Read Online Relentless by Dean Koontz - Free Book Online Page A
Authors: Dean Koontz
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gave me the impression that his purpose was more complex than the psychotic thrill of torment and murder.
Before he spoke again, and especially before he switched on a flashlight, I needed to put some distance between myself and the bed. He would expect to find me there, and when he did not, when his light revealed his position but not mine, I might be able to catch him off guard, rushing at him from the side or from behind as he initially regarded the tangle of abandoned sheets.
Crouched and barefoot, in a slow-motion shamble that required tension in every muscle and that tested balance, I ape-walked toward where I expected to find an armchair. It ought to be just to the right of that point on the wall where the alarm-system keypad should have been softly glowing.
Shoulders slumped, arms low, I let my fingertips slide lightly, soundlessly across the carpet. If a knee buckled or a muscle cramped, I could steady myself with my hands.
I feared making a sound less than I dreaded colliding with Waxx in the blackness. My strategy would then be worthless, though I would still surprise him and might be able to overpower him before he shot or stabbed me.
I am five feet eleven and in acceptable physical condition. But I did not delude myself that his formidable bulk would prove to be flab. He would be difficult to take down.
In retrospect, I realize that in my desperation, I thought I could plot the scene as if I were writing fiction. Suspense novels are not my genre. Fate had dropped me into a real-life tale of peril, however, and because I lacked tough-guy experience, I had fallen back on imagination and craftsmanship to sculpt this narrative toward a twist that would not leave me dead in an early chapter.
Blinded, I nevertheless found the armchair where I expected it would be, which gave me hope that I remained the protagonist and had not become a supporting character destined for a bloody end in Part 1.
Elsewhere in the room, his position impossible to fix from a single word, the critic said quietly, “Hack.”
He might be describing what he intended to do to me with an axe or cleaver, but I suspected that instead the word was intended as an insult, a judgment of my writing skills.
Separating the first armchair from another was an art-deco sideboard. The highly lacquered amboina wood felt cool against my fingertips as I aped onward.
Our sleigh bed stood against the east wall of the room. Logic suggested that Waxx had positioned himself at the foot of the bed, where his flashlight, when he switched it on, could cover both me and Penny.
Now near the south wall, I hoped to circle to the west, where I most likely would be behind him when at last he revealed himself.
Wondering at Waxx’s failure to take quick and deadly action after penetrating the house so effectively, I halted at the second armchair, suddenly fearful of proceeding. I began to suspect that I had missed something, that the implicit meaning of the moment was different from what I imagined it to be.
This happens often when writing fiction. Outlines are a waste of time. If you give your characters free will, they will grow in ways you never anticipated, and they will take the story places you could not have predicted, raising themes you might or might not have intended to explore. Characters shape events; events illuminate the characters. The people in a story begin as seeds, become buds, and blossom in ways that surprise the author, precisely as real people frequently surprise him with their intentions and capacities.
As I crouched by the second armchair, Shearman Waxx electrocuted me.
Out of the darkness, something thrust against the nape of my neck—two metal pegs, positive and negative poles. Before I could flinch away, hot needles stitched the length of my spine and then sewed through every branch of my peripheral nervous system to toes, to fingertips, to scalp.
My eyes rolled back in my skull, dazzled by an inner vision of gold and crimson
Before he spoke again, and especially before he switched on a flashlight, I needed to put some distance between myself and the bed. He would expect to find me there, and when he did not, when his light revealed his position but not mine, I might be able to catch him off guard, rushing at him from the side or from behind as he initially regarded the tangle of abandoned sheets.
Crouched and barefoot, in a slow-motion shamble that required tension in every muscle and that tested balance, I ape-walked toward where I expected to find an armchair. It ought to be just to the right of that point on the wall where the alarm-system keypad should have been softly glowing.
Shoulders slumped, arms low, I let my fingertips slide lightly, soundlessly across the carpet. If a knee buckled or a muscle cramped, I could steady myself with my hands.
I feared making a sound less than I dreaded colliding with Waxx in the blackness. My strategy would then be worthless, though I would still surprise him and might be able to overpower him before he shot or stabbed me.
I am five feet eleven and in acceptable physical condition. But I did not delude myself that his formidable bulk would prove to be flab. He would be difficult to take down.
In retrospect, I realize that in my desperation, I thought I could plot the scene as if I were writing fiction. Suspense novels are not my genre. Fate had dropped me into a real-life tale of peril, however, and because I lacked tough-guy experience, I had fallen back on imagination and craftsmanship to sculpt this narrative toward a twist that would not leave me dead in an early chapter.
Blinded, I nevertheless found the armchair where I expected it would be, which gave me hope that I remained the protagonist and had not become a supporting character destined for a bloody end in Part 1.
Elsewhere in the room, his position impossible to fix from a single word, the critic said quietly, “Hack.”
He might be describing what he intended to do to me with an axe or cleaver, but I suspected that instead the word was intended as an insult, a judgment of my writing skills.
Separating the first armchair from another was an art-deco sideboard. The highly lacquered amboina wood felt cool against my fingertips as I aped onward.
Our sleigh bed stood against the east wall of the room. Logic suggested that Waxx had positioned himself at the foot of the bed, where his flashlight, when he switched it on, could cover both me and Penny.
Now near the south wall, I hoped to circle to the west, where I most likely would be behind him when at last he revealed himself.
Wondering at Waxx’s failure to take quick and deadly action after penetrating the house so effectively, I halted at the second armchair, suddenly fearful of proceeding. I began to suspect that I had missed something, that the implicit meaning of the moment was different from what I imagined it to be.
This happens often when writing fiction. Outlines are a waste of time. If you give your characters free will, they will grow in ways you never anticipated, and they will take the story places you could not have predicted, raising themes you might or might not have intended to explore. Characters shape events; events illuminate the characters. The people in a story begin as seeds, become buds, and blossom in ways that surprise the author, precisely as real people frequently surprise him with their intentions and capacities.
As I crouched by the second armchair, Shearman Waxx electrocuted me.
Out of the darkness, something thrust against the nape of my neck—two metal pegs, positive and negative poles. Before I could flinch away, hot needles stitched the length of my spine and then sewed through every branch of my peripheral nervous system to toes, to fingertips, to scalp.
My eyes rolled back in my skull, dazzled by an inner vision of gold and crimson
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