âðåìÿ; to state — èçëàãàòü, çàÿâëÿòü; óñòàíàâëèâàòü, òî÷íî îïðåäåëÿòü), and Mr. Ratchett put me wise to the situation (è ìèñòåð Ðýò÷åòò ââåë ìåíÿ â êóðñ äåëà: «îçíàêîìèë ìåíÿ ñ ñèòóàöèåé»). He showed me a couple of letters (îí ïîêàçàë ìíå ïàðó ïèñåì) he’d got (êîòîðûå îí ïîëó÷èë /äî ýòîãî/).”“He was alarmed (îí áûë âñòðåâîæåí; to alarm — ïîäíÿòü òðåâîãó; âçâîëíîâàòü, íàïóãàòü)?”“Pretended not to be (äåëàë âèä, ÷òî íåò; to pretend — ïðèòâîðÿòüñÿ, äåëàòü âèä), but he was rattled (íî îí áûë íàïóãàí; to rattle — òðåùàòü, ãðîõîòàòü; ðàçã. âçâîëíîâàòü, ñìóòèòü, ïðèïóãíóòü), all right (íåñîìíåííî). He put up a proposition to me (îí ñäåëàë ìíå ïðåäëîæåíèå; to put up — ïîäíèìàòü; îðãàíèçîâûâàòü, óñòðàèâàòü; proposition — óòâåðæäåíèå, çàÿâëåíèå; ïðåäëîæåíèå /äåëîâîå/, ïðåäïðèÿòèå). I was to travel by the same train (ÿ äîëæåí áûë åõàòü òåì æå ñàìûì ïîåçäîì) as he did to Paris (÷òî è îí äî Ïàðèæà; Paris = Paris) and see that nobody got him (è ñëåäèòü, ÷òîáû äî íåãî íèêòî íå äîáðàëñÿ). Well, gentlemen, I did travel by the same train (÷òî æ, ãîñïîäà, ÿ äåéñòâèòåëüíî åõàë íà òîì æå ñàìîì ïîåçäå), and in spite of me, somebody did get him (è, íåñìîòðÿ íà ìîå /ïðèñóòñòâèå/, êòî-òî äåéñòâèòåëüíî äîáðàëñÿ äî íåãî). I certainly feel sore about it (âîò óæ òî÷íî, ÿ çîë èç-çà ýòîãî; sore — áîëåçíåííûé, ÷óâñòâèòåëüíûé; ðàçã. ñåðäèòûé, ðàçäðàæåííûé, îáèæåííûé). It doesn’t look any too good for me (ýòî íå î÷åíü õîðîøî äëÿ ìîåé /ðåïóòàöèè/; to look — ñìîòðåòü; âûãëÿäåòü, èìåòü âèä).” situation ["sItSV'eIS(q)n] alarmed [q'lQ:md] rattle ['rxtl] “I reported at the time stated, and Mr. Ratchett put me wise to the situation. He showed me a couple of letters he’d got.”“He was alarmed?”“Pretended not to be, but he was rattled, all right. He put up a proposition to me. I was to travel by the same train as he did to Paris and see that nobody got him. Well, gentlemen, I did travel by the same train, and in spite of me, somebody did get him. I certainly feel sore about it. It doesn’t look any too good for me.” “Did he give you any indication (îí âàì êàê-íèáóäü íàìåêíóë; indication — ïðèçíàê, ñèìïòîì, óêàçàíèå; to indicate — óêàçûâàòü; êðàòêî âûðàæàòü; íàìå÷àòü â îáùèõ ÷åðòàõ) of the line you were to take (êàêîé ëèíèè ïîâåäåíèÿ ïðèäåðæèâàòüñÿ; line — ëèíèÿ; îáðàç äåéñòâèÿ, ëèíèÿ ïîâåäåíèÿ)?”“Sure (êîíå÷íî). He had it all taped out (îí âñå çàðàíåå ïîäãîòîâèë; to tape — ñâÿçûâàòü òåñüìîé; to have smth. taped — áûòü õîçÿèíîì ïîëîæåíèÿ; èìåòü âñå íàãîòîâå). It was his idea that I should travel (/èìåííî/ ó íåãî áûëà ìûñëü ÷òî ÿ äîëæåí áûë åõàòü) in the compartment alongside his (â êóïå ðÿäîì ñ íèì). Well, that blew up (íó, ñ ýòèì íè÷åãî íå âûøëî; to blow (blew, blown) up — ðàçðóøàòü, ðàññòðàèâàòü) right at the start (ïðÿìî ñ ñàìîãî íà÷àëà). The only place I could get (åäèíñòâåííîå ìåñòî, êîòîðîå ÿ ñìîã äîñòàòü) was berth No. 16 (áûëî ìåñòî ïîä íîìåðîì 16; berth — êîéêà /íà ïàðîõîäå/; ñïàëüíîå ìåñòî, ïîëêà), and I had a job getting that (è òî ìíå ïðèøëîñü ïîòðóäèòüñÿ, ÷òîáû äîñòàòü åãî). I guess the conductor likes (ìíå êàæåòñÿ, ïðîâîäíèêó íðàâèòñÿ) to keep that compartment up his sleeve (äåðæàòü ýòî êóïå ïðî çàïàñ; sleeve — ðóêàâ; to keep smth. up one’s sleeve — ïîïðèäåðæàòü, ïðèïðÿòàòü). But that’s neither here nor there (íî ÿ îòâëåêñÿ: «íî ýòî íè çäåñü, íè òàì»). When I looked all round the situation (êîãäà ÿ îãëÿäåë âñþ îáñòàíîâêó), it seemed to me that No. 16 was a pretty good strategic position (ìíå ïîêàçàëîñü, ÷òî êóïå íîìåð 16 áûëî äîâîëüíî íåïëîõèì ñòðàòåãè÷åñêèì ìåñòîì; position — ïîëîæåíèå, ìåñòîíàõîæäåíèå; âîåí. ïîçèöèÿ, ðàñïîëîæåíèå, ðóáåæ). indication ["IndI'keIS(q)n] alongside [q"lON'saId] strategic [strq'ti:dZIk] “Did he give you any indication of the line you were to take?”“Sure. He had it all taped out. It was his idea that I should travel in the compartment alongside his. Well, that blew up right at the start. The only place I could get was berth No. 16, and I had a job getting that. I guess the conductor likes to keep that compartment up his sleeve. But that’s neither here nor there. When I looked all round the situation, it seemed to me that No. 16 was a pretty good strategic position. There was only the dining-car in front of the Stamboul sleeping-car (ïåðåä ñòàìáóëüñêèì ñïàëüíûì âàãîíîì áûë òîëüêî âàãîí-ðåñòîðàí), and the door onto the platform at the front end (à äâåðü íà ïëàòôîðìó ó ïåðåäíåãî êîíöà /âàãîíà/ = áëèæíÿÿ äâåðü íà ïëàòôîðìó) was barred at night (çàêðûâàëàñü íî÷üþ íà çàñîâ). The only way a thug could come (åäèíñòâåííûì ïóòåì, êîòîðûì ìîã áû ïðèéòè áàíäèò; thug — óáèéöà /èç-çà óãëà/; ãîëîâîðåç, ãàíãñòåð, áàíäèò) was through the rear-end door to the platform (áûë ÷åðåç äàëüíþþ äâåðü: «äâåðü â çàäíåì êîíöå /âàãîíà/» íà ïëàòôîðìó), or along the train from the rear (èëè ÷åðåç /äðóãîé âàãîí/ ïîåçäà: «ïî ïîåçäó» ñ äàëüíåé: «çàäíåé» ñòîðîíû), and in either case (â ëþáîì èç ýòèõ ñëó÷àåâ) he’d have to pass right by my compartment (åìó áû ïðèøëîñü ïðîéòè ïðÿìî ìèìî ìîåãî êóïå).”“You had no idea, I suppose (âû, ÿ ïîëàãàþ, íå èìåëè ïðåäñòàâëåíèÿ; idea — èäåÿ, ìûñëü; ïðåäñòàâëåíèå, ïîíÿòèå), of the identity of the possible assailant (î ëè÷íîñòè âîçìîæíîãî/ïðåäïîëàãàåìîãî óáèéöû; assailant — ïðîòèâíèê, íàïàäàþùàÿ ñòîðîíà)?”“Well, I knew what he looked like (íó, ÿ çíàë êàê îí âûãëÿäèò). Mr. Ratchett described him to me (ìèñòåð Ðýò÷åòò îïèñàë åãî ìíå).” barred [bQ:d] identity [aI'dentItI] assailant [q'seIlent] There was only the dining-car in front of the Stamboul sleeping-car, and the door onto the platform at the front end was barred at night. The only way a thug could come was through the rear-end door to the platform, or along the train from the rear, and in either case he’d have to pass right by my compartment.”“You had no idea, I suppose, of the identity of the possible assailant?”“Well, I knew what he looked like. Mr. Ratchett described him to me.” “What (÷òî)?”All three men leaned forward eagerly (âñå òðîå ìóæ÷èí ñ íåòåðïåíèåì ïîäàëèñü âïåðåä; eager — æàæäóùèé /÷åãî-ëèáî/; íåòåðïåëèâûé; ýíåðãè÷íûé).Hardman went on (Õàðäìàí ïðîäîëæàë).“A small man (÷åëîâåê íåáîëüøîãî ðîñòà) — dark (ñìóãëûé; dark — òåìíûé, ÷åðíûé; ñìóãëûé, òåìíûé) — with a womanish kind of voice (ñ æåíîïîäîáíûì = ïèñêëÿâûì/âûñîêèì ãîëîñîì; womanish — æåíñêèé, õàðàêòåðíûé äëÿ æåíùèíû; ïðåíåáð. áàáèé, æåíîïîäîáíûé; kind — ñîðò, êëàññ, ðàçíîâèäíîñòü). That’s what the old man said (òàê ñòàðèê ñêàçàë). Said, too, that he didn’t think (ñêàçàë, òàê æå, ÷òî îí íå äóìàåò) it would be the first night out (÷òî ýòî ñëó÷èòüñÿ â ïåðâóþ æå íî÷ü). More likely the second or third (áîëåå âåðîÿòíî, âî âòîðóþ èëè òðåòüþ).”