Book of the Dead: A Zombie Anthology (32 page)

“
I
thought we should give them some food.”

“Yeah, Bonnie. But you didn’t do shit.”

[6]

“
Motherfuckers
.” Sailor has the pedal to the metal. “Those mother
fuckers
, man. I thought we’d just grab some food from them, you know? As an excuse to case the place. See how many of them are left, see how good their security is, al that shit. But, goddamn, I never thought they wouldn’t give us any food. Fuck,
we’d
have given us food, I know we would’ve. We’ve
done
it before! Sons of fucking bitches.” He bangs the steering wheel. “They wouldn’t feed a goddamn
baby
, man!” He glances at Sweetpea. “You
believe
that?”

Sweetpea is holding the baby at arm’s length, staring at it with loathing. “It was chewing,” she says dul y.

“Of course it was chewing; it’s a goddamn—”

She drops the baby and begins batting her hands about her as if fighting off wasps. “It was
chewing
, it was
chewing
, it was trying to
eat me through my shirt
, its
mouth
was on me, oh, God, and it was moving, and I thought, that poor baby, and then I
realized
—”

Sailor grabs her arm and yanks. The El Camino swerves. “Calm down. Calm fucking
down
.”

She stares at him wide-eyed. On the floorboard the baby paddles air like a roach on its back. Half out of its swaddling, the skin around its neck blues where the make-up leaves off, its left arm missing, ripped from the socket some unknown time ago. Its right arm reaches; its toothless mouth opens and closes. Its eyes are like flat plastic.

Sweetpea pul s her legs up to the seat.

“We have to drive straight out of here,” says Sailor. “We can’t give them any reason to think something’s not right. Just stay calm until we get over the rise, there, al right? Al right?”

“I want it out of here.”

“In a minute.” He seems amused at her revulsion. He snorts. “Just close your eyes and think of England.”

Huddled on the seat, she turns to look at him. A mile later she says, “You wanna know why I fuck al the others and not you?”

Sailor gives her a you-can’t-be-serious look. “Because I don’t
want
to fuck al the others?” he asks innocently.

She ignores him. “Sometimes the others are nice to me, you know? They give me things, they show me things. They take me where good things are. You give me the fucking creeps. You’re like a fucking deadhead; you live inside your brain al the time and hardly ever come out, and when you do, it’s fucking creepy. You got maggots in your brain, or something. I wouldn’t fuck you if you were the last man on earth.”

“Wel , gosh,” Sailor says meanly. “There can’t be many more to go.” He sighs. “Maybe someday…”

She slits her eyes and he laughs.

They top the rise. On the other side Sailor pul s off the road and fishes out his .45 semiautomatic from under the seat. He works the action and turns off the engine. He takes the keys, not about to leave them with her. He goes to her side and opens the door. He picks up the baby and turns to face the desert.

Its head lol s. Its mouth works. Its single hand grabs gently at the hair on his forearm. Its mouth opens and closes, opens and closes.

He holds the baby at arm’s length, puts the barrel of the pistol against one unblinking flat-plastic eye, and fires.

[7]

hands: remember other hands of other food that touch and make the hunger go without the
need of food from her a her i remember but the hunger and without her now the hunger stil but
her hands

[8]

Marly takes soil samples from the savanna. She must determine whether the recirculated air is percolating properly throughout al the environments; she suspects blockage in places.

Dieter leans against a mangrove tree, arms folded, left leg crossed over right.

“Hey, I’m not saying that you did the wrong thing,” he is saying. “I’m just playing devil’s advocate here. I mean, from Bil ’s standpoint, you’ve violated the integrity of the Ecosphere. You risked possible contagion; you depleted a careful y regulated—”

She stands with a metal scoop and a dripping, mud-fil ed plastic baggie in hand. She turns away from him and squishes toward another section of mangrove. She squats and gropes in the stagnant water.

Other than their brief sexual liaison in the first months of the station’s operation, Dieter and Marly have something in common: They both helped design environments for the EPCOT Center at Walt Disney World in Florida. Under contract from Kraft, Marly worked on a pavilion cal ed The Land, which raised its own crops in various experimental ways, including hydroponics and alternate-gravity centrifuge environments. Dieter helped stock a mil ion-gal on, walk-through ocean cal ed The Living Seas, complete with sharks and dolphins.

