Free Odd Interlude Part One by Dean Koontz Page A

received truths, is an ominous perception that something pernicious beyond comprehension lies ahead, something unwholesome exceeding all my previous experience of wickedness. A flood tide of apprehension wells and swiftly builds into an almost incapacitating fright, a shrinking, anxious fear that some pure evil looms with all the power of a mile-high tsunami.
    I believe—I
know
—that the unknown thing I sense and fear is not here now, but instead waits far ahead, in that fortified hub of which I can
feel
the existence though I cannot see it. This perfect blackness oppresses me, however, and because the girl seems quite at home in it, I am increasingly troubled by the thought that she is so comfortable in the dark because she is
of
the dark, never was the innocent child that I have assumed, but is one with the distant threat toward which she seems to lead me.
    She whispers,
“We’re coming to a threshold, don’t trip,”
and squeezes my hand as if to reassure me.
    Her apparent solicitude should steady my nerves a little, but it does not. The perception of some unknown but monumental evil waiting ahead does not relent, in fact intensifies. After hearing the story of young Maxwell’s murder by his possessed kin, after seeing lovely Ardys Harmony transformed into a homicidal puppet with a cleaver, I have no reason to dread this unknown menace more than I fear the Presence, the puppetmaster, but my intuition continues to insist.
    The promised threshold is perhaps two inches high. My left shoulder brushes what might be a heavy sliding door, and my pistol, clutched in that hand, rings loudly off steel. Through the sole of one of my shoes, I feel a metal channel inset in the midpoint of the foot-wide threshold.
    “The beach is so far away, we can risk it now,” Jolie says, letting go of my hand and switching on a small flashlight the size of a Magic Marker.
    The flash is welcome although inadequate, the darkness flowing in again behind the beam as it moves, flowing like the cloak of something cowled and hostile, figures of dim light squirming in the stainless-steel walls, as though they are the tortured denizens of some parallel reality separated from ours by a thin, distorting membrane.
    The narrow ray reveals that we have left the pipe behind and have entered a rectangular chamber approximately ten feet wide and twenty long. The floor seems to be white ceramic tiles separated not by grout lines but by thin spines of polished steel. All other surfaces are stainless steel.
    With the beam, the girl indicates a crowbar and several wood wedges of different sizes, which lie together in a corner. “I had to pry open the doors, and it wasn’t easy, I about thought I’d blow out a carotid artery. They were pneumatic once, I think, but there’s no power to them now.”
    The breached darkness is more disturbing than the blinding gloom that preceded it. Even in cramped quarters, absolute blackness allows the mind to imagine a generous space, but here the ceiling is hardly more than seven feet above the floor, and the sheen of the cold steel is sinister.
    “What is this place?” I ask.
    “Maybe the pipe behind us was just a storm drain a long time ago, before Grandpa even bought the Corner. But someone connected this system to it. Someone weird and up to no good, if you ask me.” She plays the light across the walls to the left and right, where the smooth steel is interrupted by double rows of inch-diameter holes. “I’ve thought about it a lot, and what I figure is this was first of all some kind of escape route. If people used it, they were decontaminated in these rooms—you know, maybe because of bacteria and viruses. Maybe. I don’t know. Feels right. But if you weren’t people, if you were anything else and you got this far, they trapped you here and instead of pumping in germ-killing mist or whatever, they instead pumped poison gas into the room.”
    “ ‘If you were anything else’? What anything?”
    Before the