“He knew something (îí çíàë ÷òî-òî),” said M. Bouc.“He certainly knew more than he told his secretary (îí îïðåäåëåííî çíàë áîëüøå, ÷åì îí ðàññêàçàë ñâîåìó ñåêðåòàðþ),” ñommented Poirot thoughtfully (çàäóì÷èâî çàìåòèë Ïóàðî; to ñomment — êîììåíòèðîâàòü, òîëêîâàòü; âûñêàçûâàòüñÿ, ñîîáùàòü ñâîå ìíåíèå). “Did he tell you anything about this enemy of his (îí âàì ÷òî-íèáóäü ñîîáùèë îá ýòîì ñâîåì âðàãå)? Did he, for instance, say (íå ãîâîðèë ëè îí, íàïðèìåð) why his life was threatened (ïî÷åìó åãî æèçíè óãðîæàþò; threat — óãðîçà; to threaten — óãðîæàòü)?” womanish ['wVmqnIS] enemy ['enqmI] threatened ['Tretnd] “What?”All three men leaned forward eagerly.Hardman went on.“A small man — dark — with a womanish kind of voice. That’s what the old man said. Said, too, that he didn’t think it would be the first night out, more likely the second or third.”“He knew something,” said M. Bouc.“He certainly knew more than he told his secretary,” commented Poirot thoughtfully. “Did he tell you anything about this enemy of his? Did he, for instance, say why his life was threatened?” “No, he was kinda reticent (îí âðîäå êàê óìàë÷èâàë; kinda = kind of, reticent — ìîë÷àëèâûé, ñêðûòíûé) about that part of it (îá ýòîì: «ýòîé ÷àñòè /èñòîðèè/»). just said the fellow was out for his blood (ïðîñòî ñêàçàë, ÷òî ýòîò ïàðåíü æàæäåò åãî êðîâè; to be out for blood — æàæäàòü êðîâè, blood — êðîâü) and meant to get it (è äåéñòâèòåëüíî ñîáèðàåòñÿ åå ïðîëèòü: «äîñòàòü»; to mean — íàìåðåâàòüñÿ, èìåòü â âèäó).”“A small man (ìóæ÷èíà íåâûñîêîãî ðîñòà; small — ìàëåíüêèé, íåáîëüøîé) — dark (ñìóãëûé) — with a womanish voice (æåíîïîäîáíûé ãîëîñ),” repeated Poirot thoughtfully (çàäóì÷èâî ïîâòîðèë Ïóàðî). Then, fixing a sharp glance on Hardman (çàòåì, óñòàâèâøèñü íà Õàðäìàíà ïðîíèöàòåëüíûì âçãëÿäîì; to fix — óêðåïëÿòü, çàêðåïëÿòü; íåîòðûâíî ñìîòðåòü, óñòðåìèòü âçãëÿä; sharp — îñòðûé, îòòî÷åííûé; ïðîíèöàòåëüíûé, íàáëþäàòåëüíûé), he asked (îí ñïðîñèë): “You knew who he really was, of course (âû, êîíå÷íî æå, çíàëè, êåì îí áûë íà ñàìîì äåëå)?”“Which, Mister (êòî, ìèñòåð...)?”“Ratchett (/ìèñòåð/ Ðýò÷åòò). You recognised him (âû óçíàëè åãî)?”“I don’t get you (ÿ âàñ íå ïîíèìàþ; to get — äîñòàâàòü, äîáûâàòü; ïîíèìàòü, ïîñòèãàòü).”“Ratchett was Cassetti, the Armstrong murderer (Ðýò÷åòò áûë Êàññåòòè, óáèéöåé /ðåáåíêà/ Àðìñòðîíãîâ).” kinda ['kaIndq] reticent ['retIs(q)nt] fixing ['fIksIN] “No, he was kinda reticent about that part of it. just said the fellow was out for his blood and meant to get it.”“A small man — dark — with a womanish voice,” repeated Poirot thoughtfully. Then, fixing a sharp glance on Hardman, he asked: “You knew who he really was, of course?”“Which, Mister?”“Ratchett. You recognised him?”“I don’t get you.”“Ratchett was Cassetti, the Armstrong murderer.” Mr. Hardman gave vent to a prolonged whistle (ìèñòåð Õàðäìàí ïðèñâèñòíóë; vent — âõîäíîå èëè âûõîäíîå îòâåðñòèå; âûõîä, âûðàæåíèå).