Ñòóäîïåäèÿ.Îðã Ãëàâíàÿ | Ñëó÷àéíàÿ ñòðàíèöà | Êîíòàêòû | Ìû ïîìîæåì â íàïèñàíèè âàøåé ðàáîòû!  
 

Àíãëèéñêèé ÿçûê ñ Àãàòîé Êðèñòè 21 ñòðàíèöà



“You do not answer, Mademoiselle (âû íå îòâå÷àåòå, ìàäåìóàçåëü)?”“I am sorry (èçâèíèòå). I did not know that there was anything to answer (ÿ íå çíàëà, ÷òî íàäî ÷òî-íèáóäü îòâå÷àòü: «÷òî åñòü ÷òî-òî, ÷òî íàäî ñêàçàòü â îòâåò»).”“Your change of attitude, Mademoiselle (âàøà ïåðåìåíà îòíîøåíèÿ, ìàäåìóàçåëü = /êàê âû îáúÿñíèòå/ òàêóþ ïåðåìåíó âàøåãî îòíîøåíèÿ /ê çàäåðæêå ïîåçäà/, ìàäåìóàçåëü; attitude — ïîçèöèÿ, îòíîøåíèå).”“Don’t you think that you are making rather a fuss about nothing, M. Poirot (âàì íå êàæåòñÿ, ÷òî âû ïîäíèìàåòå ñòîëüêî øóìó èç íè÷åãî, ìñüå Ïóàðî; fuss — íåðâíîå, âîçáóæäåííîå ñîñòîÿíèå; ñóåòà, ñóìàòîõà; to make a fuss — ïîäíèìàòü øóì, ñóåòèòüñÿ)?”Poirot spread out his hands in an apologetic gesture (Ïóàðî ðàçâåë ðóêàìè, ñëîâíî èçâèíÿÿñü: «â îïðàâäûâàþùåìñÿ æåñòå»; to spread (spread) — ðàñïðîñòðàíÿòü /ïî ïîâåðõíîñòè/; ðàçâîäèòü, ðàçäâèãàòü). betray [bI'treI] impatience [Im'peIS(q)ns] philosophical ["fIlq'sOfIk(q)l] attitude ['xtItju:d] apologetic [q"pOlq'dZetIk] “And yet, Mademoiselle, this time your manner is quite different. You no longer betray the impatience. You are calm and philosophical.”Mary Debenham flushed and bit her lip. She no longer felt inclined to smile.“You do not answer, Mademoiselle?”“I am sorry. I did not know that there was anything to answer.”“Your change of attitude, Mademoiselle.”“Don’t you think that you are making rather a fuss about nothing, M. Poirot?”Poirot spread out his hands in an apologetic gesture. “It is perhaps a fault with us detectives (âîçìîæíî, ýòî íàø, ñûùèêîâ, íåäîñòàòîê). We expect the behaviour to be always consistent (íàì êàæåòñÿ: «ìû îæèäàåì», ÷òî /÷åëîâåê/ âåäåò ñåáÿ âñåãäà îäèíàêîâî; to expect — îæèäàòü; ðàññ÷èòûâàòü; ðàçã. ïðåäïîëàãàòü; behaviour — ïîâåäåíèå, ïîñòóïêè; consistent — ñîâìåñòèìûé, ñîîáðàçíûé; ïîñëåäîâàòåëüíûé). We do not allow for changes of mood (ìû íå ó÷èòûâàåì: «äîïóñêàåì» ïåðåìåíû íàñòðîåíèÿ; to allow /for/ — ïîçâîëÿòü, ðàçðåøàòü; ïðåäóñìàòðèâàòü, ïðèíèìàòü âî âíèìàíèå).”Mary Debenham made no reply (Ìýðè Äåáåíõýì íå îòâåòèëà; reply — îòâåò).“You know Colonel Arbuthnot well, Mademoiselle (âû õîðîøî çíàåòå ïîëêîâíèêà Àðáýòíîòà, ìàäåìóàçåëü)?”He fancied (åìó ïîêàçàëîñü; to fancy — âîîáðàæàòü, ïðåäñòàâëÿòü ñåáå) that she was relieved by the change of subject (÷òî îíà îáðàäîâàëàñü ïåðåìåíå òåìû; to relieve — îáëåã÷àòü, îñëàáëÿòü; óñïîêàèâàòü, óòåøàòü).“I met him for the first time on this journey (âïåðâûå ÿ ñ íèì ïîçíàêîìèëàñü â ýòîì ïóòåøåñòâèè).”“Have you any reason to suspect that he may have known this man Ratchett (åñòü ëè ó âàñ êàêàÿ-ëèáî ïðè÷èíà ïîäîçðåâàòü, ÷òî îí ìîã áû çíàòü ýòîãî Ðýò÷åòòà)?”She shook her head decisively (îíà ðåøèòåëüíî ïîêà÷àëà ãîëîâîé; decisive — îêîí÷àòåëüíûé, ðåøàþùèé; ðåøèòåëüíûé, èñïîëíåííûé ðåøèìîñòè). “I am quite sure he didn’t (ÿ ñîâåðøåííî óâåðåíà, ÷òî îí íå /çíàë åãî/).” fault [fO:lt] behaviour [bI'heIvIq] consistent [kqn'sIst(q)nt] relieve [rI'li:v] decisively [dI'saIsIvlI] “It is perhaps a fault with us detectives. We expect the behaviour to be always consistent. We do not allow for changes of mood.”Mary Debenham made no reply.“You know Colonel Arbuthnot well, Mademoiselle?”He fancied that she was relieved by the change of subject.“I met him for the first time on this journey.”“Have you any reason to suspect that he may have known this man Ratchett?”She shook her head decisively. “I am quite sure he didn’t.” “Why are you sure (ïî÷åìó âû /òàê/ óâåðåíû)?”“By the way he spoke (ïî òîìó, êàê îí ãîâîðèë).”