The Mammoth Book of Zombies

by Stephen Jones

  Hammersmith put his glass down on his blotting pad, and looked at the worst part. There was blood on Calloway's shirt, a trail of it which led up his neck to his left ear, from which protruded the end of Diane Duvall's nail file. It had been driven deep into Calloway's brain. The man was surely dead.

  But he stood, spoke, walked.

  From the theatre, there rose another round of applause, muted by distance. It wasn't a real sound somehow; it came from another world, a place where emotions ruled. It was a world Hammersmith had always felt excluded from. He'd never been much of an actor, though God knows he'd tried, and the two plays he'd penned were, he knew, execrable. Book-keeping was his forte, and he'd used it to stay as close to the stage as he could, hating his own lack of art as much as he resented that skill in others.

  The applause died, and as if taking a cue from an unseen prompter, Calloway came at him. The mask he wore was neither comic nor tragic, it was blood and laughter together. Cowering, Hammersmith was cornered behind his desk. Calloway leapt on to it (he looked so ridiculous, shirt-tails and balls flip-flapping) and seized Hammersmith by the tie.

  "Philistine," said Calloway, never now to know Hammersmith's heart, and broke the man's neck - snap! - while below the applause began again.

  "Do not embrace me till each circumstance

  Of place, time, fortune, do cohere and jump

  That I am Viola."

  From Constantia's mouth the lines were a revelation. It was almost as though this Twelfth Night were a new play, and the part of Viola had been written for Constantia Lichfield alone. The actors who shared the stage with her felt their egos shrivelling in the face of such a gift.

  The last act continued to its bitter-sweet conclusion, the audience as enthralled as ever to judge by their breathless attention.

  The Duke spoke: "Give me thy hand;

  And let me see thee in thy woman's weeds."

  In the rehearsal the invitation in the line had been ignored: no-one was to touch this Viola, much less take her hand. But in the heat of the performance such taboos were forgotten. Possessed by the passion of the moment the actor reached for Constantia. She, forgetting the taboo in her turn, reached to answer his touch.

  In the wings Lichfield breathed "no" under his breath, but his order wasn't heard. The Duke grasped Viola's hand in his, life and death holding court together under this painted sky.

  It was a chilly hand, a hand without blood in its veins, or a blush in its skin.

  But here it was as good as alive.

  They were equals, the living and the dead, and nobody could find just cause to part them.

  In the wings, Lichfield sighed, and allowed himself a smile. He'd feared that touch, feared it would break the spell. But Dionysus was with them tonight. All would be well; he felt it in his bones.

  The act drew to a close, and Malvolio, still trumpeting his threats, even in defeat, was carted off. One by one the company exited, leaving the clown to wrap up the play.

  "A great while ago the world began,

  With hey, ho, the wind and the rain,

  But that's all one, our play is done

  And we'll strive to please you every day."

  The scene darkened to blackout, and the curtain descended. From the gods rapturous applause erupted, that same rattling, hollow applause. The company, their faces shining with the success of the Dress Rehearsal, formed behind the curtain for the bow. The curtain rose: the applause mounted.

  In the wings, Calloway joined Lichfield. He was dressed now: and he'd washed the blood off his neck.

  "Well, we have a brilliant success," said the skull. "It does seem a pity that this company should be dissolved so soon."

  "It does," said the corpse.

  The actors were shouting into the wings now, calling for Calloway to join them. They were applauding him, encouraging him to show his face.

  He put a hand on Lichfield's shoulder.

  "We'll go together, sir," he said.

  "No, no, I couldn't."

  "You must. It's your triumph as much as mine." Lichfield nodded, and they went out together to take their bows beside the company.

  In the wings Tallulah was at work. She felt restored after her sleep in the Green Room. So much unpleasantness had gone, taken with her life. She no longer suffered the aches in her hip, or the creeping neuralgia in her scalp. There was no longer the necessity to draw breath through pipes encrusted with seventy years' muck, or to rub the backs of her hands to get the circulation going; not even the need to blink. She laid the fires with a new strength, pressing the detritus of past productions into use: old backdrops, props, costuming. When she had enough combustibles heaped, she struck a match and set the flame to them. The Elysium began to burn.