“That certainly is some surprise (âîò òàê ñþðïðèç; surprise — óäèâëåíèå, èçóìëåíèå; íåîæèäàííîñòü, ñþðïðèç)!” he said. “Yes, sir! No, I didn’t recognise him (íåò ñýð, ÿ åãî íå óçíàë). I was away out West (ÿ áûë â îòúåçäå, íà Çàïàäå; to be away — îòñóòñòâîâàòü; West — çàïàä; çä. Çàïàä, çàïàäíûå øòàòû, çàïàäíàÿ ÷àñòü ÑØÀ) when that case came on (êîãäà ýòî äåëî ñëóøàëîñü â ñóäå; to come (came, come) on — íàñòóïàòü, íàäâèãàòüñÿ; ñëóøàòüñÿ /î äåëå â ñóäå/). I suppose I saw photos of him in the papers (ïîëàãàþ, ÷òî ÿ âèäåë åãî ôîòîãðàôèè â ãàçåòàõ), but I wouldn’t recognise my own mother (íî ÿ áû íå óçíàë è ñîáñòâåííîé ìàòåðè) when a newspaper photographer got through with her (ïîñëå òîãî, êàê ñ íåé ïîðàáîòàë áû / ðàñïðàâèëñÿ áû ôîòîãðàô èç ãàçåòû; to get (got) through — ïðîéòè ÷åðåç /÷òî-ëèáî/; ñïðàâèòüñÿ /ñ ÷åì-ëèáî/; çàêîí÷èòü /÷òî-ëèáî/). Well, I don’t doubt that a few people had it in for Cassetti all right (÷òî æ, ÿ íå ñîìíåâàþñü, ÷òî ìíîãèå èìåëè çóá íà Êàññåòòè, ýòî òî÷íî; to have it in for smb. — âçúåñòüñÿ, îáîçëèòüñÿ íà êîãî-ëèáî, èìåòü íà êîãî-ëèáî çóá).” prolonged [prq'lONd] whistle ['wIs(q)l] photographer [fq'tOgrqfq] Mr. Hardman gave vent to a prolonged whistle.“That certainly is some surprise!” he said. “Yes, sir! No, I didn’t recognise him. I was away out West when that case came on. I suppose I saw photos of him in the papers, but I wouldn’t recognise my own mother when a newspaper photographer got through with her. Well, I don’t doubt that a few people had it in for Cassetti all right.” “Do you know of anyone connected with the Armstrong case (çíàåòå ëè âû êîãî-íèáóäü, ñâÿçàííîãî ñ äåëîì Àðìñòðîíãîâ) who answers to that description (êîòîðûé ñîîòâåòñòâóåò ýòîìó îïèñàíèþ; to answer — îòâå÷àòü; ñîîòâåòñòâîâàòü, óäîâëåòâîðÿòü /÷åìó-ëèáî/): small (íåâûñîêîãî ðîñòà) — dark (ñìóãëûé) — womanish voice (ïèñêëÿâûé ãîëîñ)?”Hardman reflected a minute or two (Õàðäìàí ðàçìûøëÿë ìèíóòó èëè äâå; to reflect — îòðàæàòü; ðàçìûøëÿòü, ðàçäóìûâàòü). “It’s hard to say (ñëîæíî ñêàçàòü). Pretty nearly everyone (ïî÷òè ÷òî âñå; pretty — äîâîëüíî, äîñòàòî÷íî, nearly — ïî÷òè) connected with that case is dead (ñâÿçàííûå ñ ýòèì äåëîì, óìåðëè: «ìåðòâû»).”“There was the girl who threw herself out of the window (áûëà òàì äåâóøêà, êîòîðàÿ âûáðîñèëàñü èç îêíà), remember (ïîìíèòå).”“Sure (òî÷íî). That’s a good point, that (ýòî /âû/ â òî÷êó = à ýòî õîðîøàÿ ìûñëü; point — òî÷êà; ñóòü, ñìûñë; ìûñëü, òî÷êà çðåíèÿ). She was a foreigner of some kind (îíà áûëà /êàêàÿ-òî/ èíîñòðàíêà). Maybe she had some wop relations (ìîæåò, ó íåå è áûëè êàêèå-íèáóäü ðîäñòâåííèêè-èòàëüÿøêè; wop — ïðåçðèòåëüíîå ïðîçâèùå, äàâàåìîå àìåðèêàíöàìè èììèãðàíòàì èç Èòàëèè èëè èç äðóãèõ þæíûõ åâðîïåéñêèõ ñòðàí; relation — îòíîøåíèå, ñâÿçü; ðîäñòâåííèê, ðîäñòâåííèöà). But you’ve got to remember (íî âû äîëæíû ïîìíèòü) that there were other cases (÷òî áûëè è äðóãèå ñëó÷àè /ïîõèùåíèé/) besides the Armstrong one (êðîìå ñëó÷àÿ ñ Àðìñòðîíãàìè). Cassetti had been running this kidnapping stunt (Êàññåòòè çàïðàâëÿë ýòèìè òðþêàìè ñ ïîõèùåíèÿìè; to run — áåæàòü; ðóêîâîäèòü /ó÷ðåæäåíèåì è ò.ï./, âåñòè /äåëî, ïðåäïðèÿòèå è ò.