“And yet, Mademoiselle, we found a pipe-cleaner on the floor of the dead man’s compartment (è âñå æå, ìàäåìóàçåëü, ìû íàøëè åðøèê äëÿ ÷èñòêè òðóáîê íà ïîëó â êóïå óáèòîãî: «óìåðøåãî ìóæ÷èíû»). And Colonel Arbuthnot is the only man on the train who smokes a pipe (à ïîëêîâíèê Àðáýòíîò — åäèíñòâåííûé ìóæ÷èíà â ïîåçäå, êîòîðûé êóðèò òðóáêó).”He watched her narrowly (îí ïðèñòàëüíî íàáëþäàë çà íåé; narrow — óçêèé, òåñíûé; òùàòåëüíûé, òî÷íûé), but she displayed neither surprise nor emotion (íî îíà íå ïðîÿâèëà íè óäèâëåíèÿ, íè äóøåâíîãî âîëíåíèÿ; to display — ïîêàçûâàòü, äåìîíñòðèðîâàòü; ïðîÿâëÿòü; emotion — ÷óâñòâî, ýìîöèÿ; äóøåâíîå âîëíåíèå, âîçáóæäåíèå), merely said (ïðîñòî ñêàçàëà):“Nonsense (âçäîð). It’s absurd (ýòî íåëåïî). Colonel Arbuthnot is the last man in the world (ïîëêîâíèê Àðáýòíîò ýòî ñàìûé íåïîäõîäÿùèé ÷åëîâåê âî âñåì ìèðå; last — ïîñëåäíèé; ñàìûé íåïîäõîäÿùèé, ñàìûé íåæåëàòåëüíûé èëè íåîæèäàííûé) to be mixed up in a crime (÷òîáû áûòü çàìåøàííûì â ïðåñòóïëåíèè; to mix — ñìåøèâàòü, ìåøàòü; /up in/ âïóòûâàòü) — especially a theatrical kind of crime like this (îñîáåííî â òàêîì òåàòðàëüíîì ïðåñòóïëåíèè, êàê ýòî; theatrical — òåàòðàëüíûé, ñöåíè÷åñêèé; íååñòåñòâåííûé, íàïûùåííûé, ïîêàçíîé).” narrowly ['nxrqVlI] neither ['naIDq] absurd [qb'sq:d] theatrical [TI'xtrIk(q)l] “Why are you sure?”“By the way he spoke.”“And yet, Mademoiselle, we found a pipe-cleaner on the floor of the dead man’s compartment. And Colonel Arbuthnot is the only man on the train who smokes a pipe.”He watched her narrowly, but she displayed neither surprise nor emotion, merely said:“Nonsense. It’s absurd. Colonel Arbuthnot is the last man in the world to be mixed up in a crime — especially a theatrical kind of crime like this.” It was so much what Poirot himself thought (ýòî áûëî òàê ïîõîæå íà òî, ÷òî äóìàë ñàì Ïóàðî) that he found himself on the point of agreeing with her (÷òî îí óæå ñîáèðàëñÿ ñîãëàñèòüñÿ ñ íåé; to find oneself doing smth. — ñäåëàòü ÷òî-ëèáî íåîæèäàííî äëÿ ñåáÿ; to be on the point of doing smth. — ñîáèðàòüñÿ ÷òî-ëèáî ñäåëàòü; point — òî÷êà; ïîðîã, êðàé, ãðàíü). He said instead (âìåñòî ýòîãî îí ñêàçàë):“I must remind you that you do not know him very well, Mademoiselle (ÿ äîëæåí âàì íàïîìíèòü, ÷òî âû íå î÷åíü õîðîøî åãî çíàåòå, ìàäåìóàçåëü).”She shrugged her shoulders (îíà ïîæàëà ïëå÷àìè). “I know the type well enough (ÿ çíàþ ýòîò òèï ëþäåé äîñòàòî÷íî õîðîøî; type — òèï, òèïè÷íûé îáðàçåö èëè ïðåäñòàâèòåëü /÷åãî-ëèáî/).”He said very gently (îí ñêàçàë î÷åíü ìÿãêî/ëàñêîâî):“You still refuse to tell me the meaning of those words (âû âñå åùå îòêàçûâàåòåñü îáúÿñíèòü: «ðàññêàçàòü» ìíå çíà÷åíèå òåõ ñëîâ): ‘When it’s behind us (êîãäà ýòî áóäåò ïîçàäè /íàñ/)’?” enough [I'nAf] gently ['dZentlI] refuse [rI'fju:z] It was so much what Poirot himself thought that he found himself on the point of agreeing with her. He said instead:“I must remind you that you do not know him very well, Mademoiselle.”She shrugged her shoulders. “I know the type well enough.”He said very gently:“You still refuse to tell me the meaning of those words: ‘When it’s behind us’?” She replied coldly (îíà õîëîäíî îòâåòèëà), “I have nothing more to say (ìíå áîëüøå íå÷åãî ñêàçàòü).”“It does not matter (ýòî íå èìååò çíà÷åíèÿ),” said Hercule Poirot. “I shall find out (ÿ óçíàþ /ñàì/).”He bowed and left the compartment, closing the door after him (îí ïîêëîíèëñÿ è âûøåë èç êóïå, çàêðûâ çà ñîáîé äâåðü).“Was that wise, my friend (áûëî ëè ýòî áëàãîðàçóìíî, ìîé äðóã; wise — ìóäðûé, óìóäðåííûé; áëàãîðàçóìíûé, çäðàâîìûñëÿùèé)?” asked M. Bouc. “You have put her on her guard (âû çàñòàâèëè åå íàñòîðîæèòüñÿ åå; guard — îõðàíà, ñòðàæà; îñòîðîæíîñòü, îñìîòðèòåëüíîñòü, áäèòåëüíîñòü; to put smb. on one’s guard — çàñòàâèòü êîãî-ëèáî íàñòîðîæèòüñÿ) — and through her, you have put the Colonel on his guard also (è ÷åðåç íåå âû òàêæå çàñòàâèëè íàñòîðîæèòüñÿ è ïîëêîâíèêà; through — çä. óêàçûâàåò íà ïîñðåäíèêà — ÷åðåç).”