He said, “Yeah, I do know that,” then started picking individual blades of grass from the ground and throwing them over his shoulder, one by one. We were both silent for a while, then, after a few minutes, he finally said something like, “Who’s gonna help me get to the Toppermost of the Poppermost?” I asked him what the hell he was talking about, and he said, “Nothin’, nothin’, don’t worry about it. Listen, Smitty, if I’m gonna be on this fookin’ planet forever, I need to have people whose company I like, and that means transforming blokes, and how’m I gonna make that happen without gettin’ all of England in an uproar? And if folks start thinking of me as, I dunno, the Killer from Menlove Avenue, or John the Ripper, nobody’ll come to our shows. And how’m I gonna take over the world?”
Johnny was prone to exaggeration, so I let the comment about taking over the world pass. I told him, “I guess when you transform somebody, you’re gonna have to pick your spots carefully. And it’d probably make more sense, instead of asking people, to just do it.” The second that left my mouth, I realized I might’ve pulled a cock-up. John’s eyes flashed red, and there was a small part of me that thought he’d consider just doing it to yours truly. He was a zombie, after all, and even if an undead individual has good intentions, they sometimes can’t help being irrational. They get hungry, after all.
But he was a top geezer, Johnny was. He nodded and said, “You’re right, Smitty.” That’s all. Just, “You’re right, Smitty.” Johnny Lennon, if you’re reading this, you were the best. I suppose you think I’m a liar and an arsehole, but I think you’re aces. Always have, always will.
Listen, don’t get me wrong: I know and understand why Johnny wants bugger-all to do with me. See, I got turned in the fall of ’57, a mere three months after those Quarrymen gigs, and he didn’t do it. Her name was Lydia. If you’d have gotten one look at her back then, you’d have let her turn you, too. I’d introduce you, but she’s hideous now, simply hideous. She oozes some kind of green shite from her ears, mate, and it ain’t pretty.
Anyhow, long story short, I feel like I planted the seed. I was the guy who suggested Johnny take who he wanted, when he wanted. It probably would’ve happened sooner or later anyhow; there’s no way a guy like Johnny Lennon would’ve gone through his life politely asking if he could turn you instead of just doing it … especially after he got famous. So yeah, wasn’t all my fault, but I still feel bad.
A dapper gent who perfectly illustrates the Liverpool Process’s “stop physically aging at fifty” axiom, Paul McCartney was sixty-four during our interview sessions in May 2003, but he could’ve easily passed for thirty. The guy was the Cute Beatle, is the Cute Beatle, and always will be the Cute Beatle … this despite the shiny green kiss-size scar beneath his left earlobe. What with those dewy eyes and apple cheeks, it’s easy to see how, at the height of his musical and other-wordly powers, had he so desired, he could’ve hypnotized and sexually enslaved legions of teenage and twenty-something girls throughout the world. The key phrase there being “had he so desired.”
As an interview subject, Paul was a toughie. Lennon was a compulsive truth teller, unconcerned with whose feelings he might hurt, what murders he might uncover, or which interviewer he might injure. Honesty wasn’t the best policy for John; it was the only policy. McCartney, on the other hand, oftentimes seemed evasive—especially when it came to the subject of mass murder—and was hesitant to look me directly in the eyes. (Two friends of mine floated the theory that McCartney was avoiding eye contact in order to keep from accidentally hypnotizing me. A good theory, but Paul McCartney doesn’t do anything by accident.)
But here’s the weird part: about half of what Paul told me sounded as if it was pulled almost verbatim from Harold Misor’s controversial—and very poorly written—unauthorized biography from 1988, Macca Attack: James Paul McCartney Uncovered. Beatleologists feel much of the book’s biographical content was invented, and experts on the undead dismissed the zombie portions of the book as conjecture. Despite McCartney’s numerous protestations, the public ate the book up, and it became a bestseller, and many of Misor’s suppositions have been embraced as fact—possibly even by McCartney himself.
Taking all that into consideration, my interviews with Paul raised numerous questions: Was McCartney’s brain permanently altered by his LSD and marijuana consumption, and thus did Misor’s tall tales became McCartney’s memories? Was Misor’s reportage actually on target? Did Paul calculatedly want to use my book as a platform to shape the Beatles myth the way he saw fit? Or was Macca simply messing with me for his own enjoyment?