ï./; stunt — ýôôåêòíîå ñïîðòèâíîå âûñòóïëåíèå; òðþê, ôîêóñ) for some time (äîâîëüíî äîëãî). You can’t concentrate on that only (âàì íå ñòîèò: «âû íå ìîæåòå» ñîñðåäîòî÷èòüñÿ òîëüêî íà ýòîì /ñëó÷àå/).” reflected [rI'flektId] window ['wIndqV] relationship [rI'leIS(q)nSIp] concentrate ['kOns(q)ntreIt] Do you know of anyone connected with the Armstrong case who answers to that description: small — dark — womanish voice?”Hardman reflected a minute or two. “It’s hard to say. Pretty nearly everyone connected with that case is dead.”“There was the girl who threw herself out of the window, remember.”“Sure. That’s a good point, that. She was a foreigner of some kind. Maybe she had some wop relations. But you’ve got to remember that there were other cases besides the Armstrong one. Cassetti had been running this kidnapping stunt for some time. You can’t concentrate on that only.” “Ah, but we have reason to believe (íî ó íàñ åñòü ïðè÷èíû/îñíîâàíèÿ ïîëàãàòü; to believe — âåðèòü; äóìàòü, ïîëàãàòü, ñ÷èòàòü) that this crime is connected with the Armstrong case (÷òî ýòî ïðåñòóïëåíèå ñâÿçàíî èìåííî ñ äåëîì Àðìñòðîíãîâ).”Mr. Hardman cocked an inquiring eye (ìèñòåð Õàðäìàí âîïðîøàþùå âçãëÿíóë: «ïîäíÿë âîïðîøàþùèé âçãëÿä»; cock — ïåòóõ; âûðàçèòåëüíûé æåñò, äâèæåíèå /ââåðõ/; to cock — ïîäíèìàòü; to cock the eye — ðàçã. ìíîãîçíà÷èòåëüíî âçãëÿíóòü, ïîäìèãíóòü; to inquire — ñïðàøèâàòü, óçíàâàòü). Poirot did not respond (Ïóàðî íå îòâåòèë). The American shook his head (àìåðèêàíåö ïîêà÷àë ãîëîâîé).“I can’t call to mind anybody (ÿ íå ìîãó ïðèïîìíèòü íèêîãî) answering that description in the Armstrong case (ñîîòâåòñòâóþùåãî ýòîìó îïèñàíèþ â äåëå Àðìñòðîíãîâ),” he said slowly (ñêàçàë îí ìåäëåííî). “But of course I wasn’t in it (íî, êîíå÷íî æå, ÿ íå ïðèíèìàë ó÷àñòèÿ â ýòîì äåëå; to be in — íàõîäèòüñÿ, áûòü äîìà, íà ìåñòå; ïðèíèìàòü ó÷àñòèå â ÷åì-ëèáî, áûòü îñâåäîìëåííûì î ÷åì-ëèáî) and didn’t know much about it (è ìàëî ÷òî çíàþ: «è íå çíàþ ìíîãîãî» î íåì).”“Well, continue your narrative, Mr. Hardman (÷òî æ, ïðîäîëæàéòå ñâîé ðàññêàç, ìèñòåð Õàðäìàí; to narrate — ðàññêàçûâàòü, ïîâåñòâîâàòü; narrative — ðàññêàç, ïîâåñòü; èçëîæåíèå /ôàêòîâ, ñîáûòèé/, ïîâåñòâîâàíèå).” believe [bI'li:v] inquiring [In'kwaI(q)rIN] narrative ['nxrqtIv] Ah, but we have reason to believe that this crime is connected with the Armstrong case.”Mr. Hardman cocked an inquiring eye. Poirot did not respond. The American shook his head.“I can’t call to mind anybody answering that description in the Armstrong case,” he said slowly. “But of course I wasn’t in it and didn’t know much about it.”“Well, continue your narrative, Mr. Hardman.” “There’s very little to tell (ðàññêàçûâàòü îñîáî íå÷åãî: «î÷åíü ìàëî»). I got my sleep in the daytime (ÿ ïîñïàë äíåì; sleep — ñîí; to get some sleep — âçäðåìíóòü, ñîñíóòü) and stayed awake on the watch at night (à íî÷üþ íå ñïàë: «îñòàâàëñÿ áîäðñòâóþùèì» è êàðàóëèë; to stay — îñòàâàòüñÿ, íå óõîäèòü; ïðåáûâàòü, îñòàâàòüñÿ /â êàêîì-ëèáî ñîñòîÿíèè èëè ïîëîæåíèè/; watch — ïðèñòàëüíîå íàáëþäåíèå; âûñìàòðèâàíèå; äåæóðñòâî). Nothing suspicious happened the first night (â ïåðâóþ íî÷ü íå ïðîèçîøëî íè÷åãî ïîäîçðèòåëüíîãî). Last night was the same (òî æå ñàìîå è ïðîøëîé íî÷üþ), as far as I was concerned (êàê ìíå ïîêàçàëîñü: «÷òî êàñàåòñÿ ìåíÿ»; to concern — êàñàòüñÿ /â ðàññêàçå/, îïèñûâàòü; êàñàòüñÿ, èìåòü êàñàòåëüñòâî, îòíîøåíèå). I had my door a little ajar (äâåðü ó ìåíÿ áûëà ÷óòü ïðèîòêðûòà; ajar — ïðèîòêðûòûé, íåïëîòíî çàêðûòûé) and watched (è ÿ ñìîòðåë/âåë íàáëþäåíèå). No stranger passed (íèêòî ïîñòîðîííèé íå ïðîõîäèë; stranger — íåçíàêîìåö; ïîñòîðîííèé ÷åëîâåê).”