“ Mon ami, if you wish to catch a rabbit you put a ferret into the hole (ôð. äðóã ìîé, åñëè õî÷åøü ïîéìàòü êðîëèêà, òî çàïóñêàåøü â íîðó õîðüêà; hole — äûðà, îòâåðñòèå; íîðà, áåðëîãà, ëîãîâî), and if the rabbit is there (è åñëè êðîëèê òàì = â íîðå) — he runs (òî îí ïîáåæèò). That is all I have done (èìåííî ýòî ÿ è ñäåëàë).” guard [gQ:d] rabbit ['rxbIt] ferret ['ferIt] She replied coldly, “I have nothing more to say.”“It does not matter,” said Hercule Poirot. “I shall find out.”He bowed and left the compartment, closing the door after him.“Was that wise, my friend?” asked M. Bouc. “You have put her on her guard — and through her, you have put the Colonel on his guard also.”“ Mon ami, if you wish to catch a rabbit you put a ferret into the hole, and if the rabbit is there — he runs. That is all I have done.” They entered the compartment of Hildegarde Schmidt (îíè âîøëè â êóïå Õèëüäåãàðäû Øìèäò).The woman was standing in readiness (æåíùèíà ñòîÿëà, ãîòîâàÿ /ê îáûñêó/; in readiness — â ãîòîâíîñòè, íàãîòîâå), her face respectful but unemotional (åå ëèöî áûëî ïî÷òèòåëüíûì, íî áåññòðàñòíûì).Poirot took a quick glance through the contents of the small case on the seat (Ïóàðî áåãëî ïðîñìîòðåë ñîäåðæèìîå ìàëåíüêîãî ÷åìîäàí÷èêà íà ñèäåíèè). Then he motioned to the attendant to get down the bigger suitcase from the rack (çàòåì îí çíàêîì ïîêàçàë ïðîâîäíèêó, ÷òîáû òîò ñïóñòèë âíèç áîëüøèé ÷åìîäàí ñ ïîëêè;; motion — äâèæåíèå; òåëîäâèæåíèå, æåñò; to motion — ïîêàçàòü æåñòîì, çíàêîì).“The keys (êëþ÷è)?” he said.“It is not locked, Monsieur (îí íå çàïåðò, ìñüå).” readiness ['redInIs] respectful [rI'spektf(q)l] unemotional ["AnI'mqVS(q)nql] They entered the compartment of Hildegarde Schmidt.The woman was standing in readiness, her face respectful but unemotional.Poirot took a quick glance through the contents of the small case on the seat. Then he motioned to the attendant to get down the bigger suitcase from the rack.“The keys?” he said.“It is not locked, Monsieur.” Poirot undid the hasps (Ïóàðî ðàññòåãíóë çàñòåæêè; to undo (undid, undone) — ðàçâÿçûâàòü, ðàññòåãèâàòü; hasp — çàïîð, çàñîâ; çàñòåæêà /àëüáîìà, ÷åìîäàíà è ò.ï./) and lifted the lid (è ïîäíÿë êðûøêó).“Aha!” he said, and turning to M. Bouc (è, îáðàùàÿñü ê ìñüå Áóêó, ñêàçàë), “You remember what I said (ïîìíèòå, ÷òî ÿ /âàì/ ãîâîðèë)? Look here a little moment (âçãëÿíèòå-êà ñþäà /íà ìèíóòêó/)!”On the top of the suitcase was a hastily rolled-up (íà ñàìîì âåðõó ÷åìîäàíà ëåæàëà ïîñïåøíî ñêîìêàííàÿ; to roll up — ñêàòûâàòü, ñâåðòûâàòü) brown Wagon Lit uniform (êîðè÷íåâàÿ óíèôîðìà /ïðîâîäíèêà êîìïàíèè/ ñïàëüíûõ âàãîíîâ).The stolidity of the German woman underwent a sudden change (áåññòðàñòíîñòü íåìêè âíåçàïíî óëåòó÷èëàñü: «ïîäâåðãëàñü âíåçàïíîé ïåðåìåíå»; to undergo (underwent, undergone) — èñïûòûâàòü, ïåðåíîñèòü; ïîäâåðãàòüñÿ). hasp [hxsp] suitcase ['s(j)u:tkeIs] wagon-lit ["vxgOn'li:] underwent ["Andq'went] Poirot undid the hasps and lifted the lid.“Aha!” he said, and turning to M. Bouc, “You remember what I said? Look here a little moment!”On the top of the suitcase was a hastily rolled-up brown Wagon Lit uniform.The stolidity of the German woman underwent a sudden change. “Ach!” she cried (çàêðè÷àëà îíà). “That is not mine (ýòî íå ìîå). I did not put it there (ÿ åå òóäà íå êëàëà). I have never looked in that case (ÿ íè ðàçó íå çàãëÿäûâàëà â ýòîò ÷åìîäàí; never — íèêîãäà; íè ðàçó) since we left Stamboul (ñ òîãî ìîìåíòà, êîãäà ìû âûåõàëè èç Ñòàìáóëà). Indeed, indeed, it is true (êîíå÷íî æå, êîíå÷íî, ýòî ïðàâäà; indeed — â äåéñòâèòåëüíîñòè, ôàêòè÷åñêè; /óñèëåíèå/ áåçóñëîâíî, êîíå÷íî)!” She looked from one to another of the men pleadingly (îíà óìîëÿþùå ñìîòðåëà òî íà îäíîãî ìóæ÷èíó, òî íà äðóãîãî; to plead — þð. âûñòóïàòü â ñóäå; ïðèçûâàòü, ïðîñèòü, óìîëÿòü).Poirot took her gently by the arm and soothed her (Ïóàðî ëàñêîâî âçÿë åå çà ðóêó è /ñòàë/ óòåøàòü åå).