  Over the applause, somebody was shouting:

  "Marvellous, sweethearts, marvellous."

  It was Diane's voice, they all recognized it even though they couldn't quite see her. She was staggering down the centre aisle towards the stage, making quite a fool of herself.

  "Silly bitch," said Eddie.

  "Whoops," said Calloway.

  She was at the edge of the stage now, haranguing him.

  "Got all you wanted now, have you? This your new lady-love is it? Is it?"

  She was trying to clamber up, her hands gripping the hot metal hoods of the footlights. Her skin began to singe: the fat was well and truly in the fire.

  "For God's sake, somebody stop her," said Eddie. But she didn't seem to feel the searing of her hands; she just laughed in his face. The smell of burning flesh wafted up from the footlights. The company broke rank, triumph forgotten.

  Somebody yelled: "Kill the lights!"

  A beat, and then the stage lights were extinguished. Diane fell back, her hands smoking. One of the cast fainted, another ran into the wings to be sick. Somewhere behind them, they could hear the faint crackle of flames, but they had other calls on their attention.

  With the footlights gone, they could see the auditorium more clearly. The stalls were empty, but the Balcony and the gods were full to bursting with eager admirers. Every row was packed, and every available inch of aisle space thronged with audience. Somebody up there started clapping again, alone for a few moments before the wave of applause began afresh. But now few of the company took pride in it.

  Even from the stage, even with exhausted and light-dazzled eyes, it was obvious that no man, woman or child in that adoring crowd was alive. They waved fine silk handkerchiefs at the players in rotted fists, some of them beat a tattoo on the seats in front of them, most just clapped, bone on bone.

  Calloway smiled, bowed deeply, and received their admiration with gratitude. In all his fifteen years of work in the theatre he had never found an audience so appreciative.

  Bathing in the love of their admirers, Constantia and Richard Lichfield joined hands and walked down-stage to take another bow, while the living actors retreated in horror.

  They began to yell and pray, they let out howls, they ran about like discovered adulterers in a farce. But, like the farce, there was no way out of the situation. There were bright flames tickling the roof joists, and billows of canvas cascaded down to right and left as the flies caught fire. In front, the dead: behind, death. Smoke was beginning to thicken the air, it was impossible to see where one was going. Somebody was wearing a toga of burning canvas, and reciting screams. Someone else was wielding a fire extinguisher against the inferno. All useless: all tired business, badly managed. As the roof began to give, lethal falls of timber and girder silenced most.

  In the Gods, the audience had more or less departed. They were ambling back to their graves long before the fire department appeared, their cerements and their faces lit by the glow of the fire as they glanced over their shoulders to watch the Elysium perish. It had been a fine show, and they were happy to go home, content for another while to gossip in the dark.

  The fire burned through the night, despite the never less than gallant efforts of the fire department
to put it out. By four in the morning the fight was given up as lost, and the conflagration allowed its head. It had done with the Elysium by dawn.

  In the ruins the remains of several persons were discovered, most of the bodies in states that defied easy identification. Dental records were consulted, and one corpse was found to be that of Giles Hammersmith (Administrator), another that of Ryan Xavier (Stage Manager) and, most shockingly, a third that of Diane Duvall. "Star of The Love Child burned to death", read the tabloids. She was forgotten in a week.

  There were no survivors. Several bodies were simply never found.

  They stood at the side of the motorway, and watched the cars careering through the night.

  Lichfield was there of course, and Constantia, radiant as ever. Calloway had chosen to go with them, so had Eddie, and Tallulah. Three or four others had also joined the troupe.