“You are sure of that, Mr. Hardman (âû â ýòîì óâåðåíû, ìèñòåð Õàðäìàí)?”“I’m plumb certain (ÿ àáñîëþòíî óâåðåí; plumb — îòâåñ; ïðÿìîé; àáñîëþòíûé; ýìîö.-óñèë. ñîâåðøåííî, îêîí÷àòåëüíî, ñîâñåì). Nobody got on that train from outside (íèêòî íå çàáèðàëñÿ â ïîåçä ñíàðóæè), and nobody came along the train (è íèêòî íå ïðèõîäèë /â âàãîí/) from the rear carriages (èç çàäíèõ âàãîíîâ). I’ll take my oath on that (ÿ ãîòîâ â ýòîì ïîêëÿñòüñÿ; to take an oath — äàòü êëÿòâó, ïîêëÿñòüñÿ; oath — êëÿòâà, ïðèñÿãà).” suspicious [sq'spISqs] ajar [q'dZQ:] plumb [plAm] oath [qVT] “There’s very little to tell. I got my sleep in the daytime and stayed awake on the watch at night. Nothing suspicious happened the first night. Last night was the same, as far as I was concerned. I had my door a little ajar and watched. No stranger passed.”“You are sure of that, Mr. Hardman?”“I’m plumb certain. Nobody got on that train from outside, and nobody came along the train from the rear carriages. I’ll take my oath on that.” “Could you see the conductor from your position (âû ìîãëè âèäåòü ïðîâîäíèêà ñ âàøåé ïîçèöèè)?”“Sure (êîíå÷íî). He sits on that little seat (îí ñèäèò íà òîì ìàëåíüêîì ñòóëü÷èêå) almost flush with my door (ïî÷òè ÷òî âïðèòûê ñ ìîåé äâåðüþ; flush — âïëîòíóþ).”“Did he leave that seat at all (îí âñåãäà ñèäåë: «ïîêèäàë ëè îí» íà ñâîåì ìåñòå) after the train stopped at Vincovci (ïîñëå òîãî, êàê ïîåçä îñòàíàâëèâàëñÿ â Âèíêîâöàõ)?”“That was the last station (ýòî ïîñëåäíÿÿ îñòàíîâêà)? Why, yes, he answered a couple of bells (êàê æå, äà, îí îòçûâàëñÿ íà ïàðó çâîíêîâ; to answer — îòâå÷àòü; îòêëèêàòüñÿ, ðåàãèðîâàòü) — that would be just after the train came to a halt for good (ýòî áûëî êàê ðàç ïîñëå òîãî, êàê ïîåçä îêîí÷àòåëüíî âñòàë; halt — îñòàíîâêà, ïðèâàë; to come (came, come) to a halt — îñòàíîâèòüñÿ; for good — íàâñåãäà, îêîí÷àòåëüíî). Then, after that, he went past me (çàòåì, ïîñëå ýòîãî, îí ïðîøåë ìèìî ìåíÿ) into the rear coach (â çàäíèé âàãîí) — was there about a quarter of an hour (ïðîáûë òàì îêîëî ÷åòâåðòè ÷àñà). There was a bell ringing like mad (/ïîòîì/ êàêîé-òî çâîíîê çàçâåíåë ÷òî áûëî ñèë; mad — ñóìàñøåäøèé, ïîìåøàííûé; like mad — êàê áåçóìíûé; ðàçã. èçî âñåõ ñèë; îò âñåé äóøè; ñ ýíòóçèàçìîì) and he came back running (è îí áåãîì âåðíóëñÿ íàçàä). I stepped out into the corridor to see (ÿ øàãíóë â êîðèäîð, ÷òîáû ïîãëÿäåòü; to step — øàãàòü, ñòóïàòü) what it was all about (èç-çà ÷åãî øóì-òî: «â ÷åì áûëî äåëî») — felt a mite nervous, you understand (íåìíîæå÷êî âñòðåâîæèëñÿ: «÷óâñòâîâàë ñåáÿ ÷óòî÷êó îáåñïîêîåííûì», âû æå ïîíèìàåòå; mite — èñò. ïîëóøêà, ãðîø; ðàçã. ÷óòî÷êà, êàïåëüêà) — but it was only the American dame (íî ýòî áûëà âñåãî ëèøü òà àìåðèêàíêà). almost ['O:lmqVst] quarter ['kwO:tq] nervous ['nq:vqs] “Could you see the conductor from your position?”“Sure. He sits on that little seat almost flush with my door.”“Did he leave that seat at all after the train stopped at Vincovci?”