Читаем The Collector полностью

 I did say I would not ever use force unless obliged. I think you will admit you did oblige me by what you did.

 Please understand that I did only the necessary. I took your dress off as I thought you might be ill again.

 I showed every respect I could under the circumstances. Please give me the credit for not going as far as some might in the same.

 I will not say any more. Except I must have you here a bit longer.

    Yours sincerely, etc.


 I didn't put any beginning. I couldn't decide what to call her: Dear Miranda seemed familiar.

 Well, I went down and took in her breakfast. It was just like I thought. She was sitting in her chair, staring at me. I said good morning, she didn't reply. I said something -- do you want krispies or corn flakes? -- she just stared. So I just left her breakfast with the letter on the tray and waited out-side and when I went back nothing was touched, the letter was unopened, and she was still sitting there staring at me. I knew it was no good talking, she had it in for me good and proper.


 She kept it up several days. So far as I know all she had was some water. At least once a day, when I took in the food she always refused, I tried to argue with her. I took in the letter again and she read it this time, at least it was torn up, so she touched it. I tried everything: I spoke gentle, I pretended I was angry, bitter, I begged her, but it was all no use. Mostly she just sat with her back to me as if she didn't hear me. I got special things like continental chocolate, caviare, the best food money could buy (in Lewes) but it was never touched.

 I was beginning to get really worried. But then one morning when I went in she was standing by her bed with her back to me; however, she turned as soon as I came in and said good morning. But in a funny tone. Full of spite.

 Good morning. I said. It's nice to hear your voice again.

 "Is it? It won't be. You'll wish you never heard it."

 That remains to be seen, I answered.

 "I'm going to kill you. I realize you'd let me starve to death. Just the thing you would do."

 I suppose I never brought you any food these last days?

 She couldn't answer that one, she just started at me in the old style.

 "You're not keeping _me_ prisoner any more. You're keeping death prisoner."

 Have some breakfast anyhow, I said.

 Well, from that time on she ate normally, but it wasn't like before. She hardly spoke, if she did it was always sharp and sarcastic, she was so bad-tempered there was no staying with her. If I was ever there more than a minute when it wasn't necessary she used to spit at me to get out. One day soon after, I brought in a plate of perfectly nice baked beans on toast and she just picked it up and hurled it straight at me. I felt like giving her a good clip over the earhole. About this time I was fed up with the whole thing, there didn't seem any point in it, I tried everything, but she would keep on holding that evening against me. It was like we had reached a dead end.


 Then one day she actually asked for something. I got in the habit of leaving at once after supper before she could shout at me, but this time she said, stop a minute.

 "I want a bath."

 It's not convenient tonight, I said. I wasn't ready for that.

 "Tomorrow?"

 Don't see why not. With parole.

 "I'll give my parole." She said it in a nasty hard voice. I knew what her parole was worth.

 "And I want to walk in the cellar." She pushed forward her hands, and I tied them up. It was the first time I touched her for days. Well, as usual I went and sat on the steps to the outer door and she walked up and down in the funny way she had. It was very windy, you could hear it down there, just the sound of her feet and the wind above. She didn't speak for quite a time, I don't know why but I knew she wanted to.

 "Are you enjoying life?" she suddenly came out with.

 Not much, I answered. Cautious.

 She walked to and fro four or five times more. Then she started to hum music.

 That's a nice tune, I said.

 "Do you like it?"

 Yes, I said.

 "Then I don't any more."

 Two or three more times she went up and down.

 "Talk to me."

 What about?

 "Butterflies."

 What about butterflies?

 "Why you collect them. Where you find them. Go on. Just talk."

 Well, it seemed odd, but I talked, every time I stopped she said, go on, talk. I must have talked half an hour there, until she stopped and said, that's enough. She went back inside and I took off the cord and she went straight and sat on her bed with her back to me. I asked her if she wanted any tea, she didn't answer, all of a sudden I realized she was crying. It really did things to me when she cried, I couldn't bear to see her so unhappy. I went up close and said, tell me what you want, I'll buy you anything. But she turned round on me, she was crying all right, but her eyes were blazing, she stood up and walked towards me saying get out, get out, get out. It was terrible. She looked really mad.


