Don Gagnon

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Fischer played the flashlight beam around the dark immensity of the entry hall. The narrow cone of light jumped fitfully from place to place, freezing momentarily on hulking groups of furniture; huge, leaden-colored paintings; giant tapestries filmed with dust; a staircase, broad and curving, leading upward into blackness; a second-story corridor overlooking the entry hall; and far above, engulfed by shadows, a vast expanse of paneled ceiling.
Hell House
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