Agatha Christie - Английский язык с Агатой Кристи. Убийства по алфавиту (ASCII-IPA)

beside [bI'saId], facedown ['feIsdaUn], belong [bI'lON]

"There was nothing in her hand?"

"No, sir, but there was a packet of Players down beside her."

Poirot nodded. His eyes swept round the small space observing — noting.

"And the railway guide was — where?"

"Here, sir." The constable pointed out the spot on the counter. "It was open at the right page for Andover and lying facedown. Seems though he must have been looking up the trains to London. If so 'twasn't an Andover man at all. But then, of course, the railway guide might have belonged to someone else what had nothing to do with the murder at all, but just forgot it here."

"Fingerprints?" I suggested (отпечатки пальцев? — предположил я; to suggest — предлагать, советовать; намекать, подсказывать) .

The man shook his head (мужчина покачал головой) . "The whole place was examined straight away, sir (все место было сразу исследовано, сэр; straight away — сразу, тот час) . There weren't none (там не было никаких /отпечатков/) ."

"Not on the counter itself?" asked Poirot (даже на самом прилавке? — спросил Пуаро) .

"A long sight too many, sir (там слишком много, сэр; sight — разг. множество, большое количество) ! All confused and jumbled up (все перемешанные и перепутанные; to confuse — смешивать, путать; сбивать с толку; to jumble up — перемешивать в беспорядке) ."

"Any of Ascher's among them (какие-нибудь отпечатки Эшера среди них) ?"

"Too soon to say, sir (слишком рано говорить, сэр) ."

Poirot nodded (Пуаро кивнул) , then asked if the dead woman lived over the shop (затем спросил, жила ли убитая над магазином) .

"Yes, sir (да, сэр) , you go through that door at the back, sir (идите через ту дверь сзади, сэр) . You'll excuse me from coming with you (вы извините меня, /что я не/ иду с вами) , but I've got to stay (но я должен остаться) —"

examine [Ik'z&mIn], straight [streIt], excuse [Iks'kju:z]

"Fingerprints?" I suggested.

The man shook his head. "The whole place was examined straight away, sir. There weren't none."

"Not on the counter itself?" asked Poirot.

"A long sight too many, sir! All confused and jumbled up."

"Any of Ascher's among them?"

"Too soon to say, sir."

Poirot nodded, then asked if the dead woman lived over the shop.

"Yes, sir, you go through that door at the back, sir. You'll excuse me from coming with you, but I've got to stay —"

Poirot passed through the door in question (Пуаро прошел через дверь, о которой шла речь; in question — данный, рассматриваемый) and I followed him (и я последовал за ним) . Behind the shop was a microscopic sort of parlour and kitchen combined (за магазином была микроскопическая /комната/ типа гостиной, совмещенная с кухней) . It was neat and clean (она была опрятная и чистая) but very dreary-looking and scantily furnished (но очень унылая и скудно обставленная) . On the mantelpiece were a few photographs (на камине: «на каминной полке» было несколько фотографий) . I went up and looked at them (я подошел и посмотрел на них) and Poirot joined me (и Пуаро присоединился ко мне) .

The photographs were three in all (фотографий было всего три) . One was a cheap portrait of the girl (одна была дешевым портретом девушки) we had been with that afternoon (с которой мы были днем) , Mary Drower (Мэри Дроуер) . She was obviously wearing her best clothes (очевидно, она была одета в свою лучшую одежду) and had the self-conscious (у нее была неловкая: «и имела неловкую»; self-conscious — обладающий самосознанием; застенчивый, неловкий) , wooden smile on her face (деревянная улыбка на лице) that so often disfigures the expression in posed photography (которая так часто обезображивает выражение /лица/ на постановочной фотографии; to disfigure — обезображивать, уродовать; портить) , and makes a snapshot preferable (и делает моментальный снимок более предпочтительным; to prefer — предпочитать) .

microscopic [,maIkr@s'kOpIk], dreary ['drE@rI], self-conscious ['self 'kOnS(@)s]

Poirot passed through the door in question and I followed him. Behind the shop was a microscopic sort of parlour and kitchen combined. It was neat and clean but very dreary-looking and scantily furnished. On the mantelpiece were a few photographs. I went up and looked at them and Poirot joined me.

The photographs were three in all. One was a cheap portrait of the girl we had been with that afternoon, Mary Drower. She was obviously wearing her best clothes and had the self-conscious, wooden smile on her face that so often disfigures the expression in posed photography, and makes a snapshot preferable.

The second was a more expensive type of picture (вторая фотография была подороже: «вторая была более дорогим типом фотографии») — an artistically blurred reproduction of an elderly woman with white hair (искусно размытая репродукция пожилой женщины с седыми волосами: «белыми волосами») . A high fur collar stood up round the neck (высокий меховой воротник возвышался вокруг шеи; to stand up) .

I guessed (я догадался; to guess — гадать, догадываться) that this was probably the Miss Rose (что это была, вероятно, та /самая/ мисс Роуз) who had left Mrs. Ascher the small legacy (которая оставила миссис Эшер небольшое состояние) which had enabled her to start in business (которое позволило ей завести свое дело: «начать бизнес») .

The third photograph was a very old one (третья фотография была очень старой) , now faded and yellow (теперь выцветшей и желтой; to fade — вянуть; выгорать, выцветать) . It represented a young man and woman in somewhat old-fashioned clothes (она изображала молодого мужчину и женщину в несколько старомодных одеждах; fashion — мода) standing arm in arm (стоящих рука об руку) . The man had a flower in his buttonhole (у мужчины был цветок в петлице) and there was an air of bygone festivity about the whole pose (в /его/ позе чувствовалось ушедшее веселье: «и там была атмосфера ушедшего веселья во всей позе»; air — воздух; атмосфера; вид; обстановка) .