Fear Nothing By Dean R. Koontz

film of dust that bore no footprints except those that we had left

during other visits.

The steps serve three subterranean floors, each with a footprint

considerably larger than the hangar above. This webwork of corridors

and windowless rooms has been assiduously stripped of every item that

might provide a clue to the nature of the enterprise conducted

here-stripped all the way to the bare concrete. Even the smallest

elements of the air-filtration and plumbing systems have been torn

out.

I have a sense that this meticulous eradication is only partly

explained by their desire to prevent anyone from ascertaining the

purpose of the place. Although I’m operating strictly on intuition, I

believe that as they scrubbed away every trace of the work done here,

they were motivated in part by shame.

I don’t believe, however, that this is the chemical-biological warfare

facility that I mentioned earlier. Considering the high degree of

biological isolation required, that subterranean complex is surely in a

more remote corner of Fort Wyvern, dramatically larger than these three

immense floors, more elaborately hidden, and buried far deeper beneath

the earth.

Besides, that facility apparently still operative.

Nevertheless, I am convinced that dangerous and extraordinary

activities of one kind or another were conducted beneath this hangar.

Many of the chambers, reduced only to their basic concrete forms, have

features that are at once baffling and-because of their sheer

strangeness-profoundly disquieting.

One of these puzzling chambers is on the deepest level, down where no

dust has yet drifted, at the center of the floor plan, ringed us ovoid,

a hundred by corridors and smaller rooms. It is an enormo and twenty

feet long, not quite sixty feet in diameter at its widest point,

tapering toward the ends. The walls, ceiling, and floor are curved, so

that when You stand here, You feet as if You are within the empty shell

of a giant egg.

Entrance is through a small adjacent space that might have been fitted

out as an airlock. Rather than a door, there must have been a hatch;

the only opening in the walls of this ovoid chamber is a circle five

feet in diameter.

Moving across the raised, curved threshold and passing through this

aperture with Orson, I swept the light over the width of the

surrounding wall, marveling at it as always: five feet of

poured-in-place, steel-reinforced concrete.

Inside the giant egg, the continuous smooth curve that forms the walls,

the floor, and the ceiling is sheathed in what appears to be milky,

vaguely golden, translucent glass at least two or three inches thick.

It’s not glass, however, because it’s shatterproof and because, when

tapped hard, it rings like tubular bells. Furthermore, no seams are

evident anywhere.

This exotic material is highly polished and appears as slick as wet

porcelain. The flashlight beam penetrates this coating, quivers and

flickers through it, flares off the faint golden whorls within, and

shimmers across its surface. Yet the stuff was not in the least

slippery as we crossed to the center of the chamber.

My rubber-soled shoes barely squeaked. Orson’s claws made faint elfin

music, ringing off the floor with a tink-ting like finger bells.

On this night of my father’s death, on this night of nights, I ted to

return to this place where I’d found my Mystery Train in cap the past

autumn. It had been lying in the center of the egg room, the only

object left behind in the entire three floors below the hangar.

I had thought that the cap had merely been forgotten by the last worker

or inspector to leave. Now I suspected that on a certain October

night, persons unknown had been aware of me exploring this facility,

that they had been following me floor to floor without my knowledge,

and that they had eventually slipped ahead of me to place the cap where

I would be sure to find it.

If this was the case, it seemed to be not a mean or taunting act but

more of a greeting, perhaps even a kindness. Intuition told me that

the words Mystery Train had something to do with my mother’s work.

Twenty-one months after her death, someone had given me the cap because

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