In the end, it doesn’t really matter. Paul’s word is Paul’s word, and we have no choice but to take it as gospel.
PAUL MCCARTNEY: I died on July 7, 1957, and it was John Winston Lennon who killed me. When you say it black-and-white like that—or in ebony and ivory, if you will—it sounds ugly, y’know. Imagine that as a London Times headline, in bold, capital letters: LENNON MURDERS McCARTNEY. But that’s what happened. And I suppose when you think about it, it was ugly.
We met the day before, John and I did, on July 6. The Quarrymen were doing a show at St. Peter’s Church, and our mutual friend Ivan Vaughan told me they were a nice little band, and there weren’t too many nice little musicians, let alone nice little bands, in Liverpool, so I hopped the Woolton bus and made my way over.
Now, I’d seen a few undead individuals before—one of our neighbors over on Forthlin Road was a Midpointer, as a matter of fact—but never one as young or healthy-looking as John. The zombies I’d met had horrible complexions, just horrible, y’know; some reddish, some greenish, some with permanent blue tears dried on their cheeks. But not John. He glowed. Granted, it was a grayish glow, but it was impressive nonetheless.
After the Quarrymen show—which, erm, wasn’t too bad, really—I borrowed a guitar (I believe it was John’s) and played him a tune by Eddie Cochran called “Twenty Flight Rock.” He stared at me and said, “Wow.” That’s all. Just “Wow.” It was about the only time I’ve ever seen him at a loss for words. And I still believe that if we hadn’t been in public, he probably would’ve murdered me on the spot.
I don’t know if he was thinking of giving me a straight-up transformative bite, or tearing me limb from limb, but that look in his eyes told me, I want you dead fast, mate. What makes me say that? Well, erm, I was dead fast. Very fast. Eighteen hours later, to be exact.
JOHN LENNON: Of course I wanted Paulie dead. Anybody who played guitar that well should either be in my band, or sucking on maggots six feet under. Or both.
PAUL MCCARTNEY: When I finished up the Cochran song, John invited me to bring my guitar over to Mendips the next day, and I said yes. I mean, he seemed like a good chap, y’know, and Ivan’d vouched for him, so why not? I figured we’d play some tunes, have a few laughs, and I’d be on my way. I never even considered an attack. A whole lot of people heard John give me the invite, and if I disappeared, everybody’d know who did it.
I went over after breakfast. John answered the door wearing a blue-and-white-plaid shirt and those thick, clunky government-issue glasses of his. He pulled me in by my elbow—almost dislocating my shoulder in the process, y’know—and dragged me and my guitar to his bedroom.
After that, things happened fast.
JOHN LENNON: Rod Davis didn’t want me to Process him. Neither did Lenny Garry or Colin Hanton or John Duff Love or Eric Griffiths or any of those other blokes who drifted in and out of the Quarrymen. Pete Shotten got so offended when I asked him if I could Process him that I thought he was gonna quit the band and get a job, just so he could afford to buy himself a gun and a handful of diamond bullets. None of the Quarrymen wanted it, none of my friends at school wanted it, and I was gonna be alone. It was disheartening, because I knew that, come the year 2040, when I’d be one hundred years old and not even in the prime of my undeath, there wouldn’t be a single one of my Liverpool mates around to jam with. Paul wasn’t a mate yet, but seemed like a good chap, and he
was a helluva guitar player, better than anybody around, and Ivan’d vouched for him, so why not?
PAUL MCCARTNEY: John didn’t tell me the full details of my transformation until, erm, I believe 1962, but I’m not sure how good his reportage was, because when you’re in the throes of brain-sucking, things can get hazy. To this day, I don’t know how much of what I know about that afternoon is true.
JOHN LENNON: I wasn’t going to muck about. I wasn’t going to take any chances. No casual bites. No half-arsed fluid transfer. I decided Paul was the guy who could help me take over the world, and if I was gonna do him, I was gonna do him right. I suppose I went a bit overboard, but I knew I’d get only one chance, and like they say, better safe than sorry. In the end, it turned out brilliant anyhow.