“No, no, all is well (íåò, âñå â ïîðÿäêå; well — çäîðîâûé; õîðîøèé, â óäîâëåòâîðèòåëüíîì ñîñòîÿíèè). We believe you (ìû âåðèì âàì). Do not be agitated (íå âîëíóéòåñü; to agitate — âîëíîâàòü, âîçáóæäàòü). I am sure you did not hide the uniform there (ÿ óâåðåí, ÷òî âû íå ïðÿòàëè òàì ýòîé óíèôîðìû) as I am sure that you are a good cook (òàê æå, êàê ÿ óâåðåí â òîì, ÷òî âû õîðîøàÿ êóõàðêà). See (ïîíÿòíî; to see — âèäåòü; ïîíèìàòü, ñîçíàâàòü). You are a good cook, are you not (âû õîðîøàÿ êóõàðêà, íå òàê ëè)?” pleadingly ['pli:dINlI] soothe [su:D] agitated ['xdZIteItId] uniform ['ju:nIfO:m] “Ach!” she cried. “That is not mine. I did not put it there. I have never looked in that case since we left Stamboul. Indeed, indeed, it is true!” She looked from one to another of the men pleadingly.Poirot took her gently by the arm and soothed her.“No, no, all is well. We believe you. Do not be agitated. I am sure you did not hide the uniform there as I am sure that you are a good cook. See. You are a good cook, are you not?” Bewildered, the woman smiled in spite of herself (ñìóùåííàÿ/îçàäà÷åííàÿ, æåíùèíà íåâîëüíî: «íåñìîòðÿ íà ñåáÿ» óëûáíóëàñü), “Yes, indeed, all my ladies have said so (äà, êîíå÷íî, âñå ìîè õîçÿéêè òàê ãîâîðèëè; lady — ëåäè, äàìà, ãîñïîæà; õîçÿéêà). I — ”She stopped, her mouth open (îíà çàìîë÷àëà, îòêðûëà ðîò: «åå ðîò îòêðûòûé»; to stop — îñòàíàâëèâàòü, çàäåðæèâàòü; îñòàíàâëèâàòüñÿ, çàìîëêàòü), looking frightened again (è ñíîâà ñòàëà âûãëÿäåòü èñïóãàííîé).“No, no,” said Poirot. “I assure you all is well (óâåðÿþ âàñ, âñå â ïîðÿäêå). See, I will tell you how this happened (ïîñëóøàéòå, ÿ âàì ðàññêàæó, êàê ýòî ñëó÷èëîñü). This man, the man you saw in Wagon Lit uniform, comes out of the dead man’s compartment (ýòîò ìóæ÷èíà, òîò ñàìûé ìóæ÷èíà, êîòîðîãî âû âèäåëè â óíèôîðìå /ïðîâîäíèêà/ ñïàëüíûõ âàãîíîâ, âûõîäèò èç êóïå óáèòîãî). He collides with you (îí ñòàëêèâàåòñÿ ñ âàìè). That is bad luck for him (åìó íå ïîâåçëî; bad luck — íåóäà÷à, íåâåçåíèå; luck — ñóäüáà, ñëó÷àé; ñ÷àñòüå, óäà÷à, óñïåõ). He has hoped that no one will see him (îí íàäåÿëñÿ, ÷òî åãî íèêòî íå óâèäèò). What to do next (÷òî æå äåëàòü /äàëüøå /; next — ïîòîì, çàòåì, ïîñëå)? He must get rid of his uniform (îí äîëæåí èçáàâèòüñÿ îò ýòîé óíèôîðìû; to rid — îñâîáîæäàòü, èçáàâëÿòü; to get rid of smth., smb. — îòäåëàòüñÿ, èçáàâèòüñÿ /îò ÷åãî-ëèáî, êîãî-ëèáî/). It is now not a safeguard (òåïåðü ýòî óæå íå ãàðàíòèÿ /áåçîïàñíîñòè/; safeguard — ãàðàíòèÿ, îõðàíà, ìåðà ïðåäîñòîðîæíîñòè), but a danger (à, íàîáîðîò, óãðîçà /ðàçîáëà÷åíèÿ/; danger — îïàñíîñòü; óãðîçà).” bewildered [bI'wIldqd] frightened ['fraItnd] collide [kq'laId] safeguard ['seIfgQ:d] danger ['deIndZq] Bewildered, the woman smiled in spite of herself, “Yes, indeed, all my ladies have said so. I — ”She stopped, her mouth open, looking frightened again.“No, no,” said Poirot. “I assure you all is well. See, I will tell you how this happened. This man, the man you saw in Wagon Lit uniform, comes out of the dead man’s compartment. He collides with you. That is bad luck for him. He has hoped that no one will see him. What to do next? He must get rid of his uniform. It is now not a safeguard, but a danger.” His glance went to M. Bouc and Dr. Constantine, who were listening attentively (åãî âçãëÿä ïåðåøåë = îí âçãëÿíóë íà ìñüå Áóêà è äîêòîðà Êîíñòàíòèíà êîòîðûå âíèìàòåëüíî /åãî/ ñëóøàëè).