Читаем The Early Ayn Rand полностью

A shot rang through the silence where hoofbeats drummed like a heart.

Michael seized Joan and threw her brutally down on her knees in the straw on the bottom of the sleigh, bending over her, covering her with his body, holding her down.

"Michael! Let me get up! Let me get up!"

She struggled frantically. He pressed her down roughly.

"That's it!" shouted Commandant Kareyev. "Keep her down, Volkontzev! Keep her down!"

Commandant Kareyev had jumped to his feet. His tall body swayed, bent forward, his arm one with the tense reins. His whip flashed like a circle. Red streaks tore the horses' ribs.

"Stop!" came the distant cry. "Stop in the name of the law!"

Michael drew his gun.

"Don't, Volkontzev!" cried Kareyev. "Save your bullets! They're too far away! We'll escape!"

Two more shots ripped the darkness behind them. Joan heaved up convulsively against her living armor. Standing, Kareyev pressed one knee into her back to keep her down.

The road shot straight into a growth of pines and made a sharp turn. They whirled around the corner, Kareyev's body swaying perilously and straightening again. They lost the white thread in the forest; and the black spot lost them.

A winding side lane branched off the road, disappearing into the wilderness of pines; not even a lane, but a forgotten clearing barely wide enough for a sleigh, leading nowhere. With a quick movement of his whole body, Kareyev pulled the reins and sent the sleigh straight into the side lane, swiftly, as if his body, more than the worn-out horses, had thrown it forward.

They raced blindly through the snow and the pines. They soon lost all trace of a lane. They wound their way between tall, red trunks, tearing through bushes, knocking against trees, their slides cutting into the bark; diving into hollows, crashing and whirling off tree stumps. Low branches flogged them. Joan's fur cap was torn off. A branch hit Kareyev across the eyes; he shook the snow and pine needles out of his hair, red drops rolling down his temple.

The horses snorted; their ribs heaved; their nostrils quivered in terror. The whip, tearing their flesh, forced them forward; the whip was in the merciless hand of the Beast from Strastnoy Island.

One horse stumbled and fell. For a moment, they heard the silence of the forest, a silence of deep snow and trackless wilderness.

Commandant Kareyev jumped into the snow. His feet were not steady on the ground. He staggered to the horse. He brushed the hair out of his eyes. He looked at the red on his hand, felt his temple; he took a handful of snow and washed the temple; he flung the pink snow away.

Michael waded to him. They pulled the horse to its feet. The whip whistled again.

"Don't be afraid, Joan. They won't get us." Commandant Kareyev's voice rang clear, vibrant. "One night, many years ago, I was carrying priceless documents for the Red Army. Three horses were shot under me. I delivered the documents. My charge is more precious — tonight."

-----VIII-----

When they stumbled out into a clearing, the horses could barely move. Commandant Kareyev's whip was broken. A bare, wide plain stretched to the black line of another forest. Beyond, the clouds were torn off a broad band of glowing pink.

An old, crumbling shack leaned against the last pines of the forest, its unpainted boards black from age and weather, its roof caved in, one window staring like an empty socket — without glass.

Commandant Kareyev knocked at the door. No answer came. He kicked the door. It was not locked. He went in, then called:

"It's all right. Come in."

Michael followed, carrying Joan in his arms.

There was an empty stone hearth, and an old wooden table, and snow under the broken roof, and pine needles on the floor.

"We're safe here — for a while," said Kareyev.

The two men looked at each other. Commandant Kareyev's leather jacket hung in strips. He had lost his muffler. His shirt was torn at the throat. Michael's head was a tangle of black hair and pine needles. He smiled, flashing sparkling teeth, young and vibrant, a trim, healthy animal in the joy of his first real battle.

"Great work, Commandant," said Michael.

"Well, we've done it," said Kareyev, " … together."

It was only a second, but their eyes held each other in the silent understanding of their common danger, with the first, faint, hidden spark of admiration in their understanding. Then they looked at the woman who stood leaning against the open door, her blond hair hanging over one eye, the soft blond hair golden as ripe wheat in the sun, against the white desolation of snow and black pines raw in the frost. They did not look at each other again.

Commandant Kareyev closed the door and pulled an old wooden latch, locking it. He said:

"We'll let the horses rest. Then we'll go. The town isn't far. Just a few more hours."

Перейти на страницу:

Похожие книги

Берег Утопии
Берег Утопии

Том Стоппард, несомненно, наиболее известный и популярный из современных европейских драматургов. Обладатель множества престижных литературных и драматургических премий, Стоппард в 2000 г. получил от королевы Елизаветы II британский орден «За заслуги» и стал сэром Томом. Одна только дебютная его пьеса «Розенкранц и Гильденстерн мертвы» идет на тысячах театральных сцен по всему миру.Виртуозные драмы и комедии Стоппарда полны философских размышлений, увлекательных сюжетных переплетений, остроумных трюков. Героями исторической трилогии «Берег Утопии» неожиданно стали Белинский и Чаадаев, Герцен и Бакунин, Огарев и Аксаков, десятки других исторических персонажей, в России давно поселившихся на страницах школьных учебников и хрестоматий. У Стоппарда они обернулись яркими, сложными и – главное – живыми людьми. Нескончаемые диалоги о судьбе России, о будущем Европы, и радом – частная жизнь, в которой герои влюбляются, ссорятся, ошибаются, спорят, снова влюбляются, теряют близких. Нужно быть настоящим магом театра, чтобы снова вернуть им душу и страсть.

Том Стоппард

Драматургия / Стихи и поэзия / Драматургия
Человек из оркестра
Человек из оркестра

«Лениздат» представляет книгу «Человек из оркестра. Блокадный дневник Льва Маргулиса». Это записки скрипача, принимавшего участие в первом легендарном исполнении Седьмой симфонии Д. Д. Шостаковича в блокадном Ленинграде. Время записей охватывает самые трагические месяцы жизни города: с июня 1941 года по январь 1943 года.В книге использованы уникальные материалы из городских архивов. Обширные комментарии А. Н. Крюкова, исследователя музыкального радиовещания в Ленинграде времен ВОВ и блокады, а также комментарии историка А. С. Романова, раскрывающие блокадные и военные реалии, позволяют глубже понять содержание дневника, узнать, что происходило во время блокады в городе и вокруг него. И дневник, и комментарии показывают, каким физическим и нравственным испытаниям подвергались жители блокадного города, открывают неизвестные ранее трагические страницы в жизни Большого симфонического оркестра Ленинградского Радиокомитета.На вклейке представлены фотографии и документы из личных и городских архивов. Читатели смогут увидеть также партитуру Седьмой симфонии, хранящуюся в нотной библиотеке Дома радио. Книга вышла в год семидесятилетия первого исполнения Седьмой симфонии в блокадном Ленинграде.Открывает книгу вступительное слово Юрия Темирканова.

Галина Муратова , Лев Михайлович Маргулис

Биографии и Мемуары / Драматургия / Драматургия / Проза / Советская классическая проза / Самиздат, сетевая литература / Документальное / Пьесы