Читаем Every Dead Thing полностью

There was blood and gray matter on the floor and a dark, black-red stain on the thick Persian carpet. There was blood also on the tan pants of the old man as he cradled his son’s head in his lap. His left hand, its fingers red, toyed with Sonny’s lank, thinning hair. A gun hung limply from the right, its barrel pointing at the floor. Sonny’s eyes were open and in his dark pupils I could see the light of a lamp reflected.

I guessed that he had shot Sonny as he held his head in his lap, as his son knelt beside him pleading for…what? For help, for a reprieve, for forgiveness? Sonny, with his mad-dog eyes, dressed in a cheap cream suit and an open-necked shirt, gaudy with gold even in death. The old man’s face was stern and unyielding, but when he turned to look at me, his eyes were huge with guilt and despair, the eyes of a man who has killed himself along with his son.

“Get out,” said the old man, softly but distinctly, but he wasn’t looking at me now. A slight breeze blew in through the open French windows from the garden beyond, bringing with it some petals and leaves and the sure knowledge of the end of things. A figure had appeared, one of his own men, an older soldier whose face I recognized but whose name I did not know. The old man raised the gun and pointed it at him, his hand shaking now.

“Get out!” he roared, and this time the soldier moved, pulling the windows closed instinctively as he departed. The breeze simply blew them open again and the night air began to make the room its own. Ferrera kept the gun trained there for a few seconds longer and then it wavered and fell. His left hand, stilled by the appearance of his man, returned to its methodical stroking of his dead son’s hair with the soothing, insane monotony of a caged animal stalking its pen.

“He’s my son,” he said, staring into a past that was and a future that might have been. “He’s my son but there’s something wrong with him. He’s sick. He’s bad in the head, bad inside.”

There was nothing for me to say. I stayed silent.

“Why are you here?” he said. “It’s over now. My son is dead.”

“A lot of people are dead. The children…” For an instant the old man winced. “Ollie Watts…”

He shook his head slowly, his eyes unblinking. “Fucking Ollie Watts. He shouldn’t have run. When he ran, we knew. Sonny knew.”

“What did you know?”

I think that if I had entered the room only minutes later the old man would have had me killed instantly, or would have killed me himself. Instead, he seemed to seek some sort of release through me. He would confess to me, unburden himself to me, and that would be the last time he would bring himself to speak it aloud.

“That he’d looked in the car. He shouldn’t have looked. He shoulda just walked away.”

“What did he see? What did he find in the car? Videos? Pictures?”

The old man’s eyes closed tightly, but he couldn’t hide from what he had seen. Tears squeezed themselves from wrinkled corners and ran down the sides of his cheeks. His mouth formed silent words. No. No. More. Worse. When he opened his eyes again, he was dead inside. “Tapes. And a child. There was a child in the trunk of the car. My boy, my Sonny, he killed a child.”

He turned to look at me again but this time his face was moving, twitching almost, as if his head could not contain the enormity of what he had seen. This man, who had killed and tortured and who had ordered others to kill and torture in his name, had found in his own son a darkness that was beyond naming, a lightless place where slain children lay, the black heart of every dead thing.

Watching had no longer been enough for Sonny. He had seen the power these people had, the pleasure they took in tearing the life slowly from the children, and wanted to experience it too.

“I told Bobby to bring him to me but he ran, ran as soon as he heard about Pili.” His face hardened. “Then I told Bobby to kill them all, all the rest, every one of them.” And then he seemed to be talking to Bobby Sciorra again, his face red with fury. “Destroy the tapes. Find the kids, find where they are, and then put them somewhere they’ll never be found. Dump them at the bottom of the fucking ocean if you can. I want it like it never happened. It never happened.” Then he seemed to remember where he was and what he had done, at least for a time, and his hand returned to its stroking.

“And then you came along, trailing the girl, asking questions. How could the girl know? I let you go after her, to get you away from here, to get you away from Sonny.”

