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“Damn you, woman!” Usher bellowed.

She saw his arm swinging toward her, his balled fist at the end of it like a blur, and unflinchingly met it with the side of her face, staring up at him with a smile on her lips. Her head lolled crazily to the side. Usher swung at her again, backhanding her across the other cheek. Still she looked up at him with real triumph lighting those cloudy blue eyes of hers.

Usher glared at her, his eyes wide with disgust, starting to pummel her again.

Gritta glanced over at the wounded man gripping his bloody arm, dark fluid oozing between his fingers where he held himself. Then she looked back at Usher and spat her tormentor’s bloody flesh right into Usher’s face.

His left hand swiped the bloody gore from one eye, some of it trickling down into the black mustache and beard, his face twisting into something of unmitigated terror. Usher struck her with an open palm, again and again and again until she sensed the bile burning the back of her throat.

Coughing it back, choking down on her own vomit, Gritta was powerless to move against the hold they had on her as she convulsed on the hot, stinging fluid trapping her lungs. She felt herself slipping away.

Blessed, blessed death—come take the one who is ready.

“You got that wrist now?”

“Yessir.”

“Simes!”

“Colonel?”

“You and Hampton take George outside.”

“Sir?”

“Take the nigger outside and tie him to that cottonwood by the fire.”

“Tie him—”

“Yes, by damn! George will be punished for this.”

“Colonel—I’m terrible sorry for—”

“Get the nigger out of here! Now!”

The commotion quieted somewhat after that, allowing Gritta to turn her head, to roll it slightly to the side and spit out the blood from the wounded man, spit out her own blood from the tongue she had cut on her teeth, spewing free the sour, stinging bile trapped at the back of her throat where it had gagged her.

Convulsing for a moment, Gritta knew she was going to die as Usher dragged her head back so she would have to stare directly into his face, her chin clamped painfully in the palm of his hand.

She winced as his other hand brushed some of her hair out of her eyes, his fingers then tracing down the side of her cheek, where she flinched with pain, sensing, that her flesh was already puffing in hot protest to the beating. In the end his fingers stopped at her throat, where they slowly, agonizingly tightened.

She had no will to fight him. As her eyes rolled back in her head she thought she saw other faces behind his. But they only watched in fascination as Usher tightened his grip all the more. No one held her now. Her arms felt light and free: she could grab his hand, pull it away from her throat if she had wanted. But Gritta did not try to stop him. She wanted him to kill her.

Though she could not speak with her lips, her eyes told him what to do. In silent triumph they roared out at Usher.

“Kill me! Yes go ahead and kill me!”

The warmth trickled from the corners of her eyes as he released his crushing grip on her windpipe. Gritta’s body betrayed her, savagely drawing in that first hungry draught of air.

“Don’t — you — ever — try — something — like — this — again,” he said each word singly, menacingly, almost at a whisper so that she felt stung by the hot breath of each syllable flung against her face.

Usher leaned back from her, drawing out one of his long-barreled pistols, and placed the muzzle against her temple.

“This would be too damned easy, woman.”

He drew the hammer back, his face working around those glowing eyes, contorting as it twisted one way, then another, before a sinister smile finally eased the contours of the face above hers. Usher slowly dragged the pistol’s muzzle down her swollen cheek, down the bruised flesh of her neck, circling one breast, then tracing its way down to her groin. He jammed the muzzle hard against her pubic bone.

Again she betrayed herself, and tears flowed with the pain he caused her, working the pistol barrel inside her.

“Here. This is where you hate me most, isn’t it?”

She only stared, silently weeping, beginning to hurt across every inch of her body. Shame hurt her most of all.

He slapped her again, hard enough that she felt the flesh of her cheek tear against her teeth. Still, she forced herself to stare up at the taunting, smiling face hovering in the heat above hers. Usher drove a fist into her cheek again, then pressed the pistol barrel deeper into the most private part of her—where he had defiled her time and again across the eternity she had suffered with him.

“You’d like me to kill you—wouldn’t you, woman?”

He released the hammer slowly, then cocked it again, over and over as he rubbed his crotch luridly with a left hand, then suddenly turned to the others in the tent.

