77 Shadow Street. Dean Koontz
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arm. She was holding him very tight, like she was afraid he’d float away and drown or something. She didn’t say anything for a moment, and neither did Winny, because there wasn’t any point jabbering about it. They knew what they’d seen, and neither of them could explain it, because it was flat-out nuts, so impossible that at first it filled your mind and left no room for other thoughts. But then Winny remembered the blue rings of light and the deep voice—“Exterminate. Exterminate”—and his mother must have remembered it, too, because she said, “Come on, let’s go,” and pulled him toward the bedroom door.
“Where are we going?” he asked.
“I don’t know—somewhere, anywhere, out of here, out of the Pendleton.”
To you of great faith, I am the product of your wisdom and the guarantor of your immortality.
She who fears lightning has written that a city is a forest of buildings shaken by a perpetual storm of interests, its people the fruit of its limbs, some ripening to perfection, others withering on the branches, and still others falling prematurely to rot upon the ground. I will teach her that the city is nothing so noble as a forest, that it is a bleak orchard of despair, from the twisted and leafless limbs of which hang only rotten fruit, that worm-eaten apple known as humanity. I will crawl the crevices of her brain, instilling in her an understanding of the worthlessness of her kind, so that she will beg for death because she cannot bear to be human anymore.
She speaks of perfect fruit when she has produced an imperfect daughter. She imagines the withered child to be a blessing. This kind of derangement is emblematic of humankind. Grave faults are said to be only eccentricities, and imperfections are routinely celebrated as mere differences that make for a rich variety in the species.
Variety is not the spice of life. It is the mother of disorder.
Individuality is not the hallmark of freedom. It is the essence of decadence.
Freedom is slavery to chaos. Unity is peace, all thinking and acting as one.
Soon the imperfect mother and the even more imperfect girl will be as one, their meaty individuality stripped away. Their pride and hope and fear will prove to have been as pointless as their lives were meaningless.
Like the mother and her daughter, the elderly sisters will learn that money buys no safety, that all human accomplishment is without consequence, that what matters is the earth, not vermin like them, who plague it, the earth in all its grandeur.
Under the 1,700-mile-thick mantle of the planet, the outer core is a sea of molten iron and nickel 1,400 miles in diameter, and it is the movement of this sea that generates the earth’s magnetic field. Expressions of this field, shimmering blue in the night and visible even on overcast days, were what drew the Indians to settle on Shadow Hill. Every thirty-eight years, the deep convection currents in that molten-metal ocean generate an unusually large tidal wave of energy. The fault in space-time on which the Pendleton is built is like a trapdoor, most of the time held shut by a restraining spring. But the tsunami of magnetic energy has opened it before and will soon open it again.
I await the moment.
Topper’s
Across Shadow Street, half a block downhill from the Pendleton, Topper’s restaurant featured fine steakhouse food in a sleek black-and-white Art Deco environment with a richness of carved glass and stainless steel. The waiters wore black and white, and the only color was provided by the china—a Tiffany knockoff—and the festively presented food.
In the adjoining bar, Silas Kinsley sat in a booth at a window table. Here the indirect lighting, even lower and more artfully designed than in the restaurant, shaded the edges off every surface and added a luster to every reflective material.
He and Nora had come here often for the steaks, sometimes for just a drink. During the year after her death, he hadn’t gone back to any place they frequented together, certain that the memories invoked would be too painful. Now he pretty much went only where they had gone together because the memories sustained him. The more time that passed since her death, the closer he felt to her, which he supposed meant that he was quickly moving toward his own death, which would deliver him to her.
Although offices were still closing, a business crowd already gathered at the bar, perhaps seeking shelter from more than just the storm and relief from more than just the pressures of their work. Although Silas had not practiced law in many years, he remained aware of the telling details that could confirm or disprove testimony. In the current dreadful economy, in these times of rapid change and daily irrational violence, numerous subtleties in the personal style and manners of the customers suggested that they chose Topper’s because they yearned to escape not merely their workday worries but also the era in which they lived. The background music was big band, Glenn Miller and Benny Goodman and Artie Shaw. The favored drinks were the martinis and gin and tonics and Singapore slings that made the 1930s buzz, rather than the weak white wine and low-calorie beer of this joyless, health-obsessed age. In defiance of the law, having brought their ashtrays, as people in the days of prohibition hid bottles of booze in brown-paper bags, some even smoked cigarettes, and neither management nor other customers complained. A mood of rebellion was as evident as the music, though perhaps many of them could not yet quite articulate what they wished to rebel against.
In his window booth, Silas faced east, uphill, and could see the lights of the Pendleton through the driving rain. Across the table from him sat Perry Kyser, who had been the site supervisor for the construction company that converted Belle Vista into the Pendleton in 1973. Kyser had just been served his martini and meant to savor the first taste before sharing the story he had to tell.
He was a big man who had not gone to fat with advanced age. In spite of his bald head and snow-white mustache, he looked like he could still work any job on a construction site. He and Silas were by far the oldest people in the room, and the only two who remembered big-band swing from their childhoods, when it had still been the dance music of choice and had dominated radio programming.
Perry Kyser was the father of Gordon Kyser, who had been an attorney in the firm of Kinsley, Beckinsale, Gunther and Fortis, back in the 1980s and ’90s. That was long before Silas retired, lost his wife, moved into his current apartment, and became obsessed with the history of the building. He had never met Perry Kyser in the days that he’d been Gordon’s senior partner, but the connection with the son had been sufficient to make the father willing to talk about some experience that until now he had shared with no one.
Their small talk was brief, about Gordon and the weather and getting old, and after his second taste of the martini, Perry Kyser got to the subject that brought them together: “Renovating an older building—theater, school, offices, a megahouse like the Pendleton, whatever—there’s going to have been a few deaths there in the past. Usually not murders. Accidents, heart attacks, like that. And often as not, with a large crew, you’ll have a couple guys, they have a thing for ghost stories. They don’t invent ’em, I’m not saying they do, but if any stories are in circulation about the project site, these guys will know ’em and talk ’em up during breaks, at lunch. In that environment, when little things happen nobody would think twice about otherwise, odd little things, then they take on a bigger meaning than they should. Even level-headed people imagine they see things … but they really believe they saw ’em. Know what I’m saying?”
“The power of suggestion,” Silas said.
“Yeah. But the Pendleton wasn’t like that. Something really happened there in ’73, late November, first of December. I lost my best carpenter, quit the job because of something he saw, wouldn’t even talk about it, just wanted out of there. Other guys, solid types, claimed to see what they called shadow people. Dark shapes crossing a room, along a hallway, even through walls, quick as cats, almost quicker than the eye.”
“Did