  It was the first night of their freedom, and here they were on the open road, travelling players. The smoke alone had killed Eddie, but there were a few more serious injuries amongst their number, sustained in the fire. Burned bodies, broken limbs. But the audience they would play for in the future would forgive them their petty mutilations.

  "There are lives lived for love," said Lichfield to his new company, "and lives lived for art. We happy band have chosen the latter persuasion."

  "There was a ripple of applause amongst the actors.

  "To you, who have never died, may I say: welcome to the world!"

  Laughter: further applause.

  The lights of the cars racing north along the motorway threw the company into silhouette. They looked, to all intents and purposes, like living men and women. But then wasn't that the trick of their craft? To imitate life so well the illusion was indistinguishable from the real thing? And their new public, awaiting them in mortuaries, churchyards and chapels of rest, would appreciate the skill more than most. Who better to applaud the sham of passion and pain they would perform than the dead, who had experienced such feelings, and thrown them off at last?

  The dead. They needed entertainment no less than the living; and they were a sorely neglected market.

  Not that this company would perform for money, they would play for the love of their art, Lichfield had made that clear from the outset. No more service would be done to Apollo.

  "Now," he said, "which road shall we take, north or south?"

  "North," said Eddie. "My mother's buried in Glasgow, she died before I ever played professionally. I'd like her to see me."

  "North it is, then," said Lichfield. "Shall we go and find ourselves some transport?"

  He led the way towards the motorway restaurant, its neon flickering fitfully, keeping the night at light's length. The colours were theatrically bright: scarlet, lime, cobalt, and a wash of white that splashed out of the windows on to the car park where they stood. The automatic doors hissed as a traveller emerged, bearing gifts of hamburgers and cake to the child in the back of his car.

  "Surely some friendly driver will find a niche for us," said Lichfield.

  "All of us?" said Calloway.

  "A truck will do; beggars can't be too demanding," said Lichfield. "And we are beggars now: subject to the whim of our patrons."

  "We can always steal a car," said Tallulah.

  "No need for theft, except in extremity," Lichfield said. "Constantia and I will go ahead and find a chauffeur."

  He took his wife's hand.

  "Nobody refuses beauty," he said.

  "What do we do if anyone asks us what we're doing here?" asked Eddie nervously. He wasn't used to this role; he needed reassurance.

  Lichfield turned towards the company, his voice booming in the night:

  "What do you do?" he said, "Play life, of course! And smile!"

  2 - Ramsey Campbell - Rising Generation

  As they approached the cave beneath the castle some of the children began to play at zombies, hobbling stiffly, arms outstretched. Heather Fry frowned. If they knew the stories about the place, despite her efforts to make sure they didn't, she hoped they wouldn't frighten the others. She hadn't wanted to come at all; it had been Miss Sharp's idea, and she'd been teaching decades longer than Heather, so of course she had her way. The children were still plodding inexorably toward their victims. Then Joanne said "You're only being like those men in that film last night." Heather smiled with relief. "Keep together and wait for me," she said.

  She glanced up at the castle, set atop the hill like a crown, snapped and bent and discovered by time. Overhead sailed a pale blue sky, only a wake of thin foamy clouds on the horizon betraying any movement. Against the sky, just below the castle, Heather saw three figures toiling upward. Odd, she thought, the school had been told the castle was forbidden to visitors because of the danger of falling stone, which was why they'd had to make do with the cave. Still, she was glad she hadn't had to coax her class all the way up there. The three were moving slowly and clumsily, no doubt exhausted by their climb, and even from where Heather stood their faces looked exceptionally pale.

  She had to knock several times on the door of the guide's hut before he emerged. Looking in beyond him, Heather wondered what had taken his time. Not tidying the hut, certainly, because the desk looked blitzed, scattered and overflowing with forms and even an upset ink-bottle, fortunately stoppered. She looked at the guide and her opinion sank further. Clearly he didn't believe in shaving or cutting his nails, and he was pale enough to have been born in a cave, she thought. He didn't even bother to turn to her; he stared at the children lined up at the cave entrance, though by his lack of expression he might as well have been blind. "I'd rather you didn't say anything about the legend," she said.