“Tie her to the bed. Tight. I don’t want her getting loose while I’m outside seeing to the nigger.”

Usher wheeled about, ramming the pistol back in its holster at the front of his hip, and tore through the tent flaps.

“Wagon master!”

“Colonel?”

“Bring me your whip!”

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Все книги серии Jonas Hook

Cry of the Hawk
Cry of the Hawk

Forced to serve as a Yankee after his capture at Pea Ridge, Confederate soldier Jonah Hook returns from the war to find his Missouri farm in shambles.From Publishers WeeklySet primarily on the high plains during the 1860s, this novel has the epic sweep of the frontier built into it. Unfortunately, Johnston (the Sons of the Plains trilogy) relies too much on a facile and overfamiliar style. Add to this the overly graphic descriptions of violence, and readers will recognize a genre that seems especially popular these days: the sensational western. The novel opens in the year 1908, with a newspaper reporter Nate Deidecker seeking out Jonah Hook, an aged scout, Indian fighter and buffalo hunter. Deidecker has been writing up firsthand accounts of the Old West and intends to add Hook's to his series. Hook readily agrees, and the narrative moves from its frame to its main canvas. Alas, Hook's story is also conveyed in the third person, thus depriving the reader of the storytelling aspect which, supposedly, Deidecker is privileged to hear. The plot concerns Hook's search for his family--abducted by a marauding band of Mormons--after he serves a tour of duty as a "galvanized" Union soldier (a captured Confederate who joined the Union Army to serve on the frontier). As we follow Hook's bloody adventures, however, the kidnapping becomes almost submerged and is only partially, and all too quickly, resolved in the end. Perhaps Johnston is planning a sequel; certainly the unsatisfying conclusion seems to point in that direction. 

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Cry of the Hawk
Cry of the Hawk

Forced to serve as a Yankee after his capture at Pea Ridge, Confederate soldier Jonah Hook returns from the war to find his Missouri farm in shambles.From Publishers WeeklySet primarily on the high plains during the 1860s, this novel has the epic sweep of the frontier built into it. Unfortunately, Johnston (the Sons of the Plains trilogy) relies too much on a facile and overfamiliar style. Add to this the overly graphic descriptions of violence, and readers will recognize a genre that seems especially popular these days: the sensational western. The novel opens in the year 1908, with a newspaper reporter Nate Deidecker seeking out Jonah Hook, an aged scout, Indian fighter and buffalo hunter. Deidecker has been writing up firsthand accounts of the Old West and intends to add Hook's to his series. Hook readily agrees, and the narrative moves from its frame to its main canvas. Alas, Hook's story is also conveyed in the third person, thus depriving the reader of the storytelling aspect which, supposedly, Deidecker is privileged to hear. The plot concerns Hook's search for his family--abducted by a marauding band of Mormons--after he serves a tour of duty as a "galvanized" Union soldier (a captured Confederate who joined the Union Army to serve on the frontier). As we follow Hook's bloody adventures, however, the kidnapping becomes almost submerged and is only partially, and all too quickly, resolved in the end. Perhaps Johnston is planning a sequel; certainly the unsatisfying conclusion seems to point in that direction. 

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Двадцать лет назад ночью из летнего лагеря тайно ушли в лес четверо молодых людей.Вскоре полиция обнаружила в чаще два наспех погребенных тела. Еще двоих — юношу и девушку — так и не нашли ни живыми, ни мертвыми.Детективы сочли преступление делом рук маньяка, которого им удалось поймать и посадить за решетку. Но действительно ли именно он расправился с подростками?Этот вопрос до сих пор мучает прокурора Пола Коупленда, сестрой которого и была та самая бесследно исчезнувшая девушка.И теперь, когда полиция находит труп мужчины, которого удается идентифицировать как пропавшего двадцать лет назад паренька, Пол намерен любой ценой найти ответ на этот вопрос.Возможно, его сестра жива.Но отыскать ее он сумеет, только если раскроет секреты прошлого и поймет, что же все-таки произошло в ту роковую летнюю ночь.

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