Читаем MirrorWorld полностью

We stand there for a moment, watching the motionless Maya. Once upon a time, the two of us were a part of her life, but now … now she’s an anxiety-ridden, self-mutilating vegetable and I’m what? I’m a mystery. Time for some answers.

“I’m done,” I say, and leave the room.

He lingers for a moment but then follows, overtakes me with the awkward shuffling walk of a man whose knees don’t work well anymore, and heads for a pair of doors I recognize. We stop in front of the Documentum door. He swipes his key card and we enter.

The vast, dark room glows dully from the light provided by the glass tubes. The space looks the same as it did before, a collection of dead people floating on the left, empty vessels awaiting occupants on the right.

I’m confused when he stops. “I’ve already seen this.”

“You have seen the victims,” he says, motioning to the bodies. “Like Maya, they got too close to the other side, saw too much, or were driven to madness for any number of reasons I can only guess at. You’ve witnessed the effect the Dread can have on people who lack your fearless nature, which is nearly everyone on this planet.”

Lyons waves his hands at the empty tubes. “But did you see the collection?” He looks at me. “Granted, all I can see is empty containers, but you…”

He wants me to look with my new senses. I blink, shifting my view. Invisible icicles impale my eyes, the pain like brain freeze, but far worse. The jolt makes me flinch, but I’m ready for the pain this time and look beyond it, peeking, once again behind the veil. When I do, Lyons steps away from me a touch but says nothing. And I pay him no heed. I can’t. The sight before me is unholy and captivating.

Lyons walks up to one of the tubes, which to him appears empty, and raps it with his knuckles. “The glass, like the windows on the outside of this building, is laced with oscillium.”

All but seven of the tanks contain a Dread. I see three bulls, crammed inside their tanks, several of the smaller pugs, and another four or five different types, all dead but without any obvious wounds. Like the living Dread, they’re all shades of dark gray and black, but the mesh of glowing veins is now the color of rotting spinach.

“If you can’t see them, how do you know they’re here?” I ask.

“The goggles you saw earlier filter and shift frequencies, allowing us to see them. Only partially. Like shadows,” he says. “Unless they’re already close to our frequency of reality, then they become clear. But even in death, viewing them for extended periods is not advisable.”

I remember the effect a quick look in the stairwell had on Katzman. “Because you might go nuts.”

He nods. “In death, the Dread no longer actively project fear, but there is residual … discomfort created by viewing their frequency of reality. Researchers who have spent even a short amount of time studying the corpses are far more susceptible to their influence. As a result, we have very limited data on their physiology and haven’t been able to perform any experiments of note … aside from you. I have only looked once. Those who have risked more … Well, an excess of fear can break the human mind. It’s what happened to the people you see in this room. It’s what happened to Maya.”

“You knew her well,” I say, luring him toward honesty.

“Who?”

“Maya. Not even Allenby used her first name.”

“We were close,” he says and turns to me. “As were you and I.”

He’s nearly being honest now. Perhaps the subject of Maya is simply too painful for him? Despite knowing he’s my father-in-law, I have a hard time picturing the two of us kicking back with a couple of beers or playing a game of Cranium — Shotgun Jones’s favorite. “If you can’t see them, how do you know they’re still there? Or that they aren’t simply unconscious? Or biding their time?”

“Sensors,” he says. “We’ve learned how to detect their presence.”

“Bioelectromagnetic fields?” I guess.

He squints at me. “Allenby has told you a lot.”

You have no idea, I think, and say, “But how did you kill them?”

He twists his lips for a moment. “The foyer you passed through at the main entrance. Did you notice the delay?”

I nod. The second set of doors took a few seconds to open.

“You were being scanned. Had your bioelectromagnetic field registered as Dread, you’d have been bombarded with microwaves. The roof elevator is the same.”

“Microwaves?”

“Various types of radiation and electricity have the same effect on them as they do on us. Unlike most elements, some forces exist in all frequencies, to some extent or another.”

“And if there had been a Dread inside with me?”

“Alone, the beast would be killed. If a human presence is detected, the first set of doors would have opened again, allowing you and the Dread to leave.”

“And each of these walked into your trap?”

“Slow learners,” he says, but he’s still not being fully honest. Many of the dead Dread have wounds that being cooked from the inside out doesn’t explain. I let it slide, though.

Перейти на страницу:

Похожие книги

Ледовый барьер
Ледовый барьер

«…Отчасти на написание "Ледового Барьера" нас вдохновила научная экспедиция, которая имела место в действительности. В 1906-м году адмирал Роберт Е. Пири нашёл в северной части Гренландии самый крупный метеорит в мире, которому дал имя Анигито. Адмирал сумел определить его местонахождение, поскольку эскимосы той области пользовались железными наконечниками для копий холодной ковки, в которых Пири на основании анализа узнал материал метеорита. В конце концов он достал Анигито, с невероятными трудностями погрузив его на корабль. Оказавшаяся на борту масса железа сбила на корабле все компасы. Тем не менее, Пири сумел доставить его в американский Музей естественной истории в Нью-Йорке, где тот до сих пор выставлен в Зале метеоритов. Адмирал подробно изложил эту историю в своей книге "На север по Большому Льду". "Никогда я не получал такого ясного представления о силе гравитации до того, как мне пришлось иметь дело с этой горой железа", — отмечал Пири. Анигито настолько тяжёл, что покоится на шести массивных стальных колоннах, которые пронизывают пол выставочного зала метеоритов, проходят через фундамент и встроены в само скальное основание под зданием музея.

Дуглас Престон , Линкольн Чайлд , Линкольн Чайльд

Детективы / Триллер / Триллеры