Перейти на страницу:

Похожие книги

Недобрый час
Недобрый час

Что делает девочка в 11 лет? Учится, спорит с родителями, болтает с подружками о мальчишках… Мир 11-летней сироты Мошки Май немного иной. Она всеми способами пытается заработать средства на жизнь себе и своему питомцу, своенравному гусю Сарацину. Едва выбравшись из одной неприятности, Мошка и ее спутник, поэт и авантюрист Эпонимий Клент, узнают, что негодяи собираются похитить Лучезару, дочь мэра города Побор. Не раздумывая они отправляются в путешествие, чтобы выручить девушку и заодно поправить свое материальное положение… Только вот Побор — непростой город. За благополучным фасадом Дневного Побора скрывается мрачная жизнь обитателей ночного города. После захода солнца на улицы выезжает зловещая черная карета, а добрые жители дневного города трепещут от страха за закрытыми дверями своих домов.Мошка и Клент разрабатывают хитроумный план по спасению Лучезары. Но вот вопрос, хочет ли дочка мэра, чтобы ее спасали? И кто поможет Мошке, которая рискует навсегда остаться во мраке и больше не увидеть солнечного света? Тик-так, тик-так… Время идет, всего три дня есть у Мошки, чтобы выбраться из царства ночи.

Габриэль Гарсия Маркес , Фрэнсис Хардинг

Фантастика / Политический детектив / Фантастика для детей / Классическая проза / Фэнтези
Купец
Купец

Можно выйти живым из ада.Можно даже увести с собою любимого человека.Но ад всегда следует за тобою по пятам.Попав в поле зрения спецслужб, человек уже не принадлежит себе. Никто не обязан учитывать его желания и считаться с его запросами. Чтобы обеспечить покой своей жены и еще не родившегося сына, Беглец соглашается вернуться в «Зону-31». На этот раз – уже не в роли Бродяги, ему поставлена задача, которую невозможно выполнить в одиночку. В команду Петра входят серьёзные специалисты, но на переднем крае предстоит выступать именно ему. Он должен предстать перед всеми в новом обличье – торговца.Но когда интересы могущественных транснациональных корпораций вступают в противоречие с интересами отдельного государства, в ход могут быть пущены любые, даже самые крайние средства…

Александр Сергеевич Конторович , Евгений Артёмович Алексеев , Руслан Викторович Мельников , Франц Кафка

Фантастика / Классическая проза / Самиздат, сетевая литература / Боевая фантастика / Попаданцы / Фэнтези
Радуга в небе
Радуга в небе

Произведения выдающегося английского писателя Дэвида Герберта Лоуренса — романы, повести, путевые очерки и эссе — составляют неотъемлемую часть литературы XX века. В настоящее собрание сочинений включены как всемирно известные романы, так и издающиеся впервые на русском языке. В четвертый том вошел роман «Радуга в небе», который публикуется в новом переводе. Осознать степень подлинного новаторства «Радуги» соотечественникам Д. Г. Лоуренса довелось лишь спустя десятилетия. Упорное неприятие романа британской критикой смог поколебать лишь Фрэнк Реймонд Ливис, напечатавший в середине века ряд содержательных статей о «Радуге» на страницах литературного журнала «Скрутини»; позднее это произведение заняло видное место в его монографии «Д. Г. Лоуренс-романист». На рубеже 1900-х по обе стороны Атлантики происходит знаменательная переоценка романа; в 1970−1980-е годы «Радугу», наряду с ее тематическим продолжением — романом «Влюбленные женщины», единодушно признают шедевром лоуренсовской прозы.

Дэвид Герберт Лоуренс

Проза / Классическая проза