The big U

A rat was on top of him before he had come to rest, and he stood up wildly, using his body to throw the screaming beast against the wall. Grabbing the Sceptre in both hands he swung it like a scythe. Whatever else it was, it was first and foremost a rod with a heavy globe at one end, a fine mace.

 

Virgil stood with his back to the wall, kicking alternately with his feet like a Crotobaltislavonian folk dancer to shake off the bites of the rats, lashing out with the Sceptre at the same time. He was then blinded as his hand touched the toggle switch that activated the powerful flasher at the end. He cringed and looked away, and at the same time the rats fell back squealing. He shook sweat and condensation from his eyes, snapped his wet hair back and waved the Sceptre around at arms' length, surveying his opponents in the exploding light. They were gathered around him in a semicircle, about ten feet away, and with every flash their fur glistened for an instant and their eyeballs sparked like distant brakelights. They were hissing and muttering to one another now, their number constantly growing, watching with implacable hostility-- but none dared approach.

 

Continuing to wave the Sceptre of Cosmic Force, Virgil felt down with his other hand to the butt of the weapon, where he had installed a dial to adjust the speed of the flashing. Turning it carefully up and down, he found that as the flashes became less frequent, the circle tightened around him unanimously so that he must frantically spin the dial up to a higher frequency. At this the rats reacted in pain arid backed away in the flickering light in stop-action. Now Virgil's vision was composed of a succession of still images, each slightly different from the last, and all he saw was rats. dozens of rats, and each shining purple rat-image was fixed permanently into his perfect memory until he could remember little else. Encouraged by their fear, he grasped the knob again and sped up the flasher, until suddenly they reached some breaking-point; then they dissolved into perfect chaotic frenzy and turned upon one another with hysterical ferocity, charging lustily together into a great stop-action melee at the tunnel intersection. Bewildered and disgusted, Virgil closed his eyes to shut it out, so that all he saw was the red veins in his eyelids jumping out repeatedly against a yellow-pink background.

 

Some of the rats were colliding with his legs. He lowered the Sceptre so that the flasher was between his ankles, and, guiding himself by sound and touch, moved away from the obstructed intersection and down the unmapped passageway. He opened his eyes and began to run, holding the flasher out in front of him like a blind man's cane. From time to time he encountered a rat who had approached the source of the sound and fury and then gone into convulsions upon encountering the sprinting electronics technician with his Sceptre. Soon, though, there were no more rats, and he turned it off.

 

Something was tugging at his belt. Feeling cautiously, he found that it was the power cord of the headlamp, which had been knocked off his head and had been bouncing along behind him ever since. He found that the lens, once he had wiped crud from it, cast an intermittent light-- a connection was weakened somewhere-- that did, however, enable him to see.

 

This unmapped tunnel was relatively narrow. Its ceiling, to his shock, was thick with bats, while its floor was clean of the stinking glom that covered most of the tunnels in varying depths. Instead there was a thin layer of slimy fluid and fuzzy white bat guano which stank but did not hinder. This was probably a good sign; the passage must lead somewhere. He noted the position of the Sceptre's dial that had caused the rats to blow their stacks, then slung the weapon over his shoulder and continued down the passage, his feet curiously light and free in the absence of deep sludge.

 

Before long he discerned a light at the end of the tunnel. He broke into a jog, and soon he could see it clearly, about a hundred and fifty feet away: a region at the end of the passage that was clean and white and fluorescently lit. Nothing in the blueprints corresponded to this.

 

Neal Stephenson's books