Marly wonders how ol’ Walt Disney World is faring these days. The personnel and guests probably look and act pretty much the same. Down & Out in Tomorrowland, same as her.

Now, a week after reality so rudely impinged upon their own little world, Marly is trying to sever al connections with Staff as best she can, under the confined circumstances. She has slept in a tent in the desert every night. She has eaten only food she picks and prepares herself from the Agriculture wing. She does not report for morning exercises with Bil , psychiatric consultation with Grace, the weekly Staff gripe sessions, or the twice-weekly operations reports. She receives al environmental updates from the computer. She stands night watch on the monitor screens when scheduled to—a duty increased since what she has come to think of as the Food Incident.

So now Dieter stands around, dragging the Incident out into ridiculous academic discourse, and the jissum of his mental masturbation fal s al over her. She wants to spil his al eged brains with her garden trowel, but what she does is continue working and ignore him. It’s not very difficult.

Thinking about it, Marly realizes that she’s already spent over a year in solitary with these seven people.

For the others it’s life as normal—as normal as they can make it, which is very normal indeed, if you apply a now-anachronistic standard. The Food Incident was simply an unplanned-for contingency; they tap its pertinent minutiae into their data banks and schedules and al otments; they compensate, and adjust, and otherwise act as though it were no different than any of the other minor inconveniences that must be dealt with to keep the Ecosphere going.

Marly knows better. She knows their heads are in the sand. She knows that, one day, the real world wil show up and kick them in the ass.

But Marly also knows that it’s a lot easier to get by in here than Outside. She is torn: she certainly does not want to leave the station, but she is not sure how much longer she can tolerate these whitebread martinets. Self ostracism is her temporary compromise. She’s on hold.

She is a weather vane, shaping herself around the direction of the wind.

[9]

“Again.”

Florida turns on the flashlight. Sailor watches as Jo-Jo’s hands, knotted in the T-shirt (HE’S DEAD, JIM), extend before him. Jo-Jo trudges toward the source of the light like Frankenstein’s monster.

Florida clicks off the light and Jo-Jo stops. He looks confused. Through the fence Sailor extends a broom handle from which dangles a fresh piece of cat. Jo-Jo grabs it and begins gnawing, string and al .

“How are the others coming along?”

Florida shrugs. “Not as good. Jo-Jo’s stil smartest. We can get ’em to go for the light, though, as long as we give ’em munchies after. They’l fol ow a piece of meat anywhere, particularly if it’s alive. It’s got so that every time they see a light, they expect food. But Jo-Jo’s the only one you can get to carry things. Got him to open a door, a couple times.”

One deadhead (SHIT HAPPENS) trips over a lounging deadhead whose shirt proclaims that she is BORN AGAIN.

Sailor shakes his head. “Pretty fucking stupid.”

Florida nods. “Don’t see what good al this is gonna do us.”

“They taught pigeons to run machines by pecking buttons. Deadheads are as smart as pigeons.”

“Not by much.”

“No,” Sailor agrees. “They’re like plants that turn to fol ow the sun. Only they fol ow live meat.

But we can redirect that impulse to get them to go after something else if we give them meat as a reward. Clustered stimuli and delayed gratification. They used to do the same thing to get people to quit smoking.”

Florida laughs and scratches a muscular arm. “Dead? Cal Schick! But Sailor, what do we need

’em for? We do al right by ourselves.”

Sailor shrugs. “I want to use them,” he says simply.

“You’re stil pissed at those techno-weenies out in the desert? Fuck ’em, bud. Let ’em rot. Ain’t nothing those peckerwoods got that we can’t get ourselves.”

“There’s more to it than that,” Sailor mutters.

“You’re taking this pretty personal y,” says Florida.

Sailor turns on him. “They wouldn’t feed a fucking
baby
.”

“Sailor, it was a deadhead.”

“They didn’t know that.”

“So what? What possible difference can it make?”

“Aw, man, fuck you, al right?”

At the fence, finished with his bit of cat, cyanotic-tinged face against the broad steel mesh, Jo-Jo watches. Beside him now are the others, carnitropical y attracted. They jostle and vie mindlessly, like teenagers before the gate at a rock concert. The upraised elbow of a deadhead (PARTY

ANIMAL) strikes the temple of a skinny woman wearing a blank T-shirt that has a bumper sticker slapped onto it: I

EAT ROAD KILL.

