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And the icy-hot pressure was gone, gone as quickly as he had realized it was there. For a moment he gazed back at the face of his oldest son, realizing that he was slipping, slowly releasing his grip on everything—losing consciousness.

Oh, God! his mind cried out, not sure if his lips really formed the words or not … dear God! To come this close. To hold Jeremiah so close and now to lose it all. Not this way, God. Not this way!

He had some distant recognition that men were shouting all around them now as Jeremiah heaved himself up on his knees, catching Jonah as he crumpled slowly, slowly, his lips moving wordlessly, muttering prayers … tears flooding his eyes.

As he closed them for that last time, Jonah recognized the tears in Jeremiah’s eyes, saw their tracks streaking down through the shiny, smeared, dust-furred war paint.

Tears.

Antelope had tumbled down the loose, snow-crusted side of the arroyo onto the icy sand without stopping, racing headlong for his brother as the white man spun Tall One onto his back and jammed the knife along his brother’s throat.

Shrieking his powerful war song as he closed on the enemy, Antelope hurtled forward through the cascades of ice and stinging sand thrown up by others colliding, grunting, locked together in deadly combat. He had first to save his brother from this enemy ready to cut Tall One’s throat.

His own throat filled with the screech of the Kwahadi death song as he pistoned back his powerful right arm. At the end of that arm he brandished the haft of a long war club cruelly studded with three eight-inch iron blades. His father had given him that weapon when Antelope went on his first scalp raid.

Tall One’s eyes saw him coming.

Antelope’s brother yelled out, screaming something in the confusion and the noise as Antelope’s own blood hammered hotly in his ears. No worry—soon enough Antelope would save Tall One’s life.

In a white-hot fury he swung the war club downward with all the force he could muster in that arm and shoulder. Tall One pushed against his enemy at that moment: instead of burying the three blades deep in the white man’s back, Antelope struck the shoulder blade, slicing down against the collarbone itself. Blood spurted into the air flecked with icy crystals as the weapon slid deeper still through layers of muscle and tendon.

Still not deep enough.

Tall One screamed again, putting up an arm as if to stop him as Antelope drew the club back for a second swinging blow. The one he hoped would be the killing strike. Finish off the enemy—

His chest burned, like a rope of fire pulled taut to sear through it. Then feeling was gone in him. Not all, but most, as control fled his body on hawk’s wings and the club tumbled out of his hand, spilling into the sand. He went to his knees.

He stared at the club, trying to reach out for it, helpless as he saw the blood splattered all over him. Not knowing in that moment if it was the white man’s, or his own. Another … then a third rope of fire burned through his chest.

Antelope crumpled sideways to the sand. Alone. His eyes staring blindly at his older brother … not understanding why Tall One cradled the white man.

The enemy.

He died, blank-eyed, hoping he had killed the tai-bo, hoping he had dispatched his enemy’s soul to hell.

There was little time for Jeremiah to react, hardly more time than it took him to holler out—throwing his arm up to try to fend off the war club, an instant to try pushing his father to the side when Antelope came careening off the slope of the arroyo, that weapon held high as it sailed downward in its arc of death.

Jeremiah cried out again, watching the first bullet hit Antelope, jerking his body upward, blood splattering as the lead exited the chest in a crimson corona. His young brother wobbled to his knees, crouching there suspended over their father as the blood came coughing from Zeke’s mouth, dribbling from his nose as a second, then a third bullet smashed into his chest. Blood flung over Jeremiah as his brother crumpled to the side.

How he yearned to go to gather Zeke into his arms as he cradled his father’s limp, bloody body. He could only kneel, clutching his father as in horror he watched his brother’s legs convulse, watched the red-stained fingers in that now empty hand twitch. Saw those dark eyes in the midst of that sand-caked war paint staring back at him.

Blank and wide. Without expression.

Jeremiah prayed that meant Zeke had died without pain.

There was, after all, no pain he could see in his young brother’s eyes as Jeremiah rocked and rocked, and rocked his father, calling out for someone to come help him. Then realized he was screaming in Comanche.

That was when Two Sleep had come over to kneel with Sergeant Coffee and June Callicott beside the warrior who had his bloodstained arms locked around Jonah Hook.

Slowly, concentrating on how finally to say it after all these years of hearing the name, the Shoshone had asked, “Jeremiah?”

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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. 

Терри Конрад Джонстон

Вестерн, про индейцев

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Вне закона
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Кто я? Что со мной произошло?Ссыльный – всплывает формулировка. За ней следующая: зовут Петр, но последнее время больше Питом звали. Торговал оружием.Нелегально? Или я убил кого? Нет, не могу припомнить за собой никаких преступлений. Но сюда, где я теперь, без криминала не попадают, это я откуда-то совершенно точно знаю. Хотя ощущение, что в памяти до хрена всякого не хватает, как цензура вымарала.Вот еще картинка пришла: суд, читают приговор, дают выбор – тюрьма или сюда. Сюда – это Land of Outlaw, Земля-Вне-Закона, Дикий Запад какой-то, позапрошлый век. А природой на Монтану похоже или на Сибирь Южную. Но как ни назови – зона, каторжный край. Сюда переправляют преступников. Чистят мозги – и вперед. Выживай как хочешь или, точнее, как сможешь.Что ж, попал так попал, и коли пошла такая игра, придется смочь…

Джон Данн Макдональд , Дональд Уэйстлейк , Овидий Горчаков , Эд Макбейн , Элизабет Биварли (Беверли)

Фантастика / Любовные романы / Приключения / Вестерн, про индейцев / Боевая фантастика
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. 

Терри Конрад Джонстон

Вестерн, про индейцев