With the Liverpool Process, when you’re transforming someone, you don’t need to take that large of a bite; the entryway only has to be big enough to fit your tongue, and since we Liverpudlian undead can make our tongues as skinny and as long as spaghetti, that’s not a problem. You don’t even need to take any of the victim’s skin with you, but with Paul, like I said, I didn’t want to take any chances, so my thinking going in was to take skin and veins and muscle, and lots of it.
PAUL MCCARTNEY: The last thing I remember for certain was John jumping onto his bed, and then leaping off like he was diving into a swimming pool. And in this instance, yours truly was the swimming pool, an’ that.
JOHN LENNON: I leapt off the bed, parallel to the floor, and landed right on Paulie. Of course, I went for his neck first, because from everything I’d heard, the neck-first approach had worked for over a century, so why mess with success?
I opened my mouth as wide as it would go, then bit off a chunk of his neck about the size of a scone. I wanted to keep the scone intact so I could slap it back over the wound; that way, none of the zombie cocktail could escape. I spit out the sconey thing into my hand and placed it gently on the floor—moving very quickly, of course, so Paul wouldn’t bleed out—then did the usual tongue up past the ear and to the brain, and get the brain juice, blah, blah, blah. I kept all the liquid in my right cheek, which wasn’t altogether pleasant, but it wasn’t unpleasant, either. Then, after I spit a bit of my goo into Paulie, I picked up Mr. Scone, jammed it back into the gouge, and sealed it shut with my tongue, as if I were licking an envelope. I’d never done the licking thing before—I never knew of anybody who did it, for that matter—but somehow, deep down at a gut level, I knew it’d work.
But I still had some goo left. Thus, the business with the arm.
PAUL MCCARTNEY: Not too many people know this, but I was a right-hander before that day in John’s bedroom.
JOHN LENNON: My thinking was, better safe than sorry, so why not take the leftover goo and spit it up into his arm socket?
It’s fair to say that by ’61, I’d become an expert at removing and reattaching limbs. But this was ’57, and it was my first time taking off anybody’s arm other than my own, and looking back on it, aesthetically speaking, I did a crap job, just dreadful. Part of it was indecision: I couldn’t figure out whether to yank off his arm at the elbow, by a joint, or in the middle of a muscle. After a minute or two of deliberation, I tore off Paul’s black jacket and went for an elbow tear. No idea why, really. Instinct, I suppose. Zombie nature, I guess. Who fookin’ knows? Anyhow, it turned out to be the ideal choice for my purposes, but really, it was dumb luck; I could’ve just as easily gone for the shoulder.
Paul started gushing like a bloody geyser—there was spatter on the ceiling that Aunt Mimi wasn’t too thrilled about—and I got kind of frazzled, so I didn’t do any tidying up at the tear point, and it ended up all zigzagged. If it’d been four years later, we’d have been looking at a straight rip and a barely noticeable reattachment line, but I was new at that sort of thing. (I should mention that just be cause I figured out how to tear neatly doesn’t mean I always did tear neatly. Sometimes neatness doesn’t count. Sometimes sloppiness is called for.)
I laid Paul’s forearm and hand where I’d put the scone earlier, then wrapped my mouth around his elbow and blew the rest of the juices up into his arm. For good measure, I snaked my tongue around his humerus bone and past his biceps, all the way on up to his clavicle. After all, I had to make sure that none of those precious fluids dribbled out, because I didn’t want a brilliant musician like Paul to be a good zombie—I wanted him to be a fookin’ great zombie.
I reattached his arm and licked it closed. Then I went over to the kitchen, tracked down a bottle of cooking sherry, threw down a big drink, which went straight into the hole in the roof of my mouth and into my brain, making me instantly rat-arsed, and I sat down at the table. I crossed my fingers and hoped for the best.
Ten or fifteen minutes later, I went back to my room, and there’s Paul, curled up in a little ball, snoring away, sucking his thumb, looking rested, content, and slightly grayish.
I felt his forehead. It was ice cold. Success. Paul McCartney was as undead as a fookin’ doornail.
PAUL MCCARTNEY: John’s often claimed that he set up my guitar for left-handed purposes while I was down for the count, but I don’t believe that for a second, because I’m not entirely convinced he remembered I was right-handed in the first place.