But Sonny had come after me through his hired killers and they had failed. Their failure forced his father to act. If the woman lived and was forced to testify, Sonny would be cornered again. And so Sciorra had been dispatched, and the woman had died.

“But why did Sciorra kill Hyams?”

“What?”

“Sciorra killed a lawyer in Virginia, a man who was trying to kill me. Why?”

Перейти на страницу:

Похожие книги

Исчезновение Стефани Мейлер
Исчезновение Стефани Мейлер

«Исчезновение Стефани Мейлер» — новый роман автора бестселлеров «Правда о деле Гарри Квеберта» и «Книга Балтиморов». Знаменитый молодой швейцарец Жоэль Диккер, лауреат Гран-при Французской академии, Гонкуровской премии лицеистов и Премии женевских писателей, и на этот раз оказался первым в списке лучших. По версии L'Express-RTL /Tite Live его роман с захватывающей детективной интригой занял первое место по читательскому спросу среди всех книг на французском языке, вышедших в 2018 году.В фешенебельном курортном городке Лонг-Айленда бесследно исчезает журналистка, обнаружившая неизвестные подробности жестокого убийства четырех человек, совершенного двадцать лет назад. Двое обаятельных полицейских из уголовного отдела и отчаянная молодая женщина, помощник шефа полиции, пускаются на поиски. Их расследование напоминает безумный квест. У Жоэля Диккера уже шесть миллионов читателей по всему миру. Выход романа «Исчезновение Стефани Мейлер» совпал с выходом телесериала по книге «Правда о деле Гарри Квеберта», снятого Жан-Жаком Анно, создателем фильма «Имя розы».

Жоэль Диккер

Детективы / Триллер / Зарубежные детективы
Наблюдатель
Наблюдатель

В МИРЕ ПРОДАНО БОЛЕЕ 30 МИЛЛИОНОВ ЭКЗЕМПЛЯРОВ КНИГ ШАРЛОТТЫ ЛИНК.НАЦИОНАЛЬНЫЙ БЕСТСЕЛЛЕР № 1.Шарлотта Линк – самый успешный современный автор Германии. Все ее книги, переведенные на почти 30 языков, стали национальными и международными бестселлерами. В 1999-2023 гг. снято более двух десятков фильмов и сериалов по мотивам ее романов.Сочетание глубокого психологизма и мастерски выстроенного детектива-триллера. Пронзительный роман о духовном одиночестве и опасностях, которые оно несет озлобленному и потерянному человеку.Самсона Сигала все вокруг считают неудачником. Да он такой и есть. В свои тридцать лет остался без работы и до сих пор живет в доме со своим братом и его женой… Он странный и замкнутый. И никто не знает, что у Самсона есть настоящее – и тайное – увлечение: следить за своими удачливыми соседями. Он наблюдает за ними на улице, подсматривает в окна их домов, страстно желая стать частью их жизни… Особенно привлекает его красивая и успешная Джиллиан Уорд. Но она в упор не видит Самсона, и тот изливает все свои переживания в электронный дневник. И даже не подозревает, что невестка, которой он мерзок, давно взломала пароль на его компьютере…Когда кто-то убивает мужа Джиллиан, Самсон оказывается главным подозреваемым у полиции, к тому времени уже получившей его дневник. Осознав грозящую опасность, он успевает скрыться. Никто не может ему помочь – за исключением приятеля Джиллиан, бывшего полицейского, который не имеет права участвовать в расследовании. Однако он единственный, кто верит в невиновность Самсона…«Блестящий роман с яркими персонажами». – Sunday Times«Потрясающий тембр авторского голоса Линк одновременно чарует и заставляет стыть кровь». – The New York Times«Пробирает до дрожи». – People«Одна из лучших писательниц нашего времени». – Journal für die Frau«Мощные психологические хитросплетения». – Focus

Шарлотта Линк

Детективы / Триллер