“There is the snow, you see (ïîíèìàåòå, èäåò ñíåã: «âîò åñòü ñíåã»; you see — ïîíèìàåòå, âèäèòå ëè). The snow which confuses all his plans (ñíåã, êîòîðûé ïóòàåò âñå åãî ïëàíû; to confuse — ñìóùàòü, ïðèâîäèòü â çàìåøàòåëüñòâî; ñìåøèâàòü, çàïóòûâàòü). Where can he hide these clothes (ãäå æå îí ìîæåò ñïðÿòàòü ýòîò êîñòþì; clothes — îäåæäà, ïëàòüå)? All the compartments are full (âñå êóïå çàíÿòû; full — ïîëíûé, íàëèòûé äî êðàåâ; íàïîëíåííûé, çàïîëíåííûé). No, he passes one whose door is open (íåò, /òóò/ îí ïðîõîäèò ìèìî /êóïå/, äâåðü â êîòîðîå îòêðûòà), showing it to be unoccupied (îíî, ïî-âèäèìîìó, íå çàíÿòî; to show — ïîêàçûâàòü; ïðîÿâëÿòü, îáíàðóæèâàòü). It must be the one belonging to the woman with whom he has just collided (ýòî, äîëæíî áûòü, êóïå, ïðèíàäëåæàùåå òîé ñàìîé æåíùèíå, ñ êîòîðîé îí òîëüêî ÷òî ñòîëêíóëñÿ /â êîðèäîðå/; to belong — ïðèíàäëåæàòü, áûòü ñîáñòâåííîñòüþ). He slips in (îí ïðîêðàäûâàåòñÿ /â êóïå/; to slip — ñêîëüçèòü; ïëàâíî èëè áûñòðî ïåðåäâèãàòüñÿ; äâèãàòüñÿ òèõî èëè íåçàìåòíî), removes the uniform (ñíèìàåò ýòó ôîðìó; to remove — ïåðåäâèãàòü, ïåðåìåùàòü; ñíèìàòü) and jams it hurriedly into a suitcase on the rack (è ïîñïåøíî çàñîâûâàåò åå â ÷åìîäàí /ëåæàùèé/ íà ïîëêå; to jam — ñæèìàòü, ñäàâëèâàòü; çàãðîìîæäàòü, çàáèâàòü, íàáèâàòü áèòêîì). It may be some time before it is discovered (ìîæåò áûòü = âîçìîæíî, ïðîéäåò íåêîòîðîå âðåìÿ, ïðåæäå ÷åì åå /ôîðìó/ îáíàðóæàò; to discover — îòêðûâàòü, äåëàòü îòêðûòèå; îáíàðóæèâàòü, íàõîäèòü).” listening ['lIs(q)nIN] attentive [q'tentIv] confuse [kqn'fju:z] unoccupied [An'OkjVpaId] hurriedly ['hArIdlI] His glance went to M. Bouc and Dr. Constantine, who were listening attentively.“There is the snow, you see. The snow which confuses all his plans. Where can he hide these clothes? All the compartments are full. No, he passes one whose door is open, showing it to be unoccupied. It must be the one belonging to the woman with whom he has just collided. He slips in, removes the uniform and jams it hurriedly into a suitcase on the rack. It may be some time before it is discovered.” “And then (à ÷òî ïîòîì)?” said M. Bouc.“That we must discuss (ýòî ìû /åùå/ äîëæíû îáñóäèòü),” Poirot said with a warning glance (ñêàçàë Ïóàðî è ïðåäîñòåðåãàþùå âçãëÿíóë /íà íåãî/: «ñ ïðåäîñòåðåãàþùèì âçãëÿäîì»; to warn — ïðåäóïðåæäàòü; ïðåäîñòåðåãàòü).He held up the tunic (îí ïîäíÿë /ôîðìåííûé/ ïèäæàê; to hold (held) — äåðæàòü). A button, the third down, was missing (ïóãîâèöû, òðåòüåé ñíèçó, íåäîñòàâàëî). Poirot slipped his hand into the pocket and took out a conductor’s pass-key (Ïóàðî ñóíóë ðóêó â êàðìàí è âûòàùèë îáùèé êëþ÷ /êîòîðûì ïîëüçóþòñÿ/ ïðîâîäíèêè; pass-key — îáùèé êëþ÷ /îòêðûâàþùèé âñå çàìêè â ãîñòèíèöå, â âàãîíå è ò.ï./), used to unlock the doors of the compartments (êîòîðûé èñïîëüçóåòñÿ äëÿ îòêðûòèÿ äâåðåé /âñåõ/ êóïå; to unlock — îòêðûâàòü, îòïèðàòü /êëþ÷îì/).“Here is the explanation of how one man was able to pass through locked doors (âîò è îáúÿñíåíèå òîãî, êàê ýòîò ÷åëîâåê ìîã ïðîõîäèòü ñêâîçü çàêðûòûå äâåðè; to explain — îáúÿñíÿòü),” said M. Bouc. “Your questions to Mrs. Hubbard were unnecessary (âàøè âîïðîñû ìèññèñ Õàááàðä áûëè èçëèøíèìè; (un)necessary — (íå)íóæíûé). Locked or not locked (çàïåðòà ëè îíà /áûëà/ èëè íåò), the man could easily get through the communicating door (òîò ÷åëîâåê ìîã ëåãêî ïðîéòè ÷åðåç ñìåæíóþ äâåðü). After all, if a Wagon Lit uniform (â êîíöå êîíöîâ, åñëè /ó íåãî áûëà/ óíèôîðìà /ïðîâîäíèêà/ ñïàëüíûõ âàãîíîâ), why not a Wagon Lit key (ïî÷åìó áû åìó /íå èìåòü/ îáùåãî êëþ÷à /Êîìïàíèè ñïàëüíûõ âàãîíîâ/)?” warning ['wO:nIN] tunic ['tju:nIk] passkey ['pQ:ski:] unnecessary [An'nesqs(q)rI] “And then?” said M. Bouc.“That we must discuss,” Poirot said with a warning glance.He held up the tunic. A button, the third down, was missing. Poirot slipped his hand into the pocket and took out a conductor’s pass-key, used to unlock the doors of the compartments.“Here is the explanation of how one man was able to pass through locked doors,” said M. Bouc. “Your questions to Mrs. Hubbard were unnecessary. Locked or not locked, the man could easily get through the communicating door. After all, if a Wagon Lit uniform, why not a Wagon Lit key?” “Why not indeed (äåéñòâèòåëüíî, ïî÷åìó áû è íåò)?” returned Poirot (îòâåòèë Ïóàðî; to return — âîçâðàùàòüñÿ, èäòè îáðàòíî; îòâå÷àòü, âîçðàæàòü).