“That was the last station? Why, yes, he answered a couple of bells — that would be just after the train came to a halt for good. Then, after that, he went past me into the rear coach — was there about a quarter of an hour. There was a bell ringing like mad and he came back running. I stepped out into the corridor to see what it was all about — felt a mite nervous, you understand — but it was only the American dame. She was raising hell (îíà óñòðîèëà ñêàíäàë; to raise hell — óñòðîèòü ñêàíäàë, ïîäíÿòü øóì; to raise — ïîäíèìàòü; íà÷èíàòü, ïîäíèìàòü, çàòåâàòü; hell — àä, ïðåèñïîäíÿÿ) about something or other (èç-çà òîãî èëè äðóãîãî = èç-çà ÷åãî-òî), I grinned (ÿ /òîëüêî/ óõìûëüíóëñÿ). Then he went on to another compartment and came back (çàòåì îí ïîøåë ê äðóãîìó êóïå è âåðíóëñÿ) and got a bottle of mineral water for someone (è îòíåñ êîìó-òî áóòûëêó ìèíåðàëüíîé âîäû; to get (got) — äîñòàâàòü; äîñòàâàòü è ïðèíîñèòü). After that he settled down in his seat (ïîñëå ýòîãî îí óñåëñÿ íà ñâîå ìåñòî; to settle down — ïîñåëÿòüñÿ; óñòðàèâàòüñÿ, óñàæèâàòüñÿ) till he went up to the far end (ïîêà íå ïîøåë â äàëüíèé êîíåö /âàãîíà/) to make somebody’s bed up (÷òîáû ïîñòåëèòü êîìó-òî ïîñòåëü). I don’t think he stirred after that (íå äóìàþ, ÷òî ïîñëå ýòîãî îí ïîøåâåëèëñÿ; to stir — øåâåëèòü(ñÿ), äâèãàòü(ñÿ)) until about five o’clock this morning (äî ïÿòè ÷àñîâ óòðà).”“Did he doze off at all (îí /êîãäà-íèáóäü/ äðåìàë)?”“That I can’t say (íå ìîãó ñêàçàòü). He may have (âîçìîæíî /äðåìàë/).”Poirot nodded (Ïóàðî êèâíóë). Automatically his hands straightened the papers on the table (åãî ðóêè íåïðîèçâîëüíî/ìåõàíè÷åñêè ïðèâîäèëè â ïîðÿäîê áóìàãè íà ñòîëå; to straighten — âûïðÿìëÿòü, ðàñïðàâëÿòü; âûïðàâëÿòü, ïðèâîäèòü â ïîðÿäîê). He picked up the official card once more (îí åùå ðàç âçÿë â ðóêè âèçèòíóþ êàðòî÷êó; to pick up — ïîäíèìàòü, ïîäáèðàòü, official — ñëóæåáíûé, äîëæíîñòíîé; îôèöèàëüíûé). grin [grIn] stir [stq:] straighten ['streItn] official [q'fIS(q)l] She was raising hell about something or other, I grinned. Then he went on to another compartment and came back and got a bottle of mineral water for someone. After that he settled down in his seat till he went up to the far end to make somebody’s bed up. I don’t think he stirred after that until about five o’clock this morning.”“Did he doze off at all?”“That I can’t say. He may have.”Poirot nodded. Automatically his hands straightened the papers on the table. He picked up the official card once more. “Be so good as just to initial this (áóäüòå òàê äîáðû/ëþáåçíû, ïîñòàâüòå çäåñü ñâîè èíèöèàëû),” he said.The other complied (Õàðäìàí ðàñïèñàëñÿ: «äðóãîé /ìóæ÷èíà/ ïîä÷èíèëñÿ»; to comply — èñïîëíÿòü, ïîä÷èíÿòüñÿ).“There is no one, I suppose, who can confirm (íåò íèêîãî, ÿ ïîëàãàþ, êòî ìîã áû ïîäòâåðäèòü) your story of your identity, Mr. Hardman (âàøè ñëîâà îòíîñèòåëüíî âàøåé ëè÷íîñòè, ìèñòåð Õàðäìàí; story — ïîâåñòü, ðàññêàç; çàÿâëåíèå, ÷òî-ëèáî ñêàçàííîå)?”