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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

The irony, she thinks, is that you can't smoke in here anymore. Now only the Waffle House waitress is the approved death merchant.

Miriam stands outside now. It's spitting rain. Cars drive past. She sees a defunct Circuit City through a haze of smoke, and a little Korean place across the highway sitting next to a Jo Ann Fabrics. In the distance are the yellow lights and dark silhouette of the Charlotte skyline, a neatly arranged picket fence of skyscrapers, hardly the tumbling monstrosity that is New York or Philly.

She feels perched on an edge. Precariously balanced. She doesn't want to think about the future – she so rarely does anymore, usually just letting life carry her along like she's a discarded Styrofoam cup floating on a lazy, crazy river. But it keeps nagging at her. Worrying with little teeth.

She's heard that, in lab studies, rats and monkeys who are given the illusion of choice end up relatively healthy. Even if they only have two choices, a lever that doles out an electric shock and a lever that doles out a different electric shock, they at least feel like they have some say in their outcome, and end up being much happier and more productive. Rats and monkeys who just get the shock arbitrarily, no choice at all, end up anxious, agitated, chewing out fur and biting holes in their little hands and little feet before dying of cancer or heart death.

Miriam feels like she has no control. She wonders how long it will be before she's chewing her own fingers down to the bone.

Of course, it might also be Louis.

He haunts her. He's not even dead, and she sees his ghost. A chance meeting once, and now she sees glimpses of him in places: standing in a crowd, driving a nearby minivan, in the reflection of the smeary Waffle House window –

"Miriam?"

She wheels.

The ghost is talking to her.

"Hey," the ghost of Louis says. Except – normally, the ghost has those Xs of electrical tape over bloody eye sockets. This one, not so much. Real eyes. Warm eyes. Watching.

"You're not a ghost," she says aloud.

He pauses. Pats himself down as if to make sure he's still physically present. "Nope. And neither are you, from the looks of it."

"That's debatable." She feels shaken.

In her head, Louis is dead. It's easier that way. This is harder.

"What are you doing here?" she asks.

He laughs. "Eating."

"I guess that makes sense." She feels embarrassed. A blush rises to her cheeks; that never happens. She tries to think of a witty retort. She can't. She feels unmoored, woefully unprotected. Stripped bare.

"You want to join me?"

She wants to run.

Instead, she says, "I just finished."

"Sure," he says.

And then they stand, sharing silence and the whisper of rain.

"Listen," he finally says. "I think I maybe messed things up back in the truck. I think maybe I gave off the wrong impression, like I was some kind of weirdo. And heck, maybe I am. It's just – I don't meet a lot of nice people. I didn't mean to get strange or act out, and I didn't mean to put you on the spot about going out sometime."