“We might have known it, really (ïðàâî, íàì ñëåäîâàëî îá ýòîì äîãàäàòüñÿ: «çíàòü»). You remember that Michel said (âû ïîìíèòå, ÷òî Ìèøåëü ñêàçàë) that the door into the corridor of Mrs. Hubbard’s compartment was locked (÷òî äâåðü â êîðèäîð êóïå ìèññèñ Õàááàðä áûëà çàêðûòà) when he came in answer to her bell (êîãäà îí ïðèøåë, ÷òîáû îòâåòèòü íà åå çâîíîê = êîãäà îí ïðèøåë íà åå âûçîâ).”“That is so, Monsieur (ýòî òàê, ìñüå),” said the conductor (ñêàçàë ïðîâîäíèê). “That is why I thought the lady must have been dreaming (âîò ïî÷åìó ÿ ïîäóìàë, ÷òî äàìå, äîëæíî áûòü, ïîìåðåùèëîñü: «ïðèñíèëîñü»; to dream — âèäåòü ñîí).”“But now it is easy (íî òåïåðü âñå ïðîñòî; easy — ëåãêèé, íåòðóäíûé),” continued M. Bouc (ïðîäîëæàë ìñüå Áóê). “Doubtless (íåñîìíåííî; doubt — ñîìíåíèå, íåðåøèòåëüíîñòü) he meant to relock the communicating door, also (îí íàìåðåâàëñÿ ñíîâà çàïåðåòü è ñìåæíóþ äâåðü), but perhaps he heard some movement from the bed (íî, âîçìîæíî, îí óñëûøàë êàêèå-òî äâèæåíèÿ â êðîâàòè = ÷òî êòî-òî ïîøåâåëèëñÿ â êðîâàòè) and it startled him (è ýòî åãî âñïóãíóëî; to startle — èñïóãàòü, âñòðåâîæèòü).” monsieur [mq'sjq:] doubtless ['daVtlIs] startle ['stQ:tl] “Why not indeed?” returned Poirot.“We might have known it, really. You remember that Michel said that the door into the corridor of Mrs. Hubbard’s compartment was locked when he came in answer to her bell.”“That is so, Monsieur,” said the conductor. “That is why I thought the lady must have been dreaming.”“But now it is easy,” continued M. Bouc. “Doubtless he meant to relock the communicating door, also, but perhaps he heard some movement from the bed and it startled him.” “We have now (òåïåðü íàì íàäî),” said Poirot, “only to find the scarlet kimono (òîëüêî íàéòè àëîå êèìîíî).”“True (âåðíî). And these last two compartments are occupied by men (à /ýòè/ äâà ïîñëåäíèå êóïå çàíÿòû ìóæ÷èíàìè).”“We will search all the same (ìû â ëþáîì ñëó÷àå /èõ = êóïå/ îáûùåì).”“Oh! assuredly (î, íåñîìíåííî). Besides, I remember what you said (êðîìå òîãî, ÿ ïîìíþ, ÷òî âû ñêàçàëè).”Hector MacQueen acquiesced willingly in the search (Ãåêòîð Ìàêêóèí îõîòíî ñîãëàñèëñÿ íà îáûñê; willingly — îõîòíî, ñ ãîòîâíîñòüþ). “I’d just as soon you did (óæ ñêîðåå áû âû ìåíÿ îáûñêàëè; I would just as soon — ÿ áû îõîòíî /ñäåëàë ÷òî-ëèáî/),” he said with a rueful smile (ñêàçàë îí ñî ñêîðáíîé óëûáêîé; rueful — ïå÷àëüíûé, ãîðåñòíûé, óäðó÷åííûé). “I feel I’m definitely the most suspicious character on the train (ÿ ïîëàãàþ, ÷òî ÿ îïðåäåëåííî ñàìàÿ ïîäîçðèòåëüíàÿ ëè÷íîñòü â ïîåçäå; to suspect — ïîäîçðåâàòü; character — õàðàêòåð, íðàâ; ôèãóðà, ëè÷íîñòü). You’ve only got to find a will (âàì äîñòàòî÷íî íàéòè çàâåùàíèå) in which the old man left me all his money (â êîòîðîì ñòàðèê îñòàâèë ìíå âñå ñâîè äåíüãè), and that’ll just about fix things (è ýòî, ïðàêòè÷åñêè, ðåøèò äåëî; just about — ïðèìåðíî, ïî÷òè ÷òî; to fix — óêðåïëÿòü, çàêðåïëÿòü; ðàçã. óñòðàèâàòü, äåëàòü).”M. Bouc bent a suspicious glance upon him (ìñüå Áóê âçãëÿíóë íà íåãî íåäîâåð÷èâî; to bend (bent) — ãíóòü, ñãèáàòü; îáðàòèòü /âçîð, âíèìàíèå è ò.ï./). occupied ['OkjVpaId] assuredly [q'SV(q)rIdlI] acquiesce ["xkwI'es] rueful ['ru:f(q)l] suspicious [sq'spISqs] character ['kxrIktq] “We have now,” said Poirot, “only to find the scarlet kimono.”“True. And these last two compartments are occupied by men.”“We will search all the same.”