Sailor and Florida turn at the sound of approaching music. Cheesecake has a ghetto blaster the size of a suitcase on his muscular shoulder. Run D.M.C. are demanding that sucker emcees cal them sire. How Cheesecake can walk and dance at the same time is a mystery to Sailor, whose musical taste always ran to Tangerine Dream and King Crimson anyhow. Wel -ordered, high-tech music. White-boy stuff.

Cheesecake’s eyes glint in the light from the building the others are burning down across the quad. His irises are bright, mirrored rings.

“Fuck,” whispers Florida, and reaches for his holster.

Sailor stops him with a hand on his elbow. Florida glances at him, and Sailor shakes his head.

Cheesecake stops before them and sets the ghetto blaster down, dancing jointlessly.

“I thought you’d gone deadhead,” Florida says mildly.

Cheesecake dances. “Say what?” The music is pretty goddamn loud.

“I nearly shot your nigger-brains out!” yel s Florida.

“Wha’ for?”

Florida and Sailor glance at each other and laugh.

“Oh, man…” says Florida, shaking his head.

“Hey, you like these?” Cheesecake points to his eyes. “They bad, or what?”

“Where’d you get ’em?” yel s Sailor.

“I dunno. Some building.” He waves across the quad, where the building burns.

“Optical sciences,” says Sailor.

“Yeah.”

The song changes; the beat doesn’t.

“You’re gonna get your ass shot off with those on,” yel s Florida.

“Say what?”

Florida shakes his head and turns to Sailor. “I don’t think the others are gonna be too enthused on coming down on that place, Sailor,” he says. “No percentage in it.”

Sailor nods. “Figured.”

“I have to tel you, too.” He watches Cheesecake dancing. “Sweetpea thinks… wel , she wants some of the guys to split up, you know, and come with her. You aren’t exactly Number One on her hit parade.”

“She wants to leave, let her.”

“Yeah, but… a lot of the guys’d go with her. You know how it is.”

“There’s girls at that station in the desert.”

“Yeah?” Hearing this last, Cheesecake brightens. “Hey, yeah?”

Sailor nods, and begins to elaborate, but stops when he sees Florida staring at the zoo pen. He turns to look.

“Hey, Jo-Jo!” Cheesecake points and grins. “Check you out, bro!”

sounds they make i remember from boxes it made me move not toward like food but with and
sometimes with sounds and moving with her

* * *

“Jesus Christ,” Sailor breathes, watching Jo-Jo stiffly dancing. “He
remembers
.”

Later that night Jimmy sees Cheesecake coming down the steps of the Student Union and blows his nigger brains al over the concrete. Engineering defeats American History.

“He was walkin’ funny an’ his eyes was al fucked an’ shit,” he tel s Sailor. “What the hel was I
supposed
to think?”

“Fuck if I know,” replies Sailor, certain now that it’s time he moved on.

[10]

Leonard in the monitor room is drawing circles on a yel ow legal pad. He draws them two lines tal and one after the other, circle beside circle. He is trying to teach himself to draw a perfect circle every time. He wil not stop until he draws two consecutive rows of perfect circles.

At the end of each row he surveys the monitor screens. Cameras are placed around the station, along with an alarm system on the bottom row of glass panes around the perimeter.

Leonard does not see the Ryder truck with its lights out glide to the base of the slope and stop several hundred yards from the south end of the Ecosphere. He does not see the driver’s-side door open and close (without the cab light coming on), nor the black-clad driver hurrying to the back to raise the door. He does not see the masked Pied Piper with a flashlight beam lead a group of shambling figures toward the Ecosphere.

Leonard draws a row of nearly perfect circles and surveys the monitors. He looks directly at the Ryder truck at the bottom left of Monitor Five, but motionless in the dark it looks like the rest of the angular landscape and he returns to drawing circles.

He completes a perfect row, and is halfway through a second when the alarm goes off.

[11]

Marly awakens to the sound of a distant bel . It is dark inside her two-man tent. She slips out of her sleeping bag and pushes past the entrance flaps.