JOHN LENNON: How the fook was I supposed to remember if he was right- or left-handed? I’d only seen him play one fookin’ song, and it was right after a Quarrymen show, and after most gigs, my head was in the clouds. Man, if Paul had an elephant trunk for a nose, I wouldn’t have noticed.
The fact is, I didn’t redo the guitar. Paulie did. And he did it the second after he opened his eyes. I could tell he didn’t have any clue what he was doin’ while he was doin’ it. His hands were working of their own accord, and they were workin’ blurry fast. It was a sight to behold. How he knew he’d become left-handed, I have no idea. The amazing thing was that he played even better as a lefty, so it turned out I’d made a solid decision.
PAUL MCCARTNEY: John says that after I regained consciousness, we jammed on blues tunes for six or seven hours. That I can believe, because I remember when I woke up the next morning, both of my index fingers were lying under my pillow.
That’s the moment I realized I wasn’t alive anymore. And I wasn’t a damn bit happy about it.
Lennon claims he doesn’t remember killing any of his Mendips neighbors, but he doesn’t remember not killing them, either. I don’t disbelieve him: being that he’s eaten, transformed, or mortally wounded several thousand people, it’s understandable he’d forget (or block out) a handful of capricious childhood murders.
But the stats don’t lie: of the eighty-eight people who lived within a one-block radius of Mendips, circa 1957, eighty-two of them are dead. And of the seventy-nine death certificates I managed to track down, sixty-three of them list the cause of death as “unknown,” and in four of those cases, the only identifiable part of the bodies uncovered were the victims’ teeth. That’s undoubtedly the work of a very, very potent zombie. John Lennon wasn’t the only zombie in the area, but he was certainly the strongest. You do the math.
Three years younger than his former neighbor John Lennon, Lawrence Carroll is one of the Menlove Avenue men who survived to tell some tales. A loyal Beatles fan and self-professed “nosy parker,” Lawrence grew up on the corner of Menlove and Vale Road, a mere stone’s throw from Mendips. His family moved to Brownlow Hill early that fateful fall, which likely explains why he was still amongst the living when I spoke with him at Bramley’s Cafe in Liverpool during May 2002.
LAWRENCE CARROLL: I was kind of chunky and unathletic as a child, and I didn’t have too many friends, so I spent a lot of my time wandering around the neighborhood and watching. I was a lurker, I suppose you could say. I hid behind trees and bushes and cars, and liked to pretend I was a newspaper reporter, or a spy. I always took notes on a little pad of paper, but very rarely saw anything of interest. Aside from John Lennon’s periodic antics, the only thing that made an impression was
the couple that I caught in flagrante delicto in the back of their silver AC Ace Bristol Roadster.
On July 8, 1957, a boy who I now know was Paul McCartney made his way down Menlove, to the Lennons’ house. He was trying to run, but he kept stumbling; it was like his legs couldn’t keep up with his upper body. It looked to me like the guitar case he was carrying was slowing him down, and I couldn’t figure out why he didn’t just drop it if he was in such a rush. It wasn’t like anybody on our block would’ve bothered stealing it. Anybody except John Lennon, of course.
Paul was moaning so loudly that Mrs. Leary, who lived three houses down from the Lennons, stuck her head out her window and told him to stop that infernal racket. Once she saw he was undead, she slammed her window shut. I can’t blame her, as I was frightened myself. But a good newspaperman or an honest-to-goodness spy wouldn’t run away from a teenage zombie, so I held my ground. Granted, I was crouched down out of sight behind a thick bush, but at least I stayed.
Paul bashed his guitar case against the Lennons’ front door over and over again, and yelled, “You get out here, John Lennon! You get out here right now, y’know! You get out here and take your medicine!” And he yelled loud.
JOHN LENNON: Paulie hadn’t even been undead for twenty-four hours, so there’s no way he could’ve known his vocal cords were considerably stronger than they were the previous day. I leaned out my bedroom window and chucked one of my school textbooks at his head, then told him to shut his gob and that I’d be there after I put on a shirt.
Paul Is Undead: The British Zombie Invasion Page 3