From a Buick 8(33)

The phone at Curt's end crashed down without another word spoken and Sandy went back outside. If they were going to be nuked, he decided, he wanted to be with his friends when it happened.

Curt came roaring up the driveway marked TROOPERS ONLY ten minutes later, behind the wheel of his lovingly restored Bel Aire, the one his son would inherit twenty-two years later. When he came around the corner he was still moving fast, and Sandy had one horrible moment when he thought Curtis was going to clean out about five guys with his bumper. But Curt was quick on the brake (he still had a kid's reflexes), and brought the Chevy to a nose-dipping hair.

He got out of his car, remembering to turn off the engine but not the headlights, tripping over his own eager feet and almost sprawling on the macadam. He caught his balance and went running toward the shed. Sandy had just time to see what was dangling from one hand: a pair of welders' goggles on an elastic strap. Sandy had seen excited men in his time ? sure, plenty, almost every guy you stopped for speeding was excited in one way or another ? but he had never seen anyone as burning with it as Curt was then. His eyes seemed to be bulging right out of his face, and his hair appeared to be standing on end . . . although that might have been an illusion caused by how fast he was running.

Tony reached out and grabbed him on the way by, almost spilling him again. Sandy saw Curt's free hand close into a fist and start to rise. Then it relaxed. Sandy didn't know how close the rookie have come to striking his sergeant and didn't want to know. What mattered was that he recognized Tony (and Tony's authority over him) and stood down.

Tony reached for the goggles.

Curt shook his head.

Tony said something to him.

Curt replied, shaking his head vehemently.

In the still-bright flashes, Sandy saw Tony Schoondist undergo his own brief struggle, wanting to simply order Curt to hand the goggles over. Instead, he swung around and looked at his gathered Troopers. In his haste and excitement, the SC had given them what could have been construed as two orders: to get back and to return to the barracks. Most had chosen to obey the first and ignore the second. Tony took a deep breath, let it out, then spoke to Dicky-Duck Eliot, who listened, nodded, and went back into the barracks.

The rest of them watched Curt run toward Shed B, dropping his baseball cap on the pavement as he went and slipping the goggles over his eyes. Much as Sandy liked and respected the newest member of Troop D, he did not see anything heroic in this advance, not even while it was happening. Heroism is the act of going forward in the face of fear. Curt Wilcox felt no fear that night, not the slightest twinge of it. He was simply bugshit with excitement and a curiosity so deep it was a compulsion. Much later, Sandy would decide the Old Sarge had let Curtis go because he saw there was no chance of holding him back.

Curt stopped about ten feet in front of the roll-up door, raising his hands to block his eyes as a particularly brilliant flash erupted from inside the shed. Sandy saw the light shining through Curt's fingers in purple-white spokes. At the same time, Curt's shadow appeared on the mist like the figure of a giant. Then the light died and through a blot of afterimage Sandy saw Curt advance again. He reached the door and looked inside. He stood that way until the next flash came. He recoiled when it did, then at once went back to the window.

Meanwhile, here came Dicky-Duck Eliot back from his errand, whatever it had been. Sandy saw what he was holding as Dicky-Duck went past. The Sarge insisted that all of his D-cars should go out equipped with Polaroid cameras, and Dicky-Duck had run to fetch one of them. He handed it to Tony, cringing involuntarily as the shed lit up in another silent fusillade of light.

Tony took the camera and jogged across to Curtis, who was still peering into the shed and recoiling at each new flash (or series of them). Even the welder's goggles weren't enough protection from what was going on in there, it seemed.

Something nuzzled Sandy's hand and he almost screamed before looking down and seeing the barracks dog. Mister Dillon had likely slept through the whole thing until then, snoring on the linoleum between the sink and the stove, his favorite spot. Now he'd emerged to see what all the excitement was about. It was clear to Sandy from the brilliance of his eyes, the peak of his ears, and the high set of his head that he knew something was going on, but his previous terror wasn't in evidence. The flashing lights didn't seem to bother him in the slightest.

Curtis tried to grab the Polaroid, but Tony wouldn't let it go. They stood there in front of the Shed B door, turned into flinching silhouettes by each new flash from the shed. Arguing? Sandy didn't think so. Not quite, anyway. It looked to him like they were having the sort of heated discussion any two scientists might have while observing some new phenomenon. Or maybe it's not a phenomenon at all, Sandy thought. Maybe it's an experiment, and we're the guinea pigs.

He began to measure the length of the dark intervals as he and the others stood watching the two men in front of the shed, one wearing an oversized pair of goggles and the other holding a boxy Polaroid camera, both of them outlined like figures on a laser-lit dancefloor. The flashes had been like chain lightning when they began, but now there were significant pauses. Sandy counted six seconds between . . . ten seconds . . . seven . . . fourteen . . . twenty.

Beside him, Buck Flanders said: 'I think it's ending.'

Mister D barked and made as if to start forward. Sandy grabbed him by the collar and held him back. Maybe the dog just wanted to go to Curt and Tony, but maybe it was the thing in the shed he wanted to go to. Maybe it was calling him again. Sandy didn't care which; he liked Mister Dillon right where he was.