“Oh! assuredly. Besides, I remember what you said.”Hector MacQueen acquiesced willingly in the search. “I’d just as soon you did,” he said with a rueful smile. “I feel I’m definitely the most suspicious character on the train. You’ve only got to find a will in which the old man left me all his money, and that’ll just about fix things.”M. Bouc bent a suspicious glance upon him. “That’s only my fun (ýòî ÿ òàê øó÷ó; fun — âåñåëüå, çàáàâà, ðàçâëå÷åíèå),” added MacQueen hastily (ïîñïåøíî äîáàâèë Ìàêêóèí). “He’d never have left me a cent, really (ïî ïðàâäå, îí íèêîãäà íå îñòàâèë áû ìíå è öåíòà). I was just useful to him — languages and so on (ÿ ïðîñòî áûë åìó ïîëåçåí — ÿçûêè è âñå òàêîå). You’re likely to be out of luck, you know (òåáå, ñêîðåå âñåãî, íå áóäåò âåçòè, çíàåòå ëè; be out of luck — íå âåçòè, íå èìåòü ñ÷àñòüÿ, óäà÷è, óñïåõà), if you don’t speak anything but good American (åñëè òû íå ãîâîðèøü íè íà /êàêîì ÿçûêå/, êðîìå /àíãëèéñêîãî/ ñ áåçóïðå÷íûì àìåðèêàíñêèì /àêöåíòîì/: «êðîìå õîðîøåãî/áåçóïðå÷íîãî àìåðèêàíñêîãî»). I’m no linguist myself (ÿ ñàì íå òàêîé óæ çíàòîê ÿçûêîâ), but I know what I call Shopping and Hotel (íî ÿ çíàþ, òî, ÷òî ÿ íàçûâàþ /äèàëåêòàìè/ ìàãàçèíîâ è ãîñòèíèö; shop — ëàâêà, ìàãàçèí; shopping — ïîñåùåíèå ìàãàçèíîâ ñ öåëüþ ïîêóïêè) — snappy bits in French and German and Italian (íåìíîãî íà ôðàíöóçñêîì, íåìåöêîì è èòàëüÿíñêîì; snappy — áûñòðûé, ýíåðãè÷íûé; îòðûâèñòûé, îòðûâî÷íûé; bit — êóñîê, êóñî÷åê; íåìíîãî, ÷óòü-÷óòü).” hastily ['heIstIlI] cent [sent] language ['lxNgwIdZ] linguist ['lINgwIst] “That’s only my fun,” added MacQueen hastily. “He’d never have left me a cent, really. I was just useful to him — languages and so on. You’re likely to be out of luck, you know, if you don’t speak anything but good American. I’m no linguist myself, but I know what I call Shopping and Hotel — snappy bits in French and German and Italian.” His voice was a little louder than usual (ãîëîñ åãî çâó÷àë: «áûë» íåìíîãî ãðîì÷å, ÷åì îáû÷íî). It was as though he were slightly uneasy over the search in spite of his expressed willingness (áûëî ïîõîæå íà òî, ÷òî îí ñëåãêà òðåâîæèëñÿ èç-çà îáûñêà, íåñìîòðÿ íà âûðàæåííóþ ãîòîâíîñòü /ê íåìó/; uneasy — íåóäîáíûé; áåñïîêîéíûé; ñìóùåííûé, íåëîâêèé).Poirot emerged (ïîÿâèëñÿ Ïóàðî). “Nothing (íè÷åãî),” he said. “Not even a compromising bequest (äàæå íèêàêîãî êîìïðîìåòèðóþùåãî /âàñ/ çàâåùàíèÿ; bequest — þð. çàâåùàòåëüíûé îòêàç íåäâèæèìîñòè; íàñëåäñòâî)!”MacQueen sighed (Ìàêêóèí âçäîõíóë). “Well, that’s a load off my mind (÷òî æ, ïðîñòî ãîðà ñ ïëå÷; a load off one's mind — ãîðà ñ ïëå÷, êàìåíü ñ äóøè ñâàëèëñÿ; load — ãðóç; áðåìÿ; mind — óì, ðàçóì; äóõ, äóøà),” he said humorously (ñêàçàë îí øóòëèâî).They moved on to the last compartment (îíè ïåðåøëè â ïîñëåäíåå êóïå). The examination of the luggage of the big Italian and of the valet (îñìîòð áàãàæà ðîñëîãî èòàëüÿíöà è ñëóãè) yielded no result (íå äàë íèêàêèõ ðåçóëüòàòîâ; to yield — ïðîèçâîäèòü, ïðèíîñèòü, äàâàòü /ïëîäû, óðîæàé, äîõîä è ò.ï./). willingness ['wIlINnIs] emerge [I'mq:dZ] compromise ['kOmprqmaIz] bequest [bI'kwest] humorously ['hju:m(q)rqslI] yield [ji:ld] His voice was a little louder than usual. It was as though he were slightly uneasy over the search in spite of his expressed willingness.Poirot emerged. “Nothing,” he said. “Not even a compromising bequest!”MacQueen sighed. “Well, that’s a load off my mind,” he said humorously.They moved on to the last compartment. The examination of the luggage of the big Italian and of the valet yielded no result. The three men stood at the end of the coach looking at each other (òðîå ìóæ÷èí ñòîÿëè â êîíöå âàãîíà è ïåðåãëÿäûâàëèñü: «ñìîòðåëè äðóã íà äðóãà»).“What next (÷òî æå äàëüøå)?” said M. Bouc.“We will go back to the dining-car (ìû âåðíåìñÿ â âàãîí ðåñòîðàí),” said Poirot. “We know now all that we can know (òåïåðü ìû çíàåì âñå, ÷òî ìû ìîãëè óçíàòü). We have the evidence of the passengers (ìû âûñëóøàëè ïàññàæèðîâ: «ó íàñ åñòü ïîêàçàíèÿ ïàññàæèðîâ»), the evidence of their baggage (ìû îñìîòðåëè áàãàæ: «/ó íàñ åñòü/ ñâèäåòåëüñòâà/äîêàçàòåëüñòâà èõ áàãàæà»), the evidence of our eyes (ìû ñàìè âèäåëè âñå ñâîèìè ãëàçàìè: «/ó íàñ åñòü/ ñâèäåòåëüñòâà/äîêàçàòåëüñòâà /óâèäåííûå/ íàøèìè ãëàçàìè»).... We can expect no further help (áîëüøå ïîìîùè æäàòü íå ïðèõîäèòñÿ: «ìû íå ìîæåì îæèäàòü íèêàêîé äàëüíåéøåé ïîìîùè»). It must be our part now (òåïåðü íàø ÷åðåä; part — ÷àñòü, äîëÿ; ó÷àñòèå /â ðàáîòå è ò.