“On this train (â ýòîì ïîåçäå)? Well, not exactly (íàâðÿä ëè). Unless it might be young MacQueen (ðàçâå òîëüêî ìîëîäîé Ìàêêóèí). I know him well enough (ÿ åãî äîñòàòî÷íî õîðîøî çíàþ) — I’ve seen him in his father’s office in New York (ÿ âèäåë/âñòðå÷àë åãî â îôèñå åãî îòöà; office — ñëóæáà, ìåñòî, äîëæíîñòü; êîíòîðà, îôèñ, êàíöåëÿðèÿ). But that’s not to say he’ll remember me (íî íå ìîãó ñêàçàòü, âñïîìíèò ëè îí ìåíÿ) from a crowd of other operatives (èç ìíîæåñòâà äðóãèõ ñûùèêîâ; crowd — òîëïà; ìíîæåñòâî, ìàññà). No, Mr. Poirot, you’ll have to wait and cable New York (íåò, ìèñòåð Ïóàðî, âàì ïðèäåòñÿ ïîäîæäàòü è òåëåãðàôèðîâàòü â Íüþ-Éîðê; cable — êàíàò, òðîñ, êàáåëü; to cable — òåëåãðàôèðîâàòü /ïî ïîäâîäíîìó êàáåëþ/) when the snow lets up (êîãäà ìû âûáåðåìñÿ îòñþäà: «êîãäà ñíåã äàñò íàì åõàòü»; to let up — îñëàáåâàòü, ñõîäèòü íà íåò). But it’s O.K. (íî ýòî ïðàâäà = íî íå áåñïîêîéòåñü; O.K. — âñå â ïîðÿäêå, õîðîøî, ïðàâèëüíî) I’m not telling the tale (ÿ íå ëãó; tale — ðàññêàç, èñòîðèÿ; ðàçã. ñïëåòíè, âûäóìêè, âðàêè, ñêàçêè, ëîæü). Well, so long, gentlemen (÷òî æ, ïîêà/óâèäèìñÿ, ãîñïîäà). Pleased to have met you, Mr. Poirot (ðàä áûë ñ âàìè ïîçíàêîìèòüñÿ, ìèñòåð Ïóàðî; to meet (met) — âñòðå÷àòü; çíàêîìèòüñÿ).” initial [I'nIS(q)l] comply [kqm'plaI] enough [I'nAf] crowd [kraVd] “Be so good as just to initial this,” he said.The other complied.“There is no one, I suppose, who can confirm your story of your identity, Mr. Hardman?”“On this train? Well, not exactly. Unless it might be young MacQueen. I know him well enough — I’ve seen him in his father’s office in New York. But that’s not to say he’ll remember me from a crowd of other operatives. No, Mr. Poirot, you’ll have to wait and cable New York when the snow lets up. But it’s O.K. I’m not telling the tale. Well, so long, gentlemen. Pleased to have met you, Mr. Poirot.” Poirot proffered his cigarette case (Ïóàðî ïðåäëîæèë /åìó/ ñâîé ïîðòñèãàð; case — ÿùèê, êîðîáêà; ôóòëÿð). “But perhaps you prefer a pipe (èëè, âîçìîæíî, âû ïðåäïî÷èòàåòå òðóáêó)?”“Not me (/òîëüêî/ íå ÿ).” He helped himself (îí âçÿë ñèãàðåòó; to help — ïîìîãàòü; to help oneself to smth. — óãîùàòüñÿ ÷åì-ëèáî; áðàòü ñåáå /êóøàíüå, íàïèòîê è ò.ï./), then strode briskly off (ïîñëå ÷åãî óäàëèëñÿ áîäðûì øàãîì; to stride (strode, stridden) — øàãàòü /áîëüøèìè øàãàìè/; brisk — æèâîé, ïðîâîðíûé).The three men looked at each other (òðîå ìóæ÷èí ïåðåãëÿíóëèñü: «âçãëÿíóëè äðóã íà äðóãà»).“You think he is genuine (âû äóìàåòå, îí äåéñòâèòåëüíî ñûùèê: «îí íàñòîÿùèé»; genuine — ïîäëèííûé, èñòèííûé, íàñòîÿùèé)?” asked Dr. Constantine.“Yes, yes. I know the type (ÿ çíàþ ýòîò òèï; type — òèï, òèïè÷íûé îáðàçåö èëè ïðåäñòàâèòåëü /÷åãî-ëèáî/). Besides, it is a story that would be very easy to disprove (êðîìå òîãî, ýòó èñòîðèþ ìîæíî áóäåò î÷åíü ëåãêî îïðîâåðãíóòü).”“He has given us (îí äàë íàì) a piece of very interesting evidence (î÷åíü èíòåðåñíûå ïîêàçàíèÿ; piece — êóñîê, ÷àñòü),” said M. Bouc.“Yes, indeed (íåñîìíåííî).”“A small man (ìóæ÷èíà íåâûñîêîãî ðîñòà) — dark (ñìóãëûé) — with a high-pitched voice (ñ ïèñêëÿâûì ãîëîñîì; high-pitched — âûñîêèé, ïðîíçèòåëüíûé /î çâóêå/; pitch — áðîñîê; âûñîòà /òîíà, çâóêà/),” said M. Bouc thoughtfully (çàäóì÷èâî ñêàçàë ìñüå Áóê).“A description which applies to no one on the train (îïèñàíèå, êîòîðîå íå ïîäõîäèò íè ê êîìó â ïîåçäå; to apply — îáðàùàòüñÿ ñ ïðîñüáîé; ïðèìåíÿòü, áûòü ïðèìåíèìûì; êàñàòüñÿ, îòíîñèòüñÿ),” said Poirot.

 






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