  His stare swivelled to her and held for so long she felt it making a fool of her. "You know what I mean," she said, determined to show him she did too. "The stories about the castle. About how the baron was supposed to keep zombies in the cave to work for him, until someone killed him and walled them up. I know it's only a story but not for the children, please."

  When he'd finished staring at her he walked toward the cave, his hands dangling on his long arms and almost brushing his knees. At least he won't interrupt, she thought. I wonder how much he's paid and for what? There was even a propped-up boot poking out from beneath the desk.

  As she reached the near end of the line of children he was trudging into the cave. Daylight slipped from his back and he merged with the enormous darkness, then the walls closed about him as his torch awakened them. Heather switched on her own torch. "Stay with your partner," she called, paragraphing with her fingers. "Stay in the light. And don't lag."

  The children, fourteen pairs of them, were hurrying after the guide's light. The cave was wide at the entrance but swiftly narrowed as it curved, and when Heather glanced back a minute later, lips of darkness had closed behind them. As the guide's torch wavered the corrugations of the walls rippled like the soft gulping flesh of a throat. The children were glancing about uneasily like young wild animals, worried by the dark sly shifting they glimpsed at the edge of their vision. Heather steadied her beam about them, and the thousands of tons of stone above their heads closed down.

  Not that it was easy to steady the beam. In the cave he'd picked up speed considerably, and she and the children had to hurry so as not to be left behind. Maybe he feels at home, she thought angrily. "Will you slow down, please," she called and heard Debbie at the front of the line say "Miss Fry says you've got to slow down."

  The guide's light caught a wide flat slab of roof that looked as if it were sagging. Scattered earth crunched softly beneath Heather's feet. About now, she was sure, they would be heading up and out the other side of the hill. Joanne, who hadn't let Debbie convince her as a zombie, and Debbie squeezed back to Heather along the contracting passage. "I don't like that man," Joanne said. "He's dirty."

  "What do you mean?" Heather said, sounding too worried. But Joanne said, "He's got earth in his ears."

  "Will you hold our hands if we're f
rightened?" Debbie said.

  "Now I can't hold everyone's hand, can I?" Earth slid from beneath Heather's feet. Odd, she thought: must come from the guide's ears and beneath his nails, and began to giggle, shaking her head when they asked why. He was still forcing them to hurry, but she was beginning to be glad that at least they wouldn't have to depend on him much longer. "If you think of questions don't ask them yet," she called. "Wait until we're outside."

  "I wish we didn't have to come underground," Joanne said.

  Then you should have said before, Heather thought. "You'll be able to look for things in the field later," she said. And at least you haven't had Miss Sharp herding you as well as her own class. If they hadn't come on ahead they would have had to suffer her running their picnic.

  "But why do we have to come down when it's nice? Sharon didn't have to."

  "It'll still be nice this afternoon. Sharon can't go into places that are closed in, just as you don't like high places. So you see, you're lucky today."

  "I don't feel lucky," Joanne said.

  The ridges of the walls were still swaying gently, like the leaves of a submarine plant, and now one reached out and tugged at Heather's sleeve. She flinched away, then saw that it was a splintered plank, several of which were propped against the wall, looking as if they'd once been fastened together. Ahead the cave forked, and the children were following the shrinking rim of light into the left-hand passage, which was so low that they had to stoop. "Go on, you're all right," she told Debbie, who was hesitating. Stupid man, she raged.

  It was tighter than she'd thought. She had to hold one arm straight out in front of her so that the light urged the children on, leaving herself surrounded by darkness that coldly pressed her shoulders down when she tried to see ahead. If this passage had been fenced off, as she suspected, she was sorry it had been re-opened. The children's ridged shadows rippled like caterpillars. Suddenly Debbie halted. "There's someone else in here," she said.

  "Well?" Joanne said. "It's not your cave."