ï/, îáÿçàííîñòü, äåëî) to use our brains (õîðîøåíüêî ïîøåâåëèòü ìîçãàìè; to use — óïîòðåáëÿòü, ïîëüçîâàòüñÿ, ïðèìåíÿòü; brain — ãîëîâíîé ìîçã; óìñòâåííûå ñïîñîáíîñòè, èíòåëëåêò).” coach [kqVtS] evidence ['evId(q)ns] brain [breIn] The three men stood at the end of the coach looking at each other.“What next?” said M. Bouc.“We will go back to the dining-car,” said Poirot. “We know now all that we can know. We have the evidence of the passengers, the evidence of their baggage, the evidence of our eyes.... We can expect no further help. It must be our part now to use our brains.” He felt in his pocket for his cigarette case (îí ïîèñêàë â ñâîåì êàðìàíå ïîðòñèãàð; to feel (felt) for smth. — íàùóïûâàòü ÷òî-ëèáî; èñêàòü ÷òî-ëèáî îùóïüþ). It was empty (îí îêàçàëñÿ ïóñòîé).“I will join you in a moment (ÿ ïðèñîåäèíþñü ê âàì ÷åðåç ìèíóòó; to join — ñîåäèíÿòü, ñâÿçûâàòü; ïðèñîåäèíÿòüñÿ, âõîäèòü â êîìïàíèþ),” he said. “I shall need the cigarettes (ìíå ïîíàäîáÿòñÿ ñèãàðåòû). This is a very difficult, a very curious affair (ýòî î÷åíü òðóäíîå, î÷åíü ëþáîïûòíîå äåëî). Who wore that scarlet kimono (êòî áûë îäåò â àëîå êèìîíî; to wear (wore, worn) — áûòü îäåòûì /âî ÷òî-ëèáî/, íîñèòü /îäåæäó è ò.ï./)? Where is it now (ãäå îíî ñåé÷àñ)? I wish I knew (õîòåëîñü áû ìíå çíàòü: «ÿ æåëàþ, /÷òîáû/ ÿ çíàë áû»; to know (knew, known)). There is something in this case (÷òî-òî åñòü â ýòîì äåëå) — some factor (êàêîé-òî ýëåìåíò; factor — ôàêòîð, äâèæóùàÿ ñèëà; ôàêòîð, ñîñòàâíîé ýëåìåíò) — that escapes me (êîòîðûé óñêîëüçàåò îò ìåíÿ; to escape — áåæàòü /èç çàêëþ÷åíèÿ/; óñêîëüçàòü /î ñìûñëå è ò.ï./)! It is difficult because it has been made difficult (/äåëî/ ýòî òðóäíîå, ïîòîìó ÷òî îíî /ñïåöèàëüíî/ áûëî ñäåëàíî òðóäíûì = åãî íàðî÷íî çàïóòàëè). But we will discuss it (íî ìû ýòî îáñóäèì). Pardon me a moment (ïðîñòèòå, ÿ /áóäó/ ÷åðåç ìèíóòêó).” cigarette case ["sIgq'retkeIs] factor ['fxktq] escape [I'skeIp] pardon ['pQ:dn] He felt in his pocket for his cigarette case. It was empty.“I will join you in a moment,” he said. “I shall need the cigarettes. This is a very difficult, a very curious affair. Who wore that scarlet kimono? Where is it now? I wish I knew. There is something in this case — some factor — that escapes me! It is difficult because it has been made difficult. But we will discuss it. Pardon me a moment.” He went hurriedly along the corridor (è îí ïîñïåøíî íàïðàâèëñÿ ïî êîðèäîðó) to his own compartment (â ñâîå /ñîáñòâåííîå/ êóïå). He had, he knew, a further supply of cigarettes in one of his valises (ó íåãî áûë, îí çíàë = îí ïîìíèë, /äîïîëíèòåëüíûé/ çàïàñ ñèãàðåò â îäíîì èç åãî ñàêâîÿæåé; further — áîëåå îòäàëåííûé; äîïîëíèòåëüíûé, äîáàâî÷íûé).He got it down and snapped back the lock (îí ñïóñòèë åãî /ñàêâîÿæ/ è ùåëêíóë çàìêîì: «îòâåë çàìîê ñ ùåë÷êîì íàçàä»; to snap — õâàòàòü, êóñàòü; ùåëêàòü, ëÿçãàòü; back — ñçàäè, ïîçàäè; îáðàòíî, íàçàä).Then he sat back on his heels (çàòåì îí ïîïÿòèëñÿ: «îí âñòàë íàçàä íà ñâîèõ ïÿòêàõ») and stared (è óñòàâèëñÿ â èçóìëåíèè /íà ñàêâîÿæ/; to stare — ïðèñòàëüíî ñìîòðåòü; ñìîòðåòü â èçóìëåíèè).Neatly folded (àêêóðàòíî ñëîæåííîå; to fold — ñêëàäûâàòü, ñãèáàòü, çàãèáàòü) on the top of the case was a thin scarlet silk kimono embroidered with dragons (íà ñàìîì âåðõó ëåæàëî òîíêîå øåëêîâîå àëîå êèìîíî, ðàñøèòîå äðàêîíàìè; thin — òîíêèé, õóäîé; ïðîçðà÷íûé, òîíêèé).“So (àõ, âîò êàê),” he murmured (ïðîáîðìîòàë îí). “It is like that (âîò çíà÷èò êàê). A defiance (âûçîâ; defiance — âûçûâàþùåå ïîâåäåíèå; âûçîâ /íà ñïîð, íà áîé/). Very well, I take it up (î÷åíü õîðîøî, ÿ ïðèíèìàþ åãî; to take up — ïîäíèìàòü; ïðèíèìàòü /âûçîâ, ïàðè è ò.ï./).”



Äàòà ïóáëèêîâàíèÿ: 2015-02-17; Ïðî÷èòàíî: 253 | Íàðóøåíèå àâòîðñêîãî ïðàâà ñòðàíèöû



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