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Contents ( 64)
  1. PART ONE
  2. ONE
  3. TWO
  4. INTERLUDE
  5. THREE
  6. FOUR
  7. INTERLUDE
  8. FIVE
  9. SIX
  10. SEVEN
  11. INTERLUDE
  12. EIGHT
  13. NINE
  14. TEN
  15. ELEVEN
  16. INTERLUDE
  17. TWELVE
  18. PART TWO
  19. THIRTEEN
  20. FOURTEEN
  21. INTERLUDE
  22. FIFTEEN
  23. SIXTEEN
  24. SEVENTEEN
  25. EIGHTEEN
  26. NINETEEN
  27. INTERLUDE
  28. TWENTY
  29. INTERLUDE
  30. TWENTY-ONE
  31. INTERLUDE
  32. TWENTY-TWO
  33. INTERLUDE
  34. TWENTY-THREE
  35. PART THREE
  36. TWENTY-FOUR
  37. INTERLUDE
  38. TWENTY-FIVE
  39. TWENTY-SIX
  40. INTERLUDE
  41. TWENTY-SEVEN
  42. TWENTY-EIGHT
  43. INTERLUDE
  44. TWENTY-NINE
  45. THIRTY
  46. INTERLUDE
  47. THIRTY-ONE
  48. INTERLUDE
  49. THIRTY-TWO
  50. INTERLUDE
  51. THIRTY-THREE
  52. INTERLUDE
  53. THIRTY-FOUR
  54. THIRTY-FIVE
  55. THIRTY-SIX
  56. THIRTY-SEVEN
  57. THIRTY-EIGHT
  58. THIRTY-NINE
  59. FORTY
  60. INTERLUDE
  61. FORTY-ONE
  62. About the Author
  63. Acknowledgments
  64. CHUCK WENDIG in conversation with Adam Christopher

Somewhere, the sound of the ocean.

Louis is bound to a wooden chair next to the lighthouse lantern. A dizzying array of optics sits above his head. Brown extension cords affix his wrists to the chair arms, and another pair holds his feet to the chair legs. His head is held fast by black electrical tape wrapped around his forehead, fastening his skull to base of the lighthouse's pedestal clockworks.

A tall, thin man approaches. He is entirely hairless. No eyebrows. No eyelashes, even.

In one of his smooth, spidery hands he holds a long fillet knife.

The man admires the blade for a moment, though it is pocked with rust and smells not-too-faintly of fish guts.

"Get away from me," Louis stammers. "Who are you? Who are you people? I don't have what you want!"

"That no longer matters," the man says. He has an accent. Nebulous. European.

The man moves preternaturally fast. He stabs Louis in the left eye with the knife. It does not go to the brain, and only ruins the eye: a choice the hairless man has made. Louis screams. The attacker withdraws the knife. It makes a sucking sound as he extracts it.

His thin lips form a mirthless smile.

He pauses. He admires.

Louis's good eye darts to somewhere over the man's shoulder.

"Miriam?" Louis asks, but it's too late. The man stabs him again, this time through the right eye, and this time, all the way to the hilt. All the way to the brain.

FOUR

The Million-Dollar Question

She can still hear the sound as the knife pulls out of the one eye and the sound as it plunges into the other. And him speaking her name… Miriam? It bounces around her skull like a ricocheting bullet.

Her hand feels like it's touching a hot stove. She gasps and jerks, pulling it away.

Her head slams into the passenger side window. Not enough to crack it, but enough where she sees stars. The unlit cigarette drops from her lips and tumbles into her lap.

"Do you know me?" she asks, blinking away the white spots. Louis, of course, looks confused.

"I don't know if anybody knows anybody," he says.

"No!" she barks, sharp, too sharp, and shakes her head. "I mean, have we met? We don't know each other?"

Louis still has his hand hanging out there from where she grabbed it, but now he slowly pulls back, like any fast movement might cause him to lose it.

"No. We don't know each other."

She rubs her eyes. "Do you know anyone named Miriam?"

"I don't think so. No."

He's watching her now like she's a rattlesnake. He's got one hand on the wheel and the other hanging free – just in case the rattlesnake decides to bite, she thinks. He probably thinks she's on drugs. If only.

Shit. She knows how this adds up. This is a bad equation. Her guts roil.

"Stop the truck," she says.

"What? The truck? No. Let me get to a–"